La hermanita

This was one of those films that happened to come on after soccer. Having no homework, watched on like I had no better alternative. But surprise, surprise! I went to sleep that night wishing I had taped the movie. Cleverly shot with solid performances from the cast. One of those films with just about everything in it. Enough to make you laugh or cry, or laugh till you cry. It grabbed my attention such that by the time I realized I still had some ice-cream left in my cup, it was already melted. Truly deserves a run at the bigger markets.

Although already 10 years old, this movie remains one of the most inventive films ever made in the Netherlands, and launched the careers of Kim van Kooten and the director, Robert-Jan Westdijk. The captivating performance by Kim van Kooten and her talking into the camera gave me the feeling that I was intruding in something very private.Her fantastic looks in a "girl next door" kind of way, made that feeling even stronger. The supporting cast are also very true to life. I do not want to give anything away of the storyline, since the viewer really has to let himself get drawn into the story and experience the fantastic twist at the end.It is still a shame that dutch cinema is not seen on a bigger platform, due to the language barrier and that it seems that even academy award winning films like The Assault, Antonia and Character are largely unknown outside the Netherlands and the relatively small group of European film lovers in America.

Kim van Kooten (Daantje) hated for a long time: everybody kept talking to her about that film even though she had starred in other films and had written several screenplays. Well, that's what happens when you play in a film as staggering as 'Zusje' (Little Sister).

Ever since 1996 there have been many films with video or digital cameras, but Zusje manages to keep special. Here the camera is not just a toy, it's a main character (possibly even more the protagonist). The story of a troubled relationship between brother and sister isn't new (and certainly not in a Dutch film), but here the camera forces itself inbetween them as an instrument of Truth. All this gives you a weird feeling watching the movie (you're intruding Daantje's life much more than you want to), but there's a special atmosphere that manages to keep all the viewers watching (even those who saw the film on tv and missed the beginning).

It's difficult to think of a movie that is more "in your face" than Zusje. It's hard not to see Kim van Kooten's talent in this film. It's hard to find a better Dutch film. Robert Jan Westdijk's later attempts at films got less excited reviews, which could remind us of the Orson Welles story. Still, Orson Welles Westdijk ain't and even if Westdijk turns out to be a "one hit wonder", that shouldn't keep you from watching Zusje.

Brilliant psychological drama with lots of humor interwoven. Also a great throwback to Amsterdam in the 1990's.

LITTLE SISTER (Robert-Jan Westdijk - Netherlands 1995).

Hard to tell what makes "Zusje" work so well. The concept of the faux-documentary and the entirely subjective, mostly hand-held camera-work is both highly original and certainly something novel in the Netherlands at the time. Or is it the main role by Kim van Kooten, who is almost permanently on screen. Director Robert Jan Westdijk apparently auditioned over three hundred candidates for the main role, but none of them apparently had the right quality to express a certain kind of innocence when looking directly into the camera (which occurs a lot). After this endless search, Kim van Kooten - in her debut role - came up as first choice and she is a real find. She really is the kind of unpolished natural talent every first-time director dreams of.

Through the subjective camera we're soon part of a voyeuristic and rather uncomfortable journey when we join video-obsessed Martijn (Romijn Coonen with the voice of Hugo Metsers III) who - after a long absence - decides to pay a surprise visit to his younger sister Daantje (Kim van Kooten) on her 20th birthday and starts filming her almost constantly. She is a design student in Amsterdam and seems quite tolerant of her brother's continuous presence while he obsessively intrudes her daily goings-on. Daantje engages in a turbulent relationship with Ramon (Roeland Fernhout) whose initial tolerance of Martijn - now entering his life as well - soon makes place for irritation.

Through frequent flashbacks (grainy footage shot on super-8) we slowly learn some things about Daantje en Martijn's childhood. It becomes apparent that some uncomfortable unresolved issues still stand between them, but it remains unclear what their relationship was like when they were children. The very film we're watching is Martijn's documentary on his sister, but soon the tables are turned when all the footage he shot is stolen and Daantje starts taking some of her own measures to put Martijn in place.

Practically the whole cast and crew was under 30 during shooting and the largely unknown cast of newcomers greatly attributes to the raw and fresh feel of the film. The verité style and dialog of "Zusje" might suggest a lot of improvisation during filming, but Robert-Jan Westdijk and Jos Driessen meticulously worked on the script for years, in order to make the film as authentic as possible. Everything, to the most insignificant details, was carefully prepared.

In the Netherlands, the film was more a kind of cultural phenomenon than it was a huge hit in cinemas, but considering its micro-budget, the 140,000 sold tickets were quite OK. Despite this enthusiastic reception by the critics and public alike, it never really caught on in other countries. The subject matter was probably a little too edgy and uncomfortable for most audiences. Surely the breath of fresh air Dutch cinema needed.

Camera Obscura --- 9/10