Moeder, the second volume of a trilogy that began with the triumphal Vader, hailed by critics (2014) and will close with Kinderen (2018), is a work on memory that explores the ways in which the fabric of a life is a mosaic. Peeping Tom will explore the theme of memory – and the figure of the mother – with the same tender and sardonic eye that runs through all of its productions. At once funny and eerie; Moeder is disturbing, yet strangely familiar: we recognize in it the same fascination with the sense that the world is too much for us, the same amused gaze at our faltering attempts to make it fit our notions.
