Podcast appearances and mentions of Darius Khondji

"Forscher klonen die verstorbene Ellen Ripley. Aus dem Alien-Embryo in ihrem Körper züchten sie neue Bestien, die auf einem Raumschiff gefangen gehalten werden. Die Monster entkommen und vernichten alles, was sich ihnen in den Weg stellt. Nur Ripley, der weibliche Android Annalee und eine Schmugglerbande stellen sich ihnen entgegen. Als das Schiff Kurs auf die Erde nimmt und die Aliens Gefahr laufen, sich frei auf der Erde zu bewegen, steht das Schicksal der gesamten Menschheit auf dem Spiel."

Cʹest certainement le plus grand thriller des années 90. Un polar dépressif, sombre, entêtant, des crimes atrocement mis en scène, une esthétique particulière, noyée de pluie, un vieux flic à 7 jours de la retraite et un jeune détective aux dents longues. Voilà pour Seven, de David Fincher sorti en 1995, deuxième film de ce jeune réalisateur américain après Alien 3. David Fincher vient du clip et de la publicité. A sa sortie, le film est unanimement considéré comme un grand film avec une esthétique propre, aussi macabre que sinistre, une œuvre qui nʹa rien à voir avec le polar hollywoodien. Lʹhistoire expose le mode opératoire dʹun tueur en série retors, qui base ses crimes sur les 7 péchés capitaux. 7 jours, 7 péchés, 7 meurtres tous plus vicieux les uns que les autres. Dans les rôles principaux on trouve Brad Pitt et Morgan Freeman. On y croise aussi Gwyneth Paltrow, R. Lee Ermey et Kevin Spacey. Kevin Spacey nʹest pas mentionné au générique, on vous expliquera pourquoi. Ce qui frappe dans Seven, cʹest son esthétique on vous lʹa dit qui, littéralement, révolutionne le genre. Il y aura un avant et un après Seven. De même, on peut souligner un générique extraordinaire signé Kyle Cooper sur une musique remixée de Nine Inch Nails. Là aussi, il y aura un avant et un après Seven. Malgré son parti pris violent, le film séduit à la fois la critique et le public. Les crimes à fort relent de morale chrétienne, cette chappe de plomb qui semble assommer toute la ville et les personnages, le fait que lʹespoir nʹest jamais permis font de ce thriller bien ficelé un classique du cinéma. REFERENCES DJOUMI, Rafik, Seven, Production by design, in David Fincher, néo-noir, Editions Rockyrama, 2021 Darius Khondji masterclass Cannes 2022 Parrain de la promotion 2021, Darius KHONDJI a donné une Masterclass au Cinéum de Cannes. https://www.youtube.com/watch?v=Ev8v-gwNV1U GOFFART, Juliette, David Fincher, Lʹobsession du mal, Marest Editeur, Paris, 2021 Le making-of https://www.youtube.com/watch?v=vk8QNBz_BDI

This week on Mummy Dearest Podcast we unwrap 1995's feel good family fun film: "Se7en". Because we are in our new era we stay very much on track for this film with only a few detours! Zach talks about his love of strip clubs that serve brunch and Sloane tells a story about an encounter with a stinky stripper. We ask a lot of important questions this episode like: what does Kevin Spacey's daily schedule as this serial killer look like? Does he ever get cozy and watch Frasier? All this and so much more on this week's episode of Mummy Dearest Podcast!Support the showVisit MummyDearestPodcast.com for merch and more!Follow the podcast on Instagram!Follow Sloane on Instagram!Follow Zach on Instagram!And most importantly, become a Patron and unlock hundreds of bonus episodes!

Something a bit lighter this week as we leap to 2011 romantic comedy Midnight In Paris for the last of Glenn's three films. A favourtie of Glenn's, but unseen my Scott and Mike… what will they think? We leapt here with cinematographer Darius Khondji.

Ben & Rob open the box to find ‘Se7en', their first episode covering EVERY David Fincher movie EVER!!!Following the disastrous results of his directorial debut, Fincher would have to wait three years before winning a second opportunity to make a full length feature. Written by Andrew Kevin Walker, shot by Darius Khondji and starring Morgan Freeman, Brad Pitt, Gwyneth Paltrow, Martin Serene and Kevin Spacey, ‘Se7en' is possibly the greatest ever example of the neo-noir detective genre. David Fincher starts his journey to directorial stardom with a story of two detectives, a rookie and a veteran, hunting a serial killer who uses the seven deadly sins as his motives. But how on earth did Fincher survive the crushing defeat of his first picture and still manage to attract an allstar cast to his sophomore picture? How many different endings were pitched for this movie and were all of them terrible? What's in the box? WHAT'S IN THE BOOOOOX?!?!CONSUUUME to find out all this and much MUCH more!PLUS! We have a YouTube with EXCLUSIVE content just for you - click the link below!Find us on your socials of choice or WATCH this episode at www.linktr.ee/everymovieeverpodcast

Stagione 1 - Episodio 1 - Catturiamo Maxime nel bel mezzo di sopralluoghi a Venezia, dove vive. Maxime ci racconta di quando da bambino segue il padre Inigo Lezzi aiuto regista su set, dove può giocare a pallone sulla luna, e recitare con Nanni Moretti. Quando la famiglia si trasferisce a Parigi alla fine degli anni '80, ha modo di vedere all'opera DP leggendari come Darius Khondji, ASC, AFC; Jean-Yves Escoffier, AFC; Pierre Lhomme, AFC; Vilko Filač; Tonino Delli Colli, AIC e Franco Di Giacomo, AIC, tra gli altri. Nel 2001 incontra Alexandre Aja e Grégory Levasseur per la seconda unità per il padre di Aja, Alexandre Arcady, in "Break of Dawn". Due anni dopo, Aja, Levasseur e Maxime collaborano al debutto alla regia di Aja, "High Tension". Maxime è nominato dalla rivista Variety per il "Variety's 10 Cinematographers to Watch" nel 2006. Maxime è tra i soci fondatori di CCS e dal 2024 è anche membro di ASC. Stefano De Pieri, CCS e Corrado Serri, CCS hanno conversato con Maxime. La musica originale è composta da Stefano Ratchev. Presa diretta e postproduzione audio di Damiano Colosimo. Registrazione effettuata presso gli Studi Abbey Rocchi di Roma. La Voce nella sigla è del nostro amico Ninni Bruschetta.

Catturiamo Maxime nel bel mezzo di sopralluoghi a Venezia, dove vive. Maxime ci racconta di quando da bambino segue il padre Inigo Lezzi aiuto regista su set, dove può giocare a pallone sulla luna, e recitare con Nanni Moretti. Quando la famiglia si trasferisce a Parigi alla fine degli anni '80, ha modo di vedere all'opera DP leggendari come Darius Khondji, ASC, AFC; Jean-Yves Escoffier, AFC; Pierre Lhomme, AFC; Vilko Filač; Tonino Delli Colli, AIC e Franco Di Giacomo, AIC, tra gli altri. Nel 2001 incontra Alexandre Aja e Grégory Levasseur per la seconda unità per il padre di Aja, Alexandre Arcady, in Break of Dawn. Due anni dopo, Aja, Levasseur e Maxime collaborano al debutto alla regia di Aja, High Tension. Maxime è nominato da «Variety» per il Variety's 10 Cinematographers to Watch nel 2006. Maxime è tra i soci fondatori di CCS e dal 2024 è anche membro di ASC. Stefano De Pieri, CCS e Corrado Serri, CCS hanno conversato con Maxime. La musica originale è composta da Stefano Ratchev. Trailer editato da Stefano de Pieri, CCS.

Dans ce tout nouveau dossier retour sur un véritable diamant noir à la fois brut, moderne et épuisant avec Uncut Gems des frères Safdie. Quand Adam Sandler délaisse la comédie pour mieux se glisser dans la peau d'un joailler looser, criblé de dettes et qui ne cesse de prendre les mauvaises décisions, le tout devant la caméra de Benny et Josh Safdie (jeunes prodiges issus du cinéma indépendant new-yorkais) cela donne forcément un polar cinéphile, hors-normes et au rythme éreintant. Et qui de mieux que Bertrand Mougnaud de l'excellente chaîne Youtube Festi2films pour évoquer cette oeuvre d'une densité folle et sortie par chez nous sur la plateforme Netflix ?  "This Is How I Win." Retrouvez la photo signalétique de l'invité en début d'émission ainsi que les complices (un film dans le même giron) en toute fin de podcast. Avec dans cet épisode un retour sur l'autodestructeur Bad Lieutenant le chef-d'oeuvre d'Abel Ferrara (1992) et le méconnu et pourtant totalement dévastateur Talk Radio d'Oliver Stone (1988).

On our final episode of 2022, we are honored to speak to innovative cinematographer, Darius Khondji. Darius is known for his work on films such as Se7en and Amour. Today he shares what inspires him, and he also explains what it was like working on the film, Bardo: False Chronicle of a Handful of Truths. Bardo is now available on Netflix. In this episode, we talk about… Why he first fell in love with large format Loving the idea of the actor being very big on screen Deciding on what camera and lenses to use for the film  The strong connection he had with the director and the lead Being influenced by other films or works of art What seduced him the most about the story from the beginning Deciding to work on a film based on who the director is The type of genre he would love to work on Memorable Quotes “I love large format…I love working in large format. I love the actors being larger than life.” [4:42 “I love the way the camera tells the story. The presence of the characters and the presence of the landscape of this camera.” [8:43] “You have to be very careful with inspiration. Inspiration is just a fragrance.” [14:23] Mentioned Bardo: False Chronicle of a Handful of Truths Find No Film School everywhere: On the Web https://nofilmschool.com/   Facebook  https://www.facebook.com/nofilmschool   Twitter  https://twitter.com/nofilmschool   YouTube  https://www.youtube.com/user/nofilmschool Instagram https://www.instagram.com/nofilmschool Get your questions answered on the podcast by emailing editor@nofilmschool.com!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

For this week's second podcast review, I am joined by Ema Sasic, Eve O'Dea, Josh Parham, Tom O'Brien and guest Ryan McQuade to talk about the latest film from Academy Award-winning director Alejandro G. Iñárritu, "Bardo, False Chronicle Of A Handful Of Truths," starring Daniel Giménez Cacho, Griselda Siciliani, Ximena Lamadrid, Iker Sanchez Solano, Andrés Almeida & Francisco Rubio. Described as a state of mind, the nearly three-hour arthouse film originally premiered at the Venice International Film Festival to negative reviews and has since been received more favorably after it got re-edited and is now streaming on Netflix. What did we think of the dream-like imagery, the messages Iñárritu wanted to convey, the performances, and the gorgeous cinematography from Darius Khondji? We discuss all of this and the film's Oscar prospects in our review below. Thank you for listening, and enjoy!   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

This week John, Dave, & Jeff discuss Armageddon Time, the mostly autobiographical account of writer/director James Gray about the first few months of his 6th grade school year in 1980 Queens, NYC. We drink beer and talk about how the film discusses privilege, capitalism, family values, friendship, adversity, Anthony Hopkins, and being a mensch. We were also going to discuss The Banshees of Inisherin but John lives in LA and apparently thieves are stealing parts of cars to resell on the black market. Fcking chop shop mfers. So just Armageddon Time this week! It's a prescient film and we hope you talking about it with us on the socials! Find all of our Socials at: https://linktr.ee/theloveofcinema Additional Cast/Creatives: Anne Hathaway, Jeremy Strong, Jaylin Webb, Banks Repeta, Andrew Polk, Darius Khondji, and Jessica Chastain. Hosts: Dave Green, Jeff Ostermueller, John Say. Edited and produced by Dave Green. Music: soundcloud.com/dasein-artist Beer: @cbarrozo.beer Additional Tags: Rockets, Dinner Table, Dumplings, public school, private school, Forrest Hills, Fred Trump, Stock Buy-Backs, WWI movies, WWII movies, Bruce Willis, Ben Affleck, Steve Buscemi, Aerosmith.

We welcomed director James Gray and cast members Anne Hathaway, Jeremy Strong, Banks Repeta, and Jaylin Webb to present and discuss Armageddon Time, the 60th Anniversary Celebration and Main Slate selection of this year's festival, with NYFF Artistic Director Dennis Lim. The most personal film yet from James Gray (The Immigrant, The Lost City of Z) is also one of his greatest, an exquisitely detailed and deeply emotional etching of a time and place: Queens, 1980. Set against the backdrop of a country on the cusp of ominous sociopolitical change, Armageddon Time follows Paul Graff (Banks Repeta), a sixth grader who dreams of becoming an artist. At the same time that Paul builds a friendship with classmate Johnny (Jaylin Webb), who's mercilessly targeted by their racist teacher, he finds himself increasingly at odds with his parents (Jeremy Strong and Anne Hathaway), for whom financial success and assimilation are key to the family's Jewish-American identity. Paul feels on firmest ground with his kind grandfather (a marvelous Anthony Hopkins), whose life experiences have granted him a weathered compassion. Rejecting easy nostalgia for a more difficult, painful form of recall, Gray's film—shot with intimate naturalism by Darius Khondji—is a perceptive and humane coming of age story that does what only cinema can do, elevating the smallest moments into the greatest drama. A Focus Features release.

Cʹest certainement le plus grand thriller des années 90. Un polar dépressif, sombre, entêtant, des crimes atrocement mis en scène, une esthétique particulière, noyée de pluie, un vieux flic à 7 jours de la retraite et un jeune détective aux dents longues. Voilà pour Seven, de David Fincher sorti en 1995, deuxième film de ce jeune réalisateur américain après Alien 3. David Fincher vient du clip et de la publicité. A sa sortie, le film est unanimement considéré comme un grand film avec une esthétique propre, aussi macabre que sinistre, une œuvre qui nʹa rien à voir avec le polar hollywoodien. Lʹhistoire expose le mode opératoire dʹun tueur en série retors, qui base ses crimes sur les 7 péchés capitaux. 7 jours, 7 péchés, 7 meurtres tous plus vicieux les uns que les autres. Dans les rôles principaux on trouve Brad Pitt et Morgan Freeman. On y croise aussi Gwyneth Paltrow, R. Lee Ermey et Kevin Spacey. Kevin Spacey nʹest pas mentionné au générique, on vous expliquera pourquoi. Ce qui frappe dans Seven, cʹest son esthétique on vous lʹa dit qui, littéralement, révolutionne le genre. Il y aura un avant et un après Seven. De même, on peut souligner un générique extraordinaire signé Kyle Cooper sur une musique remixée de Nine Inch Nails. Là aussi, il y aura un avant et un après Seven. Malgré son parti pris violent, le film séduit à la fois la critique et le public. Les crimes à fort relent de morale chrétienne, cette chappe de plomb qui semble assommer toute la ville et les personnages, le fait que lʹespoir nʹest jamais permis font de ce thriller bien ficelé un classique du cinéma. REFERENCES DJOUMI, Rafik, Seven, Production by design, in David Fincher, néo-noir, Editions Rockyrama, 2021 Darius Khondji masterclass Cannes 2022 Parrain de la promotion 2021, Darius KHONDJI a donné une Masterclass au Cinéum de Cannes. https://www.youtube.com/watch?v=Ev8v-gwNV1U GOFFART, Juliette, David Fincher, Lʹobsession du mal, Marest Editeur, Paris, 2021 Le making-of https://www.youtube.com/watch?v=vk8QNBz_BDI

Darius Khondji, director de fotografía franco-iraníreconocido por películas como “Delicatessen” y “Medianoche en París”, habló enLa W sobre su reconocimiento desde Cannes.

EPISODE 135 - DARIUS KHONDJI - Cinematographer Team Deakins talks with cinematographer Darius Khondji (UNCUT GEMS, ALIEN RESURRECTION, SE7EN). We talk a lot about light, specifically learning how to light and how he started to learn with natural light. He shares the experience of working with David Fincher on the film Se7en and how their collaboration allowed him to take risks. He speaks about how important it is to get to understand the director and how he sees visual style as a house that you have to find the key to unlocking and that he usually finds this key through the character. Darius tells us about working on the movies Lost City of Z, Uncut Gems, My Blueberry Nights, and Amour. He also shares his thoughts on working in features and television. A wonderful glimpse into the eye of a great cinematographer!

The two episode premiere of Stephen King's 2006 novel with the same name just dropped earlier today on Apple TV. Combining an A-list cast with JJ Abram's production company (Bad Robot), Pablo Larraín's direction (Jackie), and Darius Khondji's cinematography (Midnight in Paris),  you couldn't ask for much more as a screenwriter. So does Stephen Kings script hold up? Join us as we discuss the first two episodes of this psychological thriller. Since we previously covered the 2020 adaptation of The Stand, we of course compare the two shows as well as other notable works by the 'King' of horror. 

Film Roundtable Community, Our team is taking a short break while we brew up some exciting new roundtables and implement site modifications. In the meantime, we wanted to ensure you’ve heard some of our all time favorite episodes... Almost a year ago, Darius Khondji & Bradford Young came on our show and had a conversation expressing their views on light, inspiration, and letting yourself follow the river of those two interwoven mediums of expression. Please enjoy this candid talk including two of our favorites guests, led beautifully by Film Roundtable co-founder Doug Torres, and re-charge on the energy they emit through their work and words. See you soon.

Episode 253: The Crew's stunned with all the camera porn in David Fincher's Panic Room. The majority of the film takes place in a house and Fincher still finds a way to move the camera (with the help of CGI). This film was a big hit for Fincher after Fight Club's disappointing box office. But the production had a ton of problems; the cinematographer was “let go” after 6 weeks, Jodie Foster replaced Nicole Kidman after 18 days of shooting, and equipment was constantly breaking. And why isn't this film available on blu-ray or UHD? If you like our music intro, head over to Soundcloud and hear more amazing music from aquariusweapon. Aquariusweapon can also be found on YouTube. Contact: themoviecrewe@gmail.com

On our first episode we were joined by culture journalist and OG #BongHive advocate, Iana Murray to discuss Bong Joon-ho's Okja, which was released on Netflix in 2017. Okja was co-written by Jon Ronson, shot by Darius Khondji and scored by Jung Jaae-il. The film stars Paul Dano, Ahn Seo-hyun, Tilda Swinton, Jake Gyllenhaal, Byun Hee-bong, Steven Yuen, Giancarlo Esposito, Lily Collins, Yoon Je-moon and Shirley Henderson. You can find Iana Murray on Twitter and Instagram (@ianamurray). Here's a link to her work. Please drop us a Five Star Review us at Apple Podcasts. Find us on Twitter and Instagram (@ispauldanook), and drop us an email at ispauldanook@gmail.com

Robby Baumgartner began his film career 28 years ago in New York City. His interest in lighting inspired him to choose the unconventional route to DP via Gaffing.This career path allowed him to light films and learn from some of the most talented DP's in the business: Rodrigo Prieto, Chris Menges, Robert Elswit, Dante Spinotti, Darius Khondji, Janusz Kaminski, and Emmanuel Lubezki. Some of the films include: “8 Mile”, “25th Hour”, “21 Grams”, “Babel”, “Three Burials of Melquiades Estrada”, and “There Will be Blood”.In between Gaffing gigs he took every opportunity to DP or camera-operate on feature films, 2nd-unit photography, commercials, and shorts.Then in 2008 “There Will be Blood” shot by Robert Elswit, won the Oscar for Best Cinematography; the highest honor for any DP/Gaffing team. That event was the impetus for Robby to stop gaffing and DP exclusively.In 2009 Robby joined the International Cinematographers Guild as a DP. Since then he has gone on to shoot 2nd unit on both “Hunger Games” l and ll, “Water for Elephants”, and “Argo” amongst other films. For the last 5 years he has been concentrating on shooting main unit for films such as “The Guest”, “Blair Witch (2016)” and now “Blindspotting”, which has been selected for competition in the US Dramatic category at the 2018 Sundance Film Festival.W: http://robbybaumgartner.com/about/Like to have a ASC cinematographer as a mentor?Have you thought of upgrading your cinematography game? Would you like to have an ASC Cinematographer mentor you for free? Join veteran cinematographer Suki Medencevic, A.S.C. (Disney, Pixar, FX Networks, Netflix, American Horror Story). He teaches you how to create beautiful images using three lighting techniques he has mastered on film sets over his 30+ years in the film industry. Each technique uses basic, low-cost lighting equipment so that anyone can achieve beautiful visuals no matter your projects's budget.Learn film lighting from an ASC cinematographer. If you want to take your cinematography to the next level, this free training will get you there. These videos are available for a limited time, so sign up for instant access. CLICK HERE TO REGISTERhttps://www.ifhacademy.com/a/28632/aLFBXkpNIf you liked this podcast, shoot me an e-mail at filmmakingconversations@mail.comAlso, you can check out my documentary The People of Brixton, on Kwelitv here: https://www.kweli.tv/programs/the-people-of-brixtonDamien Swaby Social Media Links:Instagram https://www.instagram.com/filmmaker_damien_swaby/Twitterhttps://twitter.com/DamienSwaby?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5EauthorWebsite http://filmmakingconversations.com/If you enjoy listening to Filmmaking Conversations with Damien Swaby, I would love a coffee. Podcasting is thirsty work https://ko-fi.com/damienswaby

In der ersten Folge des Podcasts "Meine Lieblingsszene" ist DoP Markus Förderer zu Gast. Zusammen mit Gastgeber Timo Landsiedel fachsimpelt er darüber, was die ungewöhnliche Verfolgungssequenz in David Finchers "Se7en" so besonders macht. Präsentiert wird "Film & TV Kamera: Meine Lieblingsszene" von Xinegear – Professional Tools for Filmmakers https://www.xinegear.com

Michael Haneke is always one to provoke with his films, but rarely do they feel so personal as his 2012 film Amour. He pulled from personal experience with the suicide of his 90-year-old aunt to write the story and then crafted a film that maintains the Haneke distance even while allowing for an emotional film. Join us – Pete Wright and Andy Nelson – as we continue our Foreign Language Films Nominated for Best Picture series with Haneke’s 2012 film Amour. We talk about why this film works even though it’s a film that’s incredibly hard to watch. We chat about Haneke and his filmmaking style, and how that pairs with Darius Khondji’s cinematography. We discuss the powerful performances at the heart of this film from Jean-Louis Trintignant and Emmanuelle Riva. We debate the nature of this type of story and what it takes to be nominated for Best Picture. And we look at the still camerawork throughout and return to one of our favorite websites, Cinemetrics, to look at average shot length. It’s not an easy film to watch but it is one that lingers. We have a great chat about it on this week’s show so check it out then tune in! The Next Reel – when the movie ends, our conversation begins! Khondji Nights: Something Darius Khondji did so well when working with David Fincher he does here in spades — filming night scenes so dark that you can’t see anything happening on screen at all, to the point you think the projection is somehow broken. Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel! Film Sundries Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM. Watch this film: iTunes • Amazon • Netflix • YouTube Script Transcript Original theatrical trailer Original poster artwork Flickchart Letterboxd

Michael Haneke is always one to provoke with his films, but rarely do they feel so personal as his 2012 film Amour. He pulled from personal experience with the suicide of his 90-year-old aunt to write the story and then crafted a film that maintains the Haneke distance even while allowing for an emotional film. Join us – Pete Wright and Andy Nelson – as we continue our Foreign Language Films Nominated for Best Picture series with Haneke's 2012 film Amour. We talk about why this film works even though it's a film that's incredibly hard to watch. We chat about Haneke and his filmmaking style, and how that pairs with Darius Khondji's cinematography. We discuss the powerful performances at the heart of this film from Jean-Louis Trintignant and Emmanuelle Riva. We debate the nature of this type of story and what it takes to be nominated for Best Picture. And we look at the still camerawork throughout and return to one of our favorite websites, Cinemetrics, to look at average shot length. It's not an easy film to watch but it is one that lingers. We have a great chat about it on this week's show so check it out then tune in! The Next Reel – when the movie ends, our conversation begins! Khondji Nights: Something Darius Khondji did so well when working with David Fincher he does here in spades — filming night scenes so dark that you can't see anything happening on screen at all, to the point you think the projection is somehow broken. Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM. Watch this film: iTunes • Amazon • Netflix • YouTube Script Transcript Original theatrical trailer Original poster artwork Flickchart Letterboxd

This episode is filled with wonderful imagery of how man works in nature but never tries to alter it. Bradford makes a good point for the young filmmakers who joined into the Webinar to never be afraid of the challenge of working with limited resources to tell your story.

durée : 00:24:30 - Boomerang - par : Augustin Trapenard - En raison des circonstances exceptionnelles liées au Covid-19, Boomerang vous propose de redécouvrir certains de ses plus grands entretiens. Aujourd'hui, dans le cadre d'une quinzaine consacrée au cinéma, le chef opérateur Darius Khondji, invité de Boomerang en juin 2017.

Uncut Gems is a 2019 American crime thriller directed by Josh and Benny Safdie, who co-wrote the screenplay with Ronald Bronstein. The film stars Adam Sandler, Kevin Garnett, Lakeith Stanfield, Julia Fox, Mike Francesa, Idina Menzel, and Eric Bogosian. The plot follows Howard Ratner, a jeweler and gambling addict in New York City's Diamond District, who gets in over his head with loan sharks and must retrieve an expensive gem he purchased in order to pay off his debts. Filming for the project took place from September to November 2018. The original score was composed by Daniel Lopatin. Uncut Gems had its world premiere at the Telluride Film Festival on August 30, 2019, and was theatrically released on December 13, 2019 by A24. The film received critical acclaim, with its screenplay, direction, Sandler's performance and Darius Khondji's cinematography receiving much of the praise, and was chosen by the National Board of Review as one of the top ten films of 2019, with Sandler also winning Best Actor. It became one of A24's highest-grossing releases, having made $43 million. To JOIN our Channel as a FAMILY GUEST please follow this link! https://www.youtube.com/c/nadiasawalhaandfamily/join --- Send in a voice message: https://anchor.fm/popcorn-junkies/message

The Safdie Brothers break down their improbable 10 year journey to making "Uncut Gems," working their way through a handful of different NBA stars (including Kobe Bryant), while "earning their stripes" and learning how to tell a story of this scale. What it meant to go union, how famed cinematographer Darius Khondji helped shape the project and sound mixer Skip Lievsay introduced them to incredible possibilities with sound.

Robby Baumgartner began his film career 28 years ago in New York City. His interest in lighting inspired him to choose the unconventional route to DP via Gaffing. This career path allowed him to light films and learn from some of the most talented DP’s in the business: Rodrigo Prieto, Chris Menges, Robert Elswit, Dante Spinotti, Darius Khondji, Janusz Kaminski, and Emmanuel Lubezki. Some of the films include: “8 Mile”, “25th Hour”, “21 Grams”, “Babel”, “Three Burials of Melquiades Estrada”, and “There Will be Blood”. In between Gaffing gigs he took every opportunity to DP or camera-operate on feature films, 2nd-unit photography, commercials, and shorts. Then in 2008 “There Will be Blood” shot by Robert Elswit, won the Oscar for Best Cinematography; the highest honor for any DP/Gaffing team. That event was the impetus for Robby to stop gaffing and DP exclusively. In 2009 Robby joined the International Cinematographers Guild as a DP. Since then he has gone on to shoot 2nd unit on both “Hunger Games” l and ll, “Water for Elephants”, and “Argo” amongst other films. For the last 5 years he has been concentrating on shooting main unit for films such as “The Guest”, “Blair Witch (2016)” and now “Blindspotting”, which has been selected for competition in the US Dramatic category at the 2018 Sundance Film Festival.

Movie Meltdown - Episode 500 This week we round-out our coverage of Flyover Film Fest as we sit down and talk with director Ani Simon-Kennedy about her life as a filmmaker as well as her latest movie The Short History of the Long Road. And as we decide if we’re going to live off the grid, we also address… Sabrina Carpenter, Bad Times at the El Royale, Straight to Hell, Wes Anderson, one of the directors of the Tribeca Film Festival, Darius Khondji, shifting landscape of how people watch movies, van dwelling, wonderful memories of small theaters and renting movies at the video store, Days of Gray, gigantic corporation with social justice cause with celebrity, my most addictive vice, Mark Friedberg, tonal music, the magician's assistant, the great equalizer, how to manipulate people, Joe Strummer, saved up all my babysitting money, Fantastic Mr. Fox, a punk rock spaghetti western, Midnight in Paris, so many middlemen in the advertising industry, Cynthia Erivo, just the way she was able to think on her feet… was so much like the character, need people to be there, Chris Hemsworth, flexing those muscles, Girl Meets World, the detail built into the set design, how much that makes you into such a chameleon, all they do is drink coffee, would make these little shorts… and I was kind of the director by default, my favorite thing is a weird cult, Alex Cox, The Hate U Give, Woody Allen, would yell at me because I wouldn't rewind VHS tapes, playlists for characters, production designer, crafting a capable character, in the art department, digital nomads and a post-apocalyptic silent film in Iceland.  “...you know, I mean, it’s an indie movie and it’s about this very specific world, and we wanted to stay true to that… and Sabrina was like - all in!” For more on Ani’s movie, go to: https://www.shorthistorylongroad.com/  And for more information on “Flyover Film Fest”, go to: https://www.louisvillefilmsociety.org/ 

Darius Khondji, l'un des plus grands chefs opérateurs – ou « cinematographers », terme préféré par lui-même – du cinéma contemporain fait son entrée dans le cycle de rencontres du LuxFilmFest. Né d'un père iranien et d'une mère française, Darius Khondji revient sur un parcours l'ayant conduit de Paris à Hollywood, l'établissant rapidement comme l'une des références absolues de la composition de l'image. On doit à Darius Khondji certaines des plus importantes photographies du siècle. Difficile d'établir une filmographie sélective tant son œuvre est immense, mais citons : « Delicatessen » (1991) de Jean-Pierre Jeunet et Marc Caro, « Seven » (1995) de David Fincher, « La neuvième porte » (1999) de Roman Polanski, « Minuit à Paris » de Woody Allen, « Amour » (2012) de Michael Haneke, « The Lost City of Z » (2016) de James Gray, ou encore, plus récemment, la série « Too Old to Die Young » de Nicolas Winding Refn. L'éclairage sur cette carrière d'exception est assuré par Jordan Mintzer, l'auteur du livre « Conversations avec Darius Khondji » et critique de cinéma pour le « Hollywood Reporter ». Au cours de leur conversation, Darius Khondji parle de l'évolution de son métier au cours des années et dans l'ère du cinéma numérique, de l'impact de différents réalisateurs sur son travail de « cameraman », et des différences d'approche à ses films et sa première série, « Too Old to Die Young » de Nicolas Winding Refn. Avant de répondre à des questions du public, il aborde l'importance de sortir de sa zone de confort pour progresser et trouver des nouveaux aspects intéressants et créatifs – un défi auquel il était confronté au tournage de « Seven ». Et finalement, il répond à la question qui hante beaucoup de directeurs de la photo si un bon film doit forcément être beau ? Sa réponse vous surprendra. Enregistré devant public le 9 mars 2019 à la Cinémathèque de la Ville de Luxembourg lors du 9e Luxembourg City Film Festival. Contient des extraits des films « Seven » (1995) de David Fincher et « Amour » (2012) de Michael Haneke.

Podcast dedicado a analizar "The lost city of Z" y el trabajo del director de fotografía Darius Khondji

Entrega número 175 de La Gran Evasión, en 1995, David Fincher nos obligó a echar un vistazo a la podrida alma de cualquier ciudad moderna, y lo que vimos, y seguimos viendo hoy en día, es un mundo deshumanizado, una sociedad enferma de soledad, una epidemia para la que sigue sin haber cura… La historia de Seven te atrapa por su estética y por su fondo, cuenta con uno de los finales más potentes del cine. Te llena de desazón esa sociedad enferma que nos muestra, donde se han perdido los valores, accedemos al terrario y observamos el aislamiento del hormiguero al que el hombre ha sido arrojado, el individualismo predomina, la religión confunde aún más, el conocimiento atormenta aún más, ese John Doe, da miedo porque puede ser, o es real, por imposible que parezca, porque parte de razonamientos lógicos, tiene un fin intelectual, ese mundo apocalíptico que retrata…..está aquí, somos nosotros. El guión de Andrew Kevin Walker y la dirección de Fincher, desmenuzan los males de la sociedad moderna, una ciudad desquiciada, moribunda, con ese aire apocalíptico, es inevitable pensar en Blade Runner, la lluvia, la oscuridad, el desencanto, los interiores decadentes… La aparición de John Doe, un Kevin Spacey excepcional, es sorprendente, un psicópata que es más un ángel exterminador, que un loco, tiene una misión divina, como dicen los detectives, nos sermonea…y claro, caemos en la trampa de los argumentos de Doe, ese discurso final en el coche lo delata, y a los espectadores, porque las víctimas de esos pecados también lo son a nuestros ojos, esa denuncia es la que hace Fincher, esa degradación moral a la que hemos llegado…ese desquiciamiento es Seven. La luz verdosa y ocre de los interiores hace recordar al Klute de Pakula, la fotografía de Darius Khondji es extraordinaria, porque integra lo estético dentro de la psicología de la historia, el estado anímico de los personajes y su viaje emocional, se cuenta a través de la luz, de todo el diseño de producción, de la atmósfera que consigue Fincher, apoyado en la fabulosa banda sonora de Howard Shore. Una pareja de actores grandiosos, es perfecta las escenas de presentación de los policías, con detalles cuidadísimos vemos el carácter de cada uno, son el anverso y el reverso de una misma moneda. Somerset (Morgan Freeman) está agotado de su trabajo, mejor dicho, de lo que conlleva, porque ama su profesión y a la vez se siente inútil ante el mal, que se supone combate. Es pulcro, minucioso, detallista, lo vemos al vestirse y ordenar su trabajo, el detalle del metrónomo y la navaja, es un contrincante formidable para un psicópata formidable, representa la antítesis de es esos pecados que pretende castigar John Doe. Mills (Brad Pitt) es todo lo contrario, es impulsivo, un idealista, su ropa está arrugada, su mundo está en desorden porque persigue un ideal, al que ha arrastrado a su esposa, está superado por la ciudad y a lo que se enfrenta, su inocencia está en juego, no es rival para el mal. Su esposa, una bellísima Gwyneth Paltrow (Tracy) también se esboza con brillantez, es sensible, amable, fuerte, y está terriblemente sola, ama a su marido y se sacrifica por la carrera de éste, la escena del restaurante, esa charla con Somerset cuando sabemos que esta embarazada, es prodigiosa, paga un precio horrible por amor. Cada víctima fue cuidadosamente seleccionada para que “el pecado se revierta sobre el pecador”. Por eso inquieta tanto la película, por la realidad que desprende, esa conducta psicopática, que parece de un mundo de ciencia ficción, es superada por la realidad, y es razonable que el asesino esté indignado por vivir en un mundo en el que los pecados no se castigan, en el que los vicios se alimentan y exhiben…esa reflexión la deja Seven, deja al descubierto la hipocresía, la moral, la ética, la religión, la culpabilidad, la humildad…la Piedad, todos los valores que hemos perdido. En Seven el motivo para vivir del asesino es su obra, su meticulosidad para preparar los asesinatos durante años, su fuerza de voluntad para esa tarea, sentirse el elegido y ser el que despierte al mundo de su letargo, es su objetivo para vivir y su fundamento para morir. La película termina con unas palabras de Ernest Hemingway, en Por quién doblas las Campanas: «El mundo es un bello sitio por el que vale la pena luchar». Somerset agrega: «Estoy de acuerdo con la segunda parte». Una obra subyugante que se queda contigo y te interpela, todos necesitamos motivos para vivir, para pelear en este mundo desalmado, que puede ser también maravilloso, una vez que encontramos esas razones para vivir, por muy simples que sean, somos imparables… Sobrecogidos y atemorizados, repasamos los siete pecados capitales desde la decrépita torre de Radiopolis…José Miguel Moreno, Raúl Gallego, Gervi Navio, Paco Vallecillo (trasunto de un John Doe envejecido, al que nunca atraparon), Isabel Moncada y, apuntándonos con su arma, cargada de cine, mientras se quema desde dentro por decidir a quién disparar primero…..nuestro crítico, César Bardés. Gervasio Navío Flores.

«Mi mamá siempre decía que no había monstruos, que no eran de verdad... pero sí los hay.»Sí. Los hay. En forma de podcast.A estas alturas no creo que hagan falta demasiadas presentaciones, y los que habéis estado ahí expectantes durante meses enteros (mil gracias a vosotros y a vuestra tara mental) ya sabéis de qué va todo esto —la palabra sandez la inventaron para nosotros—, pero a buen seguro todavía existen incautos que pueden caer sin comerlo ni beberlo en nuestra red de insensateces. Para ellos va esta introducción.Qué coño, y para los demás también, que para algo me mato a escribirla.El camino ha sido largo y difícil —casi tanto como aceptar como bueno un aborto blanco de dientes largos y nariz de murciélago— y sentimos la tardanza casi tanto como volver a ver Alien³, pero como siempre dice mi buen amigo (je) Jaume cuando le fustigo para que termine de una puta vez la portada de turno: «¿lo queríais rápido o lo queríais bien hecho?» Bien, pues ni lo uno ni lo otro, pero bueno, no creo que nos bajen el sueldo por ello...Y finalmente aquí está.Disponeos, oh, fiel mercado de lectores, a revivir con nosotros, así como hicisteis con la épica Dragonball y Dragonball Z, esta Gran Saga que es la del Linguafoeda Acheronsis.La lengua mortífera de Acheron.EL ALIEN.Daremos los primeros pasos de esta larga cruzada a bordo de la Nostromo, de vuelta a 1979 y a esa gran película de Ridley Scott, el director que ansiaba hacer una Masacre de Texas espacial a la vez que seguía la... emm, ¿estela? de 2001: Una odisea del espacio. El parto de la saga fue tan brutal como el de la mismísima criatura, obra del suizo Hans Ruedi Giger, y llevó al terror cinematográfico tan lejos que los dueños de las salas de cine donde se proyectaba cortaban la escena para evitar la desbandada masiva de clientes horrorizados. Mientras, Scott ya podía sonreír maliciosamente desde su rincón con el orgullo de saber que había hendido la historia del celuloide con dientes afilados como lanzas. Y eso que al final la joven y novata Sigourney Weaver no salía desnuda en los últimos minutos del film...Luego toca el obligado transbordo a la Sulaco, y nada de lo que pueda decir ahora rendirá suficiente homenaje a la magna obra de James Cameron: ALIENS. Nunca segundas partes fueron buenas. Sí, ya. Ese hombre, rodeado todavía por las llamas del éxito de Terminator, alzó, expandió y glorificó la saga. Llevó al alien al siguiente nivel; le dio profundidad, lo insufló de nueva vida, y todo esto a su vez mientras dejaba impoluta e inmaculada la primera parte... No importa las películas que hiciera a posteriori, él ya se siente erguido con los grandes en la cumbre de un género, henchido y negro como la gran viuda negra que creó.Después haremos un alto en el camino para observar y quizás deleitarnos con los frutos obtenidos a raíz de dos peliculones: el crecimiento de todo un universo expandido rico en ideas provechosas que al final quedaron ahogadas en el negro olvido, como una niña rescatada del infierno sólo para dormir con la promesa de la vuelta a casa —soñando durante el camino, sin pesadillas— y no despertar jamás del frío del espacio.Tan frío como le debió de parecer a David Fincher el rodaje de ALIEN³ durante un invierno británico. Una película rodada cual cuadro sobre lienzo malogrado a base de retazos de telas baratas. Una película que antes de llegar a EEUU para la postproducción era mucho más larga y mucho más gore; quizás un reflejo de la frustración de un director que recogía los pedazos de sueños que otros habían dejado atrás. El del director Renny Harlin era ir un paso más allá, al planeta de origen del alien, pero abandonó porque vio la tormenta que se avecinaba. El de Vincent Ward era recoger esa tormenta y convertirla en una tribulación espiritual a nivel colectivo entre una colonia de monjes en un planeta de metal rodeado por una estación espacial de madera, pero su visión medieval del terror quedó tiznada.Fincher no pudo ni siquiera aprovechar muchas de las ideas del propio Giger, que para su nuevo hijo había diseñado toda una serie de nuevas características, como cuchillas en las manos, o una boca «erótica» con una lengua que extraía las entrañas de sus víctimas. O incluso un facehugger reina... Y aún así hay que reconocer que hizo lo que pudo. El joven director utilizó grandes dosis de resolución, toda la paciencia de la que fue capaz, y como bálsamo las melodías del músico Elliot Goldenthal, aficionado a la experimentación sonora. (Ah, y nosotros le añadimos uno al cociente intelectual del personaje llamado Aaron porque somos así de generosos). Su alien finalmente no pudo salir de un buey, pero chillaba como un cerdo.Así no es de extrañar que Walter Hill y David Giler, coproductores de la franquicia, se opusieran a una continuación. Weaver odiaba la idea de Aliens vs. Predator, y necesitaban una película que levantara la saga y la colocara en el pedestal del que había caído.ALIEN RESURRECCIÓN no consiguió eso, pero por lo menos Jean-Pierre Jeunet cerró una especie de ciclo en el que ahora el alien y Ripley tenían una relación más que simbiótica y donde finalmente llegarían a la Tierra, aquel mundo que ya no pueden llamar hogar —aunque luego cortaran la escena con Ripley y Call sentadas ante las ruinas de París y no rodaran la terrible batalla final entre ellas y el alien sobre el planeta. No hay que quitarle mérito a un director que intentó mantener vivo el espíritu de Giger en su ausencia, creando un largometraje diferente, visualmente especial —de colores casi fantasmagóricos—, que quizás podría mantenerse en pie por sí mismo si no lo comparas con sus referentes. En gran parte por el apoyo de los productores y la ayuda de su equipo entre los que destacan, además de los actores, Pitof y Darius Khondji, su cámara, apodado por un buen motivo el «príncipe de la oscuridad».Aliens creados mediante hombres disfrazados y CGI (irónicamente gracias a Blue Sky, el estudio que dio vida a las cucarachas en El cuchitril de Joe). Naves y escenarios llevados a cabo mediante oscuras maquetas iluminadas con dificultad. Los avances tecnológicos salvaron el apartado visual, pero eso hace que se sienta aún más la ausencia del alien alado «recién nacido» del guion original, parido de un útero materno gracias a la sangre de los capturados.Y aún así, la serie se siente inacabada. La desazón es insistente. La última parte del podcast la dedicamos a los cómics restantes y a muchos videojuegos de la franquicia, pero se echa en falta un último estallido.Un punto y final digno que nos deje descansar.Un fundido en negro para que podamos dormir y soñar todo el camino de vuelta a casa.Sin pesadillas.Gracias a todos los que habéis esperado paciente e impacientemente, a Seri de doshorasymedia por su inestimable colaboración, a Dani y Jaume por la portada, y a toda esa gente que se dejó los cuernos para que pudiéramos y podamos disfrutar del monstruo en todas sus facetas.Y aquí el enlance del juego de Aliens en flash.

Avec son nouveau film, James Gray nous raconte l’histoire vraie du colonel britannique Percy Fawcett parti cartographié une zone inexplorée de la Bolivie. L’explorateur se prend de passion pour l’endroit et se lance à la recherche d’une civilisation millénaire dont il veut retrouver la trace. L’histoire nous plonge en pleine aventure, nous fait explorer la jungle et rencontrer des autochtones. On est là dans du vrai cinéma d’aventure classique, le rendu est magnifique et assez époustouflant, l’univers visuel est léché et on retrouve bien cette qualité de pellicule. Mais on reste finalement très centré sur le personnage du héro alors que beaucoup de sujets auraient pu être traités. Il manque une certaine dimension émotionnelle pour être sincèrement happé dans cet univers.Animé par Thomas Rozec avec Stéphane Moïssakis et David HonnoratRÉFÉRENCES CITÉES DANS L’ÉMISSIONThe Immigrant (James Gray, 2013), The Yards (James Gray, 2000), Two Lovers (James Gray, 2008), Francis Ford Coppola, Charlie Hunnam, Sons of Anarchy (Kurt Sutter, 2008), Pacific Rim (Guillermo Del Toro, 2013), Darius Khondji, Little Odessa (James Gray, 1994), La Nuit nous appartient (We Own The Night, James Gray, 2007), Seven (David Fincher, 1995), Eva Mendes, J. J. Abrams, Judd ApatowRETROUVEZ LES RECOMMANDATIONS FAITES EN FIN D'ÉMISSION sur la page Soundcloud officielle des recommandations de NoCiné>> @nocine-reco

This week sees the conclusion of the ALIEN franchise. We discuss its shortcomings — clunky storyline, overzealous editing, Sigourney Weaver as an actor/producer — but then we get stuck into what makes this film really interesting: from French philosophy to cinematographic trickery. This Week's Watching THE KING'S SPEECH (2010): Tom Hooper, Colin Firth, Geoffrey Rush SUICIDE SQUAD (2016): David Ayer, Will Smith, Jared Leto Recommendations DRIVE (2011): Nicolas Winding Refn, Ryan Gosling, Carey Mulligan THE USUAL SUSPECTS (1995): Brian Singer, Stephen Baldwin, Gabriel Byrne LUKE CAGE (2016): Cheo Hodari Coker, Mike Colton, Mahershala Ali HELLBOY (2004): Guillermo del Toro, Ron Perlman, Selma Blair SERENITY (2005): Joss Whedon, Nathan Fillion, Alan Tudyk Footnotes An explanation of Foucault's ‘panopticon' principle can be found here (the ‘panopticon' article takes you to the philosophical origins of Foucault's ideas, so you might prefer to start here). There's more on the ‘bleach bypass' cinematographic technique used by Darius Khondji, and an interesting article — one of a series — that features the work of a variety of cinematographers, Khondji included. We didn't have time to go into the idea of cyclical narratives, but this is good. Finally, proof that Sam's Simone Missick story isn't just the ravings of someone who's watched (and written about) faaar too much LUKE CAGE.

We love doing our Listener’s Choice episodes — it’s a great way for our listeners to get us to finally talk about movies about which conversations are long overdue. Cameron Ryan, our 2014 Pony Prize winner, got to pick the movie this time, and ended up picking the fantastic black comedy “Delicatessen,” a movie that we both love but for whatever reason just hadn’t gotten around to discussing yet. So now finally, join us — Pete Wright and Andy Nelson — as we enjoy another Listener’s Choice episode with one of our faves, the Jean-Pierre Jeunet & Marc Caro 1991 film “Delicatessen.” We talk with Cameron about why she chose this film and what it means to her, as well as the joy of winning the Pony Prize. We discuss the look of the movie — Jeunet and Caro each come from graphical backgrounds and, when paired with Darius Khondji’s beautiful cinematography, as well as the amazing production and costume design, created an unforgettable post-apocalyptic world. We chat about the indelible performances, starting with Dominique Pinon, a perfect choice for someone who was a former circus performer. And we talk about the nature of the story, a very upside down world with hell on earth and underground saviors. It’s a marvelous film that deserves to be talked about, so tune in! Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! The Next Reel on iTunes The Next Reel on Facebook The Next Reel on Twitter The Next Reel on Flickchart The Next Reel on Letterboxd Guess the Movie with The Next Reel on Instagram Check out the Posters with The Next Reel on Pinterest And for anyone interested in our fine bouquet of show hosts: Follow Andy Nelson on Twitter Follow Pete Wright on Twitter Follow Steve Sarmento on Twitter Check out Tom Metz on IMDB Follow Mike Evans on Twitter Follow Chadd Stoops on Twitter Follow Steven Smart on Letterboxd

We love doing our Listener's Choice episodes — it's a great way for our listeners to get us to finally talk about movies about which conversations are long overdue. Cameron Ryan, our 2014 Pony Prize winner, got to pick the movie this time, and ended up picking the fantastic black comedy “Delicatessen,” a movie that we both love but for whatever reason just hadn't gotten around to discussing yet. So now finally, join us — Pete Wright and Andy Nelson — as we enjoy another Listener's Choice episode with one of our faves, the Jean-Pierre Jeunet & Marc Caro 1991 film “Delicatessen.” We talk with Cameron about why she chose this film and what it means to her, as well as the joy of winning the Pony Prize. We discuss the look of the movie — Jeunet and Caro each come from graphical backgrounds and, when paired with Darius Khondji's beautiful cinematography, as well as the amazing production and costume design, created an unforgettable post-apocalyptic world. We chat about the indelible performances, starting with Dominique Pinon, a perfect choice for someone who was a former circus performer. And we talk about the nature of the story, a very upside down world with hell on earth and underground saviors. It's a marvelous film that deserves to be talked about, so tune in! Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we're doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it's just a nice thing to do. Thanks!! The Next Reel on iTunes The Next Reel on Facebook The Next Reel on Twitter The Next Reel on Flickchart The Next Reel on Letterboxd Guess the Movie with The Next Reel on Instagram Check out the Posters with The Next Reel on Pinterest And for anyone interested in our fine bouquet of show hosts: Follow Andy Nelson on Twitter Follow Pete Wright on Twitter Follow Steve Sarmento on Twitter Check out Tom Metz on IMDB Follow Mike Evans on Twitter Follow Chadd Stoops on Twitter Follow Steven Smart on Letterboxd

We love doing our Listener's Choice episodes — it's a great way for our listeners to get us to finally talk about movies about which conversations are long overdue. Cameron Ryan, our 2014 Pony Prize winner, got to pick the movie this time, and ended up picking the fantastic black comedy “Delicatessen,” a movie that we both love but for whatever reason just hadn't gotten around to discussing yet. So now finally, join us — Pete Wright and Andy Nelson — as we enjoy another Listener's Choice episode with one of our faves, the Jean-Pierre Jeunet & Marc Caro 1991 film “Delicatessen.” We talk with Cameron about why she chose this film and what it means to her, as well as the joy of winning the Pony Prize. We discuss the look of the movie — Jeunet and Caro each come from graphical backgrounds and, when paired with Darius Khondji's beautiful cinematography, as well as the amazing production and costume design, created an unforgettable post-apocalyptic world. We chat about the indelible performances, starting with Dominique Pinon, a perfect choice for someone who was a former circus performer. And we talk about the nature of the story, a very upside down world with hell on earth and underground saviors. It's a marvelous film that deserves to be talked about, so tune in!* * *Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we're doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it's just a nice thing to do. Thanks!!- [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2)- [The Next Reel on Facebook](https://www.facebook.com/TheNextReel)- [The Next Reel on Twitter](http://twitter.com/thenextreel)- [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel)- [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/)- [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel)- [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel)And for anyone interested in our fine bouquet of show hosts:- [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm)- [Follow Pete Wright on Twitter](http://twitter.com/petewright)- [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23)- [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1)- [Follow Mike Evans on Twitter](https://twitter.com/ubersky)- [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops)- [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/)

We love doing our Listener's Choice episodes — it's a great way for our listeners to get us to finally talk about movies about which conversations are long overdue. Cameron Ryan, our 2014 Pony Prize winner, got to pick the movie this time, and ended up picking the fantastic black comedy “Delicatessen,” a movie that we both love but for whatever reason just hadn't gotten around to discussing yet. So now finally, join us — Pete Wright and Andy Nelson — as we enjoy another Listener's Choice episode with one of our faves, the Jean-Pierre Jeunet & Marc Caro 1991 film “Delicatessen.” We talk with Cameron about why she chose this film and what it means to her, as well as the joy of winning the Pony Prize. We discuss the look of the movie — Jeunet and Caro each come from graphical backgrounds and, when paired with Darius Khondji's beautiful cinematography, as well as the amazing production and costume design, created an unforgettable post-apocalyptic world. We chat about the indelible performances, starting with Dominique Pinon, a perfect choice for someone who was a former circus performer. And we talk about the nature of the story, a very upside down world with hell on earth and underground saviors. It's a marvelous film that deserves to be talked about, so tune in!* * *Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we're doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it's just a nice thing to do. Thanks!!- [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2)- [The Next Reel on Facebook](https://www.facebook.com/TheNextReel)- [The Next Reel on Twitter](http://twitter.com/thenextreel)- [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel)- [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/)- [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel)- [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel)And for anyone interested in our fine bouquet of show hosts:- [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm)- [Follow Pete Wright on Twitter](http://twitter.com/petewright)- [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23)- [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1)- [Follow Mike Evans on Twitter](https://twitter.com/ubersky)- [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops)- [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/)

Woody Allen continues his tour around European cities. In his new film "To Rome with Love" we follow his tourist frenzy around the Eternal City, like we did in the midnight streets of Paris. But this time, his sponsors in Rome may have little cause to cheer, because the new production contains the least possible Roman element, and an increase in the director's jabbering. The ensemble movie consists of four stories, each one more absurd than the last as they take turns developing as the burnished, golden pictures of cinematographer Darius Khondji. Allen plays a retired opera director who discovers a brilliant tenor in his funeral director in-law, but unfortunately, or rather inconveniently, this amateur tenor sings well only when he takes a shower. The absurdity of this story culminates with a performance in an opera house in a purpose-built shower. Allen's constant chattering makes it all possible. . The next example of jabbering is contributed by Alec Baldwin, playing an architect who observes a younger version of himself caught in a triangular relationship. As a seasoned person both in terms of age and career, Baldwin proves to be a reliable advisor to the youth, who is played by Jess Eisenberg. However, it seems rationale is always a missing ingredient in Allen's interpretation of romance. The young man takes no heed of Baldwin's warning and allows himself to fall for the temptation of the illicit affair. The director's mistrust in love and marriage is further seen by a provincial couple who come to Rome for a new life. Both receive exciting and enlightening sex education courses with persons outside their marriage, before they decide that they are better off at home. The comedy is supplemented by Roberto Benigni's ingenious portrayal of a mundane Roman local. His eventless life takes a dramatic turn when all of a sudden the media finds his dull life worthy of public attention. His taste of fame is fleeting, but carries the full dose of the director's sarcasm. All four stories could have happened in a city other than Rome. And they don't necessarily relate to one coherent idea. The movie incorporates the director's opinion of romance and love, ambition and fame. The only perceivable connection between all four stories is perhaps is that each cast member makes each individual story interesting. If we were to take "To Rome with Love" as a part of Woody Allen's tour of Europe, it will be a failed example, because the movie at its best is a collection of the director's random thoughts imposed on the city of Rome. It would have been a decent movie for an average director, but for Allen, the setbacks are not as easily forgivable. On a scale from one to 10, I think it deserves a five.