About The Office of Nonfiction Storytelling
| The Office for Nonfiction Storytelling (ONS) is a documentary film and television practice based in Rotterdam, The Netherlands.
ONS creates documentaries, television programs, and corporate videos, with an emphasis on people and the human experience. Other points of interest are Architecture and Design.
In production are independent documentary films and commissioned work for the like of Wallpaper Magazine, the Amsterdam School of the Arts and Dutch public broadcasting. Recently completed projects include ‘Halte’. This award winning documentary television series gives an inside look at the people who work at a major Dutch public transport corporation. ‘Gaandeweg’, is a documentary about Dutch poet Rien Vroegindeweij, the father of the director. Also definitely worth checking out is the award winning kids-documentary ‘Chanaika’.
Documentary film &Television
“We are, perhaps uniquely among the earth’s creatures, the worrying animal. We worry away our lives, fearing the future, discontent with the present, unable to take in the idea of dying, unable to sit still.”(Lewis Thomas, 1913-1993)
ONS creates documentaries and television about people. We are interested in the strategies people create to deal with the problem of life. How do we deal with aging and our mortality? All we do, whether it’s our work or our hobbies, our food obsessions or our love for art, they are all strategies we develop to cope with this problem.
Modern media is no longer interested in ‘the small’ and ‘the real’. All it wants to show is ‘big’ emotions and ‘big’ opinions. While society is based on people, media shows a society built on statistics. The true condition of society remains unclear as a result.
We love documentary film
Documentary filmmaking is a constant struggle between reality and story; between what something ís and what it represents.
This balancing act is what makes working on nonfiction storytelling extremely interesting. Moving between ‘reality’ and ‘fiction’ is necessary for compelling nonfiction films. Reality alone would not be a film and story alone would not be nonfiction, since reality cannot be captured on film.
Yet few doc makers dare to walk the line and stay safe on the safe side.
Documentary filmmaking should not follow paths created by predecessors. It must continue to re- invent, re-interpret and renew itself. It should not act on the side of caution, afraid to fail, afraid of the omnipresent critic, and afraid of not engaging the audience.
Director & Producer