First Impressions: Thinking Aloud About Film

https://notesonfilm1.com/2025/06/06/jose-arroyo-in-conversation-with-james-taylor-on-the-superhero-blockbuster-adaptation-style-and-meaning/ Just as the Superhero film loses centrality in the culture there comes a book that is not only a brilliant accounting of the various strategies of adaptations the mode engages with but also offers a methodology that will be of interest and use to anyone engaged with the analysis of visual media:  not only a brilliant book, but an important one. In this podcast we talk about what it is that is being adapted when discussing comic book characters that have so many iterations across different media. We talk about modes of seriality; the translation of the illusion of movement across media; the significance of bodies in spaces and movement in the mode; intertextuality, kaleidoscopic irruptions; how the move to digital affected issues of realism and reflexivity; restorative and reflective nostalgia; how the works compress, hierarchize and create continuities; the dramatization of alternate timelines….and we return over and over again to the hierarchization of gendered, racialised and sexualised bodies in dialogue with past iterations, current politics, contemporary formal strategies and more. I can't imagine future explorations of audiovisual work engaged with adapting any form of Intellectual Property, characters or worlds uninformed by THE SUPERHERO BLOCKBUSTER: ADAPTATION, STYLE AND MEANING.

https://notesonfilm1.com/2025/05/30/thinking-aloud-about-film-le-jour-se-leve-marcel-carne-1939/ We discuss Marcel Carné's superb Daybreak/ Le Jour se lève, which we saw at the Garden Cinema as part of their wonderful Film Noir International programme. In the podcast we discuss the film as an example of ‘Poetic Realism'; as one of the first films to be described as a ‘film noir'; as an expression of the Popular Front sentiment and how the film's reception aligned with reviewers' political views. In relation to the film, we discuss the significance of its structure, the precision of the decor and mise-se-en-scène where it seems every object in François room subsequently comes into play to describe loss, longing, love, innocence since tarnished. I have made a compilation of all the times Gabin looks out the bullet-riddled window and outside. As the day rises and the night ends so does François' life. We discuss Gabin, Arletty, Jules Berry…all at their best. Gabin is the representative everyman with nothing to live for but more sand in his lungs. It's not only that as Georges Altman writes, ‘the whole of the working class is etched in Gabin's face' it's that Gabin's IS the face of the whole of the French working classes. He is François,. She is Françoise. Together they represent the oppression of the French working class. They are everyman and everywoman, orphaned by capitalism. This is a film not only about doomed love but a protest against class-as-destiny, one of the film's most worked-through themes.

https://notesonfilm1.com/2025/05/25/one-second-zhang-yimou-2020/ Zhang Yimou's very beautiful film has things to say about the cultural revolution and Chinese History and other things we're not best placed to discuss. However, it is also about cinema: it's lure, it's power, its enchantments and its fragility; and Zhang Yimou's magisterial mise-en-scène embodies its themes through its medium as if in the process of unfurling from an editing sweet, to a projector and onto a screen.

https://notesonfilm1.com/2025/04/18/jose-arroyo-in-conversation-with-diego-cepeda-on-outskirts/ I recently discovered the existence of a new and exciting film magazine: OUTSKIRTS. It's in English, though mostly written by people for whom English is a second language or who don't speak English at all: translation, in multiple senses, is an integral part of the magazine. It's a handsome physical object, originating in the Locarno Critics Academy but speaking a different film culture, off-centre, from the margins or the periphery. In this podcast I talk to one of the editors, Diego Cepeda (the others are Nathan Latoré, Sofie Cato Maas, Raymond Shik and Christopher small), with filmmaker/critic Felix Cordero Bello contributing illuminating contexts and asides. Near the beginning of the podcast Diego cites a poem by Farid Ud-din Attar, ‘The birds had departed towards a distant luminosity that attracted them. Those who did not perish on the way would understand upon arrival that they had been transformed into that light that now attracted others'. OUTSKIRTS is a magazine that is itself, embodies, a romance of movies, film culture, film history, woven through with friendship. It aims to put at the centre marginalised filmmakers and film cultures; and asks its readers to slow down, look back, look deeply, and think. The launch of each issue is accompanied by live events, often including readings and screenings. Diego cites Abraham Polonsky at the end, ‘The only fights worth fighting are for lost causes'. Speaking to Diego and Felix, in English, a second language for them, a whole cinema culture comes alive. They cite LA VIDA UTIL and Lucía Salas as an inspiration: a spirit of sharing knowledge, friendship and dialogue, enthusiasm for cinema, a similar way of thinking about film history. Diego and Felix both also write for Simulacro magazine edited by Julia Scrive-Loyer (https://www.simulacromag.com/) participate in its weekly cine-club and are connected to the Chavón School of Film and Design, itself associated with Parsons, with Diego as one of its key lecturers. ‘How can we approach the history of images and sounds from a place that maybe didn't have (a film industry) but we have to create tools for understanding those elements that did exist (newsreels, home movies, a rich culture of filmgoing)', says Diego. The conversation ranges from the origins of the magazine, it's aims (to defend cinema from this place, that is on the margins), it's focus (to shine a light on the overlooked), how each issues tries to create a thread of thought. We detour through a brief account of a history of cinema in the Dominican Republic, where the conversation took place. All this and much more can be listened to in the podcast below: The new issue comes out in June and can be purchased at: https://outskirtsmag.com/

Such a pleasure to talk to Paul Cuff on Robert Egger's version of NOSFERATU. He knos so much that the discussion of the film unfurls into a discussion of the various other versions, Murnau's original (1922), Herzog's version (1979), David Lee Fisher's version (2023), and onto the films of Guy Maddin, Pablo Berger's BLANCA NIEVES (2012), various versions of THE STUDENT OF PRAGUE and even THE ARTIST (Michel Hazanavicius, 2011), which Paul loathes. We were entertained by, enjoyed -- with reservations -- the rich visual world of Egger's version, the thick and dense sound, and we praise Nicholas Hoult as the emotional anchor of the film. But Paul articulates his uncertainty about whether the film was a parody of itself or the genre or Nosferatu in its various incarnations. The film seems to be drawing on Murnau, Herzog, Caspar Friedrich's paintings. But it seems to create a world in which God ostensibly exists but no one seems to believe in the ideology that would sustain this. Paul notes with interest on how Eggers credits the screenplay of the original Nosferatu but not Murnau, the director. Paul highlights how Nosferatu was itself a rip-off of Bram Stoker's work and the significance of the titles of the most prominent version (Nosferatu, A Symphony of Horror (Murnau) and the German title of Herzog's version, Nosferatu, Phantom of the Night.) What all versions have in common is that they're all about sex and death, all about sex and the maiden; all versions have Nosferatu as a sexual figure as well as a figure of death and pestilence, How does Egger's version sit on the shoulder of previous versions and what does it add to them? We discuss our love of the performances of Max Schrek and Klaus Kinski and much more in the podcast below:

We discuss Visconti's final film, currently available to see through the BFI streaming service, in conjunction with the Visconti season recently held at the Southbank, and in a lush and lovely print. Richard had to convince me to podcast on this and I'm glad we did. We both think it a great film, without being anywhere near Visconti's greatest, a measure of the director's extraordinary achievements. Here we discuss it in relation to D'Annunzzio's original novel (The Intruder is the literal translation of the novel's Italian title); the lushness of décor and costuming, which sometimes seem a John Singer Sargent painting come to life; how the mise-en-scène vividly and complexly conveys character feeling, often without dialogue, and with such skill it can make a viewer swoony with admiration; we talk of how Alain Delon and Romy Schneider were originally cast and admire the performances of Giancarlo Giannini, Jennifer O'Neill, Laura Antonelli and Rina Morelli. It was also lovely to (barely) recognise Massimo Girotti, so beautiful in OSSESSIONE, as one of Giannini's rivals for Jennifer O'Neill's favours. We discuss the auction scene,and the fencing scene between husband lover in some detail; how the film reminds us of the 19th century novel in its narrative sweep, melodramatic accents and its dramatization of complex ideas (faith vs science, moral actions in a world without God, marriage vs free love, equality between the sexes, etc.). A world of feeling and desire, fuelled by melodrama; a beautiful film slightly marred by its ending. We discuss all of this and more here:

The BFI's screenings of JEANNE DIELMAN, 23 COMMERCE QUAY, 1080 BRUXELLES were all sold out. Luckily, we were both able to see it on a big screen elsewhere. In this podcast we discuss why this is a film to see on a big screen, how it remains a radical film, how the first scene sets a context, how Jeanne Dielman lives in a pimped world where the very same money she gets from men she gives to men. We discuss how the bare bones of the story could have been done as melodrama or noir and the significance of rendering it as ‘slow cinema', including all that's been left out of cinema previously (the various kinds of women's work). We admire the three-day structure as well as the formal rigour and precision which creates Dielman's world and Ackerman's point-of-view on it; how the film puts into play elements that are never rendered explicit (is the son gay?). We also discuss Delphine Seyrig, the muse insoumise, in the light of her art-house and activist careers (the program for the Queen Sofia exhibition on her work and career is in the blogpost); the film itself in the context of Second Wave Feminism; how the film remains radical in that it is simultaneously a depiction of what Tate brothers bros think women should be, a refutation of those ideas, and women's frustration/ explosion/ revenge in response. A film that is almost half a century old and feels continuously relevant

Tsui Hark's SHANGHAI BLUES (1984), starring Kenny Bee, Sylvia Chang and Sally Yeh, is currently playing on MUBI. A commercial romantic comedy with musical numbers galore and lots of screwball and slapstick, the film is easy to like. We discuss the pleasures in the performers, the interwar Shanghai setting, the beauty of its look and design, the inventiveness of its shot design and composition. We note how rare it is to see a look designed purely to please instead of to evoke, convey and signify in contemporary cinema. Might this also be a limitation? The film feels like a quickly executed trifle. It's very broad and the execution feels a bit clunky. We were nonetheless both charmed by it though Richard rated it a bit higher than I did. Where we intersect and where we diverge is the subject of the podcast.

We didn't manage to get to much of the recent Luchino Visconti retrospective at BFI South Bank but we somehow wanted to mark the moment, and how better than a discussion of BELLISSIMA (1951), particularly through the great Eureka/ Masters of Cinema blu-ray. We discuss its themes of obsession, mother love, fantasy, cinema, the effects of media on private and collective aspirations; how it's a film that announces its fluency from the opening shots; its relation to neo-realism through on-location shooting and the use of non-professional actors; Anna Magnani's tour de force performance, drawing particular attention to the scene where she gets the neighbours involved in the beating by her husband; we note how it's an unusual film for Visconti in that it's central role is a woman's role, a vehicle for Magnani; we discuss the elements of camp, something not usually associated with Visconti; a very entertaining film of great depth; a critique of cinema by one of its greatest exponents; a film one can't imagine bettered; a film worth seeing

Wonderful to have an opportunity to discuss THE WIRE (David Simon, showrunner: 2002-2008) -- a show which got mixed reviews and diminishing audiences but nonetheless survived to become a cultural touchstone -- with Dr. Ben Lamb. Ben is the author of You're Nicked: Investigating British Television Police Series, for Manchester University Press as well as the producer of award winning films such as Rewinding the Welfare State: A Social History of the North East on Film and In the Veins: Coalming Communities In his new book on the series – THE WIRE -- Ben Lamb discusses the history of the production, how and why it was made, and he also provides vital context to each season to better understand what happened as well as to enhance the appreciation of the show. We talk on all of this as well as how it was groundbreaking, why its influence persists, how it laid the groundwork for the rise of a whole generation of black stars, how it can be seen to have predicted the rise of populism….and much more.

Fiona Cox, PhD in Film Studies by day, and, under the name of Kitty Mazinksy, chanteuse extraordinaire by night, is the ideal person to talk to about WICKED (Jon M. Chu, 2024). She's read the book, seen the musical four times and has even performed in it. She now talks to me about musicals, the politics of the film, the dancing, the singing, the numbers, the length. Are critics right about tonal problems in the film? About finding fault with the way it looks? What about the casting and the songs? What does the film convey about race, queerness, female solidarity? How does it speak to the current moment? We compare it to the stage version, find it an improvement, and look forward to part II. Like Fiona herself, this is an ebullient, enthusiastic conversation, full of smarts and laughter.

https://notesonfilm1.com/2024/11/29/pofcrit-podcast-2024-dylan-day-on-trainspotting-danny-boyle-1996/ Adapted from the 1993 novel by Irvine Welsh, Danny Boyle's Trainspotting is as whimsical as it is putrid. One of the most iconic and provocative films of the 1990s, it serves to examine the life of heroin addict Mark Renton and his addict friends as they endlessly search for the next hit. With an unrivalled energy and an unforgettable soundtrack, we seek to dig deeper into this film's messages and influences of the film, its context within the “Britpop” movement, its allusions to Thatcher's Britian, its representations of addiction beyond heroin and so on. We take a look at how effective the audio-visual style of Trainspotting is at conveying the visceral experience of drug addiction and how it is unique in its representation of addiction. Join us as we talk about all this and more.

https://notesonfilm1.com/2024/11/29/thinking-aloud-about-film-volver-pedro-almodovar-2006/ Richard and I return to discuss VOLVER (Pedro Almodóvar, 2006), interesting to see always but particularly for Richard now having seen WHAT HAVE I DONE TO DESERVE THIS (1984) and his earlier films, which he hadn't seen before, and thus more fully appreciating one of the ‘returns' in VOVER, that of Carmen Maura. We discuss the recurring motifs: Strong women, dreadful men, female solidarity, rape, relationships between mother and child, cemeteries, a star entrance through a tombstone. We note the evidence of Almodóvar's rural background, how his films always reference and often feature the rural as setting. Almodóvar is of the few directors to represent rural customs (the white shirts and dark trousers of the men at the funeral); the rural is also evident in his use of dialogue, which feels so true, and adds a particular texture to his films, phrases that are structures of feeling, modes of understanding. We note how this is in tension with the representation of Madrid, often a character of its own in his films, and in this instance, the particular, working-class Madrid neighbourhoods of this film. We discuss the narrative, and how the film creates a world in which death and violence hover, the work of a filmmaker who doesn't believe in ghosts but is aware of the relevance of the spectral in people's lives and people's understandings. The film looks luminous with a depth and texture to the visuals. Flowers turn up significantly in the film, represented in the poster's design. We can't think of another director who features rape so recurringly, in this case there's a parallell rhyming rape of a father/ daughter with significantly different responses from the mothers; we note too how fathers are often shown as abusive, absent, neglectful. We discuss how Almodóvar often structures his story telling around a history of cinema, a telling through allusions, quotations, references to film, here we note how the film evokes Magnani, Loren, MILDRED PIERCE (Michael Curtiz, 1945), STELLA DALLAS (King Vidor 1937, the Magnani clip in the film is from Visconti's BELLISSIMA (1951). Lastly, we tie all of this to the film's themes: the past, making amends, building bridges, making connections, various kinds of returns.

https://notesonfilm1.com/2024/11/25/pofcrit-podcast-2024-madeleine-lear-on-one-hour-photo-mark-romanek-2002/ Starring Robin Williams in one of his most unsettling roles as Sy, the photo guy. One Hour Photo follows Sy, a photo technician, as he forms an obsession with the Yorkin family before taking it upon himself to avenge his shattered fantasy and lost childhood innocence. In the accompanying podcast, Madeleine West shows how Romanek skillfully extends this film's sense of unease into its cinematography and mise-en-scène, delving into the intricate depths of the human mind, exploring themes of obsession, isolation and voyeurism. This podcast discusses portrayals of mental health within cinema while looking towards this film's visuals as a way of depicting isolation and loneliness.

https://notesonfilm1.com/2024/11/18/pofcrit-podcast-2024-james-thompson-on-under-the-silver-lake-david-robert-mitchell-2018/ James Thompson on UNDER THE SILVER LAKE: Unpacking the mysteries of this dream-like neo-noir, the podcast takes a look at the film's many potential meanings and messages, as well as its wide array of influences and homages from classical Hollywood. From subliminal messages in the media, to mythical murderers, to secret underground bunkers or to cults of the ultra-rich, this episode explores all of the surreal enigmas of Under The Silver Lake. Shrouded by all of the mystery and excitement of Under The Silver Lake, however, lies something deeper. Beneath the surface, the film poses a profound statement as to the human condition, the search for meaning and the turmoil of consciousness, all of which will be revealed in this podcast, which be listened to below:

https://notesonfilm1.com/2024/11/17/the-gus-van-sant-podcast-no-6-michael-j-glass-on-good-will-hunting-1997/ Michael J. Glass joins me for a discussion of Gus Van Sant's GOOD WILL HUNTING (1997), a blockbuster success in its day; a film that won Robin Williams an Oscar, made stars of Matt Damon and Ben Affleck, and left a big cultural imprint. It's since been much parodied (in COMMUNITY, THE SIMPSONS, all over youtube) and a dominant critical perspective is slightly sniffy on the film: filmmaking by numbers and committees on a ‘we need a job' script. We found it an extremely easy watch that holds up and is even more interesting on second viewing. GOOD WILL HUNTING is an effective piece that is surprising in all kinds of ways and still works. We discuss its critique of the US, its focus on class, on abuse, on the fragility of young men. Its rare to see a film that dramatizes how American foreign policy is one of extraction and exploitation and how social mobility in the US is available only to geniuses with sponsorship. We also discuss whether how Van Sant film and what he focusses on might be connected to sexual identity.

https://notesonfilm1.com/2024/11/15/pofcrit-podcast-2024-jake-diamond-on-i-am-legend-francis-lawrence-2007/ In this podcast we will discuss the often-overlooked 2007 adaptation of Richard Matheson's I Am Legend. Following Will Smith's rendition of Dr Robert Neville, a virologist and last man on earth, it focuses on the psychological deterioration and complex need for coping mechanisms one would face when confronted with complete existentialism. We will discuss the difficulties of adaptation and where focus can often be shifted with minute changes, forcing different interpretations; as well as how the 2007 version - with its complicated production - is the most poignant when it comes to the horror of isolation. Additionally, we will discuss a key element, which is the paradoxical situation Robert Neville finds himself in, because as the tagline states: The Last man on Earth isn't alone.

https://notesonfilm1.com/2024/11/12/pofcrit-podcast-2024-lily-stripe-on-blue-lagoon-randal-klaiser-1980/ In this podcast we discuss the 1980 Randal Kleiser film, The Blue lagoon. It tells a coming-of-age story of two children shipwrecked on a tropical island, as they grow and develop into teenagers, and discover both themselves and the island. With beautiful sweeping landscapes and gorgeous young stars, it has all the attractions of a Hollywood film. However, its narrative is even more intriguing, both fascinating and bizarre in what it tries to tell, and the way the directors vision comes across. We talk about the frustrations of a story like this being told in a visual medium, and why it had the potential to break out of its western societal box, but failed to do so.

In this episode, we dive into Fallen Angels, one of Wong Kar Wai's most visually stunning and emotionally layered films. Known for his distinct cinematic style, Wong blends fragmented storytelling with poetic visuals to explore themes of loneliness, alienation, and disconnection in Hong Kong's urban landscape. The film's fragmented narrative is complemented by Wong's trademark use of disorienting camera movements, which heighten the emotional intensity and immerse viewers in the characters' internal worlds. Through his unique approach, Wong Kar Wai invites us to reflect on the complexities of human connection and the feeling of being lost in a modern, disconnected city.

https://notesonfilm1.com/2024/11/08/the-gus-van-sant-podcast-5-richard-drew-on-to-die-for-1995/ I very much wanted to speak to the wonderful Richard Drew about TO DIE FOR (Gus Van Sant, 1995). Richard has a degree in Film and Literature so knows something about film, yet unusually for the guests on this podcast, he is not a Gus Van Sant fan. More importantly, Richard is a television producer, now based in Los Angeles, but who got his start on the ground floor of Reality TV in England and has worked on BIG BROTHER, SECOND SURVIVOR, FAME ACADEMY, and many more. He is now SVP of Development at Law and Crime Productions, specialising in True Crime Documentaries. His latest work, JAILBREAK: LOVE ON THE RUN is currently on Netlfix. All of this to say he is ideally suited to speak to the film's main themes. In the podcast we discuss how TO DIE FOR draws on the talk show culture of the era (Oprah, Geraldo, Sally Jesse Raphael, Phil Donahue) as well as the rise of celebrity culture in print (PEOPLE, US) and Television (ENTERTAINMENT TONIGHT). It's a film that's very much about not only a grasping for fame, but for television and televisual fame. We talk of the performances, the film's form and structure, how it's a story complexly told but in a manner that's experienced as simple and direct. All this and much more can be heard in the podcast above:

https://notesonfilm1.com/2024/11/08/pofcrit-podcast-2024-ying-qi-on-tangled-nathan-greno-byron-howard-2011/ 'In this episode, I'm diving into the world of Disney's Tangled and exploring how it redefined what it means to be a princess, and the stereotypes that revolve around it. I'll be talking about Rapunzel's incredible agency, her journey from the tower to the floating lights, and how she takes charge of her own story—a big leap from traditional princess roles. I also delve into the music that makes Tangled so unforgettable, and how it creates meaning and emotion. Join me as we unravel how Tangled brought a fresh, inspiring twist to the Disney princess legacy'. Ying Qi

https://notesonfilm1.com/2024/10/30/eva-de-matos-on-bend-it-like-beckham The podcast explores how Bend it Like Beckham humorously and poignantly explores themes of identity, tradition, gender, sexuality, multiculturalism and Britishness. Bend It Like Beckham follows Jess, a British Indian teenager who dreams of playing football despite her family's traditional expectations. Set in a diasporic area of Asian immigrants and 2nd generation children the podcast discusses the associated inter-generational themes that permeate the film. The podcast also discusses the film's specificity to 2003 and how the political climate may have influenced the film's representation of multiculturalism.

https://notesonfilm1.com/2024/10/28/the-gus-van-sant-podcast-no-4-lisa-purse-on-even-cowgirls-get-the-blues-1993/ Lisa Purse on EVEN COWGIRLS GET THE BLUES (Gus Van Sant, 1993) I was truly delighted when Lisa Purse agreed to talk to me about EVEN COWGIRLS GET THE BLUES. Lisa is a Professor of Film Studies at Reading University, one of the most brilliant scholars on action movies, and a nuanced thinker on questions of mediations, conflicts, identities. I wanted to have her on the podcast because I thought she might expand my thinking on EVEN COWGIRLS GET THE BLUES, and she did. In the podcast we discuss seeing the film when it was first released, seeing it now, and explore the hows and whys of changing responses. We note the context of ‘New Queer Cinema' and the different kinds of experiments that were then taking place. EVEN COWGIRLS GET THE BLUES is a film that refuses seriousness and we speculate that maybe neither of us was then in a place where we could recognise the value of that. We discuss how the film continues Van Sant's interest in ‘The Road', and discuss movement and flow, as rhythm, narrative device, formal strategy, and condensed ideation. Is it a film that's trying to do much? B. Ruby Rich wrote on how the film contains references to forms of collective action. Is it more of its time than we first realised? We discuss the film as a form of active allyship that is not to be sneezed at, and note the hostility of its initial reception, refencing B. Ruby Rich's contention that with this film Van Sant fell into the category of a female director (at least for some) and therefore got treated as one.

This podcast delves into Sam Raimi's return to Superhero Cinema: Marvel's ‘Doctor Strange in the Multiverse of Madness'.  Combining the classic horror elements of Raimi's 1981 cult favourite ‘The Evil Dead' with his more modern Spiderman trilogy offering, this Marvel film follows Doctor Strange in his second solo movie as Strange tries to prevent the multiverse-shattering dark magic created by the vengeful Wanda Maximoff. We discuss the disjunctions present within the film produced by the Marvel/Raimi divide - how much of the film can be viewed as an auteur product separate from the Marvel franchise?

https://notesonfilm1.com/2024/10/21/pofcrit-podcast-2024-fiola-odusote-on-everything-everywhere-all-at-once-daniel-scheinert-daniel-kwan-2022/ The POFCRIT Podcast 2024 returns with Fiola Odusote on EVERYTHING EVERYWHERE ALL AT ONCE (Daniel Scheinert, Daniel Kwan, 2022) . The action-filled dramedy follows a high-strung Chinese woman called Evelyn (Michelle Yeoh) who owns a struggling laundromat. When Evelyn is tasked with saving the multiverse she is quick to answer the call, not knowing the journey she's about to embark on will cause her to reckon with her familial relationships and ultimately repair them. The film tackles the themes of family, immigration, choice and generational trauma, with the multiverse being used as a vehicle to explore these themes through a sci-fi lens. EVERYTHING EVERYWHERE ALL AT ONCE, despite its absurdist elements, is grounded by the mother-daughter story at the heart of the film. The grounded story when mixed with the impeccable performances by the talented cast makes it easy to see why the film racked up so many awards. All this, and much more, is discussed in the podcast below:

https://notesonfilm1.com/2024/10/16/pofcrit-podcast-2024-rowan-abbott-on-eo-jerzy-skolimowski-2022/ In this podcast, we talk about the 2022 Jerzy Skolimowski film, EO. The film is a sweeping picaresque narrative following the tumultuous life of a former circus donkey named EO, who is set free into rural Poland, a place that can't seem to decide what purpose a donkey still has for humans. This wholly unique film is a landmark in animal representation on screen, being one of the most successful fiction films to feature an animal protagonist that isn't anthropomorphized. We talk about the implications of this form of animal representation, and how the film achieves its goal of putting us in the shoes - or hooves - of a donkey. '

https://notesonfilm1.com/2024/10/16/on-the-giornate-del-cinema-muto-43-pordenone-silent-film-festival/ Richard and I were unable to attend the Pordenone Silent Film Festival this year. Luckily for us, they provided an online daily program for the duration of the festival. In the podcast Richard and I discuss each of the daily programs, the various thematic strands, what was available to us and what we missed.

https://notesonfilm1.com/2024/10/14/pofcrit-podcast-2024-jack-hulbert-on-the-batman-matt-reeves-2022/ The most recent entry in the 58 year long canon of Batman films, Matt Reeves' 2022 film, The Batman, represents a stark departure from every iteration before it. It takes the core aspects of Batman, its characters and its world, and presents them as grimmer; more beaten down. It warps the franchise's trend towards realism into a gothic, brooding, detective noir. This episode delves into the varied history of the Batman film franchise, discovering how and why the series has evolved and morphed in the way it has. We look at film and societal changes that could have affected the franchise, and explore the breadths of such changes. Asking the question: how could a franchise surrounding one character go from being bright, colourful and campy in 1966, to something akin to David Fincher's Seven in 2022.

https://notesonfilm1.com/2024/10/13/the-gus-van-sant-podcast-5a-to-die-for-1995/ The first of two podcasts on Gus Van Sant's TO DIE FOR (1995), this one with Matt Hays, journalist, co-editor with Tom Waugh of McGill-Queen's Press' QUEER FILM CLASSICS series, and a professor of film at Concordia University and Marianopolis College. Matt's reviewed Criterion's recent edition of the film for the current CINEASTE and I wanted to pick up on some of the excellent points he raises there: how is the film a turning point in Van Sant's career? What is this shifting of gears between Van Sant's more commercial and more esoteric works? Is the film prescient? What does it tell us about celebrity culture, the media and politics? What is the film's view of heterosexual relations? What does it tell us about race in America? What are the formal tensions running through the film? It's structure has been compared to that of CITIZEN KANE and RASHOMON. How so? We agree that Kidman gives one of her greatest performances but have Matt Dillon and Joaquin Phoenix been overlooked? All this and much more can be heard here:

https://notesonfilm1.com/2024/10/07/practice-of-film-criticism-2024-harry-molloy-on-superman-richard-donner-1978/ ‘You'll believe a man can fly?'  was the tagline of Superman the Movie (1978) the use of the word ‘can' rather than ascribing a quality to the film creates a world of possibilities for the feature.  Superman as a film represents a dream-like possibility of a perfect man who can defy gravity, lift anything, and run at incredible speeds, and the film revels in the utopian idea of this man who has everything. This edition of the Film Criticism podcast will discuss how the film expresses these themes and how they differ from the modern discourse of the superhero genre. Further, we discuss the issues with the concept of the utopian man and the pure optimism presented within the film.

https://notesonfilm1.com/2024/10/05/pofcrit-podcast-2024-liberty-boyd-white-on-funny-games-michael-haneke-2007/ A highly unforgiving work, Michael Haneke's horror cult-classic Funny Games (2007) stands as a profound critique of modern media consumption and the spectator's complicit relationship with the spectacle of violence often provided by American cinema. This podcast delves into the personal reflections on ideology, morality, genre and cinema as a whole, prompted by the unique viewing experience of Haneke's film. From an analysis of the abstract form (Emphasised best by its many meta-textual elements.), it's commitment to sound design, as well as an investigation into the film's dismissal of spectator 'enjoyment' - this episode hopes to emphasise the pervasive genius of Haneke's U.S remake through a conversational analysis of Funny Games as an outlier within contemporary film, thanks to its unflinching hostility towards the spectator typically depended on by cinema. Liberty Boyd-White

https://notesonfilm1.com/2024/10/02/the-gus-van-sant-podcast-3-my-own-private-idaho-1991/ We discuss one of the films that very much marked me, the image above was the image on my letterhead in the time we still used snail mail. In the accompanying podcast we discuss the film's historical significance. Was it a 'film that (made) history? We discuss it relationship to New Queer Cinema. We speculate on whether the film queers Shakespeare and discuss the film in relation to Welles' Chimes at Midnight. We comment on the significance of the casting, the contributions of River Phoenix, Keanu Reeves, Udo Kier and others and what their contributions to the film might be. We also discuss in detail particular scenes, the one where the magazine covers come to life; the rhyming musical/ hustler interludes, the great campfire scene. ...and much more.

https://notesonfilm1.com/2024/09/26/the-gus-van-sant-podcast-no-2-drugstore-cowboy-1989/ We found DRUGSTORE COWBOY, Gus Van Sant's second feature, beautiful, imaginative and moving; a film that gets better with each viewing. We discuss Matt Dillon, so extraordinarily good looking and yet also so very believable as a ‘regular guy'; Tom Waits was the original casting and we talk about what Dillon brings to the role, his choices, and another possible connection to Van Sant, how he is also drawn to the marginal, the outsider; we talk about the experimental montages, clearly influenced by Anthony Balch's Fires Open Fire (1963) which evoke a subjective state of mind, usually drug fuelled, but which also act as a structuring device and help make the film aesthetically cohesive. We discuss continuities: time-lapse photography, Super8 filming, the Pacific Northwest, subject matter of marginals, outsiders, small time crims, junkies. We both agree that we don't like William Burroughs in the film, even though he was much praised upon its release. We discuss how Van Sant's second feature is an announcement of a major American director with a distinctive voice, a very particular style, a visual vernacular, a contiguous world from film to film, peopled by recurring figures, a darkly comic tone

José Arroyo in Conversation with Edmund Stenson, co-director with Daniel Rohar, of BLINK, a documentary which will be premiering at the London Film Festival with three screenings on October 13th, 14th and 19th. It will get a nationwide theatrical release across the United States with Disney/ National Geographic beginning next week on October 4th. An extraordinary achievement for a documentary. The film tells the story of the Lemay-Pelletier family who discover that their eldest child Mia suffers from a rare genetic disease, retinitis pigmentosa, that will eventually end in blindness. To make matters worse, it turns out that three of their four children suffer from the same disease. What to do? A doctor suggests that they may want to build a memory bank of images their children can subsequently access once they go blind. They canvass their children for a bucket list of activities and they set out to make them come true by taking a year off and travelling in Africa, South Asia and Latin America. It's a moving film, beautiful to look at, about family, parenthood, childhood; and resilience in the face of the unavoidable. In the podcast I talk to Edmund Stenson about the making of the film, what a documentary filmmaker does, how narrative is shaped in this form, the contributions of the film editors, the differences between the starting idea and what eventually comes out via filming and editing. Ed is also a Warwick Film/TV graduate so from about the 33rd minute of the podcast I also ask him about process: how does a film/TV graduate end up as a director of documentaries, particularly as high profile a feature as this one.

https://notesonfilm1.com/2024/09/22/the-gus-van-sant-podcast-1-mala-noche-1985/ A new podcast to accompany a new mini-research project. Richard's kindly humoured me and consented to help kickstart this project, but he'll only co-host with me for the first three films so I shall be reaching out to some of you to talk to me about the rest – and certainly if you have a particular interest in any of Van Sant's films and would like to podcast on them with me, do please get in touch. I'm hoping to build a resource here, not only with the podcasts but eventually with clips, images, a bibliography and more. It will be a process. In this inaugural podcast we talk about Van Sant's first feature, based on Walt Streeter's autobiographical novel, self-financed for $20,000 and filmed on 16mm. We discuss what made us uncomfortable on first viewing, in my case when the film first came out: the power differentials between the characters; the racialised dimension to the casting; but we also discuss why it arguably remains a great film – and the troublesome aspects are part of its greatness. We discuss how the film is an announcement of a new voice in American cinema, with roots in a history of queer culture (John Rechy, Genet, Warhol, The Beats). We speculate on the film's romanticism within a quite fluid representation of sexuality that distinguishes between acts, desire, feelings and identities; queer avant-la-lèttre. We talk about the film's look, one partly dictated by the film's budget, few lights available thus the choice of hard one-directional lighting; making for a noir look but with a beat, bohemian sensibility. MALA NOCHE arrives in the context of new forms of finance, distribution and exhibition permitted by the developing video rental market. One could now produce low-budget films which heretofore challenging subect matterand/or challenging forms and make money from niche markets. Van Sant appears alongside Jarmusch, Spike Lee and other indie filmmakers in the mid 80s. MALA NOCHE can be thought of as a the first of what may be considered a trilogy (alongside DRUGSTORE COWBOY and MY OWN PRIVATE IDAHO), at least thematically: it's North West setting, the marginal cultures, the bohemian romance of outsiderness, it's avant-garde components, its daring. An exciting film to re-watch and talk about.

https://notesonfilm1.com/2024/08/16/jose-arroyo-in-converssation-with-alastair-phillips-on-tokyo-story-yasujiro-ozu-1953/ I've been wanting to talk to Alastair Phillips about his ‘BFI Classic' monograph on TOKYO STORY (Yasujiro Ozu, 1953) since it was first published late last year. I found reading the book after watching the film truly illuminating, deepening and enriching the experience: a real achievement with a film already so familiar. It draws on Japanese sources not yet available in English, offering new information on the film's production and reception and combines this with Alastair's characteristically precise and informative textual analysis. It's no surprise that the book is already on its second printing. In the podcast we discuss the significance of TOKYO STORY being Ozu's first film after the American occupation; Shochiku Studios, genre, and the star system of the period; the film's reception in Japan and the lag between that and broader international release; Ozu's characteristic aesthetic, including what Nöel Burch characterised as the ‘pillow shot' ; the relation of space to place in the film; how the film is about the flow of time in its varied temporalities; the female-centric aspect of the film and what it has to say about ‘blood' families; why and how it's so moving; it's relationship to MAKE WAY FOR TOMORROW (Leo McCarey, 1937); how Ozu is not just one of the great directors of the Twentieth Centuries but, considering his work as a potter, designer, painter, photographer, calligrapher etc, might just be one of its greatest artists; why it keeps getting ranked at the top of the critics' polls decade after decade; why isn't it called THE ONOMICHI STORY …. And much more. A conversation that will hopefully incite listeners to read the book.

https://notesonfilm1.com/2024/08/01/jose-arroyo-in-conversation-with-siavash-minoukadeh/ At Cinema Rediscovered I attended a panel on film programming and film curating chaired by Maddy Probst and found the collaborations between the festival and the young programmers impressive and inspiring. The strand I attended most assiduously was Siavash Minoukadeh's Queer Cinema From the Eastern Bloc, co-curated with Fedor Tot. In the accompanying podcast I talk to Siavash about how he came to be a curator, how this particular programme came to be, what his collaborations with Fedor Tot and the Festival were like, what risks were involved, and what the feedback on the program has been like thus far. Is film programming putting bums on seats? Developing new audiences? Bringing hard to see material into view? Creating contexts for different ways of viewing and understanding? Making cultural interventions? All of the above?

https://notesonfilm1.com/2024/07/31/cinema-rediscovered-2024-wrap-up/ We have nothing but praise for this year's edition of Cinema Rediscovered. In the podcast, we discuss the pleasures of seeing Gilda (Charles Vidor, 1946) and Le Samurai (Jean-Pierre Melville, 1967) in beautiful prints on the opening night; the pleasure in seeing restorations with an audience where every time someone responds differently it raises a question one might not have thought of before; thus, a pleasure that begins in the realm of the aesthetic and moves on and combines with the the real of dreams and thoughts. We talk about the two Edward Yang films screened,  A Confucian Confusion (1994) and Mahjong (1996) and praise Ian Wang for doing such a terrific job of introducing the films: interesting, entertaining, succinct and opening up ways of entering the film, a challenge in the age of Wikipedia. We discuss the Ninon Sevilla cabaretera films, possibly the hit of the festival. There was a fantastic programme of 'New' Hollywood films -- Out of Their Depth: Corruption Scandal and Lies in the New Hollywood -- and we discuss the only two films in the programme that we did manage to see:  Night Moves (Arthur Penn, 1975) and The Long Goodbye (Robert Altman, 1973). We hope to catch up with the rest when it tours. The festival offers a great balance tween the more esoteric strands and those appealing to a larger audience. It was wonderful to see The Wizard of Oz (1939) with an audience full of children, some of them dressed up as Dorothy. We also touch on the eff Barnaby and  Bill Douglas cycles as well as  the Sergei Parajanov restorations and other strands of the festival. We will be doing a separate podcast on the Queer Cinema from the Eastern Bloc programme. There were several revelations in this festival that we discuss in the podcast: The Student Nurses (Stephanie Rothman, 1970) the only woman to direct a film in Hollywood between Ida Lupino and Elaine May; Charles Burnett's The Annihilation of Fish (1999); Ehsahn Khoshbakht's beautiful and very personal Cellulloid Underground; and Giuseppe Patroni Griffi's Il Mare (1962), which David Melville Wingrove in his introduction argued had been a formative influence on Jarman as well as Bill Douglas and, we later learned on Tony Richardson as well as Pedro Almodóvar. Quite a queer package. Lastly, we praise how the festival makes use of the city, the different venues, It's part of a concerted effort to bring the city into the festival and the festival into the city. The festival seems an incubator for curators, some curating a single film, some a strand. A very entertaining event, and no one used their phones during the screening. Big Gold Star. The community feel, the social engagement, the educational component of talks and workshops, a teaching people how to do things, all meshed together to form a very impressive festival. Many congratulations to all. Some of the strands will be touring.

https://notesonfilm1.com/2024/07/20/cinema-rediscovered-2024-preview/ Richard and I preview the 2024 Cinema Rediscovered Programme taking place in Bristol, July 24-28. We've already podcast on the Parajanov films and the Ninon Sevilla ‘cabaretera' films so we here highlight some of the other strands such as the 70s cycle of ‘New” American films of the 70s titled OUT OF THEIR DEPTH: CORRUPTION, SCANDAL AND LIES IN THE NEW HOLLYWOOD and QUEER CINEMA FROM THE EASTER BLOC. We also highlight restorations of films from Charles Burnett, Bela Tarr, Edward Yang and many others, as well as the rare opportunity to see films by the likes of Lynda Miles, Stephanie Rothman, not to mention beautiful restorations of classics such as GILDA and THE LONG KISS GOODBYE. Cinema Rediscovered offers not only a superb programme but a model of engagement, community based, inclusive, social, cinephile, generative. It includes films but also history walks, workshops on criticism and projection and much else. Aat the centre of it all are films, usually in beautiful prints with great attention to projection, all instigating a conversation on cinema.

Sheldon Hall's ARMCHAIR CINEMA: A HISTORY OF FEATURE FILMS ON BRITISH TELEVISION is a beautifully produced object, lavishly illustrated and lovely to hold. More importantly, it is a pleasure to read , full of new and fascinating information and is sure to become a landmark and reference point in the study of films on television for decades to come. In the podcast we discuss how the book came to be and how it developed, how the policy around films in television developed over the years, how research lead to a heretofore unaccounted for Hitchcock film, Leslie Halliwell's influence as film buyer, the role of television programming in creating particular types of cinephilia, how the editing of films for television changed over the years, what Sheldon learned as a result of writing the book, what I learned as a result of reading it, and much mor

https://notesonfilm1.com/2024/07/15/jose-arroyo-in-conversation-with-daniel-bird-on-sergei-parajanov/ We ask who is Parajanov and why Parajanov? We touch in the centrality of his work to the national and cultural identities of so many countries: Ukraine, Georgia, Armenia, Russia; its aesthetic beauty and its continuing power. Certain filmmakers continuously crop up in relation to Parajanov's work -- Eisenstein, Jarman, Greenaway, Pasolini, Kenneth Anger, Powell and Pressburger. The conversation is bounded by the war in Ukraine; post-colonial relations; the excitement of cinema poetry, the need to archive, preserve, restore and circulate; questions of anarchy in totalitarian context; and a fluid line of different degrees of queerness that runs across Parajanov's oeuvre. Beautifully restored versions of SHADOWS OF FORGOTTEN ANCESTORS and THE COLOUR OF POMEGRANATES will be screened at Cinema Rediscovered, Watershed, Bristol on July 28th.

https://notesonfilm1.com/2024/07/08/jose-arroyo-in-conversation-with-lorena-pino-on-ninon-seville-films-at-cinema-rediscovered-watershed-bristol-24-28th-of-july/ José Arroyo talks to Lorena Pino about the programme of Ninon Sevilla films playing at the Watershed in Bristol as part of the Cinema Rediscovered Programme, and which includes two UK Premieres -- Carita de Cielo (José Diáz Morales, Mexico, 1947) and Aventurera (Alberto Gout, Mexico, 1950) -- as well as the 4K restoration of an acknowledged if still too little-seen masterpiece, Victimas del Pecado (Emilio Fernández, Mexico, 1951). Gabriel Figueroa, the great cinematographer who worked with Buñuel and John Ford, is responsible for the great film's astonishing look.

https://notesonfilm1.com/2024/07/08/thinking-aloud-about-film-ritrovato-round-up-2024/ Richard and I return to the podcast with our Ritrovato Round-up. Last year I couldn't go due to health reasons and I interviewed him; this year, the tables were turned and he interviews me. Ritrovato is so vast and generous in its programming that everyone who attended would have had a different experience of the festival. This is an account of mine. We criticise the booking system and people's piggish habit of taking out their phones during screenings. Cinephiles do know better, which makes it all the worse. The rest is mainly hossanas. We praise Daniel Bird's programming of the Parajanov Strand. We note how even seeing familiar films can be the basis of a rediscovery and discuss how the programme of Dietrich films at the festival should re-write the narrative of the Von Sternberg/ Dietrich collaborations from one of a Svengali act of moulding to a feminist act of self-creation. We touch on Delphine Seyrig, the Dark Heimat Strand, Gustaf Molander, Anatole Litvak and highlight Carlos Sauras' Los golfos and Montxo Armendáriz Tasio from the Cinema Libero strand. We also discuss seeing films at the stunning Cinema Modernissimo, watching Les parapluies de Cherbourg at the Piazza Maggiore and many other bits and bobs.

An inspiring talk with Ross Higgins on the foundation of the Archives gaies du Québec. How did the archive came to be? Why did it come to be? What social and historical contexts shaped it? How did it develop from materials stored and used in his flat to an archive of national and international importance? Ross, who along with Jacques Prince, founded the archive, offers various histories and contexts, from changes in the law, to changing concepts of sexual and social identities, that informed how the archive developed and how it came to be what it now is, taking into account particularities of place but always conscious of larger forces and the interplay between them. A talk anyone interested in histories of sexualities, communities and the place of the archive in all of that, will find fascinating.

https://notesonfilm1.com/2024/04/04/in-conversation-with-richard-layne-on-yoko-ono-music-of-the-mind-tate-modern/ I talk to Richard Layne on ‘Yoko Ono: Music of the Mind', currently on at Tate Modern. You might recognise Richard from our podcast, THINKING ALOUD ABOUT FILM. What you might not know is that he is a long-time fan of Yoko Ono and one of the most knowledgeable people on her work as an artist and performer. In this podcast, Richard, compares this exhibition, billed as the largest ever undertaken on the work of Yoko One, and compares it to the many others he's attended. We talk of how he became a fan, her various types of work, the performance art, the conceptual art, her books of instructions, the connection to Fluxus. We also touch on her collaborations with some of the key figures of mid-twentieth century art (John Cage, Robert Rauschenberg, John Lennon) and  how her work prefigures that of contemporary artists such as Marina Ibrahimovic. Our conversation broadly follows the flow of the exhibition itself, so I've included photographs from the exhibition in the blog so the listener might more clearly follow the points of conversation. Richard is very illuminating on why Yoko Ono is one of those figures that keep getting re-discovered periodically, on her extensive influence in various domains of art, from the gallery to punk, and on how she is a wonderful conduit to chance meetings with The Pet Shop Boys.

https://notesonfilm1.com/2024/02/13/jose-arroyo-in-conversation-with-sean-burns-on-dorothy-towers-and-death/ Sean Burns is a Birmingham-born, London-based artist; the author of DEATH, part of the LOOK AGAIN series of volumes interpreting the TATE's collection through particular themes and published to coincide with TATE BRITAIN'S recent re-hang; and the director of DOROTHY TOWERS, a film in which I appear. In the accompanying podcast, we discuss these iconic Birmingham Tower blocks that are the subject of the film; how their design and location meant that generations of queers ended up living there and continue to do so; how these buildings have a patterned history but not just one story. There are different stories, different layers of stories, spectral and layered, plural. We discuss how ‘Queer' in England is constantly re-written as something that only happens in London and how the film is often interpreted by audiences as a reclaiming and a validation of similar histories that have probably taken place in cities all over the country. It's a film that also brings into play modernism, brutalism, drag, fashion, and urban design that prioritises cars over people. We discuss how the film was driven by a mandate to search but not necessarily to find; and how what is evoked is a layered history but one with the feeling that comes from a place in which death, mourning and sadness are spectral but not defining elements. A film aware of the perils of representation and thus conscientiously ethical in its approach. We talk also of Burn's recent book on death, his obsession with Francis Bacon and George Dyer, how Ireland and Irishness are developing concerns, and whether death, mourning, and longing are themes common to all this work.

https://notesonfilm1.com/2024/02/12/thinking-aloud-about-film-out-of-the-blue-chen-kun-hou-taiwan-1983/ We continue our discussion of the GOLDEN DECADES: CINEMATIC MASTERS OF THE GOLDEN HORSE AWARDS with a chat on OUT OF THE BLUE (Chen Kun-Hou, Taiwan, 1983). A fascinating film to discuss in relation to all our previous podcasts on Taiwanese Cinema and Hou Hsiao-hsien; a film directed by Chen Kun-hou, the cinematographer on Hou Hsiao-hsien's early films such as THE GREEN, GREEN GRASS OF HOME (1982) and THE BOYS FROM FENGKUEI (1983). Chen Kun-hou is also the cinematographer on HE NEVER GIVES UP (LEE HSING, 1978), and of course Hou Hsia-hsien was the co-writer on GROWING PAINS (1983) and this one. These films also share writer, Chu T'ien-wen (the screenwriter) who went on to co-write most of Hou Hsia-hsien's films, this one based on a novel by Chu T'ien-wen's sister, Chu T'ien-hsin. Collectively ork that evokes an outpouring of creativity but as part of a circle of collaborators. And this particular film seems a turning point from the healthy realist cinema that was and the comedies and musicals that followed to what would become known as New Taiwanese Cinema. A key film, released just after BOYS FROM FENGKUEI; A film that takes its time, the camera lingers, yet never feels long, a story gently told about young love in trouble, filial duty, ties to family, small transgressions. Aspects bring to mind BEFORE SUNRISE (Richard Linklater, 1995) Arguably, one can't understand New Taiwanese Cinema well without having a context; and this series is a shortcut to that context, the virtue is that it's preselected, the films that that national industry thought the best; and within THAT, OUT OF THE BLUE is arguably the key film of that transition.

In the podcast we try to mix very personal responses to ALL OF US STRANGERS with various historical contexts and speak of the film's setting in relation to queer childhoods in that period, section 28, trauma, erasure; the film's formal and stylistic achievements; Andrew Haigh's career; how the film speaks to psychoanalytic pain, a generational pain, grief, AIDS. The personal grounded in historical contexts as a platform for politics. It's all in there

https://notesonfilm1.com/2024/02/01/thinking-aloud-about-film-he-never-gives-up-li-hsing-taiwan-1978/ We continue our discussion of the GOLDEN DECADES: CINEMATIC MASTERS OF THE GOLDEN HORSE AWARDS with a chat on He Never Gives Up (LI Hsing, Taiwan, 1979). Li won the Golden Horse Award for Best Director for his films Beautiful Duckling (1965), Execution in Autumn (1972), and He Never Gives Up (1978) setting a record in Taiwan's film history that remains unbroken, marking the pinnacle of Li Hsing's directing career. It's also part of a run -- Good Morning Taipei (1979) and The Story of A Small Town (1980) – of very successful films. This is our opportunity, a mixed blessing, to see a ‘Healthy Realist' film, ‘uplifting', and we now clearly see why the New Wave, so clearly a response to ‘Healthy Realism' made such an impact. The film is based on a real story, published as A Raft in the Storm, that dealt with a child overcoming disability. We discuss, healthy realism, ideology, hope, disability, and the film's trade in platitudes. Richard is the voice of reason; I despised many aspects of it.

https://notesonfilm1.com/2024/01/28/thinking-aloud-about-film-four-moods-taiwan-1970/ We continue our discussion of the GOLDEN DECADES: CINEMATIC MASTERS OF THE GOLDEN HORSE AWARDS, with a chat on Four Moods, a portmanteau film, originally conceived as a project to raise funds for Li Han-hsiang's ailing film company, Grand Motion Picture Company in Taiwan, The four short films that together compose FOUR MOODS are: First, Joy, is directed by Pai Ching-Jui, a bold beginning, shot as a silent film, with diegetic music but no dialogue The second is King Hu's Anger, which no doubt King Hu's fans will rejoice at. Sadness, the third, is directed by “godfather of Taiwanese cinema” Li Hsing, is perhaps misnamed as it's perhaps more about self-destructive anger and vengefulness than anything else. Happiness, the last, and our favourite, is directed by Li Han-Hsiang himself All involve ghosts, hauntings, and desires. A historically and culturally significant film, featuring four of the most popular and significant directors of the time. Fabulistic and allegorical, yet, the length of the podcast testifies to the limits of our understanding. The frustration of watching these films is the bounds of one's knowledge, and we would encourage listeners who want to know more to read these excellent articles by Andrew Heskins and Hayley Scallion. The copy kindly made available for viewing is brown and a bit murky colour-wise and does not deserve to be publicised as a restoration. The sub-titling, particularly of text within the narrative, could be improved. That said, w're very glad to see it.

https://notesonfilm1.com/2024/01/23/storm-over-the-yangtze-river-li-han-hsiang-taiwan-1969/ We continue our discussion of the GOLDEN DECADES: CINEMATIC MASTERS OF THE GOLDEN HORSE AWARDS, with a response to Storm Over the Yantze River (Li Han-hsiang, Taiwan, 1969).