Before Sunrise/Before Sunset, Nostalghia (Tarkovsky #5)

What kind of a show you guys.

Putting on here today?

You're not interested in armed now? No, Look, we're going to do this thing.

We're going to have a.

Conversation from Chicago. This is film Spotting. I'm Adam Kempinar and I'm Josh Larson.

So listen, here's the deal.

This is what we should do.

You should get off the train with me here in Vienna and come check out the town.

What come on, it'll be fine.

Thirty years ago, Jesse met Selene on the train to Vienna, and the rest is movie history.

This week, we spend a night and a day with Ethan Hawks Jesse and Julie Delpy Selene as we revisit both nineteen ninety five's Before Sunrise in two thousand and fours Before Sunset.

And our Andre Tarkowski marathon concludes with nineteen eighty three's Nostalgia.

It's all ahead.

You're going to miss that plane, Josh.

I don't say that I actually have a plan to catch on film spotting.

Just you man.

Welcome to film Spotting. It's a nice bit of coincidence spotting this week, Josh, which we may get into more later. We're closing out our Andre Tarkovsky Marathon with Nostalgia, and we're embarking on a little bit of a nostalgia fest ourselves by revisiting two films from our past. Two films we love Richard Linklater's Before Sunrise and Before Sunset.

And Nostalgia for our film spotted Fest, which is only a few months old.

That's right, exactly. Back in March, we closed the first ever film Spotting Fest with a thirtieth anniversary screening of Before Sunrise. That was that the Music Box in Chicago, and that was pretty magically.

You're right.

I'm already reminiscing about that day. On a Sunday back in March after the movie, critic Scott Tobias from the Next Picture Show and The Reveal joined us along with our producer Sam Van Halgren to talk about the film. We'll share that conversation later in the show, along with the conclusion of our Tarkovski Marathon. All that and Massacre Theater.

First, we're going to mess with the chronology a bit here. I don't think link Later would mind. He has a habit of doing that himself. Before Sunset it celebrated its twentieth anniversary last year and we're revisiting it now as part of our Pantheon project. This is our effort to review every film in the film spotting Pantheon. And I like how Sam is phrasing this here eccentricly assembled movie.

Hall of Fame. I think that's accurate.

And sounds sounds kind of nice. Before Sunset, along with the other two films in the Before trilogy, was added to the Pantheon back in twenty sixteen. That's when we did our Top five Richard Linkletter scenes. Three of your top five, Adam were from the Before trilogy, including two from Sunset. I think I had two picks from this trilogy in my top five. Before Sunset came to theaters in June two thousand and four, nine years after its predecessor. The movie went on to become one of the best

Let's hear a clip. Look, I'm just so happy, all right to be with you, I am. I'm so glad you didn't forget about me.

Okay, No, I didn't, and it pisces me off. Okay, you come here to Paris all romantic and married.

Getting screw you.

Don't get me wrong.

I'm not trying to get you or anything.

I mean, all I need.

Is a married man.

And there's been so much water under the bridge.

It's not even about you anymore.

It's at that time, that moment in time that is forever gone.

I don't know you say on that, but you didn't even remember having sex, so sorry remembered.

He did?

Yes, women pretend things like that.

I don't know they do.

Yeah, what was I supposed to say that?

I remember the wine in the park and us looking at the stars fading away as the sun came up.

We had sex twice, you.

Idiot, even though I was in full on pretentious film guy mode in nineteen ninety five, or aspired to be anyway, I couldn't claim to be a Richard linklater fan. I'm not one hundred percent sure I knew his name at that point. Growing up in Iowa, I definitely wouldn't have seen Slacker yet. And even though I surely had seen Days and Confused, I didn't know enough to know it

Here's my level of cynicism, as best as I can recall seeing this in two thousand and four is I was less thinking about what I wanted, but thinking about what is link later? What is the answer link later is going to give in this movie that I'm currently watching that's going to be satisfying. I was too much in my own head and maybe not lost enough in

So yeah, that was that was my.

Memory of my first encounter with it, and even appreciating it at the time, now realizing I underestimated it at the time.

Yeah, how about that not only pulling off the miracle of making another masterpiece, and I think it is after making one with the first film, but another perfect ending, which is what happens here.

Even a better ending, maybe even a better ending.

And I realized this time too, it's the exception to the rule of sequels, which is and I'd forg this. I hadn't seen this film, I think since twenty thirteen, that's at least the last time I logged it. That was in preparation for before Midnight. I had forgotten that early on in the film we see flashbacks, we see cuts back to the first film, and that is a dead giveaway with sequels that if they're cutting back to footage from the first film, then you know it's a disaster.

Let me tell you. After having just come out of Final Reckoning a few days before, to be reminded that this was an element in before Sunset, I was like, oh, boy or boy, yeah, but so lenage to even redeem that, I.

Know, link later again just proving all those conventions wrong. But it really isn't by accident. It is all in the structure. And can I just say I love that there's a moment and I didn't clock where it exactly happens, but maybe it's about twenty minutes in on their walk they have not hit I think it's still before they finally hit the cafe that that Selene is ragging Jesse to where they're going to sit down and talk. After they've left the bookstore and they're talking, and finally Jesse

Yeah, and confronting that is not just a meta element either reverberating the audience's desires. It's also how that conversation had to go, because this was not Jesse and Celine until they get to the point of brutal honesty, dropping off facads and just going at it. And this is another thing where watching this again and I'm looking up as you were talking, and I think I did revisit it for that list as well. Last time was about a little over ten years ago, but I had forgotten this.

With this but it's all a setup.

It's all a setup, I believe, because it's making us realize that when Selene shows up, we see how integral she is to who he is, and that this is the magic of these movies. It's who they are together that is what matters. What is what these films are about. It's that chemical space between them. It's not about either individual. She You know, she starts to she's nice about his book release and everything, but also starts to call him out on his BS, but she also appreciates the dreamer

And maybe you.

Know, some people are more positive on him than others, and maybe it's not an issue for them, but at least for me, kind of setting me up for not and then reminding me of what the magic of these movies are about. And it's that honesty that you were getting to Adam when they their connection reignites when they get to the question of if either one of them went to the meeting spot. Right, these who have never

Over that to get to that truth.

Because until they get to that truth, they're not Jesse and Celine. Yet that's when they become they are.

No, that's when the movie really takes off. With ever that, let me take a few things you said, and I'm gonna take it maybe a little bit further, because this was the revelation for me, if you will, maybe too strong of a word, but I'm gonna go with it for now. I didn't rewatch this movie back in twenty sixteen for the link later scenes list. I did in twenty thirteen again for midnight, And at that time I chalked up the conceit of the film to Jesse stalling.

Right.

She gets him to wander around Paris and Josh, she initiates almost all of the conversations. He is a responder largely in this movie. So, especially if you were someone who thought he was a little pretentious in the first film, you probably do prefer this movie. And he is. I had this same thing in my notes. Jesse Ethan Hawk is largely relegated, and I don't think this is a bad thing at all. I like the different dynamic between

Yeah, And there's there's a structural reason for that, for that shift, but there's also a psychological emotional one, you know, because he's vulnerable here by admitting that he went back and that he's the romantic. He can try to play it off and she can try to play it off too, But it has revealed that he opened himself up more than she did. Bottom line, whatever the circumstances were, her grandmother's death and that, you know, it's it's all understandable.

She covered it. Just in Time is the name of that.

Stuff, of course, and I looked up the lyrics just out of curiosity.

Just in time.

You found me, just in time before you came. My time was running low.

Before you came, I was lost.

So the first the first two stanzas time mentioned three times, it's you know, clearly probably why it was chosen. It's also musically perfect for the moment and Delpi's performance in that moment. Since you touched our performance, let's go there, and I'm going to start at the ending because I'm here now. It's not only that it's seductive. But let's go back a little earlier, a few moments earlier, where she's playing her waltz. I think she calls it this waltz for him.

It's that's how great is that?

Yeah?

And she's on the guitar, and you know, I think what I love about that little bit is that you see she's doing it for him, And there are moments where she'll look up at him and kind of self deprecatingly laugh.

But there's also nice.

Little moments in the performance where she gets lost in the music. You can tell like she's no longer thinking about him in these two seconds. She's thinking about how much she's enjoying doing this musical performance, and what does that point to. She's an artist too. This is related to the kind of shifts in the dynamic from the first film to this one. Listening to this again, maybe an obvious observation, we'll see if Sophia has something mean to say to me, But listening to her lyrics, you

Her character up in so many ways.

But she's she's wonderful, He's great, She's wonderful. Together, there's something even better.

Let me sing you I owes.

Out of nowhere, out of my thoughts.

Let me sing you O oldes.

About this one night stand.

Well, for me, that night.

Everything I always drammed.

On in line.

What I love about that is I did register the bit of performance that it is. But I didn't make the connection back to the fact that he wrote a book, and this is sort of her version of that. And the reason that I registered the act of performance is I looked at my top five link later scenes. Sam had referenced it in our script notes, and so I figured, well, man, now that I've rewatched the movie, did I make the right choices? And we'll get to One of my choices

Well, there's she has a level of defense before just coming out and saying it that you're going to miss that plane. I want you here, we want we should be together. Because she delivers that line as part of her Nina Simone impersonation, she's not delivering it as Selene.

That's right.

Conversation that is allowing them to be honest, but in the guise of performance. I think I read this similarly. She's being honest, she wants them to miss that plane, she wants them to stay romantically, but she's still buffering it with performance. There's just a little bit of safety there. She's you know again, how she's maybe distinct from Jesse. She's not allowing herself to be as vulnerable as she could by delivering the statement in that way.

M hm, I love too. This is another thing I never really paid attention to. The shot and the scene right before they arrive, right before they get a to the apartment, the deliberation, the care that link later takes that they take. The performers as they walk up the stairs, that spiral staircase seems to take forever, and there is a sense of anticipation. There is a sense of anxiety too though, because I think they both they both know that they don't know what they're about to get themselves into.

It's to me a direct callback to one of my favorite link later scenes from before Sunrise, the listening booth, because what it is built upon are them taking turns looking at each other when the other one is not and looking away, and each note hits what you're describing, the hesitancy and the excitement. There are smiles and then there are smiles that suddenly fade. They do catch eyes, but not the entire time. They're not locked. And that exact back and forth is what happens in the Listening

Yes, and that really stood out to me this time. That was my number five. I referenced it earlier. My number five was the car scene link later scene. I was fine until I read your effing book. And what's so great about that scene is partly that that's where it really does get real. They're being honest with each other in different ways. It builds throughout, but it builds to this scene where they both get brutally honest with

I think it's where she's her most vulnerable. It's why it gets so real is now she has put herself in the same position he was when he admitted he came back and tried to.

Be Yeah, and at one point, I think earlier in that scene, he almost touches her to try to comfort her. It's not quite the gesture that she's going to make, and it's not quite the gesture he makes that everyone remembers from before Sunrise. But then after he finally exposes his vulnerability and reveals how rough his life is at

Well, they have and they have that hug, and she asks him, doesn't she are you dissolving her something along?

She calls back to it. She does. I wanted to ask you this or bring it up, and I'll throw it out to the listeners too, because I just ran out of time at the last minute, and I guess it's kind of silly to bring up something that I could just answer myself. But doesn't before Sunrise end with kind of a lovely little montage of the different locations.

Visiting the travel Yeah, so here's another reversal.

Doesn't before on set actually begin with hitting the spots that they go to. It's like it's foreshadowing. It's setting you up rather than looking back, which is lovely. And what clued me into that was I saw that they go to the cafe. I saw the sign of the cafe, and I started to realize oh, some of these spots are familiar, and of course those are the spots they

Yeah, a nice touch and also a nice counter to how this movie ends, which is then a fade to black as action is still taking place, but it now becomes private.

You know.

It's like we we need to leave them to be together now, and this movie needs.

To end another nice little flourish And this is what all clothes on that bookstore moment when they ask him a question about what he's working on next, and Jesse goes off on this thing he'd always had wanted to write, and he's waxing about how time is a lie and yeah, and the pop song, the pop song. Everything's happening within

Yeah, and I like how she's you know, she's almost a vision there standing there where you do, which I think almost He does a little double take.

Is she really there?

Is this really like she's somehow transported through time? To be there, even though it's completely logical that she is. I said, I was going to close there. But two other just really quick things.

At the beginning of Before Sunrise, they have that Mary couple that gets into a fight with each other, and then here you have Ethan Hawke saying that line about the couple being divorced at fifty two. And it's just interesting to think about those two encounters that exchange at the beginning of Sunrise and that line here in Sunset as we look forward to what may happen in Before Midnight. The other thing that is a totally random aside, but it just kind of strikes me as hilarious. And I've

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Susie writes she's been listening for years. Her favorite review or segment Top five movies with beaches or did I Dream That Not a Dream? Josh Episode eight thirty four, Top five beach scenes inspired by m Knight Shamlan's Old, which it says we did not review, but I don't remember doing that Top five. I feel like you talked about Old and maybe maybe you had a guest.

There might have been a guest.

Yes, I know I've reviewed it, and I think I've talked about it on the show.

A review we got wrong. You didn't get it wrong. But watch Josh O'Connor in God's Own Country and you will be enthralled.

We believe we do. Can we just do a Josh O'Connor Mini mariyth. I feel like there's a handful we need to catch up with both of us.

There are listeners around the world right now. Fist pumping, I hate you said that. A favorite that she revisited recently, Twelve Angry Men, a random film she loves, Scorsese's After Hours movie she credits with becoming a sinophile. I think this is one for a lot of people out there. Cinema Paradiso, and a book about movies that she loves, Get Happy, The Life of Judy Garland. Thank you, Susie for being part of the family and for all those years of listening. In addition to keeping us doing what

A lot of fun.

I think we mostly came away happy everyone, all of us.

I feel like a.

Recent draft went that way too. We've got to pick a more contentious topic for our next drive, maybe so we get some anger going.

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Our lives are the sum of our choices. This is we're calling your destiny.

I have no regret ansession you. That's from the trailer for Mission Impossible, the Final Reckoning, which comes to theaters this weekend. We do plan to have a review of that on next week's show, but not with you, Josh, because you will be off in Japan with your lovely bride of how many years at this point are you here to share?

I mean it long enough that it sounds very strange for you to say bride, But yes, I don't.

That's why I asked you to clarify.

Debbie and I have been married for thirty years. So we're doing it big and spending about two weeks in Japan. Really, Actually, the truth is I was not allowed to be on this show because I really strongly disliked the Final Reckoning.

I was going to say, you have a reckoning with this installment of the Mission Impossible franchise.

I hope, I hope. You know it seems mixed.

So I'm hoping either you or Michael do go for it and have a good debate about it, because I know there are big fans of the series that this one did still work for.

We will see. My guest host will be Michael Phillips from the Chicago Tribune. Along with a review of The Final Reckoning, we will share our top five movie stunts. That's a tie in with the Mi films, of course, but also with the recent ish announcement that the Oscars will be including a best Stunt category starting with the twenty twenty eight ceremony. Here's where I'm at, Josh, right now. I recently posted in the film Spotting discord what is

Oh man?

Are their technicalities?

You're lost in the weeds already.

I'm already lost in the weeds.

You know.

Does it have to be a human who's involved? Are we allowed to think of them as stunt sequences? Or is it a single event? It's tough.

You're gonna have to get back to me on that, or I'll just listen on my flight back.

Yeah.

Also, next week, results from the current Film Spotting poll. We're asking you to choose the single greatest actor or actress from the last twenty five years currently in the lead. Apparently people were swayed by my choice the number one overall pick from our draft of the actors of the Century. You can vote in that poll and leave a comment at film spotting dot net, and if you would like to check out our schedule of future shows, visit filmspotting

Wait, yeah, it's gonna be in Tokyo and we have I thought, what are the chances do we have anyone there? At least ten folks have signed up to join us, So yeah, we'll definitely be reporting back on that or follow us both on Instagram and I'll be sure to put up some pictures.

If you go to film Spotting dot Net slash episodes, you'll see that after Michael, Aisha Harris is going to join the show really fun show plan with her Clueless for its thirtieth anniversary, and our top five movie quotes. Movie quotes in our lexicon like the phrases that we actually use or have used regularly in our lives. So it might be a lot of inside jokes and we'll just look at each other with blank faces like we don't know what you're referencing.

We'll see your family's and close friends will get a kick out of it, so that's all that matters.

That's exactly right. Again, that's Film Spotting dot Net Slash Episodes.

Quick note about our sister podcast, The Next Picture Show looking at cinemas present via its past. It is part two of their Less than Hero pairings. So they're discussing the latest MCU installment, which is getting been getting pretty good reviews Thunderbolts. Previously they discussed nineteen ninety nine's Mystery Men, so they'll really do some of the compared and contrasting on this new latest episode. You can find those every

This scene, I believe the most likely outcome will be our collective demise, not if we strictly follow the rules of time travel.

It means no talking to our past selves, no betting on sporting events.

I'm gonna stop you right there, Scott.

Are you seriously telling me that your plan to save the universe is based on.

Back to the future? No good.

You have me worried there, because I'd be worship That's not.

How quantum physics works, Tony.

We have to take a stand.

We did stand, and yet here we are. I know you got a lot on the line, got a wife, a daughter, but I lost someone very important to me, A lot of people did, and now now we have a chance to bring her back, to bring everyone back.

And you're telling me that you won't need this, right.

Scot, I will speaking of the MCU that was Robert Downey Junior and Paul Rudd, as well as a few others who we didn't perform. The scene comes from twenty nineteen's Avengers Endgame, written by Stephen mcpheeley and Christopher Marcus, directed by Anthony and Joe Russo.

That massacre was part of our Top twenty five Films of the Century show a couple of weeks back. Endgame did not make either of our lists. In fact, not a single MCU film made our list. Josh, so, why that scene? Well, of course, listeners have answers.

Here's Dylan dom in Blair, Nebraska, the highest grossing movie of the century, paired with the best.

Robert Gibbons in Kaysville, Utah. Has a good answer. The connections are one, it is the top grossing or one of the top grossing movies in the last twenty five years, which ties into your best of lists. Yeah, And two you found a way to bring back the movies that were destroyed in film spotting Madness, just like the Avengers brought back the people snapped by Thanos.

Indeed, here's Addison Alley from Salt Lake City, Utah time heist. I am expecting a brimming infinity go let of answers for this Avengers Endgame scene, a movie that was actually so good for its time that it retroactively made people believe the MCU had been nothing but masterpieces before that point, and prospectively mediocre and terrible. The charm of scene massive Superhero team ups has since faded, But g boy, howdy did this work in twenty nineteen?

And here's Michael Rosch in New York, New York. Of course, the scene is from that obscure little film Avengers Endgame, the tie in besides the obvious oversight that kept the film off. Both Adam and Josh's Top twenty five of the last twenty five years include the MCU's own meta look back. Also, Downey Junior won an Oscar last year for a film by Christopher Nolan, a director who showed up on both of your lists. I also believe you renamed Scott Lang Peter as a nod to Paul Rudd

I think that's a and Spider Man and Peter Parker. But but yeah, this works just as well.

That works actually the best. We'll go with that, Michael. Thank you. Josh, go ahead and reach into that pretty brimming film Spotting hat and pick out this week's winner.

Our winner is Dave Allen from Parts Unknown, who yeah joins in with the Thunderbolts praise, saying here, I'm not sure if you guys are planning to watch a review Thunderbolts, but I think it's the best Marvel movie since shan Che.

How about that, Dave. We don't know where you're from, but we will if you send us your address, get you a film Spotting t shirt or a film Spotting tote bag, or a trial membership to the Film Spotting Family. Email us feedback at film spotting dot net.

How did I come to this?

Not again?

Five natural one? Look at me? I want to say that stupid line one more time.

We move on now to this week's edition of Massacre or a Theater. I'm gonna give everybody a hint, because I don't think the hat's going to be very brimming. We're apparently obsessed with this movie here on Bone Spot. I'm just gonna leave it out.

In a little last minute research, we appear to have done a scene from this film about a year ago.

So there's a clue for you.

We didn't discuss this beforehand, but we need to swap in a name here in your last line.

Do we want to go with?

I got one?

Okay, you got one? All right, We're gonna go surprise me there.

I think I think that this is potentially another hint if people are really paying attention, I.

Was actually going to suggest the same thing, okay, on the same page, on the same page there, and also here, I'll give another hint. If you have already listened or will soon listen to our film spoting family bonus episode about a draft of dead directors. This title, I believe is mentioned the film. Your absolute comes up quite a bit. We'll say that, okay, okay, I think we'll hopefully we've dropped enough our performances will be of no help at all.

They will be of no help. And I am going to point out that I have once again been typecast.

I mean this that or it's your your strength. Well, no, it's not your strength. We could just you're just.

We could go with that. Okay, I'm gonna start it off. You're gonna give me the action and action. Oh but you have that look, dear, I can always tell now you haven't been doing anything foolish. M m, well, I do hope you've forgotten all about that silly little plan of yours, which one about blowing up the White House.

Oh ma, I was only fooling. Besides, what would the president say?

You're a naughty boy, Sasha. You can always make me laugh. Now get shaved before your father gets home.

Wow, and see, man, I don't know it is.

Maybe it is a position of strength.

If you add giggling, I think it becomes a position of strength.

Nicely do if you know what film we just massacred, email the movie's title and your name on location to feedback at film spotting dot net. The deadline is Monday, junifverse Robert Downey Junior last week, This this week, range course the winner randomly from all the correct entries and announce it in a couple of weeks.

Ring ring, ring, Ring, Ring, ring, Pick up, pick up the phone. Hello, Hello, ven Selina, Seva bien et.

Shows that quiet.

I've been working on my English recently.

You want to talk in English?

Just for laughs?

Yeah, okay, that's a good idea.

I don't think I'm going to be able to make it for lunch today.

Selene and Jesse again, this time in nineteen ninety five's before Sunrise. We revisited Sunrise just back in March. That was part of Film Spotting Fest. We closed out those wonderful three days Adam with a sold out Sunday morning screening at Chicago's Music Box, and then after the screening, we hauled ourselves back up on stage. You and I were quite exhausted, but we leaned on producer Sam and critic and friends Scott Tobias to talk about the film.

Here is that audio.

We're excited to have Scott Tobias, our friend from the Next Picture Show podcast and from the Reveal, joining us to talk about, as you heard, one of my all time favorite movies before Sunday. Scott, thanks for joining.

Us thanks for having me. This is great.

And look at all these people stick it around for your Q and I like a bunch of sickos.

Yep.

Funny I mentioned Friday Night with Ryan Johnson. You know how Brick is one of these films where it's all taking place in high school and there's one cell phone in the movie, and how different the movie would be. Now, this is the ultimate pre cell phone movie, right, pre social media film.

I think you'd have to in order to I was thinking about that, and I think the only way to make it work is if they both somehow drop their cell phones into the Danube, and then I think maybe you could have this work.

You do wonder how do the kids meet these days? Like if they don't carry around books that you can say, what are you reading? It's like what are you looking at on your phone while someone's dancing?

I mean, you know, hey, yeah.

So, before we dive into the movie a little bit further, we've been talking to all of our guests about kind of this is the twentieth year of the show, right, so reflecting a little bit and want to share with the audience our relationship actually to you, Scott, and I guess we'll get it a little bit, your relationship to us, but your tenure with the AV Club give us the years just so we can kind.

Of I met my longtime partner and friend and editor and current cohort Keith Phipps in nineteen ninety seven at a junket for Goodwill Hunting and Scream two. I was in college graduate school, and he was working for the AV Club. He was part of what was a skeleton crew of three at the time, working out of Madison, and they were just starting up the Chicago edition and needed somebody to do the local part of that. I did not get that job, but I did start freelancing for.

Them, and they came up in nineteen ninety nine.

Was there I think until two thousand and twelve or twenty and fourteen, I can't remember. And then we started the Dissolve together, which lasted for a couple of years through Pitchfork and now we have The Reveal, which is their newsletter.

Yeah.

So between ninety seven and two thousand and five when our show started, all three of us are reading the AV Club, reading Keith reading Tasha Robinson reading you, and we're thinking about, man if we could ever get guests on the show. Would we ever get a guy like Scott Tobias to pay attention to us? Honestly, that what we thought undred percent, And I think you were maybe

It was great, and I have to say you reached out to me at first, I think when it was cinecast and I was like, what is this I'm not gonna do, And so it was, you know, just a matter of you listening to the show and being completely blown away by how good the discussion was, the quality of the production, the quality of the insight, and of course it was something I was happy to recommend and then join for as a guest episode about Knocked Up.

I believe was what we.

Thought right, Sam was off you join joined me for that one twenty fifth anniversary. We'll sit down and have a conversation. We'll devote an entire panel just to the legal dispute that caused us to change our name to film Spotting, because I know everyone dying to hear that. But yes, we did start as sinecaster first one hundred episodes, so before Sunrise. What was your relationship to it at the time that came out. Tell us about your first experience.

It's really kind of perfect because I am the same age as the characters in the movie. I think Selene says she's twenty three. I think that would have been when I saw it. I was one year out of school. It was kind of towny at that point in Athens, Georgia, and I saw the movie at a screening at college, like at college screening, and at the time link latter was extremely exciting. This was, you know, because yes, Slacker had come out while I was an undergrad, like it was ninety three.

Was days to confused.

You didn't mention, of course, I wasn't aware of his actual first film, which is what the uh?

You can't learn to plow by reading books.

But in any case, I was a bit of a ethan hawk skeptic at the time, but I was completely wowed by the movie and extremely moved by it, and I remain so this was powerful to see, and it's extraordinary to me that the sequels exists. That was one of those people where it was like, Oh, there's going to be another Before Sunrise movie.

I think ten years later I was like, no, what are you doing.

This is a horrible idea.

Then, of course it turns out to it was not a horrible if anything, if anything at least is going to be even better than this one.

So but I feel like, you know, I've grown with it. And one of the things that I really appreciate.

About the film is that it is such a chronicle of a specific moment of a person's life. They have to be this age in order to have this kind of experience, in order to have that impulse to get off the train, in order to really engage not just in each.

Other, but the idea of doing this, I think, is very specific.

To that time and where they are in their lives, and this is a film that captures that feeling so intensely.

I think I just saw it on DVD or VHS, maybe even at the time in ninety five, I had to wait. It was not coming to my small town theater in Iowa.

What was your experience, guys.

Yeah, for me, it was definitely a college movie.

I was in college at the time, so would have seen it then, And you don't remember liking it, but probably having a little of that hawk skepticism even though so reality bites you were saying, Adam was just before, right just before.

And which I liked.

But it's kind of, you know, you look at him kind of like she does in this movie, a little askance at first, even though you are mesmerized by what he's saying. And so it's probably a movie that I warmed up to. But I think that's the right relationship to have with this film. As wonderful as it is to see at a young age, it's when you're maybe a little closer to that couple on the train that this movie starts to kind of burrow deeper. And it was, you know, maybe not until I don't know, I'm teem

Love little journey to go on everybody, Yeah, we promise.

All that to say is it's a movie that's wonderful if you see it at you know, thirteen or whatever, but you're gonna love it a lot lot more down the road.

When did you see it?

So, so I would have been twenty. It came out, you said, a limited release in the summer, so I think I had kind of an ideal viewing. It actually did come to the small theater in my town in central New Hampshire, in the Lakes region, and probably it was a lovely, you know, summer evening, and my mom

Yeah, for all you non gen xers out there, all you kids, you know, congrats on your youth, but you you didn't get to have Jesse and Saline mark the stages of your life the way we did, right, And I really do value that and feel that that's that's something really special. You set us up, Sam, I think we should we should talk about it. There are so many great moments to choose from. We did do a

There are three and a right to not scenes moments, So these are moments, and these are all wordless moments. And I realized, actually very late that what made me be able to take in these moments is that there's no score. There's music, but no score. In fact the harpsichord. I was like, oh there is a score. No, no, it's a real harpsichord the garden apartment. So there are three moments and they all capture what I was getting at the terror of encountering the real Oh shit, this

So.

So there's that moment and you see it on his face, and again the camera really helps with that. There's that little push in the listening booth scene. Obviously great.

So you're gonna take all of it.

I'm not gonna take the scene. I'm not gonna take the scene. I'm just gonna There is a moment, so the music starts. God, what a great scene. God, But there is a moment the music started. As soon as we hear her voice, Selene is startled. There's a moment where she almost shakes because it's the voice again is singing with such sincerity that I think it wakes her up to the reality of the moment. And and we've all felt that that little shiver of what music can

It's the way from the third man.

Oh sure, right, of course, the moment right before they actually kiss, there's been that whole great exchange about like, you know, he's trying to make it cute. You see on his face. There's no other word for it. It's terror. He's like, this is real, We're really doing this, this is meaningful. And again, the lack of score. I think a score would erase those moments or your ability to connect with those moments. It's so nakedly exposed and they're

Moments between she talks about later you need it, and the music would ruin that great, great film.

So yeah, lack of score.

I'm going to talk about moments where there's lack of dialogue and there's an irony there with you know, Linklater, who is such a verbose filmmaker in so many great ways. But when we did our you mentioned ad on top five Ethan Hawk moments. This was episode six ninety six. I picked on the tram that early moment where he tentatively reaches out to fix Salim's hair and then stops himself because it's the pause for me.

That's romantic.

It's the it's the acknowledging of where we are right now and we're not there. And so I'm going to pause. And we when we did uh just talk about our Pantheon review Adam of Cleo from five to seventh of ARTI film, we were talking about how that extended tram scene between the two of them, there is, you know, obvious inspiration for this tram sequence.

So and the Palm Reader, did you guys think of that too? That's right, the Palm Reader, which is opens ives of seven.

Start to the Power. Yeah, yeah, I forgot about that.

Sam.

That's good, and so the other one. And I have the receipts for this, so I'm claiming this and I can prove it. Sorry, Scott, but we did link later scenes on five to eighty one. My number one all his filmography, listening Booth.

It's the listening booth.

And it's again no words, a word, one word. You're begging that no one says a word, because one word from two of them would ruin that.

And the way we're allowed to read into their reactions.

I don't know if there's any interviews that talk about rehearsals that went into that or did link later just throw them into the booth and trust them. You know, their chemistry is obviously one of the major elements of this movie. But yeah, to just to let that play out, and then the choice to end it, which I had forgotten again watching it today, but that it doesn't conclude, but that song continues as then we get a few

I was like, Nobod's gonna take the listening booth, I'll salute.

Yeah.

I mean one thing another thing I will add about the listening booth before choosing something else is I think when you have that experience of just saying this is a really cool song, you want to listen to it. It's the most awkward thing in the world you could

Just watching those two actors in that scene is incredible. But I'm just go ahead and let that one go to me. It's the it's it's a phone call, uh, the because you know, it's it's.

So funny and adorable and romantic. But I also love how that exercise allows them the opportunity to say how they really feel about each other and talk in whether they could not have accessed any other way and so, and it comes at a point, you know, a little bit later in the film where where they're feelings for each other have really intensified. And yeah, that's the one for me.

I was sure thinking about this earlier today that I was going to say the listening booth as well, because it's it's incredible. Yeah, I have no other options here, thanks guys. But the the interesting thing too, I noticed this time. I never really thought about it before, but Sam, the kiss follows on the heels of that, and I don't think the kiss happens at least at that point in the movie, that point in their day, if we don't get the listening booth scined first.

It's right, it't happen in the listening booth either. No, that's yeah, that would be be interruptive as a word said.

We need to know, they need to know, they need to have that shared experience, that they both want it, even though they're they're not directly communicating it. And that's why I think he feels not only like he has to, you know, he needs to do it, but emboldened to actually try. I think it follows the listening booth. So I look back at my link later scenes and I thought again that would be number one or two, and actually that was an honorable mention, my first honorable mention.

You know, they're being pretty.

Open with each other, but you're not open, You're not honest, You're not truly honest on a first date. You're still presenting a version of yourself, the best version you can possibly present. And as honest as they are being with each other, that's the moment where they finally get to really understand how the other feels about them, and they only get to do it through the artifice. They only get to do it through the mechanism of play acting.

We see it on her face.

We read that like, that's the moment she's.

We not only see it, but we remember it when she mentions it later that that's the moment. We already knew it was.

The moment so time I was I was shimed. I don't know why I was shocked by this, because I do love Richard link Later movies and would have thought, of course he's going to deal with time. But it's really like the basis of every conversation to have in this film isn't.

Every twenty minutes it comes up. I mean, I think the first time is when he's talking about his documentary idea for cable access or whatever, and.

I'm thinking about Boyhood and ead Evanquility go on to do something kind of like.

It, but it's like, oh, yeah, just hits you capital t time and then it comes up over and over again. Yeah, that it's already very much on his mind.

And this space they have because it's a limited time space. I think that's another reason for the honesty. It frees them up, you know, because they are constricted. They have time barriers, time constraints, and so they're not planning. I mean, they eventually start planning, but they're not planning for date two, I guess, and there's a freedom in that, but it's all because of the time constriction.

Yeah.

I mean that is the theme of link Latter's career. Time and memory, and I think memory is a part of this film as well.

You know.

But if you think about link Latter's career, the film he did before this was another Dusk till Dawn movie was Days and Confused, sort of based around his own memories of high school. This happened to him as well some version of this story. Your Boyhood is obviously an extension of time which we're following people in both a real way and Almoso documentary way as well, because these are real the actors are real people who are who

But and then of course with the memory part, I.

Mean you get at the end of this movie, this beautiful montage of all the spaces that they've visited and recontextualized by their relationship. All of these spaces now have a meeting imposed upon them and imposed upon us due to their presence in them, and those spaces are going to be remember, are going to be burned in their memories and hopefully, I guess if we appreciate the movie burned in ours.

I think that connects with your the opening thing you mentioned Adam about you know, the camera phones and the technology. It's when they say when he says I'm going to take a picture, you know, and then doesn't, but he stands there we're getting Those are the pictures they might have taken of those spots, Scott when we get back to it.

So yeah, I like that that connects with.

This you know selfie sticks at that time, which was.

Well, not only that, but you realize there are the moments when the conversation dies. That's where I was like, I wanted to throw my phone into the equivalent of the Danube because it's like we fill those moments. Those are the moments we'd reach for our phone or be like check my texts or check my email. They have to sit in those moments of discomfort. The conversation has has kind of gone into a little bit of a

It's like, I like this bridge.

Exactly, we even see that exactly. I got nothing, but I realized there needs to be something here.

How about the bridge.

Identifying with those moments in a different way. It's like, we don't, we don't do that anymore, And it made me long for those moments.

Yeah, there's a really significant small thing that happens in the movie, at least something that I caught when watching it, is when the palm reader comes over and says something to Selene about how she believes in the power of the moment.

And I think that's really a critical.

Thing about a film like this, or film like Days to Confused, where it's just in its memory based of just like these really critical moments out of time that just stay with you and are so important, and that these two people believe in so sincerely that they're able, that they're willing to jump off this train, to get off this train together and do something impulsive because they want they believe in the power of the moment, and they're willing to pursue this moment is as passionately as

They disregard that thought.

I'm glad that you mentioned memory in addition to time, because I guess enough time had passed since I last seen this film. I had forgotten about the coda at the end the post. I kind of thought it ended there at the train station, and the fact that we get link later just kind of reminding us of the

Yeah, I have to do my favorite that I've ever been.

He is talking Julie to get off the train before summer. Oh yeah, you know, I'm telling her that she was going to be a time traveler, and I was going to make her feel better about her present marriage by revealing to her how what a loser I want.

He was a loser. That's the thing. Isn't that the big secret in this movie? He almost blows it like a half a dozen times at least.

Yeah, I mean he's still He's still Ethan Hawk, And I'm going to say that that two film run with reality bites in this maybe the most gorgeous man ever on screen. So at least that's you know, my predilections.

I do think the deflation of Jesse is key to this movie though. It's really why it works. But it's not, you know, making him into a joke at all. It's allowing him to be a truer sense of himself it's allowing him to be more than that guy who is telling that time travel story, which is a great one, but it's a bit of a performance, right, And so he needs someone like her who's willing to prod and poke at that affectionately so that he can become more genuine.

And then she needs him.

She needs a sparring partner. She needs someone to, like, you know, provide her with some ideas she can push back against. And he's definitely do that and doing that, and in a way they become this couple that is self giving. I think Jesse says a couple of times when he talks about love, who are giving each other something else that they need. It might just be for these eighteen hours or whatever. But Delpy reminded me watching it today of another great nineties woman character, actually Elaine

Bothers you, and shees, I hate everything. It's just like and then you can see her going off.

I was picturing how there's this same sort of like going to take the world on and not worry about the consequences, and he provides her that space to do it for these couple of hours.

Well, I love too that link Later and his writing partner clearly had learned a few things, but they were still able to write for who these characters were at that time, which were two people that had a lot of ideas and no experience. They were full of shit basically, you know when when kind of us when we start exactly, but when Hawk says something like what is love? But two selfish people just don't want to be lonely, I'm like, Nope,

Well that's actually a perfect note to go out on. But I'll open it up to the panel here because we do have to Unfortunately, like we ran out of time with Ethan Hawk, we're out of time here to talk about Ethan Hawk in this film. Any closing thoughts, anything else you want to impart to the crowd.

M hmm, well I want to. I want to let me impart this this.

It's not even related to Before Sunrise because this is the end of your this is your yeah film Festival.

At film Festival, when.

We talk about film discourse, usually the word discourse we put in scare quotes and I and I think that as a critic, the best thing that you can do is to inspire curiosity, passion, thought, conversation, deepen the experience for people. And I think that is something that Film Spotting has done throughout its twenty years and continues to do and has cultivated this extraordinary crowd. And so I just wanted to tip my hat to film Spotting at twenty.

Thank you very much, Thanks Scott, Thank you. From March. That was our post screening Film spotting Fest conversation about Before Sunrise with Scott Tobias and producer Sam recorded live at Chicago's Music Box Theater. If you'd like to take a look back and learn a little bit about Film Spotting Fest, you can go to filmspotting dot net slash film Spotting dash Fest. One more piece of business. These revisits of the first two before movies. This really is

Josh Absolutely, yep. Okay.

The third film in the trilogy, twenty thirteen's Before Midnight, is also in the Pantheon. It was a package deal that did get a review on the show way back on episode four forty nine, so we can consider its ticket to the Pantheon already punched. And the answer is, we are going to consider it's ticket punch but we're also going to take another look at it in twenty twenty eight. Why not for its fifteenth anniversary.

Yeah.

Yeah, As I think I mentioned when we were talking Before Sunset is, I can only imagine my appreciation will rise for it and as it did for Sunset on a revisit. So it would be fun to do that.

But we felt like we'd be remiss if we didn't use this occasion all this Pantheon talk to induct one more film. We're doing a special exemption. We're not going to induct anymore Pantheon films until next year when it's time. We've decided that we're not going to willy nilly in duck movies into the Pantheon. There will be a time every year, the same month when we'll do it. There's a process now, Josh. But there's a special exemption and this movie is worthy and we're going to give you

Why you may recognize it as the champion of film spotting madness just a few weeks ago, the best films of this century so far. Yeah, There Will Be Blood came out on top. And what other madness did it win?

Adam? Didn't it win a previous tournament.

Back in twenty nineteen. It won the best of the two thousands, So that makes sense, right. If it's going to be the best film of the last twenty five years, probably should be the best film of the first ten years of this quarter century. It also made my list of the top twenty five Films of the century list. I think it narrowly yours, fair to say, John.

Yeah, definitely a consideration, and I think it's taken. I don't know how many film spotting polls over the years on various subjects, whenever it came up, whether that's favorite Paul Thomas Anderson film or you know, having listeners also vote in these sorts of rankings of the decades. So this is a movie that is routinely revered on the show and would be the obvious pick if we needed a Paul Thomas Anderson film in the Pantheon. I think

And yet as obvious as it is, and as obvious as it is to have a PTA movie in it, I know you'd lobby for Phantom Thread, I could lobby for The Master, and I'd even potentially lobby for Boogie Nights. So it's a tough choice. But with those credentials it has to be. There will be blood. It is going into the pantheon.

Ry, what is this your farewell speech going home, your farewell to the troops.

I'm not going on going with friends, have a good trick.

More about The film Spotting Pantheon is available at Filmspotting dot Net slash Pantheon.

This episode is brought to you by Peloton. Break through the busiest time of year with the brand new Peloton Cross Training tread Plus powered by Peloton Iq. With real time guidance and endless ways to move, you can personalize your workouts and train with confidence, helping you reach your goals in less time. Let yourself run, lift, sculpt, push and go. Explore the new Peloton Cross Training tread Plus at one Peloton dot com.

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Helora, Sure to.

Hell Bizierier.

That's for Andre Tarkowski's Nostalgia from nineteen eighty three. It is the final film in our Tarkowski Marathon and the final Tarkowski film, Adam, you needed to see to become a completist. We each had different blind spots as part of this marathon, and this was a big one for you and now you have seen it the film spotty marathons. We do these about once or twice a year. There are opportunities to do just that fill in cinematic blind spots.

Now.

Nostalgia follows chronologically the film we talked about last week, nineteen seventy nine's Stalker. Unlike Stalker, not any metaphysical sci fi going on. Instead, this is about a Russian writer who is traveling to Italy with a translator to conduct research for a project about an eighteenth century Russian composer

If letterbox can be trusted. Josh, it looks like you last saw Nostalgia about ten years ago October twenty fifth. Was that in advance of our Top five can Best Director winners Top five in November twenty fifteen or maybe another occasion At the time you wrote it would take many viewings to get a more specific handle on Tarkovsky's thematic aims. I think you could write that about every Tarkovski film, and you could write this as well. Yet I was more than content to simply swim in the

Getting there with this one? You know, in those times talking about Stoker, when I referenced other denser works of Tarkovsky, I think I was maybe thinking most about nostalgia. Perhaps the sacrifice can be a little bit that way. I think this viewing has helped me understand a little better what I sawce Off in that first view, and it's the theme of motherhood. We can maybe spend some time talking about that. I still have questions about that theme.

Well, before I try to answer that I mentioned earlier, the coincidence spotting of watching this film after watching and also talking about before sunset and sunrise on this show, it is not just the nostalgia thing. What did it for me. Josh was at some point seeing a close up of Domisiana Giordano Eugenia as you mentioned, and seeing

Just before the rain?

And then I went back to Andre Rubelev and Josh I would not have copied and pasted this for any reason, It says, does it freeze frame on them just before the rain? So is it possible that exactly the same moment, there's a freeze frame before rain starts to fall in those two films, and here again he uses a freeze frame.

It's an astonishing sequence that is comprised of, yes, little more than this man trudging across the length of a drained natural pool with a candle, hoping it won't go out because of the wind coming through or whatever. Yeah, this would have been my scene of the year if it came out in nineteen eighty three. It's just one of these sustained but quiet instances of slow cinema being mesmerized by that and you get lost in the effort. You get Time takes on a different meaning if you

That supports my theory to me. Yeah, he makes it that expression, that ultimate expression of faith.

It also transports him to because it's not literally the final scene. What we then get is that like it is a freeze frame shot, I think, but the camera is still pulling back again. One of these definitive Tarkowsky images that you know, if you just google his name, it's one of the images that will come credible of

Is that you know?

I think we talked about this in Stalker? Is that the point where Tarkowsky is now challenging us? What are you going to do with this presence that's been presented to you? What is your response going to be? Is that what the poet is saying to us as the only viewers left? But also where is he now? Is he in his memories? Is he in his visions? Because we both read it as that he has died in

Well yeah, just purely as a composition. You're exactly right. But I'm reading it as he is transcending whatever plane of existence he's on when he's in the pool, he is into another realm, whatever you want to characterize that realm as, whatever name you want to put on it. I do associate it, I suppose, with a sort of heaven in the sense that it it seems to be based on how we can find parallels with the other imagery and with the dog there in the water and

Now.

I don't know what to do with the abbey and what it's wrapped in, I really I don't fully, but it feels like it feels like it is comforting to him in that moment. Yeah, and so that's why I read that whole ending as as a positive thing from a faith perspective.

And you have to also read these visions as memories of his childhood, right, because you know, I don't. I was wondering is this his wife that he's seen or is this his mother?

And of course that's a tricky could be both in different points.

Yeah, in mirror there's a figure where it's the same actress plays the main figures ex wife and mother. So yeah, so that's hard to say, but I think I lean with you as these are memories of childhood, right, and a childhood home. And yeah, another thing I was going to point out, is you were in one of these visions the use of camera work. Here we have these women figures, I think there's three of them, that they're looking at the camera and the camera is kind of

Yeah, this entire film feels that way. You said that as you were setting this up, right, And there are no traditional sci fi elements. This isn't a science fiction film. It definitely is not, and certainly not in the way Stalker is or Solaris is. And yet you are in all of these liminal spaces. The entire film is a liminal space. At one point. To go back to what you said too about time and space breaking down. Remember he thinks it's time for lunch, and she says at

Is it?

Who knows? It doesn't feel like the real world, even though there are aspects of it that feel very much like our everyday world. But all of the characters are fluctuating within it and within this time in space, which is why when Tarkovsky breaks it in various ways and shocks us, it's so striking. One of those moments is when Eugenia goes into the church and that I don't know what you exactly call it, not a statue, but Mother Mary is before her.

Yeah, they call it the Madonna of childbirth. I think childbirth.

And when when that woman kneels down in front of her and the gown opens and those birds fly incredible, right, I mean, it's it's a it's a stunner. And as if that wasn't stunning enough, the next shot is the feathers from the birds cascading down, floating down on top of the candles. That that is also gorgeous, And then we.

Get like that could happen, but it's tiptoeing towards things where you're like.

How could that ever happen? Right?

Right?

So yeah, I guess if you want to use these words, it's secular and spiritual colliding, which that collision seems to happen all of the time in these films. And then we get to the hotel, and I know, especially coming off of Stalker, this is kind of almost silly to say, but what filmmaker, and I'm gonna say even even better than Kubrick, what filmmaker uses rooms and uses doorways better?

Yeah?

Ute uses doorways like their portals to other worlds all the time. They're constantly these imposing forces behind almost almost imposing forces behind characters. As they're talking, we feel the presence behind them, like they're they're drawing them in. Or what about that shot? I think it's when he's going into Domenico's home for the first time and he parts the doors. They're like barn doors that he parts, and when he does, what's on the other side black and white.

I think that shot, you know, if you wanted to give a shot to maybe explain Tarkowski, you might choose that, even though it's not quite as rivera as the final one. It's this art installation idea where he places the camera and lets the production design and the lighting. That light you described in the bathroom shifts a little bit, and I noticed this time the window to the left of

So it's it's almost this, you know.

Esoteric art piece. You're just watching shapes and colors change. And then the water is not only coming through the window, but it's seeping through the floor in a way. All of a sudden, there's a puddle by the bed, and then this is probably where you were going.

But suddenly the dog who comes out of the shows yeah.

And just it's the same dog from the black and white visions and calmly walks to the side of the bed and lays down. And I love how the poet. I think this is the touch that connects it to a temporal space, because initially we might be thinking, well, that's maybe another dog, what's going on? We're trying to stay in the real world. He just gently reaches out his hand and strokes the dog. So it's even though it shouldn't be there, he should be concerned about this.

The dog almost brings him back into the scene, because the way it's lit, it feels like Andrea is sinking into the bed, into the darkness. He's disappearing, and you feel like he might actually be disappearing, like some kind of magic act is happening as we're watching it. A couple of their small touches that I noticed throughout the marathon.

Yeah, she's really good throughout. She kind of fades away from the film a little bit in the middle section. But I think I'm not sure if we've mentioned Oleg Yankovski as Andre, This main character a really a hard part, I would think, to pull off where you're not responding much, so much of this is taking place in his head.

Seven years?

Yeah, seven years because it's unclear he thought it was the end of the world or was he just jealous because some man was looking at his wife and he didn't want her to be around men. But he locks his entire family up. We get a black and white flashback to when the family escapes the home, and that I think ties us more closely to Dominico as a sympathetic character and not just this raving lunatic so and

Nostalgia is currently available vod My Tarkovsky rank list should be coming in hot on letterbox. Do you already have yours?

There?

Yeah?

No, because I got to give some time with you know, having these it's tougher than it was before, and not just because now I've seen every film.

We will have one more bit of Tarkovsky business to attend to when you get back from your trip. We have to share, as we conclude every marathon, we have to share our Tarkovsky Awards. We need a name. I'm gonna throw out the Birches.

But.

Yeah, it's I feel like that's kind of got to be the Holy Fool.

It may have to be the Holy Fools, but you know what, We'll still take other suggestions, and if we eat our special category, it seems obvious to go with something like just even the single shot best image.

Yeah, that might be.

That might be a good one to kind of force us to really narrow in. I mean, we've talked about water so much. It could be water image if we wanted to at least give ourselves some constraints, but a couple places we could go.

Email us feedback at filmspotting dot net with your suggestions and if you would like to learn more about this marathon or past marathons. I think this is our fifty first. You can visit filmspotting dot net slash marathons, Josh, that is our show.

If you want to connect with us on social media, you can find Adam and the show at Instagram and Facebook and letterboxed. He's at film spotting. I'm at those places as well as Larsen on film We are independently produced.

And listener support it.

You can support the show by joining the film Spotting Family at film spottingfamily dot com. That way you can listen early. You can also listen ad free. Sam puts out a weekly newsletter. We record monthly bonus episodes, and you can get access to the entire show archive. If you're interested in show t shirts or any other merch you could go to film spotting dot net slash.

Shop in that Film Spotting archive lots so link later. Last year's hit Man nine to seventy, Apollo ten and a half, eight sixty seven, Where'd You Go? Bernadette seven forty one, Everybody Wants Some five eighty one. Boyhood. That was a film Spotting Fix episode dedicated just to Boyhood Before Midnight four forty nine, Bernie three ninety nine and

I mean sort of sounds like a plane movie, but I I don't know how the logistics of that work.

I like Sam's note here, does this movie actually exist? Impossible to exactly now. I know you're curious about this one. Pee Wee as Himself, a two part documentary about Paul pee Wee Herman Rubens. That's on Max Yeah, very interesting Limited. You can see Jane Austen Wrecked My Life. An aspiring author finds herself in some austin Esque romantic entanglements at a writer's retreat. To be weird if they were Dostaievsky esque. Aaron Newarth, our friend says, a charming French romantic comedy

Film Spotting is produced by Golden Joe Desso and Say I'm Van Haggren without saying m and Golden Joe, this show would it go? Our production assistant is Sophie Kempinar Special thanks to everyone at wbeazy Chicago. More information is available at wbeazy dot org. For Film Spotty nine, Josh Larson and I'm Adam Kempinar.

Thanks for listening.

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