The prospects for Dutch filmmakers are looking good in the wake of Marleen Gorris' Oscar-winning Antonia's Line. Nicholas Cunningham looks at how the forthcoming Netherlands Film Festival seeks to encourage international interest in local talent
'We fight for Dutch film and, despite our small annual production output, we are extremely proud of what we achieve,' says Jacques van Heijningen, director of the Netherlands Film Festival. His belief in Dutch film was vindicated when Marleen Gorris' Antonia's Line picked up this year's Academy Award for the best foreign language film, having won Golden Calf awards for best film and best actress at the Netherlands Film Festival in 1995. 'That film,' continues van Heijningen, 'has created a new international awareness of the potential of Dutch cinema.'
The festival is the annual showcase for Dutch productions completed over the previous 12 months. The central location moves to Winkel van Sinkel, the department store turned opulent grand-café, but the basic format of the festival remains intact.
The festival's main purpose, to present and promote Dutch product and to engender business links between Dutch producers and their global counterparts, determines that two features dominate the event: the competition programme and the Holland Film Meeting.
Among the films competing for the Golden Calf for the best film are two films from Paul Ruven: Sur place and the Dutch box-office favourite Filmpje (Little Film). In addition, the festival will premiere two films produced by René Scholten: The Cherry Pick and De nieuwe moeder (Another Mother), which will open the festival. Theo van Gogh, whose 06 was submitted as the Dutch entry for the foreign language Oscar in 1994, will present the eagerly awaited Blind Date, and Alex van Warmerdam's De jurk (The Dress) will compete, having just made its festival debut in Venice.
The festival will feature retrospectives on the Amsterdam-based production company Studio Nieuwe Gronden, Dutch-born writer Jan de Hartog, and US director Alan J Pakula, whose films include All the President's Men (1976) and Sophie's Choice (1982). Pakula will deliver the annual Cinema Militans lecture which, as in previous years, addresses 'the position and potential of cinema in the present age of the new media'.
The Holland Film Meeting comprises two distinct elements: the Market Programme, which brings recent Dutch productions to the attention of international TV buyers, distributors, sales agents and press; and the 'Benelux Meets New York' seminar.
This seminar, co-ordinated by Ellis Driessen, is the festival's showcase event. Fifteen key representatives of the New York film industry will attend. Over a three-day period the seminar will hopefully nurture a bonding process that will lead to greater understanding of the respective industries and to strong working relations.
'From both perspectives,' comments Driessen, 'the discussions will centre around what the Benelux countries and New York can offer each other whether it be talent, creative input, location facilities or finance. What has always been apparent, since we decided to bring together the two industries for this year's seminar, has been the need for the free exchange of information, an environment conducive to forging business alliances, and an examination of how the industries compare and contrast.' This latter point will be addressed when Theodoor Richard, lawyer with the Dutch firm of Van der Kroft CS, explains the intricate differences that exist between Europe and the US in the terminology and application of law.
Domestic film festivals are increasingly widening their remits to help foster greater co-production opportunities between domestic independent producers and producers from around the world. That the Netherlands Film Festival has been doing this successfully for many years demonstrates its belief in and dedication to Dutch film and Dutch filmmakers. Van Heijningen says: 'If we can repeat the success of last year's festival and stage an event which the international film community finds both enjoyable and stimulating we will have succeeded in our endeavour to promote not only Dutch film product but also the Dutch film industry as a whole.'
