For the final episode in the current season I'm speaking to leading academic on Black British and African American film, Dr Clive Nwonka. Clive's latest book Black Boys: The Social Aesthetics of British Urban Film is the first to have been written on the subject. In it, Clive argues the need for this often overlooked and denigrated genre to be properly recognised in its own right - so that it might take its rightful place in arts and culture. Clive shares his insights on the social and political history from the 70s and 80s that fed into the emergence of British Urban projects in the 2000s; how Black representation has suffered a default construction around negative portrayals of Black culture and social crises; how the TV series Top Boy and the era of streaming heralded a new - and much needed - platform for British Urban storytelling; and much much more. We also discuss Clive's programme of films inspired by James Baldwin at London's Barbican in May 2024.

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The much maligned Rom-Com is a perfect example of how a whole film genre can be dismissed by dint of who the stories are for, and who they are about. (Clue: it's not men!). After a classy start in Hollywood, Rom Coms - and their sister genre 'Chick Flicks" - have been used to dismiss a particular type of love story, and anyone who's dared to enjoy them. And so the Guilty Pleasure was born. Thankfully times are changing, and there's a realisation that many films that have been overlooked - at best! - might be worth revisiting in our more enlightened times. Step up this week's guest, critic Corrina Antrobus, who's new book, a 'manifesto in 100 films' entitled "I Love Rom-Coms and I am a Feminist", is released in August. We discuss how lighthearted love stories haven't been given their due over the years and how that's not unrelated to who makes and watches them. And how the genre has only recently begun to recognise love beyond the white heterosexual gaze. Corrina shares her insights from rewatching films spanning 100 years of cinema and together we celebrate a genre which - unlike all others - has a long and strong history of female filmmakers. To preorder Corrina's book, click here: https://geni.us/ILoveRomcoms

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I return to the subject of critics versus influences this week, following my enlightening chat with critic and industry influencer Ashanti Omkar back in Season 1. Influencers are increasingly being used by film publicists to provide exposure and hype ahead of film releases - especially Blockbusters. But has it gone too far? Some critics think so - and there was industry outrage last summer when many felt their freedom to express genuine reactions to the film Barbie was being curtailed by publicists. I wanted to have a reasoned debate about this from the perspective of a long-time critic, and Anton Bitel was the man for the job. With a balanced recognition about the reality of criticism as an ever-changing discipline, and the authority to call-out where he sees influencers and their role in marketing impinging on critics' editorial independence, Anton provides an important and interesting perspective on screening etiquette, the reality of modern film promotion, the scourge of 'star ratings', and why critics need to not assume spoilers are always a bad thing. #Barbie

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In the hierarchy of film genres, those aimed at kids, or "family" movies, don't tend to be up there. Even though from Toy Story, to Finding Nemo to Snow White and her Dwarves, there's a long history of iconic movies that have defined the childhoods of generations. Kids' films are also a minefield for parents - discerning what is age appropriate and what to expect from the somewhat confusing certification. Film Critic Jo Berry has carved out an important and much needed niche reviewing family films on her Movies4Kids website. There, parents can get the lo-down on specific causes for a concern so they can make informed and responsible decisions - as well as identify the movies that won't bore them to tears as chaperones! The British Board of Film Classification (BBFC) recently released the findings of their latest five year public survey, which revealed what parents are currently concerned about when it comes to their kids' media consumption. Jo shared her thoughts on this, and a lot of very funny and enlightening stories about her life navigating kids' films and their target audience. #KillBill #PawPatrol #ToyStory #ABugsLife #Pixar #Disney #Wish #Paddington #Paddington #FindingNemo #Armageddon #MrBean #ThomasTheTankEngine #DespicableMe #Tarantino #HItchcock #Oscars #TheWizardOfOz #ChittyChittyBangBang #NormOfTheNorth #TheChildCatcher #SnowWhiteAndTheSevenDwarves #CruellaDeVille #GlennClose #Bambi

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Perhaps it's rash of me to assume you're on board with my narrative about inequalities in film criticism and its skewed white male demographic. Perhaps you need to hear from someone at the coalface of data who can confirm my claims - and add to them with their own reputable research. If so, then this week's conversation with Stephen Follows should be just the ticket. Stephen's a data researcher and educator in the film industry whose work focussing on patterns and trends has been widely published and recognised. Stephen's also written and produced numerous short films and two feature films. He co-founded Catsnake, a story agency serving non-profits, and serves as chair of the Central Film School. An utter pleasure to chat with Stephen about his research on the continued lack of women in criticism, his theories on why the inequalities remain pervasive and persistent, and what he thinks might improve it.

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We're back to sex again, because let's face it, it's a key area where inequality and abuse can take place onscreen. However, since the Weinstein furore, more attention is being paid to how intimate scenes are filmed, and how actors are supported in these vulnerable spaces. So how about changes in the way that audiences and critics are perceiving and discussing the sex and other intimate scenes they watch? Are we responding to this new era of consent with respect and appreciation? To find out I went to the top woman in this field. Ita O'Brien - who's the UK's leading Intimacy Practitioner in film, TV and theatre. Ita shared her experience of choreographing these scenes - and the politics of production she has to negotiate; the way you can never anticipate what audiences will pick up on; and how onscreen representations of sex and bodies can be a powerful way to help us all better relate to our desires. #NormalPeople #IMayDestroyYou #SexEducation

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This week I talk to critic Gabriella Geisinger about the representation of Jews onscreen, prompted by several big movies in the past year that provoked debate about authentic casting. I'm talking of course about Maestro, Oppenheimer and Golda. I reached out to Gabriella after reading her insightful article about Bradley Cooper's prosthetic nose and the debate that it, and his casting in the role of Leonard Bernstein, prompted. I wanted her perspective on non-Jewish actors being cast in major stories about real life Jews, and what that says about the status of Jewish actors and the opportunities then available to them when the tasty roles get taken by gentiles. For context, our conversation took place last September before the events in the Middle East the following month. We also talked critic identity and how this naturally evolves in line with the evolution of audiences to embrace and value different perspectives in the critique they seek. Which as you know, I'm all for! Here's the link for Gabriella's article discussed: https://www.msn.com/en-gb/lifestyle/other/bradley-coopers-fake-nose-in-maestro-has-sparked-a-complicated-but-necessary-debate/ar-AA1fobmN #Maestro #Oppenheimer #Golda #TheEyesOfTammyFaye #TheWhale #TheMarvelousMrsMaisel #PunchDrunkLove #TheFabelmans #BradleyCooper #CillianMurphy #AdamSandler #RachelBrosnahan #OscarIsaac

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Film festivals are more than just red carpet glamour. They're THE launchpad for movies, and the difference between a positive critic reaction versus an across the board trashing can make or break a film. But whilst there are a much more representative cohort of critics working today, it's still the same faces and traditional demographic attending the big festivals. Which means those big first reviews that can decide whether a film gets picked up for distribution and ends up on cinema screens - or not - are being written by the same narrow demographic, which potentially continues to exclude films that aren't traditionally valued. PR and film festival strategist Mia Farrell has worked for most if not all of the big festivals over the years so she was my go-to expert for a look at the relationship between critics and festivals. What might still need to happen for more films to get a fair shot at success and how exactly do critics play a role in that? #critics #festivals #filmfestivals #paolamalanga

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I'm back for a new season of my two-time award nominated podcast! Kicking off in fine style with critic, author, podcaster, author and film programmer Anna Bogutskaya. Anna's fascinating book Unlikeable Female Characters interrogates nine key tropes of female representation, including the angry woman and the pyscho. We dig into the long history of moralising about how women have been permitted to carry themselves onscreen and offscreen, and how things have been shifting for female creators and their protagonists in recent years. #FatalAttraction #ThelmaAndLouise #PromisingYoungWoman #GoneGirl #UnlikeableFemaleCharacters.

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The two-time UK Independent Award nominated podcast Open To Criticism is back for season 2! And to mark International Women's Day 2024 the trailer goes live and features four awesome women coming up in the season: Critics Gabriella Geisinger and Anna Bogutskaya, onset intimacy co-ordinator Ita O'Brien and Film Festival PR and strategist Mia Farrell. Check out the first episode coming March 15th

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