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Innhold levert av Lost in Criterion. Alt podcastinnhold, inkludert episoder, grafikk og podcastbeskrivelser, lastes opp og leveres direkte av Lost in Criterion eller deres podcastplattformpartner. Hvis du tror at noen bruker det opphavsrettsbeskyttede verket ditt uten din tillatelse, kan du følge prosessen skissert her https://no.player.fm/legal.
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Innhold levert av Lost in Criterion. Alt podcastinnhold, inkludert episoder, grafikk og podcastbeskrivelser, lastes opp og leveres direkte av Lost in Criterion eller deres podcastplattformpartner. Hvis du tror at noen bruker det opphavsrettsbeskyttede verket ditt uten din tillatelse, kan du følge prosessen skissert her https://no.player.fm/legal.
The Adam Glass and John Patrick Owatari-Dorgan attempt the sisyphean task of watching every movie in the ever-growing Criterion Collection. Want to support us? We’ll love you for it: www.Patreon.com/LostInCriterion
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641 episoder
Merk alt (u)spilt...
Manage series 104330
Innhold levert av Lost in Criterion. Alt podcastinnhold, inkludert episoder, grafikk og podcastbeskrivelser, lastes opp og leveres direkte av Lost in Criterion eller deres podcastplattformpartner. Hvis du tror at noen bruker det opphavsrettsbeskyttede verket ditt uten din tillatelse, kan du følge prosessen skissert her https://no.player.fm/legal.
The Adam Glass and John Patrick Owatari-Dorgan attempt the sisyphean task of watching every movie in the ever-growing Criterion Collection. Want to support us? We’ll love you for it: www.Patreon.com/LostInCriterion
…
continue reading
641 episoder
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Lost in Criterion
Spine 631 is a boxset of Pier Paolo Pasolini's "Trilogy of Life", a collection of adaptations of collections of stories. We kick it off this week with The Decamaron, based on Giovanni Boccaccio's 14th century collection of tragic and erotic stories. Pasolini adapts these as celebrations of pre-capitalist, pre-consumerist sex, language, and dentistry. Pasolini's Decamaron is very horny, and very fun. We can't wait to see what he does in the rest of the Trilogy of Life…
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Lost in Criterion
Roman Polanski adapts Ira Levin's 1967 novel into this 1968 film, though adapts may not be the right word. Transcribes, maybe? The original cut was a very faithful transference of the source material into the film medium, perhaps more faithful than any novel to film adaptation has ever been. Then he let someone else edit it down to a reasonable movie. Mia Farrow is great in it, perhaps because her personal life married to Frank Sinatra was pretty close to Rosemary's story. John Cassavetes is great in it despite Polanski's best efforts to reign him in. And I know have a least favorite cinematic satan to add to the list.…
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Lost in Criterion
John Schlesinger's Sunday Bloody Sunday (1971) is a deeply personal work, presaging New Hollywood while making something neither New Hollywood or the British New Wave would dare. We meet a middle-aged doctor, Daniel, and a 30 something divorced woman, Alex, who are both dating Bob, a young artist who makes them both feel alive even if he's a self-centered jerk most of the time. Like the average non-Lubitsch film about polyamory, this relationship is obviously doomed, but the exploration of Daniel and Alex's emotional journey in their final week with Bob is exquisite. Plus, we get to meet some of the most wonderfully precocious we've ever seen in a Criterion picture.…
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Lost in Criterion
1 Spine 628: The Forgivenes of Blood 1:50:50
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1:50:50Joshua Marston's The Forgiveness of Blood (2011) takes a hard look at the effects of honor codes that get twisted into demanding blood penance. It's a fantastic familial drama, but also gives us a jumping off point to talk about (re)interpreting (para)religious texts to favor mercy and care, and also how both Sovietism and capitalism seek a hegemony that the state controls. That's right, Pat crosses to Adam's side and flirts with anarchism this week on Lost in Criterion…
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Lost in Criterion
1 Holiday Special 2024: Powwow Highway (1989) 1:57:27
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1:57:27Jonathan Wacks' Powwow Highway (1989) takes a lot of trappings of a holiday road movie, but leaves them behind when needed as we explore the characters and relationship of two Cheyenne men struggling in to hold onto tradition in a world controlled by colonizers. This may be the first holiday film we've covered where the only person who says "Merry Christmas" is the villain. Christmas in Powwow Highway exists as a colonizers' holiday, but perhaps one held in tension as well. Our dear friend Stephen G. joins us for as we celebrate another year in the books!…
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There are two David Fincher movies in the Criterion Collection, and The Game (1997) is the better one by a long shot, solely for not featuring the monstrous simulacrums of the human form that exist throughout The Curious Case of Benjamin Button (2008. Spine 476). The Game is mostly an interesting thriller that doesn't do enough with its San Francisco setting, but then in the last few minutes it jumps of a building and utterly fails to stick the landing.…
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Lost in Criterion
Marcel Carné made Les Visiteurs du Soir (1942) during Nazi occupation of France for a Nazi-owned production company, and while one could argue that this is collaboration and one could also argue that Carné used his position to help Jewish artists keep working, that fact that this is a Nazi-produced film is somehow not the most egregious part of the production. We spend a lot of time on what the most egregious part actually was in this week's episode, actually. Carné was clearly a man in conflict during production, but it's still mostly a delightful film and another data point for my list of cinematic Satans.…
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Paul Bartel directs this black comedy that's "not Lubitsch—but it’s not quite John Waters either", according to Criterion essayist David Ehrenstein. Eating Raoul (1982), is a story of America, of the normally hidden and unpunished violence of wealth accumulation. Or it's a story of America, of two prudish weirdos punishing the people they don't like. Or it's a story of America. the dream of revenge against the managerial class. Or it's none of these things completely, as we get into a discussion this week about just how strong the metaphor in Eating Raoul is. But hey, it's still a pretty fun movie.…
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Lost in Criterion
In 1975, the enigmatic Ken Russell adapted and directed The Who's concept album/rock opera Tommy into a memorable film. The Who, apparently, really enjoyed making movies and decided to follow it up four years later with an adaptation of Quadrophenia (1979), but this time hiring Franc Roddam who would go on to create MasterChef and is noticeably not Ken Russell. Quadrophenia is a throwback to kitchen sink dramas, angry young men disillusioned with a society they will be joining within a few months, but mostly just fighting each other and being sexist and racist while their at it. For a film about some of the most stylish subcultures of 20th century Britain, the film itself lacks style and flair, but maybe we just wanted Ken Russell back. It's a bit like Stephen King movies after The Shining.…
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Lost in Criterion
We get three early films from Paul Fejos all under the banner of his 1928 part-talkie Lonesome. Also on the Criterion release is the much more interesting to us Broadway (1929) and the much less interesting to us The Last Performance (1929). Each film is inventive and interesting in its own right, but Broadway just kept getting bigger, facilitated by Fejos and his team inventing a camera crane, and then needing to build a sound stage that could accommodate their camera crane, and then needing to make a movie to justify it all. The additional features on the Criterion release also give us plenty to talk about with biographical information on Fejos' later-career shift to anthropology and ethnography, a topic we are always willing to jump in on, though Criterion doesn't provide any examples of this aspect of his work.…
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Lost in Criterion
Andrew Haigh's Weekend (2011) is an exquisite character study of a Friday-Sunday fling between two pretty opposite young men, in a precarious time where homophobia is constantly bubbling in the background. It's also just one of the cutest love stories we've experienced in the Criterion Collection. Just an absolute delight of a movie.…
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Last week Criterion introduced us to the work of Luc and Jean-Pierre Dardenne with a phenomenal film, but this week they follow it up with something somehow even better. From it's frenetic first few minutes, Rosetta (1999) is the story of a a young woman that believes she can find freedom, or at least dignity, or at least normalcy in work. But she, and we, live in a society that doesn't actually care about freedom or dignity or even, really, normalcy, at least not for the lower rungs of the economic ladder Rosetta lives in. It's sort of an answer to and modernization of Bresson's Mouchette (1967), but the Dardenne are much more interested in social realism than Bresson ever was. Like last week's film, and many social realist films we've seen, Rosetta doesn't end on a hopeful not, but perhaps on the hope for hope and the promise of freedom and dignity that comes from community and care. We need that now.…
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Lost in Criterion
Our introduction to the films of Belgian brothers Luc and Jean-Pierre Dardenne, La promesse (1996) is, like last week's Le Havre, a story of African migrants in Europe. But where Aki Kaurismäki took a more magical approach, the Dardenne's hew much closer to the intense realism of, say, Ken Loach. The brothers' history in documentary perhaps make it even more intense than what Loach we've seen. It's a story of rejecting what you've been told is the order the world must work in, and finding the community and care that your heart cries out for. A better world may be illegal, but it remains possible.…
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Lost in Criterion
Aki Kaurismäki's Le Havre (2011) is a hard movie to categorize. It's the dramatic tale of solidarity and sanctuary, of a community setting aside petty differences to protect a vulnerable migrant. But it's not social realism; It's more magical than that. Some critics call it fairy tale-esque, Pat calls it a children's story, none of them to dismiss it. The moral here is one of a kids' book, but it's a child's morality that needs to lead us: Community brings life. And that's not a miracle; it's a fact.…
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Lost in Criterion
Steven Soderbergh's film adaptation of Spalding Gray's monologue about avoiding an eye surgery, Gray's Anatomy (1996) girds Gray's George Carlin-esque delivery in some dynamic visuals and inter-cuts them with stark black and white testimonials of people recounting there own terrible eye injuries. Perhaps not for the squeamish, but it's still an engaging story. I don't comment on it in the episode, but Gray gives a shout out to Columbus, Ohio, hotdog institution Phillips Coney Island, which closed in 2022 after 110 year of slinging wieners and probably causing some eye injuries of their own doing that.…
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