Can Cinema Teach Us How to Pay Attention? — What Playtime, Ikiru & After Hours Asks Of Us
We’re constantly told to slow down and be present, but what does it actually mean to pay attention when so much of modern life is designed to scatter it?
This summer, French auteur Jacques Tati returns to LAB111 in six newly restored 4K classics, including his magnum opus PlayTime. Few filmmakers h…
Cine Of The Times: Did No Country For Old Men Predict Trump’s America?
In 2007, the Coen Brothers made a thriller set in 1980 that somehow captured an American dread that hadn't fully arrived yet. Critic Hugo Emmerzael and academic Dan Hassler-Forest return to No Country for Old Men — the coin toss, the deaths that happen offscreen, the sheriff who solves nothing — to…
What Do Mothers And Daughters Inherit From Each Other?
“My mother and cinema are my two teachers in life, each in their own peculiar ways.”
Filmmaker Kiriko Mechanicus and producer Elliot Bloom explore the parallels between these two teachers: the women who raise us, and the films that show us how to live, love and understand the world.
Coinciding with…
Did Terminator 2 Ruin How We Imagine The End Of The World?
Thirty-five years after Terminator 2: Judgment Day, cinema is still imagining the end of the world through killer machines, nuclear war, viruses and alien invasions. But did one of the greatest blockbusters ever made teach us to imagine the apocalypse all wrong?
With Terminator 2 returning to our s…
How Did 9/11 Change Hollywood?
How did 9/11 change Hollywood and when does entertainment become propaganda?
Marking 25 years since 9/11 and coinciding with LAB111’s Manufacturing Consent programme, Elliot Bloom and film critic Hugo Emmerzael trace cinema’s long relationship with propaganda and political power. From revolutionary…
Why Is Dutch Cinema Struggling to Find Its Audience?
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…
Digger: Can Tom Cruise Ever Stop Being Tom Cruise?
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 …
Cine Of The Times | Walk Hard Should Have Killed The Musical Biopic
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…
Rodrigo Sorogoyen on The Beloved: Can Cinema Heal Us?
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.
I…
Why Does Hollywood Love Remaking Foreign Films?
Hollywood loves a remake. But why take a film that already works and make it all over again? Host Laura Gommans sits down with LAB111’s Head of Cinema, Tom Ooms, to dig into Hollywood’s habit of reworking films from around the world and what happens when it gets its hands on someone else’s story.
F…
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