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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…

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…

Can You Still Make A Good Musical Biopic? (Re-Release)

A note from us: we spent the past two weeks going through your survey responses — thank you…

The Drama And Why A-List Actors Go Gloriously Weird

What is the worst thing you’ve ever done? This week, hosts Laura Gommans and Elliot Bloom watched Kristoffer…

Mees Peijnenburg On A Family, Dutch Cinema, And The Emotional Architecture of Divorce

Divorce is rarely one story. It’s four, or five — each told from a different room in the…

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,…

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…

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…

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…

The DJ Who Turned Sirãt Into a Rave Experience w/ Kangding Ray

Sirat — Óliver Laxe's Cannes entry — follows a father searching for his daughter through a world dissolving…

How Brokeback Mountain Changed Queer Storytelling w/ Esje Seigfried

Cultural critic Esje Seigfried joins Laura Gommans twenty years after Brokeback Mountain to ask what queer cinema inherited…

Park Chan-wook’s No Other Choice Is a Brutal Take on Capitalism

Park Chan-wook may have made his masterpiece. Laura Gommans and Hugo Emmerzael break down No Other Choice —…

Can We Still Watch Films by Bad People

The death of Brigitte Bardot — screen legend, vocal far-right sympathiser — reignites the question that contemporary culture…

Hamnet and Movies That Are Secret Shakespeare Plays

Chloé Zhao's Hamnet — a film about Shakespeare and grief — becomes the occasion for a wider excavation:…

2000 Metres to Andriivka and Why We Need Documentary Films

Mstyslav Chernov's 2000 Metres to Andriivka is one of the most immersive war documentaries ever made — and…

Why Children of Men Is the Most Realistic Dystopian Film

In a special episode responding to audience suggestions from LAB111's Lab Suggestions programme, Laura Gommans and Hugo Emmerzaal…

Ranking the Most Talked About Films of 2025

As the year comes to a close, hosts Laura Gommans and Elliot Bloom look back on the films…

The Winter Films Everyone Is Talking About

A pre-Christmas review roundup that lingers on three films deserving more attention than they've received. Joachim Trier's Sentimental…

What Makes a Film Festive?

Laura Gommans is an unabashed devotee of festive films. Kiriko Mechanicus prefers her Christmas viewing eyes-wide-open — more…

How Sex and the City 2 Maps the Rise and Fall of the American Empire

Sex and the City 2 is not canonical cinema — and yet, as Hugo Emmerzael argues in his…

Die My Love, Splitsville, Nouvelle Vague + Schmutz Cinema

A Review Roundup in which Laura Gommans and Elliot Bloom find themselves genuinely divided. Lynne Ramsay's Die My…

Jack of All Trades: How Jack Nicholson Became a Cinema Icon

Timed to the 50th anniversary re-release of One Flew Over the Cuckoo's Nest, Hugo Emmerzael and Tom Ooms…

The Smashing Machine, Back to the Future & It Was Just an Accident

Benny Safdie's The Smashing Machine — a biopic about MMA legend Mark Kerr, starring Dwayne Johnson — received…

How the American New Wave Took Over Hollywood

The American New Wave — New Hollywood — gave us Scorsese, Coppola, Spielberg, and Altman. But what was…

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