Episódios
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Ep. 257: The Nitrate Picture Show 2024 with David Schwartz
Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. The Nitrate Picture Show takes place every year in Rochester, New York, at the George Eastman Museum, projecting movies from nitrate prints. The resulting super-vivid images create a movie-going experience that can be, in the words of my guest, programmer David Schwartz, “life-changing.” I asked Schwartz about some of his highlights at this increasingly popular festival, including The Good Fairy (directed by William Wyler), Meet Me in St. Louis (Vincente Minnelli), Intolerance (D.W. Griffith), and The Strawberry Blonde (Raoul Walsh). We also talked about films that offered something a little different such as the documentary The Plow That Broke the Plains (Pare Lorentz), the experimental parody Tomato’s Another Day (James Sibley Watson), Homecoming (Hideo Oba), and Rossellini’s Germany Year Zero. Plus: rare Lubitsch (From Mayerling to Sarajevo) and Renoir’s A Day in the Country.
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Ep. 256: Amy Taubin on Leos Carax’s It’s Not Me, The Shrouds, Charles Atlas, Arthur Jafa, Man Ray, and More
Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. The one and only Amy Taubin comes back to The Last Thing I Saw for a wide-ranging conversation about what she’s been watching. That includes at least a couple of Cannes titles—Leos Carax’s It’s Not Me and David Cronenberg’s The Shrouds—and New York repertory highlights from the spring: the enormous Charles Atlas retrospective at Anthology Film Archives (which is still ongoing through June), the Man Ray restorations touring with new Jim Jarmusch–led score, and Arthur Jafa’s shattering reimagining of the brutal ending to Taxi Driver, titled “*****”, shown at the Gladstone Gallery. There are also shout-outs to the Antoinetta Angelidi revival in Prismatic Ground, a new Blu-ray of Too Much Sleep, and more.
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Ep. 255: Cannes 2024 Redux: Jessica Kiang on Black Dog, 2nd Features, The Other Way Around, Viet and Nam
Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. Every year at Cannes there are a few more films I want to talk about, even as the time is running out at the festival. So for a very special postscript (and postgame), critic Jessica Kiang of Variety joined to talk about the ones that got away. Among the titles discussed: Un Certain Regard prize-winner Black Dog (directed by Guan Hu), Quinzaine prize-winner The Other Way Around (Jonas Trueba), Viet and Nam (Truong Minh Quy), and a number of second features from female directors, including The Balconettes (Noémie Merlant) and All We Imagine as Light (Payal Kapadia).
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Ep. 254: Cannes 2024 Finale: Manohla Dargis on The Seed of the Sacred Fig, Anora, The Apprentice, Marcello Mio, and more
Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. It’s become an annual tradition on the last day of Cannes to sit down with Manohla Dargis, the chief film critic for The New York Times, and take stock of the festival, some selected highlights, and other points of interest. For our 2024 chat, in a corner of the Palais starting to buzz with activity before the awards ceremony, we discussed a number of titles including: The Seed of the Sacred Fig (directed by Mohammad Rasoulof), Anora (Sean Baker), The Apprentice (Ali Abbasi), All We Imagine as Light (Payal Kapadia), On Becoming a Guinea Fowl (Rungano Nyoni), Wild Diamond (Agathe Riedinger), Marcello Mio (Christoph Honoré), Megalopolis (Francis Ford Coppola), and more.
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Ep. 253: Cannes 2024: Justin Chang on All We Imagine as Light, Caught by the Tides, The Shrouds
Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. On the latest selection of highlights recorded during the 2024 Cannes Film Festival, I was delighted to sit down with Justin Chang of The New Yorker, recent recipient of the Pulitzer Prize for Criticism, with whom I’d last chatted when he was at the Los Angeles Times. On this episode, occasionally to the soundtrack of Cannes doves cooing nearby, we talked about All We Imagine as Light (directed by Payal Kapadia), Caught by the Tides (Jia Zhangke), and The Shrouds (David Cronenberg). We also chatted about the festival’s ebb and flow, and the awards prospects at the time of recording.
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Ep. 252: Cannes 2024: Beatrice Loayza on Visiting Hours, Eat the Night, and September Says
Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. On the latest episode chock full of highlights from the 2024 Cannes Film Festival, I sat down with critic Beatrice Loayza to discuss some of the lesser-spoken-about titles from the festival. That includes two titles from Directors’ Fortnight: Patricia Mazuy’s Visiting Hours, starring Isabelle Huppert and Hafsia Herzi, and Eat the Night from Caroline Poggi and Jonathan Vinel. We also chat about the feature-length directorial debut from Ariane Labed, September Says, adapted from the novel by Daisy Johnson and featured in the Un Certain Regard section.
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Ep. 251: Cannes 2024: Nick Davis on Bird, Grand Tour, Emilia Perez, Motel Destino
Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. On the latest episode chock full of highlights from the 2024 Cannes Film Festival, I welcome a dear old friend, Nick Davis, a professor of film at Northwestern University and writer/editor of his own outstanding longtime site of film criticism (nick-davis.com). On his inaugural visit to Cannes, he shared his typically quicksilver thoughts on a slate of boldly imagined movies: Bird (directed by Andrea Arnold), Emilia Perez (Jacques Audiard), Grand Tour (Miguel Gomes), and Motel Destino (Karim Ainouz).
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Ep. 250: Cannes 2024: Eric Hynes on Caught by the Tides, Apprendre, Cannes Classics (Brocka, Bellocchio, Insta-Wiseman)
Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. On the latest episode from the 2024 Cannes Film Festival, I bring back Eric Hynes, curator of film at Museum of the Moving Image, to discuss two essential highlights of this year’s edition—Jia Zhangke’s Caught by the Tides and Claire Simon’s Apprendre—and restorations from Cannes Classics: Lino Brocka’s Bona, Marco Bellocchio’s Slap the Monster on Page One, and Frederick Wiseman’s Law and Order.
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Ep. 249: Cannes 2024: Jonathan Romney on Misericordia, Rumours, Being Maria, The Second Act, Parthenope
Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. On the latest episode on the 2024 Cannes Film Festival, I chatted with critic Jonathan Romney and caught up with a number of movies in this year’s edition: Misericordia (directed by Alain Guiraudie), The Second Act (Quentin Dupieux), Being Maria (Jessica Palud), Parthenope (Paolo Sorrentino), and Rumours (Guy Maddin and Evan & Galen Johnson), plus his verdict on the inescapable Megalopolis (Francis Ford Coppola).
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Ep. 248: Cannes 2024: Mark Asch on Anora, Horizon, Julie Keeps Quiet, Armand, It Doesn’t Matter
Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. On the latest episode on the 2024 Cannes Film Festival, I sat down with Mark Asch, critic and pod vivant, to talk about several highlights, each from a different section or showcase at Cannes. We discuss the highly acclaimed Anora (directed by Sean Baker, in Competition), Armand (Halfdan Ullmann Tøndel, from Un Certain Regard), Julie Keeps Quiet (Leonardo van Dijl, in Critics’ Week), Horizon (Kevin Costner, out of Competition), and It Doesn’t Matter (Josh Mond, in ACID). Mark also describes how he starts his day in this French coastal town.
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Ep. 247: Cannes 2024: Jon Dieringer on The Apprentice, The Substance, Megalopolis Squared
Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. On the latest episode on the 2024 Cannes Film Festival, I’m joined by Jon Dieringer, editor and mastermind of Screen Slate, to cope with a couple of doozies in this year’s lineup. First up is The Apprentice (directed by Ali Abbasi), also known as The Trump Movie, followed by the full-on The Substance (Coralie Fargeat). Both movies also allow an opportunity to muse upon the hot-house festival atmosphere, and Dieringer also share a few thoughts on Megalopolis (Francis Ford Coppola), which he has already seen twice.
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Ep. 246: Cannes 2024: Bilge Ebiri on Lanthimos’s Kinds of Kindness, Schrader’s Oh Canada, Furiosa, plus Bertolucci
Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. For the latest episode on the 2024 Cannes Film Festival, I was happy to chat with Bilge Ebiri of New York Magazine for his inaugural Cannes appearance on the podcast. We discuss the much-anticipated new films from Yorgos Lanthimos (Kinds of Kindness), Paul Schrader (Oh Canada), and for a well-deserved encore, George Miller (Furiosa: A Mad Max Saga). Our conversation also explores a few facets of the phenomenon that is Cannes, and the enduring inspiration of Bernardo Bertolucci.
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Ep. 245: Cannes 2024: Jordan Cronk on Christmas Eve in Miller’s Point, The Damned, Eephus, Universal Language
Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. The 77th edition of the Cannes Film Festival marches on, and I sat down with critic and programmer Jordan Cronk to hear about some recent highlights from Directors’ Fortnight and Un Certain Regard: Christmas Eve in Miller’s Point (directed by Tyler Taormina), The Damned (Roberto Minervini), Eephus (Carson Lund), and Universal Language (Matthew Rankin). I also flag Everybody Loves Touda, directed by Nabil Ayouch and co-written by Maryam Touzani (The Blue Caftan). Stay tuned for more to come!
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Ep. 244: Cannes 2024 with Alissa Wilkinson: Furiosa, On Becoming a Guinea Fowl, The Invasion, Ghost Trail, Ernest Cole
Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. The 77th edition of the Cannes Film Festival is officially underway, and it’s easy to miss films in the scrum of first few days. So I spoke with Alissa Wilkinson of The New York Times about, yes, Furiosa: A Mad Max Saga, but also Ghost Trail (directed by Jonathan Millet) in Critics’ Week, On Becoming a Guinea Fowl (Rungano Nyoni) in Un Certain Regard, Sergei Loznitsa’s wartime Ukraine documentary The Invasion, and Ernest Cole: Lost and Found, Raoul Peck’s look at the photographer and South African exile.
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Ep. 243: Cannes 2024: Eric Hynes on Megalopolis, plus Napoleon and The Girl With the Needle
Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. The 77th edition of the Cannes Film Festival is officially underway, and no film was more highly anticipated than Francis Ford Coppola’s Megalopolis. To get the very latest, I connected with Eric Hynes, curator of film at the Museum of the Moving Image, fresh from a press screening of the movie, which has loomed over Cannes’ opening days this year. He shared his initial thoughts about Megalopolis, which stars Adam Driver as a would-be visionary city planner, and about another competition title, The Girl with the Needle (Magnus von Horn), and a Cannes Classics selection, Abel Gance’s Napoleon.
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Ep. 242: Cannes 2024: Arnaud Desplechin on Filmlovers! and recent favorites
Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. The 77th edition of the Cannes Film Festival opens this week, and for my 2024 series of Cannes episodes, I begin by talking with director Arnaud Desplechin about his new documentary that’s premiering at Cannes, Filmlovers! (aka Spectateurs!). Desplechin’s Kings and Queen is a 21st-century classic, and a formative viewing experience for me, so it was a pleasure chatting about how movies first seized his imagination, about interviewing movie lovers of all stripes, the Garry Marshall movie he insisted on presenting at the cinematheque just before Cannes, reflecting on tragedy through movies, and the last movie he saw (and purchased).
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Ep. 241: Kelly Reichardt on Alain Delon, David Lean's Passionate Friends, Recreating Rear Window, and more
Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. With a retrospective of Kelly Reichardt’s work starting at Metrograph, I had the honor and pleasure of sitting down with Reichardt in one of the Metrograph theaters to talk about... the last things she saw! The director of (most recently) Showing Up discussed a run of Alain Delon movies she saw in the theater—starting with Purple Noon—and also films she uses in her teaching at Bard College, in coursework that involves students re-creating the filmmaking of certain scenes.
“American Landscapes: The Cinema of Kelly Reichardt” begins May 11 at Metrograph, starting with her first feature, River of Grass, on through Old Joy, Wendy and Lucy, Meek’s Cutoff, Night Moves, Certain Women, First Cow, and her most recent, Showing Up, plus two shorts streaming on Metrograph at Home.
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Ep. 240: Caroline Golum on Quebec-Core, Ghosts of Mars, The Feeling That the Time for Doing Something Has Passed, Borzage’s Man’s Castle
Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. Filmmaker and self-described “rep rat” Caroline Golum returns to the podcast after far too long to discuss highlights from recent viewing! These include: Au clair de la lune (1983, Andre Forcier) from the “Quebec-Core” series at Anthology Film Archives; couples viewing Ghosts of Mars (2001, The Great John Carpenter); new release The Feeling That the Time for Doing Something Has Passed (Joanna Arnow); and My Morning with Magic Mike (John Wilson, visiting Mike Kuchar), which was available for the blink of a week on Le Cinéma Club. I also shout-out Museum of the Moving Image’s discovery-laden Hiroshi Shimizu series (e.g. Children of the Beehive, 1948) and, also from Quebec-Core, Mireille Dansereau’s Dream Life (1972).
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Ep. 239: Bertrand Bonello on The Beast, Experimenting with AI, Crafting Melodrama, Reading Henry James, and more
Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. Bertrand Bonello’s latest film The Beast has been melting minds with its time-skipping saga of star-crossed lovers and strangers played by Léa Seydoux and George Mackay. Inspired by a Henry James story, The Beast spans three different time periods and pairings: a married woman and a suitor in the 1910s (Belle Époque), an actress and a madman in 2010’s California, and a woman facing a fateful choice in a not-too-distant future where artificial intelligence promises to remove individual trauma. I chatted with the restless French auteur (Nocturama, Saint Laurent) about the struggle for connection across these stories, being tempted by AI, directing Mackay and Seydoux, and more.
The Beast is in theaters now, and Bonello’s previous feature, Coma, will have its first U.S. theatrical run on May 17.
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Ep. 238: Time director Garrett Bradley on instincts, Devotion, America, and Satyajit Ray’s Devi
Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. Garrett Bradley is the director of Time, the Oscar-nominated 2020 documentary about Sibil Fox Richardson and her efforts to get her husband released from prison. Bradley has directed several incredible short films, including Alone (2017, about a friend planning to marry her imprisoned boyfriend) and America (2019, an amazing visual historical pageant that includes shots from the 1914 film Lime Kiln Club Field Day starring Bert Williams). Bradley has described her work as being about Black life, and also as a series of love stories, and she’s just published a new book of dialogues, essays, and images, called Devotion. The book will be celebrated with a program at Metrograph screening some of her shorts, Time, and a film of her choosing: Satyajit Ray’s 1960 film Devi, about a young woman believed to be a goddess.
We spoke about the instincts that guide her filmmaking, the importance of editing and immediacy in her practice, her thoughts on her film America, and what she’s working on now (which may include an adaptation of Octavia Butler’s The Parable of the Sower...).
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