Double Feature

Violent cannibal films with female directors released in the spring of 2017. A reverse-meta sense of humor. Women-in-film retrospective: Eric makes a thing with Ama Lea for the Soska Sisters! The sensibility and wonderful icky-ness of Raw. Eli Roth’s problematic but still extremely useful term “chick-vision.” Normal is uncomfortable, cannibalism is home. Surreal imagery with a physical anchor. Who even wants to go to French-night? The family unit stand-in and horror film community. ZEF ZEF ZEF. Michael goes to the stunt ranch for some long-pig. Living the Dream, or whatever. Basically Die Antwoord the movie, part nine. Continue reading →

Human beings consumed by answers! An update on Double Feature’s status. The last critical moments that determine’s this podcast’s fate. First up in writer/director Taylor Sheridan’s film Wind River: a veteran tracker with the Fish and Wildlife Service helps to investigate the murder of a young Native American woman, and uses the case as a means of seeking redemption for an earlier act of irresponsibility which ended in tragedy. Then, in the 2006 mania of William Friedkin’s movie Bug: an unhinged war veteran holes up with a lonely woman in a spooky Oklahoma motel room. The line between reality and delusion is blurred as they discover a bug infestation. Mania, conspiracy, and so much more. Continue reading →

Deeper into the questions posed when making films with less than perfect humans. Exploring the magic, therapy, complexities, and baggage of making a movie through a fictional narrative. How Brigsby Bear turns the boy-in-a-bubble template into something new. Sidestepping predictable conflict-ends in favor or wonderment. Mark Hamill in his first of two major audience-challenging roles. Jim and Andy: The Great Beyond. Jim Carrey method acting Andy Kaufman and Tony Clifton. Spending time with Jim Carrey terrorizing a set, making everyone really uncomfortable, and creating a really negative work environment by refusing to break character. Spending time with Jim Carrey showing how therapeutic his method acting was for those around him who knew Andy Kaufman, including Kaufman’s own parents. A director that won’t call the safe word. Set magic that the people watching movies never experience. Continue reading →

Spending a night with high society. Eat the rich. Fuck the rich. Eat yourself? Also: melting, death, fatalism, nihilism, and Double Feature gets a cold. Spending an hour making bad decisions. Two movies that were spoiled by their representation over the passage of time. There should be a joke about soiled food here but the hosts are too sick to write one. Enter Bryan Yuzna! Stuart Gordon, Reanimator, and a carefully told story that maybe isn’t real. Screaming Mad George’s name isn’t George. What do these fistful of slasher franchises have in common? This 60 year old Japanese guy. A movie with enough gastrointestinal foley to get into the Cannes film festival. Swell party, but where’s all the sex workers? A-B-C method faults back to A. An all vegan remake of La Grande Bouffee. Just kidding, but actually someone please make that. Continue reading →

Music culture through different filters. Country mets hip hop. How Nashville might be more about showbiz than about country western music. What the interpretations of Nashville say about the film (that Robert Altman won’t). How Wild Style was embraced by the developing rap scene in opposition to Nashville. What does it take to earn a communities support? When the artist goes pop. The similarity between hip-hop and horror cinema. Film’s simple, beautiful ability to empower through representation. Continue reading →

Separating ideas from personhood. The attempts and failures to separate Julian Assange from Wikileaks. An alternate angle of Citizenfour. Differentiating factors between Edward Snowden, Julian Assange and Chelsea Manning. Laura Poitras’ attempts and failures to separate making the documentary Risk from her own human life. The reluctant voice over. How The Matrix picked up the conversation started by Ghost in the Shell and ran with it. Embracing Ghost in the Shell’s post-sexuality, post-gender and most of all post-humanism. Moving past gender identity and perhaps past the very notion of identity itself. Humans crave identity, society eradicates identity. Forget “robot overloads” and AI pop-culture – the real unnoticed threat of autonomy, where it will strike first, and how much sooner it’s coming than anyone is acknowledging. Continue reading →