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This week, Erich and Krishiv put their cards on the table in discussion over Steven Soderbergh’s masterpiece caper film, Ocean’s Eleven (2001). They discuss the vacuum left in the wake of the (arguably) disappearing myth of the movie star, in one of the century’s most stacked lineups. A picture that pays homage to heist films of yesteryear on vibrant celluloid, join them as they discuss a globalized, aesthetic paradigm where all parties - from directors to superstars to studios across the world - try to cash their chips in their windowless symposiums, be they cinemas or casinos.
By Erich Mayerhofer and Krishiv ParmarThis week, Erich and Krishiv put their cards on the table in discussion over Steven Soderbergh’s masterpiece caper film, Ocean’s Eleven (2001). They discuss the vacuum left in the wake of the (arguably) disappearing myth of the movie star, in one of the century’s most stacked lineups. A picture that pays homage to heist films of yesteryear on vibrant celluloid, join them as they discuss a globalized, aesthetic paradigm where all parties - from directors to superstars to studios across the world - try to cash their chips in their windowless symposiums, be they cinemas or casinos.