On The Cinematic Odyssey podcast, we talk about films that aren’t in the mainstream consciousness, with most of the movies we talk about within the art house sphere.
On the sixty-ninth episode of the Cinematic Odyssey, Tristen and Max dive into Best Picture and Palme D'or winner Anora from writer/director/editor Sean Baker. Fitting. Max gets heated quickly about human decency and Tristen adds context to the simple way the film is shot. Warning: adult content and some profanity. Also featuring the best time to say 'I love you', Max's hidden appreciation for Russian Orthodoxy, and a dive into last week's Cannes Film Festival and the new movies coming soon to America.
On the sixty-eighth episode of the Cinematic Odyssey, Tristen and Max dive into Wes Anderson's first venture into animation with an adaptation of the Roald Dahl story Fantastic Mr. Fox. Max breaks down what he thinks the main theme of the movie is and also what his younger self believed, with Tristen praising the simplicity of the film. Also featured: Tristen singing, Max trying out Gen-Z slang, and hearty discussions on corduroy and trademarks. Enjoy!
On the sixty-seventh episode of the Cinematic Odyssey, Tristen and Max dive into Emanuele Crialese's semi-autobiographical work L'immensita: one of Max's favorite films. The Italian language quasi-musical brings your hosts into a discussion of properly depicting the transgender experience, allusions to other current films that address the subject, and a good bit of criticism for the Academy Award nominated film that tries its best in the same vein.
In this special episode of The Cinematic Odyssey, Max and Tristen discuss the classic and timeless Fanny and Alexander from one of cinema's greatest filmmakers: Ingmar Bergman. On the episode Max and Tristen go back and forth with hot takes about the Christmas film "genre", the choices Bergman made, and the dark themes of the film. It gets heated as Tristen vehemently defends the genius of Ingmar Bergman while Max attempts to tear it down.
On the sixty-sixth episode of The Cinematic Odyssey, Tristen and Max run through all categories for the 97th Academy Awards with their picks and predictions for how the night might go. The episode includes a heated debate about the use of AI in film, a shoutout to longtime Cinematic Odyssey listener Bowen Yang, and the most predictable Best Picture choice coming from the both of them. They also discuss snubs, techno, and Denis Villeneuve, in a semi-thorough awards preparation.
On the sixty-fifth episode of the Cinematic Odyssey, Tristen and Max delve into their second David Lynch film, 1997's Lost Highway, in honor of the great writer-director's passing in January. Tristen recounts the creepiest thing he's seen in the movie, Max tries to one-up him with creepier options, and they both offer their opinions on reality, the state of dreams and the supernatural, and Gary Busey.
On the sixty-fourth episode of the Cinematic Odyssey, Tristen and Max venture over to Italy for their first foray into Federico Fellini's most well-known film, 8 1/2. The dreamlike narrative filled with delusions and women has Max wondering if it would be easier watching if he spoke Italian and Tristen talking about his fountain vision as well as some extensive allegory. Recorded in October 2024.
On the sixty-third episode of the Cinematic Odyssey, Tristen and Max dive into Max's favorite movie from 2024, Rye Lane. A feature debut from all leads and the director, it's a testament to the simplicity of good chemistry and a strong romantic story. Hear Tristen and Max banter in British accents, discuss the worst breakups of all time, and the wonders of the public restroom system.
On the sixty-second episode of The Cinematic Odyssey, though recorded on September 29, 2024, Tristen and Max dive into their first look at the Coen Brothers and their 2000 epic "O Brother Where Art Thou?". They go through ghost stories and fables of the actual American South while comparing this film to Homer's Odyssey, with Max also gushing over the banjo and the Soggy Bottom Boys. Tristen and Max also dive into the idea of deus ex machina (dir. Alex Garland) and how the movie is far more Greek than it appears.
On the sixty-first official episode, Tristen and Max spent a lot of time at the theater and now review their bottom 5 movies and top 15 from the year 2024. Tristen's list is exclusively movies that came out in 2024 and Max's follows everything he saw for the first time, but in their grand return in a majestic episode (approximately one half of The Brutalist), the jokes are rolling, criticism is flying, and praise is abundant for some fantastic films with much more to come.
Around the midpoint of 2024, as Tristen and Max reform the podcast you know and love, they take a look back at the first half of the year for some of the big swings and occasional misses of their cinema experience. Then, they turn towards the future and what they're most excited for in the latter half of 2024. Maybe this serves as recommendations, but Tristen and Max have some fun talking about what they love about movies.
On the sixtieth episode of the Cinematic Odyssey, Tristen and Max dive into John Cassavetes's experimental indie film Opening Night. Through discussion of Cassavetes's unconventional storytelling, massive narrative undertaking, and relationship with the film's star, the guys try to decide whether the film is a masterpiece or lacking in some areas. Make the call yourselves, but please stay out of the street afterwards.
On the fifty-ninth episode of the Cinematic Odyssey, Tristen and Max return from an extended alien abduction to discuss Wes Anderson's latest feature, Asteroid City. One of Max's favorites, he delves into why the content and substance of the film works so well, and Tristen uncovers why it might not be one of his better pieces. The ensemble cast receives praise and there are lots of laughs to go around, with the episode also including a sneak peek into what Tristen and Max have been able to see in the weeks absent on the alien ship. You won't want to miss it!
On this bonus episode of the Cinematic Odyssey, Tristen and Max walk you through their picks, predictions, and thoughts on every award category. For insight on major awards like screenplay, acting, directing, and Best Picture, skip to the one hour mark of the episode. Max monologues about the shorts and documentary nominees while Tristen stews with the anxiety of his worst nightmare coming true this awards season. What might that be? Give it a listen and laugh along with us as we prep for the 96th Academy Awards.
On the fifty-eighth episode of the Cinematic Odyssey, Tristen and Max take a look at Jonathan Glazer's Oscar-nominated film The Zone of Interest. Tristens walks you through why he believes this is the best film of the decade so far and Max provides insight on the acting value that the film has to offer. Both are chilled and in awe over the haunting nature of a film that features no on-screen atrocities, yet still provides the same repulsion. Even the sound and score are incredible, creating a terrifyingly quaint depiction of life next to a death camp.
On the fifty-seventh episode of The Cinematic Odyssey, Tristen and Max dive into 2024 Best Picture nominee Past Lives, the feature directorial and screenwriting debut of Celine Song. Hear why they loved the film, what great secrets are hidden in the camerawork, and Max's next musical theatre history rant that actually has some merit. This is a film you'll want to see at some point in your life, one that's sweet and romantic and hopeful for this life, all the lives that came before, and every life that comes after.
On the fifty-sixth episode of the Cinematic Odyssey, and special Valentine's edition, Tristen and Max uncover the beautiful mystery of Richard Curtis's Love Actually. One of Max's favorite rewatches come holiday season, Tristen enters with no expectations and the result does not shock you at all. Discussing the writing, performances of the ensemble cast, and even Richard Curtis's other works, this episode is sure to be one that captures that special feeling for you and a loved one, otherwise it probably would be creepy. Also, if you missed your seminar on workplace harassment, this is the place to be!
On the fifty-fifth episode of the Cinematic Odyssey, Tristen and Max return from hiatus to their shortest episode ever! In it, both discuss thoughts and opinions on Soviet director Mikhail Kalatozov's 1960 adventure film Letter Never Sent, the same director that directed Tristen's top overall film of 2023. Tristen gushes on visual effects and technical capabilities, Max slams a man named Konstantin, and there are plenty of puns to go around.
On the fifty-fourth episode of the Cinematic Odyssey, Tristen and Max take their first look at the extensive filmography of Masaki Kobayashi and his samurai tale Harakiri. A masterful philosophical discussion applicable to this day, several interlacing stories are told in a disgraced samurai's path to commit ritualistic seppuku or harakiri. Tristen and Max get into the ethical issues of the film and how it appears to American society, talk about the hairstyles that make men, and a bit of Oscar nomination buzz including Tristen's most shocking revelation on the podcast.
On the fifty-third episode of the Cinematic Odyssey, Tristen and Max walk through both ends of the spectrum of their 2023 in film. A number of past episodes are referenced and some shock and awe is included while both lists are blind-revealed live on the podcast. Your hosts share their bottom 5 and top 15 films that they saw for the first time in the calendar year 2023 and reveal a few more honorable mentions that didn't get the light to make the list.
On the fifty-second episode of the Cinematic Odyssey, Tristen and Max venture into Frank Capra's holiday classic It's a Wonderful Life. While wandering through the early failings of this movie, both comment on the story quality and the moral philosophy behind the film. Tristen provides his commentary on the Monopoly Man, Max has another game show up his sleeve, and both present the hidden theme of the film that goes over the heads of most viewers. Stick around, you won't want to miss this episode!
On the 51st episode of The Cinematic Odyssey, Max and Tristen tackle the enigmatic, seductive, and oh so frightful final film from the cinematic legend Stanley Kubrick. As it was tradition with Kubrick and his work, Eyes Wide Shut was mired in controversy. Ranging from the taboo themes and scenes, the record-breaking filming period, Kubrick's untimely death, studio intervention, and a lot more. Max and Tristen discuss the wild ride that is Eyes Wide Shut, the final film to cap Kubrick's immaculate body of work and the film that he claimed to be his "greatest contribution to the art of cinema."
On the fiftieth (!) official episode of the Cinematic Odyssey, Tristen and Max revisit Wong Kar-wai for the second time on the podcast, for In the Mood for Love, what many consider to be his masterpiece. Tristen rationalizes his lack of understanding of the piece and Max gets real for a moment while referencing musicals and more. Tristen makes a brilliant observation about cameras and there's more than one discussion about the soundtrack taking place! Plus, a fun game for the loyal listener with the opportunity to choose how the podcast plays out!
On the forty-ninth episode of the Cinematic Odyssey, Tristen and Max venture into their first Scorsese film, his oft debated 2013 effort The Wolf of Wall Street. Max compares the film's heightened emotions to musicals and Tristen delivers a long-awaited monologue on the misinterpretation of the film and how people can love it for the wrong reasons. Also featured is a discussion on the morality of Belfort's efforts and new names for a 150 million dollar yacht, if one were owned by Max. All this and more in the brand new episode!
On the forty-eighth episode of the Cinematic Odyssey, Tristen, Max, and special guest Mackenzie venture into their first of Ingmar Bergman's efforts on the podcast, 1978's Autumn Sonata starring Ingrid Bergman (no relation). Max takes a trip down a musical rabbit hole, Tristen relives the tension building in the first half of the film, and Mackenzie offers questions regarding the definition of a parent and caregiver. The episode culminates, much like the film, in an epic battle and the first game show ever hosted on the Cinematic Odyssey. You won't want to miss it!
On the forty-seventh episode of the Cinematic Odyssey, Tristen and Max delve into their second of Ruben Östlund's social satires, The Square. This time, in the art world, Tristen discusses why he doesn't like the film as much and Max commends the physical behavior of each actor on screen while bestowing a title on Östlund with a Cinematic Odyssey first. Max also introduces a brand new segment to end the episode off and the discussion of which character has the best drip finds another agreement. All this and more inside this wonderful episode.
On the forty-sixth episode of the Cinematic Odyssey, Tristen and Max break into what Tristen has called the best film of the 21st century: There Will Be Blood, from Paul Thomas Anderson. Max launches into his reasoning on why it's believed that Daniel Day-Lewis presents one of the great acting performances ever in this film and Tristen navigates the plot mentioning and explaining every symbol he can. Does Max actually like this Paul Thomas Anderson film? Is Tristen right about the film's timeless struggle and message? Find out, along with a brand-new closing segment introduced this week on the Cinematic Odyssey.
On the forty-fifth episode of the Cinematic Odyssey, Tristen and Max investigate David Lynch's cult classic first feature film, Eraserhead. They explore the lengthy process of the creation of this film and how it ever got to the big screen in the first place and then each provide their own interpretation on the film's meaning. Max revels in the surreal and metaphorical language and imagery within the film and Tristen provides his commentary on the style of Lynch bleeding into his later projects. Features Hot Takes from both Tristen and Max.
On this special bonus Halloween episode of the Cinematic Odyssey, Tristen and Max delve into what some have called the best horror film of the past few years: Hereditary. They have no shortage of kind words for the performance of Toni Collette and truly dive into every scare and strategy that made Max petrified. Plus, Tristen has a hot take on the lore and legacy of this film.
On the forty-fourth episode of the Cinematic Odyssey, Tristen, Max, and special guest Judah delve into George Romero's pioneering horror cult classic Night of the Living Dead. Max brings up his feelings about gore and an unfinished script, Judah presents questions and about the nudity and gore present on screen, and Tristen contextualizes the film within the culture and time period of its creation. They ultimately rule on the lasting effects that the film has had on the horror genre but how that does not necessarily make it a masterpiece or an excellent movie.
On the forty-third episode of the Cinematic Odyssey, Tristen and Max venture into the world of horror film with Kiyoshi Kurosawa's Cure for the one-year anniversary episode of the podcast! They both explore the usage of sound in the film and how ordinary happenings are heightened to great effect. Max also divulges his disgust with many images in the film, finding gore disgusting. They wrap with how tight and well coordinated the script is and also rank their five favorites in films discussed on the podcast so far. Thank you all for listening to the Cinematic Odyssey for one year now! Here's to many more.
On the forty-second episode of the Cinematic Odyssey, Tristen and Max dive into one of the great war films of the twentieth century, Soviet effort The Ascent from Larisa Shepitko. Tristen ventures into his breakdown of all the biblical references in the film during a period of state atheism in the USSR and Max provides insight as to the nationalist value of the film and how it got released with no cuts. Both were blown away by the beauty of each shot and you'll have to stick around to hear whether the ending is happy or sad, and can it be both?
On the forty-first episode of the Cinematic Odyssey, Tristen and Max venture into Long Island's rough part for the Safdie Brothers' fourth feature film, Good Time. Tristen discusses how the film sheds an excellent light on American poverty and the issues with support systems and Max compares the film with the Safdies' next effort, Uncut Gems, and remains a hardliner against the latter. Full of blunt truths and uncomfortable circumstances, the film will take you through an unforgettable night, and Tristen and Max help wade through some of them.
On the fortieth episode of The Cinematic Odyssey, Tristen, Max, and special guest Mackenzie venture into the gripping masterpiece City of God from Brazilian directors Fernando Meirelles and Katia Lund. Max and Mackenzie lather on the praise as one of the best films they have ever seen and Tristen discusses the role of the police in this film as well as in his favorite, France's La Haine. An intricate discussion is had an corruption and the cycle of poverty, the influences that children have, and the effective storytelling that leaves no stone unturned as well as the bonus feature about what actually constitutes a historical epic film.
On the thirty-ninth episode of the Cinematic Odyssey, Tristen and Max venture back to the world of the Daniels to discuss their feature film debut, Swiss Army Man. Tristen works to compare this film and style to their latest hit, Everything Everywhere All At Once, taking the pieces of philosophy present in both, and Max breaks down how this film works to make us confront the way we live our lives every day. They both however have fun with the intense creativity and uniqueness that the Daniels bring to their work. The list of the episode regards short films, much like this one, at least under 100 minutes, and the top choices for both hosts sharing what they're passionate about.
On the thirty-eighth episode of The Cinematic Odyssey, Tristen and Max make their first voyage into the grand works of Andrei Tarkovsky and his historical epic sharing a first name. Tristen rationalizes the difficulty of understanding such a massive work and the immediate reactions to the piece while also understanding that Tarkovsky is one of the greats. Max provides religious background and explores the dialogue that ranges from compelling to mesmerizing and they both are in agreement that this film is a feat, let alone for a new director at the time. Tristen and Max end with personal hot takes on directors, slowly getting spicier near the finish line.
On the 37th episode of The Cinematic Odyssey, Max and Tristen discuss their opinions on one of cinema's towering achievements, from the late cinematic titan, pioneer, and master, Akira Kurosawa. Ikiru, translated to english as "To Live" follows an old man in the final days of his life where he attempts to right the wrongs of his past and salvage the previous wasted decades of his life mired in monotony, boredom, disdain, and lovelessness. We talk about the various technical achievements that Kurosawa showcases, the towering performance of Takashi Shimura, and the philosophy behind the message of the film.
On the thirty-sixth episode of the Cinematic Odyssey, Tristen and Max unpack the documentarian effort of French director Robert Bresson in his acclaimed A Man Escaped. Packed with minute details and patient unease and suspense, both hosts respect the effort to make the film as realistic as possible to the memoir it was based on, as well as true human physicality. Max makes a series of absolutely horrible comparisons between this film and pop culture of today, while Tristen remains in awe of every shot and each poignant detail. They both are able to come away with the knowledge that this film is more than just an escape: it's about trust, hope, and the human spirit to fight on and keep living.
On the 35th episode of The Cinematic Odyssey, Max and Tristen discuss one of cinema's most respected, storied, and greatest filmmakers, Hayao Miyazaki. We talk in depth of his 1997 masterwork Princess Mononoke where we see Miyazaki unveil the futile violence of human conflict and the abusive relationship that man has with nature. Princess Mononoke finds Miyazaki filled with a burning passion out to showcase the destructive nonchalance of human beings towards earth and themselves.
On the thirty-fourth episode of the Cinematic Odyssey, Tristen and Max venture into Alfonso Cuarón‘s alternate future in one of Tristen‘s top films of all time: Children of Men. They discuss the biblical and religious meanings of the images and themes used, how the cinematography of the film makes it special, and even the shades of morality and how moral a police state can be. No arguments ensue but this is a film for the ages and both Tristen and Max say it's well worth your time.
On the thirty-third episode of the Cinematic Odyssey, Tristen and Max discuss where they've been the past month and where their travels have taken them. Neither, however, have been to Iran which is where Taste of Cherry is set. Max discusses what he missed from the film and Tristen attempts to instill meaning in the captivating philosophical drama. They discuss the virtues of life and living and also the moral weight of the given circumstances of the film. The film may move slow, but it opens an existential can of worms, allowing us to ponder what life is worth living.
On the thirty-second episode of the Cinematic Odyssey, Tristen and Max dive into the six-part documentary series from Jon Bois and Alex Rubenstein on the history of baseball's Seattle Mariners. They both touch on their experience growing up with baseball and how the Seattle Mariners have never lived in the forefront of either of their pasts. Tristen discusses the importance of Seattle's geography as well as the themes of home, humility, and loyalty while Max delves into olde poetry to connect love of life to the identity of the Seattle Mariners, devoid of any major accomplishments. Tristen and Max both say that they never thought a team from obscurity could make them cry. It happens here.
On the thirty-first episode of the Cinematic Odyssey, Tristen and Max dive into one of the best international films of recent memory with Ryusuke Hamaguchi and Japan's Drive My Car. The two spend a lot of time poring over the deeply layered script and the double and triple meanings behind every word spoken, Max gives a rundown on Uncle Vanya and Russian theatre, and Tristen defends the inaction of the main character. While it may be a slow drama, it remains absolutely captivating and spellbinding, drawing audiences in deep and not letting go. The emotional punches are many and Tristen and Max try to break down how symbolic the text actually is. This film is highly recommended by both Tristen and Max.
On the thirtieth episode of the Cinematic Odyssey, Tristen and Max dive into Michael Mann's feature film debut Thief, written and directed (and executive produced) by Mann himself, starring James Caan. Max ventures into the moral ambiguity of the film and how the viewer can make a list of which bad deeds are worse than others, and Tristen discusses the captivating camerawork and seamless shots that create the robbery scenes and what it says about the work of a thief. Mixed feelings are exchanged between the two hosts, but it concludes with a very solid agreement that this film is the best that it can be, doing its best to root for the little guy to escape the crushing thumb of organized crime.
On the twenty-ninth episode of the Cinematic Odyssey, Tristen and Max dive into Mikhail Kalatozov's nearly lost work Soy Cuba-- or I Am Cuba. Tristen and Max discuss the historical timeline in Cuba and why the film was made under the Castro regime, how the camera acts just as important as any of the others that we see on screen, and the delicate balance between national pride and nationalism. The beautiful poetry that ties each vignette of the film together lets both Tristen and Max reset and identify the feelings of another nation, one so close, and yet, so strange to our lives.
On the twenty-eighth episode of the Cinematic Odyssey, Tristen and Max venture into the thriller realm with David Fincher and Gillian Flynn's captivating and engrossing Gone Girl. Both remain shocked at the amount of twists and turns, wondering how there possibly can be another layer added to the intensely twisted story. Max gets philosophical and poses questions about manipulation and who is the real victim of the story, while Tristen explores which character might be the worst in the film. All in all, just like the movie, we hope you can't turn away.
On the twenty-seventh episode of the Cinematic Odyssey, Tristen and Max finally adventure beyond Earth's atmosphere for their first film of the great Stanley Kubrick. Tristen enjoys his rewatch and delivers his rendition of meaning to the cryptic and open-ended film, while Max remains surprised at the rating and amount of classical music all while being stunned by the breathtaking visual effects. Both Tristen and Max have similar views on the meaning of the piece, though one skews more optimistic than the other: you'll have to listen and watch to find out who's who!
On the 26th episode of The Cinematic Odyssey, Tristen and Max venture into Yorgos Lanthimos's 2015 darkly comic fable, The Lobster, and discuss, of all things, love. Both attempt to surmise meaning from the ambiguous ending and careful character development of Colin Farrell's lead role, and reflect on the archetypes of characters rather than using names. The highlight of the episode includes a Eureka! moment from Tristen for a change, breaking through to understand the true meaning of why this is a romantic comedy and how we can love in our lives.
On the 25th episode of The Cinematic Odyssey Max and Tristen talk about the well beloved film Fallen Angels from Hong Kong second wave filmmaker Wong Kar-wai. Fallen Angels was a film born out of secondary ideas from Kar-wai's previous film Chungking Express. While Fallen Angels shares the same visual identity as the last, this film explores isolation, love, and melancholy in dark, gritty, neon-lit alleyways, streets, and apartments. We talk in detail about Wong's distinct and instantly recognizable visual aesthetic and how he incorporates visual motifs to enhance a theme, tone, or mood. Wong Kar-wai is a master of the art form and Fallen Angels is one of his finest pictures in his legendary filmography.
In the 24th episode of The Cinematic Odyssey Max and Tristen discuss the classic and timeless Fanny and Alexander from one of cinemas greatest filmmakers, Ingmar Bergman. On the episode Max and Tristen go back and forth with hot takes about the Christmas film "genre", the choices Bergman made, and the dark themes of the film. It gets heated as Tristen vehemently defends the genius of Ingmar Bergman while Max attempts to tear it down.
On the 23rd episode of The Cinematic Odyssey Max and Tristen discuss a western period piece that has flown under the radar since its release in 2007. Considering it came out in the same year as No Country For Old Men and There Will Be Blood, The Assassination of Jesse James by the Coward Robert Ford hasn't been privileged to receive the same acclaim and coverage as the other two films. However, Tristen thinks that this film rightfully deserves to be in the conversation with those other two films and Max thinks otherwise.
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