Category: Podcast

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In this episode, I talk about Roberto Rossellini’s groundbreaking 1954 film, “Journey To Italy.” It stars Ingrid Bergman and George Sanders as Katherine and Alex Joyce, a couple whose relationship starts disintegrating during a vacation in Italy. Katherine is haunted by a man she knew before her marriage to Alex and who was stationed in Italy during World War II. As the distance grows between her and Alex, she visits museums that the man wrote about in his poetry. In her wanderings, she confronts death and the enormity of ancient history. “Journey To Italy” has haunted me for years. In this episode, I articulate why it’s so compelling to me and discuss themes like time, history, mortality, death, and much more.

Full show notes:

• Criterion Collection edition of JOURNEY TO ITALY
• “Small Talk” by Katy Perry
• My episode on L’AVVENTURA
• “The Dead” by James Joyce
• John Huston’s THE DEAD
• MY VOYAGE TO ITALY by Martin Scorsese
• My episode on MUSEUM HOURS
• Smithsonian article on bog bodies

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In this episode, I talk about Vittorio De Sica’s classic 1952 Italian Neorealist film, “Umberto D.” It’s about an elderly man trying to evade eviction against the backdrop of post-World War II Italy. As his life becomes more precarious and desperate, he clings to his only companion, his dog Flike, and struggles to survive. I talk about Italian Neorealism, why this film moves me so much, and more. At the beginning of the episode, I also reflect on this being my 100th episode! I’m thankful for all my listeners.

Full Show Notes

• Criterion Collection edition of UMBERTO D.
• Martin Scorsese’s MY VOYAGE TO ITALY
• Italian Neorealism: Rebuilding the Cinematic City (Short Cuts) by Mark Shiel
• “Seeing Clearly Through Tears: On the Smart Sentiment of Umberto D.” by Stuart Klawans (Criterion.com)
• “Umberto D.” by Peter Becker (Criterion.com)
• Review of Umberto D. by Roger Ebert

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In this episode, I talk about Kelly Reichardt’s 2008 film, “Wendy and Lucy.” It stars Michelle Williams as Wendy Carroll, a young woman stopping in Oregon on her way to Alaska when her car dies and she ends up losing her dog, Lucy. Much of the film revolves around her desperate search for Lucy and her interactions with various people who either show a bit of kindness or cruelty. Released at the beginning of the Great Recession, the film resonates more than a decade later in the way it looks at financial instability, the struggles of the working class, and the precarious nature of our lives. One bit of bad luck–her car breaking down–sends Wendy’s life into a kind of tailspin that she tries to get out of with very few resources. I talk about many things in this episode, including the bonds we form with pets, our responsibility to other people, the making of the film, and much more! There are spoilers.

Full Show Notes and Sources:

• “I Think I’ve Come a Long Way”: “Wendy and Lucy” Actress Michelle Williams (IndieWire
• Interiors Journal Explores Location and Space in Kelly Reichardt’s Wendy and Lucy
  (Movie Maker
• Michelle Williams Finds a Safe Haven With Outsider Director Kelly Reichardt on Wendy and Lucy (LA Weekly)
• Interview: Michelle Williams (In Contention)
• Michelle Williams says “Wendy and Lucy” role a gift (Reuters)
• Interview: Kelly Reichardt on “Wendy and Lucy” (IFC)
• A Completely False Security: An Interview with Kelly Reichardt (Mubi)
• Exclusive: Wendy and Lucy Filmmaker Kelly Reichardt Discusses Her Slice of Life New Indie (FlavorWire)
• Kelly Reichardt by Gus Van Sant (Bomb Magazine)
• Wendy and Lucy Director Kelly Reichardt on Michelle Williams and Why Alaska Is Overrated (Vulture)
• Kelly Reichardt (Contemporary Film Directors) by Katherine Fusco and Nicole Seymour

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In this episode, I explore the Dardenne brothers’ 2014 film, “Two Days, One Night.” Marion Cotillard stars as Sandra, a factory worker who tries to return to her job after a bout of depression only to find that her coworkers have voted to receive a bonus and eliminate her position. Over the course of a weekend, she visits each coworker and tries to convince them to support her in a second vote. I talk about my own experiences of working at a factory, struggling with depression, and living as a working class person. I also provide behind-the-scenes information about the making of the film and Marion Cotillard’s preparation for her performance.

Full Show Notes and Sources:

• The Cinema of the Dardenne Brothers: Responsible Realism by Philip Mosley
• Criterion Collection edition of Two Days, One Night
• English translation of Petula Clark’s “La nuit n’en finit plus”
• Interview: Marion Cotillard Talks ‘Two Days, One Night,’ Grueling Amount Of Takes, ‘The Immigrant,’ ‘Macbeth’ & More (IndieWire)
• Marion Cotillard on her Oscar-Nominated Performance in Two Days, One Night (Black Book)
• Marion Cotillard On Her Latest Cannes Film and Getting Over Edith Piaf (Variety)
• Marion Cotillard on the Political (and Personal) in Two Days, One Night (The Atlantic)
• Interview: Marion Cotillard (Two Days, One Night)(Trouble City)
• Outtakes: Marion Cotillard on Acting Prep and Understanding Depression for ‘Two Days, One Night’ (Thelma Adams)
• Jean-Pierre and Luc Dardenne Two Days, One Night Interview (Female)
• Two Days, One Night: The Dardenne brothers on making their ‘Belgian western’ (The Guardian)
• The Dardenne Brothers on Two Days, One Night and How They Work Together (Vulture)
• The Dardenne brothers interview: ‘The body is very important’ (TimeOut London)
• A Weekend with Jean-Pierre and Luc Dardenne (Interview)

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In this episode, I explore Krzysztof Kieslowski’s 1993 film, “Three Colors: Blue.” Juliette Binoche plays a woman who loses her husband and daughter in a tragic car accident. Overwhelmed by grief, she tries to cut herself off from human connection and sever ties with the past and her memories. I provide behind-the-scenes information about the making-of the film and discuss key scenes and why they emotionally resonate with me. I also talk about the devastating loss of my father when I was just a teenager and detail my own struggle with grief. This episode contains spoilers.

Full Show Notes:

• My episode on Birth
• My episode on Jackie
• My episode on Cleo from 5 to 7
• My guest appearance on The Complete Podcast to talk about “No End” (1985)
• My episode on Dekalog
• My episode on The Diving Bell and the Butterfly
• My episode on L’avventura
• My episode on House of Sand and Fog

All My Sources

• The Criterion Collection boxset of the Three Colors Trilogy
• Three Colors: A Hymn to European Cinema by Colin MacCabe
• Blue: Bare Necessities by Nick James
• 10 Things I Learned: Three Colors by Abbey Lustgarten
• The Cinema of Krzysztof Kieslowski: Variations on Destiny and Chance (Directors’ Cuts)
• Krzysztof Kieslowski: Interviews, edited by Renata Bernard and Steven Woodward (Conversations with Filmmakers Series)
• Double Lives, Second Chances by Annette Insdorf

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In this episode, I talk about Pablo Larrain’s 2016 film, “Jackie.” It looks at Jackie Kennedy’s grief in the days after the assassination of her husband, President John F. Kennedy, in 1963. I explore how the film represents grief and trauma, delve into the real struggles Jackie faced after losing her husband, give information about the making of the film and Natalie Portman’s performance, explain why the film is comforting to me as someone who has known a great deal of loss, and more. As I recorded this episode, the 13th anniversary of my father’s death passed. I channel my heartbreak into the episode and go in-depth about losing him and how devastating his death has been for me. There are spoilers in this episode.

 

Full Show Notes:

• Mathieu Amalric’s “Barbara” (2018)
•  Separation by W.S. Merwin
• “Jackie’s Strength” by Tori Amos
•  La Vie En Rose (2007)
• My Episode on Jonathan Glazer’s Birth

All My Sources

• Pablo Larrain interview with Town and Country
• Stephane Fontaine interview with American Cinematographer
• Pablo Larrain interview with Film Comment
• Pablo Larrain interview with American Cinematographer
• Pablo Larrain interview with RogerEbert.com
• Pablo Larrain interview with Movie Maker
• Natalie Portman Interview with CNN
• Natalie Portman interview with SAG-AFTRA
• Natalie Portman interview with Collider
• Natalie Portman interview with Vanity Fair
• Natalie Portman interview with People Magazine
• Natalie Portman interview with The Scotsman
• The Despair of Jackie Kennedy (Biography.com)
• Jackie Kennedy’s interview with LIFE Magazine in 1963
• Jacqueline Kennedy’s Struggle After J.F.K.’s Assassination: The Nightmares, Drinking, and Suicidal Thoughts (Vanity Fair)
• Why Jacqueline Kennedy Didn’t Take Off Her Pink Suit After JFK Was Assassinated (Biography.com)
• Side-by-Side comparison of the White Hour tour in JACKIE and the real television special (Youtube)

 

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On this episode, I talk about Agnès Varda’s 2000 documentary, “The Gleaners and I.” It looks at people who glean in modern society, whether in the fields, at orchards, or after the markets have closed in Paris. With her camera, Varda inserts herself into the film, reflecting on ageing and how she gleans images. I talk about Varda’s presence in the film, how she critiques the wastefulness in society, and why the film remains deeply relevant. I also include a discussion of the follow-up documentary she made in 2002, called “The Gleaners and I: Two Years Later” and how it’s a powerful look at the afterlife that a film can have.

 

Full Show Notes:

• The Gleaners and I: Two Years Later (2002)
• My episode on Cleo From 5 to 7
• My episode on Vagabond
• 60 Minutes segment on E-Waste
• China won’t take our recycling
• Pressing On: The Letterpress Film
• My episode on I, Daniel Blake
• Monty Don’s French Gardens
• My episode on The Secret Garden
• Who Killed My Father by Edouard Louis

All My Sources:

• Agnès Varda’s Films Made the Invisible Visible (The Atlantic)
• Decade: Agnes Varda on “The Gleaners and I” (IndieWire)
•  2001 Interview with The Guardian
• Agnès Varda’s last interview: ‘I fought for radical cinema all my life’ (The Guardian)
• “Curiosity is a good thing”: An Interview with Agnès Varda (Cleo Journal)
• An Interview with Agnes Varda (The Believer Magazine)
• Trash And Treasure: The Gleaners And I (Senses of Cinema)
• The Cinema of Agnès Varda: Resistance and Eclecticism by Delphine Benezet
• Agnes Varda: Between Film, Photography, and Art by Rebecca DeRoo
• Gendered Frames, Embodied Cameras: Varda, Akerman, Cabrera, Calle, and Maïwenn by Cybelle H. McFadden

 

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In this episode, I explore Todd Haynes’s 2002 film, “Far From Heaven.” It’s an homage to 1950s melodramas and stars Julianne Moore as Cathy Whitaker, a Connecticut housewife who develops a deep connection to her African American gardener (Dennis Haysbert) while her marriage starts to crumble when her husband (Dennis Quaid) starts struggling with his repressed homosexuality. I talk about melodrama, woman’s films, Douglas Sirk, Rainer Werner Fassbinder, how the film looks at race, sexuality, and gender, and much more! Spoilers are in this episode.

Full Show Notes:

• My episode on Birth
• Douglas Sirk films: All That Heaven Allows, Written on the Wind,Magnificent Obsession, Imitation of Life
• Frida by Julie Taymor
• The Hours by Stephen Daldry
• Melodrama
• Woman’s film
• Rainer Werner Fassbinder
• Ali: Fear Eats the Soul by Fassbinder
• My Safe episode
• “Shallow” by Lady Gaga
• “Hey Jupiter” by Tori Amos
• My episode on Brief Encounter
• Carol by Todd Haynes

All My Sources

• Todd Haynes: Interviews (Conversations with Filmmakers Series), edited by Julia Leyda
• Todd Haynes: From Fassbinder to Sirk and Back (A 2003 interview with the Criterion Collection)
• Todd Haynes interview with BBC
• Julianne Moore interview with Film Monthly
• Douglas Sirk interview with Film Comment
• Richard Brody – “Douglas Sirk’s Glorious Cinema of Outsiders” (The New Yorker)

 

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In this episode, I talk about Todd Haynes’s 1995 film, “Safe.” It stars Julianne Moore in her first collaboration with Haynes. Moore plays Carol White, a California housewife who comes down with a mysterious illness that could be a result of the chemicals and toxins in the environment. When her doctor and mainstream medicine offer her no help, she seeks relief and answers at a New Age treatment center called Wrenwood that espouses individualist self-help ideas. I talk about my own struggle with chronic health issues, how women are often not believed by doctors, why the film remains so relevant to the modern world we live in, and I also critique self-help messages.

 

Full show notes:

• My episode on Birth
• My episode on Wanda
• My episode on Vagabond
• My episode on The Double Life of Veronique
• Close to the Knives: A Memoir of Disintegration by David Wojnarowicz
• Unrest documentary

My sources:

• Todd Haynes: Interviews, edited by Julia Leyda
• Todd Haynes by Alison MacLean for Bomb Magazine, 1995

 

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In this episode, I talk about the mysterious power and beauty of Jane Campion’s 1993 film, “The Piano.” It stars Holly Hunter as Ada McGrath, a Scottish woman who goes to New Zealand with her daughter, Flora, for an arranged marriage to Alisdair Stewart. Their marriage is troubled from the start, and Ada ends up falling for George Baines. I share my memories of watching the film for the first time and talk about themes of muteness, violence against women, and the complicated relationship between Ada and Baines.

Full Show Notes

• Dave Grohl quote about Billie Eilish
• My episode on Jonathan Glazer’s Birth
• My episode on The Passion of Joan of Arc
• My episode on La Jetée
• My episode on James Ivory’s Maurice
• My episode on Girl with a Pearl Earring
• My episode on Nancy Savoca’s Dogfight
• My episode on The Enchanted Cottage
• My episode on Patricia Cardoso’s Real Women Have Curves
• The Piano novel by Jane Campion and Kate Pullinger

All My Sources

• Jane Campion: In the Scene by Ellen Cheshire
• Senses of Cinema profile of Jane Campion
• Alicia Malone’s interview with Holly Hunter for Filmstruck
• Michael Nyman and Jane Campion on creating the soundtrack for the film (The Guardian)
• 20 Years After The Piano, We’ve All Failed Holly Hunter (The Atlantic)
• bell hooks’s essay that includes critiques of The Piano
• Colonialism in The Piano (Cinema Oceania)
• Romanticizing Colonialism: Power and Pleasure in Jane Campion’s The Piano by Reshela DuPuis

 

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