Podcast appearances and mentions of Jane Campion

Le 1er juin, la série Euphoria achevait sa troisième et dernière saison. L'occasion pour nous de faire le point sur la série phénomène de Sam Levinson, d'abord adulée avant d'enchaîner les polémiques.Animation, réalisation, montage, son : Mariana AgierParticipantes : Margaux Baralon, Léon Cattan, Lisa DurandGénérique : © SorocinéMusique : Antonin Agier et Hugo CardonaHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

On est super heureuses de vous annoncer le retour du SorocinéClub, avec un cycle entièrement dédié au cinéma de matrimoine, qui se tiendra au Lucernaire à Paris !Pour cette première séance, rendez-vous le jeudi 11 juin à 20h pour (re)découvrir IN THE CUT, le sixième long-métrage de Jane Campion, dont on vous parlait dans notre épisode dédié à la critique féministe. Un film aux airs de thriller érotique, où une professeure de lettres (Meg Ryan) collabore avec un policier effrayant (Mark Ruffalo) pour enquêter sur un meurtrier...Adresse : Le Lucernaire, 53 Rue Notre Dame des Champs, 75006 ParisOn vous conseille de réserver votre place au lien suivant : In the cut - LucernaireHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Maintenant que l'édition 2026 du festival de Cannes est terminée, on se pose pour faire le bilan de cette 79e édition !Animation, réalisation, montage, son : Mariana AgierParticipantes : Alicia Arpaïa, Noémie Attia, Margaux BaralonGénérique : © SorocinéMusique : Antonin Agier et Hugo CardonaHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

C'est la fin du festival de Cannes, on fait donc le bilan de nos coups de cœur et nos déceptions, avant d'annoncer nos Palmes de cœur et de faire le pronostic du Palmarès de cette édition !Au programme : Histoires de la nuit de Léa Mysius, Notre Salut d'Emmanuel Marre, Mariage au Goût d'Orange de Christophe Honoré, mais aussi nos palmes et nos grandes déceptions.Animation, réalisation, montage, son : Mariana AgierParticipantes : Enora Abry, Alicia Arpaïa, Margaux Baralon, Diane LestageGénérique : © SorocinéMusique : Antonin Agier et Hugo CardonaHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

On est aux trois quarts du festival, l'occasion de refaire le point sur nos coups de coeur et coups de gueule de ces derniers jours !Au programme : Garance de Jeanne Herry, L'Inconnue de Arthur Harari, Her Private Hell de Nicolas Winding Refn, Ben'Imana de Marie-Clémentine Dusabejambo, Ton animal maternel de Valentina Maurel, Carmen l'Oiseau Rebelle de Sébastien Laudenbach, Jim Queen de Marco Nguyen et Nicolas Athané, et Eva de Maria Plyta.Animation, réalisation, montage, son : Mariana AgierParticipantes : Enora Abry, Noémie Attia, Alicia Arpaïa, Margaux Baralon, Esther Brejon, Diane LestageGénérique : © SorocinéMusique : Antonin Agier et Hugo CardonaHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Après 6 jours de festival, on fait le point sur Cannes à mi-parcours en vous partageant nos coups de coeur, coups de gueules et découvertes en direct !Au programme : Gentle Monster de Marie Kreutzer, L'Être Aimé de Rodrigo Sorogoyen, Soudain de Ryusuke Hamaguchi, Mémoire de fille de Judith Godrèche, La Gradiva de Marine Atlan, Tangles de Leah Nelson et Sanguine de Marion Le Coroller.Animation, réalisation, montage, son : Mariana AgierParticipantes : Enora Abry, Noémie Attia, Alicia Arpaïa, Margaux Baralon, Victoria FabyGénérique : © SorocinéMusique : Antonin Agier et Hugo CardonaHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Pour ce premier épisode spécial dédié au 79e festival de Cannes, on vous embarque avec nous sur la Croisette en vous partageant nos coups de coeur, coups de gueules et découvertes en direct !Au programme : La Vénue Electrique de Pierre Salvadori, La vie d'une femme de Charline Bourgeois-Tacquet, Histoires Parallèles d'Asghar Farhadi, Butterfly Jam de Kantemir Balagov, In Waves de Phuong Mai Nguen, Viva de Aina Clotet... Et Fast & Furious de Rob Cohen.Animation, réalisation, montage, son : Mariana AgierParticipantes : Enora Abry, Noémie Attia, Alicia Arpaïa, Margaux Baralon, Diane Lestage, Victoria FabyGénérique : © SorocinéMusique : Antonin Agier et Hugo CardonaHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Podcast Show Notes In this expansive and intimate conversation, Damien Swaby welcomes legendary cinematographer Stuart Dryburgh for a masterclass in visual storytelling, collaboration, and creative longevity.Born in the UK in 1952 and raised largely in New Zealand, Stuart's early life was shaped by both migration and discipline.He earned a Bachelor of Architecture from the University of Auckland, a foundation that continues to inform his sensitivity to structure, space, and composition within the frame.Stuart began his career working on early New Zealand films such as Goodbye Pork Pie and Smash Palace, before spending several years as a gaffer — an experience he credits with giving him a deep, practical understanding of light.By the mid-1980s, he transitioned fully into cinematography, shooting short films, music videos, and commercials.A pivotal turning point came with his collaboration with director Jane Campion on the television miniseries An Angel at My Table, followed by The Piano — a film that earned Stuart an Academy Award nomination for Best Cinematography in 1994 and cemented his international reputation.The conversation traces his move from New Zealand to the United States after projects like Once Were Warriors, and his evolution into a globally sought-after cinematographer. His credits include The Secret Life of Walter Mitty, Bridget Jones's Diary, and more recently high-profile series such as Fallout for Jonathan Nolan at Amazon and East of Eden as a limited series for Netflix.Throughout the episode, Stuart speaks candidly about:How architecture shaped his visual thinkingWhy working as a gaffer was essential to his developmentBuilding trust-based relationships with directorsResisting the urge to impose a “signature style”Letting emotion, performance, and light guide the cameraAt its core, this episode is a meditation on restraint, intuition, and the quiet decisions that shape unforgettable images. A must-listen for cinematographers, directors, and anyone drawn to the invisible art of cinema.https://www.stuartdryburgh.comUse Promo Code "FILMMAKINGSWABY" for all my deals or just click the link:25% Off More Labshttps://www.morelabs.com/discount/FILMMAKINGSWABY20% Off Strong Coffee Companyhttps://strongcoffeecompany.com/discount/FILMMAKINGSWABY15% Off Tusslehttps://www.tusslegear.com/discount/FILMMAKINGSWABY20% Off Eric Javitshttps://ericjavits.com/discount/FILMMAKINGSWABY25% Off Quantum Energy Squarehttps://quantumsquares.com/discount/FILMMAKINGSWABY20% Off Long Tablehttps://longtablepancakes.com/discount/FILMMAKINGSWABY20% Off HyperNaturalhttps://hypernaturalstyle.com/discount/FILMMAKINGSWABY20% Off wearplaygroundhttps://wearplayground.com/discount/FILMMAKINGSWABY15% Off STAND+https://www.standshoes.com/discount/FILMMAKINGSWABY10% Off Molly Bzhttps://mollybz.com/discount/FILMMAKINGSWABY41% Off Cozy Earthhttps://cozyearth.com/discount/FILMMAKINGSWABYX (Twitter): @DamienSwaby https://x.com/DamienSwaby/status/1864468655582437405Instagram: @filmmaker__damien_swaby. https://www.instagram.com/filmmaker__damien_swaby/?hl=en 

Ce mercredi 29 avril sortait Le Diable s'habille en Prada 2, une suite qu'on attendait (et craignait) avec impatience... L'occasion de nous pencher sur ce qui a fait du premier film un objet culte sur la mode, mais aussi sur la représentation des femmes au travail dans les années 2000. Alors, qu'est-ce qui fait que Le diable s'habille en Prada est devenu aussi culte, et la suite est-elle à la hauteur ?Animation, son : Mariana AgierParticipantes : Mariana Agier, Noémie Attia, Lisa Durand, Victoria FabyRéalisation, montage : Mariana AgierGénérique : © SorocinéMusique : Antonin Agier et Hugo CardonaHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Adieu ma concubine est un film sino-hongkongais réalisé par Chen Kaige, sorti en 1993. Lʹhistoire est celle dʹune amitié particulière, dʹun amour homosexuel impossible, dʹun opéra, dʹun drame mêlé à lʹhistoire de la Chine sur 50 ans, entre 1924 et 1977. Deux enfants, Douzi et Shitou se lient dʹamitié à lʹécole de lʹopéra de Pékin. Ils jouent sous le nom de scène de Dieyi et Xiaolou, Adieu ma concubine, une célèbre pièce du répertoire évoquant les amours et les adieux du prince Xiang Yu et de sa concubine Yu Ji. Douzi incarne la concubine et Shitou le roi. Derrière le tragique de cet opéra classique, le tragique dʹun amour contemporain. Car Douzi aime Shitou qui lui, se marie. Leurs histoires personnelles se mêlent à lʹhistoire générale, celle de la Chine, de la guerre et de la révolution culturelle. Le réalisateur Chen Kaige trace, via cette histoire, un panorama de la Chine sur plus d'un demi-siècle. Tout y passe, la guerre sino-japonaise, lʹarrivée des communistes, la révolution culturelle. Le réalisateur définit lui-même ce film comme "une histoire de séduction et de trahison". Mais cʹest surtout lui qui séduit puisquʹAdieu ma concubine remporte la Palme dʹOr à Cannes en 1993, ex-aequo avec la Leçon de piano de Jane Campion. Le film est acclamé en Occident. En Chine, cʹest un peu plus compliqué. Ne tardons pas, il est temps de plonger dans lʹunivers de lʹopéra de Pékin et dans une histoire de Chine racontée à travers le prisme de deux personnages de fiction. REFERENCES Adieu ma concubine à Cannes https://www.youtube.com/watch?v=9-WnE2CtCX8 Le film à Cannes https://www.ina.fr/ina-eclaire-actu/video/i00015142/chen-kaige-et-leslie-cheung-a-cannes-a-propos-de-adieu-ma-concubine Conférence de Presse https://www.ina.fr/ina-eclaire-actu/video/i00015138/conference-de-presse-avec-chen-kaige Chen Kaige à la cinémathèque de Toulouse https://www.youtube.com/watch?v=DpSbynmF1VM Jean-Michel Frodon, Le cinéma chinois, Éditions les Cahiers du cinéma, 2006 Chen Kaige, une jeunesse chinoise, traduit du chinois par Christine Corniot, Editions Philippe Picquier, 1995

Pour ce nouvel épisode de Sorociné, on se concentre sur le nouveau film de la réalisatrice tunisienne Leyla Bouzid, "A voix basse", en salles ce mercredi 22 avril. On y suit l'histoire de Leïla, de retour en Tunisie pour les funérailles de son oncle, qui est déterminée à éclaircir le mystère de sa mort et se confronte aux secrets de la maison où cohabitent trois générations de sa famille.Animation, son : Mariana AgierParticipantes : Mariana Agier, Alicia Arpaïa, Diane LestageRéalisation, montage : Mariana AgierGénérique : © SorocinéMusique : Antonin Agier et Hugo CardonaHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Son dernier film LE CRI DES GARDES sortait en salles ce mercredi 8 avril. Pour l'occasion, on a voulu se pencher sur la filmographie de Claire Denis, qui s'est toujours intéressée au corps et au désir masculin, dès ses débuts avec CHOCOLAT, en passant par BEAU TRAVAIL.Animation, son : Mariana AgierParticipantes : Mariana Agier, Noémie Attia, Victoria FabyRéalisation, montage : Mariana AgierGénérique : © SorocinéMusique : Antonin Agier et Hugo CardonaHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

We had some fun rewriting Oscar history and deciding who would have been nominated and who would have won the Best Director Academy Award from 2011-present if only women were eligible. Nominees/winners Kathryn Bigelow, Greta Gerwig, Chloe Zhao, Emerald Fennell, Sophia Coppola, and Jane Campion aren't the only ladies getting the spotlight here. We look at the movies of Emma Seligman, Scarlet Johan, Scarlett Johansson, Lulu Wang, Ava DuVernay, and many more.Hosted by Brad Garoon & Jake Ziegler0:00 Introduction, 3:00 2011, 6:33 2012, 9:35 2013, 12:03 2014, 14:56 2015, 17:27 2016, 19:23 2017, 22:30 2018, 25:37 2019, 29:34 2020, 34:12 2021, 37:50 2022, 40:13 2023, 43:22 2024, 47:09 2025#barbie #zerodarkthirty #powerofthedog

Son dernier film A PIED D'OEUVRE, sorti en février 2026, racontait l'histoire d'un photographe renonçant à sa profession pour se dédier au métier précaire d'écrivain. Pour l'occasion, on a voulu revenir sur la carrière de la réalisatrice Valérie Donzelli, dont le cinéma est traversé par la poésie, la fantaisie, et par une réinvention constante.Chapitrage :03:28 : un parcours atypique de réalisatrice09:51 : définir le style de Donzelli15:44 : l'amour chez Valérie Donzelli, entre ombre et lumière24:54 : le tournant dramatique avec "L'Amour et les Forêts"37:25 : des personnages en réinvention constante46:18 : "A Pied d'Oeuvre" et la critique du "bourgeois gaze"53:12 : des contes contemporains ?58:11 : "Marguerite et Julien" : une représentation rétrograde de l'inceste ?Animation, son : Alicia ArpaïaParticipantes : Enora Abry, Alicia Arpaïa, Victoria Faby, Diane LestageRéalisation, montage : Mariana AgierGénérique : © SorocinéMusique : Antonin Agier et Hugo CardonaHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Our journey looking at a century of the movies directed by women brings us to a turning point. The 1990s saw a huge upswing in women-directed films. We take a look at Jane Campion's "The Piano", Kathryn Bigelow's "Strange Days", Beeban Kidron's "To Wong Fu, Thanks For Everything! Julie Newmar", and Kasi Lemmons' "Eve's Bayou". Hosted by Brad Garoon and Jake Ziegler0:00 Introduction |0:38 The Piano |11:26 Strange Days |22:40 To Wong Foo, Thanks for Everything! Julie Newmar |30:42 Eve's Bayou |40:08 Top Women-Directed Movies of the 1990s

BOUH ! Aujourd'hui c'est notre 69ème épisode... Donc on a décidé de parler d'horreur... et de le sexxxe !Les films de l'épisode :- 3'00" Un couteau dans le coeur [Yann Gonzalez]- 25'43" Nekromantik [Jörg Buttgereit]- 46'40" In the cut [Jane Campion]- 74'43" Le repaire du ver blanc [Ken Russell]Quelques recos (95'45")- Léo recommande le dernier Sam Raimi, Send Help- Lola recommande la conférence de l'Institut la Boétie "Faire face à la submersion xénophobe", disponible sur Youtube- Thomas a lu Gilles Deleuze et Félix Guattari: une philosophie des devenirs-révolutionnaires, d'Igor Krtolica & le jeu vidéo Reanimal, de Tarsier Studios- Camille dé-recommande le film Hurlevent, d'Emmerald Fennell⚠️ TW : Attention, cet épisode aborde des sujets sensibles tels que : violences sexuelles, nécrophilie.⚠️ Attention aux spoilers ⚠️Réalisation et musique : Brice ThierionIdentité visuelle : Noah BallulPour nous aider n'hésitez pas à nous suivre @lhorreurdudimanche, à vous abonner et à mettre des étoiles sur Apple Podcasts, Spotify, Deezer, Podcast Addict, ...

In this RTB and Novel Dialogue episode from 2021, Helen Garner sits down with John and Elizabeth McMahon, a distinguished scholar of Australian literature. Helen's novels range from the anti-patriarchy exuberance of Monkey Grip (1977) to the heartbreaking mortality at the heart of The Spare Room (2008). She has also authored a slew of nonfiction, plus screenplays for Jane Campion's Two Friends and Gillian Armstrong's wonderfully Garneresque The Last Days of Chez Nous. After a reading from John's favorite, The Children's Bach, the trio discusses Garner's capacity for cutting and cutting, creating resonant, thought-inducing gaps. Garner connects that taste for excision, perhaps paradoxically, to her tendency to accumulate scraps, bits and pieces of life. She relates her father's restlessness to her own life-total of houses inhabited (27). “Why wouldn't I write about households?” asks Helen, “They're just so endlessly interesting.” Who shaped her writing? Raymond Carver: packed with power, but the pages white with omissions and excisions. Helen offers an anecdote about her own pruning that ends with her “ankle-deep in adverbs.” That's how to escape the “fat writing” that stems for distrust of the reader. She thoughtfully compares the practical virtues of keeping notebooks for the “music” of everyday life to the nightly process of diary-writing (more analytical). John raises the question of pervasive musical metaphors in Helen's writing, and she reports her passion for “boring pieces” and the “formal” side of Bach, which makes a listener feel that there is such a thing as meaning. “There's something about shaping a sentence, too, which can be musical.” Mentioned in the Episode Marilynne Robinson, Housekeeping (the fixed people and the wandering people), Gilead, Home, The West Wing (yes, the TV show! Helen watched it during lockdown when she couldn't bear fiction…) Raymond Carver‘s minimalist fiction (his first collection) Tess Gallagher (as writer and as Carver's editor) Willa Cather, “The Novel Démeublé” (1922; on how to un-furnish fiction, leaving it an empty room) Ernest Hemingway, A Moveable Feast Sigmund Freud on “the day's residue” (e.g. in The Interpretation of Dreams, 1900) George Eliot, Quarry for Middlemarch Listen to Episode Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In this RTB and Novel Dialogue episode from 2021, Helen Garner sits down with John and Elizabeth McMahon, a distinguished scholar of Australian literature. Helen's novels range from the anti-patriarchy exuberance of Monkey Grip (1977) to the heartbreaking mortality at the heart of The Spare Room (2008). She has also authored a slew of nonfiction, plus screenplays for Jane Campion's Two Friends and Gillian Armstrong's wonderfully Garneresque The Last Days of Chez Nous. After a reading from John's favorite, The Children's Bach, the trio discusses Garner's capacity for cutting and cutting, creating resonant, thought-inducing gaps. Garner connects that taste for excision, perhaps paradoxically, to her tendency to accumulate scraps, bits and pieces of life. She relates her father's restlessness to her own life-total of houses inhabited (27). “Why wouldn't I write about households?” asks Helen, “They're just so endlessly interesting.” Who shaped her writing? Raymond Carver: packed with power, but the pages white with omissions and excisions. Helen offers an anecdote about her own pruning that ends with her “ankle-deep in adverbs.” That's how to escape the “fat writing” that stems for distrust of the reader. She thoughtfully compares the practical virtues of keeping notebooks for the “music” of everyday life to the nightly process of diary-writing (more analytical). John raises the question of pervasive musical metaphors in Helen's writing, and she reports her passion for “boring pieces” and the “formal” side of Bach, which makes a listener feel that there is such a thing as meaning. “There's something about shaping a sentence, too, which can be musical.” Mentioned in the Episode Marilynne Robinson, Housekeeping (the fixed people and the wandering people), Gilead, Home, The West Wing (yes, the TV show! Helen watched it during lockdown when she couldn't bear fiction…) Raymond Carver‘s minimalist fiction (his first collection) Tess Gallagher (as writer and as Carver's editor) Willa Cather, “The Novel Démeublé” (1922; on how to un-furnish fiction, leaving it an empty room) Ernest Hemingway, A Moveable Feast Sigmund Freud on “the day's residue” (e.g. in The Interpretation of Dreams, 1900) George Eliot, Quarry for Middlemarch Listen to Episode Learn more about your ad choices. Visit megaphone.fm/adchoices

In this RTB and Novel Dialogue episode from 2021, Helen Garner sits down with John and Elizabeth McMahon, a distinguished scholar of Australian literature. Helen's novels range from the anti-patriarchy exuberance of Monkey Grip (1977) to the heartbreaking mortality at the heart of The Spare Room (2008). She has also authored a slew of nonfiction, plus screenplays for Jane Campion's Two Friends and Gillian Armstrong's wonderfully Garneresque The Last Days of Chez Nous. After a reading from John's favorite, The Children's Bach, the trio discusses Garner's capacity for cutting and cutting, creating resonant, thought-inducing gaps. Garner connects that taste for excision, perhaps paradoxically, to her tendency to accumulate scraps, bits and pieces of life. She relates her father's restlessness to her own life-total of houses inhabited (27). “Why wouldn't I write about households?” asks Helen, “They're just so endlessly interesting.” Who shaped her writing? Raymond Carver: packed with power, but the pages white with omissions and excisions. Helen offers an anecdote about her own pruning that ends with her “ankle-deep in adverbs.” That's how to escape the “fat writing” that stems for distrust of the reader. She thoughtfully compares the practical virtues of keeping notebooks for the “music” of everyday life to the nightly process of diary-writing (more analytical). John raises the question of pervasive musical metaphors in Helen's writing, and she reports her passion for “boring pieces” and the “formal” side of Bach, which makes a listener feel that there is such a thing as meaning. “There's something about shaping a sentence, too, which can be musical.” Mentioned in the Episode Marilynne Robinson, Housekeeping (the fixed people and the wandering people), Gilead, Home, The West Wing (yes, the TV show! Helen watched it during lockdown when she couldn't bear fiction…) Raymond Carver‘s minimalist fiction (his first collection) Tess Gallagher (as writer and as Carver's editor) Willa Cather, “The Novel Démeublé” (1922; on how to un-furnish fiction, leaving it an empty room) Ernest Hemingway, A Moveable Feast Sigmund Freud on “the day's residue” (e.g. in The Interpretation of Dreams, 1900) George Eliot, Quarry for Middlemarch Listen to Episode Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In this RTB and Novel Dialogue episode from 2021, Helen Garner sits down with John and Elizabeth McMahon, a distinguished scholar of Australian literature. Helen's novels range from the anti-patriarchy exuberance of Monkey Grip (1977) to the heartbreaking mortality at the heart of The Spare Room (2008). She has also authored a slew of nonfiction, plus screenplays for Jane Campion's Two Friends and Gillian Armstrong's wonderfully Garneresque The Last Days of Chez Nous. After a reading from John's favorite, The Children's Bach, the trio discusses Garner's capacity for cutting and cutting, creating resonant, thought-inducing gaps. Garner connects that taste for excision, perhaps paradoxically, to her tendency to accumulate scraps, bits and pieces of life. She relates her father's restlessness to her own life-total of houses inhabited (27). “Why wouldn't I write about households?” asks Helen, “They're just so endlessly interesting.” Who shaped her writing? Raymond Carver: packed with power, but the pages white with omissions and excisions. Helen offers an anecdote about her own pruning that ends with her “ankle-deep in adverbs.” That's how to escape the “fat writing” that stems for distrust of the reader. She thoughtfully compares the practical virtues of keeping notebooks for the “music” of everyday life to the nightly process of diary-writing (more analytical). John raises the question of pervasive musical metaphors in Helen's writing, and she reports her passion for “boring pieces” and the “formal” side of Bach, which makes a listener feel that there is such a thing as meaning. “There's something about shaping a sentence, too, which can be musical.” Mentioned in the Episode Marilynne Robinson, Housekeeping (the fixed people and the wandering people), Gilead, Home, The West Wing (yes, the TV show! Helen watched it during lockdown when she couldn't bear fiction…) Raymond Carver‘s minimalist fiction (his first collection) Tess Gallagher (as writer and as Carver's editor) Willa Cather, “The Novel Démeublé” (1922; on how to un-furnish fiction, leaving it an empty room) Ernest Hemingway, A Moveable Feast Sigmund Freud on “the day's residue” (e.g. in The Interpretation of Dreams, 1900) George Eliot, Quarry for Middlemarch Listen to Episode Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

In this RTB and Novel Dialogue episode from 2021, Helen Garner sits down with John and Elizabeth McMahon, a distinguished scholar of Australian literature. Helen's novels range from the anti-patriarchy exuberance of Monkey Grip (1977) to the heartbreaking mortality at the heart of The Spare Room (2008). She has also authored a slew of nonfiction, plus screenplays for Jane Campion's Two Friends and Gillian Armstrong's wonderfully Garneresque The Last Days of Chez Nous. After a reading from John's favorite, The Children's Bach, the trio discusses Garner's capacity for cutting and cutting, creating resonant, thought-inducing gaps. Garner connects that taste for excision, perhaps paradoxically, to her tendency to accumulate scraps, bits and pieces of life. She relates her father's restlessness to her own life-total of houses inhabited (27). “Why wouldn't I write about households?” asks Helen, “They're just so endlessly interesting.” Who shaped her writing? Raymond Carver: packed with power, but the pages white with omissions and excisions. Helen offers an anecdote about her own pruning that ends with her “ankle-deep in adverbs.” That's how to escape the “fat writing” that stems for distrust of the reader. She thoughtfully compares the practical virtues of keeping notebooks for the “music” of everyday life to the nightly process of diary-writing (more analytical). John raises the question of pervasive musical metaphors in Helen's writing, and she reports her passion for “boring pieces” and the “formal” side of Bach, which makes a listener feel that there is such a thing as meaning. “There's something about shaping a sentence, too, which can be musical.” Mentioned in the Episode Marilynne Robinson, Housekeeping (the fixed people and the wandering people), Gilead, Home, The West Wing (yes, the TV show! Helen watched it during lockdown when she couldn't bear fiction…) Raymond Carver‘s minimalist fiction (his first collection) Tess Gallagher (as writer and as Carver's editor) Willa Cather, “The Novel Démeublé” (1922; on how to un-furnish fiction, leaving it an empty room) Ernest Hemingway, A Moveable Feast Sigmund Freud on “the day's residue” (e.g. in The Interpretation of Dreams, 1900) George Eliot, Quarry for Middlemarch Listen to Episode Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/australian-and-new-zealand-studies

An accessible introduction to the concept of the auteur (author) in film theory. In The Film Auteur: Angles of Vision (Routledge, 2026) Robert Kolker and David Wyatt provide readers with a history of auteur theory, from its initial origins in France in the late 1940s as an outgrowth of the cinematic theories of the French film critics and theorists André Bazin and Alexandre Astruc, to the canonizing work of American film critic Andrew Sarris in the 1960s. After a streamlined account of the various postwar renaissances in film - the shock of “Neorealism”, the “New Wave,” and “New American Cinema” - the book features detailed examinations of the work of forty-eight auteurs, including F.W. Murnau, Jean-Luc Godard, Ida Lupino, Alfred Hitchcock, Yasujirō Ozu, Stanley Kubrick, Spike Lee, Pedro Almodóvar, and Jane Campion. In its focus on a limited number of auteurs, this book aims to offer a map of representative figures rather than an exhaustive or comprehensive list, providing an informative entry point to the study of the auteur. Essential reading for any students of film theory and film studies, particularly those taking classes on the auteur. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

An accessible introduction to the concept of the auteur (author) in film theory. In The Film Auteur: Angles of Vision (Routledge, 2026) Robert Kolker and David Wyatt provide readers with a history of auteur theory, from its initial origins in France in the late 1940s as an outgrowth of the cinematic theories of the French film critics and theorists André Bazin and Alexandre Astruc, to the canonizing work of American film critic Andrew Sarris in the 1960s. After a streamlined account of the various postwar renaissances in film - the shock of “Neorealism”, the “New Wave,” and “New American Cinema” - the book features detailed examinations of the work of forty-eight auteurs, including F.W. Murnau, Jean-Luc Godard, Ida Lupino, Alfred Hitchcock, Yasujirō Ozu, Stanley Kubrick, Spike Lee, Pedro Almodóvar, and Jane Campion. In its focus on a limited number of auteurs, this book aims to offer a map of representative figures rather than an exhaustive or comprehensive list, providing an informative entry point to the study of the auteur. Essential reading for any students of film theory and film studies, particularly those taking classes on the auteur. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

An accessible introduction to the concept of the auteur (author) in film theory. In The Film Auteur: Angles of Vision (Routledge, 2026) Robert Kolker and David Wyatt provide readers with a history of auteur theory, from its initial origins in France in the late 1940s as an outgrowth of the cinematic theories of the French film critics and theorists André Bazin and Alexandre Astruc, to the canonizing work of American film critic Andrew Sarris in the 1960s. After a streamlined account of the various postwar renaissances in film - the shock of “Neorealism”, the “New Wave,” and “New American Cinema” - the book features detailed examinations of the work of forty-eight auteurs, including F.W. Murnau, Jean-Luc Godard, Ida Lupino, Alfred Hitchcock, Yasujirō Ozu, Stanley Kubrick, Spike Lee, Pedro Almodóvar, and Jane Campion. In its focus on a limited number of auteurs, this book aims to offer a map of representative figures rather than an exhaustive or comprehensive list, providing an informative entry point to the study of the auteur. Essential reading for any students of film theory and film studies, particularly those taking classes on the auteur. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Le mercredi 11 février sort en salles, pour la Saint-Valentin, "Hurlevent", la nouvelle adaptation du livre d'Emily Brontë, réalisée par Emerald Fennell, déjà à l'origine de Promising Young Woman et Saltburn. On s'est réunies autour du micro pour parler de cette adaptation avec Margot Robbie et Jacob Elordi en tête d'affiche, dont l'annonce a été très controversée.Animation : Mariana AgierParticipantes : Enora Abry, Mariana Agier, Diane LestageRéalisation, montage, son : Mariana AgierGénérique : © SorocinéMusique : Antonin Agier et Hugo CardonaHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Son dernier film, Hamnet, avec Jessie Buckley et Paul Mescal, sort en salles ce mercredi 21 janvier. Pour l'occasion, on a voulu s'intéresser à la filmographie de la réalisatrice Chloé Zhao, depuis ses premiers films qui sondent les mythes américains dans les réserves amérindiennes, en passant par Nomadland et la consécration de l'Oscar du meilleur film et de la meilleure réalisation, et son passage chez Marvel.Chapitrage :05:50 : "Les chansons que mes frères m'ont apprises" et "The Rider", la mythologie du western et les réserves amérindiennes18:48 : "Nomadland" et sa charge politique32:42 : Le tournant Marvel avec "Les Eternels"43:52 : "Hamnet" et la patte de Chloé Zhao dans l'adaptation de Maggie O'FarrellAnimation : Léon CattanParticipantes : Mariana Agier, Margaux Baralon, Léon Cattan, Lisa DurandRéalisation, montage, son : Mariana AgierGénérique : © SorocinéMusique : Antonin Agier et Hugo CardonaHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Min 5: 28 AÑOS DESPUÉS: EL TEMPLO DE LOS HUESOS (3 estrellas) Dirigida por Nia DaCosta y escrita por Alex Garland, 28 años después. El templo de los huesos continúa el universo inaugurado por 28 días después para adentrarse en un mundo donde la infección ya no es una catástrofe puntual, sino un estado permanente de la humanidad. Ambientada casi tres décadas después del brote del virus de la rabia, la película sigue a un grupo de supervivientes —interpretados por Jodie Comer, Aaron Taylor-Johnson y Ralph Fiennes— que descubre una comunidad aislada y aparentemente organizada, asentada sobre los restos físicos y morales del antiguo orden. Min 15. EL MAL (JUANMA BAJO ULLOA) 3 estrellas Dirigida por Juanma Bajo Ulloa, El mal es el estreno español más llamativo del fin de semana, un thriller psicológico que obliga al espectador a enfrentarse a sus propias sombras y a cuestionar la delgada línea entre fascinación y repulsión ante la violencia. La trama sigue a Belén Fabra, Natalia Tena y Tony Dalton —con apoyos de Fernando Gil, María Schwinning y Natalia Ruiz Risueño— en una historia donde Elvira, una ambiciosa periodista y escritora de sucesos interpretada por Fabra, recibe la inquietante propuesta de escribir la biografía de Martín (Tena), quien dice tener “talento†para ser el mayor asesino en serie de la Historia, lo que desencadena una espiral de compromisos éticos, obsesión y reflexión sobre la maldad inherente al ser humano. Min 20. EL HOMBRE MENGUANTE (FRANCIA) 3 estrellas Dirigida por Jan Kounen y escrita por Christophe Deslandes y el propio Kounen, El hombre menguante se estrena hoy viernes 16 de enero de 2026 en cines españoles, ofreciendo una nueva lectura del clásico de ciencia ficción basado en la novela de Richard Matheson que ha inspirado generaciones de cineastas. La película está protagonizada por Jean Dujardin —en un papel físico y emocionalmente exigente— junto a Marie-Josée Croze, Daphné Richard y Salim Talbi, en un relato que transforma lo cotidiano en un vasto y peligroso paisaje cuando el protagonista comienza a perder tamaño de forma inexplicable. Min. 27: SI PUDIERA TE DARÍA UNA PATADA (3 estrellas) Dirigida y escrita por Mary Bronstein, 'Si pudiera, te daría una patada' irrumpe en salas como una de las piezas más estimulantes del cine independiente. La película, protagonizada de forma casi absoluta por Rose Byrne, sigue a Linda, una madre atrapada en una sucesión de crisis simultáneas: la enfermedad inexplicable de su hija, la ausencia emocional de su marido, una desaparición inquietante y una relación cada vez más tóxica con su propio terapeuta. Bronstein construye un relato que oscila entre el drama, la comedia negra y el thriller psicológico para retratar el desgaste mental de una mujer obligada a sostenerlo todo sin espacio para venirse abajo. Min 32. TURNO DE GUARDIA (4 estrellas) Turno de guardia es un retrato intenso y humanista de la cotidianidad sanitaria que sacude al espectador desde sus primeros minutos con una propuesta formal audaz y una mirada profundamente empática hacia el personal de enfermería. Dirigida y escrita por Petra Biondina Volpe, la cineasta suiza emplea la jornada de una enfermera —Floria, interpretada con aplomo y verdad por Leonie Benesch— como vehículo narrativo y moral para explorar la presión, la precariedad y la enorme responsabilidad que conlleva cuidar de otros en un entorno donde los segundos importan y los recursos escasean. Min 35: LA MIRADA DEL FLAMENCO (3'5 estrellas) La misteriosa mirada del flamenco es una de las óperas primas más audaces del cine latinoamericano reciente, una fábula cargada de política, amor y paranoia que explora la violencia simbólica y real contra las minorías desde el corazón del desierto chileno. Dirigida por Diego Céspedes, la película fusiona elementos del western clásico, el realismo mágico y el coming-of-age para construir un relato que, aunque situado en un pueblo minero de los años ochenta, tiene ecos universales: el miedo a lo diferente, la construcción de la familia elegida y la violencia social alimentada por el prejuicio. Min 38: LA PELÍCULA DE TU VIDA, CON ALBERTO TORRES El compositor y productor toledano Alberto Torres, responsable de la BSO del corto de ficción nominado al Goya 2026 "Una cabeza en la pared", celebra sus opciones de premio desvelándonos por qué El piano (1993), la película dirigida por Jane Campion y protagonizada por Holly Hunter, es la película de su vida. MIn 46: ESPECIAL BSO JAMES DEAN: EL GIGANTE Y REBELDE INMORTAL El 70 aniversario del estreno de una película tan colosal como icónica, 'Gigante' (1956) nos sirve de excusa perfecta para zanjar una asignatura pendiente y rendir tributo musical a la figura de James Dean. Nuestro crítico musical, Ángel Luque, selecciona algunos de los temas más representativos de las tres películas que nos dejó como legado. "Al este del Edén" (1955) 'Rebelde sin causa' (1955) y su trabajo póstumo, la mencionada 'Gigante' (1956).

Pour fêter Noël dignement, on a rouvert nos âmes d'adolescentes en nous intéressant à notre madeleine de Proust préférée : la saga Twilight, et particulièrement le premier film de Catherine Hardwicke, mal-aimé et pourtant cultissime. 20 ans après la publication du premier livre de Stephenie Meyer, et plus de 15 ans après la sortie du premier film, que peut-on encore dire sur ce film qu'une génération entière a adoré détester ?Animation : Mariana AgierParticipantes : Mariana Agier, Alicia Arpaïa, Lisa Durand, Victoria FabyRéalisation, montage, son : Mariana AgierGénérique : © SorocinéMusique : Antonin Agier et Hugo CardonaHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Sharply intelligent, dazzlingly analytical, & a genuinely kind soul, my gifted friend, freelance writer and Letterboxd editor Mitchell Beaupre is one of my favorite guests for a reason. Returning to the pod for the first time in a year, this episode kicks off the start of a new Watch With Jen miniseries covering some of our favorite westerns of the twenty-first century. Beginning with 2020-2025, Mitchell and I take a deeper look at Kelly Reichardt's FIRST COW, Jane Campion's THE POWER OF THE DOG, & Kevin Costner's HORIZON: AN AMERICAN SAGA - CHAPTER 1. Note: Unless a wild burst of inspiration suddenly strikes, this will most likely be the pod's season finale for '25. Fear not, Watch With Jen: Season 7 will launch in the new year. Sending best wishes to you and yours for a safe, happy, healthy, and peaceful holiday season.Originally Posted on Patreon (12/22/25) here: https://www.patreon.com/posts/146466616Shop Watch With Jen logo Merchandise in Logo Designer Kate Gabrielle's Threadless ShopDonate to the Pod via Ko-fi & PayPalTheme Music: Solo Acoustic Guitar by Jason Shaw, Free Music Archive

This week on Female Gaze: The Film Club, Morgan is joined by returning guest, writer and critic Eoin Daly who's back this time to discuss Jane Campion's 2021 film, "The Power of the Dog." Eoin and Morgan dive into the themes of the films, the work of real-life couple Kirsten Dunst and Jesse Plemons, and the Shakespearean ending of the film. You can follow EoinTwitterBlueSkyYou can follow Female Gaze: The Film ClubInstagramBlueSkyWebsite

Pour notre débat du mois, on s'intéresse au film Love Me Tender, un de nos coups de coeurs de cette fin d'année. Deuxième long-métrage de la réalisatrice Anna Cazenave Cambet, et adaptation de l'ouvrage éponyme de Constance Debré, Love Me Tender revient sur l'histoire de Clémence, qui perd la garde de son enfant le jour où elle annonce à son ex-mari qu'elle aime les femmes.Animation : Mariana AgierParticipantes : Mariana Agier, Noémie Attia, Margaux Baralon, Diane LestageRéalisation, montage, son : Mariana AgierGénérique : © SorocinéMusique : Antonin Agier et Hugo CardonaHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Jackie and Greg boat over to nineteenth-century New Zealand for Jane Campion's THE PIANO from 1993. Topics of discussion include Campion's generous filmmaking, the nuanced performances from Holly Hunter, Anna Paquin, Harvey Keitel, and Sam Neill, the unconventional love story at the center of the film, and Michael Nyman's lush score.#50 on Sight & Sound's 2022 "The Greatest Films of All Time" list. https://www.bfi.org.uk/sight-and-sound/greatest-films-all-timeCheck us out on Instagram: instagram.com/sceneandheardpodCheck us out at our official website: sceneandheardpod.comGraphic Design: Molly PintoMusic: Andrew CoxEditing: Greg KleinschmidtGet in touch at hello@sceneandheardpod.com

Ce mercredi 19 novembre, on pouvait découvrir en salles DES PREUVES D'AMOUR, le premier long-métrage d'Alice Douard, qui revient sur un couple lesbien se préparant à l'arrivée de leur premier enfant. Un coup de coeur pour beaucoup de membres de la rédaction... Mais qui a aussi créé beaucoup de débat.Animation, son : Alicia ArpaïaParticipantes : Alicia Arpaïa, Noémie Attia, Lisa Durand, Diane LestageRéalisation, montage : Mariana AgierGénérique : © SorocinéMusique : Antonin Agier et Hugo CardonaHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Le 24 octobre dernier sortait sur Netflix sont dernier film, A HOUSE OF DYNAMITE. Pour l'occasion, nous avons voulu revenir sur la carrière de Kathryn Bigelow, première réalisatrice à recevoir l'Oscar de la meilleure réalisation en 2008 pour DEMINEURS, et dont la filmographie a oscillé entre différents genres, du film d'action à la science-fiction, en passant par le film de vampires... Mais aussi, toujours ramenée à un cinéma très masculin.Animation, son : Alicia ArpaïaParticipantes : Alicia Arpaïa, Margaux Baralon, Lisa DurandRéalisation, montage : Mariana AgierGénérique : © SorocinéMusique : Antonin Agier et Hugo CardonaHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

La gran directora Katherine Bigelow estrena su nueva cinta " A House of Dynamite" una especie de tríptico sobre un ataque nuclear inminente a los Estados Unidos. Las tres visiones de dicha crisis, construyen tres relatos diferentes, pero que no necesariamente funcionen igual o se nutran uno a otro. A pesar de cualquier "pero" la pelicula para variar en Bigelow es muy muy notable y vale la pena verla. Echamos además un ojo al resto de sus películas.FE DE ERRATAS: Dijimos que Bigelow fue la primera mujer en haber sido nominada a la categoría de mejor dirección lo cual fue una mentira podrida. Fue la realizadora italiana Lina Wertmüller quien en 1977 logró esta distinción por primera vez, más tarde en los 90 llegaba Jane Campion la neozelandesa con El Piano. Bigelow fue la primera pero EN GANAR!.Se cumple ya una década de la primera incursión de Netflix, hacia la temporada de premios. Beasts of No Nation, tremenda película, cumple sus primeros 10 años."Die my Love" la cinta de la realizadora Lynne Ramsay (We Need to Talk About Kevin), llega a pantallas con un thriller psicológico donde sin duda la actuación de Jennifer Lawrence es lo mas notable y posiblemente un boleto directo a las nominaciones a los diferentes premios de este año."Steve", pelicula británica, mucho británica de Tim Mielants está ya en plataforma. Esta cinta que fue al Festival de Cine de Toronto, es un proyecto modesto pero inmensamente intenso en cuanto a emociones. Cyllian Murphy protagoniza, como Steve, un director de un programa de reintegración de menores con antecedentes criminales, en una crisis nerviosa y existencial en el peor día de su vida. Vale toda la pena verla.Finalmente, el gran Olallo Rubio nos tira una tremenda nota de voz, larga a consciencia, analítica y bien argumentada de sus 3 recomendaciones. Gracias a todos por sus mensajes, siempre los leemos y nos hacen muy felices.GUCCI!

Jane Campion hat es nicht eilig. Zumindest liegt dieser Rückschluss nahe, wenn man auf die zeitlichen Abstände zwischen ihren Filmprojekten blickt. Und in diesem Falle wollen wir auch gar nicht meckern, denn die Regisseurin beweist mit ihren jüngsten Werken ein treffsicheres Auge für reizvolle Kino- und Serienstoffe: BRIGHT STAR (2009) bietet ein sattes Pfund düstere Romantik im verregneten England. Im TV-Thriller TOP OF THE LAKE (2013) ermittelt Elisabeth Moss vor der beeindruckenden Kulisse Neuseelands, bevor sie sich in TOP OF THE LAKE: CHINA GIRL (2017) in den gefährlichsten Ecken Sidneys herumtreibt. Und im Oscar-prämierten THE POWER OF THE DOG (2021) sattelt Campion die Pferde für gebrochene Cowboys. Yee-haw!

Ce mercredi 22 octobre sortait en salles LA PETITE DERNIERE, le nouveau film d'Hafsia Herzi, adapté du roman de Fatima Daas. L'histoire de Fatima, une jeune femme musulmane, qui découvre son homosexualité.Animation : Mariana AgierParticipantes : Mariana Agier, Noémie Attia, Victoria Faby, Diane LestageRéalisation, montage, son : Mariana AgierGénérique : © SorocinéMusique : Antonin Agier et Hugo CardonaHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Ce mercredi 15 octobre sort en salles THE CHRONOLOGY OF WATER, le nouveau film de Kristen Stewart ! Forcément, on a voulu se réunir au micro pour analyser ce passage de l'actrice, devenue une icône queer et l'enfant chéri du cinéma indépendant, derrière la caméra.Animation : Mariana AgierParticipantes : Mariana Agier, Enora Abry, Margaux Baralon, Lisa DurandRéalisation, montage, son : Mariana AgierGénérique : © SorocinéMusique : Antonin Agier et Hugo CardonaHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Das zweite Kapitel unserer Reise durch das filmische Schaffen von Regisseurin Jane Campion beginnt wiederum mit einer Geduldsprobe, denn ihre Adaption von Henry James' PORTRAIT OF A LADY (The Portrait of a Lady, 1996) ist zwar luxuriös ausgestattet und starbesetzt, aber hinter der hochglänzenden Fassade so leer wie die toten Augen von John Malkovich. Da gefällt uns HOLY SMOKE (1999) schon besser, obwohl wir auf die Frage, was die Regisseurin wohl geritten hat, als sie beschloss, Kate Winslet und Harvey Keitel in den australischen Outback zu schicken, keine vollends befriedigende Antwort finden. Deutlich eindeutiger sind die Botschaften im Psychothriller IN THE CUT (2003), der zwar ebenfalls weder die Kritik begeisterte noch die Kinokassen klingeln ließ, dafür aber Meg Ryan und Mark Ruffalo glänzen lässt, dass unsere Äuglein strahlen. Doch die ganz große Begeisterung bleibt auch hier einseitig ...

Pour ce premier épisode focus de la rentrée, nous étions à la médiathèque Virginia Woolf pour parler du film THE HOURS de Stephen Daldry, sorti en 2002 et avec Nicole Kidman, Julianne Moore et Meryl Streep, une variation autour de Mrs Dalloway de Virginia Woolf. L'occasion de nous pencher sur la manière dont le film représente à l'écran l'univers de l'autrice, à travers trois personnages féminins et trois époques différentes.Cet épisode a été suivi d'un échange avec le public, que vous pouvez écouter en fin d'épisode !Animation : Mariana AgierParticipantes : Mariana Agier, Alicia Arpaïa, Margaux Baralon, Lisa Durand, Victoria FabyRéalisation, montage : Mariana AgierSon : Médiathèque Virginia WoolfGénérique : © SorocinéMusique : Antonin Agier et Hugo CardonaHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

“When my father passed, I wanted nothing more than my mother's happiness. For what kind of man would I be if I did not help my mother?”Production designer Andrew McAlpine joins hosts Andy Nelson and Pete Wright to discuss Jane Campion's The Power of the Dog. Drawing from his extensive career including work on The Piano with Campion herself, McAlpine offers unique insights into the film's exploration of isolation, masculinity, and the psychological complexity of its characters. His perspective as both a fellow New Zealander and previous Campion collaborator brings fresh depth to this haunting Western drama.McAlpine's journey from aspiring surgeon to art school graduate led him through theater, holography, and eventually to production design. His work spans diverse projects including Sid and Nancy, Clockers, The Beach, and Aeon Flux. McAlpine approaches each film with an emphasis on authentic period detail while avoiding heavy-handed historical recreation, allowing the environment to serve the emotional truth of the story rather than mere accuracy.The conversation explores how The Power of the Dog examines masculine isolation through Phil's character, drawing parallels to McAlpine's work on The Piano. He highlights the film's masterful use of landscape and architecture to amplify psychological tension, particularly through the imposing ranch house. The discussion delves into Peter's character complexity and the film's careful build toward its devastating conclusion. McAlpine offers fascinating insights into how Campion's direction creates space for both brutality and vulnerability in her characters.

Cet été, la série And just like that, sequel de la série culte Sex and the city prenait fin. L'occasion pour nous de nous pencher sur l'héritage de cette série culte et très ancrée dans les années 2000.Animation : Léon CattanParticipantes : Mariana Agier, Alicia Arpaïa, Noémie Attia, Léon CattanRéalisation, montage, son : Mariana AgierGénérique : © SorocinéMusique : Antonin Agier et Hugo CardonaHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Rendez-vous le 20 septembre à la médiathèque Virginia Woolf pour assister à la projection du film THE HOURS et à l'enregistrement live de notre épisode sur le film !Le film sera projeté à 15h, et sera suivi de l'enregistrement du podcast à 17h30 et d'une rencontre avec le public.L'entrée est libre dans la limite des places disponibles.Adresse : Médiathèque Virginia Woolf, 4 rue Germaine-Krull, 75013 ParisHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Jane Campion ist nicht nur eine der erfolgreichsten Regisseurinnen weltweit, sondern hat auch seit ihren zaghaften Anfängen in Neuseeland nie den Mut zu herausfordernden Filmstoffen verloren. Dies zeigt sich schon mit SWEETIE (1989), durch den sich Dennis und Patrick wahrlich hindurchbeißen müssen, um etwas Unterhaltungswert darin zu entdecken. Aber Kunst muss eben auch mal weh tun. Davon weiß Janet Frame (Kerry Fox), die Protagonistin von EIN ENGEL AN MEINER TAFEL (An Angel at My Table, 1990) ein Lied zu singen– oder ein Gedicht zu schreiben. So oder so sind die beiden Herren vom melodramatischen Biopic sehr angetan und finden mehr Humor darin, als erwartet. Das gilt im Übrigen auch für DAS PIANO (The Piano, 1993), Campions großer internationaler Durchbruch und einer von Patrick all-time-Lieblingsfilmen. Es wird romantisch!

A few years ago Oscar and Palme d'Or-winning Kiwi filmmaker Dame Jane Campion announced a pop-up film school called 'A Wave in the Ocean'. The project was supported by Netflix and ran as a 12-month intensive mentorship programme for creatives with significant film experience. Well now the course is reaping results - one of the short films that emerged from it has now been selected to compete at the Venice International Film Festival. 'Lion Rock' was co-directed by Prisca Bouchet, she spoke to Jesse.

Today's episode is on Jane Campion's underrated 1999 psychosexual drama, Holy Smoke. Get the full episode at patreon.com/extended_clip

Jonah Primo has spent the last 8 years studying mindfulness, meditation and philosophy in order to build practical frameworks that people can apply to everyday life and situations. He hosted the flagship podcast for the meditation app Waking Up, produces Australia's #1 philosophy podcast Principle of Charity, and has interviewed and worked with neuroscientists including Sam Harris and Anil Seth, Oscar winners including Jane Campion and many more teachers, academics and celebrities in order to truly understand the secret sauce of happiness and fulfilment. He shares these secrets on his own podcast, The Overexamined Life.Jonah Primo

Jonah Primo has spent the last 8 years studying mindfulness, meditation and philosophy in order to build practical frameworks that people can apply to everyday life and situations. He hosted the flagship podcast for meditation app "Waking Up", produces Australia's #1 philosophy podcast "Principle of Charity", and has interviewed and worked with neuroscientists including Sam Harris and Anil Seth, Oscar winners including Jane Campion and Emile Sherman, and many more teachers, academics and celebrities in order to truly understand the secret sauce of happiness and fulfilment. He shares these secrets on his own podcast, "The Overexamined Life". Links from the Episode: Connect with Jonah and listen to The Overexamined Life Meditation Coaching Schedule Time with Thom (Complimentary consultation)   THANKS FOR LISTENING! Become a Super-Fan of the Show Thanks again for listening to the show! If it has helped you in any way, please share it using the social media buttons you see on the page. Be a part of the show! Send me a message: speakpipe.com/zencommuter Email: thom@zencommuter.com Instagram: @thom_walters Twitter: @thom_walters Facebook: www.facebook.com/zencommuter Donate: Support the Podcast! Subscribe: Apple Podcasts | Spotify Rate and review us in Apple Podcasts! zencommuter.com/review

Access this entire 70-minute episode (and additional monthly bonus shows) by becoming a Junk Filter patron for only $5.00 (US) a month! Over 30% of episodes are exclusively available to patrons of the show. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ https://www.patreon.com/posts/205-woman-in-2-123622191In part two of our discussion about Looking for Mr. Goodbar, Jessica and I discuss Jane Campion's 2003 “erotic thriller” In the Cut, savaged by critics on release for its graphic portrayal of a woman's complex sexual desires in a dangerous New York City, also based on a best-selling novel. It's possible that In the Cut is Campion's response to Mr. Goodbar, only directly from a woman's perspective, and we talk about the sexist cruelty Meg Ryan was subjected to in the press for playing this role, and what Campion has to say about a woman's sexuality amidst the violence of the patriarchy, and its implication of the NYPD as part of the problem, especially bold for a movie made in the wake of the 9/11 attacks.We also discuss a fun TV movie that acts as a bridge between Mr. Goodbar and In the Cut, 1982's Hotline, starring Lynda Carter as a young woman working at a crisis call center who finds herself playing a dangerous cat-and-mouse game with a serial killer, in a film that continually threatens to tip over into a TVM Giallo. Follow Jessica Ritchey on Bluesky, and support her work on Patreon.Hotline (Jerry Jameson, 1982) is available to watch for free on YouTube. Trailer for In the Cut (Jane Campion, 2003)

CW: This episode contains spoilers and discussions of cinematic sexual violence. The film writer Jessica Ritchey returns to the show for a two-part series about two controversial films about a woman's complex sexuality, films that took a couple of decades to be rediscovered and better understood.In part one we discuss Richard Brooks' 1977 drama Looking for Mr. Goodbar starring Diane Keaton, based on the popular seventies bestseller by Judith Rossner, based on the true story of a New York City schoolteacher who was murdered by a man she picked up at a singles bar. Mr. Goodbar was a major hit for Paramount upon release, but a few weeks later it was overshadowed by another Paramount release with an even bigger cultural impact and hit soundtrack, Saturday Night Fever. Mr. Goodbar has been hard to see properly for decades due to its reputation as a misogynist, depressing film and the extremely expensive licensing costs for its disco soundtrack, until the end of 2024 when Vinegar Syndrome unexpectedly released a limited-edition restoration. Jessica and I dig into the thorny and complex issues this film presents about a woman's sexuality, partly due to Richard Brooks' determination to tell a more empathetic story than the more punishing tone of Rossner's novel (she was angered by the adaptation). Brooks may not have been the ideal person to make this film being two generations removed from the subject but nevertheless his film contains an interesting and useful critique of the patriarchy, using his understanding of New Hollywood techniques. Jessica and I also discuss the film's use of music, Diane Keaton's tremendous performance as Theresa Dunn, the depiction of all the terrible men in her life, and our responses to the shocking conclusion of the film. Part two of this discussion is exclusive to the Patreon feed: more about Mr. Goodbar, contrasted against a controversial 2003 film that could be seen as a feminist response to it, Jane Campion's In the Cut, and a 1982 TV movie about a woman in danger that echoes some of these themes, Hotline starring Lynda Carter. To support this show directly and to receive access to the entire back catalogue, consider becoming a patron for only $5.00 a month (U.S.) at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/junkfilterFollow Jessica Ritchey on Bluesky, and support her work on Patreon.The limited edition Vinegar Syndrome release of Looking for Mr. Goodbar can be purchased here.“Goodnight Theresa”, a YouTube playlist Jessica and I cooked up of disco songs that came out too late to be included on the Goodbar soundtrack but would have fit right in.Trailer for Looking for Mr. Goodbar (Richard Brooks, 1977)