Skip to content
Artwork for Celebrating Cinema

Celebrating Cinema

LAB111

A podcast for the love of cinema.

Amsterdam's LAB111 film podcast on the cinema that matters — debates, rankings, and director deep dives, every Thursday. From cult classics to today's most-talked-about releases, Laura Gommans (film journalist), Hugo Emmerzael (film critic), Kiriko Mechanicus (filmmaker) and Tom Ooms (film programmer) take turns asking what films tell us about ourselves, our culture, and the times we live in.
Show notes and the CC newsletter at celebratingcinema.com.

You can get in touch at celebratingcinema@lab111.nl

Play
  • 22 episodes
  • weekly
  • Avg 41 min
  • English
Counted on this page — what you have heard stays on this device, so it is not something the list can be paged by.
  • August 20 · 51 min

    Why Is Cinema Just Like My Mother?

    “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 the 50th anniversary and re-release of Cría Cuervos, they look at a series of films from the 1970s — including Carrie, The Exorcist and Grey Gardens — in which the relationship between mothers and daughters becomes a way of thinking about changing ideas of womanhood, motherhood and what women are expected to be. At a time when those expectations were beginning to shift, these films capture some of the anxieties, desires and contradictions surrounding that change. What do we inherit from our mothers? And what do we learn from cinema? Sometimes the two are not so different: both give us images of who we might become, what we might fear, and what we might choose to do differently. Get tickets to Cría Cuervos @ LAB111 Get tickets to Mothers & Daughters @ LAB111 A LAB111 production. Edited and produced by Elliot Bloom, co-produced by Laura Gommans. Music by Hugo Emmerzael. Artwork by Studio FFF.

  • August 13 · 46 min

    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 ask how a film everybody already loves quietly called the next twenty years. Hugo and Dan get into the film's nihilism, its collapse of the Western hero and detective who restores order, and the strange afterlife of Javier Bardem's iconic Anton Chigurh: from Oscar winner to right-wing meme. JD Vance has even used Chigurh's monologue in a political speech, while Pete Hegseth apparently mistook Pulp Fiction for the Bible. And what does No Country for Old Men have in common with Euphoria? What felt like a disturbing vision of a society emptied of values in 2007 can now feel less like a warning than a description of everyday life. Get tickets to ⁠⁠Cine Of The Times: No Country For Old Men⁠⁠ @ LAB111 A LAB111 production. Edited and produced by Elliot Bloom, co-produced by Laura Gommans. Music by Hugo Emmerzael. Artwork by Studio FFF.

  • August 7 · 47 min

    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 have looked at modern life with Tati’s comic precision: traffic becomes choreography, bureaucracy becomes absurd theatre and the city itself becomes a machine for distraction. Producer Elliot Bloom and filmmaker Kiriko Mechanicus explore attention, bureaucracy and urban life through Tati’s PlayTime, Kurosawa’s Ikiru and Scorsese’s After Hours, looking at what happens when the structures of modern life become so consuming that we stop noticing the lives we’re actually living. But if paying attention has become something we increasingly struggle to do, what should we make of films that turn it into a virtue? In Perfect Days, is noticing the world a genuine alternative to modern life — or are we fetishising attention itself? Get tickets to It's Cinema! The Films of Jacques Tati @ LAB111 Get tickets to After Hours @ LAB111 Get tickets to ⁠Cine Of The Times: No Country For Old Men⁠ @ LAB111 A LAB111 production. Edited and produced by Elliot Bloom, co-produced by Laura Gommans. Music by Hugo Emmerzael. Artwork by Studio FFF.

  • July 30 · 49 min

    When Does A Film Become Camp?

    What makes a film camp? Is it something filmmakers create, or something audiences discover? To celebrate Pride Month and LAB111's Camp, Cult & Queer programme, filmmaker Kiriko Mechanicus is joined by film programmer Alicia Bergamelli to unpack one of cinema's most elusive ideas. Drawing on Susan Sontag's famous essay Notes on "Camp", they explore where camp came from, why it has become inseparable from queer culture, and how audiences can completely reshape a film's meaning over time. Through films including Bound, Cruising, Pink Flamingos, The Rocky Horror Picture Show and What Ever Happened to Baby Jane?, they discuss the difference between intentional and accidental camp, why works once dismissed or condemned can become beloved classics, and what these changing reputations reveal about cinema, identity and the communities that keep films alive. Get tickets to Camp Cult & Queer @ LAB111 Get tickets to Y Tu Mama Tambien @ LAB111 Get tickets to Cine Of The Times: No Country For Old Men @ LAB111 Get tickets to The Departed @ LAB111

  • July 23 · 42 min

    Why Black Girl Still Matters 60 Years Later w/ Djeneba Saccoh

    Who gets to tell a story? And who gets to see themselves reflected on screen? Sixty years after its release, Ousmane Sembène's Black Girl (La Noire de..., 1966) remains one of the defining works of African cinema. Restored in 4K and re-released by Odyssey Classics for its anniversary, Sembène's groundbreaking debut follows Diouana, a young Senegalese woman who travels to France believing she's beginning a new life, only to find herself trapped within the lingering structures of colonial power. Filmmaker Kiriko Mechanicus is joined by filmmaker and archivist Djeneba Saccoh to discuss why Black Girl still feels so vital today. Together they unpack the quiet resistance woven through the film—from Diouana's inner monologue to the carved mask that passes between worlds. From there, Kiriko and Djeneba trace the film's influence through Mati Diop's Dahomey to Souleymane Cissé's Den Muso, exploring how filmmakers across generations have continued to grapple with questions of representation, power and who gets to tell their own story. New to Ousmane Sembène? We recommend listening to our companion interview with his son, Alain Sembène, in which producer Elliot Bloom explores the life, philosophy and legacy of the filmmaker often described as the father of African cinema. Get tickets to Black Girl @ LAB111 Get tickets to Cine Of The Times: No Country For Old Men⁠ @ LAB111

  • July 21 · 31 min

    Who Really Was the Father Of African Cinema? — Ousmane Sembène, By His Son Alain

    Some filmmakers don't just make great films, they change who cinema is for. 60 years ago, Ousmane Sembène's Black Girl (La Noire de...) announced a new cinematic voice to the world. Through the story of a young Senegalese woman working for a French family, Sembène exposed the brutal realities of colonialism while proving that African stories could—and should—be told on their own terms. To mark the film's 60th anniversary, producer Elliot Bloom speaks with Alain Sembène, the filmmaker's son, about the remarkable life and philosophy behind one of cinema's true pioneers. Together, they discuss why Sembène turned from literature to filmmaking, why he believed cinema could become "the people's night school," and how he dedicated his career to challenging audiences to question the systems that shape their lives. Get tickets to Black Girl @ LAB111 Get tickets to ⁠Cine Of The Times: No Country For Old Men⁠ @ LAB111 A LAB111 production. Edited and produced by Elliot Bloom, co-produced by Laura Gommans. Music by Hugo Emmerzael. Artwork by Studio FFF.

  • July 17 · 30 min

    Is Christopher Nolan's The Odyssey Just 6 Great Scenes?

    Why are journeys one of cinema's defining storytelling forms? Christopher Nolan's The Odyssey brings one of literature's greatest journeys to the screen. Laura Gommans and Tom Ooms discuss whether the film succeeds as an epic, why Nolan's obsession with IMAX shapes the experience as much as the storytelling, and whether a cast this famous ever lets the world of the film feel fully inhabited. They also introduce LAB111's new season of quests, exiles and homecomings, from Aguirre, the Wrath of God and Beau Is Afraid to The Seventh Seal, asking what these films reveal about why cinema returns to stories of people searching for a place to belong. Get tickets to The Odyssey @ LAB111 Get tickets to It's Not The Destination, It's The Journey @ LAB111 Get tickets to Cine Of The Times: No Country For Old Men @ LAB111 A LAB111 production. Edited and produced by Elliot Bloom, co-produced by Laura Gommans. Music by Hugo Emmerzael. Artwork by Studio FFF.

  • July 2 · 39 min

    Has Letterboxd Changed The Way We Watch Films?

    Do ratings help us discover great films or have they quietly changed the way we watch? Before you've even bought a ticket, you probably know the Letterboxd average, the IMDb score or the Rotten Tomatoes percentage. Somewhere between the opening scene and the closing credits, many of us are already deciding on a number of our own. Laura Gommans is joined by producer Elliot Bloom to discuss what ratings have done to film culture. From an IMDb Top 250 that barely changes to Rotten Tomatoes' aggregate scores, they explore how audience opinion shapes everything from blockbuster filmmaking to the rise of safe, audience-tested stars, and why the best films rarely fit neatly into a number. Get tickets to ⁠Girly Pop! But I'm A Cheerleader⁠ @ LAB111 Get tickets to ⁠Schmutz Cinema: Close-Up On Late⁠x @ LAB111 A LAB111 production. Edited and produced by Elliot Bloom, co-produced by Laura Gommans. Music by Hugo Emmerzael. Artwork by Studio FFF.

  • June 25 · 38 min

    The Watermelon Woman at 30: Cheryl Dunye's Queer Cinema Landmark

    The Watermelon Woman (1996) was Cheryl Dunye's debut and the first American feature directed by a Black lesbian. A film that slips between video-store romance and a forged archive, asking who gets recorded by cinema and who gets written out of it. Thirty years on, it has been restored, added to the Criterion Collection, and, for the very first time, released in Dutch cinemas. Filmmaker Kiriko Mechanicus is joined by Justine Knijn, distributor at Eye Filmmuseum and the person bringing the film to the Netherlands. They get into the film's faked documentary structure and its late reveal; the 1996 sex scene that drew conservative backlash over its tiny public budget; and the satire of academia. A conversation about lesbian film history, restoration, and the long afterlife of films the industry tried to forget and a case for a mainstream gay summer. Get tickets to ⁠⁠The Watermelon Woman @ LAB111 Get tickets to Cine Of The Times: No Country For Old Men @ LAB111 Get tickets to ⁠⁠Fight The Power: Palestine 36 @ LAB111 Get tickets to Girly Pop! But I'm A Cheerleader @ LAB111 Get tickets to Schmutz Cinema: Close-Up On Latex @ LAB111 🎧 New episodes weekly. Leave a review to help more people find us. A LAB111 production. Edited and produced by Elliot Bloom, co-produced by Laura Gommans. Music by Hugo Emmerzael. Artwork by Studio FFF.

  • June 18 · 29 min

    Did Movies Invent Alien Encounters?

    Nobody has ever filmed a real alien, so why do they all look the same? The grey skin, the black almond eyes, sixty years running. This week Laura Gommans is joined by historian Alexander Bartels, who curated LAB111's We Are Not Alone season, for a conversation about the gap between the aliens cinema gives us and the things people actually report seeing. On screen: greys, flying saucers, humanoid visitors. From the real records that Bartels studies: declassified military footage, radar data, government files from around the world there are mostly orbs and lights, unspectacular and almost impossible to film. So where did the grey come from? They follow the loop back to one telling case: The Bellero Shield, an episode of The Outer Limits that aired in February 1964, twelve days before Barney Hill, under hypnosis, drew the wrap-around-eyed alien that matched it almost exactly. Screen and sighting have been copying each other ever since, right up to a 2024 Pentagon report that blames film and television for what people believe they've seen. Has cinema ever shown us something genuinely other, or only ever redrawn ourselves? Get tickets to ⁠Disclosure Day⁠ @ LAB111 Get tickets to ⁠We Are Not Alone⁠ @ LAB111 A LAB111 production. Edited and produced by Elliot Bloom, co-produced by Laura Gommans. Music by Hugo Emmerzael. Artwork by Studio FFF.

  • June 11 · 44 min

    Is Disclosure Day Spielberg's Most Hopeful Film Or His Most Naive?

    Steven Spielberg spent fifty years teaching us to look up. When the Pentagon released its real alien files, nobody blinked. His new film Disclosure Day marks the day the truth finally lands — this time his aliens look back at us, but the question is whether anyone still believes him. Fresh from the Tuschinski premiere, Laura Gommans and producer Elliot Bloom get into late Spielberg — shortcuts, or message over quality — empathy as the ruling emotion of the universe, and whether cinema's great sentimentalist can still earn the tears. One of them cried twice. The other counted seventy FBI agents with no peripheral vision. With a voice note from BBC film critic Ali Plumb on the night Spielberg crashed his pub quiz, and a listener's hot take on thirty wet years of Spielberg's cinematographer Janusz Kamiński. Spoilers from 18:06 — come back when you've seen it. Get tickets to Disclosure Day @ LAB111 Get tickets to We Are Not Alone @ LAB111 A LAB111 production. Edited and produced by Elliot Bloom, co-produced by Laura Gommans. Music by Hugo Emmerzael. Artwork by Studio FFF.

  • June 4 · 58 min

    Fast & Furious: How the Franchise Remade Hollywood (w/ Dan Hassler-Forest)

    The Fast and the Furious (Rob Cohen, 2001) was a small film about Los Angeles street racers, immigrant car culture, and a cop who didn't want to be one. Twenty-five years on it's a seven-billion-dollar franchise where cars get launched into space and "family" is a marketing strategy. From Echo Park to outer space — what does that arc tell us about Hollywood? This is the first part of Cine of the Times, a new monthly Celebrating Cinema strand. Each month, critic Hugo Emmerzael (Filmkrant, Locarno) and media studies scholar Dan Hassler-Forest (Utrecht University) take one film from the century so far, ranging from arthouse to spectacular pulp. This month: the serialised blockbuster, the economics of the sequel, and how a street-racing B-movie became the template for the modern studio franchise. Listen first. Then join us at LAB111 on Wednesday 17 June — curated clips, an extended introduction, and a post-screening discussion. Get your tickets here. A film podcast from LAB111 — Amsterdam's arthouse cinema for independent and cult films. Produced by Elliot Bloom.

  • May 28 · 33 min

    The Backrooms, Explained: Kane Parsons & the A24 Feature

    Kane Parsons made the Backrooms on YouTube when he was only sixteen. Over 200 million views later, A24 has handed him his feature debut, making him the studio's youngest director ever at 20. But the yellow walls still don't end. This week Laura Gommans and Elliot Bloom go into the maze and come back with an answer that has very little to do with what's actually inside. The Backrooms, they argue, is about us, stuck in our own feedback loop, drifting through vacant spaces. Online, half the internet thinks Kane Parsons couldn't have directed such a hit so young. Mark Duplass, who was on set the whole time, says they're wrong. Chiwetel Ejiofor and Renate Reinsve carry the screen, with James Wan and Osgood Perkins producing. Laura and Elliot ask: what does it take to direct a feature like this at 20 with a crew this experienced? And has A24 found its next pipeline for talent — skipping film school for YouTube horror directors? Get tickets to Backrooms @ LAB111 Get tickets to ⁠⁠Cine of The Times: The Fast And The Furious⁠⁠ @ LAB111 Get tickets to Straight To Video: Nightmare At Noon @ LAB111 A film podcast from LAB111 — Amsterdam's arthouse cinema for independent and cult films. Produced by Elliot Bloom.

  • May 26 · 44 min

    Cannes 2026 Dispatch With Peter Bradshaw

    The Guardian's Peter Bradshaw has been sending dispatches from Cannes since 1999. If you ask him what's changed in 27 years, he claims: nothing. He means it as a compliment. Hugo Emmerzael sits down with the legendary film critic on the Croisette mapping out Peter's journey through film, from his first memory of cinema through the strange, accidental route into one of the most-read critic chairs in the English-speaking press. They get into why only Cannes, among the major film festivals, still places film criticism at the heart of it all. Plus five films that caught Peter's attention this year: Andrey Zvyagintsev's Minotaur, Paweł Pawlikowski's Fatherland, Rodrigo Sorogoyen's Beloved, Marine Atlan's La Gradiva, and Clio Barnard's I See Buildings Fall Like Lightning, and why we should value the politics inside the films rather than the statements and press conferences around them. Get tickets to ⁠Cine of The Times: The Fast And The Furious⁠ @ LAB111 Get tickets to ⁠Moving incl. Ramen⁠ @ LAB111 Get tickets to ⁠Film Lecture: Everything Is Cinema - The Filmic Alchemy Of Jean-Luc Godard⁠ @ LAB111 A film podcast from LAB111 — Amsterdam's arthouse cinema for independent and cult films. Produced by Elliot Bloom.

  • May 21 · 53 min

    Autobiographical Cinema: Why We Love to Film Ourselves

    Long before phones turned every life into footage, a small line of filmmakers was already pointing the camera at themselves — not to perform, but to work out what a life was. This week, producer Elliot Bloom sits down with co-host Kiriko Mechanicus to talk about her new short documentary How To Catch A Butterfly — a first-person essay film that traces how ethnic fetishisation has shaped her relationships and sexual experiences as a Dutch-Japanese woman. The film had its world premiere at SXSW Documentary Short Competition 2026 and won the EMEL Short Film Grand Prize at Indie Lisboa. Together they ask why we keep personal archives at all and what those archives teach us back, especially now, living through the most self-documented stretch of human history — through three landmarks of autobiographical documentary: Jonathan Caouette's Tarnation (2003), Bing Liu's Minding The Gap (2018), and Tom Fassaert's A Family Affair (2015). Plus: a hot take from one of our listeners on Michael , Antoine Fuqua's long-delayed Michael Jackson biopic, now in cinemas. Related episodes: Documentary Ethics with Miriam Guttmann · 2000 Metres To Andriivka And Why We Need Documentary Films.

  • May 14 · 38 min

    Cinema Obsession: Why Films Grip Us (Vertigo, Peeping Tom)

    Cinema's dirtiest little secret is that it's designed to make you want something you can never have. In this episode of Celebrating Cinema, host Laura Gommans and Tom Ooms — LAB111's Head of Cinema — talk about what cinema's fixations have done to them. Laura learned to write in Elvish because of The Lord of the Rings. Tom is still working out how much of his idea of relationships comes from Hitchcock's Vertigo (1958). We have all spent more time thinking about actors and characters we will never meet than is probably reasonable. Parasocial attachment used to be the strange edge of fandom. Now it's the default condition of watching. The conversation moves through 60 years of films about obsession — Vertigo, Michael Powell's Peeping Tom (1960), and what they made possible: Misery, Perfect Blue, La Pianiste, Whiplash, Babygirl — but the question underneath is the one cinema doesn't like to answer. What does this kind of looking do to the people being looked at? The actor engineered into someone else's ideal. The face that turns into a brand. And whether cinema knows what it's done to us, or is still pretending it doesn't. A film podcast from LAB111 — Amsterdam's arthouse cinema for independent and cult films. Programmed alongside the Can't Get You Out Of My Head season. Produced by Elliot Bloom. Tickets at lab111.nl/obsession.

  • May 7 · 36 min

    Amadeus: Is It Really About Mediocrity?

    Amadeus (1984, Miloš Forman) is not really about Mozart. It's a film about the rest of us — the ones who can recognise genius but will never possess it. Salieri is the true protagonist of this musical biopic. His tragedy isn't jealousy, it's clarity. Now back in cinemas in a new 4K restoration, Laura Gommans and Tom Ooms get into mediocrity, and what it means to be desperate to be a genius and know, quietly, that you won't be. Whether musical genius is even something we value anymore. And if TikTok — full of AI Slop, or a thousand strangers going viral for no particular reason — is the logical conclusion of a culture that stopped caring. For everyone currently in their Salieri era. Get tickets to Amadeus @ LAB111 Get tickets to Film Lecture: My Film Is Vietnam @ LAB111 Get tickets to Can't Get You Out of My Head: Films of Obsession @ LAB111 Get tickets to Fight The Power: How To Catch A Butterfly @ LAB111

  • April 30 · 38 min

    The Devil Wears Prada 2: Is Miranda Priestly A Feminist Icon Or A Toxic Boss?

    Miranda once told Andy she was the greatest disappointment of her career. Twenty years on, the question isn't whether she was right — it's what Andy did with it. Laura Gommans and Elliot Bloom chat about The Devil Wears Prada and the new sequel and what they have to say about ambition, high fashion, and the specific cruelty of wanting things that cost more than you can reasonably pay. We discuss the consequences for Miranda who is now no longer untouchable — threatened by corporate money that sees a fashion magazine and thinks: overhead. Her methods belong to another era. So does her certainty. Both films ask what we owe the people who pushed us, even when the pushing was cruel. Whether Miranda is a feminist icon or a toxic boss may matter less than what she made possible. Plus a hot take from one of our listeners on whether screenwriters get enough credit for the worlds they create. Get tickets to The Devil Wears Prada 2 @ LAB111 Get tickets to Girls in Film Presents: Behind The Scenes of Motherhood @ LAB111 The Devil Wears Prada (David Frankel, USA, 2006). The Devil Wears Prada 2 (USA, 2025).

  • April 23 · 35 min

    Truly Naked: Can a Film Be More Intimate Than Porn?

    Can a film be more intimate than pornography? Can a film be more intimate than pornography? In Truly Naked (2026), BAFTA-nominated writer-director Muriel D'Ansembourg tells the story of Alec — a teenager raised by two parents in the adult industry, who's seen everything about sex except real intimacy. A school project on porn addiction, and a feminist classmate, force him to confront how his generation actually encounters sex. Laura Gommans sits down with Muriel to ask what cinema still knows about intimacy that the erotic industry has given up on: close-ups, the gaze, the longing for touch. And whether a film that stages intimacy so precisely is any less manipulative than pornography. Follow LAB111 on Letterboxd Listen back to Where Has All The Sex In Cinema Gone.

  • April 16 · 49 min

    Musical Biopics: Can You Still Make a Good One? (Re-Release)

    A note from us: we spent the past two weeks going through your survey responses — thank you to everyone who filled it in. Winners will be contacted this week. We're working on what comes next, but we didn't want to leave you hanging. Last year it was A Complete Unknown, Better Man, Maria, this year it's now Michael Jackson. The musical biopic is back again, with all its cliches. We recorded this conversation when A Complete Unknown hit cinemas. Hosts Laura Gommans and Hugo Emmerzael ask what it takes to make a great musical biopic — a genre too often content with greatest-hits storytelling: the origin-story childhood, the long climb, the fall, the redemption arc that arrives whether the life earned one or not. Cinema can do stranger, more honest things with a life. Why doesn't it? We revisit the films that actually break the formula, ask why audiences keep returning to the glossy reenactment, and consider what the genre would look like if it stopped playing it safe. With MJ arriving this month, it felt like the right moment to bring this one back.

Showing 1–20 of 22 episodes