This Had Oscar Buzz - 340 – Titane (Festival Fever!)

Episode Date: May 5, 2025

We’re kicking off this year’s May Miniseries this week! Introducing: Festival Fever!! We’re spending all month discussing the ethos around some of the most important film festivals–and if you subscribe to our Patreon, the mini has already begun! After the COVID year shut down the Cannes Film Festival for the first time in decades, 2021 … Continue reading "340 – Titane (Festival Fever!)"

Oh, oh, wrong house. No, the right house. We want to talk to Marilyn Hack, Maryland Hack and French. I'm from Canada water. Dick Poop. Guess what? I got a fever. And the only prescription is... The festival, the festival.

The film festival. Well, no one told me about her the way she lied, but it's too late to say you're sorry, how would I know, why should I care? Please don't bother trying to find her, she's not there. Hello and welcome to the This Had Oscar Buzz podcast, the only podcast that makes you sell your soul to capitalism for the first 99 homes, but the 100th is free. Every week on This Had Oscar Buzz we'll be talking about a different movie that once upon a time had lofty Academy Award aspirations, but for some reason or another, it all went wrong. The Oscar hopes died, and we are here to perform the autopsy. I'm your host, Joe Reed. I'm here as always with my friend who keeps time by singing the Macarena, Chris Vile,

Hello, Chris. Okay, okay, okay, okay, okay, okay. One and a two and a three macarena. Four and a five and a six macarena. The past decade has given us so much macarena on film, and I think we could take even more. This is definitely the best macarena seen in a movie. Yes, 100%.

No question. No question. Also, I think the macarena scene definitely lost people. Like, that's the scene where I think a lot of... That's the scene? I think a lot of stiff upper lip about this movie people see. And that's where they just, like, throw their arms in the air. They're like, all right.

And they leave this movie. The car fucking is fine, but I draw the line at Los Del Rio. I mean, you at least know going into this movie, unless you're the first premiere audience at Kansas. Right. Well, I always think about that. Who were the guinea pigs for this? And what did they think?

I mean, truly one of those, like, first screenings. I would, in, like, history that I would love to be there for. I mean, at least you're sort of prepared for the fact because, like, this is the director of Raw. So, you know, you understand that you are probably in for something that's a little, you can't be entirely shocked by body horror, but I do think. How much of that Palais audience had never even seen Raw? Like, you and I were Raw fans.

We were, we were ready for this movie. But it played, it played Critics Week. You know what I mean? It's not, it's, you know. But that was like, that was a known, like, gross gore cannibalism movie. You know, the Palais, those competition premieres, people are showing up in gowns. No, that's true. You have, like, being dressed up in a gown and watching Titan is a tuck, required, required dress code.

It's great. There's tuxedos and, you. evening attire. It's wonderful. It's wonderful. For our listeners, particularly for our listeners who are not on the Patreon, welcome to the proper flagship kickoff to our May miniseries, our 7th May miniseries, which fucking freaked me out. Like I had to go and count them to make sure. We've been doing this for a while. We have once again, every May we decide we're going to give you a little bit of a theme, a little bit of a stunt, we're going to be stunt queens for a month. And after having previously done a mini-series on the films of 2003, the films of focus features, the films of Naomi Watts, we've themed them around Entertainment Weekly Fall, entertainment weekly fall movie previews, we've done the 1970s, we've done our 100 years, 100 snub series. And this year, as we've probably mentioned, I don't want to linger on this, because

it does make it sound like we're, you know, preparing people to be underwhelmed. And you should be prepared to be very well-ed. But this year... Apologies to Patreon subscribers, because we're going to do the whole spiel explaining this name. We've got to do the whole spiel over again. We have to. Listen, this month, what you pay extra for is to hear the spiel twice. No, this year we had a lot going on in our lives and in our careers and May miniseries rushed up to us quicker than maybe we've been used to getting ready for it. And so we decided to do something that was a little bit lean and mean and we couldn't. The other thing was, and I know that I've expressed this to you before, Chris. I am somebody who gets very nervous at the idea of infinite scalability.

Infinite, like up, up, up, up, up, up, up. Like, this is why capitalism has destroyed this country, this idea of infinite scalability. Everything has to go up into infinity. Everything has to be more and more, more, more. I said at some point we need to sidestap. We need to, you know, make our gate a little, you know, two steps forward and then aside.

And just so we're not constantly driving ourselves crazy, being like bigger, bigger, more, more. And we want to confidently produce episodes that we are proud of and happy with. Indeed, that is. Rather than bite off more than we are prepared to chew and then have an underwhelming product. And we bet it around some ideas. And I will say, the thing that makes me the most confident about this year's May miniseries is we did the thing. the thing that we always do, which is, we've got some ideas, we sort of land on something that we're like, that's probably good enough. And then there's that one more idea. And then I think the both of us are like, that's the one. We nailed it. Like, that's the one that I'm excited of. And all of a sudden, it's sort of like, you know, clicks into your head and just like, that's what the miniseries will be. Of course it will. So, yes. We have settled on this had Oscar buzz. Festival fever. Here we are. Happy May.

Alert RFK Jr. We have finally come down with a fever. And the fever is for festivals. We are no longer being vaccinated for festival fever. It can, in fact, prove fatal. Right, right. We weren't drinking raw milk and came down with festival fever. We just gave a shit about movies and get very excited when they arrive to us in a festival format.

Right. So we are combining our efforts here on the flagship and also with the Patreon to do six episodes covering the major film festivals and the films that have won the major prizes at the major film festival. So let me just sort of, I'll plow my way through this and then we'll discuss. So the idea is we're constantly talking about movies that had festival buzz. Either, you know, they're making their big splashy premiere at Cannes, they're at Venice. they're at Toronto, they're winning the Palm Door, they're winning the Golden Lion, they're winning the people's choice at TIF. You've heard us go on and on about what it means to have a big, what it means to have a second

week premiere at TIF versus a first week premiere, or the blinkered perspectives of the swells who attend the Tell Your Ride Film Festival. Evaluating the impact of the major festivals on award season is always as much of an art as it is a science, and there is always the risk of spending too much time talking about the corners of the film industry that aren't available to everyone, but this is where we're coming in here. Over the last 60-ish years, the major festivals have become the cornerstones of the film calendar, and specifically the Oscar calendar. So we figured we would spend this year's mainmitting series digging into what we talk about when we talk about Cannes and Venice and

Telluride and Toronto, the New York Film Festival, and Sundance. Now, if you are a member of our turbulent brilliance Patreon. You know we've already kicked off Festival Fever with our Sundance episode. You've already perhaps already even listened to it. We talked about like I said, Sundance,

one-time Oscar nominee American Splendor from 2003. Good movie. Yes, very good movie. I really loved talking about it. This week, as you noticed when you hit play on your podcast app, we're doing Titan and the Cannes Film Festival's Palm Door Prize. Next week, right?

Exactly. Next week right here, we're going to hop on a gondola. And we're going to talk about Tom Stoppards, Rosencrans and Gildenstern are dead. Get a little Shakespearey with the Venice Golden Lion Award winner from 1990. 80? I think it's either 1989 or 1990. We're just going to go with that. Then we're going to be back for our second Patreon episode of the month,

where Chris and I will really be going for it by putting on our, our own award show for the 2012 Tell Your Ride Film Festival. We go wild on excursion episodes. This one, we are making up a jury for the undjury to Telluride Film Festival. That's right. Then we're hitting the Toronto Film Festival for the 1992 People's Choice Award winner, Bazlerman's Strictly Ballroom. I will say, trying to land on a People's Choice Award winner at TIF that had awards buzz but didn't get any Oscar nominations. was a challenge, but there was Baz, like a shining beacon for us with some Latin ballroom.

So, very happy with that. And then finally, we get to talk about Baz. And you get to talk about Baz. And who doesn't love that? Finally, we're going to be bringing it home right to the New York Film Festival and the 2022 opening night film, which was Noah Bombach's White Noise. New York Film Festival doesn't really have a signature prize. So we decided we would focus on opening night, since that tends to be the sort of

point of prestige for the New York Film Festival, regardless, it's going to be four weeks, five films, six festivals, the seventh annual this had Oscar Buzz May miniseries, Colin at Festival Fever. I am excited. I hope you listeners are excited too. Chris, I know you're excited. I'm excited. We get a range of movies. I think also one thing we're going to be talking about when we talk about these festivals is the evolution of these festivals and the evolution of the role of festivals in awards season so I love that we have not only very very different movies that we're talking about but very very different time frames

throughout so listen we're doing a deep dive into festivals like I said on our first Patreon kickoff episode we tend to throughout time you know we are so lucky to draw in an audience that cares as deeply as we do about these things, but also an audience that may not understand a lot of the ephemera. So this is a chance to really get granular on ephemera

that maybe we take for granted sometimes when we have the conversations we have on this show. And also, from our perspectives, I've only ever attended TIF and New York Film Festival. I've never done Cannes. I've never done Venice. I've never done Tell You Ride. So a lot of these all will be new to me as well, like sort of, you know, digging into, and the history of some of these things. I can't wait to get into the history of the Cannes Film Festival. What a story.

But in general, I think we can say the festival, the festival, the King's Festival. We are covering the festivals. So, Chris, to Tom. The funny thing about this is we already had Teuton on the schedule fairly soon before we started planning the miniseries. And so we were like, well... It's almost as if Julia DiCurnau is back at Cannes, and we said we have to talk about this. That's, okay, what's the title of her movie that she's going to be back at Cannes with? Alpha.

Loves a singular word title. What do we know about Julia Ducernow's Alpha? At this point of recording, we know some details that it may have to do with a bullied child. We know that it is going to be set during the AIDS epidemic. We know that Tahar Rahim lost 50 pounds or nearly 50 pounds for his role in this movie. And beyond that, we don't know much as, you know, knowing as little as possible about a Julie Durr-Colonel movie. We're going to take a second at the, before we finish, towards the end of this.

We're going to go over this year's lineup for Cannes, which is, and I know that I say this as somebody whose perspective for as better as I am getting at knowing global cinema and being, you know, a citizen of, you know, the global cinematic marketplace. I understand that, like, I get more. excited when there are more North American filmmakers in play or filmmakers that like have made a presence

in America. I understand. With that said, this can lineup is fucking rad. Like it's really, really cool. If we haven't already talked about it on the Patreon, we'll have a conversation about this full lineup. What I

think is cool about it is you do have a lot of filmmakers who have been in before, but you only have two palm winners, the Dardens, who are one of the few palm winners who have won multiple times. If they win again this year, they'll be the first filmmakers to ever win three times. Yes. And then the other is Julia DeCurneau.

Yeah. So you have three previous palm winners. Well, I mean... Two Dardins, one DeCirno. Yes. No, I know what you're talking about. Sure. I believe they have one palm...

They both have one palm technically then because they have to share that palm. Three individuals, three palms. One palm for each. I like this. All right. Anyway, I'm being a little shit. So we are going to. Champier refuses to give custody to Luke.

Luke. All right, Chris, why don't we get the turbulent brilliance spiel out of the way early? Because we've got a lot to talk about and I cannot wait to get into it. It's the main miniseries. Turbulent brilliance is absolutely. essential listener. If you haven't joined the Patreon, now is the time to do it. Over at this head Oscar buzz turbulent brilliance, you can sign up for $5 a month and you're going to get two bonus episodes every month. What are those going to be? Well, the first Friday of every month,

we do what we call exceptions. These are movies that fit that this had Oscar buzz rubric of great expectations and disappointing results, but managed to score Oscar nominations or two. This month at the beginning of Festival Fever. I'm just now realizing our Patreon this month is this had Oscar Bose turbulent brilliance festival fever and then whatever movie title we're doing.

We talked about American Splendor, Best Adapted Screenplay nominee, but not for best actor, not for best actress slash supporting actress, not for Best Picture, Sundance, Grand Jury Prize winner American Splendor. What other

movies have we talked about over on the exception episodes. Well, movies like Inside Lewin Davis, Mulholland Drive, Phantom of the Opera with our friend Natalie Walker, we talked about far from heaven, house of Gucci, vanilla sky. These are the type of movies you're going to get with the exceptions. The second episode comes on the third Friday of every month. These are excursion episodes. These are deep dives into Oscar Ephemera. We love to obsess about, but not necessarily about one movie in particular. What do we do on excursions, Joe. Well, we talk about old entertainment weekly fall movie previews. We've

recapped old award shows like the Independent Spirit Awards and the Golden Globes. We've done MTV Movie Awards in the past. Recently, we did the Oscars Greatest Moments, VHS hosted by Carl Malden. Was it ever? It sure was his architectural digest home video where his Oscar just moves itself around his home. So good.

We've also talked about things like Hollywood Reporter roundtables, things like that. And as Joe previously mentioned, this month's excursion, we are going to be the fantasy fake jury to the unjuried Tell Your Ride Film Festival. What year is to be announced? Oh, I think I said it. Oh. I think I spread the beans. I did.

It was in my little spiel. I definitely did. Oh, well, then. If you heard it, good for you. Everybody slamming that rewind. Yeah, slam that rewind button. So go on over to this had Oscar bus turbulent brilliance. Sign up for $5 a month.

It's patreon.com slash this had Oscar buzz. Hell yeah. All right. So we have a little bit of double duty here. We are going to be talking about Julia D'Echnow's titan from 2021. but we are also going to be talking about the Cannes Film Festival in general. So I feel like we should probably start wide and then move in narrow. So what I think is interesting about what I read up on the Cannes Film Festival is

I would have assumed that everything started with Cannes. And that was the granddaddy of the mall, the Wimbledon. No, Dennis is the oldest film festival. world. Venice is the oldest film festival and Cannes was started as a reaction to Venice and specifically a reaction to the Venice film festival under the fascist Mussolini regime during the lead up to World War II. Which at that point Venice was doing things like giving the golden lion to a movie produced by Mussolini's brother. They were. were giving another prestigious prize to a Lenny Riefenstall movie.

And it was generally, all the other European countries were kind of pretty disgusted by this sort of, you know, display of, you know, state-run fascist interference in the arts, right? So the French who would eventually become obviously incredibly precariously situated during World War II decides that they were going to start their own film festival to compete. And when they did that, it becomes this like whole, you know, effort to. to really one-up what's going on in Venice. So they decide to set it at Cannes, not only because of, you know, it's, you know, there's, it's going to help that local economy there, but it's the French Riviera.

We're going to be able to draw people all the more readily to this film festival if we put it in this, like, gorgeous vacation locale on the Mediterranean. So one of the things that I read was the, the sort of influx of Hollywood stars that they brought in at the time, which included Gary Cooper, Carrie Grant, Tyrone Power, Douglas Fairbanks, Marlena Dietrich, May West, Norma Shearer, Paul Muni,

James Cagney, Spencer Tracy, George Raft, all arrived on an ocean liner that MGM charted. So where's that fucking movie now, by the way? The movie that just like the Poseidon adventure, but it's with May West and Gary Cooper and Carrie. Grant and Spencer Tracy and shit. Like, that's what I want to watch. So opening night gala was the Charles Lawton,

Maureen O'Hara hunchback of Notre Dame. And then the next day, the day after the opening night gala, Germany invaded Poland. Like, literally the next day. So they were like, maybe we'll postpone things for a couple of days. And maybe things will be fine.

Spoiler, things were not fine. There was a World War to be fought. And so essentially, they stuck a pin in the idea of a can for the duration of the war. And kind of triumphantly, you know, right, like, you know, they stuck with it. And 1946, September, 1946, the war is over. And immediately they're like, all right, back to this great idea of a Cannes Film Festival. And so the very first proper Cannes Film Festival happened in 1946, the very first palm door. Well, sort of the history of the palm door is, it eventually becomes the palm door.

When we talk about the palm door before that name existed, that they called the Grand Prix. Now we have a Grand Prix, which is considered like second place. But when you're talking about the top prize, you know, for some of these early winners, and also the earliest winners, too, they didn't just give it to one movie. So, like, you really, when we state, you know, movies that have won the Palm Door, we mean movies that have won the top prize at Can. Right. And that when they, the Palm Door, and then they've also done the thing we're like, then they in the instilled the palm door, and that was the top prize for a few years. And then they switched it back to the Grand Prix, and then they switched it back.

And I think it's 1975. They were figuring it out in the 60s. Right. I think I think 1975, they reverted it back to the palm door. And that was, it's been that ever since. But so essentially, when you look at things like Robert Altman won, the pa is a Palm Door winner for MASH, because essentially Robert Elman won the top prize at the Cannes Film Festival, whatever it was that year. But there's just, you know, but anyway, the filmmakers who win the Palm are, you know, the creme de la creme of, I'll say international cinema with the caveat that, of course, the, you know, the scope of what international cinema was back then.

was very, you know, Eurocentric with, you know, Eurocentric in the United States. And that the effort to widen that scope continues to this very day. And there are better years, there are worse years. Exactly. But so if you look at the list of Palm winners, you are looking at some of the great autores of cinema, William Weiler, Frederico Fellini, Jacques de Me, Michelangelo Antonioni, Francis Ford Coppola, Martin Scorsese, a couple of won it twice

Kurosawa Kostagavras, Vim Vendors Steven Soderberg, David Lynch, the Cohen brothers, Jane Campion, Quentin Tarantino Mike Lee, Abbas Karostami, the Dardan brothers, Lars von Trier, Roman Polanski, Gus Van Sant, Ken Loach, how can we forget?

Loach. Loach. Christian Munju, Michael Hanukha, Pichatapang, We're Seth Akul, Terence Malik, Nuri Bilga, Ceylon, Jacques Oediard, Ruben Ustland, Herodzaku, Corieda, Bong Joon Ho, Julia Dukernow, Justin Tray, Sean Baker. That is not even like everybody. That's just sort of like me running down the highlights. And it's a pretty good list.

Everybody who has won multiple palms. This is where I'm going to jump right in and say I watched. Give it your Billy August take. I watched both Billy August Palm winners this week. Those are the best intentions. Those movies are fine. Those movies are fine.

And Pallet the Conqueror, yes? Yes. I, this is where I'm the snob and I'm like, what are you talking about giving these movies palms? Like, those movies are not bad, but they are not palm worthy. So the best intentions wins in 1992, beating out, among other things, basic instinct, Howard's End, the long day closes. He's in possession of Terrence Davies's bomb, period. And then the Pelley the Conqueror one was from 1988, beats out...

It's not the most exciting... It is not the most exciting can if you go through that list. It's not. You'd probably... Paltraders Patty Hurst movies in there, though. Yeah. William Goldman also wrote a book where he... And I read this book.

It's not as interesting as it. sounds if I just give you the highlights, but he wrote a book about his experience being on this jury. In 88? Yes. So you get some, you get stray thoughts on what he thought about a lot of these movies. He doesn't, he makes no mention of at least half of the competition and other stray thoughts about, um, other jurors' impressions of movies.

What's the book called? In case people want to go check it out. Oh, goodness. I forget. It's like half a book. about his experience in can and half about writing something. It's fully

out of print. I bought a deeply used copy. Hold, please. Let me pull up this can. Is this hype and glory? Yes, I believe. Yes. 1990. Hipe and glory.

Hype and glory. He was, if I remember correctly, he is a fan of the Paul Schrader, Patty Earst movie. Details his experiences as a jury member for the main competition section at the 1988 Cannes Film Festival

and Miss America pageant. So I guess in the same year, he was a jury. Oh, it's Miss America. I, the movie nerd, was like, I need to read all of this Cannes gossip. Because Can Gossip can be fun. Like you mentioned, like the legend that surrounds Apocalypse Now was, you know,

it was presented at Cannes in what was ultimately called a work in progress. They, like, are working to fit out the then palais because there's been a new palais since then with various different types of stereo sound equipment. And effectively, the lingering rumor is that the head of Cannes comes to the jury and says, yeah, you have to give this movie the palm. Yeah.

And they weren't going to. so they end up giving a tie to that and the tindrum. Yeah. I know there is no definitive answer to this, but why do you think that, even with Venice being the oldest film festival, why do you think that Can sort of graduated to become the prestige film festival,

at least from the American perspective? I imagine it also is that way in, you know, France, of course, but like, you know, the UK and things like that. Surely the Italians, you know, hold on to their festival. But I feel like my guess is that it is a, it is, has something to do with the fact that, like, they really nailed some of these, you know, films, some of these Palm Door winners over the years. Like, not every single one is this, like, un, they're like indelible classic. but they got a lot of really good ones. There's some sinkers in there for sure. Of course, of course.

And it's always not, there's some that are winners that make kind of sense, or it's like, that's curious. And then when you go and look up the lineups, it's like, her? Why would you give it to Billy August twice over, you know, Kislovsky or? Watch twice. Well, this is what everybody says that, like, Ruben Ustland is sort of destined to be the Billy August of, you know, of our current time.

I mean, both of Uselins, I like Triangle of Science. Triangle of Sadness much more than I like the square. I think Triangle of Sadness is a pretty funny movie. But I think it's also that those were two really, really great lineups and what you see in. the years of the Uselin movies is that, you know, these are all chosen by juries and they're jury president. And those are both movies in a year that's kind of spread out for a lot of different tastes, a lot of different, you know, cinematic experiences you're getting in those lineups. And these are movies that are most likely to get more people on the jury to at least like this movie. Yeah.

And we'll maybe talk a little bit about. that when we talk about how Titan won the bomb. Let me float this theory by you, though. And this is, again, as are so often, my theory, is something that I literally just thought of. Much of what the current sort of, you know, cinematic, you know, cultural sort of hegemony in the United States is birthed from the 1970s, this idea that the sort of new Hollywood. wood autours of the 1970s um, birthed essentially what we love about filmmaking even on through till today.

And those filmmakers were, you know, self-described, obsessed with the films of the French New Wave and what was going on France at the time. Like other countries in, in, especially in Europe as well, but specifically the French New Wave. And then you look at what American films won the palm in the 70s. You're looking at Altman wins for MASH. Coppola wins for both the conversation and apocalypse now. Scorsese wins for taxi driver. And those are your pillars, right?

You've got Scorsese, you've got Coppola, you've got Altman. and I just imagine that that contributes to this idea from an American sort of cinefile perspective that, like, can gets it, they understand what's great about New Hollywood, and New Hollywood has gotten the approval of, to some degree, this French cinematic imagination that they have, you know, for so long sought. Well, I mean, the French New Wave has such a huge place in, you know,

in terms of the history of cinema itself, not, I don't want to just say global cinema, but like big picture cinema. It's, you know, inspired generations of filmmakers. And, like, in some way it kind of helps us put, you know, French cinema on a certain pedestal that perhaps something like Tatan and the work of Julia DiCurno really kind of upends

in I think a really fun way that you know that probably helps make cans the big the biggest festival in a lot of people's eyes I think Venice if you know Venice is the comparison Venice has had different eras

Venice has probably put movies in their main competition that the Cannes line up never would because, you know, Cannes as its stature has grown, you know, when it's a less known filmmaker that they're putting in main competition, that's Can, you know, kind of sticking its neck out for that filmmaker. But even so, I think especially in recent years, you see Cannes, favoring Western tastes in what it is selecting. Whereas, like, Lav Diaz gets into Venice competition but doesn't ever get into Cannes competition. You know, these very esoteric, some might say, difficult, unwieldy movies or movies that have, you know, creative ambition that cannot even be misconstrued as mainstream, you know? Right. Right. But, like, French cinema does have that position, at least in our perception. Yeah.

In the movie, in the cinema. And it's not just the French New Wave. I think the advent of the Cage Cinema, which gets tangled up in the French New Wave, also just in how we interpret movies, has such a position and influence over, you know, several decades since the 60s and such. I also think as you've moved into more modern years when we sort of have. have a film calendar that we follow. I think you go back, it's starting in the 1950s, Kian moves the festival to May,

April, May, ish, but usually May. And even so, like, the, what gets selected in a lineup has evolved as well, whereas, like, you have, in 1979, Apocalypse Now, palms, or ties for the palm, and then the next year, all that jazz ties for the palm. Right, having already... They were released in the same U.S. film year.

Right. So what is getting into competition has changed, whereas now the only thing showing up in competition are movies that are world premiering. But on an even just more basic level, Can moving to a spot that is, you know, months ahead of when Venice goes, just sort of puts Cannes at, you know, a little bit more of a place of prime. And listen, everything's a competition, sure, but not everything's a competition. We can have Ken and Venice and all of us as well. And if nothing else, this miniseries is a celebration of all festivals. But I'm always, I've always been curious that, like, even among, you know,

an American populace that couldn't be more anti-snob, anti-elite, you know, we hate our ivory towers, and whatnot. We do sort of reflexively genuflect at the altar of the Cannes Film Festival still. And the idea of French cinema as fancy and smart. Right, right. And that's always, maybe always going to be the case. And that's always all dogs are boys, all cats are girls, all French movies are fancy and smart. And like, I could give you like five French movies as an example right now that we're, in can competition that were neither fancy nor smart. Of course.

Listeners who don't like Tatan are probably saying to themselves, like Tatan, I'm going to warn you, Joe and I both really like Tatan. And I'll sort of get into it because I went in this second viewing being like, I wonder if I'll like it less after the intervening, you know, four years. because I know that a lot of people were sort of less bullish on it. But we'll get into Tatan soon enough. The other thing I wanted to talk about, though, about Cannes was that for so long, it was this artistic sort of holdout from, and this is not a thing I actually believe, but I'm just going to use other people's probably words, the pandering of the Academy Awards, right?

If you didn't win the Oscar, you could say, you know, a handful of these movies could at least say, well, I won the Palm. Apocalypse Now, all that jazz, taxi driver, whatever. They didn't win the Academy Award, but you know what, you know, we won the Palm. They don't nominate Paris, Texas, but at least it won the Palm.

They don't nominate sex lives and videotape. At least it won the Palm. And so, um, I think one of the, one of the interesting pieces of trivia that had existed forever up until 2019 was that the only American movie, that the only movie to win the Palm Door and win Best Picture at the Oscars was Marty, was 1955's Marty starring Ernest Borg9. I believe Marty also had the record for a while of being like the shortest best picture winner or one of the short. Marty has so many weird little cultural niches. Marty's one of the first independent productions to win best picture. Marty's an outlier. And if you've ever seen quiz show, like that's how I first sort of heard about Marty was the whole thing in quiz show that set what's his name, Herb Stemple off, was he was asked to take a dive on a question about Marty, which was his favorite movie.

You also had the Lost Weekend, which I think was one of those years that they awarded a bunch of movies. Right. Yes. Yeah, you look at the very, very early years of the Cannes Film Festival, and there were years where they were honoring like 10 movies, brief encounter, the last weekend, you know, all the turning, well, the Chinese, the turning point. Sorry, the Soviet, the turning point, not Chinese. I'm looking at the flags here. Anyway, so I came up.

We've come to the point where I have a quiz for Chinese. about the world's flags. Oh, my God, if only, I would fucking... No, but we have come to the point where I have a quiz for Chris about Oscar nominees and Oscar winners that have won the Palm Door. Or I should say, Palm Door winners that have gotten Oscar nominations. So, Chris, I am going to share with you a link to a spreadsheet that I made. Okay.

I'm just going to put it in the chat. This is giving trivia. night tease. Yes, it is kind of. Okay. So, all right. So on this little spreadsheet, uh, for the listeners who cannot see it, I have listed all of the Palm Door winners of note. And, uh, on this spreadsheet, I have listed the ones that got any kind of Oscar nominations at all. Um, I've, uh, checked off the ones that got best director nominations. Um, the dark, Chris, there's a little, uh, legend for you at the bottom to get the color coding, but essentially, I think I figured it out. The dark gold ones are Oscar best picture winners. The light gold ones are best picture nominees. The dark green ones are foreign language film winners. The light green ones are foreign language film nominees. Anyway, so on this list is, uh, are the names of 25 actors and actresses who have been in Palm Door winners and have, also been nominated for the Academy Award. So this will be your answer bank as I will give you

25 questions about these people. This is sort of general trivia about these folks. And I'm going to say that you will get one answer. So consider it before you give your answer. And I meaning I will not repeat the answer for another question. Well, no, but what I'm saying is if you guess, if you guess wrong, I'm not going to let you go through like five or six more answers. Like, if you guess wrong, I'll give you the right answer. I'm going to keep score. And if you get, if you can get 20 out of 25, I will get you a criteria in this. Okay. I love a, I love a healthy quiz. I love a pop quiz hot shot. Let's go. Can you, some of these ones are a little bit more layups than others. I believe that you can do this. All right.

Is one of the questions who has appeared in the most Cann Competition films in all of Cannes history? No, nothing quite so hard. Do you know who that is? No. It's Isabella Pear. Of course it is. This is me saying to listeners one and all, my fave is better than your fave.

So as we go through this quiz, though, listeners, you will sort of, we'll discuss a little bit who these actors and actresses are who were in Paul winners who were then nominated for Oscars. All right. So, all right, Chris, question number one. And again,

use the spreadsheet for your possible answer bank. All right. This person guest starred on an episode of Magnum P.I. As a former professional wrestler called Mr. White Death. Oh, God. Um, okay.

And this person has been in a Palm winner. Has been Oscar nominated. for a palm winner. And this is the... So you see that column that I have that says acting nominee? Those are your possible answer. This is for Magnum P.I.

I'm guessing you are not being cruel and you do mean the Tom Selleck Magnum P.I. Not any reboots. I do. Someone who would conceivably be both on Magnum P.I. And be a wrestler on Magnum P.I. I'm going to have to say Ernest Borgnine.

You are. correct. One correct answer. Ernest Borgine played Mr. White Death on an episode of Magnum P.I. All right. Question number two. This person played the love interest to Rodney Dangerfield and back to school. Oh, okay. So, been a minute since I've seen that on Comedy Central as a child. It does feel... I mean, we have Sally Kellerman here. That feels appropriate.

wouldn't be surprised if it was Diane Ladd, but I'm going to say Sally Kellerman. Sally Kellerman is correct. Star of Mashed. Star of MASH. MASH was, of course, the 1970 Palm Door winner, was a Best Picture nominee. All right.

Third question, this person was married to Janush Kaminsky from 1995 until 2001. Oh, this is... It's Holly Hunter, right? It's Holly Hunter. That's your answer. Yes. All right.

Yes, Holly Hunter. Three for three. On a roll. Headed towards 20. All right. This person was married to Albert Finney from 1970 to 1978. Um, oh, this, um, I do think I know this. Yes, I am using...

the spreadsheet, but it is, um, uh, where did it go? Uh, it's the, it's Margaret Layton. It is not Margaret Layton. Not Margaret Layton. That's your first wrong answer. The answer is Anuk Ami, who starred in Claude Lelush's A Man and a Woman, which was the 1966 Palm Door winner, which won the best foreign language film and original screenplay Oscars that year, and was, nominated, Anukamee was nominated for Best Actress. And it is the poster for this year's Cannes Film Festival. Oh, no kidding. Yes.

Oh, that's really interesting. I did not know that. Cool. All right. One wrong answer. That's fine. You can get up to five wrong answers. As soon as I said Margaret Layton, I was like, it's a new gamey.

All right. This person came out as bisexual in 2010. So 2010... that's, that's, um, true blood time. That's Anna Paquin. It is Anna Pacquine. Four correct. All right. From the piano, the piano, Jane Campion's palm door for the piano, 1993. All right. This person has played the real life roles of Grace Kelly's mother Margaret, Rock Hudson's mother Kay, Jim Jones's mother Lynette, as well as fictional mothers two characters played by her real-life daughter in two movies and one TV show.

This is Diane Ladd. This is Diane Ladd. Yes. David Lynch's wild at heart won the Palm Door in 1990. Diane Ladd was nominated for drawing her face red with lipstick. One of the great, great, greatest supporting actress nominations ever. All right, that's five correct. You are a quarter of the way to a criterion. All right. This person has played played a Catholic priest, Pope Clement the 7th, Jesus Christ, and Blofeld in exactly one James Bond movie. Oh, okay. Who's played Jesus? And Blofeld, that's fun.

I hope the Jesus is not something wild, but isn't it Max von Cito? It is Max von Cito. Yeah. Who had a best actor nomination for Pele of the Conqueror in 1988, the previously mentioned Billy August palm door winner. Good performance, good acting nomination. That movie does not need a palm. This person played Joseph Stalin in an HBO TV movie and Adolf Eichmann in a TNT TV movie.

Didn't we just recently talk about someone playing Stalin? Maybe. In a TV movie. Maybe. Maybe. Can I get the question again? Yes, this person played Joseph Stalin in an HBO TV movie and Adolf Eichmann in a TNT TV movie.

Okay. I'm afraid of getting this wrong. I don't think it's Jack Lemon. I do think it could be Robert Duvall. I think it's Robert Duvall. It is Robert Duvall. Yeah. Seven correct.

Very good. Good, yes, starred in the HBO movie Stalin and the TNT movie, The Man Who Captured Ikeman. Robert Duval nominated for Palm Door winner Apocalypse Now. Apocalypse Now, 1979, yes. All right, this person played one of the doctors who works with Jennifer Lopez in the cell. This is the great Marianne John Baptiste in Palm Winner Secrets and Lies. Very good, supporting actress nominee for Secrets and Lies. recently re-watched the cell.

I was like, that's got to be like... Was it you or our friend Jesse who sent me the screen cap of her screen credit in that movie? And I was like, hell yeah.

It must have been Jesse because I would not have had the guts to take a screen cap of an Alamo draft house movie screen. No, it was watching in the home. Oh, no, but I recently watched it at Alamo when they did the screening of it.

This person voiced the role of a giant black cat named a behemoth who belonged. to the devil in a recent film. This is a tough one. It was really hard to come up with a good question for this person, I will say. A cat named Bohemoth who's owned by the devil in a recent film. In a recent film.

What is a recent movie with the devil having a cat? I'm going to give you a hint and say, don't worry about it because you've definitely not seen it. Because it's not American. You're not willing to answer that. I'm not going to give you any more hints. I've already given you one hint. I'm going to say it's Yeroborosov. It is Yeraborov.

Oh, my God. Well guessed. Well guessed. Well guessed. You're a Borisov. Supporting actor and I'm a for Nora. Yeah. Well done.

All right. This person played Cher Horowitz's father in the TV series adaptation of Clueless. Whoa. Okay. That's, I should know something like this, because... Did you watch the TV series adaptation of Clueless? No, of course not. So it would be a real Dan Hadea type.

Mm-hmm. Because Dan Hadea is in the film. Dan Hadea is the role in the film. One would assume that they would have cast a Dan Hadea type. But with the people that I have left, it has to be Michael Lerner. It is Michael Lerner. That's a little wild.

Michael Lerner's supporting actor nomination for Palm Door winner Barton Fink. Exactly. Exactly. The Coen Brothers Palm Dore is for Barton Fink, 1991. Ten, correct answers. You are halfway there, my friend. This person has been set on fire in two of the three major movies she's appeared in. It's Mikey Madison.

This is Mikey Madison. That's a bit of a gimmy, isn't it? All right. I'm willing to bed Holly Hunter has been said on fire multiple times. Never, never forget that. I don't think that's what Miss Firecracker is about, but I've never seen that movie, so I can't be positive. In Batman v. Superman, she reads a jar of piss, and then it explodes.

And then gets blown up. Yes. All right. Not a joke, listener, if you haven't seen Batman versus Superman. This person received the Kennedy Center honor in 1996, where he was honored by Kenneth Brana, Walter Cronkite, Harvard's Hastie Pudding Social Club, as well as the Harvard Glee Club. Interesting.

What are those names again? Kenneth Brana, Walter Cronkite, Harvard's Hasty Pudding Social Club, and the Harvard Glee Club. It has to be Jack Lemon. It is Jack Lemon, in fact. All right. Jack Lemon, Best Actor nominee for Palm Door Winner Missing, Costa Gavris is missing. Costa Gavris is missing.

A good movie. Have you ever seen missing? He's great in it. Yeah. This person won two Tony Awards as best actress in a play, one for Terrence Radigan's separate tables, and one for Tennessee Williams, the Knight of the Aguana. Interesting.

Hmm. Is it someone that we might have already done? In Buffalo? No, there are no duplicates. So this is Margaret Layton. This is Margaret Layton. 13 questions, correct. Supporting actress nominee for The Go Between, which was the Palm Door winner in 1971.

For Joseph Losey's The Go Between. Yes. Fans of May December may recognize the score for that film from The Go Between. I feel like every time we talk about that movie, I've forgotten that that's the movie that has the music from May December. Yes. All right. This person owned a townhouse in New York City's Greenwich Village,

two blocks north of Film Forum, from 1975 until 2012. Sure. Jealous because I would be a film forum all the time. Uh-huh. Uh-huh. Uh, would this be a film forum? You definitely pulled this from some type of interview, and I don't think you would pull that from, well, if there's no repeats, then, is it Uma Thurman? It is not Uma Thurman, your second wrong answer.

It is Robert De Niro, of course, famous New Yorker. Imagine going to film forum to see something, and Robert De Niro. Two blocks north of film forum, like five or six blocks south of Marie's Crisis. Just perfectly located, Robert Tenero. That's the one I want to do is I want to walk into Marie's Crisis and see Robert Teniro. Just sitting there at the table there. Yeah, sitting there with a tequila soda. This person owned a fourth floor walk up in Paris for 25 years, despite ostensibly having the means to find another place and the knowledge that she didn't have to live like that.

What? Owned a four walk-up in Paris for 25 years. Emmanuel Riva? Emmanuel Riva, correct. 14 correct answers. Best actress nominee for Pomtor winner, Amour. You only need to get six more correct answers. I believe you can do this.

All right. This person was born in the seaside town, the seaside town of Ramsgate in the south of England. Ramsgate. Ramsgate. What a cool name for a town. Has to be Brenda Blethen. It is, sweetie. It is Brenda Bledhen. You know. Ramsgate, darling.

All right. Five more correct, and you get the criterion. This person co-starred in the music video that Ryan Johnson directed for LCD sound systems, Oh Baby, where she and Dravid Stratharne played a pair of married scientists who invent a teleportation machine. What? I watched this music video today. I had no idea it existed, and it is quite poignant. Who is her co-star in the music video? David Stratherne.

Is this Holly Hunter? This is not Holly Hunter. Three, incorrect. All right. Who is it, though? Oh, sorry, Sissy Spac. Oh, interesting. Sissy Spac, Best Actress Nominy for Missing, 1982.

Sissy Spac in an 8,000. LCD sound system music video. I'm saying. I'm saying. Oh, right. This person starred in the music video for Tori Amos's A Sort of Fairy Tale, where Tori's head was atop a leg, and this person's head was atop an arm. I mean...

And you said actress, right? No. I said this person. Oh. Who is left? See, I might have guessed this. I've seen this music video is the thing. Probably.

Is it Adrian Brody? It is Adrian Brody. Yeah. I can't believe I never mentioned that throughout his entire Oscar campaign this past year, that he was in the sort of fairy tale video. Best actor winner for Palm Door winner,

the pianist. The pianist. Roman Polanski is the pianist. All right. This person saying a duet with Miley Cyrus that was nominated for a Golden Globe for Best Original Song in 2008. Is this not John Travolta? It is John Travolta.

There you go. There are no bonus points, but I would like to know if you remember what movie this is from. Nominated for Golden Globe, is this, in 2008, is this, I don't know what this is this is. Bolt. Not bolt. You remember bolts. Sure don't. That someone will bolt.

All right. This person posted 11 victories to one defeat as an amateur welterweight boxer in the late 1940s. Oh. Of the actors that are left here. We should say John Travolta, Best Actor nominee for Pulp Fiction, 1994. Of course, Quentin Tarantino's Palm Dora is for Pulp Fiction. It has to be Roy Shider. It is, in fact, Roy Shider.

Best actor nominee for Palm Door winner? All that jazz. All that jazz. Yes, so you have 18 correct. Two more correct out of the next one, two, three, four questions. All right. So, this person hosted the MTV Movie Awards the same year that Titanic won best movie. Oh, okay.

So... Oh, this is Samuel L. Jackson. Very good. All right. You are at 19. Also of Pulp Fiction. All right. This person, you're going to get this, but whatever. I'll still soldier on. This person said the words honey-booboo child on live TV in front of a national audience in 2013. Wait, do I know this? Yes, you do. Honey. In 2013, said Honey Boo Boo Child.

Yes. I mean, of the people who are left, is this Holly Hunter. No, I've already said Holly Hunter. I was waiting for you to notice that. Yeah, so it has to be Uma Thurman. It's not Uma Thurman. Oh, boy, this is now getting interesting. Wow, who is it?

It was Jody Foster during her Golden Globe coming out as single speech. where she said I am not I am not honey boo-bo-child she said and you know you guys might be surprised but I am not

honey-bo-bo-child no I'm sorry that's just not me it never was and it never will be my reality show would be so boring I would have to make out

with Melillon Coutier I'd have to spank Daniel Craig's bottom you know just to stay in the air it's you know not bad I'd work. You can get it, though.

Great. Great. All right. Two more questions. You need to get one of them correct. And I, now that I, now that you know that it's process of elimination, you essentially have a 50-50 shop, but whatever. This person is currently making a movie with Alejandro Gonzalez and Yarutu and Tom Cruise. Oh, um, it's Sandra Hewler. It is Sandra Hewler. Best actress nominee for Anatomy of the Fall, 2023.

You have made it to 20. One question left. You know who is left, but I'm just going to ask it anyway. This person has a son who starred on Broadway this season in a production of Henrik Ibson's Ghosts. Is that Uma Thurman? It is Uma Thurman. There we go.

The Levan Hawk starred in that production. All right. Congratulations me. Congratulations to you. Thank you for the quiz. Thank you for the disc. Of my choice. I love that it came down to like kind of down to the wire, but very good.

You did a very good job with that. I hope you liked my question. So I'm realizing we're, we've now made it an hour into the episode without really saying much about Tatan. Welcome to the May Mini series. Welcome to the May Mini series. This is how we do. This is how we do it. All right.

Titan, a movie we both really like. Yes. So, yes. I was, again, as I was saying, I was not entirely sure because I saw this movie at the New York Film Festival. Talk about Festival theater. So already it had won the Palm Door by then. There was all this sort of, you know, hype for it. I was very, very, of course, excited for it.

I was a big fan of Raw. I really, really loved Raw. We both were fans of Raw that we would talk about various scenes that gross people out, that if we said them on Mike right now to a person who has not seen the movie Raw. Right, right. It would be very upsetting to you. But that was a movie that had good underground buzz. That also premiered at Cannes.

It played Critics Week at the 2016 Cannes Film Festival, won the Frippreski Prize, played TIF Midnight Madness that year. Had people fainting at that Midnight Madness screening. Was the runner-up for the people's choice for Midnight Madness. Julia Dukernow won a Directors to Watch Award from the Palm Springs Film Festival that year. So a decently sort of buzzy debut. and really had people's eye on what she was going to do now that all of a sudden she's in the main competition it can. That jury was headed by Spike Lee.

Mm-hmm. Okay, so wins the point of choice. Spike Lee, who at the top of this ceremony, in probably some confusion over various translations, is asked, what's the first prize? Meaning, what's the first prize you're giving away in this ceremony? And he's like, yeah, first place is to time. Oh, and they gave it away first.

And they're quickly like, no, no, no, no, no, no, no, no, no, no. And they get him to realize, nope, shouldn't have said that, shouldn't have said that. Oh, wow. And you see Julia DeCurnau, Agat Roussel, and Vincent Lindon very confused in the audience, like, what just happened. They just said our movie, what happened. This is like reverse, la la la la. And Moonlight, where... You see jury members laughing, aghast.

Maddie Diop has her hands in her face. Oh, no. So by the time I see this movie, all the hype around it, and even still, I'm like, that was fucking rad. Right? Because it's just like, it's such a sensory sort of overload kind of a thing. I really, I did, I remember, I was very, very. resolute about not wanting to know too much about what the movie was about. Right.

Which I think is kind of funny because if I had just done the dunderheaded thing of realizing that Titan is French for Titanium, I would have been like halfway there probably. But so this is a movie that starts off in a, the scene of a little girl riding in the backseat with her dad. dad. She's being annoying. She's kicking the back of his seat. She undoes her seatbelt. She tries to climb into the back of the car. The dad, you know, turns around to try and grab her. He spins out on the road. There's this very sort of like quick and blunt smack into the guardrail on the side of the road. You see blood on the window. And next thing you know, this little girl is getting a steel plate put in to her skull so that she will not die. And then the next thing you see is them emerging from the hospital,

and she walks up to their car, and she gives it this big hug and gives it this, like, sweet little, like, kiss on the window. And you're like, oh. With no affection shown towards her actual parents. So watching it the first time, I did not even make note of that part. I was just like, okay, we'll find out what's going on now.

Um, but of course, what, uh, we will soon find out is this titanium plate in her. Now, this is not a movie that is in, that is all that interested in figuring out the why of things. So, um, best that we don't either. Give logic a break. But there is, there is absolutely a, you know, quasi-logical, you know, fake logical, screw-by-logical three-line that says, well, now that she's part titanium, she must have sexual Congress as an adult with a car.

And now she is not, she cannot be attracted to human. She must have sex with car. Must, must sex with car. And when she is attracted to human, it is because they have a metal piercing that she finds very appealing. So, yeah, so we immediately flash to her name is Alexia. Alexia as a adult. She is still living with her parents but doesn't really speak to them.

Put your lighters up, gonchas in the house. Honestly, yes. So much like LaGansha. Working as a stripper at a club that features fast cars. It's not really a club, it's like a car show that's supposed to be appealing. to, you know, you have girls and cars. It's for dudes. And yet, it's so funny,

you hardly see any of the guys there, you know what I mean? Like, it's very much focused on her. She's dancing on the car. She, you know, is, you know, topless in the bathroom and she meets this other girl. Her hair gets stuck on this girl's nipple piercing. Are you doing

the 60-second plot instead of me? No, that's right. That's right. We're not doing a... Sorry. You have a 60-second plot. I'm so sorry. Here's what being in a me miniseries does is I have absolutely taken away if you if you want to do it all take it away no I was going to do I was going a longer route anyway you're right okay thank you for making my job easier though we're talking about the 2021's titan written and directed by Julia Ducano starring Agatha Roussel Vincent Lindonne by the way I'm going to ask you to explain the Vincent Lindone thing to me because I did not know who he was before this movie and apparently one of the great French actors well then you have to tell me all about him after this okay Garance Marillier, who was the star of Raw, who is who in this movie? She's the one with the nipple rings. Okay.

Wow. That's what a difference a few years makes. That's crazy because I did not recognize her. Lais Salome, distributed by Neon, one of the vaunted Palm Door winners that Neon got its claws on. They got it at the script stage, much like parasite. We'll get you a nice little cameo that neon hasn't got her pause on. Premiered at the Cannes Film Festival, July 13th, 2021. This was the Cannes that was delayed until July because of COVID.

Then it played TIF. Then it played New York Film Festival. Oh, that's right. 2021 TIF. God, who even had access to that Teton screening? I imagine not too many people. People showed up for that midnight screening. They were limiting seed.

because we both nearly went and we did not... Not in 2021, we didn't. No. This is the TIF where the few people that I heard from who were able to be there were like, yeah, these screenings are... Ghost towns. Yeah, it's a ghost town. There's no one here to talk.

I was only able to watch via virtual and this was not one of the movies that was made available to watch virtually. Which is, I mean, to be honest, I don't want... I know that like we were happy to see. whatever we'll see. We'll talk about the climate of COVID in terms of this movie. I will say, the movies that I watched, though, on that screening, I don't love them any less. There's some of my favorite movies from that year. So, but anyway, opened in wide release on October 1st, 2021. That's another thing we should mention because, you know what?

Here's the thing. I don't think this movie in this climate in 2021, the way that the movie going climate was, this movie wasn't going to make much money anyway. So open it wide. Why not? Let as many people who can, who want to see it, can see it. It opened in 11th place, $533,000 on 562 screens. But again, I appreciate the swing. Neon put a movie like this on 500 screens across America. And they promoted it with the shock factor, too. Sure, as you should, as you should.

This weekend, number one movie with a surprisingly robust 90 million. I did not remember movies doing that well at this point. Venom Let There Be Carnage was the number one movie in America. Oh, wow, yeah. Number two was The Adams Family 2. I completely forget this series of animated Adams family movies. Nope, none of my business. None of my business.

Number three was Shang Chi and the Legend of the Ten Rings, which was in its fifth week, still in the top five. The Many Saints of Newark in its first week, a John McGarrow joint, a John McGarrow making weird faces joint. Um, week two of dear Evan Hanson. So this was, we were still clawing our way out of the, um, we were bleary-eyed crawling out of the pandemic still at this point. So, all right, Chris, you're right to call me out for, um, uh, creeping into plot description territory, but instead, I will pull out my stopwatch. All right. So, Chris, time has come for you to lip sync

for your life. 60 seconds to describe the plot of Teaton. Are you ready? Yeah. Begin. All right. Alexia, I almost said I got the actress. Alexia, as a child, has a car wreck, and then she comes out of it with a metal plate in her head

and a love for metal. She ends up becoming, as a young woman, a dancer at car shows, doing erotic dancing on top of cars. Isn't this all so hot and sexual for men? Blah, blah, blah, blah. Turns out, Alexia is also maybe a serial killer. There is definitely a serial killer on the loose

and we are led to believe that it is Alexia. Lexia tries to have human relationships and is not very good at it. Meanwhile, she burns down her house with her parents in it. Before doing that, though, she has sex with a car and it turns out that she is pregnant.

She ends up killing a house full of people while trying to terminate that pregnancy. And so she burns down the house with her family in it and goes on the run. What does she do to evade capture because they are on the lookout for this woman who burned down their house.

She pretends to be a missing boy and shaves her head, damages her face, and is reunited with this boy, Adrian's father, who it turns out is a roided out fireman. And then in disguise, Alexia is, her pregnancy is growing, and she binds her body,

but goes into the fireman dome, and throughout this process, she's reunited with Adrian's mother, who definitely knows something is up, and she does a dance on top of a fire engine, and everybody else realizes that something is up. Meanwhile, the father tells Alexia, I don't really care who you are. I will treat you as my son all the same. And then Alexia has to give birth to the baby, and as she's giving birth, the father who is named for his actor named St. Vincent, asks her,

who are you? And she says, I am Alexia. And then the baby is born. It is half car, half human. Alexia dies. But Vincent gets to be the parent that he always wanted to be. Any guesses as to how far you got into that before she even shaves her head? I mean, it's like 45 minutes into the movie. There's a lot of movie before then. A minute five into your 60-second plot description. This one went two minutes and ten seconds. Much like my interpretation of this movie,

I'm not really talking about the gross stuff. I'm talking about the emotional stuff. So, which there is quite a bit of it, I will say, for as much as... I also almost forgot to say, she fucks a car. You did almost forget to say she fucks a car. She fucks two cars in this. She fucks a Cadillac. Does she also, yes.

With a big fire decals around the side of it. That literally is a, um, is a real jackhammer of a, of a, of a, a Cadillac, right? Yes, it is a Cadillac, but it's a real, um, uh, pump and dump kind of a, of a thing. Okay. It's jumping. It's on the hydraulics. It's really like, it's doing a lot of, you know, sound and fury.

Well, Dakota knows what she's doing. When the hydraulics go in in the car, I think she's, She's giving us permission to laugh at this thing that we are supposed to just accept on its face. It's very funny. She knows that this is a huge leap she's asking the audience to take. So she smartly, I think, gives people an out to laugh a little bit. She later has sex with a fire engine, of course. Which instigates the birth.

We should say it. So in terms of the body horror of it all, there is obviously, this is not a movie that has two feet grounded in reality. Obviously, not only just that she's fucking in the car, but that she gets pregnant by the car, that this pregnancy is like vastly accelerated. Destroying her body. Right. It's like ripping through.

There's like there's chrome that is ripping through her abdomen. She starts bleeding motor oil. That's right. At this point, from this point on, she bleeds motor oil. and in general is just sort of this, we are not in the real plane. And yet this is then paralleled with her idea to go on the run now that she's had to kill.

Very Martin Gare. We love doing any movie that alludes to Martin Gare. Summersby, this. So she shaves her head. She decides to pass herself off as this. kid who's been missing for 10 years, 20 years, however long he's been missing for. Because they're talking about it on the news. We know it's ridiculous.

I think everybody in this movie knows it's ridiculous. I think, though, that this is not passed off as not reality. This is passed off as very sad, very sort of like this is a father who is still mourning, his son. son who is, um, who is willfully accepting this person as his son because it's the best that he's going to get. Did you ever see that movie? Willful delusion. Did you ever see that documentary about the kid who, uh, the family who the kid, uh,

went missing? The imposter? Yes. And the, uh, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, the, And they pretty much know it's not him, but they accept him as their son anyway. And then you find out that the reason that they did that probably is because they, like, they knew that the kid was dead because, like, something happened within the family. Oh, and they have to, they have to. So now they have to be like, oh, yeah, our kid is back.

We don't know. Otherwise, they could be implicated. We don't know. It's definitely not him. It's sort of trashy, but it's fun. I enjoy it. It's sort of like nowadays you would say it's like Netflix true crime coded. Sure, sure.

I enjoy it. As somebody who has watched probably more Netflix true crime that I would like to admit. But anyway, once Vincent Lindone enters the movie, and once you get to that part, I think it balances out the body horror and the, um, sort of garrishness of the violent car fucking and the violence and whatnot in a pretty interesting way. Now, we should say, especially in the like post Palm Door days of this movie,

there was quite a few people who had their own sort of second opinions on this movie. This movie definitely had its fair share of detractors. And not only just that like, It had a fair share of queer detractors, too. Yeah. There was not only just people who were like, I don't know about all that. But there was also people who thought that the movie was doing something that was anti-feminist, that was transphobic.

Because obviously, the trans themes are there and are very, like, very obvious, right? I mean, it's a movie about gender. Julie DeCourneau said that she was not making something as a trans allegory. and, like, I believe that, but I also think, you know, anybody's interpretation of any content in a movie is entirely valid. My feeling on this is, because, like, yes, there, it's not, it's not solely a, I understand what Julie is saying because, for one thing, the trans implications of the movie are not the only implications is the other thing. There's a lot going on. But, like, yes, she said she was, her attempt is, and, like, of course, whatever a director says their movie is, is not necessarily, you know, you don't have to take that at face value. But it's also not nothing.

She wanted to talk about gender stereotypes because, you know, Vincent is the antithesis of Alexia, you know, he's all muscle and he is very macheteing steroids so that he can stay, you know, very masculine and very. And, like, he's in a very masculine environment, you know, we only ever see him with one other woman and it's his ex-wife and there's not really a whole lot going on there. But because of the body horror elements of it, it is a movie about somebody kind of at war with their own body while also presenting themselves as a different gender than what we had seen at the beginning of the movie. Like, these are not difficult, you know, lines, dots to connect, I should say. It's understandable that someone would have that interpretation of that movie. For me, I struggle to see it as a trans allegory because of that moment in the very last scene where he says, what's your name? And she says, I am Alexia. Right.

No. Well, but this is sort of what I, what I, goes into how I feel about the movie, which is it's playing with a lot of things. It's playing with gender. It's playing with transgender stuff. It's playing with queer stuff. It's playing with parent-child relationships. It's playing with, you know, this idea of, you know, human versus machine kind of a thing. You know what I mean?

Like how much of our, you know, of being, like, desensitized and disaffected to a world that is misogynist or threatening or violence, you know, can you sort of depict when a person becomes sort of half cold steel, right? And, but it is so many things and yet is also very much trying to push buttons with all of those things, with things like depictions of sex, depictions of violence and everything. And I don't think it's sloppy necessarily, but I do feel like with all of the, the sandboxes it's playing in, I think only a few of them really get followed through to their most satisfying conclusions. I think you have a very strong story about parents accepting their children for who they are,

which, again, is a queer theme that could also be, you know, that does dovetail with trans themes. know in general, but like, but so I think, and I, and I understand people coming at it from the perspective of if you are going to touch that hot stove, you know what I mean? You better be prepared for what you're, exactly. Which I don't necessarily disagree with. I think that is, I think that is a valid perspective as well. But I also feel like you saw, you know, there were queer responses to this movie that I do think ran the gamut. And that doesn't surprise me. And I think, I wouldn't say that, you know, the queer detractors for this movie were the loudest. I think the loudest people were maybe the snobs that are more like, how dare this movie win a palm door?

How dare we be talking about this movie in terms of Oscar? To a lot of what you're saying, I think I'm on the same path. If I am, for me, though, I am very comfortable saying, She is painting with broad strokes and broad themes, the broad theme of gender stereotypes, that these, not only these characters are bucking against certain stereotypes, but also they're bucking against each other, you know, they're kind of opposites in a way, and ultimately by the end of the movie, it's the, this kind of rebirth of a new family, a new identity through this child. I think you're also right to point out the parent-child elements of this, because I do think it's extremely obvious that DeCurneau,

as much as she doesn't get asked about it and doesn't really talk about these themes, is very interested in family dynamics. Raw is nothing, if not, a movie about how siblings... create each other. Sibling cinema, yeah. It is sibling cinema, you know, those are two sisters who become who they are in reaction to sibling roles, basically. Raw is also a movie, I think, about, you know, social rituals.

Because, like, that's what's so upsetting about the cannibalism in that movie is that it defies social ritual. Yeah. To Teton, though, like, this is a movie for a lot of reasons. I'm like, if you don't, if you don't like it, if it upsets you, I get it. I'm not here to, I love this movie, but I'm not here to tell you necessarily that you're wrong about it. Well, because Alexia, I think, is such an interesting character. If you're looking at it from, she is, DeCurneau's a filmmaker who is investigating

these type of things and issues and social dynamics that we have because Alexia is she kind of enters the movie aside from the prologue performing this femininity this car dancer that's supposed to be this hyper-sexualized woman and then can I throw something out there sure is there a very good reason why she's a serial killer I think it plays in line with she is defined as a character without warmth, without human empathy or connection, which is what makes it so easy for her to deny her parents, to be violent, to not care. When she's making out with the woman, she's more interested in getting her nipple pierce. in her mouth, then her nipple, you know, she's not interested in her flesh.

She's interested in... The moment that I come back to is, and it's, I remember the laugh that it got in the theater, she's killed the girl, who she was making out with, she's killed the guy who comes downstairs and it's like, hey, what's going on? And he's such a nice guy, and she, like, hugs him. No, no, I mean. No, she's killed the other guy, the first guy, who comes downstairs. Oh, with the chair. The chair. And then she chases, she chases the second girl into her room and the girl's hiding in her room.

But then when the fourth, the fourth person, the second guy comes out, the big naked black guy holding his junk. Who's so nice. Who's so nice. And but like when that person emerges, the audience really, really erupted into laughter because it was really just like, oh my God, one more person. Like, and she hugged him. But then she's also performing because she has to perform warmth and hug him back, but it's really only a ploy to kill him. But I do feel like that is the one area of the movie where it's hard for me to sort of square that circle a little bit of like, I understand where we're pushing everything to its utmost or whatever. Yeah. That scene is maybe the most scene in a movie that includes a scene of fucking agree. car. And that's, it feels like a Tarantino influence coming through. Sure, sure. It just felt like a little

where like, where she's just like, we're just going to go all the way. We're just going, not only does she not care about anything, but she doesn't care about anything so much that she's going to like kill people. I do feel like you could have probably gotten away with her just burning her house down with her parents in it. And, and you'd get that. But she also in the beginning of the movie kills a man trying to assault her too. So I think in a. smart way. It's getting us on Alexia's side even though we're not on her

side. Although it's very much like... She kills this person who's trying to assault her or is at least like in the very early stages of trying to assault her. Like it does feel like she's jumping to the I get to kill you part because this person

sort of presented himself as somebody who did not take her initial no for the answer. Right? So she kisses him and stabs him through the ear with her little stiletto pick thing. But also establishes her as someone incredibly

capable of taking care of herself too. Yes, capable of taking care of herself, but also... maneuvering a situation so that she can emerge safely. Yes. Which matters for the escape portion of the movie. Seems very... often eager to kill, let's say.

But so I think once we move into the second half of the movie and all of a sudden I feel like I'm a little more grounded emotionally, where everybody's sort of behaving strangely, but in a way that, like, has human, you know, reasons for it. um obviously she's still getting like super super pregnant and leaking motor oil everywhere um everything it just feels increasingly messy with her just in terms of like her bandaging gets less precise obviously the more pregnant she gets she's got these like horrible welts and like and and you know these marks where the bandages are digging into her skin because she's got to try so hard to like you know bind down her pregnant body, which of course, like, you know, is completely unrealistic when she's, you know, she's, you know, dancing on top of the fire engine or whatever. And this is, you know, the actress is just sort of like not wearing any kind of pregnant belly or whatever. She's just

sort of a regular skinny, you know, dancer. So obviously the reality of all of this is very, very malleable. Um, but, I feel like even the stuff, even the body horror stuff that isn't the fact that she has a human car hybrid baby growing inside of her, where it's like the scene where she breaks her own nose, the stuff with the, with the, you know, bandages digging into her skin, the stuff where, um, I was just like, you're just watching her body at war with itself, which is again, bodies at war with themselves is very, very, like, you can again, understand why trans people would be like, but this. This isn't a trans allegory. Like, you have somebody who's literally, like, fighting their own body. But also, I think, you know, I go back to this movie being painted in broad strokes, broad allegorical strokes at that. And, like, as she becomes more and more pregnant, it's also she's becoming more and more compassionate as a person. And she's trying to hide this compassion.

Is that the pregnancy, though, or is that the relationship that she's got with Vincent Lundell? It's both because it's a representation of it. I mean, this movie's so interested in parenthood and parenthood as the ultimate unconditional love too because, like, as she's, you know, her body is forcing her to become a parent, she is also developing this sense of unconditional love that she didn't have before.

Right. That's like antithetical to her perception of herself. Yeah. Can I read you this paragraph from the Wikipedia description of the plot? sure uh it's a very short one uh at a party at the fire station the firefighters urge adrian to dance to the music alexia performs her showgirl choreography confusing everyone vincent disappointed walks out of the crowd after the party alexia has sex with a fire engine i mean that's what happens it is what happens also those firefighters love having a dance party those firefighters are a good time man like also this is where queerness is comes into this movie too because like they're supposed to be a bunch of macho dudes dancing and it's so gay but also like they aren't they don't do the thing where i mean it's not quite fight dancing there is a point where they're just sort of like jumping up and down and down

but like the first dance scene still pretty gay they're just sort of like trance dancing or whatever and they're just sort of just like it's very they're absolutely they are They are enjoying each other's masculine company. It is wonderful and glorious. And this is a movie. I mean, this is also a movie about masculinity, too, because Vincent is, like, all muscle. It's a body horror movie for him, too,

because, you know, those scenes where he's injecting himself with roids is not exactly comfortable. All the shots of how many bruises are all over his butt and legs And whenever, it's just sort of like, that's just like, again, it's somebody at war with their body. It's there somebody who is fighting the natural sort of aging of deterioration of their body while also accelerating a different kind of deterioration on their own body. And like you could argue that like its gender ideas are deeply, deeply, profoundly, unfortunately French. And I think that's fair. Wait, describe unfortunately French.

Do you mean binary? but it just uh or maybe to us what might seem extremely dated the idea that he as a masculine man can't be an emotional father because he he is very emotional and he's touchy-feely and he's very woo-woo and uh he feels very modern to me though that character like i feel like that's i feel like there's weirdly enough he feels like a girl dad you know what i mean but like uh i I think that's smart and funny. But I think that is what DeCerno's on about. Yeah.

This, like, it's very important that this character is when I don't think this movie feels as retrograde as, like, something like Amelia Perez, which is a movie that I think of what I think of, like, oh, very French in that way. Like, I don't think I would describe Teuton as French in the same way that Amelia Perez is French. I think if someone was like, its ideas about gender are very French, I would be like, fair, but I can still go with this movie where I can't. with it. Sure. Sure. One more thing, though, about the dancing scenes. There are at least as many scenes where the... He dances to the Hollies. There are at least as many scenes in this movie where the themes and character motivations are advanced through dance and music as there are in sinners. So if we want to call sinners a musical, we have to call Tassan a musical. That's... A lot of movies can have influences from musicals, whether or not they, the

If people insist on calling Sinners a musical, then I get to call to Taun a musical. That is my rule. That is my rule. It's almost as if Sinners is an incredible movie that has a wide range of influences and uses those influences to tell the story it's telling. While not being a musical. I wouldn't, I mean, like, I think there's, I think Ryan Coogler is using the, using genre for more than horror movies, but like, is it a musical? Maybe not, but it doesn't matter because, like, he's using the tool set of horror movies and using the tool set of musicals and using the tool set.

Here's my new thing about sinners is, like, we need to be talking about sinners like we talked about the brutalist as great American novel because I think that's also in the whole set of this movie. I'll take that. I'll take that. My most Gen X trait is I do think things should have labels. I am very much not a... Why do we got to label everything? No, labels are important. You're talking about movies and things and... Talk about everything. Talk about everything.

Labels are good. Labels are helpful. Anyway. Vincent Lundon dancing in this movie. Oh, no. Tell me, all right. Give me the Vincent Lundon story. Why... He's just a very... famous French actor.

From like what kind of stuff? What's what's what's what are a lot of movies that don't come to America because they're like he he he does domestic dramas and such. He just won best actor at Venice last year for a movie that has no U.S. distribution. But like she wrote this part with him and mine. That's why the character has his name. And he put on all this muscle for the movie. He's normally like an every man actor He is not normally a beefcake

Before this movie He's been two years Bulking up for this movie Interesting Okay Yes Yes I thought that this performance

Was one of the performances Of that year I think he's dream of us In this movie He wins the Los Angeles Film Critics Association Award For Best Supporting actor

It's a lead but cool win Yeah But I will You know He's a lead that shows up Halfway through the movie. And, um, but I agree with you. By design, he's supposed to be equal to Alexia.

I agree with you. I'm not disagree. It's about parent and child. Like, I understand. I agree with you, but I do understand why, why some people might have put him as supporting. But anyway, um, what else do we get out of, uh, uh, the, so Los Angeles film critics, supporting actor tied with Cody Smith McPhee for Power of the Dog. Um, this movie, Tatan has a very interesting precursor run.

It wins Midnight Madness at Tiff after Ra was merely a runner up, um, which means, I guess, Julia Dirkner will come to Tiff with her new movie and, um, uh, uh, own Midnight Madness. It'll just be become, she'll program Midnight Madness. I wouldn't even categorize Tatan. I mean, like, Midnight Madness is just for horror movies. It's a genre sidebar. Yeah. So, like, you could call Tatan a genre movie, but by the little dribs and drabs we have of Alpha, I just wonder if it's going to be a horror movie. Tatan is part horror.

If we want to say that Tatan is an amalgamation of genres, horror is definitely one of them. It's the rebirth. Julia DeKirno is the rebirth of the French New Extremity, Baby. I love those movies. I literally read up on this idea of the new French extremity because it's a term that I had heard. And of course, it ultimately is what I sort of assumed it was, which was this kind of post, not post Michael Hanukkah, but sort of just like post funny games, you know, post sort of.

Very violent horror movies coming out of France. They're not always great movies. Some of them are very bad, but the level of audacity with the gore and violence. These are movies like high tension inside, um, Claire Deney's trouble every day, which I think is kind of a miscategorization of that movie, but it's always categorizes French New Extremity. Why do you see, why would you say it's miscategorized? Because it's a Claire Deney movie.

Like, she's not trying to necessarily shock you. There's just like a lot of blood in it. Do you think, wait, do you, wait. And it happened to come out in the same time frame. I'm willing to say that I've not seen very many Claire Deney movies, but do you really think she's not trying to shock her? her audiences. I think she maybe considers the audience less than just her own perspective. Well, sure.

Yes. I agree that. But I also feel like from just from sort of reading what I did on, here I am the Johnny comitly being like, I read some stuff on New French Extremely. But it does. Listener, Joe's trying to buck the, or he's trying to reverse the perception that he doesn't read. I think much like Leah Michelle

Joe Reed can't read Don't make it a pun Please do not make it a pun Oh God, I'm sorry I didn't mean to bring that upon you All right anyway But no, but I do feel like The definition of that is not necessarily Quite so narrow

That it can't incorporate You know movies that have an intention No I think that movie has a full foot in this movement that we're talking about. Yeah. But like when we talk about this movement, we're talking about like heads being chopped off

in high attention. We're talking about someone getting their entire skin flayed in martyrs. But certainly you look at something like the substance and that seems very, very much influenced by something like the French new extremity, yes? Um, no?

No, because like the substance isn't really I suppose it's gory in the end. but yeah quite uh it's just a different type of violence i think it's closer to the the shock of it like raw feels so much like uh you know a descendant of i feel like you could you could program titan and the substance in the same back to back with each other and you would find some really interesting conversations after the fact in that you know subtlety is sometimes very offer rated. Yeah, yeah.

Anyway, so Teton ends up nominated, not nominated, gets listed among the National Border Review's top five foreign language films of that year, I believe. That's one of those bullshity NBR things where I think they said, best foreign language film of the year, drive my car. And also, here are five more foreign language films that also we are saying are the top five. foreign language films. So that list is Teuton Paul Verhoven's Benedetta and Mary, we reject this blasphemy. Lamb, which is a movie I never

saw. Lamb. People do like the way she says lamb. Lamb sucks, by the way. Does it? What is it about? Lamb is not good. Lamb is, it stars New Me Repos, it was an A-24 movie. Oh, that thing, right. Yeah. Kind of a horror movie,

kind of a thriller. They adopt this half-lamp. I remember that trailer. She's just carrying a lamb around. It's not good. A movie called Lingui? Lingy is a good movie. What's that about?

Lingy is Mohamed Salai Harun, who has been in Cannes multiple times. I like his movies. It is, he's a Chadian filmmaker. It's about basically abortion. in Chad, and got some attention stateside from that, but not enough attention. I believe Mooby released that movie. Nice. But it was cool to see that movie show up because it was a pretty good year for international features.

Really good year, especially within the sort of American awards-giving ecosystem. This is the year that American critics decided to throw, drive my car onto their back, and they said, come with us. We're taking you up the mountain. And they got a drive-by car all the way to Best Picture and Best Direction nominations, which is very cool. This was also the year of,

obviously you mentioned Benedetta, Titan. What were the other... Flea's a big one. Worst person in the world gets a screenplay nomination this year. Also, like, it's a pretty fun year.

It's a pretty fun year for that kind of. I was a huge proponent of Flea's. this is also the year of Lunana a yak in the classroom getting nominated Lunana what's my name Lunana what's my name Gov

Can I tell you a movie that I liked Was Lunana a yak up in the classroom Can I tell you a movie I did not like What? Lunana a yak in the classroom What was your problem? What was your fucking problem with Lunana a yak in the classroom?

Was it the yak in the classroom? Listen, we We have no problems with Lunana the yak in the the titular yak in the classroom. The titular yak in the classroom. That movie was...

Can I tell you what movie I did not care for? Was the Paolo Sorrentino The Hand of God? I really hated it. That was also a Best International Feature nominee that year. But we move on. I thought that missed the Oscar nomination.

Oh, no. It sure didn't. Oh, it did. Well, Netflix. Netflix had that. There you go. There you go. Yeah.

Compartment number six was a The Globe nominees Speaking of Yoroborosov Compartment number six That's the first place I saw Yorov They nominated compartment number six Asgar Fahdi's A Hero And Parallow Mothers

Which was not the Spanish submission that year Go on to win Or to get nominated for Penelope Cruz To quid me into predicting I'm waiting Penelope Cruz to win best actress that year. I know. Actually, that one I blame David Canfield for. David, if you're listening, you got me on that one.

Can I say a movie that I can't get all the way there with worst person in the world? You know, I kind of suspected because you never bring it up. I think the exquisite things about that movie, the kind of flights of fancy about it, are spectacular. Yeah. Joachim Trir. There is a... Huh?

What are his other movies? Louder than Bombs, which has Uperr in it and Jesse Eisenberg. But it's supposed to be terrible, right? Uh, people... No, I... Oh?

People kind of like that movie. Repreys and Oslo August 31st, which has... People seem to like both of those? Huh? People, I think, I feel like people liked this. People do. I find a fatalism streak in his work that never quite sits well with me.

It always feels like, and now this movie will be about death in a way that always feels kind of shoved into the movie and not an organic thing. It's one of my qualms with worst person in the world, as great as Anders. Danielson Lai is in that movie. Yeah. I think that is a movie that suddenly, and for no real purpose beyond making the movie seem more serious, is suddenly about death. Interesting. And I think that's a good movie, so I don't want to crap on it totally.

But that's one of the reasons why I can't be, like, masterpiece the way that other people. Are you similarly then a little less enthused about this new movie that they have coming out? I'm still very, very curious about it. I'm kind of anti- what I really hope for it is that we get a really great Stellan Scars Guard performance because I think we're due for one. Do you want to watch a really, really great Stellan Scarsgar performance, watch Andor on Disney Plus. He's fucking killing it. You know, I'm not going to watch that. I know.

That's why I said it. Um, my, not, not my main memory of worst person in the world, a movie that I very much enjoy, um, but this was, um, the apartment that I was living in at the time. We, uh, our, uh, neighbors across the hall, our apartments sort of like met at a, well, we had sort of like a common wall and our doors were very close to each other. So we could very often hear what was going on in the other apartment. And, um, these were, um, um, young hot gay guys and derogatory and one of whom we figured out when we figured out one of them found him on

Instagram and of course he was like a fucking like Instagram influencer who like goes to all of these like premieres and openings and like the points at words on videos like corporate like there's a new flavor of you know fucking starry

or whatever so like we're going to go to this event or whatever um but would always and would always do like pre-games and then like after parties or whatever on like weekends or whatever i never mind noise in any way so i never was like put out by the noise but i did sort of as a person who enjoys eavesdropping but sometimes just mute the television and just sort of like listen to what i could hear clear as day from the other apartment and so the one day um this is before they went out so um and the guy had like a very dramatic boyfriend and they would like you know and just like these very loud conversations and sort of one of these people who just like

lived very dramatically so they had a few people over seemingly from it sounded like and the one person was just going on and on and on about this movie that he got to go to the premiere of and he didn't did not like it and he god i couldn't stand it and and and sort of is trying to explain the plot to these other people, and you know what you can tell when you're listening to somebody who's very stupid described the plot of a movie, and you're just like, oh, you just like, you are not getting anything of this. And of course, he's describing the plot of the worst person in the world. And he gets to the thing. And he's probably like, nothing happens. Well, no, what he was like was just like, I hated this girl so much. Oh, she was the worst. Well, she is the

worst person in the world. She did this and this and this. And she was all to, and like, completely missing the point of like what you know the movie is the movie is yeah what the dramatic texture of it is oh and i was just like i was half like very amused and i was half just like god damn it like this is this is where art goes to die is in the apartment of the dumbest hot gay guys you've ever seen in your entire life so um i no longer live there i no longer fear reprisal for saying these things uh but if you uh If you've ever met the three dumbest day guys. If you've ever eavesdropped on the bad movie opinions.

Yeah. You understand. You get it. You know it. One of the most interesting nominations that this got was, Julia was nominated for the BAFTA for Best Director, because this was the year that BAFTA decided to go juried and was like, whatever.

Like, this is, we'll give you like three movies that are. in the Oscar race, and then, like, three things that are, like, completely out of left field. And it's not quite what I say when I want, or what, it's not quite what I want when I say that I want juries and more things like this, because this felt like two extremes in two opposite directions where it was like Jane Campion for Power of the Dog, Paul Thomas Anderson, for Lickers pizza. And it's like, now all of a sudden, Nadri Duon, for happening. And now all of a sudden, Alim Khan for Afterlove. And it's like, it just feels like we are that years BAFTA's felt a big hit with BAFTA.

That was their like homegrown success that year because you also get Joanna Scanlan getting. Yes. It just felt like a BAFTA is at war with itself that year. And I like to, I sometimes like things to feel a little bit more cohesive. By that same token, I do like when BAFTA follows its own little muse down different rabbit holes. Usually it's just, like, elevating a British movie to the level of all of the major Oscar contenders. And, like, that's fun and that's fine. But this was a real weird BAFTA year, I got to say.

You mentioned Audrey Dewan's happening, which was the Golden Lion that winning that year. And a lot of people made a fuss about Tatan being the French submission versus happening. I will say, I saw happening. That movie's fine. I think the people who are like over the moon about it, maybe are, I can't get on that level. I think that movie's fine. I think it stars a protagonist who never gets to be a fully fleshed character and is just supposed to be representative in a way that I think I find the movie limiting. You know what movie I wanted France to submit for the Oscar and they didn't do it.

And I think if they did, they might have gotten a nomination. Do you remember? What was this? Satee Mama. Oh, yeah. Celine Chama's Petit Mama. I, fuck him. And Celine Tiama is like, kind of, she's like out on all of this.

She probably didn't want to be submitted. It wasn't on the short list along with this. But happening, people were like, well, happening could win the Oscar. I don't think that was ever true. Certainly not once the drive my car campaign got rolling. Well, and it felt like a cynical type of perspective. I understand that a lot of people like that more than I. personally did, but it felt like people were saying,

but abortion is such a hot topic in America right now. If you make that the submission, it gets nominated and it wins. And of course, this is a lot of frustration on France's part because France hadn't, France had been struggling to have a winner since Indochine. And part of the controversy around Titan being selected was that Tiri Fremot, the head of Cannes is on the selection committee and it was perceived at least that he shoved the Cannes palm door winner

into the position of being the submission because he wanted Cannes to be more represented over Venice because happening was the Venice winner. So this is our Cannes episode. This is as good a time to talk as any. I feel like you have a better handle on this than me. I feel like the legend of Terry Frimo has sort of built itself into, like, its own sort of freestanding structure in the not only French film community, but sort of the

global film community. Take a second to sort of enlighten our listeners as to when people are just sort of like use Terry Framot's name as a punchline, what are they talking about? Listen, the man loves to give an interview. He's the head of Cannes, but also the head of head of the French film board. And the selection. Yeah. And he's no longer on the selection committee for the French international submission. Right. For reasons. For good reasons. Because they're so tired of playing up with his shit. When the submission ends up still being the canned success, Amelia Perez, like, okay.

But he's sort of been at the center of a lot of these, like, can controversies, the Netflix thing. And a lot of it, I think, is because he gives interviews quite a bit, you know, he's given, he's answered, like you mentioned, the Netflix stuff, he's always saying, well, Netflix is always welcome. They just have to be theatrically released. They have to play by the French distribution rules. Or they have to be willing to play out of competition, which, and he tries to make it seem like this great thing to play out of competition in Cannes. Like, it makes you a great success. And it's like, sure. Killers of the Flower Moon. Great example for him to use to bolster that. But then there's also a lot of other movies that, sure, you know. Right. People want to play in competition. They want to, like, that's the prestige. Yes. Yes. Noah Bombach does not want to premiere J. Kelly at Cannes out of competition. He wants to premiered in competition. But also. Ted Sarandos is also very much like, well, we should, your laws, because France has laws that if you're in. can competition. You have to be theatrically released. And Ted Sarandos is like, well, your laws are

stupid and doesn't want to take anything but a competition slot. Right. But it's interesting because if Terry Frimo is so concerned with competing with Venice, him taking that stance does necessarily leave the door open for Venice to take these sort of big prestigious directors. This is why you see a ton of Netflix movies at Venice. Exactly. And you probably will this year as well. But Terry Fremot is also, you know, given bad interview responses to things, saying, like, well, you know, it's all, when asked about female directors and, you know, it passes it off, like, well, there's just not submissions. And the longstanding battle to get more female directors represented in the Cannes competition specifically has been a thing. I feel like this year, they're like the most ever, and it's like 10, right? It's still...

It's seven. It's tied for the most ever. It's seven. Seven, right. Which is a third of the competition line. It's certainly as good as it's, like, it's good that we are moving in the right direction. But it is still kind of funny that, like, we are, there, we have to try so hard to get a third. You know what I mean?

A third direction. And obviously, like, there are, you know, the structural, you know, changes that have had to happen in Hollywood we're still sort of battling back from that but um and there's also things like he made this new section called can premiere which is basically functionally an out of competition slot but not in the big theater so you don't get like the red carpet and he tries to sell it as this great thing and you know there's always some movie every year that people are up in arms about uh being in that and It should have been in competition.

Yeah. My favorite movie of this year was a Cannes premiere selection last year. Longerardi's Missouri Accordia was a game premiere. And there's some pretty big movies in Camp Premier this year. Yeah. This year's, should you talk about this year's Can lineup? I mean, we can kind of nod to it. I think we're hoping fingers crossed to talk about it on the Patreon.

But we will see. Yeah. There's things to be excited about. There's things to be nervous about. I think the Nyes will be out for Julia DeCurneau in particular. Yeah. Because people have feelings about this as, this movie as a Palm winner. But you've got, you've got new Lynn Ramsey.

You've got new Ariaster. Ariaster finally in the competition section. It can't. You've got new Kelly Reichart, new Richard Linkletter, Wes Anderson in competition, Yo-Kim Trier in competition. Obviously, we mentioned the mainstays. The Dardins are back.

Jafar Panahi is back. Jafar Panahi. The Oliver Hermanus movie, The History of Sound, that I'm very, very interested in. I'm very excited for the Calabar from Mendoza Filo movie, The Secret Agent. This filmmaker, who has previously done... Director of Baccaro and Aquarius.

Fuck, I loved Baccaro. so much. Oh my God, I'm already. Go watch Aquarius. I think you'll like it even more. Sonia Braga rules in that movie. Sonia Braga rules in Baccaro, too. But yes, I will watch Aquarius. And yes, the Lynn Ramsey is my most anticipated movie this year. I'm looking forward to the link letter, the new Velvig movie. I know what Zoe Deutsch and I don't love Zoe Deutsch. No, I like Zoe Deutsch is like selling me on this movie. What's not selling me on it? I don't, I don't need to listen to more 60-year-old white dudes tell me about the French New Wave. I just don't care. I realize the idea of what if it's a Richard Linklater hangout movie set in the French New Wave?

Richard Linkletters made too many movies that I love for me to dismiss him out of hand. It's a 60-year-old white guy talking about the French New Wave. Sure, sure. I'm just, I'm a little burnt out about hearing about the French New Wave. Maybe I haven't heard about it enough. Maybe I haven't burned myself out in that way. But anyway, it just feels like, it feels like well tread to rain. I'm not sure what he could bring to the table about it other than like, let's do a hangout movie in that world. So we've talked about, you know, what is the, what does the palm door mean for awards chances? We talked about it a little bit, Marty being for very long time the only Palm Door winner to win Best Picture. These days, the tide has turned.

And not only is it more often that you're seeing Palm winners being nominated for Best Picture and in certain cases like Parasite and Nora winning, but you're seeing Palm winners sort of show up all over, you know, the ballot, an enemy of a fall getting six nominations. Triangle of Sand is getting a bunch of nominations. And in general, Cannes has become, over the last three or four years, a really reliable starting gun for the Oscar season. In a way that I kind of

expect that bubble to burst at some point. You've mentioned this. But when, like, when you look at that lineup, like we just talked about, that feels very friendly towards Western taste, Maybe it's not this year, but like as far as the pop door. Why do you feel like that bubble is going to burst, though? Because it always bursts for every festival.

Like, there's always a festival that's in and a festival that's out. But I just think in general, I think it's interesting that all of a sudden, now I feel like Cannes is part of the strategy in a way that it really often wasn't. You really had to be like one of two or three movies to be able to even go for the Cannes gambit. You know what I mean? Whereas now I think a lot more movies are traveling that route. Right. And I think it's some of what I'm saying is less that can itself won't matter for Oscar.

But the Palm Door might not, especially with Benosh being the jury head, you know, I wouldn't rule out a movie that might not translate to Oscar at all. that might not be within their wheelhouse being awarded, you know? And, like, that's, I mean, for me, Cannes should also have that place. I, I, you know, it's about global cinema. Definitely. It's about everything. I don't, I don't need Cannes to be Oscar certified in any way. What I think is interesting, though, is in the ways in which, in the last maybe 15 years,

the movies that have been I do feel like in a certain way it does represent the Oscars sort of moving towards the Palm Door and not the other way around because the ones that they haven't really gravitated towards are also Palm Winners that I feel like people aren't super excited about movies like

Deepon or Winter Sleep or... Depan, a very controversial palm winner or I, Daniel Blake or stuff like that And these aren't necessarily bad movies. But I feel like, I think even a movie like Shoplifter, Shoplifter's got a foreign language film nomination. In my world, Shoplifters is a Best Picture nominee. Absolutely.

I mean, my world probably too. But do you know what I mean about like, I do feel like it's not necessarily just that the Palm Door is pandering to Oscar tastes? I think it's that the Oscars as a more sort of international voting body. are moving more towards the can taste. And I think it's also that thing, too, of like, the jury is not, you know, it's obvious, a can jury is, you know, a dozen or so people, maybe 10 people.

And, but the process isn't necessarily that unlike the Academy Awards, that, you know, they're awarding a movie most, enjoy, most likely to be enjoyed by all members of, you know, a movie that everybody can agree on its quality or what is good about it, whereas, you know, things that might be a little more esoteric or, uh, isolating are harder to get a group of people to agree on unanimously as in a positive way, you know. Two things I want to note. Uh, the one moment where I do you feel like Cannes was pandering towards an American audience was Fahrenheit 9-11, and it didn't work because Fahrenheit 9-11 was not nominated for an Oscar?

But that was a global sentiment. And also, that's a bad palm one. Yes, it is. But also, my thought experiment for you, four months, three weeks, and two days gets put into the Cannes lineup nowadays. is that a movie that is not just a foreign language film nominee at the Oscars, but does that sort of... And it famously missed it and caused the rules to be changed. Right, right, right, sort of infamously. But not only, I feel like we can both agree that it would definitely have a better chance of being nominated in foreign language film nowadays.

But do you feel like it's a movie that its level of acclaim might even push it towards like a screenplay nomination or something? Director nomination. Or director nomination. Today, yes, for Manjou, who's made several movies and been in can competition before, you know, people didn't know Christian Manjou's name to the degree that they do now. Right. So if he had that reputation and that movie came out this year, yeah, totally. That would make sense because people would be familiar with his work.

I think it's harder to do, to make that leap if people haven't heard of you before, you know, because like Polikovsky had Eda before that. Yes. Before Cold War. Cold War. Yes. Which neither of us really like. But he got that director nomination. Partly, you know, people were, people still remembered Eda, you know.

and people remember liking Ida. Yeah, exactly. You would put in this question in our outline, what are our three favorite Palm Door winners? This is the episode that this is going to be the hardest for me because I genuinely have, like... I have the most normy answers. I feel like such a square looking at my answers,

but they're definitely my three. Like, there's no question that these are my three. I mean, it's hard to not come up with normy answers because, like, for me, I mean, you're talking about more than three movies that are like fundamental to me movies. I mean, if you want to say your three, I can maybe rule out some. Okay, my three, again, these are, this is chalk. This is just absolutely down the middle.

Taxi driver in 1976, Pulp Fiction, 1994, Parasite, 2019. Okay, there you go. 1980, Bob Fosse. All that, yeah. I mean. No surprise, 1996, Mike Lee's Secrets and Lies. Yep. And then a third, because I'm killing a darling somewhere.

What if I was just like, blue is the warmest color? No, absolutely not. Wait, can I guess what ones you're sort of, you're turning over in your head? I feel like... I mean, a lot, especially if you go further back. Like, people are like, what do you mean you're not mentioning the third man? I feel like the piano's got to be on. on your list somewhere.

It's probably, the piano is probably my number three. I feel like sex slides and videotape is on, is, I haven't seen that in recent enough time to How long has it been since you've seen Paris, Texas? Because it's been a while. Oh, a few weeks. Oh, really? Just watched that. I watched that in college, and I remember.

Wow. I mean, like, that's one that I would consider as well. It's a beautiful movie. Beautiful movie. You love Apocalypse Now. I do. You love the conversation. Love the conversation.

I mean, how far back are we going? Are you a blow-up person? Are you an Antonioni? I know you love the umbrellas of Scherborg. Yeah, I mean, like, that's one I would consider, too. Yeah. There's some good movies. Listen, the can juries sometimes get it done.

What is our jury this year? It is Juliette. Spike is the head. Oh, for the titan jury, yes. Yeah. Right. So let's talk about the year that Tatan... This is also, I think, some important context for how Titan could be a Palm winner. This is the first Cannes that got back after, you know, the vaccine was out.

The 2020 Can Festival was canceled, even though, like, Venice and Toronto weren't canceled. I think, you know, we should be happy with whatever quality movies we got. from those festivals, but I don't think anybody was, like, super... I think there's a handful of movies that I really love in this cam lineup, though, I have to say. Of the 2021. And part of this was a number of these movies were held specifically because they didn't want to launch until after, you know, the movies were really back in a real way post-COVID. We should say jury members besides Spike Lee, you mentioned. Mati Diop.

Melanie Laurent was this year. Tahar Rahim. Maggie Gyllenhaal, Song Kang Ho, Mylan Farmer, Jessica Haasmer. Taharaheim ahead of being in the next Julia DiCurna movie. And aforementioned Claibair Mendonka Fielho from Brazil.

It's a good jury. It's a very interesting jury. I think when you look at their award winners and there are multiple ties, you can infer that, you know, there's an excitement that movies are back, you know, in a way, and global cinema is back. But I think you can also maybe infer that this is a jury that didn't necessarily agree. And, you know, they, I remember in the press conference afterwards, after the ceremony, the press was like, So why it's a ton? And they were like, well, we threw out a lot of different movies and everybody had a lot of passion picks.

And this was a movie that we could all agree. We all enjoyed the movie and we appreciated the type of cinema that it was bringing to the table. It makes sense that the movie that sort of like leans out and slaps you in the face does end up getting the palm here? For a jury that doesn't agree when, you know, where movies. are, I mean, again, hashtag movies are back, but the kind of sheer audacity of this movie

definitely I think being launched in this context, did the movie a lot of favors in order to win this palm. Yeah. What I don't think did this movie any favors was winning the paw.

Well, because I think a lot of the negative reactions to it, given the context, of the movie, I think it's putting the movie on a pedestal that people are ready to just, like, look down their noses at this movie. But now, four years later, Julia Dirkernow is a palm door winner. And I think we'll probably always be, I think people will probably always have their knives out for her because of this palm. But I think we'll probably also always be excited for what she's going to do. Part of me also feels like that she's probably like, come at me, fuckers.

You know what I mean? Like, take those knives out. I got my stiletto in my, uh, holding my hair up right now. And I can figure it out. She served on the jury that gave it to Justine Trier, the, in, uh, later cans. Yeah. She's, she, she, she, Julie DeCirno seems like, so cool. Yeah, yes.

Like, have you watched interviews with her or her on, like, panels? No, but I just seems chill and cool. Not surprised. So a couple dreaded ties. happened this year, Chris. The Grand Prix, which is, Grand Prix is essentially second place, was a tie between Oscar Farhardi's A Hero and compartment number six. And then the jury prize, which is essentially supposed to be third place, is another tie between Nadav Lapid's knee and Pitch's Pong-War-A-Kul's Memoria. So essentially...

So I've settled on where Sethakul should have gotten a second palm. That should have. should have been his book. You think so. Okay. I love Tatan. I would have loved a number of different prizes going to Tatan, but like of this lineup, Memoria is just like... Let me read out what the prizes were before we start to bestow the prizes that we thought that should have been. So, um, Lios Kurox for Annette, previous the Sadd Askerbuzz movie, Annette, won best director. Renata Rinesov for the worst person in the world, one best actress. Caleb Landry Jones for Nitrum, one best actor. music to Chris's ears, I'm sure. And then, um,

Rysuke, Hamaguchi and Takamasa O for Drive My Car won best screenplay. Drive My Car is an interesting one where I feel like you would think that given how successful Drive My Car was with the Oscars, that it would have been a Palm winner. And I wonder if, you know,

it's a little bit of like a 2020-Hine reaction at that time. Like, there was strong reviews, but it wasn't the, you know, you weren't hearing all of these raves about it. And I think that's because it came into KAN a little bit under the radar when you have people like Farhadi showing up. And like, Farhadi's never won a palm. I remember that being the movie that I was like, I bet Farhadi gets it this time. Yeah. So a couple of the other, just to sort of run down some of the other sort of notable movies, Benedetta was also in the Cannes lineup.

Mia Hansen loves Bergman Island. My beloved Bergman Island. Wes Anderson's French Dispatch. Francois Ozone's, everything went fine. Sean Penn's Flag Day, maybe less said about that one, the better. We mentioned Lingy, we mentioned Memoria, we mentioned Nitro. Jacques Odiard was in this lineup with a movie called Paris 13th District that I've never seen. People don't like it.

Future Palm winner, Sean Baker, was in this lineup with Red Rock. a movie that I still find to be wildly underrated. That's another this House of us. Former this had Oscar buzz episode, Red Rocket. Yep. Any of these other movies that I haven't mentioned that you thought were that were standouts of this year? No, but I've seen a decent portion of this lineup. All right.

So if we were the, if we picked the winners, Siskel and Ebert style, you're saying where Setha Kool's Memoria, starring Tildes-Winton, would have been your Palm winner. It would have been my palm winner, absolutely. I think... Hold on, where did I put my... I think I'm going to give the palm to Mia Hanson Love for Bergman Island. She would be my Grand Prix winner. My Grand Prix, I would give it to Julia Dirkernard.

I would give it to Citton. I would give jury prize to Annette. Leos Corrects is Annette. I would agree with that. I would give director to Wes Anderson for the French Dispatch. I would still give actress to Renato Reyncev for Worst Person in the World. I would one million percent give Best Actor to Simon Rex. I think it's insane that he didn't win.

You know I am a Caleb Landry Jones defender, and I know that there are other actors that were in that Cannes lineup that other people would have said would have or should have won Best Actor. I think it's absolutely bonkers that Simon Rex did not win Best Actor that Can. And then screenplay I give, I double up on, forgive me, I double up, I broke the rule. I also give to worst person in the world. But I could, I suppose, I could give it to something like Benedetta or what other movies. I kind of famously am not the biggest.

It's not that I don't like drive my car. I just don't connect to it whatsoever. So I would feel dishonest giving that a prize. Maybe Memoria. Is Memoria a screenplay movie? I don't know. Absolutely not. No, right?

Like, so I don't know. So this is where I'm at. I'm giving the worst person in the world two prizes. Sorry, Mom. I mean, if it's, if it's, if it's not the top two, you're allowed to do that. By can rules. All right. By my rules, don't do it.

Award more movies. Give more attention to these movies. My palm is more. But you don't like ties. You say award more movies, but you don't like ties. Because that's not. You know, you. I understand.

Listener, you understand. I know what you mean. I know what you mean. I just, we, this is an area where we, uh, uh, somewhat disagree. Sure, sure, sure, sure. Palm Memorial, Grand Prix, Bergman Island. Jury Prize Drive My Carre. Mm-hmm. Director. I'll overlap with the jury and give that to Leo Scarex for Annette. Mm-hmm. Actor, Vincent Lendon for Titan. That's a good one. Actress. I'll also give it to Renata Rinesva.

And then I guess I just have screenplay left, don't I? Yeah. Hmm. Oh, not so easy to hand out a screenplay award for this can. No, it's fine to give out a screenplay prize. I'll give it to... You know what? I'll give it to compartment number six.

That's a movie that I... If I... I feel like that's a movie I would like. And I'm giving that as a screenplay prize. I am not giving it as... is often given as this is the last prize and we're really just awarding this movie something. That's why I didn't give it to Benedetta. I didn't want to be like that. I wanted to have more integrity than that.

If you could give a prize to a scene, give it to the scene where the nuns poop together in Benadena. Mary, we reject this blasphemy. All right. Anything else we want to say as we're moving into the table. two and a half hour mark about titan about can um anything uh julia de kerno in this movie i understand sometime needle drops are annoying i think she knows how to use a good one and not just for the awesome macarena scene but like uh the fireman dancing scene is so good, that opening tracking

shot, which I still cannot tell if it is actually... It physically cannot be an unbroken tracking shot, because Agat would have to do a whole costume change. Here's what I... My closing thought.

2008 Can Film Festival jury president was Sean Penn. I would like to pay to sit in a room with Apica Topong, where is who was on that jury and just be like, so, what was it like serving on the Sean Penn jury? First of all, that awarded the class as the Palm winner, which I think the class is not a bad movie, but it's like, it's just very funny that like, that's what Sean Penn's jury decided to award.

I don't know, man. I don't know. Maybe that's it. There's more queer. I have a ton of notes on this movie, naturally. There's more to queerness than me being glib saying a bunch of firefighters dancing is pretty gay and actual gender, you know, there's the whole bit of Alexia while pregnant puts on this old doughty dress. I love that. And then is literally in a closet.

Is literally in a closet. Is putting on this dress trying to adopt this idea of motherhood and femininity. And then it turns out that age. Vincent's son had put on a dress, and Adrian was probably a little gay boy, and you know that Vincent is actually just like a nice dad. There's like interesting queer stuff throughout this movie that's kind of unexpected. I think there's a certain level to this movie that the uber violent first half and then the touchy-feely back half, the impact of the violence is so hard. It's not just that, like, things are gross, but, like, this is a hard-hitting, violent movie in the first half.

And I think there's a level to that that makes the audience more vulnerable to the emotional stuff in the end that the movie can actually affect you emotionally. Yeah. The inheriting of things from children, the father inherits murder because of the, you know, it's not just, like, children accepting or being passed down things from their parents. It's interesting that Vincent is passed down murder by Alexia

because of the firefighter who's trying to be like, you know, this is not your son. Yeah. Who then dies in the fire, yes? Yes. Yeah. He also inherits the baby who, is that baby going to be a serial killer because that baby is half car?

Are all cars inherently murderous? Is this a... Or is this a new future where we can find, balance between our emotional selves and our more hardline selves. Is that Cadillac going to come driving around at some point looking for parental rights for its baby? Is that Titan too? Tutan. Teton, aka alternate title, drive my car. Wow, Teton could be called drive my car, but drive my car could not be called Teton. Interesting. I will say, Also, listeners, if you are looking for just, like, a fun thing to, like, while away the time if you're bored for whatever, go and look at the list of Can Film Festival jury presidents and then line that up with the movies that won the Palm those years.

Oh, yeah. It's like a thing that if you are a... The Normies all select the Freco movies, and the Freakos select all the Normie movies. Yeah, all of the, like, great directors give bad Palm wins. Stephen Freer's giving the palm to four months, three weeks, and two days is incredible. The year that Elephant won, the jury president, was this French opera theater director, Patrice Chiro. And it's just like... Patrice Schroro's done movies.

Well, he's credited here as opera and theater director, so... But, like, the blue is the warmest color palm was given by Stephen Spielberg. Wow. Yeah. Should I say that again? Do I sound stupid? saying Patricia Roe. No, you don't sound stupid.

It sounded like how stupid. All right, anything else? Um, uh, you know what? Good movie. Good movie. Good movie. Weird movie. Good movie. Good movie. All right. Should we move on to the IMDB game? Let's do it. All right, Chris, what is the IMDB game?

Every week, we end our episodes with the IMDB game where we challenge each other with an actor or actress to try to guess the top four titles that I MDB says they are most known for. If any of those titles are television, voice-only performances, or non-acting credits, will mention that up front. After two wrong guesses, we get the remaining titles release years as a clue. That's not enough. It just becomes a free-for-all of hints. Free for all of hint.

All right. Chris, would you like to guess first or give first? Uh, I'll give first. All right. So I went into the cast of Julia DeCurno's Alpha. No, I did not choose Emma Mackey. Don't know what Emma Mackey is doing in a Julia DiCirno movie, but we will find out soon. I chose none other than the buzzed-about Tahar Rahim.

Oh, boy. Okay. Well, a prophet. A prophet. Correct. The Mauritanian. The Mauritanian, correct. Madam Webb?

Madam Webb, correct. Oh, my God. All right. Three-for-three on Tahar Rahim. Um, now we run into the problem. Where else? The thing is, Tahar Rahim works. Like...

Sure does. He really, really does. Um... We've done Tahar Rahim movies. We have. Well, one of the ones that we've done is Mary Magdalene. Is it Mary Magdalene? Incorrect.

Damn it. He's good in Mary Magdalene. Okay. Um... Ah, right. What else is he in? Is he in any other odiards? Um, uh, right. struggle to come up with another movie that I've seen. You could always just guess a Jacques Odiard. That's true.

That is true. I will guess I know he's not in it, but the Sisters Brothers. Sisters Brothers, incorrect. This is not a Jacques O'Diard movie, but this is a director What year? 2013. Okay.

This is a director whose name we mentioned this episode because this director was also in competition. with Julia DeKerno. Oh, interesting. Sean Penn. Not show. Yes, the Tahar Rahim Sean Penn directed vehicle.

I mean, honestly, would not shock me. Not a Wes Anderson. I don't think he's been in a Wes Anderson. Ashgha Farhadie? Yes. A hero? Not a hero. It's 2013. Oh, 2013. Okay. So, 2013 would have been, oh, it's the one who's in title I can never think of.

Because the separation is 2011. Yes. So, this is a movie that played can competition and won an acting prize. It's like the something, right? It's like the... It is the something. It's not the diplomat. It's not the... Let's say you were in the animated picture, Anastasia, and you were taking a journey somewhere. The past.

The past. Thank you for walking me to the door of that. Okay. All right. Thank you. Thank you for that. I'm going to give you one. I have an easy one and a hard one.

Which one would you like? I've been so nice to you this episode. You should give me an easy one. Okay. And we are also past two and a half hours. Okay, so Power of the Dog was the movie that won Best Director at the Basta's the year that Julia Ducrenau was nominated for Teaton. One of the not major stars, but somebody who exists is eternally standing on a tennis court in that movie for me. Thomas and McKenzie.

Thomas and McKenzie really did show up to that set to like bake biscuits for two scenes. Um, Thomas and McKenzie is there. Ooh, I wonder if Leave No Trace is there because she would have won awards for that. I'll say Jojo Rabbit first. Correct. To just get on the board. I will say Leave No Trace. Correct. Leave no trace.

Okay. Um, last night in Soho. Yes, three for three. Ooh. It should be Eileen, but it's not Eileen. because Eileen is like the movie where people are like Thomas and McKenzie

doing another one of these but it's a good Thomas and McKenzie doing another one of these Um I mean she is the title character for Eileen now I'm talking myself into guessing I mean the power of the dog

is also a Best Picture nominee She is the Titular rule. She is the power of that dog. She, what's the other one? She's done animated voices before. Oh, you would have told me it was a voice. I would have.

No, once, I'll say the power of the dog. Not the power of the dog, strikeler. Okay. No perfect score, unfortunately. I just know it's not Eileen. Um, what else do we have Thomason in? She's been in Fine, I'll say Eileen.

Not Eileen. All right. So you get a year. Your year is 2021. Okay. So the year we're talking about. Which would have been last year of so, last night in Soho and Power of the Dog. Was this a festival movie?

No. Okay. So she wasn't at like the same festival for it. No. But what, like, Wounded Bird was she playing in this movie? You're smiling like I should know. You're going to be so happy. Yeah, yes.

Okay. Because this is a big movie in 2021. Yeah. It's an awardsy movie. No. Okay. What were big non-awardsy? movies in 2021. Now

2021 being what it was Big was still relative in terms of like you know coming out of the pandemic. She's not like in Eternals somehow. No. So it's like a mid-range movie that was given some significant box office release. Yes.

It was a... I think we are in the stage of finally forgetting what these movies are. No, this one. worth remembering. Is it a franchise? No. Worth remembering. It's not a franchise,

but the filmmaker is sort of a franchise unto themselves. IP? No. Who would that be? Because then she's already working with a bunch of those that year. Is it, it's not Spielberg.

No. That's not this year. Is it, what genre are we dealing with? Um, sci-fi. Okay. Thriller. Sci-fi thriller.

That's not IP. that a major director did. Sci-fi, but don't think of, like, space. Right, it's like, um, Orwellian. Not quite, but you're not totally off. Is she like a robot of some kind? No. Oh, this is, um...

No, it's not. not that. I was thinking of the outfit for a section and it's not the outfit. No. Is it British? No, it's American. Dang. She's not the one in the outfit, right? That's Zoe Deutsch. No.

I'm just trying to think of movies from that time that were neither awards movies. I really love this movie. I had such a good time with this movie. Is it based off of a book? even. I weirdly think it might be, although Because it's

fully original, released in 2021, no awards, but it also doesn't sound like even a box-office. It's based on a graphic novel. And it's not last night in Soho. You already got last night in Soho. I know. That's what I'm saying. I really may be.

line from this all the time. Really? Yeah. In 2021. Yeah. In the multi-step process of getting us back on track is a culture going back to movies. One of the things that was necessary was that we had to start I can't say it. There's one thing that if I say it, you'll get it right away.

This was a crucial movie to sort of getting us back on track in terms of getting the movies back in that like the, it was, it got us talking about a movie again. Because it was meaned? Yes. Quite heavily. And I'm guessing I'm guessing I'm. quote of me. Oh, it's old! Yes! Can't believe I found this place online. Wow. She is, she sure is an old.

She sure is. Old uses her weird little quality, perhaps as good as any other movie does. Can you believe I found this online? Can you believe I found this online? You literally almost called it a mid-sized movie and I almost burst out laughing because of that size today. Old is so good. I love that movie Old is so fine But I loved the culture around old I love that movie All right

Better Than Trap is old All right That's all That's it Thank you Listeners for Sticking with us I know this is a long episode

I know our May miniseries episodes Are always long We hope you appreciate them And we hope you are excited For Festival Fiva An Alpha and alpha and can and next time we we find you we will find you in the canals of Venice all right um that is our episode if you would like more this head oscar buzz you can check out

the tumbler at this at oscarbuzz dot tumbler.com you should also follow our Instagram at this head oscar buzz and our patreon at this had at patreon.com slash this had oscar buzz Chris where can the listeners find more of you? Letterbox and blue sky at Chris V File. I am on letterboxed and blue sky at Joe Reed, read spelled R-E-I-D. You can also subscribe to my Patreon exclusive podcast out in the films of

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