Look out.
It's only films to be buried with. Hello, and welcome to films to be buried with. My name is Brett Goldstein. I'm a comedian, an actor, a writer, a director, a beef jerky, and I love film. As Voltaire once said, appreciation is a wonderful thing. It makes what is excellent in others belong to us as well. Like if you really love the film Hook, then it will always live inside you as your own happy thought. Oh that's lovely, Voltaire. Every week I invite a special guest over. 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 the when you think about it. Way ahead of schedule Films of the Year twenty twenty two Special Part two with Mister nish Kuma. You can watch all of Shrinking on Apple tv Plus and ted Lasso Season three episodes now one to seven on Apple tv Plus. Watch them, love Them, Thank you,
nice one, Good luck to you. Head over to the Patreon at patreon dot com Forward slash break Golds team, where you get all the extra videos, you get secrets, you get all the stuff you don't get on this one. You get all sorts of things. Just check it out over at patreon dot com. Forward slash Break Golds team. So if you are new to the podcast and you missed last week's Every year, me and this Kuma do our films of the year. We never do them in December because we haven't seen them all and we want
to make sure we do this properly. This edition is way ahead of schedule. We left last week on a massive cliffhanger. I believe the question was what was the sexiest film of last year? Ready to find out?
Oh?
I bet you are. Here's part two. So that is it for now. I very much hope you enjoy episode two hundred and forty four of Films to be Buried with When you think about it, way ahead of schedule.
Films of the Year twenty twenty two Special Part two.
Why don't you start off with your sexiest film? Given that this is the question you care about the most?
Yeah, I gotta be I gotta be honest this one, and this is no disrespect to twenty twenty two, but not the sexiest year in film. I didn't have a load of options unless I'm forgetting do you know what I mean? I was like, oh, I said, long list sexy stuff to choose. The answer is I think unequivocal public. Top Gun Maverick got to.
Wow, I'm surprised it's taken this long to come up, because also Top Gun Maverick should, if we're honest, be everyone's answer to film you thought was going to be ship but was amazing, Like Top Gun Mavericks should be so fucking shit, everyone's it should be so bad. It
was brilliant. I saw in the Imax in the Lincoln Center, in the AMC and the Lincoln Center of New and like I saw it with my friend and Fred the podcast where as about FAO, And at one point she turned to me and said, this is the greatest piece of cinema of all time.
I think.
I can't think it might have been after the volleyball scene, but she was like, this is the greatest film of all time. Also, you know, it is just amazing. How you know you can like we can like build whole worlds. You know, you can you can put an actor in a green screen room and we can build whole worlds around them, and so you don't even need the actor
sometimes you can just create a whole reality. But at the end of the day, you whack a fucking massive camera in a plane and fly around and nothing is better. Nothing is better, Like no computer effect can be better than a massive camera in the fucking pilot's seat of a jet, and then the jet is Sometimes when the jets were blasting, I was like, I think my insides are gonna rupture. Like it was thrilling. Do we know
the na should they were invading? No? Does it matter? No, best not to best not, that's not to ask questions like that, but.
Helmets and the bad guys, so we can't see anything very wise, doesn't matter. It's cold where they are. Does that mean that could be any I mean.
That could be anyway. There's a lot of countries that are cold.
They're in the east, west, north, south. Okay, it was, It was.
It was great. Miles Teller is a weirdly applausible child of Meg Ryan and Anthony Edwards. Yeah, it could, but it was fucking great. It was. You know, it was so much fun, so much fun. What's your sexiest talk about the sex aplt of it? Because I mean it's like Tom Cruise as he gets older, it's sex sexy is not top of my list. I think it's impressive.
I think what I'm I think I'm saying. It's like the whole film is so slick and well put together and well made up, and it does have Jennifer Conley, who is yeah, let's yeah in my top five, you know, and just cleaner and anything. You're like, Okay, this puts it in the list, and it's just you know, it's like four in it that film. What's your answer?
I mean, look, my answer is well, my answer will lead us on to troubling boners. Okay, like the subcategory, Brett, please introduce it.
The subcategory to the sexiest film is troubling boner is worrying? Why I done so? Film? You found arousing? You weren't sure you should.
Now, Brett. You may say it was maybe not a great year for sexy movies, but I'll tell you re troubling bonus our cup runneth Over. Twenty twenty two was many things, but it was also the year of the troubling boner in cinema. It was the year it if titane was a year, it was twenty twenty. It was troubling Boner after Truble. I was troubled by most of my erections this year. The film that I've gone for,
any of these are troubling bonis. The film that I've gone for is Decision to Leave, which I thought was amazing for Park Cham would absolutely love it. I just thought the atmosphere of it was it was very sexy. I thought the vibe of it was very sexy. I thought Tangway was very sexy, and I felt it. I believed it completely plausible that somewhat that she would be brought in for potentially murdering her husband and the policeman
investigating would go well. First things first, Holy Mama, I think it's important to say that I believe that, and like you know, with like the handmade Park chambook is very he makes great sexy movies and the sort of atmosphere of eroticism.
He does make sexy films.
They're all sexy, and eroticism is a big and important part of cinema and cinematic history and we should not be ashamed of it. Right. But in terms of the troubling Bonus, my god, Brett, what are you Because Decision to Leave is in of itself quite a troubling boner.
What's troubling about the boners? Well, I didn't feel shame.
I didn't necessarily feel shame, but you know, Tangway's character sort of gets put through quite a lot and you have to see her in various states of distress. So I don't think I sailed through it, sailed through it, but that sort of leads me on to a like true like string of troubling boners, key amongst them. And this is like sort of troubling. But like, there's an
Indian movie this year. Obviously the big one that everybody he's talking about is R R R. And also I'm not bringing this to an audience at all because this movie that I'm about to talk about was on Mark Kermo's Films of the Year, So it's a movie that
people have talked about. It's called Gungobye Kathia Wordy, and it's about a sex worker, a woman who's like sold into sex work by her boyfriend, who then kind of rises up sort of through the ranks of the kind of hierarchy of that world and ends up becoming a madam and running her own brothel. And it's shot kind of like a Tarantino movie, and it feels kind of like kill Bill, but it is also based on a
true story and this is a real woman. And listen, the second you were talking about things big sexy in the circumstance of this film, it is a disgrace. It is an immediate disgrace. Here's the problem, though, Alia but who plays Gungabye, the main character is she's very sexy. And there is a sequence in it where a man comes to measure her for a sari, and like, it's quite an he's a young man, he's a handsome man. It's quite an intimate process. And she gives him a
look and like she's attracted to him. There's a kind of brief romantic subplot and she gives him a look Brett, and I thought I was going to lose consciousness the look she gives him. And there's a point where she's like, why don't you stand closer? When are you measuring a tree? And I was like, oh god, I was like a Victorian lady that needed to take her vapors. It was it is and again, like I'll also just say like in terms of movie style performances, like all Invited, this
movie is incredible. Her character intro is spectacular. It's pure charisma. She holds the screen with complete swagger, but she looks like she could burst into tears at any point, like it's a sort of it's a proper Lake movie star character actor Denzel in Training Day, Julie Robertson Erin Brockovich, it's a proper la. There is not a better performance on film that came out this year. But my god, she's sexy and I didn't feel good about it. But
that's not even my real answer. My real answer is blonde, and I wish to Blonde made me want to trot my own deck off. Because it's a film about an exploited movie star. There's constant nudity in it. I would argue there doesn't need to be as much nudity as there is in it. So we're making a movie about a woman actress exploited by a system, and we're also making an actress walk around naked the whole time. But it's also Andadai almost is very attractive playing one of
the most famously sexy women of all time. I don't feel good about it, Brett. I hate myself. I never hated myself more in my life.
Every year. Every year you deliver, you deliver, and no one could take that away from you, no one in the history of films to be buried with. That's traveling Boners as well as you and I respect it, and I am grateful. What my answer is men Rory constantly giving birth to himself out with ourselves.
Truly, Brett, you and I are the Roger Federer and Rafa Nadal of troubling Bonus. Every year we push each other to new heights.
Shiit, what's the what's the best action film.
Of the year? Straightforward? For me? Top Gun two? It blew my mind. It was thrilling. I loved it.
For you, I'm picking this because Top Gun obviously is top I'm going to give a special shout to The Women King, which I loved and did like weirdly again a sort of marketing thing. Women King was kind of presented as an important movie.
Yeah, yeah.
Before I saw it, it felt like this is going to be hard work. It's what I assumed, this is gonna be like a heavy movie, when in fact, what is this a fucking book? Yeah? I was like, this is gonna be another book when it's a fucking great actions film. It's incredibly well made and entertaining and yes, as all the deep stuff and it's sure, of course it does. But it's a fucking banging action film. Yeah, really really good, exciting, thrilling, proper great accent. Loved it.
I highly recommend as an accent film.
It's yeah, it's really great. Also the action is so well shot as well, like it's properly like, it's good, it's really exciting.
And they're doing it, they're really doing it well. Yeah, there's a lot of real stunts and very exciting.
Yeah. I saw Sheila Atam in the Bob Dylan musical Jukebox Musical in the category of things that should have been awful but were actually amazing. I saw her in it, and she sings honestly like an angel. And when I saw her in this movie like bashing people over the head, I was like, Sheila Atam, I think can literally do anything like I think. If you know, if you're looking for a start of George Miller's new movie about mice doing a musical in Hell, I'm I'm pretty sure she could pull laugh.
What is the filming most related to this year?
The film I'm most related to this year, is everything ever oral at once, and this is absolutely the thing that you were alluding towards earlier. The first time I saw it, I went with ed Gamble, and afterwards he was like, when the mother didn't know what to say to the daughter and called her fat, I knew you were in trouble. He was just like, I knew, I knew you're in trouble immediately. I think it's an amazing movie.
It's a lot of things, but I think it's an incredible movie about immigrant parents and immigrant children and how the expectations of immigrant parents can sometimes be a burden on their children, but also how their children can sometimes lose sight of what their parents have been through. I thought it was such an even handed You know, there's so many movies where grand parents are just one dimensional
characters who just want to spoil their kids fun. But to me, it felt like a really really nuanced portrayal of that relationship and that dynamic, and you know, you sort of understand the pressure that Michelle Yoe's character was under from her father, and how that kind of pressure and the sort of generational trauma of leaving your home and upending your life then creates that sense of expectation on your children and how that gets passed along, but
it also showed that you can sort of heal that relationship and just like at the end, like when they're like getting sucked into the sort of vortex and the daughters being held by the mum who was being held by her dad. That film to me was so much about again like the weird thematic overlap between that and After Son, this like idea of forgiving your parents for
making mistakes and for just being human beings. And also just further more to that, you know, like I was a kid who you know, my parents were immigrants, and I the entire way that I interacted with the world as a child was through science fiction and superhero films
and comedy. And so to see a film for me that was about how immigrant parents and children relate, filtered through the prism of really superb comedy and a multiverse based plot line, I couldn't I couldn't believe that anyone else understood that movie because it felt like it was made for me. And I think that interestingly that you sort of highlighted the relationship between the moment that which
is obviously also brilliant. But I think maybe that's why that film is so successful, is that there's a lot of different people who believe that film was made specifically for them and was talking directly to them. But they might have five or six different reasons as to why that is.
This.
Have you forgiven your parents yet, like my parents said something terrible, They really didn't.
We know what happened.
I don't think I really have an I think they really have anything to be forgiven for. But like I think it's just like that act of empathy with your parents is so important, but also for parents. I think it's the empathy is a two way street. I think that's what that film. So much of that film is about. It's about trying to understand where someone else was coming from, whether it's your partner or your child or your parent.
So much of that film is about how important empathy going in both directions.
Is.
I just I could not have related to that film more.
Yeah, beautiful, beautiful. My answer is just to use films that we haven't used. Even though I could say everything everywhere, and I also could say and I could say, but it would be the worst woman in the world.
Frett what a freudiance lip No, no, truly the worst woman in the world.
The worst person in the world in which I related to the worst woman in the world.
Loved it.
Great movie.
Yeah, I'm so happy. I'm so happy you mentioned it. It was a great The worst woman of the world. Shit, that was the original name for the ron Lady, wasn't it. Bang he will do politics. You can't stop stop. This is not fore turning. What was it? Because I thought it was a brilliant movie. It could have been my answer with many categories. What was it that you related.
The sort of thing of she is kind of just I read somewhere so I can't take care of this. But this line that I was like, yes, that's exactly. It's the constant process of becoming.
Yeah.
She's like, I'm this, no, I'm this, I'm in love with this, I love this and this, and even by the end she's still not she's still finding who she is, what it's all about, all of it. And I think they like, it's just very real. It feels very very real.
I think the sequence when she tries to break up with her boyfriend and then and it goes on for so long and then they have sex and they learn that it's so real, and then the feeling of when she first meets the other guy, like, all of it, it was all very very I thought, very very relatable. And yeah, and this idea of like it keeps feeling like she's got it, she's figured it out.
Yeah, no, and yeah, and by the end, I mean, and they do something sort of nice, even with like her hair colors completely they make her like physically look like a different person by the end, and it is like it's a great movie about how someone's brain evolves and how someone's personality changes, and it, yeah, eventually feels quite radical, but it all feels quite subtle, like it's like a slow moving thing.
And it's also the thing of weirdly like it's a kind of positive ending in which she's alone and everyone that she loved has moved on, and yet she's probably the best, you know, as in it's like it leaves you, it leaves her like yeah, cool, what's next?
Yeah, yeah, what's next? Yeah? Yeah, yeah, it is a positive ending. Also, what a soundtrack?
What a soundtrack?
A fantastic soundtrack. That golf Uncle song at the end, the Nielsen song, It's all I've also tried to get people to dance in a context that's not appropriate by playing one thing by Amory. So I also very much related to this movie. Yeah, it was a great movie and one of those films that I was talking about that I think on some of the year end lists it felt it either didn't feature or it featured quite low down. And I think it's literally just because it
came out in January, you came out in January. I think it's a brilliant film.
What was the greatest film of the objectively the greatest tough.
I mean, yeah, it is. It is a real tough one. I mean, in the interest of giving one that I think probably isn't going to be my number one, I'll say Living Okay, because again I thought it was brilliant because again it didn't sort of think does it need to exist? Like IKIU is already a movie that lots of people have watched and people love. But I thought
it was brilliant. I thought Amy Lou Wouold was incredible in it, and I also like, I love Bill Nye and I also like I love the Bill ni thing that he does so often, you know the kind of character that he plays in like sort of versions of this sort of swaggeringly charismatic English gentleman in things like State of Play, and then like the sort of most commercial version of it is the thing that he does in love actually, but with this it was like he was so in this part, and he was so plausible
as the incredibly restrained man who like doesn't know how to express the Shia terror that he's found out he's going to die, and like, I just you know, he decides to do something with whatever time is left for him, and the other kind of guys around him almost don't realize, like, well, we're all dying, like at the end of the day, Like we're all to some extent in the situation he's in. So it should inspire you to take risks and take chances and do things that you want to do, and
he inspires the two younger people in his life. But yeah, I just thought it was beautifully made, Like the script was great, Ishi Guru, just classy, beautifully executed. What was your greatest film?
My greatest film is mass as it was at the beginning of the.
Year, and.
I think that Matt and It's it's difficult because all these films are great amazing. But I do think that Mass is which I've obviously talked about this podcast, but not for a year because I've been holding off for this.
Yeah.
Mass is a small film that's an hour and a half, that is essentially four people at a table talking, and it is incredibly cinematic for a film that on paper is like a play, and it is about an incredibly difficult Again, on paper, I go, oh, I didn't want to see Mass. That sounds not fun, and it isn't fun. It isn't fun. It'll be fair, but what it is, you know, I've talked about it with you, this idea of hopelessness that I hate in art. And if the message of the film is, what's the fucking point?
As fucked.
And this film takes an incredibly difficult, difficult subject and I think it treats it with respect and dignity and thoughtfulness and incredible piece of writing. The characters are so specific, and none of them seem like sort of stereotypes. They're all weird, they're quite weird. And Daud's character is weird, like kind of uncomfortable and you don't sort of warm to her, and yet she's a very tragic character. And yet the end of the film, the sort of point
of it, it is a genuine solution. It isn't just like, well, here's a note of hope to leave you with within this heavy, heavy, incredibly sad, difficult subject. Here is a thoughtful, actual solution that could lead to a better world, you know what I mean. And it's based on those I'm so sorry that I don't know the official term for it, but I believe they did it in the fucking basically making victims meet with.
Yeah, the fact, Yeah, the families are the victims of the families of the perpetrators with each other.
To try to find some forgiveness and understanding and hopefully be able to move forward in some way from this very severe grief tragedy. And I think that if the acting's amazing, the director is amazing, the writing is I think it's an amazing bit of writing, and it's just phenomena.
Yeah. I watched it because you were so insistent about how much you loved it, and there was a moment I was really in it and I thought it was brilliant, and there was a moment where I was like, man, I'm genuinely surprised that Brett likes this only because one of the things that you really don't like is films that seem like plays. Yeah, well yeah, one of the things you don't like is placed full stop. But like
definitely like films that seem theatery. And I did think there was a point because also it's I think the way that it's film is really interesting because the camera is quite sort of fixed and it doesn't really go handheld for a lot of the beginning of the film.
It's often like quite locked off shots, and then suddenly as the kind of there's like an argument happens and the camera suddenly starts to go handheld, and it's like it's that same thing where a technical thing has a really emotional and rhythmic impact because suddenly you like feel it makes your stomach go, like you suddenly feel like, fuck,
this thing's unraveling. And as it starts to unravel, the kind of icy technique starts to unravel, and then it suddenly hard cuts to the view outside the church, and I just thought that, and then I was like, oh, right, Okay, that's why Brett likes it, because actually it's a film and it's filmmaking, and the just because the techniques are subtle and subsumed doesn't mean that they're not there and choices haven't been made. I thought it was absolutely brilliant.
I thought, yeah, I just thought that, like, fuck fucking Jason Isaac's face in that film, like he's just this like contorted ball of like grief and rage and yeah, and yeah, the four performances are incredible, Like without the four performances are extraordinary. The script is brilliant. Yeah, I thought it was. I thought it was absolutely brilliant.
I also think the moment at the kind of very near end, like like they seem to have kind of reached a conclusion in their conversation and the father of the shooter leaves and they kind of say goodbye to each other, and then the mom and dad comes back, yeah, to say one more thing, and it's such a sort
of heartbreaking thing that she says. And genuinely, what I think is amazing about it is it it doesn't let it off the hook, you know what I mean, It sort of goes whatever the solution you now have in your head, there's also this and this is fucking difficult
for all of them. It's and I just think it's an incredible piece of empathetic writing that he Frank Cranz, who I met and was on the podcast and is like twelve years old, that he could have that he could have got so deep into this in such a way that doesn't feel remotely didactic or preachy or like archetypal.
It's like so specific these characters, and so I just particularly love that and dad and her husband in it that they're quite odd and uncomfortable, don't you don't warnt to them for a long time.
Well, and also there's lots of unspoken stuff like he he lives they live separately now, yeah, yeah, you know, and that and that's sort of just casu that's quite casually thrown away and mentioned, but obviously it's hugely important
because it's happened. This is I think we're six years after the shooting at the point that this conversation has happened, And you know that it's great just throw away detail, you know when in one sentence someone basically just says a film and then moves on, you know, like the film a film about the sort of relationship between two
people breaking down because their son killed. That's I mean, that is literally that's pretty much we need to talk about Kevin, like but we need to talk about Kevin's just like quite elegantly said almost the side.
There's also the thing that the beginning of the film that that plays into my whole thing of like life of like life is sort of mundane tiny things and huge seismic things, and the kind of funny it's almost funny. It's funny of like where do we put the seats, how are the reality of how are we setting up the room for this thing, and just the mechanics of it, and this woman being trying to do the right thing and it's arguing over whether you put nibbles on a table. It's amazing.
But also those two characters that work at the church are comedy characters, like again completely wrong footed knowing the subject matter and going in You're like, these are like Cohen Brothers characters, Like they're like sort of weird, small town American like eccentrics. But you're like, of course they're eccentrics. They're people who like regularly volunteer at a church, like we know people that volunteer in like community theaters and
community churches. They can sometimes be a little odd and they did remind me of like the venue stuff in like a small art center, like charming, eccentric, goofballs, And obviously, just because what's about to happen is very heavy, it's still happening in a community hall, in a church hall, the people running it. But for the first five minutes I was literally I was more confused than I've been in a film at any point this year, because I
was literally like, what the fuck is going on? I thought this was like like school shooting drama, and now I'm watching this kind of sitcom episode about but you. Yeah, yeah it was. It was brilliant. It was really really brilliant.
Good all right, good, all right, that's that's that done? Right? Oh he's a good one. What's the funniest film of the year.
Well, why don't you go for this one? Let me tell me what the funniest film with the year.
I loved Bros. I loved Bros. I went to see Bros. Quite late in the in the world of Bros. I went with a friend of the podcast, Camille, who was heavily pregnant. We went and watched Bros. And I loved it. I thought it's fucking funny. I think it's a massively underrated film. I completely understand why it was. I think it had excellent reviews and then it didn't do particularly out of the box office, and people, yeah right, there were
all these arguments of why that was. I think what it is is it's a lot of films, and I like all of them. It's a really fun traditional rom com. It's also quite a raunchy gay comedy and like what hardcore in that side of it, And it is also like a Spike Lee film.
Yeah.
Yeah, there's parts in it when they're in that museum where you're given flashes of the history where it's like, this is a Spike leef h. This is also a Spike Lee film. And the other side of it is it's fucking funny. Yeah. Yeah, genuinely made me laugh out loud many times. I think it's in excellent film and deserved.
Yeah, I thought it was very funny. I definitely agree with you that it felt like a few different movies, and I felt maybe the third one of those, the kind of Spike Lee film, all felt too much like a different film. But I would also have liked to
see but I didn't feel got developed. The Actually I was perfectly happy watching the straight up rom com Slash, the sort of more adult version of a rom com like raun cheer version of I was very happy watching that and didn't necessarily need or would have like been happy and watching a separate version of that third film. But it's definitely very funny, Like it's definitely got really good jokes in it and really funny performers in it.
Yeah, what's your funniest family is?
Well, there were lots of comedy movies that I enjoyed, really liked Funny Pages a lot.
That's great, really like really.
Like massive shout out for Funny Pages because I thought that that was a really like what a fucking grubby, fucking.
Yeah, it is full gravy. There's an old Chris Rock.
Routine about how he finds Jamaine Jackson greasy and he says that he has to he has to wipe his TV down every time Jamaine is on TV. And after Funny Pages, I was like, I gotta give this TV a white like that. It was like the flat that he goes. Anyway, it's a wonderful movie, and I hope people go and watch it, But if I'm being completely honest with you, the film that made me laugh the most this year, just I'm purely doing it in terms of I thought Knives Out Too was so funny.
It was really funny, and I thought it was.
Consistently funny throughout. I think that there are genuinely great jokes in it. I think that Jared Lito's hard komboocher is hilarious. I think that they are like also really fun little meta jokes for film fans, which obviously I love. In the one of the flashback sequences, a clue that Edward Norton is the biggest dickhead in the world is
that he is. He has come out that night dressed like Tom Cruise's character from Magnolia, and that it's such a brilliant way of going This guy saw Magnolia and thought Tom Cruise was somebody should dress like that. He's such a fucking bell end and like a misogynist and
all of these things. And also I thought it was a brilliant satire about disruptors, and you know that we sort of constantly seeing people describe themselves as disrupting things, and generally what it means is I don't really pay a full lack of tax, like that's like the main thing that they disrupt is the taxation system and the coffers of the public purse. And I thought that all of that stuff was great, and then I thought it became a kind of satire that became embedded within the mystery.
And like Nins Out, one had lots of satirical elements, and it was a kind of goof on satire and privilege, but the mystery of it is still preserved, Like the mystery of it is specific, and what happens to Christminer Plumber is a specific anthichristic mystery. In this one, the satire seeps into the mystery, so at the end there is no mystery. It was the person you thought it was the whole time, because disruptors and people that claim
to be disruptors are simply not interesting enough. And like Daniel Craig's exasperated speech at the end, I thought was so funny and like such a perfect like this installation of something in the culture that I was houting. I
was properly like lost my mind laughing. I thought it was so funny, and also like at the opposite end, I loved it because it was a film that hated a lot of its characters, like it loves obviously, it loves ben one Blanc, and it absolutely loves Jenellemane and who was great in it as well, Like that double performance thing is fucking brilliant. I thought she was brilliant
in it. It loves Genelman, but it hates all of its other characters and lots of the Like TV and film, that's kind of depicting the super wealthy by necessity in order to sustain the drama, especially if it's a TV show, it has to be nuanced and it has to give you layers to these people. This was fucking two hours and it was a comedy movie and they were just like fuck these people.
But I say this, this is this is my point. Yeah, I think it it thinks they're all idiots, but I think it joyfully thinks that. Yeah, yeah, it loves them. I think it is loving hanging out with them and making fun with you.
Yeah, yeah, it's loving. It's loving hanging out with them.
It's loving it. But it is deeply loving giving the consequences to them and giving Janelle Mona and like you know, she's so like he's like like Annadamas in the first movie, like She's such a like likable central presence, and the film clearly loves her, loves Benoa Blanc, but it properly like it made me laugh out loud consistently, and I saw it in and again like just they should have released it for longer in the cinema because it was a pleasure to see it in a pack cinema, people laughing,
people gasping. I thought it was really fucking funny.
Good answer, do do do? Do? Do do do? Welcome to the patret section. Ah, come on in this you've been missed, sailo. Also tell us the secret. You fucking tell us a fuck or will kick you out.
I'm trying to think about what a good secret would be this year. I guess like it's funny that I, well, here's a good secret. I attended a screening of Liquorice Pizza, a press screening of Liquorice Pizza with a Q and A with Alana Him and Paul Thomas Anderson. And when they asked me whether my name was on the list, I said yes. They said what's your name? I said, Brett Goldstein And I walked in because it was your ticket.
You were away at the Q and A and you were like, just take my ticket, and I just assumed they'd be a ticket. There wasn't. There was a guest list. I looked about in the eye and said, my name is Brett Goldstein, I would like to see liquorice pizza please, And.
They let you in right because in the UK.
I was I was wearing my AFC Richmond top and I did go up and went, let me in, your fucking cunts.
Ka Kay.
I made James A. Caster a couple of dresses, Keeley, I love that, all right. No, I'll be honest with you. They knew I wasn't Brett Goldstein. They might have even known who I meet and James A. Custer were. They just couldn't be bothered a lot. It was a business was going to do it. It was a busy screeting.
What's the film that changed your perspective on something this year, miss Komer?
Okay, I'm okay. I definitely yes. I'm very happy to talk about this film because I really liked it and it did. I think it sort of changed my perspective on a few things. Benediction, which is Terence Davis's film about the war poet Siegfried So Soon, and it's like another one of those movies where like, what I associate those war posts with, unfortunately is being forced to read
them at school. And I thought that this would be a boring film, and I wasn't particularly interested in seeing it, but then for some reason I saw I think I might have seen the trailer and thought, oh, well, actually that looks interesting. And also everything Terence Davis does is interesting, Like whether you know whether it's successful or not, everything is interesting. You know, whether it's like I mean, Distant Voices Lives is fucking incredible, but like he is one
of the great British filmmakers. And I went to see it and I loved it so much. It's absolutely one of the best films I saw this year. And I think that it made me think a lot of things. I talk about it quite a lot in therapy. Yeah, really, yeah, because I just think that generation, particularly of gay men, were put through so much trauma. They had to live these like secret lives. They all end up getting into these unhappy marriages to equally unhappy women and both of
their lives get ruined and the trauma warps them. And I think one of the things that you understand is you get older. Is like I think when you're a kid, you're like, well, you hit twenty one, and then you saw of the same person until you're about thirty, and then you're just that person until you die. And people talk a lot about self improvement, but also the opposite
is true, you can get worse as a person. And Benediction is the story of Siegfried Tosoon's personality being bent out of shape by his life experience and his trauma, Like and he sees terrible things in the First World War, but then he has to, like he comes back and there's no like hero worship if he has to live alive for his entire life. And then also he's in love with Wilfred Owen. Wilfred Owen is killed, and then
it's almost almost beyond that. And maybe this is something that I just thought, like if you produce cultural work on art of any description, there's like a pettitoess to him about how he's received critically that I also really related to that, I thought, But all of that like warps him and makes him really sad, And I thought it was a really brilliant depiction, Like the transition from Jack Loudon, who plays him as a younger man to
Peter Capaldi, I think is so wonderfully done. And also there's just lots of like funny and sort of joyful scenes when he's like in his twenties and early thirties and he's just there's this whole like secret subculture of gay men who live these kind of life and they have the you know, they have they sleep with each other, and they you know, go to these fabulous cocktail parties and then they all sort of have to sadly go
off and get married. And also I did think so it made me think differently about how tragedy and trauma can warp you as a person and your life experience. You don't just live through things like life has an impact on you, and if you don't take care to maintain your personality, it can collapse without you even realizing that. He doesn't realize how bitter has become by the end of his life, and his son is just like, you know, why are you so angry about all of these things?
And there's literally a point was like, why are you angry with new things? He's like, because it's young and it's the most honest thing. He says, like he's bitter that his youth has kind of disappeared, but also it really made me. And this is the sort of anger you can only have if you're not from a marginalized
community and having it semi patronizingly on their behalf. But like we studied so much Wilfred Owen and Sacrets to Suit when I was at school, and at no point did it ever come up that they were gay, at no point, And just you think about, like it isn't just that it's an active suppression of information, you know, Like we were still at school when Section twenty eight was a law, and like it was you know, there was a law on the statute books to prevent the
promotion of homosexuality whatever they called it. And it's just like, you know, these people who we like force you to study, they were gay men, and like Wilfred Owen and Secret to do huge parts of the national story we tell ourselves about the sacrifice at war. We're not even going to fucking give them the dignity of telling you that they were gay, and we're going to continue to suppress their sexuality as we did to them when they were alive.
After they're dead, and I sort of walked out of it being like we've we like it's so wrong, Like it's you know, like obviously a gay person knows all of this stuff, and it's like, yeah, we've been angry about this for a long long time. But I walked out of it thinking how different a country we'd be if these people who were like we venerate as like
titans of the story. We tell ourselves about the sacrifice of our boys, and we say things I never forget, you must never forget, but forget this, get this, you forget this huge fucking part of their lives and personality.
But ignore that.
Actually, you know what, Brett, that's the perfect description of the British attitude to his never forget but do ignore, ignore, ignore, please do. I hope it's on Netflix in the UK, but I don't know if it's globally available, but Benediction is on Netflix in the UK, and I just I think it's I think it's a brilliant, brilliant film, and we're very lucky to We're just very lucky to have a filmmaker like Terrence Oervis.
And Jack Louden is a brilliant actor ever since fighting with my family. He's brilliant. All right, question is good luck to you Leo grand lovely or Leo graogra good luck to Leo Grande, which I just really liked. I liked as a script, as performance, as an argument. I just liked it. That's another film. As two films that on paper could be like plays. Yeah, yeah, but they're films. And I thought, what did it change my perspective on I'm not sure it entirely changed the perspective, but it did.
I liked the I don't know, it just showed you something that you that you don't usually see, which was an older woman with a sex worker trying to experience something, and it felt very real, the nervousness of her and the insecurity, and I thought it was a lovely, sort of wonderful thing that he never makes her new come she does it and it's like it's a nice.
It definitely shows you something you don't really see on TV anymore, you know, with that age express against sexuality and it not being like it's not like a totally serious movie, like it's funny in place, but it's not like that element of it and her sexuality is not like played for jokes.
No, the only bit that I was like, the only bit in the whole film that I was like, that's mad is when she disappears for a moment and he eat He just stuffs a kick kat In and then goes to kiss her. I'm like, that's You've lost me. I had got rid of your immediately.
It's cheue a gub or nothing.
What is the best opening to a film?
Straight up? Women King? I thought the opening of The Woman King was incredible. That attack scene and again it you know, you get the information about what you need to know about the aureo and the the homemade and then you just immediately bang, you're into it. The shot of Viola Davis standing up from the kind of long grass, and then the shot of them all joining her, and
then just straight into that fight scene. I thought it was like I was giddy at the beginning, you know, like when a film really starts fast, it's sort of a dreamal rush of it just going. It captured that thrill of like how exciting it is when a film just goes his absolutely minimal exposition. I mean, it's an odd comparison to make, but it is sort of is the star Wars thing you get the crawl and then bang straight into the actual I thought it was great. What was yours?
I think I'll go with a few, but I think I'll go with Yemen's Lovely, which I love. That film is such a dark film, such a weird film, moving and a film entirely about death, which you know.
Yeah, yeah, perfect for the podcast as well.
And the fact that's kind of a you know, prologue which is the beginning, and it's fucking heavy. Yeah, it's really really heavy, and I'm begging to stop motion. And it's just beautiful. And the dad, the performance and the animation of the dad in that film. It should win us, should have wanted ask for best. It's just such a good it's and also when you think about the magic, it's the magic of the actor's voice, but in conjunction with the artists who have made yeah, puppet moving that way.
It's such a detailed face he has in the micro expresses all. It's just really something special with that.
That's great.
So I'll give it to Panka, right. What is the greatest ending to a film this year?
Final Sequences definitely special mention for the end of Triangle of Sadness, a movie which I will mention great I have for one of the other artists, but like, I've never been in a cinema before where the entire audience is thinking, smash that woman over the head of the rock when she when she basically says to her, don't worry.
We could go back to civilization and you can be my helper or made or something, and she realizes that actually is better for her to be in the community they've created because she's at the top of the hierarchy, and the entire audience like, yeah, you have to bash him on the Absolutely, there's no other way for it.
But I'm going to say the best closing was Hit the Road, which I also thought was an amazing movie, and it sort of summarizes everything that is amazing about that film, because you know, it sort of is a heavy film, like it's a movie about a family who have hit the road because they're basically this son is in trouble with the Iranian authorities and he's basically fleeing
the country. But there's a little kid in the car, and so the whole film is kind of the little kid's perspective, and it's mainly the little kid being a little kid and talking about the batmobile and stuff, and sort of on the peripheries you go, oh, there's something
quite serious and bad happening here. But mainly it's like funny dialogue between the dad and the kid, and the mum is occasionally looking worried at the older son who is the person that's fleeing, and it's like mainly like very naturalistic in the car, you feel immersed in it.
And then this one moment where this kind of special effect thing happens with the dad and the son are talking and they're like lying it looking up at the stars, set up camp on their journey, and it almost becomes like this weird like nineteen sixties Doctor Who shot of like space and the kid flying, and then the second flourish is the end because of the sun has got away.
For all the fun and joy of it is very traumatic and it's very upsetting, and then their dog dies and they're burying the dog and it's just this fucking
bleak thing. And then just like right at the end, throughout there's been like these like Irunian pop songs running through the whole thing, and then just right at the end, the kid lip syncs the song right down the barrel of the camera like this little kid and it's I'm I apologize, I'm about to absolutely mangle the pronunciation of all of this, I'm sure, but the song is called sub Z by a guy called Ebbi, and I definitely
have pronounced that incorrectly. But it's this like really like croonery, rich melodic pop song and the kid starts lip sinking it looking down the barrel of the camera, and it's such a like funny and some rising and like charming end to this movie. And it's like, you know that you sort of come away from it with the sense of like they still got each other and they might be okay. And the way that that's communicated is the
kids seeing down the parallel of the camera. It just like it just made me feel elated at the end of that movie. I think the movie is great in general, but yeah, that ending made me feel elated.
That's great. My answer to best ending. I mean, loads of them, lads of them. But I'm going to pick because I haven't mentioned this film and it's one of my films of the year. Watcher Watch, Yes, did you see?
I didn't see Watcher? I would have liked to see Watcher.
Watch it deserve more, as in I wouldn't see at the cinema, and I was like, God, it's nice to see a film like this at the cinema. It's I guess, you know, a B movie made exceptionally well, right, yeah, And it's about a woman and it's so good. It's one of the best depictions of being a foreigner in a country. Like just there's scene where she's just walking around, not understanding the language and like going to museums and trying to kind of enjoy her life, but the whole
time she can't understand what anyone's saying. And so sometimes so there's this sense of paranora. Are they talking about her? Are they? But they might not be. She just genuinely doesn't understand what anyone's saying. And so there's a scene with her and her husband in the back of the cab at the beginning of the film, and the husband they're clearly talking about her, but she doesn't know what
they're saying, and the husband keeps sort of translating. But there's an element there's one thing that husband doesn't translate, right, So it's like, what did he just say. I mean, it's really sort of good. And she believes she is being watched by someone in the apartment opposite and that
she is kind of being stalked. But as it goes on, he the person watching, goes to the police and accuses her of because she's so obsessed that it looks like actually she's watching here, right And anyway, I won't spoil the ending, but something happens at the ending, and it is literally there is a look at the very end of the film, and the look is it's just one look and the look is sort of I won't even say what it means, but it's fucking like. It's a very good film. Recommend.
I gotta check it out.
Really good. Best set piece, favorite set piece of you any film. It could be in the middle of any film.
Well, I definitely think the entire city freezing in Worst Person in the World was incredible. Yeah, but I am going to say, just everybody's viewing triangle of sadness, everybody's spewing that refused song from the Shape of Punk to Come, which weirdly also is like all over the bear, Like it's so strange when like a song that came out ages ago. Suddenly two people both decide to use it in quite pivotal ways in a TV show or a film.
That song that fucking dank dun dun dunn, that sort of like like hooky guitar thing, and then just everybody puking and shitting, and I am embarrassed by how much that woman vomiting into the toilet and then the boat to get her big lad away and go mind, we screamed with laughter. Phenomenal, what's yours mine?
Is? I picked this also because it wasn't talking about sireno sirena, which is how they pronounce it in the film Ciren the Peter Dinklins Joe Wright Cyrino, which I wasn't sure about seeing. I ended up watching on a plane. And it's a musical. It's a musical adaptation of Sereno, and he's phenomenal in it. Yeah, it's it's really like, oh, this was the part, this is the part, this is the greatest part for you. Yeah, he's he's he's really really,
really good. And it's quite sort of theatrical and weird. And I'm not saying it's perfect, like there's it's it's a it's certainly an acquiet taste, I would say, but it was certainly I really enjoyed it. And there's a sequence three quarters away through where a load of characters you have never met and are not part of yours sing a song as they're about to go to walk. They're basically about to go over the top to their
deaths in the war. They're being sent to like go over the top, and it's very clear they're all going to die, and they sing this song wherever I Fall, and they're basically writing letters, they're final letters home to their fathers, and it's so good. It's really really beautiful. And I listened to a thing which I write where the producers or the finances whoever it was, were like, you need to cut that scene because it's not about
the lead characters. And so he very deliberately at the end of this song, Yeah, the camera pulls back and their syranide. He's in it, so you can't cut it. But it's just a really yeah, it's just one of them really like powerful moments of this is the end of all these people's lives and you totally care about it. You've never met him. When you care about them, it's really it's good, good stuff.
Yeah, just to briefly mention it, because we haven't really talked about it all quite on. The Western Front has like kind of all like a version of that in the scene, and it's there's just a really not sung, not Sun not sung. It would have been a quite extraordinary decision. But yeah, there's a really good scene where you just see people like you just you're just seeing
people like hops up on nationalism. Like it's almost like it's depicted like a drug that they're all on and they're just like, yeah, I can't wait to get to war like and then it's basically just for three hours, ruining their sense that they're doing something good. Yeah, it's very well made film. But yeah, it's funny because it has the exact same sentiment, just not sung.
If I've got any note, can they sing this? What is your here? We go? I think we're here? What is your favorite film?
I could not split after soun and everything everywhere?
We tallied the votes, Well why don't you take you take after sound and out take everything everywhere?
Okay, great, perfect? Is that what you're gonna say? Anyway? Were you also in the similar quandary?
Yeah, but I think I was leaning Everything Everywhere purely because of the amount of things it is in one film, and all of those things are amazing. Yeah, and I think it deserves and it's fun.
Do you think that there might have been there has been a little bit of a backlash against it. Do you think if it hadn't won, if it hadn't won the Oscars, it would have in a way it would be better for the immediate reputation of the movie.
I haven't seen this backlash, but I'm assuming, yeah, that would The worst thing that could happen to a film is to win best.
You're yeah, You're absolutely right, Like I would say, apart from Moonlight and Parasite, I'm not sure there's a film that I can remember that it hasn't in the short term damaged its prospect. But yeah, listen, after Everything Everywhere, couldn't choose between them. I'll go after sun you go everything overwhere?
Right, We conclude with our top ten top ten in order?
Do you want to do the honorable mentions? First?
Well, I've realized we have mentioned all of the honorable mentions. Yeah that I ad did we mention all of yours? I know you had exits the only honorable mentions.
I would say, I thought The Quiet Girl was brilliant, and I thought it would be boring, but actually it was really brilliant. I thought it was really good. I loved Moon Edge Daydream. I'm a big Bowie fan, like Brett Morgan, the sort of sound collage and the use of video, and it is really really incredible, Like I would go as far as saying, even if you're not a Bowie fan, it's worth seeing just a piece of filmmaking.
And also like a quick honorable mention for Kimmy, which is like not really a movie that gets made, Like it felt like a like nineties like really entertaining, fast paced, paranoid tech thriller, like and Zary Kravitz was great in it,
and like Steve Soiderberg. Blake is another one of those like George Miller characters where you like you can't really pin down what he's going to do next, and what he did next was Magic White three, Like you know, it's like he and the next movie does might be like an experimental digital film after he's like shoved an iPhone up a dog's ass or something like, it's like you really just have no idea what he's going to do, Kimmy, Magic Mic three and Dogtown Upper Dogs Ass. There's an
iPhone Upper Dogs ass. Julie Roberts is in it. You just can't see it.
We shot this one upper dog's ass one day. It was while I was.
Making Magic Mike three. Just in the background, I just had a dog with an iPhone up its ass.
Okay, your top ten in order, please.
My top ten in order. I'm just making sure that there's not more than ten here. Okay. My top ten in order is hit the Road Living Parallel Mothers, which we didn't talk about at all. Pedro, No, he's never went away, and he's like filmed. His film's getting like sadder but also still out as outrageous, Like this is
still like a sort of soap opera. It's just it also has really serious things to say about the Spanish Civil War and the legacy of fascism, like it is The Best Man Souvenir Part two, Decision to leave Benediction, the worst person in the world, everything everywhere after Sun.
Okay, give me your ten, Watcher at ten, Nice at nine, good luck to you, Leo Grande, lovely Hey, top Gum every seven Bros. Six, Pinocchio five, Worst Person of the World four, Area three After seven two Mass one everything.
Ever its fantastic. Well that's hard, isn't it? Is that right?
I don't have to think mass I'm famous and greatest, all right, we get it.
I can't believe that I haven't got knives out too in there because I've really loved it. Yeah, there's no way that I'm going to feel the same about this tomorrow.
You know what else we've missed out? What Brian and Charles. Oh, yeah, I'd say briefly, this brianon Charles is a wonderful film, Brian Gidson's. I worked with Brian for many, many years.
I love Brian. I was so happy and proud that Brian Gidtins has existed in so many different YEA forms, all of which have been amazing, none of which have been particularly successful, and so for him to have found this thing where it was like this film and suddenly it was like a hit, critical hitting of awards hit, and it was like, you've fucking done it. I love it.
Yeah, it's great. That could also been like one of the meaningful experiences because my friend Jim Rsher has also directed it. And it's it's fucking great. It's really, it's really, it's wonderful.
Nish You've been wonderful. But when you tried to confident me on another Emmy and I murdered you with the me I beat you to death with it. And I'll be honest, didn't take as long as you might do. It's one of the spikes straight for your eye into your brain done. I almost didn't even use the base of it at all. Was mostly top half of emmy stab stab eyes eyes, to cut your eyes through the brain, and then just bashed it in. You were dead, and that is the last time you're paying me a compliment, son.
And but then I find you because I just killed you. Yeah yeah, and I'm like, oh blood yeah, what a mess. So I'll put you in a coffin I've always got. I've got a coffin put you in. All the stuff is full in there. There's only enough for him to take one film of the year with you, to take the movie night when it is your movie night in heaven. What film you take it to show people of Heaven in movie night when it's your turn, mister Dishkubra.
Well, I think everything everywhere after sun people will bring them. So I'm going to bring Benediction.
You are such a bummer, you bring such a down sucking out all the people in heaven. Welcome this what we want, the saddest film with the thanks mate. Can we send him back again? We keep sending him back. Yeah, but he sat it down.
Take your medicine, Heaven, take your medicine.
Well done.
This, well done to you. Another great year.
We did it in only two hours. He really did it this day.
That again. Listen. The important thing is we're keeping it down to a two.
Part Yes, it's two part classic this hope I see you very soon. And I realized we've never done your judgment day, have we?
No?
I just sort of killed him by directed killed him. Director never judged you. It's time we did one day. We'll see.
Well, I'll tell you what else, Brett. I've seen some films in twenty twenty three. I've seen some films. Let me tell you.
I see and I'll tell you here's my review FI the year twenty twenty three. The mainstream it's doing. Yeah, good ship man, the mainstream. Good ship covers like some good main Hollywood films. Yeah, like oh, someone's remembered how to make good films.
Yeah, here we go and people are going to see them as well, which is fucking great. It's really exciting.
And like, anyway, where's wait till June next year? All right? Well done? Oh yeah, when do we listen to toilet? This? And the pod?
Toilet on? The pod starts on May the fourth. It's called pods like the UK. Regrettably. Thank you, Brett, thank you, I see you so peace out. So that was episode two hundred and forty four. Head over to the Patreon at patreon dot com Forward slash Back Goldstein for all the extra videos, chat and stuff and secrets with Nish. Remember to watch Shrinking and Ted Lasso on Apple TV Plus. Also, this week is my final week with a cast. I'm moving to iHeartRadio next week. Nothing will change in the
service here. I want to say thank you to a cast who've been absolutely brilliant. They've been here from the beginning and they've been wonderfully supportive and wonderful and I love everyone there and I will miss them.
Thank you very much for everything. Thank you to Scrubius Pitp and the distraction pieces of network. Thanks to acast for hosting this for so long. Thanks to Buddy Peace for producing it, Thanks to Adam Richardson for the graphics at least Alight Them for the photography. Come and join me next week for a brand new episode We're We're there,
you know, an absolutely banging guest. So that is it for now, Thank you very much for listening, and in the meantime, have a good week and please be excellent to each other.
Back back backs out sick by FSA by bos backs outside back back back bays backs out says back back back