Podcast appearances and mentions of nick pinkerton

In studio, Flick is joined by film critic and screenwriter Nick Pinkerton to chat about the screenplay he wrote for Sean Price Williams' debut feature THE SWEET EAST. The surrealist road film follows Lillian, a high school student let loose on the US Eastern seaboard. The Sweet East, In cinemas from 18 April 2024 Adapted from an hour long one-man show at the Edinburgh Fringe, Richard Gadd brings us BABY REINDEER, an unnerving stalker story gleaned from his early life's real events. Flick is joined on the show by guest reviewer Vyshnavee Wijekumart to cover the viral Netflix show. Baby Reindeer, now screening on Netflix Primal Screen, 7pm every Monday on Triple R - 3RRR 102.7FM Facebook: https://www.facebook.com/primalscreenshow/Instagram: https://www.instagram.com/primal_screen_show/Twitter: https://twitter.com/primal_screen

For this Out Takes, we took a look at two very different projects that highlighted our interest in independent cinemas and quality Aussie TV; ‘The Sweet East', a wildly original... LEARN MORE The post ‘Swift Street' and ‘The Sweet East' with special guests Bernie Van Tiel and Nick Pinkerton appeared first on Out Takes.

Vietnamese-French director Tran Anh Hung on The Taste of Things, a 19th Century culinary romance starring Juliette Binoche; plus a nineties cult classic and a picaresque journey through America.

Vietnamese-French director Tran Anh Hung on The Taste of Things, a 19th Century culinary romance starring Juliette Binoche; plus a nineties cult classic and a picaresque journey through America.

16:35 : "As you get older, you really start to have a pretty iron-bound idea of what may or may not interest you. Maybe that's not a cool thing to say but you know you're not open to everything anymore. You know you have a finite number of days, weeks, months in you. That fucking Mandalorian movie ? I know it's going to be 3 hours of my one and only life I won't get back."36:04 : "The way we talked about the film very often was : this is a science-fiction movie, where she is an interplanetary traveler and the different planets happen to all be on the East Coast of the United States..."

Ep. 215: Sean Price Williams and Nick Pinkerton on The Sweet East and Recent Viewing Welcome to The Last Thing I Saw. Sean Price Williams and Nick Pinkerton have been stalwart guests on the podcast before, sharing their encyclopedic viewing habits. But this time we start by talking about The Sweet East—the acclaimed new film that Sean directed and shot and Nick wrote. Talia Ryder stars as a young woman who goes on a picaresque journey through our complicated country, meeting a range of daunting characters (including Simon Rex as a politically unsavory professor, and Jeremy O. Harris and Ayo Edebiri as filmmakers casting a period drama). But that's only half of our conversation, because I have to ask Sean and Nick (both Kim's Video alums) about what they've been watching, as well as Sean's other intriguing projects. The Sweet East opens on December 1 and stars Talia Ryder, Simon Rex, Ayo Edebiri, Jeremy O. Harris, and Jacob Elordi. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

I'm joined by the director/cinematographer/writer of The Sweet East, Sean Price Williams and Nick Pinkerton, on today's podcast. We talk about their new film, which comes out today in New York and elsewhere shortly. Topics of discussion include rap-rock, David Lynch, Jess Franco, Evel Knievel, and America. Sign up at $5/mo on patreon for an extra episode every week https://www.patreon.com/Extended_Clip

This week we're excited to present two conversations, the first a panel discussion centered around the films of the late Japanese filmmaker Kijū Yoshida, whose films we will be screening beginning this Friday in the new series, The Radical Cinema of Kijū Yoshida, through December 8, followed by a Q&A with The Sweet East director Sean Price Williams, screenwriter Nick Pinkerton, and cast members Talia Ryder, Simon Rex, Jeremy O. Harris, Rish Shah, and Earl Cave from the 61st New York Film Festival. Get tickets to The Radical Cinema of Kijū Yoshida at filmlinc.org/yoshida

Clay Imoo hosts Game Over: Vancouver as Quinn Hughes and the Vancouver Canucks take on William Eklund and the San Jose Sharks, and Clay will be joined by Nick Pinkerton of Twisted Wrister Hockey. Get all your Canucks post game reaction and analysis right here. Follow our hosts on twitter; you can follow Clay Imoo at @CanuckClay, Sam Chang at @samanthacp_, Kaja Mae at @realkajamae, and Parker Halliwell at @parkerspucks. Follow Nick at @Nick_Pinkerton Buy some Game Over merchandise: https://sdpnshop.ca/collections/game-over Join the SDPN Discord: https://discord.com/invite/MtTmw9rrz7 Reach out to https://www.sdpn.ca/sales to connect with our sales team and discuss the opportunity to integrate your brand within our content! Learn more about your ad choices. Visit megaphone.fm/adchoices

We've been talking about a lot of soulless, big-budget IP movies that represent a rot in our culture... so how about a how about a hand-crafted, achingly personal movie that exists as a wart on the back of that rot? We discuss Kevin Smith's CLERKS III (2022), a harrowing vision of Gen X culture trapped in amber."Awkward Americans see themselves in Ron DeSantis" by Ben Terris - https://www.washingtonpost.com/lifestyle/2023/08/17/ron-desantis-awkward/"Talk is Cheap" by Nick Pinkerton - https://nickpinkerton.substack.com/p/talk-is-cheapMichael and Us is a podcast about political cinema and our crumbling world hosted by Will Sloan and Luke Savage. Hosted on Acast. See acast.com/privacy for more information.

We've been talking about a lot of soulless, big-budget IP movies that represent a rot in our culture... so how about a how about a hand-crafted, achingly personal movie that exists as a wart on the back of that rot? We discuss Kevin Smith's CLERKS III (2022), a harrowing vision of Gen X culture trapped in amber. Join us on Patreon for an extra episode every week - https://www.patreon.com/michaelandus "Awkward Americans see themselves in Ron DeSantis" by Ben Terris - https://www.washingtonpost.com/lifestyle/2023/08/17/ron-desantis-awkward/ "Talk is Cheap" by Nick Pinkerton - https://nickpinkerton.substack.com/p/talk-is-cheap

Talk To Me + The Sweet East  Enoch and Priya take on two British-core indie adventure films that navigate the cultural cringe of the world's most infamous colonies. Bruce interviews Nick Pinkerton, the uncompromising writer who could have just called his film Sweet East but started it with The, and Jen and André acknowledge some of the people we've loved and lost over the past few weeks. See omnystudio.com/listener for privacy information.

Bruce Koussaba sits down with Nick Pinkerton to talk about The Sweet East, having its Australian premiere at MIFF this weekend. See omnystudio.com/listener for privacy information.

A Melbourne Film Festival special with Argentine director Laura Citarella and U.S. film critic and screenwriter Nick Pinkerton.

A Melbourne Film Festival special with Argentine director Laura Citarella and U.S. film critic and screenwriter Nick Pinkerton.

Cannes 2023: I sideprogrammet Quinzaine des cinéastes har vi gjort en av de store oppdagelsene under årets festival – den amerikanske indiefilmen The Sweet East – som står i fokus for denne podkastepisoden. Fotograf Sean Price Williams har gjort seg bemerket for sine uttrykksfulle arbeider med regissører som Alex Ross Perry og Safdie-brødrene, og med The Sweet East gjør han sin spillefilmdebut som regissør. Manuset er skrevet av filmkritiker Nick Pinkerton, og foran kameraet har Williams med seg stjerneskuddet Talia Ryder (Never Rarely Sometimes Always), Simon Rex (Red Rocket), Jacob Elordi (Euphoria), og en rekke andre. Vi har alle blitt veldig begeistret for The Sweet East, som ble vist tidlig under festivalen og vært gjenstand for mange samtaler langs Croisetten. Nedenfor diskuterer vi våre tanker om filmen, uten spoilere. Ved mikrofonene sitter Karsten Meinich, Lars Ole Kristiansen og Truls Foss, programsjef på Vega Scene. God lytting!

Auddie hosts Game Over: Calgary to react to and analyze the Calgary Flames' game against the San Jose Sharks, and he's joined by Nick Pinkerton. Follow your hosts on twitter; you can follow Auddie James at @AuddieJames and Peter Klein at @primetimeklein. Follow Nick at @Nick_Pinkerton. Buy some Game Over merchandise: https://sdpnshop.ca/collections/game-... Check out SIA: https://sportsinteraction.com/sdpn Individuals must be 19 years of age or older to open a Sports Interaction account. Terms and Conditions apply. Any opinion expressed is not advice, a promise or suggestion that increases the chance of winning. Gambling can be addictive, please play responsibly. To learn more, visit: https://help.sportsinteraction.com/hc... Or if you have concerns about a gambling problem, call ConnexOntario 1-866-531-2600. Sports Interaction is subject to successful AGCO registration and execution of an Operating Agreement with iGaming Ontario. The Eligible iGames conducted and managed by iGO are only available to those physically present in the Province of Ontario. Join the SDPN Discord: https://discord.com/invite/MtTmw9rrz7 Get the new SDPN app on iOS: https://apps.apple.com/ca/app/sdpn/id... And Android: https://play.google.com/store/apps/de... Learn more about your ad choices. Visit megaphone.fm/adchoices

Clay hosts Game Over: Vancouver to react to and analyze the Vancouver Canucks' game against the San Jose Sharks, and he'll be joined by Nick Pinkerton from Twisted Wrister Hockey. Follow our hosts on twitter; you can follow Clay Imoo at @CanuckClay, Sam Chang at @samanthacp_, and Kaja Mae at @realkajamae. Follow Nick at @Nick_Pinkerton. Buy some Game Over merchandise: https://sdpnshop.ca/collections/game-over Check out SIA: https://sportsinteraction.com/sdpn Individuals must be 19 years of age or older to open a Sports Interaction account. Terms and Conditions apply. Any opinion expressed is not advice, a promise or suggestion that increases the chance of winning. Gambling can be addictive, please play responsibly. To learn more, visit: https://help.sportsinteraction.com/hc/en-us/articles/216779528-Responsible-Gaming-Self-Limitation-Self-Exclusion. Or if you have concerns about a gambling problem, call ConnexOntario 1-866-531-2600. Sports Interaction is subject to successful AGCO registration and execution of an Operating Agreement with iGaming Ontario. The Eligible iGames conducted and managed by iGO are only available to those physically present in the Province of Ontario. Join the SDPN Discord: https://discord.com/invite/MtTmw9rrz7 Get the new SDPN app on iOS: https://apps.apple.com/ca/app/sdpn/id1587748650 And Android: https://play.google.com/store/apps/details?id=com.r76aac5840d3.app Learn more about your ad choices. Visit megaphone.fm/adchoices

After laying the smackdown on the Vegas Golden Knights, are the Canucks finally finding their game? We'll find out tonight as they take on the chaotic San Jose Sharks. Clay will be in the host's chair to break down the game with his guest; Nick Pinkerton from Twisted Wrister Hockey. Follow our hosts on twitter; you can follow Clay Imoo at @CanuckClay, Sam Chang at @samanthacp_, and Kaja Mae at @realkajamae. Follow Nick at @@Nick_Pinkerton. Buy some Game Over merchandise: https://sdpnshop.ca/collections/game-over Check out SIA: https://sportsinteraction.com/sdpn Individuals must be 19 years of age or older to open a Sports Interaction account. Terms and Conditions apply. Any opinion expressed is not advice, a promise or suggestion that increases the chance of winning. Gambling can be addictive, please play responsibly. To learn more, visit: https://help.sportsinteraction.com/hc... Or if you have concerns about a gambling problem, call ConnexOntario 1-866-531-2600. Sports Interaction is subject to successful AGCO registration and execution of an Operating Agreement with iGaming Ontario. The Eligible iGames conducted and managed by iGO are only available to those physically present in the Province of Ontario. Join the SDPN Discord: https://discord.com/invite/MtTmw9rrz7 Get the new SDPN app on iOS: https://apps.apple.com/ca/app/sdpn/id1587748650 And Android: https://play.google.com/store/apps/details?id=com.r76aac5840d3.app Learn more about your ad choices. Visit megaphone.fm/adchoices

Hosts Josh and Jamie and special guest film critic Nick Pinkerton discuss two underseen foreign genre exercises with a double feature of the French neo-noir procedural POLICE PYTHON 357 (1976) and the Spanish gothic horror THE BELL FROM HELL (1973). Next week's bonus episode is a patron-exclusive bonus episode on THE NIGHT OF THE HUNTER (1955) + THE INNOCENTS (1961), you can get access to that episode (and all past + future bonus episodes) by subscribing to our $5 tier on patreon: www.patreon.com/sleazoidspodcast Intro // 00:00-13:35 POLICE PYTHON 357 // 13:35-1:06:10 A BELL FROM HELL // 1:06:10-1:53:33 Outro // 1:53:33-1:57:04 Check out Nick's substack: https://nickpinkerton.substack.com/about MERCH: www.teepublic.com/stores/sleazoids?ref_id=17667 WEBSITE: www.sleazoidspodcast.com/ Pod Twitter: twitter.com/sleazoidspod Pod Letterboxd: letterboxd.com/SLEAZOIDS/ Josh's Twitter: twitter.com/thejoshl Josh's Letterboxd: letterboxd.com/thejoshl/ Jamie's Twitter: twitter.com/jamiemilleracas Jamie's Letterboxd: letterboxd.com/jamiemiller/

It's the start of lean mean season 2 mfs. We are joined once again by everyone's favorite Nick Pinkerton, getting caught up with his latest endeavors and thoughts, with topics ranging from Jean Eustache, west side story, the NFL playoffs, plus the heavy winds of Cyrano fever sweeping the nation

Oscar winner Chloé Zhao on Nomadland, plus Swedish writer-director Roy Andersson on his 2021 film About Endlessness, and film scholar Nick Pinkerton on Tsai Ming Liang's Goodbye, Dragon Inn.

Oscar winner Chloé Zhao on Nomadland, plus Swedish writer-director Roy Andersson on his 2021 film About Endlessness, and film scholar Nick Pinkerton on Tsai Ming Liang's Goodbye, Dragon Inn.

Oscar winner Chloé Zhao on Nomadland, plus Swedish writer-director Roy Andersson on his 2021 film About Endlessness, and film scholar Nick Pinkerton on Tsai Ming Liang's Goodbye, Dragon Inn.

Oscar winner Chloé Zhao on Nomadland, plus Swedish writer-director Roy Andersson on his 2021 film About Endlessness, and film scholar Nick Pinkerton on Tsai Ming Liang's Goodbye, Dragon Inn.

Nick Pinkerton of the Hockey Writers is in on the ground floor of the NHL's expansion Kraken, and shares his analysis with us. We cover the work-in-progress roster, including: Jared McCann, Jared Schwartz, Jordan Eberle, Yanni Gourde, Brandon Tanev, Mark Giordano, Vince Dunn, Jamie Oleksiak, Adam Larsson, Philipp Grubauer, Chris Driedger, Matthew Beniers, Ryker Evans, Kole Lind, and "dat boy Calle." Follow on twitter @victornuno12 @fanhockeylife. Email fantasyhockeylife@gmail.com and ask to join our free discord. We have a redraft listener league open- contact us very soon if you want in. It will be a categories head to head league on fantrax. Listen and subscribe wherever podcasts are posted - and give us 5 stars! We are your best place to talk about the game of dynasty fantasy hockey.

Brooklyn-based artist and writer Larissa Pham joins Medaya and Eric to discuss her debut collection Pop Song: Adventures in Art and Intimacy. Larissa contributed to the collection KINK (previously covered here), with a piece that deals with themes of violence and desire, which are equally reflected in the new collection - and which Larissa addresses throughout the conversation. The entries in Pop Song shift between memoir and an acute attunement to various art objects and experiences in the present, POP SONG explores what it means to want a life and to strive for it: to navigate relationships, to build and rebuild a self, and to appreciate and even desperately rely upon the encounters with art that give such a life meaning.  Also, Nick Pinkerton, author of Goodbye to Dragon Inn, returns to recommend The Dog of the South by Charles Portis.

Brooklyn-based artist and writer Larissa Pham joins Medaya and Eric to discuss her debut collection Pop Song: Adventures in Art and Intimacy. Larissa contributed to the collection KINK (previously covered here), with a piece that deals with themes of violence and desire, which are equally reflected in the new collection - and which Larissa addresses throughout the conversation. The entries in Pop Song shift between memoir and an acute attunement to various art objects and experiences in the present, POP SONG explores what it means to want a life and to strive for it: to navigate relationships, to build and rebuild a self, and to appreciate and even desperately rely upon the encounters with art that give such a life meaning.  Also, Nick Pinkerton, author of Goodbye to Dragon Inn, returns to recommend The Dog of the South by Charles Portis.

It's Miller time as Scott and Kris gush over one of the greatest action movies of all time Mad Max: Fury Road. This film, which Nick Pinkerton of Sight & Sound called “a hammer-down, cast-iron-plated, diesel-exhaust-belching manifesto on the physics of screen action, a metamechanics monster truck show with everything but a Robosaurus” had 150 stunt performers including Cirque du Soleil athletes, destroyed 62 vehicles, and had 480 hours of footage - all to create 120 minutes of pure adrenaline. Kris says you will need some crystal meth to come down from this flick.

two and the Pink, one with the stink (one of us is smoking weed). we deep dive on end of days shit but also discuss the importance of saving the Oasis.And also…Abbott & Costello (again), poverty row film noir, Ready Player One, Tsai Ming-liang, Goodbye Dragon Inn, cruising in movie theatres, and probably more.

Kate Wolf is joined by writer and film critic Nick Pinkerton to discuss his book-length essay on Tsai Ming-liang's film Goodbye, Dragon Inn, which revolves around the final screening at a cinema in Taiwan — on the very day that 300 movie theaters were shuttered across Southern California. The book is both a eulogy and a call to arms for cinema. Kate and Nick share a defiant sadness, revel in memories of the power and meaning they found in a communal space of shared dreams, and wonder how it might be preserved amidst the tyranny of tiny screens and the banality of the bottom line. Also, Sam Cohen, author of the collection of stories Sarahland, drops by to recommend Larry Mitchell's The Faggots and Their Friends Between Revolutions.

Kate Wolf is joined by writer and film critic Nick Pinkerton to discuss his book-length essay on Tsai Ming-liang’s film Goodbye, Dragon Inn, which revolves around the final screening at a cinema in Taiwan — on the very day that 300 movie theaters were shuttered across Southern California. The book is both a eulogy and a call to arms for cinema. Kate and Nick share a defiant sadness, revel in memories of the power and meaning they found in a communal space of shared dreams, and wonder how it might be preserved amidst the tyranny of tiny screens and the banality of the bottom line. Also, Sam Cohen, author of the collection of stories Sarahland, drops by to recommend Larry Mitchell’s The Faggots and Their Friends Between Revolutions.

Welcome to The Last Thing I Saw, with your host Nicolas Rapold. Critic Nick Pinkerton and cinematographer Sean Price Williams join this episode. Pinkerton's new book on Tsai Mingliang's wonderful film Goodbye Dragon Inn is available now from Fireflies Press. Sean Price Williams's vibrant and dynamic work as a cinematographer includes the acclaimed movies Good Time, directed by Josh and Benny Safdie, and Her Smell, directed by Alex Ross Perry. A leading cinematographer of his generation, Williams has also shot movies with Abel Ferrara, Sean Baker, Michael Almereyda, Jessica Oreck, and Albert Maysles. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Golden Globe winner Chloé Zhao on Nomadland. Swedish auteur Roy Andersson talks about his trademark style and how it finds its way into his new film, and film scholar Nick Pinkerton on his book about Taiwanese filmmaker Tsai Ming Liang's masterpiece Goodbye, Dragon Inn.

Golden Globe winner Chloé Zhao on Nomadland. Swedish auteur Roy Andersson talks about his trademark style and how it finds its way into his new film, and film scholar Nick Pinkerton on his book about Taiwanese filmmaker Tsai Ming Liang's masterpiece Goodbye, Dragon Inn.

Golden Globe winner Chloé Zhao on Nomadland. Swedish auteur Roy Andersson talks about his trademark style and how it finds its way into his new film, and film scholar Nick Pinkerton on his book about Taiwanese filmmaker Tsai Ming Liang's masterpiece Goodbye, Dragon Inn.

Golden Globe winner Chloé Zhao on Nomadland. Swedish auteur Roy Andersson talks about his trademark style and how it finds its way into his new film, and film scholar Nick Pinkerton on his book about Taiwanese filmmaker Tsai Ming Liang's masterpiece Goodbye, Dragon Inn.

Golden Globe winner Chloé Zhao on Nomadland. Swedish auteur Roy Andersson talks about his trademark style and how it finds its way into his new film, and film scholar Nick Pinkerton on his book about Taiwanese filmmaker Tsai Ming Liang's masterpiece Goodbye, Dragon Inn.

Golden Globe winner Chloé Zhao on Nomadland. Swedish auteur Roy Andersson talks about his trademark style and how it finds its way into his new film, and film scholar Nick Pinkerton on his book about Taiwanese filmmaker Tsai Ming Liang's masterpiece Goodbye, Dragon Inn.

This week at the Silver Screen Video we are happy to have the great Nick Pinkerton. You can currently catch Nick at his substack https://nickpinkerton.substack.com/ and he has written for Criterion, FilmComment, and many other places. He is on Twitter at @NickPinkerton and Instagram under xnickpinkertonx. We were happy to have him joining us this week and hope you guys enjoy the episode. See link below if you would like to leave us a voicemail. Just make an account, which is free and easy, and you'll be able to leave us a voicemail. https://anchor.fm/silverscreenvideo/message Thanks for stopping by. Feel free to email at silverscreenvideopodcast@gmail.com with any comments or thoughts. Also be sure to follow us on Instagram @silverscreenvideopodcast or Twitter @SilverVideo --- Send in a voice message: https://anchor.fm/silverscreenvideo/message Support this podcast: https://anchor.fm/silverscreenvideo/support

Making breakfast with a bitter melon and scallion from my garden. A tuxedo cat named Walter shows up with something for Silk. Walter appears courtesy of Nick Pinkerton. BGM: Composer: Louis François Philippe Drouet Song: Flute Trio in B-flat major Performer: Paolo Dalmoro --- Send in a voice message: https://anchor.fm/cookingwithsilk/message Support this podcast: https://anchor.fm/cookingwithsilk/support

Critic Nick Pinkerton and programmer Nellie Killian join Nicolas Rapold to discuss isolation viewing and their recent favorites. You may have encountered Nick's criticism in a variety of publications as well as DVD essays and commentary. And Nellie's superb series Tell Me: Women Filmmakers, Women's Stories is featured on Criterion Channel this month. They three talk about the last things they've been watching, including: the pre-code films of William Wellman; the extraordinary documentary series Eyes on the Prize about the Civil Rights Movement; two movies by Robert Altman, Dr. T and the Women and Beyond Therapy; and more. Original music by Nate Kinsella Photo by Steve Snodgrass

Everyone is stuck in their homes for the next however long, so we thought the next batch of movies we release should all be available to stream on Netflix. We're calling this new series: Social Distancing Sessions.We decided to bring the laughs on the first episode of Social Distancing Sessions since we all could use more of that in our lives right now. We chose The Other Guys which just so happens to be celebrating it's 10th Anniversary.To giggle along with us we brought back some of our favorite recurring guests: @JenikaMarion and @TimFoustMusic.Before we chat with Tim and Jenika we talk about how we're dealing with the worldwide pandemic upon us, our last movies we've watched, what we're streaming since that is very appropriate right now and our favorite meals of late. Breaking down this film with these two was a total blast. We thoroughly enjoyed ourselves and kept the good times rolling with a super fun game that Tim made and then our Patrons get to hear our Top 5 Favorite Buddy Cop Films Draft. Spoiler, the Top 5 was suuuuuper fun.We sincerely hope you all are staying home and staying safe. We hope your family and loved ones are doing the same. Take some time to forget about all the craziness and have a few laughs with us. Enjoy!1:25 Buegs' Social Distancing Sitch3:28 Rob's Social Distancing Sitch9:11 To All The Boys: PS I Still Love You10:49 OKJA12:12 The West Wing13:45 High Fidelity Season 115:42 Hen House Eatery https://www.henhouseeatery.com/16:44 Neni https://www.nenikoeln.de/18:40 Plugarooni's 19:16 patreon.com/theavidindoorsmen20:57 @TimFoustMusic @JenikaMarion27:10 The Other Guys Plot Synopsis27:42 Rotten Tomatoes28:11 Nick Pinkerton from Village Voice28:41 Connie Ogle from The Miami Herald29:13 Buegs' Hot Take31:12 Rob's Hot Take33:18 Jenika's Hot Take36:23 Tim's Hot Take37:50 The Dude Award42:35 The Tucci Award49:31 The Dingus57:00 Show Me The Money1:05:56 Buegs Boo Hoo Moments1:08:29 Movie Trivia1:20:37 The Imitation Game1:44:21 Top 5 Buddy Cop Films Draft

Last weekend, the box office report for new releases looked very different: it was glaringly empty. As with so much of the world, the pandemic has left its mark on film: for now, new theatrical releases are in a kind of holding pattern. Our latest guest on The Film Comment Podcast at Home series is regular contributor Nick Pinkerton, and he's been wondering how this cinematic break is affecting film culture and the very idea of contemporary cinema. Nick has also been watching a ton of movies, everything from Bunuel's Simon of the Desert to Virtuosity. For this episode, FC Editor-in-Chief Nicolas Rapold and Assistant Editor Devika Girish spoke with Nick about his voracious viewing and what isolation means for all of us as moviegoers with no place to go. If you're a longtime Film Comment subscriber, listener, or reader, or are just tuning in now, please consider becoming a member or making a donation to our publisher, Film at Lincoln Center, during these unprecedented times: https://purchase.filmlinc.org/donate/contribute2

Uncut Gems, directed by Josh and Benny Safdie, and starring Adam Sandler, is a full-throttle portrait of a diamond dealer in New York's Diamond District. It's been a wild success since it opened in December, and in our November-December issue, Michael Koresky wrote about the movie, praising how the Safdie brothers “capture the bustle and pace of rapid-fire economic exchange, filtering it through an increasingly panicky wild ride.” The neighborhoods of New York are central to the energy of Uncut Gems (as well as their previous films like Good Time). So we decided to invite Josh and Benny Safdie to chat about New York movies. Film Comment contributor Nick Pinkerton sat down with the filmmakers at Film at Lincoln Center, to talk about New York on screen and which particular movies influenced their vision of their hometown.

By any measure, the 2010s have been a confusing and turbulent and also exciting time. That goes for both movies and the world at large, and that's saying a lot after the 2000s. At Film Comment, part of our goal is to offer a critical chronicle of the movies as they're happening, putting things in historical perspective, pointing out the bold and the beautiful in the art and craft of film, and hopefully offering an insight or two along the way. That's often hardest to do with contemporary history, and so to grapple with the 2010s, we're starting a series of Film Comment podcasts we're calling The Decade Project. We'll look at the movies from different angles and do our best to map out a vivid but often hard to characterize time. This week, we'll talk about some of the major shifts and changes that happened over the last ten years, and some of the decade's pivotal movies. It's also an opportunity to talk about the big picture in movies, which probably means having a healthy skepticism about thinking in terms of decades altogether. Joining FC Editor-in-Chief Nicolas Rapold for this discussion are longtime contributing editor Amy Taubin; FC regular Michael Koresky, who is co-editor of the Reverse Shot book, Martin Scorsese: He Is Cinema; and Nick Pinkerton, who's written a number of essays for us looking at the big picture. Stay tuned for more of The Decade Project with guests Ashley Clark, Sheila O'Malley, Andrew Chan, Molly Haskell, and more. Let's go to the beginning of our conversation.

In the middle of the Obama era, Tim Heidecker and Eric Wareheim made a comedy about how our world is a dystopia. America was not ready for TIM AND ERIC'S BILLION DOLLAR MOVIE (2012), but seven years later, it's starting to look like one of the key films of the decade. We discuss shopping-mall culture, irony, and horrifying tales from working in a call centre. "Decker" by Nick Pinkerton - https://www.filmcomment.com/blog/bombast-decker/ "Vic Berger Presents Jim Bakker's Buckets" - https://www.youtube.com/watch?v=rOH37W0jPpA

For our latest Film Comment Free Talk, Claire Denis and Robert Pattinson joined FC Editor-in-Chief Nicolas Rapold to discuss their singular new film High Life, which graces the cover of Film Comment's March-April issue. In his feature on the film, Nick Pinkerton writes that, “While High Life is the biggest and most expensive movie that Denis has ever made, it gives little indication of its scale having been bartered for at the sacrifice of freedom—or with the stymieing of the go-with-the-gut intuition that has produced a sui generis body of work, created with enormous craft but a total disdain for the rules of the ‘well-made' film, elliptical in approach and full of jarring tonal shifts.” In this conversation, the filmmaker and actor discuss working together to bring High Life to the screen, as well as Denis's remarkable eye for physicality, encountering the taboo, considerations of genre, and much more.

High Life, the new movie from Claire Denis, comes to theaters on April 5. With a cast featuring Film Comment cover subject Robert Pattinson, Juliette Binoche, and André Benjamin as members of a group of death-row convicts trapped on an experimental, interstellar journey, High Life tells a story of intimacy, isolation, and taboo. Though it touches on themes of family and group identity that may be familiar to fans of Denis, the film's setting and nods to science fiction make it a both a continuation and a complication of many of the ideas, feelings, and sensations that she's explored before. For the occasion, Film Comment Editor-in-Chief Nicolas Rapold welcomed FC contributing writer Nick Pinkerton (author of the March-April issue's High Life cover story) and Madeline Whittle of the Film Society of Lincoln Center, to discuss both High Life and one other Denis film chosen by each guest. Denis and Pattinson will sit down for a Film Comment Free Talk on Thursday, April 4, at 5:30pm. The seating will be first-come, first-served, and doors will open at 4:30pm. Don't miss what's sure to be an enlightening, exciting conversation. For more information, visit filmlinc.org.

Film critic Nick Pinkerton stops by the pod to chat about the Oscars, the rise of fanboy culture, and the death of cinema

The Rep Report continues with another joyous discussion of the latest in repertory and new release. This time we venture into the shadows of the Jacques Tourneur retrospective at the Film Society of Lincoln Center, along with some choice selections from New York's wealth of offerings. Then it's time for a holiday surprise—at least, that's how the movie has affected our critics, who saw it only after deadlines for the best-of-the-year polls had passed: The Mule, directed by Clint Eastwood, who stars as a charming drug courier of a certain age. For this episode, I was joined by K. Austin Collins of Vanity Fair; Jon Dieringer, co-founder of Screen Slate; Nellie Killian, a contributing editor at Film Comment and programmer; and Nick Pinkerton, regular FC contributor.

Every year we send out a poll to our critics and staff and put together a list of the best movies of the year. For 2018, we did something a little different and fun: we counted down the best movies of the year at a live Film Comment Talk at the Film Society of Lincoln Center. Along the way, Film Comment editor-in-chief Nicolas Rapold discussed the results with a group of all-star critics: Molly Haskell, critic and author; Michael Koresky, director of editorial and creative strategy at the Film Society of Lincoln Center; and Sheila O'Malley and Nick Pinkerton, also frequent Film Comment contributors.

There's an abundance of riches in movie houses across our fair city of New York—and, of course, beyond. We've long wanted to feature discussions among our contributors about the many options out there, and we‘re pleased to dive right in with the first of a new strand in the Film Comment Podcast family. In the first half, we go deep into the repertory side with Screen Slate's John Dieringer and FC Contributing Editor (and Screen Slate board member) Nellie Killian, including titles by Margarethe von Trotta and the largely unknown James Robert Baker (Blonde Death); then, frequent FC contributors Sheila O'Malley and Nick Pinkerton glance across the slate of new and recent releases and give us their thoughts on such titles as Private Life, Burning, and The Ballad of Buster Scruggs.

As a chronicler of film history, director Peter Bogdanovich has assembled what amounts to an insider's oral history of classic Hollywood, across books and films and assorted individual interviews. His documentary on the silent great Buster Keaton, aptly titled The Great Buster, is yet another important project, which opened earlier this month. But Bogdanovich himself surfaces this month in another piece of film history—Orson Welles's The Other Side of the Wind, one of cinema's most anticipated unfinished works, which will be released onNovember 2 after an extensive reconstruction effort. For a special interview episode of The Film Comment Podcast, Nick Pinkerton sat down with Bogdanovich for a conversation about Keaton, Welles, and more.

Our latest guest for our Film Comment Talks was Ethan Hawke. His new film Blaze, which he directed, stars in, and co-wrote, was released in August by IFC Films. In a busy year that also saw the release of First Reformed, where he played a tormented priest, Hawke took time to talk with FC stalwart Nick Pinkerton about playing characters who value authenticity and integrity. The actor-writer-filmmaker was in prime raconteur mode, in front of an enthused audience. Look out for more Film Comment Talks during the New York Film Festival and beyond!

This week on the podcast, the re-release of Terence Davies's first full-length film, Distant Voices, Still Lives, in a new restoration, has our guests reminiscing about great debut features throughout cinema. After discussing Davies's 1988 masterpiece, the group goes on to talk in detail about some great first features to careers that either took off or were frustratingly cut short, including a trio of Ter(r)ences and Lynne Littman. Joining in the discussion were frequent Film Comment contributors Ina Archer, media conservator at the Smithsonian National Museum of African American History and Culture; Michael Koresky, the Director of Editorial and Creative Strategy at the Film Society of Lincoln Center (and author of the University of Illinois Press book Terence Davies; and critic and FC contributing editor Nick Pinkerton.

Bill speaks to film critic Ela Bittencourt about her many pursuits, from past programming efforts like the Neither/Nor Polish retrospective at True/False Film Fest and the LGBTQ Brazil series at the Museum Of The Moving Image, to writing for publications like Slant and Film Comment and creating the website Lyssaria to call attention to the work of young filmmakers. Other topics include: Polish Cinema in the 1990s, hybrid documentaries, Andrzej Zulawski, the importance of good editors and the childhood experience of playing an extra in an Andrzej Wajda movie. Visit Ela Bittencourt's website, Lyssaria: www.lyssaria.com Read Ela Bittencourt in Reverse Shot: http://reverseshot.org/people/76/ela-bittencourt Read Ela Bittencourt on Mubi.com: https://mubi.com/notebook/posts/author/516  Read about the LGBTQ Brazil series: http://www.movingimage.us/programs/2018/07/28/detail/lgbtq-brazil/ Read about Ela Bittencourt’s upcoming screening at UnionDocs: https://uniondocs.org/event/a_opcao_ou_as_rosas_da_estrada/ Read Ela Bittencourt on COSMOS: http://www.bkmag.com/2016/02/18/say-goodbye-to-andrzej-zulawski-the-eternal-outsider-of-polish-cinema-at-film-comment-selects/ Watch a panel discussion with Ela Bittencourt, Nick Pinkerton and Adam Nayman at the 2014 True/False Film Fest: https://www.youtube.com/watch?v=JJu4RgIuyKY Read Ela Bittencourt in Artforum: https://www.artforum.com/contributor/ela-bittencourt Visit the True/False website, where you can download Ela Bittencourt's 2015 monograph on chimeric Polish Cinema of the '70s, '80s and '90s: https://truefalse.org/program/neither-nor

For many New York moviegoers, the past few weeks at the Film Society of Lincoln Center have virtually belonged to Luchino Visconti. The retrospective has included established landmarks such as Rocco and His Brothers, The Leopard, Death in Venice, and Ossessione, but it's also fostered rediscovery of Ludwig, The Stranger, The Damned, and more. The record audiences suggest that Visconti's richly drawn canvases, larger-than-life characers, and sweeping historical dramas still have a special pull on the big screen. And decay never looked so good. In this episode of the podcast, I talked about Visconti's work (and its resonance with glam rock?) with regular FC contributor Nick Pinkerton, and Florence Almozini, associate director of programming at the Film Society and co-programmer of the retrospective.

In the May/June issue of Film Comment, Nick Pinkerton wrote: “Like few feature films before it, Spielberg's [Ready Player One] exemplifies an aesthetic of pop-culture decoupage that has developed, in recognizably kindred forms, across a wide range of media, one that has been increasingly prevalent through the early years of the 21st century. It is that of the junk-pile jumble of accumulated mass-manufactured character properties at the end of pop history—the aesthetic of glut.” Pinkerton, regular FC contributor, is joined by FC Digital Producer Violet Lucca and Light Industry co-founder and 4Columns contributor Ed Halter to discuss our new pop culture reality, where everything—good or bad—is here to stay.

We go wild this week with a menagerie of animal-based filmic bits and bobs from across the British film industry. Weekend and 45 Years director Andrew Haigh leads in Lean On Pete, his Pacific Northwest-set drama about a wandering teen and an ageing racehorse; Writer-director Michael Pearce introduces his sprightly, nasty debut Beast and film-maker John Bradburn displays an infectious enthusiasm for Pandemic, his interactive film about pig-human hybrids. Plus, we talk to New York film journalist Nick Pinkerton about The Other Side of the 80s, his extended feature about alternative 80s film-making, which makes Sight and Sound's front cover next issue. Nick is technically an animal, which we mention only to stretch our conceit to its breaking point. *Play Pandemic here! https://blog.sciencemuseum.org.uk/pandemic-behind-the-scenes/* The BFI podcast - four stories from across the British film industry - is written, presented and produced by Henry Barnes: twitter.com/henryhbarnes?lang=en. This episode contains clips from the following: - Lean On Pete, directed by Andrew Haigh and released in 2018 by Curzon Artificial Eye. - Pandemic, directed by John Bradburn and released in 2018 by The Science Museum. - Cutter's Way, directed by Ivan Passer and released in 1981 by United Artists. - The Breakfast Club, directed by John Hughes and released in 1985 by Universal Pictures. - E.T. The Extra Terrestrial, directed by Stephen Spielberg and released in 1982 by Universal Pictures. - The Terminator, directed by James Cameron and released in 1984 by Orion Pictures. - Back to the Future, directed by Robert Zemeckis and released in 1985 by Universal Pictures. - Beast, directed by Michael Pearce and released in 2017 by 30 West. This episode contains the following music, all used under license via Audio Network, unless otherwise stated: - Throwback Jack, written and performed by Tim Garland. Released in 2003. - Island Love, written and performed by Tom Peters and Lorenzo De Feo. Released in 2017. - Your Love Part Two, written and performed by Lyndrey Holder. Released in 2017. - Time is on Your Side, written and performed by Pete Masitti and John Andrew Barrow. Released in 2017. - Left of the Dial, written and performed by Alex Chilton and The Replacements. Released in 1985. - Don't Skip Out on Me, written and performed by Richmond Fontaine. Released in 2016. See acast.com/privacy for privacy and opt-out information.

After being notorious as a “hotbed” of piracy for many years, the Chinese market is now more rightly regarded as the second-largest in the world. In the January/February issue of Film Comment, Nick Pinkerton and Andrew Chan respectively report on Hollywood's deals with mainland multiplexes and aspiring mogul Jia Zhangke. As the middle class has grown, new venues and festivals seek to satiate their desire for more entertainment options—big, small, or somewhere in-between. In this episode of the podcast, FC Digital Producer Violet Lucca is joined by Andrew Chan, web editor at the Criterion Collection, and Aliza Ma, head programmer at Metrograph, to discuss Chinese film culture, sprawling multiplexes, censorship, and the types of films that do and don't get made anymore on the Mainland and off. Read Andrew's feature online: https://www.filmcomment.com/article/jia-zhangke-pingyao-film-festival/

“Can a meretricious, inane movie with nothing else to recommend it produce a radiant, rousing film score?” asks Gary Giddins in “Rolling Thunder,” the January/February 2018 edition of Film Comment‘s “Playing Along” column. “Very rarely,” he answers. Although Giddins isolates Franz Waxman's score for Taras Bulba as a specific example, the guests on this week's episode of the Film Comment Podcast each provide a couple more, which led to reminiscences about genre sampler OSTs, unlikely pop music cues, and whether or not Steven Spielberg's idea of humor is just…shouting. For this conversation, FC Digital Producer Violet Lucca is joined by Tom Scharpling, host of The Best Show, and frequent FC contributors Margaret Barton-Fumo and Nick Pinkerton.

We’ve been compiling this episode for about 6 months now and we’ve conducted interviews in New York, Bristol, The Shetland Islands and via Skype. We hope our delve into film criticism is worth the wait. Thank you firstly to our participants, so generous with their time and thoughts. A huge thank you also to our roving reporter Charlotte Crofts for the amazing interview with Tara Judah featured in the episode, and others we couldn’t manage to get in. Thank you finally to our listeners who suggested this episode. The wealth of material we got was overwhelming so look out for all the interviews being uploaded in January while we are on our winter break. That should keep you going in the cold winter months. Participants Tara Judah https://tarajudah.com/ @midnightmovies Sam Fragoso http://talkeasypod.com/ @SamFragoso Simran Hans https://www.theguardian.com/profile/simran-hans @heavier_things Ashley Clark http://www.bfi.org.uk/people/ashley-clark  @_Ash_Clark Violet Lucca https://www.filmcomment.com/author/vlucca/ @unbuttonmyeyes Mark Kermode https://www.theguardian.com/profile/markkermode @KermodeMovie Prof. Linda Ruth Williams https://humanities.exeter.ac.uk/film/staff/lwilliams/ @lindaruth1 Tom Shone http://tomshone.blogspot.co.uk/ @Tom_Shone Roll of Honour All the critics given shout outs across our interviews... Sophie Mayer, Alexandra Heller-Nicholas, Cerise Howard, Emma Westwood, Thomas Caldwell, Josh Nelson, Jack Sargeant, Dana Linssen, Kees Driessen, Rüdiger Suchsland, Adrian Martin, Catherine Grant, Cristina Alvarez Lopez, Kevin B. Lee, Michael Wood, Jonathan Rosenbaum, Robin Wood, Victor Perkins, David Bordwell, Kristin Thompson, Hadley Freeman, Marina Hyde, Ren Zelen, Christina Newland, Molly Haskell, Ashley Clark, James Baldwin, Graham Greene, Cahiers Critics, Bogdanovich & Schrader, Toby Hazlet, Violet Lucca, Doreen St. Felix, Jia Tolentino, Vinson Cunningham, Hilton Als, Wendy Ide, Simran Hans, Guy Lodge, Pauline Kael, Kim Newman, Roger Ebert, Andrew Sarris, Alan Jones, J Hoberman, Anne Billson, Kate Muir, Kay Austin Collins, Ira Madison, Alyssa Wilkinson, Scott Tobias, Keith Phipps, Tasha Robertson, Tim Grierson, Anjelica Jade, Nathan Heller, Jeremy O’Harris, Hunter Harris, Wesley Morris, Nick Pinkerton, Eric Hynes, Badlands Film Collective, AO Scott, Anthony Lane, David Edelstein, Elvis Mitchell, Amy Taubin,  Christian Lorentzen, Senses of Cinema, Four Columns and Reverse Shot. The incidental music for this episode is from Giorgio Gaslini's score for Antonioni's La Notte.

Nick Pinkerton's feature in the new issue, “The Golden Age of Campus Film Societies,” serves as a point of departure for a discussion on the role of campus film culture in shaping cinephilia. In this podcast, Dave Kehr, author and curator of film at New York's Museum of Modern Art, and film critic J. Hoberman talk to Pinkerton about their experiences in campus film culture. Campus film societies not only made international arthouse films available around the country, they also served as battlegrounds for competing ideas about film before the advent of academic cinema studies. In this way, campus film societies were formative for generations of cinephiles and film critics. Kehr, Hoberman, and Pinkerton join FC Digital Producer Violet Lucca to discuss the significance of campus film societies and the future of their impact.

Have we passed 100 episodes already? Apparently so! This week, we invite listeners to look back at some of the most memorable moments of The Film Comment Podcast, including choice blurts from Kent Jones, Amy Taubin, Maitland McDonagh, Molly Haskell, Nick Pinkerton, and other special guests. We also look forward with FC Digital Producer Violet Lucca's interview with Ruben Östlund about The Square, what it means to be Swedish, and the power of YouTube.

With every festival comes a new round of roundtables, so if you couldn't make it to this year's Toronto International Film Festival, you can still listen to this week's episode of the podcast and start planning ahead for when the lineup comes to a theater or streaming service near you. And luckily, the talking points of this year's TIFF are varied: the highly anticipated return of Lucrecia Martel; adventurous new films from familiar faces like Alexander Payne and Darren Aronofsky; and mesmerizing documentary work from Wang Bing, Véréna Paravel and Lucien Castaing-Taylor. Film Comment Digital Producer Violet Lucca discusses and debates the selection with a panel of FC contributors, including Eric Hynes, associate curator of film at the Museum of the Moving Image; Aliza Ma, head of programming at Metrograph; Adam Nayman, Cinema Scope contributor; Nick Pinkerton, member of the New York Film Critics Circle; and Michael Koresky, Director of Editorial and Creative Strategy at the Film Society of Lincoln Center.

In May, we premiered our very first gift-giving episode. In it, each critic chose two films for another participant to experience for the first time. The first was a film that they'd be interested in hearing that person talk about; the second was a film that they thought the other might genuinely like. It didn't always work out that way, though. To continue the tradition, we offer a very special gift-giving episode in reverse order, and our resulting conversation runs the gamut from Andrew Dice Clay to Stephen Chow to Barbra Streisand. As you'll hear, sometimes it's difficult to distinguish which film was intended to amuse and which aimed to abuse, but each gift gave way to surprising appreciation and lively conversation. FC Digital Producer Violet Lucca is joined by Michael Koresky, Editorial Director at the Film Society of Lincoln Center, Nick Pinkerton, regular contributor to Film Comment, and Aliza Ma, Head of Programming at Metrograph.

Plenty of films open with an establishing shot of a city's iconic skyline, or of a few iconic barns, only to go on and use the location as an anonymous backdrop. But few and far between are films that actually use the specificity that comes from location shooting to express something about the city's history, the characters, and the story itself. The cover story of our July/August issue is the Safdie Brothers' Good Time—a New York film through and through—and in the same issue's Art and Craft column, we asked veteran location manager Ken Lavet to reflect on the art of scouting for Steven Soderbergh and other filmmakers. "It always starts with the story—whether it's in a beat sheet form or a script or a treatment of some kind,” Lavet writes. “Hopefully I get some description from the screenwriter—of, say, a house, or an apartment building, or an office. And I start looking with that in mind." In this episode, Film Comment contributors Nick Pinkerton, Eric Hynes, and Margaret Barton-Fumo join Digital Producer Violet Lucca to discuss a film shot in their hometown, and access how each film interfaces with their lived experience of those places.

As David Thomson succinctly puts it in the July/August issue, "Wanda is the kind of person who didn't and still doesn't get into American movies (unless she's got a few dollars for a ticket)." Based on a newspaper story about a woman convicted of robbery who thanked the judge for sentencing her to jail for 20 years, Wanda is an unapologetic look at life in America's coal country starring its director and writer, Barbara Loden. Still relatively hard to see, the 1970 film has experienced a(nother) recent critical resurgence thanks in part to Nathalie Léger's book about the film, which charts the writer's quest to discover more about Loden's life and the soul-searching that ensues. In this episode, Film Comment Digital Producer Violet Lucca is joined by Shonni Enelow, author of Method Acting and Its Discontent, and regular FC contributors Nick Pinkerton and Margaret Barton-Fumo.

Having programmed two high-profile Netflix premieres, Bong Joon Ho's Okja and Noah Baumbach's The Meyerowitz Stories (New and Selected), in the main competition, Cannes was shadowed by a debate over distribution—theatrical versus streaming—and the role of heavyweight newcomers Amazon and Netflix. The controversy placed streaming services in direct opposition to cinemas, but the shifting landscape is more complex; for one, Amazon also distributes its titles with more conventional theatrical rollouts, and the same-day VOD release model doesn't apply to every Amazon title in the market. This episode of The Film Comment Podcast focuses not only on streaming, but also on the interactions between global markets and studios, film critics and consumers, and cinephiles and local art house circuits—and why it's difficult to make a monolithic statement about what the future holds. Daniel Loría, Editorial Director of Box Office Magazine, and Nick Pinkerton, member of the New York Film Critics Circle, offer up their insights in conversation with FC Digital Producer Violet Lucca.

Did the golden age of television already happen? This episode of the podcast makes the case that it has—in 1970s Germany, courtesy of the one and only R.W. Fassbinder. In her feature in the May/June issue, Aliza Ma tackles Fassbinder's recently restored and rediscovered Eight Hours Don't Make a Day, the nearly eight-hour series the auteur wrote and shot at a crucial moment in his career. The ensemble story involves the friends and family of a worker in a machine parts factory as he slowly mobilizes colleagues against the management. Ma writes: “With Eight Hours Don't Make a Day, Fassbinder channels his unique capacity for self-interrogation and curiosity about new social modes of existence into mass media, proving—at least for five episodes—that it is possible to create popular entertainment that manages to be multifaceted, provocative, and meaningful.” Film Comment Digital Producer Violet Lucca was joined by Ma, head of programming at Metrograph, and Nick Pinkerton, regular FC contributor, to bask in the complexities and pleasures of this newly essential addition to the Fassbinder oeuvre.

To celebrate the 55th birthday of our magazine, we present a special gift-giving episode of the podcast. The gifts in this case are movies: as in a Secret Snowflake office gift exchange, each critic gave two films to another participant that the recipient hadn't seen before. One was a film that they'd be interested in hearing that person talk about; the other, a film that was just for fun. As you'll hear, some gifts were more appreciated than others—but each of the viewings yielded a fascinating discussion. Along with Film Comment Digital Producer Violet Lucca, the gift-givers/recipients included Michael Koresky, the Director of Editorial and Creative Strategy at the Film Society of Lincoln Center, Nick Pinkerton, regular contributor to Film Comment, and Aliza Ma, head of programming at Metrograph.

"You don't want something to look too staged in movies or they look overly presented. You don't know what comes out . . . You don't know what you have at the end of the day." That was Terrence Malick during a rare public appearance at SXSW last month, on the occasion of the premiere of the Austin, Texas–set Song to Song. Although the film nominally follows characters through the city's music scene and features the likes of Patti Smith (for a few minutes) and John Lydon (for 10 seconds), it doesn't seek to document a milieu so much as evoke the breadth of human experience in all its tactility and transience. Needless to say, there's a lot to discuss, so this episode of The Film Comment Podcast thoughtfully considers Song to Song and Malick's artistic output. FC Digital Producer Violet Lucca mulls it over with contributors Shonni Enelow, English professor at Fordham and author of Method Acting and Its Discontents, and Nick Pinkerton, member of the New York Film Critics Circle, in a conversation covering Malick's experimentation with free-associative forms, the 19th-century influence on his worldview, his depictions of gender, and how the critical discourse surrounding his work often reflects subtly different philosophies of art and criticism.

Horror films are unusually adept at giving mutable flesh to the terrors of adolescence, and Julia Ducournau's new film Raw is no exception. After a choice freshman-year hazing ritual involving a rabbit liver, the veterinary-school protagonist of Raw finds herself developing a taste for raw flesh, which she processes as she adjusts to life at school. Metaphorical monsters and latent taboo impulses like these are to be expected when it comes to horror-movie growing pains, and so this episode of The Film Comment Podcast revisits a few classics of coming-of-age horror. Pig's blood, werewolves, and the Eraserhead baby all appear in this conversation, featuring frequent FC contributors Margaret Barton-Fumo, editor of Paul Verhoeven: Interviews and author of a feature on Raw in the March/April issue; Michael Koresky, Director of Editorial and Creative Strategy at the Film Society of Lincoln Center; Nick Pinkerton, member of the New York Film Critics Circle; and Violet Lucca, FC Digital Producer and podcast moderator.

Bill speaks with film critic Nick Pinkerton about his experiences and practices as a writer, from his initial reviews for Reverse Shot to becoming a regular contributor at publications like The Village Voice, Sight & Sound, Artforum and Film Comment. Other topics discussed include the late Kim’s Video chain, the importance of great editors, moderating Q&As, New York City film culture, criticism in the age of social media, work/life balance and the professional hazards that can come from having the wrong attitude about frozen yogurt.   Read Nick Pinkerton’s film criticism: https://www.filmcomment.com/author/nick-pinkerton/ http://www.bfi.org.uk/people/nick-pinkerton https://www.artforum.com/contributors/name=nick-pinkerton http://reverseshot.org/people/28/nick-pinkerton   Nick Pinkerton | New York News, Food, Culture and Events | Village Voice   Hear Nick Pinkerton on the Film Comment Podcast: https://www.filmcomment.com/blog/film-comment-podcast-social-media-criticism/   Read Nick Pinkerton's essay for the Criterion Collection on ANATOMY OF A MURDER: Anatomy of a Murder: Atomization of a Murder   Buy Severin Films' special edition Blu-Ray of THE KILLING OF AMERICA, which includes the supplementary feature "Mondo Mania", Nick Pinkerton's examination of Italian shockumentary films. https://severin-films.com/shop/the-killing-of-america-blu-ray/

Jean-Pierre Léaud's familiar face graces the cover of the new March/April issue of Film Comment, waiting out his final days in Albert Serra's new film The Death of Louis XIV. As Yonca Talu observes in her feature on the film, "The film relies heavily on Jean-Pierre Léaud's vulnerable acting. Famous for his vibrant, unrestrained body language as the enfant terrible of the French New Wave, the legendary actor exists in a state of complete paralysis here, dependent on others to meet his basic needs." In some ways, she continues, the film serves as a symbolic conclusion to the Antoine Doinel cycle—Jean-Pierre Léaud's mere presence adds a layer of film-historical context to the film that might not otherwise be there. This week's episode of the Film Comment podcast explores the nuances of legacy, persona, and presence when it comes to acting. As with Léaud, we watch actors with enduring careers mature onscreen, developing their crafts and playing off of already formed associations that viewers might have with their earlier work. The panel—Shonni Enelow, English professor at Fordham and author of Method Acting and Its Discontents; Nick Pinkerton of the New York Film Critics Circle; Michael Koresky, Director of Editorial and Creative Strategy at the Film Society of Lincoln Center; and Violet Lucca, Film Comment Digital Producer—muses on the shifting modes of expression and physicality of performers like Elizabeth Taylor, Marlon Brando, Gerard Depardieu, and Sissy Spacek.

“I always go back to Ozu and Bresson, both of whom I admire a great deal. I like the way Bresson frames midriff: a person going across the room but you're just seeing the half, the midriff of the body. The scene in Pickpocket at the racetrack. And Hitchcock, any of the inserts: the scene in The Wrong Man where Fonda is booked and Hitchcock shows you the detail, each step of the process. It has such a sense of isolation and helplessness, because these objects, these inserts, they speak to you. They tell you how to look at them. They direct the viewer,” Martin Scorsese said to Nick Pinkerton in the cover feature of our January/February issue. This special live episode of the Film Comment podcast deep-dives into perhaps the most appropriate Scorsese film for a live media event, The King of Comedy, shown in the Museum of the Moving Image's Martin Scorsese retrospective. Following its screening of the film, the Museum hosted The Film Comment Podcast, featuring Pinkerton; Eric Hynes, MoMI curator and FC columnist; Nicolas Rapold, Editor; and Violet Lucca, Digital Editor. The lively conversation covers the film's unsettling mix of humor and discomfort, its open-ended slippage between fantasy and reality, its place in the careers of Scorsese and De Niro, and the myriad ways in which Rupert Pupkin's name gets hopelessly botched. Listen and enjoy, whether or not your office happens to be a Pupkin-esque setup in a Times Square phone booth. And as a special treat, the discussion is followed by a guided audio tour of the museum's exhibition of Scorsese artifacts with Lucca and MoMI Chief Curator David Schwartz.

Alpine air, ski-friendly powder, and independent film converge every January at the Sundance Film Festival. And now, as a slight respite from the hype tweets, the Film Comment podcast is proud to transmit a little bit of Park City to your earbuds with this critics' roundtable, recorded live at Sundance this past weekend. FC Editor Nicolas Rapold, frequent FC contributors Nick Pinkerton and Ashley Clark, and freelance critic Paula Mejia share early festival impressions and highlights from the worlds of fiction, documentary, and virtual reality (housed in the grandiosely titled "VR Palace"). And be sure to check back in as the festival progresses for more dispatches from FC writers.

Questions of legacy can rile up the creative juices in unexpected ways, especially when filmmakers who win a bit of success are allowed to dive headlong into their obsessions. In cases like these, equipped with higher budgets and greater creative freedom, a filmmaker sets out to make A Statement. At best, it's an opportunity to show off one's talents with unbridled freedom of expression; at worst, it can lapse into gratuitous excess. This episode of the Film Comment podcast takes up passion projects, particularly those in which filmmakers are given the "keys to the kingdom" after a commercial success. It can be an anxiety-inducing move—as the tagline for Zardoz, John Boorman's 1974 sci fi statement and Deliverance follow-up, aptly prophesied, "I have seen the future, and IT...DOESN'T...WORK." As always, Digital Editor Violet Lucca moderates, and is joined by FC mainstays Ashley Clark, film critic and programmer; Michael Koresky, Director of Editorial and Creative Strategy at the Film Society of Lincoln Center; and Nick Pinkerton, member of the New York Film Critics Circle.

The clickbait consensus may be that cinema is dead, but the fact of the matter is a bit more nuanced. In the November/December issue of Film Comment, New York Film Festival Director Kent Jones suggests that perhaps we are witnessing the marginalization of cinema—although cinema may no longer be the most significant popular art form, it will evolve into something new. In other words, its particular impact may change, but it is certainly not dead. Jones joins Film Comment Digital Editor Violet Lucca and New York Film Critics Circle member Nick Pinkerton to discuss the shifting landscapes of the multiplex and the home theater, as well as what artistic salvation may come from cinema's marginalization.

The September/October issue of Film Comment re-envisioned the magazine's style and sharpened its focus, celebrating the vibrancy of cinema as well as delving into tough critical issues. As part of the 54th New York Film Festival's free talks series sponsored by HBO, critics whose work appears in the current issue—Farihah Zaman, Nick Pinkerton, Imogen Sara Smith, and Shonni Enelow—joined Film Comment Editor Nicolas Rapold and Film Society Editorial Director Michael Koresky before a live audience to discuss their ideas and find points of comparison between the big films of the season and the pressing issues facing the medium.

Aside from search engines, the most visited sites in the world are social media: the old mainstays Facebook and Twitter. Their impact on film culture and cinephilia has been profound, giving voice to people who were formerly outside of the established critical conversation, but also providing a new outlet for seasoned critics. However, not all of the changes fostered by social media have been positive: hasty and reductive festival “takes,” the performative nature of “callout culture,” and straight-up trolling, to name but a few. To discuss and elaborate upon ideas from Nick Pinkerton's feature on social media and criticism in the September/October issue, Digital Editor Violet Lucca was joined by Pinkerton, Kameron Collins of The Ringer, and Mark Harris of Vulture for this episode.

Hosting over 300 films, many of which are world or North American premieres, the Toronto International Film Festival is a frequently overwhelming experience even for veteran attendees. To help cut through—or at least acknowledge that there will be—hype, this episode features a roundtable of critical voices discussing (and debating) key films from the festival. Participants: Film Comment podcast regulars Nick Pinkerton and Eric Hynes; Toronto-based critic Adam Nayman; Metrograph programmer Aliza Ma; Film Society of Lincoln Center Editorial Director Michael Koresky; and the Editor of Film Comment, Nicolas Rapold.

Visions of class surround us each day, both overtly and subliminally, in advertisements, literature, and film. Which visual and narrative tools are specific to each medium? To what extent does authorial background matter? And how does criticism of aesthetics or content either elucidate or complicate matters? All of these topics are broached in this episode of the FILM COMMENT podcast, wherein Digital Editor Violet Lucca joins K. Austin Collins, a regular contributor to The Ringer, as well as regular FC critics Nick Pinkerton and Eric Hynes (also the associate curator of the Museum of the Moving Image) to examine cinematic depictions of wealth and poverty.

Great directors can make crap. Whether because of a bad script, failing health, studio meddling, force majeure, or simply loss of artistic mojo, even the most enviable filmography can contain an irredeemable movie. But it's equally true that our least favorite directors can make something that we find invigorating and enjoyable. To explore these extremities of achievement, Digital Editor Violet Lucca convened a discussion about our personal favorite outliers—the worst films by people we love, and the best films by people we love... less. Joining us were Cristina Cacioppo, programmer at the Alamo Drafthouse Brooklyn; Ashley Clark and Nick Pinkerton, regular FILM COMMENT contributors; and Michael Koresky, Editorial Director of the Film Society of Lincoln Center.

This month, at Anthology Film Archives, FILM COMMENT contributor Nick Pinkerton has programmed a variety of shockumentary-style works ranging from the notorious Mondo Cane (an Academy Award nominee, for Original Song) to Thierry Zéno's Des Morts. Many of these films aim to shock and titillate, sometimes purporting to document actual deaths, but they become politically and culturally revealing texts. None of this problematic entertainment holds a candle, however, to the real-life horror that has become a fixture of 21st-century visual culture: recordings showing police brutality—grim evidence of actual violence that is used in calls for justice. In a wide-ranging discussion that moves from the cinema of taboo to the complexities of recordings of police violence, FC Digital Editor Violet Lucca spoke with Pinkerton, critic and programmer Ashley Clark, and New Yorker video producer (and former FC intern) Cassie da Costa.

In his recently published book The Rhapsodes, seminal critic and film historian David Bordwell pays tribute to four groundbreaking film critics who were writing in the 1940s: Otis Ferguson, James Agee, Manny Farber, and Parker Tyler. Through meticulous examinations of their rarely read, multidisciplinary writings and moving biographical accounts, Bordwell paints a vivid portrait of their cultural milieux and makes the case for the uniqueness and importance of their work. Digital Editor Violet Lucca spoke with Bordwell about the genesis of his book and the unparalleled legacy of his “rhapsodes,” in the company of regular FILM COMMENT contributor Nick Pinkerton.

Today, the term “summer movie” is synonymous with big budgets, explosions, superhero franchises, family-friendly animated films, and sequels. Yet this wasn't always the case. In the summers of the 1960s, years before 1975's Jaws began to redefine the blockbuster, successful new releases were held over in certain cities for months, and risqué international films were shown alongside schlocky American B movies. For this week's episode, we flash back to the summer of 1966 to see what was playing in Cincinnati, Washington D.C., Chicago, and New York City (all five boroughs), featuring J. Hoberman, critic for The New York Times; Nick Pinkerton, regular FILM COMMENT contributor; and Ina Archer, co-chair of the Women's Film Preservation Fund for New York Film and Television, in conversation with FC Digital Editor Violet Lucca.

Believe it or not, but occasionally the critics attending Cannes take umbrage with the jury's choices for awards—so much so this year that the Grand Prix recipient, Xavier Dolan, was booed during the ceremony. But who really got it right this year, and which films will endure as highlights? Digital Editor Violet Lucca spoke with FILM COMMENT and Artforum contributing editor Amy Taubin; Brandon Harris, assistant professor at SUNY Purchase and Vice contributor; and FILM COMMENT editor Nicolas Rapold about films including Jim Jarmusch's Paterson, Michael O'Shea's The Transfiguration, Asghar Farhadi's The Salesman, Albert Serra's The Death of Louis XIV, Alain Guiraudie's Staying Vertical, The Romanians, and more. In this week's special second segment, Whit Stillman talks with FC contributor Nick Pinkerton about his new film, Love & Friendship, adaptation, and the finer points of writing a novel.

Plenty of films are set in the past, either adapted from texts from the period or written by authors looking back on history (and likely bringing their own biases to it). Yet only a select few of such works manage to so convincingly convey a tactile sense of the time that they approach the immersive. And which genuine traces of the present captured by filmmakers—be it locations, attitudes, or small details like trash in the street—will serve as accurate snapshots for the future? Digital Editor Violet Lucca spoke with Nick Pinkerton, regular FILM COMMENT contributor, and Eric Hynes, FC columnist and associate curator at the Museum of the Moving Image, to discuss how history is made (or unmade) on film.

Following the bold experiment of Boyhood, Richard Linklater returns with Everybody Wants Some!!, a semi-autobiographical movie about the infinite potential that awaits at the cusp of adulthood. A few days before the start of college classes, Jake (Blake Jenner), a freshman pitcher, moves into a house with his fellow ball players; drunken hilarity and horndogging ensue, while salient points about identity get made. FILM COMMENT Digital Editor Violet Lucca asked David Fear of Rolling Stone and Nick Pinkerton, frequent FC contributor, for their thoughts on Linklater's latest and their leading contenders for their top sports movies.

Henry was on a remote and Max bailed, so Tom Schreier and John Carson were forced to fend for themselves. Tom brought in his friend and former editor at the Santa Clara University newspaper, Nick Pinkerton this week. Pinkerton is the head of the South Bay Button Mashers, a gaming group in the San Francisco Bay Area. He tells us about his organization and dishes on the latest news in the video game world. Be sure to follow him and his group on Twitter: @sbButtonMashers Also, be sure to follow the show (@pg_show) and Cold Omaha (@ColdOmahaMN) as well as Tom (@tschreier3) and John (@john_carson). And, as always, game on!

At first blush, the Coen Brothers and Peter Greenaway don't appear to have much in common except that their new films, Hail, Caesar!and Eisenstein in Guanajuato, both came out the same day. Yet their films used to share art-house marquee space in the late '80s and early '90s when they attracted notoriety and criticism of all stripes. Although their paths have diverged considerably, their new films are united by the way in which the filmmakers construct a world of artifice, steeped in references yet inhabited in very different ways: for the Coens, it's the glitzy movie-verse of Capitol Pictures; for Greenaway, it's a wild combination of art history, politics, and Sergei Eisenstein's unfinished film, ¡Que viva México!. FILM COMMENT's Violet Lucca and Nicolas Rapold are joined by Kent Jones, director of the New York Film Festival, and Nick Pinkerton, regular FC contributor, to discuss these films and especially the Coen Brothers' ever-evolving oeuvre.

The Film Society of Lincoln Center recently mounted a major retrospective of Douglas Sirk's films, which included his first German productions from the Thirties (The Girl from the Marsh Croft, La Habanera) to his Technicolor melodramas of the Fifties (All that Heaven Allows, Written on the Wind). A masterful observer of American society—like fellow German émigrés Billy Wilder and Ernst Lubitsch—Sirk's films explore uncomfortable, unspoken truths and conjure complicated, conflicting feelings. FILM COMMENT's Violet Lucca sat down with FC contributors Nick Pinkerton, Margaret Barton-Fumo, and Ashley Clark to discuss race and representation in Taza, Son of Cochise (54), The Tarnished Angels (57), A Time to Love and a Time to Die (58), Imitation of Life (59), and more.

What were the noteworthy performances of 2015? And what different kinds of performance are there? Mindful of actors that weren't nominated during awards season, FILM COMMENT's Violet Lucca and Nicolas Rapold sat down with regular FC contributor Nick Pinkerton and Michael Koresky, editor of Reverse Shot and director of publications of the upcoming Metrograph theater in New York, to talk about their favorite (and least favorite) acting moments.

Rejoice, o ye year-end list obsessives! Digital editor Violet Lucca sat down with senior editor Nicolas Rapold, contributing editor and New York Film Festival Selection Committee Member Amy Taubin, and regular contributor Nick Pinkerton to discuss the top 20 films as determined by our annual critics' poll. Their wide-ranging discussion weighs the list's revelations (and peculiarities), what should've been on the list, and why Viggo Mortensen is so gosh darn dreamy. As always, the FILM COMMENT list of the year's best films is the result of polling over 100 colleagues and consists of two categories: 1) the best films that received theatrical runs in 2015 and 2) the year's best films that have no announced plans for U.S. theatrical distribution.