Archive for 'Podcasts'

353. Gravity

For a film that requires so many special effects in order to create the feeling of weightlessness, how did Alfonso Cuarón still keep Gravity so grounded?

352. Roma

Alfonso Cuarón has long flirted with the neorealist style. His latest masterpiece, Roma illustrates cinema is not about what you show, but how you show it.

351. Heat

Ever since its release in 1995, Heat has been held as the greatest ever heist movie. But it has another, completely different film living and dying inside of it.

350. The Lives of Others

An exposé of life in East Germany under the Stasi, The Lives of Others still frustrated survivors of the totalitarian regime.

349. The Matrix

Science-Fiction operates in many ways; fantasy, allegory, romance, satire and speculative. Another is prophecy. Twenty years on The Matrix seems eerily prescient.

348. The Diary of a Chambermaid (1964)

Of the four adaptations of Octave Mirbeau’s controversial novel, Luis Buñuel’s version is by far the most faithful… and radical.

347. Full Metal Jacket

Many great auteurs use similar styles to explore similar themes as lesser filmmakers. The only real difference is that great auteurs are more consistent and precise.

346. Au revoir les enfants

Most films about childhood are often nostalgic. Louis Malle’s masterful auto-biopic is about loss of an unfathomable kind.

345. Lost in Translation

Sofia Coppola’s off-beat romance deftly explores isolation, miscommunication and the superficiality of modern media.

344. The Double Life of Veronique

Krzysztof Kieślowski avoids all the clichés of doppelgängers, doubles and lookalikes to deliver a meditation on freedom.

343. Gladiator

Going into production, Gladiator had nothing near a finished script yet one simple change to the start of the story turned it into the greatest opera ever filmed.

342. Cold War

Despite its title, Cold War is not an espionage thriller. Instead, Pawel Pawlikowski loosely based it on his parents’ lives. But it’s not a biopic either. So what is it?

341. Edward Scissorhands

Ever wondered where snow comes from? That and other wonders – and horrors – live inside Tim Burton’s classic.

340. Mon Oncle

Writing, producing, directing and starring in his own films Jacques Tati was a true auteur, influencing the likes of David Lynch, Tim Burton and Wes Anderson.

339. No Country for Old Men

While Cormac McCarthy’s acclaimed novel broke genre convention, the Coens’ adaptation is a study in audiovisual chaos.

338. Man with a Movie Camera

Once “too revolutionary”, Dziga Vertov’s avant-garde masterpiece is now felt in Man on Fire, Ratatouille and Inception.

337. The Assassination of Jesse James by the Coward Robert Ford

This western gives fresh examinations of celebrity and post-traumatic stress disorder.

336. Mishima: A Life in Four Chapters

Films about writers are tricky propositions but you can roughly divide the genre into two eras; pre- and post-Mishima.

335. There Will Be Blood

Yes, Daniel Plainview is unlikable. But where is it written that characters have to be nice? They only have to be interesting.

334. La Belle et la Bête

Fairytales transcend not just generations but cultures. Which may explain why La Belle et la Bête exists in so many guises and confronts so many issues.

333. Zodiac

When a film breaks with tradition, it is often rejected by audiences. Which may be why Zodiac was not initially recognised as the groundbreaking masterpiece it is.

332. Monsoon Wedding

Intersectionality, hyperlink cinema and cinema diaspora are some terms you can apply to Monsoon Wedding. Another is #MeToo.

331. Inside Llewyn Davis

Joel and Ethan Coen sometimes pit their characters against forces of nature. But Llewyn Davis faces a uniquely historical storm.

330. Aguirre, the Wrath of God

Werner Herzog’s hallucinatory telling of a Conquistador’s search for El Dorado etches a landscape of greed on the human face.

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