This website is showcasing the cinematic portfolio of director,
producer, screenwriter and sound designer Olivier de Bree.

It aims to give you, the visitor, an impression of the feeling and concepts
of the two films which have been completed by the filmmaker up until now.
It intends to do so by presenting multiple fragments of both textual
and visual material used in the films Al Inn and Pinks.

By clicking through the different pages, this website means to both
excite and trigger the viewer, hoping the (ever-changing) web experience
will inspire you to watch his films.


The full version of Al Inn (2016) can be streamed via this link:
Al Inn (FULL VERSION)

 The full version of Pinks (2019) will be available for streaming soon.

More (visual) information can be found on Vimeo (trailers + teasers)
and Instagram (film stills + behind the scenes photography + media coverage).




For further information or in case of any questions please feel free to contact him.

Email: info@olivierdebree.com
Phone: +49 160 94187889 		Born in The Hague, The Netherlands (1987) // Currently based in Berlin, Germany.

EDUCATION (BDES PHOTOGRAPHY)
- Willem de Kooning Academie, Rotterdam (NL) 2007 - 2011
- Emily Carr University of Art + Design, Vancouver (CA) 2009

FILM
- Writer / producer / director of Die Wohnung der Hebamme
CURRENTLY IN PRODUCTION


- Writer / producer / director of Pinks (a 110 minute historical science fiction film)
produced in Germany, the Netherlands and Suriname 2017 - 2019

(broadcasted on TV by Apintie, ABC and Supreme, Suriname (SR) 2022) / IN THE MEDIA


- Writer / producer / director of Al Inn (a 48 minute experimental narrative film)
produced in Germany and Colombia 2015 - 2016,
combined with found footage shot in Syria and aboard a cruise ship.

(screened at the 20th Festival des Cinémas Différents et Expérimentaux de Paris, Paris (FR) 2018)




Die Wohnung der Hebamme (The Midwife’s Apartment)

CURRENTLY IN PRODUCTION (expected to be finished 2023)
German spoken, English subtitles

A story about voyeurism, heat waves and pedophobia.

Klaus spends his summer holidays in a boiling hot Airbnb apartment in the big city.
He doesn't do much apart from swiping on his phone, warming up microwave meals
and spying on neighbors through a camcorder. The TV is always on in the background,
spreading a constant stream of negativity.

Klaus is scared of kids, so staying in the apartment of a midwife seems like an unlucky
coincidence, which triggers all kinds of questionable behavior and gloomy thoughts.

TEASER




Pinks (2019)

DE, 110 minutes (2023 re-cut: 87 minutes)
Dutch spoken, English subtitles

The Netherlands in the year 2363.

Three centuries full of devastating conflicts, extreme climate change and natural disasters
have turned the entire European continent into a nearly deserted wilderness.

The area finds itself in the aftermath of long-lasting colonial oppression,
of which the last convulsions are still tangible. Any form of government is long-gone,
and the only existing law is the law of nature.

The few remaining inhabitants are struggling to survive in this desolate situation,
and when a new group of fortune seekers sets foot ashore, panic breaks out.

These intruders have big plans.

TRAILER




Al Inn (2016)

DE, 48 minutes
Arabic, Italian and Dutch spoken, English subtitles

Al Inn is a no-budget film. It is a combination of collected amateur material and homemade footage
shot with a smartphone. The balance between these two types of imagery is roughly fifty-fifty.

The title refers to both the Eastern and Western way of naming hotels, for example “Al”,
as in “Al Bustan Palace”, a luxurious five-star hotel in Muscat, Oman and “Inn”, as in the
American-owned hotel chain “Holiday Inn”. Next to that it seems like a misspelled version of
the word “all-in”, which refers to the notorious phenomenon of all-inclusive holiday packages,
such as a cruise ship vacation. More freely interpreted; a (one way) trip to heaven.

The film should be seen as an aesthetic collage of contemporary reality. It serves as an ironic
glorification of paradise: on one hand the unearthly, holy, paradise depicted in a dreamlike variety
of visual material, including scenes from modern conflict zones. On the other hand
the earthly paradise, portrayed as life aboard a cruise ship and experienced through
the eyes of Boudewijn, a veteran who lost his wife and kids during the terrorist attacks
in Paris in 2015.

TRAILER



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