Lieselotte Belon

Lieselotte Belon—now there’s a name you’ll want to remember. She’s popping up everywhere these days, and honestly, it’s about time. In "Patsers" (2025), she dives into the chaos of street life and criminal ambition, toeing the line between loyalty and survival in a world where everyone’s got something to prove and nothing’s ever as simple as it seems. The film doesn’t tiptoe around the messiness; it throws you right in, no apologies. Lieselotte’s got this sharp edge—her character feels real, not polished or sugarcoated, just raw guts and nerves. Then you’ve got "Uit het oog" (2024), which takes a left turn from the gritty streets into the tangled mess of lost connections and nostalgia. Here, Lieselotte brings this understated vulnerability, kind of like someone quietly carrying a whole world of regret and hope at the same time. The story drifts between past and present, pulling at memories and what-ifs, making you wonder about the people you’ve let slip away. She doesn’t have to say much; it’s all in the way she looks at people, like she’s searching for the right words but knows they’ll never really come out right. And just when you think she’s all about heavy drama, she flips it again in "Un Matin" (2024). This one’s way more intimate, almost dreamlike, following a day that feels both ordinary and quietly monumental. Lieselotte’s performance is all small gestures and tiny heartbreaks, the kind of acting that sneaks up on you. You watch her characters and start recognizing bits of yourself, which, honestly, is a little unsettling but kind of wonderful.