Podcast appearances and mentions of Kelly Reichardt

Three films in this year's NYFF lineup explore the intersections of quotidian life and the arts, following artists whose efforts to make time and space for their creative passions are thwarted or frustrated by the grind of the everyday. In Kent Jones's Late Fame, adapted from an Arthur Schnitzler novella, a once-upon-a-time New York poet (and now a postal worker) is intoxicated by the sudden attentions of a coterie of twentysomething wannabe poets. In Kelly Reichardt's The Mastermind, set in the 1970s, an aimless art-school dropout executes a comically sloppy heist at a local museum, as if seeking escape from his banal, bourgeois family life. And in Lucio Castro's Drunken Noodles, an art student spends a summer in New York, having a series of serendipitous and erotic encounters around painting, poetry, and writing. Each film dwells in how both the making and consuming of art can force life into a pace incompatible with that of the modern world. Last Sunday at NYFF, Jones, Reichardt, and Castro joined Film Comment editors Devika Girish and Clinton Krute for a conversation exploring the temporality of cinema versus the other arts, the challenge of being a working artist, and the exquisite craft behind their new films.

This week on the Boxoffice podcast, co-hosts Daniel Loria, Rebecca Pahle, and Chad Kennerk recap the opening weekend performance of Paul Thomas Anderson's One Battle After Another, cover the latest news in exhibition, and preview the October slate—including the surprise addition of Taylor Swift | The Official Release Party of a Showgirl.What to Listen For00:00 Intro 00:28 PTA's One Battle After Another01:02 Press Screening Reactions (Smashing Machine)02:11 PTA Box Office & Career High02:53 Warner Bros. Hot Streak04:22 Hollywood Tariff Threats07:55 Advisory Committee & Industry Response08:17 October Preview Kickoff09:07 Taylor Swift: Life of a Showgirl (AMC Event)10:56 A24's The Smashing Machine with Dwayne Johnson13:37 Avatar: The Way of Water Re-Release13:57 Daniel Day-Lewis in M&A15:12 Horror Spotlight: Bone Lake (Bleecker Street)16:22 Tron: Ares Preview18:14 Paramount's Ruman (Channing Tatum)19:07 A24's If I Had Legs I'd Kick You19:42 Sony Faith-Based Soul on Fire20:22 Netflix Thriller House of Dynamite21:03 Musical Adaptation Kiss of the Spider Woman21:54 Universal's Black Phone 223:47 Lionsgate's Good Fortune (Keanu Reeves)24:42 Angel Studios' Truth and Treason25:13 Amazon/MGM's After the Hunt26:42 Kelly Reichardt's The Mastermind27:22 Chainsaw Man: The Movie (Anime)28:23 Paramount's Regretting You (Colleen Hoover)29:02 Bruce Springsteen Biopic Deliver Me From Nowhere31:43 Richard Linklater's Rogers & Hart Film32:52 Yorgos Lanthimos Sci-Fi Remake

We were delighted to welcome Kelly Reichardt, Bill Camp, Hope Davis, Gaby Hoffman, and John Magaro to the 63rd New York Film Festival to discuss The Mastermind in a conversation with NYFF Artistic Director Dennis Lim. Reichardt's restrained and often funny anti-thriller is set against a Nixon-era backdrop of alienation and disillusionment, following a taciturn family man (Josh O'Connor) who makes the rash, largely inscrutable decision to orchestrate a heist at the local art museum. The 63rd New York Film Festival is presented in partnership with Rolex. The Mastermind opens at Film at Lincoln Center on October 17. Get tickets: https://www.filmlinc.org/nyff2025/films/the-mastermind/

Analizamos en profundidad la película con Leonardo DiCaprio y Sean Penn, su relación con la novela VINELAND, de Thomas Pynchon, y por qué los grandes autores de hoy (de Quentin Tarantino a Martin Scorsese, pasando por Kelly Reichardt y el propio Paul Thomas Anderson) se vinculan con el cine de la década de 1970, la última época de oro de Hollywood.Este podcast cuenta con el acompañamiento de Fundación Santander Argentina a través del Régimen de Promoción Cultural (Mecenazgo) del Ministerio de Cultura de la Ciudad de Buenos Aires.

⁠⁠Colaborá con Santas Listas⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Si todavía no te acercaste al cine de Kelly Reichardt, deberías. Como en este episodio hacen Ema, Nico y Pablo, donde eligen sus cinco pelis favoritas de esta directora estadounidense ícono del cine independiente. Nuestro Letterboxd⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Redes y contacto:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@santaslistas⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ en Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@santaslistas⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ en Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠santaslistaspodcast@gmail.com⁠⁠

This time on Projector Pod, we are talking about arthouse director Kelly Reichardt's latest film, The Mastermind. A 1970s period piece about an unemployed father's attempt to pull off an audacious and strangely specific art heist at the local gallery. It is a richly textured, slow, almost slapstick character study set against the backdrop of the Vietnam War and fading dreams of the counterculture about the dangers of being the main character when you're not quite up to the task.If you think Projector Pod is the kind of thing you'd like to support, you can find our Patreon here. 

We went to Telluride! The 52nd annual Telluride Film Festival was an incredible experience. The festival had everything from Shakespeare to Springsteen. Christian and Scott are joined by new friend of the show Hunter Williams to discuss everything they saw, including new films from Chloe Zhao, Edward Berger, Guillermo del Toro, Yorgos Lanthimos, Kelly Reichardt, Richard Linklater, Noah Baumbach, and more.   Which Telluride movie are you most excited to see? Let us know at cinemaontappodcast@gmail.com

How many times have you watched the sweaty lesbian fever dream that is Love Lies Bleeding? As you might be able to guess from this episode, Michelle Devereaux and I have stopped counting. Michelle is a feminist film-philosophy expert who joins me to talk about Rose Glass's super queer neo noir, the interplay of genre conventions and gender dynamics, and all the fun intertexts and easter eggs that we found in Love Lies Bleeding. Whether you're into bodybuilding and gender transgression or lesbian romance against all odds, this episode is for you.  ReferencesRose Glass' Love Lies Bleeding (2024)Devereaux, Michelle. "Suspicious Minds and Dead Bodies: Queer Romance and Skepticism in Rose Glass's Love Lies Bleeding." Film Quarterly 78.2 (2024): 24-32.Devereaux, Michelle. The Stillness of Solitude: Romanticism and Contemporary American Independent Film. Edinburgh University Press, 2019.Devereaux, Michelle.“‘A lot of people are creative': Process, Perfectionism and the Everyday Sublime in Kelly Reichardt's Showing Up and First Cow”. Kim Wilkins and Bruce Isaacs, eds. A24: Culture, Aesthetics, Identity. Edinburgh University Press, 2026 (expected).Devereaux, Michelle.“Inherited Trauma, Postcolonial Scepticism and the Harmony of Voice in Jennifer Kent's The Nightingale”. Film-Philosophy and Australian Cinema. Saige Walton and Matilda Mroz, eds. Edinburgh University Press, 2026 (expected).Devereaux, Michelle and Lash, Dominic (eds.). Love, Desire and Stanley Cavell. London: Routledge, 2026 (expected).MAI: Feminism and Visual Culture: www.maifeminism.comRussian DollSofia CoppolaCavell, Stanley. Pursuits of Happiness: The Hollywood Comedy of Remarriage. Harvard University Press, 1981.Cavell, Stanley. Contesting Tears: The Hollywood Melodrama of the Unknown Woman. Harvard University Press, 1996.Comedies of RemarriageScrewball ComedyOut and WildSleater-KinneyBristol Butch BarLindner, Katharina. Film Bodies: Queer Feminist Encounters with Gender and Sexuality in Cinema. Bloomsbury Academic, 2017.Bound (1996)The Incredible HulkKristen Stewart TwilightPumping Iron II: The Women (1985)Bev Francis David Lynch's Mulholland Drive (2001) and Lost Highway (1997)Winkie's DinerLauren Berlant's epistemic frenzyTeresa de Lauretis michelledevereaux@bsky.socialInstagram: @michelleldevereauxKelly Reichardt's Showing Up (2022)Michelle WilliamsDerek Jarman's Caravaggio (1996)Tilda SwintonSean Bean  Questions you should be able to respond to after listening:1.      What is Love Lies Bleeding about and why does Michelle suggest it might be more about gender than about sexuality?2.      How does Michelle describe Lindner's ‘space of transgender potential'? Can you think of an example for this?3.      Which genres does Michelle mention to discuss and describe Love Lies Bleeding? How are these genres queered in the film?4.      What role does the setting play in the film? How might this relate to the ‘space of transgender potential'?5.      What is your favourite lesbian and/or trans film and why?

Summer Box Office Report Cards are the episode's centerpiece. Until then, we discuss Daniel Day-Lewis' return, JLO's latest musical and new animated feature contenders during our Trailer Reviews segment. We review new movies like K-Pop Demon Hunters, Honey, Don't, Relay and Eenie Meenie during our Box Office Report and What We're Watching segments. Plus, AlsoMike turns heel with a shockingly bad review of a beloved classic. Clayton Davis' latest piece on “No Kings” in the Race Thus Far - 1:50 TRAILER REVIEWS: Anemone, starring Daniel Day-Lewis - 5:04 Arco, a new animated feature contender from NEON - 9:04 The Mastermind, a future MMO classic from Kelly Reichardt - 12:26 Hedda, a new YouTube trailer hit gives us Saltburn & sexy Downton Abbey vibes - 15:14 Eleanor The Great, a hope that this movie might not actually be another Goldfinch - 17:31 Kiss of the Spider Woman, a JLO starrer with a 2nd trailer that gives us pause - 19:48 BOX OFFICE REPORT: K-Pop Demon Hunters, Also Mike's Review + Netflix's #1 Box Office Sing-A-Long - 23:20 Talking Weapons' holding strong and the rest of the Top 8 - 24:13 Reviewing Honey, Don't - 25:51 Reviewing Relay, starring Riz Ahmed and discussing the rest of the Top 15 - 27:28 SUMMER BOX OFFICE REPORT CARDS (BY GENRE & SINCE MAY): Superhero Films: Thunderbolts*, Superman & The Fantastic Four - 30:44 Pure Action like Mission Impossible, Ballerina, etc. + A Lone Sports Film Hit in F1 - 34:34 Comedies from Friendship to The Naked Gun - 37:01 Dramas like The Life of Chuck & Eddington + Romances like Materialists - 40:13 Horror is still crushing it at the box office from Clown in a Cornfield through Weapons - 44:06 Family Films are buoying it all from Lilo & Stitch through Jurassic World - 46:55 WHAT WE'RE WATCHING: Other than what we've reviewed already… Eenie Meenie + a Sinners rewatch - 50:35 The Conjuring: The Devil Made Me Do It + The Last Detail revisited by M1 - 52:34 M2's slander filled heel turn for a beloved classic. What has he done?! - 55:55 OUTRO: Make sure to throw your rotten vegetables at AlsoMike via social media. You can find all our links here https://linktr.ee/mikemikeandoscar Otherwise, if you're somehow still taken with us, do please support our show by liking, subscribing, rating, and reviewing our podcast favorably in the eyes of all the algorithms out there. We certainly thank you for sticking by us during these contemptible times.

Whether it be loneliness, solitude, finding sanctuary in a stifled relationship or waiting for a takeaway meal, or maybe one of the most precious things of all, the comfort in creating for ones self, Kaite Fitz is shifting how we see ourselves on screen. Her short film Smoke, which premiered at the St Kilda Film Festival, presents Lianne Mackessy's main character, a woman who moves through her day, quietly being hollowed out by a void that's emerging within her. Her relationship exists, but it's more of an idea than anything else, yoga becomes an event tinged with friction. Her work, restoring art, is a rare sanctuary.The title, Smoke, alludes to the lingering presence of something burnt, the smell of the past hanging into the future. Sometimes this is a comforting smell, like incense, or sometimes it's a smell that heralds a lie or the smothering of truth, like the lingering haze of cigarettes.Kaite is an emerging Australian filmmaker who presents women who live familiar lives, rolling forward on a continuing existence that persists in the face of stagnation. We rarely see these characters on screen because we're so rarely invited to hear from and engage with women storytellers who present real people on screen. It's no surprise then that Kaite looks to filmmakers like Kelly Reichardt or Alena Lodkina as inspirations for the work that she's doing.In the following interview, Kaite talks about her creative process, about having learned from filmmaker Michael Rowe, working with producer Miki Clarke, the notion of truth on screen, as well as exploring what her creative voice looks like on screen with films like Smoke, and in her as yet unproduced feature screenplay Peachy.This interview is part of the ongoing series of emerging filmmakers who are part of the rising swell of Australian filmmakers. These are storytellers who are collectively, yet singularly, shaping what the Australian film oeuvre looks like, feels like, and sounds like. In turn, they are forming a new language for Australian cinema, shaping what stories are being told, how they're being presented, and much more.Follow us on Instagram, Facebook, and Bluesky @thecurbau. We are a completely independent and ad free website that lives on the support of listeners and readers just like you. Visit Patreon.com/thecurbau, where you can support our work from as little as $1 a month. If you are unable to financially support us, then please consider sharing this interview with your podcast loving friends.We'd also love it if you could rate and review us on the podcast player of your choice. Every review helps amplify the interviews and stories to a wider audience. New interviews drop every Thursday, with bonus chats appearing on Tuesdays. Hosted on Acast. See acast.com/privacy for more information.

Whether it be loneliness, solitude, finding sanctuary in a stifled relationship or waiting for a takeaway meal, or maybe one of the most precious things of all, the comfort in creating for ones self, Kaite Fitz is shifting how we see ourselves on screen. Her short film Smoke, which premiered at the St Kilda Film Festival, presents Lianne Mackessy's main character, a woman who moves through her day, quietly being hollowed out by a void that's emerging within her. Her relationship exists, but it's more of an idea than anything else, yoga becomes an event tinged with friction. Her work, restoring art, is a rare sanctuary.The title, Smoke, alludes to the lingering presence of something burnt, the smell of the past hanging into the future. Sometimes this is a comforting smell, like incense, or sometimes it's a smell that heralds a lie or the smothering of truth, like the lingering haze of cigarettes.Kaite is an emerging Australian filmmaker who presents women who live familiar lives, rolling forward on a continuing existence that persists in the face of stagnation. We rarely see these characters on screen because we're so rarely invited to hear from and engage with women storytellers who present real people on screen. It's no surprise then that Kaite looks to filmmakers like Kelly Reichardt or Alena Lodkina as inspirations for the work that she's doing.In the following interview, Kaite talks about her creative process, about having learned from filmmaker Michael Rowe, working with producer Miki Clarke, the notion of truth on screen, as well as exploring what her creative voice looks like on screen with films like Smoke, and in her as yet unproduced feature screenplay Peachy.This interview is part of the ongoing series of emerging filmmakers who are part of the rising swell of Australian filmmakers. These are storytellers who are collectively, yet singularly, shaping what the Australian film oeuvre looks like, feels like, and sounds like. In turn, they are forming a new language for Australian cinema, shaping what stories are being told, how they're being presented, and much more.Follow us on Instagram, Facebook, and Bluesky @thecurbau. We are a completely independent and ad free website that lives on the support of listeners and readers just like you. Visit Patreon.com/thecurbau, where you can support our work from as little as $1 a month. If you are unable to financially support us, then please consider sharing this interview with your podcast loving friends.We'd also love it if you could rate and review us on the podcast player of your choice. Every review helps amplify the interviews and stories to a wider audience. New interviews drop every Thursday, with bonus chats appearing on Tuesdays. Hosted on Acast. See acast.com/privacy for more information.

We showed up for Kelly Reichardt's Showing Up and spent some time with a very glum sculptor and one injured bird

In this episode, Alex Heeney digs into Celine Song's Materialists, a film about Lucy, a matchmaker struggling with her own love triangle. Will Lucy (Dakota Johnson) choose love — in the form of her poor ex John (Chris Evans) — or money with eligible bachelor Harry (Pedro Pascal)? And can love and money even co-exist? With its charming cast, elegant blocking, and standout sound design, Materialists could have been a sharp, class-conscious rom-com. But for all its promise, it ends up skimming the surface. You will hear: What works well in the film, including the visual storytelling and sound design Where the film struggles, especially with its thin characterization and reluctance to fully engage with class and money Comparisons with other works, such as Gossip Girl (2007–2012) and Patricia Rozema's Mansfield Park (1999), that tackle similar themes with more depth Links Mentioned:

It's a wrap!In the final episode of this year's Cannes Film Festival, Eliana and Patrick are once again joined by Öykü Sofuoğlu. Together, they discuss: Jafar Panahi's Palme d'Or-winning It Was Just an Accident | یک تصادف سادهJoachim Trier's Grand Jury Prize-winner Sentimental Value | AffeksjonsverdiNadav Lapid's Yes or Yes! | כןKelly Reichardt's The Mastermind (which, alas, did not win any award)Kristen Stewart's The Chronology of WaterSimón Mesa Soto's A Poet | Un PoetaDiego Céspedes | Mysterious Gaze of the Flamingo | La Misteriosa Mirada del Flamencoand in passing : Alice Douard's Love Letters | Les preuves d'amours, Anna Cazenave Cambet's Love me Tender, Harris Dickinson's Urchin + Scarlett Johansson's Eleanor the GreatFor more of Öykü's work, check out her reviews on Sentimental Value, Christian Petzold's Mirrors No. 3, or Hafsia Herzi's The Little Sister for InReview Online.For those interested in more thoughts on one of our festival favorites, Pauline Loquès', Nino, read Patrick's review or listen to one of our previous episodes.----------------------------------------------------------------------------------------------Credits:Image: It Was Just an Acccident Film PosterFrame by Kumiko Shimuzu - Free to use under the Unsplash LicenseSound:Intro: EFF Open Audio License for Le Carnaval des Animaux (Saint-Saëns, Camille - Aquarium) by Neal O'Doan (Piano) Nancy O'Doan (Piano), and Seattle Youth Orchestra Pandora Records/Al Goldstein Archive.Extro: La Bouche - Be My Lover

The focus of this 60th episode of Edinburgh Film Podcast is Wanda, the only feature film directed by American actor-filmmaker Barbara Loden. Released in 1970, the film is set in rural Pennsylvania and tells of a working class woman (Loden) who leaves her husband and young children for a life on the road. She eventually drifts into a fraught, uneasy relationship with petty thief Norman Dennis (Michael Higgins) as he plans a bank robbery. Joining host Dr Pasquale Iannone to talk about Wanda is Dr Elena Gorfinkel, author of a new book on the film which is part of the long-running BFI Film Classics series. Elena is Reader in Film Studies at King's College London. Specialising in underground and independent cinema, her many publications include the 2017 volume Lewd Looks: American Sexploitation Cinema in the 1960s. Her articles and book chapters include pieces on filmmakers such as Andy Warhol, Doris Wishman, Kira Muratova and Kelly Reichardt. Elena is also the curator of a major season currently running at London's BFI Southbank titled Wanda and Beyond: The World of Barbara Loden. In their detailed, wide-ranging conversation, Elena tells Pasquale about her first encounter with Wanda and how she approached the writing of her new book. Discussion then moves on to the film itself, before turning to the curation process for the BFI Loden season. Wanda (2025) is published by Bloomsbury and is out now. The BFI Southbank season Wanda and Beyond: The World of Barbara Loden runs throughout the month of June. For more details, please see the BFI website.

As voted for on our Patreon, we return to Kelly Reichardt with her 2010 Western, Meek's Cutoff. Ben argues that no discussion of the American Western is complete without Reichardt's film, Wilson highlights the film's fraught production that miraculously led to its poetic ending, and Eli frames the film within the larger context of America's problematic Manifest Destiny. We get serious, analytical and near-academic with Reichardt's masterwork… all the way until you hear us try on our best impressions of Bruce Greenwood's Stephen Meek as Wallace from Wallace and Gromit. (?????)Get lost at our FREE patreon, discord server, and our socials @ www.deepcutpod.comLinks:Kelly Reichardt on WTF with Marc MaronSundance interviewLast of the BuffaloAmerican ProgressTimestamps:00:00:00 Intro00:04:42 Plot Summary00:05:54 General reactions00:09:22 Eli loves the ending00:13:24 The film as a Western00:15:53 Production context00:18:20 How she got that ending00:22:10 The Western is distinctly American00:24:20 American mythology00:28:21 As "feminist" Western00:30:59 Stephen Meek00:33:15 Not your typical Western00:37:39 Chaos and destruction00:39:41 Actors00:40:36 Mishandling of Reichardt's releases00:45:25 Cinematography00:50:47 Why 4:300:56:33 What's in store for Reichardt01:00:02 Outro

It's our 3rd episode on the 2025 Cannes Film Festival as we discuss award winners like It Was Just An Accident and Sentimental Value. Plus, we enjoy awards talk on Highest 2 Lowest, The History of Sound, etc. CANNES FILM FESTIVAL COVERAGE PART III: Palme D'or Winner - It Was Just An Accident - 1:47 Sentimental Value gets a 19? Minute Standing Ovation - 8:06 Recapping other winners like The Secret Agent - 16:30 The Young Mother's Home wins Best Screenplay for the Dardenne Bros - 18:15 Resurrection from Bi Gan - 19:23 The Little Sister wins best Actress - 20:21 Highest 2 Lowest Oscars Talk - 22:55 A Private Life and Splitsville are comedies getting strong reviews - 29:58 The Mastermind from Kelly Reichardt - 33:48 Alpha from Julia Ducournau - 36:55 The History of Sound from Oliver Hermanus - 39:35 Eleanor The Great from Scarlett Johansson & June Squibb - 42:10 Un Certain Regard Winner - The Mysterious Gaze of the Flamingo - 44:32 Pillion + Urchin wins several + this year's Palme Dog section - 45:35 A Cannes Acquisitions Summary makes the Neon/Mubi rivalry a real thing - 47:31 The Standing Ovations Tally from MMO - 50:20 Best International Films Possibilities - 51:35 OUTRO - What's coming next from us includes more Oscar Race Checkpoints and Oscar Profile Reviews. Plus, we'll be sending out the Bat Signal soon to a returning guest. Otherwise… and as always, we want to hear your thoughts on which films you're most excited to see from Cannes. https://linktr.ee/mikemikeandoscar

Ep. 323: Jessica Kiang on Bi Gan's Resurrection and Kelly Reichardt's The Mastermind Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. I'm back at the Cannes Film Festival to talk about the highlights with another all-star cast of guests. This episode I sat down with Jessica Kiang who kindly gives virtuosic readings of two standouts from late in the festival: Resurrection (directed by Bi Gan) and The Mastermind (Kelly Reichardt), plus some thoughts on what films she'd like to see win awards. Kiang is as usual writing reviews for Variety at Cannes; she is also programmer at Belfast Film Festival and a member of the selection committee of the Berlinale. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Cannes 2025 is wrapping up this weekend—and our intrepid on-the-Croisette crew of Film Comment contributors has been high-tailing it from screening to screening, cutting through the noise with a series of thoughtful dispatches, interviews, and podcasts. For our ninth episode from the sunny shores of southern France, all-star critics Justin Chang, Tim Grierson, and Allison Willmore join Editor Devika Girish for our final on-the-ground panel conversation from this year's edition. The four dig into two of the most anticipated films from the festival's later days, including Bi Gan's Resurrection (4:30) and Kelly Reichardt's The Mastermind (26:10), before touching on some heretofore undiscussed competition selections: Wes Anderson's The Phoenician Scheme (45:00), Saeed Roustayi's Woman and Child (46:25), the Dardenne Brothers's Young Mothers (50:40), and Mario Martone's Fuori (1:02:05). Subscribe today to The Film Comment Letter for a steady stream of Cannes coverage, providing everything you need to know about the 2025 edition.

Cannes 2025: I denne tredje podkasten fra Cannes diskuterer vi Joachim Triers Affeksjonsverdi og oppsummerer festivalen med Christian Monggaard, filmredaktør og kritiker hos Dagbladet Information. Tradisjonen tro har vår danske kollega igjen satt seg ned med oss for å reflektere over årets program, og etter noen betraktninger om hovedkonkurransen beveger vi oss videre til en lengre samtale om Joachim Triers nye film, Affeksjonsverdi («Sentimental Value»). Vi unngår spoilere, men diskuterer utvalgte sekvenser og motiver i detalj – så hvis man vil vite minst mulig om Affeksjonsverdi, kan man spare midtpartiet av podkasten til senere. Mot slutten kommer vi med noen spådommer om hva som kan skje på kveldens prisutdeling, og er enige om at Trier er i en spesielt god posisjon til å vinne Gullpalmen. I tillegg til dette sneier vi innom de nye filmene til Dardenne-brødrene, Richard Linklater og Kelly Reichardt, og deler våre favoritter fra de offisielle programmene. (Det gjenstår for øvrig fortsatt to Filmfrelst-episoder fra Cannes, og disse vil bli publisert tidlig neste uke.) Ved mikrofonene sitter Montages-redaktørene Karsten Meinich og Lars Ole Kristiansen, i tillegg til Christian Monggaard. God lytting!

On today's show, the 78th annual Cannes Film Festival has kicked off in the south of France, so Derick and I will discuss some of the films competing for the coveted Palme d'Or prize. But, before that we will get into some film and tv news, do some what we've been watching, and finish up with our Letterboxd assignments.Write into the show at MidnightFilmSociety@gmail.com and @midnightfilmpod on Threads, Instagram and Bluesky. Subscribe on Pocketcasts, YouTube Podcasts, and Spotify. Rate and review it on Apple Podcasts. Tell a friend, family member, or stranger.HBO Max RebrandSuperman, Alien Earth, The Bear S4 Trailers78th Cannes Film Festival; Richard Linklater, Lynn Ramsey, Wes Anderson, Bi Gan, Christian Petzold, Julia Ducournau, Kelly Reichardt. Secret Agent, Full List Of Film Competing For Palm d'Or Film Comment Cannes CoverageWhat Damian's Been Watching: Andor, Thunderbolts*What Dereck's Been Watching: A Minecraft Movie, Thunderbolts*, Fight or Flight, Final Destination Bloodlines, AndorNew Letterboxd: Dericks Almost FamousLetterboxd Assignments: Damian - Kaili Blues, Derrick - The Right StuffFor next time: May 23rd - More Last Of Us, Love Death Robots, Mission: Impossible – The Final Reckoning, Lilo & Stitch, Friendship May 30th: Karate Kid: Legends, Bring Her Back, The Phoenician Scheme, May 30th: MountainheadCheck out Dericks Socials HereCheck Out Damian's Socials Here

Oglašamo se iz Cannesa, kjer se za zlato palmo letos potegujejo novi filmi Wesa Andersona, bratov Dardenne, Julie Ducournau, Richarda Linklaterja, Kelly Reichardt in drugih. Obiskali smo festival eksperimentalnih avdiovizualnih praks VFX. Ocenjujemo Pingvinove lekcije in beremo strip Zorana Smiljanića, posvečen Fritzu Langu z naslovom Ljutomer-Berlin-Hollywood.

In this special episode of our show we had the immense pleasure to sit down for a conversation with Jon Raymond, who is a novelist short fiction writer and a screenwriter. He is also a lifelong collaborator with Kelly Reichardt, with whom he co-wrote six movies (including three out of four we talked about this month). We talk about his process and his inspirations as a writer and a prominent champion of the American Pacific North West. We also attempt to untangle the complex relationship between a writer and a director and how it works in the context of independent cinema, his opinion on some of the characters we talked about this month, and we also try to find out if there is in fact some wisdom behind the title of Meek's Cutoff. Tune in and enjoy!Hosts: Jakub Flasz & Randy BurrowsFeaturing: Jon RaymondIntro: Infraction - CassetteOutro: Infraction - DaydreamHead over to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠uncutgemspodcast.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ to find all of our archival episodes and more!Follow us on Twitter (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@UncutGemsPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠), IG (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@UncutGemsPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠) and Facebook (@UncutGemsPod)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy us a coffee over at Ko-Fi.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (ko-fi.com/uncutgemspod)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Subscribe to our Patreon!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (patreon.com/uncutgemspod)

In this episode of the show we are formally closing our conversations about Kelly Reichardt and her collaborations with Michelle Williams with a great chat about Showing Up. Over the course of our conversation you will hear us talk about how Reichardt's movie touches on the unspoken horrors of life as a creative, how mundanity creeps in to undermine creative process and how life is a struggle to find balance between chores and expression. We also talk about the importance of showing up for others, the pathology of suffering in silence, and how difficult it is to navigate life around self-absorbed people. Tune in and enjoy!Hosts: Jakub Flasz & Randy BurrowsFeaturing: Hillary WhiteIntro: Infraction - CassetteOutro: Infraction - DaydreamHead over to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠uncutgemspodcast.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ to find all of our archival episodes and more!Follow us on Twitter (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@UncutGemsPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠), IG (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@UncutGemsPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠) and Facebook (@UncutGemsPod)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy us a coffee over at Ko-Fi.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (ko-fi.com/uncutgemspod)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Subscribe to our Patreon!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (patreon.com/uncutgemspod)

In this podcast we are tying into our April conversations about the cinema of Kelly Reichardt with a conversation about a seminal work of another great female director Agnès Varda titled Vagabond. Over the course of our chat you will hear us try to break down this complex tapestry of episodic fiction and isolate its many meanings. We talk about visual symbolism in support of feminist expression, the French landscape depicted as hostile to women, the role of on-screen nudity in Varda's movie and the readings behind female-female interactions the filmmaker pays close attention to. We also talk about the dangers of travelling alone in winter, the etiquette of meddling with other people's car radio, taking phone calls in the bath and much more!Tune in and enjoy!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Subscribe to our patreon at patreon.com/uncutgemspod (3$/month)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and support us by gaining access to this show in full in addition to ALL of our exclusive podcasts, such as bonus tie-ins, themed retrospectives and director marathons!Hosts: Jakub Flasz & Randy BurrowsFeaturing: Hillary White⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Head over to our website to find out more! (uncutgemspodcast.com)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow us on Twitter (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@UncutGemsPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠) and IG (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@UncutGemsPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy us a coffee over at Ko-Fi.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (ko-fi.com/uncutgemspod)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Subscribe to our Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (patreon.com/uncutgemspod)

In this episode of the show our conversations on the minimalist cinema of Kelly Reichardt continue with Certain Women. Over the course of our conversation you will hear us talk about whether the anthology format modifies Reichardt's cinematic language, how the theme of loneliness ties the three stories together and how they are all subtly permeated with a feminist gaze. We also talk about the logic of putting a bulletproof vest on a civilian, how quietly enraging the behavior of certain men in the film can be and just how difficult it is to drive into anything if you fall asleep behind the wheel in Montana.Tune in and enjoy!Hosts: Jakub Flasz & Randy BurrowsFeaturing: Carson TimarIntro: Infraction - CassetteOutro: Infraction - DaydreamHead over to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠uncutgemspodcast.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ to find all of our archival episodes and more!Follow us on Twitter (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@UncutGemsPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠), IG (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@UncutGemsPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠) and Facebook (@UncutGemsPod)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy us a coffee over at Ko-Fi.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (ko-fi.com/uncutgemspod)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Subscribe to our Patreon!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (patreon.com/uncutgemspod)

In this episode of the show we continue our journey West together with Kelly Reichardt and Michelle Williams as we discuss her 2010 anti-western Meek's Cutoff. Over the course of our conversation you will hear us talk about Reichardt subverting the expectations of a typical western and how critics at the time clearly didn't get it, how the movie gives its women protagonists agency and how it functions as a takedown of the American Dream. We also talk about how expensive cheap films probably are, how important it is to take a chair to a lookout and just how unrecognizable Bruce Greenwood was in his trapper getup.Tune in and enjoy!Hosts: Jakub Flasz & Randy BurrowsIntro: Infraction - CassetteOutro: Infraction - DaydreamHead over to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠uncutgemspodcast.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ to find all of our archival episodes and more!Follow us on Twitter (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@UncutGemsPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠), IG (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@UncutGemsPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠) and Facebook (@UncutGemsPod)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy us a coffee over at Ko-Fi.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (ko-fi.com/uncutgemspod)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Subscribe to our Patreon!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (patreon.com/uncutgemspod)

The 2025 Cannes lineup was just announced, and there's a lot to talk about. Ryan McQuade (AwardsWatch) joins Christina to break down the buzziest titles heading to the Croisette—including Wes Anderson, Ari Aster, Kelly Reichardt, Spike Lee, and yes… Tom Cruise. And the notable names missing from the lineup. They also dive into last week's surprise announcement at CinemaCon of a Quentin Tarantino–David Fincher collaboration, and share their reactions to the full trailer for Paul Thomas Anderson's highly anticipated new film. Learn more about your ad choices. Visit megaphone.fm/adchoices

As we begin to get hyped for a new Kelly Reichardt film on the horizon with The Mastermind, The Atlantic staff writer Shirley Li joins us to discuss her 2016 triptych Certain Women. The film adapts three Maile Meloy stories into one film, with each following a different woman whose voice is stifled in their Montana circumstances. … Continue reading "336 – Certain Women (with Shirley Li!)"

In this episode of the show we are making a sudden shift, after five months of discussing action directors, and begin a month of quiet reflection with the cinema of Kelly Reichardt, and we begin with her 2008 masterpiece Wendy and Lucy. Over the course of our great chat you will hear us talk about the many ways Reichardt tackles the strife of displaced people, the pursuit of a better tomorrow elsewhere and the forgotten victims of capitalist growth. We also talk about the power of image over the spoken word, Michelle Williams' performance and much more!Tune in and enjoy!Hosts: Jakub Flasz & Randy BurrowsIntro: Infraction - CassetteOutro: Infraction - DaydreamHead over to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠uncutgemspodcast.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ to find all of our archival episodes and more!Follow us on Twitter (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@UncutGemsPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠), IG (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@UncutGemsPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠) and Facebook (@UncutGemsPod)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy us a coffee over at Ko-Fi.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (ko-fi.com/uncutgemspod)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Subscribe to our Patreon!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (patreon.com/uncutgemspod)

Sam Levy's body of work has helped define contemporary American independent cinema. In this episode, Levy pulls back the curtain on his methodical, deeply personal approach to cinematography, revealing how scripts, performances, and even sleep all shape his lens. Levy revisits career-defining moments with Greta Gerwig, Noah Baumbach, and Kelly Reichardt, and speaks on how technical mastery is often best used in service of disappearing. If you are enjoying the podcast, please consider supporting our efforts on Patreon.Sam Levy's Instagram | WebsitePeter Pascucci's Instagram | WebsiteAva Benjamin Shorr's Instagram | WebsiteThis episode is sponsored by Fujifilm, Sandisk and TCP Insurance.

Spring is finally in the air, and, for New York City cinephiles, that means it's time for another edition of New Directors/New Films, the annual showcase for standout works by emerging filmmakers co-hosted by Film at Lincoln Center and the Museum of Modern Art. The festival is always a reliable sign of trends to come and talents to look out for—past editions have featured early films by Spike Lee, Christopher Nolan, and Kelly Reichardt, among others. This year's iteration opens tonight and runs through April 13. Over the past few years, Film Comment has established our own annual tradition of previewing the best movies in the ND/NF lineup with some of our favorite critics. This time around, FC Editors Devika Girish and Clinton Krute invited Mark Asch and Natalia Keogan for a rundown of some of the gems in the 2025 edition, including Opening Night selection Familiar Touch (3:45); Mad Bills to Pay (or Destiny, dile que no soy malo) (18:55); Lost Chapters (28:41); Invention (37:06); Drowning Dry (45:45); Holy Electricity (53:52); and more.

This month for ClapperCast's March 2025 Patreon Bonus Episode, Hillary White joins Carson Timar to discuss Kelly Reichardt's Certain Women!Subscribe on Patreon for Bonus Episodes & Early Access: https://www.patreon.com/clappercastpodSubscribe on Spotify Subscriptions for Bonus Episodes: https://open.spotify.com/show/77E2ch4NmvwjZ0DRH253T6

In this episode, we discuss Kelly Reichardt's Old Joy, including the differences between the film and the short story, how the film effectively establishes character, and how Reichardt and Sillen create disconnect through film grammar. See where Old Joy is available to watch.Supplemental Material:• The Criterion Collection's Old Joy Blu-ray• Old Joy - Photographs by Justine Kurland & Fiction by Jonathan Raymond (Book)• Old Joy: Northwest Passages by Ed Halter• Kelly Reichardt: ‘My films are about people who don't have a safety net' (BFI Interview)• Yorgos Lanthimos & Kelly Reichardt (Film Independent Interview)• Kelly Reichardt: A Major Voice of Indie Cinema | The VICE Guide to Film• Old Joy - Daniel London and Kelly Reichardt Interview• Patton Oswalt Introduces OLD JOY (The Criterion Channel)• Ode (1999) (Dir. Kelly Reichardt) (PASSWORD: benjamin)• Travis (2004) (Dir. Kelly Reichardt)• It Came from the Closet: Queer Reflections on Horror (Book)Additional Audio Sources:• Old Joy Trailer• The Criterion Collection's Old Joy Blu-ray• Daniel London and Will Oldham Conversation on The Criterion Collection's Blu-ray• Kelly Reichardt Interview on The Criterion Collection's Blu-rayIf you'd like to support the show, subscribe to the podcast on Apple Podcasts, Spotify, or wherever you listen to your podcasts, leave a review on Apple Podcasts, and share the podcast with someone who might enjoy it.If you have any thoughts, comments, or questions about the show, you can email us at scenebyscenepodcast@gmail.comFollow us on Letterboxd: Joe | Justin

On today's show we look at the Oscar contenders "Emilia Perez," and "Conclave." We also finish our look at the filmography of Kelly Reichardt with a beautiful and funny take on the creative process (and more) in "Showing Up." Brock loses his Silly Putty, so stay tuned to future episodes to see if he finds it.     Keep in touch and read more at whydoesthewilhelmscream.com on instagram and threads @whydoesthewilhelmpod  Find out more about upcoming Fort Worth Film Club screenings and events at fortworthfilmclub.com and @fortworthfilm Support the next generation of film lovers at reelhousefoundation.org and on facebook reelhousefoundation Artwork by @_mosla_

We're back, Screamers, with another banger of an episode. A couple new films with Robert Eggers' take on Nosferatu, and Sean Baker's retconning of Pretty Woman with 'Anora.' We also dip back into Kelly Reichardt's filmography with 'First Cow' a platonic love story/anti-manifest destiny/capitalist allegory.     Keep in touch and read more at whydoesthewilhelmscream.com on instagram and threads @whydoesthewilhelmpod  Find out more about upcoming Fort Worth Film Club screenings and events at fortworthfilmclub.com and @fortworthfilm Support the next generation of film lovers at reelhousefoundation.org and on facebook reelhousefoundation Artwork by @_mosla_

In Negative Life: The Cinema of Extinction (Northwestern UP, 2024), Steven Swarbrick and Jean-Thomas Tremblay enact a dialogue between cinema, philosophy, and ecocriticism to tarry with the question of ecological catastrophe. Taking as one of their conceptual points of departure Freud's writing on negation, the authors elaborate a concept of ‘negative life' to contest current approaches to ecocriticism predicated upon ideas of entanglement, presence, and connection. In their book, Swarbrick and Tremblay engage critically with a broad body of films—including Kelly Reichardt, Julian Pölsler, Mahesh Mathai, and Paul Schrader—and a range of conceptual paradigms (from antisocial queer theory and psychoanalytic thought to object-oriented ontology and theories of melodrama) to unsettle many of ecocriticism's foundational assumptions. In this interview, we unpack some of the core themes and organising principles of the book and discuss the nature of collaborative writing. Jules O'Dwyer is Teaching Associate in Film Studies and French at the University of Cambridge. 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

On this episode: the one-take wonder 'MadS;' a Dangerous Banger, 'Primal Fear;' and an absolute perfect movie, Kelly Reichardt's 'Certain Women.' You're welcome.     Keep in touch and read more at whydoesthewilhelmscream.com on instagram and threads @whydoesthewilhelmpod  Find out more about upcoming Fort Worth Film Club screenings and events at fortworthfilmclub.com and @fortworthfilm Support the next generation of film lovers at reelhousefoundation.org and on facebook reelhousefoundation Artwork by @_mosla_

In Negative Life: The Cinema of Extinction (Northwestern UP, 2024), Steven Swarbrick and Jean-Thomas Tremblay enact a dialogue between cinema, philosophy, and ecocriticism to tarry with the question of ecological catastrophe. Taking as one of their conceptual points of departure Freud's writing on negation, the authors elaborate a concept of ‘negative life' to contest current approaches to ecocriticism predicated upon ideas of entanglement, presence, and connection. In their book, Swarbrick and Tremblay engage critically with a broad body of films—including Kelly Reichardt, Julian Pölsler, Mahesh Mathai, and Paul Schrader—and a range of conceptual paradigms (from antisocial queer theory and psychoanalytic thought to object-oriented ontology and theories of melodrama) to unsettle many of ecocriticism's foundational assumptions. In this interview, we unpack some of the core themes and organising principles of the book and discuss the nature of collaborative writing. Jules O'Dwyer is Teaching Associate in Film Studies and French at the University of Cambridge. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

In Negative Life: The Cinema of Extinction (Northwestern UP, 2024), Steven Swarbrick and Jean-Thomas Tremblay enact a dialogue between cinema, philosophy, and ecocriticism to tarry with the question of ecological catastrophe. Taking as one of their conceptual points of departure Freud's writing on negation, the authors elaborate a concept of ‘negative life' to contest current approaches to ecocriticism predicated upon ideas of entanglement, presence, and connection. In their book, Swarbrick and Tremblay engage critically with a broad body of films—including Kelly Reichardt, Julian Pölsler, Mahesh Mathai, and Paul Schrader—and a range of conceptual paradigms (from antisocial queer theory and psychoanalytic thought to object-oriented ontology and theories of melodrama) to unsettle many of ecocriticism's foundational assumptions. In this interview, we unpack some of the core themes and organising principles of the book and discuss the nature of collaborative writing. Jules O'Dwyer is Teaching Associate in Film Studies and French at the University of Cambridge. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

In Negative Life: The Cinema of Extinction (Northwestern UP, 2024), Steven Swarbrick and Jean-Thomas Tremblay enact a dialogue between cinema, philosophy, and ecocriticism to tarry with the question of ecological catastrophe. Taking as one of their conceptual points of departure Freud's writing on negation, the authors elaborate a concept of ‘negative life' to contest current approaches to ecocriticism predicated upon ideas of entanglement, presence, and connection. In their book, Swarbrick and Tremblay engage critically with a broad body of films—including Kelly Reichardt, Julian Pölsler, Mahesh Mathai, and Paul Schrader—and a range of conceptual paradigms (from antisocial queer theory and psychoanalytic thought to object-oriented ontology and theories of melodrama) to unsettle many of ecocriticism's foundational assumptions. In this interview, we unpack some of the core themes and organising principles of the book and discuss the nature of collaborative writing. Jules O'Dwyer is Teaching Associate in Film Studies and French at the University of Cambridge. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/environmental-studies

In Negative Life: The Cinema of Extinction (Northwestern UP, 2024), Steven Swarbrick and Jean-Thomas Tremblay enact a dialogue between cinema, philosophy, and ecocriticism to tarry with the question of ecological catastrophe. Taking as one of their conceptual points of departure Freud's writing on negation, the authors elaborate a concept of ‘negative life' to contest current approaches to ecocriticism predicated upon ideas of entanglement, presence, and connection. In their book, Swarbrick and Tremblay engage critically with a broad body of films—including Kelly Reichardt, Julian Pölsler, Mahesh Mathai, and Paul Schrader—and a range of conceptual paradigms (from antisocial queer theory and psychoanalytic thought to object-oriented ontology and theories of melodrama) to unsettle many of ecocriticism's foundational assumptions. In this interview, we unpack some of the core themes and organising principles of the book and discuss the nature of collaborative writing. Jules O'Dwyer is Teaching Associate in Film Studies and French at the University of Cambridge. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

On this episode...Brock's dog, Sam, doesn't enjoy hunting; things get political before turning to movies, which, well, things still stay kind of political. The films discussed are 'Heretic,' 'Azrael,' and Kelly Reichardt's 'Night Moves.' Tangential discussions of the Bob Dylan biopic and the Robbie Williams 'biopic' also occur.      Keep in touch and read more at whydoesthewilhelmscream.com on instagram and threads @whydoesthewilhelmpod  Find out more about upcoming Fort Worth Film Club screenings and events at fortworthfilmclub.com and @fortworthfilm Support the next generation of film lovers at reelhousefoundation.org and on facebook reelhousefoundation Artwork by @_mosla_

On today's episode, a couple of new films that question the very nature of our existence: 'Humanist Vampire Seeks Consenting Suicidal Person,' and 'It's What's Inside.' We also continue on with our look at the films of Kelly Reichardt with 'Meek's Cutoff...' an adaptation of the video game 'The Oregon Trail'? Maybe?     Keep in touch and read more at whydoesthewilhelmscream.com on instagram and threads @whydoesthewilhelmpod  Find out more about upcoming Fort Worth Film Club screenings and events at fortworthfilmclub.com and @fortworthfilm Support the next generation of film lovers at reelhousefoundation.org and on facebook reelhousefoundation Artwork by @_mosla_

A couple of "scary" movies on this episode--albeit for different reasons. We dig into the Joker sequel and continue on our path down Kelly Reichardt's filmography with 'Wendy and Lucy.'  We also have a sponsorship pitch for Chappell Roan.   Keep in touch and read more at whydoesthewilhelmscream.com on instagram and threads @whydoesthewilhelmpod  Find out more about upcoming Fort Worth Film Club screenings and events at fortworthfilmclub.com and @fortworthfilm Support the next generation of film lovers at reelhousefoundation.org and on facebook reelhousefoundation Artwork by @_mosla_

This week on Why Does the Wilhelm Scream?, we discuss the new French-Canadian thriller Red Rooms, the "dangerous banger" Nothing in Common, and more Kelly Reichardt with Old Joy.   Keep in touch and read more at whydoesthewilhelmscream.com on instagram and threads @whydoesthewilhelmpod  Find out more about upcoming Fort Worth Film Club screenings and events at fortworthfilmclub.com and @fortworthfilm Support the next generation of film lovers at reelhousefoundation.org and on facebook reelhousefoundation Artwork by @_mosla_

On this episode: Francis Ford Coppola's 'Megalopolis,' and the beginning of our look at the films of Kelly Reichardt with 'River of Grass,' and the mini-feature 'Ode.'     Keep in touch and read more at whydoesthewilhelmscream.com on instagram and threads @whydoesthewilhelmpod  Find out more about upcoming Fort Worth Film Club screenings and events at fortworthfilmclub.com and @fortworthfilm Support the next generation of film lovers at reelhousefoundation.org and on facebook reelhousefoundation Artwork by @_mosla_

This week, we're sharing a free preview of our Patreon show "S&W Q&A"! In this episode, Tom and Jon answer your questions about Strange Brew, Wurster's call-in scripts, best and worst genres of music and movies, biggest concert disappointment, Hot Rockin' Ronnie, Kelly Reichardt's Ode, and more!SUPPORT THE BEST SHOW ON PATREON! WEEKLY BONUS EPISODES & VIDEO EPISODES!https://www.patreon.com/TheBestShowWATCH THE BEST SHOW LIVE EVERY TUESDAY NIGHT 6PM PT ON TWITCHhttps://www.twitch.tv/bestshow4lifeFOLLOW THE BEST SHOW:https://twitter.com/bestshow4lifehttps://instagram.com/bestshow4lifehttps://tiktok.com/@bestshow4lifehttps://www.youtube.com/bestshow4lifeTHE BEST SHOW IS A FOREVER DOG PODCASThttps://thebestshow.nethttps://foreverdogpodcasts.com/podcasts/the-best-showHEARD IT ON THE BEST SHOW PLAYLISThttps://open.spotify.com/playlist/2XIpICdeecaBIC2kBLUpKL?si=07ccc339d9d84267 Learn more about your ad choices. Visit megaphone.fm/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This week, we're sharing a free preview of our Patreon show "S&W Q&A"! In this episode, Tom and Jon answer your questions about Strange Brew, Wurster's call-in scripts, best and worst genres of music and movies, biggest concert disappointment, Hot Rockin' Ronnie, Kelly Reichardt's Ode, and more! SUPPORT THE BEST SHOW ON PATREON! WEEKLY BONUS EPISODES & VIDEO EPISODES! https://www.patreon.com/TheBestShow WATCH THE BEST SHOW LIVE EVERY TUESDAY NIGHT 6PM PT ON TWITCH https://www.twitch.tv/bestshow4life FOLLOW THE BEST SHOW: https://twitter.com/bestshow4life https://instagram.com/bestshow4life https://tiktok.com/@bestshow4life https://www.youtube.com/bestshow4life THE BEST SHOW IS A FOREVER DOG PODCAST https://thebestshow.net https://foreverdogpodcasts.com/podcasts/the-best-show HEARD IT ON THE BEST SHOW PLAYLIST https://open.spotify.com/playlist/2XIpICdeecaBIC2kBLUpKL?si=07ccc339d9d84267 Learn more about your ad choices. Visit megaphone.fm/adchoices

Lily Gladstone knows that people project all manner of emotions and intentions onto her when she gives a performance. Lily and Marc talk about why that happens, including the reaction to her Oscar-nominated performance in Killers of the Flower Moon. They also talk about the time Lily was thinking about giving up acting just as Kelly Reichardt cast her in Certain Women, why it was so important for her to play an incarcerated mother on Reservation Dogs, and why she believes every role she takes becomes an Indigenous role, regardless of the original intent. Hosted on Acast. See acast.com/privacy for more information.