Set in the remote winter landscape of Norway, Roos visits her mother there yearly, but this time it’s different: she brings bad news. However, old pain and numerous reproaches keep Roos from sharing anything with her mother. Aided by her half-brother and her old flame, the two women reconcile and Roos is able to make her next and inescapable step.

Romy’s mother has to work a lot. That’s why Romy goes to her grandmother every day after school. Grandma Stine is very busy working in her hairdressing salon, and is very strict. But everything changes when Romy discovers a totally different side to her grandmother.

A light grey room. A slender woman of 50 and a 12 year old boy. Joined together like the links of a chain. Changing positions at a constant rate. One flowing movement. Never losing touch with each other. A game played by a mother and her child. A kind of tango. Sound of feet. Breathing. Faint smiles. Until suddenly the woman's hands let go of each other.

Fifty years after being dance partners in their twenties, two pensioners find themselves torn between romance and their disapproving families when they reconnect and fall head over heels in love.

Made in collaboration with photographer Roger Ballen, THE ASYLUM is a surrealistic haven where the lust for power and the desire to love are penetratingly portrayed.

Viewed from the world of Roger Ballen. Ballen is renowned for his confronting and bleak black and white portraits of marginalised South Africans. Melle van Essen follows in Ballen’s footsteps by creating 'Living' photographs with fixed frames and strong black and white contrasts with great emphasis on composition.

A retired police detective sets out to find his missing granddaughter.

Carefully composed portrait of prominent modern composer Elliott Carter (1908-1912). Scheffer depicts both the person and the development in his music and the musical tradition it grew out of, as well as the time in which the American Carter grew up. The result: historical images of the city of New York, old film footage, cinematographic finds to illustrate the music and statements by conspicuous fellow-composers and musicians, including Pierre Boulez and Daniel Barenboim.

At the beginning of the documentary, fine artist Jan Montyn is lying in bed, stripped to the waist. The blades of a fan are spinning; war footage is projected across. In 1944, Montyn enrolled in the German navy and ended up on the eastern front. He shows drawings he made in the trenches with charcoal and toothpaste. Back in Holland, he was hospitalised with 'shell shock'. Nevertheless, later on he would fight the communists in Korea and work as a relief worker in Vietnam and Cambodia. The film crew follows him back to Vietnam, a country where he first arrived in the early seventies: 'Sometimes, I try to convert the horror to paradise.' And now he is sailing on a river, surrounded by dancing young women. But we also see him at work and breathe down his neck when he is etching and engraving. He looks back on his life without a guilty conscience or shame. 'Many wars, many women, many etches', could be his epitaph, the voice-over says.

Shishmaref is a community of about 600 people, located on an island just off the west coast of Alaska. The effects of global warming threaten the very existence of these people- so much that the entire population needs to be relocated off the island within 10 years. They have become the first tangible victims of the worldwide climate changes. The project exists of several components; exhibition, book, film, website, and educational program. In the documentary Jan Louter depicts the impending end of the traditional lifestyle on the island of Shishmaref trough the lives of three Inupiat families. Despite the alarming situation, the film has not become a political manifesto. The Last Days of Shishmaref is a moving film about identity, transience, mortality, and the clash between different eras and cultures.