Celebrating Cinema

What can cinema really fix? In The Beloved, Spanish filmmaker Rodrigo Sorogoyen (The Beasts, Mother) explores the complicated relationship between a powerful film director and his estranged daughter, using the filmmaking process itself to examine questions of identity, domination and abandonment.
In conversation with film critic Hugo Emmerzael, Sorogoyen discusses turning the camera on cinema itself, experimenting with different visual languages, and creating a film within a film inspired by the work of Terrence Malick. He also reflects on his recurring interest in toxic masculinity, his collaboration with screenwriter Isabel Peña, and the personal experiences of fatherhood, loss and family history that shaped The Beloved.
Can art repair what life has broken? For Sorogoyen, cinema might not fix everything, but it can help us understand ourselves, and each other, a little better.

Get tickets to The Beloved @ LAB111

A LAB111 production. Edited and produced by Elliot Bloom, co-produced by Laura Gommans. Music by Hugo Emmerzael. Artwork by Studio FFF.

In 2007, Walk Hard: The Dewey Cox Story tore the music biopic apart so thoroughly that Hollywood should never have been able to make one with a straight face again. It flopped. Since then, we’ve had Bohemian Rhapsody, Rocketman, Elvis and, this year, Michael. So what went wrong?
For the latest Cine of the Times, film critic Hugo Emmerzael and media scholar Dan Hassler-Forest revisit Jake Kasdan’s merciless parody to figure out why the music biopic refuses to die. They get into how much of the supposedly "true" story never actually happened, the difference between inhabiting a star and simply imitating one, and John C. Reilly’s commitment to playing every absurd cliché completely straight. They also ask what happens when the music industry turns its back catalogue into algorithm-friendly jukebox movies.
Recorded again online after the producer lost the first take.

Get tickets to Cine Of The Times: Walk Hard: The Dewey Cox Story @ LAB111.
Get tickets to Cine Of The Times: Under the Skin @ LAB111.

A LAB111 production. Edited and produced by Elliot Bloom, co-produced by Laura Gommans. Music by Hugo Emmerzael. Artwork by Studio FFF.

For forty years, Tom Cruise has sold us one thing: a man who will not stop running. In Digger (2026), Alejandro G. Iñárritu casts him as an oil tycoon in prosthetics, only for the trailer to remind us of every Tom Cruise who came before. What happens when the ultimate movie star tries to disappear into a role?
Laura Gommans and producer Elliot Bloom take Digger as a starting point to ask whether a movie star can ever truly play against type, or whether the persona is always visible beneath the performance. From Henry Fonda turning killer in Once Upon a Time in the West to Adam Sandler unravelling in Punch-Drunk Love, they explore why some of the most revealing performances happen when actors push against the image we already have of them. And what happens when Jesse Plemons walks into Digger and threatens to steal the show?
A follow-up to our earlier episode asking whether Tom Cruise could save cinema. The first half is spoiler-free. The alarm sounds at 18:01.
Tell us how you'd rate it. We can't decide.

Get tickets to Digger @ LAB111
Get tickets to Shall We Dance? (Ballroom Dancing Workshop) @ LAB111
Get tickets to Film and Food: Do The Right Thing @ LAB111

A LAB111 production. Edited and produced by Elliot Bloom, co-produced by Laura Gommans. Music by Hugo Emmerzael. Artwork by Studio FFF.

From Paul Verhoeven to Hoyte van Hoytema to Halina Reijn, Dutch filmmakers have made a mark far beyond the Netherlands. But why doesn’t Dutch cinema travel as far as the talent it produces?

For this Nederlands Film Festival special, Celebrating Cinema host Elliot Bloom speaks with actor Yootha Wong-Loi-Sing, director Mees Peijnenburg and producer Leontine Petit, who co-produced the Oscar-nominated Brazilian film The Secret Agent.

Together, they discuss what Dutch cinema gains from international collaboration, why homegrown films struggle to find audiences, and the tension between making films for the Dutch market and competing internationally. What would it take to build a Dutch cinema that can connect at home and travel abroad?

For this Nederlands Film Festival special, Kiriko Mechanicus meets two rising Dutch filmmakers who use cinema to get closer to people and histories — and to find out what lies beyond what they already know.
Amanda van Hesteren's Dagen met Blue is built around the trust between filmmaker and subject. Kiriko chats to Amanda about her fascination with people in all their colours, how she creates the space for Blue to open up, and what she can learn about someone by spending enough time with them to look beyond the version of themselves they show the world.
In Bagasi – wat we meedragen, Emma Lesuis investigates her family's colonial history in Suriname. By combining documentary and theatre, Emma finds a way into a history that runs through both the colonised and the coloniser in her own family and, in the process, comes to see that history differently.
Sometimes, you have to make the film to understand what you're actually looking at.

Watch Dagen Met Blue @ NFF
Watch Bagasi on NPO