While everyone is decrying the death of movie theatres, Lauren could not care less. For her, watching films at home is an entirely superior experience; too many movies have been spoiled by seeing them with others on the big screen. Can the case be made that the home experience is simply cozier, quieter, and, well, better ... or will the panel attempt to tear her apart?

Has any director achieved more than Chantal Akerman while still in their 20s? The only comparison point is really Orson Welles. This is the woman who made Jeanne Dielman, voted the greatest film of all-time by Sight & Sound, when she was 24, and the masterpieces kept coming.

In this episode, Matt and Chris dive into what makes Chantal Akerman's early masterpieces so special, from their daring and changing form, redefining what cinema could be, to their deeply personal, human, and touching connections.

We will also explore why these films put so many people off, even pissing them off, and the controversy around Jeanne Dielman in particular - but more importantly, we will discuss each of the 4 major feature films Akerman made in the 70s - timestamps included:

• Je tu il elle / I, You, He, She (1974) - 00:17:12
• Jeanne Dielman (1975)- 00:32:45
• News From Home (1976) - 00:52:07
• Les rendez-vous d'Anna / The Meetings of Anna (1978) - 01:05:01

We also made the decision to include the more often overlooked 5th major film she made immediately after her 4 early masterpieces:

• Toute une nuit / A Whole Night (1982) - 01:16:40

A worthy inclusion in this set? Let us know, but we felt we had to talk about it!

Are biopics mostly just lazy summaries of Wikipedia articles? A production mill of comfort food aimed to cash in on the icons of your youth/past? Or: Are they great insights into intriguing people of the past and present?

Join us as our hosts share their disdain for conventional biographies, before being told - by IMDb - just how many biopics they actually love.