In a summer where blockbusters felt stale and indie films became rote, cinephilia thrived every Sunday night as David Lynch put on an 18-hour spectacle on primetime television. Twin Peaks: The Return saw the filmmaker behind Blue Velvet and Mulholland Dr. return to the soap opera that would in part define two decades of serialized television. He created not just a new spin on the story of Dale Cooper and Laura Palmer, but instead delved into a mystery that felt more aesthetically, narratively, and emotionally involved than any other visual story this year. As the boundaries between cinema, television, streaming, and other categories have become less defined, Twin Peaks: The Return lept past these debates to simply create an utterly singular work about the never ending battle between good and evil. To celebrate the show's culmination (and perhaps the capstone of Lynch's career), Peter invites a Roadhouse worthy group of guests—Alison Herman of The Ringer, Scott Nye of Battleship Pretension and Criterion Cast, and Nate Fisher of Mubi Notebook—to dissect the show's use of nostalgic devices, moral dichotomies, and employment of experimental cinema techniques. Grab a coffee, watch out for the tulpas, and don't give anyone a light, we're all Twin Peaks this week on the podcast. 0:00-4:16 Opening 4:16-46:35 Discussing Twin Peaks: The Return 47:05-49:44Sponsorship Section 50:36-1:3019 More on The Return
When it comes to a cinephilic appreciation of comedy, who better represented it than The Total Film-Maker, Le Roi du Crazy, the Nutty Professor? Jerry Lewis was a totem in the hall of cinephilia and with good reason. No one worked harder to create an entirely unique style of filmmaking that no one else could come close to matching—to the ire of some but to the adoration of a select few. While his collabrators—Dean Martin, Hal Wallis, Frank Tashlin, and Martin Scorsese among others—are equally legendary, it is impossible to take one's eyes off Jerry and what he did, breaking the rules in order to get the funniest of laughs. To celebrate the passing of one of the last titans of Classical Hollywood (even though he never seemed to fit it), Jaime Christley of The Village Voice and Slant Magazine joins Peter to discuss elements of what made this filmmaker so unique and why they still can't stop laughing at his gags. 0:00-3:53 Opening 3:53-32:05 Discussing Jerry Lewis 32:48-36:08Sponsorship Section 36:56-48:39 Jerry and the Critics
"We have an impulse to simply collect and preserve. We don't want things to disappear."
For many historians, what made the 20th century so unique from the time before was the idea of the visual, the idea that we as a society began responding to images (both still and moving) rather than text. This visual life did not just happen through Hollywood, but in films made by advertising groups, for school children, and by families across the world as we documented the world's beauties and scars. Saving a particular section of these images has become the goal of Chicago Film Archives. The institution has spent over a decade finding and saving the images that define the Great Lakes city and the surrounding area, demonstrating how visual images capture and display American life through the 20th century. In this episode, Peter sits down with multiple members of the archives (Michelle Puetz—Curator of Programming; Brian Belak—Collections Manager; Amy Belotti—Digital Collections Manager) to discuss its history and its future. They end their conversation examining one of its most prized works, American Revolution 2, in which ideology along the left becomes an increasingly impossible debate. 0:00-3:42 Opening 4:17-12:27 Establishing Shots — Blockbuster Auteurs (Dunkirk and Logan Lucky) 13:12-50:19 Deep Focus — Chicago Film Archives 50:57-54:10Sponsorship Section
55:19-1:12:19 Double Exposure — American Revolution 2 (Howard Alk and the Film Group)
"I think you have to pay attention to the object. You have to pay attention to what's in front of your eyes really clearly."
Before anything else, films are objects that present a sensorial experience. To understand how they function—as industrial products, as societal mirrors, as ideological machines—we must understand how they interact with our minds and make us think. For the five year anniversary of The Cinephiliacs, Manohla Dargis joins the cast to talk exactly that. The New York Times critic discusses her childhood movie love of watching objects without inhibition and her writing as a form of translating the way of watching films. She also chats about the past and future of the Times, and how the institutional changes have affected the practice of criticism in a digital age. Finally, Manohla and Peter examine Charles Burnett's independent masterpiece Killer of Sheep, examining how the filmmaker's stark portrayal of impoverished black life resonates to today through poetic realism. Plus, a brief chat with James N. Kienitz Wilkins and Robin Schavoir, whose new film, The Republic, is currently streaming on MUBI. 0:00-3:09 Opening 4:23-14:00 Establishing Shots — Five Years of The Cinephiliacs 14:46-47:15 Deep Focus — Manohla Dargis 48:28-1:07:42Sponsorship Section — An Interview with The Republic team, James N. Kienitz Wilkins and Robin Schavoir
1:09:00-1:23:28 Double Exposure — Killer of Sheep (Charles Burnett)
Cross-dressing air pirates, parades of mechanical dolls, directors doing their own stunts in frigid waters, and a psychological battle for the soul of Ukraine. Now attending for their third and fourth time respectively, Peter and guest Victor Morton always find a Pandora's Box of surprises at the San Francisco Silent Film Festival. Not so much for its relevance to today (sorry, no Age of Trump discussion here), but instead for the sheer amount of creativity and engagement with the world that can sometimes feel more thoughtful than contemporary cinema. This year they dive into films from eight countries over three decades, with a few from silent cinema's canonical directors, a couple from directors in need of major recognition, and finally some films that simply baffle for their sheer WTFness. It's another wrap up in the latest discoveries in silent cinema in the East Bay. 0:00-2:45 Opening 2:46-14:32 A Page of Madness (Teinosuke Kinugasa, Japan, 1926) 15:37-27:40 Magic & Mirth: A Tribute to David Shepard / Filibus (Mario Roncoroni, Italy, 1915) 28:36-38:09 Body & Soul (Oscar Micheaux, USA, 1925) 38:34-42:10Sponsorship Section
43:33-54:27 A Man There Was (Victor Sjöström, Sweden, 1917)
55:09-1:06:07 Two Days (Heorhii Stabovyi, Ukraine / USSR, 1927)
1:07:07-1:16:12 The Doll (Ernst Lubitsch, Germany, 1919)
"I think there's a place for the skills that we learn as cinephiles in the world at large."
If the cinephilia of lining up on small streets of Paris and New York for obscure rare prints of art films and the auteurs of Hollywood to appreciate the wind in the trees has died with Susan Sontag, what has replaced it? This is one of many questions asked by blogger Girish Shambu in his book The New Cinephilia. In this final report from SCMS, Girish discusses his childhood in India and how he became interested in not just film but the kind of critical discourses it creates, and how he sees himself functioning within that world. The two talk about the opportunities and challenges that cinephilia faces in our current moment, both in terms of the expanding definition of media and its relation to politics. Finally, they turn their eyes toward the ever nebulous group of coy German filmmakers known as the Berlin School, and in particular, Thomas Arslan's Klondike-trekking western Gold with Phoenix star Nina Hoss. 0:00-3:03 Opening
3:57-12:15 Establishing Shots — A Tale of Twin Peaks 13:07-52:22 Deep Focus — Girish Shambu
Jonathan Demme began his film career 50 years ago while working for Joseph Levine's production company in 1967, carving a path that resembled no other director in American film. His narrative films ranged from the grindhouse to Oscar prestige pictures to indies and more. Beyond fiction, he made documentaries about musicians and politics, music videos for the coolest bands, and a number of television episodes that gave life to the so-called writer's medium. While the word humanist gets thrown around carelessly, Demme deserved that term for the worlds his films enveloped and the generosity he showed each and every character while often creating an implied utopian vision of diversity. This special episode mourns the death of one of the great directors, as Peter invites on Jake Mulligan and Willow Maclay to discuss the multifaceted career of a director destined to cement a place in the canon. Plus, we revisit that oft-discussed director with three Double Exposure discussions with former guests. 0:00-4:12 Opening
4:12-43:27 Discussion with Jake Mulligan and Willow Maclay
44:34-47:26Sponsorship Section 48:41-1:04:20 Beloved with Stephen Cone 1:05:21-1:28:18 The Truth About Charlie with Keith Uhlich 1:29:27-1:52:13 Stop Making Sense with Tim Grierson 1:52:40-1:22:02 Close