‘Simon’ by Eddy Terstall

In 1980s Amsterdam, homosexual dental student Camiel encounters Simon, a macho coffee shop owner, drug dealer, and beach tent proprietor. The two quickly become close friends, but their friendship is short-lived. At the beginning of the new century, Camiel crosses paths with Simon again and they rekindle their bond. However, Simon is diagnosed with an incurable brain tumor and prepares for his impending death. Camiel supports Simon during his final months. Their friendship deepens during this dramatic period. Simon is best man at Camiel’s wedding, and in turn, Camiel is willing to take custody of Simon’s daughter Joy and son Nelson. Alongside other friends and family, Camiel is present on Simon’s last day, when euthanasia is administered at his Amsterdam home.

Simon represents euthanasia, alongside same-sex marriage and a liberal attitude towards soft drugs, as an achievement of a free and liberal society. Terstall’s film reflects a specific societal view in which a particular kind of autonomy is central. Euthanasia is thus a matter of self-determination in Simon: the focus is on personal freedom at the expense of mercy (which had been the central principle in Dutch euthanasia discourse until the 1980’s). While Simon wants to consider the difficulty his daughter Joy has with his planned euthanasia, the film makes it clear that ultimately it’s about making an individual choice – the considerations of others should never be decisive. At the same time, ensuring Simon’s autonomy is a process in which both caregivers and loved ones contribute. Several characters in the film serve the function of reminding Simon of the importance of his own desires, especially when they come under pressure from Joy’s resistance. Although Simon hesitates about his choice, fundamental skepticism about the possibility of knowing the autonomous nature of that desire is absent in the film. The actual implementation of euthanasia in Simon is a social event: everyone gathers around the deathbed and witnesses the passing. This aligns with how the film portrays Simon, namely as someone who wants to maintain control over his own life but does not exist solely for himself. He doesn’t die in a hospital bed, but at home, surrounded by family and friends. He cherishes meaningful relationships until the end. Dying in one’s own way, amidst loved ones, is depicted as valuable in the film. Simon gained great popularity with Dutch audiences, and several progressive politicians referred to the film as promoting Dutch freedoms and values.