Flixwise Podcast

Today is Canadian National Aboriginal Day. To show our solidarity, we are putting Zacharias Kunuk's 2001 film Atanarjuat: The Fast Runner up for consideration in the Flixwise Favorites list.  Atanarjuat, the debut feature from Isuma Productions, is a retelling of a centuries-old Inuit legend. It recounts the story of a pair of rival families from Igloolik Village, and the curse that unravels their tenuous peace agreement. Lady P is joined by Emma Guerard and our resident Canuck, Martin Kessler, to weigh in on whether or not Atanarjuat is truly one of the greatest films ever made. Along the way, they discuss why filmmakers should treat diversity as a gift, not a burden; and they talk about the best lens through which to view stories from cultures that are markedly different from one's own. Update: Our next episode will be the 48th film on the Sight and Sound list: Jean-Luc Godard's Histoire(s) du Cinema. It's about 5 hours long, so best get on it just as soon as you're done catching up with Atanarjuat.

On today's show, Lady P is joined by co-producer, Martin Kessler, and Flixwise regular, Kristen Sales, to talk about the 48th film on the Sight and Sound Critics Poll, Gillo Pontecorvo's 1966 feature: The Battle of Algiers. In the years since its release Algiers has become infamous more for its use as a training video rather than its cinematic legacy. It's been cited by everyone from The Black Panthers to the United States Military as a blueprint for both engaging in and combatting guerrilla-style warfare. However, our panel attempts to separate Pontecorvo's initial vision from the thorny political aftermath by focusing more on the film's cinematic sensibilities and directorial choices. We talk about whether Algiers deserves more attention for its artistry, or if it should primary be remembered as an effective piece of agitprop. Then, for the second topic, the panel uses the depictions of bloodshed in The Battle of Algiers as a jumping off point for a wider discussion about violence in cinema. We know what yo

On today's show, Pinnland Empire editor, Marcus Pinn, tell listeners why he thinks Ben Stiller's 1996 comedy The Cable Guy is one of the greatest films of all time.  He's got to convince host Lady P, and panelists Emma Guerard and Martin Kessler that Stiller's widely-dismissed, critically-panned, box-office disappointment, is actually a misunderstood masterpiece. Prior to its releaseThe Cable Guy was already made infamous due to the staggering payday allotted to the film's star Jim Carrey, so when ticket sales under-performed, the culture was to primed to lambast the film as Carrey's great folly. However, Marcus is here to set the record straight. He claims that the film not only delivers on the laughs, but it also offers a powerful critique of American media consumption. Will the panel buy into Marcus' arguments, or are they too defensive about their own TV viewing habits to appreciate The Cable Guy's pitch-black media satire? Listen up to find out.

On today's show, Lady P is joined by CriterionCast contributor, David Blakeslee, and Professor of Islamic History at Penn University/ Film Blogger, Paul M. Cobb to talk Abbas Kiarostami's 1990 film, Close-Up. The Sight and Sound Critic's Poll is littered with works that are about film and/or making films (see 8 1/2, Les Mepris, Sunset Blvd, etc.) It's no wonder then that Close-Up, a film about an impassioned movie enthusiast who cons a family into believing he's a famous director, found its way into the 43rd spot on the Critic's Poll. However, the main draw of Close-Up isn't necessarily it's subject matter, but the way that the subject matter is presented. The film uses elements of both documentary and narrative film-making to deconstruct the artifice of the medium, leaving the audience to question which parts of the film actually happened and which parts were exaggerations or even inventions of the filmmaker. It's always important, when watching a movie, to think about how the filmmakers have shaped the a st

On today's show, Flixwise co-producer Martin Kessler and frequent guest Anne Marie Kelly, join Lady P for a surprisingly light-hearted discussion of the 43rd Sight and Sound entry: Carl Theodor Dreyer's 1964 swan song, GERTRUD. GERTRUD, a film about the ecstasy and heartbreak that comes with devoting one's life to a single all-encompassing ideal, isn't exactly great material for a giggle-fest. Never-the-less, our panel manages to have itself a good time discussing whether or not Dreyer's film is worthy of its ranking in the hallowed List. Next, Anne Marie offers listeners a primer on this year's TCM Film Fest - an annual event where movie fans gather in Los Angeles, CA. to watch classic films in historic Hollywood movie palaces. This year's festival theme is 'Moving Pictures'. To celebrate, the panelists list off the titles they're most looking forward to in the fest, plus they talk about the 'moving pictures' that they would show were they in charge. Longtime listeners may notice that this topic bears a vagu

On today's show, we have our first Flixwise Favorites entry of 2016! Flixwise Co-Producer, Martin Kessler, is on hand to tell Lady P and Emma Guerard why August Blom's 1916 Danish disaster movie, THE END OF THE WORLD, is one of the greatest films of all time. Blom's work is not as widely seen as the early silent films of the infamous American film pioneer D.W. Griffith. However, Martin thinks that Blom is equally, if not more worthy, than Griffith of critical acclaim. Along the way, they discuss comparisons between Blom and Lars von Trier, and they delve into the cinematic history of the disaster flick. Listen up to hear if Lady P and Emma agree that THE END OF THE WORLD is groundbreaking enough to merit a spot on the Favorites List. 

On today's show, Lady P is joined by screenwriter, author, and film historian Professor Joseph McBride to discuss Billy Wilder's 1959 film, SOME LIKE IT HOT. SOME LIKE IT HOT is the rare comedy that manages to be both uproariously funny and also critically acclaimed. McBride and Lady P talk about how this gangster-genre parody snuck past film snobs' humor filters and nabbed the 43rd spot on the Sight and Sound Greatest of All Time List. They also delve into the film's subversive gender dynamics, and marvel at how a sex farce from the Hays Code Era  still manages to shock and delight contemporary audiences. After the Wilder discussion, McBride gives listeners an update on some of his recent book projects. First up, there's his recently published memoir, THE BROKEN PLACES, which chronicles a period in his late-adolescence when he had a mental breakdown, was admitted to a psychiatric hospital, and subsequently fell in love with a fellow patient named Kathy Wolf. McBride tells listeners why he felt he needed to i

On today's show, Lady P chats with author, Patrick McGilligan, about his latest biography, Young Orson: The Years of Luck and Genius on the Path to Citizen Kane. According to McGilligan, it was a mixture of fate and pedigree that lead Orson Welles into life of creative endeavor. McGilligan goes into detail about Orson's childhood in Kenosha, Wisconsin - including his early notoriety as "child-genius" and his pre-adolescent enthusiasm for the arts. He also delves into Welles' family lineage, and the role his biological and adoptive parents played in the shaping of Orson's gifts. And of course, McGilligan talks about Orson's multiple career triumphs, up to and including, CITIZEN KANE.

On today's show, we're touring around the dystopic Paris of the future featured in Jacques Tati's 1967 film, PLAYTIME. Joining host, Lady P, and Flixwise co-producer, Martin Kessler, to talk Tati are two stalwarts of the classic film blogosphere: David Blakeslee of Criterion Reflections and The Eclipse Viewer podcast, and Aaron West of Criterion Blues and the Criterion Close-Up podcast. Together, the panel marvels at the immaculately constructed city that Tati had built from scratch, and they laugh recounting how Tati's famous Hulot character bumbles his way through this world, leaving a path of destroyed bourgeois nonsense in his wake. PLAYTIME is one of the very few comedies in the Sight and Sound Top 50 - it's sitting pretty (ie barely functional) at #43. But in typical critic fashion, Sight and Sound has awarded a comedy that also works as a pointed social satire. As audience members, we wonder why some of the laughs get stuck in our throats. Perhaps it's because some of those laughs are at our expense. T

On today's show, Monica Castillo, contributor for RogerEbert.com, IBTimes, and whole host of other prestigious publications, makes her debut appearance on our little podcast. She's joining Lady P and Martin Kessler for a discussion about the 43rd film on the Sight and Sound Critic's Poll, Jean-Luc Godard's 1965 feature PIERROT LE FOU. This is Godard's third appearance on the S&S list - the first two being BREATHLESS (#13)  and LE MEPRIS (#21). The panelists discuss the ways in which Godard uses PIERROT LE FOU to comment on his past achievements, while still attempting to tackle more contemporary political subject matter. And speaking of contemporary subject matter, the 88th Academy Awards Ceremony is coming up on Sunday, Feb 28th. For our second topic, we're taking a break from our usual cinema history analysis to talk about the annual awards show - though one could make the case that the Oscars are more of a relic of movie history than any of the films we discuss on this show. The Academy has come under

We are very pleased to welcome back to the show author and film historian Professor James Naremore. Naremore joins host, Lady P, for a discussion on Roberto Rossellini's 1954 JOURNEY TO ITALY. Upon its initial release, JOURNEY TO ITALY was generally panned or dismissed by critics. However, in the intervening years, its esteem has risen tremendously, and it now sits comfortably in the Top 50 in the Sight and Sound Critics Poll. Lady P and Professor Naremore discuss the film's post-war trauma subtext and its allusions to the work of James Joyce. They also touch on the degree to which the film's depiction of marital strife mirrors the real-life relationship between Rossellini and his then-wife, JOURNEY co-star, Ingrid Bergman. For the second topic, Lady P and Naremore talk about character actors. JOURNEY TO ITALY co-stars George Sanders - the greatest actor to ever to grace the silver screen*. For some reason, Sanders is often described as a "character actor" rather than a leading man. But what exactly is a char

On today's show, Lady P is joined by fellow podcasters, James Hancock and Mikhail Karadimov, to talk about Satyajit Ray's 1955 film PATHER PANCHALI. James and Mikhail are co-hosts of Wrong Reel, one of the most irreverent and profanity-laced film podcasts on the web. So they're a natural fit for a discussion about a sensitive portrait of a poverty stricken family living in rural West Bengali India. In true Wrong Reel style, they celebrate and send-up Ray's masterpiece in equal measure-- which is basically a long-winded way of saying the episode is NSFW. Then, the panel moves on to a discussion about child stars. Lady P thinks the naturalism of the kids is part of what makes PATHER PANCHALI a revelation, but listen up to see if James and Mikhail agree. Plus, everyone lists off their personal favorite performances given by preadolescence actors. They also lament a few instances where films are nearly derailed by the appearance of an overly precocious child.

Today's minisode is an addendum to our previous 2015 In Review podcast. Lady P, Marya E. Gates, Martin Kessler, Anne Marie Kelly, and Kristen Sales are back to briefly review their favorite television shows of last year. Highlights include some pretty stellar animated shows, the "most jewish show on tv", and some "beautifully sculpted man bodies".

We're back with a special Flixwise XXL episode. The length of the episode is due in part to our super-sized panel. Lady P is joined by Flixwise regulars Marya E. Gates, Martin Kessler, Anne Marie Kelly, and Kristen Sales for a countdown of each of their Top 5 2015 releases. Plus, they talk about their favorite scenes, the best performances, and also some dishonorable mentions. Expect lots of shout outs to female filmmakers and railing against the patriarchy. Happy 2016, Everyone! Note: We had a number of technical issues during the recording of this episode. As a result, there are a few audio glitches in the finished product. But not worry, the content is SO entertaining that you'll barely notice.

On today's show we're closing out the year with a special Christmas entry to the Flixwise Favorites list. Lady P and Martin Kessler are joined by Lady P's brother, Gary Lampert, to discuss Frank Capra's perennial holiday classic, IT'S A WONDERFUL LIFE. The panel talks about the film's reputation as a sentimental tearjerker, how it got that reputation, and the ways in which tearjerker is and isn't an accurate description. They also discuss how Jimmy Stewart is more often remembered as a persona rather than an actor, and the reasons why that is both totally reductive, but also completely understandable. Plus, they talk about why all great movies must end with ringing bells.  See you in 2016!

Lady P's partying it up, Italian style, with fellow panelists Martin Kessler and Kristen Sales. Today's 39th Sight and Sound entry is Federico Fellini's LA DOLCE VITA. The film stars Marcello Mastroianni as a young intellectual type also coincidentally (or not) named Marcello. Throughout the course of the film we watch as Marcello attends parties, embarks on ill-fated love affairs, and cruises around the countryside. Fellini allows the viewer to indulge in all the fast car/faster women cliches, but keeps the viewer at an ironic distance, purposefully undercutting the glamour of his subjects. This irony, which is weaved throughout the film, serves to underline the film's central question: Is the sweet life really all that sweet? The panel mulls over that question, as well as whether or not that question is compelling enough to earn LA DOLCE VITA the title of 39th Greatest Film Of All Time. Then, in case you needed further proof that rich, good-looking people are just as miserable as the rest of us, our second

Lady P, Martin Kessler, and Marya E. Gates continue the "A Year With Women" series with a special "Noirvember" episode. In today's Flixwise Favorites entry, the panel peers into the shadows that line the deserted highways in Ida Lupino's THE HITCH-HIKER. The film takes the viewer on a harrowing ride through the Baja California desert, as a pair of unassuming middle aged men are kidnapped by a wanted murderer and forced to help him flee the authorities. THE HITCH-HIKER is loaded with noir tropes: desolate landscapes, expressionist lighting, a creeping sense of dread, etc. However, there are lots of ways that the film breaks with custom and starts veering into other genres. The panelists talk about the ways that Lupino plays with noir conventions, as well as her depiction of post-WWII masculinity, and the way she uses Mexico to symbolize both exoticism and foreboding. Then, they also have a lengthy discussion about how THE HITCH-HIKER compares to Lupino's other great, but less-widely-seen noir, THE BIGAMIST.

On today's podcast, we are celebrating the 56th anniversary of the seminal French New Wave film, THE 400 BLOWS. The film was lauded upon its original 1959 release and inspired countless other filmmakers around the world to pick up a camera and start shooting. However, this episode focuses primarily on the man behind the film, François Truffaut. We explore his upbringing and his relationship with his family, his decision to cast Jean Pierre Léaud, how THE 400 BLOWS compares with some of François later films about childhood, the influence of Andre Bazin, and yes, there's even a mention or two of Jean-Luc Godard. Flixwise is thrilled to announce that this episode features a pair of special guests, both of whom offer historical background and personal recollections of the renowned filmmaker. We welcome to the show François' daughter, Laura Truffaut, and film historian, and Truffaut family friend, Professor Joseph McBride. Clearly there's a lot of show here, so better get listening! And feel free to share your tho

Today's panelists, Lady P, Martin Kessler, and A. Tad Chamberlain, have all danced with the devil and lived to podcast the tale. This is Flixwise's special super-sized episode on the 36th Greatest Movie of All Time, Bela Tarr's 1994 Hungarian classic, SATANTANGO. SATANTANGO has a reputation as a notoriously daunting watch; partially due to its run time (it clocks-in somewhere around 7.5hrs), but also because of it's unsparing pessimism about the nature of humanity and mortality. On top of that, the film's visual austerity and slow pacing, serve as significant barriers-to-entry for casual film-watchers. However, those that do heed Bela Tarr's challenge are rewarded with a rich, thought provoking,cinematic experience--plus, some serious cinephile bragging rights. So give the film a watch, then listen to our panel's in-depth analysis, and let us know what you think.

Today is a continuation of our ongoing "Female Filmmaker Extravaganza", a series of podcasts meant to showcase films directed by women. This time we're making an effort to spotlight an under-the-radar, woman-helmed, classic. Martin Kessler lays down the case for why Liu Jiayin's little seen 2009-film, OXHIDE II, is worthy of the Flixwise Favorites List. OXHIDE II boast a cast of three, a crew of one, and has the distinction of having far-and-away the smallest budget of any movie Flixwise has ever discussed. The film takes place in one location - a small, cramped apartment in Beijing, China. It shows, in nine very long takes, a family gathered around a table, assembling and consuming chive dumplings. While the set design and scope of the film may seem meager, the final product is rich in detail and emotion. But can a movie of this size really to be considered among the greatest films of all time? Martin must convince Lady P, and Flixwise's Art Director, Emma Guerard, that the film's scale is part of why this m