Flixwise Podcast

The Academy Award nominees were announced a week ago today, so theoretically we should have had a sufficient amount of time to mull over the various categories. However, this podcast offers something of a collective scratching of the heads at the hodgepodge of different Best Picture nominees. Host, Lady P, is joined by Oscar enthusiasts, and fellow UW-Madison Graduate Students, J.J. Bersch and Tim Brayton, to help sort through the good, the bad, and the Green Book of this year's contenders. Together they suggest reasons why there is so much incongruity in the major categories and discuss their favorites among the contenders. 

Plus, since we never got around to it last year, we are finally doing an abbreviated year-in-review show wherein we chat about A Story is Born, Spike Lee, Minding the Gap, and of course, Miss Weisz.  

If you want to hear more movie talk from Tim, here's a link to his regular podcasting gig, Alternate Ending. Also, he made a previous appearance on Flixwise for our Oliver & Company/The Hunchback of Notre Dame episode. 

And if you want a change of pace from movies, click here to listen to J.J's fantastic music playlists. 

We're kicking off 2019, with a trip back in time! It is a look back to turn-of-the-Century Midwestern America with Orson Welles's adaptation of Booth Tarkington's The Magnificent Ambersons (1942). Film historian and author, Professor Joseph McBride joins host Lady P to talk about the legacy of Welles' feature follow-up to Citizen Kane. McBride delves into the film's fraught post-production--a process which ultimately resulted in the dismantling of Welles's directorial vision. While the film may not reflect Welles's original intentions, there is still much to admire about the craftsmanship and storytelling in the film as it currently stands. Indeed, despite the careless studio mutilation, Ambersons is still held in such critical esteem that it managed to snag the 81st spot on the Sight & Sound Critics Poll. Lady P and McBride discuss the film's enduring appeal and how the nostalgic remembrance of a time long since past is still as relevant and moving today as it was when the film first debuted.

This is the third in our trilogy of recent podcasts with McBride. See our previous discussions on Ernst Lubitsch's Trouble in Paradise and our episode on Welles's (new!) film The Other Side of the Wind. And make sure to check out McBride's interview feature on the new Criterion Blu-Ray of The Magnificent Ambersons. 

Note--this episode was recorded well in advance of its release. Please disregard the ending note detailing upcoming episodes. We are still in the process of preparing our slate of podcasts for this new year. 

Martin is joined by returning guests Zachary Curl and Leanne Kubicz to discuss Nagisa Oshima's atypical war film, Merry Christmas, Mr. Lawrence. They talk in-depth about the film's four leads: Tom Conti, Ryuichi Sakamoto, David Bowie, and Takeshi Kitano. They examine Oshima's themes and dream-like style, look at the films flashback structure, and talk about how they connect personally to it.

Martin is joined by returning guest Matthias van der Roest to discuss a pair of David Cronenberg films: A History of Violence and Eastern Promises. They talk about what makes the pair a pair, and where they fit into Cronenberg's filmography as a whole. Then they talk about both films status as 'Canadian films', and what makes a film 'Canadian'.

Martin is joined by returning guest Becky D'Anna to discuss her second favourite film of all time, Broadcast News. Becky explains why the film means so much to her, and they take a deep dive into its themes, characters and performances.  Becky and Martin then politely debate the film's ending, and bemoan the lack of film award recognition for Albert Brooks.

After a series of postponements, our episode on The Other Side of the Wind has at long last arrived. Of course, our delays are nothing compared to the 30-plus year wait for this brand spankin' new Orson Welles movie. Today's guest, Joseph McBride, is not only one of the great Welles historians in academia, he also makes an appearance in the film. We're fortunate to have Joe on hand to both contextualize what's onscreen, as well as regale us with tales of being onset with one of the greatest filmmakers of all time. Plus, he and host (Lady P) detail one of the major difficulties of this project--assembling all the footage without Welles on-hand to offer feedback. They discuss how the editors and sound designers went about executing this challenge and speculate about whether or not Welles would be pleased with this final cut.

Martin is joined by the very best Buñuel-enthusiasts he know, Chris Funderburg and John Cribbs to discuss the film of surrealist master Luis Buñuel by focusing specifically on the theme related to religion in his films. They look primarily at Nazarin, Viridiana, Simon of the Desert, and The Milky Way. However, other films make their way into the conversation too, like Mexican Bus Ride, as our panel shines a light on the unfair obscurity of many of Buñuel's Mexican films. They break down some of the misconceptions about Buñuel, and give their interpretations of his films.

Lady P is, once again, joined by film historian Professor Joseph McBride to talk about about his latest release, How Did Lubitsch Do It?. The book is a comprehensive critical study on the film works of famed German-American filmmaker, Ernst Lubitsch. McBride steps listeners through Lubitsch's early years, and discusses how his technique and style evolved through the various phases of his career. They also talk about career highlights, with special attention paid to what many consider to be his masterpiece, Trouble in Paradise (1932). As the 117th film on the critic's poll, Trouble in Paradise is the highest ranking Lubitsch film on the Sight and Sound list. McBride and Lady P discuss why it's considered such a seminal work, and talk about its legacy as formative film in the romantic comedy genre.

Plus, McBride and Lady P make a slight digression to talk about Joe's interesting take on the on the current state of the romantic comedy, and why he believes it has had a precipitous fall from the Lubitsch era.

Martin is joined by returning guest Spencer Seams of the High and Low podcast to discuss Frank & Eleanor Perry's David and Lisa. They talk about the film's approach to character, and its portrayal of mental illness and psychiatric care. They cover surreal dream sequences and low budget naturalism, and consider the legacy of the Perrys and their post-divorce careers (as well as their relation to a certain pop superstar).

At long last, Lady P and Martin are doing a show together again. They are joined in their reunion by film fanatic, and Wrong Reel mainstay, Becky D'Anna. The three of them join forces to tackle Marcel Carné's lengthy, 1945 period drama, Les Enfants du Paradis (aka Children of Paradise). The film was initially released in two parts, and remains bifurcated even in it's completed form. The first part, "Boulevard du Crime", follows the rising star of a young mime named Baptiste (Jean-Louis Barrault), who makes the leap from penniless street performer to veteran actor at a famous theatre. This part also introduces us to Baptiste's love interest, Garance (Arletty), a courtesan to whom Baptiste pledges his undying love. Initially, Garance doesn't seem to feel the same level of devotion, as she's got three other suitors vying for her affection, and she eventually opts to be with a wealthy Count over Baptiste. However, in the second half of the film "L'Homme Blanc", after a six year time-jump, it is revealed that Garance has been carrying a torch for Baptiste and would still like to be with him. The remainder of the film explores the will-they/won't-they dynamic of that relationship, as well as the other criminal entanglements of the tertiary characters.

We here at Flixwise ascribe to the conviction that a mime is a terrible thing to waste (Thanks Mel!), however, three plus hours of backstage pantomime drama can prove taxing to even the most ardent theatre nerd. Listen up to find out how well the misadventures of Baptiste and co. held our panelists's attention and whether the broader themes of tragic love and virtuous poverty hold up in 2018. They also discuss the remarkable circumstances of the film's production, and whether there are traces of Nazi propaganda or subversive French Resistance messaging in the material. Plus, they decide whether the film is worthy of the 73rd spot on the Sight and Sound list.

On today's show, we have another musical entry for the Flixwise Favorites List. This time UW-Madison Media and Cultural Studies graduate student, Austin Morris, is pitching Steve Antin's 2010 cultural artifact, Burlesque for inclusion in our little pantheon. In order for Burlesque to make the cut, Austin must convince host, Lady P, and our guest panelist Assistant Professor and Reverse Shot film critic, Matt Connolly, that this cinematic oddity is one of the greatest films of all time.

All three panelists agree that Burlesque features some questionable aesthetic and narrative choices, however, they all agree that the film's flaws only deepen their appreciation. While the film's weakness are multitude it does have a number of superlative elements - the primary one being that it provides a sufficiently shiny platform for one of the world's most indelible pop icons to sing and vamp for two hours. Much as we love Xtina, we are of course referring to the Cher, who swoops in and claims our affections like they're Hollywood Hills "air rights."

Obviously, a sizable portion of the episode is devoted to Cher-ing thoughts on the Mamma Mia 2 star, but the panel does eventually take time to highlight some of the other standout performances, including Stanley Tucci's turn as Sean, and the dog-whistling presence of Alan Rickman. Plus, they delve into various queer readings of the text, which includes comparisons to other notorious backstage dramas, All About Eve and Showgirls, and talk about whether Burlesque's value as camp classic should translate to greater recognition in mainstream canons.

Martin is joined by Alistair Pitts of the Russophiles Unite! Movie Podcast to talk about the classic (or possibly cult classic) Withnail and I. They talk about the comedy that isn't immediately apparent that it's a comedy, its depiction of the 1960s, alcoholism, and tiptoe through the character Uncle Monty. Also Martin picks on Johhny Depp, but can't pronounce "Withnail".

Martin is joined by Scorsese aficionado Robert Cotto to discuss Martin Scorsese's Religious Trilogy (The Last Temptation of Christ, Kundun, and Silence). Together they examine the themes of the trilogy, praise the many performances throughout, talk about the varied responses to each film upon their release, and manage to give their personal feelings toward each film as well.

Martin is joined by Leanne Kubicz to discuss Jackass: The Movie, Jackass Number Two, Jackass 3D, and everything that can be squeezed in between. They talk about which jokes hold up and which skits couldn't be done today. They take a look at the members of the Jackass crew, and discuss bad taste and the virtues of outsiderdom.

We at Flixwise believe that it is important that we concern ourselves with whether a film's reputation is earned or simply accepted as common wisdom. That it is important to care enough about the art of filmmaking to pause and reflect on even the most common or woeful of motion pictures. And really, what's more woeful than being given the boot from "The Happiest Place on Earth?" With that in mind, we ever so humbly present a Flixwise Favorites face-off featuring two films that have long been relegated to the Disney Corporation deep-freeze. On today's show, the all-but-forgotten 1988 Disney Animated Film, Oliver and Company (Scribner), squares off against the film that rang the death knell for the Disney Renaissance, The Hunchback of Notre Dame (Trousdale and Wise, 1996), to determine which movie is the most deserving of a spot on the Flixwise Favorites list.

To weigh on which film is the more worthy selection, Lady P is joined by two of her fellow UW-Madison graduate students. Taking the Oliver side is Matt St. John who contends that Dodger (voiced by Billy Joel) remains one of the coolest, most aspirational, figures in the Disney pantheon. Then, on the Hunchback side is Disney scholar, and fellow podcaster, Tim Brayton, who steps the listeners through the historical significance of both films but remains squarely on the side of Hunchback as the true masterpiece. Listen up to hear Lady P's verdict as to which picture deserves "some more" love.

Martin is joined by Matthias van der Roest to discuss Mathieu Kassovitz' 1995 breakout film, La Haine. They talk about the film's look, soundtrack, and influences. They discuss the housing projects depicted in the film, the hip-hop soundtrack, and the continues relevance of its story. They cover the film's sound and visual style, and talk about the not-so-French films that influenced it.

Lady P is joined by film historian and Orson Welles scholar, Professor Joseph McBride, as well as fellow UW-Madison graduate student and Welles enthusiast, Erica Moulton, to discuss one of Orson's most popular non-directorial efforts. Today's Sight and Sound entry is the 73rd movie on the International Critics Poll, Carol Reed's The Third Man (1949). A film in which Orson utilizes his immense onscreen charisma to charm audiences across the globe into sympathizing with a heartless criminal.  

Despite only appearing in the film for a small fraction of the runtime, the specter of Welles permeates the entire story. The panel talks about what makes Welles' Harry Lime character such an enduring figure in Film Noir history and how the film's structure reinforces Welles' mystique. They also discuss the ways in which The Third Man plays with and subverts conventional Noir tropes and how it directly addresses the political landscape of the era. 

Lastly, they make a small detour to speculate about possible dates for the forthcoming release of Welles' previously unfinished film, The Other Side of the Wind and they chat about McBride's soon to be published book on the work of director Ernst Lubitsch.   

Martin is joined by Spencer Seams of the High and Low podcast to discuss Chadian filmmaker Mahamat Saleh Haroun's story of revenge and compassion, Daratt. They discuss the film's characters, themes, politics, and Martin manages to shoehorn Star Wars into the conversation. They examine the film's striking colour palette, its subtle soundscape, and the role of bread.

Martin and resident artist Emma Guerard have a discussion about the film work of designer Eiko Ishioka. The discuss her production designs for the literary sequences in Mishima: A Life in Four Chapters, as well as her costume designs for Dracula, The Cell, and The Fall. They try to pin down her unique aesthetic, and look at how sets and costumes can do their part to tell a story on film. They manage to touch on some of her work outside of film as well, including her work in advertising, the Beijing Olympics, and Spider-Man: Turn Off the Dark.

Martin is joined by special guest Zachary Curl for a fast-paced conversation about Katsuhiro Otomo's animated masterpiece, Akira. They talk about the film's cyclical themes and its motorcycles, then get personal about perfection, imperfection, and inspiration. They discuss how Akira fits into the contexts of animated films, Japanese history, and life in general (everything from Sonic Youth to Katsushika Hokusai). Martin and Zachary also get into the follies of Hollywood remakes, with the threat of a live action adaptation of Akira dangling over all our heads.

We are so pleased and honored to welcome back to the show, writer and film historian, Professor James Naremore. As is the author of the seminal book on the film noir genre -- More Than Night: Film Noir and Its Contexts -- Naremore is more than equipped to tackle today's Sight and Sound entry: Chinatown (1974). Naremore, along with host, Lady P, discusses how the film creates an amalgam of Classic Noir homages along with an infusion of Nixon-era paranoia and cynicism. Lady P and Naremore also talk about how well the style and themes of the film hold up today, and they make a series of feeble excuses for why they are able to still enjoy the film in spite of the obvious parallels between the film's villain, John Huston's Noah Cross, and the offscreen criminal behavior of the film's director, Roman Polanski.

To justify her love of the movie, Lady P makes an attempt to reclaim Chinatown as a Faye Dunaway film. Let us know if you buy into that reasoning in the comments below.

Lady P is joined by Michelle Buchman (the social media maven over at Nerdist) and Kate Hagen (the Director of Community at The Blacklist), to discuss a pair of John Cassavetes films: Faces and A Woman Under the Influence. Or is it a pair of Gena Rowlands films? Either way, our panel discusses both films' ground breaking experimentalism, their emotional resonance, and whether or not their worthy of their places on the Sight & Sound list.

Happy four year anniversary of Flixwise! I hope you'll find that the fundamental things still apply, as time goes by. On this milestone episode, Lady P is joined by an esteemed film scholar and all-around snappy dresser, David Bordwell to discuss none other than Casablanca. They see if it lives up to its reputation as the quintessential Hollywood movie, not just of the 1940s but of all time, and consider if it's worth of its 78th spot on the Sight & Sound List. For a second topic they turn to the subject of David Bordwell's book, Reinventing Hollywood; How 1940s filmmakers changed movie storytelling. Mostly it's just an excuse to talk Joan Crawford. 

Returning guest, Chris Funderberg and John Cribbs of thepinksmoke.com join Martin in a discussion of Neil Jordan's Seaside Trilogy. The trilogy includes Mona Lisa, The Miracle, and The Crying Game. They talk about what makes it a trilogy, how it fits into Jodran's career, and whether films like Angel or The Butcher Boy might be considered unofficial additions to the trilogy. They talk about lumpy films, second-1st films, and what happened to Neil Jordan.

Martin is joined by Jon Laubinger of the FilmBabyFilm podcast to discuss the film adaptations of William Shakespeare's Scottish Play.They cover the gamut of interpretations, looking at what changes and what stays the same from film to film, and try to decide which is the most faithful. They can't resist talking about the theatre, and then give their opinion on which filmmakers they would like to see tackle The Bard's brutal tragedy.

For our Valentine's Day show, we relitigate an ancient (mid-90s) grudge, which breaks to new mutiny. Flixwise newcomers Jacob Mertens and Erica Moulton head up opposite households in the Shakespearean adaptation universe.Jacob, who hails from the House of Baz, believes that Luhrmann's 1996 cultural touchstone, Romeo + Juliet is one of the greatest movies of all time. Erica, of the House of Skeptics, thinks that Baz's formal flourishes don't do justice to the original text. Host, Lady P plays referee as these two argue over whether or not this adaptation is worthy of canonization. Expect quarreling, drawn swords, and lots of swooning over young-Leo DiCaprio.  

Many thanks to friend of the show, Ma Narizza dela Cerna for the lovely intro. 

Martin is joined by returning guest Becky D’Anna to discuss Alexander Payne’s Election. They discuss the film’s use of unreliable narration, which of its characters are sympathetic, its garbage motif, and what a bee sting adds to it.  They talk about why the film’s ending is perfect, and why the original ending might not have worked. They cover the film’s political satire, depiction of high school life, and decide once and for all if Tracy Flick is a winner.

On today's show, classic movie buffs, Michelle Buchman and Kate Hagen, join Lady P for the first Flixwise Favorites entry of 2k18. Michelle is on hand to tell listeners why she thinks Robert Redford's 1980 Best Picture winner, ORDINARY PEOPLE, is actually pretty exceptional. According to Michelle, the film offers both great performances (particularly those of Mary Tyler Moore and Timothy Hutton) as well as an ahead-of-its-time portrayal of mental illness and behavioral therapy. The panel then delves into a discussion on why ORDINARY PEOPLE has been either forgotten or unfairly maligned in the years since its release. For many, the film is now better known as a spoiler for RAGING BULL winning the Academy Award, than a movie with its own artist merit.  Our panel discusses whether other 1980 releases including RAGING BULL and ELEPHANT MAN were indeed robbed that year, or whether ORDINARY PEOPLE was worthy of it's initial acclaim. Then they decide whether it should enjoy further adulation with a place on the Flixwise Favorites list. 

Our annual year in review show, and our first ever call-in episode. A whole host of guests both new and familiar join Lady P̶o̶r̶g̶ P and Martin in covering their favourite movies of the year, and manage to give their thoughts on some of 2017's most debated film topics like post-horror and if a TV show belongs on a list of the best movies of the year.

Is Titanic an unsinkable classic? A deluxe panel dives in to decide whether the one-time 'biggest movie i the world' is worthy of The Flixwise Favourites List. They discuss Kate and Leo....and James "Feminist Filmmaker" Cameron. The sing-a-long of My Heart Will Go On is just a bonus.

Martin Kessler is joined by Emma Guerard to discuss a pair of films, Pandora's Box and Diary of a Lost Girl, both starring Louise Brooks and directed by G.W. Pabst. They consider Louise Brooks' acting style, her status as an icon, and how her collaboration with Pabst fit into her career. They compare the films to one another, and look at them in context of coming at the very end of the silent period. Also Martin finds out that there are Flixwise t-shirts.

Dave Eves returns to join Martin in discussing Sergio Leone's epic spaghetti western, Once Upon a Time in the West. They talk about the films casting of Henry 'Good Guy' Fonda as the film's villain, its international shooting locations, the myths of the old west, the nuance of gunshot sound effects, and what a 'special guest star' credit is doing in a feature film. Then they showdown to figure out if it's worthy of its 78th spot on The Sight & Sound List.

Martin Kessler is joined by returning guests Chris Funderberg and John Cribbs of thepinksmoke.com to discuss Rainer Werner Fassbinder's fifteen and a half hour long adaptation of Alfred Döblin's novel, Berlin Alexanderplatz. They look at its complex narrative, moral themes, and historical context. They make comparisons to the novel, the 1931 film adaptation, the rest of Fassbinder's filmography and other 'long movies'. They discuss it's visual and audio style, and try to figure out if Franz Biberkopf is a better person by the end (perhaps if only because there is physically less of him).

Lady P is joined by Patrick McGilligan, author of Robert Altman Jumping Off the Cliff, who has returned to the podcast to discuss the musically and politically charged film Nashville. However with Nashville being the only Robert Altman film on the list, they can't resist diving into the rest of Altman's long, eclectic, and magnificent career. Pat talks about his relationship with Altman's films, and what Altman was like in person. They look at Altman's visual style, his unique soundscapes, and even some of the costume in his films. They consider if Nashville is worthy of its 73rd spot on the Sight and Sound list, and ponder why there aren't other Altman films talking over it on the list as well.

Martin Kessler is joined by Jacob Rivera for a look at the films of director David Fincher in the 1990s; Alien 3, Se7en, The Game, and Fight Club. They see how well each film holds up, and examine their thematic landscapes. They discuss Fincher's shifting style, his approach to visual effects, his sense of humour, how he establishes a tone, and whether or not he might be considered an auteur. They reflect on spoiler warnings, DVD special features, Switzerland in the 23rd century and do their best Brad Pitt impressions.

On today's show, we're sinking into the sweet embrace of existential despair. Host Lady P is joined by co-producer Martin Kessler, Battleship Pretension writer and Flixwise regular Scott Nye, and new friend of the show Lilly Holman, to evaluate Michelangelo Antonioni's 1962 classic L'Eclisse. They step through some of the films forays into genre cinema - including it's sci-fi, dystopian elements. Plus, they draw comparisons between the previous two films in Antonioni's Eros Trilogy and discuss how this film plays as an extension of the other two, both in terms of cinematography and pacing, and also its thematic material. They reflect on its anti-narrative ending, and consider if it’s worthy of its 73rd spot on the Sight and Sound List.

For the second topic, the gang continues on their existentialist kick, with an exploration of how Antonioni's brand of upper-class urban malaise has been taken up by contemporary filmmakers. They discuss ways in which newer films attempt to render the current psychological turmoil of living. Then they offer up a handful of examples of their favorite modern cinematic cries of despair

On today's show, NYC film critics, Caroline Golum and Matt Prigge, of Blue Velvet fame make their glorious return to Flixwise. In their previous appearance they discussed David Lynch's 1986 neo-noir, and so we thought it would be appropriate to stick with the freshman dorm-room milieu and talk about the other 69th film on the Sight and Sound Critics' poll, Ridley Scott's Blade Runner (1982). They join host, Lady P (as well as Lady P's new school chum and fellow adventurer in grad school, Lilly Holman) in pondering the various philosophical elements of Scott's cinematic universe, and admiring the seamless fusion of several disparate genre film styles into the production design.

From there, the panel starts making baseless predictions about the quality of the forthcoming Blade Runner sequel: Blade Runner 2049, which then leads to a discussion about the greatest sequels of all time. Lilly makes a stand for the Toy Story franchise as being the greatest of all time due to it's narrative coherence. Whereas Matt and Caroline mount a case for why "renegade sequels" aka sequels where the filmmakers make drastic divergences from the style or themes of the original work are the ones most worth watching.

Martin Kessler is joined by Chris Funderberg and John Cribbs of thepinksmoke.com to discuss the films of two-time Palme d'Or award-wining director Shohei Imamura. They talk about his dark subject matter, his bleak point of view, the phases of his career, and his wild sense of humour. They discuss how Imamura has been handled by critics, compare him to New German Cinema, Luis Buñuel, and discuss why comparing him to other Japanese filmmakers may be a misleading.

Martin Kessler is joined by Jon Laubinger and Jason Beamish to discuss Chris Marker’s Sans Soleil. A film that seems to defy classification, they consider whether it’s a documentary, travelogue, essay, poem, or survival guid for the 21st century. They examine its varied images, and look for meaning in its unexpected juxtapositions and distortions of reality, and consider it it’s worthy of its 69th place on the Sight & Sound List (or maybe a Nobel prize).

Join Martin Kessler and Dave Eaves as they travel through time (forward, at regular speed) and try to figure out what Lo-Fi science fiction is exactly. They discuss examples new and old, of films that take an unconventional approach to all manner of sci-fi subjects. They discuss the themes, subtle production design, and walking the tightrope of pretentious in films that may not be obviously sci-fi. Then they let their humanity show, and can’t resist comparing them to sci-fi films on the opposite end of the spectrum, bemoaning Alien: Covenant and ruining Star Wars forever.

Follow Dave Eves into The Zone (or on Twitter) at @CinemaVsDave

Lady P is joined by a pair of NYC film critics: Caroline Golum and Matt Prigge, to discuss the 69th (nice!) film on the Sight and Sound International Critics Poll: David Lynch's 1986 release, Blue Velvet. They talk about Lynch's manichean universe and his use of pastiche to emphasize his themes. Due respect is paid to the universally beloved artists that Lynch references in his work including Bobby Vinton, Roy Orbison, and Laura Dern. 

The Blue Velvet discussion then segues into Lynch's recent television output, the Twin Peaks reboot,  which leads to a discussion on auteurist television, and why certain directions can naturally transition between mediums. They then offer a wishlist of directors that they'd like to see run their own a show. 

Martin Kessler and David Blakeslee shimmy across a line between two towering films by certified auteur Robert Bresson, Pickpocket and A Man Escaped; at the 63rd and 69th spots on the Sight & Sound list respectively. They examine Bresson’s style & technique, the plausibility of A Man Escaped, consider if Bresson is more theatrical than he may lead us to believe, and examine Bresson’s (in)famous approach to performers. Will both Bresson films prove worthy of their position on the Sight & Sound list and escape to freedom, or be condemned to movie prison?  And where does Bresson's reputation stand? They shall discuss.

Sony executive Becky D'Anna joins Martin for a conversation about love, happiness, and digital color timing. They look at how Amélie fits into the filmography of Jean-Pierre Jeunet, and discuss its cast, visual style, and music as well as its enduring appeal. Becky relates Amélie to Terminator 2 and Martin gives his Paris hot take.

On today's show Lady P welcomes back Carol (2015) screenwriter, Phyllis Nagy, for an in-depth discussion of Phyllis' all-time-favorite film, Billy Wilder's Sunset Boulevard (1950). Phyllis isn't the only one celebrating her glorious return to Flixwise. This is also the second appearance of one Norma Desmond, or rather Lady P's rather embarrassing imitation of the silent age film star. Norma first appeared on our original Sunset Boulevard episode, which features Professor Joseph McBride offering behind the scenes details of the filming of this Wilder classic.

Today we're paying another visit to that old familiar street with Phyllis' personal take on the depiction of 1950s Hollywood. Lady P and Phyllis discuss their reactions to Gloria Swanson's bold representation of an aged actress, and how William Holden serves as an important ballast to Swanson's electric performance. Then Phyllis sets out to debunk some popular interpretations of the film - namely that it's either satirical or Campy. Phyllis tells listeners why she thinks critics often confuse a lack of sentimentality with satire, and offers up evidence for why she thinks Wilder was completely sincere in his depiction of these characters. Plus, Lady P and Phyllis offer up comparisons to other films of this era including All About Eve (1950), Sudden Fear (1952), and What Ever Happened To Baby Jane (1962) and talk about why Sunset Boulevard is truly "the greatest of them all".

And if you haven't already please go back and listen to Phyllis' previous episode in which she goes into detail on the making of Carol. Plus she and Lady P offer up a couple of suggestions on Isabelle Huppert movies that all film buffs should seek out. 

On today's show, get ready for some resentment, misery, and existential dread. That's right, it's Ingmar Bergman time!! Lady P is joined by Michael Leader of Film 4, and resident Bergman aficionado, Dave Eves, to discuss the 63rd movie on the Sight and Sound Critics' Poll, Wild Strawberries (1957). The film follows an elderly protagonist named Isak Borg, who's played by Victor Sjöström, on a road trip through the Swedish countryside. Along the way, he has a series of flashbacks that force him to take stock of his life and reevaluate his interpersonal relationships. While chalk full of Bergman's trademark combination of formal elegance and emotional violence, Wild Strawberries is one of few films of his that grants the viewer a spiritual reprieve. Characters are cruel to one another, but they're also capable of great generosity and unexpected warmth. This unexpected sentimentality makes Wild Strawberries one of Bergman's easiest watches, but is it worthy of the Top 100 of All Time? 

For our second topic, we jump off from Mr. Borg's experiences to discuss other "coming of old age" films. Works that delve into the complications of moving into life's latter-half aren't as prevalent as those dealing with the childhood to adolescent phase. However, there are number of powerful examples to discuss. Our panelists list a handful of their favorites, and they talk about the similarities and differences between "old-age films" other representations of transitionary periods (ie. adolescence, teenager-dom, quarter-life crises, etc.). Expect lots of sad-old-men and a surprising amount of Star Trek talk.

Burton Fischer returns to discuss with Martin the eclectic and profound body of work of Australian filmmaker, Peter Weir (Picnic At Hanging Rock, The Last Wave, Gallipoli, The Year of Living Dangerously, The Mosquito Coast, Fearless, The Truman Show)They talk about their impressions of his film, and unpack the Weir’s complex themes of spirituality, nature, culture, history and gender. They reflect on the many ambiguities in Weir’s films, discuss his dramatic tendencies, musical choices, common character types and the performances in his films. Then consider how he fits into Australian film, and his possible influence on other filmmakers.

On today's show, it's time for a good ole fashioned bro-down. For the 63rd entry on the Sight and Sound International Critics' Poll we have Howard Hawks' 1959 Classic Western/Hang-Out Movie, Rio Bravo. On hand to share his analysis and personal anecdotes from his encounters with the director is film historian and author of the book Hawks on Hawks, Professor Joseph McBride. McBride joins host, Lady P, for a discussion on what makes Rio Bravo the quintessential Hawks film. They also discuss the various performances, including the unintuitive pairing of the Duke persona and the overly loquacious Hawksian leading man, Dean Martin's unvarnished rendering of alcoholism, and the star turns by a young Angie Dickinson and the not-so-young Walter Brennan. They also talk about why Hawks chose to remake his masterpiece twice an whether either of the later versions hold up to the original. 

For our second topic, since Joe McBride is a noted Orson Welles expert we had him come and talk about the latest chapter in the ongoing saga of The Other Side of the Wind. Listeners will recall that McBride has previously talked about Welles notorious final unfinished masterpiece on this show. Historically these discussions have ended in a lament that this film will likely never be completed, much less made available for public. However, now that Netflix has kicked in the funds to see this project through to fruition, it seems the impossible may actually happen - we might actually get a chance to see this thing.

On this segment, McBride talks about his long history with this film, which includes both acting in it and eventually producing it, and he also talks about the various reasons for the long delay, and how optimistic he is that the project will finally make to your local theatre. 

Finally, we close things out with an update on McBride's recent works, including the publishing of a book collection of his critical and historical pieces called Two Cheers For Hollywood: Joseph McBride on Movies. Plus, Joe offers an update on his soon to be published book on famed German director Ernst Lubitsch. Stay tuned for further details! 

Martin is joined by film distributor and slow cinema guru Nadin Mai to discuss Wang Bing’s Tie Xi Qu: West of The Tracks, an over nine-hour long look at a collapsing industrial district in China. They look at how best to watch it, how it fits into Wang Bing’s body of work, whether it can even be classified as a documentary, and how it connects the present to the past. 

They switch rails to discuss the appeal of Slow Cinema. and then move on to look at the challenges and virtues of film distribution (where Martin admits to buying bootleg dvds). 

On today’s show, we have the 63rd entry on the Sight and Sound International Critics’ Poll, and the second Charlie Chaplin film on the list, Modern Times. We have a full assembly line of guests to look at the final outing of The Little Tramp.  Lady P welcomes Flixwsie art director Emma, Eclipse Viewer host David Blakslee, and criterion enthusiast Jason Beamish. Will they find it worthy of its spot on the list? How does it compare to Chaplin’s other films? More importantly how does it compare to Keaton’s? 

For our second topic we take inspiration from the factory life of Modern Times to look at industry in film. 

And then we close things out with some final notes of positivity.

Certified hoser Martin Kessler welcomes Wrongreel podcast host James Hancock to discuss the dark corner of cinema known as Canuxploitation. They look at tax shelter film funding, try to figure out what constitutes Canadian content, and attempt to wrap their heads around a parade of some of the strangest films ever made. Things go full-Cronenberg. Listen to find out if they think Canuxploitation was a worthy venture or a failed experiment, learn which popular Canadian film Martin hates, and speculate on the darker side of the Great White North.

Film historian, professor James Naremore returns to discuss Charles Laughton’s dark southern classic, The Night of the Hunter (1955). We ask ourselves if it’s love or hate we feel for the film, and unpack how absolutely bonkers it is; a dark fairy tale that climaxes in a showdown between an evil bible-thumping Robert Mitchum and a shotgun wielding Lillian Gish. A commercial and critical failure upon its initial release, we ask ourselves if its worth of the 63rd position on The Sight & Sound List. Taking inspiration from Night of the Hunter being Laughton’s first (and only) directorial venture, we spend our second topic discussing some other great directorial debuts. 

And as you’d expect, we close things out with some Final Notes of Positivity.

On today's show, we have a messy love triangle to sort through. No, I'm not referring to any sordid entanglements with our trio of panelists - host Lady P, co-producer Martin Kessler, and Battleship Pretension's Scott Nye - but rather the messy bed hopping and relationship dramas of the central trio in Jean Eustache's The Mother and the Whore (1973). Despite it being a notoriously difficult movie to see, The Mother and the Whore has drummed up enough critical support to land the 59th slot on the "Sight and Sound Greatest Films of all Time" list. The film stars Jean-Pierre Léaud as a hapless thirty-something layabout, who's somehow managed to get not one, but two women, to fall for him.  This is the original Quarterlife crisis movie, sort of in the vein of the HBO series Girls, where the characters are both endearing and completely insufferable. 

Dave Eves joins Martin Kessler for a wildfire fast conversation about filmmaker Mikhail Kalatozov. They brave the elements to marvel at I Am Cuba’s famous long takes, consider the logistics of Letter Never Sent’s forest fire, and look at how The Cranes Are Flying set the bar for self-serious Russian directors. If you survive to the end you’ll hear some strong opinions on arthouse theatre audiences, Hard to Be a God, Blumhouse horror movies, the accents of token straw-man Americans, and of course why “cinema is a lie”. 

If you have any letters to send, you can reach Dave Eves on Twitter at @CinemaVsDave

Buckle up, things are about to get slow. Lady P welcome Monique “Momo” Morgan in her Flixwise debut, and Flixwise co-producer Martin Kessler, to talk about the second Kenji Mizoguchi entry on the Sight and Sound list, Sansho The Bailiff. They navigate its murky waters in discussing its themes, symbols, and moral quandaries, the role of women in the film, and Mizoguchi’s filmmaking technique. 

For our second topic we take a long look at long takes. Our panelists discuss different types of long takes and their varying effects. Plus, they figure out exactly how long a take needs to be to achieve ‘long take’ status, and then try to list their top five favourites (Birdman doesn’t make an appearance, we promise). 

It's our final installment in this coverage of the TCM Classic Film Fest. For this last minisode, Lady P and Kristen Sales are talking Cock... Cock of the Air (1932), that is. Produced by Howard Hughes, Cock of the Air is a bawdy Pre-Code comedy/adventure flick that serves primarily as a showcase for actress Billie Dove and her ample (ahem) talents. And in keeping with the sexual objectification theme, the gals take a good gander at the David Farrar shapely gams, which really popped in the new Academy nitrate print of Black Narcissus (1947). Then the gals take a trip to Florida, and chat about the wonderful Preston Sturges screwball comedy, The Palm Beach Story (1942) and debate which of Sturges films is the sexiest. Finally, they offer some closing thoughts on this year's "Make em Laugh" theme.

It's the 2nd in our series of minisodes from the 2017 TCM Classic Film Fest. Lady P and Kristen Sales are back, bringing you highlights and random musing from days 2 and 3 of the Fest. Talking points include the greatness of Madeline Kahn, watching really depressing movies at a comedy oriented Fest, and Sean Connery in a mankini.  

Check back Monday for the final episode in our #TCMFF series.

As promised, Lady P and Kristen Sales are back with updates from the 2017 TCM Classic Film Festival. For their first episode they discuss some of their favorite moments from the Fest thus far. Highlights include a variety of Pre-Code delights, the various TCM fan gatherings around town, and the surprise appearance from the ultimate classic film superfan, Mr. Martin Scorsese.

Stay tuned for more updates throughout the weekend!

On today's show, it's our annual TCM Film Fest preview! The Fest begins this Thursday, April 6th, and continues through Sunday, April 9th. Helping listeners navigate the ins and outs of this year's program, is a very special guest - TCM Saturday Daytime Host, Tiffany Vazquez. Tiffany joins host, Lady P, and Flixwise regular, Kristen Sales, to offer up suggestions on what to see from this year's roster of great films. They talk about what attendees can expect as they run back and forth between the great movie palaces of Hollywood Boulevard, and also discuss this year's theme, "Make Em Laugh", and why our collective classic film loving heart needs a slate of comedy offerings right about now.

And lest we forget, there's also a Sight and Sound movie to cover. This time it's the 59th film on the Critics' Poll, Buster Keaton's 1924 feature, Sherlock Jr. Brace yourself for some serious giddiness, because Lady P and Kristen lavish more effusive praise on this movie than just about any film they ever discussed on this podcast - and if you've listened to the Jeanne Dielman episode, you know they go hard for movies they really like. They delve into Buster's precision both as a performer and as a director, his persona and how it compares to his contemporaries, and why cinephiles in particular are so fond of Sherlock Jr. Plus, the gals spend a good amount of time talking about Buster's most important asset: his beautiful face.

But wait, there's more! Make sure to check your feeds for more updates from TCMFF.  Kristen and Lady P will be releasing special minisodes throughout the weekend with recaps and highlights direct from the Fest.

Martin and returning guest Marcus Pinn delve into the minutiae of juxtaposing film stills. They  cover coincidence and influence, and what makes a good side by side and a bad side. Along the way they touch on how to watch a Claire Denis film, visual cliches, Twitter etiquette, and hands-on cinephilia,  Which filmmaker says they’ve never seen Star Wars but totally knows what an Ewok is, and which filmmaker only copies class? All questions will be answered! 

Check our Marcus Pinn’s writing over at http://www.pinnlandempire.com and listen to his new podcast, Zebras in America here: https://soundcloud.com/zebras-in-america 

On today's show, three of the internet's finest twits (Lady P, Martin Kessler, and Kristen Sales) attempt to find purpose and salvation through a meandering, nonsensical quest - to figure out whether Monty Python and the Holy Grail (1975) is worthy of the Flixwise Favorite's list. Together they parse through a submission from listener, Jessica Gilbert, who outlines why she thinks the Pythons' second feature is one of the greatest films ever made. She touches on all the usual topics: filmic technique, cultural impact, shrubbery taxonomies, etc.

Using Jessica's submission as a guide, our fearless trio of panelists attempt to discern all the silly accents (and walks!) and figure out if Holy Grail is indeed worthy of our show's highest acclaim. 

On today's show, we have the 59th movie on the Sight and Sound International Critics' Poll: Barry Lyndon. Speaking of Sight and Sound, today's guest is a freelance critic for that esteemed film journal, as well as the social media maven for Film4, Michael Leader. Michael joins host Lady P and Flixwise regular Kristen Sales to discuss Stanley Kubrick's overlooked masterpiece. Barry Lyndon has historically been dogged by a kind of middle child syndrome. It has neither the technical marvel of 2001: A Space Odyssey ('68), nor the crowd-pleasing sexuality and violence ofA Clockwork Orange ('71)  or The Shining ('80). Nevertheless, our panelists believe Barry Lyndon to be among Kubrick's shining achievements. They talk about why the film is such a success, and why it's taken so long for it to be properly recognized as one of the greats. Plus, they talk about Ryan O'Neal, his eventual fall from grace (Warning - don't click this link if ever hope to take Mr. O'Neal seriously again), and, of course, they touch on the film's notoriously arduous production process.

Then for our second topic, we discuss Michael's latest film distribution venture, Misc Films. Michael and Misc Films' co-founder, Rowan Woods, have joined forces to get some of their favorite little-seen indies a proper screening in London. Michael talks about what it takes to organize a screening in a major metropolitan area and how you go about getting the rights to these works. Eventually the panelists just geek out about the various rep houses in their respective areas, and they talk about how to drive people back to the theatre.

On today's show, we have our first Flixwise Favorites entry of 2017. This time, guest Joshua Wilson, of the film blog F for Films, asks Lady P and Martin to consider Blake Edwards' 1964 farce, A Shot in the Dark, for entry into our alternate greatest of all time list. Those keeping track of our journey through the Sight and Sound Critics' Poll are familiar with Lady P's griping about the lack of comedies featured in the cinema canon. But listen up to hear if she and Martin think this Pink Panther sequel is worthy of being named among the all-time-best.

Fair Warning: A Shot in the Dark features George Sanders aka the greatest actor who's ever inhabited this sweet cesspool. Therefore Lady P can make no claim of objectivity or even rationality. She can, however, promise honesty and a terrible French accent.

On today's show, Lady P is joined by the woman who penned one of the greatest movies of the decade: Carol (2015). The funny and brilliant Phyllis Nagy is here to talk about adapting Carol's screenplay from Patricia Highsmith's original source material and the lengthy, and at times frustrating, process of getting the film into production. They chat about Cate Blanchett and Rooney Mara's rendering of the two lead characters, as well as the standout performance from supporting players, Sarah Paulson and Kyle Chandler. Plus, Phyllis offers a scoop on what happened to a few scenes from the book that didn't make the final cut of the film.

Longtime listeners are by this point well aware of Lady P's total adoration of things Carol. Listen up to see if she manages to keep her composure throughout the entire interview.

In addition to filling us in on details from behind-the-scenes of Carol, Phyllis is also here to discuss a pair of standout performances by the incomparable French actress, Isabelle Huppert. This year Huppert was, at long last, nominated for her first Academy Award. However, Huppert has been giving Oscar-worthy performances well before she ever worked with Verhoeven. If you are unfamiliar with her work up to this point, you might not know where to begin, as her filmography is quite extensive. Fortunately, Phyllis is here to offer up two of her favorite Huppert films as suggestions for your watch list: Claude Chabrol's 1988 film: Story of Women, and Diane Kurys 1983 film: Entre Nous. 

Both Story of Women and Entre Nous are period dramas which find Huppert playing malcontented married women, both of whom form deep attachments to their closest female friends. In Story of Women she plays Marie Latour, a woman who, despite her husband's objections, traffics in abortions and other illegal dealings in German occupied France. In Entre Nous, Huppert plays Lena Weber, a woman who falls into an expedient marriage in order to escape Nazi control, but after the war is over falls in the love with another woman.

Both of these movies were heralded by critics upon their initial release. However, only Story of Women, is readily available. You can purchase it on DVD and it's also streamable on FilmStruck. However, Entre Nous (you know, the one directed by a woman) is currently unavailable in the US. If you're lucky enough to have a region 2 DVD player, you can purchase it here.

Listeners, your mission is now to bug the right people, and get this wonderful film back in circulation.

We are honored to welcome film historian, Professor James Naremore, back to the show for a discussion on Orson Welles' 1958 film noir classic Touch of Evil. Orson Welles is a frequent topic of conversion on this podcast. We've had several Welles scholars make appearances, including Joseph McBride and Patrick McGilligan, as well as today's guest, Professor Naremore, who has made reference to his Welles critical study: The Magic World of Orson Welles on several previous occasions. Clearly, we at Flixwise will take any excuse to expound on our favorite cinematic wunderkind, but believe it or not, Touch of Evil is only the second Welles film on the Sight and Sound International Critics Poll.

Needless to say, we are thrilled to finally have another Welles Sight and Sound entry to mull over. Lady P and Naremore delve into Welles stylistic choices, and how they differ from some of Welles' previous Hollywood pictures. They talk about the terrific performances from both the lead actors and the supporting players, and of course the screen-scorching presence of Marlene Dietrich.

For the second topic, they move on to another iconic Welles character: Harry Lime. The purpose of art in today's scary political climate is a popular topic kicking around online magazines and social media feeds. Some articles have even suggested that these times of great tumult may prove a boon to artists, because, apparently, social revolt is grist to the mill for creative types. This sentiment echoes Harry Lime's "Cuckoo Clock" speech from Carol Reed's 1949 classic, The Third Man in which he makes a claim that great cultural works are produced primarily as a result of war and strife.  Lady P and Naremore revisit this infamous speech, and discuss whether its central argument still holds any merit today, and perhaps more significantly, whether it ever held any merit at all.

It's official. Flixwise co-producer Martin Kessler has signed his soul over to the dark lord Black Phillip, and decided to starts a new podcast - Flixwise: Canada. Seeing as how Martin is the world's nicest human, this obvious betrayal of Flixwise founder, Lady P, can only be the work of the Devil. But before you go calling your local exorcist, just know that Lady P is also on good terms with Satan and is totally onboard this new venture.

These new Martin hosted-episodes will focus on topics outside of Flixwise's usual purview. Don't worry, we're still going to have our normal Sight and Sound coverage, as well as plenty of Flixwise Favorites entries and special episodes. Except now we'll also have episodes focusing exclusively on topics Martin wants to cover.

Like for instance, on today's show, Martin's discussing Robert Eggers' 2016 debut feature, The Witch, with Bay Area English Professor, Burton Fisher. Listeners will recall that The Witch was one of Martin's favorite films of 2016. Here he gets a chance to elaborate on why this film stands apart from other recent supernatural horror flicks. Plus, he and Burton explore the various influences that helped Eggers shape The Witch's cinematic world, including puritan folklore and the works of Andre Tarkovsky.

Our 2016 wrap-up continues with a special bonus episode on the best television shows of the year. Lady P is joined once again by Martin Kessler, Kristen Sales, and special call-in guest Marya E. Gates, to discuss their top 5 television shows and moments that stood out among the din. They cover the good (the CW and FX rocked it last year), the bad (The Cleveland baseball team is called WHAT?!), the strange (Atlanta - the Twin Peaks of the south!), and the all-too-familiar (Stranger Things). Let us know if we missed anything.

It's our annual year in review show! Lady P is joined by Anne Marie Kelly, Martin Kessler, and Kristen Sales (with a special call-in segment from our pal Marya E. Gates) to talk about the best movies of 2016.  Each panelist runs through their Top 5 favorite films of the year. Plus, they highlight notable performances and delight in ripping into movies that didn't quite meet their expectations (or in the case of The Handmaiden, met their expectations exactly).

Finally, they close things out with a brief remembrance of beloved pop culture icons Carrie Fisher and Debbie Reynolds, and offer a few halting reasons to be optimistic for the coming year. 

Since this our last episode of 2016, we felt it appropriate to mark the occasion with a pair of discussions about "changing times." First up, Lady P welcomes blogger, David Eves, and Flixwise co-producer, Martin Kessler, to talk about today's Sight and Sound entry, Luchino Visconti's 1963 epic period drama, The Leopard. The film is about an aging Sicilian prince, played by Burt Lancaster, who attempts to stoke the flickering remnants of his family heritage and societal standing as the old world aristocracy crumbles around him. At number 57, The Leopard stands as Visconti's most highly ranked film on the "Greatest of all Time" list. It is largely heralded for its lavish production design, its sweeping themes of love and family strife, and the towering central performance from Lancaster. The panel deliberates on how well the central themes of the film still resonate in our current political climate.

Then, the gang jumps into a discussion on movies about intergenerational conflict (i.e., they'll take any excuse to bring up The Magnificent Ambersons). They talk about the challenges of portraying these eternal struggles on film, and why we as humans insist on pitting different generations against each other. 

Yesterday (December 5th, 2016) was the 126th birthday of German director turned Hollywood Auteur, Fritz Lang. Today, we honor the legendary filmmaker with a discussion of his 1931 classic, M. Host, Lady P, is joined by co-producer, Martin Kessler, and Flixwise regular, Carrie Specht, to talk about Lang's disturbingly prescient tale about the dangers of mob rule and police overreach. The panel talks about how well the message of the film holds up to contemporary audiences, and whether or not it is worthy of the 56th spot on the Sight and Sound Greatest Films of All Time List.

Then, in honor of Peter Lorre's Hans Beckert character, the panel delves in to a discussion about sympathetic villains. They talk about the ways in which a sympathetic villain differs from a charismatic villain, or an anti-hero. Plus, each panelist gives their Top 5 examples of the type.

We recorded this episode several weeks ago, but given the results of last Tuesday's election it could not be more prescient. Martin Kessler and Marcus Pinn join Lady P to talk Melvin Van Peebles 1968 debut feature The Story of a Three-Day Pass. Directed by an African-American with the style and panache of a French New Wave film, it perfectly encapsulates the essence of 1960s Parisian chic. It tells the story of an African-American soldier on leave for a few days in Paris. He tours the city by himself feeling lonely and out-of-place, that is, until he has a chance encounter with a young French woman who has came to spend the weekend with him. The pair fall head over heels for each other, but quickly find that love does not conquer all.

This episode directly addresses issues that society continually grapples with - namely the role of casual and systemic racism in contemporary culture. If we were to do this episode again today, the tenor of our discussion would likely be very different. However, the subjects and opinions expressed in this recording still stand.

During these solemn times we give thanks to people like Melvin Van Peebles, someone who overcame tremendous economic and racial barriers, and steadfastly held to his cinematic vision. Let us hope that these efforts were not in vain, and that through art and discourse we can eventually move this ever-stubborn needle forward.

We recorded this episode several weeks ago, but given the results of last Tuesday's election it could not be more prescient. Martin Kessler and Marcus Pinn join Lady P to talk Melvin Van Peebles 1967 debut feature The Story of a Three-Day Pass. Directed by an African-American with the style and panache of a French New Wave film, it perfectly encapsulates the essence of 1960s Parisian chic. It tells the story of an African-American soldier on leave for a few days in Paris. He tours the city by himself feeling lonely and out-of-place, that is, until he has a chance encounter with a young French woman who has came to spend the weekend with him. The pair fall head over heels for each other, but quickly find that love does not conquer all.

This episode directly addresses issues that society continually grapples with - namely the role of casual and systemic racism in contemporary culture. If we were to do this episode again today, the tenor of our discussion would likely be very different. However, the subjects and opinions expressed in this recording still stand.

During these solemn times we give thanks to people like Melvin Van Peebles, someone who overcame tremendous economic and racial barriers, and steadfastly held to his cinematic vision. Let us hope that these efforts were not in vain, and that through art and discourse we can eventually move this ever-stubborn needle forward.

Apologies to Mr. Scorsese and Mr. De Niro, but we at Flixwise think the true star of the 53rd movie on the Sight and Sound list, Raging Bull (1980), is editor extraordinaire Thelma Schoonmaker. Robert De Niro and Martin Scorsese are often thought of as the quintessential actor/director tag-team. From Mean Streets through Casino the pair have amassed an impressive collection of great studies in toxic masculinity, perhaps none more noxious than today's first topic, Raging Bull. It's true that Raging Bull remains a terrific showcase for Scorsese's visual flourishes and De Niro's Capital-A Acting, and it's clear that this pair of heavyweights shared a strong conviction that the story of boxer Jake LaMotta needed to be brought to the screen. That said, today's panelists -  Lady P, Martin Kessler, and Marya E. Gates - spend a good deal of today's episode explaining why they think the woman stringing the story together is the true champion of this production.

For the second topic, the panel discusses other famous actor/director collaborators. They discuss why audiences enjoy watching recurring team-ups and they also discuss some of the pitfalls of going to the same actor well over and over again. Then they each offer up some of their personal favorite duos.

Finally, Marya tells listeners why they should check out her latest podcast project: Female Filmmaker Friday.

We are extremely honored to welcome back to the show renowned author and film historian, James Naremore.  He's joining Lady P in covering two of the films tied for the 53rd spot on the Sight and Sound Critics Poll - both of which happen to be directed by Alfred Hitchcock. First up in our Hitch 'Double Feature', the Master of Suspense's 1954 thriller, Rear Window. If you've been following our show for a while, you know that both James and Lady P adore Rear Window co-star, Thelma Ritter. You'll recall that they expounded on her virtues at length in the Journey to Italy episode. If that episode was any indication, expect the Thelma Ritter hour, with a smattering of other details about Jimmy Stewart and the Masculine Gaze thrown in for good measure.

Then, for the second feature, they go on a high stakes jaunt around the Eastern United States, with an in-depth analysis of Hitchcock's 1959 feature, North by Northwest. They talk about how a film with a plot  so nonsensical can possibly be considered one of the greatest of all time. Don't worry, there's no contrarianism or hot takes. North by Northwest is an unmistakable masterpiece. The discussion focuses on how the film's shagginess plays to its strengths - namely its sense of humor and over-the-top visuals.

Finally, they wrap things up with a brief discussion on James Naremore's recent projects, including his commentary track for the Criterion edition of Chimes at Midnight.

We've reached the final entry in our first Bette Davis series (first of many if Lady P has anything to say about it). Our previous 'All About Bette' episodes covered Davis' turns in All About Eve (1950) and The Little Foxes (1941). Rounding out this glorious trifecta is the sister act that would come to define the latter, post-Studio System, half of Bette's career: What Ever Happened to Baby Jane? (1962). 

Largely due to the infamous feud between the film's two larger than life stars, Bette Davis and Joan Crawford, Baby Jane is now primarily remembered as a campy novelty film. We at Flixwise are certainly no strangers to the art of playful exaggeration (See our Johnny Guitar episode). However, in the case of Baby Jane, we want to make sure that film's reputation as drag queen fodder, hasn't overshadowed the abject terror and sadness at the heart of the story. We also want to highlight the film's great formal achievements. Director/referee Robert Aldrich does a masterful job creating a sense of claustrophobia and dread, while also guiding two of Hollywood's biggest leading ladies through performances that would, for better or for worse, cement their respective personas for future generations.

For our previous 'All About Bette' entries Kristen Sales and Anne Marie Kelly gave pitches for why their favorite Davis film should be included in the Flixwise canon. Now it's Lady P's turn to convince skeptics, Kristen and Anne Marie that this perennial horror classic is worthy of the Flixwise Favorite's list. Will she succeed? Pull up a chair and give it listen to find out.

We have officially made it through the Top 50 of the Sight and Sound Greatest Films of All Time list! Let's all pat ourselveson the back and celebrate a job partially done. In all seriousness, this a proud moment for our show and we're excited to mark the occasion. Let us continue our commemoration of getting a 5th of the way through this seemingly endless list by raising a glass to one of Hollywood's most enduring and tenacious screen icons, Bette Davis.

Today's show is the second in our three-part Bette Davis marathon: All About Bette. In our first entry, we discussed Davis's career-defining turn in Joseph Mankiewicz's All About Eve (1950). This time we're tackling a less-widely seen Davis film, the 1941 adaptation of  Lillian Hellman's play,The Little Foxes (1941).  Lady P is joined once again by Kristen Sales and Anne Marie Kelly to talk about why The Little Foxes deserves greater recognition among Bette's filmography.

Talking points include Davis's relationship with the film's director, William Wyler, and the deep-focus cinematography courtesy of Director of Photography, Gregg Toland (which inevitably leads to comparisons with Citizen Kane). They also attempt to put the film in historical context and talk about why 1940s Hollywood was so into making turn-of-the-century family dramas (see also Meet Me in St. Louis and The Magnificent Ambersons). Finally, they decide whether or not The Little Foxes is worthy of the Flixwise Favorites list.  

Ladies and gentleman, Flixwise has officially completed its review of the Top 50 Sight and Sound's Greatest Films of All Time. It's been a long time coming and we can think of no better way to mark the occasion than by having a Bette Davis podcast marathon... because every occasion should be cause to celebrate the fiercest queen in Hollywood history. 

Curiously, there weren't any Bette Davis movies on the Top 50 list. And curiouser still, there doesn't appear to be any Davis in the remaining 200. Fortunately, the Flixwise gang is here to correct this egregious error.

On today's show, we're kicking of our 'All About Bette' series with the film that many consider the pinnacle of her acting career: All About Eve (1950). Flixwise regular, Kristen Sales, tells listeners why she thinks All About Eve is one of the greatest films of all time. She'll have to convince host, Lady P, and fellow regular, Anne Marie Kelly, that Joseph Mankiewicz's celebration of "the theataar" and all of its backstage bickering is worthy of the Flixwise Favorites List.

Expect heaps of praise for Davis, George Sanders, Anne Baxter, and Thelma Ritter. Plus, an explanation for that weird scene with Eve and her "roommate".

On today's show, we're rounding out the Sight and Sound Top 50 with Kenji Mizoguchi's ghost story, Ugetsu Monogatari ('53). Notable for both its stunning long takes and its condemnation of the oppressive patriarchal values of Feudal Japan, Ugetsu has become the quintessential Mizoguchi text. Flixwise co-producer, Martin Kessler, and Eclipse Viewer host, David Blakeslee, join Lady P to discuss why they think Ugetsu's haunting tale of the destructive power of masculine pride managed to surpass both Sansho the Bailiff and Life of Oharu to become the highest ranking Mizoguchi film on the Sight and Sound list.

For the second topic, the gang talks cinema's greatest ghost stories. The panelist surmise that part of Ugetsu's enduring popularity is its supernatural element. That said, not all movie specters are as haunting as Machiko Kyo's Lady Wakasa. The panel talks about what kinds of ghosts make for effective cinematic renderings (and they try to figure out why movie ghosts have a thing for pottery). Then each panelists takes a turn talking about their personal favorite spirits from the great beyond.

On today's show, we're rounding out the Sight and Sound Top 50 with Kenji Mizoguchi's ghost story, Ugetsu Monogatari ('53). Notable for both its stunning long takes and its condemnation of the oppressive patriarchal values of Feudal Japan, Ugetsu has become the quintessential Mizoguchi text. Flixwise co-producer, Martin Kessler, and Eclipse Viewer host, David Blakeslee, join Lady P to discuss why they think Ugetsu's haunting tale of the destructive power of masculine pride managed to surpass both Sansho the Bailiff and Life of Oharu to become the highest ranking Mizoguchi film on the Sight and Sound list.

For the second topic, the gang talks cinema's greatest ghost stories. The panelist surmise that part of Ugetsu's enduring popularity is its supernatural element. That said, not all movie specters are as haunting as Machiko Kyo's Lady Wakasa. The panel talks about what kinds of ghosts make for effective cinematic renderings (and they try to figure out why movie ghosts have a thing for pottery). Then each panelists takes a turn talking about their personal favorite spirits from the great beyond.

At long last we've finally come to a Charlie Chaplin entry on the Sight and Sound Greatest of All Time list. Landing square on the 50th spot is Chaplin's 1931 feature, City Lights. Biographer, screenwriter, and film historian Professor Joseph McBride joins Lady P to talk about the legendary director and the enduring appeal of his silent comedies. They review the history of Chaplin as comedic actor and explain how he developed his infamous Tramp character. Along the way, they discuss City Lights' painstaking and costly production process, and Chaplin's insistence on maintaining complete control over every step in the film making process.

On today's show, Lady P is joined by Martin Kessler, Marcus Pinn, and Flixwise newcomer Lisi Tribble Russell. Lisi is on hand talk about the work of her late-husband, Ken Russell - the acclaimed British director behind such classics as Tommy and Women in Love. Lisi shares the story of her and Ken's longtime-friendship and eventual courtship, and describes what it was like to live and work with one her favorite directors.  In addition to those biographical details, the panel also digs deep into selects from Ken Russell's enormous and diverse body of work. They describe the evolution of Russell's style and how he managed to grow and change throughout his decades-spanning career, while still maintaining his signature iconoclastic touch.

But before they get to all that, there's a Sight and Sound entry to cover. At long last, we've reached the 50th film on the Greatest of All Time List, Chris Marker's La Jetee. La Jetee's narrative about a man traveling through time to save humanity from extinction has been imitated (see every intro to filmmaking class ever), remade, and remade again. However, Marker's original 1962 short remains the repudiated best of the bunch. Listen up to hear why this low-tech, sci-fi, mind-bender of a tale as proven such an enduring masterpiece.

For this episode, Flixwise art director Emma Guerard is here to discuss why she thinks Chris Noonan’s piglet-driven dramedy Babe belongs on the Flixwise Favorites list.  In order for Babe to make the prime cut, she’ll have to convince Lady P, Martin Kessler, and Marcus Pinn that there is more to Babe than Oscar-worthy special effects and cinema’s greatest all-mice a capella group.  Emma asserts the movie has a lot to say about the farm-fresh milk of human kindness, but will the panel be convinced, or send Babe out to pasture?

Today's 48th Sight and Sound entry is Jean-Luc Godard's eight-part essay-style documentary series Histoire(s) du Cinema. A film as sprawling and experimental as Histoire(s) requires both time and patience to parse. For that reason, the majority of this podcast is spent decoding Histoire(s) esoteric text.

Joining host, Lady P, to translate the film is a set of panelist with wide array of strong opinions on the film - as befits a figure as polarizing as Godard. First up, in his Flixwise debut, is film critic and host of The Cinephiliacs podcast, Peter Labuza. Peter's on hand to advocate for Histoire(s), not just as a piece of superlative filmmaking, but also for its significance as one of the few non-linear works on the S&S list. Co-producer, Martin Kessler, and Flixwise regular, Kristen Sales, are a little more skeptical about some of Godard's ideas, though they both found pieces in the film's 4+ hours that they could get behind. They talk about why they found Histoire(s) both totally great and totally frustrating. Lady P, meanwhile, spends most of the episode just frustrated and befuddled.

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 you're thinking: "If you're so against violence, why do you insist on beating this dead horse." While it's true that every time a certain notable genre-masher/foot-fetishist releases a movie we get a fresh flurry of think piece about the wider repercussions of movie violence. But for our discussion we're going to leave the hand-wringing and pearl-clutching to the experts, and talk about instances where we think violence was used effectively. And in case you're wondering, yes, Mr. Tarantino does come up.

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 story, especially when a film goes around calling itself a "documentary". But did our panel actually enjoy Kiarostami's exploration of cinematic manipulation? Listen up to find out.

After Close-Up, the panelists turn the lenses on themselves to reveal "The Films That Made Them". They talk about which movies from their childhoods left the greatest impressions, plus which films inspired them to start writing/blogging/podcasting about movies. (Shout-out to Joshua Wilson for inspiring the topic.)

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 story, especially when a film goes around calling itself a "documentary". But did our panel actually enjoy Kiarostami's exploration of cinematic manipulation? Listen up to find out.

After Close-Up, the panelists turn the lenses on themselves to reveal "The Films That Made Them". They talk about which movies from their childhoods left the greatest impressions, plus which films inspired them to start writing/blogging/podcasting about movies. (Shout-out to Joshua Wilson for inspiring the topic.)

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 vague similarity to some discussions that Flixwise has covered in the past, but rest assured, this discussion is completely unlike anything we've ever talked about before, ever... except maybe this and kinda this.

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 investigate his troubled childhood, and describes what it was like to revisit memories of this difficult time. 

Finally, they close things out with an update on McBride's upcoming critical study of the famed German filmmaker, Billy Wilder's mentor, Ernst Lubitsch.

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.

Then, since we have two bonafide Criterion aficionados in the house, we thought we'd take this opportunity to talk about The Criterion Collection. Digital streaming services have become more and more convenient and ubiquitous in recent years. So why then do folks like David and Aaron continue not only to collect, but also write and podcast about Criterion. We discuss the enduring appeal of the Criterion brand, and whether or not physical media will continue to have a following in this increasingly cloud based world.

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 fire in recent years for it's lack of diversity and its myopic focus on films that appeal largely to an older white audience. They've recently taken steps to try and bring a new crop of younger people of varying ethnicities into the fold, but will that be enough to renew interest in the show? They discuss.

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 character actor, and what is the distinction between a character actor and a movie star? Professor Naremore explains the origins of the character actor moniker and talks about the nebulous difference between a character actor and a marquee topping name.

*Fact

And if you're interested in hearing James Naremore on other episodes of Flixwise be sure to check out our podcasts on MULHOLLAND DRIVE and PSYCHO.

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 topic covers ways that extravagant wealth is depicted onscreen. The chasing of money has long been a fascination for American movie audiences. Our canon is littered with films about the folly of striving for financial success (see Citizen Kane, The Godfather, The Wolf of Wall Street, etc.) The panel talks about Hollywood's obsession with millionaires, and compares it with how European cinema deals with its moneyed elites. 

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 thoughts on any of the matters discussed on the show in the comments below. Or you can reach out to us on Facebook and Twitter.

Editor's Note: This episode was recorded before last week's terrorist attacks, which is why the subject never comes up in the conversation. However, we would like to take this opportunity to extend our support to the citizens of Paris, and to offer condolences to any whose friends and families were impacted by the violence.

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 movie is indeed deserving of canonization.

Did you really think we'd do a series on female directed films and not talk about Amy Heckerling's Clueless? AS IF!!

Flixwise regular, Anne Marie Kelly, outlines why she thinks the seminal 1995 teen comedy is worthy of the Flixwise Favorites List. She'll have to convince Lady P, Kristen Sales, and Marya E. Gates that her fondness for the film stems not just from wardrobe envy or a '90s nostalgia trip, but from the film's formal attributes and cultural significance as well. Listen up to see if the panel agrees that Clueless is one of the Greatest Movies of All Time.

Along the way, they talk outfits (duh!), compare Clueless to Emma--the original Jane Austen text--and admire the film's progressive take on sexuality. Plus, Kristen offers a rousing sermon on awe of the teen movie genre, which is definitely not-to-be-missed.

Lady P and Anne Marie Kelly are joined by Ed Neumeier, the writer and producer of ROBOCOP and STARSHIP TROOPERS, to talk early science fiction films. Their discussion centers primarily on the 36th film on the Sight and Sound Greatest Of All Time List: Fritz Lang's 1927 German Expressionist classic, METROPOLIS. They give a brief overview of the socio-political environment at the time of production (yep, that means Hitler), and talk about how the film co-opts the styles and themes of several early-20th century art movements. Plus they discuss how Robot Maria has left her fingerprints on every subsequent android assembled since METROPOLIS' release.

For the second topic, they talk about Ed's personal cyborg creations. Ed details his path to becoming a screenwriter, and how he ended up a producer on ROBOCOP by his late-20s. He also talks about writing STARSHIP TROOPERS (a favorite around these parts), and the process of turning Robert Heinlein's ring-wing polemic into an anti-war satire. He also touches on the precariousness of early success, and what aspiring screenwriters should do if they want to follow in his footsteps.

For our 2nd entry in the "Flixwise Favorites: Female Filmmaker" series, Marya E. Gates tries to convince Kristen Sales and Lady P that Gillian Armstrong's 1994 feature, LITTLE WOMEN, is worthy of our canon.

Topics include: the film's rendering of Alcott's original text, the gorgeous set and costume design, the ageless beauty of Susan Sarandon, and stupid-Amy and her stupid limes. Plus, they tackle the issue that's been dividing our nation since the film's release: Laurie vs Professor Bhaer. 

Welcome back to the show Marya E. Gates and Kristen Sales!

Taking a cue from Marya's "A Year With Women" project, we've started running our own "Flixwise Favorites: Female Filmmaker" series. First up, Kristen tells us why she thinks Kathryn Bigelow's 1991 film, POINT BREAK, is totally radical and should be considered one the greatest movies of all time.

It turns out the film's tagline, "100% Pure Adrenaline", is a little misleading. According to Kristen, POINT BREAK is not just one of the most influential action movies of the 90s, it's also a sensitive portrayal of blossoming intimacy between a pair of beautiful men in wet suits.

Listen up to see if the rest of the panel thinks Bigelow's tale of high-stakes bromance is worthy of canonization.

It's a lady filmmaker podcast! With special guests Marya E. Gates of Cinema Fanatic and Kristen Sales of Sales on Film.

First, the panel methodically steps through the 36th movie on the Sight and Sound Greatest of All Time list: Chantal Akerman's 1975 feature, Jeanne Dielman 23 quai du commerce, 1080 Bruxelles. There's a lot to unpack in Akerman's meticulous rendering of the daily rituals of a Belgian housewife-turned-prostitute. For some, the film is a reverent tribute to motherhood and the domestic sphere. Others see the film as survey of existential despair. And plenty more just see the world's longest, most boring HGTV pilot. Listen up to hear our panelists' takeaways.

Then, the ladies talk about Marya's ongoing project called A Year With Women. Basically, for the entirety of 2015, Marya is only watching films directed by women. Marya talks about why she started this experiment, and why Hollywood still refuses to let women take the helm on big budget features.

Aaron West of the film blog Criterion Blues joins Lady P and Flixwise co-producer, Martin Kessler, to talk about whether or not the 1978 animated adaptation of Richard Adams' classic novel, WATERSHIP DOWN, is worthy of the Flixwise Favorites list. WATERSHIP DOWN has been favorite of Aaron's since adolescence. Listen up to see if he can convince his fellow panelists that his continued admiration is based on more than childhood nostalgia. Along the way, they discuss religious allegories, fascism--cuz it's the internet, and why animation rarely gets the widespread recognition it deserves.

On today's podcast, we're paying tribute to "The Master of the Macabre", Alfred Hitchcock. On-hand to assist Lady P in dissecting Sir Alfred's filmography is renowned film historian, author, and Professor Emeritus from Indiana University, James Naremore.

For our first topic, we have the Sight and Sound Critics' Poll's 34th Greatest Film of All Time: PSYCHO (1960). Our guest, James, originally offered up his in-depth take on Hitch's infamous feature in his 1973 book Filmguide to Psycho. However, that was not the first nor the last time that PSYCHO would be broken down and analyzed. It's a film that audiences, critics, and film theorists have repeatedly come back to over the years. But for today's analysis, James and Lady P make their own inspection of the Bates Motel. They parse through the publicity, the politics, and the aesthetics of the film to help explain its notoriety and its cultural and historical importance.

Then, lurking behind the next segment-break is... Sir Alfred Hitchcock, again! This Thursday (August 13th) marks Hitchcock's 116th birthday. And while it's been almost 35 years since his death, on this podcast--like all arenas of film discussion--the ghost of Alfred Hitchcock is ever present. So, to mark the occasion, Lady P and Jim list their favorite Hitchcock films, and talk about some of his lesser-known masterpieces. Plus, they discuss why his persona continues to loom so large in both academic circles, and in the public's imagination.

In an attempt to disprove the widely-held belief that all film critic's hate fun, the Sight and Sound folks voted Buster Keaton's hilarious silent picture, THE GENERAL(1926) as the 34th entry on the "Greatest Film of All Time" list. But is the film worthy of the 34th spot? Answering that question is your host, Lady P, Classicfilmfan.com editor Carrie Specht, and filmmaker/action-movie-connoisseur Jenna Payne. They take turns offering up takes on the film, and sharing in their admiration for The Great Stone Face (Ed. More like The Great Stone Cold Fox, amirite!).

Next, it's the 21st Century equivalent of THE GENERAL, George Miller's 2015 feature MAD MAX: FURY ROAD. Several critics have found similarities between the two films--someone even saw fit to create a mash-up. (Leave it to the internet!) The panelists give their thoughts on FURY ROAD, and they talk about whether the Keaton comparison is valid. Plus, they discuss the essential elements of a great chase sequence.

Lady P is joined today by Flixwise regulars Martin Kessler and Carrie Specht to discuss the 33rd entry on Sight and Sound's "Greatest Film's of All Time" list, Vittorio De Sica's BICYCLE THIEVES. Upon its release in 1948 BICYCLE THIEVES was immediately hailed as a classic and It even managed to snag the number 1 spot on the 1952 Sight and Sound critics poll.  While the film has dropped a few rungs on the Sight and Sound list, it is still considered by many to be the high-water mark of Italian Neo-Realist cinema. The panel discusses BICYCLE THIEVES enduring appeal, and the larger impact of the Neo-Realist movement in film history.

Then the panel gets a little verklempt talking about their favorite movie tear jerkers. BICYCLE THIEVES is a heart-wrencher to be sure, but does it bring our panelist to tears? If not, then what kinds of films do make them cry?

Our newly appointed co-producer, Martin Kessler, was recently shocked to discover that Paul Verhoeven's 1997 alien invasion film, STARSHIP TROOPERS, did not make the Sight and Sound Critics' Poll. His outrage might seem a little misplaced given STARSHIP TROOPERS' low to mediocre ratings on Rotten Tomatoes and other movie review aggregator sites. After all, this is a "Critics' Poll" we're dealing with. But Martin would not to be deterred by any silly critical consensus. He knew in his heart that the film that gave the world the immortal image of Doogie Howser in an SS uniform was, at the very least, deserving of reappraisal.

That's why, for today's episode, Martin is going to tell us why he thinks STARSHIP TROOPERS is a misunderstood classic that is worthy of entry into the Flixwise Favorite's List. But will Martin's fellow panelists, Lady P and Emma Guerard, be swayed by his arguments, or will they find them as unconvincing as Denise Richards' playing...well anything? Listen up if you want to know more...

Lady P is joined by Carrie Specht and Anne Marie Kelly to talk about Martin Scorsese's 1976 feature TAXI DRIVER. TAXI DRIVER is tied for the 31st spot on the Sight and Sound Critics' Poll with another "Golden Age" cornerstone: Francis Ford Coppola's THE GODFATHER PT. II. Yes, two of the darkest entries in the 1970's cinema canon landed side-by-side on the "Greatest Films of All Time" list. A coincidence? Perhaps. But nevertheless, while one may forever be the loneliest number, 31 is now officially in the running for broodiest.

And speaking of Coppola, a few weeks ago, during an off-air conversation, Carrie casually mentioned that she thinks Francis Ford Coppola is the "greatest living American director." We felt this statement deserved greater unpacking, so this week we hit the record button and talked in detail about it means to be a "uniquely-American" filmmaker.  Then the panelists each offer up their picks for top auteur.

It's the rootinest tootinest hoedown in the west! Filmmaker and friend of the show, Caroline Golum, is on hand to tell us why she thinks Nicholas Ray's JOHNNY GUITAR should be included in the Flixwise Favorites List. She's gotta convince her fellow panelists, Lady P and Anne Marie Kelly, that Joan Crawford's turn as a reluctant gunslinger is more than just campy fodder for the midnight movie crowd.

JOHNNY GUITAR wasn't a great commercial or critical success upon its release, but the years have been kind to Nicholas Ray's alternative cowperson picture. Much has been written and said about its queer subtext and overt feminist themes. Our panel tackles these subjects and they deliberate over whether JOHNNY GUITAR is worthy of entry into the great movie canon.

On today's show, Anne Marie Kelly and Carrie Specht join Lady P to talk about the 31st feature on the Sight and Sound Critics Poll: Francis Ford Coppola's THE GODFATHER PT II. Regular listeners will recall that Lady P was less than totally ecstatic about the previous GODFATHER entry; and any criticism of THE GODFATHER series qualifies as heresy amongst some cinephiles--movie people have ways of taking care of heretics. Find out if Lady P's changed her tune for Part II, or if she'll soon find herself on a moonlit boating trip.

And since GODFATHER PT II is the only sequel on the Sight and Sound Poll, the panelists take the opportunity to talk about Hollywood's recent proliferation of series and franchises. Then they each list some their favorite movie sequels.

...It's a free radio show that you can download and listen to at your leisure (and all the producers ask in return is that you go and rate it at iTunes)...But that's not important right now! 

This July marks the 30th anniversary of the release of the Zucker Abrahams Zucker disaster parody AIRPLANE!. We know we're a little early to this party, but we feel it is never too soon to commemorate the great sacrifice of one Lt. George Zip (RIP!). And so we've decided to Striker while the iron is hot, and get one Oveur the competition.* 

Flixwise regulars, Martin Kessler and Gary Lampert, join host, Lady P, in reciting as many AIRPLANE! jokes as they can cram into a 40 minute time-span. And incidentally, they also attempt to determine if the film is worthy of inclusion in the Flixwise Favorite's List. Is Ethel Merman correct? Is everything indeed coming up roses? Or is AIRPLANE! as tasteless and gross as well... airplane food?

Calm down and get a hold of yourself! All you have to do is hit play to find out.

*Editors Note--I know it's terrible, but cut me some slack, Jack.

Lady P is joined by film historian Professor Joseph McBride to celebrate the centennial birthday of Orson Welles(1915-1985).

For some, Welles is known strictly as the man who wrote, directed, and starred in what many consider to be the greatest film ever made: CITIZEN KANE. Others have come into contact with Welles as a television personality with guest appearances on shows like I LOVE LUCY and THE DEAN MARTIN CELEBRITY ROASTS. However, while the popularity of his first feature film--and his public persona--may steal a lot of the spotlight, the truth is Welles had a long and fruitful film career that continued until the day he died.

Today's guest, Joseph McBride, in addition to being a renowned Welles scholar and author of three books on the director, also worked with Welles for six years as an actor on one of his independent projects, the still-unfinished feature: THE OTHER SIDE OF THE WIND. Lady P talks with Joe about his experience being on the set, taking direction from Mr. Welles, and what viewers can expect when the film is eventually completed. They also talk about Welles' career as whole, and where THE OTHER SIDE OF THE WIND fits into his legacy.

Our Holocaust Remembrance continues, as we take a look at the 1989 documentary WEAPONS OF THE SPIRIT.

Last week, we talked about Claude Lanzmann's 1985 landmark film SHOAH: a film which chronicles, in great detail, the process by which the German Nazis went about planning and executing the horrors of the genocide of the European Jewry. This week's film looks at The Atrocity through a very different, but no less important lens.

WEAPONS OF THE SPIRIT focuses largely on the inhabitants of a small French village called Le Chambon-sur-Lignon. These inhabitants, while under Nazi occupation, made it their collective mission to shelter any Jew that came through their township. It is estimated that the citizens of the area of Le Chambon managed to save the lives of approximately 5,000 Jews.

For today's episode, Lady P is joined by WEAPONS' director, Pierre Sauvage, to talk about his approach to the subject. They discuss how he went about putting together this documentary, and his commitment to historical accuracy. And perhaps most importantly, they discuss why it is just as critical to remember the great acts of courage and heroism displayed under these harrowing circumstances as it is to remember the evils of the Holocaust. 

The evening of Wednesday April 15th, 2015 marks the start of Yom HaShoah, or Holocaust Remembrance Day. In recognition of this occasion we thought it would be appropriate to discuss the 29th entry on the Sight and Sound List: Claude Lanzmann's 1985 film, SHOAH. On today's episode, Lady P is joined by her friend, Michael Adams, to talk about Lanzmann's 9 and a half hour documentary, which details the process by which Nazi Germany went about extinguishing the European Jewry. In the discussion they talk about Lanzmann's interview techniques, the way the film is structured, and why SHOAH remains one of the greatest testaments to the power of both journalistic and elegiac filmmaking.

On today's show, worlds have collided and humankind is doomed. It's the long-awaited Wrong Reel/Flixwise collaberation! James Hancock and Mikhail Karadimov, two-thirds of our favorite east coast podcasting team, are on hand to talk about the 29th Greatest Movie of All Time: Andrei Tarkovsky's STALKER aka The Jean Grey Origin Story.

And, speaking of X-Men, we will also be discussing the recent proliferation of Apocalyptic entertainment. X-MEN: DAYS OF FUTURE PAST is just one of many contemporary examples of the surging post-civilization genre. The panel attempts to explain the appeal of watching humanity cast-off its societal restraints, and offers a few reasons why these End-of-the-World myths have become so prevalent in our current media landscape.

It's a cinematic tour through The City of Angels, and Lady P's at the wheel. Riding shotgun is film scholar, and Professor Emeritus from Indiana University, James Naremore. Together they're going to try to navigate the twists and turns of the 28th movie on the Sight and Sound Critics' Poll, David Lynch's MULHOLLAND DRIVE.

James wrote about Lynch's nightmare-ish take on the Hollywood fantasy in the most recent edition of his landmark book, More Than Night: Film Noir in Its Contexts. James revisits his analysis of the film, and talks about why he feels justified in calling MULHOLLAND DRIVE a "Neo-Noir".

Next up, they talk about a couple of films with a very different take on life in Los Angeles. James is currently writing a book on Charles Burnett. Burnett is an African American filmmaker, best known for his vérité-style depictions of everyday life in Watts--an impoverished neighborhood in South Central Los Angeles. James gives listeners a primer on Burnett's work. He covers everything from his earliest films (KILLER OF SHEEP), to his most recent short-form and documentary projects.

Finally, when the end comes--as it must to all podcasts--they finish off the episode with a preview of James' upcoming revision of his 1978 book, The Magic World of Orson Welles.

On today's show, it's two unconventional biopics about two unconventional artists. Lady P is joined by guests, Emma Guerard and Martin Kessler, to talk about the 27th Greatest Movie of all Time, Andrei Tarkovsky's ANDREI RUBLEV. This is the second Tarkovsky entry on the Sight and Sound Critics' Poll (We've talked about MIRROR in a previous episode). But is Tarkovsky worthy of two appearance in the top 30?

Next, the panel goes from Tatars to Turners, with Mike Leigh's 2014 feature film, MR. TURNER. 2014 saw an onslaught of biographical movies about troubled-geniuses (See: THE THEORY OF EVERYTHING and THE IMITATION GAME--Or better yet, don't). But MR. TURNER somehow manages to stand out above the fray. The panel talks about how Leigh was able to avoid all the tired "based on a true story" tropes, while still conveying what made JMW TURNER's work so extraordinary. 

Today, Lady P is joined to by Anne Marie Kelly and Margaret de Larios to talk about the 2015* Academy Awards. Anne Marie and Margaret both write for The Film Experience, which specializes in movie awards coverage. That means you can trust that they've analyzed the spread, and they can tell you approximately who's going to walk away with all the awards this coming Sunday. Will it be BOYHOOD or BIRDMAN? Michael Keaton or Eddie Redmayne? Julianne Moore or... no it's definitely Moore. Have your ballots handy. They're talking predictions, snubbing (aka whitewashing), and whether or not in his 87th year, Ole Oscar is still relevant.

*In the recording I call it the 2014 Oscars Special. While we are talking about films released in the 2014 calendar year, the ceremony is the 2015 Academy Awards.-Lady P  

Today, Lady P is joined by Emma Guerard and Tad Chamberlain to talk about the 24th Greatest Movie of All Time, Carl Theodor Dreyer's ORDET. The movie certainly stirred up a lot of existential angst among the panel. Lots of questions arise: What is the meaning of life? Does God exist, and If so, in what capacity? And perhaps the greatest puzzler of them all, what the hell is going on with that ending? Listen up to see if they come up with any satisfying answers.

Then the panel takes part in the annual commemoration of the martyrdom of Saint Valentine.  To honor his sacrifice, the trio offers up a list of cinema's greatest beheadings, along with a smattering of other "Alternative Valentine's Day" movies. There's plenty of blood spurt-age and/or gut-wrenching domestic turmoil to go around. And then there's also movies about candy, because there's never a bad time to celebrate candy.

Lady P is joined today by frequent guest, Emma Guerard, and newcomer, GuiltyFilm Podcast host Kevin McKee, to talk about the Sight and Sound Critics' Poll's 24th entry to the Greatest of All Time List: Wong Kar Wei's IN THE MOOD FOR LOVE. Listen up to see if our panel is equally taken with Mr. Chow and Mrs. Chen's tale of love and longing.

Then, the panelists take a cue from Mr. Chow and unburden themselves of a few shameful secrets. Unfortunately, airfare to Angkor Wat just wasn't in the budget, so the Flixwise-gang had to make due with whispering these deeply private matters into their microphones. Also, instead of recounting tales of lost love, the panelists mostly just talk about bad movies that they have an embarrassing fondness for. And to be honest, they don't even feel all that bad about it.

For our first Sight and Sound entry in the new year, Lady P is joined by film historian Professor Joseph McBride to talk about the 63rd Greatest Movie of All Time, SUNSET BOULEVARD. You may have noted that we've jumped ahead a few spots on the Critics' Poll. That's because we thought it would be nice if the podcast coincided with the BAM/PFA's Wilder retrospective, which kicks off this Thursday(1/15). Also, we just really felt like talking about SUNSET BOULEVARD. 'Nuff Said!

Next we move from Wilder to Welles. Our guest, Joseph McBride, is the series consultant for the Film Forum's current Orson Welles retrospective. McBride will be speaking at Film Forum several times throughout the week, starting this Wednesday(1/14) at the TOUCH OF EVIL screening.

We feel very fortunate to offer listeners a special sneak preview of the events. Today we're going on a brief tour through Welles' filmography, including stops in his pre and post-KANE work.  We talk about Welles' thematic and stylistic constants, as well as the ways in which his work changed and grew throughout his career.

It's exactly what it sounds like! Today Lady P is joined by Emma Guerard and Anne Marie Kelly, to talk about the best movies, tv shows, performances, haircuts, etc. from last year.

There are top 5 lists, there's Tilda Swinton fawning, there's fist-pumping (Go ORANGE IS THE NEW BLACK!), there's bubble bursting (Looking at you, GUARDIANS OF THE GALAXY), and both grave and hopeful predictions for the year ahead.

... lock him up real tight, something something something some, laa la la la la la laaa.

Alright, now that that song is blasting in a perpetual feedback loop in your brain's audio center (you're welcome!) you are probably in the mood to listen to a trio of nerds talk about Tim Burton's and Henry Selick's modern holiday classic, THE NIGHTMARE BEFORE CHRISTMAS.

This is a special listener submission to the Flixwise Favorites. Alex Keller is on hand to make the case for why he thinks NIGHTMARE is one of the most important animated movies of all time. He must convince Lady P and her brother, Gary Lampert, that the film is more than a series of catchy tunes (...kidnap the Sandy Claws..la la la laah) and pretty images, and that it is in fact, a well rounded, fully realized, cinematic masterpiece. So join us for this fireside chat, and find out if we're feeling cheery enough to let Jack, Sally, and Co. into our Favorites list.

Yesterday, December 15th 2014, marked the 75th anniversary of the release of the Selznick adaptation of GONE WITH THE WIND; a film that is often cited as the crowning achievement of a year that's brimming with classics. For those who are mathematically challenged (No judgement here. This is movie podcast, not an algebra podcast) that year is 1939, the supposed "Greatest Year in Cinema History." And why, you ask, should anyone give a damn? Well, in this episode Lady P is once again joined by two of her favorite classic-film-aficionados, Anne Marie Kelly and Carrie Specht, to ask that very question, and to reflect on whether or not this historic 365 day period lives up to its reputation. Plus, everyone offers up their own personal favorite 1939 movie selections.

But before they get into all that, there's the small matter of the next Sight and Sound entry to tackle. This time the panelist offer their analyses of the 24th Greatest Film of All Time, Akira Kurosawa's RASHOMON. Will our group of ladies find Toshiro Mifune's devilish bandit as charming as he thinks he is, or will they take the side of the humorless bandit? Listen up to find out.

On today's show Lady P is joined by Gabe Haggard and The Film Experience's Anne Marie Kelly to celebrate the 84th birthday of Jean Luc Godard. To mark the occasion the panel discusses one of Godard's best remembered classics, CONTEMPT. And what do you know, CONTEMPT also happens to be the next entry on the Sight and Sound Greatest of All Time list. However, just because it's someone's special day doesn't mean the panel's gonna be any less critical of this supposed masterpiece. To do any less would be an insult to our listeners, and to cinema's favorite enfant terrible.

Then it's a double-dose of self-reflexive cinema, because they follow up their CONTEMPT discussion with another film about film: Alejandro González Iñárritu's BIRDMAN.

On today's show Lady P is joined by two Gs, Gabe Haggard and Gary Lampert, to chat about a family of Original Gs. Get ready for a close dissection of one of the most powerful, and oft-parodied, portrayals of 20th century American masculinity, plus lots of very silly Marlon Brando impressions.  It's the Sight and Sound Critic's Poll's 21st Greatest Movie of All Time, Francis Ford Coppola's THE GODFATHER. Is it worthy of the 21st spot? Listen up to find out.

For the second topic (which may or may not be related to the first topic), we talk about overrated movies. How does one gauge if a movie is too highly regarded, and why do cultural tides turn for or against certain films? We discuss. 

On this episode Lady P is joined by Bill Krohn, the Hollywood correspondent for the renowned film journal Cahiers Du Cinema. First up, we're paying a little tribute to Italian film star Monica Vitti, who turned 83 yesterday, with an analysis of one of her most famous works, Michelangelo Antonioni's L'AVVENTURA. L'AVVENTURA also happens to be the 21st movie on the Sight and Sound Critic's Poll. Nice how that worked out.

Then the podcast sets sail for HELL'S ISLAND. Lady P and Bill chat about his collaboration with The French Cinematheque on the ongoing retrospective of the works of Phil Karlson. Karlson is best known for directing dozens of films for Monogram Pictures—the favorite American movie studio of La Nouvelle Vague. Film nerds will recall that Jean-Luc Godard dedicated his debut feature, BREATHLESS, to Monogram.

Ideally, we could all head out to Paris and check out the retrospective in person, but this podcast offers a second-best option. Bill offers listeners a primer on Phil Karlson's films, and gives his recommendations on where to start in Karlson's extensive body of work.

All October long we at Flixwise have steadfastly refused to indulge in the ritual demonic possession that seems to come upon many of our fellow-movie bloggers around mid-September. We figured the internet would safely reach peak-monster without any help from us. And also, we're giant scaredy-cats, so in lieu of spooks and slashers, we offered up singing, dancing, and merriment in the form of a Musical Marathon. However, now that Halloween is actually upon us, we've decided to relent on the whole no haunting business.

Without further ado we present our audio offering to the Lords of the Underworld (ie. Hades, Mictecacihuatl, Jack Skellington, etc.) It's the Flixwise Halloween Special!

Lady P, is once again, joined by Carrie Specht and Anne Marie Kelly. The three of them each recount their stories the very first time that they were scared by a movie. Listeners best curl up with a hot cider, a roaring fire, last years trick or treat spoils, and a cozy blanket, because trust us, these tales will make your blood run cold. So, so cold!*

It's the last leg of our Musical Marathon!

Here at Flixwise we believe that no foray into the world of song and dance is complete without a stop in Fred and Ginger territory. So before we make our exit, we're bringing you our analysis of George Stevens' 1936 feature, SWING TIME.

The founder and editor of ClassicFilmFan.com, Carrie Specht, is on hand to present the film for the Flixwise Favorites List. Listen up to see if she can convince Anne Marie Kelly, and your host, Lady P, that SWING TIME is indeed the belle of the ball when it comes to the RKO musical comedies.

We hope you enjoyed our October of counter programming. We promise to revisit this topic very soon. If listeners have any suggestions for future Flixwise Favorites episodes. Let us know via Facebook, Twitter, or Email.       

The October of counter-programming continues with our next musical submission to the Flixwise Favorites List. This time The Film Experience's Anne Marie Kelly makes her case for why she thinks WEST SIDE STORY is one of the greatest movies of all time. She's got to convince Lady P and special guest, Carrie Specht, that they should be equally enchanted with Robert Wise's film.  It's charming to be sure, but anything short of alarmingly charming just won't do.

Is the epic battle over which nationality can snap their fingers loudest as gripping as ever? Listen up to find out if our panel is as smitten with WEST SIDE STORY as Tony is with Maria.

In our SINGING IN THE RAIN episode we promised you a musical marathon, and we always make good on our promises. Starting this week, and continuing all through October, will have a series of minisodes in which each week we deliberate on one musical entry to the Flixwise Favorites List.

We are aware that historically October is typically to be devoted to all things horror. However here at Flixwise we're offering a respite from the creatures who go bump in the night.  I believe they refer to this in the biz as counter-programming. We hope you enjoy!

That being said, our first musical entry is many ways an absolutely bone chilling film. Lady P is pitching Bob Fosse's 1972 feature CABARET. She is joined by the author of The Film Experience's "A Year With Kate" series, Anne Marie Kelly, and the editor and founder of Classicfilmfan.com, Carrie Specht. Together they analyze the film and determine whether it is worthy of entry into the Flixwise's stable of Alternate Greatest Films of All Time.  

Get well soon Liza!

California may be suffering one of the most severe droughts in recorded history, but here at Flixwise it is positively storming. On today's podcast Lady P gathers two of her closest friends, Julianne Martin and Kabir Singh, to revel in the Technicolor glory of one the crowning achievements of the Hollywood studio system. It's SINGIN' IN THE RAIN! The Stanley Donen 1952 musical ranks as the 20th Greatest Movie of All Time on the Sight and Sound Critic's Poll. Listen up to find out if our trio are as elated by the film as Gene Kelly is by precipitation.

Then the panel follows up their SINGIN' IN THE RAIN analysis with a little ode to platonic love. They chat about the greatest movie friendships in cinema history! Or at least their personal favorites.

Sentiment abounds on today's show, but in case things weren't touchy-feely enough, they close out the show with their final notes of positivity.

Here's Julianne's

Here's Kabir's

Here's Lady P's

And, as promised, here's a little video of Lady P tap dancing. Look for the teal raincoat. 

On today's episode, Emma Guerard and first-time guest, Jason Perlman, join Lady P for a psychoanalysis of the Russian filmmaker Andrei Tarkovsky.  Their primary case study is Tarkovsky's 1975 feature film, MIRROR. MIRROR is the number 19¹ movie on the Sight and Sound Critics Poll. Listen up to find out if the panel was able to make heads or tails of this beguiling puzzle of a movie.

They follow up their MIRROR analysis, with a general discussion of non-narrative cinema. Yes, our panel watches non-narrative cinema. And yes, that does mean they're smarter and better than everyone else!

Finally, they close off the show with a brief chat about Jason's current project, THRESHOLD.

On this episode, Lady P is joined by a couple of her warrior friends, Gabe Haggard and Derek Kessler, to discuss Sight and Sound's 17th Greatest Movie of All Time, Akira Kurosawa's SEVEN SAMURAI. 

Then the trio wages glorious battle over what they consider to be the true purpose of film. Gabe says film should be exclusively a narrative medium, but Lady P disagrees. Sufficed to say, it gets ugly. In the end, scores are settled, blood is shed, honor is lost, but at least they've definitely settled the matter...definitely.

Then they finish off with a few final notes of positivity.

Here's Gabe's

Here's Derek's

Here's Lady P's 

On today's episode our panel attempts to discern the indiscernible. Lady P, Emma Guerard, and Andy Theiss are going to try to make sense of The Sight and Sound Critic's Poll's 17th Greatest Movie of All Time, Ingmar Bergman's PERSONA. Listen up to find out if they enjoyed having their brains disassembled by a grumpy Swedish dude. 

They follow that up with another meeting of the Richard Linklater fanclub. (The group first met up for the Dazed and Confused episode.) This time they're discussing his 2014 feature film BOYHOOD. There are a couple of people on this panel that think themselves contrarians, but will they dare go up against the near universal acclaim that BOYHOOD has received? We shall see...

Then they end the show with a few final notes of positivity: 

Here's Emma's

Here's Andy's

Here's Lady P's

This episode is a bit of a departure for Flixwise. Normally we're all about analyzing the greatest movies of all time, but since we're also in the business of horizon broadening, we thought it might be interesting to take a little detour into the realm of television(or sorta television) to chat about Jenji Kohan's ORANGE IS THE NEW BLACK.

Also, the Emmys are coming up, and we just want to make sure that the ORANGE drum continues to sound until the cast and crew (especially Kate Mulgrew) takes home the gold.

In other words, Lady P is obsessed with the show and found a semi-legitamate reason to talk about it in a public forum. In this episode Lady P brought in a couple of her friends, returning guest Julianne Martin and newcomer Melissa Kaplan, to discuss why ORANGE IS THE NEW BLACK has become a such cultural phenomenon. They talk about their favorite characters, favorite episodes, predictions for next season, and the hotness of Laura Prepon.      

Enjoy!

On today's show Lady P and Gabe Haggard are joined by filmmaker and transcendental style enthusiast Tad Chamberlain, to chat about the 16th Greatest Movie of All Time, Robert Bresson's AU HASARD BALTHAZAR. Listen up to find out if our panelist were as touched by the suffering of the poor donkey, Balthazar, as the Sight and Sound critics.

They follow up their BALTHAZAR discussion with an analysis of the 2014 blockbuster SNOWPIERCER. While BALTHAZAR and SNOWPIERCER may seem completely unrelated, there is in fact a very, very strong connection between the two films. Take a look! 

Then they wrap everything up with a their final notes of positivity.

Here's Gabe's

Here's Tad's

Here's Lady P's

It's the final installment in this trio of teen movie submissions. This time, Emma Guerard must convince the panel that Richard Linklater's DAZED AND CONFUSED is one of the greatest teen movies of all time. Find out if Lady P and Andy Theiss agree that DAZED AND CONFUSED is worthy of inclusion in the Flixwise Favorites List. 

And if you're a Linklater fan, stayed tuned for our discussion about his recent release BOYHOOD, coming up in the next few weeks. In the meantime, let us know what you think of DAZED AND CONFUSED, and if you have any suggestions for movies we should discuss in a future teen moviethon session. 

On today's episode Lady P is joined once again by writer and film historian, Professor Joseph McBride. They sit down to discuss the number 15 movie on the Sight and Sound Greatest of All Time List, Yasujiro Ozu's LATE SPRING. As Lady P mentions in the podcast, Joe was selected to participate in the 2012 Sight and Sight Critic's Poll, and he included LATE SPRING in his individual top 10 list. Lady P and Joe talk about why he feels LATE SPRING is worthy of inclusion in the canon. They also get into some of the personal and sociopolitical influences that may have informed much of Ozu's work, and they discuss the enduring appeal of Ozu's filmography.

For the second topic, Joe and Lady P offer up a handy guide for budding cinephiles. If you're someone who's always wanted to be able to show off your well honed movie tastes, but have never known where to start, then this is the episode for you. Prepare to start spending a lot more time indoors, because Lady P and Joe are offering up a selection of "gateway films", or films that will lead you to a greater appreciation for film history and artistry. Think of it as a movie snob starter kit. With this kit the wild world of smarty-pants cinema will open it's doors to you, and you will officially be out of reasons not to watch LAST YEAR AT MARIENBAD. You're welcome!

Finally, they finish off the podcast by talking about a few upcoming projects of Joe's. Here are just a few of the things that the Professor's been working on lately:

HAWKS ON HAWKS

INTO THE NIGHTMARE: My Search For the Killers of President John F. Kennedy and Officer J.D. Tippet

If you like this episode, make sure to check Lady P and Joe's earlier podcast on John Ford's classic western, THE SEARCHERS.

Lady P, Emma Guerard, and Andy Theiss are back for another installment in the Flixwise Teen Moviethon. Each episode in the series features a  panelist pitching their favorite teen movie for inclusion in the Flixwise Favorites List. The roundtable carefully weighs the faults and merits of the film, to determine if it is worthy of inclusion in the Flixwise pantheon.

Last week the panel reviewed John Hughes' SIXTEEN CANDLES, and despite Andy's impassioned and thoughtful analysis, Emma and Lady P both gave it the gong. This week it's Lady P's turn to pitch her favorite teen movie. Listen up to find out if her appeal to include Michael Lehmann's 1989 black comedy, HEATHERS, hits the final stake.

Let us know what you think of HEATHERS, or any of the films we discuss on the podcast in comments section below. Also, if you have a film you'd like to pitch to the Flixwise Favorites List just email us at [email protected]

Corn... Nuts!

On today's episode, back by popular demand is the one and only Mr. Steve Teamkin. Steve will be joining Lady P and her longtime friend, writer/director Ted Campbell, to discuss--according to the Sight and Sound Critics' Poll--the 14th Greatest Movie of All Time, APOCALYPSE NOW. The production on the film was notoriously troubled. Did Francis Ford Coppola manage to pull off an epic masterpiece, or is it the giant folly-of-a-film that the Hollywood prognosticators of the 1970's initially predicted?

Because APOCALYPSE NOW is a loose adaption of the Joseph Conrad novella, HEART OF DARKNESS, for the second topic, the panel discusses their favorite movie adaptations of famous literary works.  They also talk about what kinds of stories make great fodder for the silver-screen.

Then Lady P and Ted finish up the episode with an overview of an exciting new project he's working on called Myrna. To find out more about the project, and to help get it made, simply follow this link.

Inspired by last week's John Hughes discussion, we at Flixwise have decided to do a whole series of episodes focusing on teen movies. Each installment in the series will feature a Flixwise panelist pitching their favorite teen movie for inclusion list in the Flixwise Favorites List. Then the roundtable will carefully weigh the faults and merits of said film, to determine if it is worthy of inclusion in the rarefied collection of the Flixwise pantheon.

Participating in the panel are Lady P, Emma Guerard, and Andy Theiss (making his Flixwise debut.) Since the series was inspired by John Hughes, we felt it only appropriate that he should lead off the discussion. So for our first entry in our teen moviethon, Andy Theiss makes the case for why SIXTEEN CANDLES is the Greatest Teen Movie of All Time.

Let us know if you find Andy's argument persuasive. And stay tuned to see if your favorite teen flick makes the cut.

On today's show Lady P and Gabe are joined by journalist, historian, and former chief film critic for The Hollywood Reporter, Kirk Honeycutt. First up, the trio discuss Jean-Luc Godard's landmark 1960 film, BREATHLESS. According to the Sight and Sound Critic's Poll, BREATHLESS is the 13th Greatest Film of All Time. Listen up to find out why it, and the entire French New Wave movement are held in such high regard. 

For our second topic, we switch gears and talk about another kind of New Wave. This time it's the sythesizer and skinny tie variety. Kirk is currently writing a biography on John Hughes, director of such 1980's classics as THE BREAKFAST CLUB and FERRIS BUELLER'S DAY OFF. Kirk gives our listeners a sneak preview of his book, and offers his opinion on why Hughes' films will continue to enchant future generations of teenagers.   

On today's episode special guest, Chris Knoblock, suggests another entry to the "Why Isn't THIS on the List" List. According to Chris, William Friedkin's 1973 horror film, THE EXORCIST, is one of the scariest movies ever made, and he feels its omission from the Sight and Sound List of Greatest Movies of All Time is a travesty; a travesty that he intends to make right. Listen up to see if Lady P and Gabe agree to include the film on the Flixwise Favorites List.

On today's show local director, cameraman, and film enthusiast, Chris Knoblock joins Lady P and Gabe Haggard to discuss the number 12 movie on the Sight and Sound Critics Poll: Jean Vigo's L'ATALANTE. L'ATALANTE was released in 1934, and is often considered to be among the most influential films in French cinema history. Listen up to find if the movie floats the Flixwise boat. Also, for added fun, try to keep track of all the different ways we pronounce the film's title.

Next up, the panel decided to take a break from classic film to discuss a recent release. This time it's the 2014 movie LOCKE, wherein Tom Hardy drives around for an hour and a half, and makes a few phone calls. Is Tom Hardy's chiseled mug and furrowed brow captivating enough to hold the viewers attention? We discuss!

Today's episode is another submission to the Flixwise Alternate Greatest Films of All Time List. This time, Gary Lampert pitches to the panel what he considers to be "The CITIZEN KANE of action movies." That's right ladies and gentleman, today we're talking about John McTiernan's 1988 Christmas classic DIE HARD. We're talkin' Bruce Willis, Bruce Willis' poor bloody feet, the calorie content of twinkies, and of course Alan Rickman's glorious German accent.

It is Gary's contention that silly action movies have been egregiously overlooked on the Sight and Sound Critics Poll, and that Flixwise needs to do what it can to rectify Sight and Sound's carelessness. Listen up to find out if the rest of the panel agrees, and inducts DIE HARD in the Flixwise Alternate List. 

Our friend Gabe Haggard had to go hang out with his family this week, so he is only in this episode in spirit.  Fortunately, Lady P rounded up a couple of great guests to pick up the slack. This week Gary Lampert and Emma Guerard join Lady P to discuss the number 11 movie on the Sight and Sound Greatest Films of All Time List: Sergei Eisenstein's BATTLESHIP POTEMKIN. 

Next, they discuss how much we should take historical context into consideration when assessing a film. For instance, BATTLESHIP POTEMKIN was funded and made at the behest of a dictator. It's without question, a brilliant piece of Soviet propaganda. Should the film be docked a few notches due to it's sorted history? And what about films that feature blatant racism or sexism? Should important films like BIRTH OF A NATION or TRIUMPH OF THE WILL be included on the Sight and Sound list, despite the fact that they feature some very disturbing themes?? Listen and find out what the panelists think.

It's official! We've now produced and published 10 episodes, plus 1 bonus episode. They said it couldn't be done. They said we'd lose interest, they said we give up, They said, "What are you thinking? Nobody watches classic movies anymore."  (Actually, they might still say that. Haters gonna hate) However, let the record show, we have crossed the threshold between passing phase to legitimate hobby. 

To celebrate our achievement, we had our friend Julianne Martin make a special appearance on the show. Listeners will remember Julianne from her takedown of Sunrise: A Song of Two Humans. Find out how well Fellini fares when the Flixwisers take on Sight and Sound's 10th Greatest Movie of All Time: 8 1/2.

Early adopters of the Flixwise Podcast will recall that on the very first episode, Lady P mentions that  8 1/2 is one of her favorite movies. However, she also mentions that 8 1/2 doesn't have the same emotional resonance that it had when she was younger. This got her to thinking about how and why our tastes change as we get older. So for the second topic, the panelists offer up a few examples of pieces of pop culture they once loved, but are no longer as infatuated with. Conversely, they talk about pieces of culture that they once rejected out of youthful ignorance, but have since come around to liking. 

Then they close the show with a final note of positivity

Here's Gabe's (kinda)

Here's Julianne's

Here's Lady P's

On today's show Lady P and Gabe are reunited with Flixwise's very first guest, the one and only Gary Lampert. The three panelist discuss the number 9 movie on the Sight and Sound Critics Poll: Carl Theodor Dreyer's THE PASSION OF JOAN OF ARC. Then things get serious on the Flixwise Podcast. The Joan of Arc topic segues into a discussion about theology in the movies. They talk about how their personal relationship with religion colors how they view films with biblical themes.

But not to worry, before it gets too heavy, they end the podcast with their final notes of positivity.

On today’s episode Lady P and Gabe are joined by writer, producer, and good friend of the show, Steve Teamkin. This time the panelists embark on an epic journey through space and time, as they discuss Stanley Kubrick’s seminal 1968 sci-fi classic, 2001: A SPACE ODYSSEY. 2001 is considered to be among the greatest and most influential science fiction films of all time, which is probably why it’s ranked number 6 on the Sight and Sound critics poll. That being said, one or two of our panelists were a little less than awed by Mr. Kubrick’s grand tour of the cosmos. Listen and find out how well they defend their dissent from popular critical opinion.

Next up, we jump forward in time to the 21st century for a discussion about another touchy feely machine. This time it’s the female operating system in Spike Jonze’s oscar winner, HER.  Most humanoids are typically rendered helpless when they encounter the husky, melodious vocal tones of Scarlett Johansson. Find if out the panelists are as enraptured with Johansson’s “Sam” as the rest of their species.

They finish off the episode by briefly revisiting Sunrise: A Song of Two Humans .

On this episode of Flixwise Gabe and Lady P are joined by the one and only Julianne Martin. The three of them tackle the number 5 movie on the Sight and Sound Critics Poll FW Murnau’s Sunrise: A Song of Two Human’s. While the Flixwisers acknowledge Sunrise’s influence on future cinema, there were some elements of the film with which Lady P and Julianne took issue. Let us know how you feel about the criticism in the comments section.

The panelists follow up the Sunrise discussion with a throwdown: Television vs. Film. Is television a giant, Kardashian laden, artistic wasteland? Or is it film that’s suffering the long banal death that no amount of bloated superhero sequels can prevent?… “But perhaps there are good and bad elements in both mediums…” NO, ONLY ONE CAN SURVIVE!!

They follow up the bloodshed with a final note of positivity.

On today’s episode Lady P and Gabe are joined once again by mademoiselle Emma Guerard. This time the panelists discuss comedies of manners. First up, it’s the mother of all movie comedy of manners: Jean Renoir’s 1939 classic La Règle du jeu aka The Rules of the Game. According to the Sight and Sound Critics Poll, The Rules of the Game is the 4th Greatest Movie of All Time. In case the headline didn’t tip you off, the panelists don’t necessarily agree.

We follow up our Rules of the Game discussion with a countdown of each person’s top 5 comedy of manners. Be forewarned that a good portion of the countdown time is spent trying to figure out if the movies the panelists selected actually qualify as comedies of manners. Also, some of the selection may stretch the definition of “comedy of manners” just a smidge. Let us know if you think the Flixwisers are at least somewhere in the ballpark.

We finish off with our final notes of positivity:

Hey guys! Ever wonder what that creepy eyeball at the top of our showpage is all about? Well wonder no more, just as soon as you listen to our latest episode. For this edition, we are once again joined by Jeffrey Ashkin to discuss the number 8 movie on the Sight and Sound Critics' Poll, Dziga Vertov's MAN WITH A MOVIE CAMERA. Dziga Vertov's 1929 silent classic is the first documentary on the list. So to celebrate both our first documentary, and our very first seamless transition between topics, we spend some time talking about our favorite documentaries and how the form has changed over the years.

Then we finish off with a final note of positivity.

In this is episode Lady P conducts a one on one interview with her mentor, Professor Joseph McBride. McBride is an accomplished author, a journalist, and a film historian whom Lady P met as a student at San Francisco State University. It was an honor to have him on the show.

For the first segment, Lady P and McBride discuss the number 7 picture on the Sight and Sound Greatest Films of All Time List: John Ford's, THE SEARCHERS. McBride has written two books on John Ford including this one. In our interview, McBride offers a lot of interesting tidbits about the production, as well as insight about the major themes of the film.

And since McBride was a actual contributor to the Sight and Sound poll (we told you he was accomplished), Lady P took the opportunity to try to dig up some insider secrets about why the list shaped up the way it did. Is there a vast conspiracy among all British film journals to denigrate the legacy of Orson Welles? Has William Randolph Hearst come back from the dead and threatened all the world's film critics? How else to you explain the deposing of Citizen Kane? They address this dastardly plot, and they talk about how McBride went about choosing his personal submissions.

They finish off the episode with a little professorial advice. You wanna be a famous filmmaker or film critic? You better listen up!

On this week’s episode, Gabe and I are joined by the lovely and talented, Miss Emma Guerard. In addition to being our resident art conservationist intern, Emma is also the one who made all of our website’s sketches and drawings. Make sure to take some time to admire Emma’s handiwork while you prowl around our site for hours on end.  

In this edition, we kick things off by talking about our goals for the Flixwise Podcast. We discuss what our intentions are for this project, and what listeners can expect from future Flixwise Podcasts. I suppose this would’ve been a good topic for our first edition, but better late than never.

We follow that up with a discussion about the movie on the tip of everyone's tongue, the 1953 Classic Yasujiro Ozu feature: TOKYO STORY. TOKYO STORY is ranked third on the Sight and Sound Critics Poll.  Listen up to find out if our panel feels it lives up to the hype. (SPOILER: Of course we like it, we’re not made of stone!)

 Lastly, we end the show with our notes of positivity.