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Speaker 1: Hi, Casey, how are you? Oh?

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Speaker 2: Really, this is a tough time of year. It's January.

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Speaker 2: The treads the dregs, it's cold, it's snowing NonStop. I've

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Speaker 2: had to snow blow like four times this week. Oh no,

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Speaker 2: it's just it's yeah, it's just a really unpleasant time

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Speaker 2: of year. I don't know. How are you doing? How

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Speaker 2: are you hanging in there?

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Speaker 1: Well? I feel you. January is always a really hard month.

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Speaker 1: I think for a lot of people, especially me, it

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Speaker 1: feels like you've had your party, you've had your good times,

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Speaker 1: and now you're back at home. All your friends went

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Speaker 1: back home, and then you're just like, wow, there's nothing

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Speaker 1: to look forward to for months.

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Speaker 2: And I think it's hard in wintery places too, And

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Speaker 2: I'm sure you experienced this somewhat in Georgia, but it's like,

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Speaker 2: oh the winter is like chilly and cold, but there's

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Speaker 2: no celebrat anymore. You know, it's like not for anything anymore.

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Speaker 1: So yeah, and you have like one holiday in between

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Speaker 1: now in the spring. But that's really kind of it,

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Speaker 1: and it's it's it.

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Speaker 2: It sucks.

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Speaker 1: It's a real grind to come back to work and uh,

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Speaker 1: it be cold and miserable and dark.

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Speaker 2: So yeah, is there any way is it? Do you

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Speaker 2: have any like things you do to like combat that,

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Speaker 2: or is there anything that's like, you know, brightening your days?

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Speaker 1: Yeah?

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Speaker 2: These days.

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Speaker 1: Well, it's funny that you should mention this because I

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Speaker 1: really decided to take the bull by the horns this year,

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Speaker 1: and I decided, you know what, in order to combat

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Speaker 1: this seasonal depression and loneliness and darkness, I'm going to

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Speaker 1: start a K pop band.

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Speaker 2: Oh, You're going to start a K pop band?

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Speaker 3: Oh?

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Speaker 1: I already have. I've already started started a K pop band.

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Speaker 1: I soft launched it. And I mean when I say

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Speaker 1: soft launched, I mean I told pretty much nobody that

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Speaker 1: I'm in a band. And really this is kind of

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Speaker 1: the big reveal.

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Speaker 2: To this is a big reveal. So you since the

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Speaker 2: last time I saw you, you started a K pop band. Wow,

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Speaker 2: you were really aggressive on this. I does it have

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Speaker 2: a name? We're called infinite T infinite T. Yeah, E infinity.

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Speaker 1: But I mean you do the math smarty pants E

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Speaker 1: n F I had E T. That's word one, okay,

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Speaker 1: and then T is the second word. Isn't that club?

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Speaker 2: Wow? That's good? Really, that's good and Are you in

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Speaker 2: this band? You're dancing and singing?

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Speaker 1: You bet? I am.

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Speaker 2: What's your role in the band? Are you the cute one?

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Speaker 1: No, I'm the rapper.

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Speaker 2: Rapper.

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Speaker 1: Listen, there's twenty seven members. Holy shit, in Infinite t

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Speaker 1: there's twenty seven members. So there's just kind of a

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Speaker 1: middle sized K pop group, right that's in the mid

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Speaker 1: It could be some would call it light. Twenty seven

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Speaker 1: members though, so you know there's different There's many rappers,

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Speaker 1: there's and he's saying, er, there's many cute ones, but

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Speaker 1: I'm the main rapper. I think you know why, because

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Speaker 1: I am an excellent rapper.

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Speaker 2: You got those bars?

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Speaker 1: You didn't know that, did you?

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Speaker 2: I didn't. I guess I didn't. It hasn't been it

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Speaker 2: hasn't been a skill that's really showed up on the

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Speaker 2: podcast so far.

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Speaker 1: So well, we've already recorded, like we have two EPs

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Speaker 1: and then we have a full length that's going to

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Speaker 1: come out next week.

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Speaker 2: Jesus, these are really well oiled machines, these K pop bands,

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Speaker 2: aren't they. They really get out there, Jesus. That's incredible. Congratulations,

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Speaker 2: You're welcome.

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Speaker 1: I mean, we have music coming out all the time,

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Speaker 1: and it's really good that the whole industry is like

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Speaker 1: shrouded in secrecy because we can do this, We can

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Speaker 1: actually like get the machine going with little to no noise,

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Speaker 1: like we're just plugging away. So I will send you

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Speaker 1: a copy of our first EP, which is called The

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Speaker 1: Everlasting Romance colon Deadline.

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Speaker 2: O Jesus, I think you're.

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Speaker 1: Really gonna like the songs on that. There's a mix

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Speaker 1: between like kind of like reggatone meets trip hop meets

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Speaker 1: em so there's a lot of different styles going on. Yeah,

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Speaker 1: and I think you'll appreciate it. But I honestly really

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Speaker 1: do think that the most recent EP that we've done,

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Speaker 1: which is called The Perfect Stranger colon Integrity, This one,

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Speaker 1: I think is a little bit more indie rock. It

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Speaker 1: has like rock roots versus like electronic roots. I actually

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Speaker 1: step out from behind the microphone. I play some acoustic guitar,

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Speaker 1: which I think might surprise people. Yeah, so you might

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Speaker 1: have liked that one, knowing that you're kind of an

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Speaker 1: indie rock guy.

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Speaker 2: Yeah, the rapper kind of showing their sensitive side, kind

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Speaker 2: of like you remember when Lil Wayne came out and

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Speaker 2: played a guitar. Oh I remember that.

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Speaker 1: Oh, I have huge inspiration. I watched much clips of

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Speaker 1: it all the time in my studio in the stew.

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Speaker 2: What was the name of the first EP again, it

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Speaker 2: was something Deadline.

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Speaker 1: It was called The Everlasting Romance colon Deadline.

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Speaker 2: Wow.

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Speaker 1: Okay, Yeah, it's kind of nice and evokes a lot.

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Speaker 1: I mean, we're kind I'm going to listen to both

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Speaker 1: of them so well. And so the new album is

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Speaker 1: kind of a concept album. We all are dressed like royalty. Oh,

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Speaker 1: I kind of have this like have you ever seen

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Speaker 1: a deck of cards? Like the Queen of Hearts? Like,

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Speaker 1: I kind of have that get up going on, and

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Speaker 1: each one of our members has sort of a take

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Speaker 1: on something royal somewhere. Actually, one of my band members

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Speaker 1: who goes by CBS Pharmacy, that's their name, their band name.

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Speaker 1: My name, by the way, I had to come up

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Speaker 1: with a stage name. It's my name is Dela Nocee.

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Speaker 1: So it's dey la Noche Sure, sure, Okay, you speak

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Speaker 1: a little Spanish, I think.

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Speaker 2: Yeah, of the Night from the Night.

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Speaker 1: Yes. So my bandmate CBS Pharmacy, and I have kind

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Speaker 1: of constructed this like whole backstory. There's a lot of

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Speaker 1: lore in k pop. Sure, and you know. Our lore

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Speaker 1: is that we're kind of you know, royal families. You know,

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Speaker 1: twenty seven members. It's really possible for like one person

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Speaker 1: to have like eight wives or something. So it's great.

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Speaker 1: We're having a lot of fun with it. And so

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Speaker 1: the name of the if you want to, I can

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Speaker 1: give you a sneak preview the name of the new album.

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Speaker 2: Oh really, you can do that here right now, you

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Speaker 2: have me Wow, Okay, yeah, I'd love to hear it.

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Speaker 1: So, coming out very soon on all platforms is the

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Speaker 1: new Infinite Tea album, Beautiful Misery Stories Colon the Magician.

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Speaker 2: Oh, I mean the title alone just evokes so much.

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Speaker 2: It's tantalizing Millie or should I say Dela on that?

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Speaker 1: Yes, thank you so much. We'll be doing full press

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Speaker 1: for it, so don't worry, but listen. In terms of

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Speaker 1: your original question, is this helping with my seasonal effective disorder,

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Speaker 1: with my general outlook on life right now? A thousand times?

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Speaker 2: Yes, that's great.

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Speaker 1: I would recommend anybody who is feeling a little bit

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Speaker 1: down in the dumps, a little bit sad, a little

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Speaker 1: bit lonely. Maybe they're inside they can't go out to

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Speaker 1: play because it's writing, they're snowed in, Like, whatever your

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Speaker 1: situation is, start a K pop band, do it in secret,

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Speaker 1: have a bunch of members, a bunch of concepts ready,

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Speaker 1: and I promise you your mood will improve.

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Speaker 2: I mean, do you feel like being in this K

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Speaker 2: pop band has gotten in the way of you moving

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Speaker 2: into your new house at all?

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Speaker 1: I mean I think you understand like it has. I mean,

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Speaker 1: look at all the boxes around me. I haven't been

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Speaker 1: I've been dance practice, sure, twenty three and a half

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Speaker 1: hours a day.

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Speaker 2: Yeah. Well, I think it's great that there's so many

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Speaker 2: members of the band too, because you know, like during

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Speaker 2: stage performances, you guys aren't all at the front the

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Speaker 2: whole time, so you can like, you know, trail off

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Speaker 2: for parts of songs, smoke a cigarette, eat a sandwich

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Speaker 2: or something. Oh yeah, like come back. No one notices.

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Speaker 1: It's great. Sometimes I will. And this is during practice.

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Speaker 1: We haven't done it live yet, so I don't know

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Speaker 1: how it's actually gonna work out. Sometimes, you know, my

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Speaker 1: place on the floor just drops and I get taken

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Speaker 1: down to like the sub level of the stage, and

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Speaker 1: I fully watch an episode of Friends on this like

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Speaker 1: Little Black of White TV. And then after you know

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Speaker 1: it's over. I come back on stage and I just

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Speaker 1: like pop right back into the choreo. Didn't miss a beat.

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Speaker 1: You know, no one's the wiser, No one's the wiser.

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Speaker 1: In fact, I mean, when you have like at least

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Speaker 1: twenty members, if one of you unfortunate, if one if

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Speaker 1: you dies, you could really slide somebody in there really quickly.

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Speaker 1: It's very easy to replace a member without anyone really knowing,

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Speaker 1: you know.

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Speaker 2: Fabulous. Wow, Well, this is a huge breaking news story

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Speaker 2: on our podcast. I can't wait for you know. I

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Speaker 2: hope you guys come perform it Like the Mall of

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Speaker 2: America and the Twin Cities. I can see you guys

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Speaker 2: there well, so exciting.

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Speaker 1: I mean, as much as I would like to play

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Speaker 1: the Mall of America, I'm looking to play at wherever

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Speaker 1: the Vikings are the Twins play somewhere. Yeah.

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Speaker 2: Yeah, they could play at US Bank Stadium, definitely. I

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Speaker 2: think that would. Yeah, because if there's twenty seven members,

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Speaker 2: I mean, you're bringing in so many fans, you know,

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Speaker 2: per member, so you need the space for it.

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Speaker 1: I'm really really hoping that Beautiful Misery Stories Colon the

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Speaker 1: Magician sells millions. If not trillions of records and we'll

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Speaker 1: be there. We'll be there, and I mean this can

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Speaker 1: only help the podcast. Oh, it's going to definitely help

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Speaker 1: the podcast.

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Speaker 2: So great. Well, I'm glad. I need to figure something

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Speaker 2: else up. I need to figure something else for myself.

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Speaker 2: I don't know if K pop joining a K pop

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Speaker 2: band is in my future, but you know, something along

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Speaker 2: those lines. I think I can figure out maybe some

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Speaker 2: community theater or something that would help my you know,

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Speaker 2: bummer feelings during the winter. But merely we have a

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Speaker 2: we have a equally depressing show.

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Speaker 1: Yes we do. So we're gonna tackle a little bit

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Speaker 1: of what has been called in the shithead circles bleak Week,

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Speaker 1: which is an event that has happened at you know,

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Speaker 1: movie theaters and film festivals and online and stuff. So

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Speaker 1: it's basically, you know, a week of sad as fuck movies,

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Speaker 1: bleak as fuck movies, movies that are just like really

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Speaker 1: damn depressing, and it's a chance to really really just

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Speaker 1: you know, dive in too sadness and misery, just face

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Speaker 1: it head on. And we thought, Okay, it's January, arguably

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Speaker 1: the bleakest month of the year. Why not do a

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Speaker 1: fucking Bleak Week on.

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Speaker 2: The podcast, that's right, And so we're talking about Come

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Speaker 2: and See from nineteen eighty five. And I think we

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Speaker 2: thought it was kind of funny at first to be like,

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Speaker 2: let's do a bleak Week episode and pick a really

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Speaker 2: bleak movie. And then we both watched it and I

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Speaker 2: think we both regret the decision to make this episode.

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Speaker 2: But here we are and we're following through. So we're

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Speaker 2: gonna be talking about that movie. And then we have

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Speaker 2: something that Millie's arranged and I'm excited to get into this.

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Speaker 2: You know you've heard of mad libs. Well, we're going

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Speaker 2: to be playing something called sad libs, So I can't

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Speaker 2: wait for that.

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Speaker 1: Yeah, sad Libs is going to basically be, you know,

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Speaker 1: our attempt at engineering the saddest movie ever made. And

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Speaker 1: I'm going to give Casey a prompt. It's going to

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Speaker 1: be just like the mad libs that you remember from childhood.

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Speaker 1: But that'll be fun. And I say fun knowing this

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Speaker 1: episode Fun and Quotes is going to be a bummer.

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Speaker 1: And I don't know, but I'm excited to talk about

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Speaker 1: this movie. This is a legendary anti war film but

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Speaker 1: also a kind of a staple of a Bleak Week,

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Speaker 1: wouldn't you say so?

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Speaker 2: Absolutely? I've seen, you know. I most famously saw Bleak

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Speaker 2: Week advertised in Los Angeles, and I saw that they

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Speaker 2: would do screenings of Come and See pretty frequently. It's

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Speaker 2: kind of one of the main bleak movies out there.

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Speaker 2: So well, stay tuned.

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Speaker 1: I promise you it's gonna be a sad one, but

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Speaker 1: hopefully also interesting and compelling. So you're listening to dear movies,

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Speaker 1: I love.

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Speaker 4: You, dear, and I've got to know you love me

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Speaker 4: to check the books.

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Speaker 1: Alrighty, you are listening to dear movies. I love you.

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Speaker 1: This is a podcast for those who are in a

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Speaker 1: relationship with movies. My name is Milli to Jericho.

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Speaker 2: My name is Casey O'Brien, and.

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Speaker 1: Welcome to the Bleak Week. This is our you know,

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Speaker 1: sad episode during the saddest month of the year, January

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Speaker 1: twenty twenty six.

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Speaker 2: Yeah.

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Speaker 1: I don't know what else to say beyond that other

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Speaker 1: than what we thought was going to be kind of

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Speaker 1: a fun joke has now become very serious. And I

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Speaker 1: remember I just I texted you this morning and I

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Speaker 1: was like, we're gonna have to talk about this movie today.

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Speaker 1: Aren't we.

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Speaker 2: You didn't text me, You sent me a voice memo

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Speaker 2: and said I don't want to do this.

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Speaker 1: I escalated it. That's right.

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Speaker 2: Yeah, you said I'm really not looking forward to this

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Speaker 2: and I don't want to do it.

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Speaker 1: It's it's not that I don't think that people should

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Speaker 1: watch this movie. Obviously it's a very important film. But

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Speaker 1: god damn, you got to strap the fuck in for it.

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Speaker 1: It is, and I mean we'll get to it in

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Speaker 1: just a second, because we both have not seen the

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Speaker 1: complete version of it, like we've seen You've not seen

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Speaker 1: it at all. I've seen the first, like third, and yeah,

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Speaker 1: we really just kind of ruined the mood for ourselves.

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Speaker 2: By Yeah, and you know what, it's my birthday this Friday,

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Speaker 2: Oh Jesus Christ. So you know this is just a

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Speaker 2: real real bummer week for me.

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Speaker 1: Wow, What a what a friend? I am? Be like, Hey,

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Speaker 1: let's watch this. Okay, Well, Millie, maybe you watch something

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Speaker 1: a little bit more happy besides this movie in our

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Speaker 1: film diary section.

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Speaker 2: Let's open up the film.

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Speaker 1: Diary try January.

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Speaker 2: I can't get your twenty seven band members to help

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Speaker 2: open up their heavy diary. Millie, what did you watch

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Speaker 2: this week?

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Speaker 1: Well, funny you should ask me this and appropriate because

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Speaker 1: it is the film diary section. I watched something that

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Speaker 1: we talked about with Olons Olderaldi during our Christmas episode.

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Speaker 1: He had mentioned the documentary that came out in twenty

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Speaker 1: twenty four about the making of We Are the World

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Speaker 1: and it was called the Greatest Night in Pop and

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Speaker 1: I watched it on Netflix. Very interesting stuff.

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Speaker 2: You know.

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Speaker 1: First of all, I don't think I can stress this

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Speaker 1: enough that We Are the World was a huge moment

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Speaker 1: for like eighties kids. I think I remember when and

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Speaker 1: I was like maybe six or seven when this song

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Speaker 1: came out. I remember it very well. It felt like

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Speaker 1: this almost kind of like global events. I mean, it

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Speaker 1: was obviously because it was in aid of Africa.

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Speaker 2: Yeah, there was a lot of this going around in

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Speaker 2: the eighties because there was like hands across America and

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Speaker 2: there was like Live Aid. There was kind of these

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Speaker 2: like pop culture moments.

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Speaker 1: So this USA for Africa was the American version of

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Speaker 1: Live AID. I see. And there was a moment where

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Speaker 1: so Quincy Jones basically orchestrated the whole thing. He was

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Speaker 1: kind of like ringing master for the entire event the song,

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Speaker 1: and I actually didn't realize this, but the song was

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Speaker 1: kind of co written by Lionel Richie and Michael Jackson,

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Speaker 1: which was interesting to me because I knew that they

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Speaker 1: were involved. I guess I didn't realize how involved over

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Speaker 1: which she was. So anyway, he was. He was a

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Speaker 1: main talking head in the documentary and he like produced

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Speaker 1: it and everything, so he's very involved. But Quincy Jones

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Speaker 1: actually brought in Bob Geldoff, who was the you know,

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Speaker 1: the kind of ringmaster for Live Aid uh, and to

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Speaker 1: kind of give a little pep talk to everybody, because

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Speaker 1: here's the thing that was really interesting to me. I

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Speaker 1: didn't realize that they recorded the entire song and of

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Speaker 1: course shot shot the whole thing, which subsequently became the

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Speaker 1: music video for it, right after the American Music Awards,

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Speaker 1: so basically everybody went to an award show. Oh fat,

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Speaker 1: all these famous people went to a ward show. After

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Speaker 1: it was over, they were you know, picked up in

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Speaker 1: black you know, suburbans and taken to you know, A

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Speaker 1: and M Studios, and then they spent the entire night

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Speaker 1: recording the song and until like the early morning, and

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Speaker 1: I was like, damn, that is crazy.

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Speaker 2: That is so crazy. I wonder if they thought like,

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Speaker 2: this is the only way we can kidnap all of

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Speaker 2: these artists because they'll be here anyway.

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Speaker 1: That's exactly the plan. And and Lionel Richie hosted the

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Speaker 1: American Music Awards, so it was kind of like they're like, well,

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Speaker 1: we're never going to be able to get all these

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Speaker 1: people in one room unless we do it around this

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Speaker 1: award show. But then I kept thinking, Man, if I

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Speaker 1: was like one of these folks, I couldn't. I mean,

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Speaker 1: I was like, they're musicians, they'd probably stay up late anyway.

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Speaker 1: But I was like, there are like Huey Lewis and

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Speaker 1: Paul Simon hanging out until like six am, like rewriting

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Speaker 1: melodies and shit, I'm like, damn, I wouldn't have I

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Speaker 1: would have gone home.

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Speaker 2: No way. Wait, I just needed to check something, Okay, Okay,

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Speaker 2: never mind. I saw that it was recorded in January

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Speaker 2: of nineteen eighty five, and I wanted to see if

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Speaker 2: this episode was coming out on the fortieth anniversary of

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Speaker 2: We Are the World, because it's been almost exactly forty

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Speaker 2: years since that move that song was recorded. Oh wow, interesting,

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Speaker 2: what do you I guess I want to ask you

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Speaker 2: at the time when it came out. I mean, you're

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Speaker 2: probably too young at the time to know, but like

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Speaker 2: the song kind of sucks itself, and was there any

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Speaker 2: talk of that, Like were there people that are like,

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Speaker 2: I like this song or is it just like this

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Speaker 2: is for charity, it doesn't even matter how good the

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Speaker 2: song is.

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Speaker 1: Yes, I think that was kind of the well. I

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Speaker 1: think it was engineered to be emotional and to be

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Speaker 1: like a power ballad. I don't think that they really

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Speaker 1: had any kind of artistic ideas other than that. I mean,

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Speaker 1: it's I just feel like it was sort of like

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Speaker 1: I think really they were more stuck on the words

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Speaker 1: of things, like they were like should we should we say,

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Speaker 1: you know, brighter or better day? Like what makes more sense?

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Speaker 1: And there was all like this kind of like you know,

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Speaker 1: it was kind of like song creation by committee at

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Speaker 1: certain points.

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Speaker 2: But I just feel like the song do they know

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Speaker 2: It's Christmas? Feels more like a real song and a

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Speaker 2: song like kind.

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Speaker 1: Of like yes, I feel like it's faster. I feel like, yeah,

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Speaker 1: maybe that's why it's European so it has I don't know,

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Speaker 1: like it just is a bop versus you know, we

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Speaker 1: Are the World, which feels frankly very Michael Jackson esque.

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Speaker 1: I mean it feels like Heal the World. Do you

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Speaker 1: remember that Michael Jackson's song Here All Wants to Do.

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Speaker 1: It's like one of those things. It feels very Liabel

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Speaker 1: Richie too. I mean, it really does feel like soft rock.

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Speaker 1: There's this part of the documentary I have to say

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Speaker 1: I talk about so I had no idea that wayl

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Speaker 1: And Jennings was a part of it. Uh. And there's

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Speaker 1: this part where I think it's Stevie Wonder who wants

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Speaker 1: to insert some Swahili words into the song, which there's

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Speaker 1: this whole section about that where they kind of go

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Speaker 1: back and forth between whether or not they feel like

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Speaker 1: it's useful for them to be speaking in Swahilly when

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Speaker 1: really it's Ethiopia they're talking about, and that maybe we're

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Speaker 1: speaking to rich people that make donations versus the starving people.

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Speaker 1: So it was like this crazy like conversation about you know,

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Speaker 1: intent and words and stuff. Yeah, and Whalon Jennings is like,

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Speaker 1: I don't speak swall Healey, I'm out of here, and

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Speaker 1: he fucking left and I was like, goddamn, that's.

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Speaker 2: Right, that's wild.

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Speaker 1: So it's a really good It's really good if you

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Speaker 1: want to like really drill down into like the fine

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Speaker 1: details of something like this, because it is kind of

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Speaker 1: like a historical event in that there's so many people

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Speaker 1: involved that happened in one night. They kind of like

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Speaker 1: wrote the whole thing really quickly, got everybody involved, and

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Speaker 1: I don't know, it's just sort of like, especially if

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Speaker 1: you were a kid of the eighties, like it was,

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Speaker 1: it's very very nostalgic. So glad I watched it.

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Speaker 2: Well, that's great, I gotta check that out. It looks fat,

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Speaker 2: it looks fantastic. I only watched one movie this week.

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Speaker 2: I went to the Trilon Theater for their tape Freaks night,

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Speaker 2: so I did not know what movie they were showing

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Speaker 2: when I showed up, and they showed a movie called

402
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Speaker 2: Which Trap from nineteen eighty nine. It's by the director

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Speaker 2: of Night of the Demons, if you've ever seen that

404
00:22:08,040 --> 00:22:12,400
Speaker 2: classic and I like that movie. It's like a silly, violent,

405
00:22:12,840 --> 00:22:17,120
Speaker 2: gross out like horror movie. And this is this one

406
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Speaker 2: is the movie he did right after or a year later,

407
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Speaker 2: And it was so bad and the acting is so

408
00:22:27,680 --> 00:22:31,479
Speaker 2: terrible that I saw it with my friend Jake and

409
00:22:31,520 --> 00:22:34,520
Speaker 2: we were like the acting is so bad that almost

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Speaker 2: it almost felt like the director was like, please do

411
00:22:38,920 --> 00:22:41,679
Speaker 2: an impression of a bad actor, Like it was just

412
00:22:41,800 --> 00:22:48,560
Speaker 2: so outrageous, and it was almost like Lynchian like how

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00:22:48,600 --> 00:22:52,359
Speaker 2: consistently bad the acting was. And then also, it's a

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Speaker 2: haunted house movie and it takes place ninety percent during

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Speaker 2: the daytime, which felt very strange, reason not scary. So

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Speaker 2: not a great film, but I had a good time

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Speaker 2: watching it, nonetheless, But that's the only movie I watched

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Speaker 2: this week.

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Speaker 1: Listen, what a piece. Sometimes it does happen that way,

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Speaker 1: so sometimes it'd be like that. So let's close up

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Speaker 1: the diary. Oh God, thank you, Oh God.

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Speaker 2: All right, we're moving on to our main discussion, leak

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Speaker 2: discussion of nineteen eighty fives. Come and see. So this

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Speaker 2: is a war film. It's an anti war film. I

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Speaker 2: would argue it's the most effective anti war film I've

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Speaker 2: ever seen. It's a Russian film. It's also a Belarusian film,

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00:23:56,160 --> 00:24:00,040
Speaker 2: and they speak Belarusian and Russian in this, but I

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00:24:00,040 --> 00:24:01,959
Speaker 2: could not really tell the difference of when they were

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00:24:02,000 --> 00:24:05,560
Speaker 2: speaking one language I see or the other. Yeah, this

430
00:24:05,680 --> 00:24:11,760
Speaker 2: takes place in Belarus, uh, and there are no real

431
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Speaker 2: A lot of the people in it were non actors.

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Speaker 2: There aren't really any standout actors. This is a Russian film,

433
00:24:17,880 --> 00:24:20,960
Speaker 2: so I wasn't familiar with anybody who was in it.

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00:24:21,320 --> 00:24:24,160
Speaker 1: Well, there's the main character as a child.

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00:24:24,960 --> 00:24:28,160
Speaker 2: Yes, he's like he was like fourteen or fifteen when

436
00:24:28,840 --> 00:24:32,960
Speaker 2: he was in this and he has been.

437
00:24:33,320 --> 00:24:36,159
Speaker 1: I mean a lot of people who have seen his

438
00:24:36,280 --> 00:24:41,720
Speaker 1: film have praised this film say like he's probably the

439
00:24:41,760 --> 00:24:46,200
Speaker 1: best child actor to have ever been in a film.

440
00:24:46,240 --> 00:24:49,720
Speaker 1: I mean, the stuff that he does in this film, yeah,

441
00:24:49,880 --> 00:24:54,720
Speaker 1: is so intense that it's like he kind of feels unparalleled, though,

442
00:24:54,720 --> 00:24:55,480
Speaker 1: wouldn't you say?

443
00:24:56,040 --> 00:24:59,919
Speaker 2: Yeah? And they talked about that. The director Elon klemen

444
00:25:00,080 --> 00:25:02,840
Speaker 2: Of was like, I needed to be able to form

445
00:25:03,080 --> 00:25:05,600
Speaker 2: this child, like he needed to not come in with

446
00:25:05,720 --> 00:25:09,000
Speaker 2: acting experience sort of so he could like put him

447
00:25:09,000 --> 00:25:12,280
Speaker 2: in these situations where we're really feeling how this kid

448
00:25:12,359 --> 00:25:14,159
Speaker 2: is feeling. And he was like, but it was a

449
00:25:14,160 --> 00:25:16,880
Speaker 2: delicate balance because I didn't want to like destroy this

450
00:25:17,240 --> 00:25:22,080
Speaker 2: child's mind, you know, making this movie. So his performance

451
00:25:22,160 --> 00:25:28,760
Speaker 2: is unbelievable and it feels like he physically transforms throughout

452
00:25:28,760 --> 00:25:30,200
Speaker 2: the course of the movie.

453
00:25:30,280 --> 00:25:31,480
Speaker 1: Can we like say his name?

454
00:25:32,480 --> 00:25:36,520
Speaker 2: Yes? The actor we're talking about. His name is Alexi Kravchenko.

455
00:25:37,000 --> 00:25:39,679
Speaker 2: Alexei Kravchenko is the actor, and he did go on

456
00:25:39,760 --> 00:25:41,600
Speaker 2: to act in other things, and I believe he's still

457
00:25:41,640 --> 00:25:46,320
Speaker 2: acting in Russia now. So but yeah, people have cited

458
00:25:46,320 --> 00:25:51,280
Speaker 2: this as like the best child actor performance ever and.

459
00:25:52,600 --> 00:25:56,720
Speaker 1: It really is unbelievable what he does in this movie.

460
00:25:57,520 --> 00:26:05,919
Speaker 1: So no famous quote personal connection to me or Millie Milly,

461
00:26:06,359 --> 00:26:08,320
Speaker 1: do you have a personal connection to this film?

462
00:26:08,640 --> 00:26:09,680
Speaker 2: And if so, what is it?

463
00:26:10,160 --> 00:26:16,159
Speaker 1: I mean, I really don't. This is I've programmed this

464
00:26:16,200 --> 00:26:20,119
Speaker 1: film many times on TSA Imports, which is a franchise

465
00:26:20,160 --> 00:26:22,239
Speaker 1: that I a foreign film franchise that I used to

466
00:26:22,280 --> 00:26:26,879
Speaker 1: program on Turner Classic Movies. And yeah, I mean I

467
00:26:27,080 --> 00:26:32,040
Speaker 1: I saw this was a few years ago. But I

468
00:26:32,440 --> 00:26:38,520
Speaker 1: started this film on Criterion Channel and started probably I

469
00:26:38,520 --> 00:26:42,040
Speaker 1: watched the first like third, I think, I think I

470
00:26:42,080 --> 00:26:45,240
Speaker 1: got to the the part where he meets the girl

471
00:26:45,400 --> 00:26:47,640
Speaker 1: or the two they're in the bog together, which we'll

472
00:26:47,680 --> 00:26:53,320
Speaker 1: get to, and was like, this is too intense for

473
00:26:53,560 --> 00:26:55,960
Speaker 1: where I'm at right now, and I ended up stopping

474
00:26:56,040 --> 00:27:00,520
Speaker 1: it and I never finished it until you know, we

475
00:27:00,560 --> 00:27:03,880
Speaker 1: decided to do this episode. And even when I watched it.

476
00:27:03,960 --> 00:27:06,280
Speaker 1: This time. I had to turn it off a few times, Like,

477
00:27:06,320 --> 00:27:09,280
Speaker 1: I went back to it a few times. One Oh

478
00:27:09,320 --> 00:27:12,320
Speaker 1: my god. This one night, I actually fell asleep while

479
00:27:12,359 --> 00:27:14,000
Speaker 1: watching it, and it was like I was in a

480
00:27:14,119 --> 00:27:16,600
Speaker 1: nightmare of like I woke up, I woke back up

481
00:27:16,640 --> 00:27:19,040
Speaker 1: and realized I'd fallen asleep and it was just like gunfire,

482
00:27:19,080 --> 00:27:22,320
Speaker 1: and I was like, god, damn. So I started it

483
00:27:22,359 --> 00:27:26,480
Speaker 1: the next morning. It's just a lot like I know

484
00:27:26,560 --> 00:27:29,240
Speaker 1: people who have seen it in a movie theater and

485
00:27:29,640 --> 00:27:32,800
Speaker 1: have seen it multiple times in a movie theater, and

486
00:27:33,440 --> 00:27:38,359
Speaker 1: they were like, it is quite an emotional experience. And

487
00:27:38,400 --> 00:27:42,080
Speaker 1: I can totally see how that's the case, because I mean, I, yeah,

488
00:27:42,760 --> 00:27:45,200
Speaker 1: I was just at home and was having a hard

489
00:27:45,200 --> 00:27:45,760
Speaker 1: time with it.

490
00:27:45,840 --> 00:27:50,840
Speaker 2: So yeah, it is very It is weirdly dreamy too.

491
00:27:51,359 --> 00:27:57,000
Speaker 2: It's kind of like there are periods of real slowness

492
00:27:57,080 --> 00:28:01,320
Speaker 2: in the movie that kind of lowly you, but it's

493
00:28:01,400 --> 00:28:03,440
Speaker 2: not like a pleasant dreaminess.

494
00:28:03,600 --> 00:28:05,840
Speaker 1: So yeah, I mean, I guess that's kind of my answer.

495
00:28:05,880 --> 00:28:06,440
Speaker 1: What about you?

496
00:28:06,440 --> 00:28:09,240
Speaker 2: Do you have a No, I hadn't seen this before,

497
00:28:09,280 --> 00:28:11,119
Speaker 2: and like we said, this is one of those you know,

498
00:28:12,320 --> 00:28:15,160
Speaker 2: as a as a certified shitthead, I of course knew

499
00:28:15,160 --> 00:28:17,920
Speaker 2: about this movie. It's been floating around, you know, I

500
00:28:18,000 --> 00:28:20,080
Speaker 2: knew about it. I just never had wanted to see it.

501
00:28:20,119 --> 00:28:25,200
Speaker 2: And I was very familiar with that still of the

502
00:28:25,240 --> 00:28:29,720
Speaker 2: main character, Fleora played by Alexei Kravchenko, with the gun

503
00:28:29,760 --> 00:28:32,600
Speaker 2: against his head and him looking directly into the camera.

504
00:28:32,720 --> 00:28:36,080
Speaker 2: Oh so I was like very familiar with that image,

505
00:28:36,440 --> 00:28:41,600
Speaker 2: but I just hadn't really you know, it hadn't come around.

506
00:28:41,720 --> 00:28:45,400
Speaker 2: I just never never saw it. So yeah, that's that

507
00:28:45,480 --> 00:28:47,360
Speaker 2: was really the only personal connection I had to it.

508
00:28:47,400 --> 00:28:51,960
Speaker 2: I remember my friend April Wolf, former host of Switchblade Sisters,

509
00:28:51,960 --> 00:28:57,080
Speaker 2: former film critic and screenwriter. She was very into this movie.

510
00:28:57,480 --> 00:28:59,600
Speaker 2: But and that was how I had first kind of

511
00:28:59,600 --> 00:29:00,840
Speaker 2: heard about it, yeah, years ago.

512
00:29:01,080 --> 00:29:04,240
Speaker 1: Well, and like the name Come and See as a

513
00:29:04,320 --> 00:29:08,240
Speaker 1: title of a film is like, really, it's very evocative,

514
00:29:08,280 --> 00:29:11,360
Speaker 1: even though it's very simple, it's scary to me.

515
00:29:11,400 --> 00:29:12,080
Speaker 2: It's scary.

516
00:29:12,640 --> 00:29:16,120
Speaker 1: Yeah, it is kind of scary. It's like this movie

517
00:29:16,200 --> 00:29:18,520
Speaker 1: I've actually heard, and I feel like if you go

518
00:29:18,640 --> 00:29:21,520
Speaker 1: to if you like, look it up on Google, it

519
00:29:21,680 --> 00:29:24,280
Speaker 1: is classified as a horror film. Did you see that?

520
00:29:24,320 --> 00:29:27,520
Speaker 2: I can see that. Yeah, yeah, I mean it feels

521
00:29:27,520 --> 00:29:28,640
Speaker 2: like a horror film.

522
00:29:28,760 --> 00:29:31,000
Speaker 1: Right, it's not just and it's not just the idea

523
00:29:31,000 --> 00:29:34,080
Speaker 1: of it's like it being the horrors of war and

524
00:29:34,320 --> 00:29:37,200
Speaker 1: you know that kind of stuffespecially World War two and

525
00:29:37,920 --> 00:29:43,480
Speaker 1: Nazi Germany. But it's like there are stylistic choices made

526
00:29:43,480 --> 00:29:45,560
Speaker 1: in the film that make it feel like a horror film.

527
00:29:46,120 --> 00:29:51,440
Speaker 2: Yeah, well we'll talk about so. Yeah, it is something.

528
00:29:51,640 --> 00:29:54,640
Speaker 2: I mean, I would consider it a masterpiece. It is,

529
00:29:56,520 --> 00:30:00,880
Speaker 2: but it's a tough one and you know, we'll get

530
00:30:00,920 --> 00:30:01,760
Speaker 2: into some of that.

531
00:30:02,280 --> 00:30:05,120
Speaker 1: Yeah. I kind of like I've used this term before

532
00:30:05,320 --> 00:30:08,160
Speaker 1: on I saw what you did, but kind of unwatchable

533
00:30:08,200 --> 00:30:12,440
Speaker 1: masterpieces totally. Yes, I think the last one. I think

534
00:30:12,480 --> 00:30:15,840
Speaker 1: the last time I used it was when I talked

535
00:30:15,840 --> 00:30:19,480
Speaker 1: about zard Oz, which is like it's kind of like

536
00:30:20,520 --> 00:30:25,600
Speaker 1: a huge and scope film that is made really well.

537
00:30:26,160 --> 00:30:28,720
Speaker 1: It has stood the test of time on some level,

538
00:30:29,400 --> 00:30:32,720
Speaker 1: but you just can't sit through it for some reason

539
00:30:32,840 --> 00:30:37,200
Speaker 1: because of something something hardcore about it. It's either it's

540
00:30:37,240 --> 00:30:42,040
Speaker 1: too dense like in Zardas, or if it's just too bleak.

541
00:30:42,560 --> 00:30:46,520
Speaker 1: I'd say the same thing about Salo. Probably an unwatchable

542
00:30:46,600 --> 00:30:47,320
Speaker 1: masterpiece too.

543
00:30:48,440 --> 00:30:52,200
Speaker 2: Yeah, like existing in the world of this movie is

544
00:30:52,280 --> 00:30:57,040
Speaker 2: so unpleasant physically to watch.

545
00:30:56,880 --> 00:31:00,480
Speaker 1: It, Yeah, but an incredible achievement.

546
00:31:01,000 --> 00:31:03,840
Speaker 2: Yeah. I mean, this movie, I feel like, really toes

547
00:31:03,960 --> 00:31:07,400
Speaker 2: the line of you know, you watch movies like Sallow

548
00:31:07,760 --> 00:31:10,200
Speaker 2: or some of these other art house movies where you're

549
00:31:10,240 --> 00:31:12,920
Speaker 2: like or even like Apollocalypse Now where they like kill

550
00:31:13,440 --> 00:31:19,640
Speaker 2: the calf the cow in that movie. This movie also

551
00:31:19,680 --> 00:31:21,440
Speaker 2: sort of toes the line of like, are they doing

552
00:31:21,440 --> 00:31:25,160
Speaker 2: things that are actually dangerous to the people in this movie?

553
00:31:25,320 --> 00:31:28,160
Speaker 2: But it never quite get But I just feel like

554
00:31:28,240 --> 00:31:30,480
Speaker 2: so I felt att like there was like a sense

555
00:31:30,480 --> 00:31:34,120
Speaker 2: of risk watching this movie from that aspect as well.

556
00:31:39,120 --> 00:31:41,160
Speaker 2: I'm going to get into the plot here. We're going

557
00:31:41,240 --> 00:31:45,760
Speaker 2: to dive in and like the plot, there isn't a

558
00:31:45,840 --> 00:31:51,040
Speaker 2: ton that like happens necessarily because you're just sort of

559
00:31:51,160 --> 00:31:55,200
Speaker 2: living in this nightmare for long stretches of time. So

560
00:31:56,440 --> 00:32:00,200
Speaker 2: we begin we're in Belarus of the Soviet Union in

561
00:32:00,280 --> 00:32:04,000
Speaker 2: nineteen forty three. The movie starts with our main character Fleora.

562
00:32:04,280 --> 00:32:07,840
Speaker 2: As we mentioned, he is played by Alexei Kravchenko. He

563
00:32:08,280 --> 00:32:10,680
Speaker 2: and another little boy are digging through the sand where

564
00:32:10,720 --> 00:32:12,960
Speaker 2: there's a bunch of dead soldiers buried because they're looking

565
00:32:13,000 --> 00:32:17,800
Speaker 2: for a gun because Fleora wants to go to war.

566
00:32:18,200 --> 00:32:21,920
Speaker 2: He's like excited to go to war. He's like the

567
00:32:21,960 --> 00:32:24,560
Speaker 2: top of this movie. He is smiling ear to ear

568
00:32:24,920 --> 00:32:28,040
Speaker 2: the whole time. He is ecstatic and can't wait to go.

569
00:32:28,600 --> 00:32:30,640
Speaker 2: So he gets he finds a gun off a dead

570
00:32:30,680 --> 00:32:33,440
Speaker 2: soldier and he's elated. He goes back to his house

571
00:32:33,520 --> 00:32:38,600
Speaker 2: in the small village and he gets recruited by you know,

572
00:32:38,680 --> 00:32:41,520
Speaker 2: their army, their military to join the war effort. And

573
00:32:41,600 --> 00:32:45,600
Speaker 2: he's like fourteen, and his mom is devastated and doesn't

574
00:32:45,600 --> 00:32:47,680
Speaker 2: want him to go because she's like, we need him here.

575
00:32:47,680 --> 00:32:50,560
Speaker 2: He's a child and she has two there's no other

576
00:32:50,720 --> 00:32:52,880
Speaker 2: the dad I think is dead. It's kind of unclear

577
00:32:52,880 --> 00:32:55,600
Speaker 2: where he is or he's off fighting somewhere. And there's

578
00:32:55,680 --> 00:32:59,240
Speaker 2: two little girls, his sisters, his baby sisters. They're like

579
00:32:59,320 --> 00:33:03,360
Speaker 2: four years old, twin sisters, and he's basically abandoning them.

580
00:33:03,360 --> 00:33:06,240
Speaker 2: But he is like psyched. He's like, I can't wait

581
00:33:06,280 --> 00:33:11,760
Speaker 2: to go. Yeah, And so he joins this battalion I

582
00:33:11,760 --> 00:33:17,160
Speaker 2: guess you could say this this group to go fight.

583
00:33:17,200 --> 00:33:18,920
Speaker 2: And they're out and this camp in the woods and

584
00:33:18,960 --> 00:33:21,760
Speaker 2: it's fun. It's fun being in the military, and he's

585
00:33:21,800 --> 00:33:25,960
Speaker 2: like so excited to go fight. Well, they are called

586
00:33:25,960 --> 00:33:28,840
Speaker 2: to go fight, and they tell him to stay behind

587
00:33:28,880 --> 00:33:30,880
Speaker 2: because he has to give his boots to an older

588
00:33:30,920 --> 00:33:33,680
Speaker 2: soldier and he needs to stay behind at the camp.

589
00:33:33,720 --> 00:33:37,800
Speaker 2: And he is so upset he starts weeping because he

590
00:33:37,840 --> 00:33:41,160
Speaker 2: wants to go to war so bad. So that's kind

591
00:33:41,160 --> 00:33:47,840
Speaker 2: of the beginning of the movie here. I feel like this,

592
00:33:48,200 --> 00:33:50,360
Speaker 2: you know, being an anti war movie, I feel like

593
00:33:50,400 --> 00:33:55,200
Speaker 2: it does show that it's like people romanticize war and

594
00:33:55,320 --> 00:34:00,440
Speaker 2: like even these this kid was like excited to go war.

595
00:34:00,560 --> 00:34:03,160
Speaker 2: Did you find that disturbing at the top, how stoked

596
00:34:03,200 --> 00:34:06,520
Speaker 2: he was to go? I mean.

597
00:34:08,080 --> 00:34:10,360
Speaker 1: No, because my dad was in the military.

598
00:34:10,960 --> 00:34:11,680
Speaker 2: Yeah, so.

599
00:34:13,280 --> 00:34:21,120
Speaker 1: There are certainly people that I've known who are in

600
00:34:21,160 --> 00:34:25,400
Speaker 1: that mindset that they like to serve, They like the action,

601
00:34:25,760 --> 00:34:28,800
Speaker 1: they like the challenge of being in the military and

602
00:34:29,160 --> 00:34:33,279
Speaker 1: being in a wartime situation. My dad was not like that.

603
00:34:34,160 --> 00:34:37,520
Speaker 1: In fact, he never saw combat. My dad was an

604
00:34:37,520 --> 00:34:41,880
Speaker 1: office guy. Basically, he was a strategic planner in the

605
00:34:41,920 --> 00:34:48,160
Speaker 1: Air Force and started his career in the Navy. And

606
00:34:48,200 --> 00:34:49,880
Speaker 1: he said the reason why he went well, besides the

607
00:34:49,880 --> 00:34:51,759
Speaker 1: fact that he was an immigrant and he wanted to

608
00:34:51,920 --> 00:34:54,719
Speaker 1: go to college, he said that he joined the Navy

609
00:34:54,760 --> 00:34:57,080
Speaker 1: because he liked the outfits the best, which I think

610
00:34:57,160 --> 00:34:58,680
Speaker 1: is really funny.

611
00:34:58,880 --> 00:35:00,600
Speaker 2: I feel like that's as good as enough of a

612
00:35:00,640 --> 00:35:01,719
Speaker 2: reason as any.

613
00:35:01,960 --> 00:35:04,360
Speaker 1: If you have four branches or five branches, whatever you

614
00:35:04,360 --> 00:35:06,520
Speaker 1: want to call it, like if you count the National

615
00:35:06,520 --> 00:35:11,120
Speaker 1: Guard or the you know whatever, the Navy probably does

616
00:35:11,160 --> 00:35:13,279
Speaker 1: have the best outfits. And in the seventies, I mean,

617
00:35:13,320 --> 00:35:18,000
Speaker 1: the seventies Navy outfit is so cool. Yeah, the last

618
00:35:18,000 --> 00:35:22,080
Speaker 1: detail taught us that, by the way, Yes, But but so,

619
00:35:22,120 --> 00:35:24,239
Speaker 1: my dad is never like a gung ho military guy,

620
00:35:24,280 --> 00:35:27,319
Speaker 1: but there are fucking people that he was around, like

621
00:35:27,400 --> 00:35:34,200
Speaker 1: his coworkers who are still like like they're retired many

622
00:35:34,239 --> 00:35:39,800
Speaker 1: many years and they're just still wearing their military gear

623
00:35:39,920 --> 00:35:42,440
Speaker 1: and they drive a military jeep. I mean, it's it's

624
00:35:42,520 --> 00:35:48,120
Speaker 1: kind of a stereotype. But yeah, so I can see why. Listen,

625
00:35:48,160 --> 00:35:50,040
Speaker 1: I will say all this, and this is even from

626
00:35:50,040 --> 00:35:52,200
Speaker 1: a modern context. I see why people want to join

627
00:35:52,239 --> 00:35:55,719
Speaker 1: the military. I do, even though I am anti war

628
00:35:56,520 --> 00:36:00,920
Speaker 1: and have a lot of problems with anything in war

629
00:36:01,120 --> 00:36:04,200
Speaker 1: and militaristic actions and this kind of stuff. Like, I

630
00:36:04,239 --> 00:36:09,840
Speaker 1: see why people join. I I do think that the

631
00:36:09,840 --> 00:36:12,440
Speaker 1: beginning of this movie was hard, because like he was like,

632
00:36:12,560 --> 00:36:15,200
Speaker 1: I'm ready and his mother. The scene was like he's

633
00:36:15,239 --> 00:36:18,000
Speaker 1: at home and his mother and his two sisters are

634
00:36:18,000 --> 00:36:23,040
Speaker 1: like bereft. His mother is like basically like you're gonna die.

635
00:36:23,320 --> 00:36:24,759
Speaker 1: I don't know why you would do this.

636
00:36:25,640 --> 00:36:29,800
Speaker 2: And also she's like we need you, like the Nazis

637
00:36:29,840 --> 00:36:33,400
Speaker 2: are coming like here. You need to be here to

638
00:36:33,560 --> 00:36:38,360
Speaker 2: like help us, not like off doing whatever. You know,

639
00:36:38,440 --> 00:36:41,000
Speaker 2: it's not helpful to leave.

640
00:36:41,320 --> 00:36:43,680
Speaker 1: Yeah, but that was like kind of the beginning. That's

641
00:36:43,719 --> 00:36:47,360
Speaker 1: like the one of the first bits of like anguish

642
00:36:47,360 --> 00:36:49,200
Speaker 1: in the film is like he's like ready to go,

643
00:36:49,360 --> 00:36:52,160
Speaker 1: the mom is like losing her shit.

644
00:36:52,640 --> 00:36:53,360
Speaker 2: Yeah, and then.

645
00:36:53,239 --> 00:36:58,320
Speaker 1: He goes away with the what do they call them,

646
00:36:58,200 --> 00:37:02,680
Speaker 1: the Partisans. Yeah, he goes away with the Russian Partisans

647
00:37:03,400 --> 00:37:07,400
Speaker 1: or the Belo Russian Partisans I suppose, and yeah, and

648
00:37:07,440 --> 00:37:09,400
Speaker 1: then I guess he's like thinking it's going to be

649
00:37:09,440 --> 00:37:11,920
Speaker 1: this great time. Then he's like, well, I got to

650
00:37:11,960 --> 00:37:14,600
Speaker 1: give my boots to someone, and they're just leaving me

651
00:37:14,600 --> 00:37:17,520
Speaker 1: with the old guy and it crushes him. That's like

652
00:37:17,560 --> 00:37:20,279
Speaker 1: the second moment where you're just like, oh God, like

653
00:37:20,640 --> 00:37:24,000
Speaker 1: I know this is tough already. You know this movie's tough.

654
00:37:24,560 --> 00:37:26,200
Speaker 2: Yeah, I mean it reminded me I don't know if

655
00:37:26,239 --> 00:37:28,640
Speaker 2: you saw the twenty twenty two version of All Quiet

656
00:37:28,680 --> 00:37:32,040
Speaker 2: on the Western Front. Yeah, did you see that movie?

657
00:37:32,120 --> 00:37:33,640
Speaker 1: No, I've only seen the old version.

658
00:37:34,080 --> 00:37:35,680
Speaker 2: Well, I don't know if the old version is similar.

659
00:37:35,680 --> 00:37:38,000
Speaker 2: But the beginning is like these young boys are like

660
00:37:38,480 --> 00:37:42,480
Speaker 2: so excited to go, and that movie, I feel like,

661
00:37:42,520 --> 00:37:45,319
Speaker 2: more than any other one, depicts what it would be

662
00:37:45,400 --> 00:37:48,880
Speaker 2: like going from natural civilian life where there are normal rules,

663
00:37:49,080 --> 00:37:54,320
Speaker 2: to a war zone. How horrifying and jarring and immediate

664
00:37:54,480 --> 00:37:56,839
Speaker 2: that terror is. And so the beginning of this movie

665
00:37:56,840 --> 00:37:59,560
Speaker 2: sort of reminded me of that movie where they're like

666
00:38:00,160 --> 00:38:02,719
Speaker 2: so excited. They're talking about like how much fun they're

667
00:38:02,719 --> 00:38:05,720
Speaker 2: going to have in the war, you know, not really

668
00:38:05,760 --> 00:38:08,760
Speaker 2: knowing the horrors of what's to come. So yeah, yeah,

669
00:38:08,800 --> 00:38:12,040
Speaker 2: Well they're back at the camp. He's sad, he's really crying.

670
00:38:12,080 --> 00:38:15,799
Speaker 2: But there's also a young nurse named Galosha who's there,

671
00:38:16,600 --> 00:38:18,480
Speaker 2: and so they're kind of hanging out. She's sort of

672
00:38:18,520 --> 00:38:21,879
Speaker 2: teasing him that he got left behind. But then their

673
00:38:21,920 --> 00:38:29,319
Speaker 2: camp gets bombed, absolutely bombed, and they narrowly escape, and

674
00:38:29,880 --> 00:38:32,640
Speaker 2: like it's really I think this is the moment where

675
00:38:32,680 --> 00:38:36,359
Speaker 2: he's like, oh, war is scary and bad, and so

676
00:38:36,880 --> 00:38:41,040
Speaker 2: they he's like, we'll go back to my village so

677
00:38:41,120 --> 00:38:45,120
Speaker 2: my mom can cook us some food. Basically, they go

678
00:38:45,239 --> 00:38:47,759
Speaker 2: back to his house, which I'm like, how long was

679
00:38:47,800 --> 00:38:51,719
Speaker 2: he away? It felt like two days away from his

680
00:38:51,800 --> 00:38:56,319
Speaker 2: mom's house. Yeah, And they go back and it is deserted,

681
00:38:58,200 --> 00:39:00,399
Speaker 2: and at first he's like, oh, there's so it's still

682
00:39:00,440 --> 00:39:02,239
Speaker 2: soup in the oven, it's still warm, and they start

683
00:39:02,280 --> 00:39:05,319
Speaker 2: eating it. But suddenly they realize because there's like a

684
00:39:05,320 --> 00:39:08,480
Speaker 2: lot of flies buzzing around. They're like, something is off here.

685
00:39:10,200 --> 00:39:15,400
Speaker 2: The Nazis have been through here. Something's wrong. And so

686
00:39:15,520 --> 00:39:18,839
Speaker 2: he's like, they must be at this island where like

687
00:39:18,880 --> 00:39:20,759
Speaker 2: the rest of the village must be. So let's go

688
00:39:20,760 --> 00:39:23,040
Speaker 2: to this island. And as they're running to go to

689
00:39:23,080 --> 00:39:28,799
Speaker 2: the island, Glosha turns around and she sees piles of

690
00:39:28,960 --> 00:39:33,520
Speaker 2: dead bodies lined up, but Fleora doesn't really see that.

691
00:39:35,480 --> 00:39:37,520
Speaker 2: But he can't accept that his mom and his two

692
00:39:37,560 --> 00:39:41,600
Speaker 2: sisters are likely dead. So he's taking Glosha to this island.

693
00:39:42,200 --> 00:39:43,920
Speaker 2: But to get there, they have to go through this

694
00:39:44,280 --> 00:39:47,520
Speaker 2: horrible bog. Now you had some thoughts about the bog.

695
00:39:48,400 --> 00:39:54,120
Speaker 1: Ah, Yeah, it is a very long sequence.

696
00:39:55,120 --> 00:40:00,400
Speaker 2: It's painfully long, and it's like thick, tarry mud that

697
00:40:00,440 --> 00:40:02,080
Speaker 2: they're like trying to get through.

698
00:40:03,800 --> 00:40:08,400
Speaker 1: I this is when I was like, this movie is

699
00:40:08,440 --> 00:40:14,719
Speaker 1: going for the jugular. There's actually two things. Number One, Glosha.

700
00:40:16,600 --> 00:40:20,120
Speaker 1: This is really like the I know it had happened

701
00:40:21,000 --> 00:40:23,880
Speaker 1: before in the film, but this is when I really

702
00:40:23,960 --> 00:40:27,839
Speaker 1: noticed that characters are looking directly into the camera, and

703
00:40:28,960 --> 00:40:33,160
Speaker 1: I was very shook by all of it. Like I

704
00:40:33,239 --> 00:40:36,840
Speaker 1: was like, there was a moment where Glosha is looking

705
00:40:36,880 --> 00:40:40,640
Speaker 1: in the camera. She's like a young blonde girl and

706
00:40:41,000 --> 00:40:44,120
Speaker 1: you know, she's not very glamorous because she's in wartime.

707
00:40:44,200 --> 00:40:45,920
Speaker 1: She's not wearing makeup. I mean, it's just like she's

708
00:40:45,920 --> 00:40:49,440
Speaker 1: wearing a dress and she looks beautiful, but it's not

709
00:40:49,520 --> 00:40:52,879
Speaker 1: like a glamour beauty. It's like a very rough around

710
00:40:52,920 --> 00:40:55,680
Speaker 1: the edges type of beauty. They have this they're doing

711
00:40:55,680 --> 00:40:57,879
Speaker 1: this thing where they're both like crying to each other

712
00:40:57,960 --> 00:41:01,040
Speaker 1: when they first meet and they both start laughing, which

713
00:41:01,080 --> 00:41:05,200
Speaker 1: is actually a horror movie thing. It feels like, at

714
00:41:05,280 --> 00:41:10,040
Speaker 1: least it feels horrific because you know that they're traumatized,

715
00:41:10,080 --> 00:41:13,040
Speaker 1: but then they're sort of like it's like a hysterical

716
00:41:13,120 --> 00:41:17,160
Speaker 1: crying to laughing thing unnerving. But then she's like looking

717
00:41:17,200 --> 00:41:21,400
Speaker 1: in the camera and she's kind of just like talking crazily.

718
00:41:22,400 --> 00:41:26,319
Speaker 1: She's hysterical, and it's kind of like she's got kind

719
00:41:26,320 --> 00:41:28,520
Speaker 1: of this like weird Like there were times where I felt, gosh,

720
00:41:28,520 --> 00:41:31,560
Speaker 1: she looks kind of evil. Yeah, yeah, And I don't

721
00:41:31,560 --> 00:41:34,360
Speaker 1: know if that was the intention, but she just looked

722
00:41:34,440 --> 00:41:39,280
Speaker 1: kind of like unsettling, and I just was like, Okay,

723
00:41:39,320 --> 00:41:42,080
Speaker 1: these characters are going to look into the camera directly

724
00:41:42,200 --> 00:41:44,040
Speaker 1: and I'm not going to be able to handle it

725
00:41:44,080 --> 00:41:45,719
Speaker 1: for a much longer. Well.

726
00:41:45,800 --> 00:41:48,280
Speaker 2: It's interesting because I've seen other movies where like characters

727
00:41:48,520 --> 00:41:51,960
Speaker 2: look directly into the camera and I don't really think

728
00:41:52,080 --> 00:41:56,680
Speaker 2: much about it. Yeah, but in this movie, especially Dasha

729
00:41:56,760 --> 00:42:01,839
Speaker 2: what's her name, Golosha, Glosha, especially Glosha, when she looked

730
00:42:01,840 --> 00:42:05,920
Speaker 2: into the camera, I was like, there's a there's a

731
00:42:05,960 --> 00:42:09,720
Speaker 2: living entity looking directly at me. Yes, And it really

732
00:42:10,040 --> 00:42:15,680
Speaker 2: was affecting. Every time the characters look directly into the lens,

733
00:42:15,960 --> 00:42:18,880
Speaker 2: I'm like, they're looking into my soul.

734
00:42:19,239 --> 00:42:23,239
Speaker 1: Yeah, Like in a scene that comes up after this,

735
00:42:23,400 --> 00:42:26,719
Speaker 1: it's bad, Like I'm just like, this is this technique

736
00:42:26,760 --> 00:42:30,560
Speaker 1: is extremely effective? Yes, scaring the fuck out of me.

737
00:42:31,640 --> 00:42:34,400
Speaker 1: But the box sequence is really just hard because you're like,

738
00:42:34,440 --> 00:42:36,719
Speaker 1: oh my god, there's these two kids and they're completely

739
00:42:36,760 --> 00:42:39,120
Speaker 1: stuck in this mud. Are they going to drown in here?

740
00:42:39,600 --> 00:42:42,680
Speaker 1: They're like fighting for their lives to get out of it.

741
00:42:42,680 --> 00:42:44,360
Speaker 1: It's like they're in quicksand or something.

742
00:42:44,400 --> 00:42:46,200
Speaker 2: And I just and the way they shoot it too,

743
00:42:46,400 --> 00:42:48,840
Speaker 2: is like it's really close on them, so you can't

744
00:42:48,840 --> 00:42:51,439
Speaker 2: see where it ends. So you're like, oh my god,

745
00:42:51,480 --> 00:42:54,399
Speaker 2: it keeps going, it keeps going. You're like, how much

746
00:42:54,440 --> 00:42:56,040
Speaker 2: longer is this? It's horrible.

747
00:42:56,400 --> 00:42:59,400
Speaker 1: Oh yeah, it's a It is grueling. I mean, the

748
00:42:59,400 --> 00:43:02,799
Speaker 1: whole sequence, this is grueling. And this is around the

749
00:43:02,840 --> 00:43:06,640
Speaker 1: time where I start to like want to put the

750
00:43:06,880 --> 00:43:07,319
Speaker 1: movie on.

751
00:43:07,320 --> 00:43:10,880
Speaker 2: Pause and you just want to run to K Pop rehearsal,

752
00:43:11,000 --> 00:43:13,839
Speaker 2: You just want to go to your band rehearsal. Infinite tea,

753
00:43:15,040 --> 00:43:16,279
Speaker 2: Infinite tea.

754
00:43:17,320 --> 00:43:17,520
Speaker 1: Yeah.

755
00:43:17,640 --> 00:43:17,719
Speaker 4: No.

756
00:43:17,840 --> 00:43:21,480
Speaker 1: I definitely called up CBS Pharmacy and was like, can we,

757
00:43:21,640 --> 00:43:26,960
Speaker 1: you know, go out for Ramen because I cannot handle

758
00:43:27,080 --> 00:43:28,879
Speaker 1: this movie right now. It's rough.

759
00:43:30,960 --> 00:43:33,600
Speaker 2: Well, it's not gonna get any better. So they get

760
00:43:33,680 --> 00:43:36,880
Speaker 2: to the island and Fleora does find out that his

761
00:43:37,040 --> 00:43:41,680
Speaker 2: mom and his sisters were killed by the Nazis, and

762
00:43:41,760 --> 00:43:44,120
Speaker 2: it's a bunch of people kind of from his village,

763
00:43:44,120 --> 00:43:46,479
Speaker 2: but also just like random people are here and there's

764
00:43:46,520 --> 00:43:51,560
Speaker 2: no food, and so Fleiora joins some men. And he's

765
00:43:51,600 --> 00:43:53,880
Speaker 2: feeling awful at this point because he's like, I abandoned

766
00:43:53,880 --> 00:43:56,560
Speaker 2: my mom and my sisters. They're dead. They're dead because

767
00:43:56,600 --> 00:43:59,920
Speaker 2: of me. And he joined some of his some guy

768
00:44:00,200 --> 00:44:02,240
Speaker 2: to go find supplies and food to bring to people

769
00:44:02,239 --> 00:44:05,960
Speaker 2: on this island. And they build a statue to Hitler

770
00:44:06,360 --> 00:44:10,880
Speaker 2: that's like supposed to be mocking and they carry it

771
00:44:10,920 --> 00:44:13,919
Speaker 2: with them while they look for food, which I didn't

772
00:44:14,000 --> 00:44:18,360
Speaker 2: quite get why they did that other than like wanting

773
00:44:18,400 --> 00:44:20,560
Speaker 2: to mock Hitler. But you know, as they're in a

774
00:44:20,560 --> 00:44:23,680
Speaker 2: war zone, so it's treacherous, you know, two men step

775
00:44:23,719 --> 00:44:26,399
Speaker 2: on a mine and get blown up, and then they

776
00:44:26,440 --> 00:44:32,200
Speaker 2: steal a cow and the guy with Leora gets shot

777
00:44:32,280 --> 00:44:38,320
Speaker 2: and so does the cow, and Fleora tries to steal

778
00:44:38,840 --> 00:44:41,920
Speaker 2: a horse to carry the dead cow to the island.

779
00:44:42,560 --> 00:44:45,759
Speaker 2: But then the Nazis come and he has to kind

780
00:44:45,760 --> 00:44:50,400
Speaker 2: of just blend in with this new village and pretend

781
00:44:50,440 --> 00:44:54,080
Speaker 2: he's like a villager there and not a partisan you know,

782
00:44:54,160 --> 00:44:57,319
Speaker 2: not a military guy, just like a regular villager. So

783
00:44:58,160 --> 00:45:01,960
Speaker 2: he ends up of joining this village that's getting rounded

784
00:45:02,000 --> 00:45:02,960
Speaker 2: up by the Nazis.

785
00:45:03,800 --> 00:45:04,399
Speaker 1: It kind of.

786
00:45:04,320 --> 00:45:07,160
Speaker 2: Looked like they killed the cow in the real life.

787
00:45:07,840 --> 00:45:09,680
Speaker 1: Ah yeah, this.

788
00:45:09,719 --> 00:45:14,560
Speaker 2: Cow and that was hot. But it's also it's interesting

789
00:45:14,840 --> 00:45:20,960
Speaker 2: about this movie. There's not that much violence on screen,

790
00:45:21,320 --> 00:45:28,560
Speaker 2: or it's not like there's not that much graphic violence depicted,

791
00:45:30,080 --> 00:45:32,239
Speaker 2: you know what I mean, Like there's not you don't

792
00:45:32,280 --> 00:45:34,480
Speaker 2: see people getting shot and killed.

793
00:45:36,080 --> 00:45:38,760
Speaker 1: Yeah, you're not seeing like bullet holes with like blood

794
00:45:38,800 --> 00:45:40,440
Speaker 1: coming out of them and stuff. It's not like, yeah,

795
00:45:40,440 --> 00:45:43,600
Speaker 1: it's nothing like that, but it's not like like gnarly

796
00:45:43,800 --> 00:45:46,000
Speaker 1: in that sense, like the blood and gut sense. I

797
00:45:46,000 --> 00:45:47,600
Speaker 1: think it's emotionally violent.

798
00:45:48,160 --> 00:45:50,560
Speaker 2: It's oh, it's definitely emotionally yeah.

799
00:45:51,440 --> 00:45:54,080
Speaker 1: So but the cow thing, I always get really tense

800
00:45:54,160 --> 00:45:56,920
Speaker 1: anytime an animal comes into these movies. And there was

801
00:45:56,960 --> 00:45:59,040
Speaker 1: a close up of the cow I that went on

802
00:45:59,080 --> 00:46:03,000
Speaker 1: a little too long to say, yes, yeah.

803
00:46:02,920 --> 00:46:05,920
Speaker 2: But you know this part, I was like, it's one

804
00:46:05,920 --> 00:46:07,040
Speaker 2: of those things where it's like, well, he has to

805
00:46:07,040 --> 00:46:10,440
Speaker 2: get he's trying to get food and to bring it

806
00:46:10,520 --> 00:46:13,239
Speaker 2: back to this island of people. But it's like he's

807
00:46:13,320 --> 00:46:15,560
Speaker 2: now he's just trying to save himself, and you're like,

808
00:46:15,600 --> 00:46:18,759
Speaker 2: what about these people back there? I don't know. It

809
00:46:18,920 --> 00:46:22,399
Speaker 2: just this really felt and this is like an hour

810
00:46:22,440 --> 00:46:24,120
Speaker 2: and a half into the movie. I mean, it really

811
00:46:24,239 --> 00:46:29,479
Speaker 2: is just sort of like this marathon feeling of It's

812
00:46:29,560 --> 00:46:34,680
Speaker 2: just like you're never settled, you're always moving, and it

813
00:46:34,800 --> 00:46:38,040
Speaker 2: felt very warlike. You know, it's just as like this

814
00:46:38,239 --> 00:46:41,560
Speaker 2: ongoing thing that never ends. I mean, how long? How

815
00:46:41,600 --> 00:46:44,359
Speaker 2: how long do you think this movie takes place over

816
00:46:44,400 --> 00:46:46,280
Speaker 2: the course of That's hard.

817
00:46:46,040 --> 00:46:50,120
Speaker 1: To say, to be honest. I mean it feels like

818
00:46:50,280 --> 00:46:52,960
Speaker 1: years when you like scope out of it, when you

819
00:46:53,000 --> 00:46:54,760
Speaker 1: finally see the whole thing, you're like, did that happen

820
00:46:54,800 --> 00:46:55,800
Speaker 1: over several years?

821
00:46:56,760 --> 00:46:58,440
Speaker 2: But it also feels like it could have happened in

822
00:46:58,520 --> 00:46:59,280
Speaker 2: five days.

823
00:46:59,440 --> 00:47:02,040
Speaker 1: Yeah, that's it's kind of beguiling that.

824
00:47:01,960 --> 00:47:05,400
Speaker 2: Way, Yeah, because it's just kind of NonStop.

825
00:47:05,640 --> 00:47:05,839
Speaker 5: Yeah.

826
00:47:07,480 --> 00:47:10,040
Speaker 2: Anyways, all right, I'm going to get into the worst

827
00:47:10,080 --> 00:47:11,960
Speaker 2: part of the movie, and this was the part where

828
00:47:12,000 --> 00:47:17,000
Speaker 2: I was like I don't like this. I don't like

829
00:47:17,080 --> 00:47:23,840
Speaker 2: watching this. So he gets rounded up with this village

830
00:47:24,280 --> 00:47:27,799
Speaker 2: and the Nazis are like, make sure you do your paperwork,

831
00:47:27,840 --> 00:47:30,400
Speaker 2: bring a toothbrush because you're going to Germany. We're shipping

832
00:47:30,440 --> 00:47:34,400
Speaker 2: you off to Germany. But then they just pushed the

833
00:47:34,560 --> 00:47:38,800
Speaker 2: entire village. It's like hundreds of people into this empty church,

834
00:47:39,040 --> 00:47:42,400
Speaker 2: you know, men, women and children, and it's very crowded.

835
00:47:42,520 --> 00:47:44,520
Speaker 2: I mean, I was afraid for the actors again because

836
00:47:44,560 --> 00:47:48,600
Speaker 2: they're like crowded and pushed into space. And then they say,

837
00:47:48,880 --> 00:47:52,120
Speaker 2: if you have no kids, you can leave, or like,

838
00:47:52,239 --> 00:47:54,359
Speaker 2: if you want to leave your kid behind, you can leave.

839
00:47:55,000 --> 00:47:57,440
Speaker 2: And Fleora doesn't know any of these people, and he

840
00:47:57,520 --> 00:48:00,480
Speaker 2: has no kids, you know, so he is one of

841
00:48:00,520 --> 00:48:03,160
Speaker 2: the few people to walk out of the church. And

842
00:48:03,200 --> 00:48:06,279
Speaker 2: then they set the whole church on fire and blow

843
00:48:06,320 --> 00:48:10,560
Speaker 2: it up with everyone inside. And it's this whole sequence

844
00:48:10,880 --> 00:48:18,400
Speaker 2: is so long and so grueling and horrible and just

845
00:48:19,120 --> 00:48:23,360
Speaker 2: horribly unpleasant. And this is the part where the Nazis

846
00:48:23,440 --> 00:48:26,120
Speaker 2: grab Fleora and they point a gun to his head

847
00:48:26,440 --> 00:48:29,720
Speaker 2: and it's just for a picture. But he is left

848
00:48:29,960 --> 00:48:33,879
Speaker 2: alive because he's not attached to anything and he's not

849
00:48:34,000 --> 00:48:38,279
Speaker 2: he's just some kid basically, and so they let him go.

850
00:48:39,560 --> 00:48:42,680
Speaker 2: And yeah, this is awful.

851
00:48:44,920 --> 00:48:49,560
Speaker 1: Yeah, uh, this was extremely hard to watch.

852
00:48:50,400 --> 00:48:51,120
Speaker 2: Yes, the.

853
00:48:53,000 --> 00:48:54,320
Speaker 1: I mean, I don't even really know what else to

854
00:48:54,320 --> 00:48:59,239
Speaker 1: say about it. It was it's like a nightmare, like

855
00:48:59,520 --> 00:49:03,440
Speaker 1: night nightmare sequence. And you know, I think this is

856
00:49:03,440 --> 00:49:05,879
Speaker 1: the part that obviously everybody talks about the most and

857
00:49:06,360 --> 00:49:09,160
Speaker 1: as being the most effective in terms of the anti

858
00:49:09,200 --> 00:49:14,160
Speaker 1: war sentiments. But it's yeah, it's uh again, like it's

859
00:49:14,200 --> 00:49:16,000
Speaker 1: so you have to take a break. I mean I again,

860
00:49:16,120 --> 00:49:19,200
Speaker 1: like I paused it and kind of walked away for

861
00:49:19,239 --> 00:49:23,880
Speaker 1: a while and then came back, and then it's you

862
00:49:23,920 --> 00:49:26,080
Speaker 1: got to do do it in small doses if you

863
00:49:26,120 --> 00:49:28,200
Speaker 1: have to. But it was it's really hard.

864
00:49:28,560 --> 00:49:30,640
Speaker 2: So I don't know, I just didn't like, I don't

865
00:49:30,640 --> 00:49:33,879
Speaker 2: know how you would make have the stomach to make

866
00:49:33,920 --> 00:49:36,200
Speaker 2: a film like this, you know.

867
00:49:36,840 --> 00:49:40,120
Speaker 1: Well, and like I know that it was. The production

868
00:49:40,280 --> 00:49:47,279
Speaker 1: of it was really it was like grueling itself, right

869
00:49:47,320 --> 00:49:54,799
Speaker 1: because he, uh, the director had like a lot to

870
00:49:54,880 --> 00:49:58,160
Speaker 1: deal with in terms of the government to make the film, right.

871
00:49:58,680 --> 00:50:01,360
Speaker 1: There's a story about how it took like seven years

872
00:50:01,360 --> 00:50:06,680
Speaker 1: for them to you know, basically approve of the film

873
00:50:07,000 --> 00:50:08,520
Speaker 1: to be made or something like.

874
00:50:08,920 --> 00:50:11,680
Speaker 2: They say this at the end, but at the end

875
00:50:11,680 --> 00:50:16,520
Speaker 2: of the movie they say that six hundred and twenty

876
00:50:16,520 --> 00:50:19,879
Speaker 2: eight Belarussian villages were destroyed along with all of their

877
00:50:20,360 --> 00:50:26,120
Speaker 2: inhabitants throughout World War two. And you know, more Russians

878
00:50:26,160 --> 00:50:31,480
Speaker 2: died than anybody else in World War Two. Huge numbers

879
00:50:31,480 --> 00:50:36,600
Speaker 2: of Russians were killed. And I think this director wanted

880
00:50:36,640 --> 00:50:39,799
Speaker 2: to tell this story because I don't think it's a

881
00:50:39,840 --> 00:50:43,960
Speaker 2: story that does get told, just how much the people

882
00:50:44,000 --> 00:50:49,480
Speaker 2: of Belarus and Russia were slaughtered during World War two.

883
00:50:50,440 --> 00:50:53,520
Speaker 2: And this is based off a book by the guy

884
00:50:53,520 --> 00:50:59,120
Speaker 2: who co wrote the screenplay, Alice Adamovich, And the director

885
00:50:59,680 --> 00:51:01,839
Speaker 2: said to him, he was like, this is a quote

886
00:51:01,880 --> 00:51:04,600
Speaker 2: of the director's Ellen Klimov. He said, I understood that

887
00:51:04,640 --> 00:51:06,520
Speaker 2: this would be a very brutal film and it was

888
00:51:06,600 --> 00:51:09,640
Speaker 2: unlikely that people would be able to watch it. I

889
00:51:09,680 --> 00:51:14,040
Speaker 2: told this to my screenplay co author, the writer, Alice Adamovich,

890
00:51:14,400 --> 00:51:17,759
Speaker 2: and he replied, let them not watch it. Then this

891
00:51:17,920 --> 00:51:21,040
Speaker 2: is something we must leave after us as evidence of

892
00:51:21,080 --> 00:51:25,480
Speaker 2: war and as a plea for peace. And so I

893
00:51:25,520 --> 00:51:28,839
Speaker 2: can see what sort of drove these guys to make

894
00:51:28,920 --> 00:51:32,120
Speaker 2: this movie, because it is so awful, but it also

895
00:51:32,320 --> 00:51:39,120
Speaker 2: is instructive and meaningful. You know, it means something to

896
00:51:39,400 --> 00:51:40,440
Speaker 2: make this movie.

897
00:51:40,840 --> 00:51:43,440
Speaker 1: Yeah, I mean I think from like certainly like an

898
00:51:43,480 --> 00:51:48,960
Speaker 1: American perspective, like Russians have lived a life that I

899
00:51:49,000 --> 00:51:54,040
Speaker 1: can't I can't even comprehend as a stupid American. Does

900
00:51:54,080 --> 00:51:56,799
Speaker 1: that make sense? Like it's just like I don't know

901
00:51:56,880 --> 00:52:02,480
Speaker 1: if you're a fan of the filmmaker or documentarian Adam Curtis,

902
00:52:02,719 --> 00:52:11,239
Speaker 1: but he is a British journalist slash filmmaker. He has

903
00:52:12,000 --> 00:52:16,759
Speaker 1: like this amazing access to the BBC archives and he

904
00:52:16,880 --> 00:52:20,239
Speaker 1: uses a lot of that footage to make films and

905
00:52:20,280 --> 00:52:23,680
Speaker 1: he makes his kind of political polemics like these I

906
00:52:23,719 --> 00:52:26,400
Speaker 1: don't know, they're kind of like I don't know if

907
00:52:26,400 --> 00:52:29,680
Speaker 1: you've ever seen Los Angeles Plays Itself by Tom Anderson.

908
00:52:29,760 --> 00:52:34,520
Speaker 1: He is kind of these like first person narrative like

909
00:52:34,640 --> 00:52:41,080
Speaker 1: documentary type of films. And he made one it was

910
00:52:41,200 --> 00:52:43,840
Speaker 1: like several parts, I believe, seven or eight parts, and

911
00:52:43,880 --> 00:52:46,879
Speaker 1: it was called Russia nineteen eighty five to nineteen ninety

912
00:52:46,960 --> 00:52:52,040
Speaker 1: nine Colon Traumazoon and it was from twenty twenty two,

913
00:52:52,640 --> 00:52:57,040
Speaker 1: and it was truly one of I mean again in

914
00:52:57,080 --> 00:52:59,960
Speaker 1: this way that is, it was so huge in scope

915
00:53:00,640 --> 00:53:07,080
Speaker 1: and he edited all of this BBC news footage of

916
00:53:07,320 --> 00:53:12,040
Speaker 1: Russian stories and it just went through this whole timeline

917
00:53:12,160 --> 00:53:14,080
Speaker 1: of this like, you know, nineteen eighty five to nineteen

918
00:53:14,160 --> 00:53:17,160
Speaker 1: ninety nine to this kind of compact old timeline basically

919
00:53:17,239 --> 00:53:22,040
Speaker 1: like until Putin and I it's just kind of hard

920
00:53:22,040 --> 00:53:25,680
Speaker 1: to comprehend what it was like for people living in

921
00:53:25,760 --> 00:53:29,040
Speaker 1: Russia during that time. And it was like, You're seeing

922
00:53:29,040 --> 00:53:32,440
Speaker 1: all this kind of bleak journalistic news footage and you're

923
00:53:32,520 --> 00:53:37,240
Speaker 1: just like, holy fuck. Like again as a dumb American,

924
00:53:37,320 --> 00:53:40,520
Speaker 1: He's like, you can't even comprehend what's you know, what

925
00:53:40,680 --> 00:53:45,080
Speaker 1: life like there is and is like. And I don't know,

926
00:53:45,120 --> 00:53:48,479
Speaker 1: it just felt so bleak and I feel like, yeah,

927
00:53:48,480 --> 00:53:52,319
Speaker 1: like I kept thinking about that Adam Curtis movie the

928
00:53:52,440 --> 00:53:54,400
Speaker 1: entire time I was watching this movie because I was

929
00:53:54,440 --> 00:53:56,399
Speaker 1: just like, it just feels so bleak, and I don't

930
00:53:56,400 --> 00:53:59,680
Speaker 1: know if it's like it's just life there climate wise,

931
00:54:00,480 --> 00:54:02,040
Speaker 1: you know, I don't know. I used to live in

932
00:54:02,040 --> 00:54:04,560
Speaker 1: the Russian neighborhood in West Hollywood, and man, those people

933
00:54:04,560 --> 00:54:10,439
Speaker 1: are hard. They go so fucking hard. Yeah, I mean

934
00:54:10,440 --> 00:54:13,839
Speaker 1: it just feels harsh.

935
00:54:13,920 --> 00:54:14,840
Speaker 2: Yeah. Yeah.

936
00:54:15,080 --> 00:54:17,160
Speaker 1: I used to tell these stories about what I was

937
00:54:17,160 --> 00:54:20,120
Speaker 1: living in West Hollywood because I lived again in this

938
00:54:20,920 --> 00:54:26,279
Speaker 1: primarily Russian neighborhood and all my neighbors were Russian, uh,

939
00:54:26,320 --> 00:54:31,040
Speaker 1: and they would like they had no problem just getting

940
00:54:31,040 --> 00:54:33,240
Speaker 1: in your face and yelling at you about stuff.

941
00:54:33,440 --> 00:54:35,000
Speaker 2: Jesus, Oh my god.

942
00:54:35,200 --> 00:54:39,600
Speaker 1: I like I remember this woman like slamming her fist

943
00:54:39,680 --> 00:54:41,680
Speaker 1: into my front door one afternoon.

944
00:54:42,400 --> 00:54:42,879
Speaker 2: Oh my god.

945
00:54:42,960 --> 00:54:45,200
Speaker 1: And she was like she was probably like in her sixties,

946
00:54:45,560 --> 00:54:50,160
Speaker 1: and she was like, I keep getting your fucking mail

947
00:54:50,480 --> 00:54:53,279
Speaker 1: sent to my house. You need to call the post office.

948
00:54:53,480 --> 00:54:56,839
Speaker 1: I hate your fucking mail. And she hands me this

949
00:54:57,000 --> 00:55:00,320
Speaker 1: like huge stack of like letters that got acces like

950
00:55:00,680 --> 00:55:02,480
Speaker 1: delivered to her house because I guess we had the

951
00:55:02,520 --> 00:55:05,440
Speaker 1: same we had the same apartment number, but she was

952
00:55:05,480 --> 00:55:07,080
Speaker 1: in the building next door.

953
00:55:07,280 --> 00:55:07,520
Speaker 2: Yeah.

954
00:55:08,640 --> 00:55:10,759
Speaker 1: I was like, well, nice to meet you, thank you

955
00:55:11,200 --> 00:55:13,719
Speaker 1: for doing that. But she just was like Jesus, immediately

956
00:55:13,719 --> 00:55:19,600
Speaker 1: in my face, cussing. I mean it was intense, and Jesus,

957
00:55:19,880 --> 00:55:23,600
Speaker 1: I was terrified of them. They all wore tracksuits. They

958
00:55:23,680 --> 00:55:27,400
Speaker 1: just were like, I don't know, it kind of just

959
00:55:27,560 --> 00:55:30,920
Speaker 1: was like I know that they weren't all in the mafia,

960
00:55:31,000 --> 00:55:32,719
Speaker 1: but it felt like they were. And they but they

961
00:55:32,760 --> 00:55:37,680
Speaker 1: just had a hardness to them, which was scary and

962
00:55:37,760 --> 00:55:40,399
Speaker 1: also fascinating.

963
00:55:41,000 --> 00:55:45,920
Speaker 2: Yeah, well, I will say just about like the difficulty

964
00:55:45,920 --> 00:55:50,520
Speaker 2: of this film and making it. This was ellen Kleimoff's

965
00:55:50,600 --> 00:55:53,520
Speaker 2: last movie, and he didn't die until two thousand and three.

966
00:55:54,000 --> 00:55:56,480
Speaker 2: But this is what he said about in two thousand

967
00:55:56,520 --> 00:55:58,240
Speaker 2: and one why he never made a movie. He said,

968
00:55:58,320 --> 00:56:01,600
Speaker 2: I lost interest in making movies. Everything that was possible

969
00:56:01,600 --> 00:56:05,399
Speaker 2: I felt I had already done. Which is interesting because

970
00:56:05,440 --> 00:56:07,120
Speaker 2: I kind of feel like, after making this movie, I

971
00:56:07,160 --> 00:56:08,640
Speaker 2: could see why you'd never want to make a movie

972
00:56:08,640 --> 00:56:09,120
Speaker 2: ever again.

973
00:56:09,160 --> 00:56:12,160
Speaker 1: I would definitely not I would be done.

974
00:56:13,280 --> 00:56:20,040
Speaker 2: Yeah. Well, the end of the movie, so shockingly, Fleora,

975
00:56:20,080 --> 00:56:23,160
Speaker 2: you know, he lives, but his original troop that you

976
00:56:23,239 --> 00:56:28,600
Speaker 2: assumed had gotten blown to pieces, they survived, including this

977
00:56:28,760 --> 00:56:32,319
Speaker 2: like got this commander guy who had you sort of

978
00:56:32,320 --> 00:56:36,080
Speaker 2: see at the beginning. He survives, and they've rounded up

979
00:56:36,120 --> 00:56:41,799
Speaker 2: this these Nazis that burned down the village, and the

980
00:56:41,840 --> 00:56:43,960
Speaker 2: main Nazi in charge is kind of like, you know,

981
00:56:44,080 --> 00:56:47,040
Speaker 2: I'm actually like a grandpa, and I'm not a bad guy,

982
00:56:47,440 --> 00:56:50,200
Speaker 2: and I really didn't do anything, and I don't like violence,

983
00:56:50,320 --> 00:56:53,360
Speaker 2: so you should just can I go home? And they're

984
00:56:53,440 --> 00:56:58,560
Speaker 2: like what the fuck? And so obviously they kill all

985
00:56:58,600 --> 00:57:04,080
Speaker 2: the Nazis. But the movie ends with Fleora coming up

986
00:57:04,120 --> 00:57:06,680
Speaker 2: to a small boy who's looking at a poster on

987
00:57:06,719 --> 00:57:10,840
Speaker 2: the ground of Hitler, and Flora starts shooting this poster

988
00:57:11,719 --> 00:57:15,480
Speaker 2: and when he does that, we get a montage of

989
00:57:15,640 --> 00:57:20,040
Speaker 2: World War two and specifically like Hitler, and it's a

990
00:57:20,080 --> 00:57:24,480
Speaker 2: montage going back in time of Hitler's life, like going

991
00:57:24,520 --> 00:57:28,360
Speaker 2: backwards until it goes till he's like a baby, and

992
00:57:28,400 --> 00:57:35,280
Speaker 2: he stops shooting, and then Fleora turns around and joins

993
00:57:35,800 --> 00:57:38,640
Speaker 2: the battalion and is off to fight in the war.

994
00:57:39,360 --> 00:57:48,840
Speaker 2: And that's the end of the movie. Any final thoughts, Millie.

995
00:57:46,960 --> 00:57:50,920
Speaker 1: Yeah, I mean it is such a The ending is

996
00:57:51,000 --> 00:57:56,720
Speaker 1: actually really memorable. Yeah, and its way to just sort

997
00:57:56,720 --> 00:58:00,440
Speaker 1: of like, I don't know, like it feels. I mean,

998
00:58:00,480 --> 00:58:06,960
Speaker 1: it is really the bleak Cherry on the Bleak Sunday, right.

999
00:58:07,560 --> 00:58:09,360
Speaker 1: I really don't know what else to say about this.

1000
00:58:09,400 --> 00:58:13,480
Speaker 1: I mean, listen, I feel like I accomplished something by

1001
00:58:13,520 --> 00:58:15,240
Speaker 1: finishing it. I don't know if you felt that way,

1002
00:58:16,600 --> 00:58:19,640
Speaker 1: both as a cinema shithead, but also just as a

1003
00:58:19,720 --> 00:58:24,680
Speaker 1: person that you know loves films and wants to see

1004
00:58:24,720 --> 00:58:29,320
Speaker 1: them even though they're challenging and hard to watch. I mean,

1005
00:58:29,440 --> 00:58:32,320
Speaker 1: I've talked about this when I logged Slow, when I

1006
00:58:32,360 --> 00:58:37,760
Speaker 1: saw it in January. You know, sometimes you have to

1007
00:58:37,920 --> 00:58:42,120
Speaker 1: like go through it, go through the thing and process

1008
00:58:42,200 --> 00:58:47,960
Speaker 1: the difficult art. And it's a different type of difficult

1009
00:58:48,080 --> 00:58:50,760
Speaker 1: than Solow for sure. But I mean, although it's still

1010
00:58:50,840 --> 00:58:56,200
Speaker 1: kind of talking about fascism and the ways that fascists

1011
00:58:57,080 --> 00:59:02,520
Speaker 1: treat people, you know, which is yeah, happening right now

1012
00:59:03,120 --> 00:59:07,280
Speaker 1: as we speak. But I don't know if this it

1013
00:59:07,400 --> 00:59:11,800
Speaker 1: feels this is a very We're in a very political

1014
00:59:11,920 --> 00:59:16,480
Speaker 1: time where it is. Things are like watching something like

1015
00:59:16,520 --> 00:59:20,120
Speaker 1: this right now is double strength, I think for me,

1016
00:59:20,880 --> 00:59:23,040
Speaker 1: And I think that's probably why I had to, you know,

1017
00:59:23,640 --> 00:59:27,000
Speaker 1: kind of pace myself through it, because it's long. It's

1018
00:59:27,000 --> 00:59:29,400
Speaker 1: like two and a half hours long or something. But

1019
00:59:29,640 --> 00:59:34,320
Speaker 1: I do think that it's not it's not for the beginner,

1020
00:59:34,520 --> 00:59:35,960
Speaker 1: if you know what I'm saying. I feel like you've

1021
00:59:36,000 --> 00:59:41,280
Speaker 1: got to really strap in, prepare yourself for something hardcore

1022
00:59:41,760 --> 00:59:43,240
Speaker 1: when you watch Come and See.

1023
00:59:43,880 --> 00:59:48,280
Speaker 2: You know, this is definitely a Black Diamond movie, you know,

1024
00:59:48,520 --> 00:59:50,920
Speaker 2: in terms of like ski Hill difficulty.

1025
00:59:51,080 --> 00:59:53,640
Speaker 1: I remember you mentioned the Black Diamond movies.

1026
00:59:54,600 --> 00:59:57,440
Speaker 2: But yeah, I mean, it's impossible not to make connections

1027
00:59:57,480 --> 01:00:01,360
Speaker 2: to our present day, you know. I was thinking about

1028
01:00:01,680 --> 01:00:05,240
Speaker 2: the man I hate maybe most on the planet Pete Hegseth,

1029
01:00:05,680 --> 01:00:10,520
Speaker 2: who is our Secretary of Defense, but he like had

1030
01:00:10,560 --> 01:00:15,280
Speaker 2: Trump or Trump relabeled his title as Department of War

1031
01:00:15,560 --> 01:00:18,800
Speaker 2: or Secretary of War. And he's just like one of

1032
01:00:18,880 --> 01:00:21,200
Speaker 2: these giddy guys who wants to kill people. And I

1033
01:00:21,240 --> 01:00:25,520
Speaker 2: mean he could be he's potentially committed war crimes recently

1034
01:00:25,600 --> 01:00:28,320
Speaker 2: by this swift I don't know if you're following this

1035
01:00:28,400 --> 01:00:34,000
Speaker 2: news story, but there allegedly may have told people to

1036
01:00:34,720 --> 01:00:39,240
Speaker 2: kill everybody on this swift boat that was potentially a

1037
01:00:39,320 --> 01:00:43,360
Speaker 2: drug smuggling boat. But by him saying like kill them all,

1038
01:00:44,120 --> 01:00:46,760
Speaker 2: that's a war crime, you know. And so there are

1039
01:00:46,800 --> 01:00:50,480
Speaker 2: these guys who are giddy about getting into violent situations.

1040
01:00:50,520 --> 01:00:53,040
Speaker 2: And it made me think about the beginning of this movie.

1041
01:00:53,160 --> 01:00:55,160
Speaker 2: And also watching this, I mean, it made me think

1042
01:00:55,200 --> 01:00:58,240
Speaker 2: of all the children of Gaza. The horrors of seeing

1043
01:00:58,280 --> 01:01:01,200
Speaker 2: that on a regular basis, you know, in the news

1044
01:01:01,640 --> 01:01:05,520
Speaker 2: is it's hard not to make those connections with the

1045
01:01:05,560 --> 01:01:08,640
Speaker 2: present day of what's going on. And also just personally

1046
01:01:08,960 --> 01:01:12,720
Speaker 2: in the Twin Cities, there is a Trump is going

1047
01:01:12,720 --> 01:01:15,800
Speaker 2: after our Somali population. You know, ice is coming into

1048
01:01:15,840 --> 01:01:19,000
Speaker 2: the Twin Cities. You know, snatching people off the street.

1049
01:01:19,040 --> 01:01:22,000
Speaker 2: It's like it's hard to watch a war. It just

1050
01:01:22,040 --> 01:01:26,360
Speaker 2: doesn't feel as removed, you know, watching a movie like this.

1051
01:01:26,840 --> 01:01:33,080
Speaker 2: So anyways, bleak, it's bleak, But I think it's important

1052
01:01:33,080 --> 01:01:36,640
Speaker 2: to watch movies like this and to learn from them

1053
01:01:37,280 --> 01:01:41,000
Speaker 2: and for them there to be statements made about these

1054
01:01:41,040 --> 01:01:45,480
Speaker 2: types of historical events, you know, and how they are

1055
01:01:45,760 --> 01:01:48,400
Speaker 2: even historical, you know, or they're not in the past,

1056
01:01:48,400 --> 01:01:51,840
Speaker 2: they're happening right now. So anyways, well, congrats to us

1057
01:01:51,840 --> 01:02:05,320
Speaker 2: forget through bleak week. Bleak Week. Well, I'm excited for

1058
01:02:05,400 --> 01:02:11,440
Speaker 2: our next segment, sad Libs sad lips. Well, you know, again,

1059
01:02:11,480 --> 01:02:13,560
Speaker 2: we're moving removing still.

1060
01:02:13,360 --> 01:02:15,560
Speaker 1: With the sad films, but at least there's a little

1061
01:02:15,560 --> 01:02:21,320
Speaker 1: bit of humor apps in this section because we are

1062
01:02:21,400 --> 01:02:23,160
Speaker 1: going to do this is the first time I've ever

1063
01:02:23,200 --> 01:02:26,240
Speaker 1: done anything like this on a microphone. But basically this

1064
01:02:26,360 --> 01:02:30,840
Speaker 1: is sad libs. It's gonna be essentially like it's gonna

1065
01:02:30,880 --> 01:02:35,400
Speaker 1: be like a trailer voiceover for a new film that's

1066
01:02:35,440 --> 01:02:37,840
Speaker 1: about to come out, and this is gonna be the

1067
01:02:37,880 --> 01:02:40,360
Speaker 1: saddest movie of all time. Okay, and then there are

1068
01:02:40,400 --> 01:02:44,400
Speaker 1: certain parts of it that I'm gonna need your input

1069
01:02:44,480 --> 01:02:48,600
Speaker 1: on I'm here, and so I'm gonna just like mad libstyle,

1070
01:02:48,640 --> 01:02:50,360
Speaker 1: I'm just gonna give you the thing that I need

1071
01:02:50,400 --> 01:02:53,400
Speaker 1: you to give me, Okay, and then I'm gonna plug

1072
01:02:53,440 --> 01:02:56,120
Speaker 1: it in and then I'm gonna read the trailer to you.

1073
01:02:56,400 --> 01:02:59,880
Speaker 2: Okay, So I'm good, I'm ready, Okay, right off the bat.

1074
01:02:59,880 --> 01:03:05,200
Speaker 2: I need a verb, a verb, yeah, smush, okay, and

1075
01:03:06,880 --> 01:03:09,360
Speaker 2: give me the name of a street that you remember

1076
01:03:09,400 --> 01:03:15,360
Speaker 2: really well from childhood. I'll say Lyndale l I n

1077
01:03:15,520 --> 01:03:18,440
Speaker 2: or l y n l y n d a l

1078
01:03:18,520 --> 01:03:19,600
Speaker 2: E Lindale.

1079
01:03:19,640 --> 01:03:23,840
Speaker 1: Okay. Give me the name of a flower that you.

1080
01:03:23,960 --> 01:03:31,400
Speaker 2: Like, a flower Daisy. Okay, and give me I'm scared

1081
01:03:31,480 --> 01:03:33,960
Speaker 2: by I don't lie. This is I'm frightened by the

1082
01:03:34,000 --> 01:03:36,320
Speaker 2: compilation of what's going continue.

1083
01:03:36,360 --> 01:03:41,320
Speaker 1: Okay. I need another verb, smell, and then I need

1084
01:03:41,360 --> 01:03:44,080
Speaker 1: an adverb, which is basically a verb with a well

1085
01:03:44,120 --> 01:03:45,080
Speaker 1: you know what an adverb is.

1086
01:03:45,320 --> 01:03:46,600
Speaker 2: I'll say bravely.

1087
01:03:47,720 --> 01:03:50,200
Speaker 1: Okay. I need the name of a woman.

1088
01:03:51,960 --> 01:03:59,040
Speaker 2: A woman Amanda Sea Freed. Just the name I use,

1089
01:03:59,640 --> 01:04:01,600
Speaker 2: say man Amanda, Amanda.

1090
01:04:02,240 --> 01:04:05,560
Speaker 1: And then I need your high school mascot. But in

1091
01:04:05,640 --> 01:04:10,560
Speaker 1: the singular we were the stars, so it was star. Okay,

1092
01:04:12,600 --> 01:04:17,600
Speaker 1: I need your current favorite actress. I'm afraid of this, right,

1093
01:04:17,880 --> 01:04:23,840
Speaker 1: just go with it. My current favorite actress.

1094
01:04:24,640 --> 01:04:29,040
Speaker 2: I'll say, you know what, Okay, can you change I

1095
01:04:29,080 --> 01:04:31,560
Speaker 2: want this to be Amanda Sea Free and then you

1096
01:04:31,720 --> 01:04:33,640
Speaker 2: change the other name to Jennifer.

1097
01:04:33,960 --> 01:04:41,280
Speaker 1: Okay, got it? Okay, give me a job or profession.

1098
01:04:41,880 --> 01:04:44,520
Speaker 2: I'll say a barber.

1099
01:04:44,840 --> 01:04:48,800
Speaker 1: Then I need like any group of people, like a

1100
01:04:48,840 --> 01:04:53,920
Speaker 1: collection of people, hippies and number.

1101
01:04:55,360 --> 01:05:02,680
Speaker 2: Seven. I need a noun, a cheeseburg girl. I need

1102
01:05:02,720 --> 01:05:06,800
Speaker 2: a boy's name, Thomas.

1103
01:05:08,440 --> 01:05:12,720
Speaker 1: I need your favorite flavor of gum, like what gum

1104
01:05:12,760 --> 01:05:13,439
Speaker 1: do you like to chew?

1105
01:05:14,520 --> 01:05:15,360
Speaker 2: Watermelon?

1106
01:05:16,080 --> 01:05:18,800
Speaker 1: Then I need the name of any job that you

1107
01:05:18,840 --> 01:05:20,280
Speaker 1: wanted when you were a little kid.

1108
01:05:20,800 --> 01:05:22,520
Speaker 2: That's so funny. I'm like, what did I want to

1109
01:05:22,520 --> 01:05:24,440
Speaker 2: be when I was a little kid. I don't even know.

1110
01:05:24,680 --> 01:05:25,560
Speaker 1: Uh.

1111
01:05:25,600 --> 01:05:27,320
Speaker 2: I think when I was a little kid, I wanted

1112
01:05:27,360 --> 01:05:29,120
Speaker 2: to be a novelist.

1113
01:05:29,880 --> 01:05:33,920
Speaker 1: Okay, then tell me a time that you got in trouble,

1114
01:05:34,160 --> 01:05:38,720
Speaker 1: just like a very brief time, like in your childhood,

1115
01:05:38,760 --> 01:05:46,000
Speaker 1: when you got in trouble. I booby trapped the door

1116
01:05:47,320 --> 01:05:50,040
Speaker 1: for my room so a book would fall in my

1117
01:05:50,160 --> 01:05:51,040
Speaker 1: mom's head.

1118
01:05:55,480 --> 01:06:08,000
Speaker 3: Ah Oh, this is so good.

1119
01:06:08,760 --> 01:06:13,080
Speaker 1: Okay. Give me the name of an animal beaver okay,

1120
01:06:13,160 --> 01:06:14,920
Speaker 1: and then sort of related, give me the name of

1121
01:06:14,920 --> 01:06:17,400
Speaker 1: your favorite Muppets character, and don't say animal.

1122
01:06:17,920 --> 01:06:22,120
Speaker 2: Don't say animal, I'll say miss Piggy.

1123
01:06:24,040 --> 01:06:27,600
Speaker 1: All right. Give me a funny way of saying, oh

1124
01:06:27,640 --> 01:06:28,200
Speaker 1: my God.

1125
01:06:29,400 --> 01:06:31,880
Speaker 2: Funny way of saying oh my, I guess some.

1126
01:06:31,880 --> 01:06:34,680
Speaker 1: Way of like expressing that like oh my God, like

1127
01:06:34,720 --> 01:06:38,480
Speaker 1: a something like that, A funny way of saying dad zooks?

1128
01:06:39,880 --> 01:06:41,320
Speaker 2: Is that good? Does that make sense?

1129
01:06:41,480 --> 01:06:44,680
Speaker 1: Okay? Name a style of dance, so like, you know,

1130
01:06:44,800 --> 01:06:46,040
Speaker 1: like a you know what I mean?

1131
01:06:46,840 --> 01:06:55,960
Speaker 2: Yeah, the twist. Give me your least favorite vegetable egg plant.

1132
01:06:56,200 --> 01:07:03,480
Speaker 2: Name a weird instrument, the friend shorn? All right, just

1133
01:07:03,520 --> 01:07:06,760
Speaker 2: a few more. Uh, name of a thing okay?

1134
01:07:06,800 --> 01:07:09,480
Speaker 1: Good. Name of a famous criminal from.

1135
01:07:09,280 --> 01:07:14,080
Speaker 2: History, famous criminal? Why am I like having a hard

1136
01:07:14,120 --> 01:07:16,720
Speaker 2: time with this? John Gottie.

1137
01:07:18,840 --> 01:07:25,720
Speaker 1: Give me an adjective beautiful, and give me another adjective ugly?

1138
01:07:27,840 --> 01:07:29,800
Speaker 1: All right. Give me a measurement of time.

1139
01:07:31,280 --> 01:07:36,440
Speaker 2: Let's say, uh yeah, let's let's do years.

1140
01:07:36,880 --> 01:07:38,680
Speaker 1: Okay, And then I need for the last one. A

1141
01:07:38,800 --> 01:07:49,760
Speaker 1: verb that describes something negative in the past tense annihilated. Okay, Okay,

1142
01:07:50,120 --> 01:07:53,280
Speaker 1: are you ready, we've we've put it together.

1143
01:07:53,400 --> 01:07:54,960
Speaker 2: I'm excited. Okay, I'm afraid.

1144
01:07:55,760 --> 01:07:58,880
Speaker 1: I'm gonna try not to laugh. I have always laughed

1145
01:07:58,880 --> 01:08:00,880
Speaker 1: through madlibs, so I'm to try not to do that

1146
01:08:00,920 --> 01:08:01,280
Speaker 1: this time.

1147
01:08:01,400 --> 01:08:02,200
Speaker 2: Okay, here we go.

1148
01:08:02,280 --> 01:08:11,160
Speaker 1: This is Casey's sad libs trailer voiceover for the saddest

1149
01:08:11,200 --> 01:08:14,400
Speaker 1: film ever made, but definitely the saddest film that's about

1150
01:08:14,400 --> 01:08:16,120
Speaker 1: to come out in theaters anytime.

1151
01:08:16,320 --> 01:08:18,880
Speaker 2: Maybe I'll play some sad music under this. There we go,

1152
01:08:19,240 --> 01:08:20,120
Speaker 2: so it's effective.

1153
01:08:22,320 --> 01:08:26,719
Speaker 1: Here we go. The most anticipated movie of the year

1154
01:08:27,360 --> 01:08:33,439
Speaker 1: from director Smush Lindale, the unrivaled master of dark drama,

1155
01:08:33,600 --> 01:08:39,080
Speaker 1: is The Daisy That Smells Bravely. It's a story that

1156
01:08:39,120 --> 01:08:43,760
Speaker 1: feels almost too intimate to watch. The film follows Jennifer Starr,

1157
01:08:44,120 --> 01:08:49,120
Speaker 1: played with raw bone deep honesty by Amanda Seafried, a

1158
01:08:49,240 --> 01:08:53,160
Speaker 1: barber forced to confront the lie that is shaped and

1159
01:08:53,240 --> 01:08:58,360
Speaker 1: poisoned her hippies for nearly seven decades. Amanda Seafried delivers

1160
01:08:58,360 --> 01:09:01,920
Speaker 1: the most haunting performance of her career, embodying a cheeseburger,

1161
01:09:02,040 --> 01:09:08,560
Speaker 1: unraveling thread by thread. Equally gripping is newcomer Thomas Watermelon.

1162
01:09:11,360 --> 01:09:13,400
Speaker 2: His portrayal Tommy Watermelon.

1163
01:09:15,240 --> 01:09:17,479
Speaker 1: All right, I'm not gonna laugh. God damn it. Okay,

1164
01:09:18,320 --> 01:09:25,439
Speaker 1: his portrayal of a novelists broken by his portrayal of

1165
01:09:25,439 --> 01:09:28,360
Speaker 1: a novelist, broken by the night he booby trapped the

1166
01:09:28,400 --> 01:09:30,560
Speaker 1: door to his room so that a book fell in

1167
01:09:30,680 --> 01:09:38,439
Speaker 1: his bob acres the film's emotional core. The only friend

1168
01:09:38,479 --> 01:09:42,280
Speaker 1: he has in the world, a beaver named Miss.

1169
01:09:41,880 --> 01:09:49,360
Speaker 5: Peggy, has gone missing at the woods, launching a desperate

1170
01:09:49,400 --> 01:09:51,880
Speaker 5: attempt to find him before it's too late.

1171
01:09:52,880 --> 01:09:57,760
Speaker 1: Shot in Gadzook's vision. The film's score, by composer Twist Eggplant,

1172
01:09:57,920 --> 01:10:00,799
Speaker 1: is a haunting mix of the French horn near silent

1173
01:10:00,880 --> 01:10:04,400
Speaker 1: stretches that make the audience hold their breadths. Come and

1174
01:10:04,439 --> 01:10:08,360
Speaker 1: see the film that famed movie critic John Gotti calls

1175
01:10:08,400 --> 01:10:12,799
Speaker 1: beautiful and ugly, and the New York Year has described

1176
01:10:12,800 --> 01:10:18,280
Speaker 1: as the most annihilated of the year in theaters. Now

1177
01:10:20,800 --> 01:10:21,360
Speaker 1: very good.

1178
01:10:24,120 --> 01:10:27,200
Speaker 2: I wish I had a beaver friend named Miss Piggy.

1179
01:10:29,600 --> 01:10:34,840
Speaker 1: Tommy water Ellen. I could barely get through that. But

1180
01:10:34,880 --> 01:10:35,840
Speaker 1: I'm glad that that happened.

1181
01:10:35,840 --> 01:10:38,559
Speaker 2: That that was good, Millie. I'm impressed you put that

1182
01:10:38,640 --> 01:10:39,320
Speaker 2: all together.

1183
01:10:39,640 --> 01:10:44,040
Speaker 1: Hey, I do do some good around here.

1184
01:10:44,120 --> 01:10:48,080
Speaker 2: Sometimes, you know what that brought me out of the bleakness.

1185
01:10:48,120 --> 01:10:50,599
Speaker 1: Ok God, that's what I wanted to.

1186
01:10:52,240 --> 01:10:53,599
Speaker 2: I feel so much better now.

1187
01:10:53,880 --> 01:10:57,160
Speaker 1: Oh my goodness. Well, The Daisy that Smells Bravely is

1188
01:10:57,240 --> 01:11:01,479
Speaker 1: definitely in theaters now. And yeah, it sounds like a

1189
01:11:01,520 --> 01:11:03,639
Speaker 1: fucking bummer, but we had a good time.

1190
01:11:04,040 --> 01:11:09,200
Speaker 2: So it reminds that title reminds me of like a

1191
01:11:09,240 --> 01:11:10,960
Speaker 2: fake Seinfeld movie.

1192
01:11:12,320 --> 01:11:14,880
Speaker 1: The Flower that Drank the Moon is not from where,

1193
01:11:14,920 --> 01:11:17,320
Speaker 1: so it's got to be from something I forgot, ghost World.

1194
01:11:17,960 --> 01:11:19,720
Speaker 1: All right, well, there we go. There you have it.

1195
01:11:19,720 --> 01:11:22,400
Speaker 1: We're gonna do more mad libs. I feel like if

1196
01:11:22,560 --> 01:11:24,960
Speaker 1: it just hits, if people aren't annoyed by, I would

1197
01:11:25,120 --> 01:11:26,120
Speaker 1: do it mad libs.

1198
01:11:26,320 --> 01:11:29,320
Speaker 2: So I would love it, okay, especially if we're down

1199
01:11:29,320 --> 01:11:41,719
Speaker 2: on the dumps. Yes, I'm gonna be good. So Millie,

1200
01:11:41,760 --> 01:11:45,280
Speaker 2: it's time for our film. Our employees picks film recommendations

1201
01:11:45,320 --> 01:11:46,960
Speaker 2: based on the theme of the discussion what do you got?

1202
01:11:47,040 --> 01:11:50,439
Speaker 1: Okay? So this is actually very much related to Come

1203
01:11:50,479 --> 01:11:53,920
Speaker 1: and See. I'm recommending a movie called The Ascent from

1204
01:11:54,000 --> 01:11:57,519
Speaker 1: nineteen seventy seven. This is a movie that was directed

1205
01:11:57,600 --> 01:12:06,759
Speaker 1: by Ellen and Klemaw's wife, Larissa Shapitko. It's also about Bella,

1206
01:12:06,920 --> 01:12:13,960
Speaker 1: Russia in World War Two, also about you know, some partisans.

1207
01:12:15,080 --> 01:12:18,800
Speaker 1: I mean it's stark as well. I mean it's it's like,

1208
01:12:18,880 --> 01:12:21,800
Speaker 1: I'm not gonna lie. This is not this apple does

1209
01:12:21,840 --> 01:12:24,439
Speaker 1: not fall far from the tree when it comes to

1210
01:12:24,479 --> 01:12:28,000
Speaker 1: this recommendation. But I just felt like it's a good

1211
01:12:28,040 --> 01:12:32,280
Speaker 1: companion to come and see. It actually was made before

1212
01:12:33,600 --> 01:12:37,559
Speaker 1: so and you know, she was probably one of the

1213
01:12:37,600 --> 01:12:43,760
Speaker 1: most famous female Russian directors in history. So I think

1214
01:12:43,760 --> 01:12:46,600
Speaker 1: it's worth a watch. It's on Criterion Collection if you

1215
01:12:46,640 --> 01:12:50,960
Speaker 1: want to see it. And yeah, that's my wreck this week.

1216
01:12:52,720 --> 01:12:56,400
Speaker 2: Very good. I mentioned this movie already, but I'm I'm

1217
01:12:56,439 --> 01:13:00,639
Speaker 2: recommending twenty twenty two's All Quiet on the West Front.

1218
01:13:00,680 --> 01:13:03,160
Speaker 2: People didn't I feel like some people didn't really like

1219
01:13:03,200 --> 01:13:06,800
Speaker 2: this movie. It's on Netflix, but I thought I was

1220
01:13:06,920 --> 01:13:12,360
Speaker 2: so frightened by the beginning of this movie. Just the

1221
01:13:12,560 --> 01:13:15,040
Speaker 2: joy of these boys going to war and then like

1222
01:13:15,680 --> 01:13:18,720
Speaker 2: them realizing that they're all going to be killed was

1223
01:13:19,040 --> 01:13:23,080
Speaker 2: really stark and frightening. And in the movie, you know,

1224
01:13:23,160 --> 01:13:27,439
Speaker 2: they like sign up, they get their uniforms and they

1225
01:13:27,479 --> 01:13:30,120
Speaker 2: get in a truck and they drive to war like

1226
01:13:30,200 --> 01:13:32,599
Speaker 2: it's like down the road, you know, because like war

1227
01:13:32,720 --> 01:13:35,639
Speaker 2: is happening in Germany. So that was like a really

1228
01:13:35,680 --> 01:13:38,240
Speaker 2: interesting scene to be like, all right, you guys are

1229
01:13:38,280 --> 01:13:40,519
Speaker 2: having fun, let's let's go over to the war now.

1230
01:13:40,560 --> 01:13:43,640
Speaker 2: And then they just like you know, get destroyed. And

1231
01:13:43,720 --> 01:13:48,000
Speaker 2: it's got a really good score and it's another movie

1232
01:13:48,080 --> 01:13:51,639
Speaker 2: because you know, Roger Ebert talked about how it's really

1233
01:13:51,640 --> 01:13:54,360
Speaker 2: hard to make an anti war war film because it's

1234
01:13:54,400 --> 01:13:59,240
Speaker 2: so exciting and there's usually a victor, and the people

1235
01:13:59,280 --> 01:14:04,479
Speaker 2: you're following are usually victorious, you know, even a really sad,

1236
01:14:04,640 --> 01:14:07,080
Speaker 2: dark movie like Saving Private Ryan. At the end you're

1237
01:14:07,120 --> 01:14:10,320
Speaker 2: kind of like, all right, cool, you know, but I

1238
01:14:10,360 --> 01:14:13,080
Speaker 2: feel like all Quite on the Western Front really makes

1239
01:14:13,120 --> 01:14:16,040
Speaker 2: me not want to go to war. And so did

1240
01:14:16,760 --> 01:14:19,800
Speaker 2: come and see So that's my wreck. All Quite on

1241
01:14:19,840 --> 01:14:23,080
Speaker 2: the Western Front from twenty twenty two. Good, oh mellly,

1242
01:14:23,160 --> 01:14:23,640
Speaker 2: we made it.

1243
01:14:23,680 --> 01:14:24,320
Speaker 1: We made it.

1244
01:14:24,439 --> 01:14:27,759
Speaker 2: We made it. Jesus in the future.

1245
01:14:28,880 --> 01:14:31,680
Speaker 1: We like to give out film advice and maybe you

1246
01:14:31,680 --> 01:14:33,519
Speaker 1: write it and you say, don't do Bleak Week again,

1247
01:14:33,520 --> 01:14:34,800
Speaker 1: because that bummed me the fuck out.

1248
01:14:34,840 --> 01:14:38,639
Speaker 2: But if you you could give us advice too, Yeah.

1249
01:14:38,720 --> 01:14:41,800
Speaker 1: You give us advice. Sure, we might listen to it.

1250
01:14:41,880 --> 01:14:45,360
Speaker 1: We may not. Who knows. But if you need anything though,

1251
01:14:45,400 --> 01:14:47,680
Speaker 1: like a recommendation, if you want to talk about a

1252
01:14:47,680 --> 01:14:52,760
Speaker 1: film gripe, a consensual film group, a film regret, which

1253
01:14:52,840 --> 01:14:56,800
Speaker 1: is also a film gret in our parlance plays write

1254
01:14:56,800 --> 01:14:59,799
Speaker 1: in We're at your movies at exactly rightmedia dot com.

1255
01:15:00,080 --> 01:15:04,480
Speaker 1: Also you can leave a voice memo, leave us a voicemail,

1256
01:15:04,479 --> 01:15:06,320
Speaker 1: but you would record it as a voice memo on

1257
01:15:06,360 --> 01:15:09,679
Speaker 1: your phone. That's under a minute email. It's to dearmovies

1258
01:15:09,720 --> 01:15:13,920
Speaker 1: at exactly rightmedia dot com. Casey is manning the phones

1259
01:15:13,960 --> 01:15:17,559
Speaker 1: twenty four hours a day, seven days week, so he'll

1260
01:15:17,600 --> 01:15:20,040
Speaker 1: either respond to it or we'll do someone on the

1261
01:15:20,080 --> 01:15:21,240
Speaker 1: podcast for you.

1262
01:15:21,240 --> 01:15:24,360
Speaker 2: You will get some answer to your email. Yes, Now,

1263
01:15:24,439 --> 01:15:28,519
Speaker 2: if I'm responding to it, you know it's probably a

1264
01:15:28,560 --> 01:15:31,720
Speaker 2: bad stupid answer because Millie's not there. But you will

1265
01:15:31,760 --> 01:15:34,640
Speaker 2: get a response, and that is a guarantee.

1266
01:15:34,880 --> 01:15:35,640
Speaker 1: I guarantee it.

1267
01:15:35,760 --> 01:15:38,680
Speaker 2: Just be patient. Yeah. Follow us on our socials at

1268
01:15:38,720 --> 01:15:42,280
Speaker 2: Deer Movies I Love You on Instagram and Facebook. Our

1269
01:15:42,400 --> 01:15:46,520
Speaker 2: letterbox handles are at Casey le O'Brien and at md'cerco.

1270
01:15:47,080 --> 01:15:49,040
Speaker 2: Listen to Deer Movies I Love You on the iHeartRadio

1271
01:15:49,080 --> 01:15:52,200
Speaker 2: Apppple podcasts or wherever you get your podcasts and rate

1272
01:15:52,240 --> 01:15:55,880
Speaker 2: and review our show. It helps Millie. What are we

1273
01:15:55,880 --> 01:15:56,639
Speaker 2: doing next week?

1274
01:15:57,600 --> 01:16:02,800
Speaker 1: Let's see, we're doing something that we're kind of basically

1275
01:16:03,120 --> 01:16:07,000
Speaker 1: calling referential films or like movies that you know have

1276
01:16:07,120 --> 01:16:11,800
Speaker 1: existed throughout time that either the plotline or the name

1277
01:16:11,840 --> 01:16:15,280
Speaker 1: of the film has persisted in our pop culture and

1278
01:16:15,360 --> 01:16:17,880
Speaker 1: has become the name of something right, or like it's

1279
01:16:17,920 --> 01:16:20,200
Speaker 1: like the name of the thing. A perfect example is

1280
01:16:20,320 --> 01:16:22,120
Speaker 1: the movie that we're going to be talking about next week,

1281
01:16:22,160 --> 01:16:25,960
Speaker 1: which is How Sella Got Her Groove back from nineteen

1282
01:16:26,040 --> 01:16:30,439
Speaker 1: ninety eight. And you're gonna be a first time watching

1283
01:16:30,439 --> 01:16:32,920
Speaker 1: for you. I believe right, that's correct, And I think

1284
01:16:32,960 --> 01:16:35,759
Speaker 1: we wanted to watch this movie because we after bleak week.

1285
01:16:35,600 --> 01:16:37,240
Speaker 2: We also need to get our groove.

1286
01:16:37,760 --> 01:16:40,920
Speaker 1: We need to be in a tropical location with Tay Diggs.

1287
01:16:41,200 --> 01:16:43,760
Speaker 2: I'm excited. I'm excited to watch this never seen it,

1288
01:16:44,120 --> 01:16:48,559
Speaker 2: missed it somehow, and yeah, it's gonna be great. It's

1289
01:16:48,600 --> 01:16:52,640
Speaker 2: gonna be the polar opposite of this episode, happy, tropical

1290
01:16:53,520 --> 01:16:57,400
Speaker 2: sexy movie perhaps groovy.

1291
01:16:58,120 --> 01:17:01,280
Speaker 1: Yeah, well casey as. Allways, I had a really good

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01:17:01,320 --> 01:17:04,720
Speaker 1: time with you, despite the fact that I'm extremely depressed

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01:17:04,840 --> 01:17:06,320
Speaker 1: to the point where I'm going to have to record

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01:17:06,360 --> 01:17:11,280
Speaker 1: another album with my K pop band. But hey, well,

1295
01:17:11,320 --> 01:17:12,760
Speaker 1: thank you in the liner notes.

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01:17:13,360 --> 01:17:14,400
Speaker 2: Oh I would love that.

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01:17:14,560 --> 01:17:14,800
Speaker 1: Yeah.

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01:17:14,840 --> 01:17:17,080
Speaker 2: You know, it's like these depressing episodes in our lives.

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01:17:17,160 --> 01:17:20,160
Speaker 2: You know, we make great art from them. So I

1300
01:17:20,200 --> 01:17:23,639
Speaker 2: hope you, guys, you and your twenty seven member kpop

1301
01:17:23,720 --> 01:17:28,600
Speaker 2: group make some great albums because of the sadness you

1302
01:17:28,720 --> 01:17:31,280
Speaker 2: experienced watching this movie. That's it.

1303
01:17:32,280 --> 01:17:37,920
Speaker 1: Bye everybody Bye. This has been an exactly right production

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01:17:38,320 --> 01:17:41,640
Speaker 1: hosted by me Millie to Cherco and produced by my

1305
01:17:41,680 --> 01:17:43,200
Speaker 1: co host Kasey O'Brien.

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01:17:43,400 --> 01:17:47,160
Speaker 2: This episode was mixed by Tom Bryfogel. Our associate producer

1307
01:17:47,240 --> 01:17:50,600
Speaker 2: is Christina Chamberlain, our guest booker is Patrick Cottner, and

1308
01:17:50,640 --> 01:17:52,519
Speaker 2: our artwork is by Vanessa Ilac.

1309
01:17:52,680 --> 01:17:55,600
Speaker 1: Our incredible theme music is by the best band in

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01:17:55,600 --> 01:17:57,480
Speaker 1: the entire world, The Softies.

1311
01:17:57,760 --> 01:18:01,080
Speaker 2: Thank you to our executive producers Karen Hill, Gareth Georgia

1312
01:18:01,120 --> 01:18:04,720
Speaker 2: hard Stark, Daniel Kramer and Millie to Jerico. We love you.

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01:18:04,800 --> 01:18:06,200
Speaker 1: Goodbye.

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01:18:06,960 --> 01:18:07,560
Speaker 2: Becon