Podcasts about bong joon ho's parasite

On this Spooky episode of the Criterion CULT Film Podcast we check out the stand out film from 2019 Bong Joon-Ho's Parasite. After we talk about Takashi Miike's '99 film Audition. Where a lonely widower holds audition not only for his friends new project but also for a new wife.  

After three years of dipping into the Best Picture Winner archives it's finally time to cover a film that has won the award during the life of the podcast! Not only that but it is also our first coverage of a foreign language film! We gather around the living room today to discuss Bong Joon Ho's PARASITE! There will be no hiding in basements or under tables, we uncover everything there is to discuss about this South Korean gem of a film. We delve into Bong's filmography and everything that went into this career defining Oscar winner. Joey R, Jay Dowski and Artie B join this thematically laced convo that you are not going to want to miss. If You haven't see Parasite yet check it out first! You won't regret it! Check out our Best Picture Merch: https://best-picture-cast.creator-spring.com/ Follow us on Social Media, Twitter, Facebook, Instagram, Letterboxd: @bestpicturecast Email us bestpicturepodcast@yahoo.com Follow The Co Hosts on Twitter: Artie B: @heyyyitssme Jay Dowski: @JayDowski Joey R: @joey0314 Grant's Art on Instagram: @exit28studios Chris G's Art on Instagram: @popvultureart

We love trashy movies here at Video Monsters. You might even say we're connoisseurs of it. But we do occasionally like to *ahem* cross the line into more prestigious territory. And, well, it doesn't get any more prestigious than Bong Joon-Ho's PARASITE. In 2019, it won the Palme d'Or and went on to become the first non-English language Best Picture winner in the history of the Academy Awards (and, shockingly, the only South Korean film to EVER win an Oscar… or four). It is currently the highest-rated feature film on Letterboxd. It was just recently included in Sight and Sound's once-a-decade Greatest Films of All Time poll. At this point, is there really anything left to say about a movie that is so universally beloved and was instantly embraced as a canonical classic? Maybe! Nathan, Dan, and Eric will attempt to leave no scholar stone unturned in our analysis. So crack a window, whip up some ram-don, and make a plan to hit play because we're paying you extra to listen to our review of PARASITE. If you enjoy this episode, come join the Video Monsters crew on Discord (https://discord.gg/sjyUQg8phB)!! Hangout episodes are live (and unedited!) every Tuesday night starting around 9:30pm EST. Listen and chat along with us in the Discord chat and we'll even give you a shoutout on the episode! Video Monsters is brought to you by the Chattanooga Film Festival and Central Cinema in Knoxville, TN. Follow them on Facebook, Twitter, and Instagram, or online at chattfilmfest.org and centralcinema865.com. Links for each of these can also be found on our pages, so be sure to follow us at videomonsterpod on Facebook, Twitter, and Instagram as well. music for Video Monsters by Evan Simmons outro theme by Robert Woods

Jamie, Jimmy and Bob try their best to have class during a discussion of the script to Bong Joon Ho's PARASITE.

In this very special episode, Dhruv welcomes Filmstagrammer Devi, the voice behind the incredible page "film.trance," to discuss three of their favorite films that cleverly ride the line between art-house and mainstream cinema. Especially focusing on Bong-Joon Ho's "Parasite," they both gush about the meticulous construction of these films that help them dissect class division through their narratives vs. preachy expositions. Do listen to the full episode for a spoiler-filled discussion about "Parasite," "Knives Out," & "Us." We especially go into detail about their similar/different treatment of this central theme of the irreconcilable division between the classes! Time Codes: Introduction & "Eat the Rich" Narratives - [00:00 - 15:58] Bong-Joon Ho's "Parasite" - [15:59 - 57:29] Rian Johnson's "Knives Out" - [57:30 - 01:27:30] Jordan Peele's "US" - [01:27:30 - 01:57:30] Outro - [01:57:30 - 02:00:00] Follow our Instagram page: https://instagram.com/queenisdead.filmpodcast. You can also follow Devi's Instagram handle: https://www.instagram.com/film.trance. Do hit 'Follow' on Spotify if you haven't already to help the podcast reach more people! Follow on Letterboxd at: Dhruv: https://letterboxd.com/aterminalcinema/ --- Support this podcast: https://anchor.fm/queenisdead/support

Is Parasite a scary film? In this episode, we chat about how Bong Joon-Ho's Parasite is so terrifying, despite having no major jump-scares or traditional horror characteristics. After Jordan Peele month, we also compare Parasite with Get Out and discuss the similarities and differences of both films.Let us know what you think and chat with us on Twitter: https://twitter.com/WTF_WithUsCheck out our YouTube channel for extended conversations and outtakes: https://www.youtube.com/channel/UC1O6GFhumzrq8qNBYZuF_1QTheme Music Credit: Ultra Lights by Stefan Kartenberg (c) copyright 2020 Licensed under a Creative Commons Attribution Noncommercial  (3.0) license. http://dig.ccmixter.org/files/JeffSpeed68/61225 Ft: Javolenus

In 2019, a South Korean drama, directed by one of the country's most prestigious filmmakers, explored the strange relationships oppressive economic systems can facilitate. That movie ended up taking the world by storm, becoming one the most universally acclaimed films in years. Jonathan Divine and Mike Overstreet return to see if it's still just as funny, biting, and thought provoking as when it was released: it's Bong Joon-Ho's Parasite.

Drive My Car is a special movie. It's Japan's most Oscar-nominated film ever—and its first to be up for Best Picture. It enters the final weeks of awards season as the first non-English-language film to be picked at Best Picture by all three major American critics groups (including the New York Film Critics Circle, for whom one David Sims tallied the results). And its Oscar run comes at a time of tentative hope for the future of international film. Drive My Car won Best Foreign Language Film at the Golden Globes, an award whose last two winners were Lee Isaac Chung's Minari and Bong Joon Ho's Parasite. Minari's nomination was controversial as a film set in Arkansas that deals with very American experiences around immigration and isolation. In both English and Korean though, Minari was put in the “foreign language” category. Reflecting on that recent history then, should Drive My Car's success offer some hope for international film? After Parasite's 2019 Golden Globe win, director Bong Joon Ho urged viewers to “overcome the one-inch-tall barrier of subtitles.” Are audiences closer than ever to that goal? The language of Drive My Car isn't just remarkable for its domestic success too: Based on a story by Haruki Murakami and directed Ryusuke Hamaguchi, the film is also a deeply moving examination of language itself.  David Sims, Shirley Li, and Lenika Cruz came together to unpack the film, its message about how we communicate with one another, and why it resonated as widely as it has. They also discuss their love for Murakami, despite his gendered flaws and storytelling crutches. (“And then the phone rang and it was a secret agent!”) Further reading: An Electrifying Adaptation of Murakami's Drive My Car Drive My Car Pushes the Limit of Language How Haruki Murakami's Translators Shaped His Early Novels Learn more about your ad choices. Visit megaphone.fm/adchoices

Gotham in DeclineThose of us who grew up in New York City in the 1980s have troubling memories of a grimy, graffiti-ridden urban landscape where danger was a part of everyday life and you could not walk the streets without anticipating the possibility of becoming a victim of harassment or worse.The election of Rudolph Giuliani in the 1993 mayoral race drew howls of outrage from the left, but under Giuliani, and his police commissioner William Bratton, the city at last began to make steps to becoming slightly more civilized and habitable. The tough approach continued under Michael Bloomberg, but it came to an abrupt end under Bill de Blasio, who rejected tough policing as unfair to minorities in New York. De Blasio did not seem to understand or care that while crime and disorder affected almost everyone, those who benefited most from a decline in the homicide rate were precisely the city's racial minorities.Now, at the end of De Blasio's awful tenure, incidents happen every day that cannot fail to summon memories of the 1980s.Germany's Man of the HourThe Economist of December 11-17 features a profile of Germany's new chancellor, Olaf Scholz. The article, “Enter the Quiet Man,” presents Scholz as a moderate pragmatist with a strong work ethic. According to the article, some of Scholz's fellow Social Democrats find him a bit too moderate, far from the politician who would be needed to spearhead a reenergized European left.Or at least that was the case until the Covid pandemic came along, the article tells us. On North Korea Another article in The Economist, Sunflower state ,” presents the findings of researchers from the Database Center for North Korean Human Rights, an organization based in Seoul. With neither the freedom to choose between a vocation and spending time with family, nor the competitive salaries that they might be earning in western countries, men in North Korea may come to feel something the class-tinged resentment that finally turns one of the protagonists of Bong Joon-Ho's Parasite homicidal. But overthrowing a totalitarian regime by force from the inside is arguably an even more doomed proposition than acting out a revenge fantasy against a callous and snooty upper-class family.On Joan DidionThe website Book and Film Globe, edited by Neal Pollack, features my thoughts on the passing of Joan Didion, the pioneering and prolific essayist, memoirist, critic, and novelist who showed us all how porous the borders between fiction and nonfiction narrative really are. To read Didion is to see that there is no reason an account of a trip to El Salvador, a Doors rehearsal, a Bay Area courtroom during a trial of Black Panthers accused of murder, or a stint in New York City during a tender and impressionable time of life cannot have all the passion, drive, and power of riveting fiction. Since Didion's passing on Thursday, December 23, tributes have come pouring in from critics, journalists, editors, and publishers all over the world, and I tried in my Book and Film Globe piece to convey at least some sense of why readers are so passionate about the late celebrity.

In this episode, Tyler discusses Bong Joon Ho's PARASITE and Robert Altman's GOSFORD PARK. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this episode, Leo and Randy discuss Bong Joon-ho's 2019 film Parasite. As usual, our blanket spoiler warning applies. Support us on Patreon! Join our Discord! Reach out to us @WhatAGoodPod on Twitter or depthperceptionpodcast@gmail.com

New episode! For our 50th episode spectacular, we decided to start a new series on the podcast which is to do a look back on every best picture winner! Starting with Bong Joon-Ho's Parasite. Should this movie have received all of the hype that is got, or is it not as good as people like to say? Find out our thoughts on all podcast platforms and on YouTube! Thanks for listening! Feel free to contact us at any of the below locations. Anchor.fm/thosefilmnerds Thosefilmnerds.weebly.com Email: thosefilmnerds@gmail.com Instagram: thosefilmnerds Will’s Letterboxd: willspalding Sam’s Letterboxd: sjdierberger --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

An Oscars unlike any before will get underway today, with history on the line in major categories and a telecast retooled for the Covid-19 pandemic.Here's everything you need to know about this year's ceremony.When to watchThe 93rd Academy Awards will begin at 12pm NZ time today. Live red carpet coverage will begin from 10.30am.Where to watchThanks to the Mondayised public holiday, you get to watch the Oscars live from your sofa. TVNZ 2 will begin broadcasting the red carpet live from 10.30am and the ceremony from 12pm. You can also watch it via TVNZ On Demand.How it will all unfoldThere will be no host, no audience, nor face masks for nominees attending the ceremony at Los Angeles' Union Station — this year's hub for a show usually broadcast from the Dolby Theatre.In contrast with the largely virtual Golden Globes, Zoom boxes have been closed out — though numerous international hubs and satellite feeds will connect nominees unable to travel.There will once again be a live audience but only 170 attendees will be permitted inside the station at any one time, and they will be rotated in and out during commercial breaks.Show producers are hoping to return some of the traditional glamour to the Oscars, even in a pandemic year. The red carpet is back, though not the throngs; only a handful of media outlets will be allowed on site.There will be no sweatpants allowed and actors will have to be out in their best frocks. "Formal is totally cool if you want to go there, but casual is really not," organisers said in a leaked email.The pre-show will include pre-taped performances of the five Oscar-nominated songs.The ceremony will look 'more like a movie'Pulling the musical interludes (though not the in memoriam segment) from the three-hour broadcast — and drastically cutting down the time it will take winners to reach the podium — will free up a lot of time in the ceremony. And producers, led by filmmaker Steven Soderbergh, are promising a reinvented telecast.The Oscars will look more like a movie, Soderbergh has said. The show will be shot in 24 frames-per-second (as opposed to 30), appear more widescreen and the presenters — including Brad Pitt, Halle Berry, Reese Witherspoon, Harrison Ford, Rita Moreno and Zendaya — are considered "cast members".The telecast's first 90 seconds, Soderbergh has claimed, will "announce our intention immediately".But even a great show may not be enough to save the Oscars from an expected ratings slide. Award show ratings have cratered during the pandemic, and this year's nominees — many of them smaller, lower-budget dramas — won't come close to the drawing power of past Oscar heavyweights like Titanic or Black Panther.Last year's Oscars, when Bong Joon Ho's Parasite became the first non-English language film to win best picture, was watched by 23.6 million, an all-time low.This combination photo shows poster art for best picture Oscar nominees, top row from left, "The Father," "Judas and the Black Messiah," "Mank," "Minari," bottom row from left, "Nomadland," "Promising Young Woman," Sound of Metal," and The Trial of the Chicago 7." Photo / APSmall screen movies make it big in pandemic timeNetflix dominated this year with 36 nominations, including the lead-nominee Mank, David Fincher's black-and-white drama about Citizen Kane co-writer Herman J Mankiewicz. The streaming service is still pursuing its first best-picture win; this year, its best shot may be Aaron Sorkin's The Trial of the Chicago 7.But the night's top prize, best picture, is widely expected to go to Chloé Zhao's Nomadland, a contemplative character study about an itinerant woman (Frances McDormand) in the American West. Should it be victorious, it will be one of the lowest budget best-picture winners ever. Zhao's film, populated by non-professional actors, was made for less than $5 million. (Her next film, Marvel's Eternals, has a budget of at least $200m.)Zhao is also the frontrunner for best director, a categ...

In film and television, the East is portrayed as a land of stereotype and trope; a detached perspective and portrayal of the identity and nuance of the Asian culture. Ever since Bong-Joon Ho's Parasite, Lulu Wang's The Farewell and more recently, Lee Issac Chung's Minari; it becomes clear of the challenging dynamic of Asian representation and identity in cinema and the multi-faceted narratives artists develop and write. Why do the pre-conceived notions of ethnicity define the perspective and understanding of a character within a narrative? In this week's episode, Raf and Rod are joined by a local Toronto filmmaker and a friend of the Pod, Oscar Lao. The three dive deep into their own relationships and perspectives of Asian identity and representation and how their own experiences have shaped their understanding of the films and narratives they chase today. In addition, Raf gets vindicated about his theory on Godzilla and Kong, gets blasted by Rod (1 word letterboxd reviews, right?) and we give our thoughts on the hottest Twitter trend – turned A24 Feature.  Preshow:Netflix's Grip on the Streaming worldhttps://www.thewrap.com/netflix-streaming-us-market-share-chart/Godzilla vs. Konghttps://deadline.com/2021/04/godzilla-vs-kong-hbo-max-viewers-weekend-box-office-1234727926/Zolahttps://www.youtube.com/watch?v=24KbaKlCDDI---Film ClubLike Father Like Sonhttps://www.imdb.com/title/tt2331143/

Our final regular episode of the series (until the 2020 Oscars) is quite a doozie. In one corner, we have Avengers Endgame, the highest grossing film of all time. The thrilling conclusion to Phase 3 of the MCU brings together twelve years of Marvel. Meanwhile, the Oscars broke new ground this year when they awarded Bong Joon Ho's Parasite with Best Picture. This made it the first International film in a foreign language to win Best Picture. Which movie will take the win? Will the People or the Oscars win out in the end? Listen to find out!

What do an academy award winning South Korean drama and a 90s Ice-T action thriller have in common? That's the question we address this month with the hosts of the Brothers from Another Planet podcast Lemar McLean, Tarik Davis, and Don P. Hooper. You read that right. This month we have not one, not two, but three guests! This month we address how both Ernest Dickerson's Surviving the Game and Bong Joon Ho's Parasite are stories of how for those without money, capitalism may truly be The Most Dangerous Game, one rigged to be unwinnable. And we consider the question: "Are rich people the Most Dangerous Parasite?" Don P. Hooper is a writer and filmmaker of Jamaican heritage. He was a staff writer for the 2017-2020 Writers Guild of America East Awards and his directing work has been selected and featured in the NYC Horror Film Festival, The New Jersey Horror Con and Film Festival (award winner), Martha's Vineyard AA Film Festival, and more. His poetry has been featured in Unión de Periodistas, the “Ransack” chapbook and the “Jerk Apricots and Chains” chapbook. He does voice-over in video games and documentaries. He proudly reps Brooklyn, all day, every day. Tarik Davis is an actor/writer/avid pop culture consumer based in Brooklyn, NY. Past experience includes performing for Upright Citizens Brigade in New York, Boom Chicago in Amsterdam and The Second City in Chicago. Tarik wrote and stars in Page One, a short horror film that was featured in the Art of Brooklyn Film Festival and the Martha's Vineyard African American Film Festival. Tarik is a regular performer at The Pit with Comedy People's Time and The Baldwins and at UCB Hell's Kitchen with Baby Wants Candy. Tarik joined Freestyle Love Supreme in July 2019 at the Kennedy Center in D.C. and made his Broadway debut with FLS at the Booth Theater in December 2019. You can also catch Tarik as a main cast member in the Netflix series The Iliza Shlesinger Sketch Show and as the on camera announcer for The Amber Ruffin Show on Peacock and on the weekly podcast, Brothers From Another Planet. LeMar McLean produces the podcasts Brothers From Another Planet and The Taped Off TV Podcast. Since producing the web series Breakfast in Bed and the short film Page One, he's focused on screenwriting in the social justice horror/thriller space. Listen to Brothers from Another Planet! Learn more about Lemar! Learn more about Tarik! Learn more about Don! Parasite on Rotten Tomatoes Surviving the Game on Rotten Tomatoes Ebert.com on Parasite Roger Ebert and Gene Siskel on Surviving the Game Janet Maslin on Surviving the Game Vulture Interview with Bong Joon Ho Shawn Setaro Interview with Ernest Dickerson on The Cipher All music in the episode is by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/3788-funkorama License: http://creativecommons.org/licenses/by/4.0/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/thecelluloidmirror/message

Does Alan Smith make his own sandwiches? Join the Analysts for two gameweeks' worth of matches covering topics from Norwich's relegation to Martin Tyler's take on how much barbers earn. With CAS ruling that Manchester City will be able to play in next season's Champions League, how does this affect the battle for the remaining spots, and can Bong Joon-Ho's Parasite tell us anything about Financial Fair Play?

We're gonna deep dive into Bong Joon-Ho's Parasite and check out four story elements that helped it stand out from its competition. Episode Overview: 1. Finding the Perfect Ending 2. Building Sympathy 3. The Story Circle 4. Existentialism in Dialogue

Beware, there's spoilers ahead!Bong Joon Ho's PARASITE is the film that keeps on giving. To complement our deep dive into the #BongHive, we have a very special bonus episode featuring Shaun of the Dead, Hot Fuzz and Baby Driver's Edgar Wright in conversation with the Academy Award-winning Director Bong.This Q&A was recorded at Curzon Bloomsbury, before the PARASITE mania hit UK shores. Since recording, the film has made history by winning multiple awards breaking multiple box office records. The PARASITE isn't finished with us yet! Tune in for two friends, peers and fans discussing the most exciting film in cinemas now.PARASITE is playing in cinemas around the country. We strongly recommend watching the film before you listen to this podcast. If you haven't done already, check out our deep dive PARASITE special, featuring more from Bong Joon Ho, his friend and collaborator Tilda Swinton, the founders of the #BongHive and much more. Hosted on Acast. See acast.com/privacy for more information.

Fresh off its historic award for Best Picture at the Academy Awards, we discuss Bong Joon-Ho's PARASITE, the powerfully affecting and remarkably crafted story of class, social dynamics, ambition, and -- most of all -- pretending. We explore as much as we can of this complex and compelling film (and still only barely scratch the surface). The conversation itself was recorded before the groundbreaking awards at the Oscars, but we're sure to give the film as much RESPECT! as we can possibly shower upon it. We hope you've seen it (please do if you haven't) and we hope you enjoy our discussion about it.0:00 - A Special Post-Oscars Introduction8:04 - Introductions and Announcements13:51 - 20/20/2020 Request19:21 - Whatcha Watchin' / Readin' / Listenin' To42:23 - PARASITE

In this episode, Rich and Natasha dissect this year's Academy Awards, especially the historic Best Picture win for Bong Joon-HO's PARASITE. [click for more] The post Big Picture Podcast: 2020 Academy Awards Wrap-Up first appeared on FilmBuffOnline.

The Patented Non-Comprehensive Review© of @ParasiteMovie on The Real Butter™ Buttercast

Critic Ryan Holt returns to the show to help Kevin explore the bonkers plot of Parasite and Wade sits down with Wired senior writer Brian Raftery

Jessica from Chicago is gonna be pissed when she finds out about this! Oh, and check out the latest from Bong (Snowpiercer, Mother - no not that one the other one, Okja and The Host) Joon-Ho that asks the age old question: What happens when you can't quite get that smell out of your clothes when you go to work? wagesofcinema@gmail.com

Brett and Adam kick off the Oscar season by predicting the nominees for Best Sound Editing, Sound Mixing, and Visual Effects. Then they talk about HBO's excellent slate of shows including “Watchmen” and “Succession”, their documentary “Diego Maradona”, and Bong Joon-Ho's “Parasite.”

Hey there! We are your imaginary friends bringing you a non-imaginary episode full of laughing and crying. We have the news about Batman casting (Zoe Kravitz as Catwoman!), Netflix leasing theatres to show its movies in so they can make an Oscar run, and John Cho injured his knee on the set of Cowboy Bebop. Recently, Taika Waititi's Jojo Rabbit was released making it our Recent Review, recently. We caught that sucker and interrogated it to the full extent of movie critic law. Find out if it passed or was executed by firing squad. Even rabbits aren't safe from us. We missed a week so our would-be Recent Review for our failed episode, Bong Joon Ho's Parasite is our Try This for Try This, Not That. We so wanted to dive into this with you. We have failed you. We won't let it happen again. Please don't hurt us. Our long-winded Topic Discussion is about more seasoned director folk taking a huge cookie all over people's hopes and dreams. Stop it, old people. Let us Millenials ruin our lives in peace. Our Geriatric Cinematic is Top Secret! No really. We're telling you. It's Top Secret! That's the title. None of that "Who's On First" stuff. We had some fun with this one. We always do but this one in particular aged like fine wine. Or cheese. Or things that age well. Be sure to follow us on Twitter (@TheReelAppeal), Facebook, Instagram, and you can contact the show at TheReelAppeal@gmail.com. Don't forget to rate our show on iTunes! News - 2:20 Jojo Rabbit - 19:27 Spoilers - 29:26 Try This, Not That - 59:50 Topic Discussion: Scorsese and Coppola Vs. Comic Book Movies - 1:12:20 Geriatric Cinematic - Top Secret! (1984) 1:34:49

At Film Comment, we love it when we get behind a movie and then see other movie-goers share the love. Parasite, the funny and fierce thriller from Bong Joon Ho, was on the cover of our September-October issue, but wasn't released in theaters until mid-October. But what a release! Audiences are packing the theaters. To talk about the movie's appeal and Bong's masterful filmmaking, FC Editor-in-Chief Nicolas Rapold sat down with contributing editor Amy Taubin, who wrote out September-October feature on Parasite, and FC columnist and critic Michael Koresky. And don't miss the essay on Parasite by Midsommar filmmaker Ari Aster, also available in our latest issue.

This week on The First Run, Chris and Matt gather around the campfire and discuss ‘Scary Stories To Tell In The Dark'. The big screen adaptation of the beloved children's horror series is here, but is it a faithful…and scary update? Then Chris shares his thoughts about Lulu Wang's ‘The Farewell'. Does Awkwafina's much lauded performance deliver? And is the film the heartbreakingly sweet dramedy we've all been hearing about? Matt and Chris move on to one of Bong Joon-Ho's (Parasite, The Host) earliest films, ‘Memories Of Murder'. It's a mystery thriller based on true events. Is it another winner for Joon-Ho that delivers the scares and heartfelt moments? There's the usually entertaining rundown of the big releases on Blu-Ray & DVD, featuring the Straight to DVD and Streaming Picks of the Week. And a cool new bonus feature: Chris loses all his notes!Finally, it's the return of our oddsmaker game, What Are The Odds where we tackle QT's Oscar chances, James Gunn's Suicide Squad 2, and Disney's concerns with Fox's more…violent properties. It's a bughunt, man!00:00-10:10: Intro/Scary Stories To Tell In The Dark10:11-13:51: The Farewell13:52-20:23: Blu-Ray & DVD Picks20:24-27:00: Memories Of Murder27:01-49:16: What Are The Odds49:17-51:50: Wrap UpTheme music provided by Jamal Malachi Ford-Bey

We're back from Cannes, this time with a recording of a live Film Comment event at the American Pavilion. Joining Editor-in-Chief Nicolas Rapold on the stage were Film at Lincoln Center Deputy Director Eugene Hernandez, FC contributing editor Amy Taubin, and FC contributor Jonathan Romney. Through the fog of ”baguette overdose,” the four take a big-picture look at the festival and discuss the 2019 entries they believe will stand the test of time. The films discussed (and debated) include Bong Joon Ho's Parasite, Jim Jarmusch's The Dead Don't Die, Robert Egger's The Lighthouse, Abel Ferrara's Tomasso, and many more.

Let the games begin! We've touched down in Cannes and, for our first of many podcasts from the festival, Film Comment Editor-in-Chief Nicolas Rapold found a quiet corner with FC contributing editor Amy Taubin to talk over some of the titles—both big and small—that we're most excited about. On this episode, we focus on the opening film, Jim Jarmusch's The Dead Don't Die, and chat about the expectations surrounding Tarantino's Once Upon a Time in Hollywood. We also touch on Pedro Almodóvar's Pain and Glory, Mati Diop's Atlantiques, Bong Joon Ho's Parasite, Terrence Malick's A Hidden Life, and many others. Check back over the course of Cannes for a regular stream of new episodes diving into these and other films. And, in case you missed it, be sure to check out Taubin's interview with Jim Jarmusch, posted yesterday: https://www.filmcomment.com/blog/cannes-interview-jim-jarmusch/