エピソード

  • 445 - Riefenstahl

    445 - Riefenstahl
    2025/06/11
    In the 1930s, Leni Riefenstahl infamously directed two propaganda films, Triumph of the Will and Olympia, for the Nazi Party. For the rest of her life, which ended in 2003, she denied knowledge of the regime's crimes, including the Holocaust. In 2016, her heirs gave her estate, which included a vast collection of personal documents, correspondence, and film and tape recordings, to the Prussian Cultural Heritage Foundation, which itself gave permission to Sandra Maischberger and Andres Veiel, a journalist and filmmaker respectively, to use the material as the basis of a documentary. Riefenstahl, comprising countless elements of the archive, along with documents from other sources, builds a biography of a person who never came clean about what she knew about Nazi Germany, and never took responsibility for her part in it. It's a complex and layered examination of a life led between pride and denial, and has resonances today: take Riefenstahl's television appearance in 1976 alongside Elfriede Kretschmer, an anti-Nazi activist and contemporary who refuses to believe her claims of ignorance during wartime, which is followed by recordings of phone calls to Riefenstahl in support of her stance and contempt for Kretschmer. The line between those calls and the metastasising popularity of extreme right-wing, "anti-woke" and similar ideologies today is self-evident, as is the difference between ideas expressed publicly and privately. Riefenstahl is more outspoken off the record than on it, demanding interviewers' cameras be turned off to prevent them from capturing candid revelations. In this sense and others, her life provides a window into fascism - what drives it - her initial response to seeing and hearing Adolf Hitler speak is almost sexual - what it represents and offers to its adherents, and how it shrinks and cowers when it doesn't get everything it wants. It's a problem for Mike that the film doesn't seem to think that the artistic and cultural impact of Riefenstahl's work is worth exploring, where to him it's the most interesting thing about her. Not only were her films technically and artictically innovative - something claimed by subjects in the film but not explained or examined - but her work arguably gives the Nazis their key, and enduring, victory. As thuggish and vile as the regime was, and despite its collapse, through Triumph of the Will and Olympia it created an image of itself as glorious and powerful with which we continue to associate it, and to which neo-Nazis today aspire to emulate. Few filmmakers have left a cultural legacy of such significance and duration, but the documentary isn't interested in the work - only the person. Quibbles apart, Riefenstahl is an excellent example of how to tell a complex tale with intention, clarity, and concision, while allowing for interpretation of the material presented, and it'll be the basis of endless conversations. Highly recommended. Recorded on 2nd June 2025.
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    40 分
  • 444 - Mission: Impossible - The Final Reckoning

    444 - Mission: Impossible - The Final Reckoning
    2025/06/06
    A wide-ranging discussion follows the release of the final Mission: Impossible film... perhaps. José doesn't believe that they'll stop making them, nor does he want them to, but he is glad that Tom Cruise appears to be hanging up his boots - he's just too old now. While he reflects on Cruise's career and stardom, Mike's watched every Mission: Impossible film in anticipation of The Final Reckoning, and tracks changes in their aesthetics, sexuality, and comic tone, as the series worked its way towards finding the formula that's become its signature. Recorded on 27th May 2025.
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    1 時間 8 分
  • 443 - Final Destination Bloodlines

    443 - Final Destination Bloodlines
    2025/05/22
    The slasher series without a slasher returns for its sixth instalment, fourteen years after we last saw it. Where Halloween gave us Michael Myers, Friday the 13th, Jason Voorhees, and A Nightmare on Elm Street, Freddy Krueger, Final Destination made death the villain - perhaps more accurately, Death, but we never see a cloaked man wielding a scythe. Where the figure of the slasher killer could, in principle, be evaded and even beaten, Final Destination's Death, non-corporeal and omnipresent, carries a key threat of inevitability. Nobody escapes Death. In each Final Destination film, one character's premonition of catastrophe gives them the chance to save themselves and others from death, but Death won't take being cheated lying down, and sets its sights on pursuing its near-victims to the graves they're currently avoiding. How? Through elaborate, Rube Goldberg-esque accidents, of course. We discuss the ways in which Final Destination Bloodlines' set pieces work, how they focus on small moments and individual stories, and how they're a nightmare for the naturally anxious. José isn't shy of expressing his dislike of the film; Mike, the opposite, and he does his best to explain the appeal of watching so many people perish in such gruesome ways. We even ask whether a slasher series could be made with which José would see eye to eye, and imagine what it might look like. Recorded on 20th May 2025.
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    34 分
  • 442 - Sinners

    442 - Sinners
    2025/05/13
    Sinners, written and directed by Ryan Coogler, is a horror musical set in 1930s Mississippi, shot in part on IMAX 70mm film, starring Michael B. Jordan as a pair of identical twins who return to their hometown for a new start, only to encounter vampires. It's as ambitious as that sounds and full of ideas and culturally specific nuance, and José loves it. Mike doesn't. We discuss how the music draws on several influences, not just from the blues of the era but also from Irish folk and hip-hop; the getting-the-band-back-together feel of the opening, in which the twins bring their influence and riches to bear on the creation of the juke joint; the visual design, simultaneously confident and careless; the crowd-pleasing fantasy of an anti-racist Rambo; and the theme of vampirism - what it means and how it's used. Recorded on 5th May 2025.
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    41 分
  • Eavesdropping at the Movies: In Conversation at the University of Warwick

    Eavesdropping at the Movies: In Conversation at the University of Warwick
    2025/05/03
    What a joy! We were delighted to be invited to the University of Warwick Film and Television Studies department for a conversation with James MacDowell about Eavesdropping at the Movies: how it began, why we do it, what we get out of it, how we make it. We hope you enjoy what was an enormously satisfying hour and a bit in which we had the privilege to discuss our practice of film criticism with an audience keen to ask questions. Thank you to James for chairing and to Julie Lobalzo Wright for inviting us. Recorded on 29th April 2025.
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    1 時間 19 分
  • 441 - Ne Zha 2

    441 - Ne Zha 2
    2025/03/26
    Over the last couple of months, Chinese children's fantasy Ne Zha 2 has quickly, and arguably quietly, become the fifth-highest-grossing film of all time, and the first animated film to gross over $2 billion. It's hard to keep up with the records it's been breaking - but can we keep up with the plot? No is the answer, but we readily accept that younger minds, and minds more in tune with Ne Zha 2's cultural context and mythological basis, won't feel as overwhelmed as we did. It did make us feel old, but this audiovisual whirlwind is beautiful and coherent - writer-director Jiaozi exhibits great control over the most energetic of action scenes, and has an eye for striking, colourful imagery. We discuss how closely some of the film's visual design and messaging might reflect the particular culture from which it comes, or whether it's so different from American cinema after all, and ask why this and last year's Inside Out 2 have been able to make so much money (the Pixar film grossing $1.7 billion and becoming the then-eighth-highest-grossing film of all time) with such little response from critics. Recorded on 24th March 2025.
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    34 分
  • 440 - Mickey 17

    440 - Mickey 17
    2025/03/24
    After a little time off, we're back at the cinema to see Bong Joon Ho's sci-fi comedy, Mickey 17, in which Robert Pattinson dies. Repeatedly. Leaving Earth on a spaceship seeking to colonise an icy planet, Pattinson's Mickey is an "Expendable": a disposable worker given lethal assignments, regenerated by a biological printer, and sent out to die again. But when the 17th version of Mickey fails to die at the mandibles of the local fauna, he finds his way back to the colony, only to find that he's already been reprinted as Mickey 18 - and clone coexistence is strictly prohibited. We're disappointed by what looked like a marvellously energetic, knockabout comedy and social satire from the trailer. Even considering the film's very broad tone, there's too little in the characterisation to really buy in to, a severe lack of pace, and an ending that betrays it. Nonetheless, as failures go, it's an interesting one, playing with plenty of ideas, and featuring more than enough good jokes to support it. Our recommendation of Mickey 17 is far from whole-hearted, but you ought to give it a whirl. Recorded on 23rd March 2025.
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    40 分
  • 439 - The Brutalist

    439 - The Brutalist
    2025/01/29
    We visit BFI Southbank for a 70mm screening of The Brutalist, Brady Corbet's epic period drama. It's a super-sized film - 215 minutes, not including the intermission - and it deserves a super-sized podcast, for which we're joined, as we occasionally are, by Mike's brother, Stephen, who's already seen the film once. It's an extraordinarily complex, subtle and absorbing film that draws on countless themes and parts of history in telling its story of a Hungarian Holocaust survivor and architect who escapes to America and finds a wealthy client enamoured with him. We dig in to the film's themes with breathless enthusiasm, and talk sex, racism, the immigrant experience, long takes, rape, capitalism, doing things for effect, art, aspiration, jealousy, the value of 70mm, and much more. José describes The Brutalist as his film of the year; Mike ponders whether he likes it more than the Robbie Williams monkey movie. Recorded on 28th January 2025.
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    1 時間 54 分