Dutch cinema is notoriously always open for directors whose artistic identity is wider than any geographic borders. This refers not only to the financial support of the famous Hubert Bals fund that features in the credits of hundreds of films produced in Eastern Europe, Latin America, and Southeast Asia. The most striking example is the incredible stir among arthouse producers that arrests one’s attention at the Rotterdam Film Festival where the most daring ideas are embraced and eventually financially supported. The support does not involve any artistic limitations and as a result films made in Columbia, the Philippines of the Baltic states end up influencing the Dutch cinema. In the long run the effect of this process makes the Dutch cinema more resistant to commercial mainstream trends that anonymize the author. This process can be showcased in a short selection of diverse films included in the official programme of the 38th Moscow International Film Festival under the name of Holland Plus. In this programme, radical arthouse works will be screened next to psychological dramas, and philosophical essays will be juxtaposed to pantheistic film odysseys, reasserting the advantaged of being culturally open to any fusions or merges.  The democratic openness of a country that successfully freed itself of any phantoms of imperialism is a telling example of an effective solution of all the current pressing issues of European cinema.What is especially interesting is the non-fiction component of the program: the research of Jeronimus Bosch’s gloomy genius, Siberian travels of the Dutch documentary filmmakers, and, of course, the tragic chronicle of several days from the life of the Dutch whose relatives were killed in the aircrash in Donetsk region.