This week’s film is the incredibly disturbing ? don’t watch it if your constitution is in any way delicate; it will stay with you ? Ben Wheatley film KILL LIST. We talk about how this film takes a while to get going, but when it does ? oh boy! Also on the agenda today: social realism, Lovecraftian […]
The first film in our Ben Wheatley season is his cinematic debut, DOWN TERRACE. We offer contrasting reviews in perhaps surprising directions (given our PP form), and then spend time talking about different attitudes to masculinity, what it means to be part of a family unit, and how this film ? for all its apparent […]
This week we conclude our Baz Luhrmann season with his most recent film, 2013’s THE GREAT GATSBY. We have disparate opinions on this, and differing levels of familiarity with the story, but then we move onto a discussion of the movie’s presentation of different ideas about wealth, concepts of class and race on-screen in various […]
This week our focus shifts to Luhrmann’s sweeping Antipodean magnum opus, AUSTRALIA. We sort of already know what there is to be said about this film, so we spend a lot of time talking about the movie’s politics, its visuals, and how it tries to do many different things, but doesn’t always succeed ? and […]
Our next foray into Luhrmann territory is his version of the 16th-century play: WILLIAM SHAKESPEARE’S ROMEO + JULIET (1996). Sam goes off on one about one of his pet topics, and we take things further by discussing the playful and inventive qualities of the play brought out by Luhrmann ? along with his innovative use […]
This week we embark on our next directorial mini-season with the work of Baz Luhrmann. We start with his cinema debut, 1992’s STRICTLY BALLROOM. After opening reviews, we talk about mockumentaries, cinema aesthetic, and artistic frustration ? both in the film and in Luhrmann’s direction itself.
The final Coppola film in our mini-series is her latest, the 2017 re-make of THE BEGUILED. After our reviews, we talk about horror, tension, and the revision of traditional gendered values. This leads us on to a final discussion of Sofia Coppola’s oeuvre, when we take a look back at some new perspectives we’ve seen […]
Our next Sofia Coppola film is her 2006 historical biopic MARIE ANTOINETTE. We talk about decadence, loneliness, and why this film tries to several very interesting things ? but doesn’t quite succeed in pulling them off.
Next in our Sofia Coppola season is another of Rob’s all-time-favourite films: 2003’s LOST IN TRANSLATION. Reviews are more or less predictable, but we quickly get into talking about what it means to be privileged yet isolated, balance in cinematography, and whether or not this film ends in the right way.
This week, as Sam returns from intensive Dadding, we start on our next director: Sofia Coppola. Our first focus is on her debut, her adaptation of Jeffrey Eugenides’s novel THE VIRGIN SUICIDES. After we’re both really taken by surprise by this film, we talk about nostalgic film-making, ethereal screen presences, and what it is to […]