Minisode 055: A Private War & Interview with Matthew Heineman

A Private War serves as an incredible testament to the legacy of celebrated war correspondent Marie Colvin, but also pays respect to her by re-telling the stories she so passionately dedicated her life to sharing with the world. It takes Colvin’s words off the page and lets us experience just why her work was so important, making this one of 2018’s most essential films. In this special minisode, Aaron interviews Oscar-nominated and Emmy Award winning director Matthew Heineman about his first narrative feature film, followed by a discussion with Feelin’ Film contributor Don Shanahan.

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Music: Going Higher – Bensound.com

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MOVIE REVIEW: Widows


Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on the emotional experience he has with a film. Follow him on Facebook and Twitter to be notified when new content is posted.

MOVIE REVIEW: The Ballad of Buster Scruggs


Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on the emotional experience he has with a film. Follow him on Facebook and Twitter to be notified when new content is posted.

Episode 135: Platoon

In honor of Veterans Day, we discuss Oliver Stone’s 1986 Best Picture winner, perhaps the most authentic fictional depiction of boots on the ground life in the Vietnam War and a harrowing look at battles both external and internal that forever changed the men who fought them. This is a hard film to watch, but it offers a lot of material for a great discussion. Join us for ours.

Platoon Review – 0:01:24

The Connecting Point – 0:53:52


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 Download This Episode


Music: Going Higher – Bensound.com

Support us on Patreon & get awesome rewards:

or you can support us through Paypal as well. Select the link below and make your one-time or recurring contribution.

Rate/Review us on iTunes and on your podcast app of choice! It helps bring us exposure so that we can get more people involved in the conversation. Thank you!

You Should Be Watching: November 8-14

Welcome to You Should Be Watching, my weekly opportunity to introduce you to a variety of great films, gems of the past and present, available for you to stream from Netflix, Amazon Prime, FilmStruck, and anywhere else streams are found.

However, while there is still yet time, the November spotlight on FilmStruck continues. And while FilmStruck will be gone soon, Kanopy remains, and on the bright side, Netflix just released Orson Welles’ final film, 30 years after his passing along with a new documentary about its making. Also, Amazon Prime added a whole host of high quality films this past week from the likes of Stanley Kubrick, Sidney Lumet, Billy Wilder, and many more.


STREAMING PICKS OF THE WEEK


Ordet

Year: 1955

Director: Carl Theodor Dreyer

Genre: Drama, Fantasy

Cast: Birgitte Federspiel, Henrik Malberg, Emil Hass Christensen, Ejner Federspiel, Kirsten Andreasen, Sylvia Eckhausen, Ann Elisabeth Groth, Cay Kristiansen, Preben Lerdorff Rye, Gerda Nielsen, Ove Rud, Susanne Rud, Henry Skjær, Edith Trane

Carl Theodor Dreyer has an brilliant eye for frame composition, production design, lighting, and camera movement, and that’s just the technical side of this striking film. Dreyer’s script, based on a play by Danish Lutheran priest Kaj Munk, is a window into the life and faith (or lack thereof) of each of the Borgens, a farming family in rural Denmark, and the community in which they live. The main characters are the patriarch Morten and his grown children, Anders, Johannes, and the eldest Mikkel and his wife Inger, who is pregnant with her and Mikkel’s third child.

Each family member is distinct from the others with their own hopes, dreams, struggles, and personal journey of life and faith. Yet, they are still very much a family living under one roof and so the multiple narrative threads are woven together into a beautiful tapestry. The elderly Morten is set in his ways, as is Peter the tailor, the father of Anne, whom Anders pines after. Both Morten and Peter refuse Anders’ request to marry Anne because they are in different sects of Christianity, creating a proudly religious version of the Romeo and Juliet story. Mikkel has no faith, but his wife Inger is deeply religious. So when her pregnancy comes to trouble, Mikkel is forced into his own crisis of faith. In a crossing of history with fantasy, Morten’s middle son, Johannes, after having studied the works of the Danish philosopher and theologian Søren Kierkegaard, has become convinced he Johannes is Jesus Christ himself. He echoes the words of Jesus from the Bible and speaks prophecy that he expects to be believed. Each of these family member’s threads of life story and struggles with faith and reality crash into everyone else’s leading everyone to the critical moment where they are forced to decide what they truly believe and what they will do about it.


Where Is My Friend’s House?

Year: 1987

Director: Abbas Kiarostami

Genre: Drama, Family

Cast: Babek Ahmedpour, Ahmed Ahmedpour, Kheda Barech Defai, Iran Outari, Ait Ansari, Sadika Taohidi, Biman Mouafi, Ali Djamali, Aziz Babai, Nader Ghoulami, Akbar Mouradi, Teba Slimani, Mohammad Reza Parvaneh, Farahanka Brothers, Maria Chdjari, Hamdallah Askarpour, Kadiret Kaoiyenpour, Hager Farazpour, Mohamed Hocine Rouhi, Rafia Difai, Agakhan Karadach Khani, Mohammad Reza Nematzadeh

Who doesn’t remember being a child, facing what to you was a life or death situation, but neither your parents nor any other adult grasped the gravity of your plight and instead kept harping on you to do what was important to them or what they were certain was in your best interest? But they didn’t stop to realize that you had every intention to do what they wanted except you had this emergency you needed help with first?

Iranian filmmaker Abbas Kiarostami perfectly captures the experience of being a child trapped in such a true-to-life, Kafkaesque nightmare. Ahmed (Babek Ahmedpour) and Mohamed (Ahmed Ahmedpour) are classmates. Their very strict and aggressive teacher has harshly berated Mohamed and threatened him with expulsion if he fails to do his homework in his notebook once more. Ahmed witnesses his friend break down into tears and we along with him suddenly find ourselves feeling great empathy for the boy. Yet later, there is a mix-up, and when Ahmed arrives home, he discovers he has both his own and Mohamed’s notebook, leaving him torn between obeying his mother, who won’t even listen to his plight, and doing everything he possibly can to return his friend’s notebook even though he lives in a neighboring town, and he has no idea where his house is.

With such a simple but universally relatable concept, we are drawn into the world of children and reminded that they need our compassion and understanding. How quickly we as adults forget the experience of being a child as the roles become reversed and we become the ones making demands of them. How much anxiety is caused when a child feels invisible to adults or when adults think they know what the child needs without caring enough to stop and listen?


Ikiru

  

Year: 1952

Director: Akira Kurosawa

Genre: Drama

Cast: Takashi Shimura, Haruo Tanaka, Nobuo Kaneko, Bokuzen Hidari, Miki Odagiri, Shin’ichi Himori, Minoru Chiaki, Minosuke Yamada, Kamatari Fujiwara, Makoto Kobori, Nobuo Nakamura, Atsushi Watanabe, Isao Kimura, Masao Shimizu, Yūnosuke Itō, Yoshie Minami, Kumeko Urabe, Eiko Miyoshi, Noriko Honma, Yatsuko Tan’ami, Kin Sugai, Kyôko Seki, Kusuo Abe, Tomo’o Nagai, Seiji Miyaguchi, Daisuke Katô, Hiroshi Hayashi, Fuyuki Murakami 

No matter where we are in life, we all know that we’ll eventually die, whether from cancer, an accident, or old age. Through Ikiru, master filmmaker Akira Kurosawa gives the viewer an opportunity for reflection as it provides an intimate view of one man’s experience of having discovered he has stomach cancer and only has months to live, leading him on a journey of introspection and regret that so much of his life had been spent in meaningless attitudes and actions.

Takashi Shimura plays Kanji Watanabe. Having worked as a government bureaucrat doing the same job for decades as well as being a widower with a son whose primary concern is his inheritance, he suddenly is left wondering what it was all for. What was the point? Ikiru means to live, and Kanji now finds himself desperate to figure out what it means to live. Along the way, he notices his young female subordinate named Toyo (Miki Odagiri) and becomes enamored not with her but with her personality that is positively brimming with the joy of being alive, so he develops a relationship with her to try to figure out her secrets.

The other side of the film, especially in the third act explores the way we make assumptions about other people and how often reality differs from what we think. It serves as a sober reminder that we should be careful about making judgments about others. We may not know the full story.


COMING AND GOING


LAST CHANCE (last date to watch)

NETFLIX

November 11
Anna Karenina (2012)

November 12
Call Me Lucky (2015)

November 15
Paddington (2014)

AMAZON PRIME

November 11
Green Room (2015)

November 15
Me Before You (2016)

November 19
It’s a Mad, Mad, Mad, Mad World (1963)
The Manchurian Candidate (1962)

November 20
In the Heat of the Night (1967)

FILMSTRUCK

November 9
The Big Sleep (1946)
Dark Passage (1947)
Dogville (2003)
Petulia (1968)
To Have and Have Not (1944)

November 16
The Asphalt Jungle (1950)
Let There Be Light (1946)
The Maltese Falcon (1941)
The Treasure of the Sierra Madre (1948)

November 29
Everything else

HULU

November 30
American Psycho (2000)
Escape from New York (1981)
Get Shorty (1995)
Ghost in the Shell (1995)
Primal Fear (1996)
The Terminator (1984)
They Came Together (2014)
What’s Eating Gilbert Grape (1993)


JUST ARRIVED

NETFLIX

The Other Side of the Wind (2018)
They’ll Love Me When I’m Dead (2018)
Into the Forest (2015)

AMAZON PRIME

The Adventures of Tintin (2011)
The Apartment (1960)
Barry Lyndon (1975)
Being There (1979)
A Clockwork Orange (1971)
Crossing Delancey (1988)
Deliverance (1972)
Diner (1982)
Dog Day Afternoon (1975)
Elite Squad: The Enemy Within (2010)
From Russia with Love (1963)
The Getaway (1972)
Going in Style (1979)
The Gold Rush (1925)
Goldfinger (1964)
The Goodbye Girl (1977)
Jeremiah Johnson (1972)
Kes (1969)
Klute (1971)
The Last Waltz (1978)
Little Odessa (1994)
Logan’s Run (1976)
Lord of War (2005)
The Man Who Would Be King (1975)
McCabe & Mrs. Miller (1971)
Mean Streets (1973)
Of Mice and Men (1992)
The Misfits (1961)
Moonraker (1979)
The Motorcycle Diaries (2004)
Network (1976)
Night Moves (1975)
Paths of Glory (1957)
Performance (1970)
The Pink Panther (1963)
Point Blank (1967)
The Red Violin (1998)
A Shot in the Dark (1964)
The Song Remains the Same (1976)
Soylent Green (1973)
Star 80 (1983)
Summer 1993 (2017)
Westworld (1973)
What’s Up, Doc? (1972)
The Who: The Kids Are Alright (1979)
Wonder (2017)
The Year of Living Dangerously (1982)
Zama (2017)

FILMSTRUCK

Adam’s Rib (1949)
The African Queen (1951)
The Lion in Winter (1968)
The Loneliness of the Long Distance Runner (1962)
Stage Door (1937)

HULU

Europa Report (2013)
Kick-Ass (2010)
Wonder (2017)


COMING THIS WEEK

NETFLIX

November 11
Outlaw King — NETFLIX FILM (2018)

November 12
Green Room (2015)

AMAZON PRIME

November 10
The Children Act (2017)

HULU

November 10
Big Hero 6 (2014)

November 12
The Wolfpack (2015)


Jacob Neff is a film enthusiast living east of Sacramento. In addition to his contributions as an admin of the Feelin’ Film Facebook group and website, he is an active participant in the Letterboxd community, where his film reviews can be found. Follow him on Facebook and Twitter to keep up with his latest thoughts and shared content.

MOVIE REVIEW: The Grinch


Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on the emotional experience he has with a film. Follow him on Facebook and Twitter to be notified when new content is posted.

MOVIE REVIEW: A Private War


Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on the emotional experience he has with a film. Follow him on Facebook and Twitter to be notified when new content is posted.

Episode 134: Bohemian Rhapsody

This week, Patrick is joined by M.J. Smith of the Reel Perspective Podcast to discuss the Freddie Mercury/Queen biopic starring Rami Malek. Did the film rock them and have them screaming “Mamma Mia”, or it just another one that bites the dust? The two have a wonderful conversation about this energetic, entertaining film.

 

Bohemian Rhapsody Review – 0:02:07

The Connecting Point – 1:19:57


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 Download This Episode


Music: Going Higher – Bensound.com

Support us on Patreon & get awesome rewards:

or you can support us through Paypal as well. Select the link below and make your one-time or recurring contribution.

Rate/Review us on iTunes and on your podcast app of choice! It helps bring us exposure so that we can get more people involved in the conversation. Thank you!

You Should Be Watching: November 1-7

Welcome to You Should Be Watching, my weekly opportunity to introduce you to a variety of great films, gems of the past and present, available for you to stream from Netflix, Amazon Prime, FilmStruck, and anywhere else streams are found.

In honor of this month being FilmStruck’s swan song, I am setting my spotlight on their rich catalog of films while I still can. But brace yourself. This week it’s going to get dark.


STREAMING PICKS OF THE WEEK


Elevator to the Gallows

 

Year: 1958

Director: Louis Malle

Genre: Crime, Drama, Thriller

Cast: Jeanne Moreau, Maurice Ronet, Georges Poujouly, Yori Bertin, Lino Ventura, Iván Petrovich, Elga Andersen, Jean Wall, Gérard Darrieu, Micheline Bona, Charles Denner, Félix Marten, Hubert Deschamps, Jacques Hilling, Marcel Journet, François Joux, Jean-Claude Brialy, Gisèle Grandpré

A predecessor to the coming French new wave, Elevator to the Gallows is a remarkable piece of nuanced French film-noir from first-time filmmaker Louis Malle that is enhanced even further with a pitch-perfect Miles Davis score. The striking opening shot of Jeanne Moreau’s eyes with everything else concealed in shadow is a bold start to the filmmaker’s career. The film opens on Florence (Moreau) and Julien (Maurice Ronet), lovers separated by two ends of a telephone call, conspiring to kill so they can be free to be together. Suffice it to say, things don’t go according to plan. The contemplative jazz score enhances our insight into the emotional state of the characters, especially that of Florence as she walks the streets in silence, lost in her thoughts as she searches for her missing lover,

What’s somewhat surprising is that the film isn’t content to be a mere thriller, though there is tension to be found. Malle’s interest is in more of a psychological exploration, a character study, not only of our two primary lovers, but also the younger pair of lovers, Louis (Georges Poujouly) and Véronique (Yori Bertin). They express the volatility, unpredictability, and naivete of youth, Their actions create a case of mistaken identity that not only finds themselves helplessly trapped but also traps Julien and Florence. Both couples have committed themselves to evil. But neither being spontaneous nor planning every detail gives either one what they want.


The Passion of Joan of Arc

Year: 1928

Director: Carl Theodor Dreyer

Genre: Biography, Drama, History

Cast: Maria Falconetti, Eugene Silvain, André Berley, Maurice Schutz, Antonin Artaud, Michel Simon, Jean d’Yd, Louis Ravet, Armand Lurville, Jacques Arnna, Alexandre Mihalesco, Léon Larive, Jean Aymé, Gilbert Dacheux, Gilbert Dalleu, Paul Delauzac, Dimitri Dimitriev, Fournez-Goffard, Henri Gaultier, Paul Jorge, Marie Lacroix, Henri Maillard, Raymond Narlay

Carl Theodor Dreyer’s passionate portrayal of Joan of Arc’s famous trial has been heralded as one of the all-time classics of the silent era, and it’s easy to see why. Perhaps not until 89 years later with the release of Darren Aronofsky’s mother! would a woman’s face so consume the screen of a film. Through Joan’s Passion, so named for its similarities to the trial and crucifixion of Jesus, Dreyer presents a critique of the state church. A Church not just willing but with the power and obligation to torture and execute those deemed heretics.

Renée Jeanne Falconetti (aka Maria) as Joan is a constant presence. Dreyer uses extreme close-ups throughout to bring us intimately into her experience, as barely seconds go by without her tear-streaked, emotionally-strained face filling the screen. And when it’s not her face, it’s often one of her oppressor’s, so we as the audience more directly feel the weight of oppression as well. At times, Dreyer’s film is quite shocking, such as the threats of the torture chamber, Joan’s bloodletting–surprise, it’s real, not an effect, and the burning at the stake itself, which manages to be powerful despite not showing a lot of detail.

Were it not for the young Jean Massieu (Antonin Artaud) who tries with great compassion to help Joan out of and through her fate, the misery might be unbearable. But he is a reminder that every little bit of good we can do helps.


Night and Fog

  

Year: 1955

Director: Alain Resnais

Genre: Documentary, Short, History

Cast: Michel Bouquet, Reinhard Heydrich, Heinrich Himmler, Adolf Hitler, Julius Streicher

One of the most artful and moving documentaries ever created. It’s as much of a slow burn as a 32-minute documentary about the horrors of the Holocaust can be. Alain Resnais infuses a general sense of dread even when nothing shocking is occurring or when the most shocking thing is a Nazi walking by in an apparent good mood. The way he uses generally happy, even playful music reminds us we are in more pleasant times now, but when he keeps using it even when it stands in stark contrast to the horrific images being displayed, it creates unsettling internal tension in the viewer.

Combined with the narration that briefly touches on the unspeakable horrors before shifting the perspective and forcing the viewer to evaluate their own attitudes and assumptions, an uncomfortable yet poignant experience is established that will not be shaken. And the timeless message of the closing monologue along with the now peaceful images it’s spoken over declare a warning against complacency and are one of the most powerful and effective of their kind.


COMING AND GOING


LAST CHANCE (last date to watch)

NETFLIX

November 3
The House of Small Cubes (2008)

November 4
A Pigeon Sat on a Branch Reflecting on Existence (2014)

November 6
Europa Report (2013)

November 11
Anna Karenina (2012)

November 15
Paddington (2014)

AMAZON PRIME

November 1
Morris from America (2016)

November 7
Into the Forest (2015)
Krisha (2015)

November 11
Green Room (2015)

FILMSTRUCK

November 2
Alphaville (1965)
Army of Shadows (1969)
Bob le Flambeur (1956)
The Bridge on the River Kwai (1957)
Le Trou (1960)
Libeled Lady (1936)

November 9
The Big Sleep (1946)
Dark Passage (1947)
Dogville (2003)
Petulia (1968)
To Have and Have Not (1944)

November 16
The Asphalt Jungle (1950)
Let There Be Light (1946)
The Maltese Falcon (1941)
The Treasure of the Sierra Madre (1948)

November 29
Everything else

JUST ARRIVED

NETFLIX

Animal House (1978)
Cape Fear (1991)
Children of Men (2006)
Close Encounters of the Third Kind (1977)
Cloverfield (2008)
Doctor Strange (2016)
Dracula (1992)
The English Patient (1996)
Eternal Sunshine of the Spotless Mind (2004)
Fearless (2006)
Filmworker (2017)
From Dusk Till Dawn (1996)
Ghostbusters (1984)
Good Will Hunting (1997)
The Raid (2011)
Shirkers (2018)
United 93 (2006)

AMAZON PRIME

Badlands (1973)
The Ballad of Cable Hogue (1970)
The Birdcage (1996)
The Black Stallion (1979)
Brewster McCloud (1970)
Dead Ringers (1988)
Duck, You Sucker (1971)
Excalibur (1981)
GoldenEye (1995)
It’s a Wonderful Life (1946)
Licence to Kill (1989)
Michael Clayton (2007)
My Girl (1991)
Triangle (2009)
You Were Never Really Here (2017)

FILMSTRUCK

The Body Snatcher (1945)
Cat People (1942)
Day for Night (1973)
The Headless Woman (2008)
The Leopard Man (1943)
The Picture of Dorian Gray (1945)

HULU

Title (year)


COMING THIS WEEK

NETFLIX

November 2
The Other Side of the Wind–NETFLIX FILM (2018)

November 4
Pirates of the Caribbean: At World’s End (2007)

AMAZON PRIME

November 2
Wonder (2017)

November 3
Kick-Ass (2010)

HULU

November 2
Wonder (2017)

November 3
Kick-Ass (2010)

November 7
Europa Report (2013)


Jacob Neff is a film enthusiast living east of Sacramento. In addition to his contributions as an admin of the Feelin’ Film Facebook group and website, he is an active participant in the Letterboxd community, where his film reviews can be found. Follow him on Facebook and Twitter to keep up with his latest thoughts and shared content.

MOVIE REVIEW: Wildlife


Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on the emotional experience he has with a film. Follow him on Facebook and Twitter to be notified when new content is posted.