This week we are joined by Audra and Elisa from Culture Colander. They bring an American perspective to a very British class system as we dissect Emerald Fennell’s new film Saltburn, i.e. The Talented Mr Creepley.

References
Listen to and follow @culturecolander
Interview with Emerald Fennell and the cast of Saltburn
‘The sons and daughters of The Talented Mr Ripley’ by Manuela Lazic for The Ringer
The New Yorker Radio Hour episode where Emerald Fennell talks about her upbringing

Film Pharmacy
Friends Best Thanksgiving Moments
The Greatest Showman (2017) dir. by Michael Gracey
Dan in Real Life (2007) dir. by Peter Hedges

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Edited by Lily Austin
Original music by James Brailsford
Logo design by Alfie Garland

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Aesthetica short film festival, the Hollywood blacklist, and one of its scripts, Todd Haynes’ new movie May December, are all up for discussion this week. Expect sweeping generalisations about short films and a tabloid-esque compare-and-contrast between May December and the real-life scandal that inspired it.

References
Aesthetica Short Film Festival
New York 81 (short 2022) dir. by Jannicke Systad Jacobsen
Mary Kay Letourneau and Vili Fualaau on Barbara Walters
John Lahr’s piece on Todd Haynes for The New Yorker
Adam White’s interview with Todd Haynes for The Independent
The Black List

Film Pharmacy
Inside Llewyn Davis (2013) dir. by Joel and Ethan Coen
Whiplash (2014) dir. by Damien Chazelle
Jodorowsky’s Dune (2013) dir. by Frank Pavich
Moonage Daydream (2022) dir. by Brett Morgen
Lady Boss: The Jackie Collins Story (2021) dir. by Laura Fairrie

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Edited by Lily Austin
Original music by James Brailsford
Logo design by Alfie Garland

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In honour of new release Fingernails, we talk dystopian romances: why they work, when they don’t, and which animal we’d like to be turned into if we didn’t find love.

References
Fingernails director Christos Nikou on modern dating by Lou Thomas for BFI
Sheila O’Malley’s review of The Lobster
Interview with Yorgos Lanthimos on The Lobster by Mekado Murphy for The New York Times
Spike Jonze on Her by Logan Hill for The New York Times

Film Pharmacy
Die Hard (1988) dir. by John McTiernan
The Godfather (1972) dir. by Francis Ford Coppola 
Atonement (2007) dir. by Joe Wright
Fight Club (1999) dir. by David Fincher

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Edited by Lily Austin
Original music by James Brailsford
Logo design by Alfie Garland

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This week James drags us to the BFI IMAX for Gravity’s 10th year anniversary re-release, on a mission to prove that the cinematic experience is worth leaving the house for.

Film Pharmacy
The Full Monty (1997) dir. by Peter Cattaneo
Pride (2014) dir. by Matthew Warchus

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Edited by Lily Austin
Original music by James Brailsford
Logo design by Alfie Garland

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With DiCaprio and De Niro in fine gurning form and Thelma Schoonmaker on the edit, the gang’s back together for Martin Scorsese’s brand new film. But is it worth the 3hr26m runtime?

References
Killers of the Flower Moon: Oil, Money, Murder and the Birth of the FBI by David Grann (the book the film is based on)
Interview with Leonardo DiCaprio and Lily Gladstone for Critqal
Martin Scorsese’s companion films list on Letterboxd

Films and TV shows about indigenous communities we recommended:
Dances with Wolves (1990) dir. by Kevin Costner 
Smoke Signals (1998) dir. by Chris Eyre
Reservation Dogs (2021-2023) created by Sterlin Harjo and Taika Waititi
Call Me Human (2020) dir. by Kim O'Bomsawin

For more, read Corinne Rice’s ‘8 Essential Films of the Native American Experience’

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Edited by Lily Austin
Original music by James Brailsford
Logo design by Alfie Garland

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It’s that spooky time of year and Practical Magic’s 25th anniversary. So this week we take a whistlestop tour through witch movie history to our final destination: the 90s (cinema’s hexiest decade?). 

References
‘Screaming, Flying, And Laughing: Magical Feminism’s witches in contemporary film, television and novels’ by Kimberly Ann Wells
‘Witches, “bitches” or feminist trailblazers? The Witch in Folk Horror Cinema’ by Chloe Germaine Buckley
‘“We are the weirdos”: how witches went from evil outcasts to feminist heroes’ by Anne T. Donahue for The Guardian
‘Magical Women, Witches & Healers’, Frames Cinema Journal, issue 16
The Evolution of Black Witches on Screen
‘How Hollywood Has Failed Black Witches’ by BreAnna Bell for Variety
‘Celebrating the magic of black witchiness in entertainment’ by Claire Lawrence for offcultured.com
‘Thirstory: The Real Witches of Hollywood’ by Mitchell Nugent for Interview
George Miller on directing The Witches of Eastwick
Cher on The Witches of Eastwick
Rachel True on The Craft
‘The Real Curse in Practical Magic is Heterosexuality’ by Natalie Adler for Vice

Film Pharmacy
Ikiru (1952) dir. by Akira Kurosawa
Jiro Dreams of Sushi (2011) dir. by David Gelb

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Edited by Lily Austin
Original music by James Brailsford
Logo design by Alfie Garland

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To any Swifties listening - hello, welcome. To any non-Swifties, please forgive us. We couldn’t resist discussing the music-movie partnership of an era. So this week we take the opportunity to ask the question: do concert films work?

We, of course, dive into Taylor Swift’s Eras Tour  but also compare it with another concert movie that is currently in cinemas: Stop Making Sense, A24’s re-release of the 1984 Talking Heads documentary. We also watched Amazing Grace, the long-lost Sydney Pollack film capturing the recording of Aretha Franklin’s gospel album of the same name.

References
Patrick Willems on Taylor Swift as a director - a must for anyone in the middle of the venn diagram of film and Swift lovers
The origin story of Stop Making Sense by Jonathan Gould for The New Yorker
‘Is the worldwide release of ‘Taylor Swift: The Eras Tour’ a game-changer for distribution?’ by Jeremy Kay for Screen Daily
Q&A with Alan Elliott, the producer who got Amazing Grace finally made
The Story behind Amazing Grace by Jim Farber for The Guardian

Film Pharmacy
Lock, Stock and Two Smoking Barrels (1998) dir. by Guy Ritchie
Bridget Jones Diary (2001) dir. by Sharon Maguire

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Edited by Lily Austin
Original music by James Brailsford
Logo design by Alfie Garland

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It's the 30 year anniversary of Dazed and Confused (1993), Richard Linklater's ode to 70s adolescence. And he wasn't alone - many of the 90s greatest films were set in the last vinyl decade. Besides the dramatically pointy collars and avocado bathroom sets, what was the appeal? To answer the question, we take a closer look at Linklater's coming-of-age breakout hit, Cameron Crowe's career-defining Almost Famous (2000 - ok not quite 90s, but as good as) and our favourite Paul Thomas Anderson movie, Boogie Nights (1997).

References
An Oral History of Boogie Nights
‘Almost Famous: The Oral History of a Golden God’s Acid Trip’ by Ilana Kaplan for the NY Times
‘Dazed and Confused Was the Definitive Movie About the '90s, Not the '70s’ by Stephen Marche for Esquire
Philip Seymour Hoffman on Acting

Film Pharmacy
Salò, or the 120 Days of Sodom (1977) dir. by Pier Paolo Pasolini
Fame (1980) dir. by Alan Parker

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Edited by Lily Austin
Original music by James Brailsford
Logo design by Alfie Garland

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Inspired by new release Past Lives, this week we look at love stories about what could have been. We discusses the enduring influence of 90s clanger Sliding Doors and the indie classic, Eternal Sunshine of the Spotless Mind.

References
Past Lives director Celine Song explains ‘in-yun’
'Break-Up' - This American Life's podcast episode
I don’t want to get over you by The Magnetic Fields
‘From Script to Screen: Charlie Kaufman on Eternal Sunshine of the Spotless Mind’  by David S. Cohen for Scriptmag.com

Film Pharmacy
The Wizard of Oz (1939) dir. by Victor Fleming
The Fall (2006) dir. by Tarsem Singh
A Philadelphia Story (1940) dir. by George Cukor

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Edited by Lily Austin
Original music by James Brailsford
Logo design by Alfie Garland

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We return to our favourite debate: monogamy vs. polyamory. This time with love triangles as the point of entry.

We discuss new release Passages' somewhat bleak version of the shape, and look back at more optimistic portrayals, including Woody Allen's Spanish holiday fantasy Vicky, Cristina, Barcelona and the pre-code shocker Design For Living. 

Lily also gives the lowdown on (the auteur behind The Room) Tommy Wiseau's new release, Big Shark. 

References
‘The Ethical Slut’: Inside America’s Growing Acceptance of Polyamory by Anna Fitzpatrick for Rolling Stone
Design for Living New York Times review from 1933‘
Ernst Lubitsch Made the Hollywood Comedy Sublime’ by Alex Ross for The New Yorker

Film Pharmacy
Night Watch (2004) dir. by Timur Bekmambetov
Cold War (2018) dir. by Paweł Pawlikowski

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If you love what we do, please like, subscribe and leave a review!

Edited by Lily Austin
Original music by James Brailsford
Logo design by Alfie Garland

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