Ellen Waller in NRC-Handelsblad
“Digna Sinke doesn’t ask, she doesn’t mourn or judge. She just looks at certain people, surroundings and things. Very sober and objective. And, don’t forget, she looks through the camera of Paul van den Bos, who is able to enchant us soberly.
A woodland view is objectively enchanting. The party is however objectively stiff and in a very Dutch way reminiscent of the primaeval Czech parties of Milos Forman. The subjectivity of Digna Sinke is her objectivity, making her films sometimes reminiscent of the unorthodox 1970s Dutch TV show “Het gat van Nederland” (on which Paul van den Bos worked as cameraman).”