I’ll be in my trailer… watching trailers: Spice in the desert, blood on the dashboard

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.

Are we post-wave, pre-wave or both? Sometimes it’s difficult to imagine a future without the pandemic, and everything – including the culture we watch, read, listen to and play – is tinted, not to say tainted, by COVID-19. On Thursday, Matt tried to put his thoughts on the whole Groundhog Day-ness of it all into words. And mention Dune yet again. Obviously

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A Damn Fine Cup of Culture Podcast #46: Post-pandemic cinema

It is July – and in many countries, cinemas are open again, albeit with some restrictions. Have our intrepid cultural baristas already been back to movie theatres – and if so, what has it been like to be back after several months? How have they coped with half a year without cinemas? How has COVID-19 affected movie theatres and cinema goers alike? And how will the cinema landscape change after the pandemic? Even if we’re looking at a summer and autumn with open movie theatres (fingers crossed!) and upcoming blockbusters like the new James Bond and Denis Villeneuve’s long-awaited, often-postponed Dune, will cinema be the same? Join Alan, Julie and Matt as they discuss these and other issues concerning post-pandemic cinema!

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I’ll be in my trailer… watching trailers: It don’t like sand. It gets everywhere.

Join us every week for a trip into the weird and wonderful world of trailers. Whether it’s the first teaser for the latest installment 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.

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Is this the real life? Is it just replicants?

Perhaps it doesn’t need to be said – after all, the film is exceedingly well reviewed – but I want to start by saying it anyway: Blade Runner 2049 is a gorgeous piece of visual art. I wouldn’t go so far as to say that Roger Deakins has surpassed himself; his portfolio does include The Assassination of Jesse James by the Coward Robert Ford, after all. Nevertheless, there are few films this side of the turn of the century, or even this side of the original Blade Runner, that offer as coherent and as gorgeous a window into a world that is at once excitingly different and eerily familiar. And the praise isn’t just Deakins’: the artists that worked on all the individual puzzle pieces that make up the look of Blade Runner 2049 may just deserve most of the awards that exist and some that don’t. I don’t think the film will necessarily become as influential as the original Blade Runner, which pretty much defined what dystopian cityscapes of the near future look like, but aesthetically it manages the almost impossible, reconciling the iconic neo-noir with a more modern, almost anthropological sensitivity and creating something that both recalls the original and adds to it in startlingly original ways.

Blade Runner 2049

Just consider this: after the endless night of the original film, Blade Runner 2049 is largely set in daylight scenarios – and it pulls it off.

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