The strain of cynicism that characterizes so much of Alex Garland’s filmography is at its most pronounced in his latest, CIVIL WAR. But paired with Garland’s 2002 debut as a screenwriter, Danny Boyle’s 28 DAYS LATER, an interesting counterpoint emerges in their shared acknowledgement, even hope, that humanity could perhaps find a path forward through catastrophe. So after spending some time wallowing in the muck of CIVIL WAR’s muddy politics and unsettling violence, we examine that mutual glimmer of hope in Connections, as well as the similar back-and-forth rhythms and character parallels of these two road movies. And in Your Next Picture Show we recommend the sequel that provides a different filmmaker’s answer to that question of where humanity goes next, Juan Carlos Fresnadillo’s 28 WEEKS LATER.

Please share your comments, thoughts, and questions about 28 DAYS LATER, CIVIL WAR,  or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730.

Next Pairing: Luca Guadagnino’s CHALLENGERS and Alfonso Cuarón’s Y TU MAMA TAMBIÉN

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The new CIVIL WAR is the latest in a line of speculative scenarios that Alex Garland has pondered over the course of his career as a novelist-turned-filmmaker, but its journey through a country transformed by violent catastrophe is most reminiscent of his first project as a screenwriter, Danny Boyle’s zombie-adjacent horror film 28 DAYS LATER. So before digging into Garland’s vision of an apocalyptic near-future United States, we’re revisiting his vision of the apocalyptic England of 2002 to consider the challenges of carving an ending (happy or otherwise) out of such a grim “what if,” and how our collective understanding of zombies (fast or otherwise) is both reflected in and shaped by 28 DAYS LATER’s infected. And in Feedback, we reckon with another speculative scenario, one in which our recent episode on Radu Jude’s latest was part of a different pairing. 

Please share your comments, thoughts, and questions about 28 DAYS LATER, CIVIL WAR,  or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730.

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What does a powerless gofer in 2020s Romania have in common with a powerful studio executive in 1990s Hollywood? Radu Jude’s new DO NOT EXPECT TO MUCH FROM THE END OF THE WORLD may concern a very different type of moviemaking than that in Robert Altman’s satire THE PLAYER, but it takes a similarly cynical — and humorous — stance on the compromises involved in commercialized art. That’s the main connection that inspired returning guest Katie Rife to suggest this pairing to us, but there’s much more about Jude’s film to get into first, from its focus on quotidian details to its various nods to Romanian art and culture. After that, we dive into these two films’ complementary takes on capitalism, commodification, and cameos, and in Your Next Picture show offer a trio of otherwise-unrelated films with ties to this pairing. 

Please share your comments, thoughts, and questions about THE PLAYER, DO NOT EXPECT TOO MUCH FROM THE END OF THE WORLD,  or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730.

Next Pairing: Alex Garland’s CIVIL WAR and Danny Boyle’s 28 DAYS LATER

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Romanian director Radu Jude’s new DO NOT EXPECT TOO MUCH FROM THE END OF THE WORLD is set in Bucharest, not Hollywood, but its cynicism about the act of capturing something on film nonetheless put us in mind of Robert Altman’s 1992 industry satire THE PLAYER. We’re joined by returning guest Katie Rife to discuss these two very different yet complementary movies about moviemaking, beginning with THE PLAYER’s caustically meta take on the Hollywood grind during a transitional moment for studio filmmaking. And we stay on theme moving into Feedback, bringing the film’s cynical outlook on Hollywood to a listener's question about the very existence of movie remakes.

Please share your comments, thoughts, and questions about THE PLAYER, DO NOT EXPECT TOO MUCH FROM THE END OF THE WORLD,  or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730.

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Like the Wachowskis’ BOUND before it, Rose Glass’ new lesbian crime thriller LOVE LIES BLEEDING is playing with the tropes of noir and pulp, but it is also very much a love story between women who are trapped by their pasts and see in each other a way out. This week we’re joined once again by writer and friend of the show Emily St. James to talk through the unique, memorable way in which LOVE LIES BLEEDING balances those elements and tones, before bringing BOUND back into the discussion to consider the parallels between these two narratives’ respective interest in bodies and gender performance, trust and transactional sex, and finding escape in another person. And in Your Next Picture Show we enthusiastically recommend Glass’ debut feature SAINT MAUD as the bellwether of a filmmaker who’s proven herself one to watch. 

Please share your comments, thoughts, and questions about BOUND, LOVE LIES BLEEDING,  or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730.

Next Pairing: Radu Jude’s DO NOT EXPECT TOO MUCH FROM THE END OF THE WORLD and Robert Altman’s THE PLAYER.

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Rose Glass’ new lesbian crime thriller LOVE LIES BLEEDING takes the neo-noir in a bold and unexpected direction, one that the Wachowskis first pointed the genre toward in 1996 with BOUND. While the sisters’ stylish debut first premiered amid a wave of “sexy thrillers,” it exists today in a significantly different context. We get into that shift this week with the help of returning guest Emily St. James, to discuss how BOUND subverts, even transcends, viewer expectations of noir, gender roles, and hot lesbian sex. And then we take a break from Feedback to continue the conversation about revisiting classics in a contemporary context, in a talk with Emily about her upcoming book, LOST: BACK TO THE ISLAND.

Please share your comments, thoughts, and questions about BOUND, LOVE LIES BLEEDING, or anything else in the world of film, by sending an email or voice memo to [email protected], or leaving a short voicemail at (773) 234-9730.

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Is box-office disappointment DRIVE-AWAY DOLLS destined for the sort of belated appreciation eventually received by the Coen Brothers’ sophomore feature, 1987’s RAISING ARIZONA? That’s up for debate in our discussion of Ethan Coen’s latest comedy collaboration, this time with his wife Tricia Cooke, a crime caper in theory that acts more like a sex romp in practice. Nonetheless, we consider how certain Coen crime signatures — ill-considered schemes executed by duos who are the opposite of pros, one of whom is comedically verbose — play out in both films, as well as how the films’ respective MacGuffins function as comedic objects. And in Your Next Picture Show we offer an alternate-universe version of this pairing built around the recent French release THE TASTE OF THINGS.

Please share your comments, thoughts, and questions about RAISING ARIZONA, DRIVE-AWAY DOLLS,  or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730.

Next Pairing: Rose Glass’ LOVE LIES BLEEDING and The Wachowskis’ BOUND

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While DRIVE-AWAY DOLLS is technically the first narrative feature for which Ethan Coen has taken a solo directing credit, in practice the new comedy is as much a collaboration, here with his wife and co-screenwriter Tricia Cooke, as the films he made with brother Joel before their current hiatus. So in honor of Coen’s commitment to collaborative comedy, we’re revisiting 1987’s RAISING ARIZONA, the film that established the brothers’ comedic voice following their neo-noir debut BLOOD SIMPLE, and whose madcap escapades and MacGuffin-chasing foreshadow Coen’s latest cinematic caper. And in feedback, a returning favorite offers up a connection we missed in our recent pairing of THE LAST DETAIL and THE HOLDOVERS.

Please share your comments, thoughts, and questions about RAISING ARIZONA, DRIVE-AWAY DOLLS,  or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730.

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Molly Manning Walker’s debut feature HOW TO HAVE SEX takes place more than six decades after 1960’s WHERE THE BOYS ARE, but as our discussion of the two films illuminates, frustratingly little has changed in that time when it comes to the blurred lines around consent, particularly in situations involving teenagers, alcohol, and social pressure around sex. We’re joined once again by Marya E. Gates to discuss HOW TO HAVE SEX’s deft navigation of that context before bringing WHERE THE BOYS ARE back in to discuss what has and hasn’t changed about the desires and dangers of being a student on unchaperoned holiday. And in Your Next Picture Show, we offer up a film that could form a triple feature with this week’s pairing, Céline Sciama’s GIRLHOOD.

Please share your comments, thoughts, and questions about WHERE THE BOYS ARE, HOW TO HAVE SEX,  or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730.

Next Pairing: Ethan Coen’s DRIVE-AWAY DOLLS and the Coen Brothers’ RAISING ARIZONA

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The new British coming-of-age film HOW TO HAVE SEX follows a group of girlfriends on a post-exam holiday into an environment where peer pressure, alcohol, and coercion can erode the boundaries of consent. But these problems aren’t unique to the film’s contemporary setting, as we’ll see in this week’s companion film, the seemingly frivolous 1960 spring break romp WHERE THE BOYS ARE. Special guest Marya Gates brings us some historical context about the film’s place in the continuum of “beach party” movies, and the degree to which audiences still a few years out from the sexual revolution would be receptive to the film’s relative frankness about sex. And in Feedback we continue the debate about the usefulness of film ratings, and respond to the charge that a recent pairing was our worst-ever choice of new film.

Please share your comments, thoughts, and questions about WHERE THE BOYS ARE, HOW TO HAVE SEX,  or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730.

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A road trip through a chilly New England winter represents only one section of Alexander Payne’s THE HOLDOVERS, but the film’s overlap with Hal Ashby’s THE LAST DETAIL goes beyond that narrative echo. As in Ashby’s 1973 film, one of the examples of 1970s cinema Payne drew on for the look and feel of THE HOLDOVERS, a central triumvirate of two adults and their younger charge have a funny but imperfect bonding experience that avoids simplistic found-family conclusions. We talk through the ways THE HOLDOVERS finds nuance in its different permutations of that trio before turning back to THE LAST DETAIL to compare these films’ versions of “showing the kid a good time” in spite of bitter cold and absent parents. And in Your Next Picture Show we stick up for LAST FLAG FLYING, Richard Linklater’s little-loved “spiritual sequel” to THE LAST DETAIL.

Please share your comments, thoughts, and questions about THE LAST DETAIL, THE HOLDOVERS,  or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730.

Next Pairing: Molly Manning Walker’s HOW TO HAVE SEX and Henry Levin’s WHERE THE BOYS ARE

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