Set: Best of IDFA

    • set 5 documentaries

    The festival seems far away, but now is the time to buy tickets for the best documentaries of IDFA 2017 (via the button on this page). And to watch a set of award winning films from previous festival editions. Among which the eye catching André Hazes, She Believes in Me from 1999.

    Documentaries in this selectie

    Planet of Snail

    • Seung-Jun Yi
    • 2011

    Young-Chan is deaf and blind. He didn't know how to function in the world until he met Soon-Ho, the love of his life.

    Last Train Home

    • Lixin Fan
    • 2009

    Keeping the family together is the toughest job of all for the workers of the factories of a changing China, who only see their children on New Year.

    André Hazes - She Believes in Me

    • John Appel
    • 1999

    A portrait of the Dutch singer André Hazes (1951-2004) at the height of his fame.

    The Monastery - Mr. Vig & the Nun

    • Pernille Rose Grønkjær
    • 2006

    An eccentric ex-priest's half-century-old dream to start a monastery in his Danish castle is about to come true, but then he runs into a stubborn nun.


    • Sami Saif, Phie Ambo
    • 2001

    Sami Saif is 28. He studied film direction. His father left him when he and his brother were very young. The brother later committed suicide. Sami wants to find his father, but is constantly postponing it. His hesitation is caused by fear, insecurity and doubts, but he eventually goes on a trip to Egypt, to face his father, who now has a new family. Using old Super 8 home-movie footage of himself and his brother, of the childhood he no longer recognises, alternated with beautiful shots of moving clouds, of the sky which constantly suggests the passing of time, moods and life situations, the director has created a very poetic but also disturbing documentary. Using it as the most important witness in his personal search, the director talks, cries and gets angry in front of the camera. A very strong sequence, made using a conventional cinematic technique, involves several telephone conversations. The scene lasts ten minutes, but the camera angle never changes and the lens never moves. Still, the inner suspense becomes so real that the sequence bursts with tension and pain. Spending a lot of time on the road, meditating about his present life, past and guilt, the director constantly shares his thoughts with the viewer. In this way, the search becomes the main subject, while the meeting with his father, which may or may not take place, is only the result.