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In the film we follow Oringers, the inhabitants of Odoorn, through the winter. The Oringers all experience IJswee in their own way. You will also see the Icecounter (Rafael van der Ziel), who builds ice sculptures and drinks frozen milk. You see the Drenthe countryside changing with the weather. You see animations, archive material and you hear the mysterious sounds of IJswee in the music of Wietse de Haan. And there are two trumpet players, who welcome winter with their music and say goodbye to it.",[11],2.0055,"\u002F6bP3NESXZzID7WZhmFabCJPrUkL.jpg","2021-11-11","\u002Fwsyu7HHeaWCblhYfWz69PViG1Pr.jpg","nl",{"id":62,"adult":6,"title":63,"video":6,"overview":64,"softcore":6,"genre_ids":65,"popularity":66,"vote_count":8,"poster_path":67,"release_date":68,"vote_average":8,"backdrop_path":28,"original_title":63,"original_language":69},1032721,"The Flood","The decision to move to Holland doesn't sound like a wise idea. Why move to a country that could be flooded at any moment?  For the last 25 years, the political climate has shifted. The public debate on migration has become harsher, more heated, and polarized. What would have been considered right-wing xenophobia back then, is now considered mainstream. Populists simplify complex realities into good and evil, victims and perpetrators: ‘us’ versus ‘them’. Their rhetoric often consists of dehumanizing words and metaphors. One of these is ‘water’.  In reality, water is not an immediate threat to the average Dutch person; but it is a huge threat to the thousands trying to reach the Netherlands. People trying to survive the Mediterranean Sea in rubber boats. Trying to survive winter on the Aegean coast in primitive tents. 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I started the film at the beginning of the pandemic, just after I found out I was pregnant for the first time in April 2020 and finished it just before the birth of my baby in December of the same year.",[11],0.4978,"\u002F1PD3kgNzira3EWl6TqP3hc0IcM3.jpg","2021-05-01",{"id":131,"adult":6,"title":132,"video":6,"overview":35,"softcore":6,"genre_ids":133,"popularity":135,"vote_count":136,"poster_path":137,"release_date":138,"vote_average":139,"backdrop_path":140,"original_title":132,"original_language":41},1211318,"Après le déluge",[11,134],10770,1.3311,3,"\u002Fb1EUIBc4E5BiP04B2KZZh8z3c04.jpg","2023-11-29",7.3,"\u002Fw8QhJhgu4TuwvHVe736uczyLZUq.jpg",{"id":142,"adult":6,"title":143,"video":6,"overview":144,"softcore":6,"genre_ids":145,"popularity":146,"vote_count":8,"poster_path":147,"release_date":148,"vote_average":8,"backdrop_path":149,"original_title":143,"original_language":69},825354,"A Landscape to Be Invented","Other than the ocean, the rest of the planet was bathed in purple, which was due to the colour of the vegetation. 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Reporter Ben Zand gains access to the most high-profile activist group, Extinction Rebellion.",[11],0.6583,"\u002Fll2wAXYr0SEogtX7He4pfqRXkES.jpg","2019-07-17","\u002FpN0AIxXpvtsYs9JOZaPAlv6rk3b.jpg",{"id":160,"adult":6,"title":161,"video":6,"overview":162,"softcore":6,"genre_ids":163,"popularity":164,"vote_count":8,"poster_path":165,"release_date":166,"vote_average":8,"backdrop_path":28,"original_title":161,"original_language":69},452886,"I Have No Memory of My Direction","Ostensibly searching for an emotional connection with her aging father, the woman contemplates her own inherited culture and familial touchstones. 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I first thought a simple ordering of this rich material might be enough, something related to BARN RUSHES [...] But the film only came into its form-life with the idea of linking this deep-rooted and far-outreaching tree material with that film on paranoia that had fascinated me for many years. –L. G.",[11],0.5209,"\u002FcUg6CWBqFHwPeJ4PDLEDkRuFo0H.jpg","1981-01-01",8,{"id":177,"adult":6,"title":178,"video":6,"overview":179,"softcore":6,"genre_ids":180,"popularity":181,"vote_count":23,"poster_path":182,"release_date":183,"vote_average":184,"backdrop_path":28,"original_title":178,"original_language":69},453166,"Machete Gillette... Mama","\"With characteristic wit and rigor, experimental filmmaker Larry Gottheim here applies his impressionistic editing style to footage collected during his travels in the Dominican Republic. Gottheim’s formal emphasis on repetition and fissures between sound and image resonates here as a mode of sociological reflection (with the fragmentary montage mirroring elements of ritual while also destabilizing the ethnographic gaze). A largely overlooked antecedent to the contemporary blending of avant-garde and ethnographic filmmaking, MACHETTE GILLETTE… MAMA still poses a potent challenge to documentary convention.\" - Max Goldberg",[11],0.5486,"\u002FlGxDUwlsmTywbnTXWmTbE0PlEoc.jpg","1989-01-01",6,{"id":186,"adult":6,"title":187,"video":6,"overview":188,"softcore":6,"genre_ids":189,"popularity":190,"vote_count":8,"poster_path":191,"release_date":35,"vote_average":8,"backdrop_path":28,"original_title":187,"original_language":69},636913,"New Woman","A meditative journey, using and manipulating archival silent film footage, that investigates the look of the \"New Woman\" in Chinese silent screen.",[11],0.4804,"\u002Fsmmmv2v2xpyhRYMP9X5u7GnTTjv.jpg",{"id":193,"adult":6,"title":194,"video":6,"overview":35,"softcore":6,"genre_ids":195,"popularity":196,"vote_count":8,"poster_path":197,"release_date":35,"vote_average":8,"backdrop_path":28,"original_title":194,"original_language":198},1410881,"Q'eros. 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