(host/entertainment journalist)
(film critic)
(film maker)
(film programmer)
Hailed as the Citizen Kane of bad movies, The Room (Tommy Wiseau, 2003) has transcended its origins as an enigmatic vanity project to become a bona fide cult phenomenon. But how did it achieve such status, and what, beneath its layers of unintentional surrealism, is it really about? Hosts Laura Gommans and Tom Ooms unravel the film’s bizarre legacy, offering an essential guide to its chaotic production, the rituals of its legendary interactive screenings, and its place in the pantheon of so-bad-it’s-good cinema.
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When Parasite won Best Picture, it put Korean cinema in the global spotlight, but it was the result of decades of bold filmmaking. With Mickey 17 now out, it’s the perfect time to dive into the bloody brilliance of the Korean New Wave.
Hosts Laura Gommans and Kiriko Mechanicus explore Korea’s obsession with vengeance, shaped by its turbulent history and uncensored filmmaking. They also examine why Bong Joon-ho’s Hollywood work feels so different from his Korean films.
Korean cinema captures vengeance like no other, blending brutal violence with raw emotion. While Bong mixes social critique with suspense, Park Chan-wook’s Oldboy and The Handmaiden embrace operatic violence and eroticism.
Join us as we dissect the thrills and bloodstained poetry of the Korean New Wave.
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Listen to Do Two Robert Pattinsons Make Mickey 17 Twice the Fun?
In our latest review round-up, Bong Joon-ho’s Mickey 17 has Laura and Hugo at odds, Mike Leigh’s Hard Truths steals their hearts, and Brazilian awards darling I’m Still Here sparks a heated debate between our two hosts—is it Oscar bait or a worthy contender? Tune in and have your say on this month’s biggest releases!
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In this review roundup, hosts Laura Gommans and Hugo Emmerzael dive into three films that have caught their attention. Oz Perkins’ latest offbeat horror, The Monkey, leaves them both questioning if the American director knows how to land an ending. Hugo shares insights from his Cannes conversation with Jia Zhang-ke about his latest work, Caught by the Tides. But while Hugo sees something transcendental, Laura isn’t so convinced—questioning whether it’s all just pretension and an easy ride to the Cannes Film Festival. Finally, they close with Payal Kapadia’s fiction feature debut, All We Imagine as Light – a film that moved both hosts, though for very different reasons. (No surprises there!)
With a new wave of nostalgia-driven musical biopics—A Complete Unknown, Better Man, Maria—flooding theaters, hosts Laura Gommans and Hugo Emmerzael ask: what does it take to make a great musical biopic these days? A genre weighed down by formulaic storytelling and its own well-worn bingo card of narrative beats, the musical biopic too often settles for a greatest-hits retelling rather than embracing the radical possibilities of cinema. In this episode, we revisit the films that transcend mere homage, interrogate why audiences remain captivated by these glossy reenactments, and consider how the genre might break free from its own nostalgic loop.
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In our first edition of the Review Roundup, a new biweekly cinematic dispatch, Laura Gommans and Elliot Bloom get into the latest films everyone’s talking about. From the swirling controversies surrounding Brady Corbet’s Academy-nominated The Brutalist to the unexpected Marvel-like crossover in Pablo Larraín’s Maria, Laura and Elliot share their reactions. Also in focus: the enduring allure of Luis Buñuel’s Belle de Jour, a film as provocative and hypnotic now as it was upon its release, returning to the big screen in all its dreamlike splendour.
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Legendary filmmaker Ernest Dickerson joins host Elliot Bloom for an insightful journey through his remarkable career. From his early love of sci-fi and fascination with the practical elements of filmmaking to meeting long-time collaborator Spike Lee on his first day of film school, Dickerson reflects on the defining moments that have influenced his work. With an encyclopaedic knowledge of cinema, he discusses his pivotal role in shaping Black American cinema over the last 40 years and the stories behind the making of his iconic films. In a candid conversation, Dickerson also reveals the unexpected path that led him to make a feature film about Curaçao.
Book tickets to CC Film Club: Juice
This year, vampires emerge from the shadows once more with Robert Eggers’ haunting reimagining of Nosferatu. But why does the vampire continue to linger in our cultural imagination?
In this episode, hosts Laura Gommans and Tom Ooms embark on a cinematic journey through the dark, blood-soaked history of vampires and night stalkers. From terrifying symbols of society’s deepest fears to complex, oddly relatable figures, they explore how these creatures of the night have evolved. What began as a reflection of our anxieties has transformed into a mirror of our own desires, struggles, and yearnings.
Join them as they unravel the vampire’s enduring appeal and ask: are these bloodsuckers misunderstood souls searching for something deeper than just human blood?
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Listen to our conversation with Twilight director Catherine Hardwicke
Fresh off winning the Dutch Film Critics’ Choice Award at the Netherlands Film Festival, LAB111 resident filmmaker Jeroen Houben joins host Kiriko Mechanicus to discuss his bittersweet, offbeat drama Torch Song. The film tells the story of an eccentric former pop singer who reconnects with her estranged half-brother in the Netherlands, only to unravel his life when she discovers a muse in his girlfriend. Houben delves into his aim to craft a raw, nuanced portrayal of a struggling artist, sidestepping tired clichés, while offering a fresh perspective on Amsterdam through the eyes of an international community. He also reflects on composing the film’s songs in tandem with the script, his fascination with musicals, and a formative (and unsettling) childhood memory of an animated dog. A bold tribute to the power of music and storytelling, this episode offers an illuminating look into the creation of a film where ambition and emotion collide.
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A fearless voice against systemic injustice, Raoul Peck has crafted a body of work that interrogates the legacies of colonialism, racism, and power with unflinching clarity. In this episode, Peck joins our producer Elliot to discuss his latest film, Ernest Cole: Lost and Found, an intimate exploration of South Africa’s first apartheid-era photographer. Reflecting on Cole’s haunting images, Peck draws striking parallels between apartheid South Africa, modern systems of segregation, and the enduring consequences for those displaced.
Peck’s films stand as a testament to the radical potential of cinema to confront, reimagine, and connect the world’s entrenched narratives. He leaves us with a powerful reminder: “The world will be what each one of us lets it be. If we don’t act, our inaction will shape the future.”
Book tickets to Ernest Cole: Lost and Found
Book tickets to The Raoul Peck Collection
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