The Next Picture Show

Latest Episodes:

The Reichardt Way, Pt. 1 — Meek's Cutoff Aug 04, 2020

Show notes

Kelly Reichardt’s latest, FIRST COW, finds the veteran indie filmmaker returning to territory she’s visited before — specifically 19th-century Oregon Territory, a historical terrain Reichardt first explored in her 2010 anti-Western MEEK’S CUTOFF. This week we’re joined by Vox Culture critic Alissa Wilkinson as we hitch our proverbial wagons to MEEK’S CUTOFF to discuss how it fits into Reichardt’s tradition of road movies that don’t go anywhere, and our respective reactions to its deliberately slow pace and frustrating ending. Plus, we respond to some listener feedback on our recent episodes on GROUNDHOG DAY and EUROVISION.

Please share your comments, thoughts, and questions about MEEK’S CUTOFF, FIRST COW, or anything else in the world of film, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

MASTERCLASS.com/pictureshow for 15% off Annual All-Access MasterClassPass

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In the Loop, Pt 2 — Palm Springs Jul 28, 2020

Show notes

The new Hulu comedy PALM SPRINGS wouldn’t exist without the broad comedy and sentimental romance of GROUNDHOG DAY, but there are some key differences in its depiction of life and love inside a time loop — chief among them the decision to give Andy Samberg’s character a partner in looping, played by Cristin Milioti — that make it a very different sort of circular journey. We’re joined once again by Vox critic at large Emily Vanderwerff to discuss the efficacy of that decision, as well as how the two films function as romances, as parables, and, most importantly, as comedies. Plus, Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your radar

Please share your comments, thoughts, and questions about Groundhog Day, PALM SPRINGS, or anything else in the world of film, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

Show Notes

Works Cited:

• “Cristin Milioti Explains the Time-Loop Science Behind Palm Springs,” by Rachel Handler (vulture.com)

• “Torn apart in production, The Emperor’s New Groove came out at exactly the wrong time,” by Petrana Radulovic (polygon.com)

Your Next Picture Show:

• Genevieve: Leslye Headland and Natasha Lyonne’s RUSSIAN DOLL

• Emily: Michaela Coel’s I MAY DESTROY YOU

• Scott: Hlynur Palmason’s A WHITE, WHITE DAY

• Tasha: John-Paul Davidson and Trudie Styler’s THE SWEATBOX

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In the Loop, Pt. 1 — Groundhog Day Jul 21, 2020

Show notes

GROUNDHOG DAY didn’t invent the time-loop genre, but it’s safe to say that without Harold Ramis’ beloved 1993 Bill Murray-starring comedy, we wouldn’t have nearly as many film and television series about people stuck in a period of time that keeps resetting and endlessly repeating — including the new Hulu comedy PALM SPRINGS, the subject of next week’s discussion. We’re joined this week by our friend and former colleague Emily Vanderwerff, Vox’s critic at large, to dissect how our feelings about and memories of GROUNDHOG DAY have evolved over the years, and discuss how the film functions as both a religious and moral parable, as well as an exemplar of that endangered cinematic species, the American small town movie. Plus, we tackle some listener feedback about representation in film and critics’ responsibility in discussing it.

Please share your comments, thoughts, and questions about GROUNDHOG DAY, PALM SPRINGS, or anything else in the world of film, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

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Mirth, Wind & Fire, Pt. 2: Eurovision Song Contest: The Story of Fire Saga Jul 14, 2020

Show notes

The new EUROVISION SONG CONTEST: THE STORY OF FIRE SAGA concerns a different genre and different part of the world than Christopher Guest’s folk-music-focused A MIGHTY WIND, but the comedies share an irreverently reverent approach to parodying their chosen music scene. In this half of our pairing of the two films, we debate whether that approach is helped or hindered in EUROVISION by the presence of Will Ferrell, along with the function of the film’s centerpiece “Song-Along.” Then we bring EUROVISION into conversation with A MIGHTY WIND to compare how the two films each tackle music, comedy, and the intersection thereof. Plus, Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your cinematic radar

Please share your comments, thoughts, and questions about A MIGHTY WIND, EUROVISION SONG CONTEST: THE STORY OF FIRE SAGA, or anything else in the world of film, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

Show Notes

Works Cited:

• “Eurovision Director David Dobkin Never Wanted to Make Fun of Anyone,” by Chris Lee (vulture.com)

Your Next Picture Show:

• Genevieve: Las Culturistas podcast, “Family Style (w/Will Ferrell)"; “Love Me Like You Should: The Brave and Bold Sylvester”; Sam Feder’s DISCLOSURE

• Tasha: Gina Prince-Bythewood’s THE OLD GUARD

• Keith: Byron Haskin’s THE WAR OF THE WORLDS (1953)

• Scott: Tobe Hooper’s THE FUNHOUSE

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Mirth, Wind & Fire, Pt. 1: A Mighty Wind Jul 07, 2020

Show notes

The new Netflix comedy EUROVISION SONG CONTEST: THE STORY OF FIRE SAGA sneaks moments of real pathos into its parodic look at a highly specific music scene, a sly approach it shares with another classic of the musical-spoof form: 2003’s A MIGHTY WIND, the third in a series of improv-heavy comedies directed by Christopher Guest and starring a cast of ensemble players. In this unfortunately “Ja Ja Ding Dong”-free half of our pairing, we dive into A MIGHTY WIND to examine the source and efficacy of said pathos, and how it aligns with Guest and co’s approach to both folk music and improv comedy. Plus, feedback on our recent Studio Ghibli bonus episode prompts further discussion of the oft-ignored Isao Takahata and the sub-vs.-dub debate.

Please share your comments, thoughts, and questions about A MIGHTY WIND, EUROVISION SONG CONTEST, or anything else in the world of film, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

Outro Music: “A Mighty Wind”

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The Price of Gold, Pt. 2 — Da 5 Bloods Jun 30, 2020

Show notes

Spike Lee’s ambitious new war epic for Netflix, DA 5 BLOODS, is brimming with cultural and historical reference points — including an extended homage to the other film in this pairing, John Huston’s THE TREASURE OF THE SIERRA MADRE — but it’s also full of Lee signatures, in both its story and its style. We break down some of them in our consideration of DA 5 BLOODS, before connecting Lee’s doomed treasure hunt to Huston’s by way of their respective depictions of paranoia and madness, their ideas about foreign interlopers and native populations, and their grimly ironic endings. Plus, Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your cinematic radar

Please share your comments, thoughts, and questions about THE TREASURE OF THE SIERRA MADRE, DA 5 BLOODS, or anything else in the world of film, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

Show Notes

Works Cited:

• “Spike Lee’s Da 5 Bloods Misses the Mark—and Does a Disservice to Its Women,” by Cassie Da Costa (thedailybeast.com)

• “21 essential films about Black lives, in every major genre,” by Adam Davie as told to Tasha Robinson (polygon.com)

• “Black Life on Film” by Adam Davie (letterboxd.com)

Your Next Picture Show:

Genevieve: Spike Lee’s PASS OVER

Tasha: Ousmane Sembene’s BLACK GIRL

Scott: DA Pennebaker’s ORIGINAL CAST ALBUM: COMPANY

Keith: John Patrick Shanley’s JOE VERSUS THE VOLCANO

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The Price of Gold, Pt. 1 — The Treasure of the Sierra Madre Jun 23, 2020

Show notes

Spike Lee’s new DA 5 BLOODS has no shortage of cinematic and historical touchpoints, but its focus on the literal and metaphorical weight of gold — not to mention that whole “stinking badges” thing — is a direct nod to the 1948 John Huston classic THE TREASURE OF THE SIERRA MADRE. In this half of our pairing we assess what’s made TREASURE endure, from the knotty moral complexity of its central trio to its utilization of real locations, and go beyond the most quotable moments to explore some of the film’s less-discussed standout scenes. Plus, some feedback on our recent episode on THE HAUNTING prompts some discussion of non-auteurs and the lost art of the commentary track.

Show Notes

Works Cited:

• “The subversive masculinity of The Treasure of the Sierra Madre,” by Tasha Robinson (thedissolve.com)

• “Forum: Treasure of the Sierra Madre” by Genevieve Koski and Keith Phipps (thedissolve.com)

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Studio Ghibli Special — Castle In the Sky Jun 16, 2020

Show notes

2020 is the year that Japan’s beloved Studio Ghibli fully enters the streaming age, rolling out its films for Netflix viewers around the world, and for HBO Max subscribers in the U.S. This marks a major shift from recent decades, when Ghibli’s films were mostly relegated to boutique DVD releases and special theatrical events. So in celebration of Ghibli’s films being readily available to a wide audience for the first time, we’re departing from format a bit for an in-depth look at the studio’s very first film, CASTLE IN THE SKY, which is packed with early signifiers of director Hayao Miyazaki’s authorial stamp, from his fascination with flight and reverence for the natural world, to his distrust of the military and cynicism about humanity. Then, we each offer our respective starting points for the Ghibli catalogue, as part of a larger discussion about how one’s first encounter with Ghibli can shape the experience of all future viewings.

Show Notes

Works Cited:

• “Welcome to Studio Ghibli Week,” by Tasha Robinson (Polygon.com)

• “Studio Ghibli’s first film, Castle in the Sky, is like no Hayao Miyazaki film that followed,” by Tasha Robinson (Polygon.com)

• “The gross fluids and clean fluidity of Spirited Away,” by Tasha Robinson (TheDissolve.com)

Outro Song: Azumi Inoue, “Kimi wo Nosete/Carrying You”

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Introducing Truth vs Hollywood Jun 12, 2020

Show notes

Introducing the newest Audioboom original podcast, Truth vs Hollywood. Join Film lovers David Chen and Joanna Robinson as they do a deep dive into well known films and discuss how similar they are to the actual story.

Truth vs Hollywood premieres 6/12. Subscribe to Truth vs Hollywood on Apple Podcasts.

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The House That Shirley Built, Pt. 2 — Shirley Jun 09, 2020

Show notes

Josephine Decker’s new SHIRLEY uses the home of a fictionalized Shirley Jackson to tell a different sort of haunted house tale, one that shares some thematic links with one of the best-known Jackson adaptations, 1963’s THE HAUNTING, if not necessarily strong narrative ones. This week we’re joined once again by Alison Willmore of Vulture to discuss SHIRLEY’s expressive style and dissolute ending, then dig into how it connects to THE HAUNTING in its depiction of madness, divided personas, and sexuality. Plus, Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your cinematic radar.

Please share your comments, thoughts, and questions about THE HAUNTING, SHIRLEY, or anything else in the world of film, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.

Your Next Picture Show:

Alison: Andrew Patterson’s THE VAST OF NIGHT

Keith: Christopher Guest’s BEST IN SHOW and A MIGHTY WIND

Scott: Dan Sallitt’s FOURTEEN

Outro music: Diana Ross, “It’s My House”

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