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José enjoys the examination of contemporary relationships in Ira Sachs’ Passages, a Paris-set romantic drama in which a marriage is disrupted when one partner begins an affair with a friend. Mike thinks that the characters’ problems aren’t real problems and that if the unfaithful partner just grew up then everything would be fine.
With José Arroyo of First Impressions and Michael Glass of Writing About Film.
Listen on the players above, Apple Podcasts, Audible, Google Podcasts, or Spotify.
A Palme d’Or-nominated millennial comic drama from Norway, whose lead, Renate Reinsve, won Best Actress at Cannes last year, The Worst Person in the World explores universal themes of how to find a direction in life, our expectations of our own lives and others’, falling in and out of love, and how to handle the twists that life throws our way. But it speaks to José and Mike differently.
To the older of us, it’s a great film, one that articulates its themes with complexity and develops its characters expressively. To the younger – a millennial, to whom it should speak more directly – it’s a film that’s difficult to connect to, that occupies an emotional register to which he doesn’t relate. We discuss that register, the ways in which the characters behave and respond to one another, the use of chapters to structure the story and narration to tell some of it, and the imagination and life of certain scenes. Many of The Worst Person in the World‘s qualities are obvious, but we don’t agree on its greatness. As they say in Norway, c’est la vie.
With José Arroyo of First Impressions and Michael Glass of Writing About Film.
Listen on the players above, Apple Podcasts, Audible, Google Podcasts, or Spotify.
A film of surprising delights – certainly for Mike, who hates anything that looks like it could appear on ITV – Mothering Sunday tells the story of one key 1924 day in the life of a young maid. It’s a film filled with grief and lust, beautifully shot and featuring the best of British acting, Colin Firth and Olivia Colman’s performances subtly modulated and multifaceted. It’s imperfect, failing to engage with race as it perhaps should, and a framing device feels rather unnecessary – but it’s a moving and sensitive film.
With José Arroyo of First Impressions and Michael Glass of Writing About Film.