Felicia is joined by Weird Alice to discuss Brian De Palma’s shock rock opera, Phantom of the Paradise (1974). We chat about the growing cult status of the film, and how De Palma’s films were often underappreciated at the time of their release, and are now seen as masterpieces. We gush about Paul Williams songs and how memorable and grandiose they are, along with how De Palma was able to put his own unique spin on the story of the Phantom. This is the final episode in our Brian De Palma month, he will make future appearances on the show because we have so many more of his films to cover, but I hope you enjoyed this month and thanks for following along! Send us your thoughts on the episode - who is your favourite character? Do you have a favourite song? Let us know by sending us a message on any of our social platforms or by email: [email protected] Follow Weird Alice here: IG: @watchwithweird IG: @dragmetothemovies (Film Series @ Paradise Theatre) IG: @sleazefactory (Film Series @ Paradise Theatre) IG: @evilwomeninparadise (Film Series @ Paradise Theatre) Twitter: @dragmetothemovies (Film Series @ Paradise Theatre) Website: watchwithweird.tv Sources: PHANTOM OF THE PARADISE and the Making of a True Original - Nerdist Pulling Focus: Phantom of the Paradise (1974) – Taste of Cinema – Movie Reviews and Classic Movie Lists The Swan Archives - Production Phantom of the Paradise Blu-ray - Paul Williams (dvdbeaver.com) Faust - Paul Williams (Phantom of the Paradise) Edgar Wright on PHANTOM OF THE PARADISE OUTRO SONG: Faust by Paul Williams FILMS MENTIONED: Body Double (Brian De Palma 1984) Pee-Wee’s Big Adventure (Tim Burton 1985) Obsession (Brian De Palma 1976) Scarface (Brian De Palma 1983) Snake Eyes (Brian De Palma 1998) Malignant (James Wan 2021) Touch of Evil (Orson Welles 1958) Dressed to Kill (Brian De Palma 1980) Sisters (Brian De Palma 1972) Carrie (Brian De Palma 1976) Raising Cain (Brian De Palma 1992) Carlito’s Way (Brian De Palma 1993) Blow Out (Brian De Palma 1981) Mission Impossible (Brian De Palma 1996) Twilight Zone: The Movie (John Landis 1983) The Black Dahlia (Brian De Palma 2006) The Fury (Brian De Palma 1978) The Wedding Party (Brian De Palma 1969) Hi, Mom! (Brian De Palma 1970) Psycho (Alfred Hitchcock 1960) TerrorVision (Ted Nicolaou 1986) The Cabinet of Dr. Caligari (Robert Wiene 1920) The Panic in Needle Park (Jerry Schatzberg 1971) Possession (Andrzej Żuławski 1981) Rocky Horror Picture Show (Jim Sharman 1975) Voyage of the Rock Aliens (James Fargo 1984) StageFright (Michele Soavi 1987) Alucarda (Juan López Moctezuma 1977) The Blood on Satan’s Claw (Piers Haggard 1971) The Paperboy (Douglas Jackson 1994)

Felicia is joined by Greg Kleinschmidt to discuss Brian De Palma’s tale of a struggling actor who witnessed a murder from afar, in Body Double (1984). We chat about De Palma’s fascination who characters who spy on others and how easy it is for them to become embroiled in a murder case. We also talk about the visual tricks De Palma uses to lead the audience astray and always keep them guessing. Body Double is my favourite De Palma, it’s a film that hits every single button for me, from the film within a film, to the Frankie Goes to Hollywood music video, and a 360 degree makeout scene that has yet to be rivalled. This film is De Palma’s true essence. Send us your thoughts on the episode - what did you think of the films within the film? Let us know by sending us a message on any of our social platforms or by email: [email protected] Follow Greg here: IG: @arroyofilmclub IG: @sceneandheardpod IG: @gkleinschmidtWebsite: sceneandheard.com Scene and Heard on Spotify Scene and Heard on Apple Podcasts Sources: Body Double movie review & film summary (1984) | Roger Ebert Body Double (1984) - IMDb Telescope by Pino Donaggio (Body Double Soundtrack) Brian De Palma’s ‘Body Double’: A Hitchcockian Thriller Executed in Completely Original Style • Cinephilia & Beyond (cinephiliabeyond.org) Body Double (1984) Film Analysis. Brian DePalma’s 1984 film Body Double… | by riverdaleonfilm | Medium Pulling Focus: Body Double (1984) – Taste of Cinema – Movie Reviews and Classic Movie Lists OUTRO SONG: Telescope by Pino Donaggio FILMS MENTIONED: The Lost Weekend (Billy Wilder 1945) Trouble Every Day (Claire Denis 2001) In The Heat of the Night (Norman Jewison 1967) Sátántangó (Béla Tarr 1994) Fiddler on the Roof (Norman Jewison 1971) Body Heat (Lawrence Kasdan 1981) Blow Out (Brian De Palma 1981) Scarface (Brian De Palma 1983) Dressed to Kill (Brian De Palma 1980) Fright Night (Tom Holland 1985) Fright Night (Craig Gillespie 2011) Frenzy (Alfred Hitchcock 1972) The Untouchables (Brian De Palma 1987) Mission Impossible (Brian De Palma 1996) Greetings (Brian De Palma 1968) Hi, Mom! (Brian De Palma 1970) Phantom of the Paradise (Brian De Palma 1974) Carrie (Brian De Palma 1976) Vertigo (Alfred Hitchcock 1958) Psycho (Alfred Hitchcock 1960) Ghost Story (John Irvin 1981) Reservoir Dogs (Quentin Tarantino 1992) Sisters (Brian De Palma 1972) Rear Window (Alfred Hitchcock 1954) The Prowler (Joseph Losey 1951) The Servant (Joseph Losey 1963)

Felicia is joined by Matt Curione, to discuss Brian De Palma’s take on political corruption and surveillance, in Blow Out (1981). We chat about De Palma’s use of split screen to give the audience multiple layers of information at once, through his unique style of visual storytelling. Along with using a character who works as a sound recordist, to act as the films detective. Blow Out was a box office bomb upon its release, and has since been lauded as one of the greatest films of all time. Just goes to show you how his artistry has stood the test of time. Send us your thoughts on the episode - what did you think of the ending? Let us know by sending us a message on any of our social platforms or by email: [email protected] Follow Matt here: Editor-At-Large: Film Talk Society Twitter: @TheRealMattC Twitter: @MonstersDiePod Twitter: @FilmTalkSoc IG: @TheRealMattC Sources: Blow Out: Portrait of the Artist as a Young Gadgeteer | Current | The Criterion Collection Blow Out movie review & film summary (1981) | Roger Ebert Blow Out at 40: Brian De Palma’s ingenious thriller remains his greatest | Brian de Palma | The Guardian Brian De Palma’s ‘Blow Out’ is one of the finest films about the process of filmmaking • Cinephilia & Beyond (cinephiliabeyond.org) Blow Out: American Scream | Current | The Criterion Collection Smooth Talk: A Conversation with Steadicam Inventor Garrett Brown | Current | The Criterion Collection http://www.dvdbeaver.com/film3/blu-ray_reviews53/blow_out_blu-ray.htm Blow Out (1981) by Brian De Palma (cinemaclock.com) Francis Ford Coppola 'The Conversation' Movie Facts | Mental Floss OUTRO SONG: Blow Out by Pino Donaggio FILMS MENTIONED: Mad Love (Karl Freund 1935) The Texas Chainsaw Massacre (Tobe Hooper 1974) Evil Dead (Sam Raimi 1981) Mission Impossible (Brian De Palma 1996) Carrie (Brian De Palma 1976) Hi, Mom! (Brian De Palma 1970) Greetings (Brian De Palma 1968) Cruising (William Friedkin 1980) Grease (Randal Kleiser 1978) Bound For Glory (Hal Ashby 1976) Pulp Fiction (Quentin Tarantino 1994) Star Wars (George Lucas 1977) Peeping Tom (Michael Powell 1960) Rear Window (Alfred Hitchcock 1954) Terms of Endearment (James L. Brooks 1983) Ricochet (Russell Mulcahy 1991) Phantom of the Paradise (Brian De Palma 1974) Rocky (John G. Avildsen 1976) RoboCop (Paul Verhoeven 1987) Psycho II (Richard Franklin 1983) Psycho III (Anthony Perkins 1986) Body Double (Brian De Palma 1984) Haunting in Venice (Kenneth Branagh 2023) Cape Fear (Martin Scorsese 1991) Jaws (Steven Spielberg 1975) The Shining (Stanley Kubrick 1980) Scarface (Brian De Palma 1983) Nightmare on Elm Street 3: Dream Warriors (Charles Russell 1987) The Conversation (Francis Ford Coppola 1974) Videodrome (David Cronenberg 1983)

Felicia is joined by Eugina Gelbelman to discuss Brian De Palma’s iconic and shocking Dressed To Kill (1980). They chat about De Palma’s ability to elevate a B-Grade thriller to A-Grade material through his master craftmanship. His use of split screen and split diopter, and dialogue free scenes to show and not tell the audience the characters movements. They gush about De Palma being one of their all time favourite directors (Felicia’s top favourite director? Maybe, probably!), and how deliberately frames each scene, and how no one is able to pace a story like him. Send us your thoughts on the episode - how do you feel about the comparisons to Hitchcock’s Psycho? Let us know by sending us a message on any of our social platforms or by email: [email protected] Follow Eugina here: IG: @euginareviews LB: @sunnyrasputin Sources: https://www.newyorker.com/culture/richard-brody/the-brian-de-palma-conundrum https://www.cultprojections.com/directorschair/2013/3/27/brian-de-palma https://www.nytimes.com/2013/08/26/movies/brian-de-palma-deconstructs-sequences-in-his-films.html https://www.criterion.com/current/posts/3691-dressed-to-kill-the-power-of-two https://www.criterion.com/current/posts/3696-de-palma-and-baumbach-dream-team https://www.rogerebert.com/reviews/dressed-to-kill-1980 https://bandsaboutmovies.com/2023/06/22/the-films-of-brian-de-palma-dressed-to-kill-1980/ (62) Quentin Tarantino interview - Brian De Palmer's Dressed to Kill review - Video Archives Podcast - YouTube http://www.dvdbeaver.com/film3/blu-ray_reviews54/dressed_to_kill_blu-ray.htm https://film-grab.com/2013/10/18/dressed-to-kill/ OUTRO SONG: The Shower by Pino Donaggio FILMS MENTIONED: Dangerous Games (Abel Ferrara 1993) Night Moves (Arthur Penn 1975) Once Upon a Time in Hollywood (Quentin Tarantino 2019) Cruising (William Friedkin 1980) Body Double (Brian De Palma 1984) Psycho (Alfred Hitchcock 1960) Belle du jour (Luis Buñuel 1967) Breakfast on Pluto (Neil Jordan 2005) Irreversible (Gaspar Noé 2002) Hannah and her Sisters (Woody Allen 19860 Carrie (Brian De Palma 1976) Scarface (Brian De Palma 1983) Repulsion (Roman Polanski 1965) The Naked Kiss (Samuel Fuller 1964)

Bonus episode alert! In today’s Special Features episode Felicia is joined by Seth Vargas (check out our previous episode on Le Bonheur), and Ben Vargas to discuss one of the most gripping desert films, Hiroshi Teshigahara’s Woman in the Dunes (1964). They chat about the how the sand engulfs the characters and the screen, how the score highlights the horrors they are facing, and the concept of eroticism as it relates to loneliness and desperation. This was a first watch for Felicia and spoilers it was one of the best films she has ever seen! Send us your thoughts on the episode - what are your thoughts on the characters decisions in the final scenes? 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 Follow Seth here: IG: @moviefriendspodcast Twitter: @moviefriendspod Sources: https://www.criterion.com/current/top-10-lists/377-isabel-sandovals-top-10 Head in the sand: the ending of Woman of the Dunes | Sight and Sound (bfi.org.uk) Midnight Eye review: Woman in the Dunes (Suna no Onna, 1964, Hiroshi TESHIGAHARA) https://www.rogerebert.com/reviews/great-movie-woman-in-the-dunes-1964 Woman in the Dunes Blu-ray - Kyôko Kishida (dvdbeaver.com) https://screenmusings.org/movie/blu-ray/Woman-in-the-Dunes/pages/Woman-in-the-Dunes-083.htmOUTRO MUSIC by Tôru Takemitsu FILMS MENTIONED: The NeverEnding Story (Wolfgang Petersen 1984) The Goonies (Richard Donner 1985) Bloodsport (Newt Arnold 1988) Le bonheur (Agnès Varda 1965) Bottoms (Emma Seligman 2023) Holy Mountain (Alejandro Jodorowsky 1973) G.I. Joe: The Movie (Don Jurwich 1987) Shiva Baby (Emma Seligman 2021) Faces Places (Agnès Vara & J.R. 2017) Bacurau (Juliano Dornelles, Kleber Mendonça Filho 2019) Police Story (Jackie Chan, Chi-Hwa Chen 1985) A Man Escaped (Robert Bresson 1957) Zabriskie Point (Michelangelo Antonioni 1970) Workingman’s Death (Michael Glawogger 2005) Straw Dogs (Sam Peckinpah 1971) Deliverance (John Boorman 1972) Misery (Rob Reiner 1990) Wages of Fear (Henri-Georges Cluzot 1953) Who’s Afraid of Virginia Woolf (Mike Nichols 1966) Eyes Wide Shut (Stanley Kubrick 1999) The Mask (Chuck Russell 1994) Possessed (Curtis Bernhardt 1947) Leave Her to Heaven (John M. Stahl 1945) Angel Face (Otto Preminger 1952) Sunset Boulevard (Billy Wilder 1950)

Felicia is joined by Rolla Tahir to discuss Robby Müller’s vision of Elvis’ Memphis in the 80’s, in Jim Jarmusch’s Mystery Train (1989). We chat about Müller’s respect for each character’s story arc, the way the camera follows them on their journeys, and the colours he highlights to differentiate them. Mystery Train is the final film of my Robby Müller month in focus, I have been so lucky to have five passionate film lovers on to chat about what his work means to them. I loved revisiting (or watching for the first time - 24 Hour Party People), these films and discovering new things about what makes them great. 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 Rolla here: IG: @smoking.apples IG: @torontoarabfilm Website: www.smokingapples.ca Sources: Remembering Robby Müller, NSC, BVK - The American Society of Cinematographers (en-US) (theasc.com) Celebrating Robby Müller, Who Created Look of Indie Film Classics - The New York Times (nytimes.com) Mystery Train Blu-ray Jim Jarmusch (dvdbeaver.com) How Mystery Train Dissects Elvis’ Legacy While Barely Showing Him Onscreen (collider.com) Watch: 23-Minute Masterclass With Famed Cinematographer Robby Müller – IndieWire Remembering Cinematographer Robby Müller with These Eight Great Scenes - Film Independent Christophe Honoré’s Top 10 | Current | The Criterion Collection Hooks, B. (2015). Reel to real: Race, sex and class at the movies. Routledge. OUTRO SONG: Tuesday Night in Memphis by John Lurie FILMS MENTIONED: Permanent Vacation (Jim Jarmusch 1980) Coffee and Cigarettes (Jim Jarmusch 2003) Paterson (Jim Jarmusch 2016) Down By Law (Jim Jarmusch 1986) 24 Hour Party People (Michael Winterbottom 2002) Paris, Texas (Wim Wenders 1984) Honeysuckle Rose (Jerry Schatzberg 1980) Ariel (Aki Kaurismäki 1988) Drifting Clouds (Aki Kaurismäki 1996) You, the Living (Roy Andersson 2016)

Felicia is joined by Joe Gantner to discuss Robby Müller’s vision of the underground crime scene in LA, in William Friedkin’s To Live and Die in LA (1985). We get right into why this is one of the sexiest crime films of the 80s, and Müller’s use of red and green throughout which set the time of the story. We also gush about William Petersen’s ass acting, and how no one will ever be able to live up to such a brave performance. Send us your thoughts on the episode - what are your thoughts on the counterfeit scenes? Do you like Wang Chungs soundtrack? Let us know by sending us a message on any of our social platforms or by email: [email protected] Follow Joey here: IG: @outofthepodcast IG: @warmcoat Sources: To Live and Die in L.A. movie review (1985) | Roger Ebert Life Authentic | To Live and Die in L.A. (1985) - Bright Wall/Dark Room (brightwalldarkroom.com) The Film That Returned William Friedkin to Critical Acclaim | Vanity Fair Robby Muller a muse to Wenders, Jarmusch, Friedkin - Variety Celebrating Robby Müller, Who Created Look of Indie Film Classics - The New York Times (nytimes.com) Robby Müller obituary: a king of the quizzical image | Sight & Sound | BFI To Live and Die in L.A. Blu-ray - Willem Dafoe (dvdbeaver.com)Eddie and Ben Friday Night Neo-Noir: To Live and Die in L.A. (1985) intro 20210716 Outro music: To Live and Die in La by Wang Chung FILMS MENTIONED: Down By Law (Jim Jarmusch 1986) Thief (Michael Mann 1981) Manhunter (Michael Mann 1986) Repo Man (Alex Cox 1984) Gleaming the Cube (Graeme Clifford 1989) The Exorcist (William Friedkin 1973) The French Connection (William Friedkin 1971) Sorcerer (William Friedkin 1977) Paris, Texas (Wim Wenders 1984) Touch of Evil (Orson Welles 1958) Streets of Fire (Walter Hill 1984) The Warriors (Walter Hill 1979) 48 Hrs. (Walter Hill 1982) Bullitt (Peter Yates 1968) The Getaway (Sam Peckinpah 1972) The Driver (Walter Hill 1978) Dead Man (Jim Jarmusch 1995) The Yakuza (Sydney Pollack 1974) Hardcore (Paul Schrader 1979) Jade (William Friedkin 1995) Miracle Mile Steve De Jarnatt 1989)

Felicia is joined by Perry Jackson to discuss Robby Müller’s take on the Manchester music scene of the 70s and 80s, in Michael Winterbottom’s 24 Hour Party People (2002) We chat about the use of digital in this film and it’s tele-documentary feel. Along with Müller’s ability to create a chaotic environment with the camera to match the tone of the music in focus. We’re happy to share one of Müller’s later works, and show the diversity of his body of work. Send us your thoughts on the episode - what are some of your favourite bands featured in the film? Let us know by sending us a message on any of our social platforms or by email: [email protected] Follow Perry here: IG: @prryjcksnTwitter: @prryjcksnLetterboxd: @prryjcksn Sources: The Quietus | Film | Film Features | Modern Masterpiece: 20 Years Of 24 Hour Party People 20 years of '24 Hour Party People': Frenetic DIY filmmaking (faroutmagazine.co.uk) 24 Hour Party People | Sight & Sound article (factoryrecords.org) The 10 greatest scenes by the cinematographer Robby Müller (faroutmagazine.co.uk) 24 Hour Party People – [FILMGRAB] (film-grab.com) https://www.dvdexotica.com/2016/03/better-to-import-24-hour-party-people.html https://film-grab.com/2013/07/31/24-hour-party-people/# FILMS MENTIONED: Paris, Texas (Wim Wenders 1984) The American Friend (Wim Wenders 1977) Repo Man (Alex Cox 1984) To Live and Die in LA (William Friedkin 1985) Mystery Train (Jim Jarmusch 1989) Coffee & Cigarettes (Jim Jarmusch 2003) Ghost Dog: The Way of the Samurai (Jim Jarmusch 1999) Greed (Michael Winterbottom 2019) The Trip to Greece (Michael Winterbottom 2020) Birdy (Alan Parker 1984) Class of 1984 (Mark L. Lester 1982) Collateral (Michael Mann 2004) The Gleaners & I (Agnès Varda 2000) 28 Days Later (Danny Boyle 2003) Mission Impossible 3 (J.J. Abrams 2006) Infernal Affairs (Andrew Lau and Alan Mak 2002) Men In Black 2 (Barry Sonnenfeld 2002) Mad Dog and Glory (John McNaughton 1993) Saint Jack (Peter Bogdanovich 1979) Control (Anton Corbijn 2007) Velvet Goldmine (Todd Hayne 1998)

It’s a bonus episode!In this second edition of Special Features, Felicia is joined by Darragh McGrath, who you might recognize as the show’s very first guest (Ace In The Hole). They discuss the way in which Ulu Grosbard allows the actors performances to lead the story, but following them with static camera movements, and never forcing the audience into a specific emotion. Felicia also mentions how she first managed to come across this film, and Darragh may or may not be offended by it. I hope you enjoy this Special Features episode, it is a film that means a lot to they both. Send us your thoughts on the episode - had you heard of Straight Time before? What are your thoughts on Max Dembo and his real motivations? Let us know by sending us a message on any of our social platforms or by email: [email protected] Follow Darragh here: Letterboxd: @DarraghMcG IG: @Dreamworlds_films Sources: 'Straight Time' a Film of Grim Wit - The New York Times (nytimes.com) https://andersonvision.com/straight-time-1978-warner-archive-bluray-review/ Straight Time - Dustin Hoffman (dvdbeaver.com) https://filmfanatic.org/?p=49 (53) TCM Comments on Straight Time (1978) - YouTube FILMS MENTIONED: The Catered Affair (Richard Brooks 1956) The Sword of Doom (Kihachi Okamoto 1966) Le Bonheur (Agnès Varda 1965) Jackie Brown (Quentin Tarantino 1997) Reservoir Dogs (Quentin Tarantino 1992) Midnight Cowboy (John Schlesinger 1969) Badlands (Terrence Malick 1973) The Killing of a Chinese Bookie (John Cassavetes 1976) The Friends of Eddie Coyle (Peter Yates 1973) Good Time (Benny Safdie, Josh Safdie 2017) The Incident (Larry Pearce 1967) The Bad Sleep Well (Akira Kurosawa 1970) Mikey and Nicky (Elaine May 1976) Take the Money and Run (Woody Allen 1969)

Felicia is joined by Brendan Ross to discuss Robby Müller’s seminal work with Wim Wenders, their American film Paris, Texas (1984). We dive right into Müller’s perspective of vast American landscapes as an outsider. The way he frames his shots in order to allow the audience’s eyes to wander and discover new elements on each viewing. Paris, Texas is a film that had a profound effect on me as a young film lover, and allowed me to discover the importance of a cinematographer. Send us your thoughts on the episode - what are some of your favourite shots in the film? Let us know by sending us a message on any of our social platforms or by email: [email protected] Follow Brendan here: IG: @neondreamscinema Twitter: @neondreamsto Sources: https://theasc.com/articles/robby-muller-paris-texas https://www.premiumbeat.com/blog/cinematography-paris-texas/ https://www.anothermag.com/art-photography/11785/polaroids-by-robby-mller-paris-texas-sunlight-coming-through-the-clouds-arles https://www.hollywoodreporter.com/movies/movie-news/wim-wenders-pays-tribute-paris-texas-cinematographer-robby-muller-1125126/ Paris, Texas Blu-ray - Nastassja Kinski (dvdbeaver.com) https://www.tasteofcinema.com/2016/8-reasons-why-paris-texas-is-the-best-road-movie-ever/ https://cinefan.hkiff.org.hk/en/programme/robby-m%C3%BCller-let%E2%80%99s-make-light Paris, Texas – [FILMGRAB] (film-grab.com) FILMS MENTIONED: Kings of the Road (Wim Wenders 1976) Alice In The Cities (Wim Wenders 1974) Summer in the City (Wim Wenders 1970) Dancer in the Dark (Lars von Trier 2000) Repo Man (Alex Cox 1984) Out of the Blue (Dennis Hopper 1980) Miracle Mile (Steve De Jarnatt 1988) After Hours (Martin Scorsese 1985) The Straight Story (David Lynch 1999) To Live and Die in LA (William Friedkin 1985) 8 Million Ways to Die (Hal Ashby 1986) Wild at Heart (1990)

Felicia is joined by Peter Merriman to discuss Robby Müller’s groundbreaking work The American Friend (Wim Wenders 1977). They chat about Müller’s ability to manipulate natural light to best suit the mood of the scene. How the framing builds tension between the characters and their multi-city settings. This is the first series on a cinematographer, and although the films are directed by different artists, my guests and I will be diving into each one through Müller’s lense. Send us your thoughts on the episode - what are scenes that stand out the most to you? What are your thoughts on Müller’s use of natural light? Let us know by sending us a message on any of our social platforms or by email: [email protected] Sources: Wim Wenders’s High Plains Grifter - The New York Times (nytimes.com) https://filmobsessive.com/film/film-analysis/film-genres/art-house/the-american-friend-beyond-the-frame-of-life-2/ The American Friend movie review (1977) | Roger Ebert The American Friend (1977) | The Criterion Collection Remembering Robby Müller, NSC, BVK - The American Society of Cinematographers (en-US) (theasc.com) Master of light : Robby Müller Cinematographer (autocraticforthepeople.com) Wim Wenders Thinks The American Dream is a European Export, and MAGA, a Maddening Spectacle - GARAGE (vice.com) The American Friend – [FILMGRAB] (film-grab.com) The American Friend Blu-ray - Dennis Hopper (dvdbeaver.com) Douglas Hart’s Top 10 | Current | The Criterion Collection (61) Der Amerikanische Freund OST (1977) | Jürgen Knieper - YouTube - Harpisord/Flute piece referenced in the episode Der Amerikanische Freund OST (1977) | Jürgen Knieper - YouTube - Piano/Viola piece referenced in the episode Space Moth - YouTube - Stereolab piece referenced in the episode FILMS MENTIONED: Apocalypse Now (Francis Ford Coppola 1979) Ripley’s Game (Liliana Cavani 2002) Purple Noon (René Clément 1960) The Talented Mr. Ripley (Anthony Minghella 1999) The Mother and the Whore (Jean Eustache 1973) Trouble Every Day (Claire Denis 2001) Chungking Express (Wong Kar-wai 1994) The Lusty Men (Nicholas Ray 1952) Paris, Texas (Wim Wenders 1984) Kings of the Road (Wim Wenders 1976) Alphaville (Jean-Luc Godard 1965) The cercle rouge (Jean-Pierre Melville 1970) Rebel Without a Cause (Nicholas Ray 1955) Johnny Guitar (Nicholas Ray 1954) Wings of Desire (Wim Wenders 1987) The End of Violence (Wim Wenders 1997) The Naked Kiss (Samuel Fuller 1964)

Felicia is joined by Jane Waldner to discuss Agnès Varda and J.R.s collaborative documentary, Faces Places (2017), focusing on the lives of the everyday working class. We discuss the ways Varda is able to highlight the beauties of everyday people and how this has been a reoccurrence throughout her career. Along with her dynamic with the younger J.R. and his artistry. This is the fourth and final film part of the Agnès Varda month, make sure to check out our previous episodes on The Gleaners and I, Cléo From 5 to 7, and Le Bonheur. Send us your thoughts on the episode - what were your favourite moments in the film? What are your thoughts on the Varda and J.R. friendship? Let us know by sending us a message on any of our social platforms or by email: [email protected] Follow Jane here: IG: @janesviews Twitter: @janesviews Sources: Taubin, A., Koresky, M., Vincendeau, G., Mayer, S., Hidalgo, A., & Bengal, R. (2020). The complete films of Agnès Varda. The Criterion Collection. https://www.imdb.com/title/tt5598102/ https://www.criterion.com/current/posts/7049-godmotherly-love https://www.newyorker.com/culture/richard-brody/agnes-varda-and-jrs-faces-places-honors-ordinary-people-on-a-heroic-scale https://film-grab.com/2020/03/18/faces-places/# Agnès Varda: Martin Scorsese, Ava DuVernay, Madonna Pay Tribute – Deadline FILMS MENTIONED: Funny Games (Michael Haneke 1997 & 2007) Cléo From 5 to 7 (Agnès Varda 1962) La Pointe Courte (Agnès Varda 1955) Withnail & I (Bruce Robinson 1987) Until The End of the World (Wim Wenders 1991) Kings of the Road (Wim Wenders 1976)

Felicia is joined by Seth Vargas (Movie Friends Podcast) to discuss quite possibly one of the most terrifying films about a man, Le Bonheur (Agnès Varda 1965) We discuss Varda’s take on fidelity and a man’s relentless search for happiness and its effect on the people around him. Send us your thoughts on the episode - would you consider Le Bonheur a horror film? What are your thoughts on the way the film treats François? 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

This week we have a heavy hitter - Felicia is joined by Vinny Tucceri (Cinephile) to discuss one of cinema’s most poignant, yet gorgeous takes on womanhood, in Agnès Varda’s Cléo From 5 to 7. We discuss Varda’s innate ability to create characters her audience can relate to, while tackling the subject of freedom as a woman. Send us your thoughts on the episode - what are some of your other favourite films that take place in 24 hours or less? What are your thoughts on the film’s narrative and time structure? 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: Cléo from 5 to 7 (1962) - IMDb Claire Denis on Her Love for Robert Pattinson, Agnès Varda, and 'High Life' (interviewmagazine.com) Cleo From 5 to 7 Blu-ray - Corinne Marchand (dvdbeaver.com) Pietro Marcello’s Top 10 | Current | The Criterion Collection Taubin, A., Koresky, M., Vincendeau, G., Mayer, S., Hidalgo, A., & Bengal, R. (2020). The complete films of Agnès Varda. The Criterion Collection. Conway, K. (2015). Agnès Varda. University of Illinois Press. Columpar, C., & Mayer, S. (2009). There she goes: Feminist filmmaking and beyond. Wayne State University Press.

For our first Agnès Varda film of the month, Felicia is joined by José Roldan (Movie Executive) to discuss Varda’s exploration of gleaning through France, The Gleaners & I (2000). We discuss how Varda’s essence is filtered throughout the film, and her delicate nature when talk to every day people about their lives. Send us your thoughts on the episode - what are some of your other favourite first person documentaries? What are your thoughts on Varda’s self-exploration through the films narrative? 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: https://www.screendaily.com/news/martin-scorsese-helps-to-launch-film-school-initiative-of-agnes-vardas-the-gleaners-and-i/5182618.article Criterion - Godmotherly Love Criterion - The Gleaners & I Criterion - A Woman's Truth The Gleaners and I (2000) Agnès Varda press TIFF press conference An excerpt, featuring Varda from a documentary entitled “To Tell the Truth: A History of Documentary Film” Conway, K. (2015). Agnès Varda. University of Illinois Press. FILMS MENTIONED: SHERMAN’S MARCH (1986) TARNATION (2003) VORTEX (2021) BURDEN OF DREAMS (1982) OTHER MENTIONS: “It’s like writing history with lightning” ( Pres. Woodrow Wilson on THE BIRTH OF A NATION

In our first edition of the Special Features series - these monthly bonus episodes are outside of the filmographies of the current director in focus. Special Features came about because I want to talk to someone I love about a film either they love or I love (hopefully we both love). Felicia is joined by Eugina Gelbelman (Director) to discuss Claire Denis’ cannibal love story, Trouble Every Day (2001) They discuss how the term ‘feminist film’ has evolved through the years, and how Denis is able to utilize the quirks of her actors to her advantage. Send us your thoughts on the episode - what are some of your other favourite European horror films? Where do you think this film stands within Denis’ filmography? Let us know by sending us a message on any of our social platforms or by email: [email protected] Follow Eugina here: IG: @euginareviews LB: @sunnyrasputin

Felicia is joined by Sarah aka Ms. Sinclair (Talk Movie To Me Podcast) to discuss Billy Wilder’s biting take on Hollywood, Sunset Boulevard (1950) They discuss how meta the film is through the direct link to its stars, along with the treatment of writers and how things haven’t changed much since the 50s Send us your thoughts on the episode - what are some of your other favourite films about films? What film would you pair Sunset Boulevard with? Let us know by sending us a message on any of our social platforms or by email: [email protected] Follow Sarah here: TALK MOVIE TO ME (talkmovietomepodcast.com) IG: @talkmovietome LB: @mssinclair

Felicia is joined by Greg Kleinschmidt (Scene and Heard Podcast, Arroyo Film Club) to discuss Billy Wilder’s award-winning film The Lost Weekend (1945) They discuss how the visuals are rooted in German expressionism, the relatable star power of Ray Milland, and Wilder’s gravitation towards dark realism. Send us your thoughts on the episode - what are some of your other favourite Ray Milland films? What film would you pair The Lost Weekend with? Let us know by sending us a message on any of our social platforms or by email: [email protected] Follow Greg here: Scene and Heard (sceneandheardpod.com) IG: @sceneandheardpod IG: @arroyofilmclub Sources: https://cinephiliabeyond.org/billy-wilders-the-lost-weekend/http://www.dvdbeaver.com/film9/blu-ray_review_133/the_lost_weekend_blu-ray.htmSikov, E. (2017). On Sunset Boulevard: The life and times of Billy Wilder. University Press of Mississippi.

Felicia is joined by Aaron Strand (from Behind The Slate Podcast) to discuss Billy Wilder’s groundbreaking film noir Double Indemnity (1944). They discuss how Raymond Chandler’s voice resonates through the script, the effects of the story being told through flashbacks and voiceover narration, along with gushing over Barbara Stanwyck. Send us your thoughts on the episode - what are some of your other favourite noir films? Is there a greater actress than Barbara Stanwyck? Let us know by sending us a message on any of our social platforms or by email: [email protected]