Van de koele meren des doods

Granted, I never read the book, so maybe it does the book a disservice. That said, I thought the acting was very good. I see that some people on here think the acting sucked, but the acting is outstanding. The dialog may have some weak scenes, but overall, I didn't find it unnatural or clumsy. I've seen bad examples of both ( just watch a lesser known 50's Hollywood film noir on YouTube... you'll see what I mean). The part where the pianist goes down on Hetty is unrealistic though; it takes way longer to bring a woman to orgasm that way. Just sayin'. Lol Anyway, at face value, I really thought it was worth watching. Also, beautiful photography.

I was really surprised to see this film had so many negative user reviews.

The Dutch are not particularly proud of their national cinema. If you'd ask a random Dutch person on the streets about his/her opinion about the country's films, the answer would probably be that only cheesy romcoms are produced there. Yet who is more familiar with Dutch cinema, knows this is nonsense. Among the wonderful Dutch directors are Paul Verhoeven, George Sluizer, Alex van Warmerdam, Bert Haanstra, Nanouk Leopold, and Marleen Gorris.

Also Nouchka van Brakel deserves more appreciation for her oeuvre, as it is surprising and sophisticated. She was the first female film director active in the Netherlands. The Cool Lakes of Death can be considered one of her finest.

The Cool Lakes of Death is a great film. It is based on a book from 1900 by the famous literary writer Frederik van Eeden, who was part of the naturalism movement which highly valued psychoanalysis.

It is a period drama set in the 19th-century Dutch upper class climate, yet its story has not become old. For this reason, both the film and the book have kept their quality.

This poetic and smartly edited film deals with female desire. Adolescence and passion clash with a restrained and protestant upbringing. Love and death chase each other. All these conflicting emotions are convincingly displayed in the performance of lead actress Renée Soutendijk. The scenery of the story at the start is the typicly flat and watery Dutch landscape, fields and forests, dunes and sea, and later the English countryside and Paris. Yet clarity gradually give way to the fogginess of a fever dream during this search for love and happiness.

It could be compared in its themes to Buñuel's Belle de jour, but then different in its formal and stylistic choices. Mubi called it a marriage between James Ivory and Lars von Trier. Certainly not boring, don't hesitate to give this film a chance!

"Ridiculous." That is about the only word that can be used to describe this wreck of a movie. The dialog is awful, the acting even more so. It is just completely and utterly unbelievable. Not one second could you take the main character seriously. Yes, she is quite disturbing in the book too, but the movie just completely ruins her character. The acting is so bad, it's almost hilarious, but unfortunately, this movie really isn't supposed to be a comedy.

This movie should not have been made. If you enjoyed the book by Frederik van Eeden, please do not harm yourself by watching this atrocity. That is, of course, unless you thoroughly enjoy movies with bad dialogue and bad acting.

This film is almost as good as it's original (the book). I would even dare say it might very well be one of the best Dutch movies of all time. The line-up is great, all actors are still working as an actor, but most of them never came near this achievement again. Where ever you may be from, it really would be worth your while to trace this film and watch it.

This is a rather splendid film which has been forgotten by film history. Because it is Dutch, it has gone by quite unremarked, although it was a success on release. This is European 'art-film' at its best: high quality, well written and expertly directed. And superbly entertaining at that. But most of all: a stunning performance from lead actress Soutendijk, who could and should have gone on to greater things. For about ten years, she appeared in challenging and often demanding roles in remarkable Dutch and German films (Meisje met het rode haar, Vierde Man, Spetters, Wo immer du bist). Then she went to America and blew it. Nowadays, European art cinema is dead and she's left making TV-fare. A cinema that has no room for the talents of Soutendijk is quite dead and buried. See this magnificent film at all costs.