Featuring: Filmspotting Podcast | Teenage Sex and Death at Camp Miasma and The Brink of War

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- We're not interested in the room? - Now, we're going to do this thing. We're going to have a conversation. - From Chicago, this is film spotting. I'm Adam Kempanar, and I am Josh Larson.

- Out here, there are certain knots when you just get this feeling. There's some circle, killers,

and I'll chop you up into a billion little basins.

(dramatic music) Oh, I love that feeling. - Director Jane's shown broad may be flying under some people's radars, but they're quickly becoming one of the most exciting

filmmakers of their generation. The new teenage sex and death at Camp Miasma is the director's follow-up to 2024's I Saw The TV Glow. - We've got a review, plus the new The Brink of War, starring Jeff Daniels.

That and more, ahead on Filmspotting. (upbeat music) - Welcome to Filmspotting. Josh, we're talking about Jane's shown-brun this week. They made, we're all going to the world's fair in 2022.

That was a golden Brick nominee for us. Then in 2024, I saw the TV Glow that made your top 10 list. It was a movie I recommended as well. Now, they've made teenage sex and death at Camp Miasma.

If my math is correct and I'm not great at math, that means it's their third film. That's prompted our question. - That's fine. - Thank you.

- Your math. The new Deeply Flood Filmspotting poll is asking about other third features that have come out this decade. I think it's a fun one.

- Yeah, we'll get into those options. I was just looking at the list Sam put together. I realized, man, we've got some great filmmakers of not even up and coming anymore, but a younger generation putting things out

and kind of made me excited about where we're at, where cinema is at. So before we're talking about where we would vote in that poll and giving those options to listeners.

“- I think I know where people are gonna vote,”

but film spotting listeners always surprises.

I caught up with the new Brink of War starring Jeff Daniels

“as Ronald Reagan in that Cold War era drama.”

A reminder of film spotting is now available as a video podcast you can watch us over at youtube.com/filmspotting. Up now, teenage sex and death, it can't be as far. - Hi.

- I'm Billy Prasley. You must be the writer, director. - Yeah, hi. You came out of nowhere, I didn't know you were in here. - I was sorry.

- I saw you and I wanted to scare you. - Not too long into teenage sex and death at Camp Measma, former screen queen Billy Prasley played by Jillian Anderson, patiently listens to a treatise from Chris, a young film director played by Hannah Einbender.

Chris talks at length about the real meaning of the original Camp Measma slasher that Billy starred in,

“and how Chris plans to deconstruct that 1983 film”

with her planned reboot. Chris explains, quote, "My work explores the intersection of queerness and cultural depictions of monstrosity." Billy, matter of factly responds that,

the first Camp Measma movie was about little more

than, quote, "flesh and fluids." What does our pop culture mean to us at him? This is a question that appears to mesmerize Jane Schoenbrin, the writer and director of teenage sex and death at Camp Measma and with this third feature,

now one of the defining voices in American cinema working today to my mind. In Schoenbrin's debut, we're all going to the world's fair, the teen protagonist gives herself over to an online horror game. Something comparable happens in I saw the TV glow

where a pair of unlikely friends bond over a cheapo, sci-fi TV series, until it swallows them whole. In teenage sex and death at Camp Measma, Chris, the young director, thinks she has a handle

on the handle that the Measma slasher series has on her.

But while staying with the reclusive Billy Presley over a few days on her remote Pacific Northwest estate, Chris begins to realize that her relationship to slasher's cinema and sex is much more complicated than the intellectualization she has confidently offered.

Not to sound too much like Chris and make this academic atom, because Camp Measma is a ton of fun, which I'm sure we'll get into. I do want to start with a larger question

about Schoenbrin's work thus far, from online horror to sci-fi TV, now to slasher's. What do Schoenbrin's films suggest about contemporary popular culture and our relationship to it? And how do you see teenage sex and death

at Camp Measma fitting into that? Oh man, you are starting off difficult. Going, going into Professor mode right off the bat. Your limited to 500 words. Okay, I'm going to tell you that.

Great, what does it say? We like to watch, we like to watch ourselves. We like to be naughty, but we can't admit it because flesh and fluids make us uncomfortable. You could go with, you could go with our lives

are completely mediated through screens. That's fairly pedestrian, but that's there as well.

“I don't know if any of that's what you had in mind”

or particularly insightful, but I am fascinated that you posed that question because, well, I think it's fertile, my processing of this film in the moment and in the aftermath. I guess I'm going to dodge here a little bit.

I see. It has little to do with culture. I think I'm going to get into it deep enough for your liking, Josh, here over the course of this conversation, okay, so bear with me. But it does have little to do with culture.

Looking back at my notes, that also isn't really how I processed, I saw the TV glow either. Whereas the main characters online immersion and the blurring of fantasy and reality and we're all going to the world's fair,

that did seem more ripe for extrapolation in interpretation and maybe part of that was simply that we didn't have any relationship to show and bronze work at the time. And now over three films, we feel like we do.

But I saw, can't be asthma through a personal lens. And I'll go, I'll go inside out. I saw through the lens of I'm benders, queer filmmaker, Chris coming to terms with her sexuality.

and a trans filmmaker in Hollywood.

And I saw it through my lens as an individual viewer, whatever resonance, Chris's journey and potentially shown-bruns has for me.

“I think the depiction of Chris's journey”

is so specific that it will resonate with a lot of viewers, whether they're, of course, in Hollywood or filmmakers or they're queer. It doesn't matter, you don't have to have anything directly in common with her or not.

That's how specific this film is. And I do want to say this too. Generally, metacritic lists this movie, the genres as drama, horror, romance, and thriller. I might take issue with thriller a little bit,

but otherwise it's accurate. On IMDB, they have the same four.

But they also have first, slasher, horror.

And here and there on the internet, others just refer to this movie as slasher, horror, or a slasher film. Yeah, nobody lists it as a comedy. Even though this is, I think, a deeply funny movie.

And it absolutely is. Yeah, and it's also the first movie I watched this year that I immediately wanted to sit down and watch again because there's enough mystery in it to reward another viewing. But also, I'm going to agree with you,

but also because it's just so damn much fun. Any movie that combines sunset boulevard. Well, first, Texas chainsaw massacre with Friday the 13th and a shining and sunset boulevard. And infuses all of that with a lynchian sensibility

has to be, and it does all of that.

But what's the key is that it does all of that and has shown bronze distinct point of view? Mm-hmm. When we talk about, I was thinking about this, this is where all my notes led me.

And I wonder if you agree. When we talk about, and we do, all critics do this. When we talk about an emerging filmmaker, someone with just a few films that are there about, and their maturing is a filmmaker.

Or if they're a director or a writer director, aren't we almost invariably talking about that development only in terms of craft? Higher production value, even more intentionality in a camera work in editing, maybe being even more innovative,

more experimental, better control of tone, drawing out more refined performances. All of that is true for me here, but what makes teenage sex and death so exciting is that shown bronze evolution as a filmmaker

seems to be unfolding in tandem with the deeper realization of self. That's what I see in the progression from world's fair to can't me asma.

“And that's what I'll try to unpack a little bit here”

as we get through the conversation, but that's my reaction to this film, where you with this movie, and do you have a grand take in terms of culture with can't me asma?

I think that's fair. I think we see that in terms of a sense of self with other filmmakers, but shown bronze material is so directly tied to their own experience that it's at the forefront.

And two, it's credit, this is the opposite of naval gazing, because it is speaking from a personal place in a way that resonates beyond anyone who's coming from a trans experience, honestly. We talked about this with I saw the TV glow,

which was a more clear, parable allegory, whatever term you want to use, yet the two of us found it deeply moving and affecting.

“So I think that's true in terms of an emerging filmmaker.”

This is why it's so exciting is because there is that control of the exploration of personal interests and themes. It's so funny what you say about how to what genre to place this in.

Now I'm in knots because I stupidly, when I design my website, put a genre tag that I have to give and it's only been devil to me sense. And I have no idea what I'm going to do with this one. Maybe I'll just agree with you and go with comedy.

I also had a note early on Adam that I abandoned while watching this movie. I think it was when Chris goes to check in at the hotel and we get her conversation with the clerk who mentions how he had a part in earlier,

can't me as my movie. And it starts to feel a little unnerving and I just wrote down, will this work as a horror movie? I threw out that question 20 minutes later because it no longer mattered to me.

to their different rules.

And that's so pertinent and applicable to the film as a whole once you've seen it, isn't it? Absolutely. So it didn't even matter to me whether it was working as a horror movie after a certain point.

Even though there's some scary moments, sure. Yeah, far more funny moments. I won't belabor the, what does pop culture mean to us, point if it's not quite as interesting to you. I think for me, it does relate, however,

to what you're saying about this being a personal movie. And I think one of the things Sean Brown is working through who seems to have experienced much of life via pop culture.

“This may be the only way I would compare them”

to Quentin Tarantino.

Because I think there are worlds apart in so many crucial ways.

But you do get the sense from most of Tarantino's movies that this is someone who's only lived movies really. I would not say that you get the sense Sean Brown has only lived pop culture, but these three movies do suggest to me

that trying to figure out how you are, who you are, I should say, has been mediated for Sean Brown. As it is for many people, through online horror games, through crappy TV series. That's wrong.

Beloved, Beloved, and now cinema here. And now and specifically slasher, right? And so I would say, what is our pop culture mean to us? For Sean Brown, the filmmaker, at least, it means everything.

It is not how we pass the time. It is not what we do for entertainment. It is not just part of modern life. Pop culture is life. And I think what's interesting

“and I think there's a distinction with Camp Miasma”

from their previous two films. How do we feel about that? How do we feel about, where does that lead us? As I suggested in my setup, maybe not to the greatest places

for the characters in the previous two films. I think we're seeing something different here. There's a little bit of, there's a bit more confidence in having mediated your existence through pop culture,

which for many people may not be a choice. This may be just how you've grown up. And so what do you do with that reality? What I'll say with this movie is Sean Brown has made of it at this point, mid-August, the best film of 2026.

I'm a little bit dismayed to say that I agree with you. Even though we haven't had a case where we've had the same number one film since the year you joined the show. And you hadn't even officially joined the show at that point,

“I think, 2011 when we both put the trio.”

I think we'll see if this holds. But we haven't won, isn't there one other one? No, maybe not a bad one. We had a number two. We've definitely shared a number two, I think.

Yeah, I'm with you at this point. It's my favorite film of the year by far. And I am going to try to dig into this a little bit further. But what you're saying about media and the way Sean Brown, through these films,

what they seem to be expressing, how their lives are mediated through this imagery and through pop culture,

it's seeing, here's what I'm taking from it,

is that it's seeing yourself reflected. But the thing is, it's not that simple. Self is very complicated. Self seeing yourself reflected does it mean the type of characteristics that you might immediately think of.

It doesn't mean demographic information. Right, it does it mean things you would fill out on a form or even necessarily be a behavioral information. During our eyes on the TV glow conversation, I talked about this liminal space that's created

when you have a character who is seeing themselves caught in this in-between between the person they are, on this side of the TV, and the person they see themselves, as they see themselves as on this side of the TV, and there's this space in between,

which you can equate to that transitioning experience if you want to read it that way. So that's the seeing yourself. And I think you can look at, we're all going to the world's fair similarly.

So self is complicated, but it's seeing yourself reflected and through these three films, seeing that self reflected

but also seeing yourself at different points in your life, and at different points in your journey in terms of your identity. So of course you're going to have different experiences with that media, regardless of the media,

and how it's different, you're coming at it very differently because you're a different person at this point.

So I've mentioned, I always mentioned Lynch

when I talk about shown-brun's work, shown-brun, I'm pretty sure has been on record saying, Lynch was an influence. There's often a dream logic to these movies, and I watch them and feel that as well-constructed as they are,

the way you put it earlier was great. I have something similar in my notes. It's like someone's unconscious spots are being created before our eyes. When I was setting up for you, I saw the TV glow.

I referenced a constant notion of free play.

“This idea that I think applies even more here.”

Josh, he says, "Beautiful art, music, and ideas offer a kind of cognitive tease. They dangle the promise of comprehension, but never provide the full satisfaction of getting it."

That's the best description of that I've ever come across.

And I don't think that there's getting can't me asma. But I'd argue, it's also very straightforward. And shown-brun isn't shy about expressing themes, and key ideas directly in the text. I didn't take French in high school,

so I didn't immediately understand why the slasher was called, what the slasher is called. It took the scene in the van from the movie within the movie, for me to start to piece together, where I thought the movie was going,

before then Chris verbalizes it later. And then I retrofitted, I'll give myself a little credit, I retrofitted the slasher's name without knowing the French aphorism, because it's such an odd name.

And frankly, it just made sense to me. This idea of little death. La patie, more, the little death. This is a movie about a woman coming to terms with her mind and body and sex,

and how repressed she has been. So I'll go back to the cultural connection, I suppose Josh, and give you a little bit more, it is about how through this individual lens, it is about how we treat sex,

and how distancing or how we like to distance ourselves from thinking about flesh and fluids, how we're not prepared to reveal our true selves to others, especially our desires, especially if our desires are remotely taboo.

“I think that's what I think that's what show and run”

is exploring here. That's how it resonated with me. - I'm just thinking about what is going to feel like, what is in your virginity? - No, I'm tired.

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I don't know if there's a genre category for that, but that's absolutely what's going on. And you're right, it's little death, the killer in this slasher series is an early signal of that.

I don't think Sean Brown is being coy about this at all. We have repeated returns to the central secrets

from the very first Camping Asma film,

which is familiar to anyone who's seen a Friday or 13th movie, which is where the young character played by Billy is having sex with an older boy, and the killer comes into the room. And we see in her eye the reflection of the killer

about to strike.

“And so this is the key to the whole movie,”

but we see it multiple times. And it's, I would say, also pretty clear the first time we see it even though it's cut before the scene ends. The correlation that Sean Brown is making here between sex and death, right?

I mean, this movie, but we did our preview. I said it was catnip for me because in my horror book, I have a chapter, sex and death. This is a subgenre of horror. And one of the exciting things about Camping Asma

for me is how it's moving that conversation forward from, you know, Friday, 13th, even a much better movie like Halloween, even my beloved nightmare in Elm Street, they deal in this puritanical motion of titillate the audience, but then also punish the characters so the audience

can be conscience free, right, at the end. So it's this bizarre mess stop. These are the sort of things that mess people up when they see them too young, which is something Chris actually says.

Yes, in the movie, what is a movie like Friday, 13th communicating? Is that sex is exciting and bad, right? And you're gonna die for it. That's messed up.

And so this is a movie that's moving the conversation forward. I've argued, as we did recently, for film spotting family members in a bonus episode that something like it follows from about 10 years ago, similarly, move that conversation forward

Here we have it much more personal, though, to go to your point about shownruns filmmaking style. This is processing the sort of whether it's repression, whether it's personal hangups, whether it's societal pressure,

whether it's moralizing that sex is supposed to be a gift and is a really messed up thing for human beings,

“because of our frailties and all sorts of reasons, right?”

And so this is an entirely specific working through of a hangup that you might describe as own perverse in some ways, how Chris gets to where she gets to at the end of the film. But that's because it's so personally specific.

At the same time, going back to TV glow, it can be opened up to interpretation for everyone's trying to wrap their mind around what sex means for them,

which is also an incredible accomplishment

for this movie to be able to open itself up that wide as well. So, yeah, I think I was hoping this is where this movie was going to go and it delivered on that in so many ways. I think the given to more specifics would reveal spoilers that we probably don't want to do.

So, I don't know, maybe now, can we start talking about how fun the movie is? Well, I don't know, I don't know that we need to necessarily dig into this part any further, but I suppose I at least want to make my case

a little more substantially and say that I only have minimal knowledge of Shonbrun's bio, but having now reviewed three films, you pick up on a few things over the years. And when you look at the progression of these three films, Josh,

we're all going to the world's fair. You have a character who is overwhelmed by a feeling of alienation, of confusion, of unease.

“I believe Shonbrun at that point had not transitioned.”

With I saw the TV glow, which we mentioned, I said a movie I read is attempting to reckon with having just transitioned, or making that decision, Shonbrun had at that point, just gone through that. Here we are now a few years later.

For the first time, perhaps you feel like you know exactly

who you are, but that doesn't mean you're fully equipped for all the experiences that now you're going to have, or that you're free enough to try things that you haven't tried before, or try things that perhaps you were deeply uncomfortable

with previously, and are you willing to go to those scary places? How do you get to that? How do you now progress to that? So I'm already thinking about what Shonbrun's fourth film

might be like, right? As Shonbrun starts to continue this evolution, and it brings me back to I saw the TV glow in the intertextuality here, the way these movies connect because in my notes, I mentioned how the character Owen,

this is what I was looting to earlier, the different self at different points. Owen rewatches the pink opaque on streaming the pilot for the first time in years, and it's different than he remembered, right?

Because that character is now different. It's not just that five years have gone by, that character has undergone a transformation, and here in this film too, remember what Chris says, when she rewatches the can't me as a film

for the first time, she says, I saw it like I had never seen it

before, and there may be lots of reasons why she sees it that way, but part of that is,

“I think you can suggest that she maybe hadn't actually”

watched that first film since she was a little girl, those flashback shots that we see of her watching when she's a little kid, right? And she obviously is a little girl who is not out, and she is now out as a queer woman,

watching it through completely different, through completely different eyes. So of course she is seeing it a different way. So I think you can make potentially those parallels to show and run life as well.

That is at least how I'm seeing the film. Now we can transition, no pun intended, into whatever fun stuff you'd like to talk about because there is so much here. - I mean, you mentioned the horror references.

- We've already, we've already named checked Halloween

and tried 13th night Marin Elm Street.

“I think you mentioned the shining video drone,”

a couple of visual video drone touches. - Sure. - Texas chainsaw. - I'm asking you a jab with all the blood spurting. - Oh my gosh.

- Evil dead dead dead too. - That's part of the comedy, right? It's horror comedy, actually, in a lot of ways. In the actual like kill scenes, shown run is pushing it towards that direction,

the comedy direction. Amnite Shyamalan's the visit. And yeah, Sunset Boulevard, sure. Let's call it a horror film. Why not?

Here's the point about all those references, though Adam. None of them are lazy. None of them are intrusive. They're just living in this movie's blood. It's almost like they have to be there.

Not that Sean Run wanted them there.

“Or worse, the audience expected them there.”

They're just embedded in what this movie is obsessing over and trying to wrap its own mind around. And so while as a horrorficionado, I love them. I think the reason I don't roll my eyes at any of them is because they're so intricately

interwoven into what the movie is trying to do. And yeah, beyond the references, it's just the moment. I don't even know if I wanted to talk about this because it's probably gonna be and it sounds like if you're this high in the movie, too,

maybe a joint music moment of the year. Music moment of the year. I don't know how it gets you. Should we save it? Should we save it?

I don't know. Let's just plant a flag and say, "Counting Croats." Counting Croats. I mean, look, Sean Run had me at Counting Croats once the piano started.

I didn't even need to see that it's a one that it's one take, that everything about that scene, how meticulously crafted, that sequence is, how glorious that is. It's not only a music moment of the year, it's a scene of the year, candidate, and it's playing

on so many levels, Josh. And maybe you can help me, this gets back to what I was saying about how can't the asthma's a film that I think is immediately easy to get and at the same time, you can watch it 10 times

and never fully get it because it is a work of subconscious.

It is a work where you feel like the filmmaker within the film, Chris and the filmmaker without the film, the filmmaker outside the movie is willing to put whatever is emanating from their mind, from their subconscious onto the screen and not overthink that,

including those, some of those references, which they don't have to be, they're not overrated later, they interrogate it and understand exactly where it came from, but like so many of us who do view the world through cinema, people like me who, when I hear certain words and phrases,

I've said before, I say them in the vernacular or in the exact same way, I pronounce it the same way as certain characters, that makes exact, exact sense to me. But here's a sequence, tell me if I'm wrong. Here's a sequence that uses a song from 1996.

- Yeah. - Non-diogetically in a movie. - There wouldn't have been around. - In a movie that by my guess would have been made at least 20 years earlier, 15 to 20 years earlier.

- I tried to find this out.

“I think it's supposed to be released in '83.”

- Okay. - So it's the same thought. - It's 13 to 15 years earlier. It's completely anachronistic. It is clear to us as audience members

that it's non-diogetic, meaning Jane Schoenbrun has decided to put place that song over the soundtrack. It is not coming from the party that is happening on screen. - However could it, nor could it be coming from the original Can't Me Asma movie?

- That's what I'm saying. - There's no way, because it's anachronistic and it could be happening in that party. However, did you notice what happens at the end of that party scene?

The last shot I believe is a shot of a radio. And I'm waiting for it, and sure enough, as soon as the radio tips and hits the floor, the song stops, which is a little tease that perhaps it is diagetic, even though we know it's not

and it couldn't be playing because it doesn't exist yet. - Exactly. - Those are the types of enigmas that you have. The myriad of enigmas you have in this film. And it doesn't matter, because it's just such a delight.

- Or it might correct, but it also might matter

to your point on a second viewing.

In a way, we have to like, dig into, yeah.

but a rap party with these categories

seem to the year, music moment of the year. We'll get back into this,

“'cause I think we have different feelings”

about counting, Crow's late December, the song. - A long December, Josh, how dare you? Put some respect on Adam Ders' name. - That speaks to my point. The fact that I get the name right now.

- I look this up and just to be totally sure I wanted to know this coming in, because I had a feeling you were not an appreciator. Jane Shownbrun's not being ironic. Jane Shownbrun's a fan, which makes me like

Jane Shownbrun is a filmmaker even more. - Yeah, we're gonna have a good conversation about this in January. Anyway, the fun thing I wanna highlight

beyond that amazing sequence is the opening credits.

Because, incredible, to lay out over the credits, the entire life cycle of a legacy horror property that is, can't me asthma. - Yes. - With all the trinkets and the lore,

and you know, me asthma 3D we see came out. So the many of the first few years, the drags of those desperate down years with nobody cares about the franchise. And then bringing us all the way up to Chris,

the main character coming back to try to revive the franchise. Just so brilliantly done in terms of setting the context and a ton of fun. And I have been listening today, two, okay, and it knew to me.

So I'm hoping I'm pronouncing this right. Okay, Kaya, who sings a cover of Ariem's night swimming over this. - Yeah. At the point I wanna raise, which we've not talked about yet,

we've touched on it. - Yeah, and the comments you've made, it's sort of intrinsic to it. There is such a deep vulnerability being shared in this movie.

- Mm-hmm. - And the choice of that song, to me, sets the stage for it. This is a song that, you know, you know, meant autonomy over the years.

- Isn't that fundamentally what that song's about? - I would just like to be vulnerable, absolutely. And so to choose it, but you know, to choose this, okay, Kaya, cover, which is one of those covers that is completes the song for a song that I revere

and would never have thought I needed another version of.

That just adds to it, rather than just using the song itself. And to juxtapose it with these fun, entertaining.

“Elements of "Camp me as Malor," I think tells us,”

like there's something deeply personal that's going to be shared in this movie while we're gonna have a ton of fun. I just, that all, that credit sequence is just out of this world.

I was sure this was gonna be one of my favorite films of the year at the end of the credit sequence. And then the along December sequence just cemented it for me. - It's kind of like, it's kind of like,

what are those incidences where you're like, oh man, just don't screw it up from here. - No, you're right, because it is just such good storytelling. It is, here again, so specific. So clearly made by someone who understands

and loves these films. And understands what's problematic about these films and understands why they feel the way they do about these movies or is still trying to investigate, why they feel the way they do about these movies

and it's done, it's rendered in such an artistic way. And to get, I didn't count the minutes how long that song is, but to get in that three or four minute span, the entire arc of the can't me as a series,

to cover three decades at least and have it all make perfect sense. - Yeah. - Is really a feat. Now I don't know if this would get you into trouble Josh,

but the song, I've been listening to nonstop. I already have a long December on shuffle, but the song, I've been listening to nonstop, is the tune by Andy Schaff, Satan. I've been listening to Satan nonstop,

what a great song, what a great song that is. So I want to give you a few quick hits. Did you notice who the performers playing the DJ? - Oh yeah. - Oh yeah. - They either, so great.

- So this one might be a bit of a stretch. It's either a stretch or it's completely obvious. I don't know, but little death's mask.

“I think in that opening credit sequence,”

the media even refers to him as air vent man. - Air vent man, yeah. - That's effectively what he is. He's wearing an air vent on his head.

- And it makes total sense, going back to how you were describing the scene that we've seen in all these horror films,

if a woman, it's always a woman,

a young woman is having sex and usually, as if the case here, is disassociating and staring off at the ceiling, they're seeing, they could be seeing an air vent. So this is the sex and death connection here.

So the air vent is what little death is wearing. But there are times, there are at least two times in the movie. I also thought showrun was making, and this would make sense, if they were,

was making an explicit connection between the way the air vent looks. I don't know how to describe what makes an air vent look like an air vent, but everyone can picture one as I'm talking about it.

And the lenses of a projector.

- Yes. - How they have the right,

that same picture. You see that a couple times in the film. Like a very old, almost a very old, original, yes. - Oh, exactly. - Yeah, original cameras. - Yeah, you see that a couple times in the film.

I loved that connection, or at least, what I thought was a connection. Going back to the personal journey, and potentially the personal journey of a filmmaker in Hollywood, of a trans filmmaker in Hollywood,

whether it's exactly true or not, the touch here, because it just seems so true. It seems like it has to be true, Josh.

“The touch that, and I think both, we haven't mentioned it,”

but Jillian Anderson and Hannah, I'm bitter here, are both fantastic, I think. - I don't know if we'll have time in this review, we might have to save that to go to how good she is and why. - Yes, she, as a filmmaker, describes,

I think she's describing to Billy, that the reason she understands that the reason she got picked to do this series is just because it's all about IP, and they picked her only because she's queer,

and so that basically gives the studio some padding

with the media and fans, 'cause they're reviving a misogynistic and problematic transphobic series, but all they care about is the IP, and so if they have a queer filmmaker, they can trot that out there and say,

well, they're doing it for us, so they're gonna, they're gonna set everything right, see we know what we're doing and we're being sensitive to all of that, but after they do that, after they bring it back, after they revive it,

they can do whatever they want with it. The money, of course, is the objective.

“You have to imagine that Shownbrun has been approached,”

offered, has been offered something like that, and so I found that very intriguing. Chris, that Chris is Zoom meeting with the studio. - Is another, is something on this film. - And that's a great performance scene

for I in Bendin too, it is. - Just like diving right into our artistic delusion and her pinch, did you notice too that that air vent imagery is something that pops up in other places like at Billy's house

in the background of the paintball paper, all of her paintings, all of her paintings, it's there. The last thing I'll mention, and I'm not going to say it because it's gonna be a nominee

for me for funniest moment of the year, there is a scene where they're watching the original can't be asma, and Hannah being the ultimate film geek when a shot occurs on screen.

- Oh, I know where you're going. - Yeah, it's funny. - It says out loud, it's good. - It's good, too, too Billy exactly what kind of shot it was. And I was watching it with Sophie.

- Oh man. - And I didn't say it out loud.

“- Which one of you did it, which one of you did it?”

- So Sophie wasn't familiar with that shot. After she said it and I died laughing because I was thinking it, I paused it and Sophie said so what's that? And I explained it to her.

I said so see how this is occurring there on screen. - So I was imagining the two of you turned to each other and like in a sitcom, Suttered at the same time. - No, no, it ended up being a nice teachable film moment, but I'm thinking it, I'm sure lots of film geeks

are thinking it and film kids could be annoying as hell, watching movies and she's annoying as hell, watching that movie in that moment. She just cannot help herself. And even better though, Josh is,

it's not just that she says it, it's shown-brun capturing Billy's reaction to her saying it. - Yeah, Billy's just like, you know, just this face that couldn't be less interested

- That's right.

- So nice visual call back to that later in the film too.

- Yeah. - Is there anything else at this point? We need to come over this movie? - There's a ton, there's a ton, but it sounds like we're both so enthusiastic

that it's gonna be coming up again and again. I'll just say this about I'm Bender 'cause I don't want to entirely leave the performances to the wayside. It is a performance that grows in complication and revelation in a lot of ways, I guess what I would say is I had no idea.

And part of this is the script, but it's also in the performance that the character I thought I knew in the first half hour is who I would come to know by the end.

“And I think I'm Bender is absolutely do praise”

for the way she's able to negotiate that. Also being quite funny and a lot of scenes as we've detailed. - Yeah, she doesn't, of course it's in the writing too, but I'm with you that there isn't ever a sense of resorting to cliche or going to,

going to caricature of, even though I just described a scene that film Geeks do, the totality of that performance.

She's never a writer. - Oh never a writer.

- It's totally a character and she's never relying on cliche. And it is quite a complex performance. Teenage Sex and Death at Can't Me Asma, currently playing in Limited Release. Tell me this judge, why would they go,

why would kids go to a camp called Can't Me Asma? Didn't they look up what me asma means? - I looked it up. - It's not good. - What a great word for just sort of the filmmaking

that Sean Brand does, honestly.

“And yeah, you would not catch me at Can't Me Asma.”

- No, it's currently playing in Limited Release. If you see it and agree or disagree with our thoughts, you can email us feedback at filmspotting.net.

We may highlight these at the end of the show Josh,

but a few films worth catching on the big screen. This weekend, if you have a chance, and if you're a regal unlimited member, you just might get to see them for free. Including the big release, the end of Oak Street,

from David Robert Mitchell. We'll talk about that next week on the show, seems to be a bit of spectacle to that one that might lend itself to the big screen. But how about wet hot American summer?

Sure, we caught that on the theater recently, but being released for its 25th anniversary, I wouldn't mind seeing that again with an audience. And this one may be a bit of a surprising choice, Josh, I shared something about it

in the filmspotting slack over the weekend. We have pretty much ignored the movie one night only. - But it's caused quite a stir. - A stir is correct. It's very divisive, and divisive means maybe we should be

talking about it. So I'm gonna consider seeing it this weekend, and maybe we should talk about it on a future episode. Again, regal unlimited gives me the chance to see one night only, for free, regal unlimited is the,

all you could watch movie subscription pass to the pays for itself and just two visits. If you sign up using Code Filmspot 26, you get 15% off. It's the only truly limitless movie subscription pass

because you can see any standard 2D movie any time with no blackout dates or restrictions, and you don't just save money on tickets, you also save on snacks, you get 10% off all non alcoholic concessions.

Sign up now in the regal app or at the link in our description, and don't forget to use the Code Filmspot 26 to receive your discount. Let's take a minute to thank the film Spotting Family,

“which honestly, all of you listening should join right now”

because you could do so for 20% off this month. We're having a 20% off sale on membership through August 31st. You just have to use the promo code summer, and you will get that deal, and you can join the film

Spotting Family, which means you can be part of the biggest source of support for the show. Membership is the single-largest source of support that we have. It keeps us doing what we've been doing for over 20 years.

And this week, we want to thank a couple of family members. They would be Stephen, oh man, tell me Adam, it's not getting this one right. That's where I was going. All right, Stephen Bassachia, in Millford, Connecticut.

Thank you, Stephen, and we also want to thank Stephen Sands in Coral Springs, Florida. Thank you both. Well, why does Sam pick two guys for the same name?

that they spell Stephen differently. That's not on the history in front of you.

Stephen B writes, "Funnelly Enough, the first episode I listened to

was Adam and Josh diverging on the Joker. I found the discourse around the film, fascinating and appreciated the way you both navigated the disagreement with humor and openness to differing perspectives. It's good we finally figured out how to do that.

“I live for the TV to that, I don't know, I think we did.”

Yeah, I live for the year-end reviews. It's a great way to get exposed to movies that might have flown under the radar, under my radar. Same goes for the Golden Brick award winners and nominees as an indie filmmaker.

I love that you guys take time to highlight smaller films. Let's hear from Stephen S. Have been listening since the beginning. Adam's love of all that jazz, one of my all-time favorites, kept me coming back at first.

But the banter and the deep dives always remind me of my days

in the theater department at Point Park University and the Pittsburgh Playhouse discussing film and performance. I enjoy seeing how often I guess what Adam's and Josh's top five picks will be and how they compared to my choices. But the one that sticks in my claw is from your top five movie meals

episode eight, 17. How the end grilled cheese sandwich scene between John Favreau and Roy Choi in Chuff in Chuff was not included is a travesty, I haven't seen Chuff. Have you seen Chuff?

“That's the thing, it's tough for that to make our list”

when neither of us have seen it. I only caught moments of chef on HBO here and there. But I've never been moved to watch the whole film. Can I offer a tip as an apology to Stephen S. and see seems to be a kind of sewer of grilled cheese sandwiches

as am I? What's your tip? You do it in the pan, right? Like everybody does. And then when you get the bread, just golden crisp.

Sometimes, depending on how much cheese you put in, a cheese isn't all melted through. This is why you need a toaster oven. Pop that thing in the toaster oven after grilling it for 30 seconds, a minute.

It's going to be nice and gooey inside. You still have the crisp on the outside. There you go, Stephen S. Do they do that in chef? Tell me if they do that probably not.

Julie a child here, I love it. We'll see what tips we get next week.

“Movies they credit with becoming cinephiles,”

Stephen B. Strangely enough, the Stanford prison experiment. It just played at the right time when I was in college. It was the right encouragement for me to want to switch my major to film. Stephen S. says, Cisco and Iberts recommendation

of Diva in 1981. The first foreign film I ever saw made me realize that were more than just genre films to be seen. - Well, thank you very much, Stephen B. and Stephen S for your support and for listening.

If you'd like to follow them both on letter boxed, you could follow Stephen B at B-I-S-A-C-C. Stephen S is at take one, the number one, Sands. - More information about joining the film spotting family is available at filmspottingfamily.com.

You get access to our ad free feed. You can listen to that on Apple or Spotify wherever you get your podcast. You get our weekly newsletter, the family-only discord. You get exclusive opportunities like being part of our 20s

and 30s madness, we're trying to figure out which eight films are going to be in our super madness next year. We do know that at this point, but we don't know which film is going to be crowned champion yet of this tournament. We are down to the final four.

The selection committee continues to be very good at seating because the one, two, three and five seeds have advanced. In all fairness, it was really a toss up between the four and five seeds, which one should be four. It was stage coach or city lights.

And stage coach got beat in this tournament. City lights did advance.

So we've got four incredible films.

And as Sam pointed out in our newsletter today, Josh, that went to filmspotting family members, two silence, two all-time silence from the 20s in Sherlock Jr. and City lights, Chaplin and Keaton. It makes perfect sense. And then from the 30s,

we've got the Wizard of Oz and M. It's a great final four. Can't wait to see how it turns out. And we also have August blind spotting ahead three films that all three of us, including producer Sam, haven't seen. One from Scorsese, one from Vim Vendors, one from Kiyoshi Kurosawa.

These are the things you get to decide. As part of the filmspotting family, you pick the movie we have to watch and talk about. And that will come to you later this month again, the promo code is summer. And you can sign up at ThomeSpottingFamily.com.

President Reagan, you've got us here, sir.

Gorbachell came to play. But if we fail here, there will be war.

In wide release this weekend, the brink of war. This is set during the 1986 Recivic Summit between U.S. President Ronald Reagan and Russian President Michael Gorbachev, Jeff Daniels plays Reagan and Jared Harris plays Gorbachev. J.K. Simmons and Hope Davis are also in the cast. Now Adam, we weren't quite teens when this took place, but that phrase,

Recivic Summit sounds vaguely familiar. Certainly, we remember Reagan, obviously Gorbachev as well.

“What does the movie have to offer on this 40-year-old event?”

And any sense of why now? Why this story now?

There's definitely a sense of why now. There's a fair amount of time on this. I don't remember anything about this event as it was happening in the present day back in the mid-80s. We were both fairly young at the time. I do, or I did have a fair bit of backstory and knowledge going into this movie,

though, because I had watched just like a year ago, a documentary about this summit. And I swear to you, I tried to find information about this. I watched it as a screener. I think, or I thought it was a Sundance movie, but I can't find it. I cannot find the name of this film.

I talked about it on the show briefly. I thought it was uneven, but it was fascinating because it got in just to the minutia of this film, like taking all of the papers, everything that had been transcribed, how this whole thing came together. So I had some of the backstory here going into watching this movie.

It's an on-the-nose pion to good old-boy diplomacy. That's nevertheless enjoyable and worth heating. That's part of the timeliness. At one point, George Schultz, who's played by JK Simmons, he's the secretary of state to Reagan. He and Reagan are having a conversation.

“I think at this point, they've just made what they think is really significant progress towards”

arms reduction, and Reagan quotes something that Margaret Thatcher told him. Everything in the world is settled by two lads at a pint. And the movie does want to, I think, put forth this notion, the writer-director Michael Russell gun wants us to consider that despite our differences and Reagan and Gorbachev as depicted in the movie couldn't have more divergent worldviews.

The writer-director wants to suggest that everything could be solved or certainly the first

domino could fall if we could just engage with a dialogue with each other. Can't we just get into room with each other and have a beer and have a conversation and that that sentiment isn't lost on me as evident as it may be and as cynical as I am. There is some other resonance too, Josh. I don't know if you've noticed that all of a sudden the terms communist and socialist

are being thrown around again as a threat to the American way, a threat to liberty. I hope actually that everyone who's using those terms and who feels that way, I hope they see this movie and they might because Republicans worship Reagan as you know

“and I think this movie does too because here's the most antiquated thing about it.”

One of the or what feels antiquated, one of the sticking points in the negotiations and this is true because I know this from the documentary is that Reagan kept insisting on bringing up to Gorbachev Russia's human rights violations and his justification at least here according to this screen play and a lot of it was supposedly based off of George Schultz's actual records was he says to Gorbachev at one point actually two points. He says the same thing. We are a nation of immigrants.

He's emphasizing how America is made up of immigrants and one eighth I think is the number he uses one eighth of our country has ties to Russia. So this is this is important to him that Russia doesn't treat its people better that doesn't that the people don't enjoy the freedoms that Americans enjoy under under a democracy. I wonder how that that sentiment would

comprised of conversations between Danials and Jared Harris as Gorbachev on opposite sides of the table in this cramped room in Rakyovic and of course they're both very capable actors. Danials he doesn't really go for a Reagan impression. I'd say he only slips into the Reagan Accent or the affect that we all know when he says well which is the word we all think of and we think of doing a Reagan impression. He'll say well and it sounds just like that impression. Otherwise

he just plays Reagan as someone who's extremely calm seems like the definition of a leader.

He's always on the offensive. He's exceptionally strategically minded. Harris is

fundamentally decent but has this Russian bluster to him and he gets he gets more emotional. It breaks the monotony with calls and gets us out of that room when they take breaks with calls to Nancy Reagan who's played by Hope Davis. She stayed back in Washington and scenes with Ryza Gorbachev who came with Gorbachev and she's doing some sight seeing and that quickly becomes its own battle between the two women despite the fact that the Nancy is as I said back

at the White House and it actually does have a clever payoff. The CIA and KGB are down in the basement

and that their little fights, their squabbles are meant to be amusing. They aren't really.

“The film as I said I think it does really worship Reagan and why I say that is because not only”

in it's portrayal but there's a point early on where he's talking about why they're even there and what the goal of the conversations are and he's talking about threats of fascism and communism and the music starts to build behind him. Josh and then he's saying he's talking to his small team that's there and he says if I wrote this down if we fail if I fail I will be just a warmonger that's the absolute opposite of our goal. Now that sentiment or that idea may be completely

accurate. That's not what I'm taking issue with a lot of the dialogue feels like it was written

with the benefit of hindsight. It feels like movie dialogue. It does not feel like anybody in the room in that room like I would imagine them actually speaking to each other. They're making pronouncements. They're making these declarations to each other. It tries to humanize Reagan by showing him having these nightmares because he got shot, you know, the attempted assassination by Hinkley even though that happened five years earlier. Yes, I can understand there may be some trauma still of course

because of that at one point two, Schultz's with him in his room and Reagan is changing his shirt and the camera keeps like it's from Schultz's point of view focusing on Reagan's stomach.

“It feels completely random and Josh, I think the point is is that Schultz's noticing his wounds”

or something. But it it happens so quickly. They're their flashes. It it's bizarre. It's bizarre more than anything else. You don't really understand why Schultz is looking at the president's bare body or why we as audience members are are being drawn to look there to look there either. But look, if you if you like watching intense situations where people are trying to use whatever leverage they have against each other and I do generally then then this movie will work, especially when the

entire fate of the world is at stake and it it does remind us I suppose of a time when diplomacy actually seemed possible and having a leader who could think strategically seemed possible and having a leader who actually read the binders seemed possible and someone who acted out of out of thought of legacy and safety for the American people. So that's that's partly why I'm I'm positive enough on the brink of marriage is out now in limit. I can't understand about actually wide release the

“brink of war. I think I said limited release if you do get a chance to see that movie. I would love”

to hear your thoughts. Hey Portlandia fans. Kerry Brown seen in Fred Armisen here. You know what, so rather you know them. Tony and Candace, Nina and Lance, spike and yes, the chicken. We've played a lot of iconic characters over the years, but today we're showing up other cells to tell you about Podlandia, Ao rewatch, our brand new podcast. Each week we'll revisit

back stories of our most iconic characters, revisiting the Portland locations you know and love

“and opening up about our creative process. How did any of this get made? Why do we think that was”

a good idea? We're ready to talk about it. And we'll also be joined by the people who helped bring it all to life. guest stars, collaborators and friends, including director Jonathan Christle, the mayor himself, Kyle McLaughlin, legendary musician, Amy Man and many more. Kyle is going right here. You fully improvised, not just words, but a song about it. I thought he was going to write. I thought you were going to write a song. I remember you thinking that. Listen to Podlandia.

Ao rewatch on the iHeart Radio App, Apple Podcasts, or wherever you get your podcasts. Hey, this is Hayes Davenport. And Sean Clemens. We host the podcast Hollywood Handbook. Every episode we're trying to help our guests improve their careers by mainly focusing on how they can help us improve our careers. The show's famously super accessible so you can easily jump into any of our 650 episodes and understand what's going on. We recommend some of our recent episodes

“with Ben Stiller. The definition of what is a movie is kind of changed. Anyway, too, right?”

What do you think it is now? It's images and words being spoken captured by some sort of technology. Danny McBride who I'm hoping. Oh, that's fantastic. Can you make it on? You make your own. That's great. I call him Terrow Reed. It's a good name. They're all named after cast members of

American pie. Yeah, I call. I don't. I never looked up if she was in this, but I call him leechy so

be asking. Yeah, I don't think she was an American pie, but I still haven't looked it up. She's prominent on the limit. Yeah. Then Mary Steenberg. Why are you guys talking to me? Look, I'm worried. Why are you talking to me? So down to me that you think I don't understand your little play play play. I just really. I'm trying to set you up for success here. Listen to Hollywood Handbook on the iHeart Radio app, Apple Podcast or wherever you get your podcasts. On Solita, we share the

messy stories of traveling alone as a woman. Your duolingo is not going to come back to you. When a man is inside of you. Oh, no. I'm Julie Pigneto and I travel by myself because it's a rare

space where I can say yes without asking anyone else first. I'm on a mission to reclaim the word Solita,

trading the pity for possibility. Every time I tried to be alone, I kept meaning people, and they were like, you smiled at us. Not a lot of people smile around here. I can wait for hours for the next bus or this random dude is offering me a ride on his motorcycle. It's when you're alone that you're most receptive to the world as it is and not the lies you're sold about it. So whether you're a solo travel veteran or you're too nervous to book your first trip,

I hope you listen to Solita on the iHeart Radio app, Apple Podcasts, or wherever you get your podcasts. I'm Nick Tutorial. You probably know me from NYU PD Blue, the longest shot or Spike Lee's Black Plansman, but I'm also from Queens, which means I know Pizza. And on my no-podcast delivering happiness with Nick Tutorial, I deliver Pizza from Prince Street Pizza to a new guest. Do you deliver Pizza now? Then we sit down for a real conversation. I've shared a slice with everyone

from Seth Rollins. What are you doing my belt? To Alex Rodriguez. Just let you people know we're talking to one of the goats here. To Bill Burr. I don't think I've ever met somebody. So exactly out of the mind is I am. And now we even have more great guests coming up including the great John Tutorial. Let's go happiness delivering happiness. Mariano Rivera and many, many more. Open your free iHeart Radio app. Search delivering happiness with Nick Tutorial. And listen now.

It was my dream. Sometimes to do what's right. We have to be steady and give up the thing we want the most. Even our dreams. It's time for some poll results. A couple of weeks ago, we asked you to choose one and only one Spider-Man movie. Your options in chronological order were Spider-Man from 2002. Spider-Man II. Spider-Man Homecoming. Spider-Man into the Spider-Verse. Spider-Man across the Spider-Verse. Or if you thought we left one of the Spider-Man movies out that you prefer,

“you could write in other Josh How did it come out? I think Sam did okay here. Other was in last place”

with 4% then came Spider-Man Homecoming the 2017 film with 5% of the vote. A jump up to a 11% of the vote that went to Spider-Man from 2002, 15% of the vote went to Spider-Man across

the Spider-Verse. And then it came down pretty much to these two. In second place was Spider-Man

math this. Once the decimals are involved I'm out. First place went to Spider-Man to from 2004

33.3. What's called that? Wow. When we're getting into decimal points that's that's an indication yes of just how close it was. And validation here we thought that into the Spider-Verse

“and Spider-Man II would compete for the top spot. That's why we picked them for our movie death match”

episode a couple of Mondays ago and here they are so close together and Josh the thing is Sam just picks that as he's putting these pages together for us earlier here the day we're recording. But the poll hadn't closed so while you were going to the results I decided to go and see where it stood this minute. If any other votes had come in usually of course nothing has changed because there's enough distance between the candidates here. I am not kidding you. I just closed it

officially. It flipped flopped. It did not flip flopped. But it is now 33.09% to 33.09% we have a poll. What are we going to do? I don't know. Has it has this happened? They both get to be saved. They both get to be free of the incinerator. Yeah. I like that. Yeah. It's it's perfect.

“Here's here's Aaron. Spider-Man II is not only the best Spider-Man movie. It is still the greatest”

comic book movie ever made. There have been a few that came close to topping it but none quite best did it. All right. Here's Jason. I've played by the rules through every film spotting madness and respect to the rules of the incinerator. My vote is for Spider-Man II but you will not take into the spider verse away from me. A copy will be hidden away where the film

spotting enforcers will never find it. Jason. You're lucky. Here's Henry. I would have automatically

gone with Spider-Man II but hearing Josh and Adams conversation actually swayed me back to the first Spider-Man. A movie I must have seen a hundred times since I was five years old. So many iconic images and moments without which we never would have gotten any of these other great films. There you go, Henry. Yeah. Everyone who voted in that poll and who left a comment. The new deeply flawed film spotting poll is inspired by Jane Shonebrun and their latest teenage sex

and death at camp. The asthma, as we said, it is Shonebrun's third feature on a really good run so far that got us thinking what other third features have we gotten this decade. How do they compare to Shonebrun's and I'm going to say right off the bat that it's a really flawed poll because

Sam just just can't help himself with options. With other we have what he choices here. He never

wants to leave people out. I get it. He's such a nice guy. So let's let's get into him, Josh. What are

“the choices? In Sam's defense. I think I know there was some last minute conversation about one of”

these options. I think we kind of needed all of the ones. Yeah. Yeah. They're all of the movies as they all feel pretty good. They feel like they're they came about in roughly the same time built their careers the same way and we feel equally here's what I'd say. We felt equally excited about their third feature when it was coming out. So Greta Gerwig's Barbie, previous to that, obviously Lady Bird and Little Women. Ariester's bow was afraid previous to that, hereditary and

midsoar, Brady Corbets, the brutalist. This is the one that was added last minute. I don't know where we that excited about Brady Corbets next film. Maybe some people were maybe they weren't. Previous to that, you may need to be reminded the childhood of a leader in VoxLux. Olivia Wilde's the invite. Booksmart, don't worry darling. I was probably the only one very excited about her third feature based on the general reception that don't worry darling. Chloe Jow's no madland before that.

Chloe Jow had made songs. My brother taught me and the writer. Jordan Peel's note. Nope. Obviously proceeded that with get out Noss and Robert Eggers, the Northman before that came the witch and the lighthouse. So your choices basically are. Barbie. Bow is afraid. The brutalist. The invite. No madland. Nope. Or the Northman. Indeed. Those are the choices. It is about the third film. It isn't about the promise of the filmmakers. It's not about the filmmakers at all.

So are you know who films? Are you awaiting me to choose? Josh. Out of those films. Yeah.

share yours first. Well, my favorite, my favorite filmmaker there. Not my choice, obviously.

Is Greta Gerwig because Greta Gerwig made my two favorite films that are on the list. And they are Lady Bird and Little Women. But they're not Barbie. So that's not going to be my choice.

“Lady, I think it's, I think it's Corbe. I'm trying to remember. Yeah. No. I was trying to”

remember. Correct. Correct pronunciation. Lady Corbe is the one that doesn't feel like he completely belongs because I haven't seen those two previous films. I'm going to be totally honest in admit, I haven't even heard of the film, the childhood of a leader. I don't think anyone or I'm not going to say anyone. That's absurd. I wasn't anticipating the brutalist.

When it, when it came out and it played at the Chicago film festival, that was the first time

I had heard of it. So I was definitely not anticipating it. However, it is my favorite film on this list. Before Brady Corbe and the brutalist got added, nope. Was my choice, but the brutalist is my favorite film. And it's, it's not really close. So that's an easy one. That's an easy one for me. Now if you dipped into other territory, I could consider Todd Fields' tar, give me movies about temperamental artists apparently. And I also do love in the bedroom and

little children. But I'm going, I'm going, I'm going on the list. I'm sticking to the list. I'm going the brutalist. So for me from the list, it comes down to Barbie, the invite or nope. And I feel like nope, I need one more viewing to really get a sense of how it would compete about those others. And I somewhat feel the same with the invite. I'm writing very high on that right now.

“But haven't had a chance to see it again. So I think I'm going to go with the movie. I know best.”

And that is Barbie. Barbie's my vote. A vote for Barbie. A vote for the brutalist. We would love your vote. We would love to hear an explanation for your vote. We might even feature your comments on an upcoming show. And of course, there are options for other. If you'd like to write them in, you could make the case for Todd Fields' tar. Instead, didn't, didn't feel to Sam. And I suppose to all three of us like they quite fit in with the rest of the gang, Charlie Kaufman's.

I'm thinking of ending things. Eliza Hitman never rarely sometimes always could Jillian air the third

film from Miranda July. Are there defenders out there for Alex Garland's men? I don't know. Wouldn't be. I liked my point of it. Did you? Yeah, I discussed that film. I didn't remember us having a strong disagreement about it. I was definitely very mixed on that film. Maybe I didn't review it with you. It's possible. I feel like all of those, they just, they feel of a different group of filmmakers. Like, is Todd Fields going to make, is his next movie

10 years from now? Maybe I don't know. Maybe he has something coming out this fall. But it just, I feel like the group Sam landed on for the most part, our filmmakers who came up around the same time. And we're going to be following for a long time as a group. So that feels right to me. 874 was the episode. That was the episode you debuted the Garland scale. So we did discuss man. Yes, together. Could ever forget who could forget. You can vote once again and leave

a comment at filmspotting.net. The link and the poll are right there on the main page. We will

“share the results in a couple of weeks. Josh, that is our show. If you want to connect with us on”

social media, you can find Adam in the show on Instagram, Facebook, Letterbox, YouTube, and Blue Sky at filmspotting, you'll find me at Larson on film. We are independently produced and listener supported. You can support the show by joining the film Spotting Family at FilmSpottingFamily.com. You can listen early in ad-free. You'll also get monthly bonus episodes, a weekly newsletter and access to the entire show archive. You'll get all of that for 20% off. Through the month of August,

just use promo code summer. For show t-shirts and other merch, go to filmspotting.net/shop. How about this, Josh, in limited release? Completely off our radar. I feel like we're saying this more and more. The rivals of AMZIA King, this is Director Andrew Patterson, his follow-up to 2020, Golden Brick nominee, the vast of night. That's right. Interesting film. It has got Matthew McConaughey

with his former foster daughter. It premiered back at the 2025 South by Southwest. Our friend,

Mitchell Bo-Pray says it's a shape-shifting soul stirring, sonnically, sumptuous delight. That's a lot of essers. Well done. Mitchell Bo-Pray. Also out is wet hot American summer played filmspotting fast. Now it's beans. Right. Re-released on the occasion of its 25th anniversary. Go enjoy that with an audience. In wide release, Nimrods, three friends journey from Kansas City to LA, mistakenly believing their band is opening for Green Day. Under New Year's Eve. They're going to your back, right? Yeah,

something just like that. The wrong girls is also about Kristen Stewart and Alie Ashakat,

“our stoner, best friends who get caught up in a case of mistake and identity. I think we were all waiting”

for a stoner comedy from Kristen Stewart. I mean, Alie Ashakat, that's that's a pretty good duo. Action. This sucks. Kind of good. The Brink of War is out and David Robert Mitchell's the end of Oak Street. Big week in the film spotting feed, we will close out on Sunday our dissident cinema marathon with our awards on Monday. Another episode of the movie racket with Michael Phillips, lot of talk of adaptations in the news lately, of course, with the Odyssey. So this show will be

all about that. The movie laws of book to film adaptations with David Kajanik, who adapted. He's a screenwriter who adapted three films for Luca Guadanino, including Susperia. On Tuesday, film spotting SVU has the latest from Louis, Lateria, the last house and I'm very eager to see

“this one. Now, Josh, just based on the cast, Gretta Lee Wagner Mora, not bad, pretty good pairing.”

On Thursday, part two of the next picture shows pairing, which is Pixar's Reddit twoy and Anthony

Bourdain's Tony and finally. On Friday, the film spotting mothership, you'll have a review of

Tony. I can't see it for another couple of weeks yet. Unfortunately, very, very excited to and you plan to share a few thoughts on Tony because you have already had the pleasure of singing. I've seen it. Interesting film. I'll share more later. Filmed spotting is produced by Golden Joe Deso and Sam Van Hogren without Sam and Golden Joe this show wouldn't go. Our production assistant is Sophie Kempanar. Special thanks to everyone at WBEZ Chicago, Mark Formation is available

at WBEZ.org. For Film Spotting, I'm Josh Larson. And I'm Adam Kempanar. Thanks for listening. This conversation can serve no purpose anymore. Goodbye. And we'll also be joined by the people who helped to bring it all to life. guest stars, collaborators and friends including director Jonathan Christle, the mayor himself, Kyle McLaughlin, legendary musician, Amy Mann, and many more. Kyle is going for it here. You fully

improvised, not just words, but a song about it. I thought you're all going to write a song.

“I remember you thinking about it. Listen to Pod Landia, a rewatch on the iHeart Radio app,”

Apple Podcasts, or wherever you get your podcasts. Hey, this is Hayes Davenport. And Sean Clements. We host the podcast Hollywood Handbook. Every episode we're trying to help our guests improve their careers by mainly focusing on how they can help us improve our careers. The show's famously super accessible so you can easily jump into any of our 650 episodes and understand what's going on. We recommend some of our recent episodes with Ben Stiller, Danny McBride,

Riz Ahmed and Mary steam virgin. Listen to Hollywood Handbook on the iHeart Radio app, Apple Podcasts, or wherever you get your podcasts. On Solita, we share the messy reality of traveling alone as a woman. Your duelingo is not going to come back to you when a man is inside of you. Oh no, I'm Julie Pignero and I travel by myself because it's a rare space where I can say yes

without asking anyone else first. I'm on a mission to reclaim the word Solita,

trading the pity for possibility. Listen to Solita on the iHeart Radio app, apple podcasts, or wherever you get your podcasts. This is Chelsea Hamlet from Dear Chelsea. Every week, the news gets worse. The world gets crazier and Yamanika is here to tell whoever's responsible you're the problem. Do you know I just found out who Sydney Swingy was? If he got a bunch of

I'm Yamanika and I'm out. Listen to your problem with Yamanika on the iHeart Radio app, apple podcasts, or wherever you get your podcasts.