Nish Kumar (The Absolutely On Time Frankly Early Films Of The Year 2O24 Special • Part 2) • #347 - Films To Be Buried With with Brett Goldstein

Episode Transcript
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Speaker 1 (00:00):
Look hell, it's only films to be buried with. Hello,
and welcome to films to be buried with. My name
is Brett Goldstein. I'm a comedian, an actor, a writer,
a bath butler, and I love film. As Ray Bradbury

(00:23):
once said, we are cups constantly and quietly being filmed,
which is why the film Tin Cup is so sexy.
You're constantly filling that cup whilst you watch it, but
very quietly. This week it is part two of the
Perfectly On Time if you count in these things Films
of two thousand and twenty four with mister nish Kumar.
Catch up a part one from last week before you

(00:44):
listen to part two. You can catch all of it
as a video with extra stuff with a secret with
all kinds of extras over at Patreon at Patreon dot
com forwards last Brett Goldstein, you get everything add free
uncut videos. You know how it works. Anyway, this episode
is the last of this season. I'll be taking a break.
In that time. You'll be getting some absolute rewind classics

(01:05):
and I'll be coming back soon.

Speaker 2 (01:07):
Thank you all for listening. You're very kind. I hope
you're all well, and I really.

Speaker 1 (01:11):
Really hope that you enjoy Part two of Films of
twenty twenty four with mister Nishkuma.

Speaker 2 (01:27):
What was the film you most related to? Film I'm
most related to was Inside Out Too. I think, as
you know, I think Inside Out was the best film
of the decade. Yeah, I do. Yeah, yeah, when it's
Inside Out too. And you know what I thought, I thought, Well,
you can't do the ingenuity of inside Out. Yeah, the
inside Out.

Speaker 1 (01:44):
You can't beat the sort of wonder of coming up
with that concept. But what Inside Out two does do
is phenomenal. And I'm like, I'd like to see an
Inside Out film every ten years. I think it's so
fucking wise and I do think it's a really it's
kind of bold because again, the message is much deeper
than it first. It starts with I am a good person,

(02:05):
and in the end the messages I'm not always a
good person. Sometimes I'm a bad person. It's like, wow,
fucking Pixar, what are you up to? Yes, if you're
doing it again? You fucking monsters think it's it's so good.
They're just very very very good. And it's it's complicated,

(02:27):
and it's about the more complicated emotions and this poor
girl and you feel for her so much and she's
a wreck, and I think it does an incredible in
the same way the thing that the most powerful thing
about the first movie or is this idea of this
visualization of this is a thought, this is an emotion.
And I think what Inside Out Too does extraordinary well

(02:48):
is when anxiety, when she's like stuck and it's just
worrying around, wearing around. It's such a good like visualization
of the feeling of overwhelm, of like where you can't
make a decision your facts. I'm like, yeah, I relate
to that.

Speaker 2 (03:00):
Yeah, it's I don't know that there's a better cinematic
depiction of what it means to have an anxiety disorder.
I really don't, Like I would struggle to I would
struggle to think of one that is better than that.
When your whole ability to make it, when your anxiety
shuts down your ability to make a decision, like that

(03:20):
happens to her in the movie, You're like, yeah, that's
exactly what It's like, that's incredible, Like, how have you
done this? Because there is this a children's film. Now listen.
One of the things that I thought was, can you imagine,
like I thought it was fantastic, I loved it. Can
you imagine how good it would have been for us

(03:41):
to see that movie at thirteen fourteen? Do you think
we I wonder about that. Do you think we'd be
all right if we'd seen Inside Actually? I think that's
the point of the movie, is that like there is
like a silver bullet that makes you all right. But
I think we would have been probably just wouldn't need
films to deal with all Yeah, maybe maybe, or at

(04:08):
the very least, we'd be more okay with our brains.
We'd be less angry with our own brains. And that
I think is like that's maybe the great gift that
hicks Ire is giving a generation of anxious, sad kids
by via these inside Out films, which is like this,
this stuff is going to happen like because ultimately the
film doesn't The film doesn't have a solution for any

(04:28):
of these things. It just tells you this is how
it's going to happen, and give yourself a break when
it happens like this, and that that's incredibly powerful. I
definitely think we would be less mad if but would
we be as productive than by what garlics. I don't know, bra,

(04:53):
how's the podcast recording that you're doing in between making
film and how's the podcast record I'm doing at the
start of the Australia leg of my world tour that
I'm doing over the course of two months ago. Just
taking the time, we've.

Speaker 1 (05:05):
Done an hour and a half, right, what is what
is the film that is so old fashioned and like
a novel and lovely.

Speaker 2 (05:17):
The film? You know, one of the usual questions was
which film was what was the most old fashioned, lovely
in like a novel? Twenty twenty four. There were a
few answers to this, but for me, the most film
that was like an old movie or a novel was
The Holdovers. I thought The Holdovers felt like something. I mean,
I think some of that was accentuated by the fact

(05:38):
that I think they'd even use the credits from a
late sixties early seventies, like, yeah, it was basically but
The Holdovers is, you know, the story of this cantankrist
teacher who's supposed to be minding the children at this
elite boarding school that are left for whatever reason at
the school over the whole days. And it's this cantankrist

(06:02):
teacher and the lunch lady are basically left behind. Then
all of the rest of the kids get taken away
in this like almost Simpson z e site gag where
one of the it's like it's another one of the
like just single frame, single frame jokes of the year.
The helicopter comes and just lit airlifts all these kids out,
and it means that you end up with just one kid,

(06:25):
the teacher and the lunch lady. And you know, it's
like her it's shot like a seventies movie. It's shot
like a hal Ashby thing. Like it's very pure, very
character driven. The performances are all incredible, and Devine Joy Randolph,
who I will always have nothing but love for because
me and my partner are like two of the like

(06:46):
key defenders of the Zoe Kravitz High Fidelity reboot, which
we thought was incredible, and she sort of basically plays
the equivalent of the Jack Black character from the film,
and she's incredible in it. Her performance in this it
was just one of those things where just won everything
and no one raised a dissenting voice for good reason.
It's like it's an extraordinary performance and it's set in

(07:09):
set in December nineteen seventy is seventy turns into seventy one,
and she has this incredible sort of backstory where her son,
she's black. Her son was allowed to be at the
school amongst all of these kind of you know, these
elite prep school white kids, but because she worked there,
her son gets a place there. But then he goes
he goes off to Vietnam, and you know, the rich kids,

(07:30):
these are very much the kind of you know, to
return to a theme, bone spurs generation of push white
American men who were not obliged to go to Vietnam
when poorer white kids and black kids were sent off.
And her son is drafted and dies in the Vietnam
one and she has this kind of incredible, sort of
tragic backstory that sits behind her eyes for the entire movie.

(07:53):
Like that that's how that's how that performance feels. It.
It's an incredible depiction of a mother's grief because in
every frame of her performance, you feel the ghost of
her son and the weight of what a weight of
it pressing down on her. And you know, he is
novelistic because this film really is just about these three characters.
And the teacher is played by Paul Jim Marty, and

(08:15):
it's like it's the sort of quite kind of incredible
because you sort of think, how could there be a
more Paul gim Marti performance than Sideways, And somehow this
is even more Paul Giomarti than Paul Jim Martin in Sideways.

Speaker 1 (08:27):
I love Paul Marty so much and what he does
and what and I sort of in the holdovers there
as a moment where I'm like, this is what you
do with his face and it's almost cruel. It's like,
stop stop having women break, pull up, stop stop having
stop making stop giving him hope for a few scenes
and then having a woman revealed something like she's pregnant,

(08:50):
she's already got a boyfriend, or she's not interested. Because
he does have the perfect face to receive those that
news and it is always so heartbreaking. He's a very
very good actor. I like that film very much and
it was really classy and shit. And my other answer
in that category is American Fiction, which I loved and

(09:13):
thought was and in a way like my old ass,
in the way that on paper, American fiction is kind
of it's almost like a high concept comedy. It's like
a novelist deliberately writes a bad book and become successful
and on paper go, okay, I think I know the
jokes of that film. And in fact the film is
really like rich and it's got a really sort of

(09:35):
beautiful depiction of a family and of dementia, and there's
so much life and world going on within that concept
that it does feel like a book. It's got the
you really know these people's lives and you care about
every member of that family, and it's sort of surprising
because you go in thinking you're it's one thing, but

(09:55):
really it's a film about a family. And I liked
it very much, and I think car Jefferson, it's brilliant.
It's a brilliant film.

Speaker 2 (10:02):
Great, it's based on a novel, and it's a universal
experience of being a person of color in the creative
industries and told by often a white person that your
work is not brown or black or Asian enough. Like
it's a universal experience, and like it is really interesting
because it is much more character driven and it is

(10:25):
very moving at points, but it's also incredibly there's also real,
like you know, Charlie Kaufman metafiction thing going on, because
like this, you know, this kind of intellectual novelist and
also professor of literature at university, is told that his
work isn't black enough. He gets frustrated watching the success
of this other novelist played by Issa Ray.

Speaker 1 (10:46):
Scene where she confronts him is fucking brilliant. Yeah, it's brilliant.
It's brilliant.

Speaker 2 (10:50):
Yeah, it's brilliant the rest of the way that those characters,
because again it's so self aware and savvy enough to
explore the idea that when you know writers of color
resent the work by other writers of color that is successful,
you're actually still playing into the hands of your oppressor, really,
because you're still allowing your anger about racism to be

(11:13):
aimed at other marginalized people instead of upwards. Like it's
very important that anger's always kept on a level and
is lateral rather than pushed upwards at the people actually
responsible and so like, and her confrontation of him is
actually really really brilliant and kind of explodes and undermines
his character and like he but he does write a
novel called My Pathology under the pseudonym name stagg A Lee,

(11:37):
and like the stuff in that it's it's parts of
it is so funny and what a cast man Jeffrey Wright,
Tracy Ellis, Ross, Isa Ray Sterling K Brown is fucking
brilliant in it. Again, like just on a subject, it
doesn't get better for Paul Giomarti than the Holdovers Jeffrey Wright,
who's such a brilliant actor and is so consistently brilliant.

(12:00):
This is the kind of perfect this is, this is Yeah,
it's the perfect Jeffrey right part Like it's he's sort
of vulnerable and prickly. Like that's the thing that his
and Gimty's performances have in common is that you have
tremendous sympathy for them and also find them quite high minded,
prickly intellectuals who, like intellectuals, are not very often not

(12:21):
easy to like. You know, it's like he can often
be quite hard to get on with them, and like
this movie deals in all of the complexity of its protagonist.
And when it's funny, it's fucking funny, you know, it's
it's it's great. It's got some real like adaptation esque flourishes,
which it's hard to think of a higher compliment to

(12:43):
give a film about writing, and it's sexy, it's got
everything that film. It's quite at all.

Speaker 1 (12:48):
What was the best inspirational feminist sports movie?

Speaker 2 (12:53):
After you answer this, Brett, I think I think I've
already got a sense of it. I think it's Young
Women in the Sea. Tell me about the young Women
of the Sea. Because I didn't see it.

Speaker 1 (13:03):
Those of you who are regular listened to the show
may already know that I love this film. I love
Young Women in the Sea. I happen to be a
big fan of feminist sports movies. I love Blue Crush.
I love films where it's a sports movie and someone
you know changes the world. And yeah, young women in
this and I love the Sea and I love swimming.

(13:24):
Young Woman in Sea's got everything I love in it
in a film. The sea is a sports movie, and
she changes the world. Daisy Ridley is fantastic, and it
is a true story, and it is about the first
woman to swim across the Channel, and it's exciting and
all of that because these things are but within it.
One thing I really really liked about it. And one

(13:45):
of the reasons you see it is it's one of
the best cast family I've ever seen. Like sister in it,
You're like, yeah, I believe that's your sister. The mom
and dad are amazing, the family dynamic and the actors.
It's such a good family, so well acted, and you
really believe they're a family in a way that's quite unusual,
like you properly buy their family bond. And when she

(14:09):
starts to cross the channel and it becomes very dangerous
and they're waiting by the radio and stuff like that,
Like it's very tense, it's very exciting, it's very moving.
And then it does the thing I want to talk
about with something else where at the end of the film.

Speaker 2 (14:22):
You know, spoiler alert, she achieves it. I think you
know that going in and I yes, because otherwise why
they're making this depressing film about a woman who died
in the scene. But you know it's perilous.

Speaker 1 (14:35):
But she does finally make it, and in the film
she returns back to England and there is the biggest
parade you've ever seen in the streets, the hugest, hugest
prade you've ever seen. And you go because the Jerry
Bruckhomer film, of course he's overdone it on the dramatics
at the end to make.

Speaker 2 (14:53):
It like a movie.

Speaker 1 (14:54):
Here's this big thread and then the credits roll and
then they show you the real footage and it's real.
That parade, it was that big. It was the biggest
parade ever and it was for this young woman who
swam across the sea. And it's this kind of forgotten
piece of history and it's fucking great. It's so well made,
it's so like uplifting and inspirational. But good shit like

(15:15):
good yeah, characters, really well done, funny, delightful.

Speaker 2 (15:20):
Love it, yeah, see it fantastic. What's not to light?
What's not to like? My answer is love life's bleeding.
And I will not be taking any questions. None, none,
none needed, totally get it, totally get a great answer.
What film did you love? But you don't probably you
probably don't need to see it again? Well, yeah, there's
a few answers for this, Brett, and I think that

(15:43):
No Other Land is one of the most extraordinary things
I've ever seen. It's an incredible, incredible film. It just
won the documentary Oscar And you know, it's about this guy,
Basladra who's been trying to document the sort of displacement
of palastine onions and he befriends vel. He's a Jewish
Israeli journalist who's trying to cover what's going on, and

(16:07):
you know, it's a brilliant, brilliant film. It's also it
would also be my answer if we were asking the question,
which film is the film that you most thought, how
the fuck did they possibly make this fucking movie in
the entire time? How many months or years are it's
set over, No, it's set over like from twenty nineteen
to twenty twenty three. It's four years worth of footage

(16:32):
about the displacement of these people because the Israeli government
says that the area has been designated as an Israeli
military training area, and so they just have to leave
their houses, and so they just keep knocking down their houses,
they just keep building them back up again. It's an
incredibly powerful documentary. There's footage of people being shot in
the film, like it's a stomach churning experience to watch.

(16:56):
But it is incredibly, incredibly powerful. And I'm really pleased
because it didn't actually get a formal US distribution, and
I'm really pleased that it won the Oscar And you know,
when we obviously the Oscars, like all awards are stupid
and all this kind of stuff but there are moments
where something happens where you go. That is why those
things exist. That is why we continue to put up

(17:17):
with it. Yeah, that's why we continue to put up
with it because it's a fairly sort of extraordinary piece
of filmmaking. First and foremost, it just, you know, even
before you get into the political ramifications of what it means,
just as a piece of filmmaking. The way the footage
has been assembled, the way the footage has been taken,
you know, they're under so much threat. You know, they're
literally they've got people with guns in their face while

(17:38):
they're holding cameras. Like you talk about bravery in film
because somebody like an actor loses a load of weight
for a roll or does a funny voice for while
the cameras have stopped rolling. All right, I get what
you're saying, but it's not nothing. And you've committed to

(18:01):
this for forty years and then when Roy along, you're like,
finally it's paid off, finally, But yeah, it's it's an
astonishingly brave piece of filmmaking and the threat post to
them is all too real. Last month, one of the
co directors, ham Done Balal was attacked by Israeli settlers

(18:21):
and left with head injuries and was seized by the
IDF and sort of essentially sort of disappeared for a
couple of days. And there is this strong sense was
this because he had made this film? And was it
because the film has received attention by the Academy and
you know, it's it's an astonishing piece of work, and
I would urge everybody to see it. In parallel to that,

(18:44):
I would say that zone of interest that those two
movies I watched this year are like probably the two
films that I don't know if you could watch again,
but at the same time, it's really important you watch
at least once, Like they are incredible, incredible pieces of filmilmmaking. Again,
there's a kind of metatextual layer to it, because like
Jonathan Glazer gave an incredibly powerful speech when he won

(19:06):
the Oscar last year, and it really upset me the
amount that that was misquoted, you know he And also
the reason it upset me is like Jonathan Glazer doesn't
dash off anything. This is a guy who spends five years,
ten years sometimes making films. So the idea that he
had written some remarks about the residences he felt the

(19:28):
film had with the current situation in Gaza, and those
remarks were sort of mangled and decontextualized and at times
sort of misinterpreted willfully. Just the fact that it's like, okay,
critique what he said if you want, but print what
he said first and then engage with the text of
what he said. Don't you owe it to this man
who works so who weighs every single bit a minute

(19:48):
of every single thing he puts out into the public domain.
But just also side of interest, what an incredible piece
of filmmaking. When I went to see it, I shushed
two people James I went to see with Jamesia Casta.
I can't go and see films with you anymore because
I should two people. I was like, not for the
Holocaust movie, and also ibanned him from drinking his Pepsi
max because he Acaster has a bladder. He has a

(20:10):
bladder the size of like a golf ball, and yet
the man insists on drinking, ordering a tub of Pepsi
max for every movie, and he put the Pepsi baxx
down and I was like, I'll have that, absolutely not
not in the Holocaust movie. And again separate it from
the power of the content. Separate it from the politics
if you want, even though I think those are things

(20:31):
that I really lord about it, And just like with
no other land, appreciate the filmmaking for a second, filmmaking
is extraordinary, all that stuff with the girl in the
night who's trying to leave the like the apples as
a trail for them to escape. You know, it's it's
such a like potent piece of work. And as much
as it's an adaptation of Martin Amis' book about Rudolphuss

(20:52):
and his family, it also feels like a kind of
philosophical movie adaptation of Hannah Arentz writing about the banality
of evil, because it is just about this family who
are living this kind of Bucolic country existence, but they
are running the Ouschwitz concentration camp and you can hear
like again technically the sound design, the churn of the

(21:12):
death camps next to their house is appalling. Sandra Huller
against like as a one two punch. This in an
auto move of fall is unbelievable, and all of that
has to also be taken alongside the fact that the
man also made sexy Beast. Is there great arrange in cinema,
the zone of interest and sexy beast like unreal. Yes,

(21:34):
what zone of interest? Was my answer, which thank you.

Speaker 1 (21:39):
I love zone of interest and I think the thing
with interest, I think it's an actually brilliant piece of writing.
I think the way, aside from all the film again,
the way when her mum comes to visit and the
way her mum talks about her and they're going through
the clothes and there's a see, there's a bit there
where I was like, this is almost like the blackest comedy.

(22:00):
It's because there's a bit where she's showing the mum
around her garden and she's going, so beautiful the flowers
and there's fucking smoke coming out from the walls, and
the mum is like what and she's just going and
we've got these lovely flowers and you're just like the delusion,
the denial of it is almost funny because of the

(22:22):
sheer visual of this beautiful garden and smoke coming up
from the woods.

Speaker 2 (22:26):
Oh the bit when they're swimming in the river and
then you just see you kind of you can pretty
much tell that you're looking at dead bodies floating towards them.
But the sudden smash cut to them like cleaning themselves
in the bath is almost like a Simpsons edit. Like
it's almost like a Simpsons edit. Like the horror is
so viscerally incomprehensible that it does verge on black comedy points.

(22:50):
Like I think you're completely right about that. It's great.
It's an incredible piece of work. Yeah, it's a great,
great movie. And the and kind of and interesting because
you're watching it and you go, I really also think
it's funny in.

Speaker 1 (23:01):
The end, like you're you're you're watching it in your bank.
Is this film empathizing with him? Are we watching this
man have regrets? So we're watching like there's a moment
where you're almost like if this were a Hollywood film,
he's realizing he's doing a bad thing. And then almost comically,
he's at this party. You see him looking around, you
see him looking stressed and upset, and he calls his

(23:22):
wife and she says, what you're doing And he says,
I'm imagining how I could efficiently kill everyone, and this
cats everyone in this room, and you're like, oh, okay,
he's yeah, he's already, Like it's quite it's quite interesting
that moment because you're sort of like, oh, I think
he's is he changing, and it's like no, he's no.

Speaker 2 (23:41):
Absolutely, he brings prisoners from the concentration camp to have
sex with him. Like it's like it's stuff in it
that is so either sort of horror of it is
kind of incomprehensible, but that ending when he starts like
physically like wretching at the end, You're like there's one
part of you that's like at least your body knows
you're a cunt, like like you have no concept of it.

(24:02):
It's almost like your your like digestive system is trying
to go Jesus Christ, this is We're the worst person
that's ever lived. Like man, it's like yeah, it's it's
a real headfuck of an experience. And it isn't just
the subject matter is incredibly powerful, but it's the execution
of it is just extraordinary. Like he is such a
spectacular filmmaker. And yeah, I would really urge people to

(24:25):
see No Other Land because again it's just like again,
it's just radical empathy, like it's and there are bits
in it that are really uncomfortable, where you know this
like well meaning liberal Israeli journalist who is trying to
like do the right thing. There are just points where
he just is told like you can never understand this,
like and they it allows those quite uncomfortable conversations to

(24:46):
happen on camera. And yeah, it's just a piece of
really incredible, like radical empathy. Like I saw that at
the Austin Film Institute, which is like founded by Richard
Linklater in Austin, and it just felt like this is
the kind of movie that places like that are designed
to show and celebrate because it's this is like, you know,

(25:06):
we love movies and this is such an important part
of our lives, but so little of it is really important,
and that is a movie that is genuinely important. But yeah,
it was really great.

Speaker 1 (25:17):
Speaking of important, what's the best till the Swinter performance
of the.

Speaker 2 (25:24):
You tell me what the best till the Swinton performance
of the year is, because I have one, but I
don't think I think we've got two different till the
Swinter performance. I think it's probably do you see it?
I didn't see it. I'm a big fan of Julio Torres,
but it was one that just slipped through me.

Speaker 1 (25:38):
It's Julio Torre's film, probably a lovely, strange little film
about a man trying to make money and needs to
pass an exam so that he can stay in America,
and he gets hired as an assistant Tilda Swinton, who
is playing a woman who is a fucking nightmare, like
the worst person you could work for. And she's sort

(26:00):
of passive, aggressive and manipulative and angry, and she does
a thing like where she'll complain to a waiter and
the waiter will go, I'm so sorry, let me get that,
and she'll go, why are you shouting? She does things
like that, and she's got to know of an accent
in it. And it's a really really, really funny performance

(26:22):
and she's a fucking nightmare and she really goes for
it and it's very real, but it's very funny and
it's very odd, and it's kind of I don't think
there's another character like it in the cinema, Like it's
almost like a Mike Lee character in the wrong context.
And I think it's one of my favorite titlismnt and performances.

(26:43):
What's Yours Mine has been Room next Door?

Speaker 2 (26:45):
Like I you know, I love Pedro been waiting for
his English language debut. He's made a bunch of short movies,
definitely one of them with Fielder. And you know it's
very pedro, isn't it Like it's very pedro. It's two
strong female characters, one of whom is persuading. So Tilda
Swinton is a woman who is terminally ill and she

(27:09):
has from the dark web procured this kind of life
ending suicide pill and she's trying to persuade her friend
played by Julian Moore to be in the room next
door when she does it, just so that she's not
like dying alone. And you know, and you know it's
about dying, it's about the circumstances that we all find
ourselves in as we sit at the end of the world.

(27:31):
There's one of the great lines in it when there's
a great performance from John Tutor owed it where it's
very difficult for me to see myself reflected back on
SCREENSI viscerally. But there's a point where John Tutor has
at lunch with Julia More and he's just like, the
climate is an apocalypse that's coming from all us. She's like,
Jesus christ Man, can we just have lunch? Like there's
and there is a really really one of my lines

(27:52):
of the year is when they're sort of talking about, like,
how can you know, how can we even live while
all of this stuff is happening. Julia Moore's there are
lots of ways to live inside of a tragedy, and
that's like one of my absolutely one of my lines.
That's one of those lines where you hear it and
you go, well, I'm going to think about that for
the rest of my life. Thank you, thank you, say
it again. There are lots of ways to live inside

(28:14):
a tragedy. And also it's about it's so much about
what this podcast is about, which is how do you die?
How do you wrap your mind around death? What happens
when you decide that you're ready and society doesn't let you.
And it's also you know, it's pedro, so it's very heightened.
It's got this air of melodrama to it. The score
is really beautiful. I thought it's fantastic. I thought it
was great, but yeah it was. I thought Tilda is

(28:37):
great and tough but also incredibly brittle. The relationship between
her and More is fantastic. You know, it's what more
do you want? In some ways, it almost feels like
we've become complacent about it. But there's a part of
you the watches and you're like is Pedro, it's Julian Moore.
It is still diswined. What else do you want? What
else do you want from movies?

Speaker 1 (28:55):
Sorry, guys, worse your fucking mind. What was the best
film about the collapse of society?

Speaker 2 (29:07):
I mean, I would say just to get in and look,
I would say to get in. Another documentary, I would
say soundtrack to a Coup d'etar was incredible, like an incredible,
incredible documentary about these sort of this like weird chapter
during the Cold War where like the US was essentially

(29:28):
sending black jazz musicians on propaganda tours to Africa. Some
of them didn't know, like Nina, some moan that those
tours were being financed by the CIA and thought that
they were just like weird like Arts Council funded trips,
and some of them, some of them, like some of
them did know. And it's all set around this kind
of UN General Assembly where Khrushchev, who at the time

(29:51):
is you know, the big cheese from the USSR, is
basically grand standing at the UN because of what America
and Britain has been doing in trying to overturn the
democratically elected leadership in the Congo. So it's an incredible
movie about this kind because also it's a UN General Assembly,
so it's all filmed, so you get loads of footage

(30:12):
of just like Joel al Nehru, the Prime Minister of Understanding.
They're going, what on earth is going on here? And
you know because like a lot of these black musicians
are also being sent out on these propaganda tours at
a time in America in nineteen sixty where this parts
of the country that they can't get on a bus in,
and like as so often happens with that period of
history in America, Malcolm X is in it and he's

(30:33):
the only one who's sort of making any actual sense here.
And in the middle of all of this, Malcolm X
is trying to like bring the US up in front
of the UN essentially like at the UN General Assembly
collargely convened by the US, Malcolm X is like trying
to like essentially like arrest America. And it's there's then

(30:53):
this incredible thing where they go where they say that
Castro is going to be killed. So then Malcolm X
invites Castro to stay in a hotel in Harlem and
Nehru and VK. Krishnaman and who's the like there, who's
liaison to the un like go up to Harlem to
visit for del Castro and Malcolmax. It seeks unbelievable footage
like we've got like it's just all documentary footage. But

(31:14):
the most important core of it is contained within these
light propaganda tours, are these plots to undermine and eventually
overthrow Patrice Lamumba, who is the Prime Minister of the
newly independent Congo. And it shows you that like colonialism
and capitalism are intertwined, and it shows you that when

(31:34):
colonial forces were expelled from a country, that didn't mean
the business interests that had been part of those colonial
projects left immediately. And essentially La Mumba is removed from
power because he represents a threat to the mining companies,
and the mining companies all need the Congo for like
key like minerals and materials and you know, and it's

(31:55):
a conversation that we see play out every single day
with the conversation around the Ukraine's. But also there's like
there's this incredible thing where just occasionally in the middle
of the film, it will just suddenly hardcut to an
Apple advert or to a Tesla advert, and you realize
that actually a lot of the key materials that we
need to make iPhones and electric cars are still coming

(32:15):
from Congo, and we like we're still continuing this like
policy of exploitation of this country. It's an incredible film.
Like it's another one where I'm like, please see it.
It's an incredible documentary. It's really really it and it
does show you a lot of the conversations around like race, colonialism,
and capitalism that we're still having to this day. What

(32:36):
was your favorite End of the End of the World movie.

Speaker 1 (32:38):
I really liked Civil War. I thought Civil War was great.
I love seeing Kirstin Danst on screen being brilliant. There's
a scene with Jesse Plemons, one scene where it's like,
oh boy, he's very good, a very tense scene. I
think it's a really well made film.

Speaker 2 (32:53):
That'd be my set piece of the year, the sequence
with Lemons, and like also there's like a thing he
does when the guy says to him, we're Americans, and
Plemons goes, yeah, what kind of Americans? And as he
says that, he scratches his face and like just just
like a little acting decision. The idea that he's going
to kill these people is of so little consequence to

(33:14):
him that he is scratching his face. He's got an
itch and he's scratching it like he's it weighs so
little on him. The idea that he's mulling whether he's
going to murder these people or not, that you could, like,
if you you would imagine what you ever in the
position that you might be about to kill someone, that
that would be the sole focus. But to him, it's
so it's nothing. And he's like halfway through threatening to
kill these people, Who's like, oh, my face is a

(33:35):
bit itchy, I'm better give it a bit of a scratch,
Like it's just like one of those like amazing acting
choices that you go that is a great way of
delivering that line.

Speaker 1 (33:44):
I really liked in that film. I think I've seen
stuff about it, even that film sort of underrated Tina
Fey Martin Freeman film Whiskey Tango.

Speaker 2 (33:54):
Fox Truck, Whiskey Tango, Yeah.

Speaker 1 (33:57):
About war reporting and how it is I believe addictive
and sort of very very dangerous and very so much
adrenaline that I think it becomes addictive because going back
to safety is boring. I think when you live at
that sort of heightened reality and everything's so extreme and
it's quite hard to leave that world. And I think

(34:20):
that that film captures that feeling with them. And then
there's that real thing of like the friend that's like
the crazy one and he's really fun, fun, fun, until
it's not fun, and then you have him silence. The
sound isn't on, but he's screaming and it's very sad.
But I also really like the ending. I like what
the president's final quote is. They want this quote from
the president and then that final image which is like

(34:43):
sort of disturbing and funny or like, I think there's
a lot going on that film. I think it's really
really good. I really liked it, and I would recommend
it too. Well, should we get to why people come?
What's the sexiest film of the year?

Speaker 2 (34:57):
Challengeous Challengers. I went to see Challenges and Love Life Bleeding.
I think almost of consecutive weeks at ten am on
a Monday, and I think I'm now on some sort
of register. Yeah, Like I think if I'd gone home
and watched all of Euphoria, I would be in line
for a distrack written by Kendrick Lamar, like it would

(35:17):
be that it would be that level. That's funny. Challengers.
Challengers is one of the horniest movies of all time,
and it's a like love sexy love triangle set around
tennis Josh O'Connor and Mike faced Like. There's a scene
in it where one of them smacks the other one

(35:40):
in the boner, like you're like, this is a Hollywood movie.
It's a film. This is an actual film, but people
are like smacking each other's boners around. Zendayah has another
one of the lines of the year where she says,
I'm always I'm just I'm doing what I always do,
which is taking I'm taking such good care of little
white voice, which I absolutely It's a horny, horny tennis film.

(36:05):
It's horny. What do you want me to say? I
wanted to say honey a few more times. Obviously, Love
Lives Bleeding is also a horny movie. And yes, obviously
I want to be picked up and held by k
T O'Brien. Is that a crime, Brett? Is that now
a crime?

Speaker 3 (36:25):
No?

Speaker 2 (36:26):
Not here, it's a safe space.

Speaker 1 (36:30):
It's not like anyone's gonna listen, I thought to myself,
I actually weirdly found this one hard this year because
I was like, I don't think i've seen this ship
turn of films good that I consider sexy sexy films.

Speaker 2 (36:43):
I'm going to pick Anura. Yeah, okay, Anura would be
my answer to troubling Boner. Yeah.

Speaker 1 (36:50):
I feel it's in the traveling boning area, but I've
got a better traveling bonus, so I'm going to put it.

Speaker 2 (36:56):
But I don't know what I love.

Speaker 1 (37:03):
I love a Nora anyway. I love it as a film.
It's a wonderful film. And I think I love Sean Bankers,
you know, love the film. Yeah, and I guess that
final sex scene which is sort of heartbreaking, but I
really like their sort of weird love story. So I'm
putting it. Even though it is troubling bon or adjacent,
I'm going to give it sexy so that traveling boner

(37:24):
is clear.

Speaker 2 (37:24):
It's so funny. Is that fair? Yeah, I'd say so. Yeah.
And the sequence where the kind of home invasion by
those goons after the kid runs off is probably my
set piece of the year and also a thing that like,
it's so slapstick, but it's still two big guys attacking
a small woman, and so it remain it maintains the

(37:47):
threat of the scene whilst also being almost like a
kind of like three stooges bit of physical comedy. Yeah, brilliant,
what a performance as well? Goodness me, goodness me, she's incredible.
All right, up, category traveling bonus? What is it? And
what's your troubling boner? The substance obviously, the substance. What's

(38:09):
your traveling boner? There's never been a more troubling than
the substance. I mean basically the whole of the substance. Yeah.
I would say for me, probably my most troubling boner
is Anora, because you're like, it is still a sexy movie.
That's not great. It's not great that that's sex. Maybe
I should switched the round. But the substance is troubling

(38:29):
bonus the movie. Yeah, it's it's a very long traveling boner.
The substance is two and a half hours traveling boners.
That's exhausted. It's the troubling viagra of troubling boners. Yeah,
traveling our way through, whole way through? Is that your answer? Yeah,
of course, it is. My experience of watching that movie
was the first twenty minutes I was like, this is

(38:49):
the worst piece of shit I've ever seen in my life.
And then it clicked into gear for me. And when
it became Goria and Goria and Stupider and stupider, it
got the more and more. I loved it as a film,
and I watched it in a full so it was
so nice. And it's so nice that that movie did
so well at the cinema because it feels like a
real cinema experience of a film. People like whooping and

(39:11):
shouting and kind of gasping. And also, ultimately, it's a
film that got nominated for so many Oscars that features
a giant monster vomiting up a whole human breast, and
that is something worth celebrating. Yeah, you're right, Yeah, you're right.
What is the.

Speaker 1 (39:28):
I don't know if you've got I did well. One
of the questions was what's the best performance by a
baby monkey? But we both know it's better man. What
is the best example of someone channeling God?

Speaker 2 (39:42):
Okay, well I'm going to take this completely at face
value here, I'd say, cogclave great answer. I've got to
be honest with you, I didn't know how they picked
a fucking pope. I knew loosely about the like there's smoke,
blah blah blah, but I didn't realize honestly, watching it
was like watching people. When I was at university, I

(40:02):
was in a debating society. And I'll pause there for
the sound of absolutely no one being surprised the debating
society with all the sex you must have been having.
But when it came time to me who which student

(40:22):
was going to be president of the debating society, they
would have hustings. And it was alarming to me that
that is the same circumstance. And I know this is
a fictional movie, but it is based on real research
about how the pope is selected. I don't want to
give too much away about the ending of Conclave. If
you haven't seen it, you must watch it. I think
there's I know that we sort of get. We don't
want to get too like bogged down in awards in

(40:44):
terms of people like one movie being more deserving than
the other. So I'll just say that I'm glad that
Peter Strawn was celebrated by the Academy for that adaptation
because I think it's a it's a fucking thriller, and
it's every scene it motors along, throws you from scene
to scene. Ray Fines has really been better. Right at
the center of the whole thing. I will say as

(41:05):
a film, it is not necessarily the most glowing endorsement
of the Catholic Church that you can make. A whole
film whose perennial rolling twist is no, one's a pedo.
That is not a great review of the Catholic Church.
That essentially now filmmakers can use that as a kind
of bait and swift. Do you think everyone's going to
be a pedo? Oh, the Catholics, Everyone's going to be

(41:28):
a pedo. I've seen Spotlight, I've seen I've seen the
real story the filmmakers have got. Like you think everyone's
a pedo, some of them are, but no, that's not
the main thrust of the plot.

Speaker 3 (41:40):
Everybody's as a twist, and I will I will say,
as we ramped up, I saw this in like in
a cinema right in the middle of Leicester Square in London,
as we ramped up towards the twist, which I think
is a genuinely surprising twist, genuinely brilliant.

Speaker 2 (41:56):
Just as it starts to become apparent what the twist
is going to be, just from four rows in front
of me, I heard, ah, like the most cartoonish snoring
I've ever heard in my entire life. It was that
Homer Simpson. It was like a cartoon, like it was bananas.
And that did break the tension slightly because everyone did
really laugh because everyone else, I think, was very invested

(42:17):
in the movie, so the idea that somebody could have
fallen asleep was actually quite funny. But yeah, I thought
Conclave was great, and it's a great movie because it
simultaneously makes you understand religious people and also understand people
that have absolutely no religious belief whatsoever, because you could
there's tremendous like hope and optimism in the act of
faith contained within this film. But at the same time,

(42:39):
you could also understand why people would come away from
that being like that is the biggest load of nonsense
I've ever seen in my entire life. As an institution,
it is insane that we allow this to continue. So
I thought that was great. Tucci's great. I love the
vaping Priests. I absolutely love the vaping priest Isabella Rossellini
with a passive aggressive curtseying was fantastic. It's just like
Conclave is almost like the most enjoyable. Like I would

(43:02):
put that in front of anybody, like anyone, and I
think it would work. It might not be my favorite
film of the year, but I think it's an incredible film.
And I also like you could happily, like go and
see that with like a gang of young people, and
you could also, I think, happily go and see that
with your parents, Like it has the kind of it
has that kind of classy British film element to it,

(43:22):
even though I know it was directed by Edward Berger,
who made all quite the rest in front, Like I think,
I just thought it was great. Yeah, I thought it
was really classy, propulsive. What was the question, which film
has God working through it?

Speaker 3 (43:34):
Oh?

Speaker 2 (43:35):
Yeah, there, okay, what was yours? Well, it's Cynthia Arrivo
in Wicked.

Speaker 1 (43:39):
I think that Cynthia, I may have said this before,
I believe that she is the clearest example of God
working through someone. When she sings, I ain't joking, that's
God like. And there's a moment in Wicked when she
has the song the Wizard and I quite early on,
and she's young in it. She's young, sort of new nave.

(44:02):
It's so I could cry thinking about her voice so pure.
There's something really, really really she is channeling the Lord
like it's not It's the closest I've seen is in
that Aretha Franklin documentary. Amazing grace, amazing grace when she

(44:23):
first sings and you're like, holy shit, that's God coming
through you. Yeah, that's However, when Cynthia Revo sings, yeah,
take it or leave it.

Speaker 2 (44:31):
Yeah, if you listen, if you listen to a love supreme,
you go, yeah. I think John Coltrane might be communicating
with God here, Like, there are definitely my moments where
you're like, I don't know if I believe in God,
but I definitely believe that if there is a God,
Aretha Franklin has found a way to speak directly to it. Yeah,
directly to God. But like, yeah, I mean I watched again,
not ideal. We know it's not ideal, but we're busy boys.

(44:55):
Were busy boys. We're traveling a lot, So I watched
Wicked on a plane. Not ideal, Okay, okay, ideal. On
the flip side to that, on a different plane journey.
He did watch it, guys, he did watch it. On
the flip side, I saw it on a different play journey.
I drank a bottle of wine and watched Trap. What
that was ideal? That was ideal to watch Trap whilst

(45:15):
hammered on a plane and the bit and Trap wire
kid cud he says, don't give me dairy milk unless
you want me to do do with my pants. That's
one of the most I love at anything in the movie.
Is it okay? But yeah, Like I watched Wicked on
a plane, obviously not ideal, enjoyed myself, but I also
just think I'm going to say, I don't know if
Wicked is good. I have no idea and I don't

(45:35):
know if Wicked is good because at the end of
the day, define gravity is so good that I actually
can't tell you if the rest of it was good. Yeah,
Define gravity is so good that like the bit where
she sings so if you cared to find me look
to the Western guy. I actually watched that because I
was on a plane. I rewound it and watched it again.
But the bit where she sings that line is like,

(45:57):
it's unbelievable. Believable. God's coming through it. I'm telling you,
I'm telling you, bro, what the you know?

Speaker 1 (46:12):
Best directorial debut or was it your monkey man? Give
a shout out to Blink twice? Blink twice? Great movie, fun, exciting, entertaining, disturbing,
brilliantly directed, first time director, Sorry Kravitz. Yeah, fantastic, fantastic
bit of director.

Speaker 2 (46:32):
Yeah. Really well made. Yeah, really really really well put
together movie, really well constructed. Yeah. I love the editing.
I love the look of it. I love the feel
of it. Photography is great as well, so.

Speaker 1 (46:44):
Great, And Channing Tatum has a speech in it, best
performance he's ever given.

Speaker 2 (46:50):
It's a good movie. What's your answer? Yeah? I went
to watch it with Amy, my partner. It was we
watched it one of the weeks during the Giselle Pelicot trial,
and it like it was queasy watching something that had
that kind of overlap it. It was a really it
was a queasy old experience. But yeah, really well made.
My directorial debut is a slight cheat because she's made

(47:15):
documentaries already, she made Dogs, but pile Capadia. All we
imagine is light, All we imagine is light is just
an absolute miracle of a film. Five stars, ten out
of ten. It's a total miracle of a film.

Speaker 1 (47:29):
If you have to watch it on a plane, I'm
just glad you're watching it.

Speaker 2 (47:33):
Okay. I watched it twice at the cinema. I went
watched it at the cinema and then I went back.
I went back and watched it again because I was
so I was like, oh, can I just I just
need We talked about We talk about this all the time.
Sometimes you have to check if something's a masterpiece because
you're like, I'm pretty sure that's a masterpiece. But I

(47:53):
normally you would go, well, I'll wait until I watch
on TV to confirm. Be like, no, I need to
reconfirm with this is a masterplace it is. It's a masterpiece.
It's an incredible, incredible film. So it's about these two nurses,
Praba and and who live in Mumbai. And the only
my one caveat that I would say to people that
I said to you before you watched this movie is

(48:14):
it's really important that you know that when the two
nurses talk to each other or when they talk to
the doctor who's in it, they are speaking a different
language from everybody else and it's important that you note
that only because it's part of the kind of cultural dislocation.
And there's a point in the movie halfway through where
one of the male doctors says to them, man, I
really fucking hate speaking Hindi, and then it becomes clear.

(48:35):
But I just think that, you know, like in a prophet,
they would distinguish in the subtitles between when people are
speaking French and when people are speaking the Corsican dialex
It's really important to know that they speak a different
lguage because it's about. Part of what it's about is
the dislocation they feel from the city that they are
living in, because Mumbai's in the north of India. Hindi
is the national language of the country, but my family
comes from Caeraler, which is the state that these two

(48:57):
nurses come from. And like, my dad left India when
he was thirty years old and his Hindi is absolute dogshit,
Like it's because it's not their language. Like and Malayalam
is a language that derives from Tamil. Hindi is a
language that derives from Sanskrit. India is a country that
has two latins effectively operating within it as a single country,

(49:18):
you know, like two route languages, and it's about the
generational difference between these two women. Brothers is older, she's
married to a man who's now gone to Germany to work.
She has seemingly almost no contact with this man at
this point. Anu's a bit younger and is more confident
in living the life that she actually wants to live,

(49:39):
and you see her. The introduction scene to her is
her basically giving somebody a birth control and of being like,
just take it. For God's sake, if you're going to
be shagging each other, just take this. And so immediately
you get the sense of this as a woman who's
less bound by social norms. And really what it's about
is the relationship between between these two women and how
Prother kind of learns from Anu that it's actually okay

(50:00):
for her to want certain things. And like, you know,
I grew up with women from Kerala who were bound
by societal norms and expectations, and some of them broke
out of those norms and expectations, some of them didn't.
And it felt like it had a real like personal
resonance for me. There's a scene where she's wearing her
NIGHTI frying fish that is so much like all of

(50:20):
the women that raised me, like and specifically the fish
that she's frying, like it's like the food that my
grandmom and my mum made me when I was a kid,
like it is. So there's like there's a harble personal thing,
but also what it's about is our great cities. And
Mumbai is one of the world's great cities. And I'm
somebody that like loves London and New York and Mumbai,

(50:40):
and I'm in Melbourne right now, like I love the
kind of great cities of the world. But the uncomfortable
truth is the great cities of the world are only
able to operate because of this like mass exploitation of
working a lower middle class people in them and their
friend Parva thee who is a cook at the hospital
is basically being it fitted by luxury flat developers. And

(51:02):
you know, at one point they go to like a
local like protest group meeting, and so there's this whole
other political subtext to it, like small p political but
arguably more important to people's day to day lives than
big peak politics, you know, more important than anything to
people's day to day lives, Like is there a secure
place to live without these women, these cities don't operate,
and it depicts how disposable they are to the wealthy

(51:27):
people who live in the cities that can only operate
because of the sacrifices made by these people. And it's
stunningly photographed, and I can't think of a film that
has so many just it just these beautiful kind of
allegaic I don't know, I never know if that's ellegaic
or eligike. I think you and I really have learned

(51:48):
are slowly revealing that we've actually learned this really from
reading books, from reading books actually, but like it has
loads of these secrets of them on trains. And it
also brings in a bit of pyle Caapadia's documentary background,
because there's bits where she's interviewed people who live in
them by way, they talk about how much they love
the city, how they feel conflicted about it, and I

(52:09):
knew it was like pursuing this affair with this Muslim man,
so you get this kind of there's still this sort
of religious conflict in India that still means that it's
tense if she wants to marry a Muslim guy. There's
a very funny sequence where they go through loads of
arranged marriage proposals that she's been sent and they both
do the voices of the guy and it's like a
really funny and flirty scene and their relationship is really

(52:31):
is really sexy, and in the end, it's about this
brother's journey to realize that it's actually okay for her
to acknowledge that she has emotional needs and that is
that's something I found incredibly powerful, whilst also the background
being what our great cities take from the people who
make them great. Really, I cannot recommend this film to

(52:52):
people more strongly. It's I think it's extraordinary.

Speaker 1 (52:56):
You made me watch it, and I fucking loved it,
And I know I really annoyed that I didn't think
it it's my sexiest because I actually think it's really sexy.
The scene with her, it's a very sexy scene, and
it's a really it's use this word, it's a very
sensual film if you don't mind this. Yeah, And it's
a very sensual film. And it's I thought it was

(53:19):
going to be depressing and it isn't depressing. It too,
it's it's too really lovely. I like the acting in it.
I've been thinking a lot about like, given that she
made documentaries, and at the beginning of the film, it
is a documentary, as in you're hearing real voices at
the beginning, and then when you get to your actors,
you're like, this is the most realistic performances I've ever seen,
oh not ever, but as in, you could still be

(53:39):
watching a documentary, except that it's really beautiful and sort
of wistful and stuff. But their performances are so they
seem so so completely natural in a way that it's
quite hard to do.

Speaker 2 (53:51):
I think they just feel completely real with those people.
And I love that film. You were right, you were right, wonderful,
well done. The one film we haven't talked about that
I wanted to talk about, but flip flip to category.
I'll tell you what we definitely haven't talked about is
The Beast, which I know you want to say, that's
what I wanted to get to. Yeah, and we have.

(54:12):
We didn't really talk about all of Us Strangers as well.

Speaker 1 (54:14):
Well, that's because that's saving that for the end for me.
But my two well, so my great greatest film of
the year. I think My great is my favorite of
the same. So I'm going to say, what was the
film that you think is fucking brilliant and maybe it
is the greatest feel the year, it might not be because
of another film.

Speaker 2 (54:33):
I'm going to say The Beast. Well, you know what,
we should definitely talk about The Beast, because you and
me loved The Beast, Like that was a movie where
like that was that was a real like film that
we both came out buzzing about. But if you want
to frame it as a question, we should acknowledge the
sad passing of like one of the greatest filmmakers of

(54:55):
all time and one of your truly truly personal heroes,
David Lynch, And like, if we want to frame this
is a question where we talk about The Beast, we
should say, what movie do you think in the year
that he died best exemplified some of the things that
David Lynch gave to the overall vocabulary of cinema, And like,
for me, a movie that best exemplified filmmakers working in

(55:19):
the Lynchian tradition was The Beast. The Beast is a
fucking crazy movie, and in it's people always say people
we know, the kind of people we know always say
things like we want to see proper actual science fiction
like ideas led science fiction two thousand and one, Solaris,

(55:41):
We want to see properly like intellectually stimulating science fiction.
You got to fucking watch the Beast. The Beast is
kind of is set. I guess like the start of
the Beast is in twenty forty four. And there are
AI programs that say actually run the world, and they're

(56:02):
like trying to purify human beings of the emotional weaknesses
that mean that human beings are inferior to AI in
terms of actually running the world. So they offer a
service where you can sort of purify your DNA by
examining all of the trauma in all of your past lives.
And so Lea said one of the greatest actors of
all time, no no question about it, No one's questioning it.

(56:24):
Goes into this purification session, and then we see her
in her past life in nineteen ten in France, where
she's a pianist who is having an affair with this
guy who's played by George McKay, who's incredible in this movie.
And then one of her other past life time periods
is in twenty fourteen in Los Angeles where instead of

(56:44):
it being a doomed romance between her and George McKay.
He is like an incel who is stalking her in
LA And the sequence in twenty fourteen is like, is
sort of one of my horror movies of the year,
Like it's a properly scary, scared film, but it is
David Lynch of the year because it's science fiction but
it's also genreus and it feels like a dream but

(57:08):
also at points it feels so viscerally real that you
are sort of paralyzed with terror for this woman, especially
in the LA section, And you know, you walk out
of that movie and you think, we're still coming up
with original films. We're still doing it, like like you know,
like one hundred and fifty years into the medium of
cinema or whatever number we are up to, we're still

(57:30):
making truly original films because I honestly can't think of
a film that that is like I can think of
films that it's influenced by, and that's true of everything.
Nothing comes out of nowhere, But that is not a
film that's like other movies. You're right, that's a great ending.
Go and see The Beast if you haven't. Yeah, last
question before we get to the no I've got a

(57:51):
few quick ones. Best Summer movie, best big summer movie,
Quiet Place Day one. I've said it before in the show.
I'll say it again. They keep making Quiet Place movies.
I'll keep going to see the great movie.

Speaker 1 (58:00):
I say, Twisters, Twisters, big fun. Really enjoyed Twisters, old school,
really enjoyed it. Well made, exciting fun. Yeah, what was
the funniest film.

Speaker 2 (58:09):
Of the year. Well, I would probably say American Fiction
really made me laugh. The whole Divers really made me laugh.
Those are like comedy film master classes. Really, I thought
those were both very funny. But what was your film
comedy film in the year? Babes? Now, I haven't seen Babes,
and I regret that. Yeah, I'm looking forward. It's actually
pops up on Netflix, and I'm excited.

Speaker 1 (58:29):
I have to confess something. Oh God, what's becoming usn't it?
We just live on a plane? Maybe we live on
a plane. That's the big reveal. I guess we live.
It's fucking funny, Babes. It's funny. And you know what
I really liked about Babes. It's funny.

Speaker 2 (58:47):
Immediately, it's funny, like thirty seconds in and there's a
sequence at the beginning where a woman goes into labor
but they're out having lunch and.

Speaker 1 (58:55):
She doesn't want to finish. She doesn't want to leave
all the food they for it, and she is in labor,
she's trying to eat. It's very funny. It's a very
funny film, and they're both very funny in it. One
other shout out best real footage at the end. We've
talked about young Women in the Sea, but I would
also like to add Thelma, Lovely, Lovely, Thelma, sweet old

(59:16):
lady film, lovely film, and at some point you sort
of think, well, probably not realistic, but obviously this girl
loves his grandma. And then the credits you see a
clip of the real grammar and she says exactly what
was said in the film. You're like, oh, I guess
she was an accent hero.

Speaker 2 (59:31):
Yeah. I mean, I would say, like best real footage
is it's hard to describe anything about this movie is
good because it's so depressing. It's a very good film.
But The Iron Claw, which is a really really great,
horribly depressing true story where the true story is so
depressing they actually cut one of the brothers who died
out because they thought it would be too depressing for

(59:51):
people to handle that that's really happened. It's really really bleak.
Performances are great. Black Efron is great. The Bear is great.
I know he has a name, but he's the bear.
The bear is great. John Lennon, Baby Girl is great. Yeah,
Jeremy Allen White, Harris Dickinson, great performances. Fantastic story. I

(01:00:14):
didn't know anything about it. But at the end there's
just a photograph of the character upon whom zac Efron
is based, like happy with his family. And it's not
even just that. It's such a relief after what that
film puts you through, and the view is based on Yeah,
you actually see the real guy with his family. And
I'm split on using real footage after a film. I

(01:00:38):
think sometimes I think it can go one of two ways.
Like I think sometimes when you see the stuff at
the end, you're like, none of those people looked anything
like that, And then occasionally you get an eye tinia
where you're like Jesus Christ, that is, to be fair,
bang on. But with the Iron Claw, it's like a
weird like I've never experienced it before. Just seeing him
happy was a relief after what you've watched in that

(01:00:58):
fucking movie. It's a really really good film. I really
really thought it was incredibly well made. Rough old watch.

Speaker 1 (01:01:05):
Okay, nish, I think we've talked about all of them.
Now it's time for your top ten.

Speaker 2 (01:01:10):
Well, we haven't talked. Do you want to talk about
All of Us Strangers first? Or do you want to We'll.

Speaker 1 (01:01:14):
Leave that for end of I guess we're going to
pick a favorite at the end and then we can
talk about it a bit.

Speaker 2 (01:01:20):
We can talk about it. Let's talk about all of
Us Strangers.

Speaker 1 (01:01:23):
All of Us Strangers is my favorite film of the year,
and it was in the unusual position of I saw
it very early in the year and it remained. It
remained in top position. I love it so much. Andrew
Haigen is one of my favorite filmmakers. He's now made
too at least two of my favorite films forty five
years and All of the US Strangers.

Speaker 2 (01:01:41):
I went to see All of Us Strangers. I think
it is a beautiful wish of a film. I think
the film is a wish and the wishes to be
able to speak to your dead parents in this case,
and to communicate with them and have the questions that
you always wanted to ask them. And it's also a
film about being gay, and it's quite specific, quite specifically

(01:02:03):
about that, and there's a conversation that he has about
the word queer. And there's so much detail, like it's
very specific and very detailed, and where it's set and
where he grew up and where he goes to his
childhood home. And yet it is also a dream and
a wish and it's a quite unusual combination of it
exists in a kind of heavenly dreamscape but also very

(01:02:26):
specifically in a certain part of England, in a certain
time of I mean literally down down the road from
where I grew up. It's in Creydon, it's shot in Creydon.
There's a bit. There's a bit where they've shot in
the Wick Gift Center, like in the shopping center that
I grew up, going to the fucking Wi Gives Center exactly. Yeah, Yeah,
I know that, Yeah, I remember the Gift Center on

(01:02:47):
the big screen. I was like, this is it stuff.
I was like, I'm already weeping, Andrew, what are you
trying to do to me? Are that they're in the
fucking Wickgift Center? Yeah, it's listened. It answers the I
think everybody has a fascination with what would you say
to your parents if you met them as young people?

(01:03:08):
And I mean with him, it's a very it's a
very sort of powerful thing because the character in it,
Andrew Scott's character, has lost his parents. He's grown up
in the shadow of that grief, who was sent away
to Ireland after they died to live with his grandmother.
And you know, he's he's a writer, he's a TV
writer who's trying to come up with an idea for
a new script sort of jog bits of inspiration, goes

(01:03:30):
back to his childhood home where he finds just in
the kitchen his mum and dad as he remembers them
before they died. Incredible wonderful performances. Claire Foy and Jamie
Bell are just so so good in it. There is
a scene in the film where Jamie Bell as his dad,
is apologizing to him for not comforting him when he

(01:03:52):
was being bullied as a kid, and it's just like
it's an absolutely it's a wrenching scene. And there's a
scene where he's basically trying to confront his mum and
they sort of they have a conversation about the fact
that he's gay and how she you know, how would
she have felt about that if she'd live to see
him be, you know, an adult man who was comfortable

(01:04:14):
with his sexuality. And then in the midst of all
of this, he's kind of falling in love with a
younger man played by Paul Mescal, and yeah, that you
get that great those sequences where they they talk about
their differing relationships to their sexuality and how they express
them and the differences between their ages, and yeah, it's
difficult to pin down as a film, especially by the ending.

(01:04:34):
And again we don't want to spoil anything about the ending,
but it's very difficult to pin down a single interpretation.
And part of I think almost the fun of it
is you walk away with your theories about how you
feel the film ends and what you think that what
you think it says about the reality of what you've watched,
and also who Andrew Scott is. You know, it becomes very,

(01:04:55):
very complicated, but it's such a beautifully made film. Are
incredibly well shot. The Mescal and Andrew Andrew Scott in
that movie is you know, it sort of makes nonsense
of the awards in a lot of ways, because you
look at that and you go, I'm not really sure
how that is not one of the performance Like.

Speaker 1 (01:05:18):
Yeah, I'm it's like and I guess it's all promotion
or whatever. But I remember seeing it and being like, well,
this will win all the awards, yeah, for everything, including
Best Animation.

Speaker 2 (01:05:30):
So good.

Speaker 1 (01:05:32):
It's such a beaut a film and it's so full
of love. And I think Andrew Scott has a he's
sort of inherently vulnerable and lovely.

Speaker 2 (01:05:40):
Yeah.

Speaker 1 (01:05:40):
I think that's why he's interesting casting for like Ripley,
because you're like, he's so lovely Andrew Scott. Yeah, it's
sort of hard to make him not lovely. And that
film is, Oh, it's wonderful. Oh it's the film of
the year. Surely.

Speaker 2 (01:05:53):
It's an incredible, incredible film. And I even like the
way the mom is, like when she sees him topless
and she sort of talks about his body, and there's
something weirdly like sexual between all three of them, but
not in a way that's nothing creepy about it, just
sort of like they're all part of each other. I
don't know, that's it's a real Yeah, it's it's almost

(01:06:14):
not creepy. It's almost like she, you know, she can't
believe she's looking at this adult math. You know she
it must be I imagine quite a relate, like an oddly
relatable thing for parents where just occasionally you look at
your child and you go look at this like adult
person's Like at one point was this like completely vulnerable
egg that you know had to be constantly like swaddled

(01:06:36):
and protected, and now is suddenly this like like in
this case of Andrew's got very handsome, muscular adult man.
It's a beautiful film. It's such a good movie. This
what's your top ten? Let's hear it in order. Okay,
here we go, no cheating, no messing around. This was
a rough one. It's never it's never a good one,

(01:06:58):
but this was a rough one. Okay, so I've gone
no other land Anora soundtrack to a Koude Tart, The Holdovers,
the Beast, American Fiction, All of Us Strangers, zone of interest.
And then my top two is I saw the TV
glow and my number one is all we imagine is like,

(01:07:18):
oh and that could change at any point. I sort
of can't believe queer isn't in there. Oh yeah. I mean,
I'm looking at my list filled with regret, but here
it is civil war, heretic, the holdovers. All we Imagine
is light.

Speaker 1 (01:07:34):
I saw the TV glow zone of interest, my old ass, Anora,
the Beast, all of us strangers.

Speaker 2 (01:07:44):
I'm actually amazed that my old ass hasn't figured in it.
Like I can't believe it. Yeah, I can't believe. Neither
of us has said challenges like it's it's an incredible,
it was a great, it was a big old year.
We've nearly done three hours and this it's outrageous. Do
you are you proudly? Can I also just can I
also just say, more than any of these that we've done,

(01:08:04):
I feel the effort we have made into trying not
to go on for too long. This we have tried
so hard. I'm really tired. You talked for five minutes
un interrupted about Joker too. This is and this was us.
I basically read a two thousand word review of All
We Imagine as light, and that this was us trying

(01:08:25):
to keep it brief.

Speaker 1 (01:08:28):
So this you've been minderful as always. But how did
you die?

Speaker 2 (01:08:34):
Again?

Speaker 1 (01:08:34):
It was so long ago when you were assassinated at
the mothership.

Speaker 2 (01:08:42):
I was walking past with a coffin. You know.

Speaker 1 (01:08:44):
I'm like, I'm like, is this shine? And they go, yeah,
it's just been shot. Better get a coffin matter, I said,
do you know what, I'm amazing you made it this far.
I come in, I go help me out. Lad's put
you in a coffin. It's more of you than I
was expected. You've been eating and on this tour.

Speaker 2 (01:08:59):
No, but you have. I just haven't seen you for
a while. Just have to chop you up with some stuff.

Speaker 1 (01:09:04):
I get you in the coffin anyway, there's only enough
room in this coffin. Put one dvding and decide for
you to take across to the other side. What a
film from twenty to twenty four are you taking to
show your friends in heaven when you go back again?

Speaker 2 (01:09:19):
Now, back again? What film you take you when it's
your movie night? All we imagine as light, beautiful. They're
gonna love it. Got a beautiful film. Very nice, Nish.
You're a wonderful boy. You're a wonderful boy, Brett, You're
a special boy.

Speaker 1 (01:09:34):
What would you like people to do involving you? Should
they put toilet this in their ears? And can I
see you on tour.

Speaker 2 (01:09:41):
Yeah, listen to listen to podsafe the UK see me
on tour if they're still tour days, which they might
well be. Nishkamar dot co dot UK, Forward slash Gigs
or go to my website and you could buy my
comedy specials on their dish Camar dot co dot uk. NIS.
God bless you and keep you brat. Thank you. May

(01:10:02):
you be the next pope. Thank you. May you be
conclaved and become the next pope. Thank you.

Speaker 1 (01:10:08):
All right, we didn't have said, we didn't do what
we didn't have conclave in the in the ten.

Speaker 2 (01:10:14):
This is fucking hell ridiculous. We just talked about it,
saying one everything it's not even stupid. That's something stupid.
We've got to stop doing. We've got to make use
lose our time better. All right, that's what I can
hear the edit point. I can hear the edit point.

(01:10:36):
We've got we've got to use our time better. I
love you, good bye. So that was episode three hundred
and forty seven and the end of this season. Thank
you everyone for listening. You've been wonderful. I hope you're
all well.

Speaker 1 (01:10:51):
We'll have some reruns in the meantime, and I hope
to see you all soon. Thanks to scrubaus pipping the
struck some pieces of network.

Speaker 2 (01:10:58):
Thanks to iHeart Media and Parah's Big Money Is That
Work for hosting, says to Buddy Peace for producing it,
thanks to administon of the graphics, les and photography, and
thank you all for listening. In the meantime, have a
wonderful life, and please, now more than ever, be excellent
to each other.

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Nish Kumar (The Absolutely On Time Frankly Early Films Of The Year 2O24 Special • Part 2) • #347

Episode Transcript

Host

Brett Goldstein

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Nish Kumar (The Absolutely On Time Frankly Early Films Of The Year 2O24 Special • Part 2) • #347