Podcast appearances and mentions of Lynne Ramsay

In front of an audience in the Campari Lounge at the Cannes Film Festival, the legendary Oscar winner reflects on her journey from small-town Texas to Hollywood; her iconic New Hollywood performances in 'Badlands,' 'Carrie,' 'Three Women' and 'Coal Miner's Daughter'; and playing Jennifer Lawrence's mother-in-law in Lynne Ramsay's new film about a woman experiencing severe post-partum depression. Learn more about your ad choices. Visit megaphone.fm/adchoices

Cannes 2025 has arrived—and you can count on our on-the-Croisette crew of Film Comment contributors to cut through the noise with thoughtful dispatches, interviews, and Podcasts. This year's festival is packed with exciting premieres, including new films from Richard Linklater, Lynne Ramsay, Spike Lee, Bi Gan, Julia Ducournau, Wes Anderson, and many more. For our fifth episode from the French Riviera, Film Comment Editor Devika Girish is joined by critics Abby Sun, Beatrice Loayza, and Giovanni Marchini Camia to discuss some late-festival premieres, including Joachim Trier's Sentimental Value, Carla Simón's Romería, Oliver Hermanus's The History of Sound and Nadav Lapid's Yes. Subscribe today to The Film Comment Letter for a steady stream of Cannes coverage, providing everything you need to know about the 2025 edition.

Cannes 2025 is in full swing—and you can count on our on-the-Croisette crew of Film Comment contributors to cut through the noise with thoughtful dispatches, interviews, and Podcasts. This year's festival is packed with exciting premieres, including new films from Richard Linklater, Lynne Ramsay, Spike Lee, Bi Gan, Julia Ducournau, Wes Anderson, and many more. For our seventh episode from the film world's grandest event, Film Comment Editor Devika Girish is joined by critics Kong Rithdee (back by popular demand!) and Inney Prakash to debate two recent premieres from legendary auteurs: Jafar Panahi's It Was Just an Accident (2:33) and Lav Diaz's Magellan (14:12). Next, the group discusses one of the highlights of this year's Cannes Classics section, T'ang Shu Shuen's 1968 film The Arch (23:14), before turning to Ratchapoom Boonbunchachoke's A Useful Ghost (29:09), which just won the Grand Prize at Cannes Critics' Week. Subscribe today to The Film Comment Letter for a steady stream of Cannes coverage, providing everything you need to know about the 2025 edition. Note: Around 18:00, we experienced some equipment problems that resulted in slight glitches on the audio track. We apologize for the inconvenience.

Ep. 319: Eric Hynes on Die My Love, The Love That Remains, The Chronology of Water, Imago Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. I'm back at the Cannes Film Festival to talk about the highlights with another all-star cast of guests. This episode we sat down again with intrepid regular Eric Hynes of the Jacob Burns Film Center to catch up with a few richly realized movies: Die My Love (directed by Lynne Ramsay, starring Jennifer Lawrence, Robert Pattinson, Sissy Spacek), The Love That Remains (Hlynur Palmason), The Chronology of Water (Kristen Stewart), and the documentary Imago (Déni Oumar Pitsaev). After we recorded, Imago won the Jury Prize in its section, Critics' Week. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Cannes 2025 has arrived—and you can count on our on-the-Croisette crew of Film Comment contributors to cut through the noise with thoughtful dispatches, interviews, and Podcasts. This year's festival is packed with exciting premieres, including new films from Richard Linklater, Lynne Ramsay, Spike Lee, Bi Gan, Julia Ducournau, Wes Anderson, and many more. For our sixth episode from the French Riviera, Film Comment Editor Devika Girish is joined by critics and FC stalwarts Miriam Bale, Robert Daniels, and Jessica Kiang to discuss their recent viewing at the fest, including Spike Lee's Highest 2 Lowest, Julia Ducournau's Alpha (23:09), Akinola Davies Jr.'s My Father's Shadow, and Hlynur Pálmason's The Love That Remains (49:25). Subscribe today to The Film Comment Letter for a steady stream of Cannes coverage, providing everything you need to know about the 2025 edition.

Cannes 2025 has arrived—and you can count on our on-the-Croisette crew of Film Comment contributors to cut through the noise with thoughtful dispatches, interviews, and Podcasts. This year's festival is packed with exciting premieres, including new films from Richard Linklater, Lynne Ramsay, Spike Lee, Bi Gan, Julia Ducournau, Wes Anderson, and many more. For our fifth episode from the French Riviera, Film Comment Editor Devika Girish is joined by critic Kong Rithdee and scholar Neta Alexander to discuss some of the most highly anticipated premieres to screen to date, including Christian Petzold's Mirrors No. 3 (2:30), Sebastián Lelio's The Wave (16:50), and Kleber Mendonça Filho's The Secret Agent (27:14). Subscribe today to The Film Comment Letter for a steady stream of Cannes coverage, providing everything you need to know about the 2025 edition.

Cannes 2025 has arrived—and you can count on our on-the-Croisette crew of Film Comment contributors to cut through the noise with thoughtful dispatches, interviews, and Podcasts. This year's festival is packed with exciting premieres, including new films from Richard Linklater, Lynne Ramsay, Kleber Mendonça Filho, Spike Lee, Bi Gan, Julia Ducournau, Wes Anderson, and many more. For our fourth episode from the sunny shores of southern France, Film Comment contributor Mark Asch and critics Kong Rithdee, and Isabel Stevens join Editor Devika Girish to discuss some of the festival's buzziest titles, including Kristen Stewart's The Chronology of Water (3:35), Lynne Ramsey's Die My Love (12:00), Richard Linklater's Nouvelle Vague (29:22), and Harris Dickinson's Urchin (40:35). Subscribe today to The Film Comment Letter for a steady stream of Cannes coverage, providing everything you need to know about the 2025 edition.

Cannes 2025 has arrived—and you can count on our on-the-Croisette crew of Film Comment contributors to cut through the noise with thoughtful dispatches, interviews, and Podcasts. This year's festival is packed with exciting premieres, including new films from Richard Linklater, Lynne Ramsay, Kleber Mendonça Filho, Spike Lee, Bi Gan, Julia Ducournau, Wes Anderson, and many more. For our third episode from the sunny shores of southern France, Film Comment contributors Mark Asch and Beatrice Loayza join Editor Devika Girish to unpack two of the most go-for-broke selections to screen so far—Oliver Laxe's Sirât (2:25) and Ari Aster's Eddington (21:20)—before turning to the more modest charms of Hafsia Herzi's The Little Sister (41:20). Subscribe today to The Film Comment Letter for a steady stream of Cannes coverage, providing everything you need to know about the 2025 edition.

Direction le festival de Cannes, où neuf films sur vingt-deux sont entrés dans la compétition pour la palme d'or. Ce dimanche 17 mai, l'Américain Wes Anderson et le Brésilien Kleber Mendonça Filho entrent, eux aussi, dans la danse. Retour sur les derniers temps forts du festival. Robert Pattinson et Jennifer Lawrence ont électrisé les marches, signant moult autographes et se prêtant au jeu des selfies. Le duo de superstars américaines est à l'affiche de Die, My Love, film en compétition de la britannique Lynne Ramsay. À 39 ans, Robert Pattinson est au sommet de sa gloire depuis déjà deux décennies, découvert dans Harry Potter et Twilight, tout comme l'Américaine Jennifer Lawrence, révélée toute jeune dans la saga Hunger game. Lynne Ramsay, prix du scénario à Cannes en 2017, leur offre deux très beaux rôles, un couple de parents confrontés à la maladie mentale de la jeune mère.Le néo-western Eddington, signé Ari Aster, dresse le portrait d'une ville américaine en post-Covid, projection d'une Amérique en décomposition gangréné par le complotisme et l'ultra-violence avec Joaquin Phoenix en shériff disjoncté. Pendant la conférence de presse du film, l'acteur Pedro Pascal, star des séries The Last of Us et Narcos, a appelé le cinéma à ne pas se laisser intimider par Donald Trump : « Vous savez, quand on a peur, cela veut dire que les autres ont gagné. Donc, il faut continuer à s'exprimer, il faut continuer à se battre. Il faut continuer de raconter des histoires. C'est notre seule façon. Et il ne faut pas se laisser intimider. Et que ceux qui essaient aillent se faire voir ! »Les festivaliers et le jury ont aussi pu découvrir Renoir, de la Japonaise Chie Hayakawa, déjà récompensé en 2022 pour son premier long métrage Plan 75. Un film tout en délicatesse. Le Japon de la fin des années 1980 vu par les yeux d'une fillette de onze ans qui apprivoise par l'imagination et la curiosité sa solitude tandis que son père est en train de mourir d'un cancer. « Il se trouve que j'ai eu un père malade atteint d'un cancer, explique la réalisatrice. Et que de mon enfance jusqu'à une vingtaine d'années, j'ai vu mon père souffrir, se battre contre la maladie, attendre la mort. Cela a beaucoup marqué mon esprit et peut-être mon rapport au monde. »Plus joyeux, malin, Nouvelle Vague, film tourné en français de l'Américain Richard Linklater, ressuscite en noir et blanc tous les protagonistes de la Nouvelle Vague du cinéma français des années 1960. Il retrace avec humour et virtuosité le tournage de À bout de souffle de Jean-Luc Godard.À lire aussiUn 78ème festival de Cannes sous le signe de la sobriété et de la politique

Direction le festival de Cannes, où neuf films sur vingt-deux sont entrés dans la compétition pour la palme d'or. Ce dimanche 17 mai, l'Américain Wes Anderson et le Brésilien Kleber Mendonça Filho entrent, eux aussi, dans la danse. Retour sur les derniers temps forts du festival. Robert Pattinson et Jennifer Lawrence ont électrisé les marches, signant moult autographes et se prêtant au jeu des selfies. Le duo de superstars américaines est à l'affiche de Die, My Love, film en compétition de la britannique Lynne Ramsay. À 39 ans, Robert Pattinson est au sommet de sa gloire depuis déjà deux décennies, découvert dans Harry Potter et Twilight, tout comme l'Américaine Jennifer Lawrence, révélée toute jeune dans la saga Hunger game. Lynne Ramsay, prix du scénario à Cannes en 2017, leur offre deux très beaux rôles, un couple de parents confrontés à la maladie mentale de la jeune mère.Le néo-western Eddington, signé Ari Aster, dresse le portrait d'une ville américaine en post-Covid, projection d'une Amérique en décomposition gangréné par le complotisme et l'ultra-violence avec Joaquin Phoenix en shériff disjoncté. Pendant la conférence de presse du film, l'acteur Pedro Pascal, star des séries The Last of Us et Narcos, a appelé le cinéma à ne pas se laisser intimider par Donald Trump : « Vous savez, quand on a peur, cela veut dire que les autres ont gagné. Donc, il faut continuer à s'exprimer, il faut continuer à se battre. Il faut continuer de raconter des histoires. C'est notre seule façon. Et il ne faut pas se laisser intimider. Et que ceux qui essaient aillent se faire voir ! »Les festivaliers et le jury ont aussi pu découvrir Renoir, de la Japonaise Chie Hayakawa, déjà récompensé en 2022 pour son premier long métrage Plan 75. Un film tout en délicatesse. Le Japon de la fin des années 1980 vu par les yeux d'une fillette de onze ans qui apprivoise par l'imagination et la curiosité sa solitude tandis que son père est en train de mourir d'un cancer. « Il se trouve que j'ai eu un père malade atteint d'un cancer, explique la réalisatrice. Et que de mon enfance jusqu'à une vingtaine d'années, j'ai vu mon père souffrir, se battre contre la maladie, attendre la mort. Cela a beaucoup marqué mon esprit et peut-être mon rapport au monde. »Plus joyeux, malin, Nouvelle Vague, film tourné en français de l'Américain Richard Linklater, ressuscite en noir et blanc tous les protagonistes de la Nouvelle Vague du cinéma français des années 1960. Il retrace avec humour et virtuosité le tournage de À bout de souffle de Jean-Luc Godard.À lire aussiUn 78ème festival de Cannes sous le signe de la sobriété et de la politique

Cannes 2025 has arrived—and you can count on our on-the-Croisette crew of Film Comment contributors to cut through the noise with thoughtful dispatches, interviews, and Podcasts. This year's festival is packed with exciting premieres, including new films from Richard Linklater, Lynne Ramsay, Kleber Mendonça Filho, Spike Lee, Bi Gan, Julia Ducournau, Wes Anderson, and many more. For our second Podcast from the French Riviera, Isabel Stevens and Thomas Flew from Sight and Sound sit down with Film Comment Editor Devika Girish to discuss Mission: Impossible – The Final Reckoning, the purported final installment of the long-running action series. To set things up, Isabel talks about her recent career-spanning interview with Tom Cruise, the cover story of the latest issue of Sight and Sound, before the group leans into the high-octane pyrotechnics of the film. Next, they turn to two other hotly anticipated premieres: Two Prosecutors (19:55), from Ukrainian auteur Sergei Loznitsa, and Left-Handed Girl (32:20), directed by longtime Sean Baker–collaborator Shih-Ching Tsou. Subscribe today to the Film Comment Letter for a steady stream of Cannes coverage, providing everything you need to know about the 2025 edition.

Cannes 2025 has at last arrived—and while news of standing ovations and walkouts, throwaway raves and pans, spit takes and hot takes flood your feed, you can count on our on-the-Croisette crew of Film Comment contributors to cut through the noise with thoughtful dispatches, interviews, and Podcasts. This year's festival is packed with exciting premieres, including new films from Richard Linklater, Lynne Ramsay, Kleber Mendonça Filho, Spike Lee, Bi Gan, Julia Ducournau, Wes Anderson, and many more. To kick off our patented daily Cannes Podcasts, Film Comment Editor Devika Girish gathered FC Podcast veterans Jonathan Romney and Guy Lodge to discuss the first day's offerings. Jonathan begins by describing the Opening Night selection, Amélie Bonnin's Leave One Day (7:00), before the group debates other early festival premieres like Robin Campillo's Enzo (11:20) and Mascha Schilinski's Sound of Falling (22:17).

Qatar plans to give President Trump a plane to use as Air Force One, which even some supporters say crosses a line. But the appearance of corruption doesn’t stop there. The Trump administration gave refugee status to white South Africans, despite no evidence they face more danger than Black South Africans.  “Uptown Girl” Christie Brinkley is out with a new biography about becoming the biggest model of the 1980s. The Cannes Film Festival kicks off today. There’s a new “Mission: Impossible” and films from Spike Lee, Ari Aster, and Lynne Ramsay.

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

Cuenta Milena Busquets que "nunca, ni una sola vez en mi vida, he tenido esa primera visión de la bahía de Cadaqués (aparece de pronto, detrás de una curva, a lo lejos) sin pensar que era el lugar más bonito del mundo, sin que se me estremeciese el corazón, sin pensar que había llegado a casa". Esa visión que describe en ‘La dulce existencia’, su nueva novela publicada por Anagrama, es el punto de partida del viaje que emprende al rodaje de la película ‘También esto pasará’, estrenada el pasado viernes. Un relato íntimo que transita entre la memoria, el cine y los vínculos familiares.En los apuntes de teatro, Daniel Galindo se adentra en una de las disciplinas más populares de las artes escénicas: el circo. Una forma de expresión que mezcla técnica, poesía y riesgo, y que mantiene su magnetismo tanto en propuestas clásicas como contemporáneas.Miguel Ángel Delgado dedica su sección de ciencia a la figura de Gerald Durrell, autor de ‘Mi familia y otros animales’ y de los tres libros que componen la llamada trilogía de Corfú. Durrell retrató con humor e ironía a su excéntrica familia y a los personajes locales que conoció tras abandonar Inglaterra por cuestiones económicas. Un testimonio agudo de libertad, naturaleza y observación del entorno.Y desde Cannes, Conxita Casanovas cubre la jornada inaugural del Festival. Este año, compiten nuevos trabajos de directores como Wes Anderson, Ari Aster, Lynne Ramsay y Richard Linklater. También destaca la participación española con Oliver Laxe y Carla Simón aspirando a la Palma de Oro.Escuchar audio

This week, the Academy of Motion Picture Arts and Sciences announced some new rule changes regarding eligibility and voting for the Oscars. The main change? Oscar voters are, as of this season, REQUIRED to watch all nominees in each category they vote in. Why this wasn't a rule beforehand is beyond me, but y'know, if the best time to throw water at a burning house is at the start, the second best time is now. Along with this is some language regarding generative AI, new submission deadlines, updates to the voting process for the Animated Short Film and Cinematography categories, and the rule reveal for how the new category for Best Casting will be decided.I was fully ready to let this Oscars news be the full episode, but Thierry Fremaux and his band of merry folx had different plans. Part deux of the 2025 Cannes Film Festival lineup dropped yesterday, adding 16 films to the official selection, including Kristen Stewart's directorial debut THE CHRONOLOGY OF WATER and Lynne Ramsay's DIE MY LOVE (which will be featured In Competition).How can I pass up an opportunity to talk about even more potentially kickass movies? Do you SEE the name of this podcast?---Please rate, review & subscribe to The Movies wherever you listen to podcasts!, Bluesky & Letterboxd

The podcast is back, and we're having just as much fun talking about the films as ever (medium-to-high). For a first pod back, we chat Nosferatu, Babygirl and the new Wallace and Gromit, talk through our holiday rewatching, and look ahead to some of the films on the 2025 schedule. The cinema, it lives on! TIMESTAMPS: What We've Been Watching (4:30) Nosferatu review (13:30) Babygirl review (26:05) Wallace and Gromit: Vengeance Most Fowl review (35:40) 2025 preview, ft new Edgar Wright, Lynne Ramsay and more (46:10) Recorded at Ground Floor, Leith – eh.fm/live Get us on Twitter, Bluesky, Instagram and Letterboxd  @thecineskinny, email us at cineskinny@theskinny.co.uk Music: Too Cool by Kevin MacLeod (https://incompetech.filmmusic.io/song/4534-too-cool) License: https://filmmusic.io/standard-license  

Big Tilda Swinter is has arrived! In this month-long look at Tilda Swinton, we'll watch a bunch of Tilda Swinton movies... this one is not as conceptual as some recent months! Up first, Lynne Ramsay's We Need to Talk About Kevin! Ben and Anthony need to talk about the performances, visuals, and substance of one of Tilda Swinton's showcase roles. Directed by Lynne Ramsay, co-written by Ramsay and Rory Stewart Kinnear, and starring Tilda Swinton, John C. Reilly, and Ezra Miller.

This is episode 25 in the second season of The Directors Take Podcast.   In this week's episode your hosts Marcus Anthony Thomas and Oz Arshad discuss the process of giving and receiving notes as a Writer & Director. We were joined in this conversation by Venetia Hawkes, who is the author of the book We Have Some Notes… The Insider's Guide to Notes, Script Editing and Development. This book is an excellent resource and features chapter interviews from some of the finest Writers & Directors in the UK such as Edgar Wright, Lynne Ramsay, Russell T Davies, Sally Wainwright and many, many more.    So as ever we get right into it to help demystify the notes process for you all! This conversation covers:   -What inspired her to write this book? -What did she discover about the notes process that went against her expectations?  -What are the do's and don'ts when giving and receiving notes?  -How should you deliver notes? -What makes a bad note? -How specific should notes be?  -How do you navigate communicating and dealing with notes around tone? -When are notes not useful?  -The notes process for women and people from a global majority. -How did her research inform her own writing process when putting the book together?   Our wonderful sponsor for this episode is THE NATIONAL FILM and TELEVISION SCHOOL. We've also partnered with SCRIPTATION to offer our listeners an EXCLUSIVE DISCOUNT on their software, which you can find on the link below…  http://scriptation.com/thedirectorstake    Nugget of the Week Venetia: Climate spring - Organisation - Climate Spring harnesses the storytelling power of the screen to shift how society perceives and responds to the climate crisis. Oz: We Have Some Notes… by Venetia Hawkes Marcus: Ancient Apocalypse: The Americas    Credits Music by Oliver Wegmüller   Socials Venetia Hawkes: Twitter (X) & Instagram  The Directors' Take: Twitter (X) & Instagram Marcus: Twitter (X) & Instagram Oz: Twitter (X) & Instagram   If you have any questions relating to the episode or have topics you would like covering in future releases, reach out to us at TheDirectorsTake@Outlook.com

This is episode 21 in our second season of The Directors Take Podcast. In this week's episode your hosts Marcus Anthony Thomas and Oz Arshad are joined by Paul Davies, the legendary Sound Designer who is best known for being one of Director Lynne Ramsay's closest collaborators, with their relationship spanning all the way back to her first feature film, Ratcatcher. He is exceptional in his own right however and his unique style has landed him work with directors such as Stephen Frears, Yann Demange, Rose Glass, Steve McQueen and Guillermo Del Toro amongst countless others.  Sound is as important if not more so than the image itself, so we are super excited to bring you a conversation with one of the absolute best in the business. This conversation covers:   -What is Sound Design? -What was his journey into the industry like?  -The importance of mentors?  -How did he come to meet Lynne Ramsay and build that relationship?  -Why do people keep coming back to him?  -How to sync up the process between sound and the edit?  -How does he approach character and perspective with sound?  -What are the mistakes that directors make when working with sound designers?    Our wonderful sponsor for this episode is THE NATIONAL FILM and TELEVISION SCHOOL. We've also partnered with SCRIPTATION to offer our listeners an EXCLUSIVE DISCOUNT on their software, which you can find on the link below…  http://scriptation.com/thedirectorstake    Paul's Bio With a background in music recording and composition, Paul Davies graduated from the sound department at the National Film and Television School (UK) in 1993. After graduation Paul worked as a freelance sound record recordist, sound editor and re-recording mixer on a variety of feature, broadcast, and corporate projects. In 1995 Paul joined the sound post production company VideoSonics as a sound editor, rising to become head of the sound editorial department. Whilst with VideoSonics Paul continued to hone his craft on a large range of feature film and television dramas. In 2000 Paul left VideoSonics to become a freelance supervising sound editor and Sound Designer and continues to work in these roles to this day. Notable directors he has with with include Stephen Frears, John Hillcoat, Lynne Ramsay, Guillermo Del Toro, Steve McQueen, Hideo Nakata, Rose Glass, Bart Layton, Anton Corijn, Saul Dibb, Julian Jarrold, Nick Broomfield and Julien Temple amongst many others, on films such as The Queen, Kinky Boots, You Were Never Really HEre, American Animals, Hunger, Mrs HEnderson Presents, The American, The Proposition, We need to Talk about Kevin, Saint Maud and Mogul Mowgli.    In addition to his work in sound production, Paul is a regular visiting tutor at the National Film and Television School in the UK The Baltic Film School in Estonia and the IFS in Cologne. Paul has also held Sound Design workshops at the School of sound, BAFTA, CPH Dox Festival-Denmark and The Sound of Story in Brighton UK. Paul is a voting member of BAFTA and AMPAS and a past chair of AMPS the UK's film and television sound craft guild. Paul has received nominations from BAFTA and The Royal Television Society for his sound design work in 2018, and won a BIFA for his Sound Design in You Were Never Really Here.    Nugget of the week   Paul: Beth Gibbons - Portishead lead singer & the strength of performance. Oz: Godzilla Minus One Marcus: How Liquid Death's Founder Started a $700million Water Brand | Found Effect   Credits Music by Oliver Wegmüller   Socials Paul Davies: Twitter (X) & Instagram The Directors' Take: Twitter (X) & Instagram Marcus: Twitter (X) & Instagram Oz: Twitter (X) & Instagram   If you have any questions relating to the episode or have topics you would like covering in future releases, reach out to us at TheDirectorsTake@Outlook.com

In this episode of the TIFF 2024 season, Alex discusses two new films from masters of British social realism: Andrea Arnold's Bird and Mike Leigh's Hard Truths. Bird had its world premiere at Cannes in May; Hard Truths had its world premiere at TIFF. Alex finds similarities in subject matter and storytelling approach between the films, including the very strong performances from some Seventh Row favourites, and discusses what each of them is individually doing that's worth noting.  Alex wrote the book on Mike Leigh's Peterloo and his process, so her discussion of Hard Truths places it within Leigh's oeuvre and discusses how his signature process helped make this film an impressive achievement. On this episode 0:00 Intro to the episode 3:34 Andrea Arnold's Bird 16:32 Mike Leigh's Hard Truths 38:14 Closing remarks, more from TIFF to find and look forward to More Andrea Arnold An essay on landscape and limbo in Fish Tank by Gillie Collins A review of American Honey by Elena Lazic An interview with editor Joe Bini by Orla Smith on editing Lynne Ramsay's You Were Never Really Here and how that differs from working with Andrea Arnold More Mike Leigh Read our ebook on Mike Leigh's Peterloo: mikeleighbook.com Listen to Ep. 32: Sorry We Missed You and Peterloo (Members Only) Listen to Ep. 119: Mike Leigh's Naked (FREE) Listen to us discuss Vera Drake and its place in the history of abortion movies in our Abortion on Film season. About the TIFF 2024 season: In the TIFF 2024 season, Editor-in-Chief Alex Heeney will discuss some of the best under-the-radar gems at the 2024 Toronto International Film Festival through themed episodes. This is for you if: You're attending TIFF and looking for recommendations; You're looking ahead to your local film festival for must-see titles; and/or You're interested in how filmmakers from around the world explore similar topics/genres, even if you're not sure if you'll ever see the films. The season will be spoiler-free and designed to be listened to even if you haven't seen the films (or are worried you won't ever be able to).  Check out all of our TIFF 2024 coverage here: https://seventh-row.com/tif24 ---- Interested in attending a film festival? Get my five essential tips for the film adventurer seeking a fantastic festival experience. These tips are tailored to TIFF but will work for any other film festival. Sign up here: http://email.seventh-row.com/tiff24

In this unlocked episode of Mama Needs a Movie's Patreon spinoff podcast, ATTENTION MUST BE PAID (patreon.com/MNAM), Anne and Ryan look back at Lynne Ramsay's MORVERN CALLAR, a 2002 Scottish drama anchored by a haunting performance from Samantha Morton that is worthy of far more attention. Traumatized by the suicide of her novelist boyfriend on Christmas morning, Morvern Callar (Morton), submits his last manuscript as her own, then sets out on a trip to Spain with her best friend Lana (Kathleen McDermont). Following Ramsay's acclaimed debut feature, RATCATCHER, and preceding her more widely-recognized WE NEED TO TALK ABOUT KEVIN and YOU WERE NEVER REALLY HERE, MORVERN CALLAR is at turns moving, meditative, unsettling, and essential to understanding Ramsay's one-of-a-kind directorial approach. MORVERN CALLAR is available to stream for free on Kanopy or Freevee (with ads), or with subscription to The Criterion Channel or Prime Video.