Cerutti Film

"It’s not easy to find a foster family for you," an orphanage supervisor explains to nine-year-old Alicia. "After all, you are a very special girl." Alicia is crying. "I’m not special. I’m just a girl." This disturbing scene sets the tone for this film about Alicia, who was taken away from her teenage mother by the Child Welfare Bureau when she was 12 months old. She’s been living in an orphanage since the age of five, and they have never managed to find a foster family for her. In Alicia, we watch as she becomes a teenager, still craving safety and love. Over the course of three years, filmmaker Maasja Ooms follows her daily life up close. Alicia's yearning and powerlessness are palpable in these observations, which painfully reveal the effects of having no prospects.

Filmmaker Martijn Blekendaal thinks there should be a superhero for invisible children: kids who need to be invisible because otherwise their lives are in danger. In The Invisible Ones he tells the stories of four children—some of whom are now 85 years old—who learned to master the art of going unnoticed. This is something he learned to do in his own life.

The parents are at their wits’ end, so a temporary supervision order is the last hope for a group of teenagers in Punks. Now, on a remote farm in France, they’re going to have to get their lives back on track, with the help of a counselor. If they want any chance of a happy life, they need to engage in some frank and painful conversations. Mitchel has to find a way to get along with his father, but maybe too much has already happened since his mother died. Jahlano is already at the next stage: he’s no longer allowed to live with his mother, and needs to get over the disappointment. Mike, meanwhile, is struggling with his image as a boy who’s “got a screw loose.” Filmed in constant close-up by director Maasja Ooms, the teenagers try to tame their demons with music and therapy, but problems from the past keep resurfacing. In this intimate and sincere portrait, these troubled kids show us their most vulnerable sides.

A painfully frank portrait of 22-year-old Jason as he undergoes trauma therapy. This is the third and final part of Maasja Ooms’ trilogy about the failing Dutch youth welfare services. As in the two previous documentaries Alicia and Rotjochies (Punks), the film is a critical observation from a very personal point of view.

A documentary about the often misunderstood and frightening experience that children have during an epileptic seizure.