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Speaker 1: Wednesdays are when we like to drop something from the

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Speaker 1: Film Spotting Archive, that massive archive that's always available to

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Speaker 1: members of the film Spotting family. Adam, We're going to

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Speaker 1: share a little bit of something from that here now.

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Speaker 1: On Friday's show, we're going to announce the winner of

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Speaker 1: the twenty twenty five Golden Brick Award, our favorite film

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Speaker 1: from a new or emerging director. Today we have our

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Speaker 1: review of the twenty twenty two winner, a movie, Adam

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Speaker 1: that was our shared number one film of the year,

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Speaker 1: Charlotte Wells's After Sun.

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Speaker 2: How about that that hasn't happened too often in the

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Speaker 2: history of the show where we have a joint number one.

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Speaker 1: I feel like maybe X Macina and then I wasn't

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Speaker 1: officially part of the show yet, but the Tree of

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Speaker 1: Life are the reason Life able two.

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Speaker 2: I think I had X Macina at number two. Okay,

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Speaker 2: so After Sun and Tree of Life, maybe Lovers Rock

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Speaker 2: as well twenty twenty that.

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Speaker 1: Could be right, Yep, I think that's it's a rare

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Speaker 1: company here for After Son.

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Speaker 2: We do adore this film connections in terms of the

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Speaker 2: Golden Brick and being our number one, but also how

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Speaker 2: about Paul Meskell and Hamnet getting so much attention as

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Speaker 2: well this award season just seemed like a perfect opportunity

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Speaker 2: to drop this one back into the feed. So from

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Speaker 2: November twenty twenty two, here is that review of After Sun.

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Speaker 3: You know, I want you to know that you could

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Speaker 3: talk to me about anything, whatever parties you go to,

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Speaker 3: buysy meat, drugs, you.

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Speaker 2: Take what you ass that these are oh so embarrassing embarrassing.

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Speaker 2: That's from the trailer for After Sun, which opens in

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Speaker 2: limited release this weekend. It's the feature debut of Scottish

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Speaker 2: filmmaker Charlotte Wells. The film premiered at can earlier this

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Speaker 2: year and has been playing too much acclaim and too

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Speaker 2: much heartache and some tears on the festival circuit since then.

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Speaker 2: Before I say more, I did want to just quickly

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Speaker 2: note Josh that we're not going to spoil anything about

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Speaker 2: this movie. Anything we talk about are elements that you

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Speaker 2: can find in every plot description of this movie and

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Speaker 2: presumably every review of this movie. You can also find

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Speaker 2: a lot of it in the trailer itself. But if

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Speaker 2: like me, up until seeing it, you've avoided knowing anything

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Speaker 2: about the film, really just knowing its father and daughter,

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Speaker 2: and you don't know anything about the conceit of it,

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Speaker 2: the structure, the formal elements, and you want to keep

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Speaker 2: it that way, then I'd say stop listening right now,

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Speaker 2: skip this, because I really appreciated going into this film

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Speaker 2: the way I did, and we might talk about that

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Speaker 2: a little bit more here in a bit. The movie

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Speaker 2: is about a young woman's memories of a holiday she

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Speaker 2: took with her troubled father twenty years earlier. The father

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Speaker 2: is played by Paul Meskil, who we saw recently in

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Speaker 2: God's Creatures. The daughter, Sophie is played by newcomer Frankie

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Speaker 2: Corio and as a grown up by Celia Rolson Hall.

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Speaker 2: Like me, Josh, you probably knew a little bit about

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Speaker 2: the movie's reputation before seeing it. I'm sure we both

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Speaker 2: noticed some of the people we follow on letterboxed logging

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Speaker 2: it and praising it, giving it high star ratings. A

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Speaker 2: lot of fellow critics who caught up with it at

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Speaker 2: various festivals. We're having some pretty intense emotional responses to it.

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Speaker 2: Did the movie surprise you in the way it handled

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Speaker 2: its emotional material?

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Speaker 1: Boy, this film left me stunned, And I knew that

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Speaker 1: because I try to stay through the end credits of

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Speaker 1: most movies I go to just to you know, let

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Speaker 1: that time for things to percolate, Take a break, take

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Speaker 1: a breath, you know, see what I could pick up

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Speaker 1: from the credits. If I have time, I like to

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Speaker 1: do that. I stayed through the credits of Aftersun because

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Speaker 1: I couldn't move. It was just it was speaking to

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Speaker 1: your question about the emotions. I don't think it was

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Speaker 1: till that point that I realized how how moving the

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Speaker 1: film had been, how deceptively overwhelming it was. I felt

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Speaker 1: some of that while watching it, but I never felt

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Speaker 1: the full force of it. Some of this has to

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Speaker 1: do with the final shot, which we will not talk about,

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Speaker 1: the final scene. Really, certainly that is part of the reason.

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Speaker 1: But I think it was again the stealthy way Wells

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Speaker 1: has constructed this story. She's constructed it almost in the

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Speaker 1: same manner. And it's too precise for this to be

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Speaker 1: the case, but it feels like it's been constructed in

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Speaker 1: the same manner that the main character is experiencing her memories.

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Speaker 1: It's all of a piece.

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Speaker 2: That's the trick.

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Speaker 1: That's the trick, And I think that's why it hit

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Speaker 1: me that way, is there's this growing sense of, you know,

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Speaker 1: the emotions at play, the dynamics at play, the ones

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Speaker 1: I could relate to in some ways, the ones I

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Speaker 1: couldn't but could appreciate from a f and I was

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Speaker 1: invested in the way you are with most well made

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Speaker 1: intimate familial dramas. But yeah, this sense of just being

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Speaker 1: overwhelmed by it, that didn't hit me to the end.

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Speaker 1: It's not just a matter of having a great final scene.

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Speaker 1: It's a matter of how the thing was made. From

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Speaker 1: frame one, frame one, This could have the best opening

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Speaker 1: scene of the year. That is interesting the first time

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Speaker 1: you're watching it and there are details I noticed that

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Speaker 1: I thought, remember that, I wonder if that's going to

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Speaker 1: that choice, that particular little visual choice is going to

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Speaker 1: come back into play, And then the movie goes on

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Speaker 1: and you're like, oh, yeah, everything about that first shot

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Speaker 1: was intentional in a way that is crucial to how

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Speaker 1: this film works. So this is a stunner.

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Speaker 2: Yeah, I'm with you. I tweeted after seeing it that

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Speaker 2: it can't be a first feature right because of how

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Speaker 2: sophisticated and mature it is visual and also emotionally. Like

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Speaker 2: you said, really from the first moment in the first

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Speaker 2: frame and I like your choice of words deceptively, overwhelming, stealthy. Yes,

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Speaker 2: it really does sneak up on you. It's a film

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Speaker 2: that washes over you the more you sit with it,

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Speaker 2: but especially as it accumulates and it builds to that

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Speaker 2: final scene that you mentioned. But I say, it feels

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Speaker 2: like it shouldn't be or can't be, a first feature,

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Speaker 2: and yet it also feels to me like a first

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Speaker 2: feature in one particular way. And I regret that I'm

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Speaker 2: going to say all this, and I can't share the

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Speaker 2: exact wording or all of the details. If someone out

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Speaker 2: there knows what I'm referencing and can point me in

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Speaker 2: the right direction, please do, because I've forgotten it. But

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Speaker 2: I know it's one of my or I'm pretty sure, Josh,

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Speaker 2: it's one of my two favorite writers, either Paul Oster

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Speaker 2: or John Irving wrote something at some point that has

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Speaker 2: always lingered with me about why debut novels are usually

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Speaker 2: so good and sometimes the writer's best, and I think

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Speaker 2: this can apply to albums and a lot of art.

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Speaker 2: And I do want to throw out the disclaimer that

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Speaker 2: I don't want to suggest here that there aren't many

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Speaker 2: great films in Well's future, but the debuts are so

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Speaker 2: potent because the artist has been working towards telling this

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Speaker 2: story their entire lives. The next thing they do is

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Speaker 2: the build up and accumulation of a couple of years

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Speaker 2: maybe in their lives, even if it perhaps taps into

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Speaker 2: some things from their past and their personal life. But

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Speaker 2: I have seen a few things here and there, and

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Speaker 2: my senses that Charlotte Wells has been mysterious about exactly

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Speaker 2: how personal the story and events are, which I think

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Speaker 2: is great. But you can very easily see that older

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Speaker 2: Sophie in this movie trying to come to terms with

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Speaker 2: her relationship with and feelings for her father through examining

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Speaker 2: her memories. In this footage, you can see that as

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Speaker 2: a stand in for her and the filmmaking process that

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Speaker 2: resulted in this movie. You can see young Sophie then

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Speaker 2: as a stand in for her as a young girl.

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Speaker 2: And at the risk of playing armchair psychiatrist any further,

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Speaker 2: what is more important to understanding your own identity than

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Speaker 2: reckoning with everything that this character is trying to reconcile here.

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Speaker 2: Surely she's been wrestling with this, if not down to

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Speaker 2: every specific detail, but the broad strokes of it. Her

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Speaker 2: whole life, and she's managed to manifest it here in

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Speaker 2: such a beautiful and heartbreaking way.

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Speaker 1: Yeah, and that personal intimacy that has brought to the

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Speaker 1: story is crucial and a key part to why the

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Speaker 1: film is so good. But it's also something that a

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Speaker 1: lot of, you know, first time filmmakers will bring to

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Speaker 1: their material, which is understandable. One of the other things

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Speaker 1: about After Song that makes it distinct from those I

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Speaker 1: think is as we've hit at the ways she goes

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Speaker 1: about it. So I want to talk a little bit

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Speaker 1: about the different viewpoints we get in this movie. Very

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Speaker 1: early on, we do understand that Sophie as an adult,

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Speaker 1: is largely telling this or experiencing this, I should say,

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Speaker 1: And we see her scouring video footage from this trip

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Speaker 1: when she was younger, when she was eleven, trying to

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Speaker 1: fully understand what happened in these couple of days. But

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Speaker 1: then Wells and the editor here, Blair McLendon, they weave

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Speaker 1: very incisively those home movie snippets we see with these

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Speaker 1: straightforward third person scenes of their time in Turkey together.

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Speaker 1: So this could just be, you know, like any other

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Speaker 1: drama we're watching, we have that distance remove we're there

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Speaker 1: with them, but it's not always from one of the

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Speaker 1: character's points of view. Yet we also get these other

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Speaker 1: scenes that very much are from young Sophie's point of view,

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Speaker 1: and I love the touch in so many of those

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Speaker 1: where the camera drifts a little bit away from the

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Speaker 1: father's face and it just gives us that sense again

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Speaker 1: of we don't fully have a handle and she doesn't

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Speaker 1: either of this memory or who her father was in

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Speaker 1: that moment, because the camera is actually doing that drifting away.

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Speaker 1: And then on top of these elements, we get these

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Speaker 1: very jarring flashes to the adult Sophie on this strobelet

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Speaker 1: dance floor, and that returns to the film's ending that

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Speaker 1: I mentioned in a shattering way. But the decision to

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Speaker 1: tell this story, to share these memories, I want to

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Speaker 1: stop saying tell this story, because that's not exact. There's

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Speaker 1: something more distinct happening here. The decision to share these

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Speaker 1: memories from all these different vantage points is crucial. And

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Speaker 1: then the skill again with editor here Blair McLendon, to

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Speaker 1: know just when to shift from one to the other

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Speaker 1: is for me what makes this so masterful.

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Speaker 2: Yeah, I think the use of the word drifts there

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Speaker 2: is really important because the way she renders. Movement is

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Speaker 2: something that really stuck with me about this film, the

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Speaker 2: attention to arms, to hands, to feet, to birds in

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Speaker 2: the sky, to parasailors, to the footage itself that we

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Speaker 2: sometimes see. Rewinding, we see a polaroid photo of father

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Speaker 2: and daughter begin to develop but never come fully into focus,

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Speaker 2: a powerful visual metaphor for Well's exploration of identity and

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Speaker 2: a relationship that is just in the process of forming.

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Speaker 2: It never gets to finish everything here, even if it's

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Speaker 2: not kinetically so the camera isn't wildly moving, but everything

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Speaker 2: is in motion. She captures the fractured, fleetingness of memory,

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Speaker 2: how hard it is to reconcile something that is this

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Speaker 2: complex and is unfinished, and not just how it works,

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Speaker 2: not just how that process of reconciliation and memory works,

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Speaker 2: but how it feels. The movie gets it, how it

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Speaker 2: feels we experience it along with these characters. Really, I

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Speaker 2: think we have to say these multiple characters, and I

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Speaker 2: don't know what the right word to use is. Either

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Speaker 2: I want to warn people a little bit or help

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Speaker 2: them come to this film. We're talking about heartbreaking and

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Speaker 2: how heavy the movie is, but as we both said,

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Speaker 2: it's devastating in a subtle way, in a profound way,

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Speaker 2: but in a subtle way. This isn't Grave of the Fireflies.

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Speaker 2: This isn't a movie that's trying to punch you in

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Speaker 2: the stomach and leave you at the end feeling crushed

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Speaker 2: and hopeless. It's not, but that doesn't mean it doesn't

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Speaker 2: still hit you in a really emotional way.

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Speaker 1: Well, to go back to that image you mentioned of

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Speaker 1: the polaroid, which is a great one to call out.

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Speaker 1: That's lightly held. I mean, it's when we describe it,

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Speaker 1: it can sound maybe heavy and too symbolic, too metaphorical,

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Speaker 1: but it's not in the moment, in the scene how

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Speaker 1: it happens, it's very lightly held. And I'll call out

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Speaker 1: another visual detail that I think for me works the

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Speaker 1: same way, because it's a moment that's conveying a lot

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Speaker 1: of different information, some of which I won't talk about.

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Speaker 1: But there's a shot of the father walking towards the

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Speaker 1: beach at night, and it's almost surreal. We're not quite

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Speaker 1: sure what we're looking at because the screen is so dark,

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Speaker 1: but the back of Mescal's head, his skin is incredibly fair,

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Speaker 1: and so in the darkness of night, all we see

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Speaker 1: is this stretch of the back of his neck, between

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Speaker 1: his hair and the shirt he's wearing that almost glows

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Speaker 1: in the dark. And you can see how this is

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Speaker 1: working in the same way that Polarid does. Right. It's

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Speaker 1: giving us a sense of here's this man she was

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Speaker 1: trying to understand then, she's trying to understand now as

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Speaker 1: an adult, and all she gets is a little sliver,

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Speaker 1: a little illuminated sliver on the screen of the larger

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Speaker 1: mystery at play here. And it's almost like every other

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Speaker 1: shot has that sort of loaded potency to it, but

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Speaker 1: also without burying it and holding it too heavily or

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Speaker 1: pushing it too hard. There's a lightness to all of this,

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Speaker 1: And I'm glad you said that there are very serious

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Speaker 1: things happening here, but there is also a lot of

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Speaker 1: lightness in the performances. I want to talk about the

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Speaker 1: performances a little bit, and this the repartee between father

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Speaker 1: and son here, because I love how they tease each

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Speaker 1: other in ways they're clearly enjoying each other's company, enjoying

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Speaker 1: this time to just have together. You get the sense

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Speaker 1: that Sophie is mostly with her mother, and so this

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Speaker 1: is a special time for them to have just together,

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Speaker 1: and you know Mescal, who is really good in God's creatures,

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Speaker 1: He's got a difficult task here to shift among these

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Speaker 1: various roles as this guy, right, he has to be

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Speaker 1: the caregiver. He's in charge, but he's a friend kind of.

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Speaker 1: It's I get the sense that your father but also friend.

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Speaker 1: If you know you don't see your child on a

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Speaker 1: daily basis, you're a mentor. You can be a mentor.

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Speaker 1: But then this goes back to what you're saying in

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Speaker 1: our top five there you're also a rule enforcer, and

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Speaker 1: you can't just be a rule enforcer when you feel

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Speaker 1: like it. That's got to be part of your identity.

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Speaker 1: So I do think mes call manages to even though

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Speaker 1: he's playing a person who is purposely supposed to be

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Speaker 1: at a remove, we get a sense of him wrestling

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Speaker 1: with all of those roles. And then choreo. You know

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Speaker 1: you need you need an unconsciousness in a child performance,

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Speaker 1: and she has that. But this kid in particular for

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Speaker 1: where she is at life, that crucial stage around eleven

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Speaker 1: where you're The way I put it when I wrote

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Speaker 1: about the movie is that you know you might not

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Speaker 1: want to hold your parent's hand anymore. You just make

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Speaker 1: that decision. She also needs a self awareness and that's

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Speaker 1: crucial to this role. I think Coreo, even as a novice,

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Speaker 1: has that. And again, just so many fun scenes of

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Speaker 1: them together, sparring with each other, teasing each other, caring

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Speaker 1: for each other in ways that gain importance as the

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Speaker 1: movie proceeds.

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Speaker 2: Yeah, I'll talk about one of those moments, though, I

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Speaker 2: am going to say I'm going to save my favorite

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Speaker 2: Mescal moment in the film, what I think is his

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Speaker 2: best acting moment in the film, And there are many

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Speaker 2: to choose from, because I'm pretty sure we're going to

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Speaker 2: talk about him in this movie more is we get

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Speaker 2: through the end of the year, but we go back

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Speaker 2: to our top five list, and I was talking about

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Speaker 2: Say Anything. I don't know that Charlotte Wells was actually

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Speaker 2: paying homage to that film or not, but there's a

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Speaker 2: moment we heard it in the clip from the trailer

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Speaker 2: where he says to her, you can tell me about anything,

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Speaker 2: whatever you do, anything you get involved in, you can

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Speaker 2: always tell me that. And she, of course thinks he's

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Speaker 2: being a little bit silly because those are things she

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Speaker 2: might want to keep private, or are things that she's

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Speaker 2: not ready to think about yet or is just starting

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Speaker 2: to at her age think about The movie's very much

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Speaker 2: about that as well, just crossing that threshold into adulthood,

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Speaker 2: whether you're fully ready or not. But the difference here,

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Speaker 2: the significant difference here between something like say anything and

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Speaker 2: this dynamic between these two, is that that line's coming

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Speaker 2: from a father who absolutely means it. Because of his depression,

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Speaker 2: I think we can say, I think the movie clearly

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Speaker 2: suggests it without explicitly stating it, he'll never be able

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Speaker 2: to reciprocate that honesty. And what I mean is that

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Speaker 2: what he's feeling and experiencing isn't something he or really

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Speaker 2: anybody can articulate. She actually expresses it in a really powerful,

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Speaker 2: haunting way in the film, and again this is in

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Speaker 2: the trailer as well, but in a later part of it,

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Speaker 2: Sophie says, as she's just kind of laying on the

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Speaker 2: bed and he asks her what's up or what she's feeling?

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Speaker 2: Oh man, she says, don't you ever feel like you've

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Speaker 2: just done a whole amazing day and then you come

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Speaker 2: home and feel tired and down and feels like your

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Speaker 2: bones don't work, They're just tired, and everything is tired,

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Speaker 2: Like you're sinking. I don't know. It's weird, ye, and

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Speaker 2: it's haunting, as I said, because of the beat that

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Speaker 2: Wells takes there, the look of recognition on Mescal's face,

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Speaker 2: it all suggests that she's describing exactly what he often feels.

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Speaker 2: And also if she's feeling it, Josh in that moment.

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Speaker 2: The movie doesn't dwell on it, but you have to

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Speaker 2: contemplate it as a viewer. What if she is inclined

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Speaker 2: towards the same type of depression that he is?

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Speaker 1: Well, that's so yeah, right.

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Speaker 2: So Mescal's processing two troubling thoughts at once, but he

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Speaker 2: has to keep up the facade, which is what you

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Speaker 2: have to do as a parent. And all he can

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Speaker 2: say is what he says, Well, we're here to have

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Speaker 2: a good time, and he tries to change the subject

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Speaker 2: even though he can't.

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Speaker 1: And can I since we're talking about that scene in detail,

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Speaker 1: can I just I'll mention the thing that just shatters

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Speaker 1: me about it is So she's on the bed as

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Speaker 1: you described, he's in the bathroom, so they don't see

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Speaker 1: each other at this point. He's brushing his teeth and

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Speaker 1: I believe after she finishes saying that his reaction is

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Speaker 1: a pause, and he spits the toothpaste at the mirror,

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Speaker 1: essentially at himself, and it's just it's capturing everything you

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Speaker 1: just said about the questions he's asking him self, the

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Speaker 1: anger he feels about that, the fear he's feeling, and

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Speaker 1: then yeah, that that choice to push it away and say,

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Speaker 1: you know, and you can understand that choice. You know,

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Speaker 1: you might want to the therapist might say, what a

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Speaker 1: teachable moment or something, you know, to have a talk

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Speaker 1: about what you're going through, and you might have these

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Speaker 1: feelings too, and here's how. But this isn't a guy

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Speaker 1: in that place, right, He is not in that place,

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Speaker 1: and so his choice he makes, which is completely understandable,

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Speaker 1: is to push through and try to find that happiness.

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Speaker 1: And yeah, we've danced a little lightly around this, but

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Speaker 1: I think this is you know, the major thing that

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Speaker 1: the movie is exploring is alongside her coming of age

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Speaker 1: as an independent person, not a little girl who loves

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Speaker 1: her dad as much in the same way, but in

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Speaker 1: a different way. This is about a girl who is

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Speaker 1: learning things about adulthood, including her father's struggle to survive it.

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Speaker 1: And that's something that is terrifying, you know, from her perspective,

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Speaker 1: and I think the movie captures that in incredible ways.

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Speaker 2: Let's just go back real quick to what I touched

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Speaker 2: on in the setup, and I want your thoughts on it.

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Speaker 2: And there's no real point here, I suppose, other than

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Speaker 2: maybe I'm critiquing a little bit the way the movie

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Speaker 2: is being marketed or positioned, which is irrelevant. But every

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Speaker 2: description of this film, as I said, and the trailer

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Speaker 2: tells you what the framing device is, tells you that

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Speaker 2: this is about a person who's reflecting on an experience.

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Speaker 2: But if you just went into the movie, other than

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Speaker 2: picking up on some things very early on that you

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Speaker 2: really have to be paying attention to, you wouldn't know

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Speaker 2: that you would be watching a film that is about

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Speaker 2: a father and daughter on vacation and this coming of

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Speaker 2: age story that it is ninety five percent of the

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Speaker 2: screen time roughly. Is that? So it wouldn't be an

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Speaker 2: accurate to just describe this film as something like Sophie

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Speaker 2: and her father learn important things about themselves and life

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Speaker 2: while on vacation together, whatever it is, and just leave

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Speaker 2: it at that. I enjoyed being a little bit confused.

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Speaker 2: I enjoyed being challenged by the strobe light inserts by

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Speaker 2: the playing back of footage, the replaying of moments, the

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Speaker 2: reflections in TVs, the visual connections the movie makes between

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Speaker 2: Sophie and someone older that the movie hasn't introduced us

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Speaker 2: to yet. If I've read the plot description, I know

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Speaker 2: what that all signifies. I think this isn't two thousand

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Speaker 2: and one. It's not Mulholland Drive. I don't want to

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Speaker 2: suggest that Wells doesn't give you really everything you need

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Speaker 2: to process what is playing out, But I loved having

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Speaker 2: to do a little bit of work myself and engage

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Speaker 2: with it that way, versus knowing the conceit going in.

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Speaker 2: I'm just bummed out that most people are probably going

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Speaker 2: to walk in knowing all that.

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Speaker 1: Yeah, I think that's its master stroke. Is the subtle,

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Speaker 1: artful you know, it's piercing but never pointed, is the

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Speaker 1: way I describe it. In exploring the father's troubled inner state,

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Speaker 1: and you said, you know, for me, I think you're

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Speaker 1: probably right. You know, the vast percentage, whether it's ninety

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Speaker 1: five percent or whatever, is exploring just you know, this

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Speaker 1: time in this relationship, but that interstate is seeping into

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Speaker 1: every percent. Yes, And that is how that's what you

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Speaker 1: feel and what makes after Son distinct.

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Speaker 2: After Son is currently playing in limited release. If you

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Speaker 2: see it and you really have to and agree or

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Speaker 2: disagree with our takes, you can email us feedback at

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Speaker 2: film spotting dot net. An on air production meeting question

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Speaker 2: for you. Josh, Sam and I were talking about this

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Speaker 2: a little bit earlier today. Do we have to it

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Speaker 2: certainly qualifies in every artistic way? Do we have to

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Speaker 2: consider after Son as a strong contender for the film

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Speaker 2: spotting Golden Bricks? Right now, as I glance at box

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Speaker 2: office Mojo, I think it is expanding to some more screens.

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Speaker 2: It opened in only four theaters. Why do just release

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Speaker 2: so far as forty five theaters? Yes, A twenty four

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Speaker 2: is releasing it, but again, why just release forty five theaters?

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Speaker 2: Domestic gross right now three hundred and thirty eight thousand

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Speaker 2: dollars certainly feels like a movie that still very much

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Speaker 2: could despite everything we're saying about it, in whatever reach

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Speaker 2: we have, still feels like a movie that could very

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Speaker 2: much slide under the radar for people and is worthy

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Speaker 2: of the Golden brick.

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Speaker 1: Yeah, let's see, let's see how it does. I mean,

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Speaker 1: I'll be honest, it's and I have looking at the list,

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Speaker 1: I have I think two films at least on our

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Speaker 1: short list that I really really like. So it's not

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Speaker 1: like there aren't other strong contenders for me. Right right now,

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Speaker 1: this would be the runaway winner of the Golden Brick.

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Speaker 1: So it does come down to how much attention it

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Speaker 1: gets towards the end of the year. If it starts

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Speaker 1: really making waves at the box office and a lot

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Speaker 1: of people are getting a chance to see it, then

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Speaker 1: maybe we think about pulling back from that. I think,

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Speaker 1: as you said, it's going to get a lot of

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Speaker 1: attention on our Top ten show and at our Rap

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Speaker 1: party for all those categories. But if it's not picking

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00:24:14,640 --> 00:24:17,479
Speaker 1: up steam, I want to give it every shout it

434
00:24:17,520 --> 00:24:20,760
Speaker 1: can get. And if putting it in the Golden in

435
00:24:20,800 --> 00:24:23,840
Speaker 1: Golden Brick contention where it's a strong candidate to win,

436
00:24:24,720 --> 00:24:26,359
Speaker 1: we can give it even a little bit more attention,

437
00:24:26,440 --> 00:24:28,320
Speaker 1: I'm all for that. So let's see what happens with it.

438
00:24:28,560 --> 00:24:31,439
Speaker 1: I don't know that making you the top ten lists

439
00:24:31,480 --> 00:24:34,680
Speaker 1: for a vast number of critics. It's great, it will

440
00:24:34,760 --> 00:24:35,840
Speaker 1: hit certain audiences.

441
00:24:35,960 --> 00:24:38,160
Speaker 2: No, that doesn't change anything for me, right.

442
00:24:38,040 --> 00:24:41,480
Speaker 1: But want, like I want more than critics to get

443
00:24:41,480 --> 00:24:44,159
Speaker 1: a chance to appreciate this movie, and that's part of

444
00:24:44,160 --> 00:24:45,400
Speaker 1: the reason behind the Golden Brick.

445
00:24:45,720 --> 00:24:48,480
Speaker 2: Yeah, maybe a first time thing here in the history

446
00:24:48,520 --> 00:24:52,080
Speaker 2: the Golden Brick. We're gonna put Aftersun on the page

447
00:24:52,200 --> 00:24:56,320
Speaker 2: as a trial as a trial film because it certainly

448
00:24:56,480 --> 00:24:59,400
Speaker 2: is deserving, and we will see how things play out.

449
00:24:59,400 --> 00:25:01,159
Speaker 2: Maybe if it do as you said, pick up some

450
00:25:01,240 --> 00:25:04,159
Speaker 2: steam and more eyeballs get on it, and we feel

451
00:25:04,200 --> 00:25:06,280
Speaker 2: like it makes more sense to use that a word

452
00:25:06,520 --> 00:25:10,600
Speaker 2: to shine a light on something that is even more obscure,

453
00:25:11,040 --> 00:25:13,879
Speaker 2: then maybe we'll go in that direction. Hey, t Long

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455
00:25:18,800 --> 00:25:31,160
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