We have a very special guest this week: Lee Isaac Chung (Minari, Twisters) brings one of his favorite movies of all time, Steven Spielberg’s Artificial Intelligence, to the podcast as his Deep Cut Pick! Isaac chats about his awe and love for the film, what he’s learnt as a filmmaker from working with Spielberg on Twisters, and his own transition into blockbuster filmmaking.

We also discuss Hayley Joel Osment’s all-timer of a child performance, the film’s divisive ending, Spielberg’s masterful blocking, and the film’s worldbuilding and depictions of the future.

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Timestamps:

00:00:00 Introducing Lee Isaac Chung

00:01:50 Introduction to Steven Spielberg and our connection with his work

00:09:02 Why Isaac chose AI as his Deep Cut

00:13:46 First reactions to AI

00:18:04 Plot summary and production context

00:20:19 Kubrick

00:24:48 Minor Barry Lyndon spoiler

00:26:24 Spoiler ends

00:28:12 Love/hate and Spielberg’s touch

00:35:38 Hayley Joel Osment’s performance

00:41:53 Strategies for directing children

00:46:29 Act 2: Jude Law and Flesh Fair

00:52:03 Worldbuilding and depiction of AI

00:55:46 Ending

01:01:13 Spielberg’s blocking

01:09:24 Isaac’s experience moving into blockbuster filmmaking

01:13:46 Outro

“Kurosawa, you dog.” – Eli.’

“It’s like edging, in cinema.” – Wilson

“What is this, looney tunes?” – Ben

Kurosawa can only make the kind of movie that leaves us both perplexed, impressed and dropping memorable reactions. Listen on as we unpack the film’s critique of the next generation of hustlers and entrepreneurs, figure out what it’s trying to say through its allegory, and finally answer if anything can beat a jet2 holiday.

Links:

The Kinetoscope: Cinemagoing in Japan

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Timestamps:

00:00 Intro

04:36 Ben and Wilson's general reactions

12:14 Eli's experience watching at Lincoln

16:31 Cloud plot summary

20:34 Compared to other Kurosawa films

25:00 Sano and the younger generation

32:41 Nihilism and cynicism

36:42 Locations and spaces

40:50 What is this movie trying to say

42:37 Takimoto

46:31 Akiko

49:04 Dorsality

51:49 Sound

52:56 Productively frustrating critique of late-stage Capitalism

56:22 Kurosawa's reversals

58:26 Odds and ends and questions

Eli joins the other boys hot off of his Lincoln Center press screenings to tell us the must-watches and the maybe-skip-overs of this year’s New York Film Festival. But before that, Wilson and Ben briefly get their words in for the latest Paul Thomas Anderson joint, One Battle After Another. Catch Eli talk about other NYFF titles like Park Chan-wook’s No Other Choice, Olivier Laxe’s Sirāt, and possible film of the year: Bi Gan’s Resurrection.

Links:

Secret Goldfish - Bi Gan short film

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Timestamps:

00:00 Intro

04:46 One Battle After Another (2025, dir. Paul Thomas Anderson)

13:32 No Other Choice (2025, dir. Park Chan-wook)

16:58 Sirāt (2025, dir. Oliver Laxe)

20:18 Queen Kelly (1932, dir. Erich von Stroheim)

25:29 Angel’s Egg (1982, dir. Mamoru Oshii)

31:27 Japanese Film Festival (in Singapore)

34:34 The Arch (1968, dir. T’ang Shushuen)

35:09 The Mastermind (2025, dir. Kelly Reichardt)

38:03 Mare’s Nest (2025, dir. Ben Rivers)

41:13 Jay Kelly (2025, dir. Noah Baumbach)

42:22 Back Home (2025, dir. Tsai Ming-liang)

44:49 Ecce Mole (2025, dir. Heinz Emigholz)

48:15 Peter Hujar’s Day (2025, dir. Ira Sachs)

50:34 What Does That Nature Say To You? (2025, dir. Hong Sang-soo)

53:10 A House of Dynamite (2025, dir. Kathryn Bigelow)

57:40 Resurrection (2025, dir. Bi Gan)

We are very excited to welcome Prof. Lisa Dombrowski to our podcast! She is a Professor of Film Studies and East Asian Studies at Wesleyan University. She’s the author of the books: The Films of Samuel Fuller: If You Die, I’ll Kill You! (2008), the editor of Kazan Revisited (2011), and co-editor of ReFocus: The Later Works and Legacy of Robert Altman (2022). (Ben worked on that last one!)

We took Lisa’s fantastic film classes and she’s a big reason this podcast exists, and why we talk about movies the way we do. (You can read more about the podcast’s origin story on Patreon!)

Together, we preview a newly restored film showing at the upcoming New York Film Festival and M+ Restored programmes, T’ang Shushuen’s The Arch, which Lisa teaches in her classes. Lisa shares with us the film’s unconventional transnational production context, and we have an in-depth discussion about the film’s groundbreaking use of film form to portray female subjectivity. Eli highlights the film’s use of deep staging, Wilson compares the film with Ann Hui’s A Simple Life (2011), and Ben explains what he means by an “oyako-don” pantheon.

Links:

Read more about and get tickets for the M+ Restored programme

Screening in NYC for NYFF at Film at Lincoln Center

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Timestamps:

00:01:36 Introducing Prof. Lisa Dombrowski

00:06:48 M+ Restored

00:09:39 Context on director Tang Shu-shuen and The Arch

00:11:16 Lisa's relationship with The Arch

00:17:16 General reactions

00:23:30 Adaptation and subjectivity

00:26:06 Subtitles

00:28:06 Female gaze and melodramatic situation

00:30:28 The opening setup

00:33:28 Cinematography context

00:40:28 Love triangle and deep staging

00:43:34 Plum scene

00:52:37 Source material

00:55:28 Cultural context and societal norms

01:00:04 River scene and Mid-Autumn Festival

01:03:39 A Simple Life (2011) sidebar, subjective realism

01:07:25 Confucianism and social conditioning

01:10:29 Loom scene

01:13:04 Editing for meaning

01:16:32 The arch, the ending, the takeaway

01:24:57 Fractured images and liminal spaces

01:30:15 Lisa Lu and casting

01:31:32 The film's reception

01:33:56 Tang's approach

01:39:03 Cultural identity, transnational cinema, aesthetic expectations

01:43:32 Tang's career post The Arch

01:46:05 Outro

We are joined by special guest Alex Heeney, the founder and editor in chief of Seventh Row, to dive into Luca Guadagnino's 2017 coming-of-age masterpiece, Call Me By Your Name. They talk about their deep personal connections to the film, with Alex recounting her experience at the world premiere at Sundance and Wilson sharing his obsessive journey preparing for the New York Film Festival premiere of the film. Eli discusses the film's sensual direction, and Ben explains why he thinks this is Guadagnino’s most mature work.

Links:

Find more of Alex on Seventh Row. They are hosting a summit celebrating queer and trans stories called Living Out Loud. Check it out here.

Mina Le: why does hollywood love an age gap romance?

Ben’s CMBYN meme video

Women around the fountain video

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Timestamps:

00:00:00 Intro

00:01:14 Introducing Alex Heeney

00:04:00 Our histories with CMBYN

00:21:50 Masculinity and Romance

00:26:03 Narrative structure

00:32:05 Performances

00:37:39 Scenes and blocking

00:41:00 The statue scene

00:47:44 The parents

00:51:20 The peach scene

01:00:30 Age gap discourse

01:10:42 Homophobia and queerness

01:13:05 Cinematography and Marzia

01:31:00 Editing

01:35:36 The Sufjan element

01:39:15 Outro

We continue our series on Akerman with a double-bill of personal documentaries about her mother, and of home. News from Home immediately follows her seminal Jeanne Dielman, and No Home Movie is the final film of Akerman’s filmography. In this episode, we thread the throughline across Akerman’s career in comparing both films, see the influence of structural and slow cinema, and marvel at her capacity for personal artmaking.

Links:

Celine Sciamma on Chantal Akerman

I Don’t Belong Anywhere: The Cinema of Chantal Akerman (No Home Movie BTS footage)

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Timestamps:

00:00 Intro

05:32 Plot summaries and Reactions

17:15 2015 critical reactions to No Home Movie

21:00 Structural films and emotional responses

27:07 Power of the cut

33:41 Akerman and her mother

40:33 Comparing Akerman with Varda

44:36 Private artmaking

48:33 Akerman's career arc

52:13 Preview for next eps

It’s about time. We tackle Chantal Akerman’s Sight and Sound topping Jeanne Dielman, and begin our series on her singular career. Ben introduces Akerman’s career, spotlighting her fierce conviction and crystalline vision, Eli loops in a melodramatic reading, and Wilson zeroes in on an ending that explosively caps off a 3.5h opus. And if you’re struggling with how to approach this film, as entertainment or as art, just remember: it’s about time.

Links:

Behinds the scenes of Jeanne Dielman

Slant magazine interview

Article on Akerman

Wilson’s Letterboxd review

Stephen Gillespie’s Letterboxd review

Angelica Jade Bastien on Longlegs

Make coffee at our FREE patreon, discord server, and our socials @ www.deepcutpod.com

Timestamps:

00:00:00 Intro

00:03:03 General reactions

00:13:26 The S&S list

00:16:24 Akerman's career

00:23:45 Plot summary and structure

00:29:20 Cinematography and spatial representation

00:32:14 Depictions of women and melodrama

00:34:35 How Akerman directs Seyrig

00:37:53 Everything is "real"

00:39:10 Time

00:42:14 Patterning

00:46:40 What triggers the breakdown

00:50:16 Relationship between mother/son

00:57:18 Rituals

00:59:24 The movie exists as many things

01:00:25 It's place as #1 film

01:04:10 Akerman's conviction and vision

01:07:43 Scene dissections

01:13:04 Exterior scenes

01:16:47 Existential crisis

01:19:12 In conversation with cinema and larger culture

01:21:56 Ending

01:30:36 Outro

After a rocky relationship between Deep Cut and Mr. Pablo Larrain, we come back to the final film in Larrain’s “important 20th century white women” trilogy (as Ben describes it). Will Larrain redeem himself with a portrait of the final days of Maria Callas’ life? Or will he and Stephen Knight sh*t the bed again? Wilson praises Angelina Jolie’s comeback performance, Ben praises how pretty the film is, and Eli praises the prop glasses, but is all that enough to get the film over the line? Listen to find out.

Links:

Thomas Flight: Do Musical Biopics Have a Fatal Flaw?

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Timestamps:

00:00 Intro

03:33 General reactions

10:05 Saving graces of the film

14:10 Narrative

22:33 The Mandrax of it all

24:53 Supporting characters

27:36 Flashbacks and musical biopics

30:50 We pitch Maria Callas biopics

33:01 Pablo Larrain power ranking

38:18 Outro