When we first see Mona, she is already dead. In Vagabond (1985), Agnès Varda then sets about to reconstruct the last days and weeks of this young woman’s life, as witnessed and retold through the eyes of others. We learn that none of these people really seemed to know Mona,…
Gillian Armstrong’s My Brilliant Career (1979) belongs to a special category of films in my personal canon. Sometimes a movie hits you like a bolt out of the blue and you know it is going to be a permanent fixture on your list of favorite films of all time. The…
Is Rushmore (1998) your favorite Wes Anderson film? It is certainly mine. When I first saw it in the theater when I was about 22, it hit me where I lived. This rich vein of the blackest comedy combined with pathos of a young man’s singular saga delighted and moved…
We owe a debt of gratitude to Tremors (Underwood, 1990). Its arrival kicked off another boom cycle for one of our favorite subgenres – the creature feature! About every twenty years we get a new permutation of this subgenre and now it was the nineties’ turn. It was time for…
Is Diabolique (Clouzot, 1955) a film noir or a thriller? We firmly assert that it is one of the most delectable, and yes, diabolical noir masterpieces to come out of the 1950s. That it manages to be thrilling as well is a testament to the deft hand of Henri-Georges Clouzot,…
It’s May again! And you know what that means around these parts – film noir. We are in our second year of the Noir City festival postponement in Austin due to COVID, but we are soldiering on with some of our favorite titles that fall under the broad heading of…
By special invitation from Mira Nair, we are guests at the raucous, glorious, marigold-covered Monsoon Wedding (2001). Delhi, its sights and sounds, its people, its rains, and its power outages are the setting for the traditional wedding ceremony set to consecrate the arranged marriage of Aditi Verma to Hemant Rai.…
Much like the electric light, telegraph, and motion pictures it chronicles, My Twentieth Century (Enyedi, 1989) is a marvel of its age. Luminous to the point of transcendence, it is quite simply one of the most beautiful things ever committed to film. The divergent paths of our twin protagonists Dóra…
Rapturous. This word perfectly describes my feelings about A Room with a View (Ivory, 1985). You could also use this word to describe my feelings about the scenery, the performances, the score, the costuming, and Italy itself. I have been saving this gem since we started the podcast, and it…
I carry a particular impression with me about Robert Bresson’s L’Argent (1983). It strikes me as a stately and austere museum whose only exhibit is devoted to the artifacts of a tragic and deadly crime. As I wander its minimalist halls, I am met with object lessons and vivid displays…