Podcast appearances and mentions of Josephine Decker

As an actor and filmmaker, Onur Tukel challenges the audience to delve into the frightening parts of who they are by, at times, leading them to live vicariously through his protagonists' colorful experiences. From exploring the joy of mortality in Drawing Blood, to the perils of masculinity in 2001's Ding-a-ling-Less, to a platonic theme of friendship amidst a romantic undertone in Richard's Wedding, the loss of one's identity among the backdrop of a physical manifestation of revenge in Catfight, and apathy transforming into adventure after an encounter with a vampire in Summer of Blood, which also features friend and contemporary Alex Karpovsky, Onur's films are like shining a mirror towards the more intimate and carnal senses. We learn about the power of perspective and its impact on perception in The Misogynists, which features Dylan Baker; psychotic longing for the one that got away in That Cold Dead Look in Your Eyes, which is shot near-exclusively in French; and the connectedness of spirituality during the Pandemic in Scenes from an Empty Church, which stars Kevin Corrigan. His latest projects include the novel Run Werewolf Run, which he authored and illustrated, and will be released in 2025 by Pitchstone Publishing (ironically based in Durham, NC); and a puppet film he directed about a marionette performer which wrapped in 2024. In our conversation, we discussed his collaborations with several actors, including Anne Heche, Sandra Oh, Ariel Kavoussi and Josephine Decker; growing up in North Carolina; the unveiling of psychotherapy's purpose in a cinematic endeavor; and the filmmakers who affected and inspired the origins of cinema in his eyes.Opening Credits: Anitek - Strange Sensations I CC BY-NC-SA 3.0 US; Jangwa - Slow Me Down I CC BY 4.0. Closing Credits: Beat Mekanik - Old Souls I CC BY 4.0.

President-elect Trump has suggested bypassing the Senate’s constitutional role providing “Advice and Consent” — to quickly install his Cabinet secretaries.  Post-election claims of voter fraud, amplified by Republican leaders, continue on the right. Some on the left are also making claims online. The number 47 is sacrosanct for Pomona alumni, who revere it as part of campus tradition. But what are the political implications of wearing 47 during Trump’s second presidency? A new documentary explores the life and work of Rudolph Schindler, a Frank Lloyd Wright protege who cemented California as a global hub for modern architecture.  Grammy winner Arooj Aftab teamed up with filmmaker Josephine Decker to create “Rise, Again,” which follows women and their children living on the fringes of LA after being evicted.

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! paypal.me/LibroTobias Shirley Jackson, nació en San Francisco en diciembre de 1916 y murió con tan sólo 48 años en agosto de 1965. Fue una sobresaliente cuentista y novelista estadounidense especializada en el género de terror. Es sabido por muchos que su obra motivó las carreras literarias de genios como Stephen King o Richard Matheson, sin ir más lejos. Durante su vida su talento y su obra pasaron bastante desapercibidas. En los últimos años, gracias a la serie televisiva «La maldición de Hill House», su obra ha recibido una creciente atención por parte de la crítica y creadores audiovisuales. Esa novela en concreto, «La maldición de Hill House», escrita en 1959 es la que la catapultó definitivamente a la fama. Recientemente se ha estrenado una película, un biopic sobre su vida, que está disponible en Amazon Prime Video y que lleva por título «Shirley». Dirigida por Josephine Decker y con la gran Elisabeth Moss, la protagonista de «El cuento de la criada», haciendo el papel de nuestra autora de hoy. Siempre se la consideró una escritora de terror, aunque el suyo es un terror mucho más psicológico y cotidiano. El monstruo de sus historias, en la mayoría de casos, es el propio ser humano. Y eso es lo que convierte su obra en mucho más terrorífica. Canciones: • “What Went We” de Mark Korven • “Witch's Coven” de Mark Korven Narración, edición y montaje: Asier Menéndez Marín Diseño logo Podcast: albacanodesigns (Alba Cano) Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

This week's guest is Laura Zempel, an award-winning editor for film & TV based in Los Angeles.  I invited to Laura to the podcast after binge-watching the series Beef on Netflix earlier this year and being really impressed with everything about that show, but particularly the editing and how it balances the modulating tone and storylines so deftly.  Laura was nominated for an Emmy for her work on that show, and not for the first time, she previously won for Outstanding Single-Camera Picture Editing for a Drama Series in Euphoria.  She also worked on Josephine Decker's film The Sky is Everywhere and the Duplass brothers' show Room 104.  Most recently she edited two episodes of the new Apple TV+ series Lessons in Chemistry, starring Brie Larson. The first three episodes are available to watch as of today.  We talk about how she developed an interest in editing, her experience of internships and assisting, including etiquette and how to read a room, being obsessive with music and making playlists for her projects, editing an actors' performance, staying emotionally engaged with the work, Avid being her first language and trusting the process.   SHOW NOTES American Cinema Editors internship programme  Read this great interview with Laura over on The Edit Girls website Watch Lessons in Chemistry on Apple TV+ Watch The Sky is Everywhere on Apple TV+ Watch BEEF on Netflix Find out where to watch Euphoria Watch Laura's film recommendation ‘Fresh' by Mimi Cave. Listen to my Best Girl Grip interviews with editors Louise Ford and Maya Maffioli. 

We start our mini series with THE RED SHOES (1948) and SUSPIRIA (2018) as Emma Lister, long time film lover, podcast host and ballet dancer guides us down the dark hallway that is the use of ballet in horror movies.Guests Zoe Ashe-Browne and Diarmaid O'Meara join to give their insights as professional dancers and amateur cineasts on perhaps the foundational ballet horror film: Michael Powell and Emeric Pressburger's The Red Shoes. They marvel at Moira Shearer's technique, discuss the feasibility of the film's stage calls and ponder the selective marathon that is the path to a professional dance career.Fast forward 70 years and dance and horror has gone expressionist. Luca Guadagnino's Suspiria remake (don't worry we're cover the first one later!) is a bat-sh*t crazy mash up of choreographers Mary Wigman, Pina Bausch and Martha Graham's work, with some highly meme-able red string costumes to boot. Overflowing with ideas the film opens a discussion on the ultimate chosen one in The Rite of Spring and instances when the dancer/choreographer relationship can turn vampiric.Bonus reel: Josephine Decker's MADELINE'S MADELINE (2018)

Rancho (2021) Dirección y Guión: Pedro Speroni Telma, el cine y el soldado (2019). Dirección: Brenda Taubin, Shirley (2020). Dirección: Josephine Decker. Jurassic World dominio (2022). Dirección: Colin Trevorrow.

It's time for a Brenna pick as we tackle Jandy Nelson's 2010 story of sibling grief, as well as Josephine Decker's 2022 adaptation. It's a bit magical, a bit too busy and filled with extremely messy characters who are grieving.The film is visually exciting, but sometimes feels at odds with its emotional resonance (and features no chemistry between either love pair). Overall: Brenna teared up and Joe found it too long.Reference: "Josephine Decker Talks ‘The Sky Is Everywhere,' Visualizing Emotions & More [Interview]" The Playlist.Wanna connect with the show? Follow us on Twitter @HKHSPod or use the hashtag #HKHSPod:> Brenna: @brennacgray> Joe: @bstolemyremoteHave something longer to say or a comment about banned book club? Email us at hkhspod@gmail.com or tweet us your responses before the following deadlines:> July 21: Cousins by Virginia Hamilton> Aug 18: The Absolutely True Diary of a Part-Time Indian by Sherman Alexie See acast.com/privacy for privacy and opt-out information.

Today we're talking with all three editors of the amazing HBO series, Euphoria. Julio C. Perez, ACE, is a co-producer and supervising editor on Euphoria, and has been nominated for ACE Eddies for the last three years, including one for the pilot of Euphoria—and was nominated for an Independent Spirit Award for editing the feature film It Follows. He also edited Under the Silver Lake, which premiered at the 2018 Cannes Film Festival, and Malcolm and Marie with director Sam Levinson. Aaron I. Butler, ACE, is an Emmy-winning and two-time ACE Eddie-nominated editor. He's edited Kanye's Jesus Is King and the feature JT Leroy. He also cut the Emmy-nominated documentaries Cry for Syria and American Winter. Laura Zempel has edited HBO's Room 104 as well as AMC's Dispatches from Elsewhere. She recently cut Josephine Decker's latest feature The Sky is Everywhere for Apple and A24. The editing on Euphoria is unique and there's a lot to discuss. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Click here to read this interview along with extra content at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

I lied and said that last week was the last episode for a while and then I got a very exciting email about interviewing this week's guest and here we are. That is guest is New York based cinematographer Ashley Connor, someone whose work I have been a big fan of for quite some time. She has lensed some of my favourite independent films, including Tramps, First Match and The Miseducation of Cameron Post, and is a regular collaborator with Josephine Decker, having shot Butter on the Latch, Thou Wast Mild and Lovely and Madeline's Madeline.  Ashley has also shot music videos for Angel Olsen, Beach House and MGMT, plus worked on TV shows like Broad City, Ramy and High Maintenance, so I think it's safe to say that Ashley is probably the coolest DP working today, and certainly someone whose work I am just always in awe of. She came on the podcast to talk about her career thus far, but also shooting a new movie called True Things, directed by Harry Wootliff, who was on the podcast many, many episodes ago talking about her directorial debut Only You. True Things is her second feature and stars Ruth Wilson as a dissatisfied woman who gets into a passionate and slightly toxic relationship with Tom Burke and must sort of find her way back to herself. I think it's a fearless and visceral and feverish piece of cinema about female sexuality and desire, and I think Harry is fast becoming one of our most exciting filmmakers in the UK and I think Ashley's cinematography - which has always been very muscular and balletic and dynamic - is a perfect match for depicting this tempestuous relationship. We also talk about how Ashley got her start in indie films, as well as the work she did to support herself, how she has developed this movement and emotion-based cinematography practice, shooting sex scenes and finding a new language for the depiction of women's pleasure, working with and responding to actors, and why cinematography is often like being another actor in the room, working with Lena Dunham on her latest film, Sharp Stick, as well as power structures on film sets and how Ashley prioritises radical vulnerability to change that dynamic. It was a really special conversation. I think Ashley is a very talented artist and filmmaker and proved also to be a very genuine and compassionate person and just someone I think we're very lucky to have making movies and putting women's feelings and desires at the forefront of cinema.  True Things is out in UK cinemas now. If you go to www.truethings.film you can find showings near you and I highly recommend that you do. This is episode 110 of Best Girl Grip. 

Nat and Alli celebrate Nat's mom's birthday with a completely irrelevant discussion of Bi the Way (2008), a road documentary directed by Brittany Blockman and Josephine Decker. While the film itself is somewhat flawed, it serves as a window into early Aughts and the Bi Panic of Yesteryear. Nat and Alli discuss how far American popular consciousness has actually progressed in the past two decades, the never-ending cycle of moral panic, and deeply regrettable fashion trends of our youth. Nat's mom, Amy Roberts: instagram.com/mydandeliondays Support Snails & Oysters on Patreon: patreon.com/snailsoysters Follow us on Social Media Snails & Oysters: twitter.com/SnailsOysters Alli Rogers: twitter.com/allinotallie Nat Roberts: twitter.com/GnatRoberts Our theme song is Gumballs by Billy Libby: instagram.com/fortgorgeous And our cover art was designed by Abby Austin: instagram.com/abigailbaustin --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Kicking off this episode we've got reviews of Steven Soderbergh's "Kimi" and Josephine Decker's "The Sky is Everywhere". These are followed by a Trailer Tapas section featuring discussions of the recently released promos for "Men" and "Elvis". Closing out the show each host gives a recommendation of a film you might want to seek out online. Recommendations from our hosts in this episode: "Misha & The Wolves", "The House"See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Dallas and Lee review Josephine Decker's adaptation of The Sky Is Everywhere which follows Lennie a teen musical prodigy who is grieving the death of her sister when she finds herself caught between a new guy at school and her sister's devastated boyfriend. Through her vivid imagination and conflicted heart, Lennie navigates first love and first loss.

Dallas and Lee review Josephine Decker's adaptation of The Sky Is Everywhere which follows Lennie a teen musical prodigy who is grieving the death of her sister when she finds herself caught between a new guy at school and her sister's devastated boyfriend. Through her vivid imagination and conflicted heart, Lennie navigates first love and first loss.

This week we have strong opinions about all the movies we cover. First up, is Josephine Decker's THE SKY IS EVERYWHERE (1:43), a surreal romance none of us could stand about a teen coping with the death of her older sister. Next, we cover Kentucker Audley and Albert Birney's colorful sci-fi romance STRAWBERRY MANSION (19:08), a story that's stylized and smart, but becomes way too weird for one of us. Lastly, we review A BANQUET (30:50), Ruth Paxton's tense psychological horror film, which we all agree falters in one key area. And in honor of Black History Month, this week we talk about Spike Lee's biopic MALCOLM X starring Denzel Washington for our Patreon exclusive audio! 

Today on Wussy Movie Club, we review ‘The Sky is Everywhere' – a coming of age romance based on the hit novel by Jandy Nelson. The film is directed by Josephine Decker, who you might know from 2020's ‘Shirley' or 2018's ‘Madeline's Madeline'.   ‘The Sky is Everywhere' stars Grace Kaufman, Jason Segel, and Cherry Jones and is playing on Apple TV+ and in select theaters, including Atlanta's Midtown Art Cinema.    WUSSY Movie Club is hosted by two Queer film lovers: John E Kilberg and Daniel Shaw.   WUSSY Movie Club is a weekly roundtable movie podcast with a Queer lens, featuring themed seasons and special interviews with Queer filmmakers. Every Wednesday, a rotating cast of LGBTQIA+ voices will dish on their favorite films of past and present. Join the club and be a part of the discussion!   WUSSY Movie Club is part of the WUSSY Podcast Network, hosted by WUSSY Mag (@wussymag)   Produced by Jon Dean @jondeanphoto   Podcast Art created by Nick Sheridan @glass.knuckles   Podcast Music by DJ Helix @1djhelix   Join the WUSSY Movie Club on Instagram https://www.instagram.com/wussymovieclub/    Follow WUSSY Movie Club on Facebook  https://www.facebook.com/WussyMovieClub/

This week, Josephine Decker -- director of Madeleine's Madeleine, Shirley and the brand-new Apple TV+ drama The Sky Is Everywhere -- drops in to celebrate Babe, director Chris Noonan and producer George Miller's 1995 live-action adaptation of Dick King-Smith's children's book The Sheep-Pig  and one of the sweetest, most deeply human films ever made about animals. Your genial host Norm Wilner thinks James Cromwell was robbed, by the way.

This week on the InSession Film Podcast, Ryan fills in for Brendan as we discuss Josephine Decker's new film The Sky is Everywhere and the 2022 Oscars! Plus, we offer up a few thoughts on the wild new trailer for Doctor Strange in the Multiverse of Madness. - Review: The Sky is Everywhere (6:30) - Notes / Discussion (52:02) - 2022 Oscars (1:28:08) Thanks for listening and be sure to subscribe on iTunes, Google Play, Stitcher, Soundcloud or TuneIn Radio! Apple Podcasts: https://podcasts.apple.com/us/podcast/insession-film-podcast/id605634337 Spotify: https://open.spotify.com/show/5LIi40D5BTFnsRMP57O5nG IHeartRadio: https://www.iheart.com/podcast/269-insession-film-podcast-30916083/ Google Podcasts: https://podcasts.google.com/feed/aHR0cHM6Ly9pbnNlc3Npb25maWxtLmxpYnN5bi5jb20vcnNz?ep=14 Podcaser: https://www.podchaser.com/podcasts/insession-film-podcast-195831 Stitcher: http://www.stitcher.com/podcast/insession-film Soundcloud: https://soundcloud.com/insession-film TuneIn Radio: http://tunein.com/radio/The-InSession-Film-Podcast-p522717/ Listen Now: http://insessionfilm.com/listen-now/

This week on CRITICALLY ACCLAIMED, film critics William Bibbiani and Witney Seibold review Kenneth Branagh's all-star murder mystery DEATH ON THE NILE, the award-winning international drama COMPARTMENT NUMBER 6, the Jennifer Lopez/Owen Wilson rom-com MARRY ME, Steven Soderbergh's techno-thriller KIMI, and Josephine Decker's YA drama THE SKY IS EVERYWHERE! Plus, Bibbs and Witney look over this year's ACADEMY AWARD nominations and say goodbye to the late, great Ivan Reitman. Ivan Reitman - 1:21  Oscar Nominations - 16:36  Death on the Nile - 40:00  Compartment Number 6 - 56:53  Marry Me - 1:04:47  KIMI -  1:16:25  The Sky is Everywhere - 1:27:52  Review Round-Up - 1:35:30  Subscribe on Patreon at www.patreon.com/criticallyacclaimednetwork for exclusive content and exciting rewards, like bonus episodes, commentary tracks and much, much more! And visit our TeePublic page to buy shirts, mugs and other exciting merchandise!  Email us at letters@criticallyacclaimed.net, so we can read your correspondence and answer YOUR questions in future episodes! And if you want soap, be sure to check out M. Lopes da Silva's Etsy store: SaltCatSoap! Follow us on Twitter at @CriticAcclaim, join the official Fan Club on Facebook, follow Bibbs at @WilliamBibbiani and follow Witney at @WitneySeibold, and head on over to www.criticallyacclaimed.net for all their podcasts, reviews and more!  Support the show: https://www.patreon.com//criticallyacclaimednetwork See omnystudio.com/listener for privacy information.

February Movie review Double-Feature this time: Death on the Nile and The Sky is Everywhere Death on the Nile 127 Minutes, Rated PG-13 Written by Michael Green (based on the […]

We don't hang around here on the Empire Podcast. Less than a week after the epic celebration that was our 500th episode, we're already back in the podbooth, bringing you episode 501. And it's a belter, folks, as Chris Hewitt is joined by newly-minted BAFTA and Oscar nominee, the wonderful West Side Story star, Ariana DeBose, for a chat that takes in Spielberg, auditions, British accents, SNL, and Hamilton, but which is mostly concerned with Nando's, and the consumption thereof. We're also joined this week by director Josephine Decker, who tells Amon Warmann all about her new film, the Apple TV+ original, The Sky Is Everywhere. Either side of that, back in the podbooth, Chris is joined by Helen O'Hara, James Dyer, and John Nugent for a fun episode in which they discuss their dream LEGO movie-themed sets (this was recorded before news broke of the new Jurassic Park set), talk about the week's movie news, including a bumper Oscars section (this was recorded before news broke of the new Jurassic World: Dominion trailer; it's almost as if dinosaurs hate us), and review Uncharted, Death On The Nile, Flee, and Marry Me. Whether this is your first episode or your five-hundred-and-first episode, enjoy.

In episode #95 of Pop Culture Weekly, Kyle McMahon talks with the cast of A24 & Apple Originals film The Sky Is Everywhere. First up, Kyle talks with The Sky Is Everywhere stars Grace Kaufman, Pico Alexander and Jacques Colimon. Then Kyle talks with visionary director Josephine Decker ("Shirley") about the grief behind the film, marrying the music to the movie, how the soundtrack became it's own character and more.Watch The Sky Is Everywhere exclusively on Apple TV+.-----------Watch celebrity interviews at: https://www.facebook.com/realkylemcmahon/videosor Kyle McMahon YouTube at: https://www.youtube.com/officialkylemcmahonRead the latest at http://www.PopCultureWeekly.comFollow Kyle on:Twitter: http://www.twitter.com/kmacmusicFacebook: http://www.facebook.com/realkylemcmahonInstagram: http://www.instagram.com/kmacmusicYouTube: http://www.youtube.com/officialkylemcmahonWebsite: http://www.kylemcmahon.mePop Culture Weekly twitter: http://www.twitter.com/popculturepodca

Hur trovärdig är Harry Potter-serien egentligen? Och saknar HBL vision för kultursidorna? Vi rådfrågar Haushofer, Sontag, Rosa och Jackson och skålar för Vintersolståndet. Läslista: Marlen Haushofers "Vi dödar Stella", Susan Sontags essä "Against Interpretation", Shirley Jacksons novell "The Lottery", Filmen "Shirley" i regi av Josephine Decker och 
Hartmut Rosas "Det vi inte kan råda över". Tack till Linn för grafik och Ville för mix. Samtal med vänner är en podcast om litteraturen och livet. Med Kaneli Johansson och Hanna Ylöstalo.

O episódio de hoje marca a estréia do nosso grande amigo Felipe Sobreiro como integrante definitivo do Sala de Projeção Podcast. Artista, ilustrador, colorista e cinéfilo, Felipão vai estar sempre aqui com a gente daqui em diante. Bem-vindo, veião! Nada mais apropriado do que falarmos hoje de um filme escolhido pelo Felipe Sobreiro. "Shirley", filme norte-americano de 2020, conta uma história fictícia sobre a real e maravilhosa escritora Shirley Jackson, interpretada pela espetacular Elizabeth Moss, uma das atrizes favoritas entre nós aqui do Sala de Projeção. O filme foi dirigido com maestria por Josephine Decker; o roteiro foi escrito por Sarah Gubbins, que, por sua vez, se baseou na obra homônima de Susan Scarf Merrell. Uma curiosidade sobre o filme é que Elizabeth Moss também atuou como produtora e Martin Scorsese foi produtor executivo. Não deixe de acompanhar a nossa discussão sobre amor e parasitismo, processo criativo e rituais do escritor, papéis sociais e gênero, o significado da carta de Tarô "O Enforcado" no filme, e, especialmente, sobre uma interessante relação entre duas mulheres, distanciada da ótica masculina e das normas e expectativas sociais da época. Quer fazer um comentário, uma crítica ou uma sugestão? Envie um email a saladeprojecaopodcast@gmail.com e responderemos em breve. Ficha do Filme: Shirley, 2020. Direção: Josephine Decker. Roteiro: Sarah Gubbins. Elenco: Elizabeth Moss, Odessa Young, Michael Stuhlbarg e Logan Lerman. 107 min. EUA. Créditos: Ilustração: Felipe Sobreiro – sobreiro@gmail.com Edição e Identidade Visual: Thiago Vergara - thiagoverg@gmail.com Música de Introdução: https://www.bensound.com Músicas do filme: I'm in Town (Frantic Fay Thomas) House Carpenter (Tom Ashley & Tex Isley) The Gallows Pole (Leadbelly) Chicken Leg Chick (Joe Swift w/ Red Callendar's Quintet) Pretty Papa Blues (Paula Watson) Luz de Luna (Juan Sanchez) Ghost Piano (Music from Uppbeat (free for Creators!): https://uppbeat.io/t/yeti-music/ghost-piano License code: SP4LCJYW7FCW4TZU) Raw Meat (Music from Uppbeat (free for Creators!): https://uppbeat.io/t/weary-pines/raw-meat License code: 9TIDBV7ZWBI4VPEA) Música de Crédito ao Editor Runaway Blues (Gertrude "Ma Rainey")

In this episode, writer-director Josephine Decker and cinematographer, Ashley Connor, discuss the triumphant experimental cinema of 2018's Madeline's Madeline. The Barbican ScreenTalks Archive podcast is presented by Ellen E Jones and produced by Jane Long for Loftus Media. Listen to more episodes on: barbican.org.uk/screentalksarchive Subscribe on Apple Podcasts, Spotify, Acast or wherever you find your podcasts. See acast.com/privacy for privacy and opt-out information.

Roger Ebert said, "The movies are like a machine that generates empathy." Film critic and author Jeffrey Overstreet joins the pod to talk about how Evangelicals approach movies, cinematic art, transcendence, and empathy, as well as spiritually based themes in the films by the Coen Bros. He also shares some of his favorite films from 2020. -Jeffrey Overstreet's website: lookingcloser.org -"The Theology of the Coen Brothers? A Conversation Between Matt Zoller Seitz and Jeffrey Overstreet" https://www.lookingcloser.org/blog/2018/04/20/the-theology-of-the-coen-brothers-a-conversation-between-matt-zoller-seitz-and-jeffrey-overstreet/ -Buy Jeffrey's memoir of moviegoing and faith, "Through a Screen Darkly": https://www.amazon.com/Through-Screen-Darkly-Looking-Closer/dp/0830743154/ref=sr_1_1?crid=1N4KTUBB4XHQO&dchild=1&keywords=through+a+screen+darkly&qid=1613176010&sprefix=through+a+screen+%2Caps%2C204&sr=8-1 -Buy Jeffrey's fantasy novel "Auralia's Colors": https://www.thriftbooks.com/series/the-auralia-thread/42859/ Mentioned on the Pod: Book: "Amazing Grace: A Vocabulary of Faith" by Kathleen Norris. Song: "Street Hassle" by Lou Reed. Film: Midnight Run (d. Martin Brest) Film: Extra Ordinary (d. Mike Ahern and Enda Loughman) Film: Lady Bird (d. Greta Gerwig) Film: Little Fish (d. Chad Hartigan) Film: Save Yourselves! (d. Alex Huston Fischer and Eleanor Wilson) Overstreet's Top 5 Films of 2020: 5) Shirley (d. Josephine Decker) 4) Bloody Nose, Empty Pockets (d. Bill Ross IV, Turner Ross) 3) Lover's Rock (d. Steve McQueen) 2) Minari (d. Lee Isaac Chung) 1) Nomadland (d. Chloe Zhao) -Check out Zach's music by going to: https://muzach.bandcamp.com -Read Dave's occasional blogging at: www.dangeroushope.wordpress.com. Twitter: Zach- @muzach Dave- @Davejlester Jeffrey- @overstweet Podcast music by Zach Malm Logo by Zach Malm

The boys went into this one blind, and honestly, you should too. It's the surprise of the season as Lo & Mo experience both realism and dream (or nightmare) logic at a Balkan music camp. It's probably considered mumblecore, it's definitely experimental, and it's one of the most interesting films of the season. Join us for a folk horror retreat with Josephine Decker's incomparable BUTTER ON THE LATCH. --- Send in a voice message: https://podcasters.spotify.com/pod/show/lomomedia/message

People share lists about words and work and self-help and sex and their souls. Featuring Julia Nightingale, Sharon Mashihi, Derekk Garner, Peter Chinman, Reuben Radding, Sarah Sloat, Amanda Daisy Lees, Kay Kasperhauser, (Atlanta Floor), Johnny Hoppe, Josephine Decker, Johnathan Wood Vincent, Christopher Funkhauser, Mike Houston, Suko Presseau, Brad Phillips, Julia Cafritz, and Rian Fossett.

linktr.ee/CatchingUpOnCinema “The Month of Moss” continues at Catching Up On Cinema as Kyle and Trevor reunite to record in person for the first time since the pandemic to review Josephine Decker's, Shirley (2020)! A largely fictionalized account of a chapter in the life and career of novelist Shirley Jackson, the film is an murky and dreamlike tale of devious social manipulation and the creative process. Adapted from a novel of the same name by Susan Scarf Merrell, the contains winning performances from it's headliner, Elisabeth Moss, as well as from her supporting cast in the form of a particularly animated Michael Stuhlbarg as her husband, an enigmatic quietly disturbed turn from Odessa Young as her young guest/research subject, and a very capable Logan Lerman as the latter's aloof and distant husband. A unique film from a unique filmmaker, film serves as one of more prominent examples of Elisabeth Moss' prodigious acting talent. Follow us on Instagram @catchinguponcinema Follow us on Twitter @CatchingCinema Like, share, subscribe, and we'll catch you next time!

In this episode, we take a closer look at some of the different stations involved in the making of a movie. Cinematographers, screenwriters, and production designers pitch in as we travel through the Berlinale Talents archive to understand what it takes to carry a director's vision to the big screen. The pros we talked to – visionaries like Josephine Decker, Agnès Godard or Uli Hanisch – are clear on one aspect of filmmaking: the virtue of collaboration.

Roger Ebert said, "The movies are like a machine that generates empathy." Film critic and author Jeffrey Overstreet joins the pod to talk about how Evangelicals approach movies, cinematic art, transcendence, and empathy, as well as spiritually based themes in the films by the Coen Bros. He also shares some of his favorite films from 2020. -Jeffrey Overstreet's website: lookingcloser.org -"The Theology of the Coen Brothers? A Conversation Between Matt Zoller Seitz and Jeffrey Overstreet" https://www.lookingcloser.org/blog/2018/04/20/the-theology-of-the-coen-brothers-a-conversation-between-matt-zoller-seitz-and-jeffrey-overstreet/ -Buy Jeffrey's memoir of moviegoing and faith, "Through a Screen Darkly": https://www.amazon.com/Through-Screen-Darkly-Looking-Closer/dp/0830743154/ref=sr_1_1?crid=1N4KTUBB4XHQO&dchild=1&keywords=through+a+screen+darkly&qid=1613176010&sprefix=through+a+screen+%2Caps%2C204&sr=8-1 -Buy Jeffrey's fantasy novel "Auralia's Colors": https://www.thriftbooks.com/series/the-auralia-thread/42859/ Mentioned on the Pod: Book: "Amazing Grace: A Vocabulary of Faith" by Kathleen Norris. Song: "Street Hassle" by Lou Reed. Film: Midnight Run (d. Martin Brest) Film: Extra Ordinary (d. Mike Ahern and Enda Loughman) Film: Lady Bird (d. Greta Gerwig) Film: Little Fish (d. Chad Hartigan) Film: Save Yourselves! (d. Alex Huston Fischer and Eleanor Wilson) Overstreet's Top 5 Films of 2020: 5) Shirley (d. Josephine Decker) 4) Bloody Nose, Empty Pockets (d. Bill Ross IV, Turner Ross) 3) Lover's Rock (d. Steve McQueen) 2) Minari (d. Lee Isaac Chung) 1) Nomadland (d. Chloe Zhao) -Check out Zach's music by going to: https://muzach.bandcamp.com -Read Dave's occasional blogging at: www.dangeroushope.wordpress.com. Twitter: Zach- @muzach Dave- @Davejlester Jeffrey- @overstweet Podcast music by Zach Malm Logo by Zach Malm

Episode Notes ["Maintain(Makaih.com)," by Makaih Beats, CC BY-NC-ND 4.0] ["Maintain(Makaih.com)," by Makaih Beats, CC BY-NC-ND 4.0] L: Hi, I'm Lami Zhang. V: This is Victoria Benefield. L: And welcome to Subtitled, a podcast where two fake film students take a look at popular TV shows and movies. Although I am no longer a film student, I have dropped my minor, and I am picking up art history.  V: Whoo! Exciting!  L: Yeah, which is a possibly even more pretentious minor than Film and Media Studies. V: I don't know. I feel like based on the length of the title of it, Film and Media Studies is really obnoxious. Like I feel embarrassed when I introduce myself with a Film and Media studies minor. Sometimes I have to shorten it to film studies to sound slightly less ridiculous. L: Alright, so today we're going to talk about our 2020 favorites and least favorites for TV shows and movies. Because we have a lot of opinions on things like this. V: Oh yes. And all things. I think we have opinions on a lot of things.  L: That's true. That's true. So Victoria, give me your top three movies for 2020. V: Okay, top three movies of 2020. Shirley directed by Josephine Decker, available on Hulu. Please watch it. It's excellent. Borat Subsequent Moviefilm, which is – I don't even need to explain this one. An excellent movie. And then Emma. Those are my top three. What about you Lami? What were your top three films of 2020? L: Definitely Emma, ‘cause I’m a huge slut for Jane Austen. Obviously. The King of Staten Island because Pete Davidson is my man. And I have written down Portrait of a Lady on Fire, although I did not really enjoy that movie. I guess I just haven't seen a lot of movies in 2020. V: Yeah, I feel that. I don't think there were a lot of good ones that came out, like I struggled to make this list. Or maybe I just didn't watch the good ones. That’s also a possibility. L: I think you would really like The King of Staten Island because you also like Pete Davidson. V: Oh, yeah. A huge fan of Pete Davidson, which apparently is controversial. L: TV show wise, I really liked Bridgerton obviously. Simon's pullout game is strong. The Queen's Gambit, although I know nothing about chess. And Emily in Paris. V: Did you really put that at number three? L: That was not number three. Okay. I'm not even going down a list right now. Um, number three, let's see. Possibly Sex Education, season two. Wait, no, no, no, V: Wait, that was in 2020? L: That was in 2020. V: So good. L: But maybe that didn't make my list. Big Mouth season three, two… three? The newest season. [Note: Lami is referring to Season 4.] Really, really good. Highly recommend. V: My TV choices. I only have two, but I would put Bridgerton on here as well. Shamefully, but so good. I love Gossip Girl, and I love Jane Austen, and it really just felt like the best possible combination. So, top two TV shows for me were How to Sell Drugs Online (Fast). Season two came out this year. This is a German show. Everyone needs to watch it. It's about two really nerdy high school boys that end up starting a drug business online, somehow. It's so complicated, but it's so good, and there's a lot involved, 3D printed guns … there's  a lot of drama. It's so good. And then my other favorite was Ramy season two. So good. It has to be in my top five TV shows of all time. I think it's incredible, like the portrayal of the conflict between religion and culture and like American culture versus his culture from home. It's incredible. L: Remind me what Ramy is about again? I've heard you talk about this.  V: Way too many times. Yeah. So, it's basically about this Muslim … man. I almost called him a boy. He's definitely a man, a fully grown man. But a Muslim man growing up in the U.S. and about just his relationship with his culture and his heritage, him reckoning with his religion versus American culture. And as someone who is religious, I think it's really interesting, like the tug between those two sides of yourself. So yeah, I love it. And it's also funny somehow. Despite all that, it's somehow comedic. But, yeah. And then I have podcasts next here. What were your favorite podcasts of the year? L: Definitely the one I listened to the most is probably Anything Goes with Emma Chamberlain. Just because it's really light. I do listen to news podcasts, occasionally, but sometimes you just need some valley girl talk. You know. V: I love her. She's so relatable. L:  And also Life Kit by NPR. They tell you how to do shit. I just need that in my life.  V: We all need to know how to do more shit. L: How about you? V: So, my favorites. I'm gonna say The Daily by the New York Times just because I listen to it every day, so I can't not include it. L: Michael!  V: I love Michael. L: Remember when we saw him on Zoom during that Medill talk?  V: Truly changed my life. L: The highlight of my Fall Quarter. V: I think I cried a little bit, or a lot. He's a very important male figure in my life. It’s fine, anyways, moving on. My other top favorites were Canary by the Washington Post, I believe. Don't quote me on that. [Note: Canary is in fact published by the Washington Post.] But it was a limited series about just a couple of sexual assault cases from the past few years. Highly recommend. So good. Really interesting storytelling, and I think the reporter did a really good job balancing like the sensitive nature of the case. And then my next favorite is @lexie. I love her. I love her personality. She makes me happy listening to her. It's like Emma Chamberlain, it's light, she's funny.  L: She's not that relatable though. This girl highkey went like “I never get stressed.” And then I stopped listening to her. V: It's attainable though. I'm trying to reach that level. L: Is it attainable though? I think … I think she's lying. She's definitely been stressed before. V: That's fair. I think it was a little bit of exaggeration on her part, but she's fun. She lives in New York City. She has a great life. She does YouTube for a living.  L: I love that our – the people we look up to are YouTubers. V: Who are basically younger than me. Emma Chamberlain is younger than us. I think she's 19, still. L:  I just really like Emma's podcast because she literally will hop on the mic and be like, “I had a shit day and I cried for three hours.” I was like “same. “ V: My favorite part is when she doesn't talk for three minutes and it's just her cats meowing and she’s like “Can you hear that? Can you hear that?” Please, I just want a cat.  L: I think we need that in our podcast. I was gonna talk about stand up.  V: Yeah, definitely. L: Because we definitely need some laughter in 2020 and 2021. I saw Taylor Tomlinson's Netflix special [Taylor Tomlinson:] Quarter-Life Crisis. The beginning of the year. I thought it was so good. Death to 2020 came out in 2020. V:  No, it didn't. Did it come out the last day of the year?  L: Probably. I don't know. I'm gonna count it as a 2020 film. [Note: Death to 2020 was released on Dec. 27th, 2020.] That one was funny. Very dark humor.  V: I couldn’t get through five minutes of it. Not gonna lie. I don't know … something about it. It's confusing. L: It's not confusing. It's so funny. V: Yeah, I think I thought it was real for like two seconds. And then after that I was disappointed. I wanted a real documentary. L: We're living through it. We don't need a real fucking documentary. V: That’s true. I think it was because they made fun of the New Yorker. Or was it the New York Times? L: They did?  V: Yeah. They were like mocking one of them. I can't remember which one.[Note: She means The New Yorker] L: That’s really funny. V: It hurt me. Oh, we can talk about documentaries. Yours is Miss Americana? L: This is so sad. Yes, mine is Miss Americana. Taylor Swift. Huge fan. Not the greatest documentary. But it has Taylor Swift in it, so I watched it. V: My favorite documentary of this year has to be Dick Johnson Is Dead. L: I loved that documentary. It’s so good. V: I think I cried for all of it, maybe? Possibly all of it. L: I think we need to rewatch it. V: Yeah. Do I need to cry again, though? Should we explain what it is?  L: We should. V: For the audience. L:  At least a little bit of it. Might be a little confusing.Who is Dick Johnson? Why is he dead? V: Exactly. Okay. So Kirsten Johnson made this movie. Basically, it's coming to terms with the fact that her dad is going to die, which sounds really sad. And it was, but she did it with almost a humorous take in that she had these scenes where her still-living father would go through a reenactment of how he could potentially die. So it'd be anything from like, getting hit by a car to having an air conditioning unit fall on his head, all of this crazy stuff. And she would direct and film these scenes. But yeah, it's just like, a really beautiful film. And it will be I think, for her once – I can't spoil it – but I think it's a really good remembrance of her dad. And it's also a beautiful piece of art. L: I think those are my favorite types of documentaries. Like when the documentarian kind of has a more self-reflective topic, rather than like trying to tackle a bigger issue. Yeah, I don't know. I just think those are really personal. And more pieces of art than journalism.  V: Yeah, I agree. I think especially because the audience is seeing something through the lens of the documentarian. And so, anytime they're trying to tackle a really big topic that's not through a personal viewpoint, it can be dangerous and they can end up saying things that aren't true. Or they can end up jumping to conclusions, but I think sticking to your own story not only makes it more authentic, but it's also a lot more powerful. This has to be one of the most powerful documentaries I've ever watched.  L: Ooh, what is the worst movie or TV show you've seen in 2020? V: Okay, so originally, I had the second To All The Boys movie, which is horrible. We watched that on Valentine's Day, didn't we? Which is revealing our very single status.  L: That’s true.  V:  It's fine, whatever. Moving on. But I think after some very, very deep reflection, I have decided that the worst movie I saw this year has to be Kissing Booth 2. L: You saw that movie? Why did you see it?  V: I don’t want to talk about it. Did I watch the entire two-and-a-half hours? Yes. L: That's like self destructive. Why would you see that? V: I loved it though. Not gonna lie, I loved it.  L: What? I hated the first Kissing Booth movie. V: Yes, me too. No, no, I didn't hate it. L: It was so shit. I'm sorry. V: They're not good movies. They're not good movies. I enjoy watching them. I do think they are objectively horrible films. Really, no one should watch them. But I did watch it. I will say it was the worst movie of this year. L:  I think mine rivals yours, maybe. 365 Days. It's basically – you know how some movies are basically porn with a plot?  V: Bridgerton. L: This one's just flat out porn with 50% of a plot that doesn't fucking make sense. V: Isn’t that just actual porn at that point? L: Basically, it's an extended version of porn, basically, luxury porn. Do not search that up. Because I did, it does not mean what you think it means. Actually, it means exactly what you think it means. But 365 days, it's just about this mafia dude who kidnaps this lady. And then he's like, “I'll give you a year, 365 days, to fall in love with me. And if you don't, I'll set you free.” But then it was just a terrible representation of sex on screen. No consent, zero consent. And then halfway, she just falls in love with him. No fucking explanation why.  V: What the fuck.  L: They have more sex. That was it. V: I'm so disturbed. L: Do not watch it. Or watch it if that's what you're looking for, you know? V: I really hope it's not what you're looking for. L: Hey, no judgment here.  V: A little bit of judgment.  L: A little bit.   V: See I’m a real film student. I’m allowed to pass judgment.  L: 2020 was a hard year for everybody. So maybe luxury porn is what you need? Who knows? V: And on that note, I'm Victoria Benefield.  L: And I'm Lami Zhang  V: And this has been Subtitled. Thanks for listening.  This podcast is powered by Pinecast.

This episode is dedicated to female film & TV directors worldwide bringing storytelling greatness and unprecedented representation onscreen and off. Love to Chantal Ackerman, Dee Rees, Kathryn Bigelow, Kasi Lemmons, Ida Lupino, Joanna Hogg, Nicole Holofcener, Sofia Coppola, Isabel Coixet, Kelly Reichardt, Gina Prince-Bythewood, Dorothy Arzner, Phoebe Waller-Bridge, Lulu Wang, Kimberly Reed, Patti Jenkins, Marielle Heller, Regina King, Alice Guy-Blache, Debra Granik, Agnieszka Holland, the Wachowskis, Barbara Kopple, Julie Dash, Yoko Ono, Greta Gerwig, Cheryl Dunye, Jane Campion, Melina Matsoukas, Catherine Hardwicke, Donna Deitch, Ana Lily Amirpour, Lina Wertmuller, Barbara Loden, Lucrecia Martel, Claire Denis, Sarah Polley, Maren Ade, Lisa Cholodenko, Miranda July, Dorota Kędzierzawska, Mary Harron, Barbara Streisand, Julie Taymor, Karyn Kusama, Kimberly Pierce, Alla Nazimova, Leslie Linka Glatter, Sara Driver, Kitty Green, Catherine Breillat, Josephine Decker, Lynne Ramsay, Ava DuVernay, Chloe Zhao, Mira Nair, Andrea Arnold and many more that will grow to many many many more. Brava!

Para iniciar nuestra segunda temporada, conversamos con la cineasta Tania Hernández Velasco, creadora del multipremiado film mexicano "Titixe", sobre el cine de esta joven directora norteamericana a raíz de su reciente retrospectiva en la última edición de Los Cabos Film Festival. De seguro está por estrenarse su más reciente película --"Shirley"--, interpretada entre otros por Elisabeth Moss. La anterior "Madeline's Madeline", la pueden encontrar en MUBI. Todas sus sugerencias son bien recibidas en nuestro correo: imperrfectaspodcast@gmail.comEstamos en Twitter e Instagram como @imperrfectas. Si desean ver "Titixe"pueden escribir al correo de nuestra invitada: ta.hernandez.ve@gmail.comEn Twitter e IG Tania es @lunes_martes

In the penultimate episode of our Cults on Film series. Mary and Sarah tackle two heavily alliterative titles; Sean Durkin’s Martha Marcy May Marlene (2011) and Josephine Decker’s Madeline’s Madeline. We discuss isolation, disassociation and the psychically dangerous profession of acting.

This week my guest is Joanne Michael, the Director of Marketing and Distribution at Cornerstone, an international sales and financing company that launched in 2015.  Some of their recent titles include Herself directed Phyllida Lloyd and produced by Element Pictures, Josephine Decker’s enthralling psycho-drama Shirley starring Elisabeth Moss and Michael Stuhlbarg, the screen adaptation of Emma Jane Unsworth’s Animals as well as an upcoming project called The Fantastic Flitcrofts starring Mark Rylance and directed by Craig Roberts. Jo came to Cornerstone having spent five years at HanWay Films where she managed the international launches and releases of award-winning films including Todd Haynes’ Carol and John Crowley’s Brooklyn.  We talk about the intricacies of marketing for a sales company as opposed to a distributor, the creative point of view it requires, what happens when a film goes to a market and the best piece of advice that Jo has ever received. As someone who had a brief stint working in sales it was a joy to revisit that element of the film industry and also during a year where things have felt decidedly quieter on the cinematic front, to be reminded of the madness and magic of a market. So I’m very grateful to Jo for joining me.

We dissect the recent filmography of filmmaker Josephine Decker, from pastoral genre bender Thou Wast Mild And Lovely to her recent fictionalised 'biopic', Shirley. Looking at the intricate power relationships and underlying eroticism, we wonder how the films respectively treat the conception of a muse, how far identities become performance, and how far the women in these films are directing their own lives, and if so, who for?

Podcast sobre o filme Shirley, com um argumento assinado por Sarah Gubbins e realização de Josephine Decker.

Anna Smith and Lucy Scholes join Robert Bound to review ‘Shirley’, Josephine Decker’s new film starring Elisabeth Moss, based on the life of the US horror writer Shirley Jackson.

This episode of Truth & Movies is dedicated to the release of Josephine Decker's Shirley, a claustrophobic tale of artistic creation and romantic destruction starring Elisabeth Moss and Michael Stuhlbarg. The host this week is Little White Lies editor David Jenkins, and he’s joined by associate editor Hannah Woodhead, and regular contributor Leila Latif. See acast.com/privacy for privacy and opt-out information.

Thea Lenarduzzi and Lucy Dallas are joined by Lucy Scholes to revisit the work of the master of terror Shirley Jackson and review the new film Shirley (“about as far from a traditional biopic as you can get”); and Jane Darcy grapples with the neither quite Romantic nor quite Victorian Thomas De Quincey, whose life-writing paved the way for the autobiografiction to come Shirley, directed by Josephine Decker (various cinemas / Hulu)Thomas De Quincey: Selected writings, edited by Robert Morrison See acast.com/privacy for privacy and opt-out information.

Sejam bem-vindos ao podcast The Witching Hour, comandado pela Michelle Henriques e pela Jéssica Reinaldo. Nesse podcast a gente fala de terror dirigido por mulheres! No programa de hoje conversamos sobre o filme “Shirley”, da Josephine Decker. Esperamos que gostem! Contato: thewitchinghourcast@gmail.com Nosso Instagram: /thewitchinghourr Quer apoiar o programa e ainda fazer parte de um chat com a gente? Visite nosso padrim! https://www.padrim.com.br/thewitchinghour Edição por Euller Felix 

Sejam bem-vindos ao podcast The Witching Hour, comandado pela Michelle Henriques e pela Jéssica Reinaldo. Nesse podcast a gente fala de terror dirigido por mulheres! No programa de hoje conversamos sobre o filme “Shirley”, da Josephine Decker. Esperamos que gostem! Contato: thewitchinghourcast@gmail.com Nosso Instagram: /thewitchinghourr Quer apoiar o programa e ainda fazer parte de um chat com a gente? Visite nosso padrim! https://www.padrim.com.br/thewitchinghour Edição por Euller Felix 

With Antonia Quirke Antonia continues her look at women and horror with directors Josephine Decker and Natalie Erika James. Relic was inspired by Natalie's experience of looking after her grandmother who had been diagnosed with dementia. Shirley is the story of Shirley Jackson, the author of The Haunting Of Hill House, but is not a conventional bio-pic, instead it treats an episode in her life as if it was the subject of one of her own Gothic novels. Writer Nat Segnit starts a new series on Scene Stealers, the memorable bit-part actors whose faces you recognise but whose names you can't quite remember. Nat's first subject is The Godfather alumnus and former oil baron, G.D. Spradlin.

Part two of Primal Screen's Melbourne International Film Festival (MIFF) 2020 reviews, with a focus on SHE DIES TOMORROW dir. Amy Seimetz (2020), LA LLORONA dir. Jayro Bustamente (2019) and WOMEN MAKE FILM: A NEW ROAD MOVIE THROUGH CINEMA dir. Mark Cousins (2018). Other films mentioned include; SERVANTS dir. Ivan Ostrochovský (2020), ATLANTIS dir. Valentyn Vasyanovych (2019), CORPUS CHRISTI dir. Jan Komasa (2019), SHIVA BABY dir. Emma Seligman (2020), LAST AND FIRST MEN dir. Jóhann Jóhannsson (2020) and  SHIRLEY dir. Josephine Decker (2020). With presenters Paul Anthony Nelson, Sally Christie, Flick Ford and special guest, Cersie Howard. Website: https://www.rrr.org.au/explore/programs/primal-screenFacebook: https://www.facebook.com/primalscreenshow/Instagram: https://www.instagram.com/primal_screen_show/Twitter: https://twitter.com/primal_screen

Since the roll-out of Studio Ghibli films on Netflix and HBO Max this year, there's been an explosion of Letterboxd activity around the famed studio's films. Our Ghibli-loving guests couldn't be happier. David Jenkins (Little White Lies), Tasha Robinson (Polygon) and Adam Kempenaar (Filmspotting) share their Ghibli obsessions and discuss whether to “sub or dub”. Letterboxd members phone in with their favs. Plus: Little White Lies turns 15. Links David Jenkins' review of My Neighbor Totoro Polygon's best Studio Ghibli scenes survey @c0mmunicants' Ghibli tweet The Official Letterboxd Top 250 Letterboxd members' top 20 favorite comfort films Adam's daughter Sophie on Letterboxd Mami Sunada's The Kingdom of Dreams and Madness Our Q&A with the hosts of Ghibliotheque This episode was recorded in Chicago, London and Auckland and edited by Morgan Avery. Podcast artwork by Ann Davenport. Theme music is ‘Hitchcock' by The Phoenix Foundation. Leave a voice message for Aneesh Chaganty, our next guest, or tell us the ‘so bad it's good' film you've been rewatching in isolation for an upcoming episode. We recorded this episode as the news of George Floyd's death by police brutality was emerging, and held it back in order to amplify Black voices and stories. Racism has no place on Letterboxd. Here are some ideas for activism; here are more; and more. We are donating all proceeds from screenings of Josephine Decker's Shirley via our virtual screening link (available to US members only) to BIPOC film non-profit Firelight Media. Black Lives Matter.

The new film this week is Josephine Decker's vision of famed horror writer Shirley Jackson's world, the aptly titled SHIRLEY. Elisabeth Moss and Michel Stuhlbarg take the lead. In the newest PICK SIX segment, the fellas are forced to trim down a tough list of their FAVORITE SOPHOMORE DIRECTORIAL EFFORTS SO FAR THIS CENTURY. Turns out there have been a ton of excellent second films from directors over the last twenty years. Digging into another THROWBACK CHALLENGE, an overdue watch of Raoul Peck's 2017 documentary, I AM NOT YOUR NEGRO, commences. Noah & Andy discuss the fascinating piece of work. We hope you're all staying strong out in the world. Cheers! --- Support this podcast: https://anchor.fm/the-film-harmonic/support

This episode is dedicated to films about the Black experience. Our guest is Letterboxd member Adam Davie, creator of the extensive Black Life on Film list. Adam explains why he has spent three years creating the list and why it includes “the good, the bad and the ugly as it relates to the Black experience”. Links Driving Miss Daisy (Bruce Beresford, 1989) The Story of a Three-Day Pass (Melvin Van Peebles, 1968) Spider-Man: Into the Spider-Verse (Rodney Rothman/Peter Ramsey/Bob Persichetti, 2018) Do the Right Thing (Spike Lee, 1989) I Am Not Your Negro (Raoul Peck, 2016) 13th (Ava DuVernay, 2016) Get Out (Jordan Peele, 2017) LA 92 (T.J. Martin/Daniel Lindsay, 2017) Support The Girls (Andrew Bujalski, 2018) The High Note (Nisha Ganatra, 2020) Beyond the Lights (Gina Prince-Bythewood, 2014) The Wound (John Trengove, 2017) Rafiki (Wanuri Kahiu, 2018) Attack the Block (Joe Cornish, 2011) I Am Legend (Francis Lawrence, 2007) If Beale Street Could Talk (Barry Jenkins, 2017) Black Dynamite (Scott Sanders, 2009) Miami Connection (Y.K. Kim/Woo-sang Park, 1987) This episode was recorded in Pittsburgh, PA and Auckland, NZ and edited by Morgan Avery. Our podcast artwork is by Ann Davenport and our theme music is ‘Hitchcock' by The Phoenix Foundation. Leave a voice message telling us your favorite Studio Ghibli film, or a ‘so bad it's good' film you've been rewatching in isolation for our upcoming episodes. Listeners in the US can watch Josephine Decker's Shirley via our virtual screening room—we're donating all proceeds to film non-profit Firelight Media. For other links, resources and places to donate in the fight for justice, here are some anti-racism resources for white people. This Letterboxd review of I Am Not Your Negro also contains useful links. Black Lives Matter.

Confira os destaques do Caderno 2 desta segunda-feira (27/01/20)See omnystudio.com/listener for privacy information.

For the last decade, Josephine Decker has made the festival circuit with her short films and documentaries (we first talked with her at SXSW way back in 2009). And now, with her third feature - called “Madeline's Madeline,” she's getting the attention of major critics and earning raves in the process. This week, we talk with the Highland Park native about her big break - and about her next project starring Elizabeth Moss.

In episode forty-seven of movies imo., Ben, Brandon, and Daniel yell over each other about Josephine Decker's unconventional opus on cats and creative ownership, MADELINE'S MADELINE. Then they dig into other reflexive works on the artistic process and discuss Decker's previous film THOU WAST MILD AND LOVELY, Jean-Luc Godard's CONTEMPT, Charlie Kaufman's SYNECDOCHE, NEW YORK, and Miranda July's THE FUTURE. Ben compares the sly surrealist streak that runs through Decker's work to Cassavetes' approach of domestic disruption, Daniel trips over his own metaphor (which is what we're all experiencing) while drawing a line around the auteur theory, and Brandon wonders whether Decker is reckoning with her own ethical onus as a director. They all agree that Miranda July is the Best Supporting Actress of the year so far! See acast.com/privacy for privacy and opt-out information.