Speaker 1: Look out.
Speaker 2: It's only films to be buried with. Hello, and welcome
Speaker 2: to films to be buried with. My name is Brett Goldstein.
Speaker 2: I'm a comedian, an actor, a writer, a director, a
Speaker 2: beef jerky, and I love film. As Voltaire once said,
Speaker 2: appreciation is a wonderful thing. It makes what is excellent
Speaker 2: in others belong to us as well. Like if you
Speaker 2: really love the film Hook, then it will always live
Speaker 2: inside you as your own happy thought. Oh that's lovely, Voltaire.
Speaker 2: Every week I invite a special guest over. I tell
Speaker 2: them they've died. Then I get them to discuss their
Speaker 2: life through the films that meant the most of them.
Speaker 2: But not this week. This week it's the when you
Speaker 2: think about it. Way ahead of schedule Films of the
Speaker 2: Year twenty twenty two Special Part two with Mister nish Kuma.
Speaker 2: You can watch all of Shrinking on Apple tv Plus
Speaker 2: and ted Lasso Season three episodes now one to seven
Speaker 2: on Apple tv Plus. Watch them, love Them, Thank you,
Speaker 2: nice one, Good luck to you. Head over to the
Speaker 2: Patreon at patreon dot com Forward slash break Golds team,
Speaker 2: where you get all the extra videos, you get secrets,
Speaker 2: you get all the stuff you don't get on this one.
Speaker 2: You get all sorts of things. Just check it out
Speaker 2: over at patreon dot com. Forward slash Break Golds team.
Speaker 2: So if you are new to the podcast and you
Speaker 2: missed last week's Every year, me and this Kuma do
Speaker 2: our films of the year. We never do them in
Speaker 2: December because we haven't seen them all and we want
Speaker 2: to make sure we do this properly. This edition is
Speaker 2: way ahead of schedule. We left last week on a
Speaker 2: massive cliffhanger. I believe the question was what was the
Speaker 2: sexiest film of last year? Ready to find out?
Speaker 3: Oh?
Speaker 2: I bet you are. Here's part two. So that is
Speaker 2: it for now. I very much hope you enjoy episode
Speaker 2: two hundred and forty four of Films to be Buried
Speaker 2: with When you think about it, way ahead of schedule.
Speaker 3: Films of the Year twenty twenty two Special Part two.
Speaker 1: Why don't you start off with your sexiest film? Given
Speaker 1: that this is the question you care about the most?
Speaker 2: Yeah, I gotta be I gotta be honest this one,
Speaker 2: and this is no disrespect to twenty twenty two, but
Speaker 2: not the sexiest year in film. I didn't have a
Speaker 2: load of options unless I'm forgetting do you know what
Speaker 2: I mean? I was like, oh, I said, long list
Speaker 2: sexy stuff to choose. The answer is I think unequivocal public.
Speaker 2: Top Gun Maverick got to.
Speaker 1: Wow, I'm surprised it's taken this long to come up,
Speaker 1: because also Top Gun Maverick should, if we're honest, be
Speaker 1: everyone's answer to film you thought was going to be
Speaker 1: ship but was amazing, Like Top Gun Mavericks should be
Speaker 1: so fucking shit, everyone's it should be so bad. It
Speaker 1: was brilliant. I saw in the Imax in the Lincoln Center,
Speaker 1: in the AMC and the Lincoln Center of New and
Speaker 1: like I saw it with my friend and Fred the
Speaker 1: podcast where as about FAO, And at one point she
Speaker 1: turned to me and said, this is the greatest piece
Speaker 1: of cinema of all time.
Speaker 2: I think.
Speaker 1: I can't think it might have been after the volleyball scene,
Speaker 1: but she was like, this is the greatest film of
Speaker 1: all time. Also, you know, it is just amazing. How
Speaker 1: you know you can like we can like build whole worlds.
Speaker 1: You know, you can you can put an actor in
Speaker 1: a green screen room and we can build whole worlds
Speaker 1: around them, and so you don't even need the actor
Speaker 1: sometimes you can just create a whole reality. But at
Speaker 1: the end of the day, you whack a fucking massive
Speaker 1: camera in a plane and fly around and nothing is better.
Speaker 1: Nothing is better, Like no computer effect can be better
Speaker 1: than a massive camera in the fucking pilot's seat of
Speaker 1: a jet, and then the jet is Sometimes when the
Speaker 1: jets were blasting, I was like, I think my insides
Speaker 1: are gonna rupture. Like it was thrilling. Do we know
Speaker 1: the na should they were invading? No? Does it matter? No,
Speaker 1: best not to best not, that's not to ask questions
Speaker 1: like that, but.
Speaker 2: Helmets and the bad guys, so we can't see anything
Speaker 2: very wise, doesn't matter. It's cold where they are. Does
Speaker 2: that mean that could be any I mean.
Speaker 1: That could be anyway. There's a lot of countries that
Speaker 1: are cold.
Speaker 2: They're in the east, west, north, south. Okay, it was,
Speaker 2: It was.
Speaker 1: It was great. Miles Teller is a weirdly applausible child
Speaker 1: of Meg Ryan and Anthony Edwards. Yeah, it could, but
Speaker 1: it was fucking great. It was. You know, it was
Speaker 1: so much fun, so much fun. What's your sexiest talk
Speaker 1: about the sex aplt of it? Because I mean it's
Speaker 1: like Tom Cruise as he gets older, it's sex sexy
Speaker 1: is not top of my list. I think it's impressive.
Speaker 2: I think what I'm I think I'm saying. It's like
Speaker 2: the whole film is so slick and well put together
Speaker 2: and well made up, and it does have Jennifer Conley,
Speaker 2: who is yeah, let's yeah in my top five, you know,
Speaker 2: and just cleaner and anything. You're like, Okay, this puts
Speaker 2: it in the list, and it's just you know, it's
Speaker 2: like four in it that film. What's your answer?
Speaker 1: I mean, look, my answer is well, my answer will
Speaker 1: lead us on to troubling boners. Okay, like the subcategory, Brett,
Speaker 1: please introduce it.
Speaker 2: The subcategory to the sexiest film is troubling boner is worrying?
Speaker 2: Why I done so? Film? You found arousing? You weren't
Speaker 2: sure you should.
Speaker 1: Now, Brett. You may say it was maybe not a
Speaker 1: great year for sexy movies, but I'll tell you re
Speaker 1: troubling bonus our cup runneth Over. Twenty twenty two was
Speaker 1: many things, but it was also the year of the
Speaker 1: troubling boner in cinema. It was the year it if
Speaker 1: titane was a year, it was twenty twenty. It was
Speaker 1: troubling Boner after Truble. I was troubled by most of
Speaker 1: my erections this year. The film that I've gone for,
Speaker 1: any of these are troubling bonis. The film that I've
Speaker 1: gone for is Decision to Leave, which I thought was
Speaker 1: amazing for Park Cham would absolutely love it. I just
Speaker 1: thought the atmosphere of it was it was very sexy.
Speaker 1: I thought the vibe of it was very sexy. I
Speaker 1: thought Tangway was very sexy, and I felt it. I
Speaker 1: believed it completely plausible that somewhat that she would be
Speaker 1: brought in for potentially murdering her husband and the policeman
Speaker 1: investigating would go well. First things first, Holy Mama, I
Speaker 1: think it's important to say that I believe that, and
Speaker 1: like you know, with like the handmade Park chambook is
Speaker 1: very he makes great sexy movies and the sort of
Speaker 1: atmosphere of eroticism.
Speaker 2: He does make sexy films.
Speaker 1: They're all sexy, and eroticism is a big and important
Speaker 1: part of cinema and cinematic history and we should not
Speaker 1: be ashamed of it. Right. But in terms of the
Speaker 1: troubling Bonus, my god, Brett, what are you Because Decision
Speaker 1: to Leave is in of itself quite a troubling boner.
Speaker 2: What's troubling about the boners? Well, I didn't feel shame.
Speaker 1: I didn't necessarily feel shame, but you know, Tangway's character
Speaker 1: sort of gets put through quite a lot and you
Speaker 1: have to see her in various states of distress. So
Speaker 1: I don't think I sailed through it, sailed through it,
Speaker 1: but that sort of leads me on to a like
Speaker 1: true like string of troubling boners, key amongst them. And
Speaker 1: this is like sort of troubling. But like, there's an
Speaker 1: Indian movie this year. Obviously the big one that everybody
Speaker 1: he's talking about is R R R. And also I'm
Speaker 1: not bringing this to an audience at all because this
Speaker 1: movie that I'm about to talk about was on Mark
Speaker 1: Kermo's Films of the Year, So it's a movie that
Speaker 1: people have talked about. It's called Gungobye Kathia Wordy, and
Speaker 1: it's about a sex worker, a woman who's like sold
Speaker 1: into sex work by her boyfriend, who then kind of
Speaker 1: rises up sort of through the ranks of the kind
Speaker 1: of hierarchy of that world and ends up becoming a
Speaker 1: madam and running her own brothel. And it's shot kind
Speaker 1: of like a Tarantino movie, and it feels kind of
Speaker 1: like kill Bill, but it is also based on a
Speaker 1: true story and this is a real woman. And listen,
Speaker 1: the second you were talking about things big sexy in
Speaker 1: the circumstance of this film, it is a disgrace. It
Speaker 1: is an immediate disgrace. Here's the problem, though, Alia but
Speaker 1: who plays Gungabye, the main character is she's very sexy.
Speaker 1: And there is a sequence in it where a man
Speaker 1: comes to measure her for a sari, and like, it's
Speaker 1: quite an he's a young man, he's a handsome man.
Speaker 1: It's quite an intimate process. And she gives him a
Speaker 1: look and like she's attracted to him. There's a kind
Speaker 1: of brief romantic subplot and she gives him a look Brett,
Speaker 1: and I thought I was going to lose consciousness the
Speaker 1: look she gives him. And there's a point where she's like,
Speaker 1: why don't you stand closer? When are you measuring a tree?
Speaker 1: And I was like, oh god, I was like a
Speaker 1: Victorian lady that needed to take her vapors. It was
Speaker 1: it is and again, like I'll also just say like
Speaker 1: in terms of movie style performances, like all Invited, this
Speaker 1: movie is incredible. Her character intro is spectacular. It's pure charisma.
Speaker 1: She holds the screen with complete swagger, but she looks
Speaker 1: like she could burst into tears at any point, like
Speaker 1: it's a sort of it's a proper Lake movie star
Speaker 1: character actor Denzel in Training Day, Julie Robertson Erin Brockovich,
Speaker 1: it's a proper la. There is not a better performance
Speaker 1: on film that came out this year. But my god,
Speaker 1: she's sexy and I didn't feel good about it. But
Speaker 1: that's not even my real answer. My real answer is blonde,
Speaker 1: and I wish to Blonde made me want to trot
Speaker 1: my own deck off. Because it's a film about an
Speaker 1: exploited movie star. There's constant nudity in it. I would
Speaker 1: argue there doesn't need to be as much nudity as
Speaker 1: there is in it. So we're making a movie about
Speaker 1: a woman actress exploited by a system, and we're also
Speaker 1: making an actress walk around naked the whole time. But
Speaker 1: it's also Andadai almost is very attractive playing one of
Speaker 1: the most famously sexy women of all time. I don't
Speaker 1: feel good about it, Brett. I hate myself. I never
Speaker 1: hated myself more in my life.
Speaker 2: Every year. Every year you deliver, you deliver, and no
Speaker 2: one could take that away from you, no one in
Speaker 2: the history of films to be buried with. That's traveling
Speaker 2: Boners as well as you and I respect it, and
Speaker 2: I am grateful. What my answer is men Rory constantly
Speaker 2: giving birth to himself out with ourselves.
Speaker 1: Truly, Brett, you and I are the Roger Federer and
Speaker 1: Rafa Nadal of troubling Bonus. Every year we push each
Speaker 1: other to new heights.
Speaker 2: Shiit, what's the what's the best action film.
Speaker 1: Of the year? Straightforward? For me? Top Gun two? It
Speaker 1: blew my mind. It was thrilling. I loved it.
Speaker 2: For you, I'm picking this because Top Gun obviously is
Speaker 2: top I'm going to give a special shout to The
Speaker 2: Women King, which I loved and did like weirdly again
Speaker 2: a sort of marketing thing. Women King was kind of
Speaker 2: presented as an important movie.
Speaker 1: Yeah, yeah.
Speaker 2: Before I saw it, it felt like this is going
Speaker 2: to be hard work. It's what I assumed, this is
Speaker 2: gonna be like a heavy movie, when in fact, what
Speaker 2: is this a fucking book? Yeah? I was like, this
Speaker 2: is gonna be another book when it's a fucking great
Speaker 2: actions film. It's incredibly well made and entertaining and yes,
Speaker 2: as all the deep stuff and it's sure, of course
Speaker 2: it does. But it's a fucking banging action film. Yeah,
Speaker 2: really really good, exciting, thrilling, proper great accent. Loved it.
Speaker 2: I highly recommend as an accent film.
Speaker 1: It's yeah, it's really great. Also the action is so
Speaker 1: well shot as well, like it's properly like, it's good,
Speaker 1: it's really exciting.
Speaker 2: And they're doing it, they're really doing it well. Yeah,
Speaker 2: there's a lot of real stunts and very exciting.
Speaker 1: Yeah. I saw Sheila Atam in the Bob Dylan musical
Speaker 1: Jukebox Musical in the category of things that should have
Speaker 1: been awful but were actually amazing. I saw her in it,
Speaker 1: and she sings honestly like an angel. And when I
Speaker 1: saw her in this movie like bashing people over the head,
Speaker 1: I was like, Sheila Atam, I think can literally do
Speaker 1: anything like I think. If you know, if you're looking
Speaker 1: for a start of George Miller's new movie about mice
Speaker 1: doing a musical in Hell, I'm I'm pretty sure she
Speaker 1: could pull laugh.
Speaker 2: What is the filming most related to this year?
Speaker 1: The film I'm most related to this year, is everything
Speaker 1: ever oral at once, and this is absolutely the thing
Speaker 1: that you were alluding towards earlier. The first time I
Speaker 1: saw it, I went with ed Gamble, and afterwards he
Speaker 1: was like, when the mother didn't know what to say
Speaker 1: to the daughter and called her fat, I knew you
Speaker 1: were in trouble. He was just like, I knew, I
Speaker 1: knew you're in trouble immediately. I think it's an amazing movie.
Speaker 1: It's a lot of things, but I think it's an
Speaker 1: incredible movie about immigrant parents and immigrant children and how
Speaker 1: the expectations of immigrant parents can sometimes be a burden
Speaker 1: on their children, but also how their children can sometimes
Speaker 1: lose sight of what their parents have been through. I
Speaker 1: thought it was such an even handed You know, there's
Speaker 1: so many movies where grand parents are just one dimensional
Speaker 1: characters who just want to spoil their kids fun. But
Speaker 1: to me, it felt like a really really nuanced portrayal
Speaker 1: of that relationship and that dynamic, and you know, you
Speaker 1: sort of understand the pressure that Michelle Yoe's character was
Speaker 1: under from her father, and how that kind of pressure
Speaker 1: and the sort of generational trauma of leaving your home
Speaker 1: and upending your life then creates that sense of expectation
Speaker 1: on your children and how that gets passed along, but
Speaker 1: it also showed that you can sort of heal that
Speaker 1: relationship and just like at the end, like when they're
Speaker 1: like getting sucked into the sort of vortex and the
Speaker 1: daughters being held by the mum who was being held
Speaker 1: by her dad. That film to me was so much
Speaker 1: about again like the weird thematic overlap between that and
Speaker 1: After Son, this like idea of forgiving your parents for
Speaker 1: making mistakes and for just being human beings. And also
Speaker 1: just further more to that, you know, like I was
Speaker 1: a kid who you know, my parents were immigrants, and
Speaker 1: I the entire way that I interacted with the world
Speaker 1: as a child was through science fiction and superhero films
Speaker 1: and comedy. And so to see a film for me
Speaker 1: that was about how immigrant parents and children relate, filtered
Speaker 1: through the prism of really superb comedy and a multiverse
Speaker 1: based plot line, I couldn't I couldn't believe that anyone
Speaker 1: else understood that movie because it felt like it was
Speaker 1: made for me. And I think that interestingly that you
Speaker 1: sort of highlighted the relationship between the moment that which
Speaker 1: is obviously also brilliant. But I think maybe that's why
Speaker 1: that film is so successful, is that there's a lot
Speaker 1: of different people who believe that film was made specifically
Speaker 1: for them and was talking directly to them. But they
Speaker 1: might have five or six different reasons as to why
Speaker 1: that is.
Speaker 2: This.
Speaker 1: Have you forgiven your parents yet, like my parents said
Speaker 1: something terrible, They really didn't.
Speaker 2: We know what happened.
Speaker 1: I don't think I really have an I think they
Speaker 1: really have anything to be forgiven for. But like I
Speaker 1: think it's just like that act of empathy with your
Speaker 1: parents is so important, but also for parents. I think
Speaker 1: it's the empathy is a two way street. I think
Speaker 1: that's what that film. So much of that film is about.
Speaker 1: It's about trying to understand where someone else was coming from,
Speaker 1: whether it's your partner or your child or your parent.
Speaker 1: So much of that film is about how important empathy
Speaker 1: going in both directions.
Speaker 2: Is.
Speaker 1: I just I could not have related to that film more.
Speaker 2: Yeah, beautiful, beautiful. My answer is just to use films
Speaker 2: that we haven't used. Even though I could say everything everywhere,
Speaker 2: and I also could say and I could say, but
Speaker 2: it would be the worst woman in the world.
Speaker 1: Frett what a freudiance lip No, no, truly the worst
Speaker 1: woman in the world.
Speaker 2: The worst person in the world in which I related
Speaker 2: to the worst woman in the world.
Speaker 1: Loved it.
Speaker 2: Great movie.
Speaker 1: Yeah, I'm so happy. I'm so happy you mentioned it.
Speaker 1: It was a great The worst woman of the world. Shit,
Speaker 1: that was the original name for the ron Lady, wasn't it.
Speaker 1: Bang he will do politics. You can't stop stop. This
Speaker 1: is not fore turning. What was it? Because I thought
Speaker 1: it was a brilliant movie. It could have been my
Speaker 1: answer with many categories. What was it that you related.
Speaker 2: The sort of thing of she is kind of just
Speaker 2: I read somewhere so I can't take care of this.
Speaker 2: But this line that I was like, yes, that's exactly.
Speaker 2: It's the constant process of becoming.
Speaker 1: Yeah.
Speaker 2: She's like, I'm this, no, I'm this, I'm in love
Speaker 2: with this, I love this and this, and even by
Speaker 2: the end she's still not she's still finding who she is,
Speaker 2: what it's all about, all of it. And I think
Speaker 2: they like, it's just very real. It feels very very real.
Speaker 2: I think the sequence when she tries to break up
Speaker 2: with her boyfriend and then and it goes on for
Speaker 2: so long and then they have sex and they learn
Speaker 2: that it's so real, and then the feeling of when
Speaker 2: she first meets the other guy, like, all of it,
Speaker 2: it was all very very I thought, very very relatable.
Speaker 2: And yeah, and this idea of like it keeps feeling
Speaker 2: like she's got it, she's figured it out.
Speaker 1: Yeah, no, and yeah, and by the end, I mean,
Speaker 1: and they do something sort of nice, even with like
Speaker 1: her hair colors completely they make her like physically look
Speaker 1: like a different person by the end, and it is
Speaker 1: like it's a great movie about how someone's brain evolves
Speaker 1: and how someone's personality changes, and it, yeah, eventually feels
Speaker 1: quite radical, but it all feels quite subtle, like it's
Speaker 1: like a slow moving thing.
Speaker 2: And it's also the thing of weirdly like it's a
Speaker 2: kind of positive ending in which she's alone and everyone
Speaker 2: that she loved has moved on, and yet she's probably
Speaker 2: the best, you know, as in it's like it leaves you,
Speaker 2: it leaves her like yeah, cool, what's next?
Speaker 1: Yeah, yeah, what's next? Yeah? Yeah, yeah, it is a
Speaker 1: positive ending. Also, what a soundtrack?
Speaker 2: What a soundtrack?
Speaker 1: A fantastic soundtrack. That golf Uncle song at the end,
Speaker 1: the Nielsen song, It's all I've also tried to get
Speaker 1: people to dance in a context that's not appropriate by
Speaker 1: playing one thing by Amory. So I also very much
Speaker 1: related to this movie. Yeah, it was a great movie
Speaker 1: and one of those films that I was talking about
Speaker 1: that I think on some of the year end lists
Speaker 1: it felt it either didn't feature or it featured quite
Speaker 1: low down. And I think it's literally just because it
Speaker 1: came out in January, you came out in January. I
Speaker 1: think it's a brilliant film.
Speaker 2: What was the greatest film of the objectively the greatest tough.
Speaker 1: I mean, yeah, it is. It is a real tough one.
Speaker 1: I mean, in the interest of giving one that I
Speaker 1: think probably isn't going to be my number one, I'll
Speaker 1: say Living Okay, because again I thought it was brilliant
Speaker 1: because again it didn't sort of think does it need
Speaker 1: to exist? Like IKIU is already a movie that lots
Speaker 1: of people have watched and people love. But I thought
Speaker 1: it was brilliant. I thought Amy Lou Wouold was incredible
Speaker 1: in it, and I also like, I love Bill Nye
Speaker 1: and I also like I love the Bill ni thing
Speaker 1: that he does so often, you know the kind of
Speaker 1: character that he plays in like sort of versions of
Speaker 1: this sort of swaggeringly charismatic English gentleman in things like
Speaker 1: State of Play, and then like the sort of most
Speaker 1: commercial version of it is the thing that he does
Speaker 1: in love actually, but with this it was like he
Speaker 1: was so in this part, and he was so plausible
Speaker 1: as the incredibly restrained man who like doesn't know how
Speaker 1: to express the Shia terror that he's found out he's
Speaker 1: going to die, and like, I just you know, he
Speaker 1: decides to do something with whatever time is left for him,
Speaker 1: and the other kind of guys around him almost don't realize, like, well,
Speaker 1: we're all dying, like at the end of the day,
Speaker 1: Like we're all to some extent in the situation he's in.
Speaker 1: So it should inspire you to take risks and take
Speaker 1: chances and do things that you want to do, and
Speaker 1: he inspires the two younger people in his life. But yeah,
Speaker 1: I just thought it was beautifully made, Like the script
Speaker 1: was great, Ishi Guru, just classy, beautifully executed. What was
Speaker 1: your greatest film?
Speaker 2: My greatest film is mass as it was at the
Speaker 2: beginning of the.
Speaker 1: Year, and.
Speaker 2: I think that Matt and It's it's difficult because all
Speaker 2: these films are great amazing. But I do think that
Speaker 2: Mass is which I've obviously talked about this podcast, but
Speaker 2: not for a year because I've been holding off for this.
Speaker 1: Yeah.
Speaker 2: Mass is a small film that's an hour and a half,
Speaker 2: that is essentially four people at a table talking, and
Speaker 2: it is incredibly cinematic for a film that on paper
Speaker 2: is like a play, and it is about an incredibly
Speaker 2: difficult Again, on paper, I go, oh, I didn't want
Speaker 2: to see Mass. That sounds not fun, and it isn't fun.
Speaker 2: It isn't fun. It'll be fair, but what it is,
Speaker 2: you know, I've talked about it with you, this idea
Speaker 2: of hopelessness that I hate in art. And if the
Speaker 2: message of the film is, what's the fucking point?
Speaker 1: As fucked.
Speaker 2: And this film takes an incredibly difficult, difficult subject and
Speaker 2: I think it treats it with respect and dignity and
Speaker 2: thoughtfulness and incredible piece of writing. The characters are so specific,
Speaker 2: and none of them seem like sort of stereotypes. They're
Speaker 2: all weird, they're quite weird. And Daud's character is weird,
Speaker 2: like kind of uncomfortable and you don't sort of warm
Speaker 2: to her, and yet she's a very tragic character. And
Speaker 2: yet the end of the film, the sort of point
Speaker 2: of it, it is a genuine solution. It isn't just like, well,
Speaker 2: here's a note of hope to leave you with within
Speaker 2: this heavy, heavy, incredibly sad, difficult subject. Here is a thoughtful,
Speaker 2: actual solution that could lead to a better world, you
Speaker 2: know what I mean. And it's based on those I'm
Speaker 2: so sorry that I don't know the official term for it,
Speaker 2: but I believe they did it in the fucking basically
Speaker 2: making victims meet with.
Speaker 1: Yeah, the fact, Yeah, the families are the victims of
Speaker 1: the families of the perpetrators with each other.
Speaker 2: To try to find some forgiveness and understanding and hopefully
Speaker 2: be able to move forward in some way from this
Speaker 2: very severe grief tragedy. And I think that if the
Speaker 2: acting's amazing, the director is amazing, the writing is I
Speaker 2: think it's an amazing bit of writing, and it's just phenomena.
Speaker 1: Yeah. I watched it because you were so insistent about
Speaker 1: how much you loved it, and there was a moment
Speaker 1: I was really in it and I thought it was brilliant,
Speaker 1: and there was a moment where I was like, man,
Speaker 1: I'm genuinely surprised that Brett likes this only because one
Speaker 1: of the things that you really don't like is films
Speaker 1: that seem like plays. Yeah, well yeah, one of the
Speaker 1: things you don't like is placed full stop. But like
Speaker 1: definitely like films that seem theatery. And I did think
Speaker 1: there was a point because also it's I think the
Speaker 1: way that it's film is really interesting because the camera
Speaker 1: is quite sort of fixed and it doesn't really go
Speaker 1: handheld for a lot of the beginning of the film.
Speaker 1: It's often like quite locked off shots, and then suddenly
Speaker 1: as the kind of there's like an argument happens and
Speaker 1: the camera suddenly starts to go handheld, and it's like
Speaker 1: it's that same thing where a technical thing has a
Speaker 1: really emotional and rhythmic impact because suddenly you like feel
Speaker 1: it makes your stomach go, like you suddenly feel like, fuck,
Speaker 1: this thing's unraveling. And as it starts to unravel, the
Speaker 1: kind of icy technique starts to unravel, and then it
Speaker 1: suddenly hard cuts to the view outside the church, and
Speaker 1: I just thought that, and then I was like, oh, right, Okay,
Speaker 1: that's why Brett likes it, because actually it's a film
Speaker 1: and it's filmmaking, and the just because the techniques are
Speaker 1: subtle and subsumed doesn't mean that they're not there and
Speaker 1: choices haven't been made. I thought it was absolutely brilliant.
Speaker 1: I thought, yeah, I just thought that, like, fuck fucking
Speaker 1: Jason Isaac's face in that film, like he's just this
Speaker 1: like contorted ball of like grief and rage and yeah,
Speaker 1: and yeah, the four performances are incredible, Like without the
Speaker 1: four performances are extraordinary. The script is brilliant. Yeah, I
Speaker 1: thought it was. I thought it was absolutely brilliant.
Speaker 2: I also think the moment at the kind of very
Speaker 2: near end, like like they seem to have kind of
Speaker 2: reached a conclusion in their conversation and the father of
Speaker 2: the shooter leaves and they kind of say goodbye to
Speaker 2: each other, and then the mom and dad comes back, yeah,
Speaker 2: to say one more thing, and it's such a sort
Speaker 2: of heartbreaking thing that she says. And genuinely, what I
Speaker 2: think is amazing about it is it it doesn't let
Speaker 2: it off the hook, you know what I mean, It
Speaker 2: sort of goes whatever the solution you now have in
Speaker 2: your head, there's also this and this is fucking difficult
Speaker 2: for all of them. It's and I just think it's
Speaker 2: an incredible piece of empathetic writing that he Frank Cranz,
Speaker 2: who I met and was on the podcast and is
Speaker 2: like twelve years old, that he could have that he
Speaker 2: could have got so deep into this in such a
Speaker 2: way that doesn't feel remotely didactic or preachy or like archetypal.
Speaker 2: It's like so specific these characters, and so I just
Speaker 2: particularly love that and dad and her husband in it
Speaker 2: that they're quite odd and uncomfortable, don't you don't warnt
Speaker 2: to them for a long time.
Speaker 1: Well, and also there's lots of unspoken stuff like he
Speaker 1: he lives they live separately now, yeah, yeah, you know,
Speaker 1: and that and that's sort of just casu that's quite
Speaker 1: casually thrown away and mentioned, but obviously it's hugely important
Speaker 1: because it's happened. This is I think we're six years
Speaker 1: after the shooting at the point that this conversation has happened,
Speaker 1: And you know that it's great just throw away detail,
Speaker 1: you know when in one sentence someone basically just says
Speaker 1: a film and then moves on, you know, like the
Speaker 1: film a film about the sort of relationship between two
Speaker 1: people breaking down because their son killed. That's I mean,
Speaker 1: that is literally that's pretty much we need to talk
Speaker 1: about Kevin, like but we need to talk about Kevin's
Speaker 1: just like quite elegantly said almost the side.
Speaker 2: There's also the thing that the beginning of the film
Speaker 2: that that plays into my whole thing of like life
Speaker 2: of like life is sort of mundane tiny things and
Speaker 2: huge seismic things, and the kind of funny it's almost funny.
Speaker 2: It's funny of like where do we put the seats,
Speaker 2: how are the reality of how are we setting up
Speaker 2: the room for this thing, and just the mechanics of it,
Speaker 2: and this woman being trying to do the right thing
Speaker 2: and it's arguing over whether you put nibbles on a table.
Speaker 2: It's amazing.
Speaker 1: But also those two characters that work at the church
Speaker 1: are comedy characters, like again completely wrong footed knowing the
Speaker 1: subject matter and going in You're like, these are like
Speaker 1: Cohen Brothers characters, Like they're like sort of weird, small
Speaker 1: town American like eccentrics. But you're like, of course they're eccentrics.
Speaker 1: They're people who like regularly volunteer at a church, like
Speaker 1: we know people that volunteer in like community theaters and
Speaker 1: community churches. They can sometimes be a little odd and
Speaker 1: they did remind me of like the venue stuff in
Speaker 1: like a small art center, like charming, eccentric, goofballs, And obviously,
Speaker 1: just because what's about to happen is very heavy, it's
Speaker 1: still happening in a community hall, in a church hall,
Speaker 1: the people running it. But for the first five minutes
Speaker 1: I was literally I was more confused than I've been
Speaker 1: in a film at any point this year, because I
Speaker 1: was literally like, what the fuck is going on? I
Speaker 1: thought this was like like school shooting drama, and now
Speaker 1: I'm watching this kind of sitcom episode about but you. Yeah,
Speaker 1: yeah it was. It was brilliant. It was really really brilliant.
Speaker 2: Good all right, good, all right, that's that's that done? Right?
Speaker 2: Oh he's a good one. What's the funniest film of
Speaker 2: the year.
Speaker 1: Well, why don't you go for this one? Let me
Speaker 1: tell me what the funniest film with the year.
Speaker 2: I loved Bros. I loved Bros. I went to see Bros.
Speaker 2: Quite late in the in the world of Bros. I
Speaker 2: went with a friend of the podcast, Camille, who was
Speaker 2: heavily pregnant. We went and watched Bros. And I loved it.
Speaker 2: I thought it's fucking funny. I think it's a massively
Speaker 2: underrated film. I completely understand why it was. I think
Speaker 2: it had excellent reviews and then it didn't do particularly
Speaker 2: out of the box office, and people, yeah right, there were
Speaker 2: all these arguments of why that was. I think what
Speaker 2: it is is it's a lot of films, and I
Speaker 2: like all of them. It's a really fun traditional rom com.
Speaker 2: It's also quite a raunchy gay comedy and like what
Speaker 2: hardcore in that side of it, And it is also
Speaker 2: like a Spike Lee film.
Speaker 1: Yeah.
Speaker 2: Yeah, there's parts in it when they're in that museum
Speaker 2: where you're given flashes of the history where it's like,
Speaker 2: this is a Spike leef h. This is also a
Speaker 2: Spike Lee film. And the other side of it is
Speaker 2: it's fucking funny. Yeah. Yeah, genuinely made me laugh out
Speaker 2: loud many times. I think it's in excellent film and deserved.
Speaker 1: Yeah, I thought it was very funny. I definitely agree
Speaker 1: with you that it felt like a few different movies,
Speaker 1: and I felt maybe the third one of those, the
Speaker 1: kind of Spike Lee film, all felt too much like
Speaker 1: a different film. But I would also have liked to
Speaker 1: see but I didn't feel got developed. The Actually I
Speaker 1: was perfectly happy watching the straight up rom com Slash,
Speaker 1: the sort of more adult version of a rom com
Speaker 1: like raun cheer version of I was very happy watching
Speaker 1: that and didn't necessarily need or would have like been
Speaker 1: happy and watching a separate version of that third film.
Speaker 1: But it's definitely very funny, Like it's definitely got really
Speaker 1: good jokes in it and really funny performers in it.
Speaker 2: Yeah, what's your funniest family is?
Speaker 1: Well, there were lots of comedy movies that I enjoyed,
Speaker 1: really liked Funny Pages a lot.
Speaker 2: That's great, really like really.
Speaker 1: Like massive shout out for Funny Pages because I thought
Speaker 1: that that was a really like what a fucking grubby, fucking.
Speaker 2: Yeah, it is full gravy. There's an old Chris Rock.
Speaker 1: Routine about how he finds Jamaine Jackson greasy and he
Speaker 1: says that he has to he has to wipe his
Speaker 1: TV down every time Jamaine is on TV. And after
Speaker 1: Funny Pages, I was like, I gotta give this TV
Speaker 1: a white like that. It was like the flat that
Speaker 1: he goes. Anyway, it's a wonderful movie, and I hope
Speaker 1: people go and watch it, But if I'm being completely
Speaker 1: honest with you, the film that made me laugh the
Speaker 1: most this year, just I'm purely doing it in terms
Speaker 1: of I thought Knives Out Too was so funny.
Speaker 2: It was really funny, and I thought it was.
Speaker 1: Consistently funny throughout. I think that there are genuinely great
Speaker 1: jokes in it. I think that Jared Lito's hard komboocher
Speaker 1: is hilarious. I think that they are like also really
Speaker 1: fun little meta jokes for film fans, which obviously I love.
Speaker 1: In the one of the flashback sequences, a clue that
Speaker 1: Edward Norton is the biggest dickhead in the world is
Speaker 1: that he is. He has come out that night dressed
Speaker 1: like Tom Cruise's character from Magnolia, and that it's such
Speaker 1: a brilliant way of going This guy saw Magnolia and
Speaker 1: thought Tom Cruise was somebody should dress like that. He's
Speaker 1: such a fucking bell end and like a misogynist and
Speaker 1: all of these things. And also I thought it was
Speaker 1: a brilliant satire about disruptors, and you know that we
Speaker 1: sort of constantly seeing people describe themselves as disrupting things,
Speaker 1: and generally what it means is I don't really pay
Speaker 1: a full lack of tax, like that's like the main
Speaker 1: thing that they disrupt is the taxation system and the
Speaker 1: coffers of the public purse. And I thought that all
Speaker 1: of that stuff was great, and then I thought it
Speaker 1: became a kind of satire that became embedded within the mystery.
Speaker 1: And like Nins Out, one had lots of satirical elements,
Speaker 1: and it was a kind of goof on satire and privilege,
Speaker 1: but the mystery of it is still preserved, Like the
Speaker 1: mystery of it is specific, and what happens to Christminer
Speaker 1: Plumber is a specific anthichristic mystery. In this one, the
Speaker 1: satire seeps into the mystery, so at the end there
Speaker 1: is no mystery. It was the person you thought it
Speaker 1: was the whole time, because disruptors and people that claim
Speaker 1: to be disruptors are simply not interesting enough. And like
Speaker 1: Daniel Craig's exasperated speech at the end, I thought was
Speaker 1: so funny and like such a perfect like this installation
Speaker 1: of something in the culture that I was houting. I
Speaker 1: was properly like lost my mind laughing. I thought it
Speaker 1: was so funny, and also like at the opposite end,
Speaker 1: I loved it because it was a film that hated
Speaker 1: a lot of its characters, like it loves obviously, it
Speaker 1: loves ben one Blanc, and it absolutely loves Jenellemane and
Speaker 1: who was great in it as well, Like that double
Speaker 1: performance thing is fucking brilliant. I thought she was brilliant
Speaker 1: in it. It loves Genelman, but it hates all of
Speaker 1: its other characters and lots of the Like TV and film,
Speaker 1: that's kind of depicting the super wealthy by necessity in
Speaker 1: order to sustain the drama, especially if it's a TV show,
Speaker 1: it has to be nuanced and it has to give
Speaker 1: you layers to these people. This was fucking two hours
Speaker 1: and it was a comedy movie and they were just
Speaker 1: like fuck these people.
Speaker 2: But I say this, this is this is my point. Yeah,
Speaker 2: I think it it thinks they're all idiots, but I
Speaker 2: think it joyfully thinks that. Yeah, yeah, it loves them.
Speaker 2: I think it is loving hanging out with them and
Speaker 2: making fun with you.
Speaker 1: Yeah, yeah, it's loving. It's loving hanging out with them.
Speaker 1: It's loving it. But it is deeply loving giving the
Speaker 1: consequences to them and giving Janelle Mona and like you know,
Speaker 1: she's so like he's like like Annadamas in the first movie,
Speaker 1: like She's such a like likable central presence, and the
Speaker 1: film clearly loves her, loves Benoa Blanc, but it properly
Speaker 1: like it made me laugh out loud consistently, and I
Speaker 1: saw it in and again like just they should have
Speaker 1: released it for longer in the cinema because it was
Speaker 1: a pleasure to see it in a pack cinema, people laughing,
Speaker 1: people gasping. I thought it was really fucking funny.
Speaker 2: Good answer, do do do? Do? Do do do? Welcome
Speaker 2: to the patret section. Ah, come on in this you've
Speaker 2: been missed, sailo. Also tell us the secret. You fucking
Speaker 2: tell us a fuck or will kick you out.
Speaker 1: I'm trying to think about what a good secret would
Speaker 1: be this year. I guess like it's funny that I, well,
Speaker 1: here's a good secret. I attended a screening of Liquorice Pizza,
Speaker 1: a press screening of Liquorice Pizza with a Q and
Speaker 1: A with Alana Him and Paul Thomas Anderson. And when
Speaker 1: they asked me whether my name was on the list,
Speaker 1: I said yes. They said what's your name? I said,
Speaker 1: Brett Goldstein And I walked in because it was your ticket.
Speaker 1: You were away at the Q and A and you
Speaker 1: were like, just take my ticket, and I just assumed
Speaker 1: they'd be a ticket. There wasn't. There was a guest list.
Speaker 1: I looked about in the eye and said, my name
Speaker 1: is Brett Goldstein, I would like to see liquorice pizza please, And.
Speaker 2: They let you in right because in the UK.
Speaker 1: I was I was wearing my AFC Richmond top and
Speaker 1: I did go up and went, let me in, your
Speaker 1: fucking cunts.
Speaker 2: Ka Kay.
Speaker 1: I made James A. Caster a couple of dresses, Keeley,
Speaker 1: I love that, all right. No, I'll be honest with you.
Speaker 1: They knew I wasn't Brett Goldstein. They might have even
Speaker 1: known who I meet and James A. Custer were. They
Speaker 1: just couldn't be bothered a lot. It was a business
Speaker 1: was going to do it. It was a busy screeting.
Speaker 2: What's the film that changed your perspective on something this year,
Speaker 2: miss Komer?
Speaker 1: Okay, I'm okay. I definitely yes. I'm very happy to
Speaker 1: talk about this film because I really liked it and
Speaker 1: it did. I think it sort of changed my perspective
Speaker 1: on a few things. Benediction, which is Terence Davis's film
Speaker 1: about the war poet Siegfried So Soon, and it's like
Speaker 1: another one of those movies where like, what I associate
Speaker 1: those war posts with, unfortunately is being forced to read
Speaker 1: them at school. And I thought that this would be
Speaker 1: a boring film, and I wasn't particularly interested in seeing it,
Speaker 1: but then for some reason I saw I think I
Speaker 1: might have seen the trailer and thought, oh, well, actually
Speaker 1: that looks interesting. And also everything Terence Davis does is interesting,
Speaker 1: Like whether you know whether it's successful or not, everything
Speaker 1: is interesting. You know, whether it's like I mean, Distant
Speaker 1: Voices Lives is fucking incredible, but like he is one
Speaker 1: of the great British filmmakers. And I went to see
Speaker 1: it and I loved it so much. It's absolutely one
Speaker 1: of the best films I saw this year. And I
Speaker 1: think that it made me think a lot of things.
Speaker 1: I talk about it quite a lot in therapy. Yeah, really, yeah,
Speaker 1: because I just think that generation, particularly of gay men,
Speaker 1: were put through so much trauma. They had to live
Speaker 1: these like secret lives. They all end up getting into
Speaker 1: these unhappy marriages to equally unhappy women and both of
Speaker 1: their lives get ruined and the trauma warps them. And
Speaker 1: I think one of the things that you understand is
Speaker 1: you get older. Is like I think when you're a kid,
Speaker 1: you're like, well, you hit twenty one, and then you
Speaker 1: saw of the same person until you're about thirty, and
Speaker 1: then you're just that person until you die. And people
Speaker 1: talk a lot about self improvement, but also the opposite
Speaker 1: is true, you can get worse as a person. And
Speaker 1: Benediction is the story of Siegfried Tosoon's personality being bent
Speaker 1: out of shape by his life experience and his trauma,
Speaker 1: Like and he sees terrible things in the First World War,
Speaker 1: but then he has to, like he comes back and
Speaker 1: there's no like hero worship if he has to live
Speaker 1: alive for his entire life. And then also he's in
Speaker 1: love with Wilfred Owen. Wilfred Owen is killed, and then
Speaker 1: it's almost almost beyond that. And maybe this is something
Speaker 1: that I just thought, like if you produce cultural work
Speaker 1: on art of any description, there's like a pettitoess to
Speaker 1: him about how he's received critically that I also really
Speaker 1: related to that, I thought, But all of that like
Speaker 1: warps him and makes him really sad, And I thought
Speaker 1: it was a really brilliant depiction, Like the transition from
Speaker 1: Jack Loudon, who plays him as a younger man to
Speaker 1: Peter Capaldi, I think is so wonderfully done. And also
Speaker 1: there's just lots of like funny and sort of joyful
Speaker 1: scenes when he's like in his twenties and early thirties
Speaker 1: and he's just there's this whole like secret subculture of
Speaker 1: gay men who live these kind of life and they
Speaker 1: have the you know, they have they sleep with each other,
Speaker 1: and they you know, go to these fabulous cocktail parties
Speaker 1: and then they all sort of have to sadly go
Speaker 1: off and get married. And also I did think so
Speaker 1: it made me think differently about how tragedy and trauma
Speaker 1: can warp you as a person and your life experience.
Speaker 1: You don't just live through things like life has an
Speaker 1: impact on you, and if you don't take care to
Speaker 1: maintain your personality, it can collapse without you even realizing that.
Speaker 1: He doesn't realize how bitter has become by the end
Speaker 1: of his life, and his son is just like, you know,
Speaker 1: why are you so angry about all of these things?
Speaker 1: And there's literally a point was like, why are you
Speaker 1: angry with new things? He's like, because it's young and
Speaker 1: it's the most honest thing. He says, like he's bitter
Speaker 1: that his youth has kind of disappeared, but also it
Speaker 1: really made me. And this is the sort of anger
Speaker 1: you can only have if you're not from a marginalized
Speaker 1: community and having it semi patronizingly on their behalf. But
Speaker 1: like we studied so much Wilfred Owen and Sacrets to
Speaker 1: Suit when I was at school, and at no point
Speaker 1: did it ever come up that they were gay, at
Speaker 1: no point, And just you think about, like it isn't
Speaker 1: just that it's an active suppression of information, you know,
Speaker 1: Like we were still at school when Section twenty eight
Speaker 1: was a law, and like it was you know, there
Speaker 1: was a law on the statute books to prevent the
Speaker 1: promotion of homosexuality whatever they called it. And it's just like,
Speaker 1: you know, these people who we like force you to study,
Speaker 1: they were gay men, and like Wilfred Owen and Secret
Speaker 1: to do huge parts of the national story we tell
Speaker 1: ourselves about the sacrifice at war. We're not even going
Speaker 1: to fucking give them the dignity of telling you that
Speaker 1: they were gay, and we're going to continue to suppress
Speaker 1: their sexuality as we did to them when they were alive.
Speaker 1: After they're dead, and I sort of walked out of
Speaker 1: it being like we've we like it's so wrong, Like
Speaker 1: it's you know, like obviously a gay person knows all
Speaker 1: of this stuff, and it's like, yeah, we've been angry
Speaker 1: about this for a long long time. But I walked
Speaker 1: out of it thinking how different a country we'd be
Speaker 1: if these people who were like we venerate as like
Speaker 1: titans of the story. We tell ourselves about the sacrifice
Speaker 1: of our boys, and we say things I never forget,
Speaker 1: you must never forget, but forget this, get this, you
Speaker 1: forget this huge fucking part of their lives and personality.
Speaker 2: But ignore that.
Speaker 1: Actually, you know what, Brett, that's the perfect description of
Speaker 1: the British attitude to his never forget but do ignore, ignore, ignore,
Speaker 1: please do. I hope it's on Netflix in the UK,
Speaker 1: but I don't know if it's globally available, but Benediction
Speaker 1: is on Netflix in the UK, and I just I
Speaker 1: think it's I think it's a brilliant, brilliant film, and
Speaker 1: we're very lucky to We're just very lucky to have
Speaker 1: a filmmaker like Terrence Oervis.
Speaker 2: And Jack Louden is a brilliant actor ever since fighting
Speaker 2: with my family. He's brilliant. All right, question is good
Speaker 2: luck to you Leo grand lovely or Leo graogra good
Speaker 2: luck to Leo Grande, which I just really liked. I
Speaker 2: liked as a script, as performance, as an argument. I
Speaker 2: just liked it. That's another film. As two films that
Speaker 2: on paper could be like plays. Yeah, yeah, but they're films.
Speaker 2: And I thought, what did it change my perspective on
Speaker 2: I'm not sure it entirely changed the perspective, but it did.
Speaker 2: I liked the I don't know, it just showed you
Speaker 2: something that you that you don't usually see, which was
Speaker 2: an older woman with a sex worker trying to experience something,
Speaker 2: and it felt very real, the nervousness of her and
Speaker 2: the insecurity, and I thought it was a lovely, sort
Speaker 2: of wonderful thing that he never makes her new come
Speaker 2: she does it and it's like it's a nice.
Speaker 1: It definitely shows you something you don't really see on
Speaker 1: TV anymore, you know, with that age express against sexuality
Speaker 1: and it not being like it's not like a totally
Speaker 1: serious movie, like it's funny in place, but it's not
Speaker 1: like that element of it and her sexuality is not
Speaker 1: like played for jokes.
Speaker 2: No, the only bit that I was like, the only
Speaker 2: bit in the whole film that I was like, that's
Speaker 2: mad is when she disappears for a moment and he
Speaker 2: eat He just stuffs a kick kat In and then
Speaker 2: goes to kiss her. I'm like, that's You've lost me.
Speaker 2: I had got rid of your immediately.
Speaker 1: It's cheue a gub or nothing.
Speaker 2: What is the best opening to a film?
Speaker 1: Straight up? Women King? I thought the opening of The
Speaker 1: Woman King was incredible. That attack scene and again it
Speaker 1: you know, you get the information about what you need
Speaker 1: to know about the aureo and the the homemade and
Speaker 1: then you just immediately bang, you're into it. The shot
Speaker 1: of Viola Davis standing up from the kind of long grass,
Speaker 1: and then the shot of them all joining her, and
Speaker 1: then just straight into that fight scene. I thought it
Speaker 1: was like I was giddy at the beginning, you know,
Speaker 1: like when a film really starts fast, it's sort of
Speaker 1: a dreamal rush of it just going. It captured that
Speaker 1: thrill of like how exciting it is when a film
Speaker 1: just goes his absolutely minimal exposition. I mean, it's an
Speaker 1: odd comparison to make, but it is sort of is
Speaker 1: the star Wars thing you get the crawl and then
Speaker 1: bang straight into the actual I thought it was great.
Speaker 1: What was yours?
Speaker 2: I think I'll go with a few, but I think
Speaker 2: I'll go with Yemen's Lovely, which I love. That film
Speaker 2: is such a dark film, such a weird film, moving
Speaker 2: and a film entirely about death, which you know.
Speaker 1: Yeah, yeah, perfect for the podcast as well.
Speaker 2: And the fact that's kind of a you know, prologue
Speaker 2: which is the beginning, and it's fucking heavy. Yeah, it's
Speaker 2: really really heavy, and I'm begging to stop motion. And
Speaker 2: it's just beautiful. And the dad, the performance and the
Speaker 2: animation of the dad in that film. It should win us,
Speaker 2: should have wanted ask for best. It's just such a
Speaker 2: good it's and also when you think about the magic,
Speaker 2: it's the magic of the actor's voice, but in conjunction
Speaker 2: with the artists who have made yeah, puppet moving that way.
Speaker 2: It's such a detailed face he has in the micro
Speaker 2: expresses all. It's just really something special with that.
Speaker 1: That's great.
Speaker 2: So I'll give it to Panka, right. What is the
Speaker 2: greatest ending to a film this year?
Speaker 1: Final Sequences definitely special mention for the end of Triangle
Speaker 1: of Sadness, a movie which I will mention great I
Speaker 1: have for one of the other artists, but like, I've
Speaker 1: never been in a cinema before where the entire audience
Speaker 1: is thinking, smash that woman over the head of the
Speaker 1: rock when she when she basically says to her, don't worry.
Speaker 1: We could go back to civilization and you can be
Speaker 1: my helper or made or something, and she realizes that
Speaker 1: actually is better for her to be in the community
Speaker 1: they've created because she's at the top of the hierarchy,
Speaker 1: and the entire audience like, yeah, you have to bash
Speaker 1: him on the Absolutely, there's no other way for it.
Speaker 1: But I'm going to say the best closing was Hit
Speaker 1: the Road, which I also thought was an amazing movie,
Speaker 1: and it sort of summarizes everything that is amazing about
Speaker 1: that film, because you know, it sort of is a
Speaker 1: heavy film, like it's a movie about a family who
Speaker 1: have hit the road because they're basically this son is
Speaker 1: in trouble with the Iranian authorities and he's basically fleeing
Speaker 1: the country. But there's a little kid in the car,
Speaker 1: and so the whole film is kind of the little
Speaker 1: kid's perspective, and it's mainly the little kid being a
Speaker 1: little kid and talking about the batmobile and stuff, and
Speaker 1: sort of on the peripheries you go, oh, there's something
Speaker 1: quite serious and bad happening here. But mainly it's like
Speaker 1: funny dialogue between the dad and the kid, and the
Speaker 1: mum is occasionally looking worried at the older son who
Speaker 1: is the person that's fleeing, and it's like mainly like
Speaker 1: very naturalistic in the car, you feel immersed in it.
Speaker 1: And then this one moment where this kind of special
Speaker 1: effect thing happens with the dad and the son are
Speaker 1: talking and they're like lying it looking up at the stars,
Speaker 1: set up camp on their journey, and it almost becomes
Speaker 1: like this weird like nineteen sixties Doctor Who shot of
Speaker 1: like space and the kid flying, and then the second
Speaker 1: flourish is the end because of the sun has got away.
Speaker 1: For all the fun and joy of it is very
Speaker 1: traumatic and it's very upsetting, and then their dog dies
Speaker 1: and they're burying the dog and it's just this fucking
Speaker 1: bleak thing. And then just like right at the end,
Speaker 1: throughout there's been like these like Irunian pop songs running
Speaker 1: through the whole thing, and then just right at the end,
Speaker 1: the kid lip syncs the song right down the barrel
Speaker 1: of the camera like this little kid and it's I'm
Speaker 1: I apologize, I'm about to absolutely mangle the pronunciation of
Speaker 1: all of this, I'm sure, but the song is called
Speaker 1: sub Z by a guy called Ebbi, and I definitely
Speaker 1: have pronounced that incorrectly. But it's this like really like croonery,
Speaker 1: rich melodic pop song and the kid starts lip sinking
Speaker 1: it looking down the barrel of the camera, and it's
Speaker 1: such a like funny and some rising and like charming
Speaker 1: end to this movie. And it's like, you know that
Speaker 1: you sort of come away from it with the sense
Speaker 1: of like they still got each other and they might
Speaker 1: be okay. And the way that that's communicated is the
Speaker 1: kids seeing down the parallel of the camera. It just
Speaker 1: like it just made me feel elated at the end
Speaker 1: of that movie. I think the movie is great in general,
Speaker 1: but yeah, that ending made me feel elated.
Speaker 2: That's great. My answer to best ending. I mean, loads
Speaker 2: of them, lads of them. But I'm going to pick
Speaker 2: because I haven't mentioned this film and it's one of
Speaker 2: my films of the year. Watcher Watch, Yes, did you see?
Speaker 1: I didn't see Watcher? I would have liked to see Watcher.
Speaker 2: Watch it deserve more, as in I wouldn't see at
Speaker 2: the cinema, and I was like, God, it's nice to
Speaker 2: see a film like this at the cinema. It's I guess,
Speaker 2: you know, a B movie made exceptionally well, right, yeah,
Speaker 2: And it's about a woman and it's so good. It's
Speaker 2: one of the best depictions of being a foreigner in
Speaker 2: a country. Like just there's scene where she's just walking around,
Speaker 2: not understanding the language and like going to museums and
Speaker 2: trying to kind of enjoy her life, but the whole
Speaker 2: time she can't understand what anyone's saying. And so sometimes
Speaker 2: so there's this sense of paranora. Are they talking about her?
Speaker 2: Are they? But they might not be. She just genuinely
Speaker 2: doesn't understand what anyone's saying. And so there's a scene
Speaker 2: with her and her husband in the back of the
Speaker 2: cab at the beginning of the film, and the husband
Speaker 2: they're clearly talking about her, but she doesn't know what
Speaker 2: they're saying, and the husband keeps sort of translating. But
Speaker 2: there's an element there's one thing that husband doesn't translate, right,
Speaker 2: So it's like, what did he just say. I mean,
Speaker 2: it's really sort of good. And she believes she is
Speaker 2: being watched by someone in the apartment opposite and that
Speaker 2: she is kind of being stalked. But as it goes on,
Speaker 2: he the person watching, goes to the police and accuses
Speaker 2: her of because she's so obsessed that it looks like
Speaker 2: actually she's watching here, right And anyway, I won't spoil
Speaker 2: the ending, but something happens at the ending, and it
Speaker 2: is literally there is a look at the very end
Speaker 2: of the film, and the look is it's just one
Speaker 2: look and the look is sort of I won't even
Speaker 2: say what it means, but it's fucking like. It's a
Speaker 2: very good film. Recommend.
Speaker 1: I gotta check it out.
Speaker 2: Really good. Best set piece, favorite set piece of you
Speaker 2: any film. It could be in the middle of any film.
Speaker 1: Well, I definitely think the entire city freezing in Worst
Speaker 1: Person in the World was incredible. Yeah, but I am
Speaker 1: going to say, just everybody's viewing triangle of sadness, everybody's
Speaker 1: spewing that refused song from the Shape of Punk to Come,
Speaker 1: which weirdly also is like all over the bear, Like
Speaker 1: it's so strange when like a song that came out
Speaker 1: ages ago. Suddenly two people both decide to use it
Speaker 1: in quite pivotal ways in a TV show or a film.
Speaker 1: That song that fucking dank dun dun dunn, that sort
Speaker 1: of like like hooky guitar thing, and then just everybody
Speaker 1: puking and shitting, and I am embarrassed by how much
Speaker 1: that woman vomiting into the toilet and then the boat
Speaker 1: to get her big lad away and go mind, we
Speaker 1: screamed with laughter. Phenomenal, what's yours mine?
Speaker 2: Is? I picked this also because it wasn't talking about
Speaker 2: sireno sirena, which is how they pronounce it in the
Speaker 2: film Ciren the Peter Dinklins Joe Wright Cyrino, which I
Speaker 2: wasn't sure about seeing. I ended up watching on a plane.
Speaker 2: And it's a musical. It's a musical adaptation of Sereno,
Speaker 2: and he's phenomenal in it. Yeah, it's it's really like, oh,
Speaker 2: this was the part, this is the part, this is
Speaker 2: the greatest part for you. Yeah, he's he's he's really really,
Speaker 2: really good. And it's quite sort of theatrical and weird.
Speaker 2: And I'm not saying it's perfect, like there's it's it's
Speaker 2: a it's certainly an acquiet taste, I would say, but
Speaker 2: it was certainly I really enjoyed it. And there's a
Speaker 2: sequence three quarters away through where a load of characters
Speaker 2: you have never met and are not part of yours
Speaker 2: sing a song as they're about to go to walk.
Speaker 2: They're basically about to go over the top to their
Speaker 2: deaths in the war. They're being sent to like go
Speaker 2: over the top, and it's very clear they're all going
Speaker 2: to die, and they sing this song wherever I Fall,
Speaker 2: and they're basically writing letters, they're final letters home to
Speaker 2: their fathers, and it's so good. It's really really beautiful.
Speaker 2: And I listened to a thing which I write where
Speaker 2: the producers or the finances whoever it was, were like,
Speaker 2: you need to cut that scene because it's not about
Speaker 2: the lead characters. And so he very deliberately at the
Speaker 2: end of this song, Yeah, the camera pulls back and
Speaker 2: their syranide. He's in it, so you can't cut it.
Speaker 2: But it's just a really yeah, it's just one of
Speaker 2: them really like powerful moments of this is the end
Speaker 2: of all these people's lives and you totally care about it.
Speaker 2: You've never met him. When you care about them, it's
Speaker 2: really it's good, good stuff.
Speaker 1: Yeah, just to briefly mention it, because we haven't really
Speaker 1: talked about it all quite on. The Western Front has
Speaker 1: like kind of all like a version of that in
Speaker 1: the scene, and it's there's just a really not sung,
Speaker 1: not Sun not sung. It would have been a quite
Speaker 1: extraordinary decision. But yeah, there's a really good scene where
Speaker 1: you just see people like you just you're just seeing
Speaker 1: people like hops up on nationalism. Like it's almost like
Speaker 1: it's depicted like a drug that they're all on and
Speaker 1: they're just like, yeah, I can't wait to get to
Speaker 1: war like and then it's basically just for three hours,
Speaker 1: ruining their sense that they're doing something good. Yeah, it's
Speaker 1: very well made film. But yeah, it's funny because it
Speaker 1: has the exact same sentiment, just not sung.
Speaker 2: If I've got any note, can they sing this? What
Speaker 2: is your here? We go? I think we're here? What
Speaker 2: is your favorite film?
Speaker 1: I could not split after soun and everything everywhere?
Speaker 2: We tallied the votes, Well why don't you take you
Speaker 2: take after sound and out take everything everywhere?
Speaker 1: Okay, great, perfect? Is that what you're gonna say? Anyway?
Speaker 1: Were you also in the similar quandary?
Speaker 2: Yeah, but I think I was leaning Everything Everywhere purely
Speaker 2: because of the amount of things it is in one film,
Speaker 2: and all of those things are amazing. Yeah, and I
Speaker 2: think it deserves and it's fun.
Speaker 1: Do you think that there might have been there has
Speaker 1: been a little bit of a backlash against it. Do
Speaker 1: you think if it hadn't won, if it hadn't won
Speaker 1: the Oscars, it would have in a way it would
Speaker 1: be better for the immediate reputation of the movie.
Speaker 2: I haven't seen this backlash, but I'm assuming, yeah, that
Speaker 2: would The worst thing that could happen to a film
Speaker 2: is to win best.
Speaker 1: You're yeah, You're absolutely right, Like I would say, apart
Speaker 1: from Moonlight and Parasite, I'm not sure there's a film
Speaker 1: that I can remember that it hasn't in the short
Speaker 1: term damaged its prospect. But yeah, listen, after Everything Everywhere,
Speaker 1: couldn't choose between them. I'll go after sun you go
Speaker 1: everything overwhere?
Speaker 2: Right, We conclude with our top ten top ten in order?
Speaker 1: Do you want to do the honorable mentions? First?
Speaker 2: Well, I've realized we have mentioned all of the honorable mentions.
Speaker 2: Yeah that I ad did we mention all of yours?
Speaker 2: I know you had exits the only honorable mentions.
Speaker 1: I would say, I thought The Quiet Girl was brilliant,
Speaker 1: and I thought it would be boring, but actually it
Speaker 1: was really brilliant. I thought it was really good. I
Speaker 1: loved Moon Edge Daydream. I'm a big Bowie fan, like
Speaker 1: Brett Morgan, the sort of sound collage and the use
Speaker 1: of video, and it is really really incredible, Like I
Speaker 1: would go as far as saying, even if you're not
Speaker 1: a Bowie fan, it's worth seeing just a piece of filmmaking.
Speaker 1: And also like a quick honorable mention for Kimmy, which
Speaker 1: is like not really a movie that gets made, Like
Speaker 1: it felt like a like nineties like really entertaining, fast paced,
Speaker 1: paranoid tech thriller, like and Zary Kravitz was great in it,
Speaker 1: and like Steve Soiderberg. Blake is another one of those
Speaker 1: like George Miller characters where you like you can't really
Speaker 1: pin down what he's going to do next, and what
Speaker 1: he did next was Magic White three, Like you know,
Speaker 1: it's like he and the next movie does might be
Speaker 1: like an experimental digital film after he's like shoved an
Speaker 1: iPhone up a dog's ass or something like, it's like
Speaker 1: you really just have no idea what he's going to do, Kimmy,
Speaker 1: Magic Mic three and Dogtown Upper Dogs Ass. There's an
Speaker 1: iPhone Upper Dogs ass. Julie Roberts is in it. You
Speaker 1: just can't see it.
Speaker 2: We shot this one upper dog's ass one day. It
Speaker 2: was while I was.
Speaker 1: Making Magic Mike three. Just in the background, I just
Speaker 1: had a dog with an iPhone up its ass.
Speaker 2: Okay, your top ten in order, please.
Speaker 1: My top ten in order. I'm just making sure that
Speaker 1: there's not more than ten here. Okay. My top ten
Speaker 1: in order is hit the Road Living Parallel Mothers, which
Speaker 1: we didn't talk about at all. Pedro, No, he's never
Speaker 1: went away, and he's like filmed. His film's getting like
Speaker 1: sadder but also still out as outrageous, Like this is
Speaker 1: still like a sort of soap opera. It's just it
Speaker 1: also has really serious things to say about the Spanish
Speaker 1: Civil War and the legacy of fascism, like it is
Speaker 1: The Best Man Souvenir Part two, Decision to leave Benediction,
Speaker 1: the worst person in the world, everything everywhere after Sun.
Speaker 2: Okay, give me your ten, Watcher at ten, Nice at nine,
Speaker 2: good luck to you, Leo Grande, lovely Hey, top Gum
Speaker 2: every seven Bros. Six, Pinocchio five, Worst Person of the
Speaker 2: World four, Area three After seven two Mass one everything.
Speaker 1: Ever its fantastic. Well that's hard, isn't it? Is that right?
Speaker 2: I don't have to think mass I'm famous and greatest,
Speaker 2: all right, we get it.
Speaker 1: I can't believe that I haven't got knives out too
Speaker 1: in there because I've really loved it. Yeah, there's no
Speaker 1: way that I'm going to feel the same about this tomorrow.
Speaker 2: You know what else we've missed out? What Brian and Charles. Oh, yeah,
Speaker 2: I'd say briefly, this brianon Charles is a wonderful film,
Speaker 2: Brian Gidson's. I worked with Brian for many, many years.
Speaker 2: I love Brian. I was so happy and proud that
Speaker 2: Brian Gidtins has existed in so many different YEA forms,
Speaker 2: all of which have been amazing, none of which have
Speaker 2: been particularly successful, and so for him to have found
Speaker 2: this thing where it was like this film and suddenly
Speaker 2: it was like a hit, critical hitting of awards hit,
Speaker 2: and it was like, you've fucking done it. I love it.
Speaker 1: Yeah, it's great. That could also been like one of
Speaker 1: the meaningful experiences because my friend Jim Rsher has also
Speaker 1: directed it. And it's it's fucking great. It's really, it's really,
Speaker 1: it's wonderful.
Speaker 2: Nish You've been wonderful. But when you tried to confident
Speaker 2: me on another Emmy and I murdered you with the
Speaker 2: me I beat you to death with it. And I'll
Speaker 2: be honest, didn't take as long as you might do.
Speaker 2: It's one of the spikes straight for your eye into
Speaker 2: your brain done. I almost didn't even use the base
Speaker 2: of it at all. Was mostly top half of emmy
Speaker 2: stab stab eyes eyes, to cut your eyes through the brain,
Speaker 2: and then just bashed it in. You were dead, and
Speaker 2: that is the last time you're paying me a compliment, son.
Speaker 2: And but then I find you because I just killed you.
Speaker 2: Yeah yeah, and I'm like, oh blood yeah, what a mess.
Speaker 2: So I'll put you in a coffin I've always got.
Speaker 2: I've got a coffin put you in. All the stuff
Speaker 2: is full in there. There's only enough for him to
Speaker 2: take one film of the year with you, to take
Speaker 2: the movie night when it is your movie night in heaven.
Speaker 2: What film you take it to show people of Heaven
Speaker 2: in movie night when it's your turn, mister Dishkubra.
Speaker 1: Well, I think everything everywhere after sun people will bring them.
Speaker 1: So I'm going to bring Benediction.
Speaker 2: You are such a bummer, you bring such a down
Speaker 2: sucking out all the people in heaven. Welcome this what
Speaker 2: we want, the saddest film with the thanks mate. Can
Speaker 2: we send him back again? We keep sending him back. Yeah,
Speaker 2: but he sat it down.
Speaker 1: Take your medicine, Heaven, take your medicine.
Speaker 2: Well done.
Speaker 1: This, well done to you. Another great year.
Speaker 2: We did it in only two hours. He really did
Speaker 2: it this day.
Speaker 1: That again. Listen. The important thing is we're keeping it
Speaker 1: down to a two.
Speaker 2: Part Yes, it's two part classic this hope I see
Speaker 2: you very soon. And I realized we've never done your
Speaker 2: judgment day, have we?
Speaker 1: No?
Speaker 2: I just sort of killed him by directed killed him.
Speaker 2: Director never judged you. It's time we did one day.
Speaker 2: We'll see.
Speaker 1: Well, I'll tell you what else, Brett. I've seen some
Speaker 1: films in twenty twenty three. I've seen some films. Let
Speaker 1: me tell you.
Speaker 2: I see and I'll tell you here's my review FI
Speaker 2: the year twenty twenty three. The mainstream it's doing. Yeah,
Speaker 2: good ship man, the mainstream. Good ship covers like some
Speaker 2: good main Hollywood films. Yeah, like oh, someone's remembered how
Speaker 2: to make good films.
Speaker 1: Yeah, here we go and people are going to see
Speaker 1: them as well, which is fucking great. It's really exciting.
Speaker 2: And like, anyway, where's wait till June next year? All right?
Speaker 2: Well done? Oh yeah, when do we listen to toilet? This?
Speaker 2: And the pod?
Speaker 1: Toilet on? The pod starts on May the fourth. It's
Speaker 1: called pods like the UK. Regrettably. Thank you, Brett, thank you,
Speaker 1: I see you so peace out. So that was episode
Speaker 1: two hundred and forty four. Head over to the Patreon
Speaker 1: at patreon dot com Forward slash Back Goldstein for all
Speaker 1: the extra videos, chat and stuff and secrets with Nish.
Speaker 1: Remember to watch Shrinking and Ted Lasso on Apple TV Plus. Also,
Speaker 1: this week is my final week with a cast. I'm
Speaker 1: moving to iHeartRadio next week. Nothing will change in the
Speaker 1: service here. I want to say thank you to a
Speaker 1: cast who've been absolutely brilliant. They've been here from the
Speaker 1: beginning and they've been wonderfully supportive and wonderful and I
Speaker 1: love everyone there and I will miss them.
Speaker 2: Thank you very much for everything. Thank you to Scrubius
Speaker 2: Pitp and the distraction pieces of network. Thanks to acast
Speaker 2: for hosting this for so long. Thanks to Buddy Peace
Speaker 2: for producing it, Thanks to Adam Richardson for the graphics
Speaker 2: at least Alight Them for the photography. Come and join
Speaker 2: me next week for a brand new episode We're We're there,
Speaker 2: you know, an absolutely banging guest. So that is it
Speaker 2: for now, Thank you very much for listening, and in
Speaker 2: the meantime, have a good week and please be excellent
Speaker 2: to each other.
Speaker 1: Back back backs out sick by FSA by bos backs
Speaker 1: outside back back back bays backs out says back back
Speaker 1: back