SEEING FACES IN MOVIES

Felicia is joined by Peter Merriman to discuss Yasujirō Ozu’s tale about aging parents and their relationships with their older children, in Tokyo Story (1953). We chat about why Japan original didn’t think they could market this film in North America, and how it eventually became one of the most universal film texts that audiences continue to relate to. This mark’s the end of the Ozu series, it w...

Felicia is joined by Bryan Loomis (from What a Picture Podcast) to discuss Yasujirō Ozu’s silent comedy about two brothers who begin to see their father in a new light. Send us your thoughts on the episode - do you prefer Ozu’s silent or talkies era? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Listen to our previous episode: All The...

Felicia is joined by Malik Nelson to discuss Yasujirō Ozu’s overlooked film about two sisters grappling with the return of their mother who abandoned them in Tokyo Twilight (1957). Send us your thoughts on the episode - do you prefer Ozu’s black and white or in colour films? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Malik h...

Felicia is joined by Seth Vargas to discuss one of the most touching and heartbreaking story of a father and daughter dynamic, in Yasujirō Ozu’s Late Spring (1949). We chat about how Ozu perfected the genre of family dramas, by keeping the visuals simple yet effective. We also how the characters in this film bridge old and new world Japan. Send us your thoughts on the episode - which is Ozu’s ‘sea...

It’s bonus episode time. In today’s Special Features episode Felicia is joined by Charles Forsman and Joey Gantner to discuss the only punk sci-fi film that matters, Repo Man (Alex Cox 1984). We chat about how Alex Cox not only made one of the most important films about punk culture but how he was able to successfully infuse other genres to make it a complete story. Along with how members of the L...

Felicia is joined by Liam and Wayne from the In Film We Trust Podcast to discuss Jim Jarmusch’s film about three outlaws on the run, in Down By Law (1986). We chat about how each of these characters play off each other and why the outsider, Roberto, is the glue that holds them together. We also discuss how he gave Robby Müller carte blanche to shoot the film however he wanted and how that collabor...

Felicia is joined by Trevor Young (Supervising Producer at iHeartPodcasts) to discuss Jim Jarmusch’s anthology film of character’s everyday conversations in Coffee and Cigarettes (2003) We chat about how it was filmed over the course of three decades, and how the use of multiple cinematographers helps reflect the respective eras in which the vignettes were shot. Along with how each individual chap...

Felicia is joined once again by Rolo Tony [listen to our episode on A Woman Under the Influence (John Cassavetes 1974)], to discuss Jim Jarmusch’s blending of both noir and samurai genres in Ghost Dog: The Way of the Samurai (1999). We chat about Jarmusch’s interest in music and how he blends that art form into storytelling in his films. Along with his interest in stories about humans and their qu...

Felicia is joined by Josh Cooley to discuss Jim Jarmusch’s meditative story about a small town poet, in Paterson (2016). We chat about the Jarmusch’s interest in telling the stories of every day people and why mundanity can make for a compelling story. This is the first episode of the Jarmusch series and I think a great film to showcase how he has still maintained his craft and ability to tell a m...

It’s bonus episode time. In today’s Special Features episode Felicia is joined by Cethan Leahy to discuss Elaine May’s romantic comedy about a man who wants to murder his wife. We chat about how the physical comedy from the actors allows the audience to ease into the premise of the film, and why Walter Matthau is perfect casting for the role of the egotistical Henry. Send us your thoughts on the e...

Felicia is joined once again by Eugina Gelbelman [listen to our episodes on Trouble Every Day Claire Denis 2001), and Dressed to Kill (Brian De Palma 1980)], to discuss Jane Campion’s story of cults and gendered sexual dynamics, in Holy Smoke (1999). We chat about the concept of being a privileged outsider in another country, and how certain cultures look down on others. Along with the psychosexua...

Felicia is joined by Emily Gagne to discuss Jane Campion’s feminist western film, The Power of the Dog (2021). We chat about the way Campion reveals the truths about these characters without having to explicitly say it through dialogue. Along with why a woman making a Western about a flawed man works. Send us your thoughts on the episode - do you view this film as a western of a revision of the ge...

Felicia is joined by Scott Cole to discuss Jane Campion’s vision of women in thrillers in her 2003 film, In The Cut. We chat about the portrayal of violence against women through the eyes of a woman director and writer. Along with casting Meg Ryan against type and why her performance is essential to making this role work. Send us your thoughts on the episode - how do you feel about this film be la...

Felicia is joined once again by Ms. Sinclair (listen to our first episode on Billy Wilder’s Sunset Boulevard) to discuss Jane Campion’s take on women’s liberation in The Piano (1993) We chat about the character dynamics that Campion likes to explore in her stories, especially between women who seek liberation and the emotionally stunted men who surround them. Send us your thoughts on the episode -...

Felicia is joined once again by Jamila Brown (listen to our first episode on Ingmar Bergman’s Fanny and Alexander) to discuss Jane Campion’s adaptation of The Portrait of a Lady (1996). We chat about Campion’s feminist take on the Henry James novel, and how she plays with time and women of different eras and their life experiences to bring Isabel Archer to life. This is the first episode of the Ja...

It’s bonus episode time. In today’s Special Features episode Felicia is joined once again by Geoff Thomas (listen to our episode on Ingmar Bergman’s The Silence) to discuss one of Luis Buñuel’s most political overt films, Diary of a Chambermaid (1964). We discuss Buñuel’s fascination and take down of the French bourgeoisie - and how he uses sexual repression as a tool to demonstrate the characters...

Felicia is joined once again by José Roldan (listen to our episode on The Gleaners & I) to discuss Gordon Willis’ work on Woody Allen’s controversial but groundbreaking film, Zelig (1983). We chat about how Willis and team were able to succeed in making this film, and the blocking, lighting and camera techniques that were used to achieve its look. We also discuss how this story would be perceived...

Felicia is joined once again by Martin Kessler (listen to our episode on Cassavetes’ Opening Night) to discuss Gordon Willis’ photography that would shape the rest of 1970s American cinema, in Hal Ashby’s The Landlord (1970). We chat about Gordon Willis’ ability to light both darker and lighter skin tones within the same frame and ensure everyone is visible to the audience. Along with his portraya...

Felicia is joined by Ryan Ritter to chat about Gordon Willis’ dark imagery in Alan J. Pakula’s detective thriller in Klute (1971). We chat about how Gordon Willis uses the camera in service of the actors performance and gives them the space they require to explore their characters. Along with the darkness of the scenery and how that mirrors the dread that is slowly building for our lead protagonis...

Felicia is joined by Bryan Loomis and Hannah Loomis to discuss Gordon Willis’ visual take on the Watergate scandal in Alan J. Pakula’s All the President’s Men (1976). We chat about how the camera mirrors the mundanity of office life, and how inconsequential these two reporters were until they broke this story. We also discuss how the natural lighting of a setting has an effect on the energy of the...

It’s bonus episode time. In today’s Special Features episode Felicia is joined once again by Vinny Tucceri (listen to our episode on Agnès Varda’s Cléo From 5 to 7) to discuss one of the 70s most underrated films about addiction, The Gambler (Karel Reisz 1974). We discuss the topic of addiction, how it comes in many forms, and the way James Caan’s layered performance allows the audience the both s...

Felicia is once again joined by Ben Vargas (listen to our episode on Woman in the Dunes) to discuss Ingmar Bergman’s story of a priest's inner turmoil in Winter Light (1963). We chat about how timeless Bergman’s films are and how the subject matter of questioning one’s own faith in not only religion, but humanity and one’s own self is relatable to all audiences. Along with how the visual blocking...

Felicia is joined once again by Aaron Strand (listen to our first episode together on Billy Wilder’s Double Indemnity) to discuss Ingmar Bergman’s exploration of an aging man’s past lives, in Wild Strawberries (1957). We chat about how this film being a road movie keeps the momentum going and allows the audience to engage in all of Isak’s dream sequences. We also talk about how Bergman was a worka...

Felicia is joined by Jamila Brown to discuss Ingmar Bergman’s family epic that unfolds over four acts, Fanny and Alexander (1982). We chat about treatment of children within a family and how they’re given a level of independence until an outsider arrives. Along with how Bergman develops a cast of well rounded and three dimensional characters. We also discuss how this is a rare Bergman film with a...

Felicia is joined by Geoff Thomas to discuss Ingmar Bergman’s exploration of women’s sexual autonomy, in The Silence (1963). We chat about the way Bergman tackles women’s sexuality and how these characters experience both a liberation and repression of their bodies. We also discuss the theme of loneliness found in every character on screen and how the hotel location reflects their isolation. This...