Nudity Film Netherlands

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A people list. To date, 166 roles by 118 actresses who did their first nudity in mainstream films between the age of 17 years, 364 days and 21 years, 359 days old.... Countries: am: 60 - fr: 34 - du: 18 - it: 11 - uk: 11 - sv: 6 - ca: 4 - es: 4 - au: 3 - ar: 2 - nl: 2 - no: 2 - br: 1 - dk: 1 - hu: 1 - ir: 1 - is: 1 - mx: 1. US wins with 60. Also see my other list of those younger than 17 years and 363 days old. 23-9-20 v2510 l-99 v2542 l-119 v2574 l-126 v2729 l-124 v2926 l-103 FD = age by date of filming RD = age when film was released, so the age by date of filming is younger, but how much more is hard to say. Mainstream US movies are shot (on average) a year before release, for European movies it's shorter, except for 70s sexploitation, these can be shot 1-3 years before release.

The Melancholic Alcholic.
Forbidden World (1982) at 18 years and 5 months by film date
La gifle (1974) at 19 years and 0 months by film date
Contes immoraux (1973) at 19 years and 1 months by film date
Confessions of a Window Cleaner (1974) at 21 years and 0 months by film date
Actress | Furyô anego den: Inoshika Ochô
-Maid in Sweden (1971) at 18 years and 10 months by film date -Rötmånad (1970) at 19 years 11 months at release date -Smoke (1971) at 20 years and 2 months by film date -Exponerad (1971) at 20 years 08 months at release date
Schulmädchen Report (1970) at 19 years 01 months at release date
Actress | Außer Rand und Band am Wolfgangsee
Schulmädchen-Report 2 (1971) at 19 years 04 months at release date
1-Vanessa (1977) at 18 yrs, 7 mo by filmdate 2-Casanova & Co-(1977) at 19 yrs, 2 mo by filmdate 3-Interno di un convento (1978) at 20 yrs, 0 mo by filmdate 4-Arrête ton char..-bidasse! (1977) at 20 yrs, 2 mo by filmdate 5-Griechische Feigen (1977) at 20 yrs, 0 mo at RELEASE 6-Sylvia im Reich der Wollust (1977) at 20 yrs, 3 mo at RELEASE 7-Die Insel der tausend Freuden (1978) at 20 yrs, 8 mo at RELEASE 8-Summer Night Fever (1978) at 21 yrs, 2 mo at RELEASE 9-Popcorn Und Himbeereis (1978) at 21 yrs, 4 mo at RELEASE 10-Cola, Candy, Chocolate (1979) at 21 years 11 mo at RELEASE 11-Austern mit Senf (1979) at 21 yrs, 11 mo by filmdate
Actress | Gefährlicher Sex frühreifer Mädchen
Gefährlicher Sex frühreifer Mädchen (1972) at 18 years 07 months at release date
Actress | A Series of Unfortunate Events
Sleeping Beauty (2011) at 21 years and 3 months by film date
The Rules Of Attraction (2002) at 18 years and 7 months by film date
Geminis (2005) at 18 yrs & 11 mo's by film date
Century Hotel (2001) at 21 years 06 months at release date
And When Did You Last See Your Father? (2007) at 21 yrs, 10 mo's by film date
The Last Detail (1973), aged 20 yrs, 6 mo's by film date
If These Walls Could Talk 2 (2000) at 19 years 05 months at release date
"Slumber Party '57 (1977)". aged 21 years and 4 months by film date
The Tracey Fragments (2007) at 19 years 11 months at release date
Servants (2003) at 19 years and 6 mo's by film date
Actress | Sweeney Todd: The Demon Barber of Fleet Street
Lady Jane (1986) at 18 years and 4 mo's by film date La maschera (1988) at 21 years and 3 mo's by film date
Link (1986) at 21 years and 6 months by film date
Havoc (2005) at 20 yrs & 11 mo's by FD
Ung flukt (1959) at 20 years 09 months at release date
Kids (1995) at 19 yrs & 9 mo's by FD
A Good Woman (2004) at 19 yrs & 0 mo's by film date
New Best Friend (2002) at 18 yrs & 9 mo's by film date
Actress | Pirates of the Caribbean: The Curse of the Black Pearl
The Jacket (2005) at 18 years and 9 months by film date
-Black and White (1999) at 19 yrs 06 mo's at release date -Fast Sofa (2001) at 20 yrs & 4 mo's by film date -Bully (2001) at 20 yrs & 5 mo's by film date
Bully (2001) at 20 yrs & 0 mo's by film date
L'idole (2002) at 19 yrs 01 mo's at release
-Amar (2017) at 20 yrs & 3 mo's by film date -Elite (2018) possibly
Martha Marcy May Marlene (2011) at 21 yrs & 8 mo's by film date
All the Bright Places (2020) at 21 yrs 10 mo's at RD
Détective (1985) at 18 yrs 10 mo's at RD
Apprentice to Murder (1988) at 19 yrs & 2 mo's by film date
Presença de Anita (2001) at 19 yrs & 5 mo's by film date
Smáfuglar (2008) at 19 yrs & 5 mo's at release date. [Filming likely in summer of 2007 (18 yrs 6 mo's)]
American Beauty (1999) at 20 yrs 0 mo's by FD
One-Trick Pony (1980) at 20 yrs & 4 mo's by film date.
Romanzo popolare (1974) at 18 yrs & 11 mo's by FD
Actress | Perfume: The Story of a Murderer
Mein Name ist Bach (2003) at 18 yrs & 3 mo's by FD
Jagd auf Amor (1999) at 21 yrs 11 mo's at RD
-À ma soeur! (2001) at 19 yrs 04 mo's at RD -Les paradis de Laura (2002) at 20 yrs 06 mo's at RD -Sex Is Comedy (2002) at 20 yrs 07 mo's at RD -Sexes très opposés (2001) at 20 yrs 08 mo's at RD
-Perfume: The Story of a Murderer (2006) at 19 yrs & 0 mo's by FD -Hell (2006) at 19 yrs 04 mo's at RD -Quelques jours en septembre (2006) at 19 yrs 10 mo's at RD -Jean de La Fontaine, le défi (2006) at 20 yrs 06 mo's at RD
Im Alter von Ellen (2010) at 20 yrs & 6 mo's by FD
Smile Pretty (2009) at 20 yrs 05 mo's at RD
Prénom Carmen (1983) at 20 yrs 08 mo's at RD
Wild Orchid II: Two Shades of Blue (1991) at 20 yrs & 2 mo's by FD
-Aphrodite (1982) at 19 yrs 10 mo's at RD -Légitime violence (1982) at 20 yrs 00 mo's at RD -Breathless (1983) at 19 yrs & 11 mo's by FD -La femme publique (1984) at 21 yrs 08 mo's at RD -L'année des méduses (1984) at 22 yrs 02 mo's at RD
Bilitis (1977) at 20 yrs 11 mo's at RD
Across the Universe (2007) at 18 yrs & 4 mo's by FD
Guinevere (1999) at 19 yrs & 4 mo's by FD
One Wild Moment (2015) at 19 yrs 04 mo's at RD
Les collégiennes (1957) at 21 yrs & 11 mo's by FD
Les collégiennes (1957) at 20 yrs & 7 mo's by FD
Actress | La notte del grande assalto
Les collégiennes (1957) at 20 yrs & 8 mo's by FD
Salome's Last Dance (1988) at 20 years and 2 months. While there's no official birth date for her, an article in the Guardian tells us that she got a live saving organ transplant in 2000 at age 33. Puts her birth year at 1967. https://www.theguardian.com/society/2003/may/13/health.lifeandhealth
All the Right Moves (1983) at 21 yrs & 10 mo's by FD 14 March 1983
LelleBelle (2010) at 20 yrs 04 mo's at RD [27-9-2010]
-Burning Palms (2010) at 19 years and 9 months by film date -Twelve (2010) at 20 years and 3 months by film date
Kalifornia (1993) at 19 years and 0 months by film date
Gypsy Eyes (1992) at 20 years 06 months at release date
Actress | Degrassi: The Next Generation
Poison Ivy The Secret Society (2008) at 20 years 09 months at release date
Paul et Michèle (1974)at 20 yrs, 4 mo by FD (also on my Under 18 list)
Actress | Natalie - Endstation Babystrich
Natalie Endstation Babystrich (1994) at 20 yrs 08 mo at RD
Histoire d'hommes (1996)at 20 yrs 02 mo at RD
L'attenzione (1985) at 18 yrs, 2 mo by FD
Tatort - Martinsfeuer (1999) at 18 yrs 06 mo at RD (also 3 entries on my Under 18 list)
The Last Picture Show (1971) at 20 yrs, 8 mo by FD
Blame It on Rio (1984) at 17 yrs, 7 mo by FD
The Hot Spot (1990) at 18 yrs, 10 mo by FD
Fast Times at Ridgemont High (1982) at 18 yrs, 5 mo by FD (also on my Under 18 list)
Naboer (2005) at 21 yrs, 11 mo by FD
C'est la tangente que je préfère (1997) at 19 yrs, 6 mo by FD
Almost Famous (2000) at 20 yrs, 5 mo by FD
Nana (1983) at 18 yrs, 2 mo by FD (also on my Under 18 list)
Trainspotting (1996) at 19 yrs 10 moat RD
Hodet over vannet (1993) at 21 yrs, 7 mo by FD
Grijpstra & De Gier (1979) at 19 yrs 09 mo at RD (also on my Under 18 list)
El barón Brakola (1967) at 19 yrs, 4 mo by FD
Mentiras y gordas (2009) at 19 yrs, 0 mo by FD
Material Urbano (1987) at 19 yrs 05 mo at RD
Mouchette (1967) at 18 yrs, 4 mo by FD
Windrider (1986) at 18 yrs, 3 mo by FD
Into the Fire (1988) at 18 yrs, 0 mo by FD (also on my Under 18 list)
Bear's Kiss (2002) at 20 yrs, 2 mo by FD
Twilight (1998) at 21 yrs, 0 mo by FD
The Goddess of 1967 (2000) at 21 yrs 01 mo at RD
-Le farò da padre (1974) at 18 yrs, 6 mo by FD -Salon Kitty (1976) at 19 yrs, 9 mo by FD
Dangerous Liaisons (1988) at 18 yrs, 4 mo by FD
Brimstone & Treacle (1982) at 21 yrs, 8 mo by FD (she was 24 in "1984")
The Quiet Ones (2014) at 20 yRs 03 mo at RELEASE
Embrace of the Vampire (1995) at 21 years and 5 months by film date Deadly Sins (1995) at 21 years and 8 months by film date

By Roxanne Sancto | August 20, 2015 | 6:00am
It’s not hard to criticize Dutch cinema—just use the Dutch themselves as examples. The Dutch people seem to be their own worst critics; in fact, it seems as though their movies have become a running joke, all: Well, what did you expect? or It was pretty good for a Dutch movie. Rather baffling considering directors like Paul Verhoeven and Alex van Warmerdam have reached international acclaim with The Fourth Man or Borgman respectively. So why is it that the people of Holland are so critical of their own films? Perhaps it’s because, like many other countries, the Netherlands have become spoiled by big, flashy Hollywood movies with lots of action and explosions; or perhaps they feel like they’re still becoming comfortable with the medium. Let’s look through our picks for the best 40 films from the Netherlands to figure out why.
Wim Sonneveld became known in the 1940s and ’50s when he established himself as a brilliant actor, singer and cabaretist. After seeing a production of My Fair Lady in the U.S., he was adamant about introducing the musical to a Dutch audience and had it translated by Seth Gaaikema. It premiered in Rotterdam in 1960 with Wim in the role of Professor Higgins. Although his part in My Fair Lady was hugely successful, Dutch audiences will always remember him for his character, Willem Parel, the son of an organ player, who often spoke in general about playing the organ as much as he talked specifically about playing an organ in a sexual sense. Even though his fans loved the character of Willem Parel, Sonneveld started to hate his own creation, taking the chance to get rid of the character once and for all: In 1955 Gerard Rutten gave Sonneveld a break from his alter-ego when, in his film, had Parel step out of a promotional poster and embrace a life of his own.
Based on the book by Anton Coolen, Dorp aan de Rivier tells the story of village doctor Tjerk van Taeke (Max Croiset), a local professional who genuinely cares about his patients and places more importance in their well-being than in their money. His methods aren’t always orthodox, but his results usually speak for themselves: He has saved the lives of many and is especially renowned for his skill in delivering babies. Meanwhile, Dr. Van Taeke’s village bears a kind of mysticism, everything somehow leading back to the river Maas, the cursed mills of the village, and a northern pike that always seems to appear during cucumber season. Such superstitions of course clash with the doctor’s forward-thinking practices, especially when a patient meets a tragic fate.
This was Fons Rademakers’ first feature length film, nominated for an Academy Award for Best Foregin Language Film and achieving infamy for a certain scene involving the village night-guard.
Set in Amsterdam during World War II, Het meisje met het roode haar tells the story of Hannie (Renée Soutendijk), a law student about to take her matriculation exam when she decides instead to join a resistance movement. At first, due to her lack of experience, she is not taken seriously by the other members of the movement, and when she is asked to prove her dedication to the group by murdering someone, she chickens out. Aware of her weakness, the group assigns her to work as a messenger. It’s not until she witnesses the murder of a boy that she decides she wants to be directly involved in the action and finds a mentor in Hugo (Peter Tuinman). Though she proves she has what it takes to become a respected member of the resistance movement, a mission goes terribly wrong, and Hannie and Hugo are forced into hiding. From there, the entire country is in search of Hannie, the girl with the red hair.
Based on the biography of Jannetje Johanna “Hannie” Schaft, written by Theun de Vries, the film premiered at the 32nd Berlin International Film Festival. It helped boost her notoriety and, following her death, Hannie was awarded the Verzetkruis (the Dutch Cross of Resistance) and the Medal of Freedom for her fight against the Nazis during WWII.
Mira is based on Stijn Streuvels’ book De teleurgang van den Waterhoek (Den Waterhoek’s Downfall), and describes how the small, isolated town of Waterhoek finally joined the modern world thanks to a bridge connecting them to neighboring villages. It’s a pretty standard love story, in which farmer girl Mira (Willeke van Ammelroy) is torn between two love interests, Lander (Jan Decleir) and Maurice (Luc Ponette).
Moreso, as a fascinating exploration of people’s fear of change, their wariness of the unknown and their fight against all things new, the film is perhaps best known as a cinematic bridge for Dutch filmmaking into the rest of the world. As one of the first relatively mainstream Dutch movie to feature nude scenes, this film marked an important new era in Dutch film history. This caused a lot of palaver—as well as a lot of people to see the film—and, following Mira, Dutch films of the ’70s became well-known for their sex and nudity. According to iconic Dutch director Paul Verhoeven (Robocop, Basic Instinct), Mira helped international audiences understand that Dutch films were also capable of “artistic depth.”
Linda de Mol is a Dutch actress typically known for chick-flicks like Gooische Vrouwen (the Dutch Sex and the City, if you will; see #33) and Ellis in Glamourland, so to see her in a psychological thriller was more than surprising, it was refreshing. In Terug naar de Kust, the actress slips into the skin of Maria, a mother of two who, upon discovering she’s pregnant, decides to abort the baby against the wishes of her partner. But not long after the procedure, Maria is tortured by threatening letters, disturbing phone calls and even a dead rat in the mail. Shaken, she leaves her Amsterdam home to stay with her sister Ans (Ariana Schluter), who still lives in their old family home near the coast. Of course, the anonymous stalker has traced her back to her sister’s home, continuing the mind games, while Maria fears her ex-husband Martin (Jaap Spijkers), who disappeared off of the face of the earth, might have something to do with it.
Based on the book by Saskia Noort, which does better that the movie in terms of creating a suspenseful atmosphere, Terug naar de Kust is worthwhile if only for Linda de Mol’s atypical performance.
If elevators make you feel claustrophobic—if something inside you keeps nagging, Take the stairs, take the stairs, for God’s sake, take the stairs—you probably won’t enjoy the horror flick De lift. Made in just 32 days on a budget of 750,000 Guilders, it was the first Dutch movie to nab a worldwide release.
As you may have gathered by now, the film finds four people who, following a lightning storm, become trapped in an elevator which seems to have taken on a murderous life of its own. First it becomes apparent that the air ventilation has been shut off, causing the group to almost suffocate. As it turns out, the elevator is only just getting started, and as the accidents became more and more brutal and severe, the elevator mechanic called in to help, Felix (Huub Stapel) is so baffled by the elevator’s behavior, he tries to investigate the fabricant of the elevator’s microprocessor, Rising Sun, with the help of journalist Mieke de Beer (Willeke van Ammelroy), eventually uncovering the real mystery behind the elevator’s crazy tendencies.
The making of De lift wouldn’t have been possible without the help of the elevator manufacturer Schindler Liften. The company provided the set with two elevator mechanics that helped realize Dick Maas’s horrible vision on a daily basis.
January 1945. World War II is slowly drawing to a close but the Netherlands are still under Nazi occupation. In Haarlem, the family Steenwijk is at home playing a game of “Mensch ärgere dich nicht”:https://en.wikipedia.org/wiki/Mensch_%C3%A4rgere_dich_nicht. The youngest of the family, Anton (Derek de Lint), is about to roll the dice when they hear the sound of gunfire. Turns out, Nazi collaborator Fake Ploeg (Huub van der Lubbe) has been murdered, his body left right in front of the Steenwijk’s house, which, in not time, is stormed by the Nazis, who suspect them of having killed Fake Ploeg. Though Anton’s whole family is executed, and their house burned down, Anton is taken to prison, where he meets the mysterious Truus Coster (Monique van de Ven), who tries to console him:
Based on the book by Harry Mulisch, De aanslag mercilessly depicts the scars and war can leave on a young mind. No matter how hard he tries, Anton cannot shake the events of that fateful night, haunted forever by images of fire and the sound of rolling dice. Worth noting: The plot isn’t based on any historical assault in particular, but rather a combination of several stories, including that of the liquidation of police agent Fake Krist, as well as that of W.M Ragut, a passionately hated resistor who was shot off of his bike by the aforementioned Hannie Schaft (see #38).
Following the success of the TV series Gooische Vrouwen, creator Linda de Mol turned to Will Koopman to direct the film version. The series, often likened to Desperate Housewives and Sex and the City, follows the lives of four women living in Het Gooi, where all the hip and happening tastemakers reside. In the film, we revisit our protagonists as they go through their decadent-yet-chaotic everyday lives. There’s Cheryl (Linda de Mol), whose husband Martin (Paul Morero) is a popular Dutch singer who can’t say no to other women, admitting to his dick having a mind of its own. Claire (Tjitske Reidinga), besotted with her grandson, is shocked to find out that her daughter Merel (Mea de Jong) has decided to move her family to Burkina Faso, and she can’t imagine life without them. The free-spirited Anouk (Susan Visser) finds a new admirer in a fellow artist but keeps him at a distance out of respect to her daughter Vlinder (Lisa Bouwman), with whom her relationship is already strained. Meanwhile, the naïve and eccentric Roelien (Lies Visschedijk) has decided to become a spokesperson for environmental issue and chains herself to an old tree that is supposed to be cut down. So, when things get to be too much for the women in Het Gooi, they pack up and drive to Paris (in a conspicuously colorful hippie van), where they hope to ditch their material lives and find inner peace by following a spiritual course.
Abel (Alex van Warmerdam) is a strange, 31-year old boy who still lives with his parents. He hasn’t left the house in ten years and his hobbies involve spending his days spying on his neighbors and trying to cut flies mid-air wi
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