Hemel

... this is a great film... w-many-outstanding-performances... Hannah Hoekstra's phenomenal ... almost ten years coming across it... will surely watch-it-again.

I don't get the negative reviews. I know this film isn't for everyone, it's kind of slow moving and depressing. I think it does however give an excellent portrayal of a young woman in a lot of pain. You have to feel so sorry for her, she's just lost. She's sad and sex is exactly how a lot of people deal with these feelings. Hannah Hoekstra does an amazing job portraying this character though she may be a little too pretty for the role, not that attractive people can't be sad too. I think the nudity is not gratuitous at all, it helps define the character. If you haven't seen Hemel, give it a chance.

I think this might be the first review I've written for IMDb and it's only because I've never seen so many people get it so wrong.

I watched this movie with very low expectations because it's rating was so bad. I just wanted to see some smut to be quite frank.

What I received were sexual vignettes that helped me understand the character of our protagonist.

Her behavior and reaction to others showed me what she thought of sex, power and love. And how they played with each.

In her eyes she thought her indifference to sex and other people in general communicated strength while I viewed it as cowardice.

The lover who seemed to truly disgust her, was the man who had the most respected for himself and for her as well.

I've watched millionaires buy crap art because they didn't understand it, yet wanted to fit in. I've also seen intellectuals dismiss smart movies because they were confronted with language they didn't like or topics they were uncomfortable with getting hung up on that and missing the point.

This movie is over a decade old which is like 30 years old for other times and to me it illustrates female sexuality of the bourgeois, spoiled ,unloved empty yearning for something. But know wouldn't know What it was or what to do if they got it. Because we've lost our way.

(In Dutch with English subtitles)

The name "Hemel" as the movie is called is reference to the character played by Hannah Hoekstra, and at the opening she's already making out with someone. And at first, I thought the person she's making out with must either be her boyfriend or her spouse. The next thing I know, Hemel is dancing with some random guy- not the same guy at the opening at a nightclub, and she tries to hit on him with her advances and he's like 'that he is not like that'. Feeling somewhat rejected she then decide to go and sulk at the bar, with the second guy sitting next to her who is much more willing to make out with her, and they just like, met and are like, stranger's- in other words, she is as promiscuous as they come. And while watching this, one can made to wonder where does she get this from? Oh, look, this old guy, Gijs (Hans Dageletin) which she strut around naked sometimes happens to be her dad. Like a parent treating his or her naked baby. There's even a scene when her dad carries her to use the toilet. And if anyone were to wonder why we do not see Hemel like, work anywhere, it is because her dad, successful as a businessman pays for her security, including the flat that she lives in. And while Hemel loves to make out with different guys, her dad who is single loves to make out with different women. In other words, he is a womanizer who does not really know how to settle down. And it sometimes offends her as she sometimes ruins his relationships he has with other women. Directed by a woman by the name of Sacha Polak, as well as the script also by a woman by the name of Helena van der Meulen the movie is self-explanatory and would not have worked if it was directed and written by a man.

After a slow start that seems to offer superficial gratuitous sex the film deepens and deepens through the courageous and mesmeric performance by Hannah Hoekstra. The cinematography, naturalistic camerawork, pithily Dutch dialogue, uncontrived performances and minimalist sound track manifest Sacha Polak's unpretentious direction. Hans Dagelet seems to fit like a glove into his role as the wearily urbane father.