We finally managed to get Eric Kohn on the podcast after food poisoning (mine) and poor planning kept him off.
We’re back again with our official “Best Introductory Segway Ever” and return guest Mike D’Angelo.
Desplechin’s familial trauma is constant, but his art is for himself.
We’re back like Death Metal Disco and thrice as evil.
Hello and welcome again faithful The Futurist! and other Non-Listeners!
I love this stuff and Spilt Milk is some kind of genius missing link.
Writer-director Dan Sallitt joins us to discuss his recent retrospective at Krakow’s First Annual Off-Camera Film Festival.
The film is, conceivably, every bit as annoying as any random Kate Hudson rom-com, only with different annoyances.
Agnès Jaoui’s Let It Rain is the kind of film it’s hard not to be snotty about.
Sympathy comes at a premium in Chouga.
Episode 3 marks the first time we’ve started recording under our new name.
By this point, I think we could be discussing Godard for all I remember.
The drinking continues. The arguments get louder. We get worse. Sigh.
Lil Wayne’s voice makes him (I’ve said this before, and I’ll say it again) the Stephen Malkmus of hip-hop.
The problem with Gomorrah isn’t that it feels incomplete or underdeveloped.
Hello and welcome back to the brand new season faithful non-listeners!
Both The Headless Woman and Tony Manero are staggering in different ways.
What makes Kelly Reichardt’s Wendy and Lucy so haunting is mostly ineffable.
Happy-Go-Lucky works because the outlines are banal but the performances are phenomenally lived-in.
If it weren’t for Lawrence of Arabia, I might well not be typing this out.