SEEING FACES IN MOVIES

Felicia is joined by Nathan Cowles to discuss Éric Rohmer’s first film in his A Tale of Four Season series, about a man being tossed around by three different women in A Summer’s Tale (1996). We chat about Rohmer’s way of writing women, his choice to work with a woman cinematographer and how that lends to a unique gaze behind the camera. Along with the importance of the script and the quiet moments that expose the protagonists inner truth. This is the Rohmer series opener and I’m beyond excited to share this series with you - we’ve got four great guests to cover a wide range of Rohmer’s work this month - I hope you follow along! Send us your thoughts on the episode - are you satisfied with our protagonist’s ending? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Nathan here: Letterboxd: @cowles YouTube: @Cowles IG: @cowles.mov Sources: https://agoodmovietowatch.com/a-summers-tale-1996/ https://variety.com/1996/film/reviews/a-summer-s-tale-1200445995/#! https://mubi.com/en/notebook/posts/dangling-man-close-up-on-eric-rohmers-a-summers-tale https://www.criterion.com/films/29650-a-tale-of-summer https://cinemasentries.com/a-summers-tale-movie-review-dissecting-love-and-sex-with-philosophical-precision/ https://www.nytimes.com/2014/06/20/movies/a-summers-tale-from-eric-rohmers-seasons-cycle.html https://www.criterion.com/current/posts/8387-eric-rohmer-s-tales-of-the-four-seasons-another-year https://www.youtube.com/watch?v=hHoU9_3pmq4&t=128s&ab_channel=TIFFOriginals OUTRO SONG: Fille de corsaire by Sebastien Erms FILMS MENTIONED: A Clockwork Orange (Stanley Kubrick 1972) Eraserhead (David Lynch 1978) Inglorious Basterds (Quentin Tarantino 2009) Funny Games (Michael Haneke 1997) My Night at Maud’s (Éric Rohmer 1970) The Green Ray (Éric Rohmer 1986) Suzanne’s Career (Éric Rohmer 1963) Breathless (Jean-Luc Godard 1961) Call Me By Your Name (Luca Luca Guadagnino 2017) Aftersun (Charlotte Wells 2022) The Bakery Girl of Monceau (Éric Rohmer 1963) Claire’s Knee (Éric Rohmer 1971) La belle noiseuse (Jacques Rivette 1991) The Fifth Seal (Zoltán Fábri 1976) Design For Living (Ernst Lubitsch 1933) Les amours imaginaires (Xavier Dolan 2010) Mommy (Xavier Dolan 2014) Tom at the Farm (Xavier Dolan 2015)

Felicia is joined by Peter Merriman to discuss Yasujirō Ozu’s tale about aging parents and their relationships with their older children, in Tokyo Story (1953). We chat about why Japan original didn’t think they could market this film in North America, and how it eventually became one of the most universal film texts that audiences continue to relate to. This mark’s the end of the Ozu series, it was an honour and beautiful experience revisiting and watching some of his films for the first time in preparation. There is an Ozu film out there for everyone, and I hope you find it and it changes your life. Send us your thoughts on the episode - do you prefer Ozu’s colour or black and white film era? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Sources: https://www.criterion.com/current/posts/301-tokyo-story-compassionate-detachment https://www.criterion.com/current/top-10-lists/371-rashaad-ernesto-green-s-top-10 https://www.theguardian.com/film/2023/aug/31/tokyo-story-review-yasujiro-ozu https://www.sensesofcinema.com/2003/great-directors/ozu/ https://www.ucpress.edu/book/9780520396722/directed-by-yasujiro-ozu https://www.ucpress.edu/book/9780520296817/transcendental-style-in-film https://www.enotes.com/topics/yasujiro-ozu/critical-essays/lindsay-anderson OUTRO SONG: Tokyo Story Theme by Takanobu Saitô FILMS MENTIONED: The American Friend (Wim Wenders 1977) The Holdovers (Alexander Payne 2023) Anatomy of a Fall (Justine Triet 2023) Barbie (Greta Gerwig 2023) Oppenheimer (Christopher Nolan 2023) Tenet (Christopher Nolan 2020) Dune: Part 2 (Denis Villeneuve 2024) Bring Me the Head of Tim Horton (Guy Maddin 2015) Justice League (Zack Snyder 2021) Dawn of the Dead (Zack Snyder 2004) An Autumn Aftenoon (Yasujirō Ozu 1964) Late Spring (Yasujirō Ozu 1949) Make Way For Tomorrow (Leo McCarey 1937) Tokyo Twilight (Yasujirō Ozu 1957) I Was Born, But… (Yasujirō Ozu 1932) Tokyo-ga (Wim Wenders 1985) Sans Soleil (Chris Marker 1983) A Man Escaped (Robert Bresson 1957) Mommie Dearest (Frank Perry 1981) Toni Erdmann (Maren Ade 2016) Paris, Texas (Wim Wenders 1984) Wild Strawberries (Ingmar Bergman 1957)

Felicia is joined by Bryan Loomis (from What a Picture Podcast) to discuss Yasujirō Ozu’s silent comedy about two brothers who begin to see their father in a new light. Send us your thoughts on the episode - do you prefer Ozu’s silent or talkies era? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Listen to our previous episode: All The President’s Men (D.O.P. Gordon Willis 1976) Follow Bryan here: Website: PODCAST | What a Picture (whatapicturepod.com) What a Picture Podcast: https://anchor.fm/what-a-picture Sources: https://www.highonfilms.com/i-was-born-but-1932-ozu/ http://www.midnighteye.com/reviews/i-was-born-but/ https://blogs.iu.edu/establishingshot/2020/02/17/sublime-tragicomedy-i-was-born-but-1932/ https://www.slantmagazine.com/film/i-was-born-but/ https://harvardfilmarchive.org/calendar/i-was-born-but-2023-06 https://www.nytimes.com/2010/06/25/movies/25iwas.html OUTRO SONG: Birthday by The Sugarcubes FILMS MENTIONED: All The President’s Men (Alan J. Pakula 1976) Perfect Days (Wim Wenders 2023) Pather Panchali (Satyajit Ray 1955) Horse Money (Pedro Costa 2014) Trust (Hal Hartley 1990) Late Spring (Yasujirô Ozu 1949) Tokyo Story (Yasujirô Ozu 1953) Walk Cheerfully (Yasujirô Ozu 1930) Good Morning (Yasujirô Ozu 1959) Early Summer (Yasujirô Ozu 1951) Autumn Afternoon (Yasujirô Ozu 1962) Trouble in Paradise (Ernst Lubitsch 1932) Lady Bird (Greta Gerwig 2017) Miracle in Milan (Vittorio De Sica 1951) Housekeeping (Bill Forsyth 1987)

Felicia is joined by Malik Nelson to discuss Yasujirō Ozu’s overlooked film about two sisters grappling with the return of their mother who abandoned them in Tokyo Twilight (1957). Send us your thoughts on the episode - do you prefer Ozu’s black and white or in colour films? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Malik here: Letterboxd: @atelopusfarci IG:@malachimalik_ Sources: https://nyunews.com/arts/film/2019/10/28/tokyo-twilight-4k-film-restoration-review/ https://www.criterion.com/current/posts/634-eclipse-series-3-late-ozu https://www.sensesofcinema.com/2019/cteq/tender-restraint-tokyo-twilight-yasujiro-ozu-1957/OUTRO SONG: Tokyo Twilight Theme by Takanobu Saitô FILMS MENTIONED: Late Spring (Yasujirō Ozu 1949) Tokyo Story (Yasujirō Ozu 1953) Written on the Wind (Douglas Sirk 1956) Dead Man (Jim Jarmusch 1996) Good Morning (Yasujirō Ozu 1959) 20th Century Women (Mike Mills 2016) Frances Ha (Noah Baumbach 2013) Stella Dallas (King Vidor 1937)

Felicia is joined by Seth Vargas to discuss one of the most touching and heartbreaking story of a father and daughter dynamic, in Yasujirō Ozu’s Late Spring (1949). We chat about how Ozu perfected the genre of family dramas, by keeping the visuals simple yet effective. We also how the characters in this film bridge old and new world Japan. Send us your thoughts on the episode - which is Ozu’s ‘season’ films is your favourite? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Seth here: Movie Friends Podcast (website) Twitter: @moviefriendspod IG: @moviefriendspodcast YouTube: @moviefriendspodcast Listen to our previous episodes: Le bonheur (Agnès Varda 1965) Woman in the Dunes (Hiroshi Teshigahara 1964) Sources: https://www.criterion.com/current/top-10-lists/294-andrew-ahn-s-top-10 https://www.criterion.com/current/posts/421-late-spring-home-with-ozu https://www.rogerebert.com/reviews/great-movie-late-spring-1972 https://www.sensesofcinema.com/2003/great-directors/ozu/ OUTRO SONG: Late Spring by Senji Itô FILMS MENTIONED: Le bonheur (Agnès Varda 1965) Woman in the Dunes (Hiroshi Teshigahara 1964) Ghostwatch (Lesley Manning 1992) Dune 2 (Denis Villeneuve 2024) The Rage: Carrie 2 (Katt Shea 1999) Cannibal Holocaust (Ruggero Deodato 1985) Set It Off (F. Gary Gray 1996) I Was Born, But… (Yasujirō Ozu 1932) Flirt (Hal Hartley 1995) Pride of the Yankees (Sam Wood 1942) Good Morning (Yasujirō Ozu 1959) Tokyo Story (Yasujirō Ozu 1953) Me and You and Everyone We Know (Miranda July 2005) The Heiress (William Wyler 1949) Paper Moon (Peter Bogdonavich 1973)

It’s bonus episode time. In today’s Special Features episode Felicia is joined by Charles Forsman and Joey Gantner to discuss the only punk sci-fi film that matters, Repo Man (Alex Cox 1984). We chat about how Alex Cox not only made one of the most important films about punk culture but how he was able to successfully infuse other genres to make it a complete story. Along with how members of the LA Punk community came together to create an authentic piece of cinema that continues to grow more of a cult following over the years. Send us your thoughts on the episode - what is your favourite song on the soundtrack? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Charles here: Crowdfunder for his new comic Chesley: http://crowdfundr.com/herecomeschesley/ Podcast: batandspider.com Spotify: Bat and Spider IG: @batandspider Twitter: @batnspider Follow Joey here: Spotify: Out of the Podcast Tape Record Label: sludge-people.com IG: @sludgepeople IG: @outofthepodcast Sources: https://www.inverse.com/entertainment/repo-man-oral-history-1984?s=08 https://www.criterion.com/current/posts/2743-10-things-i-learned-repo-man https://www.criterion.com/current/posts/2736-repo-man-a-lattice-of-coincidence https://medium.com/framerated/repo-man-unmissable-punk-sci-fi-cult-classic-b5ea8c2b4066 https://cinephiliabeyond.org/alex-coxs-screenplay-cult-classic-repo-man/ https://filmobsessive.com/film/film-analysis/film-genres/cult_film/repo-man-and-the-definition-of-the-cult-film/ OUTRO MUSIC: A Gain - A Loss by The Plugz FILMS MENTIONED: To Live and Die in L.A. (William Friedkin 1985) Full Metal Jacket (Stanley Kubrick 1987) Dracula (Tod Browning 1931) Clerks 3 (Kevin Smith 2002) 20th Century Women (Mike Mills 2017) Star Trek: The Voyage Home (Leonard Nimoy 1986) Young Guns (Christopher Cain 1988) Paris, Texas (Wim Wenders 1984) Kiss Me Deadly (Robert Aldrich 1955) Effects (Dusty Nelson 1979) Tammy and the T-Rex (Stewart Raffill 1994) Blood Beat (Fabrice-Ange Zaphiratos 1983) Straight to Hell (Alex Cox 1987) Walker (Alex Cox 1987) Sid & Nancy (Alex Cox 1986) Suburbia (Penelope Spheeris 1983) Miracle Mile (Steve De Jarnatt 1988) Night of the Comet (Thom Eberhardt 1984) Out of the Blue (Dennis Hopper 1980)

Felicia is joined by Liam and Wayne from the In Film We Trust Podcast to discuss Jim Jarmusch’s film about three outlaws on the run, in Down By Law (1986). We chat about how each of these characters play off each other and why the outsider, Roberto, is the glue that holds them together. We also discuss how he gave Robby Müller carte blanche to shoot the film however he wanted and how that collaboration is imperative to the film’s lasting effect. Send us your thoughts on the episode - who is your favourite musician Jarmusch has worked with? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow In Film We Trust here: Spotify: https://podcasters.spotify.com/pod/show/ifwtpod IG: @ifwtpod Twitter: @ifwtpod YouTube: @ifwtpod Sources: https://www.criterion.com/current/top-10-lists/37-rian-johnson-s-top-10 https://www.theguardian.com/film/2014/sep/08/down-by-law-the-monochrome-mastery-of-dutch-cinematographer-robby-muller https://www.tasteofcinema.com/2017/pulling-focus-down-by-law-1986/ https://www.criterion.com/current/posts/229-down-by-law-chemistry-set https://www.criterion.com/current/posts/2386-talking-with-john https://www.rogerebert.com/reviews/down-by-law-1986 OUTRO SONG: Decomposing Trees by Galaxie 500 FILMS MENTIONED: Easy Rider (Dennis Hopper 1969) Chelsea Girls (Paul Morrissey, Andy Warhol 1966) The Way It Is (Eric Mitchell 1985) Downtown 81 (Edo Bertoglio 2000) Toy Story (John Lasseter 1995) Terminator 2: Judgment Day (James Cameron1991) Aliens (James Cameron 1986) Blazing Saddles (Mel Brooks 1974) Smokey and the Bandit (Hal Needham 1977) Dead Man (Jim Jarmusch 1995) Stranger Than Paradise (Jim Jarmusch 1984) The Dead Don’t Die (Jim Jarmusch 2019) Paterson (Jim Jarmusch 2016) Permanent Vacation (Jim Jarmusch 1980) The Foreigner (Eric Mitchell 1978) Eraserhead (David Lynch 1978) Paris, Texas (Wim Wenders 1984) Videodrome (David Cronenberg 1983) Harold and Maude (Hal Ashby 1971) Mystery Train (Jim Jarmusch 1989) Night on Earth (Jim Jarmusch 1991) Strange Brew (Rick Moranis, Dave Thomas 1983) Broken Flowers (Jim Jarmusch 2005) Ghost Dog: The Way of the Samurai (Jim Jamursch 1999) Two Lane Blacktop (Monte Hellman 1971) Clerks (Kevin Smith 1994) Dazed and Confused (Richard Linklater 1993) Straight Time (Ulu Grosbard 1978) Reservoir Dog (Quentin Tarantino 1992) The American Friend (Wim Wenders 1977)

Felicia is joined by Trevor Young (Supervising Producer at iHeartPodcasts) to discuss Jim Jarmusch’s anthology film of character’s everyday conversations in Coffee and Cigarettes (2003) We chat about how it was filmed over the course of three decades, and how the use of multiple cinematographers helps reflect the respective eras in which the vignettes were shot. Along with how each individual chapter does end up telling a broader story of human interaction and how we can see ourselves in these conversations. Send us your thoughts on the episode - which vignette is your favourite? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Trevor here: Letterboxd: @improfusion Sources: https://www.rogerebert.com/reviews/coffee-and-cigarettes-2004 https://worldscinema.org/2023/12/coffee-and-cigarettes-2003/ https://www.highonfilms.com/coffee-cigarettes-jarmusch-review/ https://www.sensesofcinema.com/2004/53rd-melbourne-international-film-festival/coffee_and_cigarettes/ https://www.indiewire.com/features/general/looking-for-love-over-nicotine-and-caffeine-jim-jarmusch-talks-about-coffee-and-cigarettes-78919/ OUTRO SONG: Black Hole by The Urinals FILMS MENTIONED: Princess Mononoke (Hayao Miyazaki 1997) Down By Law (Jim Jarmusch 1986) Stranger Than Paradise (Jim Jarmusch 1984) Mystery Train (Jim Jarmusch 1989) Boyhood (Richard Linklater 2014) Dead Man (Jim Jarmusch 1995) Slacker (Richard Linklater 1991) Goodfellas (Martin Scorsese 1990) Cry Baby (John Waters 1990) Night on Earth (Jim Jarmusch 1991) Ghost Dog: The Way of the Samurai (Jim Jarmusch 1999) Repo Man (Alex Cox 1984)

Felicia is joined once again by Rolo Tony [listen to our episode on A Woman Under the Influence (John Cassavetes 1974)], to discuss Jim Jarmusch’s blending of both noir and samurai genres in Ghost Dog: The Way of the Samurai (1999). We chat about Jarmusch’s interest in music and how he blends that art form into storytelling in his films. Along with his interest in stories about humans and their quirks. Send us your thoughts on the episode - who are some of your favourite musical artists Jarmusch has worked with? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Rolo Tony here: Twitter: @PoorOldRoloTony Letterboxd: @PoorOldRoloTony YouTube: @PoorOldRoloTony Sources: https://www.sensesofcinema.com/2002/cteq/ghost_dog/ https://www.theguardian.com/film/2000/apr/28/4 https://www.rogerebert.com/reviews/ghost-dog-the-way-of-the-samurai-2000 https://www.criterion.com/films/31032-ghost-dog-the-way-of-the-samurai https://www.criterion.com/current/posts/7185-ghost-dog-by-the-book https://www.criterion.com/current/posts/7186-ghost-dog-as-international-sampler https://louderthanwar.com/jim-jarmusch-talks-about-his-great-ghost-dog-film/ https://filmmakermagazine.com/107997-the-violence-in-the-film-is-simply-a-reflection-of-the-history-of-human-beings-writer-director-jim-jarmusch-and-actor-forest-whitaker-on-ghost-dog-the-way-of-the-samurai/ https://elementsofmadness.com/2020/11/11/ghost-dog/ https://www.wweek.com/arts/movies/2023/02/21/why-jim-jarmuschs-ghost-dog-the-way-of-the-samurai-endures-as-an-unlikely-classic/ OUTRO SONG: Ghost Dog Opening Theme by RZA FILMS MENTIONED: A Woman Under the Influence (John Cassavetes 1974) Brain Damage (Frank Henenlotter 1988) Basket Case (Frank Henenlotter 1982) One From the Heart (Francis Ford Coppola 1982) Rumble Fish (Francis Ford Coppola 1983) Tetro (Francis Ford Coppola 2009) Twixt (Francis Ford Coppola 2011) Megalopolis (Francis Ford Coppola 2024) Rain People (Francis Ford Coppola 1969) Kill Bill Vol. 1 (Quentin Tarantino 2003) Kill Bill Vol. 2 (Quentin Tarantino 2004) Coffee and Cigarettes (Jim Jarmusch 2003) Down By Law (Jim Jarmusch 1986) Broken Flowers (Jim Jarmusch 2005) Only Lovers Left Alive (Jim Jarmusch 2013) Mystery Train (Jim Jarmusch 1989) Le samourai (Jean-Pierre Melville 1967) Spider-Man: Into the Spider-Verse (Bob Persichetti,Peter Ramsey, Rodney Rothman 2018) Nobody (Ilya Naishuller 2021) O Brother Where Art Thou (Joel Coen, Ethan Coen 2000) The Great Silence (Sergio Corbucci 1968) Hell in the Pacific (John Boorman 1968) Point Blank (John Boorman 1967) Museo (Alonso Ruizpalacios 2018)

Felicia is joined by Josh Cooley to discuss Jim Jarmusch’s meditative story about a small town poet, in Paterson (2016). We chat about the Jarmusch’s interest in telling the stories of every day people and why mundanity can make for a compelling story. This is the first episode of the Jarmusch series and I think a great film to showcase how he has still maintained his craft and ability to tell a meaningful story throughout his career. Send us your thoughts on the episode - do you have a favourite poet? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Josh here: IG: @_joshcooley_ LB: @movieunycorn Golden Hour (Short Film) GoFundMe Sources: Cinematic Poetry: An In-Depth Reading of Jim Jarmusch’s Film Paterson (2016) – Close-Up Culture (closeupculture.com) Paterson review – Adam Driver beguiling in miraculous tale of everyday goodness | Drama films | The Guardian Review: In Jim Jarmusch’s ‘Paterson,’ a Meditative Flow of Words Into Poetry - The New York Times (nytimes.com) Paterson movie review & film summary (2016) | Roger Ebert The Paterson Poem by William Carlos Williams (patersonproject.com) Adam Driver On Working With Martin Scorsese & Jim Jarmusch -- AwardsLine (deadline.com) OUTRO SONG: Time In a Bottle - Jim Croce FILMS MENTIONED: Dead Man (Jim Jarmusch 1995) Mystery Train (Jim Jarmusch 1989) Night on Earth (Jim Jarmusch 1991) The Dead Don’t Die (Jim Jarmusch 2019) Blue Velvet (David Lynch 1984) Moonrise Kingdom (Wes Anderson 2012) After Life (Kore-eda Hirokazu 1998) Columbus (Kogonada 2017) Cléo de 5 a 7 (Agnès Varda 1962) Alice in the Cities (Wim Wenders 1974)

It’s bonus episode time. In today’s Special Features episode Felicia is joined by Cethan Leahy to discuss Elaine May’s romantic comedy about a man who wants to murder his wife. We chat about how the physical comedy from the actors allows the audience to ease into the premise of the film, and why Walter Matthau is perfect casting for the role of the egotistical Henry. Send us your thoughts on the episode - what is your favourite 70s comedy? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Cethan here: Website: https://www.cethanleahy.com/ Sources: https://www.sensesofcinema.com/2019/cteq/a-new-leaf-elaine-may-1971/ https://www.womaninrevolt.com/a-new-leaf-1971-by-elaine-may/ https://www.filmcomment.com/article/elaine-may-in-conversation-with-mike-nichols/?ref=womaninrevolt.com https://www2.bfi.org.uk/news-opinion/sight-sound-magazine/comment/lost-found-new-leaf#:~:text=It%20wasn%E2%80%99t%20this%20aversion%20to%20attention%20that%20led,editing%2C%20she%20submitted%20a%20three-hour%20cut%20to%20Paramount. https://www.larsenonfilm.com/a-new-leaf https://www.pastemagazine.com/movies/elaine-may/a-new-leaf-50-elaine-may OUTRO MUSIC: At the Zoo by Simon and Garfunkel FILMS MENTIONED: Plan 9 From Outer Space (Ed Wood 1959) Max, Mon Amour (Nagisa Ōshima 1986) That Obscure Object of Desire (Luis Buñuel 1977) Mikey and Nicky (Elaine May 1976) The Heartbreak Kid (Elaine May 1972) Ishtar (Elaine May 1987) Grumpy Old Men (Donald Petrie 1993) Notorious (Alfred Hitchcock 1946) Kind Hearts and Coronets (Robert Hamer 1950) Ball of Fire (Howard Hawks 1941) The Lady Eve (Preston Sturges 1941)

Felicia is joined once again by Eugina Gelbelman [listen to our episodes on Trouble Every Day Claire Denis 2001), and Dressed to Kill (Brian De Palma 1980)], to discuss Jane Campion’s story of cults and gendered sexual dynamics, in Holy Smoke (1999). We chat about the concept of being a privileged outsider in another country, and how certain cultures look down on others. Along with the psychosexual dynamics between men and women, and why that has been a constant interest for Campion throughout her career. This is the final Jane Campion episode, and I couldn’t think of a better film to bookend the series with. I’m grateful to anyone who has listened along, to those who are discovering these films for the first time, and those who are inspired to give them a rewatch. Send us your thoughts on the episode - do you think Ruth was in an actual cult? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Eugina here: IG: @euginareviews IG: @pomegranatepicturesfilm LB: @sunnyrasputin Sources: Holy Smoke (1999) - Trivia - IMDb `Holy Smoke': A Spiritual Tug of War in the Australian Outback (nytimes.com) Holy Smoke (variety.com) BFI | Sight & Sound | Holy Smoke (1999)Holy Smoke - Movie Review : Alternate Ending Never a Native: Deconstructing Home and Heart in Holy Smoke – Senses of Cinema Holy Smoke! by Jane Campion retro review - The Spool | The Spool OUTRO SONG: Die Matrosen by Kleenex FILMS MENTIONED: Trouble Every Day (Claire Denis 2001) Dressed to Kill (Brian De Palma 1980) Passages (Ira Sachs 2023) The Getaway (Roger Donaldson 1994) Fair Play (Chloe Domont 2023) Sweetie (Jane Campion 1989) The Piano (Jane Campion 1993) The Power of the Dog (Jane Campion 2021) Bright Star (Jane Campion 2009) The Portrait of a Lady (Jane Campion 1996) An Angel at my Table (Jane Campion 1990) Kissed (Lynne Stopkewich 1996) Angela (Rebecca Miller 1995) The Ballad of Jack and Rose (Rebecca Miller 2005)

Felicia is joined by Emily Gagne to discuss Jane Campion’s feminist western film, The Power of the Dog (2021). We chat about the way Campion reveals the truths about these characters without having to explicitly say it through dialogue. Along with why a woman making a Western about a flawed man works. Send us your thoughts on the episode - do you view this film as a western of a revision of the genre? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Emily here: IG: @wereallylikeher Twitter: @wereallylikeher IG: @ladygagagne Twitter: @emilygagne Sources: The Power of the Dog: What Kind of Man? | Current | The Criterion Collection The Power of the Dog review – Jane Campion’s superb gothic western is mysterious and menacing | The Power of the Dog | The Guardian The Biblical Clash at the Core of ‘The Power of the Dog’ - The Atlantic ‘Is The Power of the Dog a New Zealand film? National Identity, Genre and Jane Campion’ – Senses of Cinema OUTRO SONG: 25 Years by Jonny Greenwood FILMS MENTIONED: Postcards From the Edge (Mike Nichols 1990) Mermaids (Mike Nichols 1990) Working Girls (Lizzie Borden 1986) Mamma Mia (Mike Nichols 2008) Barbie (Greta Gerwig 2023) Josie and the Pussycats (Harry Elfont, Deborah Kaplan 2001) Yentl (Barbra Streisand 1984) The Piano (Jane Campion 1993) In The Cut (Jane Campion 2003) Bright Star (Jane Campion 2009) Ishtar (Elaine May 1987) Brokeback Mountain (Ang Lee 2006) McCabe & Mrs. Miller (Robert Altman 1971) Ravenous (Antonia Bird 1999) The Westerner (William Wyler 1940) Giant (George Stevens 1956)

Felicia is joined by Scott Cole to discuss Jane Campion’s vision of women in thrillers in her 2003 film, In The Cut. We chat about the portrayal of violence against women through the eyes of a woman director and writer. Along with casting Meg Ryan against type and why her performance is essential to making this role work. Send us your thoughts on the episode - how do you feel about this film be labeled as an erotic thriller? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Scott here: Twitter: @ColeCommaScott IG: @ColeCommaScott Sources: In the Cut (Jane Campion, 2003) – Senses of Cinema In The Cut movie review & film summary (2003) | Roger Ebert Sex and violence: what has changed for women since In the Cut? | Fiction | The Guardian Engaging Medusa: Competing Myths and Fairytales in In the Cut – Senses of Cinema (247) In The Cut: Mark Ruffalo Exclusive Interview | ScreenSlam - YouTube OUTRO SONG: Que Sera Sera by Pink Martini FILMS MENTIONED: Champions (Bobby Farrelly 2023) Twister (Jan de Bont 1996) Secrets & Lies (Mike Leigh 1996) Holy Smoke (Jane Campion 1999) The Piano (Jane Campion 1993) The Power of the Dog (Jane Campion 2021) Basic Instinct (Paul Verhoeven 1992) Fatal Attraction (Adrian Lyne 1987) Body Double (Brian De Palma 1984) Jagged Edge (Richard Marquand 1985) Gone Girl (David Fincher 2014) When a Man Loves a Woman (Luis Mandoki 1994) Seven (David Fincher 1995) Copycat (Jon Amiel 1995) Home Alone 2: Lost in New York (Chris Columbus 1992) Zodiac (David Fincher 2007) You Can Count on Me (Kenneth Lonergan 2000) The Kids Are All Right (Lisa Cholodenko 2010) Margaret (Kenneth Lonergan 2011) Margot at the Wedding (Noah Baumbach 2007) Bright Star (Jane Campion 2009) The Long Goodbye (Robert Altman 1973) Bound (Lana Wachowski, Lilly Wachowski 1996) Looking for Mr. Goodbar (Richard Brooks 1977) Fat Girl (Catherine Breillat 2001)

Felicia is joined once again by Ms. Sinclair (listen to our first episode on Billy Wilder’s Sunset Boulevard) to discuss Jane Campion’s take on women’s liberation in The Piano (1993) We chat about the character dynamics that Campion likes to explore in her stories, especially between women who seek liberation and the emotionally stunted men who surround them. Send us your thoughts on the episode - what are your thoughts on the significance of pianos throughout Campion’s body of work? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Ms. Sinclair here: TALK MOVIE TO ME (talkmovietomepodcast.com) IG: @talkmovietome LB: @mssinclair Sources: The Piano: Gothic Gone South | Current | The Criterion Collection Jane Campion’s ‘The Piano’: An Inquisitive Study of Eroticism Disguised as a Victorian Love Story • Cinephilia & Beyond (cinephiliabeyond.org) The Piano review – Jane Campion's drama still hits all the right notes | The Piano | The Guardian OUTRO SONG: The Feast by Katie Kim FILMS MENTIONED: Sunset Boulevard (Billy Wilder 1950) Anatomy of a Fall (Justine Triet 2023) The Zone of Interest (Jonathan Glazer Poor Things (Yorgos Lanthimos 2023) Altered States (Ken Russell 1980) The Devils (Ken Russell 1971) Fly Away Home (Carroll Ballard 1996) Holy Smoke (Jane Campion 1999) Sweetie (Jane Campion 1989) The Irishman (Martin Scorsese 2019) The Portrait of a Lady (Jane Campion 1996) Power of the Dog (Jane Campion 2021) Portrait of a Lady on Fire (Céline Sciamma 2020) The Worst Person in the World (Joachim Trier 2021) Pan’s Labyrinth (Guillermo del Toro 2006) Bright Star (Jane Campion 2009) The Piano Teacher (Michael Haneke 2001) Breaking the Waves (Lars Von Trier 1996) Phantom Thread (Paul Thomas Anderson 2018) Martha (Rainer Werner Fassbinder 1974) Take this Waltz (Sarah Polley 2011)

Felicia is joined once again by Jamila Brown (listen to our first episode on Ingmar Bergman’s Fanny and Alexander) to discuss Jane Campion’s adaptation of The Portrait of a Lady (1996). We chat about Campion’s feminist take on the Henry James novel, and how she plays with time and women of different eras and their life experiences to bring Isabel Archer to life. This is the first episode of the Jane Campion series and I think it’s a great example of some of her most underrated work. Send us your thoughts on the episode - have you read the novel ? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Jamila here: Twitter: @ReadItPeep IG: @ReadItAndPeep Sources: Henry James, Not Too Literally - The New York Times (nytimes.com) The Portrait of a Lady (variety.com) https://lwlies.com/articles/the-portrait-of-a-lady-jane-campion/ https://www.sensesofcinema.com/2001/film-and-the-other-arts/lady_frame/ https://bostonphoenix.com/alt1/archive/movies/reviews/01-16-97/LADY_BAR.html OUTRO SONG: Miss World by Hole FILMS MENTIONED: Fanny and Alexander (Ingmar Bergman 1982) Heat (Michael Mann 1995) The Iron Claw (Sean Durkin 2023) Godzilla Minus One (Takashi Yamazaki 2023) Charade (Stanley Donen 1963) Breakfast at Tiffany’s (Blake Edwards 1961) Half Past Autumn: The Life and Works of GordonParks (Craig Laurence Rice 2000) Portrait of a Lady on Fire (Céline Sciamma 2020) The Piano (Jane Campion 1993) Dangerous Liaisons (Stephen Frears 1989) Sweet Smell of Success (Alexander Mackendrick 1957) Bright Star (Jane Campion 2009) A Room with a View (James Ivory 1985) The Age of Innocence (Martin Scorsese 1993) The Earrings of Madame De… (Max Ophuls 1953) The Heiress (William Wyler 1949) Gaslight (George Cukor 1944) My Brilliant Career (Gillian Armstrong 1979)

It’s bonus episode time. In today’s Special Features episode Felicia is joined once again by Geoff Thomas (listen to our episode on Ingmar Bergman’s The Silence) to discuss one of Luis Buñuel’s most political overt films, Diary of a Chambermaid (1964). We discuss Buñuel’s fascination and take down of the French bourgeoisie - and how he uses sexual repression as a tool to demonstrate the characters motivations. Send us your thoughts on the episode - what is your favourite Buñuel era? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Geoff here: IG: @cinema_gnt Letterboxd: @gnthomas Website: https://cinemamemry.wordpress.com/ Sources: Diary Of A Chambermaid (1964) Movie Review from Eye for Film The Diary of a Chambermaid Blu-ray - Jeanne Moreau (dvdbeaver.com) Diary of a Chambermaid – Senses of Cinema Review: Diary of a Chambermaid - Slant Magazine OUTRO MUSIC: Rubber Ring by The Smiths FILMS MENTIONED: The Silence (Ingmar Bergman 1963) Fallen Leaves (Aki Kaurismäki 2023) Destry Rides Again (George Marshall 1939) The Yakuza Papers (George Marshall 1973) Belle du jour (Luis Buñuel 1968) The Milky Way (Luis Buñuel 1969) Discreet Charm of the Bourgeoisie (Luis Buñuel 1972) Phantom of Liberty (Luis Buñuel 1974) Diary of a Chambermaid (Jean Renoir 1946) The Exterminating Angel (Luis Buñuel 1962) Nazarin (Luis Buñuel 1959) Viridiana (Luis Buñuel 1961) Wuthering Heights (Luis Buñuel 1954) Susana (Luis Buñuel 1951) The Muse (Albert Brooks 1999) The Rules of the Game (Jean Renoir 1939) Funny Games (Michael Haneke 1997) Accident (Joseph Losey 1967) The Servant (Joseph Losey 1963)

Felicia is joined once again by José Roldan (listen to our episode on The Gleaners & I) to discuss Gordon Willis’ work on Woody Allen’s controversial but groundbreaking film, Zelig (1983). We chat about how Willis and team were able to succeed in making this film, and the blocking, lighting and camera techniques that were used to achieve its look. We also discuss how this story would be perceived in today’s world and why the subject matter doesn’t really hold up. This is our Gordon Willis closer, and I think an important one to study as it shows how important lighting really is to a film - specifically for a one needing to match with found footage. Send us your thoughts on the episode - how do you think this film reads in today’s society ? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow José here: IG: @channel.jose Tik Tok: @channel.jose Sources: Gordon Willis: An Annotated Webliography • Cinephilia & Beyond (cinephiliabeyond.org) The Willis Frame • Cinephilia & Beyond (cinephiliabeyond.org) HOW THE GRAPHIC ARTS FEATS IN 'ZELIG' WERE DONE - The New York Times (nytimes.com) FILM: 'ZELIG,' WOODY ALLEN'S STORY ABOUT A 'CHAMELEON MAN' - The New York Times (nytimes.com) OUTRO SONG: Doin' The Chameleon by Dick Hyman FILMS MENTIONED: The Gleaners and I (Agnès Varda 2001) Vortex (Gaspar Noé 2021) Jackie Brown (Quentin Tarantino 1997) Napoleon (Ridley Scott 2023) Fight Club (David Fincher Forrest Gump (Robert Zemeckis 1994) Take the Money and Run (Woody Allen 1969) Barbie (Greta Gerwig 2023) The Godfather (Francis Ford Coppola 1972) The Godfather Part II (Francis Ford Coppola 1974) Manhattan (Woody Allen 1979) Annie Hall (Woody Allen 1977) Eternal Sunshine of the Spotless Mind (Michel Gondry 2004) Land Without Bread (Luis Buñuel 1933) Klute (Alan J. Pakula 1971) All the President’s Men (Alan J. Pakula 1976) La jetée (Chris Marker 1962) Reds (Warren Beatty 1981) Interiors (Woody Allen 1978) Night and Fog (Alain Resnais 1956) Dead Men Don’t Wear Plaid (Carl Reiner 1982) The Purple Rose of Cairo (Woody Allen 1985)

Felicia is joined once again by Martin Kessler (listen to our episode on Cassavetes’ Opening Night) to discuss Gordon Willis’ photography that would shape the rest of 1970s American cinema, in Hal Ashby’s The Landlord (1970). We chat about Gordon Willis’ ability to light both darker and lighter skin tones within the same frame and ensure everyone is visible to the audience. Along with his portrayal of 1970s New York and how it shaped the way the decade would look on film. Send us your thoughts on the episode - what is your favourite Hal Ashby film? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Martin here: Twitter: @MovieKessler Website: The Pink Smoke Sources: Hal Ashby's The Landlord: the classic film evicted from cinema history | Drama films | The Guardian The Landlord: Whose Dream Is It, Anyway? - Slant Magazine The Landlord movie review & film summary (1970) | Roger Ebert “It was a genius director and it was a genius actress and a genius script… It was a blessing” • Cinephilia & Beyond (cinephiliabeyond.org) TCM Comments on The Landlord (1970) (youtube.com) OUTRO SONG: Brand New Day by Al Kooper FILMS MENTIONED: Opening Night (JohnCassavettes 1977) Louie Bluie (Terry Zwigoff 1985) Ghost World (Terry Zwigoff 2001) Crumb (Terry Zwigoff 1994) Lethal Weapon 2 (Richard Donner 1989) Black Mask (Daniel Lee 1996) Fist of Legend (Gordon Chan 1994) Harold and Maude (Hal Ashby 1971) Being There (Hal Ashby 1979) The Last Detail (Hal Ashby 1973) Coming Home (Hal Ashby 1978) Ganja and Hess (Bill Gunn 1973) Personal Problems (Bill Gunn 1980) Losing Grounds (Kathleen Collins 1982) Annie Hall (Woody Allen 1977) Klute (Alan J. Pakula 1971) Space Jam (Joe Pytka 1996) An Officer and a Gentleman (Taylor Hackford 1982) Iron Eagle (Sidney J. Furie 1986) Story of a Three Day Pass (Melvin Van Peebles 1967) Guess Who’s Coming to Dinner (Stanley Kramer 1967) Green Book (Peter Farrelly 2018) Resident Evil (Paul W.S. Anderson 2002) Scott Pilgrim vs. The World (Edgar Wright 2010) 8 Million Ways to Die (Hal Ashby 1986) Bound for Glory (Hal Ashby 1976) Shampoo (Hal Ashby 1975) A Raisin in the Sun (Daniel Petrie 1961) Claudine (John Berry 1974) Sugar Hill (Leon Ichaso 1994) The Paper Chase (James Bridges 1973) Malice (Harold Becker 1993) Presumed Innocent (Alan J. Pakula 1990) Manhattan (Woody Allen 1979) Stardust Memories (Woody Allen 1980) Watermelon Man (Melvin Van Peebles 1970) My Geisha (Jack Cardiff 1962) Diary of a Mad Housewife (Frank Perry 1970) Love with the Proper Stranger (Robert Mulligan 1963) The Other (Robert Mulligan 1972) Same Time Next Year (Robert Mulligan 1978) Inside Daisy Clover (Robert Mulligan 1965) The Swimmer (Frank Perry 1968) David and Lisa (Frank Perry 1962) Mommie Dearest (Frank Perry 1978)

Felicia is joined by Ryan Ritter to chat about Gordon Willis’ dark imagery in Alan J. Pakula’s detective thriller in Klute (1971). We chat about how Gordon Willis uses the camera in service of the actors performance and gives them the space they require to explore their characters. Along with the darkness of the scenery and how that mirrors the dread that is slowly building for our lead protagonists. Send us your thoughts on the episode - what are your thoughts on the use of shadows in this film? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Ryan here: Letterboxd: @ryanritter Twitter: @popculturehistorians IG: @crittical_analysisblog IG: @popculturehistorianspodcast Website: Crittical Analysis (crittical-analysis.com) Sources: Isabel Sandoval’s Top 10 | Current | The Criterion Collection Klute: Trying to See Her | Current | The Criterion Collection Klute at 50: a thriller less interested in a killer and more in character | Jane Fonda | The Guardian Nothing Is Wrong: Notes on Costume in Klute (1971) – Offscreen "Oh, My Angel!": Why It's Called Klute - Film Cred (film-cred.com) ‘Klute’: Alan J. Pakula and the Lewis Brothers’ Thriller-Disguised Exploration of Human Interactions, Relationships and Psyche • Cinephilia & Beyond (cinephiliabeyond.org) OUTRO SONG: Bankman by Blerta FILMS MENTIONED: Priscilla (Sofia Coppola 2023) Swamp Thing (Wes Craven 1982) Batman and Robin (Joel Schumacher 1997) Romeo & Juliet (Franco Zeffirelli 1968) The Parallax View (Alan J. Pakula 1974) All the President’s Men (Alan J. Pakula 1976) Barry Lyndon (Stanley Kubrick 1975) Annie Hall (Woody Allen 1977) Manhattan (Woody Allen 1979) Jaws (Steven Spielberg 1975) All That Jazz (Bob Fosse 1979) Sorcerer (William Friedkin 1977) The Seven-Ups (Philip D'Antoni 1973) MASH (Robert Altman 1970) The Godfather (Francis Ford Coppola 1972) The Money Pit (Richard Benjamin 1986) The Conversation (Francis Ford Coppola Wait Until Dark (Terrence Young 1967) Funny Face (Richard Benjamin 1957) Mirage (Edward Dmytryk 1965) Body Double (Brian De Palma 1984) Rear Window (Alfred Hitchock 1954)