Kelly Reichardt's newest film First Cow is her second feature, after Wendy and Lucy (2008), to explore the effects of capitalism through character's relationship with an animal. In this episode, we discuss the connections between the two films (and animals). This episode of the podcast features Editor-in-Chief Alex Heeney, Executive Editor Orla Smith, Associate Editor Brett Pardy, and Roads to Nowhere contributor Angelo Muredda.

For detailed show notes, visit: https://seventh-row.com/2020/08/11/ep-52:-first-cow-&-wendy-and-lucy/

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This episode previews the exciting contents of our new ebook, Roads to nowhere: Kelly Reichardt’s broken American dreams. Associate Editor Brett Pardy interviews Editor-in-Chief Alex Heeney and Executive Editor Orla Smith about the process of creating the book and explore the book section by section. For detailed show notes, visit: https://seventh-row.com/2020/07/07/ep-47:roads-to-nowhere/

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This episode highlights a session from our Lockdown Film School with writer-directors Mina Shum (Double Happiness, Ninth Floor, and Meditation Park) and Philippe Falardeau (Monsieur Lazhar, The Good Lie, My Internship in Canada. In it, the two discuss their craft, compare notes on process, and discuss how they were inspired by each other. The discussion was facilitated by Editor-in-Chief Alex Heeney and Associate Editor Orla Smith For detailed show notes, visit: https://seventh-row.com/2020/06/30/ep-46:-mina-shum-and-philippe-falardeau/

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This episode focuses on three films, Stories We Tell, Louder Than Bombs, and Mouthpiece, united by their focus on dead mothers and formally expressive explorations of grief, memory, and subjectivity. Editor-in-Chief Alex Heeney is joined by Executive Editor Orla Smith, Associate Editor Brett Pardy, and Editor-at-Large Mary Angela Rowe. For detailed show notes, visit: https://seventh-row.com/2020/05/05/ep-40-dead-mothers/ Follow Seventh Row on Twitter, Instagram, and Facebook, and read our articles at seventh-row.com.

This episode focuses on three films, Stories We Tell, Louder Than Bombs, and Mouthpiece, united by their focus on dead mothers and formally expressive explorations of grief, memory, and subjectivity. Editor-in-Chief Alex Heeney is joined by Executive Editor Orla Smith, Associate Editor Brett Pardy, and Editor-at-Large Mary Angela Rowe.

Kelly Reichardt has directed two films set in the 19th century American West, Meek's Cutoff and First Cow. To explore how she differs from the traditional Western genre, we compare her films with Oregon-set Bend of the River (1952) and cow film Red River (1948). Join Editor-in-Chief Alex Heeney, Executive Editor Orla Smith, and Associate Editor Brett Pardy as along the way we also look at modern Westerns, the surprisingly long career of Stephen Meek, and somehow manage to link the genre to a site favourite who has never directed a Western.

For detailed show notes, visit: https://seventh-row.com/2020/04/14/ep-37:-subverting-the-western-featuring-meek's-cutoff<-em>/

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Leigh Whannell's The Invisible Man re-imagines the Universal Monsters character as a stalker. The theme reminded us of one of Seventh Row's favourite films, Steven Soderbergh's Unsane (2018), so we had to discuss them in conversation with each other.

Michael Snydel from The Film Stage Show joins the entire Seventh Row editorial team: Editor-in-Chief Alex Heeney, Executive Editor Orla Smith, Associate Editor Brett Pardy, and Editor-at-Large Mary Angela Rowe for this episode. We discuss internal versus external horror, genre conventions, Chekhov's Diazepam, and much more.

For detailed show notes, visit: https://seventh-row.com/2020/03/31/ep-35:-the-invisible-man-and-unsane/

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In this episode, Editor-in-Chief Alex Heeney and Executive Editor Orla Smith have a wide ranging conversation about film criticism with Lindsay Pugh of Woman in Revolt. They begin discussing our new ebook, Portraits of Resistance: The Cinema of Céline Sciamma and the conversation evolves to cover Seventh Row's approach to putting together books and the lack of good film criticism on women directors. For detailed show notes, visit: https://seventh-row.com/2020/03/24/ep-34:-on-film-criticism-with-lindsay-pugh/

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In this episode, we compare and contrast three adaptations of Emma: The 2020 Autumn de Wilde film, the 2009 BBC mini-series, and the 1996 Douglas McGrath films. We discuss the films’ differing approaches to characters, comedy, and class. Special guest Caitlin Merriman joins Executive Editor Orla Smith and episode host Editor-in-Chief Alex Heeney. For detailed show notes, please visit: https://seventh-row.com/2020/03/17/ep-33:-comparing-emma-adaptations/

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Ken Loach and Mike Leigh, two long time British directors associated with social realism, are frequently compared to each other, despite having significantly different approaches.

Loach's latest film, Sorry We Missed You reminded us of Leigh's most recent film Peterloo in their political commitment to improving the lives of the working class.

Sorry We Missed You (2019) is a contemporary film about a working-class man who ends up in an increasingly horrible hellscape after he starts gig work delivering packages for Amazon.

Peterloo (2018) is a period drama that illuminates the real life story of the rally to get the vote in Manchester in St. Peter's Square in 1800s Manchester, a working class city on the rise.  

In this episode, Editor-in-Chief Alex Heeney is joined by Executive Editor Orla Smith and Associate Editor Brett Pardy to discuss how Loach and Leigh approach politics, character, and much more.

For detailed show notes, please visit: https://seventh-row.com/2020/03/02/ep-32:-sorry-we-missed-you-and-peterloo/

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