Satyajit Ray's first installment of the Apu Trilogy, reigns as one of the greatest depictions of humanity ever recorded on film.  But does it live up to all of the hype?  Yes.  It does.  What a stupid question.

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If you'd like to watch ahead for next week's film, we will be discussing and reviewing Toshiya Fujita's Lady Snowblood (1973).

“Punk rock died when the last kid said, ‘Punk’s not dead… punk’s not dead.’”  Or maybe it died when Los Angeles punk frontman Jeff Bailey had to duck over the border into Mexico after stealing $1,000 and a handful of quaaludes from a club owner’s safe.  Directors Allison Anders, Dean Lent, and Kurt Voss question all this and more in this classic independent film tracing the struggles of the band members, hangers on, and wife and child who are left behind.  Good music too.

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If you’d like to watch ahead for next week’s film, we will be discussing and reviewing Satyajit Ray’s Pather Panchali (1955).

You know those movies that are about a young person full of promise, who comes to the big city in search of fortune and fame, but inescapable poverty and exploitative gatekeepers drive them to crime, oh and these movies also have a really good soundtrack?  Well, this is one of those.  And it’s probably the best version of all them, thanks to Jimmy Cliff.

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If you’d like to watch ahead for next week’s film, we will be discussing and reviewing Allison Anders, Dean Lent, and Kurt Voss‘ Border Radio (1987).

Brian De Palma's Philadelphia-based thriller, steeped in paranoia-based conspiracy, pits a low-rent audio specialist (John Travolta) as an "ear witness" to an assassination.  He soon convinces a black-mailer (Nancy Allen) whose in over her head as his accomplice.  But deranged killer (John Lithgow) is out to tie off all loose ends.  All this and split screens!

If you'd like to watch ahead for next week's film, we will be discussing and reviewing Perry Henzell's The Harder They Come (1972).

Director Agnès Varda leads the viewer through over a decade in the lives of two friends, Apple and Suzanne, as they seek fulfillment and freedom, struggling against the demands of conservative French society over their bodies and presumed gender roles.  An emphatic and highly pragmatic celebration of liberal attitudes toward sex and abortion rights, the film sets itself the lofty task of trying to set an example for women struggling against similar political and societal restrictions in the twentieth century.

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If you’d like to watch ahead for next week’s film, we will be discussing and reviewing Brian De Palma’s Blow Out (1981).

Czech director Juraj Herz takes us on a dreamlike journey into madness of an employee at a Prague crematorium both before and during the German invasion leading to the Second World War. Or is he really trying to account for the madness of collaboration in a nation struggling with its own involvement with the holocaust? Well, we certainly can’t say, but this film certainly seems to ask that question.   *Come support the podcast and get yourself or someone you love a random gift at our merch store.  T-shirts, hoodies, mugs, stickers, and more!   If you’d like to watch ahead for next week’s film, we will be discussing and reviewing Agnès Varda’s One Sings, the Other Doesn’t (1977).

You know those drab, mid-century French films where pale, thin guys in suits stare at each other with blank, unreadable expressions on there faces while a voiceover drones on describing this inaction with a slight undercurrent of pseudo-nihilism?  But, like, it’s somehow super thrilling AND deeply beautiful?  Robert Bresson brings his stripped-down style to this meditative procedural about a despondent, but highly-skilled criminal that set the standard for angsty crime films.

If you’d like to watch ahead for next week’s film, we will be discussing and reviewing Juraj Herz’s The Cremator (1969).

Now wait just a minute here.  Let me try to get this straight.  You mean to tell me that Jimmy Stewart is a new deputy sheriff in town that doesn’t carry a gun, he avoids confrontation with a corrupt saloon owner, and Marlene Dietrich plays a brazen, world-weary singer with a heart of gold?  Well it sure seems like director George Marshall had exactly that in mind in this classic comedy western.

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If you’d like to watch ahead for next week’s movie, we will be discussing and reviewing Robert Bresson’s Pickpocket (1959).

To steal (and completely spoil) Mike’s joke from the very end of this episode: we hope that you’re ready to listen to three men discuss 3 Women.  Because we’re joined this week by Patrick O’Riley from the Vintage Video Podcast, who brings us Shelly Duvall and Sissy Spacek in Robert Altman’s mind-bending, identity-shattering, dream of a film.  Or film of a dream? This is, apparently, up for debate.

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If you’d like to watch ahead for next week’s film, we will be discussing and reviewing George Marshall’s Destry Rides Again (1939).

John Singleton transforms the nostalgia-laden, American coming-of-age tale, establishing the iconic South Central setting at a crucial moment in American history.  Already a political film, the director anticipates the Los Angeles riots and secures gangsta rap as the hub of early 90s culture.

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If you’d like to watch ahead for next week, we will be discussing and reviewing Robert Altman’s 3 Women (1977).