Bregtje Van Der Haak - Director
Bregtje is a documentary filmmaker and journalist. Since 1997, she has been directing international documentaries and transmedia projects on social change with a special focus on technological culture. She was the first female filmmaker to film the lives of working women in Saudi Arabia in 2006 and was awarded the Media Woman of the Year award. Bregtje studied dance in Paris, political science and law at the University of Amsterdam and the New School for Social Research in New York and is a graduate of the Graduate School of Journalism at Columbia University in New York. She contributes regularly to the VPRO Backlight documentary series on future affairs and she is a curator of the art biennale Manifesta 12 in Palermo.
BALDR Film - Producers
BALDR FILM (2012) is the Amsterdam-based production company of Frank Hoeve and Katja Draaijer. They focus on developing and (co-)producing challenging, author-driven features and documentaries of a select number of filmmakers with a distinctive personal signature. BALDR Film offers a lot of support in matters of content, focussing not only on urgent content but also on form and originality. In this they don’t fear to take risks, always aiming for a high artistic value, visually intriguing style and an international audience.
BALDR Film produced the well-acclaimed films Sevilla (2012, Dutch Academy Award), Those Who Feel The Fire Burning (2014, Dutch Academy Award for Best Feature Length Documentary, IDFA Nomination Best Feature Documentary) and Brothers (2017, Premiers Plans d’Angers). At the moment, BALDR Film has several films in production: the feature Gold, Window Boy would also like to have a Submarine, Sick, Sick, Sick (CineMart 2015) and Heartbound Cannes Critics Week winner-Armadillo).
Making The Film
With this film, I want to explore the impact of new wireless technologies and ubiquitous internet connectivity. Ubiquity is not only a film about the electro-sensitives Per, Asaka, and Anouk, who are forced to live a lonely existence on the margins of the modern world. It is a story about all of us. Are the electro-sensitives our sensors in this radiating new era? Because who controls the power of the tech companies that are changing our world so profoundly? And is there something like ‘the right to remain offline’?