| Maria Kraakman | ... | Anna | |
| Fedja van Huêt | ... | Sebastiaan | |
| Johanna ter Steege | ... | Bobby | |
| Frank Vercruyssen | ... | Verkerke | |
| Hans Croiset | ... | Vader | |
| Nathalie Alonso Casale | ... | Mimi | |
| Monica Dolan | ... | Claire | |
| Aurélia Petit | ... | Patricia | |
| Skip Goeree | ... | Jimmy | |
| Mabel González | ... | Maria | |
| David Veenhof | ... | Zoontje van Vader (as Veenhof Twins) | |
| Ties Veenhof | ... | Zoontje van Vader (as Veenhof Twins) | |
| Vincent Moes | ... | Jeffrey | |
| Simone Gablan | ... | Kleuterjuf | |
| Guido Pollemans | ... | Jonge man in bar | |
| Ali Cifteci | ... | Barman | |
| Oliver Zwart | ... | Zoon van Verkerke | |
| Eva Damen | ... | Nieuwe vrouw Verkerke | |
| Hannah Van Lunteren | ... | Vriendin van Sebastiaan | |
| Sallie Harmsen | ... | Buurmeisje (as Sally Hamsen) | |
| Shariff Korver | ... | Juan de tuinman |
Directed by | |||
| Nanouk Leopold | |||
Writing credits(in alphabetical order) | ||
| Nanouk Leopold | screenplay | |
Produced by | |||
| Stienette Bosklopper | .... | producer | |
| Rudolf Mestdagh | .... | co-producer | |
Cinematography by | |||
| Richard Van Oosterhout | |||
Film Editing by | |||
| Katharina Wartena | |||
Casting by | |||
| Job Gosschalk | |||
| Martha Mojet | |||
| Marc van Bree | |||
Production Design by | |||
| Elsje de Bruin | |||
Costume Design by | |||
| Manon Blom | |||
Production Management | |||
| Ellen Havenith | .... | production manager | |
| Judith Ratten | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Dirk Achten | .... | first assistant director | |
Art Department | |||
| Corine Nijenhuis | .... | production art department | |
| Roos Voorsluis | .... | set dresser | |
Sound Department | |||
| Hans Helewaut | .... | sound designer | |
| Fabien Pochet | .... | sound re-recording mixer | |
Editorial Department | |||
| Niels Koopman | .... | assistant editor | |
![]() |
![]() |
![]() |
![]() |
![]() |
| Ik omhels je met 1000 armen | Leef! | Paradise | Buena vida, La | Perfect Strangers |
|
IMDb User Rating:
|
IMDb User Rating:
|
IMDb User Rating:
|
IMDb User Rating:
|
IMDb User Rating:
|
| Full cast and crew | Company credits | External reviews |
| IMDb Drama section | IMDb Belgium section | Add this title to MyMovies |
For me every piece of art is to be judged by these criteria: Form, Function and Meaning. Guernsey seems to be dedicated to forms: nice shots and sometimes interesting acting. The long close ups suggest a function that the viewer may fill in by himself. Because of lacking texts the story becomes a quiz. An introvert person suggests to have depth, but sometimes it turns out he has nothing to say. This film acts like an introvert person. If you have not read the synopsis you cannot see that it was the suicide (and the unanswered question Why?) that changes Anna's view on life and makes her suspicious. 'Why don't you speak to me?' asks Sebastiaan. Anna doesn't answer, she only starts looking a long time at him without saying a word. What is the function of that shot? What does it mean? My question is like Sebastiaans: What has this film to say? What is meant by this movie? The answer for me: It shows us a handful of persons with the passion of a glass of water. The story of their lives is simple and boring. Motives behind their actions are not shown. The rest is: skins, residences, landscapes. Nice and artistic done, but meaningless without having disposal of 'instructions for use'. In my opinion this film is made for fellow artists, not for the common viewer.