LIFF Programmer Bob de Brabandere: ‘My academic background enables me to clearly identify the appropriate audience for a film’
Alumni image: Christely Verheuvel
Bob de Brabandere discovered his deep passion for cinema through a minor in Film and Theatre Studies. He currently serves as Assistant Manager at Bioscopen Leiden and as a programmer for the Leiden International Film Festival, which commences on 9 October.
What prompted you to study Film and Literary Studies?
‘That was never actually my original intention. When I began my studies, the programme didn’t yet exist, so I enrolled in Linguistics. In my third year, I chose the Film and Theatre minor, primarily because I found it intriguing that you could study film academically. That minor was so right for me that I felt a bit peeved—should I now change my bachelor’s programme after several years of study? In the end, I did, and I have absolutely no regrets. It was precisely the area I was passionate about.’
Where does your love of film stem from?
‘I was fortunate to grow up among people who appreciated cinema. As a result, I had already seen some films that are not necessarily mainstream. However, it was during my bachelor’s in Film and Literary Studies that I truly immersed myself in the world of cinema and began exploring its breadth. The programme was a great help, offering insights into various historical periods and regions across the globe.’
How did you become involved with LIFF?
‘I was volunteering behind the bar at the Kijkhuis when Ratna Lachmansingh, the current director of LIFF, mentioned they were looking for an intern. She asked whether I might be interested. I found the internship immensely enjoyable, and I am now Assistant Manager at the cinemas, as well as serving as a programmer for LIFF. During these weeks, I often wear two hats, but the combination is both rewarding and doable.’
What are your responsibilities as a programmer?
‘I watch a considerable number of films in order to curate the best possible selection for the festival. As programmers, we attend other festivals—Cannes, Venice, Berlin. Occasionally, the films showcased there are too prominent or released too early, but we frequently discover hidden gems that resonate well with our audience. Additionally, I view numerous screeners sent by distributors and endeavour to stay informed about upcoming cinema releases.’
Is watching films still a relaxing activity given how much you do it professionally?
‘I was often asked that question during my student years, but in truth, both the academic study and the extensive viewing have enriched my experience. I am now better equipped to articulate why a film resonates—whether due to its cinematography, editing, or intended audience—which really adds to my enjoyment. The only drawback is that, particularly with screeners, some films tend to resemble one another. I would rather watch a poorly executed but unique film than a formulaic one I have essentially seen multiple times.’
Which films should audiences be sure not to miss this year?
‘The American indie Mad Bills to Pay, which follows a young boy who impregnates his even younger girlfriend. His mother disapproves, her mother disapproves, he is unemployed, and he approaches everything with a troubling nonchalance—yet he is such a charmingly frustrating character that I thoroughly enjoyed his presence throughout the film. I also greatly appreciated À bicyclette. French films can sometimes be so stereotypically French that they appeal only to a French audience, but this one embodies a French sensibility that resonates strongly with us. A man cycles to Istanbul with his best friend. A few years earlier, his now-deceased son undertook the same journey, and this road trip serves as a tribute to him. I was genuinely moved.’
Have you ever been given a really useful tip?
‘When I was seventeen, I received a DVD box set of Werner Herzog’s films. I had never seen any of his work before, but it made a profound impression. For the first time, I thought: how extraordinary that something like this can be created. He remains my favourite director to this day, so that gift certainly sparked something meaningful.’