Speaker 1: Look hell, it's only films to be buried with. Hello,
Speaker 1: and welcome to films to be buried with. My name
Speaker 1: is Brett Goldstein. I'm a comedian, an actor, a writer,
Speaker 1: a bath butler, and I love film. As Ray Bradbury
Speaker 1: once said, we are cups constantly and quietly being filmed,
Speaker 1: which is why the film Tin Cup is so sexy.
Speaker 1: You're constantly filling that cup whilst you watch it, but
Speaker 1: very quietly. This week it is part two of the
Speaker 1: Perfectly On Time if you count in these things Films
Speaker 1: of two thousand and twenty four with mister nish Kumar.
Speaker 1: Catch up a part one from last week before you
Speaker 1: listen to part two. You can catch all of it
Speaker 1: as a video with extra stuff with a secret with
Speaker 1: all kinds of extras over at Patreon at Patreon dot
Speaker 1: com forwards last Brett Goldstein, you get everything add free
Speaker 1: uncut videos. You know how it works. Anyway, this episode
Speaker 1: is the last of this season. I'll be taking a break.
Speaker 1: In that time. You'll be getting some absolute rewind classics
Speaker 1: and I'll be coming back soon.
Speaker 2: Thank you all for listening. You're very kind. I hope
Speaker 2: you're all well, and I really.
Speaker 1: Really hope that you enjoy Part two of Films of
Speaker 1: twenty twenty four with mister Nishkuma.
Speaker 2: What was the film you most related to? Film I'm
Speaker 2: most related to was Inside Out Too. I think, as
Speaker 2: you know, I think Inside Out was the best film
Speaker 2: of the decade. Yeah, I do. Yeah, yeah, when it's
Speaker 2: Inside Out too. And you know what I thought, I thought, Well,
Speaker 2: you can't do the ingenuity of inside Out. Yeah, the
Speaker 2: inside Out.
Speaker 1: You can't beat the sort of wonder of coming up
Speaker 1: with that concept. But what Inside Out two does do
Speaker 1: is phenomenal. And I'm like, I'd like to see an
Speaker 1: Inside Out film every ten years. I think it's so
Speaker 1: fucking wise and I do think it's a really it's
Speaker 1: kind of bold because again, the message is much deeper
Speaker 1: than it first. It starts with I am a good person,
Speaker 1: and in the end the messages I'm not always a
Speaker 1: good person. Sometimes I'm a bad person. It's like, wow,
Speaker 1: fucking Pixar, what are you up to? Yes, if you're
Speaker 1: doing it again? You fucking monsters think it's it's so good.
Speaker 1: They're just very very very good. And it's it's complicated,
Speaker 1: and it's about the more complicated emotions and this poor
Speaker 1: girl and you feel for her so much and she's
Speaker 1: a wreck, and I think it does an incredible in
Speaker 1: the same way the thing that the most powerful thing
Speaker 1: about the first movie or is this idea of this
Speaker 1: visualization of this is a thought, this is an emotion.
Speaker 1: And I think what Inside Out Too does extraordinary well
Speaker 1: is when anxiety, when she's like stuck and it's just
Speaker 1: worrying around, wearing around. It's such a good like visualization
Speaker 1: of the feeling of overwhelm, of like where you can't
Speaker 1: make a decision your facts. I'm like, yeah, I relate
Speaker 1: to that.
Speaker 2: Yeah, it's I don't know that there's a better cinematic
Speaker 2: depiction of what it means to have an anxiety disorder.
Speaker 2: I really don't, Like I would struggle to I would
Speaker 2: struggle to think of one that is better than that.
Speaker 2: When your whole ability to make it, when your anxiety
Speaker 2: shuts down your ability to make a decision, like that
Speaker 2: happens to her in the movie, You're like, yeah, that's
Speaker 2: exactly what It's like, that's incredible, Like, how have you
Speaker 2: done this? Because there is this a children's film. Now listen.
Speaker 2: One of the things that I thought was, can you imagine,
Speaker 2: like I thought it was fantastic, I loved it. Can
Speaker 2: you imagine how good it would have been for us
Speaker 2: to see that movie at thirteen fourteen? Do you think
Speaker 2: we I wonder about that. Do you think we'd be
Speaker 2: all right if we'd seen Inside Actually? I think that's
Speaker 2: the point of the movie, is that like there is
Speaker 2: like a silver bullet that makes you all right. But
Speaker 2: I think we would have been probably just wouldn't need
Speaker 2: films to deal with all Yeah, maybe maybe, or at
Speaker 2: the very least, we'd be more okay with our brains.
Speaker 2: We'd be less angry with our own brains. And that
Speaker 2: I think is like that's maybe the great gift that
Speaker 2: hicks Ire is giving a generation of anxious, sad kids
Speaker 2: by via these inside Out films, which is like this,
Speaker 2: this stuff is going to happen like because ultimately the
Speaker 2: film doesn't The film doesn't have a solution for any
Speaker 2: of these things. It just tells you this is how
Speaker 2: it's going to happen, and give yourself a break when
Speaker 2: it happens like this, and that that's incredibly powerful. I
Speaker 2: definitely think we would be less mad if but would
Speaker 2: we be as productive than by what garlics. I don't know, bra,
Speaker 2: how's the podcast recording that you're doing in between making
Speaker 2: film and how's the podcast record I'm doing at the
Speaker 2: start of the Australia leg of my world tour that
Speaker 2: I'm doing over the course of two months ago. Just
Speaker 2: taking the time, we've.
Speaker 1: Done an hour and a half, right, what is what
Speaker 1: is the film that is so old fashioned and like
Speaker 1: a novel and lovely.
Speaker 2: The film? You know, one of the usual questions was
Speaker 2: which film was what was the most old fashioned, lovely
Speaker 2: in like a novel? Twenty twenty four. There were a
Speaker 2: few answers to this, but for me, the most film
Speaker 2: that was like an old movie or a novel was
Speaker 2: The Holdovers. I thought The Holdovers felt like something. I mean,
Speaker 2: I think some of that was accentuated by the fact
Speaker 2: that I think they'd even use the credits from a
Speaker 2: late sixties early seventies, like, yeah, it was basically but
Speaker 2: The Holdovers is, you know, the story of this cantankrist
Speaker 2: teacher who's supposed to be minding the children at this
Speaker 2: elite boarding school that are left for whatever reason at
Speaker 2: the school over the whole days. And it's this cantankrist
Speaker 2: teacher and the lunch lady are basically left behind. Then
Speaker 2: all of the rest of the kids get taken away
Speaker 2: in this like almost Simpson z e site gag where
Speaker 2: one of the it's like it's another one of the
Speaker 2: like just single frame, single frame jokes of the year.
Speaker 2: The helicopter comes and just lit airlifts all these kids out,
Speaker 2: and it means that you end up with just one kid,
Speaker 2: the teacher and the lunch lady. And you know, it's
Speaker 2: like her it's shot like a seventies movie. It's shot
Speaker 2: like a hal Ashby thing. Like it's very pure, very
Speaker 2: character driven. The performances are all incredible, and Devine Joy Randolph,
Speaker 2: who I will always have nothing but love for because
Speaker 2: me and my partner are like two of the like
Speaker 2: key defenders of the Zoe Kravitz High Fidelity reboot, which
Speaker 2: we thought was incredible, and she sort of basically plays
Speaker 2: the equivalent of the Jack Black character from the film,
Speaker 2: and she's incredible in it. Her performance in this it
Speaker 2: was just one of those things where just won everything
Speaker 2: and no one raised a dissenting voice for good reason.
Speaker 2: It's like it's an extraordinary performance and it's set in
Speaker 2: set in December nineteen seventy is seventy turns into seventy one,
Speaker 2: and she has this incredible sort of backstory where her son,
Speaker 2: she's black. Her son was allowed to be at the
Speaker 2: school amongst all of these kind of you know, these
Speaker 2: elite prep school white kids, but because she worked there,
Speaker 2: her son gets a place there. But then he goes
Speaker 2: he goes off to Vietnam, and you know, the rich kids,
Speaker 2: these are very much the kind of you know, to
Speaker 2: return to a theme, bone spurs generation of push white
Speaker 2: American men who were not obliged to go to Vietnam
Speaker 2: when poorer white kids and black kids were sent off.
Speaker 2: And her son is drafted and dies in the Vietnam
Speaker 2: one and she has this kind of incredible, sort of
Speaker 2: tragic backstory that sits behind her eyes for the entire movie.
Speaker 2: Like that that's how that's how that performance feels. It.
Speaker 2: It's an incredible depiction of a mother's grief because in
Speaker 2: every frame of her performance, you feel the ghost of
Speaker 2: her son and the weight of what a weight of
Speaker 2: it pressing down on her. And you know, he is
Speaker 2: novelistic because this film really is just about these three characters.
Speaker 2: And the teacher is played by Paul Jim Marty, and
Speaker 2: it's like it's the sort of quite kind of incredible
Speaker 2: because you sort of think, how could there be a
Speaker 2: more Paul gim Marti performance than Sideways, And somehow this
Speaker 2: is even more Paul Giomarti than Paul Jim Martin in Sideways.
Speaker 1: I love Paul Marty so much and what he does
Speaker 1: and what and I sort of in the holdovers there
Speaker 1: as a moment where I'm like, this is what you
Speaker 1: do with his face and it's almost cruel. It's like,
Speaker 1: stop stop having women break, pull up, stop stop having
Speaker 1: stop making stop giving him hope for a few scenes
Speaker 1: and then having a woman revealed something like she's pregnant,
Speaker 1: she's already got a boyfriend, or she's not interested. Because
Speaker 1: he does have the perfect face to receive those that
Speaker 1: news and it is always so heartbreaking. He's a very
Speaker 1: very good actor. I like that film very much and
Speaker 1: it was really classy and shit. And my other answer
Speaker 1: in that category is American Fiction, which I loved and
Speaker 1: thought was and in a way like my old ass,
Speaker 1: in the way that on paper, American fiction is kind
Speaker 1: of it's almost like a high concept comedy. It's like
Speaker 1: a novelist deliberately writes a bad book and become successful
Speaker 1: and on paper go, okay, I think I know the
Speaker 1: jokes of that film. And in fact the film is
Speaker 1: really like rich and it's got a really sort of
Speaker 1: beautiful depiction of a family and of dementia, and there's
Speaker 1: so much life and world going on within that concept
Speaker 1: that it does feel like a book. It's got the
Speaker 1: you really know these people's lives and you care about
Speaker 1: every member of that family, and it's sort of surprising
Speaker 1: because you go in thinking you're it's one thing, but
Speaker 1: really it's a film about a family. And I liked
Speaker 1: it very much, and I think car Jefferson, it's brilliant.
Speaker 1: It's a brilliant film.
Speaker 2: Great, it's based on a novel, and it's a universal
Speaker 2: experience of being a person of color in the creative
Speaker 2: industries and told by often a white person that your
Speaker 2: work is not brown or black or Asian enough. Like
Speaker 2: it's a universal experience, and like it is really interesting
Speaker 2: because it is much more character driven and it is
Speaker 2: very moving at points, but it's also incredibly there's also real,
Speaker 2: like you know, Charlie Kaufman metafiction thing going on, because
Speaker 2: like this, you know, this kind of intellectual novelist and
Speaker 2: also professor of literature at university, is told that his
Speaker 2: work isn't black enough. He gets frustrated watching the success
Speaker 2: of this other novelist played by Issa Ray.
Speaker 1: Scene where she confronts him is fucking brilliant. Yeah, it's brilliant.
Speaker 1: It's brilliant.
Speaker 2: Yeah, it's brilliant the rest of the way that those characters,
Speaker 2: because again it's so self aware and savvy enough to
Speaker 2: explore the idea that when you know writers of color
Speaker 2: resent the work by other writers of color that is successful,
Speaker 2: you're actually still playing into the hands of your oppressor, really,
Speaker 2: because you're still allowing your anger about racism to be
Speaker 2: aimed at other marginalized people instead of upwards. Like it's
Speaker 2: very important that anger's always kept on a level and
Speaker 2: is lateral rather than pushed upwards at the people actually
Speaker 2: responsible and so like, and her confrontation of him is
Speaker 2: actually really really brilliant and kind of explodes and undermines
Speaker 2: his character and like he but he does write a
Speaker 2: novel called My Pathology under the pseudonym name stagg A Lee,
Speaker 2: and like the stuff in that it's it's parts of
Speaker 2: it is so funny and what a cast man Jeffrey Wright,
Speaker 2: Tracy Ellis, Ross, Isa Ray Sterling K Brown is fucking
Speaker 2: brilliant in it. Again, like just on a subject, it
Speaker 2: doesn't get better for Paul Giomarti than the Holdovers Jeffrey Wright,
Speaker 2: who's such a brilliant actor and is so consistently brilliant.
Speaker 2: This is the kind of perfect this is, this is Yeah,
Speaker 2: it's the perfect Jeffrey right part Like it's he's sort
Speaker 2: of vulnerable and prickly. Like that's the thing that his
Speaker 2: and Gimty's performances have in common is that you have
Speaker 2: tremendous sympathy for them and also find them quite high minded,
Speaker 2: prickly intellectuals who, like intellectuals, are not very often not
Speaker 2: easy to like. You know, it's like he can often
Speaker 2: be quite hard to get on with them, and like
Speaker 2: this movie deals in all of the complexity of its protagonist.
Speaker 2: And when it's funny, it's fucking funny, you know, it's
Speaker 2: it's it's great. It's got some real like adaptation esque flourishes,
Speaker 2: which it's hard to think of a higher compliment to
Speaker 2: give a film about writing, and it's sexy, it's got
Speaker 2: everything that film. It's quite at all.
Speaker 1: What was the best inspirational feminist sports movie?
Speaker 2: After you answer this, Brett, I think I think I've
Speaker 2: already got a sense of it. I think it's Young
Speaker 2: Women in the Sea. Tell me about the young Women
Speaker 2: of the Sea. Because I didn't see it.
Speaker 1: Those of you who are regular listened to the show
Speaker 1: may already know that I love this film. I love
Speaker 1: Young Women in the Sea. I happen to be a
Speaker 1: big fan of feminist sports movies. I love Blue Crush.
Speaker 1: I love films where it's a sports movie and someone
Speaker 1: you know changes the world. And yeah, young women in
Speaker 1: this and I love the Sea and I love swimming.
Speaker 1: Young Woman in Sea's got everything I love in it
Speaker 1: in a film. The sea is a sports movie, and
Speaker 1: she changes the world. Daisy Ridley is fantastic, and it
Speaker 1: is a true story, and it is about the first
Speaker 1: woman to swim across the Channel, and it's exciting and
Speaker 1: all of that because these things are but within it.
Speaker 1: One thing I really really liked about it. And one
Speaker 1: of the reasons you see it is it's one of
Speaker 1: the best cast family I've ever seen. Like sister in it,
Speaker 1: You're like, yeah, I believe that's your sister. The mom
Speaker 1: and dad are amazing, the family dynamic and the actors.
Speaker 1: It's such a good family, so well acted, and you
Speaker 1: really believe they're a family in a way that's quite unusual,
Speaker 1: like you properly buy their family bond. And when she
Speaker 1: starts to cross the channel and it becomes very dangerous
Speaker 1: and they're waiting by the radio and stuff like that,
Speaker 1: Like it's very tense, it's very exciting, it's very moving.
Speaker 1: And then it does the thing I want to talk
Speaker 1: about with something else where at the end of the film.
Speaker 2: You know, spoiler alert, she achieves it. I think you
Speaker 2: know that going in and I yes, because otherwise why
Speaker 2: they're making this depressing film about a woman who died
Speaker 2: in the scene. But you know it's perilous.
Speaker 1: But she does finally make it, and in the film
Speaker 1: she returns back to England and there is the biggest
Speaker 1: parade you've ever seen in the streets, the hugest, hugest
Speaker 1: prade you've ever seen. And you go because the Jerry
Speaker 1: Bruckhomer film, of course he's overdone it on the dramatics
Speaker 1: at the end to make.
Speaker 2: It like a movie.
Speaker 1: Here's this big thread and then the credits roll and
Speaker 1: then they show you the real footage and it's real.
Speaker 1: That parade, it was that big. It was the biggest
Speaker 1: parade ever and it was for this young woman who
Speaker 1: swam across the sea. And it's this kind of forgotten
Speaker 1: piece of history and it's fucking great. It's so well made,
Speaker 1: it's so like uplifting and inspirational. But good shit like
Speaker 1: good yeah, characters, really well done, funny, delightful.
Speaker 2: Love it, yeah, see it fantastic. What's not to light?
Speaker 2: What's not to like? My answer is love life's bleeding.
Speaker 2: And I will not be taking any questions. None, none,
Speaker 2: none needed, totally get it, totally get a great answer.
Speaker 2: What film did you love? But you don't probably you
Speaker 2: probably don't need to see it again? Well, yeah, there's
Speaker 2: a few answers for this, Brett, and I think that
Speaker 2: No Other Land is one of the most extraordinary things
Speaker 2: I've ever seen. It's an incredible, incredible film. It just
Speaker 2: won the documentary Oscar And you know, it's about this guy,
Speaker 2: Basladra who's been trying to document the sort of displacement
Speaker 2: of palastine onions and he befriends vel. He's a Jewish
Speaker 2: Israeli journalist who's trying to cover what's going on, and
Speaker 2: you know, it's a brilliant, brilliant film. It's also it
Speaker 2: would also be my answer if we were asking the question,
Speaker 2: which film is the film that you most thought, how
Speaker 2: the fuck did they possibly make this fucking movie in
Speaker 2: the entire time? How many months or years are it's
Speaker 2: set over, No, it's set over like from twenty nineteen
Speaker 2: to twenty twenty three. It's four years worth of footage
Speaker 2: about the displacement of these people because the Israeli government
Speaker 2: says that the area has been designated as an Israeli
Speaker 2: military training area, and so they just have to leave
Speaker 2: their houses, and so they just keep knocking down their houses,
Speaker 2: they just keep building them back up again. It's an
Speaker 2: incredibly powerful documentary. There's footage of people being shot in
Speaker 2: the film, like it's a stomach churning experience to watch.
Speaker 2: But it is incredibly, incredibly powerful. And I'm really pleased
Speaker 2: because it didn't actually get a formal US distribution, and
Speaker 2: I'm really pleased that it won the Oscar And you know,
Speaker 2: when we obviously the Oscars, like all awards are stupid
Speaker 2: and all this kind of stuff but there are moments
Speaker 2: where something happens where you go. That is why those
Speaker 2: things exist. That is why we continue to put up
Speaker 2: with it. Yeah, that's why we continue to put up
Speaker 2: with it because it's a fairly sort of extraordinary piece
Speaker 2: of filmmaking. First and foremost, it just, you know, even
Speaker 2: before you get into the political ramifications of what it means,
Speaker 2: just as a piece of filmmaking. The way the footage
Speaker 2: has been assembled, the way the footage has been taken,
Speaker 2: you know, they're under so much threat. You know, they're
Speaker 2: literally they've got people with guns in their face while
Speaker 2: they're holding cameras. Like you talk about bravery in film
Speaker 2: because somebody like an actor loses a load of weight
Speaker 2: for a roll or does a funny voice for while
Speaker 2: the cameras have stopped rolling. All right, I get what
Speaker 2: you're saying, but it's not nothing. And you've committed to
Speaker 2: this for forty years and then when Roy along, you're like,
Speaker 2: finally it's paid off, finally, But yeah, it's it's an
Speaker 2: astonishingly brave piece of filmmaking and the threat post to
Speaker 2: them is all too real. Last month, one of the
Speaker 2: co directors, ham Done Balal was attacked by Israeli settlers
Speaker 2: and left with head injuries and was seized by the
Speaker 2: IDF and sort of essentially sort of disappeared for a
Speaker 2: couple of days. And there is this strong sense was
Speaker 2: this because he had made this film? And was it
Speaker 2: because the film has received attention by the Academy and
Speaker 2: you know, it's it's an astonishing piece of work, and
Speaker 2: I would urge everybody to see it. In parallel to that,
Speaker 2: I would say that zone of interest that those two
Speaker 2: movies I watched this year are like probably the two
Speaker 2: films that I don't know if you could watch again,
Speaker 2: but at the same time, it's really important you watch
Speaker 2: at least once, Like they are incredible, incredible pieces of filmilmmaking. Again,
Speaker 2: there's a kind of metatextual layer to it, because like
Speaker 2: Jonathan Glazer gave an incredibly powerful speech when he won
Speaker 2: the Oscar last year, and it really upset me the
Speaker 2: amount that that was misquoted, you know he And also
Speaker 2: the reason it upset me is like Jonathan Glazer doesn't
Speaker 2: dash off anything. This is a guy who spends five years,
Speaker 2: ten years sometimes making films. So the idea that he
Speaker 2: had written some remarks about the residences he felt the
Speaker 2: film had with the current situation in Gaza, and those
Speaker 2: remarks were sort of mangled and decontextualized and at times
Speaker 2: sort of misinterpreted willfully. Just the fact that it's like, okay,
Speaker 2: critique what he said if you want, but print what
Speaker 2: he said first and then engage with the text of
Speaker 2: what he said. Don't you owe it to this man
Speaker 2: who works so who weighs every single bit a minute
Speaker 2: of every single thing he puts out into the public domain.
Speaker 2: But just also side of interest, what an incredible piece
Speaker 2: of filmmaking. When I went to see it, I shushed
Speaker 2: two people James I went to see with Jamesia Casta.
Speaker 2: I can't go and see films with you anymore because
Speaker 2: I should two people. I was like, not for the
Speaker 2: Holocaust movie, and also ibanned him from drinking his Pepsi
Speaker 2: max because he Acaster has a bladder. He has a
Speaker 2: bladder the size of like a golf ball, and yet
Speaker 2: the man insists on drinking, ordering a tub of Pepsi
Speaker 2: max for every movie, and he put the Pepsi baxx
Speaker 2: down and I was like, I'll have that, absolutely not
Speaker 2: not in the Holocaust movie. And again separate it from
Speaker 2: the power of the content. Separate it from the politics
Speaker 2: if you want, even though I think those are things
Speaker 2: that I really lord about it, And just like with
Speaker 2: no other land, appreciate the filmmaking for a second, filmmaking
Speaker 2: is extraordinary, all that stuff with the girl in the
Speaker 2: night who's trying to leave the like the apples as
Speaker 2: a trail for them to escape. You know, it's it's
Speaker 2: such a like potent piece of work. And as much
Speaker 2: as it's an adaptation of Martin Amis' book about Rudolphuss
Speaker 2: and his family, it also feels like a kind of
Speaker 2: philosophical movie adaptation of Hannah Arentz writing about the banality
Speaker 2: of evil, because it is just about this family who
Speaker 2: are living this kind of Bucolic country existence, but they
Speaker 2: are running the Ouschwitz concentration camp and you can hear
Speaker 2: like again technically the sound design, the churn of the
Speaker 2: death camps next to their house is appalling. Sandra Huller
Speaker 2: against like as a one two punch. This in an
Speaker 2: auto move of fall is unbelievable, and all of that
Speaker 2: has to also be taken alongside the fact that the
Speaker 2: man also made sexy Beast. Is there great arrange in cinema,
Speaker 2: the zone of interest and sexy beast like unreal. Yes,
Speaker 2: what zone of interest? Was my answer, which thank you.
Speaker 1: I love zone of interest and I think the thing
Speaker 1: with interest, I think it's an actually brilliant piece of writing.
Speaker 1: I think the way, aside from all the film again,
Speaker 1: the way when her mum comes to visit and the
Speaker 1: way her mum talks about her and they're going through
Speaker 1: the clothes and there's a see, there's a bit there
Speaker 1: where I was like, this is almost like the blackest comedy.
Speaker 1: It's because there's a bit where she's showing the mum
Speaker 1: around her garden and she's going, so beautiful the flowers
Speaker 1: and there's fucking smoke coming out from the walls, and
Speaker 1: the mum is like what and she's just going and
Speaker 1: we've got these lovely flowers and you're just like the delusion,
Speaker 1: the denial of it is almost funny because of the
Speaker 1: sheer visual of this beautiful garden and smoke coming up
Speaker 1: from the woods.
Speaker 2: Oh the bit when they're swimming in the river and
Speaker 2: then you just see you kind of you can pretty
Speaker 2: much tell that you're looking at dead bodies floating towards them.
Speaker 2: But the sudden smash cut to them like cleaning themselves
Speaker 2: in the bath is almost like a Simpsons edit. Like
Speaker 2: it's almost like a Simpsons edit. Like the horror is
Speaker 2: so viscerally incomprehensible that it does verge on black comedy points.
Speaker 2: Like I think you're completely right about that. It's great.
Speaker 2: It's an incredible piece of work. Yeah, it's a great,
Speaker 2: great movie. And the and kind of and interesting because
Speaker 2: you're watching it and you go, I really also think
Speaker 2: it's funny in.
Speaker 1: The end, like you're you're you're watching it in your bank.
Speaker 1: Is this film empathizing with him? Are we watching this
Speaker 1: man have regrets? So we're watching like there's a moment
Speaker 1: where you're almost like if this were a Hollywood film,
Speaker 1: he's realizing he's doing a bad thing. And then almost comically,
Speaker 1: he's at this party. You see him looking around, you
Speaker 1: see him looking stressed and upset, and he calls his
Speaker 1: wife and she says, what you're doing And he says,
Speaker 1: I'm imagining how I could efficiently kill everyone, and this
Speaker 1: cats everyone in this room, and you're like, oh, okay,
Speaker 1: he's yeah, he's already, Like it's quite it's quite interesting
Speaker 1: that moment because you're sort of like, oh, I think
Speaker 1: he's is he changing, and it's like no, he's no.
Speaker 2: Absolutely, he brings prisoners from the concentration camp to have
Speaker 2: sex with him. Like it's like it's stuff in it
Speaker 2: that is so either sort of horror of it is
Speaker 2: kind of incomprehensible, but that ending when he starts like
Speaker 2: physically like wretching at the end, You're like there's one
Speaker 2: part of you that's like at least your body knows
Speaker 2: you're a cunt, like like you have no concept of it.
Speaker 2: It's almost like your your like digestive system is trying
Speaker 2: to go Jesus Christ, this is We're the worst person
Speaker 2: that's ever lived. Like man, it's like yeah, it's it's
Speaker 2: a real headfuck of an experience. And it isn't just
Speaker 2: the subject matter is incredibly powerful, but it's the execution
Speaker 2: of it is just extraordinary. Like he is such a
Speaker 2: spectacular filmmaker. And yeah, I would really urge people to
Speaker 2: see No Other Land because again it's just like again,
Speaker 2: it's just radical empathy, like it's and there are bits
Speaker 2: in it that are really uncomfortable, where you know this
Speaker 2: like well meaning liberal Israeli journalist who is trying to
Speaker 2: like do the right thing. There are just points where
Speaker 2: he just is told like you can never understand this,
Speaker 2: like and they it allows those quite uncomfortable conversations to
Speaker 2: happen on camera. And yeah, it's just a piece of
Speaker 2: really incredible, like radical empathy. Like I saw that at
Speaker 2: the Austin Film Institute, which is like founded by Richard
Speaker 2: Linklater in Austin, and it just felt like this is
Speaker 2: the kind of movie that places like that are designed
Speaker 2: to show and celebrate because it's this is like, you know,
Speaker 2: we love movies and this is such an important part
Speaker 2: of our lives, but so little of it is really important,
Speaker 2: and that is a movie that is genuinely important. But yeah,
Speaker 2: it was really great.
Speaker 1: Speaking of important, what's the best till the Swinter performance
Speaker 1: of the.
Speaker 2: You tell me what the best till the Swinton performance
Speaker 2: of the year is, because I have one, but I
Speaker 2: don't think I think we've got two different till the
Speaker 2: Swinter performance. I think it's probably do you see it?
Speaker 2: I didn't see it. I'm a big fan of Julio Torres,
Speaker 2: but it was one that just slipped through me.
Speaker 1: It's Julio Torre's film, probably a lovely, strange little film
Speaker 1: about a man trying to make money and needs to
Speaker 1: pass an exam so that he can stay in America,
Speaker 1: and he gets hired as an assistant Tilda Swinton, who
Speaker 1: is playing a woman who is a fucking nightmare, like
Speaker 1: the worst person you could work for. And she's sort
Speaker 1: of passive, aggressive and manipulative and angry, and she does
Speaker 1: a thing like where she'll complain to a waiter and
Speaker 1: the waiter will go, I'm so sorry, let me get that,
Speaker 1: and she'll go, why are you shouting? She does things
Speaker 1: like that, and she's got to know of an accent
Speaker 1: in it. And it's a really really, really funny performance
Speaker 1: and she's a fucking nightmare and she really goes for
Speaker 1: it and it's very real, but it's very funny and
Speaker 1: it's very odd, and it's kind of I don't think
Speaker 1: there's another character like it in the cinema, Like it's
Speaker 1: almost like a Mike Lee character in the wrong context.
Speaker 1: And I think it's one of my favorite titlismnt and performances.
Speaker 1: What's Yours Mine has been Room next Door?
Speaker 2: Like I you know, I love Pedro been waiting for
Speaker 2: his English language debut. He's made a bunch of short movies,
Speaker 2: definitely one of them with Fielder. And you know it's
Speaker 2: very pedro, isn't it Like it's very pedro. It's two
Speaker 2: strong female characters, one of whom is persuading. So Tilda
Speaker 2: Swinton is a woman who is terminally ill and she
Speaker 2: has from the dark web procured this kind of life
Speaker 2: ending suicide pill and she's trying to persuade her friend
Speaker 2: played by Julian Moore to be in the room next
Speaker 2: door when she does it, just so that she's not
Speaker 2: like dying alone. And you know, and you know it's
Speaker 2: about dying, it's about the circumstances that we all find
Speaker 2: ourselves in as we sit at the end of the world.
Speaker 2: There's one of the great lines in it when there's
Speaker 2: a great performance from John Tutor owed it where it's
Speaker 2: very difficult for me to see myself reflected back on
Speaker 2: SCREENSI viscerally. But there's a point where John Tutor has
Speaker 2: at lunch with Julia More and he's just like, the
Speaker 2: climate is an apocalypse that's coming from all us. She's like,
Speaker 2: Jesus christ Man, can we just have lunch? Like there's
Speaker 2: and there is a really really one of my lines
Speaker 2: of the year is when they're sort of talking about, like,
Speaker 2: how can you know, how can we even live while
Speaker 2: all of this stuff is happening. Julia Moore's there are
Speaker 2: lots of ways to live inside of a tragedy, and
Speaker 2: that's like one of my absolutely one of my lines.
Speaker 2: That's one of those lines where you hear it and
Speaker 2: you go, well, I'm going to think about that for
Speaker 2: the rest of my life. Thank you, thank you, say
Speaker 2: it again. There are lots of ways to live inside
Speaker 2: a tragedy. And also it's about it's so much about
Speaker 2: what this podcast is about, which is how do you die?
Speaker 2: How do you wrap your mind around death? What happens
Speaker 2: when you decide that you're ready and society doesn't let you.
Speaker 2: And it's also you know, it's pedro, so it's very heightened.
Speaker 2: It's got this air of melodrama to it. The score
Speaker 2: is really beautiful. I thought it's fantastic. I thought it
Speaker 2: was great, but yeah it was. I thought Tilda is
Speaker 2: great and tough but also incredibly brittle. The relationship between
Speaker 2: her and More is fantastic. You know, it's what more
Speaker 2: do you want? In some ways, it almost feels like
Speaker 2: we've become complacent about it. But there's a part of
Speaker 2: you the watches and you're like is Pedro, it's Julian Moore.
Speaker 2: It is still diswined. What else do you want? What
Speaker 2: else do you want from movies?
Speaker 1: Sorry, guys, worse your fucking mind. What was the best
Speaker 1: film about the collapse of society?
Speaker 2: I mean, I would say just to get in and look,
Speaker 2: I would say to get in. Another documentary, I would
Speaker 2: say soundtrack to a Coup d'etar was incredible, like an incredible,
Speaker 2: incredible documentary about these sort of this like weird chapter
Speaker 2: during the Cold War where like the US was essentially
Speaker 2: sending black jazz musicians on propaganda tours to Africa. Some
Speaker 2: of them didn't know, like Nina, some moan that those
Speaker 2: tours were being financed by the CIA and thought that
Speaker 2: they were just like weird like Arts Council funded trips,
Speaker 2: and some of them, some of them, like some of
Speaker 2: them did know. And it's all set around this kind
Speaker 2: of UN General Assembly where Khrushchev, who at the time
Speaker 2: is you know, the big cheese from the USSR, is
Speaker 2: basically grand standing at the UN because of what America
Speaker 2: and Britain has been doing in trying to overturn the
Speaker 2: democratically elected leadership in the Congo. So it's an incredible
Speaker 2: movie about this kind because also it's a UN General Assembly,
Speaker 2: so it's all filmed, so you get loads of footage
Speaker 2: of just like Joel al Nehru, the Prime Minister of Understanding.
Speaker 2: They're going, what on earth is going on here? And
Speaker 2: you know because like a lot of these black musicians
Speaker 2: are also being sent out on these propaganda tours at
Speaker 2: a time in America in nineteen sixty where this parts
Speaker 2: of the country that they can't get on a bus in,
Speaker 2: and like as so often happens with that period of
Speaker 2: history in America, Malcolm X is in it and he's
Speaker 2: the only one who's sort of making any actual sense here.
Speaker 2: And in the middle of all of this, Malcolm X
Speaker 2: is trying to like bring the US up in front
Speaker 2: of the UN essentially like at the UN General Assembly
Speaker 2: collargely convened by the US, Malcolm X is like trying
Speaker 2: to like essentially like arrest America. And it's there's then
Speaker 2: this incredible thing where they go where they say that
Speaker 2: Castro is going to be killed. So then Malcolm X
Speaker 2: invites Castro to stay in a hotel in Harlem and
Speaker 2: Nehru and VK. Krishnaman and who's the like there, who's
Speaker 2: liaison to the un like go up to Harlem to
Speaker 2: visit for del Castro and Malcolmax. It seeks unbelievable footage
Speaker 2: like we've got like it's just all documentary footage. But
Speaker 2: the most important core of it is contained within these
Speaker 2: light propaganda tours, are these plots to undermine and eventually
Speaker 2: overthrow Patrice Lamumba, who is the Prime Minister of the
Speaker 2: newly independent Congo. And it shows you that like colonialism
Speaker 2: and capitalism are intertwined, and it shows you that when
Speaker 2: colonial forces were expelled from a country, that didn't mean
Speaker 2: the business interests that had been part of those colonial
Speaker 2: projects left immediately. And essentially La Mumba is removed from
Speaker 2: power because he represents a threat to the mining companies,
Speaker 2: and the mining companies all need the Congo for like
Speaker 2: key like minerals and materials and you know, and it's
Speaker 2: a conversation that we see play out every single day
Speaker 2: with the conversation around the Ukraine's. But also there's like
Speaker 2: there's this incredible thing where just occasionally in the middle
Speaker 2: of the film, it will just suddenly hardcut to an
Speaker 2: Apple advert or to a Tesla advert, and you realize
Speaker 2: that actually a lot of the key materials that we
Speaker 2: need to make iPhones and electric cars are still coming
Speaker 2: from Congo, and we like we're still continuing this like
Speaker 2: policy of exploitation of this country. It's an incredible film.
Speaker 2: Like it's another one where I'm like, please see it.
Speaker 2: It's an incredible documentary. It's really really it and it
Speaker 2: does show you a lot of the conversations around like race, colonialism,
Speaker 2: and capitalism that we're still having to this day. What
Speaker 2: was your favorite End of the End of the World movie.
Speaker 1: I really liked Civil War. I thought Civil War was great.
Speaker 1: I love seeing Kirstin Danst on screen being brilliant. There's
Speaker 1: a scene with Jesse Plemons, one scene where it's like,
Speaker 1: oh boy, he's very good, a very tense scene. I
Speaker 1: think it's a really well made film.
Speaker 2: That'd be my set piece of the year, the sequence
Speaker 2: with Lemons, and like also there's like a thing he
Speaker 2: does when the guy says to him, we're Americans, and
Speaker 2: Plemons goes, yeah, what kind of Americans? And as he
Speaker 2: says that, he scratches his face and like just just
Speaker 2: like a little acting decision. The idea that he's going
Speaker 2: to kill these people is of so little consequence to
Speaker 2: him that he is scratching his face. He's got an
Speaker 2: itch and he's scratching it like he's it weighs so
Speaker 2: little on him. The idea that he's mulling whether he's
Speaker 2: going to murder these people or not, that you could, like,
Speaker 2: if you you would imagine what you ever in the
Speaker 2: position that you might be about to kill someone, that
Speaker 2: that would be the sole focus. But to him, it's
Speaker 2: so it's nothing. And he's like halfway through threatening to
Speaker 2: kill these people, Who's like, oh, my face is a
Speaker 2: bit itchy, I'm better give it a bit of a scratch,
Speaker 2: Like it's just like one of those like amazing acting
Speaker 2: choices that you go that is a great way of
Speaker 2: delivering that line.
Speaker 1: I really liked in that film. I think I've seen
Speaker 1: stuff about it, even that film sort of underrated Tina
Speaker 1: Fey Martin Freeman film Whiskey Tango.
Speaker 2: Fox Truck, Whiskey Tango, Yeah.
Speaker 1: About war reporting and how it is I believe addictive
Speaker 1: and sort of very very dangerous and very so much
Speaker 1: adrenaline that I think it becomes addictive because going back
Speaker 1: to safety is boring. I think when you live at
Speaker 1: that sort of heightened reality and everything's so extreme and
Speaker 1: it's quite hard to leave that world. And I think
Speaker 1: that that film captures that feeling with them. And then
Speaker 1: there's that real thing of like the friend that's like
Speaker 1: the crazy one and he's really fun, fun, fun, until
Speaker 1: it's not fun, and then you have him silence. The
Speaker 1: sound isn't on, but he's screaming and it's very sad.
Speaker 1: But I also really like the ending. I like what
Speaker 1: the president's final quote is. They want this quote from
Speaker 1: the president and then that final image which is like
Speaker 1: sort of disturbing and funny or like, I think there's
Speaker 1: a lot going on that film. I think it's really
Speaker 1: really good. I really liked it, and I would recommend
Speaker 1: it too. Well, should we get to why people come?
Speaker 1: What's the sexiest film of the year?
Speaker 2: Challengeous Challengers. I went to see Challenges and Love Life Bleeding.
Speaker 2: I think almost of consecutive weeks at ten am on
Speaker 2: a Monday, and I think I'm now on some sort
Speaker 2: of register. Yeah, Like I think if I'd gone home
Speaker 2: and watched all of Euphoria, I would be in line
Speaker 2: for a distrack written by Kendrick Lamar, like it would
Speaker 2: be that it would be that level. That's funny. Challengers.
Speaker 2: Challengers is one of the horniest movies of all time,
Speaker 2: and it's a like love sexy love triangle set around
Speaker 2: tennis Josh O'Connor and Mike faced Like. There's a scene
Speaker 2: in it where one of them smacks the other one
Speaker 2: in the boner, like you're like, this is a Hollywood movie.
Speaker 2: It's a film. This is an actual film, but people
Speaker 2: are like smacking each other's boners around. Zendayah has another
Speaker 2: one of the lines of the year where she says,
Speaker 2: I'm always I'm just I'm doing what I always do,
Speaker 2: which is taking I'm taking such good care of little
Speaker 2: white voice, which I absolutely It's a horny, horny tennis film.
Speaker 2: It's horny. What do you want me to say? I
Speaker 2: wanted to say honey a few more times. Obviously, Love
Speaker 2: Lives Bleeding is also a horny movie. And yes, obviously
Speaker 2: I want to be picked up and held by k
Speaker 2: T O'Brien. Is that a crime, Brett? Is that now
Speaker 2: a crime?
Speaker 3: No?
Speaker 2: Not here, it's a safe space.
Speaker 1: It's not like anyone's gonna listen, I thought to myself,
Speaker 1: I actually weirdly found this one hard this year because
Speaker 1: I was like, I don't think i've seen this ship
Speaker 1: turn of films good that I consider sexy sexy films.
Speaker 2: I'm going to pick Anura. Yeah, okay, Anura would be
Speaker 2: my answer to troubling Boner. Yeah.
Speaker 1: I feel it's in the traveling boning area, but I've
Speaker 1: got a better traveling bonus, so I'm going to put it.
Speaker 2: But I don't know what I love.
Speaker 1: I love a Nora anyway. I love it as a film.
Speaker 1: It's a wonderful film. And I think I love Sean Bankers,
Speaker 1: you know, love the film. Yeah, and I guess that
Speaker 1: final sex scene which is sort of heartbreaking, but I
Speaker 1: really like their sort of weird love story. So I'm
Speaker 1: putting it. Even though it is troubling bon or adjacent,
Speaker 1: I'm going to give it sexy so that traveling boner
Speaker 1: is clear.
Speaker 2: It's so funny. Is that fair? Yeah, I'd say so. Yeah.
Speaker 2: And the sequence where the kind of home invasion by
Speaker 2: those goons after the kid runs off is probably my
Speaker 2: set piece of the year and also a thing that like,
Speaker 2: it's so slapstick, but it's still two big guys attacking
Speaker 2: a small woman, and so it remain it maintains the
Speaker 2: threat of the scene whilst also being almost like a
Speaker 2: kind of like three stooges bit of physical comedy. Yeah, brilliant,
Speaker 2: what a performance as well? Goodness me, goodness me, she's incredible.
Speaker 2: All right, up, category traveling bonus? What is it? And
Speaker 2: what's your troubling boner? The substance obviously, the substance. What's
Speaker 2: your traveling boner? There's never been a more troubling than
Speaker 2: the substance. I mean basically the whole of the substance. Yeah.
Speaker 2: I would say for me, probably my most troubling boner
Speaker 2: is Anora, because you're like, it is still a sexy movie.
Speaker 2: That's not great. It's not great that that's sex. Maybe
Speaker 2: I should switched the round. But the substance is troubling
Speaker 2: bonus the movie. Yeah, it's it's a very long traveling boner.
Speaker 2: The substance is two and a half hours traveling boners.
Speaker 2: That's exhausted. It's the troubling viagra of troubling boners. Yeah,
Speaker 2: traveling our way through, whole way through? Is that your answer? Yeah,
Speaker 2: of course, it is. My experience of watching that movie
Speaker 2: was the first twenty minutes I was like, this is
Speaker 2: the worst piece of shit I've ever seen in my life.
Speaker 2: And then it clicked into gear for me. And when
Speaker 2: it became Goria and Goria and Stupider and stupider, it
Speaker 2: got the more and more. I loved it as a film,
Speaker 2: and I watched it in a full so it was
Speaker 2: so nice. And it's so nice that that movie did
Speaker 2: so well at the cinema because it feels like a
Speaker 2: real cinema experience of a film. People like whooping and
Speaker 2: shouting and kind of gasping. And also, ultimately, it's a
Speaker 2: film that got nominated for so many Oscars that features
Speaker 2: a giant monster vomiting up a whole human breast, and
Speaker 2: that is something worth celebrating. Yeah, you're right, Yeah, you're right.
Speaker 2: What is the.
Speaker 1: I don't know if you've got I did well. One
Speaker 1: of the questions was what's the best performance by a
Speaker 1: baby monkey? But we both know it's better man. What
Speaker 1: is the best example of someone channeling God?
Speaker 2: Okay, well I'm going to take this completely at face
Speaker 2: value here, I'd say, cogclave great answer. I've got to
Speaker 2: be honest with you, I didn't know how they picked
Speaker 2: a fucking pope. I knew loosely about the like there's smoke,
Speaker 2: blah blah blah, but I didn't realize honestly, watching it
Speaker 2: was like watching people. When I was at university, I
Speaker 2: was in a debating society. And I'll pause there for
Speaker 2: the sound of absolutely no one being surprised the debating
Speaker 2: society with all the sex you must have been having.
Speaker 2: But when it came time to me who which student
Speaker 2: was going to be president of the debating society, they
Speaker 2: would have hustings. And it was alarming to me that
Speaker 2: that is the same circumstance. And I know this is
Speaker 2: a fictional movie, but it is based on real research
Speaker 2: about how the pope is selected. I don't want to
Speaker 2: give too much away about the ending of Conclave. If
Speaker 2: you haven't seen it, you must watch it. I think
Speaker 2: there's I know that we sort of get. We don't
Speaker 2: want to get too like bogged down in awards in
Speaker 2: terms of people like one movie being more deserving than
Speaker 2: the other. So I'll just say that I'm glad that
Speaker 2: Peter Strawn was celebrated by the Academy for that adaptation
Speaker 2: because I think it's a it's a fucking thriller, and
Speaker 2: it's every scene it motors along, throws you from scene
Speaker 2: to scene. Ray Fines has really been better. Right at
Speaker 2: the center of the whole thing. I will say as
Speaker 2: a film, it is not necessarily the most glowing endorsement
Speaker 2: of the Catholic Church that you can make. A whole
Speaker 2: film whose perennial rolling twist is no, one's a pedo.
Speaker 2: That is not a great review of the Catholic Church.
Speaker 2: That essentially now filmmakers can use that as a kind
Speaker 2: of bait and swift. Do you think everyone's going to
Speaker 2: be a pedo? Oh, the Catholics, Everyone's going to be
Speaker 2: a pedo. I've seen Spotlight, I've seen I've seen the
Speaker 2: real story the filmmakers have got. Like you think everyone's
Speaker 2: a pedo, some of them are, but no, that's not
Speaker 2: the main thrust of the plot.
Speaker 3: Everybody's as a twist, and I will I will say,
Speaker 3: as we ramped up, I saw this in like in
Speaker 3: a cinema right in the middle of Leicester Square in London,
Speaker 3: as we ramped up towards the twist, which I think
Speaker 3: is a genuinely surprising twist, genuinely brilliant.
Speaker 2: Just as it starts to become apparent what the twist
Speaker 2: is going to be, just from four rows in front
Speaker 2: of me, I heard, ah, like the most cartoonish snoring
Speaker 2: I've ever heard in my entire life. It was that
Speaker 2: Homer Simpson. It was like a cartoon, like it was bananas.
Speaker 2: And that did break the tension slightly because everyone did
Speaker 2: really laugh because everyone else, I think, was very invested
Speaker 2: in the movie, so the idea that somebody could have
Speaker 2: fallen asleep was actually quite funny. But yeah, I thought
Speaker 2: Conclave was great, and it's a great movie because it
Speaker 2: simultaneously makes you understand religious people and also understand people
Speaker 2: that have absolutely no religious belief whatsoever, because you could
Speaker 2: there's tremendous like hope and optimism in the act of
Speaker 2: faith contained within this film. But at the same time,
Speaker 2: you could also understand why people would come away from
Speaker 2: that being like that is the biggest load of nonsense
Speaker 2: I've ever seen in my entire life. As an institution,
Speaker 2: it is insane that we allow this to continue. So
Speaker 2: I thought that was great. Tucci's great. I love the
Speaker 2: vaping Priests. I absolutely love the vaping priest Isabella Rossellini
Speaker 2: with a passive aggressive curtseying was fantastic. It's just like
Speaker 2: Conclave is almost like the most enjoyable. Like I would
Speaker 2: put that in front of anybody, like anyone, and I
Speaker 2: think it would work. It might not be my favorite
Speaker 2: film of the year, but I think it's an incredible film.
Speaker 2: And I also like you could happily, like go and
Speaker 2: see that with like a gang of young people, and
Speaker 2: you could also, I think, happily go and see that
Speaker 2: with your parents, Like it has the kind of it
Speaker 2: has that kind of classy British film element to it,
Speaker 2: even though I know it was directed by Edward Berger,
Speaker 2: who made all quite the rest in front, Like I think,
Speaker 2: I just thought it was great. Yeah, I thought it
Speaker 2: was really classy, propulsive. What was the question, which film
Speaker 2: has God working through it?
Speaker 3: Oh?
Speaker 2: Yeah, there, okay, what was yours? Well, it's Cynthia Arrivo
Speaker 2: in Wicked.
Speaker 1: I think that Cynthia, I may have said this before,
Speaker 1: I believe that she is the clearest example of God
Speaker 1: working through someone. When she sings, I ain't joking, that's
Speaker 1: God like. And there's a moment in Wicked when she
Speaker 1: has the song the Wizard and I quite early on,
Speaker 1: and she's young in it. She's young, sort of new nave.
Speaker 1: It's so I could cry thinking about her voice so pure.
Speaker 1: There's something really, really really she is channeling the Lord
Speaker 1: like it's not It's the closest I've seen is in
Speaker 1: that Aretha Franklin documentary. Amazing grace, amazing grace when she
Speaker 1: first sings and you're like, holy shit, that's God coming
Speaker 1: through you. Yeah, that's However, when Cynthia Revo sings, yeah,
Speaker 1: take it or leave it.
Speaker 2: Yeah, if you listen, if you listen to a love supreme,
Speaker 2: you go, yeah. I think John Coltrane might be communicating
Speaker 2: with God here, Like, there are definitely my moments where
Speaker 2: you're like, I don't know if I believe in God,
Speaker 2: but I definitely believe that if there is a God,
Speaker 2: Aretha Franklin has found a way to speak directly to it. Yeah,
Speaker 2: directly to God. But like, yeah, I mean I watched again,
Speaker 2: not ideal. We know it's not ideal, but we're busy boys.
Speaker 2: Were busy boys. We're traveling a lot, So I watched
Speaker 2: Wicked on a plane. Not ideal, Okay, okay, ideal. On
Speaker 2: the flip side to that, on a different plane journey.
Speaker 2: He did watch it, guys, he did watch it. On
Speaker 2: the flip side, I saw it on a different play journey.
Speaker 2: I drank a bottle of wine and watched Trap. What
Speaker 2: that was ideal? That was ideal to watch Trap whilst
Speaker 2: hammered on a plane and the bit and Trap wire
Speaker 2: kid cud he says, don't give me dairy milk unless
Speaker 2: you want me to do do with my pants. That's
Speaker 2: one of the most I love at anything in the movie.
Speaker 2: Is it okay? But yeah, Like I watched Wicked on
Speaker 2: a plane, obviously not ideal, enjoyed myself, but I also
Speaker 2: just think I'm going to say, I don't know if
Speaker 2: Wicked is good. I have no idea and I don't
Speaker 2: know if Wicked is good because at the end of
Speaker 2: the day, define gravity is so good that I actually
Speaker 2: can't tell you if the rest of it was good. Yeah,
Speaker 2: Define gravity is so good that like the bit where
Speaker 2: she sings so if you cared to find me look
Speaker 2: to the Western guy. I actually watched that because I
Speaker 2: was on a plane. I rewound it and watched it again.
Speaker 2: But the bit where she sings that line is like,
Speaker 2: it's unbelievable. Believable. God's coming through it. I'm telling you,
Speaker 2: I'm telling you, bro, what the you know?
Speaker 1: Best directorial debut or was it your monkey man? Give
Speaker 1: a shout out to Blink twice? Blink twice? Great movie, fun, exciting, entertaining, disturbing,
Speaker 1: brilliantly directed, first time director, Sorry Kravitz. Yeah, fantastic, fantastic
Speaker 1: bit of director.
Speaker 2: Yeah. Really well made. Yeah, really really really well put
Speaker 2: together movie, really well constructed. Yeah. I love the editing.
Speaker 2: I love the look of it. I love the feel
Speaker 2: of it. Photography is great as well, so.
Speaker 1: Great, And Channing Tatum has a speech in it, best
Speaker 1: performance he's ever given.
Speaker 2: It's a good movie. What's your answer? Yeah? I went
Speaker 2: to watch it with Amy, my partner. It was we
Speaker 2: watched it one of the weeks during the Giselle Pelicot trial,
Speaker 2: and it like it was queasy watching something that had
Speaker 2: that kind of overlap it. It was a really it
Speaker 2: was a queasy old experience. But yeah, really well made.
Speaker 2: My directorial debut is a slight cheat because she's made
Speaker 2: documentaries already, she made Dogs, but pile Capadia. All we
Speaker 2: imagine is light, All we imagine is light is just
Speaker 2: an absolute miracle of a film. Five stars, ten out
Speaker 2: of ten. It's a total miracle of a film.
Speaker 1: If you have to watch it on a plane, I'm
Speaker 1: just glad you're watching it.
Speaker 2: Okay. I watched it twice at the cinema. I went
Speaker 2: watched it at the cinema and then I went back.
Speaker 2: I went back and watched it again because I was
Speaker 2: so I was like, oh, can I just I just
Speaker 2: need We talked about We talk about this all the time.
Speaker 2: Sometimes you have to check if something's a masterpiece because
Speaker 2: you're like, I'm pretty sure that's a masterpiece. But I
Speaker 2: normally you would go, well, I'll wait until I watch
Speaker 2: on TV to confirm. Be like, no, I need to
Speaker 2: reconfirm with this is a masterplace it is. It's a masterpiece.
Speaker 2: It's an incredible, incredible film. So it's about these two nurses,
Speaker 2: Praba and and who live in Mumbai. And the only
Speaker 2: my one caveat that I would say to people that
Speaker 2: I said to you before you watched this movie is
Speaker 2: it's really important that you know that when the two
Speaker 2: nurses talk to each other or when they talk to
Speaker 2: the doctor who's in it, they are speaking a different
Speaker 2: language from everybody else and it's important that you note
Speaker 2: that only because it's part of the kind of cultural dislocation.
Speaker 2: And there's a point in the movie halfway through where
Speaker 2: one of the male doctors says to them, man, I
Speaker 2: really fucking hate speaking Hindi, and then it becomes clear.
Speaker 2: But I just think that, you know, like in a prophet,
Speaker 2: they would distinguish in the subtitles between when people are
Speaker 2: speaking French and when people are speaking the Corsican dialex
Speaker 2: It's really important to know that they speak a different
Speaker 2: lguage because it's about. Part of what it's about is
Speaker 2: the dislocation they feel from the city that they are
Speaker 2: living in, because Mumbai's in the north of India. Hindi
Speaker 2: is the national language of the country, but my family
Speaker 2: comes from Caeraler, which is the state that these two
Speaker 2: nurses come from. And like, my dad left India when
Speaker 2: he was thirty years old and his Hindi is absolute dogshit,
Speaker 2: Like it's because it's not their language. Like and Malayalam
Speaker 2: is a language that derives from Tamil. Hindi is a
Speaker 2: language that derives from Sanskrit. India is a country that
Speaker 2: has two latins effectively operating within it as a single country,
Speaker 2: you know, like two route languages, and it's about the
Speaker 2: generational difference between these two women. Brothers is older, she's
Speaker 2: married to a man who's now gone to Germany to work.
Speaker 2: She has seemingly almost no contact with this man at
Speaker 2: this point. Anu's a bit younger and is more confident
Speaker 2: in living the life that she actually wants to live,
Speaker 2: and you see her. The introduction scene to her is
Speaker 2: her basically giving somebody a birth control and of being like,
Speaker 2: just take it. For God's sake, if you're going to
Speaker 2: be shagging each other, just take this. And so immediately
Speaker 2: you get the sense of this as a woman who's
Speaker 2: less bound by social norms. And really what it's about
Speaker 2: is the relationship between between these two women and how
Speaker 2: Prother kind of learns from Anu that it's actually okay
Speaker 2: for her to want certain things. And like, you know,
Speaker 2: I grew up with women from Kerala who were bound
Speaker 2: by societal norms and expectations, and some of them broke
Speaker 2: out of those norms and expectations, some of them didn't.
Speaker 2: And it felt like it had a real like personal
Speaker 2: resonance for me. There's a scene where she's wearing her
Speaker 2: NIGHTI frying fish that is so much like all of
Speaker 2: the women that raised me, like and specifically the fish
Speaker 2: that she's frying, like it's like the food that my
Speaker 2: grandmom and my mum made me when I was a kid,
Speaker 2: like it is. So there's like there's a harble personal thing,
Speaker 2: but also what it's about is our great cities. And
Speaker 2: Mumbai is one of the world's great cities. And I'm
Speaker 2: somebody that like loves London and New York and Mumbai,
Speaker 2: and I'm in Melbourne right now, like I love the
Speaker 2: kind of great cities of the world. But the uncomfortable
Speaker 2: truth is the great cities of the world are only
Speaker 2: able to operate because of this like mass exploitation of
Speaker 2: working a lower middle class people in them and their
Speaker 2: friend Parva thee who is a cook at the hospital
Speaker 2: is basically being it fitted by luxury flat developers. And
Speaker 2: you know, at one point they go to like a
Speaker 2: local like protest group meeting, and so there's this whole
Speaker 2: other political subtext to it, like small p political but
Speaker 2: arguably more important to people's day to day lives than
Speaker 2: big peak politics, you know, more important than anything to
Speaker 2: people's day to day lives, Like is there a secure
Speaker 2: place to live without these women, these cities don't operate,
Speaker 2: and it depicts how disposable they are to the wealthy
Speaker 2: people who live in the cities that can only operate
Speaker 2: because of the sacrifices made by these people. And it's
Speaker 2: stunningly photographed, and I can't think of a film that
Speaker 2: has so many just it just these beautiful kind of
Speaker 2: allegaic I don't know, I never know if that's ellegaic
Speaker 2: or eligike. I think you and I really have learned
Speaker 2: are slowly revealing that we've actually learned this really from
Speaker 2: reading books, from reading books actually, but like it has
Speaker 2: loads of these secrets of them on trains. And it
Speaker 2: also brings in a bit of pyle Caapadia's documentary background,
Speaker 2: because there's bits where she's interviewed people who live in
Speaker 2: them by way, they talk about how much they love
Speaker 2: the city, how they feel conflicted about it, and I
Speaker 2: knew it was like pursuing this affair with this Muslim man,
Speaker 2: so you get this kind of there's still this sort
Speaker 2: of religious conflict in India that still means that it's
Speaker 2: tense if she wants to marry a Muslim guy. There's
Speaker 2: a very funny sequence where they go through loads of
Speaker 2: arranged marriage proposals that she's been sent and they both
Speaker 2: do the voices of the guy and it's like a
Speaker 2: really funny and flirty scene and their relationship is really
Speaker 2: is really sexy, and in the end, it's about this
Speaker 2: brother's journey to realize that it's actually okay for her
Speaker 2: to acknowledge that she has emotional needs and that is
Speaker 2: that's something I found incredibly powerful, whilst also the background
Speaker 2: being what our great cities take from the people who
Speaker 2: make them great. Really, I cannot recommend this film to
Speaker 2: people more strongly. It's I think it's extraordinary.
Speaker 1: You made me watch it, and I fucking loved it,
Speaker 1: And I know I really annoyed that I didn't think
Speaker 1: it it's my sexiest because I actually think it's really sexy.
Speaker 1: The scene with her, it's a very sexy scene, and
Speaker 1: it's a really it's use this word, it's a very
Speaker 1: sensual film if you don't mind this. Yeah, And it's
Speaker 1: a very sensual film. And it's I thought it was
Speaker 1: going to be depressing and it isn't depressing. It too,
Speaker 1: it's it's too really lovely. I like the acting in it.
Speaker 1: I've been thinking a lot about like, given that she
Speaker 1: made documentaries, and at the beginning of the film, it
Speaker 1: is a documentary, as in you're hearing real voices at
Speaker 1: the beginning, and then when you get to your actors,
Speaker 1: you're like, this is the most realistic performances I've ever seen,
Speaker 1: oh not ever, but as in, you could still be
Speaker 1: watching a documentary, except that it's really beautiful and sort
Speaker 1: of wistful and stuff. But their performances are so they
Speaker 1: seem so so completely natural in a way that it's
Speaker 1: quite hard to do.
Speaker 2: I think they just feel completely real with those people.
Speaker 2: And I love that film. You were right, you were right, wonderful,
Speaker 2: well done. The one film we haven't talked about that
Speaker 2: I wanted to talk about, but flip flip to category.
Speaker 2: I'll tell you what we definitely haven't talked about is
Speaker 2: The Beast, which I know you want to say, that's
Speaker 2: what I wanted to get to. Yeah, and we have.
Speaker 2: We didn't really talk about all of Us Strangers as well.
Speaker 1: Well, that's because that's saving that for the end for me.
Speaker 1: But my two well, so my great greatest film of
Speaker 1: the year. I think My great is my favorite of
Speaker 1: the same. So I'm going to say, what was the
Speaker 1: film that you think is fucking brilliant and maybe it
Speaker 1: is the greatest feel the year, it might not be because
Speaker 1: of another film.
Speaker 2: I'm going to say The Beast. Well, you know what,
Speaker 2: we should definitely talk about The Beast, because you and
Speaker 2: me loved The Beast, Like that was a movie where
Speaker 2: like that was that was a real like film that
Speaker 2: we both came out buzzing about. But if you want
Speaker 2: to frame it as a question, we should acknowledge the
Speaker 2: sad passing of like one of the greatest filmmakers of
Speaker 2: all time and one of your truly truly personal heroes,
Speaker 2: David Lynch, And like, if we want to frame this
Speaker 2: is a question where we talk about The Beast, we
Speaker 2: should say, what movie do you think in the year
Speaker 2: that he died best exemplified some of the things that
Speaker 2: David Lynch gave to the overall vocabulary of cinema, And like,
Speaker 2: for me, a movie that best exemplified filmmakers working in
Speaker 2: the Lynchian tradition was The Beast. The Beast is a
Speaker 2: fucking crazy movie, and in it's people always say people
Speaker 2: we know, the kind of people we know always say
Speaker 2: things like we want to see proper actual science fiction
Speaker 2: like ideas led science fiction two thousand and one, Solaris,
Speaker 2: We want to see properly like intellectually stimulating science fiction.
Speaker 2: You got to fucking watch the Beast. The Beast is
Speaker 2: kind of is set. I guess like the start of
Speaker 2: the Beast is in twenty forty four. And there are
Speaker 2: AI programs that say actually run the world, and they're
Speaker 2: like trying to purify human beings of the emotional weaknesses
Speaker 2: that mean that human beings are inferior to AI in
Speaker 2: terms of actually running the world. So they offer a
Speaker 2: service where you can sort of purify your DNA by
Speaker 2: examining all of the trauma in all of your past lives.
Speaker 2: And so Lea said one of the greatest actors of
Speaker 2: all time, no no question about it, No one's questioning it.
Speaker 2: Goes into this purification session, and then we see her
Speaker 2: in her past life in nineteen ten in France, where
Speaker 2: she's a pianist who is having an affair with this
Speaker 2: guy who's played by George McKay, who's incredible in this movie.
Speaker 2: And then one of her other past life time periods
Speaker 2: is in twenty fourteen in Los Angeles where instead of
Speaker 2: it being a doomed romance between her and George McKay.
Speaker 2: He is like an incel who is stalking her in
Speaker 2: LA And the sequence in twenty fourteen is like, is
Speaker 2: sort of one of my horror movies of the year,
Speaker 2: Like it's a properly scary, scared film, but it is
Speaker 2: David Lynch of the year because it's science fiction but
Speaker 2: it's also genreus and it feels like a dream but
Speaker 2: also at points it feels so viscerally real that you
Speaker 2: are sort of paralyzed with terror for this woman, especially
Speaker 2: in the LA section, And you know, you walk out
Speaker 2: of that movie and you think, we're still coming up
Speaker 2: with original films. We're still doing it, like like you know,
Speaker 2: like one hundred and fifty years into the medium of
Speaker 2: cinema or whatever number we are up to, we're still
Speaker 2: making truly original films because I honestly can't think of
Speaker 2: a film that that is like I can think of
Speaker 2: films that it's influenced by, and that's true of everything.
Speaker 2: Nothing comes out of nowhere, But that is not a
Speaker 2: film that's like other movies. You're right, that's a great ending.
Speaker 2: Go and see The Beast if you haven't. Yeah, last
Speaker 2: question before we get to the no I've got a
Speaker 2: few quick ones. Best Summer movie, best big summer movie,
Speaker 2: Quiet Place Day one. I've said it before in the show.
Speaker 2: I'll say it again. They keep making Quiet Place movies.
Speaker 2: I'll keep going to see the great movie.
Speaker 1: I say, Twisters, Twisters, big fun. Really enjoyed Twisters, old school,
Speaker 1: really enjoyed it. Well made, exciting fun. Yeah, what was
Speaker 1: the funniest film.
Speaker 2: Of the year. Well, I would probably say American Fiction
Speaker 2: really made me laugh. The whole Divers really made me laugh.
Speaker 2: Those are like comedy film master classes. Really, I thought
Speaker 2: those were both very funny. But what was your film
Speaker 2: comedy film in the year? Babes? Now, I haven't seen Babes,
Speaker 2: and I regret that. Yeah, I'm looking forward. It's actually
Speaker 2: pops up on Netflix, and I'm excited.
Speaker 1: I have to confess something. Oh God, what's becoming usn't it?
Speaker 1: We just live on a plane? Maybe we live on
Speaker 1: a plane. That's the big reveal. I guess we live.
Speaker 1: It's fucking funny, Babes. It's funny. And you know what
Speaker 1: I really liked about Babes. It's funny.
Speaker 2: Immediately, it's funny, like thirty seconds in and there's a
Speaker 2: sequence at the beginning where a woman goes into labor
Speaker 2: but they're out having lunch and.
Speaker 1: She doesn't want to finish. She doesn't want to leave
Speaker 1: all the food they for it, and she is in labor,
Speaker 1: she's trying to eat. It's very funny. It's a very
Speaker 1: funny film, and they're both very funny in it. One
Speaker 1: other shout out best real footage at the end. We've
Speaker 1: talked about young Women in the Sea, but I would
Speaker 1: also like to add Thelma, Lovely, Lovely, Thelma, sweet old
Speaker 1: lady film, lovely film, and at some point you sort
Speaker 1: of think, well, probably not realistic, but obviously this girl
Speaker 1: loves his grandma. And then the credits you see a
Speaker 1: clip of the real grammar and she says exactly what
Speaker 1: was said in the film. You're like, oh, I guess
Speaker 1: she was an accent hero.
Speaker 2: Yeah. I mean, I would say, like best real footage
Speaker 2: is it's hard to describe anything about this movie is
Speaker 2: good because it's so depressing. It's a very good film.
Speaker 2: But The Iron Claw, which is a really really great,
Speaker 2: horribly depressing true story where the true story is so
Speaker 2: depressing they actually cut one of the brothers who died
Speaker 2: out because they thought it would be too depressing for
Speaker 2: people to handle that that's really happened. It's really really bleak.
Speaker 2: Performances are great. Black Efron is great. The Bear is great.
Speaker 2: I know he has a name, but he's the bear.
Speaker 2: The bear is great. John Lennon, Baby Girl is great. Yeah,
Speaker 2: Jeremy Allen White, Harris Dickinson, great performances. Fantastic story. I
Speaker 2: didn't know anything about it. But at the end there's
Speaker 2: just a photograph of the character upon whom zac Efron
Speaker 2: is based, like happy with his family. And it's not
Speaker 2: even just that. It's such a relief after what that
Speaker 2: film puts you through, and the view is based on Yeah,
Speaker 2: you actually see the real guy with his family. And
Speaker 2: I'm split on using real footage after a film. I
Speaker 2: think sometimes I think it can go one of two ways.
Speaker 2: Like I think sometimes when you see the stuff at
Speaker 2: the end, you're like, none of those people looked anything
Speaker 2: like that, And then occasionally you get an eye tinia
Speaker 2: where you're like Jesus Christ, that is, to be fair,
Speaker 2: bang on. But with the Iron Claw, it's like a
Speaker 2: weird like I've never experienced it before. Just seeing him
Speaker 2: happy was a relief after what you've watched in that
Speaker 2: fucking movie. It's a really really good film. I really
Speaker 2: really thought it was incredibly well made. Rough old watch.
Speaker 1: Okay, nish, I think we've talked about all of them.
Speaker 1: Now it's time for your top ten.
Speaker 2: Well, we haven't talked. Do you want to talk about
Speaker 2: All of Us Strangers first? Or do you want to We'll.
Speaker 1: Leave that for end of I guess we're going to
Speaker 1: pick a favorite at the end and then we can
Speaker 1: talk about it a bit.
Speaker 2: We can talk about it. Let's talk about all of
Speaker 2: Us Strangers.
Speaker 1: All of Us Strangers is my favorite film of the year,
Speaker 1: and it was in the unusual position of I saw
Speaker 1: it very early in the year and it remained. It
Speaker 1: remained in top position. I love it so much. Andrew
Speaker 1: Haigen is one of my favorite filmmakers. He's now made
Speaker 1: too at least two of my favorite films forty five
Speaker 1: years and All of the US Strangers.
Speaker 2: I went to see All of Us Strangers. I think
Speaker 2: it is a beautiful wish of a film. I think
Speaker 2: the film is a wish and the wishes to be
Speaker 2: able to speak to your dead parents in this case,
Speaker 2: and to communicate with them and have the questions that
Speaker 2: you always wanted to ask them. And it's also a
Speaker 2: film about being gay, and it's quite specific, quite specifically
Speaker 2: about that, and there's a conversation that he has about
Speaker 2: the word queer. And there's so much detail, like it's
Speaker 2: very specific and very detailed, and where it's set and
Speaker 2: where he grew up and where he goes to his
Speaker 2: childhood home. And yet it is also a dream and
Speaker 2: a wish and it's a quite unusual combination of it
Speaker 2: exists in a kind of heavenly dreamscape but also very
Speaker 2: specifically in a certain part of England, in a certain
Speaker 2: time of I mean literally down down the road from
Speaker 2: where I grew up. It's in Creydon, it's shot in Creydon.
Speaker 2: There's a bit. There's a bit where they've shot in
Speaker 2: the Wick Gift Center, like in the shopping center that
Speaker 2: I grew up, going to the fucking Wi Gives Center exactly. Yeah, Yeah,
Speaker 2: I know that, Yeah, I remember the Gift Center on
Speaker 2: the big screen. I was like, this is it stuff.
Speaker 2: I was like, I'm already weeping, Andrew, what are you
Speaker 2: trying to do to me? Are that they're in the
Speaker 2: fucking Wickgift Center? Yeah, it's listened. It answers the I
Speaker 2: think everybody has a fascination with what would you say
Speaker 2: to your parents if you met them as young people?
Speaker 2: And I mean with him, it's a very it's a
Speaker 2: very sort of powerful thing because the character in it,
Speaker 2: Andrew Scott's character, has lost his parents. He's grown up
Speaker 2: in the shadow of that grief, who was sent away
Speaker 2: to Ireland after they died to live with his grandmother.
Speaker 2: And you know, he's he's a writer, he's a TV
Speaker 2: writer who's trying to come up with an idea for
Speaker 2: a new script sort of jog bits of inspiration, goes
Speaker 2: back to his childhood home where he finds just in
Speaker 2: the kitchen his mum and dad as he remembers them
Speaker 2: before they died. Incredible wonderful performances. Claire Foy and Jamie
Speaker 2: Bell are just so so good in it. There is
Speaker 2: a scene in the film where Jamie Bell as his dad,
Speaker 2: is apologizing to him for not comforting him when he
Speaker 2: was being bullied as a kid, and it's just like
Speaker 2: it's an absolutely it's a wrenching scene. And there's a
Speaker 2: scene where he's basically trying to confront his mum and
Speaker 2: they sort of they have a conversation about the fact
Speaker 2: that he's gay and how she you know, how would
Speaker 2: she have felt about that if she'd live to see
Speaker 2: him be, you know, an adult man who was comfortable
Speaker 2: with his sexuality. And then in the midst of all
Speaker 2: of this, he's kind of falling in love with a
Speaker 2: younger man played by Paul Mescal, and yeah, that you
Speaker 2: get that great those sequences where they they talk about
Speaker 2: their differing relationships to their sexuality and how they express
Speaker 2: them and the differences between their ages, and yeah, it's
Speaker 2: difficult to pin down as a film, especially by the ending.
Speaker 2: And again we don't want to spoil anything about the ending,
Speaker 2: but it's very difficult to pin down a single interpretation.
Speaker 2: And part of I think almost the fun of it
Speaker 2: is you walk away with your theories about how you
Speaker 2: feel the film ends and what you think that what
Speaker 2: you think it says about the reality of what you've watched,
Speaker 2: and also who Andrew Scott is. You know, it becomes very,
Speaker 2: very complicated, but it's such a beautifully made film. Are
Speaker 2: incredibly well shot. The Mescal and Andrew Andrew Scott in
Speaker 2: that movie is you know, it sort of makes nonsense
Speaker 2: of the awards in a lot of ways, because you
Speaker 2: look at that and you go, I'm not really sure
Speaker 2: how that is not one of the performance Like.
Speaker 1: Yeah, I'm it's like and I guess it's all promotion
Speaker 1: or whatever. But I remember seeing it and being like, well,
Speaker 1: this will win all the awards, yeah, for everything, including
Speaker 1: Best Animation.
Speaker 2: So good.
Speaker 1: It's such a beaut a film and it's so full
Speaker 1: of love. And I think Andrew Scott has a he's
Speaker 1: sort of inherently vulnerable and lovely.
Speaker 2: Yeah.
Speaker 1: I think that's why he's interesting casting for like Ripley,
Speaker 1: because you're like, he's so lovely Andrew Scott. Yeah, it's
Speaker 1: sort of hard to make him not lovely. And that
Speaker 1: film is, Oh, it's wonderful. Oh it's the film of
Speaker 1: the year. Surely.
Speaker 2: It's an incredible, incredible film. And I even like the
Speaker 2: way the mom is, like when she sees him topless
Speaker 2: and she sort of talks about his body, and there's
Speaker 2: something weirdly like sexual between all three of them, but
Speaker 2: not in a way that's nothing creepy about it, just
Speaker 2: sort of like they're all part of each other. I
Speaker 2: don't know, that's it's a real Yeah, it's it's almost
Speaker 2: not creepy. It's almost like she, you know, she can't
Speaker 2: believe she's looking at this adult math. You know she
Speaker 2: it must be I imagine quite a relate, like an oddly
Speaker 2: relatable thing for parents where just occasionally you look at
Speaker 2: your child and you go look at this like adult
Speaker 2: person's Like at one point was this like completely vulnerable
Speaker 2: egg that you know had to be constantly like swaddled
Speaker 2: and protected, and now is suddenly this like like in
Speaker 2: this case of Andrew's got very handsome, muscular adult man.
Speaker 2: It's a beautiful film. It's such a good movie. This
Speaker 2: what's your top ten? Let's hear it in order. Okay,
Speaker 2: here we go, no cheating, no messing around. This was
Speaker 2: a rough one. It's never it's never a good one,
Speaker 2: but this was a rough one. Okay, so I've gone
Speaker 2: no other land Anora soundtrack to a Koude Tart, The Holdovers,
Speaker 2: the Beast, American Fiction, All of Us Strangers, zone of interest.
Speaker 2: And then my top two is I saw the TV
Speaker 2: glow and my number one is all we imagine is like,
Speaker 2: oh and that could change at any point. I sort
Speaker 2: of can't believe queer isn't in there. Oh yeah. I mean,
Speaker 2: I'm looking at my list filled with regret, but here
Speaker 2: it is civil war, heretic, the holdovers. All we Imagine
Speaker 2: is light.
Speaker 1: I saw the TV glow zone of interest, my old ass, Anora,
Speaker 1: the Beast, all of us strangers.
Speaker 2: I'm actually amazed that my old ass hasn't figured in it.
Speaker 2: Like I can't believe it. Yeah, I can't believe. Neither
Speaker 2: of us has said challenges like it's it's an incredible,
Speaker 2: it was a great, it was a big old year.
Speaker 2: We've nearly done three hours and this it's outrageous. Do
Speaker 2: you are you proudly? Can I also just can I
Speaker 2: also just say, more than any of these that we've done,
Speaker 2: I feel the effort we have made into trying not
Speaker 2: to go on for too long. This we have tried
Speaker 2: so hard. I'm really tired. You talked for five minutes
Speaker 2: un interrupted about Joker too. This is and this was us.
Speaker 2: I basically read a two thousand word review of All
Speaker 2: We Imagine as light, and that this was us trying
Speaker 2: to keep it brief.
Speaker 1: So this you've been minderful as always. But how did
Speaker 1: you die?
Speaker 2: Again?
Speaker 1: It was so long ago when you were assassinated at
Speaker 1: the mothership.
Speaker 2: I was walking past with a coffin. You know.
Speaker 1: I'm like, I'm like, is this shine? And they go, yeah,
Speaker 1: it's just been shot. Better get a coffin matter, I said,
Speaker 1: do you know what, I'm amazing you made it this far.
Speaker 1: I come in, I go help me out. Lad's put
Speaker 1: you in a coffin. It's more of you than I
Speaker 1: was expected. You've been eating and on this tour.
Speaker 2: No, but you have. I just haven't seen you for
Speaker 2: a while. Just have to chop you up with some stuff.
Speaker 1: I get you in the coffin anyway, there's only enough
Speaker 1: room in this coffin. Put one dvding and decide for
Speaker 1: you to take across to the other side. What a
Speaker 1: film from twenty to twenty four are you taking to
Speaker 1: show your friends in heaven when you go back again?
Speaker 2: Now, back again? What film you take you when it's
Speaker 2: your movie night? All we imagine as light, beautiful. They're
Speaker 2: gonna love it. Got a beautiful film. Very nice, Nish.
Speaker 2: You're a wonderful boy. You're a wonderful boy, Brett, You're
Speaker 2: a special boy.
Speaker 1: What would you like people to do involving you? Should
Speaker 1: they put toilet this in their ears? And can I
Speaker 1: see you on tour.
Speaker 2: Yeah, listen to listen to podsafe the UK see me
Speaker 2: on tour if they're still tour days, which they might
Speaker 2: well be. Nishkamar dot co dot UK, Forward slash Gigs
Speaker 2: or go to my website and you could buy my
Speaker 2: comedy specials on their dish Camar dot co dot uk. NIS.
Speaker 2: God bless you and keep you brat. Thank you. May
Speaker 2: you be the next pope. Thank you. May you be
Speaker 2: conclaved and become the next pope. Thank you.
Speaker 1: All right, we didn't have said, we didn't do what
Speaker 1: we didn't have conclave in the in the ten.
Speaker 2: This is fucking hell ridiculous. We just talked about it,
Speaker 2: saying one everything it's not even stupid. That's something stupid.
Speaker 2: We've got to stop doing. We've got to make use
Speaker 2: lose our time better. All right, that's what I can
Speaker 2: hear the edit point. I can hear the edit point.
Speaker 2: We've got we've got to use our time better. I
Speaker 2: love you, good bye. So that was episode three hundred
Speaker 2: and forty seven and the end of this season. Thank
Speaker 2: you everyone for listening. You've been wonderful. I hope you're
Speaker 2: all well.
Speaker 1: We'll have some reruns in the meantime, and I hope
Speaker 1: to see you all soon. Thanks to scrubaus pipping the
Speaker 1: struck some pieces of network.
Speaker 2: Thanks to iHeart Media and Parah's Big Money Is That
Speaker 2: Work for hosting, says to Buddy Peace for producing it,
Speaker 2: thanks to administon of the graphics, les and photography, and
Speaker 2: thank you all for listening. In the meantime, have a
Speaker 2: wonderful life, and please, now more than ever, be excellent
Speaker 2: to each other.