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Cine Of The Times: Did No Country For Old Men Predict Trump’s America?
In 2007, the Coen Brothers made a thriller set in 1980 that somehow captured an American dread that…
Can Cinema Teach Us How to Pay Attention? — What Playtime, Ikiru & After Hours Asks Of Us
We’re constantly told to slow down and be present, but what does it actually mean to pay attention…
When Does A Film Become Camp?
What makes a film camp? Is it something filmmakers create, or something audiences discover? To celebrate Pride Month…
Why Black Girl Still Matters 60 Years Later w/ Djeneba Saccoh
Who gets to tell a story? And who gets to see themselves reflected on screen? Sixty years after…
Who Really Was the Father Of African Cinema? — Ousmane Sembène, By His Son Alain
Some filmmakers don’t just make great films, they change who cinema is for. 60 years ago, Ousmane Sembène’s…
Is Christopher Nolan’s The Odyssey Just 6 Great Scenes?
Why are journeys one of cinema’s defining storytelling forms? Christopher Nolan’s The Odyssey brings one of literature’s greatest…
Has Letterboxd Changed The Way We Watch Films?
Do ratings help us discover great films or have they quietly changed the way we watch? Before you’ve…
The Watermelon Woman at 30: Cheryl Dunye’s Queer Cinema Landmark
The Watermelon Woman (1996) was Cheryl Dunye’s debut and the first American feature directed by a Black lesbian.…
Did Movies Invent Alien Encounters?
Nobody has ever filmed a real alien, so why do they all look the same? The grey skin,…
Is Disclosure Day Spielberg’s Most Hopeful Film Or His Most Naive?
Steven Spielberg spent fifty years teaching us to look up. When the Pentagon released its real alien files,…
Fast & Furious: How the Franchise Remade Hollywood (w/ Dan Hassler-Forest)
The Fast and the Furious (Rob Cohen, 2001) was a small film about Los Angeles street racers, immigrant…
The Backrooms, Explained: Kane Parsons & the A24 Feature
Kane Parsons made the Backrooms on YouTube when he was only sixteen. Over 200 million views later, A24…
Cannes 2026 Dispatch With Peter Bradshaw
The Guardian’s Peter Bradshaw has been sending dispatches from Cannes since 1999. If you ask him what’s changed…
Autobiographical Cinema: Why We Love to Film Ourselves
Long before phones turned every life into footage, a small line of filmmakers was already pointing the camera…
Cinema Obsession: Why Films Grip Us (Vertigo, Peeping Tom)
Cinema’s dirtiest little secret is that it’s designed to make you want something you can never have. In…
Amadeus: Is It Really About Mediocrity?
Amadeus (1984, Miloš Forman) is not really about Mozart. It’s a film about the rest of us —…
Laura Gommans
Laura Gommans is a film journalist and the host of Celebrating Cinema.
Hugo Emmerzael
Hugo Emmerzael is an Amsterdam-based film critic, public speaker and curator with over a decade of experience at the intersection of cinema, music and culture at large.
Kiriko Mechanicus
Kiriko Mechanicus, also known as Kiri Academy, is an Amsterdam-based Dutch-Japanese documentary filmmaker, writer of fiction and non-fiction, culinary artist, photographer, host, full-time opinionated bitch and part-time party girl.
Tom Ooms
Tom Ooms is Head of Cinema at LAB111, where he leads the programming, and runs its sister distribution company Odyssey Classics, releasing classic cinema.
The Devil Wears Prada 2: Is Miranda Priestly A Feminist Icon Or A Toxic Boss?
Miranda once told Andy she was the greatest disappointment of her career. Twenty years on, the question isn’t…
Truly Naked: Can a Film Be More Intimate Than Porn?
Can a film be more intimate than pornography? Can a film be more intimate than pornography? In Truly…
Musical Biopics: Can You Still Make a Good One? (Re-Release)
A note from us: we spent the past two weeks going through your survey responses — thank you…
A-List Actors Gone Weird (Borgli’s The Drama)
What is the worst thing you’ve ever done? This week, hosts Laura Gommans and Elliot Bloom watched Kristoffer…