Episoder
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Is Barbie (2023) a feminist film? Is Oppenheimer (2023) a masculinist one? Or is it possible that they both inadequately explore the feminine side of our psyches? Is it possible that Barbie is not feminist *enough*? What would Marie-Louise von Franz think of the corporate feminism of Barbie? Is it cool to be a stereotypical male feminist on a podcast in 2024? Probably not.
FYI the book we called "Wild Woman" by "Mary Pinkola" is actually "Women Who Run With the Wolves" by Clarissa Pinkola Estés. Woops.
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Auteur cinema is in shambles. We have few filmmakers out here, creating personal visions and dream projects. We need more art and less content. We need auteur cinema! But we also need honest and brutal criticism. We need to hold ideas accountable; we need to demand better execution. Because... We will get what we tolerate! Damien Chazelle, we believe in you man! Please send us hate mail:EMAIL: [email protected]: haventseenpodLETTERBOXD: haventseenpod https://linktr.ee/haventseenpod
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Manglende episoder?
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âThe death of a social machine has never been heralded by a disharmony or a dysfunction; on the contrary, social machines make a habit of feeding on the contradictions they give rise to, on the crises they provoke, on the anxieties they engender, and on the infernal operations they regenerate. Capitalism has learned this, and has ceased doubting itself, while even socialists have abandoned belief in the possibility of capitalism's natural death by attrition. No one has ever died from contradictions. And the more it breaks down, the more it schizophrenizes, the better it works, the American way.ââ Felix Guattari and Gilles Deleuze, Anti-Oedipus: Capitalism and SchizophreniaHey, if you're a fan of this film--no problem, we are still friends, and we love you.Be warned: this episode IS a critique. We're not saying this film is deep state propaganda, but we are saying this is a religious film, whose focus is not storytelling but metaphysics. The "breakdown of the multiverse" seems to be less of a hazard, and more of an integral part to how capitalism sustains itself. As Deleuze (almost) says above, "No one has ever died of a plot hole," but by golly we nearly did! And yet the plot holes seem to be the very point to this movie, launching the characters from one nonsensical detour to the next (curtailing any attempt to bring the fragmented story into a grounded unity), only for everything to end where it began, with a nuclear family running a business and happily paying their taxes. I remember a similar film, where a man named Morpheus smirks while describing "paying your taxes" as the hallmark of a mind that has been colonized by the Matrix.
As Zizek hath said, "It is easier to imagine the collapse of the multiverse than the end of capitalism." This is the Capitalist Realist film par excellance (RIP Mark Fisher).The multiverse concept is the great wet dream of cartesian statistical delusion. It's a vision of infinity without divinity; a sort of Stalinist capitalism of constant revolution but no real change. "The more it breaks down... the better it works." This is a film that reifies the status quo and celebrates a soulless cynicism. "Everything sucks, so you might as well be nice." When CERN takes over the world, the multiverse will be the state religion, and this film will be the bible.
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The boys are joined by fellow filmmaker/podcaster Ernesto Sandoval to talk about their repressed Pokémon memories. They answers questions like: Did you cry? How much did you cry? Is the worldbuilding in Pokémon woke or broke? Why did you cry? Why did everyone and their mom get obsessed with Pokémon back in the day? Stop crying. What does the writing get right and wrong in this film? Are you still crying? Why is Ernesto Sandoval so cute? Find Ernesto's podcast Twin Films here: https://podcasts.apple.com/us/podcast/twin-films/id1725182018Please send us hate mail:EMAIL: [email protected]: haventseenpodLETTERBOXD: haventseenpod https://linktr.ee/haventseenpod
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Why? What is going on with Francis Ford Coppola? Why is this the film he's dreamed about for decades? What is the role of the artist in the future? Does the artist create the future? What the hell is going on in this screenplay? What is Megalon? Is "All You Need Is Love" still true? In this follow-up episode (no need to hear the previous Megalopolis episode) the boys delve into these questions.
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Is Joker 2 an inside job? Why are studios committing seppuku? Is this a deliberate attempt to destroy the film industry? Why do you think Todd Phillips is attacking the fans of his film, rather than interrogating his own storytelling? Do we really need another anti-film film? Another anti-superhero superhero? Do we need to deconstruct the deconstruction of the deconstruction? Or should we just grow up and make a good movie?
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Is techno-utopianism the answer? Is the auteur self-insert still cool? Is the future of cinema big budget TikToks? Is THIS the legendary director's magnum opus? Or just a big budget fart? Or something in the middle? It seems like Francis Ford Coppola's newest work is polarizing to say the least. Watch the boys struggle to put to words how they feel about the beautiful mess that is Megalopolis.
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Are "meta" films cool? Is it subversive and deep when films are aware of themselves as films? Is there a good way and a bad way of exploring self-reflexivity? Is Brian DePalma overrated? Are we all perverts? Why do we keep coming back to Hitchcock? We tackle all this and more.
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What does it mean to be a Philosopher-Filmmaker? What does it mean to make a spiritual film? What's the difference between "faith-based" and "transcendent" cinema, and is Malick doing something different? How many true master artists are alive today? Why is Malick the best filmmaker alive? Where would we be without him?
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Is cinema dead? Is the 21st century delivering fewer masterpieces than before? Why does Michael consider this French gangster film to be among the top films of the 21st century? Why are French prisons so weird? What is the deal with a white Frenchman making a film about Arab gangsters? Is it OK to represent Arabs as gangsters, or is that a problematic idea? Is "representation" a dirty word? Do we all have to chill out and love each other more? What do the guards from Oblivion sound like in French?
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Is the Curse biting social commentary, or is it just some random nonsense? Can politics and art co-exist? Does art have a responsibility to educate? Is Irony still a dead-end? Why is Rush the greatest band ever made? What is the connection between the Sufis and drunk driving? Is Nathan Fielder ok? Josh and Michael delve into all these questions (while ending racism) in this episode.
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Is it cool to be weird? Is being weird inherently subversive? Is being subversive inherently artistic? Or is being 'truthful' and 'sincere' what makes something artistic? Does anyone still care about art, or just the Discourse? Will Yorgos Lanthimos be stopped? Why are Josh's jokes so incredibly bad? None of these questions will be addressed in this discussion of the triptych film Kinds of Kindness. The boys also branch out and talk about MaxXine (again), BlackKklansman, The American Society of Magical Negroes, and so much more.EMAIL: [email protected]: haventseenpodLETTERBOXD: haventseenpod YOUTUBE: @HaventSeenItPodcast
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Do they watch horror films in heaven? Why do so few horror films have any staying power? Is Longlegs the horror film of the year or just another forgettable romp? Why do we like being scared by movies, anyway? What exactly is Nicolas Cage's problem? And who is Josh's real father? These questions and more will be answered.
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Have you ever wondered to yourself:
Does Kim Jong Un enjoy legally blonde?
Would Adolf Hitler have enjoyed Barbie?
What is Donald Trump's favourite film?
Look no further, loyal listener. We have all the answers. Maybe.
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Ready to Ti off? Dot your I's and cross your Ti's. Then grab a cup of sweet iced Ti and join us for another adventure of cinema sans structure. In today's ep, we MIGHT answer burning questions like:
Do movies have second acts anymore?
What is the point of slasher films?
How is Ti West really pronounced?
Special guest: Scuzzy Mike.
We're on YOUTUBE!!!!!! GO LOOK!
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Have you ever thought to yourself, âWhy arenât there more films like Lord of the Rings?â Well guess what, there arenât. Itâs one of a kind, get used to it. But there ARE a number of fun and at times transcendent fantasy films that have fallen by the wayside of film history. In this episode, Josh presents his top 10 âSword and Sorceryâ films of the 1980s that Michael hasnât seen, followed by a fiery and impassioned lament for the âB-filmâ which no longer exists. Take a ride in this special rapid-fire episode through some campy forgotten gems like:
Excalibur, Conan the Barbarian, Black Angel, Dragonslayer, Beastmaster, Ladyhawke, Deathstalker, Sword and the Sorcerer, Highlander, Masters of the Universe, Ator the Fighting Eagle, Krull, Iron Warrior, Dungeonmaster, Hawk the Slayer, Red Sonja, Willow, Legend, Clash of the Titans, and Conquest.
#fantasy #georgelucas #1980s #writing
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Who are the boys' top 5 filmmakers?
Josh: Malick, Lucas, Kurosawa, Kubrick, Tarkovsky.
Michael: Korine, Mann, Malick, Keaton, and Clint MF Eastwood.
On this week's episode, Michael is giving mad respect to Mr. Eastwood for his directorial debut film, Play Misty for Me. Get answers to your burning questions like is Clint Eastwood an auteur filmmaker? Is American cinema truly elite? Does a movie exist where a man befriends and goes on a road trip with a beer-drinking orangutan? Will the boys ever talk about a movie directed by a woman? The answer to all: Maybe.
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Witness me! Is Furiosa the opposite of Fury Road in every single way? Is it possible to conceive of a franchise film that doesnât centre around a rebellion? Is George Miller the âlast man standingâ when it comes to auteur driven franchise films? How does his world building compare to Star Wars and Lord of the Rings? In this episode, the boys discuss how the Mad Max saga uses the desert to represent the cultural wasteland of our time.
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In American auteur cinema, there was BHG (before Heaven's gate) and AHG (you get it). See why this absolute epic film forever changed the filmmaking game with a full synop and dissection from the boys.
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Are the Spiderverse films documentaries about CERN? Emancipation or psyop? Is Miles Morales the hero of the moment, or just another MCU cardboard cutout? Which is better: Into the Spiderverse or Across the Spiderverse? What prepositions will they think up next? What is the correct way to pronounce the name âMiguel?â The boys have strong opinions. But will their opinions diverge? Probably not. Discover the answers to all these questions and more in this extra piquante episode.
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