Lovable Amsterdam street urchin, 11 year old Ciske is nevertheless much in need of love as the Dutch 1984 title suggests. He is a scamp with a heart of gold. He causes havoc in the classroom pouring ink over his teacher yet when a polio-crippled boy joins the class Ciske is one of the only children to befriend him and is bullied as a result. His mother works in a bar and Ciske helps out often late into the night - his father is at sea and his mother supplements her income with prostitution. Ciske is also a very angry young man and he smoulders with rage at life's injustices.

Painter Peter Hartman is arrested at the scene of a murder. He soon turns out to have ties to the victim's young widow. As Inspector Stroomer begins to unravel the mystery, two very different sides of the story are presented to him. Now it is up to Stroomer to find enough photographic evidence to make out which version is the truth.

At the deathbed of his used-to-be militant mother an older man looks back at his childhood, when he was in love with his sensual aunt Coleta.

During World War II, two members of the Dutch resistance share the same goal but use very different methods to reach it.

This adventurous feature film is a sequel to Paul Verhoeven's legendary youth series from 1969. In this modern film version - the Middle Ages are more imaginative and larded with anachronistic jokes - the story revolves around Floris (grandson of Rutger Hauer's character from the series), a peace-loving bloke whose father despises him because he refuses to carry on the family tradition of stout-hearted knights defending freedom: Floris is an actor. To prove to his father that he can still be a hero, he helps him search for a missing sacred relic with special powers. This is the last hope for the Duke of Burgundy, his father's boss, to eliminate the mean Duchess of Gelre. Along with his oriental girlfriend Pi, Floris goes through some perilous moments when he enters into battle with the duchess and her stooges Van Rossum jr., Kleine Pier jr. and Sergeant jr..

A weekend in the life of a bizarre family in the sixties. Their lives will never be the same after it.

Schnitzel Paradise is a Dutch film about a young Moroccan man working in the kitchen of popular Dutch restaurant.

A successful young writer is in search of his true destiny. Is it the life with his wife and typewriter in Amsterdam or the offers to go to the dreamworld of the Italian film city Cinecittà which is luring him? Trying to find this out he goes into retreat in the house of a befriended gay couple in the south of France.

In the 1890s, Father Adolf Daens goes to Aalst, a textile town where child labor is rife, pay and working conditions are horrible, the poor have no vote, and the Catholic church backs the petite bourgeoisie in oppressing workers. He writes a few columns for the Catholic paper, and soon workers are listening and the powerful are in an uproar. He's expelled from the Catholic party, so he starts the Christian Democrats and is elected to Parliament. After Rome disciplines him, he must choose between two callings, as priest and as champion of workers. In subplots, a courageous young woman falls in love with a socialist and survives a shop foreman's rape; children die; prelates play billiards.

Director Leon de Winter has taken a thriller with political and psychological overtones, and scrambled it into a series of vignettes that are mixed-up in time and in location, thereby dashing any hope of following the story. A journalist goes to a southern European country to interview a well-known terrorist who has refused to stop his activities even though the revolution he fought for ended successfully five years earlier. Questions are raised about adopting violence as a way of life without at first realizing it and about the seeming impossibility of raising the consciousness of backwater cultures. Perhaps because of the way the story has been filleted into fragments, characters like the journalist and terrorist do not have enough continuous screen time to build up their individuality, a second factor that makes it difficult to become involved in the drama.