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The Next Picture Show


A biweekly roundtable by the former editorial team of The Dissolve examining how classic films inspire and inform modern movies. Episodes take a deep dive into a classic film and its legacy in the first half, then compare and contrast that film with a modern successor in the second. Hosted and produced by Genevieve Koski, Keith Phipps, Tasha Robinson and Scott Tobias. Part of the Filmspotting family of podcasts.

A biweekly roundtable by the former editorial team of The Dissolve examining how classic films inspire and inform modern movies. Episodes take a deep dive into a classic film and its legacy in the first half, then compare and contrast that film with a modern successor in the second. Hosted and produced by Genevieve Koski, Keith Phipps, Tasha Robinson and Scott Tobias. Part of the Filmspotting family of podcasts.


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A biweekly roundtable by the former editorial team of The Dissolve examining how classic films inspire and inform modern movies. Episodes take a deep dive into a classic film and its legacy in the first half, then compare and contrast that film with a modern successor in the second. Hosted and produced by Genevieve Koski, Keith Phipps, Tasha Robinson and Scott Tobias. Part of the Filmspotting family of podcasts.




#305: White Lies, Pt. 2 — Passing

Rebecca Hall’s new PASSING takes a more restrained, internal approach to its story about racial identity and the rejection thereof than Douglas Sirk’s 1959 classic IMITATION OF LIFE, but the two films share an awareness of how style and subject matter can work hand in hand. We’re joined again this week by critic Odie Henderson to discuss how each film balances its messaging, storytelling, and style, after digging into PASSING’s black-and-white cinematography, literary source material, and...


#304: White Lies, Pt. 1 — Imitation of Life

Rebecca Hall’s new film PASSING centers on a complicated female friendship defined in part by semi-porous racial boundaries, a thematic throughline that pointed us directly to Douglas Sirk’s IMITATION OF LIFE — with an assist from critic Odie Henderson, who in his recent review of Hall’s film invoked Sirk’s 1959 melodrama, citing it as his #3 film of all time. We’re joined this week by Henderson to discuss how IMITATION OF LIFE's wrenching storyline about a Black woman’s...


#303: Dual Duels Pt. 2 — Last Night In Soho

LAST NIGHT IN SOHO director and co-writer Edgar Wright is never shy about sharing and celebrating his influences for each new project, which in this case includes the other film in this pairing, Ingmar Bergman’s famously inscrutable PERSONA. We get into the connections between those two, including their portrayals of relationships between two women and their allusive tendencies, after digging into what makes Wright’s newest film so intoxicating… for its first half, at least. Plus Your Next...


#302: Dual Duels Pt. 1 — Persona

In familiar Edgar Wright fashion, the director’s new LAST NIGHT IN SOHO is brimming with cinematic allusion, but that self-reflexivity combined with a focus on a pair of similar-looking women whose identities begin to merge in uncanny ways brought us immediately to one of film’s most mysterious and scrutinized movies: Ingmar Bergman’s PERSONA. Broadly concerned with two women’s power struggle and eventual convergence, Bergman’s film is open to countless, sometimes overlapping...


#301: Just Deserts Pt. 2 — Dune (2021)

Denis Villeneuve’s new DUNE (or, more accurately, DUNE PART ONE) begins the process of adapting Frank Herbert’s 1965 novel of the same name, which itself drew from the biography of T.E. Lawrence, the inspiration for another film concerned with “desert power” and messiah mythmaking: 1962’s LAWRENCE OF ARABIA. While the two films each slot into different genres — science-fiction and historical war story, respectively — their narratives are remarkably similar, particularly when it comes to the...


#300: Just Deserts Pt. 1 — Lawrence of Arabia

The 1965 Frank Herbert novel that gave rise to Denis Villenueve’s new adaptation DUNE drew direct inspiration from the life of T.E. Lawrence, the subject of one of cinema’s towering classics: LAWRENCE OF ARABIA. David Lean’s 1965 film is a celebrated, Oscar-winning classic that’s become shorthand for “big screen epic,” but for every major set piece where Peter O’Toole’s Lawrence seems to consider himself immortal, there’s an accompanying intimate moment where he gives in to his self-doubt....


#299: Family History, Pt. 2 – The Many Saints of Newark

When it comes to the cultural obsession with origin stories that’s led to the underwhelming Sopranos prequel film THE MANY SAINTS OF NEWARK, how much credit/blame should be placed at the feet of THE GODFATHER PART II as an originator of this storytelling fixation? That’s among the questions we consider as we parse our mixed-to-negative reactions to the newer film, and bring it into conversation with Francis Ford Coppola’s classic to compare the films’ respective entwining of crime, American...


#298: Family History, Pt. 1 – The Godfather, Part II

The new Sopranos-inspired film THE MANY SAINTS OF NEWARK is both a prequel and a follow-up to one of the most acclaimed and influential mafia stories ever told, a description that also applies to Francis Ford Coppola’s 1974 film THE GODFATHER: PART II. Coppola’s follow-up to his 1972 smash has a prequel embedded within its flashback structure, but its dual narrative makes it much more than just an origin story — it’s a very different film than its predecessor, but does that make it, as the...


#297: Bet Your Life Pt. 2: The Card Counter

Like HARD EIGHT, the new Paul Schrader film THE CARD COUNTER puts a professional gambler on the road to redemption via his relationship with a confused and volatile young man, in the latest iteration of Schrader’s “God’s Lonely Man” character. We unpack that character, along with CARD COUNTER’s view of him and his sins, with the help once again of critic and Schrader expert Vikram Murthi, before putting these two films side by side to discuss their respective approach to father-son...


#296: Bet Your Life Pt. 1: Hard Eight

The uneasy pact between a professional gambler and a young man from his past in Paul Schrader’s THE CARD COUNTER recalls the surrogate father and son at the center of Paul Thomas Anderson’s debut feature HARD EIGHT. Both films follow solitary men into dark casino halls, but on very different paths to redemption. For this week’s focus on HARD EIGHT, we’re joined by freelance critic and longtime friend of the pod Vikram Murthi to debate Anderson’s approach to withholding and revealing...


#295: Missing Movies + Strange Days (1995)

Our recent pairing of Michel Gondry’s ETERNAL SUNSHINE OF THE SPOTLESS MINDS with Lisa Joy’s REMINISCENCE was actually a second-choice selection forced by the ongoing unavailability of the film we initially thought of as a slam-dunk companion to Joy’s new film: Kathryn Bigelow’s 1995 thriller STRANGE DAYS, another noir-inflected science-fiction story concerned with the intersection of technology and memory. But that film is nearly impossible to find these days (at least through official...


#294: Memory Machines Pt. 2 — Reminiscence

Where Michel Gondry’s ETERNAL SUNSHINE OF THE SPOTLESS MIND used the conceit of a memory machine in service of a science-fiction romance, Lisa Joy’s new feature debut REMINISCENCE uses a similar device in service of a science-fiction noir, but despite their different genre footholds, both are naturally fixated on the idea of revisiting memories and what they can tell us about ourselves. Despite a high-style approach reminiscent of Joy’s work on WESTWORLD, her REMINISCENCE hasn’t been...


#293: Memory Machines Pt. 1 — Eternal Sunshine of the Spotless Mind

Lisa Joy’s new REMINISCENCE turns on a techno-magical procedure that blurs the distinction between memories and reality, a conceit that immediately reminded us of ETERNAL SUNSHINE OF THE SPOTLESS MIND. Michel Gondry’s 2004 film was one of our collective favorites back when it premiered, but do our memories of it hold up to the reality of a present-day rewatch? This week we re-examine our relationship to ETERNAL SUNSHINE’s unlikable protagonists and the decisions they make, and to writer...


#292: Musical Variations, Pt. 2 — Annette

Like Francis Ford Coppola’s 1982 musical folly ONE FROM THE HEART, Leos Carax’s new rock opera ANNETTE is not interested in playing it safe, whether that means, like Coppola's film, enlisting idiosyncratic musicians for songs that challenge movie-musical convention, or enlisting a puppet to play the titular role. We’re joined again this week by our friend Joshua Rothkopf to unpack which of ANNETTE’s provocations work and which don’t, before placing it alongside ONE FROM THE HEART to discuss...


#291: Musical Variations, Pt. 1 — One From The Heart

As a self-consciously artificial musical about a troubled couple (among other things), Leos Carax’s new ANNETTE put us in mind of another original movie musical with little use for convention: Francis Ford Coppola’s 1982 folly ONE FROM THE HEART, a famous flop that also represents a singular artistic achievement. We’re joined this week by critic and old friend Joshua Rothkopf to consider how this tarnished labor of love stands the test of time, whether the film’s surplus of style is enough...


#290: Knight Visions, Pt. 2 — The Green Knight

We just can’t resist discussing a new David Lowery film here at the Next Picture Show, and his latest, THE GREEN KNIGHT, gives us plenty to chew on, taking an alternately minimalist and maximalist approach to a story about honor, myth, and magic that takes place on the edges of King Arthur’s legend. Its bordering-on-abstract narrative stands in high contrast to the more expository approach seen in John Boorman’s EXCALIBUR last week, but the two films’ shared source legend provides a wealth...


#289: Knight Visions, Pt. 1 — Excalibur

The new low-key fantasy fable THE GREEN KNIGHT plays with favorite David Lowery themes like time and death and memory, cross-pollinated with familiar Arthurian themes like chivalry and honor, and one era giving way to another. That combination reminded us of a similarly personal vision of Arthurian legend, albeit one working in a decidedly different tonal register: John Boorman’s 1981 fantasy epic EXCALIBUR. In this first half of the pairing, we consider the unwieldy storytelling,...


#288: Interior Angles, Pt. 2 – Roadrunner: A Film About Anthony Bourdain

**This episode contains discussion of suicide. If you or someone you know is in crisis, free help is available 24/7 by calling the National Suicide Prevention Lifeline at 1-800-273-TALK (8255), or texting the Crisis Text Line (text HELLO to 741741).** Continuing our pairing of documentaries about the interior life of dark-minded artists who became celebrities without expecting it, we take up Morgan Neville’s new Anthony Bourdain exploration ROADRUNNER, which in crafting its narrative about...


#287: Interior Angles, Pt. 1 – Crumb

The new ROADRUNNER plumbs some of the darker emotional depths of the late Anthony Bourdain, and has come in for scrutiny about some of its methods for doing so. That combination reminded us of another documentary about a similarly unlikely public figure: CRUMB, Terry Zwigoff’s 1995 examination of his old friend and underground comics legend Robert Crumb, alongside some other more troubled members of his deeply troubled family. We’re joined this week by an old friend of our own, freelance...


#286: The Summer of '69, Pt. 2: Summer of Soul

Our look at the musical happenings of the summer of 1969 shifts from upstate New York to uptown New York City to experience the Harlem Cultural Festival, rescued from historical obscurity by Amir “Questlove” Thompson in his new documentary SUMMER OF SOUL (...OR, WHEN THE REVOLUTION COULD NOT BE TELEVISED). We’re joined once again by music critic Steven Hyden to consider how SUMMER OF SOUL works as a music documentary both in its own right and as an “answer film” of sorts to Woodstock, the...