Category Archives: podcast

Eavesdropping at the Movies: 298 – Witness for the Prosecution

Billy Wilder directs this adaptation of Agatha Christie’s Witness for the Prosecution, a courtroom drama concerning a man on trial for the murder of an old woman – did he do it? What’s up with his wife? Will his lawyer’s nurse catch him smoking? As with Christie’s stageplay, The Mousetrap, upon the film’s conclusion, the audience is kindly asked to refrain from revealing its twists and revelations, but we at Eavesdropping at the Movies respect no such requests. Spoilers within.

Charles Laughton is pleasingly hammy, Marlene Dietrich composed, and Tyrone Power a loud, sweaty, stressed out mess – and somehow mostly in the background, despite his central role as the accused murderer. We discuss their performances and characters, the pleasures and methods of Agatha Christie’s mysteries, and Wilder’s direction, which hopes, in that classic Hollywood style, to render technique invisible. Witness for the Prosecution is an engrossing mystery filled with interesting bits of business that enrich its characters, and a classic.

The podcast can be listened to in the players above or on iTunes.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

 

Eavesdropping at the Movies: 297 – Spiral

Listen to our podcast on Jigsaw here.

Cinema is back! And to celebrate, we see the new spin-off of the Saw series, Spiral, which… is not a good film. But it gives us much to think on, especially the surprisingly big names of its cast, which includes Chris Rock, Samuel L. Jackson, and Max Minghella. Slasher series don’t traditionally accommodate stars, but, beyond the fact that they’re typically too expensive, Spiral offers a warning against their presence: the screentime they require pulls too much attention away from the thrills, the reason we’re really there. The deaths we’re accustomed to enjoying in Saw films just aren’t given to us in sufficient excess or quantity in Spiral; Chris Rock’s protagonist, a detective hunting a Jigsaw copycat, dominates the story. As if catching the murderer is more exciting than watching him work. Honestly.

Despite our disappointment in the film, we enjoy our return to the cinema after nine months away, José finding a new appreciation for the meditative quality of submitting himself to a movie he can’t pause in a darkened room, after a year of experiencing a fractured, distracted mental state watching streaming media. Mike likes the bigness of the screen, and that’s as far as his introspection takes him. In an increasingly vaccinated Britain, this return to the cinema is more optimistic than the shaky and short-lived reopening of last summer, and feels like it stands a good chance of lasting. And a damn good thing, too. We’ve missed it.

The podcast can be listened to in the players above or on iTunes.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

Eavesdropping at the Movies: 296 – And Then There Were None (1945)

We explore René Clair’s adaptation of Agatha Christie’s novel of – in the US – the same name, And Then There Were None. In terms of quality, it’s nothing to write home about, sadly, but is interesting nonetheless.

The podcast can be listened to in the players above or on iTunes.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

Thinking Aloud About Film: Hou Hsiao-hsien 4 – The Sandwich Man (1983)

A discussion of The Sandwich Man, an omnibus film based on the short stories of Hwang Chun-ming, with episodes from Hou Hsiao-hsien (His Son’s Big Doll aka The Sandwich Man), Tseng Shuan-hsiang (Hsiao-ch’i’s Hat/Vick’s Hat) and Wan Jen (The Taste of Apples), that is said to have helped launch New Taiwanese Cinema. We talk about the three different episodes, how so many New Waves incorporated omnibus or portmanteau films as a form of self advertisement, the relationship to The Bicycle Thief, the way it allegorises and comments on conflicts and changes in Taiwanese cinema and society….and much more. It can be listened to below:

 

The podcast can also be listened to on Spotify here: https://open.spotify.com/show/2zWZ7Egdy6xPCwHPHlOOaT

and on itunes here: https://podcasts.apple.com/gb/podcast/first-impressions-thinking-aloud-about-film/id1548559546

 

Jose’s part of the discussion drew on:

David Scott Diffrient’s, ‘The Sandwich Man: History, episodicity and serial conditioning in a Taiwanese omnibus film’, Asian Cinema, vol 25, no., pp. 71-92,

and:  Wen Tien-Hsiang (Trans .by Gan Sheuo Hui), ‘Hou Hsiao-Hsien: a standard for evaluating Taiwan’s cinema’, Inter-Asia Cultural Studies, vol.9, No. 2, 2008, pp. 211-238.

Readers might also be interested in hearing the programmer of the Venice Film Festival talk about his discovery of this cinema, an excerpt from Chinlin Hsieh’s Flowers of Taipei: Taiwanese New Wave Cinema, 2014.

According to Diffrient, these films were ‘Made for a ‘younger, more educated audience’ than their predecessors of the previous decades, and foregrounding aspects of ‘indigenous Taiwanese life’ that were becoming increasingly visible in ‘language, literature, and rural subjects’, these films are touchstones in contemporary Taiwanese cinema, together representing ‘major changes in style, theme, and audience’ that reflected larger social and political transformations at the time of their release (Yeh and Davis 2005: 56).

The Sandwich Man is a foundational text in the history of New Taiwanese Cinema, which launched in 1982, and which ended four years later with the 1986 signing of the Taiwan Cinema Manifesto.

Diffrient argues that Hou’s cinema, shares with the mainland’s Fifth Generation, ‘

‘a penchant for long takes, long shots, composition-in-depth, self-reflexivity, sparse dialogue, subtle gestures, and a suppression of the shot- reverse-shot, utilizes a quasi-episodic, elliptical editing style that recalls Frantz Fanon’s emphasis on mobilizing the discontinuous, fragmentary and image-based history of the colonized to enunciate a postcolonial imaginary’.

Richard adds:

Note, we should clarify that there’s some confusion regarding the names on the titles. The ones given on screen were Hou Hsiao-hsien – “His Son’s Big Doll” (some sources refer to this story as “The Sandwich Man”), Tseng Shuan-hsiang – “Vick’s Hat” (I can see references to “Hsiao-ch’i’s Hat” in a couple of articles and also “Xiao qi’s Hat” and “Vicki’s Hat” – perhaps Vicki is an anglicisation of Xiao qi).  I suspect some of this comes from the English translation of the book. To add to the confusion the book of short stories is called “The Taste of Apples” and in that one the story is called “Xiaoqi’s Cap”

We will continue these discussions in further episodes.

The book is available in English from Columbia University Press

a couple of reviews Richard enjoyed from a screening at the UK Taiwan Film Festival online last year
All these reviews call the first segment “The Sandwich Man” so Richard  wonders if that is how it is named on screen in current English sub-titiled prints.
José did a trailer for the podcast which can be seen below:

We will continue to add links as we find them.

José Arroyo

Thinking Aloud About Film: Hou Hsiao-hsien 2 – Cheerful Wind (aka) Play While You Play

Thinking Aloud About Film continues it’s exploration of the cinema of Hou Hsiao-hsien with a discussion of Cheerful Wind aka Play While you Play, a charming musical romantic comedy, an exploration of filmmaking itself, and a re-teeming of the cast that made the previous Cute Girl such a success.

The podcast can also be listened to on Spotify here: https://open.spotify.com/show/2zWZ7Egdy6xPCwHPHlOOaT

and on itunes here: https://podcasts.apple.com/gb/podcast/first-impressions-thinking-aloud-about-film/id1548559546

I made a trailer for the podcast which showcases a funny if crude opening scene and begins to demonstrate how self-reflexive the film is about cinema:

 

In the podcast we also refer to the following, which will give you a visual idea of what we’re talking about

Blind Man With Camera
What’s with the hand holding
Grey mountains

 

Artistry of shots

We have an extended discussion of Kenny Bee’s camping:

Kenny camps it up

 

Kenny speed-walks:

José Arroyo

Eavesdropping at the Movies: 293 – Promising Young Woman

We’re joined by returning guest Celia, on the phone from Canada, to discuss writer-director Emerald Fennell’s unusual revenge thriller, Promising Young Woman. Following the rape and – implied – suicide of her friend Nina, which goes unpunished, Carey Mulligan’s Cassie drops out of medical school, and now spends her nights feigning drunkenness, allowing men to pick her up and take her home, alarming them with her sobriety as they begin to sexually assault her. When a chance reunion with a former classmate reveals that Nina’s rapist is engaged, Cassie embarks upon a campaign of vengeance against those she considers responsible for and involved in committing and allowing her friend’s rape and its cover-up.

Celia loves it, finding that it invokes and brings to life many subtle and important observations about life for women in the patriarchy, enjoying the various forms Cassie’s revenge takes – particularly the “exercises in forced empathy”, in her words – and feeling a call to arms; José decidedly doesn’t, decrying those observations and revenges as cinematically unrealised in what is merely a filmed essay, albeit one that admirably exhibits a style, an aesthetic and a point of view. Mike bravely sits in the middle, pretending to be superior to the other two by virtue of not exhibiting an extreme response to the film. The discussion is varied and passionate – and full of spoilers. Love it or hate it, Promising Young Woman is a thought-provoking, vital film, and well worth watching.

The podcast can be listened to in the players above or on iTunes.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

I made a trailer for the podcast which can be seen below:

 

Eavesdropping at the Movies: 292 – Affair in Trinidad

 

Rita Hayworth and Glenn Ford star in Gild– sorry, Affair in Trinidad, Hayworth’s first film upon her return to Hollywood after four years away, and a blatant rip-off of a certain classic film noir from 1946. (There’s also a chunk of Notorious thrown in for good measure.) Expensively cobbled together at Columbia boss Harry Cohn’s instruction, its production was rushed, with its script barely presentable and Vincent Sherman’s direction lazy, but audiences weren’t put off – it made $7m domestically, blockbuster box office in 1952.

Now featured as part of Columbia Noir #2, a box-set from the same series that includes The Garment Jungle, we take the opportunity to see what Affair in Trinidad has to offer – for José, the answer is, “not much, besides Rita Hayworth, gorgeous gowns and rich cinematography” – and discuss more besides, including Hayworth’s name and image, and how and why they were changed. Affair in Trinidad is far from a good film, but one of historical interest, and certainly worth seeing for any fan of Rita Hayworth.

The podcast can be listened to in the players above or on iTunes.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

Eavesdropping at the Movies: 291 – Sound of Metal

A film that offers a beautiful evocation of community, as Riz Ahmed’s drummer suddenly loses most of his hearing and joins a retreat for the deaf, Sound of Metal also feels regrettably, and unforgivably, dishonest in some of the ways it engineers its story. In this respect, we disagree over one of the film’s key scenes, but agree about what it goes on to depict in the final act. Despite the severe problems we have with the film, it has pleasures to offer, including an outstanding central performance from Ahmed, whose wide-eyed, puppy-dog expressions transparently convey fear, anger, worry and determination, sometimes all at once. For Ahmed alone, it’s worth seeing Sound of Metal.

The podcast can be listened to in the players above or on iTunes.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

Eavesdropping at the Movies: 290 – Godzilla vs. Kong

The fourth entry in Legendary’s MonsterVerse, the first crossover in the series, sees a journey to the center of the Earth and Hong Kong made the playground of its titular colossi. In this cinematic universe seeking to challenge Marvel et al., Mike finds visual splendour and an ambition to reach for something a little more meaningful than your usual blockbusters. Indeed, the character of Godzilla, in particular, is well-known to derive from Japan’s horrific experience as history’s first and only target of nuclear warfare, and Mike argues that the MonsterVerse seeks to continue to use its creatures as giant metaphors that punch and breathe fire, unleashed by humanity’s insatiable consumption and arrogant claim on the natural world. José isn’t that impressed with this reading, but finds things to enjoy, particularly the beautiful imagery – though, he argues, while it demonstrates incredible skill and craft on the part of the artists who created it, art is precisely what it lacks. But luckily, although we butt heads over Godzilla vs. Kong, Birmingham remains intact.

Our podcast on Godzilla: King of the Monsters

Mike’s review of 2014’s Godzilla

José’s review of 2014’s Godzilla

The podcast can be listened to in the players above or on iTunes.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

Eavesdropping at the Movies: 289 – The Trial of the Chicago 7

At the Democratic National Convention in Chicago in 1968, riots erupted when thousands of anti-Vietnam War protestors clashed with police. Seeking to crush the energetic counterculture, the US government put on trial a group of eight defendants, some political organisers, some cultural radicals, some with hardly any influence, a pacifist, and a Black Panther, hoping to convict them for conspiracy to incite the riots. Aaron Sorkin’s writing is a good fit for this story, the disparate group of defendants arguing amongst themselves sharply, and many scenes flowing beautifully towards their own internal climaxes; the same cannot be said of his direction, the film lacking much visual flair and instinct for expressive imagery.

We revisit our common theme of British actors playing Americans, José finding more fault with it here than Mike does – we can, at least, agree that Sacha Baron Cohen’s accent is atrocious, his Abbie Hoffman a weak point. Mike expounds upon how much he hates himself for how much he likes Sorkin’s HBO drama The Newsroom, comfort food for the American left, which he sees echoes of here.

We find flaw upon flaw with The Trial of the Chicago 7, but despite every one of them, it’s an immensely watchable film with a terrific ensemble cast and entertaining dialogue. With an awareness of its limitations and economy with the truth, we recommend it.

The podcast can be listened to in the player above or at this link.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

 

Eavesdropping at the Movies: 288 – The Father

Anthony Hopkins is magnificent as The Father‘s title character, an old man losing his grip on reality to dementia, in debut director Florian Zeller’s adaptation of his own stage play. We discuss the techniques the film uses to situate the audience within the mind of a dementia sufferer, and whether they lose their potency as the film develops. The Father‘s origins on stage are obvious in its sparse setting and focus on dialogue, and we suggest that the raw power of seeing the performances live, an immediacy, is lost here – though the cast, particularly Hopkins and Olivia Colman, are impressive nonetheless. Mike argues that the film somehow lacks enough plot to even fill its 97-minute duration, and would have worked better as a short film – José suggests that it ends up in cliché.

Still, for a while at least, it’s an extraordinarily effective dramatisation of what it might feel like to suffer from dementia, convinced of your own mental acuity while contradicted by everyone and everything around you. The Father doesn’t offer a pleasant experience, but it is a valuable one.

The podcast can be listened to in the player above or at this link.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

Eavesdropping at the Movies: 287 – Minari

A gentle drama about Korean immigrants making a life for themselves in 1980s Arkansas, Minari‘s tone is consistently light, despite some of the upsetting events that occur. Mike argues that it reflects a child’s perspective of life, protected by their parents from the worst of life, or simply not understanding the darkness in what they experience – writer-director Lee Isaac Chung based the film on his own upbringing on a farm in Arkansas. José identifies strongly with the story, commenting on the similarities and differences with his youth as a Spanish immigrant to Canada. Minari is a good-natured film with no room for cynicism, and, for José, a joyous experience to watch.

The podcast can be listened to in the player above or at this link.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

Peter Kim George has a wonderful piece on the film that amongst many other riches also touches on the issue of casting, which is becoming a recurring concern of mine. He writes, ‘

Another issue is that Steven Yeun is miscast as Jacob. He is miscast for the same reason he was so superbly cast in Okja and Burning — Yeun’s bodily mannerisms and speech are American through and through. By mannerisms, I mean those dimensions of culture and nationality that trickle into the most basic, lived instincts of how one sits in a chair or expresses hesitation. In Okja and Burning, it imbues a hybrid otherness to his character, which works so well in Bong’s and Lee’s films, respectively. Chung notes in an interview that he had originally imagined the role of Jacob for someone from Korea.

Still, it is difficult to write that Yeun is miscast in Minari, for several reasons. One, a mostly non-Korean viewership (still a remarkable feat in itself for a non-English language film) is unlikely to notice that Yeun quite obviously does not fit the mold of a man who comes of age in 1960s and 70s South Korea, so why bring it up? Add to which how prominently Yeun features in the film’s marketing and press — a Korean actor may have been a better fit, but certainly would not have given Minari its visibility. ‘

 

Also Kevin B. Lee has produced a very interesting video essay some of you may want to follow up on.

Eavesdropping at the Movies: 286 – Zack Snyder’s Justice League

In 2017, Justice League, DC’s answer to Marvel’s continuing Avengers crossovers, flopped. Director Zack Snyder had left the film several months before release, his role taken over by MCU regular Joss Whedon, and significant changes were made in an attempt to lighten the tone of what had so far been a rather bleak series. Immediately, talk erupted of a director’s cut – the so-called Snyder Cut – that would represent Snyder’s true vision, uncompromised by studio executives’ fears and directives. Initially no more than a meme responding to that film’s quality, it was given oxygen by Zack Snyder’s insistence that it did actually exist, and it now reaches us via online streaming in the age of Covid-19. There’s perhaps no other set of circumstances in which it would have been made real – on top of the original budget, the creation of this director’s cut cost some additional $70m – but what an opportunity to compare and contrast two versions of the same film.

At four hours in length, this is a version of Justice League that would never have seen a theatrical release, but the time it affords its characters to develop is welcome, and a huge improvement over the sketchy treatment some of them received in the original film – particularly Cyborg, played by Ray Fisher, who arguably becomes the central character in the Snyder Cut. We discuss and disagree on the decision to change the original aspect ratio of 1.78:1 to 1.33:1, which José loves but Mike considers a mistake, and look over a few key scenes and shots to explore the differences between Snyder’s and Whedon’s aesthetics.

And we discuss that new ending, additional scenes which help the Snyder Cut conceive of the overall story as epic, mythological fantasy, and more.

It’s a surprise to us both that we enjoyed Zack Snyder’s Justice League as much as we did, but there you have it. The four hours flew by and if this leads to the studio’s renewed interest in completing Snyder’s planned series, we’re up for it.

The podcast can be listened to in the player above or at this link.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

The Youssef Chahine Podcast No. 35: An Egyptian Perspective on Al-Momia/ The Night of Counting The Years

 

We return to chat some more about Chadi Abdel Salam’s great and beautiful Al-Momia/ The Night of Counting The Years at a most propitious time, since the day after our chat the mummified bodies of the kings were moved, with great ceremony, and for the first time, from where they were taken to rest at the end of the film to a new museum designed especially for them in Cairo. Central Cairo was lit up for the event (pictures by Hussein).

The conversation ranges from Chadi Abdel Salam’s career to his work as a designer for Chahine to the significance of various events and images depicted in the film.  It’s a film widely considered one of the greatest in Egyptian history and many consider it the greatest film on Egyptian identity ever made. We discuss why this might be so. You can listen below:

The podcast can also be listened to on Spotify here: https://open.spotify.com/show/2zWZ7Egdy6xPCwHPHlOOaT

and on itunes here: https://podcasts.apple.com/gb/podcast/first-impressions-thinking-aloud-about-film/id1548559546

 

Below is a wonderful episode of Cinematology with an excellent reading from Mohamed Abou Soliman of Al-Momia/ The Night of Counting the Years, which I am placing here because Hussein has kindly provided sub-titles so that non-Arab speakers may also have access to it.

 

Some of you may also be interested in this YouTube channel dedicated to Chadi Abdul Salam, including some of his other short films with English sub-titles:

Readers may also be interested in this review of Youssef Rakha´s TheMummy, an extended analysis of the film here:

Lastly, here are a couple of more pictures by Hussein of Caro lit up for the ceremony of the moving of the Pharaohs. These are the preparations

and these are pictures of the event itself

The whole event is available to see here:

José Arroyo

Eavesdropping at the Movies: 285 – Nomadland

Frances McDormand and a cast of non-professional, real-life nomads unite to explore the life of the modern American itinerant in Nomadland. We consider the line between fiction and reality, the non-professionals who appear bringing their real experiences and stories with them, and discuss what drives a person to their way of life. Like director Chloé Zhao’s previous feature, The RiderNomadland is a textural, contemplative film, and perhaps one that grows in stature upon reflection – while José loved every moment, Mike was bored by the tempo, but finds much to praise nonetheless. A film worth taking the time to sink into.

The podcast can be listened to in the player above or on iTunes.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

 

Eavesdropping at the Movies: 283 – Dear Zachary: A Letter to a Son About His Father

Ethics and truth in the land of documentary come under the microscope in our discussion of Dear Zachary: A Letter to a Son About His Father. Filmmaker Kurt Kuenne’s love letter to his childhood friend, Andrew Bagby, is a sensational and moving film that you should know as little as possible about before watching. It’s exceptionally effective, built out of a combination of interviews, home footage, still photos and more, masterfully edited to generate emotional affect – but despite its qualities, there are real issues fundamental to its form. It’s a hybrid of two types of film that find themselves in competition here: it’s a documentary, a form about openness and truth; and a thriller, withholding information until it reshapes everything you’ve learned so far. It’s a tension that may well be impossible to avoid – to resolve it might be to totally change Dear Zachary from the deeply personal, passionately made film it is.

The story Dear Zachary tells is powerful, moving and utterly gripping, and the conversation to which it will lead you is rich and illuminating. We recommend it without reservation, even though we have serious reservations about it.

The podcast can be listened to in the player above or on iTunes.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

 

José Arroyo in Conversation With….Misha Iakovlev on SKAM (Shame)

 

 

 

SKAM (Shame) is a Norwegian teen drama, originally aimed at young girls, and produced by NRK P3, which is part of the Norwegian Public Broadcaster, NRK. It’s elicited fervent fan reaction, particularly in Russia. The concept has since been sold around the globe and there are versions in France, Italy, etc. addressed to a local audience.  I’d never heard of it until the Queer Television Reading Group at Warwick brought it to my attention, asking us to see two episodes from the third series (Episode 1 ‘Lykke til Isak’  & Episode 8 ‘Mannen i mitt liv’) and asking us to read two scholarly articles:

  • Saara Ratilainen, ‘Norway Reimagined: Popular Geopolitics and the Russophone Fans of Skam’, NORDICOM Review, 41.S1 (2020), 139–53: &
  • Emelie Bengtsson, Rebecka Kallquist, and Malin Sveningsson, ‘Combining New and Old Viewing Practices: Uses and Experiences of the Transmedia Series “Skam”’, NORDICOM Review, 39.2 (2018), 63–77:

 

The reading group raised all kinds of fascinating questions on the transnational & the transmedial, on Russophone cultures and Queer Nations, and on fandom and desire.

I wanted to continue the discussion and no one of my acquaintance knows more about SKAM than Misha Iakovlev,  a researcher on Queer Theory, Gender, Sexuality& Race in Russian Cinema During its Transition from Communism. In the podcast, Misha and I discuss form, aesthetics, the representation of race & sexuality, queerness & queering & how the TV show is both an example of  transnational and the transmedial but also raises interesting questions about how those categories are conceptualised.  We hope you find it interesting and useful,

The podcast can also be listened to on Spotify here: https://open.spotify.com/show/2zWZ7Egdy6xPCwHPHlOOaT

and on itunes here: https://podcasts.apple.com/gb/podcast/first-impressions-thinking-aloud-about-film/id1548559546

José Arroyo

 

Eavesdropping at the Movies: 282 – Lapsis

First-time writer-director Noah Hutton imagines, in Lapsis, a near-future gig economy dystopia that isn’t that different from our own. Unable to pay for his brother’s healthcare, Dean Imperial’s Ray takes on contracting work for a Google-esque tech giant, hiking through forests laying cables. Imperial’s performance is a standout, his Ray always sympathetic and legible, and Hutton’s sketchy, piecemeal world-building suits the film – until it doesn’t. Lapsis creates a recognisable milieu and has a leftist politic with which we broadly agree and are happy to see, but as its story develops it wants to evoke the feeling of doom one would expect of a revealed conspiracy, without the burden of having to bring together its disparate subplots and building blocks in order to explain anything.

Despite our reservations, we enjoyed Lapsis and are glad to have seen it, and are keen to see what comes next for Noah Hutton and Dean Imperial.

The podcast can be listened to in the player above or on iTunes.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

 

Eavesdropping at the Movies: 281 – The Day of the Locust

Another discussion of — if not a classic — a still remembered film, on Hollywood, and — to add a cherry on top — with the great Karen Black.

An expensive flop in its day, The Day of the Locust maintains a cult intrigue for its critique of Hollywood and descent into madness. It’s new for both of us, and we discuss the qualities its cast brings, what could be better about its industry commentary, its moments of surprisingly graphic violence, and who, or what, its titular locusts are.

The podcast can be listened to in the player above or on iTunes.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

Eavesdropping at the Movies: 280 – A Sun

We explore a wonderful Taiwanese film that Netflix forgot it had, A Sun. An intimate yet epic drama about the effects of a single mistake that reverberate through a family and down the years, it’s gorgeously lit and shot, and although it feels as long as it is, every moment is earned and valuable. It asks fundamental questions of its characters and of us, the most important of which is: What does it mean to be a good person?

The podcast can be listened to in the player above or on iTunes.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.