SD main still

Dan Geesin’s music-film a fucked up Tribute to Motherly Love is a slightly absurd, contemporary black comedy about the makeability of life and a personal journey to happiness. It blends the tragedy of miscommunication with the humour of our perpetual coming of age.

The film tells the tale of Samuel Dirk, a recently divorced 52-year-old piano tuner still trying to wriggle out from under his mother’s dreams. In a playing field of crises and old habits Samuel struggles with perspectives and expectations; those of his mother Patattie, his childhood friend Edwin, Edwin’s young, curious Asian girlfriend Titty but above all his own. Even a sexually charged trip to Belgium is not enough to extinguish the fires of his mother’s expectations, ultimately boiling over with fatal consequences.

A tribute to the often misunderstood but stifling and all-sacrificing motherly love, the film blends the tragedy of miscommunication with the humour of our perpetual coming of age.

written / directed by Dan Geesin

writer/director: Dan Geesin
script coach: Ernie Tee
present state: Final Draft
supported by: Dutch Film Fund
– script development, completed
– project development, 1st phase completed; 2nd phase confirmed




The story is told using an intuitive and tactile blend of images and music where the leading role of both is an oscillating partnership. Being a narrative filmmaker as well as a composer, Geesin uses both disciplines to tell his stories, manifesting in a strong individual approach. The filmmusic will use contrasting styles; melancholic folk music and abrupt rock music. The lyrics of the songs will be used as an off screen way of telling, subconsciously influencing the story.





absurdistic humour:
A Fucked up Tribute to Motherly Love is set in the 21st century where the ‘makeability of life’, the possibility of realizing our dreams is considered as a sacred part of the Western culture. This perspective is largely unrealistic and contains a dissatisfaction that Geesin can only describe as culturally motivated. He sees this as a sort of universally amusing, lonely struggle with one’s own evolution, a humoristic tragedy.

However, the life of Samuel Dirk is in no way meant to be portrayed theatrically or magically. The film should remain ‘realistic’ throughout. Geesin wants to use the everyday elements in action, observation, dialogue and sound; focus in on them to create a strangeness. He wants to establish an eccentric arena of absurdity that is firmly set in the rural, contemporary context of the story that developes into a dreamlike, fluent exageration of the sexually charged trip to Belgium, building up to Patattie’s fatally alchemic recycling.