Portrait of a Lady on Fire (2019): The Most Riveting Romance You Haven’t Seen

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In the dying embers of human existence, as the asteroid, a behemoth the size of

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Texas, hurdles relentlessly toward Earth, the world braces for an apocalyptic end.

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Deep beneath the bunker, a refuge plunges into the bowels of the Earth.

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Here, the chosen gather.

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Their purpose clear, to preserve the very soul of our civilization.

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The 35 and 70 millimeter prints that encapsulate the magic, the emotion,

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and the dreams of generations past.

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These masterpieces, each frame a testament to the human spirit, are

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carefully cataloged and cradled in the cavernous confines of the bunker.

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Perhaps there was room for more.

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For friends and family yearning for salvation, but sacrifices must be made.

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The movie nerds stand united, the keepers of a flame, promising a future where the

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art of storytelling endures, transcending the boundaries of time and space.

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God help us all.

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Welcome to Back to the Framerate, part of the Western Media Podcast Network.

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Join us as we watch and discuss films on VOD and streaming platforms, deliberating

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on whether each one is worthy of salvation or destined for destruction in the face

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of the impending asteroid apocalypse.

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You can find more episodes of our podcast on back to the framerate.

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com where you can subscribe and share our shows and find us on our

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socials at back to the framerate.

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I'm Nathan Shore and accompanying me are the extraordinary movie mavens,

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Brianna Budworth and Sam Cole.

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How are you guys tonight?

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Hello.

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I'm great.

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What was that saying?

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I am here from the hills of fire.

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No, I don't know.

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I thought you could do like Lothar

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from the hill people or something.

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Lothar.

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Remember Lothar?

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The Mike Myers character from

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Saturday Night Live?

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Oh my god.

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Yes.

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That's also similar to the name of an orc in the game Warcraft 2.

Sam: 00:01:59

Yes.

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I can't wait to talk about this movie tonight.

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I don't have a question.

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I dropped the ball completely.

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I

Sam: 00:02:08

actually, I actually have a question for you guys.

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It's a bit of a non sequitur, but have you ever gone to Walmart and you buy

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stuff in the tech section and there's no one manning the desk in the tech?

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Section.

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Yet that's a location where they can, like, you can make the purchase there

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so you don't have to wait in the line.

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And so you're hopeful, but it's never manned.

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Is this just me or is this a universal Walmart experience?

Bee: 00:02:32

Universal.

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And it's really disappointing because one of my favorite things to get at Walmart

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is a bargain Blu ray or a bargain DVD, and they often have those big buckets

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that I can sift through just up to my elbows and old like Adam Sandler movies.

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I love that.

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Dependent on like the Walmart employee that works in that tech section

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to like unlock something for you.

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Cause you can just take it some, go somewhere else.

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No,

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not to unlock it, but like you can cash out there.

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Like they have a desk there.

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And so it's so convenient to do that.

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But like when I buy one thing and you go to the main line and there's like

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1200 people, like buying everything for the next three weeks, you're

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like, man, I wish that desk was mad.

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What's preventing people from doing the opposite?

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Like you want to buy your.

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Slippers and your Cheetos going to the tech section.

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Can you do that?

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That's true.

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That's a good point.

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I don't know.

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You could, I guess, but it'd be kind of like, I don't think

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anyone has thought to do that.

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Cause it's like there it's out of their way.

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Like, and if they're getting like food, they're closer to the main aisles anyway.

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And the usual Wal Mart map layout.

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Imagine somebody just It's like paying for

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your gum at the pharmacy, you know?

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Exactly.

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Yeah.

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I think I've done that.

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Have you done that?

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Well, I Sometimes those pharmacy lines get long.

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When I do

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pick up a prescription, I do load up.

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Yeah.

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Oh yeah.

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Yes.

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Yes.

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Yes.

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That is the time.

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These subjects

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would be perfect for that Saturday Night Live skit, What Up With That?

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My favorite.

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Ha ha

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ha ha.

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Kenan's an institution.

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Amazing.

Bee: 00:04:05

Ah.

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Well, this has nothing to do with our, our, what we watched this week.

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Yeah, that was a non sequitur.

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Yeah, you're not

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going to find a movie like this in the bargain bin at Walmart.

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Absolutely not.

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But what we watched this week was a portrait.

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Of a lady on fire.

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This was the first time I watched it.

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And I think we'll, I can't wait to talk about this with everyone, but I

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have a trailer that's not in English.

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We watched a foreign movie guys.

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I think this is the first one.

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Non English language.

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Could this be the first one on our podcast?

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I'm trying to recall.

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Since I joined.

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I think maybe, hang on, I have the episode.

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It's possible and to me it was really enlightening because up

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until last week, I did not know that there was anything beyond the ocean.

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I thought it was just, I didn't know there were other countries, like, I just, I just

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thought it was USA, Walmart, and ocean.

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I was 100

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percent sure you were going to say up until this week, I

Bee: 00:05:02

didn't know how to speak French.

Sam: 00:05:05

No, I still do not know how to speak French, unfortunately.

Bee: 00:05:09

Me neither.

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I'm not, I'm not

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proud of this fact, but Spanish, a little bit Spanish.

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I could get somewhere like in a, in a vehicle, probably.

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I can

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get by a little bit on Spanish.

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I lived in Los Angeles for three years and I picked up a lot.

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And, and yeah, I picked up a little bit, you know, anyways, let me play

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the trailer for this and, you know, Take away from a what you can.

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I don't know.

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She's waiting for you.

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I've been dreaming of doing this for years.

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Die?

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Run.

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Glances and the music is swelling.

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And you know that it's a foreign language movie because nobody speaks in it.

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And I think I probably saw a trailer for this, you know, five years ago.

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I'm like, ah, I, this is not an English cause no one's

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speaking and he's saying anything

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and it's not a dialogue.

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Heavy movie to say.

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Start with in, in any language, but they sure the dialogue that's there.

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I find cutting

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and resourceful.

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So I'll just read a quick plot synopsis here, and then

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we'll get to some movie facts.

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So France, 1770, Marianne, a painter is commissioned to do

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a wedding portrait of somebody.

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Tell me if I say this wrong, Heloise.

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Yeah.

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Heloise?

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Heloise?

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I think Heloise.

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Yeah.

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I don't know if her

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name is ever said in this movie.

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I, I, I don't remember.

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I'm sure it is.

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I couldn't, I was waiting for somebody to say her name in the movie.

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Anyways, Heloise, a young woman who has just left The convent.

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Heloise is a reluctant bride to be and Marianne must paint

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her without her knowing.

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She observes her by day to paint her secretly.

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Hot.

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All right.

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So Sam, I know you dreaded this moment.

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Whip out all of that, that French dialect that you've been practicing.

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I,

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I think in order, in order not to offend the world, I will

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read the movie facts as normal and as well respected as possible.

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I want you to do it as the, the, the most ignorant American

Nathan: 00:08:08

Yeah, could you read this from

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inside a Walmart, actually?

Bee: 00:08:10

Could you?

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Oh, gosh.

Sam: 00:08:12

That's a hard character to portray because there's so many

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versions of it in this country.

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But I will begin by saying that Portrait of a Lady on Fire is a

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2019 French historical romantic drama film, Céline Sciamma.

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With two amazing, unbelievably realistic performances from

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Noemi Merlot and Adele Hanel.

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And their acting is incredible.

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Let's see this movie also was released May 2019 to Cannes Film Festival.

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It's budget was 4.

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86 million and its box office was 10 million.

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So it did solidly well.

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And.

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And I would really like to point out the cinematography by Claire Mathon, which I

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just thought was amazing in this movie.

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Like I, gorgeous, looked her up and obviously because I can't speak

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French, there were some films of like French, French films and foreign films.

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I hadn't heard of her cinematography was so good.

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I was like half wondering if it was like Roger Deakins or like, I

Sam: 00:09:19

expected to find some random big name.

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That's the level of quality of like the visuals in this movie.

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I thought,

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yeah,

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It was edited by Julian Lachery.

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And this also won the film, won the queer palm at Cairns becoming the first

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film directed by women to win the award.

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Sciamma also won the award for best screenplay at Cannes and

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the film was theatrically, excuse me, theatrically released in

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France on 18th of September 2019.

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And there are some, some more data.

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I don't know if you guys want to have any thoughts or there's tidbits.

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And it was

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released, I think, in the United States on December 6th of

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2019 and it charted at number 39.

Sam: 00:10:05

Wow.

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It's

Sam: 00:10:07

really caught the attention of Americans and it came

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in right after a great documentary called Fantastic Fungi.

Nathan: 00:10:14

Have you ever seen that?

Bee: 00:10:15

Yeah.

Bee: 00:10:16

I've heard

Nathan: 00:10:16

of it.

Nathan: 00:10:17

I have not seen it.

Nathan: 00:10:17

Amazing documentary.

Nathan: 00:10:18

It

Bee: 00:10:18

is fantastic.

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Wasn't wasn't much else that debuted that week in December.

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But number one at the box office was Frozen 2.

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It was a great

Bee: 00:10:28

year for movies.

Bee: 00:10:29

2019 was great.

Bee: 00:10:30

And for foreign films.

Bee: 00:10:31

Parasite, right?

Nathan: 00:10:34

Yes.

Nathan: 00:10:34

I don't, I don't have any other real facts about this because yeah, that's it.

Nathan: 00:10:38

All right.

Nathan: 00:10:39

Thank you, Sam.

Sam: 00:10:41

Thank you.

Sam: 00:10:41

So yeah, in a nutshell, it was genuinely well received.

Nathan: 00:10:46

Yeah, I did look at all the awards.

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This thing, there's a laundry list of festivals that this thing was

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submitted to and was nominated and won.

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It's more than I could go through, but it was very impressive.

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Very, very well regarded film.

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It's also worth noting, I think until Petite Maman, which came out

Bee: 00:11:05

after Portrait, I think Adele Annel was in every one or most of Celine

Bee: 00:11:10

Sciamma's films, not that she has.

Bee: 00:11:13

An extensive filmography, there's a number of shorts in

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there, but that's how they met.

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Okay, well, I drew the short straw, so I guess I'm going first.

Nathan: 00:11:26

I've been

Bee: 00:11:27

dying to know what you think of it.

Bee: 00:11:28

I'm glad you're going first.

Nathan: 00:11:30

So, all right, so the first thing, let me move my mic a little closer

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because I think it's far away from me.

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So, a little peek, you know, behind the curtain to our listeners.

Nathan: 00:11:39

We have this group thread.

Nathan: 00:11:41

You know, which I'm sure it doesn't surprise anybody, but I messaged everyone.

Nathan: 00:11:45

In our, in our, between the three of our hosts.

Nathan: 00:11:47

And I specifically was targeting you B, because I think you're the lone member of

Nathan: 00:11:51

our team that has seen this film before.

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And I asked, is this basically two hours of edging?

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Because that's what this movie felt like to me.

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And it's not, it's not a negative thing.

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Just, you know, this is such an incredibly intense, charged, Romance

Nathan: 00:12:12

that it's really depicted beautifully.

Nathan: 00:12:14

Nothing about the actual romance we see is, is graphically explicit.

Nathan: 00:12:21

I did not find, you know, the nudity titillating or gratuitous.

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The eroticism lives in the glances and the observations that Marianne

Nathan: 00:12:31

and share with each other.

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This movie is about.

Nathan: 00:12:35

The power of gazing and observing, and you can cut the sexual tension

Nathan: 00:12:42

between these two with a knife.

Nathan: 00:12:43

But I'm getting ahead of myself.

Bee: 00:12:45

Well, no, I'm glad you brought this up because this movie really

Bee: 00:12:48

spurred a big conversation about the female versus the male gaze in cinema.

Nathan: 00:12:53

I think, I think this movie is a masterpiece and I'm underlying think

Nathan: 00:13:01

because my takeaway Is that I really can't find a single flaw with this film.

Bee: 00:13:10

I, I'm totally with you.

Bee: 00:13:11

I'm sure that

Nathan: 00:13:11

everyone here is gonna say the same thing.

Nathan: 00:13:13

Every frame of this movie looks like a painting.

Nathan: 00:13:17

You know, you CMU complimented the cinematography.

Nathan: 00:13:21

I, I think it's even more than that.

Nathan: 00:13:23

There, there is a, a famous Dutch painter Johanna's Vermeer.

Nathan: 00:13:27

Yeah.

Nathan: 00:13:28

And.

Nathan: 00:13:29

I think there are so many frames of this movie that look like a Vermeer painting.

Nathan: 00:13:34

And he was, he was known for these lifelike, lifelike

Nathan: 00:13:38

paintings of, of people.

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And I, at times where like these characters just kind of like

Nathan: 00:13:44

standing there, looking at each other, gazing at each other.

Nathan: 00:13:47

I'm, I feel like I'm looking at a Vermeer painting.

Nathan: 00:13:49

But like a moving Vermeer painting at times.

Nathan: 00:13:51

So I was just mesmerized by watching this movie.

Nathan: 00:13:56

The two leads we've already talked about B are just outstanding.

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And actually this film is really a three hander.

Nathan: 00:14:04

I have, I have a lot of thoughts on the Sophie character, but the

Nathan: 00:14:06

two main women, Who's again, I was, I'm afraid to even say their names

Nathan: 00:14:10

because I don't want to butcher it, but they're, they're two of the best

Nathan: 00:14:14

performances I may have ever seen.

Nathan: 00:14:16

I think they're incredible.

Nathan: 00:14:17

Adele, you already talked about I think we should mention this, that how she

Nathan: 00:14:23

has left the acting industry, which.

Nathan: 00:14:26

I think it's a shame, but I fully understand and support

Nathan: 00:14:31

the reasons for her doing this.

Nathan: 00:14:33

But I think it's interesting that, you know, we can talk more about that.

Nathan: 00:14:37

But I guess there's just one thing.

Nathan: 00:14:40

I guess I'll, I'm not calling it a gripe, but it's the, it's actually a result

Nathan: 00:14:44

of how incredible the two leads are.

Nathan: 00:14:47

And this is going to sound kind of weird.

Nathan: 00:14:50

But the movie did feel a little stagy, and it's not, and it's not in a bad way.

Nathan: 00:14:57

I was constantly.

Nathan: 00:14:58

I was constantly snapped back into my world of watching this as

Nathan: 00:15:06

a gazer, sensing the acting, the acting is very forward facing.

Nathan: 00:15:12

Can I offer something on that?

Nathan: 00:15:13

Yeah, go ahead.

Bee: 00:15:14

I think that's exactly what they're talking about with Orpheus and Eurydice.

Bee: 00:15:18

You're forced to turn back and look.

Bee: 00:15:19

I think.

Bee: 00:15:20

This whole movie is about that.

Nathan: 00:15:23

There's a lot in there, yeah.

Nathan: 00:15:25

The facade of this whole thing, as, as, if I could see the actors putting on

Nathan: 00:15:31

their characters, their costumes, and pretending to be these people, and I'm

Nathan: 00:15:35

not saying that these are bad performances at all, they are absolutely amazing, I

Nathan: 00:15:39

think they're some of the best I've ever seen, but there's something about the

Nathan: 00:15:42

story, the characters felt like theater to me, like, where I sensed, The real

Nathan: 00:15:47

actors underneath the performances.

Nathan: 00:15:50

So this is a, maybe a minor quarrel, maybe it's intended.

Nathan: 00:15:53

I don't know, but this is a five star movie, possibly absolute masterpiece.

Nathan: 00:15:59

That's all I got.

Bee: 00:16:02

All right, Sam.

Bee: 00:16:02

All

Sam: 00:16:03

right.

Sam: 00:16:04

I would, I would definitely agree with that.

Sam: 00:16:06

And, and I think for me, the main thing that I like about this film,

Sam: 00:16:11

the main reason why I like it.

Sam: 00:16:13

Any movie that I love is because, for me, I felt like these characters were real,

Sam: 00:16:20

like the performances were so good, the situation felt real, the, the production

Sam: 00:16:25

design felt real, the authenticity, I, I mean, I, I I, I knew I was going to

Sam: 00:16:30

like this film, oddly enough, I kind of tend to zero in on like seemingly

Sam: 00:16:34

random scenes, but when she was like, riding in on the boat on the like rowboat

Sam: 00:16:39

at the beginning, they just felt like they got the, it just felt like I was

Sam: 00:16:44

in that time, you know what I mean?

Sam: 00:16:45

And so, I was like, I know what you mean about the like that feeling

Sam: 00:16:49

of like occasional staginess, Nathan, I didn't get that.

Sam: 00:16:53

But I do.

Sam: 00:16:53

I see how that there are like a lot of long like very like, you

Sam: 00:16:59

know, withheld pauses in this film.

Sam: 00:17:02

And so I can see that kind of feeling creeping in.

Sam: 00:17:05

But for me, The character seems so real that I was more of what focused

Sam: 00:17:11

on, I just felt the situation unfold and like, what's going to happen?

Sam: 00:17:14

Like, how is this relationship going to progress?

Sam: 00:17:16

Will it fall apart?

Sam: 00:17:17

Like, obviously it's got to end.

Sam: 00:17:19

The mother's coming back.

Sam: 00:17:20

She's going to leave.

Sam: 00:17:21

She's getting married.

Sam: 00:17:21

This is great.

Sam: 00:17:22

So I just got drawn into it.

Sam: 00:17:24

And I think that's a power a testament to like the incredible, like actors,

Sam: 00:17:30

the filmmaker, just the whole.

Sam: 00:17:32

Yeah.

Sam: 00:17:33

the whole production.

Sam: 00:17:34

And again, I, it's funny, it's a film that I would not necessarily have been drawn to

Sam: 00:17:40

or like aware of, if not for the podcast.

Sam: 00:17:43

And like, I'm glad I watched it because that I, the genre itself, like it

Sam: 00:17:48

normally wouldn't be something I'm immediately drawn to, but like, I

Sam: 00:17:51

just found this movie very engrossing.

Sam: 00:17:54

I would, I solidly liked it a lot.

Sam: 00:17:56

I would give it four.

Sam: 00:17:57

Stars.

Bee: 00:17:58

Nice.

Bee: 00:17:59

Nice.

Bee: 00:18:00

You gentlemen are arbiters of good taste.

Bee: 00:18:02

Thank you for coming to the podcast tonight.

Bee: 00:18:05

Yes.

Sam: 00:18:06

I changed my mind.

Sam: 00:18:07

One star.

Sam: 00:18:07

I want a movie about Walmart.

Sam: 00:18:09

This is boring.

Sam: 00:18:10

These women talking on a beach.

Sam: 00:18:11

Boring.

Sam: 00:18:12

No, I'm just kidding.

Sam: 00:18:13

They're not even talking in English.

Sam: 00:18:14

I don't know what

Sam: 00:18:17

Everything else I

Nathan: 00:18:18

said was true.

Nathan: 00:18:19

I didn't have my subtitles on, so I don't know what they're saying.

Bee: 00:18:22

I watched

Nathan: 00:18:23

the dubbed version.

Bee: 00:18:26

Weirdly, Robert Pattinson was in this dubbed version.

Bee: 00:18:29

Yeah, no, I'm.

Bee: 00:18:30

I, for me, this is a 10 out of 10 masterpiece.

Bee: 00:18:34

I love this movie.

Bee: 00:18:35

I love all of Celine Siama's movie.

Bee: 00:18:37

I saw this was the first one I saw from her and then I went back and did her whole

Bee: 00:18:41

filmography and it's absolutely worth it.

Bee: 00:18:45

I think everything about this movie is so layered and delicate.

Bee: 00:18:52

And every relationship in this movie just serves to give the, the a story,

Bee: 00:19:01

the romance, I think more dimension.

Bee: 00:19:03

I think the B plot with with the, the houseworker and the abortion is

Bee: 00:19:08

really well done and really beautiful.

Bee: 00:19:11

But I also think that that level of friendship and them getting to explore

Bee: 00:19:16

each other in the context of how they treat another person just adds more

Bee: 00:19:20

dimension into their relationship, too.

Bee: 00:19:22

I think that's great.

Bee: 00:19:23

It's absolutely, I think, about observation and and really seeing

Bee: 00:19:29

someone for who they are and seeing yourself for who you are.

Bee: 00:19:32

from their perspective for the first time and allowing yourself to be, to

Bee: 00:19:36

live in your truth and be the kind of person that you want them to see

Bee: 00:19:41

and that you want them to look for.

Bee: 00:19:44

The last 15 minutes of this movie are seared into my brain.

Bee: 00:19:48

I think it's a perfect, Ending.

Bee: 00:19:51

There's a few endings and I, and it's beautiful to the, to the blocking.

Bee: 00:19:56

One thing about this movie, the camera doesn't move a lot.

Bee: 00:20:00

There's a lot of shots that are still, and then there's movement within

Bee: 00:20:03

that, that do feel very painterly.

Bee: 00:20:05

What's up, Sam?

Sam: 00:20:06

No, I was going to say, I totally agree.

Sam: 00:20:08

I was just saying that's, I think what Nathan was saying about the staginess.

Sam: 00:20:11

I think that's where you get that feeling from just that in my opinion.

Sam: 00:20:14

But yeah.

Sam: 00:20:15

It's also in

Nathan: 00:20:15

the performance as well, because there is a couple

Nathan: 00:20:17

of times I don't want to.

Nathan: 00:20:18

Interrupt, but I'm watching the two actresses and I feel like they almost

Nathan: 00:20:23

are this close to breaking character.

Nathan: 00:20:27

Like they're like, they, they want to like crack up, like, like they're

Nathan: 00:20:31

having so much fun in these roles.

Nathan: 00:20:33

I felt like, and had such great chemistry that I felt like when

Nathan: 00:20:38

they kill cut, they're like, like, they just want to, like,

Bee: 00:20:41

chemistry is off the charts for me, my favorite scenes in

Bee: 00:20:46

this movie happen in the kitchen.

Bee: 00:20:49

And, and.

Bee: 00:20:50

You know, you can dig into what that means from a feminine perspective

Bee: 00:20:54

too, but all of that still camerawork just facing the table.

Bee: 00:20:58

And I love when the mother goes away and the maid is there stitching

Bee: 00:21:02

and the two of them are like, Oh, we get to play house now.

Bee: 00:21:05

And one's in the fire cooking, the other one's pouring wine.

Bee: 00:21:09

It's just really lovely to see.

Bee: 00:21:11

And then of course the bonfire is beautiful.

Bee: 00:21:14

Transcendental.

Bee: 00:21:15

I don't know how else to describe that.

Bee: 00:21:17

I'm obsessed with it.

Bee: 00:21:18

Yeah.

Bee: 00:21:19

We'll talk about it, but 5 out of 5.

Bee: 00:21:21

Love it.

Sam: 00:21:22

I also forgot to mention that I meant to say in my review, but

Sam: 00:21:24

the The sound mixing is incredible.

Sam: 00:21:28

Like, I can hear the crackling of every single, like, Ember of wood in the

Sam: 00:21:33

fireplaces and in all the scenes with fireplaces or like when they're talking

Sam: 00:21:38

so close and there's so much tension, like someone will like swallow or you're,

Sam: 00:21:41

you'll like hear like a throat noise.

Sam: 00:21:43

Like the audio is amped in this film.

Sam: 00:21:46

It's crisp.

Sam: 00:21:47

I

Nathan: 00:21:48

have a confession.

Nathan: 00:21:49

Like I, I can watch someone paint all day and it's not just about painting.

Nathan: 00:21:56

It's the, the sound of those.

Nathan: 00:21:58

Tools that they use the, that the, the metal on a canvas that's scraping sound

Nathan: 00:22:04

is like an ASMR experience for me.

Nathan: 00:22:06

Cool.

Nathan: 00:22:06

And I seriously, watch this, I was getting like goosebumps as

Nathan: 00:22:10

they're like the, the technique of creating in the hand movement.

Nathan: 00:22:15

I don't know if these were the actual actresses hands doing this.

Nathan: 00:22:19

If they, if they are, it'll be, it was unbelievable.

Nathan: 00:22:22

Like seeing the meticulous, you know you know, movement, hand

Nathan: 00:22:26

movements of painting these things.

Nathan: 00:22:28

I could have watched two hours of somebody just making, drawing a portrait, painting

Nathan: 00:22:32

a portrait and the sound of that doing it.

Nathan: 00:22:35

You

Bee: 00:22:35

got armpit sex.

Bee: 00:22:36

You got, you got armpit

Nathan: 00:22:37

sex.

Nathan: 00:22:38

That's right.

Nathan: 00:22:38

I was like, that was very jarring.

Nathan: 00:22:40

There's a couple interesting smash cuts in this movie that, Yeah.

Nathan: 00:22:46

But yeah,

Nathan: 00:22:49

wow.

Nathan: 00:22:49

Couple of things here.

Nathan: 00:22:50

I don't know who wants to, who wants to continue this.

Bee: 00:22:53

I was just going to sort of start from the top a little bit.

Bee: 00:22:56

So, you know, she, she comes in and we get introduced to the mom really quickly

Bee: 00:23:01

who we haven't talked about much, but.

Nathan: 00:23:03

Do you know who that is?

Nathan: 00:23:04

Valerie Galeno.

Bee: 00:23:06

Yes, she's amazing.

Nathan: 00:23:08

She, Sam, Valerie Galeno, you know who, I didn't

Nathan: 00:23:11

realize who this was at first.

Nathan: 00:23:13

She's been in so much stuff like big top peewee rain man.

Nathan: 00:23:18

I didn't realize who I was watching at first.

Nathan: 00:23:20

Hot shots.

Nathan: 00:23:21

Hot shots.

Nathan: 00:23:22

Yeah.

Nathan: 00:23:23

She's an awesome.

Nathan: 00:23:24

Yeah.

Nathan: 00:23:24

She's, she's a rock

Bee: 00:23:26

star.

Bee: 00:23:26

I think I'm supposed to do

Nathan: 00:23:28

also,

Bee: 00:23:31

I think I'm supposed to not like her character very

Bee: 00:23:34

much, but I love her character.

Bee: 00:23:36

I totally get where she's coming from in the sense of freedom that she wants for

Bee: 00:23:41

her daughter that can only be afforded through these societal constructions.

Bee: 00:23:46

Which that's,

Sam: 00:23:47

that's the thing.

Sam: 00:23:47

She's like a real, like you were saying, be like a real three, like

Sam: 00:23:51

these all feel like real people.

Sam: 00:23:53

Like if this was a poorly directed or acted movie, she'd be like the

Sam: 00:23:57

one note villain mother who was like, you will marry the blah, blah, blah,

Sam: 00:24:01

blah, blah, blah, blah, blah, blah.

Sam: 00:24:02

And she's like a three dimensional person who like.

Sam: 00:24:06

Has desires and then you hear her plan about wanting to go

Sam: 00:24:09

to Milan and it actually sounds kind of good like, you know I

Bee: 00:24:12

know and she like lights up when she's speaking Italian

Bee: 00:24:17

And

Bee: 00:24:19

she has this great little hair pieces adorable

Bee: 00:24:27

So she has a plan to trick sorry guy

Nathan: 00:24:29

No, go ahead.

Nathan: 00:24:31

You're talking with the mom.

Nathan: 00:24:31

Go ahead.

Bee: 00:24:32

And then together they hatch a plan to, to trick Heloise's character

Bee: 00:24:37

into being painted by saying she has a, a promenade companion, right?

Bee: 00:24:41

We're just going to go on walks together.

Bee: 00:24:42

So gay, you guys.

Bee: 00:24:44

But, we're just going to go on walks together and, and she's just observing her

Bee: 00:24:52

and, and, And Heloise's character allowing herself to be observed is already such a

Bee: 00:25:02

break because we learned that the former painter, she wasn't allowed to do that.

Bee: 00:25:06

And I think that just act of letting someone in, the walls are coming down

Bee: 00:25:13

a little bit and the romance starts to, and to, Spice up absolutely.

Sam: 00:25:18

And like, speaking of the walls, her entrance as a character where

Sam: 00:25:21

she's like shrouded in the like,

Sam: 00:25:25

it's like the most

Sam: 00:25:25

dramatic, like, this is the character.

Sam: 00:25:31

Yes.

Sam: 00:25:32

Yes.

Nathan: 00:25:33

There's a great, this is an unbelief.

Nathan: 00:25:34

And I made a note of this.

Nathan: 00:25:35

There's, there's a point, and this is, like I said, this is a movie about

Nathan: 00:25:39

the power of, of glances and gazes.

Nathan: 00:25:42

And there's, you know, they're standing out on this cliff.

Nathan: 00:25:45

This is one of the most striking shots I think I've ever seen in cinema where

Nathan: 00:25:52

Marian and Heloise are, they're looking out at the ocean over the cliff.

Nathan: 00:25:55

And it's like the side profile of them.

Nathan: 00:25:58

And, but, but Heloise is kind of like eclipsed by Marian as they're looking out.

Nathan: 00:26:02

And, but as Marian turns to look at her.

Nathan: 00:26:05

Heloise's face is revealed as looking back at her in this darting stare, and then

Nathan: 00:26:10

this exchange goes on for a few moments.

Nathan: 00:26:12

It's either foreshadowing or inferring that these two characters are going

Nathan: 00:26:16

to share this intimacy very soon.

Nathan: 00:26:19

Because if this, in this shot, they're literally sharing like one body almost.

Nathan: 00:26:23

I just love this moment.

Nathan: 00:26:24

Yeah, I know exactly what shot you're

Bee: 00:26:25

talking about.

Bee: 00:26:26

It's gorgeous.

Bee: 00:26:26

And,

Nathan: 00:26:26

and, and, It seems like such a simple shooting

Nathan: 00:26:29

technique, but it's so effective.

Nathan: 00:26:32

And I can't think of another film I've seen that done like this.

Nathan: 00:26:36

And I'm just, I, I watched, I actually rewound it and watched it again.

Nathan: 00:26:40

Cause it was like, wow.

Nathan: 00:26:42

And the location for this is like, it's almost looks like something from

Nathan: 00:26:48

A big budget science fiction movie.

Nathan: 00:26:50

Like I thought this would be like a Marvel movie or something from the

Nathan: 00:26:53

Star Wars universe or something.

Nathan: 00:26:55

This location.

Nathan: 00:26:57

It's the colors just

Bee: 00:26:59

really sing to me.

Bee: 00:27:00

They're so beautiful.

Bee: 00:27:02

I can't, I can't get enough of it.

Sam: 00:27:04

I wonder where exactly they shot it.

Sam: 00:27:06

I missed that.

Sam: 00:27:06

I'm sure that's in the Wikipedia.

Sam: 00:27:08

I'll check that.

Sam: 00:27:08

But like.

Sam: 00:27:09

It must have been somewhere like, I love the coastal, like I, I

Sam: 00:27:12

hope it's, I wouldn't be surprised if it was birthday soon on a

Nathan: 00:27:14

new walks of world.

Nathan: 00:27:15

Sam

Nathan: 00:27:16

. Sam: Exactly.

Nathan: 00:27:17

Yeah.

Nathan: 00:27:19

. Yeah, definitely epic landscape for sure.

Nathan: 00:27:23

Yeah.

Bee: 00:27:24

Yeah, it was, it was.

Bee: 00:27:25

It's filmed in in Brittany.

Nathan: 00:27:27

Oh, cool.

Bee: 00:27:28

Mm hmm.

Nathan: 00:27:30

Get on that, Sam.

Bee: 00:27:31

Yeah.

Bee: 00:27:32

Field trip.

Bee: 00:27:32

Already

Nathan: 00:27:32

on it.

Nathan: 00:27:33

It's flight booked.

Nathan: 00:27:33

Let's

Bee: 00:27:34

go.

Bee: 00:27:35

But yeah, their, their romance starts to develop.

Bee: 00:27:37

They're going on these walks together and of course she's painting her in secret.

Bee: 00:27:41

She finishes a painting that we get to see and when you see the

Bee: 00:27:44

painting reveal, the first one.

Bee: 00:27:47

What did you two think?

Bee: 00:27:48

Did you, were you like, Oh yeah, she nailed that painting.

Bee: 00:27:50

Or were you like, I was like, it's not quite

Bee: 00:27:52

her.

Nathan: 00:27:53

Like I'm actually, it's like, it didn't look quite like her, but I

Nathan: 00:27:56

was thinking myself, is this, is this like the greatest rendition of Heloise?

Nathan: 00:28:00

I'm like, no, I didn't think

Sam: 00:28:03

it was bad, but it was formal.

Sam: 00:28:06

Like it, it was like a her, but with a blank stare kind of,

Bee: 00:28:09

yeah, the rules and conventions to

Sam: 00:28:12

it.

Sam: 00:28:12

Yeah.

Bee: 00:28:14

And I love that Heloise was so honest about it and so angry.

Bee: 00:28:17

Like, I let you in.

Bee: 00:28:18

I let you spend so much time on the beach watching me.

Bee: 00:28:22

And, and this is what you come back with?

Bee: 00:28:24

But

Nathan: 00:28:24

she says like, is this how you see me?

Nathan: 00:28:26

Also, I was like,

Bee: 00:28:27

Ooh, yeah,

Nathan: 00:28:29

that

Sam: 00:28:30

was intense.

Nathan: 00:28:30

Yeah.

Bee: 00:28:31

And then it comes back to the marriage, right?

Bee: 00:28:33

This is how I'm not the only one that has to have this in mind.

Nathan: 00:28:37

It's more to that.

Nathan: 00:28:37

Like it says, is this how you see me?

Nathan: 00:28:39

Marian says, it's now only me.

Nathan: 00:28:41

There are rules, conventions, ideas.

Nathan: 00:28:43

I wrote this down here.

Nathan: 00:28:44

You mean there is no life, no presence.

Nathan: 00:28:47

Your presence is made up of fleeting moments that may lack truth.

Nathan: 00:28:52

So it was like, yeah.

Bee: 00:28:57

And at that point I am just.

Bee: 00:28:58

ceased on the floor.

Bee: 00:29:01

And then this movie

Sam: 00:29:03

does need to win.

Sam: 00:29:04

They need to create a new like Oscar category for like best tension ever.

Sam: 00:29:08

Like that's like the melodrama

Nathan: 00:29:11

is so rich in this film.

Nathan: 00:29:13

But

Bee: 00:29:14

the two like already are kind of in cahoots and they Without talking are

Bee: 00:29:19

able to, to, to prolong this process and get the house to themselves which

Bee: 00:29:25

is when this becomes the third, the three hander you talked about, Nathan.

Nathan: 00:29:28

Yeah.

Nathan: 00:29:29

Well, the reason why I also feel as a three hander, cause you know, we, we

Nathan: 00:29:32

haven't even gotten into this whole.

Nathan: 00:29:35

other piece of this, which is the, this, the story that it's kind of

Nathan: 00:29:40

being compared to the, the Morpheus and Eurydice, but also this, I mean, this

Nathan: 00:29:47

is also a, a a classic, a comparison example of three carriers that are

Nathan: 00:29:54

representing the, the human psyche, the id, the ego, and the super ego.

Bee: 00:29:59

Yeah.

Bee: 00:30:00

Yeah.

Nathan: 00:30:00

You've got Heloise.

Nathan: 00:30:01

Clearly the ID, you know, the ID represents the, the, the, the

Nathan: 00:30:06

primal desires, instinctive drives.

Nathan: 00:30:10

Heloise embodies the this aspect through, you know, emotions

Nathan: 00:30:15

and desires and the passion.

Nathan: 00:30:17

And he got Marianne, who's the ego, you know, the ego is the mediates

Nathan: 00:30:23

between the aid and the super ego.

Nathan: 00:30:25

And in reality Marianne is the artist.

Nathan: 00:30:29

you know, she's observing and processing the emotions and desires

Nathan: 00:30:34

and and feels for Heloise, right?

Nathan: 00:30:37

And she's creating that balance.

Nathan: 00:30:40

And, you know, she's tasked with painting Heloise and she's

Nathan: 00:30:43

grappling with the professional obligations of balancing emotions.

Nathan: 00:30:48

And it's mirroring the ego's role in, in between desires and the moral constraints.

Nathan: 00:30:54

And we haven't talked about Sophie yet, but Sophie is the super ego.

Nathan: 00:30:59

Sophie,

Nathan: 00:30:59

you know, the super ego represents, you know,

Nathan: 00:31:01

societal norms and ideals.

Nathan: 00:31:04

She's the maid.

Nathan: 00:31:05

And, you know, The maid is you know, supporting the, the, the societal

Nathan: 00:31:11

structures and, and moral standards.

Nathan: 00:31:16

You know, this is the classic, you know, we've pegged them

Nathan: 00:31:19

perfectly, you know, is in this.

Nathan: 00:31:21

So it's, it's

Bee: 00:31:22

interesting because I was looking at their trinity, that's

Bee: 00:31:24

a great read and I love that.

Bee: 00:31:26

But I was thinking of this Trinity.

Bee: 00:31:29

In mythology and in classical literature too, like we have the fates and we have

Bee: 00:31:33

the three witches and we have like this, this trio of three, that's, that's just

Bee: 00:31:39

this classical, like this story is going to get told through them and you know

Bee: 00:31:43

how it's going to end already, right?

Bee: 00:31:45

This movie is deep,

Nathan: 00:31:46

I think.

Bee: 00:31:47

You're there,

Nathan: 00:31:47

I know!

Nathan: 00:31:49

But yeah, so I, I didn't know much about.

Nathan: 00:31:53

I'm going to sound naive.

Nathan: 00:31:54

I didn't know anything really about Orpheus and Eurydice.

Nathan: 00:31:57

Eurydice?

Nathan: 00:31:58

Eurydice?

Nathan: 00:31:59

I

Nathan: 00:31:59

actually had to do a little bit more research on this afterwards.

Nathan: 00:32:02

So I, I, I was a novice.

Nathan: 00:32:04

But after I paused the movie and I actually had to like go on the

Nathan: 00:32:10

internet and like read about this.

Nathan: 00:32:13

All of a sudden, like, I'm like, Oh, okay, everything here is about this story.

Nathan: 00:32:19

Oh, pretty much everything is about this character, like turning

Nathan: 00:32:22

around and her lover disappears.

Nathan: 00:32:24

It's, this is happening this entire film, but what surprised me and I

Nathan: 00:32:28

don't want to jump too far ahead if we want to talk more about things, but

Nathan: 00:32:31

like, I thought this movie was going to end in a much bigger tragedy also.

Nathan: 00:32:35

You know, I mean, in a way it does me too.

Sam: 00:32:38

I was, I was worried about that.

Sam: 00:32:39

Like I was like, Oh, this is building to, and I was like,

Sam: 00:32:42

glad that she still is alive,

Nathan: 00:32:44

especially with what we've learned about the sister who.

Nathan: 00:32:48

Falls off the cliff.

Nathan: 00:32:49

I thought this was going to be some sort of self fulfilling prophecy that

Nathan: 00:32:53

this was, this is going to end up at the bottom of this cliff somehow,

Nathan: 00:32:58

you know, especially with, she was going to feel trapped by, by what,

Nathan: 00:33:03

what her future was going to be like.

Nathan: 00:33:04

They were never going to be the, the future was never going to be what

Nathan: 00:33:08

they thought it Wanted it to be and she was gonna be faced with something

Nathan: 00:33:11

and or commit suicide or something.

Nathan: 00:33:12

I had no idea where this was gonna go, but, mm-Hmm.

Nathan: 00:33:14

I thought we were going to a much more darker ending.

Nathan: 00:33:17

It seems like, you know, for the most part, it could have been, it could have

Nathan: 00:33:22

been a lot worse for, I feel like the

Bee: 00:33:24

ending's pretty dark.

Bee: 00:33:25

It, but it's not, it death.

Bee: 00:33:27

That's true.

Bee: 00:33:28

Yeah.

Bee: 00:33:28

I think the ending to me is well, we'll talk, we'll talk about the ending.

Bee: 00:33:32

We'll get, we'll, we'll get there when we

Nathan: 00:33:33

get there.

Bee: 00:33:34

Yeah.

Bee: 00:33:35

But in the meantime, we meet Sophie and, you know, Sophie's very matter

Bee: 00:33:40

of fact, like you said, you know, she, she knows the ins and outs of this.

Bee: 00:33:44

Island.

Bee: 00:33:45

And she, she helps lead the women a little bit out, out of their

Bee: 00:33:51

shell while mom's away and, and cats away, the mice will play.

Bee: 00:33:57

I love her character.

Bee: 00:33:58

I think she's really funny.

Nathan: 00:34:03

I liked her a lot.

Nathan: 00:34:03

Yeah, she is.

Nathan: 00:34:04

Yeah.

Nathan: 00:34:04

Yeah.

Nathan: 00:34:06

What did you think of, I kept trying to figure out if there

Nathan: 00:34:09

was some meaning behind.

Nathan: 00:34:11

The dress colors.

Nathan: 00:34:13

I know this might be getting really super deep, but you know,

Nathan: 00:34:17

typically Heloise is in a green dress and Marianne's in a red dress.

Nathan: 00:34:21

And I don't know if you guys, this might be getting way too

Nathan: 00:34:26

geeky, but I, I noticed that.

Nathan: 00:34:29

And I was like, you know, green nature, Maybe purity, maybe, I don't know.

Nathan: 00:34:37

Red is usually more passion and, and fire, but that felt

Nathan: 00:34:41

like it would be the opposite.

Nathan: 00:34:42

So I was, I was a little intrigued if I was reading it in a weird way.

Nathan: 00:34:46

I was trying to figure that out.

Nathan: 00:34:48

Is

Bee: 00:34:48

Sophie, here's, is Sophie in a yellowish or a beige ish?

Bee: 00:34:52

I think she is because then they're in primary colors until

Bee: 00:34:55

they come together to paint.

Nathan: 00:34:57

And she's in green.

Nathan: 00:34:58

We have red, green, Cause green is the dress

Bee: 00:35:03

she's painted in, but Heloise is normally in blue.

Bee: 00:35:05

Yeah.

Nathan: 00:35:05

By the way, it's really interesting.

Nathan: 00:35:06

The green dress, that green dress does not want to be painted.

Nathan: 00:35:12

Everybody's in that, like their head is either, you just notice like either

Nathan: 00:35:15

the painting, like it's cut off or when at one time somebody is looking

Nathan: 00:35:19

in the mirror and their head is literally cut off in the shot as well.

Nathan: 00:35:23

Yeah, it was, it was interesting how.

Nathan: 00:35:26

That it's, we're always kind of avoiding like seeing somebody for a while

Nathan: 00:35:30

in that green dress in full frame.

Nathan: 00:35:32

And I thought that was kind of interesting.

Nathan: 00:35:34

That's true.

Nathan: 00:35:35

Yeah.

Bee: 00:35:35

I think that's a good way to do a face reveal with Eloise too, when

Bee: 00:35:38

it's her sitting for the first time.

Bee: 00:35:41

I love the costuming in this.

Bee: 00:35:42

I think it's gorgeous.

Bee: 00:35:44

It's so textural.

Bee: 00:35:46

Everything in this movie just feels like, like you could just pick it

Bee: 00:35:49

up and, and touch it and feel it.

Bee: 00:35:53

It's great.

Bee: 00:35:54

How do you guys like the abortion B plot?

Bee: 00:35:58

I don't know how else to say that.

Nathan: 00:36:00

I thought it was, you know, think about, you know, there's today.

Nathan: 00:36:07

If somebody wants to go and think about getting an abortion,

Nathan: 00:36:14

I feel like there's counseling.

Nathan: 00:36:15

Like, do you really not want this baby?

Nathan: 00:36:18

Are you sure?

Nathan: 00:36:19

Have you considered like putting up for adoption?

Nathan: 00:36:22

And I feel like this is like the 1770 equivalent of that because

Nathan: 00:36:26

she's put down right next to a baby.

Nathan: 00:36:29

And I feel like, are you sure about this?

Nathan: 00:36:30

Because There's a baby right here.

Nathan: 00:36:32

I thought that was so messed up.

Nathan: 00:36:34

So

Bee: 00:36:34

messed up.

Bee: 00:36:35

It did.

Bee: 00:36:36

It did feel very like very matter of fact, you know, this is life.

Bee: 00:36:41

We're poor.

Bee: 00:36:42

You can't afford this kind of stuff.

Bee: 00:36:44

Like, where am I supposed to put this kid?

Bee: 00:36:47

You know, but

Nathan: 00:36:47

it's like, this is as I was thinking of right now, it's like,

Nathan: 00:36:51

it's, it's felt a little bit like that clinic you walk into like,

Nathan: 00:36:55

well, you know, baby right here.

Nathan: 00:36:57

You sure?

Bee: 00:36:59

Baby.

Bee: 00:37:00

I.

Bee: 00:37:01

Appreciated that she just immediately had the support of, of everyone around her.

Bee: 00:37:08

And they really, they tried every, I thought making her run

Bee: 00:37:11

back and forth was really funny,

Bee: 00:37:14

making

Bee: 00:37:14

her run back and forth on the beach.

Bee: 00:37:16

Like there was some great levity in this movie and it happens around

Bee: 00:37:19

this, which was just so smart.

Bee: 00:37:21

The scene where they're crouched in the grass and they all pop up like meerkats

Bee: 00:37:25

at the same time is just beautiful to look at, but then you realize what they're

Nathan: 00:37:31

doing.

Bee: 00:37:34

Exactly.

Bee: 00:37:35

You scare

Nathan: 00:37:35

a baby out of her.

Nathan: 00:37:36

I scare a

Bee: 00:37:36

baby.

Bee: 00:37:37

And then, and then of course it's, it's, is, you know, it is deeper than that.

Bee: 00:37:41

And it's about women helping other women and forming bonds outside of society

Bee: 00:37:46

because they weren't allowed to be their true selves and they weren't allowed to

Bee: 00:37:49

lead the kind of lives they want to live.

Bee: 00:37:51

So it, it relied on this radical collective care that still

Bee: 00:37:54

exists today that we often need.

Bee: 00:37:57

And, you know, I think the bonfire scene Is the perfect example of that.

Bee: 00:38:04

And just all those voices crescendoing out of the dark is so incredible.

Sam: 00:38:09

Yeah.

Sam: 00:38:09

Stunning.

Sam: 00:38:10

So

Bee: 00:38:10

stunning.

Bee: 00:38:11

And then of course you get that, that moment where the two of them, I think,

Bee: 00:38:15

realize that they love each other.

Bee: 00:38:18

That, that look across the fire is just, that's it, man.

Bee: 00:38:22

I'm done.

Bee: 00:38:23

And she smiles again

Nathan: 00:38:24

in that.

Nathan: 00:38:25

Yeah.

Nathan: 00:38:25

Yeah.

Nathan: 00:38:26

Oh, by the way, So, like I said, you know, I, I was joking before about this

Nathan: 00:38:30

movie being about two hours of edging.

Nathan: 00:38:32

The, the, the best release this movie, I think, had was the moment

Nathan: 00:38:37

that Heloise actually smiles.

Nathan: 00:38:39

Cause it was like, it's like, cause like all, I, I almost

Nathan: 00:38:43

didn't care about the romance.

Nathan: 00:38:45

Just smile.

Nathan: 00:38:47

Well, you know,

Bee: 00:38:48

well, you know, she took her time being funny.

Bee: 00:38:51

Yeah.

Nathan: 00:38:52

Yeah.

Nathan: 00:38:52

Yeah.

Nathan: 00:38:53

And the moment she does and cracks a smile, I was like, Oh, thank God.

Nathan: 00:38:58

It's just like, like, yeah.

Nathan: 00:39:01

So if, and it felt like I could relax and I think that happened

Nathan: 00:39:05

almost over an hour into this movie.

Nathan: 00:39:08

And it was like, I felt like I could finally just like settle

Nathan: 00:39:11

into my seat and like, have a good time with this movie after that.

Nathan: 00:39:15

But yeah, it, it really, really took off after that for me.

Nathan: 00:39:19

I really had a great time.

Nathan: 00:39:20

There's, let's see, there's a few other things here.

Nathan: 00:39:23

The visions that start to come up in this after, you know, cause the,

Nathan: 00:39:28

the whole story is introduced and.

Nathan: 00:39:32

Um, Marianne starts having these visions of Heloise in this

Nathan: 00:39:37

white, in this white dress and.

Nathan: 00:39:41

Of course mirroring the, the, the, the story that they were read,

Nathan: 00:39:44

the they read gave me chills.

Nathan: 00:39:47

Like really?

Nathan: 00:39:48

It was haunting.

Nathan: 00:39:49

Yeah, I really, I really, really, it was effective.

Nathan: 00:39:52

Can we talk

Bee: 00:39:53

a little bit about the story, because there's a few emotional and plot

Bee: 00:39:58

developments that happen when it's a trio.

Bee: 00:40:01

Mm-Hmm.

Bee: 00:40:01

. And one is that, heloise starts asking Marianne to paint, to draw

Bee: 00:40:06

them in books, to draw out the the scene, to sort of process what the

Bee: 00:40:10

three of them went through together.

Bee: 00:40:12

That is sort of a catalyst where she starts to find joy and, and

Bee: 00:40:16

take part of the process and take ownership of her image.

Bee: 00:40:20

And the other one is this story where they're sort of developing the

Bee: 00:40:23

narrative for, themselves through the lens of Orpheus and Eurydice and

Bee: 00:40:28

specifically that, that ending sequence that Heloise is reading aloud to the

Bee: 00:40:32

table because they didn't have TV.

Bee: 00:40:34

I don't know if you knew that.

Bee: 00:40:35

So they had to read the Greeks.

Bee: 00:40:38

And so.

Bee: 00:40:39

And, and the end is where, of course Eurydice is in the Underworld and,

Bee: 00:40:45

and he's trying to get her back, but he's made a deal and they say if

Bee: 00:40:48

you turn back and look for Eurydice, then she'll be trapped here forever.

Bee: 00:40:53

And he can't resist and he looks back for her and she's trapped and he moves on.

Bee: 00:40:59

And the three of them offer their own interpretation in the

Bee: 00:41:04

moment of what that could mean.

Bee: 00:41:07

Thank you.

Bee: 00:41:07

And they're defining the ending of this movie for us before it

Bee: 00:41:12

happens, like the Fates, right?

Bee: 00:41:14

Like the Three Witches.

Bee: 00:41:15

And they're saying, you know, did they, did he make the poet's choice?

Bee: 00:41:19

Is he choosing the memory?

Bee: 00:41:21

The lover's choice versus

Nathan: 00:41:22

the poet's choice.

Bee: 00:41:23

Choosing to remember her.

Bee: 00:41:25

And Heloise says maybe she's made a choice.

Bee: 00:41:27

Maybe she said, look at me.

Bee: 00:41:29

Which is the choice that she's been making this whole movie.

Bee: 00:41:32

So I, What's your read on it?

Nathan: 00:41:34

And I remember Sophie was, like, appalled.

Nathan: 00:41:37

Like, why would, why would they do that?

Nathan: 00:41:39

Like, that was so stupid.

Nathan: 00:41:41

All you had to do was not turn around, and everything would have been fine.

Nathan: 00:41:44

Sophie's

Nathan: 00:41:45

like these

Nathan: 00:41:45

dumb, damn men.

Nathan: 00:41:47

So pragmatic.

Nathan: 00:41:48

Like, why would you, why would you do this?

Nathan: 00:41:50

I remember finding

Sam: 00:41:51

that story very emotional, like, when I first heard it in fifth grade.

Sam: 00:41:54

I was like, I looked back, and like, I just, that was like, To my mind then

Sam: 00:41:58

that was such an intensely epic story.

Sam: 00:42:00

I was like, oh my god the tragedy.

Nathan: 00:42:03

Yeah.

Nathan: 00:42:04

Yeah That was my I remember that was my main takeaway.

Nathan: 00:42:07

I remember just Sophie being so like like angry at at How that how that turned

Nathan: 00:42:15

out and like why were you such an idiot?

Nathan: 00:42:17

All I had to do is just not turn around and keep going

Nathan: 00:42:24

And I'm trying to figure out if my, how it relates to the ending though.

Bee: 00:42:31

So the very end where where they're hearing music and it's,

Bee: 00:42:36

it's, we assume Heloise's first time at the symphony and they're playing

Bee: 00:42:40

the Vivaldi that Marianne played for seasons together, the four seasons.

Bee: 00:42:44

And she's looking and she's looking like she's behind.

Bee: 00:42:48

They almost switched places.

Bee: 00:42:50

Like now she's Eurydice and she.

Bee: 00:42:52

It's just wondering if, if she'll turn back and look at her

Nathan: 00:42:57

from across the, from across

Bee: 00:42:59

the balcony

Nathan: 00:43:01

because, you know, like we're,

Bee: 00:43:02

we're left thinking about that final look, you know, that

Bee: 00:43:05

final moment and they're sort of chasing each other through history,

Bee: 00:43:09

you

Bee: 00:43:10

know, and she's dropping all these clues, the 28, the

Bee: 00:43:13

book, like, You know, but

Sam: 00:43:15

then, but when they're at the play, like she doesn't turn and see her there.

Sam: 00:43:18

Like they don't, she doesn't turn.

Sam: 00:43:20

Yeah.

Bee: 00:43:20

Yeah.

Bee: 00:43:21

It's unfulfilled.

Bee: 00:43:22

Right.

Bee: 00:43:22

I kind of

Sam: 00:43:23

like that.

Nathan: 00:43:23

That's interesting.

Nathan: 00:43:25

I have so many thoughts in the end of this, but I didn't really think about

Nathan: 00:43:28

it that way, but that's, that's great.

Nathan: 00:43:32

I guess I'll, I'll share a couple thoughts on, on the end.

Nathan: 00:43:35

I mean, first of all, I was, I guess we could, no, I'll mention about

Nathan: 00:43:39

the end because I love the ending of this movie, but I was also sort

Nathan: 00:43:45

of conflicted for a little bit.

Nathan: 00:43:47

I saw this about four days ago.

Nathan: 00:43:49

So it's, I guess it's years later after the events of this, like nine

Nathan: 00:43:54

or 10 days that they had together at, you know, and, and Marianne goes

Nathan: 00:44:00

to this art gallery where there's a, there's some showing or so.

Nathan: 00:44:05

And

Nathan: 00:44:05

we obviously we see her and she, there's a portrait

Nathan: 00:44:08

of her with a child as well.

Nathan: 00:44:11

And it looks like the child's maybe what, what, five or six years old or so.

Nathan: 00:44:13

So sometimes gone by and she has the finger placed on inside

Nathan: 00:44:17

of page 28, which is amazing.

Nathan: 00:44:19

I love that moment because what we haven't said is that when, when,

Nathan: 00:44:22

when, when, when, when, when, when, Earlier in the movie, she asked Mary

Nathan: 00:44:25

to paint a little self portrait of herself inside the book on page 28.

Nathan: 00:44:31

And she drew a self portrait.

Nathan: 00:44:33

So obviously her love has never faded.

Nathan: 00:44:36

And I'm trying, I actually trying to imagine the conversation

Nathan: 00:44:38

between Heloise and the painter, you know, which is kind of funny.

Nathan: 00:44:43

Just, yeah, right little 28 right here, or maybe she comes around

Nathan: 00:44:46

like, Hey, just give me that.

Nathan: 00:44:48

Paintbrush.

Nathan: 00:44:48

All right, there you go.

Nathan: 00:44:50

I've seen some,

Bee: 00:44:51

some sort of cute interpretations where the eight kind of looks

Bee: 00:44:54

like an infinity symbol, right?

Bee: 00:44:56

So it'd be like two of us forever.

Bee: 00:44:58

It's kind of cute.

Bee: 00:44:59

I don't know if that was intentional, but.

Bee: 00:45:01

So

Nathan: 00:45:02

now at the concert, Marianne sees Heloise from across the concert hall and.

Nathan: 00:45:08

She never sees Marianne and the music begins, it gets super loud.

Nathan: 00:45:13

You know, we got all these four seasons being played.

Nathan: 00:45:15

It's by the way, it's the same music that Marianne plays in the

Nathan: 00:45:19

harpsichord earlier in the film.

Nathan: 00:45:22

And you can see that, you know, that rush of emotions and memories.

Nathan: 00:45:26

All hitting hoes at the same time.

Nathan: 00:45:27

It's actually, it's just an incredible feat of acting also.

Nathan: 00:45:31

Yes.

Nathan: 00:45:31

What you see there.

Nathan: 00:45:32

But here's the thing.

Nathan: 00:45:33

For a while, I was like, I love this, but it also kind of felt like a double ending.

Nathan: 00:45:41

And I was wondering, did I need this moment?

Nathan: 00:45:43

Because I, for a while, I felt like.

Nathan: 00:45:47

I need, I got everything I needed out of the story of these two.

Nathan: 00:45:53

When I saw that page 28, it told me everything about what I

Nathan: 00:45:57

needed from this relationship.

Nathan: 00:45:59

And that was like the aha moment.

Nathan: 00:46:03

Hell we just love never faded.

Nathan: 00:46:05

And.

Nathan: 00:46:06

Marion got to see, cause it's also set up.

Nathan: 00:46:08

I, she says it like twice.

Nathan: 00:46:10

I got to see Heloise one more time.

Nathan: 00:46:12

I got to see her one more time.

Nathan: 00:46:14

And I thought it would have been actually kind of cool if that seeing

Nathan: 00:46:17

her meant like in that portrait.

Nathan: 00:46:20

And that would have been like, Oh, I got to see her there.

Nathan: 00:46:24

That's her seeing her.

Nathan: 00:46:26

And that's what I thought, thought where the movie was trying to go.

Nathan: 00:46:31

But so if the movie ended right there, I would have thought this

Nathan: 00:46:35

was the greatest ending ever.

Nathan: 00:46:37

Honestly, no, I think, and I think there's an argument to be made

Nathan: 00:46:40

that final scene didn't with at the concert hall wasn't needed, but it was

Nathan: 00:46:45

superfluous, but I've been, I've been going back and forth, but I am now

Nathan: 00:46:50

convinced that the concert hall scene.

Nathan: 00:46:54

Actually add something really great to it because what the gallery scene is doing

Nathan: 00:47:02

is allowing Marianne to see Heloise.

Nathan: 00:47:10

What the concert hall scene is doing is allowing Heloise to

Nathan: 00:47:16

see Marianne through the music.

Bee: 00:47:20

Yes,

Nathan: 00:47:21

because that was their connection.

Nathan: 00:47:23

It's the memory of her.

Nathan: 00:47:24

It's the memory.

Nathan: 00:47:25

So we're now seeing.

Nathan: 00:47:27

everything rushing through Heloise in that moment.

Nathan: 00:47:31

She, we're now seeing her see.

Nathan: 00:47:34

Marianne.

Nathan: 00:47:35

And we wouldn't have gotten that otherwise.

Nathan: 00:47:37

Cause I was still like doing it.

Nathan: 00:47:38

It feels like a double, it felt like we get it, the ending.

Nathan: 00:47:42

Now we're getting the ending again, but it is showing us

Nathan: 00:47:46

another perspective of that love.

Bee: 00:47:49

And it's, it's, I think it comes back to that, the myth the Orpheus myth

Bee: 00:47:56

and just seeing Heloise from Marianne's perspective, raw and unvarnished and not.

Bee: 00:48:08

not with a purpose, just seeing her as she remembers.

Bee: 00:48:14

And then, you know, then it puts another layer on Marianne's painting

Bee: 00:48:20

in the previous scene, because you mentioned we see the painting of

Bee: 00:48:24

Heloise, but Marianne has a piece in that art show, which is why she's there.

Bee: 00:48:29

And it's the moment of the turn from the Orpheus and Eurydice myth.

Bee: 00:48:33

And, a collector comes up and says it's almost as if they're saying

Bee: 00:48:37

goodbye to each other in this moment.

Bee: 00:48:39

And, and I think you, you have that.

Bee: 00:48:44

Yeah.

Bee: 00:48:44

It's it's a masterful piece of acting.

Nathan: 00:48:49

All right.

Nathan: 00:48:50

I, I got nothing else.

Bee: 00:48:54

Sam, what'd you think of the ending?

Sam: 00:48:56

I liked it.

Sam: 00:48:57

I mean, I, I, I, but again, this whole movie, like I felt emotionally

Sam: 00:49:01

drawn in and so whether the ending was necessary or not, I was just happy

Sam: 00:49:06

to see another moment and see her,

Sam: 00:49:09

see her,

Sam: 00:49:09

and I, and I thought I was convinced that she was going to

Sam: 00:49:12

turn and see her and she didn't.

Sam: 00:49:14

And that surprised me.

Sam: 00:49:15

And that just kind of.

Sam: 00:49:16

Felt like, you know, added a bit of like melancholy to it.

Sam: 00:49:20

That ambiguity and like a little bit of tragedy.

Sam: 00:49:23

But I, I liked the theater ending.

Sam: 00:49:24

Like I was just, I was glad it was there.

Sam: 00:49:26

Cause I was emotionally involved.

Nathan: 00:49:28

I've never been so much at the edge of my seat, watching somebody

Nathan: 00:49:31

just listen to music, like at that final scene, like, what's, is she

Nathan: 00:49:35

just gonna like look and looked over across the concert hall or what?

Nathan: 00:49:39

I was like, It was, it was incredible.

Nathan: 00:49:42

Yeah.

Bee: 00:49:43

And so I wanted to pull up this quote from Celine Siama about the ending.

Bee: 00:49:49

She said, yes.

Bee: 00:49:50

And also because I wanted to question what a happy ending is.

Bee: 00:49:54

We have the romantic comedy philosophy of frozen image of two people being together.

Bee: 00:49:59

And we also have the tragic ending and I wanted neither.

Bee: 00:50:02

Why do we believe that eternal possession of somebody means a happy ending?

Bee: 00:50:07

Love educates us about art.

Bee: 00:50:09

Art consoles us from lost love.

Bee: 00:50:11

Our great loves are a condition of our future love.

Bee: 00:50:15

This film is the memory of a love story.

Bee: 00:50:17

It's sad, but it's full of hope.

Bee: 00:50:23

She's smart.

Bee: 00:50:23

I love

Sam: 00:50:25

that.

Sam: 00:50:28

That was, that was, that truly was amazing.

Sam: 00:50:30

I just love the adage.

Sam: 00:50:30

She's smart.

Bee: 00:50:32

She's smart.

Bee: 00:50:32

That

Sam: 00:50:33

was a very like, funny adage.

Sam: 00:50:33

Family guy.

Sam: 00:50:34

Like this speech is like, that was wicked.

Sam: 00:50:36

Great.

Sam: 00:50:37

Lois.

Sam: 00:50:37

Oh,

Sam: 00:50:41

but no, but amazing.

Sam: 00:50:42

Yeah.

Nathan: 00:50:42

All right.

Nathan: 00:50:44

Are we ready for a little break?

Bee: 00:50:46

Yeah.

Nathan: 00:50:46

All right.

Nathan: 00:50:49

All right.

Nathan: 00:50:49

Thanks for checking out our podcast and a review of portrait of a lady on fire.

Nathan: 00:50:53

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Nathan: 00:50:55

Or disagree with our views.

Nathan: 00:50:56

Don't keep it to yourselves.

Nathan: 00:50:58

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Nathan: 00:50:59

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Nathan: 00:51:03

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Nathan: 00:51:04

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Nathan: 00:51:10

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Nathan: 00:51:15

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Nathan: 00:51:16

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Nathan: 00:51:20

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Nathan: 00:51:24

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Nathan: 00:51:28

It is time for us to decide if we are going to save or purge.

Bee: 00:51:36

Yeah, this is a real nail biter.

Nathan: 00:51:39

Gee,

Nathan: 00:51:39

I wonder what's gonna happen here.

Nathan: 00:51:42

Yeah, this movie is great.

Nathan: 00:51:43

I gave it five stars.

Nathan: 00:51:45

This, I don't think there's ever been a movie that I so instantly

Nathan: 00:51:50

went on Criterion and looked up, like, how, where can I get the, the

Nathan: 00:51:55

the, the Criterion Blu ray of this?

Nathan: 00:51:58

Cause I may do that right away.

Nathan: 00:52:01

Cause I, I was, I do want to.

Nathan: 00:52:03

See what special features are on this.

Nathan: 00:52:04

This, this movie was incredible and it's been on my list of movies to watch

Nathan: 00:52:09

for years and years, and I'm so glad that we decided to watch it this week.

Nathan: 00:52:15

So yeah, this is a save, a no brainer.

Bee: 00:52:22

Nice

Bee: 00:52:24

save

Bee: 00:52:27

control S

Bee: 00:52:30

just kidding.

Bee: 00:52:31

Purge it.

Bee: 00:52:31

No, I save it.

Bee: 00:52:33

Yeah.

Bee: 00:52:34

Yeah.

Bee: 00:52:34

It's an obvious.

Nathan: 00:52:43

I remember the sound effect this week.

Bee: 00:52:45

Nice.

Nathan: 00:52:46

Yeah.

Nathan: 00:52:47

Don't have to add it in post.

Nathan: 00:52:51

All right.

Nathan: 00:52:52

Let's do our movie pairings, which.

Bee: 00:52:57

Okay.

Bee: 00:52:57

So

Nathan: 00:52:58

we're keeping them as surprise.

Nathan: 00:53:00

I don't have my little set, my little sound effect.

Nathan: 00:53:02

Sam, I don't have my sound effect, but you know what I do have?

Sam: 00:53:05

What is that?

Sam: 00:53:05

What is the sound effect?

Nathan: 00:53:07

Well, I usually, I don't have my little, the bumper.

Nathan: 00:53:09

The bumper for it, but you know what I do have?

Nathan: 00:53:11

Because I couldn't find.

Nathan: 00:53:13

I lost the file for it.

Nathan: 00:53:14

I have this.

Bee: 00:53:15

We got twins!

Nathan: 00:53:18

Twins!

Bee: 00:53:20

Nathan, so for listeners, we're keeping our, our double feature

Bee: 00:53:24

pairings a surprise from each other.

Bee: 00:53:27

And I, Nathan, you're going first.

Bee: 00:53:30

I'm going last.

Bee: 00:53:31

I have a genuine concern that you and I have the same pairing.

Bee: 00:53:35

So , I'm dying to know what your story is.

Sam: 00:53:37

Damn.

Bee: 00:53:38

Does your, while you're

Sam: 00:53:39

worried about that, since, since double feature pairing

Sam: 00:53:41

doesn't have a song, might I suggest double feature pairing.

Sam: 00:53:45

Double feature

Sam: 00:53:46

pairing.

Sam: 00:53:49

Now I'm really

Nathan: 00:53:49

concerned too, GI, gimme the slightest hint of yours.

Nathan: 00:53:54

The slightest hint,

Nathan: 00:53:55

. Bee: Oh, there's nothing subtle about the movie I'm going to do.

Nathan: 00:53:58

Go ahead.

Nathan: 00:53:59

Just do it.

Nathan: 00:54:00

If it's, if it's that one, I'll pick a different one.

Nathan: 00:54:02

Okay.

Sam: 00:54:03

So let me guess newsroom with Jeff Daniels, right?

Sam: 00:54:07

It's Rambo three.

Bee: 00:54:08

America is the greatest.

Nathan: 00:54:10

My movie pairing this week.

Nathan: 00:54:14

I think is very appropriate because watching these two films together will

Nathan: 00:54:20

incite another form of temptation where Portrait of a Lady on Fire is what I

Nathan: 00:54:27

equate to two hour, a two hour lap dance.

Nathan: 00:54:30

You can look, but don't touch, but boy, does it get your motor running.

Nathan: 00:54:35

The two thousand.

Nathan: 00:54:38

Lashley Hallstrom film, Chocolat, equally, equally titillates

Nathan: 00:54:44

a different set of senses.

Bee: 00:54:46

Yeah, yeah, yeah.

Bee: 00:54:46

Okay.

Bee: 00:54:47

We don't have the same movie.

Bee: 00:54:48

That of

Nathan: 00:54:49

the exquisite looking confections that are crafted by

Nathan: 00:54:53

the film's lead, Juliette Binoche.

Nathan: 00:54:56

Who's always incredible.

Bee: 00:54:57

I love her.

Bee: 00:54:57

You've also

Nathan: 00:54:58

got Dame Judi Dench, Alfred Molina, Johnny Depp, and Carrie Anne Moss.

Nathan: 00:55:03

You know, what, what an incredible run for Carrie Anne Moss back around this time.

Nathan: 00:55:07

She did The Matrix.

Bee: 00:55:09

Yeah.

Nathan: 00:55:09

Memento, and this film within like a year.

Bee: 00:55:12

Did you mention Molina too?

Bee: 00:55:14

Sorry if I missed it.

Bee: 00:55:15

Alfred Molina.

Nathan: 00:55:15

Oh yeah.

Bee: 00:55:16

Yeah.

Bee: 00:55:16

Who's incredible.

Nathan: 00:55:17

I'm about to mention something.

Nathan: 00:55:18

So, but now she's Can we start like a

Bee: 00:55:19

Molina film?

Bee: 00:55:20

Fan club.

Bee: 00:55:21

I know

Nathan: 00:55:21

he's awesome.

Nathan: 00:55:23

Character moves into a small French village and all she wants to do is bring

Nathan: 00:55:28

the most decadent chocolate confections imaginable to the locals, but there's

Nathan: 00:55:34

some resistance from the Alfred Molina character who is steeped in tradition

Nathan: 00:55:40

and his moral high ground, but he's also, you know, a very complicated character.

Nathan: 00:55:48

And I don't want to spoil the ending, but there's just a great scene with

Nathan: 00:55:51

Alfred Molina at the end of this movie that I can't talk about if you haven't

Nathan: 00:55:54

seen it, but he is so good in this.

Bee: 00:55:56

Just watch Shock a lot.

Bee: 00:55:58

I know.

Bee: 00:55:58

I

Nathan: 00:55:58

think this is a great double feature because, well, first of

Nathan: 00:56:01

all, you've got the French setting, but the protagonists is, you know,

Nathan: 00:56:04

are also both strong female leads.

Nathan: 00:56:07

Both films explore social norms, personal freedoms, empowerment, self discovery.

Nathan: 00:56:13

But the films have very different tones.

Nathan: 00:56:16

Chocolates are much more whimsical.

Nathan: 00:56:17

Which would you

Bee: 00:56:19

watch first?

Bee: 00:56:20

Oh,

Nathan: 00:56:21

I'd watch Portrait first, then Chocolate to end it.

Bee: 00:56:24

A little palette cleanser.

Bee: 00:56:25

Oh,

Nathan: 00:56:25

yeah.

Nathan: 00:56:26

Yeah.

Nathan: 00:56:26

I still think it's a great pairing because by the end of the night,

Nathan: 00:56:30

you're you're going to feel some.

Nathan: 00:56:34

Tantalizing emotions in some form or another.

Nathan: 00:56:36

So,

Bee: 00:56:37

yeah.

Nathan: 00:56:37

Because, you know, sex and chocolate, you know?

Bee: 00:56:39

Yeah, yeah, yeah.

Bee: 00:56:41

They go together like sex and chocolate.

Bee: 00:56:43

Yeah.

Sam: 00:56:45

All right.

Sam: 00:56:49

So this is a very, very thinly drawn connection, but both movies are about,

Sam: 00:56:54

yes, that was the thing dedicated to the valent, no, I'm not gonna,

Sam: 00:56:58

nevermind but the movie action.

Sam: 00:57:00

Wow.

Sam: 00:57:00

No, I'm like, yeah.

Nathan: 00:57:01

I'm so sorry.

Nathan: 00:57:02

That's okay.

Nathan: 00:57:04

You derailed my point.

Nathan: 00:57:05

Pre programmed AI speech, B.

Nathan: 00:57:08

Thanks a lot.

Nathan: 00:57:09

No, I'm just kidding.

Nathan: 00:57:11

By the way,

Nathan: 00:57:12

Shotgun on Amazon is on prime video.

Nathan: 00:57:14

I should have mentioned.

Nathan: 00:57:15

Go ahead.

Sam: 00:57:16

So the film I would pick is it's, it's like forbidden love completely

Sam: 00:57:20

different, but the one thing they have in common are both incredibly,

Sam: 00:57:24

Well acted films that feel real to me.

Sam: 00:57:26

This movie is a film by Adrian Lynn called unfaithful.

Sam: 00:57:32

Very intense with Richard Gere and, and Diane Lane and totally different

Sam: 00:57:36

story of like forbidden passion.

Sam: 00:57:39

Even though the themes of these two films are entirely different,

Sam: 00:57:42

it is sexy and intense and, and like just rife with tension.

Sam: 00:57:47

So watch these movies.

Sam: 00:57:49

Both together in a single night to literally just like be rung

Sam: 00:57:53

out and then he'll fall asleep.

Bee: 00:57:56

When, when we did American Gigolo, we wanted to pick like underrated Richard

Bee: 00:58:01

Gere movies so listeners can, can go back.

Bee: 00:58:04

But I think this, I don't think this is underrated.

Sam: 00:58:08

Yeah,

Nathan: 00:58:08

the movie is incredible.

Nathan: 00:58:09

It's a great movie.

Nathan: 00:58:10

It came up during that.

Nathan: 00:58:11

Yeah.

Nathan: 00:58:12

Yeah.

Nathan: 00:58:13

Unfaithful is available on Hulu and Showtime.

Nathan: 00:58:18

Should watch it.

Nathan: 00:58:18

Yup.

Sam: 00:58:19

One sound effect we definitely need for the show, Nathan, and maybe

Sam: 00:58:22

I can get it is, is John Malkovich and in the line of fire when he's going,

Sam: 00:58:27

whoo, whoo,

Sam: 00:58:30

he's watching the president.

Sam: 00:58:31

Cause I imitate that all the time and I remind me the real soundbite.

Sam: 00:58:34

Yeah.

Sam: 00:58:35

Remind me.

Sam: 00:58:36

All right.

Bee: 00:58:39

All right.

Bee: 00:58:40

Me next.

Bee: 00:58:40

So I went with another queer love story.

Bee: 00:58:45

Another Adam could be, well, this one is, is I guess more of an overt adaptation.

Bee: 00:58:50

My own private Idaho, 1991, Gus Van Sant.

Bee: 00:58:53

Probably.

Bee: 00:58:54

I still have not

Sam: 00:58:54

seen that movie.

Sam: 00:58:55

I gotta see that

Bee: 00:58:56

film.

Bee: 00:58:57

This is another one that I'm like, this might be a masterpiece.

Bee: 00:59:00

I think it's wonderfully done.

Bee: 00:59:02

Henry the fourth.

Bee: 00:59:03

So it's a take on that, which Nathan, I know we want to do a

Bee: 00:59:05

Shakespeare one of these days.

Bee: 00:59:07

We could always throw that in there.

Bee: 00:59:10

But this is, this is a great movie.

Bee: 00:59:11

I don't want to give too much away, but you should watch it for the cast alone.

Bee: 00:59:15

Keanu Reeves and of course River Phoenix earned this.

Bee: 00:59:18

They play the two leads.

Bee: 00:59:19

You should check it out.

Bee: 00:59:20

It's on VOD and it's, it's not much for a few bucks.

Bee: 00:59:23

It's, it's a great, albeit Is a tough double pairing, but you can do it.

Bee: 00:59:29

It's worth it.

Bee: 00:59:30

You can do it.

Bee: 00:59:31

You can do it.

Bee: 00:59:32

You can do it.

Bee: 00:59:34

You can do it.

Bee: 00:59:35

Yeah.

Nathan: 00:59:37

All right.

Nathan: 00:59:37

These are some great recommendations.

Nathan: 00:59:40

Awesome.

Nathan: 00:59:41

All right.

Nathan: 00:59:43

There we

Nathan: 00:59:43

have it.

Nathan: 00:59:44

All right.

Nathan: 00:59:44

So

Bee: 00:59:44

sad boys and some sad girls.

Bee: 00:59:48

Back to the framerate.

Bee: 00:59:49

All right.

Nathan: 00:59:52

Well, we're cooking tonight.

Nathan: 00:59:54

I feel like we, we've been talking for a long time, but yeah, we've only

Nathan: 00:59:58

been on the hour in, how about this?

Nathan: 01:00:00

You know, I, I want to float something by you guys because I, I watch something.

Nathan: 01:00:06

I want to introduce maybe something segment that we could do

Nathan: 01:00:09

periodically if we have time for it, but I would like to propose.

Nathan: 01:00:14

Something maybe called a weekly highlight where we mentioned one thing that we

Nathan: 01:00:19

either watched or did this past week.

Nathan: 01:00:22

And I'd like, we don't, this could be completely optional,

Nathan: 01:00:27

but I'd like to mention one thing that I watched this week.

Nathan: 01:00:30

I watched hit man, the new Richard.

Nathan: 01:00:32

I just

Bee: 01:00:33

watched that like right before this podcast.

Nathan: 01:00:35

Okay.

Nathan: 01:00:37

Well, you can chime in too.

Nathan: 01:00:38

So I, I, I did, I watched this and I gotta say, I thought this movie was.

Nathan: 01:00:43

a lot of fun.

Nathan: 01:00:45

I think it's a good appetizer for the even bigger Glenn Powell

Nathan: 01:00:50

vehicle, Twisters coming out in July.

Nathan: 01:00:53

Hitman, like I said, is the latest from Richard Linklater.

Nathan: 01:00:56

And I knew that going into it, I watched this whole movie and then when it was

Nathan: 01:01:02

done and the credits came up and I saw Linklater's name as a director,

Nathan: 01:01:05

I was like, holy shit, that's right.

Nathan: 01:01:07

He directed this because it's weird.

Nathan: 01:01:10

watching Hitman because it completely left my consciousness that he was

Nathan: 01:01:14

behind this movie because I thought this had a completely different aesthetic.

Nathan: 01:01:18

But Richard Linklater is doing a lot of different types of movies these days.

Nathan: 01:01:22

And it shouldn't surprise me because he really is doing a lot to, to,

Nathan: 01:01:26

to flex himself as a director and do different kinds of movies.

Nathan: 01:01:30

But this was this was like something I feel like he's never done before.

Nathan: 01:01:33

This is a very popcorn movie.

Nathan: 01:01:36

And but I, I liked it a lot.

Nathan: 01:01:38

I was really surprised.

Sam: 01:01:39

I've got to see it.

Sam: 01:01:40

Cause I didn't even know that he directed that.

Sam: 01:01:41

And I'm a big, like Richard Linklater fan.

Sam: 01:01:43

Like I love a lot of his movies.

Sam: 01:01:45

Yeah.

Nathan: 01:01:45

Yeah.

Nathan: 01:01:46

And he co wrote this with Glenn Powell.

Nathan: 01:01:49

And so it has a very different feel to this.

Nathan: 01:01:52

Glenn Powell, he's he stars as this kind of like this nebbish college professor.

Nathan: 01:01:58

And he kind of, he moonlights with the New Orleans Police Department helping

Nathan: 01:02:02

them with their sting operations.

Nathan: 01:02:03

Which

Bee: 01:02:03

is a crazy premise that you have to buy into immediately.

Bee: 01:02:05

It is.

Bee: 01:02:06

It's the most

Nathan: 01:02:06

ridiculous scenario ever.

Bee: 01:02:09

So it asks you, Sam, to buy in, and this is not a spoiler.

Bee: 01:02:12

It asks you in the first five minutes of the movie to accept

Bee: 01:02:15

that a college professor would be working part time like this.

Bee: 01:02:20

Just on retainer for the local police department setting up like

Bee: 01:02:25

wire trap traps and video footage.

Bee: 01:02:29

Yes.

Bee: 01:02:29

It's it's a stretch.

Sam: 01:02:30

But

Nathan: 01:02:33

the funny thing is he's this he, but this is part of the whole thing.

Nathan: 01:02:36

He finds himself as the face of the operation where he is the one that's going

Nathan: 01:02:40

undercover as the fake hit man, you know, to solicit, you know, Would be entrapped.

Bee: 01:02:47

These potential

Nathan: 01:02:49

first half of this movie, I thought we had some legitimately

Nathan: 01:02:53

funny moments with Glenn Paul.

Nathan: 01:02:55

And I think he does a good job in it, especially where he has to keep on

Nathan: 01:02:58

creating these many different personas to meet up with these customers.

Nathan: 01:03:03

But this film, I kind of got into a conventional romantic

Nathan: 01:03:07

comedy, somewhat action final act,

Bee: 01:03:10

but

Nathan: 01:03:11

it's, it's still.

Nathan: 01:03:13

Pretty good.

Nathan: 01:03:14

I thought.

Nathan: 01:03:16

So I, I do recommend it cause even when it's, it could have gone to, to some very

Nathan: 01:03:22

conventional down the conventional path, it did surprise me because this isn't,

Nathan: 01:03:27

this isn't just like typical schlock, this, this does do some smart things.

Bee: 01:03:33

I thought it was really good.

Bee: 01:03:34

I think.

Bee: 01:03:36

You know, Glenn Powell is an and some of these other up and coming movie stars

Bee: 01:03:42

are on a trajectory with their careers.

Bee: 01:03:46

That's really a breath of fresh air separate from franchises.

Bee: 01:03:50

And so watching them do these sort of genre vehicles is fun.

Bee: 01:03:54

And I, I like what Glenn Powell's doing here.

Bee: 01:03:56

I thought this was very link later.

Bee: 01:03:58

Actually, I'm surprised.

Bee: 01:03:59

I thought this was, I did not have his fingerprints all over it.

Bee: 01:04:03

But especially at the soundtracks of Banger, that was great.

Bee: 01:04:08

But yeah, it's totally a popcorn movie, like you said.

Bee: 01:04:11

There's, there's room in the ecosystem for that.

Nathan: 01:04:14

I gotta check it out.

Nathan: 01:04:15

Yeah, Sam, I think you would like it a lot.

Nathan: 01:04:17

Yeah.

Nathan: 01:04:18

I do, yeah.

Nathan: 01:04:19

Yeah.

Nathan: 01:04:19

Sam,

Sam: 01:04:19

Yeah, I did.

Sam: 01:04:21

I did.

Sam: 01:04:21

I was gonna say, I did see Bad Boys Ride or Die, which I'd like to point out.

Sam: 01:04:24

Yeah, I did.

Sam: 01:04:25

Yeah.

Sam: 01:04:26

Yes.

Sam: 01:04:27

Did well, solidly well this weekend.

Sam: 01:04:29

56.

Sam: 01:04:29

The box office is back!

Sam: 01:04:31

The box office is back, exactly.

Sam: 01:04:34

Leave it to Will and Marima!

Sam: 01:04:36

No, but but so, I, I solidly enjoyed it.

Sam: 01:04:39

I thought the chemistry between them was great.

Sam: 01:04:42

Like it was a lot of fun.

Sam: 01:04:43

It was it like, obviously all those films are formulaic.

Sam: 01:04:47

It followed the formula quite to a T where I thought it did feel a little

Sam: 01:04:51

tired in parts, but there was a lot of fun action and spectacle and humor.

Sam: 01:04:56

And Martin Lawrence was hilarious and Will Smith was good.

Sam: 01:05:00

And like I, I, I enjoyed it and I will say I just wanted to quote a reviewer,

Sam: 01:05:05

a guy named Bilge Abiri that writes for the New York Vulture movie review.

Sam: 01:05:11

I do agree with this.

Sam: 01:05:12

I liked Bad Boys Ride or Die a lot.

Sam: 01:05:14

I thought it was, you know, they had sort of a smaller budget, even

Sam: 01:05:17

though it was still 90 million, but the two directors did some really

Sam: 01:05:20

incredible, inventive acting.

Sam: 01:05:22

Action scenes, but just to quote this review that I totally agree with nothing

Sam: 01:05:27

here can and begin quote nothing here can hold a candle to bad boys twos highway

Sam: 01:05:32

chase involving a car carrying trailer dumping all its cars onto the road or

Sam: 01:05:38

bad boys to chase involving a morgue van dumping all its carcasses on the road

Sam: 01:05:43

or bad boys twos chase drug shantytown where all the houses kept blowing up

Sam: 01:05:50

as Mike and Marcus Plowed through them.

Sam: 01:05:52

You might see where this is going.

Sam: 01:05:54

Basically, nothing here can match anything in bad boys too, which was a

Sam: 01:05:58

mess, certainly, but a glorious mess filled with some of the most ludicrously

Sam: 01:06:03

over the top action scenes of all time.

Sam: 01:06:06

And I agree because I love bad boys too is because it's just nuts.

Sam: 01:06:10

It's totally insane.

Sam: 01:06:11

So this was fun.

Sam: 01:06:13

I enjoyed it.

Sam: 01:06:14

It's good to see the characters.

Sam: 01:06:15

It just, you could just feel a little bit of, of.

Sam: 01:06:19

Franchise fatigue, a little formulaic, but some really good action and the

Sam: 01:06:23

positive outweighed the negative.

Sam: 01:06:25

So, I would give it like, I'd give it three, three and a half, yeah.

Nathan: 01:06:28

And in one, in just one weekend, it's already made back its budget.

Sam: 01:06:34

Yeah, I was just so glad that, like, I was glad that to see a movie

Sam: 01:06:37

make money this friggin summer.

Sam: 01:06:39

Like, break the curse.

Sam: 01:06:40

Except Planet of the Apes did well, but yeah.

Sam: 01:06:42

Get

Nathan: 01:06:42

ready for Bad Boys 5 in two years.

Sam: 01:06:44

Yeah.

Sam: 01:06:45

I will happily go.

Sam: 01:06:47

I think you know what it is.

Sam: 01:06:48

I will lastly say, because I love action movies.

Sam: 01:06:51

I feel that some of the earlier bad boys were like cutting edge action sequences.

Sam: 01:06:57

This movie was good.

Sam: 01:06:59

Some inventive action, but not like cutting edge to if they, if

Sam: 01:07:03

they hear this podcast for bad boys, five guys, you have to.

Sam: 01:07:07

Go all out and like blow up an oil tanker or something like make it huge.

Bee: 01:07:12

Yes.

Bee: 01:07:13

Yes.

Bee: 01:07:14

Go fast and furious.

Bee: 01:07:14

Just keep getting bigger.

Bee: 01:07:16

Exactly.

Bee: 01:07:16

Bigger, bigger.

Bee: 01:07:17

That's awesome.

Bee: 01:07:18

I want, I watched a good movie this week.

Bee: 01:07:21

I watched last stop in Yuma County.

Bee: 01:07:23

Has anyone heard of this?

Bee: 01:07:24

Yeah.

Nathan: 01:07:25

I have not actually.

Nathan: 01:07:27

I heard it's really good, but I know it's pretty good.

Nathan: 01:07:30

Yeah,

Bee: 01:07:31

it's pretty good.

Bee: 01:07:33

It's an

Nathan: 01:07:33

awful title, but yes.

Bee: 01:07:35

Well, it just kept making me think of 310 to Yuma, but

Bee: 01:07:39

newcomer Francis Gluppy, gloopy.

Bee: 01:07:41

I'm not sure.

Bee: 01:07:42

Yeah.

Bee: 01:07:42

Yeah.

Bee: 01:07:42

It was pretty good.

Bee: 01:07:43

It's, it, it totally earns all the reviews that say it's reminiscent of some early

Bee: 01:07:48

Coen Brothers stuff but that's not bad.

Bee: 01:07:51

You know, those are great movies.

Bee: 01:07:53

I'm, I'm happy to watch that.

Bee: 01:07:54

It's got great pacing.

Bee: 01:07:56

It's got a good story.

Bee: 01:07:58

I'm not totally sold on the ending of it, but it's a really fun, easy watch.

Bee: 01:08:03

I caught it on Amazon.

Bee: 01:08:04

I think it was like 5 and I think that was it.

Bee: 01:08:07

Exactly right.

Bee: 01:08:08

Perfect for that night.

Bee: 01:08:09

Oh, it's already

Nathan: 01:08:10

on VOD?

Bee: 01:08:11

Yeah.

Nathan: 01:08:12

Oh, good.

Nathan: 01:08:12

Yep.

Bee: 01:08:13

So that's pretty good.

Bee: 01:08:13

I like that.

Bee: 01:08:14

That was a good one.

Nathan: 01:08:15

I'm looking forward to that.

Nathan: 01:08:16

Good.

Bee: 01:08:16

Yeah.

Bee: 01:08:17

It's just, it's just nice to see new stories, new people, and there's

Bee: 01:08:21

a good mix of, there's a lot of faces in that movie that you've seen

Bee: 01:08:24

before, but there's going to be a lot of faces that you haven't too.

Sam: 01:08:28

Nice.

Bee: 01:08:30

Yeah.

Bee: 01:08:30

All right.

Bee: 01:08:31

New talent.

Sam: 01:08:31

Let's check it out.

Bee: 01:08:32

Yeah.

Nathan: 01:08:36

Awesome.

Nathan: 01:08:37

Woo!

Nathan: 01:08:38

I think that's it for tonight.

Nathan: 01:08:40

Rock and roll.

Nathan: 01:08:41

Next week we are watching Lillies from 1996.

Nathan: 01:08:48

A movie that I know nothing about and we are going to have a guest on joining us.

Nathan: 01:08:56

We'll save that just until that actually happens, just to make sure that.

Nathan: 01:09:00

If it's, it's legit.

Nathan: 01:09:02

So we'll, we'll see.

Nathan: 01:09:03

But yeah, so tune in next week when we watch and review Willie's from 1996.

Nathan: 01:09:10

I didn't even know where it's streaming.

Nathan: 01:09:11

We have to figure that out.

Nathan: 01:09:12

Oh, I think it's in Criterion.

Nathan: 01:09:13

Just hit Criterion.

Bee: 01:09:15

It is.

Nathan: 01:09:16

Yes.

Bee: 01:09:18

It looks awesome.

Bee: 01:09:19

John Grayson, the director.

Nathan: 01:09:22

And that will be the third and final movie and our June pride series.

Nathan: 01:09:30

Awesome.

Nathan: 01:09:30

All right.

Nathan: 01:09:31

Cool.

Nathan: 01:09:32

So thank you for dialing into, did I do my, I don't know if I

Nathan: 01:09:37

did, I did do my housekeeping.

Nathan: 01:09:39

That's right.

Nathan: 01:09:40

Back to the framerate.

Nathan: 01:09:42

Western media.

Nathan: 01:09:46

All right.

Nathan: 01:09:46

Back to the framerate.

Nathan: 01:09:47

It's part of the Western media podcast network.

Nathan: 01:09:49

We wish to thank Brian Ellsworth for our show opening on behalf of all of us.

Nathan: 01:09:53

We bid you farewell from our fall shelter.

Nathan: 01:09:55

Your presence in our underground sanctuary is truly appreciated.

Nathan: 01:09:58

We are truly sorry.

Nathan: 01:09:59

You cannot join us.

Nathan: 01:10:00

But we want to express our gratitude for your company.

Nathan: 01:10:03

If you were finding solace in our discussions, we kindly ask that you

Nathan: 01:10:06

please subscribe and leave a rating and review, you can find more episodes of

Nathan: 01:10:11

this podcast on back to the frame rate.

Nathan: 01:10:14

com and a handle on a bank, Sam.

Nathan: 01:10:18

And our

Nathan: 01:10:20

social and our socials back.

Nathan: 01:10:25

Framerate.

Nathan: 01:10:26

Your support is the beacon of light that brightens our confined space.

Nathan: 01:10:30

Head on over to Apple Podcasts, Spotify, or whichever portal connects you to

Nathan: 01:10:34

our broadcast and share your thoughts.

Nathan: 01:10:37

Until we emerge from the fallout, stay with us, keep up live,

Nathan: 01:10:40

and keep those reviews coming.

Nathan: 01:10:43

Back to the framerate, signing off.

Nathan: 01:11:02

I want you to know it's over.

Nathan: 01:11:06

Will.

Nathan: 01:11:07

Will.

Nathan: 01:11:10

Bye.

Nathan: 01:11:11

Bye.

Nathan: 01:11:11

We got twins!

Nathan: 01:11:13

Twins!