Featured Episode

The Man Who Fell to Screen: David Bowie’s Life in Cinema

From the alien drifter of The Man Who Fell to Earth to the unforgettable Goblin King of Labyrinth, David Bowie built a film career as singular as his music career and considerably less discussed. Laura Gommans and Tom Ooms trace Bowie's relationship with cinema across four decades — what drew him to the screen, what he was doing that other musicians who attempted acting were not, and why certain performances (The Prestige, Merry Christmas Mr. Lawrence) hold up as genuine acting rather than celebrity appearances. An episode about a complete artist who kept finding new forms to inhabit. Read More

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From Mary Shelley to the Bride: Why Is Frankenstein’s Monster Always So Ugly?

Mary Shelley wrote Frankenstein at nineteen, and cinema has been retelling it ever since — mostly getting it wrong. Laura Gommans and Tom Ooms ask the central question: is the monster a misunderstood outcast, an abandoned child who never asked to exist, or a cautionary tale about men who play God? And more urgently: why is he always ugly when the novel never required it? Tracing the monster through James Whale's 1931 original, Hammer Horror, and The Bride — an episode about what we've done to a story that was always, at its heart, about responsibility.Read more
March 5, 2026

Wim Wenders Says Cinema Is Not Political. These Films Disagree.

At the Berlinale, Wim Wenders declared that cinema is not political. Elliot Bloom and Kiriko Mechanicus — both speaking from their own diasporic experiences — decided to test that claim. Moving through Persepolis, Incendies, Bend It Like Beckham, Girlhood, and Chantal Akerman's News from Home, they explore how diaspora cinema transforms the politics of borders and belonging into something deeply, unavoidably human. An episode about what it means to live between cultures — and why the cinema that insists it is not political is often the most political cinema of all.Read more
February 26, 2026

Are Marty Supreme and Wuthering Heights Worth the Hype?

Social media has decided that both Marty Supreme and Emerald Fennell's Wuthering Heights are Films That Must Be Discussed — but are they worth the discourse they've generated? Hugo Emmerzael questions whether the outrage over Heathcliff's latest reimagining deserves our energy, suggesting the film may be more interesting when taken at face value. Meanwhile, Laura traces the marketing machinery behind Marty Supreme and asks: at what point does the anticipation become the experience — and does the film survive that pressure?Read more
February 19, 2026
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Hosts

A film journalist, a film critic, a film maker, a film curator.

    Laura Gommans

    Film Journalist

    Hugo Emmerzael

    Film Critic

    Kiriko Mechanicus

    Filmmaker

    Tom Ooms

    Head of Cinema, LAB111

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