A short film somewhat inspired by the work of Lars von Trier, starring Joes Brauers and Cherise Silvestri as

Bully and Candy. Part of The Young Man as a Movie Star (Paranoia, Opulence, Perversion, Competition)

#bartgroenendaal #theyoungmanasamoviestar #competition 1
#bartgroenendaal #theyoungmanasamoviestar #competition 2
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Screenshot 2022-01-06 at 21.45

DCP, 19 minutes, Dutch Mountain Film, the Netherlands 2022, all rights reserved

Two colleague dancers rehearsing together on the beach, share an intimate relation to their choreographer (who is absent from the scene): as his ex-wife and as his current lover. When the woman demands solidarity from the young man, with her apparent ill physical health, he gets so distressed he seeks relief in self-harm. 

DIRECTOR OF PHOTOGRAPHY: Jurgen Lisse PRODUCTION DESIGN: Marieke Vandenbosch WARDROBE: Lotte Noordermeer HAIR AND MAKE-UP: Laura van Kolk FIRST AD: Frieder Wallis

LINE PRODUCER: Laura Bouwmeester

COMPOSER: Stijn Hosman EDITORS: Bart Groenendaal, Elmer Leupen  SOUND DESIGN: Jaim Sahuleka 

PRODUCERS: Wilant Boekelman, Rogier Kramer

WITH: Joes Brauers, Cherise Silvestri


The Young Man as a Movie Star (Paranoia, Opulence, Perversion, Competition) is a film installation comprised of four narrative short films. The films are screened simultaneously in the exhibition space, on four separate screens with separate audio.

Each film depicts a variation on a troubled relationship between a young man (20) and a mature woman (50), played each time by the same two actors, and shot in the same location.

Each film is inspired by the oeuvre of a 20th century male film director, for whom female-male relations form an important pillar in their work (Godard, Hitchcock, Spielberg and Von Trier).

The films are shot in a specific style, with a distinct narrative, tone and score–while across the screens, the characters gestures, their viewpoints and the situations they are in, are adjusted to form a web of intersecting moments and cross-references, linking the films together.

Starting and ending at different times, the films loop to repeat the cycle of interconnections with each round, allowing the viewer to drift at will between the screens and come up with their own interpretation.

Paranoia, inspired by the oeuvre of Jean-Luc Godard, depicts a love affair between an older woman and a younger man, who spend an afternoon together. As the woman insinuates her husband might be spying on them, the young man becomes increasingly paranoid. In Opulence,   a short film-noir inspired by Alfred Hitchcock's work, the young man is a runaway terrorist, wearing a bomb-vest. He ends up on the porch of a manic housewife who has just murdered her husband- thereby offering her a cynical possibility for escape. In Perversion, shot in dramatic widescreen and inspired by the work of Steven Spielberg, a mother's frustration with the manner in which her son is coping with the death of his father, leads her to offer him weed and ecstasy until they both lose all control. In Competition, filmed with hand-held camerawork and inspired by the films of Lars von Trier, two colleague performers rehearse a dance piece on the beach. When the woman quits, to claim she is exploited by the (absent) choreographer- who also happens to be the young man's lover- and asks for the young man's solidarity-the resulting inner conflict leads the young man to seek relief in self-harm.

As much as it is an ode to cinema, the work proposes a form of echoing seriality, by the correspondence of imagery and dialogue over the four screens- an intended distraction for the viewer, as a way to break the principle of one dominant, central narrative presented on a singular screen. Channeled through melodramatic fiction and black humour, using and abusing the power of narrative structures over our way of making sense of the world, the work hints at the classic Freudian mechanisms underlying cinema. In order to challenge the traditional behavioural patterns of the 'young man',

it employs the 'older woman' as the messenger who–in her different configurations as a mother, a lover, a colleague and a housewife-thus travelling through the cinematic stereotypes traditionally assigned to her–works upon the young mans spirit, until he gets it: change is needed, and his interpretation of manhood might be a crucial factor

in achieving this change. 

Cherise Silvestri

Joes Brauers

Bart Groenendaal

Rogier Kramer

Wilant Boekelman

Laura Bouwmeester

Tessel Jonkers

Jetske Lieber

Hannah van Helden

Max Blomaard

Frieder Wallis

Renee de Graaff

Rosario Cabred

Tomislav Feller

Jurgen Lisse

Maric Dam

Pauline Wiersma

Dylan Stoel

Denny Schoute

Erwin Smit

Joris van Gulik

Hidde Muskee

Bjorn Schumacher

Luuk Hoogstraten

Marieke van den Bosch

Elia Castino

Maartje Luiken

Marnix Bloemberg

Fien Lute

Duncan Eilander

Pernilla Philip

Lotte Noordermeer

Koosje Janssen

Floortje Wijnands

Laura van Kolk

Valerie Rutjes

Indy Kisoen

Frank van den Berg

Zoë van Broekhoven

Bart Groenendaal

Elmer Leupen

Stijn Hosman

Jaim Sahuleka


Bart van den Broek

Jessica Akkermans

Joel Sahuleka

Haghefilm Digitaal

Ronald van Biezen

Romana Hrvatin

Peter Kersten

Merel Teunissen

Petra van Horssen

Anne Kervers



written and directed by


line producer

production manager

production assistant

first assistant director

second assistant director

directors assistant


director of photography

focus puller

second assistant camera


best boy

key grip

production sound mixer

art director

art assistant

art assistant

set dresser

assistant set dresser

art runner

graphic design

costume designer


make-up and hair

health and safety officer




sound design and mix

postproduction facilities


title design


office manager

budget controller

legal advisor

publicity advisor