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Speaker 1: Film Spotting is presented by Regal Unlimited, the all you

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Speaker 1: can watch movie subscription pass that pays for itself in

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Speaker 1: just two visits. Sign up now in the Regal app

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Speaker 1: We're at the link in the show description and use

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Speaker 1: code film Spot twenty five. That's film Spot twenty five

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Speaker 1: to receive your discount.

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Speaker 2: Those who listened to or watched our part one version

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Speaker 2: of the Top ten Films of twenty twenty five already

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Speaker 2: know this, But if you're just coming to this fresh,

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Speaker 2: you missed out on our outlier picks, which we covered

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Speaker 2: previously on the former episode. We had to split this up.

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Speaker 2: It went way long. It was massive, and so we

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Speaker 2: did decide to split it up, So catch up with

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Speaker 2: that episode if you want to hear our outlier picks

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Speaker 2: before we now get to the ones that were consensus

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Speaker 2: among the roundtable.

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Speaker 1: You'll hear some choices that made two lists, three lists,

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Speaker 1: one movie that made four lists, and I'm gonna sneak

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Speaker 1: a couple of my outliers in there. But there are

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Speaker 1: movies that feel like films of the year. Let's finish

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Speaker 1: up our top ten films of twenty twenty five.

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Speaker 3: You see most blokes are gonna be playing at ten.

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Speaker 4: You're on ten here, all the way up, all the

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Speaker 4: way up, all the way up.

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Speaker 3: You're on ten on your guitar. Where can you go

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Speaker 3: from there?

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Speaker 2: Where? I don't know where?

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Speaker 3: Exactly.

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Speaker 5: What we do is, if we need that extra push.

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Speaker 6: Over the cliff, you know what we do, put it

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Speaker 6: up to.

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Speaker 3: A eleven exactly one loud.

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Speaker 7: Why don't you just make ten louder and make ten

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Speaker 7: be the top number, and make that a little louder.

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Speaker 3: These go to eleven.

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Speaker 1: We will get back to our top ten of twenty

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Speaker 1: twenty five round table here in a bit. First, we

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Speaker 1: did want to note the tragic death of Rob Reiner

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Speaker 1: and his wife, Michelle Singer Reiner not going to dwell

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Speaker 1: or get too much into the details of the deaths,

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Speaker 1: but we have to talk about the career of a

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Speaker 1: director who had one of the greatest runs in movie history.

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Speaker 1: Spinal Tap in eighty four, The Sure Thing, a movie

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Speaker 1: I loved back in the eighties that came out in

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Speaker 1: eighty five, stand By Me in eighty ses, Princess Bride

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Speaker 1: in eighty seven, When Harry Met Sally in eighty nine,

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Speaker 1: Misery in ninety, A Few Good Men in ninety two,

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Speaker 1: He was never nominated for a directing Oscar. His only

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Speaker 1: nomination was as a producer of the Best Picture nominated

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Speaker 1: A Few Good Men. Of course, he was an actor too,

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Speaker 1: a five time Emmy nominee and two time winner for

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Speaker 1: All in the Family. Michael, When you think about Rob Ryner,

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Speaker 1: what immediately comes to mind?

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Speaker 3: I mean, I think the first time I saw him

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Speaker 3: was probably as some punk hippie kid on Room two

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Speaker 3: twenty two, because which was a great series way back

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Speaker 3: before any of you folks were born, you know, and

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Speaker 3: he was a really really amazing, subtle comic actor and

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Speaker 3: it sort of served him well no matter what kind

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Speaker 3: of material he was directing. Later he just seemed to

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Speaker 3: know how to talk to actors. He was a real

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Speaker 3: genius at casting. And the run you mentioned, Adam, was,

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Speaker 3: you know, the kind of run you can you can

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Speaker 3: you can love some of the films and maybe not others,

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Speaker 3: but but uh, I mean that was an era that

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Speaker 3: I would that Hollywood would do well to get to

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Speaker 3: think about readjusting back toward the mid budget you know, uh,

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Speaker 3: very solidly made and and sometimes inspired uh kind of film.

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Speaker 3: It's just that I he he had a great career

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Speaker 3: and he I just you know, he was also a

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Speaker 3: really really passionate political activist. He was a little like

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Speaker 3: Norman Lear, his mentor on All in the Family.

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Speaker 8: Uh.

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Speaker 3: He really believed in in in what in a certain

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Speaker 3: definition of being an American citizen, which is a lot

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Speaker 3: of it. It's about dissent when it's recalled for uh

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Speaker 3: and uh, I think I think it's uh, it's it's

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Speaker 3: a it's a career that I really, I really deeply admire.

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Speaker 3: And I just I got to say, I interviewed her

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Speaker 3: in September here in town, and it was the easiest

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Speaker 3: damn interview ever, I mean, and one of the best.

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Speaker 3: I mean, I just he just was He couldn't have

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Speaker 3: been a more generous guy. Spirit. And Yeah, to have

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Speaker 3: met him and Michelle, you know, for the first time

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Speaker 3: in the last is a sad thing.

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Speaker 2: Yeah.

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Speaker 1: Those titles Spinal Tap and The Princess Bride, just looking

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Speaker 1: at them together like that, those are two movies that

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Speaker 1: I think of for me is just personal all time favorites.

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Speaker 1: And he's the he's the director that made both of

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Speaker 1: those films. And then we mentioned as an actor too.

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Speaker 1: Seeing him pop up not only in the Spinal Tap,

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Speaker 1: movies where he is. He's hilarious in that movie, acting

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Speaker 1: with some comedic giants, but popping up in Martin Scorsese's

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Speaker 1: The Wolf of Wall Street and Sleepless in Seattle, and

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Speaker 1: he's in his dad's movie The Jerk as well. So

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Speaker 1: fun to watch as an actor on screen as well.

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Speaker 2: And I think he's one of those figures, those Hollywood figures.

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Speaker 2: As I've been reading some of the tributes and the

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Speaker 2: more reels, you think, you know the impact he's had on,

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Speaker 2: you know, your viewing experience. You think of, Yeah, you

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Speaker 2: think of spinal tap, you think of Princess Bride or

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Speaker 2: Harry mattsally, whatever it might be, and then you start

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Speaker 2: to realize all the other areas of the creative aspect

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Speaker 2: of the industry that he had his fingers in and

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Speaker 2: basically like involved in pop culture of the last fifty

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Speaker 2: years in your own experience of pop culture in ways

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Speaker 2: you didn't even realize. So i'd encourage people to read

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Speaker 2: some of those tributes, maybe we'll find a few to

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Speaker 2: link to in the show notes, and just get that

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Speaker 2: full understanding of what Reiner did over those decades in Hollywood.

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Speaker 5: And I mean, we'll say also, I think sometimes it's

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Speaker 5: been easy to take Reiner's work as a director for granted,

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Speaker 5: just because movies like stand By Me and The Princess

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Speaker 5: Bride and When Harry Mattsally and Misery and a Few

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Speaker 5: Good Men are so just like ingrained in our pop

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Speaker 5: culture awareness that sometimes you almost get that someone had

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Speaker 5: to make them right, like like they are just they've

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Speaker 5: been so omnipresent, like they're just these common texts in

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Speaker 5: a way that we barely ever get anymore, and they

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Speaker 5: are it's always kind of like helped define the genres

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Speaker 5: they're part of, you know, in addition to like being

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Speaker 5: part of them. I really it's an incredible career. And

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Speaker 5: I did also want to give a shout out to

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Speaker 5: you know, like he was a really well known democratic voice.

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Speaker 5: He was a very kind of well known activist. It's

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Speaker 5: really important to the overturning of probably in California, the

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Speaker 5: proposition to ban same sex marriage, and it was I mean,

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Speaker 5: I think, like you know, it is easy I think

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Speaker 5: sometimes to be cynical about Hollywood liberalism, particularly as maybe

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Speaker 5: it doesn't seem very all at liberal anymore. But I

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Speaker 5: do think, like you know, he he approached activism in

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Speaker 5: a way that yes, like as a good citizens and

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Speaker 5: as like as a good member of his state, you know,

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Speaker 5: like I think it was it was earnest and he

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Speaker 5: had a real dedication that I just really admire.

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Speaker 3: He spent I mean, he spent hundreds and hundreds of

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Speaker 3: hours on picket lines and in protests and and you know,

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Speaker 3: not because he was a camera I mean he just

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Speaker 3: it's just it just didn't work that way. And uh uh,

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Speaker 3: you know whatever, if you want to get a dissenting

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Speaker 3: of you, you can go to Fox News and hear

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Speaker 3: what they're saying. But uh but no, it's it's and

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Speaker 3: and there's and there's a kind of a generous humane

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Speaker 3: streak through all the different types of films he made.

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Speaker 3: I think it's not just calculated craftsmanship. There's always moments

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Speaker 3: in in everything where that they kind of reveal a

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Speaker 3: little something about the characters has written, maybe more than

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Speaker 3: other directors would have been able to tease out with actor.

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Speaker 3: But he was a wonderful actors director, and I think

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Speaker 3: that that was the way in for him.

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Speaker 1: It's the way that people think of a family in

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Speaker 1: this stub, that's the way they think of me. Just

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Speaker 1: one of those little life Chambers kid, that's not true.

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Speaker 3: Oh it is.

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Speaker 1: No one even asked me if I took the milk

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Speaker 1: money that time. I just got a three day vacation.

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Speaker 9: Did you take it?

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Speaker 3: Yeah?

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Speaker 9: I took it.

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Speaker 6: You knew I took it.

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Speaker 9: Teddy knew I took it.

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Speaker 1: Everyone knew I took it.

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Speaker 9: Even Ever knew it.

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Speaker 1: I think, Josh, I understand you have some thank yous

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Speaker 1: that you want to share after your meetup this past weekend.

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Speaker 2: Yeah, I just wanted to offer a quick thanks to

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Speaker 2: the folks who came out in London. Debbie and I

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Speaker 2: got to spend a couple of days down there. If

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Speaker 2: you ever get a chance during the holiday season to

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Speaker 2: go to London. By the way, holy cow, do they

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Speaker 2: know how to do it. I mean, the whole city

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Speaker 2: was just a glow and people out everywhere, spilling out

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Speaker 2: into the streets. It was a wonderful time. We kept

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Speaker 2: it contained at the film spotting meat up to our

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Speaker 2: gathering place. We didn't spill out into the streets, but

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Speaker 2: we had a wonderful conversation with the folks who showed

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Speaker 2: up at the Barbican Center. Want to thank Rebecca Fonds,

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Speaker 2: our friend Adam previously at the Gene Sisco Film Center

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Speaker 2: as director of Programming. She's now working at the Barbicane

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Speaker 2: and she set us up with a nice space there

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Speaker 2: to hang out. We were there a couple of hours,

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Speaker 2: though there was one disturbing topic that came up. I'm

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Speaker 2: really worried how you're going to take this, Adam.

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Speaker 1: I wondered, I saw this in our notes, and I

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Speaker 1: wondered if this meant what I'm pretty sure you're going

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Speaker 1: to say it means.

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Speaker 2: I don't know how it came up. I think someone

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Speaker 2: mentioned it in passing. But the habit which I've been

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Speaker 2: aware of, some people listen to podcasts at well, let's

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Speaker 2: say one and a half time speed. Perhaps some people

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Speaker 2: go a little faster. This came up a few times

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Speaker 2: in you know, milling about talking to people. So I

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Speaker 2: decided I had to do a poll, and I think

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Speaker 2: there were about fifteen of us there. It was pretty

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Speaker 2: roughly fifty to fifty people listening to film spotting at

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Speaker 2: one and a half time speed or more. And I

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Speaker 2: was horrified. But I told I told them, Adam, that

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Speaker 2: you might have a heart attack, knowing, knowing how that

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Speaker 2: the care and precision you place the audio of this

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Speaker 2: show that people are doing that, it was it was

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Speaker 2: a little troubling, Josh.

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Speaker 1: When I'm at home, I watched movies at one point

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Speaker 1: five speed.

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Speaker 2: We So that's that's what I threatened when that came up.

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Speaker 2: I threatened to just shut down the night. I said, No,

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Speaker 2: none of our listeners would do that. No one did that.

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Speaker 1: But yeah, really thinks. Yeah. I was just going to say,

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Speaker 1: when when you consider that the run time of our

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Speaker 1: shows is now matching the run time of most MCU movies,

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Speaker 1: it's true. I don't blame them. They should They should

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Speaker 1: listen to them at two time speed.

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Speaker 2: Oh so you're endorsing it, Okay, good time.

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Speaker 3: Did you ask anybody at this meetup if if they

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Speaker 3: ever just slowed it down to like point seventy five

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Speaker 3: just to savor the insights of certain people?

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Speaker 2: That was, yeah, they did. They did mention doing that,

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Speaker 2: Michael when you were ons So it's so great. Yeah,

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Speaker 2: you know, they don't get enough Michael Phillips. So they thought, well,

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Speaker 2: this is one way to drag it out. Yes, yeah, exactly. Good.

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Speaker 2: While we're talking meetups. Yeah, again, if any listeners are

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Speaker 2: in Spain, in Madrid in particular, and you want to

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Speaker 2: hang out. We're heading that way in January, so feedback

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Speaker 2: at film spotting dot Net, let us know and we'll

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Speaker 2: try to put something together. But thanks to those London folks,

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Speaker 2: it was it was great to hang with you.

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Speaker 1: Let's get back into our top ten films of the year.

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Speaker 1: Our listeners are going to help us with that transition.

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Speaker 1: We asked them our current deeply flawed Film Spotting poll

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Speaker 1: and it was phrased this way by producer Sam twenty

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Speaker 1: twenty five film of the Year. Choose one. The three

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Speaker 1: and only three options were Paul Thomas Anderson's One Battle

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Speaker 1: after Another, Ryan Kugler's Sinners or other. Josh, how did

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Speaker 1: it come out?

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Speaker 2: Other? Only fifteen percent of the vote. And look at

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Speaker 2: producer Sam here, knowing how to build up the suspense

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Speaker 2: for this show. You know, we've referenced both One Battle

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Speaker 2: after Another in Sinners, but neither have come up as

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Speaker 2: picks yet. Building to that that I don't even want

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Speaker 2: to say confrontation. They're both great films, but who's going

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Speaker 2: to come out on top. Well we know at this

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Speaker 2: point who came out on top, at least as far

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Speaker 2: as listeners are concerned. Ryan Kugler Sinners in second place

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Speaker 2: with twenty three percent of the vote. One Battle after

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Speaker 2: Another took it with sixty two percent.

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Speaker 1: Almost two thirds of the vote. Will says, this is hard.

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Speaker 1: Up until One Battle, I expected Sinners to be my

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Speaker 1: movie of the year, no contest. I think I'll come

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Speaker 1: back to this later. Okay, So he's just putting it

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Speaker 1: off for now.

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Speaker 2: Sure, I don't know how that works with a pole, Will,

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Speaker 2: But okay, here's here's Rob Steger, my two favorite movies

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Speaker 2: of the year so far. I feel that I didn't

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Speaker 2: rewatch Sinners to give it a fighting chance against the

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Speaker 2: more recent One Battle. Rob. I'm so there with you.

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Speaker 2: I wanted to fit in. I wanted to fit in

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Speaker 2: rewatches of both of them, honestly, but unfortunately it was

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Speaker 2: just a one time for each.

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Speaker 1: Okay, Well, speaking of confrontations, we're gonna get a battle

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Speaker 1: here or some fighting words. I just got this email

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Speaker 1: the other day I forwarded to Sam Paul nayhering in

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Speaker 1: San Francisco. As I watched One Battle after another, I

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Speaker 1: felt that it's dark comic satire a lah. Doctor Strangelove

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Speaker 1: was going to be the great movie of twenty twenty five.

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Speaker 1: But then PTA pivoted and screwed up the last three minutes.

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Speaker 1: Sinners is better because it never waivers and stays true.

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Speaker 2: Whoa, okay, last three minutes.

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Speaker 1: Yeah, I think he mentioned a needle drop, a particular

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Speaker 1: needle drop. I think Sam may have edited that out. Okay,

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Speaker 1: so maybe not wanting to spoil anything.

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Speaker 2: Can I just say disagree, Paul, Let's just leave it up.

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Speaker 1: Disagree you do?

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Speaker 2: Yes, Edwin prevention expert are known and also weighed in.

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Speaker 2: Once folks see Marty Supreme, it will enter the chat. Okay, Well,

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Speaker 2: showed up on Allison's list, so we've got that so far.

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Speaker 1: Here's Kristin b. Hamnet is the correct answer, Jesse Buckley

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Speaker 1: is phenomenal, My favorite film of the year by far.

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Speaker 1: And we have sad news for you, Kristin B. This

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Speaker 1: is the only love Chloe Shaw's hamnet will get on

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Speaker 1: this show. It's currently playing in wide release. It is

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Speaker 1: not going to come up the rest of this episode, so.

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Speaker 2: We gave it a few minutes on our previous show. Yeah,

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Speaker 2: that's tristeners, haven't heard that. That's that's correct, Billy Ray Bruton. Here,

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Speaker 2: what do Sinners and One Battle after Another have in common?

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Speaker 2: They were both at some point my number two film

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Speaker 2: of the year, and as great as they both are,

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Speaker 2: they just couldn't complete with my number one film for

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Speaker 2: most of twenty twenty five, the masterpiece that is Ephis.

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Speaker 2: I believe a golden brick longlift.

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Speaker 1: A longlister, and I almost fought for it as a shortlister.

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Speaker 1: I thought it should have been a nominee. I'm going

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Speaker 1: to say it's number six for me, and if we

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Speaker 1: had just extended it to six finalists, it would be there.

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Speaker 1: I think Ephus is really good, and I'm still wrestling

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Speaker 1: with the last couple spots on my eleven through twenty.

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Speaker 1: I think I have until tomorrow morning when we record

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Speaker 1: our bonus show for Film Spotting family Members with producer

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Speaker 1: Sam I'm giving myself until then to make those last

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Speaker 1: couple of decisions. Ephus is in contention. I love what

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Speaker 1: Carson Lunn does with the Baseball movie and how he

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Speaker 1: gets a little metaphysical with it and that in Ethus.

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Speaker 1: So I'm with you, Billy Ray Brutin. Thank you for

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Speaker 1: praising Ephis, and thank you to all of our listeners

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Speaker 1: for their great feedback. We should mention that Ephus is

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Speaker 1: currently streaming on movie and available VOD. Just a couple

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Speaker 1: more bits of feedback here, Andy you Katie in Kansas

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Speaker 1: City says he's voting one Battle after another. He says

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Speaker 1: that voting for it as I did short changes both

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Speaker 1: Sinners and other because, while it's too soon to definitively say,

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Speaker 1: at this point, I feel there's a reasonable chance that

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Speaker 1: one Battle Sinners and it Was Just an Accident in

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Speaker 1: that order would be my top three films of the

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Speaker 1: six years that so far make up the twenty twenties.

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Speaker 1: And that's a bold statement, Andy, I feel good right

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Speaker 1: now saying that each of them, had they come out

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Speaker 1: in any of the previous six years, would have topped

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Speaker 1: my annual best of list.

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Speaker 2: Okay, so more talk about it was just an accident.

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Speaker 2: Here from Isabelle Bishop. I went other jeffire Panahi's It

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Speaker 2: Was Just an Accident my number one movie of the year.

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Speaker 2: As the credits rolled, I sat and stunned silence until

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Speaker 2: the lights came on. What Panahi does with this film

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Speaker 2: is enthralling and ingenious. I hope it's able to pull

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Speaker 2: a parasite and be nominated for both Best International Film

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Speaker 2: and Best Picture this year because it really deserves it.

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Speaker 1: So to our last bit of listener feedback, here's Natalie

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Speaker 1: carb On. She says Nouvelle vague, as Michael Phillips said

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Speaker 1: on the show Charming as hell. We charmond, not diabla,

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Speaker 1: as we say here in Pari mercy monsieur. Link later

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Speaker 1: or is that link latteur?

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Speaker 8: I don't know.

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Speaker 1: Natalie will have to tell us. Thank you to Natalie,

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Speaker 1: Thank you to all of our listeners who shared their

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Speaker 1: vote and shared their feedback. Nouvelle Vague available exclusively on Netflix.

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Speaker 1: With that, Wow, there's more. There's so much more we

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Speaker 1: could get into, Josh, but we have too many titles

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Speaker 1: that we have to share from our list of the

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Speaker 1: best films of the year, and we are going to

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Speaker 1: get back into our choices with another special guest voicemailer.

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Speaker 5: When she walk onto that mainland, there's no rescue, moving up.

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Speaker 1: And down again.

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Speaker 5: Look at what's in front of.

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Speaker 8: You, Hello, Adam, Sam and Josh. Film Spotting Nation Chris

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Speaker 8: Clement in Washington, DC. The film I'm Most Afraid is

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Speaker 8: going to go unmentioned in your year end wrap up

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Speaker 8: is Danny Boyle's twenty eight Years Later. I expected to

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Speaker 8: be thrilled by this third entry in a long dormant

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Speaker 8: horror franchise I did not expect to be moved, which

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Speaker 8: I was, features an extraordinary performance by then thirteen year

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Speaker 8: old Alfie Williams, and in its third act, yet another

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Speaker 8: great Ray Fines performance. My actual film of the year

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Speaker 8: is One Battle after Another, and well, I'm sure that's

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Speaker 8: going to get plenty of love on your show. My

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Speaker 8: unique contribution to the One Battle discourse is that Comrade Josh.

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Speaker 8: The phone voice who will not give Pat slash Bob

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Speaker 8: the rendezvous point when Bob can't remember the password is

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Speaker 8: Dan Sheraton, who was my precursor twenty years ago as

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Speaker 8: Ricky Jay's assistant. He had that job working for Ricky

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Speaker 8: right before I did. I spoke to him on the

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Speaker 8: phone many times in that job, which is how I

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Speaker 8: recognized his voice right away when he kept asking Leo,

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Speaker 8: what time is it? Small role as a cop in

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Speaker 8: one of the year's other best films, Wake Up Dead Man.

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Speaker 8: You even see his face in that one, along with

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Speaker 8: Ricky's face in the bar that's the setting for several

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Speaker 8: scenes in that film. They have a poster for Ricky's show.

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Speaker 8: Ricky Jay and his fifty two assistants, same one I

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Speaker 8: have in my apartment. Ricky passed away sadly in twenty eighteen,

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Speaker 8: but I loved hearing Dan's voice again after twenty years,

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Speaker 8: in one battle after another, the year's best film, reminding

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Speaker 8: me that though time does not exist, it controls us anyway.

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Speaker 8: Happy holidays, guys, Thanks for another year of great shows.

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Speaker 1: You gotta love whenever Chris Klemak drops into the show,

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Speaker 1: always good for a name drop or two. Actually, a

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Speaker 1: pretty fascinating story and love for both Wake Up Dead

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Speaker 1: Man and twenty eight years later, Yes, yet another movie

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Speaker 1: in strong contention for my eleven through twenty. Danny Boyle

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Speaker 1: surprised me this year, reviving that franchise that gets us

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Speaker 1: back into our choices, and we are ready for what

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Speaker 1: we are calling our consensus picks. These are all movies

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Speaker 1: that made at least two lists. I may disrupt this

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Speaker 1: order a little bit here, but that's coming later. Right now,

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Speaker 1: we have movies that made at least two of our lists,

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Speaker 1: and Michael, you are up first with a movie I

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Speaker 1: think you have at number seven.

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Speaker 3: Number seven, that's right sentimental value. This is an excellent

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Speaker 3: new film from a welcome Treer, starring Renarde ronz Vas

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Speaker 3: as the actress daughter of a film director played by

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Speaker 3: Stellan Scarsguard who's trying to work his way back into

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Speaker 3: the good graces of both his adult auditors at a

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Speaker 3: turning point in his own life. The stories, building blocks,

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Speaker 3: let's call them, are a little more familiar than usual

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Speaker 3: for this filmmaker. There's a conflict over what to do

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Speaker 3: with the family home, and a thematic through line about

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Speaker 3: the lives devoted to arts, in this case the theater

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Speaker 3: in the cinema, and how life and art can kind

397
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Speaker 3: of feed each other and also muddle and tangle the

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Speaker 3: emotional wiring of the people involved. But Trier has such

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Speaker 3: an astute way of bringing the past into the present

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Speaker 3: day of his characters visually and otherwise. To your point

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Speaker 3: earlier Adam about about how much the past is just

402
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Speaker 3: sort of reaching out to maybe try to instruct us

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Speaker 3: or warn us about something. But this is a very

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Speaker 3: it's a really elegant work. I think it probably is

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Speaker 3: not not anywhere near my favorite Trier film. I really

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Speaker 3: do like the more pungent Edgy or earlier film. So far, Again,

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Speaker 3: he hasn't made that many films. I think about a

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Speaker 3: half a dozen features. But it's great to see Stone

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Speaker 3: Scarsguard stretch out in a big part written for him.

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Speaker 3: In its spontor Lilius, I mean, that's an actress. Every

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Speaker 3: bit is good as the one we already know from

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Speaker 3: Trier's previous picture. It's a wonderful work, more familiar, as

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Speaker 3: I say, than his other work, and it's a little

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Speaker 3: better behaved in some ways, both cinematically and as a story,

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Speaker 3: but I don't it's also got enough super astued craftsmanship

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Speaker 3: and just rightness of tone and visual approach and all

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Speaker 3: of it to it's it's way better than just like

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Speaker 3: a well made sort of well behaved play you can

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Speaker 3: kind of or movie you can kind of take or leave.

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Speaker 3: It's it's it's top ten material. So there it is.

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Speaker 3: It's in my top ten.

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Speaker 1: Yeah, it's number five for me, so I have it

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Speaker 1: a little bit higher. And and you you alluded to it.

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Speaker 1: It's one of the films that helped me crystallize my

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Speaker 1: theme for the year, and it was the imagery, even

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Speaker 1: just at the very beginning of the film. It's the

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Speaker 1: house itself, before you even get to the characters and

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Speaker 1: how they are still clinging to or unable to move

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Speaker 1: past their past and whatever struggles or whatever traumas they

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Speaker 1: may be affected by just at home, and the way

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Speaker 1: Trier shoots the interior of the house, the exterior of

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Speaker 1: the house, how it hangs over the family as both

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Speaker 1: a positive and a negative part of their legacy, was

434
00:23:13,720 --> 00:23:17,399
Speaker 1: something that the fascinated me. The way we see the

435
00:23:17,440 --> 00:23:21,719
Speaker 1: house evolve over decades and again, the families inside it

436
00:23:21,760 --> 00:23:25,520
Speaker 1: and how they change within it, the scale of it,

437
00:23:26,040 --> 00:23:30,119
Speaker 1: the going back in time, and how seamlessly he weaves

438
00:23:30,160 --> 00:23:35,000
Speaker 1: that altogether true, weaves that together with something that ultimately

439
00:23:35,040 --> 00:23:39,240
Speaker 1: moved me a lot about that film. And I'll say

440
00:23:39,280 --> 00:23:41,840
Speaker 1: this too. It's funny because I know, Josh. Just today

441
00:23:41,880 --> 00:23:45,240
Speaker 1: I saw some listeners in our discord who are commenting

442
00:23:45,280 --> 00:23:50,520
Speaker 1: on how we teased them last week by talking about

443
00:23:50,600 --> 00:23:54,359
Speaker 1: J Kelly without talking about J Kelly, you know, without

444
00:23:54,400 --> 00:23:57,480
Speaker 1: giving them a review, but talking about it like we

445
00:23:57,359 --> 00:24:00,639
Speaker 1: were going to give it a review. And so I

446
00:24:00,680 --> 00:24:03,879
Speaker 1: suppose this is this is a backhanded way of well

447
00:24:04,160 --> 00:24:08,119
Speaker 1: criticizing J Kelly but praising sentimental value. One of my

448
00:24:08,320 --> 00:24:11,919
Speaker 1: issues with J. Kelly is that there's a moment in

449
00:24:11,920 --> 00:24:17,000
Speaker 1: that film where movie imagery needs to pay off in

450
00:24:17,080 --> 00:24:21,840
Speaker 1: a significant and actually in a transcendent way, and it

451
00:24:21,880 --> 00:24:28,720
Speaker 1: doesn't at all for me. And in sentimental value, there's

452
00:24:28,760 --> 00:24:34,040
Speaker 1: a there's a similar corollary scene where someone's work is

453
00:24:34,080 --> 00:24:37,840
Speaker 1: being honored. There's a tribute and the work is put

454
00:24:37,920 --> 00:24:40,439
Speaker 1: up on screen, and it has to have a certain

455
00:24:40,480 --> 00:24:44,080
Speaker 1: power to it. It's different, it's a different type of scene,

456
00:24:44,800 --> 00:24:48,679
Speaker 1: but it has to have a similar type effect and

457
00:24:48,720 --> 00:24:52,960
Speaker 1: it absolutely delivers. It has the magic that it needs

458
00:24:52,960 --> 00:24:55,600
Speaker 1: to have and that j Kelly scene doesn't have. And

459
00:24:55,640 --> 00:24:58,800
Speaker 1: maybe it's because I saw it in sentimental value that

460
00:24:58,880 --> 00:25:03,920
Speaker 1: then the Kelly version of it didn't work for me. Yeah, no, credit,

461
00:25:03,920 --> 00:25:05,040
Speaker 1: it's too clear for that.

462
00:25:05,520 --> 00:25:09,359
Speaker 2: We may enjoy burn after reading. It has to do

463
00:25:09,400 --> 00:25:10,560
Speaker 2: a lot of work in Jay Kelly.

464
00:25:11,720 --> 00:25:15,560
Speaker 3: Yeah, I mean Jake Kelly. To me, I don't understand

465
00:25:15,840 --> 00:25:20,800
Speaker 3: what happened to Noah Bombak's uh satiric eye or or

466
00:25:21,119 --> 00:25:24,400
Speaker 3: or wit at all once he got rich and famous.

467
00:25:24,440 --> 00:25:27,320
Speaker 3: It's like it's off the window and I don't Maybe

468
00:25:27,320 --> 00:25:30,679
Speaker 3: maybe that sounds like petty and critical. It's critical, but

469
00:25:31,000 --> 00:25:36,840
Speaker 3: uh I I love Bombo's work mostly and I these

470
00:25:36,920 --> 00:25:40,879
Speaker 3: last two films have been real struggles. Uh and I

471
00:25:41,240 --> 00:25:43,320
Speaker 3: don't know, man, I mean, yeah, but I take your

472
00:25:43,359 --> 00:25:45,720
Speaker 3: point about that it's a it's also that that life

473
00:25:45,720 --> 00:25:49,280
Speaker 3: and our thing, it's it is a limitation on centeral value.

474
00:25:49,320 --> 00:25:51,800
Speaker 3: I think the fact that he's kind of even with

475
00:25:51,840 --> 00:25:54,520
Speaker 3: the title, I think he's kind of openly acknowledging, well,

476
00:25:54,640 --> 00:25:56,680
Speaker 3: I'm going to kind of do my middle aged guy

477
00:25:56,840 --> 00:26:00,399
Speaker 3: movie now, you know, looking back a little kind of

478
00:26:00,440 --> 00:26:04,680
Speaker 3: like a little softer edge to things. But I think

479
00:26:04,720 --> 00:26:08,680
Speaker 3: it's gratifying in ways that many different types of viewers

480
00:26:08,720 --> 00:26:11,040
Speaker 3: seem to be responding to, So you know, I'm happy

481
00:26:11,080 --> 00:26:11,280
Speaker 3: for that.

482
00:26:11,880 --> 00:26:12,080
Speaker 2: Yeah.

483
00:26:12,119 --> 00:26:15,160
Speaker 1: Again, I'm fascinated by the question it poses, which does

484
00:26:16,040 --> 00:26:20,200
Speaker 1: is a theme that is over my entire list, which

485
00:26:20,240 --> 00:26:24,159
Speaker 1: is what do we ultimately allow ourselves and what should

486
00:26:24,160 --> 00:26:26,840
Speaker 1: we cling to from our past? What are the things

487
00:26:26,880 --> 00:26:31,480
Speaker 1: from our past that we value or not that are painful,

488
00:26:31,960 --> 00:26:34,600
Speaker 1: Maybe some of the pain we actually should we should

489
00:26:34,640 --> 00:26:38,040
Speaker 1: cling to because it informs us or somehow solidifies us

490
00:26:38,040 --> 00:26:39,879
Speaker 1: in a way, and other stuff that we need to

491
00:26:40,000 --> 00:26:42,480
Speaker 1: actually put behind us and move on from. I think

492
00:26:42,480 --> 00:26:44,679
Speaker 1: that's the central question of this film.

493
00:26:44,800 --> 00:26:46,840
Speaker 3: Yeah, alson, where did you come down on it?

494
00:26:47,960 --> 00:26:51,960
Speaker 5: I like it. I would agree that it was not

495
00:26:52,680 --> 00:26:55,920
Speaker 5: as effective for me as some of the earlier tour films,

496
00:26:56,359 --> 00:26:58,920
Speaker 5: And I do feel like I think there's some I

497
00:26:59,000 --> 00:27:03,000
Speaker 5: love the scene in which Stellin and Ranada's character are

498
00:27:03,040 --> 00:27:05,399
Speaker 5: having or trying to have a kind of like just

499
00:27:05,440 --> 00:27:07,600
Speaker 5: a regular kind of catch up conversation and they just

500
00:27:07,680 --> 00:27:09,920
Speaker 5: like can't help but escalating to a fight, like they

501
00:27:10,080 --> 00:27:12,679
Speaker 5: just like not even neither of them is intending it,

502
00:27:12,720 --> 00:27:15,600
Speaker 5: but they just kind of like get like lockhorns, like

503
00:27:15,720 --> 00:27:18,520
Speaker 5: just like get each other wrong in terms of intent

504
00:27:18,640 --> 00:27:20,240
Speaker 5: so much. And I think like there are scenes like

505
00:27:20,280 --> 00:27:23,000
Speaker 5: that I really like. But yeah, my favorite scenes in

506
00:27:23,040 --> 00:27:28,040
Speaker 5: this film were the ones involving the house. And I

507
00:27:28,040 --> 00:27:30,119
Speaker 5: think also that's why I didn't make my list, is

508
00:27:30,160 --> 00:27:32,240
Speaker 5: like there's another film that I have on my list,

509
00:27:32,440 --> 00:27:36,200
Speaker 5: Sound of Falling, a German film, which is entirely kind

510
00:27:36,240 --> 00:27:38,320
Speaker 5: of like seen through the lens of a particular house.

511
00:27:38,320 --> 00:27:41,440
Speaker 5: It's like four generations of families who live in this

512
00:27:41,560 --> 00:27:43,920
Speaker 5: same farmhouse over kind of the course of a century

513
00:27:44,160 --> 00:27:47,960
Speaker 5: that I thought got at a lot of that same

514
00:27:48,200 --> 00:27:51,040
Speaker 5: those ideas in a kind of richer, more interesting way.

515
00:27:51,680 --> 00:27:55,239
Speaker 5: But yeah, I think, you know, True's I think a

516
00:27:55,240 --> 00:28:00,760
Speaker 5: great kind of director of actors and just has this

517
00:28:00,840 --> 00:28:04,880
Speaker 5: kind of fleet footed sensibility that I do really appreciate.

518
00:28:05,480 --> 00:28:07,040
Speaker 5: And I think this is a good film. I think

519
00:28:07,080 --> 00:28:09,520
Speaker 5: it's just kind of it's not a great one for me.

520
00:28:10,520 --> 00:28:12,720
Speaker 1: Well, for what it's worth. I think all of his

521
00:28:12,800 --> 00:28:15,160
Speaker 1: previous films might be great, and I might like them

522
00:28:15,160 --> 00:28:18,480
Speaker 1: better as well, but I still really love this one.

523
00:28:18,680 --> 00:28:22,520
Speaker 1: Sentimental Value is playing in limited release. I'm not aware

524
00:28:22,600 --> 00:28:25,639
Speaker 1: of a US digital release date, and Josh, I know

525
00:28:25,720 --> 00:28:28,080
Speaker 1: better than to ask you what you think of sentimental Value.

526
00:28:28,800 --> 00:28:30,800
Speaker 1: I know not yet to get your.

527
00:28:30,680 --> 00:28:34,399
Speaker 2: Hands on Scotland yet, but my older daughter is en

528
00:28:34,520 --> 00:28:40,440
Speaker 2: route for Christmas with my box, the Screener Box. I'll

529
00:28:40,480 --> 00:28:42,560
Speaker 2: have seen it in time for our rap party.

530
00:28:42,920 --> 00:28:47,840
Speaker 1: So I know that our next choice is one that

531
00:28:47,920 --> 00:28:51,800
Speaker 1: Alison and Michael share. And apparently they had five and

532
00:28:51,840 --> 00:28:54,680
Speaker 1: a half hours to spare. But you know what I

533
00:28:54,880 --> 00:28:58,720
Speaker 1: did as well, because I made time. Now I watched

534
00:28:58,760 --> 00:29:03,160
Speaker 1: it in parts. Oh, I watched it in only two parts.

535
00:29:03,840 --> 00:29:06,200
Speaker 1: I think that's pretty good. I made time for it, and.

536
00:29:06,120 --> 00:29:08,000
Speaker 2: I give him an extra candy cane.

537
00:29:08,080 --> 00:29:10,280
Speaker 1: Thank you, give me a cookie. I made time for

538
00:29:10,320 --> 00:29:14,320
Speaker 1: it and it was it was rewarding, and Michael I

539
00:29:14,360 --> 00:29:18,880
Speaker 1: think Michael is going to do the honors. No, actually, Allison,

540
00:29:19,120 --> 00:29:21,880
Speaker 1: because Michael just did. Alison, You're going to tell us

541
00:29:21,920 --> 00:29:25,080
Speaker 1: about the film that you have at number six, A documentary.

542
00:29:25,600 --> 00:29:28,800
Speaker 5: Yeah, it is a documentary with the slightly unwieldy name

543
00:29:29,040 --> 00:29:34,040
Speaker 5: of My Undesirable Friends Colon Part one, Dash Last Heir

544
00:29:34,160 --> 00:29:37,960
Speaker 5: in Moscow from Julia Locktev. The first film from Julia

545
00:29:38,120 --> 00:29:41,360
Speaker 5: Locktev in over a decade. Her last one was the

546
00:29:41,800 --> 00:29:45,360
Speaker 5: narrative film The Loneliest Planet, which I loved, and she

547
00:29:45,480 --> 00:29:48,240
Speaker 5: has not I mean, she has been working on various projects,

548
00:29:48,280 --> 00:29:50,840
Speaker 5: none of which kind of came together over the decade since.

549
00:29:50,880 --> 00:29:56,440
Speaker 5: But I have felt the kind of pressure that like

550
00:29:56,760 --> 00:30:01,479
Speaker 5: increasingly competitive and like theatrical release spaces have put on

551
00:30:01,560 --> 00:30:05,440
Speaker 5: documentaries in particular, I think one of you know, we

552
00:30:05,440 --> 00:30:09,760
Speaker 5: we've there still are plenty of really great documentaries being made,

553
00:30:09,960 --> 00:30:13,040
Speaker 5: ones we've talked about on this podcast, but like I

554
00:30:13,080 --> 00:30:17,400
Speaker 5: do feel the kind of marketplace pressure and funding pressure

555
00:30:17,440 --> 00:30:20,240
Speaker 5: that comes from like how dominant the streaming world is

556
00:30:20,400 --> 00:30:23,200
Speaker 5: in nonfiction that people are watching, and how much that

557
00:30:23,320 --> 00:30:27,480
Speaker 5: is like kind of shaping everyone getting making these like

558
00:30:27,600 --> 00:30:31,640
Speaker 5: docuseries about you know, cults or brands, from your past

559
00:30:31,680 --> 00:30:34,880
Speaker 5: that are actually bad or a famous person, and they're

560
00:30:34,880 --> 00:30:37,360
Speaker 5: also the executive producer of this, you know, like like

561
00:30:37,440 --> 00:30:40,320
Speaker 5: they're I think like a lot of the things that

562
00:30:40,360 --> 00:30:42,480
Speaker 5: have played really well on streaming are just not things

563
00:30:42,480 --> 00:30:48,040
Speaker 5: that I would consider like particularly great works of documentary oftentimes.

564
00:30:49,400 --> 00:30:52,480
Speaker 5: So it is I think kind of funny to then

565
00:30:52,600 --> 00:30:54,760
Speaker 5: be like, the best documentary I saw this year was

566
00:30:54,800 --> 00:30:57,640
Speaker 5: this film that is was made with the idea that

567
00:30:57,680 --> 00:30:59,960
Speaker 5: maybe it would need to be released He's streaming series.

568
00:31:00,680 --> 00:31:00,880
Speaker 10: You know.

569
00:31:00,960 --> 00:31:02,320
Speaker 5: Part of the reason it's five and a half hours

570
00:31:02,360 --> 00:31:04,640
Speaker 5: long is because I think it needs at runtime. But

571
00:31:04,680 --> 00:31:07,360
Speaker 5: it is also broken up into chapters. I think, in fact,

572
00:31:07,400 --> 00:31:09,560
Speaker 5: I know that the filmmakers were like, well, if we

573
00:31:09,680 --> 00:31:12,840
Speaker 5: have to kind of present this as a series, you know,

574
00:31:13,640 --> 00:31:15,360
Speaker 5: it could. It would not take a lot of work

575
00:31:15,440 --> 00:31:17,720
Speaker 5: for it to be broken up into pieces. Already exists

576
00:31:17,720 --> 00:31:18,560
Speaker 5: in chapters.

577
00:31:18,240 --> 00:31:19,800
Speaker 1: And it is just to be Claire else And it

578
00:31:19,840 --> 00:31:22,520
Speaker 1: is very clearly divided into five chapters.

579
00:31:22,800 --> 00:31:26,840
Speaker 5: Yes, yes, each section kind of ends with essentially like

580
00:31:26,880 --> 00:31:29,160
Speaker 5: being like here are the characters, which and it's actually

581
00:31:29,160 --> 00:31:31,719
Speaker 5: something I think is very deliberate. I mean, My Undesirable

582
00:31:31,760 --> 00:31:34,080
Speaker 5: Friends is a reference to the fact that when Lacktev

583
00:31:34,120 --> 00:31:39,080
Speaker 5: first went to Moscow, it was to she arrives in

584
00:31:39,120 --> 00:31:41,560
Speaker 5: like the fall of twenty twenty one, and the idea

585
00:31:41,600 --> 00:31:43,360
Speaker 5: is she's going to make a documentary about the fact

586
00:31:43,400 --> 00:31:48,600
Speaker 5: that Putin's government has started labeling dissenters, like basically mostly

587
00:31:48,640 --> 00:31:51,880
Speaker 5: independent journalists as foreign agents. And once you are named

588
00:31:51,920 --> 00:31:55,160
Speaker 5: a foreign agent, you have to continually basically put this

589
00:31:55,240 --> 00:31:58,920
Speaker 5: asterisk on yourself before every commercial break on this like

590
00:31:59,080 --> 00:32:01,280
Speaker 5: TV rain channel that a lot of people work for,

591
00:32:01,360 --> 00:32:04,040
Speaker 5: they have to keep like putting this disclaimer out, being

592
00:32:04,120 --> 00:32:07,640
Speaker 5: like we've been designated foreign agents who are basically being

593
00:32:07,680 --> 00:32:11,040
Speaker 5: paid by outside forces to create dissent, Like you have

594
00:32:11,120 --> 00:32:19,360
Speaker 5: to just keep saying that it's ridiculous. But of course,

595
00:32:19,400 --> 00:32:22,160
Speaker 5: what happens over the following months when Lactev is there

596
00:32:22,320 --> 00:32:25,880
Speaker 5: is that Russia invades Ukraine and there is just like

597
00:32:25,920 --> 00:32:30,520
Speaker 5: a final lockdown basically on the ability to cover news

598
00:32:30,560 --> 00:32:35,080
Speaker 5: in any way independently or accurately uh from within the country.

599
00:32:36,520 --> 00:32:38,320
Speaker 5: I think one of the things that I enjoy about

600
00:32:38,360 --> 00:32:40,800
Speaker 5: the fact that this is called My Undesirable Friends is

601
00:32:40,800 --> 00:32:42,640
Speaker 5: that it does actually I think, have a bit of

602
00:32:42,640 --> 00:32:44,920
Speaker 5: a relationship with the idea of a sitcom. It has

603
00:32:44,960 --> 00:32:48,760
Speaker 5: a giant cast of characters, and it really exists within

604
00:32:48,840 --> 00:32:52,160
Speaker 5: their space. So much of this movie is is within

605
00:32:52,280 --> 00:32:55,920
Speaker 5: like a workplace, or within various dinner parties and New

606
00:32:55,960 --> 00:33:00,360
Speaker 5: Year's celebrations and gatherings that they have, these these different

607
00:33:00,360 --> 00:33:04,720
Speaker 5: independent journalists that make up the cast of subjects that

608
00:33:04,760 --> 00:33:08,480
Speaker 5: they have where they talk about what's happening. But I

609
00:33:08,520 --> 00:33:10,520
Speaker 5: think that one of the things that this longer run

610
00:33:10,640 --> 00:33:15,880
Speaker 5: time earns is that you watch as all of these

611
00:33:16,320 --> 00:33:19,400
Speaker 5: different people who are very savvy about the realities of

612
00:33:19,440 --> 00:33:23,640
Speaker 5: their government slowly have to start to realize that things

613
00:33:23,680 --> 00:33:25,840
Speaker 5: are kind of locking down more and more and there

614
00:33:25,880 --> 00:33:27,840
Speaker 5: is going to come a point where they are going

615
00:33:27,880 --> 00:33:30,000
Speaker 5: to have to decide whether they can remain in the country.

616
00:33:30,280 --> 00:33:33,040
Speaker 5: You know, it is a bit like you know, the

617
00:33:33,200 --> 00:33:36,120
Speaker 5: a frog boiling metaphor. You're watching all of these people

618
00:33:36,120 --> 00:33:39,200
Speaker 5: start to wonder at what point they are no longer

619
00:33:39,320 --> 00:33:42,880
Speaker 5: that they have been essentially indulged by the regime, allowed

620
00:33:42,920 --> 00:33:46,760
Speaker 5: to have dissenting viewpoints only within this like very kind

621
00:33:46,840 --> 00:33:50,120
Speaker 5: of like within a context where the regime knows they

622
00:33:50,120 --> 00:33:52,680
Speaker 5: think they could just crush them at any time as

623
00:33:52,720 --> 00:33:55,480
Speaker 5: soon as they decided they needed to but yeah. It

624
00:33:55,520 --> 00:33:58,040
Speaker 5: also I think it's got a whole bunch of incredibly

625
00:33:58,080 --> 00:34:05,520
Speaker 5: compelling journalists that it follows. And it also it has

626
00:34:05,840 --> 00:34:08,640
Speaker 5: something that I think is a luxury that the documentaries

627
00:34:08,640 --> 00:34:10,200
Speaker 5: have not had for a long time, which is that

628
00:34:10,280 --> 00:34:13,600
Speaker 5: it's not made with a set ending in mind, Like

629
00:34:13,680 --> 00:34:17,200
Speaker 5: lockdev goes out there and catches this thing happening as

630
00:34:17,400 --> 00:34:19,680
Speaker 5: you know, did not expect to catch it, and follows

631
00:34:19,719 --> 00:34:23,040
Speaker 5: it and events and the like. The subjects dictate where

632
00:34:23,040 --> 00:34:25,279
Speaker 5: the film goes, you know, And I think so much

633
00:34:25,280 --> 00:34:27,560
Speaker 5: of the reality of nonfiction funding has been like, oh,

634
00:34:27,600 --> 00:34:29,799
Speaker 5: you go out and you film like a competition or

635
00:34:29,880 --> 00:34:32,680
Speaker 5: a semester or something like that, because that's you have

636
00:34:32,719 --> 00:34:34,719
Speaker 5: a set way. You know, you know what you're going

637
00:34:34,800 --> 00:34:38,879
Speaker 5: to get. And this this movie feels so alive with

638
00:34:39,120 --> 00:34:43,279
Speaker 5: the events that are happening and also like increasing the

639
00:34:43,320 --> 00:34:46,879
Speaker 5: increasing danger that everyone, including Lock deev is is put in.

640
00:34:47,600 --> 00:34:50,960
Speaker 5: I think it's like a thrilling, upsetting movie. And it

641
00:34:51,040 --> 00:34:54,640
Speaker 5: is also like obviously one that has certain resonance for

642
00:34:54,760 --> 00:35:00,600
Speaker 5: us here as various forces in media and elsewhere kind

643
00:35:00,640 --> 00:35:03,640
Speaker 5: of are silence, you know, by the government.

644
00:35:03,800 --> 00:35:06,960
Speaker 3: I mean, it's stunning. It's also the easiest way to

645
00:35:07,040 --> 00:35:10,360
Speaker 3: kind of just you know, assess its topicality or relevance,

646
00:35:10,360 --> 00:35:12,640
Speaker 3: I guess just to say that. But it's but it

647
00:35:12,719 --> 00:35:16,759
Speaker 3: is stunning just to hear all these different people on

648
00:35:17,120 --> 00:35:20,040
Speaker 3: camerage is saying, you know, for twenty years, we've had

649
00:35:20,040 --> 00:35:22,440
Speaker 3: this monster growing in front of our eyes. This is

650
00:35:22,440 --> 00:35:25,279
Speaker 3: a quote whom we all fed with our silence and

651
00:35:25,320 --> 00:35:29,239
Speaker 3: our passivity. And then somebody else says, and this is

652
00:35:29,360 --> 00:35:32,040
Speaker 3: from some of the twenty twenty two footage, you know,

653
00:35:32,160 --> 00:35:38,640
Speaker 3: arrests everywhere, masked special forces just sweeping people up. Sound familiar.

654
00:35:39,640 --> 00:35:42,880
Speaker 3: And then somebody says it talks about this overwhelming feeling,

655
00:35:42,960 --> 00:35:44,960
Speaker 3: a feeling of shame for being part of this country

656
00:35:44,960 --> 00:35:48,279
Speaker 3: and for such a president, and it's just, you know,

657
00:35:48,320 --> 00:35:50,160
Speaker 3: it's a little bit of a bulletin to the near

658
00:35:50,239 --> 00:35:58,719
Speaker 3: future our own. Not all entirely parallel, obviously, but you know,

659
00:35:58,800 --> 00:36:03,440
Speaker 3: it's also like, you know, in a completely found footage

660
00:36:03,440 --> 00:36:06,440
Speaker 3: sort of way, it is very funny in the most dire,

661
00:36:06,600 --> 00:36:09,680
Speaker 3: sort of slavic sense of humor. You know, I love

662
00:36:09,719 --> 00:36:13,759
Speaker 3: it anyway, Just somebody outside of police station, somebody's waiting for,

663
00:36:14,000 --> 00:36:17,600
Speaker 3: you know, a friend who you know, apparently seemingly never comes,

664
00:36:17,680 --> 00:36:21,480
Speaker 3: and and she is really upset, and she just says,

665
00:36:21,600 --> 00:36:23,759
Speaker 3: can you hug me please? I feel so scared. And

666
00:36:23,960 --> 00:36:26,799
Speaker 3: somebody who has just been a detainee, who has just

667
00:36:26,800 --> 00:36:30,040
Speaker 3: been released, says, oh, oh, don't worry about believe me,

668
00:36:30,080 --> 00:36:34,840
Speaker 3: everything will get worse. And it's I mean, it's you know,

669
00:36:34,880 --> 00:36:38,320
Speaker 3: it's you wouldn't get those moments if you didn't spend many,

670
00:36:38,360 --> 00:36:42,280
Speaker 3: many minutes in the car with somebody, two people talking, listening,

671
00:36:42,719 --> 00:36:45,759
Speaker 3: just reflecting on what's going on. How much worse is

672
00:36:45,800 --> 00:36:48,000
Speaker 3: it going to get? And yeah, everything you say else

673
00:36:48,120 --> 00:36:51,560
Speaker 3: is true. It's like Frederick Wiseman's longer films. You just

674
00:36:51,640 --> 00:36:56,040
Speaker 3: get you have to completely do an internal rhythm adjustment

675
00:36:56,120 --> 00:37:00,360
Speaker 3: that sometimes means you chunk it out, you know. And

676
00:37:01,200 --> 00:37:03,880
Speaker 3: I had it was a busy time, and I but

677
00:37:03,960 --> 00:37:05,640
Speaker 3: I was, you know, I chunked it out. I saw

678
00:37:05,680 --> 00:37:08,080
Speaker 3: it in like four or five roughly on the episode

679
00:37:08,600 --> 00:37:11,520
Speaker 3: you know schedule, there was basically five episodes. But I'll

680
00:37:11,560 --> 00:37:15,600
Speaker 3: tell you man, the last thirty forty minutes. It's the

681
00:37:15,640 --> 00:37:18,600
Speaker 3: suspense it's built just by investing all this time and

682
00:37:18,640 --> 00:37:21,360
Speaker 3: these people you've come to know, you know, in Moscow,

683
00:37:21,480 --> 00:37:24,960
Speaker 3: in some cases, you know, briefly in Ukraine, and just

684
00:37:25,080 --> 00:37:27,560
Speaker 3: what what is the fate? I mean, we'll find it

685
00:37:27,840 --> 00:37:30,680
Speaker 3: is really really astonishing to me, so that I mean,

686
00:37:31,080 --> 00:37:34,080
Speaker 3: just for those last forty minutes alone to my top ten.

687
00:37:34,400 --> 00:37:37,240
Speaker 1: The sense of humor you both are talking about is

688
00:37:37,360 --> 00:37:40,560
Speaker 1: so crucial and the suspense as well, Michael, because we're

689
00:37:40,600 --> 00:37:42,600
Speaker 1: watching it the whole time. We don't know exactly what

690
00:37:42,640 --> 00:37:45,040
Speaker 1: the fate of these characters is, but we know we

691
00:37:45,120 --> 00:37:46,719
Speaker 1: know what the fate of the country is. We know

692
00:37:46,760 --> 00:37:54,560
Speaker 1: what's coming. And I don't begrudge anyone for their humor

693
00:37:54,800 --> 00:37:58,080
Speaker 1: or sort of how they're handling all of this, But

694
00:37:58,120 --> 00:38:03,399
Speaker 1: you're watching it the whole time thinking they know you're

695
00:38:03,440 --> 00:38:07,279
Speaker 1: the indulgence. You spoke to Alison that they know deep

696
00:38:07,360 --> 00:38:10,080
Speaker 1: down that at some point the fist is going to

697
00:38:10,080 --> 00:38:12,520
Speaker 1: come crushing down and that they are not going to

698
00:38:12,520 --> 00:38:14,800
Speaker 1: be able to be on air anymore, and they're probably

699
00:38:14,840 --> 00:38:17,560
Speaker 1: going to be all fleeing the country as fast as

700
00:38:17,560 --> 00:38:21,719
Speaker 1: they can. But until then, all they can do is

701
00:38:21,719 --> 00:38:25,320
Speaker 1: sort of laugh and make putin jokes and keep fighting

702
00:38:25,320 --> 00:38:28,919
Speaker 1: the fight and going on air and do posting things

703
00:38:29,000 --> 00:38:31,560
Speaker 1: on Instagram. And there is a point in the movie

704
00:38:31,920 --> 00:38:36,600
Speaker 1: where then everything goes from there's no joke anymore and

705
00:38:36,640 --> 00:38:39,480
Speaker 1: now it's real, and that's when things get really intense.

706
00:38:40,320 --> 00:38:42,040
Speaker 5: Yeah, and I did want to. I mean, there are

707
00:38:43,280 --> 00:38:45,959
Speaker 5: most of the subjects are women who are just also

708
00:38:46,040 --> 00:38:50,640
Speaker 5: like very funny and charismatic young women. But I will

709
00:38:50,680 --> 00:38:54,280
Speaker 5: say also the film kind of like introduces but eventually

710
00:38:54,280 --> 00:38:57,000
Speaker 5: it kind of finds itself centering around one at the end,

711
00:38:57,280 --> 00:39:02,680
Speaker 5: Exanya morov Neva, who's just like so young, and I

712
00:39:02,719 --> 00:39:06,640
Speaker 5: think makes that whole final part so heartbreaking. Like the

713
00:39:06,680 --> 00:39:09,360
Speaker 5: reference point she keeps reaching for is Harry Potter or

714
00:39:09,400 --> 00:39:11,879
Speaker 5: Potter because you know, and you're like, oh right, you're

715
00:39:11,920 --> 00:39:15,640
Speaker 5: like twenty three years old, Like you know, like what

716
00:39:15,719 --> 00:39:17,560
Speaker 5: kind of metaphors can we come up with for what

717
00:39:17,600 --> 00:39:20,560
Speaker 5: it feels like to be the kind of like ragtag

718
00:39:20,640 --> 00:39:25,160
Speaker 5: group of people fighting against this enormous, oppressive, monolithic force

719
00:39:25,239 --> 00:39:26,560
Speaker 5: And you're like Harry Potter.

720
00:39:26,719 --> 00:39:26,959
Speaker 6: Yeah.

721
00:39:27,560 --> 00:39:30,399
Speaker 3: I think it's actually a different director who references Potter earlier. Right,

722
00:39:30,560 --> 00:39:33,160
Speaker 3: It says it's true Harry Potter as a kid, this

723
00:39:33,560 --> 00:39:36,839
Speaker 3: this other older pH I couldn't understand why so many

724
00:39:36,840 --> 00:39:40,319
Speaker 3: people couldn't overthrow one bald guy who's been ruling for

725
00:39:40,400 --> 00:39:43,640
Speaker 3: twenty years. Yes, then and this soft TikTok or something again,

726
00:39:43,760 --> 00:39:46,400
Speaker 3: she says, no, I understand it, you know, referring to Putin.

727
00:39:46,480 --> 00:39:50,120
Speaker 3: So yeah, it's very Yeah, it's a great journalism movie,

728
00:39:50,160 --> 00:39:52,920
Speaker 3: you know, it just is it's and you know, there's

729
00:39:52,960 --> 00:39:55,440
Speaker 3: a lot of journalism movies that aren't and this is

730
00:39:55,520 --> 00:39:57,080
Speaker 3: this is truly one of the greats.

731
00:39:57,440 --> 00:40:01,440
Speaker 1: Yeah. Unfortunately a movie we're praising and is a must

732
00:40:01,480 --> 00:40:04,600
Speaker 1: see that does not currently have a digital release date

733
00:40:04,680 --> 00:40:07,399
Speaker 1: that we're aware of, but we'll keep an eye out.

734
00:40:07,440 --> 00:40:10,400
Speaker 1: You should keep an eye out for My Undesirable Friends,

735
00:40:10,480 --> 00:40:14,600
Speaker 1: Part one, Last Air in Moscow. We're going to go

736
00:40:14,640 --> 00:40:18,239
Speaker 1: down to a voicemail from Keith Phipps. He is from

737
00:40:18,320 --> 00:40:21,000
Speaker 1: our sister podcast, The Next Picture Show, also from the

738
00:40:21,040 --> 00:40:24,919
Speaker 1: Reveal The Great Substack that he writes with Scott Tobias,

739
00:40:24,960 --> 00:40:27,839
Speaker 1: and he is going to go to bat for a

740
00:40:27,880 --> 00:40:30,960
Speaker 1: film that has come up in passing, but no one

741
00:40:30,960 --> 00:40:34,280
Speaker 1: has really just talked about this film as their favorite

742
00:40:34,800 --> 00:40:37,800
Speaker 1: film of the year. Let's hear from Keith.

743
00:40:38,640 --> 00:40:40,080
Speaker 10: Hello, film spotting people.

744
00:40:40,360 --> 00:40:42,160
Speaker 2: This is Keith for the Next Picture Show.

745
00:40:42,360 --> 00:40:44,640
Speaker 10: My favorite movie of the year is Trained Dreams, and

746
00:40:44,680 --> 00:40:46,719
Speaker 10: I actually kind of knew it was going to be

747
00:40:46,960 --> 00:40:49,920
Speaker 10: in January when I saw it while attending sun Dance.

748
00:40:50,360 --> 00:40:52,960
Speaker 10: Virtually I left it thinking, you know, if I see

749
00:40:53,400 --> 00:40:57,040
Speaker 10: another film this good this year, it's going to be

750
00:40:57,080 --> 00:40:58,719
Speaker 10: a pretty good movie year. And you know what, it

751
00:40:58,760 --> 00:41:01,000
Speaker 10: was a pretty good movie year. A lot of contenders

752
00:41:01,360 --> 00:41:03,239
Speaker 10: at my end of the year, but in the end

753
00:41:03,280 --> 00:41:05,440
Speaker 10: of it, I just was just left kind of haunted

754
00:41:05,560 --> 00:41:09,719
Speaker 10: by its vision of one man's life in a particular

755
00:41:09,760 --> 00:41:13,040
Speaker 10: moment in American history and a preculiar part of the world,

756
00:41:13,640 --> 00:41:18,440
Speaker 10: and his own sort of grasping attempts to understand what

757
00:41:18,480 --> 00:41:19,160
Speaker 10: it all means.

758
00:41:19,239 --> 00:41:20,480
Speaker 2: I loved it. I've seen it three.

759
00:41:20,320 --> 00:41:24,120
Speaker 10: Times now and I will probably watch it again before

760
00:41:24,200 --> 00:41:26,520
Speaker 10: too long. And you know, like I said, a lot

761
00:41:26,520 --> 00:41:28,040
Speaker 10: of other great films this year, but that's the one

762
00:41:28,280 --> 00:41:29,160
Speaker 10: that stayed with me.

763
00:41:29,480 --> 00:41:29,799
Speaker 2: All right.

764
00:41:29,800 --> 00:41:31,680
Speaker 10: Thanks everyone, have a great twenty twenty six.

765
00:41:32,080 --> 00:41:36,359
Speaker 1: Thank you Keith for choosing Train Dreams. That is yet

766
00:41:36,400 --> 00:41:39,280
Speaker 1: another eleven through twenty of mine. That one is firmly

767
00:41:39,360 --> 00:41:41,680
Speaker 1: ensconced in my eleventh through twenty a movie. Michael and

768
00:41:41,719 --> 00:41:44,839
Speaker 1: I saw it together in Iowa City. Third shout out

769
00:41:44,840 --> 00:41:47,680
Speaker 1: to the Refocused Film Festival. That was the opening night

770
00:41:47,840 --> 00:41:53,200
Speaker 1: movie of that festival, and that now is going to

771
00:41:53,239 --> 00:41:56,839
Speaker 1: bring us to our next consensus choice. Michael, you're all

772
00:41:56,880 --> 00:42:00,360
Speaker 1: about consensus. The third movie in a row that you

773
00:42:00,440 --> 00:42:04,439
Speaker 1: have in common with someone. It's my number five, it's

774
00:42:04,480 --> 00:42:08,960
Speaker 1: your number six. It just speaks to your impeccable taste, obviously.

775
00:42:09,239 --> 00:42:12,280
Speaker 3: And it actually speaks to my need for consensus.

776
00:42:12,680 --> 00:42:15,880
Speaker 1: Of course, Well there's that too. This is the latest

777
00:42:16,640 --> 00:42:21,760
Speaker 1: from director Park Chanook and it's called No Other Choice.

778
00:42:21,840 --> 00:42:25,440
Speaker 1: I said Laurence Heart was desperate. He doesn't come anywhere

779
00:42:25,440 --> 00:42:30,200
Speaker 1: close to Lee Young huns Yu Mansu in Park Channook's

780
00:42:30,360 --> 00:42:34,879
Speaker 1: latest film. This is based on Donald Westlake's novel The Acts,

781
00:42:34,960 --> 00:42:37,600
Speaker 1: and it's about a man who has had the same

782
00:42:37,719 --> 00:42:41,880
Speaker 1: job at a paper company for twenty five years past

783
00:42:41,960 --> 00:42:46,239
Speaker 1: in present, the point of fracture. Here he is not

784
00:42:46,400 --> 00:42:50,000
Speaker 1: just someone who his entire professional life has been devoted

785
00:42:50,000 --> 00:42:55,520
Speaker 1: to paper. He was pulp Man of the Year. That

786
00:42:55,640 --> 00:42:58,600
Speaker 1: has to count for something, right, Surely that carries some weight.

787
00:42:59,200 --> 00:43:02,360
Speaker 1: It signifies his status and there should there should be

788
00:43:02,400 --> 00:43:07,799
Speaker 1: some dignity and respect that his company, Solar Paper, will

789
00:43:07,840 --> 00:43:12,240
Speaker 1: always treat him with, except that an American company buys

790
00:43:12,280 --> 00:43:17,560
Speaker 1: them out guts the workforce including his job and the

791
00:43:17,960 --> 00:43:22,399
Speaker 1: indignity that follows, and the choices he has to make

792
00:43:22,680 --> 00:43:25,600
Speaker 1: this movie. I saw Roofman much later, but these two

793
00:43:25,600 --> 00:43:28,239
Speaker 1: movies have something in common in terms of characters for

794
00:43:28,400 --> 00:43:32,320
Speaker 1: similar decisions, making really bad choices, the choices he makes

795
00:43:32,360 --> 00:43:37,919
Speaker 1: to restore his pride, his income, his family's material resources,

796
00:43:38,239 --> 00:43:42,000
Speaker 1: his family's happiness. I'm not going to spoil them, though.

797
00:43:42,280 --> 00:43:45,520
Speaker 1: This is a case where I've seen a few comments

798
00:43:45,560 --> 00:43:48,120
Speaker 1: about the film here and there. I know from the

799
00:43:48,840 --> 00:43:53,040
Speaker 1: trailer this is all stuff that's covered in plot synopsis,

800
00:43:53,080 --> 00:43:55,760
Speaker 1: but I just don't really want to spoil it because

801
00:43:55,800 --> 00:43:58,080
Speaker 1: I didn't know Michael. I didn't know where this movie

802
00:43:58,120 --> 00:44:01,799
Speaker 1: was going to go once it started, no idea those

803
00:44:01,920 --> 00:44:05,040
Speaker 1: choices that this character was going to make. And so

804
00:44:05,200 --> 00:44:08,400
Speaker 1: for my part, anyway, I'm gonna let people discover it.

805
00:44:08,440 --> 00:44:12,719
Speaker 1: But let's just say it's a black comedy, and Park

806
00:44:12,840 --> 00:44:16,320
Speaker 1: navigates the black comedy so deathly. He gets us laughing

807
00:44:16,440 --> 00:44:21,799
Speaker 1: at this man. Sometimes we're recoiling in shock, all while

808
00:44:21,840 --> 00:44:24,839
Speaker 1: still somehow retaining some sympathy for him. I just think

809
00:44:24,880 --> 00:44:27,200
Speaker 1: he's such a master as a filmmaker in terms of

810
00:44:27,200 --> 00:44:33,200
Speaker 1: that tone. The opening sequence sets us up for this fall,

811
00:44:33,280 --> 00:44:36,440
Speaker 1: for his fall. It shows us how perfect, how idyllic

812
00:44:36,520 --> 00:44:40,240
Speaker 1: things are. The scene it should be so heavy handed

813
00:44:40,400 --> 00:44:44,000
Speaker 1: in its own way, it is right. It actually includes

814
00:44:44,120 --> 00:44:51,799
Speaker 1: him saying this husband, father, responsible, dedicated worker, saying I've

815
00:44:51,840 --> 00:44:54,880
Speaker 1: got it all right. You know when a man says

816
00:44:54,920 --> 00:44:58,239
Speaker 1: in a movie, I've got it all, something tragic is

817
00:44:58,280 --> 00:45:00,520
Speaker 1: about to happen. He says, I've got it all and

818
00:45:00,560 --> 00:45:04,200
Speaker 1: the scene ends with him embracing his two children and

819
00:45:04,200 --> 00:45:08,640
Speaker 1: his wife in a group hug. And somehow instead of work,

820
00:45:09,480 --> 00:45:12,480
Speaker 1: no it's not. But instead of it being heavy handed,

821
00:45:13,000 --> 00:45:16,359
Speaker 1: it it just takes on this fable like quality, and

822
00:45:16,400 --> 00:45:20,480
Speaker 1: the brilliant colors and the brisk editing throughout it all

823
00:45:20,520 --> 00:45:22,760
Speaker 1: just heightens it. And there are This was my choice

824
00:45:22,800 --> 00:45:24,600
Speaker 1: for best edited film of the year. They're just some

825
00:45:24,880 --> 00:45:28,880
Speaker 1: ingenious match cuts and other types of transitions. Quite frankly,

826
00:45:29,080 --> 00:45:31,520
Speaker 1: without breaking it down frame by frame, I don't even

827
00:45:31,520 --> 00:45:34,520
Speaker 1: know how to describe some of the editing choices, the

828
00:45:34,640 --> 00:45:38,880
Speaker 1: technical choices that are being made, and what is actually

829
00:45:38,880 --> 00:45:44,120
Speaker 1: going into how they're being performed. And there is no spoilers.

830
00:45:44,160 --> 00:45:47,200
Speaker 1: There are such a great comic irony at the core.

831
00:45:48,000 --> 00:45:49,440
Speaker 1: At the end of this movie, but also at the

832
00:45:49,480 --> 00:45:52,319
Speaker 1: core of this movie, because this man's entire sense of

833
00:45:52,360 --> 00:45:57,120
Speaker 1: self is defined by his job, and rather than find

834
00:45:57,160 --> 00:46:00,640
Speaker 1: a way to redefine himself and in fairness to him,

835
00:46:00,840 --> 00:46:04,080
Speaker 1: there is effort, and it's extremely difficult to do. But

836
00:46:04,800 --> 00:46:09,200
Speaker 1: in this fracture between past and present, he commits himself

837
00:46:09,480 --> 00:46:13,440
Speaker 1: only to restoration. All he wants to do is everything

838
00:46:13,440 --> 00:46:15,839
Speaker 1: he can to get his old life back, his old

839
00:46:15,880 --> 00:46:20,239
Speaker 1: identity back. There's no possibility of a new way, even

840
00:46:20,280 --> 00:46:22,920
Speaker 1: though he's able to look at other men in similar

841
00:46:22,960 --> 00:46:27,920
Speaker 1: positions and point out how absurdly stubborn they are for

842
00:46:28,000 --> 00:46:30,040
Speaker 1: their refusal to move on. He can see it in

843
00:46:30,080 --> 00:46:31,960
Speaker 1: other people, but he can't see it in himself. That's

844
00:46:32,000 --> 00:46:35,120
Speaker 1: the delicious kind of comic irony of it, and park

845
00:46:35,280 --> 00:46:41,120
Speaker 1: just he exposes, he devilishly exposes the dark calculus of

846
00:46:41,200 --> 00:46:43,960
Speaker 1: power here in this movie. The title right, showing how

847
00:46:44,040 --> 00:46:48,520
Speaker 1: necessity becomes the perfect alibi for mischief and corruption. Whether

848
00:46:48,520 --> 00:46:51,480
Speaker 1: it's in back rooms, or it's in living rooms or

849
00:46:51,520 --> 00:46:56,320
Speaker 1: boardrooms or battle fields, it applies across the board, and

850
00:46:56,760 --> 00:46:59,560
Speaker 1: this film touches on all of it. I think it's brilliant.

851
00:46:59,800 --> 00:47:03,000
Speaker 3: My number five, that's it's my I mean, I think

852
00:47:03,040 --> 00:47:06,960
Speaker 3: it's super solid, really just great. And it's also this film,

853
00:47:07,239 --> 00:47:10,480
Speaker 3: the fact that we had two films that had of

854
00:47:10,520 --> 00:47:15,400
Speaker 3: such quality, very different weapons, and and no other choice

855
00:47:15,440 --> 00:47:20,720
Speaker 3: to have films that suddenly take take this primary interest

856
00:47:20,800 --> 00:47:24,160
Speaker 3: in like some of the some of the most shameless,

857
00:47:24,239 --> 00:47:27,759
Speaker 3: over the top slapstick that is so brilliantly filmed. It

858
00:47:27,880 --> 00:47:30,759
Speaker 3: just seems like an inevitable kind of like outgrowth of

859
00:47:30,760 --> 00:47:34,359
Speaker 3: of the escalating uh well body count, we can say

860
00:47:34,360 --> 00:47:37,080
Speaker 3: that much without giving too much away, and and everything else,

861
00:47:37,120 --> 00:47:40,080
Speaker 3: and it's just, uh, it's a great reminder when when

862
00:47:40,080 --> 00:47:43,400
Speaker 3: you see a director, you know, that confident of to

863
00:47:44,640 --> 00:47:47,680
Speaker 3: just let's let's not this film doesn't need to be

864
00:47:47,760 --> 00:47:50,920
Speaker 3: a certain type of you know of you know, kind

865
00:47:50,920 --> 00:47:54,120
Speaker 3: of crime drama or portrait of this and spent adapted

866
00:47:54,160 --> 00:47:56,880
Speaker 3: a couple of times, right, I hadn't seen the previous

867
00:47:57,200 --> 00:48:02,080
Speaker 3: film adaptation. I'd read the novel, but you know, it's

868
00:48:02,120 --> 00:48:05,480
Speaker 3: a great you know, I was setting I think, small

869
00:48:05,880 --> 00:48:09,080
Speaker 3: medium sized market in Pennsylvania somewhere kind of I think,

870
00:48:09,080 --> 00:48:11,160
Speaker 3: and originally back when it was written back in the nineties,

871
00:48:11,160 --> 00:48:15,480
Speaker 3: but it's eternally relevant, this idea of like, you know,

872
00:48:15,480 --> 00:48:19,120
Speaker 3: how do you handle a layoff? And this is not

873
00:48:19,560 --> 00:48:21,719
Speaker 3: I wouldn't advise that people follow it as sort of

874
00:48:21,760 --> 00:48:24,560
Speaker 3: a you know, as an instruction manual, but it's no

875
00:48:24,760 --> 00:48:28,160
Speaker 3: but but you know, it is an instruction manual for

876
00:48:28,480 --> 00:48:32,400
Speaker 3: viewers and maybe other filmmakers about how the value of

877
00:48:32,480 --> 00:48:36,960
Speaker 3: just absolutely discombobulating your audience can be your highest mission.

878
00:48:37,280 --> 00:48:39,800
Speaker 1: You know, it's great right to the end this film.

879
00:48:39,840 --> 00:48:42,440
Speaker 1: If it hasn't been on your radar or you are

880
00:48:42,600 --> 00:48:45,440
Speaker 1: possibly hearing about it for the first time, that's fine.

881
00:48:45,560 --> 00:48:47,879
Speaker 1: Just getting a release here in the United States at

882
00:48:47,880 --> 00:48:51,400
Speaker 1: the end of December. But Park chenook Old Boy the

883
00:48:51,440 --> 00:48:54,040
Speaker 1: Handmaiden decision to leave. I think all three of those

884
00:48:54,080 --> 00:48:56,400
Speaker 1: movies were on my top ten lists of those years,

885
00:48:56,400 --> 00:48:58,120
Speaker 1: so I guess I'm a fan. You can add this

886
00:48:58,160 --> 00:49:00,799
Speaker 1: one to the mix. Christmas Day, I think is when

887
00:49:00,800 --> 00:49:03,640
Speaker 1: that movie comes out in limited release, and then we'll

888
00:49:03,680 --> 00:49:06,440
Speaker 1: expand in twenty twenty six, maybe one Josh that we

889
00:49:06,480 --> 00:49:09,120
Speaker 1: can give a full review to. We'll see how the

890
00:49:09,200 --> 00:49:15,759
Speaker 1: January schedule shakes out. Movies you might be able to

891
00:49:15,840 --> 00:49:19,440
Speaker 1: check out for free right now as a regal unlimited member.

892
00:49:20,200 --> 00:49:23,680
Speaker 1: Marty Supreme number nine on Alison Wilmore's list an eleven

893
00:49:23,760 --> 00:49:27,400
Speaker 1: through twenty pick for me incredible performance from Timothy Shallomey

894
00:49:27,800 --> 00:49:31,640
Speaker 1: that is playing right now at Regal. And we've talked

895
00:49:31,760 --> 00:49:35,080
Speaker 1: a little bit about some of these picks. We've highlighted

896
00:49:35,080 --> 00:49:38,520
Speaker 1: some of these repertory movies, the limited engagements, Josh that

897
00:49:38,960 --> 00:49:42,560
Speaker 1: Regal has been showing at some of their theaters and

898
00:49:42,880 --> 00:49:47,080
Speaker 1: I'm looking at rgmovies dot com and they have a

899
00:49:47,160 --> 00:49:51,839
Speaker 1: limited engagement right now for It's What is it? It's

900
00:49:52,000 --> 00:49:57,000
Speaker 1: it's fortieth anniversary. It's thirtieth. Okay, only thirty years. Shouldn't

901
00:49:57,040 --> 00:50:01,120
Speaker 1: age it like that thirtieth anniversary of a movie. I

902
00:50:01,400 --> 00:50:05,920
Speaker 1: somehow I can't believe I've admitting this. I have somehow

903
00:50:05,960 --> 00:50:09,800
Speaker 1: never seen this film, despite the fact that it stars

904
00:50:09,840 --> 00:50:14,160
Speaker 1: two incredible actresses, including one who I've always claimed to

905
00:50:14,239 --> 00:50:18,000
Speaker 1: be a huge, huge fan of. And I may have

906
00:50:18,080 --> 00:50:20,880
Speaker 1: to rectify this now by seeing it on the big screen.

907
00:50:20,920 --> 00:50:22,680
Speaker 1: Getting a chance to see it on the big screen

908
00:50:22,680 --> 00:50:26,680
Speaker 1: at a Regal cinema. Sense and sensibility.

909
00:50:27,480 --> 00:50:28,759
Speaker 2: Angling, so way to do it.

910
00:50:29,000 --> 00:50:32,600
Speaker 1: Great director too, Kate Winslett, the actress I'm referring to,

911
00:50:32,640 --> 00:50:36,120
Speaker 1: the great Emma Thompson. Never seen Sense and sensibility and

912
00:50:36,200 --> 00:50:39,319
Speaker 1: if you're like me, maybe you're embarrassed about it. Like me,

913
00:50:40,040 --> 00:50:42,279
Speaker 1: you can check that out now at Regal Cinemas and

914
00:50:42,360 --> 00:50:46,480
Speaker 1: maybe see it for free with that Regal Unlimited membership.

915
00:50:46,520 --> 00:50:49,520
Speaker 1: Regal Unlimited is the all you can watch movie subscription

916
00:50:49,600 --> 00:50:52,160
Speaker 1: pass that pays for itself in just two visits, and

917
00:50:52,239 --> 00:50:56,000
Speaker 1: Regal is offering film spotting listeners endless movies for less.

918
00:50:56,040 --> 00:50:57,600
Speaker 1: All you have to do is sign up using the

919
00:50:57,600 --> 00:51:00,640
Speaker 1: code film Spot twenty five. That's film Spot twenty five,

920
00:51:00,880 --> 00:51:03,560
Speaker 1: and you'll get ten percent off a three month subscription.

921
00:51:04,080 --> 00:51:07,919
Speaker 1: It is the only truly limitless movie subscription pass, and

922
00:51:08,600 --> 00:51:11,040
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923
00:51:11,200 --> 00:51:16,160
Speaker 1: on snacks. You get ten percent off all non alcoholic concessions.

924
00:51:16,760 --> 00:51:20,040
Speaker 1: You can see any standard two D movie anytime, no blockout,

925
00:51:20,120 --> 00:51:23,839
Speaker 1: dates or restrictions. We encourage you to sign up now

926
00:51:23,880 --> 00:51:26,800
Speaker 1: in the Regal app or just click the link in

927
00:51:26,960 --> 00:51:30,600
Speaker 1: this show description and use that code film Spot twenty

928
00:51:30,640 --> 00:51:40,680
Speaker 1: five to receive your discount. Let's move on now to

929
00:51:41,000 --> 00:51:48,280
Speaker 1: some titles that actually made three of our choices, and Josh,

930
00:51:48,280 --> 00:51:50,000
Speaker 1: you're gonna do the honors on a film that made

931
00:51:50,040 --> 00:51:53,560
Speaker 1: your list made Michael's list made Allison's. I'm the only

932
00:51:53,640 --> 00:51:56,560
Speaker 1: outlier here, though I liked the film, just didn't make

933
00:51:56,800 --> 00:51:59,640
Speaker 1: the cut for one of my favorite films of the year.

934
00:51:59,680 --> 00:52:02,200
Speaker 1: Though this is one of my favorite filmmakers and someone

935
00:52:02,200 --> 00:52:04,400
Speaker 1: who I've had the pleasure of talking to many times

936
00:52:04,440 --> 00:52:05,080
Speaker 1: here on the show.

937
00:52:05,480 --> 00:52:08,840
Speaker 2: Yeah, it's The Mastermind from Kelly Riikert. And I think

938
00:52:09,360 --> 00:52:12,399
Speaker 2: at least I've seen this stated here and there. It's

939
00:52:12,719 --> 00:52:15,400
Speaker 2: become common to say we take Kelly Riikert for granted.

940
00:52:16,560 --> 00:52:19,160
Speaker 2: I think that's true. Even I came out of The

941
00:52:19,200 --> 00:52:22,440
Speaker 2: Mastermind liking it quite a bit. We talked about it

942
00:52:22,920 --> 00:52:25,240
Speaker 2: on the show, Adam, but at that point I didn't

943
00:52:25,280 --> 00:52:28,960
Speaker 2: really expect it to be necessarily on my top ten list.

944
00:52:29,320 --> 00:52:32,319
Speaker 2: And I have to say it's stuck with me. It's

945
00:52:32,440 --> 00:52:35,480
Speaker 2: deepened for me. And this has been a common experience

946
00:52:35,520 --> 00:52:40,120
Speaker 2: with her work because it doesn't strain itself to win

947
00:52:40,200 --> 00:52:44,960
Speaker 2: you over in the moment. Kelly reichert films, and that's

948
00:52:45,080 --> 00:52:49,200
Speaker 2: I mean, in an artistic venture like cinema, that's so

949
00:52:49,320 --> 00:52:52,640
Speaker 2: admirable to stick to your guns that way and just

950
00:52:52,719 --> 00:52:54,440
Speaker 2: do what you want to do and let the audience

951
00:52:54,480 --> 00:52:56,640
Speaker 2: come to you and Yeah, here we are at our

952
00:52:56,640 --> 00:52:58,879
Speaker 2: top ten lists, and I have The Mastermind at number

953
00:52:58,880 --> 00:53:02,719
Speaker 2: eight because I came eventually to the Mastermind. I think

954
00:53:02,800 --> 00:53:05,560
Speaker 2: it deepened for me as a character study, but also

955
00:53:05,600 --> 00:53:10,000
Speaker 2: as a character study that stands in as political commentary.

956
00:53:10,400 --> 00:53:12,760
Speaker 2: Both of those elements. I appreciate it on first viewing,

957
00:53:12,840 --> 00:53:16,160
Speaker 2: but yeah, they've just sunk in with me even more.

958
00:53:16,280 --> 00:53:20,520
Speaker 2: Josh O'Connor here playing JB. Mooney, this former art student

959
00:53:20,560 --> 00:53:23,920
Speaker 2: who stages a heist of paintings from a local museum.

960
00:53:24,880 --> 00:53:31,320
Speaker 2: I think he's a particularly American fraud entitled, self deluded,

961
00:53:31,920 --> 00:53:35,960
Speaker 2: oblivious to everything around him, including the Vietnam War protests

962
00:53:35,960 --> 00:53:40,480
Speaker 2: that are circling everywhere on TV in the streets. Despite

963
00:53:40,480 --> 00:53:42,960
Speaker 2: all of that, he still thinks he's the Mastermind. And

964
00:53:43,000 --> 00:53:47,520
Speaker 2: in lieu of all that, the sudden ending, which just

965
00:53:47,800 --> 00:53:50,640
Speaker 2: kind of like gets dropped on you and I liked

966
00:53:51,280 --> 00:53:53,400
Speaker 2: but didn't fully know what to make of when it

967
00:53:53,400 --> 00:53:57,000
Speaker 2: first happened. With some distance, it strikes me as this

968
00:53:57,320 --> 00:54:02,840
Speaker 2: brilliantly bitter chef's kiss. So yeah, add that to everything

969
00:54:02,880 --> 00:54:06,719
Speaker 2: I initially liked O'Connor's performance that inventively jazzy A Rob

970
00:54:06,920 --> 00:54:11,960
Speaker 2: Zurich score and here it is among my ten favorites

971
00:54:11,960 --> 00:54:15,200
Speaker 2: of the year, so I'm eager to hear though I know, Michael,

972
00:54:15,239 --> 00:54:17,200
Speaker 2: you had it pretty high, but Alison, you had it

973
00:54:17,239 --> 00:54:22,000
Speaker 2: at number two. So tell me what you loved about

974
00:54:22,000 --> 00:54:22,680
Speaker 2: The Mastermind.

975
00:54:23,040 --> 00:54:24,759
Speaker 5: I do think, like all of her films, it is

976
00:54:24,800 --> 00:54:27,040
Speaker 5: a grower, Like it is one of those movies I

977
00:54:27,080 --> 00:54:29,000
Speaker 5: really liked in the moment I got to see it,

978
00:54:29,000 --> 00:54:31,799
Speaker 5: I can, and then the more I sat with it,

979
00:54:31,840 --> 00:54:32,960
Speaker 5: and the more I sat with it, the more I

980
00:54:33,000 --> 00:54:34,400
Speaker 5: was like, I think this is great. I think this

981
00:54:34,440 --> 00:54:37,800
Speaker 5: is one of my favorites of hers. And I think,

982
00:54:38,400 --> 00:54:40,120
Speaker 5: I mean, in addition to being a movie that I

983
00:54:40,120 --> 00:54:43,240
Speaker 5: think is very much just about someone reaching the limits

984
00:54:43,239 --> 00:54:45,400
Speaker 5: of their charm. I mean, that's how I've described it

985
00:54:45,400 --> 00:54:46,759
Speaker 5: to a lot of people, and I think that is

986
00:54:46,800 --> 00:54:49,040
Speaker 5: like very much, you know, Like, I think it's the

987
00:54:49,080 --> 00:54:52,200
Speaker 5: best Josh O'Connor performance I've seen so far, though I

988
00:54:52,200 --> 00:54:54,320
Speaker 5: feel like, I mean, he's been in every other movie lately,

989
00:54:54,360 --> 00:54:55,799
Speaker 5: so I feel like we're going to get some great

990
00:54:55,840 --> 00:54:58,680
Speaker 5: ones also coming up. But I think it's such a

991
00:54:58,719 --> 00:55:01,719
Speaker 5: great use of his like kind of this like Hangdog

992
00:55:01,920 --> 00:55:03,719
Speaker 5: charm where he just kind of gives a look that,

993
00:55:03,840 --> 00:55:05,680
Speaker 5: you know, it clearly has worked so much in the

994
00:55:05,719 --> 00:55:08,200
Speaker 5: past where he's kind of like, you're gonna give me

995
00:55:08,239 --> 00:55:10,240
Speaker 5: a pass on this, and at a certain point everyone

996
00:55:10,320 --> 00:55:12,680
Speaker 5: is like, no, you know, you've had enough. You've had

997
00:55:12,760 --> 00:55:13,360
Speaker 5: enough passes.

998
00:55:14,400 --> 00:55:15,800
Speaker 9: That's a lot of money.

999
00:55:18,320 --> 00:55:23,960
Speaker 2: Just hear me out. It's a big life changing opportunity

1000
00:55:24,000 --> 00:55:24,239
Speaker 2: for me.

1001
00:55:24,719 --> 00:55:27,360
Speaker 10: But I don't have to run a workspace and purchase tools,

1002
00:55:27,400 --> 00:55:28,280
Speaker 10: which I don't have.

1003
00:55:29,840 --> 00:55:30,600
Speaker 3: That sort of thing.

1004
00:55:31,120 --> 00:55:33,600
Speaker 1: And this is real, mom, it's real.

1005
00:55:36,239 --> 00:55:38,799
Speaker 5: But I also feel like, I don't know. Record has

1006
00:55:38,800 --> 00:55:40,359
Speaker 5: said that she feels like maybe the kind of common

1007
00:55:40,400 --> 00:55:43,680
Speaker 5: threat in her movies is the degree to which people

1008
00:55:43,719 --> 00:55:46,520
Speaker 5: believe that they are part of a larger community, you know.

1009
00:55:46,680 --> 00:55:48,920
Speaker 5: And I think that this is a great film in

1010
00:55:48,920 --> 00:55:51,960
Speaker 5: that regard, because it is, yeah, about someone who is

1011
00:55:52,080 --> 00:55:55,480
Speaker 5: kind of like coasted into a life he feels no

1012
00:55:55,520 --> 00:55:59,720
Speaker 5: connection to, but has nevertheless acquired, you know, a wife,

1013
00:56:00,200 --> 00:56:03,440
Speaker 5: children and a house and a career that he's incredibly

1014
00:56:03,480 --> 00:56:07,960
Speaker 5: noncommittal about as as a carpenter and still kind of

1015
00:56:07,960 --> 00:56:10,200
Speaker 5: feels like he's just trying things out to figure out

1016
00:56:10,200 --> 00:56:12,120
Speaker 5: what like the right outfit is for him, you know,

1017
00:56:12,320 --> 00:56:16,239
Speaker 5: and and kind of blows up his life with no

1018
00:56:16,560 --> 00:56:20,440
Speaker 5: real plan of what would happen afterwards, Like this is

1019
00:56:20,480 --> 00:56:22,560
Speaker 5: a heist movie in which the heist happens in like

1020
00:56:22,600 --> 00:56:24,960
Speaker 5: the first quarter of the movie, and the rest is

1021
00:56:25,040 --> 00:56:28,799
Speaker 5: just about the unraveling of this character's life. And yeah,

1022
00:56:28,800 --> 00:56:30,840
Speaker 5: you're right. It is so much about someone who feels

1023
00:56:30,840 --> 00:56:33,560
Speaker 5: no connection to like the tumult of nineteen seventy that

1024
00:56:33,640 --> 00:56:36,280
Speaker 5: is happening all around him, to the Vietnam War drafts,

1025
00:56:36,400 --> 00:56:39,960
Speaker 5: like to the protest, to the kind of fading of

1026
00:56:40,120 --> 00:56:45,040
Speaker 5: sixties idealism, and yet he when he decides to kind

1027
00:56:45,080 --> 00:56:47,560
Speaker 5: of conduct his own like private revolution, it is basically

1028
00:56:47,600 --> 00:56:50,400
Speaker 5: just by being like, I'm going to destroy like like

1029
00:56:50,719 --> 00:56:52,960
Speaker 5: this like domestic life I have with no kind of

1030
00:56:53,000 --> 00:56:54,640
Speaker 5: idea of what comes next. I'm going to take this

1031
00:56:54,719 --> 00:56:57,600
Speaker 5: leap into the unknown. And I feel like that ending,

1032
00:56:57,680 --> 00:57:02,000
Speaker 5: you know, without spoiling what happens, is very much making

1033
00:57:02,040 --> 00:57:03,719
Speaker 5: the point that like it doesn't matter if you don't

1034
00:57:03,719 --> 00:57:05,880
Speaker 5: feel part of the world, the world will catch up

1035
00:57:05,880 --> 00:57:09,719
Speaker 5: with you, you know, like whether you feel connected to

1036
00:57:09,760 --> 00:57:12,839
Speaker 5: what's going on or not, you live in the world. Yeah,

1037
00:57:12,880 --> 00:57:14,240
Speaker 5: I think it's a terrific movie.

1038
00:57:14,600 --> 00:57:16,720
Speaker 3: Yeah, I mean it kicked out Black Boxer me.

1039
00:57:16,760 --> 00:57:17,200
Speaker 2: I saw it.

1040
00:57:17,200 --> 00:57:20,080
Speaker 3: It was the last film I saw, essentially under the Wire,

1041
00:57:20,080 --> 00:57:26,200
Speaker 3: and it's great. She's you know, it's also a film

1042
00:57:26,240 --> 00:57:30,560
Speaker 3: that feels like it really gets not just the you know,

1043
00:57:30,760 --> 00:57:33,520
Speaker 3: on a low budget exactly the right look in a

1044
00:57:33,560 --> 00:57:37,120
Speaker 3: certain sparing way about like recreating that period, but it

1045
00:57:37,160 --> 00:57:40,640
Speaker 3: sort of just gets we don't have to be shown

1046
00:57:40,760 --> 00:57:44,960
Speaker 3: much of this character's life to kind of know exactly

1047
00:57:45,480 --> 00:57:48,240
Speaker 3: what isn't is not happening in that life and in

1048
00:57:48,280 --> 00:57:51,280
Speaker 3: that marriage. I mean he's doing is you know, dutiful

1049
00:57:51,520 --> 00:57:55,240
Speaker 3: maybe eleven percent out of the eighty nine percent. You know,

1050
00:57:55,560 --> 00:57:58,440
Speaker 3: it's the character played by Alana Hym. It's not a

1051
00:57:58,440 --> 00:58:01,080
Speaker 3: big part, but she's very good. It's just sort of

1052
00:58:01,120 --> 00:58:04,560
Speaker 3: that a woman who's clearly maybe like had a gabble

1053
00:58:04,640 --> 00:58:07,000
Speaker 3: or just sort of caught in not not much of

1054
00:58:07,440 --> 00:58:09,160
Speaker 3: a life and not much of a marriage and just

1055
00:58:09,240 --> 00:58:12,720
Speaker 3: kind of basically doing seventy nine percent of the work.

1056
00:58:12,920 --> 00:58:17,280
Speaker 3: And you know, there's a dim sense that this kind

1057
00:58:17,320 --> 00:58:19,800
Speaker 3: of character, you know, he sees a little bit of

1058
00:58:19,800 --> 00:58:22,479
Speaker 3: the Vietnam War on TV if he looks up long enough,

1059
00:58:22,600 --> 00:58:24,920
Speaker 3: you know, from whatever, he's playing chess with the sun

1060
00:58:25,080 --> 00:58:29,680
Speaker 3: or something. It's a great portrait in kind of comic

1061
00:58:30,120 --> 00:58:34,120
Speaker 3: self satisfaction, you know, you know, and just basically Okay,

1062
00:58:34,240 --> 00:58:36,600
Speaker 3: I'll try being a criminal, so let's see how that goes.

1063
00:58:36,600 --> 00:58:40,600
Speaker 3: And yeah, she's the best, you know, I mean every year,

1064
00:58:40,840 --> 00:58:44,160
Speaker 3: like whatever she's made, you know, pretty much there it is.

1065
00:58:44,200 --> 00:58:46,080
Speaker 3: It's like for you, it's like link letter for you

1066
00:58:46,240 --> 00:58:48,440
Speaker 3: at him, I guess, and for me too most years.

1067
00:58:48,480 --> 00:58:50,560
Speaker 3: But yeah, it's a great it's it's a really good

1068
00:58:50,560 --> 00:58:52,680
Speaker 3: little film. I mean, it's better than that, because it's

1069
00:58:52,680 --> 00:58:55,680
Speaker 3: like I shouldn't say little because it sounds minor. It's

1070
00:58:55,920 --> 00:58:58,400
Speaker 3: it's a major Kelly Ryker film. It's probably one of

1071
00:58:58,440 --> 00:58:59,880
Speaker 3: the best two or three films she's made.

1072
00:59:00,160 --> 00:59:03,760
Speaker 1: Yeah, they all feel modest somehow, just because of almost

1073
00:59:03,800 --> 00:59:07,200
Speaker 1: because they're so quiet in their own way, and yet

1074
00:59:07,240 --> 00:59:09,720
Speaker 1: they are they are bigger than that. And I agree

1075
00:59:09,840 --> 00:59:12,400
Speaker 1: they feel like we should give them more credit, maybe

1076
00:59:12,800 --> 00:59:16,040
Speaker 1: than that. I agree with everything all of you are saying,

1077
00:59:16,160 --> 00:59:18,720
Speaker 1: including how great the score is, and I think we

1078
00:59:18,760 --> 00:59:21,240
Speaker 1: all read the character similarly. The one area where I

1079
00:59:21,280 --> 00:59:25,440
Speaker 1: do disagree, and unfortunately we can't get into it because

1080
00:59:25,480 --> 00:59:28,760
Speaker 1: then we would spoil it for people, is I understand

1081
00:59:28,840 --> 00:59:32,040
Speaker 1: the read of the ending I still don't like the

1082
00:59:32,080 --> 00:59:35,920
Speaker 1: execution of the ending. I'm out on the ending completely

1083
00:59:36,760 --> 00:59:40,040
Speaker 1: with this film. I am still fascinated by this movie

1084
00:59:40,080 --> 00:59:43,200
Speaker 1: and the character, especially what you said about Reiker and

1085
00:59:43,880 --> 00:59:48,240
Speaker 1: the interpretation of her films that she provided to you,

1086
00:59:48,360 --> 00:59:52,880
Speaker 1: because that does make sense, this tension you can see

1087
00:59:52,960 --> 00:59:59,000
Speaker 1: with all of her characters between individuality and community and

1088
00:59:59,160 --> 01:00:01,880
Speaker 1: even think think about something like Showing Up, and especially

1089
01:00:01,880 --> 01:00:05,600
Speaker 1: with artists where I don't want to paint no pun

1090
01:00:05,640 --> 01:00:08,440
Speaker 1: intended with too much of a broad brush, but artists

1091
01:00:08,480 --> 01:00:14,760
Speaker 1: by nature may even have to be somewhat solipsistic creatures.

1092
01:00:14,920 --> 01:00:15,120
Speaker 2: Right.

1093
01:00:15,240 --> 01:00:16,640
Speaker 1: You have to be in your own head and you

1094
01:00:16,680 --> 01:00:19,640
Speaker 1: have to you have to try to get your obsessions

1095
01:00:19,680 --> 01:00:23,920
Speaker 1: out through whatever art form that you engage in. But

1096
01:00:24,040 --> 01:00:26,680
Speaker 1: then you are also part of I think this is

1097
01:00:26,680 --> 01:00:28,600
Speaker 1: what that movie is largely about. You are also part

1098
01:00:28,680 --> 01:00:31,880
Speaker 1: of inherently a community, the art community, and you also

1099
01:00:31,920 --> 01:00:34,880
Speaker 1: have family and other obligations and messiness that you have

1100
01:00:34,960 --> 01:00:37,760
Speaker 1: to deal with, right, And so that is the core

1101
01:00:37,840 --> 01:00:42,040
Speaker 1: tension of a film like Showing Up. And a character

1102
01:00:42,160 --> 01:00:48,120
Speaker 1: like JB. Mooney in this film, in the Mastermind, is

1103
01:00:48,280 --> 01:00:51,120
Speaker 1: part of a community in the sense that he has

1104
01:00:52,160 --> 01:00:55,200
Speaker 1: his parents and then also his family, but he otherwise

1105
01:00:55,240 --> 01:01:00,360
Speaker 1: seems completely disinterested in having any connection to anyone else.

1106
01:01:00,680 --> 01:01:04,560
Speaker 1: He seems he seems only interested in being an individual

1107
01:01:05,160 --> 01:01:08,880
Speaker 1: outside of and completely disconnected from society and only otherwise

1108
01:01:09,040 --> 01:01:12,320
Speaker 1: using people, and that that is interesting in terms of

1109
01:01:12,360 --> 01:01:14,720
Speaker 1: seeing him as a character within the larger framework of

1110
01:01:14,760 --> 01:01:15,720
Speaker 1: Reikers films.

1111
01:01:16,000 --> 01:01:18,800
Speaker 3: Yeah, she's also got kind of a great, maybe not

1112
01:01:18,960 --> 01:01:23,280
Speaker 3: so casual interest in uh in kind of a low

1113
01:01:23,400 --> 01:01:26,880
Speaker 3: medium level of criminality. I mean at first Cow I'm

1114
01:01:26,880 --> 01:01:29,120
Speaker 3: thinking of, which is a film I love, and just

1115
01:01:29,120 --> 01:01:31,760
Speaker 3: the kind of the thievery involved with that that you know,

1116
01:01:31,920 --> 01:01:35,480
Speaker 3: was driven by you know, a lot of different things,

1117
01:01:35,720 --> 01:01:39,360
Speaker 3: but it's it's a different which actually makes a great pairing,

1118
01:01:39,480 --> 01:01:41,600
Speaker 3: by the way, with Train Dreams, I think first Come,

1119
01:01:42,000 --> 01:01:45,160
Speaker 3: just because I love that. Yeah, that's sort of itinerant

1120
01:01:45,560 --> 01:01:48,720
Speaker 3: you know, community workplace, but it's kind of a little toxic,

1121
01:01:48,800 --> 01:01:51,200
Speaker 3: a little a little you know, a little hostile, a

1122
01:01:51,240 --> 01:01:55,200
Speaker 3: little a little isolating too. But anyway, yeah, you know,

1123
01:01:55,240 --> 01:01:57,320
Speaker 3: I I kind of what was your first year at

1124
01:01:57,360 --> 01:01:59,720
Speaker 3: kenn Allison when we met?

1125
01:01:59,760 --> 01:01:59,800
Speaker 1: It?

1126
01:02:00,160 --> 01:02:01,920
Speaker 3: Like, I don't remember, oh.

1127
01:02:01,840 --> 01:02:05,000
Speaker 5: Something, yeah, no, it must I think it was the

1128
01:02:05,080 --> 01:02:07,920
Speaker 5: year my Blueberry Nights year maybe.

1129
01:02:08,000 --> 01:02:11,720
Speaker 3: Okay, I'm thinking of the year Wendy and Lucy Reikertz

1130
01:02:11,760 --> 01:02:15,840
Speaker 3: film Open to Camera. It's maybe six oh seven. Yeah,

1131
01:02:15,880 --> 01:02:18,560
Speaker 3: and that was I saw it. Oh wait, okay, I

1132
01:02:18,600 --> 01:02:21,480
Speaker 3: saw that fifth film of the day probably I'll let

1133
01:02:21,480 --> 01:02:25,760
Speaker 3: ten thirty repeat screening that night, and I couldn't quite

1134
01:02:25,760 --> 01:02:28,040
Speaker 3: get the hang of it and came away just sort

1135
01:02:28,080 --> 01:02:30,840
Speaker 3: of like, well, we'll see. And I was so wrong.

1136
01:02:31,560 --> 01:02:33,640
Speaker 3: You know. That was one of the times where I

1137
01:02:33,680 --> 01:02:36,320
Speaker 3: saw it on like a reasonable amount of sleep. Back

1138
01:02:36,680 --> 01:02:38,720
Speaker 3: whatever six months later when it was in theaters, it

1139
01:02:38,720 --> 01:02:41,360
Speaker 3: was like, Huh, missed the whole goddamn thing, you know,

1140
01:02:41,560 --> 01:02:45,040
Speaker 3: I missed the entire strategy and the payoff and the

1141
01:02:45,280 --> 01:02:48,400
Speaker 3: and this amazing, really delicate sort of handling of the

1142
01:02:48,520 --> 01:02:55,680
Speaker 3: lead performer Michelle Williams. Uh, you know, and uh, it's uh.

1143
01:02:55,840 --> 01:02:59,320
Speaker 3: Sometimes some filmmakers just work, you know, you have to.

1144
01:02:59,360 --> 01:02:59,640
Speaker 2: You have to.

1145
01:03:00,000 --> 01:03:01,920
Speaker 3: I have to listen a little harder for the motor,

1146
01:03:02,200 --> 01:03:04,640
Speaker 3: for the narrative, and maybe it won't be enough for you.

1147
01:03:04,720 --> 01:03:07,600
Speaker 3: But often it's just a matter of listening a little

1148
01:03:07,720 --> 01:03:12,120
Speaker 3: and appreciating what you have. In the meantime, If story

1149
01:03:12,160 --> 01:03:16,440
Speaker 3: propulsion isn't necessarily on the film's mind. She said, just

1150
01:03:16,440 --> 01:03:18,800
Speaker 3: a great she's a very patient filmmaker, but I just

1151
01:03:18,840 --> 01:03:21,240
Speaker 3: found the rewards coming almost every scene she ever served

1152
01:03:21,280 --> 01:03:22,600
Speaker 3: direction the yeah all the.

1153
01:03:22,600 --> 01:03:27,240
Speaker 1: Way Mastermind currently streaming on movie and available vod So

1154
01:03:27,320 --> 01:03:30,440
Speaker 1: I said, I was going to disrupt things a little bit,

1155
01:03:30,520 --> 01:03:33,800
Speaker 1: as we're finally getting to the consensus choices the movies

1156
01:03:34,680 --> 01:03:37,480
Speaker 1: that made at least three lists and one that is

1157
01:03:37,520 --> 01:03:40,080
Speaker 1: going to make all four. And it's a case where

1158
01:03:40,600 --> 01:03:44,920
Speaker 1: there are two titles that only made my list that

1159
01:03:45,080 --> 01:03:48,720
Speaker 1: as producer Sam and I were talking about the structure

1160
01:03:48,720 --> 01:03:52,280
Speaker 1: of this show, it just felt like they didn't quite

1161
01:03:52,440 --> 01:03:55,920
Speaker 1: belong in the batch of other outliers. They seemed like

1162
01:03:56,040 --> 01:04:02,360
Speaker 1: movies that most people listening probably thought would be among

1163
01:04:02,760 --> 01:04:06,680
Speaker 1: the consensus titles of the films of the year. They're movies,

1164
01:04:06,720 --> 01:04:10,240
Speaker 1: in fact, that have already been mentioned by to prove

1165
01:04:10,280 --> 01:04:15,120
Speaker 1: this point, by our voicemailers and by our listeners when

1166
01:04:15,160 --> 01:04:18,959
Speaker 1: we were sharing our feedback for the films of the year.

1167
01:04:19,200 --> 01:04:23,640
Speaker 1: So first up, I'm going to mention a film that

1168
01:04:23,760 --> 01:04:27,360
Speaker 1: somehow is only on my list as the number seven

1169
01:04:28,120 --> 01:04:30,680
Speaker 1: film of the year. And I'm not putting you guys

1170
01:04:30,720 --> 01:04:32,800
Speaker 1: on the spot or anything, but maybe the three of

1171
01:04:32,840 --> 01:04:36,640
Speaker 1: you can explain why it didn't quite measure up for

1172
01:04:36,680 --> 01:04:40,920
Speaker 1: you to at least be top ten worthy. And I

1173
01:04:40,920 --> 01:04:43,120
Speaker 1: am going to maybe I'm going to go ahead and

1174
01:04:43,200 --> 01:04:46,520
Speaker 1: let Yeah, I'll go ahead and let the great Aisha

1175
01:04:46,600 --> 01:04:50,880
Speaker 1: Harris do the honors and tell us why this movie

1176
01:04:50,920 --> 01:04:52,720
Speaker 1: is her number one of the year.

1177
01:04:53,120 --> 01:04:55,920
Speaker 4: Hey, film spotting, it's Aisha Harris, co host of Vampire's

1178
01:04:55,920 --> 01:05:00,200
Speaker 4: Pop Culture Happier and author of Wanna Be My Favorite Movie?

1179
01:05:00,240 --> 01:05:04,000
Speaker 4: Or twenty twenty five? Has to be hands down, no doubt, Sinners.

1180
01:05:04,680 --> 01:05:08,160
Speaker 4: It is a movie that owed me, that made me

1181
01:05:08,200 --> 01:05:10,720
Speaker 4: want to go back and instantly watch it again. And

1182
01:05:10,760 --> 01:05:13,840
Speaker 4: in fact, I wound up seeing this movie three times

1183
01:05:13,880 --> 01:05:17,160
Speaker 4: in the theaters in something like a nine day span,

1184
01:05:17,400 --> 01:05:20,960
Speaker 4: which is a record for me. I think Ryan Coogler

1185
01:05:21,200 --> 01:05:24,200
Speaker 4: really proved that he has what it takes to be

1186
01:05:24,280 --> 01:05:27,280
Speaker 4: one of our great directors for the long run. And

1187
01:05:27,320 --> 01:05:30,040
Speaker 4: he's also one of the only no he's the only

1188
01:05:30,560 --> 01:05:33,560
Speaker 4: director so far who knows what to do with Michael B.

1189
01:05:33,640 --> 01:05:36,480
Speaker 4: Jordan and how to make him a star, and having

1190
01:05:36,560 --> 01:05:39,440
Speaker 4: two Michael B. Jordan's here in this movie proves that

1191
01:05:39,520 --> 01:05:43,400
Speaker 4: he is a star. He makes those characters so distinct

1192
01:05:43,600 --> 01:05:43,959
Speaker 4: and on.

1193
01:05:43,880 --> 01:05:46,200
Speaker 5: Top of that, he just have a really stacked.

1194
01:05:45,920 --> 01:05:50,560
Speaker 4: Cast, including Hailey Steinfeld, Miles Katon, Wound Me Masaku, the

1195
01:05:50,600 --> 01:05:53,840
Speaker 4: incomparable del Roy Lindo, and then everything from the costumes

1196
01:05:53,840 --> 01:05:57,120
Speaker 4: of the music to the designs the staging. It's just

1197
01:05:57,160 --> 01:05:59,240
Speaker 4: one of those movies that I think is really really

1198
01:05:59,280 --> 01:06:01,480
Speaker 4: going to stand the time of time. And it may

1199
01:06:01,480 --> 01:06:04,880
Speaker 4: not be the most perfect movie of twenty twenty five,

1200
01:06:05,440 --> 01:06:08,640
Speaker 4: but to me, it is the one that has the

1201
01:06:08,680 --> 01:06:11,880
Speaker 4: most ambition, that takes the biggest swings with the most

1202
01:06:11,920 --> 01:06:16,680
Speaker 4: amount of resources, and overall just produces this really astounding

1203
01:06:16,760 --> 01:06:20,320
Speaker 4: work that feels both fresh and familiar in the best

1204
01:06:20,320 --> 01:06:24,720
Speaker 4: ways possible. So that's it centers my favorite of this year,

1205
01:06:25,560 --> 01:06:28,960
Speaker 4: and here's to another year of film spotting. I'm so

1206
01:06:29,040 --> 01:06:31,360
Speaker 4: glad you guys exist, thank you for all that you do,

1207
01:06:31,800 --> 01:06:32,960
Speaker 4: and happy New Year.

1208
01:06:33,640 --> 01:06:37,040
Speaker 1: Great as always to hear from Aisha, and as usual,

1209
01:06:37,160 --> 01:06:40,920
Speaker 1: she pretty much nailed it, I think. But to recap,

1210
01:06:41,280 --> 01:06:45,480
Speaker 1: Ryan Coogler proved he could be one of our great directors.

1211
01:06:45,960 --> 01:06:48,800
Speaker 1: Michael B. Jordan is certainly a star in this film

1212
01:06:48,880 --> 01:06:52,680
Speaker 1: in a dual role. All of those ensemble players she mentioned,

1213
01:06:53,160 --> 01:06:56,080
Speaker 1: and maybe even if she didn't are among the best

1214
01:06:56,120 --> 01:06:59,840
Speaker 1: supporting performances of the year. All of the production elements,

1215
01:06:59,880 --> 01:07:05,920
Speaker 1: including score, are excellent and fortunately, going back to a

1216
01:07:06,040 --> 01:07:08,200
Speaker 1: term she used, fortunately, as I always say, it doesn't

1217
01:07:08,200 --> 01:07:11,200
Speaker 1: matter if art is perfect or not. I think most

1218
01:07:11,240 --> 01:07:13,280
Speaker 1: of the action in the Juke Joint when all hell

1219
01:07:13,360 --> 01:07:18,280
Speaker 1: breaks loose is not very satisfying. But Ayesha is right.

1220
01:07:18,600 --> 01:07:20,960
Speaker 1: It's one of the most ambitious films of the year,

1221
01:07:21,200 --> 01:07:23,600
Speaker 1: and I love I love her phrasing that it feels

1222
01:07:23,600 --> 01:07:28,240
Speaker 1: both fresh and familiar in the best ways possible. And

1223
01:07:28,720 --> 01:07:31,520
Speaker 1: even with all that ambition and the scale that Coogler

1224
01:07:31,600 --> 01:07:35,440
Speaker 1: is working on, it is so clearly a deeply personal film.

1225
01:07:35,760 --> 01:07:39,120
Speaker 1: With all of his influences and experiences, they all seem

1226
01:07:39,200 --> 01:07:44,880
Speaker 1: to just coalesce in this blood soaked, genre blending vampire movie.

1227
01:07:45,080 --> 01:07:48,640
Speaker 1: And like Delroy Lindo's character says about the Blues, he says,

1228
01:07:48,680 --> 01:07:52,400
Speaker 1: it's magic what we do. It's sacred and big.

1229
01:07:52,520 --> 01:08:01,880
Speaker 2: Soup fun intact to lose fust on us like that redigen.

1230
01:08:02,560 --> 01:08:05,600
Speaker 2: Oh so he brought this with us, mole.

1231
01:08:06,920 --> 01:08:08,120
Speaker 5: And magic, who we do?

1232
01:08:09,040 --> 01:08:13,840
Speaker 2: It's sacred, he big, And.

1233
01:08:13,880 --> 01:08:18,000
Speaker 1: I think there are moments of revelation where Coogler clearly

1234
01:08:18,080 --> 01:08:22,400
Speaker 1: pulls off some magic in Sinners, and it's big. I

1235
01:08:22,479 --> 01:08:24,360
Speaker 1: probably don't have to unpack how it fits within my

1236
01:08:24,439 --> 01:08:28,320
Speaker 1: twenty twenty five framework. It's nineteen thirty two when it's set.

1237
01:08:28,400 --> 01:08:31,000
Speaker 1: You have brothers trying to establish a new life after

1238
01:08:31,120 --> 01:08:34,120
Speaker 1: experiencing the horrors of World War One. You've got Smoke

1239
01:08:34,200 --> 01:08:36,719
Speaker 1: trying to move past the traumatic death of his infant daughter,

1240
01:08:37,280 --> 01:08:39,960
Speaker 1: Preacher boys struggling with whether to accept the tradition of

1241
01:08:40,000 --> 01:08:43,080
Speaker 1: his father or carve his own path. I suppose being

1242
01:08:43,200 --> 01:08:45,960
Speaker 1: bitten by a vampire and being turned into an immortal

1243
01:08:46,040 --> 01:08:48,720
Speaker 1: creature of the night might be a bit traumatic too

1244
01:08:48,880 --> 01:08:54,040
Speaker 1: for some of these characters to deal with. And Lindo's

1245
01:08:54,080 --> 01:08:57,040
Speaker 1: line about the blues that I mentioned comes during a

1246
01:08:57,120 --> 01:08:59,920
Speaker 1: musical scene one of the scenes of the year where

1247
01:09:00,840 --> 01:09:06,879
Speaker 1: Coogler transports us literally across time, takes us across decades.

1248
01:09:07,280 --> 01:09:10,120
Speaker 1: So for all of those reasons, and for all the

1249
01:09:10,200 --> 01:09:13,160
Speaker 1: reasons that have already been mentioned on this show, Sinners

1250
01:09:13,600 --> 01:09:17,360
Speaker 1: is a film one of the key crucial films of

1251
01:09:17,400 --> 01:09:20,080
Speaker 1: twenty twenty five, and I felt like it had to

1252
01:09:20,160 --> 01:09:24,160
Speaker 1: be recognized as one of the key achievements of the year.

1253
01:09:24,240 --> 01:09:26,599
Speaker 1: But I also just loved it that much. I loved

1254
01:09:26,680 --> 01:09:28,880
Speaker 1: the experience of watching it that much in the theater,

1255
01:09:29,000 --> 01:09:30,880
Speaker 1: and that's why it's number seven on my list.

1256
01:09:31,280 --> 01:09:34,599
Speaker 2: Yeah, another great theatrical experience. I'm willing to contradict you, Adam,

1257
01:09:34,640 --> 01:09:36,800
Speaker 2: but not Naisha, So I'm not going to get into

1258
01:09:36,840 --> 01:09:40,080
Speaker 2: any thanks quibbles I might have had. It's an eleven

1259
01:09:40,120 --> 01:09:42,080
Speaker 2: through twenty. I mean, it's a great movie year, So

1260
01:09:42,840 --> 01:09:46,040
Speaker 2: that's sometimes things fall out this way, I figured.

1261
01:09:46,360 --> 01:09:48,960
Speaker 5: I mean, I don't know. I'm really mixed on Sinners.

1262
01:09:49,080 --> 01:09:52,320
Speaker 5: I think it's incredibly ambitious. I think it's obviously, like

1263
01:09:52,520 --> 01:09:56,600
Speaker 5: very loaded with all of these ideas, both like thematically

1264
01:09:56,920 --> 01:09:59,600
Speaker 5: and in terms of just like genre, in terms of

1265
01:10:00,280 --> 01:10:02,240
Speaker 5: the enormous amount of elements that go into this movie.

1266
01:10:02,280 --> 01:10:03,920
Speaker 5: But I think it's also really messy because of that,

1267
01:10:04,040 --> 01:10:05,840
Speaker 5: and not always messy in a way that I'm just like,

1268
01:10:06,439 --> 01:10:08,760
Speaker 5: like I love. I think it's messy sometimes. I think

1269
01:10:08,800 --> 01:10:11,920
Speaker 5: even in its central kind of like metaphor, I think

1270
01:10:11,920 --> 01:10:14,040
Speaker 5: it's very mixed in part because I feel like Coogler

1271
01:10:14,040 --> 01:10:17,040
Speaker 5: are still wrestling with it with regards to, you know,

1272
01:10:17,200 --> 01:10:20,880
Speaker 5: the idea of the ways in which the vampires. I

1273
01:10:20,920 --> 01:10:25,480
Speaker 5: would say like vampiism represents a kind of like industry

1274
01:10:27,560 --> 01:10:31,360
Speaker 5: co option, right, and and you know, and I think

1275
01:10:31,520 --> 01:10:33,320
Speaker 5: I like the fact that it feels like he is

1276
01:10:33,320 --> 01:10:34,600
Speaker 5: still kind of wrestling with that, but I think it

1277
01:10:34,680 --> 01:10:38,200
Speaker 5: comes through very messily in the movie. And yeah, I

1278
01:10:38,280 --> 01:10:40,919
Speaker 5: mean I think like, I think it's like it's so vibrant,

1279
01:10:41,080 --> 01:10:44,679
Speaker 5: it's I love the twin Michael by Jordan's. I think

1280
01:10:44,800 --> 01:10:47,240
Speaker 5: it's like it's kind of vision of the past. Is

1281
01:10:47,439 --> 01:10:50,760
Speaker 5: does feel like very alive and vital. I think it's

1282
01:10:50,840 --> 01:10:54,080
Speaker 5: kind of silly sometimes, you know. I appreciate that it's

1283
01:10:54,080 --> 01:10:56,519
Speaker 5: willing to go places like it does, like it's very

1284
01:10:56,560 --> 01:10:58,800
Speaker 5: fearless about going into places that are a little kind

1285
01:10:58,840 --> 01:11:02,840
Speaker 5: of you know, corny or silly. But yeah, ultimately, I

1286
01:11:02,840 --> 01:11:04,880
Speaker 5: think where it loses me is the action. I think

1287
01:11:04,920 --> 01:11:08,560
Speaker 5: that once it gets into the actual storming of the

1288
01:11:08,720 --> 01:11:13,280
Speaker 5: jip joint, the action is not that interesting. And I

1289
01:11:13,360 --> 01:11:15,200
Speaker 5: think it kind of it just like it lost me

1290
01:11:15,280 --> 01:11:18,519
Speaker 5: there in ways that. Yeah, I think that there's.

1291
01:11:18,360 --> 01:11:21,160
Speaker 3: Something a little mislaid out about some of that, you

1292
01:11:21,240 --> 01:11:26,160
Speaker 3: know it. I mean, he's acknowledged the influence of Robert

1293
01:11:26,280 --> 01:11:29,320
Speaker 3: Roriguez's from Dust Till Dawn, which is, which is really

1294
01:11:29,439 --> 01:11:33,200
Speaker 3: kind of a low medium bar to hit. And even

1295
01:11:33,200 --> 01:11:35,320
Speaker 3: if you're going to make a very different type of movie,

1296
01:11:35,360 --> 01:11:39,360
Speaker 3: I think there are there are times both as director

1297
01:11:39,479 --> 01:11:41,599
Speaker 3: and I've I've kind of gotten something out of every

1298
01:11:41,680 --> 01:11:44,519
Speaker 3: single film he's made. I love most of it, and

1299
01:11:44,640 --> 01:11:48,280
Speaker 3: I really do love a lot of sinners. And to

1300
01:11:48,400 --> 01:11:52,439
Speaker 3: see it with an audience of mostly like students, is

1301
01:11:52,479 --> 01:11:55,200
Speaker 3: this third time I'd seen it, mainly just to kind

1302
01:11:55,240 --> 01:11:57,720
Speaker 3: of sort out why I did like some things and

1303
01:11:57,800 --> 01:12:00,439
Speaker 3: not others, frankly, but to see it with a like

1304
01:12:00,560 --> 01:12:03,280
Speaker 3: three hundred and fifty people have sold out, you know,

1305
01:12:03,400 --> 01:12:06,439
Speaker 3: student audience, and to hear the people talking about all

1306
01:12:06,479 --> 01:12:09,320
Speaker 3: the students talking about that one scene where we get

1307
01:12:09,400 --> 01:12:13,360
Speaker 3: this sort of like this vary for a lot of

1308
01:12:13,400 --> 01:12:15,800
Speaker 3: those young viewers the first time they'd seen a movie,

1309
01:12:15,960 --> 01:12:18,360
Speaker 3: just sort of like, Okay, we're now going to do

1310
01:12:18,479 --> 01:12:21,920
Speaker 3: a two minute visual essay on you know, on the

1311
01:12:22,040 --> 01:12:27,240
Speaker 3: on the cultural legacy of you know, not just blues musicians,

1312
01:12:27,280 --> 01:12:29,720
Speaker 3: but every kind of you know, just how culture gets

1313
01:12:30,160 --> 01:12:33,040
Speaker 3: sort of like passed along and beaten up and stolen

1314
01:12:33,120 --> 01:12:35,120
Speaker 3: and all that, and it's all in this one kind

1315
01:12:35,120 --> 01:12:40,840
Speaker 3: of great fantasy visualization. It's really to hear the people

1316
01:12:40,880 --> 01:12:43,960
Speaker 3: talking about that afterwards was a little life changing for

1317
01:12:44,120 --> 01:12:44,639
Speaker 3: most of them.

1318
01:12:45,000 --> 01:12:45,759
Speaker 2: And that was great.

1319
01:12:46,160 --> 01:12:50,280
Speaker 3: That was great, and I you know, I'm Delroy Lindo frankly,

1320
01:12:50,400 --> 01:12:53,439
Speaker 3: probably the best supporting performance that hasn't been talked about

1321
01:12:53,560 --> 01:12:57,439
Speaker 3: enough all year. But it missed my top ten, you know,

1322
01:12:57,640 --> 01:12:59,760
Speaker 3: I think for some of your reasons, Alison, I'm not

1323
01:13:00,240 --> 01:13:04,760
Speaker 3: really sure if it all feels, you know, but people

1324
01:13:04,760 --> 01:13:06,479
Speaker 3: are going to say the same stuff and have been

1325
01:13:06,520 --> 01:13:09,160
Speaker 3: saying the same stuff about my number one pick this year,

1326
01:13:09,280 --> 01:13:13,080
Speaker 3: so you know, I mean, all hail the messy au tour,

1327
01:13:13,320 --> 01:13:14,920
Speaker 3: you know, is what is kind of the lesson I

1328
01:13:15,000 --> 01:13:18,160
Speaker 3: get really from that. And we would not have gotten

1329
01:13:18,520 --> 01:13:21,920
Speaker 3: that scene in the juke joint that we're talking about

1330
01:13:22,200 --> 01:13:25,479
Speaker 3: right now, that that that fantasy leave that that never

1331
01:13:25,560 --> 01:13:29,559
Speaker 3: would have been approved by the producing studio, the producer,

1332
01:13:30,000 --> 01:13:33,800
Speaker 3: unless Ryan Coogler had final cut. It wouldn't happen because

1333
01:13:33,800 --> 01:13:35,439
Speaker 3: it's exactly the first thing that would have gone because

1334
01:13:35,439 --> 01:13:38,320
Speaker 3: it's like too expensive, not on it's not on story,

1335
01:13:38,800 --> 01:13:41,639
Speaker 3: it's not on ploid. Get rid of it. But that's

1336
01:13:41,800 --> 01:13:44,040
Speaker 3: what it's the scene they're gonna never forget.

1337
01:13:44,240 --> 01:13:46,240
Speaker 2: Yeah, Yeah, it's that's the stuff you go to the

1338
01:13:46,320 --> 01:13:50,120
Speaker 2: movies for, which is you know, I am so high incentives.

1339
01:13:50,160 --> 01:13:52,320
Speaker 2: But els in your comments are clarifying to me when

1340
01:13:52,360 --> 01:13:56,799
Speaker 2: I think about, you know, as you're discussing the thematic messiness,

1341
01:13:57,360 --> 01:14:00,519
Speaker 2: and I'm thinking about something like Weapons, which we discussed,

1342
01:14:00,560 --> 01:14:04,560
Speaker 2: and how it opens itself up to so many readings,

1343
01:14:05,320 --> 01:14:08,600
Speaker 2: yet somehow doesn't force any of them, and none of

1344
01:14:08,640 --> 01:14:11,360
Speaker 2: them really contradict the others or trip any of the

1345
01:14:11,439 --> 01:14:14,560
Speaker 2: others up. And I think that's the sort of clarity.

1346
01:14:15,000 --> 01:14:18,040
Speaker 2: I don't know how a filmmaker exactly manages that, if

1347
01:14:18,080 --> 01:14:20,280
Speaker 2: it's something that the script writing stage, or if it's

1348
01:14:20,320 --> 01:14:23,679
Speaker 2: in as far down the line as the editing perhaps,

1349
01:14:23,840 --> 01:14:27,800
Speaker 2: but it is an area where Sinners gets a bit

1350
01:14:27,920 --> 01:14:32,040
Speaker 2: tripped up, is in juggling all the things thematically it

1351
01:14:32,160 --> 01:14:37,280
Speaker 2: could suggest and what it explicitly wants to suggest. Again,

1352
01:14:37,880 --> 01:14:39,760
Speaker 2: not a fatal flaw for me at all in my

1353
01:14:39,880 --> 01:14:42,280
Speaker 2: eleven to twenty, but I think, as I'm thinking of

1354
01:14:42,400 --> 01:14:45,840
Speaker 2: these movies together, is maybe why one rises a bit

1355
01:14:45,880 --> 01:14:46,559
Speaker 2: higher than the other.

1356
01:14:47,479 --> 01:14:49,560
Speaker 1: Yeah, And for me, when we talked about it, I

1357
01:14:49,800 --> 01:14:52,519
Speaker 1: was able to hone in on one or two themes

1358
01:14:52,720 --> 01:14:55,920
Speaker 1: that for me emerged as the most interesting, and I

1359
01:14:56,000 --> 01:14:58,639
Speaker 1: thought there was a real clarity there and a lot

1360
01:14:58,880 --> 01:15:01,800
Speaker 1: not just on the surface, subtextually as well that allows

1361
01:15:01,840 --> 01:15:04,080
Speaker 1: you to really wrestle with it after the movie. The

1362
01:15:04,240 --> 01:15:06,840
Speaker 1: messiness for me was all in the visual filmmaking when

1363
01:15:06,880 --> 01:15:09,360
Speaker 1: it came to the action, and that was the point

1364
01:15:09,439 --> 01:15:12,479
Speaker 1: that started to lose me with the film, but not

1365
01:15:12,720 --> 01:15:17,040
Speaker 1: enough to override what was otherwise so great about Sinner.

1366
01:15:17,120 --> 01:15:20,960
Speaker 1: So let's get back to movies that there's real agreement

1367
01:15:21,040 --> 01:15:24,560
Speaker 1: on in terms of making three lists. And this is

1368
01:15:24,600 --> 01:15:27,760
Speaker 1: one that I have at number eight on my list,

1369
01:15:27,840 --> 01:15:31,280
Speaker 1: but Alison, you've got higher at number four. Michael Phillips,

1370
01:15:31,520 --> 01:15:35,080
Speaker 1: you have Hire at number four. And this is a

1371
01:15:35,200 --> 01:15:40,719
Speaker 1: movie that is set in seventies Brazil. It stars Wagner

1372
01:15:40,800 --> 01:15:45,040
Speaker 1: Mora as a tech specialist. He's a professor, he's an

1373
01:15:45,160 --> 01:15:48,840
Speaker 1: educator who's fleeing a mysterious past. And it is The

1374
01:15:48,960 --> 01:15:51,320
Speaker 1: Secret Agent. Tell us about why you love this film.

1375
01:15:51,760 --> 01:15:55,519
Speaker 3: Yeah, The Secret Agent is clever. Mendosa Philiu's story set

1376
01:15:55,520 --> 01:15:58,720
Speaker 3: in nineteen seventy seven Brazil. As you mentioned, Adam, it's

1377
01:15:58,760 --> 01:16:02,560
Speaker 3: about running a far all of a military dictatorship in

1378
01:16:02,720 --> 01:16:07,800
Speaker 3: Brazil and then watching this character that Mora plays kind

1379
01:16:07,840 --> 01:16:11,640
Speaker 3: of essentially forego his marriage and risk his relationship with

1380
01:16:11,680 --> 01:16:14,000
Speaker 3: his son to hide out, become someone else, and live

1381
01:16:14,080 --> 01:16:17,680
Speaker 3: the undercover life that the title suggests. And what I

1382
01:16:17,760 --> 01:16:20,720
Speaker 3: really like about this film is kind of, frankly, a

1383
01:16:20,800 --> 01:16:23,960
Speaker 3: lot of in a very different way, a little of

1384
01:16:24,080 --> 01:16:27,759
Speaker 3: the narrative messiness that we've just talked about with Sinners

1385
01:16:27,800 --> 01:16:31,200
Speaker 3: and some other films. It's another way of saying this film,

1386
01:16:31,240 --> 01:16:34,639
Speaker 3: The secretas is very different from another very good film

1387
01:16:34,680 --> 01:16:38,519
Speaker 3: set in the same decade, same country, political circumstances, Walter

1388
01:16:38,680 --> 01:16:43,200
Speaker 3: Sallas's I'm Still Here from last year, and that, like

1389
01:16:43,560 --> 01:16:46,679
Speaker 3: Secret Asian covers many years in the life of one

1390
01:16:46,800 --> 01:16:50,240
Speaker 3: family story that one in a much more straightforward fashion.

1391
01:16:51,120 --> 01:16:53,920
Speaker 3: The Secret Agent, I think, is very clever in the

1392
01:16:53,960 --> 01:16:57,280
Speaker 3: way it doesn't orient you specifically as to the key

1393
01:16:57,439 --> 01:17:02,080
Speaker 3: character's actual full circumstance is until the second hour. But

1394
01:17:02,160 --> 01:17:06,920
Speaker 3: the confusion, to me isn't frustrating, it's it's it's dramatized

1395
01:17:07,560 --> 01:17:11,519
Speaker 3: because you're just sort of with this situation and this

1396
01:17:11,680 --> 01:17:15,800
Speaker 3: character through all the evasions and half lies, he has

1397
01:17:15,880 --> 01:17:19,360
Speaker 3: to kind of perpetuate the paranoia. The day to day

1398
01:17:19,400 --> 01:17:22,160
Speaker 3: interactions of the scientists, and and then it sort of

1399
01:17:22,240 --> 01:17:24,720
Speaker 3: turns into this rattling you know, the last half hour

1400
01:17:24,760 --> 01:17:28,160
Speaker 3: pays off in a very kind of like rattling suspense sequence.

1401
01:17:28,240 --> 01:17:31,560
Speaker 3: It's uh uh you know that has an ending that

1402
01:17:32,000 --> 01:17:34,880
Speaker 3: you don't really see coming and expect. But uh, I

1403
01:17:35,320 --> 01:17:37,320
Speaker 3: I I'm a big fan of this film. It's it's

1404
01:17:37,439 --> 01:17:41,200
Speaker 3: really I think it's it's you know, this is definitely

1405
01:17:41,320 --> 01:17:45,479
Speaker 3: the time. As Richard Brody said in his New Yorker

1406
01:17:45,640 --> 01:17:47,320
Speaker 3: sort of wrapped for the year, you just said, this

1407
01:17:47,400 --> 01:17:49,880
Speaker 3: is the best films this year were really about power

1408
01:17:50,520 --> 01:17:54,320
Speaker 3: and you know, who has it? And what do you

1409
01:17:54,400 --> 01:17:57,560
Speaker 3: do when it gets ugly? You know, what, how do

1410
01:17:57,680 --> 01:18:00,360
Speaker 3: we how do we conduct our lives in a way

1411
01:18:00,400 --> 01:18:03,200
Speaker 3: that we can live with ourselves? And and that's that's

1412
01:18:03,240 --> 01:18:05,800
Speaker 3: a little what you get here. It was a huge

1413
01:18:05,880 --> 01:18:08,519
Speaker 3: hit in Brazil, by the way, bigger than Wicked, which

1414
01:18:08,600 --> 01:18:12,840
Speaker 3: is great. So yeah, I know, I'm I'm. I was

1415
01:18:13,040 --> 01:18:15,400
Speaker 3: very happy to see couldn't see couldn't see the narrative

1416
01:18:15,439 --> 01:18:18,080
Speaker 3: beats coming. That's and that that I really appreciate. That's

1417
01:18:18,120 --> 01:18:19,280
Speaker 3: the more movies I see.

1418
01:18:20,000 --> 01:18:23,880
Speaker 5: Yeah, you know, I was talking to someone before Q

1419
01:18:24,040 --> 01:18:26,800
Speaker 5: and a producer who had said he was really looking

1420
01:18:26,800 --> 01:18:28,240
Speaker 5: forward to this movie. But I was also like, this

1421
01:18:28,360 --> 01:18:31,479
Speaker 5: looks like the most conventional movie that Felio has done

1422
01:18:31,560 --> 01:18:33,760
Speaker 5: so far, and I was like, oh, it's not like

1423
01:18:34,640 --> 01:18:37,320
Speaker 5: I think maybe the trailer had emphasized what happens like

1424
01:18:37,360 --> 01:18:38,880
Speaker 5: towards the end where there is a bit of like

1425
01:18:38,960 --> 01:18:41,120
Speaker 5: a kind of showdown.

1426
01:18:41,000 --> 01:18:41,439
Speaker 1: But it is.

1427
01:18:41,640 --> 01:18:45,360
Speaker 5: It has the basic contours of a thriller. It has

1428
01:18:45,400 --> 01:18:47,240
Speaker 5: a title that makes you think you're going to get

1429
01:18:47,920 --> 01:18:51,160
Speaker 5: a thriller and instead, Yeah, it's a much kind of

1430
01:18:51,320 --> 01:18:57,280
Speaker 5: more mysterious, rich sad movie about Yes, the idea of

1431
01:18:57,720 --> 01:19:01,080
Speaker 5: it's not even about was distance. Though some of the

1432
01:19:01,120 --> 01:19:03,879
Speaker 5: people who end up in this kind of apartment complex

1433
01:19:04,040 --> 01:19:06,640
Speaker 5: that the main character played by Vagneramora ends up in

1434
01:19:07,360 --> 01:19:11,400
Speaker 5: are like have had had a political activism, but others

1435
01:19:11,520 --> 01:19:13,799
Speaker 5: just kind of ran a foul of either the government

1436
01:19:13,960 --> 01:19:16,760
Speaker 5: or people like attached to it, or just people in

1437
01:19:16,800 --> 01:19:19,400
Speaker 5: their family. It is very much about the idea of

1438
01:19:19,520 --> 01:19:24,639
Speaker 5: solidarity coming through being amongst the people who have been oppressed,

1439
01:19:24,680 --> 01:19:27,000
Speaker 5: being amongst the outcasts, you know, in a way that

1440
01:19:27,479 --> 01:19:31,760
Speaker 5: I thought was really wonderfully done, especially because yes, like

1441
01:19:31,840 --> 01:19:35,000
Speaker 5: this main character you learn is not someone who necessarily

1442
01:19:35,080 --> 01:19:38,599
Speaker 5: sought out, you know, activism in any way, he's simply

1443
01:19:38,760 --> 01:19:42,439
Speaker 5: just in trying to do his job as an academic

1444
01:19:42,520 --> 01:19:44,519
Speaker 5: and like do what he believes in rano foul of

1445
01:19:44,640 --> 01:19:47,960
Speaker 5: powerful people and has been punished for that ever since.

1446
01:19:49,040 --> 01:19:52,280
Speaker 5: I also think that Vagner moora someone who I have

1447
01:19:52,560 --> 01:19:54,400
Speaker 5: liked as an actor before, but it's just like so

1448
01:19:54,760 --> 01:19:57,519
Speaker 5: compelling in this. I think he's just great. He's like

1449
01:19:57,960 --> 01:20:03,000
Speaker 5: both incredibly seventies handsome, running around in uh shirts unbuttoned,

1450
01:20:03,080 --> 01:20:07,439
Speaker 5: like much further than it's present day standard, and uh

1451
01:20:08,200 --> 01:20:10,759
Speaker 5: and and kind of uh all of this like shaggy

1452
01:20:10,800 --> 01:20:12,800
Speaker 5: beard and all of that. But uh, it's also just

1453
01:20:12,880 --> 01:20:16,960
Speaker 5: like so there's like this deep like melancholy and to

1454
01:20:17,560 --> 01:20:20,360
Speaker 5: that character in terms of like being separated from his child,

1455
01:20:20,520 --> 01:20:22,559
Speaker 5: in terms of the loss of his wife, and then

1456
01:20:22,640 --> 01:20:26,519
Speaker 5: in terms of the bookend that's introduced kind of this

1457
01:20:26,760 --> 01:20:29,240
Speaker 5: this time jump that you see I don't want to

1458
01:20:29,280 --> 01:20:31,720
Speaker 5: go too much into, but that leads to this like

1459
01:20:31,880 --> 01:20:36,519
Speaker 5: really profoundly sad conclusion that is just not the place

1460
01:20:36,560 --> 01:20:38,439
Speaker 5: that you would expect this to end up at all.

1461
01:20:38,720 --> 01:20:40,519
Speaker 3: And that's what that's what makes it stick. I think,

1462
01:20:40,800 --> 01:20:42,200
Speaker 3: you know, it's it's so.

1463
01:20:42,840 --> 01:20:47,719
Speaker 1: We could spend so long talking about that, unfortunately, but it's.

1464
01:20:47,800 --> 01:20:50,280
Speaker 5: It's a great movie. It's like a it's a thrilling movie.

1465
01:20:50,400 --> 01:20:53,880
Speaker 5: It's a funny movie. Uh, it's it's just yeah, there's

1466
01:20:53,880 --> 01:20:55,680
Speaker 5: a whole we didn't even get into, the whole kind

1467
01:20:55,720 --> 01:20:58,120
Speaker 5: of side thing involving a leg, a human leg that

1468
01:20:58,240 --> 01:21:02,120
Speaker 5: is from Jaws inside it. Yes, this recurring theme of

1469
01:21:02,200 --> 01:21:06,720
Speaker 5: seeing Jaws also the movie theater that and also like,

1470
01:21:07,000 --> 01:21:08,760
Speaker 5: I mean, a lot of this film is also like

1471
01:21:08,840 --> 01:21:12,479
Speaker 5: it's like a grand fictional thing that is born out

1472
01:21:12,600 --> 01:21:15,439
Speaker 5: of Felo's like previous film, which is a great personal

1473
01:21:15,520 --> 01:21:21,439
Speaker 5: documentary and you know, I think Portrait of Ghosts and

1474
01:21:21,720 --> 01:21:24,120
Speaker 5: it just it's one of those films that just you

1475
01:21:24,160 --> 01:21:26,360
Speaker 5: can feel him kind of. He always makes films dealing

1476
01:21:26,439 --> 01:21:30,280
Speaker 5: with recife, his like hometown and it's history, and dealing

1477
01:21:30,320 --> 01:21:33,439
Speaker 5: a lot with the dictatorship as well. Lately. I think

1478
01:21:33,479 --> 01:21:35,759
Speaker 5: he's just one of the most exciting filmmakers working today.

1479
01:21:37,000 --> 01:21:40,400
Speaker 1: It's a case where you guys both spoke to this.

1480
01:21:40,479 --> 01:21:43,400
Speaker 1: But the Secret Agent the title is is completely are

1481
01:21:43,479 --> 01:21:48,400
Speaker 1: almost completely ironic. There's nothing really that's secret Agent like

1482
01:21:48,600 --> 01:21:53,520
Speaker 1: about him, and it establishes a certain set of expectations

1483
01:21:53,600 --> 01:21:57,400
Speaker 1: that then the movie undercuts, but there are still some

1484
01:21:57,680 --> 01:22:01,519
Speaker 1: espionage and clandestine aspect to the film at the same time,

1485
01:22:01,640 --> 01:22:06,320
Speaker 1: so we get such a variety of genre thrills but

1486
01:22:06,479 --> 01:22:09,840
Speaker 1: also surprises. And you're right, it's a deeply sad movie

1487
01:22:09,880 --> 01:22:12,320
Speaker 1: at the same time. And that's where we could really

1488
01:22:12,400 --> 01:22:15,479
Speaker 1: talk about the ending. It is such a gorgeous film

1489
01:22:15,600 --> 01:22:17,719
Speaker 1: just to look at as well, and you talked about

1490
01:22:17,720 --> 01:22:21,559
Speaker 1: the community here. I love and I think this speaks

1491
01:22:21,600 --> 01:22:24,880
Speaker 1: to just the subtlety of the direction too. I love

1492
01:22:24,960 --> 01:22:27,080
Speaker 1: the touch and I was looking it up or trying

1493
01:22:27,120 --> 01:22:28,320
Speaker 1: to look it up real quick, and I don't have

1494
01:22:28,400 --> 01:22:30,840
Speaker 1: the actress's name in front of the maybe one of

1495
01:22:30,920 --> 01:22:33,800
Speaker 1: you know who I'm thinking of, but the actress who

1496
01:22:33,920 --> 01:22:37,320
Speaker 1: is also the woman who's also in the apartment complex,

1497
01:22:37,360 --> 01:22:40,639
Speaker 1: who's the dentist that he ends up having a sexual

1498
01:22:40,720 --> 01:22:43,600
Speaker 1: relationship with, and maybe a little bit deeper than that.

1499
01:22:44,040 --> 01:22:47,240
Speaker 1: But when they meet for the first time, when he

1500
01:22:47,400 --> 01:22:50,160
Speaker 1: shows up and he's being introduced to her and just

1501
01:22:50,280 --> 01:22:53,040
Speaker 1: his of course his looks. You're right, Allison, he's a

1502
01:22:53,160 --> 01:22:56,080
Speaker 1: very handsome guy. He's got the shirt unbuttoned a little bit,

1503
01:22:56,400 --> 01:22:59,080
Speaker 1: and he's sweaty, you know, and he's standing in the

1504
01:22:59,160 --> 01:23:03,360
Speaker 1: doorway and the older woman introduces him to her, and

1505
01:23:04,960 --> 01:23:09,400
Speaker 1: Philia doesn't do anything that we would expect in terms

1506
01:23:09,439 --> 01:23:13,160
Speaker 1: of cross cutting and a close up and those kind

1507
01:23:13,200 --> 01:23:16,599
Speaker 1: of furtive glances to suggest, oh, they're attracted to each other.

1508
01:23:16,880 --> 01:23:21,280
Speaker 1: There's nothing like that, but something about it, just in

1509
01:23:21,400 --> 01:23:26,599
Speaker 1: their introduction. They're both attractive. You understand that they're both

1510
01:23:26,720 --> 01:23:31,200
Speaker 1: there not by choice, that they're people who are probably

1511
01:23:31,320 --> 01:23:34,960
Speaker 1: separated from the people that they love. And we know

1512
01:23:35,320 --> 01:23:38,280
Speaker 1: just from the one look that they give to each other,

1513
01:23:38,360 --> 01:23:41,559
Speaker 1: at least, I felt like I knew they're gonna end

1514
01:23:41,720 --> 01:23:43,760
Speaker 1: they're gonna end up in bed together, you know, and

1515
01:23:43,880 --> 01:23:45,519
Speaker 1: I just he doesn't he doesn't need to show us

1516
01:23:45,560 --> 01:23:47,759
Speaker 1: anything more than he shows us. And of course, about

1517
01:23:47,920 --> 01:23:50,599
Speaker 1: ten minutes later in the movie we see that in fact,

1518
01:23:50,680 --> 01:23:54,080
Speaker 1: that is the case, you know, if a fake dental

1519
01:23:54,880 --> 01:23:57,840
Speaker 1: you know, procedure is happening, and of course it's really not.

1520
01:23:58,000 --> 01:24:00,680
Speaker 3: And yeah, it almost it's the most pre ordained the

1521
01:24:00,960 --> 01:24:03,479
Speaker 3: affair in the history, in the history of affairs, I mean,

1522
01:24:03,520 --> 01:24:07,479
Speaker 3: it's yeah, yeah, but that is it's like comic shorthand

1523
01:24:07,520 --> 01:24:09,679
Speaker 3: it's almost like he's playing around with the title because

1524
01:24:09,680 --> 01:24:12,559
Speaker 3: it's just like a Bond film, you know, in terms

1525
01:24:12,600 --> 01:24:15,200
Speaker 3: of like the certainty of it. But it's but of

1526
01:24:15,240 --> 01:24:18,360
Speaker 3: course it's not. It's not this film, This man's story

1527
01:24:18,960 --> 01:24:22,360
Speaker 3: will not conform to the James Bond you know, archetypes,

1528
01:24:22,360 --> 01:24:24,479
Speaker 3: because it's and that's why it's good. It feels like

1529
01:24:24,520 --> 01:24:27,720
Speaker 3: you're actually living in every day Brazil at that time.

1530
01:24:27,800 --> 01:24:30,040
Speaker 3: And I actually thought some of the visual stuff was

1531
01:24:30,040 --> 01:24:33,160
Speaker 3: a little self conscious and koy, you know, because there's

1532
01:24:33,160 --> 01:24:35,679
Speaker 3: an aggressive amount of split screen sort of at certain

1533
01:24:36,120 --> 01:24:38,840
Speaker 3: times in the film that actually belongs a little more

1534
01:24:38,840 --> 01:24:41,559
Speaker 3: to the sixties than the seventies. But that's splitting here

1535
01:24:41,640 --> 01:24:43,519
Speaker 3: is it's just a little you know, some of that's

1536
01:24:43,640 --> 01:24:45,400
Speaker 3: a little a little cute for me.

1537
01:24:45,560 --> 01:24:47,519
Speaker 2: But but you know, these are though.

1538
01:24:48,880 --> 01:24:49,920
Speaker 3: School issues. Yeah.

1539
01:24:50,040 --> 01:24:52,200
Speaker 1: Yeah, the color is just seared into my some of

1540
01:24:52,240 --> 01:24:54,960
Speaker 1: the some of the imagery is seared into my brain.

1541
01:24:55,000 --> 01:24:56,760
Speaker 1: And it's it's another one of those movies for me.

1542
01:24:56,840 --> 01:24:59,280
Speaker 1: Why besides how how much I enjoyed it, one of

1543
01:24:59,320 --> 01:25:01,920
Speaker 1: the reasons it's on my list fitting with my theme

1544
01:25:02,240 --> 01:25:05,679
Speaker 1: and you talked about it, but what kind of country,

1545
01:25:06,320 --> 01:25:08,200
Speaker 1: what kind of country is Brazil going to be? What

1546
01:25:08,920 --> 01:25:13,240
Speaker 1: this man who his ideals. He clearly stands for something.

1547
01:25:13,600 --> 01:25:16,479
Speaker 1: And it's sort of like the My Undesirable Friends too.

1548
01:25:16,840 --> 01:25:18,559
Speaker 1: You can put a lot of power in your ideals

1549
01:25:18,600 --> 01:25:21,160
Speaker 1: and you can stand up for yourself, but at what

1550
01:25:21,360 --> 01:25:26,320
Speaker 1: point does that power run up against real power or

1551
01:25:27,000 --> 01:25:30,400
Speaker 1: the power of corruption that is willing to do anything,

1552
01:25:31,000 --> 01:25:35,760
Speaker 1: total ruthlessness and lawlessness. And what do you stand for?

1553
01:25:35,920 --> 01:25:38,400
Speaker 1: Then how do you fight back against that? What choices

1554
01:25:38,479 --> 01:25:41,920
Speaker 1: do you make? Then that's what is your identity? Then

1555
01:25:42,080 --> 01:25:45,600
Speaker 1: that's that's what this character really has to face, and

1556
01:25:45,840 --> 01:25:48,000
Speaker 1: all of these characters have to face in this in

1557
01:25:48,120 --> 01:25:51,519
Speaker 1: this film. This is a country that is in complete

1558
01:25:52,640 --> 01:25:56,479
Speaker 1: tumult that we witness over the course of The Secret Agent.

1559
01:25:56,640 --> 01:25:58,960
Speaker 1: It's a really fascinating movie, and I'm glad to see

1560
01:25:59,120 --> 01:26:02,760
Speaker 1: that it made three of our lists. Unlike and Wow,

1561
01:26:02,840 --> 01:26:04,560
Speaker 1: we could we could just take a lot of the

1562
01:26:04,600 --> 01:26:06,960
Speaker 1: same things we're saying about The Secret Agent and a

1563
01:26:07,040 --> 01:26:12,120
Speaker 1: lot of the other films that we're we're discussing here

1564
01:26:12,240 --> 01:26:15,000
Speaker 1: on this list, and we could transfer them to actually

1565
01:26:15,840 --> 01:26:18,120
Speaker 1: not only the next movie we're going to talk about,

1566
01:26:18,240 --> 01:26:21,560
Speaker 1: but the movie after that, in the movie after that.

1567
01:26:21,840 --> 01:26:26,280
Speaker 1: But we'll get there in due time. Why don't you, Josh,

1568
01:26:26,439 --> 01:26:28,719
Speaker 1: tell us about the next film that made three lists

1569
01:26:28,880 --> 01:26:32,120
Speaker 1: and you have at number two on your list.

1570
01:26:32,720 --> 01:26:36,400
Speaker 2: Let's talk about On Becoming a Guinea Foul. This is

1571
01:26:36,520 --> 01:26:41,320
Speaker 2: the story of basically a family's grieving process when a

1572
01:26:41,360 --> 01:26:44,880
Speaker 2: woman's uncle is discovered dead on an empty road, middle

1573
01:26:44,920 --> 01:26:48,960
Speaker 2: class Zambian family's secrets start to come to light. It

1574
01:26:49,120 --> 01:26:54,639
Speaker 2: comes from filmmaker Runyano Nioni, and for Menoni is probably

1575
01:26:55,160 --> 01:26:57,720
Speaker 2: the most exciting new filmmaker working right now. I mean,

1576
01:26:57,800 --> 01:27:01,920
Speaker 2: this is just incredible stuff. We've been getting her debut,

1577
01:27:02,160 --> 01:27:06,679
Speaker 2: I Am not a Witch. Was this wonderfully bewildering display

1578
01:27:06,920 --> 01:27:13,920
Speaker 2: of African mysticism, maybe magical realism, maybe something else. I mean,

1579
01:27:13,960 --> 01:27:15,760
Speaker 2: part of the delight of her work for me has

1580
01:27:15,840 --> 01:27:21,240
Speaker 2: been experiencing and learning about different cultural cinematic expressions from

1581
01:27:21,280 --> 01:27:24,679
Speaker 2: around the world. And Nioni herself was born in Zombia

1582
01:27:24,720 --> 01:27:26,559
Speaker 2: and then moved to Wales around the age of nine.

1583
01:27:26,720 --> 01:27:30,799
Speaker 2: So here and On becoming a guinea Fowl, she's weaving

1584
01:27:30,840 --> 01:27:35,440
Speaker 2: in all sorts of traditions there, Bemba influences, Christian influences,

1585
01:27:35,600 --> 01:27:38,880
Speaker 2: contemporary pop culture shows up. It's all part of this

1586
01:27:39,439 --> 01:27:44,479
Speaker 2: family stew and she brings an absurdist sense of humor

1587
01:27:44,560 --> 01:27:47,800
Speaker 2: to this. I think she also has an arresting eye

1588
01:27:47,920 --> 01:27:51,840
Speaker 2: for unearthly imagery, and it's all anchored by a very

1589
01:27:52,680 --> 01:27:56,280
Speaker 2: firm moral conviction. On becoming a guinea fowl. It ends

1590
01:27:56,320 --> 01:28:00,439
Speaker 2: with this bravura reckoning sequence that is one of the

1591
01:28:00,520 --> 01:28:04,479
Speaker 2: standouts of the year for me. So Nioni doesn't have

1592
01:28:04,560 --> 01:28:08,280
Speaker 2: a project lined up currently next according to IMDb dot

1593
01:28:08,320 --> 01:28:10,599
Speaker 2: com at least, but you know, when she does, I'll

1594
01:28:10,640 --> 01:28:12,600
Speaker 2: be at the front of the line. This is incredible

1595
01:28:12,680 --> 01:28:15,639
Speaker 2: stuff and I've got her film right towards the top

1596
01:28:15,720 --> 01:28:17,000
Speaker 2: of my list at number two.

1597
01:28:17,400 --> 01:28:19,519
Speaker 1: Yeah, Michael, number nine for you, number nine for me

1598
01:28:19,640 --> 01:28:23,400
Speaker 1: as well. So you're obviously a fan of On Becoming

1599
01:28:23,439 --> 01:28:24,679
Speaker 1: a Guinea Foul. Tell us why.

1600
01:28:26,040 --> 01:28:31,840
Speaker 3: I thought it was really really transporting in a way

1601
01:28:31,920 --> 01:28:36,280
Speaker 3: that usually we say we use that word for either

1602
01:28:36,400 --> 01:28:39,080
Speaker 3: just an immersion into some sort of cultural millia we

1603
01:28:39,120 --> 01:28:43,000
Speaker 3: don't know, or you know, a geographic place we haven't

1604
01:28:43,040 --> 01:28:48,400
Speaker 3: seen before on screen personally, but it's it's also just

1605
01:28:48,439 --> 01:28:55,160
Speaker 3: about sort of It's a very family attentive movie, and

1606
01:28:56,400 --> 01:28:58,040
Speaker 3: in the end, it comes down I don't want to

1607
01:28:58,080 --> 01:29:00,920
Speaker 3: give it away, but it's it's not really narrative, plot

1608
01:29:01,040 --> 01:29:05,920
Speaker 3: driven sort of experience, but this relationship about what this

1609
01:29:06,080 --> 01:29:08,439
Speaker 3: woman we meet at the beginning and her cousin, I

1610
01:29:08,560 --> 01:29:13,759
Speaker 3: believe it is, have to the the corpse at the funeral,

1611
01:29:13,880 --> 01:29:17,160
Speaker 3: their uncle fred Is as he's called by everybody. It

1612
01:29:17,280 --> 01:29:23,200
Speaker 3: takes everything these women have to break through the kind

1613
01:29:23,200 --> 01:29:28,200
Speaker 3: of family suppression instinct to keep the secrets hidden and

1614
01:29:28,360 --> 01:29:30,920
Speaker 3: to not talk about it and to and to you know,

1615
01:29:31,360 --> 01:29:35,679
Speaker 3: and to not risk any disrespect. And you know that's

1616
01:29:35,760 --> 01:29:39,440
Speaker 3: that's that's an age old sort of stratagem in storytelling

1617
01:29:40,560 --> 01:29:44,080
Speaker 3: that leads here to a place that is, like you say,

1618
01:29:44,520 --> 01:29:49,880
Speaker 3: Adam is and Josh, I'm sorry, is really really kind

1619
01:29:49,880 --> 01:29:52,639
Speaker 3: of cathartic in the best way, because it's not it's

1620
01:29:52,680 --> 01:29:57,120
Speaker 3: not easy catharsis, and it's not even done in any

1621
01:29:57,240 --> 01:30:00,960
Speaker 3: expected way at all, because it's it with in a

1622
01:30:01,040 --> 01:30:04,680
Speaker 3: really effortless way. In the last what fifteen seconds of

1623
01:30:04,720 --> 01:30:07,640
Speaker 3: the film, you get the explanation of the title, and

1624
01:30:07,760 --> 01:30:09,479
Speaker 3: that's all that's all you need to say about that.

1625
01:30:09,840 --> 01:30:10,640
Speaker 3: But I love it.

1626
01:30:10,760 --> 01:30:11,360
Speaker 2: I love it.

1627
01:30:11,439 --> 01:30:14,160
Speaker 3: It's some movie that's got the it's got the nerve

1628
01:30:14,280 --> 01:30:18,600
Speaker 3: of its own leisurely patients to figuring out who in

1629
01:30:18,720 --> 01:30:21,880
Speaker 3: any given room at this kind of like long family

1630
01:30:22,160 --> 01:30:25,200
Speaker 3: funeral weekend, who is listening to, who, who does not

1631
01:30:25,400 --> 01:30:28,320
Speaker 3: trust who, Which side of the family wants to kill who,

1632
01:30:29,760 --> 01:30:32,000
Speaker 3: all of it and it all happens in It's just

1633
01:30:32,120 --> 01:30:35,640
Speaker 3: like one easy exhalation of breath, you know, from a

1634
01:30:35,680 --> 01:30:39,240
Speaker 3: filmmaker who's really really got it going. So Yeah, I

1635
01:30:39,360 --> 01:30:40,439
Speaker 3: can't wait to see the next one.

1636
01:30:40,880 --> 01:30:44,879
Speaker 1: Yeah, for such a new filmmaker to have the control

1637
01:30:45,680 --> 01:30:48,040
Speaker 1: of her vision that she does in this film, all

1638
01:30:48,160 --> 01:30:51,000
Speaker 1: the different techniques that she's applying here in terms of

1639
01:30:51,479 --> 01:30:55,440
Speaker 1: the way the camera moves, the different types of angles,

1640
01:30:55,640 --> 01:31:00,519
Speaker 1: the different editing that she uses. There's there's longer, there's

1641
01:31:00,880 --> 01:31:03,800
Speaker 1: jump cuts, there's shorter takes, and even the way the

1642
01:31:03,880 --> 01:31:06,880
Speaker 1: score is employed, in the way that she jumps between

1643
01:31:07,439 --> 01:31:12,160
Speaker 1: fantasy and reality at times I think is really effective. Reckoning, Josh,

1644
01:31:12,280 --> 01:31:15,120
Speaker 1: is exactly the word that I've used before in relation

1645
01:31:15,280 --> 01:31:19,120
Speaker 1: to this film, and the past and present aspect speaks

1646
01:31:19,120 --> 01:31:22,120
Speaker 1: for itself. You talked about that suppression, Michael, in terms

1647
01:31:22,160 --> 01:31:24,280
Speaker 1: of those secrets, we have a main character that Susan

1648
01:31:24,360 --> 01:31:27,800
Speaker 1: Shardi plays so wonderfully who up until this moment and

1649
01:31:27,920 --> 01:31:30,840
Speaker 1: for most of the film is fighting whether or not

1650
01:31:31,080 --> 01:31:36,240
Speaker 1: to let let the past enter her mind, to let

1651
01:31:36,320 --> 01:31:39,760
Speaker 1: the past impact any part of her behavior or not.

1652
01:31:40,040 --> 01:31:45,120
Speaker 1: She is otherwise chosen for her identity to be completely

1653
01:31:45,320 --> 01:31:51,479
Speaker 1: separate from what deep down she knows to be true

1654
01:31:51,520 --> 01:31:54,960
Speaker 1: and the cultural values that we see that have otherwise

1655
01:31:55,840 --> 01:32:00,840
Speaker 1: demanded this type of secrecy and demand that women in

1656
01:32:00,920 --> 01:32:04,880
Speaker 1: this village, that this type of behavior towards them be allowed,

1657
01:32:05,520 --> 01:32:11,559
Speaker 1: is something that is shocking at times to behold when

1658
01:32:11,600 --> 01:32:15,280
Speaker 1: you actually do watch this film. So that's just some

1659
01:32:15,479 --> 01:32:19,000
Speaker 1: of what we see Neoni reckoning with on Becoming a

1660
01:32:19,040 --> 01:32:21,759
Speaker 1: guinea Fowl. An important film, one of the most important

1661
01:32:21,800 --> 01:32:24,040
Speaker 1: films I think of this year. Alison. Did you get

1662
01:32:24,080 --> 01:32:25,880
Speaker 1: a chance to reckon with this film?

1663
01:32:26,160 --> 01:32:27,920
Speaker 5: You know, I saw it last year and I liked it,

1664
01:32:28,000 --> 01:32:29,800
Speaker 5: but I didn't I really wanted to revisit it, and

1665
01:32:29,880 --> 01:32:32,320
Speaker 5: then I didn't have time. So that's mainly the reason

1666
01:32:32,560 --> 01:32:35,200
Speaker 5: why I feel like it it was out of my

1667
01:32:35,439 --> 01:32:38,040
Speaker 5: hear end contention. It was just one that I really

1668
01:32:38,080 --> 01:32:40,640
Speaker 5: wanted eyes on again, didn't get a chance to do that.

1669
01:32:41,439 --> 01:32:47,800
Speaker 1: It is available everywhere vod Let's get to I think

1670
01:32:47,800 --> 01:32:50,599
Speaker 1: we have two more films to highlight here a couple

1671
01:32:50,720 --> 01:32:53,120
Speaker 1: more voicemails, and then we will throw in some honorable

1672
01:32:53,240 --> 01:32:56,480
Speaker 1: mentions as well. But this is another one of my disruptors,

1673
01:32:56,560 --> 01:32:58,640
Speaker 1: one of those films that only made my list but

1674
01:32:58,840 --> 01:33:02,439
Speaker 1: is certainly one of the most acclaimed films of the year.

1675
01:33:02,680 --> 01:33:05,920
Speaker 1: Been mentioned a few times, and we're gonna let our

1676
01:33:05,960 --> 01:33:09,719
Speaker 1: friend David Chen from the Film Cast do the honors

1677
01:33:09,880 --> 01:33:12,240
Speaker 1: in announcing it his favorite film of the year.

1678
01:33:12,680 --> 01:33:15,280
Speaker 11: Hey, film spotting, David Chen here from the Film Cast

1679
01:33:15,400 --> 01:33:18,320
Speaker 11: and the Decoding TV podcast, And right now, my number

1680
01:33:18,360 --> 01:33:20,640
Speaker 11: one film of the year is Jaffar Panahi's It Was

1681
01:33:20,840 --> 01:33:23,479
Speaker 11: Just an Accident. It's a movie about the trauma of

1682
01:33:23,560 --> 01:33:26,400
Speaker 11: repressive regimes and how even when the atrocities end and

1683
01:33:26,439 --> 01:33:29,160
Speaker 11: people try to move on, the effects don't just go away.

1684
01:33:29,600 --> 01:33:32,080
Speaker 11: But it's not at all didactic. It's a really well acted,

1685
01:33:32,160 --> 01:33:34,840
Speaker 11: riveting thriller that has an incredible economy with its script.

1686
01:33:35,320 --> 01:33:37,160
Speaker 11: It's hard for me to think of another film that

1687
01:33:37,360 --> 01:33:40,880
Speaker 11: more effectively marries trenchant themes with the tools of filmmaking.

1688
01:33:41,439 --> 01:33:44,200
Speaker 11: So until I do, It Was Just an Accident is

1689
01:33:44,280 --> 01:33:46,920
Speaker 11: my number one film. Thanks and keep up the great work.

1690
01:33:47,360 --> 01:33:49,800
Speaker 1: Thank you Dave so much for your comments and for

1691
01:33:49,920 --> 01:33:52,360
Speaker 1: doing my theme work. For me, it is a movie

1692
01:33:52,560 --> 01:33:56,800
Speaker 1: that's about trauma and the trauma of repressive regimes, and

1693
01:33:57,040 --> 01:34:01,200
Speaker 1: I think it's a resistance movie with character who, let's say,

1694
01:34:01,360 --> 01:34:05,000
Speaker 1: exhibit an expected ineptitude as they try to handle a

1695
01:34:05,040 --> 01:34:08,960
Speaker 1: politically and emotionally charge situation. And there's also a fair

1696
01:34:08,960 --> 01:34:11,240
Speaker 1: amount of driving involved in the desert. So for me,

1697
01:34:11,320 --> 01:34:13,400
Speaker 1: it feels of a piece with the movie I think

1698
01:34:13,439 --> 01:34:17,040
Speaker 1: everyone knows is coming next. And yes, Dave already did

1699
01:34:17,080 --> 01:34:19,840
Speaker 1: the work, but I'm going to underline it. The past

1700
01:34:19,880 --> 01:34:22,800
Speaker 1: and present and the identity and trauma aspect, they all

1701
01:34:22,920 --> 01:34:27,599
Speaker 1: collide for each of these former political prisoners the instant

1702
01:34:27,680 --> 01:34:30,640
Speaker 1: they're confronted by the sound of a voice or the

1703
01:34:30,760 --> 01:34:33,439
Speaker 1: sight of the man they believe to be one of

1704
01:34:33,520 --> 01:34:37,800
Speaker 1: their captors and tortures this man, Eggball, who they call

1705
01:34:37,920 --> 01:34:41,800
Speaker 1: peg Leg because he had a prosthetic leg. And what

1706
01:34:41,960 --> 01:34:44,240
Speaker 1: we witness is the way the lingering effects of that

1707
01:34:44,400 --> 01:34:50,680
Speaker 1: trauma and their anger justifiably override rationality and Panahi just

1708
01:34:50,920 --> 01:34:54,080
Speaker 1: he keeps us guessing throughout. Our sense of truth is

1709
01:34:54,120 --> 01:34:57,960
Speaker 1: constantly shifting, our sense of justice is constantly shifting along

1710
01:34:58,040 --> 01:35:00,600
Speaker 1: with the characters. It seems clear that we're heading for

1711
01:35:00,680 --> 01:35:03,760
Speaker 1: a reveal that we'll answer some important questions. Less clear

1712
01:35:04,880 --> 01:35:07,839
Speaker 1: is whether Panahi will be able to deliver a satisfying resolution.

1713
01:35:08,720 --> 01:35:11,439
Speaker 1: And then you mentioned this word, Michael, in relation to

1714
01:35:12,120 --> 01:35:14,639
Speaker 1: on Becoming a Guinea Fowl, and I agree. It really

1715
01:35:14,680 --> 01:35:20,599
Speaker 1: delivers the emotional catharsis that is necessary after this intense journey.

1716
01:35:21,400 --> 01:35:23,840
Speaker 1: Somehow we get that, we also get the best ending

1717
01:35:23,880 --> 01:35:27,439
Speaker 1: of the year, and then the movie tops itself with

1718
01:35:27,560 --> 01:35:30,600
Speaker 1: a coda that leaves us with the only type of

1719
01:35:30,680 --> 01:35:33,760
Speaker 1: questions the work of this magnitude should leave us with

1720
01:35:33,960 --> 01:35:38,200
Speaker 1: without giving anything away. I've been talking about movement from

1721
01:35:38,240 --> 01:35:40,680
Speaker 1: past to present, trying to define a new future. The

1722
01:35:40,800 --> 01:35:45,240
Speaker 1: final shot of this film, I think appropriately involves a

1723
01:35:45,360 --> 01:35:49,000
Speaker 1: character in stasis, and that's all I'm going to say.

1724
01:35:49,520 --> 01:35:52,800
Speaker 1: I love it. Was just an accident, and like David Chen,

1725
01:35:53,240 --> 01:35:56,840
Speaker 1: it's actually my number one film of twenty twenty five.

1726
01:35:56,920 --> 01:35:59,200
Speaker 1: I loved it that much. Not on your list, though,

1727
01:35:59,320 --> 01:36:02,840
Speaker 1: my outlier. I'm the outlier with that film. But do you,

1728
01:36:03,000 --> 01:36:04,040
Speaker 1: I know, Josh, you like it?

1729
01:36:04,439 --> 01:36:05,080
Speaker 2: Are you eleven?

1730
01:36:06,040 --> 01:36:06,080
Speaker 1: Like?

1731
01:36:06,120 --> 01:36:07,360
Speaker 2: It's an eleven to twenty for me?

1732
01:36:08,160 --> 01:36:08,400
Speaker 1: Okay?

1733
01:36:08,560 --> 01:36:12,920
Speaker 5: Same, it's not even it wasn't even on my second twenty,

1734
01:36:13,000 --> 01:36:14,479
Speaker 5: not because I didn't like it. I think it's more

1735
01:36:14,600 --> 01:36:18,360
Speaker 5: just like it's been one of my like honestly, the

1736
01:36:18,439 --> 01:36:22,080
Speaker 5: work that he did during the ban, which has lasted

1737
01:36:22,120 --> 01:36:24,120
Speaker 5: for most of the you know, the last what like

1738
01:36:24,240 --> 01:36:27,479
Speaker 5: a decade and a half, and I think incredible, Like

1739
01:36:27,600 --> 01:36:30,320
Speaker 5: those are some of my favorite films of the last

1740
01:36:30,400 --> 01:36:33,599
Speaker 5: decade or so. I thought No Bears was so good.

1741
01:36:33,640 --> 01:36:35,040
Speaker 5: I thought this is not a film was just like

1742
01:36:35,560 --> 01:36:40,639
Speaker 5: astonishing and sad and funny. And I feel like, actually

1743
01:36:41,600 --> 01:36:43,960
Speaker 5: I just felt a bit of distance from this in

1744
01:36:44,120 --> 01:36:46,880
Speaker 5: him stepping back from being a kind of persona on

1745
01:36:47,000 --> 01:36:50,599
Speaker 5: camera as well, I felt just a little more distance

1746
01:36:50,680 --> 01:36:53,960
Speaker 5: from this film, Like I think it's very it's it

1747
01:36:54,800 --> 01:36:57,840
Speaker 5: it gets at like some really kind of difficult emotions

1748
01:36:58,000 --> 01:37:01,280
Speaker 5: about about the kind of like of trying to live

1749
01:37:01,360 --> 01:37:04,479
Speaker 5: with like the rage of being kind of so wronged,

1750
01:37:04,680 --> 01:37:07,080
Speaker 5: you know, and and and and pushed around. And I

1751
01:37:07,160 --> 01:37:10,320
Speaker 5: think it's also very funny, you know, in ways that

1752
01:37:10,400 --> 01:37:13,760
Speaker 5: I think are worth acknowledging. It is both like Death

1753
01:37:13,800 --> 01:37:16,680
Speaker 5: and the Maiden and a kind of road comedy and

1754
01:37:16,760 --> 01:37:18,439
Speaker 5: I'm sering as comedy in which people, more and more

1755
01:37:18,439 --> 01:37:19,480
Speaker 5: people keep piling.

1756
01:37:19,280 --> 01:37:19,720
Speaker 1: In this van.

1757
01:37:20,479 --> 01:37:23,600
Speaker 5: But I did feel like I saw the structure of

1758
01:37:23,640 --> 01:37:24,320
Speaker 5: it a memore.

1759
01:37:24,520 --> 01:37:26,560
Speaker 3: That's the problem. I think that's the problem. To me,

1760
01:37:26,640 --> 01:37:30,200
Speaker 3: it's it's just it's a little it's it's it hits

1761
01:37:30,200 --> 01:37:33,040
Speaker 3: some more. I wouldn't. You wouldn't call anything he's made

1762
01:37:33,080 --> 01:37:36,320
Speaker 3: before this like hitting any obvious narrative beats, because I mean,

1763
01:37:36,360 --> 01:37:39,040
Speaker 3: it's just it's nothing. Those phrases aren't on his mind.

1764
01:37:39,120 --> 01:37:42,519
Speaker 3: But and I think this film is actually alive visually

1765
01:37:42,640 --> 01:37:45,599
Speaker 3: in a way that the other films aren't necessarily because

1766
01:37:46,000 --> 01:37:49,720
Speaker 3: he just had a more spacious set of you know,

1767
01:37:49,880 --> 01:37:54,160
Speaker 3: confined still under house arrest circumstances. Right, I mean, he

1768
01:37:54,200 --> 01:37:57,160
Speaker 3: didn't make this, you know, like in the good graces

1769
01:37:57,200 --> 01:37:59,959
Speaker 3: of the government. I don't think, right, am I missing.

1770
01:37:59,760 --> 01:38:03,320
Speaker 5: Them or I forget when he was the ban had

1771
01:38:03,360 --> 01:38:05,360
Speaker 5: been lifted, the filmmaking ban had been lifted. But he

1772
01:38:05,439 --> 01:38:09,840
Speaker 5: didn't make this with official approval just because he was

1773
01:38:10,000 --> 01:38:11,519
Speaker 5: he was just I don't think we'll ever try and

1774
01:38:11,560 --> 01:38:14,479
Speaker 5: get that. I think a lot of filmmakers who working

1775
01:38:14,520 --> 01:38:17,920
Speaker 5: around that, we who are on the festival circuit. Yeah,

1776
01:38:18,200 --> 01:38:19,120
Speaker 5: I think it's sort of.

1777
01:38:19,120 --> 01:38:22,120
Speaker 3: A prosaic objection. Mine is but but just it's a

1778
01:38:22,160 --> 01:38:25,280
Speaker 3: little like the scenes dramatically served. So many of them

1779
01:38:25,320 --> 01:38:27,880
Speaker 3: serve a very very similar purpose. So it takes a

1780
01:38:27,960 --> 01:38:33,479
Speaker 3: certain it takes on a somewhat grueling quality that I

1781
01:38:33,560 --> 01:38:36,200
Speaker 3: think feels a little a little flat to me, you know,

1782
01:38:36,280 --> 01:38:38,040
Speaker 3: in a way that not a minute of any of

1783
01:38:38,120 --> 01:38:40,280
Speaker 3: the films you mentioned, especially, this is not a film

1784
01:38:40,320 --> 01:38:43,560
Speaker 3: which I love, uh you know has so I'm not

1785
01:38:43,720 --> 01:38:47,200
Speaker 3: sure why I didn't like. I didn't quite get in

1786
01:38:47,320 --> 01:38:49,920
Speaker 3: its grip the way it did for say you, Adam,

1787
01:38:51,040 --> 01:38:52,920
Speaker 3: I'm not. I refuse to analyze it.

1788
01:38:53,320 --> 01:38:55,640
Speaker 1: Okay, Well, let's let's keep things moving. We don't we

1789
01:38:55,720 --> 01:38:59,040
Speaker 1: don't have time. Unfortunately, we got to get to the

1790
01:38:59,120 --> 01:39:02,360
Speaker 1: film that did make all four of our list, though

1791
01:39:02,479 --> 01:39:05,000
Speaker 1: I'm the outlier putting it at number two. But to

1792
01:39:05,160 --> 01:39:08,600
Speaker 1: help set us up a voicemail here, we're going to

1793
01:39:08,640 --> 01:39:10,960
Speaker 1: combine from Scott to Bias, our friend from the Next

1794
01:39:11,080 --> 01:39:15,439
Speaker 1: Picture Show and The Reveal and Aaron Newirth from a

1795
01:39:15,640 --> 01:39:19,080
Speaker 1: couple different podcasts you'll hear about they have a number

1796
01:39:19,120 --> 01:39:20,840
Speaker 1: one film of the year and they also have another film,

1797
01:39:20,880 --> 01:39:24,160
Speaker 1: but they want to make sure that we have on

1798
01:39:24,240 --> 01:39:24,799
Speaker 1: our radars.

1799
01:39:25,360 --> 01:39:27,840
Speaker 6: Hello, Josh and Adam it's Scott Tobias from the Next

1800
01:39:27,880 --> 01:39:30,560
Speaker 6: Picture Show and the Reveal. I have a feeling that

1801
01:39:30,640 --> 01:39:33,439
Speaker 6: my number one movie of the year, one Battle after another,

1802
01:39:33,680 --> 01:39:36,719
Speaker 6: might be well represented on the show, so I wanted

1803
01:39:36,760 --> 01:39:38,920
Speaker 6: to put it in a word for my second favorite

1804
01:39:38,960 --> 01:39:43,719
Speaker 6: film of twenty twenty five, and that's Surat. The film

1805
01:39:43,760 --> 01:39:46,800
Speaker 6: hasn't opened beyond a qualifying week in New York and

1806
01:39:46,960 --> 01:39:49,920
Speaker 6: LA and I really urge people to see it. Sarat

1807
01:39:49,920 --> 01:39:52,960
Speaker 6: follows a father and his young son who are desperately

1808
01:39:53,000 --> 01:39:56,040
Speaker 6: searching for his missing daughter in the rave scene and

1809
01:39:56,120 --> 01:39:57,040
Speaker 6: the Moroccan desert.

1810
01:39:57,520 --> 01:40:00,920
Speaker 2: That's right, I said rave scene. And yet the world

1811
01:40:00,960 --> 01:40:01,120
Speaker 2: of this.

1812
01:40:01,200 --> 01:40:04,800
Speaker 6: Film feels abstracted and almost post apocalyptic.

1813
01:40:05,200 --> 01:40:06,600
Speaker 2: It evolves into this beautiful and.

1814
01:40:06,680 --> 01:40:11,040
Speaker 6: Terrifying survival adventure as like Mad Max crossed with walk

1815
01:40:11,080 --> 01:40:12,960
Speaker 6: About crossed with the Wastes of Fear.

1816
01:40:13,640 --> 01:40:17,799
Speaker 7: I think it's an instant cult classic. Thanksgang Hey film Spotting.

1817
01:40:17,880 --> 01:40:20,720
Speaker 7: This is Aaron Newworth, loyal listener, film critic and a

1818
01:40:20,800 --> 01:40:22,880
Speaker 7: co host of the podcast Out Now with Aeron d

1819
01:40:22,920 --> 01:40:25,719
Speaker 7: Abe and the award winning Two Black Guys Talk Godzilla.

1820
01:40:26,200 --> 01:40:28,040
Speaker 7: I wanted to discuss one of my favorites of twenty

1821
01:40:28,120 --> 01:40:30,120
Speaker 7: twenty five, But like Adam, I intend to cheat by

1822
01:40:30,160 --> 01:40:33,000
Speaker 7: mentioning multiple movies in one go, not having fully locked

1823
01:40:33,000 --> 01:40:34,600
Speaker 7: my top ten yet, I know it's coming down to

1824
01:40:34,640 --> 01:40:38,639
Speaker 7: either centers or one battle after another, like seemingly many others. However,

1825
01:40:38,920 --> 01:40:40,880
Speaker 7: as far as a film, I'm happy to champion as

1826
01:40:40,920 --> 01:40:42,400
Speaker 7: one of my other favorites, let alone one of my

1827
01:40:42,439 --> 01:40:47,400
Speaker 7: biggest surprises Oliver Lache's Suratz, Spain's submission for Best International Feature.

1828
01:40:47,760 --> 01:40:49,800
Speaker 7: What starts as this mission for a father play by

1829
01:40:49,840 --> 01:40:53,080
Speaker 7: Sergei Lopez, the evil general from Pans Labyrinth to find

1830
01:40:53,120 --> 01:40:55,639
Speaker 7: his missing daughter, who is somewhere in the Moroccan Desert's

1831
01:40:55,680 --> 01:40:58,760
Speaker 7: partying at different concerts, turns into a culture clash road movie,

1832
01:40:58,840 --> 01:41:01,280
Speaker 7: requiring the father to team with a convoy of ravers

1833
01:41:01,320 --> 01:41:03,719
Speaker 7: in hopes of finding her. That said, the film becomes

1834
01:41:03,800 --> 01:41:06,120
Speaker 7: more thrilling as it goes along, and wild shifts in

1835
01:41:06,200 --> 01:41:09,120
Speaker 7: tone and sudden inclusions of government related turbulence on this

1836
01:41:09,240 --> 01:41:13,000
Speaker 7: journey allowed to explore deeper ideas, combining elements of Sorcerer,

1837
01:41:13,160 --> 01:41:16,479
Speaker 7: No Madland and even mad Max Sarat hasn't left my mind,

1838
01:41:16,720 --> 01:41:19,639
Speaker 7: and if anything, the terrific electronic soundtrack by Cannoning Ray

1839
01:41:19,880 --> 01:41:22,600
Speaker 7: has only amplified my appreciation for the film. Thank you

1840
01:41:22,720 --> 01:41:25,720
Speaker 7: for another great year in podcasting, and I look forward

1841
01:41:25,720 --> 01:41:26,479
Speaker 7: to twenty twenty six.

1842
01:41:27,080 --> 01:41:31,080
Speaker 1: Okay, Sarat a movie that actually was the last movie

1843
01:41:31,240 --> 01:41:34,800
Speaker 1: I caught up with before sitting down to record this show,

1844
01:41:35,120 --> 01:41:36,679
Speaker 1: and I'm just going to put that in the still

1845
01:41:36,760 --> 01:41:42,000
Speaker 1: processing category. I heard definitely, I'm definitely not ready to

1846
01:41:42,080 --> 01:41:45,080
Speaker 1: talk about what I saw in Sarat. But you heard

1847
01:41:45,120 --> 01:41:48,960
Speaker 1: one battle after another, you knew that inevitably we were

1848
01:41:49,000 --> 01:41:51,360
Speaker 1: going to get there. My number two film, the number

1849
01:41:51,400 --> 01:41:53,720
Speaker 1: one film of the year for the three of you

1850
01:41:54,080 --> 01:41:56,120
Speaker 1: and Allison, you are going to do the honors of

1851
01:41:56,240 --> 01:41:59,000
Speaker 1: telling us why this is the film of the year.

1852
01:41:59,520 --> 01:42:01,400
Speaker 5: It's funny because I'm like, I don't even know where

1853
01:42:01,439 --> 01:42:03,960
Speaker 5: to begin. It's just it is just like it's so

1854
01:42:04,080 --> 01:42:06,599
Speaker 5: much movie, and I think in the best way possible,

1855
01:42:06,840 --> 01:42:11,479
Speaker 5: you know, I think it feels sweeping and funny and

1856
01:42:11,800 --> 01:42:17,640
Speaker 5: touching and exciting and sad but also and satirical, but

1857
01:42:17,840 --> 01:42:20,400
Speaker 5: in ways that I feel like he always has Paul

1858
01:42:20,439 --> 01:42:23,000
Speaker 5: Thomas Anderson always has to total control over. I mean,

1859
01:42:23,040 --> 01:42:26,080
Speaker 5: I think that one Battle after Another is the film

1860
01:42:26,120 --> 01:42:28,040
Speaker 5: of the year, and I don't that's not always my

1861
01:42:28,160 --> 01:42:30,240
Speaker 5: criterion for what my favorite film of the year is.

1862
01:42:30,360 --> 01:42:33,040
Speaker 5: But I do feel like in this case, it was

1863
01:42:33,040 --> 01:42:36,600
Speaker 5: an easy pick for me, just because it feels like

1864
01:42:36,720 --> 01:42:41,240
Speaker 5: it spoke to this particular moment in ways that didn't

1865
01:42:41,240 --> 01:42:44,720
Speaker 5: feel schematic and didn't feel too easy, you know. And

1866
01:42:45,160 --> 01:42:46,880
Speaker 5: I think one of the things I love about this

1867
01:42:47,040 --> 01:42:49,519
Speaker 5: movie is the way in which it is about this

1868
01:42:49,920 --> 01:42:55,320
Speaker 5: you know, kind of like clownish, scarred, brain fried cannabis

1869
01:42:55,360 --> 01:42:59,280
Speaker 5: addled remnant of like this you know, previous revolutionary group

1870
01:43:00,040 --> 01:43:05,080
Speaker 5: rumbling through you know, this attack, not really contributing anything

1871
01:43:05,360 --> 01:43:08,200
Speaker 5: except the fact that he raised a daughter who then

1872
01:43:08,360 --> 01:43:11,400
Speaker 5: you know, goes on to become this inheritor of a

1873
01:43:11,680 --> 01:43:14,360
Speaker 5: kind of revolutionary spirit in ways that I found like

1874
01:43:14,479 --> 01:43:16,519
Speaker 5: incredibly touching. But it's also like, this movie is just

1875
01:43:16,640 --> 01:43:20,479
Speaker 5: so packed full of great characters, but he showed del

1876
01:43:20,560 --> 01:43:23,320
Speaker 5: Toro as the you know sense has like fought like

1877
01:43:23,680 --> 01:43:25,880
Speaker 5: like like won the hearts of so many just because

1878
01:43:25,880 --> 01:43:30,240
Speaker 5: he's so like competent and so funny. I think the

1879
01:43:30,320 --> 01:43:33,559
Speaker 5: scene where where Leonardo DiCaprio's character is like basically yelling

1880
01:43:33,600 --> 01:43:36,519
Speaker 5: for a manager of the revolutionary forces on the phone

1881
01:43:37,120 --> 01:43:40,280
Speaker 5: while Del Toro is around him kind of guiding out

1882
01:43:40,520 --> 01:43:43,880
Speaker 5: all of these refugees through a secret passageway and then

1883
01:43:44,000 --> 01:43:47,439
Speaker 5: finding a weapon and handing it to DiCaprio alongside a beer.

1884
01:43:47,680 --> 01:43:49,640
Speaker 5: You know, like like that kind of that scene is

1885
01:43:49,760 --> 01:43:52,240
Speaker 5: just so complicated and so perfect.

1886
01:43:52,520 --> 01:43:52,680
Speaker 3: You know.

1887
01:43:52,800 --> 01:43:55,760
Speaker 5: Tana Taylor as Perfidia Beverly Hills is just like one

1888
01:43:55,800 --> 01:43:59,799
Speaker 5: of the most charismatic people in existence. You absolutely understand

1889
01:44:00,520 --> 01:44:03,640
Speaker 5: people follow her both because of her revolutionary commitment and

1890
01:44:03,760 --> 01:44:07,439
Speaker 5: because they find her so compelling. Sean Penn as like

1891
01:44:07,960 --> 01:44:12,439
Speaker 5: this kind of grotesque cartoon of masculine kind of like

1892
01:44:12,560 --> 01:44:16,639
Speaker 5: Insecurity you have, you know, Regina Hall as this kind

1893
01:44:16,680 --> 01:44:18,360
Speaker 5: of like the heart and conscious of the film. In

1894
01:44:18,400 --> 01:44:20,920
Speaker 5: some ways, I think Chase Infinity is like a great uh.

1895
01:44:21,960 --> 01:44:24,600
Speaker 5: It has an incredible debut. I think the idea of

1896
01:44:24,680 --> 01:44:28,240
Speaker 5: the Christmas Adventurers Club is so funny and so perfect

1897
01:44:28,360 --> 01:44:32,960
Speaker 5: and so like, you know, bitterly accurate in its own way.

1898
01:44:33,800 --> 01:44:36,639
Speaker 5: And I think that that Chase film, that Chase scene

1899
01:44:36,640 --> 01:44:38,160
Speaker 5: at the end is just one of those things where

1900
01:44:38,160 --> 01:44:40,360
Speaker 5: you're like you're feeling like someone is showing you something new.

1901
01:44:40,720 --> 01:44:44,200
Speaker 5: You know, It's just it's it's filmed in a way

1902
01:44:44,280 --> 01:44:46,920
Speaker 5: that like has is in conversation with on history. But

1903
01:44:46,960 --> 01:44:50,439
Speaker 5: it's also so exciting and so vertiginous and so just

1904
01:44:50,600 --> 01:44:55,040
Speaker 5: like unique. Uh. And I know that someone has already

1905
01:44:55,120 --> 01:44:56,640
Speaker 5: quibbled with the needle drop at the end, but I

1906
01:44:56,680 --> 01:44:59,040
Speaker 5: think that needle drop is perfect. Actually it is so grand.

1907
01:44:59,439 --> 01:45:02,280
Speaker 5: I agree, like I cried, you know, And I think

1908
01:45:02,840 --> 01:45:05,160
Speaker 5: it actually takes the full scope of the movie to

1909
01:45:05,720 --> 01:45:08,439
Speaker 5: earn a needle drop that is so potentially corny as that,

1910
01:45:08,560 --> 01:45:12,559
Speaker 5: and that is instead so moving. Yeah, I just I mean,

1911
01:45:12,600 --> 01:45:13,720
Speaker 5: it's the fule of the year for me.

1912
01:45:14,400 --> 01:45:16,799
Speaker 3: I am nothing to add. Seriously, that was a beautiful recap.

1913
01:45:16,880 --> 01:45:19,080
Speaker 3: It's I mean, I have you know, you can quibble, Yeah,

1914
01:45:19,120 --> 01:45:24,080
Speaker 3: I think. I think I think Sean Pan tiny slightly

1915
01:45:24,720 --> 01:45:29,400
Speaker 3: Sean Pan slightly unbalancing the film's narrative. I think because

1916
01:45:29,400 --> 01:45:32,280
Speaker 3: I think they overuse him. There's a couple of scenes

1917
01:45:32,320 --> 01:45:35,840
Speaker 3: of his that served exactly the same purpose twice, uh,

1918
01:45:36,120 --> 01:45:38,439
Speaker 3: you know, like twice over. And it's it's a very

1919
01:45:38,520 --> 01:45:43,479
Speaker 3: intense performance, also grotesquely funny, but it's it's I sometimes

1920
01:45:43,520 --> 01:45:47,400
Speaker 3: feel like they're slightly overexploiting their antagonist in the film.

1921
01:45:47,479 --> 01:45:50,479
Speaker 3: That's about it. That's my only problem. And I mean

1922
01:45:50,520 --> 01:45:52,640
Speaker 3: that's not a problem, because it's a pretty fierce and

1923
01:45:52,760 --> 01:45:56,120
Speaker 3: compelling performance. But it's just a beautiful movie to watch

1924
01:45:56,680 --> 01:45:59,320
Speaker 3: in a way. It's just you just realize that even

1925
01:45:59,360 --> 01:46:02,240
Speaker 3: when he struggle was a bit as a writer in

1926
01:46:02,360 --> 01:46:05,479
Speaker 3: his career. In my view, Paul Thomas Anderson is one

1927
01:46:05,520 --> 01:46:10,320
Speaker 3: of the most fluid, instinctive visual stylists we have ever

1928
01:46:10,680 --> 01:46:13,320
Speaker 3: have ever had. And I mean, he's a guy who

1929
01:46:13,360 --> 01:46:15,880
Speaker 3: believes in the in the magic of the long take

1930
01:46:15,960 --> 01:46:18,080
Speaker 3: that you don't really notice how long it is and

1931
01:46:18,240 --> 01:46:20,519
Speaker 3: just how damn hard I was to set up. And

1932
01:46:21,680 --> 01:46:24,080
Speaker 3: he's just great. I mean, I just watched this thing

1933
01:46:24,400 --> 01:46:27,040
Speaker 3: purely for the visual pleasure of it, and then I

1934
01:46:27,080 --> 01:46:29,120
Speaker 3: saw a second time for other reasons, you know, just

1935
01:46:29,200 --> 01:46:31,800
Speaker 3: to see it in vista vision. But yeah, no, it's

1936
01:46:31,840 --> 01:46:34,000
Speaker 3: my number one. I was actually looking to knock it out.

1937
01:46:34,280 --> 01:46:36,200
Speaker 3: I wanted it out of my number one slock because

1938
01:46:36,360 --> 01:46:38,200
Speaker 3: it was in there. From the minute I saw it,

1939
01:46:38,280 --> 01:46:40,760
Speaker 3: I thought, head it was close. But there we have it.

1940
01:46:40,880 --> 01:46:41,800
Speaker 3: I'm gonna shut up now.

1941
01:46:42,360 --> 01:46:44,760
Speaker 1: So Josh, I'm sure you have something insightful to say,

1942
01:46:44,840 --> 01:46:46,920
Speaker 1: and I will certainly give you a minute or two

1943
01:46:47,000 --> 01:46:49,040
Speaker 1: to say it if you would like to but I'm

1944
01:46:49,040 --> 01:46:50,720
Speaker 1: also going to throw out something because we are a

1945
01:46:50,760 --> 01:46:52,519
Speaker 1: little bit strapped for time. We have to make sure

1946
01:46:52,560 --> 01:46:55,360
Speaker 1: that one of our guests gets somewhere else. We have

1947
01:46:56,040 --> 01:46:58,280
Speaker 1: kept them for a very long time to do this show.

1948
01:46:58,760 --> 01:47:00,760
Speaker 1: I'm going to throw out an idea. There is still

1949
01:47:00,920 --> 01:47:04,160
Speaker 1: so much to talk about with this movie, and even

1950
01:47:04,200 --> 01:47:06,040
Speaker 1: though I put it at number two, I do believe

1951
01:47:06,080 --> 01:47:08,680
Speaker 1: it is the film of twenty twenty five, and I've

1952
01:47:08,720 --> 01:47:10,760
Speaker 1: only seen it once and I want to have more

1953
01:47:10,800 --> 01:47:12,720
Speaker 1: conversations about it. I think we should put on the

1954
01:47:12,800 --> 01:47:16,080
Speaker 1: docket to revisit one battle after another in twenty twenty six.

1955
01:47:17,080 --> 01:47:18,479
Speaker 2: Yeah, I mean, I'm happy to do that, but I

1956
01:47:18,520 --> 01:47:20,040
Speaker 2: got to talk about it here. It's my number one

1957
01:47:20,120 --> 01:47:26,240
Speaker 2: film of the year. I mean, I actually had a

1958
01:47:26,360 --> 01:47:29,120
Speaker 2: very different top ten list for this show. I was considering,

1959
01:47:29,360 --> 01:47:32,439
Speaker 2: and in honor of Wake Up dead Man, which my

1960
01:47:32,520 --> 01:47:33,800
Speaker 2: number six film of the year. By the way, I

1961
01:47:34,400 --> 01:47:36,400
Speaker 2: was going to call this my wake Up America list.

1962
01:47:37,040 --> 01:47:40,880
Speaker 2: I basically wanted all titles that spoke to what we've

1963
01:47:40,920 --> 01:47:44,840
Speaker 2: been facing since January of this year. I mean, we're

1964
01:47:44,880 --> 01:47:51,960
Speaker 2: facing the United States government wantonly wielding violence, abuse, corruption

1965
01:47:52,320 --> 01:47:55,320
Speaker 2: against its own citizens and others in ways that are

1966
01:47:55,439 --> 01:47:59,280
Speaker 2: unconstitutional and anti American. And I have a few titles

1967
01:47:59,360 --> 01:48:01,679
Speaker 2: on my exist top ten list we've already talked about

1968
01:48:02,479 --> 01:48:05,600
Speaker 2: that speak to this. I thought about just finding in

1969
01:48:05,640 --> 01:48:08,800
Speaker 2: my eleven to twenty, which I easily could a couple more,

1970
01:48:08,840 --> 01:48:10,640
Speaker 2: and just packing the list that way. I didn't go

1971
01:48:10,760 --> 01:48:14,200
Speaker 2: that direction. Didn't want to, you know, commandeer this entire

1972
01:48:14,280 --> 01:48:18,120
Speaker 2: show that way. But this is why One Battle after

1973
01:48:18,160 --> 01:48:21,000
Speaker 2: Another is my number one. It's foremost among them. I

1974
01:48:21,080 --> 01:48:23,519
Speaker 2: have no qualms about it as number one. This is

1975
01:48:23,560 --> 01:48:25,960
Speaker 2: a movie that understands the urgency of the moment, the

1976
01:48:26,160 --> 01:48:30,719
Speaker 2: idiocy of the moment, and most importantly to that needle

1977
01:48:30,760 --> 01:48:35,240
Speaker 2: drop Allison, the resiliency it's going to take to survive,

1978
01:48:35,880 --> 01:48:38,000
Speaker 2: let alone turn back the tide of the current moment.

1979
01:48:38,200 --> 01:48:41,639
Speaker 2: So I mean, I'll be honest, One Battle after another

1980
01:48:41,680 --> 01:48:43,439
Speaker 2: when it came out, it kind of saved me when

1981
01:48:43,479 --> 01:48:46,439
Speaker 2: I was on the verge of political despair. And that

1982
01:48:46,600 --> 01:48:48,360
Speaker 2: may not be a reason for a film critic to

1983
01:48:48,400 --> 01:48:51,080
Speaker 2: put it at number one, but you know what, these

1984
01:48:51,120 --> 01:48:54,000
Speaker 2: are strange times in all sorts of ways. So that's

1985
01:48:54,040 --> 01:48:57,920
Speaker 2: what I'm going to do. Yeah, by far, number one

1986
01:48:58,000 --> 01:48:58,519
Speaker 2: film of the year.

1987
01:48:58,960 --> 01:49:01,760
Speaker 1: Okay, well, I'm going to with hold my comments for later,

1988
01:49:01,920 --> 01:49:04,360
Speaker 1: and it will be fun because I actually have as

1989
01:49:04,439 --> 01:49:06,320
Speaker 1: much as I love the ending, and I don't disagree

1990
01:49:06,320 --> 01:49:11,440
Speaker 1: about the needle drop. I actually think there's something ambiguous

1991
01:49:11,680 --> 01:49:15,639
Speaker 1: slash ambivalent happening within that needle drop. I think there's

1992
01:49:15,720 --> 01:49:17,840
Speaker 1: just a lot to discuss with the film. So we

1993
01:49:17,960 --> 01:49:21,120
Speaker 1: will have to wait to have that conversation for another

1994
01:49:21,200 --> 01:49:25,200
Speaker 1: time because we do need to finish out our list

1995
01:49:25,320 --> 01:49:28,720
Speaker 1: one battle after another currently available vod We have not

1996
01:49:28,960 --> 01:49:32,400
Speaker 1: shared all of the titles that round out our list.

1997
01:49:32,520 --> 01:49:35,639
Speaker 1: There are a few other outliers now, it turns out,

1998
01:49:35,680 --> 01:49:38,519
Speaker 1: Michael Phillips, you don't have any other outliers.

1999
01:49:38,560 --> 01:49:39,679
Speaker 3: We've heard every title.

2000
01:49:40,560 --> 01:49:43,439
Speaker 1: We've heard every other title. But to help us transition

2001
01:49:43,600 --> 01:49:46,760
Speaker 1: into these outliers, Mariah Gates, who's been so great on

2002
01:49:46,840 --> 01:49:49,400
Speaker 1: our show these past couple of years, she has a

2003
01:49:49,520 --> 01:49:54,280
Speaker 1: pick that I cannot wait to watch. Let's hear from Mariah, Hi.

2004
01:49:54,880 --> 01:49:59,559
Speaker 12: Adam, Josh, Michael Allison, Sam and all you wonderful film

2005
01:49:59,640 --> 01:50:03,360
Speaker 12: spotting listeners out there in the dark. It's Maria, and

2006
01:50:04,200 --> 01:50:07,160
Speaker 12: it's been a great year for cinema. In my opinion,

2007
01:50:08,040 --> 01:50:10,840
Speaker 12: it's really hard to pick It's always really hard for

2008
01:50:10,920 --> 01:50:14,280
Speaker 12: me to pick a top film. But I saw this

2009
01:50:14,439 --> 01:50:19,560
Speaker 12: film at the Toronto International Film Festival and it impacted

2010
01:50:19,640 --> 01:50:23,280
Speaker 12: me so greatly that I didn't cry while watching it,

2011
01:50:23,360 --> 01:50:26,560
Speaker 12: but I definitely cried in the lobby of the multiplex

2012
01:50:27,439 --> 01:50:29,240
Speaker 12: and then I couldn't do anything for like four hours.

2013
01:50:29,400 --> 01:50:33,639
Speaker 12: And that's how you know the film is it's really

2014
01:50:33,880 --> 01:50:36,600
Speaker 12: impacted you, It's really gone deep inside of you. So

2015
01:50:36,920 --> 01:50:39,880
Speaker 12: this is Stepda Fharsi's put your soul on your hand

2016
01:50:39,960 --> 01:50:43,599
Speaker 12: and walk. I was fortunate enough to talk to Farsie

2017
01:50:43,640 --> 01:50:49,880
Speaker 12: about her film, her relationship with Fatamahusana, the photojournalist at

2018
01:50:49,920 --> 01:50:54,120
Speaker 12: the center of her beautiful film, and about her sort

2019
01:50:54,160 --> 01:50:58,640
Speaker 12: of intuitive filmmaking technique. And what I love about this

2020
01:50:58,880 --> 01:51:02,719
Speaker 12: film is not just that it is such a stark

2021
01:51:02,880 --> 01:51:10,400
Speaker 12: and beautiful and heartrending portrait of humanity and connection and resilience,

2022
01:51:11,160 --> 01:51:15,439
Speaker 12: but it's also a beautiful portrait of a friendship. And

2023
01:51:16,560 --> 01:51:20,000
Speaker 12: I think in the end, it's a humanist film. It's

2024
01:51:20,040 --> 01:51:25,719
Speaker 12: a film about knowing that despite all the horrors and everything,

2025
01:51:26,520 --> 01:51:31,080
Speaker 12: finding somebody who understands you and who shares your values

2026
01:51:31,120 --> 01:51:33,840
Speaker 12: and shares your view of the world is the most

2027
01:51:33,880 --> 01:51:37,519
Speaker 12: important thing and in the end, being there for that person,

2028
01:51:37,640 --> 01:51:40,320
Speaker 12: whether it's over the internet or if you're able to

2029
01:51:40,640 --> 01:51:43,280
Speaker 12: in person, and unfortunately these two women were never able

2030
01:51:43,360 --> 01:51:46,439
Speaker 12: to meet in person. That is the thing that has

2031
01:51:46,560 --> 01:51:50,479
Speaker 12: value in this world, not money, not influence on anything else.

2032
01:51:50,560 --> 01:51:53,519
Speaker 12: It's that connection and that shared humanity.

2033
01:51:54,360 --> 01:51:58,840
Speaker 1: So I leave you with this, Alison, you are actually

2034
01:51:58,920 --> 01:52:02,439
Speaker 1: the one who has the most titles that did not

2035
01:52:02,680 --> 01:52:05,639
Speaker 1: make another list. You have three we have not heard

2036
01:52:05,680 --> 01:52:08,040
Speaker 1: about yet one in passing. But why don't you share

2037
01:52:08,400 --> 01:52:11,000
Speaker 1: with the audience these three films and where they landed

2038
01:52:11,080 --> 01:52:11,240
Speaker 1: for you?

2039
01:52:11,760 --> 01:52:11,960
Speaker 2: Yeah?

2040
01:52:11,960 --> 01:52:14,400
Speaker 5: I do love a wild card list. One of these

2041
01:52:15,080 --> 01:52:17,559
Speaker 5: My number ten pick is full un cheating. I will

2042
01:52:17,600 --> 01:52:21,080
Speaker 5: absolutely wear that with honor. It is a trilogy, but

2043
01:52:21,160 --> 01:52:24,479
Speaker 5: they are very much like I think they exist as

2044
01:52:24,720 --> 01:52:27,320
Speaker 5: in conversation ways that made me made it hard for

2045
01:52:27,439 --> 01:52:29,559
Speaker 5: me to decide that one was like stronger than another.

2046
01:52:29,600 --> 01:52:32,519
Speaker 5: They felt like they okay together. It's three films by

2047
01:52:32,720 --> 01:52:35,880
Speaker 5: dog Johann Huggerud. I hope I'm saying that anywhere near

2048
01:52:36,000 --> 01:52:38,960
Speaker 5: the way it's supposed to another Norwegian filmmaker. It's a

2049
01:52:39,040 --> 01:52:43,280
Speaker 5: trilogy sex, love and dreams, and each one is a

2050
01:52:43,400 --> 01:52:48,120
Speaker 5: different scripted film set in Oslo, and each of them

2051
01:52:48,200 --> 01:52:55,320
Speaker 5: is kind of about characters essentially like dealing with rethinking

2052
01:52:55,400 --> 01:52:59,519
Speaker 5: their ideas about relationships. I think the easiest way to

2053
01:52:59,560 --> 01:53:02,479
Speaker 5: describe would be to talk about my favorite was love

2054
01:53:02,640 --> 01:53:04,240
Speaker 5: I think of the three, but the easiest way to

2055
01:53:04,280 --> 01:53:06,800
Speaker 5: describe it is to talk about sex, which is the

2056
01:53:06,920 --> 01:53:10,360
Speaker 5: first one. And there's just about two middle aged men

2057
01:53:10,720 --> 01:53:13,679
Speaker 5: who are both married to women and both her families

2058
01:53:14,240 --> 01:53:18,320
Speaker 5: who find themselves kind of questioning their sexual and general identities,

2059
01:53:19,360 --> 01:53:23,080
Speaker 5: kind of like unexpectedly, when one starts having dreams in

2060
01:53:23,160 --> 01:53:25,920
Speaker 5: which a character who is somehow both David Bowie and

2061
01:53:26,040 --> 01:53:28,559
Speaker 5: God looks at him and sees him as a woman.

2062
01:53:28,680 --> 01:53:30,839
Speaker 5: He's aware in these dreams and he's kind of wrestling

2063
01:53:30,880 --> 01:53:35,120
Speaker 5: with what that means. And then another one very randomly

2064
01:53:35,360 --> 01:53:37,439
Speaker 5: has sex with a man for the first time in

2065
01:53:37,520 --> 01:53:40,840
Speaker 5: his life, an incident that he seems to have spontaneously

2066
01:53:40,880 --> 01:53:43,400
Speaker 5: agreed to, and then tells his wife, who is much

2067
01:53:43,479 --> 01:53:45,519
Speaker 5: more upset than he is. He kind of sees it

2068
01:53:45,600 --> 01:53:48,439
Speaker 5: as a one off that was just kind of something

2069
01:53:48,479 --> 01:53:51,799
Speaker 5: he decided to try, and it kind of then starts

2070
01:53:51,960 --> 01:53:55,160
Speaker 5: having reverberations through their marriage. But like these films are

2071
01:53:55,240 --> 01:53:59,080
Speaker 5: just so gentle and tender, even as they're about people

2072
01:53:59,200 --> 01:54:02,120
Speaker 5: kind of pushing the previously internalized ideas of who they

2073
01:54:02,160 --> 01:54:06,720
Speaker 5: are and how their relationships work further. They are I think,

2074
01:54:06,840 --> 01:54:09,639
Speaker 5: just like really wonderful. And these were movies I caught

2075
01:54:09,720 --> 01:54:11,760
Speaker 5: up after they were in theaters, kind of after they

2076
01:54:11,800 --> 01:54:15,160
Speaker 5: were in theaters, but I just I loved And then

2077
01:54:15,520 --> 01:54:17,880
Speaker 5: I had mentioned previously, but my number eight is Sound

2078
01:54:18,000 --> 01:54:21,240
Speaker 5: of Falling, a German film that is about four generations

2079
01:54:21,320 --> 01:54:24,680
Speaker 5: of families in the same farmhouse in the Altmark, in

2080
01:54:24,720 --> 01:54:28,200
Speaker 5: the kind of countryside in Germany. It is this kind

2081
01:54:28,240 --> 01:54:31,960
Speaker 5: of kaleidoscopic film that starts in the earliest days, which

2082
01:54:32,040 --> 01:54:34,880
Speaker 5: is like kind of right before World War Two, but

2083
01:54:35,000 --> 01:54:38,600
Speaker 5: then it keeps like blending together. Then these different eras,

2084
01:54:38,760 --> 01:54:41,160
Speaker 5: and most of them are seen through these young women

2085
01:54:41,800 --> 01:54:43,960
Speaker 5: in the families, some of whom are just children and

2086
01:54:44,000 --> 01:54:47,200
Speaker 5: some of them whom are teenagers, and it becomes this

2087
01:54:47,520 --> 01:54:51,080
Speaker 5: almost like a kind of private history of women. You know,

2088
01:54:51,400 --> 01:54:54,560
Speaker 5: much larger events are happening in the background, but these

2089
01:54:54,600 --> 01:54:57,600
Speaker 5: are about all the kind of personal revelations that these

2090
01:54:57,640 --> 01:55:00,640
Speaker 5: women have and sometimes the ways in w they learn

2091
01:55:00,880 --> 01:55:04,840
Speaker 5: about the treatment of women in their respective periods and societies,

2092
01:55:05,440 --> 01:55:11,320
Speaker 5: oftentimes very brutally. It's just a gorgeous, singular, weird movie.

2093
01:55:11,720 --> 01:55:15,600
Speaker 5: It slips between eras, it's just very sensory. I thought

2094
01:55:15,640 --> 01:55:18,480
Speaker 5: it was just incredibly impressive. And then my last one

2095
01:55:18,600 --> 01:55:21,920
Speaker 5: was April, which is a film from Georgia directed by

2096
01:55:22,040 --> 01:55:25,760
Speaker 5: Da Kulim Bagashvili, and it is a film about it

2097
01:55:25,840 --> 01:55:28,320
Speaker 5: ob g o I n in rural Georgia, the country

2098
01:55:28,880 --> 01:55:33,480
Speaker 5: who kind of quietly provides abortions to women which are

2099
01:55:33,560 --> 01:55:36,640
Speaker 5: like legal there but like still very morally or kind

2100
01:55:36,680 --> 01:55:42,080
Speaker 5: of like society societally frowned upon, and provides treatment for these,

2101
01:55:42,600 --> 01:55:47,400
Speaker 5: you know, teenagers who've been married, for women who have

2102
01:55:47,480 --> 01:55:50,880
Speaker 5: not previously received any kind of prenatal treatment. And it

2103
01:55:51,000 --> 01:55:55,680
Speaker 5: is this incredible performance. Yes, Sukes really is the main

2104
01:55:55,840 --> 01:55:58,640
Speaker 5: the actress. It is just about someone who is just

2105
01:55:58,760 --> 01:56:02,960
Speaker 5: absorbing all of the kind of like abuse and kind

2106
01:56:03,000 --> 01:56:05,560
Speaker 5: of like all of these terrible secrets and the ways

2107
01:56:05,600 --> 01:56:07,920
Speaker 5: in which it manifests in this vision of herself as

2108
01:56:08,000 --> 01:56:10,760
Speaker 5: this monster, while at the same time she continues to

2109
01:56:10,800 --> 01:56:13,680
Speaker 5: do this work for the women in the community that

2110
01:56:13,840 --> 01:56:17,560
Speaker 5: is so necessary. And it's against this stunningly beautiful backdrop

2111
01:56:17,600 --> 01:56:21,920
Speaker 5: of the Caucasus Mountains. Yeah, I loved it, and it

2112
01:56:22,040 --> 01:56:23,400
Speaker 5: was I film I thought earlier in the year and

2113
01:56:23,480 --> 01:56:25,560
Speaker 5: has just stuck with me. So that's the rest of

2114
01:56:25,640 --> 01:56:25,960
Speaker 5: my list.

2115
01:56:26,160 --> 01:56:29,080
Speaker 1: Okay, Josh, the floor is yours. For two titles that

2116
01:56:29,160 --> 01:56:29,960
Speaker 1: haven't come up yet.

2117
01:56:30,680 --> 01:56:33,240
Speaker 2: Yeah, I had at number ten highest to Lois Spike.

2118
01:56:33,320 --> 01:56:35,440
Speaker 2: Lee still got it even even when he's making an

2119
01:56:35,440 --> 01:56:39,120
Speaker 2: old man movie. Love that one. And at number six,

2120
01:56:39,160 --> 01:56:42,640
Speaker 2: as I mentioned, wake Up dead Man, a knives out mystery.

2121
01:56:42,800 --> 01:56:47,200
Speaker 2: I think actually we have a voicemail from Tasha Robinson,

2122
01:56:47,280 --> 01:56:49,560
Speaker 2: one of our friends at the Next Picture Show who

2123
01:56:49,680 --> 01:56:51,680
Speaker 2: also touches on Wake Up dead Man.

2124
01:56:52,120 --> 01:56:54,680
Speaker 9: Hey, film's fun and Crew. It's Tasha Robinson from your

2125
01:56:54,720 --> 01:56:57,520
Speaker 9: Sister podcast The Next Picture Show. As of this recording,

2126
01:56:57,560 --> 01:56:59,440
Speaker 9: my number one movie in the year is Ryan Johnson's

2127
01:56:59,440 --> 01:57:01,440
Speaker 9: Wake Up dead Man. But I imagine you're going to

2128
01:57:01,440 --> 01:57:03,120
Speaker 9: get a fair number of votes for that one, So

2129
01:57:03,160 --> 01:57:05,000
Speaker 9: I'm going to take the option you offered to boost

2130
01:57:05,000 --> 01:57:06,800
Speaker 9: a different movie that could use a little more spotlight

2131
01:57:06,880 --> 01:57:09,680
Speaker 9: this year, and that's Bill Condon's Kiss of the Spider Woman.

2132
01:57:10,040 --> 01:57:12,600
Speaker 9: I think for cinophiles, movies that adapt Broadway shows can

2133
01:57:12,640 --> 01:57:14,480
Speaker 9: be a tough sell, and even more so in this

2134
01:57:14,640 --> 01:57:17,240
Speaker 9: year of our Lord, Wicked for good and a movie

2135
01:57:17,360 --> 01:57:20,520
Speaker 9: adapting a Broadway show adapting much respected earlier movie adapting

2136
01:57:20,560 --> 01:57:22,960
Speaker 9: a novel is a lot of layers for anyone, but

2137
01:57:23,120 --> 01:57:25,720
Speaker 9: regardless of its origins, for me, Kiss of the Spider

2138
01:57:25,760 --> 01:57:29,080
Speaker 9: Woman was a pure cinematic experience, a deeply felt musical

2139
01:57:29,160 --> 01:57:31,360
Speaker 9: love story that's also a love letter to the movies

2140
01:57:31,560 --> 01:57:34,960
Speaker 9: Diego Luna and Breakout Star. Tonatia play inmates enduring rough

2141
01:57:35,000 --> 01:57:38,480
Speaker 9: and potentially lethal conditions in an Argentinian prison to take

2142
01:57:38,520 --> 01:57:40,760
Speaker 9: their minds off their suffering and to work his way

2143
01:57:40,760 --> 01:57:44,560
Speaker 9: into his cellmate's good graces. Tonatia's character, Molina, describes the

2144
01:57:44,560 --> 01:57:46,680
Speaker 9: plot of his favorite movie, which plays out on the

2145
01:57:46,720 --> 01:57:50,360
Speaker 9: screen in glorious dream theater fashion, with Condon slyly showing

2146
01:57:50,400 --> 01:57:53,000
Speaker 9: us how Molina imagines himself and his cellmate fitting to

2147
01:57:53,080 --> 01:57:55,640
Speaker 9: the story as well. Jennifer Lopez is the star of

2148
01:57:55,680 --> 01:57:57,440
Speaker 9: that movie within a movie seems to be getting all

2149
01:57:57,440 --> 01:58:01,320
Speaker 9: the potential awards love, but for me, Tonatia's multifaceted performance

2150
01:58:01,400 --> 01:58:03,720
Speaker 9: is the real standout here. Through him, Kiss of the

2151
01:58:03,720 --> 01:58:06,520
Speaker 9: Spider Woman captures how we project our own fantasies, onto

2152
01:58:06,520 --> 01:58:09,040
Speaker 9: the movies we love and how Hollywood glamour can go

2153
01:58:09,120 --> 01:58:12,040
Speaker 9: beyond being a momentary escape. It's a timely film about

2154
01:58:12,040 --> 01:58:15,400
Speaker 9: political protest and resistance, a winning queer love story and

2155
01:58:15,440 --> 01:58:18,240
Speaker 9: an era that needs one, and a big, shiny spectacle

2156
01:58:18,280 --> 01:58:20,560
Speaker 9: movie about why we love the movies. I hope we'll

2157
01:58:20,600 --> 01:58:23,120
Speaker 9: see more of it as award season unfolds. Thanks for

2158
01:58:23,200 --> 01:58:25,160
Speaker 9: everything you do, and here's to twenty twenty six of

2159
01:58:25,200 --> 01:58:25,600
Speaker 9: the movies.

2160
01:58:26,080 --> 01:58:28,840
Speaker 1: Tasha a big fan, obviously wake Up Dead Man her

2161
01:58:28,960 --> 01:58:33,920
Speaker 1: number one, but then singing the praises almost singing literally

2162
01:58:34,000 --> 01:58:36,839
Speaker 1: the praises of Kiss of the Spider Woman, the remake,

2163
01:58:37,120 --> 01:58:40,120
Speaker 1: a movie I did not see this year, and I'm

2164
01:58:40,120 --> 01:58:43,040
Speaker 1: going to be totally honest, I really didn't have any

2165
01:58:43,120 --> 01:58:47,680
Speaker 1: interest in seeing. But after hearing how passionate Tasha was

2166
01:58:47,720 --> 01:58:51,240
Speaker 1: about that film, I'm now really eager to see it.

2167
01:58:52,960 --> 01:58:56,320
Speaker 1: This is a movie that was not on my radar

2168
01:58:56,440 --> 01:58:58,840
Speaker 1: to check out at all. So you can always count

2169
01:58:58,880 --> 01:59:01,720
Speaker 1: on Tasha too. So, as you said earlier, Alison, to

2170
01:59:02,160 --> 01:59:03,480
Speaker 1: you know you had a little bit of a wild

2171
01:59:03,560 --> 01:59:05,480
Speaker 1: card list. You know, Tasha is going to have some

2172
01:59:05,600 --> 01:59:07,960
Speaker 1: wild card picks. And there she is with Kiss of

2173
01:59:08,000 --> 01:59:11,080
Speaker 1: the Spider Woman. Okay, well, speaking of wild Card, I've

2174
01:59:11,120 --> 01:59:13,720
Speaker 1: got one and it's the only film that hasn't been

2175
01:59:13,800 --> 01:59:19,560
Speaker 1: mentioned yet. Joel Petrichis, writer, director, co Star is going

2176
01:59:19,640 --> 01:59:23,520
Speaker 1: to make my list at number ten. It was one

2177
01:59:23,560 --> 01:59:26,480
Speaker 1: of my favorite films of the year at the halfway point,

2178
01:59:27,080 --> 01:59:29,880
Speaker 1: and it is still going to make my list here

2179
01:59:30,120 --> 01:59:35,400
Speaker 1: at number ten. It is vulcan Iasidora Traumatic. Two friends

2180
01:59:36,280 --> 01:59:39,680
Speaker 1: venture into the Michigan forest and the plot subray says

2181
01:59:39,720 --> 01:59:44,200
Speaker 1: they're intent on carrying out a disturbing pact. Yes, they are,

2182
01:59:44,600 --> 01:59:47,280
Speaker 1: it doesn't it doesn't go well. The two friends are

2183
01:59:47,320 --> 01:59:51,120
Speaker 1: played by Joshua Burge and Patricas. As I mentioned, they're

2184
01:59:51,120 --> 01:59:54,840
Speaker 1: both playing characters that they've played in other Patrichis film,

2185
01:59:54,920 --> 01:59:57,360
Speaker 1: so they're part of the same universe. Though I don't

2186
01:59:57,400 --> 02:00:01,560
Speaker 1: remember Patricas's character quite frankly, but I remember Burge his

2187
02:00:01,760 --> 02:00:06,240
Speaker 1: Marty Jacketanski from Buzzard. And these are characters who have

2188
02:00:06,400 --> 02:00:09,680
Speaker 1: made and they're haunted by bad choices from their past,

2189
02:00:09,760 --> 02:00:12,080
Speaker 1: and they have this plan that we don't know until

2190
02:00:12,480 --> 02:00:15,800
Speaker 1: a good way into the film. And when that plan

2191
02:00:16,200 --> 02:00:19,240
Speaker 1: doesn't go well, the guilt one of them feels is

2192
02:00:19,880 --> 02:00:26,000
Speaker 1: really taken to a very heightened level. You have guys

2193
02:00:26,040 --> 02:00:28,960
Speaker 1: who are in a state of I suppose arrested development.

2194
02:00:29,000 --> 02:00:31,200
Speaker 1: They're misfits. They're not fully able to grow up and

2195
02:00:31,280 --> 02:00:33,560
Speaker 1: be the man or the friends, or the husbands or

2196
02:00:33,600 --> 02:00:37,160
Speaker 1: the dads that they probably should be. And I was

2197
02:00:37,240 --> 02:00:40,120
Speaker 1: talking to Joel betrike Us a little bit over email

2198
02:00:40,160 --> 02:00:42,400
Speaker 1: about the movie and his son is in the movie,

2199
02:00:42,480 --> 02:00:45,720
Speaker 1: and I mentioned to him that it feels like a

2200
02:00:45,800 --> 02:00:49,600
Speaker 1: coming to terms with being a dad movie. And he

2201
02:00:50,000 --> 02:00:52,120
Speaker 1: told me a little bit about some of the anxieties

2202
02:00:52,760 --> 02:00:55,440
Speaker 1: that he was wrestling with in the movie, and he said,

2203
02:00:55,440 --> 02:01:00,160
Speaker 1: it's definitely my dad fear movie. And he took all

2204
02:01:00,240 --> 02:01:02,960
Speaker 1: these anxieties and balled them all up into, as he

2205
02:01:03,120 --> 02:01:07,440
Speaker 1: called it, this one uplifting sweet story. It is not

2206
02:01:07,480 --> 02:01:10,200
Speaker 1: an uplifting sweet story, but Josh, we both agreed it is.

2207
02:01:10,560 --> 02:01:13,600
Speaker 1: It is a wild and at times disturbing, but also

2208
02:01:14,400 --> 02:01:17,560
Speaker 1: a very moving, moving stories, profound at times.

2209
02:01:17,840 --> 02:01:19,520
Speaker 2: Had a shot at my list as well, and is

2210
02:01:19,960 --> 02:01:21,560
Speaker 2: right there in the eleven to twenty for sure.

2211
02:01:22,240 --> 02:01:26,000
Speaker 1: Okay, Lolcanisidora making my list at number ten? You can

2212
02:01:26,040 --> 02:01:29,160
Speaker 1: find our complete top ten lists, all of these picks

2213
02:01:29,520 --> 02:01:32,440
Speaker 1: in order, All of our special guest voicemailers, maybe even

2214
02:01:32,760 --> 02:01:35,800
Speaker 1: some of the clips that you heard as well. Just

2215
02:01:35,880 --> 02:01:39,280
Speaker 1: go to film spotting dot net click on lists. That

2216
02:01:39,720 --> 02:01:43,640
Speaker 1: is our show, Michael Phillips. Let's start with you, thank

2217
02:01:43,720 --> 02:01:47,760
Speaker 1: you so much for once again nineteenth year in a row.

2218
02:01:47,800 --> 02:01:54,120
Speaker 1: You should get a medal or something, certainly. Yeah, yeah,

2219
02:01:54,200 --> 02:01:57,680
Speaker 1: let's commemorate that for that. We will, we will will

2220
02:01:57,720 --> 02:01:58,320
Speaker 1: say thanks.

2221
02:01:58,680 --> 02:01:58,880
Speaker 2: Thanks.

2222
02:01:59,320 --> 02:02:01,560
Speaker 3: There's great many more to catch up on it. I'm

2223
02:02:01,600 --> 02:02:02,920
Speaker 3: happy to look forward to them.

2224
02:02:03,000 --> 02:02:05,400
Speaker 1: So yeah, thanks, tell us and tell our audience where

2225
02:02:05,800 --> 02:02:07,800
Speaker 1: maybe they can I don't know where can they find you?

2226
02:02:07,800 --> 02:02:09,360
Speaker 1: Where should they check you out? Are you on the

2227
02:02:09,440 --> 02:02:10,440
Speaker 1: socials these days?

2228
02:02:10,600 --> 02:02:10,760
Speaker 2: Yeah?

2229
02:02:10,760 --> 02:02:14,160
Speaker 3: A little, you know, less and less. It's it's I'm

2230
02:02:14,280 --> 02:02:21,440
Speaker 3: mainly for now the study presence on w FT's show soundtrack,

2231
02:02:22,080 --> 02:02:23,960
Speaker 3: and I'm doing a little more work for w FMT

2232
02:02:24,160 --> 02:02:28,600
Speaker 3: coming up, so you'll hear me, you know, talking not writing.

2233
02:02:28,720 --> 02:02:30,640
Speaker 3: I think it's a boring thing to be on the

2234
02:02:30,760 --> 02:02:33,400
Speaker 3: radio just writing, so I'm going to talk instead.

2235
02:02:34,000 --> 02:02:38,840
Speaker 1: Fair. Thank you Michael Allison Wilmore. Such a treat, such

2236
02:02:38,880 --> 02:02:41,720
Speaker 1: a pleasure to finally get to do this with you.

2237
02:02:41,880 --> 02:02:43,520
Speaker 5: So happy I got to you finally.

2238
02:02:44,120 --> 02:02:48,440
Speaker 1: Yeah, where can listeners and viewers find more of your work.

2239
02:02:48,800 --> 02:02:53,520
Speaker 5: You can find my writing at Vulture dot com. I'm

2240
02:02:53,560 --> 02:02:56,720
Speaker 5: going to be doing a a it was just announced

2241
02:02:56,800 --> 02:03:01,440
Speaker 5: a just announced big Yes, a mini series ease spin

2242
02:03:01,520 --> 02:03:05,600
Speaker 5: off of the blank Check podcast called Critical Darlings with

2243
02:03:05,760 --> 02:03:09,280
Speaker 5: Richard Lawson, my good friend and an amazing fellow critic.

2244
02:03:09,960 --> 02:03:12,800
Speaker 5: So you can find that in the blank Check podcast feed.

2245
02:03:14,160 --> 02:03:17,280
Speaker 5: That's gonna be happening very soon, our first episode. And

2246
02:03:17,920 --> 02:03:20,200
Speaker 5: I'm not really on the socials either. I guess I'm

2247
02:03:20,280 --> 02:03:23,400
Speaker 5: technically on Blue Sky, but I'm not really on Blue Sky.

2248
02:03:24,120 --> 02:03:26,800
Speaker 5: But if you want to follow my dog on Instagram,

2249
02:03:26,960 --> 02:03:29,320
Speaker 5: that's really the only social media I'm doing right now.

2250
02:03:29,440 --> 02:03:37,760
Speaker 5: It's Instagram dot com slash Samo the dog. So no,

2251
02:03:38,040 --> 02:03:40,760
Speaker 5: he's not a good I love him. He's like a

2252
02:03:40,960 --> 02:03:42,120
Speaker 5: very naughty dog.

2253
02:03:42,240 --> 02:03:44,120
Speaker 2: So naughty dog good Instagram.

2254
02:03:44,960 --> 02:03:45,320
Speaker 5: There you go.

2255
02:03:46,200 --> 02:03:49,360
Speaker 1: Thank you, Alison, and again thank you Michael. Hope to

2256
02:03:49,440 --> 02:03:50,880
Speaker 1: do it again next year.

2257
02:03:52,280 --> 02:03:54,400
Speaker 2: If you'd like to connect with us on social media,

2258
02:03:54,480 --> 02:03:59,760
Speaker 2: you can find Adam and the show on Instagram, Facebook, letterboxed, YouTube.

2259
02:04:00,160 --> 02:04:02,800
Speaker 2: He is at film spotting. I'm at those places as

2260
02:04:02,960 --> 02:04:07,160
Speaker 2: Larsen on film. We are independently produced and listeners supported.

2261
02:04:07,280 --> 02:04:09,840
Speaker 2: You can support the show by joining the film Spotting Family.

2262
02:04:09,960 --> 02:04:13,200
Speaker 2: At film spottingfamily dot com. You can listen early and

2263
02:04:13,280 --> 02:04:16,920
Speaker 2: ad free. You'll also get a weekly newsletter, monthly bonus episodes,

2264
02:04:17,000 --> 02:04:20,320
Speaker 2: and access to the entire show archive. For show t

2265
02:04:20,480 --> 02:04:22,760
Speaker 2: shirts and other merch go to film spotting dot net

2266
02:04:23,000 --> 02:04:25,000
Speaker 2: slash shop out wide.

2267
02:04:25,120 --> 02:04:29,760
Speaker 1: This weekend, you can see Avatar Fire and Ash. I

2268
02:04:29,960 --> 02:04:33,480
Speaker 1: said last time, I was done with this series, and

2269
02:04:33,720 --> 02:04:36,560
Speaker 1: somehow Josh Larson is trying to pull me back in.

2270
02:04:37,000 --> 02:04:39,000
Speaker 1: He's saying, you have to review this movie.

2271
02:04:39,080 --> 02:04:39,520
Speaker 2: I don't know.

2272
02:04:39,960 --> 02:04:40,360
Speaker 1: I don't know.

2273
02:04:41,080 --> 02:04:43,360
Speaker 2: Commit to Pandora Adam, Yeah.

2274
02:04:43,880 --> 02:04:47,400
Speaker 1: Wow, Sidney Sweeney and Amanda Seyfried are in The Housemaid,

2275
02:04:47,640 --> 02:04:50,800
Speaker 1: directed by Paul fig And you know what, of the three,

2276
02:04:51,080 --> 02:04:55,920
Speaker 1: I would definitely rather watch the SpongeBob movie Search for SquarePants?

2277
02:04:56,000 --> 02:04:56,840
Speaker 1: Can we review that?

2278
02:04:57,480 --> 02:04:58,960
Speaker 2: I mean, I would love to hear your thoughts.

2279
02:04:59,480 --> 02:05:02,920
Speaker 1: Okay, Christmas Day you can see Jack Black and Paul

2280
02:05:03,000 --> 02:05:05,160
Speaker 1: Rudd and and a Kanda. You can see Timothy shallow

2281
02:05:05,160 --> 02:05:07,920
Speaker 1: May in the number nine movie of the Year according

2282
02:05:08,000 --> 02:05:11,480
Speaker 1: Dallas and Wilmore in Josh Saftie's Marty Supreme Very Good movie,

2283
02:05:11,600 --> 02:05:15,160
Speaker 1: and Hugh Jackman and Kate Hudson and Craig Brewer's song

2284
02:05:15,280 --> 02:05:19,840
Speaker 1: Sung Blue. I recommend Song Sung Blue, crowd pleaser legit

2285
02:05:20,400 --> 02:05:24,880
Speaker 1: worth seeing Christmas Day in limited release on Christmas Day,

2286
02:05:25,240 --> 02:05:27,320
Speaker 1: one of my favorite films of the year, Park Chenook's

2287
02:05:27,360 --> 02:05:31,080
Speaker 1: No Other Choice. You can also see Bradley Cooper's Is

2288
02:05:31,200 --> 02:05:35,880
Speaker 1: This Thing on? I am I'm pro? Is this Thing on?

2289
02:05:36,400 --> 02:05:41,160
Speaker 1: Josh not emphatically pro, I'm pro It's worth.

2290
02:05:41,040 --> 02:05:47,480
Speaker 2: So prioritize song Sung Blue. Then SpongeBob movie search for SquarePants, and.

2291
02:05:47,640 --> 02:05:50,560
Speaker 1: I mean, it's definitely no other choice than Marty Supreme

2292
02:05:50,640 --> 02:05:53,720
Speaker 1: and then the way down there you can, you know,

2293
02:05:54,400 --> 02:05:57,720
Speaker 1: go to go to song Sung Blue? Next, then SpongeBob,

2294
02:05:58,160 --> 02:05:59,560
Speaker 1: How's that? Even though I haven't seen it.

2295
02:06:00,000 --> 02:06:02,560
Speaker 2: Film Spotting is produced by Golden Joe Desso and Sam

2296
02:06:02,720 --> 02:06:05,640
Speaker 2: Van Colgren. Without Sam and Golden Joe, this show wouldn't go.

2297
02:06:06,200 --> 02:06:09,800
Speaker 2: Our production assistant is Sophie Kempanar special thanks to everyone

2298
02:06:09,840 --> 02:06:14,600
Speaker 2: at WBEZ Chicago. More information is available at wbez dot

2299
02:06:14,760 --> 02:06:18,520
Speaker 2: org for Film Spotting. I'm Josh Larson and I'm Adam Kempinar.

2300
02:06:18,760 --> 02:06:19,560
Speaker 2: Thanks for listening.

2301
02:06:19,840 --> 02:06:22,800
Speaker 12: This conversation can serve no purpose anymore.

2302
02:06:23,680 --> 02:06:24,440
Speaker 2: The fine.

2303
02:06:32,600 --> 02:06:35,520
Speaker 1: Film spotting is listeners supported. Join the film Spotting Family

2304
02:06:35,640 --> 02:06:38,400
Speaker 1: at film spottingfamily dot com and get access to ad

2305
02:06:38,560 --> 02:06:41,960
Speaker 1: free episodes, monthly bonus shows, our weekly newsletter, and, for

2306
02:06:42,040 --> 02:06:44,680
Speaker 1: the first time, all in one place, the entire film

2307
02:06:44,720 --> 02:06:47,360
Speaker 1: spotting archive going back to two thousand and five. That's

2308
02:06:47,400 --> 02:06:49,160
Speaker 1: a film spotting Family dot com

2309
02:06:52,120 --> 02:06:52,600
Speaker 5: Panically