HEIMAT IS A SPACE IN TIME picks up the biographical pieces of a family torn apart through the end of the 19th and into the 20th century. It is about people who by chance found each other, only then to lose each other. Now it is their descendants, their children and grandchildren who are beginning to disappear.&nbsp;This is all about speaking and silence. First love and happiness lost. Fathers and mothers, sons and brothers, the affairs, the hurt and the joy in landscapes of transition – each bearing the intertwining, hallmarks of their times. A collage of images, sounds, letters, diaries, notes, voices, fragments of time and space.&nbsp;HEIMAT IS A SPACE IN TIME is a journey of reflection of time and the love held within using sounds, images and language. Yet some of it shall remain forever lost.The material used in this film is what remains of my family. The remnants of those I knew, whose circumstances I had been part of or had otherwise experienced. Remnants that mirror history. A history that is just as much my own. (Thomas Heise)

Director Thomas Heise pics up the biographical pieces left by his family, and composes an epic picture of four generations of his family, of a country, of a century.

Heimat ist ein Raum aus Zeit

English, French

Heimat is a Space in Time

Laika, a stray dog, was the first living being to be sent into space and thus to a certain death. According to a legend, she returned to Earth as a ghost and has roamed the streets of Moscow ever since.Following her trace, and filmed from a dog’s perspective, SPACE DOGS accompanies the adventures of her descendants: two street dogs living in today’s Moscow. Their story is one of intimate fellowship but also relentless brutality, and is interwoven with unseen archive material from the Soviet cosmic era.A magical tale of voyagers scouting for unknown spaces.

Laika, a stray dog, was the first living being to be sent into space. Following her trace, SPACE DOGS accompanies the adventures of her descendants: two street dogs living in today’s Moscow.

Space Dogs

English, German, Spanish, French, Italian, Portuguese

In a deserted Macedonian village, Hatidze, a 50-something woman, trudges up a hillside to check her bee colonies nestled in the rocks. Serenading them with a secret chant, she gently maneuvers the honeycomb without netting or gloves. Back at her homestead, Hatidze tends to her handmade hives and her bedridden mother, occasionally heading to the capital to market her wares.&nbsp;One day, an itinerant family installs itself next door, and Hatidze’s peaceful kingdom gives way to roaring engines, seven shrieking children, and 150 cows. Yet Hatidze welcomes the camaraderie, and she holds nothing back—not her tried-and-true beekeeping advice, not her affection, not her special brandy. But soon Hussein, the itinerant family’s patriarch, makes a series of decisions that could destroy Hatidze’s way of life forever.

When a nomadic family moves in and breaks Honeyland’s basic rule, the last female wild beekeeper in Europe must save the bees and restore natural balance. 

МЕДЕНА ЗЕМЈА

Honeyland

Svitlana (52), the film's director and protagonist, grew up in Mariupol during the Soviet era, when all individuality was suppressed. Later, even living in Kiev in independent Ukraine, she was unable to find a clear self-identity, which influenced the fact that Svitlana's daughter Alexandra (28) grew up without an inner core and was therefore vulnerable to any propaganda.&nbsp;There are four generations of women in Svitlana's family, and each generation grew up under different political realities. Svitlana's mother, Valentina (76), has a more Ukrainian identity than Svitlana's daughter, who has a pro-Russian orientation. Time will tell who Sveta's granddaughter, Stephanie (2), will become.The family gathers in Kiev to celebrate little Stefania's birthday 10 days before the full-scale invasion. Valentina arrives in Kiev from Mariupol, destined never to return.&nbsp;The war destroys the family's life, its past and its future. The house where Valentina lived and where Svitlana and Alexandra grew up is destroyed, and in occupied Mariupol time begins to go back to the USSR.Alexandra and her daughter Stefania leave for the UK. Despite the war Alexandra continues to be in the Russian information field. Alexandra is comforted by the Russian language, as it is the only thing she has left from the past. Svitlana stays with Valentina in Kiev, where the fragile peaceful picture can be destroyed at any moment by the arrival of a Russian missile. With the onset of cold weather, power, heat, and communication blackouts begin. On dark winter evenings, Svitlana talks to Valia about the past. Images of life in a totalitarian society that was imbued with violence against the individual resurface before Svitlana.In London, Alexandra experiences a severe existential crisis, she feels lost, like a nobody. She starts visiting a psychologist to work through her resentment towards Svitlana. To support her, Valentina decides to leave Ukraine and join her granddaughter in the UK. Svitlana stays in Kiev, which is preparing for another dark and cold winter.

Together and one-by-one at the same time, four generations of Ukrainian women from one family embark on an emotional journey shaped by their newfound memories and family history.

Трішки чужа

English

A Bit of a Stranger

As a world sales company, Film Harbour distributes creative documentaries from around the globe for which we see a potential on the international market. 

The films in our catalog are very diverse in style and content, but they all have one thing in common: we are convinced of their high artistic quality and their strong relevance, and we want to introduce these outstanding documentaries to a wide international audience. 

Our main goal is to make the connection between a film and its viewers, both via the big and the small screen. 

Film Harbour

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Welcome to Film Harbour

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THE APOLOGIST is a cinematic and emotional journey that moves between intimate personal reflection, performance and ritual, exploring the transformative power of apologies. &nbsp;&nbsp;Connecting continents, voices and events that are seemingly unrelated, the film asks how we live with the scars of shared violence. We search for reparation in different ways: through theatre, political process, song, or the careful work of stitching memory so it is not lost.&nbsp;&nbsp;Blending the personal and the collective, THE APOLOGIST traces the fragile spaces between memory, pain, and reconciliation. Brutal and gentle, the film flows like a river across past and present, asking what it means not only to seek forgiveness, but to receive it.

Every public apology has the power to reshape lives — not just for the wrongdoer and the victim, but for society as a whole, as the past itself is redrawn.

Kristof had a career creating moving images for performing arts and eventually moved to filmmaking. He is an alumnus from the National Film and Television School (UK), doing Documentary Direction.&nbsp;&nbsp;ELEPHANT'S DREAM (2014), his first feature film, screened at more than 40 festivals worldwide and featured on BBC World Service, CBS’s The Current a.o. and received various awards such as Special Mention in the One World Media Awards UK and was awarded at Michael Moore's Traverse City FF and shown on Netflix.&nbsp;&nbsp;His 2nd feature documentary, MOTHER (2019), worldpremiered at Sheffield Doc/Fest and shown a.o. at IFF Rotterdam, DOC NYC, and on Al Jazeera English. It won several awards and honorable mentions during its festival tour and wide acclaim in national and international media.&nbsp;&nbsp;He regularly teaches Documentary Direction and gives workshops on documentary research and storytelling.&nbsp;&nbsp;Kristof is member of European Film Academy, Union of Directors (Belgium), deAuteurs and a alumnus of the EURODOC Documentary Producers' program and Jihlava's Emerging Producers 2019.

Kristof

Author's Documentaries

Human Interest & Society

History

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The Apologist

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German filmmaker Susanne, married to a Korean man named Jeong Rae Kim, turns the camera toward her own intercultural marriage and family with both humor and tenderness.&nbsp;As she juggles the roles of wife, mother, and artist, she stages humorous and poetic performances—quiet acts of rebellion that give shape to her emotions and inner world. Blending vérité and performance, the film dives into the beautiful mess of love, identity, and cultural collision.&nbsp;&nbsp;At once deeply personal and universal, BECOMING KIM asks: How do we stay true to ourselves—while learning to love another?

Blending vérité and performance, the film dives into the beautiful mess of love, identity, and cultural collision. How do we stay true to ourselves—while learning to love another?

Born in Dresden, Susanne lived with her parents for five years in Damascus, Syria. 1989 they fled via Hungary to the Western part of Germany. She finished school in Bavaria, studied journalism in Leipzig and attended the „European Film College“ in Denmark.&nbsp;Her documentaries BAKED TOGETHER, WHITE BOX and IMAGINE SWIMMING premiered at DOK Leipzig and were shown on festivals worldwide. CABINETS OF WONDER, a hybrid project (Documentary and a VR-Experience) was first shown at IDFA. &nbsp;She lives and works in Leipzig.

Susanne

Art & Culture

Generation

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English, German

Becoming Kim

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DEAR FUTURE takes us to a liminal space, a suspended moment between what has been lost and what has not yet arrived. The film follows a series of seemingly unrelated stories: an archive being built from fragments of our present and our past, museums where most artefacts are kept hidden in storage rooms, a forest where new markings are mistaken for authentic ancient ones, a neuroscience experiment on the nature of human emotions.&nbsp;&nbsp;As these threads unfold, the film reflects a shared condition which feels as if the world has paused and turned inward, unsure of what to carry forward. This film feels like ‘being in the belly of the whale’ and explores how the past continues to shape us and how nature reflects and retains parts of our collective story.&nbsp;

An underground archive in the Arctic, museum artefacts awaiting their fate in a storage room, and a neuroscience study on emotion reveal a world paused, waiting to be shaped by memory and nature.

Christiana Cheiranagnostaki is an Athens based filmmaker. She has studied Cultural Management (BA) and Documentary Filmmaking (MA). Her short films have been screened in exhibitions and conferences in Greece and abroad as well as in the framework of the Eleusis European Cultural Capital 2023. She has been awarded the Stavros Niarchos Foundation Artist Fellowship by ARTWORKS (2021).&nbsp;&nbsp;Her debut feature-length documentary, DEAR FUTURE, premiered at the 28th Thessaloniki Documentary Festival and won the Golden Alexander in the Film Forward Competition.&nbsp; She is currently a participant at SIC (Soundimageculture) in Brussels, developing her new project with the working title Point A.

Christiana

Nature & Environment

Science & Technology

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English, Greek

Dear Future

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Soldiers train for urban combat in a fictional war in the largest military training city in Europe. Recruits examine grenades from the Second World War in an ammunition museum. In a lecture, a colonel speaks to district administrators about the Zeitenwende. Visitors on a company outing try out weapons and climb into tanks. Soldiers dig a trench. Members of the press question a general about the war in Ukraine. A temporary employment agency sends extras who play refugees in a military exercise.&nbsp;The past, present and the future of war in Germany and Europe collide at the Altmark military training area in Saxony-Anhalt. The documentary film SCENARIO tells this story in fragmentary scenes. &nbsp;&nbsp;The Altmark training area is located in the Colbitz-Letzlingen Heath, the largest uninhabited area in Germany. It is visible to the naked eye from space. The site is 28 kilometers long and covers an area of around 23,000 hectares. Today it is home to the Army Combat Training Centre, the central facility for operational training of German soldiers. But the Altmark training area also has a history: beginning in 1936, the Wehrmacht tested artillery weapons there and later heavy weapons such as the railway gun Dora at the “Hillersleben Army Testing Facility.” Two villages located in the area were forcibly evacuated and demolished for this purpose. From 1945 to 1994, the Soviet Army used the site and at times stationed up to 20,000 soldiers at its westernmost training ground. In 1994, the German Bundeswehr took over the training area and began clearing the ammunition that had accumulated there during nearly 70 years of military exercises. Even today, 30 employees search daily with probes and spades for unexploded bombs, grenades, and ammunition debris in the soil of the site. &nbsp;&nbsp;The training area is also home to the most modern military training city in Europe, called “Schnöggersburg.” The city has 550 buildings. Fifteen high-rise buildings, supermarkets, a 16-kilometer motorway, a chemical plant, an old town district, an industrial zone, a subway, a sports stadium, an airport, and even a 22-meter-wide river with five bridges were built for more than 100 million euros. A captain says: “In the past, it was difficult to justify why we spent so much money on this military model city. Today, as terrible as it is, that’s no longer a problem.” The training city is architecturally designed so that it could be anywhere in the world, because no one knows where German and NATO soldiers might be deployed in the future. The aim is to be prepared for all possible scenarios. Throughout the year, battalions from across Germany and from other NATO countries come to the Combat Training Centre. They are given a fictional war scenario and then train in the field and in the training city, using laser weapons, sensors, and blank ammunition. &nbsp;&nbsp;SCENARIO was filmed at the Altmark training area during the year 2024. In observational, fragmentary scenes, the film portrays everyday life on a German military training ground in a time of transformation and uncertainty.

SCENARIO shows how war is rehearsed in the largest military mock city in Europe, right in the heart of Germany. 

Marie Wilke studied directing, editing and cinematography at the School for Documentary and Television in Bolzano, Italy, and at the University of the Arts (UdK), Berlin, with Harun Farocki and Heinz Emigholz.&nbsp;From 2004 until 2014 she worked as an academic assistant in the directing department of the Film University Babelsberg Konrad Wolf. From 2021 to 2022 she was also the artistic director of the Berlin film school DFFB.&nbsp;&nbsp;Her feature-length documentary CIVIL SERVANTS was released in theatres in July 2015, her feature-length documentary AGGREGATE premiered at the Berlinale in 2018. Among other films she also made a six-part documentary series HÖLLENTAL for ZDF Das Kleine Fernsehspiel in 2021. She works as a writer, director and teacher and lives in Berlin.

Marie

Architecture & Design

Current Affairs & Politics

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Szenario

Scenario

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Elderly brothers René and Rob can’t do with or without each other. René lives the life of a recluse, in a house that is overflowing with stuff. When things threaten to get out of hand, his younger brother Rob intervenes.&nbsp;&nbsp;Filmmaker Tom Fassaert, Rob’s son, documents these weekly visits and recognizes a familiar dynamic. Rob, a retired psychologist, slips into the role of counsellor; René, a longtime psychiatric patient, becomes his client. Their underlying irritation is genuine, but so is their affection.&nbsp;&nbsp;As Rob and René repeat the same ritual every week, Tom begins to sense that something must be behind it. Something old and unspoken. In the family archives, he discovers a mystery: when the brothers were children, their father disappeared without a trace. No goodbye, no explanation, just an absence that has influenced three generations.&nbsp;&nbsp;Tom has explored his family history before. In A FAMILY AFFAIR (2015), he examined the legacy of an emotionally elusive mother. In Between Brothers, he turns to his father and uncle. He takes them on a road trip without a clear destination, in search of traces of a man who deliberately left none behind. En route, it becomes clear that the man who disappeared has left more than just questions. He has left a blueprint for how men in this family withdraw and retreat, each in their own way.

Two elderly brothers make a final attempt to clear up the wreckage of their past. What begins as a tragicomic film about their unusual dynamic turns into a moving search for their unknown roots.

Filmmaker Tom Fassaert (1979) spent his childhood in both The Netherlands and South Africa. These contrasting environments have undoubtably shaped the way he looks at the world. But his love of film stems from his father’s passion for home movies.&nbsp;&nbsp;Common thread in his films is intimacy between himself and his subject. Through this intimacy, he investigates themes like bonding, intergenerational trauma and the desire for autonomy. Gently, he observes both the tragedy and the absurd wrapped inside a recalcitrant reality.&nbsp;&nbsp;His debut film, AN ANGEL IN DOEL, premiered at the Berlin Film Festival, where it received world-wide attention. This second, A FAMILY AFFAIR, opened IDFA 2015. It won the Special Jury Award and was nominated for a European Film Award. Variety mentioned Fassaert as ‘One of the ten documentary makers to watch’.

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Tussen broers

English, Dutch

Between Brothers

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After the 2001 EU summit in Göteborg was marred by violent clashes between police and demonstrators, a government inquiry concluded that the Swedish police needed a deeper understanding of politically active groups. The Dialogue Police was created, with a team in Stockholm as the only unit in the country working full-time in this role.&nbsp; In 2022, amid demonstrations, Quran burnings, and climate actions, filmmaker Susanna Edwards followed the officers on their mission to safeguard everyone’s right to freedom of speech. In a polarized society, the team is united by humor and a shared calling: defending democracy with dialogue as their weapon.

In 2022, amid demonstrations, Quran burnings, and climate actions, filmmaker Susanna Edwards follows THE DIALOGUE POLICE on their mission to safeguard everyone’s right to freedom of speech.

Susanna Edwards works in both narrative and documentary filmmaking. In 1996, she won the Swedish Guldbagge Award for SUNSHADOW, a documentary about the bullfighter Cristina Sánchez. The film was sold to 35 countries and won numerous international awards. In 2000, she received a Guldbagge nomination for her film RESPECT!, which follows four teenage girls from Farsta, on the outskirts of Stockholm.&nbsp;Her narrative feature debut, KEILLERS PARK (2006), is a love story with a tragic outcome. The film was distributed internationally, including in the U.S. In 2013, her film DANCE MY HEART OUT, shot in Cuba, won the Dagmar and Václav Havel Foundation's VIZE 97 Award, a prestigious human rights prize.&nbsp;&nbsp;Her documentary GOLDEN GIRL, about Swedish WBC World Champion boxer Frida Wallberg, was nominated for a Guldbagge Award for Best Sound Design in 2017. That same year, she completed the documentary CAPTURING THE DIVINE, about Anglo-Egyptian singer Natacha Atlas.&nbsp;&nbsp;With THE DIALOGUE POLICE, Susanna takes the next step in her career, both producing and directing — supported by co-producers and executive producers who are leading figures in the industry.

Susanna

Human Rights

As published by Geoffrey Macnab in <a href="https://www.screendaily.com/news/film-harbour-boards-the-dialogue-police-following-gothenburg-premiere-exclusive/5201537.article">Screen Daily</a>:&nbsp;"Amsterdam-based sales outfit Film Harbour has snapped up international rights to documentary <a href="filmharbour.com/films/the-dialogue-police">THE DIALOGUE POLICE</a> by Swedish filmmaker Susanna Edwards following its premiere last week in Gothenburg’s Nordic Documentary Competition.&nbsp;The documentary sees Edwards follow a specialised unit of police officers - the Dialogue Police - on their mission to safeguard the right to freedom of speech amid demonstrations, Quran burnings and climate actions in Sweden in 2022. The team, established after the Gothenburg riots of 2021, favours dialogue over force.Edwards previous credits include Sunshadow and Capturing The Divine. THE DIALOGUE POLICE will have its international premiere in March in CPH:DOX’s Human Rights Competition.&nbsp;THE DIALOGUE POLICE is directed and produced by Edwards for Sweden’s Siren Film. TriArt Film is handling Swedish distribution. Film Harbour was launched last year by the former CEO of Deckert Distribution, Liselot Verbrugge. Its slate includes THE PROPAGANDIST by Luuk Bouwman, which premiered in IDFA, PURE UNKNOWN by Mattia Colombo and Valentina Cicogna, and Sundance Special Jury Award winner AGAINST THE TIDE by Sarvnik Kaur."

Celebrating the World Premiere of THE DIALOGUE POLICE

Dialogpolisen

The Dialogue Police

As published by Tim Dams in <a href="https://www.screendaily.com/news/film-harbour-boards-tom-fassaerts-rotterdam-title-between-brothers/5213138.article">Screen Daily</a>:&nbsp;&nbsp;"Amsterdam-based Film Harbour has picked up international sales for Tom Fassaert’s documentary <a href="https://filmharbour.com/films/between-brothers">BETWEEN BROTHERS</a>, which world premieres at International Film Festival Rotterdam (IFFR) in the Limelight strand. &nbsp;&nbsp;&nbsp;The documentary centres on two elderly brothers closely bonded despite a complicated past. After the death of their mother, they set out on a journey into their shared history. Accompanied by their filmmaker son and nephew Fassaert, they embark on a road trip in search of their father, who left no trace behind. &nbsp;&nbsp;Fassaert’s debut film, AN ANGEL IN DOEL, premiered at the Berlinale in 2011. His second, A FAMILY AFFAIR, opened International Documentary Festival Amsterdam (IDFA) in 2015, winning the special jury award. It was also nominated for a European Film Award. &nbsp;&nbsp;Film Harbour was launched in 2024 by documentary sales executive Liselot Verbrugge, former CEO of Deckert Distribution. Recent titles have included <a href="https://filmharbour.com/films/the-dialogue-police">THE DIALOGUE POLICE</a> and <a href="https://filmharbour.com/films/against-the-tide">AGAINST THE TIDE</a>, but also modern classics like <a href="https://filmharbour.com/films/honeyland">HONEYLAND</a> and S<a href="https://filmharbour.com/films/space-dogs">PACE DOGS</a>. &nbsp;&nbsp;“With warmth and gentle humour, the deeply personal documentary reflects on family, memory, and the ways the past shapes the present,” said Verbrugge. “We truly believe this story will resonate with a broad audience and look forward to being part of its journey. And it is a great opportunity to work with Een van de jongens, a Dutch production company that has made its mark on the international doc landscape in the last decade.” &nbsp;&nbsp;BETWEEN BROTHERS is produced by Een van de jongens production in coproduction with Clin d’oeil films, KRO-NCRV, VRT, Shelter Prod and was made with support from the Netherlands Film Fund, Netherlands Film Production Incentive, NPO Fund, CoBO, Cultuurfonds Almere, Flemish Audiovisual Fund, Taxshelter.be &amp; ING and the tax shelter of the Belgian federal government. &nbsp;&nbsp;Hasse van Nunen, producer at Een van de jongens, said: “In a time when there is ever less space for intimate, small-scale documentary stories, it’s heartening to see Film Harbour and our other partners supporting this film.”"

Film Harbour boards BETWEEN BROTHERS before IFFR premiere

During a festive ceremony on Wednesday 25 June 2025, the Dutch Directors Guild Awards 2025 were presented. The awards honour the most impressive directing achievements of the past year, chosen by peers and organised by the Dutch Directors Guild (DDG) and the VEVAM Foundation.&nbsp;Luuk Bouwman, director of <a href="https://filmharbour.com/films/the-propagandist">THE PROPAGANDIST</a> received the Award for the Best Director in the Documentary category!&nbsp;

Luuk Bouwman receives Dutch Directors Guild Award

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<a href="https://filmharbour.com/films/the-dialogue-police">THE DIALOGUE POLICE</a> by Susanna Edwards received the Docs Award for Journalistic Relevance – El Periódico at Docs Barcelona 2025!&nbsp;&nbsp;From the jury statement:&nbsp; “We were especially struck by the film because we were genuinely surprised that such a police unit even exists. […] The way it depicts their work is essential to understanding the profound challenges of upholding civil rights—especially in a world increasingly torn by ideological divides.”&nbsp;&nbsp;At Doxumentale in Berlin, THE DIALOGUE POLICE continued its successful festival circuit and received a Special Mention in the competition for the Best Documentary.&nbsp;&nbsp;From the jury statement:&nbsp;“A simple yet powerful story that takes us to the heart of an institution known for its often hermetic nature. With unprecedented access to its protagonists and an honest approach, the director invites us to reflect on essential topics such as freedom of speech and the protection of democratic process and its limitations.”

THE DIALOGUE POLICE awarded in Barcelona and Berlin

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The IDFA Award for Best Dutch Film 2024 goes to <a href="https://filmharbour.com/directors/luuk-bouwman">Luuk Bouwman</a> for <a href="https://filmharbour.com/films/the-propagandist">THE PROPAGANDIST</a>. From the jury statement:&nbsp; “How is it even possible, you wonder, with everything that has been written, filmed, or expressed in any other form, related to the WWII era in the Netherlands, this specific story is only just now fully being exposed to a bigger audience? This documentary shows us a part of history; one that has been deliberately forgotten and could only become visible, and therefore examined, interpreted, and remembered, because image and sound were preserved. For the riveting examination of the horrifying pages of Dutch history, as well as the history of WWII-era European cinema, and for the immense research, documentation, and the outstanding use of archival material, the jury would like to bestow the 2024 IDFA Award for the Best Dutch Film to Luuk Bouwman’s documentary THE PROPAGANDIST."

THE PROPAGANDIST wins IDFA Award for Best Dutch Film

Using previously unpublished interviews, family films and propaganda films, THE PROPAGANDIST tells the story of the rise and fall of Dutch filmmaker Jan Teunissen (1898-1975). As head of the Department of Film of the Dutch Nazi Party and SS, he became the most powerful man in the Dutch film industry during World War II.&nbsp;Teunissen, nicknamed the ‘Film King’ and the ‘Dutch Leni Riefenstahl’ was a well-known filmmaker before the war. What drove him to become part of the Nazi regime?&nbsp;&nbsp;THE PROPAGANDIST questions the boundaries between documentary and propaganda and the role of propagandists –&nbsp; how they spread images, narratives, misinformation and ideology. A documentary about boundless ambition and the manipulative power of film.

Through family films, propaganda footage, and audio interviews, this documentary delves into the life of Jan Teunissen (1898-1975), head of the Dutch Nazi Party's Film Department during World War II. 

De propagandist

The Propagandist

As published by Leo Barraclough in <a href="https://variety.com/2024/film/global/the-propagandist-film-harbour-idfa-1236193595/">Variety</a>:&nbsp;&nbsp;"Amsterdam-based sales agency Film Harbour has secured the world rights – excluding the Netherlands and Belgium – to documentary <a href="https://filmharbour.com/films/the-propagandist">THE PROPAGANDIST</a>, which world premieres in IDFA’s International Competition next month.Film Harbour was launched earlier this year by seasoned documentary sales executive Liselot Verbrugge, former CEO of Deckert Distribution, as revealed exclusively by Variety.THE PROPAGANDIST is directed by Dutch filmmaker Luuk Bouwman, and is produced by Ilja Roomans for Netherland’s Docmakers.&nbsp;&nbsp;Using previously unpublished interviews, family films and propaganda films, THE PROPAGANDIST tells the story of the rise and fall of Dutch filmmaker Jan Teunissen (1898-1975). As head of the Department of Film of the Dutch Nazi Party and SS, he became the most powerful man in the Dutch film industry during World War II.&nbsp;Teunissen, nicknamed the “Film King” and the “Dutch Leni Riefenstahl” was a well-known filmmaker before the war. The film asks: What drove him to become part of the Nazi regime? It also questions the boundaries between documentary and propaganda and the role of propagandists – how they spread images, narratives, misinformation and ideology.&nbsp;“After finishing my previous film, ALL AGAINST ALL – AN ARCHAEOLOGY OF FACISM IN THE NETHERLANDS, I discovered a nine-hour-long interview with Dutch National Socialist filmmaker Jan Teunissen,” Bouwman explained. “This interview, along with the simple ‘whydunit’ question, became the starting point for THE PROPAGANDIST. Part psychological exploration and part film archaeology, the film unearths the thoughts and work of a forgotten group of Dutch filmmakers who dreamed of a career in cinema but ended up promoting a brutal regime. It is also a dark mirror in which we can see universal human traits that both scare and intrigue.”&nbsp;“We are excited to take part in the journey of Luuk Bouwman’s exploration of the rise and fall of Jan Teunissen,” Verbrugge commented. “THE PROPAGANDIST offers a gripping look into the manipulative power of film and the dangerous intersection of art and ideology. We believe the documentary will resonate deeply with international audiences, sparking crucial conversations about the role of filmmakers in shaping narratives and spreading misinformation. It’s a compelling and timely film that challenges us to confront uncomfortable truths about the past—and ourselves.”&nbsp;THE PROPAGANDIST marks the latest collaboration between Film Harbour and Docmakers since the sales outlet launched earlier this year under Verbrugge. Other acquisitions include WHERE DRAGONS LIVE and CLOSE TO VERMEER, both directed by Suzanne Raes and produced by Ilja Roomans. WHERE DRAGONS LIVE was also selected for this year’s IDFA, where it will have its international premiere in the Signed strand.THE PROPAGANDIST is a Docmakers production in co-production with Human, supported by the Netherlands Film Fund, the Netherlands Film Production Incentive, NPO Fund, CoBO and Sound&amp;Vision."

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