Talking Images

In this episode we will explore the idea of "Disturbing Cinema", and try to figure out exactly what disturbing even means.

To do this we will go on a personal journey exploring what disturbs us and why, and of course, to do this we will indeed list: The Most Disturbing Films We Have Ever Seen.

So, please do disturb, as Tom takes the host's chair to explore his love for disturbing cinema!

In part 1 we looked at the first 3 films of the cycle:

We saw how each of these 3 films built and expanded on the same conflict of love and relationships between men and women. Honestly, they would have worked perfectly as a trilogy in their own right.

However, one of the most exciting things about Rohmer's cinema is one of contradiction - thesis - antithesis - synthesis. Each of the three first films had this inherent dialectic within them, but it is not until the second half of the cycle that the films start to directly contradict and be the antithesis to the previous films.

In part 2 we will look at the final 3 films of the cycle:

And see if the contradiction can be resolved, if some kind of harmonious consensual love in indeed possible.

SPOILER WARNING:

Our discussions are in two sets - one based on the basic plot and early development of the story - and then a dissection of the ending and the films as a whole. [b]There will be a clear spoiler warning[/b] at the halfway point.

If you have not seen the films in question [b]you can then skip to the next film[/b], the starting times are:

Introduction: 00:00

Full Moon in Paris: 02:07

The Green Ray: 23:53

My Boyfriend's Girlfriend: 48:17

Conclusion and Summary: 1:10:56

In this episode we will talk through all of the major contemporary silent films, or rather, the few there are:

And ask the following questions:  

1. Are silent films simply the result of [b]unfortunate technical limitations[/b], which the medium luckily overcame - or are they a [b]unique style with its own merits[/b].

2. Why did it take such a long time from the decline of silents to any kind of larger silent film project.

3. What do we wish to see from silent cinema in the future.

Timestamps:

Intro: 00.00

Is it valid to make silents today: 3.09

Why did it take 30-40 years for the first post-silent era silent: 4.45

Early Films With Silent Elements: 8.03

Experimental Cinema, Warhol and At Sea:10.01

Silent Movie: 13.32

Juha: 22.05

The Call of Cthulhu: 26.58

Brand Upon the Brain: 31.36

Dr Plonk: 39.38

La Antena: 50.51

The Artist: 57.07

Blanchieves: 1.03.57

Conclusion and the future of contemporary silent cinema: 1.09.55

In this episode Tom, Sol and Matthieu attempts to figure out what "Mainstream Cinema" even is.

SPOILER WARNING:

Our discussions are in two sets - one based on the basic plot and early development of the story - and then a dissection of the ending and the films as a whole. There will be a clear spoiler warning at the halfway point.

If you have not seen the films in question you can then skip to the next film, the starting times are:

Introduction to the Cycle: 00:00

The Aviator's Wife: 10:00

A Good Marriage: 35: 25

Pauline at the Beach: 55:00

How do you feel about spoilers?

Can they actually hurt your viewing experience?

Does even knowing a film has something "spoilable" about them have the potential to affect you?

What lengths (if any) do you go to in order to avoid spoilers?

Should you even avoid reading up on films before watching them, or can films also be hurt by going into them them "blind"?

In this episode we will cover these topics, and much, much more.

Spoiler Warning:

In this episode we will spoil: The Sixth Sense, Psycho, Scream and Titanic. Many other films will be mentioned in passing, but the spoiler(s) will not be revealed.

We will also end the episode on an indepth, spoiler-ridden discussion of The Crying Game, which 3 of the co-hosts just watched, two for the first time.

What is the main reason you would not watch a film?

Are there any films you actively avoid?

Are there any films you are embarrassed to not have seen?

In this episode we will answer the above questions and more, and dive deeper into the psychology that goes into not actually seeing a film.

In this episode we cover two great existential questions:

The format is simple, Gary, Sol, Tom and Chris each take their turn describing their favourite film, before the floor is opened with comments from the others.

The films discussed:

Gary: Seven Samurai

Sol: Fanny och Alexander and Videodrome

Tom: A Clockwork Orange

Chris: Stalker and Last Year at Marienbad

In this episode we will attempt to talk you through the entirety of Spanish horror film history, starting from Jesus Franco's The Awful Dr. Orlof and The Sadistic Baron Von Klaus (the first ever two Spanish horror films!), and continueing on through 60s, 70s and 80s Eurohorror onto In a Glass Cage, Anguish, The Day of the Beast, Thesis, The Orphanage, Timecrimes, [REC], Kidnapped and so much more.

Also, get excited: We finish up with a detailed discussion of the recent super-hit The Platform, and our thoughts on the future of Spanish horror.

AKA: The Klaus Kinski episode. 

Kinski is one of cinema's most controversial icons, and left us with a set of legendary films, especially his set of 5 collaborations with Werner Herzog, but also a long, long line of B- and C-grade paycheck films.

In this episode we will dissect his career through two films, one representing his highest achievements, one representing his lowest gutter trash, and he just happens to be playing the very same character in both of them: Nosferatu (perhaps his most iconic role).