What Is Her Head in Films?
It’s a podcast created by me, Caitlin. I am a writer, and I have a deep passion not just for cinema but also for literature and art in all its forms. I am a very dreamy, sensitive, and lonely soul who grew up (and still lives) in the rural South. I am a self-taught cinephile with no academic background in cinema. However, I do have a Bachelor of Arts degree in Literature, and Women’s and Gender Studies.
Her Head in Films is an unconventional film podcast that centers my emotional, personal, and subjective experience of cinema. The title comes from an email I sent a friend during a time of intense film-watching. I wrote, “My head isn’t in the clouds. My head is in films.” It seemed like the perfect way to convey how I am always thinking about cinema and how embedded it is in my life. On the podcast, I often tell stories about my life, and it’s always important to me to connect a film to my own feelings. The subjects that I explore on the podcast include grief, loss, trauma, poverty, mental illness, loneliness, atheism, ugliness, disability, misogyny, injustice, and alienation. I also like to include literature and poetry into my discussions of cinema when I can. I am a working class feminist. So, at times, I do address issues of race, class, sexuality, and women’s experiences.
Not every single episode revolves around my life, and I do try to provide details about the making of the film or other information when I come across it. I do intense research and try to track down filmmaker interviews, director’s commentary, and other things and then include them in my discussion. It just depends on the film itself. Some films are more emotional for me than others. I try to find a balance between my personal reaction and the larger issues that the film might address. I seek a marriage of the emotional and the intellectual.
This is not a totally feel-good podcast. It can be heavy at times, but I share my personal experiences with the hope that it makes someone else feel less alone and maybe comforts them. I repeatedly address the death of my father because it’s something that haunts me. He died in 2006, when I was 16 years old. I turned to cinema to help me cope with my grief, and I continue to seek comfort and solace in films.
I launched Her Head in Films in December 2016 with few resources and little idea of what it would become. I used my Chromebook microphone and knew nothing about podcasting. I just wanted to talk about the films I loved. Since launching, the podcast has grown and become more than I ever imagined. Over time, I enhanced the quality by adding an actual microphone and original artwork (by the great Dhiyanah Hassan) and music! It’s still a small, niche podcast, but I have a fan base and more people have listened than I ever thought would! I’m grateful for this outlet.
More About My Life
Because the podcast is centered around my life, I think I should go into more detail about my own biography. In each episode, I am, in many ways, narrating my own story. I am not trying to educate you about cinema. I’m not providing every detail of historical context to help you understand everything about the film. What I am trying to do is communicate my personal experience of the film, what it made me feel, what memories it conjured for me, why certain scenes resonate, why the film haunts me or moves me, why I loved it and think it matters. I only go by my own subjective judgment and can in no way guarantee that you will love a particular film that I talk about. I don’t think of myself as a critic but a guide, leading you to films that might also move and affect you.
My life has not been easy to say the least. My father died in 2006 when I was 16 years old. A year later, my maternal grandmother died. In 2009, my maternal uncle died. Within three years, I attended the funerals of three people who were part of my life. My father’s death alone was the most devastating thing I’ve ever experienced. It shattered me, and I have never recovered from it. Since I was a child, I’ve struggled with intense anxiety and depression. His death exacerbated those issues to the point where I was suicidal and agoraphobic for many years.
I still struggle with anxiety and depression. My father’s death also plunged my mother and me into poverty for a long time. At times in my life, I have been without much food and nearly homeless. After I graduated high school, I went to work at a factory to help support my mother. It was a grueling experience that altered my health forever. So, I also have health issues on top of my emotional traumas. All these experiences have made me a very sensitive and empathetic person who cares about the plight of other people. I am fiercely anti-capitalist, anti-racist, and I would align my political beliefs with Democratic Socialism.
In 2015, I lost my house that I’d lived in my entire life–26 years, up to that point–and went through several moves to multiple states, completely destabilizing me. Losing my house was also very devastating because I lost most of my belongings in the process, including hundreds of books I’d accumulated and things that were owned by my father. At this time, my life is more stable, but years of hardship, fear, uncertainty, and trauma have taken a profound toll on my mind and body. I have somehow survived. At times, I’m not sure how, but I know that books and films and art and writing and my mother’s love have been essential.
When I talk about films, I do so from a place of deep appreciation for the power they have to keep us going, to keep us connected to life, to give us access to other worlds and stories. Cinema makes life worth living. I’m in a kind of love affair with films because I believe they’ve helped to keep me alive. After my father died, my mom and I went to a local movie theater often. It was cheap and would show films months after they were released. In that darkened theater, I was able to escape my pain and reconnect with life. It was my salvation.
My Taste in Film
The first time I realized that film was an art form was when I took a film appreciation class in high school. This was in 2004. We watched all kinds of classics, including Casablanca, Some Like It Hot, Singin’ in the Rain, and The Great Dictator. Up to that point, I had watched films on Turner Classic Movies, and I enjoyed movies very much, but this class showed me what cinema was and that it was an art, not just a form of entertainment. My eyes were opened, and I fell in love with film and started to collect DVDs when I could (this was before the internet really) and watch more classics on TCM. I distinctly remember seeing Carl Theodor Dreyer’s The Passion of Joan of Arc on TCM one night and this was a big revelation for me. It was the first time I felt a sense of transcendence while watching a film. I’d never been so moved as I was by Renée Falconetti’s face. I was never the same. But because I did not have regular internet access, I was limited by how much I could explore cinema. I would watch TCM and even record films on blank VHS tapes. I also bought used DVDs at Blockbuster when they had sales. Being in a rural area, I didn’t have an art house theater and my local library did not have an extensive collection of great films.
In 2011, my life really changed again when I got more interested in European art house cinema. I saw Chris Marker’s La Jetée , and I was entranced by it. I started to watch many of the art house masters, like Kieslowski, Varda, Antonioni, Resnais, Godard, Truffaut, Kiarostami, Bergman, Tarkovsky, and more. Before this time, I had mostly seen classic American cinema on television and my access to the internet had been limited to trips to my local library. Now, I was in college and I had regular internet access and could more fully explore art house cinema on various streaming sites, like Netflix and Hulu, which both had more robust offerings of art house at the time. Since then, I’ve expanded beyond just Europe and become interested in more non-western cinema by directors like Ozu and Satyajit Ray.
My cinematic interests are diverse and idiosyncratic. I love contemporary world cinema. I also love both modern and classic French cinema. I’m drawn to documentaries about social justice issues, history, genocide, the Holocaust, fascinating people, and women writers and artists. It’s important to me to spotlight under-appreciated, even obscure, films and women directors. I also love the Criterion Collection and classic art house cinema. I am all over the place! The podcast is not exclusively about art house cinema, though that is my primary focus. I’ve covered films from my childhood, made-for-tv movies, television series, and historical dramas. What matters to me is the EFFECT a film has on me personally, not whether it is considered a classic or important film. It’s about what it means to me.
My favorite directors include: Krzysztof Kieślowski, Abbas Kiarostami, Satyajit Ray, Yasujiro Ozu, Andrea Arnold, Agnès Varda, Jane Campion, Larisa Shepitko, Ingmar Bergman, Andrei Tarkovsky, Michelangelo Antonioni, Jean Vigo, Marcel Carné, Jean Renoir, Alice Guy-Blaché, Lee Chang-dong, Terrence Malick, Michael Haneke, Jonas Mekas, Ken Loach, and many more.
My favorite films are: The Passion of Joan of Arc, The Double Life of Veronique, The Tree of Life, Wanda, The Apu Trilogy, The Three Colors Trilogy, Dekalog, Close-Up, Taste of Cherry, Late Spring, The Piano, The Mirror, L’avventura, Birth, L’atalante, The Ascent, Come and See, many of Ingmar Bergman’s films, Port of Shadows, Children of Paradise, and on and on I could go.
Where To Start
This is a kind of greatest hits of my episodes, the ones that I think are my best and that are a good introduction to me as a person and my cinematic interests. Please keep in mind that I did not start out with a lot of money and resources for the podcast. In the first year, the audio is not great, and I didn’t have a lot of confidence. It’s only as I kept doing episodes and got positive feedback from people that I started to believe more in myself and find my voice. It took time! The very early episodes from 2016 and 2017 are a bit rougher. I was not able to add music until Episode 64. I started a Patreon and that has given me the ability to improve the quality of the podcast tremendously.
Also, I go into all aspects of a film when I select it for an episode. There are always spoilers. I suggest watching the films before you listen to one of my episodes or else the plot twists will be revealed to you. It’s important that I go deeply into the films that I love. Episodes can often be very long, almost two hours sometimes. That’s just how I am. I talk and sometimes I can’t shut up! I just have to be true to who I am and discuss a film the way that feels right for me.
One of My Most Popular Episodes
Episode 64: Michael Haneke’s The Piano Teacher
This is one of my most downloaded episodes and has been very popular with listeners. I talked about this film because I was astonished by Isabelle Huppert’s performance. I suspect the widespread love for her might be why the episode is so popular! Huppert plays a masochistic piano teacher who becomes involved with one of her students. She gives what I consider to be one of the greatest performances of all time.
My Most Personal Episode
Episode 66: Jonathan Glazer’s Birth
I first saw Birth when I was a teenager, and it immediately obsessed me. It’s the kind of film that is in my blood cells at this point. In this episode, I talk about the death of my father and why I identify with the main character of the film–Anna–who loses her husband and is destroyed by grief.
My Favorite Episode
Episode 33: Barbara Loden’s Wanda
I put so much time, research, and heart into my episode on Wanda. It’s a film that I’ve championed for years now, well before many people even knew about it. I see myself in Wanda as she struggles to cope with life and to make her way through the world.
The Episode I’m Most Proud of
Episode 83: Jem Cohen’s Museum Hours
For a long time, the podcast was about me. Then, in 2018, I branched out and started to add guests. My discussion with Carolyn Petit about Museum Hours was truly revelatory, and so much of what we talked about has stayed with me. We explored art, history, human connection, and so much more. I’m so proud of our conversation.
The Episode That Explains My Passion For Cinema
Episode 52: Carl Theodor Dreyer’s The Passion of Joan of Arc
I trace my cinephilia back to the moment I saw Renée Falconetti’s face in The Passion of Joan of Arc. She’s haunted me ever since. Watching this film was the first time I realized that cinema was an art form that had the power to move me. It was my awakening, and I’ve never been the same. In this episode, I talk about my love for the film, and I also give some background on the life of Joan of Arc.
Episodes Specifically About My Life and My Struggles
Episode 31: Vadim Perelman’s House of Sand and Fog
Sometimes, I talk about films because they give me a way to explore my own experiences and to give voice to my trauma. House of Sand and Fog provided a space for me to discuss the loss of my home and the way that it destabilized me. I also touched on why I think the film is so important, especially in the way it looked at the animosity and violence toward immigrants, a subject that resonates now more than ever.
Episode 24: Ken Loach’s I, Daniel Blake
So many people today live with financial precarity. My experience with poverty, having to use government assistance, and struggling with the shame of all that is not unique. I, Daniel Blake was a way for me to talk about being working class, but it also let me give voice to some of what happened to my father when he became disabled and had to endure the dehumanizing welfare bureaucracy in the years before his death.
Episode 61: Guillermo del Toro’s Pan’s Labyrinth
After my father died, I sought comfort in a cheap local theater that got new releases many months after they came out. The theater even had the occasional foreign film. I have vivid memories of seeing Pan’s Labyrinth around that time, and this episode is about those memories and how cinema helped me cope with grief.
Episodes About Films That Will Forever Haunt Me
Episode 55: Michelangelo Antonioni’s L’avventura
I didn’t immediately like Antonioni’s groundbreaking L’avventura. It took time for it to sink in, but, over the years, its mystery has utterly consumed me. I loved recording this episode because I was finally able to articulate why it made such an impression on me. Monica Vitti’s face looms large in my life, just like Falconetti’s.
Episode 84: François Ozon’s Under the Sand
Like Birth, Ozon’s Under the Sand looks at a woman grappling with the loss of her husband. Charlotte Rampling is at her best and this film made me fall in love with her and realize what a gifted actress she is. There is an intangible, ineffable quality about this film. As soon as I saw it, I knew I had to talk about it on the podcast.
Episode 48: Larisa Shepitko’s Wings and The Ascent
I’ve said for years that Larisa Shepitko is one of the greatest directors and yet so few people know her name. The Ascent is widely regarded as her masterpiece, but Wings is also exquisite. Both films deal with the Second World War, though focus on different aspects of it. It was an honor to explore Shepikto’s life and art for this episode and hopefully get my listeners interested in her work.
Episode 108: Terrence Malick’s The Tree of Life
Episode 101: Roberto Rossellini’s Journey to Italy
Episode 97: Krzysztof Kieslowski’s Three Colors: Blue
Episode 92: Todd Haynes’s Safe
Episode 91: Jane Campion’s The Piano