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Featuring a couple of rather obscure symbols and plot points that films discussed in previous weeks have also used, Ingmar Bergman's 1961 existential drama is at the centre of today's conversation as we contemplate the concept of God's hiddenness.
We also briefly discuss:
The Exorcist (1973)
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This week's episode consolidates on recent discussions about the symbolism of house design and ignoring looming psychological baggage by examining such ideas through the lens of Ang Lee's 1997 suburban drama, The Ice Storm.
We also briefly discuss:
The End of Oak Street (2026) d. David Robert Mitchell
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After we examined a different Alan Parker film also focused on the soul a few week's ago, this week's episode centres on his 1987 crime thriller, Angel Heart, and carries on last week's discussion on living in ignorance of the darker, yet immediately apparent, aspects of human existence.
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Following some recent (rather austere) contemplations on the idea of passing things forward through time, this week's episode takes the conversation into slightly more poetic territory in examining Mike Flanagan's recent profound sci-fi drama, The Life of Chuck.
We also briefly discuss:
Backrooms (2026) d. Kane Parsons
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Following last week's (unrelated) discussions about the concept of deception and films with identical bookends, this week's episode had to centre on Djibril Diop Mambéty's 1973 Senegalese film, Touki Bouki (also known as Journey of the Hyena).
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Being a true film for today in many more ways than one, Christopher Nolan's newest box office hit, The Odyssey, is the focus of this week's episode, igniting contemplation about how much the concept of deception underlies the human condition.
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This week's episode is a well-overdue examination of Curry Barker's theatrical debut, Obsession, which reignites discussions from earlier this year about the potentially self-corrupting nature of wanting.
We also briefly discuss:
Her (2013) d. Spike Jonze
Lars and the Real Girl (2007) d. Craig Gillespie
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In this week's episode, we sit down with the with the founders of the OMNI International AI Film Festival, to discuss all the pressing issues central to current debates concerning AI filmmaking, from intellectual property protection to the democratisation of art-making.
We also briefly discuss:
A Face Only a Mother Could Love (2026) d. Robert Gaudette
Guardians of the Burrow (2026) d. Jodie Heenan
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Following last week's discussions about the elusiveness of certain political ideas, this week's episode contemplates the tension between the experience of socioeconomics versus something more transcendent, through the lens of Alan Parker's 1991 comedy, The Commitments.
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Films for Today returns this week with a refreshed discussion about the seemingly thin line between progressivism and conservatism through an examination of Pixar's 2008 dystopian satire, WALL·E .
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