Seventh Row Podcast

Mike Leigh's Tender Loving Care is a film about kind and empathetic people being kind and empathetic. And how rare is that?

In this episode, Alex Heeney asks what tender loving care actually looks like in the film — between friends, family members, and social workers and the people they care for — and what that care can and can't do.

Alex digs into the scenes and filmmaking choices that illuminate those relationships, including the film's use of domestic spaces, what Leigh keeps offscreen, Jacqueline Durran's costumes, recurring scenes of singing, and the opening and closing shots that complicate the film's take on care.

Alex's upcoming film programs:

The Deep Focus: The Worst Person in the World starts October 8.

The Long Take returns in November for the first time in a year.

Get invited to upcoming programs and free events:

Tell me where to reach you at email.seventh-row.com

More from Seventh Row:

Peterloo in Process, Alex's book about Mike Leigh's filmmaking process: mikeleighbook.com

Hard Truths podcast episode

Questions? [email protected]

Instagram: @SeventhRow

What happens when a lonely taxidermist looking for her first human subject meets a lonely man willing to volunteer for the job? Apparently, you get a musical romance.

In this episode, I'm talking about Theo Rhys's Stuffed, starring Jodie Comer as taxidermist Araminta and Harry Melling as Bernie, which had its world premiere at TIFF.

The songs themselves may not be particularly memorable, but Stuffed does something I'm always hoping a movie musical will do: it actually has a reason to be a musical.

I dig into how the film uses song to connect Araminta and Bernie before they've even met, to give us access to feelings they struggle to communicate to each other, and — perhaps most interestingly — when it decides not to let them sing.

Plus: why I nearly walked out of this two-hour taxidermy musical several times…and why I kept sitting back down.

Want to join me for my upcoming free online event on The Worst Person in the World? We'll dig into how the film lets it dawn on us that it's dawning on Julie that her life no longer fits.

👉 Join my email list at http://email.seventh-row.com, and I'll send you an invitation.

A deep dive into Bretten Hannam's At the Place of Ghosts followed by an interview with Hannam.

How do you tell a story about two siblings processing a shared childhood trauma when they can't talk about what happened?

In this episode, Alex Heeney explores how At the Place of Ghosts uses horror elements to make trauma visible, to connect personal memory to larger histories, and to imagine healing through relationships with family, ancestors, and the land.

Alex and Bretten discuss Indigenous storytelling traditions, genre as a translation tool, their visual language, sound design, and the challenges of creating a film where past, present, and future coexist.

Bretten Hannam is a Two-Spirit L'nu filmmaker living in Kespukwitk, Mi'kma'ki (Nova Scotia) where they were raised.

If you're interested in learning more about The Long Arc, check out episode 191: Great films ask for more than a binge. You can also find all the details on our website:

👉 Learn more about The Long Arc here

You can reach Alex on Instagram @SeventhRow or via email at [email protected], if you have any questions.

Why do some shows keep rewarding us years later?

And is there a way to make those rewards come sooner — without having to get older or rewatch ad infinitum?

In this episode, Alex introduces The Long Arc, a new 10-week experience built around the first season of HBO's Looking. She walks through what a typical week looks like, how the live sessions work, why each participant follows a different thread through the season, and how spending time with the same show—and the same group of people—changes the way you watch.

The first season of The Long Arc begins June 30.

👉 Learn more about The Long Arc here

You can reach Alex on Instagram @SeventhRow or via email at [email protected], if you have any questions.

Joachim Trier's Oslo, August 31st starts with a sequence that doesn't advance the plot — and yet shifts how you watch the entire film — and ends with a sequence with almost no dialogue but a lot happens.

They're sequences I've returned to again and again over 14 years to figure out how they work — and keep discovering something new that shifts how I see the film.

In this episode, Joachim Trier talks about the problem the opening was trying to solve, Eskil Vogt talks about the challenges of writing the ending, and I talk about the pleasures of digging into them.

This month, I'll be hosting in-depth workshops on the opening and the ending of Oslo, August 31st as part of The Deep Focus.

👉 Find out more about The Deep Focus

Some of the best, most boundary-pushing cinema at the Berlinale is quietly tucked away in the sidebars where most of the press never look.

In today's episode, I'm looking at three films that feel like a step forward for women's stories:

Arrú: A Sámi musical from Norway

Black Burns Fast: A queer South African coming-of-age story directed by a Black woman

The Education of Jane Cumming: A Scottish period drama based on the first documented legal case involving accusations of lesbians in the UK

Taken together, these show how filmmakers are finding new ways to dramatize the systems shaping women's lives — from colonial land politics to the legacy of apartheid to the class and racial hierarchies of the 19th century.

👉 Curious about joining one of my film programs? Get on the waitlist here.

I only open a few a year, and they're limited enrollment, so this is the best way to ensure you get first dibs on a spot.

This episode was originally recorded for a panel at the Berlinale Film Festival called Let's talk about (short) films! Pluralistic Discourse in Film Criticism.

I was invited to speak about the online film programs I've been building for thinking and talking about film — where we don't just share opinions about a film and move on.

Instead, we're looking for something new: what does this film offer that I didn't notice the first time?

Because you don't need to wait for a major life change to see a film differently. Sometimes, all you need is a new question, a new lens, or the chance to look again with other curious people.

In this episode, I walk through some of the ways I structure those conversations to be places to explore ideas and discover something new.

And the best part? You don't need to be a film expert. You just need to be willing to notice something — even if it feels obvious — and let the group carry the torch from there.

Curious about joining the next film program?

👉 Join the waitlist to find out when the next one opens

Sound of Falling, the second feature by German writer-director Mascha Schilinski, follows women across four generations of the same farming family. Gothic and ambitious, it explores memory, intergenrational trauma, and what it's like to live inside a woman's body — while still showing moments of joy and connection. Through its form, the film offers the audience a catharsis that the characters don't have access to.

So on today's episode, host Alex Heeney digs into why the film won her over…and then talks to Schilinski about developing the film's

Schilinski talks about how the film blurs memory and imagination, the titular image of falling, the sound design, and more.

Want to learn how, like Schilinski, Joachim Trier builds a catharsis that only the audience has access to?

👉 Join the waitlist for The Deep Focus: Oslo, August 31st

The best directed TV show of 2025 is a queer hockey romance from Canada called Heated Rivalry.

And like the rest of the internet, host Alex Heeney has become quite a fan.

But she's been thinking a lot about what makes it good and what has made it popular, and how those two things definitely intersect, but the Venn diagram isn't just a circle.

So on today's episode, Alex talks about why she, too, was very excited for the cottage, why the show is hitting in this cultural moment, what still felt lacking — and how all of that sent her to rewatch Looking, a very different kind of show, to get the hit she was really craving.

👉 Want to watch/rewatch Looking with Alex and a small group this spring? Get on the waitlist here: http://email.seventh-row.com/looking

Early screenings of Chloé Zhao's Hamnet had critics weeping in the aisles

Host Alex Heeney left it dry-eyed — and so did her guest, Angelo Muredda.

We're Shakespeare fans, long-time film critics, and not exactly immune to a good cry — so in this episode, we try to figure out why the film didn't land.

We dig into what works in the film (a short list) and what doesn't (a longer one), where the adaptation of Maggie O'Farrell's novel went awry, and whether having read a synopsis of Hamlet on Wikipedia might actually impede your enjoyment of the film.

👉 Stay updated on Alex's next group experiences

169. David Cronenberg's The Shrouds with Angelo Muredda

132. Sarah Polley's Women Talking with Angelo Muredda

159. Macbeth with David Tennant