Look at her. It's only films to be buried with that when you think about it.
Way ahead of schedule Films of the Year twenty twenty two Special Part one with Nish Kuma. Hello and welcome to Films to be buried with that when you think about it, Way ahead of schedule Films of the Year twenty twenty two Special Part.
One with Thish Kuma. My name is Brett Goldstein.
I'm a comedian, an actor, a writer, a director, and they're white rap and I love film. As Frank Sinatra once said, the big lesson in life, baby is never be scared of anyone or anything. Having said that, I must warn you about Bob in twin Peaks fire Work with me. That really is a scary motherfucker, and I would suggest you do your best to stay the heck away from him. That's excellent advice. Thank you, Frank, Thank you, mister Sinatra. Every week I invite a special guest, ever,
I tell them they've died. Then I get them to discuss their life through the films that meant the most of them.
But not this week. This week it's Steve. When you think about it.
Way ahead of schedule, Films of the Year twenty twenty two Special Part one with mister nish Kuma. You can watch all of Shrinking on Apple tv Plus. And you can now watch ted Lasso Season three episodes one to six on Apple tv Plus. Basically go to Apple tv Plus. That's all you need, isn't it. I guess? So yeah, watch it, love it. Head over to the Patreon at Patreon dot com forward slash Brett Goldstein, where you get
all the extra stuff from all the episodes. You get extra questions with guests, you get the episodes uncut and ad free, and you get most of the episodes as videos.
Head over to the.
Patreon at Patreon dot com forward Slashbrett Goldstein. So if you are new to this podcast, every year, me and nish Kumar do our Films of the Year. I never did them in December of that year because I haven't seen them all and that would be disrespectful and I want to make sure I've seen all the films before we record this. This edition is actually way ahead of time when you think about it. I normally get it down about June. So you are very lucky people. Nis
was as brilliant as ever. I've included everything in the main podcast because a special one here is part one of the way ahead of schedule. When you think about it, special Films of the Year twenty twenty two with mister nish Kuma. Really loved cutting up with this and recording this. I hope you do too. So that's it for now. I very much hope you enjoy episode two hundred and forty four of Films to be Buried With. Hello and welcome to Films to be Buried With the end of
year special. It is I Brett Goldstein and I'm joined today for the fifth, sixth, seventh to seventh time, is my guess, seventh time in his life death and judgment. Please we haven't judged you anyway. Please. He's a he's an actor, he's a writer, he's a panel, he's a door, he's a window, he's a roof that he will take off in your presence. He's a lover, he's a fighter, but he's a pacifist and he's also one of the great stand ups of all time. Please work him back
to the show. It's the brilliant mister nish Kuma.
Hindu Wisdom, Hindu incarnation, reincarnation. He keeps coming back it's like I've achieved, like I don't know what level of enlightenment this season. In the Hindu and Buddhist system of reincarnation.
You're a terminator.
I'm coming back as the same person every time. I've behaved in exactly the same way in every one of my lives, and I'm constantly re reincarnating as myself.
Every time you die, the gods, go and try that again. I feel like you didn't really do much with that.
Do you want to go try again? We'll give you another gun.
As with all of my acting, Brett, they asked me to do a second take, I do exactly the same. Everyone gets frustrated, everyone gets Australian. Nothing is anything.
Else this time, anything just some options, just anything. We'll send you back, same as before, just something different.
What a delight to see you.
I miss you. I'm in America, you're in London. This isn't how it's meant to be. We should be in each other's arms, but here we are.
We've run a whole gamut of things. Now you and me in the same room, you and me live in front of an audience, You and me on zoom in the supposed in the UK but currently you're ensconced in the sweet bosom of Halliwood now and I am being slowly passed out of the annus of London.
What's what's your tell us for the listener who hasn't heard from you in a while, what's the latest?
What's he happen to now?
What I will say is, because I don't said, I did come to the recording of your stand up special, and I'll say this in public. It was phenomenal. It was truly brilliant. It was so good. It was the sort of thing that makes you question your own work. Your stand up was so good that I was like, oh, I guess that's I guess that's how you do it. Like I sort of was like simultaneously delighted, is a bit and a bit and I think I left.
Like fucking pricks really good.
Well, this is this is clearly something we have in common Bread, because after I do stand up, I deeply question my own work. The first thing I think is I don't think that's good enough. Yeah, I've recorded that show and I've got a finish editing it, and yeah, I was touring a lot, but I'm about to start a podcast. Tell Us like as we record.
Podcast toilet toilet podcast.
No now I have. I did try and suggest toilet niche. It's toilet niche is what you used to refer in the brief period when I did a show for Quibi r I p for ever in our hearts. We put I pour one out every morning for Quibi. It was a short whose business model was YouTube but you pay for it, and whose business model, it turns out, was written on a piece of toilet paper and human shit. But it's it did it did listen it, It paid
me money and I was thrilled about it. But yeah, when that was on, I believe you might be the only viewer of working on the shower wat it.
But I watched it every single day? Was it every day?
You watch it on the toilet?
On the toilet?
It was the perfect amount of time and also what better way to get the news and information that's important.
And I know maybe I don't have a sort of radar for what.
Populist because I was like, this is the one, toilet, this is the one.
But now I'm doing a show about the UK news for Crooked Media, the American podcast network who do pod Save America. I'm about to start on May the fourth, I start doing a show called Pod Save the UK, which is going to be a weekly show which I do with my friend Coco Kahn, who's a journalist about what's going on in UK politics. So now Brett, you don't have to text me and say can you tell me what the fuck is going on in the news.
You're doing for me?
No, it's weekly. It's once a week. I'll be doing a full round up of the week. I did suggest toilet Nish as a name for the podcast, but they said that that name was as off putting as it was incomprehensible, and they thought that they'd stick.
Like I don't have a populist instinct, but for me, I'm like that.
For me, I don't have a populist instinct. I think all kids should be forced to watch Twin Peaks, and I think toilet Dish is a good note for a podcast. If there's two things I know about you, Brett, it's that you think Twin Peaks should be added to Disney Plus and put under the family section. And I should have done called toilet Dish, but no, We've elected to stay with Pod Save the UK, which is part puts it in line with the successful branding of the incredibly famous American podcast America.
I guess I can see some logic to that decision. When does this start?
May the fourth Star Wars Day? Not not on purpose? Well, this is thrilling news. How's your year been, Brett? How's your year?
Bin Emmy number two?
Yeah? Yeah, I like to give the impression that you and I don't speak at all.
In between these exist between.
April is pretty good going for us to get our best of the previous year going. I think what we always try and do is get it in before June, where the half the year is.
A halfway mark.
Yeah, okay, so this is we're doing our films of the Year twenty twenty two very early because it is April.
I think we're way ahead.
But one of the reasons it always happens late is it's hard to see all the films. You want to see as many films as you can before you're calling the list. I never want to do it before New Year's Eve because, as you know how to fuck do you know, you might see something on the December day if but the rules generally are it has to be a film that was officially released in the UK between January first and December thirty first, twenty two. So then
it becomes difficult because Tar. You might be thinking, why isn't Tar on this list because that's twenty three.
Mate, twenty twenty three.
Why isn't women talking about that's twenty twenty three, will be twenty twenty three about that June next. Now, generally, generally what we're saying good year for film, Good.
Year for film, good year for Brett Goldstein, good year for this tumor. How was Emmy number two as an experience?
Truthfully, no less mental? It isn't like you go like, yeah, no, I get it. I think you just because these things are so sort of huge but also very brief. It's not like when you do stand up, when you two hundreds of gigs and you build up yeah yeah, ten thousand hours of experience like I guess the Emmys is. You don't really get to practice it. It's just fun and it's so surreal that the first time it happened, I think my brain just put it away like that
obviously didn't happen. The second time it happened, it was the same, the same sort of like what.
The heck is.
Very nice, obviously very nice.
What's weirder winning Emmy or talking to Harrison Ford? Because I think that for me because we obviously the lasso jugger all rolls on, but we should talk a little bit about shrinking, which is a fucking great show.
Thank you, Nis.
And I mean, like I've seen you on these talk shows Brett talking about how you met Harrison Ford. But there is something very clearly omitted from that story, which is immediately after it happened, I didn't see you telling bloody Stephen Colbert. I just immediately got on the phone with my friend. She went, fucking hew mate, our fucking oh fucking met Indie. I fucking did, fucking Indee.
Yeah, I did leave that far out. That's true.
Well, I mean what I would say about Harrison Ford is what is weird because sometimes you meet people, and you know, I've been very lucky to meet and work with lots of amazing, very famous people, and usually if they're great people and lovely people, you just sort of get they do become it's normal, this is your friend whatever. But I will say I think for everyone with Harrison Ford has avoid has been nothing but lovely and delightful and charming and hard working and and good, you know
what I mean, like zero complaints from him. However, I think all of us from crew to cast are still like fucking hell.
And that's after a year of working with it, you know what I mean.
I had to watch the first episode twice because, to be honest with you, I honestly wasn't paying attention to what was going on just whenever he was on screen. I was just thinking, Brett met Harrison, Brett, Brett met Han Solo, and now Brett writes things that Han Solo says out loud.
It is nuts.
It is and I still even when he texts me, which you know we're we are in communication every single time, I go fucking hell.
Oh look, Harrison for tastes me anyway.
Wait, so just answer the question, working with Harrison Ford or Emmy number or two times Emmy, which is weirder?
I guess Harrison Void is weirder because it has been longer. It's been longer and not got any less weird. It's it's so cool. It's the absolute coolness. Now, I forgot to tell you something and I can't believe it.
I can't believe it. I see this is mad, No, what is it?
I don't know if you know how Sometimes they say like every fear hides a wish, Like sometimes I'm like, I think you, I think this is you've died.
You fucking hell yeah, this is truly shocking information to me.
What happened? Oh man, I don't.
I can't remember how all the ways that I've died.
Listen to a podcast, walked into the road.
Oh you definitely killed me because you were embarrassed by my compliments.
Yeah, I killed you once and again. Yeah.
Well let's say this was times too. Every year you win an Emmy and I congratulate you too earnestly I had to say that I'm proud of you too much, and you murder me again. This time you actually blunted me to death with the Emmy, which was horrible.
So many that.
Yeah, yeah, it's like it's like it's a sword with a bunch of knives taped on it.
Basically it is like the Game of Thrones throne. Then it's sort of that with a face, well, well done, you have died, but this time when you've you come back to them and again and again.
They're sort of like, oh my god, we can't get rid of this guy.
It doesn't seem like he changed much this anyway. Compactly.
It's like the British television audience, Oh Christ, we thought we got rid of this guy, and yet here he is back again.
But they want to talk about the films of the year. To both of us, weirdly, for once, that's good. That's film films of the year.
Murderers and their victims rarely do things together, and that's actually a real shape.
And that brings us to one of my answers. But we'll come to that. We're going to answer the questions, some questions, and then we're both going to do our top ten generally great year.
I film very good year. Yeah, very good year.
When you look back, you go a little bangers there.
Yeah, I felt like the year was there were a lot of early bangers. And because before we do this, we do prep for this beyond just watching a lot of films, and I was looking at some of the year end lists and slowly realizing that there was a bit of a sort of recency bias with some of the lists, and I think there were some real early bangers. Also, again, because of the UK releases, there's some stuff that comes out in America. That so people, I think, feel weird
about including it on UK lists. But there's definitely some stuff. If we're observing the strict rule, which no one is making us do, there's no reason for it to continue to be in this life. Increasingly as release schedules changed. No, you and I bought Empire magazine in the nineties, and so we can only engage with the idea that it's the first of January to the thirty first of December. This is UK release dates.
Tah, I keep hearing you knocking at the door.
Wait, and I hope those women are talking about how we'll be talking about them next year.
Oh, we're gonna be talking about their women talking in the time.
Quite your marital dispute, pablements. We'll get to it. But yes, we're stuck to this incredibly strict rule and this year we're hoping to keep it sub two hours.
Okay, let's go.
What was the film that scared you the most this yearns Kuma.
I'll tell you what it was, Brett. This film scared me and it also delighted me in how it's scared me. It was Barbarian Love. Barbarian one of the and I mean this is an absolute, absolute compliment, one of the nastiest films I have ever seen. Just nasty, just like deeply unpleasant, and like the worst thing about it is that I actually had to stop watching it the first time I was watching it because I was watching it on a plane, so I have to wait until I
got home. I think a I was conscious that this is a really good movie, and I would really like to watch this like in the you know, and feel immersed in the film. But also, nobody needs to see that breastfeeding scene. There's kids on the plane.
Never forget.
Listen. I'm all for mother's breastfeeding their children in public. I think we need to remove the stigma around that. However, this specific breastfeeding cover them up love.
I think this has set that debate back.
Oh, it's just some journalists at the Daily Mail.
See this is the end of the slippery slope.
First it's cafes, then it's underground dungeons in your house.
Then it's the kid from Dodgeball being forced meent tit milk in a basement. This is the future liberal ones.
He's very good, justin long it's something about him, very charming, he's good. You can play sort of bad people because you sort of you sort of like him, don't you.
Yeah, it's kind of It's interesting because there's like three thirds to the film, and when the first one, the first kind of sequence that involves the couple of we should also say spoiler alert for everything. Yeah, yeah, yeah, arguably the chat about breastfeeding is a huge spoiler. But the first sort of third of the film, which kind of shows you this couple they've both got in there's been a confusion and they're both in the same airbnb, and then you know, they get dragged into the basement
by this monster and it's almost happened so quickly. There is a hard cut suddenly to a close up of Justin Long's face, and it's one of the most I've laughed at anything in a film this year, Like it's just like you just don't expect it. And also it's such a clever piece of casting, and it follows along the line of something that Promising young Woman did as well, which is take beloved soft boy be to male comedy
performers and turn them into sex pests. And like in this case, he's playing an actor who's like embroiled in an allegation of sexual assault, and it's just like it's so brilliant. Again, like this is sort of slightly by the Bible. There's a scene in it where he's in a bar talking to a friend of his, and just the language that he's using about this woman, it's just like such a like it's such a brilliant depiction of
a very specific type of misogyny. But the film itself is I mean, it's it's horrific, it's imaginative in its horror, and there's obviously some sort of comedy connection because justin Long's and it cut braun OLA's in it late, but it's sort of then the third third flashes back to the eighties to explain the entire backstory for how this situation and this Often horror films, it's nice when you don't know every single detail and you can kind of
put a bit of it into your imagination. But I think with this one, it's quite good that we know. I don't think you want to let people's imaginations run right with this film. It's I think with this film, it's good to have all of the facts.
You know, what the director I believe was a sketch comedian guy. I think now I've just it's just occurred to me that what the structure of Barbarian is is a Harald.
Yeah.
Like, guys, here's one thing, there's another thing. Here's the two things together, little game. Yeah, middle a Harold structure.
How about that?
Yeah, that's yeah, that's amazing because he did what all what I do know about it is that he kind of it was written as an improv effectively, So what you've said makes absolute sense because he didn't plot out the beat of the plot. He just had this idea for the first third of the film and then just kept writing it and trying to surprise himself. So I guess if he has like improv training, he's essentially done the horror movie equivalent of playing a Harold. That that's
an extraordinary observation. God that God, that was. That was insightful.
Brett, thank you, thank you. As long as I've done one, do.
You want to explain fully what a Harold is? Everybody listens to this podcast. Everyone who listens to this podcast has some improv credits. Let's be honest. Let's be honest here.
There's hasn't done a week.
Harold is a structure used in improv, which is the same structure as barbarian thing. Basically, you do a scene, then you do a little thing in the middle, then you do a completely different scene A to B and then a little thing in the middle, and then C should be a combination of A and B paying off.
Yeah, and also there's there's a there's a structure in improv where you kind of where you have two people where you see an event, and then there's a sub scene that explores how that event came to happen. And that's also definitely what's going on here. We're getting backstory on backstory on backstory, it's just all of the suggestions. It's like doing improv, but all of the suggestions were from Joseph Ritzel. Like that was basically.
Also, if there are people listening, which of course there are, and I have explained the Herald correctly, and you're fucking huming, I'm within the bullpark and if you're not, if you're tuning in for this for expertise, then you've only got yourself to play out film. That scared me most. I got sort of double. There's there's a brief mention to Smile, which I thought was just a great, great horror I will say for Smile, and this is not Smiles, for
it is the world of marketing, et cetera. The trailer of Smile really does put all of the bits in it, which is really shayeah. They work really well in the trailer, and they work really well in the film. And my only sort of negative was I wish I hadn't seen that Trainer because it's pretty much all the bits are in the right yeah, yeah, but they're really really good bits. It's a really well made film. It's a fucking scary, scary idea, really well done recommend don't works the Trainer.
And then the other film is made by with people we know All my friends hate me?
Have you seen it? Scary? That's a horror film.
This is this is closer to the answer that I normally give to this question, which is like, I go, oh, the film that scared me was actually the film that inspired existence childread how do you feel about that? But now this year I have gone straight to breastfeeding, Frankenstein, Bang disgusting, I've got root. One horror talk to Me about All my Friends my.
Friends Hate Me? Is made by Andrew Gaynord. I believe with the Totally Tom's writing it.
I believe Tom Sterton and Tom Palmer, who were in a sketch double at called Totally Tom fun fact about them. We shared a flat in Edinburgh twenty twelve and we flooded the toilet. I believe that it was the toilet largely used by me and Tom Sterton. So all our friends certainly hated us starves, they're just like us.
The the it's a film, very very well made film. I would recommend it about a sort of reunion of friends. And it plays it's like a horror comedy, but it's it's really it plays on your fear quite your social paranoia is what it plays on. It plays is like the title says, do all my friends hate me? That there is a series of things that happened that make him think is this a Was that a joke or did I misread it?
Was that a joke? Or did I misread it?
And it's really well done and really well acted and very like, yeah, I get it.
We've all felt like that somewhere.
And also it's like friendships in your thirties where they're predicated on you know, there's some friendships where I dare say, Brett, I would describe You're my friendship as being this. Occasionally we do speak fairly regularly on text, but even if we don't see each other, we can resume the friendship
from exactly where we left off, right. Yeah, but there are definitely friends friendships that are predicated on you seeing each other a lot, and when you don't see each other a lot, the insecurities and the kind of fault lines in those friendships start to come to the foe. And like, this is definitely it's definitely a very good depiction of that. Yeah, it's good, it's good, and it's full of really funny British comedy perform It's really it's
definitely worth checking out. And it also is an interesting double bill with another more conventional horror movie, Bodies Bodies Bodies, which again is about a bunch of friends getting together in a house, and it's again about the tensions that have I think it's it's a slightly younger group of people, but again it's like the tensions that are occurring between a group of friends. And but then and then it becomes a lot of fun in a very straightforward horror way.
Yeah.
I watched them in a weekend, both those two, which is a weird.
Yeah, but I think it's a great doubleheader. Well, I don't know if it's too close. I think like because you know all my friends hate me, definitely moves much more into a kind of comedy territory and bodies bodies. But it's kind of interesting, Like it's like an interesting exercise in how creativity works, because you can take the same themes and structure and then make a horror movie and a comedy out of it.
Yes, correct, What is the film that made you cry the most this year? You fucking pathetic, weedy little crier? What what didn't make what didn't make you cry?
Brett? What phil make you cry the most this year?
I know what you think. My answer is because you saw me? Is that what you think? I actually think there were more. It's a close call. I'll give you the answer you think because I think it's second.
Yeah.
I went to see after Sun and I had. I went to see it near Nish and then I was going to go to Nicia's house afterwards. It was like fifteen minute walk to Nish's house from the cinema. I saw after Sun. I sat for all the credits. I stayed in the cinema after ten minutes to get myself together, and then walked to this's house, thinking I'll be all right. By the time I get to the Nish had family around the answered the door, he saw me, he went,
you just seen after Son. He helped me and then he said come in, and I said, I'm not ready, and then you introduced me to your family by going he just saw after And I was like, okay.
Yeah.
My brother was there, and my brother had had seen after Son, and he was like, fair enough, give him a second. My teenage cousins were there, who were also say quite star struck and then very baffled. Roy Kent a lot of sadder in real life. Yeah, I hope he says. I hope he says fuck soon, because this is what he looks really like. He's thinking about things.
The film that made me cry longer?
Yeah, how is that not your number?
One? Yeah?
Because it was everything everywhere, all at once, which I think made me cry solidly from the last half hour of it, and it's like what two and a half hours from the two hour mark to.
The end, I was crying.
Yeah, and then on, and then I just didn't see it, you know, I blocked out the rest of the night.
I'll say everything over all at Once made me cry twice. I've seen it twice in the cinema and it made me cry twice in the cinema. And it's one of my answers for later. So I'll probably get into why I think it made me cry, because I'll be honest with you, Brett, I started crying. I think minute six. I don't have an exact time code, but it was very very early. But what was it about it that? What's the point? I mean, I think I know the point, but what was the point that tipped you over?
Well, I'm sure we're talking, we're talking in depth and it I think everything over all the ones is amazing and amazing at won Best Picture because it's so rare.
That it's so weird.
The films that are popular and chrys nick named and win stuff are very rarely the same, and you go, it's such a weird film. It's so original, it's so odd and funny, and it has button dealdayes in it and hot dog fingers and still there's so much going on about parenting and children But for me, ultimately it was I think the relationship of the husband and wife in this idea, right, Yeah, I can't even say it without Win's cry, but you know, we'd be happy doing taxes and laundry in a kind of finish.
Hold on, let me get my cousins on FaceTime. Froy's got sad again, So you're so yeah, so yeah. So for you it was that is that relation to it, because it's he starts out, he seems so ineffectual. Then you sort of find out there's this kind of heartbreaking
thing where she finds out that he's planning on divorcing her. Yeah, it's also like, I mean, there's so many reasons why it was an unlikely Oscar winner, but also for a film to be a genuinely funny comedy with properly brilliant jokes, and to have genre elements full on and full on sci fi elements, those are two things that normally immediately boxed you out of an Oscar. So I do think
it is incredible that it won. But then the point, and also the point that you were talking about, is the kind of one car why sort of tribute when she's been at the movie premiere, and he's it's sort of a stylistic homage to things like in the Mood for Love, and Yeah, I think that is such a that's such a potent scene and it's so brilliantly played,
and Ko Kwan is so. I mean, Michelle Yo is incredible in the whole thing, and that it's like, you know, it's like one of those performances like Daniel Kalua in Get Out. If the center of a film with that higher concept can't hold, if that if we don't buy every single thing that she's putting out into the performance, the entire movie collapses. Like as brilliant as the film as I think it is, I don't think you can sell a film that has to have so many outrageous
elements and then proper emotional beats without that. But he's incredible in that scene. And so that was the thing that set you.
Off, I think so, Yeah, And but I was.
But that's why I think the film is amazing is that everyone had talked about it. It's another element that gets that they I know, with you unless you want to save it, I know.
Yeah, yeah we can definitely. Yeah is different. Yeah, it's a completely different thing. But I'm keen to it. I'm just interested to see what it is about that central relationship that you think sort of pushed you over the edge.
I mean, this is not that's not.
This is I would describe this as unfair. I would describe this as an attack. This is our frost Nis at moment. Yeah, you know, it's just it's just, you know, I didn't mean anything to it. It's just a nice thing that he says.
The man that made me cry the most was after Son. Oh yeah, sorry, because everything everywhere did make me cry twice both times I saw it. After Sun, I actually I went to I can't remember what why I was doing this, but I got I like panic, bought tickets to see what turned out to be a preview screening.
I think because I was going to be away and so I was like, I got to see this, and then I saw there was one ticket left in the picture house central in the screenline, it's a really nice screen and I think the man who was sat next to me was uncomfortable and was worried about me. I genuinely think that there is a guy out there. It's almost funnier if he recognized me. But even if he didn't he has. I think I'm an anecdote that that
man tells. Because also it was a preview screening and there was a Q and A with the director, which Charlotte wells afterwards, and I was like, I've got to go, like as in, I can't stay. I didn't stay for the Q and I really regret it because I think it's a masterpiece. I think it's one of the I think it just in terms of just for a debut feature, is absolutely unfathomable. It's not even worth dwelling on the fact that it's her debut feature. But I just think
as a piece of filmmaking, it's extraordinary. I think the seat, the repeated refrain of the night club, so it's about this holiday. And also I realized that I didn't understand what it was from the trailer, and the trailer I
think keeps the secrets of the film really nicely. It's not really a big twist, but it's a woman in her kind of early thirties looking at camcorder footage of a holiday she took in Turkey with her dad and it was the last time she saw him, and she keeps, she keeps she's almost like trying to sift through like I saw black box recording to try and find clues, and we don't really see too much of her. She
sort of appears kind of in the background. The main bulk of the movie is the period piece between poor mescal Is. I mean, just like just imagine that scene where he's crying in normal people, but for a whole film, Like it's like he's like he's such a like such a like wounded animal for the whole movie. And but and like I just thought that there's something really tragic about the fact that you can see that he is being weighed down by his insecurities and depression and anxiety.
But and also he's really beating himself up about how he parents his daughter, and I think it's just a very sad thing that he doesn't realize that like he's enough for her, like him just being there is enough
for her. And the sequence, the thing that sort of then really like tipped me over the edge is you keep seeing shots of him in a nightclub and her as an adult looking for him, and it kind of appears like outside of the action, which for quite like low key naturalistic film, it's quite this like it's quite bold or stylistic flourish, and then at the end those sequences,
the like archive footage and the nightclub sequence converges. And in the holiday in Turkey also I'm almost exactly in the same age as as woman, because all the music in it was like unbearable, like Tender by Blur, like
it was all just unbearable late night to stuff. And the song that her dad loves is ari, Yeah, is Losing my Religion, And there's a sequence where she tries to sing it with him a karaoki and he doesn't do it, like all of that, but there's like a moment where he's dancing to under Pressure and she is sort of embarrassed by him, but she kind of walks towards him on the dance floor anyway. And also under
Pressure is a fucking amazing song. I know we're sort of innuded to it because we all hear it sort of ten thousand times a day, but like that when David Bowie sings that love such and old fact, like that is incredible. And as she hugs him in the past in the kind of nightclub sequence, she like fights through a crowd and finds him and it's just strobe lights going the whole time, and he sort of thinks that she's going to like confront him, but instead she
hugs him. And it cuts between her finding him on the dance floor on holiday and hugging him, and her finding him in the nightclub and hugging him, and it's the it's the act of forgive being your parents, for just being human beings. And I just thought it was such a brilliant expression of just of love and just an evocation of like love and loss, and it just
absolutely flawed me. And like the last frames of that movie when he's like you see him pulling the video corder camcorder away and then walking down this corridor and then opening the door and it's the nightclub. It's just like it was such an amazing mixture of really naturalistic sequences and then these kind of really amazing stylistic flourishes. But that thing of her when you think she's going
to hit him and she fucking hugs him. I was like I was like throwing up tears, like they were like I was crying out in my mouth, just like because I think just whatever situation you're in in your life, they just has to come a point where you have to forgive your parents for just being people, and what's happened to her is really difficult. Like she's like been abandoned by this man, you know, like whatever his problems were,
she probably feels to some extent abandoned by him. But now we also see that she's got a kid, and it's almost like she's coming to some understanding about what he was going through, and like the whole film has kind of been a journey for her to understand her dad and empathize with him. And I just think that that is absolutely and I probably should stop talking about it now.
Because Where Guys Are Quiet has left the podcast.
Oh god, it's perfect.
It is an incredible film, and I don't know what I find fascinating about it, you know, as someone who is involved in making stuff, And I don't know how After Sun works, Like I think it's so I can't sort of work out. It's almost and it's a very different reference, but it's almost like a David Lynch film in terms of I go, I don't know why this is doing the things that it is doing to me. Yeah, I don't know what makes this so special. It's incredibly special,
and I can't really make sense of why. I don't know how she's shooting it, how she's framing it, how Like I can't really analyate. I can't really sort of dissect it and go, well it works because of this and this and this. I don't know this. This kind of seems like nothing else. It's really pretty magical. Yeah, anyway, well masterpiece. Great, all right, so that's two down. What's the film that's sort of meant to be shit? But you loved it?
This is because we do these every year. I think it has affected the way that I watch movies because I literally walked out of this film and was like, yeah, I got my answer three words, Brett, Ticket to Paradise, Ticket to Paradise, and yes I will. I will admit to you, Brett. The plot is very predictable. Yes, it's shot like a mid range travel agency YouTube advert. There were definitely points where I was expecting Skip had to appear in the corner of the screen. But on the
other hand, I give you Brett. Movie stars, fucking movie stars, Clooney, Roberts, Caitlin Diver as well playing the daughter who I think is a future movie star. But Clooney and Roberts. This is it is charisma. These are people who they couldn't have worked in McDonald's. You can't put Julia Roberts and
McDonald's be distracting for everybody. You've got to put her on the biggest screen possible, and her and Clooney are having such a good time, and it's just one of those things where all of their charisma translates on camera, and there's point that in the end during the credits there's like bloopers, and a lot of the bloopers, just the extras are mainly just like step like thrilled to be in the company of George Clue and Julia Roberts, and I just I loved it. I was completely charmed
by it. I thought that it was really funny. I thought that even though the plot doesn't it's bad, it's quite bad, and even though it's the twooting of it, it's quite shit. I had an absolutely like great time for whatever it is nineteen minutes to two hours, I had an absolutely great time. I was thrilled to see proper cinematic charisma I was. I loved it. I absolutely loved it.
What's Yours Mine is three thousand years of Longing, which I don't know what happened to that film. It was George Miller. When George Miller made the film you fucking listen, Yeah, you turn up. It sort of came.
Sometimes you're like, well that's Happy Feet. Okay, well I guess I'm seeing that now.
Listen. The man made Happy Feet. He made Babe Babe Pig in the City. He made Mad Max. He made Mad Max all the Mad Max and Mad Fury.
Rode Mad Meat. He made mad MEAs that's what Mad Max.
He's a fucking artist. And then I had somehow missed this film. I watched it on a plane, which is not the idea way to watch it. I had no idea what it was about. It's fucking mad. What it's about is Till the Swinton. I mean, if you told me this, I'd have been there opening night. Till the Swinton finds a lamp and rubs it, and Indrice Elbow pops out as a genie and they're in a hotel room or a little apartment, and she's got three wishes
and she's trying to outthink him. And while she asked him questions about previous people he'd done, Wishes it's almost like a sort of one thousand and one nights.
Is that what it's called? Arabian Night?
Arabian Nights?
Yeah, yeah, yeah, like as in so many short stories from the Genies past and from her past, and it's about love and it's about sex, and it's got like it's like fairy tales.
And it's great. I mean, it's fucking great.
And it's also I like that he made Mad Mad Max Females and then he made a film bat it's fucking Genie.
It's lovely.
You can't pin this man's filmography down to one thing.
That's what I love. You're like, what's he going to do next? I don't know, couldn't guess. Yeah, full full on musical musical set in in Hell starring mice. You'd be like, okay, yeah.
George Miller's back with an all mouse musical set in the bowel of Hades itself.
Or he do like die Hard seven? Do you know what I mean?
Yeah? Right, yeah, yeah, you don't know, you just down. Yeah.
I think it was great, very entertaining, sweet, sexy, fine hot. Pilis Winton who doesn't love it? Just me who doesn't love it?
Yeah, Well this is very much my argument with Yeah, cluding Roberts.
What is the film that surprised you the most as you thought you'd hate it, but you loved it.
Okay, so this is going to sound a bit weird, but Banshee's of inn A sharing well, and I'll tell you why it was a bit weird. I did not get on with Three Billboards at all, to the extent that it made me quite angry. And the thing is, I really loved Martin McDonough. Like I saw the Left Tent of Finish More when I was like eighteen in a small theater because I was there on like a
fun school trip, and like this. I think the second act of that play opens with just like blood and limbs on the stage and obviously we're just like, this is fucking brilliant. And I remember loving in Bruges, and I watched a bit of in Bruges after I saw Three Billboards because I was and I was like, oh, I don't like this anymore. I don't like in Bruges anymore. And so there was a part of me that slightly worried that I'd grown out of Martin McDonough and his thing.
But I thought Banshee's was great. I thought was absolutely brilliant. I thought it was really funny. I thought it was really sad. I thought it was brilliantly performed. I think obviously Pleasing and Farrell are brilliant. I also think, man, listen, if you need a creepy little fucker, you call Kegan, you call Barry Keegan. I'm not sure I'm pronouncing his name correctly, but I'll be honest with you. I'm too
creeped out by the guy. I'm too creeped out by the guy Barry Barry We I mean, the nice thing about this is the creepy there's there's a real depth to it, and he brings a lot of depth for that part. But like man between like Killing of Killing of Sacredea and Green Knight, like he is a massive rogues gallery of fucking little creeps. And I'm sure he's a very nice man, but he creeps me the fuck out.
In fact, I know that he's a nice someone I know is work with him, and he says, no, he's a really nice guy, and I was like, sure he is fucking creepy little Yeah, he's a nice guy. Then you catch him later and he's snacking on someone's toenails. Horrible, creepy guy. And Carry Condon was great as well. Yes, really good.
Well I'm going to talk about that film from my side In an upcoming question, I said, film that's surprised me. The most that I thought I'd hate was The Souvenir Part two because as you.
Know, Wow, boy did I struggle with the part? Boy? Oh boy?
Would I describe that as beyond homework?
The the eye set you service?
Fuck me? Fuck me? That was? That was like, yes, this is good.
Really struggled with the part to the extent that I was like, I don't have to see part two?
Do I have done? You know what I mean, I've eaten my greens? Let me go? Was it you do? You beg me?
I really begged you to see too.
And you know what, I fucking liked it really good. I liked it.
Yeah, I really liked it. And how come you like that one? I'd argue, it's partly because stuff happens.
Would be my main one and two do you like things happening in a film? Then what's the second one?
I'm genuinely a most They didn't use that as a poll quote and I'd be shocked if that's not what they used in future. I loved Part one. I loved Part two, Portrait of an Artist as a young woman, loved it. Loved the ending where it pulls out to reveal the crew and you hear I guess Joanna Hogg call cut and the whole thing has kind of come full circle. I love the whole package. I love Richard
i Addy smoking two cigarettes at the same time. I love the fact that Joanna Hogg has made room for him to just be sort of do his thing in these films. I think he's great. I love Souvenir one. I was thrilled to see Souvenir two. I think it's better. I think that the two parts constitute a very significant achievement in modern British cinemar. But that's me.
But I'm being a cheeky boy because one is brilliant. One is brilliant, but it's not easy. I can't say that it's not easy.
But two easier. Yeah, that's what that's what I want.
I really like too, I really I was really like, oh, I think about half an hour and I was like, I'm enjoying this. I'd also like to give a shout, and not that I thought it would be ship or that people didn't like it. It's just sort of breezed by and didn't get as much love as I'm just giving this an honorable mention, which is she said, which kind of came and went.
I totally agree.
Yeah.
I watched it and I was like, this is fucking great. Yeah, it's great. It's weirdly because it's so recent news and
all of that, but it's quite thrilling. It's quite exciting, and it's kind of pasty and interesting, and and there's the just the sort of basics so of I don't want to sound like a right on kind of guy, but I do think it's interesting that kind of structurally it's kind of like all the President's men and stuff like that is two journalists trying to sort of crack a case, and it is just interesting the reality of these two journalists were women and they had children, and
they had margined them just the same scenes but with childcare. Just kind of like, oh that's interesting. Yeah, it's a whole different level that it just feels new and interesting.
Yeah, I totally agree. I thought I thought it was absolutely great, and also I thought it did something really interesting that you can do in a film, which is take quite a big question that people have, which is often like, well, why don't these women come forward or why is there a gap? And why is there a gap between you know, we heard these rumors, then it took years before and it actually showed you like it's difficult.
These people have armies of lawyers that get people to sign MDAs, and they operate almost like he's like Harvey Winstein's kind of a sort of massive Also the choice to not really show his face. I thought it was brilliant and really smart. But he operates like a kind
of mafia don like it's an atmosphere of fear. And also journalism is really hard, Like you know, tweeting something is really easy, but like actually putting it out in print and getting it to a mass audience and clearing the legals of it and making it is really hard. And I thought it was a good I thought it was a really good process movie about journalism.
Yeah.
Great, what was the most meaningful experience that you had this year?
Well, there's two answers to this, I mean what I mean, look, look right, obviously it was very meaningful to see you turn up in a Marvel film like, of course that was hugely meaningful for me. Of course that that was incredibly meaningful. Russell Crow to turn around me like, are you ready Hercules, Yeah, I fucking am dead. I'll get him. Ah fucking nail the caunt. I'll kill him and I'll ask him about what films he liked.
Store getting a fucking get a coffin.
Fucking listen for you're playing up front with Jamie tart So on a personal level, that was very meaningful for me. It's very exciting and I was very proud of you. I think that in terms of like I kind of experienced that, like I had that left something on me personally.
I think watching Flea definitely did that. I just thought, you know, especially like I don't mean to lean into the worst characters of myself, but if I could briefly talk about the government's refugee policy, yeah, I just think that like in a climate where casual demonization of refugees and also you know this, this is this idea constantly now that they casually demonize them for political points and then they flip flop into saying, well, we're actually trying
to protect them from people traffickers, and when you see a thing like Flea, you see the extent to which that government policy and people traffickers are just two sides of the same shitcoin mistreating these people. And I thought, Flee he really left a mark on me. Also, it really reminded me of Walts of Bashir, which is another
one of my favorite films. And like, when you take difficult and complicated stories and you're hopping in and out of people's memories, animation is such a brilliant tool to do that. I thought that as a piece of filmmaking, I thought it was incredibly impressive and brilliantly put together.
I completely agree with you, and I really love that film, and I haven't analyzed it, Like why is it Do you think that by animating it it sort of makes it makes it sort of more palatable or something, or is it the slight distancing of animation makes it.
I wonder if. I also wonder if it just it allows you to really feel like you're watching a film set inside someone's consciousness. You know, so much of this film is memory, and so much of it is about the act of remembering, and animation allows you almost to set a film inside somebody's brain, and Wolsabashia definitely does that.
And again it's and I wonder if there is something to it, because Boltsibashi is also about it's you know, it's about Israeli soldiers who have sort of been given a kind of post from my extress and have sort of got amnesia because of the strain of their own participation in massacre. And like, I just wonder whether there is something too. If you animate something, it gives you one layer of distance that allows you to really show
some pretty horrific things. But I also just think it's a great way of showing memory and showing the kind of slipperiness of it. And they do something very clever where they incorporate news footage just into spur the film with news footage, and the overall effect I thought was just was brilliant. You really, you really felt like you were being taken down somebody's really really traumatic and difficult memories.
But also it was humanizing and it was you know, it was you saw, I mean, who's the narrator of the film and whose life is about. You've got sense of him as a person, and you know he was also struggling with like his sexuality, and he had these kind of personal concerns that were going alongside how am I going to survive the day because these people traffickers have like locked us in a boat with no air in it.
You know.
It's yeah, I just thought it's It's a film that really left a mark on me.
What was yours? I mean, it's an excellent one.
Mine was probably the bandities of in this area and talk about well, it made me really really sad.
It really really affected me. That film.
I think it's brilliant and I think that it really sort of made me think about the fact that what the story that one way of reading the story is that it is about a breakup, but it's about Brendan Gleason has decided that life is short, has suddenly realized life is short and he's an artist and he needs to focus on his art at all costs, and that he needs to sort of cut the dead weight of his social life so that he can really make his art before he dies.
And as someone who.
Very much has a very bad work life balance and constantly makes decisions on the basis of well we did soon, I did watch it going am I Brendan Gleeson just fucking cutting my fingers off, chucking them love.
I could not agree with you more strongly.
Well, yes you are, Yes you are.
No. I just like I'm interested in the way that people write about that movie. They were like Colin Farrell's just like do first, and you're like, no, it's a story of two idiots. Like I think the key line in that whole movie is when Carrie Condon says, you're all fucking boring, like all of you men are fucking boring, and you're like, it's like it's Laurel and Hardy, Like
it's two idiots. I mean they sort of even look like Laurel, and like the outlines of them look like Laurel and Hardy, And you know, it's like one of them is an idiot, but at least he knows he's kind of an idiot. The other one is as big an idiot because he's got He's like, he's I've got to commit myself to my arm. Why you live on a fucking island the BDD of nowhere? Yeah, and no no one cares the sort.
Of stupid only of like who wants to make this beautiful FIDLM music? But it keeps cutting off his fingers the thing.
Yeah, I just wonder whether that's like, I wonder whether that's true of a lot of people who work or have devoted a lot of their are like life to making pieces of culture. And now maybe now maybe watch that movie and we're like, maybe Colin Farrell was right, Like maybe we were wrong, And.
Colin Farrell is like, it's also the thing of the the sort of life versus work, Like, yes, Colin Farrell is boring, but he's also love's love, and so what if you're going to tell you about his taste every day? Like it's kind of funny, you know what I mean, Like, it's not that that's that has its place.
I found an unpleasant experience to relate to both characters because I think I've there's times in my life where I've cut my fingers off and thrown them at love. And there's times of my life where I've also been the guy going, come on, let's be friends, come and look at a donkey. Oh it's death. Very good film, very very film, very good film. Best film is made. Absolutely all right, here we go.
The sexiest film of the year, the sexiest film. Oh what a Cliffhanger. So that was episode two hundred and forty four. Head over to the Patreon at patreon dot com Forward Slash Brett Goldstein for all the extra stuff and the video with Nish. You can watch Shrinking and ted Lasso, half of ted Lasso, all of Shrinking all on Apple TV plus. I mean, what else do we need to know? I think that's it in it. Thank you very much for listening. I hope you're enjoying this
so far. Part two is fucking hell. We get deep, I'll tell you that son anyway. Thank you so much to Nish. You know I love him, I love talking to him, love doing this. I hope you enjoyed it too. Thank you so much to Scrubyus Pittman the distraction Pieces of Network. Thanks to Buddy Peace for producing it. Thanks to ACAS for hosting it. Thanks to Adam Richardson for the graphics at Least Alighting for the photography. Come and join me next week for part two, The way ahead
of Schedule when you think about it. End of the Year Special Films of the Year twenty twenty two with mister Nis Kumber.
I hope you're all well. Thank you for listening.
That's it for now having a lovely week, and in the meantime, please now more than ever, be excellent to each other.