Kermode & Mayo’s Take - Mia Hansen-Løve, Lola, Godland, & Air

Episode Date: April 7, 2023

Prolific French director Mia Hansen- Løve speaks to Simon about her deeply personal new film ‘One Fine Morning’ - and how it was inspired by her own experience of her father going into a care home. Mark reviews ‘Lola’ - a science fiction film directed by Andrew Legge – the film is set in 1940 is about a machine called ‘LOLA’ that can intercept radio from the future; ‘Godland’ which is set in the 19th century and tells the story of a priest who is sent to a remote part of Iceland, and ‘Air’ which tells the story of shoe salesman Sonny Vaccaro (played by Matt Damon) and how he and Nike perused Michael Jordan in what would become one of the most successful partnerships of all time. Time Codes (relevant only when you are part of the Vanguard): 12:08 Godland Review 20:14 Box Office Top 10 29:24 Mia Hansen-Løve 46:37 One Fine Morning Overview 50:12 Air Review 56:18 Laughter Lift 01:01:18 Lola Review 01:08:41 What’s On EXCLUSIVE NordVPN Deal ➼ https://nordvpn.com/take Try it risk-free now with a 30-day money-back guarantee! You can contact the show by emailing [e-mail] or you can find us on social media, @KermodeandMayo A Somethin’ Else & Sony Music Entertainment production. Find more great podcasts from Sony Music Entertainment at sonymusic.com/podcasts and follow us @sonypodcasts To bring your brand to life in this podcast, email [e-mail] Learn more about your ad choices. Visit podcastchoices.com/adchoices

Get holiday ready at Real Canadian Superstore. Where you'll find more legendary ways to save than any other major grocery. Until December 13th, you'll get a free PC turkey when you spend $300 or more. That's right, free only at your Super Holiday Store. Conditions apply to fly for details. And the answer is trading snake oil for wolf tickets. And remind me of the question. What was Gary Jules album called? Trading snake oil.

Trading snake oil for wolf tickets. Gary, we just did a little add for movie, in which there's a reference to Mad World, his cover version, which went to number one of the Tears for Fear Song for Donnie Darko. And I couldn't remember Gary Jor's his name, and I couldn't remember the name of his album, but I was thought trading Snake Oil for Wolf Tickets. It's, I don't know quite what it means, but it sounds good.

Does it mean something, or is it just an enigmatic phrase? There's a song on the album which he's about trading snake-alpha. Well, tickets. Brian Cox's autobiography is called, low and row, first of all, yeah. It's called, Putting a Rabbit in the Hat. And then you read the biography, and it's all about, and you think, what does it mean?

And what he says it means about halfway through is that he was taught by one of his theater teachers that you can't pull a rabbit out of the hat without putting the rabbit in the hat first, meaning you can't do great work on stage without doing all the background for it. But I also was a lovely phrase. Do you have to put the rabbit in the hat

before you can pull it out? So that being a youth who is before, like, do your work. Yeah. Exactly. That you learn your words beyond time. It learned your words beyond time. It was a less, that was the secondary title that they thought they might use. But that might be the equivalent.

How do you put the rabbit in the hat? That's one of the ways you put the rabbit in the hat. Learn your words at a lot of times. Which is very good. Yeah. By the way, just while we're talking about music on Passong, the Tompaxton children album, which is now rebranded, going to the zoo, has been resurrected in our house because Grandchild I has turned up.

We don't know how that happened in a car from Copenhagen. And so the Tompaxton who did dead is taking us to the zoo tomorrow and very, so the marvellous toy and that kind of stuff anyway has just resurfaced in our house and if anyone is looking for, because you can find it on in Apple or Spotify or something if anyone is looking for a record which is not going to drive you mad in the car or in the house Look for that, it's fantastic. I can also recommend the best of Jonathan Richmond and modern lovers Which has got, you know, I'm a little dinosaur Hey little insect. I'm a little aeroplane All that stuff, which is all great for kids and I know that

Grandchild one is at your house because that's why I was in a travel lodge last night. That's right That's absolutely no room at the end though. They but they're literally easy It's like lockdown in our house without a dog. Yeah, well the travel lodge was very nice But they're literally easy. It's like lockdown in our house without a dog. Well the travel launch was very nice. It wasn't. It was very nice. Oh good. I'm glad, but not quite as nice. Also, got a coffee machine. Yeah, but I am. I know you're a coffee machine. They might be giants to the kids album called No exclamation mark, which is genius. Oh, absolutely. Absolutely genius. You need to check that out.

Anyway, all of which is an interesting way of just letting us remind you that there are about three tickets left for the show at the Union Chapel in North London, which is on Tuesday the 23rd of May. It's sort of embarrassing if you're not there because people will be talking about the show in years to come saying, will you be like the Velvet Underground gigs? Will you there? Yeah, absolutely. I was there. Really prove it. Oh, I can't. And it was, whoever it was, somebody was talking about this in relation to the two-tone tour. It's like Sex Pistols at Brunelle University. If everybody who said they were at that gig was at that gig, that gig would have been an enormous Rome gig as opposed to.

Wasn't that said about Velvet Underground first? I'm sure it was, yeah, it's, you know, all those people who, if everyone, if everyone who claimed to have seen the Velvet Underground had seen the Velvet Underground, they would have been the biggest band in the world. The music would have been very, very different. Anyway, we'll see you on Tuesday the 23rd of May, where we'll be doing live versions of this, really. And then in years to come, were, I was there. I was there when they had the live

clarinet and question shmessions and my mind was blown. And the UFO actually landed from the roof and the submarine came up from underground. Who do you think you could do that in a very old church? Are we coming up on a drum riser? I've always wanted to do that. I've always wanted to come up on a drum riser. It might be tough to change the architecture of a very old building. Freddie Mercury did it. The first one, the first gigs I ever saw was Queen Live in Hyde Park. It was a festival, Kiki-D Supercharger, Steve Hillage. Could you jump out the pulpit with that work? Actually, you could do that. You could put a riser, you could crouch down in the pulpit,

and then slowly rise up. But just in case anyone's wondering, the Pope's exorcist does indeed open today, in which Russell Crowe plays Father Gabriella Mord. I've seen a trailer, it looks shocking. They haven't shown it to us at all. You need to know. Because obviously it's so good,

but because I co-wrote the script for William Freedkins documentary about Father Gabriella Mord which is called The Devil and Father Mord and it's an interesting documentary I think but when I saw the trailer and you think Russell Crowe is like yes based on the true cases from the from the case book of Gabriella Mord you go no I think he's doing an Italian accent so it's a very so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so, he's so We're not talking about that. Reviews of air, Godland, Lola, Super Mario Bros. And we've got a very special interview with a filmmaker who I think is a genius.

Mia Hanson Lever, who's the director of One Fine Morning. And thank you for clearing up the pronunciation. Well, I do, I think we talk about it in the interview, but she's very, very pristine. Yes. But her grandfather was Danish. Right, because it's an O with a strike through it. It is. Is that let it call something?

It is. Do you know what? I don't. I don't. It doesn't look good. But it isn't an accent. It's a separate letter. Separate letter, yes.

Because I've always said Mia Hansen love, which of course is wrong. Yeah, well, I think she says, or she either says before the interview, or in the interview that she has a surname that no one in France can pronounce anyway. Okay. So anyway, Mia Hansen-Luva will be in later, plus in the extra takes, more of this. Yeah, loads of stuff.

So I think probably Lola will end up in the extra takes, top hat, they've re-released the three-colors trilogy, caught the Crimson King, is back out, just more stuff than you can wave a step. Potentials, more currently, Mark 13, Mark Kermode, 10 and a half. Oh, are we doing that now? It's been rebranding. Take it all of it, you decide I would have mouth

on a podcast feature this week is Succession Season 4 so far. Yes, because both you and I have seen episodes 1 and 2 because they're not letting anything else out. One frame back, female lead films about World War II is what we're talking about. Shrink the Box is also Ed Free on Tuesdayss alongside all our other extra content on the take channel. Next one is Eve Palastri from Killing Eve. Blade by Sandra.

You can sport as via Apple Podcasts or head to extratext.com for non-fruit related devices. If you're already a Vanguardista, as always, we switch you. Thank you. Dear smorgasbord and skiffle scuffles says Evan. Greetings from Dublin. We should do a show in Dublin. We have a lot of listeners. MTM and Vanguard, second time email and recipient of a second place trophy for a boxing match

some years ago. Good times. Regarding a recent church member's mother. Does it say good times? Well told. The good times sound like this. Regarding a recent church member's mother saying that a film that they watched was quirky, which was really a euphemism for the fact that it wasn't her cup of tetris,

well, what do you film with my own mother oftentimes? If it's slow, she'll say, is this based on a true story? They can often be slow. But these phrases are so useful, because instead of saying saying I am so bored with this, you work out different ways of describing. My girlfriend and I, it says Evan, now use this phrase, whenever a film is slow in any way, even when we know it's not based

on a true story, avatar, way of water, it's a bit slow, must be based on a true story. God's is a versus Kong. Is this based on a true story? It's a bit slow. Anyway, then Evan says, this is a final flourish, I'm flying over to London for the live show in London in a few weeks and can't insert birds on here. Wait, take the Tonka down with slow films based on a true story or otherwise. Thank you, Evan. Well, we should remember that and say, where are you, Evan? Exactly. We'll call you out. That thing about the euphemism for films, I think it sort of began with Ken Russell's autobiography, which is called a British picture, because his mother, I know I can say this every week, but it just charms me. His mother used to say,

is it a British picture? Meaning, is it really boring? And is it a bunch of people standing around a sink doing nothing? Paul Lois, dear Hinge and Bracket, whom I grandmother refused to believe were really men. I've recently been going through a particularly difficult time personally, going to the cinema has been my escape to the real world. Last night I went with my 21-year-old daughter Asher to the wonderful Phoenix cinema in Leicester to watch Brandon Croner-Bogues infinity. Ah! It was a funny noise. No, I just, I love it.

I was talking just last night to a very good friend of mine and trying to convince them that it really was as good as I said it was. After seeing Paseca, which was my favorite film of that year, I was really looking forward to it. Asher, like me, has always been a big horror fan. She loves some of the more recent films in the genre, such as Mid-Somah, she's watched it four or five times. Hereditary, X, and Pearl, she had never seen

these films on the big screen, though. So there's a lot of interesting points coming here. But half an hour into the film, I could see that she was getting restless and covering her eyes during certain scenes. About halfway through the film, she said, I can't do this. Got up from her seat. I started to follow her out, but she whispered code compliant that she'd come back. After about five minutes she had but continued throughout the rest of the film to shuffle in her seat and avoid looking at the screen. After the film had finished and the ever-wonderful Phoenix staff had wished us good night, we had our usual post-film discussion on the way back to the car. As she told me, she hadn't hated the film and the gory, the gory body horror scenes hadn't bothered her at all.

She'd love Cronin Bugs' direction and Mirgoth's performance. She'd also appreciated the very dark satire of the plot, what she hadn't been able to cope with was seeing the film on the big screen. The sheer visceral impact of seeing it at the cinema, rather than on a small screen on her laptop, had intensified her response to the film. She even said she wanted to watch possessor, but on her laptop. As we now live in a world of being able to stream movies on any of our fruit or non-fruit devices, still not funny, this was a reminder to me of how powerful the cinema experience

can be, and will for me always be the best way of seeing a film. It will be pleased to know I spoke to Dashie this morning and she's fine, I've told her she can choose the next film we see at the Phoenix, I have a feeling it might not be a horror film. It will be pleased to know I spoke to Ashley this morning and she's fine. I've told her she can choose the next film we see at the Phoenix. I have a feeling it might not be a horror film. Down with the Nazis and criminal presidents and up with blue head feminists says Paul Lois, it's interesting just because we always talk about cases in our as a positive thing. But if you have been used to watching sort of potentially upsetting films on a small screen, maybe that's an interesting lesson which Paul Lois' Asher has helped us with. The cinema can be very overwhelming,

and certainly it's true of movies that are horror films or disturbing fantasy films, that there is some kind of containment. If you have them on a smaller screen, when you can stop the movie if you need to, or you can turn the volume down if you need to. I have the light on if you want. Yeah, precisely.

And I do think that cinema ampl cinema amplifies those things because I love it for that. But I can understand entirely. I mean, I know people who say, I've seen the exorcist, I don't think anything of it. I said, where did you see it? I saw it on the video, DVD. Yeah, it's not the same. You see it in a cinema and then tell me that it didn't have any effect on you. Correspondence at Covenham A.com, a spell correspondents, pretty much anyhow you like, because you've got that covered. Anyhow, what's out? Well, on the subject of seeing things in the cinema, Godland, which is directed by Hlener Palmason,

who is an Icelandic director, whose name I'm sure I have mangled, and I'd forgive me, directed White White Day, which was Iceland's submission for the 92nd Academy Awards. This is a 19th-century tale of a Danish priest, Lucas, who is sent by his superiors to go to Iceland to set up a church.

He is told, it's going to be a rough journey. You will meet people who are very different from the people you know here, the people, the weather. There are also volcanoes that, and I'm slightly paraphrasing, they said, a volcano that smells as if the earth has pooped its pants. It's about right. He's also told that he must adapt, which is something which is going to be quite hard for this sort of stern, face slightly puritanical soul, who, when confronted with the kind of the majesty of God's creation, there's a line in which he says it's terribly beautiful,

and the reply comes, it's terrible and beautiful. He's also interested in photography and he takes with him this photographic kit, this wet plate kit and we see a lot of stuff about him, you know, putting the egg white on the glass and the preparation of the image and there's something magic about the image and incidentally in its original title which is presented on screen in both Danish and Icelandic. The film is not called Godland, it is called wretched land. Anyway, here is a clip of him losing the plot whilst attempting to take photographs. Ah! Fish! Fish! Fish!

Fish! Satan! Satan, he says, uh, at the end, which I imagine, is a super curse word. If you were listening to that, um, basically, there's a lot of ice. There is a dry pot of running. Fantastic, fantastic crunching of snow. And somebody just, you know, fantastic, French, you know, and somebody just, you know, losing it. And then the second half of the film

in which he has arrived at his destination is about whether or not he can adapt to the community. Can he possibly find love? There is a guide with whom he has had this very, very fractious relationship, Ragnar. And it is clear that they are going to come to blows both mental and physical whilst he wrestles with his own soul and with the land around him.

Here's the thing, the film is, as you saw from that clip, I know if you're listening to the podcast, you want to see it, but it's Square Frame Academy Ratio with slightly rounded edges that seem to kind of match the idea of an old photograph. The camera is largely static on a tripod. It's very slow, pan, to capture the quality of the photograph that he's making. The film is about a lot of things. It's about miscommunication

about people not speaking the same language, it's about inner conflicts, outer conflicts. It's about faith and the absence of it and the earthly and the heavenly or in that particular case, perhaps the satanic. And I mean, I thought it was really engrossing. It's a slow moving film and I was talking to my friend Nigel Floyd about this,

and I said, it's one of those films, it asks for your patience. It's, you have to give it time, but there is one shot in it. All I can say about it is, it is a slow panning shot from something in the very distance to something very, very close.

And it is one of the most breathtaking pieces of storytelling in one shot that I can remember. Now, it moves in its own pace, and it requires you to get into swing of its tempo. But it also has this kind of darkly satirical undertone. It was funny, because when you were watching that clip, you laughed, because it is funny. I mean, there is a kind of, you know, this sort of satirical understanding. It's funny because when you're watching that clip, you laugh because it is funny. I mean, there is a kind of, you know,

this sort of satire underneath it. But it's also kind of quite profound and cheeky and rye. But really, I would say if you're going to see Godland, then I would encourage you to do so because I think it is a really fine piece of cinema. Go and see it in the cinema. That's quite some contrast in title from wretched land to Godland. Godland, yeah. Very rarely a film is like the cinema. That's quite some contrast in title from wretched land to godland. Yeah, very rarely a film

It's like the opposite. I know one hand you're saying this is god's own country Yeah, I know I know but also there is something about wretched is you know It as I said it's it's basically encapsulated in that thing. It's terribly beautiful here. It is terrible and it is beautiful. Godland is the movie still to come. We have reviews of these films. Well, we're going to be talking to Mia Hansenlove about her film, which we're going to review next week,

which is one fine morning. But we are going to review the new Super Mario Brothers movie and air the story of the licensing of the air Jordan show. Yes, really. We'll be back before you can say, Shaqom, a coupable, de Touloubien, qu'il ne passe, Voltaire. Very profound, actually. Every man is guilty of all the good he did not do. Happy Nord Christmas. Protect yourself whilst Christmas shopping online and access all the Christmas films from around the globe. Plus, when you shop online, you'll have to give websites your card details and other sensitive data like your personal addresses. Those websites should already have their own encryption built into their payment systems, but to be

on the safe side, you can use a VPN to ensure that all data coming to and from your device is encrypted. Even if you're using an unsafe Wi-Fi, you'll still be able to shop securely with a VPN. And you can access Christmas films only available overseas by using streaming services not available in the UK. To take our huge discount of your NordVPN plan, go to NordVPN.com slash take. Our link will also give you four extra months for free on the two-year plan. There's no risk with Nord's 30-day money back guarantee. The link is in the podcast episode description box. Hi, esteemed podcast listeners, Simon Mayo. I'm Mark Kermot here. I'm excited to let you know that the new season of The Crown and The Crown, the official podcast, returns on 16th of November to accompany the sixth and final season of the Netflix epic Royal Drama series. Very exciting, especially because

SuperSub and Friend of the Show, Edith Bowman hosts this one. Indeed, Edith will take you behind the scenes, dive into conversation with the talented cast and crew from writer and creator Peter Morgan to the crowns Queen Elizabeth in Melda Staunton. Other guests on the new series include the Crowns research team, the directors, executive producers Suzanne Mackie and specialists such as Voice Coach William Connaker and propsmaster Owen Harrison. Cast members including Jonathan Price, Salim Dor, Khalid Abdullah, Dominic West and Elizabeth the Bikki. You can also catch up with the story so far by searching the Crown, the official podcast, wherever you get your podcast.

Subscribe now and get the new series of the Crown, the official podcast, first on November 16th. Available wherever you get your podcasts. This episode is brought to you by Mooby, a curated streaming service dedicated to elevating great cinema from around the globe. From my Codic directors to emerging otters, there's always something new to discover, for example. Well, for example, the new Aki Karri's Mackey film Fallen Leaves, which won the jury prize it can, that's in cinemas at the moment. And if you see that and think I want to know more

about Aki Karri's Mackey, you can go to Mooby the streaming service and there is a retrospective of his films called How to be a Human They are also going to be theatrically releasing in January Priscilla, which is a new Sophia couple of film which I am really looking forward to since I have an Elvis obsession You could try Mooby free for 30 days at Mooby.com slash Kermit and Mayo that's M U B I dot com slash Kermit Mayo, for a whole month of great cinema for free. Do you think you'll always find me in Kitchen at Parties was actually written about Voltaire then? Because...

I always find it just about his parties with Voltaire. So yeah, because then that song makes even more sense. You'll always find Voltaire in the Kitchen at Parties is not the origin, No, yeah, because then that song makes even more sense. You'll always find Voltaire in the kitchen at parties. Is not the origin, but maybe that also makes sense. Did you ever listen to Cabaret Voltaire? No, I've seen Cabaret. And Red Voltaire. So it's just said the same as I mean, the Cabaret Voltaire back at the bottom.

And I played a track from Red, the Communards album. Okay. Somebody said to me the other week, you know, ask Mark of minutes. And I played a track from Red, the Communards album. Okay. Somebody said to me the other week, you know, ask Mark if he's heard of the monochrome set. It's like, of course I've heard of the monochrome set. He was in the monochrome set. It's an age thing. I think everybody was in the monochrome set at some point.

Also, can I just say in passing because I haven't said it yet? I, my, however, this all pans out, my sense of the cosmic balance in the world has been slightly righted by the sight of Donald Trump walking into that court and the person in front of him not holding the door for him because it's a perp walk so it's just like, yeah, get your own door. I'm surprised. I mean, we're, we're just like 20 minutes into the, into the pod.

No, no, no. And we got distracted by other business. I know, I know. But it's just, you know, 30 something fell in each arches. It's just, I think, well, hooray, there is, there is some sense that, you know, that prosecutions can happen even if you, I mean, everybody knows that the reason he's standing to run again is it'd be in order to avoid prosecution. That that the only reason he ever did any of this stuff It wasn't a presidency. It was a criminal enterprise. So there we go. Anyway made me feel good It's interesting. We have listeners in France and

We there's a little bit of politics in the conversation with Mia Hansen Louvre But because Macron comes up in the film and there's a little bit of Protests but in France they put their presidents on trial. Chirac went on trial. What I mean is other countries do do it. Yes, I know. Israel might do it if they ever get round to sorting out Netanyahu. Yeah, exactly.

It is actually the demonstration of a functioning democracy that doesn't matter who you are, the law is the law is the law. By the way, I'll just add this here, in the unholy podcast, which is done by Jonathan Friedland of the Guardian, and Unite Levy, who's an Israeli journalist, they have an incredible interview with Yuval Noah Harari, the guy who wrote Sapiens, in which he is excoriating about Netanyahu. It's an incredible listen. If you have a moment, listen to that.

Can we plug out the podcast? Anyway, yeah, absolutely. Boxer with Stop 10, disturbingly, starting at number 10. For the first time. Really? Yeah, it can't be right. Rylane's at 10.

I love this film. I really hope that people go and see it. Again, I think you should see it in the cinema because a lot of it is to do with the way it looks. It's got this big widescreen bright, colorfulful look to it and it's a romantic comedy and I enjoyed it very much and I think Ray Nell and Miller is a terrific director. Number nine in the UK, 18 America is 65. I still haven't, I'm really sorry but I would say that I'm going to watch it this week

but I'm not because I'm going to watch the Pope's Exorcist. It can't. It can be a Satan. I've got one a few words with you. Number eight is, my dude, Satan came up against Russell Crowe. I think Russell Crowe would win, no you, but because he's beefier.

You don't wanna, you know. You go, all right, mate, just come in. You know what, Russell doesn't even like if you criticize his accent. Never mind, it meets the devil, I'm, Alleluia's at number eight. Now, this email from Oliver in Nott's is a bit spoilery. So, if you're about to or think you might go and see Alleluia,

scoot forward a couple of minutes on the... Mark and Simon, or indeed, Simon and Mark, I'm writing regards to Alleluia. During last week's show, Mark expressed his dislike for the jarring nature of the film's subplot before asking Simon if there'd been any emails about the film. There hadn't been. And I thought this needed rectifying.

I haven't seen the original play either, and I agree that the subplot of the film is jarring, and it first feels slightly random. But I would argue that the jarring nature of the subplot underlies the whole point of its presence in the film. Up until the revelation that Sister Gilpin has been effectively killing off the patients, the audience is led to a view her as a firm but fair nurse with no time for bureaucracy and with all the time in the world for her patients in the best tradition of the NHS. The subplot's revelation is therefore an uncomfortable one and leaves us feeling much more sympathy for Sister Gilpin than we would have done if we'd have known about her crimes from the off.

I found myself questioning whether the swift reaction from the authorities was the right one, something the film was clearly aiming for in an age in which criticism of the NHS is incredibly quick to come and in which the days of clapping our health workers seems a distant memory. Such a technique, burying a crucial revelation about a character until the end and so forcing the audience to think more critically about it, is surely one which has been used countless times on both the big and small screen. Anyone looking for one of the best examples of this technique in recent years should watch the Black Mirror episode, Shut Up and Dance. Alleluia is certainly not a film I rush to see again, but for a one-off film, I think it was a well-cast, poignant,

and smartly done movie. That being said, I'd probably have rather seen cocaine bear on this particular cinema outing just out of sheer curiosity. Okay, well, I mean, that's an interesting point well-made. I still don't think the film is particularly successful, but I'm glad that you did, and that's a very strong argument for it.

Thank you. Number seven here, 11 in the States, pushing boots to the last wish. No, people keep saying, I can't believe that you don't love pushing boots last wish. And I wish I could tell you that I did, but I don't. Scream six is at six,

and number four total, total sn total. Creed 3 is at 5. She's, you know, interesting and your interview is still up, isn't it? I'm at the digital podcast. Down, up, down, isn't it? It's still. It's in the cloud, it's in the world. Yes, it's there with Michael B. It's Creed 3 at 5. It's 5 here in 5 in America. 4 here, 6 in the state, Shazam, Fury of the Gods. So, you know, for a movie that's tanked, it's still doing okay.

I've seen it twice once on an ordinary screen and once on an iMac screen. I can tell you it is better on the iMac screen, but just because it's bigger and stupider. And number three is Mummies, which is a computer animation. It's a Spanish animation with English language dialogue. And it's three mummies, they're transported into the present day. And I didn't get much out of it at all. And I'll be honest with you, I think it's honestly not very good, but it's up there at number three because of the vacuum effect that there isn't that much else around.

I mean, we're going to talk about Super Mario later on. You know, they're not a whole load of kids' movies around, so I think it is the vacuum effect that's put it at number three. Number two here, number two in the state's John Wick chapter four. The best. The best of them. Just great fun. And weirdly enough, you're going to talk to Meer Hansen-Luver

about a film which also ends on the steps. That's OK. But in a very different way. It is. A very different way. A very, very different way. Damian Harkin says, psychologists have noted that we tend to be drawn to people

who exhibit vulnerability, whether it's things like blushing or stammering, for instance. Kiyanu has always had their air of vulnerability, unlike, say, Tom Cruise. And I think that's part of the reason film fans tend to love him as an actor and as a person. I agree. Which is interesting, because considering he kills about 400 people in this room,

vulnerability is not one of the things that you would necessarily achieve this journey. This goes back to what I was talking about last week or whenever it was about his gate, about the fact that he walks in this way that suggests that he's, you know, his toes are in turn, that he is more fragile than you would expect. I think it kills you with a book.

It kills you with a book or a playing card. I do think that that vulnerability is a key thing and I agree that it's not something that Tom Cruise has because Tom Cruise literally looks like you could put off an atom bomb next to him and he just smiled brighter. He put his glasses on and just go, yeah, woo! And if you can, make sure you don't miss the last two minutes of the film as I did. I mean, I kind of think I got most of it, but I missed the last two minutes of the film as I did. I mean, I kind of think I got most of it, but I missed the last two minutes. And number one here, number one in the States,

Dungeons and Dragons, honor among thieves. I enjoyed, I thought it was slightly over long, but I enjoyed it, I've never played Dungeons and Dragons. I ran it past child three, who is our official, you know, is this okay to like this if you're a Dungeons and Dragons fan? And he said that the general feeling was that it was much closer to the game than the previous trilogy of movies, obviously, which were cut to much despise.

I enjoyed it. I mean, it's, you know, it's knock about fun. It's all over the place, but it's clearly made with the thing that the director said was that it's laughing with not at the source material. It's not spoofing it. It's not a spoof and I think that actually makes it work. Carrie Morrison, dear Bart, a dearest Bart and paladin, you can pick which. I just came out of the Clapham Common Picture House, seeing Dundras and Dragons movie. I have played

D&D for four years and as he says devoured player, I imagine he's devoured. Devoted. Devoted. Devoted, I imagine his way. Devoted. I'm the devoured or devoted, but anyway, I had the time in my life, even though they bent the rules of the game slightly, namely the shape-shifting druid, who in the rules can only wild shape twice a day, I know I play a druid.

I can forgive it. Being an utter delight and being such a love letter to the D&D community, and I hope we can encourage new players to think we are not just a devil cult. Brackets can't confirm. Close bracket. Does anybody think they're a devil cult? You know, there are crazy people. It doubtless Evangelical. Marjorie Taylor Green thinks that those kind of people. Idiots. Yes. Okay. Sure. Sure. Also, worth pointing out, again, this is a note from a child three. It's not a video game adaptation because it's not a video game. No, I didn't say go. It's apparently a It doesn't matter. Table top game, but no, no, I know, but did I I didn't say video game adaptation? Did I I'm merely

Passing on and did char tree tell you to tell me that that's the correct me. I'm so sorry. I know it's a table top game I know I think I thought I said role play I Excuse me for if I did It's a tabletop game. And I know I thought I said role play. I excuse me for if I did. So it's all good. Dear Paladin and Rogue, there is it. It's kind of, you know, he, it's slightly, there's a bit of a telling off, really. I took my 13 year old to Dungeons and Dragons. This is from Tim Barton in Port Moody,

British Columbia, Canada, named after Clement Moody, the first Lieutenant Governor of the Rare Area. Took my 13-year-old to Dungeons & Dragons. He is a boy of very few words who recently got into D&D through a friend. Towards the end of the movie, he lent over and said, are they making another one of these? Translation, he loved it. We both enjoyed this, in fact, that's another, is this a true life? Yes, right. Are they making another one of these? We both enjoyed the swashbuckling and action, a particular highlight being a rather plump dragon whose scariest weapon seemed to be rolling over things as he tumbled down a slope.

Tim, thank you very much indeed. Glad you're 13-year-old. Really glad. Correspondents at curbada-mao.com. Today's guest is film director, screenwriter, former actress Mia Hansen-Luva. All you need to know is that she's won that friend of the show, or the special jury prize at the Ernst-Sertal Regard, select section at Cannes. For films that are regarded,

un-sertantly by the Cannes Film Festival. Her latest film is called One Fine Morning. You can hear my discutei with Mia after this. A discutei, a repetei. Clip, brief. Is it a key in the slab? Yes, it's a key of a key. Yes, it's me.

He had a very good dress, dressed in a dress. A key? Yes, it's a great one. It's a great thing to watch. I'll say it's a great pleasure. Did you give it to me? I did. Yes. Yes.ais, ça va être plaisir. Est-ce que vous voulez bien me donner son maille? J'avais bien me réécrier. Oui.

Je vais vous donner le lien parce qu'il a des difficultés pour lire. Il vaut mieux que vous m'écrider et je lui ai dire. Et c'est une clip de 1 fin de l'année. C'est un beau matin. Le film de New Movie, directé par Mia Hansen-Luver. Mia, j'ai eu votre nom. Tu as dit, merci. C'est juste que nous avons une conversation de la même chose. directed by Mia Hansen Loover. Mia, have I got your name right? You did, thank you. It's just we had a conversation about getting it right, because I have a Danish side to my family now.

So the Loover bit is from your grandfather? Is that correct? Yes, the father of my father was actually half Danish, half Austrian, but from him I irritated that Danish name, that nobody can pronounce correctly, especially in France. Well, it's very nice to have you on the program. Mark Kermot, who's the film critic on the show, told me to tell you that he thinks you're a genius. I don't know what I should do with that. I don't think I'm a genius, but I'm touched.

Thank you. I will, but I will also relate that. Are there, he'll obviously be hearing you say this. Can you introduce us to your film? I don't know how good I am for that, but I... Well, we should say you have a translator sitting next to you. Yes. So, if you run out... Yes. What is your name, please? Abla.

Abla. We'll chip in. So, this is a film that is... I would say portrait of a woman in her 30s, a woman who has a one child, a daughter, and the film is looking at her at a moment where she's going through two different, very opposite moments in her life, but at the same time, one is she's going through the illness of her father who has a neurodegenerative disease, I don't know if you can say that. Neuridegenerative, yes. Thank you. And at the same time, or almost at the same time, she's meeting, she's falling in love again

after years of solitude. And it's, so the film really is about these two very different, if not opposite movements of life, happening at the same time and how she deals with that. Why is it called one fine morning? It's a bit difficult to really be 100% rational about the choice of titles. At some point you just have this title in mind and it imposes itself. I think there was the idea of a certain change, you know, when you say one fine morning, in a book for instance, it often comes with the idea of something that will happen on

that morning that changes, if not your life, at least changing something. And I guess this change in the film is the illness of Georg that kind of destroys whatever his life has been until then, so that there is this idea of a certain brutal change in life. But there is also the idea of a new life possible for Sandra. So I think to me it connects both with her father's disease but also with her own life and the possibility for her. Your films are always personal, but this one is particularly personal with that being fair.

Yes, it is, but I don't know if it's trying to make some Yerashii to pretend there are degrees of how personal a film can be because I think my films are all extremely personal, but this one I would say is probably the most autobiographical, although I'm not a translator, Sandrais, a translator in the film. There are tons of difference between my own personal life and Sandra's life in the film, of course. And my films are never documentaries on my own life.

But I would say the connections that you can do between my film and my own life, in the case of this film, are maybe even more obvious than in my previous films. Because your father had a neurodegenerative condition. Yes, and that's the part of the film that's probably the closest to real life, especially in the way I portray his moving from one hospital to another to a nursing home and the way he gets lost in the different hospitals and the difficulty for the family. And that includes, of course, Sandra, the main character, to find a proper place to where he can really, where she would feel he could feel better, basically. The difficulty of dealing with those diseases,

I mean, all that has to do with that, and of course, also with the feelings that comes with the disease for Georg, the father, but also for the other characters. All these aspects of the film are very close to my own experience indeed. I think your father was still alive when you finished the script, is that correct? Yes, I finished the script in March 2020. And if you remember, that was just before the pandemic, I would say officially started and I feel very lucky that I was just by chance able to finish the script before we went into this crazy time of the pandemic because since I have often told myself that if I had waited, let's say six more months to write it, it would not have been the same film because I think the experience that I made right after of the pandemic when you are dealing with somebody who is very

ill and you are not allowed to visit him in the hospital. I mean the brutality of that period regarding the way we treated sick people and regarding also the grief of those people when they die. I mean, the fact that we were not allowed to organize proper funerals and everything that has to do with the pandemic and how the governments became crazy, I think that would have totally influenced my film and my inspiration. So I'm really happy that I was able to focus on the period before. Some storytellers might have been tempted to wait five years, ten years, before they went back and revisited this story. Did you think too soon at all?

No, I thought if I don't write it right now, I will never do it. I will not find the courage to go back to those painful memories. When I wrote the film, I was still in the middle of the experience. I was really struggling with how quick my father was changing and the impossibility to really help him properly. I mean, all the people who have gone through this, know how painful this is. It's unbearable in some ways, I find. And I still find even after so much time.

But I wanted to capture that when I was still in it, because I thought, once it's over, I will want to forget about that moment and remember maybe happier times, but I want to remember this because it's a way to... Maybe it was a way for me to have my father with me a little bit longer. Yes. Well, you succeeded. There were some points in the film that I found unbearable to watch, because my wife and I found a care home for her mother exactly the same time

as you were talking about in the middle of COVID. Oh, I'm sorry. And there'll be many people watching your film who find that process which you outlined so brilliantly in the film of trying to find a care home. How do you know? Is this the right place? What about this one? This looks okay. Actually, this looks awful, but is this the way they all are?

And that kind of sense of bafflement that layers to do and her family have mirrors exactly people's experience, I think. Thank you. I was hoping when I was writing the film that somehow, through my own experience, that is very specific. And I let it be very specific when I was writing it. I didn't try to make it less specific than it was. But I was hoping that through my own father's story,

some other people would recognize some of their own experience in a way that it would somehow be consoling. Although I'm not trying to make my films more optimistic than I am. I'm trying to look reality as it is. Sometimes I do think that just by telling the story, even if it's a sad story, but just telling the story has brings something cathartic, at least to me. So I always write my films with the hope that catatic aspect of making those films will also work for the audience somehow. And Leah Seduz at the heart of the film, her role,

we've mentioned Sandra a number of times. I think she said it's the first time that she's felt, she's portrayed a real woman and not a fantasy figure. Why did you want her so much? Because she is in this film, as you've said, a widow, mother, sister, daughter, partner to her new boyfriend. You're asking a lot from her. True that in the past, in the recent years, she has been playing a lot of

kind of extraordinary characters, very sophisticated, glamorous women. And many of them were somehow, or could be seen somehow, has fantasy of men. Whereas, and I think she loves that, actually. I mean, she loves to be filmed that way too. She, because as an actress, there is a lot about it that is exciting to do, but I think there was something for her almost exotic in playing a woman who has a much more, let's say, ordinary life,

who she realized it was the first time that she was playing a mother with a child, although she is actually playing a mother with a child in James Bond, but I mean, well, I think it's looked at in a slightly different way. And here we are really into her everyday life, looking at these moments that are not necessarily spectacular, but they do

tell about who she, her character is, and I'm more interested in really filming her interiority. I could never imagine anybody else in the part. It was the same when I did things to come with Isabelle Lepere. I wrote the film with her in mind with actresses or actors. I've always been asking them to act less, you know, to get treats from any effectation, to forget about intellectual intentions for the character. I've always tried to work in a way where they are more like

being the characters than wanting them, wanting to be the characters. And Lear, she's really like that. She's almost not aware of what she's doing, but she's being the characters, then wanting them, wanting to be the characters. And Leia, she's really like that. She's almost not aware of what she's doing, but she's being the character. There's just one other aspect of the movie, which I just think we need to mention, before people get the wrong idea, I think. And that is that Sandra's mother, in contrast to her father, is a very active woman, very political.

And of course, there were the demonstrations in Paris just recently. And there was a conversation in a taxi about Macron, how we voted for Macron, but we don't really like him and we didn't want him to win. So there is a political aspect to all of this, isn't it? There's also a political aspect to assisted dying, which is also discussed in the film.

And it's just worth saying to people, it's not a study of someone's grief. There is also another side to this, which is a very proactive, angry old age. I think there are political dimensions in the film, but I think as for my other films, they are never really in the front. I mean, I think if there is a political dimension in the film, it's more about

the fact that it reflects on meditaries on how aged and ill-aged people are treated in friends and in hospitals, the lack of proper attention, the lack of life in those places and how it affects not only the people who are sick, but also the people around them or trying to help them. And I'm still very shocked by the situation, which I really discovered. I mean, I knew somehow, like everybody does, but when you leave it, when you experience it with somebody who you love and who you see dying in those places, it's really heartbreaking. and who you see dying in those places, it's really heartbreaking. For instance, I realized when I changed my father from one nursing home to the other, which was a better place, not...

It was actually not more expensive or more luxurious at all. It was just a place where, for some reasons, the people who were working there were happier, so they were taking care of the people better. And he actually stood up, like in the one where there was nobody to take care of the patients, and they were just left alone in their rooms. He had started to really... Someone called me to Hunchover. To Hunchover, he couldn't stand up anymore.

He was his head was just facing the ground. And when we moved him to this other place, suddenly he's straightened up. And so that I could see in a very objective way how the attention of the people in this hospital can actually change influence the illness, even for people who have illness that cannot be healed.

So I think in that perspective, I would say the film is political. It is true that there is the mother who is politically involved in the film too, but that's a very different topic. I would say in this case, to me, it was more about some kind of giving some kind of revenge to the character of things to come, in things to come, a previous film that I did about a philosophy teacher who was abandoned by, well, left by her husband. And she was quite depressed and she had to get over it.

And it looked like as if the man was having a new life in his sixties when the woman could only become a grandmother. And so I think it was kind of a revenge to me, but in a nice way, I don't mean it in a mean way, to have the female character now in her 70s. I actually be the one who has a new start in life when her husband is the one who is now sick. The last point I'm going to make because our time is up. The film I saw before yours was John Wick 4, which ends on the steps by the Sacrica

and there's lots of violence and bloodshed. So when we get to the moment in your film where we're on the steps of the Sacrica, I thought, oh, thank you very much, that's a lot nicer. Thank you, I never thought I would end a film on the steps of the psychriker actually before, for some reasons, I was inspired to write that scene. Mia Hansen-Luva, thank you very much. Thank you very much. Thank you. She's got an extraordinary woman and just to reference to one of the questions that

she was tackling, she's the daughter of two philosophy professors, which is why that was particularly a personal aspect. Also, I was struck by her experience of social care. When we're talking about social care in the UK, obviously there is a huge problem, which needs to be tackled, and maybe one day some political party, or maybe all of them will get it sorted, but it's not happening at the moment. In France, the same. They have a problem with an aging audience and the way she was talking about looking for care homes

is exactly the same as the way people talk about it here. I mean, there's two things I say. Firstly, I'd restate my previous comment that she's a genius. I'm really glad that you, you had that experience of it because isn't she, I mean, thoughtful, erudite, I mean, she doesn't need a translator. We just, she did, there were a couple of phrases

that you heard, Albert, her translator used. In fact, Robbie Colin did an interview with her just before I did. And she said, the translator is fantastic, you know, and they, they clearly get on and, that they speak in a very similar way. But her English is magnificent.

And she's expressing some very complex thoughts perfectly. Yeah. I mean, obviously the film will be reviewed next week and I don't want to preempt that. But to say, I mean, to that point about the specifics of the search for the game, because I saw the film too, and in fact, funnily enough, you sent me a message very kindly before I saw it saying, you know, just as a warning, this is what the subject is about, because this is the subject which is actually in personally affected both of us in the past few years and more recently. And I was glad of the warning, but the thing that I found really fascinating was, once again, it's that thing about the more you go into the specifics of something, the more

general and wide-ranging it actually becomes. She says she was talking about the specifics of her father's situation, and she was very glad that that had somehow managed to mirror what your experience would be, which is very different. You're in a different country. You know, I had a similar experience. I mean, you know, before locked down and enduring locked down in which that thing about, you don't know. You've never done this before.

You go and see a place and I don't know. I don't know. And then it doesn't work out. And then you have to find somewhere else. And that little detail about the stach, the way the character stands, you know, down there. Because you two have a father played by Pascal Gregory who's all hunched up in the wrong place.

And then we get to the right place, suddenly kind of open spit. And that is an extraordinarily well-realized detail because even as you were talking about it, I mean, I thought, yeah, no, I recognize exactly what that's about. And certainly, if you have any experience of that, I think the film will touch and nerve. But I think also it's about what that's about. And certainly if you have any experience of that, I think the film will touch a nerve,

but I think also it's about so many other things. It's about having a relationship with somebody who's in a marriage. It's about somebody coming to terms with grief and loss. And the lovely detail about how exotic it is to play somebody who's not a bond with others. That was really beautifully done. There's a phrase, it's a little exchange in the film, which I wrote down when I was seeing it, which is when they're emptying their father's flat house. And she says, I feel father, I feel closer to my father with his books than with him. Somebody

else says, we didn't write the books and she says no, but he chose them. And then later on she says it's as if he's constantly drowning. And I, both of those things, they really hit home for me because they're, they kind of express something that you think know that I recognize that, absolutely. I just thought that he didn't write no, but he chose them and they were a portrait of him. And then the camera then looks at the bookshelves and the bookshelves are ordered in a certain way. And it's that portrait of somebody through the things that they bought and owned and chose is very tangible. There was another line later where Laisedou's character says, I don't know what to hold on to.

Anyway. Yeah, no. One fine morning is out next week, as you say don't know what to hold on to you. Anyway. Yeah, no. One fine morning is out next week, as you say, and it will be reviewed on the programme. Not by Mark, but it will be discussed because it is, it's well worth your attention. It really is. And I think we should say, it's not a depressing film.

It's a film that deals with... Where it's tough, I think. It's tough, but there is light and shade in there. There is, it has vivacity. That's tough I think it's tough but there is light and shade in there and there is it has Vivacity that's why I mentioned the her mother Who is like you know out she votes for Macron then she takes his picture down from the wall Yes, and he's demonstrated with extinction rebellion and so on anyway, so that will be discussed and whether She says one with a John the Great they said they are they asked me are you with the demonstration?

Anyway, once you see it let let us know what you think. Correspondents at Kermit and Mayor.com. What else is out? Air, last week in Tetris, we had the story of a man fighting to license the rights to a video game. Now we have the story of a shoe company fighting to license a basketball playing shoes. Exciting. What's happening?

Matt Damon is Sonny Bacarrow, who is working at Nike, which is an underdog company to giants like Adidas. Is it Adidas or Adidas? Adidas? Adidas, I think. Yeah, I think. Who have got all this kind of hip hop following people and making pop records about them

and everyone's wearing their shoes? So it's Adidas-la. So it's named after Adidas-la. So Adidas is good. Hannah just said it in my ear in a way that they didn't help at all. Hannah, I'm sorry, they just added exactly like, anyway, whatever.

Them. Yes. So, Sonny, he heads up the basketball division of Nike and they haven't really got anything going for them. He spends his time scouting, rising talents at colleges. His boss, who is played by Ben Affleck, who also directs the film, isn't very impressed by what's happening.

And then he decides that Michael Jordan is the man, but they have to get Michael Jordan. Michael Jordan is allied to Adedadadas. And they don't have the money to get him, but he goes to his boss and says, look, I want to take the whole budget that we've got, we need to get him. And the boss says, you're mad,

you can't do that, we've got to spread it around, we've got to sort of play the safe game. He says, you never used to play the safe game. Oh, now we've got to play the safe game. So what he does is he goes to the agent. I think my Christmas scene in the agent says, no, he's going to be out of there. So he goes, he bypasses the agent

and goes straight to the powerhouse. Michael Jordan's mom Dolores, played by Violet Davis. Apparently, the casting of Davis was suggested by Jordan. Although Jordan's actual involvement in the film is an interesting thing. Here is a little flavor of air. 1984 has been a tough year. Sales are down, our growth is down. I brush you in here to grow the basketball business.

People don't know what the hell in Maggie is. What's a converse? NBA All-Star Shoot. There's nothing cool about making. You would have to have a pretty compelling pitch. I can tell him the one thing the other companies can't compete with. Our basketball division is terrible. I do not love it. This is where you come up with a brilliant idea that no one else can see.

Let's hear it. It's about shoes. Yeah. So you heard that music is like, for some incredible terrorist led, that's real. Well, as with Tetris, as I said, that brilliant thing that Terran Edgerton said was it wasn't a car, a car chase in real life.

So you heard Jason Bateman in those, it's very good cast. Apparently, the casting of Viola Davis was suggested by Michael Jordan, who also requested Howard White, vice president of the Jordan brand and his friend, being included in the film, Chris Tucker, you heard in the trailer there. However, Jordan did meet with that, but he's not involved in the film. Indeed, with the exception of a closing montage in which it's actually him. He is as notably absent as the image of Jesus used to be in old biblical movies. You know, this is with him, but you know, remember that

thing in Hale Caesar, divine presence to be inserted later. There are scenes in this in which there'll be the mother, the father, and him walk into the room and the camera will go mother father. Oh back shoulder And I was watching going yeah like you never surprised never says it never says anything So I thought this is weird. Is it legal or something? Is there a legal thing about? So anyway, what Ben Affleck said is it was an artistic decision He said Jordan is too big He exists above and around the story, but if you ever concretise him, if you ever say, yes, that's Michael Jordan, we know it's not really, it's fake. I thought if the audience brought everything they thought and remembered about him

and what he meant to them to the movie and projected it onto the movie, it worked better. So it is apparently a completely artistic decision. I have to say it's weird and I have to say that all the scenes in which he's in a room with people, but the camera isn't looking at him, it just creates something really strange. Sorry, what exactly is going on here? Affleck, of course, come back King,

Argo Oscars, he knows how to make a drama. And Alex Convery's script makes a big play of calling the deal that ends, I mean, we're not spoiling it. I mean, everybody knows what happens with the, you know, Edmund. It was a blow for athletes, a blow for equality, because it was them taking, you know, a cut of their own name, getting some ownership over their own name. But, well, But is it?

I mean, Chris Tucker's character tells a story which involves the Martin Luther King speech, the famous, you know, I have a dream speech, but the rest of it is numbers and market share. I mean, I enjoyed it. I thought it was kind of fun because I liked the characters. It's, you know, Matthew Mary is good as the shoe designer, Peter Moore and Jason Bateman is nicely slubby

as the guy who's got nothing in his life you know but he's job but in the end and I'm sorry it is a film about licensing the rights to somebody's image to sell a shoe and I'm just I'm not sure that that is enough. Maybe I'm missing something and so is it. It's a bit so what? It's a bit, I mean, I said, whilst I was watching it, I laughed many times. I enjoy the character of the company of the characters. There is something really so weird about

how they're working around the absence of Michael Jordan in the film. Violet Davis is fantastic because honestly, Violet Davis could come on and read the phone book to me and I would go, that's it, you know, give her an award. But is it a bit like, and then they made the shoe and it was called, eh, Jordan. It's the ad's in a minute Mark.

It's very, very exciting. First, it's time to step into our laughter lift. Oh dear. It's not coming. It's not coming, the surprise. Everybody. Hey, Mark. Super Mario Brothers review on the way. Coming up.

Have you heard the rumours about the sequel? No. Mario's brother passes away and Mario can only contact him via a Luigi board. Okay, all right, well that's actually not terrible. Not sure if you've heard, but the good lady ceramic's toh and dohs and I've been going to marriage counseling. I didn't know that, though. As a non-particularly well, I have to say, we sat down in the consulting room and the therapist said, so what brings the two of you here today?

It's impossible to live with him. He's too literal, Sushi. The Northern line said I. But um. Shh. Now you're going to bring up my obsession with predicting the future, aren't you, I said. Yes, says the good lady, Sir Amrissis, Terry and Doors. I knew it.

I can't bear it anymore with your literalism, your obsession with predicting the future, and let's not mention your South American animal puns. You have to go Okay, I said I'll pack up my bags Session ended rather abruptly. I thought it was still to come. It's gonna just say you've never yet done a joke as good as My wife said to me you ever listened to a word. I've said I said that's a funny way to start a conversation Which is still the highlight of the laughter lift. Coming up a review of Lola and then take to a whole bunch more reviews.

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American Express, don't do business without it. Terms and conditions apply as at mx.ca slash business platinum. There is just another thing on one fine morning, the mere Hanson Louver. What I didn't have time to ask her is what she's working on next. Oh, right. And if you see the film, it's very clever, because she kind of tells you what she's working on next, because she is fascinated with a woman called Anne Marie Schwarzenbach, who is a Swiss writer and photographer, and she finds this person endlessly fascinating.

And Sandra, played by Les Hedoux in this movie, is work is translating the works of Amary Schrotzenbach, which is exactly what she is worth. Right, okay, very good. Again, another very good. Very, very good, as you correctly announced her genius. Very good. This is from... Now, I hope I've got the pronunciation right.

This is from Laura Raymackers, but it's Laura Spell L-A-U-R-E. So Laura's bell L-A-L-R? Well, I did look it up, and it said Laura Lara. Anyway, so apologies. Also, I know someone who has a name, which is spelled like that, and it's just Laura. So anyway, Laura or Laura Lara Raymackers, dear Belgian and waffle. Estelle, have felt the need to write in a few times to agree or sometimes disagree with Marx reviews, but nothing is maybe right in as quickly.

As when Simon mentioned that Belgians are the worst drivers. No. As a Belgian, now living in the UK, I don't know if I agree, or though upon reflection, I can think of some anecdotes which maybe does confirm this. Okay. A few years ago, my dad and I were watching Titanic on the television.

It's on a Friday night. I think I was playing a hit. And we thought it would be a fun evening film. I mean, as much as math, mass death, that's from me, 2,000 people drowning. The boat sank. The ship had just begun sinking when allowed noise made the house shake quite literally.

Upon opening the window, the living room, being on the first floor of the house, we noticed that a car had driven into our front door. Now, we lived on a straight, one-way street, and how this driver had managed to serve so badly that he drove into our front door is absolutely beyond us. My dad, understandably angry, walked to the front door, and a young man and his mother got out.

The mother yelling at her that her son had only just got his driver's license and it wasn't his fault. Found out a few months later that she was trying to sue my dad for being rude to her son who were just driven into his house. Anyway, this is not enough of an anecdote. I can also share the time that I was trying to pass my driver's license and forgot to break when entering around about so resulted in driving carelessly. I guess it's in my Belgian jeans to be a bad driver, you'll be happy to know I failed my driving test and to this day, 10 years later, I still don't have a driver's license. Well, okay. Maybe Simon was right. Anyway, this was actually a suggestion from the hitchhiker's guide to Europe back in the day, which was suggesting that Belgian drivers

with the worst. So much may well have changed. And I've heard bad things about South African driving, but as far as Europe is concerned, is there anyone else who has experience of Belgian driving, or indeed a Belgian listener, like Laura Laura, Ms. Ray Maccus. Ray Maccus is a great name. Thank you very much, because it obviously is not fair to sort of cast aspersions on an entire nation just on the... Although that's really never stopped us before in the past, has it? I mean, you know, we have gone in for rash generalisation. I mean, one of the best things about rash generalisations is that

they are both rash and generalisations of things that could be true. You know, have an essence of truth in them. Absolutely. Okay, correspondence at caminamay.com. Let's do a new movie. Lola, which is a low budget, thoughtful science fiction film from Irish director Andrew Legg,

who I had the privilege of interviewing on stage at the BFI Southbank recently. This is expanded from a short film he made a few years ago called The Chronoscope. It takes the form of an old-fashioned found footage movie, Kens of film that have been recovered from decades ago. And the film itself is shot on film on Bollocks cameras. He has a bit of a kind of Mark Jenkins fascination

with that sort of thing. 1941, two sisters, Thomas Cena and Martha, Stephanie Martini and Emma Appleton are experimenting with the device that can receive TV and radio broadcasts from the future. So they realize, because the war is on, that they can actually predict German attacks and therefore, maybe able to save lives. And initially, they start putting this information out to the public anonymously, because German attacks and therefore we may be able to save lives and initially they start putting this information out to the public anonymously because they don't want anyone to know what they've got but saying you know this area is

about to be attacked this area is about to be attacked and they become known as angels. They also stumble on a series of broadcasts of pop music whilst you know you were talking about your conversations before we did this for interview we did about you, you watching top of the pop. So they start tuning in to pop broadcasts. They see the kinks performing, you really got me, which of course in the 1940s isn't around yet.

And in fact, at one point, they start singing a version of that song from the 1940s and it becomes a slogan. We really got Hitler, you know, you really got, we've become the kind of thing that enters the popular consciousness. Also, Bob Dylan, you really got, we've become the kind of thing that enters the popular consciousness. Also, Bob Dylan, and most importantly David Bowie, who one of our heroines falls in love with, then the army rumbled them, they find them, but they agreed to work with them. But the problem is that exactly what they're doing with the machine is not entirely controllable.

Here's a clip. Not a word to Tom, promise? what they're doing with the machine is not entirely controllable. Here's a clip. What? Not a word to Tom, promise. Promise. Right. Go over there to that panel, back there, over there, to the left. See the switches in the middle row. Yeah. Third one in, flick it. Yes! Now over to the other side.

At the side, quickly, and the three silver ones, flick them up. Do the... Err... We're going to need a power surge when we're going. Oh, there's that quickly, and the three silver ones, they come up. Do you see this? I'm going to need a power surge when we're going. Let's bar out. Bar out of where? Now, tune it to 130 feet kilohertz. 903 PM. 8th of March.

And what she thinks she's going to show him is David Bowie. However, what he actually finds is Reginald Watson, somebody else who's become a superstar who sings songs about meeting him at the gallows and marching in line. And she realizes that due to the butterfly effect, the stuff that they've been doing to change the course of, you know, to save lives in the war, has had unpredictable consequences, one of which is that they have accidentally erased David Bowie from history.

Okay, that's a mistake. And then worse things start to happen. So here are the things. Firstly, I like the idea because I'm always kind of fascinated by that, you know, by the time travel butterfly. I did just something that works for me. The songs, the music, the film, but the songs of Reginald Watson, are written by Neil Hanon, he of the Divine Comedy.

And when you said Hitchhike's guide earlier on, I thought you were going to say to the galaxy, because of course, Neil Hanon did so long, and thanks for all the fish in the adaptation of my Garth Jennings. This is a classic kind of low-budget what-if movie. And, you know, a good my Garth Jennings. This is a classic kind of low budget, what if movie? And you know, a good idea, inventively played out with limited resources shot

on the very kind of constricted circumstances, but let's see how far we can make it go. And actually, the answer is much further than you'd expect. And in a weird way, it's a bit like Darren Aronowski's pie meets yesterday, you know, in which the Beatles disappear, but only one person can remember them. And a little bit of the sort of dystopian touch of Peter Watkins. I mean, it's rough around the edges, and not all of it works, but it's got an idea in its head that is an interesting idea. And it

pursues it in a way that's got enough sort of vigor and zest and kind of creative energy to make you go, okay, I don't mind about the things that don't work. I think it's a really interesting film. I think he's a talented filmmaker and I think we're going to hear much more from the future as I had it called Andrew Legerts, L-E-G-G-E. And this, there are certain things in it that the film gets just right. That's a lovely idea and you've realized that really beautifully. So incidentally, they have licensed Bowie songs, which means that the Bowie estate must have sign off on the licensing, which is always a kind of a sort of mark of quality, because as you know, the Bowie estate are very, very particular about anything, which, the way they use.

I'm a big Neil Hannan fan. I think it's great that very particular about anything, which, the way they use. I'm a big Neil Han and fan. I think it's great that he's got on board and done the music for it. And it's a really interesting, very low budget, very independent, very independently spirited film that I think deserves to find an audience called Lola. When you were talking about Godland, wretched land, you were talking about the way what the image was like on the screen and you said it had rounded it. Yes.

So did that. Yeah, yeah, yeah. So to make it look like an old photograph, but it's interesting that we got, I don't remember rounded edges in clips that we've been, you know, I mean, it's over now and so in one show. I mean, strictly Academy ratio didn't, you know, but it is, it's a kind of device which is now used as a sort of, yeah, it's making something look artificially make it look. I always want to say arcane,

but arcane doesn't mean what I think it means, right? What does arcane mean? I interpret it to mean it sort of well certainly old, but arcane and also kind of now wrong or mysterious or like I'm just looking up. I mean, if it's something, okay, if something is arcane, it's certainly archaic, but it's also kind of out of touch and wrong. I have got this weird thing that I have yeah here we go. Arcane actually means understood by few mysterious or secret. It's one of those words that doesn't mean what I think it means. The meaning of Arcane is known or knowable only to a few people's secret, broadly mysterious obscure. I like the fact that you kind of thought, as I did,

that it archaic is in there, it isn't. So what's the derivation of arcane? Ah. Okay, it came, it came, it's shit. I'm thrilled that you're actually excited to know this because usually you just tell me to stop looking things up on the internet. I'm gonna look something up and stuff.

Complicated there for arcane, arcane, da da da da da da da da. From the Latin arcane, a cane, a cane, a cane, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, a, Armenian, Greek origins. Anyway, lowless in Saint-Emoz and it's worth seeing. Is it Arcane? Well, actually, because it's about time, the time machine, I suppose, then yes, it is. I'm not talking about Harry Kane, but not Arcane. What's on now? Arcane.

This is where you email us a voice note about a festival or a special screening or whatever it is you want to tell us about from wherever you are in the world. Correspondence at www.cormadamade.com this week it goes like this. Hi Mark and Simon, my name is Sarah and I'm Deputy Director of Rocks International Film Festival. Our next decision, Hastings Rocks, will take place on the 14th, 15th and 16th of April. Our esauce is to celebrate free spirits, and we show films by fertile minds that take on ideas outside of the mainstream.

Take its available on film freeway. Hi Simon and Mark, this is Steve from the Japanese Film Festival Island. We're returning to screens across the country through the April with screens in Dublin, Cork, Galway, Limwick, Waterford, Waxford, Dundalk and Sligo. We're showing over 20 films this year from the award-winning drama Plan 75 to the blockbuster Shinnol Troman. More information and full listings are available at jff.ie. Thanks.

So it was Sarah, letting us know about Rox International Film Festival, which I think she said was in Hastings. Fantastic. And Stephen from the Japanese Film Festival island both taking place this month. Do you think they'll have Japanese whiskey there? Or do you think they'll be sticking with the Irish whiskey? That's quite interesting. I suppose they would offer both.

You can have a whiskey off, couldn't you? You can have a sort of, who would win as far as you're concerned? Well, actually I suspect Japanese whiskey is more expensive than Irish whiskey. Yeah, it's your favorite. More with it being brought over. But yeah.

And everything. Send your 22nd audio trailer for next week's program, wherever you are in the world, correspondents. at curbinomeo.com. And that's the end of take one production management in general all round stuff was Charlie Moore. Thanks, Charlie. He also did cameras. Videos by Ryan O'Meara and Sancioanzer. Studio Engineer was gully to kill. Guest research was Sophie

Yvonne. Flynn Rodham was assistant producer, guest booker, and on the socials. Thank you Flynn. Hannah Toolbot was the producer and the red actor has swand off to Japan. And remarkably, we didn't notice. We didn't need him. Mark, what's your film of the week? Godland or Richie Land. Thank you for listening. Our extra takes with a bonus review, a bunch of recommendations and even more exciting stuff about movies and TV is available right now because we've dumped it at the same time. Take three will arrive in your devices inbox next Wednesday. Three will arrive in your devices in box next Wednesday.