Felicia is joined by Darragh McGrath to discuss why The Tarnished Angels (1957) may be the most Sirkian at its core. We chat about the beauty of the black and white photography, and why Sirk was so good at portraying the lives of broken people. Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Listen to our previous episodes: Ace in the Hole (Billy Wilder 1951) Straight Time (Ulu Grosbard 1978) Minnie and Moskowitz (John Cassavetes 1971) Sources: Sirk, D., & Halliday, J. (2018). Sirk on sirk: Conversations with Jon Halliday. Bloomsbury Publishing. https://criterioncast.com/reviews/blu-ray-reviews/scott-reviews-douglas-sirks-the-tarnished-angels-masters-of-cinema-blu-ray-review https://www.popmatters.com/tarnished-angels-douglas-sirks-2630900330.html https://www.cineaste.com/fall2019/the-tarnished-angels https://www.newyorker.com/goings-on-about-town/movies/the-tarnished-angels http://www.storyenthusiast.com/rock-hudson-blogathon-tarnished-angels-1957/ https://filmnoirfoundation.org/noircitymag/Tarnished-Angels.pdf Outro Song: Main Title from The Tarnished Angels by Frank Skinner Films Mentioned: Ace in the Hole (Billy Wilder 1951) Straight Time (Ulu Grosbard 1978) Minnie and Moskowitz (John Cassavetes 1971) Far From Heaven (Todd Haynes 2002) All That Heaven Allows (Douglas Sirk 1955) Magnificent Obsession (Douglas Sirk 1954) Written on the Wind (Douglas Sirk 1956) Imitation of Life (Douglas Sirk 1959) Giant (George Stevens 1956) The Big Country (William Wyler 1958) Jubal (Delmer Daves 1956) Interlude (Douglas Sirk 1957) Summertime (David Lean 1955) A Time to Love and a Time to Die (Douglas Sirk 1958) Blue Velvet (David Lynch 1986) Twin Peaks: Fire Walk With Me (David Lynch 1992) Has Anybody Seen My Gal (Douglas Sirk 1952) Seconds (John Frakenheimer 1966) Ali: Fear Eats The Soul (Rainer Werner Fassbinder 1974) Lonelyhearts (Vincent J. Donehue 1958) The Gypsy Moths (John Frankenheimer 1969) Dodsworth (William Wyler 1936)

Felicia is joined by Josh Cooley to discuss why it’s important to consider melodrama in a positive light through Douglas Sirk’s Magnificent Obsession (1954). We chat about why Sirk was considered a ‘woman’s picture’ director, and why that work lead to some of the most beautiful imagery put on screen. This is the first installment in the Sirk series and an important one to listen to as we give a lot of background into his life in Germany, and how he ended up in Hollywood. Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Listen to our previous episode: Naked Lunch (David Cronenberg 1991) Sources: Sirk, D., & Halliday, J. (2018). Sirk on sirk: Conversations with Jon Halliday. Bloomsbury Publishing. https://calgarycinema.org/blog/2021/8/magnificent-obsession-1954-douglas-sirk https://inreviewonline.com/2024/08/19/magnificent-obsession/ https://scenebygreen.com/2022/04/20/magnificent-obsession-1954/ https://www.criterion.com/current/posts/1006-magnificent-obsessions https://www.criterion.com/current/posts/6549-sirk-in-the-sun https://criterionreflections.blogspot.com/2010/04/magnificent-obsession-1954-457.html https://www.sensesofcinema.com/2014/feature-articles/obsessions-imitations-subversions-on-magnificent-obsession-part-one/ https://thatshelf.com/guy-maddin-talks-magnificent-obsession-at-tiff/ Outro Song: Theme from Magnificent Obsession by Frank Skinner Films Mentioned: Naked Lunch (David Cronenberg 1991) Written on the Wind (Douglas Sirk 1956) Imitation of Life (Douglas Sirk 1959) All That  Heaven Allows (Douglas Sirk 1955) The Tarnished Angels (Douglas Sirk 1957) Far From Heaven (Todd Haynes 2002) Magnificent Obsession (John M. Stahl 1935) Dead Ringers (David Cronenberg 1988) Her (Spike Jonze 2013) The Wizard of Oz (Victor Fleming 1939) Lola Montès (Max Ophüls 1955) Meet Joe Black (Martin Brest 1998) Taza, Son of Cochise (Douglas Sirk 1954) Giant (George Stevens 1956) Sign of the Pagan (Douglas Sirk 1954) The Client (Joel Schumacher 1994) Flatliners (Joel Schumacher 1990) A Time to Kill (Joel Schumacher 1996) Falling Down (Joel Schumacher 1993) St. Elmo’s Fire (Joel Schumacher 1985) The Incredible Shrinking Woman (Joel Schumacher 1981) Ocean’s Eleven (Steven Soderbergh 2001) Amélie (Jean-Pierre Jeunet 2001) Pay It Forward (Mimi Leder 2000) Pollyanna (David Swift 1960) Citizen Kane (Orson Welles 1941) Peter Ibbetson (Henry Hathaway 1935) Eyes Wide Shut (Stanley Kubrick 1999)

Felicia is joined by Ben Vargas to discuss the weight of parental guilt as it is manifested through Lars von Trier’s Antichrist (2009). We discuss the ways in which Lars von Trier portrays raw emotions on film, and why filmmakers aren’t often as brave when it comes to showing their audience the ugly side of grief. This is the last installment in the Lars von Trier series, thanks for following along. It was a heavy one but sometimes it’s good to let your emotions free flow. Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Listen to our previous episodes: Winter Light (Ingmar Bergman 1963) Woman in the Dunes (Hiroshi Teshigahara 1964) Follow Ben here: IG: @macefffron Twitter: @bensower Twitter: @cinemashitshow Spotify: @cinemashitshow Apple Podcasts: @cinemashitshow Sources: https://www.theguardian.com/film/2009/jul/16/antichrist-lars-von-trier-feminism https://charlieceratops.medium.com/lets-talk-about-lars-von-trier-s-antichrist-2009-b6f6586a2c97 https://www.criterion.com/current/top-10-lists/247-ana-lily-amirpour-s-top-10 Outro Song:The Witch by The Gruesomes Films Mentioned: Woman in the Dunes (Hiroshi Teshigahara 1964) Winter Light (Ingmar Bergman 1963)  The Celebration (Thomas Vinterberg 1998) Melancholia (Lars von Trier 2011) Nymphomaniac (Lars von Trier 2013) To Each His Own (Various 2007) Dimension (Lars von Trier 2010) Melancholia (Lars von Trier 2011) Slumdog Millionaire (Danny Boyle 2008) 127 Hours (Danny Boyle 2010) Europa (Lars von Trier 1991) The House That Jack Built (Lars von Trier 2018) Rabbit Hole (John Cameron Mitchell 2010) Manchester by the Sea (Kenneth Lonergan 2016) Shortbus (John Cameron Mitchell 2006) Hedwig and the Angry Inch (John Cameron Mitchell 2001) The Devils (Ken Russell 1971)

Felicia is joined by Jeanmarie Vargas to discuss the concept of inherent depression through Lars von Trier’s Melancholia (2011). We chat about Lars von Trier’s desire to break down his own battles with depression through these characters, along with the importance of Wagner in his work. Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Listen to our previous episode: The Piano Teacher (Michael Haneke 2001) Follow Jeanmarie here: Movie Friends Podcast - That’s Messed Up Series on Patreon: https://www.moviefriendspodcast.com/ Spotify:@MovieFriendsPodcast Apple Podcasts: @MovieFriendsPodcast Twitter: @jeanmarievargas Sources: https://thereveal.substack.com/p/melancholia-at-10-a-decade-of-waiting https://www.bbc.com/culture/article/20210512-is-melancholia-the-greatest-film-about-depression-ever-made https://flipscreened.com/2021/05/04/melancholia-2011-and-how-i-learned-to-stop-worrying-and-love-the-planet/ https://charlieceratops.medium.com/the-devastating-beauty-of-melancholia-2011-fb898b41ec85 http://www.cinemablography.org/the-existential-philosophy-of-melancholia.html https://disobedientsounds.com/2021/04/29/melancholia-and-the-infinite-sadness/ https://www.sensesofcinema.com/2024/film-and-the-nonhuman/is-the-earth-fucked-lars-von-triers-melancholia-2011-albrecht-durers-melencolia-1-1514/ https://www.sensesofcinema.com/2011/feature-articles/the-lonely-planet-lars-von-triers-melancholia/ Outro Song: Credits (Tristan and Isolde) by Richard Wagner and City Of Prague Philharmonic Orchestra Films Mentioned: The Piano Teacher (Michael Haneke 2001) Antichrist (Lars von Trier 2009) Nymphomaniac (Lars von Trier 2013) Dimension (Lars von Trier 2010) The Mirror (Andrei Tarkovsky 1975) Cries and Whispers (Ingmar Bergman 1972)

Felicia is joined by The Davids Podcast to discuss Lars von Trier’s take on male aggression, in The House That Jack Built (2018). We chat about the nuisance of supporting the work of an artist whose personal ideals we may not agree with. Along with the way Trier is reflecting on his life through the character of Jack. Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow The Davids Podcast here: IG: @thedavidspod Soundcloud: @thedavidspodcast YouTube: @thedavids6703 Sources: https://www.theguardian.com/film/2018/dec/14/the-house-that-jack-built-review-lars-von-trier-matt-dillon-uma-thurman-bruno-ganz https://www.theringer.com/movies/2018/12/14/18139814/the-house-that-jack-built-lars-von-trier-review-dogville-nymphomaniac-antichrist-dance-in-the-dark https://www.back-row.com/home/2020/9/23/i-watched-it-so-you-dont-have-to-the-house-that-jack-built-explained https://rue-morgue.com/the-house-that-jack-built-is-an-act-of-self-flagellation/ https://www.sensesofcinema.com/2019/feature-articles/the-art-of-murder-what-we-have-to-learn-from-the-house-that-jack-built/ https://www.truemythmedia.com/true-myth-media/reviews/thehousethatjackbuilt https://learningonscreen.ac.uk/viewfinder/articles/the-house-that-jack-built/ https://www.indiewire.com/features/general/matt-dillon-interview-lars-von-trier-the-house-that-jack-built-1202028057/ FILMS MENTIONED: The Killer (David Fincher 2023) Bastards (Claire Denis 2013) Dancer in the Dark (Lars von Trier 2000) Antichrist (Lars von Trier 2009) The Kingdom (Lars von Trier 1994-2022) Madea (Lars von Trier 1988) Scenes From a Marriage (Ingmar Bergman 1974) Fanny and Alexander (Ingmar Bergman 1982) Funny Games (Michael Haneke 1997) The Room (Tommy Wiseau 2003) Breaking the Waves (Lars von Trier 1996) Possibly in Michigan (Cecelia Condit 1983) Arrebato (Iván Zulueta 1980) Targets (Peter Bogdanovich 1968)

Felicia is joined by Scott Cole to discuss Lars von Trier’s take on an American musical in Dancer in the Dark (2000). We chat about the way von Trier crafts and treats his women characters, along with his criticism of American culture. This is the first installment in the Lars von Trier series, and a great introduction to his sensibilities as an artist. Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Check out our previous episode with Scott: In The Cut (Jane Campion 2003) Follow Scott here: Twitter: @ColeCommaScott IG: @ColeCommaScott Sources: https://www.theguardian.com/film/2000/sep/15/1 https://www.bjork.fr/article1140 https://piadiamandis.medium.com/a-review-of-lars-von-triers-dancer-in-the-dark-db28ecf654e9 https://www.filmstowatchbeforeyoudie.com/blog/dancer-in-the-dark-2000-film-review-an-analysis-of-von-triers-tour-de-force https://www.sensesofcinema.com/2000/current-releases-11/dancer/ https://www.artforum.com/columns/lars-von-triers-dancer-in-the-dark-201040/ https://corsepresentblog.wordpress.com/2021/03/07/dancer-in-the-dark/ OUTRO SONG: Cvalda by Björk FILMS MENTIONED: In The Cut (Jane Campion 2003) Breaking The Waves (Lars von Trier 1996) Melancholia (Lars von Trier 2011) Dogville (Lars von Trier 2003) Nymphomaniac (Lars von Trier The Idiots (Lars von Trier 1998) The House That Jack Built (Lars von Trier 2018) Antichrist (Lars von Trier 2009) Joker: Folie à Deux (Todd Phillips 2024) Julien Donkey-Boy (Harmony Korine 1999) Gummo (Harmony Korine 1997) Kids (Larry Clark 1995) Wicked (Jon M. Chu 2024) The Northman (Robert Eggers 2022) West Side Story (Steven Spielberg 2021) In The Heights (Jon M. Chu 2021) Mean Girls (Samantha Jayne, Arturo Perez Jr. 2024) The Machinist (Brad Anderson 2004) Dead Man Walking (Tim Robbins 1995) Mouth to Mouth (Alison Murray 2005) Pennies From Heaven (Herbert Ross 1981)

Felicia is joined by Ryan Ritter to discuss the film that cemented the genre of Italian neo-realism in history; Vittorio De Sica’s Bicycle Thieves (1948). We chat about De Sica’s ability to discover raw talent from non-actors and guide them to deliver unforgettable performances. Along with how relatable this story has been to audiences over the years. This is the final installment in the De Sica series and it brought great warmth to my heart to revisit and discuss these films. I hope my guests and I have inspired you to seek out his later work as well. Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Check out our previous episode with Ryan: Klute (Alan J. Pakula - Gordon Willis D.O.P. 1971) Follow Ryan here: IG: @crittical_analysisblog IG: @popculturehistorianspodcast Twitter: @PCHistorians Letterboxd: @ryanritter Website: Crittical Analysis (crittical-analysis.com) Spotify: @popculturehistorians Apple Podcasts: @popculturehistorians Sources: https://www.criterion.com/current/posts/6246-the-joy-and-pain-of-one-good-meal-in-bicycle-thieves https://www.criterion.com/current/posts/3754-hou-hsiao-hsien-on-the-films-that-changed-his-life https://www.criterion.com/current/posts/1538-remembering-suso-cecchi-d-amico https://www.criterion.com/current/posts/1090-bicycle-thieves-ode-to-the-common-man https://retrospectjournal.com/2024/03/24/bicycle-thieves/ https://www.nytimes.com/2020/08/13/movies/bicycle-thieves-italian-neorealism.html https://www.sensesofcinema.com/2020/cteq/bicycle-thieves-vittorio-de-sica-1948/ https://fourthwallwriting.com/2019/04/01/the-perfect-illusion-bicycle-thieves-as-pure-cinema/ https://www.criterion.com/current/top-10-lists/201-roger-corman-s-top-10 OUTRO SONG: Bicycle Thieves by Alessandro Cicognini FILMS MENTIONED: Klute (Alan J. Pakula 1971) Ghostbusters (Ivan Reitman 1984) Beetlejuice (Tim Burton 1988) Shoeshine (Vittorio De Sica 1946) The Children Are Watching Us (Vittorio De Sica 1944) Umberto D. (Vittorio De Sica 1952) Miracle in Milan (Vittorio De Sica 1951) Heart and Soul (Vittorio De Sica 1948) Goodfellas (Martin Scorsese 1990) Casino (Martin Scorsese 1995) Marriage Italian Style (Vittorio De Sica 1964) Yesterday, Today, and Tomorrow (Vittorio De Sica 1963) Il boom (Vittorio De Sica 1963) Come and See (Elem Klimov 1985) Nights of Cabiria (Federico Fellini 1957) Mildred Pierce (Michael Curtiz 1945)

Felicia is joined by Geoff Thomas to discuss the effects of capitalism on an old man and his dog in Vittorio De Sica’s Umberto D. (1952). We chat about this film as a bridge between De Sica’s as a neo-realist filmmaker and his move towards comedies. Along with the themes of questioning the moral compass of authority figures present in this film. Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Check out our previous episodes with Geoff: Diary of a Chambermaid (Luis Buñuel 1964) The Silence (Ingmar Bergman 1963) Follow Geoff here: IG: @cinema_gnt Letterboxd: @gnthomas Website: https://cinemamemry.wordpress.com/ Spotify: @cinematicmeoriespodcast Spotify: @dontdespisemepodcast Apple Podcasts: @cinematicmemoriespodcast Apple Podcasts: @dontdespisemepodcast Sources: https://web.archive.org/web/20110721100149/ http://www.ingmarbergman.se/universe.asp?guid=66DA7015-8017-4303-9A31-658D02296D45 https://www.criterion.com/current/posts/292-seeing-clearly-through-tears-on-the-smart-sentiment-of-umberto-d https://www.nytimes.com/1955/11/08/archives/screen-honest-realism-de-sicas-umberto-d-is-story-of-old-man.html https://www.deepfocusreview.com/definitives/umberto-d/ https://cinemafromthespectrum.com/2017/02/24/umberto-d-review/ OUTRO SONG: Umberto D. by Alessandro Cicognini FILMS MENTIONED: The Silence (Ingmar Bergman 1963) Diary of a Chambermaid (Luis Buñuel 1964) Bicycle Thieves (Vittorio De Sica 1948) The Leopard (Luchino Visconti 1963) Ikiru (Akira Kurosawa 1952) Shoeshine (Vittorio De Sica 1946) The Third Man (Carol Reed 1949) Miracle in Milan (Vittorio De Sica 1951) Terminal Station (Vittorio De Sica 1953) After the Fox (Vittorio De Sica 1966) The Voyage (Vittorio De Sica 1974) Sunflower (Vittorio De Sica 1970) Two Women (Vittorio De Sica 1960) Marriage Italian Style (Vittorio De Sica 1964) Yesterday, Today, and Tomorrow (Vittorio De Sica 1963) Boccaccio ‘70 (Vittorio De Sica, Federico Fellini, Mario Monicelli, Luchino Visconti 1962) Rebecca (Alfred Hithcock 1940) Il boom (Vittorio De Sica 1963) Anora (Sean Baker 2024) Wild Strawberries (Ingmar Bergman 1957) Tokyo Story (Yasujirō Ozu 1953)

Felicia is joined by Jason Christian to discuss the story of two young boys who just want to buy a horse but get sent to a juvenile prison instead, in Vittorio De Sica’s Shoeshine (1946). We chat about De Sica’s ability to get natural performances out of children, and how important it was to explore the lives of orphaned children after the war. Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Jason here: Website: https://jasonchristianwrites.com/ Letterboxd: @exilemagic Twitter: @jasonachristian Cold War Cinema Podcast on Spotify: @coldwarcinema Cold War Cinema Podcast on Apple: @coldwarcinema Sources: https://www.film-foundation.org/rsr-november-2023 https://www.asharperfocus.com/shoeshine.html https://postmodernpelican.com/2022/12/16/shoeshine-1946/ OUTRO SONG: Shoeshine by Alessandro Cicognini FILMS MENTIONED: The Lawless (Joseph Losey 1950) Night and the City (Jules Dassin 1950) Body and Soul (Robert Rossen 1947) Quicksand (Irving Pichel 1950) Rosetta (Luc Dardenne, Jean-Pierre Dardenne 1999) Miracle in Milan (Vittorio De Sica 1951) The Young and the Damned (Luis Buñuel 1950) The Gate of Heaven (Vittorio De Sica 1945) The Children Are Watching (Vittorio De Sica 1944) Heart and Soul (Vittorio De Sica 1948) Bicycle Thieves (Vittorio De Sica 1948) Umberto D. (Vittorio De Sica 1952) Sunflower (Vittorio De Sica 1970) The Witches (Franco Rossi, Mauro Bolognini, Luchino Visconti, Pier Paolo Pasolini, Vittorio De Sica 1967) After the Fox (Vittorio De Sica 1966) Marriage Italian Style (Vittorio De Sica 1964) Yesterday, Today, and Tomorrow (Vittorio De Sica 1963) Il boom (Vittorio De Sica 1963) Two Women (Vittorio De Sica 1960) The 400 Blows (François Truffaut 1959) The Kid with the Bike (Luc Dardenne, Jean-Pierre Dardenne 2011) Boot Polish (Prakash Arora 1954) Where’s The Friend’s House (Abbas Kiarostami 1987) I Was Born, But… (Yasujirō Ozu 1932) Welcome to the Dollhouse (Todd Solondz 1995) Good Morning (Yasujirō Ozu 1959)

Felicia is joined by Bryan and Hannah Loomis to discuss a film about hope and making the most out of the life you’ve been given in Vittorio De Sica’s Miracle in Milan (1951). We chat about De Sica and Zavattani’s (his long time writing partner) communist ideals and how they translate to the importance of community and choosing your own family. Along with the mix of realism and fantasy to create a story that leaves the viewer feeling hopeful. This is the series two opening film and I think this is the perfect example of how layered De Sica’s work often was, and how he could easily blend comedy and drama. Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Bryan and Hannah here: Website: PODCAST | What a Picture (whatapicturepod.com) Bryan on Bluesky: @bryanwhatapic Bryan on Letterboxd: @bryan_whatapic Catch up on our previous episodes with Bryan and Hannah: All The President’s Men (D.O.P. Gordon Willis 1976)I Was Born, But… (Yasujirō Ozu 1932) Sources: https://www.criterion.com/current/posts/7755-miracle-in-milan-it-is-goodness https://www.nytimes.com/1951/12/18/archives/the-screen-in-review-miracle-in-milan-an-italian-fable-directed-by.html https://www.theguardian.com/film/2010/aug/01/beeban-kidron-miracle-in-milan https://www.sensesofcinema.com/2020/cteq/miracle-in-milan-vittorio-de-sica-1951/ OUTRO SONG: Miracolo a Milano (Suite) by Alessandro Cicognini FILMS MENTIONED: All the President’s Men (Alan J. Pakula 1976) I Was Born, But… (Yasujirō Ozu 1932) Shoah (Claude Lanzmann 1985) Histories of Cinema (Jean-Luc Godard 1989-1999) Bicycle Thieves (Vittorio De Sica 1948) The Earrings of Madame De… (Max Ophüls 1953) Umberto D. (Vittorio De Sica 1952) Shoeshine (Vittorio De Sica 1946) Divorce Italian Style (Pietro Germ 1961) Marriage Italian Style (Vittorio De Sica 1964) It’s a Wonderful Life (Frank Capra 1946) The Phantom Carriage (Victor Sjöström 1921) Divorce of Lady X (Tim Whelan 1938) Happy as Lazzarro (Alice Rohrwacher 2018) Nomadland (Chloé Zhao 2020) La chimera (Alice Rohrwacher 2023) Yoyo (Pierre Étaix 1965) Yi Yi (Edward Yang 2000)

Felicia is joined by Jeanmarie Vargas to discuss Michael Haneke’s film about a woman just trying to live out her sexual fantasies in The Piano Teacher (2001). We chat about Haneke’s shift in the 2000s to create more films focused on women and their struggles. Along with the importance of diegetic music as it relates to pushing the story forward. This marks the end of the Haneke series, it was a pleasure (even when it was a displeasure) to revisit his films and watch them through multiple new lenses. He’s such a layered artist whose work will always remain relevant and I hope my guests and I have inspired you to watch more of his work (or maybe it’s time for a rewatch). Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Jeanmarie here: Movie Friends Podcast - That’s Messed Up Series on Patreon: https://www.moviefriendspodcast.com/ Spotify:@MovieFriendsPodcast Apple Podcasts: @MovieFriendsPodcast Sources: https://www.criterion.com/current/posts/4994-michael-haneke-on-the-art-of-the-erotic-long-take https://www.criterion.com/current/posts/4965-the-piano-teacher-bad-romances https://www.criterion.com/current/posts/6342-breaking-the-ice-the-beginning-of-desire-in-the-piano-teacher https://www.theguardian.com/film/2001/nov/09/londonfilmfestival2001.londonfilmfestival1 https://www.sensesofcinema.com/2003/michael-haneke/piano_teacher/ https://www.sensesofcinema.com/2017/cteq/the-piano-teacher/ https://cinemafromthespectrum.com/2017/04/03/the-piano-teacher-review/ https://www.fearsomequeer.net/blog/film-retrospective-the-piano-teacher https://birthmoviesdeath.com/2013/08/16/the-piano-teacher-is-a-psychosexual-masterpiece.html https://www.austrianfilms.com/news/en/bodymichael_haneke_talks_about_the_piano_teacher_body OUTRO SONG: Coin-Operated Boy by The Dresden Dolls FILMS MENTIONED: Funny Games (Michael Haneke 1997) Caché (Michael Haneke 2005) 71 Fragments of a Chronology of Chance (Michael Haneke 1994) The Seventh Continent (Michael Haneke 1989) Code Unknown (Michael Haneke 2000) Time of the Wolf (Michael Haneke 2003) Benny's Video (Michael Haneke 1992) Beau is Afraid (Ari Aster 2023) Secret Ceremony (Joseph Losey 1968)

Felicia is joined by Riley Greenwood to discuss a film about a family who makes a questionable decision in Michael Haneke’s The Seventh Continent (1989). We chat about how Haneke decision to not give the audience any answers but instead allows them to wonder why people make certain life decisions. Along with how the story is fragmented to disorient the viewer. Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Riley here: IG: @rileydreamwood Letterboxd: @rileydreamwood Sources: https://www.theguardian.com/film/filmblog/2008/apr/30/hanekeshouseofhorrors https://www.sensesofcinema.com/2005/cteq/seventh_continent/#:~:text=The%20Seventh%20Continent%20seems%20postmodern,monstrousness%20of%20everyday%20bourgeois%20society. https://www.criterion.com/current/posts/8010-michael-haneke-s-alienation-effect https://flaszonfilm.com/2020/10/30/understanding-michael-haneke-the-seventh-continent-1989/ https://fresques.ina.fr/europe-des-cultures-en/fiche-media/Europe00218/interview-with-michael-haneke.html OUTRO SONG: Show of Strength by Echo and the Bunnymen FILMS MENTIONED: Amour (Michael Haneke 2012) Funny Games (Michael Haneke 1997) Fraulein – Ein deutsches Melodram (Michael Haneke 1986) Benny's Video (Michael Haneke 1992) The Piano Teacher (Michael Haneke 2001) The White Ribbon (Michael Haneke 2009) 71 Fragments of a Chronology of Chance (Michael Haneke 1994) La notte (Michelangelo Antonioni 1961) Beau Travail (Claire Denis 1999) La cerémonie (Claude Chabrol 1995)

Felicia is joined by Nathan Cowles to discuss Michael Haneke’s dark mystery about the roots of evil in The White Ribbon (2009). We chat about how Haneke tackles children and violence in his films and the concept of “good vs evil”. Along with the use of black and white and lack of score that help amplify the film’s message. Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Listen to our previous episode with Nathan: A Summer’s Tale (Éric Rohmer 1996) Follow Nathan here: Letterboxd: @cowles YouTube: @Cowles IG: @cowles.mov Sources: https://www.rogerebert.com/reviews/the-white-ribbon-2010 https://www.theguardian.com/film/2009/nov/12/the-white-ribbon-review https://www.austrianfilms.com/news/en/bodymichael_haneke_the_white_ribbon__interviewbody https://www.nytimes.com/2009/12/30/movies/30white.html https://brightlightsfilm.com/the-children-are-watching-you-michael-hanekes-the-white-ribbon/ https://thepointmag.com/criticism/white-ribbon/ OUTRO SONG: O Sacred Head Now Wounded - Fernando Ortega FILMS MENTIONED: A Tale of Summer (Éric Rohmer 1996) Code Unknown (Michael Haneke 2000) Caché (Michael Haneke 2005) Funny Games (Michael Haneke 1997) Amour (Michael Haneke 2012) Funny Games (Michael Haneke 2007) 71 Fragments of a Chronology of Chance (Michael Haneke 1994) The Piano Teacher (Michael Haneke 2001) Benny’s Video (Michael Haneke 1992) Martha (Rainer Werner Fassbinder 1974) Au hasard Balthazar (Robert Bresson 1966) White Light (Ingmar Bergman 1963) Fanny and Alexander (Ingmar Bergman 1982)

Felicia is joined by Jane Waldner to discuss Michael Haneke’s groundbreaking 1997 film Funny Games and his 2007 shot for shot remake. We chat about how important the original film was and remains, and what caused him to remake his own work in the English language. Along with his exploration of violence in film as it relates to the audiences consumption of this type of imagery. Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Listen to our previous episode with Jane: Faces Places (Agnès Varda & J.R. 2017) Follow Jane here: IG: @janesviews Letterboxd: @jwaldner Sources: https://www.criterion.com/current/posts/6347-funny-games-don-t-you-want-to-see-how-it-ends https://www.cinema.com/articles/5600/funny-games-michael-haneke-interview.phtml#google_vignette OUTRO SONG: Bonehead - Naked City FILMS MENTIONED: Faces Places (Agnès Varda & J.R. 2017) Caché (Michael Haneke 2005) 71 Fragments of a Chronology of Chance (Michael Haneke 1994) Crash (Paul Haggis 2004) Code Unknown (Michael Haneke 2000) The White Ribbon (Michael Haneke 1989) Run Lola Run (Tom Tykwer 1999) Fat Girl (Catherine Breillat 2001)

Welcome to Season 2! After a summer break the show is back and with a few changes. We’re still focusing on a different director or cinematographer each month, with a new guest each week to discuss a film in that artist’s filmography. What we’re doing is moving away from a scene by scene breakdown of the story, and instead moving towards discussion the aritst’s unique stamp on the film. The purpose of this show was always to focus on the artist, so we’ll be talking about what lead them to create this piece, what films did they make before and after this, and what trademarks, common themes/ideas do they like to explore that are present in this film (or not). Listen below for more details and I hope you enjoy the new format!

Felicia is joined by Vanya Garraway to discuss David Cronenberg’s exploration of media consumption in a little film called Videodrome (1983). We chat about how this Toronto classic has become a cautionary tale on the effects of hiding behind the ‘content’ you view. Along with the ways in which Cronenberg create a new cinematic language unique to the city of Toronto that is still relevant today. Oh yeah, and long live the new flesh! This marks not only the end of the Cronenberg series, but also the end of season one of this show - we will be taking a summer break and I can’t think of a better episode to leave you with until our return in the fall. Send us your thoughts on the episode - what is your favourite film set in Toronto? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Listen to our previous episode with Vanya: The Killing of a Chinese Bookie (John Cassavetes 1976) Follow Vanya here: IG: @nostalgiaphile IG: @paidinsweat (film program) Twitter: @nostalgiaphile Twitter: @paidinsweat (film program) Sources: https://www.criterion.com/current/posts/337-videodrome-make-mine-cronenberg https://www.criterion.com/current/top-10-lists/237-olivier-assayas-s-top-10 https://www.criterion.com/current/posts/4357-experience-necessary-deborah-harry-in-videodrome https://www.criterion.com/current/posts/1678-videodrome-the-slithery-sense-of-unreality https://www.denofgeek.com/movies/videodrome-how-cronenberg-subverts-the-noir-thriller-genre/ https://www.sensesofcinema.com/2004/perversion/videodrome_seduction/ OUTRO SONG: 801 A, B by Howard Shore FILMS MENTIONED: The Killing of a Chinese Bookie (John Cassavetes 1976) Days of Thunder (Tony Scott 1990) Gladiator (Ridley Scott 2000) Swimfan (John Polson 2002) The Talented Mr. Ripley (Anthony Minghella 1999) The Fly (David Cronenberg 1986) Rabid (David Cronenberg 1977) Shivers (David Cronenberg 1975) The Brood (David Cronenberg 1979) Crimes of the Future (David Cronenberg 2022) The Dead Zone (David Cronenberg 1983) Scanners (David Cronenberg 1981) History of Violence (David Cronenberg 2005) Eastern Promises (David Cronenberg 2007) Seven (David Fincher 1995) Last Night (Don McKellar 1998) Take This Waltz (Sarah Polley 2011) Naked Lunch (David Cronenberg 1991) Being John Malkovich (Spike Jonze 1999) Secretary (Steven Shainberg 2002)

Felicia is joined by Ms. Sinclair to discuss David Cronenberg’s psychological twin terror Dead Ringers (1988) We chat about how the setting of Toronto plays a part in the story, and why the collaboration between Jeremy Irons and Cronenberg gave us one of the greatest dual performances on film. Can you guess how many times I say Toronto in this episode? Send us your thoughts on the episode - what is your favourite film about twins? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Listen to my our previous episodes with Ms. Sinclair: Sunset Boulevard (Billy Wilder 1950) The Piano (Jane Campion 1993) Follow Ms. Sinclair here: TALK MOVIE TO ME (talkmovietomepodcast.com) IG: @talkmovietome Letterboxd: @mssinclair Sources: https://dmtalkies.com/dead-ringers-ending-explained-1988-horror-film-david-cronenberg/ https://3brothersfilm.com/blog/2018/10/12/david-cronenberg-dead-ringers-1988 https://www.criterion.com/current/posts/5849-when-actors-do-double-duty https://www.criterion.com/current/top-10-lists/643-john-carpenter-s-top-10 OUTRO SONG: Main Title by Howard Shore FILMS MENTIONED: Sunset Boulevard (Billy Wilder 1950) The Piano (Jane Campion 1993) Society (Brian Yuzna 1989) Furiosa (George Miller 2024) Mad Max Beyond Thunderdome (George Miller, George Ogilvie 1985) The Goonies (Richard Donner 1985) Auto-Focus (Paul Schrader 2002) Mishima: A Life in Four Chapter (Paul Schrader 1985) Light Sleeper (Paul Schrader 1992) The Fly (David Cronenberg 1986) Crash (David Cronenberg 1996) Shivers (David Cronenberg 1975) Rabid (David Cronenberg 1977) Reversal of Fortune (Barbet Schroeder 1990) Videodrome (David Cronenberg 1983) eXistenZ (David Cronenberg 1999) The Skeleton Twins (Craig Johnson 2014) Sisters (Brian De Palma 1972) Possessor (Brandon Cronenberg 2020) Raw (Julia Ducournau 2016) Titane (Julia Ducournau 2021) Eyes Without a Face (Georges Franju 1960) The Skin I Live In (Pedro Almodóvar 2011) Dead Ringer (Paul Henreid 1964) The Dark Mirror (Robert Siodmak 1946)

Felicia is joined by Newman to discuss Cronenberg’s return to body horror in Crimes of the Future (2022). We chat about how Cronenberg explored themes of climate change, body modifications, and the failure of technology, while blending noir-like elements into the story. Send us your thoughts on the episode - what is your favourite modern Cronenberg film? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Newman here: Spotify: @Movies4Dayz Podcast Network: https://www.yourunpodcast.com/ Twitter: @MoviesDayz Sources: https://www.npr.org/2022/06/03/1102634107/crimes-of-the-future-david-cronenberg-review https://www.newyorker.com/culture/the-front-row/crimes-of-the-future-reviewed-its-the-end-of-the-world-as-david-cronenberg-knew-it https://www.imdb.com/title/tt14549466/ https://screenrant.com/crimes-future-movie-ending-explained/ https://www.nytimes.com/2022/06/02/movies/crimes-of-the-future-review.html OUTRO SONG: Crimes of the Future by Howard Shore FILMS MENTIONED: The Brood (David Cronenberg 1979) Shrek (Andrew Adamson and Vicky Jenson 2001) Schindler's List (Steven Spielberg 1994) Eastern Promises (David Cronenberg 2007) A History of Violence (David Cronenberg 2005) Scanners (David Cronenberg 1980) Videodrome (David Cronenberg 1983) The Fly (David Cronenberg 1986) They Live (John Carpenter 1988) Maps to the Stars (David Cronenberg 2014) Cosmopolis (David Cronenberg 2012) Rabid (David Cronenberg 1977) Suspiria (Luca Guadagnino 2018) Bug (William Friedkin 2007) Naked Lunch (David Cronenberg 1991) Wall-E (Andrew Stanton 2008) Crash (David Cronenberg 1996) Psycho Goreman (Steven Kostanski 2020) The Void (Steven Kostanski 2006) Hellraiser (Clive Barker 1987) E.T. (Steven Spielberg 1982) Hobo With a Shotgun (Jason Eisener 2011) Kids in the Hall: Brain Candy (Kelly Makin 1996) Eyes Without a Face (Georges Franju 1962)

Felicia is joined by John Pennington to discuss conflicting parenting styles in David Cronenberg’s The Brood (1979). We chat about the use of daylight in a film that tackles dark subject matters. Along with Cronenberg’s personal life being the inspiration behind the story. Send us your thoughts on the episode - what is your favourite 70s Cronenberg flick? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow John here: Letterboxd: @jtothep83 Sources: https://www.criterion.com/current/posts/3739-the-brood-separation-trials https://3brothersfilm.com/blog/2018/6/15/david-cronenberg-the-brood-1979 The making of David Cronenberg's THE BROOD: https://www.youtube.com/watch?v=c7wGWB6IVy4&ab_channel=CinemaGarmonbozia OUTRO SONG: The Witch by The Sonics FILMS MENTIONED: The Fly (David Cronenberg 1986) Scanners (David Cronenberg 1981) Videodrome (David Cronenberg 1983) Spider (David Cronenberg 2002) Eastern Promises (David Cronenberg 2007) A Dangerous Method (David Cronenberg 2011) Crimes of the Future (David Cronenberg 2022) Shivers (David Cronenberg 1975) Rabid (David Cronenberg 1977) Fast Company (David Cronenberg 1979) The Village of the Damned (Wolf Rilla 1960) The Omen (Richard Donner 1976) The Bad Seed (Wolf Rilla 1956) The Exorcist (William Friedkin 1973) Naked Lunch (David Cronenberg 1991) Sinister (Scott Derrickson 2012) The Lord of the Rings (Peter Jackson 2001) eXistenZ (David Cronenberg 1999) Crash (David Cronenberg 1996) Aliens (James Cameron 1986) Mildred Pierce (Michael Curtiz 1945)

Felicia is joined by Josh Cooley to discuss David Cronenberg’s otherworldly adaptation of William S. Burrough’s Naked Lunch (1991). We chat about the way Cronenberg took Burrough’s story and put it into his own perfectly crafted world, and how he was able to succeed at adapting a difficult novel. This is the Cronenberg series opener and it’s been a long time coming. I honestly cannot put into words how important Cronenberg is to me, his work is everything to me and the world would be a much sadder place without his art. I hope you follow along for the series. Send us your thoughts on the episode - what are some of your favourite book to film adaptations? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Sources: https://www.criterion.com/current/posts/769-naked-lunch-burroughs https://www.criterion.com/current/posts/305-naked-lunch-drifting-in-and-out-of-a-kafkaesque-reality https://www.criterion.com/current/posts/6806-double-extremity-judy-davis-in-naked-lunch https://www.criterion.com/current/posts/2726-naked-lunch-so-deep-in-my-heart-that-you-re-really-a-part-of-me https://3brothersfilm.com/blog/2018/10/18/david-cronenberg-naked-lunch-1991 https://ew.com/article/1992/01/17/naked-lunch-behind-scenes/ OUTRO SONG: Welcome to Annexia by Howard Shore & Ornette Coleman FILMS MENTIONED: Deconstructing Harry (Woody Allen 1988) Annie Hall (Woody Allen 1977) Manhattan (Woody Allen 1979) Dead Ringers (David Cronenberg 1988) Crash (David Cronenberg 1996) The Fly (David Cronenberg 1986) The Dead Zone (David Cronenberg 1983) Shivers (David Cronenberg 1975) Rabid (David Cronenberg 1977) Fast Company (David Cronenberg 1979) Mishima: A Life in Four Chapters (Paul Schrader 1985) eXistenZ (David Cronenberg 1999) Nightbreed (Clive Barker 1990) Crimes of the Future (David Cronenberg 2022) Videodrome (David Cronenberg 1983) M. Butterfly (David Cronenberg 1993) Cosmopolis (David Cronenberg 2012) Maps to the Stars (David Cronenberg 2014) Barton Fink (Joel & Ethan Coen 1991) Videodrome (David Cronenberg 1983) Spider (David Cronenberg 2002) Eastern Promises (David Cronenberg 2007) A History of Violence (David Cronenberg 2005) The End of the Affair (Neil Jordan 1999) The Brood (David Cronenberg 1979) Kiss Me Deadly (Robert Aldrich 1955)