Month: September 2022

In their blazing, pamphleteer documentary What ‘s Left – The Mess of theLeft (BNNVARA), this Thursday on NPO 2, writer-columnist Johan Fretz anddocumentary maker Juul Op den Kamp show the demise of the Labor Party. Theonce great workers’ party, which has plummeted over the years from more thanfifty to a meager nine parliamentary seats, has, according to them, renouncedthe social-democratic ideal by converting to neoliberalism, or at the veryleast by giving it a helping hand. grant.

The Netherlands is becoming increasingly right-wing – why make a film aboutwhat’s wrong with a moribund left-wing party?

Fretz: “The film is not intended to further break down the PvdA, it was bornout of a warm heart for social democracy. Juul and I both come from a LaborParty nest. And with that love comes justified anger and disappointment at itsloss. The story of a left-wing power party drifting so far from its corevalues ​​– I think it will definitely be an eye opener for millennials andzoomers.”

Op den Kamp: “This is intended for them. It’s a whodunnit popcorn movie aboutthe decline of social democracy. It makes sense to make something about whatthe right has done, but far fewer people know what the left’s part has been init.”

Fretz: „VVD members believe that the government is not responsible for, forexample, homelessness, the housing crisis, poverty. They carry out what theystand for, so that’s not very interesting for a movie. That the PvdA alsofacilitated the demolition, that is the story.”

Why so devastating? Only six minutes before the end, there is some hope on thehorizon.

Op den Kamp: “In order to know how things can be done differently, you firsthave to know how we ended up here.”

Fretz: „It does contain some tirades from me, but we present it with a lot ofhumor and self-mockery, and above all involvement. Some see harsh criticism ascynicism, or annoying yelling. But that fire is a sign that we care.”

Op den Kamp: “The team that made this film is furious about how things aregoing in the Netherlands, and we used that as fuel to make the film. Takingaction because you are concerned can never be cynical. Cynical is doingnothing. We end with hope and combativeness. The aim of the film is to moveviewers. We see the ideal of social democracy blossoming again among youngpeople.”

Three former party leaders speak, but they say little. What is the addedvalue?

Fretz: “They do say something, and sometimes saying nothing is also revealing.This is a movie, no news hour. There is something smooth and inscrutableabout Wouter Bos, but that ambivalence also makes him mysterious, which isgood for the film.

Op den Kamp: „Diederik Samsom kept on avoiding, and eventually came up with:who did something wrong, it doesn’t matter, because we live in a beautifulcountry after all. That was exactly where we wanted to go. Because that’s whatpoliticians say, but it’s not true. The evasive interview gives structure tothe film.”

Fretz: „Job Cohen is the only one who dares to say: it was three timesnothing, the Rutte II cabinet, and we have done things that were reallyunacceptable. In this way he gives our film much more weight. If I say so, itmay not impress. But the older nestor says so himself.”

Former PvdA leader Ad Melkert has not spoken to you, but his classicconfrontation with Pim Fortuyn in 2002 is included. Was that the beginning ofthe end of the Labor Party?

Fretz: “I think so. After that, the charisma of Wouter Bos kept the partygoing for a while. But the Fortuyn revolt brought out the rot. In that debate,Fortuyn provides a correct socio-economic analysis of the decline of hospitalsdue to economies of scale and privatisation. And Melkert doesn’t respond tothat, because he knows it’s true.”

In addition to the PvdA, left-wing parties such as the SP, GroenLinks and Bij1have emerged. Why did you not include them in the analysis?

Op den Kamp: “They are included, but we wanted to focus on the PvdA because itis the only left-wing party that has had government power for the past fortyyears.”

Fretz: “We also wanted to keep it personal: I come from a PvdA nest, in thefilm we see the leaders I voted for.”

Op den Kamp: “Johan’s personal story is important to take viewers along. He isthe poster boy of social mobility: he comes from a poor family, went to study,became a writer and theater maker. A child of social democracy. But the roadhe has traveled is no longer self-evident for children. The power of film isthat you can identify with Johan and through his story realize how muchinfluence politics has on a person’s life.”

What is the way out for the PvdA? To cancel? merge?

Fretz: “Merging makes little sense if you don’t first consider what you standfor. We especially want to start the conversation about the foundation. Theparty must first return to the core values ​​as formulated by former leaderJoop de Uyl in the 1970s: more equal distribution of knowledge, power andincome. It is essential to make it clear that the class struggle and theemancipation struggle are not opposites, but always go hand in hand.”

What ‘s Left (BNNVARA), Thursday on NPO2, 22u29. And on NPO Start.

From October 4, four mothers will search for their ideal daughter-in-law in’Matched By Mom’. In this brand new dating show, four men and their mothers goin search of true love. Sixteen ladies are going on the adventure of ‘MatchedBy Mom’ and we now introduce you to the single ladies.

Image © Tom Cornelissen

Amber

The 26-year-old Amber is a feisty lady in terms of looks, but her heart is inthe right place. She is half Antillean, born in New York, raised in Drentheand has traveled extensively in Australia. So a real woman of the world. Amberis already in love with her two naked cats, but is still looking for anenterprising romantic with a strong opinion; someone who can cope well withher exuberant character.

Also read:

Edson da Graça regrets swingers statement: ‘I should have underestimated’

Image © Tom Cornelissen

Cynthia

The 29-year-old Cynthia from The Hague is a real entrepreneur in heart andsoul. She owns a modeling agency and a hairdressing business. It is thereforenot surprising that she is attracted to an ambitious and enterprising man.That person must also be neatly groomed, because she can’t stand someone whosmells or has tousled hair. Besides entrepreneurship, she loves nature,animals and her religion is also important to her. Cynthia herself wants alarge family with three or four children, so she is really looking for a manwho shares this wish with her.

Image © Tom Cornelissen

Daphne

Daphne is 23 years old and lives in Amsterdam. The small Limburg village whereshe originally came from was far too ‘small’ for its outspoken character.Daphne is looking for a real buddy who is always there for her and with whomshe can do fun things. She finds respect and trust in a relationship veryimportant. In addition, her relationship must be equal and she does not needto be cared for. She can also stand on her own two feet, so Daphne doesn’tneed a man for that.

Image © Tom Cornelissen

Isabel

Isabel is only 20, but already knows exactly what she wants. She currentlyworks as an account manager at an ICT company, but she does this mainly tobuild up a buffer so that she can start her own business. In terms ofcharacter, Isabel is above all very sweet, but also sincere and steadfast. Sheis not afraid to open up and she is emotionally mature for her age. Isabellikes slightly older sporty and sociable men who have a bit of a ‘crook’sface’.

Image © Tom Cornelissen

Joy

Family is very important to 28-year-old Joy from Rotterdam. It is a dream forher to have a partner share the same family value. Joy is extremely ambitious,she has been working in the banking sector for some time and is climbing thecareer ladder here. Ultimately, she wants to become an entrepreneur in realestate. Joy’s ideal man is tall and has a typical Dutch direct character _._She also appreciates openness and honesty in a potential partner.

Also read:

Edson goes with mothers looking for dates for sons in reality series

Image © Tom Cornelissen

Joyce

23-year-old Joyce is a cheerful, enthusiastic girl who can be a clumsy flapperat times. She is confident, but she is quite insecure about her love life; shehas never had a ‘real’ steady relationship. In terms of the type of man, Joyceis looking for a funny and romantic person who doesn’t beat around the bushand just goes for her. She does not have a fixed type in terms of appearance,because according to her, a man must ‘have something’ that immediately makesher feel attracted. So Joyce might fall for a man you don’t expect.

Image © Tom Cornelissen

Also read:

Joey from The Bachelorette regrets participating in TV show

Kiki

Three years ago, this spirited, blond 31-year-old lady tasted entrepreneurshipand it went very well. Now she never wants to work for a boss again. In thefield of work, the Haarlem bombshell has a strong opinion and, in her ownwords, prefers to be a loner. In the field of love, a man must continuouslytrigger her, because otherwise she will quickly get bored. Her future partnerhas to take into account the critical view of her mothers, because they arereal ‘ three hands on one belly ‘.

Image © Tom Cornelissen

Kyra

25-year-old Kyra is a feisty lady who does not mince her mouth. With her sweetsmile she is sometimes considered a wallflower, until she opens her mouth! Shealso has a very caring and helpful side. She has always said she wants tostart having children at 31, so in five years she wants to be settled with achild. A man must therefore also have a wish to have children! Being able totrust each other and keep doing ‘your own thing’ are important to her in arelationship.

Image © Tom Cornelissen

Lisanne

The 23-year-old Lisanne is the calm, sweet girl next door. Her calmdisposition comes across as a bit mysterious. She is a homebody, although shedoesn’t mind a party every now and then. Lisanne, her ideal man with whom shewould like to build that future, has a sense of style and is therefore welldressed. Furthermore, he is ambitious, sweet, caring, intelligent and she canhave good conversations with him. It is also ideal if he gets on well with herparents.

Image © Tom Cornelissen

Nikki

The cheerful Nikki is 25 years old and lives in Amsterdam. She has almostfinished her studies in legal services and after that she starts a job insales recruitment. Instead of a hobby, Nikki prefers to spend her free hourssurrounded by friends and family. Good company is the most important thing toher. If Nikki had to choose, her ideal man is tall and light-eyed. She alsolikes a man who is enterprising and knows what he wants with his life. Inaddition, he must be confident, because otherwise Nikki will waltz oversomeone.

Image © Tom Cornelissen

Petra

The 26-year-old ambitious Petra was a producer in the music industry until thecorona crisis, but two years ago she took a job at the Zuidas as a financerecruiter. One of her dreams is to make a documentary about her grandmother’slifestyle, because she lives in Suriname with a native Indian tribe. She wouldlike to capture this before this culture disappears due to outside influences.Petra thinks she’s real’ wife material ‘ _is and falls in appearance ratherfor a _laidback beach boy than for the popular Amsterdam technoboy.

Also read:

These mothers are looking for love for their son in Matched by Mom

Image © Tom Cornelissen

Romy

The 24-year-old Romy from Nijmegen can best be described as an enthusiastic,exuberant and sporty girl. She doesn’t fall in love easily and doesn’t want tosettle down until someone really adds to her life. Romy does not want tocommit to a fixed type, but is very critical. She finds it important that herfuture partner is sporty, ambitious, but also loyal and yet a little bitcrazy. Romy later sees herself living together with her partner and preferablywith a dog, on the beach and preferably in Haarlem.

roshita

The 24-year-old Roshita lives in Amstelveen and wants nothing more than tostart a large family. She loves children very much and it will come as nosurprise that Roshita has a babysitting job and works as a nanny in a hotel.When it comes to love, things are a little less smooth in her life. Roshitalikes men who are taller than she is. Or as she puts it with a smile: “When Iget married I just want to be able to wear heels.” Oh and that sarcastichumor? She must also be able to appreciate her future husband.

Image © Tom Cornelissen

rosemary

The Groningen Rosemary is 23 years old and very confident, but certainly notarrogant. She is also sweet and social. She is a real sales tiger and worksnext to her regular job at the local radio. She thinks it is very importantthat her dream man can get along well with her friends and that he isadventurous and sporty. She thinks the click with him is the most important,but it is a bonus if the in-laws are also nice.

Image © Tom Cornelissen

Shannan

The 24-year-old Shanna from Zoetermeer is a cheerful, spontaneous but alsoslightly stubborn and chaotic lady. Although she can be a bit chaotic in dailylife, in the workplace she is in complete control and she is very ambitious.Shanna likes to dance and goes to parties. You can also wake her up for a walkin nature or game night with friends. Shanna comes from a warm family andhopes to build just as good a bond with potential in-laws. She is looking foran introverted boy for whom family is also important.

Image © Tom Cornelissen

sibel

The 27-year-old Sibel lives in Utrecht, is in her graduation phase and has abusiness in sales. Sibel doesn’t like looks at all, as long as a man is(emotionally) intelligent and there are no awkward silences – she hates that.It is important that her future husband is accepted by her parents, especiallyby her father, because she is a father’s boy! Sibel herself also finds itimportant to have a good relationship with her in-laws and especially hermother-in-law. Starting a family is a dream for her.

The fifteenth season of Dear Singers got off to a hesitant start. At leastif we look at the ratings. On evenings when no football matches are broadcast,the program still attracts more than a million viewers. A hit like Takes toolong (Davina Michelle) or Through the wind (Miss Montreal) is not in ityet, but Jaap Reesema is successful with his interpretation of Nielsons_Gray_.

By Michiel Vos

The season is almost coming to an end. Tonight, in addition to Reesema andNielson, we will also see Claudia de Breij, Sarita Lorena, Roxeanne Hazes andBlanks interpret the music of Ferdi Bolland. The season ends next week with aduet episode. Although the program does not manage to attract a millionviewers every week, this viewing figure limit was broken again with the pasttwo broadcasts. And on YouTube, the individual performances are also viewedhundreds of thousands of times.

For the time being, Reesema has emerged as the most successful participant. Inthe fourth week of Dear Singers the artists decide which Nielson song theywant to sing. Reesema goes for the number Gray which Nielson released underhis own name Niels Littooij, on an EP he wrote after the death of his cousinand good friend.

Reesema’s version has been listened to more than 1.6 million times on Spotifywithin a few weeks, more than three times as often as the original so far.Reesema is currently in 27th place on the list of the most listened to songson Spotify in the Netherlands. The performance has been viewed nearly 600,000times on YouTube.

Reesema’s version of Gray scores a lot better than the other songs that havebeen featured in the program so far. In second place is Roxeanne Hazes, whowon the number in the second week Don ‘t Stop from Blanks edited to_Tonight_. The song has been listened to over 465,000 times on Spotify andover 200,000 times on YouTube. Nielson also has a success with his performancein the ‘Blanks week’. He translated New Rules from Dua Lipa to _Game rules_which was streamed almost 400,000 times on Spotify and about 170,000 times onYouTube.

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Davina Michelle still has the biggest hit

Davina Michelle still has the biggest hit from the program to her name. In2018 she released the song Takes too long by Glen Faria. The song was infirst place in the Dutch Top 40 for eleven weeks and has now collected morethan 106 million streams on Spotify.

Rolf Sanchez and Emma Heesters ended up in second place a year later withtheir hit Pa Olvidarte , which has been listened to 70 million times onSpotify. The most recent big hit from the program dates from 2020. Then MissMontreal sang the song Through the wind from Stef Bos to third place in theTop 40, with 40 million streams to date.

Reesema is already well on its way to surpassing last season’s biggest hit.Then stayed Hijo De La Luna , performed by Karsu, stabbing at 2.3 millionstreams. With the 83,000 streams Reesema is now raking in a day, it seems onlya matter of time before he exceeds that number.

They are very happy, the young family with whom Sea of ​​time opens, that’sfor sure. There are coarse-grained home video images of the laughing coupleJohanna and Lucas (Sallie Harmsen and Reinout Scholten van Aschat) and theircheerful angelic son Kai. And we see them sailing across the Atlantic, bathedin the sun, surrounded by glistening water. Lucas emphasizes it again as thethree of them lie together on the deck as the sun sets: “And now press pauseand then this forever.” But then it turns out that five-year-old Kai hasdisappeared in the middle of the sea.

The 42nd edition of the Dutch Film Festival kicks off on Wednesday eveningwith Sea of ​​time. It is one of 88 feature films, documentaries and shortfilms that will premiere in Utrecht in the next ten days. The festive openingevening will again take place this year in the Stadsschouwburg, after theKinepolis Jaarbeurs was twice diverted due to corona measures.

Death and mourning

The subject of Sea of ​​time , coping with the death of a child, sets thetone for the four long fiction premieres at the festival. Death and mourningare also central to the dramas narcosis , bo and femi. “You have to goto the short films this year for cheerfulness,” said programmer Claire vanDaal.

Out of four treats Sea of ​​time , loosely based on a true story, thesubject being the most straightforward. Shortly after the idyllic openingmoments, Flashforwards look ahead to a prickly meeting between the coupleforty years later. But the first part of the film is set in the early eightiesand is mainly about how their relationship cracks in the period immediatelyafter their immense loss.

They are well-acted, but sometimes somewhat perfunctory and literal scenesthat depict various stages of mourning. There is denial: once back in theNetherlands, Johanna regularly thinks she sees Kai and wanders along the coastof Zeeland at night. There is apathy, portrayed with staring at swirling fluffon which the sunlight reflects. And there’s anger: like when Lucas seesanother father with child and rambles on with a hammer during his job indemolition. What doesn’t help is that the music tells the viewer what to feel.

Only in the second part do the characters seem to become more flesh and blood.Is it possible that the main characters in that part are closer to directorTheu Boermans (1950) himself? Forty years after the fatal sailing trip, Lucas,now played by Gijs Scholten van Aschat, turns out to be a successful theaterdirector. He is working on a farewell performance full of dance, a tribute tohis son who died young.

Boermans himself was artistic director of De Theatercompagnie and HetNationale Toneel for many years and has directed dozens of major (repertoire)performances. He is also the man behind major productions like Soldier ofOrange. As a film and TV director he made Golden Calf winners 1000 Rosen(1994) and series The Partisans (1995). Eleven years later he directed TVdrama The chosen one.

A little more freedom

Johanna (Elsie de Brauw) has also continued with her life in the film, but ina completely different way. Gijs Scholten van Aschat and De Brauw seem to get(or take) a little more freedom with the material. There are occasionalhesitations in conversations, emotions feel a little less like an illustrationand more like a spontaneous reaction.

And while the first part, despite the violent events, could sometimes havebeen shorter, in the second part it is almost a shame that the conflict thatarises between the former couple is not worked out a little deeper and longer.She doesn’t want painful memories to be publicly stirred up.

The makers choose to bring lightness to the story thanks to a twist halfwaythrough the film. In the end it produces a crowd-friendly, well-acted andemotionally chopping, but little groundbreaking opening. For the latter youhave to be at other mourning dramas in Utrecht this year.

Bill Maher didn’t really have time to do another show. After all, he’s beenhost and executive producer of HBO’s Real Time With Bill Maher for nearly 20years. And like he tells Yahoo! Entertainment, he works very hard on it.

“It takes a lot out of me every week,” Maher says.

Yet here he is, six months into his brand new podcast called _Club Random_which is recorded in “a little nightclub” that Maher built on his propertythat he also calls Club Random, and the concept is pretty simple.

“I do love to get high at Club Random,” Maher reveals. “And I love to talk tomy friends with a drink and a joint. And if you want to do that, and have somereally interesting people come over here, I’d be happy to do that.”

But when it comes to prepping for the show or the interviews, which haveincluded names like William Shatner, Quentin Tarantino, Leslie Jones, BellaThorne, Mike Tyson and Woody Harrelson, Maher is not having any of it.

“I’m just gonna show up. I barely know who the guest is. I’m not gonna preparefor it like I do for my show. It’s not that kind of show,” Maher explains.“Why would I do another kind of show unless it was very different? And it’svery different, except it’s still me. It’s just me that you would see out of asuit, smoking pot. The real me, in other words.”

One of those interviews he showed up for recently was with NFL quarterbackAaron Rodgers, who came under fire in 2021 after he claimed to have been“immunized” ahead of the football season when he instead underwent alternatetreatments. Maher says he reached out to Rodgers after hearing a lot of whathe had to say about vaccines.

“We kind of bonded over the fact that both of us believe in medical autonomyin a way that a lot of the country has dragged its feet on and, I think, a lotof the country is ignorant about it. I think people are just scared abouttheir health so they think there’s this priesthood in white lab coats who haveall the answers.”

Story continues

Maher went on to say that neither of them are an “anti-vaxxer” but that itshould be everyone’s personal decision.

“So we kind of bonded over that,” Maher says. “We talked about a millionthings, but certainly I admire his guts for standing by what he trulybelieves. Which is pretty much what I believe.”

Maher, whose TV career dates as far back as 1993 with Politically> Incorrect , had been hesitant to get into podcasting for quite a while. Not> only because he already had a show, but because he really didn’t understand> the appeal of the medium.

“It’s exactly like radio and radio was the most unhip thing in the world,”Maher says. “First of all, it blows my mind that the attention span of Americais either six seconds or three hours, and apparently nothing in between.”

Maher says that he comes from a world where you’re supposed to leave peoplewanting more, which is not the case with podcasts. Although he has come toappreciate the lack of a time limit, and has gone as long as two hours withsome of his guests.

“It’s amazing to me. I don’t know where these people are listening or wherethey get this time. But I’m happy because you know, I come from a radio line,my father was in radio,” Maher says. “I was sad to see radio go away and nowit’s kinda come back, but through the podcast.”

The host, who has made a name for himself in the political space through theyears, said that the conversations on his podcast will sometimes go in thatdirection but that he doesn’t push for it.

But, with another election cycle on the horizon, Maher is as energized as everabout covering politics. Even with the levels of divisiveness and vitriol thathave risen in the world.

“The messier it is, the better for me. The worse it is for the country, thebetter for me,” Maher says. “We’re doing better than ever because I feel likemost of the media is locked into their bubbles. Even comedy media, you know,they just pander to the people who are in the audience who are just gonna claplike seals at the things they already think they know and want to hear back.”

Maher said that while he does agree with points of view from other shows, hehas been much more willing to make fun of the left than he used to because, ashe says, “they’re a lot crazier than they used to be. ”

“Nobody else seems to be doing that,” Maher says about making fun of the left.“So I love having that all to myself. You guys want to pander? good. I’ll justkeep doing what I do. I think I’m generally left of center, but I thinkthere’s a lot. I go where the comedy is.”

He acknowledges that it is a very dangerous time in America and that he“frets” for what the country will go through at the next election.

“I don’t know what’s gonna happen in this country. So it’s a perilous time.But you know, I’m loving covering it. It’s not boring.”

Watch the trailer:

New episodes of ** Club Random drop weekly wherever you get your> podcasts, and also on YouTube .**

It is exceptional: a woman who collects Dutch old masters. Baukje Coenen,specialist in seventeenth-century painting at Sotheby’s in Amsterdam, cannoteasily recall another example. “Ty Scheumann was a particularly tough lady,”says Coenen about the American collector. Early next year, Sotheby’s willauction its collection in New York, which mainly consists of paintings made inAmsterdam.

That the auction house proposed a preview of the so-called _single owner sale_at a historic location in Amsterdam was one of the reasons for the Scheumannheirs to award the sale to Sotheby’s, says Coenen. For security reasons, theauction house does not want to be published in the newspaper where the privatepreview is being held. From Thursday to Sunday, the Scheumann collection canthen be viewed by appointment at the Sotheby’s office in the capital.

Ty Scheumann, art collector and horse breeder. Photo Sotheby’s

Theiline “Ty” Scheumann died in December at age 90 in her hometown ofBellevue, Washington. She left a still life with oysters by Willem Claesz.Heda at the Seattle Art Museum, an institution in her hometown for which shedid board work. Twelve other works from her collection – still lifes andforest, city and seascapes by well-known old masters such as Aert van derNeer, Frans van Mieris and Jacob van Ruisdael – will be presented on January26 in New York as The Ty Scheumann Collection be auctioned. The auctionhouse estimates the proceeds at at least eight million euros.

trucks

Ty Scheumann came from a good family. Her grandfather William Pigott founded atrucking company in Seattle in 1905 which, under the leadership of her fatherPaul, grew into multinational Paccar, one of the largest manufacturers ofheavy trucks in the world – the Dutch DAF is one of the company’s brands. Herstepfather John McCone was director of the CIA’s foreign security serviceduring the Cold War in the early 1960s.

Ty Scheumann himself also stood her ground, according to the obituaries thatappeared in American media at the beginning of this year. She had fivechildren with her first husband, who died young. She loved the outdoors: sheenjoyed hunting and fishing, played tennis and golf, rode horses, had apilot’s license and, at the age of 69, was still crossing the North Atlanticby sailboat. She also kept many pets, including the hippo Gertrude.

Frans van Mieris the Elder, A young woman seals a letter, 1667 PhotosSotheby’s

In the equestrian world Ty Scheumann was known as a breeder and trader. Shefounded the Grousemont Farms stud. There she bred several racehorses ofinternational caliber that sometimes changed hands for millions of dollars.Her most famous racehorse, Noble Nashua, won several major American races andwas sold to a syndicate of breeders for $11 million in 1981.

The collection of Dutch old masters belonging to friends of her parents, Edand Hannah Carter (bequeathed to the LACMA in Los Angeles in 2009), inspiredTy Scheumann to start collecting herself. Baukje Coenen: „Scheumann onlywanted Dutch old masters of the highest quality. An increasingly complicatedtask, because those paintings are coming onto the market less and less andoften go to museums.”

Top piece from the Scheumann collection is a genre painting by Frans vanMieris the Elder, a small A4 panel completed around 1667 of a young woman whowants to seal a letter with a touch-up pen. Van Mieris was a fine painter whowanted to represent reality as accurately as possible. He did so in a detailedstyle, reportedly sometimes using brushes with only one hair. The portrait ofthe young woman has a target price of 1.5 to 2 million euros.

forest landscape

Five other paintings received target prices of around a million fromSotheby’s. A small forest landscape by Jacob van Ruisdael, a forest view byAert van der Neer and an Amsterdam canal by Jan van der Heyden should eachyield 1 to 1.5 million. A painting with the whaler Prince Willem by theRotterdam maritime painter Lieve Verschuier and a small, but fine seascape byWillem van de Velde the Younger were both estimated at 800,000 to 1.2 million.

In addition to old masters and horses, Ty Scheumann was passionate aboutAmerican football. According to the Seattle Times On the weekend before herdeath, she was still watching the television coverage of one of her favoriteteams, the Seattle Seahawks. They lost 20-10 to the Los Angeles Rams.

The Ty Scheumann Collection can be viewed from Thurs to Sun by appointmentat the Sotheby’s auction house in Amsterdam. Info: amsterdam@sothebys.com and

Linda de Mol will appear in her magazine today LINDA., after a long time,out about the scandal all around The Voice and her ex-partner JeroenRietbergen. Last night singer Francis van Broekhuizen and TV critic Angela deJong were there Jinek only not even about the approach of De Mol.

Linda de Mol has stayed under the radar lately. She recently reappeared ontelevision for a long time with Million dollar hunt and enters today, in herown magazine LINDA, about the recent turbulent period.

Angela de Jong thinks Linda de Mol’s choice is ‘safe’

TV critic Angela de Jong, who has frequently spoken out about the abusessurrounding The Voice , is now responding to De Mol’s statements. De Jongcalls De Mol’s choice for a piece in her own magazine “safe”. The TV criticwould have liked her to give an interview to Tim Hofman. Because there are nocritical questions surrounding this piece.

An earlier statement by Rietbergen, among other things, gave the impressionthat De Mol would have been aware of the abuses surrounding it The Voice._Something she puts in her text _LINDA. debunked. She swears on both of herchildren that she “knew nothing at all about what happened at” The Voice “.

Francis van Broekhuizen and Angela de Jong in discussion at Jinek

Francis van Broekhuizen is also sitting at the table, who looks a bit dubiousat De Jong’s words. She understands that De Mol opts for a statement via itsown platform. “A lot of people just say something about her. She feels she maynot be able to answer. Why do we all do that in the media?”, Van Broekhuizenwonders.

De Jong explains that it is indeed a private matter, but at the same timethere is a major scandal going on around a well-watched television program.“Whereas four people, as far as we know now, could have crossed the line for Xnumber of years.” According to Van Broekhuizen, attention should be paid tothe perpetrators and De Mol is just as much a victim of the issue. “There isno mention of Linda. Because Linda hasn’t said anything for eight months,” DeJong corrects her. “Yes, but she didn’t do it anyway,” emphasizes VanBroekhuizen.

Van Broekhuizen against ‘trial by media’ Linda de Mol

According to De Jong, it is obvious that people want to know what De Mol knewabout this story. “This is the question that surrounds that entire file. Howcould it go so horribly wrong there? After years of no action?” But VanBroekhuizen believes that this serious case is devoted to the police and thePublic Prosecution Service. “Actually, that should be from the media. Trial bymedia, that’s what I think.”

De Jong: „Let me be clear, of course she is not the one who touched thosegirls. But the question is, you have to ask yourself that too Francis… Horde’sparents sent their children to that talent show and they thought they were ina safe environment there,” said the reviewer.

“Should we talk about that, Angela?”

Van Broekhuizen emphasizes that the men who are guilty of sexuallytransgressive behavior do so “secretly”. “You don’t see a lot of things. Thosemen are jerks, they do it.”

But De Jong believes that if something needs to be changed there, complaintsabout these kinds of things should be taken seriously. “But should we talkabout that, Angela? You and me?”, Van Broekhuizen wonders. “But should we talkabout the Queen’s funeral?” De Jong responds. Van Broekhuizen joined in_Jinek_ to share her opinion about the funeral of the British Queen Elizabeth.“Actually not, yes that is also true”, responds Van Broekhuizen.

The banlieue in flames: in Netflix film Athens by Romain Gavras, whathappens for which classic La Haine warned in 1995. In that film, threefriends clash with the police, who behave like an occupying force in theperiphery of Paris. “This is the story of a society in free fall,” prophesied_La Haine_. “Which tells himself on his way to the bottom: so far everythingis going well.”

Ten years later, in 2005, the time had come: a contagious wave of riot,looting and arson swept through the French banlieues after two boys on the runfrom the police died. The harvest: enormous devastation in our ownneighbourhoods, law and order candidate Nicolas Sarkozy as new Frenchpresident.

Filmmaker Ladj Ly filmed the riots in his banlieue Montfermeil in 2005; infeature film debut Les Miserables In 2019, local hotemetotes – shadow mayor,Islamic fundamentalists, criminals – secretly collaborate with the police toremove the fuse from the powder keg after an incident of police brutality.Nobody wants a repeat of 2005. But hate is hard to suppress.

Les Miserables ends, just like La Haine rather, in a question mark: moreviolence or reconciliation? That stage has already passed after two minutes in_Athens_ which Netflix is ​​releasing as a streamer this week – a shame,because this spectacle deserves a large canvas.

Athens is the name of a fictional Parisian banlieue. Images of the murder of13-year-old Idir, apparently by officers, are circulating on social media. Hisbrother Abdel, a soldier, tells the crowd in front of the local police stationto calm down. His hot-tempered, charismatic brother Karim and his friendsimmediately loot weapons, bulletproof vests and shock grenades in a stampedeon the same desk. The battle can begin.

Civil war

That long opening shot of storming and chasing sets the tone: Athens is abloody nervous film in top gear. The camera follows four brothers in longshots through a maze of concrete, Bengal fire, laser pointers, tear gas androckets. In addition to Abdel and Karim, there is the drug criminal Moktar,who consults with his police contacts on how to get his money, drugs andweapons to safety. And the psychotic jihadist Sébastien, who prefers to bloweverything up immediately. On television, the local riots meanwhile appear toescalate into a real civil war.

French filmmaker Romain Gavras (41) is known for energetic music clips andaction comedy Le Monde est a toi (2018). He is a scion of a film family;father Costa-Gavras won an Oscar in 1983 with the political drama Missing.In the 1990s, Romain co-founded the youthful film collective Kourtrajmé, slangfor ‘short film’, which wanted to film for and through the banlieue. __ThroughKourtrajmé, Romain Gavras befriended filmmaker Ladj Ly, who wrote thescreenplay of Athens wrote.

Ladj Ly and Romain Gavras have wanted to work together for twenty years, theysay in the elite hotel Excelsior on the Lido; Athens will premiere at theVenice Film Festival. Ladj Ly: “Our idea was simple: massive street violencein a suburb, which turns into a citadel besieged by the police.”

The battle has mythical contours. The four brothers in the lead roles arearchetypes rather than characters: disciplined conformist Abdel, excited,short-sighted Karim, cynical opportunist Moktar, crazy Sébastien. The storyunfolds like a Greek tragedy in which noble and less noble intentions becomefatally entwined as the flywheel of violence sets in motion.

Gavras: “In a Greek tragedy, everyone has their own will, but fate isstronger. The story is always intimate: brother turns against brother, sonagainst father.” To emphasize that timelessness, Gavras provided the brutalistarchitecture of banlieue Evry, which serves as the backdrop, with quasi-medieval battlements. “You also see the mobile unit going into a kind ofturtle formation with its shields. The real police never do such a thing, Iwas concerned with the association with Roman legions.”

Athens intends to warn. Riots bring the banlieue pure self-destruction. Darkforces benefit from this. That message of self-control rubs against theexciting dynamics of violence, enhanced by threatening march music and sacredchoral singing. His own documentary from 2005 was the visual guideline, saysLadj Ly: “We want you to experience a riot from the inside through the camera.The aim is to nail you to your chair for ninety minutes, with no time forreflection. Overwhelmed by the hectic pace, the urgency.”

But doesn’t that also make violence attractive? If I were younger, I wouldimmediately demolish a bus shelter afterwards, I joke. Gavras, shaking hishead skeptically: “Would you do that? For real? Well, it’s an ancient debate.Do kids riot because they get worked up about video games and drill rap? Itend to see inequality and hopelessness as causes. I also don’t believe thatpeople start smoking because Marlon Brando is so attractive in a movie oryoung people by Scarface going into the cocaine trade.”

stuntmen

According to Gavras, the choreography of the riots required more than twomonths of rehearsal. “I don’t use green screens, and minimal digital trickery.That’s what kids get out of it. fake my daughter then says.” The first roundwas with the actors and a small camera to find the right angles. “Then camethe stuntmen who play the mobile unit. And then the extras.”

These were mainly young people from banlieue Evry. Gavras realized that thingscould get out of hand if they got carried away. “They are kids, they see thepolice before them. It concerns very long shots that have to be done veryoften. At shot 15 they had only warmed up properly, 25 shots was notexceptional. With explosions and fireworks.” Rehearsing helped in that regardas well. “The stuntmen spent weeks teaching the kids their tricks, training,having lunch and chatting together. In this way fighting turned into a dancefor thirty to fifty men who want to spare each other.” Were there anyinjuries? Gavras, laughing: “Define ‘wounded’. Abrasions, bruises and asprained ankle, that is. But nobody missed an eye or a limb afterwards.”

Michael Leendertse was a teenager when the Boeing of the Israeli company El Alcrashed into the Groeneveen and Klein-Kruitberg flats in the Bijlmermeer onOctober 4, 1992. At least 43 people died, but the lives of many hundreds ofresidents and aid workers changed that night. They suffered from mysteriousphysical complaints: chronic respiratory infections, pains, impotence, stomachand intestinal complaints.

Residents and media continued to search for years for the answer to what theexact payload of the disaster flight was. Even a parliamentary inquiry did notbring the answers victims hoped for. “Certain elements are etched in thememory of my generation,” says Leendertse. “The burning flats, the desperatepeople. And all the questions about the ‘men in white suits’ and the missingblack box.”

Bloodcurdling thriller

At the Film Academy he read a reconstruction de Volkskrant. Since then, theplan has settled in his head to make a series about this black page in recentDutch history. He contacted Fidelity -journalist Vincent Dekker, who foryears tried to get the bottom stone out. “The story had everything for ablood-curdling thriller, from conspiracy theories to great human suffering. Iwas very surprised that no other creator had come up with the idea of ​​aseries before.”

Also read a background article about how the Bijlmer is portrayed in films andseries: With the camera on safari in the Bijlmermeer

Leendertse chose Dekker and his Volkskrant colleague Pierre Heijboer as maincharacters. “You want to take the viewer into amazement at everything theydiscover,” explains the writer. “The core of the story is what happened afterthe disaster. A government that may have covered things up, but at the veryleast remains stuck in numbers, statistics and rules.”

He spoke with countless relatives and victims and decided to bundle theirstories into one character: Asha Willems, a resident of the Bijlmer who losesher fiancé in the disaster. “I’ve put all kinds of heartbreaking stories I’veheard from relatives in her” Asha is played by actress Joy Delima, who wasinvolved in the project from an early stage. Delima was given all the space todevelop her character herself. “As a writer you can only empathize to acertain extent in a certain world”, Delima thinks. “Of course someone canimmerse themselves in a multicultural community such as the Bijlmer. But itthen threatens to quickly run into caricatures: with a Surinamese family,there is always roti on the table in films.”

She grew up in Rotterdam; her father is from Curaçao, her mother fromSuriname. “It’s the little nuances that make the difference. That we alwaystell you to people who are older. Or how you approach people in times ofmourning.” The actors in the series have the same background as theircharacters as much as possible. Victims from the Ghanaian community are playedby people with Ghanaian roots. They were given the space to fill in detailsthemselves in ‘their’ scenes.

class difference

The core of the story is not the disaster on October 4 itself, but especiallythe aftermath, Delima thinks. “A lot of frustration among residents came fromthe fact that they felt completely unheard in the years after the crash,” shesays. “I hope it never happens, but if a plane had crashed into the canalbelt, the reactions of politicians and government would have been different.”This has not only to do with the skin color of most of the victims, emphasizesthe protagonist. “The Bijlmer disaster was more about class difference. Theseries shows very clearly that there were also many white people among thevictims.”

The makers hope that the series also contributes to ensuring that the accidentis not forgotten. “I’m 28, so I was born after the plane crashed,” saysDelima. “I never heard anything about it in history class.”

Scriptwriter Leendertse also hopes that policy makers and politicians mightlook and realize how little has changed in three decades. “Look at the bigfiles that now dominate the media: the allowance affair, gas extraction inGroningen, the energy crisis. All situations in which the government viewscitizens as statistics. And the politicians are partly the same as in the late

At first she made her new movie Dear Mr Bouterse for Surinamese. Her countryis still deeply divided over the military coup d’état by the sergeant andlater president Desi Bouterse in 1980 and the aftermath of the Decembermurders in 1982, when fifteen critics of Bouterse’s regime were murdered inFort Zeelandia.

“A country that does not dare to face its past has no future,” says filmmakerAnanta Khemradj. Khemradj is 32 years old, was born in Tilburg, worked as ajournalist for the Surinamese current affairs program ABC Current and backin the Netherlands combines a day job in the agricultural sector with a lifeas a filmmaker. In You can read (2019) she was surprised that she and hercontemporaries know so little about Suriname’s past. Dear Mr Bouterse is thesequel. Now she questions friends and acquaintances, former colleagues,’boutists’ and relatives of the victims of the December murders about howSuriname should proceed. The film became a sensitive and impressive quest forconnection.

She chose to only talk to people close to her. “A real conversation requires acertain vulnerability. It was quite difficult to get people in front of thecamera. In addition, I felt responsible for the environment in which I grewup, which is more the side of the next of kin.” This is apparent, for example,from the emotional telephone conversations with her journalistic mentor, whobelieves that every film on this subject provides Bouterse with a platform.

However, her film also has a message for the Dutch viewer. “The Netherlandsmust take its responsibility and open the archives.” The film recalls howPrime Minister Rutte determined in 2014 that these will remain closed until2060, leaving a lot of uncertainty about, among other things, the Dutchinfluence on the coup. Khemradj visits PvdA politician Jan Pronk, who wasinvolved in independence as the then Minister of Development Cooperation. Heargues that the archives must now be opened if a process of processing andreconciliation is ever to take place. 2060 is too late. President Santokhisays in the film that he will work to open the archives. Khemradj: „There isno openness now. The people who can tell something about it don’t have thatlong to live, so how long do I have to wait?”

There was even laughter during the film, but during the discussion the> emotions ran high again

Dear Mr Bouterse is, as the title implies, set up as a letter to the formerarmy chief. Until the end, it remains unclear whether she will actually get tospeak to him. Khemradj consults her old group of friends about it, one of thefilm’s most poignant moments, which, like You can read calls for a sequel.Khemradj: „I feel that too, but I don’t know if I can do that now. This wassuch an intense journey that there must first be room for conversation andreflection.” Can the film achieve that? She hopes so. For a private screeningin Suriname this summer, she brought all those involved together. “There waseven laughter during the film, but during the discussion the emotions ran highagain.”

New investigation into the December murders is currently not high on theagenda. Suriname is going through a turbulent time again. Last summer therewere protests against President Santokhi’s nepotism. The country is also in aserious economic crisis. Khemradj: “There is never a good time to make thisfilm. My generation may not even benefit or benefit from it right now, it issurviving. But then we have to do it for future generations.”

Filmmaker Pim de la Parra, who made the ‘first Surinamese film’ in 1976. Wanpipel (“One people”) made, says in Dear Mr Bouterse that it may still take“2,300 years” before there is unity in Suriname. “I am not that pessimistic,but he is right that it will take a long time. It takes more than just a fewanswers in a report, or compensation. And the Netherlands also has a role toplay. We need to gain insight into how the decolonization process went,otherwise it will just keep on simmering.”