The Other Side of the Wind became a sprawling, uncontainable, years-long odyssey into Orson Welles’s relationship with betrayal, his standing in the world, and his own self.
This month on the podcast, we're joined by renowned pickle man enthusiast and Elaine May biographer Carrie Courogen to discuss Joan Micklin Silver’s intergenerational NYC rom-com, Crossing Delancey (1988).
Undoubtedly, Julia Ducournau’s films are so titillating because they present body horror as an almost exclusively female enterprise; the violent perpetrators are female, the gaze is female, the classic sense of dread centers around aspects of the female experience.
Andrew Ahn’s Driveways is a difficult film to pin down, precisely because there’s so little in it to process, demystify, or explain. There are no set pieces or battle scenes, no dramatic plot twists or betrayals. Instead, it captures life in its simplest, most ordinary forms.
For the first time, Paul Thomas Anderson has produced a film distinguished not merely by his characteristic fascination with the world but by a deep love for it.
The appeal of The Real Housewives of New York City is that it’s an environment in which rare depictions of the knotty, strange inner lives of adult women and standard-issue, heavily produced reality TV antics coexist in perfect harmony, where novelistic character development and cheap episodic entertainment take on a symbiotic relationship.