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- Several actors are members of a amateur soccer team. They followed in their preparations for a particular audition and in their personal life. With about 6 actors this delivers a broad picture of Italian life in which the question what it means to be a man is posed in the challenging circumstances of familily life, sex relationships, sport, cross gender roles and mafia.
- A married couple on their Eid homecoming journey undergo a life-changing event that forces them to confront their marital woes.
- His drinking has separated Bernd from society. His days are filled with idleness. Full of quasi-intellectual wisdom, he bores his fellow man. Because the context of these wisdoms is not always evident, they mainly embody the lonely madness in which the protagonist finds himself. In short, Bernd is an anarchist maverick, who goes through life unhindered by any responsibility or regulation. From that background he decides on a rainy, hangover day to take his supposed daughter Walijne (Tara Fallaux) to the beach of Scheveningen. The slightly disabled girl lives with her mother Medusa (Helen Hedy) and her new boyfriend Carl (Emile Fallaux). When they need a nanny, all they can do is ask Bernd to take the girl under his wing for the day. Once on the beach he takes good care of Walijne, until the drink again takes its toll. In her childhood innocence, Walijne initially looks up to the man, but when he repeatedly loses the girl, Bernd risks that affection. However, the sad and lonely alcoholic continues to drink hard, near to destruction. The fact that "A day at the beach" does not become an excessively tragic drama is due to the ironic nature of the film. It is an irony that rubs against the absurd. Bernd's encounters with other beach and café visitors are far from everyday. The matching piano music also contributes to that atmosphere. It keeps the film delicious and the attention for the increasingly unfriendly Bernd intact.
- Episode: (2018)2016– 1h 32mPodcast EpisodeWhat should philosophy do in times of extinction, when it is not only about learning to die, but also about learning to die out? The American philosopher Roy Scranton tries to answer that question in Learning to Die in the Anthropocene (2015). According to him, this learning to die starts with us accepting that our civilization has long been doomed. He argues that today we must not only learn to die as individuals, but also as a civilization.