Podcasts about park chan

In attesa di No Other Choice, ripercorriamo la carriera di Park Chan-wook.Ci trovi anche su :Instagram - ⁠⁠⁠⁠⁠⁠⁠⁠⁠instagram.com/effettovertigo_podcast⁠⁠⁠⁠⁠⁠⁠⁠⁠Youtube - ⁠⁠⁠⁠⁠⁠⁠⁠⁠youtube.com/@effettovertigopodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠Email - effettovertigopodcast@gmail.com

On this episode, JD and Brendan discuss Park Chan-wook's latest film NO OTHER CHOICE, starring Lee Byung-hun and Son Ye-jin! Visit https://insessionfilm.com for merch and more! Thanks for listening and be sure to subscribe! Become an ISF VIP today to get exclusive bonus content! Follow us on X/Twitter! @InSessionFilm | @RealJDDuran | @BrendanJCassidy

It's our final Breakfast All Day episode of 2025! And we have some great stuff and some not-so great stuff for you as we wrap up the year. All of these movies will be in theaters on Christmas Day: MARTY SUPREME. Timothée Chalamet gives an electrifying performance as a 1950s table tennis phenom. We both loved the film from writer and co-director Josh Safdie, which has the kind of kinetic, propulsive energy we've come to expect from the Safdie brothers as a whole. Gwyneth Paltrow and Odessa A'zion co-star. ANACONDA (2025). Our good friend William Bibbiani -- you know him as Bibbs -- has seen every single "Anaconda" movie. So he was the perfect person to help review this so-so reboot/remake/whatever you want to call it starring Paul Rudd and Jack Black as aspiring filmmakers in the Amazon. NO OTHER CHOICE. The great Korean director Park Chan-wook is back with another stylish and twisty thriller. "Squid Game" star Lee Byung-hun plays a middle manager who gets fired, then schemes to take out the competition for other jobs. Based on the Donald E. Westlake novel "The Ax." We loved it. Thank you so much for spending the year with us -- we're so grateful for our community. Keep an eye out for our best/worst lists at the start of January. Can't wait to see you in 2026! Subscribe to Christy's Saturday Matinee newsletter: https://christylemire.beehiiv.com/

Welcome to the first episode of the new series Film Seizure: Now Playing. In this episode the guys discuss Park Chan-wook's new black comedy No Other Choice as well as Linklater's Nouvelle Vague, Five Nights at Freddy's 2, and Fackham Hall. Episodes release on Wednesday at www.filmseizure.com "Beyond My Years" by Matt LaBarber LaBarber The Album Available at https://mattlabarber.bandcamp.com/album/labarber-the-album Copyright 2020 Like what we do? Buy us a coffee! www.ko-fi.com/filmseizure Follow us on Facebook: www.facebook.com/filmseizure/ Follow us on BlueSky: https://bsky.app/profile/filmseizure.bsky.social Follow us on Mastodon: https://universeodon.com/@filmseizure Follow us on Instagram: www.instagram.com/filmseizure/ You can now find us on YouTube as well! The Film Seizure Channel can be found here: https://www.youtube.com/c/FilmSeizure

Today's episode is a double-feature for design nerds. First, I'm sharing Production Designer Loo Sung He on Park Chan-wook's No Other Choice—in a first-ever translator format where I'm reading her responses. Then we switch to TV with my full audio interview on Overcompensating with Production Designer Shayne Fox and Set Decorator Erika Lobko. Film first, TV second—two deep dives, one episode.First, Production Designer Ryu Seong-hie (Park Chan-wook's No Other Choice) answers Kim Wannop's questions in a unique format: the interview was conducted through a translator, and Kim reads Ryu's translated responses on the show. Ryu breaks down how the film's spaces carry character and pressure—especially Man-su's home, built around a 1970s Korean “French House” ideal (mid-century suburban planning with French Provincial influence), plus the way greenery and color shift as the story darkens.Then the episode switches to TV with the full audio interview on Overcompensating featuring Production Designer Shayne Fox and Set Decorator Erika Lobko. They dive into building the show's visual language—tone, texture, location choices, and the practical realities of designing and decorating a world that feels specific, modern, and lived-in.If you love production design, set design, set decoration, art department craft, and behind-the-scenes filmmaking, follow Decorating Pages Podcast for more conversations with the creatives shaping what you see on screen.

As Hanukkah celebrations draw to a close under the shadow of the horrific anti-Semitic attack in Sydney, Bianna Golodryga speaks to Rabbi Gabi Kaltmann about navigating grief with faith, empathy and togetherness. And, the South Korean film racking up Golden Globe nominations, director Park Chan-wook talks about his new film "No Other Choice", tackling unemployment with horror and humor. Then, the singer-come-politician looking to unseat Ugandan President Yoweri Museveni after 40 years in power. CNN's Larry Madawo speaks to Bobi Wine about the violent opposition crackdown ahead of the country's general election. Plus, veteran broadcaster David Dimbleby speaks to Christiane about his new BBC docu-series "What's the Monarchy for?",  lifting the lid on the secretive inner workings of Britain's royal family. From Christiane's archives, how a family of refugees found sanctuary in 1970s America after fleeing Communist Poland's crackdown on democratic dissent. And finally, celebrating 250 years of the legendary British writer Jane Austen and her long-lasting cultural impact.   Air date: December 20, 2025   Guests:  Rabbi Gabi Kaltmann Park Chan-wook David Dimbleby Learn more about your ad choices. Visit podcastchoices.com/adchoices

Los Malos De La Película despiden el 2025 con un dramático mega-episodio cubriendo lo bueno, lo malo y lo feo de las últimas semanas.El programa de la velada incluye items como:José Miguel y Adelso comparten sus experiencias de trauma tras haberse sometido a los terribles remakes "The Roses" y "The Running Man".Adelso defiende la "Frankenstein" de Del Toro ante los ataques brutales de José Miguel.La perfección de "No Other Choice" y porqué nadie lo hace como Park Chan-wook.La misantropia brillante de "Bugonia" y el trance desértico de "Sirāt".La belleza y tristeza de "Train Dreams" y "Sentimental Value".Las hermosas pero desperdiciadas actuaciones de Adam Sandler y Dwayne Johnson en "Jay Kelly" y "The Smashing Machine".El poder enorme y feroz de Rose Byrne y Jennifer Lawrence en "If I Had Legs I'd Kick You" y "Die My Love", dos de las más grandes actuaciones del año.Como bonus, conversan sobre la subvalorada "Magazine Dreams" de 2023 y la prometedoras serie "Pluribus" de Vince Gilligan.Disponible desde ya en Spotify y Apple Podcasts.

From nostalgic classics like 'Broadcast News' and 'Moonstruck' to the latest releases such as 'Jay Kelly' and 'No Other Choice,' we offer insightful commentary on performances, direction, and cinematography. We talk about Adam Sandler's standout role in Jay Kelly, the artistry of Park Chan-wook, and the moving portrayals in 'Train Dreams.'

Nathan and Ryan cross the DMZ (metaphorically) to talk about Joint Security Area (2000), Park Chan-wook's breakout thriller that blends political tension, mystery, and emotional drama in a story set at the border between North and South Korea. The hosts dig into the film's Rashomon-style structure, its look at fractured brotherhood, early hints of Park's signature style, and why this film still resonates as one of the strongest anti-war statements of its era. From bullets to bittersweet bonds, Drive-In Double Feature heads into one of the most gripping “what really happened?” mysteries in modern Korean cinema.

"No Other Choice" is a 2025 South Korean satirical black comedy thriller film co-written, produced, and directed by Park Chan-wook and based on "The Ax" by Donald Westlake. The film stars Lee Byung-hun as a desperate paper industry expert who decides to kill his competitors to secure the job he seeks and maintain his way of life. The film had its world premiere in the main competition of the 82nd Venice International Film Festival, where it received universal critical acclaim for its writing, direction, editing and lead performance from Lee Byung-hun. At the 83rd Golden Globe Awards, it was nominated for Best Motion Picture – Musical or Comedy, Best Foreign Language Film, and Best Actor in a Motion Picture – Musical or Comedy (Lee Byung-hun). It was also selected as South Korea's entry for the Best International Feature Film category at the 98th Academy Awards and the Golden Globes. Park Chan-wook and Lee Byung-hun were kind enough to spend some time talking with Giovanni Lago about their work and experiences making the film, followed by Dan Bayer's conversation with the film's editors Kim Sang-bum and Kim Ho-bin, which you can watch or listen to below. Please be sure to check out the film, which will open in limited release on December 25th and nationwide this January from NEON. Thank you, and enjoy! Check out more on NextBestPicture.com Please subscribe on... Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture and listen to this podcast ad-free Learn more about your ad choices. Visit megaphone.fm/adchoices

Brandon & Boomer catch up with older movies from some of this year's best directors, starting with Park Chan-wook's infamous gross-out revenge thriller Oldboy (2003) https://swampflix.com/ 00:00 The year in review 39:18 The Colors Within (2025) 50:14 Resurrection (2025) 55:38 Hamnet (2025) 1:03:05 Oldboy (2003) 1:31:00 The Twentieth Century (2019) 1:49:00 Straight Up (2019) 2:13:33 Liz and the Blue Bird (2018)

Jake is alone and it's six in the morn. He's talking about the well worn idea of vengeance in film, but this ain't no shoehorn. He's talking about Park Chan-wook, a man who was born to make movies Jake is horn... okay let's stop the rhyme.

Lee Byung-Hun joins Nerdtropolis Mayor Sean Tajipour on Reel Insights to dive into the raw, gripping layers of No Other Choice — a tense character study where fear, pride, and desperation collide as one man spirals after losing the career that defined him.Lee opens up about the emotionally charged physicality behind his performance as Man-su — the shaking hands, the subtle gestures, and the nervous tics that make the character feel painfully real. He explains how those moments emerged from a blend of what was scripted, new direction from Park Chan-wook on set, and the emotions that surfaced naturally in the middle of each scene.He also reflects on the global rise of Korean cinema, sharing why audiences around the world connect so deeply with these stories. According to Lee, it's the universality of the themes paired with the unpredictability of Korean storytelling — a combination that keeps viewers hooked no matter where they're from.No Other Choice releases in theaters on December 25.Visit ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Nerdtropolis.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠

„Nemám jinou možnost než vraždit.“ Alespoň tak to vidí hlavní hrdina satirické filmové komedie Není jiná možnost, když přijde o práci i rodinné jistoty a dojde mu trpělivost. Vyhlédne si konkurenty, kteří by se mohli ucházet o stejnou práci, a jde po nich. „I když je to film relativně dlouhý, protože skutečnost je komplikovaná a to, jak nás Park Chan-wook celým případem provleče, chvilku trvá, je to zábavná a velmi chytrá podívaná,“ přibližuje filmový kritik Pavel Sladký.

I dagens episode snakker Johannes, Arthur og Jakob om filmene til den koreanske regissøren Park Chan-wook. Vi diskuterer Wooks mesterlige toneskifter mellom dramatikk og komikk, og hans filmspråklige lekenheter med utgangspunkt i filmene JOINT SECURITY AREA (2000) OLDBOY (2003) og den rykende ferske og festivalaktuelle NO OTHER CHOICE (2025). Er OLDBOY så bra som alle skal ha det til? Opplever vi filmer annerledes på grunn av kulturforskjeller? Og hvor kommer Danby Choi inn i bildet? Svar på dette, og mye annet tull og fjas får du servert i løpet av dagens sending.

On this week's show we identify the top IMDB user rated original movies per streamer. We also read your emails and take a look at the week's news. News: Classic TV props fetch $3.17M Netflix feature lets you decide what happens next, live 'High Potential' Is First 10 p.m. Drama to Hit No. 1 For the Fall Since 'ER' in 1999 Other: Explaining the magic yellow first-down line · The 42 Frndly TV Your Smart TV's HDMI Port Is Spying On You! The Last Frontier Top User Rated Original Movies per Streamer Last week we ran down the top streamer's price histories and at one point I (Ara), said that Amazon really didn't have many movies worth watching but since it came included with Prime shipping who cares. So this week I wanted to see what Amazon Original Movies were available and how they rated on IMDB. This did not include TV series like Reacher, Terminalist, etc. I just wanted to see if there was something I was missing. Then I expanded it to all the streamers we talked about last week and thus we created a list of the highest rated original movies from each streamer as rated by viewers on IMDB. Note the list goes from lowest to highest. Paramount+ Hunger Ward (2020) with a rating of 7.1/10. This short documentary, directed by Skye Fitzgerald, explores the Yemeni Civil War's famine through the work of two female health workers at therapeutic feeding centers for malnourished children. It premiered on Paramount+ in 2021 and was nominated for an Academy Award for Best Documentary Short Subject. Hulu Good Luck to You, Leo Grande (2022) with a rating of 7.2/10 based on over 34,000 user votes. Directed by Sophie Hyde and starring Emma Thompson as a widowed retiree exploring her sexuality with a young sex worker (Daryl McCormack), it's a witty and intimate comedy-drama praised for its honest take on aging, desire, and vulnerability. Peacock Psych 3: This Is Gus (2021) with a rating of 7.5/10 based on over 5,500 user votes. This comedy-mystery TV movie, directed by Steve Franks, serves as the third installment in the Psych film series and follows fake psychic detective Shawn Spencer (James Roday Rodriguez) and his best friend Burton "Gus" Guster (Dulé Hill) as they investigate Gus's bride-to-be's past amid wedding chaos, all while Lassiter (Timothy Omundson) faces career uncertainty. It's praised for its sharp humor, heartfelt moments, and nostalgic callbacks to the original USA Network series. Netflix Marriage Story (2019) with a rating of 7.9/10 (from over 380,000 votes). Directed by Noah Baumbach, this poignant drama follows a stage director (Adam Driver) and his actress wife (Scarlett Johansson) as they navigate a grueling divorce, exploring the emotional toll on their family and creative lives. It received critical acclaim for its sharp screenplay, authentic performances, and raw depiction of marital breakdown, earning six Oscar nominations including Best Picture. Apple TV+ Wolfwalkers (2020) with a rating of 8.0/10 based on over 43,000 user ratings. This animated fantasy adventure, directed by Tomm Moore and Ross Stewart, follows a young hunter's daughter who befriends a girl from a wolf-shifting tribe in 17th-century Ireland. It stands out for its hand-drawn animation, themes of friendship and freedom, and cultural folklore elements, earning an Oscar nomination for Best Animated Feature. Amazon Prime The Handmaiden (2016) with a rating of 8.1/10 from nearly 195,000 votes. Directed by Park Chan-wook and adapted from Sarah Waters' novel Fingersmith, this erotic psychological thriller is set in 1930s Japanese-occupied Korea. It follows a con artist, a pickpocket disguised as a handmaiden, and a wealthy heiress in a tale of seduction, betrayal, and revenge told across three perspectives. Amazon Studios acquired U.S. distribution rights after its 2016 Cannes premiere, making it an exclusive Prime Video original. Its high rating comes from praise for its intricate plot, stunning visuals, and strong performances by Kim Min-hee, Kim Tae-ri, and Ha Jung-woo. For comparison, other top Amazon originals include Manchester by the Sea (7.8/10), Sound of Metal (7.7/10), and The Big Sick (7.5/10).

María Zaragoza nos lleva, en su "Tela de Aracne", hasta Japón para descubrir a Meiko Kaji, una actriz y cantante que revolucionó el cine de los años setenta con personajes femeninos fuertes, que sirvieron de inspiración a directores como Quentin Tarantino o Park Chan-wook. Además, Ángeles Caso conversa con la filósofa Marina Garcés sobre su último libro "La pasión de los extraños" que explora la importancia de la amistad. María Forner, nos abre las puertas de la Casa Delibes en Valladolid y, por último, nuestro corresponsal en Bruselas, David Vidueiro, habla con la artista Esther Ferrer sobre su exposición en la capital belga, dentro del festival Europalia.Escuchar audio

Welcome to Season 7! As we are now a quarter of the way through the 21st century, like Bill Murray in Tootsie, Paul and Corey are asking, “What happened?" This season we are looking at the trends, genres, styles, and more that make up cinema of the past 25 years. This week, thanks to his son, Logan, Corey chose Oldboy (2003), the critically-acclaimed South Korean film by Park Chan-wook. Folks, this may be the first time that Paul and Corey dreaded going into an episode recording. They HATED this. It was a completely surprising experience for both, and check out the episode to see if you agree!

Welcome to the final edition of the daily 63rd New York Film Festival podcast. On today's edition, Park Chan-wook and Lee Byung Hun join NYFF selection committee member Justin Chang to discuss No Other Choice. In his diabolical new thriller, director Park crafts a dark fable about the cutthroat nature of contemporary work culture, starring Lee Byung Hun as a husband and father who takes violent action after being laid off. The 63rd New York Film Festival is presented in partnership with Rolex.

Park Chan-wook's Thirst One of the great thrills of the past ten-plus years is the discovery of new, exciting, and challenging films. On this week's episode of WatchThis W/RickRamos, Mr. Chavez & I dive into the cinema of South Korea's Park Chan-wook for 2009s Thirst. It's fascinating to watch stories we believe we understand and are sure we have witnessed every variation. Park Chan-wook's Vampire story centers around a priest (Kang-ho Song) as he struggles with his beliefs and his slow transformation into the Undead. With an equally exceptional performance from Kim Ok-vin (as Tae-ju, the woman who fall in love with the priest with all of its complications), Chan-wook's film is a beautifully realized exploration of love, religion, death, and sin. Take a listen and let us know what you think. Questions, Comments, Complaints, & Suggestions can be directed to gondoramos@yahoo.com - Many, Many Thanks.  For those of you who would like to donate to this undying labor of love, you can do so with a contribution at https://www.buymeacoffee.com/watchrickramos - Anything and Everything is appreciated, You Cheap Bastards.

Eli joins the other boys hot off of his Lincoln Center press screenings to tell us the must-watches and the maybe-skip-overs of this year's New York Film Festival. But before that, Wilson and Ben briefly get their words in for the latest Paul Thomas Anderson joint, One Battle After Another. Catch Eli talk about other NYFF titles like Park Chan-wook's No Other Choice, Olivier Laxe's Sirāt, and possible film of the year: Bi Gan's Resurrection. Links:Secret Goldfish - Bi Gan short filmI'm walking here at our FREE patreon, discord server, and our socials @ www.deepcutpod.com Timestamps:00:00 Intro04:46 One Battle After Another (2025, dir. Paul Thomas Anderson)13:32 No Other Choice (2025, dir. Park Chan-wook)16:58 Sirāt (2025, dir. Oliver Laxe)20:18 Queen Kelly (1932, dir. Erich von Stroheim)25:29 Angel's Egg (1982, dir. Mamoru Oshii)31:27 Japanese Film Festival (in Singapore)34:34 The Arch (1968, dir. T'ang Shushuen)35:09 The Mastermind (2025, dir. Kelly Reichardt)38:03 Mare's Nest (2025, dir. Ben Rivers)41:13 Jay Kelly (2025, dir. Noah Baumbach)42:22 Back Home (2025, dir. Tsai Ming-liang)44:49 Ecce Mole (2025, dir. Heinz Emigholz)48:15 Peter Hujar's Day (2025, dir. Ira Sachs)50:34 What Does That Nature Say To You? (2025, dir. Hong Sang-soo)53:10 A House of Dynamite (2025, dir. Kathryn Bigelow)57:40 Resurrection (2025, dir. Bi Gan)

The return of pumpkin spice lattes on every corner might be the biggest sign that fall has returned, but for Sophia and Nick, the crisp air and earlier sunsets can only mean one thing: the New York Film Festival is back! They are excited to recap their first week of the festival on this week's spoiler-free episode, discussing multiple premieres like Amazon MGM's After the Hunt and Netflix's A House of Dynamite and Jay Kelly. They also discuss Oscar potential for the many films they opine, including Park Chan-wook's upcoming release and TIFF International People's Choice Award winner, No Other Choice. Stay tuned for some fun festival sightings and another recap on the rest of the fest next week! Follow us on Twitter, Instagram, Bluesky, and TikTok @oscarwildpodFollow Sophia @sophia_cimFollow Nick @sauerkraut27Music: “The Greatest Adventure” by Jonathan AdamichMore content including updated predictions and merch @ oscarwild.squarespace.com

Martyn Strange (Filmsplaining) and Jared lost their day jobs, so they have no other choice but to kick podcasting into high gear and share thoughts on Park Chan-wook's latest social thriller. Please consider giving us a follow, rating, or review.Threads: @jaredconcessions @filmsplainingpodCheck out more of Martyn's coverage of TIFF50 here!

Josh and Jamie got invited to attend the Toronto International Film Festival as members of the press to check out and cover some of new international art and genre cinema that will be coming out over the next few months and awards season, including new films by Park Chan-wook, Gus Van Sant, Kleber Mendonça Filho, Guillermo Del Toro, Claire Denis, Jafar Panahi, Benny Safdie, Oliver Laxe, Matt Johnson, Lav Diaz, Mona Fastvold, Bryan Fuller, Romain Gavras, Laura Poitras, Kenji Tanigaki, Rian Johnson, Christian Petzold, Alex Winter, Chandler Levack, Ben Wheatley, Nic Pizzolatto, and more! We did our best to avoid spoilers and such but be warned. Next week's episode is a patron-exclusive bonus episode on THE BAD SLEEP WELL (1960) + HIGH AND LOW (1963), 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 // 00:00-17:37 Day 1 -- SENTIMENTAL VALUE // 17:37-22:18 MAGELLAN // 22:18-28:24 SIRAT // 28:24-33:34 THE SECRET AGENT // 33:34-41:22 IT WAS JUST AN ACCIDENT // 41:22-51:00 HONEY BUNCH // 51:00-55:49 Day 2 -- MOTOR CITY // 55:49-1:04:52 NO OTHER CHOICE // 1:04:52-1:17:07 GOOD NEWS // 1:17:07-1:23:45 Day 3 -- THE LOST BUS // 1:23:45-1:26:38 UNIDENTIFIED // 1:26:38-1:28:46 THE TESTAMENT OF ANN LEE // 1:28:46-1:34:48 FUZE // 1:34:48-1:39:26 JUNK WORLD // 1:39:26-1:47:17 Day 4 -- DEAD MAN'S WIRE // 1:47:17-1:55:20 SACRIFICE // 1:55:20-2:00:48 THE FURIOUS // 2:00:48-2:07:26 ROOFMAN // 2:07:26-2:13:38 LUCKY LU // 2:13:38-2:17:22 HEDDA // 2:17:22-2:23:42 Day 5 -- THE BALLAD OF A SMALL PLAYER // 2:23:42-2:28:01 PROJECT Y // 2:28:01-2:29:42 GOOD BOY // 2:29:42-2:31:33 EXIT 8 // 2:31:33-2:32:45 ADULTHOOD // 2:32:45-2:36:20 TUNER // 2:36:20-2:43:32 Day 6 -- THE SMASHING MACHINE // 2:43:32-2:51:27 ORPHAN // 2:51:27-2:53:41 COVER-UP // 2:53:41-2:57:41 TRAIN DREAMS // 2:57:41-3:03:45 Day 7 -- RETREAT // 3:03:45-3:06:26 CAROLINA CAROLINE // 3:06:26-3:10:33 MADDIE'S SECRET // 3:10:33-3:15:23 IT WOULD BE NIGHT IN CARACAS // 3:15:23-3:17:17 NORMAL // 3:17:17-3:22:16 Day 8 -- FUCK MY SON! // 3:22:16-3:30:55 THE UGLY // 3:30:55-3:36:18 WAKE UP DEAD MAN (KNIVES OUT 3) // 3:36:18-3:42:00 THE FENCE // 3:42:00-3:50:24 OBSESSION // 3:50:24-3:56:58 Day 9 -- EASY'S WALTZ // 3:56:58-4:04:08 DUST BUNNY // 4:04:08-4:09:10 LITTLE LORRAINE // 4:09:10-4:13:14 FRANKENSTEIN // 4:13:14-4:23:13 Day 10 -- MILE END KICKS // 4:23:13-4:29:36 MIROIRS NO. 3 // 4:29:36-4:34:30 Day 11 -- NIRVANNA THE BAND THE SHOW THE MOVIE // 4:34:30-4:50:13 Outro // 4:50:13-4:53:46 NEW SLEAZOIDS SHIRT + HAT: https://blackbeltcinema.ca/search?q=sleazoids&options%5Bprefix%5D=last 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

Dr. Carol Anderson is the Robert W. Woodruff Professor of African American Studies at Emory University. She is the author of several books including the New York Times bestseller White Rage: The Unspoken Truth of Our Racial Divide, and One Person, No Vote: How Voter Suppression is Destroying Our Democracy. Her most recent book is The Second: Race and Guns in a Fatally Unequal America. Dr. Anderson has appeared on The Rachel Maddow Show, PBS NewsHour, ​The Daily Show with Trevor Noah, and Democracy Now!. She has also been featured in the Huffington Post, The Guardian, The New York Times, and The Washington Post. In this wide-ranging conversation, Dr. Anderson explains how white rage, the color line, gun culture, and gun violence are knotted together in American history and life. She details how the Black Freedom Struggle -- and Black Americans' claims on their fundamental Constitutional rights, civil rights, and human freedom, including the inherent right of self-defense -- are often viewed as an existential threat by White America. This is especially true in the Age of Trump. Dr. Anderson also warns that America will never be able to end its epidemic of gun violence and mass shootings as long as gun ownership remains intimately connected to whiteness, white masculinity, and a fear of Black people and other non-whites as seen with “stand your ground laws” and other forms of State violence. Chauncey DeVega shares an update about his absence and how he has been experiencing his own version of the iconic hammer fight from Park Chan-wook's film Old Boy. In that context, Chauncey reflects on how America's collapse into mass disinhibition and authoritarianism has greatly accelerated because of last week's horrific events in Utah. And Chauncey goes for a walk around his neighborhood and shares some of the amazing, wondrous, and disturbing things he encountered. This includes offering pastoral care to an honored elder who hit a woman with his truck, and learning some life wisdom from a man who is dying from prostate cancer. This street prophet -- who had a plastic catheter that was visible outside of his pants -- was warning all the young men outside the local drug store to get their annual physicals or they could end up dying a painful death like him. This week's conversation with Carol Anderson is from the archives of The Chauncey DeVega Show and was recorded in July of 2021. I was saving it for an extreme crisis moment such as the one we "the Americans" are experiencing right now. This conversation is eerily and frighteningly prescient and timely.  WHERE CAN YOU FIND ME? On Twitter: https://twitter.com/chaunceydevega On Facebook: https://www.facebook.com/chauncey.devega My email: chaunceydevega@gmail.com HOW CAN YOU SUPPORT THE CHAUNCEY DEVEGA SHOW? Via Paypal at ChaunceyDeVega.com: Patreon: https://www.patreon.com/thechaunceydevegashow  https://www.patreon.com/TheTruthReportPodcast

The fall of 2025 is shaping up to have something for everyone with a fresh Knives Out mystery, Guillermo del Toro's take on Frankenstein, and a new Emma Stone movie. We've got a guide of the TV and films we are most excited to see, including Wake Up Dead Man: A Knives Out Mystery, Bugonia, Park Chan-wook's No Other Choice and The Lowdown.To access bonus episodes and sponsor-free listening for Pop Culture Happy Hour, subscribe to Pop Culture Happy Hour+ at plus.npr.org/happy.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Our On-Screen Live coverage of the 2025 Toronto International Film Festival has Andrew, Eric & Chris breaking down new films from Gus Van Sant (Dead Man's Wire), Paul Greengrass (The Lost Bus), Alex Winter (Adulthood), James Vanderbilt (Nuremberg), Park Chan-wook (No Other Choice), Ben Wheatley (Normal), Benny Safdie (The Smashing Machine) & more! We're talking about some of the films that just might be gracing people's year-end lists in a few months, but we're also talking about performances that could be bound for Hollywood's Biggest Night, includes turns from Russell Crowe (Nuremberg) and Dwayne Johnson (The Smashing Machine)—no, really! On-Screen Live will return Monday, September 29th with our coverage of this year's New York Film Festival! Be sure to pick up our digital show on Terminator: Dark Fate, available now in our Patreon shop! Don't sleep on snagging your tickets to our 15th Anniversary show this December where we're talking all things Arnold in Total Recall! It's gonna be a gas and we wanna see you there! Click through for tickets now! Throughout 2025, we'll be donating 100% of our earnings from our merch shop to the Center for Reproductive Rights. So head over and check out all these masterful designs and see what tickles your fancy! Shirts? Phone cases? Canvas prints? We got all that and more! Check it out and kick in for a good cause! Original cover art by Felipe Sobreiro.

Tonight…well, I feel like we've talked a lot about vampire movies that feel too pg, that try to FEEL sexy without doing anything sexy in them. The weird crop of sexless vampire stories post Twilight. Well…this is not one of those. This is Park Chan-Wook's bloody, sexy, and devastating “Thirst”And our guest tonight, the writer of tons of comics including the series Wolfsbane and Infinite Dark, Ryan Cady. Director: Park Chan wookWriters: Emile Zola, Park Chan wook, Chung seo kungStars: Song Kang-ho, Kim ok-bin, Kim Hae Sook, shin ha kyunRyan - Lady Vengeance, Lost Souls by Poppy Z Bright / William MartinEmily- Only Lovers Left AliveBen - Future Diary?Jeremy - The HandmaidenSign up to support Progressively Horrified on Patreon for as little as $5 a month and get bonus episodes! https://www.patreon.com/c/progressivelyhorrified Hosted on Acast. See acast.com/privacy for more information.

On Truth & Movies this week, we come to you live from the city that gave us Don't Look Now and The Souvenir, Venice, where we're here to report on the hits and misses from this year's Venice Film Festival, including new films by Benny Safdie, Yorgos Lanthimos, Mark Jenkin and Park Chan-wook. Joining guest host Hannah Strong are Rafa Sales Ross and Marshall Shaffer.Truth & Movies is the podcast from the film experts at Little White Lies, where along with selected colleagues and friends, they discuss the latest movie releases. Truth & Movies has all your film needs covered, reviewing the latest releases big and small, talking to some of the most exciting filmmakers, keeping you across important industry news, and reassessing great films from days gone by with the Truth & Movies Film Club.Email: truthandmovies@tcolondon.comBlueSky and Instagram: @LWLiesProduced by TCO Hosted on Acast. See acast.com/privacy for more information.

Die Sommerpause ist vorbei und das kann nur eines heißen: Janick und Jenny sitzen wieder im Gebüsch in Venedig und sprechen über Filme, die niemand von uns bisher gesehen hat. Sie aber schon! Außerdem greifen Insekten an, ein Geburtstag wird gefeiert und ein Motorrad fliegt auch noch vorbei! Es geht um: - "La Grazia" von Paolo Sorrentino - "Bugonia" von Yorgos Lanthimos - "After the Hunt" von Luca Guadagnino - "No Other Choice" von Park Chan-wook - "Frankenstein" von Guillermo del Toro - "Father Mother Sister Brother" von Jim Jarmusch - "The Wizard of the Kremlin" von Olivier Assayas - "The Testament of Ann Lee" von Mona Fastvold - "The Smashing Machine" von Benny Safdie - "A House of Dynamite" von Kathryn Bigelow - "The Voice of Hind Rajab" von Kaouther Ben Hania - "In the Hand of Dante" von Julian Schnabel - "Rose of Nevada" von Mark Jenkin - "Barrio Triste" von Stillz

This week and next, Film Comment is reporting from the picturesque shores of the Lido, where the Venice Film Festival takes place each year. This year's edition features new films by many major auteurs, including Noah Baumbach, Luca Guadagnino, Yorgos Lanthimos, Laura Poitras, and more. For our second episode from the city of canals, Film Comment Editor Devika Girish invited critics Tim Grierson and Katie McCabe to talk about recent festival premieres, including Guadagnino's After the Hunt, Park Chan-wook's No Other Choice, László Nemes's Orphan, and Poitras and  Mark Obenhaus's Cover-Up. Stay tuned for more Venice coverage, providing everything you need to know about the 2025 edition.

¡Ni el sábado descansa el más insigne, el más temido, el más reverenciado de los críticos cinematográficos! Don Carlos Rollero vuelve hoy con otra crónica del Festival de Cine de Venecia en la que nos habla de la última película del director coreano Park Chan-wook: No other choice. Y además nos ofrece su sabiduría en el análisis de After the hunt, película que dirige Luca Guadagnino y que protagonizan Julia Roberts, Ayo Edebiri, Andrew Garfield y Michael Stuhlbarg.

Carl & Eitan run through a variety of topics this week. They dive into the WGA's aggressive move to boot Park Chan-wook and Don McKellar; discuss the critical success of The Naked Gun; and look forward (...) to the new patriotic duty of subscribing to Paramount+ to watch UFC matches.

Eventually, we'll get "Golden" and "Soda Pop" out of our heads. But for now, we're giving into the insanely catchy delights of "KPop Demon Hunters" on Breakfast All Day. The animated Netflix phenomenon is coming to select theaters for one weekend only, Aug. 23-24, for sing-along showings. Find out here if it's playing near you. Until then, you can catch it streaming and catch up with our catch-up review. We also review "Nobody 2," the sequel to the 2021 action comedy "Nobody." Bob Odenkirk returns with his particular set of skills, but all he wants to do is enjoy a quiet vacation with his family. In theaters. We did Movie News LIVE! for a second week in a row. Lots to discuss as always, including the trailer for "Marty Supreme," Park Chan-wook, Tom Cruise and more. Join us on Fridays at Noon Pacific. And finally, it's our "Weapons" LIVE spoiler chat. We're placing this at the end in case you haven't seen the movie yet and don't want to hear us get into it. And we do get into it. Thanks for being here! Subscribe to Christy's Saturday Matinee newsletter: https://christylemire.beehiiv.com/  

Send us a textOn the podcast this time, Steven and Sean are out for revenge after being locked up for way too damn long. We watched the 2003 film from Park Chan-wook, Oldboy.I think it's safe to say that this is the only movie in existence that suggests that being forcibly imprisoned for fifteen years without any explanation is somehow not the worst thing that could happen to a person. It's quite the feat.If you thought that our previous fucked-up movie episode was, indeed, really messed-up, then prepare yourself for this one. It's a heck of a wild ride.(Recorded on June 30, 2025)Links to Stuff We Mentioned:Oldboy - The Movie Database (TMDB)Oldboy trailer - YouTubeChoi Min-sik — The Movie Database (TMDB)Yoo Ji-tae — The Movie Database (TMDB)Kang Hye-jung — The Movie Database (TMDB)Sympathy for Mr. Vengeance (2002) — The Movie Database (TMDB)Lady Vengeance (2005) — The Movie Database (TMDB)I Saw the Devil (2010) — The Movie Database (TMDB)Marvel's Daredevil (TV Series 2015–2018) — The Movie Database (TMDB)Follow Us:Give us a rating and review on Apple Podcasts!Sean's Letterboxd profile!Steven's Letterboxd profile!Our Buzzsprout site!Our Instagram profile!Support the show

Join hosts Justin Morgan and Chuck Phillips as they dive into the alluring depths of Park Chan-wook's Decision to Leave. This South Korean mystery masterfully weaves themes of obsession, longing, and moral ambiguity into a slow-burn tale of love and betrayal. In this episode, the hosts unpack the film's Hitchcockian echoes, its hypnotic visual style, and the poetic ambiguity of its unforgettable ending. From character motivations to narrative misdirection, this discussion is an essential listen for cinephiles and fans of moody, intricate storytelling. Hosted by Justin Morgan Co-hosted by Charles Phillips Mixing by Scratchin' Menace Music by Song Chang-sik Follow us on Facebook and Bluesky for updates. Listen on Apple Podcasts, Spotify, YouTube, and all major platforms. Please subscribe, rate, and review—we appreciate the support!

Send us a textThe theatrical landscape of 2025 tells a fascinating story through its box office patterns and creative trends. Animation continues its unstoppable theatrical dominance across multiple studios, while long-running franchises like Mission Impossible and Jurassic World show unmistakable signs of fatigue. Has the time come to put these decades-old properties to rest?Our midyear film roundup reveals a striking preference for original storytelling over franchise continuation. From the breathtaking coastal beauty of Paolo Sorrentino's Parthenope to the inventive shark thrills of Dangerous Animals, our top picks demonstrate cinema's continued ability to surprise and captivate. Steven Soderbergh's spy thriller Black Bag showcases masterful craftsmanship, while Tim Robinson's Friendship brings his distinctive comedic sensibilities to feature length with remarkable success.The conversation turns passionate when discussing Ryan Coogler's Sinners and Ari Aster's Eddington – films that blend genres with extraordinary confidence while delivering profound thematic depth. Both represent bold, auteur-driven visions that resonated deeply with audiences seeking thoughtful, challenging cinema.Looking ahead, the remainder of 2025 promises an embarrassment of riches from acclaimed filmmakers including Park Chan-wook, Paul Thomas Anderson, and Jim Jarmusch. Their upcoming works, alongside anticipated releases like Edgar Wright's The Running Man and Blumhouse's Weapons, suggest our year-end lists may undergo significant transformation.What films have captured your imagination in 2025? Join our conversation about this remarkable year in cinema and share your own discoveries and disappointments. The theatrical experience continues to evolve, but the power of original storytelling remains undiminished.Support the show

Swallow that octopus and run away from those ants because we're discussing Park Chan-wook's 2003 masterpiece Oldboy!Join us as we discuss the origins of Oldboy, from its manga source material to the changes Park applied to this adaptation, before going all in on this spider's web of a revenge plot. It's a film known for its big twist, but there's so much more to appreciate here!Plus: that hallway fight scene, Manic Pixie Sushi Dream Girls, questionable CGI, death by CD-ROM, hypnosis as a plot convenience (but who cares?) and debating whether or not this is a "film bro" movie. Questions? Comments? Snark? Connect with the boys on BlueSky, Instagram, Youtube, Letterboxd, Facebook, or join the Facebook Group or the Horror Queers Discord to get in touch with other listeners.> Trace: @tracedthurman (BlueSky)/ @tracedthurman (Instagram)> Joe: @joelipsett (BlueSky) / @bstolemyremote (Instagram) Be sure to support the boys on Patreon!  Theme Music: Alexander Nakarada   

For Episode 452, Josh Parham, Dan Bayer, and I recap and break down this massive week of film festival announcements including the full lineup for the 2025 Venice Film Festival, a majority of the Toronto International Film Festival (TIFF) lineup, the Opening and Centerpiece announcements for the New York Film Festival, and what this all means for the Telluride Film Festival. For this week's poll, for Venezia 82 (mainly because we at least have the full lineup for this one), we ask, "Which Film From The 2025 Venice Film Festival Are You Most Looking Forward To?" And for last week's poll, for the first time this season, we asked, "Which Film Do You Feel Will Be The Next Best Picture Oscar Winner?" and we reveal your top 10 early results for this almighty important question. We also share our reactions to the trailers for Park Chan-wook's much-anticipated "No Other Choice," Aziz Ansari's "Good Fortune," Clint Bentley's "Train Dreams," Oliver Hermanus' "The History Of Sound," Rob Reiner's "Spinal Tap II: The End Continues," the A24 English dubbed re-release of "Ne Zha 2," reveal the 2009 NBP Film Community Award Nominations, answer your fan-submitted questions, and more! We will post the 2009 NBP Film Community Award nominations on the site for you to vote on tomorrow. Thank you all for listening, supporting, subscribing, and voting. You're all the very best fans we could ever ask for, and we look forward to seeing you all again next week! Check out more on NextBestPicture.com Please subscribe on... Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture and listen to this podcast ad-free Learn more about your ad choices. Visit megaphone.fm/adchoices

We discuss the Venice Lineup + our early guesses at who could win some awards. Then we dive into the most humongous What We're Watching segment in the history of MMO. 54 Separate Films or Television Series are review from Eddington & I Still Know What You Did Last Summer to a Stanley Kubrick double feature to an Arnold triple feature to Final Destination: Bloodlines & Bring Her Back to Elio & Superman rewatches to Bird, starring another dancing Barry Keoghan. THE 2025 VENICE FILM FESTIVAL LINEUP: The Alexander Payne Jury & what films they might select - 3:14 In Competition Headliners - 6:36 Jay Kelly, A House of Dynamite, Frankenstein, The Testament of Ann Lee, Bugonia, The Smashing Machine & La Grazia. Other Notables In Competition - 12:30 The latest from directors of Personal Shopper, Four Daughters, Son of Saul and Only Lovers Left Alive. No Other Choice than to review the teaser for this Park Chan-wook movie with a thoughtful discussion on werewolves - 17:32 Why After The Hunt is playing Out of Competition + its NYFF Opening slot - 21:05 Other Out of Competition Films from Dead Man's Wire to Late Fame - 25:04 What's NOT Going To Venice - 29:04 BOX OFFICE UPDATE AlsoMike's Superman rewatch & week 2 bobo - 33:15 I Know What You Did Last Summer reviewing grinds us to a halt - 38:19 Eddington makes us mad that it makes us mad - 41:16 M1's Elio review and the rest of the Top 10 - 45:06 What We're Watching Newish Horror Films - 47:34 Final Destination: Bloodlines, The Shrouds, Bring Her Back, The Ugly Stepsister, Opus. New Comedies, Docs & KPOP Demon Hunter Films - 55:19 Magic Farm, Friendship, Pavements, KPOP Demon Hunters, My Mom Jayne, The Luckiest Man in America, Jaws @ 50: The Definitive Inside Story, Apocalypse in the Tropics, Barbara Walters: Tell Me Everything, Restless, Sally, and Surviving Ohio State. AM's Blind Spots & M1 Goes Artsy Fartsy - 1:13:36 Black Coal Thin Ice, Sabrina, Hard Boiled, Invention & Bird. AM's Rewatches - 1:20:31 Emma, Bull Durham, The Birdcage, Closer, I Saw The Devil, The Chaser. M1's Quickies - 1:23:28 American Splendor, Smile 2, Heretic, Dream Scenario, A History of Violence, Prince of Darkness. The Start of AM's TV Watching + M1's Arnold-a-palooza + Tuesday - 1:26:12 Dept. Q, Fred & Rose: A British Horror Story, Trainwreck: Poop Cruise, True Lies, End of Days, Commando and Tuesday. M1's Kubrick Double Feature + Past Contendres & The Rest of AM's TV Watching - 1:31:48 Paths of Glory, 2001: A Space Odyssey, September 5, Close Encounters of the Third Kind, Bad Thoughts, Mike Birbiglia: The Good Life, Untamed, Aftersun, Dexter: Resurrection. OUTRO: We attempt to avoid jinxing anything in the future. But stay tuned to more episodes, eventually or immediately, whatever happens. Oh, and go and listen to the Poop Cruise Jen Baxter interview from our friends at Chaz & AJ in the Morning https://www.wplr.com/2025/07/14/pod-pick-poop-cruise-director-jen-baxter/

“As a writer, I do believe that art and literature in and of themselves are important. I'm going to keep on writing novels, and one of the most important reasons why is because, as you mentioned, language is crucial. Part of the way that states and authoritarian regimes exercise their power is not just through physical violence and intimidation, but through a maltreatment of language itself. Trump is a perfect example of this. Everything that comes out of his mouth in terms of language is horrifying for anybody with any sensitivity to language. The excesses of his language in terms of insults and hyperbolic praise for his fans are perfect examples of how language is used by an authoritarian and by the state to obfuscate reality and intimidate people. That language is ugly from my perspective, and there is something about being committed to literature and to art that awakens us to the importance of beauty.I think about what John Keats, the poet, said: beauty is truth, truth beauty. You can't separate these kinds of things. If you're committed to the beauty of language, you're also committed to the idea that language has a relationship to truth. You can see that authoritarians don't have a relationship to truth. They have a relationship to the abuse of truth and to lying, not only in content but in the form of their language as well. There is a crucial role for writers here in our relationship to language because language is one of the most crucial ways that authoritarianism extends its power. What I've discovered as a writer is that fear is a good indicator that there is a truth. To speak the truth in a society is oftentimes an act that requires some courage.”Viet Thanh Nguyen has spent much of his life exploring the stories we tell—and the stories we erase—about war, migration, and memory. His 2015 debut novel The Sympathizer, about a communist double agent in the aftermath of the Vietnam War, won the Pulitzer Prize and a long list of other major literary awards. In 2024, The Sympathizer was adapted into a critically acclaimed HBO series directed by Park Chan-wook.He followed it with The Committed, and his latest work, To Save and to Destroy: Writing as an Other, a meditation on writing, power, and the politics of representation.Nguyen is also the author of Nothing Ever Dies, a finalist for the National Book Award in nonfiction, and the short story collection The Refugees. He's edited collections like The Displaced: Refugee Writers on Refugee Lives, and most recently the Library of America volume for Maxine Hong Kingston, who was once his teacher.He was born in Vietnam, came to the U.S. as a refugee, and is now a professor at the University of Southern California. He's received Guggenheim and MacArthur fellowships, honorary doctorates, and has been named a Chevalier by the French Ministry of Culture. Today, we'll talk about his books, America's forever wars, and how the act of writing—across fiction, memoir, and scholarship—can become both a form of resistance and a way of making sense of being, as he puts it in his memoir “A Man of Two Faces.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“As a writer, I do believe that art and literature in and of themselves are important. I'm going to keep on writing novels, and one of the most important reasons why is because, as you mentioned, language is crucial. Part of the way that states and authoritarian regimes exercise their power is not just through physical violence and intimidation, but through a maltreatment of language itself. Trump is a perfect example of this. Everything that comes out of his mouth in terms of language is horrifying for anybody with any sensitivity to language. The excesses of his language in terms of insults and hyperbolic praise for his fans are perfect examples of how language is used by an authoritarian and by the state to obfuscate reality and intimidate people. That language is ugly from my perspective, and there is something about being committed to literature and to art that awakens us to the importance of beauty.I think about what John Keats, the poet, said: beauty is truth, truth beauty. You can't separate these kinds of things. If you're committed to the beauty of language, you're also committed to the idea that language has a relationship to truth. You can see that authoritarians don't have a relationship to truth. They have a relationship to the abuse of truth and to lying, not only in content but in the form of their language as well. There is a crucial role for writers here in our relationship to language because language is one of the most crucial ways that authoritarianism extends its power. What I've discovered as a writer is that fear is a good indicator that there is a truth. To speak the truth in a society is oftentimes an act that requires some courage.”Viet Thanh Nguyen has spent much of his life exploring the stories we tell—and the stories we erase—about war, migration, and memory. His 2015 debut novel The Sympathizer, about a communist double agent in the aftermath of the Vietnam War, won the Pulitzer Prize and a long list of other major literary awards. In 2024, The Sympathizer was adapted into a critically acclaimed HBO series directed by Park Chan-wook.He followed it with The Committed, and his latest work, To Save and to Destroy: Writing as an Other, a meditation on writing, power, and the politics of representation.Nguyen is also the author of Nothing Ever Dies, a finalist for the National Book Award in nonfiction, and the short story collection The Refugees. He's edited collections like The Displaced: Refugee Writers on Refugee Lives, and most recently the Library of America volume for Maxine Hong Kingston, who was once his teacher.He was born in Vietnam, came to the U.S. as a refugee, and is now a professor at the University of Southern California. He's received Guggenheim and MacArthur fellowships, honorary doctorates, and has been named a Chevalier by the French Ministry of Culture. Today, we'll talk about his books, America's forever wars, and how the act of writing—across fiction, memoir, and scholarship—can become both a form of resistance and a way of making sense of being, as he puts it in his memoir “A Man of Two Faces.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“As a writer, I do believe that art and literature in and of themselves are important. I'm going to keep on writing novels, and one of the most important reasons why is because, as you mentioned, language is crucial. Part of the way that states and authoritarian regimes exercise their power is not just through physical violence and intimidation, but through a maltreatment of language itself. Trump is a perfect example of this. Everything that comes out of his mouth in terms of language is horrifying for anybody with any sensitivity to language. The excesses of his language in terms of insults and hyperbolic praise for his fans are perfect examples of how language is used by an authoritarian and by the state to obfuscate reality and intimidate people. That language is ugly from my perspective, and there is something about being committed to literature and to art that awakens us to the importance of beauty.I think about what John Keats, the poet, said: beauty is truth, truth beauty. You can't separate these kinds of things. If you're committed to the beauty of language, you're also committed to the idea that language has a relationship to truth. You can see that authoritarians don't have a relationship to truth. They have a relationship to the abuse of truth and to lying, not only in content but in the form of their language as well. There is a crucial role for writers here in our relationship to language because language is one of the most crucial ways that authoritarianism extends its power. What I've discovered as a writer is that fear is a good indicator that there is a truth. To speak the truth in a society is oftentimes an act that requires some courage.”Viet Thanh Nguyen has spent much of his life exploring the stories we tell—and the stories we erase—about war, migration, and memory. His 2015 debut novel The Sympathizer, about a communist double agent in the aftermath of the Vietnam War, won the Pulitzer Prize and a long list of other major literary awards. In 2024, The Sympathizer was adapted into a critically acclaimed HBO series directed by Park Chan-wook.He followed it with The Committed, and his latest work, To Save and to Destroy: Writing as an Other, a meditation on writing, power, and the politics of representation.Nguyen is also the author of Nothing Ever Dies, a finalist for the National Book Award in nonfiction, and the short story collection The Refugees. He's edited collections like The Displaced: Refugee Writers on Refugee Lives, and most recently the Library of America volume for Maxine Hong Kingston, who was once his teacher.He was born in Vietnam, came to the U.S. as a refugee, and is now a professor at the University of Southern California. He's received Guggenheim and MacArthur fellowships, honorary doctorates, and has been named a Chevalier by the French Ministry of Culture. Today, we'll talk about his books, America's forever wars, and how the act of writing—across fiction, memoir, and scholarship—can become both a form of resistance and a way of making sense of being, as he puts it in his memoir “A Man of Two Faces.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“As a writer, I do believe that art and literature in and of themselves are important. I'm going to keep on writing novels, and one of the most important reasons why is because, as you mentioned, language is crucial. Part of the way that states and authoritarian regimes exercise their power is not just through physical violence and intimidation, but through a maltreatment of language itself. Trump is a perfect example of this. Everything that comes out of his mouth in terms of language is horrifying for anybody with any sensitivity to language. The excesses of his language in terms of insults and hyperbolic praise for his fans are perfect examples of how language is used by an authoritarian and by the state to obfuscate reality and intimidate people. That language is ugly from my perspective, and there is something about being committed to literature and to art that awakens us to the importance of beauty.I think about what John Keats, the poet, said: beauty is truth, truth beauty. You can't separate these kinds of things. If you're committed to the beauty of language, you're also committed to the idea that language has a relationship to truth. You can see that authoritarians don't have a relationship to truth. They have a relationship to the abuse of truth and to lying, not only in content but in the form of their language as well. There is a crucial role for writers here in our relationship to language because language is one of the most crucial ways that authoritarianism extends its power. What I've discovered as a writer is that fear is a good indicator that there is a truth. To speak the truth in a society is oftentimes an act that requires some courage.”Viet Thanh Nguyen has spent much of his life exploring the stories we tell—and the stories we erase—about war, migration, and memory. His 2015 debut novel The Sympathizer, about a communist double agent in the aftermath of the Vietnam War, won the Pulitzer Prize and a long list of other major literary awards. In 2024, The Sympathizer was adapted into a critically acclaimed HBO series directed by Park Chan-wook.He followed it with The Committed, and his latest work, To Save and to Destroy: Writing as an Other, a meditation on writing, power, and the politics of representation.Nguyen is also the author of Nothing Ever Dies, a finalist for the National Book Award in nonfiction, and the short story collection The Refugees. He's edited collections like The Displaced: Refugee Writers on Refugee Lives, and most recently the Library of America volume for Maxine Hong Kingston, who was once his teacher.He was born in Vietnam, came to the U.S. as a refugee, and is now a professor at the University of Southern California. He's received Guggenheim and MacArthur fellowships, honorary doctorates, and has been named a Chevalier by the French Ministry of Culture. Today, we'll talk about his books, America's forever wars, and how the act of writing—across fiction, memoir, and scholarship—can become both a form of resistance and a way of making sense of being, as he puts it in his memoir “A Man of Two Faces.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“What I've discovered as a writer is that fear is a good indicator that there is a truth. To speak the truth in a society is oftentimes an act that requires some courage. Those processes of being an other for me in the United States were obviously very fundamental to shaping who I am as a person and as a writer. It was very difficult to undergo, but to become a writer who could talk about those issues was also a lot of fun. Writing The Sympathizer was a lot of fun, and I hope that the novel was enjoyable and humorous to read as well, despite its very serious politics. When I wrote The Committed, I also had a lot of fun as an outsider to France. In writing the novel itself, The Committed, there was a lot of humor, satire, and these kinds of tools to confront the tragedy of othering. This is very important to me as literary and political devices. I think I could do that in both The Sympathizer and The Committed because I had a lot of distance from the time periods that those novels described. My challenge right now is to try to find my sense of humor in describing what the United States is undergoing and doing to other countries, its own immigrants, and its own people of color, and minorities in the present. That's proving to be a little more challenging at this moment.The whole power of the state is geared towards dividing and conquering, whether it's domestically within a state or whether it's exercising power overseas, including things like colonization, which is all about dividing and conquering. In the face of that, to engage in expansive solidarity and capacious grief is to work against the mechanisms of colonialism, militarism, and the state. It's enormously difficult, which is why it has to be rebuilt from every generation, as every generation is subject to the power of the state and its ideologies and mythologies. I think the lessons that I've extracted from this book, To Save and to Destroy, where I talk about expansive solidarity and capacious grief, are lessons that have been learned by other people before me, but lessons that I had to learn for myself and to put into my own words how I came to those lessons.”Viet Thanh Nguyen has spent much of his life exploring the stories we tell—and the stories we erase—about war, migration, and memory. His 2015 debut novel The Sympathizer, about a communist double agent in the aftermath of the Vietnam War, won the Pulitzer Prize and a long list of other major literary awards. In 2024, The Sympathizer was adapted into a critically acclaimed HBO series directed by Park Chan-wook. He followed it with The Committed, and his latest work, To Save and to Destroy: Writing as an Other, a meditation on writing, power, and the politics of representation.Nguyen is also the author of Nothing Ever Dies, a finalist for the National Book Award in nonfiction, and the short story collection The Refugees. He's edited collections like The Displaced: Refugee Writers on Refugee Lives, and most recently the Library of America volume for Maxine Hong Kingston, who was once his teacher.He was born in Vietnam, came to the U.S. as a refugee, and is now a professor at the University of Southern California. He's received Guggenheim and MacArthur fellowships, honorary doctorates, and has been named a Chevalier by the French Ministry of Culture. Today, we'll talk about his books, America's forever wars, and how the act of writing—across fiction, memoir, and scholarship—can become both a form of resistance and a way of making sense of being, as he puts it in his memoir “A Man of Two Faces.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“What I've discovered as a writer is that fear is a good indicator that there is a truth. To speak the truth in a society is oftentimes an act that requires some courage. Those processes of being an other for me in the United States were obviously very fundamental to shaping who I am as a person and as a writer. It was very difficult to undergo, but to become a writer who could talk about those issues was also a lot of fun. Writing The Sympathizer was a lot of fun, and I hope that the novel was enjoyable and humorous to read as well, despite its very serious politics. When I wrote The Committed, I also had a lot of fun as an outsider to France. In writing the novel itself, The Committed, there was a lot of humor, satire, and these kinds of tools to confront the tragedy of othering. This is very important to me as literary and political devices. I think I could do that in both The Sympathizer and The Committed because I had a lot of distance from the time periods that those novels described. My challenge right now is to try to find my sense of humor in describing what the United States is undergoing and doing to other countries, its own immigrants, and its own people of color, and minorities in the present. That's proving to be a little more challenging at this moment.The whole power of the state is geared towards dividing and conquering, whether it's domestically within a state or whether it's exercising power overseas, including things like colonization, which is all about dividing and conquering. In the face of that, to engage in expansive solidarity and capacious grief is to work against the mechanisms of colonialism, militarism, and the state. It's enormously difficult, which is why it has to be rebuilt from every generation, as every generation is subject to the power of the state and its ideologies and mythologies. I think the lessons that I've extracted from this book, To Save and to Destroy, where I talk about expansive solidarity and capacious grief, are lessons that have been learned by other people before me, but lessons that I had to learn for myself and to put into my own words how I came to those lessons.”Viet Thanh Nguyen has spent much of his life exploring the stories we tell—and the stories we erase—about war, migration, and memory. His 2015 debut novel The Sympathizer, about a communist double agent in the aftermath of the Vietnam War, won the Pulitzer Prize and a long list of other major literary awards. In 2024, The Sympathizer was adapted into a critically acclaimed HBO series directed by Park Chan-wook. He followed it with The Committed, and his latest work, To Save and to Destroy: Writing as an Other, a meditation on writing, power, and the politics of representation.Nguyen is also the author of Nothing Ever Dies, a finalist for the National Book Award in nonfiction, and the short story collection The Refugees. He's edited collections like The Displaced: Refugee Writers on Refugee Lives, and most recently the Library of America volume for Maxine Hong Kingston, who was once his teacher.He was born in Vietnam, came to the U.S. as a refugee, and is now a professor at the University of Southern California. He's received Guggenheim and MacArthur fellowships, honorary doctorates, and has been named a Chevalier by the French Ministry of Culture. Today, we'll talk about his books, America's forever wars, and how the act of writing—across fiction, memoir, and scholarship—can become both a form of resistance and a way of making sense of being, as he puts it in his memoir “A Man of Two Faces.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“What I've discovered as a writer is that fear is a good indicator that there is a truth. To speak the truth in a society is oftentimes an act that requires some courage. Those processes of being an other for me in the United States were obviously very fundamental to shaping who I am as a person and as a writer. It was very difficult to undergo, but to become a writer who could talk about those issues was also a lot of fun. Writing The Sympathizer was a lot of fun, and I hope that the novel was enjoyable and humorous to read as well, despite its very serious politics. When I wrote The Committed, I also had a lot of fun as an outsider to France. In writing the novel itself, The Committed, there was a lot of humor, satire, and these kinds of tools to confront the tragedy of othering. This is very important to me as literary and political devices. I think I could do that in both The Sympathizer and The Committed because I had a lot of distance from the time periods that those novels described. My challenge right now is to try to find my sense of humor in describing what the United States is undergoing and doing to other countries, its own immigrants, and its own people of color, and minorities in the present. That's proving to be a little more challenging at this moment.The whole power of the state is geared towards dividing and conquering, whether it's domestically within a state or whether it's exercising power overseas, including things like colonization, which is all about dividing and conquering. In the face of that, to engage in expansive solidarity and capacious grief is to work against the mechanisms of colonialism, militarism, and the state. It's enormously difficult, which is why it has to be rebuilt from every generation, as every generation is subject to the power of the state and its ideologies and mythologies. I think the lessons that I've extracted from this book, To Save and to Destroy, where I talk about expansive solidarity and capacious grief, are lessons that have been learned by other people before me, but lessons that I had to learn for myself and to put into my own words how I came to those lessons.”Viet Thanh Nguyen has spent much of his life exploring the stories we tell—and the stories we erase—about war, migration, and memory. His 2015 debut novel The Sympathizer, about a communist double agent in the aftermath of the Vietnam War, won the Pulitzer Prize and a long list of other major literary awards. In 2024, The Sympathizer was adapted into a critically acclaimed HBO series directed by Park Chan-wook. He followed it with The Committed, and his latest work, To Save and to Destroy: Writing as an Other, a meditation on writing, power, and the politics of representation.Nguyen is also the author of Nothing Ever Dies, a finalist for the National Book Award in nonfiction, and the short story collection The Refugees. He's edited collections like The Displaced: Refugee Writers on Refugee Lives, and most recently the Library of America volume for Maxine Hong Kingston, who was once his teacher.He was born in Vietnam, came to the U.S. as a refugee, and is now a professor at the University of Southern California. He's received Guggenheim and MacArthur fellowships, honorary doctorates, and has been named a Chevalier by the French Ministry of Culture. Today, we'll talk about his books, America's forever wars, and how the act of writing—across fiction, memoir, and scholarship—can become both a form of resistance and a way of making sense of being, as he puts it in his memoir “A Man of Two Faces.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“What I've discovered as a writer is that fear is a good indicator that there is a truth. To speak the truth in a society is oftentimes an act that requires some courage. Those processes of being an other for me in the United States were obviously very fundamental to shaping who I am as a person and as a writer. It was very difficult to undergo, but to become a writer who could talk about those issues was also a lot of fun. Writing The Sympathizer was a lot of fun, and I hope that the novel was enjoyable and humorous to read as well, despite its very serious politics. When I wrote The Committed, I also had a lot of fun as an outsider to France. In writing the novel itself, The Committed, there was a lot of humor, satire, and these kinds of tools to confront the tragedy of othering. This is very important to me as literary and political devices. I think I could do that in both The Sympathizer and The Committed because I had a lot of distance from the time periods that those novels described. My challenge right now is to try to find my sense of humor in describing what the United States is undergoing and doing to other countries, its own immigrants, and its own people of color, and minorities in the present. That's proving to be a little more challenging at this moment.The whole power of the state is geared towards dividing and conquering, whether it's domestically within a state or whether it's exercising power overseas, including things like colonization, which is all about dividing and conquering. In the face of that, to engage in expansive solidarity and capacious grief is to work against the mechanisms of colonialism, militarism, and the state. It's enormously difficult, which is why it has to be rebuilt from every generation, as every generation is subject to the power of the state and its ideologies and mythologies. I think the lessons that I've extracted from this book, To Save and to Destroy, where I talk about expansive solidarity and capacious grief, are lessons that have been learned by other people before me, but lessons that I had to learn for myself and to put into my own words how I came to those lessons.”Viet Thanh Nguyen has spent much of his life exploring the stories we tell—and the stories we erase—about war, migration, and memory. His 2015 debut novel The Sympathizer, about a communist double agent in the aftermath of the Vietnam War, won the Pulitzer Prize and a long list of other major literary awards. In 2024, The Sympathizer was adapted into a critically acclaimed HBO series directed by Park Chan-wook. He followed it with The Committed, and his latest work, To Save and to Destroy: Writing as an Other, a meditation on writing, power, and the politics of representation.Nguyen is also the author of Nothing Ever Dies, a finalist for the National Book Award in nonfiction, and the short story collection The Refugees. He's edited collections like The Displaced: Refugee Writers on Refugee Lives, and most recently the Library of America volume for Maxine Hong Kingston, who was once his teacher.He was born in Vietnam, came to the U.S. as a refugee, and is now a professor at the University of Southern California. He's received Guggenheim and MacArthur fellowships, honorary doctorates, and has been named a Chevalier by the French Ministry of Culture. Today, we'll talk about his books, America's forever wars, and how the act of writing—across fiction, memoir, and scholarship—can become both a form of resistance and a way of making sense of being, as he puts it in his memoir “A Man of Two Faces.”Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

Welcome back to the show friends!  We explore some Korean horror this episode with a review of a Park Chan-wook film, OLDBOY!  Stay tuned for our Summer of the Giallo episodes next!

Sean and Amanda return to continue their year-long project of listing the 25 best movies of the 21st century so far with a discussion of Park Chan-wook's ‘The Handmaiden,' the 2016 erotic thriller period piece starring Kim Tae-ri and featuring some of the best camera work and production design of the century. They talk about Park Chan-wook's incredible ability to complicate simple stories with depth of design, how it portrays the complicated power dynamics of sex, and why its layered portrayal of shifting psychological perspectives is so impactful. Hosts: Sean Fennessey and Amanda Dobbins Senior Producer: Bobby Wagner Video Producer: Jack Sanders Learn more about your ad choices. Visit podcastchoices.com/adchoices