SEEING FACES IN MOVIES

Felicia is joined by Seth Vargas to discuss Arthur C. Miller’s brooding camera as it follows Jimmy Ringo in The Gunfighter (1950). We chat about how the photography complements the stories ticking clock, and why the black and white imagery elevates this cerebral western. This is the final episode in the Arthur C. Miller series and I’m so glad I finally highlighted another cinematographer on the show. I hope you’re inspired to watch more of his work and learn more about his craft. Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Find Seth here: Movie Friends Podcast (website) Twitter: @moviefriendspod IG: @moviefriendspodcast YouTube: @moviefriendspodcast Listen to our previous episodes here: Le Bonheur (Agnès Varda 1965) Woman in the Dunes (Hiroshi Teshigahara 1964) Late Spring (Yasujirō Ozu 1949) True Stories (David Byrne 1986) Sources: Balshofer, Balshofer, F. J., & Miller, A. C. (n.d.). One reel a Week. University of California Press. https://www.criterion.com/current/posts/7149-the-gunfighter-you-can-t-go-home-again https://www.criterion.com/current/posts/7151-10-things-i-learned-the-gunfighter https://jeffarnoldswest.com/2023/10/the-gunfighter-fox-1950-2/ https://alexonfilm.com/2023/04/29/the-gunfighter-1950/ https://theasc.com/articles/natural-lighting-for-interior-sets Outro Song: The Gunfighter by Alfred Newman

Felicia is joined by Darragh McGrath to discuss the harsh reality that Arthur C. Miller paints in The Prowler (1951). We chat about his disinterest in soft focus lighting and why he preferred to soft images as close to real life, along with how well he adapted to the directors vision. Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Find Darragh here: Letterboxd: @DarraghMcG IG: @Dreamworlds_films Listen to our previous episodes here: Ace in the Hole (Billy Wilder 1951) Straight Time (Ulu Grosbard 1978) Minnie and Moskowitz (John Cassavetes 1971) The Tarnished Angels (Douglas Sirk 1957) Sources: https://filmtalk.org/2014/12/05/evelyn-keyes-the-atmosphere-on-the-set-of-gone-with-the-wind-was-almost-partylike/ https://www.slantmagazine.com/dvd/the-prowler-bd/ https://www.sensesofcinema.com/2003/great-directors/losey/ https://filmtalk.org/2014/12/05/evelyn-keyes-the-atmosphere-on-the-set-of-gone-with-the-wind-was-almost-partylike/ https://dfordoom-movieramblings.blogspot.com/2011/11/prowler-1951.html https://www.tcm.com/articles/noir/338717/the-prowler-1951 Balshofer, Balshofer, F. J., & Miller, A. C. (n.d.). One reel a Week. University of California Press. Outro Song: Music from The Prowler by Lyn Murray

Felicia is joined by Bryan Loomis to discuss Arthur C. Miller’s imprint on one of cinema’s greatest achievements in cinematography, How Green Was My Valley (1941). We chat about how he understood John Ford’s clear vision for this film and why the black and white imagery adds to the comfort reflected in this family’s story. Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Find Bryan here: Website: PODCAST | What a Picture (whatapicturepod.com) What a Picture Podcast: https://anchor.fm/what-a-picture Listen to our previous episodes here: All the President’s Men (D.O.P. Gordon Willis 1976) I Was Born, But… (Yasujirō Ozu 1932) Miracle in Milan (Vittorio De Sica 1951) Sources: Balshofer, Balshofer, F. J., & Miller, A. C. (n.d.). One reel a Week. University of California Press. https://www.pbs.org/wnet/americanmasters/archive/interview/peter-bogdanovich-4/ https://www.moma.org/explore/inside_out/2011/05/10/john-fords-how-green-was-my-valley/ https://goldenglobes.com/articles/restored-hfpa-how-green-was-my-valley-1941/ https://moviecrashcourse.com/2019/03/12/how-green-was-my-valley-1941/ https://www.bbc.com/videos/c4nnj5llx66o https://starsandletters.blogspot.com/2024/04/casting-how-green-was-my-valley.html Outro Song: Huw Walks Among the Daffodils by Alfred Newman

Felicia is joined by Cethan Leahy to discuss the importance of Arthur C. Miller’s black and white photography in Dragonwyck (1946). We chat about his beginnings in early silent cinema and why he was one of the most revered cinematographers of his era. This is the first episode in the Arthur C. Miller series, and this film is perfect example of how incredibly skilled he was behind the camera, especially his black and white photography. Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Find Cethan here: Website: https://www.cethanleahy.com/ Listen to our previous episodes here: A New Leaf (Elaine May 1971) Sources: https://vhsrevival.com/2021/12/28/dragonwyck-a-masterpiece-of-the-gothic/ https://trailersfromhell.com/dragonwyck/ https://thelastdrivein.com/category/suspense/dragonwyck-1946/ https://www.tcm.com/articles/253031/dragonwyck Outro Song: Suite (Dragonwyck) by Alfred Newman

In today’s Special Features episode Felicia is joined once again by the amazing Seth Vargas to discuss the way David Byrne celebrates uniqueness in his film True Stories (1986). We chat about the blend of documentary and fiction styles of storytelling, and how great each song is in this musical. Send us your thoughts on the film and let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Listen to our previous episodes with Seth here: Le Bonheur (Agnès Varda 1965) Woman in the Dunes (Hiroshi Teshigahara 1964) Late Spring (Yasujirō Ozu 1949) Follow Seth here: Movie Friends Podcast (website) Twitter: @moviefriendspod IG: @moviefriendspodcast YouTube: @moviefriendspodcast Outro Song: Road Song by David Byrne Sources: https://www.filmcomment.com/blog/interview-david-byrne/ https://medium.com/counterarts/david-byrnes-true-stories-as-a-search-for-autistic-connection-43629c62cd07 https://www.rollingstone.com/tv-movies/tv-movie-features/david-byrne-true-stories-interview-754919/ https://www.davidbyrne.com/explore/american-utopia/press/david-byrne-shares-true-stories-from-1986s-true-stories https://www.criterion.com/current/posts/6068-true-stories-everybody-has-tones

Felicia is joined by Josh Cooley to discuss Kelly Reichardt's exploration of a path to self sustenance and the journey of finding your best friend in Wendy and Lucy (2008). We chat about Portland and shooting films in the Pacific Northwest region of America, along with the different ways people show up for one another. Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Find Josh here: IG: @_joshcooley_ LB: @movieunycorn Listen to our previous episodes here: Paterson (Jim Jarmusch 2016) Sources: https://cinemafromthespectrum.com/2018/08/24/wendy-and-lucy-is-one-of-the-most-shattering-films-of-last-decade/ https://www.cincinnatireview.com/talking-pictures/talking-pictures-on-wendy-and-lucy/ https://www.artforum.com/columns/online-only-interview-with-kelly-reichardt-189115/ https://www.slantmagazine.com/film/redefining-success-an-interview-with-kelly-reichardt/ https://www.intjournal.com/interview/tag/Wendy+and+Lucy https://www.interviewmagazine.com/film/30-minutes-with-filmmaker-kelly-reichardt https://www.indiewire.com/features/general/decade-kelly-reichardt-on-wendy-lucy-246069/ Outro Song: Goodbye Bread by Ty Segall

Felicia is joined by Frieda Beckerman to discuss eco activism vs eco terrorism in the eyes of Kelly Reichardt’s Night Moves (2013). We chat about the way she brings characters to life without enforcing too much back story, along with the use of indoor vs. outdoor spaces. Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Listen to our previous episodes here: The Green Ray (Éric Rohmer 1986) Sources: https://www.splittoothmedia.com/night-moves/ https://www.standbyformindcontrol.com/2014/09/night-moves-jesse-eisenberg-2013-review/ https://filmmakermagazine.com/86114-why-dont-we-all-go-blow-stuff-up-kelly-reichardt-on-night-moves/ https://fourthreefilm.com/2014/08/night-moves-an-interview-with-writerdirector-kelly-reichardt/ https://anarchistagency.com/margaret-killjoy-night-moves-2013-and-an-interview-with-jonathan-raymond/ https://tribecafilm.com/news/interview-kelly-reichardt-night-moveshttps://wakeupscreening.wordpress.com/recent-interviews/kelly-reichardt-interview-for-night-moves/ https://www.npr.org/2014/06/03/318575932/in-night-moves-filmmaker-dredges-the-tension-that-lives-in-quiet Outro Song: Night Moves by Bob Seger

Felicia is joined by Marc Basque to discuss male bonding in the eyes of Kelly Reichardt’s Old Joy (2006). We chat about the nature of a quiet road film and how Reichardt paces her stories. Along with the importance of the outdoors to characters with different life paths. Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Sources: https://www.criterion.com/current/posts/6728-old-joy-northwest-passages https://filmdaze.net/old-joy-the-nature-of-friendship/ https://www.zekefilm.org/2017/04/25/52filmsbywomen-old-joy/ https://www.cineaste.com/winter2006/old-joy-review https://inreviewonline.com/2021/08/25/old-joy/ https://www.deepfocusreview.com/reviews/old-joy/ https://reverseshot.org/interviews/entry/804/kelly-reichardt https://mubi.com/en/notebook/posts/a-completely-false-security-an-interview-with-kelly-reichardt https://filmmakermagazine.com/archives/issues/fall2006/features/sound_silence.php https://brightlightsfilm.com/time-and-friendship-in-old-joy-kelly-reichardt-2006-or-how-we-age-with-film/ https://www.stopsmilingonline.com/story_detail.php?id=655%3E Outro Song: Carefree Highway by Gordon Lightfoot

Felicia is joined by Peter Merriman to discuss the quiet beauty in everyday life through Kelly Reichardt’s Certain Women (2016). We chat about the importance of shooting locations in Reichardt’s films, as well as letting the actor’s faces carry the weight of the story. This is the series opener and I’m very excited to chat about a director whose voice is so distinct and welcome in modern cinema. Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Listen to our previous episodes here: The American Friend (D.O.P. Robby Müller) Tokyo Story (Yasujirō Ozu 1953) Peter’s alt Reichardt double bill: First Cow (Kelly Reichardt 2019) Cloud (Kiyoshi Kurosawa 2024) Sources: https://www.criterion.com/current/posts/4941-certain-women-trapped-under-the-big-sky https://www.anothergaze.com/review-certain-women-kelly-reichardt-sophie-mayer/ https://www.theringer.com/2025/10/03/movies/certain-women-best-movies-21st-century https://seventh-row.com/2017/02/10/kelly-reichardt-certain-women-interview/ https://www.independent.co.uk/arts-entertainment/films/features/certain-womens-kelly-reichardt-interview-michelle-williams-laura-dern-kristen-stewart-lily-gladstone-a7615271.html https://www.refinery29.com/en-gb/2017/02/142090/certain-women-kelly-reichardt-film-director-interview https://thefilmstage.com/lily-gladstone-talks-certain-women-kelly-reichardts-genius-and-native-american-roles/ https://www.nylon.com/articles/kelly-reichardt-certain-women-interview https://www.theupcoming.co.uk/2017/03/03/certain-women-an-interview-with-director-kelly-reichardt/ Outro Song: The Night They Drove Old Dixie Down by Joan Baez Films Mentioned: The American Friend (Wim Wenders 1977) Tokyo Story (Yasujirō Ozu 1953) Old Joy (Kelly Reichardt 2006) Wendy and Lucy (Kelly Reichardt 2008) Night Moves (Kelly Reichardt 2013) River of Grass (Kelly Reichardt 1994) First Cow (Kelly Reichardt 2019) The Mastermind (Kelly Reichardt 2025) Meek’s Cutoff (Kelly Reichardt 2010) Elephant Man (David Lynch 1980) No Country for Old Men (Joel & Ethan Coen 2007) Chungking Express (Wong Kar-wai 1994) Paris, Texas (Wim Wender 1984) May December (Todd Haynes 2023) Carol (Todd Haynes 2015) Collateral (Michal Mann 2004) Face/Off (John Woo 1997) Cloud (Kiyoshi Kurosawa 2024) Killers of the Flower Moon (Martin Scorsese 2023) Breaking The Waves (Lars von Trier 1996) Desert Hearts (Donna Deitch 1986)

In today’s Special Features episode Felicia is joined once again by the great Joey Gantner to discuss the world ending in the 80s, in Steve De Jarnatt’s Miracle Mile (1988). We chat about why LA makes a great backdrop for so many memorable films, and why this story is even more relevant in today’s climate. Send us your thoughts on the film and let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Listen to our previous episodes with Joey here:To Live and Die in L.A. (D.O.P. Robby Müller 1985) Repo Man (Alex Cox 1984) Follow Joey here: Spotify: Out of the Podcast Tape Record Label: sludge-people.com IG: @sludgepeople IG: @outofthepodcast Outro Song: Teetering Scales by Tangerine Dream Sources: https://collider.com/miracle-mile-1988/ https://filmstories.co.uk/features/miracle-mile-director-steve-de-jarnatts-1988-film-is-still-one-of-the-best-nuclear-armageddon-thrillers/ https://lovehorror.co.uk/horror-reviews/55993/miracle-mile-1988-review/ https://www.denofgeek.com/movies/miracle-mile-1988-review/ https://journeysindarknessandlight.wordpress.com/2017/08/14/miracle-mile-1988-steve-de-jarnatt/ https://www.newspapers.com/article/tampa-bay-times-miracle-mile/100553558/ https://vhsrevival.com/2023/09/09/the-bomb-that-will-bring-us-together-miracle-miles-quirky-reflections-on-nuclear-holocaust/ https://itcamefromblog.com/2020/02/11/the-everlasting-impact-of-miracle-mile/ https://popdose.com/the-popdose-interview-steve-de-jarnatt/ https://www.stevedejarnatt.net/media https://www.money-into-light.com/2015/11/an-interview-with-steve-de-jarnatt-part_8.html Films Mentioned: Repo Man (Alex Cox 1984) To Live and Die in L.A. (William Friedkin 1985) Cherry 2000 (Steve De Jarnatt 1987) Twilight Zone: The Movie (John Landis, Joe Dante,George Miller, Steven Spielberg 1983) Wayne’s World (Penelope Spheeris 1992) Dawn of the Dead (George A. Romero 1978) Strange Brew (Rick Moranis, Dave Thomas 1983) Over The Top (Menahem Golan 1987) Tarzana (Steve De Jarnatt 1978) Revenge of the Nerds (Jeff Kanew 1984) Top Gun (Tony Scott 1986) Peggy’s Sue Got Married (Francis Ford Coppola 1986) Tarantula (Jack Arnold 1955) Revenge of the Creature (Jack Arnold 1955) The Mole People (Virgil W. Vogel 1956) Citizen Kane (Orson Welles 1941) Kiss Me Deadly (Robert Aldrich 1955) Children on Men (Alfonso Cuarón 1986) After Hours (Martin Scorsese 1985) Love Lies Bleeding (Rose Glass 2024) The Holy Mountain (Alejandro Jodorowsky 1973) Nymphomaniac (Lars von Trier 2013)

Felicia is joined by Ben Turnbull to talk about the male ego in Douglas Sirk’s Written on the Wind (1956). We chat about the earnest approach Sirk takes to all of his films and specifically a high tense story such as this one. This is the series finale and one of my favourite month’s of the show so far. It was fascinating learning more about Sirk’s life and I hope we encouraged you to seek out more of his work. Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Ben Here: The Franchisees Podcast on Spotify: @TheFranchisees Letterboxd: @ben_turnbull Twitter: @FartonFink IG: @benjamin.turnbull Sources: Sirk, D., & Halliday, J. (2018). Sirk on sirk: Conversations with Jon Halliday. Bloomsbury Publishing. https://www.criterion.com/current/posts/7680-written-on-the-wind-no-good-end https://www.criterion.com/current/posts/97-written-on-the-wind https://www.sensesofcinema.com/2005/feature-articles/sirk-2/ https://www.filmcomment.com/article/melodrama-and-the-new-woman/ https://www.filmcomment.com/article/sirkumstantial-evidence/ https://www.newyorker.com/culture/richard-brody/movie-of-the-week-written-on-the-wind Outro Song: Main Title from Written on the Wind by Frank Skinner Films Mentioned: Saw (Franchise) Interview With a Vampire (Neil Jordan 1994) Queen of the Damned (Michael Rymer 2002) Through a Glass Darkly (Ingmar Bergman 1961) Winter Light (Ingmar Bergman 1963) The Silence (Ingmar Bergman 1963) Dogville (Lars von Trier 2003) Manderlay (Lars von Trier  2005) Imitation of Life (Douglas Sirk 1959)  Magnificent Obsession (Douglas Sirk 1954) My Winnipeg (Guy Maddin 2007) There’s Always Tomorrow (Douglas Sirk 1956) Mulholland Drive (David Lynch 2001) Rebel Without a Cause (Nicholas Ray 1955) Ali: Fear Eats the Soul (Rainer Werner Fassbinder 1974) May December (Todd Haynes 2023) The Go-Between (Joseph Losey 1971) Far From Heaven (Todd Haynes 2002) Lured (Douglas Sirk 1947) The Tarnished Angels (Douglas Sirk 1957) Battle Hymn (Douglas Sirk 1957) A Time to Love and a Time to Die (Douglas Sirk 1958) Airplane! (David Zucker, Jerry Zucker, Jim Abrahams 1980) Lust for Life (Vincente Minnelli 1956) Double Indemnity (Billy Wilder 1944) Psycho (Alfred Hitchcock 1960) The Ascent (Larisa Shepitko 1977) Peyton Place (Mark Robson 1957) Bigger Than Life (Nicholas Ray 1956) Murder By Decree (Bob Clark 1979) Lolita (Stanley Kubrick 1962) What Ever Happened to Baby Jane (Robert Aldrich 1962) What Ever Happened to Aunt Alice? (Lee H. Katzin 1969)

Felicia is joined by Jane Waldner to discuss the underlying feminist and queer themes in Douglas Sirk’s All That Heaven Allows (1955). We chat about the tropes in so-called women’s pictures and how Sirk takes those concepts and elevates them into high art. Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Listen to our previous episodes: Faces Place (Agnès Varda & J.R. 2017) Funny Games (Michael Haneke 1997 & 2007) Sources: Sirk, D., & Halliday, J. (2018). Sirk on sirk: Conversations with Jon Halliday. Bloomsbury Publishing. https://www.criterion.com/current/posts/96-all-that-heaven-allows-an-articulate-screen https://www.criterion.com/current/posts/3200-jane-wyman-and-all-that-heaven-allows https://hollywoodsuite.ca/all-that-heaven-allows-1955-melodrama-as-cultural-critique/ https://medium.com/feverdreams/beneath-the-surface-all-that-heaven-allows-1955-7ef8a3f0f0a7 https://cinema-cities.com/2016/06/17/falling-for-rock-hudson-in-all-that-heaven-allows-1955/ https://www.sensesofcinema.com/2005/feature-articles/sirk-2/ Outro Song: Main Theme in All That Heaven Allows by Frank Skinner Films Mentioned: Faces Places (Agnès Varda & J.R. 2017) Funny Games (Michael Haneke 1997 & 2007 Imitation of Life (Douglas Sirk 1959) One Battle After Another (Paul Thomas Anderson 2025) 10 Things I Hate About You (Gil Junger 1999) Blue Velvet (David Lynch 1986) Polyester (John Waters 1981) The Graduate (Mike Nichols 1967) Sorry, Baby (Eva Victor 2025) The Tarnished Angels (Douglas Sirk 1957) Licorice Pizza (Paul Thomas Anderson 2021) Ali: Fear Eats The Soul (Rainer Werner Fassbinder 1974) Edward Scissorhands (Tim Burton 1990)

Felicia is joined by Darragh McGrath to discuss why The Tarnished Angels (1957) may be the most Sirkian at its core. We chat about the beauty of the black and white photography, and why Sirk was so good at portraying the lives of broken people. Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Listen to our previous episodes: Ace in the Hole (Billy Wilder 1951) Straight Time (Ulu Grosbard 1978) Minnie and Moskowitz (John Cassavetes 1971) Sources: Sirk, D., & Halliday, J. (2018). Sirk on sirk: Conversations with Jon Halliday. Bloomsbury Publishing. https://criterioncast.com/reviews/blu-ray-reviews/scott-reviews-douglas-sirks-the-tarnished-angels-masters-of-cinema-blu-ray-review https://www.popmatters.com/tarnished-angels-douglas-sirks-2630900330.html https://www.cineaste.com/fall2019/the-tarnished-angels https://www.newyorker.com/goings-on-about-town/movies/the-tarnished-angels http://www.storyenthusiast.com/rock-hudson-blogathon-tarnished-angels-1957/ https://filmnoirfoundation.org/noircitymag/Tarnished-Angels.pdf Outro Song: Main Title from The Tarnished Angels by Frank Skinner Films Mentioned: Ace in the Hole (Billy Wilder 1951) Straight Time (Ulu Grosbard 1978) Minnie and Moskowitz (John Cassavetes 1971) Far From Heaven (Todd Haynes 2002) All That Heaven Allows (Douglas Sirk 1955) Magnificent Obsession (Douglas Sirk 1954) Written on the Wind (Douglas Sirk 1956) Imitation of Life (Douglas Sirk 1959) Giant (George Stevens 1956) The Big Country (William Wyler 1958) Jubal (Delmer Daves 1956) Interlude (Douglas Sirk 1957) Summertime (David Lean 1955) A Time to Love and a Time to Die (Douglas Sirk 1958) Blue Velvet (David Lynch 1986) Twin Peaks: Fire Walk With Me (David Lynch 1992) Has Anybody Seen My Gal (Douglas Sirk 1952) Seconds (John Frakenheimer 1966) Ali: Fear Eats The Soul (Rainer Werner Fassbinder 1974) Lonelyhearts (Vincent J. Donehue 1958) The Gypsy Moths (John Frankenheimer 1969) Dodsworth (William Wyler 1936)

Felicia is joined by Josh Cooley to discuss why it’s important to consider melodrama in a positive light through Douglas Sirk’s Magnificent Obsession (1954). We chat about why Sirk was considered a ‘woman’s picture’ director, and why that work lead to some of the most beautiful imagery put on screen. This is the first installment in the Sirk series and an important one to listen to as we give a lot of background into his life in Germany, and how he ended up in Hollywood. Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Listen to our previous episode: Naked Lunch (David Cronenberg 1991) Sources: Sirk, D., & Halliday, J. (2018). Sirk on sirk: Conversations with Jon Halliday. Bloomsbury Publishing. https://calgarycinema.org/blog/2021/8/magnificent-obsession-1954-douglas-sirk https://inreviewonline.com/2024/08/19/magnificent-obsession/ https://scenebygreen.com/2022/04/20/magnificent-obsession-1954/ https://www.criterion.com/current/posts/1006-magnificent-obsessions https://www.criterion.com/current/posts/6549-sirk-in-the-sun https://criterionreflections.blogspot.com/2010/04/magnificent-obsession-1954-457.html https://www.sensesofcinema.com/2014/feature-articles/obsessions-imitations-subversions-on-magnificent-obsession-part-one/ https://thatshelf.com/guy-maddin-talks-magnificent-obsession-at-tiff/ Outro Song: Theme from Magnificent Obsession by Frank Skinner Films Mentioned: Naked Lunch (David Cronenberg 1991) Written on the Wind (Douglas Sirk 1956) Imitation of Life (Douglas Sirk 1959) All That  Heaven Allows (Douglas Sirk 1955) The Tarnished Angels (Douglas Sirk 1957) Far From Heaven (Todd Haynes 2002) Magnificent Obsession (John M. Stahl 1935) Dead Ringers (David Cronenberg 1988) Her (Spike Jonze 2013) The Wizard of Oz (Victor Fleming 1939) Lola Montès (Max Ophüls 1955) Meet Joe Black (Martin Brest 1998) Taza, Son of Cochise (Douglas Sirk 1954) Giant (George Stevens 1956) Sign of the Pagan (Douglas Sirk 1954) The Client (Joel Schumacher 1994) Flatliners (Joel Schumacher 1990) A Time to Kill (Joel Schumacher 1996) Falling Down (Joel Schumacher 1993) St. Elmo’s Fire (Joel Schumacher 1985) The Incredible Shrinking Woman (Joel Schumacher 1981) Ocean’s Eleven (Steven Soderbergh 2001) Amélie (Jean-Pierre Jeunet 2001) Pay It Forward (Mimi Leder 2000) Pollyanna (David Swift 1960) Citizen Kane (Orson Welles 1941) Peter Ibbetson (Henry Hathaway 1935) Eyes Wide Shut (Stanley Kubrick 1999)

Felicia is joined by Ben Vargas to discuss the weight of parental guilt as it is manifested through Lars von Trier’s Antichrist (2009). We discuss the ways in which Lars von Trier portrays raw emotions on film, and why filmmakers aren’t often as brave when it comes to showing their audience the ugly side of grief. This is the last installment in the Lars von Trier series, thanks for following along. It was a heavy one but sometimes it’s good to let your emotions free flow. Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Listen to our previous episodes: Winter Light (Ingmar Bergman 1963) Woman in the Dunes (Hiroshi Teshigahara 1964) Follow Ben here: IG: @macefffron Twitter: @bensower Twitter: @cinemashitshow Spotify: @cinemashitshow Apple Podcasts: @cinemashitshow Sources: https://www.theguardian.com/film/2009/jul/16/antichrist-lars-von-trier-feminism https://charlieceratops.medium.com/lets-talk-about-lars-von-trier-s-antichrist-2009-b6f6586a2c97 https://www.criterion.com/current/top-10-lists/247-ana-lily-amirpour-s-top-10 Outro Song:The Witch by The Gruesomes Films Mentioned: Woman in the Dunes (Hiroshi Teshigahara 1964) Winter Light (Ingmar Bergman 1963)  The Celebration (Thomas Vinterberg 1998) Melancholia (Lars von Trier 2011) Nymphomaniac (Lars von Trier 2013) To Each His Own (Various 2007) Dimension (Lars von Trier 2010) Melancholia (Lars von Trier 2011) Slumdog Millionaire (Danny Boyle 2008) 127 Hours (Danny Boyle 2010) Europa (Lars von Trier 1991) The House That Jack Built (Lars von Trier 2018) Rabbit Hole (John Cameron Mitchell 2010) Manchester by the Sea (Kenneth Lonergan 2016) Shortbus (John Cameron Mitchell 2006) Hedwig and the Angry Inch (John Cameron Mitchell 2001) The Devils (Ken Russell 1971)

Felicia is joined by Jeanmarie Vargas to discuss the concept of inherent depression through Lars von Trier’s Melancholia (2011). We chat about Lars von Trier’s desire to break down his own battles with depression through these characters, along with the importance of Wagner in his work. Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Listen to our previous episode: The Piano Teacher (Michael Haneke 2001) Follow Jeanmarie here: Movie Friends Podcast - That’s Messed Up Series on Patreon: https://www.moviefriendspodcast.com/ Spotify:@MovieFriendsPodcast Apple Podcasts: @MovieFriendsPodcast Twitter: @jeanmarievargas Sources: https://thereveal.substack.com/p/melancholia-at-10-a-decade-of-waiting https://www.bbc.com/culture/article/20210512-is-melancholia-the-greatest-film-about-depression-ever-made https://flipscreened.com/2021/05/04/melancholia-2011-and-how-i-learned-to-stop-worrying-and-love-the-planet/ https://charlieceratops.medium.com/the-devastating-beauty-of-melancholia-2011-fb898b41ec85 http://www.cinemablography.org/the-existential-philosophy-of-melancholia.html https://disobedientsounds.com/2021/04/29/melancholia-and-the-infinite-sadness/ https://www.sensesofcinema.com/2024/film-and-the-nonhuman/is-the-earth-fucked-lars-von-triers-melancholia-2011-albrecht-durers-melencolia-1-1514/ https://www.sensesofcinema.com/2011/feature-articles/the-lonely-planet-lars-von-triers-melancholia/ Outro Song: Credits (Tristan and Isolde) by Richard Wagner and City Of Prague Philharmonic Orchestra Films Mentioned: The Piano Teacher (Michael Haneke 2001) Antichrist (Lars von Trier 2009) Nymphomaniac (Lars von Trier 2013) Dimension (Lars von Trier 2010) The Mirror (Andrei Tarkovsky 1975) Cries and Whispers (Ingmar Bergman 1972)

Felicia is joined by The Davids Podcast to discuss Lars von Trier’s take on male aggression, in The House That Jack Built (2018). We chat about the nuisance of supporting the work of an artist whose personal ideals we may not agree with. Along with the way Trier is reflecting on his life through the character of Jack. Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow The Davids Podcast here: IG: @thedavidspod Soundcloud: @thedavidspodcast YouTube: @thedavids6703 Sources: https://www.theguardian.com/film/2018/dec/14/the-house-that-jack-built-review-lars-von-trier-matt-dillon-uma-thurman-bruno-ganz https://www.theringer.com/movies/2018/12/14/18139814/the-house-that-jack-built-lars-von-trier-review-dogville-nymphomaniac-antichrist-dance-in-the-dark https://www.back-row.com/home/2020/9/23/i-watched-it-so-you-dont-have-to-the-house-that-jack-built-explained https://rue-morgue.com/the-house-that-jack-built-is-an-act-of-self-flagellation/ https://www.sensesofcinema.com/2019/feature-articles/the-art-of-murder-what-we-have-to-learn-from-the-house-that-jack-built/ https://www.truemythmedia.com/true-myth-media/reviews/thehousethatjackbuilt https://learningonscreen.ac.uk/viewfinder/articles/the-house-that-jack-built/ https://www.indiewire.com/features/general/matt-dillon-interview-lars-von-trier-the-house-that-jack-built-1202028057/ FILMS MENTIONED: The Killer (David Fincher 2023) Bastards (Claire Denis 2013) Dancer in the Dark (Lars von Trier 2000) Antichrist (Lars von Trier 2009) The Kingdom (Lars von Trier 1994-2022) Madea (Lars von Trier 1988) Scenes From a Marriage (Ingmar Bergman 1974) Fanny and Alexander (Ingmar Bergman 1982) Funny Games (Michael Haneke 1997) The Room (Tommy Wiseau 2003) Breaking the Waves (Lars von Trier 1996) Possibly in Michigan (Cecelia Condit 1983) Arrebato (Iván Zulueta 1980) Targets (Peter Bogdanovich 1968)

Felicia is joined by Scott Cole to discuss Lars von Trier’s take on an American musical in Dancer in the Dark (2000). We chat about the way von Trier crafts and treats his women characters, along with his criticism of American culture. This is the first installment in the Lars von Trier series, and a great introduction to his sensibilities as an artist. Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Check out our previous episode with Scott: In The Cut (Jane Campion 2003) Follow Scott here: Twitter: @ColeCommaScott IG: @ColeCommaScott Sources: https://www.theguardian.com/film/2000/sep/15/1 https://www.bjork.fr/article1140 https://piadiamandis.medium.com/a-review-of-lars-von-triers-dancer-in-the-dark-db28ecf654e9 https://www.filmstowatchbeforeyoudie.com/blog/dancer-in-the-dark-2000-film-review-an-analysis-of-von-triers-tour-de-force https://www.sensesofcinema.com/2000/current-releases-11/dancer/ https://www.artforum.com/columns/lars-von-triers-dancer-in-the-dark-201040/ https://corsepresentblog.wordpress.com/2021/03/07/dancer-in-the-dark/ OUTRO SONG: Cvalda by Björk FILMS MENTIONED: In The Cut (Jane Campion 2003) Breaking The Waves (Lars von Trier 1996) Melancholia (Lars von Trier 2011) Dogville (Lars von Trier 2003) Nymphomaniac (Lars von Trier The Idiots (Lars von Trier 1998) The House That Jack Built (Lars von Trier 2018) Antichrist (Lars von Trier 2009) Joker: Folie à Deux (Todd Phillips 2024) Julien Donkey-Boy (Harmony Korine 1999) Gummo (Harmony Korine 1997) Kids (Larry Clark 1995) Wicked (Jon M. Chu 2024) The Northman (Robert Eggers 2022) West Side Story (Steven Spielberg 2021) In The Heights (Jon M. Chu 2021) Mean Girls (Samantha Jayne, Arturo Perez Jr. 2024) The Machinist (Brad Anderson 2004) Dead Man Walking (Tim Robbins 1995) Mouth to Mouth (Alison Murray 2005) Pennies From Heaven (Herbert Ross 1981)

Felicia is joined by Ryan Ritter to discuss the film that cemented the genre of Italian neo-realism in history; Vittorio De Sica’s Bicycle Thieves (1948). We chat about De Sica’s ability to discover raw talent from non-actors and guide them to deliver unforgettable performances. Along with how relatable this story has been to audiences over the years. This is the final installment in the De Sica series and it brought great warmth to my heart to revisit and discuss these films. I hope my guests and I have inspired you to seek out his later work as well. Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Check out our previous episode with Ryan: Klute (Alan J. Pakula - Gordon Willis D.O.P. 1971) Follow Ryan here: IG: @crittical_analysisblog IG: @popculturehistorianspodcast Twitter: @PCHistorians Letterboxd: @ryanritter Website: Crittical Analysis (crittical-analysis.com) Spotify: @popculturehistorians Apple Podcasts: @popculturehistorians Sources: https://www.criterion.com/current/posts/6246-the-joy-and-pain-of-one-good-meal-in-bicycle-thieves https://www.criterion.com/current/posts/3754-hou-hsiao-hsien-on-the-films-that-changed-his-life https://www.criterion.com/current/posts/1538-remembering-suso-cecchi-d-amico https://www.criterion.com/current/posts/1090-bicycle-thieves-ode-to-the-common-man https://retrospectjournal.com/2024/03/24/bicycle-thieves/ https://www.nytimes.com/2020/08/13/movies/bicycle-thieves-italian-neorealism.html https://www.sensesofcinema.com/2020/cteq/bicycle-thieves-vittorio-de-sica-1948/ https://fourthwallwriting.com/2019/04/01/the-perfect-illusion-bicycle-thieves-as-pure-cinema/ https://www.criterion.com/current/top-10-lists/201-roger-corman-s-top-10 OUTRO SONG: Bicycle Thieves by Alessandro Cicognini FILMS MENTIONED: Klute (Alan J. Pakula 1971) Ghostbusters (Ivan Reitman 1984) Beetlejuice (Tim Burton 1988) Shoeshine (Vittorio De Sica 1946) The Children Are Watching Us (Vittorio De Sica 1944) Umberto D. (Vittorio De Sica 1952) Miracle in Milan (Vittorio De Sica 1951) Heart and Soul (Vittorio De Sica 1948) Goodfellas (Martin Scorsese 1990) Casino (Martin Scorsese 1995) Marriage Italian Style (Vittorio De Sica 1964) Yesterday, Today, and Tomorrow (Vittorio De Sica 1963) Il boom (Vittorio De Sica 1963) Come and See (Elem Klimov 1985) Nights of Cabiria (Federico Fellini 1957) Mildred Pierce (Michael Curtiz 1945)

Felicia is joined by Geoff Thomas to discuss the effects of capitalism on an old man and his dog in Vittorio De Sica’s Umberto D. (1952). We chat about this film as a bridge between De Sica’s as a neo-realist filmmaker and his move towards comedies. Along with the themes of questioning the moral compass of authority figures present in this film. Send us your thoughts on the episode by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Check out our previous episodes with Geoff: Diary of a Chambermaid (Luis Buñuel 1964) The Silence (Ingmar Bergman 1963) Follow Geoff here: IG: @cinema_gnt Letterboxd: @gnthomas Website: https://cinemamemry.wordpress.com/ Spotify: @cinematicmeoriespodcast Spotify: @dontdespisemepodcast Apple Podcasts: @cinematicmemoriespodcast Apple Podcasts: @dontdespisemepodcast Sources: https://web.archive.org/web/20110721100149/ http://www.ingmarbergman.se/universe.asp?guid=66DA7015-8017-4303-9A31-658D02296D45 https://www.criterion.com/current/posts/292-seeing-clearly-through-tears-on-the-smart-sentiment-of-umberto-d https://www.nytimes.com/1955/11/08/archives/screen-honest-realism-de-sicas-umberto-d-is-story-of-old-man.html https://www.deepfocusreview.com/definitives/umberto-d/ https://cinemafromthespectrum.com/2017/02/24/umberto-d-review/ OUTRO SONG: Umberto D. by Alessandro Cicognini FILMS MENTIONED: The Silence (Ingmar Bergman 1963) Diary of a Chambermaid (Luis Buñuel 1964) Bicycle Thieves (Vittorio De Sica 1948) The Leopard (Luchino Visconti 1963) Ikiru (Akira Kurosawa 1952) Shoeshine (Vittorio De Sica 1946) The Third Man (Carol Reed 1949) Miracle in Milan (Vittorio De Sica 1951) Terminal Station (Vittorio De Sica 1953) After the Fox (Vittorio De Sica 1966) The Voyage (Vittorio De Sica 1974) Sunflower (Vittorio De Sica 1970) Two Women (Vittorio De Sica 1960) Marriage Italian Style (Vittorio De Sica 1964) Yesterday, Today, and Tomorrow (Vittorio De Sica 1963) Boccaccio ‘70 (Vittorio De Sica, Federico Fellini, Mario Monicelli, Luchino Visconti 1962) Rebecca (Alfred Hithcock 1940) Il boom (Vittorio De Sica 1963) Anora (Sean Baker 2024) Wild Strawberries (Ingmar Bergman 1957) Tokyo Story (Yasujirō Ozu 1953)