Podcast appearances and mentions of Joanna Hogg

The 2025 Cannes Film Festival kicks off today...and the question on everyone's mind is: what will be the great movies? Mostly, people look to the Cannes Competition (the films that compete for the Palme d'Or) to find the best films. But it's a lesser-known fact that many amazing films screen in the festival's sidebars. And many of the best films in cinema history have screened in the festival's sidebars. In fact, Chantal Akerman's Jeanne Dielman, which was named the greatest film of all time in the 2022 Sight & Sound poll did not screen in competition! It screened in the Directors' Fortnight. So on today's episode, Alex peels back the curtain on how all the different parts of the Cannes Film Festival work together. And she talks about the amazing films you've heard of (and some you probably haven't) that have screened outside the festival's competition. And she talks about some of the films she's excited for this year. Finally, Alex talks about some of the films she's excited for in this year's competition, and how they were already making fantastic films years ago that were hiding out in the festival's sidebars. *** Become a Seventh Row Insider to stay updated on the best films at Cannes this year and in past years that you might not otherwise stumble upon *** Interested in picking up Seventh Row's ebooks on Lynne Ramsay, Joachim Trier, Joanna Hogg, Debra Granik, or Céline Sciamma? They're available exclusively on Seventh Row. Peruse the collection here: http://seventh-row.com/ebooks Listen to the Women at Cannes Podcast Season Listen to the Women at Cannes episode on Kelly Reichardt For detailed show notes, visit https://seventh-row.com/2025/05/13/ep-171-navigating-cannes-beyond-the-competition/

Aujourd'hui on parle de frisson mou et d'une actrice aux milles visages, Tilda Swinton.Les films de l'épisode :- 2'55" We need to talk about Kevin [Lynne Ramsay]- 25'17" Eternal daughter [Joanna Hogg]- 47'08" Memoria [Apichatpong Weerasethakul]- 87'14" La plage [Danny Boyle]Et dimanche dernier alors (99'30'') ?- Lola a mangé des asperges...- Léo recommande une boucle à vélo le long de la Marne- Camille recommande le parfum conçu par Tilda Swinton et Etat libre d'Orange : Like This- Thomas est allé voir Mickey 17 de Bong Joon-ho⚠️ 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, ...

"Perché faccio film? Non lo so. È difficile rispondere. Non riesco a immaginare di fare nient'altro. Per me, dirigere film racchiude tutti i miei interessi: l'osservazione della natura umana, la capacità di giustapporre suono e immagine, e la creazione stessa, che è qualcosa di potenzialmente catartico, liberatorio e molto profondo. Creativamente, mi sento più a mio agio quando ho un progetto" Una nuova e breve rassegna dedicata a un'autrice e regista assai nota negli ambienti festivalieri ma che forse meriterebbe maggiore considerazione da parte di un pubblico più vasto, magari pronto a scoprire il suo cinema introspettivo e intimo. Ecco a voi Joanna Hogg e il suo cinema.

Memento #331. Ha demostrat ser una int

Actrice remarquée du cinéma d'auteur (Yorgos Lanthimos, Lucie Borleteau, Joanna Hogg, Justin Kurzel, Brady Corbet, les soeurs Coulin...) et du monde des séries (L'Opéra), Ariane Labed sort ce mercredi ce premier long métrage en tant que scénariste et réalisatrice. September and July, présenté à Un Certain Regard à Cannes en mai 2024, est l'adaptation d'un roman nommé Sisters de Daisy Johnson. Sisters comme les 2 soeurs au coeur de ce film. S'il fallait donner le point de départ du film aux auditeurs qui vont découvrir le film, c'est donc le lien très fort, très spécial qui lient ces deux soeurs, presque jumelles.Ariane Labed nous raconte le point de départ de ce film singulier, aux partis pris forts et qui n'hésite pas à déranger le spectateur dans son étrangeté. L'occasion aussi de parler avec cette actrice et personnalité engagée des César et de l'année 2024 marquée par les prises de parole de Judith Godrèche. September and July sort au cinéma le mercredi 19 février 2025.Crédits :Journaliste : Brigitte BaronnetMontage : Arthur Cattin Hébergé par Audion. Visitez https://www.audion.fm/fr/privacy-policy pour plus d'informations.

Donald Trump says that he had a “lengthy and highly productive” call with Vladimir Putin. Also on the programme: who were the AI power players at Emmanuel Macron’s Paris summit? Then: the Honda-Nissan merger deal collapses and fashion brand Miu Miu taps British filmmaker Joanna Hogg. Plus: ‘The Global Countdown’ comes from Nepal.See omnystudio.com/listener for privacy information.

"Perché faccio film? Non lo so. È difficile rispondere. Non riesco a immaginare di fare nient'altro. Per me, dirigere film racchiude tutti i miei interessi: l'osservazione della natura umana, la capacità di giustapporre suono e immagine, e la creazione stessa, che è qualcosa di potenzialmente catartico, liberatorio e molto profondo. Creativamente, mi sento più a mio agio quando ho un progetto" Una nuova e breve rassegna dedicata a un'autrice e regista assai nota negli ambienti festivalieri ma che forse meriterebbe maggiore considerazione da parte di un pubblico più vasto, magari pronto a scoprire il suo cinema introspettivo e intimo. Ecco a voi Joanna Hogg e il suo cinema. Terzo capitolo non ufficiale del dittico "The Souvenir", "The Eternal Daughter" rappresenta l'ultima tappa del viaggio interiore di Joanna Hogg. Dopo l'adolescenza e la maturità, la regista affronta stavolta il suo rapporto con il presente e il futuro.

"Perché faccio film? Non lo so. È difficile rispondere. Non riesco a immaginare di fare nient'altro. Per me, dirigere film racchiude tutti i miei interessi: l'osservazione della natura umana, la capacità di giustapporre suono e immagine, e la creazione stessa, che è qualcosa di potenzialmente catartico, liberatorio e molto profondo. Creativamente, mi sento più a mio agio quando ho un progetto" Una nuova e breve rassegna dedicata a un'autrice e regista assai nota negli ambienti festivalieri ma che forse meriterebbe maggiore considerazione da parte di un pubblico più vasto, magari pronto a scoprire il suo cinema introspettivo e intimo. Ecco a voi Joanna Hogg e il suo cinema. Il rapporto tra realtà e cinema si fa ancora più stretto in questo "The Souvenir Part II", secondo atto del racconto semiautobiografico con protagonista la giovane Julie alle prese con il suo esordio sul grande schermo.

We continue our series going through the entire catalog of ⁠A24's films⁠. On this episode we are looking at 2019 and 2021's ⁠The Souvenir⁠ and ⁠The Souvenir: Part II⁠, written and directed by Joanna Hogg. The films are autobiographical stories of Hogg's own life with Honor Swinton Byrne portraying her during a bad relationship and the reverberating effects it has on her life. Joining the show is Jeff Bulmer and Pierre Frigon, hosts of the ⁠Classic Movies Live⁠ podcast. Our double bill pairings for Part I include ⁠Barry Lyndon⁠ (Dakota's pick) and ⁠La La Land⁠ (Pierre's pick) and for Part II include ⁠The Wonder⁠ (Dakota's pick), ⁠Cold War⁠ (Jeff's pick) and ⁠Forgetting Sarah Marshall⁠ (Pierre's pick). See our complete A24 Double Bill Pairings on ⁠⁠⁠⁠⁠⁠Letterboxd⁠⁠⁠⁠⁠⁠. Follow Classic Movies Live on ⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠ and ⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠. Follow Contra Zoom on⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠Threads⁠ and ⁠Bluesky⁠. Check out more great Contra Zoom content on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠That Shelf⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠! Listen to Contra Zoom on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Anchor⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Google Play⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Overcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Breaker⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and more! Please ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠rate and review⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ the show on Apple Podcasts or Spotify. For more information, visit ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠contrazoompod.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Create your ⁠⁠⁠⁠⁠podcast⁠⁠⁠⁠⁠ today! #madeonzencastr

Ep. 277: Shonni Enelow on Acting: We're All Going to the World's Fair, Mid-to-Late Rohmer, The Beast Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. This week I'm happy to welcome back scholar Shonni Enelow for another thoughtful chat about acting and performance, and how they reflect or respond to changing times. Enelow, a professor at Fordham University who just published a new book on Joanna Hogg, writes an acting column at Reverse Shot. We talk about realism in 21st-century acting and direct address through her first column's subject, We're All Going to the World's Fair, as well as I Saw the TV Glow, both directed by Jane Schoenbrun. Then we discuss the distinctive performances and styles of self-presentation in Bertrand Bonello's The Beast and two mid-to-late films of Eric Rohmer. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Hva gjør fiksjon og underholdning med hvordan vi konsumerer nyheter om amerikansk politikk? Denne høsten er det 25 år siden den amerikanske tv-serien The West Wing hadde premiere, og i denne episoden ser vi nærmere på hva den har betydd for forståelsen vår for det som skjer i virkelighetens USA. Kritiker Aksel Kielland har også gjort seg en observasjon rundt dette med å ha reklame hengende på veggen.Elises anbefaling: Kortfilmen Caprice (1986), regissert av Joanna Hogg, tilgjengelig på strømmetjenesten Mubi.Aksels anbefaling: Oppvekstskildringen Ta imot av Lars Fiske og Final cut av Charles Burns.Artikler og verk nevnt i episoden:Tv-serien The West Wing (1999-2006) Tilgjengelig på strømmetjenesten Max.Tv-serien Veep (2012-2019) Tilgjengelig på strømmetjenesten Max.Tv-serien House of cards (2013-2018) Tilgjengelig på Netflixhttps://www.npr.org/2024/08/26/nx-s1-5078412/the-west-wing-martin-sheen-melissa-fitzgerald-book-anniversaryhttps://www.theguardian.com/tv-and-radio/2024/sep/21/we-had-no-political-agenda-the-white-house-hosts-a-west-wing-tv-reunion Hosted on Acast. See acast.com/privacy for more information.

- Realizując swój pierwszy film 16 lat temu, stworzyłam rodzinę, w której funkcjonuję do dziś. Przykładem osoby, z którą często pracuję, jest Tilda Swinton. Im częściej działamy razem, tym bardziej możemy zagłębić się w to, co robimy. Dzięki temu jesteśmy swobodne. Jak już się z kimś znasz, to możecie razem się rozwijać i wzajemnie popychać do przodu - mówiła Joanna Hogg, znakomita brytyjska reżyserka, przewodnicząca jury na Międzynarodowym Festiwalu Filmowym w Wenecji

Announcement: I'm covering TIFF, the Toronto International Film Festival! Sign up to receive my five essential tips for the film adventurer seeking a fantastic festival experience, whether at TIFF (or any other festival) at email.seventh-row.com/tiff24. --- Alex Heeney interviews writer-director (and Seventh Row fan!) India Donaldson about her debut feature, Good One. Inspired by Seventh Row favourites Kelly Reichardt and Joanna Hogg (we wrote the books on both of them!), Donaldson's film is a quiet story of a teenage girl who goes camping in the woods with her self-absorbed divorced father and his father's best friend. We observe her as she observes the adults who don't quite behave like adults in ways that are often quite hurtful to her. Donaldson tells Alex about adjusting her expectations to get her first feature made, working with her incredible cast, telling a story about a child of divorce, shooting outdoors in a remote area, and more. The film premiered at Sundance before screening at the Cannes Film Festival in the Director's Fortnight sidebar. The film is now in theatres in the US and Canada. Want to keep exploring Joanna Hogg's and Kelly Reichardt's films? Get our ebook on Joanna Hogg at thesouvenirbook.com Get our ebook on Kelly Riechardt's films and process at reichardtbook.com Listen to our podcasts on Kelly Reichardt and her films Listen to our podcast on Joanna Hogg's The Souvenir Part I & II (ep. 118: FREE!) Stay updated on Seventh Row Follow Seventh Row on Twitter and Instagram. Read our articles at seventh-row.com. Follow Alex Heeney on Twitter and Instagram.  For detailed show notes, visit the Seventh Row website. There is also an AI-generated transcript available.

Her new drama Good One is in US theaters now and opening in Canada this Friday, so writer-director India Donaldson is here to discuss Archipelago, Joanna Hogg's 2010 drama about a family struggling to enjoy a weekend together. Your genial host Norm Wilner is just so happy someone finally picked one of Joanna Hogg's movies.

On this episode, host Dr Pasquale Iannone is joined by Dr Sarah Artt (Lecturer in English and Film at Edinburgh Napier University) to discuss her new book Quiet Pictures: Women and Silence in Contemporary British and French Cinema (Bloomsbury, 2024).In the book, Sarah draws on the work of Lynne Ramsay, Joanna Hogg, Lucile Hadžihalilović and Céline Sciamma to explore the different uses of silence which, according to Sarah, leads to new ways of looking, staring, and gazing.  Sarah and Pasquale discuss the use of silence in film more broadly as well as the idea of silence as a ‘feminist aesthetic'.

Endlessly fascinating, dark and bright, The Red Shoes (1948) employs every branch of the cinematic arts to sweep the audience off its feet, invigorated by the transcendence of art itself, only to leave them with troubling questions. Representing the climax of Michael Powell and Emeric Pressburger's celebrated run of six exceptional feature films, the film remains a beloved, if unsettling and often divisive, classic. Pamela Hutchinson's study of the film, published by Bloomsbury in 2023, examines its breathtaking use of Technicolor, music, choreography, editing and art direction at the zenith of Powell and Pressburger's capacity for 'composed cinema'. Through a close reading of key scenes, particularly the film's famous extended ballet sequence, she considers the unconventional use of ballet as uncanny spectacle and the feminist implications of the central story of female sacrifice. Hutchinson goes on to consider the film's lasting and wide-reaching influence, tracing its impact on the film musical genre and horror cinema, with filmmakers such as Joanna Hogg, Sally Potter, Martin Scorsese and Brian De Palma having cited the film as an inspiration. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. 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

Endlessly fascinating, dark and bright, The Red Shoes (1948) employs every branch of the cinematic arts to sweep the audience off its feet, invigorated by the transcendence of art itself, only to leave them with troubling questions. Representing the climax of Michael Powell and Emeric Pressburger's celebrated run of six exceptional feature films, the film remains a beloved, if unsettling and often divisive, classic. Pamela Hutchinson's study of the film, published by Bloomsbury in 2023, examines its breathtaking use of Technicolor, music, choreography, editing and art direction at the zenith of Powell and Pressburger's capacity for 'composed cinema'. Through a close reading of key scenes, particularly the film's famous extended ballet sequence, she considers the unconventional use of ballet as uncanny spectacle and the feminist implications of the central story of female sacrifice. Hutchinson goes on to consider the film's lasting and wide-reaching influence, tracing its impact on the film musical genre and horror cinema, with filmmakers such as Joanna Hogg, Sally Potter, Martin Scorsese and Brian De Palma having cited the film as an inspiration. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Endlessly fascinating, dark and bright, The Red Shoes (1948) employs every branch of the cinematic arts to sweep the audience off its feet, invigorated by the transcendence of art itself, only to leave them with troubling questions. Representing the climax of Michael Powell and Emeric Pressburger's celebrated run of six exceptional feature films, the film remains a beloved, if unsettling and often divisive, classic. Pamela Hutchinson's study of the film, published by Bloomsbury in 2023, examines its breathtaking use of Technicolor, music, choreography, editing and art direction at the zenith of Powell and Pressburger's capacity for 'composed cinema'. Through a close reading of key scenes, particularly the film's famous extended ballet sequence, she considers the unconventional use of ballet as uncanny spectacle and the feminist implications of the central story of female sacrifice. Hutchinson goes on to consider the film's lasting and wide-reaching influence, tracing its impact on the film musical genre and horror cinema, with filmmakers such as Joanna Hogg, Sally Potter, Martin Scorsese and Brian De Palma having cited the film as an inspiration. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Endlessly fascinating, dark and bright, The Red Shoes (1948) employs every branch of the cinematic arts to sweep the audience off its feet, invigorated by the transcendence of art itself, only to leave them with troubling questions. Representing the climax of Michael Powell and Emeric Pressburger's celebrated run of six exceptional feature films, the film remains a beloved, if unsettling and often divisive, classic. Pamela Hutchinson's study of the film, published by Bloomsbury in 2023, examines its breathtaking use of Technicolor, music, choreography, editing and art direction at the zenith of Powell and Pressburger's capacity for 'composed cinema'. Through a close reading of key scenes, particularly the film's famous extended ballet sequence, she considers the unconventional use of ballet as uncanny spectacle and the feminist implications of the central story of female sacrifice. Hutchinson goes on to consider the film's lasting and wide-reaching influence, tracing its impact on the film musical genre and horror cinema, with filmmakers such as Joanna Hogg, Sally Potter, Martin Scorsese and Brian De Palma having cited the film as an inspiration. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

Original Release Date: Monday 10 June 2024    Description:   Dean will be heading to Los Angeles this week and plans to deal with a “haunted vacuum”? Paramount Pictures (and its parent company) are for sale. Dean and Phil discuss the ramifications of this. Many great films premiered in competition at the recent Cannes Film Festival. Dean and Phil examine the award-winners. A film festival favorite available now on Netflix is Richard Linklater's dark romantic comedy Hit Man. Dean and Phil discuss it. Then, they take a deep dive look at three "art house" films of recent vintage and use that dive as the vehicle fore exploring the function, importance and failure of critics. The films in question are Joanna Hogg's ghost story The Eternal Daughter and Jane Schoenbrun's coming-of-age psychodramas We're All Going to the World's Fair and the current theatrical release I Saw the TV Glow.

In this episode, Ralph and Owen journey into the spectral wastes of British film, asking: what went wrong, and what is to be done? Through kitchen sink realism, folk-horror spooks, socially-engaged documentarians, materially-inclined avant-gardism, and more than a handful of oddballs, the situation seems as underwhelming as it was in 1927, when Kenneth Macpherson opined that “it is no good pretending one has any feeling of hope about it”. Ninety-seven years later, is the landscape still as dispiriting – and why did ‘we' never get our own New Wave – and why are we still stuck in the kitchen sink? Through cash, ‘character', class, and capital, there's a lot to unpick. Regardless, the boys do their best to keep the aspidistra flying. Who do they discuss? Who don't they! Anderson, Macpherson, Grierson, Hogg, Keillor, Reisz, Clark, Watkins, Jarman, Brook, Greenaway, Powell & Pressburger, Reed, Lean, Hitchcock, Loach, Leigh. The lot. 00:00:00:00 Intro 00:04:20:04 Early Silent British film 00:05:27:03 Talent leaving Britain for America 00:06:52:14 British documentaries and municipal filmmaking 00:09:09:17 The Studios of the interwar years 00:12:01:16 Powell and Pressburger 00:15:22:14 Class and politics in film 00:17:56:16 Free Cinema movement 00:24:30:13 Woodfall 00:28:15:05 The Third Man 00:30:37:10 60s-70s studio films/Merchant Ivory 00:31:54:13 60s counterculture 00:35:12:00 Folk horror 00:37:04:09 London Filmmakers Coop 00:48:04:15 Playwrights 00:55:27:00 The Paternalism of Social Realism 01:00:11:03 Pedro Costa as a counterpoint to social realism 01:04:16:13 Peter Watkins 01:09:47:05 Lindsay Anderson making an arse of himself 01:10:55:10 Peter Wollen's 1963 essay on the British New Wave 01:13:10:09 Kenneth MacPherson's 1927 article about British film 01:19:02:16 TV's influence in the 70s-80s 01:19:16:09 Alan Clarke 01:23:05:18 Sally Potter 01:30:10:24 Peter Brook 01:31:47:19 90s 01:32:34:21 British art film/essay films 01:37:09:20 00s and 10s 01:40:06:10 Joanna Hogg 01:43:08:18 Borderline (Kenneth Macpherson) 01:48:13:19 Peter Greenaway 01:55:09:09 Top 5 worst tendencies 01:57:31:14 Alternative Top 5 British films 01:59:59:23 Conclusion Listen on Spotify: https://open.spotify.com/show/6hdAjXtGPpeQTCcuJ3KNmH?si=Ud_f__90TOSa28tzYPA5GQ Listen on Apple: https://podcasts.apple.com/gb/podcast/muub-tube/id1515030490 Watch on Youtube: https://www.youtube.com/@returntoformpod

Director Joanna Hogg, member of the international jury of the 20th Marrakech IFF: 'I try not to watch too much. You're so porous as a filmmaker, I don't want to be influenced, which is why I prefer to read rather than watch.' The post Interview with Joanna Hogg, member of the international jury at the 20th Marrakech IFF appeared first on Fred Film Radio.

Lee welcomes Carly-Sophia Davies to talk about her unforgettable apperance in Joanna Hogg's The Eternal Daughter. Carly-Sophia talks us through her career so far, takes us behind the scenes on shooting in an old Welsh hotel during lockdown for The Eternal Daughter, working with Joanna Hogg, acting alongside Tilda Swinton who performed two different roles, and much more!This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/3206776/advertisement

British director Joanna Hogg's ‘The Eternal Daughter' stars Tilda Swinton as a mother and daughter pairing who book into a grand but chilly country house hotel for a birthday holiday. Robert Bound is joined in the studio by Clarisse Loughrey and Christina Newland to review the eerie new film, which swirls in a gothic fog. See omnystudio.com/listener for privacy information.

This week, Clarisse speaks to Jennifer Lee (08:33), the chief creative officer of Walt Disney Animation Studios, and a writer and executive producer on WISH, while we review the film (22:57). Meanwhile, destiny has brought us reviews of Ridley Scott's NAPOLEON (33:03) and Joanna Hogg's Gothic ghost story, THE ETERNAL DAUGHTER (59:41), while Amon speaks to George C. Wolfe and Colman Domingo about bringing the 1963 March on Washington to screen in RUSTIN (01:19:42).  Plus, in our HOT TAKE (01:40:31), we discuss Hollywood's latest wave of McCarthyism, after news Melissa Barrera has been dropped from Scream 7 for her posts about the ongoing genocide in Palestine.  If you would like to donate towards humanitarian aid in Gaza please visit https://www.map.org.uk/ https://www.unicef.org/emergencies/children-gaza-desperate-need-lifesaving-support  If you'd like to join the conversation or suggest a Hot Take for the gang to discuss tweet us at @FadeToBlackPod Follow us: @amonwarmann, @clarisselou, @hannaflint If you like the show do subscribe, leave a review and rate us too!

In her acclaimed films Joanna Hogg blurs the lines between her art and her life. As she releases her first ghost story film, The Eternal Daughter - an exploration of a mother and daughter relationship with Tilda Swinton playing both roles, she talks to Antonia Quirke about the craft involved in making art inspired by her life. Satellite imagery might make maps today more accurate, but we haven't stopped wanting to see creative, imaginative maps that are also about story telling, from illustrations in books to mapping out fantasy worlds. Antonia meets two contemporary map makers: Jamie Whyte who creates illustrative maps and Luke Casper Pearson who maps the virtual worlds in computer games. Artist Ghislaine Leung who's been shortlisted for this year's Turner Prize uses a “score” – similar to musical scores – to create a relationship with those who help to construct her work in galleries. Re-using discarded objects and highlighting her conflicting demands as both artist and mother are central to her work. Her work can be seen at the Towner Eastbourne, and the winner of the prize will be announced in December.

Endlessly fascinating, dark and bright, The Red Shoes (1948) employs every branch of the cinematic arts to sweep the audience off its feet, invigorated by the transcendence of art itself, only to leave them with troubling questions. Representing the climax of Michael Powell and Emeric Pressburger's celebrated run of six exceptional feature films, the film remains a beloved, if unsettling and often divisive, classic.Pamela Hutchinson's study of the film examines its breathtaking use of Technicolor, music, choreography, editing and art direction at the zenith of Powell and Pressburger's capacity for 'composed cinema'. Through a close reading of key scenes, particularly the film's famous extended ballet sequence, she considers the unconventional use of ballet as uncanny spectacle and the feminist implications of the central story of female sacrifice.Hutchinson goes on to consider the film's lasting and wide-reaching influence, tracing its impact on the film musical genre and horror cinema, with filmmakers such as Joanna Hogg, Sally Potter, Martin Scorsese and Brian De Palma having cited the film as an inspiration.Support this show http://supporter.acast.com/writers-on-film. Hosted on Acast. See acast.com/privacy for more information.

Jen and Sarah continue A24 August by reviewing ‘The Souvenir.' They discuss how the cinematography, score, characters, and more are woven together in this rich and complex story based on writer and director Joanna Hogg's real-life experiences. Spoilers (~19:09) Remember to leave and rating and review of this episode. Connect with Movies & Us on Instagram and Twitter @moviesanduspod or by email at moviesanduspod@gmail.com. 

durée : 00:39:40 - Affaires culturelles - La comédienne aux mille visages jouait encore une fois deux rôles dans le film de Joanna Hogg, “Eternal Daughter”, sorti en mars 2022. Ce fut l'occasion pour nous d'interroger la singularité de cette artiste, aussi à l'aise dans les blockbusters que dans les films d'auteurs les plus pointus.

With another ten episodes in the bag, it's time for the Pauls to do whatever they dang well want! A totally free pick of what movie to watch, and they've chosen Joanna Hogg's 2010 disappointing holiday movie, Archipelago! That's the kind of thing they like, you see. That's why they struggle with things like The Nan Movie.  Featuring: Us, and we're so terribly sorry about that. Sorry. Thank you.  More Pauls! https://facebook.com/ogtpod https://twitter.com/ogtpod We have a Patreon! https://www.patreon.com/ogtpod – sign up for exclusive content for as little as $1 a month. Listen to Salt's show Jen and the Film Critic with OGT guest and deep friend Jen Blundell here! Like d&d? Want more Pauls? Into nerd shit AND jokes about bums? Why not check out our d&d actual play podcast, Quest Fantastic?  https://shows.acast.com/quest-fantastic link.chtbl.com/questfantastic RSS: https://feeds.acast.com/public/shows/61d8e6b335501c0012b6c367 Goodman's EP 'Future Music' is out now! Find out where you can stream and purchase here: Future Music by Run//Phase (songwhip.com)

With its outrageous audience, pioneering programme, all night film marathons and a particularly vicious house cat, The Scala cinema in London's King's Cross blazed a flamboyant trail across the repertory cinema scene of the 70s, 80s and 90s. As Jane Giles recounts in her book on The Scala, director John Waters describes it as “a country club for criminals and lunatics and people that were high... which is a good way to see movies..." Among that membership were the burgeoning creative filmmakers of the 21st century - Christopher Nolan, Peter Strickland, Joanna Hogg and Ben Wheatley to name a few. Ellen E Jones separates truth from legend with the man who started it all - film producer and director Stephen Woolley. They discuss the infamous screenings, the intersection of music, politics and film, and the ‘collective of lost souls' who came together over a shared love of film. Mark Kermode discusses the age of cinema before video and streaming with film writer and curator Anne Bilson. They remember trekking across London by bus to hunt down one-off screenings, and staying up all night for kung fu specials. Mark then talks to film programmer Andrew Woodyatt about invoking the spirit of The Scala for today's audiences at his weekly Queer Cinema club, the Pink Palace at the Rio Cinema. And in this week's Viewing Note, filmmaker Carol Morley remembers a Scala moment which has haunted her dreams ever since. Producer: Freya Hellier A Prospect Street production for BBC Radio 4

Esta semana coinciden en la cartelera dos películas que parecen de otro tiempo, de esas que ya no se hacen. Walter Will regresa al western a sus 80 con ‘El cazador de recompensas' y Neil Jordan rescata al detective Marlowe con Liam Neeson y Jessica Lange en un noir ambientado en Los Ángeles de los años 30. Hay también mucha comedia, una con Diane Keaton y Jane Fonda de amigas por Italia, y otra con Céline Dion de celestina. El cine de autor nos trae ‘La hija eterna', el último trabajo de la británica Joanna Hogg, y en plataformas os recomendamos el documental sobre la vida, carrera y enfermedad de Michael J. Fox. En televisión, nos preparamos para el estreno de ‘La Unidad: Kabul' con las actrices Nathalie Poza y Marian Álvarez.

Lee is joined once again by Jack W. Gregory also returned in Joanna Hogg's 'The Souvenir, Part II' as Ray.Jack had also acted as a consultant sharing his experience of addiction to help inform the authenticity of the story and performances in the first film. Jack shares his journey from drug addiction to becoming an actor, director and journalist and his experiences working on the acclaimed The Souvenir series.

This is about conversation and audience. Media platforms (RIP Buzzfeed and Twitter) as well as safe spaces to create story and work out individual truths. It's also about banned books, how it feels to have banned books. Plus, how AI storytelling technologies are not it. Plus, the director Joanna Hogg and the feeling of unwritten dialogue.

Mark Kermode and Ellen E Jones take the scenic route through slow cinema - a genre of film that might challenge your attention span, but is almost guaranteed to change the way you watch. There is one particular film that's inspired this week's show, Chantal Akerman's 3-and-a-half hour, slow moving masterpiece from 1975 - Jeanne Dielman, 23 quai du Commerce, 1080, Brussels In December 2022, Jeanne Dielman topped Sight and Sound magazine's Greatest Film of All Time poll. That caused quite a fuss because, for the last few decades, the poll has been dominated by Citizen Kane and Vertigo. Ellen speaks with critic Wendy Ide and film academic Dr Tiago de Luca to get deeper into the genre of slow cinema and explore this sea change in critics' tastes. One reason for Jeanne Dielman's new found popularity is down to access. A film that was once almost impossible to see is now enjoying sell out runs in art house cinemas. In an extended interview, Mark talks with writer and filmmaker Adam Roberts who, along with director Joanna Hogg, has long been at the centre of the quest to take Chantal Akerman's filmography from the underground into the spotlight. They discuss Akerman's life, work and her unique creative vision. And in this week's Viewing Note, friend of the show and director of the Cornish folk horror Enys Men, Mark Jenkin, shares his slow cinema recommendations. Producer: Freya Hellier A Prospect Street production for BBC Radio 4

durée : 00:47:00 - Certains l'aiment Fip - Immersion complète dans les BO de la société new-yorkaise indépendante et déjà culte, tout juste auréolée de neuf oscars, productrice de Claire Denis, Joanna Hogg, Sofia Coppola, James Franco ect.

The “Souvenir” films follow a character named Julie, a filmmaker who grew up in Norfolk as the only child in a posh, uppercrust family with parents played by Tilda Swinton and James Spencer Ashworth. The character is loosely autobiographical, which is something Joanna Hogg has discussed in several interviews. All of the old, Super 8 footage featured in the films comes from Hogg's own time in film school and Julie's Knightsbridge flat In the first two films of the trilogy is a recreation of Hogg's own flat at that time (among several other parallels). Julie, played by Honor Swinton Byrne, lives in London and attends film school. The first film centers around Julie's relationship with Anthony (Tom Burke), a guy she meets at a party and grows increasingly attached to despite many glaring red flags. At the end of the film, he dies of a heroin overdose. In “The Souvenir Part II,” Julie starts processing her grief through a new, feature-length film about her relationship with Anthony. While the first film is more about her relationship and how it affects her artistic ambitions, the second film is centered around those artistic ambitions and how she melds them with her personal life for both self understanding and a form of therapy. The third film, “The Eternal Daughter,” shows Julie, now much older and played by Tilda Swinton, on vacation with her mother, Rosalind (also played by Swinton), at a hotel that was once her family home. Other shit you should check out: Seventh Row's book on Joanna Hogg BFI interview with Joanna Hogg on her visual references for "The Souvenir" Washington Post Live's interview with Tilda Swinton on "The Eternal Daughter" TIFF Q&A with Joanna Hogg and Tilda Swinton on "The Eternal Daughter" Roger Ebert interview with Tilda Swinton and Joanna Hogg on "The Eternal Daughter" Film Comment piece on "The Souvenir" Sadly, Joanna Hogg's mom has passed. Hogg makes a reference to her being alive in the 2022 Roger Ebert interview, but I think she's talking about in 2015, not present day. This LA Times piece says she died during editing of "The Eternal Daughter."

Oel ngati kameie listeners! (That means I see you

"Did you resist the temptation to be obvious?"Today on the show, it's all about Joanna Hogg. Filmmaker Linh Tran is here to tell us why Hogg is one of her favorite directors, as we look at her latest film THE ETERNAL DAUGHTER. I also took the opportunity to finally watch THE SOUVENIR and THE SOUVENIR: PART II, so we talk a bit about those as well.Linh Tran is the director of the new film WAITING ON THE LIGHT TO CHANGE, which is playing Slamdance next week!To watch the film at home, check out the Slamdance Virtual Festival (January 23-29) streaming on the Slamdance Channel. Details here: https://slamdance.com/passes/To get tickets for an in-person screening in Park City, UT Jan 22 and Jan 24, click here: https://slamdance2023.eventive.org/films/638a7c5fdb790900373ed52fFollow Linh Tran and her work online at her website, www.mlinhltran.comConnect with Arthouse Garage Support us on Patreon Arthouse Garage shop Instagram Facebook Twitter Letterboxd Email us at Andrew@ArthouseGarage.com Subscribe to the email newsletter: arthousegarage.com/subscribe Try Opopop popcorn! Get 10% off your first order Theme music by Apauling Productions

This week on the Film at Lincoln Center podcast, we're featuring a special conversation between The Eternal Daughter director Joanna Hogg and filmmaker Martin Scorsese. The two talked about discovering each other's filmography, Hogg's lifelong friendship with Tilda Swinton, and the process of creating art out of grief.  The Eternal Daughter follows a middle-aged filmmaker and her elderly mother who take an eerie, emotional trip to the past when they stay at a fog-enshrouded hotel in the English countryside. The great Joanna Hogg uses this Victorian gothic scenario for an entirely surprising, impeccably crafted excavation of a parent-child relationship starring Tilda Swinton in a performance of rich, endless surprise. The NYFF60 selection plays  daily in our theaters. Get tickets at filmlinc.org/eternal.

Ellen E Jones and Mark Kermode revisit Titanic in its 25th anniversary year, looking at James Cameron's epic blockbuster as both a disaster film and a story of immigration. Ellen explores the forgotten tales of immigration onboard the Titanic, talking to journalist Ray Hanania about the Syrian refugee stories only hinted at in the 1997 film. She also speaks to Sally El-Hosaini, director of new Netflix film The Swimmers. They discuss how immigration is depicted on screen and how Sally wanted to portray immigration in her own work. Inspired by the grand spectacle and ground breaking special effects of Titanic, Mark talks about disaster films with theme park ride designer Peter Alexander and legendary sound designer Randy Thom from Skywalker Sound. They discuss the 1974 film Earthquake, the theme park ride it inspired and the innovative Sensurround sound system created for the movie. This week's Viewing Note is courtesy of Joanna Hogg, director of The Souvenir and the new A24 film, The Eternal Daughter, and disaster movie fan. Producer: Freya Hellier A Prospect Street production for BBC Radio 4

We only have four episodes left this year, counting this one: It's almost Dorkfest! We open with the big Santa-as-John-Wick action-comedy "Violent Night." Then we dig into Joanna Hogg's "The Eternal Daughter" and Charlotte Wells' "Aftersun." And this podcast brings us a first-ever grade milestone. Timestamps: 10:16 "Violent Night" 39:27 "The Eternal Daughter" 1:11:13 "Aftersun" Thanks to Dylan Mayer and My Friend Mary, both of which are wonderful, for the music. We hope you enjoy. Let us know what you think @griersonleitch on Twitter, or griersonleitch@gmail.com. As always, give us a review on iTunes with the name of a movie you'd like us to review, and we'll discuss it on a later podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

"The Eternal Daughter" had its world premiere at the Venice International Film Festival and later played at the Toronto International Film Festival and New York Film Festival (where this interview took place). Director Joanna Hogg and the film's star, Tilda Swinton (who is playing a dual role as both mother and daughter characters), were kind enough to spend some time talking with me about their unique working relationship, friendship, and what went into the aesthetic and emotionally into crafting their latest project coming off of the "The Souvenir" films. Please take a listen and enjoy. Thank you!   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 programmers preview of our Yoshimitsu Morita retrospective and a conversation from the 60th New York Film Festival between filmmakers Joanna Hogg & Kelly Reichardt.  First up, listen to programmers Dan Sullivan and Aiko Masubuchi dive into the career and films of Yoshimitsu Morita, one of the most fascinatingly idiosyncratic and prolific directors in modern Japanese cinema. Our Yoshimitsu Morita retrospective takes place through December 11 with special introductions during opening weekend. Get tickets and All-Access Passes at filmlinc.org/morita.  After the preview, we're revisiting an NYFF60 conversation with The Eternal Daughter director Joanna Hogg and Showing Up director Kelly Reichardt. Two of the leading auteurs of contemporary cinema, Joanna Hogg and Kelly Reichardt have built acclaimed bodies of work that stand out for their epic existential scope and intimate emotional textures. With The Eternal Daughter and Showing Up, respectively, Hogg and Reichardt take their filmmaking into new territories, exploring the poetic and prosaic imbrications of life and art, particularly in the personal and professional worlds of female artists.  We were pleased to bring Hogg and Reichardt together for a conversation about their singular career trajectories, their distinctive approaches to writing and directing, and the process of translating personal experience into universally resonant stories of women on the verge of creative transcendence. NYFF60 Talks were presented by HBO. Joanna Hogg's The Eternal Daughter is now playing in our theaters. Get tickets at filmlinc.org/eternal

Sebastián Lelio directs Florence Pugh, Tom Burke, and a beatific kiddo (Kila Lord Cassidy) in the new Netflix film, The Wonder.Then, we have Hall of Excellence results, a movie quiz about framing devices, and a Christmas Movie Minute.What's GoodAlonso - VHSDrea - Ravensburger puzzles within puzzlesLeah - Wordle, kindaIfy - St Louis trip and package seasonITIDICMarcel the Shell With Shoes On and Apollo 10 ½ will be considered for animation Oscar categoryScoob!: Holiday Haunt Has Wrapped Production…Despite Being Canceled The Red Carpet at the Milan Premiere of ‘Bones and All' Was Shut DownStaff PicksDrea - Something in the DirtAlonso - Take This WaltzLeah - Holy Spider (and All the Beauty and the Bloodshed)Ify - Only God Forgives***With:Ify NwadiweDrea ClarkAlonso DuraldeLeah GreenblattProduced by Marissa FlaxbartSr. Producer Laura Swisher

This is an excerpt of a members only episode. To listen to the full episode, become a member at http://seventh-row.com/join Editor-in-Chief Alex Heeney and Executive Editor Orla Smith discuss the highlights of the fall film festival circuit, the new and troubling dominance of Netflix (and other streamers') films, and exciting (or not-so-exciting) first features. We discuss favourites like The Eternal Daughter, Saint Omer, Other People's Children — many of which will get a full-length episode of their own in the coming months. We also discuss some of the biggest disappointments. Orla shares her experience at the London Film Festival. Alex shares her experience attending the Toronto International Film Festival. Follow Seventh Row on Twitter and Instagram @SeventhRow. Follow Alex Heeney @bwestcineaste and Orla Smith @orlamango on Twitter.  On this episode excerpt: 00:00-5:24 - Intro to the episode and the festivals we've covered 5:24-18:55 Rebecca Zlotowski's Other People's Children and a new film grammar for women as multitaskers in Other People's Children, Mia Hansen-Løve's One Fine Morning, and Joanna Hogg's The Eternal Daughter  FREE EXCERPT ENDS HERE Become a member to listen to the rest o the discussion, which includes: 18:55-20:55 How many films we saw, and some of the downsides 20:55-25:45 Orla's favourites including Laura Poitras's All the Beauty and the Bloodshed, Lucien Castaing-Taylor and  Verena Paravel's De Humani Corporis Fabrica, Jamie Dack's Palm Trees and Power Lines 25:45-31:14 Alex favourites including Alice Winocour's Paris Memories and Darlene Naponse's Stellar 31:14-50:34 The dominance of Netflix and streamers, Matthew Warchus's Matilda, Causeway 50:34-56:50 The festival circuit: great festival films from earlier this year that disappeared (My Small Land, Lullaby, 32 Sounds), screened only at local festivals (Nelly and Nadine, Framing Agnes) and films that keep coming back. We also discuss the London Film Festival's problematic approach to programming and why we love the Berlinale's programming. 56:50-1:00:24 The lack of live cinema experiences at festivals (like 32 Sounds) in a year when we are being forced to return to cinemas for festivals. 1:00:24-1:05:50 Directors' first features, Charlotte Wells's Aftersun, the rise of Paul Mescal, Georgia Oakley's Blue Jean 1:05:50-1:16:15 Depressing trends in British cinema and the British film industry and how that relates to the country's funding practices. We also draw comparisons to the Canadian film industry. Why is it so hard to get a second feature made? And why do first features have to conform so much to industry standards? We discuss Francis Lee's films, Hope Dickson Leach's film, and several Canadian filmmakers. 1:16:15-1:25:29 Thinking about National Cinema at film festivals, especially Canadian cinema and British cinema 1:25:29-1:31:36 Plan 75, Palm Trees and Power Lines, and other great under-seen first features that keep screening everywhere 1:31:36 Sign offs and related episodes Related episodes Women at Cannes Season: Listen to our five-episode 2022 season on the history of Women directors at the Cannes Film Festival. We highlight some of the best films by women and women filmmakers to screen at the festival. We also discuss the festival's ongoing poor track record of programming films directed by women. Ep. 125: Berlinale 2022: On this omnibus episode, we discuss the highlights of the Berlin Film Festival screening in the festival's under-discussed and under-appreciated (but excellently programmed) sidebars. Ep. 109: TIFF 2021 Part 1: In last year's counterpart to this episode, we discussed the highlights of the 2021 Toronto International Film Festival (TIFF), including Terence Davies's Benediction and Joachim Trier's The Worst Person in the World Ep. 111: TIFF 2021 Part 2: Continuing our discussion on the fall film festivals in 2021, with a focus on TIFF, we discussed Power of the Dog, Ali & Ava, and more highlights from TIFF. Ep. 49: Split screen storytelling in Lungs and Conversations with Other Women: Listen to our episode on Matilda director Matthew Warchus's fantastic live-recorded theatre production of Lungs, (Members only) Ep 60: Old Vic In Camera Productions: Three Kings and Faith Healer: Listen to our podcast on Matthew Warchus's two follow-up live-broadcasted productions of Three Kings and Faith Healer (Members only) Show Notes Read all of our TIFF 2022 coverage Read all of our film festival coverage from this fall here Read Alex Heeney's review of Matilda: The Musical on stage Read Alex Heeney's review of Stellar Read Alex Heeney's review of Eo Read our review of Matilda director Matthew Warchus's Pride Read Alex Heeney's review of Palm Trees and Power Lines Read Alex Heeney's interview with Sam Green on his live documentary 32 Sounds Read Alex Heeney on Canadian immigration stories at TIFF 2022.

The 60th New York Film Festival closed up shop last weekend, which meant that it was time once again for Film Comment's annual Festival Report, our live summation and overview of the festival that was. FC co-deputy editors Devika Girish and Clinton Krute convened an all-star team of critics—featuring Phoebe Chen, Molly Haskell, and Kelli Weston—for a spirited wrap-up discussion about the highlights and lowlights from the NYFF60 lineup. In front of a lively audience, the panel discussed Todd Field's controversial TÁR, Alice Diop's consensus favorite Saint Omer, Paul Schrader's less well-regarded Master Gardener, Joanna Hogg's masterful mirror-game The Eternal Daughter, and many more selections from the recently wrapped festival.

Once again we've arrived at that special time of year known as festival season. Today we kick off our coverage of one of the fall's major film events, the Toronto International Film Festival. Throughout this year's festival, we'll be on the ground, covering all the highlights (and lowlights) from this year's lineup, alongside our rotating crew of critics and special guests. First up, Film Comment Co-Deputy Editor Devika Girish welcomes critics and programmers Jordan Cronk, Inney Prakash, and Bedatri Choudhury to discuss Jafar Panahi's No Bears, Daniel Goldhaber's How to Blow Up a Pipeline, Joanna Hogg's The Eternal Daughter, the experimental Wavelengths shorts program, and more. Stay tuned for more from the Tim Horton–studded mean streets of Toronto!

This week, we have a special bonus episode courtesy of our Latin American podcast MUBI Podcast: Encuentros. To celebrate the exclusive release of MEMORIA on MUBI in many countries, we're excited to share this discussion between Tilda Swinton and Apichatpong Weerasethakul.Swinton and Weerasethakul reunited in Colombia for MEMORIA's release and talked about the importance of understanding that you're not in control and how cinema is an attempt to put what's inside one's head on screen, something they achieved through sound.This conversation touches on the creative process of two of film's greatest names while working together on the film, which was an intimate collaboration founded on their long friendship.For the world-renowned Thai artist and film director Apichatpong Weerasethakul, the topics of dreams and death are essential to his filmography. His style raises big questions about time and our relationship with the spiritual world. Winner of the Cannes Palme d'Or in 2012 for UNCLE BOONMEE WHO CAN RECALL HIS PAST LIVES, Weerasethakul returned to the main competition years later with MEMORIA, his first film shot outside of Thailand, which received the Jury Prize (ex-aequo).The Scottish artist, actress, and producer Tilda Swinton began her career performing and collaborating with experimental filmmaker Derek Jarman. She has worked with directors such as Jim Jarmusch, Wes Anderson, Luca Guadagnino, the Coen brothers, and Joanna Hogg. Her performances have been characterized by the subtlety of her gestures and her magnetic presence. In 2007, she won the Academy Award for Best Performance by an Actress in a Supporting Role for the movie MICHAEL CLAYTON. She has combined her acting in major Hollywood productions with a wide range of characters created by contemporary filmmakers such as Bong Joon-ho, Pedro Almodóvar, Lynne Ramsay, and more recently, Apichatpong Weerasethakul.This special release is in English, but if you are a Spanish-speaker, we encourage you to subscribe to MUBI Podcast: Encuentros on your favorite podcast app. The show is produced in partnership with La Corriente del Golfo. Listen here: lacorrientedelgolfo.net/podcast/encuentrosMEMORIA releases exclusively on MUBI this Friday, August 5 in Latin America, India, Turkey, Italy, Germany, and many other countries. Watch the film here: mubi.com/films/memoria-2021MUBI is a global streaming service, production company and film distributor. A place to discover and watch beautiful, interesting, incredible films. A new hand-picked film arrives on MUBI, every single day. Cinema from across the world. From iconic directors, to emerging auteurs. All carefully chosen by MUBI's curators.

It's Casual Friday! Sam and Emma host Ari Rabin-Havt, former deputy campaign manager for Sen. Bernie Sanders (I-Vt), to discuss his recent book The Fighting Soul: On the Road with Bernie Sanders. Then, Sam and Emma are joined by Matthew Film Guy! Ari, Emma, and Sam first dive into what his roles were traveling with Bernie throughout the 2020 campaign, particularly in the wake of Ari's arrival on the team in the wake of his 2016 run. Ari Rabin-Havt then explores what it's like to have that intimate perspective, particularly when it comes to Bernie's atypical relationship to his popularity, which jumped to unprecedented levels in 2016, and in his reflections on bringing the magic from his previous campaign into 2020. After touching further on Bernie's evolution between the two elections, Ari reflects on the role of Democratic leadership in completely leaving Bernie out to dry when it came to his fight with Jeff Bezos in 2018 and giving him the inside lane there, and discusses how the relationship between Bernie and Elizabeth Warren developed over the course of the second campaign, from the launch of their campaigns, to Bernie's heart attack, and all the way through the well-documented clash on the Iowa debate stage. Sam, Emma, and Ari briefly touch on any massive changes to the campaign that would've been made in reflection two years later, from the first debate to Super Tuesday, before they wrap up the interview by discussing the central importance of a movement of workers to actually carry and support the progressive agenda, the importance of supporting actual organizers, and what possibilities remain around a third Bernie presidential campaign. Then, Matthew Film Guy (AKA Film Guy Matthew) discloses his BTS drama in his most recent movie, and walks through THREE movie recommendations, including Apichatpong Weerasethakul's “Syndromes and a Century,” Joanna Hogg's romance in the time of Thatcher “The Souvenir,” and Luchino Visconti's work “Rocco and his Brothers.” Sam gives Matthew his Disney World tips, and Sam and Emma cover re-juiced military aid to Ukraine, Biden's tiptoe tapdance with student debt relief, and the absurdity of means-testing. And in the Fun Half: Sam and Emma do their darndest to decipher Elon Musk's take on twitter's “left-wing bias” (not liking anti-semitism?) and Sam dives into the incompatibility between the right-wing (driven by a sense of grievance, desire to own the libs) and an exclusively right-wing social media (nobody to claim is attacking them, nobody to then own). OK State Sen. Warren Hamilton objects to women receiving life-saving medical procedures, Tucker Carlson and Glenn Greenwald discuss Russia's (really the Democrats') invasion of Ukraine, and why Putin (really the Democrats) did this, plus, your IMs! Check out Ari's book here: https://wwnorton.com/books/9781631498794 Purchase tickets for the live show in Boston on May 15th HERE:   https://majorityreportradio.com/live-show-schedule Become a member at JoinTheMajorityReport.com: https://fans.fm/majority/join Subscribe to the AMQuickie newsletter here:  https://madmimi.com/signups/170390/join Join the Majority Report Discord! http://majoritydiscord.com/ Get all your MR merch at our store: https://shop.majorityreportradio.com/ Check out today's sponsors: sunsetlakecbd is a majority employee owned farm in Vermont, producing 100% pesticide free CBD products. Great company, great product and fans of the show! Use code Leftisbest and get 20% off at http://www.sunsetlakecbd.com. And now Sunset Lake CBD has donated $2500 to the Nurses strike fund, and we encourage MR listeners to help if they can. Here's a link to where folks can donate: https://forms.massnurses.org/we-stand-with-st-vincents-nurses/ Aura: Protect yourself from America's fastest-growing crime. Try Aura for 14 days for free: https://aura.com/majority Shopify: Scaling your business is a journey of endless possibility. Shopify is here to help, with tools and resources that make it easy for any business to succeed from down the street to around the globe. Shopify powers over 1.7 million businesses - from first-sale to full-scale. Shopify gives entrepreneurs the resources once reserved for big business - so upstarts, start-ups, and established businesses alike can sell everywhere, synchronize online and in-person sales, and effortlessly stay informed. 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