Podcasts about Janus Films

This week we're excited to present a conversation with cinematographer Peter Deming, who recently joined us for two special screenings of David Lynch's Lost Highway, courtesy of Deming's personally owned 35mm film print. This conversation was moderated by FLC programmer Dan Sullivan. Most of Lynch's later films straddle (at least) two realities, and their most ominous moments arise from a dawning awareness that one world is about to yield to another. In Lost Highway we are introduced to brooding jazz saxophonist Fred Madison (Bill Pullman) while he lives in a simmering state of jealousy with his listless and possibly unfaithful wife Renee (Patricia Arquette). About one hour in, a rupture fundamentally alters the narrative logic of the film and the world itself becomes a nightmare embodiment of a consciousness out of control. Lost Highway marked a return from the wilderness for Lynch, and the arrival of his more radical expressionism—alternating omnipresent darkness with overexposed whiteouts, dead air with the belligerent soundtrack assault of industrial metal bands, and the tactile sensation that everything is really happening with the infinite delusions of schizophrenic thought. Lost Highway is a Janus Films release.

Charles Burnett talks ‘Killer of Sheep’ 4K restoration, and the film’s lasting influence After a theatrical release in select theaters by Janus Films, the Criterion Collection now introduces the new 4K restoration of Charles Burnett’s 1977 feature debut film, Killer of Sheep, into its library. The film follows a family in Watts, with the father in this household being Stan, who works in a slaughterhouse. Burnett's understanding of working-class family dynamics makes for a story that’s as relatable as it is emotionally devastating at moments. These complex themes portrayed in film have served as inspiration for the likes of Barry Jenkins, whose Oscar-winning film Moonlight offers a similar blend of cinematic storytelling through the lives of adults and children. We’ll dig deeper into the film by speaking with its filmmaker, Charles Burnett. The 4K restoration of ‘Killer of Sheep’ is out now in Blu-ray and 4K UHD; to read more about the special features included, and to purchase the film, click here.

Rob King returns to the podcast. He is a professor of film and media studies at Columbia University's School of the Arts. He is the author of "Hokum! The Early Sound Slapstick Short and Depression-Era Mass Culture" (2017) and "The Fun Factory: The Keystone Film Company and the Emergence of Mass Culture" (2009). And now Rob has a new book "Man of Taste: The Erotic Cinema of Radley Metzger" (Columbia University Press, 2025). We are joined by novelist Cathy Brown who has some background behind the camera in the adult film industry. https://youtu.be/9kvinUaOKKk Radley Metzger was one of the foremost directors of adult film in America, with credits including softcore titles like "The Lickerish Quartet" and the hardcore classic "The Opening of Misty Beethoven". After getting his start making arthouse trailers for Janus Films, Metzger would go on to become among the most feted directors of the porno chic 'era of the 1970s, working under the pseudonym Henry Paris. In the process, he produced a body of work that exposed the porous boundaries separating art cinema from adult film, softcore from hardcore, and good taste from bad. Rob King uses Metzger's work to explore what taste means and how it works, tracing the evolution of the adult film industry and the changing frontiers of cultural acceptability. "Man of Taste" spans Metzger's entire life: his early years in Manhattan's Washington Heights neighborhood, his attempt to bring arthouse aesthetics to adult film in the 1960s, his turn to pseudonymously directed hardcore movies in the 1970s, and his final years, which included making videos on homeopathic medicine. Metzger's career, King argues, sheds light on how the distinction between the erotic and the pornographic is drawn, and it offers an uncanny reflection of the ways American film culture transformed during these decades.

Over the past several decades, Jia Zhangke has emerged as China's foremost cinematic chronicler, capturing the nation's rapid 21st-century transformation and its impact on everyday lives with a uniquely expressive, ethnographic lens. His first fiction film in six years, "Caught by the Tides" (which premiered at the 2024 Cannes Film Festival to positive reviews), is the purest distillation of his work, a grand, impressionistic mosaic blending two decades of footage, behind-the-scenes reels, and fictionalized elements to reflect on cultural and emotional shifts. Though narratively abstract and best appreciated by those familiar with his oeuvre, the film's patient, almost hypnotic structure, culminating in a poignant love story centered on longtime collaborator Zhao Tao, offers a moving, cosmic meditation on time, place, and the digital age's effect on human experience. Zhangke was kind enough to spend some time speaking with us over Zoom about his work and experience making the film, which you can listen to below. Be sure to check out the film, which is now playing in New York theaters and will expand next week from Janus Films and Sideshow. Thank you, and enjoy! Check out more on NextBestPicture.com Please subscribe on... Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture and listen to this podcast ad-free Learn more about your ad choices. Visit megaphone.fm/adchoices

"The Shrouds" had its world premiere at the 2024 Cannes Film Festival, where it received mixed reviews but has steadily been growing in appreciation (as all David Cronenberg films do) as it screened at more film festivals, including TIFF and NYFF Film Festivals. The film is Cronenberg's most personal to date as it deals with the grief he went through following the passing of his beloved wife of nearly 40 years. Cronenberg was kind enough to speak with us at the New York Film Festival about his work on the film, which you can listen to below. Please be sure to check out the film, which will open in NY & LA theaters on April 18th before expanding nationwide from Janus Films & Sideshow on April 25th. Thank you, and enjoy! Check out more on NextBestPicture.com Please subscribe on... Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture and listen to this podcast ad-free Learn more about your ad choices. Visit megaphone.fm/adchoices

Director Zeinabu irene Davis, writer Marc Arthur Chéry, and cast members Michelle A. Banks & John Earl Jelks discuss Compensation, an NYFF62 Revivals selection, with moderator Racquel Gates. Compensation opens at Film at Lincoln Center on February 21. Learn more at filmlinc.org/compensation Inspired by Paul Laurence Dunbar's poem of the same title, Zeinabu irene Davis's debut feature is an exploration of language, migration, illness, love, and ritual that likewise illuminates unique Black histories, cultures, and artistry. Starring Michelle A. Banks and John Earl Jelks, the film follows two couples in different time periods between the early and late 20th century who must contend with their emotions, tensions between Deaf and hearing experiences, and the toll of structural racism on Black lives during major medical epidemics. Shot in luminous black-and-white and incorporating a rich trove of historical photos, an original ragtime score, and title cards, Compensation evokes both a sense of tragedy and a hopefulness for life that remains persistent in the hearts of Black Americans today. A Janus Films release.

"Sometimes, to survive, you must become more than you were programmed to be."Join Stanford Clark and Marc Vibbert as they dive into the most exciting animated films of 2024! From long-awaited sequels to fresh, original stories, we're breaking down everything that made this year in animation unforgettable.

"Vermiglio" had its world premiere at the 2024 Venice International Film Festival, where it received positive reviews for its writing and direction from Maura Delpero as she tells the story of a remote mountain village family's life in 1944, Vermiglio. The film competed for the Golden Lion and was awarded the Grand Jury Prize. It has been chosen as Italy's entry for Best International Feature Film at the 97th Academy Awards and has been nominated for the Golden Globe for Best Motion Picture – Non-English Language. Delpero was kind enough to spend some time talking with us about her work on the film, which you can listen to below. Please be sure to check out the film, which will open in select theaters from Janus Films on December 25th and is up for your consideration for this year's Academy Awards in all eligible categories, including Best International Feature Film. Thank you, and enjoy! Check out more on NextBestPicture.com Please subscribe on... Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture and listen to this podcast ad-free Learn more about your ad choices. Visit megaphone.fm/adchoices

"Flow" had its world premiere at the 2024 Cannes Film Festival in the Un Certain Regard section, where it received positive reviews for its animation, dialogue-free story, and score. It is now the the Latvian entry for Best International Feature Film at the 97th Academy Awards. Director, Writer, Producer, and Composer Gints Zilbalodis was kind enough to spend some time talking with us about his work on the film, which you can listen to or watch below. Please be sure to check out the film, which will be opening in theaters on November 22nd at the Angelika Film Center in New York City from Janus Films and Sideshow. It is up for your consideration for this year's Academy Awards for Best Animated and International Feature Film. Thank you, and enjoy! Check out more on NextBestPicture.com Please subscribe on... Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture and listen to this podcast ad-free Learn more about your ad choices. Visit megaphone.fm/adchoices

"All We Imagine As Light" had its world premiere at the 2024 Cannes Film Festival, where it won the festival's Grand Prix prize and received some of the most glowing reviews of the year for its writing, direction, cinematography, and performances. Director/Writer Payal Kapadia was kind enough to talk with us during the New York Film Festival about her work on the film, which you can listen to and watch below. Please be sure to check out the film, which will play in New York at Film Forum and Lincoln Center and Los Angeles at Laemmle Royal starting November 15th from Janus Films & Sideshow and is up for your consideration for this year's Academy Awards in all eligible categories including Best Picture, Best Director, and Best Original Screenplay. Thank you, and enjoy! Check out more on NextBestPicture.com Please subscribe on... Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture and listen to this podcast ad-free Learn more about your ad choices. Visit megaphone.fm/adchoices

INTRO - This episode is the Zagat sketch from 1990's SNL. “Ravioli, holy cannoli!” FUTURE MOVIE NEWS: 2:15 - The Life of Chuck has been acquired by NEON. 4:26 - Conclave, Maria, Queer, The Brutalist, etc… all get release dates. 10:01 - The Shrouds acquired by Janus Films. 11:03 - Tarantino says he would like to make a horror movie. 13:32 - Scorsese film delays & The Passion of the Christ 2 greenlit. AWARDS NEWS: 15:37 - The Golden Globes might still be corrupt. 24: 43 - Deadwyler, Ronan, Swinton & Moore, Reynolds & Jackman set their campaigns. 27:56 - Best International Feature Selections & India's pick causes a stir. 31:32 - The Gotham Awards set The Piano Lesson for its ensemble tribute. BOX OFFICE UPDATE: 33:13 - Catching you up on the last two weekends of Beetlejuice Beetlejuice. 36:34 - Projections for this weekend's Wild Robot & Megalopolis debuts. TRAILERS: 38:52 - Maria gets its first pretty teaser. 39:22 - Ballerina is from the world of John Wick. 41:17 - Gladiator II trailer II has some bad CGI, but Denzel looks like he's having fun. 43:36 - Rumours w/ Cate Blanchett lead to some NYFF pizza plans + a M1 epiphany. 45:17 - Thunderbolts is not allowed to continue the MCU's Attitude Era. 47:05 - Don't Move and why this is an impossible premise that is somehow alluring. 48:05 - Sinners gets a “we'll see” from M1, which is better than his Rumours reaction. 49:07 - A Real Pain WHAT WE'RE WATCHING: 50:22 - Monsters: The Lyle & Erik Menendez Brothers Story & M1's Ryan Murphy rabbit hole. 53:32 - The Mr. McMahon doc series on Netflix about the WWE is pretty great. 57:01 - His Three Daughters and the two ridiculous people here reviewing it. 59:07 - How To Have Sex & the launch of two promising new careers w/ Bruce & Walker. 1:00:20 - Humane on Shudder was also much better than expected. 1:02:24 - Stop The Steal doesn't salve or balm election worries. OUTRO- where we completely unravel after M1 reveals the real reason he didn't love His Three Daughters. Please do contact us with your inevitable concerns after listening to this one. Otherwise, yes, we discuss what's coming next after we see some upcoming movies in CT and NYC.

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We review four movies coming out for the week of June 28. They are:Timestamps(6:12) - Chronicles of a Wandering Saint - Photos courtesy of Hope Runs High(17:36) - Last Summer - Photos - Sideshow and Janus Films(23:15) - Green Border - Photos - Kino Lorber(27:40) - Majority Rules - Photos - AbramoramaOther Movie Reviews(34:43) - Thelma - Photos - Magnolia Pictures(41:24) - The Watchers**We spotlight the year 2011 for June's CinemAddicts Patreon bonus episode. Movies we spotlight are The Kill List and I Saw The Devil.1. Help us get to 1,000 Subscribers by joining our CinemAddicts YouTube Channel.2. Like Our CinemAddicts Facebook Page3. Join our CinemAddicts Facebook Group for daily movie recommendations!4. Questions/comments on CinemAddicts email Greg Srisavasdi at info@findyourfilms.com.5. Our website is Find Your Film.6. Shop our CinemAddicts Merch store: cinemaddictspodcast.com (shirts, hoodies, mugs).7. We do a bonus episode each month and early access spoilers for our CinemAddicts Patreon Members.8. Check out Anderson Cowan's new documentary project Loaded For Bear.CinemAddicts hosts: Bruce Purkey, Eric Holmes, Greg SrisavasdiLegacy member and co-creator: Anderson Cowan Hosted on Acast. See acast.com/privacy for more information.

"Last Summer" had its world premiere at the 2023 Cannes Film Festival, where it received positive reviews for its direction, writing, and performances from Léa Drucker, Olivier Rabourdin, Samuel Kircher & Clotilde Courau. Legendary French director Catherine Breillat was kind enough to spend some talking with us about her first film in over a decade, a remake of the 2018 film "Queen Of Hearts," which you can listen to below. Please be sure to check out the film, which is now playing in limited release in New York from Sideshow & Janus Films. Thank you, and enjoy! Check out more on NextBestPicture.com Please subscribe on... SoundCloud - https://soundcloud.com/nextbestpicturepodcast Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture Learn more about your ad choices. Visit megaphone.fm/adchoices

SIGN UP FOR REGAL UNLIMITED W/ PROMO CODE - REGALNBP24 - https://regmovies.onelink.me/4207629222/q4j9urzs "The Beast" had its world premiere at the 80th annual Venice International Film Festival, where it received positive reviews and went on to screen at TIFF and NYFFF. A French, Canadian production with multiple time periods loosely based on Henry James's 1903 novella "The Beast in the Jungle," the deeply philosophical film stars Léa Seydoux, George MacKay, Guslagie Malanda & Dasha Nekrasova. Director and writer Bertrand Bonello was kind enough to spend some time talking with us about his experience making the film, which you can listen to or read below. Please be sure to check out the film, which is now playing in theaters from Sideshow and Janus Films in the U.S. Thank you, and enjoy! Check out more on NextBestPicture.com Please subscribe on... SoundCloud - https://soundcloud.com/nextbestpicturepodcast Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture Learn more about your ad choices. Visit megaphone.fm/adchoices

This week we're excited to present a conversation with Léa Seydoux, lead actress of the 61t New York Film Festival Main Slate selection The Beast, which will open in our theaters on April 5. The Beast opens at FLC next Friday, April 5 View showtimes and get tickets at filmlinc.org/beast A filmmaker consistently unafraid to wade through the weird miasma of contemporary life, Bertrand Bonello (Nocturama; Coma, NYFF60) works from the outside in, dramatizing the psychological toll of the political and cultural world around us. Here he has created a dynamic and disturbing parable that jumps between three different time periods (1910, 2014, and 2044) to diagnose our acute—and perhaps eternal—feelings of estrangement and alienation. Using Henry James's haunting 1903 short story “The Beast in the Jungle” as his film's provocative inspiration, Bonello tells the story of a young woman (Léa Seydoux) who undergoes a surgical process to have her DNA—and therefore memories of all her past lives—removed. In so doing, she realizes her fate has long been intertwined, for better and worse, with a young man (George MacKay). Touching on modern anxieties of AI and incel culture, which may recur throughout history as commonly as love and hate, The Beast, like all good science-fiction, asks essential questions about the ever-shifting status of humanity itself. An NYFF61 Main Slate selection. A Sideshow and Janus Films release. This conversation was moderated by FLC's Vice President of Programming Florence Almozini.

German filmmaker Wim Wenders is a cinematic legend who has given us many classic films, including "Paris, Texas," "Wings Of Desire," "Until the End of the World," "Buena Vista Social Club," "Pina," "The Salt of the Earth," this year's "Perfect Days" and now, his latest documentary "Anselm." Shot in stunning 3D, the look at German painter and sculptor Anselm Kiefer's works of art is striking in its form and execution by Wenders. The Academy Award-nominated director was kind enough to spend some time talking with us about his latest film, which you can listen to below. The film will receive a limited release from Janus Films this weekend in New York and is up for your consideration for Best Documentary Feature Film. Please be sure to check out the film and take a listen below. Thank you, and enjoy! Check out more on NextBestPicture.com Please subscribe on... SoundCloud - https://soundcloud.com/nextbestpicturepodcast Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture Learn more about your ad choices. Visit megaphone.fm/adchoices

Both were born in 1945 in Germany during the last year of WWII. Both became giants of the modern German art movement: Anselm Kiefer as a painter and sculptor; Wim Wenders as a filmmaker whose landmark films include “Wings of Desire”, “Paris, Texas” and “The American Friend”. The two had met in 1991 and discussed the possibility of doing a film together, but it wasn't until the two collaborated on Wenders' new 3-D documentary “Anselm” that the stars were finally aligned.   Joining Ken on the pod, Wenders paints a picture of this monumental artist whose vast studio spaces are as much works of art as the paintings and sculptures that are housed there. For Wenders, what makes working in 3-D such a crucial element in immersing the audience in these dynamic environments? How has Wenders incorporated elements of fiction into his documentaries and vice versa? And why is it so important to him to create a portrait of the art rather than of the artist? It may have taken over 75 years for these two legendary artists to work together, but the payoff was well worth waiting for.   Hidden Gem: “Reality Winner”   “Anselm” is released by Sideshow and Janus Films and opens in LA in 3-D at the Laemmle Glendale on December 15.   Follow: @wimwendersfoundation on Instagram and @wimwenders on twitter @topdocspod on Instagram and twitter   The Presenting Sponsor of "Top Docs" is Netflix.

"Orlando, My Political Biography" had its world premiere at the 73rd Berlin International Film Festival, where it competed for the Golden Bear. It later went on to become the only documentary of 2023 to play at the Berlin, Telluride, Toronto, and New York Film Festivals and is now nominated for Best First Documentary Feature at the 2023 Critics Choice Documentary Awards. Director/Writer Paul B. Preciado was kind enough to chat with us during the New York Film Festival about his film, which you can listen to below. Please be sure to take a listen and check out the film, which is now playing in limited release in New York City at Film Forum from Janus Films. Thank you, and enjoy! Check out more on NextBestPicture.com Please subscribe on... SoundCloud - https://soundcloud.com/nextbestpicturepodcast Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture

Ryuichi Sakamoto | Opus director Neo Sora discusses the personal nature of the film, the logistics of recording live music, and Sakamoto's relationship with cinema. When Ryuichi Sakamoto died in March 2023 at age 71, the world lost one of its greatest musicians: a classical orchestral composer, a techno-pop artist, and a piano soloist who elevated every genre he worked in and inspired and influenced music-lovers across the globe. As a final gift to his legions of fans, filmmaker Neo Sora (Sakamoto's son) has constructed a gorgeous elegy starring Sakamoto himself in one of his final performances. Recorded in late 2022 at NHK Studio in Tokyo, this filmed concert is an intimate, melancholy, and achingly beautiful one-man show, featuring just Sakamoto and a Yamaha grand, as the composer glides through a playlist of his most haunting, delicate melodies (including “Lack of Love, “The Wuthering Heights,” “Aqua,” “Opus,” and many more). Shot in pristine black-and-white by Bill Kirstein and edited by Takuya Kawakami, this stirring film brings us so close to a living, breathing artist that it feels like pure grace. A Janus Films release. All NYFF61 feature documentaries are presented by HBO.

On today's daily NYFF61 edition of the FLC podcast, director Ryûsuke Hamaguchi joins us to discuss Evil Does Not Exist, a Main Slate selection in this year's festival, with NYFF Artistic Director Dennis Lim. In his potent and foreboding new film, Oscar-winning director Ryûsuke Hamaguchi (Drive My Car) reconstitutes the boundaries of the ecopolitical thriller with the tale of a serene rural village that's about to be disrupted by the construction of a glamping site for Tokyo tourists. A Sideshow/Janus Films release. Enjoy this discussion Hamaguchi and don't forget to subscribe here for more filmmaker conversations. Evil Does Not Exist will be released by Sideshow and Janus Films. Tickets to the New York Film Festival are moving fast! Get up-to-date information on all available tickets on a daily basis by visiting filmlinc.org/tix.

This week we're excited to present a conversation with the great Hungarian filmmaker, Béla Tarr, who recently joined us for screenings of four films from his acclaimed filmography, three of which were new restorations, courtesy of Janus Films. Three years in the making, Werckmeister Harmonies is a sustained, real-time immersion in the universe of weatherbeaten villages and full-contact metaphysics in which co-directors Béla Tarr, Ágnes Hranitzky, and writer László Krasznahorkai specialize. A curiously smart paper carrier named János (Lars Rudolph, in an astonishingly complex performance) observes a mysterious traveling circus—complete with a stuffed whale—that comes to town, and marks a sea change in relationships of all kinds—between families, lovers, peasants and royals. In this movie, voted as one of the best of its decade by Film Comment, each action, however small, carries the weight of revolution. With Fassbinder icon Hanna Schygulla.

This week we're excited to present a conversation with actress Françoise Lebrun, who appeared in Jean Eustache's 1973 masterpiece, The Mother and the Whore, and Charles Gillibert, the producer of the film's new restoration. The Mother and the Whore will be opening in our theaters in a new 4K restoration as part of “The Dirty Stories of Jean Eustache,” a 12-film retrospective of the French director's work, from June 23–July 13, courtesy of FLC and Janus Films. Tickets are on sale now at filmlinc.org/eustache. After the French New Wave, the sexual revolution, and May 1968 came The Mother and the Whore, the legendary, autobiographical magnum opus by Eustache that captured a disillusioned generation navigating the post-idealism 1970s within the microcosm of a ménage à trois. The aimless, clueless, Parisian pseudo-intellectual Alexandre (Jean-Pierre Léaud) lives with his tempestuous older girlfriend, Marie (Bernadette Lafont), and begins a dalliance with the younger, sexually liberated Veronika (Françoise Lebrun, Eustache's own former lover), leading to a volatile open relationship marked by everyday emotional violence and subtle but catastrophic shifts in power dynamics. Transmitting his own sex life to the screen with startling immediacy, Eustache achieves an intimacy so deep it cuts. Lebrun and Gillibert spoke with FLC Senior Director of Programming Florence Almozini following a screening of the film in the Revivals section of the 60th New York Film Festival.

Movies reviewed this week are The Eight Mountains (A Cannes Jury Prize winner), the Belgian crime drama On The Edge, and The Last Picture Show.Eric Holmes also covers Masters of Science Fiction: The Discarded and Whitney Houston: I Wanna Dance With Somebody.Timecodes(1:34): On The Edge , feature is now available on Blu-ray and digital via Kino Lorber.(9:00): The Taking documentary. For more info, go to Dekanalog's website.(17:22): The Eight Mountains. Go to Janus films and/or https://theeightmountainsfilm.com/(27:10): Eric reviews Whitney Houston: I Wanna Dance with Somebody and Masters of Science Fiction: The Discarded.(33:34): The Last Picture Show1.  Subscribe to our Deepest Dream YouTube Channel2. Like Our CinemAddicts Facebook Page.3. Join our CinemAddicts Facebook Group for daily movie recommendations!4. Check out our Deepest Dream website for more entertainment news and reviews~5. Questions/comments email Greg Srisavasdi at editor@deepestdream.com.6. Our website for entertainment news, reviews, and podcast coverage is Deepest Dream: https://deepestdream.com/**Email Bruce (brucepurkey@gmail.com) if you have movies you would love to put in the box!!Atty's Antiques is on Facebook MarketplaceHAVE A CHAT WITH ANDY HERETHE COLD COCKLE SHORTSRULES OF REDUCTIONMORMOANTHE CULT OF CARANOGROUPERS TRAILERFilmshake - The ‘90s Movies PodcastYour go-to podcast for '90s movies, covering the most bodacious decade in cinema.Listen on: Apple Podcasts SpotifySupport the show

The Projected Man beams itself into Chris and Charlotte's life, and so they talk about 4D Man, Lee Meriwether, Ralph Carmichael, Bert from Sesame Street, and Andrei Tarkovsky.SHOW NOTES.The Projected Man: MST3K Wiki. IMDb. Trailer. RIP, Mark Russell.We talked more about Mark Russell in our episode on Gamera vs. Guiron.Our live event will be on Saturday, April 22nd! Join us.Our fine range of t-shirts.Island of Terror.4D Man.Ralph Carmichael: 4D Man main theme.An overview of Ralph Carmichael's work with Nat King Cole.The Blob.My Mother The Car.Ralph Carmichael's religious music.A documentary about The Falklands Play.Our episode on Cosmic Princess.That photo of Tori Amos.Petula Clark: Downtown. [UPDATE: Which is from 1964, not 1963. Sorry, Petulaheads!]Plastic Ono Band: Give Peace a Chance. [Keep an eye out for the woman with the beauty mark at 4:30]Calvin Trillin, Deadline Poet. [Musk Takes Over Twitter.]Calvin Trillin: Messages from My Father.Lionel Trilling: The Liberal Imagination.Rose Mary Woods.How Eyebrows Became Everything.Eyebrow through history.Vogue on eyebrows.Korean Straight Eyebrows.100 Years of Brows.Stalker.Janus Films.Support It's Just A Show on Patreon. Thanks!

"Tori And Lokita" had its world premiere at last year's Cannes Film Festival, where writers and directors Jean-Pierre & Luc Dardenne (the Dardenne Brothers) received a Special 75th-anniversary prize for their contributions towards the cinematic medium. The winners of two Palme d'Or awards, the Belgian brothers remain a pillar of cinematic excellence crafting stories of ordinary people going through societal struggles in an ever-changing world. Their latest work is no different, and the two were kind enough to spend some time talking with me about the film, which you can listen to down below. Please also check out the film now playing in limited theatrical release from Janus Films. Thank you, and enjoy! Check out more on NextBestPicture.com Please subscribe on... SoundCloud - https://soundcloud.com/nextbestpicturepodcast iTunes Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture Learn more about your ad choices. Visit megaphone.fm/adchoices

"EO" had its world premiere at the Cannes Film Festival, where it stunned audiences with its stripped-down story of following a donkey through modern-day Poland, winning the Jury Prize. With its awe-inspiring cinematography, thoughtful editing, and immersive soundscape, you'd think this was a young man's movie, but the film is, in fact, made by 84-year-old world-renowned Polish filmmaker Jerzy Skolimowski. Jerzy was kind enough to spend a few minutes chatting with me about his latest film, where the idea for the story came from, his dissatisfaction with traditional narrative, the film's themes and importance for environmentalism, and more. Please take a listen below and check out the film if it's playing in your area from Janus Films. Enjoy!   Check out more on NextBestPicture.com Please subscribe on... SoundCloud - https://soundcloud.com/nextbestpicturepodcast iTunes Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture

This week on the Film at Lincoln Center podcast, we're featuring a Q&A with Hong Sangsoo on his new film In Front of Your Face, moderated by FLC's Director of Programmer Dennis Lim, and a special programmers preview of Human Conditions: The Films of Mike Leigh. After years of living abroad, a middle-aged former actress has returned to South Korea to reconnect with her past and perhaps make amends. Over the course of one day in Seoul, via various encounters—including with her younger sister; a shopkeeper who lives in her converted childhood home; and, finally, a well-known film director with whom she would like to make a comeback—we discover her resentments and regrets, her financial difficulties, and the big secret that's keeping her aloof from the world. Both beguiling and oddly cleansing in its mix of the spiritual and the cynical, In Front of Your Face finds the endlessly prolific Hong Sangsoo in a particularly contemplative mood; it's a film that somehow finds that life is at once full of grace and a sick joke. Get showtimes and tickets at filmlinc.org/face. Before the Q&A, listen to a programmer's preview of Human Conditions: The Films of Mike Leigh, our upcoming retrospective on the British filmmaker, with FLC programmers Dan Sullivan and Maddie Whittle. Taking place May 27 - June 8, Human Conditions: The Films of Mike Leigh, co-presented with Janus Films, will feature brand new restorations, 35mm print screenings, and in-person Q&As with Leigh himself. Get tickets at filmlinc.org/leigh.

Marcus Pinn joins as we discuss announcements for June and other news. Some of the discussion was not Criterion related as we discussed the Indicator Columbia Noir set featuring Humphrey Bogart. We also discuss Kinuyo Tunaka, the release cycle of Janus Films, the NYC arthouse theater scene, and much more. Episode Links Classic Film Collective

In today's episode, we bring you the fascinating discussion around our recent screening of the bold 1972 Afrofuturist science fiction film SPACE IS THE PLACE. The film, directed by John Coney, stars the iconic jazz and experimental musician Sun Ra, who also composed the film's soundtrack and co-wrote the screenplay. The screening was co-presented by the Brooklyn Institute for Social Research (BISR), in association with Carnegie Hall's city-wide Afrofuturism festival. We were joined for the event by two of BISR's faculty – Ajay Singh Chaudhary and Rebecca Ariel Porte – along with the conceptual artist Paul D. Miller, also known as DJ Spooky. Special thanks to the panelists as well as Mark DeLucas at BISR, Emily Woodburne and Brian Belovarac at Janus Films, Jim Newman and Haden Guest at Harvard Film Archive, and Stephen Holl at Rapid Eye Movies for making this event possible. Photo by Stephen Olweck.

Russell Athletic, the company that created the sweatshirt, began life as The Russell Manufacturing Company on 3rd March, 1902 in Alexander City, Alabama. Its founder was entrepreneurial polymath Benjamin Russell, and they specialized in women's undershirts. It wasn't until decades later - when Russell's son returned from college with a concept for college-based sportswear - that the brand embarked upon designing their iconic garment that still sells by the bucketload today. In this episode, Arion, Rebecca and Olly compare Russell to various characters in ‘It's A Wonderful Life'; outline rival Champion's claim to having invented the hoodie; and explain how ‘athleisure wear' has its roots in apparel designed for spectators, not participants… Further Reading: • ‘Our Heritage: A Rich History' (Russell Athletic official website): https://www.russellathletic.com/history • Benjamin Russell - The Alabama Business Hall of Fame (ua.edu): https://abhof.culverhouse.ua.edu/member/benjamin-russell/ • ‘Harold Lloyd in THE FRESHMAN (1925)' (Janus Films, 2013): https://www.youtube.com/watch?v=1ntrhlDr8MU #Sport #Fashion #1900s #Inventions #Business #US  For bonus material and to support the show, visit Patreon.com/Retrospectors We'll be back tomorrow! Follow us wherever you get your podcasts: podfollow.com/Retrospectors The Retrospectors are Olly Mann, Rebecca Messina & Arion McNicoll, with Matt Hill. Theme Music: Pass The Peas. Announcer: Bob Ravelli. Graphic Design: Terry Saunders. Edit Producer: Emma Corsham. Copyright: Rethink Audio / Olly Mann 2022. Hosted on Acast. See acast.com/privacy for more information. Learn more about your ad choices. Visit podcastchoices.com/adchoices

In today's episode, we bring you a conversation with Ryûsuke Hamaguchi from November 30, following a screening of his newest film, the critically acclaimed drama, DRIVE MY CAR. The film just won Best International Feature at the 2021 Gotham Awards, and is Japan's official submission in the same category for the 2022 Academy Awards. The discussion was moderated by Vox film critic Alissa Wilkinson. DRIVE MY CAR is now playing. Please check www.filmforum.org for showtimes and tickets. Special thanks to Janus Films, Sideshow, Variance Films, and Cinetic Media for making this event possible.

“Faya dayi” is a hymnal chant recited by the Harari farmers of Ethiopia as they harvest khat, a native plant chewed for its stimulant properties. Roughly translated, faya dayi means “giving birth to wellness or health.” It is also the title of Ethiopian/Mexican filmmaker Jessica Beshir's one-of-a-kind, profoundly moving new documentary set in the magical and troubled land where she grew up. Deeply affected by the stunning beauty and originality of the film, Ken and Mike were extremely fortunate to be able to talk to Jessica at length about her tour-de-force documentary feature debut, which she shot, directed and produced over the course of a transformative ten-year personal journey. How did Jessica maintain her faith in the project for so many years and develop the sense of self-confidence that she could pull it off? What was her inspiration for embracing an aesthetic that privileges instinct and emotion over traditional narrative devices? How did she do justice to the stories of the young people who have been struggling for freedom under a series of repressive regimes? We invite you to listen in on our conversation with Jessica for her many insights into the film. We also encourage you to experience “Faya Dayi”, a Janus Films release, on the big screen. For those in NYC, catch it at the Maysles Documentary Center 11/19 – 12/3. Congratulations to Jessica on being nominated for three IDA Documentary Awards! Follow Jessica Beshir on Twitter @jessybeshir Follow topdocs on Twitter @topdocspod   Hidden Gem:  The House is Black

In today's episode, we bring you special events around two of our recent hit films – CHESS OF THE WIND and HIVE. First up, we were honored to have the renowned Iranian visual artist Shirin Neshat join us to introduce a screening of Mohammad Reza Aslani's sumptuous, long-lost 1976 melodrama CHESS OF THE WIND on Sunday, November 7. Here she's introduced by Bruce Goldstein, Film Forum's Director of Repertory Programming. In the second segment: the opening night Q&A for Blerta Basholli's HIVE from November 5. HIVE is an engrossing drama about a young widow overcoming tragic and oppressive circumstances in post-war Kosova, based on a true story. Popular Kosovan actress Yllka Gashi gives a fabulous, steely lead performance in the film, which was awarded the Grand Jury Prize, Audience Award and Directing Award in World Cinema Competition at the 2021 Sundance Film Festival. We were fortunate to have both Basholli and Gashi join us for the Q&A, which was moderated by Vox film critic Alissa Wilkinson. The event was co-presented by the Albanian Institute New York. Special thanks to Shirin Neshat, Janus Films, Blerta Basholli, Yllka Gashi, Alissa Wilkinson, Dino Korca and Jordin Rubio at the Albanian Institute New York, Sara Sampson, Josh Haroutunian, and Zeitgeist Films for making these events possible. Our runs of both CHESS OF THE WIND and HIVE have been held over. Check www.filmforum.org for showtimes and tickets. Shirin Neshat photo (left) by Michael Dalton. Blerta Basholli & Yllka Gashi photo by Tian Feng.

Happy Halloween! This week Ken welcomes writer, producer, director and author of the new autobiography "Day of the Living Me" Jeff Lieberman! jeffliebermandirector.com Ken and Jeff discuss floods, the end of the world, car boats, tapping into the Zeitgeist, Squirm, Remote Control, labels, 70s horror, race in horror, talent, being an advocate for the dead, having a unique body of work (but hating that term), Keith Richards, having a voice, Phil Silvers, New York, overacting, being an editor, Janus Films, Westerns, Gayle Storm, being funny, Jeff's short film The Ringer, Who Killed Mary Westling, Red Buttons, advertising, loving 50s sci-fi, being a talented artist, drawing, cartoons, being efficient at dating girls, living in Mad Men, Streets of San Francisco, Have Gun Will Travel, Don Knotts, Steve Allen, noticing everything, being a TV kid, Popular Mechanics, meeting Pinky Lee, Jane Mansfield and her friends, Pall Mall, cigarettes, chocolate trainer cigarettes, The Danny Thomas Show, Wells Fargo, Route 66, Bus Stop, the cold reality of life, the amazing work and influence of Jean Shepard, Donald Fagan, John Lennon, Bob Newhart, loving stand up, But...Seriously, King Kong, George Burns, the incredible footage of Richard Pryor singing, Zorro, and wearing Antonio Banderas' clothes with Tippi Hedren's permission.

Aric and Marisa travel across the pond to explore the films of the United Kingdom, specifically during the '60s and with a little detour into the '90s. They look at how the perspectives of these films are shaped by the social and economical circumstances of everyday people, and how these perspectives have much to illuminate about today's prevalent issues.The six films this episode highlights are a mix of heavy hitters and tender stories of identity: SATURDAY NIGHT AND SUNDAY MORNING (1960), a Karel Reisz picture studying the attitude of a man who plays by the rules during the week, then lets loose on the weekends, VICTIM (1961), the suspenseful story of a man blackmailed by his homosexuality and his fight to be himself against the law, THE LONELINESS OF THE LONG DISTANCE RUNNER (1962), a character study about a talented young runner who questions discipline and the authority behind it, THIS SPORTING LIFE (1963), a story of a man who wins everything except his unrequited love, THE LEATHER BOYS (1964), a film about a newlywed couple in crisis when the husband develops feelings for a member of a rival biker gang, and LIFE IS SWEET (1990), a Mike Leigh film about a working class family enduring the mundanities of life while hanging onto their personal dreams. Please consider supporting this show through our Patreon!Keep up with us on Instagram and Twitter: @filmchatterpod.Check out the films mentioned in this episode on our Letterboxd.Thanks for tuning in!Powered and distributed by Simplecast

Melvin Van Peebles, the pioneering African American auteur behind the 1970s films Watermelon Man and Sweet Sweetback's Baadasssss Song, has died. He was 89. Van Peebles, the father of actor-director Mario Van Peebles, died Tuesday night at his home in Manhattan. His family, The Criterion Collection and Janus Films announced his death in a statement.   “In an unparalleled career distinguished by relentless innovation, boundless curiosity and spiritual empathy, Melvin Van Peebles made an indelible mark on the international cultural landscape through his films, novels, plays and music,” the statement read. “His work continues to be essential and is being celebrated at the New York Film Festival this weekend with a 50th anniversary screening of his landmark film Sweet Sweetback's Baadasssss Song; a Criterion Collection box set, Melvin Van Peebles: Essential Films, next week; and a revival of his play Ain't Supposed to Die a Natural Death, slated for a return to Broadway next year.”   See omnystudio.com/listener for privacy information.

Melvin Van Peebles, the pioneering African American auteur behind the 1970s films Watermelon Man and Sweet Sweetback's Baadasssss Song, has died. He was 89. Van Peebles, the father of actor-director Mario Van Peebles, died Tuesday night at his home in Manhattan. His family, The Criterion Collection and Janus Films announced his death in a statement.   “In an unparalleled career distinguished by relentless innovation, boundless curiosity and spiritual empathy, Melvin Van Peebles made an indelible mark on the international cultural landscape through his films, novels, plays and music,” the statement read. “His work continues to be essential and is being celebrated at the New York Film Festival this weekend with a 50th anniversary screening of his landmark film Sweet Sweetback's Baadasssss Song; a Criterion Collection box set, Melvin Van Peebles: Essential Films, next week; and a revival of his play Ain't Supposed to Die a Natural Death, slated for a return to Broadway next year.”   See omnystudio.com/listener for privacy information.

Episode #16 of the Cine-Cast finds us talking about movies about talking! To begin, Associate Editor Ben Sachs and contributor John Dickson reflect on some new and old movies available to Chicagoans in early May before delving into MALMKROG, a divisive, 200-minute philosophical gabfest written and directed by Romanian New Wave stalwart Cristi Puiu and which has been available to stream on MUBI.com for the past month. (Ben also wrote about it for this week's Cine-List—see below.) Next, Ben joins contributors Scott Pfeiffer and Michael Glover Smith to discuss Éric Rohmer's final film cycle, the Tales of the Four Seasons, which was recently restored by Janus Films and has been available to rent through the Music Box Theatre for several weeks. This wide-ranging discussion addresses not only Rohmer's late period, but also his evolution as a filmmaker, his pioneering work as a film critic, his days as a schoolteacher, and his mysterious private life. Don't forget to read the Cinefile Cinelist every week at www.cinefile.info The introductory theme is by local film composer Ben Van Vlissingen. Find out more about his work here: www.benvanv.com

Released the same year as "Star Wars," Japanese experimental filmmaker Nobuhiko Obayashi's teenage horror masterpiece "House," a.k.a. "Hausu" came out. Panned by nearly all critics in its day, the effects-heavy mystery was a hit with young audiences due to its expert marketing campaign, youth-centered story and wild visuals. Decades later, "House" holds up beautifully, and remains a gorgeous and gory work from one of cinema's most original minds. See omnystudio.com/listener for privacy information.

Released the same year as "Star Wars," Japanese experimental filmmaker Nobuhiko Obayashi's teenage horror masterpiece "House," a.k.a. "Hausu" came out. Panned by nearly all critics in its day, the effects-heavy mystery was a hit with young audiences due to its expert marketing campaign, youth-centered story and wild visuals. Decades later, "House" holds up beautifully, and remains a gorgeous and gory work from one of cinema's most original minds. See omnystudio.com/listener for privacy information.

Episode 22. We're diving into the classic quadrilogy from master filmmaker, Eric Rohmer, with ALONSO DURALDE from the LINOLEUM KNIFE and BREAKFAST ALL DAY podcasts. Recently remastered by the folks at Janus Films, we'll be discussing: A Tale of Springtime (1990), A Tale of Winter (1992), A Summer's Tale (1996), and Autumn Tale (1998). Do they hold up under a contemporary lens? Let's find out! Featuring an interview with TRAVIS STEVENS, the co-writer and director of the new horror film, JAKOB'S WIFE. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/movieswithgravy/support

In FilmCastPodScene's last episode of 2020, Rebecca and Nathan muse on music and memory in Wong Kar Wai's films, newly restored by Janus Films and currently featured in FilmScene's virtual screening room. Then they welcome a very special guest to share their favorite ho-ho-holiday films!

## 影视新闻抢先报1. 由Janus Films发行的王家卫电影合集《王家卫的世界》发布预告，回顾《重庆森林》《旺角卡门》《阿飞正传》《手(导演剪辑版)》《春光乍泄》《堕落天使》《花样年华》这七部电影的最新4K修复版。修复由王家卫监督和允许，合集将从 11 月 25 日开始进行北美线上放映，于 12 月 11 日起于美国部分城市开启线下放映。2. 迈克尔·贝制作的疫情题材科幻惊悚片《鸣鸟》跳过院线上映，将于 12 月 11 日在北美所有付费点播平台上线，之后上线主流媒体。3. 凯特·温斯莱特近日在接受《好莱坞报道者》采访时透露，自己在拍摄《阿凡达》续集的水下戏份时，最长憋气时间达到 7 分 14 秒。而据 Entertainment Tonight 报道：温斯莱特这一成绩刷新了拍电影的水下憋气纪录，前纪录为汤姆·克鲁斯拍《碟中谍 5》时的憋气 6 分半钟。目前《阿凡达 2》定档 2022 年 12 月 16 日北美上映。## 最电影今天跟大家讲的依然还是王家卫的作品，片名是《2046》。这本电影有点复杂，在写之前我是下了很长时间的决心的。复杂是因为人物关系，人多且涉及到王家卫的另外两部电影《阿飞正传》和《花样年华》。虽然花样年华我上期已经跟大家介绍过了，但我感觉还是稍微有那么点复杂的，当然如果大家感兴趣，或者对这个“复杂”程度的求知欲很强的话，可以认真的来听我讲讲。我也尽可能的把它讲的通俗易懂。剧情根据人物分了好几条线，这些线看似独立，实则交叉在一起。2046 是《花样年华》里周慕云和苏丽珍写武侠小说时候的房间。在这部电影里，也有这个房间，并且电影中的很多故事也都发生在这个房间。但 2046 这个数字在这部电影里还有一个意思，它代表了一个地方，一个可以找回失去记忆的地方。《2046》里的周慕云依然是《花样年华》里的周慕云，他在新加坡穷困潦倒时遇见了一个叫苏丽珍的女人。当然这个人只是同名同姓而已。这里的苏丽珍是个职业赌徒，永远戴着一只黑手套，她帮着周慕云在赌场赢了不少钱，同时也赢得了周慕云的爱意。但她却拒绝了周慕云双宿双栖的建议。因为她不能摆脱她的过往。周慕云在香港遇见了在新加坡认识的舞女露露，但露露却已完全不记得他。只记得她曾经爱过一个叫旭的男人。这里我解释下，这个叫旭的男人是张国荣演的，在《阿飞正传》中出现过。后来露露被一个长得很像旭的男人杀死。因为他知道露露只是把他当成了替身。露露死在了 2046 的房间里，死在了她摆脱不了的过往中。后来周慕云认识了住在同一个旅店的舞小姐白玲。白玲住的房间就是露露曾经住过的 2046 号房。各种风花雪月后白玲爱上了周慕云，但周慕云却只是逢场作戏。因为他也没有摆脱他的过去。周慕云居住的旅店的老板有两个女儿，大女儿靖雯跟日本人谈恋爱而遭老板的极力反对。因为靖雯也喜欢写作，周慕云对她产生了当初对苏丽珍的情感。但因为靖雯已心有所属，周慕云把这种暧昧的情感写进了他的小说，并把自己代入角色中。试图在改变了时间和空间的想象中解开当年自己的那个心结——为什么当初多一张船票，苏丽珍却没有跟他走！最终他得出结论:因为苏丽珍心中也一直摆脱不了过往的那个人。那个人叫旭。是的就是那个在《阿飞正传》中出现过的，也是露露念念不忘的人。故事大致就是这个样子，当然影片中的人物远不止这些。不过我觉得这么讲比较通俗易懂。而且，其他的人物也都只是些辅助线索而已。《2046》继承了王家卫电影的一贯风格：隐喻、象征、明暗、色彩、音乐样样俱全。跟《花样年华》一样，这些手法和元素依然那么鲜明。比如电影中 2046 这个数字就是具有象征性的隐喻。包含了对过往的追忆、不舍，对时间和空间的无奈。但相比《花样年华》，《2046》显得更加的阴郁。哪怕是片中大部分的灯红酒绿歌舞升平的场景，虽然颜色都是大红大绿大色块，但明显感觉到导演是压了整个色彩的鲜艳度的。在场景上，导演也是处处给人压抑的感觉。比如周慕云和白玲在一次分手后的相遇。地点是夜总会。但导演给他们的相遇镜头是在人潮拥挤中的擦肩而过。这种拥挤中的压迫感以及热闹下的孤寂感会让人窒息。而导演在对人物的刻画上，也是希望给观众这样的感觉。他经常采用的是大特写。似乎想通过演员的脸部或者其他部位的特写，直击人物的内心，让人物无所遁形。在音乐上，导演采用了大音量的歌剧和浪漫的爵士相结合，给人以冲撞感。大音量的歌剧下是剧烈的争执，暧昧的爵士下是纠缠不清的情感。大开大合大起大落后，作为观众的我，如过山车一般的压抑和难过。但是压抑归压抑，同时滋生的却是另外一种想要一探究竟的好奇心。就是犹如看恐怖片的时候女孩子的那种又怕又想看，然后就把手蒙住眼睛，从指缝中偷窥的刺激感。对对对就是偷窥的刺激感。犹如片中周慕云透过他居住的 2047 偷窥 2046 一样。曾经有人说《2046》是王家卫的没落之作。其实我想说，年少不听李宗盛，听懂已是不惑年。哈哈哈搞的我好像人到中年历经沧桑一样。其实没有啦我只是想说，如果你是我爸妈辈的听众，以前曾经看过这本电影，但我建议到了现在这个年纪，可以再去看一看，也许会有不用的感悟。而作为我们的同龄人，我觉得，可以看看热闹。比如我前面讲的镜头的运用、讲故事的手法等等。好了，我也不要老气横秋了，我想在接下去的很长一段时间我也不会再看王家卫的电影了，实在太压抑，虽然这部电影算是团圆结尾，但爱情太伤神。## 漫慢聊圣杯战争，这是一个像我这样的老二次元都应该熟悉的代名词。它是 TYPE-MOON 出品的《Fate/stay night》和《Fate/Zero》等 Fate 系列作品中出现的概念。但今天，我们要聊的不是任何一部Fate动漫总体，而是其中的一个角色。他是双手染血的圣人，天真的理想主义者，行事黑暗卑鄙的结果主义者，坑儿子的爹，也是正义的伙伴。他是 Fate/Zero（以下简称 F/Z）中的，卫宫切嗣（以下简称切嗣）。这里我并不把切嗣说成主人公，因为其实 F/Z 中的角色都具有鲜明的特征，每一个角色都塑造的非常立体。但唯独他值得我单独拿出来讲一讲，具体原因，接着往下听就完事了。　　小时候，生活在小岛上的他就有成为正义的伙伴的天真理想，希望人人都能幸福地活着。但这个愿望他只告诉了自己的青梅竹马，也是自己喜欢的女孩夏莉。直到夏莉因自己父亲的魔术实验失败而变成丧尸。切嗣不愿看到夏莉如此痛苦，但可能是因为感情或者胆怯等因素，就连夏莉渴求着让他结束自己生命的同时，切嗣也没能下得去手。导致岛上的所有人都变成丧尸死掉了。切嗣认为这是自己没有杀死夏莉导致的，于是他决定不再犯相同的错误，杀死惨剧根源的父亲。那年，他还未成年。值得一提的是，动画中有一个镜头，在他弑父后，切嗣手中的枪，已经在也甩不掉了。当别人问起他为何杀父时，切嗣给出的答案是，只要父亲活着就会不停的实验，小岛上的惨剧会继续发生。在杀死父亲后，切嗣被一位赏金猎人娜塔莉娅收养。娜塔莉亚是赏金猎人，自然把切嗣带入了战场。在战场中，切嗣长大了，他看见了真正的人间地狱，本性善良的他感觉无比的痛苦。在随后的一次任务中，在飞机上，娜塔莉娅因为没能完全处理掉一名魔术师从而使得整架飞机的人全部变成丧尸。唯独她逃进了飞机驾驶舱，平淡的和切嗣汇报目前的情况。这时的切嗣又一次做了一样的选择，他说：你是我真正的家人，然后在小艇上向着飞机扣下了手中导弹的扳机，原因是飞机着陆会造成更多的伤亡。唯一和当年不同的是，这次他哭了。他的正义矛盾，可以理解为一个王道者的做法，就是通过牺牲一小部分来成就在他眼力比较大的正义。这和侠道者，也就是骑士道有所不同。侠道者会通过手段正义去做事，但结果未必是好的。两者一对比可知，侠道者的正义来源于手段而非结果，而王道者可能结果比较“正义”但是，非法的手段就已经侮辱了“正义”一词。或者可以用另外一个非常经典的悖论来阐述：电车悖论。你作为一辆电车司机，突然发现前面的铁轨上有 5 个人，你没有机会刹车，不变轨的话，那 5 个人必死，而若变轨，另一条轨道上会有 1 个人被杀死。这是一个没有正确答案的悖论，也是对功利主义最响亮的质疑，5 人的生命与 1 人的生命孰轻孰重，没有人敢轻易地下结论。这是一个在伦理学和哲学上永恒被讨论和无解的命题，然而现实中，人们必须被迫做出一个选择。纵观全集 F/Z，切嗣所做的一切必将被人们所唾弃，所厌恶，所憎恨。倘若我们是被拯救的那 5 个人，也不会认同切嗣司机的做法，因为他确实杀死了另外一个无辜的人，人们在生命攸关时可以做出任何乞怜和承诺，当安全归来时，道德的嘴脸便回到统治地位。有些时候我们会觉得这件事的做法是对与错，但是很少关心，结局如何。在圣杯战争的最后，从圣杯中流出的黑泥污染了整座城市造成火灾。这时的切嗣已没有任何心情在做任何战斗，他俯下身去寻找着任何可能活着的人。终于，他看到了在废墟中的一只升起的手。那是属于一位红衣少年的手，多年后少年回忆起来，只记得当年切嗣紧紧的握住了他的手，微笑着对他说了声“谢谢”。仿佛拯救的不是少年，而是切嗣自己。在这样的情况下，切嗣唯一能做的，也许只是救出在火堆中的少年，再也没有能力去追寻当年自己的那份理想了吧。 ## BGM+ Persona 5 OST 24 - Life Will Change -instrumental version- + 2046 Main Theme+ Kalafina - Manten – instrumental version – + Kalafina - Manten

## 影视新闻抢先报1. 由Janus Films发行的王家卫电影合集《王家卫的世界》发布预告，回顾《重庆森林》《旺角卡门》《阿飞正传》《手(导演剪辑版)》《春光乍泄》《堕落天使》《花样年华》这七部电影的最新4K修复版。修复由王家卫监督和允许，合集将从 11 月 25 日开始进行北美线上放映，于 12 月 11 日起于美国部分城市开启线下放映。2. 迈克尔·贝制作的疫情题材科幻惊悚片《鸣鸟》跳过院线上映，将于 12 月 11 日在北美所有付费点播平台上线，之后上线主流媒体。3. 凯特·温斯莱特近日在接受《好莱坞报道者》采访时透露，自己在拍摄《阿凡达》续集的水下戏份时，最长憋气时间达到 7 分 14 秒。而据 Entertainment Tonight 报道：温斯莱特这一成绩刷新了拍电影的水下憋气纪录，前纪录为汤姆·克鲁斯拍《碟中谍 5》时的憋气 6 分半钟。目前《阿凡达 2》定档 2022 年 12 月 16 日北美上映。## 最电影今天跟大家讲的依然还是王家卫的作品，片名是《2046》。这本电影有点复杂，在写之前我是下了很长时间的决心的。复杂是因为人物关系，人多且涉及到王家卫的另外两部电影《阿飞正传》和《花样年华》。虽然花样年华我上期已经跟大家介绍过了，但我感觉还是稍微有那么点复杂的，当然如果大家感兴趣，或者对这个“复杂”程度的求知欲很强的话，可以认真的来听我讲讲。我也尽可能的把它讲的通俗易懂。剧情根据人物分了好几条线，这些线看似独立，实则交叉在一起。2046 是《花样年华》里周慕云和苏丽珍写武侠小说时候的房间。在这部电影里，也有这个房间，并且电影中的很多故事也都发生在这个房间。但 2046 这个数字在这部电影里还有一个意思，它代表了一个地方，一个可以找回失去记忆的地方。《2046》里的周慕云依然是《花样年华》里的周慕云，他在新加坡穷困潦倒时遇见了一个叫苏丽珍的女人。当然这个人只是同名同姓而已。这里的苏丽珍是个职业赌徒，永远戴着一只黑手套，她帮着周慕云在赌场赢了不少钱，同时也赢得了周慕云的爱意。但她却拒绝了周慕云双宿双栖的建议。因为她不能摆脱她的过往。周慕云在香港遇见了在新加坡认识的舞女露露，但露露却已完全不记得他。只记得她曾经爱过一个叫旭的男人。这里我解释下，这个叫旭的男人是张国荣演的，在《阿飞正传》中出现过。后来露露被一个长得很像旭的男人杀死。因为他知道露露只是把他当成了替身。露露死在了 2046 的房间里，死在了她摆脱不了的过往中。后来周慕云认识了住在同一个旅店的舞小姐白玲。白玲住的房间就是露露曾经住过的 2046 号房。各种风花雪月后白玲爱上了周慕云，但周慕云却只是逢场作戏。因为他也没有摆脱他的过去。周慕云居住的旅店的老板有两个女儿，大女儿靖雯跟日本人谈恋爱而遭老板的极力反对。因为靖雯也喜欢写作，周慕云对她产生了当初对苏丽珍的情感。但因为靖雯已心有所属，周慕云把这种暧昧的情感写进了他的小说，并把自己代入角色中。试图在改变了时间和空间的想象中解开当年自己的那个心结——为什么当初多一张船票，苏丽珍却没有跟他走！最终他得出结论:因为苏丽珍心中也一直摆脱不了过往的那个人。那个人叫旭。是的就是那个在《阿飞正传》中出现过的，也是露露念念不忘的人。故事大致就是这个样子，当然影片中的人物远不止这些。不过我觉得这么讲比较通俗易懂。而且，其他的人物也都只是些辅助线索而已。《2046》继承了王家卫电影的一贯风格：隐喻、象征、明暗、色彩、音乐样样俱全。跟《花样年华》一样，这些手法和元素依然那么鲜明。比如电影中 2046 这个数字就是具有象征性的隐喻。包含了对过往的追忆、不舍，对时间和空间的无奈。但相比《花样年华》，《2046》显得更加的阴郁。哪怕是片中大部分的灯红酒绿歌舞升平的场景，虽然颜色都是大红大绿大色块，但明显感觉到导演是压了整个色彩的鲜艳度的。在场景上，导演也是处处给人压抑的感觉。比如周慕云和白玲在一次分手后的相遇。地点是夜总会。但导演给他们的相遇镜头是在人潮拥挤中的擦肩而过。这种拥挤中的压迫感以及热闹下的孤寂感会让人窒息。而导演在对人物的刻画上，也是希望给观众这样的感觉。他经常采用的是大特写。似乎想通过演员的脸部或者其他部位的特写，直击人物的内心，让人物无所遁形。在音乐上，导演采用了大音量的歌剧和浪漫的爵士相结合，给人以冲撞感。大音量的歌剧下是剧烈的争执，暧昧的爵士下是纠缠不清的情感。大开大合大起大落后，作为观众的我，如过山车一般的压抑和难过。但是压抑归压抑，同时滋生的却是另外一种想要一探究竟的好奇心。就是犹如看恐怖片的时候女孩子的那种又怕又想看，然后就把手蒙住眼睛，从指缝中偷窥的刺激感。对对对就是偷窥的刺激感。犹如片中周慕云透过他居住的 2047 偷窥 2046 一样。曾经有人说《2046》是王家卫的没落之作。其实我想说，年少不听李宗盛，听懂已是不惑年。哈哈哈搞的我好像人到中年历经沧桑一样。其实没有啦我只是想说，如果你是我爸妈辈的听众，以前曾经看过这本电影，但我建议到了现在这个年纪，可以再去看一看，也许会有不用的感悟。而作为我们的同龄人，我觉得，可以看看热闹。比如我前面讲的镜头的运用、讲故事的手法等等。好了，我也不要老气横秋了，我想在接下去的很长一段时间我也不会再看王家卫的电影了，实在太压抑，虽然这部电影算是团圆结尾，但爱情太伤神。## 漫慢聊圣杯战争，这是一个像我这样的老二次元都应该熟悉的代名词。它是 TYPE-MOON 出品的《Fate/stay night》和《Fate/Zero》等 Fate 系列作品中出现的概念。但今天，我们要聊的不是任何一部Fate动漫总体，而是其中的一个角色。他是双手染血的圣人，天真的理想主义者，行事黑暗卑鄙的结果主义者，坑儿子的爹，也是正义的伙伴。他是 Fate/Zero（以下简称 F/Z）中的，卫宫切嗣（以下简称切嗣）。这里我并不把切嗣说成主人公，因为其实 F/Z 中的角色都具有鲜明的特征，每一个角色都塑造的非常立体。但唯独他值得我单独拿出来讲一讲，具体原因，接着往下听就完事了。　　小时候，生活在小岛上的他就有成为正义的伙伴的天真理想，希望人人都能幸福地活着。但这个愿望他只告诉了自己的青梅竹马，也是自己喜欢的女孩夏莉。直到夏莉因自己父亲的魔术实验失败而变成丧尸。切嗣不愿看到夏莉如此痛苦，但可能是因为感情或者胆怯等因素，就连夏莉渴求着让他结束自己生命的同时，切嗣也没能下得去手。导致岛上的所有人都变成丧尸死掉了。切嗣认为这是自己没有杀死夏莉导致的，于是他决定不再犯相同的错误，杀死惨剧根源的父亲。那年，他还未成年。值得一提的是，动画中有一个镜头，在他弑父后，切嗣手中的枪，已经在也甩不掉了。当别人问起他为何杀父时，切嗣给出的答案是，只要父亲活着就会不停的实验，小岛上的惨剧会继续发生。在杀死父亲后，切嗣被一位赏金猎人娜塔莉娅收养。娜塔莉亚是赏金猎人，自然把切嗣带入了战场。在战场中，切嗣长大了，他看见了真正的人间地狱，本性善良的他感觉无比的痛苦。在随后的一次任务中，在飞机上，娜塔莉娅因为没能完全处理掉一名魔术师从而使得整架飞机的人全部变成丧尸。唯独她逃进了飞机驾驶舱，平淡的和切嗣汇报目前的情况。这时的切嗣又一次做了一样的选择，他说：你是我真正的家人，然后在小艇上向着飞机扣下了手中导弹的扳机，原因是飞机着陆会造成更多的伤亡。唯一和当年不同的是，这次他哭了。他的正义矛盾，可以理解为一个王道者的做法，就是通过牺牲一小部分来成就在他眼力比较大的正义。这和侠道者，也就是骑士道有所不同。侠道者会通过手段正义去做事，但结果未必是好的。两者一对比可知，侠道者的正义来源于手段而非结果，而王道者可能结果比较“正义”但是，非法的手段就已经侮辱了“正义”一词。或者可以用另外一个非常经典的悖论来阐述：电车悖论。你作为一辆电车司机，突然发现前面的铁轨上有 5 个人，你没有机会刹车，不变轨的话，那 5 个人必死，而若变轨，另一条轨道上会有 1 个人被杀死。这是一个没有正确答案的悖论，也是对功利主义最响亮的质疑，5 人的生命与 1 人的生命孰轻孰重，没有人敢轻易地下结论。这是一个在伦理学和哲学上永恒被讨论和无解的命题，然而现实中，人们必须被迫做出一个选择。纵观全集 F/Z，切嗣所做的一切必将被人们所唾弃，所厌恶，所憎恨。倘若我们是被拯救的那 5 个人，也不会认同切嗣司机的做法，因为他确实杀死了另外一个无辜的人，人们在生命攸关时可以做出任何乞怜和承诺，当安全归来时，道德的嘴脸便回到统治地位。有些时候我们会觉得这件事的做法是对与错，但是很少关心，结局如何。在圣杯战争的最后，从圣杯中流出的黑泥污染了整座城市造成火灾。这时的切嗣已没有任何心情在做任何战斗，他俯下身去寻找着任何可能活着的人。终于，他看到了在废墟中的一只升起的手。那是属于一位红衣少年的手，多年后少年回忆起来，只记得当年切嗣紧紧的握住了他的手，微笑着对他说了声“谢谢”。仿佛拯救的不是少年，而是切嗣自己。在这样的情况下，切嗣唯一能做的，也许只是救出在火堆中的少年，再也没有能力去追寻当年自己的那份理想了吧。 ## BGM+ Persona 5 OST 24 - Life Will Change -instrumental version- + 2046 Main Theme+ Kalafina - Manten – instrumental version – + Kalafina - Manten

In this episode, Film Forum Presents a Q&A between two boundlessly creative women - THANK YOU AND GOOD NIGHT filmmaker Jan Oxenberg and her longtime friend, Winnie Holzman, creator of My So-Called Life and prolific writer for stage and screen (including the book for Wicked). THANK YOU AND GOOD NIGHT is Oxenberg’s wildy imaginative, deeply personal, and surprisingly funny documentary about the death of her beloved grandmother. Long unavailable since its original premiere at Film Forum in 1992, the movie is now available for rental in our virtual cinema at www.filmforum.org. A portion of all rental fees support Film Forum. Jan Oxenberg photo (left) by Bonnie Schiffman; courtesy of Janus Films.

In our second "A History Of..." series after the success charting the rise of A24 Films, we are looking at The Criterion Collection. The company that is the premiere destination for your favourite hard to find art house flicks, out of print classics, B-movie masterpieces, retrospective boxsets and the best special features of any home video distributor. We look at their start from Janus Films back in the 1950's to being pioneers of CD-ROMs under the Voyager banner to putting out the best Laserdisc's, DVD's and BluRay's. What "A History Of..." would you like us to cover next? Email us at contrazoompod@gmail.com. King Kong Commentary Gizmodo Short Documentary Listen to Contra Zoom on Anchor, Apple Podcasts, Spotify, Google Play, Overcast, RadioPublic, Breaker, Podcast Addict and more! Please rate and review the show on Apple Podcasts, or wherever you listen. Thank you Eric and Kevin Smale for creating the awesome theme music and Stephanie Prior for designing the logo. Follow the show on Twitter, Instagram and Facebook. Contra Zoom is proudly presented by Aesthetic Magazine. --- Send in a voice message: https://anchor.fm/contrazoompod/message

Janus Films released The Seventh Seal on February 16, 1957. Ingmar Bergman directed the film starring Max von Sydow, Gunnar Björnstrand, and Bengt Ekerot. The post The Seventh Seal (1957) appeared first on Movie House Memories.

Featuring special guest John Moret! Things are tough for everyone during the COVID-19 crisis, so it can sometimes feel a little indulgent to even worry about things like repertory cinema. But as we talked with Trylon Film Programmer John Moret about how the Trylon and the people behind it are dealing with the pressure, it became clear that keeping in touch – even if it’s kind of all bad news – isn't a bad way to deal with the day-to-day. While confusion runs high, John and the team remain optimistic about the rest of 2020. In this special remote episode, we talk about film procurement amid a nationwide pandemic, how being an independent cinema gives the Trylon some mobility in times like these, and what everyone’s watching in the meantime. Find a Minneapolis food bank near you: http://www.ci.minneapolis.mn.us/sustainability/homegrown/WCMSP-185913 Support the Trylon with a fee-free PayPal donation: https://www.paypal.com/fundraiser/charity/1657619 Support America’s arthouse cinemas with Criterion and Janus Films: https://www.gofundme.com/f/Art-House-America Support The Food Group of MN: https://thefoodgroupmn.thankyou4caring.org/Donate Donate to the Electric Fetus COVID-19 Staff Relief Fund: https://www.gofundme.com/f/minneapolis-covid19-staff-relief-fund Watch a movie from Rochester’s Gray Duck Theater online: https://mailchi.mp/grayducktheater/gray-duck-theater-is-open-for-businessnowonline Support Second Harvest Heartland: https://www.2harvest.org/ Donate to Hunger Solutions Minnesota: https://salsa4.salsalabs.com/o/51574/p/salsa/donation/common/public/?donate_page_KEY=12658 Donate to Twin Cities Music Community Trust: https://www.twincitiesmusiccommunitytrust.org/donate Recommended media: - THE TRIP (2010 TV series) - ROLLERBALL (1975) - A GOOFY MOVIE (1995) Follow us at @trylovepodcast on Twitter and email us at trylovepodcast@gmail.com to get in touch! Theme: "Raindrops" by Huma-Huma/"No Smoking" PSA by John Waters.

Tony and I remark on our 20 episode run and I review the new Janus Films restoration of Elem Klimov's holocaust film "Come and See" (1985). If you live in New York it is playing at the Film Forum from now until March 3rd so go see it while you can! I highly recommend it. It is so choice.

With the restoration and re-release of Elem Klimov's underappreciated war epic "Come and See," Chance and Noah steel themselves to revisit the film's famously immersive, brutal, even dangerous portrayal of the WWII Eastern Front. (A child actor's hair literally turned white, folks.) Listen as we dive back into the Russian film's production history, myth, canonization, and assess the lines between majesty and gratuitousness. The 2k restoration from Janus Films opens this month in New York City. --- Send in a voice message: https://anchor.fm/theplaylist/message

On this special episode of CINELOUNGE PRESENTS, we broadcast from the Annual Art House Convergence in Midway, Utah. Christian has the opportunity to speak to distributors, producers, executives, and other art-house cinema owners. We wlecome Benjamin Crossley-Marra from Janus Films, Ronnie Ycong from Spotlight Cinema Networks, Nancy Gerstman and Emily Russo from Zeitgeist Films, Cressandra Thibodeaux from 14 Pews Cinema, Tori Baker from Salt Lake Film Society, Trevor Dillon from The Frida Cinema, Julie Anderson Frieson from Cinema Falls and Paul Cohen from The Torchlight Program at FSU.  

Christopher Cross and Dylan Schwan embark on another journey with (some of) the Fast & Furious family in their first spinoff, Fast & Furious presents Hobbs & Shaw. They find where it fits within the series and they discuss the drastic tone change and inconsistencies. Dylan caught the latest A24 critical hit, The Souvenir, and talks about who the movie is for and its purpose. He also saw the new Janus Films restoration of the iconic Drag film, Paris is Burning. You can find Film Fallout every week on iTunes, Soundcloud, Facebook, and Instagram, as well as anything else that pulls an RSS Feed. The podcast (@filmfalloutcast), Chris (@HammerkopCross), and Dylan (@DreaminDylanS) are also on Twitter. You can also find Chris' film writing at goombastomp.com. Please feel free to share the podcast with anyone who may enjoy it, and rate and subscribe on iTunes to help spread the word as much as possible! Intro & Outro Music: We'll Take It by Oneohtrix Point Never Transition Music: Rise Above by Black Flag

Christopher Cross and Dylan Schwan come to their end of their run with the Marvel Cinematic Universe by reviewing the epic conclusion, Avengers: Endgame. They work through their complicated thoughts on the evolution of the characters and conclusion of their stories. Dylan talks about the new 4K restorations by Janus Films of Police Story 1 & 2. Next week, they take a week away from new releases to tell you about some of the old Kaiju films directed by Ishiro Honda, for real this time! You can find Film Fallout every week on iTunes, Soundcloud, Facebook, and Instagram, as well as anything else that pulls an RSS Feed. The podcast (@filmfalloutcast), Chris (@HammerkopCross), and Dylan (@DreaminDylanS) are also on Twitter. You can also find Chris' film writing at goombastomp.com. Please feel free to share the podcast with anyone who may enjoy it, and rate and subscribe on iTunes to help spread the word as much as possible! Intro & Outro Music: Lentamente by Helado Negro

In honor of Janus Films' centennial retrospective of Ingmar Bergman's Cinema, the Poster Boys survey the film posters of the influential and iconic Swedish auteur. From arthouse classics like THE SEVENTH SEAL and CRIES AND WHISPERS to overseas sensations SUMMER WITH MONIKA and PERSONA, Bergman's films saw creative and visionary poster designs in Germany, Poland, Japan, Italy, the Czech Republic, and the US, providing a veritable international poster tour for listeners and cinephiles this month. SHOW NOTES & LINKS The Headless Women Project Hall of Femmes Klimowski Poster Book Movie Poster of the Week: the Best of Bergman Movie Poster of the Week: “Wild Strawberries” and the posters of Jerzy Flisak Music selections: “Bass on Titles” opening theme, Schumann Piano Quintet, op. 44 in E-flat major (2nd movement), It's You I Like by Fred Rogers Follow Brandon Schaefer at @seekandspeak, and Sam Smith at @samsmyth. Special thanks to producer Adrian Cobb.

Otis Redding, Janis Joplin, Jimi Hendrix and The Who are among the classic acts captured by D.A. Pennebaker in “Monterey Pop.” Now for the 50th anniversary of the concert, the film is being released in a new 4k restoration by The Criterion Collection and Janus Films. Pure Nonfiction host Thom Powers interviewed Pennebaker along with […] The post PN 50: D.A. Pennebaker on “Monterey Pop” at 50 appeared first on Pure Nonfiction.

This month, designers Brandon Schaefer and Sam Smith look at the iconic and unsung film posters created for Janus Films in the 70's by Dot Graphics, the award-winning Denver-based design team of Lee Reedy and Robert Clayton. Across over two-dozen posters, Dot Graphics created bold and powerful key art for masterpieces of foreign cinema, showcasing their skill in typography, illustration, and art direction, old-school and computer-free. Years before the launch of the Criterion Collection, Reedy and Clayton foreshadowed a new graphic approach to film advertising in the arthouse industry. PLUS: a look in the Flat File at Dot's one-sheet for KING KONG and the many other posters for the 1933 classic. SHOW NOTES & LINKS Connecting the Dots: Dot Graphics and Janus Fims Lee Reedy Agatha Christie illustrations by Tom Adams Music selections: “Bass on Titles” opening theme, “The Magic Yard” from the VALERIE AND HER WEEK OF WONDERS original soundtrack by Lubos Fiser; KING KONG original soundtrack by Max Steiner. Follow Brandon Schaefer at @seekandspeak, and Sam Smith at @samsmyth. Special thanks to producer Adrian Cobb.

Movie Meltdown - Episode 390 This week we talk with the one, the only - John Waters. Now is he intrinsically evil? Well, we'd say no. But the Censor Board may have a different answer. Or The Baltimore Police Department. Or certain Canadian film distributors. Or... well, there's probably a lot of people. Listen as we revisit stories of his early days of shooting films in his hometown, specifically, the newly restored and rereleased Multiple Maniacs. And just how this kid from Baltimore got together with his friends and inadvertently came to offend so many people over the years. But along with these crazy stories comes some wisdom. So as John goes out into the world and talks to people today... does he hold the key to living an interesting and fulfilling life? Listen and find out for yourself. And as we bask in the cultured luster of Janus Films presents, we also discuss... The Cavalcade Of Perversion... on their front lawn, shooting on 16mm, it's like a hostage video, smoking pot and taking acid, lobsters are scary, the Theatre of the Absurd, tawdry, they look like snuff movies, it was my monster movie and Divine was the monster,there was no art direction in there, Edward Albee, in black and white, we were all kids that were in trouble in suburbia, There were no laws really against that, the Theatre of the Absurd, that was a friend of mine that was a junkie, I was just so thrilled you could see it and hear it, oh God no wonder my parents were uptight, she started sobbing and screaming, we weren't really like that... but our humor was really like that, the judge read us a poem, in my LSD'ed mind at the time, with those two big Mickey Mouse ears, we wanted to be hippies and beatniks, magnetic stripe sound, which at that time was fairly radical, the stations of the cross, it was a joke on an exploitation movie, she was kind of goth before there was such a thing, Conspiracy To Commit Indecent Exposure and Lobstora. Spoiler Alert: While we talk extensively about Multiple Maniacs, I'm pretty sure you can't really 'spoil' that movie. You just need to see it yourself to truly experience it. So go watch Multiple Maniacs! "We didn't have permits, we didn't ask to shoot. We just hit and run!"

Ryan is joined by David, Mark and Aaron to discuss some Criterion Collection news stories

The Cinephiles are back for another crack at the pretentious Criterion cast, this time Michaela gets to take part with the new format. Can't do this without our Criterion buddies Demigod Rob and JJ Webb as we all grab movies from our own personal collections. Rob gets under Matty's skin quickly by picking something that isn't a movie, while Stevil brings a pick that is quickly panned by the rest of the panel as not respected. Michaela's pick leads Matty to an obvious realization of his film tastes but redeems himself with his own cult style pick. JJ finishes of the cast with his insane oddball pick that may have warped everyone's minds. We will all never be the same. Join in the fun fueled by Janus Films!

clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Affordable Web Hosting $5.99 A month 24 hour radio streaming Christian recovery King Kong was a great Box office success, as it became the highest grossing film of 1933 and the fifth highest grossing film of the 1930's. An impressive feat considering King Kong came out during one of the worst years of the Great Depression. Due to popular demand King Kong was re-released numerous times through the years. * In 1938 King Kong was re-released for the first time, but suffered some censorship. The Hays Office (in accordance with stiffer decency rules) removed a few scenes from the film that were considered too violent or obscene. These include: * The Brontosaurus biting the men to death in the swamp * Kong peeling Ann Darrow's clothing off of her. * Kong's violent attack on the native village * Kong biting a New Yorker to death * Kong dropping a women to her death after mistaking her for Ann Darrow. * In 1942 King Kong was re-released again to great Box Office success. However it was altered again by censors as various scenes were darkened to 'minimize gore". * In 1952 King Kong saw its greatest release to date. Not only did it gross more money then any of its other releases, but it brought in more money then most new "A-List" pictures did that year. Due to this success, Warner Brothers was inspired to make a giant monster film of its own called The Beast From 20,000 Fathoms. This movie in turn ended up kicking off the "giant monster on the loose" film boom of the 1950s. * King Kong was sold to television in early 1956 and pulled in an estimated 80% of all households with televisions in the New York area that week. In summer of 1956, King Kong was re-released theatrically (mainly drive-ins) based on its great TV success. * In the late 1960s, all the censored scenes that were cut back in 1938 were found, and restored back into the film. Janus Films gave the restored King Kong a brief theatrical re-release in 1971. This was the first time since its original run in 1933 that King Kong was seen in its complete form.