CineJourneys (master feed)

Mark Hurne and Matt Gasteier return to the podcast to dig into 2018 Criterion announcements and other various news topics.

Aaron is joined by Cole and Ericca from the Magic Lantern Podcast for the first episode of 2018.

Aaron and Mark Hurne celebrate the year and look forward to 2018.

Aaron is joined by Chris and Justin from Casually Criterion to discuss the March 2018 announcements, Stanley Kubrick’s Barry Lyndon, and more.

Aaron returns with Will Remmers to talk about potential Criterion titles, Orson Welles’ Othello and some opera related topics.

Matt Gasteier returns to catch up on recent Criterion news and discuss some foodie film in anticipation of Thanksgiving.

Aaron is joined by Jonathan Laubinger and Jordan Essoe to discuss The Piano Teacher and the latest in Criterion.

Keith Enright and Mark Hurne return to the podcast and we get into a big Criterion news week.

Doug and Jackie are back, which means we are talking more David Lynch.

Aaron is joined by Mark Hurne and Jason Michael to catch up on a month’s worth of Criterion stuff, including January 2018 announcements.

Aaron is joined by David Blakeslee and Matt Gasteier as they take a detour from Criterion to talk about art music in general.

Mark and Aaron take a trip down memory lane. This is not only the first Criterion Close-Up episode, but the first time that we had podcasted together. The episode is a little rough, as would be expected, but we hope you’ll enjoy hearing us as we learned our way. Episode Credits Mark Hurne: Twitter | Letterboxd Aaron West: Twitter | Blog | Letterboxd Criterion Close-Up: Facebook | Twitter | Email

FilmStruck host Alicia Malone joins to talk about the Criterion Closet, FilmStruck, and her book about women in film.

Aaron is joined by Jeff Smith, Film Professor at University of Wisconsin-Madison, and Lady P, host of Flixwise.

Matt returns to the podcast and we dig into the big Olympic box, November predictions, Limite, and more.

Aaron podcasts live from Greenwich Village with James Hancock, Dave Eves and Jessica Ramos.

David Blakeslee joins Aaron as they tear into the Criterion news, parse Bresson’s L’argent, and David talks about his post Eclipse Viewer plans.

Aaron welcomes back Jonathan Laubinger, who talks about his time at Bergman Week in Sweden, October announcements, Straw Dogs, and more.

Aaron, Travis and Tim Leggoe dig into the world of Terry Zwigoff and all that’s going on with Criterion.

Aaron and Mark talk Criterion and art films with Sean Baker, director of Tangerine, The Florida Project, and many more.

Aaron is joined by Doug and Jackie as they take a special trip through the world of David Lynch’s Twin Peaks.

Aaron is joined again by Dave Eves and Matt Gasteier as they get into the best of Criterion so far and figure out the best film noir in the Collection.

Aaron welcomes back Keith Enright, The Completionist, from his lengthy sabbatical to get into the September releases and more.

Aaron is joined by Jon Laubinger, who is about to leave for Bergman Week in Sweden.

Aaron is joined by Doug McCambridge and Jackie Carlson and they discuss female filmmakers, David Lynch and Coppola’s Rumble Fish.

Aaron and two new guests, Jason Beamish and Kyle Reardon, dig into 45 Years, Cannes 2017, David Lynch and a number of other topics.

Aaron and Mark Hurne get together to talk about August 2017 Announcements, Andrei Tarkovsky, Ozu’s Good Morning, Michael Haneke, Jean Luc Godard, Jacques Demy, and plenty of other topics.

Matt and Travis join Aaron and discuss the best way to eat ramen inspired by Tampopo, the likelihood of Cannes restorations coming to Criterion, and plenty more.

Mark, Aaron, David and Trevor return for part two of our exploration of the under-appreciated French director, Julien Duvivier. The first episode, Eclipse Viewer 54, looked at the first two films in his Eclipse set. This episode looks at the peak of his career, particularly La Belle Equipe, Pépé le Moko, and La Fin du Jour, along with an overview of his career and the availability (or lack) of his work in the states. Episode Links & Notes Eclipse Viewer 54: Julien Duvivier in the 1930s Part 1 Criterion Close-Up 50: French Series Part 1 Criterion Close-Up 57: French Series part 2 Episode Credits Mark Hurne: Twitter | Letterboxd Aaron West: Twitter | Blog | Letterboxd David Blakeslee: Twitter | Website Trevor Berrett: Twitter | Website Criterion Close-Up: Facebook | Twitter | Email Next time on the podcast: The Umbrellas of Cherbourg

This episode takes a look at Criterion from the artistic lens, as we talk film with illustrators Caitlin Kuhwald and Michele Rosenthal.

This week we get into the gutter with Dave Eves and James Hancock, looking at the biggest jerks in film, Cannes, FilmStruck and more.

Aaron, Eric and Mark talk about Multiple Maniacs, VHS Collecting, and the latest news from the Criterion world.

Aaron is joined by Dave and Matt, where they engage in a samurai duel, discuss Being There and Before Midnight, and many other Criterion topics.

Mark, Aaron and Matt Gasteier explore the filmmaking world of Yasujirō Ozu, centering on his pivotal masterpiece Late Spring (1949). It would be impossible to explore all of his dozens of his films in one episode, so we give an overview of his work, his style, and his contributions towards international cinema. 3:00 – Ozu Introduction 15:00 – Ozu biography & style 29:00 – Setsuko Hara 39:00 – Late Spring Criterion Current – Ozu and Setsuko Hara David Bordwell – Ozu Book Criterion Collected Episode Credits Mark Hurne: Twitter | Letterboxd Aaron West: Twitter | Blog | Letterboxd Matt Gasteier: Twitter | Letterboxd Criterion Close-Up: Facebook | Twitter | Email Next time on the podcast: French Series, Part Three

Aaron, Arik Devens, Scott Nye and Travis Trudell dig into the June Criterion announcements, Ingmar Bergman on FilmStruck, and more.

Aaron, Doug and Jamieson talks Jesse James, Before Sunset, Mildred Pierce, and Criterion news and rumors.

Aaron is joined by Martin Kessler and Andrea West (Aaron’s wife!), and we talk about the latest going on in the Criterion universe.

Aaron is joined by Matt Gasteier, who participates in our first game show and shares his insights on the latest from Criterion.

Aaron is joined by David Blakeslee and Robert Taylor to talk about that massive May haul that Criterion announced and plenty more.

Aaron, Dave, Jessica, and Mark talk about Black Girl, Cameraperson, Wong Kar Wai, and plenty more.

Mark and Aaron get back to this century with a look at Paul Thomas Anderson’s Punch-Drunk Love. Naturally we talk about Adam Sandler’s dramatic acting jobs, and well, what happened to them? We go further into PTA’s career, film by film, chronicling the evolution of his craft and style. We explore why he is so popular, and question whether he belongs in the conversation of greatest living filmmakers. 3:40 – Punch Drunk Love 47:40 – Paul Thomas Anderson Criterion – Punch-Drunk Love Criterion – Paul Thomas Anderson’s Favorite Films The Film Faculty – PTA Retrospective Mark’s Amazon Wish List. Happy Birthday, Mark! Episode Credits Mark Hurne: Twitter | Letterboxd Aaron West: Twitter | Blog | Letterboxd Criterion Close-Up: Facebook | Twitter | Email Next time on the podcast: Late Spring

Aaron welcomes Keith Enright, The Completionist, to discuss the latest and greatest in the Criterion world.

We get a visit from a ghost of Criterion past as we explore the week of Criterion.

We kick off a new podcast by looking at the New Year’s Drawing, FilmStruck, Dardennes, De Sica, and introduce what is to come on the series.

Mark and Aaron continue the French 1930s series by exploring the early career of Jean Renoir, easily the most recognizable director from the period. We begin with the beginning, by looking at his origins and childhood. We look at his early silent films, his first sound adaptations, and a couple of films from the middle of the decade where he began to settle into his poetic realist style. 7:00 – Why Renoir? 9:30 – Origins of Renoir 20:00 – Silent Renoir (Catherine, Whirlpool of Fate, Nana, Charleston Parade, The Little Match Girl) 51:30 – Early Sound (On purge bébé, La Chienne, Boudu Saved From Drowning) 1:21:30 – Poetic Realism in Mid-Thirties (Toni, A Day in the Country) French 1930s Episode 1 Jean Renoir Taschen book Republic of Images Renoir Paintings at the Art Institute of Chicago DVD Beaver – Jean Renoir Collector’s Edition Aaron West – A Day in the Country David Blakeslee – A Day in the Country Recommended Films The Little Match Girl La Chienne Boudu Saved from Drowning Toni A Day in the Country Episode Credits Mark Hurne: Twitter | Letterboxd Aaron West: Twitter | Blog | Letterboxd Criterion Close-Up: Facebook | Twitter | Email Next time on the podcast: Paul Thomas Anderson

Mark and Aaron are joined by Keith Silva to look at the Coen Brothers’ debut to cap of #Noirvember. The film cannot be viewed without the exploring the context of the Coen library and their successful career to follow, but it stands alone as a debut film that sets the stage for their style. We focus quite a bit on the noir aspect, how they were going for a specific aesthetic that shows their film heritage. We evaluate why this film works, how these neophytes meticulously crafted a slow burning art film at the height of the 1980s mainstream blockbusters. About the film: Joel and Ethan Coen’s career-long darkly comic road trip through misfit America began with this razor-sharp, hard-boiled neonoir set somewhere in Texas, where a sleazy bar owner releases a torrent of violence with one murderous thought. Actor M. Emmet Walsh looms over the proceedings as a slippery private eye with a yellow suit, a cowboy hat, and no moral compass, and Frances McDormand’s cunning debut performance set her on the road to stardom. The tight scripting and inventive style that have marked the Coens’ work for decades are all here in their first film, in which cinematographer Barry Sonnenfeld abandons black-and-white chiaroscuro for neon signs and jukebox colors that combine with Carter Burwell’s haunting score to lurid and thrilling effect. Blending elements from pulp fiction and low-budget horror flicks, Blood Simple reinvented the film noir for a new generation, marking the arrival of a filmmaking ensemble that would transform the American independent cinema scene. Episode Links & Notes Special Guest: Keith Silva from Interested in Sophisticated Fun, Comics Bulletin, and Psycho Drive-In. You can find him on Twitter. 1:50 – Welcome Keith Silva 4:50 – Blood Simple CCU10: House, The Shining Blood Simple – Criterion Blood Simple – IMDB Criterion Essay: Down Here, You’re On Your Own Episode Credits Mark Hurne: Twitter | Letterboxd Aaron West: Twitter | Blog | Letterboxd Criterion Close-Up: Facebook | Twitter | Email Next time on the podcast: French 1930s, Part Two

Mark and Aaron tackle Guillermo Del Toro’s debut film, recently re-released as part of the Trilogía boxset. Cronos is technically in the vampire genre, but even for his first film, has a distinctive Del Toro feel. We get into the character of Jesus Gris, and how Del Toro uses him as a tragic figure that touches on themes of mortality and religion. We also explore Del Toro’s passion and his “Bleak House,” showing that his passion for the medium informs his work. About the film: Guillermo del Toro made an auspicious and audacious feature debut with Cronos, a highly unorthodox tale about the seductiveness of the idea of immortality. Kindly antiques dealer Jesús Gris (Federico Luppi) happens upon an ancient golden device in the shape of a scarab, and soon finds himself the possessor and victim of its sinister, addictive powers, as well as the target of a mysterious American named Angel (a delightfully crude and deranged Ron Perlman). Featuring marvelous special makeup effects and the haunting imagery for which del Toro has become world-renowned, Cronos is a dark, visually rich, and emotionally captivating fantasy. Episode Links & Notes 4:20 – Mark’s VTIFF experience 8:00 – Short Takes (The Interrogation, Santa Sangre, Evolution, Your Vice is a Locked Room and I Have the Key, Under the Shadow, Midnight Cowboy) 33:30 – Cronos Vermont International Film Festival Could Midnight Cowboy be Coming to the Criterion Collection? – Reddit Trilogía de Guillermo del Toro An Open Letter to the Criterion Collection Episode Credits Mark Hurne: Twitter | Letterboxd Aaron West: Twitter | Blog | Letterboxd Criterion Close-Up: Facebook | Twitter | Email Next time on the podcast: Blood Simple

We let our hair down for Halloween and celebrate the oddity that is Ôbayashi’s House (1977). Dave and Jessica join Mark and Aaron. We agree that House is the most random and the most bonkers “horror” film in existence. Rather than break it down thematically, we celebrate its weirdness by pointing out the WTF moments and the occasions that make us laugh. Warning: this episode has a lot of profanity. About the film: How to describe Nobuhiko Obayashi’s indescribable 1977 movie House (Hausu)? As a psychedelic ghost tale? A stream-of-consciousness bedtime story? An episode of Scooby-Doo as directed by Mario Bava? Any of the above will do for this hallucinatory head trip about a schoolgirl who travels with six classmates to her ailing aunt’s creaky country home and comes 5face-to-face with evil spirits, a demonic house cat, a bloodthirsty piano, and other ghoulish visions, all realized by Obayashi via mattes, animation, and collage effects. Equally absurd and nightmarish, House might have been beamed to Earth from some other planet. Never before available on home video in the United States, it’s one of the most exciting cult discoveries in years. Buy The Films On Amazon: Episode Links & Notes Special Guests: Dave Eves and Jessica Ramos. You can follow Dave on Twitter. 1:10 – 1:00 – Reflections on our last House episode. 2:50 – Welcome Dave and Jessica! 7:50 – House Criterion Close-Up 10: House and The Shining kogonada’s Trick or Truth Episode Credits Mark Hurne: Twitter | Letterboxd Aaron West: Twitter | Blog | Letterboxd Criterion Close-Up: Facebook | Twitter | Email Next time on the podcast: Cronos