🤍 Kaboom Cult 🤍

From November 2025 to May 2026 we’re back with our collaboration with LAB111, where we present rarely-seen animation classics on the big screen, from recently restored cult titles to seldomly-screened festival hits. Animation belongs on the big screen and what better place to present it than at LAB111, where Kaboom has its offices? So grab a drink and come watch great animation with us!

🗓️Mark your calendars: 

NOVEMBER ’25

⚪BUBBLE BATH (György Kovásznai, 1980)⚪ 

A kaleidoscopic fusion of music, movement, and emotion, Bubble Bath (Habfürdő, 1980) is György Kovásznai’s dazzling animated musical, restored in 4K to its full pulsating glory. Set in Budapest, it follows a man who flees his own wedding to confide in another woman, unfolding a restless love triangle that beats to the rhythm of a human heart. Blending romantic comedy, sociological observation, and surreal visual play, Kovásznai creates a film that feels as alive and unpredictable as its characters. Upon release, its raw energy and adult sensibility scandalized audiences, leading to its brief removal from cinemas. Decades later, Bubble Bath stands as a vibrant masterpiece of European animation—wild, sensual, and utterly ahead of its time.

JANUARY ’26

⚪Les Triplettes de Belleville (Sylvain Chomet, 2003) ⚪ 

Ready, set, go! In 2003, Sylvain Chomet (The Illusionist, A Magnificent Life) made his first feature film withThe Triplets of Belleville and it was an instant hit. Looking back, it is not hard to see why: who could not like a film that combines the Tour de France, mobsters driving a classic Citroën, great swing jazz and an art style so finger-licking good that it spurred a whole range of imitators?

BeforeThe Triplets of Belleville, Chomet was mostly known for his 1997 short film The Old Lady and the Pigeons, which should be compulsory watching for everyone living in a city in which the titular grey-plumed birds form a plague. With Triplets, Chomet showed that his unique style of design and directing worked equally well in a feature-length film. Madame Souza’s quest to recover her kidnapped grandson, her loving dog Bruno and the 1930s music hall singers the film is named after make for a unique mix of Francophile nostalgia that is yet to be surpassed. Chomet would go on to direct The Illusionist, based on an unfinished script by Jacques Tati, and would also apply his hallmark style to a Simpsons couch gag in 2014.

Come and join us for this unique ride to the city of Belleville!

(Ticket link coming soon)

MARCH ’26

⚪It’s Such a Beautiful Day (Don Hertzfeldt, 2012) ⚪ 

The three short films Everything Will Be OK (2006), I Am So Proud of You (2008) and It’s Such a Beautiful Day (2011) are combined into a seamless, darkly comedic triptych with deceptively simple design and unstoppable voice-over. The heart-rending observations around a troubled man named Bill show a stick figure everyman who stoically endures the pain, uncertainty and excruciating beauty of life. In the second chapter dark family secrets cast a shadow over Bill’s recovery. In part three he is in hospital and struggles with severe amnesia. Anticipating the results of some demanding tests, he is allowed to go home for a few days. Fortunately, the weather is fine and he likes to take a stroll. English version.

(Ticket link coming soon)

MAY ’26

⚪Bob Spit: We Don’t Like People (Cesar Cabral, 2021)⚪ 

The wrath of an author in crisis won’t spare his creations. And to avoid being eaten by the pop, the punk must face his creator…

No feature film embraces the Kaboom craziness as Cesar Cabral’s Bob Spit – We Do Not Like People. Welcome to an ultrameta and foul-mouthed stop-motion animation film where an old, angry punk named Bob Spit is trying to escape a post-apocalyptic desert full of grotesque characters, including feral miniature Elton Johns with sharp teeth (it’s quite literally pop trying to kill punk). Wait, it gets better: the wasteland is actually a purgatory inside the mind of Bob’s creator, Angeli, a stubborn cartoonist going through a creative crisis.

Mixing documentary, comedy and road movie, Cabral’s hallucinatory voyage into the conflict between creator and creation is not even entirely fictitious! The story is inspired by the life and work of one of the most celebrated Brazilian cartoonists of all time, Angeli. He became famous in the 70s by releasing political cartoons during Brazil’s military dictatorship. Angeli’s characters – and one in particular: Bob Spit, a rude ogre-like punk with an impressive mohawk – became more famous than himself. And when Angeli decided to move on and bury Bob, fans were asking for more, which left the cartoonist struggling with his creation.

Building on a short film and a TV series, the film is a weird, post-modern, even philosophical rollercoaster embracing the subversive, countercultural and anarchic spirit of Angeli’s original cartoons. The question remains: can Bob escape Angeli’s brain and teach him a lesson for killing him off? Bob Spit – We Do Not Like People won the Contrechamp Award at the Annecy Festival. Strap in for a bizarre cocktail that finally proves…Punk is not dead!

(Ticket link coming soon)

SEPTEMBER  ’26

⚪The Lord of the Rings (Ralph Bakshi, 1978) ⚪ 

For many Ralph Bakshi’s The Lord of the Rings (1978) brings back memories of dingy copies on VHS and as an adaptation of J.R.R. Tolkien’s trilogy, Bakshi’s version is often unfavorably compared to Peter Jackson’s monster hit of an adaptation. Bakshi’s version will always be the one that remains unfinished, as well as the one vilified by animation lovers for its use of rotoscope. When it was first released, Bakshi was mostly known for his low budget, adult-oriented films like Fritz the Cat (1972) and Heavy Traffic (1973). Yet, Bakshi’s The Lord of the Rings is ready for a reappraisal: for one, Bakshi achieved what other directors like Walt Disney, John Boorman and even Stanley Kubrick could not achieve: to adapt Tolkien’s wordy, sprawling epic with its hundreds of characters, numerous locations and many references to medieval epics and sagas for the big screen.

While Bakshi had been interested in Tolkien’s novel series since its first publication in the mid-1950s, it took until 1975 before he was able to convince United Artists that only in animation could the epic really come to life. Bakshi found himself supported in this by Saul Zaentz who had recently adapted another book often considered unfilmable: Ken Kesey’s One Flew Over the Cuckoo’s Nest, which won five Oscars.

To adapt Tolkien’s book, Bakshi had to overcome various financial and technical hurdles, for one the large battle scenes that feature in it that were difficult to animate. To resolve this Bakshi opted for rotoscope, which he had first experimented with in his previous film Wizards (1977). Accordingly, Bakshi first filmed much of The Lord of the Rings with actors on videotape, to use as reference material for the animators. Since money was tight and no medieval castles existed in North America, this footage was recorded in Spain. The result is a unique animation style that has as many imitators as it has detractors. Peter Jackson certainly looked at Bakshi’s adaptation well when preparing for his version of Tolkien’s book and has acknowledged that several scenes were borrowed from Bakshi’s film.

Now remastered, it is finally time to experience Bakshi’s The Lord of the Rings on the big screen in its full glory.

(Ticket link coming soon)

Arie Biemondstraat 111
1054 PD Amsterdam
[email protected]

Route