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Bernhard, schavuit van Oranje is a Dutch television program depicting the more than only turbulent life of a prince consort. It is a compelling drama concerning a man who tries to be himself, but must survive deep crises, finally to see the real meaning of love. Within the Dutch royal family there is actually no more talked about character than Prince Bernhard of Lippe-Biesterfeld. Whether it concerns Greet Hofmans, extramarital affairs, or Lockheed, Prince Bernhard faced a lot of scandals throughout the course of his life. Besides this he was, and is a person, loved by many as a war hero. A man of extremes. In four parts Prince Bernhard tells the tale of his life. Not only through the spyglass, but especially to his grandson's wife, Princess Máxima of the Netherlands, who will be soon the Queen next to Prince Willem-Alexander. In a way, she takes the same position as Prince Bernhard did in his life. In their conversations and discussions it becomes clear how much they are different, but also how much they are the same. For Princess Máxima this is sometimes very confronting. The tale drags us throughout the course of the Prince's life, from Soestdijk, his beloved German Reckenwalde, Berlin, London, Argentina and Canada.
Directed by Carlos Alonso, the drama is the film version of the documentary chronicle of the journalist José Sánchez Flores about the tragedy that occurred on May 9 of the same year in the town of Pueblo del Oro - today Mendizábal - in the department of Treinta y Tres, a story that is part of Uruguayan folklore and that had the child Dionisio Díaz as the protagonist.
Join Tucker Carlson and his team as their cameras take you inside the issues for a new documentary news magazine, ‘Tucker Carlson Originals’
At 30 Amelia thinks that time is only an excuse for putting off the arrival of a fate which she has been warned about by fortune tellers and horoscopes.
Commissioned by the heads of the 2000 Cannes Film Festival to make an opening-night short commemorating cinema as it enters its second full century, Godard instead offers up a 17-minute barrage of re-edited footage of wars and Nazi atrocities, interspersed with clips of Maurice Chevalier in "Gigi" and Godard's own "À bout de souffle."
