seriousFilm


Koert Davidse, Marc Thelosen
Office: Gouvernestraat 129-133 | 3014 PM Rotterdam
Post: Andrej Sacharovstraat 27 | 3065 EC Rotterdam
info@seriousfilm.nl
| +31 641515974 (Koert) | +31 620737277 (Marc)
Company Website

seriousFilm is a Rotterdam based foundation for audiovisual production since 2004. The seriousFilm outfit is run by Koert Davidse (producer | director) and Marc Thelosen (creative producer). Documentary (co-)production is our main activity, but we also produce feature films, experimental shorts, documentaries, websites, animations, and installations. Co-productions are necessary to create a firm production and financial fundament, and allow for creative exchange between international professionals.


Night Light

Director & Screenwriter: Barbara Meter. Country: NL. Co-producer: EO. Status: pre-production. Release: winter 2021. Sort: documentary. Duration: 55 min. Genre: experimental, drama. 

Memories of a first love, set against the idyllic coasts and forests of southern England, are playfully intertwined with the history of a special children's home that provided shelter for hundreds of Jewish refugees during the Second World War.

The search for security is an underlying and recurring theme. It was true for the filmmaker insofar as she sought security in the English family she knew, as well as for the many children who were taken care of in the children's home.

The Principal Wife

Director & Screenwriter: Hester Overmars. Country: NL. Co-producer: KRO-NCRV. Status: released. Release: 2018. Sort: documentary. Duration: 75 min. Genre: drama. 

In The Principal Wife the young women Marijke is in search for her mother’s past. She interviews people who were involved with the sect at the time, and she hears one incredible story after another. We watch Marijke as she delves deeper into her own story and moves closer to a confrontation with her mother. What was her mother? Sick? Evil? Deranged? Marijke observes her mother, who has been living in her own version of the truth, and perhaps still is. The question of ‘what to do with this mother’ remains with the viewer. Should everything always be forgiven?