WEBVTT - The best films of 2025

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<v Speaker 1>I'm Ruby Jones and you're listening to seven AM. Kate

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<v Speaker 1>Jings watches hundreds of films every year for her job

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<v Speaker 1>programming feature films at the Melbourne International Film Festival, and

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<v Speaker 1>because she loves them. Today she's bringing you her five

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<v Speaker 1>favorites from twenty twenty five. There's Leonardo DiCaprio. Of course,

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<v Speaker 1>there's also Heist's Collaborative Theater as Film PTSD but funny,

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<v Speaker 1>and there's Porridge. It's Thursday, December twenty five and Merry Christmas.

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<v Speaker 2>Kate, welcome to seven AM. Thank you so much for

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<v Speaker 2>coming on the show.

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<v Speaker 3>Hey, thanks for having me.

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<v Speaker 2>All Right, movies of the year, let's kick things off.

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<v Speaker 3>What is first on your list?

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<v Speaker 4>Okay, the first one is Paul Thomas Anderson's film One

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<v Speaker 4>Battle after Another, which I'm sure.

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<v Speaker 3>Is topping like every single list.

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<v Speaker 5>At the moment, bringing justice to the vigilante group known

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<v Speaker 5>as the French seventy five. We are here to award

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<v Speaker 5>Steven lot of Job with the Medal of Honor.

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<v Speaker 3>This is a total epic from him.

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<v Speaker 4>I mean, I know his films are kind of epic

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<v Speaker 4>and scope, but this one is you know, it costs

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<v Speaker 4>a huge amount of money, but it's essentially about a

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<v Speaker 4>group of like leftist radicals. They're breaking out immigrants from

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<v Speaker 4>kind of ice like containers, going.

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<v Speaker 3>To create a show an announce.

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<v Speaker 4>There are a lot of bombs, there are a lot

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<v Speaker 4>of car chases. It's an incredibly enjoyable film, like it's

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<v Speaker 4>just a film you want to see at the cinema

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<v Speaker 4>on the biggest screen possible. But it's also of course

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<v Speaker 4>very political and very politically minded and kind of a

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<v Speaker 4>prescient film for the times.

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<v Speaker 1>Very important to keep your cap shunted like this so

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<v Speaker 1>you don't accidentally detonate your charge.

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<v Speaker 2>And you said that the film is pressing in terms

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<v Speaker 2>of the current political climate, So what do you think

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<v Speaker 2>it gets right in terms of understanding the political landscape,

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<v Speaker 2>the growing far right, the deepening political divides in the US,

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<v Speaker 2>but you know, also in a lot of the world.

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<v Speaker 4>Well, it's very much about this polarized society. And we

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<v Speaker 4>saw it also with the film like Civil War that

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<v Speaker 4>came out earlier this year, about this kind of growing

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<v Speaker 4>distrust in the government and in political systems and in

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<v Speaker 4>the law, and a kind of radicalization of people that

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<v Speaker 4>you wouldn't really expect to be kind of becoming radicalized

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<v Speaker 4>Like it does feel like an activist film. I mean,

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<v Speaker 4>it is also still like a big budget car chase film,

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<v Speaker 4>but there is something kind of solid to it, I think.

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<v Speaker 2>And it's also the latest collaboration between Paul Thomas Anderson

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<v Speaker 2>and Johnny Greenwood of Radiohead. He composed the music for

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<v Speaker 2>this film.

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<v Speaker 6>Talk a bit about the scot.

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<v Speaker 4>Yeah, it's his sixth score with PTA, which is interesting.

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<v Speaker 4>I mean, he does so many films, but he just

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<v Speaker 4>seems to have such a incredible connection with Paul Thomas

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<v Speaker 4>Anderson and Johnny Greenwood has just put together.

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<v Speaker 3>This beautiful score.

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<v Speaker 4>It's very like discordant piano and percussion and like blasts

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<v Speaker 4>of synth, and it really matches the energy, the frenetic

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<v Speaker 4>energy of the film. I'd be very surprised if it's

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<v Speaker 4>not Oscar nominated.

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<v Speaker 3>Okay, all right, let's move on.

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<v Speaker 2>What is your second pick?

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<v Speaker 4>The second one is the mastermind the new Kelly ry

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<v Speaker 4>Cup film, which actually has quite a lot of connection

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<v Speaker 4>to one battle after another. You wouldn't think that you

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<v Speaker 4>know a Kelly Rye Cup film. You know, she makes

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<v Speaker 4>kind of these pretty intimate, small, low key films. Generally,

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<v Speaker 4>I love her work so much and this is a

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<v Speaker 4>heist film, it's said in the early seventies, but it

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<v Speaker 4>is also about this growing kind of despondency and like

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<v Speaker 4>political apathy.

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<v Speaker 3>You don't look like cops, Saint James.

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<v Speaker 6>We've been told that you're mixed up in this robbery.

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<v Speaker 3>I sure don't know how you got down this for

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<v Speaker 3>you got the wrong idea.

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<v Speaker 4>I'm afraid you get set against the backdrop of you know,

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<v Speaker 4>the expansion of the Vietnam War and protests on campus

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<v Speaker 4>in the States. But at its core, the film is

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<v Speaker 4>about a man who is kind of this middle class

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<v Speaker 4>guy who just manages to skate through live He's played

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<v Speaker 4>by Josh O'Connor, and he becomes quite obsessed with these

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<v Speaker 4>paintings in the local art gallery, like a large museum,

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<v Speaker 4>and he puts together a heist with a couple of

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<v Speaker 4>guys who should not be doing this kind of work.

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<v Speaker 4>So what we see is this like very hapless guy

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<v Speaker 4>on the lamb attempting to evade capture.

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<v Speaker 5>It's a big life changing opportunity for me, but I

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<v Speaker 5>don't have to run a workspace and purchase tools, which.

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<v Speaker 6>I don't have.

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<v Speaker 3>That sort of thing.

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<v Speaker 2>And this is real, it's real somewhat coincidentally, I'm sure,

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<v Speaker 2>being released in the context of the recent actual heist

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<v Speaker 2>of the Loof.

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<v Speaker 4>Yeah, if only it was as meticulously planned as that

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<v Speaker 4>Louver Highest. And what I wish had come out of

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<v Speaker 4>the Louver situation is that it had really made everyone

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<v Speaker 4>rush to see The Mastermind at the cinema, And sadly.

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<v Speaker 3>I don't think it did, but it should have. It

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<v Speaker 3>should have.

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<v Speaker 2>Yeah, So the box office straw was just one point

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<v Speaker 2>four million, despite a lot of very good reviews. So

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<v Speaker 2>what to make of that?

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<v Speaker 3>It is kind of a small film.

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<v Speaker 4>I don't think people are ever really rushing out to

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<v Speaker 4>Kelly Reiker films at the cinema. They should be, she

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<v Speaker 4>makes beautiful films. It's hard to market a film like this,

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<v Speaker 4>and with films going straight to streaming, I think that

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<v Speaker 4>that is, you know, just a rising ish. I mean,

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<v Speaker 4>people still are going to the cinema. I'm never going

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<v Speaker 4>to say cinema is dead, because it just keeps coming back.

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<v Speaker 2>In some ways, you would think that this one, you know,

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<v Speaker 2>might be kind of more that way in clin purely

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<v Speaker 2>because it is it's a highest film. Highest films are fun.

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<v Speaker 2>People like to go out and watch them. So how

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<v Speaker 2>does this film sit I suppose within that canon.

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<v Speaker 4>I mean, look, it's the most hapless heist you've ever seen,

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<v Speaker 4>but it's very funny. It's no like Roofifi, it's no

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<v Speaker 4>Lesser Ruge, it's not even like Oceans eleven, you know,

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<v Speaker 4>but it's probably my favorite.

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<v Speaker 1>Coming up a debut director and a cult favorite.

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<v Speaker 2>Kate, we're chatting about your favorite films of twenty twenty five.

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<v Speaker 2>What's next on the list.

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<v Speaker 4>The next one is Sorry Baby. It's by Eva Victor

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<v Speaker 4>and it's their directorial debut and they also they wrote

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<v Speaker 4>directed start in It really impressive for someone who has

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<v Speaker 4>only made like kind of two camera pieces like.

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<v Speaker 3>On their phone.

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<v Speaker 4>That's kind of what Eva Victor came up during COVID

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<v Speaker 4>times of like making these front facing camera videos that

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<v Speaker 4>were very funny and put them on Twitter. And now

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<v Speaker 4>they've got this like film that played at can What

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<v Speaker 4>are you up.

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<v Speaker 3>To this fine evening?

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<v Speaker 6>I was wondering, do you have like stuff that makes

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<v Speaker 6>a fire? Why do you need it? My friends and

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<v Speaker 6>I we're going to make like hart Dogs hard dogs

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<v Speaker 6>sounds good. I'm sorry, we only bought two hot dogs.

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<v Speaker 4>It's essentially about this woman who is she's teaching her

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<v Speaker 4>a college. It's told in four chapters that have been

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<v Speaker 4>sort of rearranged, so we're not dealing with a linear

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<v Speaker 4>timeline throughout the film, which matches the emotional state of

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<v Speaker 4>the character reckoning with an assault that occurred. They were

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<v Speaker 4>assaulted by a trusted individual during their time as an

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<v Speaker 4>undergrad on campus and have now become like a professor.

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<v Speaker 6>I know this is hard to talk about.

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<v Speaker 3>It doesn't feel that you know that.

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<v Speaker 6>We know what you're going through. We are women what.

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<v Speaker 4>At the same time, it is a very funny film.

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<v Speaker 4>It's beautifully funny, tender film.

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<v Speaker 2>That is a very hard line to walk though between

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<v Speaker 2>comedy and that kind of content you know about sexual

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<v Speaker 2>assault and PTSD.

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<v Speaker 3>But you think it kind of.

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<v Speaker 2>Manages to, you know, move between those kinds of emotional poles.

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<v Speaker 3>Yeah, I really do.

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<v Speaker 4>And I think the reason why I've put it into

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<v Speaker 4>my top four of the year is it's not because

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<v Speaker 4>it is just the like the best film that came out.

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<v Speaker 4>It's that even Victor has taken something that's discussed so

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<v Speaker 4>much in kind of print media and on screen and

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<v Speaker 4>in television. I see so like I see hundreds and

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<v Speaker 4>hundreds of films all the time, and I see a

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<v Speaker 4>lot of films about these this kind of subject, But

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<v Speaker 4>when something like this comes along, it's like, Oh, there

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<v Speaker 4>are new ways of telling these stories. There are these

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<v Speaker 4>really authentic ways of telling these stories that you might

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<v Speaker 4>not want to be hearing about anymore, you might not

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<v Speaker 4>want to be seeing anymore. But it is a kind

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<v Speaker 4>of deeply affecting film.

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<v Speaker 7>Missus Ward, what when I asked who has been a

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<v Speaker 7>victim of a crime?

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<v Speaker 3>Did you raise your hand?

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<v Speaker 6>No? I realized I shouldn't share it.

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<v Speaker 3>So you're unable to share the crime.

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<v Speaker 7>It is frankly my worst night, Meredith, to tell this

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<v Speaker 7>whole rooms strangers about the thing that happened to me.

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<v Speaker 7>So that is the reasoning as to why I did

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<v Speaker 7>not decide to continue having my hand raised.

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<v Speaker 2>Thank you, okay, And so your fourth pick is from

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<v Speaker 2>a cult favorite director.

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<v Speaker 4>Yeah, this one is Mike Lee's film Hard Truths. I

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<v Speaker 4>adored this film. I really love Michaele's films, but this

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<v Speaker 4>one is his best film in quite a long time.

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<v Speaker 3>She's rude, man, I've been harassed people all day. I'm

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<v Speaker 3>sick to death with it.

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<v Speaker 4>It stars Mary and John Baptiste, who was in his

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<v Speaker 4>film Secrets and Lies from nineteen ninety six, and I

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<v Speaker 4>think she did like the score for another film of

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<v Speaker 4>his career, Girls, and she plays this ultimate sour pause.

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<v Speaker 3>Her name is Pansy.

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<v Speaker 4>She is a woman who is just like moving through

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<v Speaker 4>the world having like problems with everyone, Like she can't

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<v Speaker 4>go to the grocery store, she can't buy furniture without

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<v Speaker 4>like absolutely letting it rip, and she can't go to

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<v Speaker 4>the dentist without saying something hideous to the dentist. Married

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<v Speaker 4>to this husband who is kind of beaten down essentially

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<v Speaker 4>by her extreme depression and anxiety.

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<v Speaker 3>I'm really selling this film, aren't I.

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<v Speaker 6>What's the thing?

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<v Speaker 2>I mean, it's like hard if a film is amazing

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<v Speaker 2>with an unlikable main character, Like how do you kind

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<v Speaker 2>of get past that and start to enjoy whatever the

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<v Speaker 2>particular beauty of this film is.

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<v Speaker 3>So you know, it's like it's in the title. People

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<v Speaker 3>can't stand them, cheerful, grinning people.

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<v Speaker 4>But she has this sister who is like full of

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<v Speaker 4>light and love and has these two daughters who are

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<v Speaker 4>just like every scene with them is just absolute joy,

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<v Speaker 4>Like it's beautiful to witness, and like that is how

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<v Speaker 4>the film works because we are not constantly stuck in

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<v Speaker 4>Pansy's world, like we see that something else exists and

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<v Speaker 4>could exist for her as well, because it's her family.

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<v Speaker 4>And the filmmaker John Waters included it in a recently

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<v Speaker 4>best of films and he just said the greatest thing

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<v Speaker 4>about it, He said, a wretched experience I'll cherish forever.

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<v Speaker 3>That's just ideal.

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<v Speaker 4>But it is like I had lots of laughs in

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<v Speaker 4>this films, like it's a very dark comedy and this film, so.

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<v Speaker 2>There were fourteen weeks of rehearsals and then a kind

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<v Speaker 2>of just a six week block of filming, which it

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<v Speaker 2>feels to me a little reminiscent of how a play works.

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<v Speaker 4>Yeah, and he's made a lot of like you know,

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<v Speaker 4>he made all these television dramas as well, and that's

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<v Speaker 4>how he made them in the seventies and eighties.

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<v Speaker 3>That's how Michaeley works. He brings in a cast.

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<v Speaker 4>He doesn't do normal auditions, and then he gets everyone

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<v Speaker 4>in a room and sort of he has a basic

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<v Speaker 4>idea of the film and then gets everyone to kind

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<v Speaker 4>of help devise it with him. So it's a really

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<v Speaker 4>collaborative effort. And you very much see that play out

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<v Speaker 4>on screen.

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<v Speaker 2>Great, well, it sounds like the themes here are political, personal,

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<v Speaker 2>dark but funny.

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<v Speaker 4>I mean, yeah, look that cinema in twenty twenty five.

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<v Speaker 4>In a nutshell, I.

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<v Speaker 2>Think coming up how to make the perfect bowl of porridge?

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<v Speaker 2>And there's an honorable mention, Kate, tell me about your

0:12:57.559 --> 0:12:58.240
<v Speaker 2>final pick.

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<v Speaker 4>There is an Australian document entry I needed to mention.

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<v Speaker 4>You know, it's a very late contender for the end

0:13:04.600 --> 0:13:06.880
<v Speaker 4>of the year release, but it's called The Golden Spirtle

0:13:07.720 --> 0:13:11.800
<v Speaker 4>is by Constantine Costi, who it's his first feature doc.

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<v Speaker 4>He's actually known as an opera director and he really

0:13:15.520 --> 0:13:18.520
<v Speaker 4>brings that drama to this film, which is a documentary

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<v Speaker 4>about a porridge making competition that is on in the

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<v Speaker 4>Scottish Islands every year.

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<v Speaker 2>Incredible, incredible three.

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<v Speaker 3>Ingredients, water and oatmeal and salt.

0:13:30.480 --> 0:13:33.520
<v Speaker 7>How hard can it be? The most perfect rounded bull

0:13:33.520 --> 0:13:36.160
<v Speaker 7>of porridge is a marriage of all these things together.

0:13:36.600 --> 0:13:39.599
<v Speaker 4>He and his team followed a couple of different contenders

0:13:39.600 --> 0:13:43.800
<v Speaker 4>in this porridge and porridge making competition and it's very

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<v Speaker 4>beautiful because it's you know, we see a lot of

0:13:46.040 --> 0:13:50.640
<v Speaker 4>competition documentaries and this one is sort of elevates that

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<v Speaker 4>because it's gorgeously shot. The cinematography is beautiful. But we

0:13:55.440 --> 0:13:58.560
<v Speaker 4>also meet this like all of the inhabitants of this

0:13:58.679 --> 0:14:03.200
<v Speaker 4>very small town of Carbridge in the Highlands, and so

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<v Speaker 4>we meet the people who live there and who kind

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<v Speaker 4>of are propping up this porridge making competition.

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<v Speaker 3>You know, Christopher Guest could.

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<v Speaker 6>Never and what oats will you be using?

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<v Speaker 3>Why would I want to tell you?

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<v Speaker 6>Other people would get to know.

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<v Speaker 4>It's just a really warm film to watch and if

0:14:20.360 --> 0:14:22.480
<v Speaker 4>you love kind of just looking at the Scottish landscape,

0:14:22.880 --> 0:14:24.280
<v Speaker 4>you can also just go in for that.

0:14:24.320 --> 0:14:25.880
<v Speaker 3>You don't even need to love porridge.

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<v Speaker 2>Well I do love porridge and I would love to

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<v Speaker 2>know what makes a world champion worthy porridge.

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<v Speaker 4>Yes, well you'll have to wait and see, is it.

0:14:32.600 --> 0:14:35.480
<v Speaker 4>Do you use your own bore water? That's what one

0:14:35.520 --> 0:14:39.880
<v Speaker 4>guy brings in. Yeah, these people are really intense about

0:14:39.920 --> 0:14:41.080
<v Speaker 4>their porridge.

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<v Speaker 2>Well, thank you so much for chatting with me about

0:14:44.560 --> 0:14:44.800
<v Speaker 2>it all.

0:14:45.040 --> 0:14:45.800
<v Speaker 3>Thanks so much.