The Last Thing I Saw

Ep. 260: Trap, Twisters, This Closeness, Janet Planet, Last Summer, and more with Maxwell Paparella and Elissa Suh Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. After a little summer vacation, it’s time once again to chat about some recent releases with two guests making their premieres on the podcast: Maxwell Paparella, an editor at MUBI Notebook, and Elissa Suh, a critic who’s published in Screen Slate, Vogue, and Bon Appetit, and writes a substack called MOVIEPUDDING. We talk about the new M. Night Shyamalan movie, starring Josh Hartnett; Twisters (Lee Isaac Chung) and the matter of Glen Powell; This Closeness (Kit Zauhar); Annie Baker's Janet Planet; Family Portrait (Lucy Kerr); and Last Summer (Catherine Breillat). Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 259: K.J. Relth-Miller on Il Cinema Ritrovato 2024: Sisters of Nishijin, Amadeus, Anatole Livtak retro, The Innerview, The Sealed Soil Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. Il Cinema Ritrovato, the annual festival of revivals and restorations, showcases a bounty of discoveries, classics, and rarities in Bologna, Italy, many of which will then make their way across the world. Among the eager audience members was K.J. Relth-Miller, director of film programs at the Academy Museum in Los Angeles, who joins this episode to share some highlights. Film discussed include: Sisters of Nishijin and Undercurrent (both directed by Kozaburo Yoshimura), L’Equipage and The Snake Pit (Anatole Litvak), The Innerview (Richard Beymer), Deliverance (John Boorman), The Sealed Soil (Marva Nabili, whose film is the earliest surviving Iranian feature by a female director), and already touring this week in a restoration, Amadeus (Milos Forman). Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 258: Amy Taubin on Tribeca Picks, Agnieszka Holland, Bleak Week, Mireia Sallarès’s Little Deaths Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. Why go through the summer without a return visit from the inimitable Amy Taubin? On this episode we discuss a few films cherry-picked from this year’s Tribeca Festival; Agnieszka Holland and her incisive latest film Green Border; the intriguing repertory series known as Bleak Week, held annually at L.A.’s American Cinematheque and recently exported to New York’s Paris Theater; and two works by Mireia Sallarès, Little Deaths and The Potential History of Francesc Tosquelles, Catalonia and Fear. Plus: I share a remarkable documentary about police investigations called Roubaix, Police Department, Ordinary Business, a discovery on the OVID streaming service. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 257: The Nitrate Picture Show 2024 with David Schwartz Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. The Nitrate Picture Show takes place every year in Rochester, New York, at the George Eastman Museum, projecting movies from nitrate prints. The resulting super-vivid images create a movie-going experience that can be, in the words of my guest, programmer David Schwartz, “life-changing.” I asked Schwartz about some of his highlights at this increasingly popular festival, including The Good Fairy (directed by William Wyler), Meet Me in St. Louis (Vincente Minnelli), Intolerance (D.W. Griffith), and The Strawberry Blonde (Raoul Walsh). We also talked about films that offered something a little different such as the documentary The Plow That Broke the Plains (Pare Lorentz), the experimental parody Tomato’s Another Day (James Sibley Watson), Homecoming (Hideo Oba), and Rossellini’s Germany Year Zero. Plus: rare Lubitsch (From Mayerling to Sarajevo) and Renoir’s A Day in the Country. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 256: Amy Taubin on Leos Carax’s It’s Not Me, The Shrouds, Charles Atlas, Arthur Jafa, Man Ray, and More Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. The one and only Amy Taubin comes back to The Last Thing I Saw for a wide-ranging conversation about what she’s been watching. That includes at least a couple of Cannes titles—Leos Carax’s It’s Not Me and David Cronenberg’s The Shrouds—and New York repertory highlights from the spring: the enormous Charles Atlas retrospective at Anthology Film Archives (which is still ongoing through June), the Man Ray restorations touring with new Jim Jarmusch–led score, and Arthur Jafa’s shattering reimagining of the brutal ending to Taxi Driver, titled “*****”, shown at the Gladstone Gallery. There are also shout-outs to the Antoinetta Angelidi revival in Prismatic Ground, a new Blu-ray of Too Much Sleep, and more. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 255: Cannes 2024 Redux: Jessica Kiang on Black Dog, 2nd Features, The Other Way Around, Viet and Nam Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. Every year at Cannes there are a few more films I want to talk about, even as the time is running out at the festival. So for a very special postscript (and postgame), critic Jessica Kiang of Variety joined to talk about the ones that got away. Among the titles discussed: Un Certain Regard prize-winner Black Dog (directed by Guan Hu), Quinzaine prize-winner The Other Way Around (Jonas Trueba), Viet and Nam (Truong Minh Quy), and a number of second features from female directors, including The Balconettes (Noémie Merlant) and All We Imagine as Light (Payal Kapadia). Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 254: Cannes 2024 Finale: Manohla Dargis on The Seed of the Sacred Fig, Anora, The Apprentice, Marcello Mio, and more Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. It’s become an annual tradition on the last day of Cannes to sit down with Manohla Dargis, the chief film critic for The New York Times, and take stock of the festival, some selected highlights, and other points of interest. For our 2024 chat, in a corner of the Palais starting to buzz with activity before the awards ceremony, we discussed a number of titles including: The Seed of the Sacred Fig (directed by Mohammad Rasoulof), Anora (Sean Baker), The Apprentice (Ali Abbasi), All We Imagine as Light (Payal Kapadia), On Becoming a Guinea Fowl (Rungano Nyoni), Wild Diamond (Agathe Riedinger), Marcello Mio (Christoph Honoré), Megalopolis (Francis Ford Coppola), and more. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 253: Cannes 2024: Justin Chang on All We Imagine as Light, Caught by the Tides, The Shrouds Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. On the latest selection of highlights recorded during the 2024 Cannes Film Festival, I was delighted to sit down with Justin Chang of The New Yorker, recent recipient of the Pulitzer Prize for Criticism, with whom I’d last chatted when he was at the Los Angeles Times. On this episode, occasionally to the soundtrack of Cannes doves cooing nearby, we talked about All We Imagine as Light (directed by Payal Kapadia), Caught by the Tides (Jia Zhangke), and The Shrouds (David Cronenberg). We also chatted about the festival’s ebb and flow, and the awards prospects at the time of recording. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 252: Cannes 2024: Beatrice Loayza on Visiting Hours, Eat the Night, and September Says Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. On the latest episode chock full of highlights from the 2024 Cannes Film Festival, I sat down with critic Beatrice Loayza to discuss some of the lesser-spoken-about titles from the festival. That includes two titles from Directors’ Fortnight: Patricia Mazuy’s Visiting Hours, starring Isabelle Huppert and Hafsia Herzi, and Eat the Night from Caroline Poggi and Jonathan Vinel. We also chat about the feature-length directorial debut from Ariane Labed, September Says, adapted from the novel by Daisy Johnson and featured in the Un Certain Regard section. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 251: Cannes 2024: Nick Davis on Bird, Grand Tour, Emilia Perez, Motel Destino Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. On the latest episode chock full of highlights from the 2024 Cannes Film Festival, I welcome a dear old friend, Nick Davis, a professor of film at Northwestern University and writer/editor of his own outstanding longtime site of film criticism (nick-davis.com). On his inaugural visit to Cannes, he shared his typically quicksilver thoughts on a slate of boldly imagined movies: Bird (directed by Andrea Arnold), Emilia Perez (Jacques Audiard), Grand Tour (Miguel Gomes), and Motel Destino (Karim Ainouz). Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 250: Cannes 2024: Eric Hynes on Caught by the Tides, Apprendre, Cannes Classics (Brocka, Bellocchio, Insta-Wiseman) Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. On the latest episode from the 2024 Cannes Film Festival, I bring back Eric Hynes, curator of film at Museum of the Moving Image, to discuss two essential highlights of this year’s edition—Jia Zhangke’s Caught by the Tides and Claire Simon’s Apprendre—and restorations from Cannes Classics: Lino Brocka’s Bona, Marco Bellocchio’s Slap the Monster on Page One, and Frederick Wiseman’s Law and Order. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 249: Cannes 2024: Jonathan Romney on Misericordia, Rumours, Being Maria, The Second Act, Parthenope Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. On the latest episode on the 2024 Cannes Film Festival, I chatted with critic Jonathan Romney and caught up with a number of movies in this year’s edition: Misericordia (directed by Alain Guiraudie), The Second Act (Quentin Dupieux), Being Maria (Jessica Palud), Parthenope (Paolo Sorrentino), and Rumours (Guy Maddin and Evan & Galen Johnson), plus his verdict on the inescapable Megalopolis (Francis Ford Coppola). Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 248: Cannes 2024: Mark Asch on Anora, Horizon, Julie Keeps Quiet, Armand, It Doesn’t Matter Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. On the latest episode on the 2024 Cannes Film Festival, I sat down with Mark Asch, critic and pod vivant, to talk about several highlights, each from a different section or showcase at Cannes. We discuss the highly acclaimed Anora (directed by Sean Baker, in Competition), Armand (Halfdan Ullmann Tøndel, from Un Certain Regard), Julie Keeps Quiet (Leonardo van Dijl, in Critics’ Week), Horizon (Kevin Costner, out of Competition), and It Doesn’t Matter (Josh Mond, in ACID). Mark also describes how he starts his day in this French coastal town. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 247: Cannes 2024: Jon Dieringer on The Apprentice, The Substance, Megalopolis Squared Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. On the latest episode on the 2024 Cannes Film Festival, I’m joined by Jon Dieringer, editor and mastermind of Screen Slate, to cope with a couple of doozies in this year’s lineup. First up is The Apprentice (directed by Ali Abbasi), also known as The Trump Movie, followed by the full-on The Substance (Coralie Fargeat). Both movies also allow an opportunity to muse upon the hot-house festival atmosphere, and Dieringer also share a few thoughts on Megalopolis (Francis Ford Coppola), which he has already seen twice. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 246: Cannes 2024: Bilge Ebiri on Lanthimos’s Kinds of Kindness, Schrader’s Oh Canada, Furiosa, plus Bertolucci Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. For the latest episode on the 2024 Cannes Film Festival, I was happy to chat with Bilge Ebiri of New York Magazine for his inaugural Cannes appearance on the podcast. We discuss the much-anticipated new films from Yorgos Lanthimos (Kinds of Kindness), Paul Schrader (Oh Canada), and for a well-deserved encore, George Miller (Furiosa: A Mad Max Saga). Our conversation also explores a few facets of the phenomenon that is Cannes, and the enduring inspiration of Bernardo Bertolucci. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 245: Cannes 2024: Jordan Cronk on Christmas Eve in Miller’s Point, The Damned, Eephus, Universal Language Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. The 77th edition of the Cannes Film Festival marches on, and I sat down with critic and programmer Jordan Cronk to hear about some recent highlights from Directors’ Fortnight and Un Certain Regard: Christmas Eve in Miller’s Point (directed by Tyler Taormina), The Damned (Roberto Minervini), Eephus (Carson Lund), and Universal Language (Matthew Rankin). I also flag Everybody Loves Touda, directed by Nabil Ayouch and co-written by Maryam Touzani (The Blue Caftan). Stay tuned for more to come! Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 244: Cannes 2024 with Alissa Wilkinson: Furiosa, On Becoming a Guinea Fowl, The Invasion, Ghost Trail, Ernest Cole Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. The 77th edition of the Cannes Film Festival is officially underway, and it’s easy to miss films in the scrum of first few days. So I spoke with Alissa Wilkinson of The New York Times about, yes, Furiosa: A Mad Max Saga, but also Ghost Trail (directed by Jonathan Millet) in Critics’ Week, On Becoming a Guinea Fowl (Rungano Nyoni) in Un Certain Regard, Sergei Loznitsa’s wartime Ukraine documentary The Invasion, and Ernest Cole: Lost and Found, Raoul Peck’s look at the photographer and South African exile. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 243: Cannes 2024: Eric Hynes on Megalopolis, plus Napoleon and The Girl With the Needle Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. The 77th edition of the Cannes Film Festival is officially underway, and no film was more highly anticipated than Francis Ford Coppola’s Megalopolis. To get the very latest, I connected with Eric Hynes, curator of film at the Museum of the Moving Image, fresh from a press screening of the movie, which has loomed over Cannes’ opening days this year. He shared his initial thoughts about Megalopolis, which stars Adam Driver as a would-be visionary city planner, and about another competition title, The Girl with the Needle (Magnus von Horn), and a Cannes Classics selection, Abel Gance’s Napoleon. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 242: Cannes 2024: Arnaud Desplechin on Filmlovers! and recent favorites Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. The 77th edition of the Cannes Film Festival opens this week, and for my 2024 series of Cannes episodes, I begin by talking with director Arnaud Desplechin about his new documentary that’s premiering at Cannes, Filmlovers! (aka Spectateurs!). Desplechin’s Kings and Queen is a 21st-century classic, and a formative viewing experience for me, so it was a pleasure chatting about how movies first seized his imagination, about interviewing movie lovers of all stripes, the Garry Marshall movie he insisted on presenting at the cinematheque just before Cannes, reflecting on tragedy through movies, and the last movie he saw (and purchased). Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 241: Kelly Reichardt on Alain Delon, David Lean's Passionate Friends, Recreating Rear Window, and more Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. With a retrospective of Kelly Reichardt’s work starting at Metrograph, I had the honor and pleasure of sitting down with Reichardt in one of the Metrograph theaters to talk about... the last things she saw! The director of (most recently) Showing Up discussed a run of Alain Delon movies she saw in the theater—starting with Purple Noon—and also films she uses in her teaching at Bard College, in coursework that involves students re-creating the filmmaking of certain scenes. “American Landscapes: The Cinema of Kelly Reichardt” begins May 11 at Metrograph, starting with her first feature, River of Grass, on through Old Joy, Wendy and Lucy, Meek’s Cutoff, Night Moves, Certain Women, First Cow, and her most recent, Showing Up, plus two shorts streaming on Metrograph at Home. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 240: Caroline Golum on Quebec-Core, Ghosts of Mars, The Feeling That the Time for Doing Something Has Passed, Borzage’s Man’s Castle Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. Filmmaker and self-described “rep rat” Caroline Golum returns to the podcast after far too long to discuss highlights from recent viewing! These include: Au clair de la lune (1983, Andre Forcier) from the “Quebec-Core” series at Anthology Film Archives; couples viewing Ghosts of Mars (2001, The Great John Carpenter); new release The Feeling That the Time for Doing Something Has Passed (Joanna Arnow); and My Morning with Magic Mike (John Wilson, visiting Mike Kuchar), which was available for the blink of a week on Le Cinéma Club. I also shout-out Museum of the Moving Image’s discovery-laden Hiroshi Shimizu series (e.g. Children of the Beehive, 1948) and, also from Quebec-Core, Mireille Dansereau’s Dream Life (1972). Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 239: Bertrand Bonello on The Beast, Experimenting with AI, Crafting Melodrama, Reading Henry James, and more Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. Bertrand Bonello’s latest film The Beast has been melting minds with its time-skipping saga of star-crossed lovers and strangers played by Léa Seydoux and George Mackay. Inspired by a Henry James story, The Beast spans three different time periods and pairings: a married woman and a suitor in the 1910s (Belle Époque), an actress and a madman in 2010’s California, and a woman facing a fateful choice in a not-too-distant future where artificial intelligence promises to remove individual trauma. I chatted with the restless French auteur (Nocturama, Saint Laurent) about the struggle for connection across these stories, being tempted by AI, directing Mackay and Seydoux, and more. The Beast is in theaters now, and Bonello’s previous feature, Coma, will have its first U.S. theatrical run on May 17. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 238: Time director Garrett Bradley on instincts, Devotion, America, and Satyajit Ray’s Devi Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. Garrett Bradley is the director of Time, the Oscar-nominated 2020 documentary about Sibil Fox Richardson and her efforts to get her husband released from prison. Bradley has directed several incredible short films, including Alone (2017, about a friend planning to marry her imprisoned boyfriend) and America (2019, an amazing visual historical pageant that includes shots from the 1914 film Lime Kiln Club Field Day starring Bert Williams). Bradley has described her work as being about Black life, and also as a series of love stories, and she’s just published a new book of dialogues, essays, and images, called Devotion. The book will be celebrated with a program at Metrograph screening some of her shorts, Time, and a film of her choosing: Satyajit Ray’s 1960 film Devi, about a young woman believed to be a goddess. We spoke about the instincts that guide her filmmaking, the importance of editing and immediacy in her practice, her thoughts on her film America, and what she’s working on now (which may include an adaptation of Octavia Butler’s The Parable of the Sower...). Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 237: Screen Slate leader Jon Dieringer on Civil War, plus Roadhouse, Quiet on Set, The Eclipse Welcome to The Last Thing I Saw with your host, Nicolas Rapold. With the country in the grips of Civil War fever, I join forces with Screen Slate editor-in-chief Jon Dieringer, who was fresh from seeing the much-anticipated movie at a local Regal Cinema. We talk about the different layers to Civil War and Alex Garland’s approach to depicting a future United States that’s broken up into separate regions and armies and has a belligerent president in the White House. (The plot follows four journalists—played by Kirsten Dunst, Wagner Moura, Cailee Spaeny, and Stephen McKinley Henderson—who are driving to Washington, D.C., to try to interview the president.) Jon and I also share some other recent watches, including the documentary series Quiet on Set (directed by Mary Robertson & Emma Schwartz), the Road House remake (Doug Liman), Larry Fessenden’s latest horror movie, Blackout, and nature’s own mighty contribution to cinema. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 236: CPH:DOX 2024 with Mads K. Mikkelsen on Two Strangers Trying Not to Kill Each Other, Kix, and much more Welcome to The Last Thing I Saw with your host, Nicolas Rapold. For this episode I journeyed to Copenhagen for the 2024 edition of CPH:DOX, and talked about my favorite documentaries from the selection with the festival’s Head of Program Mads K. Mikkelsen. These include films about a Hungarian skateboarder growing up (Kix, directed by Dávid Mikulán and Bálint Révész), about the relationship between photographer Joel Meyerowitz and writer Maggie Barrett (Two Strangers Trying Not to Kill Each Other, directed by Jacob Perlmutter and Manon Ouimet), and about Brazilian love motels (Eros, directed by Rachel Daisy Ellis). We also discuss The Limits of Europe (directed by Apolena Rychlíková, featuring journalist Saša Uhlová), Balomania (Sissel Morell Dargis), La Base (Vadim Dumesh), Once Upon a Time in a Forest (Virpi Suutari) and the documentary that went on to win the festival’s top prize, The Flats (Alessandra Celesia). Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 235: K.J. Relth-Miller on Berlin Retrospectives: Lubitsch, Helke Sander, Carlos Saura, and more Welcome to The Last Thing I Saw with your host, Nicolas Rapold. For a number of festivals now, I’ve been fortunate enough to delve into the retrospective selections with programmer K.J. Relth-Miller from the Academy Museum (who also teaches at CalArts). This time we talked about the special Retrospective selections drawn from the Deutsche Kinemathek and films in the Classics section at the Berlinale. We start with Ernst Lubitsch’s 1921 silent comedy Kohlhiesel’s Daughters, which screened with live musical accompaniment, and then move on to later selections such as The Germans and Their Men (1989, Helke Sander), Herzsprung (1992, Helke Misselwitz), Angels of Iron (1980, Thomas Brasch), and Deprisa, Deprisa (1981, Carlos Saura). Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 234: Radu Jude on Do Not Expect Too Much From the End of the World Welcome to The Last Thing I Saw with your host, Nicolas Rapold. This week I present a chat with Radu Jude, the director of what’s already the most acclaimed movie of the year: Do Not Expect Too Much From the End of the World. The wild, funny, multi-layered movie follows a young production assistant, Angela (the incredible Ilinca Manolache), on her endless days working in Bucharest, Romania. Jude creates a crazy quilt that captures what it’s like to get through the world today, folding in Angela’s hilariously foulmouthed Instagram videos and weaving in clips from a Communist-era 1981 film about a female taxi driver. Nina Hoss and Uwe Boll also have memorable roles. I first saw Jude’s continually surprising film at its world premiere in the Locarno Film Festival, and we spoke on the eve of its U.S. release on March 22. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 233: Christine Smallwood on Chantal Akerman and La Captive Welcome to The Last Thing I Saw with your host, Nicolas Rapold. This week a new book on Chantal Akerman by Christine Smallwood enters the world, a volume about Akerman’s wholly original Proust adaptation La Captive that’s the latest in the Fireflies Press series of Decadent Editions focused on films of the 2000s. So I was delighted to speak with Smallwood about Akerman and her film's hypnotic exploration of the strange relationship between a wealthy odd young man Simon (Stanislas Mehrar) and his lover, Ariane (Sylvie Testud), reworking the fifth volume of Proust’s In Search of Lost Time. Note: The episode opens with a passage about La Captive from Smallwood’s book. Smallwood is the author of the novel The Life of the Mind and a regular contributor to publications such as The New York Review of Books, Harper’s, Bookforum and The New York Times Magazine. La Captive will screen March 30 at Metrograph followed by Vertigo, with Smallwood in person. On March 19 at Light Industry, she’ll present an illustrated lecture adapted from her book. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 232: Eric Hynes on First Look and True/False 2024: Flying Lessons, There Was, There Was Not, Knit’s Island, Achilles Welcome to The Last Thing I Saw with your host, Nicolas Rapold. As I did last year, I joined forces with Eric Hynes, curator of film at Museum of the Moving Image, for a double fest discussion, covering True/False, the Missouri nonfiction festival, and MoMI’s own annual First Look in New York. We discuss titles including: Flying Lessons (directed by Elizabeth Nichols), Magic Mountain (Mariam Chachia & Nik Voigt) Knit’s Island (Ekiem Barbier, Guilhem Causse, Quentin L’helgoualc’h), A Photographic Memory (Rachel Elizabeth Seed), Achilles (Farhad Delaram), Spermworld (Lance Oppenheim), I Like It Here (Ralph Arlyck), Obsolete (Sumira Roy), and There Was, There Was Not (Emily Mkrtichian). Listeners will find that many movies discussed on here and in previous episodes can be seen in First Look at MoMI (March 13 to 17). Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 231: Berlin 2024 with Jordan Cronk: Who by Fire, Tu Me Abrasas, Abiding Nowhere, Chime, Direct Action, More Docs Welcome to The Last Thing I Saw with your host, Nicolas Rapold. For the latest episode about the 2024 Berlin Film Festival, I’m pleased to reunite with Jordan Cronk, who helped kick off this year’s series. We round up some vital highlights that hopefully will wend their way to other cinemas: Who by Fire, Philippe Lesage’s prize-winner in the Generation section; Kiyoshi Kurosawa’s mid-length Chime; Ben Russell and Guillaume Cailleau’s Direct Action, winner in the Encounters section; Matías Piñeiro’s Tu Me Abrasas; and Abiding Nowhere, the latest in Tsai Mingliang’s Walker series. Plus some words on the documentaries At Averroes and Rosa Parks (directed by Nicolas Philibert, last year’s Golden Bear winner), Favoriten (Ruth Beckermann), and Intercepted (Oksana Karpovych). Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 230: Berlin 2024 with Keva York: Christine Angot’s Une Famille, Spaceman, Berlin Critics’ Week Welcome to The Last Thing I Saw with your host, Nicolas Rapold. I continue my reporting from the 2024 Berlin Film Festival by welcoming my latest guest to the podcast, critic Keva York, who is writing for Reverse Shot and ABC Arts (the Australian Broadcasting Corporation). We discuss the new film from French writer Christine Angot, Une Famille (A Family); the Adam Sandler movie Spaceman, directed by Johan Renck; and two selections from Berlin Critics’ Week, An Evening Song for Three Voices (directed by Graham Swon) and the Riar Rizaldi short Notes from Gog Magog. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 229: Berlin 2024 with Jessica Kiang: Dahomey, Pepe, Through the Graves the Wind Is Blowing, The Human Hibernation, The Devil’s Bath Welcome to The Last Thing I Saw with your host, Nicolas Rapold. I continue my reporting from the Berlin Film Festival 2024 with a grand episode starring Jessica Kiang, who is writing about the Berlinale for Variety and The New York Times. The movies we discuss include: Pepe (directed by Nelson Carlo De Los Santos Arias), Dahomey (Mati Diop), Through the Graves the Wind Is Blowing (Travis Wilkerson, director of Did You Wonder Who Fired the Gun?), The Human Hibernation (Anna-Cornudella Castro), and The Devil’s Bath (Veronika Franz & Severin Fiala). Stay tuned for more from Berlin! Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 228: Berlin 2024 with Guy Lodge: Hong’s A Traveler’s Needs, Matt and Mara, Suspended Time Welcome to The Last Thing I Saw with your host, Nicolas Rapold. It’s onward and upward with the Berlin Film Festival 2024, as I join forces with Guy Lodge of Variety and spotlight three movies from this year’s selection which feel differently pivotal for each respective filmmaker: A Traveler’s Needs (directed by Hong Sangsoo and starring Isabelle Huppert), Suspended Time aka Hors du Temps (Olivier Assayas), and Matt and Mara (Kazik Radwanski). Stay tuned for more from Berlin! Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 227: Berlin 2024 with Jonathan Romney: Architecton, Cuckoo, La Cocina, No Other Land Welcome to The Last Thing I Saw with your host, Nicolas Rapold. The Berlin Film Festival continues to roll out some remarkable premieres, and so I sat down with critic Jonathan Romney (Screen Daily) to reflect on a few of them. Movies discussed include: La Cocina (directed by Alonso Ruizpalacios), Architecton (Victor Kossakovsky), No Other Land (from an Israeli-Palestinian collective consisting of Yuval Abraham, Basel Adra, Hamdan Ballal, Rachel Szor), and the batso thriller Cuckoo (Tilman Singer), which comes to U.S. theaters on May 3. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 226: Berlin 2024 with Jordan Cronk: Bruno Dumont’s Empire, The 14-Hour Movie Called Exergue, Henry Fonda for President, The Adamant Girl, Republic Welcome to The Last Thing I Saw with your host, Nicolas Rapold. This week I’m chatting all about the wild assortment of movies at the Berlin Film Festival. First up is critic and programmer Jordan Cronk, who takes us through one highly distinctive movie after another: Empire (directed by Bruno Dumont), a 14-Hour movie called Exergue (Dimitris Athiridis), Henry Fonda for President (Alexander Horwath), The Adamant Girl (P.S. Vinothraj), and Republic (Jin Jiang). Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 225: MoMA Double: Dave Kehr on Buñuel in Mexico + Joshua Siegel on the 20th To Save and Project Welcome to The Last Thing I Saw with your host, Nicolas Rapold. This week's episode is a MoMA Film Department double feature! First I chat with Dave Kehr, curator in MoMA's department of film, about their grand Buñuel in Mexico series, featuring the surrealist maestro’s often underappreciated era, with films such as Los Olvidados, El, Nazarin, and El Gran Calavera. Then Joshua Siegel, curator in MoMA's department of film, joins to discuss To Save and Project, the museum’s annual festival of film preservation, celebrating its 20th anniversary edition. We cover a tantalizing slice of the selection including Bushman (David Schickele), Toute une nuit (Chantal Akerman), Undercurrent (Kozaburo Yoshimura), Blues People (Skip Norman), and shorts by DEVO. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 224: Jordan Cronk on Rotterdam 2024, Cinema Scope, The Iron Claw Welcome to The Last Thing I Saw with your host, Nicolas Rapold. This week I catch up with critic Jordan Cronk on a number of urgent topics. We discuss the esteemed film magazine Cinema Scope, which just published its final issue, and the vital importance of its work over the past 25 years, thanks to editor Mark Peranson and a host of outstanding contributors. Then Jordan shares highlights from the latest International Film Festival Rotterdam (IFFR), including Grey Bees (directed by Dmytro Moiseiev), Under a Blue Sun (Daniel Mann), Dream Team (Lev Kalman and Whitney Horn), and Swimming Home (starring Chris Abbott, Mackenzie Davis, Ariane Labed, and directed by Justin Anderson), with a few words on the top Tiger Award winner, Rei (Tanaka Toshihiko). Last but not least, Jordan offers his expert evaluation of the wrestling epic The Iron Claw. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 223: Manohla Dargis and Amy Taubin on Sundance 2024 Welcome to The Last Thing I Saw with your host, Nicolas Rapold. For my final (?) episode on Sundance Film Festival 2024, I am pleased to present a grand finale with Manohla Dargis, chief film critic of The New York Times, and the inimitable Amy Taubin (who will be filing a report for Screen Slate). They discuss the role of Sundance, what felt different about this year’s edition (and what didn’t), and the question of story. And we discuss a number of films: A Real Pain (directed by Jesse Eisenberg), God Save Texas: Hometown Prison (Richard Linklater), Presence (Steven Soderbergh), Rob Peace (Chiwetel Ejiofor), War Game (Jesse Moss and Tony Gerber), Exhibiting Forgiveness (Titus Kaphar), Black Box Diaries (Shiori Ito), Will & Harper (Josh Greenbaum), and Love Lies Bleeding (Rose Glass). Also included: Porcelain War, Sugarcane, Gaucho Gaucho, Desire Lines, and Freaky Tales, Kneecap, and a special recommendation for cats. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 222: Sundance ’24: Eric Hynes on Union, Sasquatch Sunset, Good One, Eno Welcome to The Last Thing I Saw with your host, Nicolas Rapold. For my latest episode on Sundance Film Festival 2024, I reconvened with Eric Hynes, curator of film at the Museum of the Moving Image. He had seen more movies, I had seen more movies, and so we talked about some highlights: Union (Stephen Maing and Brett Story), Sasquatch Sunset (David and Nathan Zellner), Good One (India Donaldson), Eno (Gary Hustwit), and Nocturnes (Anupama Srinivasan and Anirban Dutta). Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 221: Sundance 2024: Jon Dieringer on Presence, Between the Temples, I Saw the TV Glow, A Different Man, It’s What’s Inside, Little Death Welcome to The Last Thing I Saw with your host, Nicolas Rapold. For my latest episode on the 2024 Sundance Film Festival, I sat down in Park City with Jon Dieringer, editor and publisher of Screen Slate. He was making his first trip to the festival and we discussed plenty of movies: Presence (directed by Steven Soderbergh), Between the Temples (Nathan Silver), I Saw the TV Glow (Jane Schoenbrun), A Different Man (Aaron Schimberg), It’s What’s Inside (Greg Jardin), and Little Death (Jack Begert). Please support the production of this podcast by signing up at: rapold.substack.com

Ep. 220: Sundance 2024: Alissa Wilkinson on Look Into My Eyes, Girls State, A.I. Docs, Will & Harper, Coup d’Etat Welcome to The Last Thing I Saw with your host, Nicolas Rapold. For my latest episode on the 2024 Sundance Film Festival, I welcome returning guest Alissa Wilkinson of The New York Times. Films discussed include: Look Into My Eyes (directed by Lana Wilson), Girls State (directed by Amanda McBaine and Jesse Moss), a couple of docs about artificial intelligence (Eternal You and Love Machina), Will & Harper (directed by Josh Greenbaum and co-starring Will Ferrell), and Soundtrack to a Coup d’Etat (Johan Grimonprez). Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 219: Sundance 2024 with Eric Hynes: Preview, Power, Black Box Diaries Welcome to The Last Thing I Saw with your host, Nicolas Rapold. January is here and it’s time for the 2024 Sundance Film Festival. To kick off this year’s suite of episodes, I am delighted to join forces again with Sundance stalwart Eric Hynes, curator of film at the Museum of the Moving Image. We discuss the latest edition of the festival, which is celebrating its 40th anniversary this year, and we sample a few films that screened early on. Films discussed include: Power (directed by Yance Ford), Black Box Diaries (Shiori Ito), and Agent of Happiness (Arun Bhattarai and Dorottya Zurbó). Check back for more reports from snowy-but-not-oppressively-so Park City! Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 218: Amy Taubin on I Heard It Through the Grapevine, Fellow Travelers, Sundance Past + My Napoleon Welcome to The Last Thing I Saw with your host, Nicolas Rapold. It’s time to ring in 2024 with the one and only Amy Taubin! After some thoughts on the challenges of the contemporary film landscape, she talks about I Heard It Through the Grapevine, the elegiac 1982 civil-rights documentary featuring James Baldwin and co-directed by the late Dick Fontaine and Pat Hartley, playing at Film Forum; Too Much Sleep; Fellow Travelers, a dramatic series on Showtime; and remembrances of Sundance highlights past, on the occasion of a Criterion Channel selection from the festival’s history. I also share my experience watching Ridley Scott’s Napoleon in a special format. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 217: Rob Sweeney on Two by Twohy, Cannibal Corpse, The Day the Earth Caught Fire, Locked In, Tom Palazzolo Welcome to The Last Thing I Saw with your host, Nicolas Rapold! What better time than the holidays to share my chat with movie pal R. Emmet Sweeney, who produces DVDs and Blu-rays at Kino Lorber. He talks about two films written by David Twohy, Warlock and Grand Tour: Disaster in Time; The Day the Earth Caught Fire, a New York repertory-viewing highlight; and Locked In, viewed on TUBI. But it all begins with praise for the Cannibal Corpse documentary Centuries of Torment, which Sweeney selected as his best film experience of the year in the Metrograph Journal. I chime in with a few words about shorts by Tom Palazzolo. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 216: Beatrice Loayza and Adam Nayman on May December, Zone of Interest, Knock at the Cabin, Fallen Leaves, and more Welcome to The Last Thing I Saw with your host, Nicolas Rapold! As we approach the end of the year, I bring together a wonderful pair of critics who have appeared together here before: Adam Nayman (The Ringer) and Beatrice Loayza (The New York Times). In the spirit of the season, I asked them about their favorite movies of 2023, from Todd Haynes’s May December to M. Night Shyamalan’s Knock at the Cabin and Aki Kaurismaki’s Fallen Leaves, and we reflect on Jonathan Glazer’s confronting The Zone of Interest. Adam and Beatrice also share their favorite first watches from the year. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 215: Sean Price Williams and Nick Pinkerton on The Sweet East and Recent Viewing Welcome to The Last Thing I Saw. Sean Price Williams and Nick Pinkerton have been stalwart guests on the podcast before, sharing their encyclopedic viewing habits. But this time we start by talking about The Sweet East—the acclaimed new film that Sean directed and shot and Nick wrote. Talia Ryder stars as a young woman who goes on a picaresque journey through our complicated country, meeting a range of daunting characters (including Simon Rex as a politically unsavory professor, and Jeremy O. Harris and Ayo Edebiri as filmmakers casting a period drama). But that’s only half of our conversation, because I have to ask Sean and Nick (both Kim’s Video alums) about what they’ve been watching, as well as Sean’s other intriguing projects. The Sweet East opens on December 1 and stars Talia Ryder, Simon Rex, Ayo Edebiri, Jeremy O. Harris, and Jacob Elordi. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 214: Eric Hynes on award-winner "1489" and more documentary highlights at IDFA + bonus selections with Edo Choi Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. A special double episode wraps up our coverage of notable new nonfiction at the International Documentary Film Festival Amsterdam. Eric Hynes, curator of film at the Museum of the Moving Image, discusses the IDFA Best Film award-winner, Shoghakat Vardanyan’s 1489, a harrowing and personal look at a family looking for a son missing in military action, and we cover other highlights including A Picture to Remember (Olga Chernykh), Chasing the Dazzling Light (Yaser Kassab), The Last (Sebastian Peña Escobar), and Behind Closed Doors (João Pedro Bim). And then, the podcast concludes with a quick bonus track: a chat with recent guest Edo Choi about a few more IDFA docs—Limitation, The Clinic, World Is Family, and Danger Zone. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 213: Julian Ross on New Nonfiction at IDFA Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. Every year, a stimulating new crop of nonfiction cinema premieres at the International Documentary Film Festival Amsterdam. During the latest edition, I spoke with Julian Ross, an Amsterdam-based programmer and professor who is a film program advisor at IDFA and co-programmer of Doc Fortnight. He talks about recent events that occurred during the festival and attracted attention, and discusses film highlights such as Mohamad Jabaly’s Life Is Beautiful, Kaori Oda’s Gama, and Kumjana Novakova’s Silence of Reason, as well as the festival’s Corresponding Cinemas slate of filmmaker-to-filmmaker discussions and screenings featuring Sky Hopinka, Jumana Manna, and others. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 212: Restorations with James Vaughan: Abel Gance, Pressure, Man Ray, Abraham’s Valley Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. Every year the New York Film Festival rolls out a selection of revivals and restorations, and for the latest edition, I welcomed filmmaker James Vaughan (Friends and Strangers) back to the podcast. We discussed a number of highlights, some of which will be making their way to cinemas: La Roue (Abel Gance), Pressure (Horace Ové), films by Man Ray (accompanied by Jim Jarmusch’s band SQÜRL), and Abraham’s Valley (Manoel de Oliveira). Plus a straggler from the premieres: Martin Rejtman’s La Practica. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 211: Edo Choi on Killers of the Flower Moon, Janet Planet, All of Us Strangers, Kevin Jerome Everson Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. Martin Scorsese’s Killers of the Flower Moon is finally out in theaters, and it’s one of the films I discussed with Edo Choi, associate curator of the Museum of the Moving Image. We chatted on campus at Lincoln Center while attending the New York Film Festival, and the titles in our conversation included: Scorsese’s Killers of the Flower Moon, playwright-turned-filmmaker Annie Baker’s Janet Planet, Andrew Haigh’s All of Us Strangers, and new work by Kevin Jerome Everson and James Benning. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 210: Bruce Bennett on Eight Hours of Terror, Ambush at Tomahawk Gap, Yield to the Night, Nuke Films, and more Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. It’s that most wonderful time: writer and “recovering film critic” Bruce Bennett returns to the podcast for another absolutely enjoyable discussion of recent viewing. As always it’s hard to pigeonhole the selection but broadly speaking we mine the 1950s—from Japan to England to the U.S.—for unsung brilliance by known and under-known auteurs. Films include: Eight Hours of Terror (Seijun Suzuki), Ambush at Tomahawk Gap (Fred Sears), Yield to the Night (J. Lee Thompson), Ladybird Ladybird (Frank and Eleanor Perry), Locked In (David C. Snyder), and much more. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 209: Clyde Folley on 90s Horror on Criterion Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. Season’s greetings! On this episode I talk about 90s horror with Clyde Folley, programmer on the delightful 90s Horror series on the Criterion Channel (and, previously, their incredible 80s Horror series!). We talk about a few titles in the ripsnorting selection, including Body Parts, Def by Temptation, The Exorcist III, When a Stranger Calls Back, The Addiction, and the religious apocalyptic shocker The Rapture. Happy Halloween! Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 208: Amy Taubin on the New York Film Festival 2023 Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. This year, the 61st New York Film Festival curated a notably strong selection of films drawn from other festivals as well as a few premieres of its own. To discuss her critical highlights, I was delighted to welcome back the one and only Amy Taubin (whose report on this edition appears in Artforum). Among the films discussed are Agnieszka Holland’s Green Border, May December (Todd Haynes), Close Your Eyes (Victor Erice), Jean-Luc Godard’s final film, Poor Things (Yorgos Lanthimos), Janet Planet (Annie Baker), Going to Mars: The Nikki Giovanni Project (Joe Brewster and Michèle Stephenson), Menus-Plaisirs: Les Troisgros (Frederick Wiseman), and The Sweet East (Sean Price Williams). Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 207: Michael Koresky and Jeff Reichert on Reverse Shot at 20 Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The wonderful film publication Reverse Shot celebrates its 20th anniversary of existence this year. Since I first wrote for Reverse Shot early in my career, it’s always held a special place in my heart, and it’s still going strong -- a gladdening beacon in the landscape of film criticism (and of critics, with an enviable roster of sharp voices and alums). I sat down with the co-founders of Reverse Shot, Michael Koresky and Jeff Reichert, at MOMI to discuss how it all began, go through highlights from the eventful past 20 years, and (in an unpredictable lightning round) a few personal favorites of theirs. Koresky and Reichert's biographies besides RS extend to filmmaking (such as American Factory, co-produced by Reichert, and Feast of the Epiphany, co-directed by Koresky, Reichert, and Farihah Zaman), books (including Koresky’s Films of Endearment), and more. MOMI’s anniversary program of Reverse Shot events continues this weekend with screenings of Terence Davies's The Deep Blue Sea, and other rarely screened films in the coming weeks. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 206: Eric Hynes on Toronto 2023: The Pigeon Tunnel, The Holdovers, The Peasants, American Fiction, Gonzo Girl Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. As the fall season kicks off, I have a few more titles—some slated for release in the coming months, others yet to be distributed—plucked from the ranks of the Toronto International Film Festival. I talked with Eric Hynes, curator of film at Museum of the Moving Image, about Errol Morris’s The Pigeon Tunnel, Alexander Payne’s The Holdovers, Cord Jefferson’s American Fiction, Patricia Arquette’s Gonzo Girl, and The Peasants, from Dorota Kobiela and Hugh Welchman. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 205: Toronto 2023 with Beatrice Loayza: The Teachers’ Lounge, Arthur & Diana, Wavelengths shorts, Memory Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. As the fall season kicks off, I’m catching up with some intriguing titles seen at the Toronto International Film Festival 2023 that you might not have heard much about yet. I chatted with critic Beatrice Loayza about a few titles: Ilker Çatak’s The Teachers’ Lounge, Michel Franco’s Memory starring Jessica Chastain and Peter Sarsgaard, Sara Summa’s Arthur & Diana, and shorts from TIFF's Wavelengths section. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 204: Toronto 2023 with Mark Asch: The Boy and the Heron, His Three Daughters, Lee, Silver Dollar Road Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. This month I went to the Toronto International Film Festival 2023 and recorded a few dispatches for your edification. I sat down with Mark Asch, who was filing for the film journal Little White Lies, and discussed an eclectic selection of movies from the sprawling TIFF lineup. Titles include: Hayao Miyazaki’s The Boy and the Heron, Azazel Jacobs’s His Three Daughters, Ellen Kuras’s Lee (about photographer Lee Miller), and Raoul Peck’s Silver Dollar Road. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 203: Venice 2023 with Glenn Kenny: The Killer, Caine Mutiny, Orson Welles TV, Making Of, Restorations Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. For the last day of the 80th Venice Film Festival. I’m back again with Glenn Kenny of The New York Times and RogerEbert.com to chat about a cavalcade of films. Titles include: David Fincher’s The Killer; William Friedkin’s final film, The Caine Mutiny Court Martial; Orson Welles’s Portrait of Gina, a 1958 documentary about Gina Lollobrigida for an unrealized TV series; Cedric Kahn’s Making Of; the documentary Frank Capra: Mr. America; and restorations of Tarkovsky’s Andrei Rublev and Arturo Ripstein’s Deep Crimson. He also shares his thoughts on other films like Poor Things, and on the Biennale College film funding program. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 202: Venice 2023 with Jessica Kiang: Priscilla, Green Border, Hit Man, Coup de Chance Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. This week I’m reporting from the 80th Venice Film Festival. This time I’m talking with Jessica Kiang, who is writing about the festival for Variety, Sight & Sound, and The New York Times. We discuss premieres from the festival’s second week: Sofia Coppola’s Priscilla, Agnieszka Holland’s Green Border, Richard Linklater’s Hit Man, and Woody Allen’s Coup de Chance. Please note: the audio may sound different about halfway through because of recording conditions—but don’t miss out on Kiang’s essential commentary! Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 201: Venice 2023 with Jordan Cronk: Aggro Dr1ft, The Beast, Evil Does Not Exist, Gasoline Rainbow Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. This week I’m reporting from the 80th Venice Film Festival in, you guessed it, Venice. For the latest episode, regular guest Jordan Cronk talks about his inaugural trip to the festival. We talk about a number of films including Harmony Korine’s Aggro Dr1ft, Bertrand Bonello’s The Beast starring Lea Seydoux, Ryusuke Hamaguchi’s Evil Does Not Exist, and Gasoline Rainbow from Bill and Turner Ross. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 200: Venice 2023 with Jonathan Romney: Maestro, Henry Sugar, The Palace, El Conde, Promised Land Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. This week I’m reporting from the 80th Venice Film Festival in, you guessed it, Venice. This time I'm joined by Jonathan Romney of Screen Daily and the Observer. We talk about a number of films including Maestro, directed by Bradley Cooper; Wes Anderson’s Roald Dahl adaptation The Wonderful Tale of Henry Sugar; Roman Polanski’s The Palace; Pablo Larrain’s El Conde; and Nikolaj Arcel’s The Promised Land. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 199: Venice 2023 with Guy Lodge: Poor Things, New Wiseman, City of Wind, Explanation for Everything Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The 80th Venice Film Festival has begun, and I’m reporting from Venice about the movies that are making their premieres here. For the second episode, I’m joined by Guy Lodge, who’s writing for Variety and Film of the Week. We discuss Yorgos Lanthimos’s unexpected hit Poor Things, Frederick Wiseman’s Menus Plaisirs – Les Troisgros, and two films from the Horizons section: City of Wind from director Lkhagvadulam Purev-Ochir, and Gabor Reisz’s Explanation for Everything. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 198: Venice 2023 with Glenn Kenny: Ferrari, Dogman, Hollywoodgate Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The 80th Venice Film Festival has begun, and I’ll be reporting from Venice about the movies that are making their premieres. For the first episode, I’m joined by Glenn Kenny of The New York Times and RogerEbert.com. We discuss Michael Mann’s highly anticipated Ferrari, Luc Besson’s Dogman, and Ibrahim Nash'at’s extraordinary Taliban documentary Hollywoodgate, and Glenn shares what other movies he’s looking forward to seeing. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 197: Manohla Dargis on Summertime Viewing (and possibly Barbie) Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. This week I catch up with a very special guest, Manohla Dargis, chief film critic of The New York Times. Instead of comparing festival notes or discussing recent reviews, this is a glimpse at what Dargis happens to have been watching recently. So in the interest of preserving the surprise, I’ll leave out the usual viewing list, though I can say we get some final thoughts on Barbie. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 196: Locarno 2023 with K.J. Relth-Miller on Mexican Retro: Spectacle Every Day Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. We have one final report from the Locarno film festival, on this year's retrospective. K.J. Relth-Miller, who programs at the Academy Museum in Los Angeles, has been attending Locarno's overview of Mexican popular cinema dating back to the 1940s: “Spectacle Every Day.” Among the films we discuss are The Batwoman, Take Me in Your Arms, El Suavecito, The Mind and the Crime, and The Three Garcias. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 195: Locarno 2023 with Giovanni Marchini Camia on The Human Surge 3, Critical Zone, Good Place Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. This week I’ve been reporting on the Locarno film festival, and for the latest batch of premieres, I am happy to welcome back a past guest, Giovanni Marchini Camia, who is a programmer at Locarno, a critic, and co-founder of the publishing house Fireflies Press. We discuss Eduardo Williams’s The Human Surge 3; the Golden Leopard winner Critical Zone, from Ali Ahmadzadeh; and Katharina Huber’s A Good Place, a discovery that went on to win two prizes. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Ep. 194: Locarno 2023 with Beatrice Loayza: Mademoiselle Kenopsia, Yannick, Camping du Lac, The Vanishing Soldier Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. This week I’m reporting from the Locarno film festival. Beatrice Loayza, who’s attending the festival for the first time, joins the podcast to discuss a few highlights, including: Quentin Dupieux’s Yannick, Denis Côté’s Mademoiselle Kenopsia, Éléonore Saintagnan’s Camping du Lac, and Dani Rosenberg’s The Vanishing Soldier. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 193: Locarno 2023 with Jessica Kiang: Radu Jude’s Do Not Expect Too Much from the End of the World, Sweet Dreams, Manga D'Terra Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. This week I’m reporting from the Locarno film festival, where Radu Jude’s Do Not Expect Too Much from the End of the World, has been a major stand-out. Jessica Kiang (Variety) joins the podcast to discuss Radu Jude’s film as well as two more titles in Locarno’s competition lineup: Ena Sendijarević’s Sweet Dreams and Basil Da Cunha’s Manga d’Terra. Please note: the audio in this episode may sound different at one point because of a mic change. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 192: John Wilson on How To with John Wilson Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. This week I talk with John Wilson, the mastermind of How To with John Wilson, the sui generis series on HBO. The third and final season of How To has now begun, and so I took the opportunity to ask Wilson about the secret to assembling the show’s serendipitous paths through New York and his own experience of the world. We also talked about his recent viewing and selections from the Anthology Film Archives series he programmed for this month. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 191: Amy Taubin on Oppenheimer, Barbie, Command-Z, Richard Kelly Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. This week I talk with the one and only Amy Taubin about the double feature that has attracted crowds to movie theaters this weekend: Oppenheimer, directed by Christopher Nolan, and Barbie, directed by Greta Gerwig. We pick apart what we loved (or hated) about the two films, and then we discuss Steven Soderbergh’s surprise series Command-Z, available only online. Plus a few thoughts on upcoming Richard Kelly screenings. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Monserrate” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 190: Mstyslav Chernov on Ukraine documentary 20 Days in Mariupol Welcome to the Last Thing I Saw. I’m your host, Nicolas Rapold. This week I’m speaking with the director of the Ukraine documentary 20 Days in Mariupol, now showing at Film Forum and winner of a Sundance audience award. Mstyslav Chernov was a video journalist for the Associated Press who stayed in the city when the Russian invasion of Ukraine began in February 2022. The AP journalists were the last from an international organization who remained in the city, and they were able to film the people and the streets during Russia’s brutal siege and bombardment, at one point filming from a hospital that became a target. Chernov and his colleagues won a Pulitzer Prize for their reporting, but 20 Days in Mariupol goes beyond news clips to give a fuller, tense chronicle of these days. I asked Chernov about crafting his documentary, getting the facts out about the war, and what films, fiction or documentary, have inspired him. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Monserrate” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 189: Amy Taubin on the Tribeca Festival 2023 and Beyond Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. This week I talk with the one and only Amy Taubin about the 2023 edition of the Tribeca Festival. We discuss Taubin’s favorite from the festival; a couple of hard-hitting documentaries, Transition and Rule of Two Walls; video game titan Hideo Kojima and auteurs in dialogue David Fincher and Steven Soderbergh; and other notable titles like Mountains and A Strange Path. Plus thoughts on recent viewing and what’s to come. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 188: Peter Labuza on Sokurov, Klimov, Shepitko, Hellman’s Iguana, the strike Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. This week brings some recent highlights from Los Angeles repertory courtesy of my latest guest, Peter Labuza. He talks about two 1990s films by Alexander Sokurov, the formidable war-movie pairing of Larissa Shepitko’s The Ascent and Elem Klimov’s Come and See, and Monte Hellman’s rarely screened Iguana. Labuza, researcher at IATSE Local 600 (the International Cinematographers Guild) and a scholar in media industries law, also offers personal reflections on possible implications of the writers strike for the industry. Finally, I say a bit about Mary Bronstein’s Yeast. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Monserrate” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 187: Michael Shannon Directs: Eric LaRue, a premiere at the Tribeca Festival Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. This week I spoke with Michael Shannon who’s become an indelible actor in film, on stage, and on television. Now Shannon has directed his first feature film, Eric LaRue, which is in this year’s Tribeca Festival. It’s based on a play by a longtime collaborator of his, Brett Neveu, who wrote the film’s screenplay. The story is about a woman and her husband who are dealing with the terrible aftermath of their son’s actions. Shannon talks about directing the film; casting Judy Greer and Alex Skarsgard as the parents; what the Theater of the Absurd means to him; and a fascinating movie he has coming up down the road called The End, directed by Joshua Oppenheimer (The Act of Killing). (Shannon also appears in The Flash, opening in theaters this week.) Please support the production of this podcast by signing up at: rapold.substack.com Music: “Monserrate” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 186: Cannes #14 with Manohla Dargis of The New York Times Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The 2023 Cannes Film Festival series joyously concludes with our traditional grand finale: a discussion with Manohla Dargis, chief film critic of The New York Times, live from Cannes. Dargis reveals what might be her favorite film of the festival, and then we discuss too many titles to list here in full, ranging from Catherine Breillat’s Last Summer and Wang Bing’s Youth to Wes Anderson’s Asteroid City and Sean Price Williams’s The Sweet East. Thank you to all our listeners! And please support the production of this podcast by signing up at: rapold.substack.com Music: “Monserrate” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 185: Cannes #13 with Guy Lodge on How to Have Sex, In Our Day, Anselm, Mambar Pierrette, Sleep Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The 2023 Cannes series continues, with episodes recorded live in Cannes! For the latest discussion, I chat with Guy Lodge of Variety and Film of the Week, about a few more films that haven’t come up yet on the podcast. Titles include Molly Manning Walker’s How to Have Sex (winner of Un Certain Regard), Hong Sangsoo’s In Our Day, Wim Wenders’s documentary Anselm, Rosine Mbakam’s fiction feature debut Mambar Pierrette, Jason Yu’s Sleep, and Anurag Kashyap's Kennedy. Stay tuned for more! Please support the production of this podcast by signing up at: rapold.substack.com Music: “Monserrate” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 184: Cannes #12 with Eric Hynes on In the Rearview, Riddle of Fire, The Breaking Ice, La Chimera, It’s Raining in the House Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The 2023 Cannes series continues, with episodes recorded live in Cannes! For the latest discussion, I chat with Eric Hynes, curator of film at the Museum of the Moving Image, about some discoveries from across the festival that people may have overlooked or missed. Titles include Maciek Hamela’s In the Rearview (ACID), It’s Raining in the House (Critics’ Week), Riddle of Fire (Directors’ Fortnight), and Alice Rohrwacher’s La Chimera (Competition). I also talk about Anthony Chen’s The Breaking Ice (Un Certain Regard). Stay tuned for more episodes with a delightful array of brilliant critics. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Monserrate” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 183: Cannes #11 with KJ Relth-Miller on Cannes Classics including L’Amour Fou and Skeleton of Mrs. Morales Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The 2023 Cannes series continues, with episodes recorded live in Cannes! For the latest discussion, I was delighted to welcome returning guest K.J. Relth-Miller, who heads the film program at the Academy Museum of Motion Pictures in Los Angeles. She surveys Cannes Classics, the festival’s robust program of new restorations and film documentaries, making their world premieres. Titles include L’Amour Fou (1967) from Jacques Rivette (which was an unofficial opening film for many attendees) and Skeleton of Mrs. Morales (1959) from Mexican director Rogelio A. González, and we reflect on the late Godard’s newest, Trailer of the Film That Will Never Exist: Phony Wars. Stay tuned for more episodes with a delightful array of brilliant critics. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Monserrate” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 182: Cannes #10 with Justin Chang on The Old Oak, Strange Way of Life, Sandra Huller 2x, Close Your Eyes Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The 2023 Cannes series continues, with episodes that were recorded live in Cannes! For the latest discussion, I talk with critic Justin Chang of The Los Angeles Times about a batch of new films: Ken Loach’s The Old Oak, Pedro Almodóvar’s Strange Way of Life, and Erice’s Close Your Eyes. Plus, Chang talks about interviewing Sandra Hüller, who stars in both Justine Triet’s Palme d’Or winner Anatomy of a Fall and The Zone of Interest. Stay tuned for more episodes with a delightful array of brilliant critics. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Monserrate” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 181: Cannes #9 with Jessica Kiang on 4 Daughters, La Chimera, Banel and Adama, Only the River Flows, Project Silence Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The 2023 Cannes film festival series continues, recorded live in Cannes! For the latest discussion, I talk with critic Jessica Kiang of Variety about a batch of new films: Kaouther Ben Hania’s Four Daughters, Alice Rohrwacher’s La Chimera, Ramata-Toulaye Sy’s Banel and Adama, Wei Shujun’s Only the River Flows, and Kim Tae-gon’s Project Silence (affectionately known as Dogs in the Fog!). Stay tuned for more episodes with a delightful array of brilliant critics. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Monserrate” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 180: Cannes #8 with Jonathan Romney on Victor Erice’s Close Your Eyes, Joanna Arnow, and Pedro Costa + Wang Bing Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The 2023 Cannes film festival series continues, recorded live in Cannes! This episode I talk with critic Jonathan Romney about Victor Erice’s long-awaited new film Close Your Eyes and the curious controversy surrounding its presentation; Joanna Arnow’s debut fiction feature The Feeling That the Time for Doing Something Has Passed; and the incredible double bill of Pedro Costa’s short Les Filles du Feu and Wang Bing’s Man in Black. Stay tuned for more episodes with a delightful array of brilliant critics. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Monserrate” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 179: Cannes #7 with Mark Asch on Asteroid City, Gondry’s Book of Solutions, Club Zero Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The 2023 Cannes film festival series continues, live from Cannes! This episode I reunite with critic Mark Asch to talk about a few more high-profile Cannes premieres, including Wes Anderson’s star-studded Asteroid City, Michel Gondry’s unexpectedly personal The Book of Solutions, and Jessica Hausner’s Club Zero. Stay tuned for more episodes with a delightful array of brilliant critics. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Monserrate” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 178: Cannes #6 with Jordan Cronk on Kaurismaki’s Fallen Leaves, Inside the Yellow Cocoon Shell, an ACID pick Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The 2023 Cannes film festival series continues, live from Cannes! This episode I talk with globe-trotting critic Jordan Cronk. We discuss Cannes premieres, including Aki Kaurismaki’s Fallen Leaves, the Directors’ Fortnight debut feature Inside the Yellow Cocoon Shell, a glimmer from the late Jean-Luc Godard, and one of Cronk’s picks from the ACID independent film showcase. Stay tuned for more episodes with a delightful array of brilliant critics. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Monserrate” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 177: Cannes #6 with Beatrice Loayza on Justine Triet’s Anatomy of a Fall, The Delinquents, Killers of the Flower Moon Redux Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The 2023 Cannes film festival series continues, live from Cannes! This episode I talk with critic Beatrice Loayza who writes for The New York Times, Film Comment, and other publications. We discuss some Cannes premieres, including Justine Triet’s Anatomy of a Fall, Rodrigo Moreno’s The Delinquents, and Scorsese’s Killers of the Flower Moon, from another perspective. Stay tuned for more episodes with a delightful array of brilliant critics. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Monserrate” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 176: Cannes #5 with Eric Hynes on Todd Haynes’s May December, Eureka, Pictures of Ghosts Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The 2023 Cannes film festival series continues, live from Cannes! This episode I talk with Eric Hynes, curator of film at the Museum of the Moving Image. We discuss recent Cannes premieres, including Todd Haynes’s May December with Natalie Portman, Julianne Moore, and Charles Melton; Lisandro Alonso’s return to feature filmmaking, Eureka; and Kleber Mendonca Filho’s exquisite Pictures of Ghosts. Stay tuned for more episodes with a shimmering array of brilliant critics. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Monserrate” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 175: Cannes #3 with Jon Dieringer on Zone of Interest, Wang Bing’s Youth, Occupied City Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The 2023 Cannes film festival series continues, live from Cannes! This episode I talk with Jon Dieringer, editor and publisher of the one and only Screen Slate. We discuss recent Cannes titles of note, including Jonathan Glazer’s Zone of Interest, Wang Bing’s Youth, Steve McQueen’s Occupied City, and maybe even a glimpse of Scorsese's latest, Killers of the Flower Moon. Stay tuned for more episodes with a glittering array of brilliant critics. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Monserrate” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 174: Cannes #2 with Mark Asch on Jeanne du Barry, Kore-eda’s Monster, Sweet East, The Goldman Case Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The 2023 Cannes film festival series continues, live from Cannes! This episode I talk with critic Mark Asch about recent Cannes highlights (and otherwise), including Maiwenn’s festival opener Jeanne du Barry, Hirokazu Kore-eda’s Monster, Sean Price Williams’s The Sweet East, and Cedric Kahn’s The Goldman Case. Stay tuned for more episodes with a glittering array of brilliant critics. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Monserrate” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 173: Cannes #1 with Eric Hynes Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. And I’m beginning my reports from the latest edition of the Cannes film festival. For my first episode, I talk with Eric Hynes, curator of film at the Museum of the Moving Image, about the 2023 slate. We palaver about the highlights, “big” and “small” titles alike, offer a few anticipatory picks. We talk about what we expect to be seeing, and the enormous value, too, of seeing the unexpected. Stay tuned for more episodes with a panoply of brilliant critics. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Monserrate” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 172: Amy Taubin on Dead Ringers, Warhol's Batman Dracula, High Flying Bird, Joie Lee, Elephant Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. This week I’m pleased as punch to speak with the critic Amy Taubin about her ongoing “Carte Blanche” series at the Museum of Modern Art, plus some recent viewing. Titles include: Dead Ringers (TV), Warhol’s unfinished Batman Dracula, High Flying Bird (directed by Steven Soderbergh), Fuller’s Pickup on South Street, shorts by Joie Lee, and Agnieszka Holland’s Washington Square, starring Jennifer Jason Leigh. I also ask Amy about interviewing Barbara Loden for the Soho News, and we chat about my latest pick for New Essentials at the Roxy Cinema in New York: Gus Van Sant’s Elephant. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Monserrate” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 171: Beatrice Loayza on Erotic Thrillers + Dry Ground Burning + a NDNF pick Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. This week I talk with critic Beatrice Loayza (The New York Times, Cinema Scope) about erotic thrillers—the subject of a new series of films on the Criterion Channel. Loayza wrote an article thinking through the genre, and we discuss the titles available for streaming now from the 1980s and 90s: Ken Russell’s Crimes of Passion, John Dahl’s The Last Seduction, Nicholas Kazan’s Dream Lover, and Sollace Mitchell’s New York–set Call Me, among others. Loayza also talks about a recent stand-out among new releases, Dry Ground Burning, from directors Joana Pimenta and Adirley Queirós, and I offer a pick from the recent edition of New Directors / New Films. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 170: K.J. Relth-Miller on the VardaVerse, Neptune Frost, Pat Rocco, Titanic 3D, and more Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. This week I’m delighted to welcome the wonderful K.J. Relth-Miller of the Academy Museum of Motion Pictures in Los Angeles. We discuss selections from the Academy Museum program “Enter the VardaVerse: Women’s Liberation Through Film, 1971–1977” including Agnes Varda’s One Sings, The Other Doesn’t and Julie Dash’s rarely shown UCLA film Diary of an African Nun. Relth-Miller also talks about the contemporary films she teaches at CalArts, and a couple of filmmakers who captured Los Angeles: Melvin Van Peebles and Pat Rocco. Plus: Titanic 3D! Please support the production of this podcast by signing up at: rapold.substack.com Music: “Monserrate” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 169: Synecdoche, New York with Michael Joshua Rowin, plus Brakhage, Resnais, Duras Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. I’ve been hosting a screening series recently called New Essentials at the Roxy Cinema in New York. This weekend I’m presenting Charlie Kaufman’s directorial debut feature, Synecdoche, New York (2008), the sprawling story of a playwright (Philip Seymour Hoffman) attempting to stage a truly world-sized drama while navigating his wrecked personal life. For the latest episode, I discuss Kaufman’s rich and strange and funny movie with critic Michael Joshua Rowin, who wrote about it for Reverse Shot. We also compare notes on the last things each of us has seen, including films by more adventurers in subjectivity: Stan Brakhage, Alain Resnais, and Marguerite Duras. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 168: True False 2023 with Eric Hynes on Hummingbirds, Art Talent Show, Time Bomb Y2K, more Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. This week I report to you from the True/False Film Fest in Columbia, Missouri, and its international showcase of nonfiction cinema. On a sunny day I sat down with Eric Hynes, curator of film at the Museum of the Moving Image, about a number of highlights, including Hummingbirds from Silvia Castaños and Estefanía “Beba” Contreras, Time Bomb Y2K from Brian Becker and Marley McDonald, and more. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 167: Berlin 2023 Six with Jordan Cronk: Hong’s In Water, Forum (incl. James Benning), Mal Viver + Viver Mal, The Echo, Samsara Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. We conclude (?) with the latest and greatest from the 2023 Berlin International Film Festival. To catch up, I chat with Jordan Cronk, critic, programmer, and co-founder of Acropolis Cinema in Los Angeles. We discuss Hong Sangsoo’s In Water, Forum highlights including James Benning’s Allensworth, Tatiana Huezo’s The Echo, Joao Canijo’s two-part hotel epic Mal Viver and Viver Mal, and Lois Patiño’s Samsara. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 166: Berlin 2023 Five with Inney Prakash: Notre Corps, An Atypical Orbit incl. Eduardo Williams, Kevin Jerome Everson, Mangosteen Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. We continue with the latest and greatest from the 2023 Berlin International Film Festival. For my latest episode, I chat with programmer Inney Prakash, founder/director of the festival Prismatic Ground. We consider discuss Claire Simon’s documentary Notre Corps; the Forum Expanded exhibition An Atypical Orbit which includes the Eduardo Williams work A Very Long GIF; a new short by Kevin Jerome Everson, If You Don’t Watch the Way You Move; and Tulapop Saenjaroen’s Mangosteen. Stay tuned for more from the Berlinale! Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 165: Berlin 2023 Four with Jessica Kiang: Petzold's Afire, Reality, The Shadowless Tower, The Survival of Kindness Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. We continue with the latest and greatest from the 2023 Berlin International Film Festival. For my latest episode, I chat with critic Jessica Kiang who is writing for Variety and The New York Times. We consider this year’s festival and discuss Christian Petzold’s Afire, Tina Satter’s Reality starring Sydney Sweeney, Zhang Lu’s The Shadowless Tower, and Rolf de Heer’s The Survival of Kindness. Stay tuned for more from the Berlinale! Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 164: Berlin 2023 Three with Jonathan Romney: Angela Schanelec’s Music, Limbo, On the Adamant, Superpower Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. This week I bring you the latest and greatest from Berlinale 2023. For my latest episode, I chat with critic Jonathan Romney (Screen, The Observer). We consider what’s special about this year’s festival and discuss Angela Schanelec’s Music, Ivan Sen’s Limbo, Nicolas Philibert’s On the Adamant, and Sean Penn and Aaron Kaufman’s Superpower. Stay tuned for more from the Berlinale! Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 163: Berlin 2023 Two with Jordan Cronk: Philippe Garrel’s The Plough, Totem, Here, Disco Boy, Dominik Graf's Melting Ink Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. This week I bring you the latest and greatest from the Berlinale. For my latest episode, I chat with festival stalwart Jordan Cronk, critic and Acropolis Cinema programmer. We discussed films from across the sections of the 2023 edition: Philippe Garrel’s The Plough, Lila Aviles’s Totem, Bas Devos’s Here, Giacomo Abbruzzese’s Disco Boy (starring Franz Rogowski), and Dominik Graf’s Melting Ink. Stay tuned for more from the Berlinale! Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 162: Berlin 2023 One with Giovanni Marchini Camia: The Adults, Manodrome, Margaret Tait, Orlando Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. This week I bring you the latest and greatest for the 2023 Berlin International Film Festival, aka the Berlinale. For my first episode, I connected with Berlin-based critic, programmer, and Fireflies Press co-publisher Giovanni Marchini Camia. We discussed films from across the sections of the festival: Dustin Guy Defa’s The Adults, John Trengrove’s Manodrome, Luke Fowler’s Being in a Place: A Portrait of Margaret Tait, and Paul Preciado’s debut feature, Orlando, My Political Biography. Stay tuned for more from the Berlinale! Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 161: Sundance 2023 Six with Eric Hynes: Drift, Kokomo City, 20 Days in Mariupol, Mami Wata Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The Sundance Film Festival episodes come to their thrilling conclusion (I think) with a final selection of highlights, brought straight to your ears. I talk with Eric Hynes, curator of film at the Museum of the Moving Image, about Kokomo City, Drift, 20 Days in Mariupol, The Stroll, Iron Butterflies, Mami Wata, and last but not least, Talk to Me. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 160: Sundance 2023 Five with Jessica Kiang: All Dirt Roads Taste of Salt + The Disappearance of Shere Hite Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The Sundance Film Festival left me with a number of worthy movies that I couldn’t shake from my mind anytime soon. So I’m back with critic Jessica Kiang (Variety) for the second part of our discussion. This time we go into a couple of films that people will definitely continue to talk about: a debut feature with a strong and singular voice, Raven Jackson’s All Dirt Roads Taste of Salt, and the revelatory documentary from Nicole Newnham, The Disappearance of Shere Hite. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 159: Sundance 2023 Four with Jessica Kiang: Past Lives, Passages, Notes on Hybrid Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The Sundance Film Festival has officially wound down but I still have good movies to share with you! This time I joined forces with critic Jessica Kiang, who was reviewing films for Variety at the festival. Our discussion spans two episodes. Part One begins with notes on the hybrid nature of this edition, then moves on to Celine Song’s wonderful debut feature Past Lives and Ira Sachs’s latest drama, the finely observed love triangle Passages. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 158: Sundance 2023 Three with Eric Hynes Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The Sundance Film Festival is back in action, returning to in-person screenings and events after two virtual years. I caught up again with Eric Hynes, curator of film at the Museum of the Moving Image, about some of Films of Interest at the festival, including The Tuba Thieves, Rotting in the Sun, Cat Person, and Fremont. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 157: Sundance 2023 Two with Amy Taubin Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The Sundance Film Festival is back in action, returning to in-person screenings and events after two virtual years. I sat down with Last Thing I Saw regular and veteran of Sundance, critic Amy Taubin, about some of the highlights (and otherwise) at the festival, including Past Lives, Polite Society, and a Nam June Paik documentary. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 156: Sundance 2023 One with Eric Hynes Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The Sundance Film Festival is back in action, returning to in-person screenings and events after two virtual years. To discuss the 2023 edition and some movie highlights so far, I spoke with longtime attendee Eric Hynes, curator of film at MOMI. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 155: Snubbed! with Michael Koresky, Eric Hynes, and Edo Choi Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. This month the Museum of the Moving Image starts the series “Snubbed: Great Movies, No Nominations.” The rules are simple: very fine films that were ignored, overlooked, or snubbed (if you will) by the Academy. For this episode I’m joined by the delightful series co-programmers: Eric Hynes, curator of film at MOMI; Michael Koresky, co-editor of Reverse Shot; and Edo Choi, associate curator at MOMI. Each chose a couple of films to represent the varieties of snubbage that occur when the Oscars and the history of great movies fail to intersect. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 154: Avatar 2, Michael Mann, Nope, Casa Susanna, Rosa von Praunheim, World Cup Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The thrilling conclusion of 2022 has arrived, starring critic Mark Asch in a discussion about all of the pressing matters of the moment in the film world: Avatar 2: The Way of Water, digital cinema and Michael Mann, Nope, Casa Susanna, Rosa von Praunheim, and the 2022 World Cup. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 153: Bruce Bennett on Blue Collar, Canyon Passage, Ragtime, Ken Burns Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. This episode I continue my conversation with writer Bruce Bennett, who’s back on the show with a new garden of cinematic delights. In the first half, we talked about Chabrol and Skolimowski and British rarities, and now in the second half, Bruce takes us deep into the heart of America on film through Paul Schrader’s Blue Collar, Jacques Tourneur’s Canyon Passage, Milos Forman’s Ragtime, and Ken Burns’s recent series The U.S. and the Holocaust. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 152: Amy Taubin on Godard, Greatest Films, and more Welcome to The Last Thing I Saw. I’m Nicolas Rapold. Critic Amy Taubin joins the podcast for another delightful year-end discussion. She shares her thoughts on Godard by way of See You Friday, Robinson, a remarkable film that connected the late French master in a correspondence with Iranian writer-director Ebrahim Golestan. Then it’s on to the ever-vexing issues and omissions involved in selecting the greatest films of all time, viewed from Taubin’s career-spanning vantage point. Also: a TV recommendation. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 151: Adam Nayman and Beatrice Loayza on Eternal Daughter, Genre, Recent Listing Welcome to The Last Thing I Saw. I’m Nicolas Rapold. It’s been about a year since I was last joined by critics Adam Nayman and Beatrice Loayza, so it felt like high time to get the band (i.e., the two of them) back together. We discussed some recent viewing which inevitably meant talking about the Greatest poll we had all participated in, as they share some of the criteria behind their ballots. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 150: Laura Poitras on All the Beauty and the Bloodshed Welcome to The Last Thing I Saw. I’m Nicolas Rapold. One of the year’s best films is All the Beauty and the Bloodshed, directed by Laura Poitras. It’s about the life and work of photographer Nan Goldin, and her successful activism against the Sackler Family, whose company PurduePharma produced Oxycontin. Poitras and Goldin were collaborators on the film, which is a deeply moving work of art itself, featuring Goldin’s candid photography and her tough and evocative voiceover. Goldin speaks openly of traumas in her past, including the tragic story of her sister, Barbara. I’m a huge admirer of Poitras’s films, and as she generously pointed out, I first interviewed her in 2010 about her film The Oath, which was followed by her features Risk and Citizenfour, winner of the Academy Award for Best Documentary. It was an honor to talk with her again about All the Beauty and the Bloodshed, winner of the Golden Lion in Venice and more recently Best Documentary from the New York Film Critics Circle. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 149: Bruce Bennett on Skolimowski’s Deep End, Baby Love, Chabrol Freakout, and more Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. This episode I had a wonderful time talking with the inimitable Bruce Bennett, who’s back on the show with a new garden of cinematic delights. We start with Deep End, a past hit from director Jerzy Skolimowski, who’s enjoying a renaissance with EO. From there, we delve into unsung British rarities from the turn of the 1970s and the wildest Claude Chabrol film you ever did (or did not) see. But wait, there’s more! So much more, in fact, that I will publish the second half of our jampacked chat separately. Stay tuned! Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 148: IDFA #2 with Julian Ross: Manifesto, Documentary on Stage, and more Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. To discuss another sampling of the slate at IDFA (the International Documentary Film Festival Amsterdam), I sat down with Julian Ross, a curator and critic based in Amsterdam. Among the works we discuss are a provocative prize-winner, Manifesto; a live multimedia work, Between Nothingness and Infinity, I Began to Weep; Rea Tajiri’s Wisdom Gone Wild; and a special medium-length pick. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 147: Eric Hynes on IDFA 2022: Apolonia, Apolonia and beyond! Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. Every year I take in a new crop of nonfiction films from around the world at IDFA (the International Documentary Film Festival Amsterdam). Many of them will wend their way to festivals, theaters, and streaming, and I’m happy to select a few highlights with Eric Hynes, curator of film at the Museum of the Moving Image, who is also a regular IDFA attendee. Among the films we discuss is the top prize-winner of the international competition: Apolonia, Apolonia, which was 13 years in the making. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 146: Fun City with Margaret Barton-Fumo and Jonathan Hertzberg, from Morvern Callar to Heartbreakers Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. Critic and ol’ pal Margaret Barton-Fumo clued me in on the Fun City Editions label, founded and run by Jonathan Hertzberg. It’s a Blu-ray and music imprint with a particular penchant for 1980s movies that have fallen through the cracks over the years—such as Heartbreakers, starring Peter Coyote, or Cutter’s Way, with Jeff Bridges and John Heard—as well as other fine films such as Lynne Ramsay’s Morvern Callar (which by coincidence I recently introduced at the Roxy Cinema). We talk about all of these titles, plus others, and at the end, Jonathan and Margaret (who hosts the show No Pussyfooting on kpiss.fm) have some cool recent viewing to share. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 145: Elvis Mitchell on Is That Black Enough for You?!? Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. Elvis Mitchell is a critic I read early on in my career, and with this episode, I was delighted to talk with him about his new movie, Is That Black Enough for You?!? Mitchell’s essay film is a rich and multilayered history of Black cinema, full of insights on micro and macro levels. We talked about the movie and follow the threads of his inspirations and ideas, which trace influences across film and music and crosscurrents in society and culture. He also relates encounters with Harry Belafonte and other luminaries that influenced his thinking. Our conversation took place during the New York Film Festival, where his film premiered, and at times reminded me of the flow of the movie itself. Is That Black Enough for You?!? starts streaming on November 11 on Netflix. Elvis Mitchell has been the host of KCRW's The Treatment since its creation in 1996. During that time, he has served as a film critic for the Fort Worth Star-Telegram and The New York Times, and hosted the TV series "Elvis Goes There" on Epix and "Elvis Goes There" for Turner Classic Movies. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 144: She Said, Women Talking, Aftersun, Catherine Called Birdy with Alissa WIlkinson Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. This week for the first time on the podcast I talk with Alissa Wilkinson, who is senior culture reporter and critic at Vox as well as an associate professor of English and humanities at The King's College. We talked about some films coming out now, or soon, including She Said, starring Cary Mulligan and Zoe Kazan; Sarah Polley’s Women Talking; Aftersun, Charlotte Wells’s acclaimed debut feature starring Paul Mescal; and Lena Dunham’s medieval comedy Catherine Called Birdy. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 143: Park Chan-wook on Decision to Leave Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. Park Chan-wook’s Decision to Leave is one of the best films of 2022, hands-down, showing the Korean master at the height of his powers with this dazzling, seductive thriller. I was fortunate enough to sit down with director Park during the New York Film Festival, where Decision to Leave screened, following its world premiere at Cannes in May. We discussed the origin of the story, his filmmaking decisions from the micro to the macro, the casting of Tang Wei and Park Hae-il, his collaboration with the screenwriter Jeong Seo-kyeong, and, naturally, the last film he saw. Special thanks to translator Jiwon Lee, who is also heard on the audio. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Amy Taubin on Eo, Master Gardener, Alcarras, Tar, All the Beauty and the Bloodshed, Kira Muratova Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. As the New York Film Festival continues, I spoke with the one and only Amy Taubin about some of its selection of movies assembled from the year’s highlights. She shares her thoughts on a wide range, including Jerzy Skolimowski’s Eo, Paul Schrader’s Master Gardener, Carla Simon’s Alcarras, Todd Field’s Tar, and Laura Poitras’s All the Beauty and the Bloodshed, plus the long-suppressed work of Kira Muratova. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

White Noise with Christian Lorentzen Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The opening movie of the New York Film Festival was White Noise, which also opened the Venice film festival just a few weeks ago. To grapple with Noah Baumbach’s adaptation of the 1985 Don DeLillo classic, I spoke with the critic Christian Lorentzen about everything from the novel’s place in the literary tradition to the minute details that distinguish the adaptation to what the 1980s look like. White Noise opens later this fall through Netflix. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Toronto 2022 #3: No Bears, Knives Out 2, The People’s Joker, The Menu, All the Beauty and the Bloodshed, with Sam Adams Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The Toronto International Film Festival showed several more movies worthy of discussion that we hadn’t yet discussed on the podcast, and so I brought on a special guest to wrap things up with his insights: Sam Adams, senior editor of Slate. He shares his thoughts on an array of films including Jafar Panahi’s No Bears, Rian Johnson’s Glass Onion: A Knives Out Mystery (aka Knives Out 2), Vera Drew’s The People’s Joker, Laura Poitras’s All the Beauty and the Bloodshed, and The Menu, directed by Mark Mylod. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Toronto 2022 #2: How to Blow Up a Pipeline, Wendell & Wild, Eventide, Life, Victim, Cine-Guerrillas, The Fabelmans, with Eric Hynes Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The new movies keep on coming with the latest from the Toronto International Film Festival! This time I chat with Eric Hynes, curator of the Museum of the Moving Image, who shares his thoughts on Daniel Goldhaber’s How to Blow Up a Pipeline, Sharon Lockhart’s Eventide, Henry Selick’s Wendell & Wild (with Jordan Peele and Keegan-Michael Key), Emir Baigazin’s Life, Mila Turajlić’s Ciné-Guerrillas: Scenes from the Labudovic Reels, Michal Blaško’s Victim, and more on The Fabelmans. Check back for more films to keep an eye on! Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Toronto 2022 #1: Women Talking, The Fabelmans, The Inspection, Concrete Valley, with Mark Asch Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The new movies keep on coming with the latest from the Toronto International Film Festival! I kick off my reports with this streetside chat with critic Mark Asch. We discuss Sarah Polley’s Women Talking, Steven Spielberg’s The Fabelmans, Elegance Bratton’s The Inspection, and Antoine Bourges’ Concrete Valley (which is in fact set in Toronto). Check back for more films to keep an eye on! Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Venice #5: Blonde, Athena, Beyond the Wall, The Happiest Man in the World, Casa Susanna, with Jonathan Romney Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. As this year’s action-packed Venice Film Festival draws nearer to the end, I return to the airwaves with veteran critic Jonathan Romney. We discuss the much-anticipated Marilyn Monroe picture Blonde, from director Andrew Dominik, starring Ana de Armas; Romain Gavras’s Athena; Beyond the Wall, from Iran’s Vahid Jalilvand; Teona Strugar Mitevska’s The Happiest Man in the World; and Sebastien Lifshitz’s documentary Casa Susanna. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 136: Venice: Master Gardener, Dead for a Dollar, A Couple, Sergio Leone doc, with Glenn Kenny Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. This time at the Venice Film Festival, I talk with critic Glenn Kenny of RogerEbert.Com and The New York Times about Paul Schrader’s Master Gardener, Walter Hill’s Dead for a Dollar, Frederick Wiseman’s A Couple, and documentaries about Sergio Leone and Richard Harris. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Venice 2022: The Whale, The Eternal Daughter, Lav Diaz, Other People’s Children with Guy Lodge Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The Venice Film Festival continues to roll out films that are sure to be the subject of discussion this fall, and this time, I talk with critic Guy Lodge of Variety about Darren Aronofsky’s The Whale, starring Brendan Fraser; the new Joanna Hogg film, The Eternal Daughter, very much starring Tilda Swinton; Lav Diaz’s When the Waves Are Gone; and Rebecca Zlotowski’s Other People’s Children. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Venice 2022: All the Beauty and the Bloodshed, Saint Omer, The Banshees of Inisherin, Don’t Worry Darling with Jessica Kiang Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The Venice Film Festival continues to roll out films that are sure to be the subject of discussion this fall, and this time, I talk with critic Jessica Kiang about notable titles from the past few days: Laura Poitras’s film about Nan Goldin, All the Beauty and the Bloodshed; Martin McDonagh’s The Banshees of Inisherin, starring Colin Farrell, Brendan Gleeson, and Kerry Condon; Alice Diop's astonishing debut fiction feature, Saint Omer; and Olivia Wilde’s Don’t Worry Darling, starring Florence Pugh and Harry Styles. Check back for more from Venice! Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Venice 2022: Tar, White Noise, Bardo with Jonathan Romney Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. This week, the Venice Film Festival opened, and I hereby begin my annual coverage of the festival’s highlights, live from the Lido. I talk with the veteran critic Jonathan Romney about the first volley of films at this annual showcase that inaugurates the fall season: Noah Baumbach’s White Noise, an adaptation of the Don DeLillo novel, with Adam Driver and Greta Gerwig; Todd Field’s Tár, starring Cate Blanchett, with Nina Hoss and Noémie Merlant; and Bardo, the latest opus from Alejandro González Iñárritu, starring Daniel Giménez Cacho. Stay tuned for more from Venice! Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Mark Asch on The Rehearsal, Chelsea Girls, I Like It Like That, Funny Pages Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. This week on the program I talk with critic and bon vivant Mark Asch about some recent, brain-tickling viewing. We talk about Nathan Fielder’s The Rehearsal, Andy Warhol’s Chelsea Girls, Darnell Martin’s I Like It Like That, and Owen Kline’s Funny Pages, along with observations on best-of-all-time lists, cinephilia, and who knows what else. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

James Vaughan on Il Cinema Ritrovato: Muratova, Mambéty, and More! Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. Il Cinema Ritrovato is an incredible film festival of restorations, revivals, and retrospectives that takes place every year in Bologna, Italy. It’s a source of discovery (and/or envy) for many film lovers, and so when I heard the filmmaker James Vaughan—director of Friends and Strangers, one of my favorite movies in recent years—was attending, I knew we had to talk. Vaughan was a guest on The Last Thing I Saw last summer to talk about some very fine silent films he had been watching. In Bologna, he was looking at movies for the Sydney-based film festival Cinema Reborn, and some of his favorites included work by Kira Muratova, Djibril Diop Mambéty, and Arby Ovanessian—plus the Weimar Cinema comedy The Cabinet of Dr. Larifari. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Rico Gagliano and Eric Hynes on Memorable Moviehouses and More Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. Recently, the MUBI Podcast launched a new season of episodes, "Only in Theaters," about the way certain films and moviehouses have intertwined histories, such as the Elgin in New York and the midnight movie phenomenon. So I invited Rico Gagliano, the host of the acclaimed MUBI Podcast, and Eric Hynes, curator of film at Museum of the Moving Image, to talk about some stand-out cinemas—both historic and personally meaningful. Our chat ranges from the Cinematheque francaise and the Tuschinski to the local theaters where each of us grew up watching movies. We also talk about recent viewing and re-watches, from recent documentaries Beba and Nothing Lasts Forever, to Paddington and the Paul Simon vehicle One-Trick Pony. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Amy Taubin on Tribeca 2022 + Leos Carax’s Pola X (extended TV version) + Artists Space Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. This week I was delighted to catch up with Amy Taubin to discuss the latest edition of the Tribeca festival and other recent viewing. We share some of our highlights from the festival, and we also mull the recently surfaced, extended TV version of Pola X from director Leos Carax. Plus: the Attention Line exhibition at Artists Space. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Apichatpong Weerasethakul's Memoria with Kong Rithdee Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The movie Memoria from director Apichatpong Weerasethakul is still in U.S. theaters. That's thanks to a gradual rollout by its distributor NEON -- which means that many listeners might be watching the film for the first time now. I’m a fan, as listeners already know, and as it turns out, I still had a previously recorded discussion about Memoria that I hadn’t posted yet. It’s a conversation with Kong Rithdee, currently the deputy director of the Thai Film Archive. A veteran critic, he's also a contributor to Nikkei Asia and to the Bangkok Post, where he was chief film critic. He saw Memoria last summer before it premiered in Cannes, and as always I was eager to hear his insights. I’m pleased to finally share our conversation, which kicks off with my guest sharing initial thoughts. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 127: Shonni Enelow on Acting and Absorption in Joanna Hogg’s Films, plus Wanda Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. My guest this week is scholar Shonni Enelow, talking about her book in progress about acting in the films of Joanna Hogg. I have always enjoyed reading Enelow’s writing on the subject (including an especially memorable piece on recessive acting), and our conversation (or more rightly speaking, her insights) opens up new facets to Hogg’s rich work, from Unrelated to especially The Souvenir, parts one and two, by revisiting a concept from theories of art, absorption. It’s also a great opportunity to reflect on the cinematic feats of Wanda, directed by Barbara Loden, and its echoes in Hogg’s project. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Cannes #12 with Manohla Dargis: Broker, Hollywood at Cannes, Leila’s Brothers, Mother and Son, Triangle of Sadness Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. My Cannes Film Festival series in conversation with critics has its grand finale with the return of the one and only Manohla Dargis of The New York Times. We discuss Hirokazu Kore-eda’s Broker, Saeed Roustayi’s Leila’s Brothers, Leonor Serraille’s Mother and Son, the tradition of Hollywood at Cannes, Kelly Reichardt’s Showing Up, and, briefly, Triangle of Sadness, among other topics. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Cannes #11 with Justin Chang: Showing Up, Tori and Lokita, Close, 3000 Years of Longing Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The highlights from the 2022 Cannes Film Festival continue with critic Justin Chang of The Los Angeles Times. We discuss Kelly Reichardt’s Showing Up with some behind-the-scenes tidbits, Jean-Pierre and Luc Dardenne’s Tori and Lokita, Lukas Dhont’s Close, and George Miller’s Three Thousand Years of Longing. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Cannes #10 with Jessica Kiang: Holy Spider, Corsage, Metronom, Showing Up Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The highlights from the 2022 Cannes Film Festival continue with critic Jessica Kiang, who has been filing reviews for Variety throughout the festival. We discuss Ali Abbasi’s controversial serial killer thriller Holy Spider, Marie Kreutzer’s Corsage, Alexandru Belc’s Metronom, and a film that showed on the last day of premieres, Kelly Reichardt’s Showing Up. Plus, a few of Kiang’s picks for the awards (which prove prescient...). Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Cannes #9 with Mark Asch: Triangle of Sadness, Enys Men, Aftersun, Hunt Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The highlights from the Cannes Film Festival continue with critic Mark Asch joining the show again. We discuss Ruben Östlund’s second Palme d’Or winner, Triangle of Sadness; Mark Jenkin’s Enys Men; Charlotte Wells’s Aftersun; and Hunt, from Squid Game star-turned-director Lee Jung-jae. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Cannes #8 with Jonathan Romney: Park Chan-wook’s Decision to Leave, Burning Days, The Super-8 Years, Blue Caftan Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The highlights from the Cannes Film Festival continue with critic Jonathan Romney, who has been writing for Screen Daily throughout the 2022 edition. We discuss Park Chan-wook’s galvanizing thriller Decision to Leave, writer Annie Ernaux’s extraordinary Super-8 Years (co-directed with David Ernaux-Briot), Emin Alper’s Burning Days, and Maryam Touzani’s Blue Caftan. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Cannes #7 with Jordan Cronk: Stars at Noon, Pacifiction, Fogo-Fatuo, Diary of a Fleeting Affair Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The highlights from the Cannes Film Festival continue with critic Jordan Cronk, one of the show’s festival stalwarts, who’ll be writing a report on Cannes 2022 for Artforum. We discuss the second Claire Denis film of the year, Stars at Noon, plus Albert Serra’s Pacifiction, Joao Pedro Rodrigues’s Fogo-Fatuo, and Emmanuel Moret’s Diary of a Fleeting Affair. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Cannes #6 with Eric Hynes: De Humani Corporis Fabrica, R.M.N., Return to Seoul, Godland, Joyland Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The highlights from the Cannes Film Festival continue with Eric Hynes, curator of film at Museum of the Moving Image, who joins to discuss body doc De Humani Corporis Fabrica (from Verena Paravel and Lucien Castaing-Taylor), Cristian Mungiu’s R.M.N., and Davy Chou’s Return to Seoul, plus Godland and Joyland. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Cannes #5 with Eric Hynes: War Pony, Rodeo, Brother and Sister Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The highlights from the Cannes Film Festival continue with Eric Hynes, curator of film at Museum of the Moving Image, who joins to discuss Arnaud Desplechin’s Brother and Sister, starring Marion Cotillard and Melvil Poupaud, and two debut features, Rodeo (from Lola Quivoron) and War Pony (from Riley Keough and Gina Gammell). Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 118: Cannes #4 with Amy Taubin: Crimes of the Future and Forever Young (Les Amandiers) Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The highlights from the Cannes Film Festival continue in this very special episode with critic Amy Taubin, who joins to discuss David Cronenberg’s hotly anticipated Crimes of the Future, about a world of organ performance art; and Valeria Bruni-Tedeschi’s outstanding chronicle of young actors, Forever Young (also known as Les Amandiers). Be sure to read Taubin’s feature and interview with Cronenberg in the upcoming print issue of Artforum. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 117: Cannes #3 with Eric Hynes: Eo, Armageddon Time, and Ukraine documentary Mariupolis 2 Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The highlights from the Cannes Film Festival continue with Eric Hynes, curator of film at the Museum of the Moving Image. We talk on an especially lively terrace at Cannes about Jerzy Skolimowski’s formally wild donkey epic Eo, James Gray’s semiautobiographical Armageddon Time, and the posthumously assembled Ukraine documentary Mariupolis 2 (from director Mantas Kvedaravicius). Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 116: Cannes #2 with Mark Asch: Scarlet, Tchaikovsky’s Wife, Top Gun Maverick, Harka Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The highlights from the Cannes Film Festival continue with a deluxe episode with critic Mark Asch, a delightful correspondent of the show at last summer’s edition of the festival. We talk about recent viewing including Pietro Marcello’s Scarlet, Tchaikovsky’s Wife from Kirill Serebrennikov, Lotfy Nathan’s Harka, and oddly quite a bit of Top Gun Maverick (the one with Tom Cruise). Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. I’m back at the Cannes Film Festival after a pandemic absence and couldn’t be more delighted to share the latest and greatest in films with you. For the kick-off episode, I’m joined by Eric Hynes, curator of film at the Museum of the Moving Image and writing about Cannes for Reverse Shot. We review the lineup of the 2022 edition, highlighting some titles and filmmakers, and also share a quick look at the opening film, Coupez!, from director Michel Hazanavicius (whose film The Artist won the Academy Award for Best Picture). Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 114: The Aesthetics of Cope, The Cathedral, Deepfake, Slade in Flame with Chloe Lizotte Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The show is back from spring break with a special episode starring writer Chloe Lizotte, a contributing editor at Le Cinema Club. She joins us talking about her work for her wide-ranging Reverse Shot column Event Horizon, including her essay about strange media phenomena during the pandemic, called “The Aesthetics of Cope,” and her thoughts on the film The Cathedral and the dangerous art of deepfakes. I chime in with thoughts on the 1975 movie Slade in Flame, starring the band Slade. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 113: Jacques Audiard on Paris, 13th District Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. Paris, 13th District is the latest movie from Jacques Audiard, a writer-director whose work has spanned many genres, from The Beat That My Heart Skipped to Rust and Bone to The Sisters Brothers. Paris 13th District is Audiard’s unabashed look at a younger generation in love, and it starts by focusing on a woman, Emilie (Lucie Zhang) and her roommate, briefly turned lover, Camille (Makita Samba). But it gradually shifts to the story of Nora, a newcomer to Paris played by Noémie Merlant, who gets mixed up literally with a cam girl named Amber Sweet. Its soulful and beautiful moments have a way of sneaking up on you with their intensity and then commanding your attention. I talked with Audiard about making the movie (which adapts a graphic novel by Adrian Tomine). He spoke with the help of a translator and in a brief span of time had a lot of illuminating things to say. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Ep. 112: S.S. Rajamouli's RRR, Laida Lertxundi's Inner Outer Space, Leo McCarey's Part Time Wife, Kinuyo Tanaka's Love Letter with R. Emmet Sweeney Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. It’s time for a good old-fashioned romp through recent viewing, with guest R. Emmet Sweeney of Kino Lorber. He shares his experience with S. S. Rajamouli’s new adventure, RRR, as well as the latest work from Laida Lertxundi, a (partial?) Leo McCarey feature that’s of a piece with The Awful Truth, and a documentary about stuntmen. Plus: Kinuyo Tanaka’s Love Letter. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. One of the greatest action movies of all time is also one of the most beautiful: Mad Max: Fury Road. It was on the top ten lists of 2015 and more than a few best of the decade lists. But making the movie was no walk in the park, and a new oral history by Kyle Buchanan is full of well-researched and entertaining detail about the movie’s sometimes insane production process, which involved stops and starts dating back to the 1990s. Buchanan is a pop-culture reporter at The NeW York Times, writing its Projectionist column and interviewing a daunting array of Hollywood talent. The new book is called Blood, Sweat & Chrome: The Wild and True Story of Mad Max: Fury Road, and it draws on over 125 new interviews, including stars Charlize Theron and Tom Hardy, director George Miller, and a fascinating and wide-ranging selection of other cast and crew. It’s a multilayered look at making movies in a changing Hollywood, with all its delays and demands, and of course all the challenges of shooting an apocalyptic action film in the desert. I spoke with Buchanan a few weeks ago about the book, which is published by William Morrow and is available now. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Episode 110: Nadav Lapid on Ahed’s Knee Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The filmmaker Nadav Lapid has made one tense, kinetic, indelibly original drama after another: Policeman, The Kindergarten Teacher, Synonyms, and now Ahed’s Knee. Ahed’s Knee premiered at the Cannes film festival last year where it shared the Jury Prize with Memoria, and it opened in New York on March 18. The film follows an Israeli director who is presenting one of his movies in a small town, thanks to an invitation by a young, eager library official. But when he arrives, she asks him to sign a government form saying exactly what topics he can and cannot talk about. The director—who’s named only with the letter Y—lashes out at his host. But the small community doesn’t have exactly the reaction he might expect. The film’s title refers to a well-known incident when a Palestinain teenager named Ahed Tamimi slapped an Israeli soldier, and a conservative politician responded by saying that she should be shot in the knee. I spoke with Lapid about the film’s ferocious vision and how it explores the idea of speaking out, among other things. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. This year the True/False Film Fest welcomed guests back for another edition, fully in-person with guests from all over the globe. I try to go every year to take advantage of its delicious nonfiction smorgasbord, and joining me to talk about the selection is Eric Hynes, curator of film at the Museum of the Moving Image and a longtime attendee of the festival. We talked about the festival and films such as After Sherman, Mr. Landsbergis, The Balcony Movie, Vedette, Factory to the Workers, and GES-2. After our discussion, listen to our interview with Joe Hunting, the director of We Met in Virtual Reality, also shown at this year’s edition following its triumphant premiere at Sundance. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The Village Voice loomed large for me as a critic and an editor. The Voice I grew up with may be long gone, but it’s been a joy to continue reading my favorite critics who wrote there. For this episode, I’m honored to bring together three all-star alumnae of the Village Voice to talk about movies. Manohla Dargis, the co-chief film critic of The New York Times, started writing about avant-garde cinema at the Voice early in her career. Lisa Kennedy has written for The New York Times, Essence, American Theatre, Variety, and the Denver Post, on both film and theater, and she was an editor at the Voice for a decade, editing pieces by Manohla Dargis and Amy Taubin. Amy Taubin is a contributing editor at Artforum and Sight & Sound, who wrote full-time at the Voice for 14 years; This episode is something like a dream come true for me, and so I had to ask a little about their memories of the Voice, before we talked about some recent highlights from their viewing. And I encourage everyone to spend some quality time with the Village Voice archives. My deep thanks to Amy, Lisa, and Manohla for taking the time to talk. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Episode 107: Berlin #6 with Edo Choi (Dark Glasses, Rewind & Play, Sonne, A Little Love Package, Terra que marca) Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. We continue with the Berlin festival series, highlighting the intriguing new films you should know about. For what might be the last episode on this year’s edition, I talked with Edo Choi, assistant curator at Museum of the Moving Image. We discuss Dario Argento’s Dark Glasses, Alain Gomis’s Rewind & Play, Kurdwin Ayub’s Sonne, Gaston Solnicki’s A Little Love Package, and Raul Domingues’s Terra que marca. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Episode 106: Berlin #5 with Giovanni Marchini Camia (Unrest, Queens of the Qing Dynasty, Mutzenbacher, The Death of My Mother, Alcarras) Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. We continue with the Berlin festival series, highlighting the intriguing new films you should know about. This time I talk with Giovanni Marchini Camia, a critic (Sight & Sound and more), editor (Fireflies Press), and member of the Locarno selection committee. We discuss Unrest, Queens of the Qing Dynasty, Mutzenbacher, The Death of My Mother, and the Golden Bear winner Alcarras. Stay tuned for more from Berlin! Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Episode 105: Berlin #4 with Inney Prakash (Dry Ground Burning, Instant Life, Jet Lag, Super Natural, The Kegelstatt Trio) Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. We continue with the Berlin festival series, highlighting the intriguing new films you should know about. This time I talk Fun at the Forum (and Forum Expanded) with programmer Inney Prakash of Maysles Cinema and Prismatic Ground. We discuss Dry Ground Burning (from Adirley Queiros and Joana Pimenta), Instant Life (Anja Dornieden, Juan David González Monroy, Andrew Kim), Jet Lag (Zheng Lu Xinyuan), Super Natural (Jorge Jacome), and The Kegelstatt Trio (Rita Azevedo Gomes). Stay tuned for more from Berlin! Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Episode 104: Berlin #3 with Jordan Cronk (The Novelist’s Film, Afterwater, Coma, United States of America, That Kind of Summer, more) Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. We continue with the Berlin festival series, highlighting the intriguing new films you should know about. I joined forces with Jordan Cronk, critic (MUBI Notebook and elsewhere) and programmer (Acropolis). We discussed new films by Hong Sangsoo, Bertrand Bonello, James Benning, Denis Côté, and Darezhan Omirbaev. Stay tuned for more from Berlin! Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Episode 103: Berlin 2022 #2 with Guy Lodge (Flux Gourmet, Robe of Gems, Small Slow but Steady, Brother in Every Inch, Fire, AEIOU – A Quick Alphabet of Love) Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The Berlin festival series continues, highlighting the intriguing new films you should know about. This time I talk with Guy Lodge, a regular critic for Variety. We discuss Peter Strickland’s Flux Gourmet, Natalia Lopez Gallardo’s Robe of Gems, Sho Miyake’s Small, Slow but Steady, Alexander Zolotukhin’s Brother in Every Inch, Nicolette Krebitz’s A E I O U – A Quick Alphabet of Love, and, one more time, Claire Denis’s Fire. Stay tuned for more from Berlin! Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Episode 102: Berlin 2022 #1 with Jonathan Romney (Fire, Rimini, Incredible But True, Passengers of the Night, A Piece of Sky, See You Friday, Robinson) Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The Berlin International Film Festival is underway and I kicked off this edition’s podcasts with series regular Jonathan Romney, a critic writing for Screen Daily and The Observer among other publications. We talked about notable premieres such as Claire Denis’s Fire, Ulrich Seidl’s Rimini, Quentin Dupieux’s Incredible But True, Mikhael Hers’s Passengers of the Night, Michael Koch's A Piece of Sky, and Mitra Farahani’s See You Friday, Robinson. Stay tuned for more from Berlin! Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Episode 101: Sundance 2022 #7 with Jessica Green (Mija, Alice, God’s Country, The Exiles, Free Chol Soo Lee, Framing Agnes) Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. So it turns out I have one more episode of Sundance films to share. I was joined by Jessica Green, artistic director of the Houston Cinema Arts Society, who brought several films that haven’t been discussed yet on the podcast. Jessica came on toward the end of the festival to talk about Mija, The Exiles, God’s Country, and other thought-provoking movies from this year’s edition. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Episode 100: Maggie Gyllenhaal on The Lost Daughter Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. It's the 100th episode! As a working critic and journalist, I always hope these podcasts add something new to the discussion. And for that I have to thank my guests, all the talented critics and filmmakers who have joined me, and of course my listeners for listening. Finally, a special thank-you to my substack subscribers. Your support makes the podcast possible. This episode, I talked with Maggie Gyllenhaal, who made her acclaimed directorial debut with The Lost Daughter, adapted from the Elena Ferrante novel. Olivia Colman stars as Leda, a literature professor on vacation in Greece who is haunted by the decisions she made as the mother of two daughters. Jessie Buckley plays Leda's younger self, and Dakota Johnson plays Nina, a woman from a big family on the beach who has a daughter of her own. I talked with Gyllenhaal about adapting the film’s mix of present and past, getting permission from Ferrante, and casting Olivia Colman and Dagmara Dominczyk (who plays Callie, a first-time mother in Nina’s family). Gyllenhaal also talks about the process of bringing the film into being from her initial vision. Last but not least... she tells me the last movie she saw, which is a great one. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Episode 99: Sundance 2022 #6 with Jon Dieringer (Leonor Will Never Die, Short Films, TikTok, Boom, Cha Cha Real Smooth) Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The Sundance Film Festival is here, there, and everywhere this year, screening in a virtual edition. As we enter the final days (of the festival), I was joined by Jon Dieringer, editor and publisher of the estimable Screen Slate. We talk about Martika Escobar’s Leonor Will Never Die, Shalini Kantayya’s documentary TikTok, Boom, and short films by directors such as Hugo Covarrubias, Joe Hsieh, and Mahboobeh Kaleee (some of whom may have won awards while we were recording...). Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Episode 98: Sundance 2022 #5 with Jourdain Searles (Emily the Criminal, Sharp Stick, Honk for Jesus, Save Your Soul, When You Finish Saving the World) Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The Sundance Film Festival is here, there, and everywhere this year, screening in a virtual edition. For this episode, I’m very pleased to welcome a terrific critic I’ve been wanting to feature on the podcast for a long time: Jourdain Searles, who writes for publications including The Hollywood Reporter, Little White Lies, and Okayplayer. We talk about John Patton Ford’s Emily the Criminal, Lena Dunham’s Sharp Stick, Adamma Ebo’s Honk for Jesus. Save Your Soul., and Andrew Semans’s Resurrection. Please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Episode 97: Sundance 2022 #4 with Beatrice Loayza (Dos Estaciones, Speak No Evil, Brainwashed, jeen-yuhs: A Kanye Trilogy) Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The Sundance Film Festival is here, there, and everywhere this year, screening in a virtual edition. For this episode, I chat with Beatrice Loayza, a New York Times contributor and an editor at the Criterion Collection, about her recent Sundance selections, her favorites and her not-so-favorites. We talk about Juan Pablo González’s Dos Estaciones, Christian Tafdrup’s Speak No Evil, Nina Menkes’s Brainwashed, and jeen-yuhs: A Kanye Trilogy, from Clarence “Coodie” Simmons and Chike Ozah. If you listen to this, please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Episode 96: Sundance 2022 #3 with Amy Taubin (Nanny, Master, Call Jane, Resurrection, You Won’t Be Alone) Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The Sundance Film Festival is here, there, and everywhere, screening in a virtual edition. For this episode, I’m delighted to talk with the one and only Amy Taubin about yet another year of Sundance selections. We talk about a few highlights of her viewing so far, including Nikyatu Jusu’s Nanny, Mariama Diallo’s Master, Phyllis Nagy’s Call Jane, Andrew Semans’s Resurrection, Ricky D'Ambrose's The Cathedral, Goran Stolevski’s You Won’t Be Alone, and Alex Pritz’s The Territory. If you listen to this, please support the production of this podcast by signing up at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets, courtesy of The Minarets Photo by Steve Snodgrass

Episode 95: Sundance 2022 #2 with Eric Hynes (Dual, We Met in Virtual Reality, A House Made of Splinters, Jihad Rehab) Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The Sundance Film Festival is here, there, and everywhere, screening in a virtual edition. We’re nearing the end of a packed weekend of premieres and I joined forces once again with Eric Hynes, curator of film at Museum of the Moving Image, to begin sorting through the movies. We share initial reactions to a few including Riley Stearns’s Dual, Joe Hunting’s We Met in Virtual Reality, Maryna Er Gorbach's Klondike, Simon Lereng Wilmont’s A House Made of Splinters, and Meg Smaker’s Jihad Rehab. You can support this podcast and read show notes with links at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The Sundance Film Festival is here, there, and everywhere, screening in a virtual edition that’s no less important for beginning the 2022 movie calendar. I joined forces with Eric Hynes, curator of film at Museum of the Moving Image, to talk about the independent-minded festival in general and to highlight a couple of movies that jumped out to us in the opening day (or two). You can support this podcast and read show notes with links at: rapold.substack.com Music: “Tomorrow’s Forecast” by The Minarets Photo by Steve Snodgrass

Episode 93: Days of Horror with Mike Civins Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. Every October my good friend Mike Civins does a horror movie marathon. He watches 31 titles over 31 days, like clockwork. I have always been curious about his project, which happily ranges far and wide and includes movies that aren’t often thought of as a horror. This year he watched the Alien movies, including Jean-Pierre Jeunet’s Alien Resurrection, but he also saw Wolf’s Hole, a movie from Daisies director Vera Chytilova. Also on the menu were goodies like Angst, Dolls, and a truly horrifying film, The Cremator. So, Mike finally came on the podcast to talk about his adventures, both the highs and the lows. Mostly I just quiz him at random about titles from his list so I can listen to the outlandish plots. You may be wondering why I’m posting this now, and the answer is, why not? If you like what you hear, why not support the podcast by signing up: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. At some point last year I learned that Caroline Golum -- a critic whom I read on Screen Slate -- was planning to make a movie about a medieval mystic. For this episode, Caroline joins us to talk about movies set in olden times and how they envision the past. Two recent titles came to mind: The Last Duel, which is based on a true story from medieval France, and The Green Knight, which is inspired by a 14th-century chivalric romance. Our conversation led to storytelling set in other time periods, including the nautical fiction of Master and Commander and Guillermo del Toro’s recent remake of Nightmare Alley. Stay tuned to the end when Caroline shares selections from her Budget Middle Ages viewing list. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Episode 91: 1996 with Nick Davis Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. It’s time to look back at the year in the movies—the year 1996, that is. Scholar and pal Nick Davis joins me to revisit movies from a pivotal year early in our rabid moviegoing. Our trips down memory lane take us through Hollywood productions like The People vs. Larry Flynt and Jerry Maguire, and independent visions like Wayne Wang’s Smoke and Spike Lee’s Get on the Bus. What did we think then? What do we think now? Did we ever recover from seeing Crash when our brains were so soft and vulnerable? Nick Davis is a professor at Northwestern University, researching and teaching in the areas of film, queer theory, feminist and gender studies, and 20th/21st-century American literature. (We also remember seeing Surviving Picasso but aren't ready to talk about that yet.) You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Episode 90: Amy Taubin on the Best of 2021 Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. It’s that time of year again, when we look back at the year in movies. Joining me to share her highlights is the critic Amy Taubin, a regular guest on the podcast. We start with one movie you might not have heard as much about this year, and go on to trade our top picks, with reflections on another strange year for moviegoing and moviemaking. Here’s to the best of 2021, and beyond! You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. One of the year’s best films about culture is Listening to Kenny G, from filmmaker Penny Lane (who directed Hail Satan?). now available on streaming. If the name Kenny G sets off alarm bells in your head, rest assured that this is not a goofy movie about something “so bad it’s good” or that pushes a case for Kenny G as an unsung master. Instead, Lane’s fascinating portrait crystallizes a number of insights about the way culture and taste work, and it inspires further questions about the many assumptions and absurdities surrounding the subject. So last month I interviewed the director on the occasion of her film’s screening as opening night at DOC NYC and as a selection of IDFA, which all followed its world premiere at the Toronto film festival. As bonus, Lane also had a little to say about early reality shows. Listening to Kenny G is part of Bill Simmons’s Music Box series and can be seen on HBO MAX. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. Paul Verhoeven’s hotly anticipated new movie, Benedetta, is set mostly in a convent in the 17th century, following its title character as she becomes a nun and rises in the ranks. The movie typically bold and provocative about the workings over power and organized religion and about Benedetta’s rich fantasy life. Margaret has long been immersed in Verhoeven’s world, and talked with the director at length as part of her book of interviews with him. As has critic Adam Nayman, another Verhoeven-head and author of It Doesn’t Suck: Showgirls and books on Paul Thomas Anderson and David Fincher (out now). At the end I also can’t resist asking them about Licorice Pizza, another new release. Look out for Margaret’s review of Benedetta on Screen Slate and Adam’s forthcoming writing on the subject. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. This week we look at some outstanding documentary highlights premiered at IDFA(International Documentary Festival Amsterdam), including Sergei Loznitsa’s post-Soviet portrait Mr. Landsbergis and an exciting new voice in Diem Ha Le and her film Children of the Mist. Plus: 100-year-old Indian river boats, a Dziga Vertov premiere, egg collecting, and movies made entirely from living room windows. I’m joined by critic and journalist Eric Hynes, curator of film at Museum of the Moving Image and a regular on the podcast. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. Back in the spring, I watched The Scary of 61st through the Berlin film festival, where it had its world premiere. I had to watch it on my laptop, holed up at home, with pandemic anxiety in the air. Somehow the mood was appropriate for experiencing the film, which tells a wild story that’s lurid, funny, unnerving, and often over the top. All of which is a good match for the frenzied state of its main characters: two roommates who unwittingly move into a New York apartment once owned by Jeffrey Epstein. They end up being haunted by the Epstein saga of human trafficking and unfathomable corruption. One roommate undergoes a kind of possession, and her friend becomes obsessed with the Epstein case, after a stranger comes knocking talking of conspiracy theories. The director of The Scary of 61st is Dasha Nekrasova. She also plays the strange visitor, opposite her co-writer, Madeline Quinn, and Betsey Brown. You probably know Dasha already from her co-hosting Red Scare, the enormously popular podcast. Our talk focused on what she’s been watching during the pandemic, which tied in a little bit into The Scary of 61st. In that sense it’s a fairly traditional episode of The Last Thing I Saw, leading off with a perhaps surprising choice of director of comfort movies. The Scary of 61st opens in New York on December 17, after a run on December 2 at Los Feliz 3 in L.A. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Jane Campion’s new film The Power of the Dog first shapes up as a kind of Western family feud in the making. Two brothers, Phil and George Burbank, run things together peaceably, with Phil (played by Benedict Cumberbatch) the alpha male, and George (played by Jesse Plemons) more of a strong silent type. When George gets married and brings home his wife, Rose (Kirsten Dunst), and her son (Kodi Smit-McPhee). Phil gets all bent out of shape, and it becomes apparent that he’s keeping something secret in his private life, which the film slowly unravels. Campion filmed The Power of the Dog in New Zealand with her cinematographer Ari Wegner, whose previous films include Zola and Lady Macbeth. I spoke with them together to learn about their collaborative process and how they get into the right state of mind for creating the breathtaking film in pre-production. It was a pleasure just to bask in the flow between Campion and Wegner, who at times completed each other’s thoughts. The Power of the Dog opens in limited release on November 17 and is available on Netflix starting December 1. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. A while back I had a conversation with critic Nicholas Russell about the portrayal of law enforcement in movies. The general idea was that the demonstrations and marches for justice in 2020 seemed to open the possibility of a paradigm shift on many fronts. So we looked at movies featuring the police and thought about the different assumptions about culture, about society, about genre, that go into making and watching them. How does Training Day look today, 20 years on, or the 1970s drama Report to the Commissioner? What about the bizarro alternate justice system of Minority Report? Russell and I talked about a range of movies from different perspectives, without any grander goal than reflecting on what exactly is going on in each of them. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. This year marks the 20th anniversary of David Lynch’s Mulholland Drive, a movie that has never been too far from best-of lists. But Inland Empire, Lynch’s three-hour digitally shot follow-up, which came out five years later, has sometimes gone overlooked. So it was great news to hear that the critic Melissa Anderson has devoted an entire new book to the movie, voyaging into its nightmarish depths. Anderson, who’s the film editor at 4 Columns, takes the opportunity to appreciate the unique qualities of Laura Dern and her multi-film collaboration with Lynch. Anderson joined me for this special episode, which partly found me in recovery mode after the movie’s haunted story about an actress who finds herself in emotional freefall and all kinds of uncharted territory while shooting a new movie. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. Right at the tail end of the New York Film Festival, I caught up with Jon Dieringer, editor and publisher of Screen Slate. We talked about highlights from the festival and also some terrific titles shown in a Screen Slate series at the Roxy Cinema that helped kick off the moviegoing season for a lot of New York movie-lovers. Jon has worked for years as an archivist so he also shares his expertise and opinion on how movies make their way through repertory and into film history, as well as a lovely anecdote about the late, great filmmaker Sarah Maldoror, director of Sambizanga among others. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. Todd Haynes’s documentary about The Velvet Underground is not just a musical feast, as one would expect, but it’s also a visually rich and polyphonic work. Haynes has explored the mythology of glam rock and the many faces of Bob Dylan in his fiction films, and he turns his first documentary into a kind of multichannel installation for the cinema screen, putting Andy Warhol’s Screen Test series of filmed portraits into dialogue with other pictures and people. The movie does the same thing with its sense of history, situating the Velvet Underground in relation to the avant-garde music and arts scene of 1960s New York. I recently spoke with Haynes about his use of Warhol’s films; the role of queerness in the identity of The Velvet Underground and Lou Reed; and which clip became a keystone for the entire film. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. The latest feature from Apichatpong Weerasethakul, Memoria, is coming to the New York Film Festival, after premiering in Cannes this past summer. Memoria stars Tilda Swinton as a woman seeking to explain a strange noise that she keeps experiencing and, as you might guess, the movie is a change of pace in some ways for Apichatpong, shooting his first feature in Colombia. In July, I spoke with the critic Giovanni Marchini Camia, the official set chronicler of the making of Memoria. I discussed the making of Memoria with Giovanni, who shared some fascinating insights into Apichatpong’s filmmaking, and we also traded thoughts on what’s new and different about the movie. A book on Memoria, featuring Giovanni's set diaries and much more, is available from Fireflies Press. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. One of my favorite debuts in a while is El Planeta, directed by and starring Amalia Ulman. She plays a designer who lives with her mother (played by Ulman’s mother) but they’re both going broke. So they’re making ends meet any way they can, which for her mother might include a little light scamming. It’s a movie with many layers, both funny and poignant, about keeping up appearances and about the complicated bond between mother and daughter. In many ways it builds on Ulman’s extensive art practice, which plays with class, identity, fashion, and how we have to present and re-present ourselves to the world. Ulman was raised in Gijón, Spain, where the movie is set, and she's based in New York. I already had the pleasure of interviewing Ulman at length for Screen Slate, and so this time I was able to spend more time than usual talking about the wonderful movies she’s been watching. But first our Zoom conversation was interrupted by a surprise guest... You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. This episode I’m back with highlights from not one but two festivals: The Toronto Film Festival, and the Camden festival, which specializes in documentary. I’m joined by my fearless correspondent Eric Hynes, curator of film at the Museum of the Moving Image. This is another episode where you the listeners can support the production of The Last Thing I Saw. I invite you to show your support and get immediate access. You can do so by going to rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. As promised, this is another episode about notable movies from the Toronto Film Festival, with critic Amy Taubin. It’s also another episode where you the listeners can support the podcast. I’ve recorded over 75 episodes with leading critics and filmmakers. It’s all created with love and care on a weekly basis and sometimes daily, at home and at festivals. The new episode with Amy Taubin is available now to paid subscribers of my substack. So I invite you to show your support and get immediate access. You can do so by going to rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. This is a special episode of the podcast for a couple of reasons. It introduces a series about notable premieres at the Toronto film festival -- highlights that you’ll want to know about. But it’s also a special episode because it’s a chance for you the listeners to support the podcast. The new episode about Toronto, with curator and critic Eric Hynes, will be followed by one with another beloved regular guest, Amy Taubin. You can support this podcast by subscribing at: rapold.substack.com Music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. Sometime in May or June, I had a marvelous conversation about the sky. Not just one sky, but 10 skies, in fact, with the critic Erika Balsom. Balsom wrote an insightful book about the lovely, thought-provoking landscape film 10 Skies, from filmmaker James Benning. I think I originally saw the movie at a festival in the late 2000s, and it was a pleasure to revisit. Happily I have a new occasion to make this conversation available, thanks to a screening of 10 Skies at the Open City Documentary Festival in London. But no matter the occasion, 10 Skies is a work that always rewards looking at from a number of angles, opening up questions about art and philosophy that keep shifting and turning in your head like the clouds above. Balsom’s book is available from Fireflies Press. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Episode 74: Venice 6 – Reflection, Trenches, The Catholic School, Parallel Mothers with Jessica Kiang Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. My 2021 Venice Film Festival series of podcasts concludes (for now?) with critic Jessica Kiang, a contributor to Variety, The Playlist, and The New York Times. I talked with Jessica about the formally audacious film Reflection from Ukraine’s Valentyn Vasyanovych, with a shout-out to the conflict doc Trenches; a controversial Italian drama, The Catholic School; and one of her favorites of the festival, the life-giving Parallel Mothers. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. The 2021 Venice Film Festival series of podcasts continues with Variety critic Guy Lodge. I talked with Guy on the Lido about highlights from the festival, including Audrey Diwan's L'Evenement, Lorenzo Vigas’s La Caja (The Box), Ana Lily Amirpour’s Mona Lisa and the Blood Moon, the abortion drama L’Evenement (Happening), and Madeleine Collins starring Virginia Efira. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. The 2021 Venice Film Festival series of podcasts continues with critic Christina Newland, whose work has been published in Sight & Sound, Vulture, and the Criterion Collection. I’d been holding on to the Jane Campion film, The Power of the Dog, for discussion, and here it is at last, along with our consideration of The Lost Daughter, the directorial debut of Maggie Gyllenhaal, and Paolo Sorrentino’s autobiographical film The Hand of God. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. The 2021 Venice Film Festival series of podcasts continues with a deluxe installment featuring Glenn Kenny, a New York Times and RogerEbert.com contributor. It’s Glenn’s first time on the podcast and he makes up for lost time with a feast of movies: Dune from Denis Villeneuve, Almodóvar’s Parallel Mothers, Paul Schrader’s The Card Counter, The Cathedral (a sample selection from the Biennale-funded section), and documentary on an outré horror filmmaker, Inferno Rosso: Joe D’Amato on the Road of Excess. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw with your host, Nicolas Rapold. The 2021 Venice Film Festival is in full swing, and I sat down to chat with critic Jonathan Romney (The Observer, Screen Daily) about a few highlights: Edgar Wright’s Last Night in Soho, starring Thomasin McKenzie, Anya Taylor-Joy, Diana Rigg, and Terence Stamp; Pablo Larrain’s Spencer, starring Kristen Stewart; Michelangelo Frammartino’s Il Buco; and Official Competition (that’s the title) starring Penelope Cruz, Antonio Banderas, and Oscar Martinez. Please note there might be a little Venice ambience occasionally audible in the background—think of it as the festival buzz. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The Venice Film Festival has begun, with world premieres including Jane Campion’s The Power of the Dog, Pedro Almodóvar’s Parallel Mothers, Pablo Larraín’s Spenser, Edgar Wright’s Last night in Soho, and Denis Villeneuve’s Dune. I’ll be talking about as many of them as I can here on the podcast. But to start off, I thought I would talk with Paul Schrader, whose his new movie The Card Counter has its world premiere in Venice before its U.S. release on September 10th. Oscar Isaac plays a quiet gambler haunted by his time as a military interrogator at Abu Ghraib. He gets taken on by a gambling recruiter played by Tiffany Haddish, and befriends a strange young man played by Tye Sheridan, who has some scary ideas. I talked with Schrader a little about Venice (where he set his 1990 film The Comfort of Strangers), and about finishing The Card Counter in a pandemic, Tiffany Haddish’s vital importance to the movie, gambling, and of course the last movies he saw. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. Before the onslaught of new fall releases, I thought it’d be nice to tackle three big summer titles. We start with Annette, the long-awaited new feature from Leos Carax starring Adam Driver and Marion Cotillard; The Green Knight, David Lowery’s medieval fantasy with Dev Patel; and last but definitely not least, the mind-bender Old, from the mind of M. Night Shyamalan. Joining the podcast for the first time is Adam Nayman, a contributing editor at Cinema Scope whose work is published in The Ringer and Sight & Sound and who's written books about Paul Thomas Anderson, Joel and Ethan Coen, and Showgirls. And returning to the show is Beatrice Loayza, a fellow contributor at The New York Times whose work also appears in many other publications. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. It’s August and that means it’s time to talk about the Locarno film festival, which for years has been a reliable launching pad for stimulating and challenging cinema. This year I’m back talking with the critic and programmer Jordan Cronk (Acropolis Cinema). Our highlights include a raw adaptation of Medea from Russia by Alex Zeldovich, a spectacular debut feature called A New Old Play from a Chinese artist that looks at the afterlife, and the Indonesian genre film Vengeance Is Mine, All Others Pay Cash. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. A few months ago I caught wind of a book with an intriguing title: Billy Wilder on Assignment: Dispatches from Weimar Berlin and Interwar Vienna. It turned out to be a collection of writings from when Wilder as a brash young journalist—his previous career before becoming one of Hollywood’s absolute greatest directors. It’s a fascinating read, and as for his career, you can’t go wrong with a track record like Sunset Boulevard, Double Indemnity, Some Like It Hot, The Apartment, Ace in the Hole, to name only a few. So I decided to bring together three colleagues to pick one Wilder movie apiece -- one per decade -- and share a few things we love about the director’s work. I was joined by three powerhouse critics of classic Hollywood who practically need no introduction: Farran Smith Nehme, Sheila O’Malley, and Steven Mears. Special thanks to Noah Isenberg who edited Billy Wilder on Assignment (Princeton University Press) which helps launch our conversation. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. I like to bring together many kinds of movies on the show and this week’s deluxe episode is a case in point. We haven’t talked much about horror movies lately and so I was happy to get the chance to speak with Rebecca Hall about her role in The Night House, directed by David Bruckner. The Night House is a haunting horror movie about grief that opens on August 20, and we’ll hear more later about Hall's creating a character who faces both jump scares and weighty emotional burdens. But first we preview a few titles that we haven’t covered yet, with Giovanni Marchini Camia, a critic and editor (Fireflies Press) who attended the Cannes film festival. Key titles that premiered there will screen in New York and/or Toronto: Bruno Dumont’s dazzling satire France, starring Lea Seydoux; Gaspar Noé’s Vortex, a change of pace about an older couple; and Hong Sangsoo’s In Front of Your Face, his latest film (for now). You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. It’s been a while since I’ve really focused on a documentary on the show, and a terrific opportunity came up with the release of The Viewing Booth. The Viewing Booth is a movie that’s been at festivals but for whatever reason, did not make its way to theaters until now. Which is unfortunate because it’s one of the best movies I’ve seen about how we sort out what we think and feel about the hundreds of things we are shown each and every day—intellectually, politically, emotionally. So I was very happy to talk with the film’s director, Ra’anan Alexandrowicz, and Eric Hynes, curator of film at Museum of the Moving Image, which is giving The Viewing Booth a two-week theatrical run. We talk about how the movie works and the questions it raises with its simply but ingenious concept. One final note: as you’ll hear, this is my first episode in a long time that I have recorded in the great outdoors, so enjoy the mild breeze. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. One of my favorite films this year hands-down is Friends and Strangers, directed by James Vaughan. It’s about a timid twenty-something guy in Sydney, Australia, who goes on a camping trip with a woman his age. Skipping ahead a bit, he kind of goes nowhere fast and gets bogged down on a job with a wealthy loudmouth. The movie had its world premiere at the Rotterdam film festival, and during the festival’s June anniversary celebration, I had the chance to talk with Vaughan. Vaughan chose silent cinema for our subject and sent a list of films that he had freshly encountered over the past year. We settled on a few: G.W. Pabst's Pandora’s Box, Diary of a Lost Girl, and The Love of Jeanne Ney; and from F.W. Murnau his spectacular retelling of Faust. But we also ended up talking about Eisenstein’s work, and got into how these movies have affected Vaughan’s thinking as a filmmaker. Friends and Strangers will be released in the U.S. down the road by Grasshopper Films so look out for it. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. It’s not as well-known as the main competition, but I have always loved Cannes Classics and its selection of restorations, revivals, and film documentaries. The genuine discoveries and clever programming are outstanding, but many people find it hard to fit them into the usual crazy Cannes schedule. So, this year I vowed to put together a special Cannes Classics episode. There are far too many worthy titles to cover them all, but I got together with Carlos Valladares and talked about some highlights. Including: The Moon Has Risen, from Japanese filmmaker and actress Kinuyo Tanaka; La Guerre Est Finie, from Alain Resnais; and the much-loved Powell and Pressburger film I Know Where I’m Going. I also talk about the wonderfully odd Friendship’s Death, starring Tilda Swinton in an early role and directed by film theorist Peter Wollen; and also Repentance, a brash Georgian satire from the 1980s about a dictatorial mayor who comes back from the dead, sort of. For show notes and more, go to: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. We heard from Amy Taubin at the beginning of this Cannes series, and now that the festival has wound down, I got together with Amy once more. This time, we single out some strong movies that could use more attention. That includes a remarkable group of films set in Latin America: Prayers for the Stolen, La Civil, and Clara Sola. We also talk about the Bangladeshi drama Rehana, and Amy gives a few preliminary thoughts on a much-anticipated title that arrived late in the festival. If you like what you hear, please support this podcast: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. For this week’s episode, I catch up with my colleague Jonathan Romney, a veteran critic of the festival circuit who regularly files for Screen Daily. For this year’s blockbuster Cannes lineup, he joins the podcast to talk about a strong batch of films that we haven’t heard about yet. That includes two Iranian movies: A Hero from Oscar winner Asghar Farhadi, and Hit the Road, from Panah Panahi. Plus there was a curious new movie co-directed by Miguel Gomes, who you might know from Arabian Nights; a new Jacques Audiard movie, Paris 13th District; and a highly unpredictable Russian film called Petrov’s Flu. It’s a mix of adventuresome films that we’ll definitely be hearing more of down the road. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. By happenstance, we still have some of the biggest titles at Cannes to discuss, and I couldn’t be happier to talk about them with the critic Mark Asch, a longtime colleague who I’ve worked with as both an editor and a writer over the past decade and change. Mark brings a lot of goodies to the program, including Wes Anderson’s The French Dispatch; Sean Baker’s Red Rocket; Titane, the sophomore feature from Julia Ducournau, who directed Raw; and a couple of picks that haven’t been screaming from the Cannes headlines. Plus: JFK Revisited, which Oliver Stone teased on this very podcast about a month ago. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. There are only a few days left in the 2021 Cannes Film Festival, but there are still plenty of excellent films left to tak about. So my job here is not done, and joining me today is the critic Carlos Valladares. We’ll talk about the unusual new film Cow, from Andrea Arnold, perhaps best known for American Honey and Red Road as well as work for television. We’ll also hear about the Spanish film Libertad, a sharp Croatian coming-of-age drama called Murina, and a collective film called Futura, which is co-created by Pietro Marcello, Alice Rohrwacher, and Francesco Munzi. Finally Carlos celebrates his favorite film of the festival, the Hamaguchi film, Drive My Car, which you’ll be able to read all about in his dispatch for the Gagosian Quarterly. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. Today we're talking with Justin Chang, film critic at The Los Angeles Times, about more movies from the Cannes Film Festival. We talked about Blue Bayou, a drama from Justin Chon; Stillwater, starring Matt Damon, from the director of Spotlight; the mysterious Mia Hansen Love movie, Bergman Island; and Kogonada’s new science fiction film, After Yang, with Colin Farrell. I talked with Justin at the last edition of Cannes in 2019 and it was a pleasure to pick right back up. Be sure to check the Los Angeles Times for his latest write-ups. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. Today from the Cannes film festival, we hear about the much anticipated film from director Paul Verhoeven: Benedetta, about a young nun whose sexual awakening causes a stir in her convent. My correspondent this time is the critic and programmer Jordan Cronk, whose work is published in many publications including Cinema Scope, Reverse Shot, and MUBI Notebook. Jordan also tells us about the vibrant film Ahed’s Knee, from Israeli auteur Nadav Lapid; The Worst Person in the World, from Joachim Trier; and the latest directorial effort from Sean Penn, Flag Day. And finally we hear about some highlights from other film selections at Cannes. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. Today we’ll hear about the new film from Joanna Hogg, The Souvenir Part 2, which continues the portrait of an artist begun in The Souvenir, again starring Honor Swinton Byrne and Tilda Swinton. We’ll also talk about Drive My Car, a Haruki Murakami adaptation from Ryusuke Hamaguchi, who is perhaps best known for Happy Hour and Asako I & II. And finally, a strong entry from Mahamat Saleh Haroun called Lingui, the Sacred Bonds, which goes in some unexpected directions. My guest this time is making his first appearance on The Last Thing I Saw: Guy Lodge, who writes for Variety and recently started a weekly review called Film of the Week. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. We are back talking about the highlights of the Cannes film festival with critic Amy Taubin. Last time we talked about the Velvet Underground and now we move on to another musical selection, Annette, the new film from Leos Carax, starring Adam Driver and Marion Cotillard. We also devote some time to two movies that haven’t been talked about as much in the frenzy of the festival’s first week: A Chiara, from Jonas Carpinagno, and Ari Folman’s newest animated feature, Where Is Anne Frank. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. The Cannes Film Festival kicked off this week and so I joined forces with critic Amy Taubin, who is a veteran of the festival. This year Cannes is a little different for a number of reasons, which we talk about, but we also discuss the new film about The Velvet Underground from director Todd Haynes. Amy is actually in the documentary, and she was kind enough to share some of her firsthand experiences at the time with the Velvet Underground, Andy Warhol, and of course Warhol's Screen Tests, many of which appear in Haynes’s film. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. The Cannes Film Festival begins this week, and part of its celebration of our collective return to movies is the world premiere of The Story of Film: A New Generation, from filmmaker and critic Mark Cousins. The latest work from Cousins looks at the most recent decade in cinema and sets out to pick the movies that brought something new to the art form. Cousins has taken on the herculean task of charting film history before, most famously on an even larger scale with The Story of Film: An Odyssey, and with works such as Women Make Film, A Story of Children and Film, and early on, Cinema Iran. I reached Cousins at his office slash editing suite, and we talked about a few of the movies he selected from the 2010s (and a few that he didn’t). But he also had fascinating reflections about how we all watch cinema, about VR, and about his childhood memories of watching movies. Stay tuned to The Last Thing I Saw for more highlights in the 2021 Cannes Film Festival. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. The director Abel Ferrara takes movies into the outer limits of experience and emotion, often challenging us with characters in the grips of moral and spiritual corruption. His movies include King of New York, Bad Lieutenant, The Addiction, 4:44 Last Day on Earth, and the semiautobiographical Tommaso, which had its world premiere in Cannes. His latest film is Siberia, which premiered in Berlin and stars Ferrara’s frequent partner in crime, Willem Dafoe. In Siberia, Dafoe plays a man living at the end of world in a snowy wasteland who is reckoning with his past, his family, and his relationships. It’s a dreamlike movie of memories and visions, with scenes including a bear attack and an enigmatic moment with a talking fish which Ferrara discusses in our interview. As ever, Ferrara gets to the heart of the matter. Siberia was released in theaters and is also available on streaming. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. This week is a two-part episode, with a special interview. First I chat with the one and only Amy Taubin about our recent viewing, starting with the new Steven Soderbergh movie, No Sudden Move, a highlight of the summer. We also cherry-pick a couple of films from festivals, Courtroom 3H and Souad. And looking at the big picture, we celebrate online programs like Another Screen. And then the grand finale: I chat with No Sudden Move star, actor-writer-director Amy Seimetz (The Girlfriend Experience, She Dies Tomorrow, Pet Sematary). Seimetz plays Mary, an executive’s wife held hostage by criminals (played by Don Cheadle and company)who are putting the squeeze on her husband. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. This week I was happy to chat again with the critic Beatrice Loayza, whom you might know from her reviews in The New York Times and essays in Reverse Shot and other publications. We caught up with In the Heights and another sort of musical movie, Bo Burnham’s Inside. And since we hadn’t seen Fast 9 yet, I picked a replacement and talked about that instead: Walter Hill’s The Driver, with Ryan O’Neal, Bruce Dern, and Isabelle Adjani. Beatrice also talks about the rediscovered George Romero movie, Amusement Park, and I share a few highlights from my viewing at the Tribeca Film Festival. And finally, just because, a few words on Kubrick’s Paths of Glory. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. Directed by Janicza Bravo, Zola follows a Detroit waitress and dancer played by Taylour Paige as she goes along with her brand-new friend Stefani on a trip to Tampa, Florida. Stefani (Riley Keough) says the plan is to make some money stripping, but things get increasingly messy and shady and dangerous. It’s a comedy with a crazy energy that crashes into bleaker moments as Zola keeps a cool head in Stefani’s world of pimps, gangsters, and nincompoops. Janicza Bravo brings a sense of vibrant visual invention and careful tonal modulation to the movie, adapting the unpredictable story and its complicated and thorny gender and racial dynamics from its Twitter thread source. I was delighted to talk with Bravo about how it feels to see the movie out in the world, her directorial decisions, early days in New York, and her next project, about a book editor and writer who’s a compulsive scammer. Zola opens June 30. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

You’re listening to The Last Thing I Saw, with your host, Nicolas Rapold. First I interview the directors and co-stars of The Beta Test, a crackling new comedy of panic set in the double-talking world of Hollywood agents. Then it's the thrilling conclusion of my conversation with writer/critic Bruce Bennett, about the 1961 Japanese mystery/melodrama Zero Focus and bizarro 1975 thriller The 'Human' Factor, starring George Kennedy. The Beta Test screens in this year’s Tribeca Film Festival and comes out in November from IFC Films. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. First I chat with Christian Petzold, the delightful director of Transit, Phoenix, Barbara, and now Undine, which comes out June 4. Undine is about a Berlin historian(Paula Beer) who may be a figure from ancient myth. She gives regular lectures in tours of the municipal museum, and eventually she connects with an industrial diver (Franz Rogowski). This being a Petzold movie, there are layers of history and myth that haunt the main plot. I reached Petzold at his office in Berlin over Zoom, with the occasional help of a translator. Then I chat with writer and critic Bruce Bennett about the director Budd Boetticher and his tightly wound westerns. Bruce also shares insights about story mechanics from his current job: writing for a true crime TV show. Our conversation went long and was so much fun that I’m publishing it in two parts. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. For a period in the 1980s and 90s, Oliver Stone directed movies as if somebody might stop him at any time. His movies tended to land like bombshells in American culture: Platoon, JFK, The Doors, Natural Born Killers, to name a few. I spoke with Stone recently on the occasion of the paperback publication of his latest book, Chasing the Light: Writing, Directing, and Surviving Platoon, Midnight Express, Scarface, Salvador, and the Movie Game. Stone’s global interests guaranteed that our interview would be a bit like lassoing a freight train. Stone kicks things off with some good-natured joking after I tried to explain away some background noise. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. Every year the True/False Film Fest puts together a terrific showcase of nonfiction film, and for several years I’ve headed out to Columbia, Missouri, to attend. This year I attended virtually and compared notes with someone who went in person, Screen Slate managing editor Cosmo Bjorkenheim. After our conversation, I talk with Theo Anthony, the director of the fascinating essay film All Light, Everywhere, which screened in True/False after premiering at Sundance and showing in New Directors New Films. All Light, Everywhere opens June 4. You can support The Last Thing I Saw and read show notes/links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. For his new book, Films of Endearment, critic Michael Koresky (Reverse Shot) watched 10 movies from the 1980s with his mother, a fellow movie lover. This simple premise becomes a way to talk about the decade’s bounty of great acting by women and reflect on the many facets of his mother’s life and their relationship together. Michael makes it look easy as he mingles film criticism, family biography, and social history, with his characteristic insight, sensitivity, and knowledge of film history. For this episode, Michael is joined by critic Molly Haskell, whose influential body of work has spanned The Village Voice, New York magazine, and Vogue, and includes the landmark critical work From Reverence to Rape. It’s a wonderful pairing of sensibilities and enthusiasms for the work of these actresses, spanning films from 9 to 5 to Mommie Dearest to Crossing Delancey. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host Nicolas Rapold. This week I talk with the one and only Manohla Dargis, a chief film critic at The New York Times. We chose a couple of movies to watch in advance -- one by a pioneering French female filmmaker who should be better known, another a Hollywood small-town picture with an intriguing pair of stars -- and discuss. We also talk about television aesthetics, life under the pandemic, and, taking a fresh audiovisual angle, AOC’s historic use of Instagram Live. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. This week the conversation starts with R.W. Fassbinder's serial drama Eight Hours Don’t Make a Day. My guest is a regular on the show, critic Beatrice Loayza (The New York Times, Reverse Shot, A.V. Club). Beatrice’s viewing leads us to two dramas with British star Dirk Bogarde and two comedies by the great Albert Brooks. We also take the measure of studio blockbuster filmmaking from recent months, including Godzilla vs. Kong and Nobody. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Streaming is a subject that’s often left weirdly opaque, but this week’s guests bring industry insights that are illuminating and informative. The starting point is a new series on the Criterion Channel called Close to Home in which filmmakers drew inspiration from their own homes and everyday lives, from Martin Scorsese to Maya Deren to Blake Edwards to Chantal Akerman. It was co-programmed by Nellie Killian, programmer at Screen Slate, and Chris Wells, who works at MUBI in distribution. They discuss what’s different about programming for streaming, and the specific challenges and opportunities posed by the past year’s upheaval and the reopening of movie theaters. Both are also voracious movie-watchers, so they also talk about their endless pursuit of titles on streaming and beyond. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. The film Collective is an investigation of corruption in the aftermath of a deadly fire in a Romanian nightclub that led to protests that toppled the prime minister. Director Alexander Nanau follows tenacious journalists as they expose wrongdoing at hospitals and in government dealings with the help of whistleblowers. He also gains access to a newly appointed health minister who is trying to reform the system. Like All the President’s Men or Citizenfour, the results make us feel as if we’re watching the process develop in real time, with basic freedoms at stake. I spoke with Nanau about the film, which he directed, produced, edited, and operated camera on. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. This week Genevieve Yue tells us about a film series she programmed at Metrograph called Implicit Movies. It's a fascinating selection of films, exploring a world of backgrounds, bit parts, and fragmented memories that lurk behind every image. Genevieve is an assistant professor of culture and media at the New School, and so we also talk about how she taught Uncut Gems in one of her classes. And as part of my “bring a friend” initiative on the podcast, Genevieve invited Nico Baumbach, an associate professor of film and media at Columbia University. We talk about the children’s classic The Red Balloon; Agnes Varda’s The Gleaners and I; and the new Adam Curtis series, Can’t Get You Out of My Head. Please note that to indulge my whim for spontaneity and mystery, Nico patches into our recording session partway through. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host Nicolas Rapold. For this special episode I talk with director David Fincher and production designer Don Burt about Mank, a black-and-white evocation of Hollywood through the jaded eyes of one Herman J. Mankiewicz, as he writes the screenplay for Citizen Kane. If you’ve seen any Fincher films since Zodiac, you’ve also seen Burt's beautiful work, which won him an Academy Award for The Curious Case of Benjamin Button. We talk about the conception of Mank's particular spaces; the techniques behind designing for a black-and-white film; the eagle-eyed capabilities of digital cameras; and whether Mank is intended to be a political film. Mank has received 10 Academy Award nominations, including best picture, director, and production design. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host Nicolas Rapold. This week we begin with some films from the cult label Something Weird Video: the revenge drama Johnny Firecloud, and a couple of films from the one and only Doris Wishman. My adventurous guest is Adam Piron, Los Angeles-based programmer for the Sundance Film Festival where he's associate director of the indigenous program. Other movies discussed: Straight Time; Bless Their Little Hearts; The Exiles; and the silent movie The Daughter of Dawn, which led Adam to an incredible personal discovery. Adam is also a member of the Cousin collective, which supports indigenous artists and has a program featured in this year’s Documentary Fortnight at MoMA. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host Nicolas Rapold. Critic Nick Pinkerton and cinematographer Sean Price Williams join this episode. Pinkerton’s new book on Tsai Mingliang’s wonderful film Goodbye Dragon Inn is available now from Fireflies Press. Sean Price Williams’s vibrant and dynamic work as a cinematographer includes the acclaimed movies Good Time, directed by Josh and Benny Safdie, and Her Smell, directed by Alex Ross Perry. A leading cinematographer of his generation, Williams has also shot movies with Abel Ferrara, Sean Baker, Michael Almereyda, Jessica Oreck, and Albert Maysles. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host Nicolas Rapold. For the final installment in our essential picks from the 2021 Berlin Film Festival, I’m joined by Berlin-based critic Jessica Kiang, who wrote about the festival for The New York Times and filed multiple reviews of highlights for Variety. Movies discussed include The Scary of 61st, from Red Scare podcast co-host Dasha Nekrasova; the Georgian small-scale epic What Do We See When We Look at the Sky?; fresh readings of Alice Diop’s We, the Vietnamese curio Taste, and Alonso Ruizpalacios’s meta-docufiction A Cop Movie; and Petite Maman, Céline Sciamma’s follow-up to Portrait of a Lady on Fire. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host Nicolas Rapold. The one and only Amy Taubin joins to talk about a couple of selections from the Berlin Film Festival and Berlin Critics’ Week, with some comments on watching on the small screen. Movies discussed include Ballad of a White Cow, An Unusual Summer, Nous (We), and Petite Maman. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host Nicolas Rapold. Brazil-based critic Ela Bittencourt, who has been reviewing for MUBI, joins to discuss a selection of movies in the Berlin Film Festival, which presented its slate online in advance of its public summer incarnation. Movies discussed include The Girl and the Spider, Natural Light, Azor, Tsarenska Scaling, and the short Fury Is a Feeling Too (1983). You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host Nicolas Rapold. London calling! Critic Jonathan Romney weighs in on the best from the Berlin Film Festival, which presented its slate of films online in advance of a public summer incarnation. Movies discussed include the prize-winners Bad Luck Banging or Loony Porn from Radu Jude, Ryusuke Hamaguchi’s Wheel of Fortune and Fantasy, Maria Speth’s Mr. Bachmann and His Class, Alonso Ruizpalacios’s A Cop Movie, and more. You can read show notes with links at: rapold.substack.com Opening Music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host Nicolas Rapold. We’re giving a sneak preview of the prestigious Berlin Film Festival, which presented its slate of films online this week (in advance of a public summer incarnation). Critic-programmer Jordan Cronk joins the episode to give a run-down on what’s new at Berlin and a selection of highlights including the latest from Hong Sangsoo and adventurous new work. For complete show notes with links, sign up for my newsletter at rapold.substack.com Music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host Nicolas Rapold. We’re talking about new (or new-ish) releases this week, including Judas and the Black Messiah, The Father, I Care a Lot, and Saint Maud. Joining me for this episode are a supergroup of two regulars: critics Beatrice Loayza and Nicholas Russell. For complete show notes with links, sign up for my newsletter at rapold.substack.com Music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw with your host, Nicolas Rapold. This one's a wild journey with guest Carlos Valladares, a critic and Yale graduate scholar. Carlos is working on a project about the director Jerry Schatzberg, so our conversation starts with his films Scarecrow and Honeysuckle Rose. Then it’s off to the races: Alain Resnais’s Je t’Aime, Je t’Aime; Looney Tunes; the late Joan Micklin Silver; Kevin Jerome Everson's Park Lanes; and Bill Gunn’s great lost studio film, Stop! For complete show notes with links, sign up for my newsletter at rapold.substack.com Music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host Nicolas Rapold. The Rotterdam film festival provides a launching pad for cutting-edge cinema that often ends up screening in New Directors / New Films and other series. To discuss highlights from this year's edition -- including the prize-winning Indian film Pebbles and the eye-opening Dutch drama Feast -- I’m joined by Jordan Cronk, veteran critic and founder/programmer of the Acropolis Cinema in Los Angeles. (We also catch up with a Sundance documentary that explains how to move giant trees.) For complete show notes with links, sign up for my newsletter at rapold.substack.com Music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host Nicolas Rapold. As our week of Sundance comes to a close, Amy Taubin returns to discuss Judas and the Black Messiah, Bring Your Own Brigade, a discovery in the episodic series section, the Sparks documentary, and her reason for missing the Summer of Soul concerts in 1969. For complete show notes with links, sign up for my newsletter at rapold.substack.com Music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host Nicolas Rapold. On this Sundance episode, critic Jessica Kiang (Variety, The Playlist) shares some of her recent favorites, including The Dog Who Wouldn’t Be Quiet, the Sparks documentary, and Sabaya. For complete show notes with links, sign up for my newsletter at rapold.substack.com Music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host Nicolas Rapold. On this episode about the 2021 Sundance Film Festival, I’m joined by critic Beatrice Loayza, a frequent guest on the show. Among the movies we discuss are Ben Wheatley’s In the Earth, 1980s throwback Censor, A Glitch in the Matrix (from the director of Room 237), and Amalia Ulman’s El Planeta. For complete show notes with links, sign up for my newsletter at rapold.substack.com Music: “Monserrate” by The Minarets. This episode was co-produced by John Gaudio. Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host Nicolas Rapold. We’re back at the 2021 Sundance Film Festival, this time talking with critics Nicholas Russell and Eric Hynes, who will both write about the festival at Reverse Shot. The discussion covers Eight for Silver, Passing, and the nuances of criticism and reception at festivals. For complete show notes with links, sign up for my newsletter at rapold.substack.com Music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host Nicolas Rapold. On this episode we talk about highlights from the first days of the 2021 Sundance Film Festival with Eric Hynes, curator of film at Museum of the Moving Image. We discuss two stand-outs from this year’s edition—Summer of Soul, directed by Questlove, and President, directed by Camilla Nielsson—and a documentary about a Visconti star, The Most Beautiful Boy in the World. For complete show notes with links, sign up for my newsletter at rapold.substack.com Music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host Nicolas Rapold. On this episode we look at the 2021 Sundance Film Festival with the one and only Amy Taubin, who has been attending since the year of Steven Soderbergh’s Sex, Lies, and Videotape. Taubin shares some of the movies and events she is looking forward to and reflects on what’s different about this pandemic-era edition of the festival. For complete show notes with links, sign up for my newsletter at rapold.substack.com Music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host Nicolas Rapold. This is the 20th episode of the podcast, and we’ll be sharing our highlights from the year in movies. You might notice a few likely candidates are missing, such as First Cow or Time, but that’s because we tried to talk about movies that haven't been covered as much on this podcast, though a few old favorites do sneak in. It’s been a long year so I got some brilliant critics to share their picks: Amy Taubin, contributing editor at Artforum; Eric Hynes, curator of film at Museum of the Moving Image; Beatrice Loayza, a widely published freelance critic; and for the first time, Jessica Kiang, a veteran of Variety and other publications. For complete show notes with links, sign up for my newsletter at rapold.substack.com Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host Nicolas Rapold. On this episode I’m tackling a wonderful collection of new films by director Steve McQueen called Small Axe. The five Small Axe movies are on Amazon, completed today with the release of the fifth and final film, Education. Small Axe is a fascinating and ambitious chronicle of West Indian experience in London—personal, political, and cultural—and it’s definitely an event. First, veteran critic Jonathan Romney (Screen Daily, Sight & Sound) joins me to talk about Mangrove and Lovers Rock, which are about an infamous trial and a joyous night of partying, respectively. Then on the second half of the podcast, I’m joined by critic Nicholas Russell (Reverse Shot). We discuss McQueen’s approach in the three remaining films in the Small Axe series: Red, White, and Blue; Education; and Alex Wheatle. We also hear about the other last things Jonathan saw, from IDFA and elsewhere: The Wasteland, Inside the Red Brick Wall, Gorbachev. Heaven, and Fellini’s The Voice of the Moon. For complete show notes with links, sign up for my newsletter at rapold.substack.com Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host Nicolas Rapold. This week, I start with a featured look at Time, directed by Garrett Bradley. I talk with the wonderful Amy Taubin about the movie, which is one of the year’s best. On the second half of the episode, I look at a terrific collection of 1970s horror available at the Criterion Channel. Critics Beatrice Loayza and Christina Newland join me to discuss the pleasures and politics of the movies, including: Death Dream, Tobe Hooper’s The Texas Chain Saw Massacre, George Romero’s The Crazies, Death Line, and special bonus title, The Velvet Vampire, directed by Stephanie Rothman. Look for more of what I’m blithely calling audio magazine features in future episodes, with in-depth looks at films and filmmakers, interviews, and other stories. For complete show notes with links, sign up for my newsletter at rapold.substack.com Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host Nicolas Rapold. This week, we’re trying something different. After our usual discussion of recently watched movies, I dig into a special topic with another guest. First I trade New York Film Festival highlights with critics Beatrice Loayza and Susannah Gruder. Then on the second half, I talk about the possible futures facing moviegoing and film exhibition because of the pandemic, with Eric Hynes of the Museum of the Moving Image. We’ll have more of what I’m blithely calling audio magazine features in future episodes, with in-depth looks at films and filmmakers, interviews, and other stories. Movies discussed include: Dick Johnson Is Dead, On the Rocks, Smooth Talk starring Laura Dern, and Beginning. For complete show notes with links, subscribe to my newsletter at rapold.substack.com Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, a podcast where we reach out to folks to talk about what they've been watching. It’s as simple as that. Joining Nicolas Rapold this time is R. Emmet Sweeney, producer of DVDs and Blu-rays for Kino Lorber. Rob has had two projects lately: looking for good movies to watch with his daughter, and watching fantastical Indian genre movies. Titles discussed include: Wee Willie Winkie and Heidi, both starring Shirley Temple; Mamoru Hosoda’s Wolf Children; The Wizard of Oz; S.S. Rajamouli’s Eega (“The Fly”); Bill & Ted Face the Music; High Risk, starring Jet Li; and the latest Charlie Kaufman creation, I’m Thinking of Ending Things. For complete show notes, subscribe to The Last Thing I Saw newsletter at rapold.substack.com Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, a podcast where we reach out to friends to talk about what we’ve been watching. It’s as simple as that. Joining Nicolas Rapold this time are critics Eric Hynes (curator of film, Museum of the Moving Image), Jordan Cronk (founder, Acropolis Cinema), and Beatrice Loayza, talking about their highlights from the Toronto International Film Festival. The movies include: Nomadland, The 180-Degree Rule, Pieces of a Woman, The Inheritance, Quo Vadis, Aida?, Fauna, Downstream to Kinshasa, 76 Days, and a previous favorite, Preparations to Be Together for an Unknown Period of Time. Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, a podcast where we reach out to friends to talk about what we’ve been watching. It’s as simple as that. Joining Nicolas Rapold this time are critics Amy Taubin and Michael Koresky. This time of year, our heads are usually full of brand-new movies from film festivals, which are a good way to preview fall releases as well as titles that might otherwise be hard to see. We talked about a number of films including: American Utopia, Spike Lee’s movie of David Byrne’s Broadway show; Sam Pollard’s documentary MLK/FBI, about the FBI’s relentless surveillance of Martin Luther King; Regina King’s One Night in Miami, which dramatizes the meeting of four great historical figures in 1965; and a French comedy that plays out in a prison, The Big Hit, directed by Emmanuel Courcol. Finally, because we just couldn’t help ourselves, we talked about Lovers Rock, actually the opening night selection of The New York Film Festival. Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, a podcast where we reach out to friends to talk about what we’ve been watching. It’s as simple as that. Joining Nicolas Rapold this time is veteran critic Jonathan Romney who writes for leading film publications such as Sight & Sound and Screen Daily. Here Jonathan gives us a terrific account of his favorites from the Venice International Film Festival. It’s a jam-packed preview of bold new movies to look out for down the road. That includes the newest films from Pedro Almodovar, Frederick Wiseman, Gianfranco Rosi, and Kiyoshi Kurosawa, plus highlights such as the provocative New Order; Soviet-era historical drama Dear Comrades; the period romance The World to Come; Regina King’s philosophical conversation piece One Night in Miami; Indian music drama The Disciple; and the giant fly comedy Mandibles. Please note that because of the long distance connection the audio volume may vary. Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, a podcast where we reach out to friends to talk about what we’ve been watching. It’s as simple as that. Joining Nicolas Rapold this time is culture critic Sheila O’Malley. Sheila writes about movies for the Roger Ebert site and the Criterion Collection, and keeps a terrific blog called The Sheila Variations. Her delightful column Present Tense includes entries ranging from the Miracle on Ice to "back-ting" to Nick Nolte to Frank O'Hara's movie love. We began our conversation by catching up with the movie version of Hamilton, which brought us to 8 Mile, the director Curtis Hanson, and the joys of the Jackass movies and the show Nathan for You. Then we went on a former Soviet bloc tour with two documentaries, Red Penguins and Out of the Present, and the Romanian puzzler Infinite Football. Also mentioned: Motel Life, Red Army, and American Movie.

Welcome to The Last Thing I Saw, a podcast where we reach out to friends to talk about what we’ve been watching. It’s as simple as that. Joining Nicolas Rapold this time is Soraya Nadia McDonald, culture critic for The Undefeated. Nicolas had read Soraya’s terrific writing as a fan before having the pleasure of publishing her work. Soraya (a finalist for this year’s Pulitzer Prize for Criticism) expertly weaves together different arts and issues with an illuminating clarity that feels effortless. We began by talking about The Women, the 1939 George Cukor classic, and its 2008 remake. That led us to a discussion of stardom and race, Jennifer Lopez, and eventually the 2005 film Mr. & Mrs Smith, a memorable film in the careers of Angelina Jolie and Brad Pitt. Also: baseball and acting, and the TV series Lovecraft Country. Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, a podcast where we reach out to friends to talk about what we’ve been watching. It’s as simple as that. Joining Nicolas Rapold this time is Brazil-based critic and programmer Ela Bittencourt. We’ve worked with Ela on a number of articles, and her most recent project was the Venice Days program at the upcoming Venice film festival. Documentary was the focus of our conversation, ranging from a new Iranian film about a prison for women and girls, Sunless Shadows, to an early feature by Errol Morris called Vernon, Florida. We also discussed Agnès Varda’s groundbreaking debut La Pointe Courte; a fascinating film about visual culture and personal perceptions, The Viewing Booth; Kim Longinotto’s Divorce Iranian Style; and Again Once Again by Argentine author Romina Paula. Also mentioned are the instant barroom classic Bloody Nose, Empty Pockets, and the landmark work of Portuguese director Paolo Rocha. Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, a podcast where we reach out to friends to talk about what we’ve been watching. It’s as simple as that. Joining Nicolas Rapold this time is Justin Chang, a staff critic at the Los Angeles Times and, before that, chief film critic at Variety. Ordinarily, we would be comparing notes at a film festival, so it was a pleasure to catch up with Justin virtually and hear his thoughts on a changing film world. Among the movies we discussed were Buñuel’s unsettling 1961 film Viridiana and the question of shock and scandal in movies; a new release, The Painted Bird, about a boy facing the horrors of World War II, with nods to Elem Klimov’s Come and See and Bela Tarr’s Satantango; and finally, for a change pace, the beloved comedy Clueless and a new horror release, Relic. Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, a podcast where we reach out to friends to talk about what we’ve been watching. It’s as simple as that. Joining Nicolas Rapold this time is Amy Taubin, a mainstay of film criticism and a longtime inspiration. It’s always a rich and varied journey when Amy shares her viewing notes, and this time was no different. Among the movies discussed were John Frankenheimer’s Grand Prix, Charles Burnett’s police drama The Glass Shield, Gina Prince-Bythewood’s Love and Basketball, the pioneering work of Monika Treut and Elfi Mikesch, Spike Lee’s Da Five Bloods, Werner Herzog’s Family Romance, plus a couple of short films and a Kanye West music video. Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, a podcast where we reach out to friends to talk about what we’ve been watching. It’s as simple as that. Joining Nicolas Rapold this time is Eric Hynes, curator of film at the Museum of the Moving Image as well as a veteran of journalism and criticism. We discussed some new possible opportunities for his film institution during these times. And then we got into the movies: Nicholas Ray’s They Live By Night; an unsettling 1971 Vietnam vet film called Welcome Home, Soldier Boys; Saint Jack directed by Peter Bogdanovich and starring Ben Gazzara; The Last Dance, the Michael Jordan series; and Eyes on the Prize, Henry Hampton’s landmark work about the Civil Rights Movement. Along the way, we learn about a competitive sport involving bean bags. Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, a podcast where we reach out to friends to talk about what we’ve been watching. It’s as simple as that. Joining Nicolas Rapold is Richard Brody of The New Yorker. They discuss The Irishman as a home viewing experience; The 11th Green, an unusual new drama involving alien life and the postwar United States; Melvin Van Peebles's debut feature, The Story of a Three-Day Pass; Top of the Heap, a police drama directed by and starring Christopher St. John; and the prospect of returning to movie theaters. Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, a podcast where we reach out to friends to talk about what we’ve been watching. It’s as simple as that. Joining Nicolas Rapold is Ashley Clark, director of film programming at BAM, and a longtime film critic. The lineup spans from the limits of leisure to the extremities of war and political action. There’s The Green Ray, Eric Rohmer’s achingly poignant summer film; Winter Soldier, a heart-stopping Vietnam documentary that’s sometimes forgotten; a rewarding pairing of two films from the 2010s, Nocturama and Happy as Lazzaro, and others. Please note that this was recorded before the ongoing protests for justice, and as such, is something of a time capsule. Original music by Nate Kinsella Photo by Steve Snodgrass

Critic Nick Pinkerton and programmer Nellie Killian join Nicolas Rapold to discuss isolation viewing and their recent favorites. You may have encountered Nick’s criticism in a variety of publications as well as DVD essays and commentary. And Nellie’s superb series Tell Me: Women Filmmakers, Women’s Stories is featured on Criterion Channel this month. They three talk about the last things they've been watching, including: the pre-code films of William Wellman; the extraordinary documentary series Eyes on the Prize about the Civil Rights Movement; two movies by Robert Altman, Dr. T and the Women and Beyond Therapy; and more. Original music by Nate Kinsella Photo by Steve Snodgrass

Critics Amy Taubin and Michael Koresky join Nicolas Rapold to discuss their recent favorites, including The Fabulous Baker Boys (and Michelle Pfeiffer’s star presence), Damien Chazelle’s new Netflix series The Eddy, and much more. Original music by Nate Kinsella Photo by Steve Snodgrass

Nicolas Rapold talks with Devika Girish and Clinton Krute about Another Gaze magazine’s recent online symposium on the groundbreaking work of filmmaker Sarah Maldoror. We also discuss Warren Beatty’s Reds, Robert Altman’s Quintet, Ingmar Bergman’s The Touch, and a recent short film from Jonathan Glazer. Original music by Nate Kinsella Photo by Steve Snodgrass

Nicolas Rapold talks with Devika Girish and Clinton Krute about the assortment of movies they’ve been watching in lockdown, including Jackie Chan’s Police Story, Indian classic Pakeezah, long awaited Aretha Franklin doc Amazing Grace, Maurice Pialat’s Under the Sun of Satan, and many more (including the ZZ Top doc). Original music by Nate Kinsella Photo by Steve Snodgrass