Felicia is joined by Ryan Ritter to discuss the film that cemented the genre of Italian neo-realism in history; Vittorio De Sica’s Bicycle Thieves (1948). We chat about De Sica’s ability to discover raw talent from non-actors and guide them to deliver unforgettable performances. Along with how relatable this story has been to audiences over the years. This is the final installment in the De Sica series and it brought great warmth to my heart to revisit and discuss these films. I hope my guests and I have inspired you to seek out his later work as well. Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: [email protected] Check out our previous episode with Ryan: Klute (Alan J. Pakula - Gordon Willis D.O.P. 1971) Follow Ryan here: IG: @crittical_analysisblog IG: @popculturehistorianspodcast Twitter: @PCHistorians Letterboxd: @ryanritter Website: Crittical Analysis (crittical-analysis.com) Spotify: @popculturehistorians Apple Podcasts: @popculturehistorians Sources: https://www.criterion.com/current/posts/6246-the-joy-and-pain-of-one-good-meal-in-bicycle-thieves https://www.criterion.com/current/posts/3754-hou-hsiao-hsien-on-the-films-that-changed-his-life https://www.criterion.com/current/posts/1538-remembering-suso-cecchi-d-amico https://www.criterion.com/current/posts/1090-bicycle-thieves-ode-to-the-common-man https://retrospectjournal.com/2024/03/24/bicycle-thieves/ https://www.nytimes.com/2020/08/13/movies/bicycle-thieves-italian-neorealism.html https://www.sensesofcinema.com/2020/cteq/bicycle-thieves-vittorio-de-sica-1948/ https://fourthwallwriting.com/2019/04/01/the-perfect-illusion-bicycle-thieves-as-pure-cinema/ https://www.criterion.com/current/top-10-lists/201-roger-corman-s-top-10 OUTRO SONG: Bicycle Thieves by Alessandro Cicognini FILMS MENTIONED: Klute (Alan J. Pakula 1971) Ghostbusters (Ivan Reitman 1984) Beetlejuice (Tim Burton 1988) Shoeshine (Vittorio De Sica 1946) The Children Are Watching Us (Vittorio De Sica 1944) Umberto D. (Vittorio De Sica 1952) Miracle in Milan (Vittorio De Sica 1951) Heart and Soul (Vittorio De Sica 1948) Goodfellas (Martin Scorsese 1990) Casino (Martin Scorsese 1995) Marriage Italian Style (Vittorio De Sica 1964) Yesterday, Today, and Tomorrow (Vittorio De Sica 1963) Il boom (Vittorio De Sica 1963) Come and See (Elem Klimov 1985) Nights of Cabiria (Federico Fellini 1957) Mildred Pierce (Michael Curtiz 1945)

Felicia is joined by Geoff Thomas to discuss the effects of capitalism on an old man and his dog in Vittorio De Sica’s Umberto D. (1952). We chat about this film as a bridge between De Sica’s as a neo-realist filmmaker and his move towards comedies. Along with the themes of questioning the moral compass of authority figures present in this film. Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: [email protected] Check out our previous episodes with Geoff: Diary of a Chambermaid (Luis Buñuel 1964) The Silence (Ingmar Bergman 1963) Follow Geoff here: IG: @cinema_gnt Letterboxd: @gnthomas Website: https://cinemamemry.wordpress.com/ Spotify: @cinematicmeoriespodcast Spotify: @dontdespisemepodcast Apple Podcasts: @cinematicmemoriespodcast Apple Podcasts: @dontdespisemepodcast Sources: https://web.archive.org/web/20110721100149/ http://www.ingmarbergman.se/universe.asp?guid=66DA7015-8017-4303-9A31-658D02296D45 https://www.criterion.com/current/posts/292-seeing-clearly-through-tears-on-the-smart-sentiment-of-umberto-d https://www.nytimes.com/1955/11/08/archives/screen-honest-realism-de-sicas-umberto-d-is-story-of-old-man.html https://www.deepfocusreview.com/definitives/umberto-d/ https://cinemafromthespectrum.com/2017/02/24/umberto-d-review/ OUTRO SONG: Umberto D. by Alessandro Cicognini FILMS MENTIONED: The Silence (Ingmar Bergman 1963) Diary of a Chambermaid (Luis Buñuel 1964) Bicycle Thieves (Vittorio De Sica 1948) The Leopard (Luchino Visconti 1963) Ikiru (Akira Kurosawa 1952) Shoeshine (Vittorio De Sica 1946) The Third Man (Carol Reed 1949) Miracle in Milan (Vittorio De Sica 1951) Terminal Station (Vittorio De Sica 1953) After the Fox (Vittorio De Sica 1966) The Voyage (Vittorio De Sica 1974) Sunflower (Vittorio De Sica 1970) Two Women (Vittorio De Sica 1960) Marriage Italian Style (Vittorio De Sica 1964) Yesterday, Today, and Tomorrow (Vittorio De Sica 1963) Boccaccio ‘70 (Vittorio De Sica, Federico Fellini, Mario Monicelli, Luchino Visconti 1962) Rebecca (Alfred Hithcock 1940) Il boom (Vittorio De Sica 1963) Anora (Sean Baker 2024) Wild Strawberries (Ingmar Bergman 1957) Tokyo Story (Yasujirō Ozu 1953)

Felicia is joined by Jason Christian to discuss the story of two young boys who just want to buy a horse but get sent to a juvenile prison instead, in Vittorio De Sica’s Shoeshine (1946). We chat about De Sica’s ability to get natural performances out of children, and how important it was to explore the lives of orphaned children after the war. Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: [email protected] Follow Jason here: Website: https://jasonchristianwrites.com/ Letterboxd: @exilemagic Twitter: @jasonachristian Cold War Cinema Podcast on Spotify: @coldwarcinema Cold War Cinema Podcast on Apple: @coldwarcinema Sources: https://www.film-foundation.org/rsr-november-2023 https://www.asharperfocus.com/shoeshine.html https://postmodernpelican.com/2022/12/16/shoeshine-1946/ OUTRO SONG: Shoeshine by Alessandro Cicognini FILMS MENTIONED: The Lawless (Joseph Losey 1950) Night and the City (Jules Dassin 1950) Body and Soul (Robert Rossen 1947) Quicksand (Irving Pichel 1950) Rosetta (Luc Dardenne, Jean-Pierre Dardenne 1999) Miracle in Milan (Vittorio De Sica 1951) The Young and the Damned (Luis Buñuel 1950) The Gate of Heaven (Vittorio De Sica 1945) The Children Are Watching (Vittorio De Sica 1944) Heart and Soul (Vittorio De Sica 1948) Bicycle Thieves (Vittorio De Sica 1948) Umberto D. (Vittorio De Sica 1952) Sunflower (Vittorio De Sica 1970) The Witches (Franco Rossi, Mauro Bolognini, Luchino Visconti, Pier Paolo Pasolini, Vittorio De Sica 1967) After the Fox (Vittorio De Sica 1966) Marriage Italian Style (Vittorio De Sica 1964) Yesterday, Today, and Tomorrow (Vittorio De Sica 1963) Il boom (Vittorio De Sica 1963) Two Women (Vittorio De Sica 1960) The 400 Blows (François Truffaut 1959) The Kid with the Bike (Luc Dardenne, Jean-Pierre Dardenne 2011) Boot Polish (Prakash Arora 1954) Where’s The Friend’s House (Abbas Kiarostami 1987) I Was Born, But… (Yasujirō Ozu 1932) Welcome to the Dollhouse (Todd Solondz 1995) Good Morning (Yasujirō Ozu 1959)

Felicia is joined by Bryan and Hannah Loomis to discuss a film about hope and making the most out of the life you’ve been given in Vittorio De Sica’s Miracle in Milan (1951). We chat about De Sica and Zavattani’s (his long time writing partner) communist ideals and how they translate to the importance of community and choosing your own family. Along with the mix of realism and fantasy to create a story that leaves the viewer feeling hopeful. This is the series two opening film and I think this is the perfect example of how layered De Sica’s work often was, and how he could easily blend comedy and drama. Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: [email protected] Follow Bryan and Hannah here: Website: PODCAST | What a Picture (whatapicturepod.com) Bryan on Bluesky: @bryanwhatapic Bryan on Letterboxd: @bryan_whatapic Catch up on our previous episodes with Bryan and Hannah: All The President’s Men (D.O.P. Gordon Willis 1976)I Was Born, But… (Yasujirō Ozu 1932) Sources: https://www.criterion.com/current/posts/7755-miracle-in-milan-it-is-goodness https://www.nytimes.com/1951/12/18/archives/the-screen-in-review-miracle-in-milan-an-italian-fable-directed-by.html https://www.theguardian.com/film/2010/aug/01/beeban-kidron-miracle-in-milan https://www.sensesofcinema.com/2020/cteq/miracle-in-milan-vittorio-de-sica-1951/ OUTRO SONG: Miracolo a Milano (Suite) by Alessandro Cicognini FILMS MENTIONED: All the President’s Men (Alan J. Pakula 1976) I Was Born, But… (Yasujirō Ozu 1932) Shoah (Claude Lanzmann 1985) Histories of Cinema (Jean-Luc Godard 1989-1999) Bicycle Thieves (Vittorio De Sica 1948) The Earrings of Madame De… (Max Ophüls 1953) Umberto D. (Vittorio De Sica 1952) Shoeshine (Vittorio De Sica 1946) Divorce Italian Style (Pietro Germ 1961) Marriage Italian Style (Vittorio De Sica 1964) It’s a Wonderful Life (Frank Capra 1946) The Phantom Carriage (Victor Sjöström 1921) Divorce of Lady X (Tim Whelan 1938) Happy as Lazzarro (Alice Rohrwacher 2018) Nomadland (Chloé Zhao 2020) La chimera (Alice Rohrwacher 2023) Yoyo (Pierre Étaix 1965) Yi Yi (Edward Yang 2000)

Felicia is joined by Jeanmarie Vargas to discuss Michael Haneke’s film about a woman just trying to live out her sexual fantasies in The Piano Teacher (2001). We chat about Haneke’s shift in the 2000s to create more films focused on women and their struggles. Along with the importance of diegetic music as it relates to pushing the story forward. This marks the end of the Haneke series, it was a pleasure (even when it was a displeasure) to revisit his films and watch them through multiple new lenses. He’s such a layered artist whose work will always remain relevant and I hope my guests and I have inspired you to watch more of his work (or maybe it’s time for a rewatch). Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: [email protected] Follow Jeanmarie here: Movie Friends Podcast - That’s Messed Up Series on Patreon: https://www.moviefriendspodcast.com/ Spotify:@MovieFriendsPodcast Apple Podcasts: @MovieFriendsPodcast Sources: https://www.criterion.com/current/posts/4994-michael-haneke-on-the-art-of-the-erotic-long-take https://www.criterion.com/current/posts/4965-the-piano-teacher-bad-romances https://www.criterion.com/current/posts/6342-breaking-the-ice-the-beginning-of-desire-in-the-piano-teacher https://www.theguardian.com/film/2001/nov/09/londonfilmfestival2001.londonfilmfestival1 https://www.sensesofcinema.com/2003/michael-haneke/piano_teacher/ https://www.sensesofcinema.com/2017/cteq/the-piano-teacher/ https://cinemafromthespectrum.com/2017/04/03/the-piano-teacher-review/ https://www.fearsomequeer.net/blog/film-retrospective-the-piano-teacher https://birthmoviesdeath.com/2013/08/16/the-piano-teacher-is-a-psychosexual-masterpiece.html https://www.austrianfilms.com/news/en/bodymichael_haneke_talks_about_the_piano_teacher_body OUTRO SONG: Coin-Operated Boy by The Dresden Dolls FILMS MENTIONED: Funny Games (Michael Haneke 1997) Caché (Michael Haneke 2005) 71 Fragments of a Chronology of Chance (Michael Haneke 1994) The Seventh Continent (Michael Haneke 1989) Code Unknown (Michael Haneke 2000) Time of the Wolf (Michael Haneke 2003) Benny's Video (Michael Haneke 1992) Beau is Afraid (Ari Aster 2023) Secret Ceremony (Joseph Losey 1968)

Felicia is joined by Riley Greenwood to discuss a film about a family who makes a questionable decision in Michael Haneke’s The Seventh Continent (1989). We chat about how Haneke decision to not give the audience any answers but instead allows them to wonder why people make certain life decisions. Along with how the story is fragmented to disorient the viewer. Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: [email protected] Follow Riley here: IG: @rileydreamwood Letterboxd: @rileydreamwood Sources: https://www.theguardian.com/film/filmblog/2008/apr/30/hanekeshouseofhorrors https://www.sensesofcinema.com/2005/cteq/seventh_continent/#:~:text=The%20Seventh%20Continent%20seems%20postmodern,monstrousness%20of%20everyday%20bourgeois%20society. https://www.criterion.com/current/posts/8010-michael-haneke-s-alienation-effect https://flaszonfilm.com/2020/10/30/understanding-michael-haneke-the-seventh-continent-1989/ https://fresques.ina.fr/europe-des-cultures-en/fiche-media/Europe00218/interview-with-michael-haneke.html OUTRO SONG: Show of Strength by Echo and the Bunnymen FILMS MENTIONED: Amour (Michael Haneke 2012) Funny Games (Michael Haneke 1997) Fraulein – Ein deutsches Melodram (Michael Haneke 1986) Benny's Video (Michael Haneke 1992) The Piano Teacher (Michael Haneke 2001) The White Ribbon (Michael Haneke 2009) 71 Fragments of a Chronology of Chance (Michael Haneke 1994) La notte (Michelangelo Antonioni 1961) Beau Travail (Claire Denis 1999) La cerémonie (Claude Chabrol 1995)

Felicia is joined by Nathan Cowles to discuss Michael Haneke’s dark mystery about the roots of evil in The White Ribbon (2009). We chat about how Haneke tackles children and violence in his films and the concept of “good vs evil”. Along with the use of black and white and lack of score that help amplify the film’s message. Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: [email protected] Listen to our previous episode with Nathan: A Summer’s Tale (Éric Rohmer 1996) Follow Nathan here: Letterboxd: @cowles YouTube: @Cowles IG: @cowles.mov Sources: https://www.rogerebert.com/reviews/the-white-ribbon-2010 https://www.theguardian.com/film/2009/nov/12/the-white-ribbon-review https://www.austrianfilms.com/news/en/bodymichael_haneke_the_white_ribbon__interviewbody https://www.nytimes.com/2009/12/30/movies/30white.html https://brightlightsfilm.com/the-children-are-watching-you-michael-hanekes-the-white-ribbon/ https://thepointmag.com/criticism/white-ribbon/ OUTRO SONG: O Sacred Head Now Wounded - Fernando Ortega FILMS MENTIONED: A Tale of Summer (Éric Rohmer 1996) Code Unknown (Michael Haneke 2000) Caché (Michael Haneke 2005) Funny Games (Michael Haneke 1997) Amour (Michael Haneke 2012) Funny Games (Michael Haneke 2007) 71 Fragments of a Chronology of Chance (Michael Haneke 1994) The Piano Teacher (Michael Haneke 2001) Benny’s Video (Michael Haneke 1992) Martha (Rainer Werner Fassbinder 1974) Au hasard Balthazar (Robert Bresson 1966) White Light (Ingmar Bergman 1963) Fanny and Alexander (Ingmar Bergman 1982)

Felicia is joined by Jane Waldner to discuss Michael Haneke’s groundbreaking 1997 film Funny Games and his 2007 shot for shot remake. We chat about how important the original film was and remains, and what caused him to remake his own work in the English language. Along with his exploration of violence in film as it relates to the audiences consumption of this type of imagery. Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: [email protected] Listen to our previous episode with Jane: Faces Places (Agnès Varda & J.R. 2017) Follow Jane here: IG: @janesviews Letterboxd: @jwaldner Sources: https://www.criterion.com/current/posts/6347-funny-games-don-t-you-want-to-see-how-it-ends https://www.cinema.com/articles/5600/funny-games-michael-haneke-interview.phtml#google_vignette OUTRO SONG: Bonehead - Naked City FILMS MENTIONED: Faces Places (Agnès Varda & J.R. 2017) Caché (Michael Haneke 2005) 71 Fragments of a Chronology of Chance (Michael Haneke 1994) Crash (Paul Haggis 2004) Code Unknown (Michael Haneke 2000) The White Ribbon (Michael Haneke 1989) Run Lola Run (Tom Tykwer 1999) Fat Girl (Catherine Breillat 2001)

Welcome to Season 2! After a summer break the show is back and with a few changes. We’re still focusing on a different director or cinematographer each month, with a new guest each week to discuss a film in that artist’s filmography. What we’re doing is moving away from a scene by scene breakdown of the story, and instead moving towards discussion the aritst’s unique stamp on the film. The purpose of this show was always to focus on the artist, so we’ll be talking about what lead them to create this piece, what films did they make before and after this, and what trademarks, common themes/ideas do they like to explore that are present in this film (or not). Listen below for more details and I hope you enjoy the new format!

Felicia is joined by Vanya Garraway to discuss David Cronenberg’s exploration of media consumption in a little film called Videodrome (1983). We chat about how this Toronto classic has become a cautionary tale on the effects of hiding behind the ‘content’ you view. Along with the ways in which Cronenberg create a new cinematic language unique to the city of Toronto that is still relevant today. Oh yeah, and long live the new flesh! This marks not only the end of the Cronenberg series, but also the end of season one of this show - we will be taking a summer break and I can’t think of a better episode to leave you with until our return in the fall. Send us your thoughts on the episode - what is your favourite film set in Toronto? Let us know by sending us a message on any of our social platforms or by email: [email protected] Listen to our previous episode with Vanya: The Killing of a Chinese Bookie (John Cassavetes 1976) Follow Vanya here: IG: @nostalgiaphile IG: @paidinsweat (film program) Twitter: @nostalgiaphile Twitter: @paidinsweat (film program) Sources: https://www.criterion.com/current/posts/337-videodrome-make-mine-cronenberg https://www.criterion.com/current/top-10-lists/237-olivier-assayas-s-top-10 https://www.criterion.com/current/posts/4357-experience-necessary-deborah-harry-in-videodrome https://www.criterion.com/current/posts/1678-videodrome-the-slithery-sense-of-unreality https://www.denofgeek.com/movies/videodrome-how-cronenberg-subverts-the-noir-thriller-genre/ https://www.sensesofcinema.com/2004/perversion/videodrome_seduction/ OUTRO SONG: 801 A, B by Howard Shore FILMS MENTIONED: The Killing of a Chinese Bookie (John Cassavetes 1976) Days of Thunder (Tony Scott 1990) Gladiator (Ridley Scott 2000) Swimfan (John Polson 2002) The Talented Mr. Ripley (Anthony Minghella 1999) The Fly (David Cronenberg 1986) Rabid (David Cronenberg 1977) Shivers (David Cronenberg 1975) The Brood (David Cronenberg 1979) Crimes of the Future (David Cronenberg 2022) The Dead Zone (David Cronenberg 1983) Scanners (David Cronenberg 1981) History of Violence (David Cronenberg 2005) Eastern Promises (David Cronenberg 2007) Seven (David Fincher 1995) Last Night (Don McKellar 1998) Take This Waltz (Sarah Polley 2011) Naked Lunch (David Cronenberg 1991) Being John Malkovich (Spike Jonze 1999) Secretary (Steven Shainberg 2002)

Felicia is joined by Ms. Sinclair to discuss David Cronenberg’s psychological twin terror Dead Ringers (1988) We chat about how the setting of Toronto plays a part in the story, and why the collaboration between Jeremy Irons and Cronenberg gave us one of the greatest dual performances on film. Can you guess how many times I say Toronto in this episode? Send us your thoughts on the episode - what is your favourite film about twins? Let us know by sending us a message on any of our social platforms or by email: [email protected] Listen to my our previous episodes with Ms. Sinclair: Sunset Boulevard (Billy Wilder 1950) The Piano (Jane Campion 1993) Follow Ms. Sinclair here: TALK MOVIE TO ME (talkmovietomepodcast.com) IG: @talkmovietome Letterboxd: @mssinclair Sources: https://dmtalkies.com/dead-ringers-ending-explained-1988-horror-film-david-cronenberg/ https://3brothersfilm.com/blog/2018/10/12/david-cronenberg-dead-ringers-1988 https://www.criterion.com/current/posts/5849-when-actors-do-double-duty https://www.criterion.com/current/top-10-lists/643-john-carpenter-s-top-10 OUTRO SONG: Main Title by Howard Shore FILMS MENTIONED: Sunset Boulevard (Billy Wilder 1950) The Piano (Jane Campion 1993) Society (Brian Yuzna 1989) Furiosa (George Miller 2024) Mad Max Beyond Thunderdome (George Miller, George Ogilvie 1985) The Goonies (Richard Donner 1985) Auto-Focus (Paul Schrader 2002) Mishima: A Life in Four Chapter (Paul Schrader 1985) Light Sleeper (Paul Schrader 1992) The Fly (David Cronenberg 1986) Crash (David Cronenberg 1996) Shivers (David Cronenberg 1975) Rabid (David Cronenberg 1977) Reversal of Fortune (Barbet Schroeder 1990) Videodrome (David Cronenberg 1983) eXistenZ (David Cronenberg 1999) The Skeleton Twins (Craig Johnson 2014) Sisters (Brian De Palma 1972) Possessor (Brandon Cronenberg 2020) Raw (Julia Ducournau 2016) Titane (Julia Ducournau 2021) Eyes Without a Face (Georges Franju 1960) The Skin I Live In (Pedro Almodóvar 2011) Dead Ringer (Paul Henreid 1964) The Dark Mirror (Robert Siodmak 1946)

Felicia is joined by Newman to discuss Cronenberg’s return to body horror in Crimes of the Future (2022). We chat about how Cronenberg explored themes of climate change, body modifications, and the failure of technology, while blending noir-like elements into the story. Send us your thoughts on the episode - what is your favourite modern Cronenberg film? Let us know by sending us a message on any of our social platforms or by email: [email protected] Follow Newman here: Spotify: @Movies4Dayz Podcast Network: https://www.yourunpodcast.com/ Twitter: @MoviesDayz Sources: https://www.npr.org/2022/06/03/1102634107/crimes-of-the-future-david-cronenberg-review https://www.newyorker.com/culture/the-front-row/crimes-of-the-future-reviewed-its-the-end-of-the-world-as-david-cronenberg-knew-it https://www.imdb.com/title/tt14549466/ https://screenrant.com/crimes-future-movie-ending-explained/ https://www.nytimes.com/2022/06/02/movies/crimes-of-the-future-review.html OUTRO SONG: Crimes of the Future by Howard Shore FILMS MENTIONED: The Brood (David Cronenberg 1979) Shrek (Andrew Adamson and Vicky Jenson 2001) Schindler's List (Steven Spielberg 1994) Eastern Promises (David Cronenberg 2007) A History of Violence (David Cronenberg 2005) Scanners (David Cronenberg 1980) Videodrome (David Cronenberg 1983) The Fly (David Cronenberg 1986) They Live (John Carpenter 1988) Maps to the Stars (David Cronenberg 2014) Cosmopolis (David Cronenberg 2012) Rabid (David Cronenberg 1977) Suspiria (Luca Guadagnino 2018) Bug (William Friedkin 2007) Naked Lunch (David Cronenberg 1991) Wall-E (Andrew Stanton 2008) Crash (David Cronenberg 1996) Psycho Goreman (Steven Kostanski 2020) The Void (Steven Kostanski 2006) Hellraiser (Clive Barker 1987) E.T. (Steven Spielberg 1982) Hobo With a Shotgun (Jason Eisener 2011) Kids in the Hall: Brain Candy (Kelly Makin 1996) Eyes Without a Face (Georges Franju 1962)

Felicia is joined by John Pennington to discuss conflicting parenting styles in David Cronenberg’s The Brood (1979). We chat about the use of daylight in a film that tackles dark subject matters. Along with Cronenberg’s personal life being the inspiration behind the story. Send us your thoughts on the episode - what is your favourite 70s Cronenberg flick? Let us know by sending us a message on any of our social platforms or by email: [email protected] Follow John here: Letterboxd: @jtothep83 Sources: https://www.criterion.com/current/posts/3739-the-brood-separation-trials https://3brothersfilm.com/blog/2018/6/15/david-cronenberg-the-brood-1979 The making of David Cronenberg's THE BROOD: https://www.youtube.com/watch?v=c7wGWB6IVy4&ab_channel=CinemaGarmonbozia OUTRO SONG: The Witch by The Sonics FILMS MENTIONED: The Fly (David Cronenberg 1986) Scanners (David Cronenberg 1981) Videodrome (David Cronenberg 1983) Spider (David Cronenberg 2002) Eastern Promises (David Cronenberg 2007) A Dangerous Method (David Cronenberg 2011) Crimes of the Future (David Cronenberg 2022) Shivers (David Cronenberg 1975) Rabid (David Cronenberg 1977) Fast Company (David Cronenberg 1979) The Village of the Damned (Wolf Rilla 1960) The Omen (Richard Donner 1976) The Bad Seed (Wolf Rilla 1956) The Exorcist (William Friedkin 1973) Naked Lunch (David Cronenberg 1991) Sinister (Scott Derrickson 2012) The Lord of the Rings (Peter Jackson 2001) eXistenZ (David Cronenberg 1999) Crash (David Cronenberg 1996) Aliens (James Cameron 1986) Mildred Pierce (Michael Curtiz 1945)

Felicia is joined by Josh Cooley to discuss David Cronenberg’s otherworldly adaptation of William S. Burrough’s Naked Lunch (1991). We chat about the way Cronenberg took Burrough’s story and put it into his own perfectly crafted world, and how he was able to succeed at adapting a difficult novel. This is the Cronenberg series opener and it’s been a long time coming. I honestly cannot put into words how important Cronenberg is to me, his work is everything to me and the world would be a much sadder place without his art. I hope you follow along for the series. Send us your thoughts on the episode - what are some of your favourite book to film adaptations? Let us know by sending us a message on any of our social platforms or by email: [email protected] Sources: https://www.criterion.com/current/posts/769-naked-lunch-burroughs https://www.criterion.com/current/posts/305-naked-lunch-drifting-in-and-out-of-a-kafkaesque-reality https://www.criterion.com/current/posts/6806-double-extremity-judy-davis-in-naked-lunch https://www.criterion.com/current/posts/2726-naked-lunch-so-deep-in-my-heart-that-you-re-really-a-part-of-me https://3brothersfilm.com/blog/2018/10/18/david-cronenberg-naked-lunch-1991 https://ew.com/article/1992/01/17/naked-lunch-behind-scenes/ OUTRO SONG: Welcome to Annexia by Howard Shore & Ornette Coleman FILMS MENTIONED: Deconstructing Harry (Woody Allen 1988) Annie Hall (Woody Allen 1977) Manhattan (Woody Allen 1979) Dead Ringers (David Cronenberg 1988) Crash (David Cronenberg 1996) The Fly (David Cronenberg 1986) The Dead Zone (David Cronenberg 1983) Shivers (David Cronenberg 1975) Rabid (David Cronenberg 1977) Fast Company (David Cronenberg 1979) Mishima: A Life in Four Chapters (Paul Schrader 1985) eXistenZ (David Cronenberg 1999) Nightbreed (Clive Barker 1990) Crimes of the Future (David Cronenberg 2022) Videodrome (David Cronenberg 1983) M. Butterfly (David Cronenberg 1993) Cosmopolis (David Cronenberg 2012) Maps to the Stars (David Cronenberg 2014) Barton Fink (Joel & Ethan Coen 1991) Videodrome (David Cronenberg 1983) Spider (David Cronenberg 2002) Eastern Promises (David Cronenberg 2007) A History of Violence (David Cronenberg 2005) The End of the Affair (Neil Jordan 1999) The Brood (David Cronenberg 1979) Kiss Me Deadly (Robert Aldrich 1955)

It’s bonus episode time. In today’s Special Features episode Felicia is joined by Erin and Tom from the Baby’s First Watchlist Podcast to discuss one of cinema’s greatest romance films Before Sunrise (Richard Linklater 1995). We chat about how fresh this film feels nearly thirty years later, and although it is heavy in dialogue, the quiet moments reveal the most about Celine and Jesse. Send us your thoughts on the episode - what is your favourite film in the trilogy? Let us know by sending us a message on any of our social platforms or by email: [email protected] Follow Baby’s First Watchlist Here: Spotify: @babysfirstwatchlist Apple Podcasts: @babysfirstwatchlist YouTube: @babysfirstwatchlist IG: @babysfirstwatchlist Letterboxd: Tom @tc579 TikTok: @babysfirstwatchlist Sources: https://www.nytimes.com/2020/01/22/movies/before-sunrise-ethan-hawke-julie-delpy.html https://www.criterion.com/current/posts/4449-the-before-trilogy-and-the-art-of-collaboration https://www.criterion.com/current/posts/4445-the-before-trilogy-time-regained https://www.criterion.com/current/top-10-lists/531-marie-kreutzer-s-top-10 https://www.criterion.com/current/posts/4427-transitory-figures-one-scene-from-before-sunrise https://www.sensesofcinema.com/2018/stardust-memories/thinking-about-celine-and-jesse-travelling-through-time-with-the-before-trilogy/ OUTRO MUSIC: Come Here by Kath Bloom FILMS MENTIONED: Nightmare Before Christmas (Henry Selick 1993) Before Midnight (Richard Linklater 2013) Before Sunset (Richard Linklater 2004) Boyhood (Richard Linklater 2014) School of Rock (Richard Linklater 2003) Reality Bites (Ben stiller 1994) Dazed and Confused (Richard Linklater 1993) Everybody Wants Some!! (Richard Linklater 2016) Where’d You Go Bernadette (Richard Linklater 2019) Slacker (Richard Linklater 1990) Waking Life (Richard Linklater 2001) Harold and Maude (Hal Ashby 1971) Amour (Michael Haneke 2012) Boyfriends and Girlfriends (Éric Rohmer 1987) Scenes From a Marriage (Ingmar Bergman 1974) After Hours (Martin Scorsese 1985) Chungking Express (Wong Kar-wai 1996) Persona (Ingmar Bergman 1966) Lost in America (Albert Brooks 1985) Pauline at the Beach (Eric Rohmer 1983)

Felicia is joined by Calvin Kemph to discuss Catholic guilt and philosophy through the character’s in My Night at Maud’s (Éric Rohmer 1970). We chat about how important it is that this film was shot in black and white and how this story could also fit within his tale of four season series. This marks the end of the Rohmer series, one that I felt such a great delight in putting together and had some of the best conversations on the show so far. I hope you’re inspired to tackle the rest of his filmography because I truly believe there is a Rohmer film out there for everybody. Send us your thoughts on the episode - are you satisfied with our protagonist’s ending? Let us know by sending us a message on any of our social platforms or by email: [email protected] Follow Calvin here: Website: https://thetwingeeks.com/ Spotify: @TheTwinGeeks Apple Podcasts: @TheTwinGeeks Seattle Film Critics Society: Seattle Film Critics Society - The official website of Seattle's movie critics. ÉRIC ROHMER’S SIX MORAL TALES – THE DIRECTOR AS AN AUTHOR IN THE FRENCH NEW WAVE: Éric Rohmer’s Six Moral Tales – The Director as an Author in the French New Wave – The Twin Geeks Sources: https://www.criterion.com/current/posts/436-my-night-at-maud-s-chances-are https://www.sensesofcinema.com/2005/cteq/my_night_at_mauds/ https://www.sensesofcinema.com/2010/feature-articles/choice-and-chance-a-dialectic-of-morality-and-romance-in-eric-rohmers-my-night-at-mauds/ https://postmodernpelican.com/2020/02/22/my-night-at-mauds-1969/ OUTRO SONG: The Partisan by Leonard Cohen FILMS MENTIONED: The People’s Joker (Vera Drew 2002) Claire’s Knee (Éric Rohmer 1971) Claire’s Camera (Hong Sang-soo 2017) A Fire (Christian Petzold 2023) Poetry (Lee Chang-dong 2010) Burning (Lee Chang-dong 2018) Secret Sunshine (Lee Chang-dong 2007) Conte d’hiver (Éric Rohmer 1992) Cléo from 5 to 7 (Agnès Varda 1962) Le bonheur (Agnès Varda 1965) Uncle Yanco (Agnès Varda 1967) The Green Ray (Éric Rohmer 1986) The Bitter Tears of Petra Von Kant (Rainer Werner Fassbinder 1972) The Tenant (Roman Polanski 1976) Winter Light (Ingmar Bergman 1963)

Felicia is joined by Duran Aziz to discuss Éric Rohmer’s foray to the medieval era in Perceval (1978). We chat about the incredibly unique set design and Rohmer’s desire to create a space that would be a reflection of paintings from that era. Send us your thoughts on the episode - are you satisfied with our protagonist’s ending? Let us know by sending us a message on any of our social platforms or by email: [email protected] Follow Duran Here: IG (Chapman University Students for Justice in Palestine): @sjpchapman Chapman University SJP divestment petition: https://www.change.org/p/demand-chapman-university-to-divest-from-the-military-industrial-complex-sjp-chapman?source_location=psf_petitions Sources: https://www.sensesofcinema.com/2017/cteq/perceval-le-gallois/#fnref-29831-2 https://decentfilms.com/reviews/perceval https://www.sensesofcinema.com/2010/feature-articles/the-tale-of-perceval-le-gallois-and-the-young-althusserians/ https://www.avclub.com/a-french-master-found-droll-comedy-in-one-of-the-earlie-1843630606 OUTRO SONG: Six Queens by Larrikin Love FILMS MENTIONED: Star Wars (George Lucas 1977) The Great Dictator (Charlie Chaplin 1940) My Night at Maud’s (Éric Rohmer 1970) Pauline at the Beach (Éric Rohmer 1983) The Green Ray (Éric Rohmer 1986) Love in the Afternoon (Éric Rohmer 1972) Claire’s Knee (Éric Rohmer 1970) The Aviator’s Wife (Éric Rohmer 1981) The Marquise of O (Éric Rohmer 1976) Catherine de Heilbronn (Éric Rohmer 1980) Lancelot du lac (Robert Bresson 1974) A Tale of Winter (Éric Rohmer 1992) The Bakery Girl of Monceau (Éric Rohmer 1963) Suzanne's Career (Éric Rohmer 1963) Juliet of the Spirits (Federico Fellini 1965) Lars von Trier (Dogville 2003) Cabinet of Dr. Caligari (Robert Wiene, 1919)

Felicia is joined by Frieda Beckerman to discuss Éric Rohmer’s film about a woman facing vacation ennui, in The Green Ray (1986). We chat about how he created a character whose small problems we can all relate to, and why the multiple settings in France are imperative to the film’s energy.. Send us your thoughts on the episode - have you read The Green Ray? Let us know by sending us a message on any of our social platforms or by email: [email protected] Sources: https://www.theguardian.com/film/2015/jan/04/green-ray-rayon-vert-review-eric-rohmer https://classical-inquiries.chs.harvard.edu/about-the-green-ray-of-jules-verne-and-eric-rohmer/ https://tmff.net/an-analysis-of-the-green-ray-1986/ https://www.sensesofcinema.com/2010/feature-articles/following-the-law-of-ones-own-being-the-crying-woman-in-the-green-ray/ https://mubi.com/en/notebook/posts/close-up-on-eric-rohmers-the-green-ray-an-interview-with-marie-riviere OUTRO SONG: No Aloha - The Breeders FILMS MENTIONED: Working Girl (Mike Nichols 1988) Autumn Tale (Éric Rohmer 1998) Pauline at the Beach (Éric Rohmer 1983) Borat (Larry Charles 2006) To The Ends of the Earth (Kiyoshi Kurosawa 2019) Summertime (David Lean 1955)

Felicia is joined by Nathan Cowles to discuss Éric Rohmer’s first film in his A Tale of Four Season series, about a man being tossed around by three different women in A Summer’s Tale (1996). We chat about Rohmer’s way of writing women, his choice to work with a woman cinematographer and how that lends to a unique gaze behind the camera. Along with the importance of the script and the quiet moments that expose the protagonists inner truth. This is the Rohmer series opener and I’m beyond excited to share this series with you - we’ve got four great guests to cover a wide range of Rohmer’s work this month - I hope you follow along! Send us your thoughts on the episode - are you satisfied with our protagonist’s ending? Let us know by sending us a message on any of our social platforms or by email: [email protected] Follow Nathan here: Letterboxd: @cowles YouTube: @Cowles IG: @cowles.mov Sources: https://agoodmovietowatch.com/a-summers-tale-1996/ https://variety.com/1996/film/reviews/a-summer-s-tale-1200445995/#! https://mubi.com/en/notebook/posts/dangling-man-close-up-on-eric-rohmers-a-summers-tale https://www.criterion.com/films/29650-a-tale-of-summer https://cinemasentries.com/a-summers-tale-movie-review-dissecting-love-and-sex-with-philosophical-precision/ https://www.nytimes.com/2014/06/20/movies/a-summers-tale-from-eric-rohmers-seasons-cycle.html https://www.criterion.com/current/posts/8387-eric-rohmer-s-tales-of-the-four-seasons-another-year https://www.youtube.com/watch?v=hHoU9_3pmq4&t=128s&ab_channel=TIFFOriginals OUTRO SONG: Fille de corsaire by Sebastien Erms FILMS MENTIONED: A Clockwork Orange (Stanley Kubrick 1972) Eraserhead (David Lynch 1978) Inglorious Basterds (Quentin Tarantino 2009) Funny Games (Michael Haneke 1997) My Night at Maud’s (Éric Rohmer 1970) The Green Ray (Éric Rohmer 1986) Suzanne’s Career (Éric Rohmer 1963) Breathless (Jean-Luc Godard 1961) Call Me By Your Name (Luca Luca Guadagnino 2017) Aftersun (Charlotte Wells 2022) The Bakery Girl of Monceau (Éric Rohmer 1963) Claire’s Knee (Éric Rohmer 1971) La belle noiseuse (Jacques Rivette 1991) The Fifth Seal (Zoltán Fábri 1976) Design For Living (Ernst Lubitsch 1933) Les amours imaginaires (Xavier Dolan 2010) Mommy (Xavier Dolan 2014) Tom at the Farm (Xavier Dolan 2015)

Felicia is joined by Peter Merriman to discuss Yasujirō Ozu’s tale about aging parents and their relationships with their older children, in Tokyo Story (1953). We chat about why Japan original didn’t think they could market this film in North America, and how it eventually became one of the most universal film texts that audiences continue to relate to. This mark’s the end of the Ozu series, it was an honour and beautiful experience revisiting and watching some of his films for the first time in preparation. There is an Ozu film out there for everyone, and I hope you find it and it changes your life. Send us your thoughts on the episode - do you prefer Ozu’s colour or black and white film era? Let us know by sending us a message on any of our social platforms or by email: [email protected] Sources: https://www.criterion.com/current/posts/301-tokyo-story-compassionate-detachment https://www.criterion.com/current/top-10-lists/371-rashaad-ernesto-green-s-top-10 https://www.theguardian.com/film/2023/aug/31/tokyo-story-review-yasujiro-ozu https://www.sensesofcinema.com/2003/great-directors/ozu/ https://www.ucpress.edu/book/9780520396722/directed-by-yasujiro-ozu https://www.ucpress.edu/book/9780520296817/transcendental-style-in-film https://www.enotes.com/topics/yasujiro-ozu/critical-essays/lindsay-anderson OUTRO SONG: Tokyo Story Theme by Takanobu Saitô FILMS MENTIONED: The American Friend (Wim Wenders 1977) The Holdovers (Alexander Payne 2023) Anatomy of a Fall (Justine Triet 2023) Barbie (Greta Gerwig 2023) Oppenheimer (Christopher Nolan 2023) Tenet (Christopher Nolan 2020) Dune: Part 2 (Denis Villeneuve 2024) Bring Me the Head of Tim Horton (Guy Maddin 2015) Justice League (Zack Snyder 2021) Dawn of the Dead (Zack Snyder 2004) An Autumn Aftenoon (Yasujirō Ozu 1964) Late Spring (Yasujirō Ozu 1949) Make Way For Tomorrow (Leo McCarey 1937) Tokyo Twilight (Yasujirō Ozu 1957) I Was Born, But… (Yasujirō Ozu 1932) Tokyo-ga (Wim Wenders 1985) Sans Soleil (Chris Marker 1983) A Man Escaped (Robert Bresson 1957) Mommie Dearest (Frank Perry 1981) Toni Erdmann (Maren Ade 2016) Paris, Texas (Wim Wenders 1984) Wild Strawberries (Ingmar Bergman 1957)

Felicia is joined by Bryan Loomis (from What a Picture Podcast) to discuss Yasujirō Ozu’s silent comedy about two brothers who begin to see their father in a new light. Send us your thoughts on the episode - do you prefer Ozu’s silent or talkies era? Let us know by sending us a message on any of our social platforms or by email: [email protected] Listen to our previous episode: All The President’s Men (D.O.P. Gordon Willis 1976) Follow Bryan here: Website: PODCAST | What a Picture (whatapicturepod.com) What a Picture Podcast: https://anchor.fm/what-a-picture Sources: https://www.highonfilms.com/i-was-born-but-1932-ozu/ http://www.midnighteye.com/reviews/i-was-born-but/ https://blogs.iu.edu/establishingshot/2020/02/17/sublime-tragicomedy-i-was-born-but-1932/ https://www.slantmagazine.com/film/i-was-born-but/ https://harvardfilmarchive.org/calendar/i-was-born-but-2023-06 https://www.nytimes.com/2010/06/25/movies/25iwas.html OUTRO SONG: Birthday by The Sugarcubes FILMS MENTIONED: All The President’s Men (Alan J. Pakula 1976) Perfect Days (Wim Wenders 2023) Pather Panchali (Satyajit Ray 1955) Horse Money (Pedro Costa 2014) Trust (Hal Hartley 1990) Late Spring (Yasujirô Ozu 1949) Tokyo Story (Yasujirô Ozu 1953) Walk Cheerfully (Yasujirô Ozu 1930) Good Morning (Yasujirô Ozu 1959) Early Summer (Yasujirô Ozu 1951) Autumn Afternoon (Yasujirô Ozu 1962) Trouble in Paradise (Ernst Lubitsch 1932) Lady Bird (Greta Gerwig 2017) Miracle in Milan (Vittorio De Sica 1951) Housekeeping (Bill Forsyth 1987)

Felicia is joined by Malik Nelson to discuss Yasujirō Ozu’s overlooked film about two sisters grappling with the return of their mother who abandoned them in Tokyo Twilight (1957). Send us your thoughts on the episode - do you prefer Ozu’s black and white or in colour films? Let us know by sending us a message on any of our social platforms or by email: [email protected] Follow Malik here: Letterboxd: @atelopusfarci IG:@malachimalik_ Sources: https://nyunews.com/arts/film/2019/10/28/tokyo-twilight-4k-film-restoration-review/ https://www.criterion.com/current/posts/634-eclipse-series-3-late-ozu https://www.sensesofcinema.com/2019/cteq/tender-restraint-tokyo-twilight-yasujiro-ozu-1957/OUTRO SONG: Tokyo Twilight Theme by Takanobu Saitô FILMS MENTIONED: Late Spring (Yasujirō Ozu 1949) Tokyo Story (Yasujirō Ozu 1953) Written on the Wind (Douglas Sirk 1956) Dead Man (Jim Jarmusch 1996) Good Morning (Yasujirō Ozu 1959) 20th Century Women (Mike Mills 2016) Frances Ha (Noah Baumbach 2013) Stella Dallas (King Vidor 1937)

Felicia is joined by Seth Vargas to discuss one of the most touching and heartbreaking story of a father and daughter dynamic, in Yasujirō Ozu’s Late Spring (1949). We chat about how Ozu perfected the genre of family dramas, by keeping the visuals simple yet effective. We also how the characters in this film bridge old and new world Japan. Send us your thoughts on the episode - which is Ozu’s ‘season’ films is your favourite? Let us know by sending us a message on any of our social platforms or by email: [email protected] Follow Seth here: Movie Friends Podcast (website) Twitter: @moviefriendspod IG: @moviefriendspodcast YouTube: @moviefriendspodcast Listen to our previous episodes: Le bonheur (Agnès Varda 1965) Woman in the Dunes (Hiroshi Teshigahara 1964) Sources: https://www.criterion.com/current/top-10-lists/294-andrew-ahn-s-top-10 https://www.criterion.com/current/posts/421-late-spring-home-with-ozu https://www.rogerebert.com/reviews/great-movie-late-spring-1972 https://www.sensesofcinema.com/2003/great-directors/ozu/ OUTRO SONG: Late Spring by Senji Itô FILMS MENTIONED: Le bonheur (Agnès Varda 1965) Woman in the Dunes (Hiroshi Teshigahara 1964) Ghostwatch (Lesley Manning 1992) Dune 2 (Denis Villeneuve 2024) The Rage: Carrie 2 (Katt Shea 1999) Cannibal Holocaust (Ruggero Deodato 1985) Set It Off (F. Gary Gray 1996) I Was Born, But… (Yasujirō Ozu 1932) Flirt (Hal Hartley 1995) Pride of the Yankees (Sam Wood 1942) Good Morning (Yasujirō Ozu 1959) Tokyo Story (Yasujirō Ozu 1953) Me and You and Everyone We Know (Miranda July 2005) The Heiress (William Wyler 1949) Paper Moon (Peter Bogdonavich 1973)

It’s bonus episode time. In today’s Special Features episode Felicia is joined by Charles Forsman and Joey Gantner to discuss the only punk sci-fi film that matters, Repo Man (Alex Cox 1984). We chat about how Alex Cox not only made one of the most important films about punk culture but how he was able to successfully infuse other genres to make it a complete story. Along with how members of the LA Punk community came together to create an authentic piece of cinema that continues to grow more of a cult following over the years. Send us your thoughts on the episode - what is your favourite song on the soundtrack? Let us know by sending us a message on any of our social platforms or by email: [email protected] Follow Charles here: Crowdfunder for his new comic Chesley: http://crowdfundr.com/herecomeschesley/ Podcast: batandspider.com Spotify: Bat and Spider IG: @batandspider Twitter: @batnspider Follow Joey here: Spotify: Out of the Podcast Tape Record Label: sludge-people.com IG: @sludgepeople IG: @outofthepodcast Sources: https://www.inverse.com/entertainment/repo-man-oral-history-1984?s=08 https://www.criterion.com/current/posts/2743-10-things-i-learned-repo-man https://www.criterion.com/current/posts/2736-repo-man-a-lattice-of-coincidence https://medium.com/framerated/repo-man-unmissable-punk-sci-fi-cult-classic-b5ea8c2b4066 https://cinephiliabeyond.org/alex-coxs-screenplay-cult-classic-repo-man/ https://filmobsessive.com/film/film-analysis/film-genres/cult_film/repo-man-and-the-definition-of-the-cult-film/ OUTRO MUSIC: A Gain - A Loss by The Plugz FILMS MENTIONED: To Live and Die in L.A. (William Friedkin 1985) Full Metal Jacket (Stanley Kubrick 1987) Dracula (Tod Browning 1931) Clerks 3 (Kevin Smith 2002) 20th Century Women (Mike Mills 2017) Star Trek: The Voyage Home (Leonard Nimoy 1986) Young Guns (Christopher Cain 1988) Paris, Texas (Wim Wenders 1984) Kiss Me Deadly (Robert Aldrich 1955) Effects (Dusty Nelson 1979) Tammy and the T-Rex (Stewart Raffill 1994) Blood Beat (Fabrice-Ange Zaphiratos 1983) Straight to Hell (Alex Cox 1987) Walker (Alex Cox 1987) Sid & Nancy (Alex Cox 1986) Suburbia (Penelope Spheeris 1983) Miracle Mile (Steve De Jarnatt 1988) Night of the Comet (Thom Eberhardt 1984) Out of the Blue (Dennis Hopper 1980)

Felicia is joined by Liam and Wayne from the In Film We Trust Podcast to discuss Jim Jarmusch’s film about three outlaws on the run, in Down By Law (1986). We chat about how each of these characters play off each other and why the outsider, Roberto, is the glue that holds them together. We also discuss how he gave Robby Müller carte blanche to shoot the film however he wanted and how that collaboration is imperative to the film’s lasting effect. Send us your thoughts on the episode - who is your favourite musician Jarmusch has worked with? Let us know by sending us a message on any of our social platforms or by email: [email protected] Follow In Film We Trust here: Spotify: https://podcasters.spotify.com/pod/show/ifwtpod IG: @ifwtpod Twitter: @ifwtpod YouTube: @ifwtpod Sources: https://www.criterion.com/current/top-10-lists/37-rian-johnson-s-top-10 https://www.theguardian.com/film/2014/sep/08/down-by-law-the-monochrome-mastery-of-dutch-cinematographer-robby-muller https://www.tasteofcinema.com/2017/pulling-focus-down-by-law-1986/ https://www.criterion.com/current/posts/229-down-by-law-chemistry-set https://www.criterion.com/current/posts/2386-talking-with-john https://www.rogerebert.com/reviews/down-by-law-1986 OUTRO SONG: Decomposing Trees by Galaxie 500 FILMS MENTIONED: Easy Rider (Dennis Hopper 1969) Chelsea Girls (Paul Morrissey, Andy Warhol 1966) The Way It Is (Eric Mitchell 1985) Downtown 81 (Edo Bertoglio 2000) Toy Story (John Lasseter 1995) Terminator 2: Judgment Day (James Cameron1991) Aliens (James Cameron 1986) Blazing Saddles (Mel Brooks 1974) Smokey and the Bandit (Hal Needham 1977) Dead Man (Jim Jarmusch 1995) Stranger Than Paradise (Jim Jarmusch 1984) The Dead Don’t Die (Jim Jarmusch 2019) Paterson (Jim Jarmusch 2016) Permanent Vacation (Jim Jarmusch 1980) The Foreigner (Eric Mitchell 1978) Eraserhead (David Lynch 1978) Paris, Texas (Wim Wenders 1984) Videodrome (David Cronenberg 1983) Harold and Maude (Hal Ashby 1971) Mystery Train (Jim Jarmusch 1989) Night on Earth (Jim Jarmusch 1991) Strange Brew (Rick Moranis, Dave Thomas 1983) Broken Flowers (Jim Jarmusch 2005) Ghost Dog: The Way of the Samurai (Jim Jamursch 1999) Two Lane Blacktop (Monte Hellman 1971) Clerks (Kevin Smith 1994) Dazed and Confused (Richard Linklater 1993) Straight Time (Ulu Grosbard 1978) Reservoir Dog (Quentin Tarantino 1992) The American Friend (Wim Wenders 1977)

Felicia is joined by Trevor Young (Supervising Producer at iHeartPodcasts) to discuss Jim Jarmusch’s anthology film of character’s everyday conversations in Coffee and Cigarettes (2003) We chat about how it was filmed over the course of three decades, and how the use of multiple cinematographers helps reflect the respective eras in which the vignettes were shot. Along with how each individual chapter does end up telling a broader story of human interaction and how we can see ourselves in these conversations. Send us your thoughts on the episode - which vignette is your favourite? Let us know by sending us a message on any of our social platforms or by email: [email protected] Follow Trevor here: Letterboxd: @improfusion Sources: https://www.rogerebert.com/reviews/coffee-and-cigarettes-2004 https://worldscinema.org/2023/12/coffee-and-cigarettes-2003/ https://www.highonfilms.com/coffee-cigarettes-jarmusch-review/ https://www.sensesofcinema.com/2004/53rd-melbourne-international-film-festival/coffee_and_cigarettes/ https://www.indiewire.com/features/general/looking-for-love-over-nicotine-and-caffeine-jim-jarmusch-talks-about-coffee-and-cigarettes-78919/ OUTRO SONG: Black Hole by The Urinals FILMS MENTIONED: Princess Mononoke (Hayao Miyazaki 1997) Down By Law (Jim Jarmusch 1986) Stranger Than Paradise (Jim Jarmusch 1984) Mystery Train (Jim Jarmusch 1989) Boyhood (Richard Linklater 2014) Dead Man (Jim Jarmusch 1995) Slacker (Richard Linklater 1991) Goodfellas (Martin Scorsese 1990) Cry Baby (John Waters 1990) Night on Earth (Jim Jarmusch 1991) Ghost Dog: The Way of the Samurai (Jim Jarmusch 1999) Repo Man (Alex Cox 1984)

Felicia is joined once again by Rolo Tony [listen to our episode on A Woman Under the Influence (John Cassavetes 1974)], to discuss Jim Jarmusch’s blending of both noir and samurai genres in Ghost Dog: The Way of the Samurai (1999). We chat about Jarmusch’s interest in music and how he blends that art form into storytelling in his films. Along with his interest in stories about humans and their quirks. Send us your thoughts on the episode - who are some of your favourite musical artists Jarmusch has worked with? Let us know by sending us a message on any of our social platforms or by email: [email protected] Follow Rolo Tony here: Twitter: @PoorOldRoloTony Letterboxd: @PoorOldRoloTony YouTube: @PoorOldRoloTony Sources: https://www.sensesofcinema.com/2002/cteq/ghost_dog/ https://www.theguardian.com/film/2000/apr/28/4 https://www.rogerebert.com/reviews/ghost-dog-the-way-of-the-samurai-2000 https://www.criterion.com/films/31032-ghost-dog-the-way-of-the-samurai https://www.criterion.com/current/posts/7185-ghost-dog-by-the-book https://www.criterion.com/current/posts/7186-ghost-dog-as-international-sampler https://louderthanwar.com/jim-jarmusch-talks-about-his-great-ghost-dog-film/ https://filmmakermagazine.com/107997-the-violence-in-the-film-is-simply-a-reflection-of-the-history-of-human-beings-writer-director-jim-jarmusch-and-actor-forest-whitaker-on-ghost-dog-the-way-of-the-samurai/ https://elementsofmadness.com/2020/11/11/ghost-dog/ https://www.wweek.com/arts/movies/2023/02/21/why-jim-jarmuschs-ghost-dog-the-way-of-the-samurai-endures-as-an-unlikely-classic/ OUTRO SONG: Ghost Dog Opening Theme by RZA FILMS MENTIONED: A Woman Under the Influence (John Cassavetes 1974) Brain Damage (Frank Henenlotter 1988) Basket Case (Frank Henenlotter 1982) One From the Heart (Francis Ford Coppola 1982) Rumble Fish (Francis Ford Coppola 1983) Tetro (Francis Ford Coppola 2009) Twixt (Francis Ford Coppola 2011) Megalopolis (Francis Ford Coppola 2024) Rain People (Francis Ford Coppola 1969) Kill Bill Vol. 1 (Quentin Tarantino 2003) Kill Bill Vol. 2 (Quentin Tarantino 2004) Coffee and Cigarettes (Jim Jarmusch 2003) Down By Law (Jim Jarmusch 1986) Broken Flowers (Jim Jarmusch 2005) Only Lovers Left Alive (Jim Jarmusch 2013) Mystery Train (Jim Jarmusch 1989) Le samourai (Jean-Pierre Melville 1967) Spider-Man: Into the Spider-Verse (Bob Persichetti,Peter Ramsey, Rodney Rothman 2018) Nobody (Ilya Naishuller 2021) O Brother Where Art Thou (Joel Coen, Ethan Coen 2000) The Great Silence (Sergio Corbucci 1968) Hell in the Pacific (John Boorman 1968) Point Blank (John Boorman 1967) Museo (Alonso Ruizpalacios 2018)

Felicia is joined by Josh Cooley to discuss Jim Jarmusch’s meditative story about a small town poet, in Paterson (2016). We chat about the Jarmusch’s interest in telling the stories of every day people and why mundanity can make for a compelling story. This is the first episode of the Jarmusch series and I think a great film to showcase how he has still maintained his craft and ability to tell a meaningful story throughout his career. Send us your thoughts on the episode - do you have a favourite poet? Let us know by sending us a message on any of our social platforms or by email: [email protected] Follow Josh here: IG: @_joshcooley_ LB: @movieunycorn Golden Hour (Short Film) GoFundMe Sources: Cinematic Poetry: An In-Depth Reading of Jim Jarmusch’s Film Paterson (2016) – Close-Up Culture (closeupculture.com) Paterson review – Adam Driver beguiling in miraculous tale of everyday goodness | Drama films | The Guardian Review: In Jim Jarmusch’s ‘Paterson,’ a Meditative Flow of Words Into Poetry - The New York Times (nytimes.com) Paterson movie review & film summary (2016) | Roger Ebert The Paterson Poem by William Carlos Williams (patersonproject.com) Adam Driver On Working With Martin Scorsese & Jim Jarmusch -- AwardsLine (deadline.com) OUTRO SONG: Time In a Bottle - Jim Croce FILMS MENTIONED: Dead Man (Jim Jarmusch 1995) Mystery Train (Jim Jarmusch 1989) Night on Earth (Jim Jarmusch 1991) The Dead Don’t Die (Jim Jarmusch 2019) Blue Velvet (David Lynch 1984) Moonrise Kingdom (Wes Anderson 2012) After Life (Kore-eda Hirokazu 1998) Columbus (Kogonada 2017) Cléo de 5 a 7 (Agnès Varda 1962) Alice in the Cities (Wim Wenders 1974)

It’s bonus episode time. In today’s Special Features episode Felicia is joined by Cethan Leahy to discuss Elaine May’s romantic comedy about a man who wants to murder his wife. We chat about how the physical comedy from the actors allows the audience to ease into the premise of the film, and why Walter Matthau is perfect casting for the role of the egotistical Henry. Send us your thoughts on the episode - what is your favourite 70s comedy? Let us know by sending us a message on any of our social platforms or by email: [email protected] Follow Cethan here: Website: https://www.cethanleahy.com/ Sources: https://www.sensesofcinema.com/2019/cteq/a-new-leaf-elaine-may-1971/ https://www.womaninrevolt.com/a-new-leaf-1971-by-elaine-may/ https://www.filmcomment.com/article/elaine-may-in-conversation-with-mike-nichols/?ref=womaninrevolt.com https://www2.bfi.org.uk/news-opinion/sight-sound-magazine/comment/lost-found-new-leaf#:~:text=It%20wasn%E2%80%99t%20this%20aversion%20to%20attention%20that%20led,editing%2C%20she%20submitted%20a%20three-hour%20cut%20to%20Paramount. https://www.larsenonfilm.com/a-new-leaf https://www.pastemagazine.com/movies/elaine-may/a-new-leaf-50-elaine-may OUTRO MUSIC: At the Zoo by Simon and Garfunkel FILMS MENTIONED: Plan 9 From Outer Space (Ed Wood 1959) Max, Mon Amour (Nagisa Ōshima 1986) That Obscure Object of Desire (Luis Buñuel 1977) Mikey and Nicky (Elaine May 1976) The Heartbreak Kid (Elaine May 1972) Ishtar (Elaine May 1987) Grumpy Old Men (Donald Petrie 1993) Notorious (Alfred Hitchcock 1946) Kind Hearts and Coronets (Robert Hamer 1950) Ball of Fire (Howard Hawks 1941) The Lady Eve (Preston Sturges 1941)

Felicia is joined once again by Eugina Gelbelman [listen to our episodes on Trouble Every Day Claire Denis 2001), and Dressed to Kill (Brian De Palma 1980)], to discuss Jane Campion’s story of cults and gendered sexual dynamics, in Holy Smoke (1999). We chat about the concept of being a privileged outsider in another country, and how certain cultures look down on others. Along with the psychosexual dynamics between men and women, and why that has been a constant interest for Campion throughout her career. This is the final Jane Campion episode, and I couldn’t think of a better film to bookend the series with. I’m grateful to anyone who has listened along, to those who are discovering these films for the first time, and those who are inspired to give them a rewatch. Send us your thoughts on the episode - do you think Ruth was in an actual cult? Let us know by sending us a message on any of our social platforms or by email: [email protected] Follow Eugina here: IG: @euginareviews IG: @pomegranatepicturesfilm LB: @sunnyrasputin Sources: Holy Smoke (1999) - Trivia - IMDb `Holy Smoke': A Spiritual Tug of War in the Australian Outback (nytimes.com) Holy Smoke (variety.com) BFI | Sight & Sound | Holy Smoke (1999)Holy Smoke - Movie Review : Alternate Ending Never a Native: Deconstructing Home and Heart in Holy Smoke – Senses of Cinema Holy Smoke! by Jane Campion retro review - The Spool | The Spool OUTRO SONG: Die Matrosen by Kleenex FILMS MENTIONED: Trouble Every Day (Claire Denis 2001) Dressed to Kill (Brian De Palma 1980) Passages (Ira Sachs 2023) The Getaway (Roger Donaldson 1994) Fair Play (Chloe Domont 2023) Sweetie (Jane Campion 1989) The Piano (Jane Campion 1993) The Power of the Dog (Jane Campion 2021) Bright Star (Jane Campion 2009) The Portrait of a Lady (Jane Campion 1996) An Angel at my Table (Jane Campion 1990) Kissed (Lynne Stopkewich 1996) Angela (Rebecca Miller 1995) The Ballad of Jack and Rose (Rebecca Miller 2005)

Felicia is joined by Emily Gagne to discuss Jane Campion’s feminist western film, The Power of the Dog (2021). We chat about the way Campion reveals the truths about these characters without having to explicitly say it through dialogue. Along with why a woman making a Western about a flawed man works. Send us your thoughts on the episode - do you view this film as a western of a revision of the genre? Let us know by sending us a message on any of our social platforms or by email: [email protected] Follow Emily here: IG: @wereallylikeher Twitter: @wereallylikeher IG: @ladygagagne Twitter: @emilygagne Sources: The Power of the Dog: What Kind of Man? | Current | The Criterion Collection The Power of the Dog review – Jane Campion’s superb gothic western is mysterious and menacing | The Power of the Dog | The Guardian The Biblical Clash at the Core of ‘The Power of the Dog’ - The Atlantic ‘Is The Power of the Dog a New Zealand film? National Identity, Genre and Jane Campion’ – Senses of Cinema OUTRO SONG: 25 Years by Jonny Greenwood FILMS MENTIONED: Postcards From the Edge (Mike Nichols 1990) Mermaids (Mike Nichols 1990) Working Girls (Lizzie Borden 1986) Mamma Mia (Mike Nichols 2008) Barbie (Greta Gerwig 2023) Josie and the Pussycats (Harry Elfont, Deborah Kaplan 2001) Yentl (Barbra Streisand 1984) The Piano (Jane Campion 1993) In The Cut (Jane Campion 2003) Bright Star (Jane Campion 2009) Ishtar (Elaine May 1987) Brokeback Mountain (Ang Lee 2006) McCabe & Mrs. Miller (Robert Altman 1971) Ravenous (Antonia Bird 1999) The Westerner (William Wyler 1940) Giant (George Stevens 1956)

Felicia is joined by Scott Cole to discuss Jane Campion’s vision of women in thrillers in her 2003 film, In The Cut. We chat about the portrayal of violence against women through the eyes of a woman director and writer. Along with casting Meg Ryan against type and why her performance is essential to making this role work. Send us your thoughts on the episode - how do you feel about this film be labeled as an erotic thriller? Let us know by sending us a message on any of our social platforms or by email: [email protected] Follow Scott here: Twitter: @ColeCommaScott IG: @ColeCommaScott Sources: In the Cut (Jane Campion, 2003) – Senses of Cinema In The Cut movie review & film summary (2003) | Roger Ebert Sex and violence: what has changed for women since In the Cut? | Fiction | The Guardian Engaging Medusa: Competing Myths and Fairytales in In the Cut – Senses of Cinema (247) In The Cut: Mark Ruffalo Exclusive Interview | ScreenSlam - YouTube OUTRO SONG: Que Sera Sera by Pink Martini FILMS MENTIONED: Champions (Bobby Farrelly 2023) Twister (Jan de Bont 1996) Secrets & Lies (Mike Leigh 1996) Holy Smoke (Jane Campion 1999) The Piano (Jane Campion 1993) The Power of the Dog (Jane Campion 2021) Basic Instinct (Paul Verhoeven 1992) Fatal Attraction (Adrian Lyne 1987) Body Double (Brian De Palma 1984) Jagged Edge (Richard Marquand 1985) Gone Girl (David Fincher 2014) When a Man Loves a Woman (Luis Mandoki 1994) Seven (David Fincher 1995) Copycat (Jon Amiel 1995) Home Alone 2: Lost in New York (Chris Columbus 1992) Zodiac (David Fincher 2007) You Can Count on Me (Kenneth Lonergan 2000) The Kids Are All Right (Lisa Cholodenko 2010) Margaret (Kenneth Lonergan 2011) Margot at the Wedding (Noah Baumbach 2007) Bright Star (Jane Campion 2009) The Long Goodbye (Robert Altman 1973) Bound (Lana Wachowski, Lilly Wachowski 1996) Looking for Mr. Goodbar (Richard Brooks 1977) Fat Girl (Catherine Breillat 2001)

Felicia is joined once again by Ms. Sinclair (listen to our first episode on Billy Wilder’s Sunset Boulevard) to discuss Jane Campion’s take on women’s liberation in The Piano (1993) We chat about the character dynamics that Campion likes to explore in her stories, especially between women who seek liberation and the emotionally stunted men who surround them. Send us your thoughts on the episode - what are your thoughts on the significance of pianos throughout Campion’s body of work? Let us know by sending us a message on any of our social platforms or by email: [email protected] Follow Ms. Sinclair here: TALK MOVIE TO ME (talkmovietomepodcast.com) IG: @talkmovietome LB: @mssinclair Sources: The Piano: Gothic Gone South | Current | The Criterion Collection Jane Campion’s ‘The Piano’: An Inquisitive Study of Eroticism Disguised as a Victorian Love Story • Cinephilia & Beyond (cinephiliabeyond.org) The Piano review – Jane Campion's drama still hits all the right notes | The Piano | The Guardian OUTRO SONG: The Feast by Katie Kim FILMS MENTIONED: Sunset Boulevard (Billy Wilder 1950) Anatomy of a Fall (Justine Triet 2023) The Zone of Interest (Jonathan Glazer Poor Things (Yorgos Lanthimos 2023) Altered States (Ken Russell 1980) The Devils (Ken Russell 1971) Fly Away Home (Carroll Ballard 1996) Holy Smoke (Jane Campion 1999) Sweetie (Jane Campion 1989) The Irishman (Martin Scorsese 2019) The Portrait of a Lady (Jane Campion 1996) Power of the Dog (Jane Campion 2021) Portrait of a Lady on Fire (Céline Sciamma 2020) The Worst Person in the World (Joachim Trier 2021) Pan’s Labyrinth (Guillermo del Toro 2006) Bright Star (Jane Campion 2009) The Piano Teacher (Michael Haneke 2001) Breaking the Waves (Lars Von Trier 1996) Phantom Thread (Paul Thomas Anderson 2018) Martha (Rainer Werner Fassbinder 1974) Take this Waltz (Sarah Polley 2011)

Felicia is joined once again by Jamila Brown (listen to our first episode on Ingmar Bergman’s Fanny and Alexander) to discuss Jane Campion’s adaptation of The Portrait of a Lady (1996). We chat about Campion’s feminist take on the Henry James novel, and how she plays with time and women of different eras and their life experiences to bring Isabel Archer to life. This is the first episode of the Jane Campion series and I think it’s a great example of some of her most underrated work. Send us your thoughts on the episode - have you read the novel ? Let us know by sending us a message on any of our social platforms or by email: [email protected] Follow Jamila here: Twitter: @ReadItPeep IG: @ReadItAndPeep Sources: Henry James, Not Too Literally - The New York Times (nytimes.com) The Portrait of a Lady (variety.com) https://lwlies.com/articles/the-portrait-of-a-lady-jane-campion/ https://www.sensesofcinema.com/2001/film-and-the-other-arts/lady_frame/ https://bostonphoenix.com/alt1/archive/movies/reviews/01-16-97/LADY_BAR.html OUTRO SONG: Miss World by Hole FILMS MENTIONED: Fanny and Alexander (Ingmar Bergman 1982) Heat (Michael Mann 1995) The Iron Claw (Sean Durkin 2023) Godzilla Minus One (Takashi Yamazaki 2023) Charade (Stanley Donen 1963) Breakfast at Tiffany’s (Blake Edwards 1961) Half Past Autumn: The Life and Works of GordonParks (Craig Laurence Rice 2000) Portrait of a Lady on Fire (Céline Sciamma 2020) The Piano (Jane Campion 1993) Dangerous Liaisons (Stephen Frears 1989) Sweet Smell of Success (Alexander Mackendrick 1957) Bright Star (Jane Campion 2009) A Room with a View (James Ivory 1985) The Age of Innocence (Martin Scorsese 1993) The Earrings of Madame De… (Max Ophuls 1953) The Heiress (William Wyler 1949) Gaslight (George Cukor 1944) My Brilliant Career (Gillian Armstrong 1979)

It’s bonus episode time. In today’s Special Features episode Felicia is joined once again by Geoff Thomas (listen to our episode on Ingmar Bergman’s The Silence) to discuss one of Luis Buñuel’s most political overt films, Diary of a Chambermaid (1964). We discuss Buñuel’s fascination and take down of the French bourgeoisie - and how he uses sexual repression as a tool to demonstrate the characters motivations. Send us your thoughts on the episode - what is your favourite Buñuel era? Let us know by sending us a message on any of our social platforms or by email: [email protected] Follow Geoff here: IG: @cinema_gnt Letterboxd: @gnthomas Website: https://cinemamemry.wordpress.com/ Sources: Diary Of A Chambermaid (1964) Movie Review from Eye for Film The Diary of a Chambermaid Blu-ray - Jeanne Moreau (dvdbeaver.com) Diary of a Chambermaid – Senses of Cinema Review: Diary of a Chambermaid - Slant Magazine OUTRO MUSIC: Rubber Ring by The Smiths FILMS MENTIONED: The Silence (Ingmar Bergman 1963) Fallen Leaves (Aki Kaurismäki 2023) Destry Rides Again (George Marshall 1939) The Yakuza Papers (George Marshall 1973) Belle du jour (Luis Buñuel 1968) The Milky Way (Luis Buñuel 1969) Discreet Charm of the Bourgeoisie (Luis Buñuel 1972) Phantom of Liberty (Luis Buñuel 1974) Diary of a Chambermaid (Jean Renoir 1946) The Exterminating Angel (Luis Buñuel 1962) Nazarin (Luis Buñuel 1959) Viridiana (Luis Buñuel 1961) Wuthering Heights (Luis Buñuel 1954) Susana (Luis Buñuel 1951) The Muse (Albert Brooks 1999) The Rules of the Game (Jean Renoir 1939) Funny Games (Michael Haneke 1997) Accident (Joseph Losey 1967) The Servant (Joseph Losey 1963)

Felicia is joined once again by José Roldan (listen to our episode on The Gleaners & I) to discuss Gordon Willis’ work on Woody Allen’s controversial but groundbreaking film, Zelig (1983). We chat about how Willis and team were able to succeed in making this film, and the blocking, lighting and camera techniques that were used to achieve its look. We also discuss how this story would be perceived in today’s world and why the subject matter doesn’t really hold up. This is our Gordon Willis closer, and I think an important one to study as it shows how important lighting really is to a film - specifically for a one needing to match with found footage. Send us your thoughts on the episode - how do you think this film reads in today’s society ? Let us know by sending us a message on any of our social platforms or by email: [email protected] Follow José here: IG: @channel.jose Tik Tok: @channel.jose Sources: Gordon Willis: An Annotated Webliography • Cinephilia & Beyond (cinephiliabeyond.org) The Willis Frame • Cinephilia & Beyond (cinephiliabeyond.org) HOW THE GRAPHIC ARTS FEATS IN 'ZELIG' WERE DONE - The New York Times (nytimes.com) FILM: 'ZELIG,' WOODY ALLEN'S STORY ABOUT A 'CHAMELEON MAN' - The New York Times (nytimes.com) OUTRO SONG: Doin' The Chameleon by Dick Hyman FILMS MENTIONED: The Gleaners and I (Agnès Varda 2001) Vortex (Gaspar Noé 2021) Jackie Brown (Quentin Tarantino 1997) Napoleon (Ridley Scott 2023) Fight Club (David Fincher Forrest Gump (Robert Zemeckis 1994) Take the Money and Run (Woody Allen 1969) Barbie (Greta Gerwig 2023) The Godfather (Francis Ford Coppola 1972) The Godfather Part II (Francis Ford Coppola 1974) Manhattan (Woody Allen 1979) Annie Hall (Woody Allen 1977) Eternal Sunshine of the Spotless Mind (Michel Gondry 2004) Land Without Bread (Luis Buñuel 1933) Klute (Alan J. Pakula 1971) All the President’s Men (Alan J. Pakula 1976) La jetée (Chris Marker 1962) Reds (Warren Beatty 1981) Interiors (Woody Allen 1978) Night and Fog (Alain Resnais 1956) Dead Men Don’t Wear Plaid (Carl Reiner 1982) The Purple Rose of Cairo (Woody Allen 1985)

Felicia is joined once again by Martin Kessler (listen to our episode on Cassavetes’ Opening Night) to discuss Gordon Willis’ photography that would shape the rest of 1970s American cinema, in Hal Ashby’s The Landlord (1970). We chat about Gordon Willis’ ability to light both darker and lighter skin tones within the same frame and ensure everyone is visible to the audience. Along with his portrayal of 1970s New York and how it shaped the way the decade would look on film. Send us your thoughts on the episode - what is your favourite Hal Ashby film? Let us know by sending us a message on any of our social platforms or by email: [email protected] Follow Martin here: Twitter: @MovieKessler Website: The Pink Smoke Sources: Hal Ashby's The Landlord: the classic film evicted from cinema history | Drama films | The Guardian The Landlord: Whose Dream Is It, Anyway? - Slant Magazine The Landlord movie review & film summary (1970) | Roger Ebert “It was a genius director and it was a genius actress and a genius script… It was a blessing” • Cinephilia & Beyond (cinephiliabeyond.org) TCM Comments on The Landlord (1970) (youtube.com) OUTRO SONG: Brand New Day by Al Kooper FILMS MENTIONED: Opening Night (JohnCassavettes 1977) Louie Bluie (Terry Zwigoff 1985) Ghost World (Terry Zwigoff 2001) Crumb (Terry Zwigoff 1994) Lethal Weapon 2 (Richard Donner 1989) Black Mask (Daniel Lee 1996) Fist of Legend (Gordon Chan 1994) Harold and Maude (Hal Ashby 1971) Being There (Hal Ashby 1979) The Last Detail (Hal Ashby 1973) Coming Home (Hal Ashby 1978) Ganja and Hess (Bill Gunn 1973) Personal Problems (Bill Gunn 1980) Losing Grounds (Kathleen Collins 1982) Annie Hall (Woody Allen 1977) Klute (Alan J. Pakula 1971) Space Jam (Joe Pytka 1996) An Officer and a Gentleman (Taylor Hackford 1982) Iron Eagle (Sidney J. Furie 1986) Story of a Three Day Pass (Melvin Van Peebles 1967) Guess Who’s Coming to Dinner (Stanley Kramer 1967) Green Book (Peter Farrelly 2018) Resident Evil (Paul W.S. Anderson 2002) Scott Pilgrim vs. The World (Edgar Wright 2010) 8 Million Ways to Die (Hal Ashby 1986) Bound for Glory (Hal Ashby 1976) Shampoo (Hal Ashby 1975) A Raisin in the Sun (Daniel Petrie 1961) Claudine (John Berry 1974) Sugar Hill (Leon Ichaso 1994) The Paper Chase (James Bridges 1973) Malice (Harold Becker 1993) Presumed Innocent (Alan J. Pakula 1990) Manhattan (Woody Allen 1979) Stardust Memories (Woody Allen 1980) Watermelon Man (Melvin Van Peebles 1970) My Geisha (Jack Cardiff 1962) Diary of a Mad Housewife (Frank Perry 1970) Love with the Proper Stranger (Robert Mulligan 1963) The Other (Robert Mulligan 1972) Same Time Next Year (Robert Mulligan 1978) Inside Daisy Clover (Robert Mulligan 1965) The Swimmer (Frank Perry 1968) David and Lisa (Frank Perry 1962) Mommie Dearest (Frank Perry 1978)

Felicia is joined by Ryan Ritter to chat about Gordon Willis’ dark imagery in Alan J. Pakula’s detective thriller in Klute (1971). We chat about how Gordon Willis uses the camera in service of the actors performance and gives them the space they require to explore their characters. Along with the darkness of the scenery and how that mirrors the dread that is slowly building for our lead protagonists. Send us your thoughts on the episode - what are your thoughts on the use of shadows in this film? Let us know by sending us a message on any of our social platforms or by email: [email protected] Follow Ryan here: Letterboxd: @ryanritter Twitter: @popculturehistorians IG: @crittical_analysisblog IG: @popculturehistorianspodcast Website: Crittical Analysis (crittical-analysis.com) Sources: Isabel Sandoval’s Top 10 | Current | The Criterion Collection Klute: Trying to See Her | Current | The Criterion Collection Klute at 50: a thriller less interested in a killer and more in character | Jane Fonda | The Guardian Nothing Is Wrong:  Notes on Costume in Klute (1971) – Offscreen "Oh, My Angel!": Why It's Called Klute - Film Cred (film-cred.com) ‘Klute’: Alan J. Pakula and the Lewis Brothers’ Thriller-Disguised Exploration of Human Interactions, Relationships and Psyche • Cinephilia & Beyond (cinephiliabeyond.org) OUTRO SONG: Bankman by Blerta FILMS MENTIONED: Priscilla (Sofia Coppola 2023) Swamp Thing (Wes Craven 1982) Batman and Robin (Joel Schumacher 1997) Romeo & Juliet (Franco Zeffirelli 1968) The Parallax View (Alan J. Pakula 1974) All the President’s Men (Alan J. Pakula 1976) Barry Lyndon (Stanley Kubrick 1975) Annie Hall (Woody Allen 1977) Manhattan (Woody Allen 1979) Jaws (Steven Spielberg 1975) All That Jazz (Bob Fosse 1979) Sorcerer (William Friedkin 1977) The Seven-Ups (Philip D'Antoni 1973) MASH (Robert Altman 1970) The Godfather (Francis Ford Coppola 1972) The Money Pit (Richard Benjamin 1986) The Conversation (Francis Ford Coppola Wait Until Dark (Terrence Young 1967) Funny Face (Richard Benjamin 1957) Mirage (Edward Dmytryk 1965) Body Double (Brian De Palma 1984) Rear Window (Alfred Hitchock 1954)

Felicia is joined by Bryan Loomis and Hannah Loomis to discuss Gordon Willis’ visual take on the Watergate scandal in Alan J. Pakula’s All the President’s Men (1976). We chat about how the camera mirrors the mundanity of office life, and how inconsequential these two reporters were until they broke this story. We also discuss how the natural lighting of a setting has an effect on the energy of the film. This is our Gordon Willis opener, and I think it’s a great example of why he was a master at truly understanding the material he was shooting, and using the camera to highlight the script and performances. Send us your thoughts on the episode - how well do you know the ? Let us know by sending us a message on any of our social platforms or by email: [email protected] Follow Bryan & Hannah here: What a Picture Podcast: https://anchor.fm/what-a-picture Sources: Photographing All the President’s Men - The American Society of Cinematographers (en-US) (theasc.com) ‘All the President’s Men’: Bob Woodward explains key scenes - Washington Post https://cinephiliabeyond.org/presidents-men-following-money-become-one-remarkable-american-films-date/ https://hollywoodsuite.ca/all-the-presidents-men/ https://www.washingtonpost.com/news/comic-riffs/wp/2016/04/09/as-all-the-presidents-men-turns-40-woodward-and-bernstein-share-their-favorite-shots-from-the-movie/ OUTRO SONG: Concerto for Two Trumpets in C Major by Vivaldi FILMS MENTIONED: Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles (Chantal Akerman 1976 Rashomon (Akira Kurosawa 1950) Before Sunrise (Richard Linklater 1995) Before Sunset (Richard Linklater 2004) Manhattan (Woody Allen 1979) Spotlight (Tom McCarthy 2015) 13 Going on 30 (Gary Winick 2004) The Shawshank Redemption (Frank Darabont 1994) The Color Purple (Steven Spielberg 1986) The Passion of Joan of Arc (Carl Theodor Dreyer 1928) Klute (Alan J. Pakula 1971) Rififi (Jules Dassin 1956) Le cercle rouge (Jean-Pierre Melville 1970) Le deuxième souffle (Jean-Pierre Melville 1966) Straight Time (Ulu Grosbard 1978) Bohemian Rhapsody (Bryan Singer 2018) Dick (Andrew Fleming 1999) The Godfather (Francis Ford Coppola 1972) Manhattan (Woody Allen 1979) The Parallax View (Alan J. Pakula 1974) The Money Pit (Richard Benjamin 1986) Mr. Blandings Builds His Dream House (H. C. Potter 1948) Raging Bull (Martin Scorsese 1980) Taxi Driver (Martin Scorsese 1976) Space Jam (Joe Pytka 1996) Stardust Memories (Woody Allen 1980) Anatomy of a Murder (Otto Preminger 1959) The Pelican Brief (Alan J. Pakula 1993) Seven Days in May (John Frankenheimer 1964) All The King’s Men (Robert Rossen 1949) The Best Man (Franklin J. Schaffner 1964) Ace in the Hole (Billy Wilder 1950) She Said (Maria Schrader 2022)

It’s bonus episode time. In today’s Special Features episode Felicia is joined once again by Vinny Tucceri (listen to our episode on Agnès Varda’s Cléo From 5 to 7) to discuss one of the 70s most underrated films about addiction, The Gambler (Karel Reisz 1974). We discuss the topic of addiction, how it comes in many forms, and the way James Caan’s layered performance allows the audience the both sympathize and feel disappointment for this character’s decisions. Send us your thoughts on the episode - what is your favourite James Caan role? Let us know by sending us a message on any of our social platforms or by email: [email protected] Follow Vinny here: Twitter: @vinnybutbetter Letterboxd: @vinnyboombots88 Sources: The Gambler: How the Original Showcases Addiction Without Glamorizing It (collider.com) Karel Reisz, "The Gambler" | Interviews | Roger Ebert OUTRO MUSIC: Symphony No. 1 in D by Gustav Mahler FILMS MENTIONED: Cléo from 5 to 7 (Agnès Varda 1962) Hot For June (Ralph Thomas 1964) A Very Curious Girl (Nelly Kaplan 1969) Marvin and Tige (Eric Weston 1983) 2001: A Space Odyssey (Stanley Kubrick 1968) Blade Runner (Ridley Scott 1982) The Swimmer (Frank Perry 1968) Mean Streets (Martin Scorsese 1973) California Split (Robert Altman 1974) The Pope of Greenwich Village (Stuart Rosenberg 1984) Saturday Night, Sunday Morning (Karel Reisz 1960) Morgan – A Suitable Case for Treatment (Karel Reisz 1966) Who’ll Stop the Rain (Karel Reisz 1978) Dog Day Afternoon (Sidney Lumet 1975) Mikey and Nicky (Elaine May 1976) The Friends of Eddie Coyle (Peter Yates 1973) Jingle All the Way (Brian Levant 1996) The Godfather (Franics Ford Coppola 1972) Reflections in a Golden Eye (John Huston 1967) Isadora (Karel Reisz 1968) Let it Ride (Joe Pytka 1989) Under the Volcano (John Huston 1984) Looking for Mr. Goodbar (Richard Brooks 1977) Atlantic City (Louis Malle 1980) Simon Killer (Antonio Campos 2012)

Felicia is once again joined by Ben Vargas (listen to our episode on Woman in the Dunes) to discuss Ingmar Bergman’s story of a priest's inner turmoil in Winter Light (1963). We chat about how timeless Bergman’s films are and how the subject matter of questioning one’s own faith in not only religion, but humanity and one’s own self is relatable to all audiences. Along with how the visual blocking compliments the character’s speeches as they unfold on screen. This marks the final film in the Bergman series and it has been such a pleasure revisiting these complex and important pieces of cinema. His filmography is so vast we barely scratched the surface, I promise we’ll see Bergman again soon. Send us your thoughts on the episode - which film is your favourite in the trilogy of faith? Let us know by sending us a message on any of our social platforms or by email: [email protected] Follow Ben here: IG: @macefffron Twitter: @bensower Twitter: @cinemashitshow Sources: Seth’s Top 10 | Current | The Criterion Collection OUTRO SONG: Song for a Winter’s Night by Gordon Lightfoot FILMS MENTIONED: Woman in the Dune (Hiroshi Teshigahara 1964) On The Silver Globe (Andrzej Zulawski 1988) Possession (Andrzej Zulawski 1983) 2001: A Space Odyssey (Stanley Kubrick 1968) All the Beauty and the Bloodshed (Laura Poitras 2022) Citizenfour (Laura Poitras 2014) Diary of a Country Priest (Robert Bresson 1951) No Country for Old Men (Joel & Ethan Coen 2007) Through a Glass Darkly (Ingmar Bergman 1961) The Silence (Ingmar Bergman 1963) Persona (Ingmar Bergman 1966) Repulsion (Roman Polanski 1965) Wild Strawberries (Ingmar Bergman 1957) The Virgin Spring (Ingmar Bergman 1960) The Last House of the Left (Wes Craven 1972) First Reformed (Paul Schrader 2018) Fanny and Alexander (Ingmar Bergman 1982) The Night of the Iguana (John Huston 1964) Fat City (John Huston 1972) The Devil, Probably (Robert Bresson 1977) The Last Temptation of Christ (Martin Scorsese 1988) Bringing Out the Dead (Martin Scorsese 1999) After Hours (Martin Scorsese 1985) Raging Bull (Martin Scorsese 1980) The King of Comedy (Martin Scorsese 1982)

Felicia is joined once again by Aaron Strand (listen to our first episode together on Billy Wilder’s Double Indemnity) to discuss Ingmar Bergman’s exploration of an aging man’s past lives, in Wild Strawberries (1957). We chat about how this film being a road movie keeps the momentum going and allows the audience to engage in all of Isak’s dream sequences. We also talk about how Bergman was a workaholic and how it affected his interpersonal relationships and how that is reflected in the lead character. Send us your thoughts on the episode - what do you think about the ‘pillow theory’? Let us know by sending us a message on any of our social platforms or by email: [email protected] Follow Aaron here: IG: @behindtheslatepod IG: @strandedonstage Sources: https://www.criterion.com/current/top-10-lists/341-alan-rudolphs-top-10 OUTRO SONG: Smultronstället by Björn Hallman FILMS MENTIONED: Double Indemnity (Billy Wilder 1944) Big Daddy (Dennis Dugan 1999) Persona (Ingmar Bergman 1966) Cries and Whispers (Ingmar Bergman 1972) The Virgin Spring (Ingmar Bergman 1960) The Seventh Seal (Ingmar Bergman 1957) Bergman’s Island (Marie Nyreröd 2004) Hour of the Wolf (Ingmar Bergman 1968) Amour (Michael Haneke 2012) Broken Flowers (Jim Jarmusch 2005) Tokyo Story (Yasujirō Ozu 1953) Cinema Paradiso (Giuseppe Tornatore 1988) The Swimmer (Frank Perry 1968) Up (Pete Docter, Bob Peterson 2009)

Felicia is joined by Jamila Brown to discuss Ingmar Bergman’s family epic that unfolds over four acts, Fanny and Alexander (1982). We chat about treatment of children within a family and how they’re given a level of independence until an outsider arrives. Along with how Bergman develops a cast of well rounded and three dimensional characters. We also discuss how this is a rare Bergman film with a male lead and how important it was that the story was told through the eyes of a young boy. Send us your thoughts on the episode - did you watch the televised or theatrical version? Let us know by sending us a message on any of our social platforms or by email: [email protected] Follow Jamila here: Twitter: @ReadItPeep Sources: Lili Horvát’s Top 10 | Current | The Criterion Collection Fanny and Alexander:Bergman’s Bildungsroman | Current | The Criterion Collection Fanny and Alexander:In the World of Childhood | Current | The Criterion Collection Family Affair: The Dinner Scene in Fanny and Alexander | Current | The Criterion Collection The Christmas Spirit: Gun Wållgren in Fanny and Alexander | Current | The Criterion Collection Fanny and Alexander: The enduring power of Ingmar Bergman’s masterpiece – The Irish Times OUTRO SONG: Sonata in E-flat Major for Flute Siciliano FILMS MENTIONED: The Magic Flute (Ingmar Bergman 1975) Persona (Ingmar Bergman 1966) Hour of the Wolf (Ingmar Bergman 1968) Cries and Whispers (Ingmar Bergman 1972) Boyhood (Richard Linklater 2014) The Seventh Seal (Ingmar Bergman 1957) Eyes Wide Shut (Stanley Kubrick 1999) The Double Life of Veronique (Krzysztof Kieślowski 1991) Hannah and Her Sisters (Woody Allen 1986) Petite Maman (Céline Sciamma 2021) Ponette (Jacques Doillon 1996) The Sacrifice (Andrei Tarkovsky 1986)

Felicia is joined by Geoff Thomas to discuss Ingmar Bergman’s exploration of women’s sexual autonomy, in The Silence (1963). We chat about the way Bergman tackles women’s sexuality and how these characters experience both a liberation and repression of their bodies. We also discuss the theme of loneliness found in every character on screen and how the hotel location reflects their isolation. This is the first film part of the Ingmar Bergman series, and I think it’s a great example of the way he writes women and why they were often the most interest characters in his films. Send us your thoughts on the episode - do you think this film is a comedy? Let us know by sending us a message on any of our social platforms or by email: [email protected] Follow Geoff here: IG: @cinema_gnt Letterboxd: @gnthomas Website: https://cinemamemry.wordpress.com/ Sources: Feature Film - Productions - Ingmar Bergman The Silence (1963) - Movie Review : Alternate Ending The Silence – Senses of Cinema The Silence (1963) | The Criterion Collection https://www.criterion.com/current/posts/3461-mirrors-of-bergman The Silence movie review & film summary (1963) | Roger Ebert Atom Egoyan’s Top 10 | Current | The Criterion Collection The Silence Blu-ray - Ingrid Thulin (dvdbeaver.com) OUTRO SONG: Enjoy the Silence by Depeche Mode FILMS MENTIONED: Monty Python and the Holy Grail (Terry Jones & Terry Gilliam 1975) The Seventh Seal (Ingmar Bergman 1957) Citizen Kane (Orson Welles 1941) 2001: A Space Odyssey (Stanley Kubrick 1968) RoboCop (Paul Verhoeven 1987) Scenes From a Marriage (Ingmar Bergman 1974) Autumn Sonata (Ingmar Bergman 1978) Wild Strawberries (Ingmar Bergman 1957) Persona (Ingmar Bergman 1966) Through a Glass Darkly (Ingmar Bergman 1961) Winter Light (Ingmar Bergman 1963) Cries and Whispers (Ingmar Bergman 1972) Fanny and Alexander (Ingmar Bergman 1982) Trouble Every Day (Claire Denis 2001) The Virgin Spring (Ingmar Bergman 1960) The Grand Budapest Hotel (Wes Anderson 2014) Bergman Island (Mia Hansen-Løve 2021) The Shining (Stanley Kubrick 1980) The Park (Damien Manivel 2016) What Ever Happened to Baby Jane (Robert Aldrich 1962) Repulsion (Roman Polanski 1965) The Piano Teacher (Michael Haneke 2001) Splendor in the Grass (Elia Kazan 1961)

It’s bonus episode time. In today’s Special Features episode Felicia is joined by Nick Sheist to discuss how John Carpenter made a killer car come alive in, Christine (1983). We discuss Carpenter’s stamp on King’s horror novel, and how the use of practical effects made is a film that has stood the test of time. Nothing feels dated in this film because Carpenter was able to tell a simple story even though the concept is out of the ordinary. Send us your thoughts on the episode - what is your favourite Stephen King adaptation? Let us know by sending us a message on any of our social platforms or by email: [email protected] Follow Nick here: IG: @BadMoviesWeLuv Twitter:@BadMoviesWeLuv Twitter: @SheistPodcast Twitter: @NickSheisty Sources: Christine review – Stephen King’s evil car still has a one-track mind | Film | The Guardian https://www.joblo.com/john-carpenter-was-surprised-by-christines-success/ OUTRO MUSIC: Christine by Siouxsie and the Banshees FILMS MENTIONED: Gattaca (Andrew Niccol 1997) Jaws (Steven Spielberg 1975) The Omen (Richard Donner 1976) Carrie (Brian De Palma 1976) Rosemary’s Baby (Roman Polanski 1968) Firestarter (Mark L. Lester 1984) Halloween (John Carpenter 1978) The Thing (John Carpenter 1982) They Live (John Carpenter 1988) Transformers (Michael Bay 2007) Robocop (Paul Verhoeven 1987) Halloween (David Gordon Green 2018) Vampires (John Carpenter 1998) Ghost of Mars (John Carpenter 2001) The Car (Elliot Silverstein 1977) Duel (Steven Spielberg 1971) Titane (Julia Ducournau 2021) Raw (Julia Ducournau 2016) The Collector (William Wyler 1965)

Felicia is joined by Darragh McGrath to discuss John Cassavetes tale of a troubled romance, in Minnie and Moskowitz (1971). We chat about social constructs, and the way Cassavetes’ characters often fall outside of what society deems the norm - how he sympathizes with them, and doesn’t judge them for their honesty. We also discuss what makes a film a romantic comedy, and how this one defies the mold set by Hollywood. We have a lot of fun in this episode making fun of each others quirks, not unlike Minnie and Moskowitz in this film. This is the fourth and final episode part of the John Cassavetes series - it was such a joy to revisit all of these films and discuss them with my four amazing guests. My love and awe for Cassavetes career and drive, grows more and more every day. Send us your thoughts on the episode - do you think this film is a comedy? Let us know by sending us a message on any of our social platforms or by email: [email protected] Follow Darragh here: IG: @dreamworlds_film Letterboxd: @darraghmcg Sources: Minnie and Moskowitz movie review (1972) | Roger Ebert Minnie and Moskowitz – Senses of Cinema Minnie and Moskowitz (1971) - IMDb Close-Up on John Cassavetes's "Minnie and Moskowitz" on Notebook | MUBI Seymour Cassel on John Cassavetes OUTRO SONG: What’s Yr Take on Cassavetes - Le Tigre FILMS MENTIONED: Ace In The Hole (Billy Wilder 1950) Straight Time (Ulu Grosbard 1978) Faces (John Cassavetes 1968) A Woman Under the Influence (John Cassavetes 1974) Easy Rider (Dennis Hopper 1969) The Swimmer (Frank Perry 1968) Marty (Delbert Mann 1955) Gunfight at the O.K. Corral (John Sturges 1957) A Child is Waiting (John Cassavetes 1963) Rosemary’s Baby (Roman Polanski 1968) The Fury (Brian De Palma 1978) Shadows (John Cassavetes 1959) Opening Night (John Cassavetes 1977) Husbands (John Cassavetes 1970) The Killing of a Chinese Bookie (John Cassavetes 1976) Mickey and Nicky (Elaine May 1976) Frankie and Johnny (Garry Marshall 1991) Moonstruck (Norman Jewison 1988) Sid & Nancy (Alex Cox 1986) Adam and Paul (Lenny Abrahamson 2004) Loulou (Maurice Pialat 1980) Sid and Nancy (Alex Cox 1986) Scarecrow (Jerry Schatzberg 1973) Possession (Andrzej Żuławski 1981) Serpico (Sidney Lumet 1973)

Felicia is joined by Martin Kessler to discuss John Cassavetes take on an actress battling her inner demons in, Opening Night (1977). We chat about Cassavetes interest in actors both on and off screen, and how his relationship with repertoire of actors adds another layer of realism to the story. We discuss the elements of the supernatural and whether Myrtle is truly being haunted by the ghost of the dead fan or did she never exist to begin with. Send us your thoughts on the episode - do you think this film could be interpreted as a ghost story? Let us know by sending us a message on any of our social platforms or by email: [email protected] Follow Martin here: Twitter: @MovieKessler Website: The Pink Smoke Sources: https://www.imdb.com/title/tt0079672/ https://www.criterion.com/current/top-10-lists/332-barry-levinsons-top-10 https://www.criterion.com/current/posts/341-opening-night-the-plays-the-thing https://www.criterion.com/current/posts/5876-john-cassavetes-underrated-surrealist https://www.rogerebert.com/interviews/true-to-life-an-interview-with-gena-rowlands https://www.rogerebert.com/reviews/opening-night-1991 https://www.theguardian.com/stage/2021/jan/19/the-stage-on-screen-opening-night-john-cassavetes-gena-rowlands https://www.esquire.com/entertainment/movies/a23693608/opening-night-movie-review/ https://unimelbfilmsoc.org/2022/12/07/a-retrospective-review-opening-night-1977/ https://www.sensesofcinema.com/2007/cteq/opening-night/ OUTRO SONG: Movies by Weyes Blood FILMS MENTIONED: THX-1138 (George Lucas 1971) The Killing of a Chinese Bookie (John Cassavetes 1976) A Woman Under the Influence (John Cassavetes 1974) Minnie and Moskowitz (John Cassavetes 1971) Barbie (Greta Gerwig 2023) France Ha (Noah Baumbach 2013) Peter Pan & Wendy (David Lowery 2023) Pete the Dragon (David Lowery 2016) Drive (Nicolas Winding Refn 2011) Only God Forgives (Nicolas Winding Refn 2013) The Matrix Resurrections (Lana Wachowski 2021) The Exorcist (William Friedkin 1973) The Exorcist III (William Peter Blatty 1990) Guilty By Suspicion ( Irwin Winkler 1991) Dangerous Game (Abel Ferrara 1993) Bad Lieutenant (Abel Ferrara 1992) Mulholland Drive (David Lynch 2001) Fight Club (David Fincher 1999) Rosemary’s Baby (Roman Polanski 1968) The Fury (Brian De Palma 1978) Tempest (Paul Mazursky 1982) Images (Robert Altman 1972) Gloria (John Cassavetes 1980) Dodes'ka-den (Akira Kurosawa 1970) Dersu Uzala (Akira Kurosawa 1975) Kagemusha (Akira Kurosawa 1980) Ran (Akira Kurosawa 1985) Dreams (Akira Kursosawa 1990) Topsy Turvy (Mike Leigh 1999) The Mighty (Peter Chelsom 1998) Beware of a Holy Whore (Rainer Werner Fassbinder 1971) Real Life (Albert Brooks 1979) Living In Oblivion (Tom DiCillo 1995)

Felicia is joined by Vanya Garraway to chat about John Cassavetes’ neo-noir classic, The Killing of a Chinese Bookie (1976). We chat about the differences between the director’s and theatrical cut, and how audiences are often not ready for certain films and they require time to age to be appreciated. We also chat about Ben Gazzara’s performance as Cosmo, and the dynamic performance he gave as the gambling addict, and strip club owner Cosmo. Along with how static the the camera is, as it watches the characters, and how the handheld camera comes into play during the action sequences. Cassavetes often made films about the home and the people in it, this was his first foray into a crime film and there’s a reason why it’s one of his most well known pictures. Send us your thoughts on the episode - would you go to a show as the Crazy Horse West? Let us know by sending us a message on any of our social platforms or by email: [email protected] Follow Vanya here: IG: @nostalgiaphile IG: @paidinsweat (film program) Twitter: @nostalgiaphile Twitter: @paidinsweat (film program) Sources: https://www.criterion.com/current/posts/577-the-killing-of-a-chinese-bookie-the-raw-and-the-cooked The Killing of a Chinese Bookie (1976) - IMDb https://cinephiliabeyond.org/killing-of-a-chinese-bookie/ https://people.bu.edu/rcarney/cassfilms/bookie.shtml https://aquariumdrunkard.com/2022/01/13/videodrome-the-killing-of-a-chinese-bookie/# https://www.brightwalldarkroom.com/2020/02/28/killing-of-a-chinese-bookie-1976/ https://www.youtube.com/watch?v=0faYGa38gIQ The Killing of a Chinese Bookie Blu-ray - Ben Gazzara (dvdbeaver.com) https://johncassavetes.tumblr.com/tagged/the+killing+of+a+chinese+bookie I Can’t Give You Anything But Love by Billie Holiday OUTRO SONG: I Can’t Give You Anything But Love by Billie Holiday FILMS MENTIONED: Deep Cover (Bill Duke 1992) Bull Durham (Ron Shelton 1988) Breaking Away (Peter Yates 1979) Husbands (John Cassavetes 1970) Minnie and Moskowitz (John Cassavetes 1971) A Woman Under the Influence (John Cassavetes 1974) Thief (Michael Mann 1981) Hustlers (Lorene Scafaria 2019) Burlesque (Steve Antin 2010) 8 Million Ways to Die (Hal Ashby 1986) Flamingo Road (Michael Curtiz 1949)