Podcasts about Bresson

Terrence Malick's debut film is a story of America, of wanton violence driving across the great plains. Badlands (1973) isn't just Manifest Destiny marching over the continent; the film's from 1973, it's Vietnam, it's a murderous young man saying "Not that I deserve a medal." Malick hits the ground running with the spiritual lyricism he's known for, and kudos to the Criterion Collection for showing us our new favorite Malick right after showing us our new favorite Bresson.

Robert Bresson makes a prison escape film is the sort of premise that we cannot help but fall for, particularly as A Man Escaped (1956) is also our favorite sub-genre of crime film: the criminal procedural. While we really fell in love (sort of) with the "full Bresson" of Au hasard Balthazar or Mouchette, both a decade later, A Man Escaped takes Bresson's style into a genre we weren't expecting, and it is perfect.

In episode 366 UNP founder and curator Grant Scott is in his garage reflecting on the small and big things that impact on the everyday engagement we all have with photography. Dr.Grant Scott After fifteen years art directing photography books and magazines such as Elle and Tatler, Scott began to work as a photographer for a number of advertising and editorial clients in 2000. Alongside his photographic career Scott has art directed numerous advertising campaigns, worked as a creative director at Sotheby's, art directed foto8magazine, founded his own photographic gallery, edited Professional Photographer magazine and launched his own title for photographers and filmmakers Hungry Eye. He founded the United Nations of Photography in 2012, and is now a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, and a BBC Radio contributor. Scott is the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019), and What Does Photography Mean To You? (Bluecoat Press 2020). His photography has been published in At Home With The Makers of Style (Thames & Hudson 2006) and Crash Happy: A Night at The Bangers (Cafe Royal Books 2012). His film Do Not Bend: The Photographic Life of Bill Jay was premiered in 2018. Scott's book Inside Vogue House: One building, seven magazines, sixty years of stories, Orphans Publishing, is now on sale. © Grant Scott 2025

durée : 00:14:02 - Les Midis de Culture - par : Marie Labory - La fondation Henri Cartier Bresson présente pour la première fois en Europe l'intégralité des photos qui composent l'ouvrage original "In the American West" de Richard Avedon. - réalisation : Laurence Malonda - invités : Sarah Ihler-Meyer Critique d'art et commissaire d'exposition ; Joseph Ghosn Directeur adjoint de la rédaction de Madame Figaro

Lumière sur la Grande Foire de Lons-le-saunier dans le Jura à Jura Parc. C'est la 4ème édition de cet événement immanquable, organisé par l'agence d'événementiel : My Production, en collaboration avec la ville de Lons-le-Saunier. En attendant les 4, 5 et 6 avril prochains, on retrouve Amélie Bresson, Inès Fumey, les organisatrices et Jean-Yves Ravier, maire de la ville, au micro de Charlie.

durée : 00:38:59 - Les Midis de Culture - par : Marie Labory, Marie Sorbier - Pour sa première exposition rétrospective, le peintre Guillaume Bresson s'installe au Château de Versailles et fait dialoguer sa quarantaine d'œuvres aux teintes urbaines avec les grands tableaux du peintre favori de Louis-Philippe, Horace Vernet. - réalisation : Laurence Malonda - invités : Guillaume Bresson Peintre

“O cinematógrafo é uma escrita com imagens em movimento e sons.”(Robert Bresson)Mantendo-se fiel a Bresson, inauguramos nossa coluna sobre cinema e produções audiovisuais, VULTOS & SOMBRAS. Uma homenagem aos movimentos indistintos e fantasmagóricos que surgem no canto de nossos olhos e que nos oferecem, mediante rituais adequados, nossa quota de maravilhamento com a narrativa audiovisual.Episódio de hoje: Do Estado de Fuga à Ruína da Identidade (“A Estrada Perdida”, de David Lynch)Filme citado: “A Estrada Perdida” (“Lost Highway”, 1997), de David Lynch.Livro mencionado: “A ameaça do fantástico”, David Roas (Editora da Unesp, 2014); “Contos de Assombro”, organizado por Alcebiades Diniz Miguel (Carambaia, 2022).Conheça e apoie MITOLOGIA NOTURNA: https://www.catarse.me/mitologianoturna Entre para a nossa sociedade, dedicada à bibliofilia/cinematografia maldita e ao culto de tenebrosos grimórios/projeções: o RES FICTA (solicitações via http://raphuspress.weebly.com/contact.html).Nosso podcast também está disponível nas seguintes plataformas:- Spotify: https://open.spotify.com/show/4NUiqPPTMdnezdKmvWDXHs- Apple: https://podcasts.apple.com/us/podcast/podcast-da-raphus-press/id1488391151?uo=4- Google Podcasts: https://podcasts.google.com/?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy8xMDlmZmVjNC9wb2RjYXN0L3Jzcw%3D%3D Apoie o canal: https://apoia.se/podcastdaraphus.Ou adquira nossos livros em nosso site: http://raphuspress.weebly.com. Dúvidas sobre envio, formas de pagamento, etc.: http://raphuspress.weebly.com/contact.html.Nossos livros também estão no Sebo Clepsidra: https://www.seboclepsidra.com.br/marca/raphus-press.html

durée : 00:03:41 - Le Regard culturel - par : Lucile Commeaux - Ce film sorti en 1971 qui était devenu impossible à voir retrouve le chemin des salles, l'histoire d'une rencontre étrange entre un jeune homme et une jeune fille dans le Paris nocturne de l'après mai 68.

In this episode, we explore the stark yet deeply affecting world of Robert Bresson through two of his most powerful films: Mouchette (1967) and L'Argent (1983). Known for his minimalist style, nonprofessional actors, and spiritual themes, Bresson crafts haunting portraits of human suffering and redemption. We break down the tragic innocence of Mouchette, a tale of a young girl's quiet descent, and L'Argent, his final film—a chilling meditation on money, fate, and morality. Join us as we unpack Bresson's unique storytelling, his signature use of sound and image, and why these films remain as hauntingly relevant today as ever.https://linktr.ee/silverscreenvideoThanks for stopping by. Feel free to email at silverscreenvideopodcast@gmail.com with any comments or thoughts. Also be sure to follow us on Instagram @silverscreenvideopodcast, Twitter @SilverVideo, and TikTok silver.screen.vid.

Good evening, Mr. and Mrs. America and all ships at sea, and welcome to Episode 57 of Vintage Sand, our first of 2025. In this episode and the next one we return, for the penultimate time, to the source of some of our most popular episodes: Danny Peary's hard-to-find 1993 classic "Alternative Oscars". In the past, we have used Peary's model to approach every full decade in which the Academy has handed out Oscars except two: the 2010's, and the topic for this two-part episode, Alternate Oscars: The 1940's Edition. It's interesting that the 40's are considered to be the peak of Hollywood's Golden Age, yet many films that were beloved and honored back then have not well withstood the passage of time. The early part of the decade's most important development was the rise of the writer/director in Hollywood. Preston Sturges was the first, with his incredible run of films from 1940-1945, and he was followed quickly by the Billy Wilder/Charles Brackett team and, of course, that clever young fellow from the Mercury Theater. The 40's also marked the arrival of Hitchcock to these shores, and the rise to prominence of new directorial voices like Huston, Preminger, Zinnemann and Nicholas Ray. There were also many high points in the decade for well-established directors like Ford, Capra, Hawks, Lubitsch and Wyler. We have the incredible run of films between 1942 and 1946 made by Val Lewton's brilliant B-movie unit at RKO, and, of course, the birth of film noir, overseen predominantly by expats like Wilder, Lang, Preminger, Ulmer, Lewis and Siodmak. The latter half of the decade, which we will cover in Episode 58 in February, saw two major developments. The end of the war saw the return to strength of many European film industries as well as studio filmmaking in Japan. In France, in the wake of 1945's miraculous "Les Enfants du Paradis", directors as different as Cocteau, Clouzot and Bresson began or restarted their careers. This explosion of creativity was matched in the UK, with the arrival of Lean, Reed, and especially with the flowering of the Powell-Pressburger Archers team. Clearly, though, the most important such event was the rise of what today is called Italian Neo-Realism, as directors like Rossellini, De Sica, and to a lesser extent Visconti, created a brand new way to tell stories on film that is still influencing directors today. The second big change of the late 40's was really two changes in one: the landmark Paramount court case in 1948 that ended the vertical monopoly the studios had long held as owners of theater chains as well, and the mass arrival of television. Between 1948 and 1952, Hollywood lost nearly half of its audience, bringing down the curtain on that so-called “Golden Age” of Hollywood. In terms of the Oscars, the Academy made solid choices for Best Picture--they certainly picked better films than they did in the 1930's! These included enduring works like "The Best Years of Our Lives", "All the King's Men" and especially, "Casablanca". Who could argue with that? (Hint: us.) But there were plenty of head scratchers as well. Prestige choices like "How Green Was My Valley", "Mrs. Miniver" and Olivier's "Hamlet" look a little creaky these days. Hell, we might argue that "Rebecca" was not even Hitchcock's best film of 1940! And the less said about "Going My Way" and "Gentlemen's Agreement", the better. So kick back, round up the usual suspects, and help us make this podcast more important than the gas in that light…

ESPECIAL “HORRORES ESTÉTICOS”“O cinematógrafo é uma escrita com imagens em movimento e sons.”(Robert Bresson)Mantendo-se fiel a Bresson, inauguramos nossa coluna sobre cinema e produções audiovisuais, VULTOS & SOMBRAS. Uma homenagem aos movimentos indistintos e fantasmagóricos que surgem no canto de nossos olhos e que nos oferecem, mediante rituais adequados, nossa quota de maravilhamento com a narrativa audiovisual.Episódio de hoje: O mesmo, o outro, o duplo (“A Substância” e Mallarmé)Filme citado: “A Substância” (“The Substance”, 2024), de Coralie Fargeat.Livro mencionado: “Contos Indianos”, Stéphane Mallarmé (Experimento, 1994).Conheça e apoie HORRORES ESTÉTICOS (últimos dias): https://www.catarse.me/horroresEntre para a nossa sociedade, dedicada à bibliofilia/cinematografia maldita e ao culto de tenebrosos grimórios/projeções: o RES FICTA (solicitações via http://raphuspress.weebly.com/contact.html).Nosso podcast também está disponível nas seguintes plataformas:- Spotify: https://open.spotify.com/show/4NUiqPPTMdnezdKmvWDXHs- Apple: https://podcasts.apple.com/us/podcast/podcast-da-raphus-press/id1488391151?uo=4- Google Podcasts: https://podcasts.google.com/?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy8xMDlmZmVjNC9wb2RjYXN0L3Jzcw%3D%3D Apoie o canal: https://apoia.se/podcastdaraphus.Ou adquira nossos livros em nosso site: http://raphuspress.weebly.com. Dúvidas sobre envio, formas de pagamento, etc.: http://raphuspress.weebly.com/contact.html.Nossos livros também estão no Sebo Clepsidra: https://www.seboclepsidra.com.br/marca/raphus-press.html

ESPECIAL “HORRORES ESTÉTICOS”“O cinematógrafo é uma escrita com imagens em movimento e sons.”(Robert Bresson)Mantendo-se fiel a Bresson, inauguramos nossa coluna sobre cinema e produções audiovisuais, VULTOS & SOMBRAS. Uma homenagem aos movimentos indistintos e fantasmagóricos que surgem no canto de nossos olhos e que nos oferecem, mediante rituais adequados, nossa quota de maravilhamento com a narrativa audiovisual.Episódio de hoje: Uma poética da autopsia (“The Act of Seeing with One's Own Eyes”, de Stan Brakhage)Filme citado: “The Act of Seeing with One's Own Eyes” (1971), de Stan Brakhage.Conheça HORRORES ESTÉTICOS: https://www.catarse.me/horroresEntre para a nossa sociedade, dedicada à bibliofilia/cinematografia maldita e ao culto de tenebrosos grimórios/projeções: o RES FICTA (solicitações via http://raphuspress.weebly.com/contact.html).Nosso podcast também está disponível nas seguintes plataformas:- Spotify: https://open.spotify.com/show/4NUiqPPTMdnezdKmvWDXHs- Apple: https://podcasts.apple.com/us/podcast/podcast-da-raphus-press/id1488391151?uo=4- Google Podcasts: https://podcasts.google.com/?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy8xMDlmZmVjNC9wb2RjYXN0L3Jzcw%3D%3D Apoie o canal: https://apoia.se/podcastdaraphus.Ou adquira nossos livros em nosso site: http://raphuspress.weebly.com. Dúvidas sobre envio, formas de pagamento, etc.: http://raphuspress.weebly.com/contact.html.Nossos livros também estão no Sebo Clepsidra: https://www.seboclepsidra.com.br/marca/raphus-press.html

durée : 00:40:04 - Les Nuits de France Culture - par : Philippe Garbit - L'émission Cinéma pour les ondes propose "Le Procès de Jeanne d'Arc" avec Florence Delay; d'après le film de Robert Bresson, (1ʳᵉ diffusion : 23/04/1963 Paris Inter). - réalisation : Virginie Mourthé

Aurélie BRESSON est une passionnée de sport et d'entrepreneuriat. En 2016, elle crée le magazine "Les Sportives" dédié au sport féminin. En 2020, elle prend également la présidence de la fondation Alice MILLIAT.Dans cet épisode, Aurélie nous parle de son magazine, mais aussi d'Alice MILIIAT. Qui est-elle et quel a été son apport dans le développement du sport féminin.Aurélie nous évoque son sport de jeunesse, la gymnastique, et le sport dans lequel elle aurait aimé être une championne : le handball. Elle nous parle de Sébastien GARDILLOU, de Valérie GARNIER ou encore de Laurent TILLIE. Enfin, elle évoque la persévérance dont font preuve les sportifs de haut niveau, qualité qu'elle souhaiterait développer chez elle.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

“O cinematógrafo é uma escrita com imagens em movimento e sons.”(Robert Bresson)Mantendo-se fiel a Bresson, inauguramos nossa coluna sobre cinema e produções audiovisuais, VULTOS & SOMBRAS. Uma homenagem aos movimentos indistintos e fantasmagóricos que surgem no canto de nossos olhos e que nos oferecem, mediante rituais adequados, nossa quota de maravilhamento com a narrativa audiovisual.Episódio de hoje: O esvaziamento da vingança (“Disclaimer” e a tradição de Henry James) Série citada: “Disclaimer” (2024), uma produção AppleTV, de Alfonso Cuarón.Minha tradução de Henry James: https://www.amazon.com.br/volta-do-parafuso-Henry-James/dp/6555611936Em breve, HORRORES ESTÉTICOS: https://www.catarse.me/horroresEntre para a nossa sociedade, dedicada à bibliofilia/cinematografia maldita e ao culto de tenebrosos grimórios/projeções: o RES FICTA (solicitações via http://raphuspress.weebly.com/contact.html).Nosso podcast também está disponível nas seguintes plataformas:- Spotify: https://open.spotify.com/show/4NUiqPPTMdnezdKmvWDXHs- Apple: https://podcasts.apple.com/us/podcast/podcast-da-raphus-press/id1488391151?uo=4- Google Podcasts: https://podcasts.google.com/?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy8xMDlmZmVjNC9wb2RjYXN0L3Jzcw%3D%3D Apoie o canal: https://apoia.se/podcastdaraphus.Ou adquira nossos livros em nosso site: http://raphuspress.weebly.com. Dúvidas sobre envio, formas de pagamento, etc.: http://raphuspress.weebly.com/contact.html.Nossos livros também estão no Sebo Clepsidra: https://www.seboclepsidra.com.br/marca/raphus-press.html

Last week Criterion introduced us to the work of Luc and Jean-Pierre Dardenne with a phenomenal film, but this week they follow it up with something somehow even better. From it's frenetic first few minutes, Rosetta (1999) is the story of a a young woman that believes she can find freedom, or at least dignity, or at least normalcy in work. But she, and we, live in a society that doesn't actually care about freedom or dignity or even, really, normalcy, at least not for the lower rungs of the economic ladder Rosetta lives in. It's sort of an answer to and modernization of Bresson's Mouchette (1967), but the Dardenne are much more interested in social realism than Bresson ever was. Like last week's film, and many social realist films we've seen, Rosetta doesn't end on a hopeful not, but perhaps on the hope for hope and the promise of freedom and dignity that comes from community and care. We need that now.

durée : 01:27:09 - Les Nuits de France Culture - par : Albane Penaranda, Mathias Le Gargasson, Antoine Dhulster - Par Jean Daive - Avec François Bresson (spécialiste du langage chez les bébés humains et le singe), Jean-Jacques Petter (zoologiste) et Barbet Schroeder (réalisateur du documentaire “Koko, le gorille qui parle”) - Réalisation Bruno Sourcis - réalisation : Massimo Bellini

O cinematógrafo é uma escrita com imagens em movimento e sons.”(Robert Bresson)Mantendo-se fiel a Bresson, inauguramos nossa coluna sobre cinema e produções audiovisuais, VULTOS & SOMBRAS. Uma homenagem aos movimentos indistintos e fantasmagóricos que surgem no canto de nossos olhos e que nos oferecem, mediante rituais adequados, nossa cota de maravilhamento com a narrativa audiovisual.Episódio de hoje: O departamento obscuro (“The Department of Midnight”, de Warren Ellis) Série citada: “The Department of Midnight” (2024), uma produção Bellport Theater on The Air, com roteiro de Warren Ellis. Disponível no seguinte endereço:https://www.departmentofmidnight.comConheça “Perspectivas, Mapas & Linguagens”, nossa campanha atual no Catarse: https://www.catarse.me/perspectivasEntre para a nossa sociedade, dedicada à bibliofilia/cinematografia maldita e ao culto de tenebrosos grimórios/projeções: o RES FICTA (solicitações via http://raphuspress.weebly.com/contact.html).Nosso podcast também está disponível nas seguintes plataformas:- Spotify: https://open.spotify.com/show/4NUiqPPTMdnezdKmvWDXHs- Apple: https://podcasts.apple.com/us/podcast/podcast-da-raphus-press/id1488391151?uo=4- Google Podcasts: https://podcasts.google.com/?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy8xMDlmZmVjNC9wb2RjYXN0L3Jzcw%3D%3D Apoie o canal: https://apoia.se/podcastdaraphus.Ou adquira nossos livros em nosso site: http://raphuspress.weebly.com. Dúvidas sobre envio, formas de pagamento, etc.: http://raphuspress.weebly.com/contact.html.Nossos livros também estão no Sebo Clepsidra: https://www.seboclepsidra.com.br/marca/raphus-press.html

The guest on this week's episode will need little introduction to anyone who reads film criticism or follows film culture. Jonathan Rosenbaum, one of the most prolific and respected critics of the last half-century, began his career at publications like Film Comment and Sight and Sound in the '70s, and later became known for his writing at The Chicago Reader. More recently, he's gained notice for his website, jonathanrosenbaum.net. He is known for his erudite yet accessible writing, and his championing of international cinema, among other things. No less a figure than Jean-Luc Godard once compared him to Andre Bazin. Jonathan is also the author of numerous books and collections of film writing, the latest of which, In Dreams Begin Responsibilities, has just been published by Hat & Beard Press. He describes the career-spanning, chronologically arranged collection as an autobiography of sorts, opening with his earliest published film review from his college days at Bard, before diverging into his many non-film interests. The collection also includes his writings on jazz and literature, and emphasizes Jonathan's uniquely syncretic approach to criticism. Jonathan joined FC editors Devika Girish and Clinton Krute via Zoom from his home in Chicago to discuss this new book, his time as Film Comment's Paris correspondent, his appearance as an extra in a Bresson film, and much, much more.

This week, the fellas ask the ultimate question: IS THIS MOVIE A WAR MOVIE OR IS THIS MOVIE NOT A WAR MOVIE? America's favourite gameshow commences with a discussion of Robert Bresson's A Man Escaped. They discuss Bresson's way in which he films hands, the slow, methodical and procedural style of showing the prison escape, the justifiable use of voiceover and much more. Next week: back to the list for a solemn dance! Questions? Comments? Suggestions? You can always shoot us an e-mail at forscreenandcountry@gmail.com   Full List: https://www.pastemagazine.com/movies/war-movies/the-100-greatest-war-movies-of-all-time Facebook: https://www.facebook.com/forscreenandcountry Twitter: https://www.twitter.com/fsacpod Our logo was designed by the wonderful Mariah Lirette (https://instagram.com/its.mariah.xo) A Man Escaped stars François Leterrier, Charles Le Clainche, Maurice Beerblock, Roland Monod and Jacques Ertaud; directed by Robert Bresson. Learn more about your ad choices. Visit megaphone.fm/adchoices

Pick out your shirt and tie, listener! We're talking Paul Schrader's 1980 stylish crime film AMERICAN GIGOLO this week, and we've called up film critic Brandon Streussnig to help us do it! Production design, fashion history, Bresson, several Giorgios - we get into it. Jake put on cologne for this one as a bit. See if you can hear the smell! Further Reading: Crime and Punishment by Fyodor Dostoyevsky The Painter of Modern Life XI: The Dandy by Charles Baudelaire "Talking Film Costume: Richard Gere in 'American Gigolo'" by Ada Pîrvu "About That Urban Renaissance" by Dan Rottenberg Hollywood from Vietnam to Reagan by Robin Wood Further Viewing: PICKPOCKET (Bresson, 1959) THE CONFORMIST (Bertolucci, 1970) PRETTY WOMAN (Marshall, 1990)   Follow Brandon Streussnig: https://twitter.com/BrndnStrssng https://www.clippings.me/users/brandonstreussnig   https://www.podcastyforme.com/ Follow Pod Casty For Me: https://twitter.com/podcastyforme https://www.instagram.com/podcastyforme/ https://www.youtube.com/@podcastyforme Support us on Patreon: https://www.patreon.com/PodCastyForMe Artwork by Jeremy Allison: https://www.instagram.com/jeremyallisonart  

Pickpocket (1959; Dir.: Robert Bresson) Canon Fodder Episode 11 We wish we knew how to quit you, Robert Bresson! Daniel and Corky get their Bresson on with a review of the French master's 1959 masterpiece Pickpocket. Will the film steal your host's hearts, or will it leave them feeling […] The post Pickpocket (1959) – Canon Fodder Episode 11 appeared first on Dare Daniel & Canon Fodder Podcasts.

Good Morning, Hockey - Friday 3/1/24 on the Alithio Network.   Click follow and rate 5-stars! Be sure to check out our other shows on the network!

A beautiful conversation with Leica user Kei Rowan-Young about her journey into photography [ instagram : https://www.instagram.com/Keirowanyoung_photography/ : Web: www.keirowanyoung.com] where we talk about Life, Love, and Leica's (C) [The IXVI Network]. The Pod: 0:01 : Intro ; 03:00 : When I started making photos ; 17:00 : Street Photography ; 22:30 : Snap Shot vs Street Photo ; 25:00 : My process ; 32:30 : Flash ; 39:30 : Access ; 46:15 : Challenges ; 48:00 : Photography Community ; 51:00 : Mentorship ; 54:30 : Curating ; 1:01:XX : Sequencing ; 1:09:XX : Socials ; 1:11:XX : My recommendations ; 1:18:XX : The next Bresson ; 1:22:XX : Expiration dates -- Projects ; 1:26:XX : The Final Question. Kei's recommendations : Calvin Leonard [ instagram : https://www.instagram.com/clphotosla_/ ] ; Rene Rodriguez Jr. [ instagram : https://www.instagram.com/rene_poetking_rodriguez/ ] ; Paul S [ instagram : https://www.instagram.com/saenzofthetime/ ] ; Street Badass [ instagram : https://www.instagram.com/street_badass/ ] ; Danny Jackson [ instagram : https://www.instagram.com/_barksey_/ ] ; Sarah Simon [ instagram : https://www.instagram.com/_sarah_simon/ ] ; Gary Lashmar [ instagram : https://www.instagram.com/the_street_thief/ ] Donate to the podcast: Help me provide and fund the best and new experience's for the supporters: [ https://ko-fi.com/ixvi96 ] --- Support this podcast: https://podcasters.spotify.com/pod/show/lspcricky/support

Life has been catapulting us toward this moment...the episode where we lose our minds singing the praises of THE 15:17 TO PARIS with returning guest, writer and Slow Learners Podcast host John Semley! Join us for several hours of exaltant analysis of Clint Eastwood's 2018 avant garde docudrama, starring the real guys who really tackled a heavily armed shirtless man on a train. We really get into it here, folks: millennial masculinity amid the bleak futurelessness in which we've all spent most of our lives, re-enactments/non-professional actors in cinema history, and the transcendental quality of Dutch nightclubs. Listen up or we'll kick you out of Air Force sewing class! Topics include: Clint as optimistic Hill/McBride, trains, Clint making some big and unequivocally not-lazy choices, Ian invokes Bresson a bunch, millennial grammar, the supporting cast of sitcom players, major breakthoughs on Clintertextuality, and more! Follow John Semley: https://twitter.com/johnsemley3000   https://www.podcastyforme.com/ Follow Pod Casty For Me: https://twitter.com/podcastyforme https://www.instagram.com/podcastyforme/ https://www.youtube.com/@podcastyforme Support us on Patreon: https://www.patreon.com/PodCastyForMe Artwork by Jeremy Allison: https://www.instagram.com/jeremyallisonart  

Jackie and Greg shuffle through the streets of Paris in search of a con for Robert Bresson's PICKPOCKET from 1959. Topics of discussion include Bresson's formalism, his actors as "models", the "cinema of hands", and why his work is do divisive amongst filmgoers.#63 on Sight & Sound's 2012 "The 100 Greatest Films of All Time" list.https://www.bfi.org.uk/sight-and-sound/polls/greatest-films-all-time-2012#136 on Sight & Sound's 2022 "The Greatest Films of All Time" list.  https://www.bfi.org.uk/sight-and-sound/greatest-films-all-timeCheck us out on Instagram: https://www.instagram.com/sceneandheardpodCheck us out at our official website: https://www.sceneandheardpod.comJoin our weekly film club: https://www.instagram.com/arroyofilmclubJP Instagram/Twitter: jacpostajGK Instagram: gkleinschmidtGraphic Design: Molly PintoMusic: Andrew CoxEditing: Asa ParsonsGet in touch at hello@sceneandheardpod.comSupport the showSupport the show on Patreon: patreon.com/SceneandHeardPodorSubscribe just to get access to our bonus episodes: buzzsprout.com/1905508/subscribe

On Episode 88 of Floating through Film we conclude our series picked by Dany, Robert Bresson! After Dany starts the episode with a discussion on what Bresson could mean when he values "Relations > Images" in film (4:04), we review 1977's The Devil, Probably (27:13), and 1983's L'argent (1:41:13). We hope you enjoy! Episode Next Week: 70s Movie Draft Music: - Intro: from The Devil, Probably - Break: from L'argent - Outro: from The Devil, Probably (https://www.youtube.com/watch?v=AfJJ3Whpdmk&ab_channel=TheaestheticoftheImage%3A%5Bworld%5Dcinemaclips) Hosts: Luke Seay (https://letterboxd.com/seayluke/), Blake Tourville (https://letterboxd.com/blaketourville/), and Dany Joshuva (https://letterboxd.com/djoshuva/) Podcast Links (Spotify and Apple): https://linktr.ee/floatingthroughfilm Letterboxd: https://letterboxd.com/floatingfilm/ Email: floatingthroughfilm@gmail.com

Jean Eustache is hard to pin down. A French auteur who combined the brevity of Bresson with the romantic rambling of Rohmer. Eustache often preferred telling to showing. Yet somehow these moments of gossip and reminiscence are powerfully cinematic. A spell is cast with judicious editing, subtle performances and gentle fades to black. After a short break the boys return to send new vibrations down your Eustachian tubes, prompted by a recent BFI Southbank retrospective.

On Episode 86 of Floating through Film we continue our series picked by Dany, Robert Bresson! After Dany starts the episode with a discussion on "The Mysterious" in Bresson (4:05), we review 1967's Mouchette (35:06), and 1969's A Gentle Woman (1:11:22). We hope you enjoy! Episode Next Week: Lancelot of the Lake + Four Nights of a Dreamer Music: - Intro: https://www.youtube.com/watch?v=HZiOdMT4nKE&ab_channel=RJ__Blu - Break: from A Gentle Woman - Outro: from A Gentle Woman Hosts: Luke Seay (https://letterboxd.com/seayluke/), Blake Tourville (https://letterboxd.com/blaketourville/), and Dany Joshuva (https://letterboxd.com/djoshuva/) Podcast Links (Spotify and Apple): https://linktr.ee/floatingthroughfilm Letterboxd: https://letterboxd.com/floatingfilm/ Email: floatingthroughfilm@gmail.com

On Episode 85 of Floating through Film we continue our series picked by Dany, Robert Bresson! After Dany starts the episode again with a discussion on Bresson's "Models" (3:10), we review 2 of his most popular movies, 1959's Pickpocket (37:06), and 1966's A Man Escaped (1:43:30). We hope you enjoy! Episode Next Week: Mouchette + A Gentle Woman Music: - Intro: https://www.youtube.com/watch?v=-cYrtoFulgA&ab_channel=dammaes - Break: https://www.youtube.com/watch?v=IKCIqfnUy1k&ab_channel=L%C3%A1szl%C3%B3Hajdu - Outro: https://www.youtube.com/watch?v=IKCIqfnUy1k&ab_channel=L%C3%A1szl%C3%B3Hajdu Hosts: Luke Seay (https://letterboxd.com/seayluke/), Blake Tourville (https://letterboxd.com/blaketourville/), and Dany Joshuva (https://letterboxd.com/djoshuva/) Podcast Links (Spotify and Apple): https://linktr.ee/floatingthroughfilm Letterboxd: https://letterboxd.com/floatingfilm/ Email: floatingthroughfilm@gmail.com

On Episode 84 of Floating through Film we begin our new series picked by Dany, Robert Bresson! After we spend a decent amount of time introducing Bresson, and Dany gives his thoughts on why he likes Bresson so much, we start with 2 of his movies from the 50s, 1951's Diary of a Country Priest (40:45), and A Man Escaped (1:35:42). We hope you enjoy! Episode Next Week: Pickpocket + Au Hasard Balthazar Music: - Intro: https://www.youtube.com/watch?v=kC1M4LJZP4E&ab_channel=JamesStuart - Break: https://www.youtube.com/watch?v=KD9H5nryq20&ab_channel=Totoro - Outro: https://www.youtube.com/watch?v=BcOyojBU3hs&ab_channel=lostpebble Hosts: Luke Seay (https://letterboxd.com/seayluke/), Blake Tourville (https://letterboxd.com/blaketourville/), and Dany Joshuva (https://letterboxd.com/djoshuva/) Podcast Links (Spotify and Apple): https://linktr.ee/floatingthroughfilm Letterboxd: https://letterboxd.com/floatingfilm/ Email: floatingthroughfilm@gmail.com

Step behind the lens and into the vibrant world of award-winning cinematographer Ayinde Anderson, a visionary artist whose storytelling prowess knows no bounds. In this illuminating podcast, we explore Ayinde's multifaceted journey, from his formative years in Brooklyn, New York, to the cinematic heights he has reached today.Ayinde's story is as diverse and compelling as the films he captures. Raised in Raleigh, North Carolina, this creative soul found his passion for cinematography early on. With a Master's degree from the esteemed American Film Institute and mentorship from legends like Michael Chapman ASC and Thomas Ackerman ASC, Ayinde honed his craft, delving into the intricate art of visual storytelling.We unravel the tapestry of Ayinde's work, from his collaboration with Illegal Civilization on the poignant 'Summer of '17' short film to his series with Fader Magazine, where his lens captures the pulse of contemporary culture. His partnership with Malcolm Washington, a testament to the power of Black creatives collaborating, has resulted in projects that challenge norms and redefine storytelling.In the world of cinema, Ayinde stands as a beacon of change. His involvement in 'North Hollywood,' a feature film led by a Black director with a stellar cast, showcases his commitment to breaking barriers and promoting inclusivity in the industry. Through short films like 'The Dispute,' 'Jay,' and 'Retrieval,' Ayinde delves into narratives that are both intimate and profound, leaving audiences captivated by the depth of his storytelling.Ayinde's creative spirit extends beyond the silver screen. His collaboration with the California African American Museum on 'JUSTEN LEROY: LAY ME DOWN IN PRAISE' pays homage to the artistic legacy of Roy DeCarava, illustrating Ayinde's deep understanding of the intersection between visual art and cultural heritage.In this podcast, Ayinde candidly shares his insights on the importance of cinema classics like 'Fresh' and the influence of masters like Bresson, revealing the intricate layers that shape his artistic vision. He reflects on the profound impact of having a life beyond film, emphasizing the significance of personal experiences in fueling creativity.Ayinde Anderson's Website: https://ayindeanderson.com/Ayinde Anderson's Socials: https://www.instagram.com/ayindeanderson_/?hl=en Ayinde Anderson's Socials: https://www.linkedin.com/in/ayinde-anderson-1934679bVisual Intonation Website: https://www.visualintonations.com/Visual Intonation Instagram: https://www.instagram.com/visualintonation/Vante Gregory's Website: vantegregory.comVante Gregory's Instagram: https://www.instagram.com/directedbyvante/ To support me on Patreon (thank you): patreon.com/visualintonations Tiktok: www.tiktok.com/@visualintonation Tiktok: www.tiktok.com/@directedbyvante

Aurélie est une militante engagée pour la place de femme dans le milieu sportif face à toutes les inégalités qui peut exister dans ce domaine.  Nous ne voyons pas assez de sport féminin sur les médias, nous ne parlons pas assez de ces sportives qui ont un talent inné pour leur discipline, nous remarquons un manque énorme d'entraineuse, mais la véritable question est " Pourquoi ? "  ‍ C'est ce que nous allons essayer de comprendre avec Aurélie dans cet épisode car, on parle de : - Pourquoi les sports féminins sont peu médiatisés ? - Les difficultés de la pratique sportive chez les jeunes femmes - Alice Milliat, L'icône du sport féminin - L'importance des disciplines mixtes - L'avenir médiatique du sport féminin - Le manque d'entraineurs féminins - Les différences dans les carrières de sportifs masculins et féminins - L'influence des sportives sur la société - La question du genre dans le monde du sport - La place du sport dans la société ‍ Tu veux poser tes questions ? Passer au niveau supérieur ? Les MasterClasses sont là pour toi ! Pour réserver ta place : Clique ici Tu peux t'inscrire à notre newsletter pour ne pas rater les prochaines rencontres, articles et épisodes : Clique ici  
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00:00 - 38:42 - Escape from Alcatraz 38:42 - 54:30 - Malcolm in the Middle 54:30 - 1:06:01 - e-mail The final film of the Don Siegel-Clint Eastwood partnership finally answers the question, what if Bresson's A Man Escaped was actually cool, muscular, and American, rather than mopey, rail-thin, and French? One of the darkest, most moody, and purely direct thrillers of its era. We talked about Siegel and Eastwood's split authorship and evolution as artists, individuals bucking a broken system, our visits to the real Alcatraz, and more. Then, on MiTM (38:42) JT takes an epic voyage to go see Barbie. Malcolm gets dark with Todd Solondz' Life During Wartime, and Eddie gives it up for the Oppenheimer antidote, Kurosawa's I Live in Fear. Finally, an e-mail (54:30) about aging and the movies. support the show at https://www.patreon.com/Extended_Clip for five dollars a month, you get an extra episode every week. we also put the video feed of this episode up there, so you can see the real flow chart described in JT's Barbie story.

On the thirty-sixth episode of the Cinematic Odyssey, Tristen and Max unpack the documentarian effort of French director Robert Bresson in his acclaimed A Man Escaped. Packed with minute details and patient unease and suspense, both hosts respect the effort to make the film as realistic as possible to the memoir it was based on, as well as true human physicality. Max makes a series of absolutely horrible comparisons between this film and pop culture of today, while Tristen remains in awe of every shot and each poignant detail. They both are able to come away with the knowledge that this film is more than just an escape: it's about trust, hope, and the human spirit to fight on and keep living. 

In this episode, Antonio eagerly delves into his latest photography book finds. A neighbor gifts him a captivating book on Bresson from a local street library. Both Ward and Antonio touch on a newly published book called "The Things You Wanted to Say But Never Did" by Giloy Concepcion—a unique photo journal designed to process emotions through prompts. Motivations behind the photos spark their interest, alongside a delightful exploration of cliché subjects in the humor-filled "Photo No-Nos." They also dig into the importance of setting constraints and making decisive choices in photography. Antonio enthusiastically recommends "Think Like a Street Photographer" by Matt Stuart, a treasure trove of insights into the art. As their lively conversation progresses, Antonio gets into Helen Levitt's mesmerizing pictures of 1930s-40s New York, which lead to a fascinating tidbit about her association with Walker Evans and her distinctive presence in his secret subway portraits.   Ward then takes the spotlight, sharing his upcoming photography project at the Calgary Stampede—a local fair with thrilling rodeo events and a bustling midway. Since 2014, Ward has immersed himself in capturing the essence of this vibrant event through a street photography approach, and he excitedly reveals his meticulous preparations. Ward's thoughtful approach involves running the gauntlet, skillfully fishing for those captivating moments amidst the stampede's excitement. Inspired by his experiences in New York, he plans to be more selective in his photography this time around. With anticipation buzzing in the air, they wrap up the discussion, eagerly looking forward to sharing Ward's progress in future podcast episodes.   Help out the show by buying us a coffee! Send us a voice message, comment or question.   Show Links: "Things You Wanted to Say But Never Did: A Photographic Journal to Process Your Feelings"  by Geloy Concepcion "Photo No-Nos: Meditations on What Not to Photograph" by Jason Fulford "Think Like a Street Photographer: How to Think Like a Street Photographer" by Matt Stuart "One, Two, Three, More" by Helen Levitt The Calgary Stampede   Antonio M. Rosario's Website, Vero, Twitter and Facebook page Ward Rosin's Website, Vero, Instagram feed and Facebook page. Ornis Photo Website  The Unusual Collective Street Shots Facebook Page Street Shots Instagram     Subscribe to us on: Apple Podcasts Google Podcasts Spotify Amazon Music iHeart Radio

We did it, folks. Dixon finally got us to talk about the inimitable Robert Bresson. Join the Afterthoughts crew as we discuss his biggest commercial success, the thrilling prison break masterpiece A Man Escaped (1956). We dive into Bresson's one-of-a-kind filmmaking style, his technical mastery, and his ability to build tension like no director before or since.

Zach sits down with Jake Bresson of Bresson Painting!

A principios de los 50, Robert Bresson parece haber experimentado una intuición clave, que no sólo lo convirtió en un gran cineasta sino que alteró su forma de ver el mundo: en su intento por adaptar el Diario de un cura rural, la novela de Georges de Bernanos, usó los fundamentos del neorrealismo como punto de partida para crear una suerte de poética esencialista y un método fílmico que le permitiera atrapar la experiencia de lo humano. Bresson no estaba solo en esta cruzada; tras la posguerra cineastas como Rossellini, Dreyer, Ozu, Antonioni y Bergman avanzarían en esa misma dirección, pero ninguno de ellos pudo moldear algo como la historia de este joven y enfermo sacerdote que, destinado a una pequeña localidad de Bretaña, se enfrenta a la desidia de sus habitantes gastando las últimas energías que le quedan, condenándose a sí mismo, buscando una gracia que alcanza a avizorar desde muy lejos. De eso y más se habla en este podcast.

A fines de 1959, cuando Pickpocket llegó a los cines, la guerra entre los jóvenes realizadores de la Nouvelle Vague y los veteranos realizadores del "cinema de qualité" estaba declarada. De inmediato fue evidente que Bresson y su filme no cabían en ningún bando. Pickpocket no se parecía a las "viejas películas", pero tampoco a las nuevas. Sinceramente, parecía arribada desde Marte: tomando prestada la premisa establecida por Dostoievsky en Crimen y castigo, el relato de Michel —un joven sin presente ni futuro que decidía enseñarse a sí mismo la profesión del carterista, como medio de sustento pero también de desprecio hacia los otros— no era exactamente un relato moral ni objeto aleccionador o en clave de denuncia. Bresson filmaba el mundo de su protagonista (las calles, los interiores, los rostros, las manos) de una manera frontal, física; sin agenda, sin trasfondo sicológico. Ni siquiera hablaba de sus protagonistas como actores: los denominaba "modelos, tomados de la vida. SER (modelos) en lugar de PARECER (actores)." El resultado era un nuevo tipo de película, una nueva forma de acercarse al cine, a la imagen. De eso y más se habla en este podcast.

Jackie and Greg get locked up with Robert Bresson's minimalist prison-escape classic, A MAN ESCAPED from 1956. Topics of discussion include Bresson's cinema of hands, how it compares to other jailbreak films, where it falls within his filmography, and why it's a magical pairing of filmmaker and subject matter.#69 on Sight & Sound's 2012 "The 100 Greatest Films of All Time" list.https://www.bfi.org.uk/sight-and-sound/polls/greatest-films-all-time-2012#95 on Sight & Sound's 2022 "The 100 Greatest Films of All Time" list.  https://www.bfi.org.uk/sight-and-sound/greatest-films-all-timeCheck us out on Instagram: https://www.instagram.com/sceneandheardpodCheck us out at our official website: https://www.sceneandheardpod.comJoin our weekly film club: https://www.instagram.com/arroyofilmclubJP Instagram/Twitter: jacpostajGK Instagram: gkleinschmidtPhotography: Matt AraquistainMusic: Andrew CoxGet in touch at hello@sceneandheardpod.comSupport the showSupport the show on Patreon: patreon.com/SceneandHeardPodorSubscribe just to get access to our bonus episodes: buzzsprout.com/1905508/subscribe

Donkey Variations: Jerzy Skolimowski's EO This week Mr. Chavez and I travel to Cinematic Poland for Jerzy Skolimowski's EO - a beautiful and touching examination of the world through a donkey's eyes. Pain, Suffering, Beauty, and Resilience inspired by Bresson's Au Hasard Balthazar, but with a modern vision. This is an inspired piece of cinema, one that Ibrahim and I are thrilled to introduce to you and  excited to talk about. Take a listen and let us know what you think. For reference, you can find EO streaming on Amazon Prime for a small rental fee. Questions, Comments, Complaints, and Suggestions can be directed to gondoramos@yahoo.com. Many Thanks. 

Beast of Burden: Robert Bresson's Au Hasard Balthazar - WatchThis W/RickRamos  This week finds Mr. Chavez and myself continuing our dive into films with great reputations and few viewings. Bresson's 1966 French Classic, Au Hasard Balthazar, looks at life through the eyes of a donkey as it moves through the world being loved, abused, championed, worked, and - finally - sacrificed. A touching and beautifully story about humanity told in a profoundly emotional manner. As Mr. Chavez says, "I challenge someone to watch this movie and to be like, 'Well It's just about a f****** stupid donkey.'" There's so much more to unwrap, and for true fans of Cinema (and World Cinema in particular), Bresson's story is about the struggle found in purpose, love, and suffering. This is a truly beautiful film that has found legions of fans since its release over sixty years ago. We are proud to present Au Hasard Balthazar on this week's episode. Questions, Comments, Complaints, & Suggestions can be directed to gondoramos@yahoo.com. Many & Continued Thanks. 

durée : 01:01:45 - Les Nuits de France Culture - par : Albane Penaranda - En 2009, Francesca Isidori reçoit Claude Jean Philippe, producteur du "Ciné-Club" à la télévision qui présenta pendant plus de vingt ans des milliers de films en version originale aux téléspectateurs. Pour Affinités électives Claude-Jean Philippe, âgé de 75 ans, évoque ce qui a nourri sa vie depuis son enfance : le cinéma et la littérature. Pédagogue et cinéphile passionné, il a animé sur la seconde chaine de télévision française le Ciné-Club de 1971 à 1994 et, à partir de 1976, conçu pour France Culture Le Cinéma des cinéastes, avec l'ambition de rendre plus accessible le travail des cinéastes pour les auditeurs. Claude-Jean Philippe assume d'être éclectique dans le choix de ses films et de privilégier l'émotion vécue plutôt que la critique formelle : "Ce qu'on éprouve réellement ne s'argumente pas". Errol Flynn a été le héros de mon enfance Sa passion pour le cinéma commence très jeune : "Errol Flynn a été le héros de mon enfance à cause de Robin des bois mais aussi de Capitaine Blood, de L'Aigle des mers, etc." Mais au-delà de la voix et du visage devenus familiers au fil des années de la présentation du Ciné-Club, Claude-Jean Philippe restait discret, mise à part la publication de son autobiographie La Nuit bienfaisante, en 1996. Au micro de Francesca Isidori, il évoque sa jeunesse au Maroc, sa découverte de la littérature et du cinéma, son épanouissement grâce au théâtre avec André Voisin. Il se souvient de son arrivée à Paris à vingt ans, de son amour définitif pour cette ville, pour Charles Trenet et pour Apollinaire, "ce que j'aime dans Paris c'est cette majestueuse indifférence qui me remplit d'une paix paradoxale, véritable paix". Partie de campagne de Jean Renoir fut un événement dans ma vie Claude-Jean Philippe fit découvrir aux téléspectateurs, en version originale, les films de Satyajit Ray, Fritz Lang, Stroheim, Murnau, Renoir, Bresson, Bergman, Fellini, Ozu et tellement d'autres cinéastes du monde entier. Co-auteur du livre 100 films pour une cinémathèque idéale, édité par Les Cahiers du cinéma, il cite quelques-uns de ses films préférés : Partie de campagne de Jean Renoir, mais aussi L'Atalante de Jean Vigo, Chantons sous la pluie de Stanley Donen et Gene Kelly.Le cinéphile rend hommage à son ami Jean-Marie Straub qui "éclairait les films en très peu de mots, avec le meilleur goût qu'il soit" et reste modeste sur la capacité à prédire la pérennité des films : Le meilleur critique de cinéma.c'est la postérité. A propos du cinéaste japonais, Ozu, qu'il choisirait d'emporter sur une île déserte, il dit : "Voilà quelqu'un qui savait de quoi le temps est fait." Par Francesca Isidori Avec Claude-Jean Philippe Réalisation Brigitte Alléhaut Affinités électives - Claude-Jean Philippe (1ère diffusion : 16/04/2009) Indexation web : Véronique Vecten, Documentation Sonore de Radio France Archive Ina-Radio France

Nick finally gets Mike to watch the new donkey movie, EO: a new interpretation of an old classic they both love: Au Hasard Balthazar. Two special guests join the hosts: Jackie and Ryan. The group talks interpretation of EO and the barrier to entry to Bresson's minimalist directing style. Does EO deserve a place on the Mount Rushmore of film donkeys?

Jerzy Skolimowski's EO is probably not the first film to premiere at Cannes, land on a ton of annual Top Ten lists, and then get nominated for Best International Feature at the Academy Awards. But it's the first movie to do all that AND be about – and starring – a donkey. Comedian Ashley Ray joins us to talk about our silent protagonist's adventure across Europe. Then, a certain bear joins the Hall of Excellence and we pick some other non-human POVs that would make good cinema.What's Good:Drea - Hearing the Spirit Awards were accessibleAshley - Extreme SistersAlonso - Kristen Lopez, But Have You Read the Book?ITIDICNew Ninja Turtles MovieLenny Kravitz to Sing Oscars “In Memoriam” SegmentEEAAOO Wins a LOT of Spirit Awards (watch The Daniels' speech)Staff PicksDrea - BruiserAshley - Three WaysAlonso- Framing AgnesCheck out TV, I Say with Ashley RayWith:Drea ClarkAlonso DuraldeAshley RayProduced by Marissa FlaxbartSr. Producer Laura Swisher

Scorsese collaborator Paul Schrader penned TAXI DRIVER and that is the laziest but inevitabliest comparison for FIRST REFORMED which tells the story of Ernst Toller (Ethan Hawke), reverend, tour guide and souvenir shop salesman for the eponymous church as it approaches its 250-year reconsecration. Undergoing a spiritual crisis of his own, he is approached by expectant mother Mary (Amanda Seyfried), who asks him to talk to her husband, an eco-activist depressed because he believes it's morally wrong to bring life into a world with the planet on the brink of irreversible environmental damage and civilisation ill-prepared to deal with multiple social crises. The exhilarating conversation lights a fire in Toller and as his alcoholism and illness grows he finds himself on a path which sees him questioning corporate megachurch and benefactors Abundant Life and its relationship with energy company Balq Industries.It's not often that you find a deep philosophical and theological discussion as an inciting incident in a movie and its rarer still to find one that seems authentic and richly relatable even to those with little interest in organized religion. My wife and I did have a conversation about the ethics of conceiving in an already over populated world (our rationale was that 'two in, two out' seemed just about fair in terms of headcount production) and about the fear of the kind of world our children would grow up in but eventually closed our eyes and ears to the overwhelming mass of evidence that told us not to and went with blind hope for the future, a sentiment that Schrader would presumably endorse. The writer and director's own strict Calvinist upbringing meant he'd never even seen a film until he was 17 when he sneaked away one night to watch HOME ALONE. Actually, it was WILD IN THE COUNTRY but that doesn't make as good a punchline. After becoming a published film scholar (following the encouragement of Pauline Kael no less) with his seminal work Transcendental Style in Film: Ozu, Bresson, Dreyer, a book bought up in every review of this movie and which I haven't read but based on the title alone I can assume is  some sort of comedy, Schrader transitioned to screenwriting and his utterly unique perspective means that yet again indie production and distribution specialists A24 have delivered.I'm such a shameless fanboy for A24 now, having watched 14 of their movies for the pod and found all of them to be at least interesting and at best profound, though I tend to think of their 'A24-ness" as a secondary quality of the movie based on their  body of work being aesthetically, politically and conceptually different and distinct from one another. I don't find the idea of enjoying all that a production company has to offer that unusual having been used to a music scene in the 90's and early noughties where the record label alone - Warp Records for example - was enough to inspire me to hoover up new talent. With a business model built around producing unique and original films that other sequel and franchise-obsessed major film studios wouldn't or couldn't take a chance on and a mission to bring the arthouse to the mainstream, the cynic in me expects their decline when Marvelisation of the A24 product inevitably occurs.We also watched Netflix's ASK THE STORYBOTS featuring friend of the pod Kevin Smith which was superb but I don't have the space to write about having used up my word count masturbating over A24 stuff. We love to hear from our listeners! By which I mean we tolerate it. If it hasn't been completely destroyed yet you can usually find us on twitter @dads_film, on Facebook Bad Dads Film Review, on email at baddadsjsy@gmail.com or on our website baddadsfilm.com. Until next time, we remain... Bad Dads

Welcome to the SEASON TWO PREMIERE of RohmerCast, the podcast about Éric Rohmer: his films, his working methods, and anything else we want to talk about related to Éric Rohmer.In our fifth episode we discuss La Collectionneuse (1967), his (second) first feature. This leads to the following tangents: coming up with a theme song for the show, the idea of a fictionalized documentary, the sound of the birds, direct sound as an aesthetic choice, intentionally with shooting ratio, Rohmer in relation to the Nouvelle Vague, comparisons to Bresson, the cognitive dissonance between image and voiceover, the objectification of Haydee, and achieving perfection in a single bound.At the time of release, this movie can be streamed on the Criterion Channel @criterioncollection (and is generally fairly accessible).Listen wherever you listen to podcasts (or go to RohmerCast.com). #ericrohmer #frenchnewwave #cinema #nouvellevague #filminstagram #filmtwitter #frenchcinema #cinephile #criterioncollection @criterioncollection @metrograph @mubi #podcast #filmpodcast @filmforumClip from 'Magnolia (1999)' property of New Line Cinema. Hosted on Acast. See acast.com/privacy for more information.

In his Cannes 2022 dispatch, Jonathan Romney wrote “Jerzy Skolimowski's EO is a flamboyant, visionary work: its execution—including drone shots set to blazing red filters—and wayward, fragmented narrative showed an energy shared by that little else at the festival. Corny but true: the wildest, youngest film in the lineup was made by an 84-year-old director up for anything.” With EO making its US premiere at this year's New York Film Festival, we sat down with Skolimowski over Zoom to discuss his radical re-imagining of Bresson, which follows a pure-hearted donkey adrift in a cruel world. Though the filmmaker—known for such classics as Walkover, Deep End, Moonlighting, and many more—wasn't able to attend this year's festival in person, he was happy to field our many questions about his latest, a powerfully empathetic work of striking beauty and visual imagination.

This week, senior editor at Slate, Allegra Frank, fills in for Steve as the panel begins by debating the enjoyability of Apple TV+'s new star-studded thriller Severance. Then, the panel digs into Paul Thomas Anderson's latest Oscar contender Licorice Pizza. Finally, the panel discusses longform YouTube videos and the rise and fall of attention spans, inspired by Terry Nguyen's article “The video essay boom” for Vox. Referenced video essays include: Mike's Mic on Pretty Little Liars, Jenny Nicholson on Dear Evan Hansen, and Quinton Reviews on Victorious. In Slate Plus, the panel discusses thematic aversions they have in films. Email us at culturefest@slate.com. Endorsements Julia: Endorsing Six Seasons: a New Way With Vegetables by Joshua McFadden and Martha Holmberg, which has lots of delicious recipes that are designed for your farmer's market finds. Allegra: The podcast Dead Eyes from comedian Connor Ratliff about people in the entertainment industry and their long forgotten, lost, and/or canceled projects—inspired by how he was fired from Band of Brothers by Tom Hanks himself because he had “dead eyes.” Dana: Speaking of video essays, filmmaker Kogonada's (After Yang, Columbus) video essays which are extremely visual and beautifully edited. They're all on his website, but Dana specifically shouted out: Breaking Bad // POV, Mirrors of Bergman, Hands of Bresson, and Linklater // On Cinema & Time. Podcast production by Cameron Drews. Production assistance by Nadira Goffe. Outro music is "If Only I Was a Poet" by Staffan Carlen. Slate Plus members get ad-free podcasts, a bonus segment in each episode of the Culture Gabfest, full access to Slate's journalism on Slate.com, and more. Sign up now at slate.com/cultureplus. Learn more about your ad choices. Visit megaphone.fm/adchoices