Cinema in Context

Detective thrillers from great heights. Sarah Watt, Jeremy Downing and William Chen discuss Decision to Leave (2022) and Vertigo (1958). We begin by expressing our reactions to Alfred Hitchcock's Vertigo, with a range of reflections. We discuss the representation of gender and power in the film, while trying figure out what the film is trying to say. We move our conversation to Park Chan-wook's most recent film Decision to Leave, similarly discussing our reactions to the movie. We praise the films visuals and editing, we compare the two films to Film Noir, we discuss the plot details and plot holes of the films, and the performances of the leads.

Sarah Watt, Jeremy Downing and William Chen discuss the films they watched while abroad, jet setting around the world. They discuss the following films: Lapsis (2020); Barb and Star Go To Vista Del Mar (2021); Bridesmaids (2011); Ocean's Eleven (2001); Game Night (2018); The Rehearsal (2022); The Lost City (2022); Sonic the Hedgehog 2 (2022); the Star Wars saga; Succession (2018-); Peter Rabbit 2: The Runaway (2021); and Jaws (1975).

Florence Pugh thrillers. Sarah Watt, Jeremy Downing and William Chen discuss Don't Worry Darling (2022) and Midsommar (2019). We begin by talking about our experiences and reactions watching Midsommar, both the first time and any subsequent rewatching. We discuss the film in connection to Hereditary (2018), Sing Street (2016) and A Nightmare on Elm Street (1984). We praise the films writing, structure, direction and performances. We pivot to talk about Don't Worry Darling, starting with the fundamental building blocks of what this film is trying to do: the plot, the emotional narrative and the structure. We discuss the film in connection to The Truman Show (1998), The Giver (2014), The Matrix (1999), Mother! (2017), One Cut of the Dead (2017) and Parasite (2019). We discuss the exploration of sex, the range of characters and the logic of character beats.

Jam-packed genre films with Chris Hemsworth. Sarah Watt, Jeremy Downing and William Chen discuss Thor: Love and Thunder (2022) and Cabin in the Woods (2011). We begin by sharing our honest reactions to Thor: Love and Thunder, especially how ridiculous film is - comparing to Doctor Strange in the Multiverse of Madness (2022), Free Guy (2021), Black Panther (2018) and Chitty Chitty Bang Bang (1968). We praise the performances of Russell Crowe, Christian Bale and Chris Hemsworth. We criticise the characters played by Natalie Portman and Tessa Thompson, considering their representation in regards to sexism and queer-baiting. We then pivot conversation to talk about Cabin in the Woods, both our first reactions a decade ago and our rewatching reactions. We praise the cast of Bradley Whitford, Richard Jenkins, Amy Acker, Chris Hemsworth, Anna Hutchinson, Kristen Connolly and Fran Kranz. We consider the film in connection to other Joss Whedon work, including Buffy the Vampire Slayer (1997-2003), Dollhouse (2009-2010), and Much Ado About Nothing (2012). We return back to Thor and consider how the two films successfully achieve their intentions. We compare the films to Get Out (2017), Scream (2022), Batman Returns (1992), Hunt For the Wilderpeople (2016), and Boy (2010).

Baz Luhrmann's oeuvre. Sarah Watt, Jeremy Downing and William Chen discuss the most recent Luhrmann film Elvis (2022) and his first film Strictly Ballroom (1992). We begin by discussing Baz's visual style, especially his use of computer generated images. We move into a discussion of Elvis and how successful we each feel the film was. We move into a conversation of Strictly Ballroom, with William watching it for the first time, Sarah for the second time and Jeremy for the... countless next time. We refer to Romeo + Juliet (1996), Moulin Rouge! (2001), Australia (2008), The Great Gatsby (2013) and The Get Down (2016). We also connect Strictly Ballroom to Christopher Guest films, like Waiting For Guffman (1996), and Australian classics Muriel's Wedding (1994), The Adventures of Priscilla, Queen of the Desert (1994). We discuss the nostalgia that both Elvis and Strictly Ballroom evokes. We connect to Sam Neill's concept of the Cinema of the Unease and consider how such a reading of New Zealand film might connect to Australian cinema of the same time. We further connect the film to Cosi (1996), Quills (2000) and Lantana (2001).

Looking back at the key films in our lives. Sarah Watt and Jeremy Downing are joined by special guest Dan Eichblattt to talk about the movies that made us: key films that have had an impact on our lives. We've organised these films into five categories:

Film you’ve watched the most:

Sarah: The Holiday (2006)

Dan: Beetlejuice (1988)

Jeremy: Strictly Ballroom (1992)

Film anyone can enjoy:

Dan: Indiana Jones and the Last Crusade (1989)

Sarah: Game Night (2018)

Jeremy: Back to the Future (1985)

Film you would suggest to a burgeoning cinephile:

Jeremy: 12 Monkeys (1995)

Sarah: Goodfellas (1990)

Dan: Donnie Darko (2001)

Film you see yourself in:

Dan: Weekend (2011)

Sarah: The Talented Mr. Ripley (1999)

Jeremy: C.R.A.Z.Y. (2005)

Favourite film of all time:

Sarah: Heat (1995)

Jeremy: Alien (1979)

Dan: The Witch (2015)

80s films return! Directed by Joseph Kosinski. Sarah Watt, Jeremy Downing and William Chen discuss Top Gun: Maverick (2022) and TRON: Legacy (2010). We begin by welcoming Sarah back to the podcast, hearing about two films she saw on her travels: The Unbearable Weight of Massive Talent (2022) and The Glance of Music AKA Ennio (2021). We begin our discussion by reflecting on our experience watching TRON: Legacy, especially considering the cinema we saw it in, 3D cinema technology and the original TRON (1982). We discuss the incredible score by Daft Punk, comparing it to Mad Max: Fury Road (2015), Inside Out (2015) and Blade Runner (1982), and the impressive production design and visual effects in the film. We then move the conversation to our experiences watching Top Gun: Maverick. We discuss the strengths of Top Gun: Maverick, particularly the strength in storytelling, the cast of characters, the emotional core of the film and the average character played by the brilliant Jennifer Connelly. We highlight the charisma of Tom Cruise, Miles Teller and Joh Hamm, as well as the careful inclusion of Van Kilmer. We focus on the religious imagery in both films, especially messiah figures. We also talk about the de-ageing in TRON: Legacy and how it holds up to other films with similar effects.

Multiverse motherhood films. Jeremy Downing and William Chen are joined by Billy Revell-Siō to discuss Everything Everywhere All at Once (2022) and Doctor Strange in the Multiverse of Madness (2022). We begin by discussing the horror genre elements of Doctor Strange in the Multiverse of Madness, particularly harking back to the previous films of Sam Raimi: Evil Dead, Evil Dead 2 and Army of Darkness. We talk about the film in context of other Marvel content, particularly Spider-Man: No Way Home (2021), Doctor Strange (2016), Spider-Man: Far From Home (2019), WandaVision (2021), and Captain America: Civil War (2016). We move our discussion to Everything Everywhere All At Once, starting by considering the film alongside Daniels', the directors, previous film: Swiss Army Man (2016). We explore the pertinence of this film, especially in how it speaks to the tensions of today and connected to each hosts' emotions during and after the film. We praise the cast, especially Michelle Yeoh. We talk about the film in connection to Tenet (2020), In the Mood for Love (2001), and Turning Red (2022). The discussion focuses on the gender and queer representation in the film, particularly in relation to parental figures. We return to Doctor Strange 2 and discuss it in comparison to the Spider-Man films, X-Men series, and the range of other properties cameo'd in the film. We discuss the need for a story, connected it to Jurassic World: Dominion (2022), Thor: Love and Thunder (2022), and What If...? (2021). We finish with final thoughts and William lists off the various influences he spotted in Everything Everywhere All at Once: The Matrix (1999), Terry Gilliam, Jackie Chan, Stephen Chow, Michel Gondry, Satoshi Kon, Douglas Adams and Terry Pratchett.

Female-led Pixar films. Jeremy Downing and William Chen are joined by Phoebe Shum to discuss Brave (2012) and Turning Red (2022). We begin by discussing Turning Red, especially the strengths of its themes and confidence in setting. We turn to Brave and consider the strength in the visuals and animation, discuss the connections to Tangled (2010) and Frozen (2013), the structure and storytelling in the film, and the history of the film's production. We talk about the history of Pixar and Disney Animation Studios, and the distinctions between the two studios. We return to Turning Red and consider it in regards to connections with films like Everything Everywhere All At Once (2022), Asian stories and storytelling on screen, and the television series Russian Doll (2019-). We talk about the representation in Turning Red, especially in the animation style representing real people and how they capture a specific age group authentically.

Animated refugee biographies. Sarah Watt, Jeremy Downing and William Chen discuss Flee (2021) and Persepolis (2007). We begin by discussing Persepolis and our experiences of seeing the film, rewatching it recently and reading the comic. We discuss both films and their presentation of the refugee story and the cost of freedom, especially with both films' protagonists being separated from their families. We discuss the lesson learned from both films and how we can apply provocations to our own contexts, especially the internal struggles of the central character Amin in Flee and his journey with a key lie that keeps him alive. We talk about the pop cultural connections in the films, from Jean-Claude Van Damme, Bruce Lee, Iron Maidan, Aha's "Take on Me", Blood Sport and Terminator 2: Judgement Day. We then discuss the sexuality presented in both films, with female sexuality in Persepolis and homosexuality in Flee. This moves into a discussion of how these films are accepted or rejected in different parts of the world and sometimes in surprising ways. We close our discussion with a conversation about the stylistic flourishes of both films, particularly their animation styles.