Podcasts about krzysztof kie

Dicen que el cine es luz, pero también es color. En el séptimo arte, los colores no son una cuestión solamente estética: son emociones, símbolos, ideas. Hablamos sobre cómo los colores hablan en clásicos filmes como "El Mago de Oz" hasta trilogías como la de Krzysztof Kieślowski.

With her second feature Darkest Miriam having just kicked off the Canadian Film Fest and opening in Toronto, Montreal, Vancouver and Sudbury on Friday the 28th, with more theatres to come, writer-director Naomi Jaye joins us to celebrate Three Colors: Red, which now stands as Krzysztof Kieślowski's defining artistic work. Your genial host Norm Wilner is so glad to be diving back into the trilogy a year and a half after M.H. Murray's episode on Blue.

Rozmawiam z dr hab. Mikołajem Jazdonem (UAM) o pięciu filmach Krzysztofa Kieślowskiego ("Z miasta Łodzi", "Pierwsza miłość", "Z punktu widzenia nocnego portiera", "Siedem kobiet w różnym wieku", "Gadające głowy"). Odcinek powstał we współpracy z Archiwum Twórczości Krzysztofa Kieślowskiego w Sokołowsku. Za pomoc w realizacji odcinka dziękuję Dominikowi Cywińskiemu & Kacprowi Jasińskiemu (Laboratorium Eksperymentalnych Mediów im. Stanisława Lema), a także dr Piotrowi Pławuszewskiemu (UAM).

Piše Sanja Podržaj, bere Ajda Sokler. Avtorico zbirke esejev Poskus vsakdanjosti lahko opišemo kot pesnico, urednico, založnico, prevajalko, dramaturginjo, kritičarko in kolumnistko. Vsi poklici, ki jih je opravljala kot vseživljenjska kulturna delavka, so tako ali drugače vraščeni v pričujoče eseje. Kulturno delovanje ni običajna služba temveč nekaj, kar zahteva celega človeka, predvsem pa strast, neomajno voljo, idealizem, ki meji na naivnost, in veliko mero upanja. Eseji Anje Zag Golob to posredujejo z gibkim in živahnim jezikom, ki je tako značilno njen, da jo ob branju skoraj slišimo, kako nam pripoveduje zdaj o znamenitem Kölnskem koncertu Keitha Jarretta, spet drugič pa o ljubezni do »restane rpice« in najboljšem pomfriju na svetu, ki ga je pripravljala njena bica. In njen entuziazem je nalezljiv. Poskus vsakdanjosti je prvo prozno delo Anje Zag Golob, ki je do sedaj objavila pet samostojnih pesniških zbirk, od tega sta bili kar dve nagrajeni z Jenkovo nagrado, Vesa v zgibi leta 2014 in Didaskalije k dihanju leta 2016, za zbirko da ne da ne bo … pa je leta 2020 prejela nagrado kritiško sito. Zanimivo je, da so vse razen prvenca V roki iz leta 2010, izšle v samozaložbi, tako kot tudi pričujoča zbirka esejev. Že v fizičnem izgledu knjige in njenem oblikovanju se izraža avtoričina samosvojost pa tudi drznost, saj na platnici ni ne naslova ne njenega imena, zadaj pa nobenega zapisa na platnici. Naslovnico krasi pointilističen motiv, a rdeče in zelene pikice ne tvorijo nobene podobe. Morda s tem ponazarjajo vsakdanjost, ki jo tvorijo raznorodni segmenti različnih vlog, ki jih opravljamo v družbi, in številne stvari, ki kličejo po naši pozornosti. Morda to ni toliko pomembno kot ugotovitev, da je oblikovanje skladno z naravnanostjo, ki se izraža v vseh enajstih esejih – to je naravnanost stran od hitrega konzumiranja, h kateremu teži kapitalistična družba, v kateri je vse merjeno z ekonomsko vrednostjo. Tudi človek. Predstavljajte si, da se sprehajate po knjigarni in si ogledujete knjige. Vsaka od njih si hoče pridobiti vašo pozornost, a že s hitrim pregledom naslovnice lahko približno ugotovite, v kateri predalček spada. Knjiga, katere platnic ne polnijo informacije, pokliče našo pozornost, ker je tako drugačna od drugih in nekako skrivnostna. Moramo si vzeti več časa, da jo razvozlamo. Se ustaviti, jo vzeti v roke, prelistati, morda prebrati kakšen odstavek ali dva. Podobno je s pitjem čaja, vožnjo z vlakom, poslušanjem glasbe, pisanjem pisem in pogovarjanjem z drevesi – te stvari potrebujejo naš dragoceni čas. Instant kava, avtomobil, e-mail ali sms opravijo svojo nalogo hitreje, glasba je nekaj, kar se dogaja v ozadju, prav tako drevesa. Storilnostna naravnanost nas potiska proti enostavnemu, hitremu, stran od poglobljenega in s tem tudi stran od umetnosti in kar je še nekoristnih (torej nedobičkonosnih) dejavnosti. »Odkar se vse, še najmanjši drobec naših življenj, preračunava na njegovo ekonomsko vrednost, je izginilo toliko stvari, ki so jim dajale smisel, mi pa posledično živimo vse bolj pusto, ogolelo,« piše Anja Zag Golob v eseju Pisma. S tem ko so iz mesta izbrisani prostori, kot je Čajna hiša ali neodvisne knjigarne, kot je bila knjigarna Behemot, je na udaru sam humanizem. Zaprtje takšnih krajev druženja, v katerih se »izgublja« čas, pa je simptom širše svetovne usmeritve. To se sliši skrajno črnogledo in vajeni smo, da Anja Zag Golob pogosto opozarja na zanemarjenost področja kulture pa tudi na druge družbene nepravičnosti, ki so posledica dejstva, da imajo interesi kapitala prednost pred drugimi. Vendar pa eseji v Poskusu vsakdanjosti niso zagrenjeni, niti pesimistični. To niso eseji o tem, kako vse, kar je dobrega in človečnega, propada, temveč so prej hvalnica vsemu in vsem, ki to še držijo pokonci. Pa sploh ni nujno, da so to kulturniki, nasprotno, to je natakar, ki te v tujem mestu pozdravi, kot da si domač, ali pa knjigarnar, ki ti pomaga poiskati knjigo, ki ti je pisana na kožo, in s katerim se lahko pogovarjaš, pa sploh ne opaziš časa, ki mineva. To je lahko tudi naključna sopotnica na vlaku, ki ti nevede preda nekaj svoje modrosti, ali pa dopisovalka, ki si vzame čas in ti odgovori na vsako pismo, čeprav se nista nikoli srečali v živo. Poljski filmski režiser Krzysztof Kieślowski, o katerem lahko beremo v prvem eseju, je za enega od svojih prizorov potreboval sladkorno kocko ravno pravšnje konsistence, da bi kava vanjo zlezla v točno toliko in toliko sekundah – nič več, nič manj. Tako je njegov asistent preiskal celo mesto in prinesel vsako kocko sladkorja, ki jo je našel, v upanju, da bo med njimi tista prava. Podrobnosti štejejo, bi bil nauk te zgodbe, tako kot štejejo drobne geste prijaznosti med soljudmi. Tako kot lahko v prvem eseju zbirke beremo o Kieślowskem in njegovih filmih, ki so avtorico oblikovali, v nadaljevanju piše tudi o legendarni beograjski rock skupini Ekaterina Velika pa o Kölnskem koncertu, znamenitem albumu ameriškega pianista Keitha Jaretta. Tem so posvečeni posamezni eseji, a skozi celotno knjigo je nanizanih še več referenc na umetniška dela, ki so bila za avtorico prelomnega pomena. Izkaže se kot široko razgledana intelektualka, ki se znajde tako v literarnih kot tudi v filozofskih, glasbenih, filmskih, gledaliških, plesnih in kulinaričnih vodah. Pri tem pa bralke nimamo občutka, da bi šlo za samohvalo. Avtoričin jezik je namreč neposreden, ne ovija se v leporečenje ali intelektualiziranje. Ko govori o umetnosti, ne govori samo kot poznavalka, temveč predvsem kot navdušena oboževalka, zaradi česar so eseji izredno topli, vnos koroškega dialekta in slenga pa jih še dodatno začini z bližino, domačnostjo. Seveda pa ne moremo mimo eseja o poeziji, ki ji je današnji čas še manj naklonjen kot na primer filmu ali glasbi. Pesništvo, podobno kot filozofiranje, v družbi, ki ceni predvsem fizično delo z merljivimi rezultati, vzbuja izključno posmeh, pravi Zag Golob, ki pa pri poeziji kljub temu vztraja. Poezija je svojevrsten upor, podobno kot vse tiste stvari, s katerimi se zgolj »zapravlja« dragoceni čas, v katerem bi lahko naredili kaj »produktivnega« ali »koristnega«. A pozabljamo, da je del tega, kar nas dela ljudi, tudi igra, in poezija je, z besedami avtorice: »opomin na ludizem, na igro, kakršni smo se, če smo imeli to srečo, predajali kot neobremenjeni otroci, to je prostor, ki jeziku omogoči domala vse.« Skozi enajst esejev zbirke Poskus vsakdanjosti se plete rdeča nit, ki bi jo lahko poimenovali »klic k humanizmu«. Iz njih se izliva ljubezen do umetnosti in radost do ustvarjanja, pa tudi čudenje nad lepoto, ki vznika tudi takrat, ko tega ne bi pričakovali. Eseji so hvalnica trenutkom medčloveške povezanosti in bližine, ki se lahko zgodi prek medija umetnosti, kot je glasba, ali pa v pristnem stiku, četudi še tako bežnem. Torej, zapravljajmo čas, berimo poezijo drevesom. Ostanimo Ljudje.

A mi kis bakink: Lengyel Tamás visszatérése olyan jelenetet hozott, hogy mindenki sírva nevetett! rtl.hu     2025-03-08 21:15:00     Film A mi kis falunk A mi kis falunk 9. évadának 13. részében Lengyel Tamás, azaz Gyuri visszatért Pajkaszegre, nem is akármilyen állapotban! A történet szerint a falu nagymenője kóros álmosságban szenved, és folyton-folyvást elalszik. Az egyik jelenetben – amiben az ajtófélfának támaszkodva, félálomban motyorgott maga elé – Lengyel Tamás olyat mondott, amitől azonnal Mától a Netflixen: A 8. legsikeresebb film 2023-ból már a platformon Mafab     2025-03-08 20:52:02     Film Netflix Egy különleges történet fantasztikus újraalkotása született meg 2023-ban. Nem meglepő, hogy az év egyik legsikeresebb filmje lett, amely mostantól a Netflixen is megnézhető. Ez a Wonka. Balázs Péter: Még szeretnék élni Librarius     2025-03-09 08:00:48     Színpad Balázs Péter: Amikor megkaptam a súlyos, rémisztő diagnózist, megijedtem. Aztán jöttek a kezelések, hallgattam, figyeltem az orvosokra. Március 9-én történt kultura.hu     2025-03-09 00:02:00     Film Oscar-díj Juliette Binoche Ma ünnepli hatvanegyedik születésnapját Juliette Binoche Oscar-díjas francia színésznő. A művésznő első nagyobb szerepét 1988-ban kapta A lét elviselhetetlen könnyűsége című alkotásban, majd Krzysztof Kieślowski Három szín-trilógiájában is láthatta a közönség. Az Oscar-díjat Az angol beteg című Anthony Minghella-filmben nyújtott alakításával nyerte A sivatagban talál egymásra kutya és ember 24.hu     2025-03-09 08:08:28     Film Kína Kutya Cannes Kína tavaly egy kutyás filmmel nyert Cannes-ban, ám Hu Guan drámája előtt jobb, ha mindent elfelejtünk, amit a kutyás műfajról gondolunk. "És mi van a kerítésen túl? Szörnyek" – megjelent a The Last Of Us második évadának új előzetese Telex     2025-03-09 08:30:30     Film Párkapcsolat Kerítés The Last of Us Az előzetes alapján a folytatásban is bőven lesz harc, lángszórózás, zombik és szerelem is. Az új évad április 13-én érkezik a Max-ra. Robert Pattinson alig várja, hogy elkezdődjön a Batman második részének forgatása Hamu és Gyémánt     2025-03-09 10:11:01     Film Mozi Robert Pattinson 2022-ben debütált a mozikban a Robert Pattinson főszereplésével készült Batman-film. Bár még ugyanabban az évben bejelentették, hogy érkezik a folytatás, a második rész előkészületei mégis évek óta csúsznak. Márciusban jelenik meg hazánkban Robert Pattinson legújabb filmje, a Mickey 17 című sci-fi, melynek kapcsán a színész a nemrég a Hero Rost Andrea belebetegedett a válásába Story     2025-03-09 04:00:26     Bulvár Rost Andrea Az operaénekesnő megrázó őszinteséggel beszélt csapásokkal teli gyermekkoráról, a szakításai okairól. Különösen a második férjétől való válás rázta meg. Kiderült az igazság Gene Hackman és felesége haláláról Igényesférfi.hu     2025-03-09 11:04:11     Film Orvosszakértő A filmvilágot és a rajongókat is megrázta Gene Hackman és felesége, Betsy Arakawa halálának híre. Az elmúlt napokban számos találgatás látott napvilágot, mostanra azonban az orvosszakértők hivatalosan is megállapították, mi vezetett a házaspár tragikus elvesztéséhez. 4 millió forintból fejleszt új forgatókönyvet a Hogyan tudnék élni nélküled? alkotócsapata Színház.online     2025-03-08 18:02:07     Film A Hogyan tudnék élni nélküled? alkotócsapata 4 millió forint támogatást kapott új forgatókönyvük első változatának elkészítésére, míg A 7 főbűn című szkeccsfilm gyártására 140 millió forint támogatást szavazott meg a Nemzeti Filmintézet (Nfi) Döntőbizottsága – tájékoztatott a filmintézet. Zenék a nagyvilágból – Park Jiha: All Living Things – világzenéről szubjektíven Ekultura     2025-03-09 10:00:00     Zene Dél-Korea Ez már a negyedik alkalom, hogy a dél-koreai művésznő albumáról írok, és a zenéje állandóságában van valami megnyugtató otthonosság. Továbbra is egyedül lakja be a stúdiót, minden hangszeren A további adásainkat keresd a podcast.hirstart.hu oldalunkon.

A mi kis bakink: Lengyel Tamás visszatérése olyan jelenetet hozott, hogy mindenki sírva nevetett! rtl.hu     2025-03-08 21:15:00     Film A mi kis falunk A mi kis falunk 9. évadának 13. részében Lengyel Tamás, azaz Gyuri visszatért Pajkaszegre, nem is akármilyen állapotban! A történet szerint a falu nagymenője kóros álmosságban szenved, és folyton-folyvást elalszik. Az egyik jelenetben – amiben az ajtófélfának támaszkodva, félálomban motyorgott maga elé – Lengyel Tamás olyat mondott, amitől azonnal Mától a Netflixen: A 8. legsikeresebb film 2023-ból már a platformon Mafab     2025-03-08 20:52:02     Film Netflix Egy különleges történet fantasztikus újraalkotása született meg 2023-ban. Nem meglepő, hogy az év egyik legsikeresebb filmje lett, amely mostantól a Netflixen is megnézhető. Ez a Wonka. Balázs Péter: Még szeretnék élni Librarius     2025-03-09 08:00:48     Színpad Balázs Péter: Amikor megkaptam a súlyos, rémisztő diagnózist, megijedtem. Aztán jöttek a kezelések, hallgattam, figyeltem az orvosokra. Március 9-én történt kultura.hu     2025-03-09 00:02:00     Film Oscar-díj Juliette Binoche Ma ünnepli hatvanegyedik születésnapját Juliette Binoche Oscar-díjas francia színésznő. A művésznő első nagyobb szerepét 1988-ban kapta A lét elviselhetetlen könnyűsége című alkotásban, majd Krzysztof Kieślowski Három szín-trilógiájában is láthatta a közönség. Az Oscar-díjat Az angol beteg című Anthony Minghella-filmben nyújtott alakításával nyerte A sivatagban talál egymásra kutya és ember 24.hu     2025-03-09 08:08:28     Film Kína Kutya Cannes Kína tavaly egy kutyás filmmel nyert Cannes-ban, ám Hu Guan drámája előtt jobb, ha mindent elfelejtünk, amit a kutyás műfajról gondolunk. "És mi van a kerítésen túl? Szörnyek" – megjelent a The Last Of Us második évadának új előzetese Telex     2025-03-09 08:30:30     Film Párkapcsolat Kerítés The Last of Us Az előzetes alapján a folytatásban is bőven lesz harc, lángszórózás, zombik és szerelem is. Az új évad április 13-én érkezik a Max-ra. Robert Pattinson alig várja, hogy elkezdődjön a Batman második részének forgatása Hamu és Gyémánt     2025-03-09 10:11:01     Film Mozi Robert Pattinson 2022-ben debütált a mozikban a Robert Pattinson főszereplésével készült Batman-film. Bár még ugyanabban az évben bejelentették, hogy érkezik a folytatás, a második rész előkészületei mégis évek óta csúsznak. Márciusban jelenik meg hazánkban Robert Pattinson legújabb filmje, a Mickey 17 című sci-fi, melynek kapcsán a színész a nemrég a Hero Rost Andrea belebetegedett a válásába Story     2025-03-09 04:00:26     Bulvár Rost Andrea Az operaénekesnő megrázó őszinteséggel beszélt csapásokkal teli gyermekkoráról, a szakításai okairól. Különösen a második férjétől való válás rázta meg. Kiderült az igazság Gene Hackman és felesége haláláról Igényesférfi.hu     2025-03-09 11:04:11     Film Orvosszakértő A filmvilágot és a rajongókat is megrázta Gene Hackman és felesége, Betsy Arakawa halálának híre. Az elmúlt napokban számos találgatás látott napvilágot, mostanra azonban az orvosszakértők hivatalosan is megállapították, mi vezetett a házaspár tragikus elvesztéséhez. 4 millió forintból fejleszt új forgatókönyvet a Hogyan tudnék élni nélküled? alkotócsapata Színház.online     2025-03-08 18:02:07     Film A Hogyan tudnék élni nélküled? alkotócsapata 4 millió forint támogatást kapott új forgatókönyvük első változatának elkészítésére, míg A 7 főbűn című szkeccsfilm gyártására 140 millió forint támogatást szavazott meg a Nemzeti Filmintézet (Nfi) Döntőbizottsága – tájékoztatott a filmintézet. Zenék a nagyvilágból – Park Jiha: All Living Things – világzenéről szubjektíven Ekultura     2025-03-09 10:00:00     Zene Dél-Korea Ez már a negyedik alkalom, hogy a dél-koreai művésznő albumáról írok, és a zenéje állandóságában van valami megnyugtató otthonosság. Továbbra is egyedül lakja be a stúdiót, minden hangszeren A további adásainkat keresd a podcast.hirstart.hu oldalunkon.

Giovanni Battista Magoni"Sulle tracce dell'assente"Metafisica del quotidiano nel cinema di KieślowskiAncora Editricewww.ancoralibri.it«Io filmo l'intimo, io filmo la metafisica». Così disse di sé Krzysztof Kieślowski (Varsavia, 1941-1996) il grande regista, sceneggiatore, scrittore e documentarista polacco, riconosciuto universalmente come uno dei più grandi autori della storia del cinema.Questo libro fruga nella sua monumentale opera del Decalogo, nei Tre Colori (Film Blu, Film Bianco e Film Rosso) e nella Doppia vita di Veronica per rivelare la passione del cineasta per l'umano e vi individua dei rimandi metafisici di un fondamento che sembra assente, ma che in realtà interagisce nella storia.Direttamente, il grande regista polacco non è politico né esistenzialista, non è moralista né spiritualista, non è cattolico ma neppure ateo, non è sociologo ma nemmeno intimista, non è razionalista puro, non è storico ma neppure simbolista. Ben disinfettato, insomma, da tutti gli «ismi».Eppure tutti questi motivi traspaiono, poi, dialetticamente, come per emanazione, da uno dei più formidabili tessitori della storia del cinema, da un cercatore instancabile di quell'Oltre, cui tutti aneliamo.Kieślowski è un «cercatore di senso», tra ragione e mistero.Il suo è un cinema dell'interiorità, dove l'indagine sull'uomo lascia trasparire tracce metafisiche e teologiche. Nello «stare addosso all'uomo», il regista rileva delle «fenditure» nelle quali l'Essere appare nel suo celarsi (l'Assente) e nel suo apparire (il Presente). L'Assente si affaccia come «regia sottotraccia», come «occulto tessitore» che offre all'uomo occasioni per realizzarsi nell'amore.E così, all'etica dell'individualismo tratteggiata nel Decalogo, Kieślowski offre, nei Tre Colori, il contrappunto di un'etica dell'amore.Il finale di Film Rosso è parola di speranza: tutti i protagonisti dell'opera, anziché naufragare, sono incredibilmente salvati. Non per caso, ma per destino provvidente.E così tutti possiamo sperare di «uscire a riveder le stelle». Anzi, di contemplare«l'amor che move il sole e l'altre stelle».Giovanni Battista Magoni, sacerdote pavoniano, laureato in filosofia, ha insegnato per molti anni nella scuola. Ha svolto per nove anni l'incarico di Superiore della Provincia pavoniana d'Italia ed è attualmente il Direttore di Àncora Editrice.Ama la filosofia, la musica e il cinema, la letteratura e l'arte.E i giovani… ancor di più.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

In 1994, a young Swiss-French rising star named Irène Jacob and a legendary Polish auteur, Krzysztof Kieślowski, travelled to Locarno to present “Three Colors: Red” on the Piazza Grande, in front of an audience of thousands of jubilant spectators. 30 years later, Jacob, now herself an established legend of international arthouse and commercial filmmaking, returned to Locarno to present the film while being honored with the Festival's prestigious Leopard Club Award (2024). We took the chance to sit down with Irène Jacob on Locarno Meets to reflect on the legacy of this monumental work and her remarkable and risk-taking career in the years since. In 2024 alone, Jacob has created indelible new films with Amos Gitai and Rithy Panh, each of which premiered to rave reviews at the Berlin and Venice film festivals. No matter the assignment, Irène Jacob continues to forge her own path – a deeply original one – within and through the landscape of international cinema.

Elwood and Stephen look at the first film in Krzysztof Kieślowski Three Colours Trilogy as they start with Blue which focuses on Julie, the wife of a famous composer who is killed along with their daughter in a car crash leaving her to deal with the ghosts of his legacy as well as her own grief.

Welcome to Director Watch! On this AwardsWatch podcast, co-hosts Ryan McQuade and Jay Ledbetter attempt to breakdown, analyze, and ultimately, get inside the mind of some of cinema's greatest auteurs. In doing so, they will look at their filmographies, explore what drives them artistically and what makes their decision making process so fascinating. Add in a few silly tangents and a fun game at the end of the episode and you've got yourself a podcast we truly hope you love. On episode 74 of the Director Watch Podcast, the boys discuss the next film in their Krzysztof Kieślowski series, Three Colours: Red (1994). In the last entry in his acclaimed trilogy, Kieślowski turns to the color red, which focuses on the idea of fraternity. In this drama, we find two characters, a young, curious girl and a reclusive older man, become interconnected within each other's lives and form a familiar bond that transforms into a surprising friendship. As other characters come in and out of their story, the film forms into a coming of age story for the younger protagonist and a redemption story for her male counterpart, making for a beautiful, profound piece of filmmaking from the director that saw him receive critical acclaimed, leading to several Oscar nominations. Ryan and Jay break down their thoughts on the film, surveillance being a strong aspect of the story, it's connection to Blue and White, if the film's ending adds anything to the overall experience of the trilogy, Irène Jacob and Jean-Louis Trintignant performances, closing thoughts on Kieślowski, their rankings of his films, and how old some of our favorite directors are. You can listen to the Director Watch Podcast wherever you stream podcasts, from iTunes, iHeartRadio, Soundcloud, Stitcher, Spotify, Audible, Amazon Music and more. This podcast runs 1h29m. The guys will be back next week to begin their new series on the films of Nancy Meyers with a review of her film, the 1998 remake of The Parent Trap. You can rent it via iTunes and Amazon Prime rental in preparation for the next episode of Director Watch. Till then, let's get into it. Music: MUSICALIFE, from Pond5 (intro) and “B-3” from BoxCat Games Nameless: The Hackers RPG Soundtrack (outro).

Welcome to Director Watch! On this AwardsWatch podcast, co-hosts Ryan McQuade and Jay Ledbetter attempt to breakdown, analyze, and ultimately, get inside the mind of some of cinema's greatest auteurs. In doing so, they will look at their filmographies, explore what drives them artistically and what makes their decision making process so fascinating. Add in a few silly tangents and a fun game at the end of the episode and you've got yourself a podcast we truly hope you love. On episode 73 of the Director Watch Podcast, the boys discuss the next film in their Krzysztof Kieślowski series, Three Colours: White (1994). The next entry into Kieślowski trilogy might go down as one of the most surprising films the guys have covered so far, as this anti-comedy is a completed shift from the tone and ideas covered in Blue. Following a couple from two different countries playing a manipulative game of chess with one another over time, Kieślowski is able to use this duo as a personification of geo-political warfare and how smaller countries have to react and fight in order to relevant in the world. It makes for a fascinating examination of European ideals wrapped within a twist tale of love and country. Ryan and Jay break down their thoughts on the film, how the logic of it only makes sense from a non-literal perspective, shifting point of views throughout the film, the film's ending, if these two really do love each other, what they each like to put on a sandwich, and what a “dumpster Whopper” is. You can listen to the Director Watch Podcast wherever you stream podcasts, from iTunes, iHeartRadio, Soundcloud, Stitcher, Spotify, Audible, Amazon Music and more. This podcast runs 1h16m. The guys will be back next week to continue their series on the films of Krzysztof Kieślowski with with a review of his film, Three Colours: Red. You can rent it via iTunes and Amazon Prime rental in preparation for the next episode of Director Watch. Till then, let's get into it. Music: MUSICALIFE, from Pond5 (intro) and “B-3” from BoxCat Games Nameless: The Hackers RPG Soundtrack (outro).

Welcome to Director Watch! On this AwardsWatch podcast, co-hosts Ryan McQuade and Jay Ledbetter attempt to breakdown, analyze, and ultimately, get inside the mind of some of cinema's greatest auteurs. In doing so, they will look at their filmographies, explore what drives them artistically and what makes their decision making process so fascinating. Add in a few silly tangents and a fun game at the end of the episode and you've got yourself a podcast we truly hope you love. On episode 72 of the Director Watch Podcast, the boys discuss the next film in their Krzysztof Kieślowski series, Three Colours: Blue (1993). Moving right along into the trilogy that made Kieślowski a legend in the cinematic community, the director set out to make a trio of films based around the colors found in the French flag, the country to which he could get funding for the film. With Blue, we enter his first phase, liberty, and in the case of the film, a complex look into a woman recovery as she tries to go on living her life after a tragic car accident kills her husband and daughter. In turning cold on the world and everyone around her, Julie (Juliette Binoche in a masterful performance) slowly opens back up, and it is within the final act of the film we see her recover beyond her understandable, heartbreaking grief. It makes for a wonderful start to this important trilogy. Ryan and Jay break down their thoughts on the film, the idea of grief and how everyone handles it differently, the use of the color blue throughout the film, the balance of the loss of Julie's husband and daughter, the guy's thoughts on Binoche's career and what type of reality, trash television shows people are watching today. You can listen to the Director Watch Podcast wherever you stream podcasts, from iTunes, iHeartRadio, Soundcloud, Stitcher, Spotify, Audible, Amazon Music and more. This podcast runs 1h42m. The guys will be back next week to continue their series on the films of Krzysztof Kieślowski with a review of his film, Three Colours: White. You can rent it via iTunes and Amazon Prime rental in preparation for the next episode of Director Watch. Till then, let's get into it. Music: MUSICALIFE, from Pond5 (intro) and “B-3” from BoxCat Games Nameless: The Hackers RPG Soundtrack (outro).

Welcome to Director Watch! On this AwardsWatch podcast, co-hosts Ryan McQuade and Jay Ledbetter attempt to breakdown, analyze, and ultimately, get inside the mind of some of cinema's greatest auteurs. In doing so, they will look at their filmographies, explore what drives them artistically and what makes their decision making process so fascinating. Add in a few silly tangents and a fun game at the end of the episode and you've got yourself a podcast we truly hope you love. On episode 71 of the Director Watch Podcast, the boys discuss the first film in their Krzysztof Kieślowski series, The Double Life of Veronique (1991). Known for being a documentarian in the 1970s and making smaller, personal films and television shows in the 1980s, Polish director Krzysztof Kieślowski broke through in the 1990s with four films that became some of the most influential films of the last 30 years. For the first film in this month long series, Kieślowski dives into the world of two young girls (both played by Irène Jacob) who feels connected to each other, a bond that transcends time, language and geography. In a unconventional, beautiful version of a coming of age story, Ryan and Jay talk about their relationship with Krzysztof Kieślowski, thoughts on the film, the differences between Weronika and Véronique, sex used as a vital tool for storytelling, the film's haunting tone and ending, and many stories about Jay's recent family Disney trip. You can listen to the Director Watch Podcast wherever you stream podcasts, from iTunes, iHeartRadio, Soundcloud, Stitcher, Spotify, Audible, Amazon Music and more. This podcast runs 2h04m. The guys will be back next week to continue their series on the films of Krzysztof Kieślowski with a review of his film, Three Colours: Blue. You can rent it via iTunes and Amazon Prime in preparation for the next episode of Director Watch. Till then, let's get into it. Music: MUSICALIFE, from Pond5 (intro) and “B-3” from BoxCat Games Nameless: The Hackers RPG Soundtrack (outro).

Welcome to Director Watch! On this AwardsWatch podcast, co-hosts Ryan McQuade and Jay Ledbetter attempt to breakdown, analyze, and ultimately, get inside the mind of some of cinema's greatest auteurs. In doing so, they will look at their filmographies, explore what drives them artistically and what makes their decision making process so fascinating. Add in a few silly tangents and a fun game at the end of the episode and you've got yourself a podcast we truly hope you love. On episode 70 of the Director Watch Podcast, the boys discuss the next film in their Carl Franklin series, Out of Time (2003). After the box office failure of Devil in a Blue Dress, and making a Meryl Streep movie (One True Thing) and a standard legal thriller starring Ashley Judd and Morgan Freeman (High Crimes), Carl Franklin's last feature film was his last effort at trying to make a entertaining popcorn films starring Denzel Washington, Out of Time. What sounds like an interesting premise of a small town cop racing against the clock when the woman he is seeing ends up the prime murder suspect in his area of Florida, with the team investigating the crime run by his ex-wife (Eva Mendes). In what feels like a discount Tony Scott film, Franklin isn't able to elevate the movie beyond just being a decent film that Denzel carries to the finish line. Ryan and Jay talk about their thoughts on the film, diving into some heavy Jimmy Buffett references, Dean Cain's filmography, the illogical ending of the film, how much they've loved talking about Denzel Washington films this year, the sad reality behind where Franklin's career is now, as well as give their ranks of the films within this short but important series. You can listen to the Director Watch Podcast wherever you stream podcasts, from iTunes, iHeartRadio, Soundcloud, Stitcher, Spotify, Audible, Amazon Music and more. This podcast runs 2h03m. The guys will be back next week to begin their series on the films of Krzysztof Kieślowski with a review of his film, The Double Life of Veronique. You can rent it via iTunes and Amazon Prime rental in preparation for the next episode of Director Watch. Till then, let's get into it. Music: MUSICALIFE, from Pond5 (intro) and “B-3” from BoxCat Games Nameless: The Hackers RPG Soundtrack (outro).

Get access to this entire episode as well as all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.You voted for it, we watched it.We discuss the winner of our Patron Poll, Krzysztof Kieślowski's The Double Life of Veronique - A new film to both Hit Factory hosts, and one that has become an instant favorite.Enigmatic, ethereal, and steeped in a gentle magical realism, the film finds ways to make grand the quotidian and the interior emotional plane of existence, transcending attempts to articulate its power and majesty with mere words.We discuss the brilliant Irène Jacob, whose dual performance as Weronika and Veronique communicates an entire world of feeling with her eyes, and we ask if this is perhaps the most beautiful anyone has ever been onscreen. Then, we make meaning of the film's many distinct totems of symbolism - refracted images, melodies, marionettes, and their significance as links not just to the film's two protagonists, but to the imperceptible bond between all people. Finally, we discuss director Kieślowski's initial plan to release hundreds of slightly different iterations of the film in various theaters across the globe, and how the film's subtle graces are made more meaningful by their potential absence.....Our theme song is "Mirror" by Chris Fish.

Philosopher, Simone Weil said that attentiveness is the heart of prayer. In this episode, we discuss postures of attentiveness as gateways to wonder.Guests: Dr. Mary McCampbell is an author, educator, and speaker whose publications span the worlds of literature, film, and popular music. She is the author of Imagining Our Neighbors as Ourselves: How Art Shapes Empathy.Dr. Joe Kickasola is a Professor of Film and Digital Media at Baylor University. He is the author of The Films of Krzysztof Kieślowski: The Liminal Image, and has published in numerous academic venues and anthologies, including Film Quarterly, The Quarterly Review of Film and Video, and The Routledge Companion to Philosophy and Film. _____Topics: Attentiveness, cynicism, receptivity, humility, consumerism, experiencing wonder during times of upheaval, Art Forms: filmmaking, photography, literature. Name Drops: Douglas Copeland, G.K. Chesterton, Jim Jarmusch, Terrence Malick, T.S.Eliot, Wallace Stevens, Andrei Tarkovsky, Andrey Rublev, Rothko, Stan Brakhage, Virginia Wolfe, David Foster Wallace, Movie References: Patterson, Tree of Life, Zabriskie Point Support The Podcast! We need your help to continue our work of advocating for the arts.Join our creative collectiveGive a one-time donation

Dedicamos reportaje al centenario de Sidney Lumet, uno de esos directores que no necesita estar en ningún top, tener algún Oscar o ser reivindicado por los críticos para ser sencillamente uno de los grandes gracias a una carrera variada, combativa y llena de magisterio. Se ha reestrenado en salas españolas la trilogía de los colores (“Azul”, “Blanco” y “Rojo”) de Krzysztof Kieślowski y eso nos lleva a hablar con Mary Carmen Rodríguez (también editora del podcast) del sello del director polaco. In Memoriam dedicado a los actores Shelley Duvall y Bob Newhart, recomendaciones en Colgados de la plataforma y la crítica de las favoritas “Simple como Sylvain”, “Nuestro momento perfecto” y “Bikeriders. La ley del asfalto”. ¡Muchas gracias por escucharnos!

Our Animal Well episode is going to be late this week due to Matt literally getting hit with a tornado. It sucks so be nice to him. As an alternative we're going to go ahead and release our April Patreon bonus episode which is about the Three Colours Trilogy by Krzysztof Kieślowski. If you love video games then you'll love a discussion about these 30 year old psychological drama art-films.   Special thanks to our guest and old friend, Andrew Camarillo!   To see the most up to version of The OGA 100, visit https://docs.google.com/spreadsheets/d/194Zs7HY9o2y4dgOQLsQXT0Q0cBW_Q1WZzkwqG-ALqi0/edit?usp=sharing. THIS CONTAINS SPOILERS IF YOU ARE LISTENING TO OLDER EPISODES. Music by nightcorey. https://soundcloud.com/nightcorey Consider contributing to our show on Patreon. (https://www.patreon.com/oldgamersalmanac) Email us your thoughts on the ongoing list at oldgamersalmanac(at)gmail(dot)com. Or come talk to us on our Discord. (https://discord.gg/ASG2YpyfPx)  

Bernardo Kastrup is the executive director of Essentia Foundation. His work has been leading the modern renaissance of metaphysical idealism, the notion that reality is essentially mental. He has a Ph.D. in philosophy and another Ph.D. in computer engineering. As a scientist, Bernardo has worked for CERN and Philips Research Laboratories. Bernardo's 11th book, coming in 2024, is 'Analytic Idealism in a Nutshell: A straightforward summary of the 21st-century's only plausible metaphysics.' This is me listening to Bernardo and asking him questions so as to better understand the world as mind. To do this, we explored what it means to be human. Bernardo explained the work of Nietzsche, Frankl, Schopenhauer, and Jung to me as well as how a bourgeoise has sought to wrest control of our culture away from the church and ultimately leave us stranded, meaningless, and seeking solutions elsewhere. Bernardo taught me that we should not seek answers or solutions. These will never appear to us and we simply don't have the capability to understand what is going on. Instead, like the apple blossom in his garden, we should just be. We should listen to the noumena, the will inside us. We can describe it as duty, as calling, as fate, or as many other things. But ultimately, we are a violin and we should allow ourselves to be played by nature rather than seeking to force ourselves on the world. We should seek service instead of personal happiness. These ideas will stay with me for a while. At the end, I asked him to recommend a movie, a book, and a song. The movie he suggested was The Double Life of Véronique (1991) by Polish director Krzysztof Kieślowski. The song was Song to the Siren by Cocteau Twins vocalist Elizabeth Fraser. The book was Schopenhauer's The World as Will and Representation. Bernardo's Website: https://www.bernardokastrup.com/ The Essentia Foundation: https://www.youtube.com/@UCHKZdDf09_8vVHm102fu0sg Bernardo's upcoming book: https://www.amazon.com/Analytic-Idealism-Nutshell-straightforward-metaphysics/dp/1803416696   Discussion Outline:  0:00 The importance of service 7:40 The bourgeoisie capture of culture 12:33 Immanent meaning 25:35 Spiritual but not religious 31:00 Carl Jung and our two stages of life 41:58 Introspection as the royal path to knowledge 48:15 Schopenhauer and the will inside us 54:52 Synchronicity 1:05:03 Religion and science 1:16:58 The world as mind 1:26:10 A book, a movie, and a song 1:31:10 The apple blossom   Korea Deconstructed by David Tizzard ▶ Get in touch: datizzard@swu.ac.kr ▶ Yunseo Jeon: https://www.instagram.com/y_jeon_s/ ▶ Support us on Patreon: https://www.patreon.com/user?u=62047873 ▶ Watch us on Youtube: /davidtizzard ▶ Find us on Insta: https://www.instagram.com/koreadeconstructed ▶ Listen on iTunes: https://podcasts.apple.com/kr/podcast/korea-deconstructed/id1587269128 ▶Listen on Spotify: https://open.spotify.com/show/5zdXkG0aAAHnDwOvd0jXEE ▶ Listen on podcasts: https://koreadeconstructed.libsyn.com/ ▶ Music: Rail Gun by Disorientalz

The final film in Krzysztof Kieślowski's Three Colors trilogy, and the final film of the director's life, is the capstone to the set and, perhaps, a capstone to his entire career. A story of connection, coupled with the others in the trilogy, we're reminded that without Fraternity - the guiding theme of this film - life is hell. You gotta care. You deserve to be cared about.

In this episode, we discuss Krzysztof Kieślowski's Three Colors: Red, including its connections to Blue and White, the film's telephone motif, and the way Kieślowski's camera conveys connection and disconnection.See where Three Colors: Red is available to watch.Supplemental Material:The Criterion Collection's Three Colors Blu-rayCurzon's Three Colours Trilogy 4K Ultra HDKieślowski on Kieślowski (Book)Krzysztof Kieślowski Interviews (Conversations with Filmmakers Series) (Book)Three Colors: A Hymn to European Cinema by Colin MacCabeRed: A Fraternity of Strangers by Georgina EvansThis Year's Foreign Oscar Race Reflects a Growingly Global Medium by Guy Lodge Insight into Three Colors: RedAdditional Audio Sources:Three Colors: Red TrailerThe Criterion Collection's Three Colors Blu-ray"Irène Jacob" from The Criterion Collection's Three Colors Blu-ray"Behind the Scenes of Red" from The Criterion Collection's Three Colors 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

D.H. Lawrence once said "Never trust the teller, trust the tale" and we fully embrace that as we struggle to step around the obvious political metaphor of a rocky relationship between a French woman and a Polish man in Krzysztof Kieślowski's anti-romantic comedy "Equality" movie Three Colors: White. Kieślowski is rather insistent that these are not political movies, though his collaborator and co-screenwriter Krzysztof Piesiewicz is perhaps less insistent. In either case though, the tale does the talking.

This week we kick off Krzysztof Kieślowski's Three Colors trilogy with Blue. Each of the three colors, drawn from the colors of the French flag, are also used in the films to represent one of the ideals of the French Revolution: Blue is associated with Liberty, White with Equality, and Red with Fraternity. Ultimately, as we'll discuss in the coming weeks, the films make an argument that without Fraternity, Liberty and Equality are meaningless and even hellish. In Blue we see a woman who has embraced solitude in response to grief.  She believes solitude is liberation from pain, but the film shows that to heal she needs human connection. It's a beautiful and brilliant film, and a masterpiece of synthesizing message and form.

In this episode, we discuss Krzysztof Kieślowski's Three Colors: White, including the strong opening sequence, its connections to Three Colors: Blue, and whether the film effectively handles the theme of equality.See where Three Colors: White is available to watch.Supplemental Material:The Criterion Collection's Three Colors Blu-rayCurzon's Three Colours Trilogy 4K Ultra HDKieślowski on Kieślowski (Book)Krzysztof Kieślowski Interviews (Conversations with Filmmakers Series) (Book)Three Colors: A Hymn to European Cinema by Colin MacCabeWhite: The Nonpolitical Reunifications of Karol Karol by Stuart KlawansAdditional Audio Sources:Three Colors: White TrailerThe Criterion Collection's Three Colors Blu-ray"Zamachowski and Delpy" from The Criterion Collection's Three Colors 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

In this episode, we discuss Krzysztof Kieślowski's Three Colors: Blue, including possible interpretations of the film's abstract moments, the depiction of loss and grief, and Juliette Binoche's internal performance.See where Three Colors: Blue is available to watch.Supplemental Material:The Criterion Collection's Three Colors Blu-rayCurzon's Three Colours Trilogy 4K Ultra HDKieślowski on Kieślowski (Book)Krzysztof Kieślowski Interviews (Conversations with Filmmakers Series) (Book)Three Colors: A Hymn to European Cinema by Colin MacCabeBlue: Bare Necessities by Nick JamesJuliette Binoche on the Art of Being Directed by Hillary WestonAdditional Audio Sources:Three Colors: Blue TrailerThe Criterion Collection's Three Colors Blu-ray"Reflections on Blue" from The Criterion Collection's Three Colors 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

French actor Juliette Binoche is known for her portrayal of emotionally complex characters. Over a forty year career, her films have included Three Colours Blue, Les Amants de Pont Neuf, Chocolat, and The English Patient, for which she won her Academy Award. Her most recent film is The Taste of Things, a French drama about a cook and the gourmet she works for, in which she stars opposite Benoît Magimel.Juliette Binoche talks to John Wilson about an early moment of revelation, watching Peter Brookes' production of Alfred Jarry's play Ubu Roi at in Paris in 1977, which first made her realise she wanted to act. She explains the influence of her acting coach Véra Gregh, who helped her to understand the difference between "acting" and "being". She also recalls her experiences working with some of the most acclaimed film directors; Jean-Luc Godard on Hail Mary; Leos Carax on Les Amants du Pont-Neuf; Krzysztof Kieślowski on Three Colours: Blue; and Anthony Minghella on The English Patient.Producer: Edwina Pitman

Join host Aaron Strand live at the historic Plaza Theatre in Atlanta, GA as he presents Krzysztof Kieślowski's 1994 film 'Three Colours: White'. Aaron gives an opening monologue giving a brief historical background of the filmmaker. After the screening, we open up the conversation for a lively and delightful audience discussion!If you would like to join us for future live events, please visit plazaatlanta.com for tickets!Email us: behindtheslatepod@gmail.comInstagram: @behindtheslatepodTikTok: @behindtheslatepodYouTube: @behindtheslatepodcastProducer: Greg Kleinschmidt Hosted on Acast. See acast.com/privacy for more information.

We're sorry for the delay on this episode, but we hope you enjoy the looser discussion. We'll be back on March 1st, discussing Krzysztof Kieślowski's Three Colors: Blue.In this episode, we discuss our favorite films featured on the podcast. We also discuss the best and worst films we watched in 2023, lessons learned, and our 2024 film resolutions.Additional Music from Charlotte Wells' Aftersun.If 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

For more than a decade, actor and writer Brit Marling has made futuristic work that reveals truths about our disquieting present. Her latest endeavor, A Murder At the End of the World, is no exception. We recently sat with Marling in front of a live audience as part of this year's On Air Fest LA Annex, where we discussed her excellent new show on FX (8:34), the role artificial intelligence may play in the future of filmmaking (14:26), and where she first fell in love with science fiction (20:35). Then, Brit reflects on her winding path at Goldman Sachs and Georgetown (23:40), where she met longtime collaborators Zal Batmanglij and Mike Cahill (25:25) that would eventually result in films like Another Earth and Sound of My Voice (36:18). On the back-half, we speak on the power of collective action (41:30), the public outcry that followed the cancellation of The OA (45:15), the state of Hollywood (51:12), and why Brit was inspired to direct (57:00) upon finding a passage from the late Polish auteur, Krzysztof Kieślowski (57:35). You can listen to our 2019 conversation with Marling here. For questions, comments, or to join our mailing list, drop me a line at sf@talkeasypod.com.See omnystudio.com/listener for privacy information.

Revisamos la relación creativa entre dos genios nacidos en Polonia: el cineasta Krzysztof Kieślowski y el compositor Zbigniew Preisner, autores conjuntos de filmes inmortales como el Decálogo, La doble vida de Verónica y la trilogía Azul, Blanco y Rojo. 

Learn Polish in a fun way with short Episodes. On this episode we talk about  Polish quiz - Polski quiz. ===== Thanks to my Sponsors for Helping Support me:   If you or know some body you know is struggling with anxiety and want to know how to be 100% anxiety free, in 6 weeks, without therapy or drugs, fully guaranteed - then let me tell you about our sponsor Daniel Packard.   Daniel Packard is a U.C. Berkeley Mechanical Engineer and his research company spent 8 years researching and testing to develop an innovative process that solves your anxiety permanently in just 6 weeks - with an astounding 90% success rate.  And because their program is so effective, people who join their program only pay at the end, once they have clear, measurable results.   If you're interested in solving your anxiety in 6 weeks - fully guaranteed  - and you want to learn more and have a free consultation with Daniel, go to https://www.danielpackard.com/ --------------------------   Do you have High Blood Pressure and/ or want to get off the Meds   Doctors are amazed at what the Zona Plus can do   $50 Discount with my Code ROY https://www.zona.com/discount/ROY   --------------- Store https://www.podpage.com/learn-polish-podcast/store/   Our Websites https://www.podpage.com/learn-polish-podcast/   https://learnpolish.podbean.com/   Find all Graphics to freely Download https://www.facebook.com/learnpolishpodcast    Start Your Own Podcast + Social Media & Donations https://bio.link/podcaster     All other Social Media & Donations https://linktr.ee/learnpolish   ===================================== Now also on   Bitchute https://www.bitchute.com/channel/pxb8OvSYf4w9/   Youtube https://www.youtube.com/channel/UC9SeBSyrxEMtEUlQNjG3vTA   To get Skype lessons from Kamila or her team please visits http://polonuslodz.com/  -------------------------------------------------- 1st Episodes https://learnpolish.podbean.com/page/50 ====================== In this Episode we discuss:   Pierogi ruskie to popularne polskie danie - Pierogi ruskie is a popular Polish dish   Krzysztof Penderecki to polski kompozytor- Krzysztof Penderecki is a Polish composer   Żubrówka to polska wódka- Żubrówka is a Polish vodka   Kościół Mariacki to kościół w Krakowie- St. Mary's Church is a church in Krakow   Wawel to zamek w Krakowie- Wawel is a castle in Krakow   Śląsk to region przemysłowy na południu Polski- Silesia is an industrial region in the south of Poland   Gniezno to pierwsza stolica Polski- Gniezno is the first capital of Poland   Karol Wojtyła to papież- Karol Wojtyła is the pope   Maluch to polski fiat- Maluch is a Polish Fiat   Solidarność to związek zawodowy- Solidarity is a trade union   Krzysztof Kieślowski to polski reżyser- Krzysztof Kieślowski is a Polish director Graphic can be downloaded from here https://www.facebook.com/learnpolishpodcast --------------------------------------------------------------- If you would like Skype lessons from kamila or her team please visit http://polonuslodz.com/       Donations https://www.podpage.com/learn-polish-podcast/support/   Store https://www.podpage.com/learn-polish-podcast/store/   All Social Media + Donations https://linktr.ee/learnpolish   Start your own Podcast    https://bio.link/podcaster   Please Share with your friends / Subscribe / Comment and give a 5* Review  - Thank You (Dziekuje Bardzo :) )   #learnpolish #polishpodcast #learnpolishpodcast #speakpolish

Alright, we're back with another UNLOCKED ⁠PATREON⁠ episode and we're talking ⁠Jacques Derrida⁠, the difference between parallax and différance, How To? with John Wilson, Krzysztof Kieślowski, documentary and fiction cinema, a deconstruction of Smash Mouth's All Star, and the (w)hole in the picture.  Thank you to all of our Patreons, we have our interview with Alenka Zupančič coming up soon! Enjoy!

PEEK A BOO: Join me and blogger and film lover James S. Wilson as we talk two masterpieces, Alfred Hitchcock's Rear Window and Krzysztof Kieslowski's A Short Film About Love, two films about voyeurs and voyeurism.     “Why would a man leave his apartment three times on a rainy night with a suitcase and come back three times?” You're alone in your own apartment. Doing your thing. Maybe you've murdered someone. Or maybe you're having sex. When suddenly you get this feeling…Am I…being watched? Probably…Sounds like it's time for Episode 108 of Pop Art, where we find the pop culture in art and the art in pop culture. It's the podcast where my guest chooses a movie from popular culture, and I'll select a film from the more art/classic/indie/foreign side of cinema with a connection to it. Today, I am happy to welcome as my returning guest, blogger and film enthusiast, James S. Wilson, who has chosen as his film one of Alfred Hitchcock's masterpieces, Rear Window, while I have chosen one of Krzysztof Kieślowski's masterpieces, A Short Film About Love, both films about voyeurs and voyeurism.   And in this episode, we answer such questions as: Who slept on the set of Rear Window while it was being made? Why did Kieslowski decide not to use different directors for each entry in The Dekalog? Who is Bess Flowers? Why did Kieslowski expand A Short Film About Love into a feature film? Who is Ross Bagdasarian and what is his contribution to children's culture? How does both Hitchcock and Kieslowski's Catholicism influence their films? Who played Jeff's agent in Rear Window? What are the differences between the source materials and the final feature for both films?   Check out James's blog Blogging by Cinema-light at http://bloggingbycinemalight.blogspot.com/   Check out my blog at https://howardcasner.wordpress.com/     My books, More Rantings and Ravings of a Screenplay Reader, The Starving Artists and Other Stories and The Five Corporations and One True Religion can be found at https://www.amazon.com/s?k=howard+casner&ref=nb_sb_noss   Be sure to like, follow or comment on my podcast. I'd love to know what you think. And check out the other episodes. --- Support this podcast: https://podcasters.spotify.com/pod/show/howard-casner/support

We finally complete our mini-series on the 1980s movies released by Miramax Films in 1989, a year that included sex, lies, and videotape, and My Left Foot. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we complete our look back at the 1980s theatrical releases for Miramax Films. And, for the final time, a reminder that we are not celebrating Bob and Harvey Weinstein, but reminiscing about the movies they had no involvement in making. We cannot talk about cinema in the 1980s without talking about Miramax, and I really wanted to get it out of the way, once and for all.   As we left Part 4, Miramax was on its way to winning its first Academy Award, Billie August's Pelle the Conquerer, the Scandinavian film that would be second film in a row from Denmark that would win for Best Foreign Language Film.   In fact, the first two films Miramax would release in 1989, the Australian film Warm Night on a Slow Moving Train and the Anthony Perkins slasher film Edge of Sanity, would not arrive in theatres until the Friday after the Academy Awards ceremony that year, which was being held on the last Wednesday in March.   Warm Nights on a Slow Moving Train stars Wendy Hughes, the talented Australian actress who, sadly, is best remembered today as Lt. Commander Nella Daren, one of Captain Jean-Luc Picard's few love interests, on a 1993 episode of Star Trek: The Next Generation, as Jenny, a prostitute working a weekend train to Sydney, who is seduced by a man on the train, unaware that he plans on tricking her to kill someone for him. Colin Friels, another great Aussie actor who unfortunately is best known for playing the corrupt head of Strack Industries in Sam Raimi's Darkman, plays the unnamed man who will do anything to get what he wants.   Director Bob Ellis and his co-screenwriter Denny Lawrence came up with the idea for the film while they themselves were traveling on a weekend train to Sydney, with the idea that each client the call girl met on the train would represent some part of the Australian male.   Funding the $2.5m film was really simple… provided they cast Hughes in the lead role. Ellis and Lawrence weren't against Hughes as an actress. Any film would be lucky to have her in the lead. They just felt she she didn't have the right kind of sex appeal for this specific character.   Miramax would open the film in six theatres, including the Cineplex Beverly Center in Los Angeles and the Fashion Village 8 in Orlando, on March 31st. There were two versions of the movie prepared, one that ran 130 minutes and the other just 91. Miramax would go with the 91 minute version of the film for the American release, and most of the critics would note how clunky and confusing the film felt, although one critic for the Village Voice would have some kind words for Ms. Hughes' performance.   Whether it was because moviegoers were too busy seeing the winners of the just announced Academy Awards, including Best Picture winner Rain Man, or because this weekend was also the opening weekend of the new Major League Baseball season, or just turned off by the reviews, attendance at the theatres playing Warm Nights on a Slow Moving Train was as empty as a train dining car at three in the morning. The Beverly Center alone would account for a third of the movie's opening weekend gross of $19,268. After a second weekend at the same six theatres pocketing just $14,382, this train stalled out, never to arrive at another station.   Their other March 31st release, Edge of Sanity, is notable for two things and only two things: it would be the first film Miramax would release under their genre specialty label, Millimeter Films, which would eventually evolve into Dimension Films in the next decade, and it would be the final feature film to star Anthony Perkins before his passing in 1992.   The film is yet another retelling of the classic 1886 Robert Louis Stevenson story The Strange Case of Doctor Jekyll and Mister Hyde, with the bonus story twist that Hyde was actually Jack the Ripper. As Jekyll, Perkins looks exactly as you'd expect a mid-fifties Norman Bates to look. As Hyde, Perkins is made to look like he's a backup keyboardist for the first Nine Inch Nails tour. Head Like a Hole would have been an appropriate song for the end credits, had the song or Pretty Hate Machine been released by that time, with its lyrics about bowing down before the one you serve and getting what you deserve.   Edge of Sanity would open in Atlanta and Indianapolis on March 31st. And like so many other Miramax releases in the 1980s, they did not initially announce any grosses for the film. That is, until its fourth weekend of release, when the film's theatre count had fallen to just six, down from the previous week's previously unannounced 35, grossing just $9,832. Miramax would not release grosses for the film again, with a final total of just $102,219.   Now when I started this series, I said that none of the films Miramax released in the 1980s were made by Miramax, but this next film would become the closest they would get during the decade.   In July 1961, John Profumo was the Secretary of State for War in the conservative government of British Prime Minister Harold Macmillan, when the married Profumo began a sexual relationship with a nineteen-year-old model named Christine Keeler. The affair was very short-lived, either ending, depending on the source, in August 1961 or December 1961. Unbeknownst to Profumo, Keeler was also having an affair with Yevgeny Ivanov, a senior naval attache at the Soviet Embassy at the same time.   No one was the wiser on any of this until December 1962, when a shooting incident involving two other men Keeler had been involved with led the press to start looking into Keeler's life. While it was never proven that his affair with Keeler was responsible for any breaches of national security, John Profumo was forced to resign from his position in June 1963, and the scandal would take down most of the Torie government with him. Prime Minister Macmillan would resign due to “health reasons” in October 1963, and the Labour Party would take control of the British government when the next elections were held in October 1964.   Scandal was originally planned in the mid-1980s as a three-part, five-hour miniseries by Australian screenwriter Michael Thomas and American music producer turned movie producer Joe Boyd. The BBC would commit to finance a two-part, three-hour miniseries,  until someone at the network found an old memo from the time of the Profumo scandal that forbade them from making any productions about it. Channel 4, which had been producing quality shows and movies for several years since their start in 1982, was approached, but rejected the series on the grounds of taste.   Palace Pictures, a British production company who had already produced three films for Neil Jordan including Mona Lisa, was willing to finance the script, provided it could be whittled down to a two hour movie. Originally budgeted at 3.2m British pounds, the costs would rise as they started the casting process.  John Hurt, twice Oscar-nominated for his roles in Midnight Express and The Elephant Man, would sign on to play Stephen Ward, a British osteopath who acted as Christine Keeler's… well… pimp, for lack of a better word. Ian McKellen, a respected actor on British stages and screens but still years away from finding mainstream global success in the X-Men movies, would sign on to play John Profumo. Joanne Whaley, who had filmed the yet to be released at that time Willow with her soon to be husband Val Kilmer, would get her first starring role as Keeler, and Bridget Fonda, who was quickly making a name for herself in the film world after being featured in Aria, would play Mandy Rice-Davies, the best friend and co-worker of Keeler's.   To save money, Palace Pictures would sign thirty-year-old Scottish filmmaker Michael Caton-Jones to direct, after seeing a short film he had made called The Riveter. But even with the neophyte feature filmmaker, Palace still needed about $2.35m to be able to fully finance the film. And they knew exactly who to go to.   Stephen Woolley, the co-founder of Palace Pictures and the main producer on the film, would fly from London to New York City to personally pitch Harvey and Bob Weinstein. Woolley felt that of all the independent distributors in America, they would be the ones most attracted to the sexual and controversial nature of the story. A day later, Woolley was back on a plane to London. The Weinsteins had agreed to purchase the American distribution rights to Scandal for $2.35m.   The film would spend two months shooting in the London area through the summer of 1988. Christine Keeler had no interest in the film, and refused to meet the now Joanne Whaley-Kilmer to talk about the affair, but Mandy Rice-Davies was more than happy to Bridget Fonda about her life, although the meetings between the two women were so secret, they would not come out until Woolley eulogized Rice-Davies after her 2014 death.   Although Harvey and Bob would be given co-executive producers on the film, Miramax was not a production company on the film. This, however, did not stop Harvey from flying to London multiple times, usually when he was made aware of some sexy scene that was going to shoot the following day, and try to insinuate himself into the film's making. At one point, Woolley decided to take a weekend off from the production, and actually did put Harvey in charge. That weekend's shoot would include a skinny-dipping scene featuring the Christine Keeler character, but when Whaley-Kilmer learned Harvey was going to be there, she told the director that she could not do the nudity in the scene. Her new husband was objecting to it, she told them. Harvey, not skipping a beat, found a lookalike for the actress who would be willing to bare all as a body double, and the scene would begin shooting a few hours later. Whaley-Kilmer watched the shoot from just behind the camera, and stopped the shoot a few minutes later. She was not happy that the body double's posterior was notably larger than her own, and didn't want audiences to think she had that much junk in her trunk. The body double was paid for her day, and Whaley-Kilmer finished the rest of the scene herself.   Caton-Jones and his editing team worked on shaping the film through the fall, and would screen his first edit of the film for Palace Pictures and the Weinsteins in November 1988. And while Harvey was very happy with the cut, he still asked the production team for a different edit for American audiences, noting that most Americans had no idea who Profumo or Keeler or Rice-Davies were, and that Americans would need to understand the story more right out of the first frame. Caton-Jones didn't want to cut a single frame, but he would work with Harvey to build an American-friendly cut.   While he was in London in November 1988, he would meet with the producers of another British film that was in pre-production at the time that would become another important film to the growth of the company, but we're not quite at that part of the story yet. We'll circle around to that film soon.   One of the things Harvey was most looking forward to going in to 1989 was the expected battle with the MPAA ratings board over Scandal. Ever since he had seen the brouhaha over Angel Heart's X rating two years earlier, he had been looking for a similar battle. He thought he had it with Aria in 1988, but he knew he definitely had it now.   And he'd be right.   In early March, just a few weeks before the film's planned April 21st opening day, the MPAA slapped an X rating on Scandal. The MPAA usually does not tell filmmakers or distributors what needs to be cut, in order to avoid accusations of actual censorship, but according to Harvey, they told him exactly what needed to be cut to get an R: a two second shot during an orgy scene, where it appears two background characters are having unsimulated sex.   So what did Harvey do?   He spent weeks complaining to the press about MPAA censorship, generating millions in free publicity for the film, all the while already having a close-up shot of Joanne Whaley-Kilmer's Christine Keeler watching the orgy but not participating in it, ready to replace the objectionable shot.   A few weeks later, Miramax screened the “edited” film to the MPAA and secured the R rating, and the film would open on 94 screens, including 28 each in the New York City and Los Angeles metro regions, on April 28th.   And while the reviews for the film were mostly great, audiences were drawn to the film for the Miramax-manufactured controversy as well as the key art for the film, a picture of a potentially naked Joanne Whaley-Kilmer sitting backwards in a chair, a mimic of a very famous photo Christine Keeler herself took to promote a movie about the Profumo affair she appeared in a few years after the events. I'll have a picture of both the Scandal poster and the Christine Keeler photo on this episode's page at The80sMoviePodcast.com   Five other movies would open that weekend, including the James Belushi comedy K-9 and the Kevin Bacon drama Criminal Law, and Scandal, with $658k worth of ticket sales, would have the second best per screen average of the five new openers, just a few hundred dollars below the new Holly Hunter movie Miss Firecracker, which only opened on six screens.   In its second weekend, Scandal would expand its run to 214 playdates, and make its debut in the national top ten, coming in tenth place with $981k. That would be more than the second week of the Patrick Dempsey rom-com Loverboy, even though Loverboy was playing on 5x as many screens.   In weekend number three, Scandal would have its best overall gross and top ten placement, coming in seventh with $1.22m from 346 screens. Scandal would start to slowly fade after that, falling back out of the top ten in its sixth week, but Miramax would wisely keep the screen count under 375, because Scandal wasn't going to play well in all areas of the country. After nearly five months in theatres, Miramax would have its biggest film to date. Scandal would gross $8.8m.   The second release from Millimeter Films was The Return of the Swamp Thing. And if you needed a reason why the 1980s was not a good time for comic book movies, here you are. The Return of the Swamp Thing took most of what made the character interesting in his comic series, and most of what was good from the 1982 Wes Craven adaptation, and decided “Hey, you know what would bring the kids in? Camp! Camp unseen in a comic book adaptation since the 1960s Batman series. They loved it then, they'll love it now!”   They did not love it now.   Heather Locklear, between her stints on T.J. Hooker and Melrose Place, plays the step-daughter of Louis Jourdan's evil Dr. Arcane from the first film, who heads down to the Florida swaps to confront dear old once presumed dead stepdad. He in turns kidnaps his stepdaughter and decides to do some of his genetic experiments on her, until she is rescued by Swamp Thing, one of Dr. Arcane's former co-workers who got turned into the gooey anti-hero in the first movie.   The film co-stars Sarah Douglas from Superman 1 and 2 as Dr. Arcane's assistant, Dick Durock reprising his role as Swamp Thing from the first film, and 1980s B-movie goddess Monique Gabrielle as Miss Poinsettia.   For director Jim Wynorski, this was his sixth movie as a director, and at $3m, one of the highest budgeted movies he would ever make. He's directed 107 movies since 1984, most of them low budget direct to video movies with titles like The Bare Wench Project and Alabama Jones and the Busty Crusade, although he does have one genuine horror classic under his belt, the 1986 sci-fi tinged Chopping Maul with Kelli Maroney and Barbara Crampton.   Wynorski suggested in a late 1990s DVD commentary for the film that he didn't particularly enjoy making the film, and had a difficult time directing Louis Jourdan, to the point that outside of calling “action” and “cut,” the two didn't speak to each other by the end of the shoot.   The Return of Swamp Thing would open in 123 theatres in the United States on May 12th, including 28 in the New York City metro region, 26 in the Los Angeles area, 15 in Detroit, and a handful of theatres in Phoenix, San Francisco. And, strangely, the newspaper ads would include an actual positive quote from none other than Roger Ebert, who said on Siskel & Ebert that he enjoyed himself, and that it was good to have Swamp Thing back. Siskel would not reciprocate his balcony partner's thumb up. But Siskel was about the only person who was positive on the return of Swamp Thing, and that box office would suffer. In its first three days, the film would gross just $119,200. After a couple more dismal weeks in theatres, The Return of Swamp Thing would be pulled from distribution, with a final gross of just $275k.   Fun fact: The Return of Swamp Thing was produced by Michael E. Uslan, whose next production, another adaptation of a DC Comics character, would arrive in theatres not six weeks later and become the biggest film of the summer. In fact, Uslan has been a producer or executive producer on every Batman-related movie and television show since 1989, from Tim Burton to Christopher Nolan to Zack Snyder to Matt Reeves, and from LEGO movies to Joker. He also, because of his ownership of the movie rights to Swamp Thing, got the movie screen rights, but not the television screen rights, to John Constantine.   Miramax didn't have too much time to worry about The Return of Swamp Thing's release, as it was happening while the Brothers Weinstein were at the 1989 Cannes Film Festival. They had two primary goals at Cannes that year:   To buy American distribution rights to any movie that would increase their standing in the cinematic worldview, which they would achieve by picking up an Italian dramedy called, at the time, New Paradise Cinema, which was competing for the Palme D'Or with a Miramax pickup from Sundance back in January. Promote that very film, which did end up winning the Palme D'Or.   Ever since he was a kid, Steven Soderbergh wanted to be a filmmaker. Growing up in Baton Rouge, LA in the late 1970s, he would enroll in the LSU film animation class, even though he was only 15 and not yet a high school graduate. After graduating high school, he decided to move to Hollywood to break into the film industry, renting an above-garage room from Stephen Gyllenhaal, the filmmaker best known as the father of Jake and Maggie, but after a few freelance editing jobs, Soderbergh packed up his things and headed home to Baton Rouge.   Someone at Atco Records saw one of Soderbergh's short films, and hired him to direct a concert movie for one of their biggest bands at the time, Yes, who was enjoying a major comeback thanks to their 1983 triple platinum selling album, 90125. The concert film, called 9012Live, would premiere on MTV in late 1985, and it would be nominated for a Grammy Award for Best Long Form Music Video.   Soderbergh would use the money he earned from that project, $7,500, to make Winston, a 12 minute black and white short about sexual deception that he would, over the course of an eight day driving trip from Baton Rouge to Los Angeles, expand to a full length screen that he would call sex, lies and videotape. In later years, Soderbergh would admit that part of the story is autobiographical, but not the part you might think. Instead of the lead, Graham, an impotent but still sexually perverse late twentysomething who likes to tape women talking about their sexual fantasies for his own pleasure later, Soderbergh based the husband John, the unsophisticated lawyer who cheats on his wife with her sister, on himself, although there would be a bit of Graham that borrows from the filmmaker. Like his lead character, Soderbergh did sell off most of his possessions and hit the road to live a different life.   When he finished the script, he sent it out into the wilds of Hollywood. Morgan Mason, the son of actor James Mason and husband of Go-Go's lead singer Belinda Carlisle, would read it and sign on as an executive producer. Soderbergh had wanted to shoot the film in black and white, like he had with the Winston short that lead to the creation of this screenplay, but he and Mason had trouble getting anyone to commit to the project, even with only a projected budget of $200,000. For a hot moment, it looked like Universal might sign on to make the film, but they would eventually pass.   Robert Newmyer, who had left his job as a vice president of production and acquisitions at Columbia Pictures to start his own production company, signed on as a producer, and helped to convince Soderbergh to shoot the film in color, and cast some name actors in the leading roles. Once he acquiesced, Richard Branson's Virgin Vision agreed to put up $540k of the newly budgeted $1.2m film, while RCA/Columbia Home Video would put up the remaining $660k.   Soderbergh and his casting director, Deborah Aquila, would begin their casting search in New York, where they would meet with, amongst others, Andie MacDowell, who had already starred in two major Hollywood pictures, 1984's Greystoke: The Legend of Tarzan, Lord of the Apes, and 1985's St. Elmo's Fire, but was still considered more of a top model than an actress, and Laura San Giacomo, who had recently graduated from the Carnegie Mellon School of Drama in Pittsburgh and would be making her feature debut. Moving on to Los Angeles, Soderbergh and Aquila would cast James Spader, who had made a name for himself as a mostly bad guy in 80s teen movies like Pretty in Pink and Less Than Zero, but had never been the lead in a drama like this. At Spader's suggestion, the pair met with Peter Gallagher, who was supposed to become a star nearly a decade earlier from his starring role in Taylor Hackford's The Idolmaker, but had mostly been playing supporting roles in television shows and movies for most of the decade.   In order to keep the budget down, Soderbergh, the producers, cinematographer Walt Lloyd and the four main cast members agreed to get paid their guild minimums in exchange for a 50/50 profit participation split with RCA/Columbia once the film recouped its costs.   The production would spend a week in rehearsals in Baton Rouge, before the thirty day shoot began on August 1st, 1988. On most days, the shoot was unbearable for many, as temperatures would reach as high as 110 degrees outside, but there were a couple days lost to what cinematographer Lloyd said was “biblical rains.” But the shoot completed as scheduled, and Soderbergh got to the task of editing right away. He knew he only had about eight weeks to get a cut ready if the film was going to be submitted to the 1989 U.S. Film Festival, now better known as Sundance. He did get a temporary cut of the film ready for submission, with a not quite final sound mix, and the film was accepted to the festival. It would make its world premiere on January 25th, 1989, in Park City UT, and as soon as the first screening was completed, the bids from distributors came rolling in. Larry Estes, the head of RCA/Columbia Home Video, would field more than a dozen submissions before the end of the night, but only one distributor was ready to make a deal right then and there.   Bob Weinstein wasn't totally sold on the film, but he loved the ending, and he loved that the word “sex” not only was in the title but lead the title. He knew that title alone would sell the movie. Harvey, who was still in New York the next morning, called Estes to make an appointment to meet in 24 hours. When he and Estes met, he brought with him three poster mockups the marketing department had prepared, and told Estes he wasn't going to go back to New York until he had a contract signed, and vowed to beat any other deal offered by $100,000. Island Pictures, who had made their name releasing movies like Stop Making Sense, Kiss of the Spider-Woman, The Trip to Bountiful and She's Gotta Have It, offered $1m for the distribution rights, plus a 30% distribution fee and a guaranteed $1m prints and advertising budget. Estes called Harvey up and told him what it would take to make the deal. $1.1m for the distribution rights, which needed to paid up front, a $1m P&A budget, to be put in escrow upon the signing of the contract until the film was released, a 30% distribution fee, no cutting of the film whatsoever once Soderbergh turns in his final cut, they would need to provide financial information for the films costs and returns once a month because of the profit participation contracts, and the Weinsteins would have to hire Ira Deutchman, who had spent nearly 15 years in the independent film world, doing marketing for Cinema 5, co-founding United Artists Classics, and co-founding Cinecom Pictures before opening his own company to act as a producers rep and marketer. And the Weinsteins would not only have to do exactly what Deutchman wanted, they'd have to pay for his services too.   The contract was signed a few weeks later.   The first move Miramax would make was to get Soderbergh's final cut of the film entered into the Cannes Film Festival, where it would be accepted to compete in the main competition. Which you kind of already know what happened, because that's what I lead with. The film would win the Palme D'Or, and Spader would be awarded the festival's award for Best Actor. It was very rare at the time, and really still is, for any film to be awarded more than one prize, so winning two was really a coup for the film and for Miramax, especially when many critics attending the festival felt Spike Lee's Do the Right Thing was the better film.   In March, Miramax expected the film to make around $5-10m, which would net the company a small profit on the film. After Cannes, they were hopeful for a $15m gross.   They never expected what would happen next.   On August 4th, sex, lies, and videotape would open on four screens, at the Cinema Studio in New York City, and at the AMC Century 14, the Cineplex Beverly Center 13 and the Mann Westwood 4 in Los Angeles. Three prime theatres and the best they could do in one of the then most competitive zones in all America. Remember, it's still the Summer 1989 movie season, filled with hits like Batman, Dead Poets Society, Ghostbusters 2, Indiana Jones and the Last Crusade, Honey I Shrunk the Kids, Lethal Weapon 2, Parenthood, Turner & Hooch, and When Harry Met Sally. An independent distributor even getting one screen at the least attractive theatre in Westwood was a major get. And despite the fact that this movie wasn't really a summertime movie per se, the film would gross an incredible $156k in its first weekend from just these four theatres. Its nearly $40k per screen average would be 5x higher than the next closest film, Parenthood.   In its second weekend, the film would expand to 28 theatres, and would bring in over $600k in ticket sales, its per screen average of $21,527 nearly triple its closest competitor, Parenthood again. The company would keep spending small, as it slowly expanded the film each successive week. Forty theatres in its third week, and 101 in its fourth. The numbers held strong, and in its fifth week, Labor Day weekend, the film would have its first big expansion, playing in 347 theatres. The film would enter the top ten for the first time, despite playing in 500 to 1500 fewer theatres than the other films in the top ten. In its ninth weekend, the film would expand to its biggest screen count, 534, before slowly drawing down as the other major Oscar contenders started their theatrical runs. The film would continue to play through the Oscar season of 1989, and when it finally left theatres in May 1989, its final gross would be an astounding $24.7m.   Now, remember a few moments ago when I said that Miramax needed to provide financial statements every month for the profit participation contracts of Soderbergh, the producers, the cinematographer and the four lead actors? The film was so profitable for everyone so quickly that RCA/Columbia made its first profit participation payouts on October 17th, barely ten weeks after the film's opening.   That same week, Soderbergh also made what was at the time the largest deal with a book publisher for the writer/director's annotated version of the screenplay, which would also include his notes created during the creation of the film. That $75,000 deal would be more than he got paid to make the movie as the writer and the director and the editor, not counting the profit participation checks.   During the awards season, sex, lies, and videotape was considered to be one of the Oscars front runners for Best Picture, Best Director, Best Screenplay and at least two acting nominations. The film would be nominated for Best Picture, Best Actress and Best Supporting Actress by the Golden Globes, and it would win the Spirit Awards for Best Picture, Soderbergh for Best Director, McDowell for Best Actress, and San Giacomo for Best Supporting Actress. But when the Academy Award nominations were announced, the film would only receive one nomination, for Best Original Screenplay. The same total and category as Spike Lee's Do the Right Thing, which many people also felt had a chance for a Best Picture and Best Director nomination. Both films would lose out to Tom Shulman's screenplay for Dead Poet's Society.   The success of sex, lies, and videotape would launch Steven Soderbergh into one of the quirkiest Hollywood careers ever seen, including becoming the first and only director ever to be nominated twice for Best Director in the same year by the Motion Picture Academy, the Golden Globes and the Directors Guild of America, in 2001 for directing Erin Brockovich and Traffic. He would win the Oscar for directing Traffic.   Lost in the excitement of sex, lies, and videotape was The Little Thief, a French movie that had an unfortunate start as the screenplay François Truffaut was working on when he passed away in 1984 at the age of just 52.   Directed by Claude Miller, whose principal mentor was Truffaut, The Little Thief starred seventeen year old Charlotte Gainsbourg as Janine, a young woman in post-World War II France who commits a series of larcenies to support her dreams of becoming wealthy.   The film was a modest success in France when it opened in December 1988, but its American release date of August 25th, 1989, was set months in advance. So when it was obvious sex, lies, and videotape was going to be a bigger hit than they originally anticipated, it was too late for Miramax to pause the release of The Little Thief.   Opening at the Lincoln Plaza Cinemas in New York City, and buoyed by favorable reviews from every major critic in town, The Little Thief would see $39,931 worth of ticket sales in its first seven days, setting a new house record at the theatre for the year. In its second week, the gross would only drop $47. For the entire week. And when it opened at the Royal Theatre in West Los Angeles, its opening week gross of $30,654 would also set a new house record for the year.   The film would expand slowly but surely over the next several weeks, often in single screen playdates in major markets, but it would never play on more than twenty-four screens in any given week. And after four months in theatres, The Little Thief, the last movie created one of the greatest film writers the world had ever seen, would only gross $1.056m in the United States.   The next three releases from Miramax were all sent out under the Millimeter Films banner.   The first, a supernatural erotic drama called The Girl in a Swing, was about an English antiques dealer who travels to Copenhagen where he meets and falls in love with a mysterious German-born secretary, whom he marries, only to discover a darker side to his new bride. Rupert Frazer, who played Christian Bale's dad in Steven Spielberg's Empire of the Sun, plays the antique dealer, while Meg Tilly the mysterious new bride.   Filmed over a five week schedule in London and Copenhagen during May and June 1988, some online sources say the film first opened somewhere in California in December 1988, but I cannot find a single theatre not only in California but anywhere in the United States that played the film before its September 29th, 1989 opening date.   Roger Ebert didn't like the film, and wished Meg Tilly's “genuinely original performance” was in a better movie. Opening in 26 theatres, including six theatres each in New York City and Los Angeles, and spurred on by an intriguing key art for the film that featured a presumed naked Tilly on a swing looking seductively at the camera while a notice underneath her warns that No One Under 18 Will Be Admitted To The Theatre, The Girl in a Swing would gross $102k, good enough for 35th place nationally that week. And that's about the best it would do. The film would limp along, moving from market to market over the course of the next three months, and when its theatrical run was complete, it could only manage about $747k in ticket sales.   We'll quickly burn through the next two Millimeter Films releases, which came out a week apart from each other and didn't amount to much.   Animal Behavior was a rather unfunny comedy featuring some very good actors who probably signed on for a very different movie than the one that came to be. Karen Allen, Miss Marion Ravenwood herself, stars as Alex, a biologist who, like Dr. Jane Goodall, develops a “new” way to communicate with chimpanzees via sign language. Armand Assante plays a cellist who pursues the good doctor, and Holly Hunter plays the cellist's neighbor, who Alex mistakes for his wife.   Animal Behavior was filmed in 1984, and 1985, and 1987, and 1988. The initial production was directed by Jenny Bowen with the assistance of Robert Redford and The Sundance Institute, thanks to her debut film, 1981's Street Music featuring Elizabeth Daily. It's unknown why Bowen and her cinematographer husband Richard Bowen left the project, but when filming resumed again and again and again, those scenes were directed by the film's producer, Kjehl Rasmussen.   Because Bowen was not a member of the DGA at the time, she was not able to petition the guild for the use of the Alan Smithee pseudonym, a process that is automatically triggered whenever a director is let go of a project and filming continues with its producer taking the reigns as director. But she was able to get the production to use a pseudonym anyway for the director's credit, H. Anne Riley, while also giving Richard Bowen a pseudonym of his own for his work on the film, David Spellvin.   Opening on 24 screens on October 27th, Animal Behavior would come in 50th place in its opening weekend, grossing just $20,361. The New York film critics ripped the film apart, and there wouldn't be a second weekend for the film.   The following Friday, November 3rd, saw the release of The Stepfather II, a rushed together sequel to 1987's The Stepfather, which itself wasn't a big hit in theatres but found a very quick and receptive audience on cable.   Despite dying at the end of the first film, Terry O'Quinn's Jerry is somehow still alive, and institutionalized in Northern Washington state. He escapes and heads down to Los Angeles, where he assumes the identity of a recently deceased publisher, Gene Clifford, but instead passes himself off as a psychiatrist. Jerry, now Gene, begins to court his neighbor Carol, and the whole crazy story plays out again. Meg Foster plays the neighbor Carol, and Jonathan Brandis is her son.    Director Jeff Burr had made a name for himself with his 1987 horror anthology film From a Whisper to a Scream, featuring Vincent Price, Clu Gulager and Terry Kiser, and from all accounts, had a very smooth shooting process with this film. The trouble began when he turned in his cut to the producers. The producers were happy with the film, but when they sent it to Miramax, the American distributors, they were rather unhappy with the almost bloodless slasher film. They demanded reshoots, which Burr and O'Quinn refused to participate in. They brought in a new director, Doug Campbell, to handle the reshoots, which are easy to spot in the final film because they look and feel completely different from the scenes they're spliced into.   When it opened, The Stepfather II actually grossed slightly more than the first film did, earning $279k from 100 screens, compared to $260k for The Stepfather from 105 screens. But unlike the first film, which had some decent reviews when it opened, the sequel was a complete mess. To this day, it's still one of the few films to have a 0% approval rating on Rotten Tomatoes, and The Stepfather II would limp its way through theatres during the Christmas holiday season, ending its run with a $1.5m gross.   But it would be their final film of the decade that would dictate their course for at least the first part of the 1990s.   Remember when I said earlier in the episode that Harvey Weinstein meant with the producers of another British film while in London for Scandal? We're at that film now, a film you probably know.   My Left Foot.   By November 1988, actor Daniel Day-Lewis had starred in several movies including James Ivory's A Room With a View and Philip Kaufman's The Unbearable Lightness of Being. He had even been the lead in a major Hollywood studio film, Pat O'Connor's Stars and Bars, a very good film that unfortunately got caught up in the brouhaha over the exit of the studio head who greenlit the film, David Puttnam.   The film's director, Jim Sheridan, had never directed a movie before. He had become involved in stage production during his time at the University College in Dublin in the late 1960s, where he worked with future filmmaker Neil Jordan, and had spent nearly a decade after graduation doing stage work in Ireland and Canada, before settling in New York City in the early 1980s. Sheridan would go to New York University's Tisch School of the Arts, where one of his classmates was Spike Lee, and return to Ireland after graduating. He was nearly forty, married with two pre-teen daughters, and he needed to make a statement with his first film.   He would find that story in the autobiography of Irish writer and painter Christy Brown, whose spirit and creativity could not be contained by his severe cerebral palsy. Along with Irish actor and writer Shane Connaughton, Sheridan wrote a screenplay that could be a powerhouse film made on a very tight budget of less than a million dollars.   Daniel Day-Lewis was sent a copy of the script, in the hopes he would be intrigued enough to take almost no money to play a physically demanding role. He read the opening pages, which had the adult Christy Brown putting a record on a record player and dropping the needle on to the record with his left foot, and thought to himself it would be impossible to film. That intrigued him, and he signed on. But during filming in January and February of 1989, most of the scenes were shot using mirrors, as Day-Lewis couldn't do the scenes with his left foot. He could do them with his right foot, hence the mirrors.   As a method actor, Day-Lewis remained in character as Christy Brown for the entire two month shoot. From costume fittings and makeup in the morning, to getting the actor on set, to moving him around between shots, there were crew members assigned to assist the actor as if they were Christy Brown's caretakers themselves, including feeding him during breaks in shooting. A rumor debunked by the actor years later said Day-Lewis had broken two ribs during production because of how hunched down he needed to be in his crude prop wheelchair to properly play the character.   The actor had done a lot of prep work to play the role, including spending time at the Sandymount School Clinic where the young Christy Brown got his education, and much of his performance was molded on those young people.   While Miramax had acquired the American distribution rights to the film before it went into production, and those funds went into the production of the film, the film was not produced by Miramax, nor were the Weinsteins given any kind of executive producer credit, as they were able to get themselves on Scandal.   My Left Foot would make its world premiere at the Montreal World Film Festival on September 4th, 1989, followed soon thereafter by screening at the Toronto International Film Festival on September 13th and the New York Film Festival on September 23rd. Across the board, critics and audiences were in love with the movie, and with Daniel Day-Lewis's performance. Jim Sheridan would receive a special prize at the Montreal World Film Festival for his direction, and Day-Lewis would win the festival's award for Best Actor. However, as the film played the festival circuit, another name would start to pop up. Brenda Fricker, a little known Irish actress who played Christy Brown's supportive but long-suffering mother Bridget, would pile up as many positive notices and awards as Day-Lewis. Although there was no Best Supporting Actress Award at the Montreal Film Festival, the judges felt her performance was deserving of some kind of attention, so they would create a Special Mention of the Jury Award to honor her.   Now, some sources online will tell you the film made its world premiere in Dublin on February 24th, 1989, based on a passage in a biography about Daniel Day-Lewis, but that would be impossible as the film would still be in production for two more days, and wasn't fully edited or scored by then.   I'm not sure when it first opened in the United Kingdom other than sometime in early 1990, but My Left Foot would have its commercial theatre debut in America on November 10th, when opened at the Lincoln Plaza Cinemas in New York City and the Century City 14 in Los Angeles. Sheila Benson of the Los Angeles Times would, in the very opening paragraph of her review, note that one shouldn't see My Left Foot for some kind of moral uplift or spiritual merit badge, but because of your pure love of great moviemaking. Vincent Canby's review in the New York Times spends most of his words praising Day-Lewis and Sheridan for making a film that is polite and non-judgmental.    Interestingly, Miramax went with an ad campaign that completely excluded any explanation of who Christy Brown was or why the film is titled the way it is. 70% of the ad space is taken from pull quotes from many of the top critics of the day, 20% with the title of the film, and 10% with a picture of Daniel Day-Lewis, clean shaven and full tooth smile, which I don't recall happening once in the movie, next to an obviously added-in picture of one of his co-stars that is more camera-friendly than Brenda Fricker or Fiona Shaw.   Whatever reasons people went to see the film, they flocked to the two theatres playing the film that weekend. It's $20,582 per screen average would be second only to Kenneth Branagh's Henry V, which had opened two days earlier, earning slightly more than $1,000 per screen than My Left Foot.   In week two, My Left Foot would gross another $35,133 from those two theatres, and it would overtake Henry V for the highest per screen average. In week three, Thanksgiving weekend, both Henry V and My Left Foot saw a a double digit increase in grosses despite not adding any theatres, and the latter film would hold on to the highest per screen average again, although the difference would only be $302. And this would continue for weeks. In the film's sixth week of release, it would get a boost in attention by being awarded Best Film of the Year by the New York Film Critics Circle. Daniel Day-Lewis would be named Best Actor that week by both the New York critics and the Los Angeles Film Critics Association, while Fricker would win the Best Supporting Actress award from the latter group.   But even then, Miramax refused to budge on expanding the film until its seventh week of release, Christmas weekend, when My Left Foot finally moved into cities like Chicago and San Francisco. Its $135k gross that weekend was good, but it was starting to lose ground to other Oscar hopefuls like Born on the Fourth of July, Driving Miss Daisy, Enemies: A Love Story, and Glory.   And even though the film continued to rack up award win after award win, nomination after nomination, from the Golden Globes and the Writers Guild and the National Society of Film Critics and the National Board of Review, Miramax still held firm on not expanding the film into more than 100 theatres nationwide until its 16th week in theatres, February 16th, 1990, two days after the announcement of the nominees for the 62nd Annual Academy Awards. While Daniel Day-Lewis's nomination for Best Actor was virtually assured and Brenda Fricker was practically a given, the film would pick up three other nominations, including surprise nominations for Best Picture and Best Director. Jim Sheridan and co-writer Shane Connaughton would also get picked for Best Adapted Screenplay.   Miramax also picked up a nomination for Best Original Screenplay for sex, lies, and videotape, and a Best Foreign Language Film nod for the Italian movie Cinema Paradiso, which, thanks to the specific rules for that category, a film could get a nomination before actually opening in theatres in America, which Miramax would rush to do with Paradiso the week after its nomination was announced.   The 62nd Academy Awards ceremony would be best remembered today as being the first Oscar show to be hosted by Billy Crystal, and for being considerably better than the previous year's ceremony, a mess of a show best remembered as being the one with a 12 minute opening musical segment that included Rob Lowe singing Proud Mary to an actress playing Snow White and another nine minute musical segment featuring a slew of expected future Oscar winners that, to date, feature exact zero Oscar nominees, both which rank as amongst the worst things to ever happen to the Oscars awards show.   The ceremony, held on March 26th, would see My Left Foot win two awards, Best Actor and Best Supporting Actress, as well as Cinema Paradiso for Best Foreign Film. The following weekend, March 30th, would see Miramax expand My Left Foot to 510 theatres, its widest point of release, and see the film made the national top ten and earn more than a million dollars for its one and only time during its eight month run.   The film would lose steam pretty quickly after its post-win bump, but it would eek out a modest run that ended with $14.75m in ticket sales just in the United States. Not bad for a little Irish movie with no major stars that cost less than a million dollars to make.   Of course, the early 90s would see Miramax fly to unimagined heights. In all of the 80s, Miramax would release 39 movies. They would release 30 films alone in 1991. They would release the first movies from Jean-Pierre Jeunet, Quentin Tarantino and Kevin Smith. They'd release some of the best films from some of the best filmmakers in the world, including Woody Allen, Pedro Almadovar, Robert Altman, Bernardo Bertolucci, Atom Egoyan, Steven Frears, Peter Greenaway, Peter Jackson, Neil Jordan, Chen Kaige, Krzysztof Kieślowski, Lars von Trier, and Zhang Yimou. In 1993, the Mexican dramedy Like Water for Chocolate would become the highest grossing foreign language film ever released in America, and it would play in some theatres, including my theatre, the NuWilshire in Santa Monica, continuously for more than a year.   If you've listened to the whole series on the 1980s movies of Miramax Films, there are two things I hope you take away. First, I hope you discovered at least one film you hadn't heard of before and you might be interested in searching out. The second is the reminder that neither Bob nor Harvey Weinstein will profit in any way if you give any of the movies talked about in this series a chance. They sold Miramax to Disney in June 1993. They left Miramax in September 2005. Many of the contracts for the movies the company released in the 80s and 90s expired decades ago, with the rights reverting back to their original producers, none of whom made any deals with the Weinsteins once they got their rights back.   Harvey Weinstein is currently serving a 23 year prison sentence in upstate New York after being found guilty in 2020 of two sexual assaults. Once he completes that sentence, he'll be spending another 16 years in prison in California, after he was convicted of three sexual assaults that happened in Los Angeles between 2004 and 2013. And if the 71 year old makes it to 107 years old, he may have to serve time in England for two sexual assaults that happened in August 1996. That case is still working its way through the British legal system.   Bob Weinstein has kept a low profile since his brother's proclivities first became public knowledge in October 2017, although he would also be accused of sexual harassment by a show runner for the brothers' Spike TV-aired adaptation of the Stephen King novel The Mist, several days after the bombshell articles came out about his brother. However, Bob's lawyer, the powerful attorney to the stars Bert Fields, deny the allegations, and it appears nothing has occurred legally since the accusations were made.   A few weeks after the start of the MeToo movement that sparked up in the aftermath of the accusations of his brother's actions, Bob Weinstein denied having any knowledge of the nearly thirty years of documented sexual abuse at the hands of his brother, but did allow to an interviewer for The Hollywood Reporter that he had barely spoken to Harvey over the previous five years, saying he could no longer take Harvey's cheating, lying and general attitude towards everyone.   And with that, we conclude our journey with Miramax Films. While I am sure Bob and Harvey will likely pop up again in future episodes, they'll be minor characters at best, and we'll never have to focus on anything they did ever again.   Thank you for joining us. We'll talk again soon, when Episode 119 is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

WTOP Entertainment Reporter Jason Fraley interviews Juliette Binoche to mark the 30th anniversary of Krzysztof Kieślowski's acclaimed “Three Colors Trilogy,” which began with “Three Colors: Blue” on Sept. 8, 1993. They spoke in 2015 when Binoche starred in “Antigone” at the Kennedy Center in Washington D.C., ending the convo with rapid-fire memories of her Oscar-winning career from “The English Patient” to “Chocolat” to “Cache.” (Theme Music: Scott Buckley's "Clarion") Learn more about your ad choices. Visit podcastchoices.com/adchoices

WTOP Entertainment Reporter Jason Fraley interviews Juliette Binoche to mark the 30th anniversary of Krzysztof Kieślowski's acclaimed “Three Colors Trilogy,” which began with “Three Colors: Blue” on Sept. 8, 1993. They spoke in 2015 when Binoche starred in “Antigone” at the Kennedy Center in Washington D.C., ending the convo with rapid-fire memories of her Oscar-winning career from “The English Patient” to “Chocolat” to “Cache.” (Theme Music: Scott Buckley's "Clarion") Learn more about your ad choices. Visit megaphone.fm/adchoices

LISTEN TO THE FULL EPISODE HERE! Alright, we're back with another PATREON episode and we're talking Jacques Derrida, the difference between parallax and différance, How To? with John Wilson, Krzysztof Kieślowski, documentary and fiction cinema, a deconstruction of Smash Mouth's All Star, and the (w)hole in the picture. Thank you to all of our Patreons, we have some VERY SPECIAL guests coming up, so stick around.   Enjoy!

Writer-director M.H. Murray -- whose first feature I Don't Know Who You Are has its world premiere at TIFF this Thursday, September 7th -- salutes Three Colours: Blue, the first film in Krzysztof Kieślowski's brilliant trilogy of dramas inspired by the themes of the French flag. Your genial host Norm Wilner is just here to be amazed by Juliette Binoche.

We continue our miniseries on the 1980s movies distributed by Miramax Films, with a look at the films released in 1988. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we finally continue with the next part of our look back at the 1980s movies distributed by Miramax Films, specifically looking at 1988.   But before we get there, I must issue another mea culpa. In our episode on the 1987 movies from Miramax, I mentioned that a Kiefer Sutherland movie called Crazy Moon never played in another theatre after its disastrous one week Oscar qualifying run in Los Angeles in December 1987.   I was wrong.   While doing research on this episode, I found one New York City playdate for the film, in early February 1988. It grossed a very dismal $3200 at the 545 seat Festival Theatre during its first weekend, and would be gone after seven days.   Sorry for the misinformation.   1988 would be a watershed year for the company, as one of the movies they acquired for distribution would change the course of documentary filmmaking as we knew it, and another would give a much beloved actor his first Academy Award nomination while giving the company its first Oscar win.   But before we get to those two movies, there's a whole bunch of others to talk about first.   Of the twelve movies Miramax would release in 1988, only four were from America. The rest would be a from a mixture of mostly Anglo-Saxon countries like the UK, Canada, France and Sweden, although there would be one Spanish film in there.   Their first release of the new year, Le Grand Chemin, told the story of a timid nine-year-old boy from Paris who spends one summer vacation in a small town in Brittany. His mother has lodged the boy with her friend and her friend's husband while Mom has another baby. The boy makes friends with a slightly older girl next door, and learns about life from her.   Richard Bohringer, who plays the friend's husband, and Anémone, who plays the pregnant mother, both won Cesars, the French equivalent to the Oscars, in their respective lead categories, and the film would be nominated for Best Foreign Language Film of 1987 by the National Board of Review. Miramax, who had picked up the film at Cannes several months earlier, waited until January 22nd, 1988, to release it in America, first at the Paris Theatre in midtown Manhattan, where it would gross a very impressive $41k in its first three days. In its second week, it would drop less than 25% of its opening weekend audience, bringing in another $31k. But shortly after that, the expected Oscar nomination for Best Foreign Language Film did not come, and business on the film slowed to a trickle. But it kept chugging on, and by the time the film finished its run in early June, it had grossed $541k.   A week later, on January 29th, Miramax would open another French film, Light Years. An animated science fiction film written and directed by René Laloux, best known for directing the 1973 animated head trip film Fantastic Planet, Light Years was the story of an evil force from a thousand years in the future who begins to destroy an idyllic paradise where the citizens are in perfect harmony with nature.   In its first three days at two screens in Los Angeles and five screens in the San Francisco Bay Area, Light Years would gross a decent $48,665. Miramax would print a self-congratulating ad in that week's Variety touting the film's success, and thanking Isaac Asimov, who helped to write the English translation, and many of the actors who lent their vocal talents to the new dub, including Glenn Close, Bridget Fonda, Jennifer Grey, Christopher Plummer, and Penn and Teller. Yes, Teller speaks. The ad was a message to both the theatre operators and the major players in the industry. Miramax was here. Get used to it.   But that ad may have been a bit premature.   While the film would do well in major markets during its initial week in theatres, audience interest would drop outside of its opening week in big cities, and be practically non-existent in college towns and other smaller cities. Its final box office total would be just over $370k.   March 18th saw the release of a truly unique film.    Imagine a film directed by Robert Altman and Bruce Beresford and Jean-Luc Godard and Derek Jarman and Franc Roddam and Nicolas Roeg and Ken Russell and Charles Sturridge and Julien Temple. Imagine a film that starred Beverly D'Angelo, Bridget Fonda in her first movie, Julie Hagerty, Buck Henry, Elizabeth Hurley and John Hurt and Theresa Russell and Tilda Swinton. Imagine a film that brought together ten of the most eclectic filmmakers in the world doing four to fourteen minute short films featuring the arias of some of the most famous and beloved operas ever written, often taken out of their original context and placed into strange new places. Like, for example, the aria for Verdi's Rigoletto set at the kitschy Madonna Inn in San Luis Obispo, where a movie producer is cheating on his wife while she is in a nearby room with a hunky man who is not her husband. Imagine that there's almost no dialogue in the film. Just the arias to set the moments.   That is Aria.   If you are unfamiliar with opera in general, and these arias specifically, that's not a problem. When I saw the film at the Nickelodeon Theatre in Santa Cruz in June 1988, I knew some Wagner, some Puccini, and some Verdi, through other movies that used the music as punctuation for a scene. I think the first time I had heard Nessun Dorma was in The Killing Fields. Vesti La Giubba in The Untouchables. But this would be the first time I would hear these arias as they were meant to be performed, even if they were out of context within their original stories. Certainly, Wagner didn't intend the aria from Tristan und Isolde to be used to highlight a suicide pact between a young couple killing themselves in a Las Vegas hotel bathroom.   Aria definitely split critics when it premiered at the 1987 Cannes Film Festival, when it competed for the festival's main prize, the Palme D'Or. Roger Ebert would call it the first MTV opera and felt the filmmakers were poking fun at their own styles, while Leonard Maltin felt most of the endeavor was a waste of time. In the review for the New York Times, Janet Maslin would also make a reference to MTV but not in a positive way, and would note the two best parts of the film were the photo montage that is seen over the end credits, and the clever licensing of Chuck Jones's classic Bugs Bunny cartoon What's Opera, Doc, to play with the film, at least during its New York run. In the Los Angeles Times, the newspaper chose one of its music critics to review the film. They too would compare the film to MTV, but also to Fantasia, neither reference meant to be positive.   It's easy to see what might have attracted Harvey Weinstein to acquire the film.   Nudity.   And lots of it.   Including from a 21 year old Hurley, and a 22 year old Fonda.   Open at the 420 seat Ridgemont Theatre in Seattle on March 18th, 1988, Aria would gross a respectable $10,600. It would be the second highest grossing theatre in the city, only behind The Unbearable Lightness of Being, which grossed $16,600 in its fifth week at the 850 seat Cinerama Theatre, which was and still is the single best theatre in Seattle. It would continue to do well in Seattle, but it would not open until April 15th in Los Angeles and May 20th in New York City.   But despite some decent notices and the presence of some big name directors, Aria would stiff at the box office, grossing just $1.03m after seven months in theatres.   As we discussed on our previous episode, there was a Dennis Hopper movie called Riders on the Storm that supposedly opened in November 1987, but didn't. It did open in theatres in May of 1988, and now we're here to talk about it.   Riders on the Storm would open in eleven theatres in the New York City area on May 7th, including three theatres in Manhattan. Since Miramax did not screen the film for critics before release, never a good sign, the first reviews wouldn't show up until the following day, since the critics would actually have to go see the film with a regular audience. Vincent Canby's review for the New York Times would arrive first, and surprisingly, he didn't completely hate the film. But audiences didn't care. In its first weekend in New York City, Riders on the Storm would gross an anemic $25k. The following Friday, Miramax would open the film at two theatres in Baltimore, four theatres in Fort Worth TX (but surprisingly none in Dallas), one theatre in Los Angeles and one theatre in Springfield OH, while continuing on only one screen in New York. No reported grosses from Fort Worth, LA or Springfield, but the New York theatre reported ticket sales of $3k for the weekend, a 57% drop from its previous week, while the two in Baltimore combined for $5k.   There would be more single playdates for a few months. Tampa the same week as New York. Atlanta, Charlotte, Des Moines and Memphis in late May. Cincinnati in late June. Boston, Calgary, Ottawa and Philadelphia in early July. Greenville SC in late August. Evansville IL, Ithaca NY and San Francisco in early September. Chicago in late September. It just kept popping up in random places for months, always a one week playdate before heading off to the next location. And in all that time, Miramax never reported grosses. What little numbers we do have is from the theatres that Variety was tracking, and those numbers totaled up to less than $30k.   Another mostly lost and forgotten Miramax release from 1988 is Caribe, a Canadian production that shot in Belize about an amateur illegal arms trader to Central American terrorists who must go on the run after a deal goes down bad, because who wants to see a Canadian movie about an amateur illegal arms trader to Canadian terrorists who must go on the run in the Canadian tundra after a deal goes down bad?   Kara Glover would play Helen, the arms dealer, and John Savage as Jeff, a British intelligence agent who helps Helen.   Caribe would first open in Detroit on May 20th, 1988. Can you guess what I'm going to say next?   Yep.   No reported grosses, no theatres playing the film tracked by Variety.   The following week, Caribe opens in the San Francisco Bay Area, at the 300 seat United Artists Theatre in San Francisco, and three theatres in the South Bay. While Miramax once again did not report grosses, the combined gross for the four theatres, according to Variety, was a weak $3,700. Compare that to Aria, which was playing at the Opera Plaza Cinemas in its third week in San Francisco, in an auditorium 40% smaller than the United Artist, grossing $5,300 on its own.   On June 3rd, Caribe would open at the AMC Fountain Square 14 in Nashville. One show only on Friday and Saturday at 11:45pm. Miramax did not report grosses. Probably because people we going to see Willie Tyler and Lester at Zanie's down the street.   And again, it kept cycling around the country, one or two new playdates in each city it played in. Philadelphia in mid-June. Indianapolis in mid-July. Jersey City in late August. Always for one week, grosses never reported.   Miramax's first Swedish release of the year was called Mio, but this was truly an international production. The $4m film was co-produced by Swedish, Norwegian and Russian production companies, directed by a Russian, adapted from a Swedish book by an American screenwriter, scored by one of the members of ABBA, and starring actors from England, Finland, Norway, Russia, Sweden and the United States.   Mio tells the story of a boy from Stockholm who travels to an otherworldly fantasy realm and frees the land from an evil knight's oppression. What makes this movie memorable today is that Mio's best friend is played by none other than Christian Bale, in his very first film.   The movie was shot in Moscow, Stockholm, the Crimea, Scotland, and outside Pripyat in the Northern part of what is now Ukraine, between March and July 1986. In fact, the cast and crew were shooting outside Pripyat on April 26th, when they got the call they needed to evacuate the area. It would be hours later when they would discover there had been a reactor core meltdown at the nearby Chernobyl Nuclear Power Plant. They would have to scramble to shoot in other locations away from Ukraine for a month, and when they were finally allowed to return, the area they were shooting in deemed to have not been adversely affected by the worst nuclear power plant accident in human history,, Geiger counters would be placed all over the sets, and every meal served by craft services would need to be read to make sure it wasn't contaminated.   After premiering at the Moscow Film Festival in July 1987 and the Norwegian Film Festival in August, Mio would open in Sweden on October 16th, 1987. The local critics would tear the film apart. They hated that the filmmakers had Anglicized the movie with British actors like Christopher Lee, Susannah York, Christian Bale and Nicholas Pickard, an eleven year old boy also making his film debut. They also hated how the filmmakers adapted the novel by the legendary Astrid Lindgren, whose Pippi Longstocking novels made her and her works world famous. Overall, they hated pretty much everything about it outside of Christopher Lee's performance and the production's design in the fantasy world.   Miramax most likely picked it up trying to emulate the success of The Neverending Story, which had opened to great success in most of the world in 1984. So it might seem kinda odd that when they would open the now titled The Land of Faraway in theatres, they wouldn't go wide but instead open it on one screen in Atlanta GA on June 10th, 1988. And, once again, Miramax did not report grosses, and Variety did not track Atlanta theatres that week. Two weeks later, they would open the film in Miami. How many theatres? Can't tell you. Miramax did not report grosses, and Variety was not tracking any of the theatres in Miami playing the film. But hey, Bull Durham did pretty good in Miami that week.   The film would next open in theatres in Los Angeles. This time, Miramax bought a quarter page ad in the Los Angeles Times on opening day to let people know the film existed. So we know it was playing on 18 screens that weekend. And, once again, Miramax did not report grosses for the film. But on the two screens it played on that Variety was tracking, the combined gross was just $2,500.   There'd be other playdates. Kansas City and Minneapolis in mid-September. Vancouver, BC in early October. Palm Beach FL in mid October. Calgary AB and Fort Lauderdale in late October. Phoenix in mid November. And never once did Miramax report any grosses for it.   One week after Mio, Miramax would release a comedy called Going Undercover.   Now, if you listened to our March 2021 episode on Some Kind of Wonderful, you may remember be mentioning Lea Thompson taking the role of Amanda Jones in that film, a role she had turned down twice before, the week after Howard the Duck opened, because she was afraid she'd never get cast in a movie again. And while Some Kind of Wonderful wasn't as big a film as you'd expect from a John Hughes production, Thompson did indeed continue to work, and is still working to this day.   So if you were looking at a newspaper ad in several cities in June 1988 and saw her latest movie and wonder why she went back to making weird little movies.   She hadn't.   This was a movie she had made just before Back to the Future, in August and September 1984.   Originally titled Yellow Pages, the film starred film legend Jean Simmons as Maxine, a rich woman who has hired Chris Lemmon's private investigator Henry Brilliant to protect her stepdaughter Marigold during her trip to Copenhagen.   The director, James Clarke, had written the script specifically for Lemmon, tailoring his role to mimic various roles played by his famous father, Jack Lemmon, over the decades, and for Simmons. But Thompson was just one of a number of young actresses they looked at before making their casting choice.   Half of the $6m budget would come from a first-time British film producer, while the other half from a group of Danish investors wanting to lure more Hollywood productions to their area.   The shoot would be plagued by a number of problems. The shoot in Los Angeles coincided with the final days of the 1984 Summer Olympics, which would cut out using some of the best and most regularly used locations in the city, and a long-lasting heat wave that would make outdoor shoots unbearable for cast and crew. When they arrived in Copenhagen at the end of August, Denmark was going through an unusually heavy storm front that hung around for weeks.   Clarke would spend several months editing the film, longer than usual for a smaller production like this, but he in part was waiting to see how Back to the Future would do at the box office. If the film was a hit, and his leading actress was a major part of that, it could make it easier to sell his film to a distributor.   Or that was line of thinking.   Of course, Back to the Future was a hit, and Thompson received much praise for her comedic work on the film.   But that didn't make it any easier to sell his film.   The producer would set the first screenings for the film at the February 1986 American Film Market in Santa Monica, which caters not only to foreign distributors looking to acquire American movies for their markets, but helps independent filmmakers get their movies seen by American distributors.   As these screenings were for buyers by invitation only, there would be no reviews from the screenings, but one could guess that no one would hear about the film again until Miramax bought the American distribution rights to it in March 1988 tells us that maybe those screenings didn't go so well.   The film would get retitled Going Undercover, and would open in single screen playdates in Atlanta, Cincinnati, Dallas, Indianapolis, Los Angeles, Nashville, Orlando, St. Louis and Tampa on June 17th. And as I've said too many times already, no reported grosses from Miramax, and only one theatre playing the film was being tracked by Variety, with Going Undercover earning $3,000 during its one week at the Century City 14 in Los Angeles.   In the June 22nd, 1988 issue of Variety, there was an article about Miramax securing a $25m line of credit in order to start producing their own films. Going Undercover is mentioned in the article about being one of Miramax's releases, without noting it had just been released that week or how well it did or did not do.   The Thin Blue Line would be Miramax's first non-music based documentary, and one that would truly change how documentaries were made.   Errol Morris had already made two bizarre but entertaining documentaries in the late 70s and early 80s. Gates of Heaven was shot in 1977, about a man who operated a failing pet cemetery in Northern California's Napa Valley. When Morris told his famous German filmmaking supporter Werner Herzog about the film, Herzog vowed to eat one of the shoes he was wearing that day if Morris could actually complete the film and have it shown in a public theatre. In April 1979, just before the documentary had its world premiere at UC Theatre in Berkeley, where Morris had studied philosophy, Herzog would spend the morning at Chez Pannise, the creators of the California Cuisine cooking style, boiling his shoes for five hours in garlic, herbs and stock. This event itself would be commemorated in a documentary short called, naturally, Werner Herzog Eats His Shoe, by Les Blank, which is a must watch on its own.   Because of the success of Gates of Heaven, Morris was able to quickly find financing for his next film, Nub City, which was originally supposed to be about the number of Vernon, Florida's citizens who have “accidentally” cut off their limbs, in order to collect the insurance money. But after several of those citizens threatened to kill Morris, and one of them tried to run down his cinematographer with their truck, Morris would rework the documentary, dropping the limb angle, no pun intended, and focus on the numerous eccentric people in the town. It would premiere at the 1981 New York Film Festival, and become a hit, for a documentary, when it was released in theatres in 1982.   But it would take Morris another six years after completing Vernon, Florida, to make another film. Part of it was having trouble lining up full funding to work on his next proposed movie, about James Grigson, a Texas forensic psychiatrist whose was nicknamed Doctor Death for being an expert witness for the prosecution in death penalty cases in Texas. Morris had gotten seed money for the documentary from PBS and the Endowment for Public Arts, but there was little else coming in while he worked on the film. In fact, Morris would get a PI license in New York and work cases for two years, using every penny he earned that wasn't going towards living expenses to keep the film afloat.   One of Morris's major problems for the film was that Grigson would not sit on camera for an interview, but would meet with Morris face to face to talk about the cases. During that meeting, the good doctor suggested to the filmmaker that he should research the killers he helped put away. And during that research, Morris would come across the case of one Randall Dale Adams, who was convicted of killing Dallas police officer Robert Wood in 1976, even though another man, David Harris, was the police's initial suspect. For two years, Morris would fly back and forth between New York City and Texas, talking to and filming interviews with Adams and more than two hundred other people connected to the shooting and the trial. Morris had become convinced Adams was indeed innocent, and dropped the idea about Dr. Grigson to solely focus on the Robert Wood murder.   After showing the producers of PBS's American Playhouse some of the footage he had put together of the new direction of the film, they kicked in more funds so that Morris could shoot some re-enactment sequences outside New York City, as well as commission composer Phillip Glass to create a score for the film once it was completed. Documentaries at that time did not regularly use re-enactments, but Morris felt it was important to show how different personal accounts of the same moment can be misinterpreted or misremembered or outright manipulated to suppress the truth.   After the film completed its post-production in March 1988, The Thin Blue Line would have its world premiere at the San Francisco Film Festival on March 18th, and word quickly spread Morris had something truly unique and special on his hands. The critic for Variety would note in the very first paragraph of his write up that the film employed “strikingly original formal devices to pull together diverse interviews, film clips, photo collages, and” and this is where it broke ground, “recreations of the crime from many points of view.”   Miramax would put together a full court press in order to get the rights to the film, which was announced during the opening days of the 1988 Cannes Film Festival in early May. An early hint on how the company was going to sell the film was by calling it a “non-fiction feature” instead of a documentary.   Miramax would send Morris out on a cross-country press tour in the weeks leading up to the film's August 26th opening date, but Morris, like many documentary filmmakers, was not used to being in the spotlight themselves, and was not as articulate about talking up his movies as the more seasoned directors and actors who've been on the promotion circuit for a while. After one interview, Harvey Weinstein would send Errol Morris a note.   “Heard your NPR interview and you were boring.”   Harvey would offer up several suggestions to help the filmmaker, including hyping the movie up as a real life mystery thriller rather than a documentary, and using shorter and clearer sentences when answering a question.   It was a clear gamble to release The Thin Blue Line in the final week of summer, and the film would need a lot of good will to stand out.   And it would get it.   The New York Times was so enthralled with the film, it would not only run a review from Janet Maslin, who would heap great praise on the film, but would also run a lengthy interview with Errol Morris right next to the review. The quarter page ad in the New York Times, several pages back, would tout positive quotes from Roger Ebert, J. Hoberman, who had left The Village Voice for the then-new Premiere Magazine, Peter Travers, writing for People Magazine instead of Rolling Stone, and critics from the San Francisco Chronicle and, interestingly enough, the Dallas Morning News. The top of the ad was tagged with an intriguing tease: solving this mystery is going to be murder, with a second tag line underneath the key art and title, which called the film “a new kind of movie mystery.” Of the 15 New York area-based film critics for local newspapers, television and national magazines, 14 of them gave favorable reviews, while 1, Stephen Schiff of Vanity Fair, was ambivalent about it. Not one critic gave it a bad review.   New York audiences were hooked.   Opening in the 240 seat main house at the Lincoln Plaza Cinemas, the movie grossed $30,945 its first three days. In its second weekend, the gross at the Lincoln Plaza would jump to $31k, and adding another $27,500 from its two theatre opening in Los Angeles and $15,800 from a single DC theatre that week. Third week in New York was a still good $21k, but the second week in Los Angeles fell to $10,500 and DC to $10k. And that's how it rolled out for several months, mostly single screen bookings in major cities not called Los Angeles or New York City, racking up some of the best reviews Miramax would receive to date, but never breaking out much outside the major cities. When it looked like Santa Cruz wasn't going to play the film, I drove to San Francisco to see it, just as my friends and I had for the opening day of Martin Scorsese's The Last Temptation of Christ in mid-August. That's 75 miles each way, plus parking in San Francisco, just to see a movie. That's when you know you no longer just like movies but have developed a serious case of cinephilea. So when The Nickelodeon did open the film in late November, I did something I had never done with any documentary before.   I went and saw it again.   Second time around, I was still pissed off at the outrageous injustice heaped upon Randall Dale Adams for nothing more than being with and trusting the wrong person at the wrong time. But, thankfully, things would turn around for Adams in the coming weeks. On December 1st, it was reported that David Harris had recanted his testimony at Adams' trial, admitting he was alone when Officer Wood stopped his car. And on March 1st, 1989, after more than 15,000 people had signed the film's petition to revisit the decision, the Texas Court of Criminal Appeals overturned Adams's conviction “based largely” on facts presented in the film.   The film would also find itself in several more controversies.   Despite being named The Best Documentary of the Year by a number of critics groups, the Documentary Branch of the  Academy of Motion Pictures Arts and Sciences would not nominate the film, due in large part to the numerous reenactments presented throughout the film. Filmmaker Michael Apted, a member of the Directors Branch of the Academy, noted that the failure to acknowledge The Thin Blue Line was “one of the most outrageous things in the modern history of the Academy,” while Roger Ebert added the slight was “the worst non-nomination of the year.” Despite the lack of a nomination, Errol Morris would attend the Oscars ceremony in March 1989, as a protest for his film being snubbed.   Morris would also, several months after Adams' release, find himself being sued by Adams, but not because of how he was portrayed in the film. During the making of the film, Morris had Adams sign a contract giving Morris the exclusive right to tell Adams's story, and Adams wanted, essentially, the right to tell his own story now that he was a free man. Morris and Adams would settle out of court, and Adams would regain his life rights.   Once the movie was played out in theatres, it had grossed $1.2m, which on the surface sounds like not a whole lot of money. Adjusted for inflation, that would only be $3.08m. But even unadjusted for inflation, it's still one of the 100 highest grossing documentaries of the past forty years. And it is one of just a handful of documentaries to become a part of the National Film Registry, for being a culturally, historically or aesthetically significant film.”   Adams would live a quiet life after his release, working as an anti-death penalty advocate and marrying the sister of one of the death row inmates he was helping to exonerate. He would pass away from a brain tumor in October 2010 at a courthouse in Ohio not half an hour from where he was born and still lived, but he would so disappear from the spotlight after the movie was released that his passing wasn't even reported until June 2011.   Errol Morris would become one of the most celebrated documentarians of his generation, finally getting nominated for, and winning, an Oscar in 2003, for The Fog of War, about the life and times of Robert McNamara, Richard Nixon's Secretary of Defense during the Vietnam War era. The Fog of War would also be added to the National Film Registry in 2019. Morris would become only the third documentarian, after D.A. Pennebaker and Les Blank, to have two films on the Registry.   In 1973, the senseless killings of five members of the Alday family in Donalsonville GA made international headlines. Four years later, Canadian documentarian Tex Fuller made an award-winning documentary about the case, called Murder One. For years, Fuller shopped around a screenplay telling the same story, but it would take nearly a decade for it to finally be sold, in part because Fuller was insistent that he also be the director. A small Canadian production company would fund the $1m CAD production, which would star Henry Thomas of E.T. fame as the fifteen year old narrator of the story, Billy Isaacs.   The shoot began in early October 1987 outside Toronto, but after a week of shooting, Fuller was fired, and was replaced by Graeme Campbell, a young and energetic filmmaker for whom Murder One would be his fourth movie directing gig of the year. Details are sketchy as to why Fuller was fired, but Thomas and his mother Carolyn would voice concerns with the producers about the new direction the film was taking under its new director.   The film would premiere in Canada in May 1988. When the film did well up North, Miramax took notice and purchased the American distribution rights.   Murder One would first open in America on two screens in Los Angeles on September 9th, 1988. Michael Wilmington of the Los Angeles Times noted that while the film itself wasn't very good, that it still sprung from the disturbing insight about the crazy reasons people cross of what should be impassable moral lines.   “No movie studio could have invented it!,” screamed the tagline on the poster and newspaper key art. “No writer could have imagined it! Because what happened that night became the most controversial in American history.”   That would draw limited interest from filmgoers in Tinseltown. The two theatres would gross a combined $7k in its first three days. Not great but far better than several other recent Miramax releases in the area.   Two weeks later, on September 23rd, Miramax would book Murder One into 20 theatres in the New York City metro region, as well as in Akron, Atlanta, Charlotte, Indianpolis, Nashville, and Tampa-St. Petersburg. In New York, the film would actually get some good reviews from the Times and the Post as well as Peter Travers of People Magazine, but once again, Miramax would not report grosses for the film. Variety would note the combined gross for the film in New York City was only $25k.   In early October, the film would fall out of Variety's internal list of the 50 Top Grossing Films within the twenty markets they regularly tracked, with a final gross of just $87k. One market that Miramax deliberately did not book the film was anywhere near southwest Georgia, where the murders took place. The closest theatre that did play the film was more than 200 miles away.   Miramax would finish 1988 with two releases.   The first was Dakota, which would mark star Lou Diamond Phillips first time as a producer. He would star as a troubled teenager who takes a job on a Texas horse ranch to help pay of his debts, who becomes a sorta big brother to the ranch owner's young son, who has recently lost a leg to cancer, as he also falls for the rancher's daughter.   When the $1.1m budgeted film began production in Texas in June 1987, Phillips had already made La Bamba and Stand and Deliver, but neither had yet to be released into theatres. By the time filming ended five weeks later, La Bamba had just opened, and Phillips was on his way to becoming a star.   The main producers wanted director Fred Holmes to get the film through post-production as quickly as possible, to get it into theatres in the early part of 1988 to capitalize on the newfound success of their young star.    But that wouldn't happen.   Holmes wouldn't have the film ready until the end of February 1988, which was deemed acceptable because of the impending release of Stand and Deliver. In fact, the producers would schedule their first distributor screening of the film on March 14th, the Monday after Stand and Delivered opened, in the hopes that good box office for the film and good notices for Phillips would translate to higher distributor interest in their film, which sorta worked. None of the major studios would show for the screening, but a number of Indies would, including Miramax. Phillips would not attend the screening, as he was on location in New Mexico shooting Young Guns.   I can't find any reason why Miramax waited nearly nine months after they acquired Dakota to get it into theatres. It certainly wasn't Oscar bait, and screen availability would be scarce during the busy holiday movie season, which would see a number of popular, high profile releases like Dirty Rotten Scoundrels, Ernest Saves Christmas, The Naked Gun, Rain Man, Scrooged, Tequila Sunrise, Twins and Working Girl. Which might explain why, when Miramax released the film into 18 theatres in the New York City area on December 2nd, they could only get three screens in all of Manhattan, the best being the nice but hardly first-rate Embassy 4 at Broadway and 47th. Or of the 22 screens in Los Angeles opening the film the same day, the best would be the tiny Westwood 4 next to UCLA or the Paramount in Hollywood, whose best days were back in the Eisenhower administration.   And, yet again, Miramax did not report grosses, and none of the theatres playing the film was tracked by Variety that week. The film would be gone after just one week. The Paramount, which would open Dirty Rotten Scoundrels on the 14th, opted to instead play a double feature of Clara's Heart, with Whoopi Goldberg and Neil Patrick Harris, and the River Phoenix drama Running on Empty, even though neither film had been much of a hit.   Miramax's last film of the year would be the one that changed everything for them.   Pelle the Conquerer.   Adapted from a 1910 Danish book and directed by Billie August, whose previous film Twist and Shout had been released by Miramax in 1986, Pelle the Conquerer would be the first Danish or Swedish movie to star Max von Sydow in almost 15 years, having spent most of the 70s and 80s in Hollywood and London starring in a number of major movies including The Exorcist, Three Days of the Condor, Flash Gordon,Conan the Barbarian, Never Say Never Again, and David Lynch's Dune. But because von Sydow would be making his return to his native cinema, August was able to secure $4.5m to make the film, one of the highest budgeted Scandinavian films to be made to date.   In the late 1850s, an elderly emigrant Lasse and his son Pelle leave their home in Sweden after the death of the boy's mother, wanting to build a new life on the Danish island of Bornholm. Lasse finds it difficult to find work, given his age and his son's youth. The pair are forced to work at a large farm, where they are generally mistreated by the managers for being foreigners. The father falls into depression and alcoholism, the young boy befriends one of the bastard children of the farm owner as well as another Swedish farm worker, who dreams of conquering the world.   For the title character of Pelle, Billie August saw more than 3,000 Swedish boys before deciding to cast 11 year old Pelle Hvenegaard, who, like many boys in Sweden, had been named for the character he was now going to play on screen.   After six months of filming in the summer and fall of 1986, Billie August would finish editing Pelle the Conquerer in time for it to make its intended Christmas Day 1987 release date in Denmark and Sweden, where the film would be one of the biggest releases in either country for the entire decade. It would make its debut outside Scandinavia at the Cannes Film Festival in May 1988, where it had been invited to compete for the Palme D'Or. It would compete against a number of talented filmmakers who had come with some of the best films they would ever make, including Clint Eastwood with Bird, Claire Denis' Chocolat, István Szabó's Hanussen, Vincent Ward's The Navigator, and A Short Film About Killing, an expanded movie version of the fifth episode in Krzysztof Kieślowski's masterful miniseries Dekalog. Pelle would conquer them all, taking home the top prize from one of cinema's most revered film festivals.   Reviews for the film out of Cannes were almost universally excellent. Vincent Canby, the lead film critic for the New York Times for nearly twenty years by this point, wouldn't file his review until the end of the festival, in which he pointed out that a number of people at the festival were scandalized von Sydow had not also won the award for Best Actor.   Having previously worked with the company on his previous film's American release, August felt that Miramax would have what it took to make the film a success in the States.   Their first moves would be to schedule the film for a late December release, while securing a slot at that September's New York Film Festival. And once again, the critical consensus was highly positive, with only a small sampling of distractors.   The film would open first on two screens at the Lincoln Plaza Cinemas in midtown Manhattan on Wednesday, December 21st, following by exclusive engagements in nine other cities including Los Angeles, Philadelphia, San Francisco, Seattle and Washington DC, on the 23rd. But the opening week numbers weren't very good, just $46k from ten screens. And you can't really blame the film's two hour and forty-five minute running time. Little Dorrit, the two-part, four hour adaptation of the Charles Dickens novel, had been out nine weeks at this point and was still making nearly 50% more per screen.   But after the new year, when more and more awards were hurled the film's way, including the National Board of Review naming it one of the best foreign films of the year and the Golden Globes awarding it their Best Foreign Language trophy, ticket sales would pick up.   Well, for a foreign film.   The week after the Motion Picture Academy awarded Pelle their award for Best Foreign Language Film, business for the film would pick up 35%, and a third of its $2m American gross would come after that win.   One of the things that surprised me while doing the research for this episode was learning that Max von Sydow had never been nominated for an Oscar until he was nominated for Best Actor for Pelle the Conquerer. You look at his credits over the years, and it's just mind blowing. The Seventh Seal. Wild Strawberries. The Virgin Spring. The Greatest Story Ever Told. The Emigrants. The Exorcist. The Three Days of the Condor. Surely there was one performance amongst those that deserved recognition.   I hate to keep going back to A24, but there's something about a company's first Oscar win that sends that company into the next level. A24 didn't really become A24 until 2016, when three of their movies won Oscars, including Brie Larson for Best Actress in Room. And Miramax didn't really become the Miramax we knew and once loved until its win for Pelle.   Thank you for joining us. We'll talk again soon, when Episode 117, the fifth and final part of our miniseries on Miramax Films, is released.     Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

This week, we watch the final installment of Krzysztof Kieślowsk's three colors trilogy. Weather we understand it or not or are moved by the connections across the three films, the film is a masterpiece of design. 'Three Colors: Red' (1994).

This week, in our art-house drama journey, we delve into 'Three Colors: White' (1994). We spotlight the film's intriguing plot, Julie Delpy's performance, and Kieślowski's celebrated storytelling. Does this second installment of the trilogy resonate differently with our hosts? Explore 'Three Colors: White', another installment of the trilogy directed by Krzysztof Kieślowski.

Subscribe at the $5 tier on Patreon to hear the full episode and get two bonus episodes every month and access to our Discord!Tim and Jen have a mild and cordial disagreement about Truman Show screenwriter Andrew Niccol's flop first feature: Gattaca.The Cinemaholic has an explainer for the ending, just in case you're stupid.The studio attempted to sell the film as a sci-fi thriller, going by the trailer. See it in 4K over at YouTube. Am I crazy, or is that Richard Kiley narrating for a touch of educational-television believability? Guess they spared no expense!In an interview snippet, Gattaca cinematographer Slawomir Idziak talks about working on an episode of Krzysztof Kieślowski's televised masterpiece, Dekalog.Finally, if you want to hear our episode on George Romero's Martin, stop by our website!  But first come to our Discord and talk to Tim about Traveler. Have You Seen This? BONUS episodes Hosted on Acast. See acast.com/privacy for more information.

In the forty-first episode of Season 7 (Fantastical Realities) Kyle is joined by screenwriter David Gutierrez and novelist Samuel Cullado to discuss the metaphysical and secular spirituality of Krzysztof Kieślowski's thoughtful and evocative tale of the elusive idea of coincidence, destiny, and fate in the meditative The Double Life of Veronique (1991).

Sam Barlow is the designer of the acclaimed independent games Her Story (2015), Telling Lies (2019), and Immortality (2022). Often cited as reviving interest in live-footage games, Barlow takes the cinematic underpinnings of his earlier titles to new extremes in Immortality, which tasks the player with assembling rushes, behind-the-scenes, and rehearsal footage from three incomplete films in order to piece together the fate of their enigmatic actress. To create each of these movies, Barlow enlisted writers Allan Scott (Don't Look Now, The Witches), Barry Gifford (Wild at Heart, Lost Highway) and Amelia Gray (Mr. Robot, Maniac).On the pod, Barlow and Screen Slate editor Jon Dieringer discuss the cinematic legacies of unfinished films, the influences of filmmakers like Peter Greenaway and Krzysztof Kieślowski, the complex writing and production processes of shooting—and dicing up—three period genre pieces, and how “auteurism” functions in the games industry.Hosted by Jon Dieringer. Audio post by C. Spencer Yeh.The Screen Slate Podcast is supported by its Patreon members. Sign up and get access to bonus episodes, our lockdown-era streaming series archives, discounts, event invitations, and more.Support the show

You can lose yourself in cinema -- and you can find yourself in it. Jai Arjun Singh and Subrat Mohanty join Amit Varma in episode 294 of The Seen and the Unseen to talk about the films in their lives, why we should watch old films, why we should watch new films, why Bollywood and Hollywood and other woods are all great, and why we live in a wonderful technicolor world. This episode is a celebration of cinema! (For full linked show notes, go to SeenUnseen.in.) Also check out: 1. Jai Arjun Singh on Twitter and Instagram. 2. Haal-Chaal Theek Thaak Hai -- Subrat Mohanty and Pavan Jha's podcast. 3. Jai Arjun Singh Lost It at the Movies -- Episode 230 of The Seen and the Unseen. 4. Jabberwock — Jai Arjun Singh's blog. 5. Jaane Bhi Do Yaaron: Seriously Funny Since 1983 — Jai Arjun Singh. 6. The World of Hrishikesh Mukherjee -- Jai Arjun Singh. 7. Popcorn Essayists: What Movies do to Writers -- Edited by Jai Arjun Singh. 8. The Golden Era -- Subrat Mohanty's YouTube playlist of 100 lesser-known songs from the golden era of Hindi film music (mostly 1935-65). 9. The Unseen Lata -- Subrat Mohanty's YouTube playlist of 54 lesser-heard songs from Lata Mangeshkar, from 1948 to 1976. 10. Old posts by Subrat Mohanty from the Passion For Cinema web archives. 11. Some Spotify playlists, courtesy Nishant Shah, from Haal-Chaal Theek Thaak Hai episodes: 1, 2, 3, 4. 12. Pavan Jha's YouTube channel. 13. The only 1980s Maltova Mum commercial I could locate from the 1980s. (Couldn't find Singer.) 14. Kashmir Ki Kali -- Shakti Samanta. 15. Mughal-E-Azam -- K Asif. 16. Khuda Nigehbaan Ho -- Song from Mughal-E-Azam, sung by Lata Mangeshkar, music by Naushad, lyrics by Shakeel Badayuni. 17. Cinema Paradiso -- Giuseppe Tornatore. 18. Phool Khile Hain Gulshan Gulshan -- talk show by Tabassum.  19. Old episodes of Phool Khile Hain Gulshan Gulshan with RD Burman, Deepti Naval, Anand Bakshi and Bhupinder. 20. The Indiana Jones and Superman franchises. 21. The Evil Dead -- Sam Raimi. 22. Sam Raimi, Wes Craven and John Carpenter. 23. The Fugitive and The Bodyguard. 24. The Unbearable Lightness of Being -- Milan Kundera. 25. The Antichrist -- Friedrich Nietzsche. 26. The 400 Blows -- Francois Truffaut. 27. Salò, or The 120 Days of Sodom -- Pier Paolo Pasolini. 28. Łódź Film School and Andrzej Wajda. 29. Do the Right Thing -- Spike Lee. 30. On Exactitude in Science (Wikipedia) -- Jorge Luis Borges. 31. Titus Andronicus -- William Shakespeare. 32. A Chess Story (previously published as The Royal Game) -- Stefan Zweig. 33. The World of Yesterday -- Stefan Zweig. 34. The Friday the 13th franchise. 35. Tracy and Hepburn -- Garson Kanin. 36. Bhimsen Joshi, Mallikarjun Mansur, Kumar Gandharva and Lata Mangeshkar on Spotify. 37. Vijay Anand, Guru Dutt, Raj Kapoor, Bimal Roy and Hrishikesh Mukherjee. 38. Guide -- Vijay Anand. 39. Kaagaz Ke Phool -- Guru Dutt. 40. Jean-Luc Godard and Federico Fellini. 41. Shankar–Jaikishan, Hasrat Jaipuri, Shailendra, Mukesh, KA Abbas, Ramanand Sagar and Kidar Sharma. 42. Aag, Satyam Shivam Sundaram, Awaara, Barsaat and Shree 420.43. Nargis and Nadira. 44. Mud Mud Ke Na Dekh -- Song from Shree 420, sung by Asha Bhosle and Manna Dey, music by Shankar-Jaikishan, lyrics by Shailendra. 45. Orson Welles. 46. Squid Game on Netflix. 47. The Immediate Experience -- Robert Warshow. 48. Dil Dhadakne Do, Luck by Chance and Gully Boy -- Zoya Akhtar. 49. Casablanca -- Michael Curtiz. 50. Yudh and Tridev -- Rajiv Rai. 51. Amit Varma's Twitter threads on the MAMI festival from 2018 and 2019. 52. The Art of Translation -- Episode 168 of The Seen and the Unseen (w Arunava Sinha). 53. Dead Poet's Society -- Peter Weir. 54. The desire to help, and the desire not to be helped — Roger Ebert's review of Goodbye Solo. 55. Pauline Kael on Amazon. 56. Dekalog — Krzysztof Kieślowski. (And Roger Ebert's essay on it.) 57. The Dead — John Huston. 58. In the Bedroom -- Todd Field. 59. Devdas (Sanjay Leela Bhansali) and Parineeta (Pradeep Sarkar). 60. Salman Rushdie, Arundhati Roy and Vikram Seth. 61. Raag Darbari (Hindi) (English) — Shrilal Shukla. 62. PG Wodehouse on Amazon and Wikipedia. 63. Films, Feminism, Paromita — Episode 155 of The Seen and the Unseen (w Paromita Vohra). 64. Dharmyug and Dharamvir Bharati. 65. Andha Yug (Hindi) (English) -- Dharamvir Bharati. 66. Suraj ka Satvaan Ghoda -- Dharamvir Bharati. 67. Gunahon Ka Devta — Dharamvir Bharati. 68. Sara Rai Inhales Literature — Episode 255 of The Seen and the Unseen. 69. The Life and Times of Mrinal Pande — Episode 263 of The Seen and the Unseen. 70. Anil Biswas, SD Burman, Chitragupt, Roshan, C Ramchandra and Madan Mohan. 71. Naushad and Aan. 72. Maan Mera Ehsan -- Song from Aan, sung by Mohammad Rafi, music by Naushad, lyrics by Shakeel Badayuni. 73. Sebastian D'Souza, Anthony Gonsalves, Ghulam Mohammed and Mohammed Shafi. 74. Khayyam and RD Burman. 75. The Long Tail -- Chris Anderson. 76. The Sound of Music -- Robert Wise. 77. Do-Re-Mi -- Song from The Sound of Music. 78. Giacomo Puccini and Giuseppe Verdi on Spotify. 79. Tosca -- Giacomo Puccini -- performed at Arena di Verona. 80. Dua Lipa, Olivia Rodrigo, Lizzo and Billie Eilish on Spotify. 81. About That Time -- Lizzo. 82. Renaissance -- Beyoncé. 83. Ae Dil Hai Mushkil -- Karan Johar. 84. Aar Paar, Geeta Dutt and Eminem. 85. Pet Shop Boys, Guns N' Roses, U2, REM and Stone Temple Pilots on Spotify. 86. Bob Dylan and Leonard Cohen. 87. How This Nobel Has Redefined Literature -- Amit Varma. 88. Mera Joota Hai Japani -- Song from Shree 420, sung by Mukesh, music by Shankar-Jaikishen, lyrics by Shailendra. 89. Sahir Ludhianvi and Majrooh Sultanpuri. 90. Do Bigha Zamin -- Bimal Roy. 91. Dharti Kahe Pukaar Ke -- Song from Do Bigha Zamin, sung by Manna Dey and Lata Mangeshkar, music by Salil Chowdhury, lyrics by Shailendra. 92. Varun Grover Is in the House -- Episode 292 of The Seen and the Unseen. 93. Mondegreen. 94. Tragedy -- Bee Gees. 95. Aap Jaisa Koi -- Song from Qurbani, sung by Nazia Hassan, music by Biddu Appaiah, lyrics by Masth Ali & Shashi Pritam. 96. Ek Akela Is Shaher Mein -- Song from Gharaonda, sung by Bhupinder Singh, music by Jaidev, lyrics by Gulzar. 97. Jonathan Haidt on Amazon. 98. Amar Akbar Anthony and Andrei Tarkovsky. 99. 2001: A Space Odyssey -- Stanley Kubrick. 100. Mirza Ghalib (and the show on him by Gulzar). 101. Roy Lichtenstein, Drowning Girl, Jackson Pollock, René Magritte, Pablo Picasso and the Pre-Raphaelites. 102. The Wire, Breaking Bad and Better Call Saul. 103. Christopher Nolan, Martin Scorcese, Quentin Tarantino, Coen Brothers and Preston Sturges. 104. Ball of Fire -- Howard Hawks. 105. The Lady Eve -- Preston Sturges. 106. Barbara Stanwyck and Lawrence Olivier. 107. Francis Ford Coppola, Brian De Palma and Alfred Hitchcock. 108. How to Read and Why -- Harold Bloom. 109. Malayankunju -- Sajimon Prabhakar. 110. Muqaddar Ka Sikandar -- Prakash Mehra. 111. Agatha Christie on Amazon and Wikipedia. 112. Nayak -- Satyajit Ray. 113. Prakash Mehra and Kader Khan. 114. Laawaris -- Prakash Mehra. 115. Don and Majboor. 116. Sample SSR conspiracy theory: He's alive! 117. David Cronenberg. 118. Masaan — Directed by Neeraj Ghaywan and written by Varun Grover. 119. Moonlight — Barry Jenkins. 120. Chacha Bhatija, Parvarish, Amar Akbar Anthony and Dharam Veer -- Manmohan Desai. 121. Man, Woman and Child -- Erich Segal. 122. Man, Woman and Child (1983 film) -- Dick Richards. 123. Masoom -- Shekhar Kapoor. 124. Shyam Benegal, Govind Nihalani, Mani Kaul, Kumar Shahani, Mrinal Sen and Robert Bresson. 125. Au Hasard Balthazar -- Robert Bresson. 126. Uski Roti -- Mani Kaul. 127. Narendra Shenoy and Mr Narendra Shenoy — Episode 250 of The Seen and the Unseen. 128. Calcutta 71 -- Mrinal Sen. 129. Ivan's Childhood, Solaris and Andrei Rublev -- Andrei Tarkovsky. 130. Stanislaw Lem on Amazon and Wikipedia. 131. Cahiers du Cinéma and Mayapuri. 132. Black Friday and Paanch -- Anurag Kashyap. 133. Navdeep Singh, Sudhir Mishra, Neeraj Ghaywan, Raj Kumar Gupta and Rajkumar Kohli. 134. Nagin and Nagina. 135. Jaani Dushman -- Rajkumar Kohli. 136. Three Colors: Blue -- Krzysztof Kieślowski. 137. Three Colors: Red -- Krzysztof Kieślowski. 138. Three Colors: White -- Krzysztof Kieślowski. 139. The Double Life of Veronique -- Krzysztof Kieślowski. 140. The legendary Babbar Subhash. 141. Dance Dance -- Babbar Subhash. 142. Aagaya Aagaya Halwa Wala -- Song from Dance Dance. 143. Jaane Bhi Do Yaaro -- Kundan Shah. 144. Leke Pehla Pehla Pyar -- Song from CID, sung by Shamshad Begum, Asha Bhosle and Mohammad Rafi., music by OP Nayyar, lyrics by Majrooh Sultanpuri. 145. Rote Hue Aate Hain Sab -- Song from Muqaddar Ka Sikandar, sung by Kishore Kumar, music by Kalyani-Anandji, lyrics by Anjaan. 146. Kai Baar Yun Bhi Dekha Hai -- Song from Rajnigandha, sung by Mukesh, music by Salil Chowdhury, lyrics by Yogesh. 147. Rim Jhim Gire Saawan -- Song from Manzil, sung by Lata Mangeshkar, music by RD Burman, lyrics by Yogesh. 148. Andrew Sarris and André Bazin. 149. Sergei Eisenstein and the Odessa Steps sequence. 150. Court — Chaitanya Tamhane. 151. Khosla Ka Ghosla, Oye Lucky! Lucky Oye!, Love Sex Aur Dhokha, Shanghai and Detective Byomkesh Bakshy! -- Dibakar Banerjee. 152. Jean Renoir. 153. Akira Kurosawa and Yasujirō Ozu. 154. Tokyo Story -- Yasujirō Ozu. 155. Rashomon -- Akira Kurosawa. 156. The 2012 Sight and Sound poll of the 100 Greatest Films of All Time. 157. Early Summer -- Yasujirō Ozu. 158. Make Way for Tomorrow -- Leo McCarey. 159. Citizen Kane -- Orson Welles. 160. Vertigo -- Alfred Hitchcock. 161. Setsuko Hara. 162. Sara Akash -- Basu Chatterjee. 163. Bhuvan Shome -- Mrinal Sen. 164. KK Mahajan. 165. One Cut of the Dead -- Shin'ichirō Ueda. 166. Unsane -- Steven Soderbergh. 167. Promising Young Woman -- Emerald Fennell. 168. Psycho -- Alfred Hitchcock. 169. Hitchcock's Films Revisited -- Robin Wood. 170. Picnic at Hanging Rock, Gallipoli, Witness, Dead Poet's Society and The Truman Show -- Peter Weir. 171. Buster Keaton and Charlie Chaplin. 172. John Ford and Girish Shahane. 173. Everything is Cinema -- Don Palathara. 174. Hi Mom! -- Brian De Palma. 175. Taxi Driver -- Martin Scorcese. 176. Joyful Mystery -- Don Palathara. 177. The Postman Always Rings Twice -- Tay Garnett. 178. Treasure of the Sierra Madre -- John Huston. 179. Noir's arc - notes on an excellent anthology -- Jai Arjun Singh. 180. Key Largo -- John Huston. 181. Gun Crazy -- Joseph H Lewis. 182. Sullivan's Travels -- Preston Sturges. 183. O Brother, Where Art Thou? -- Coen Brothers. 184. Winchester '73 and Bend of the River -- Anthony Mann. 185. Shaheed (1948) -- Ramesh Saigal, starring Dilip Kumar. 186. Andaz -- Mehboob Khan. 187. Duniya Na Mane -- V Shantaram. 188. Some Like it Hot and Ace in the Hole -- Billy Wilder. 189. Ernst Lubitsch and James Wong Howe. 190. Sweet Smell of Success -- Alexander Mackendrick. 191. Mere Apne -- Gulzar. 192. Haal Chaal Thik Thak Hai -- Song from Mere Apne, sung by Kishore Kumar and Mukesh, music by Salil Chowdhury, lyrics by Gulzar. 193. Mr Sampat -- SS Vasan. 194. Miss Malini -- Kothamangalam Subbu. 195. Mr. Sampath: The Printer Of Malgudi -- RK Narayan. 196. Achhe Din Aa Rahe Hain -- Song from Mr Sampat, sung by Shamshad Begum and ML Vasantakumari, music by Balkrishna Kalla, lyrics by Pandit Indra Chander. 197. Parakh -- Bimal Roy. 198. O Sajna Barkha Bahaar Aayee -- Song from Parakh, sung by Lata Mangeshkar, music by Salil Chowdhury, lyrics by Shailendra. 199. Oonche Log -- Phani Majumdar. 200. Major Chandrakanth -- K Balachander. 201. Jaag Dil-E-Deewana -- Song from Oonche Log, sung by Mohammad Rafi, music by Chitragupt, lyrics by Majrooh Sultanpuri. 202. Birendranath Sircar, RC Boral and Timir Baran. 203. PC Barua, Bimal Roy and KL Saigal. 204. Devdas (1936) -- PC Barua. 205. President -- Nitin Bose. 206. Ek Bangla Bane Nyara -- Song from President, sung by KL Saigal, music by RC Boral, lyrcs by Kidar Sharma. 207. Street Singer -- Phani Majumdar. 208. Babul Mora Naihar Chhooto Hi Jaye -- Song from Street Singer, sung by KL Saigal, music by RC Boral, lyrics by Nawab Wajid Ali Shah. 209. Wajid Ali Shah. 210. Shatranj Ke Khilari -- Satyajit Ray. 211. Duniya, Yeh Duniya, Toofan Mail-- Song from Jawab, sung by Kanan Devi, music by Kamal Dasgupta, lyrics by Pandit Madhur. 212. Rajnigandha -- Basu Chatterjee. 213. Rajnigandha/राजनीगंधा -- Mannu Bhandari. 214. The Conversation -- Francis Ford Coppola. 215. Deer Hunter -- Michael Cimino. 216. The Godfather -- Francis Ford Coppola. 217. The Godfather: Part 2 -- Francis Ford Coppola. 218. Sisters -- Brian De Palma. 219. Blow Out -- Brian De Palma. 220. Blowup -- Michelangelo Antonioni. 221. The Long Goodbye and Nashville -- Robert Altman. 222. The Missouri Breaks -- Arthur Penn. 223. The Last Picture Show, Paper Moon, What's Up, Doc? and Targets -- Peter Bogdanovich. 224. This is Orson Welles -- Orson Welles and Peter Bogdanovich. 225. Hitchcock -- Francois Truffaut. 226. Bringing Up Baby, His Girl Friday, The Big Sleep and To Have and Have Not  -- Howard Hawks. 227. The Big Sleep -- Raymond Chandler. 228. William Faulkner and Ernest Hemingway on Amazon. 229. Johny Mera Naam and Jewel Thief -- Vijay Anand. 230. Sholay -- Ramesh Sippy. 231. Back to the Future -- Robert Zemeckis. 232. Mr India -- Shekhar Kapoor. 233. Rahul Rawail, JP Dutta, Mukul Anand and Rajiv Rai. 234. Hathyar and Ghulami -- JP Dutta. 235. Raat Bhat Jaam Se Jaam Takrayega -- Song from Tridev with galaxy of villains. 236. Naseeb -- Manmohan Desai. 237. Dan Dhanoa, Mahesh Anand, Dalip Tahil and Tej Sapru. 238. The Ramsay Brothers! 239. Don't Disturb the Dead: The Story of the Ramsay Brothers -- Shamya Dasgupta. 240. Do Gaz Zameen Ke Neeche -- Tulsi and Shyam Ramsay. 241. Veerana -- Ramsay Brothers. 242. Purana Mandir -- Ramsay Brothers. 243. Govinda! 244. Ilzaam -- Shibu Mitra. 245. I am a Street Dancer and Main Aaya Tere Liye from Ilzaam. 246. Jackie Brown and Pulp Fiction -- Quentin Tarantino. 247. Halloween -- John Carpenter. 248. A Nightmare on Elm Street -- Wes Craven. 249. Scream -- Wes Craven. 250. Terminator 2: Judgment Day -- James Cameron. 251. Mad Max: Fury Road -- George Miller. 252. Nicholas Cage and Keanu Reeves. 253. Wild at Heart -- David Lynch. 254. Red Rock West -- John Dahl. 255. The Last Seduction -- John Dahl. 256. Edward Norton in American History X and Rounders. 257. New Delhi Times -- Ramesh Sharma. 258. Drohkaal -- Govind Niahalani. 259. Gupt and Mohra by Rajiv Rai. 260. Sonam! 261. Wild -- Nicolette Krebitz. 262. Waves -- Trey Edward Shults. 263. Climax -- Gaspar Noé. 264. Mother! -- Darren Aronofsky. 265 Eho — Dren Zherka. 266. The Magic Mountain -- Thomas Mann. 267. Invisible Cities -- Italo Calvino. 268. Cosmicomics -- Itali Calvino. 269. If on a Winter's Night a Traveller -- Italo Calvino. 270. A House For Mr Biswas -- VS Naipaul. 271. A Bend in the River -- VS Naipaul. 272. Middlemarch -- George Eliot. 273. Mrs Dalloway -- Virginia Woolf. 274. To the Lighthouse -- Virginia Woolf. 275. Decline and Fall -- Evelyn Waugh. 276. Scoop -- Evelyn Waugh. 277. Brighton Rock -- Graham Greene. 278. Brighton Rock (1948 film) -- John Boulting. 279. Kingsley Amis and Martin Amis. 280. Lucky Jim -- Kingsley Amis. 281. The Siege Of Krishnapur -- JG Farrell. 282. Alfie -- Lewis Gilbert. 283. Get Carter -- Mike Hodges. 284. Blame it on Rio -- Stanley Donen. 285. Gangs of Wasseypur -- Anurag Kashyap. 286. Tamas -- Govind Nihalani. This episode is sponsored by Capital Mind. Check out their offerings here. Check out Amit's online course, The Art of Clear Writing. And subscribe to The India Uncut Newsletter. It's free! Episode art by Simahina, in a homage to Jackson Pollock.

"Three Colors: Blue" (starring Juliette Binoche), "Three Colors: White" (starring Julie Delpy), and "Three Colors: Red" (starring Irène Jacob) are three of the best films released in the 1990s. Polish filmmaker, Krzysztof Kieślowski, made this groundbreaking trilogy that should be seen by any fan of cinema. Alex and Nick spend 90 minutes trying to convince you why.Follow @WAYW_Podcast on Twitter and Instagram.Watch Alex's films at http://alexwithrow.com/Watch Nick's films at https://www.nicholasdostal.com/Send us mailbag questions at whatareyouwatchingpodcast@gmail.com

He's one of our finest writers, lyricists, comedians, dissenters -- and the breadth of his work is matched by the depth of his insights. Varun Grover joins Amit Varma in episode 292 of The Seen and the Unseen to talk about his life and work so far. (For full linked show notes, go to SeenUnseen.in.) Also check out: 1. Varun Grover on Twitter, Instagram, YouTube and IMDb. 2. Masaan -- Directed by Neeraj Ghaywan and written by Varun Grover. 3. Aisi Taisi Democracy on YouTube. Twitter and Instagram. 4. Sandeep aur Pinky Faraar -- Directed by Dibakar Banerjee and co-written by Varun Grover. 5. Biksu -- Raj Kumari (illustrations) and Varun Grover (words). 6. Learn Screen Writing -- Varun Grover's course on Front Row. 7. Varun Grover interviewed on Slow Cafe by Neelesh Misra. 8. Guftagoo with Varun Grover. 9. Moh Moh Ke Dhaage -- Lyrics by Varun Grover. 10. Tu Kisi Rail Si -- Lyrics by Varun Grover. 11. Mann Kasturi -- Lyrics by Varun Grover. 12. Network -- Sidney Lumet. 13. Hot Drinks Equal Warm Feelings. 14. The Gita Press and Hindu Nationalism — Episode 139 of The Seen and the Unseen (w Akshaya Mukul). 15. A Life in Indian Politics — Episode 149 of The Seen and the Unseen (w JP Narayan). 16. Massive fire breaks out at Chitrakoot ground in Andheri. 17. Private Truths, Public Lies — Timur Kuran. 18. I, Pencil -- Leonard Read. 19. Uski Roti -- Mani Kaul. 20. The Crowd: A Study of the Popular Mind — Gustave le Bon. 21. Crowds and Power — Elias Canetti. 22. Nikaah -- BR Chopra. 23. Masoom -- Shekhar Kapur. 24. The Rime of the Ancient Mariner -- Samuel Taylor Coleridge. 25. The Refreshing Audacity of Vinay Singhal -- Episode 291 of The Seen and the Unseen. 26. Stage.in. 27. The Indianness of Indian Food — Episode 95 of The Seen and the Unseen (w Vikram Doctor). 28. Blowin' in the Wind -- Bob Dylan. 29. You're Missing -- Bruce Springsteen. 30. Gajanan Madhav Muktibodh and Dushyant Kumar. 31. M Indicator. 32. Range -- David Epstein. 33. The desire to help, and the desire not to be helped — Roger Ebert's review of Ramin Bahrani's Goodbye Solo. 34. Georges Simenon on Amazon. 35. Fast Car -- Tracy Chapman. 36. Amitava Kumar Finds the Breath of Life -- Episode 265 of The Seen and the Unseen. 37. Aadha Gaon -- Rahi Masoom Raza. 38. Biba Sada Dil Morr De -- Nusrat Fatek Ali Khan. 39. Mirza Ghalib on Rekhta. 40. Early Indians — Episode 112 of The Seen and the Unseen (w Tony Joseph). 41. Early Indians: The Story of Our Ancestors and Where We Came From — Tony Joseph. 42. Kishore Kumar, Mohammed Rafi, SD Burman, RD Burman and Abida Parveen on Spotify. 43. From Cairo to Delhi With Max Rodenbeck -- Episode 281 of The Seen and the Unseen. 44. Invisible Cities -- Italo Calvino. 45. The Rooted Cosmopolitanism of Sugata Srinivasaraju -- Episode 277 of The Seen and the Unseen. 46. Songs of Life -- Puneet Aghi. 47. Hum Aapke Hain Koun..! -- Sooraj Barjatya. 48. Surabhi. 49. Forrest Gump, Notting Hill and Rambo. 50. Majid Majidi, Abbas Kiorastami and Jafar Panahi. 51. Loha, Farishtay, Border and Gadar. 52. Babel and Amores Perros. 53. The Killing of a Chinese Bookie -- John Cassavetes. 54. Mean Streets and Taxi Driver by Martin Scorcese. 55. Flow: The Psychology of Happiness -- Mihaly Csikszentmihalyi. 56. Ellevoro on Instagram and Trip Advisor. 57. Wanting — Luke Burgis. 58. Gunahon Ka Devta -- Dharamvir Bharati. 59. It is Immoral to Have Children. Here's Why — Amit Varma. 60. The Four Quadrants of Conformism — Paul Graham. 61. The Importance of Satya -- Episode 241 of The Seen and the Unseen (w Uday Bhatia). 62. The Great Man Theory of History. 63. Gaata Rahe Mera Dil -- Lyrics by Shailendra. 64. Surinder Kaur, Asa Singh Mastana, Mehdi Hassan, Ghulam Ali, Nusrat Fateh Ali Khan, Parveen Sultana and Noor Jehan on Spotify. 65. Satyajit Ray on Wikipedia, IMDb and Amazon. 66. Agantuk -- Satyajit Ray. 67. The Wind Rises -- Hayao Miyazaki 68. Michael Haneke on Wikipedia and IMDb. 69. Dekalog — Krzysztof Kieślowski. 70. The Three Colours Trilogy --  Krzysztof Kieślowski. 71. A Short Film About Love --  Krzysztof Kieślowski. 72. A Short Film About Killing --  Krzysztof Kieślowski. 73. The God of Small Things -- Arundhati Roy. 74. Dharamvir Bharati, Harishankar Parsai, Uday Prakash and Manohar Shyam Joshi. 75. Raag Darbari (Hindi) (English) — Shrilal Shukla. 76. Naiyer Masud on Wikipedia, Rekhta and Amazon. 77. Collected Stories -- Naiyer Masud. 78. Shamsur Rahman Faruqi on Wikipedia, Rekhta and Amazon. 79. Kai Chaand The Sar-e-aasman --  Shamsur Rahman Faruqi. 80. Sara Rai Inhales Literature -- Episode 255 of The Seen and the Unseen. 81. The Discreet Charm of the Bourgeoisie, The Phantom of Liberty, That Obscure Object of Desire — Luis Buñuel. 82. The Dead -- John Huston. This episode is sponsored by Capital Mind. Check out their offerings here. Check out Amit's online course, The Art of Clear Writing. And subscribe to The India Uncut Newsletter. It's free! The illustration for this episode is by Nishant Jain aka Sneaky Artist. Check out his podcast, Twitter, Instagram and Substack.

If leaders are to be judged by their actions, PV Narasimha Rao was our tallest leader. Vinay Sitapati joins Amit Varma in episode 283 of The Seen and the Unseen to discuss how Rao showed  conviction and political skill in going against the tides of the day to enable the 1991 reforms, which brought hundreds of millions of Indians out of poverty Also check out: 1. Half-Lion: How PV Narasimha Rao Transformed India -- Vinay Sitapati. 2. Jugalbandi: The BJP Before Modi -- Vinay Sitapati. 3. The BJP Before Modi -- Episode 202 of The Seen and the Unseen (w Vinay Sitapati). 4. The Insider -- PV Narasimha Rao. 5. The Importance of the 1991 Reforms -- Episode 237 of The Seen and the Unseen (w Shruti Rajagopalan and Ajay Shah). 6. Gandhi's Assassin: The Making of Nathuram Godse and His Idea of India -- Dhirendra Jha. 7. Ascetic Games and Ayodhya: A Dark Night. 8. How the BJP wins: Inside India's Greatest Election Machine -- Prashant Jha. 9. The BJP's Magic Formula -- Episode 45 of The Seen and the Unseen (w Prashant Jha). 10. India's Problem is Poverty, Not Inequality — Amit Varma. 11. On Inequality — Harry Frankfurt. 12. A Life in Indian Politics -- Episode 149 of The Seen and the Unseen. 13. Gita Press and the Making of Hindu India — Akshaya Mukul. 14. The Gita Press and Hindu Nationalism — Episode 139 of The Seen and the Unseen (w Akshaya Mukul). 15. The Life and Times of Vir Sanghvi -- Episode 236 of The Seen and the Unseen. 16. The Clash of Civilizations? (the article) -- Samuel Huntington. 17. The Clash of Civilization and the Remaking of World Order -- Samuel Huntington. 18. Cut the Clutter with Shekhar Gupta. 19. Headley And I -- S Hussain Zaidi and Rahul Bhatt. 20. Wanting -- Luke Burgis. 21. Abhijit Bhaduri Breaks the Algorithm -- Episode 279 of The Seen and the Unseen. 22. René Girard on Amazon and Wikipedia. 23. Amit Varma's tweet on winning the Asian Championships of Match Poker. 24. The Blue Bedspread -- Raj Kamal Jha. 25. The Looming Tower: Al Qaeda's Road to 9/11 -- Lawrence Wright. 26. Modi's Domination – What We Often Overlook — Keshava Guha. 27. India's Lost Decade -- Episode 116 of The Seen and the Unseen (w Puja Mehra). 28. The Alchemy of Finance -- George Soros. 29. Sturgeon's Law and Survivorship Bias. 30. The Loneliness of the Long-Distance Libertarian -- Amit Varma. 31. Ancient India: Culture of Contradictions -- Upinder Singh. 32. Somanatha: The Many Voices of a History -- Romila Thapar. 33. Romila Thapar, DD Kosambi and Irfan Habib. 34. A Culture of Discrimination Or A Culture Of Emancipation? -- Aravindan Neelakandan on Romila Thapar. 35. The Wire -- David Simon etc. 36. Dekalog — Krzysztof Kieślowski. 37. The Fissures of Modern Hinduism -- Pratap Bhanu Mehta delivers the DD Kosambi Memorial Lecture. 38. Upinder Singh, Nayanjot Lahiri and Iravatham Mahadevan on Amazon. 39. The Power Broker -- Robert A Caro. 40. Robert A Caro on Amazon. 41. The World Is What It Is -- Patrick French. 42. Deng Xiaoping and the Transformation of China -- Ezra Vogel. 43. Lessons from an Ankhon Dekhi Prime Minister — Amit Varma. 44. Sex tape: Andhra Governor N D Tiwari resigns. 45. Bad liver and a broken heart -- Sunil Murthy on Leela Naidu. 46. The Law of Truly Large Numbers. 47. Unlikely is Inevitable -- Amit Varma. 48. Team of Rivals: The Political Genius of Abraham Lincoln -- Doris Kearns Goodwin. 49. To the Brink and Back: India's 1991 Story -- Jairam Ramesh. 50. Brideshead Revisited -- Evelyn Waugh. 51. Brideshead Revisited, the TV series. This episode is sponsored by CTQ Compounds. Check out The Daily Reader and FutureStack. Use the code UNSEEN for Rs 2500 off. Check out Amit's online course, The Art of Clear Writing. And subscribe to The India Uncut Newsletter. It's free! The illustration for this episode is by Nishant Jain aka Sneaky Artist. Check out his work on Twitter, Instagram and Substack.

This week: Krzysztof Kieślowski's Three Colors trilogy, in which the Polish director sets three stories of intimate human connection amidst the formation of the European Union. These films were celebrated upon their release and have gone on to become classics in the international independent film scene.Our Patreon, in which we talk BTSWhere to watch Three Colors: Blue / White / RedWhere to watch Showgirls

Despite its clear thematic and philosophical connections to the other film in this pairing, Krzysztof Kieślowski's BLIND CHANCE, Daniel Schienert and Daniel Kwan's new EVERYTHING EVERYWHERE ALL AT ONCE is a unique experience, a bold, humanistic film full of big messages and also butt jokes. It's a film that's built to surprise and delight on first viewing, but what does it offer in terms of rewatch value? That's one of the things we debate in our discussion of the Daniels' film, before bringing Kieślowski's back into the picture to talk through some of those thematic and philosophical connections. Please share your comments, thoughts, and questions about BLIND CHANCE, EVERYTHING EVERYWHERE ALL AT ONCE, or anything else in the world of film, by sending an email to comments@nextpictureshow.net. We may respond to it on our Patreon (patreon.com/NextPictureShow), where you can also find bonus episodes, recommendations, and more.  Show Notes Works Cited: • Everything Everywhere All at Once review by Walter Chaw (filmfreakcentral.net) • Blind Chance: The Conditional Mood, by Dennis Lim (criterion.com) Outro music: Son Lux w/ Randy Newman, “Now We're Cookin'" Next pairing: Spike Jonze's ADAPTATION and Tom Gormican's THE UNBEARABLE WEIGHT OF MASSIVE TALENT Learn more about your ad choices. Visit megaphone.fm/adchoices