Join us every week for a trip into the weird and wonderful world of trailers. Whether it’s the first teaser for the latest instalment in your favourite franchise, an obscure preview for a strange indie darling, whether it’s good, bad, ugly or just plain weird – your favourite pop culture baristas are there to tell you what they think.
Everybody’s talkin’ about our post on Midnight Cowboy– okay, not really, but still, if you missed it, go and check our the lastest Criterion Corner, about John Schlesinger’s late ’60s classic.
Join us every week for a trip into the weird and wonderful world of trailers. Whether it’s the first teaser for the latest instalment in your favourite franchise, an obscure preview for a strange indie darling, whether it’s good, bad, ugly or just plain weird – your favourite pop culture baristas are there to tell you what they think.
Last year we dedicated the summer to some damn fine directors, from Jane Campion, Dario Argento (who was also the topic of our most recent espresso) and Ida Lupino to Robert Altman and Martin Scorsese. This year, we decided to look at some of the great collaborations of cinema, and for the first instalment in our Summer of Collaborations, Julie has been talking to Alan and Sam about one of the legendary couples of Hollywood, both on- and off-screen: Katharine Hepburn and Spencer Tracy. The two starred in nine films, many of them romantic comedies banking on the palpable chemistry that was apparent between Hepburn and Tracy from the first. Our trio of cultural baristas takes a closer look at the first collaboration between the two, Woman of the Year (1942); their last, Guess Who’s Coming to Dinner (1967), finished just 17 days before Tracy’s death; and perhaps their most iconic film together, Adam’s Rib (1949), which Julie previously wrote about. What made this one of the most sparkling acting collaborations in Hollywood? Why was there this fascination with Hepburn’s characters being knocked down a peg? And how well do these films, the issues they address and the way they address these issues hold up more than half a century later?
For last year’s summer series of podcasts, check this link:
Join us every week for a trip into the weird and wonderful world of trailers. Whether it’s the first teaser for the latest instalment in your favourite franchise, an obscure preview for a strange indie darling, whether it’s good, bad, ugly or just plain weird – your favourite pop culture baristas are there to tell you what they think.
For our May espresso we’ve got a crimson-coloured, deeply unsettling treat for our listeners. Italian horror-thriller maestro Dario Argento (Suspiria, Deep Red, Phenomena) already featured prominently in our Summer of Directors a year ago, but a spine-tingling encounter of the unmissable kind has brought Alan and Sam back to the mic to talk about him: the BFI’s recent Argento screenings and a unique Q&A with the director himself! Along the way, they chat about which of his films the event has put on the map for them, what the map of Turin, Italy has to do with Argento’s cinema, and how a high-profile exhibition at that Italian city’s National Cinema Museum has recently shown how Argento is well on his way to the Italian as well as the international movie Olymp. And, last but not least, Alan has met the next generation of Dario Argento fan. Join us to find out more!
Join us every week for a trip into the weird and wonderful world of trailers. Whether it’s the first teaser for the latest instalment in your favourite franchise, an obscure preview for a strange indie darling, whether it’s good, bad, ugly or just plain weird – your favourite pop culture baristas are there to tell you what they think.
Join us every week for a trip into the weird and wonderful world of trailers. Whether it’s the first teaser for the latest instalment in your favourite franchise, an obscure preview for a strange indie darling, whether it’s good, bad, ugly or just plain weird – your favourite pop culture baristas are there to tell you what they think.
Join us every week for a trip into the weird and wonderful world of trailers. Whether it’s the first teaser for the latest instalment in your favourite franchise, an obscure preview for a strange indie darling, whether it’s good, bad, ugly or just plain weird – your favourite pop culture baristas are there to tell you what they think.
Let’s change our usual approach to Trailer Sundays and start with new trailers – because we’ve got one here that’s close to our hearts.
It had to happen sooner or later: for our May episode, Alan, Julie and Matt got together to talk about the genre of documentary films. Their subjects may not be the ones you might expect: while the likes of Ken Burns, Werner Herzog and Errol Morris get a mention, our three cultural baristas picked examples of the genre that are perhaps less well known: Nostalgia for the Light (2010) by the Chilean filmmaker Patricio Guzmán, which draws a line from the astrological observatories in the Atacama Desert to the women who still search the desert for the remains of their loved ones who were murdered by the Pinochet regime; Dick Johnson Is Dead (2020), writer-director Kirsten Johnson’s attempt to come to terms with her father’s dementia and the reality of a death foretold, in which the daughter enlists the help of the eponymous Dick Johnson to pre-enact possible (and impossible) scenarios of his demise; and Mark Rappaport’s 1995 video essay From the Journals of Jean Seberg, about the actress who was hounded to her death by the FBI and the culture of a movie industry for whom women are commodities and screens onto which men can project their wishes, needs and fantasies. The focus of the conversation is firmly on these films, but obviously no discussion of documentary films can be complete without getting into questions like “What is a documentary?”, “How does it differ from fictional features?”… and “What are the worst documentaries we’ve ever seen?”
For more talk about documentaries and related topics, make sure to check out:
Join us every week for a trip into the weird and wonderful world of trailers. Whether it’s the first teaser for the latest instalment in your favourite franchise, an obscure preview for a strange indie darling, whether it’s good, bad, ugly or just plain weird – your favourite pop culture baristas are there to tell you what they think.
In this week’s Six Damn Fine Degrees post, Matt argued that sometimes the past haunting us isn’t a Native American burial site under the floorboards of our suburban home, but just the first version we saw when we were young, to the point where, for us, it’s the ‘correct’ version: such as Blade Runner with the voiceover that Harrison Form famously hated, or Poltergeist without the scene where a terrified parapsychologist pulls off his face with his bare hands.
A Damn Fine Cup of Culture 