Podcasts about best foreign language

Stephan Zacharias is a composer, based in Hamburg. In a conversation earlier this year with Variety's Ed Meza, he shared some stories from his career – how he became a composer for film and television, working with the late and legendary German film producer Bernd Eichinger on both ‘Vera Bruhne' (2001), for television and ‘Downfall' (2004) directed by Oliver Hirshbiegel. The film, starring Bruno Ganz, Alexandra Maria Lara, Thomas Kretschmann, Christian Berkel and many other renowned actors/actresses from the German cinema industry, was nomined for Best Foreign Language film at the 2005 Oscars. He also discussed film composers in Germany and abroad, who he continues to appreciate. GlobeScreen Podcasts would like to thank Barbara Auinger, for providing translations from German to English.  NOTE: This podcast is in German, with English translations provided at various intervals, throughout the conversation.

We continue our miniseries on the 1980s movies distributed by Miramax Films, with a look at the films released in 1988. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we finally continue with the next part of our look back at the 1980s movies distributed by Miramax Films, specifically looking at 1988.   But before we get there, I must issue another mea culpa. In our episode on the 1987 movies from Miramax, I mentioned that a Kiefer Sutherland movie called Crazy Moon never played in another theatre after its disastrous one week Oscar qualifying run in Los Angeles in December 1987.   I was wrong.   While doing research on this episode, I found one New York City playdate for the film, in early February 1988. It grossed a very dismal $3200 at the 545 seat Festival Theatre during its first weekend, and would be gone after seven days.   Sorry for the misinformation.   1988 would be a watershed year for the company, as one of the movies they acquired for distribution would change the course of documentary filmmaking as we knew it, and another would give a much beloved actor his first Academy Award nomination while giving the company its first Oscar win.   But before we get to those two movies, there's a whole bunch of others to talk about first.   Of the twelve movies Miramax would release in 1988, only four were from America. The rest would be a from a mixture of mostly Anglo-Saxon countries like the UK, Canada, France and Sweden, although there would be one Spanish film in there.   Their first release of the new year, Le Grand Chemin, told the story of a timid nine-year-old boy from Paris who spends one summer vacation in a small town in Brittany. His mother has lodged the boy with her friend and her friend's husband while Mom has another baby. The boy makes friends with a slightly older girl next door, and learns about life from her.   Richard Bohringer, who plays the friend's husband, and Anémone, who plays the pregnant mother, both won Cesars, the French equivalent to the Oscars, in their respective lead categories, and the film would be nominated for Best Foreign Language Film of 1987 by the National Board of Review. Miramax, who had picked up the film at Cannes several months earlier, waited until January 22nd, 1988, to release it in America, first at the Paris Theatre in midtown Manhattan, where it would gross a very impressive $41k in its first three days. In its second week, it would drop less than 25% of its opening weekend audience, bringing in another $31k. But shortly after that, the expected Oscar nomination for Best Foreign Language Film did not come, and business on the film slowed to a trickle. But it kept chugging on, and by the time the film finished its run in early June, it had grossed $541k.   A week later, on January 29th, Miramax would open another French film, Light Years. An animated science fiction film written and directed by René Laloux, best known for directing the 1973 animated head trip film Fantastic Planet, Light Years was the story of an evil force from a thousand years in the future who begins to destroy an idyllic paradise where the citizens are in perfect harmony with nature.   In its first three days at two screens in Los Angeles and five screens in the San Francisco Bay Area, Light Years would gross a decent $48,665. Miramax would print a self-congratulating ad in that week's Variety touting the film's success, and thanking Isaac Asimov, who helped to write the English translation, and many of the actors who lent their vocal talents to the new dub, including Glenn Close, Bridget Fonda, Jennifer Grey, Christopher Plummer, and Penn and Teller. Yes, Teller speaks. The ad was a message to both the theatre operators and the major players in the industry. Miramax was here. Get used to it.   But that ad may have been a bit premature.   While the film would do well in major markets during its initial week in theatres, audience interest would drop outside of its opening week in big cities, and be practically non-existent in college towns and other smaller cities. Its final box office total would be just over $370k.   March 18th saw the release of a truly unique film.    Imagine a film directed by Robert Altman and Bruce Beresford and Jean-Luc Godard and Derek Jarman and Franc Roddam and Nicolas Roeg and Ken Russell and Charles Sturridge and Julien Temple. Imagine a film that starred Beverly D'Angelo, Bridget Fonda in her first movie, Julie Hagerty, Buck Henry, Elizabeth Hurley and John Hurt and Theresa Russell and Tilda Swinton. Imagine a film that brought together ten of the most eclectic filmmakers in the world doing four to fourteen minute short films featuring the arias of some of the most famous and beloved operas ever written, often taken out of their original context and placed into strange new places. Like, for example, the aria for Verdi's Rigoletto set at the kitschy Madonna Inn in San Luis Obispo, where a movie producer is cheating on his wife while she is in a nearby room with a hunky man who is not her husband. Imagine that there's almost no dialogue in the film. Just the arias to set the moments.   That is Aria.   If you are unfamiliar with opera in general, and these arias specifically, that's not a problem. When I saw the film at the Nickelodeon Theatre in Santa Cruz in June 1988, I knew some Wagner, some Puccini, and some Verdi, through other movies that used the music as punctuation for a scene. I think the first time I had heard Nessun Dorma was in The Killing Fields. Vesti La Giubba in The Untouchables. But this would be the first time I would hear these arias as they were meant to be performed, even if they were out of context within their original stories. Certainly, Wagner didn't intend the aria from Tristan und Isolde to be used to highlight a suicide pact between a young couple killing themselves in a Las Vegas hotel bathroom.   Aria definitely split critics when it premiered at the 1987 Cannes Film Festival, when it competed for the festival's main prize, the Palme D'Or. Roger Ebert would call it the first MTV opera and felt the filmmakers were poking fun at their own styles, while Leonard Maltin felt most of the endeavor was a waste of time. In the review for the New York Times, Janet Maslin would also make a reference to MTV but not in a positive way, and would note the two best parts of the film were the photo montage that is seen over the end credits, and the clever licensing of Chuck Jones's classic Bugs Bunny cartoon What's Opera, Doc, to play with the film, at least during its New York run. In the Los Angeles Times, the newspaper chose one of its music critics to review the film. They too would compare the film to MTV, but also to Fantasia, neither reference meant to be positive.   It's easy to see what might have attracted Harvey Weinstein to acquire the film.   Nudity.   And lots of it.   Including from a 21 year old Hurley, and a 22 year old Fonda.   Open at the 420 seat Ridgemont Theatre in Seattle on March 18th, 1988, Aria would gross a respectable $10,600. It would be the second highest grossing theatre in the city, only behind The Unbearable Lightness of Being, which grossed $16,600 in its fifth week at the 850 seat Cinerama Theatre, which was and still is the single best theatre in Seattle. It would continue to do well in Seattle, but it would not open until April 15th in Los Angeles and May 20th in New York City.   But despite some decent notices and the presence of some big name directors, Aria would stiff at the box office, grossing just $1.03m after seven months in theatres.   As we discussed on our previous episode, there was a Dennis Hopper movie called Riders on the Storm that supposedly opened in November 1987, but didn't. It did open in theatres in May of 1988, and now we're here to talk about it.   Riders on the Storm would open in eleven theatres in the New York City area on May 7th, including three theatres in Manhattan. Since Miramax did not screen the film for critics before release, never a good sign, the first reviews wouldn't show up until the following day, since the critics would actually have to go see the film with a regular audience. Vincent Canby's review for the New York Times would arrive first, and surprisingly, he didn't completely hate the film. But audiences didn't care. In its first weekend in New York City, Riders on the Storm would gross an anemic $25k. The following Friday, Miramax would open the film at two theatres in Baltimore, four theatres in Fort Worth TX (but surprisingly none in Dallas), one theatre in Los Angeles and one theatre in Springfield OH, while continuing on only one screen in New York. No reported grosses from Fort Worth, LA or Springfield, but the New York theatre reported ticket sales of $3k for the weekend, a 57% drop from its previous week, while the two in Baltimore combined for $5k.   There would be more single playdates for a few months. Tampa the same week as New York. Atlanta, Charlotte, Des Moines and Memphis in late May. Cincinnati in late June. Boston, Calgary, Ottawa and Philadelphia in early July. Greenville SC in late August. Evansville IL, Ithaca NY and San Francisco in early September. Chicago in late September. It just kept popping up in random places for months, always a one week playdate before heading off to the next location. And in all that time, Miramax never reported grosses. What little numbers we do have is from the theatres that Variety was tracking, and those numbers totaled up to less than $30k.   Another mostly lost and forgotten Miramax release from 1988 is Caribe, a Canadian production that shot in Belize about an amateur illegal arms trader to Central American terrorists who must go on the run after a deal goes down bad, because who wants to see a Canadian movie about an amateur illegal arms trader to Canadian terrorists who must go on the run in the Canadian tundra after a deal goes down bad?   Kara Glover would play Helen, the arms dealer, and John Savage as Jeff, a British intelligence agent who helps Helen.   Caribe would first open in Detroit on May 20th, 1988. Can you guess what I'm going to say next?   Yep.   No reported grosses, no theatres playing the film tracked by Variety.   The following week, Caribe opens in the San Francisco Bay Area, at the 300 seat United Artists Theatre in San Francisco, and three theatres in the South Bay. While Miramax once again did not report grosses, the combined gross for the four theatres, according to Variety, was a weak $3,700. Compare that to Aria, which was playing at the Opera Plaza Cinemas in its third week in San Francisco, in an auditorium 40% smaller than the United Artist, grossing $5,300 on its own.   On June 3rd, Caribe would open at the AMC Fountain Square 14 in Nashville. One show only on Friday and Saturday at 11:45pm. Miramax did not report grosses. Probably because people we going to see Willie Tyler and Lester at Zanie's down the street.   And again, it kept cycling around the country, one or two new playdates in each city it played in. Philadelphia in mid-June. Indianapolis in mid-July. Jersey City in late August. Always for one week, grosses never reported.   Miramax's first Swedish release of the year was called Mio, but this was truly an international production. The $4m film was co-produced by Swedish, Norwegian and Russian production companies, directed by a Russian, adapted from a Swedish book by an American screenwriter, scored by one of the members of ABBA, and starring actors from England, Finland, Norway, Russia, Sweden and the United States.   Mio tells the story of a boy from Stockholm who travels to an otherworldly fantasy realm and frees the land from an evil knight's oppression. What makes this movie memorable today is that Mio's best friend is played by none other than Christian Bale, in his very first film.   The movie was shot in Moscow, Stockholm, the Crimea, Scotland, and outside Pripyat in the Northern part of what is now Ukraine, between March and July 1986. In fact, the cast and crew were shooting outside Pripyat on April 26th, when they got the call they needed to evacuate the area. It would be hours later when they would discover there had been a reactor core meltdown at the nearby Chernobyl Nuclear Power Plant. They would have to scramble to shoot in other locations away from Ukraine for a month, and when they were finally allowed to return, the area they were shooting in deemed to have not been adversely affected by the worst nuclear power plant accident in human history,, Geiger counters would be placed all over the sets, and every meal served by craft services would need to be read to make sure it wasn't contaminated.   After premiering at the Moscow Film Festival in July 1987 and the Norwegian Film Festival in August, Mio would open in Sweden on October 16th, 1987. The local critics would tear the film apart. They hated that the filmmakers had Anglicized the movie with British actors like Christopher Lee, Susannah York, Christian Bale and Nicholas Pickard, an eleven year old boy also making his film debut. They also hated how the filmmakers adapted the novel by the legendary Astrid Lindgren, whose Pippi Longstocking novels made her and her works world famous. Overall, they hated pretty much everything about it outside of Christopher Lee's performance and the production's design in the fantasy world.   Miramax most likely picked it up trying to emulate the success of The Neverending Story, which had opened to great success in most of the world in 1984. So it might seem kinda odd that when they would open the now titled The Land of Faraway in theatres, they wouldn't go wide but instead open it on one screen in Atlanta GA on June 10th, 1988. And, once again, Miramax did not report grosses, and Variety did not track Atlanta theatres that week. Two weeks later, they would open the film in Miami. How many theatres? Can't tell you. Miramax did not report grosses, and Variety was not tracking any of the theatres in Miami playing the film. But hey, Bull Durham did pretty good in Miami that week.   The film would next open in theatres in Los Angeles. This time, Miramax bought a quarter page ad in the Los Angeles Times on opening day to let people know the film existed. So we know it was playing on 18 screens that weekend. And, once again, Miramax did not report grosses for the film. But on the two screens it played on that Variety was tracking, the combined gross was just $2,500.   There'd be other playdates. Kansas City and Minneapolis in mid-September. Vancouver, BC in early October. Palm Beach FL in mid October. Calgary AB and Fort Lauderdale in late October. Phoenix in mid November. And never once did Miramax report any grosses for it.   One week after Mio, Miramax would release a comedy called Going Undercover.   Now, if you listened to our March 2021 episode on Some Kind of Wonderful, you may remember be mentioning Lea Thompson taking the role of Amanda Jones in that film, a role she had turned down twice before, the week after Howard the Duck opened, because she was afraid she'd never get cast in a movie again. And while Some Kind of Wonderful wasn't as big a film as you'd expect from a John Hughes production, Thompson did indeed continue to work, and is still working to this day.   So if you were looking at a newspaper ad in several cities in June 1988 and saw her latest movie and wonder why she went back to making weird little movies.   She hadn't.   This was a movie she had made just before Back to the Future, in August and September 1984.   Originally titled Yellow Pages, the film starred film legend Jean Simmons as Maxine, a rich woman who has hired Chris Lemmon's private investigator Henry Brilliant to protect her stepdaughter Marigold during her trip to Copenhagen.   The director, James Clarke, had written the script specifically for Lemmon, tailoring his role to mimic various roles played by his famous father, Jack Lemmon, over the decades, and for Simmons. But Thompson was just one of a number of young actresses they looked at before making their casting choice.   Half of the $6m budget would come from a first-time British film producer, while the other half from a group of Danish investors wanting to lure more Hollywood productions to their area.   The shoot would be plagued by a number of problems. The shoot in Los Angeles coincided with the final days of the 1984 Summer Olympics, which would cut out using some of the best and most regularly used locations in the city, and a long-lasting heat wave that would make outdoor shoots unbearable for cast and crew. When they arrived in Copenhagen at the end of August, Denmark was going through an unusually heavy storm front that hung around for weeks.   Clarke would spend several months editing the film, longer than usual for a smaller production like this, but he in part was waiting to see how Back to the Future would do at the box office. If the film was a hit, and his leading actress was a major part of that, it could make it easier to sell his film to a distributor.   Or that was line of thinking.   Of course, Back to the Future was a hit, and Thompson received much praise for her comedic work on the film.   But that didn't make it any easier to sell his film.   The producer would set the first screenings for the film at the February 1986 American Film Market in Santa Monica, which caters not only to foreign distributors looking to acquire American movies for their markets, but helps independent filmmakers get their movies seen by American distributors.   As these screenings were for buyers by invitation only, there would be no reviews from the screenings, but one could guess that no one would hear about the film again until Miramax bought the American distribution rights to it in March 1988 tells us that maybe those screenings didn't go so well.   The film would get retitled Going Undercover, and would open in single screen playdates in Atlanta, Cincinnati, Dallas, Indianapolis, Los Angeles, Nashville, Orlando, St. Louis and Tampa on June 17th. And as I've said too many times already, no reported grosses from Miramax, and only one theatre playing the film was being tracked by Variety, with Going Undercover earning $3,000 during its one week at the Century City 14 in Los Angeles.   In the June 22nd, 1988 issue of Variety, there was an article about Miramax securing a $25m line of credit in order to start producing their own films. Going Undercover is mentioned in the article about being one of Miramax's releases, without noting it had just been released that week or how well it did or did not do.   The Thin Blue Line would be Miramax's first non-music based documentary, and one that would truly change how documentaries were made.   Errol Morris had already made two bizarre but entertaining documentaries in the late 70s and early 80s. Gates of Heaven was shot in 1977, about a man who operated a failing pet cemetery in Northern California's Napa Valley. When Morris told his famous German filmmaking supporter Werner Herzog about the film, Herzog vowed to eat one of the shoes he was wearing that day if Morris could actually complete the film and have it shown in a public theatre. In April 1979, just before the documentary had its world premiere at UC Theatre in Berkeley, where Morris had studied philosophy, Herzog would spend the morning at Chez Pannise, the creators of the California Cuisine cooking style, boiling his shoes for five hours in garlic, herbs and stock. This event itself would be commemorated in a documentary short called, naturally, Werner Herzog Eats His Shoe, by Les Blank, which is a must watch on its own.   Because of the success of Gates of Heaven, Morris was able to quickly find financing for his next film, Nub City, which was originally supposed to be about the number of Vernon, Florida's citizens who have “accidentally” cut off their limbs, in order to collect the insurance money. But after several of those citizens threatened to kill Morris, and one of them tried to run down his cinematographer with their truck, Morris would rework the documentary, dropping the limb angle, no pun intended, and focus on the numerous eccentric people in the town. It would premiere at the 1981 New York Film Festival, and become a hit, for a documentary, when it was released in theatres in 1982.   But it would take Morris another six years after completing Vernon, Florida, to make another film. Part of it was having trouble lining up full funding to work on his next proposed movie, about James Grigson, a Texas forensic psychiatrist whose was nicknamed Doctor Death for being an expert witness for the prosecution in death penalty cases in Texas. Morris had gotten seed money for the documentary from PBS and the Endowment for Public Arts, but there was little else coming in while he worked on the film. In fact, Morris would get a PI license in New York and work cases for two years, using every penny he earned that wasn't going towards living expenses to keep the film afloat.   One of Morris's major problems for the film was that Grigson would not sit on camera for an interview, but would meet with Morris face to face to talk about the cases. During that meeting, the good doctor suggested to the filmmaker that he should research the killers he helped put away. And during that research, Morris would come across the case of one Randall Dale Adams, who was convicted of killing Dallas police officer Robert Wood in 1976, even though another man, David Harris, was the police's initial suspect. For two years, Morris would fly back and forth between New York City and Texas, talking to and filming interviews with Adams and more than two hundred other people connected to the shooting and the trial. Morris had become convinced Adams was indeed innocent, and dropped the idea about Dr. Grigson to solely focus on the Robert Wood murder.   After showing the producers of PBS's American Playhouse some of the footage he had put together of the new direction of the film, they kicked in more funds so that Morris could shoot some re-enactment sequences outside New York City, as well as commission composer Phillip Glass to create a score for the film once it was completed. Documentaries at that time did not regularly use re-enactments, but Morris felt it was important to show how different personal accounts of the same moment can be misinterpreted or misremembered or outright manipulated to suppress the truth.   After the film completed its post-production in March 1988, The Thin Blue Line would have its world premiere at the San Francisco Film Festival on March 18th, and word quickly spread Morris had something truly unique and special on his hands. The critic for Variety would note in the very first paragraph of his write up that the film employed “strikingly original formal devices to pull together diverse interviews, film clips, photo collages, and” and this is where it broke ground, “recreations of the crime from many points of view.”   Miramax would put together a full court press in order to get the rights to the film, which was announced during the opening days of the 1988 Cannes Film Festival in early May. An early hint on how the company was going to sell the film was by calling it a “non-fiction feature” instead of a documentary.   Miramax would send Morris out on a cross-country press tour in the weeks leading up to the film's August 26th opening date, but Morris, like many documentary filmmakers, was not used to being in the spotlight themselves, and was not as articulate about talking up his movies as the more seasoned directors and actors who've been on the promotion circuit for a while. After one interview, Harvey Weinstein would send Errol Morris a note.   “Heard your NPR interview and you were boring.”   Harvey would offer up several suggestions to help the filmmaker, including hyping the movie up as a real life mystery thriller rather than a documentary, and using shorter and clearer sentences when answering a question.   It was a clear gamble to release The Thin Blue Line in the final week of summer, and the film would need a lot of good will to stand out.   And it would get it.   The New York Times was so enthralled with the film, it would not only run a review from Janet Maslin, who would heap great praise on the film, but would also run a lengthy interview with Errol Morris right next to the review. The quarter page ad in the New York Times, several pages back, would tout positive quotes from Roger Ebert, J. Hoberman, who had left The Village Voice for the then-new Premiere Magazine, Peter Travers, writing for People Magazine instead of Rolling Stone, and critics from the San Francisco Chronicle and, interestingly enough, the Dallas Morning News. The top of the ad was tagged with an intriguing tease: solving this mystery is going to be murder, with a second tag line underneath the key art and title, which called the film “a new kind of movie mystery.” Of the 15 New York area-based film critics for local newspapers, television and national magazines, 14 of them gave favorable reviews, while 1, Stephen Schiff of Vanity Fair, was ambivalent about it. Not one critic gave it a bad review.   New York audiences were hooked.   Opening in the 240 seat main house at the Lincoln Plaza Cinemas, the movie grossed $30,945 its first three days. In its second weekend, the gross at the Lincoln Plaza would jump to $31k, and adding another $27,500 from its two theatre opening in Los Angeles and $15,800 from a single DC theatre that week. Third week in New York was a still good $21k, but the second week in Los Angeles fell to $10,500 and DC to $10k. And that's how it rolled out for several months, mostly single screen bookings in major cities not called Los Angeles or New York City, racking up some of the best reviews Miramax would receive to date, but never breaking out much outside the major cities. When it looked like Santa Cruz wasn't going to play the film, I drove to San Francisco to see it, just as my friends and I had for the opening day of Martin Scorsese's The Last Temptation of Christ in mid-August. That's 75 miles each way, plus parking in San Francisco, just to see a movie. That's when you know you no longer just like movies but have developed a serious case of cinephilea. So when The Nickelodeon did open the film in late November, I did something I had never done with any documentary before.   I went and saw it again.   Second time around, I was still pissed off at the outrageous injustice heaped upon Randall Dale Adams for nothing more than being with and trusting the wrong person at the wrong time. But, thankfully, things would turn around for Adams in the coming weeks. On December 1st, it was reported that David Harris had recanted his testimony at Adams' trial, admitting he was alone when Officer Wood stopped his car. And on March 1st, 1989, after more than 15,000 people had signed the film's petition to revisit the decision, the Texas Court of Criminal Appeals overturned Adams's conviction “based largely” on facts presented in the film.   The film would also find itself in several more controversies.   Despite being named The Best Documentary of the Year by a number of critics groups, the Documentary Branch of the  Academy of Motion Pictures Arts and Sciences would not nominate the film, due in large part to the numerous reenactments presented throughout the film. Filmmaker Michael Apted, a member of the Directors Branch of the Academy, noted that the failure to acknowledge The Thin Blue Line was “one of the most outrageous things in the modern history of the Academy,” while Roger Ebert added the slight was “the worst non-nomination of the year.” Despite the lack of a nomination, Errol Morris would attend the Oscars ceremony in March 1989, as a protest for his film being snubbed.   Morris would also, several months after Adams' release, find himself being sued by Adams, but not because of how he was portrayed in the film. During the making of the film, Morris had Adams sign a contract giving Morris the exclusive right to tell Adams's story, and Adams wanted, essentially, the right to tell his own story now that he was a free man. Morris and Adams would settle out of court, and Adams would regain his life rights.   Once the movie was played out in theatres, it had grossed $1.2m, which on the surface sounds like not a whole lot of money. Adjusted for inflation, that would only be $3.08m. But even unadjusted for inflation, it's still one of the 100 highest grossing documentaries of the past forty years. And it is one of just a handful of documentaries to become a part of the National Film Registry, for being a culturally, historically or aesthetically significant film.”   Adams would live a quiet life after his release, working as an anti-death penalty advocate and marrying the sister of one of the death row inmates he was helping to exonerate. He would pass away from a brain tumor in October 2010 at a courthouse in Ohio not half an hour from where he was born and still lived, but he would so disappear from the spotlight after the movie was released that his passing wasn't even reported until June 2011.   Errol Morris would become one of the most celebrated documentarians of his generation, finally getting nominated for, and winning, an Oscar in 2003, for The Fog of War, about the life and times of Robert McNamara, Richard Nixon's Secretary of Defense during the Vietnam War era. The Fog of War would also be added to the National Film Registry in 2019. Morris would become only the third documentarian, after D.A. Pennebaker and Les Blank, to have two films on the Registry.   In 1973, the senseless killings of five members of the Alday family in Donalsonville GA made international headlines. Four years later, Canadian documentarian Tex Fuller made an award-winning documentary about the case, called Murder One. For years, Fuller shopped around a screenplay telling the same story, but it would take nearly a decade for it to finally be sold, in part because Fuller was insistent that he also be the director. A small Canadian production company would fund the $1m CAD production, which would star Henry Thomas of E.T. fame as the fifteen year old narrator of the story, Billy Isaacs.   The shoot began in early October 1987 outside Toronto, but after a week of shooting, Fuller was fired, and was replaced by Graeme Campbell, a young and energetic filmmaker for whom Murder One would be his fourth movie directing gig of the year. Details are sketchy as to why Fuller was fired, but Thomas and his mother Carolyn would voice concerns with the producers about the new direction the film was taking under its new director.   The film would premiere in Canada in May 1988. When the film did well up North, Miramax took notice and purchased the American distribution rights.   Murder One would first open in America on two screens in Los Angeles on September 9th, 1988. Michael Wilmington of the Los Angeles Times noted that while the film itself wasn't very good, that it still sprung from the disturbing insight about the crazy reasons people cross of what should be impassable moral lines.   “No movie studio could have invented it!,” screamed the tagline on the poster and newspaper key art. “No writer could have imagined it! Because what happened that night became the most controversial in American history.”   That would draw limited interest from filmgoers in Tinseltown. The two theatres would gross a combined $7k in its first three days. Not great but far better than several other recent Miramax releases in the area.   Two weeks later, on September 23rd, Miramax would book Murder One into 20 theatres in the New York City metro region, as well as in Akron, Atlanta, Charlotte, Indianpolis, Nashville, and Tampa-St. Petersburg. In New York, the film would actually get some good reviews from the Times and the Post as well as Peter Travers of People Magazine, but once again, Miramax would not report grosses for the film. Variety would note the combined gross for the film in New York City was only $25k.   In early October, the film would fall out of Variety's internal list of the 50 Top Grossing Films within the twenty markets they regularly tracked, with a final gross of just $87k. One market that Miramax deliberately did not book the film was anywhere near southwest Georgia, where the murders took place. The closest theatre that did play the film was more than 200 miles away.   Miramax would finish 1988 with two releases.   The first was Dakota, which would mark star Lou Diamond Phillips first time as a producer. He would star as a troubled teenager who takes a job on a Texas horse ranch to help pay of his debts, who becomes a sorta big brother to the ranch owner's young son, who has recently lost a leg to cancer, as he also falls for the rancher's daughter.   When the $1.1m budgeted film began production in Texas in June 1987, Phillips had already made La Bamba and Stand and Deliver, but neither had yet to be released into theatres. By the time filming ended five weeks later, La Bamba had just opened, and Phillips was on his way to becoming a star.   The main producers wanted director Fred Holmes to get the film through post-production as quickly as possible, to get it into theatres in the early part of 1988 to capitalize on the newfound success of their young star.    But that wouldn't happen.   Holmes wouldn't have the film ready until the end of February 1988, which was deemed acceptable because of the impending release of Stand and Deliver. In fact, the producers would schedule their first distributor screening of the film on March 14th, the Monday after Stand and Delivered opened, in the hopes that good box office for the film and good notices for Phillips would translate to higher distributor interest in their film, which sorta worked. None of the major studios would show for the screening, but a number of Indies would, including Miramax. Phillips would not attend the screening, as he was on location in New Mexico shooting Young Guns.   I can't find any reason why Miramax waited nearly nine months after they acquired Dakota to get it into theatres. It certainly wasn't Oscar bait, and screen availability would be scarce during the busy holiday movie season, which would see a number of popular, high profile releases like Dirty Rotten Scoundrels, Ernest Saves Christmas, The Naked Gun, Rain Man, Scrooged, Tequila Sunrise, Twins and Working Girl. Which might explain why, when Miramax released the film into 18 theatres in the New York City area on December 2nd, they could only get three screens in all of Manhattan, the best being the nice but hardly first-rate Embassy 4 at Broadway and 47th. Or of the 22 screens in Los Angeles opening the film the same day, the best would be the tiny Westwood 4 next to UCLA or the Paramount in Hollywood, whose best days were back in the Eisenhower administration.   And, yet again, Miramax did not report grosses, and none of the theatres playing the film was tracked by Variety that week. The film would be gone after just one week. The Paramount, which would open Dirty Rotten Scoundrels on the 14th, opted to instead play a double feature of Clara's Heart, with Whoopi Goldberg and Neil Patrick Harris, and the River Phoenix drama Running on Empty, even though neither film had been much of a hit.   Miramax's last film of the year would be the one that changed everything for them.   Pelle the Conquerer.   Adapted from a 1910 Danish book and directed by Billie August, whose previous film Twist and Shout had been released by Miramax in 1986, Pelle the Conquerer would be the first Danish or Swedish movie to star Max von Sydow in almost 15 years, having spent most of the 70s and 80s in Hollywood and London starring in a number of major movies including The Exorcist, Three Days of the Condor, Flash Gordon,Conan the Barbarian, Never Say Never Again, and David Lynch's Dune. But because von Sydow would be making his return to his native cinema, August was able to secure $4.5m to make the film, one of the highest budgeted Scandinavian films to be made to date.   In the late 1850s, an elderly emigrant Lasse and his son Pelle leave their home in Sweden after the death of the boy's mother, wanting to build a new life on the Danish island of Bornholm. Lasse finds it difficult to find work, given his age and his son's youth. The pair are forced to work at a large farm, where they are generally mistreated by the managers for being foreigners. The father falls into depression and alcoholism, the young boy befriends one of the bastard children of the farm owner as well as another Swedish farm worker, who dreams of conquering the world.   For the title character of Pelle, Billie August saw more than 3,000 Swedish boys before deciding to cast 11 year old Pelle Hvenegaard, who, like many boys in Sweden, had been named for the character he was now going to play on screen.   After six months of filming in the summer and fall of 1986, Billie August would finish editing Pelle the Conquerer in time for it to make its intended Christmas Day 1987 release date in Denmark and Sweden, where the film would be one of the biggest releases in either country for the entire decade. It would make its debut outside Scandinavia at the Cannes Film Festival in May 1988, where it had been invited to compete for the Palme D'Or. It would compete against a number of talented filmmakers who had come with some of the best films they would ever make, including Clint Eastwood with Bird, Claire Denis' Chocolat, István Szabó's Hanussen, Vincent Ward's The Navigator, and A Short Film About Killing, an expanded movie version of the fifth episode in Krzysztof Kieślowski's masterful miniseries Dekalog. Pelle would conquer them all, taking home the top prize from one of cinema's most revered film festivals.   Reviews for the film out of Cannes were almost universally excellent. Vincent Canby, the lead film critic for the New York Times for nearly twenty years by this point, wouldn't file his review until the end of the festival, in which he pointed out that a number of people at the festival were scandalized von Sydow had not also won the award for Best Actor.   Having previously worked with the company on his previous film's American release, August felt that Miramax would have what it took to make the film a success in the States.   Their first moves would be to schedule the film for a late December release, while securing a slot at that September's New York Film Festival. And once again, the critical consensus was highly positive, with only a small sampling of distractors.   The film would open first on two screens at the Lincoln Plaza Cinemas in midtown Manhattan on Wednesday, December 21st, following by exclusive engagements in nine other cities including Los Angeles, Philadelphia, San Francisco, Seattle and Washington DC, on the 23rd. But the opening week numbers weren't very good, just $46k from ten screens. And you can't really blame the film's two hour and forty-five minute running time. Little Dorrit, the two-part, four hour adaptation of the Charles Dickens novel, had been out nine weeks at this point and was still making nearly 50% more per screen.   But after the new year, when more and more awards were hurled the film's way, including the National Board of Review naming it one of the best foreign films of the year and the Golden Globes awarding it their Best Foreign Language trophy, ticket sales would pick up.   Well, for a foreign film.   The week after the Motion Picture Academy awarded Pelle their award for Best Foreign Language Film, business for the film would pick up 35%, and a third of its $2m American gross would come after that win.   One of the things that surprised me while doing the research for this episode was learning that Max von Sydow had never been nominated for an Oscar until he was nominated for Best Actor for Pelle the Conquerer. You look at his credits over the years, and it's just mind blowing. The Seventh Seal. Wild Strawberries. The Virgin Spring. The Greatest Story Ever Told. The Emigrants. The Exorcist. The Three Days of the Condor. Surely there was one performance amongst those that deserved recognition.   I hate to keep going back to A24, but there's something about a company's first Oscar win that sends that company into the next level. A24 didn't really become A24 until 2016, when three of their movies won Oscars, including Brie Larson for Best Actress in Room. And Miramax didn't really become the Miramax we knew and once loved until its win for Pelle.   Thank you for joining us. We'll talk again soon, when Episode 117, the fifth and final part of our miniseries on Miramax Films, is released.     Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

We continue our miniseries on the 1980s movies distributed by Miramax Films, with a look at the films released in 1988. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we finally continue with the next part of our look back at the 1980s movies distributed by Miramax Films, specifically looking at 1988.   But before we get there, I must issue another mea culpa. In our episode on the 1987 movies from Miramax, I mentioned that a Kiefer Sutherland movie called Crazy Moon never played in another theatre after its disastrous one week Oscar qualifying run in Los Angeles in December 1987.   I was wrong.   While doing research on this episode, I found one New York City playdate for the film, in early February 1988. It grossed a very dismal $3200 at the 545 seat Festival Theatre during its first weekend, and would be gone after seven days.   Sorry for the misinformation.   1988 would be a watershed year for the company, as one of the movies they acquired for distribution would change the course of documentary filmmaking as we knew it, and another would give a much beloved actor his first Academy Award nomination while giving the company its first Oscar win.   But before we get to those two movies, there's a whole bunch of others to talk about first.   Of the twelve movies Miramax would release in 1988, only four were from America. The rest would be a from a mixture of mostly Anglo-Saxon countries like the UK, Canada, France and Sweden, although there would be one Spanish film in there.   Their first release of the new year, Le Grand Chemin, told the story of a timid nine-year-old boy from Paris who spends one summer vacation in a small town in Brittany. His mother has lodged the boy with her friend and her friend's husband while Mom has another baby. The boy makes friends with a slightly older girl next door, and learns about life from her.   Richard Bohringer, who plays the friend's husband, and Anémone, who plays the pregnant mother, both won Cesars, the French equivalent to the Oscars, in their respective lead categories, and the film would be nominated for Best Foreign Language Film of 1987 by the National Board of Review. Miramax, who had picked up the film at Cannes several months earlier, waited until January 22nd, 1988, to release it in America, first at the Paris Theatre in midtown Manhattan, where it would gross a very impressive $41k in its first three days. In its second week, it would drop less than 25% of its opening weekend audience, bringing in another $31k. But shortly after that, the expected Oscar nomination for Best Foreign Language Film did not come, and business on the film slowed to a trickle. But it kept chugging on, and by the time the film finished its run in early June, it had grossed $541k.   A week later, on January 29th, Miramax would open another French film, Light Years. An animated science fiction film written and directed by René Laloux, best known for directing the 1973 animated head trip film Fantastic Planet, Light Years was the story of an evil force from a thousand years in the future who begins to destroy an idyllic paradise where the citizens are in perfect harmony with nature.   In its first three days at two screens in Los Angeles and five screens in the San Francisco Bay Area, Light Years would gross a decent $48,665. Miramax would print a self-congratulating ad in that week's Variety touting the film's success, and thanking Isaac Asimov, who helped to write the English translation, and many of the actors who lent their vocal talents to the new dub, including Glenn Close, Bridget Fonda, Jennifer Grey, Christopher Plummer, and Penn and Teller. Yes, Teller speaks. The ad was a message to both the theatre operators and the major players in the industry. Miramax was here. Get used to it.   But that ad may have been a bit premature.   While the film would do well in major markets during its initial week in theatres, audience interest would drop outside of its opening week in big cities, and be practically non-existent in college towns and other smaller cities. Its final box office total would be just over $370k.   March 18th saw the release of a truly unique film.    Imagine a film directed by Robert Altman and Bruce Beresford and Jean-Luc Godard and Derek Jarman and Franc Roddam and Nicolas Roeg and Ken Russell and Charles Sturridge and Julien Temple. Imagine a film that starred Beverly D'Angelo, Bridget Fonda in her first movie, Julie Hagerty, Buck Henry, Elizabeth Hurley and John Hurt and Theresa Russell and Tilda Swinton. Imagine a film that brought together ten of the most eclectic filmmakers in the world doing four to fourteen minute short films featuring the arias of some of the most famous and beloved operas ever written, often taken out of their original context and placed into strange new places. Like, for example, the aria for Verdi's Rigoletto set at the kitschy Madonna Inn in San Luis Obispo, where a movie producer is cheating on his wife while she is in a nearby room with a hunky man who is not her husband. Imagine that there's almost no dialogue in the film. Just the arias to set the moments.   That is Aria.   If you are unfamiliar with opera in general, and these arias specifically, that's not a problem. When I saw the film at the Nickelodeon Theatre in Santa Cruz in June 1988, I knew some Wagner, some Puccini, and some Verdi, through other movies that used the music as punctuation for a scene. I think the first time I had heard Nessun Dorma was in The Killing Fields. Vesti La Giubba in The Untouchables. But this would be the first time I would hear these arias as they were meant to be performed, even if they were out of context within their original stories. Certainly, Wagner didn't intend the aria from Tristan und Isolde to be used to highlight a suicide pact between a young couple killing themselves in a Las Vegas hotel bathroom.   Aria definitely split critics when it premiered at the 1987 Cannes Film Festival, when it competed for the festival's main prize, the Palme D'Or. Roger Ebert would call it the first MTV opera and felt the filmmakers were poking fun at their own styles, while Leonard Maltin felt most of the endeavor was a waste of time. In the review for the New York Times, Janet Maslin would also make a reference to MTV but not in a positive way, and would note the two best parts of the film were the photo montage that is seen over the end credits, and the clever licensing of Chuck Jones's classic Bugs Bunny cartoon What's Opera, Doc, to play with the film, at least during its New York run. In the Los Angeles Times, the newspaper chose one of its music critics to review the film. They too would compare the film to MTV, but also to Fantasia, neither reference meant to be positive.   It's easy to see what might have attracted Harvey Weinstein to acquire the film.   Nudity.   And lots of it.   Including from a 21 year old Hurley, and a 22 year old Fonda.   Open at the 420 seat Ridgemont Theatre in Seattle on March 18th, 1988, Aria would gross a respectable $10,600. It would be the second highest grossing theatre in the city, only behind The Unbearable Lightness of Being, which grossed $16,600 in its fifth week at the 850 seat Cinerama Theatre, which was and still is the single best theatre in Seattle. It would continue to do well in Seattle, but it would not open until April 15th in Los Angeles and May 20th in New York City.   But despite some decent notices and the presence of some big name directors, Aria would stiff at the box office, grossing just $1.03m after seven months in theatres.   As we discussed on our previous episode, there was a Dennis Hopper movie called Riders on the Storm that supposedly opened in November 1987, but didn't. It did open in theatres in May of 1988, and now we're here to talk about it.   Riders on the Storm would open in eleven theatres in the New York City area on May 7th, including three theatres in Manhattan. Since Miramax did not screen the film for critics before release, never a good sign, the first reviews wouldn't show up until the following day, since the critics would actually have to go see the film with a regular audience. Vincent Canby's review for the New York Times would arrive first, and surprisingly, he didn't completely hate the film. But audiences didn't care. In its first weekend in New York City, Riders on the Storm would gross an anemic $25k. The following Friday, Miramax would open the film at two theatres in Baltimore, four theatres in Fort Worth TX (but surprisingly none in Dallas), one theatre in Los Angeles and one theatre in Springfield OH, while continuing on only one screen in New York. No reported grosses from Fort Worth, LA or Springfield, but the New York theatre reported ticket sales of $3k for the weekend, a 57% drop from its previous week, while the two in Baltimore combined for $5k.   There would be more single playdates for a few months. Tampa the same week as New York. Atlanta, Charlotte, Des Moines and Memphis in late May. Cincinnati in late June. Boston, Calgary, Ottawa and Philadelphia in early July. Greenville SC in late August. Evansville IL, Ithaca NY and San Francisco in early September. Chicago in late September. It just kept popping up in random places for months, always a one week playdate before heading off to the next location. And in all that time, Miramax never reported grosses. What little numbers we do have is from the theatres that Variety was tracking, and those numbers totaled up to less than $30k.   Another mostly lost and forgotten Miramax release from 1988 is Caribe, a Canadian production that shot in Belize about an amateur illegal arms trader to Central American terrorists who must go on the run after a deal goes down bad, because who wants to see a Canadian movie about an amateur illegal arms trader to Canadian terrorists who must go on the run in the Canadian tundra after a deal goes down bad?   Kara Glover would play Helen, the arms dealer, and John Savage as Jeff, a British intelligence agent who helps Helen.   Caribe would first open in Detroit on May 20th, 1988. Can you guess what I'm going to say next?   Yep.   No reported grosses, no theatres playing the film tracked by Variety.   The following week, Caribe opens in the San Francisco Bay Area, at the 300 seat United Artists Theatre in San Francisco, and three theatres in the South Bay. While Miramax once again did not report grosses, the combined gross for the four theatres, according to Variety, was a weak $3,700. Compare that to Aria, which was playing at the Opera Plaza Cinemas in its third week in San Francisco, in an auditorium 40% smaller than the United Artist, grossing $5,300 on its own.   On June 3rd, Caribe would open at the AMC Fountain Square 14 in Nashville. One show only on Friday and Saturday at 11:45pm. Miramax did not report grosses. Probably because people we going to see Willie Tyler and Lester at Zanie's down the street.   And again, it kept cycling around the country, one or two new playdates in each city it played in. Philadelphia in mid-June. Indianapolis in mid-July. Jersey City in late August. Always for one week, grosses never reported.   Miramax's first Swedish release of the year was called Mio, but this was truly an international production. The $4m film was co-produced by Swedish, Norwegian and Russian production companies, directed by a Russian, adapted from a Swedish book by an American screenwriter, scored by one of the members of ABBA, and starring actors from England, Finland, Norway, Russia, Sweden and the United States.   Mio tells the story of a boy from Stockholm who travels to an otherworldly fantasy realm and frees the land from an evil knight's oppression. What makes this movie memorable today is that Mio's best friend is played by none other than Christian Bale, in his very first film.   The movie was shot in Moscow, Stockholm, the Crimea, Scotland, and outside Pripyat in the Northern part of what is now Ukraine, between March and July 1986. In fact, the cast and crew were shooting outside Pripyat on April 26th, when they got the call they needed to evacuate the area. It would be hours later when they would discover there had been a reactor core meltdown at the nearby Chernobyl Nuclear Power Plant. They would have to scramble to shoot in other locations away from Ukraine for a month, and when they were finally allowed to return, the area they were shooting in deemed to have not been adversely affected by the worst nuclear power plant accident in human history,, Geiger counters would be placed all over the sets, and every meal served by craft services would need to be read to make sure it wasn't contaminated.   After premiering at the Moscow Film Festival in July 1987 and the Norwegian Film Festival in August, Mio would open in Sweden on October 16th, 1987. The local critics would tear the film apart. They hated that the filmmakers had Anglicized the movie with British actors like Christopher Lee, Susannah York, Christian Bale and Nicholas Pickard, an eleven year old boy also making his film debut. They also hated how the filmmakers adapted the novel by the legendary Astrid Lindgren, whose Pippi Longstocking novels made her and her works world famous. Overall, they hated pretty much everything about it outside of Christopher Lee's performance and the production's design in the fantasy world.   Miramax most likely picked it up trying to emulate the success of The Neverending Story, which had opened to great success in most of the world in 1984. So it might seem kinda odd that when they would open the now titled The Land of Faraway in theatres, they wouldn't go wide but instead open it on one screen in Atlanta GA on June 10th, 1988. And, once again, Miramax did not report grosses, and Variety did not track Atlanta theatres that week. Two weeks later, they would open the film in Miami. How many theatres? Can't tell you. Miramax did not report grosses, and Variety was not tracking any of the theatres in Miami playing the film. But hey, Bull Durham did pretty good in Miami that week.   The film would next open in theatres in Los Angeles. This time, Miramax bought a quarter page ad in the Los Angeles Times on opening day to let people know the film existed. So we know it was playing on 18 screens that weekend. And, once again, Miramax did not report grosses for the film. But on the two screens it played on that Variety was tracking, the combined gross was just $2,500.   There'd be other playdates. Kansas City and Minneapolis in mid-September. Vancouver, BC in early October. Palm Beach FL in mid October. Calgary AB and Fort Lauderdale in late October. Phoenix in mid November. And never once did Miramax report any grosses for it.   One week after Mio, Miramax would release a comedy called Going Undercover.   Now, if you listened to our March 2021 episode on Some Kind of Wonderful, you may remember be mentioning Lea Thompson taking the role of Amanda Jones in that film, a role she had turned down twice before, the week after Howard the Duck opened, because she was afraid she'd never get cast in a movie again. And while Some Kind of Wonderful wasn't as big a film as you'd expect from a John Hughes production, Thompson did indeed continue to work, and is still working to this day.   So if you were looking at a newspaper ad in several cities in June 1988 and saw her latest movie and wonder why she went back to making weird little movies.   She hadn't.   This was a movie she had made just before Back to the Future, in August and September 1984.   Originally titled Yellow Pages, the film starred film legend Jean Simmons as Maxine, a rich woman who has hired Chris Lemmon's private investigator Henry Brilliant to protect her stepdaughter Marigold during her trip to Copenhagen.   The director, James Clarke, had written the script specifically for Lemmon, tailoring his role to mimic various roles played by his famous father, Jack Lemmon, over the decades, and for Simmons. But Thompson was just one of a number of young actresses they looked at before making their casting choice.   Half of the $6m budget would come from a first-time British film producer, while the other half from a group of Danish investors wanting to lure more Hollywood productions to their area.   The shoot would be plagued by a number of problems. The shoot in Los Angeles coincided with the final days of the 1984 Summer Olympics, which would cut out using some of the best and most regularly used locations in the city, and a long-lasting heat wave that would make outdoor shoots unbearable for cast and crew. When they arrived in Copenhagen at the end of August, Denmark was going through an unusually heavy storm front that hung around for weeks.   Clarke would spend several months editing the film, longer than usual for a smaller production like this, but he in part was waiting to see how Back to the Future would do at the box office. If the film was a hit, and his leading actress was a major part of that, it could make it easier to sell his film to a distributor.   Or that was line of thinking.   Of course, Back to the Future was a hit, and Thompson received much praise for her comedic work on the film.   But that didn't make it any easier to sell his film.   The producer would set the first screenings for the film at the February 1986 American Film Market in Santa Monica, which caters not only to foreign distributors looking to acquire American movies for their markets, but helps independent filmmakers get their movies seen by American distributors.   As these screenings were for buyers by invitation only, there would be no reviews from the screenings, but one could guess that no one would hear about the film again until Miramax bought the American distribution rights to it in March 1988 tells us that maybe those screenings didn't go so well.   The film would get retitled Going Undercover, and would open in single screen playdates in Atlanta, Cincinnati, Dallas, Indianapolis, Los Angeles, Nashville, Orlando, St. Louis and Tampa on June 17th. And as I've said too many times already, no reported grosses from Miramax, and only one theatre playing the film was being tracked by Variety, with Going Undercover earning $3,000 during its one week at the Century City 14 in Los Angeles.   In the June 22nd, 1988 issue of Variety, there was an article about Miramax securing a $25m line of credit in order to start producing their own films. Going Undercover is mentioned in the article about being one of Miramax's releases, without noting it had just been released that week or how well it did or did not do.   The Thin Blue Line would be Miramax's first non-music based documentary, and one that would truly change how documentaries were made.   Errol Morris had already made two bizarre but entertaining documentaries in the late 70s and early 80s. Gates of Heaven was shot in 1977, about a man who operated a failing pet cemetery in Northern California's Napa Valley. When Morris told his famous German filmmaking supporter Werner Herzog about the film, Herzog vowed to eat one of the shoes he was wearing that day if Morris could actually complete the film and have it shown in a public theatre. In April 1979, just before the documentary had its world premiere at UC Theatre in Berkeley, where Morris had studied philosophy, Herzog would spend the morning at Chez Pannise, the creators of the California Cuisine cooking style, boiling his shoes for five hours in garlic, herbs and stock. This event itself would be commemorated in a documentary short called, naturally, Werner Herzog Eats His Shoe, by Les Blank, which is a must watch on its own.   Because of the success of Gates of Heaven, Morris was able to quickly find financing for his next film, Nub City, which was originally supposed to be about the number of Vernon, Florida's citizens who have “accidentally” cut off their limbs, in order to collect the insurance money. But after several of those citizens threatened to kill Morris, and one of them tried to run down his cinematographer with their truck, Morris would rework the documentary, dropping the limb angle, no pun intended, and focus on the numerous eccentric people in the town. It would premiere at the 1981 New York Film Festival, and become a hit, for a documentary, when it was released in theatres in 1982.   But it would take Morris another six years after completing Vernon, Florida, to make another film. Part of it was having trouble lining up full funding to work on his next proposed movie, about James Grigson, a Texas forensic psychiatrist whose was nicknamed Doctor Death for being an expert witness for the prosecution in death penalty cases in Texas. Morris had gotten seed money for the documentary from PBS and the Endowment for Public Arts, but there was little else coming in while he worked on the film. In fact, Morris would get a PI license in New York and work cases for two years, using every penny he earned that wasn't going towards living expenses to keep the film afloat.   One of Morris's major problems for the film was that Grigson would not sit on camera for an interview, but would meet with Morris face to face to talk about the cases. During that meeting, the good doctor suggested to the filmmaker that he should research the killers he helped put away. And during that research, Morris would come across the case of one Randall Dale Adams, who was convicted of killing Dallas police officer Robert Wood in 1976, even though another man, David Harris, was the police's initial suspect. For two years, Morris would fly back and forth between New York City and Texas, talking to and filming interviews with Adams and more than two hundred other people connected to the shooting and the trial. Morris had become convinced Adams was indeed innocent, and dropped the idea about Dr. Grigson to solely focus on the Robert Wood murder.   After showing the producers of PBS's American Playhouse some of the footage he had put together of the new direction of the film, they kicked in more funds so that Morris could shoot some re-enactment sequences outside New York City, as well as commission composer Phillip Glass to create a score for the film once it was completed. Documentaries at that time did not regularly use re-enactments, but Morris felt it was important to show how different personal accounts of the same moment can be misinterpreted or misremembered or outright manipulated to suppress the truth.   After the film completed its post-production in March 1988, The Thin Blue Line would have its world premiere at the San Francisco Film Festival on March 18th, and word quickly spread Morris had something truly unique and special on his hands. The critic for Variety would note in the very first paragraph of his write up that the film employed “strikingly original formal devices to pull together diverse interviews, film clips, photo collages, and” and this is where it broke ground, “recreations of the crime from many points of view.”   Miramax would put together a full court press in order to get the rights to the film, which was announced during the opening days of the 1988 Cannes Film Festival in early May. An early hint on how the company was going to sell the film was by calling it a “non-fiction feature” instead of a documentary.   Miramax would send Morris out on a cross-country press tour in the weeks leading up to the film's August 26th opening date, but Morris, like many documentary filmmakers, was not used to being in the spotlight themselves, and was not as articulate about talking up his movies as the more seasoned directors and actors who've been on the promotion circuit for a while. After one interview, Harvey Weinstein would send Errol Morris a note.   “Heard your NPR interview and you were boring.”   Harvey would offer up several suggestions to help the filmmaker, including hyping the movie up as a real life mystery thriller rather than a documentary, and using shorter and clearer sentences when answering a question.   It was a clear gamble to release The Thin Blue Line in the final week of summer, and the film would need a lot of good will to stand out.   And it would get it.   The New York Times was so enthralled with the film, it would not only run a review from Janet Maslin, who would heap great praise on the film, but would also run a lengthy interview with Errol Morris right next to the review. The quarter page ad in the New York Times, several pages back, would tout positive quotes from Roger Ebert, J. Hoberman, who had left The Village Voice for the then-new Premiere Magazine, Peter Travers, writing for People Magazine instead of Rolling Stone, and critics from the San Francisco Chronicle and, interestingly enough, the Dallas Morning News. The top of the ad was tagged with an intriguing tease: solving this mystery is going to be murder, with a second tag line underneath the key art and title, which called the film “a new kind of movie mystery.” Of the 15 New York area-based film critics for local newspapers, television and national magazines, 14 of them gave favorable reviews, while 1, Stephen Schiff of Vanity Fair, was ambivalent about it. Not one critic gave it a bad review.   New York audiences were hooked.   Opening in the 240 seat main house at the Lincoln Plaza Cinemas, the movie grossed $30,945 its first three days. In its second weekend, the gross at the Lincoln Plaza would jump to $31k, and adding another $27,500 from its two theatre opening in Los Angeles and $15,800 from a single DC theatre that week. Third week in New York was a still good $21k, but the second week in Los Angeles fell to $10,500 and DC to $10k. And that's how it rolled out for several months, mostly single screen bookings in major cities not called Los Angeles or New York City, racking up some of the best reviews Miramax would receive to date, but never breaking out much outside the major cities. When it looked like Santa Cruz wasn't going to play the film, I drove to San Francisco to see it, just as my friends and I had for the opening day of Martin Scorsese's The Last Temptation of Christ in mid-August. That's 75 miles each way, plus parking in San Francisco, just to see a movie. That's when you know you no longer just like movies but have developed a serious case of cinephilea. So when The Nickelodeon did open the film in late November, I did something I had never done with any documentary before.   I went and saw it again.   Second time around, I was still pissed off at the outrageous injustice heaped upon Randall Dale Adams for nothing more than being with and trusting the wrong person at the wrong time. But, thankfully, things would turn around for Adams in the coming weeks. On December 1st, it was reported that David Harris had recanted his testimony at Adams' trial, admitting he was alone when Officer Wood stopped his car. And on March 1st, 1989, after more than 15,000 people had signed the film's petition to revisit the decision, the Texas Court of Criminal Appeals overturned Adams's conviction “based largely” on facts presented in the film.   The film would also find itself in several more controversies.   Despite being named The Best Documentary of the Year by a number of critics groups, the Documentary Branch of the  Academy of Motion Pictures Arts and Sciences would not nominate the film, due in large part to the numerous reenactments presented throughout the film. Filmmaker Michael Apted, a member of the Directors Branch of the Academy, noted that the failure to acknowledge The Thin Blue Line was “one of the most outrageous things in the modern history of the Academy,” while Roger Ebert added the slight was “the worst non-nomination of the year.” Despite the lack of a nomination, Errol Morris would attend the Oscars ceremony in March 1989, as a protest for his film being snubbed.   Morris would also, several months after Adams' release, find himself being sued by Adams, but not because of how he was portrayed in the film. During the making of the film, Morris had Adams sign a contract giving Morris the exclusive right to tell Adams's story, and Adams wanted, essentially, the right to tell his own story now that he was a free man. Morris and Adams would settle out of court, and Adams would regain his life rights.   Once the movie was played out in theatres, it had grossed $1.2m, which on the surface sounds like not a whole lot of money. Adjusted for inflation, that would only be $3.08m. But even unadjusted for inflation, it's still one of the 100 highest grossing documentaries of the past forty years. And it is one of just a handful of documentaries to become a part of the National Film Registry, for being a culturally, historically or aesthetically significant film.”   Adams would live a quiet life after his release, working as an anti-death penalty advocate and marrying the sister of one of the death row inmates he was helping to exonerate. He would pass away from a brain tumor in October 2010 at a courthouse in Ohio not half an hour from where he was born and still lived, but he would so disappear from the spotlight after the movie was released that his passing wasn't even reported until June 2011.   Errol Morris would become one of the most celebrated documentarians of his generation, finally getting nominated for, and winning, an Oscar in 2003, for The Fog of War, about the life and times of Robert McNamara, Richard Nixon's Secretary of Defense during the Vietnam War era. The Fog of War would also be added to the National Film Registry in 2019. Morris would become only the third documentarian, after D.A. Pennebaker and Les Blank, to have two films on the Registry.   In 1973, the senseless killings of five members of the Alday family in Donalsonville GA made international headlines. Four years later, Canadian documentarian Tex Fuller made an award-winning documentary about the case, called Murder One. For years, Fuller shopped around a screenplay telling the same story, but it would take nearly a decade for it to finally be sold, in part because Fuller was insistent that he also be the director. A small Canadian production company would fund the $1m CAD production, which would star Henry Thomas of E.T. fame as the fifteen year old narrator of the story, Billy Isaacs.   The shoot began in early October 1987 outside Toronto, but after a week of shooting, Fuller was fired, and was replaced by Graeme Campbell, a young and energetic filmmaker for whom Murder One would be his fourth movie directing gig of the year. Details are sketchy as to why Fuller was fired, but Thomas and his mother Carolyn would voice concerns with the producers about the new direction the film was taking under its new director.   The film would premiere in Canada in May 1988. When the film did well up North, Miramax took notice and purchased the American distribution rights.   Murder One would first open in America on two screens in Los Angeles on September 9th, 1988. Michael Wilmington of the Los Angeles Times noted that while the film itself wasn't very good, that it still sprung from the disturbing insight about the crazy reasons people cross of what should be impassable moral lines.   “No movie studio could have invented it!,” screamed the tagline on the poster and newspaper key art. “No writer could have imagined it! Because what happened that night became the most controversial in American history.”   That would draw limited interest from filmgoers in Tinseltown. The two theatres would gross a combined $7k in its first three days. Not great but far better than several other recent Miramax releases in the area.   Two weeks later, on September 23rd, Miramax would book Murder One into 20 theatres in the New York City metro region, as well as in Akron, Atlanta, Charlotte, Indianpolis, Nashville, and Tampa-St. Petersburg. In New York, the film would actually get some good reviews from the Times and the Post as well as Peter Travers of People Magazine, but once again, Miramax would not report grosses for the film. Variety would note the combined gross for the film in New York City was only $25k.   In early October, the film would fall out of Variety's internal list of the 50 Top Grossing Films within the twenty markets they regularly tracked, with a final gross of just $87k. One market that Miramax deliberately did not book the film was anywhere near southwest Georgia, where the murders took place. The closest theatre that did play the film was more than 200 miles away.   Miramax would finish 1988 with two releases.   The first was Dakota, which would mark star Lou Diamond Phillips first time as a producer. He would star as a troubled teenager who takes a job on a Texas horse ranch to help pay of his debts, who becomes a sorta big brother to the ranch owner's young son, who has recently lost a leg to cancer, as he also falls for the rancher's daughter.   When the $1.1m budgeted film began production in Texas in June 1987, Phillips had already made La Bamba and Stand and Deliver, but neither had yet to be released into theatres. By the time filming ended five weeks later, La Bamba had just opened, and Phillips was on his way to becoming a star.   The main producers wanted director Fred Holmes to get the film through post-production as quickly as possible, to get it into theatres in the early part of 1988 to capitalize on the newfound success of their young star.    But that wouldn't happen.   Holmes wouldn't have the film ready until the end of February 1988, which was deemed acceptable because of the impending release of Stand and Deliver. In fact, the producers would schedule their first distributor screening of the film on March 14th, the Monday after Stand and Delivered opened, in the hopes that good box office for the film and good notices for Phillips would translate to higher distributor interest in their film, which sorta worked. None of the major studios would show for the screening, but a number of Indies would, including Miramax. Phillips would not attend the screening, as he was on location in New Mexico shooting Young Guns.   I can't find any reason why Miramax waited nearly nine months after they acquired Dakota to get it into theatres. It certainly wasn't Oscar bait, and screen availability would be scarce during the busy holiday movie season, which would see a number of popular, high profile releases like Dirty Rotten Scoundrels, Ernest Saves Christmas, The Naked Gun, Rain Man, Scrooged, Tequila Sunrise, Twins and Working Girl. Which might explain why, when Miramax released the film into 18 theatres in the New York City area on December 2nd, they could only get three screens in all of Manhattan, the best being the nice but hardly first-rate Embassy 4 at Broadway and 47th. Or of the 22 screens in Los Angeles opening the film the same day, the best would be the tiny Westwood 4 next to UCLA or the Paramount in Hollywood, whose best days were back in the Eisenhower administration.   And, yet again, Miramax did not report grosses, and none of the theatres playing the film was tracked by Variety that week. The film would be gone after just one week. The Paramount, which would open Dirty Rotten Scoundrels on the 14th, opted to instead play a double feature of Clara's Heart, with Whoopi Goldberg and Neil Patrick Harris, and the River Phoenix drama Running on Empty, even though neither film had been much of a hit.   Miramax's last film of the year would be the one that changed everything for them.   Pelle the Conquerer.   Adapted from a 1910 Danish book and directed by Billie August, whose previous film Twist and Shout had been released by Miramax in 1986, Pelle the Conquerer would be the first Danish or Swedish movie to star Max von Sydow in almost 15 years, having spent most of the 70s and 80s in Hollywood and London starring in a number of major movies including The Exorcist, Three Days of the Condor, Flash Gordon,Conan the Barbarian, Never Say Never Again, and David Lynch's Dune. But because von Sydow would be making his return to his native cinema, August was able to secure $4.5m to make the film, one of the highest budgeted Scandinavian films to be made to date.   In the late 1850s, an elderly emigrant Lasse and his son Pelle leave their home in Sweden after the death of the boy's mother, wanting to build a new life on the Danish island of Bornholm. Lasse finds it difficult to find work, given his age and his son's youth. The pair are forced to work at a large farm, where they are generally mistreated by the managers for being foreigners. The father falls into depression and alcoholism, the young boy befriends one of the bastard children of the farm owner as well as another Swedish farm worker, who dreams of conquering the world.   For the title character of Pelle, Billie August saw more than 3,000 Swedish boys before deciding to cast 11 year old Pelle Hvenegaard, who, like many boys in Sweden, had been named for the character he was now going to play on screen.   After six months of filming in the summer and fall of 1986, Billie August would finish editing Pelle the Conquerer in time for it to make its intended Christmas Day 1987 release date in Denmark and Sweden, where the film would be one of the biggest releases in either country for the entire decade. It would make its debut outside Scandinavia at the Cannes Film Festival in May 1988, where it had been invited to compete for the Palme D'Or. It would compete against a number of talented filmmakers who had come with some of the best films they would ever make, including Clint Eastwood with Bird, Claire Denis' Chocolat, István Szabó's Hanussen, Vincent Ward's The Navigator, and A Short Film About Killing, an expanded movie version of the fifth episode in Krzysztof Kieślowski's masterful miniseries Dekalog. Pelle would conquer them all, taking home the top prize from one of cinema's most revered film festivals.   Reviews for the film out of Cannes were almost universally excellent. Vincent Canby, the lead film critic for the New York Times for nearly twenty years by this point, wouldn't file his review until the end of the festival, in which he pointed out that a number of people at the festival were scandalized von Sydow had not also won the award for Best Actor.   Having previously worked with the company on his previous film's American release, August felt that Miramax would have what it took to make the film a success in the States.   Their first moves would be to schedule the film for a late December release, while securing a slot at that September's New York Film Festival. And once again, the critical consensus was highly positive, with only a small sampling of distractors.   The film would open first on two screens at the Lincoln Plaza Cinemas in midtown Manhattan on Wednesday, December 21st, following by exclusive engagements in nine other cities including Los Angeles, Philadelphia, San Francisco, Seattle and Washington DC, on the 23rd. But the opening week numbers weren't very good, just $46k from ten screens. And you can't really blame the film's two hour and forty-five minute running time. Little Dorrit, the two-part, four hour adaptation of the Charles Dickens novel, had been out nine weeks at this point and was still making nearly 50% more per screen.   But after the new year, when more and more awards were hurled the film's way, including the National Board of Review naming it one of the best foreign films of the year and the Golden Globes awarding it their Best Foreign Language trophy, ticket sales would pick up.   Well, for a foreign film.   The week after the Motion Picture Academy awarded Pelle their award for Best Foreign Language Film, business for the film would pick up 35%, and a third of its $2m American gross would come after that win.   One of the things that surprised me while doing the research for this episode was learning that Max von Sydow had never been nominated for an Oscar until he was nominated for Best Actor for Pelle the Conquerer. You look at his credits over the years, and it's just mind blowing. The Seventh Seal. Wild Strawberries. The Virgin Spring. The Greatest Story Ever Told. The Emigrants. The Exorcist. The Three Days of the Condor. Surely there was one performance amongst those that deserved recognition.   I hate to keep going back to A24, but there's something about a company's first Oscar win that sends that company into the next level. A24 didn't really become A24 until 2016, when three of their movies won Oscars, including Brie Larson for Best Actress in Room. And Miramax didn't really become the Miramax we knew and once loved until its win for Pelle.   Thank you for joining us. We'll talk again soon, when Episode 117, the fifth and final part of our miniseries on Miramax Films, is released.     Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Clay Epstein has over twenty years of experience as an Entertainment Executive. Since launching his own company in 2016, he is the President and Owner of Film Mode Entertainment, a worldwide sales and distribution entity with a producer friendly initiative. In addition to bringing films to audiences around the globe, Clay executive produces many of the company's titles. As an Executive Producer, Clayis instrumental in working with filmmakers in the early stages of pre‐production to help build the financing, and creative elements to achieve these successes worldwide. To better help producers and directors who may be less experienced, Film Mode has an active consultancy division, offering producers expertise and guidance on financial models, marketing, and distribution strategies.Film Mode represents over 50 independent feature films worldwide, with a client base that spans the globe. Recent successes include BREACH starring Bruce Willis, AS THEY MADE US starring Dustin Hoffman, and Candice Bergan, CRYPTO starring Kurt Russel, LITTLE PINK HOUSE starring Catherine Keener, and MONSTROUS starring Christina Ricci.Prior to launching Film Mode, Clay was SVP Sales & Acquisitions at Arclight Films. He was instrumental in representing high profile films such as Paul Schrader 's DOG EAT DOG starring Nicolas Cage, and the Spirig brother's PREDESTINATION starring Ethan Hawke. Earlier in his career, Clay represented prestigious titles such as TSOTSI (2006, Academy Award Winner for Best Foreign Language,) and THELAST STATION (2010, Academy Award Nominee for Best Performance by an Actress.) Clay earned a BA in Fine Arts, from California State University, Northridge majoring in Film Production and minoring in Italian Language.In addition to his professional accomplishments, he holds the elected position of Chairman of Independent Film and Television Alliance. Clay is an instructor at UCLA Extension, and a frequent lecturer at film festivals worldwide., a member of PGA, FIND, BAFTA LA, and the Australian AcademyCinema Television Arts.

Clay Epstein, president of Film Mode Entertainment, has spent his life pushing the boundaries of what is possible for independent filmmakers. Epstein is inventive, always looking for that special "something" that makes a film stand out. In doing so, he has created a successful career in making films through Film Mode Entertainment and has become the co-chair of the Indedpent Film & Television Alliance (IFTA) and American Film Market (AFM). Epstein gives us the latest forecast in domestic and international trends, where the independent film circuit is going, and what filmmakers should do to take advantage of both IFTA and AFM's services. The IFTA supports, protects, and advances the global independent film and TV industry. Their membership includes more than 140 companies from 23 countries. From independent production and distribution companies to sales agents and financiers, they are the only organization that unites the collective voice of Independents worldwide and ensures that they are well represented across all issues that impact the independent business. AFM includes acquisition and development executives, agents, attorneys, directors, distributors, festival directors, financiers, film commissioners, producers, writers, the world's press, and all those who provide services to the motion picture industry. This brings a place for everyone to converge to push forward those must-see films. Epstein is a wealth of knowledge about independent filmmaking and gives valuable tips and tricks to get yourself in the door. Host: Monica Gleberman Editor: Miranda Currier Social Media Graphic: Jojo -- Bio: Clay Epstein is the President and Owner of Film Mode Entertainment, a worldwide sales and distribution entity with a producer friendly initiative. In addition to representing worldwide rights, Clay executive produces many of the company's titles. In 2021, Film Mode launched a consulting division offering producers expertise and guidance on financial models, marketing, and distribution strategies. Film Mode has had recent successes with films such as CRYPTO starring Kurt Russel, LITTLE PINK HOUSE starring Catherine Keener and Mayim Bialik's directorial debut AS SICK AS THEY MADE US starring Dustin Hoffman, Candice Bergan, Dianna Agron and Simon Helberg. Prior to Film Mode, Clay was SVP Sales & Acquisitions at Arclight Films. He was instrumental in acquiring and representing high profile films such as Paul Schrader 's DOG EAT DOG starring Nicolas Cage, and the Spirig brother's PREDESTINATION starring Ethan Hawke. Earlier in his career, Clay represented prestigious titles such as TSOTSI (2006, Academy Award Winner for Best Foreign Language,) and THE LAST STATION (2010, Academy Award Nominee for Best Performance by an Actress.) Clay earned a BA in Fine Arts, from California State University, Northridge majoring in Film Production and minoring in Italian Language. In addition to his professional accomplishments, he holds the elected position of Chairman of Independent Film and Television Alliance. Clay is an instructor at UCLA Extension, and a frequent lecturer at film festivals worldwide., a member of PGA, FIND, BAFTA LA, and the Australian Academy Cinema Television Arts. Don't forget to follow us on Twitter @SilenceonSet and Instagram @SilenceonSetPod

With the powerhouse producing team of Guillermo Del Toro and Alfonso Cuaron behind it, 2004's Ecuadorean drama Cronicas had an easy time being chosen as that country's submission for the Best Foreign Language film at the Academy Awards.  It didn't get that honor but still had the star power to guide it to international acclaim.  John Leguizamo, performing fully in Spanish for the first time in his career, leads a stellar cast that includes Leonor Watling, Damian Alcazar, Jose Maria Yazpik and Alfred Molina. Dan and Vicky visit this indie gem as well as catching us up with some recently seen including the Affleck/Damon epic The Last Duel, 2022 horror film The Cursed, Spielberg comedy romp 1941, 1959's The Young Philadelpians, Bo Burnham Inside and 2019 Dutch road rage thriller Tailgate. Check out our new podcast artwork (!), leave us feedback on the episode on your favorite podcatcher, and visit our website at hotdatpod.com.

Rachel Shelley is our first guest across the pond! You Might Know Her From The L Word, Deep State, Rogue, The Ghost Whisperer, Once Upon a Time…, Casualty, and Lagaan: Once Upon a Time in India. We talked to Rachel about playing Helena Peabody for five seasons on the OG L Word, navigating the twists and turns that her character took from cold heiress, to one of the crew, from prison to discovering during the filming of season six that it ultimately would become a murder mystery around Jenny Schecter. Plus we need someone to gift us the unaired spin-off, The Farm. All that plus respecting the ghost bible on The Ghost Whisperer, playing gay to a fedora-wearing Heather Graham in Gray Matters, and starring in the epic Bollywood film Lagaan that earned an Oscar nom for Best Foreign Language film. This one was an absolute pleasure, moving hair and all. Follow us on social media @damianbellino || @rodemanne  Lagaan: Once Upon a Time in India The Laws of Attraction (with Pierce Brosnan) and The Rules of Attraction (with Shannyn and YES Faye Dunaway) Brett Butler is in The Morning Show! So is Gugu Mbatha-Raw Auditioned with musical number: “The Sound of Music” Kim Cattrall is in the Hilary Duff show How I Met Your Father (which takes place in 2050) Deep State and Rogue created by husband Matthew Park Hill Helena Peabody on The L Word Her mom was played by lesbian legend Holland Taylor  Loved working opposite Alexandra Hedison and was mildly intimidated by Melissa Leo Women's prison movies like Women in Cell Block 9 Where is the L Word spinoff The Farm?! Starting Leisha Hailey, Melissa Leo, and Laurie Metcalf Murder mystery for L Word was meant to be a stand alone season UGH Has not been asked to come back for L Word: Gen Q Works with Diva Magazine in the UK providing PodDiva Started opp previous guest Guinevere Turner in Different for Girls MA at Goldsmiths University in Radio Production Did doc on grief for BBC Radio 4 Got the Leisha Hailey & Kate Moennig podcast, PANTS off the ground Hosts pod with Victoria Broom Starred opp Jon Voight in Jack and the Beanstalk: The Real Story Lesbians and fedoras Gray Matters with a Heather Graham Plays ghost in Ghost Whisperer and Photographing Fairies (1997) with Ben Kingsley GHOST BIBLE!!! Hair of a ghost shouldn't move  Started opp David Bowie in Everybody Loves Sunshine aka B.U.S.T.E.D. Got stabbed in the BBC series Casualty Poor Yolanda Ross got a DM from Damian Rumplestiltskin vs Captain Hook on the tv show Once Upon a Time (we love Rumple) Amy Irving Rumplestiltskin was formative for Anne

Today on the Expat Money Show we have put together some amazing clips from the last 12 months on the best of language learning.  These were really in-depth interviews that I know you will love to listen to again. We are going to tell a language learning story for the expat. Enjoy!   HERE IS A SNEAK PEEK OF WHAT WE DISCUSSED ABOUT LANGUAGE LEARNING… Are you thinking that it's impossible to learn a new language, that you don't have what it takes? Anthony Metivier was able to learn German fluently in 1 year. Listen to his strategies and tools and how he accomplished this task to be able to do a presentation in German at the University. Sarah Tarvin details how she first developed a passion for language learning and how you can too! Do you want to travel and see the world, but you're afraid that not speaking the language will affect your experience. Chase Warrington and I discuss the importance of learning the local language. It's amazing how people get started in their expat journeys and their language learning journeys. John Fotheringham explains how he first got interested in studying and teaching English in Japan. Are you thinking that your brain could really use some help? Anthony Metivier discusses the benefits of learning a language on the brain and preventing Alzheimer's. Did you know that all of the myths you've heard about language learning are false? None of them are true, it's all about mindset. Sarah Tarvin and I discuss various mindsets and philosophies regarding language learning. John Fotheringham describes some of his philosophies behind the concept of learning a language and how they can benefit you on your journey. Listen in as I talk with Anthony Metivier to find out what is the science behind building memories? Do you actually rewire your brain? How does that work? And the different types of memories, what are they? Sarah Tarvin's daughter is multilingual. And she's just a toddler. We discuss the techniques she uses to teach language to her child so that she will be multilingual. Do you love to watch videos? Kevin Koskella and I discuss learning a language through consuming content and learning in that language. Have you heard of the ‘Memory Palace' and wondered what the heck it is? Anthony Metivier explains exactly what the concept of the Memory Palace is and how you can use it to learn any foreign language of your choice. John Fotheringham and I discuss a secret Japanese language memorization method. Kris Broholm and I discuss various topics around learning languages including learning via video games. You will love this! Anthony Metivier digs deeper into the Memory Palace technique and how to scale this idea, and why being strategic is so important.  John Fotheringham and I discuss the concept of grammar and its application with memory. How this fits in with learning a new language and when you should be learning grammar. Are you thinking that children learn languages differently than adults? Well, John Fotheringham and I discuss what methods you can use that work with your children so they can learn quickly and to make sure they have fun! Can learning a new language bring you joy? I ask Kris Broholm. We talk about the fun we have from learning languages, and how as a polyglot what you take out of the language. Imagine you're living in a country where you don't speak the language and you're a single guy…Kevin Koskella discusses meeting a woman and not knowing Portuguese, his story is hilarious! I asked Kris Broholm what the most difficult language for him to learn was? As a polyglot, you wouldn't think he would have any problems, but one, in particular, was really hard for him. I bet you can't guess what language he's talking about.     Listen To The Full Episodes  https://expatmoneyshow.com/episodes/anthony-metivier/ (114: How To Memorize A Foreign Language – Dr. Anthony Metivier)... Support this podcast

We discuss the release of BFI's first 4K disc, The Seventh Seal and, in honour of it, our favourite foreign language releases. We'll also be talking Criterion, BFI and Arrow boxsets and which our favourite world cinema collections are.

Welcome to The 80's Montage! (music, mateys and cool shit from the 80s) Your Hosts Jay Jovi & Sammy HardOn, singers from Australia's 80's tribute band Rewind 80's. We take you back to living in the 80's: music, artists, TV commercials and video clips. Episode 92: Passport Pop - Best Foreign Language Songs.  It's a ripper! Please rate, review and enjoy! Music licensed by APRA/AMCOS Theme music ©2019 M. Skerman see Facebook for links to videos & songs mentioned in this episode! Email: planet80sproductions@gmail.com Rewind 80's Band : www.rewind80sband.com Facebook : the80smontagepodcast twitter: 80_montage instagram : the80smontage Links from Episode 92: Passport Pop - Best Foreign Language Songs.Patreon Link With Thanks x https://www.patreon.com/the80smontagepodcast samantha@planet80s.com.auwww.the80smontage.comRIP Charlie Watts Thanks For The Music...Links: The Rolling Stones - Harlem Shuffle - OFFICIAL PROMOhttps://youtu.be/nAkMTu6q2pY99 Luft Ballons NENA | 99 Luftballons [1983] [Offizielles Musikvideo]https://youtu.be/Fpu5a0Bl8eYFalco - Rock Me Amadeus (Official Video)https://youtu.be/cVikZ8Oe_XALa Bamba - Richie Valenshttps://youtu.be/jSKJQ18ZoIAONE DICK WONDER - Nice One Dick.Trio - Da da da, ich lieb Dich nicht, Du liebst mich nichthttps://youtu.be/XiQqzM6vsc4Im Nin'Alu - Ofra Hazahttps://youtu.be/ZRnzTTYk7_QGloria Estefan - Anything for You (Spanish Video Version)https://youtu.be/VdcnhCoZDCIJulio Iglesias Me Va, Me Va 1984 1100 Bel Air Placehttps://youtu.be/0U0qTKA4USwGipsy Kings - Bamboléo (Official Video)https://youtu.be/7qbEt_lSib4www,planet80s.com.au - Ticket sales for The Rewind 80's Mixtape Tour www.rewind80sband.com - The band..SIGN INDeakin Universitydeakin.edu.auLearn moreAd 1 of 2 ·0:09deakin.edu.auSkip Ads0:02 / 0:15Kaoma - Lambada (Official Video) 1989 HDSIGN INDeakin Universitydeakin.edu.auLearn moreAd 1 of 2 ·0:09deakin.edu.auSkip Ads0:02 / 0:15Kaoma - Lambada (Official Video) 1989 HDThanks for listening! www.the80smontage.com

Original broadcast date March 2, 2017. The original podcast post is here: https://pixelatedgeek.com/2017/03/binary-system-podcast-72-oscar-reactions/ This week the twins discuss the Oscars, and by "discuss" we mean "do a full body cringe at the awkwardness of watching them give Best Picture to the wrong movie." But we get around to mentioning which movies won what and which ones we wished won (say THAT five times fast.) And later Kathryn explains why the show Lucifer is pretty ridiculous and why she's completely unable to stop watching it. Correction: We'd mentioned the filmmaker behind The White Helmets didn't attend the Oscars as a protest against the Travel Ban. Actually that was Asghar Farhadi, the director of The Salesman, which won for Best Foreign Language film, who didn't attend as a protest and "out of respect for the people of my country." Khaled Khatib, the cinematographer for The White Helmets, COULDN'T attend the Oscars because, according to CNN and Fox (we aim to be impartial here) his visa was canceled by the Syrian regime. (We think. Early reports said the US blocked him from entering, but apparently they blocked him because he didn't have a visa, because it was canceled.) So that's what's going on there. Correction the second: Turns out the dates mentioned for the Oak City Comic Con were also incorrect; it actually takes place on March 18-19, not 17-18. Because why would we verify things BEFORE we mention them on the podcast?

The year is 1973 and the nominees are: 1. Liv Ullmann - The Emigrants 2. Liza Minnelli - Cabaret 3. Diana Ross - Lady Sings the Blues 4. Cicely Tyson - Sounder 5. Maggie Smith - Travels with My Aunt 1973 was a big year at the Academy Awards. Liza Minnelli won the Oscar for her iconic work in Cabaret. Liv Ullmann was nominated for The Emigrants, the first film to be nominated for Best Picture and Best Foreign Language film in the same year. Maggie Smith was inexplicably nominated for her hilarious, campy work in Travels with My Aunt. Diana Ross was nominated for a very inaccurate biopic of Billie Holiday in Lady Sings the Blues. Cicely Tyson was nominated for Sounder. This was the first time in Oscar history that two women of colour were nominated for Best Actress at the same time. This has only happened once since, in 2021, when Viola Davis and Andra Day were nominated for their respective performances in Ma Rainey's Black Bottom and The United States vs. Billie Holiday; giving truth to the arguement, Oscars so white. Join host Kyle Brownrigg with guest host Wilma Fingerdoo as they discuss. . . . . . . . . . . . . #bestactress #supporting #oscars #academyawards #hollywood #silverscreen #vintage #gay #queer #lgbtq #canada #losangeles #gaypodcast #robbed #snubbed #film #movie #podcast #supporting #lead #livullmann #theemigrants #lizaminnelli #cabaret #dianaross #ladysingstheblues #cicelytyson #sounder #maggiesmith #travelswithmyaunt

►Start with Your Guide to August 32nd on Earth https://silverscreenguide.podbean.com/e/your-guide-to-august-32nd-on-earth-1998/   French Canadian director, Denis Villeneuve, is today considered one of the most epic, visionary filmmakers of our age. But 23 years ago, no one had yet heard of this young filmmaker from Quebec. Despite failing to earn a Best Foreign Language nomination from the Academy Awards, August 32nd still received modest critical success. Releasing his first film the same year that Christopher Nolan released his first film, many today see the two directors as the best in business. We've reviewed all of Nolan's films (so far), now before we review Denis's latest film Dune, releasing this October, we go back to the beginning to ask is Denis's first film a forgotten gem or an amateurish first attempt? Join Corbin and Allen as they review August 32nd on Earth to find out! Question after the show: If you had a near death experience would you live life to its fullest or just be more precautious?   Find Out What We're Watching Every Week: ►Corbin's Letterboxd: https://letterboxd.com/cwriley95/ ►Allen's Letterboxd: https://letterboxd.com/rankineugallen/   Reviews of Other Great Directors + '98 Reviews! ►All Christopher Nolan Movie Reviews https://silverscreenguide.podbean.com/category/christopher-nolan-movie-reviews/ ►Following (1998) Nolan Movie Review https://www.youtube.com/watch?v=fm1iRaq_o2s&t=16s ►All M. Night Shyamalan Movie Reviews https://silverscreenguide.podbean.com/category/m-night-shyamalan-movie-reviews/ ►Wide Awake (1998) M. Night Movie Review https://www.youtube.com/watch?v=bbmMFTXO4aQ ►Denis's Blade Runner 2049 Review https://silverscreenguide.podbean.com/e/blade-runner-2049-2017/ ►Soldier Movie Review (LOST BLADE RUNNER SIDE-QUEL) https://silverscreenguide.podbean.com/e/avengers-infinity-war-2018-movie-review/ ►Damien Chazelle Movie Reviews https://silverscreenguide.podbean.com/category/damien-chazelle-movie-reviews/ ►Halloween: H20 Movie Review https://silverscreenguide.podbean.com/e/halloween-h20-twenty-years-later-movie-review/ ►Star Trek: Insurrection Movie Review https://silverscreenguide.podbean.com/e/star-trek-insurrection-1998-movie-review-ninth-in-star-trek-movie-review-series/   --------------------------------- Upcoming reviews: *Due to COVID-19 episode release dates are subject to change* Explore the 2021 Release Schedule: https://1drv.ms/x/s!AvSJyeB_0tpjqCVlnKUgWAngkIHN?e=FURWQ7 Subscribe to the podcast to hear these exciting upcoming reviews! ►Maelstrom (5/17) ►Polytechnique (5/24) ►Incendies (5/31) ►Kung Fu Panda (6/7)   ►Support the podcast | Get bonus content: https://www.patreon.com/silverscreenguide   Follow SSG on your favorite platforms! ►OFFICIAL WEBSITE ►SUBSCRIBE ON iTunes ►SUBSCRIBE ON YouTube ►FOLLOW ON Spotify ►FOLLOW ON FACEBOOK ►FOLLOW ON TWITTER ►SUBSCRIBE ON STITCHER ►SUBSCRIBE ON Listen Notes ►SUBSCRIBE ON TuneIn + Alexa Also available on Deezer, Overcast, Pocket Cast, Castro, and Castbox   Timestamps: 00:00:00 - Introduction 00:07:48 - Plot Summary 00:10:34 - Discussion 00:36:55 - Ratings/Recommendations 00:47:16 - Closing   Silver Screen Guide is dedicated to delivering the best guides and reviews for movies, TV shows, and video games. Follow our podcast for a new movie review every Monday and follow our YouTube channel for reviews and guides of brand new movies along with classics. We love talking about movies and we love talking about them with you. When you follow us on your favorite platforms and share with your friends you'll never miss your guide to the silver screen.

French Canadian director, Denis Villeneuve, is today considered one of the most epic, visionary filmmakers of our age. But 23 years ago, no one had yet heard of this young filmmaker from Quebec. Despite failing to earn a Best Foreign Language nomination from the Academy Awards, August 32nd still received modest critical success. Releasing his first film the same year that Christopher Nolan released his first film, many today see the two directors as the best in business. We've reviewed all of Nolan's films (so far), now before Denis's latest film Dune, releasing this October, join Corbin and Allen as they guide you through the production, behind-the-scenes drama, box-office, and impact of August 32nd on Earth. Subscribe to the podcast so you won't miss the full review!   Find Out What We're Watching Every Week: ►Corbin's Letterboxd: https://letterboxd.com/cwriley95/ ►Allen's Letterboxd: https://letterboxd.com/rankineugallen/   Reviews of Other Great Directors + '98 Reviews! ►All Christopher Nolan Movie Reviews https://silverscreenguide.podbean.com/category/christopher-nolan-movie-reviews/ ►Following (1998) Nolan Movie Review https://www.youtube.com/watch?v=fm1iRaq_o2s&t=16s ►All M. Night Shyamalan Movie Reviews https://silverscreenguide.podbean.com/category/m-night-shyamalan-movie-reviews/ ►Wide Awake (1998) M. Night Movie Review https://www.youtube.com/watch?v=bbmMFTXO4aQ ►Denis's Blade Runner 2049 Review https://silverscreenguide.podbean.com/e/blade-runner-2049-2017/ ►Damien Chazelle Movie Reviews https://silverscreenguide.podbean.com/category/damien-chazelle-movie-reviews/ ►Halloween: H20 Movie Review https://silverscreenguide.podbean.com/e/halloween-h20-twenty-years-later-movie-review/ ►Star Trek: Insurrection Movie Review https://silverscreenguide.podbean.com/e/star-trek-insurrection-1998-movie-review-ninth-in-star-trek-movie-review-series/ ►Soldier Movie Review (LOST BLADE RUNNER SIDE-QUEL) https://silverscreenguide.podbean.com/e/avengers-infinity-war-2018-movie-review/   --------------------------------- Upcoming reviews: *Due to COVID-19 episode release dates are subject to change* Explore the 2021 Release Schedule: https://1drv.ms/x/s!AvSJyeB_0tpjqCVlnKUgWAngkIHN?e=FURWQ7 Subscribe to the podcast to hear these exciting upcoming reviews! ►August 32nd on Earth (5/10) ►Maelstrom (5/17) ►Polytechnique (5/24) ►Incendies (5/31)   ►Support the podcast | Get bonus content: https://www.patreon.com/silverscreenguide   Follow SSG on your favorite platforms! ►OFFICIAL WEBSITE ►SUBSCRIBE ON iTunes ►SUBSCRIBE ON YouTube ►FOLLOW ON Spotify ►FOLLOW ON FACEBOOK ►FOLLOW ON TWITTER ►SUBSCRIBE ON STITCHER ►SUBSCRIBE ON Listen Notes ►SUBSCRIBE ON TuneIn + Alexa Also available on Deezer, Overcast, Pocket Cast, Castro, and Castbox   Silver Screen Guide is dedicated to delivering the best guides and reviews for movies, TV shows, and video games. Follow our podcast for a new movie review every Monday and follow our YouTube channel for reviews and guides of brand new movies along with classics. We love talking about movies and we love talking about them with you. When you follow us on your favorite platforms and share with your friends you'll never miss your guide to the silver screen.  

Keluarga dari Korea Selatan yang sedang mencoba untuk survive dan menggapai mimpinya di negara Amerika tahun 80-an. Film ini disutradarai oleh Lee Isaac Chung dan dibintangi oleh Steven Yeun, Han Ye-ri, Alan Kim, Noel Kate Cho, Youn Yuh-jung, dan Will Patton. Film ini banyak mendapatkan apresiasi di beberapa awards dan film festival, Salah satunya mendapatkan U.S. Dramatic Grand Jury Prize di Sundance Film Festival 2020, Best Foreign Language di Golden Globe Awards 2021, Best young actor/actress di Critics Choice Awards 2021 dan beberapa nominasi di awarding season tahun 2021 ini. Ada Aldy @rinaldy_alexander, Lim @rimusaurus, dan Nural @nuralfa. Share dan follow/subscribe klo kalian suka sama podcast ini dan jangan lupa follow sosial media kita di Twitter @ngobrolinpilem | Instagram @theroadkillpictures. --- Send in a voice message: https://anchor.fm/theroadkillpictures/message

In celebration of our 100th episode on Tear Out the Tags, The Podcast, we are re-introducing you to our most popular pilot episodes. Today you will continue to learn about the 6 things written on most tags, to help you get up to speed with our mission and decide if you want to be part of team EMBLDN. Please email me with questions or feedback on the show and please remember to encourage someone today who is chasing a dream. You may be one of the only people who sees what they're doing and who is cheering them on.   Sign up to get our weekly email www.TearOutTheTags.com          JOIN THE MISSION, FOLLOW Tear Out the Tags by Embldn Label   Instagram: https://instagram.com/tearoutthetags Facebook: https://facebook.com/embldnlabel THANK YOU FOR LISTENING Bee Evans

In celebration of our 100th episode on Tear Out the Tags, The Podcast, we are re-introducing you to our most popular pilot episodes. Today you will continue to learn about the 6 things written on most tags, to help you get up to speed with our mission and decide if you want to be part of team EMBLDN. Please email me with questions or feedback on the show and please remember to encourage someone today who is chasing a dream. You may be one of the only people who sees what they're doing and who is cheering them on. Sign up to get our weekly email www.TearOutTheTags.com JOIN THE MISSION, FOLLOW Tear Out the Tags by Embldn Label Instagram: https://instagram.com/tearoutthetags Facebook: https://facebook.com/embldnlabel THANK YOU FOR LISTENING Bee Evans

This week we watched Best Foreign Language film Golden Globe winner Minari. We discuss the film's similarity to Nomadland, both films' take on the American Dream and much more!   Send us your voice recordings about the best of the year at feedback@GetYourFilmFixPodcast.com. 

Today’s episode is a review on the film “Minari” directed by Lee Isaac Chung and stars Steven Yeun who’s best known for his role in “The Walking Dead” as Glen. The film recently won a Golden Globe for Best Foreign Language film. We go over the good, the bad, the ugly, and at the end, give our 1/10 rating. SOCIAL MEDIA:Asian Menswear Podcast -- @asianmenswearpodMike Tran -- @asianmenswearLeo Chan -- @levitatestyleEMAIL US:asianmenswearpodcast@gmail.comJOIN OUR EXCLUSIVE COMMUNITY:Facebook Community (click here)

Mikael Håfström is the writer and director behind such movies as Escape Plan, The Rite and Derailed. In 2004, his film Evil which received an Academy Award nomination for Best Foreign Language film. Håfström directed the new Netflix film Outside The Wire that stars Anthony Mackie and Damson Idris. The film is set in the near future. A drone pilot sent into a war zone finds himself paired with a top-secret android officer on a mission to stop a nuclear attack.

Episode 07 | The Lucifer Project(s) - Big Scary in Sky!Host: Derek DeWittSpace might not be such a final frontier after all. Is the Vatican secretly in league with aliens? Or demons pretending to be aliens? Was Jesus an extraterrestrial? Is NASA trying to create a second sun in our solar system? These questions and more must be examined. And when you name your science project "Lucifer", you really should be all that surprised when people come up with conspiracy theories about it. SECTIONS02:03 - Version One - Sectarian Shenanigans04:48 - Embellishments to the Core Theory06:55 - The Actual Poop - What's in a Name?08:15 - Version Two - Two Suns in the Sunset08:37 - Galileo, Galileo!10:50 - The Strange Worlds of Richard Hoagland16:17 - Cassini, Figaro!17:21 - Puzzlin' Evidence - (In)Congruent Conflations19:19 - Conspiracy Smoothies & Salvation21:11 - BONUS CONSPIRACIES! The Shining: All Work & No Play Makes Bill Gates a Satanic Murderer21:30 - Lucifer & the Bible25:40 - Pastor Rick Wiles Wants to Explore Bill Gate's Rectum29:43 - ID202030:44 - The Lucifer Trust & Publishing House (Don't Play With Other People's Baals)33:16 - Nikita Mikhalkov Wants an Oscar (Apparently)Music by Fanette RonjatLAPSUS LINGUAE:33:16 - I say that Mikhalkov has never won an Oscar. This is not true - his 1994 film "Burnt by the Sun" did win Best Foreign Language film. See? You shouldn't just trust everything you hear - check things out for yourself. The "theory" developed here still stands, though - he wants another Oscar, this time for Best Picture.Follow us on social for extra goodies:FacebookTwitterYouTube (including some extra videos on the topic)Other Podcasts by Derek DeWittDIGITAL SIGNAGE DONE RIGHT - Winner of 2020 Communicator Award of Excellence for Podcasts Series-Corporate Communications and on numerous top 10 podcast lists. PRAGUE TIMES - A city is more than just a location - it’s a kaleidoscope of history, places, people and trends. This podcast looks at Prague, in the center of Europe, from a number of perspectives, including what it is now, what is has been and where it’s going. It’s Prague THEN, Prague NOW, Prague LATER.

THIS IS A PREVIEW PODCAST. NOT THE FULL REVIEW. Please check out the full review on our Patreon Page by subscribing over at - https://www.patreon.com/NextBestPicture Last year, we did a podcast retrospective series on the year 2015 (the year before NBP launched) which was met with an ecstatic response from all of you. We decided to continue that this year with a retrospective of 2014. We have already reviewed Best Picture nominee "Selma" & Best Foreign Language winner "Ida" and now we are taking a look at what was supposedly the number 9 film for Best Picture that year but did not ultimately receive the coveted nomination, "Foxcatcher." Starring Channing Tatum, Steve Carell & Mark Ruffalo in three transformative and extraordinary performances, we examine the themes of the tragic true story, the work by all three leads, Bennett Miller's direction, the film's awards season run and more! Joining me for this podcast review is Josh Parham, Amanda Spears, Dan Bayer & Danilo Castro. Check out more on NextBestPicture.com Please subscribe on... SoundCloud - https://soundcloud.com/nextbestpicturepodcast iTunes Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture

Hi everyone! Today we’re welcoming back Keith Lyons for another review. We’re batting cleanup this month with a few Oscar and Golden Globe nominations. PORTRAIT OF A LADY ON FIRE was recently re-released in US theaters, and we’re lucky to have Keith on the case. Of course, we’ll just have to forget about that whole finding Keith an English-language film thing from last time. For a few other recent reviews from Keith, check out HONEYLAND (Episode #715), LES MISERABLES (Episode #680), and ATLANTICS (Episode #669). Before the review, we’ll have a promo from our good friends Aicila and Erik at Bicurean. Every episode, they explore a different topic, looking for the underlying issues, and finding common ground whenever possible. You can find them on Twitter, Facebook, and Instagram @bicurean, or check them out at bicurean.com. Be sure to like, follow, rate, and subscribe! And don’t forget to check out their recent guest review for FROZEN II (Episode #685). They’ve been huge supporters of One Movie Punch over the past year, and we cannot recommend them enough! A promo will run before the review. Subscribe to stay current with the latest releases. Contribute at Patreon for exclusive content. Connect with us over social media to continue the conversation. Here we go! ///// > ///// Hi, Philly Film Fan here with another review for One Movie Punch. You can follow me on Twitter @PhillyFilmFan. Today’s movie is PORTRAIT OF A LADY ON FIRE(2019), the 18th century French drama written and directed by Céline Sciamma. I wasn’t able to catch PORTRAIT OF A LADY ON FIRE when it played the Philadelphia Film Festival but I’m delighted to be catching up with it now. No spoilers. Since its debut at Cannes, where it won Best Screenplay and a Queer Palm, PORTRAIT OF A LADY ON FIRE has continued to rack up awards, nominations, and accolades, including Best Foreign Language nominations at the Golden Globes and BAFTAS. It was also nominated for 10 Césars (France’s equivalent to an Oscar) but only managed one win for cinematography. The top prize went to LES MISÉRABLES (Episode #680) and if you’d like to hear my review of that film, check out episode 680 of One Movie Punch. But the big headline from this year’s César Awards was definitely the announcement of Roman Polanski’s win for best director, immediately followed by Adèle Haenel leading the entire PORTRAIT OF A LADY ON FIRE team as they walked out of the theater in protest. Haenel has been an outspoken critic of the French film industry’s tepid response to the #MeToo movement and Roman Polanski drugged and raped a 13-year-old child. You might be wondering: What is wrong with the people in charge of the César Awards? And while we don’t have time to get into that now, I can tell you that the entire board of directors resigned a month ago. PORTRAIT OF A LADY ON FIRE begins on a rowboat, with Marianne (Noémie Merlant) making a journey to a small island off the coast of Brittany in France. Marianne is an artist and she has been commissioned to paint a portrait of Héloïse, played by the aforementioned Adèle Haenel. But when Marianne arrives she discovers that Héloïse refuses to sit for a portrait, and that Marianne must pretend to be Héloïse’s companion, in order to observe her, then retire to her room to paint Héloïse’s face by memory. This is all necessary to marry Héloïse off to a Milanese nobleman, a scheme concocted by Héloïse’s mother, La Comtesse (Valeria Golino)... you know, from HOT SHOTS! ...and BIG TOP PEE-WEE! ...and HOT SHOTS PART DEUX! The relationship between Marianne and Héloïse is central to PORTRAIT OF A LADY ON FIRE. Héloïse is a member of the nobility, but her privilege comes at a price. She is treated by her mother like a helpless child, and is not even permitted to go for a walk unsupervised. Héloïse’s entire life has been mapped out for her, and she must marry a man she has never even met because it is her duty to strengthen her family’s position. Marianne, on the other hand, is a woman of modest means, but she has the freedom to pursue her career as an artist. This job requires her to closely observe Héloïse, so that she can capture her essence on canvas. Héloïse is accustomed to being watched by the help, but before Marianne arrived she had never really been seen. As the two get to know each other, an intimacy develops between them and here, on this sparsely inhabited island, practically at the ends of the earth, they create a space where they feel like the only two souls in the world. PORTRAIT OF A LADY ON FIRE is a gorgeously photographed film about two women forming an intense bond. And, like all the best romances, it is tinged with the sadness of knowing that our time here is limited, and that all things must come to an end. But melancholy is a much deeper emotion than happiness could ever be. Rotten Tomatoes: 98% (CERTIFIED FRESH) Metacritic: 95 (MUST SEE) One Movie Punch: 9.0/10 PORTRAIT OF A LADY ON FIRE (2019) is rated Rand is currently playing in theaters. This jawn was brought to you by Philly Film Fan. For more movie reviews, follow me on Twitter @PhillyFilmFan where I’m participating in the #366Movies challenge. That’s P-H-I-L-L-Y-F-I-L-M-F-A-N. Thanks for listening.

Best of the Best is Third Coast’s annual ode to audio storytelling, taking listeners on a journey through the full breadth of what’s possible in stories made from sound. This episode showcases three of the winning stories from the 19th annual Third Coast / Richard H. Driehaus Foundation Competition. Host Gwen Macsai introduces the winners of the Best Serialized Story, Best Foreign Language & Directors’ Choice awards, plus a behind-the-scenes interview with producer Zoha Zokaei.In The Dark, Season Two — Best Serialized Story Awardby lead reporter and host Madeleine Baran, senior producer Samara Freemark, producers Natalie Jablonski and Rehman Tungekar, reporters Parker Yesko and Will Craft, and edited by Catherine Winter for APM Reports.In small town Mississippi, a white prosecutor tried a black man six times for the same crime, a quadruple homicide. For 23 years, Curtis Flowers maintained his innocence on death row. This story is a narrative investigation into the case, which uncovered prosecutorial misconduct, false confessions, an alternate suspect, and a pattern of racial bias. Click here to read the latest on the Curtis Flowers case, and to listen to the rest “In The Dark, season 2.”Price of Secrecy (Hazineh Razdari) — Best Foreign Language Awardby Zoha Zokaei and edited by Rob Szeliga.An unexpected turn of events occurs when 15-year-old Tannaz tells the police about being sexually abused by a friend.Click here to listen to the full story with subtitles.No Feeling is Final — Directors’ Choice Awardby Honor Eastly, with executive producer Joel Werner, producer Alice Moldovan, writer Graham Panther, and sound engineer Russell Stapleton. Created at ABC Audio Studios under the guidance of managing editor, Kellie Riordan.Usually when we talk about suicide, we encourage people to "just ask for help". But Honor Eastly knows it’s not that simple. She’s been there and back, and now has years of phone recordings and diary entries which form the basis of her podcast.Click here to listen to the rest of the series.You can hear all the winning stories from the 2019 Competition at ThirdCoastFestival.org.The program is made possible with support from the Richard H. Driehaus Foundation and distributed to public radio stations by PRX.Music in this hour by Jeevs (“Solace”), Pablo Torri (“Linha”), Monplaisir (“I don’t need to cry but I can do it if you need to” &

Hi everyone! Today’s the return of Keith Lyons to the podcast, aka Philly Film Fan, who will continue covering films from the Philadelphia Film Festival here at One Movie Punch. And it just so happens that today’s film not only played at the festival, but was also nominated for a Golden Globe for Best Foreign Language film. He also covered another Golden Globe nominee recently, ATLANTICS (Episode #669), which you’ll definitely want to check out. For a couple other reviews from Keith, check out I LOST MY BODY (Episode #646) and his guest review during Reign of Terror 2019 for SON OF FRANKENSTEIN (Episode #622), where he also gave some ghostly assistance to yours truly. Before the review, we’ll have a promo from the Top 5 from Fighting podcast. Every episode, Greg and Mike discuss a wide range of topics, and when they disagree, you know they’re gonna fight about it! Always fun, but always contentious, you don’t want to miss a single episode. You can find them on Twitter, Facebook, and Instagram @Top5forFighting. They have been some of our biggest supporters from last year. Shout out to their Marketing Angel. You know who you are! Subscribe to stay current with the latest releases. Contribute at Patreon for exclusive content. Connect with us over social media to continue the conversation. Here we go! ///// > ///// Hi! Philly Film Fan here with another review for One Movie Punch. You can follow me on Twitter @PhillyFilmFan. Today’s movie is LES MISÉRABLES, the French crime film directed by Ladj Ly and written by Giordano Gederlini, Alexis Manenti, and the director. I was able to catch this at the Philadelphia Film Festival, but it also played Cannes where it shared the Jury Prize with “Bacurau” (another film I saw at PFF). So far, it’s been nominated for a Golden Globe in the Foreign Language category and made the Oscar shortlist for Best International Feature, so more awards could be in its future. No spoilers. Okay, the first thing that you need to know about LES MISÉRABLES is that it is NOT based on the novel by Victor Hugo and it is definitely not a musical. However, the title is an obvious allusion to the famous literary work about the corrosive effects of poverty on society. Hugo’s novel tells the story of a failed revolution in 19th century Paris but Ladj Ly’s film takes its inspiration from the 2005 French riots. Although the film is fictional, it draws its plot from the actual events leading up to the riots: Police, responding to reports of a break-in, came upon a group of black kids who, seeing the police, scatter. Three of these kids took refuge in an electricity substation where two of them were electrocuted, causing a blackout. This incident ignited the already high tensions between the community and the police, sparking the riots. That’s the TL;DR version of what happened but obviously it’s a complicated situation that’s outside the scope of this movie review. LES MISÉRABLES follows Ruiz, played by Damien Bonnard, as he joins the elite Anti-Crime Brigade. Ruiz is teamed up with Chris, a white officer played by Alexis Manenti (also one of the screenwriters), and Gwada, a black officer played by Djibril Zonga. Ruiz isn’t exactly new to being a police officer but he does seem a bit naive about the realities of policing a neighborhood primarily inhabited by African migrants and their descendents. Ruiz has a moral compass and a belief in the fair application of the law. But his principles are immediately called into question as he sees how Chris and Gwada do things. They are jaded veterans and think of the Anti-Crime Brigade more like an army occupying an enemy nation than an institution devoted to upholding law and civil liberties. This might be set in France but any American will recognize the conflict between a black community and the police force assigned to maintain order. Ruiz and the Anti-Crime Brigade are on the hunt for Issa, a black kid played by Issa Perica, who is suspected of committing a rather unusual crime, which I will not spoil. Issa, who is only a child, finds himself desperate and on the run seeking protection from the two pillars of his community. But his situation is complicated by the fact that these pillars are trying to pull the community in opposite directions. The first is Salah, played by Almamy Kanouté, the owner of a kebab shop and a Muslim leader. Salah sees the destructive role that the Anti-Crime Brigade plays in his community and sees protecting Issa as his responsibility. But the other power player is a local gang leader known as “The Mayor”, played by Steve Tientcheu, who has his own reasons for keeping the police at bay. This is a dangerous political situation and Issa finds himself trapped between these powerful forces. LES MISÉRABLES is a gritty crime thriller that unfolds with heart-pounding suspense. Yet, at the same time, it manages to tell the story of a corrupt police force patrolling a neighborhood plagued by poverty and racism. It’s a highly political drama about inequality that’s also a fast-paced action film. It’s a must-see! Rotten Tomatoes: 84% Metacritic: 75 One Movie Punch: 9.0/10 LES MISÉRABLES (2019) is rated R and is currently playing in selecttheaters. But it’s being distributed by Amazon, so I expect that Prime members will be able to stream it soon. This jawn was brought to you by Philly Film Fan. For more movie reviews, follow me on Twitter @PhillyFilmFan where I’m participating in the #366Movies challenge (it’s going to be a big year). That’s P-H-I-L-L-Y-F-I-L-M-F-A-N. Thanks for listening.

This week on the Curzon Film Podcast, we take a close look at war on film, in all its confusing, chaotic and complicated ways. We start with Samuel Maoz's Foxtrot, which stations much of its narrative at a desolate military checkpoint manned by four young soldiers who all try to burn away the hours of boredom that occur between cars arriving for inspection and, every now and then, a lone camel walking by. Meanwhile at home, the parents of one of the boys are devastated by the news of his supposed sudden death, though the circumstances surrounding this take several unexpected twists. We then take turns to pitch the very best war films, not in the English language. War films, particularly those from the US and the UK, tend to be quite similar in their heroics and bombast. So we've compiled a list of the best war films from elsewhere in the world, which each show the different sides of conflict. Thank you to all the listeners who helped us put together this list.This leads us onto the end of war and its lasting impact, as we discuss The Aftermath. Starring Keira Knightley in one of her finest performances yet, the film tells a story of tangled love in post-WWII Berlin.Discussing the films this week are Kelly Powell, Sam Howlett, Steven Ryder and Ella KempFollow the team on Social Media:@ks_powell - Kelly@irma_pep - Steven@efekemp - Ella@SamHowlett_1 - SamProduced by Jake CunninghamEdited by Mark Towers Hosted on Acast. See acast.com/privacy for more information.

Welcome to Palm Springs, California...home of movie stars, snow-capped mountains, palm trees, and the Palm Springs International Film Festival.  In this episode, we're focused on women in film including Ruth Caudeli, a young director from Valencia, Spain whose movie Eva & Candela is breaking down barriers about gender, and who we choose to love.  A surprise visit from co-star Silvia Varón sheds some light on Ruth's innate ability to listen to her cast and to bring out the best in each actor's performance. Cristina Gallego of the movie Birds of Passage shares how it has felt to step into the role of co-director for a film that features strong women and was selected as the Colombian entry for Best Foreign Language film at the upcoming Academy Awards.  Cristina's crime saga has received a score of 91% on Rotten Tomatoes and has been compared to The Godfather and Scarface by movie critics. Finally, with recording equipment in hand, we settle into the offices of Liliana Rodriguez, Director of Programming at the Palm Springs International Film Festival to find out how she turned an early love of horror films into a career that sustains and inspires her every single day.   #palmsprings   @PSFilmFest     #storybehindhersuccess    #16LifeLessons    #mydoveproductions

The 2019 Oscars are on Sunday and no women are in the Best Director category. However, one woman's made it in the Best Foreign Language category. She's Nadine Labaki, the director of Capernaum. She's also the first Lebanese woman ever to be nominated for an Oscar. Capernaum is set in the slums of Beirut and follows a young boy called Zain who sues his parents for giving him life. Staying with the Oscars, this year we have the hashtag #OscarsSoMale. That's because some categories contain no women nominees at all. They are: Best Director, Original Score, Film Editing and Best Picture. Overall women make up just a quarter of this year's nominees across the board. Melody Bridges who presenters a Radio 4 podcast about films joins us to shine a light on some of her favourite women in film history who haven't been nominated, but deserve recognition.Photos of a hundred vulvas. That's what Laura Dodsworth's latest book is all about. It's called Womanhood: The Bare Reality. Laura was last on Woman's Hour talking about a companion book called Manhood: The Bare Reality which included pictures of a hundred penises. Lily and Saschan are also with us in the studio talking about why they agreed to take part in the book.

This week Sean and Steven get gut-punched with some black and white world cinema. First, we review and discuss the newest film from Polish writer/director Pawel Pawlikowski called Cold War. We then go back to his previous film, which won the Oscar for Best Foreign Language film called Ida from 2013. We also take a look back at another Oscar-nominated black and white masterpiece, this one from Michael Haneke, called The White Ribbon. Rate and review us on Apple Podcasts, and enjoy! Email us at celluloidheroespod@gmail.com

All aboard to ride that (Czech New) wave with a look at the Best Foreign Language film of 1967, Closely Watched Trains. This episode, Amy and Steve reveal some sordid histories of theirs, Steve admits to some "funny" feelings during a particular scene and the two discuss how boys and girls' "coming of age" narratives are very different (and awfully skewed towards the former). And who knew a Czech film that takes place during the Nazi occupation could be so damn funny? Plus, Steve cheers the ending that finally does what he wants it do...right? All that and a butchering of Czech names, this week on the podcast. Thank you for listening. Drop us a line at oscarwatchpodcast@gmail.com and find us on social media @oscarwatchpod . Happy New Year!

On this week's episode we discuss Ali Abbasi’s Border. We also discuss the specialty box office, the Independent Spirit Award Nominees, the enduring power of Free Solo, a bloody French heist film and say good-bye to Nicolas Roeg and Bernardo Bertolucci. For our #CedarLee3 picks this week we start our year end wrap up lists with our favorite foreign language films of 2018. Art House News At the specialty box office this weekend, The Favourite came out the big winner with a $93k per screen average.  Netflix continues its resistance to letting anyone know how well its films do in theatres.  Luckily, some enterprising entertainment reporters are sleuthing out some numbers for us. The Independent Spirit Award Nominations are out and feature some of the best independent American films of the year in their top categories.  Keep and eye on the nominees and the eventual winner of the John Cassavetes Award (films made for less than $500,000) as that category has long featured the best in emerging voices on the indie film scene. New Film Border (dir. Ali Abbasi) Click HERE for the trailer. #CedarLee3 Inspired by Ali Abbasi’s Border (a film so good Sweden submitted it for Oscar contention) and since it’s the end of the year, it’s time to take stock of the film year that was 2018.  Our picks for favorite Foreign Language Films of 2018. Cold War (Pawel Pawlikowski), Spoor (Agnieszka Holland), Burning (Lee Chang-dong), Let the Sunshine In (Claire Denis) and Roma (Alfonso Cuarón). Tell us about your favorites @CedarLeeTheatre using #CedarLee3.  

As the weather begins to turn, what better way to spend your evenings (or break up your commute) than listening to the latest Geektown Radio podcast. This week we have all the usual tv news and UK tv premiere date information, plus we have an exclusive interview with the Academy Award-winning composer, Federico Jusid.Originally from Argentina, Federico is best known for scoring the Academy Award-winning Best Foreign Language film, 'The Secret in Their Eyes', for which he won the Best Music award from the Academy of Motion Picture Arts and Sciences of Argentina. He also recently scored the Spanish drama, 'Loving Pablo', starring Javier Bardem and Penelope Cruz. In 2016, Federico was recognized as Composer of the Year by the Spanish Music Critics Association and he won five International Film Music Critics Association (IFMCA) awards for his music on the Spanish historical fiction series, 'Isabel' and 'Carlos, Rey Emperador'. He is currently scoring the new BBC/Netflix animated mini-series adaptation of 'Watership Down'.Recently, Federico completed the emotional and moving score for 'Life Itself' starring Oscar Isaac, Olivia Wilde, Annette Bening, Mandy Patinkin and Antonio Banderas from 'This Is Us' creator Dan Fogelman. The film centres on a couple (Isaac & Wilde) which leads a multigenerational love story spanning both decades and continents, from the streets of New York to the Spanish countryside, and are all connected by a single event. 'Life Itself' comes to US cinemas on September 21, and arrives in the UK in January 2019.Also On This Week's Show:Matt returns to the co-host chair, so we chat about games we've been playing, tv shows and films we've been watching since he was last on.We take a look at all the latest tv & film news, including renewals & cancellations, the state of the DC movie universe, Katherine Langford joining Netflix series 'Cursed', DC TV casting Lois Lane and Aaron Paul's new role on 'Westworld'. We give you our recommendations for upcoming TV in the next 7 days. See acast.com/privacy for privacy and opt-out information.

Our hosts look at the beautiful side of ugly, and the ugliness in the beautiful with a conversation about the 2013 Best Foreign Language film, The Great Beauty. Sure, we all wanted to be artists when we grew up, but would we all end up as insufferable as everyone in this movie? Amy and Steve are split on this one and one is very, very passionate about it! Join us for a trip through the majesty of Rome, the frustrations of age and the sheer absurdity of life...maybe together we can all find something a little beautiful, a little perfect. Now that would make a great book, wouldn't it? Thanks for listening! Send us your thoughts to oscarwatchpodcast@gmail.com and follow us on social media. Next week, we begin 1989 in earnest. Glorious, glorious, passionate earnest...

This week, we look at the harsh morality tale, In A Better World which went home with the Oscar for Best Foreign Language film over some considerable competition. Parents beware, there are children in danger in this one. A prescient film about the nature of violence in society in general and young men in particular, Amy and Steve discuss whole and half measures, and the pulling of punches. Can you have a film like this end on the note it does? Plus, why do non-Hollywood actors look so real? Thanks for listening. Drop us a line with your thoughts at oscarwatchpodcast@gmail.com and find us on social media @oscarwatchpod Next week, for your reconsideration...another surprisingly prescient and relevant film, The Social Network.

The glitz and glamor of Hollywood will gather on March 4 for the 90th Academy Awards . This year’s ceremony boasts several tight races, including for Best Foreign Language Film . Meanwhile, the #MeToo movement , which brought down several prominent Hollywood figures,will likely play a leading role in award speeches and commentary . This year’s five nominees for Best Foreign Language film offer diversity in themes and styles. Three come from Europe, one from the Middle East and one from South America. And the nominees are: A Fantastic Woman - Chile This Chilean film, directed by Sebastián Lelio, tells the story of a transgender woman named Marina who is in a relationship with Orlando, an older man. When Orlando unexpectedly dies, his family and government officials confront Marina with prejudice and hostility. “This seems, perhaps, out of all the films, the most timely, as we think about them the #MeToo movement, as we think about the activists that are pushing for more attention to

Happy Valentine's Day! What better way to celebrate than to discuss the film that is literally called 'love', 2012's Best Foreign Language winner, Amour. A tour de force of the everyday, Michael Haneke's unsentimental look at an aged couple and their struggles is nonetheless an emotional rollercoaster of that dogged specter that stalks us all: getting old. Amy and Steve discuss the impact of the rote and boring, an accurate look at how love REALLY looks, removed from the Hollywood shine. We talk acting, pigeons and how this movie does not get the technical credit it really, really deserves. Is amour, no? Thanks for listening. Write us your thoughts at oscarwatchpodcast@gmail.com and be sure to find us on social media @oscarwatchpod Next week, it's we're All About...someone.

Don’t have time to keep a tab on news throughout the day? CNN News18 brings you the day’s top news and newsmakers in less than 3 minutes! Here are today’s top picks: Sonia Era Ends, My job now is to retire, says sonia gandhi, Sonia Step Down after 19 years as Congress President. Sports In a shocking video, that appeared on tabloid The Sun, ex- Delhi cricketer Sobers Joban, is seen trying to sell details of a session from the ongoing Ashes Test between Australia and England. Also, another person, Priyank Saxena is, bookie, is seen in the video. His father Baljit Singh Joban, who runs a cricket centre in Delhi, has said, “If found guilty, hang my son.” Entertainment Newton, India's official entry in the Best Foreign Language category at the 90th Academy Awards, is out of the Oscars race. The Academy of Motion Picture Arts and Sciences (AMPAAS) has announced that the Amit Masurkar-directed black comedy is not a part of the nine-film line-up which have advanced to the next round of voting. Featuring Rajkummar Rao and Pankaj Tripathi in key roles, the Hindi language film chronicles the foibles of democracy in the jungles of Chhattisgarh. The final nine films are - A Fantastic Woman (Chile), In the Fade (Germany), On Body and Soul (Hungary), Foxtrot (Israel), The Insult (Lebanon), Loveless (Russia), Felicite (Senegal), The Wound (South Africa) and The Square (Sweden). No Indian film has ever won an Oscar and the last Indian film that made it to the final five in the Best Foreign Film category list was Ashutosh Gowariker's "Lagaan" in 2001. Tech Being the only provider of all three cloud platforms – private, public and hybrid – Microsoft has now launched Azure Stack for India. Azure Stack is an extension of Microsoft’s Azure cloud platform enabling entirely new hybrid cloud scenarios. All the major Azure Stack partners HP, Dell, EMC, Lenovo and Cisco, have already started shipping Azure Stack to customers in India.

Description: The Lives of the Others (Das Leben Der Anderen) is a 2006 German Language Movie set in the 1980’s. This movie shows the surveillance culture of the East German Stasi and how people lived under this oppressive regime. We are joined today by Travis Dow. This is part 1 of a 2 part conversation. You can learn more about Beyond the Big Screen and subscribe at all these great places:http://atozhistorypage.com/email: steve@atozhistorypage.comhttp://rss.acast.com/beyondthebigscreenAgora: www.agorapodcastnetwork.comhttps://www.patreon.com/papacyOn Social Media: https://www.facebook.com/Beyondthebigscreen/https://twitter.com/BigScreenBeyondLearn More About our Guest:Travis Dow of The History of German, The History of Alchemy, The Secret Cabinet, Africa: A History, Americana Fur Euch, Bohemican and more!www.podcastnik.com Music Provided by:"Crossing the Chasm" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/ Today we're talking about the movie The Lives of the others from 2006. It's a German movie and it's German name as Das Leben Der Anderen and we are joined by Travis Dow. Travis is really the podcasting man of all seasons. He is the host of countless podcasts including but not limited to the history of Germany. The history of alchemy Bohemican can the history of Africa and the German language podcast Americana for Euch is how you might say no. That's right yeah. And did I catch all of them Travis. I think so. Who's counting. Yeah. Travis thank you so much for being on. I thought this movie is perfect for you. I really felt like even watching this movie I was like Travis is the perfect guy for this movie yeah. And this is a movie that gripped me like I. Yeah definitely. Very interesting movie and I grew up in Germany and lived in Prague. And this movie was kind of like you know I and I moved to Prague for the curiosity of like living on the other side you know the life of the others to see what that was like and how the city is changing and all that. And you know what are they doing now. Czech Republic a new country and this type of movie just feeds into my curiosity of you know how it was and I eat it up for sure. Yeah. This movie is was released in 2009 but it's set in the East Germany of the mid 1980s really at the tail end of the Cold War just a few years before the fall of the Berlin Wall and as we usually do we're going to use this movie as a way to get into a deeper conversation about East Germany and the Eastern Bloc countries as well as how countries how these countries progressed after the fall of the Berlin Wall which was a critical element of this movie The Lives of the others. To some production details about the movie the director and writer was Florian Henckel von Donnersmarck. It's a German language film but it is available with English subtitles. It got a really high. Rotten Tomatoes of 93 percent. And I met a critic of 89 percent which I think is the highest of any movie we've done so far. It was filmed throughout Berlin which we will talk quite a bit about it as a runtime of 137 minutes. It was the 2006 winner of the Academy Award for Best Foreign Language film and it won just a pile of German and European awards. On top... See acast.com/privacy for privacy and opt-out information.

We welcome online film writer Manish Mathur (https://twitter.com/TheManish89) to discuss one of Bollywood’s most polarizing performers, Katrina Kaif. Show Notes: Newton (https://en.wikipedia.org/wiki/Newton_(film)) is India’s submission for the Best Foreign Language film at this year’s Academy Awards Our episode on the India Film Festival of Alberta (https://audioboom.com/posts/6120218-supplemental-episode-2-bifl-at-india-film-festival-of-alberta-2017?t=0), which includes our discussion of Newton India’s past submissions (https://en.wikipedia.org/wiki/List_of_Indian_submissions_for_the_Academy_Award_for_Best_Foreign_Language_Film) Court (https://en.wikipedia.org/wiki/Court_(film))was 2015’s submission, Matt was right, 2016’s submission was the Tamil film Visaranai (https://en.wikipedia.org/wiki/Visaranai) Lipstick Under My Burkha now most watched Hindi movie on Amazon Prime (http://www.livemint.com/Consumer/UvY5AEsRzQWeDEC3anVkeL/Lipstick-Under-My-Burkha-now-most-watched-Hindi-movie-on-A.html) Talk Film Society (http://www.talkfilmsociety.com/), Manish’s articles (http://www.talkfilmsociety.com/articles/?author=589c9698f5e2314b23168160#show-archive) 10 Essential Films from Indian Cinema (http://www.talkfilmsociety.com/articles/10-essential-films-from-indian-cinema) Katrina Kaif (https://en.wikipedia.org/wiki/Katrina_Kaif) Her accent and the obligatory diegetic explanation Colourism, lack of interesting or challenging roles, and the rapid fire on KWK Boom (https://en.wikipedia.org/wiki/Boom_(film)), Maine Pyaar Kyun Kiya? (https://en.wikipedia.org/wiki/Maine_Pyaar_Kyun_Kiya%3F), and Namastey London (https://en.wikipedia.org/wiki/Namastey_London) Comedy chops Reverse She’s All That Jab Tak Hai Jaan (https://en.wikipedia.org/wiki/Jab_Tak_Hai_Jaan) Katrina Kaif’s Instagram (https://www.instagram.com/katrinakaif/) “Ishq Shava (https://youtu.be/iEJPDYrLtsI )” and “Sheila Ki Jawani (https://youtu.be/ZTmF2v59CtI)” (INTERVAL (“Dhunki (https://youtu.be/WG6qKDoidmg)” from Mere Brother Ki Dulhan) Mere Brother Ki Dulhan (https://en.wikipedia.org/wiki/Mere_Brother_Ki_Dulhan) Wild Katrina “Madhubala (https://youtu.be/8ZPhtWRtntU)” Screwball comedy (https://en.wikipedia.org/wiki/Screwball_comedy_film) American rom-coms versus Hindi rom-coms Imran Khan (https://en.wikipedia.org/wiki/Imran_Khan_(Indian_actor)) “Mere Brother Ki Dulhan (https://youtu.be/vZ0JF7-d3Lo)” Avoiding the manic pixie dream girl trap (https://en.wikipedia.org/wiki/Manic_Pixie_Dream_Girl) Ali Zafar (https://en.wikipedia.org/wiki/Ali_Zafar) Fitoor (https://en.wikipedia.org/wiki/Fitoor) Why did Matt make us watch this movie? Amit Trivedi’s music Great Expectations (https://en.wikipedia.org/wiki/Great_Expectations) Kaif’s red hair (http://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/Revealed-The-reason-behind-Katrina-and-Tabus-Rs-55-lakh-red-hair/articleshow/50848216.cms) Miss Havisham is a bitch Kashmir (https://en.wikipedia.org/wiki/Kashmir) Why did Kaif’s agent let her do this film? An eight-year-old’s great love affair Stop trying to make snow romantic Lack of cultural or political relevance “Pashmina (https://youtu.be/uxTXp0-iZrY)” NEXT TIME: Asim Burney (https://twitter.com/asimburney) of Upodcast (https://twitter.com/upodcast) joins us to discuss Judwaa and Judwaa 2 Bollywood is For Lovers is a member of the Alberta Podcast Network powered by ATB Financial (http://www.atb.com/listen/Pages/default.aspx) Check out ATB’s Man Vans here: http://www.atb.com/community/social-responsibility/Pages/man-van.aspx Listen to For Kicks (https://forkickspodcast.com/) Find us on (https://itunes.apple.com/ca/podcast/bollywood-is-for-lovers/id1036988030?mt=2)! and Stitcher (http://www.stitcher.com/podcast/bollywood-is-for-lovers)! and iHeartRadio (https://www.iheart.com/podcast/270-Bollywood-is-For-Lovers-28344928/)! and Spotify (https://open.spotify.com/show/1m38Hxx8ZFxTJzadsVk5U3)! Follow us on Twitter! (https://twitter....

节目组：The Screen Age 荧屏时代 节目名称：Pans LabyrinthM: Hello dear audience! Welcome to the Screen Age again! I'm your old friend Mico. I'm happy to have a new friend here today!C: Hello guys! I'm Christine. Feeling so excited to spend time with you!M: Christine, what do you think the difference between magical stories and fairy tales is?C: Well, I think, fairy tales are mostly for children. They are pure, hopeful, and easy to understand. But magical stories always mean much more than they present on the surface.M: What you said is exactly what I think. I want to share this magical movie today, Pans Labyrinth.C: Cool! Can't wait to start! F:Including the Spain, the majority of southern European countries were still affected by Franco fascist dictatorship in the late of the Second World War. The Spanish army was still searching and killing the communists and democrats. A twelve- year- old girl, Ofelia lost her father in the war. She and her mother who was pregnant had to converge with her stepfather in the north.L: Actually ,the stepfather, Vinda was a cruel fascist officer. He only wanted to monitor the birth of his son instead of enjoying the happiness of his family. On the way to find her stepfather, Ofelia met a little elf which was like a by accident. The elves followed her to the Vinda's headquarters. F:With her own eyes, she witnessed her cruel stepfather and his henchmen had taken pleasure in doing evil every day. Her mother was sick in bed. Suffering the pain of loneliness, she began to imagine to comfort herself. Only coming into the magic world, she could escape from the reality of the helpless.L: The Dnaliens fahoum told her that she was the lost princess in the underground kingdom. To return to her kingdom, she had to accept three challenges in the maze. He gave Ofelia a book and let her do it alone as the book said . However, the accident occurred in the final test. In order to protect her younger brother, Ofelia was dead in her wonderful magic world with smiling in the end. B: First, I should to relieved my excited emotion—— I stand on my knees, lower my head, keeping my chest slightly inward, clench my fist, then suddenly stand up “Oh, my god! It's so miraculous! The yearning in slaughter and bloodiness can actually show by this way.”C: In view of my preference to Floral Fantasy style. When I heard the name of this movie, I can't stop my mouth-watering. What is Pan? Don't need to tell, everyone knows that. For his love, he became a merman. Later called him Capricornus. I'm a Capricorn!B: It can bring you pain and sadness, scariness and happiness. I never expected that the director would use these materials to support this theme. Deep and clear, true but mew. He used amazing black accordatura to combine magic and reality world.M: Latin American magic realism of the image product, audio-visual language polished like a maze; devoid of human violence out of the maze, brave good ideal fell on the road, the former death is a one-way ticket, the latter death is field death cycle.B:This film got three nomination of The 79th Oscar Awards in 2007—— The Best Original Screenplay, The Best Foreign Language, The best Original Soundtrack. Except the Oscar Awards, it also obtained The Golden Palm Award of the 59th Cannes Film Festival in 2006. L:The leader actress of this film is Ivana Baquero. She was a Spanish star. She was starred at the age of ten. She participated the audition of Pans Labyrinth in 2006. She leaned on her reaction and wise acting. For more than 3 months' audition process., she in talent showed herself.B: Because of the rolled she played in Pans Labyrinth, she won the prize of the Best Leading Actress in the Goya Awards. Goya Award is a Spanish film award which is just like the Academy Award in the world. She had become the youngest winner of this prize in history. She is a beautiful and acting actress.L:Sergi López who is the leader actor of this film is a famous Spanish star. Depending on his marvelous acting, he created a cruel character of an officer. He won the nomination for best actor in the Goya Award and Saturn Awards. C: That's all for today's program. Do you get refreshed after the minor vacation? Wish you have an energetic week~F: In addition, it is so lovely for Christine's participation. C: 最后，感谢制作张安康！See you next week~F:Bye! 结束曲 I Will Return 节目监制：刘逸超编辑：毕鑫屹 郭思婷 邹佳琳播音：杨旸（M）赛碧乐（F）毕鑫屹（B）郭思婷（C）邹佳琳（L）制作：张安康

For Episode 61, myself, Michael Schwartz and Will Mavity discuss the 2017 Gotham Nominations, preliminary SAG thoughts, the Best Foreign Language and Sound categories and we also answer a ton of fan questions. Check out more on NextBestPicture.com Please subscribe on... SoundCloud - @nextbestpicturepodcast iTunes Podcasts - itunes.apple.com/us/podcast/negs-…d1087678387?mt=2

On this Episode, I Review the upcoming Aussie film Jasper Jones, Matt Damon fighting giant lizard creatures in The Great Wall, Best Picture Nominees Manchester By The Sea, Moonlight and Fences, as well as Australia's entry for Best Foreign Language film, Tanna. *Sorry i didn't post this before the Oscars. Will Discuss next Episode

Director Asghar Farhadi discusses his new film, The Salesman, with fellow director Victoria Hochberg. The film follows a young couple as they rent a new apartment from a fellow performer in a local production of Death of a Salesman, unaware that the previous tenant allegedly pursued a career in prostitution. The film was nominated for an Academy Award for Best Foreign Language film of 2017.

This week on the InSession Film Podcast: Extra Film segment, we discuss the small indie The Meddler, starring Susan Sarandon and Rose Byrne. In the second half of the show, we review the French/Turkish film, Mustang, which was nominated for Best Foreign Language film at this year's Oscars.   - The Meddler review (6:44)   - Mustang review (35:24)   Thanks for listening and be sure to subscribe on iTunes, Jabbercast, Stitcher, Soundcloud or TuneIn Radio!   iTunes: https://itunes.apple.com/us/podcast/insession-film-podcast/id605634337   Jabbercast: https://insessionfilm.jabbercast.com   Stitcher: http://www.stitcher.com/podcast/insession-film   Soundcloud: https://soundcloud.com/insession-film   TuneIn Radio: http://tunein.com/radio/The-InSession-Film-Podcast-p522717/   Listen Now: http://insessionfilm.com/insession-film-podcasts-listen-now/

Freshly returned from the Cannes Film Festival, Alison joins Matt to review the highlights and lowlights of the fest. Plus, a review of MUSTANG, last year's Oscar nominee for Best Foreign Language film, and more. Learn more about your ad choices. Visit megaphone.fm/adchoices

What’s with superheroes these days? First Batman and Superman had a tiff, now Captain America and Iron Man are having words. Alan & Chris discuss “Captain America: Civil War” as well as the most recent Oscar winner for Best Foreign Language film “Son of Saul”. Rounding out the episode are some movie news items worth noting and recommendations for films you might have missed or want to revisit. Reviews of: “Captain America: Civil War”, “Son of Saul” Recommendations: “Trumbo”, “Young Frankenstein”  

This week on The Cinemaniacs, Walt, Jeff, and Lisa review M. Night Shyamalan's The Happening and Best Foreign Language film nominee (should have won) Mongol [...] The post Cinemaniacs Episode 37 appeared first on Cinemaniacs Movie Podcast.