Nomi, a young drifter, arrives in Vegas to become a dancer. She gets a job stripping at one of the lesser joints on the strip, but soon catches the eye of talent scouts who hire the performers for a casino. She works her way into the cast, and eventually sets her sights on taking the starring role.Read More »
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A woman, married with an artist, starts a relationship with one of her students, who has already got a mistress of his own. The two rivals meet.Read More »
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A shy student falls in love with a girl from another class. After he works up the courage to ask her to the school dance, something unexpected happens.
The film, shot by Verhoeven at the same school he attended in The Hague, is loosely based on the description of the unrequited love of Anton Wachter in Simon Vestdijk’s novel Back to Ina Damman, one of the parts in the Anton Wachter cycle.
Synopsis: A man fools around with the wife of a wrestler.
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Director Paul Verhoeven returns to the camera for this unique comedy drama surrounding a birthday party that goes horribly wrong for the host. The film was written via crowd-sourcing (close to 400 writing credits in all), with Verhoeven and his writing team of Kim van Kooten and Robert Alberdingk Thijmeach cherry picking the best parts of the scripts that were submitted after each segment of the film was shot and screened.Read More »
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Het korps Mariniers is a documentary about the Royal Dutch Navy, which Paul Verhoeven made while being assigned to the Marine Film Service as a documentary filmmaker.Read More »
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A road movie about three men (one driver, two hitchhikers) and one woman.
A short film inspired by Verhoeven’s own youth trips as a hitchhiker.Read More »
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A man is thinking about his relationship with his girlfriend, while checking out a gorgeous woman in a bar.Read More »
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Who else but Isabelle Huppert could have played Michèle Leblanc, the eponymous heroine of Paul Verhoeven’s Elle? The exuberant gravitas, the unapologetic condescension, the classily managed aggression that only the most French of faces could ever entertain—Huppert reduces us to our prosaic mortality with a glance, the pursing of her lips, the nearly imperceptible raising of an eyebrow, or the perverse delivery of a syllable. Perhaps a syllable like “oh…,” the title of the Philippe Djian novel on which the film is based. This is the “oh…” of deflating disappointment, but also of the most calculating seductions; the feminine “oh…” of flirtation; the theatrical “oh…” of predators posing as prey; the “oh…” of orgasms authentic and feigned.Read More »