Como El Viento

Como el Viento, directed by Jacqueline van Vugt, follows three intertwined stories aboard a ferry from Morocco to Spain. A Dutch couple faces turmoil when their son vanishes. A Moroccan family secretly transports their pregnant daughter, who hides her own intentions. Meanwhile, a Spanish coast guard confronts emotional trauma after discovering a body. Each character navigates loss, love, and hidden truths during the crossing. With quiet intensity and poetic realism, the film explores the fragile connections between people in the context of migration and emotional distance.

Cinematography by Gregor Meerman, shooting on an Arri LF with anamorphic lenses.

After digital colourgrading the movie was printed back to film and scanned back to digital, for a real film grain and texture.

Credits
written and directed byJacqueline van Vugt
cinematographyGregor Meerman
editingGert van Berckelaer
producerGermen Boelens, Raymond van der Kaaij
production companyRevolver

Monikondee

A boatman delivers cargo to remote Indigenous and Maroon communities along the river bordering Suriname and French Guiana. His winding journey offers an inside look into the complex challenge of maintaining local customs in the face of rampant gold mining, multinational corporations, and a changing climate.

Monikondee is the second feature documentary I worked on with Lonnie van Brummelen and Siebren de Haan.

Apart from colour work the project required some paint and patch-up vfx work to remove Gopro cameras and preserve continuity.

Credits
written and directed byTolin Alexander, Lonnie van Brummelen, Siebren de Haan
cinematographySander Coumou, Siebren de Haan
editingBobbie Roelofs, Lonnie van Brummelen
producerLonnie van Brummelen
production companyVriza

AmmodoDocs Teun

In the countryside of northern Uganda, armed with petri dishes, cardboard cups, and a vacuum cleaner, internationally renowned malaria researcher Teun Bousema, together with PhD student Daniel Ayo and their team, is trying to unravel the mysterious life cycle of the malaria parasite. But the parasite does not give up its secrets easily, and it mutates, raising the threat of drug resistance. Is this mutated parasite more infectious to mosquitoes? Interplay reveals the daily reality of the tireless scientific battle against this formidable and shape-shifting adversary.

This short documentary was another collaboration with Sanne Rovers and cinematographer Gregor Meerman.

Credits
written and directed bySanne Rovers
cinematographerGregor Meerman
editorRiekje Ziengs
producerIlja Roomans
production companyDocmakers

Kali Waal

A group of foreign researchers visits a site of ecological controversy and learns of the strange events that are happening to the lake and its human and non-human inhabitants. Can the natural reserve be healed with toxic mud as industries claim?

In the short film Kali Waal, landscape design is both poison and remedy. A nature reserve in the Netherlands is the setting for an ecological controversy. Decades of industrial sand extraction created lakes so deep that no light can reach the bottom. The lakes have become lifeless pools of water.

To help convey the feelings of unease and uncannyness we went with a ‘slightly off’ colour palette, that is close to natural, but not quite… Occasionally selectively sharpening elements to push the image towards magic realism.

Credits
written and directed byJasper Coppes
cinematographerCasper Brink
editorJasper Coppes
producerLonnie van Brummelen
production companyVriza

Groenkijkers

In Groenkijkers (‘greenwatchers’), Rovers delivers a visual tribute to nature conservationists like her father, who each in their own way try to preserve and improve their piece of nature. We are part of their small discoveries and successes. But we also experience how they struggle with the sometimes desperate feeling of whether it all still matters.

Groenkijkers is a poetic and urgent mosaic film about love for nature, connection to a place, sorrow for what disappears, and hope for what can change.

For Groenkijkers it was important to maintain an optimistich atmosphere that looked naturalistic but also allowed each scene to have it’s own atmosphere.

Credits
written and directed bySanne Rovers
cinematographerGregor Meerman
editorRiekje Ziengs
producerIlja Roomans
production companyDocmakers

No Horses On Mars

No Horses on Mars (2024), directed by Bea de Visser, is an experimental short film that delves into the perceptual world of horses. Through a combination of ethological research and artistic interpretation, the film presents the horse’s point of view, exploring its behavior, perception, and brain function. The narrative challenges anthropocentric perspectives, prompting viewers to reconsider their understanding of animal consciousness and the human-animal relationship.

This project was an invitation do do some quite experimental work on colour, selective sharpening, lens distortion and also included some visual effects work such as compositing a galoping horse onto a motorway.



Credits
written and directed byBea de Visser
cinematographyAdri Schrover NSC
editingBea de Visser
producerBea de Visser
production companyAnotherfilm

Verhalen Uit De Rif

Verhalen uit de Rif is a three-part Dutch documentary series directed by Hasnae Bouazza, following Samira Dahmani—a Riffian-Dutch restaurateur from Amsterdam—as she embarks on a personal journey to reconnect with her ancestral roots in Morocco’s Rif Mountains.

The series explores themes of migration, identity, and cultural revival, highlighting the experiences of Riffian women and the evolving Amazigh culture. Through intimate encounters and storytelling, Dahmani delves into her heritage, offering a nuanced perspective on belonging and self-discovery.

Credits
written and directed byHasnae Bouazza
cinematographyJefrim Rothuizen
editingNoël van Rens
production companyHUMAN

Selling A Colonial War

Selling a Colonial War (2023), directed by In-Soo Radstake, is a compelling documentary that examines the Dutch government’s portrayal of the Indonesian War of Independence (1945–1949). Through extensive archival footage and expert interviews, the film reveals how the conflict was framed as a justified action, obscuring the violence and colonial exploitation involved. Radstake delves into the complexities of historical narratives, shedding light on the enduring impact of this misrepresentation on contemporary Dutch society. ​



Credits
written and directed byIn-Soo Radstake
cinematographyGregor Meerman
editingRené A. Hazekamp
producerNadadja Kemper, Rob Vermeulen
production companyHolland Harbour

Crazy Days

Crazy Days (2021), directed by Sanne Rovers, is a documentary that delves into the challenges faced by the Dutch National Opera during the COVID-19 pandemic. As the company prepares for Mozart’s Le Nozze di Figaro, stringent health measures—such as mask-wearing during rehearsals and limited room capacities—threaten the production. Through intimate behind-the-scenes footage, the film captures the resilience and creativity of the cast and crew as they navigate uncertainty to bring the opera to life

For the colour palette of this project we worked on the surreal contrast between the rich colourful costumes and the grey office-like atmosphere of the behind-the-scenes architecture.

Credits
written and directed bySanne Rovers
cinematographyGregor Meerman
editingRiekje Ziengs
producerIlja Roomans
production companyDocmakers

Daddy And The Warlord

Daddy and the Warlord (2019), directed by Shamira Raphaëla and co-directed by journalist Clarice Gargard, is a poignant documentary exploring the complexities of personal and political legacies. Clarice embarks on a journey to uncover the truth about her father, who served under three corrupt leaders, including the notorious war criminal Charles Taylor, during Liberia’s tumultuous history. As she delves deeper, Clarice confronts the blurred lines between patriotism, power, and moral compromise, challenging her perception of heroism and villainy.

The film delves into themes of war, rebellion, and the fading of ideals in times of conflict. ​

For this film cinematographer Jefrim Rothuizen used RGB LED panels to create surreal palettes evoking a fever dream of colour. During colourgrading we leaned into this heavily. Careful preprocessing and denoising of the Sony A7s II footage allowed us to really push the material to its limits.

Credits
written and directed byShamira Raphaëla & Clarice Gargard
cinematographyJefrim Rothuizen
editingGert van Berckelaer
producerMichiel van Erp, Monique Busman
production companyDe Familie Film & TV