{"id":205977,"date":"2025-01-22T18:08:50","date_gmt":"2025-01-22T17:08:50","guid":{"rendered":"https:\/\/iffr.com\/en\/?p=205977"},"modified":"2025-01-31T10:40:44","modified_gmt":"2025-01-31T09:40:44","slug":"blog-rotterdam-lab-25-years-25-lessons","status":"publish","type":"post","link":"https:\/\/iffr.com\/en\/blog-rotterdam-lab-25-years-25-lessons","title":{"rendered":"Rotterdam Lab: 25 years, 25 lessons"},"content":{"rendered":"\n

For 25 years, Rotterdam Lab has been more than a workshop \u2013 it\u2019s been a launchpad for countless emerging film producers from across the globe. In the spirit of this milestone anniversary, we\u2019re looking back at 25 lessons shared by past participants, reflecting on the collaboration and shared learning that defines the Lab.<\/p>\n\n\n\n

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Sophie Ahrens: Reignite your passion<\/h2>\n\n\n\n

\u201cA significant lesson I learned was the importance of passion in our work. Connecting with other producers and filmmakers from all over the world, reignited my enthusiasm for producing. Additionally, the programme offered me a deeper understanding of the international film industry, reinforcing my love for being a producer and solidifying my career path.\u201d<\/p>\n\n\n\n

Sophie Ahrens is a producer who with her company Schuldenberg Films is known for Ann Oren’s Piaffe<\/strong> (Junior Jury Award Locarno, 2022) and Julia Fuhr Mann’s Life Is Not a Competition, But I\u2019m Winning <\/strong>(2023). She brings Jazm\u00edn L\u00f3pez’s latest project Faust<\/strong> to CineMart 2025. Ahrens participated in Rotterdam Lab in 2021.<\/p>\n\n\n\n

Gema Arquero: Foster authentic relationships<\/strong><\/h2>\n\n\n\n

\u201cAttending Rotterdam Lab was a transformative experience that taught me the importance of building authentic relationships in the industry. One key lesson was that collaboration and trust are as crucial as technical or creative expertise. By engaging with international peers, I realised that sharing your challenges and listening to others’ perspectives can open doors to unexpected opportunities. It\u2019s not just about networking; it\u2019s about fostering meaningful connections that can lead to long-term partnerships.\u201d<\/p>\n\n\n\n

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Film still: La amiga de mi amiga<\/strong><\/figcaption><\/figure>\n\n\n\n

Gema Arquero is a producer known for La amiga de mi amiga<\/strong> by Zaida Carmona (IFFR 2023) and brings Carmona\u2019s next project, Adi\u00f3s, amor<\/strong>, to CineMart 2025. Arquero attended Rotterdam Lab in 2024.<\/p>\n\n\n\n

Bianca Balbuena: Be prepared and do your research<\/strong><\/h2>\n\n\n\n

\u201cAs an attendee, you should have the basics \u2013 business cards, elevator pitch of yourself and your projects, certain project art cards, a notepad (whether manual or electronic) to jot down endless knowledge exchanged within the period. You also get to meet successful industry professionals and programmers who are participating in the festival, so make sure you do your research on the people you want to meet before the event.\u201d<\/p>\n\n\n\n

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Film still: Viet and Nam<\/strong><\/figcaption><\/figure>\n\n\n\n

Bianca Balbuena is an accomplished film producer with over 30 feature films to her credit \u2013 including Engkwentro<\/strong>, A Lullaby to the Sorrowful Mystery<\/strong>, the HBF-supported Un Certain Regard-selected Viet and Nam<\/strong>, and the IFFR 2025 Closing Film This City is a Battlefield<\/strong> by Mouly Surya. Balbuena is a CineMart adviser, and attended Rotterdam Lab in 2013.<\/p>\n\n\n\n

Mia Bays: Be a sponge<\/strong><\/h2>\n\n\n\n

\u201cLabs provide a really important function in our industry. Being selected and having your project endorsed is an important opportunity to make the most of, rather than coast through. You can meet your peers from other countries, extend your network and raise the profile of your project. Speaking as a funder [representing the BFI Filmmaking Fund] who attended last edition, the Lab was an important space to promote our fund, be clear that our doors are open and to join the energy that labs always hold. There’s a reason it’s been going for 25 years. Because it’s effective and meaningful!\u201d A lesson Mia would like to share with your fellow emerging producers embarking on their careers:<\/p>\n\n\n\n

\u201cBe open, be a sponge in terms of how you receive all the information and connections, and observe and learn. It’s important to accept that you are at the apprenticeship stage of your career and you are not expected to know everything. Road-testing your plans and your creative ideas are a blessing, so seize the day!\u201d<\/p>\n\n\n\n

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Film still: Six Shooter<\/strong><\/figcaption><\/figure>\n\n\n\n

Mia Bays, director of the BFI Filmmaking Fund, is an Oscar-winning producer known for Tsotsi<\/strong> (2005), Scott Walker: 30 Century Man <\/strong>(2006) and Martin McDonagh\u2019s Six Shooter <\/strong>(2004). Bays attended Rotterdam Lab in 2005.<\/p>\n\n\n\n

Romain Bent: Collaboration is essential<\/h2>\n\n\n\n

\u201cIn the world of filmmaking, and especially in production, it\u2019s easy to feel isolated. In the face of adversity, the journey of a producer can often feel like a solitary, thankless and unglamorous trek through an endless tunnel. I left the Rotterdam Lab with two key takeaways. The first: there is always more to learn about producing films on a European level. New funds, new partners and opportunities abound, often beyond the scope of our own countries. The second: Initiatives like the Lab highlight the value of sharing struggles with passionate peers from diverse backgrounds. My advice would be for emerging producers to recognise that collaboration, community and co-production are absolutely essential to thriving in the ever-challenging landscape of filmmaking production.\u201d<\/p>\n\n\n\n

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Film still: Vultosos Cumes<\/strong><\/figcaption><\/figure>\n\n\n\n

Romain Bent presents Diogo Salgado\u2019s Vultosos cumes<\/strong> in the IFFR 2025 Short & Midlength programme, and is also known for Sous le sable de Ka\u00effala<\/strong> (2020), El placer es m\u00edo <\/strong>(2024) and Lisandro Alonso\u2019s HBF-supported Eureka<\/strong> (2023). Bent attended Rotterdam Lab in 2023.<\/p>\n\n\n\n

Helga Binder: It\u2019s never too early for international co-productions<\/strong><\/h2>\n\n\n\n

\u201cLessons I learnt from my Rotterdam Lab experience were: you are not alone, silly questions do not exist, and problems seem smaller when you realise you are not the only one dealing with them.\u201d<\/p>\n\n\n\n

Speaking to emerging producers navigating the early stages of their careers, Binder shares: \u201cIt is never too early in your career to start collaborating internationally or cross-border. And to those attending the Lab: dare to ask as many questions as possible and learn from experiences of co-Labbies and experts.\u201d<\/p>\n\n\n\n

Helga Binder is a producer known for The Last King of Scotland<\/strong> (2006), Brand – Eine Totengeschichte<\/strong> <\/em>(2011) and Happy Ever Afters<\/strong> (2009). Binder attended Rotterdam Lab in 2006.<\/p>\n\n\n\n

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Film still: The Last King of Scotland<\/strong> by Kevin Macdonald<\/figcaption><\/figure>\n\n\n\n

Marta Crua\u00f1as: Learn by doing<\/strong><\/h2>\n\n\n\n

\u201cI attended Rotterdam Lab at the very beginning of my career, and every panel felt like a big lesson; from understanding the importance of positioning in marketing and PR to confidently navigating a cold introduction. The biggest takeaway for me was learning how to break the initial barrier of hesitation \u2013 and the shyness of being new in the industry \u2013 and introduce myself to industry professionals. I grew my international network and made connections that later on became relevant.\u201d<\/p>\n\n\n\n

Marta Crua\u00f1as is a producer known for Elena Mart\u00edn\u2019s Creatura<\/strong> (2023) & J\u00falia ist <\/strong>(2017), and also co-produces Adi\u00f3s, amor<\/strong> by Zaida Carmona at CineMart 2025. Crua\u00f1as attended Rotterdam Lab in 2016.<\/p>\n\n\n\n

Valerie Delpierre: Listen carefully<\/strong><\/h2>\n\n\n\n

\u201cBeing selected is important but it’s on you to make the right follow-up when you are back home.\u201d Sharing advice for future Rotterdam Lab participants, Valerie reflects: \u201cTrust your intuition on a project and on partners, but never choose a project without keeping the rest of the people in mind. Always being open to listen, while keeping focus, is key. But when more than three people tell you the same thing about your project, never disregard it.\u201d<\/p>\n\n\n\n

Valerie Delpierre is a producer known for 20,000 Species of Bees <\/strong>(2023), Schoolgirls<\/strong> (2020) and Motherhood<\/strong> (2022). Delpierre attended Rotterdam Lab in 2014.<\/p>\n\n\n\n

Rodrigo Diaz: Find your film community<\/strong><\/h2>\n\n\n\n

\u201cRotterdam Lab was an invaluable opportunity to present myself to the industry and interact with producers and agents from around the world. The biggest lesson was understanding that I’m part of a community. For those of us who work in production, we sometimes feel alone in our work, and it was so reassuring to discover a supportive community beyond the deadlines and portfolios. In my case, I have worked with some of my Rotterdam Lab colleagues and it has always been an incredible experience!\u201d<\/p>\n\n\n\n

Rodrigo Diaz brings Bloques err\u00e1ticos<\/strong> to Darkroom 2025, and is known for Corrupto<\/strong> (2022), La Seista del Carno<\/strong> (2020) and Deseo no Desear<\/strong> (2018). Diaz attended Rotterdam Lab in 2021.<\/p>\n\n\n\n

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Film still: Holy Spider<\/strong><\/figcaption><\/figure>\n\n\n\n

Sara Fazilat: Take what you admire home with you<\/strong><\/h2>\n\n\n\n

\u201cWhat I learned while attending the Rotterdam Lab is that networking can turn into a professional partnership and partnership can turn into a beautiful friendship. And a lesson which I would like to share while you are attending the Lab is to listen carefully and whatever you really admire, take it with you home and try to include it in your work-life balance.\u201d<\/p>\n\n\n\n

Sara Fazilat is an actress and producer, known for Nico<\/strong> (2021), Holy Spider<\/strong> (2022) and Every You Every Me<\/strong> (2024). She co-produces the Hubert Bals Fund-backed project in-development My Share of Sky<\/strong> by Sahara Sharma. Fazilat attended Rotterdam Lab in 2022.<\/p>\n\n\n\n

Dan Koh: Producers have the power to effect change<\/strong><\/h2>\n\n\n\n

Offering a concise takeaway from attending Rotterdam Lab, Dan Koh shares: \u201cProducers have the power to effect change.\u201d To participants for upcoming editions of the Lab, Koh advises: \u201cLook out for your own wellbeing and foster a community.\u201d<\/p>\n\n\n\n

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Film still: Stranger Eyes<\/strong><\/figcaption><\/figure>\n\n\n\n

Dan Koh is a producer and writer, known for Yeo Siew Hua\u2019s A Land Imagined<\/strong> (IFFR 2019) and Stranger Eyes<\/strong> (Venice 2024; CineMart 2019). Koh attended Rotterdam Lab in 2022.<\/p>\n\n\n\n

Rogier Kramer: Build long-lasting relationships<\/strong><\/h2>\n\n\n\n

\u201cI attended the Lab early in my career, and it served as an invaluable introduction to the world of international co-production. The most important lesson I took away is that it isn\u2019t about finding the most prestigious projects or collaborating with the biggest names in the industry; it\u2019s about finding the right peers and building strong, lasting relationships. Attending Rotterdam Lab lays a solid foundation for future collaborations.\u201d<\/p>\n\n\n\n

Rogier Kramer is a producer whose Ik zal zien<\/strong>, by Mercedes Stalenhoef, has its world premiere at IFFR 2025 in Limelight. He is also known for Nice Ladies<\/strong> (2024) and Okthanksbye <\/strong>(2023). With Labyrint Film, he produces the CineMart 2025 project Marseille <\/strong>by Yim Brakel. Kramer participated in Rotterdam Lab in 2018.<\/p>\n\n\n\n

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Film still: Ik zal zien<\/strong> by Mercedes Stalenhoef<\/figcaption><\/figure>\n\n\n\n

Sana Jafri: Find like-minded peers<\/strong><\/h2>\n\n\n\n

\u201cRotterdam Lab made me realise that I need to be in a space where I have like-minded people around me, where I can bounce off my ideas. I really want to be in a space where people are just talking about film and making films \u2013 hearing what others have to say, and what’s happening in their lives.\u201d<\/p>\n\n\n\n

Sana Jafri is a producer known for Joyland<\/strong> (2022) and Carpet Boy<\/strong>. Jafri attended Rotterdam Lab in 2022.<\/p>\n\n\n\n

Geo Lomuntad: Visibility is power<\/h2>\n\n\n\n

\u201cAs an emerging producer, I was, in many ways, invisible \u2013 unnoticed, unknown and unheard. Rotterdam Lab marked a pivotal turning point. It underscored a critical truth in the world of filmmaking: visibility is power. The credibility that the Rotterdam Lab\u2019s stamp of approval brought to my name and my films has been transformative. It facilitated meaningful traction, opened doors that were previously closed and connected me to a global network of decision-makers and change-makers.\u201d<\/p>\n\n\n\n

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Film still: The Missing<\/strong><\/figcaption><\/figure>\n\n\n\n

Geo Lomuntad is a filmmaker and producer, known for Carl Joseph E. Papa\u2019s 2024 Filipino Oscars submission The Missing<\/strong> (IFFR 2024) and brings the filmmaker\u2019s next project Sentinel<\/strong> to CineMart 2025. Lomuntad attended Rotterdam Lab in 2024.<\/p>\n\n\n\n

Mark Lwoff: Be open-minded<\/strong><\/h2>\n\n\n\n

\u201cFor me, Rotterdam Lab was a great experience and the first lab I participated in. It taught me to be open minded. Cinema is such a rich medium, offering the possibility to find yourself working all around the world, learning different ways of seeing things and getting to know awesome people.\u201d<\/p>\n\n\n\n

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Film still: Fallen Leaves<\/strong><\/figcaption><\/figure>\n\n\n\n

Mark Lwoff is the producer of IFFR 2025 Big Screen Competition title Orenda<\/strong> and is also known for Aki Kaurism\u00e4ki\u2019s Fallen Leaves <\/strong>(2023), 8 Views of Lake Biwa<\/strong> (IFFR 2024) and Cairo Conspiracy <\/strong>(IFFR 2023). Lwoff attended Rotterdam Lab in 2012.<\/p>\n\n\n\n

Victoria Marotta: Embrace international co-productions<\/strong><\/h2>\n\n\n\n

\u201cRotterdam Lab was key in helping me understand the film industry at a crucial stage when I had completed my first films and aimed to grow my production company. Participating in CineMart provided an incredible opportunity to network with top producers, sales agents and platforms in a friendly collaborative environment. I learned invaluable lessons including how to present myself, define my professional goals and plan the next steps for my company.<\/p>\n\n\n\n

Equally important was understanding the value of creative international co-productions and choosing the right partners for each project. Sharing this experience with producers worldwide fostered trust and lasting connections which are essential for successful collaborations.\u201d<\/p>\n\n\n\n

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Film still: La pr\u00e1ctica<\/strong> <\/figcaption><\/figure>\n\n\n\n

Victoria Marotta is a producer known for the Hubert Bals Fund-supported titles La pr\u00e1ctica<\/strong> (Mart\u00edn Rejtman, 2023) and El auge del humano 3<\/strong> (Eduardo Williams, 2023), as well as Iv\u00e1n Granovsky\u2019s Los territorios<\/strong> (IFFR 2017). Marotta attended Rotterdam Lab in 2019.<\/p>\n\n\n\n

Aiko Masubuchi: Work with people you like<\/strong><\/h2>\n\n\n\n

\u201cAs somebody [learning to] navigate industry standards, it was really important to be able to see the human side of everything at Rotterdam Lab. The shared motivation of the group was: How do we make the film that we want to make? and How do we also provide care and understanding and build relationships with the people we work with?\u201d<\/p>\n\n\n\n

This spirit of affinity that she found in Rotterdam Lab was her main takeaway. \u201cAll the experienced producers were saying: \u2018work with people you like.\u2019 [Neo Sora and I] took the same approach to our film: let\u2019s actually trust our instincts and try to work with people who are very skilled at what they are doing, but also people we feel we could be friends with.\u201d<\/p>\n\n\n\n

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Film still: Happyend<\/strong><\/figcaption><\/figure>\n\n\n\n

Aiko Masubuchi is a filmmaker and producer, known for Neo Sora\u2019s Happyend<\/strong> (Venice, Toronto, 2024). Masubuchi attended Rotterdam Lab in 2021.<\/p>\n\n\n\n

Bridget Pickering: Collaboration is key<\/strong><\/h2>\n\n\n\n

\u201cA key lesson I took away from the Lab was: Collaboration is not a dirty word. It is at the heart of our work and it\u2019s what makes filmmaking exciting, unique and full of surprises.\u201d<\/p>\n\n\n\n

In addressing future participants, Pickering offers: \u201cBe open to experimentation in your choices and to discovering what you love in terms of stories, genres and worlds. Think of the whole world as your oyster.\u201d<\/p>\n\n\n\n

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Film still: Hotel Rwanda<\/strong><\/figcaption><\/figure>\n\n\n\n

Bridget Pickering is a Hubert Bals Fund-supported filmmaker and producer, known for The Last of the Mohicans<\/strong> (1992), Hotel Rwanda<\/strong> (2004) and Glengarry Glen Ross<\/strong> (1992). Pickering attended Rotterdam Lab in 2008.<\/p>\n\n\n\n

David Pope: Be open to new experiences and insights<\/strong><\/h2>\n\n\n\n

For Pope, the Lab offers an active opportunity for participants \u201cto build confidence, strategies and relationships to further navigate the international industry. So it’s valid to come with an open mind and absorb all of the information and experience and relationships that are there. It’s also valid to be finding a route for a particular project, but often what participants actually find themselves doing is being open to experiences and possibilities beyond the project.\u201d<\/p>\n\n\n\n

As another point of advice, Pope recommends being open to learning from each other, and the wide range of countries and systems each producer knows how to navigate. \u201cWe’re bringing all these solitary animals together and they’re kind of co-existing and learning from each other.”<\/p>\n\n\n\n

David Pope a script consultant, screenwriter and creative producer, known for Take It or Leave It <\/strong>(2018), Truth or Justice <\/strong>(2019) and The Goat <\/strong>(2024). Pope is a Rotterdam Lab advisor, and attended the Lab in 2008.<\/p>\n\n\n\n

Elisa Sepulveda Ruddof: Persistence pays off<\/strong><\/h2>\n\n\n\n

\u201cStay open and curious. You never know who you’ll meet or the future collaborations that might arise. Production is a profession deeply rooted in relationships and networking.\u201d<\/p>\n\n\n\n

Addressing future participants embarking on their careers, Elisa shares: \u201cPersistence is one of the most valuable traits you can cultivate. Always try to trust your instincts. If you already have a \u2018no\u2019, you still have a 50% chance of turning it into a \u2018yes\u2019. Stay curious, watch films and continuously cultivate your taste.\u201d<\/p>\n\n\n\n

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Film still: The Things You Kill<\/strong> by Alireza Khatami (IFFR 2025)<\/figcaption><\/figure>\n\n\n\n

Elisa Sepulveda Ruddof is a producer known for Don’t Look Down<\/strong> (2019), The Things You Kill<\/strong> (IFFR 2025) and Oblivion Verses<\/strong> (2017). She brings the Hubert Bals Fund-supported project Corte Culebra<\/strong> by Ana Elena Tejera to CineMart 2025. She attended Rotterdam Lab in 2020.<\/p>\n\n\n\n

Marleen Slot: Think beyond borders<\/strong><\/h2>\n\n\n\n

“When I attended the Rotterdam Lab, I learned the importance of working internationally and to look further than the borders of my country and even Europe. The experience showed me the importance of the collective. I learned the value of co-producing and how working together with partners all over the world can make the films you work on stronger and more diverse.\u201d<\/p>\n\n\n\n

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Film still: Jimpa<\/strong> by Sophie Hyde (Sundance 2025)<\/figcaption><\/figure>\n\n\n\n

Marleen Slot is a producer, known for Jimpa<\/strong> by Sophie Hyde (Sundance 2025), the Golden Calf-winning Dirty God<\/strong> (IFFR 2019) by Sacha Polak, and the HBF-supported Leones<\/strong> by Jazm\u00edn L\u00f3pez (IFFR 2013). Slot attended Rotterdam Lab in 2008.<\/p>\n\n\n\n

Maarten van der Ven: Enjoy it, but be prepared<\/strong><\/h2>\n\n\n\n

\u201cFirst and foremost, enjoy it \u2013 but be prepared. You get to meet a lot of excellent experts and you get to feel that this is the start of your international co-production career. As long as you just start talking on a personal level and make personal connections, you will meet and see these people who have a very good nose for talent and quality again and again at CineMart, or at Berlinale Talents, EAVE or ACE. And when you know them better, then you can begin to build something of quality.\u201d<\/p>\n\n\n\n

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Film still: De Idylle<\/strong><\/figcaption><\/figure>\n\n\n\n

Maarten van der Ven is the producer IFFR 2025 Big Screen Competition title De Idylle <\/strong>by Aaron Rookus, and many others, including Ena Sendijarevi\u0107\u2019s Take Me Somewhere Nice<\/strong> (IFFR 2019) the HBF-supported To a Land Unknown<\/strong> (Mahdi Fleifel, 2024). Van der Ven attended Rotterdam Lab in 2011.<\/p>\n\n\n\n

Sander Verdonk: Stay up late and participate!<\/strong><\/h2>\n\n\n\n

\u201cI attended Rotterdam Lab very early in my career, it was straight out of film school with no real knowledge or experience in producing. I met friends and partners for life, learned so much about all the differences and similarities in producing, developing projects, finding finance and actually shooting. To be honest the added value of the Lab was mainly in the informal side, and my advice for every new participant is to not skip any social moment, stay up late and participate!\u201d<\/p>\n\n\n\n

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Film still: Fabula<\/strong> by Michiel ten Horn (IFFR 2025 Opening Film)<\/figcaption><\/figure>\n\n\n\n

Sander Verdonk is the producer of the IFFR 2025 opening film Fabula<\/strong> by\u00a0Michiel ten Horn, as well as American Animals <\/strong>(2018), Strike a Pose<\/strong> (2016) and The East <\/strong>(2020). Verdonk attended Rotterdam Lab in 2009.<\/p>\n\n\n\n\t

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