『Eavesdropping at the Movies』のカバーアート

Eavesdropping at the Movies

Eavesdropping at the Movies

著者： Jose Arroyo and Michael Glass
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"I have this romantic idea of the movies as a conjunction of place, people and experiences, all different for each of us, a context in which individual and separate beings try to commune, where the individual experience overlaps with the communal and where that overlapping is demarcated by how we measure the differing responses between ourselves and the rest of the audience: do they laugh when we don’t (and what does that mean?); are they moved when we feel like laughing (and what does that say about me or the others) etc. The idea behind this podcast is to satiate the urge I sometimes have when I see a movie alone – to eavesdrop on what others say. What do they think? How does their experience compare to mine? Snippets are overhead as one leaves the cinema and are often food for thought. A longer snippet of such an experience is what I hope to provide: it’s two friends chatting immediately after a movie. It’s unrehearsed, meandering, slightly convoluted, certainly enthusiastic, and well informed, if not necessarily on all aspects a particular work gives rise to, certainly in terms of knowledge of cinema in general and considerable experience of watching different types of movies and watching movies in different types of ways. It’s not a review. It’s a conversation." - José Arroyo. "I just like the sound of my own voice." - Michael Glass.All rights reserved アート
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  • 476 - Disclosure Day

    476 - Disclosure Day
    2026/07/07
    Steven Spielberg returns to science fiction with Disclosure Day, an ambitious alien thriller that consciously recalls Close Encounters of the Third Kind, still one of his defining films fifty years on. We marvel at its extraordinary visual storytelling, virtuoso camerawork and sense of cinematic wonder, while asking whether its ideas about conspiracy, religion, the media and empathy are as sophisticated as its technical brilliance. We also revisit the perennial debate between CGI and practical effects, and consider the different worlds in which Disclosure Day and Close Encounters were made and released. Is Spielberg's enduring belief in communication and human connection still resonant in an age of fractured media and competing truths? Recorded on 13th June 2026.
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    1 時間
  • 475 - Exit 8

    475 - Exit 8
    2026/05/20
    Most videogames that receive cinematic adaptations are big - the likes of Uncharted, Minecraft, Sonic the Hedgehog and Resident Evil, all of which have been adapted, some several times, are among the biggest games in history, and their cinematic versions are typically intended to be blockbusters. Exit 8 is not. It is an independent Japanese game made by one person, turned into a low-budget, high-concept, Japanese horror film. And most cinematic adaptations of videogames are not very good. The medium has a long history of failing to translate well to film. Exit 8 makes a success of the transition, finding plenty of space in the slight source material to tell a story about routine, fear of change, and personal improvement. We discuss what makes the adaptation work and where it might not, think through the story's internal logic, and, as we did with Godzilla Minus One, remark upon the film's visual quality given its small budget, asking where all that money goes when Hollywood spends ten times the amount to achieve the same results. Exit 8 is a welcome surprise, particularly to Mike, who really thought it'd be rubbish. Recorded on 27th April 2026.
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    41 分
  • 474 - Rose of Nevada

    474 - Rose of Nevada
    2026/05/14
    Seven years ago, we disagreed with the thrust of what Mark Jenkin's Bait had to say about the world as it is and as it ought to be, but appreciated its expressive strength. It was a film with substance. You could grapple with it. Rose of Nevada broadly conveys the same messages, but, as they derive primarily from the film's setting and less so its plot, is less forceful and argumentative about them, requiring us to accept them in shorthand and take them as read. Fair enough, perhaps - why make the same film twice? - but the story to which Jenkin's perspective is here allied is of little interest, and told with insufficient clarity, populated by dull, flat characters whose developments are poorly motivated - if at all. Jenkin is certainly a visual stylist, but he shows little instinct for effective storytelling or direction of actors here, and we question the response Rose of Nevada has received from other critics, which seems inexplicably universal in its positivity. Recorded on 27th April 2026.
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    33 分
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