Podcasts about Barbara Loden

The focus of this 60th episode of Edinburgh Film Podcast is Wanda, the only feature film directed by American actor-filmmaker Barbara Loden. Released in 1970, the film is set in rural Pennsylvania and tells of a working class woman (Loden) who leaves her husband and young children for a life on the road. She eventually drifts into a fraught, uneasy relationship with petty thief Norman Dennis (Michael Higgins) as he plans a bank robbery. Joining host Dr Pasquale Iannone to talk about Wanda is Dr Elena Gorfinkel, author of a new book on the film which is part of the long-running BFI Film Classics series. Elena is Reader in Film Studies at King's College London. Specialising in underground and independent cinema, her many publications include the 2017 volume Lewd Looks: American Sexploitation Cinema in the 1960s. Her articles and book chapters include pieces on filmmakers such as Andy Warhol, Doris Wishman, Kira Muratova and Kelly Reichardt. Elena is also the curator of a major season currently running at London's BFI Southbank titled Wanda and Beyond: The World of Barbara Loden. In their detailed, wide-ranging conversation, Elena tells Pasquale about her first encounter with Wanda and how she approached the writing of her new book. Discussion then moves on to the film itself, before turning to the curation process for the BFI Loden season. Wanda (2025) is published by Bloomsbury and is out now. The BFI Southbank season Wanda and Beyond: The World of Barbara Loden runs throughout the month of June. For more details, please see the BFI website.

On this week's episode, Morgan is joined by returning guest and critic Eoin Daly to discuss Barbara Loden's 1970 film, "Wanda." Eoin and Morgan dive into the film's impact on women in film and in independent film, how Loden's film challenges societal norms, and the subject matter it explores. TRIGGER WARNING: the film does depict domestic violence which is discussed in this episode. If you or someone you know needs resources or assistance, please contact the National Domestic Violence Hotline.You can follow EoinTwitterBlueSkyYou can follow Female Gaze: The Film ClubInstagramBlueSkyWebsite

In this episode, we take a deep dive into Barbara Loden's groundbreaking 1970 filmWanda. A raw and unflinching portrait of alienation,Wanda follows a drifting woman in a decaying industrial America, capturing themes of loneliness, gender roles, and survival. Link is below for all our social media.https://linktr.ee/silverscreenvideoThanks for stopping by. Feel free to email at silverscreenvideopodcast@gmail.com with any comments or thoughts. Also be sure to follow us on Instagram @silverscreenvideopodcast, Twitter @SilverVideo, and TikTok silver.screen.vid.

“I don't have anything. Never did have anything. Never will have anything.”The Tale of Barbara Loden's Unsung MasterpieceIn the late 1960s, actress Barbara Loden came across a newspaper article about a woman on trial for bank robbery who thanked the judge for her sentence. Perplexed by what could drive a woman to such a point, Loden crafted a story that would become her sole feature film, Wanda. Despite being married to acclaimed director Elia Kazan, Loden struggled to get the film made, eventually scraping together a meager budget and shooting on 16mm. Join us – Pete Wright and Andy Nelson – as we continue the One-and-Done series with a conversation about Wanda.A Portrait of Aimlessness and Apathy in Rural AmericaOn the surface, Wanda may seem like a bleak and meandering character study, but it's precisely those qualities that make it such a fascinating film. We dive into Loden's raw, cinema verité-style approach to storytelling, which eschews traditional Hollywood structure in favor of a more naturalistic portrayal of its titular character's directionless existence. From her passive acceptance of a divorce that leaves her children in the care of their father to her listless drift into a life of crime with a small-time thief, Wanda's journey is one of quiet desperation and longing for purpose.Throughout our discussion, we grapple with the film's deliberate pacing, sparse cinematography, and lack of a traditional character arc. While Pete finds the film's unrelenting bleakness and Wanda's apparent lack of agency challenging, Andy argues that the film's power lies in its unflinching portrayal of a marginalized woman's experience.Wanda may not be an easy watch, but it remains a powerful and uncompromising portrait of a woman adrift in a world that offers her little in the way of hope or purpose. Barbara Loden's singular vision and commitment to telling an untold story make this a film that demands to be seen and discussed. Despite our differing reactions to the film, we both agree that Wanda is a work of undeniable importance and a testament to Loden's talent as a filmmaker. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Film SundriesWatch this on Apple or Amazon, or find other places at JustWatchTheatrical trailerLetterboxd Learn how to support our show and The Next Reel's family of film podcasts by becoming a member. It's just $5 monthly or $55 annually. Learn more here.Join the conversation with movie lovers from around the world in our Discord community!Here's where you can find us around the internet:The WebLetterboxdFacebookInstagramThreadsXYouTubeFlickchartPinterestPete AndyWhat are some other ways you can support us and show your love? Glad you asked!You can buy our movie-related apparel, stickers, mugs and more from our MERCH PAGE.Or buy or rent movies we've discussed on the show from our WATCH PAGE.Or buy books, plays, etc. that was the source for movies we've discussed on the show from our ORIGINALS PAGE.Or renew or sign up for a Letterboxd Pro or Patron account with our LETTERBOXD MEMBERSHIP DISCOUNT.Or sign up for AUDIBLE.

Wanda (1970; Dir.: Barbara Loden) Canon Fodder Episode 19 On this episode, your hosts Wanda, Wanda who, who-oo-ooh, who, who wrote the book of love. Probably not Barbara Loden, who struck the mother Loden of bleakly pathetic romances with her groundbreaking and brilliant 1970 film Wanda. But will Corky […] The post Wanda (1970) – Canon Fodder Episode 19 appeared first on Dare Daniel & Canon Fodder Podcasts.

On this episode of What a Picture, Bryan and Hannah order three plain hamburgers each to discuss Wanda, the 1970 movie directed by Barbara Loden that ranks #48 on Sight and Sound's 2022 Greatest Films of All Time Critics' Poll. Joining the discussion is Darren Hughes, the Artistic Director for Film Fest Knox. Film Fest Knox website: https://filmfestknox.com Darren's piece on Hillbilly Elegy: https://cinema-scope.com/currency/hillbilly-elegy-ron-howard-us/ Email us at podcast@whatapicturepod.com What a Picture website: ⁠⁠⁠⁠⁠https://whatapicturepod.com⁠⁠⁠⁠⁠ Bryan's Social Media: ⁠⁠⁠⁠Bluesky⁠⁠⁠⁠ | ⁠⁠⁠⁠Letterboxd⁠⁠⁠⁠ | ⁠⁠⁠⁠Twitter⁠⁠⁠⁠ | ⁠⁠⁠⁠Instagram⁠⁠⁠⁠ Music is "Phaser" by Static in Verona.

From Beneath The Hollywood Sign is thrilled to welcome our newest sponsor, www.HappyMammoth.com. Use code BENEATH at checkout for 15% off of your entire first order! EPISODE 39 - “Father Knows Best: Classic Cinema's Best (and Worst!) Dads” - 06/10/2024 When you stop to think about the great father's of classic cinema, Atticus Finch, the mild-mannered Southern lawyer in “To Kill A Mocking Bird” (1962), has to be at the top of the list. But who else would be on that list? And what about the horrible fathers of old Hollywood? As you scramble to find that last minute tie or cologne for dear old Dad for Father's Day, make sure you check out this week's episode where Steve and Nan celebrate some of old Hollywood's most memorable fathers — the good and the bad.  SHOW NOTES:  Sources: “20 Best and Worst Movie Fathers,” June 19, 2020, by David Fear, Rolling Stone.com “Noah Cross (John Huston) Character Analysis: Mad, Bad, and Dangerous to Know,”  schmoop.com Yahoo.com RogerEbert.com IMDBPro.com; Wikipedia.com; Movies Mentioned:  How Green Was My Valley (1941), starring Walter Pidgeon, Maureen O'Hara, Donald Crisp, Patric Knowles, Anna Lee, Roddy McDowell, Sara Allgood, and Barry Fitzgerald; Bicycle Thieves (1948), starring Vittorio De Sica, Enzo Staiola, and Lianella Carell;  Splendor in the Grass (1961), starring Natalie Wood, Warren Beatty, Pat Hingle, Audrey Christie, Barbara Loden, Zorah Lampert, Sandy Dennis, and Phyllis Diller; The Heiress (1949), starring Olivia de Havilland, Montgomery Clift, Ralph Richardson, Miriam Hopkins, Vanessa Brown, and Mona Freeman; The Swiss Family Robinson (1960), starring John Mills, Dorothy McGuire, James MacArthur, Tommy Kirk, Kevin Corcoran, and Janet Munro; Shane (1953), starring Alan Ladd, Jean Arthur, Van Helfin, Brandon De Wilde, Jack Palance, Ben Johnson, Edgar Buchanan, Elisha Cook Jr, and Ellen Corby; Chinatown (1974), starring Jack Nicholson, Faye Dunaway, John Huston, Perry Lopez, Diane Ladd, and John Hillerman; Rebel Without A Cause (1955), starring James Dean, Natalie Wood, Sal Mineo, Dennis Hopper, Jim Backus, Corey Allen, Ann Doran, Nick Adams, William Hopper, and Edward Platt; Our Vines Have Tender Grapes (1945), starring Edward G. Robinson, Margaret O'Brien, Agnes Moorhead, James Craig, Jackie “Butch” Jenkins, Frances Gifford, Morris Carnovsky, and Sara Haden; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

Colombe Schneck is the author of Swimming in Paris: A Life in Three Stories, available from Penguin Press. Translated by Lauren Elkin and Natasha Lehrer. Schneck is documentary film director, a journalist, and the author of twelve books of fiction and nonfiction. She has received prizes from the Académie française, Madame Figaro, and the Société des gens de lettres. The recipient of a scholarship from the Villa Medici in Rome as well as a Stendhal grant from the Institut français, she was born and educated in Paris, where she still lives.  Lauren Elkin is the author of several books, including Art Monsters: Unruly Bodies in Feminist Art and Flâneuse: Women Walk the City in Paris, New York, Tokyo, Venice, and London, a BBC Radio 4 Book of the Week, a New York Times Notable Book of 2017, and a finalist for the PEN/Diamonstein-Spielvogel Award for the Art of the Essay. Her essays on art, literature, and culture have appeared in the London Review of Books, The New York Times, Granta, Harper's, Le Monde, Les Inrockuptibles, and Frieze, among other publications. She is also an award-winning translator, most recently of Simone de Beauvoir's previously unpublished novel The Inseparables. After twenty years in Paris, she now lives in London.  Natasha Lehrer is a writer, translator, editor, and teacher. Her essays and reviews have appeared in The Guardian, The Observer (London), The Times Literary Supplement, The Nation, Frieze, and other journals. As literary editor of the Jewish Quarterly she has worked with writers including Deborah Levy, George Prochnik, and Joanna Rakoff. She has contributed to several books, most recently Looking for an Enemy: 8 Essays on Antisemitism. She has translated over two dozen books, including works by Georges Bataille, Robert Desnos, Amin Maalouf, Vanessa Springora, and Chantal Thomas. In 2016, she won the Scott Moncrieff Prize for Suite for Barbara Loden by Nathalie Léger. She lives in Paris. *** Otherppl with Brad Listi is a weekly literary podcast featuring in-depth interviews with today's leading writers. Available where podcasts are available: Apple Podcasts, Spotify, YouTube, etc. Subscribe to Brad Listi's email newsletter. Support the show on Patreon Merch Twitter Instagram  TikTok Bluesky Email the show: letters [at] otherppl [dot] com The podcast is a proud affiliate partner of Bookshop, working to support local, independent bookstores. Learn more about your ad choices. Visit megaphone.fm/adchoices

Riffing on Kim Gordon's curation, we get into Lynne Ramsay's atmospheric Morvern Callar (2002), a mixtape of a film whose cursed vacation vibes echo something of Barbara Loden's Wanda and foreshadow Charlotte Wells' Aftersun. Shout outs to Georgia Humphreys' terrific essay “Another Girl, Another Planet” and The Mamas and the Papas' unlikely club banger, “Dedicated to the One I Love.” The Bright Wall/Dark Room Podcast is co-hosted by Veronica Fitzpatrick and Chad Perman and produced and edited by Eli Sands. Our theme music is composed by Chad. This episode is sponsored by Galerie, a new kind of film club. BW/DR listeners can sign up for two months of free access via this link. --- Support this podcast: https://podcasters.spotify.com/pod/show/bright-wall-dark-room/support

Jacques Demy's dazzlingly colorful palette that is perhaps more symphonic than it's grand romantic score, sets the stage for a musical about young love and the obstacles it must endure in modern France. Join our  Patreon and support the podcast!  Join the Random Acts of Cinema Discord server here! *Come support the podcast and get yourself or someone you love a random gift at our merch store.  T-shirts, hoodies, mugs, stickers, and more! If you'd like to watch ahead for next week's film, we will be discussing and reviewing Barbara Loden's Wanda (1970).

Kicking off 2024 we welcome Tara Cheesman to the podcast with her recommendation, Being Here Is Everything: The Life and Times of Paula Modersohn-Becker by Marie Darriussecq, translated by Penny Hueston. Tara is a freelance critic, former judge of the Best Translated Book Award, and she brings us our first work of nonfiction. We have an absolutely fascinating conversation on art, motherhood, representations of women, and a lot more. And recommend a small syllabus of titles to dig into.Titles/authors mentioned:Imperium by Christian Kracht, translated by Daniel BowlesNathalie Léger: Suite for Barbara Loden, Exposition, The White DressÉric Plamondon: Apple S and MayonnaiseJean Echenoz's biographical novels: Running, Lightning, RavelSharks, Death, Surfers by Melissa McCarthyKate Zambreno: Book of Mutter and To Write As If Already DeadMargaret the First by Danielle DuttonJazmina Barrera: On Lighthouses and Linea NigraGeorges Perec: Ellis Island, I Remember, An Attempt at Exhausting a Place in ParisTo hear more from Tara follow her on Instagram: @taracheesman or subscribe (and you should!) to her Substack: Ex Libris.Click here to subscribe to our Substack and find us on the socials: @lostinredonda just about everywhere.Music: “The Low Spark of High-Heeled Boys” by TrafficLogo design: Flynn Kidz Designs

This week on the ol' podcast: Barbara Loden's massively under-seen film Wanda (1970). We held this conversation a few months ago in the wake of the film placing 49th on the most recent Sight and Sound poll. Is this reputation warranted? Has the movie gone too quickly from being something no one ever heard of to supposedly being considered one of the greatest films of all time? Join Alana and Sam for a rough, run and gun discussion of this recently rediscovered 70s masterpiece. Topics include: Company: A Cast Album, female anti-heroes, and the S.T.I.G.M.A. Manifesto.

Annie Hodson is a queer writer and playwright from York, and one of the 40-strong cohort of the London Library's 2022-2023 emerging writers' programme. She has just won the Virago short story competition, with her story ‘Banshee', which will appear in the paperback of Furies in spring 2025. Lucy and Annie dive into Annie's earliest introduction to Virago through her aunt's vast collection of ‘green spines', the joy of bookclubs and the weird and wonderful power of Barbara Loden's film, ‘Wanda'. Hosted on Acast. See acast.com/privacy for more information.

This week we cover the iconic and pioneering "Wanda" by first-time director, Barbara Loden who also stars in and wrote the film. We discuss her life and put the film into the context of her fears and insecurities of her background and personality. We also discuss her marriage to Elia Kazan and how it informs the film's content. After we cover the background, we get into the plot of the film for an at-length discussion. Finally, we each pair the film with another film for two double bills. Thank you so much for listening!Created by Spike Alkire & Jake KelleyTheme Song by Breck McGoughFollow us on twitter @DoubleBillChil1 https://twitter.com/DoubleBillChil1Letterboxd: FartsDomino44

Ep. 172: Amy Taubin on Dead Ringers, Warhol's Batman Dracula, High Flying Bird, Joie Lee, Elephant Welcome to The Last Thing I Saw. I'm your host, Nicolas Rapold. This week I'm pleased as punch to speak with the critic Amy Taubin about her ongoing “Carte Blanche” series at the Museum of Modern Art, plus some recent viewing. Titles include: Dead Ringers (TV), Warhol's unfinished Batman Dracula, High Flying Bird (directed by Steven Soderbergh), Fuller's Pickup on South Street, shorts by Joie Lee, and Agnieszka Holland's Washington Square, starring Jennifer Jason Leigh. I also ask Amy about interviewing Barbara Loden for the Soho News, and we chat about my latest pick for New Essentials at the Roxy Cinema in New York: Gus Van Sant's Elephant. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Monserrate” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Barbara Loden is the focal point of today's episode. The one feature she directed, and also two short films she directed. Another exciting and riveting episode of Screen Weens, where we talk about a bunch of depressing stuff. 00:00 Intro and Other Watches This Week19:29 Question Time25:44 Barbara Loden36:55 Wanda54:07 The Frontier Experience1:05:22 The Boy Who Liked Deer1:22:34 Outro and Picks for Next Week

The first time Andrea Riseborough was on the podcast (episode 100), we got a chance to hear how this incredible actor approaches her craft. On this episode, we get to focus on her astounding work in the new movie “To Leslie.” She talks about the interesting ways shooting on film in the middle of the pandemic affected everything, why working on her character's alcoholism would have been a disaster, finding a touchstone with director Michael Morris in Barbara Loden's “Wanda,” taking the objective “to just exist” from Mike Leigh, seeing constrains as freedoms, the importance of keeping your integrity, and much more. “To Leslie” is streaming now.  Follow Back To One on Instagram Back To One is the in-depth, no-nonsense, actors-on-acting podcast from Filmmaker Magazine. In each episode, host Peter Rinaldi invites one working actor to do a deep dive into their unique process, psychology, and approach to the craft. 

It is indeed the episode a decade in the making! Here, in Episode 43, Team Vintage Sand puts in its collective two cents on the newly released Sight and Sound decennial poll of the greatest films of all time. It is a list referred to by no less an authority than Roger Ebert as “the best damned film list of them all.” But this time, was it a “woke” poll, reflecting more our need for political correctness than a genuine and deep understanding of film history, as old-timers like Paul Schrader proclaimed? Or was it about damn time that the old white men gave up at least some of the strangle hold they've had on the poll since its inception in 1952, as many younger critics proclaimed? Does this new list signify that the battle lines have been drawn irrevocably between older and younger film people? As always, the truth is never that simple. Team Vintage Sand tries to approach the poll by avoiding either extreme, oversimplified position, reaching, as ever, for the complex and embracing the gray. Does Akerman's "Jeanne Dielman" deserve its new place atop the rankings? Probably not, but it surely is a much better film than its position in the mid-30's for the 2012 edition of the poll suggested. And if the poll is so politically correct, why are there no films by the Mexican New Wavers here? Along these same lines, 16 of the 22 directors who have multiple entries on the list are white men; four of the remaining six are Asian men. Yes, there are no films by Howard Hawks or Roman Polanski. No Buñuel. No Lean. No Altman. No Demy, or Melville, or Resnais. No Sternberg or Stroheim. No Huston. No Malick. No Tarantino. No Anderson, be it Wes or P.T. No Coen Brothers. No Linklater. No Spielberg, for goodness' sake! No silent films in the Top 10, and all the silent films that are still there from 2012, with the exception of "City Lights", plummeted to the nether reaches of the list. (If anyone tells me that there are 20 films greater than "The Passion of Joan of Arc", it's ON!) And yet… …there's "Do The Right Thing" entering the list at #24. FINALLY. And there's Burnett's brilliant "Killer of Sheep". And Dash's "Daughters of the Dust". Maybe now someone will give her some money to make a second film, three full decades after she released a Top 100 masterpiece. And there, brand spanking new, are Jordan Peele and Barry Jenkins. And there's Agnes Varda's extraordinary "Cleo from 5 to 7" entering the list in the top 15. And my historical experimental film crush Maya Deren is finally here as well for her extraordinary and endlessly influential "Meshes of the Afternoon". And Claire Denis in the Top 10. And Jane Campion, Barbara Loden(!), Celine Sciamma and the aforementioned Julie Dash. If it took some “woke” (whatever that means) younger critics to put these artists in their rightful places in the pantheon, we'll take it. Ultimately, we recognize the silly waste of energy in trying to compare, say, "Jeanne Dielman" with "Tokyo Story" with "In the Mood for Love" with "Man with a Movie Camera". For us, this poll has one purpose only, and it's the same purpose that guides what we do at Vintage Sand: it opens doors. It takes us out of our comfort zone as viewers, and reminds us that there are vast aspects of film history about which we know little or nothing. So look carefully at Sight and Sound 2022 through this lens, check off the films you haven't seen yet or not in a long time anyway, and track them down. We'll bring the popcorn!

Award-winning, writer, director, actress Christina began her career acting in such cult films as Suburbia, Boys next door and Dudes. She was one of three women accepted into Fox Searchlights new director s program, her IFP nominated Best screenplay, debut feature, PERFECTION was part of their rough-cut labs, Independent film week and winner of The Adrienne Shelly female directing award.PERFECTION screened at The Oxford film festival where Christina won Best Actor and Best Narrative feature and also screened in the San Francisco International Women's film festival, the USA film festival in Dallas, Texas, The Egyptian theatre in Hollywood, CA, premiered at the RIO cinema London, The Quad cinema, New York and screened at The Laemmle' s Monica 4plex in Santa Monica, CA.Christina has sat on the juries for the London feminist film festival, the Eastern European film festival, the 100 word film festival, NC and has served head of the jury at the USA film festival, Dallas.Her upcoming projects include, EXPECTING GRACE set in Marseilles France, her short, HOOKER #2 and the punk rock pilot, POSEUR. Christina has lectured at The New York film academy, The Met School, London, Harvard Westlake, Cal State Fullerton and is an adjunct professor at Loyola Marymount University in Los Angeles in the film and television department.Show NotesChristina Beck's Website - https://www.christinabeck.comChristina Beck on Instagram - https://www.instagram.com/cbrubylee_xtinabeck/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistTranscripts Are Auto-GeneratedChristina Beck:I always say to my students, Pick stories that you love. Pick stories that you feel like you have to tell because you're gonna be living with that story and pitching that story way beyond the script. You're gonna be pitching it for grants, you're gonna be pitching it for festivals, you're gonna be pitching it for people to watch it online. You're forever pitching these stories. But to say something visually is powerful. I think it can change minds and hearts.Michael Jamin:You're listening to Screenwriters Need To Hear This with Michael Jen. Hey everyone, this is Michael Jamin and you're listening to Screenwriters. Need to Hear This. We got a special guest for you today. If you are an indie filmmaker, an aspiring indie filmmaker, you're gonna wanna listen to this. You're gonna wanna meet Christina Beck, who I've known forever. She's an old friend, independent filmmaker, but she's you. She also teaches at Loyola Marmont University and the Fame Stella Adler Theater where she teaches screen screenwriting as well as film producing filmmaking, all that stuff. Well Christina, welcome to the big show.Christina Beck:Thank you. Thank you so much. I was gonna call you Mr. Jam and it's a habit. I can't help it.Michael Jamin:It's a habit. There it is. Cause cuz Christina briefly worked for me as an assistant for me and my partner on a show. And then I force you to call me Mr. JaminChristina Beck:. it just kind of fell into this thing. Yeah, no, you did not force me. You didn't force me at all.Michael Jamin:I never did that.Christina Beck:But I will correct you Mr. Jamin. So I actually don't teach at Stella Adler. I teach at least Strassburg, but I could see where you would choose that. Oh, at least Strasberg. Yeah,Michael Jamin:Just I would think,Christina Beck:Right. Well, they're all,Michael Jamin:They're East Strasberg. Go to that one.Christina Beck:Yeah, but sad. They're not around anymore. But the legacies are for sure.Michael Jamin:I haven't been to West Hollywood forever. Yeah. And you guys see, you got your one sheet from, That's from Perfection. Let's talk about what you're at, some of your movies that you've done, cuz Christina is an indie filmmaker. She's a hustler. She makes her movie, she writes your stuff. You also started as an actor, right? Where, let's take me back to the beginning. You basically started, you wanted to be an actress, right?Christina Beck:Yes, yes. Yeah. So I grew up here in Hollywood, actually not in Hollywood. I grew up in the Valley. Let's get real about that. So I like to call it the main streets of Studio City. And although it was very different back then, I know today it's a unaffordable, you can't even get in there. But back in the day it was the suburbs, basically. And my folks were in show business. My father was a screenwriter and an actor, and my mother was an actress, a model kind of actress. She ended up studying in New York with some very significant people. Sandy Meisner had a full scholarship for the Neighborhood Playhouse, which was a big deal back in those days. But my beginning with acting really started just as a kid. being extremely bored in the valley and putting on shows. I was that kid. I was putting on shows, arranging the stuffed animals. If we ever had company, they were held hostage to my extravagant. Really? Yeah. It was Cabaret 24 7 and . I know. Yeah. You didn't know that about me. Yep. I didn't know that. Yeah.Michael Jamin:I also didn't know your dad was a screenwriter. I didn't know that as well. Did he work aChristina Beck:Lot? Yes, he didn't work a lot as a screenwriter. He worked a lot as an actor. So when he came out to Hollywood, he's from Texas originally, and he came out to Hollywood and straight away got signed to William Morris, got put under contract at Universal and did a bunch of movies. But then he did westerns. I always played the bad guy on Bonanza andMichael Jamin:Yeah, Christina, I didn't know your Hollywood royalty Well,Christina Beck:A little bit, yeah. Yeah. Oh wow. Definitely the lineage is there. Yeah. But his real love was screenwriting. He didn't love acting. He really did fall into it. And he had a great look and he was a cowboy, so he played a cowboy, but he wasn't even really a cowboy. He's just from Texas. But yeah, there's this really great story. So Robert Blake, who some of us know strange stuff all around that guy. But that said, back in the fifties, he was friends with my father was friends with him, and Robert Blake had a part where he had to ride a horse. And my dad said, All right buddy, I'll take you out. And they went to, I think probably, well, I don't know what it's called now, but it used to be called Pickwick, which is in Burbank near Disney. They went out over there and not only did he teach him how to ride a horse, he helped him learn his lines. And because I heard this story later after my father passed Robert said, Your father, he really sat with me in this tiny little apartment and he had me drill my dialogue and I got the roof because of him and just very sweet old school. Wow. Hollywood, stuff like that. But that said, when my father wasn't working as an actor, he was always in his, it was dad's den type, type type, type type. He was always working on screenplays and he loved writing.Michael Jamin:Yeah. Do you feel the same? Do you acting more, writing more for you? Well, are you like your dad orChristina Beck:Not? No. Yeah. No, I'm not like my dad. I, there's bits of me that I like him, but it's more acting was definitely the first bug. And like I said, putting on shows at home. But then I got kind of lucky, I was in the valley still. So on Ventura Boulevard near Vineland there was this place called Moral Landis Dance Studio. And my mother used to go and take a jazz class there. This is the late seventies. And next door was a place called the American National Academy of Performing Arts. So I kind of wandered over there and at this academy place, and I ended up joining an acting class. And my very first acting class, an acting teacher, was a man named Francis Letter. And I didn't notice at the time, so I'm like nine years old, 10 years old, and he is about 80 or maybe seven in his seventies. And so I joined this acting class and then he asked me to be in the adult acting class, and I gotta play all the juicy, the bad seed and just fun stuff like that. Oh wow. And so it turns out that later on I found out that he was a big deal and he was in Pandora's Box, the silent film starring opposite Louise Brooks. And he's, and he did a ton of stuff for a long time. And then he was part of the actor studio in New York, and he was from Eastern Europe, but came over here right before the war, I think, . So that's when I really just was in heaven as a kid acting in this class. And then I also did some commercials with my brother. We were in some commercials. And then I became a teenager, , and then I became really rebellious and mm-hmm got into the punk rock scene and completely fell in love with music and artistry. I mean, really at that time too, this was the early eighties when punk rock wasn't necessarily vi What's so funny,Michael Jamin:Cause I can't picture you doing being into punk rock. I guess it,Christina Beck:I got pictures. I got pictures, and I've actually written the whole show about it. Yeah, I . But all that to say, yeah, I, I never wasn't like the punk rock chick. I more, I liked the artistry of it. I liked the right, And when I say that, I mean there were a lot of wonderful, cool artist people that I'd met mostly, much older than me at the time, but they were musicians and writers and actors. But they were on this kind of rebellious thing where we don't need permission to do anything, we just get to be creative. And that's what I loved mostly about that whole scene. And then there were different facets of it that were cuckoo and, and intense and lots of drugs and lots of alcohol and lots of inappropriate stuff. But then I got cast in a movie, so now it's my late teens.And my best friend, she was well there is a woman named Penelope's Theorists who has made films that we know of Wayne's World and different Hollywood films. But at that time she had made a documentary called The Decline of the Western Civilization, which is a really amazing film even to this day because she really got into that la punk rock scene at that particular time in space. And it was an incredible film. And she wanted to make a narrative film. So she wrote a script and got it produced by a furniture salesman guy. And I think Roger Corman of course. And so I got cast in that. And like I said, I was in my late teens and at that time I was kind of over punk rock and I was like, Eh, don't wanna, this is stupid. But I ended up doing it. And that is where I really was like, okay, this is the way I wanna spend the rest of my life.I loved being on set. And to answer your question, it's really tricky. I love in the realm of all that we do in terms of writing has its moments and then the pre-production, but being on set to me is definitely my favorite. And post is a whole nother exploration. But yeah, so it was from that moment on that I was just like, Okay, this is what I wanna do. And I did a couple more films with Penelope and then I moved to New York City and I wanted to be a real, I also felt like, okay, I didn't really, I need to be a real actor. I really have. And soMichael Jamin:A theatrical actor, is that why you moved toChristina Beck:New York? Well, yeah, I mean I love theater and my very best friend, you might know her, Cynthia, Man. Oh, okay. Yeah, it's Shannon. Familiar . Yeah. So we wereMichael Jamin:Frozen. That's how I met my wife. That's how I met her. I met you through her. I met you honestly, Christina. That was the first time it was really, I met you really on real early on, but go on. When I was with Cynthia. Really? Yeah. Tour or something.Christina Beck:I know, it's so great. Michael Jamin:But go on. AndChristina Beck:So Cynthia was in New York and at that time, for me, I felt like I really wanted to study and be a serious actor because I come from more of a film background. I did study a bit with Francis, but I really wanted to pay my dues as an actor. And I, I studied with a bunch of different great people. I auditioned for everything that was there at the time. AndMichael Jamin:Tell me, I'm gonna interrupt for a second, hold on. But tell me what your thoughts are, the difference between acting for film or television and acting for the stage.Christina Beck:Well, in my experience and what I'm also kind of revisiting lately, well when you're acting in film, it's very subtle. There's a camera and the camera picks up everything. And so when you're on stage, you are playing to the back row. People in the back need to see and understand what's going on. And it's just a very different, and I think most actors can do both. Some are, I guess more comfortable doing one or the other.Michael Jamin:But when you study and you train, do you sometimes study specifically or did you specifically for film versusChristina Beck:No, no, I didn't. No.Michael Jamin:Are are classes like that? Yeah. Just forChristina Beck:Fun. Yeah. Yeah. There's like on camera classes where people, it's for auditions I think, but also to get to practice how you come off on camera. Yeah. I never did that . I never, yeah. Really did that. But here's a weird, maybe creepy thing. Ever since I was a kid though, I always felt like there was a camera on me. , I would visualize, I could almost disassociate a little bit, this is a psychological thing here, but I felt, I would kind of imagine walking to school, what would it be if this character was walking to school? I almost was above myself a little bit watching myself. And that's a weird thing to say cuz actually when you're acting in a film, you really shouldn't be watching yourself. But that's where I am also a director. SoMichael Jamin:In other words, you were visualizing visualize how you would shoot yourself or is it more of Yeah. Was it more of a fantasy thing or how would I appear on, I wanna shoot myself if I was walking down the street?Christina Beck:Yeah, it's more the that one. And of course a little bit of fantasy, but it was escapism. But it was also, I was sort of able to take myself little Christina walking to school fifth grade out of it and see it from this other angle. And I don't know what that's about, but I do now I I see things that way all the time.Michael Jamin:Really How you would shoot it, where you would place the camera Christina Beck:Or where is the camera? Yeah. And it's such a funny thing cuz we live in a world now where everyone has a phone and everyone is documenting, everyone is shooting themselves. And that's a little different. But I guess it's similar in a way.Michael Jamin:Did you have film equipment when you were that Young? Christina Beck:I mean, Well my dad I none. We really didn't. My dad, no, my dad did my made some super great films and actually. Yeah, we did a lot of home movies when I was little. So I was usedMichael Jamin:To with sound.Christina Beck:No, no sound. No, it'sMichael Jamin:Interesting.Christina Beck:So yeah, yeah, being tied up on a tree and then my brother coming up on a horse and all sorts of me crying. Yeah, I got it. I got it all.Michael Jamin:Wow. Then so after New York, so how long were you in New York?Christina Beck:Three years. I was there for three years. AndMichael Jamin:Then what made you decide to come back?Christina Beck:Well, I wrote a play and that's kind of what happened. So I'm in New York, I'm studying, I'm auditioning for Everything film. I remember that there was one year where I really went out for everything that was shot in New York or anywhere around there and didn't get anything. And at the time I was studying with a woman at Playwrights Horizons who was a writer and an actress. And she said, Listen, you guys really should start writing characters that you feel you could play or just more of an empowerment in terms of instead of waiting around for everyone to give you a role, write something. So a bunch of us did, and it really started out by writing monologues. So I was in a group of women and we formed a little theater company and so we wrote characters and monologues for these characters and then we put it up and that was really great. And then I gotMichael Jamin:You. Don't skip that step. How did you put it up? How do people stage playsChristina Beck:You a lot of time? Well, at that time, at that time, which was a long time ago we raised a little bit of money, kind of similar to a lot of independent film stuff. But we raised a little money, family and friends type of thing. We actually did it at the Samuel Beckett Theater, which was where Playwright Horizon, I think they're still there on 42nd Street, I think eighth and ninth, 42nd Street, . And we put it up for a weekend and we got reviewed and we got in. It was great. It was super fun. And it also felt like I started to feel more complete as stuff that I could do as an actress. I always, I didn't, waiting around, I don't waiting for, I just felt like I have more to do and I was always journaling and stuff as a kid and as I got in my teens.And so writing to me didn't feel that far off from what I was already doing. And coming into it as an actor, I knew I've read enough plays and I've read enough monologues to understand how to write in that form. So I ended up when I was living in New York, I'd come back to LA and visit in the summers. Cause summers are horrific in Manhattan. So there were some musicians that I met that were doing some kind of cool stuff. And this one guy played, he had a character that he did. And so I wrote a play. I kind of inspired me to write this play about him. He was playing a lounge singer and he, his friend had this group and it was kind of rock and roll stuff, but then they would go into a lounge sort of thing. And I thought, oh, that would be funny to, what would it be if these lounge singers had a kid and tried to live their life? And it was a little autobiographical, the father's alcoholic and the mother's sort of obsessed with her beauty. And so these themes started to come up in my work. So I wrote this full length play and there was music in it too. And then we also shot some video footage, so it was sort of like a multimedia thing. So I kind of had to come back to LA to do that.Michael Jamin:So you staged it?Christina Beck:Yes. I didn't direct it, so I wrote it and I starred in it. But a friend of mine this woman named Modi, who I met from the punk rock days, but also she was Penelope's assistant on some of the film stuff I worked on with her and was a video director in her own. And so she came in and she directed it and it was great. It was amazing. It was.Michael Jamin:And how do you even get the theater to put it up?Christina Beck:We raced a little bit of money and then we got producers and they put it up up.Michael Jamin:What do you mean? How does that work? You got producers, what doesChristina Beck:That mean? Yeah, so the woman who played my mother in this is an amazing singer, artist, actor. Her name is Jane Cotillion. And so she loved the play and she said, Oh, I know this guy Billy DeModa and he's a casting director and maybe he could produce it. And he didMichael Jamin:. This is just from being out here, just from honestly, just meeting people, being in circles, taking acting classes and because that's the thing about la everyone's trying to do something right?Christina Beck:Absolutely, yeah. I mean think it's now because of Zoom and different things in the world and there's so much more accessibility. I think it's possible to collaborate and not be here. But all that said, especially at that time, you had to be here. And I do think it's still important to be in the place where you wanna be if you can. And these people I knew, so I knew about the guy, his name is Manny Chevrolet and he and his friend had this act and they were opening up for the Red Hot Chili Peppers and I knew them from suburbia, which was the movie I did with Penelope I knew. And so it was kinda a group of people that I already knew. And then the musical directors, this guy named Tree, who's good friends with, and they were just all these people that kind of organically came on board.Michael Jamin:Interesting. And tell me, but how do, you're also, obviously you've written and directed and produced a bunch of movies, indie movies, some are shorts, some are full length, but do you go about, alright, so you work on the script. How long do you work on the script and when do you know it's done?Christina Beck:Yeah, that's a great question. And then everything's a little bit different. So with short films, well I'm teaching a course right now, so I feel like I already have this in my mind. Short film is one idea and that script can take a long time to write. It's not easy to write a short film because basically you're trying to squeeze in this one idea in a way that has a beginning, middle, and end. So you don't have the luxury of necessarily three acts, but you have to have this.Michael Jamin:How long is it short for you? Well,Christina Beck:Okay, so that's another great question because what I have learned now, I think a sweet spot for a short is anywhere from 10 to 12 minutes. I think if you can sit, do it in a shorter amount of time, even better because depending on what you wanna do with it. So there's a whole film festival world, which is pretty much the best place for your shorts to be seen if you can get them produced. So it's a matter of programming these films. So if you have a film that's 20, 25 minutes, that obviously takes up more time. And most film festivals, they program the short films in a block. So they're literally trying to pack in as many as they can and good ones. And it's all different too because the academy nominated films, they can be up to 40 minutes. But even again,Michael Jamin:When you say program, when they're looking for blocks, what is their intention?Christina Beck:Well, they'reMichael Jamin:Showcasing what I mean, you have to understand that right as well. How does the film festival, how do they make money so that they would want you?Christina Beck:Right. Well that's a whole other thing. So there's different kind of aspects to that. So there's short films that are star driven, meaning you can put a star name in it. Now that always brings money and cache to a festival but not you can make a great short film and not have a star in it, is really what I wanna say. Because a good short film is something that has a very original idea. Again, it's short enough where you want more basically. And it's not making a feature and then picking a scene from the feature and making a short out of it. Sometimes you can create characters or create a separate script. So I made a short film for Fox Searchlight, I got in this new director's program with a feature script and they would not let us just take us a scene from the feature.They were like, no, no, no, you have to make a short on its own, but with the same characters and the same relative premise. So that's kind of how I learned about that trap. But to answer your question the short films that get noticed at festivals or can even get into a festival are ones that are very authentic to whatever the genre is and the writer's vision. What are you talking about? Is it something, And that's also a weird trap too, because as a writer, I don't wanna be thinking about a festival, you know? I mean that's way down the line. But you have to live in both of those realities in a way. Because if this is a calling card as a writer or as a director of Indy films you have, it's good to keep in mind, okay, I'm not gonna write a 45 minute short film and expect it to be programmed. That would set myself up to fail if I could write. WhenMichael Jamin:You say programmed, you mean, what do you mean by programmed? Are they gonna play for that weekend?Christina Beck:Yeah, so in a film festival, they have a program of films they have, whether the festival is a week long or a weekend , depending on what festival it is. But for instance, let's just say Sundance, I believe a week. So there's some pretty intense statistics that I just found out from a friend of mine. So they had the largest amount of submissions of short films this past year than ever over 10,000 short films. And they only program 59 films. So wow. like, oh my God. And Sundance is wonderful and amazing and if you can get in, great, It's not the only festival. There's a gazillion festivals and anyone is a great experience to get in and go to have that festival experience. But to answer your question about programming , are we there? The people that program the festivals are people that watch the films and decide, we have a three short film programs, A, B, and C. This is just making this up, but it's kind of how they do it. We have 30 minutes in each block, so I gotta squeeze. It all depends. Sometimes there's a film that's a little longer, but they really like it, so they're gonna put that in there. And then there's less room for other films.Michael Jamin:. And how much does it cost to submit to a festival? Usually?Christina Beck:It varies. It definitely varies and it varies. Sometimes they have early submissions that are always a little cheaper. Also depending on you can always ask for a waiver. Sometimes they give them to you, sometimes they don't. So it can be anywhere from 20 bucks to 75 to 150 bucks. It definitely can add up.Michael Jamin:When you make a film, how many festivals will you submit to?Christina Beck:Again, that all depends. There's certain festivals that you can target for. Again, there's the big five seven festivals, Sundance and Berlin and Toronto Telluride and then those are kind of the biggies. But then there's everything that tears down from there. So yeah, it can get very expensive and super daunting. And that's a whole other conversation. The film festival world. Huge, big.Michael Jamin:Now let's say you get into a festival into a big prestigious one. What is the goal? Eventually I And what is the goal? You got, you're short, eight minute film is in Sundance. What are you hoping?Christina Beck:Right, right. Well you're hoping for Eyes on the Film and that's a really also interesting question that you asked because back when those festivals, especially Sundance is a very different festival today than it was when it first started as most things are. But those, that would be the eyes, all the, everyone would be there and you would get would just get the cache of this is a Sundance film. It would give you opportunities to meet agents and if you don't have representation it'll help with that. And it's still, those things can still happen, but now you can get eyes on your film, on the internet, you know, can generate that if that's what you really want, if that's your goal. So know we need those things, but we don't as much anymore. It's a very different business today. But initially you wanna get eyes on your film people to see your work, hire you for more stuff.Michael Jamin:And when you say on the internet, you mean YouTube or Vimeo or what's the platform? Both.Christina Beck:Yeah, I think YouTube is, I don't know if Jimmy I don't know how many people, I mean you can certainly send people there, but I think YouTube a little more, right,Michael Jamin:People find right. But what do you tell your kids in your class today? Are you telling to do more on social media? Are you like a TikTok or what else are you telling to get found?Christina Beck:Well don't more talking about the actual craft of the work, whether it's directing or screenwriting. I don't come up with all of that in terms of my work is as a writer director when I made my feature, I was very fortunate to I submitted the script to well I got into that Fox Searchlight program, which no longer exists. But there are other programs, there's lots of diversity programs, different studios have programs for emerging writers. And that one at the time I was one of two women, there were all men. There was like 40 men and two women. And nowadays it's definitely even doubt a lot. But all that to say that helped with, oh she was in that program, so let's take a look at her script. And then I submitted to an organization in New York called the If P, which now is called Gotham, but they do the spirit awards and Filmmaker magazine, which is something that I started reading very early on and I got nominated for best screenplay. So from that I got on their radar. So it's kind of just taking steps to be seen. It's always about people. Knowing what you're doing and what your vision is for this work,Michael Jamin:Do you go to a lot of film festivals even when you're not in them? Do you go just to watch or to meet people or anything?Christina Beck:I do in town. Yeah, in LA I will. I went to right Berlin when I didn't have anything in Berlin sadly. But I was there, I for a meeting with some European producers and then just happened to watch some amazing films. Film festivals are great cuz you meet like-minded people, whether it's people in the industry but also you meet other filmmakers, other writers, other directors, people that are maybe a little above you, maybe you've done a little more than them, but it's a really cool, cause the energy at most festivals I went to Can God, when was it 2006? I was trying to get my feature made and I was very naive. I made a short film version of my feature and I went to Can and I had my DVDs and I had my little pitch idea and I didn't really know that these meetings that they have, cuz there's a film market, some festivals have a film market and that's always really great. Berlin has one there's a film market here at afm. Kind of different energy though for sure, but can, it was like, oh my god, I was so lost. I was just like, what am I doing here? It was amazing and it was horrible and it was like that within each hour I just felt like I was in, was so over my head and yet really cool, wonderful things happened and I met people there that I'm still in touch with today.Michael Jamin:Hey, it's Michael Jam. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You could unsubscribe whenever you want. I'm not gonna spam you and it's absolutely free. Just go to michael jamin.com/watchlist. People ask me this a lot, but do you find from where are that, it's that right meeting writers and actors and directors. Do you feel it's like collaborative or is it competitive?Christina Beck:Well, I think it's collaborative and you can kind of sniff out people that are competitive. I, I've been in quite a few groups of women especially, so back a couple, one when my first short film screened with the American Cinema Tech, not my very first short film, but the first short that I directed. And I met a woman there named Kim Adelman and she's amazing. She's written a book about short films. She's incredible and she supports a lot of female directors. And her and this guy named Andrew Crane created a program at the cinema tech. And so through that we made this thing called the Female Filmmaking Collective. And so we would bring other women directors and this was kind of, well this is like 15, 16 years ago. And then there's been other women's filmmaking groups. The film Fatals, a member of the a w Alliance of Women Directors.So all that to say there's, for the most part, the energy is very much like, yay, how can I help you? And then there's a few people that are anywhere in the world. It is, it's their personalities, the spirit of, I try to stay in the spirit of that there's enough for all of us. Cause otherwise that makes me uptight and I don't wanna be uptight. But definitely, yeah, I think I don't write with other people. I haven't yet. I've tried to in different increments, but it just hasn't quite felt right. But I do collaborating for sure. And especially filmmaking when you're actually getting in production that's like all about collaboration,Michael Jamin:Especially with the good dp, you know, What are you shooting? What do you like to shoot on? Or do you care that much? What kind of camera?Christina Beck:Well, I like things to look like film . I mean, we shot my first short that I wrote Disco Man that was shot on 16. And my dp, I found him at USC Film School and he's a really good friend and we just shot something this last spring. So that was a long time ago. He became chair of the film school that I teach at now. But all that to say, yeah, again, it's the people that you meet here, you meet them there, we're all still here and still love film making. So that said, my DP for Perfection, my feature, his name's Robert Psal and he's amazing. Cause this guy, not only is he super talented, we shot that film for two years on the weekends, two and a half years. So to get someone to literally, okay, we got a little more money, Rob, come over, we gotta shoot this other would. And then a lot of times just he and I would jump on a bus and I'd borrow a camera from a friend. We had prime lenses, which if you put that on digital cameras, it gives a more cinematic look. So we had those for a while. We shot that film literally in four different formats, meaning four different cameras. And I DidMichael Jamin:You find it matched? Okay, Did itChristina Beck:Worked for the film? I don't know. Recently someone asked to see it, this wonderful DP that I was talking to, he lives in France and I felt a little self, cause I'm like, Oh my God, he's gonna see how, And he is like, Oh, it's shot so beautifully. And I'm like, wow, nobody knowsMichael Jamin:All this.Christina Beck:Yeah,Michael Jamin:Why you don't have to worry about that stuff. Well, and what aboutChristina Beck:It's gotta be in focus, let's put it that way, . Yeah. And sound is a big deal too,Michael Jamin:For sure. Absolutely. That's huge. It's hugely important if you can't hear it. Right. But what about how concerned are you when you shoot the stuff crossing the line or the cameras? Are you relying your DP for that, making sure that you know, don't have these jump cuts because the character's looking the wrong way? AndChristina Beck:IsMichael Jamin:That your concern or you let the DP handle that?Christina Beck:Well, because so far I've been mostly acting in the stuff that I've shot. I definitely rely on my DP as well as my script supervisor. . I mean, I can tell myself when we're setting up a shot and then sometimes you can cross that line and it's okay, it's not gonna be an editing nightmare, but you sort of have to gauge it. And I don't make those kind of decisions by myself. And I really do rely so much on my DP and my script D because it's, it's that funny thing for me. What the reason I became a director in film was because I made a short that another different short besides Disco Man that it's called Blow Me. And I didn't direct it. And I did a lot of directorial stuff on that project. And my director at the time was busy with other things.And so we weren't really able to finish the film for a long time. And actually my co-star was an editor as well. So he kind of got the film and he edited and we worked on it together. And what I learned, and this goes back to the film festival thing. So in film director has the say in everything in terms of how final say on music and different stuff. And being a screenwriter and an actor and even a producer, I didn't have the same access to the vision that I had. So I thought, ooh, I need to direct this stuff . SoMichael Jamin:Yeah,Christina Beck:That's how that shifted. HowMichael Jamin:Do you go about, but how do you go about fundraising for all this stuff and what kind of budget do you usually try to get?Christina Beck:Well, it's tricky. That's the hardest part. And I just was at a film festival here in la, it's the American French Film Festival. They have it every year at the dga. And I was listening to a panel of producers and directors and from Europe and the UK and Los Angeles. And the thing is, those foreign countries, they have film funding built into their system, literally the government. And there are different types of ways that those more character driven films. This is what I'm pretty much more interested in what we would call art house films. , especially right now, there's just this huge divide, which is very mm-hmm , much like the whole world that we're in right now. So there's tiny budgets and huge budgets and the middle size budget isn't really around anymore. No support for it. And it's happening in Europe too right now. So I was listening to see, okay, are they going through it too? So that said, yeah, there's different ways. And I would say for first time directors that are making a feature or a short film for the first time, Crowdfunding's great, there's amazing platforms. I did that with a company called Seed and Spark and they were really supportive and helpful. And we haveMichael Jamin:Some, Well what do they do? What do they do that's better than putting it up on what's some crowdfunding site?Christina Beck:Well they are a crowdfunding site, butMichael Jamin:Why not just use your own, I don't know what's the difference between, well go fund me or whatever.Christina Beck:Well I don't, yeah, get, well go Fund Me I thought was more for donations. Yeah, so there's fiscal sponsorship, which is something you'd need so that people that are donating to your project get an actual tax write off that's properly done. So you wanna do that but they help curate and they have a platform. I mean, look, you've written the thing, you're doing all this work. Are you gonna set up a website so people can give you money? So, and maybe you're really good at that. Places. Well indeed, Gogo and Kickstarter, and I mentioned Student Spark because they're someone that I did it with, but all those places haven't already. It's like, why reinvent the wheel? They've done all that work. So literally you can just send people there. They take a small percentage of whatever you get and different platforms have different things. I don't know. I know there's one that if you don't make your gold then you don't get any of the money. So I didn't do that one , butBut going back to someone who's starting out and wants to make something a short or a feature and hasn't already exhausted their family and friends, there's nothing wrong with doing that. Also there's grants and And those aren't easy to come by, but they're there. And depending on, there's different places. There's like in San Francisco, there's the San Francisco Film Society has very specific grants for people that shoot in the Bay Area. And a lot of films have gotten made through that grant. They give a significant amount of money. So there are ways, and it's not easy. I mean really, ideally a private investor is great and there's gonna be a loss. So now most of the indie films, and these aren't Es, and I'm not an expert, I'm just speaking from my own experience. But an indie film may not get a theatrical release. I did not with my feature. What I did get is I got the theatrical experience in film festivals and I was lucky to be programmed in Los Angeles through the American Cinema Tech. And I got to see my film at the Egyptian Theater, which was heaven. And I was there for that. You were there. So, and now it's available to stream. So most projects go to streaming and huge projects go to streaming now. So it's just in this very differentMichael Jamin:World. Is it, where is your playing, where is the streaming now?Christina Beck:On Tubby? Tubby . AndMichael Jamin:This is per perfectionist. Which one isChristina Beck:Yes. Perfection.Michael Jamin:Which, yeah,Christina Beck:Yeah. Okay. And all that's on my website. Christina Beck do com.Michael Jamin:Christina beck.com. Interesting. Wow, that's interest. ButChristina Beck:This is, and my shorts are on there too.Michael Jamin:All your short. Is there a down, getting to a big festival, that's gotta be a game changer. But can a little festival help you?Christina Beck:Well, yes, because again, you see your film on a big screen, you see your film with an audience, you meet other filmmakers and yeah, as you know, Mr. Jamin, everything in this business is preparation and luck. So you're honing your craft , you're doing what you love. There's no slam dunk guarantee. Even with the bigger festivals. I know people that have gotten into huge festivals and got big representation and then a year later nothing. So it's like nothing. Yeah. Yeah. I guess I always say to my students, pick stories that you love. Pick stories that you feel like you have to tell because you're gonna be living with that story and pitching that story way beyond the script. You're gonna be pitching it for grants, you're gonna be pitching it for festivals, you're gonna be pitching it for people to watch it online. You're forever pitching these stories.But to say something visually is powerful. I think it can change minds and hearts. So I come to it with that. And it is frustrating. I have a feature that I wrote last year that I have not made yet. We shot a few scenes in the spring with some of my students and my first dp, me, Kyle to kind of see where it lands and figure out do we wanna do a crowdfunding thing? Do we wanna try to get in Grant? Like what? And I don't know honestly, I don't know if I have the bandwidth to go through that hustle for getting financing right now. Right now. BecauseMichael Jamin:If not that, Oh well I was gonna say, if not that, then what? You know.Christina Beck:Well, right. Well, I mean look, ideally if we were all Henry Ja or somebody who has a trust fund, independent filmmaking is for people that have a trust fund basically.Michael Jamin:Or can fund, right? Or you,Christina Beck:Yeah, I'm teasing, right? Yeah.Michael Jamin:, how many, when you shoot, how many people on set, How many crew members do you wanna have? What's your skeleton crew?Christina Beck:My skeleton is probably 12 peopleMichael Jamin:That I'm surprised it's that big. So who,Christina Beck:WellMichael Jamin:Let's walk. You mean you've gotta skip supervisor DPChristina Beck:Happens fist. Yeah. Okay. Scripty, dp, ac sound mixer, boom. Makeup, hair. That could be one person blah. Who am I forgetting? Producer. Of courseMichael Jamin:You're gonna want someone with the lights.Christina Beck:Well, right. Lights, gaffer, grip. Then we have,Michael Jamin:How many cameras are you rolling at once?Christina Beck:Oh, one . Yeah, one. Okay. Yeah. Okay. Yeah. This isn't like tv, but I did actually, I made a short film with three cameras. Once I did that one I did for search site. Yeah, that's true. But that was a, people were like, Why did you do that?Michael Jamin:But that's still not even year 12. That might be, I don't know. I lost count.Christina Beck:Well, I'm missing people. I'm on the spot here. I'm trying to think. I'm totally missing people. I mean, there's craft service,Michael Jamin:Right?Christina Beck:Oh my God. Probably like the most You got people person, Yeah. Anyways, yeah. 10 to 12. It just adds a pa. You need a pa you need, yeah. Yes. But yes, you can do it with five people. I've done it with three. I mean,Michael Jamin:Are you pulling any permits or are you sort of shootingChristina Beck:That? I do permits when I am renting equipment. And I have, I've also completely gorilla so many things.Michael Jamin:Wait, if you have, why do you have to have a permit if you rent co equipment they requireChristina Beck:Because yeah, you have to have insurance and there's film LA and yeah, there's a whole thing that needsMichael Jamin:To happen. Yeah. People get paid off. Yeah.Christina Beck:. Well, it's kinda a, Yeah,Michael Jamin:It's hard and happens. Yeah, it's hard. It's a hustle. But you do it cuz you love doing it, right?Christina Beck:Yes. Yes. That is true. Right? That is true.Michael Jamin:And how many scripts do you have that are just sitting around that? Are you, I guess I won't even try with that one or,Christina Beck:Yeah, I know that breaks my heart cuz I was at a ratio of, at one point having everything produced. I was like, I don't remember everything's been produced. But now I've written more scripts. I like, Yeah, I have probably, but not a ton. I have a couple features and I've written a few series, so yeah, Not yet. Not yet. ButMichael Jamin:What about just something you could do and now we'll wrap it up cause I don't wanna keep for chill up. But what about doing something where you could just shoot it in your apartment? Write it specifically for your apartment?Christina Beck:Yeah, well I would still need to get permission from my landlord. I'd still need to get equipment. Cause you can't shoot without permission if you wanna have insurance and you have to have insurance. Now look, my , my feature perfection in my old apartment, I actually did have permission from my landlord, but we shot so much of it just really running gun. And that can be done. That can have, But you still, And also I wanna pay people. I'm at a place where I can't ask people to work for free. Now if it's your first project and stuff, I encourage everybody to ask people to work for free if you treat them well. And if they're newbies too and it's a shared experience of discovery and stuff and they feel connected to the work and you feed 'em well, you gotta feed well. You gotta giveMichael Jamin:'em some very, But it seems like you have the perfect person for that because you have a bunch of students who wanna just get their names on stuff.Christina Beck:That's true. That's true. Yeah. Well, and I would probably and probably will end up shooting this feature with, And look, my students are amazing. They are so talented and professional when I get on their set. So this year I've had two students cast me in their short films. So I got to show up really as an actor on these. That's fun. Well, it's great because I was talking to the other film professors, because we work with them on the scripts and we sign off the scripts and then they go off and shoot. So these, they're kind, they're on their own, they're chaperoned and then they come back and bring, and we work on the edit and stuff, but we don't know what really goes on in those sets. So I was saying to this other professor the other day, I'm like, Yeah, I was there. I gotta be there and see what, And the truth is these students are wildly professional and I wouldn't really honestly wanna work with anyone else. But then they are so good. SoMichael Jamin:Someone called me up a student, I don't wanna say where they needed a 50 year old man. Now I don't play 50. We all know that. I play mid thirties ofChristina Beck:Course.Michael Jamin:But I was like, right, I didn't really wanna do it. I was like, all right. And then he goes couple weeks later he's like he's like, Yeah, well we're gonna need you to read . I wasChristina Beck:Like,Michael Jamin:I'm off only . Oh my God. I didn't want it that bad. But I think that was part of the experience that they wanted to have was they wanted actors. I'm not reading dude Christina Beck:Great. Well they're trying out their stuff I guess. Who knows? In terms of, Yeah, but wrong guy. They got the wrong guy with you.Michael Jamin: offer only.Christina Beck:That's right. That's right. Mr. Jam .Michael Jamin:How funny. Yeah. So, alright. This is so fascinating cuz this is a world I know nothing about this whole people cause people ask me all the time I got India. I don't know, Ask Christina. So where do people follow Christina back on? How do they learn more about what you're doing?Christina Beck:Well, like I said, my website and then myMichael Jamin:Give it to you again so that,Christina Beck:Okay. It's christina beck.com. There you go. And yeah, and then I'm on Instagram X Beck. AndMichael Jamin:What do you mean wait, X dyna? How do you spell that?Christina Beck:X I don't remember that. T I n a.Michael Jamin:Oh it. So it's X.Christina Beck:Yeah.Michael Jamin:I dunno why you said Ina. We'll work on this later. Christina Beck:Put a little thing up there. We don't have to talk about it. Yeah, yeah. And I just wanna say lastly, I am so not an expert on this. Please. I've been just finding my way as I go. But you know, I've watched other writers, The path is just, it's just not a straight line. And I think to stay connected to purpose and okay, I feel like I gotta tell certain stories. And when I talk to my students about this, okay, why do you have to tell this story? And we ask ourselves those questions and why now and all those things. Which in as far as indie film goes, I feel like we're in a little bit of a dip right now where the character driven independent films, at least in America, are not being celebrated as they once were. . And I believe that that'll shift.And I talk, I've talked to many people about this and we've gone through so many different, you know, can look back in the 1970s where Paramount was like studios were making beautiful character driven films. And I don't know if we'll ever go back to that, but I do think like you said, you can have a tiny crew and you could make something. I could make something in my living room. Absolutely. And one of my favorite filmmakers is a woman named Barbara Loden. She sadly passed away a long time ago. She was an actress. She actually was married to Ilie Kaza and she made a film called Wanda. And it's an amazing film and you can find it online. It's on the Criterion Channel and different places like that. But she had a tiny crew. She had maybe six people. And , sometimes people besides the attacks right off, they wanna contribute. They wanna be a part of it. They wanna be a part of this passion storytelling.Michael Jamin:Sometimes they also wanna give you their notes. Right?Christina Beck:WellMichael Jamin:Sometimes that money goes and comes with strengthsChristina Beck:Or here's the other thing. Yeah. Find an actor who really wants a great part that has some dough that wants to coce or something. And you guys can collaborate on that and you can write something that's really great for them that they would never get cast in. There's a lotMichael Jamin:Of you recommended. That's a great idea. That's a great idea. You recommended to me to watch Thunder Road. Remember that? Oh yeah,Christina Beck:I watch that. The short.Michael Jamin:And I loved it That and I loved, and I didn't realize I didn't, it was actually, I watched the scene from it, but it was actually, I guess a feature or whatever, but the scene stood on its own. I go, this is a beautiful it short. But it was a beautiful scene.Christina Beck:Oh, so you watched from the feature or did you watch the short film?Michael Jamin:Yeah. Yeah. Cuz I think you gave me the link to Vimeo or something. OhChristina Beck:Okay.Michael Jamin:I just watched that one church scene where he wasChristina Beck:Like, Yeah, yeah.Michael Jamin:So over,Christina Beck:Yes. That guy is amazing. He's the real deal. He's a guy to follow. Cause he's Joe Independent film. He, Jim is his name actually . And he makes stuff and he works as an actor. He'll do commercials, whatever. And then he'll take that money and that's what caves did. Caves made whatever he was working in television stuff he wasn't crazy about. And then he would take that money and then he would just make the films he wanted to make. So maybe it hasn't changed at all. It just goes back to that thing again where if you have this story you gotta tell and it does start with theMichael Jamin:Story. What kinda stories do you feel you have to tell?Christina Beck:Well I feel like I almost keep telling the same story, but I, I'm reallyMichael Jamin:Love different versions ofChristina Beck:It. That's right. That's, as I get older, I get this different perspectives of it. But I do, I love the story of people, characters that have perceived limitations or real ones and they slowly find their way out of that predicament. And yeah, I like happy and things. I like to see the journey of someone of starting off in a place where they don't feel and they get a little better.Michael Jamin:And you said before I cut you off, you was, it all starts, the focus has to be on the script.Christina Beck:It's all about the script. That's the blueprint. That is the blueprint. Especially if you're shooting with no money and no time. And because you don't have the luxury and we never have the luxury. You see it all the time and any budget level. But the truth is, the script really is everything starts there. That's how you get anybody on board. That's how you can refer if a DP who's maybe a great DP and wants to do something small because he loves the story or he loves the subject matter and that script should be tight and ready to shootMichael Jamin:. Right. And because you could shoot something and you get the biggest crew and the biggest budget and it looks like a movie. But if the script sucks, so what? No, it's not anyone's gonna wanna watch it, but it may look like a movie. Yeah,Christina Beck:Yeah, that's right. And then it won't get programmed really in festivals cuz there's so much competition. I just think that thing that we kind of all know, make it a personal story, doesn't have to be autobiographical, but make it something that you really connect to or a topic that really you do have some experience in that you can bring something that maybe we haven't seen yet or we haven't seen from that angle, like you said. Yeah. That's the stuff that's really gold. I love that Thunder Road short. It's such a great example of a guy who just took a very, very simple premise. And the other kind of novelty of that short is he shot it in one take, which is pretty cool. That's not easy to do.Michael Jamin:That's not easy. What I'm saying. He did it and that's a novelty. But as you pointed that out, I forgot. I like the story of it.Christina Beck:Well that's the thing, you should just be looking at it like, oh, where's the cut? No, we wanna be engaged. And that was very engaging and that was a very personal story. I mean, I don't know about his personal story, but I know that I felt that in his work. Yeah,Michael Jamin:Yeah. It's all about that. It's all about being vulnerable and about sharing something that's that only you can do, right?Christina Beck:Yeah. Yeah. I mean hopefully, I mean, I don't know, I think it's two, there's too many topics now that people are dealing with in terms that need to, voices that need to be heard in the world, I believe. And yeah, this is a powerful way to get our voices out,Michael Jamin:But that means writing. So that's what I think cuz everyone's looking for diverse voices and voices that have been underrepresented. So that means writing about, I think your experience, that's what we want from youChristina Beck:Because Well, I think so too.Michael Jamin:Yeah. Now's your shot.Christina Beck:Yeah, I think so too. No one can steal your idea. That's a whole thing too. Sometimes people are like, Oh no, someone's gonna steal this idea. Well there's real, there's not that many ideas really when you think about it, the same story over and over. I'm still telling the story of someone overcoming. I love characters that overcome their limitation or their perceived limitations or their background. I come from alcoholism and all sorts of other things. And that doesn't mean that I'm gonna keep getting it on the nose with those topics, but it informs the way I look at the world growing up in that environment. And today I'm really grateful for that. But when I started writing, I was still very tortured by that. So , but keeping it, that process of keeping it personal and having that point of view with those circumstances makes it only something that I can sayMichael Jamin:I Christina, I think everyone should start taking your class one of either your classes, but the LMU one is a little difficult cause they have to enroll, but the other one Yeah.Christina Beck:Well, yes, is different. Yeah. I mean, I'm also, I do workshops too sometimes, so,Michael Jamin:Oh, you do private workshops?Christina Beck:I do screenwriting workshops.Michael Jamin:And Is that on your website as well?Christina Beck:Yeah, not right now, , but it was, Oh,Michael Jamin:How would that basically work? Yeah.Christina Beck:Well, I've worked, so I've done six weeks workshops where we really start off with, Okay, what's the story you wanna tell that's most personal to you? And so it's literally creating a character or that story from the point of view of the storyteller and the steps to take, whether it would turn into a series or a short film, or a feature or a play.Michael Jamin:And it's six weeks and it meets once a week or something.Christina Beck:Correct.Michael Jamin:That sounds really good. How many people are in that course, or outta time?Christina Beck:Well, it's different times I, It's been usually pretty intimate. Not a ton of people , but now we can do stuff on Zoom, which is great. Right.Michael Jamin:Wow, that sounds pretty cool. Yeah, people should check you. Yeah, you better put that up once this, IChristina Beck:Guess. I guess I'm Do that. Yeah, I guess so. ButMichael Jamin:Tell people where to find that again, so in case that you make that happen, that sounds like a beautiful thing.Christina Beck:Oh, thanks. Yes. Christinabeck.com.Michael Jamin:Christinabeck.com. Christina, thank you so much for joining me. This is a good talk. I thought this wasChristina Beck:Really helpful. Thanks, Mr. JaminMichael Jamin:Now I wanna be an independent filmmaker.Christina Beck:No, you don'tMichael Jamin:. No, you don't.Christina Beck:If you wanna make money. No. There are some that make money. There are some that make money, right? Yes, yes, yes, yes. But yeah, thank you. Thank you so much. It's so fun to talk with you, Mr.Michael Jamin:Yeah. Thank you. Thank you. I'm gonna sign up, right? Everyone, Thank you for listening. And yeah, for make sure you get on my free weekly newsletter michaeljamin.com/watchlist. What else we gotta talk about? We have a course. Yeah, we can check out my course at michaeljamin.com/course. And if we post this in time, I don't know, but I'll be doing two shows in Boston, November 12th and 13th from a paper orchestra. It's my stage reading, and then two shows in December 10th and 11th. And for tickets, go to michaeljamin.com/live. All right. Thank you again, Christina. Wonderful.Christina Beck:My pleasure. Thank you. Thank you. Thanks for asking. Yeah.Michael Jamin:Hey, it's Michael. One more thing. Come see me perform. I'm going to be in Boston area, actually, Amesbury, Massachusetts on November 12th and 13th at the Actor studio, performing my show, a paper orchestra. And then I'm gonna be back in Los Angeles on December 10th and 11th again at the Moving Arts Theater Company. So tickets are on sale. Go get 'em at michaeljamin.com/live. It's a small, intimate venue. I'm gonna be performing for my collection of personal essays, and each one's gonna be followed by like a 20 minute q and a. We get to talk about the work. It's a fun event. So I hope to see you there. Go get them tickets again are at michaeljamin.com/live, and of course, sign up to my weekly newsletter that's called the watchlist at michaeljamin.com/watchlist.Phil Hudson:This has been an episode of Screenwriters. Need to Hear This with Michael Jamin and Phil Hudson. If you'd like to support this podcast, please consider subscribing, leaving a review ,and sharing this podcast with someone who needs to hear today's subject. For free daily screenwriting tips, follow Michael on Instagram, Facebook, and TikTok @MichaelJaminWriter. You can follow me on Instagram, Facebook, and TikTok @PhillaHudson. This episode was produced by Phil Hudson and edited by Dallas Crane. Until next time, keep writing.

There is no shortage of recent articles regarding the too long overlooked subject of female directors. While many of these articles are specific to the women directing films today (Patty Jenkins, Kelly Reichardt, Kathryn Bigelow, etc.), there are many more that claim to be comprehensive overviews of the contributions made by women to the art of cinema. These articles are careful to remember female directors from the distant past (Lotte Reiniger, Alice Guy-Blaché) and the ones who boldly made films in Hollywood when women weren't even considered for jobs as directors (Dorothy Arzner, Ida Lupino, Barbara Loden). They are careful to include women of color (Gina Prince-Bythewood, Chloé Zhao), and they don't forget the well-known foreign women directors (Lina Wertmüller, Agnès Varda, Chantal Akerman). But there's one group of female directors who haven't been given due credit for their work: The female directors of East Germany. You can go through as many articles on the topic of female directors as you're willing to read, and you won't find Iris Gusner, Evelyn Schmidt, or Hannelore Unterberg mentioned at all. Never mind that the films by these women are often better than any of the films made by some of the directors that did make those lists. Even the list of female directors Wikipedia includes no female East German directors. Join us today as we speak with Jim Morton, author of the East German Cinema Blog, and Jeffrey Babcock, who curated a program on East German cinema for the Goethe Institute in Amsterdam, on the often overlooked topic of female directors in DEFA films.  Our ability to bring you stories from behind the Berlin Wall is dependent on monthly donors like you. Visit us at  https://www.eastgermanypodcast.com/p/support-the-podcast/ to contribute. For the price of a Berliner Pilsner, you can feel good you are contributing to preserve one of the most important pieces of Cold War history. If you feel more comfortable leaving us a review to help us get more listeners, we appreciate it very much and encourage you to do so wherever you get your podcasts or at  https://www.eastgermanypodcast.com/reviews/new/. For discussions about podcast episodes and GDR history, please do join our Facebook discussion group. Just search Radio GDR in Facebook. Vielen dank for being a listener!

Ep. 127: Shonni Enelow on Acting and Absorption in Joanna Hogg's Films, plus Wanda Welcome to The Last Thing I Saw. I'm your host, Nicolas Rapold. My guest this week is scholar Shonni Enelow, talking about her book in progress about acting in the films of Joanna Hogg. I have always enjoyed reading Enelow's writing on the subject (including an especially memorable piece on recessive acting), and our conversation (or more rightly speaking, her insights) opens up new facets to Hogg's rich work, from Unrelated to especially The Souvenir, parts one and two, by revisiting a concept from theories of art, absorption. It's also a great opportunity to reflect on the cinematic feats of Wanda, directed by Barbara Loden, and its echoes in Hogg's project. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow's Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Programa completo de La rosa de los vientos con con Bruno Cardeñosa y Silvia Casasola. En la previa de la Zona Cero hablamos sobre la búsqueda del gemelo perdido. Además, con Erica Couto conocemos cómo fue la primera misa negra. En la 'Tertulia Zona Cero' charlamos sobre el inframundo. En 'Mujeres con historia' descubrimos la historia de Barbara Loden, la directora de cine que pasó a la historia con una sola película. 'Ecos del pasado' trata sobre la mala suerte, con Laura Falcó. Luego, entrevistamos a Javier Urra para hablar de su libro 'El ser humano, un ser espiritual' y en 'Cuéntame cómo pasó' hablamos de la resurrección de los mamuts. 

El periodista Eduardo Bravo nos trae la vida de Barbara Loden, la directora de cine que pasó a la historia con una sola película.

We loved seeing you all last week for our recent "Book Lunch" that featured #NathalieLeger's wonderful book, "A Suite for Barbara Loden". In case you missed it, here it is for you all to enjoy! Please like, share and leave a comment.#barbaraloden#asuiteforbarbaraloden #books #cinema #wanda #filmmaking --- Send in a voice message: https://anchor.fm/mitch-hampton/message Support this podcast: https://anchor.fm/mitch-hampton/support

Cynthia Cruz, author of 'The Melancholia of Class: A Manifesto for the Working Class' joins Psychotherapist Harriet Fraad and Substance Abuse Councillor Ikoi Hiroe to discuss the 'invisibility' of class, the cost of assimilation into the middle class, eating disorders, substance abuse and many other issues. 'To be working-class in a middle-class world is to be a ghost. Excluded, marginalised, and subjected to violence, the working class is also deemed by those in power to not exist. We are left with a choice between assimilation into middle-class values and culture, leaving our working-class origins behind, or total annihilation. In The Melancholia of Class, Cynthia Cruz analyses how this choice between assimilation or annihilation has played out in the lives of working-class musicians, artists, writers, and filmmakers — including Amy Winehouse, Ian Curtis, Jason Molina, Barbara Loden, and many more — and the resultant Freudian melancholia that ensues when the working-class subject leaves their origins to “become someone,” only to find that they lose themselves in the process.' Email us with feedback, questions, suggestions at itsnotjustinyourhead@gmail.com. Become a patron at patreon.com/itsnotjustinyourhead to gain early access to episodes, our discord server, and monthly reading/discussion groups. The Melancholia of Class: A Manifesto for the Working Class: https://repeaterbooks.com/product/the-melancholia-of-class-a-manifesto-for-the-working-class/ --- Send in a voice message: https://anchor.fm/itsnotjustinyourhead/message Support this podcast: https://anchor.fm/itsnotjustinyourhead/support

Alex and Nick introduce a new monthly series to the podcast, in which they review movies from the Criterion Collection that they've never seen. This segment includes classics that influenced Paul Thomas Anderson, and films from Leonard Kastle, Barbara Loden, Powell & Pressburger, and more. They also talk about “Kindergarten Cop” and “Last Action Hero,” which are definitely not part of the Criterion Collection. Yet.Follow us on Twitter @WAYW_Podcast.Watch Alex's films at http://alexwithrow.com/Watch Nick's films at https://www.nicholasdostal.com/Send us mailbag questions at whatareyouwatchingpodcast@gmail.com

Un film d'aventure qui retrace une quête absurde d'un équipage emmené par un océanographe dépressif et décalé : dans « La Vie aquatique », Wes Andersen, inspiré par les explorations sous-marines du célèbre commandant Cousteau, raconte les errances rocambolesques de Steve Zissou (Bill Murray) et de la tribu qui peuple son navire. Portée par les bricolages virtuoses de Wes Andersen, cette ode à l'échec a marqué la comédienne Céline Nidegger et le comédien Bastien Semenzato, tant sur le plan professionnel qu'émotionnel ! Les recommandations de Céline Nidegger et Bastien Semenzato - Les neuf volumes du « Manifeste incertain » de Frédéric Pajak ; Les Editions Noir Sur Blanc, 2012-2020 ; - « Ecrits » (1991 - 2011) de Claude Régy ; Éditions Les Solitaires intempestifs, 2016 ; - « Je pensais que mon père était Dieu et autres récits de la réalité américaine », recueil de Paul Auster, Actes Sud, 2001 ; - « Supplément à la vie de Barbara Loden », de Nathalie Léger, P.O.L, 2012 - Le film « Annette » de Leos Carax, 2021

Technecast is hosting the Invitations Series: four conversations by Judah Attille, Therese Henningsen, Mark Aerial Waller and Astrid Korporaal. Each episode is based on a research encounter with a creative practitioner connected to the field of sound & moving image. Together, the episodes question the relationships between audience, screen, maker & subject. This final episode features Therese Henningsen and Juliette Joffé, reflecting on the ongoing curatorial project Strangers Within and the notion of 'documentary as encounter' in their own films Next Year We Will Leave (2021) and Slow Delay (2018). The two films will be publicly shown for the Strangers Within anthology launch and film programme at Whitechapel Gallery in June 2022 in collaboration with Prototype. Contributors to the Strangers Within anthology and film programme are: Khalik Allah, Ruth Beckermann, Jon Bang Carlsen, Adam Christensen, Annie Ernaux, Gareth Evans, Xiaolu Guo, Therese Henningsen, Marc Isaacs, Juliette Joffé, David MacDougall, Laura Rascaroli, Bruno de Wachter, Yuya Yokota, Andrea Luka Zimmerman Strangers Within addresses convergences between encounter, hospitality and autobiography in documentary filmmaking. It engages with the risks of encounter, unsettling assumed distinctions between host and guest; stranger and friend; self and other; documentarian and protagonist. By challenging commonly held assumptions around the division between director and subject in the documentary encounter, it unsettles the filmmaker's presumed control over those she films. By staying with the difficulty of such encounters the camera can keep us open to risks that may otherwise be avoided or ignored: seeing oneself in strangers or becoming a stranger to oneself. Links for reading: Towards A Transpersonal I by Annie Ernaux [https://www.annie-ernaux.org/texts/vers-un-je-transpersonnel-2/] Suite for Barbara Loden by Nathalie Léger [http://dorothyproject.com/book/suite-for-barbara-loden/] , excerpt here [https://www.theparisreview.org/letters-essays/6820/barbara-wanda-nathalie-leger] Doing Psychoanalysis in Tehran by Gohar Homayounpour [https://mitpress.mit.edu/books/doing-psychoanalysis-tehran] * Therese Henningsen is a filmmaker and programmer based in London. Her filmmaking often takes shape through the encounter with the person(s) filmed and the direction this may take. Her films have been shown at Whitechapel Gallery, Chisenhale Gallery, Whitstable Biennale, Close-Up Cinema, SMK Statens Museum for Kunst, among others. She is a member of the two film collectives Sharna Pax and Terrassen, both engaging with the social life of film. She collaborates on ongoing film and research projects with artists and filmmakers Andrea Luka Zimmerman, Sidsel Meineche Hansen and Juliette Joffé. Therese came to filmmaking through anthropology and holds an MA in Visual Anthropology from Goldsmiths College. She is currently working on a practice-led PhD in Media Arts at Royal Holloway University, and teaches on the MA Documentary and Ethnographic Film at UCL. * Juliette Joffé is a filmmaker based in Brussels. Her films have been shown in festivals such as Visions Du Réel Nyon , FIDMarseille, Open City Documentary Film Festival, Astra Film Festival among others. Her first film Maybe Darkness was awarded a Wildcard For Best Documentary by The Flemish Film Board allowing her to direct The Hero With A Thousand Faces which won Best Short Film Film at Mostra Internazionale Di Cinema Di Genova. She has recently finished the mid-length essay film Next year, we will leave. She runs the documentary course in Brussels- based art school Preparts. As part of her programming practice, she was invited to introduce the work of Belgian filmmaker Olivier Smolders at Open City Documentary Film Festival 2017. * Image Credit: Still from Slow Delay, Therese Henningsen (2018)

Welcome back to Season 2 of A Century in Cinema!We continue our exploration of independent cinema from the new Hollywood era with Wanda. We discuss how difficult it is to finance films, even when they're smaller in scale, and the challenges that come with leading a project like this. We also speak on the life and career of Barbara Loden as this film's star, writer, director, and producer. How does her filmmaking style compare with Dennis Hopper, the director of Easy Rider?Become a Patron on PatreonWhere to watch WandaWanda review from the time periodWhere to watch A New Leaf (1971)

Kate Wolf and Medaya Ocher are joined by author Cynthia Cruz to discuss The Melancholia of Class: A Manifesto for the Working Class. A mix of memoir, cultural theory, and polemic, Cruz's latest work addresses the personal and social consequences of the marginalization of America's majority population, its working class. Cruz speaks about what inspired her to write the book and how she came to focus on the lives of certain famous working-class people, like musicians Amy Winehouse and Ian Curtis (who both died tragically in their 20s), and Jason Molina (who made it to 39), actress Barbara Loden, and others. How did they and Cynthia contend with the hegemonic “middle-class” culture's shaming of working-class characteristics? Denial and repression of working-class consciousness is encouraged in our society. This repression is seen as a precondition for success, but it mangles the soul and shreds the bonds of social solidarity that are the foundation of community and provide a sense of belonging. 173 years after Marx and Engels recast the working class as the protagonist of history in their Manifesto, Cruz does the same in hers. Also, Amia Srinivasan, author of The Right to Sex: Feminism in the 21st Century, returns to recommend Revolting Prostitutes: The Fight for Sex Workers' Rights by Molly Smith and Juno Mac, who are both British sex workers.

Kate Wolf and Medaya Ocher are joined by author Cynthia Cruz to discuss The Melancholia of Class: A Manifesto for the Working Class. A mix of memoir, cultural theory, and polemic, Cruz's latest work addresses the personal and social consequences of the marginalization of America's majority population, its working class. Cruz speaks about what inspired her to write the book and how she came to focus on the lives of certain famous working-class people, like musicians Amy Winehouse and Ian Curtis (who both died tragically in their 20s), and Jason Molina (who made it to 39), actress Barbara Loden, and others. How did they and Cynthia contend with the hegemonic “middle-class” culture's shaming of working-class characteristics? Denial and repression of working-class consciousness is encouraged in our society. This repression is seen as a precondition for success, but it mangles the soul and shreds the bonds of social solidarity that are the foundation of community and provide a sense of belonging. 173 years after Marx and Engels recast the working class as the protagonist of history in their Manifesto, Cruz does the same in hers. Also, Amia Srinivasan, author of The Right to Sex: Feminism in the 21st Century, returns to recommend Revolting Prostitutes: The Fight for Sex Workers' Rights by Molly Smith and Juno Mac, who are both British sex workers.

Writer and Poet Cynthia Cruz joins Kate and Medaya to discuss The Melancholia of Class: A Manifesto for the Working Class. A mix of memoir, cultural theory, and polemic, Cruz's latest work addresses the personal and social consequences of the marginalization of America's majority population, its working class. Cruz discusses what inspired her to write the book; and how she came to focus on the lives of certain famous working class people, like musicians Amy Winehouse, Ian Curtis (who both died tragically in their 20s), and Jason Molina (who made it to 39), actress Barbara Loden, and others. How did they and Cynthia contend with the hegemonic “middle class” culture's shaming of working class characteristics? Denial and repression of working class consciousness is encouraged in our society. This repression is seen as a precondition for success; but it mangles the soul and shreds the bonds of social solidarity that are the foundation of community and provide a sense of belonging. 173 after Marx and Engels did the trick in their Manifesto, Cruz does the same in hers: by casting the working class in its proper role, as the protagonist of history. Also, Amia Srinivasan, author of The Right to Sex: Feminism in the 21st Century, returns to recommend Revolting Prostitutes: The Fight for Sex Workers' Rights by Molly Smith and Juno Mac, who are both British sex workers.

If you've never heard of Barbara Loden's Wanda (1970), Cinphomaniac is here this week to correct that. Marcus and Dana throughly dissect this once forgotten masterpiece of early American Independent Cinema - the one and only feature film its mesmerizing star, Barbara Loden, ever would direct in her all too brief life. They discuss Loden's incredibly nuanced and detailed performance as the title character, as well as its level of immense specificity in every other aspect, with its emphasis on naturalism, transgression, power, and class. Also discussed is the rich legacy of the type of complex female driven stories that Wanda would herald, from filmmakers like Andrea Arnold, Jane Campion, and Chloe Zhao, as well as the eye opening TV appearance Loden made to promote the film on The Dick Cavett Show. Don't miss this one!

This week, we travel back to 1970 and explore the film "Wanda," the only feature film from director Barbara Loden, who wrote, directed, and starred in this forgotten gem of a film. Joining us in the discussion is director Cody McLain, who will also talk about his debut feature film, "So Help Me God." This week is more real life than fantasy for sure. But, did we survive? Find out here! Watch Cody's film, "So Help Me God" here: https://www.youtube.com/watch?v=W49_3jA-iuk&t=1264s --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Alix est de retour, et elle reçoit pour cet épisode une vraie dream team : Aïda, Maëlle et Cyril ! Ça cause cinéphilie, non-binarité, et même Eurovision. Plaisir, quoi.Ce dont on parle dans cet épisode de Laisse-moi kiffer :Feels, l'appli de datingAïda sur Insta : @aitremadeaMaëlle sur Instagram : @definitelymaebeL'épisode de LMK avec Gabriel Pourquoi Léna Situations a t-elle eu si peur du prank signé McFly et Carlito ? Le film Robuste avec Déborah LukumuenaLa Semaine de la Critique de CannesLe film Bonne Mère d'Hafsia HerziL'interview d'Hafsia Herzi par Alix Le livre Supplément à la vie de Barbara Loden de Nathalie LégerLe film Wanda de Barbara LodenLe film Monrovia, Indiana de Frederick WisemanLa chaîne YouTube de Dorothée GastonLa non-binarité de CyrilLe film Titane de Julia DucournauLe podcast Pardon Le CinémaLa websérie Raconte de Thibaut VillarL'actrice Florence PughLe film Black Widow de Cate ShortlandLe film Midsommar d'Ari AsterLe film Les Filles du Docteur MarchL'épisode d'Affichées sur les films de NoëlL'appli BeRealL'appli TimehopLa soirée des 40 ans de CyrilLe film Les Crevettes Paillettées de Cédric Le GalloFaire du patin (ou du roller quad)Oumi Janta : @oumi_janta

Columna de Florencia Villegas, en Mejor País del Mundo

Alix est de retour, et elle reçoit pour cet épisode une vraie dream team : Aïda, Maëlle et Cyril ! Ça cause cinéphilie, non-binarité, et même Eurovision. Plaisir, quoi.Ce dont on parle dans cet épisode de Laisse-moi kiffer :Feels, l'appli de datingAïda sur Insta : @aitremadeaMaëlle sur Instagram : @definitelymaebeL'épisode de LMK avec Gabriel Pourquoi Léna Situations a t-elle eu si peur du prank signé McFly et Carlito ? Le film Robuste avec Déborah LukumuenaLa Semaine de la Critique de CannesLe film Bonne Mère d'Hafsia HerziL'interview d'Hafsia Herzi par Alix Le livre Supplément à la vie de Barbara Loden de Nathalie LégerLe film Wanda de Barbara LodenLe film Monrovia, Indiana de Frederick WisemanLa chaîne YouTube de Dorothée GastonLa non-binarité de CyrilLe film Titane de Julia DucournauLe podcast Pardon Le CinémaLa websérie Raconte de Thibaut VillarL'actrice Florence PughLe film Black Widow de Cate ShortlandLe film Midsommar d'Ari AsterLe film Les Filles du Docteur MarchL'épisode d'Affichées sur les films de NoëlL'appli BeRealL'appli TimehopLa soirée des 40 ans de CyrilLe film Les Crevettes Paillettées de Cédric Le GalloFaire du patin (ou du roller quad)Oumi Janta : @oumi_janta

Chaque vision est singulière, porteuse de sens et de changement. Le but de ce format est de rassembler de nombreux artistes et que chacun nous délivre sa vision et son expérience de la photographie.     Pour ce seizième Vision, nous avons le plaisir d'inviter Letizia Le Fur, artiste et photographe au regard sensible et doux. Diplômée de l'école des Beaux-Arts en 1998, Letizia Le Fur a initialement été formée à la peinture. À ses débuts, l'artiste considérait la photographie comme un art mineur. Finalement, encouragée par l'artiste et professeure Valérie Belin, elle oriente sa quête esthétique vers le médium photographique.     Dans ce podcast, Letizia nous parle notamment de son rapport singulier à la couleur, en le comparant et en s'éloignant de l'approche du photographe japonais Daido Moriyama, qui, dans son ouvrage In Color: Now, And Never Again, affirmait « Le noir et blanc exprime mon monde intérieur, les émotions et les sensations que j'ai quotidiennement quand je marche sans but dans les rues de Tokyo ou d'autres villes. La couleur exprime ce que je rencontre, sans aucun filtre, et j'aime saisir cet instant pour ce qu'il représente pour moi. Les premières sont riches en contraste, dures, et reflètent pleinement ma nature solitaire. Les secondes sont polies, sages, comme je me présente au monde. »     Letizia Le Fur aborde plus longuement son travail Mythologies, qui puise ses racines dans deux passions qui habitent et accompagnent l'artiste depuis son enfance : la mythologie grecque et la recherche de la beauté. Guidée par les poètes classiques, notamment par Hésiode et Ovide, l'artiste interprète librement les mythes avec sa sensibilité et par une approche esthétique contemporaine. Nous parlerons de cet ouvrage, qui regroupe deux premiers chapitres de son corpus : L'Origine et L'Age d'or. Letizia évoque également le troisième chapitre, en préparation, qui sera consacré aux Métamorphoses.     Dans la préface de son livre publié chez Rue du Bouquet, Laura Serani écrit : « Letizia transforme et transcende ce qui l'entoure, embellit le réel, colore les gris pour s'inventer un monde repaire ». Pour faire écho à cet extrait de texte, nous évoquerons son utilisation de la photographie numérique, de ses différents accessoires (notamment le flash et la technique fascinante de la nuit américaine) et de l'importance de la post-production dans son travail.     Nous vous souhaitons une excellente écoute !      Letizia Le Fur est exposée à la galerie Laure Roynette jusqu'au 17 juillet.     Son livre est disponible ici. Essayez gratuitement Lightroom pendant 7 jours : https://urlr.me/RnFL3  Nous soutenir     https://visionspodcast.fr/nous-soutenir/     Pour aller plus loin     Valérie Belin, Jérôme Bosch, Claude Gellée, dit « le Lorrain », Le Caravage, Gustave Moreau, Théodore Géricault, Gerhard Richter, Chris Marker, Wim Wenders, Barbara Loden, Andreï Tarkovski, Saul Leiter, Harry Gruyaert, Gueorgui Pinkhassov, Viviane Sassen, Rinko Kawauchi, Laure Roynette, Jean-Baptiste Boyer, Laura Serani, Marguerite Duras, La Grande Bellezza - Paolo Sorrentino.    Liens     https://www.instagram.com/letizialefur/  https://www.letizialefur.com  https://www.instagram.com/podcastvisions/  https://www.visionspodcast.fr/  

Who will win Oscar? Will Sloan and Luke Savage of the wonderful Michael and Us podcast join me to discuss Chloé Zhao's Nomadland. We also workshop some potentially viral takes and peruse reviews from the average Joes on the Internet Movie Database. ReComradationsWill: Wanda, dir. Barbara Loden (1970) Luke: Master and Commander: The Far Side of the World , dir. Peter Weir (2003) Evan: [1] Lost Themes III - Life After Death by John Carpenter [2] Loveless, dir. Andrey Zvyagintsev (2017) Listen to Michael and Us and check out their PatreonJoin the Kino Lefter DiscordJoin the Kino Lefter Facebook group "Kino Lefter VIP Cinema Experience"Get access to Primo Lefter, our weekly bonus show on our Patreon for just $3 per month. 

Help support this show:  www.patreon.com/filmchatterpodFollow us on Instagram: https://www.instagram.com/filmchatterpod/and Twitter:  https://twitter.com/filmchatterpodCheck out the films mentioned in this episode on our Letterboxd: https://letterboxd.com/filmchatterpod/Learn more about “Liberating Hollywood: Women Directors and the Feminist Reform of 1970s American Cinema” by Maya Montañez Smukler: https://liberatinghollywood.com/index.htmlThanks for tuning in!Powered and distributed by Simplecast

Mary Tierney started her professional acting career in 1971 in Dublin at Ireland’s National Theater, The Abbey’s experimental wing, The Peacock and from that continued to work for five years in Ireland; culminating in Dublin’s first rock musical, Stephanie by Emerson college graduate, Russell Mason. Upon returning to New York, her role as Josie, in Walter Macken’s Home is the Hero which ran for six months as the Irish Arts Center. The success of that play has a ripple effect; Moss Cooney, Cork city immigrant restaurant entrepreneur, built a theater above his BillyMunk restaurant on 45th Street just off Second Avenue for the play; redirected by Barbara Loden, thus starting the BillyMunk, non-for-profit resident company.At the suggestion of Barbara, Mary started directing there; a Sean O’Casey One Act Play Festival. From there she branded out to create New York’s first Lunchtime Series at the Quaigh with The Sea Plays of Eugene O’Neill starring William Hickey, Brian Dennehy and Jim DeMarse. Lunchtime continued until 1982 with the highlight being Samuel Beckett’s Krapp’s Last Tape with Billy Hickey. Also at the Quaigh, Mary earned her Actor’s Equity Association membership with British author David Pownall’s Livingston & Sechele in 1983.On a personal note marriage to Dublin born UN peacekeeper in 1985 created a nearly 20 year hiatus in theater as Life became visiting war zones and having the privilege of being in the historic dismantling of apartheid in South Africa; where she lived on and off for two years while the UN sponsored elections made Nelson Mandela President 1994. To witness the effect of post war and democratic elections; 1989 -1990 in Namibia, then South Africa and finally in 1999, East Timor’s struggles and a dramatic defeat, by the UN election team, of Indonesia’s attempt at total sabotage was well worth intermittent acting/directing work. The UN world & the theater world happily collided with her husband’s final mission, UNFICYP, in Cyprus. There, Mufflon Bookshop and The Weaving Mill, brought the newly discovered and published Tennessee Williams collection of short plays, Mister Paradise; a series of one act plays handwritten by a young author, found in the Greek section of a library in Virginia by a Cypriot scholar. A performance of several plays by the British Young Vic Shakespearean touring company in Nicosia 2005. Returning to NYC full time and working with the City of New York’s Department for the Aging Time Banks NYC brought theater work full circle. Theater for the New City (TNC) produced the artistic side of Time Banks NYC and led to today’s Tierney TNC Theater Workshop sponsored by Bloomberg Philanthropies since 2013. Unencumbered by war zones; theater life has been abundant with TNC Workshop as a base she’s been able to work in independent films and showcase productions of new plays these last half a dozen years.NEW YORK, NY

This episode is dedicated to female film & TV directors worldwide bringing storytelling greatness and unprecedented representation onscreen and off. Love to Chantal Ackerman, Dee Rees, Kathryn Bigelow, Kasi Lemmons, Ida Lupino, Joanna Hogg, Nicole Holofcener, Sofia Coppola, Isabel Coixet, Kelly Reichardt, Gina Prince-Bythewood, Dorothy Arzner, Phoebe Waller-Bridge, Lulu Wang, Kimberly Reed, Patti Jenkins, Marielle Heller, Regina King, Alice Guy-Blache, Debra Granik, Agnieszka Holland, the Wachowskis, Barbara Kopple, Julie Dash, Yoko Ono, Greta Gerwig, Cheryl Dunye, Jane Campion, Melina Matsoukas, Catherine Hardwicke, Donna Deitch, Ana Lily Amirpour, Lina Wertmuller, Barbara Loden, Lucrecia Martel, Claire Denis, Sarah Polley, Maren Ade, Lisa Cholodenko, Miranda July, Dorota Kędzierzawska, Mary Harron, Barbara Streisand, Julie Taymor, Karyn Kusama, Kimberly Pierce, Alla Nazimova, Leslie Linka Glatter, Sara Driver, Kitty Green, Catherine Breillat, Josephine Decker, Lynne Ramsay, Ava DuVernay, Chloe Zhao, Mira Nair, Andrea Arnold and many more that will grow to many many many more. Brava!

Katherine Fusco joins Brian for a discussion of WANDA, written by, directed by, and starring Barbara Loden. They also talk about the landscape for female film directors in the 1970s!WANDA is available on Kanopy: https://www.kanopy.com/product/wandaFollow us at filmatfifty.com and @filmatfifty on social media, and please leave us a five-star review on Apple Podcasts or wherever you listen to your podcasts. You can also email the podcast at fiftyyearsagoinfilm@gmail.com!/// SUPPORT FILM AT FIFTY ///Check out our Patreon page at patreon.com/filmatfifty to unlock two or more bonus episodes a month not available on the regular podcast. We'd love your support!

Che rapporto c'è tra l'io narrante e chi scrive? Quali sono le nuove configurazioni del romanzo nella strettoia tra fiction, auto-fiction, memoir, reportage narrativo e biografia? Come si fa a raccontare una vita?Scopriamolo grazie ai libri di questa settimana:- L'acqua del lago non è mai dolce, di Giulia Caminito (Bompiani)- Suite per Barbara Loden, di Nathalie Legèr (La Nuova Frontiera)

Closing out this month's theme on one movie directors, we discussed Barbara Loden's lone directorial effort WANDA.  Please send any and all feedback to anotherlookpod@gmail.com.  Please check us out on Facebook, and rate/review/subscribe where ever you get your podcasts.

To officially commence the Milestone month of August, Will Ashton and Andrew McMahon make their long-awaited returns to help break down a unique and unexpected triple feature, the likes of which the podcast world may have never seen before. We begin with an analysis of Barbara Loden’s Wanda, the first film to be written, directed, and led by a female filmmaker. We follow this up with a look back at Pee-Wee’s Big Adventure, the iconic feature debut of Tim Burton. Finally, we dive into the work of the great Agnès Varda with an observational look at her acclaimed and influential film Vagabond. SHOW NOTES: 00:03:45 – Wanda 00:37:20 – Pee-Wee’s Big Adventure 00:57:00 – Vagabond 01:20:00 – Recommendations of similar films to seek out NEXT WEEK: Jon Negroni returns yet again to examine Akira Kurosawa’s 1950 masterpiece Rashomon! MUSIC IN THIS EPISODE: Score for Pee-Wee’s Big Adventure composed by Danny Elfman, trailers for Wanda and Pee-Wee’s Big Adventure, interview for “Observations on Film Art” with Prof. David Bordwell on Vagabond. CINEMAHOLICS IN THIS EPISODE:Sam Noland,Will Ashton, and Andrew McMahon   Support the show on Patreon: https://www.patreon.com/cinemaholics See omnystudio.com/listener for privacy information.

To officially commence the Milestone month of August, Will Ashton and Andrew McMahon make their long-awaited returns to help break down a unique and unexpected triple feature, the likes of which the podcast world may have never seen before. We begin with an analysis of Barbara Loden’s Wanda, the first film to be written, directed, and led by a female filmmaker. We follow this up with a look back at Pee-Wee’s Big Adventure, the iconic feature debut of Tim Burton. Finally, we dive into the work of the great Agnès Varda with an observational look at her acclaimed and influential film Vagabond. SHOW NOTES: 00:03:45 – Wanda 00:37:20 – Pee-Wee’s Big Adventure 00:57:00 – Vagabond 01:20:00 – Recommendations of similar films to seek out NEXT WEEK: Jon Negroni returns yet again to examine Akira Kurosawa’s 1950 masterpiece Rashomon! MUSIC IN THIS EPISODE: Score for Pee-Wee’s Big Adventure composed by Danny Elfman, trailers for Wanda and Pee-Wee’s Big Adventure, interview for “Observations on Film Art” with Prof. David Bordwell on Vagabond. CINEMAHOLICS IN THIS EPISODE:Sam Noland,Will Ashton, and Andrew McMahon   Support the show on Patreon: https://www.patreon.com/cinemaholics See omnystudio.com/listener for privacy information.

When veteran documentary cinematographer Kirsten Johnson transitioned to directing with 2016's "Cameraperson," which was assembled from hundreds of hours of b-roll footage Johnson had shot over the years, it was unclear what a follow-up from her would look like. What we got - the new DICK JOHNSON IS DEAD - is a project both harrowing and whimsical: Johnson inviting her beloved father, showing early signs of dementia and failing health, to stage (and re-stage) his own death. Adam and Josh agree that the film is "a miracle." Also something of a miracle is Barbara Loden's first - and only - film, the verité-style WANDA from 1970, the next film in the Overlooked Auteurs Marathon. 0:00 - Billboard 1:07 - Review: "Dick Johnson is Dead" Tim Heidecker, "Fear of Death" 27:21 - Next Week/Notes 37:30 - Polls 45:32 - Overlooked Auteurs #4: "Wanda" 1:08:24 - Outro Learn more about your ad choices. Visit megaphone.fm/adchoices

Things are getting real heavy this week, because Adonis Gonzalez is here to talk about the two best movies of 1985, which happen to be radically different from one another! We start with a harrowing exploration of Elem Klimov's Come and See, an anti-war film depicting the Nazi invasion of Belorussia through the eyes of a young boy. We discuss the history of the film's reputation, the drama associated with the production, the way that it emerges as (potentially) the only War movie that actually matters, and why we find it so difficult to even recommend. After that, we were happy to cleanse our palate with a discussion on Robert Zemeckis's iconic Sci-Fi Family Comedy Back to the Future, covering its deft narrative construction, effective antagonist, and curious soundtrack decisions, as well as a deserved commendation for the recently deceased Ron Cobb. SHOW NOTES: 00:05:10 - Come and See 00:37:35 - Come and See (Spoilers) 00:55:00 - Back to the Future NEXT WEEK: Will Ashton and Andrew McMahon are both returning to Extra Milestone to cover the triple feature to end all triple features: Barbara Loden's Wanda (1970), Tim Burton's Pee-Wee's Big Adventure (1985), and Agnès Varda's Vagabond (1985). Music in this Episode: "Lacrimosa" by Wolfgang Amadeus Mozart, "Johnny B. Goode" by Chuck Berry, music from the trailers for Come and See and Back to the Future. Cinemaholics in this Episode: Sam Nolandand Adonis Gonzalez   Support the show on Patreon: https://www.patreon.com/cinemaholics See omnystudio.com/listener for privacy information.

Things are getting real heavy this week, because Adonis Gonzalez is here to talk about the two best movies of 1985, which happen to be radically different from one another! We start with a harrowing exploration of Elem Klimov's Come and See, an anti-war film depicting the Nazi invasion of Belorussia through the eyes of a young boy. We discuss the history of the film's reputation, the drama associated with the production, the way that it emerges as (potentially) the only War movie that actually matters, and why we find it so difficult to even recommend. After that, we were happy to cleanse our palate with a discussion on Robert Zemeckis's iconic Sci-Fi Family Comedy Back to the Future, covering its deft narrative construction, effective antagonist, and curious soundtrack decisions, as well as a deserved commendation for the recently deceased Ron Cobb. SHOW NOTES: 00:05:10 - Come and See 00:37:35 - Come and See (Spoilers) 00:55:00 - Back to the Future NEXT WEEK: Will Ashton and Andrew McMahon are both returning to Extra Milestone to cover the triple feature to end all triple features: Barbara Loden's Wanda (1970), Tim Burton's Pee-Wee's Big Adventure (1985), and Agnès Varda's Vagabond (1985). Music in this Episode: "Lacrimosa" by Wolfgang Amadeus Mozart, "Johnny B. Goode" by Chuck Berry, music from the trailers for Come and See and Back to the Future. Cinemaholics in this Episode: Sam Nolandand Adonis Gonzalez   Support the show on Patreon: https://www.patreon.com/cinemaholics See omnystudio.com/listener for privacy information.

Here is my interview with Chris Messina and Amy Seimetz, co-stars of the thriller The Secrets We Keep. Noomi Rapace and Joel Kinnaman co-star in the feature (in theaters September 16 and available on VOD October 16). Seimetz talks about director Barbara Loden (“Wanda”) in the brief chat, plus Messina discusses working w/ Seimetz on […]

In this episode, I talk about Charles Laughton's 1955 film "The Night of the Hunter." It's about two young children--John and Pearl--who are pursued by a dangerous man on the hunt for the money their father stole and gave to them. This is a classic film and a masterpiece and one of the most terrifying films I've ever seen. I provide some information about the making of the film and explore how it looks at evil, male violence, religion, and much more. There are spoilers in this episode. Consider making this podcast sustainable by supporting it on Patreon.Subscribe to the Her Head in Films Newsletter.Follow me on Facebook, Twitter, Tumblr, and Instagram.Original logo by Dhiyanah HassanFull Show Notes:Use the code "CINEMA" for your first month free at Ovid.tvMy favorite films on OvidBirth of a MovementMy episode on Terrence Malick's The Tree of LifeMy episode on Terrence Malick's Days of HeavenJack CardiffCameraman: The Life and Work of Jack CardiffPandora and the Flying DutchmanBlack NarcissusMy episode on Barbara Loden's WandaMy episode on Kathleen Collins's Losing GroundMy episode on Theo Angelopoulos's Landscape in the MistMy episode on The Enchanted CottageThe Collected Poems of Sylvia Plath"Pursuit" by Sylvia PlathGreen Eyes by Marguerite DurasMy Sources:Criterion Collection DVDTerrence Rafferty - "The Night of the Hunter: Holy Terror" (Criterion) 

O nosso programa de hoje é sobre a cineasta e atriz Barbara Loden, que escreveu e dirigiu um único filme, Wanda (1970). Ele estreou mundialmente no 31º Festival de Veneza, que aconteceu entre 19 de agosto e 1º de setembro de 1970, completando, portanto, 50 anos, foi premiado como Melhor Filme Estrangeiro e tornou-se um sucesso que marcou a história do cinema estadunidense. O programa é apresentado por Isabel Wittmann, Stephania Amaral e Camila Vieira. Oferecimento: Telecine, assine para testar: https://bit.ly/2xtAePt Mais informações: https://feitoporelas.com.br/feito-por-elas-120-barbara-loden Feedback: contato@feitoporelas.com.br Pesquisa, pauta e roteiro: Isabel Wittmann, Stephania Amaral e Camila Vieira Produção e edição: Isabel Wittmann Arte da capa: Amanda Menezes http://www.behance.net/tupiguarana Vinheta: Felipe Ayres Locução da vinheta: Deborah Garcia (deh.gbf@gmail.com) Música de encerramento: Bad Ideas - Silent Film Dark de Kevin MacLeod está licenciada sob uma licença Creative Commons Attribution (https://creativecommons.org/licenses/by/4.0/) Origem: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100489 Artista: http://incompetech.com/ Assine nosso Padrim http://www.padrim.com.br/feitoporelas Assine nosso Patreon http://www.patreon.com/feitoporelas

It's a new miniseries on the podcast! We are covering the 70s next, a decade that can be claimed to have invented modern cinema. First up we cover probably the most obscure film yet on the podcast, a film that in recent years it's appreciation has been growing, Wanda, written, directed and starring Barbara Loden, the only film she ever made. The film focuses on an apathetic woman with limited options who inadvertently goes on the run with a bank robber. Ollie also has some thoughts on Batman Forever that he still needs you to hear. All these and more on Adjust Your Tracking! Follow us on: Twitter: @adjustyrtrack & Instagram: @betterfeelingfilms

On this episode, we start off with some Genre Hunting - Hong Kong Kung Fu Films.   Isaac's Picks: The One-Armed Swordsman (1967) & The Fearless Hyena (1979) Aaron's Pick: The 36th Chamber of Shaolin (1978) Feature Presentation - Wanda (1970) Barbara Loden's one and only feature film as a director (and actor and screenwriter and a little of everything).   Coming Attractions - on the next episode, we'll be discussing Captain America: The Winter Soldier (2014) as well as the Marvel machine.

Con Tiziana Lo Porto

Dans la suite de cet entretien, Iris Brey expose le coeur de sa thèse sur le regard féminin à l’écran : à quoi peut-on le reconnaître ? Qu’est-ce que cela change à notre expérience de spectateurice ? Pourquoi est-ce qu’il ne s’agit pas d’une censure, mais au contraire d’une chance pour l’art cinématographique ? Le female gaze n’est pas l’inverse du male gaze, il peut être produit quel que soit le genre du réalisateur ou de la réalisatrice. Il ne s’agit pas d’objectifier les hommes comme on objectifie les femmes, mais bien de tout réinventer : la manière de filmer, de raconter des histoires, de les évaluer en terme critique… et d’enseigner le cinéma ! LES OEUVRES DONT IL EST QUESTION DANS L’ÉPISODE« Titanic »de James Cameron (1997), « Portrait de la jeune fille en feu » de Céline Sciamma (2019), la série « La servante écarlate » par Bruce Miller (2017) pour Hulu, tirée du roman de Margaret Atwood, la série « I Love Dick » par Jill Soloway et Sarah Gubbins pour Amazon Video (2017), tirée d’un livre de Chris Kraus paru en 1997 et traduit en français en 2016 (éditions Flammarion), le film « Madame a des envies » d’Alice Guy (1906), qu’on peut visionner ici : https://www.youtube.com/watch?v=arIMC0qSyHw, « Cléo de 5 à 7 » d’Agnès Varda (1962), « Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles » de Chantal Akerman (1975), « A bout de souffle » de Jean-Luc Godard (1960)OEUVRES RECOMMANDÉESIris Brey recommande « Wanda » de Barbara Loden (1970) et « Simone Barbès ou la Vertu » de Marie-Claude Treilhou (1980)Victoire Tuaillon recommande l’écoute du podcast Mansplaining, du journaliste Thomas Messias et la fréquentation du site Le Genre et l’écran, qui se propose de faire une critique féministe des productions audiovisuelles.OEUVRES DE L’INVITÉE« Sex and the series » 2016 (éd. L’Olivier)« Le regard féminin : une révolution à l’écran » 2020 (éd. L’Olivier)LE TEST DU FEMALE GAZE, selon Iris Brey1 / Il faut que le personnage principal s’identifie en tant que femme.2/ Que l’histoire soit racontée de son point de vue.3/ Que son histoire remette en question l’ordre patriarcal.4/ Que grâce à la mise en scène, le spectateur ou la spectatrice ressente l’expérience féminine.5/ Si les corps sont érotisés, le geste doit être conscientisé.6/ Le plaisir des spectateurs ne découle pas d’une pulsion scopique.CRÉDITSLes couilles sur la table est un podcast de Victoire Tuaillon produit par Binge Audio. Cet entretien a été enregistré dans le studio Surya Bonaly de Binge Audio (Paris 19e). Prise de son et réalisation : Quentin Bresson. Réalisation : Quentin Bresson Générique : Théo Boulenger. Chargée d’édition : Camille Regache. Direction des programmes : Joël Ronez. Direction de la rédaction : David Carzon. Direction générale : Gabrielle Boeri-Charles. See acast.com/privacy for privacy and opt-out information.

You know what the world needs more of? A podcast with two straight guys sitting around talking about women directors! You’re welcome. Jokes aside, Russel and Kyle tackle a bit of the history, or lack thereof, of female representation behind the camera as they compare Barbara Loden’s Wanda (1970) to Lynne Ramsay’s We Need to Talk About Kevin (2012) on a new episode of Now vs. Then.

I am joined by Agnese (Beyond the Epilogue) to discuss our reading highlights for 2019 Podcast Transcript Mentioned in this episode; Man Booker International Prize BTBA (Best Translated Book Award) National Book Award Translation Prize Women in Translated Month #WITMonth Best100WIT List #100BestWIT Best100WIT Book Club The Aviator by Eugene Vodolazkin (translated by Lisa Hayden) Episode 10: The Aviator The Years by Annie Ernaux (translated by Alison L. Strayer) Warwick Prize for Women in Translation Disoriental by Négar Djavadi (translated by Tina Kover) Suite for Barbara Loden by Nathalie Léger (translated by Cécile Menon & Natasha Lehrer) Wanda (1971) Lost Children Archive by Valeria Luiselli Daša Drndić Faces in the Crowd by Valeria Luiselli (translated by Christina MacSweeney) Episode 2: Faces in the Crowd The Faculty of Dreams by Sara Stridsberg (translated by Deborah Bragan-Turner) The S.C.U.M. Manifesto by Valerie Solanas (Society for Cutting Up Men) The Bell Jar by Sylvia Plath Faces in the Water by Janet Frame 77 by Guillermo Saccomanno (translated by Andrea G. Labinger) The Tunnel by Ernesto Sabato (translated by Margaret Sayers Peden) The Wind that Lays Waste by Selva Almada (translated by Chris Andrews) Charco Press Notes of a Crocodile by Qiu Miaojin (translated by Bonnie Huie) A Nail, A Rose by Madeleine Bourdouxhe (translated by Faith Evans) Death in Spring by Mercè Rodoreda (translated by Martha Tennent) Midsommar (2018) How the Soldier Repairs the Gramophone by Saša Stanišić (translated by Anthea Bell) The Slynx by Tatyana Tolstaya (translated by Jamey Gambrell) Pale Fire by Vladimir Nabokov A Clockwork Orange by Anthony Burgess Aetherial Worlds by Tatyana Tolstaya (translated by Anya Migdal)Episode 7: Aetherial Worlds Memoirs of a Life Cut Short by Ričardas Gavelis (translated by Jayde Will) Homo Sovieticus Vagabond Voices Soviet Milk by Nora Ikstena (translated by Margita Gailitis) Paradise Rot by Jenny Hval (translated by Marjam Idriss) Raw (2017) When Death Takes Something from You Give It Back by Naja Marie Aidt (translated by Denise Newman) The Little Girl in the Ice Floe by Adelaïde Bon (translated by Tina Kover) Episode 18: The Little Girl on the Ice Floe Convenience Store Woman by Sayaka Murata (translated by Ginny Tapley Takemori) Drive Your Plow Over the Bones of the Dead by Olga Tokarczuk (translated by Antonia Lloyd-Jones) Flights by Olga Tokarczuk (translated by Jennifer Croft) The Books of Jacob by Olga Tokarczuk (translated by Jennifer Croft) – Released in March 2021 The Lying Life of Adults by Elena Ferrante (translated by Ann Goldstein) - Released in June 2020 Neapolitan Novels by Elena Ferrante (translated by Ann Goldstein) Days of Abandonment by Elena Ferrante (translated by Ann Goldstein) Agnese recommends some horror in translation Jo Nesbø Vertigo by Boileau-Narcejac (translated by Geoffrey Sainsbury) Ducks, Newburyport by Lucy Ellmann 2666 by Roberto Bolaño (translated by Natasha Wimmer) The Savage Detectives by Roberto Bolaño (translated by Natasha Wimmer) The Catholic School by Edoardo Albinati (translated by Antony Shugaar) László Krasznahorkai   Find Agnese onlineBlog: https://beyondepilogue.wordpress.com/Twitter: beyond_epilogueInstagram: beyondthepilogueTranslated Lit     Support the show via Patreon Social Media links Email: losttranslationspod@gmail.comTwitter: @translationspodInstagram: translationspodLitsy: @translationspodFacebook: https://www.facebook.com/translationspod/   Produced by Mccauliflower.

Somewhere it seems it is always the 70s and it is always all about Gender as we explore Barbara Loden’s harrowing story of being set adrift in a hellscape of class and culture and the violent and inconstant shores one might find oneself on the way.Send us any email questions and comments about the movies we cover or movies in general to podcast@abnormalmapping.com! Also, we're a patreon supported show, please go to patreon.com/abnormalmapping to see our many shows and support us.Next Time on Repertory Screenings:Torque

Bert Van Raemdonck komt vertellen over zijn nieuwe dichtbundel 'Hier raken we mij kwijt'. Gudrun De Geyter interviewt Dmitri Tcherniakov, regisseur van 'Het sprookje van Tsaar Saltan'. En Christophe Vekeman las ‘Aanvulling op het leven van Barbara Loden’ van Nathalie Léger.

Paul and Erin review two films about female characters with the same unusual first name: Barbara Loden's 1970 landmark of independent feminist film WANDA; and Charles Crichton's 1988 farce A FISH CALLED WANDA. Plus: our quick takes on ROCKETMAN, MA, THE PERFECTION and THE UNAUTHORIZED BASH BROTHERS EXPERIENCE.

In the second episode of Flashback, movie critics Dana Stevens and K. Austin Collins discuss the 1970 film Wanda, directed by Barbara Loden. This podcast will soon be available for Slate Plus members only. Visit slate.com/flashback to sign up and subscribe now. Production by Chau Tu. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the second episode of Flashback, movie critics Dana Stevens and K. Austin Collins discuss the 1970 film Wanda, directed by Barbara Loden. This podcast will soon be available for Slate Plus members only. Visit slate.com/flashback to sign up and subscribe now. Production by Chau Tu. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the second episode of Flashback, movie critics Dana Stevens and K. Austin Collins discuss the 1970 film Wanda, directed by Barbara Loden. This podcast will soon be available for Slate Plus members only. Visit slate.com/flashback to sign up and subscribe now. Production by Chau Tu. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this wanderful (groan) episode of Oeuvre Busters, George and Liam discuss Barbara Loden's foundational film, Wanda, from the so-so year of 1970. Your podcast hosts also take a look at Loden's appearance on the Dick Cavett show of the same year and what turns out to be a rather awkward interview. Topics discussed in this episode: George's creaking chair; genre hopping; the necessary drug that is coffee; the proper way to eat pasta; and class politics in America. Also, we beg the Criterion collection to let us in the closet, because we love free shit.Also, for more on Wanda, please take a look at these amazing essays on the film and on its legacy as a feminist classic: https://www.criterion.com/current/posts/5811-wanda-now-reflections-on-barbara-loden-s-feminist-masterpieceWanda is now available on the new Criterion channel for streaming, so check it out when you can!Topics not discussed: the fascist radio broadcasts of American poet Ezra Pound, and how these radio appearances led to Pound being charged with treason at the end of World War 2.Once again, thank you for rating, reviewing and subscribing whenever and wherever you can! We appreciate all the love!"Robobozo" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/ See acast.com/privacy for privacy and opt-out information.

David is joined by Robert Taylor to discuss this remarkably radical, unvarnished exploration of an impoverished woman's experience in rural America.

The only feature-length film by writer/director Barbara Loden before her death in 1980, WANDA follows Wanda Goronski, a divorcee in Pennsylvania coal country whose options for a better life shrink with every man she meets. Content warning: discussions of depression, abuse of women, and attempted sexual assault. Theme: "Raindrops" by Huma-Huma/"No Smoking" PSA by John Waters.

John and Andy are joined by writer, dandy and erstwhile musician Dickon Edwards to discuss Hemlock and After, Angus Wilson's debut novel, originally published in 1952. Wilson was considered one of the preeminent writers of his days but both his books and reputation have fallen into neglect - we consider why this happened and also what his work offers the contemporary reader. Also discussed in this episode are Suite for Barbara Loden by Nathalie Léger and Jane Austen's Northanger Abbey ("her early funny one").

Join us--film critics Jill Malcolm and Ryan Silberstein--as we cross movies we should have already seen off of our List of Shame. Each episode we dive into a movie that's new to us and discuss it in depth. This week, Barbara Loden's 1970 film Wanda, and Howard Hawks' 1946 film The Big Sleep Current media diet: Shoplifters Mortal Engines Mary Queen of Scots Find us on iTunes, Google Play, and Stitcher! Follow us on: Twitter - shamefilespod Facebook - shamefilespod Email us: shamefilespodcast@gmail.com 

Bill speaks to author and film critic Adrian Martin about how a childhood interest in science fiction fanzines lead him towards a rich and varied life in film culture, from teaching film at age 19 and working as a freelance film/arts critic to writing books, co-editing online journals like Rouge and collaborating with fellow critic Cristina Álvarez López on audiovisual essays. Topics include: writing techniques and outfoxing subeditors, progressive rock, specializing in certain films/filmmakers, audio commentaries, Bill Krohn, discussing troublesome directors, early 1980s Melbourne film culture, Josef Von Sternberg and experiencing premonitions in dreams concerning PLANET OF THE APES. Visit Adrian Martin’s official site, Film Critic: Adrian Martin: Film Critic: Adrian Martin Support Adrian Martin’s site via Patreon: https://www.patreon.com/adrianmartin  Watch an interview with Cristina Álvarez López and Adrian Martin on their audio-visual essays: https://www.youtube.com/watch?v=wYVywxnfMwI Watch a discussion led by Peter Mares, critics Adrian Martin, Mel Campbell and Fenella Kernebone and filmmaker Gillian Armstrong about the place of the film critic in our cultural landscape. https://www.youtube.com/watch?v=u-ZurWD9cMk Watch THEN HE KISSED ME, a Cristina Álvarez López/Adrian Martin audiovisual essay on TWIN PEAKS - THE RETURN: https://mubi.com/notebook/posts/video-essay-twin-peaks-the-return-then-he-kissed-me Watch STRANGULATION BLUES, a Cristina Álvarez López/Adrian Martin audiovisual essay on BAD TIMING: https://filmschoolrejects.com/great-sounds-bad-timing/ Watch WOMAN IN A LANDSCAPE, , a Cristina Álvarez López/Adrian Martin audiovisual essay on Barbara Loden’s WANDA https://vimeo.com/161556412 Visit Adrian Martin’s Mubi author page: https://mubi.com/notebook/posts/author/254 Read Adrian Martin on PURPLE RAIN: http://www.filmcritic.com.au/reviews/p/purple_rain.html Visit Senses Of Cinema: http://sensesofcinema.com/  Visit Rouge: http://www.rouge.com.au/  Visit Lola Journal: http://www.lolajournal.com/ Visit Screening The Past: http://www.screeningthepast.com/ Read essays by Bill Krohn: http://sensesofcinema.com/author/bill-krohn/

Jordan Blossey and Roxy MacDonald join Mike to discuss Barbara Loden's WANDA. Released in 1970 the film was written by, stars, and was directed by Loden. It's the personal story of a woman at wits ends who seems adrift in her own life.Learn more about your ad choices. Visit megaphone.fm/adchoices

Jordan Blossey and Roxy MacDonald join Mike to discuss Barbara Loden’s WANDA. Released in 1970 the film was written by, stars, and was directed by Loden. It’s the personal story of a woman at wits ends who seems adrift in her own life.

Wanda (1970) is the first and last feature film written and directed by Barbara Loden, whose only other claim to fame was that she was married to Hollywood director Elia Kazan.  Her name probably would have been eliminated altogether into obscurity if a group of French filmmakers and critics didn't revive her film after her death in 1980. Loden made the film as a sort of feminist anti-Bonnie and Clyde, but it was probably the way it was made (with a realist approach and intentional graininess) that probably appealed to its French fans.  Had Loden not later succumbed to cancer ten years later, there's a very good possibility that she would have enjoyed her revival and made more films. Have a comment or question for the host?  Email Sean at 1001moviespodcast@gmail.com and follow him on Twitter via @1001MoviesPC.

Barbara Loden is a unique figure in American independent cinema. Before directing her lone feature film, she was a Tony winner on Broadway and appeared in a couple of Hollywood productions. None of these endeavors seemed wholly satisfying, though. That was our good fortune, as she was driven to helm… The post Episode 062 – Wanda appeared first on The Magic Lantern.

In Laura Citarella and Veronica Llinás's 2015 Argentine film "Dog Lady," a woman lives in the woods with no companionship except that of her dogs. This nameless woman lives outside of society, either by necessity or by choice or perhaps a little bit of both. The film provides little information about her and prefers to linger in silences and the sounds of nature. It's a slow, immersive cinematic experience that shows an unconventional way of life. In many ways, the film reminded me of other films that similarly portray women who are misfits and outcasts, like Mona in Agnes Varda's "Vagabond" (1985) or Janina in Agnieszka Holland's "Spoor" (2017) or even the title character of Barbara Loden's "Wanda" (1970). These are women who are, in a word, unruly and who are often marginalized because of their unruliness. They resist, subvert, transgress. They defy our attempts to categorize or make sense of them. They are flawed and excessive and different and strange. They are part of what I've coined a Cinema of the Unruly Woman, and I talk more about what that is and how I hope that it can be a starting point for looking at representations of women who are difficult, challenging, and elusive. I think we need these kinds of representations, these kinds of women, and I will continue to examine, explore, and champion a Cinema of the Unruly Woman. Consider making this podcast sustainable by supporting it on Patreon. Subscribe to the Her Head in Films Newsletter. Follow me on Facebook, Twitter, Instagram, and Tumblr. Original artwork by Dhiyanah Hassan Full show notes: Listen to my episode on Agnes Varda's "Vagabond" Listen to my episode on Barbara Loden's "Wanda"

Released in 1970, Barbara Loden's "Wanda" is a monumental achievement of American independent cinema. It tells the story of a woman living on the margins of society, rejected by almost everyone, a failure in just about everything she does. Loden was inspired to make the film after reading about a woman who was sentenced to 20 years in prison and thanked the judge. "Wanda" was Loden's first and only film. For me, "Wanda" is personal. It is about the many lost, forgotten, erased, and silenced women in the world, including myself. Consider making this podcast sustainable by supporting it on Patreon. Subscribe to the Her Head in Films Newsletter. Follow me on Facebook, Twitter, Instagram, and Tumblr. Original artwork by Dhiyanah Hassan Full show notes Biographical information about Barbara Loden was gleaned from Karina Longworth's excellent episode on Loden for her podcast, You Must Remember This Quotes from Marguerite Duras are taken from her interview with Elia Kazan for Cahiers du Cinema in 1980 "Suite For Barbara Loden" by Nathalie Léger The essay I read at the end of the podcast was written by me for Burning House Press. Read the essay.

As David Thomson succinctly puts it in the July/August issue, "Wanda is the kind of person who didn't and still doesn't get into American movies (unless she's got a few dollars for a ticket)." Based on a newspaper story about a woman convicted of robbery who thanked the judge for sentencing her to jail for 20 years, Wanda is an unapologetic look at life in America's coal country starring its director and writer, Barbara Loden. Still relatively hard to see, the 1970 film has experienced a(nother) recent critical resurgence thanks in part to Nathalie Léger's book about the film, which charts the writer's quest to discover more about Loden's life and the soul-searching that ensues. In this episode, Film Comment Digital Producer Violet Lucca is joined by Shonni Enelow, author of Method Acting and Its Discontent, and regular FC contributors Nick Pinkerton and Margaret Barton-Fumo.

Barbara Loden won a Tony Award for playing a character based on Marilyn Monroe in Arthur Miller’s After the Fall. Like Marilyn, Barbara was a beauty with no pedigree who fled a hopeless upbringing in search of the fulfillment of fame. Like Marilyn, Loden found some measure of security as the mistress (and eventual wife) of a powerful man, in Loden’s case Elia Kazan. But instead of satisfying her, her small taste of fame and her relationship with Kazan left Barbara Loden wanting more, which would lead her to write, direct and star in a groundbreaking independent movie of her own.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Patti Harrison (It's a Guy Thing, Ars Nova)talks childhood fears, Lady Gaga, and Barbara Loden's character study Wanda.

Justin and Will tackle filmmakers who only made a single film. Yes, they talk about Night of the Hunter, but they also discuss Wanda (1970) and The Honeymoon Killers (1969). Art by Ruth Gwily (http://www.ruthgwily.com/Wanda)

Título original Splendor in the Grass Año 1961 Duración 124 min. País Estados Unidos Estados Unidos Director Elia Kazan Guión William Inge Música David Amram Fotografía Boris Kaufman Reparto Natalie Wood, Warren Beatty, Pat Hingle, Audrey Christie, Barbara Loden, Zohra Lampert, Sandy Dennis, Phyllis Dillier, Gary Lockwood Productora Warner Bros Género Romance. Drama | Drama romántico. Melodrama. Años 20. Años 30. Gran Depresión Sinopsis En una localidad rural de Kansas, dos jóvenes que pertenecen a ambientes sociales muy distintos se aman y deciden no separarse jamás; pero la desaprobación de sus familias y ciertos intereses ajenos a sus sentimientos acabarán decidiendo su suerte.

Peter doesn't listen to many other film podcasts, but one of his joys this year has been the transporting mysteries of You Must Remember This, hosted by former LA Weekly critic Karina Longworth. Karina discusses how her interest in writing about Hollywood's golden era brought her from the throes of academic writing to the world of online film writing and finally to her new podcast. The two also discuss her books on the careers on Al Pacino and Meryl Street, and her latest text, Hollywood Frame by Frame, which investigates the ins and outs of contact sheets. Finally, the two examine Barbara Loden's singular feminist triumph, Wanda, and how this tragic film explores the psychology of an "ordinary woman." Plus, an brief on the rarities from this year's CineCon, including films by John Ford and Allan Dwan. 0:00-1:50 Opening2:45-7:18 Establishing Shots - CineCon8:04-53:50 Deep Focus - Karina Longworth57:03-1:10:00 Double Exposure - Wanda (Barbara Loden)1:10:03-1:11:41 Close