Podcasts about haneke

von Anna Wallner. Die Einsparungen im Kulturbudget betreffen vor allem die Filmbranche und vor allem den Kinofilm. Veit Heiduschka, einer der prominentesten Filmproduzenten des Landes erklärt im Podcast, wieso die Filmindustrie weltweit auf Förderungen angewiesen ist und appelliert an die Poli

THE FARMHOUSE, 15min,. Australia Directed by Luke Creely A young woman, living alone in an isolated rural farmhouse, is haunted one night by a mysterious entity which forces her to confront her inner demons and traumatic past.https://instagram.com/_lcfilms Get to know the filmmaker: What motivated you to make this film? I have always been drawn to slow-burn horror cinema in the mould of Michael Haneke from Austria. His early films are fascinating explorations of the human psyche. This has inspired me from the beginning of my career. I am also very interested in pain and trauma as key themes in my films. So, my aim was to make a Haneke-style horror film that immerses the viewer and makes them uncomfortable as they observe a character who is alone and grappling with PTSD from a past traumatic event. What were your initial reactions when watching the audience talking about your film in the feedback video? The audience feedback video was excellent because the members who spoke understood the film and my intentions as director. They “got it”. And this means that I did what I needed to do as director. Their interpretations were interesting to listen to as well. Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

Paradise: Föld alatti paradicsom Mafab     2025-03-07 06:32:02     Film Ez egy detektívsztori, ami elég hamar levetkőzi a gyilkos keresős aspektust, hogy inkább egy sci-fi-thriller legyen, ami folyamatosan ingadozik az izgalmas és kiszámítható között. Egy pozitívuma mindenképp van a sorozatnak: nem húzza az időt. Ha épp nem is történik valami karaktereinkkel, akkor egy másik szereplőt mutat be, és az ő szemszögéből lát Három évtizede a színpadon a magyar Janis Joplin kultura.hu     2025-03-07 09:03:08     Zene Koncert Omega Balázs Fecó Négyórás koncerttel ünnepelte pályáján töltött harminc évét Garda Zsuzsa énekes, az Omega, Balázs Fecó, a Skorpió, a Sziámi, a Kimnowak vokalistája, aki tizenhat esztendeig a Janis Joplin Emlékzenekar frontasszonyaként lépett színpadra. Majd' két évtizede muzsikál Benkő Zsolttal, a Garda–Benkő Blues Duóban, tizenhárom éve a Keep Floyding női hangja Jennifer Coolidge-nak is van egy elmélete A Fehér Lótusz 3. évadáról in.hu     2025-03-06 20:46:02     Film Hétvége Trend Thaiföld Fehér Lótusz A Fehér Lótusz harmadik évada a thaiföldi Koh Samuiba kalauzol bennünket. Az érdeklődés állandó körülötte, kezdve a mesés helyszínektől a Fehér Lótusz ihlette utazási trendeken át az A-listás szereplőkig.Persze, a rajongói elméletek és jóslatok is elárasztották az internetet, mióta hétről hétre érkeznek az új epizódok. A hétvégén a sorozat első két Marvel-szuperhős is lehetett volna Matthew McConaughey, de ő mást választott Hamu és Gyémánt     2025-03-07 06:24:01     Film Hollywood Marvel Golden Globe Matthew McConaughey Az Oscar- és Golden Globe-díjas színész a szemünk előtt lett a romantikus limonádék főszereplőjéből Hollywood egyik legtehetségesebb és legtöbbet foglalkoztatott sztárja. Matthew McConaughey a 2010-es évek közepén még egy Marvel-szuperhős megformálására is felkérték, ám a szerepet végül kénytelen volt visszautasítani. 58 évvel fiatalabb feleség, budai villa és legendássá vált munkásság – Így élt az egyik legnagyobb magyar zeneszerző Blikk     2025-03-06 18:13:28     Zene Oktatás Érettségi Zeneakadémia Kodály Zoltán Kodály Zoltán a jeles érettségi után a Magyar Királyi Tudományegyetem magyar–német szakára és az Eötvös Kollégiumba iratkozott be, majd megkezdte tanulmányait az Országos Magyar Királyi Zeneakadémia zeneszerző tanszakán. Hosszas élet, kiváló és terjedelmes munkásság áll mögötte. A magyar népdal világának felfedezése és rögzítése, a zene oktatásának Pogány Judit és Gálffi László főszereplésével Oscar-díjas film kerül színpadra az Örkényben Librarius     2025-03-07 09:00:20     Színpad Párkapcsolat Pogány Judit Örkény Gálffi László A Szerelem fájdalma az Örkény színpadán: Haneke mesterművének adaptációja Pogány Judit és Gálffi László főszereplésével. Tényleg harapott a kígyó a Fehér Lótusz forgatásán, ráadásul épp a kígyófóbiás Walton Gogginst találta be Telex     2025-03-07 10:43:26     Film Fehér Lótusz A megkeseredett Rick Hatchettet alakító színész elmondása szerint kontrollálhatatlan sírásban tört ki az incidens után. Ez most a világ 5 legnézettebb sorozata a Netflixen Igényesférfi.hu     2025-03-07 07:08:09     Film Netflix A Netflix aktuális toplistáján nincs hiány izgalomból: politikai összeesküvés, bűnügyi dokusorozat és feszültséggel teli drámák uralják a nézettségi rangsort. The 1975, Olivia Rodrigo, Charli Xcx, Neil Young: bejelentették a Glastonbury fellépőit refresher.hu     2025-03-07 10:08:00     Zene Fesztiválok A legendás brit fesztivált 2026-ban egy év szünetre küldhetik, így a megszokottnál is nagyobb volt az érdeklődés a 2025-ös eseményre, a jegyek 35 perc alatt fogytak el. Marvel-hírek: Vin Diesel önálló mozit kaphat Origo     2025-03-06 20:20:53     Film Mozi Marvel A Marvel közkedvelt csapatának, A galaxis őrzőinek egyik tagjáról készülhet mozifilm, ráadásul Vin Diesel főszereplésével. Danics Dóra: "Olyan házat kerestünk, ahol éjfélkor is zenélhetek" Story     2025-03-07 04:00:27     Bulvár Danics Dóra Praktikus és üzleti okok miatt döntött úgy az énekesnő és párja, hogy Érdre költöznek. Új otthonukat hamar megszerették, főleg, hogy saját kezűleg szépítgették. A további adásainkat keresd a podcast.hirstart.hu oldalunkon.

Paradise: Föld alatti paradicsom Mafab     2025-03-07 06:32:02     Film Ez egy detektívsztori, ami elég hamar levetkőzi a gyilkos keresős aspektust, hogy inkább egy sci-fi-thriller legyen, ami folyamatosan ingadozik az izgalmas és kiszámítható között. Egy pozitívuma mindenképp van a sorozatnak: nem húzza az időt. Ha épp nem is történik valami karaktereinkkel, akkor egy másik szereplőt mutat be, és az ő szemszögéből lát Három évtizede a színpadon a magyar Janis Joplin kultura.hu     2025-03-07 09:03:08     Zene Koncert Omega Balázs Fecó Négyórás koncerttel ünnepelte pályáján töltött harminc évét Garda Zsuzsa énekes, az Omega, Balázs Fecó, a Skorpió, a Sziámi, a Kimnowak vokalistája, aki tizenhat esztendeig a Janis Joplin Emlékzenekar frontasszonyaként lépett színpadra. Majd' két évtizede muzsikál Benkő Zsolttal, a Garda–Benkő Blues Duóban, tizenhárom éve a Keep Floyding női hangja Jennifer Coolidge-nak is van egy elmélete A Fehér Lótusz 3. évadáról in.hu     2025-03-06 20:46:02     Film Hétvége Trend Thaiföld Fehér Lótusz A Fehér Lótusz harmadik évada a thaiföldi Koh Samuiba kalauzol bennünket. Az érdeklődés állandó körülötte, kezdve a mesés helyszínektől a Fehér Lótusz ihlette utazási trendeken át az A-listás szereplőkig.Persze, a rajongói elméletek és jóslatok is elárasztották az internetet, mióta hétről hétre érkeznek az új epizódok. A hétvégén a sorozat első két Marvel-szuperhős is lehetett volna Matthew McConaughey, de ő mást választott Hamu és Gyémánt     2025-03-07 06:24:01     Film Hollywood Marvel Golden Globe Matthew McConaughey Az Oscar- és Golden Globe-díjas színész a szemünk előtt lett a romantikus limonádék főszereplőjéből Hollywood egyik legtehetségesebb és legtöbbet foglalkoztatott sztárja. Matthew McConaughey a 2010-es évek közepén még egy Marvel-szuperhős megformálására is felkérték, ám a szerepet végül kénytelen volt visszautasítani. 58 évvel fiatalabb feleség, budai villa és legendássá vált munkásság – Így élt az egyik legnagyobb magyar zeneszerző Blikk     2025-03-06 18:13:28     Zene Oktatás Érettségi Zeneakadémia Kodály Zoltán Kodály Zoltán a jeles érettségi után a Magyar Királyi Tudományegyetem magyar–német szakára és az Eötvös Kollégiumba iratkozott be, majd megkezdte tanulmányait az Országos Magyar Királyi Zeneakadémia zeneszerző tanszakán. Hosszas élet, kiváló és terjedelmes munkásság áll mögötte. A magyar népdal világának felfedezése és rögzítése, a zene oktatásának Pogány Judit és Gálffi László főszereplésével Oscar-díjas film kerül színpadra az Örkényben Librarius     2025-03-07 09:00:20     Színpad Párkapcsolat Pogány Judit Örkény Gálffi László A Szerelem fájdalma az Örkény színpadán: Haneke mesterművének adaptációja Pogány Judit és Gálffi László főszereplésével. Tényleg harapott a kígyó a Fehér Lótusz forgatásán, ráadásul épp a kígyófóbiás Walton Gogginst találta be Telex     2025-03-07 10:43:26     Film Fehér Lótusz A megkeseredett Rick Hatchettet alakító színész elmondása szerint kontrollálhatatlan sírásban tört ki az incidens után. Ez most a világ 5 legnézettebb sorozata a Netflixen Igényesférfi.hu     2025-03-07 07:08:09     Film Netflix A Netflix aktuális toplistáján nincs hiány izgalomból: politikai összeesküvés, bűnügyi dokusorozat és feszültséggel teli drámák uralják a nézettségi rangsort. The 1975, Olivia Rodrigo, Charli Xcx, Neil Young: bejelentették a Glastonbury fellépőit refresher.hu     2025-03-07 10:08:00     Zene Fesztiválok A legendás brit fesztivált 2026-ban egy év szünetre küldhetik, így a megszokottnál is nagyobb volt az érdeklődés a 2025-ös eseményre, a jegyek 35 perc alatt fogytak el. Marvel-hírek: Vin Diesel önálló mozit kaphat Origo     2025-03-06 20:20:53     Film Mozi Marvel A Marvel közkedvelt csapatának, A galaxis őrzőinek egyik tagjáról készülhet mozifilm, ráadásul Vin Diesel főszereplésével. Danics Dóra: "Olyan házat kerestünk, ahol éjfélkor is zenélhetek" Story     2025-03-07 04:00:27     Bulvár Danics Dóra Praktikus és üzleti okok miatt döntött úgy az énekesnő és párja, hogy Érdre költöznek. Új otthonukat hamar megszerették, főleg, hogy saját kezűleg szépítgették. A további adásainkat keresd a podcast.hirstart.hu oldalunkon.

Le cinéma, c'est toujours une question de point de vue. Pour The Brutalist, Brady Corbet annonce d'emblée qu'il voit grand. La toute première image de son film est un logo oublié. Celui de la VistaVision, un format de prises de vues plus grand que le Cinémascope, élargissant l'image en faisant circuler la pellicule horizontalement. Il est né au milieu des années 50. Pas très loin de la période d'un récit suivant la reconstruction mentale d'un architecte hongrois ayant fui l'Europe nazie pour s'essayer au rêve américain. Le rêve de Corbet, acteur croisé chez Haneke, Lars Von Trier ou Bertrand Bonello, est de renouer avec le cinéma hollywoodien pour raconter, plus qu'un nouveau départ, la seconde naissance de l'Amérique, celle du capitalisme dévorant. Ce sera au travers du chantier colossal d'une mini-cité commandée à l'émigré par un richissime industriel. Plus les murs s'érigent, plus la relation entre les deux hommes se fissure, le mécène se dévoilant à la tête d'un clan familial de prédateurs. Corbet construit autour d'eux une œuvre somme, sorte de roman national américain comme il n'y en avait pas eu depuis There Will Be Blood ou le Coppola du Parrain 2. D'autant plus impressionnant que réalisé avec un budget minime, The Brutalist renoue avec le souffle épique de ces grandes fresques opératiques comme leur capacité à scruter la face sombre de la civilisation moderne.À leur manière, les belges de Strip-tease intégral font eux aussi dans la dissection de la société. Au cœur des années 80, cette émission avait transformé les codes du documentaire télé, par de saisissants portraits de spécimens humains. Pour fêter ses quarante ans, la revoilà au cinéma avec un film compilation de cinq reportages, passant les mœurs des années 2000 à la loupe. Immersion chez des influenceuses à Dubaï, une singulière famille d'écolos, un hypo-hypercondriaque ou une stand-uppeuse amatrice, Strip-tease intégral joue plus que jamais d'un effet miroir quand le point commun à ses segments est la résurgence de l'apparence et du narcissisme. Toujours sur le même modèle d'un filmage sans commentaire, cette collection d'ego-trips s'en permet pourtant un via un fil rouge menant à une estomaquante dernière partie, affirmant que l'exhibitionnisme somatique généralisé touche désormais littéralement jusque dans nos chairs. À la télé, Strip-tease intégral avait pour slogan, "l'émission qui vous déshabille". Au cinéma, elle vient de rhabiller le regard documentaire par un mélange de sidération et de compassion, sur l'ordinaire de l'époque, entre vanités et quête de reconnaissance.The Brutalist, Strip-tease intégral. En salles le 12 février.

Entourés d'animaux empaillés, Jonathan Cohen et Anaïs Demoustier reviennent sur leur goût du rire et de l'étrange, à l'occasion de la sortie de Daaaaaalí !, de Quentin Dupieux, dans un entretien où il devient vite clair que le cabinet de curiosité, ce sont eux.

We geven elkaar voor het eerst ooit een high five en analyseren een veelzeggende uitwas van de verregaande digitalisering. Gijs liep een bekende tegen het lijf maar er ging even geen lichtje branden. Teun wilde weer een nieuwe stijl maar kocht iets bekends: hoe bereikt hij de swag die hij zo naarstig zoekt? Haneke leert mensen interviewen met de instelling van een kind, de gave van een autist en de handigheid van een diplomaat. We sluiten af met een specifiek zingend popicoon uit de jaren ‘90.

Get access to this entire episode as well as all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.Following our conversation with the film's director Pascal Plante, we dive into one of the year's best films, Red Rooms: a thriller tailor made for our disaffected, hyper-mediated moment that asks many unsettling questions about the way emerging technologies sever us from empathy, create parasocial complexes, and push toward frightening new modes of nonconsensual connectivity and surveilance.We continue our contemplations on Haneke's "Violence and the Media", and how Red Rooms explores notions of equivalency amongst the images on our screens. Then, we praise Plante's formal control and ethics, how he constructs his 21st century milieu, what he chooses to show and how he shows it. Finally, we caution against passivity when engaging with mediated forms and why our moment demands that we make meaning of our realities, even as powerful forces work toward our mindless complicity in ever-expanding horrors.Red Roomsis available now on VOD and on Region A Blu Ray from Vinegar Syndrome.....Our theme song is "Mirror" by Chris Fish.

Felicia is joined by Jeanmarie Vargas to discuss Michael Haneke's film about a woman just trying to live out her sexual fantasies in The Piano Teacher (2001). We chat about Haneke's shift in the 2000s to create more films focused on women and their struggles. Along with the importance of diegetic music as it relates to pushing the story forward. This marks the end of the Haneke series, it was a pleasure (even when it was a displeasure) to revisit his films and watch them through multiple new lenses. He's such a layered artist whose work will always remain relevant and I hope my guests and I have inspired you to watch more of his work (or maybe it's time for a rewatch). Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Jeanmarie here: Movie Friends Podcast - That's Messed Up Series on Patreon: https://www.moviefriendspodcast.com/ Spotify:@MovieFriendsPodcast Apple Podcasts: @MovieFriendsPodcast Sources: https://www.criterion.com/current/posts/4994-michael-haneke-on-the-art-of-the-erotic-long-take https://www.criterion.com/current/posts/4965-the-piano-teacher-bad-romances https://www.criterion.com/current/posts/6342-breaking-the-ice-the-beginning-of-desire-in-the-piano-teacher https://www.theguardian.com/film/2001/nov/09/londonfilmfestival2001.londonfilmfestival1 https://www.sensesofcinema.com/2003/michael-haneke/piano_teacher/ https://www.sensesofcinema.com/2017/cteq/the-piano-teacher/ https://cinemafromthespectrum.com/2017/04/03/the-piano-teacher-review/ https://www.fearsomequeer.net/blog/film-retrospective-the-piano-teacher https://birthmoviesdeath.com/2013/08/16/the-piano-teacher-is-a-psychosexual-masterpiece.html https://www.austrianfilms.com/news/en/bodymichael_haneke_talks_about_the_piano_teacher_body OUTRO SONG: Coin-Operated Boy by The Dresden Dolls FILMS MENTIONED: Funny Games (Michael Haneke 1997) Caché (Michael Haneke 2005) 71 Fragments of a Chronology of Chance (Michael Haneke 1994) The Seventh Continent (Michael Haneke 1989) Code Unknown (Michael Haneke 2000) Time of the Wolf (Michael Haneke 2003) Benny's Video (Michael Haneke 1992) Beau is Afraid (Ari Aster 2023) Secret Ceremony (Joseph Losey 1968)

This week, Drusilla and Josh watch the punishing Michael Hanake film, Funny Games (Austrian version.) From wiki: “Funny Games is a 1997 Austrian psychological horror-thriller film written and directed by Michael Haneke, and starring Susanne Lothar, Ulrich Mühe, and Arno Frisch. The plot involves two young men who hold a family hostage in their vacation home and torture them with sadistic games. The film was entered into the 1997 Cannes Film Festival.[3] A shot-for-shot remake, filmed and set in the United States, was released in 2007, also directed by Haneke, this time with an English-speaking cast and a mostly American crew.”Also discussed: intrusive thoughts, diner waitresses in horror movies, Drusilla's The Grifters cover for Criterion, Point Blank, The Split (1968), Threads (1984), NEXT WEEK: The Halloween Special! A highbrow/low brow double feature of Bones and All (2022) and Nothing But Trouble (1991), When the Wind Blows, moralism, Sleepaway Camp, misogyny in horror, Brian De Palma, JAFAs, GLOW, Speak No Evil, and more!Follow them across the internet:Bloodhaus: https://www.bloodhauspod.com/https://www.instagram.com/bloodhauspod/ Drusilla Adeline:https://www.sisterhydedesign.com/https://letterboxd.com/sisterhyde/ Joshua Conkelhttps://www.joshuaconkel.com/https://www.instagram.com/joshua_conkel/https://letterboxd.com/JoshuaConkel/ 

Felicia is joined by Riley Greenwood to discuss a film about a family who makes a questionable decision in Michael Haneke's The Seventh Continent (1989). We chat about how Haneke decision to not give the audience any answers but instead allows them to wonder why people make certain life decisions. Along with how the story is fragmented to disorient the viewer. Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Riley here: IG: @rileydreamwood Letterboxd: @rileydreamwood Sources: https://www.theguardian.com/film/filmblog/2008/apr/30/hanekeshouseofhorrors https://www.sensesofcinema.com/2005/cteq/seventh_continent/#:~:text=The%20Seventh%20Continent%20seems%20postmodern,monstrousness%20of%20everyday%20bourgeois%20society. https://www.criterion.com/current/posts/8010-michael-haneke-s-alienation-effect https://flaszonfilm.com/2020/10/30/understanding-michael-haneke-the-seventh-continent-1989/ https://fresques.ina.fr/europe-des-cultures-en/fiche-media/Europe00218/interview-with-michael-haneke.html OUTRO SONG: Show of Strength by Echo and the Bunnymen FILMS MENTIONED: Amour (Michael Haneke 2012) Funny Games (Michael Haneke 1997) Fraulein – Ein deutsches Melodram (Michael Haneke 1986) Benny's Video (Michael Haneke 1992) The Piano Teacher (Michael Haneke 2001) The White Ribbon (Michael Haneke 2009) 71 Fragments of a Chronology of Chance (Michael Haneke 1994) La notte (Michelangelo Antonioni 1961) Beau Travail (Claire Denis 1999) La cerémonie (Claude Chabrol 1995)

Felicia is joined by Nathan Cowles to discuss Michael Haneke's dark mystery about the roots of evil in The White Ribbon (2009). We chat about how Haneke tackles children and violence in his films and the concept of “good vs evil”. Along with the use of black and white and lack of score that help amplify the film's message. Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Listen to our previous episode with Nathan: A Summer's Tale (Éric Rohmer 1996) Follow Nathan here: Letterboxd: @cowles YouTube: @Cowles IG: @cowles.mov Sources: https://www.rogerebert.com/reviews/the-white-ribbon-2010 https://www.theguardian.com/film/2009/nov/12/the-white-ribbon-review https://www.austrianfilms.com/news/en/bodymichael_haneke_the_white_ribbon__interviewbody https://www.nytimes.com/2009/12/30/movies/30white.html https://brightlightsfilm.com/the-children-are-watching-you-michael-hanekes-the-white-ribbon/ https://thepointmag.com/criticism/white-ribbon/ OUTRO SONG: O Sacred Head Now Wounded - Fernando Ortega FILMS MENTIONED: A Tale of Summer (Éric Rohmer 1996) Code Unknown (Michael Haneke 2000) Caché (Michael Haneke 2005) Funny Games (Michael Haneke 1997) Amour (Michael Haneke 2012) Funny Games (Michael Haneke 2007) 71 Fragments of a Chronology of Chance (Michael Haneke 1994) The Piano Teacher (Michael Haneke 2001) Benny's Video (Michael Haneke 1992) Martha (Rainer Werner Fassbinder 1974) Au hasard Balthazar (Robert Bresson 1966) White Light (Ingmar Bergman 1963) Fanny and Alexander (Ingmar Bergman 1982)

https://notesonfilm1.com/2024/10/05/pofcrit-podcast-2024-liberty-boyd-white-on-funny-games-michael-haneke-2007/ A highly unforgiving work, Michael Haneke's horror cult-classic Funny Games (2007) stands as a profound critique of modern media consumption and the spectator's complicit relationship with the spectacle of violence often provided by American cinema. This podcast delves into the personal reflections on ideology, morality, genre and cinema as a whole, prompted by the unique viewing experience of Haneke's film. From an analysis of the abstract form (Emphasised best by its many meta-textual elements.), it's commitment to sound design, as well as an investigation into the film's dismissal of spectator 'enjoyment' - this episode hopes to emphasise the pervasive genius of Haneke's U.S remake through a conversational analysis of Funny Games as an outlier within contemporary film, thanks to its unflinching hostility towards the spectator typically depended on by cinema. Liberty Boyd-White

Predvsem Američani radi delajo filmske priredbe. Spomnimo se priredbe japonskega filma Krog, v zadnjih letih sta nastala celo remakea dveh avstrijskih filmov – Smešnih iger Michaela Hanekeja (priredbo je naredil kar Haneke sam) in filma Lahko noč, mamica Veronike Franz in Severina Fiale. Zanimivo je, da v vseh treh omenjenih ameriških različicah glavno vlogo igra Naomi Watts. Te dni pa je v slovenske kine prišla grozljivka Ne govori zla režiserja Jamesa Watkinsa. Gre za priredbo danskega filma. O tem, kako se tudi v tem primeru priredbe kažejo kulturne razlike med narodi, razmišlja Igor Harb. Bere Jure Franko.

We're spending a lot of time around France and ‘ol Gay Paris for September's theme of EUROPEAN VACATION because Bob has a lot of French DVDs that he's been holding on to for a while that need to be watched. We finally get to a movie by the notorious Austrian director Michael Haneke and if his other movies hit like this one? Well, we may need more uncomfortable Haneke movies to watch in the future. France, like many European nations, has its ghosts that it doesn't care to speak much on. Too much emotional inconvenience. Some things should stay in the past. But then you get videos of your apartment from the outside. Violent drawings as though they were done by a child. You got your suspicions but it's too emotionally inconvenient to explain. We can take care of it. Confront it. Surely it can be firmly resolved and you can keep what needs to be hidden where it belongs, right? The past is so inconvenient. Why can't the past understand that it was a long time ago? We're talking Haneke's 2005 modern thriller “CACHé” starring Daniel Auteuil and Juliette Binoche. It might not be what you think and it might not be about what you think. What should be our next Haneke movie to discuss down the road? Subscribe to us on YOUTUBE: https://www.youtube.com/channel/UCuJf3lkRI-BLUTsLI_ehOsg Contact us here: MOVIEHUMPERS@gmail.com Check our past & current film ratings here: https://moviehumpers.wordpress.com Hear us on podcast: https://open.spotify.com/show/6o6PSNJFGXJeENgqtPY4h7 Our OG podcast “Documenteers”: https://podcasts.apple.com/us/podcast/documenteers-the-documentary-podcast/id1321652249 Soundcloud feed: https://soundcloud.com/documenteers Twitch: https://www.twitch.tv/culturewrought

Hoy toca perder líquidos. Igual que con el cine de terror o el de acción apelan a producir una descarga de adrenalina en el espectador hay otro cine que busca que fogues pasándolo mal con las miserias de los demás en vez de con las tuyas para variar. No sabemos si funciona por el mal de muchos consuelo de tontos, por la pornomiseria o porqué, pero ahí está. Hay estudios de cual es la película más triste de la historia pero al final cada uno le afecta una cosa y tiene una peli que lo marcó, nos vemos las sospechosas habituales perladas de animales, enfermedades, muertes terribles o culpa chunga. Hachikos, Amor de Haneke, abueletes desintegrándose, médicos haciendo cochinadas, matrimonios de mierde, acosadores post mortem, sordas suicidas o boxeadores reguleros. Un programa con bien de cáncer y de mocos.

Vamos a explorar un enigma del cine contemporáneo: FUNNY GAMES. Analizaremos tanto la versión original de 1997 dirigida por Michael Haneke como el remake estadounidense de 2007, también realizado por el mismo director. ¿Por qué decidió Haneke rehacer su propia película diez años después? ¿Qué diferencias y similitudes hay entre las dos versiones, y cuál es el propósito de esta repetición? En este episodio, desentrañaremos los elementos narrativos de ambas versiones, discutiremos su impacto, y reflexionaremos sobre el significado y la intención detrás de la decisión de Haneke de volver a contar la misma historia. ¿Es una crítica al propio cine? ¿O una nueva forma de provocar una reacción aún más profunda en los espectadores? SÍGUENOS EN REDES SOCIALES: Instagram: https://instagram.com/duelodefilmotecas TikTok: https://tiktok.com/@duelodefilmotecas Facebook: https://facebook.com/duelodefilmotecas X (antes Twitter): https://twitter.com/duelofilmotecas

Decorre até 25 de Maio em Cannes a edição de 2024 de um dos maiores e prestigiosos festivais de cinema.Em competição na selecção oficial consta a curta metragem "Mau por um momento" de Daniel Soares.Trata-se de um retrato da especulação imobiliária em Lisboa e dos seus malefícios em relação a pessoas de baixa renda, nomeadamente.  O cineasta português, já premiado internacionalmente, começa por se referir às suas expectativas em torno deste certame.Ele admite que ter sido seleccionado para a competição na selecção oficial é algo que o faz feliz."Eu não tenho assim grandes expectativas. Ou seja, no sentido eu acho que eu já estou já, pronto, feliz por fazer parte do festival. Tipo, foi bastante inesperado e foi assim, sei lá, uma surpresa. Embora se possa a esperança fazer parte. Mas esse aspecto é ver filmes e, sei lá, apresentar o filme. E é um bocado por aí muita gente da equipa que vai estar presente também. E é isso é desfrutar do momento."Não é a primeira vez que vai a festivais. Eu sei, por exemplo, que já teve estreias aqui perto, em Locarno, portanto já tem passado pela Galiza, pelos Estados Unidos, obviamente, onde esteve radicado. Cannes é um festival diferente dos demais, daqueles que você vem fazendo ao longo dos tempos ?"É assim: ainda não fui, então não consigo responder. Agora, na teoria, é o festival não é  ? É o festival que do qual queremos fazer parte. Ou seja, nesse sentido, sim, será mais especial que os outros, imagino.. Depois eu posso confirmar, depois do festival."Então falemos um pouco precisamente da competição, das curtas metragens da selecção oficial que você integra. São 11 ao todo, incluindo um outro filme lusófono, no caso brasileiro. Teve curiosidade? Documentou-se em relação às outras curtas metragens que terá pela frente ?Também imagino que se tenha interessado pelo júri, que é presidido pela actriz belga Lubna Azabal. Que olhar é que tem então acerca precisamente desta competição, dos filmes que lá vão estar e do júri que estará lá precisamente para avaliar os filmes ?"É engraçado porque eu tenho um amigo meu que tem um filme em competição lá também, que é do Kosovo. Que é Samir Karahoda, que eu já conheço de outros festivais de Clermont-Ferrand. Acho que foi aí que nos conhecemos pela primeira vez E no ano passado também estive no Kosovo, no Docufest e ele faz parte lá da organização, ou seja, é um amigo. Eu, aliás, eu até já vi o filme dele também. Ele viu o meu. Gosto muito dos filmes dele, por acaso. Esse é o único filme que eu conheço e a única pessoa em competição que eu conheço.Os outros filmes. É óbvio que se vai ver quais são os países, mas ao mesmo tempo não dá para saber muito dos filmes, não é? Porque só tem a sinopse. É sobretudo uma alegria de fazer parte deste grupo. Eu não vejo tanto a competição do prémio e não sei o quê  Porque eu acho que senão nunca vou estar satisfeito e para mim, fazer parte desses 11 filmes de sei lá, acho que foram 4 400 filmes submetidos. Para mim isso já é um sucesso, Isso se eu não curtir esse momento, não aproveitar e não ficar contente e satisfeito com isso eu acho que nunca ficarei satisfeito com nada.Falemos um pouco da sua trajectória, que é deveras interessante, não é? Você é de pais portugueses. Nascido na Alemanha, vivia nos Estados Unidos e foi fazendo filmes por onde passou. Não é só nos Estados Unidos, salvo erro, foram três do normal. "People totally free". Depois, efectivamente, "O que resta" "Please make it work"... Alguns destes já premiados e aqui então chega com "Mau por um momento".Há assim, algum fio condutor que nos possa explicar relativamente às obras que você foi concebendo ao longo do tempo acerca dos temas que lhe são caros ?"Eu acho que o primeiro filme é o "Forgotten", ou seja, todos os anteriores não são bem filmes, foram os exercícios onde eu fui, sei lá, documentando por exemplo, o "Totally Free". Eram uns skaters, uns roller skaters."Patins !"Exacto. Que eu fui seguindo e não sei quê. Mas eu cheguei ao cinema muito tarde e nessa altura eu fazia coisas sem saber muito bem o que é que era o cinema. E fui-me apaixonando com o cinema muito tarde. Porque eu trabalhei muito tempo como director de arte e como designer gráfico. Isso foi assim, como você já disse exactamente. Eu nasci na Alemanha, os meus avós e os meus pais eram imigrantes [portugueses].Eu acho que a partir do filme "O que resta" é quando eu começo a fazer ficção.Ou seja, estes últimos três e depois "Please make it work", que foi filmado em Locarno, na Suíça, sobre uma imigrante mulher de limpeza que limpa Airbnb sofisticados nos Alpes suíços. Ou seja, eu acho que há aqui uma coisa que o fio condutor que é: Muitas vezes os meus filmes são sobre a classe trabalhadora ! Que é enfim, é de onde eu venho, de certa forma. Ou seja, esta ideia de... Em França será o mesmo: estas raízes na imigração dos anos 70/80. Os portugueses que foram para lá foram fazer trabalhos que se calhar os alemães, os suíços, os franceses não queriam fazer. E foi assim um bocado aí que eu cresci. E depois, claro, através do esforço dos meus pais e depois dos estudos e não sei quê, eu fui por outro caminho, graças a eles, é claro. E aí muitas vezes eu vejo-me do outro lado. Então interessa-me muito esta coisa das classes sociais, das divisões, das classes sociais, das tensões e mesmo de solidificação."Eu fiquei com a noção, por exemplo, em "O que Resta", que tem muito o governo, precisamente com o êxodo rural, com a desertificação do interior em Portugal ?"Esse filme foi filmado na aldeia dos meus avós e da minha mãe, de onde eles saíram. Ou seja, foi o primeiro filme de ficção. Eu queria filmar num lugar que eu conhecesse, com muitos portugueses. Eu vivia na Alemanha e voltava nos verões para passar os tempos lá. Aquelas férias de seis semanas longas e nós íamos todos os anos. E para mim eu conhecia muito bem os espaços, os lugares, as pessoas e portanto, para mim fazia sentido fazer esse filme. E esse filme também era sobre um agricultor que se separa do seu último animal e que também foi baseado na história do do meu avô, que depois quando eles voltaram para Portugal tinham uma quinta, uns animais, enfim, os campos e trabalhavam nos campos. E eram felizes dessa forma, depois de voltar.""Mau por um momento", já é um retrato bastante contemporâneo do Portugal de Lisboa, da gentrificação desta mega-metrópole. Do facto de as pessoas de baixa renda terem cada vez mais dificuldades em se manterem na cidade, porque há projectos imobiliários que obrigam a desalojamento para se conseguir ter porventura a vista mais bonita sobre a capital portuguesa, não é?"Exacto. E não é só a vista mais bonita, mas também assim a vista mais bonita é vista a que não estamos habituados a muitas vezes, por exemplo, da Ponte 25 de Abril. Estamos habituados a ver a ponte de um lado, de um certo lado. E aqui o filme começa com este postal da Ponte de Lisboa da Ponte 25 de Abril, mas depois tem esta panorâmica e acabamos neste bairro social. E é isso, ou seja, esta exploração do espaço que parece não ter fim e que depois começa a chegar a lugares que há dez anos ninguém queria viver lá e hoje em dia começa a ser..  E depois, muitas vezes com nomes ingleses, existe um rebranding dos Passos e não sei o quê. E é isso. Constrói-se então esses lugares. Sim, é esta luta pelo espaço, é quase de certa forma, uma guerra pelo espaço."Eu retenho sobretudo uma frase "O mundo será melhor lá fora se descarregarem a raiva aqui dentro". Quer comentar ?"Sim. Ou seja, esta ideia do filme começou não necessariamente com gentrificação, mas começou-se com esta ideia de pronto. Aí em Paris, por exemplo, eu lembro-me também de ver nos subúrbios de Paris muitas pessoas a atacarem carros, a destruírem carros muito jovens, revoltados com as suas situações.E ao mesmo tempo, como os media, catalogaram estas pessoas. E ao mesmo tempo este fenómeno que existe à volta do mundo, de lugares, de espaços onde o pessoal pode, em troca de algum dinheiro, destruir coisas por simples prazer. Ou seja, a motivação de destruição acaba por ser se calhar uma coisa parecida, uma de uma motivação parecida. Mas para quem tem dinheiro. E  para quem tem dinheiro não há nenhum problema e para quem não tem, obviamente tem repercussões diferentes. Ou seja, e é isso, esta ideia de estes espaços que se chamam "Car smash" ou "Red rooms". Existem muitos nomes para isso. E esta teoria quase filosófica de que se todos tivermos um espaço onde possamos livrar-nos da nossa raiva através da destruição que o mundo lá fora podia ser um lugar melhor."E que as empresas possam fomentar este tipo de eventos, precisamente do chamado "team building" ."Depois existem as empresas que também vão fazer isso com eventos de team building e não sei quê... Que mostra claramente que aquilo que muitas pessoas fazem no seu dia-a-dia, no seu trabalho, é uma coisa que os deixa de certa forma..."Enraivecidos."Enraivecidos. E é isso. E por exemplo, agora, depois da minha história pessoal, eu também trabalhei muito tempo com publicidade e muitas vezes eu questionava-me.Ou seja através daquilo que, das campanhas que fazemos e não sei o quê, que isto pá,: Isto não torna o mundo um lugar melhor, não é? Esta. As campanhas, muitas vezes pelo contrário, Mas mesmo assim nós vamos fazendo e íamos fazendo e as pessoas vão fazendo. Interessava-me muito também no processo da gentrificação, não só contar a história de quem está no fundo, mas quem activamente participa nisso. E como é que essa pessoa auto-justifica as suas ações ? O que muitas vezes é tal coisa que passa por pôr comida na mesa, tem que pagar a renda. E isso é o início de justificações que contamos a nós próprios, depois vai por aí além. E podem ir a outros espaços."Eu sei que fala muito em Abbas Kiarostami, em Haneke, nos irmãos Dardenne como influências. E sei também que este filme chega através do "Som e da Fúria" e de "Kid With a Bike", que é também o nome de um filme dos irmãos Dardenne, não é? Pode explicar ?"Exacto. Aquilo que é uma produtora minha e de uma amiga, Romina Orsini, que fomos criando desde o filme "O que resta."E sim, exactamente vem desse filme" Kid with a bike" que é um filme que me encantou bastante quando eu o vi pela primeira vez, dos irmãos Dardenne.E ao mesmo tempo evoca o meu primeiro emprego, quando tinha 14 anos, era um gajos que entregava tipo revistas de porta em porta na Alemanha.Então com uma bicicleta lá ia também a distribuir essas revistas grátis que existem lá, com publicidades e não sei o quê !Então achei que faria sentido chamar a produtora, isso sim. O filme é produzido pela "Som e Fúria", maioritariamente, e sem eles isto não teria sido possível fazer este filme. Sim, como disse também que "O Som e a Fúria" já tem toda uma história no cinema mundial, e, sobretudo português. E foi um orgulho também fazer este filme com ele."

QUESTA È UNA PREVIEW! Il podcast completo è su BadTaste+ a questo link https://wp.me/pcLE6k-2YOs Nel terzo dei quattro appuntamenti con Road to Cannes parliamo del 1992. Uno dei verdetti più assurdi e situazionisti di sempre (da uno dei presidenti di giuria più instabili e una delle giurie più litigiose) ha portato alla seconda palma d'oro per Bille August. Un evento che arrivò a discapito di alcuni dei più grandi film degli anni '90 come Basic Instinct di Paul Verhoeven, Fuoco cammina con me di David Lynch e Il lungo giorno finisce di Terence Davies... Un podcast a cura di Gabriele Niola e Bianca Ferrari, prodotto da Gabriele Niola, musiche di Le piccole morti.

In this very special episode, Dhruv and Srilekha celebrate the thoroughly depressing and despairing films of Austrian filmmaker Michael Haneke, who turned 82 a week ago on March 23rd. We first discuss his exacting style that has inspired several high-profile European filmmakers (Ruben Östlund and Yorgos Lanthimos, the most famously known amongst them) to address themes of colonial guilt, fascism, racism, and class inequality in a similarly discomforting way. We then choose three films from his filmography that most overtly (but still mysteriously) engage with these themes — “Code Unknown,” “Caché,” and "The White Ribbon." Listen to the full episode for our spoiler-filled thoughts on these three movies and brief discussions of “Funny Games” and “The Piano Teacher," which we use to introduce listeners to the director's chillingly unnerving worlds. TIME CODES Michael Haneke's Auteurism - [00:00 - 14:15] "Funny Games" (1997) - [14:16 - 24:42] "The Piano Teacher" (2001) - [24:42 - 33:44] "Code Unknown" (2000) - [33:44 - 01:00:52] "Caché" (2005) - [01:00:52 - 01:19:52] "The White Ribbon" (2009) - [01:19:52 - 01:45:54] Haneke & the Lineage of European Art Cinema - [01:45:54 - 01:53:56] Do hit 'Follow' on Spotify and rate us if you haven't already to help the podcast reach more people Follow our Instagram page: https://instagram.com/queenisdead.filmpodcast You can also follow us on Instagram at: Dhruv: https://www.instagram.com/terminalcinema/ Srilekha: https://www.instagram.com/mitra__srilekha_ Do hit 'Follow' on Spotify if you haven't already to help the podcast reach more people! Follow us on Letterboxd at: Dhruv: https://letterboxd.com/aterminalcinema/ Srilekha: https://letterboxd.com/srilekha__mitra/

In this edition of the Podcast for Social Research, recorded live before of a screening of Michael Haneke's 2001 The Piano Teacher, BISR faculty Lauren K. Wolfe, Rebecca Ariel Porte, and Paige Sweet take up impinging mothers, absent fathers, and the variable affordances of literary and cinematic media, as they compare and interpret Haneke's film and the eponymous novel by Elfriede Jelinek from which it was adapted. Topics touched on include: the reactionary milieu of 1980s Austria; ways of reading psychological depth from cinematic surface; recognition and misrecognition (by way of Aristotle and Lauren Berlant); pedagogy and its incidental lessons; musical Romanticism and sexual pathology; dissonance and the (dashed hope for) a return to tonic; Freud and polymorphous perversity; Schubert's Winterreise, Schubert as seduction strategy, Adorno on Schubert, and much else besides.

This is an unlocked episode from the Fruitless Patreon, originally published 1/12/2024. Enjoy!James Eric (@cigarette_liker) joins Josiah to talk about Idiocracy (2006). Yes, it's a eugenicist movie. Yes, it is a product of the smug, upper class liberalism of the Bush years, and it was popular during the resurgence of that sentiment during the Trump years. But what does it mean now? And is it funny?Follow today's guest on Twitter @cigarette_liker and on Bluesky @cigarettelikerReferencesIdiocracy (2006), directed by Mike Judge.Office Space (1999), directed by Mike Judge.Mike Judge on Info Wars, video from YouTube, https://www.youtube.com/watch?v=khTqmN2Lths.Terry Crews, io9 on YouTube, https://www.youtube.com/watch?v=ZHZfcltOFPc."The Jock/Creep Theory of Fascism" John Ganz in Unpopular Front, https://www.unpopularfront.news/p/the-jockcreep-theory-of-fascism."How Idiocracy Perpetuates Itself," Rod Dreher in the American Conservative, 2014, https://www.theamericanconservative.com/how-idiocracy-perpetuates-itself."I Loathe Every Person...," https://knowyourmeme.com/memes/i-loathe-every-person-i-see-on-the-street-r-crumb-comic.Starship Troopers (1997), directed by Paul Veerhoeven.Team America: World Police (2004), directed by Trey Parker.Benny's Video (1992), directed by Michael Haneke.Music by SHADE08 & Hansiii

In diesem Teil des Gesprächs reflektiere ich über die Rolle der Musik bei der Hervorrufung von Emotionen und Erinnerungen. Ich erwähne, wie überrascht ich von der starken Präsenz von Musik in meinem Buch war. Ich beschreibe die Auswirkungen von Songs wie "She's Leaving Home" von den Beatles und "Me and Bobby McGee" auf die Charaktere und ihre Erfahrungen. Ich reflektiere auch über die Bedeutung von Liebe und Freiheit während eines denkwürdigen Sommers und erwähne die nostalgischen Gefühle für Freunde wie Claude, Rudi und Haneke. Ich drücke eine Art Traurigkeit und Sehnsucht nach diesen Freunden aus, die ich vielleicht nie wiedersehen werde. Ich erwähne auch die Todesfälle von vier Personen während der drei Monate, in denen ich das Buch geschrieben habe, die mein Schreibprozess beeinflusst haben. Ich erinnere mich an die emotionale Wirkung eines obdachlosen Mannes namens Henri, von dem ich anfangs angeekelt war, aber später eine tiefe Verbindung zu ihm aufbaute. Ich wünschte mir, dass Henri zurückkommen würde, aber leider kam er nie wieder. Ich diskutiere dann über meine starke Schwärmerei für eine Frau namens Trichata und den Schock, den ich erlebte, als ich sie später in Amsterdam wieder traf. Ich beschreibe das ganze Buch als einen Roadmovie und erwähne Monique als die einzige Person, die ich wiedersehen konnte. Ja, zwei Jahre später stand sie tatsächlich vor der Haustür meiner Eltern. Meine Mutter ließ sie herein. Zu dieser Zeit war ich bereits auf der Schauspielschule und meine Mutter rief mich an und sagte, dass Besuch da sei, eine gewisse Monique. Also machte ich mich auf den Weg nach Hause und es war tatsächlich sie. Sie war sehr hartnäckig und war mir zwei Jahre später gefolgt, nachdem sie nicht mehr mit dem Bandführer Michelle zusammen war und bei mir bleiben wollte. Doch ich war nicht bereit für eine Beziehung und sie war dann sehr traurig und trampelte zurück. Irgendwann bekam ich einen Brief von ihr, dass sie in der Nähe von Paris lebte, ein kleines Baby hatte und mit jemand anderem zusammenlebte. Aber sie war tatsächlich die Einzige, die wieder auftauchte. John war auch eine wichtige Person auf meiner Reise. Er fing mich quasi am Anfang auf. Er war da, um mir zu helfen. Das zog sich immer durch das Buch, dass ich immer wieder solche Begegnungen hatte. Es gab immer Menschen, die mir unglaublich geholfen haben. Er war einer von ihnen. Er zeigte mir sofort Brüssel und all die Sehenswürdigkeiten. Aber erst nach seinem Selbstmord wurde mir klar, dass er eigentlich schon einmal bei mir "getestet" hatte, ob ich Drogen ausprobieren wollte. Es war so beiläufig, dass ich es nicht wirklich ernst nahm. Er erzählte mir auch seine Geschichte, dass er wegen seines ständigen Kiffens aufhören musste. Ja, genau, das steht auch im Buch. Es ist unglaublich spannend, herzlich und warm. Für mich ist es ein Buch, das einen immer weiterbringt und einen ein wenig selbst hinterfragt. Wo stehe ich selbst? Ich bin einfach so ehrlich gewesen. Ich habe kein Blatt vor den Mund genommen. Ich wollte endlich nach all den Jahren der Schauspielerei und unendlich vielen Interviews, um Filme zu bewerben, über diesen Punkt sprechen. Ich musste immer lügen. Es wurde bekannt, dass ich von der Schule geflogen bin. Warum? Und dann habe ich immer gesagt, dass ich oft geschwänzt habe. Ich wollte einfach damit aufräumen. Es war ein Bedürfnis. Raus damit. Es ist so befreiend. Ich war damals 16. Die Leute sollen wissen, dass ich mit 16 ein verkiffter Hippie war, der keine Lust mehr auf die Spießigkeit der deutschen Mittelschicht hatte.

Entourés d'animaux empaillés, Jonathan Cohen et Anaïs Demoustier reviennent sur leur goût du rire et de l'étrange, à l'occasion de la sortie de Daaaaaalí !, de Quentin Dupieux, dans un entretien où il devient vite clair que le cabinet de curiosité, ce sont eux.

Benny's Video ¿Quién es Benny? ¿Quién es Haneke? Quizás esta sea una de las películas donde el maestro del suspense gélido mejor muestre el valor del metacine a la hora de crear una trama hilada por los recurrentes vídeos de un adolescente. Nos sumergimos en la Europa de clase media, con un punto crítico, para analizar esta película sobre la violencia y la experimentación. Y en esta ocasión nos acompaña un invitado de lujo, Josep M. Luzán conocido por todos nosotros como Txema, escritor de ¿Quién vive?, Encadenats y junto a otros autores de La estética del dolor de Terror Molins, también Periodista/Crítico en Terrorweekend, Portal cine de terror (https://www.terrorweekend.com/) y colaborador habitual del podcast TerrorWeekend Radio Show. Equipo Maniático: Albert San (Mr. Maniático), Naila Knight, Miguel y Montse Vela. Saludos Maniáticos!!!!!! Intro Musical SINOIA CAVES “1983 Main Titles” Album Beyond the Black Rainbow (2014)

The Zone of Interest / Schindler's List / The White Ribbon / The Devil's Arithmetic

Hola Cabañers: Hoy nos adentramos en la violencia mas pura de la mano del "loco" Haneke que nos brinda la oportunidad de hablar de dos películas a la vez exactamente iguales y exactamente duras y difíciles de ver. Estructura de programa: 00:00:00 Presentaciones 00:04:18 Funny Games y Funny Games US 01:11:11 Recomendaciones 01:25:29 Comentarios de los oyentes Esperamos que la disfrutéis tanto como disfrutan nuestros amigos invasores de casas ajenas Srta Starling, Joseries y Carlos Solo han sido los perpetradores Orgullo Cabañer

Seth interviews writer and director Carl Joseph E Papa about his film The Missing, which was selected by the Philippines as their submission for best international feature at next years Oscars. They talk about telling personal stories, preparing yourself to watch a Haneke film and animating animators. It's a great conversation for film lovers and film makers alike. Check it out! For all of our bonus episodes check out Patreon.com/MovieFriendsPodcast  Follow Movie Friends: Twitter @moviefriendspod Instagram @MovieFriendsPodcast Youtube Youtube.com/MovieFriendsPodcast Website https://www.moviefriendspodcast.com/ Follow Seth on Letterboxd: SethVargas Follow Michelle on Letterboxd: MichRuby Send us an E-mail at MovieFriendsPodcast@Gmail.com tell us what you think and it may end up on the show! Wouldn't that be cool? Head over to our website at MovieFriendsPodcast.com and consider supporting our Patreon. Come on, you don't need that $5, but you do need our undying love and friendship!

On this episode, Corbin and Mattbin talk about THE EYES OF LAURA MARS, a movie about violent images and Tommy Lee Jones's nipples. Topics include: images of violence and how we process them as individuals and as a society, Haneke, the difficulty in seeing prolific character actor René Auberjonois as anyone but Odo, and Helmut Newton. Corbin says next week's episode will be about "The Devil, Probably," by Robert Bresson, but he called an audible and we went with Jean-Luc Godard's 'Masculin Feminin' instead. So be aware of that.

Buckle up because we're kicking off "Toxic Masculinity Month" with a doozy: Michael Haneke's polarizing 1997 home invasion film Funny Games (but it's okay if you watched the remake instead because they're the exact same film). Helping us parse through these waters is Justin Nordell! Join us as we offer a brief primer on Haneke before going all in on this twisted and cruel little film that holds a mirror up to its audience and makes us question the responsibility of media when it comes to violence. From the fourth wall breaks to the infamous rewind scene, Funny Games is one of the most satisfying, if infuriating, viewing experiences you're ever going to have. Questions? Comments? Snark? Connect with the boys on Twitter, Instagram, Youtube, Letterboxd, Facebook, or join the Facebook Group to get in touch with other listeners > Trace: @tracedthurman > Joe: @bstolemyremote > Justin: @jnordell / Be sure to support the boys on Patreon!  Theme Music: Alexander Nakarada   Learn more about your ad choices. Visit megaphone.fm/adchoices

Jody Haneke is a walking personification of the phrase, “build cool sh!t for your customers.” As the head of a bespoke software development company, Haneke and his team bring product ideas to life for his clients that truly want to harness technology for growth. Join Jim and Jody as they discuss building awesome digital experiences for customers that keep them coming back. 3 Key TakeawaysHarness Talent From Outside Your Industry: Haneke talks about being able to transfer what he learns from his healthcare clients to clients he's working with in logistics. Cross-industry talent can offer fresh solutions to age-old problems.AI Isn't A Magic Wand: Too many businesses are jumping on the bandwagon, claiming they do AI, but are barely using it to its fullest potential. Before diving into AI as a hopeful business solution, check if it aligns with your goals and see if it's even possible to tailor it to your needs or the needs of your customers. Understand your Weaknesses: Building a successful tech startup requires a diverse set of skills. But what if you're missing a crucial piece of the puzzle? If you lack a certain combination of attributes that every founder needs (like technical expertise, marketing savvy, or financial acumen), why not team up with a like-minded partner who complements your strengths and weaknesses? ResourcesJody Haneke on LinkedIn: https://www.linkedin.com/in/jodyhaneke Haneke Design: https://www.hanekedesign.com/ About Our Guest Jody Haneke is President and Founder of Haneke Design, a software development company that was founded on user experience design, with in-house full stack custom software development capabilities. With clients such as NYSE, Paramount Pictures, and Target, Haneke Design launches digital products that amaze end-users.Jody is on the Board of the Tampa Hillsborough Economic Development Corporation and an Entrepreneur in Residence (EiR) at the University of Tampa. Haneke Design has won over 50+ design and user experience awards throughout the years and continues to expand its business solutions with a core commitment to process and innovation. About The Dirt Podcast The Dirt is about getting real with businesses about the true state of their companies and going clear down to the dirt in solving their core needs as a business. Dive deep with your host Jim Barnish as we uncover The Dirt with some of the world's leading brands.If you love what you are getting out of our show please subscribe.For more information on how we dig into the dirt check out our other episodes here: https://www.orchid.black/podcastAbout Our CompanyOrchid Black is a new kind of growth services firm. We partner with tech-forward companies to build smarter, better, game-changing businesses. Website: https://www.orchid.black LinkedIn: https://www.linkedin.com/company/orchidblack/ YouTube: https://www.youtube.com/@OrchidBlack All contents of this show are rights of Orchid...

Gavia is joined by guest-host Claire Biddles to discuss Michael Haneke's 2001 erotic psychodrama The Piano Teacher, starring Isabelle as a Viennese piano teacher who embarks on a toxic sadomasochistic affair with one of her students. We delved into Huppert's performance and career, the film's costuming and music choices, the depiction of poorly-negotiated kink, and Haneke's unique brand of intense drama.

Michael Haneke wrote and directed "The Piano Teacher" with precision and brutal honesty. It's about a woman who is living through being a total lie. She takes life to other people and sadly to herself but there are reasons for it. It's a film about control. Do we have the control? How easy is it for one to slip? I loved the film for the complexity of the characters that carry this film through the tensions. The writing is great and Haneke is also great and character displaying the shots he chose as well. I also talk about how deep the character Erika is gloriously acted by Isabelle Huppert. She is the GOAT and she shows it in this film. It can't get better than that.Four out of four tokes.#thepianoteacher #michaelhaneke #filmreview

The cruelty is the point you sick fucks.    See omnystudio.com/listener for privacy information.

En este episodio exploramos un poco la ultraviolencia, según acuñada por Anthony Burgess en A Clockwork Orange. Asimismo, abordamos el rol de los medios en la difusión de la violencia, concepto trabajado en la filmografía de Michael Haneke. Disfruten de esta violenta conversación.

Moviezine & Tellustory presenterar. Dagen gäst är regissören Milad Alami, bioaktuell med hyllade filmen "Motståndaren". Milad Alami har tidigare gjort flera uppmärksammade kortfilmer. Hans första långfilm "Charmören" med Ardalan Esmaili i huvudrollen blev uppmärksammad och fick mycket beröm. Den filmen producerades i danmark, men nu är han tillbaka i Sverige. Vi är så glada över att ha Milad Alami med oss idag för att diskutera hans nya film Motståndaren och vad som inspirerade honom att berätta just denna historia och framför allt utmaningarna med att få den gjord. Filmen utforskar teman som kulturkrockar, identitet och självupptäckt och har redan fått mycket positiv kritik på internationella filmfestivaler. Vi spårar såklart och pratar om hur man håller publiken på helspänn som mästarna Haneke och Hitchcock och avslutar med tips till framtidens filmmakare. Här kommer vårt samtal med Milad.

For this week's episode, our beloved duo, Wickham and Colleen recommended each other some Haneke movies. And surely one of them had to endure a lot more pain than the other. This week, they are discussing Wickham's recommendation, Funny Games (1997 & 2007), and Colleen's recommendation, Caché (2005).

On this week's podcast, I am really excited to have Katie Haneke, a registered dietitian at The Balanced Practice to talk about intuitive eating, food relationship and food accessibility! Something we have not yet talked about on the podcast is the privilege that healing our relationship to food is. Access to food and proper health care is a HUGE thing we need to address when thinking about dismantling diet culture. Katie is an amazing human and dietitian. She offers 1:1 services at The Balanced Practice for folk who struggle with disordered eating/eating disorders. We hope you enjoy this episode!!! Connect with me on IG @the.balanced.dietitian

https://notesonfilm1.com/2022/06/22/thinking-aloud-about-film-moneyboys-c-b-yi-taiwan-2021/ Why are we talking about Moneyboys? Well Jose's recently read The Hustler/ Die Pupenjunge, City of Night, and Dancer from the Dance and is fascinated by gutter and underbelly, night and shadows, criminality and liminality, the ways social and psychic alienation can combine with carnal immersion though sexual connection, the tension in sex work between certain types of freedom and certain types of bondage. Moneyboys is too high class to touch on many of those things. But Richard is interested in Taiwanese Cinema, in Hou Hsiao-hsien and Haneke, interests which do intersect with Money Boys so humours him. In the podcast we talk of the significance of a Taiwanese film on this subject being set in Mainland China; the tensions between the rural and the city; the biological family which accepts money earned from sex work but casts out the worker; the value of constructed families; the various kinds of love valued (and de-valued) by the film; the possible conflation of sex work and homosexuality; the fluid long takes and the emotional distance evoked. It's an accomplished first film, interestingly made under a pseudonym, and in the podcast we talk through our responses to the various strands it raises.

Más lanzamiento de TCM Now en el 80 aniversario de Haneke y Derroteros En este miércoles de cine en Carne Cruda con Marta Medina en Sesión Continua, nos vamos al Festival de Cine de Málaga para contar lo más interesante que hemos visto en su cartel y entrevistamos a Carla Simón, la directora catalana que ha puesto al cine español en lo más alto de la Berlinare y ha sido la ganadora del Oso de Oro con su segundo largometraje, “Alcarrás”. Y celebramos el 80 cumpleaños del director Michael Haneke, junto a TCM que lanza su nuevo servicio bajo demanda TCM Now y presenta en exclusiva el documental “Haneke, cineasta de nuestros tiempos”. Más información del programa aquí: https://bit.ly/CINE1028 Sigue haciendo posible nuestros monográficos: http://bit.ly/ProduceCC

Seine Filme sind eine Zumutung im besten Sinne, radikal durchleuchtet Regisseur Michael Haneke darin die Abgründe der bürgerlichen Existenz. Damit wurde der Autorenfilmer Stammgast in Cannes. Jetzt wird Haneke 80.Von Anke Lewekewww.deutschlandfunkkultur.de, FazitDirekter Link zur Audiodatei

Brandon, James, Britnee, and Hanna discuss the films & career of Austrian button-pusher Michael Haneke, starting with his 1989 debut The Seventh Continent https://swampflix.com/ 00:00 Welcome 05:17 Jeen-Yuhs (2022) 11:30 The Batman (2022) 16:16 Gangubai Kathiawadi (2022) 21:44 Woodlands Dark and Days Bewitched (2021) 23:40 Sister Act (1992) 29:35 The Seventh Continent (1989) 52:00 Benny's Video (1992) 1:09:50 The Piano Teacher (2001) 1:31:40 The White Ribbon (2009)

1 haftalık aranın ardından biriktirdiklerimize karşınızdayız. Tuğçe Arslan Üçer, 15 yılı aşkın sürenin ardından Haneke'nin Caché'sini yeniden izleme deneyimini iktidar okuması üzerinden anlatıyor, Eylül Görmüş Malina kitabını ve filmini yine benzer bir yerden ele alıyor. Okuduklarımız arasında Ekin Deniz Kuzu'dan "Ölüm Kalım Öyküleri", Madeline Miller'ın "Ben, Kirke"si ve Jean Rhys'in "Dörtlü"sü var. Vizyona ve dijital platformlara gelenler ve yeni çıkan kitaplar da her hafta olduğu gibi bültenin sonunda.

This episode is on Caché, the 2005 film by Michael Haneke. There's also discussion of some of Haneke's other films, including The White Ribbon and The Piano Teacher. The theme is "gaze". To hear the B side, subscribe on Patreon. 

Between Underground Railroad, Handmaid's Tale, Promising Young Woman, Them, and many others, we are asked to consume stories of trauma and images of torture as our entertainment. Trevor Beaulieu from Champagne Sharks and Jessa discuss how we got here, whether we can blame Jonathan Safran Foer, Adorno (?!), and why setting your story against the backdrop of an atrocity doesn't make it deep.  Support this podcast: http://patreon.com/publicintellectual http://jessacrispin.com

  Troy, John, Joll, Steven, and Brody go shallow on Haneke's 1994 first experiments with the cinema of fragmentation.    Scores: Troy -- 3.9, Brody -- 3.0, Joll -- 2.6, Steven -- 2.9, John -- 3.4     Recorded 5/1/2021

Jacob, Brody, Troy, John, and Steven discuss yet another Haneke film, specifically, his emotionally precise yet amorphous mosaic of modern Europe, Code Unknown.   Scores: Troy -- 4.0, John -- 4.2, Steven -- 4.0, Jacob -- 3.3, Brody -- 2.0. Apologies for the noisy audio, we'll do better.   Recorded 3/7/2021  

My friend Scott Philip Goergens returns for our post mortem on Caché (2005), and we just embrace not knowing how to say “Haneke.” I find time to whine about being old and not understanding technology, and I also dole out heaps of parenting advice despite never having been (nor ever planning to be) responsible for another human's care. Scott and I talk a bit about what makes a spoilable movie, and while I still hope you'll watch Caché before listening to the talk, I think we manage to leave enough mystery that you'll still enjoy the movie if you watch afterward. Scott's feature directorial debut 29 Needles is now available for preorder on Blu-Ray from Unearthed Films! Preorders are vitally important to independent artists, so if the movie looks like something that might be up your alley, please, please place your preorder — before February 19! https://www.unearthedfilms.com/catalog/tefm/29needles.php  And just to prove that the US does not have a complete monopoly on unspeakable violence against protestors, immigrants, and people of color, you can read about the Paris massacre of 1961, during which as many as 300 peaceful Algerian protestors were killed by the French National Police: https://en.wikipedia.org/wiki/Paris_massacre_of_1961 

Episode 6 of The Adapted Athletics Podcast!

Socrates Podcasts ve FilmLoverss işbirliğiyle hazırlanan Sinema Var'ın ikinci sezonunu karantina günlerindeki ruh halimize uygun bir temayla açıyoruz. Güvenç Atsüren ve Aras Keser'e, yazar Hakan Bıçakcı'nın eşlik ettiği bu bölümde Haneke'nin, Pasolini'nin, Ozon'un filmografilerinin tekinsiz köşelerinde “yuvaya sızan yabancılar” ile karşılaşıyor ve dokuz filmlik bir “ev istilası” seçkisi oluşturuyoruz. Hakan Bıçakcı ile İstanbul Turu podcast serisini takip etmek için: https://spoti.fi/343rBY3 --- spoiler --- Uyarı: Bu sohbet, konuşulan filmlere dair can alıcı detayları veya sahneleri açık eden bölümler içerebilir. Aşağıdaki zaman kodlarını kullanarak ileri sarabilirsiniz… (08:55) FUNNY GAMES (Haneke, 1997) (18:35) THE DESPERATE HOURS (Wyler, 1955) (27:20) PANIC ROOM (Fincher, 2002) (34:10) BIJITÂ Q (Miike, 2001) (40:20) TEOREMA (Pasolini, 1968) (47:50) DANS LA MAISON (Ozon, 2012) (56:45) THE KILLING OF A SACRED DEER (Lanthimos, 2017) (1:02:35) ANGST (Kargl, 1983) (1:08:15) STRAW DOGS (Peckinpah, 1971)