Cinema in Context: Recent Episodes

Cinema in Context

Podcast by Cinema in Context

Box office smash horror films. Sarah Watt, Jeremy Downing and William Chen discuss Backrooms (2026) and Obsession (2026), but in two separate conversations. Jeremy and William discuss Backrooms, directed by Kane Parsons, and then Jeremy and Sarah discuss Obsession, directed by Curry Barker. The Backrooms conversation starts with the box office impact of the film and how it potentially is shifting the industry model for investing in films. We unpack the psychology of the horror in the film, especially when considering the realities of Gen Z and what horror looks like in a post-Millennial world. We talk about the brilliant performances from Chiwetel Ejiofor and Renate Reinsve, as are the physical sets in the film. We discuss the structure of the film and where the films works and where it is weak. We connect the film to the work of David Lynch, Alfred Hitchcock and Stanley Kubrick. Sarah swaps out with William, and chats with Jeremy about Obsession. Our conversation begins by praising the performance actor Inde Navarrette and later in the episode Michael Johnston. We talk about the strength of the narrative and how we can relate the situation amidst the horror. Our discussion focuses on the ending and the poetic justice, as well as the strength of the writing. We make connections to Weapons (2025), Romeo and Juliet (roughly 1597), Heated Rivalry (2025-), Fatal Attraction (1987), and the work of David Fincher and David Lynch (again). We finish the conversation by highlighting how much the film connected with our own lives.

Steven Spielberg films. Sarah Watt, Jeremy Downing and William Chen discuss Disclosure Day (2026) and Minority Report (2002), two Science Fiction films directed by cinema great Steven Spielberg. Our conversation begin by unpacking our reactions to and judgements of Disclosure Day, including how the film connects to or doesn't connect to the real-world pressures of today. We praise the performances of Eve Hewson and Emily Blunt, with mixed reactions to Josh O'Connor, Wyatt Russell and Coleman Domingo. We discuss the ineptitude from the super agents in both films. Our conversation moves to Minority Report and praise the performances of Colin Farrell, Samantha Morton, Max von Sydow, Time Blake Nelson, Peter Stormare and, of course, Tom Cruise. We discuss the cinematography of both films, the work of Janusz Kaminski. We make the connection between Steven Spielberg's later work and the careers of Francis Ford Coppola and Martin Scorsese.

Movies that made Sophie. Jeremy Downing and returning guest to the podcast Sophie Gray discuss the most significant films in Sophie's life in our series of Movies That Made Us. We talk about our mutual love of storytelling, our experiences of film fandom as teenagers, and then jump into our discussion of specific movies. Sophie brings up a range of films, including Singin' in the Rain (1952), School of Rock (2003), Pulp Fiction (1994), Snatch (2000), Once Upn a Time... In Hollywood (2019), Inglourious Basterds (2009), The Hateful Eight (2015), Django Unchained (2012), Legally Blonde (2001), Toy Story 2 (1999), Promising Young Woman (2020), Parasite (2019) and Amélie (2001).

Drew Goddard solo space flicks. Sarah Watt, Jeremy Downing and William Chen discuss Project Hail Mary (2026) and The Martian (2015). We begin by celebrating the ten-year anniversary of the podcast. We discuss our reactions to both films, from directors Ridley Scott, and Phil Lord and Christopher Miller. We discuss the calibre of the cast in The Martian and the strength of Ryan Gosling's and Matt Damon's performances. We talk about the special effects and how the two films create a sense of zero-gravity in space. We close with our final thoughts, especially our experiences watching the films in the theatre and connections to other films... our typical schtick.

Classic stories retold. Sarah Watt, Jeremy Downing and William Chen discuss Wuthering Heights (2026) and Romeo + Juliet (1996). Emerald Fennell's adaptation of Emily Brontë's Wuthering Heights and Baz Luhrmann's adaptation of William Shakespeare's Romeo and Juliet provide us with a wealth of points to talk about. We begin by discussing our reactions to 1996's Romeo + Juliet. We talk about the presence of this adaptation in high school classrooms, our initial reactions to the film both back in the day and now, and the high energy editing, acting and production elements. We break down the performances of Leonardo DiCaprio and Claire Danes as the titular Romeo and Juliet, as well as praising the performances of John Leguizamo, Harold Perrineau, Pete Postlewaite, Paul Sorvino, Paul Rudd, Diane Verona and even Annette Bening. We discuss our reactions to Wuthering Heights, starting with our knowledge of the book (which none of us have read) and our expectations of Emerald Fennell's after our experiences watching Promising Young Woman (2020) and Saltburn (2023). We talk about the casting and performances of Margot Robbie, Jacob Elordi, Hong Chau, Alison Oliver, Martin Clunes and Shazad Latif. We each had different enjoyment levels of Wuthering Heights and each bring our reactions to the table.

Thrillers with an insidious carer at the centre. Sarah Watt, Jeremy Downing and William Chen discuss Send Help (2026) and Misery (1990). We begin by discussing our shared experience of watching Send Help and praising the performances of Rachel McAdams as Linda Liddle and Dylan O'Brien as Bradley Preston. Our conversation jumps between Send Help and Misery, equally praising the performances of Kathy Bates as Annie Wilkes and James Caan as Paul Sheldon. The work of Rob Reiner and Sam Raimi as directors is a key part of our enthusiasm, and we compare the films to various other movies, including: Cast Away (2000), Triangle of Sadness (2022), Doctor Strange in the Multiverse of Madness (2022), Oz the Great and Powerful (2013), The Shining (1980), Lord of the Flies (1963), The Straight Story (1999) and Elf (2003).

Rian Johnson films. Sarah Watt, Jeremy Downing and William Chen discuss Wake Up Dead Man (2025), the latest in the Knives Out series, and Rian Johnson's first film Brick (2005). We begin by discussing our experiences watching Brick back in 2005 and 2006. This moves into us discussing a number of Rian Johnson's films, ending with Wake Up Dead Man. We discuss the range of actors in Wake Up Dead Man, including the accuracy of their casting, the bravado of their performances and whether they had enough to do. Our discussion weaves between the two films and talk about the technical elements and how Johnson and his team have crafted the tension, plot contrivances and semiotics.

The best of the year. Sarah Watt, Jeremy Downing and William Chen discuss their film and television highlights of the year, including their biggest surprise, biggest disappointment, classic revisted, best television and best films of 2025.Here are the films and television shows we discussed: • Biggest surprise of the year: Ne Zha 2 (William); The Last Showgirl (Sarah); Final Destination: Bloodlines (Jeremy) Biggest disappointment of the year: After the Hunt (Sarah); Sinners (William) - with disappointed shout outs to Den of Thieves: Pantera and The Accountant 2; The Brutalist (Jeremy)• Classic revisited: Picnic at Hanging Rock (1975) [Jeremy] - with a shout out to All That Jazz (1979); Tron (1982) and The Little Mermaid (1989) [William]; Scarface (1983) [Sarah] - with shout outs to Pretty Woman (1990) and Final Destination (2000)• Best television: The Pitt, Season 1 (Sarah); Andor, Season 2 (William); The White Lotus, Season 3 (Jeremy) - with shout outs to The Celebrity Traitors, The Gilded Age, Severance, Squid Games, Stranger Things, Heated Rivalry, Boots and Pluribus• Runner-ups to the film of the year: Frankenstein, The House Within and Conclave (Sarah); 28 Years Later, Sonic the Hedgehog 3 and Anora (William); Final Destination: Bloodlines and Anora (Jeremy)• Best film of the year: 28 Years Later (Sarah); F1: The Movie (William); One Battle After Another (Jeremy)

1987 and 2025 versions of The Runninng Man. Sarah Watt, Jeremy Downing and William Chen discuss The Running Man (2025) and The Running Man (1987), adaptations of the Richard Bachman aka Stephen King novel of the same name. We begin with our initial reactions to the new film, recorded immediately after watching the preview screening together. The conversation moves to the original adaptation from 1987 - we generally praise the fun-factor in the film. We move between the two films and consider the strengths and weaknesses, linking back to the Stephen King novel throughout.

Paul Thomas Anderson films. Sarah Watt, Jeremy Downing and William Chen discuss One Battle After Another (2025) and Punch Drunk Love (2002), both directed by PTA. Out conversation begins by comparing the villains in both films, played by Sean Penn and Philip Seymour Hoffman, respectively. We talk about the confident performances of Adam Sandler and Emily Watson in Punch Drunk Love. We praise the work of Leonardo DiCaprio in One Battle After Another and discuss our other highlights from the film. We also praise the performances of Chase Infiniti and Teyana Taylor. We make connections to the films Eternal Sunshine of the Spotless Mind, Children of Men, Heat and The Dark Knight; the work of David Lynch, The Coen Brothers, Quentin Tarantino and Spike Jonze; and the Western genre.

Girl power demon slayers. Jeremy Downing and William Chen discuss KPop Demon Hunters (2025) and Buffy the Vampire Slayer (1992). William and Jeremy also watched the Buffy the Vampire Slayer (1997-2003) television series episode "Hush" (Season 4, Episode 10), as well as reference "Doppelgangland" (Season 3, Episode 16) and the musical episode "Once More With Feeling" (Season 6, Episode 7). The conversation begins by discussing connections to the Buffy the Vampire Slayer universe, with William's first foray into the world in preparation for this episode and Jeremy's fandom being put to the test by watching the film for the first time. Both are critical in their experience of watching the Buffy the Vampire Slayer film. Discussion moves to KPop Demon Hunters and highlight how it is a film of its time, hitting a nerve with the public and confidently stepping into the combined cultural consciousness. The conversation moves into a comparison between the work that Sony is doing with animated films and Disney Animation Studios.

Zach Cregger films. Sarah Watt, Jeremy Downing and William Chen discuss Weapons (2025) and Barbarian (2022). Our conversation begins with our experiences watching Barbarian for the first time and it quickly weaves into our reactions to watching Zach Cregger's latest film Barbarian. We make connections between the films and with Heretic (2024), Longlegs (2024), The Shining (1980), Carnivàle (2003-2005), Magnolia (1999), Prisoners (2013), and No Country For Old Men (2007). We praise the work of Georgina Campbell, Bill Skarsgård and Justin Long in Barbarian, and Julia Garner, Josh Brolin, Benadict Wong, Alden Ehrenreich, Toby Huss and Amy Madigan in Weapons.

1978 and 2025. Sarah Watt, Jeremy Downing and William Chen discuss Superman (1978) and Superman (2025). Our conversation begins with our reactions to 1978's Superman, directed by Richard Donner, with most of the podcast watching the film for the first time in preparation for the podcast recording. We talk about the score from John Williams and how it connects to his other great scores from the 1970s and 80s. We praise the merits of the original film, especially Christopher Reeve as Superman and Clark Kent. We discuss the merits of 2025's Superman, directed by Jason Gunn, beginning by praising the chemistry between David Corenswet's Superman and Rachel Brosnahan's Lois Lane. We talk about the connections between the film and the wider DC Universe films, as well as comparisons to the Marvel Cinematic Universe.

Zombie films, the first and latest. Sarah Watt, Jeremy Downing and William Chen discuss 28 Years Later (2025) and Night of the Living Dead (1968). Our conversation begins with confusion as we realise some podcast hosts were under the impression we were focusing on 28 Days Later (2002). We compare the cinematography of Anthony Dod Mantle in both 28 Years Later and 28 Days Later. We discuss the merits of 28 Years Later, including the performances, storytelling, pacing and narrative left turns. We get into a awkward and sinister inclusion of Jimmy Savile lookalikes in the film and the divisive ending. Our conversation moves to Night of the Living Dead and discussing our experiences watching the film, as well as Dawn of the Dead (1978), Day of the Dead (1985), Land of the Dead (2005), Diary of the Dead (2007), and Survival of the Dead (2009). We praise the performance of Duane Jones and allude to the representation politics of Night of the Living Dead and Dawn of the Dead, casting a man of colour in both lead roles. We discuss the breadth of the genre and how zombie films have developed over time.

The Final Destination saga. Sarah Watt, Jeremy Downing and William Chen discuss Final Destination: Bloodlines (2025) and the original Final Destination (2000), as well as the sequels in between: Final Destination 2 (2003), Final Destination 3 (2006), The Final Destination (2009) and Final Destination 5 (2011). We begin by discussing the Health and Safety elements of the films, especially the 'Public Service Announcement' lurking under the surface of the majority of the grisly deaths in the series. Jeremy, Sarah, and William each reminisce about their experiences watching the films. We talk about the process that recent series directors Zach Lipovsky and Adam B. Stein went through to land the job of the latest film. We celebrate our positive reactions to various moments from across the series, especially the fifth film. We honour the work of Tony Todd and the connections to Candyman (1992) in the series. We talk about the nebulous role of Death as a villain and the logic of the premonitions in each film. Jeremy and William talk through their top kills from the series. We discuss Ali Larter's character, Clear Rivers, the genesis of the original film as a television episode, the range of quality in the acting and the development of the audience's expectations over time.

Pamela Anderson starring films. Sarah Watt, Jeremy Downing and William Chen discuss The Last Showgirl (2024) and Barb Wire (1996). We begin by discussing Barb Wire and showering it with praise (excuse the pun). We celebrate the 90s-ness of the film. We talk about all the homages and connections we noticed in Barb Wire, including Casablanca (1942), Batman Forever (1995), Alien 3 (1992), Mad Max (1979), Romeo + Juliet (1996), Candyman (1992), Strange Days (1995), and Total Recall (1990). We praise the cast, including Xander Berkeley, Udo Kier and Temuera Morrison. We discuss the production values of Barb Wire, including the visual effects, action, cinematography and other production values. Our conversation explores the criticism of Barb Wire and how the tastes of audiences shifted over the 90s, making connections to Waterworld (1995), Cutthroat Island (1995), Hook (1991) and Charlie's Angels (2000). We move our discussion to The Last Showgirl, directed by Gia Coppola. We talk about the strength of the performances from Pamela Anderson, Brenda Song, Dave Bautista, Billie Lourd and Jamie Lee Curtis. We unpack the script, the tone, the direction and the ultimate aim of the film, with differing reactions from Sarah, William and Jeremy.

Artificially Intelligent girlfriends. Sarah Watt, Jeremy Downing and William Chen discuss Companion (2025) and Her (2013). Both films have director-writers in Drew Hancock and Spike Jonze, respectively. We start by discussing the vision of the future Her presents and how much has come to pass - 'prescient' is the word we all describe the film as. We celebrate a number of elements of Her that we enjoy. The conversation then moves to a discussion of Companion and how we found the film not as complex as Her. We discuss the films in connection to Lost In Translation (2003), Barbarian (2022), Ex Machina (2014), M3GAN (2022), Hereditary (2018), Midsommar (2019), Beau Is Afraid (2023), Heretic (2024), The White Lotus (2021-) and Yellowjackets (2021-). We praise the performances of Joaquin Phoenix, Amy Adams, Sophie Thatcher and Jack Quaid. We end with a discussion about real-world AI today and how the films connect to matters at hand.

Week-long liaisons. Sarah Watt, Jeremy Downing and William Chen discuss two films about a young sex worker asked to be a date for a week: Anora (2024) and Pretty Woman (1990). We discuss our initial experiences watching the Gary Marshall's Pretty Woman. We praise the film's creation of tropes, archetypes and memorable movie moments. We celebrate the performances, especially Julia Roberts. We talk about the types of romantic comedies like Pretty Woman that made up a lot of our movies back in the 1990s and early 2000s. We shift our discussion to Anora and gush over the quality of the film. We talk about the comedy elements of the film, the improvisation, the production design, makeup, costume design and the prowess of director Sean Baker. We praise the performance of Mikey Madison as Anora and also Yura Borisov as Igor, both up for acting Oscars. We finish our conversation by looking at connections between the two films.

Minisode: Oscars 2025 by Cinema in Context

Three Paddington films. Sarah Watt, Jeremy Downing and William Chen discuss Paddington (2014), Paddington 2 (2017) and Paddington in Peru (2024) and our general reactions to the films, especially those of us who haven't seen a Paddington film before. We talk about the work of writer and director Paul King, including The Mighty Boosh and Wonka (2023), and praise the work of first-time director Dougal Wilson. We discuss the cast and performances in the films, including the work of Hugh Bonneville, Sally Hawkins, Emily Mortimer, Ben Wishaw, Jessica Hynes, Matt Lucas, Peter Capaldi, Nicole Kidman, Hugh Grant, Olivia Colman, Julie Walters, Michael Gambon, Jim Broadbent, Brendan Gleeson and Noah Taylor. We praise the films' visuals, especially Paddington's animation. This extends into a discussion of live-action, special effects, visual effects and computer generation. We touch on Sonic the Hedgehog 3 (2024), the work of Ray Harryhausen - Jason and the Argonauts (1963) and Clash of the Titans (1981), the original Godzilla (1954), King Kong (1933), Jurassic Park (1993), Lord of the Rings: The Fellowship of the Ring (2001), Star Wars: Episode I - The Phantom Menace (1999), Doctor Who (1963-) and The Thing (1982).

The best of the year. Sarah Watt, Jeremy Downing and William Chen discuss their film and television highlights of the year, including their biggest surprise, biggest disappointment, wildcard, best television and best films of 2024.Here are the films and television shows we discussed: • Biggest surprise of the year: Migration (William); Kneecap (Sarah); Wicked: Part 1 (Jeremy)• Biggest disappointment of the year: Means Girls (Sarah and Jeremy); The Bear, Season 3 (William)• Wildcard: Alien: Romulus (Jeremy); Grand Theft Hamlet (Sarah); Hundreds of Beavers (William)• Best television: Delicious in Dungeon (William); Hacks, Season 3 (Jeremy); Mr. & Mrs. Smith (Sarah)• Runner-ups to the film of the year: The Substance and Civil War (Jeremy); The Wild Robot and Robot Dreams (William); Origin and American Fiction (Sarah)• Best film of the year: Dune: Part Two (Jeremy); Successor | Zhua wa wa (William); All of Us Strangers (Sarah)Additional shout-outs to Gut Instinct, Rebel Ridge, The Legend of Zelda: Breath of the Wild and Inside Out 2.

1970s television films. Sarah Watt, Jeremy Downing and William Chen discuss Saturday Night (2024) and Network (1976), films about television in 1975. We begin by discussing our connection and experience watching the television sketch-comedy show Saturday Night Live (1975-present). We discuss the actors' performances in the film, especially in their impersonations of the famous cast members of the original episode: Chevy Chase, John Belushi, Dan Aykroyd and Andy Kaufman. We shift our conversation to Network and how relevant the film still is today. We also praise the performances in Network, including Faye Dunaway, William Holden, Peter Finch, Robert Duvall, Beatrice Straight and Ned Beatty. We compare the two films, especially the costume and production design of both films being similar while being almost 50 years apart.

Mega-city grand vision films. Sarah Watt, Jeremy Downing and William Chen discuss Megalopolis (2024) and Metropolis (1927), films by Francis Ford Coppola and Fritz Lang. We begin by sharing our experiences watching Metropolis, including the first time watching it and our experience watching it more recently. We talk about the music in Metropolis, how it's drawn from music before it and influenced music after the film. We start our conversation about Megalopolis by questioning the film's logic and figuring out what the film is trying to do. We praise and dissect the work of Aubrey Plaza, Talia Shire and Kathryn Hunter, as well as critique the work of the cast as a whole. We consider the film regarding other films and filmmakers' work, trying to figure out what could have made Megalopolis a better film. We discuss the performances from Metropolis, especially the work of Brigitte Helm. We finish by discussing the themes, ideas and politics of Metropolis and whether it is still relevant to us today.

Say their name multiple times. Sarah Watt, Jeremy Downing and William Chen discuss Candyman (1992) and Beetlejuice Beetlejuice (2024), as well as Beetlejuice (1988). We start by sharing our experiences and reactions to watching Candyman, including the key imagery and ideas that stand out. We praise the score from Phillip Glass, the writing work of Clive Barker, the direction and vision from Bernard Rose, and the commendable acting work and charisma of Virginia Madsen and Tony Todd. We then discuss Beetlejuice (1988), with Sarah watching it for the first time for this episode, which then moves into our reactions and experiences to watching Beetlejuice Beetlejuice (2024). We talk about the connections between the two films and how we seem to connect films in more surprising ways than we initially realise. We discuss the wider state of "Legacy-quels" and the repeated trope of the grown-up lead as a sad parent. We talk about the urban and suburban exploration in both films and how it mines the fears of modern-day audiences.

The Alien franchise. Sarah Watt, Jeremy Downing and William Chen discuss Alien (1979) and Alien: Romulus (2024), as well as Aliens (1986), Alien³ (1992), Alien: Resurrection (1997), Prometheus (2012) and Alien: Covenant (2017). Our conversation dips in and out of all these films, praising and critiquing the work of directors Ridley Scott, Fede Alvarez, James Cameron, David Fincher and Jean-Pierre Jeunet. We praise the performances of Sigourney Weaver, Ian Holm, Bill Paxton, Lance Henriksen, Winona Ryder, Michael Fassbender, Cailee Spaeny, David Johnson and Spike Fearn. We consider the human-android-alien-company relationships throughout all the films, with Ripley, Ash, Bishop, Call, David, Walter, Andy and Rook. We celebrate the production design of the original and new film, and how the latest entry into the franchise harks back to its predecessors. We discuss the lore of the Alien franchise, considering the stages of the titular monster through the queen, egg, face-hugger, chest-burster, xenomorph, "The Newborn" alien hybrid, black goo and now cocoon and "The Offspring". We discuss our predictions of where the Alien franchise might go from here.

Looking back at 100 months. Sarah Watt, Jeremy Downing and William Chen discuss the last 100 months of Cinema in Context. We reminisce on the beginnings of the podcast, referencing the many people who have contributed along the way. We discuss our top films of the 'new' films we've focused on since 2016. The films we discuss include Thor: Ragnarok (2017) from Episode 20, Mission: Impossible - Fallout (2018) from Episode 29, Everything Everywhere All at Once (2022) from Episode 74, The Salesman (2016) from Episode 13, Parasite (2019) from Episode 42, Turning Red (2022) from Episode 73, Upgrade (2018) from Episode 33, Cats (2019) from Episode 48 and 57, Encanto (2021) from Episode 70, A Quiet Place (2018) from Episode 25, A Star is Born (2018) from Episode 31 and Tenet (2020) from Episode 54. We wrap up our discussion by looking back at the discoveries we have made in our back catalogue selections over the past eight years, our favourite pairings for different episodes and reflecting on the overall positiveness of the experience we have making this podcast.

Originally from January 2023, Sarah Watt, Jeremy Downing and William Chen discuss the films Avatar: The Way of Water (2022) and Titanic (1997). This additional content covers three key questions: each person's favourite moment from the films, one thing they would change and a third film they would group with these movies.

George Miller sequels. Special guest Sophie Ricketts joins Jeremy Downing and William Chen to discuss Furiosa: A Mad Max Saga (2024) and Babe: Pig in the City (1998). We begin by discussing our reactions to Babe: Pig in the City, by first considering its predecessor Babe (1995) and then reminiscing the circumstances in which we watched its 1998 sequel. We talk about the darkness in Babe: Pig in the City and whether this film is appropriate for children. We then move on to a discussion about Furiosa: A Mad Max Saga (2024) and immediately discuss it in comparison to Mad Max: Fury Road (2015). We finish by discussing why we think Furiosa is bombing at the box office and our final thoughts on Babe 2, with some last-minute comparisons to Poor Things (2023), La cité des enfants perdus | The City of Lost Children (1995) and Batman Returns (1992).

War-torn "road trips". Sarah Watt, Jeremy Downing and William Chen discuss Civil War (2024) and Apocalypse Now (1979). We begin by discussing the different versions of Apocalypse Now and our reaction to the different elements in each film. We shift to talk about Civil War and how the film evokes a visceral response and gets the audience thinking. We talk about the connection to Heart of Darkness, the work of Marlon Brando and the ideas present in Apocalypse Now. We commend the work of Kirsten Dunst and Jessie Plemmons in Civil War and their wider careers. We discuss the music in both films, individually and the similarities between the two. We commend the work of Martin Sheen, Robert DuVall and Dennis Hopper in Apocalypse Now. We finish with a conversation about the politics of both films, what they are trying to achieve and how it has been received by the public.

Space Opera Sequels. Sarah Watt, Jeremy Downing and William Chen begin by discussing our reactions to Dune: Part Two, how it compares our perspectives of Part One and how the films connect to the source text. We talk about our opinions and connections to The Empire Strikes Back (aka Star Wars Episode V), and our experiences watching it growing up. We praise the performances in the films, especially Carrie Fisher, Harrison Ford and Mark Hamill in The Empire Strikes Back, and Timothée Chalamet, Zendaya, Javier Bardem, Rebecca Ferguson and Florence Pugh. We discuss the prowess of George Lucas, Irvin Kershner, Denis Villeneuve, Hans Zimmer and John Williams.

Unpacking the Academy Awards. Sarah Watt, Jeremy Downing and William Chen discuss the 96th Academy Awards ceremony. We begin by talking about the presentation of the ceremony itself. Our conversation moves to the Best Picture category and we consider Oppenheimer, Zone of Interest, American Fiction and The Holdovers. We discuss the Sound category and the skill of how The Zone of Interest was put together. We move into a conversation about Poor Things, including the performance of Emma Stone, the design elements in the film and the politics of the script. We talk through a range of smaller categories and touch on Maestro, Godzilla Minus One, The Creator, and the performances of Lily Gladstone, Carey Mulligan and Sandra Hüller. We talk about the Screenplay categories, the performances of "I'm Just Ken" and "What Was I Made For", reminisce about previous ceremonies and winners, and finish by discussing the animated and documentary categories.

Scandalous love affairs. Sarah Watt, Jeremy Downing and Doug Dillaman discuss May December (2023) and Notes on a Scandal (2006). We begin by hearing each person's reaction to watching or rewatching Notes on a Scandal. We touch on the real case that both films are based on, focused on the relationship between Matu Kay Letouneau and Vili Fualaau. We talk about the performances of Dame Judi Dench, Cate Blanchett, Bill Nighy, Juno Temple, Natalie Portman, Julianne Moore, Charles Melton and Corey Michael Smith. We discuss our reactions, criticisms and praise for Todd Haynes' May December. We begin to explore the ways both stories deal with a fraught subject and whose perspective we focus on. Sarah and Jeremy present their own perspectives from teaching and how they navigate creating and maintaining safe spaces for teenagers. We finish by considering how this story might be told again in the future and whose perspectives need to be highlighted.

Sarah Watt, Jeremy Downing and William Chen discuss the films they watched over the December-January holiday period. We talk about Bluey (2018-Present), Wonka (2023), Ferrari (2023), Killers of the Flower Moon (2023), Aquaman and the Lost Kingdom (2023), Rebel Moon: Part One - A Child of Fire (2023), The Holdovers (2023), American Fiction (2023), All of Us Strangers (2023) and Poor Things (2023).

Conductor composer biopics. Sarah Watt, Jeremy Downing and William Chen discuss Maestro (2023) and Amadeus (1984). We begin by discussing the life and work of Wolfgang Amadeus Mozart and its connection to the film. We talk about the film itself and how it tells the story of Mozart, as well as fabricating its own cinematic narrative. We praise Maestro and its feats of cinema, especially the performances of Carey Mulligan and Bradley Cooper.

The good, the average and the weird. Sarah Watt, Jeremy Downing and William Chen discuss their film and television highlights of the year, including each of their best film of the year, their biggest surprise, their biggest disappointment, their wildcard film or television season of the year and their best television show of 2023. Here are the films and television shows we discussed:• Films of the year: Anatomy of a Fall (Sarah); Puss in Boots: The Last Wish (William, with runner-ups Teenage Mutant Ninja Turtles: Mutant Mayhem, Spider-Man: Across the Spider-Verse and Nimona); Theater Camp (Jeremy, with runner-ups Triangle of Sadness and Barbie)• Biggest surprise of the year: Napoleon (Jeremy, with a special shout-out to Scream VI); Living (Sarah); Once Upon a Studio (Wiliam)• Biggest disappointment of the year: Astroid City (Wiliam, including parts of The Wonderful Story of Henry Sugar); The Creator (Sarah, with a mention of Whitney Houston: I Wanna Dance with Somebody); Spider-Man: Across the Spider-Verse (Jeremy, with shout outs to The Flash and Beau Is Afraid)• Wildcard: Scrapper and River (Sarah, with shout-outs to Triangle of Sadness and How to Have Sex); Chang An | Chang'an san wan li and Moon Man | Du xing yue qiu (William); Mrs. Davis (Jeremy, with shout-outs to Indiana Jones and the Dial of Destiny and Red, White & Royal Blue) • Best season of television of the year: Jury Duty (Sarah); The Bear, Season 2 (William, with runner-ups Reservation Dogs and Scavengers Reign); Faraway Downs (Jeremy, with shout-outs to reality show Survivor and crime mystery show Poker Face)

Ridley Scott historical epics starring Joaquin Phoenix. Sarah Watt, Jeremy Downing and William Chen discuss Napoleon (2023) and Gladiator (2000). We begin by discussing Gladiator and our initial and most recent reactions. We talk about the strength of the performances, particularly Russell Crowe, Joaquin Phoenix, Connie Nielsen, Oliver Reed and Richard Harris. We discuss the connections to Game of Thrones and how Ridley Scott established an aesthetic that HBO has been replicating for decades. Our conversation moves to Napoleon and begin by talking about Vanessa Kirby's performance as Josephine. We discuss Ridley Scott's prowess as a filmmaker and how he films scenes with multiple cameras. We talk about the historical accuracy of Napoleon and how much this affects our engagement with the film. If you enjoy our podcast then consider joining our Patreon. Listen to extended episodes, access additional minisode content and have an opportunity to join us for one-on-one discussions about your favourite films. You can find us on Patreon at: patreon.com/CinemaInContext

Dystopian prejudiced world, where a male protagonist escorts a young woman across war-torn lands. Sarah Watt, Jeremy Downing and William Chen discuss The Creator (2023) and Children of Men (2006). We begin by discussing The Creator and exploring its strengths and faults, especially how great the film looks and how it was achieved with a small budget. We talk at length about the elements of The Creator that left us wanting more. Our conversation then pivots to Children of Men and explores the razor-sharp intention of the film and how it succeeds in what it is trying to achieve. We celebrate multiple moments from the film, especially the cinematography of the film and the impressive long takes. If you enjoy our podcast then consider joining our Patreon. Listen to an extended version of this episode, access additional minisode content and have an opportunity to join us for one-on-one discussions about your favourite films. You can find us on Patreon at: patreon.com/CinemaInContext

Amateur theatre mockumentaries. Sarah Watt, Jeremy Downing and William Chen discuss Theater Camp (2023) and Waiting for Guffman (1996). We begin by hearing William's fresh take on Waiting For Guffman (we had just watched the film together before our recording). We collectively praise Waiting for Guffman and trace its influence upon comedy for the following 25-plus years. We shift our conversation to Theater Camp and praise its composition, characters and comedy. We consider the connections in our own lives to both films, specifically amateur theatre experiences. If you enjoy our podcast then consider joining our Patreon. Listen to an extended version of this episode, access additional minisode content and have an opportunity to join us for one-on-one discussions about your favourite films. You can find us on Patreon at: patreon.com/CinemaInContext

Barbie and Oppenheimer. Sarah Watt, Jeremy Downing and William Chen discuss Barbie (2023) and Oppenheimer (2023). We begin by discussing the Barbenheimer phenomenon and the influences that contributed to making this cinema event happen. We talk about the musical qualities of Barbie, as well as the cinema homages. We move to discuss the representation of politics and characters in Oppenheimer. We critique elements of Barbie, including the ending, the world-building and its intended audience. We discuss the details of Oppenheimer and consider its storytelling position, its technical choices and whether the film lands. We excitedly discuss all the actors in Oppenheimer and then the various Barbie products.

If you enjoy our podcast then consider joining our Patreon. Listen to an extended version of this episode, access additional minisode content and have an opportunity to join us for one-on-one discussions about your favourite films. You can find us on Patreon at: patreon.com/CinemaInContext

Movies that made William. Jeremy and William discuss the most significant films in William's life in our series of Movies That Made Us. He talks about Who Am I (1998), The Iron Giant (1999), Les Triplettes de Belleville | The Triplets of Belleville (2003), Fantasia (1940), and Back to the Future (1985).

If you enjoy our podcast then consider joining our Patreon. Listen to an extended version of this episode, access additional minisode content and have an opportunity to join us for one-on-one discussions about your favourite films. You can find us on Patreon at: patreon.com/CinemaInContext

Michael Keaton Batman films. Sarah Watt, Jeremy Downing and William Chen discuss The Flash (2023) and Batman Returns (1992). We begin by discussing the Tim Burton films in the late 80s and early 90s, including Batman (1989), Edward Scissorhands (1990), Batman Returns (1992), The Nightmare Before Christmas (1993) and Ed Wood (1994). We talk about the ideas and influences in Batman Returns, including German Expressionism and the imagery around The Penguin, Catwoman, Max Shreck and Batman in the film. We then move our conversation to The Flash and how its troubled history kept it from being released for a number of years... perhaps too late? We talk about the range of references and performances in the film, including its homage to a number of films that were never made. We discuss the "multiverse" and how The Flash explores familiar territory, as well as other films that take place in their versions of multiple dimension storytelling. We move our conversation to the controversies of Ezra Miller and how such controversies affected the film, both narratively and commercially. We discuss the ethics of recreating actors who have died in films using digital tools.

If you enjoy our podcast then consider joining our Patreon. Listen to an extended version of this episode, access additional minisode content and have an opportunity to join us for one-on-one discussions about your favourite films. You can find us on Patreon at: patreon.com/CinemaInContext

Cross-political pop culture thrillers. Sarah Watt, Jeremy Downing and William Chen discuss Tetris (2023) and Argo (2012). We begin by discussing Tetris: the game, the book and the film. We explore the wider world of video gaming and the development of technology. We shift to Argo and our initial reactions and our rewatching reactions. We discuss the 2013 Academy Award ceremony and Argo winning Best Picture. We talk about other connected texts, like Air (2023), Yellowjackets (2021-), Solo: A Star Wars Story (2018) and Good Will Hunting (1997). If you enjoy our podcast then consider joining our Patreon. Listen to an extended version of this episode, access additional minisode content and have an opportunity to join us for one-on-one discussions about your favourite films. You can find us on Patreon at: patreon.com/CinemaInContext

Super Mario Bros. films. Jeremy Downing and William Chen are joined by friend to the podcast Billy Revell-Siō to discuss the recent The Super Mario Bros. Movie (2023) and the 30-year old Super Mario Bros. (1993). We begin by discussing our bafflement by the 1993 film... what did we watch?! We discuss the mythology of the Mario games and wider Nintendo game lore. We talk about the success of adaptation in both films. We discuss the female characters and writing in both movies. We finish by discussing the music in both films and their place in pop culture. If you enjoy our podcast then consider joining our Patreon. Listen to an extended version of this episode, access additional minisode content and have an opportunity to join us for one-on-one discussions about your favourite films. You can find us on Patreon at: patreon.com/CinemaInContext

Triangle named films at sea. Sarah Watt, Jeremy Downing and William Chen discuss Triangle of Sadness (2022) and Triangle (2009). We begin by discussing Triangle and how the successful the fils works on building the narrative on a small budget. We talk through the time loop logic in Triangle and how the central character is represented throughout. We discuss our reactions to Triangle of Sadness, especially the scatological sequence in the film. We talk about the ethics and experiences of being on a cruise ship. We discuss the various acts and how each contribute to the overall effect of the film. We return to Triangle and discuss the torture of the main character, continue to unpack the time loop and compare to a range of other films.If you enjoy our podcast then consider joining our Patreon. Listen to an extended version of this episode, access additional minisode content and have an opportunity to join us for one-on-one discussions about your favourite films. You can find us on Patreon at: patron.com/CinemaInContext

Gerard Johnstone horror comedies. Sarah Watt, Jeremy Downing and William Chen discuss M3GAN (2023) and Housebound (2014). We begin by discussing the strengths of Housebound, especially how it references to many other horror classics. We talk through the horror tropes throughout the film and how successfully these moments intersect with the character moments. We move the conversation over to M3GAN, starting with key cast connections, discussing Gerard Johnstone's work, and the pros and cons of the script, gore and design of the film. We discuss the use of Auckland, New Zealand as a filming location for M3GAN and the recognisability of the locations in the film. We consider the reality of New Zealand filmmaking, filmmakers and the state of the industry. If you enjoy our podcast then consider joining our Patreon. Listen to an extended version of this episode, access additional minisode content and have an opportunity to join us for one-on-one discussions about your favourite films. You can find us on Patreon at: patron.com/CinemaInContext

James Cameron two billion dollar epics. Sarah Watt, Jeremy Downing and William Chen discuss Avatar: The Way of Water (2022) and Titanic (1997). We begin by discussing the themes of James Cameron films and how he captures big emotions in his films, and how these intersects with the representation of indigenous peoples. We discuss the performance capture of Avatar 2 and Cameron's focus on the work of the actors. We move to compare Avatar: The Way of Water with Titanic and consider the overarching connecting themes. We praise Titanic and its various story beats, characters, performance and how Cameron walks the line of a romantic period drama and disaster horror film. We explore the special effects and visual effects of Titanic, and marvel at the work from 25 years ago, and weave in considerations of the ground-breaking effect work of Avatar: The Way of Water.

Highs and lows of the year. Sarah Watt, Jeremy Downing and William Chen discuss their film and television highlights of 2022, including best film of the year (and runner-ups for best film of the year), biggest surprise of the year, worst film of the year, best time we had at the cinema and the best season of television of the year (and runner-ups for best season of television this year). Here are the films we discussed:• Runner-ups for best film of the year: Athena, Elvis, and Good Luck to you, Leo Grande (Sarah); Marcel the Shell with Shoes On, The Bad Guys, The House, Barbarian, Sonic the Hedgehog 2, Turning Red, Top Gun: Maverick, Decision to Leave, and Everything Everywhere All At Once (William); Turning Red, Thirteen Lives, Trainwreck: Woodstock '99, and anticipating Avatar: The Way of Water to be a runner-up or even film of the year (Jeremy). • Best film of the year: Ennio (Sarah); Athena (William); and Everything Everywhere All At Once (Jeremy).• Biggest surprise of the year: Chip 'n Dale: Rescue Rangers (William); Ambulance (Sarah); and Top Gun: Maverick (Jeremy).• Worst film of the year: Dog (Jeremy); In Snows in Benidorm (Sarah); and Fantastic Beasts: The Secrets of Dumbledore (William).• Best time at the cinema: The Unbearable Weight of Massive Talent (Sarah); RRR (William); and Scream (2022; Jeremy).• Runner-ups for best season of television of the year: The Bear - Season 1, The Rehearsal - Season 1, and Peacemaker - Season 1 (William, shared earlier in the episode when talking about runner-ups to best film); Russian Doll - Season 2, House of Dragon - Season 1, Sex Education - Season 3, The White Lotus - Season 2, and Hacks - Season 2 (Jeremy); and Succession - Season 3 and Better Call Saul - Season 6 (Sarah). • Best season of television of the year: Andor - Season 1 (William); Stranger Things - Season 4 (Jeremy); and Ozark - Season 4 (Sarah).

Detective thrillers from great heights. Sarah Watt, Jeremy Downing and William Chen discuss Decision to Leave (2022) and Vertigo (1958). We begin by expressing our reactions to Alfred Hitchcock's Vertigo, with a range of reflections. We discuss the representation of gender and power in the film, while trying figure out what the film is trying to say. We move our conversation to Park Chan-wook's most recent film Decision to Leave, similarly discussing our reactions to the movie. We praise the films visuals and editing, we compare the two films to Film Noir, we discuss the plot details and plot holes of the films, and the performances of the leads.

Sarah Watt, Jeremy Downing and William Chen discuss the films they watched while abroad, jet setting around the world. They discuss the following films: Lapsis (2020); Barb and Star Go To Vista Del Mar (2021); Bridesmaids (2011); Ocean's Eleven (2001); Game Night (2018); The Rehearsal (2022); The Lost City (2022); Sonic the Hedgehog 2 (2022); the Star Wars saga; Succession (2018-); Peter Rabbit 2: The Runaway (2021); and Jaws (1975).

Florence Pugh thrillers. Sarah Watt, Jeremy Downing and William Chen discuss Don't Worry Darling (2022) and Midsommar (2019). We begin by talking about our experiences and reactions watching Midsommar, both the first time and any subsequent rewatching. We discuss the film in connection to Hereditary (2018), Sing Street (2016) and A Nightmare on Elm Street (1984). We praise the films writing, structure, direction and performances. We pivot to talk about Don't Worry Darling, starting with the fundamental building blocks of what this film is trying to do: the plot, the emotional narrative and the structure. We discuss the film in connection to The Truman Show (1998), The Giver (2014), The Matrix (1999), Mother! (2017), One Cut of the Dead (2017) and Parasite (2019). We discuss the exploration of sex, the range of characters and the logic of character beats.

Jam-packed genre films with Chris Hemsworth. Sarah Watt, Jeremy Downing and William Chen discuss Thor: Love and Thunder (2022) and Cabin in the Woods (2011). We begin by sharing our honest reactions to Thor: Love and Thunder, especially how ridiculous film is - comparing to Doctor Strange in the Multiverse of Madness (2022), Free Guy (2021), Black Panther (2018) and Chitty Chitty Bang Bang (1968). We praise the performances of Russell Crowe, Christian Bale and Chris Hemsworth. We criticise the characters played by Natalie Portman and Tessa Thompson, considering their representation in regards to sexism and queer-baiting. We then pivot conversation to talk about Cabin in the Woods, both our first reactions a decade ago and our rewatching reactions. We praise the cast of Bradley Whitford, Richard Jenkins, Amy Acker, Chris Hemsworth, Anna Hutchinson, Kristen Connolly and Fran Kranz. We consider the film in connection to other Joss Whedon work, including Buffy the Vampire Slayer (1997-2003), Dollhouse (2009-2010), and Much Ado About Nothing (2012). We return back to Thor and consider how the two films successfully achieve their intentions. We compare the films to Get Out (2017), Scream (2022), Batman Returns (1992), Hunt For the Wilderpeople (2016), and Boy (2010).

Baz Luhrmann's oeuvre. Sarah Watt, Jeremy Downing and William Chen discuss the most recent Luhrmann film Elvis (2022) and his first film Strictly Ballroom (1992). We begin by discussing Baz's visual style, especially his use of computer generated images. We move into a discussion of Elvis and how successful we each feel the film was. We move into a conversation of Strictly Ballroom, with William watching it for the first time, Sarah for the second time and Jeremy for the... countless next time. We refer to Romeo + Juliet (1996), Moulin Rouge! (2001), Australia (2008), The Great Gatsby (2013) and The Get Down (2016). We also connect Strictly Ballroom to Christopher Guest films, like Waiting For Guffman (1996), and Australian classics Muriel's Wedding (1994), The Adventures of Priscilla, Queen of the Desert (1994). We discuss the nostalgia that both Elvis and Strictly Ballroom evokes. We connect to Sam Neill's concept of the Cinema of the Unease and consider how such a reading of New Zealand film might connect to Australian cinema of the same time. We further connect the film to Cosi (1996), Quills (2000) and Lantana (2001).

Looking back at the key films in our lives. Sarah Watt and Jeremy Downing are joined by special guest Dan Eichblattt to talk about the movies that made us: key films that have had an impact on our lives. We've organised these films into five categories:

Film you’ve watched the most: Sarah: The Holiday (2006) Dan: Beetlejuice (1988) Jeremy: Strictly Ballroom (1992)

Film anyone can enjoy: Dan: Indiana Jones and the Last Crusade (1989) Sarah: Game Night (2018) Jeremy: Back to the Future (1985)

Film you would suggest to a burgeoning cinephile: Jeremy: 12 Monkeys (1995) Sarah: Goodfellas (1990) Dan: Donnie Darko (2001)

Film you see yourself in: Dan: Weekend (2011) Sarah: The Talented Mr. Ripley (1999) Jeremy: C.R.A.Z.Y. (2005)

Favourite film of all time: Sarah: Heat (1995) Jeremy: Alien (1979) Dan: The Witch (2015)

80s films return! Directed by Joseph Kosinski. Sarah Watt, Jeremy Downing and William Chen discuss Top Gun: Maverick (2022) and TRON: Legacy (2010). We begin by welcoming Sarah back to the podcast, hearing about two films she saw on her travels: The Unbearable Weight of Massive Talent (2022) and The Glance of Music AKA Ennio (2021). We begin our discussion by reflecting on our experience watching TRON: Legacy, especially considering the cinema we saw it in, 3D cinema technology and the original TRON (1982). We discuss the incredible score by Daft Punk, comparing it to Mad Max: Fury Road (2015), Inside Out (2015) and Blade Runner (1982), and the impressive production design and visual effects in the film. We then move the conversation to our experiences watching Top Gun: Maverick. We discuss the strengths of Top Gun: Maverick, particularly the strength in storytelling, the cast of characters, the emotional core of the film and the average character played by the brilliant Jennifer Connelly. We highlight the charisma of Tom Cruise, Miles Teller and Joh Hamm, as well as the careful inclusion of Van Kilmer. We focus on the religious imagery in both films, especially messiah figures. We also talk about the de-ageing in TRON: Legacy and how it holds up to other films with similar effects.

Multiverse motherhood films. Jeremy Downing and William Chen are joined by Billy Revell-Siō to discuss Everything Everywhere All at Once (2022) and Doctor Strange in the Multiverse of Madness (2022). We begin by discussing the horror genre elements of Doctor Strange in the Multiverse of Madness, particularly harking back to the previous films of Sam Raimi: Evil Dead, Evil Dead 2 and Army of Darkness. We talk about the film in context of other Marvel content, particularly Spider-Man: No Way Home (2021), Doctor Strange (2016), Spider-Man: Far From Home (2019), WandaVision (2021), and Captain America: Civil War (2016). We move our discussion to Everything Everywhere All At Once, starting by considering the film alongside Daniels', the directors, previous film: Swiss Army Man (2016). We explore the pertinence of this film, especially in how it speaks to the tensions of today and connected to each hosts' emotions during and after the film. We praise the cast, especially Michelle Yeoh. We talk about the film in connection to Tenet (2020), In the Mood for Love (2001), and Turning Red (2022). The discussion focuses on the gender and queer representation in the film, particularly in relation to parental figures. We return to Doctor Strange 2 and discuss it in comparison to the Spider-Man films, X-Men series, and the range of other properties cameo'd in the film. We discuss the need for a story, connected it to Jurassic World: Dominion (2022), Thor: Love and Thunder (2022), and What If...? (2021). We finish with final thoughts and William lists off the various influences he spotted in Everything Everywhere All at Once: The Matrix (1999), Terry Gilliam, Jackie Chan, Stephen Chow, Michel Gondry, Satoshi Kon, Douglas Adams and Terry Pratchett.

Female-led Pixar films. Jeremy Downing and William Chen are joined by Phoebe Shum to discuss Brave (2012) and Turning Red (2022). We begin by discussing Turning Red, especially the strengths of its themes and confidence in setting. We turn to Brave and consider the strength in the visuals and animation, discuss the connections to Tangled (2010) and Frozen (2013), the structure and storytelling in the film, and the history of the film's production. We talk about the history of Pixar and Disney Animation Studios, and the distinctions between the two studios. We return to Turning Red and consider it in regards to connections with films like Everything Everywhere All At Once (2022), Asian stories and storytelling on screen, and the television series Russian Doll (2019-). We talk about the representation in Turning Red, especially in the animation style representing real people and how they capture a specific age group authentically.

Animated refugee biographies. Sarah Watt, Jeremy Downing and William Chen discuss Flee (2021) and Persepolis (2007). We begin by discussing Persepolis and our experiences of seeing the film, rewatching it recently and reading the comic. We discuss both films and their presentation of the refugee story and the cost of freedom, especially with both films' protagonists being separated from their families. We discuss the lesson learned from both films and how we can apply provocations to our own contexts, especially the internal struggles of the central character Amin in Flee and his journey with a key lie that keeps him alive. We talk about the pop cultural connections in the films, from Jean-Claude Van Damme, Bruce Lee, Iron Maidan, Aha's "Take on Me", Blood Sport and Terminator 2: Judgement Day. We then discuss the sexuality presented in both films, with female sexuality in Persepolis and homosexuality in Flee. This moves into a discussion of how these films are accepted or rejected in different parts of the world and sometimes in surprising ways. We close our discussion with a conversation about the stylistic flourishes of both films, particularly their animation styles.

Meta slasher films. Sarah Watt and Jeremy Downing, with special guest Doug Dillaman, discuss Scream (1996) and Scream (2022). We begin by discussing the self-referential and meta qualities of the Scream series, including Scream 2 (1997), Scream 3 (2000) and Scream 4 (2011). We link and talk about the films in regards to Drew Barrymore, Scooby Doo and Psycho (1960), Hereditary (2018), The Babadook (2014) and Midsommar (2019). We then move into a discussion of the lore of the films, going through each movie and our connection to them. This then progresses to a discussion around the visceral violence of the films, and how that emphasises and subvert horror movie tropes. We talk about the depiction of mental illness, homosexuality and transsexuality in horror films, especially as a motivator for committing atrocities. This brings us to reference Heavenly Creatures (1994), Rope (1948) and Yellowjackets (2021). We move to discuss the perspective of each film and the filmmakers confidence in filmmaking, linking to "requels" like Star Wars: The Force Awakens (2015). We talk about the cast, including Melissa Barrera, Jack Quaid, Mikey Madison, Jenna Ortega, Jasmin Savoy Brown and Marley Shelton. We then discuss the realities of filming in Covid-19 affected times, linking to Moonfall (2022), Reacher (2022) and Spider-Man: No Way Home (2021). We finish by discussing the elements of the series that are unrealistic, especially the wounds that many characters shouldn't survive from. Our final thoughts touch on the idea of elevated horror and how might that sub-genre of horror finds its way more tonally in the Scream franchise.

Seven films from the summer for our 70th episode. Sarah Watt, Jeremy Downing and William Chen discuss the following 2021 films: Don't Look Up, Encanto, The French Dispatch, House of Gucci, The Matrix: Resurrections, The Power of the Dog and West Side Story.

Don't Look Up: We begin with review by song, highlighting how much the satire was or wasn't on the nose - especially pushing a particular agenda. We celebrate the cast, especially Melanie Lynskey. We reference Heavenly Creatures (1994) and Mother! (2017). Our collective rating adds up to: 2 thumbs up and 2 thumbs down

Encanto: We discuss the messages and themes of the film, especially how dark gets and how subtle it explores those ideas. We also talk about the Disney influence on the film, particularly around character and toy design. Our collective rating adds up to: 6 thumbs up

The French Dispatch: Wes Anderson's latest film, with a plethora of brilliant actors. We discuss the balance of humour, pretentiousness and how Wes Anderson this new Wes Anderson film is. We compare the film to Midnight in Paris (2011), Last Night in Soho (2021), The Ballad of Buster Scruggs (2018) and Sin City: A Dame To Kill For (2014). Our collective rating adds up to: 6 thumbs up

House of Gucci: We start by discussing the accents everyone is putting on and whether their performances are over-the-top or not. We talk mostly about the performances of Jared Leto, Lady Gaga, Adam Driver, Al Pacino and Jeremy Irons. We reference Ridley Scott's previous film The Last Duel (2021) and its similarities. Our collective rating adds up to: 2 thumbs up and 1 thumb down

The Matrix: Resurrections: We discuss our general enjoyment of the film, with each of us falling in different points of the spectrum. This is in reference to the Wachowskis' works, like The Matrix Reloaded (2003), The Matrix Revolutions (2003), Speed Racer (2008), Cloud Atlas (2012), Jupiter Ascending (2015) and Sense8 (2015-18). Our collective rating adds up to: 2 thumbs up and 2 thumbs down

The Power of the Dog: Jane Campion's return to the big screen, after two seasons of Top of the Lake (2013-2017), her last film being the fantastic Bright Star (2009). We discuss the fantastic cast, including Kodi Smit-McPhee, Benedict Cumberbatch, Kirsten Dunst and Jesse Plemons. We discuss the tension in the film, in connection to Quentin Tarantino and Once Upon A Time... In Hollywood (2019). Our collective rating adds up to: 6 thumbs up

West Side Story: We discuss Steven Spielberg's career-long desire to make a musical, especially remaking West Side Story (1961), referencing Indiana Jones and the Temple of Doom (1984) and In the Heights (2021). We talk about the specifics of the show and the changes made in the new film, especially highlighting the songs "Somewhere", "I Feel Pretty" and "Cool". We talk about the casting, including Bernardo played by David Alverez, Chino played by Josh Andrés Rivera, Riff played by Mike Faist, Rachel Zegler and Ansel Elgort playing Maria and Tony, respectively, and Valentina played by Rita Moreno. Our collective rating adds up to: 4 thumbs up

We also mention Nightmare Alley (2021), The Green Knight (2021), Scream (2022), and The Eyes of Tammy Faye (2021).

Highs and lows of the year. Sarah Watt, Jeremy Downing and William Chen discuss their highlight films of 2021, including their biggest surprises, disappointments, wildcards, recommendations, runner-ups for the best film/television of the year and then each person's top pick.

Here are the films discussed: • Biggest surprise: Werewolves Within [William]; Annette [Sarah]; and WandaVision [Jeremy] • Disappointment: Titane [Sarah & William]; Ted Lasso - Season 2 [William]; and No Time To Die [Jeremy] • Wildcard: Barb and Star Go To Vista Del Mar [Jeremy]; Slamilton [William]; and Class Action Park [Sarah]. • Recommendations: Reservation Dogs [William]; The Leftovers (2014-2017) & The White Lotus [Jeremy]; and Lapsis (2020) [Sarah]. • Runner-up films for the top spot: F9: The Fast Saga, Last Night In Soho, The Green Knight, VHS: 1994, The Suicide Squad & Pig [William]; Collective & Coming Home In the Dark [Sarah]; and In the Heights [Jeremy]. • Film/television series of the year: The Father [Sarah]; Arcane [William]; and Dune [Jeremy].

We had not consensus around our picks this year, so there is no overall Cinema in Context film of the year.

We also talked about and mentioned these films throughout the episode: The Thing (1986), Hateful Eight (2015), Clue (1985), Raw (2016), Donnie Darko (2001), Southland Tales (2006), Drive (2011), Space Jam: A New Legacy (2021), Game of Thrones (2011-2019), Rick and Morty (2013-), Casablanca (1942), A Clockwork Orange (1971), What Ever Happened to Baby Jane (1962), Space Jam (1996), 21 Jump Street (2012), 22 Jump Street (2014), Men In Black (1997), The Royal Tenenbaums (2001), The Peacemaker (1997), The Last Duel (2021), The French Dispatch (2021), The Little Mermaid (1989), Toy Story (1995), Paperman (2012), Spider-Man: Into the Spider-Verse (2018), Final Fantasy: The Spirits Within (2001), Resident Evil (2002), Super Mario Bros. (1993), Apocalypse Now (1979), House of Gucci (2021), All The Money In The World (2017), Hannibal (2001), The Matrix: Resurrections (2021), The Batman (2022), The Power of Dog (2021), Encanto (2021), Spider-Man: No Way Home (2021), West Side Story (2021), The Tragedy of Macbeth (2021) and Othello (1951).

Tony Leung films. Sarah Watt, Jeremy Downing and William Chen discuss Shang-Chi and the Legend of the Ten Rings (2021) and In the Mood for Love (2000). We begin by discussing Tony Leung's work in Shang-Chi and how much charisma he brings to the film, which weaves into a critique of the villains in Marvel films. We talk about the special effects of the film and the final set piece, especially the quality of the Computer Generated Imagery and the over-the-top nature of the climax. We talk about the roles of Meng'er Zhang as Shang-Chi's sister Xialing, Michelle Yeoh, and Ben Kingsley. We then move to discussing In The Mood for Love and whether it is a funny film or not. We connect the films to Crouching Tiger, Hidden Dragon (2000), Hero (2002), and Brief Encounter (1945), especially how romance is explored through reserved storytelling. We discuss Shang-Chi director Destin Daniel Cretton's earlier film Short Term 12 (2008 & 2013) and Chloé Zhao's Eternals (2021). We then praise the work of leads Simu Liu and Awkafina, and connecting to their other work Raya and the Last Dragon (2021) and Kim's Convenience (2016-2021). We then further discuss Hero, especially the action work, colours and other stylistic and story elements, including Rashomon (1960), Jackie Brown (1997), The Cook, the Thief, His Wife & Her Lover (1989), Speed (1994), Skyfall (2012), Godzilla vs. Kong (2021) and A View to a Kill (1985).

Virtual reality worlds. Sarah Watt, Jeremy Downing and William Chen discuss Free Guy (2021) and The Matrix (1999). We begin by praising The Matrix, directed by Lilly and Lana Wachowski aka "The Wachowskis". We talk about various memorable shots and sequences, and drawing connections to manga, anime, Hong Kong cinema, Shrek (2001), Swordfish (2001), Jet Li's The One (2001), the work of John Woo, and Kill Bill: Vol. 1 (2003). We reflect upon the lobby shoot-out scene and the state of gun violence in the United States of America, particularly the Columbine High School massacre that would occur three weeks after the release of The Matrix. We look at the year 1999 and how it was a turning point year, as the film suggests, with the 9/11 attacks just around the corner, Y2K bug - with a shout out to the podcast You're Wrong About - and the rise of the internet. We make further connections to the work of Robert Rodriguez, the sequels Matrix: Reloaded and Matrix: Revolutions, and a range of work that came before and a multitude of influences moving forward. We shift our praise of The Matrix to its story, including high stakes your care about, the Eastern philosophy, the critique of the status quo of inequity and control in the role, trans-ness and the transitioning allegory, and the core love story. However, there are also some disturbing influences of the story, like the rise of trench coat-wearing terrorists and red-pilling. We then consider films that connect The Matrix to Free Guy, including John Carpenter's They Live (1988), The Lego Movie (2014), Space Jam: A New Legacy (2021), and with a quote from BoJack Horseman (2014-20). Our conversation then moves to focus on Free Guy, highlighting it's homage and hat-tipping to other films, like Star Wars (1977) and the Marvel Cinematic Universe. We highlight the strengths of the film, especially the storyline focused on Jodie Comer and Joe Keery, which explore feminine and masculine gaming sensibilities. We decry the performance of Taika Waititi in the film, as well as Shawn Levy's direction of his improvisation, comparing it to the Ocean's Eleven sequels and Judd Apatow films. We continue to connect the film to Dark City (1998), The Truman Show (1998), Inception (2010), Jumanji: Welcome to the Jungle (2017), the work of John Hughes, Her (2013), and Alien: Resurrection (1997).

The White Lotus. Sarah Watt, Jeremy Downing and William Chen discuss the latest HBO limited series The White Lotus, created, written and directed by Mike White. We begin by sharing our initial thoughts, which are varied between the three of us. In our discussion, we work our way through each of the characters and the actors playing them, unpacking how each of their stories land. You can read Sarah's blog post response and review to The White Lotus here: https://bit.ly/3tPDBce

Disney theme park films. Sarah Watt, Jeremy Downing and William Chen discuss Jungle Cruise (2021) and Pirates of the Caribbean: The Curse of the Black Pearl (2003), two action adventure films based on Disney theme park rides of the same names. We begin the discussion by focusing on Jungle Cruise, reflecting upon the circumstances of how we each saw the film, and then very quickly comparing it to Pirates of the Caribbean. We hark back to the heyday of DVDs, when Pirates of the Caribbean had just been released, alongside films like Transformers (2007) and The Incredibles (2003), and discuss the film in both context of its time and how it has aged over time. Our discussion then focuses on specific elements of Pirates of the Caribbean, including the direction of Gore Verbinski, the score headed up by Hans Zimmer, the on-the-fly writing of Ted Elliot and Terry Rossio, including connections and comparisons to Ennio Morricone and Sergio Leone, and the LucasArts Monkey Island game series. We then discuss the writing and cast of Jungle Cruise, including connections to The African Queen, and Humphrey Bogart and Katharine Hepburn, and the great work of Emily Blunt, Dwayne "The Rock" Johnson, Jessie Plemons and Jack Whitehall. Our conversation then focuses on Jack Whitehall's gay character, with his coming out in the world of the film and the allegiance of Emily Blunt's character, and a discussion around the representation of a gay character played by a straight actor. We reflect upon other Disney gay characters, including the live action adaptation of Beauty and the Beast, with LeFou, and Star Wars: Episode IX - The Rise of Skywalker, with two unnamed background characters, and then consider Jungle Cruise and how they present a gay character in Jack Whitehall. We then talk to the chemistry between the characters in Jungle Cruise and Pirates of the Caribbean. Our chat then compares Jungle Cruise to Pirates of the Caribbean: On Stranger Tides (2011), The Mummy (1999), Raiders of the Lost Ark (1981), Romancing the Stone (1984) and Apocalypse Now (1979). Our discussion then moves into a conversation about the music of Jungle Cruise, including Metallica's "Nothing Else Matters". We then consider the scariness of both films, including Edgar Ramírez' character and the skeletons of Pirates of the Caribbean. We then look back at Gore Verbinski's films, including The Lone Ranger (2013), The Ring (2002), The Cure for Wellness (2016), Rango (2011) and Mousehunt (1997),and also looking back at Jaume Collet-Serra's films The Shallows (2016), The Commuter (2018), Orphan (2009) and House of Wax (2005).

The Fast & Furious saga. Sarah Watt, Jeremy Downing and William Chen discuss F9: The Fast Saga (2021) and The Fast and the Furious (2001), the latest and initial films in the Fast and the Furious saga. We begin by discussing Jeremy's lack of exposure to the films, with Sarah and William filling in the blanks. We talk to the legacy of the series, including its representation of people of colour, masculinity, femininity and family. We then return to joyfully recounting our favourite parts of the series. We compare the original to a range of films of the same time, including Charlie's Angels, The Matrix and Ocean's Eleven. We then talk about... magnets! And all the fun of magnets in the chase sequences in Edinburgh in F9. Our discussion then moves into a comparison and consideration of the series to the Marvel Cinematic Universe and other franchise series. We then talk about the real-world crossovers of the films, with in-fighting and familial connections.

Cultural change musicals. Sarah Watt, Jeremy Downing and William Chen discuss In The Heights (2021) and Fiddler on the Roof (1971), two musical films exploring the upholding of culture amidst social change. We begin by discuss the similarities of both films. We then talk to Fiddler on the Roof and its timelessness and its sense of reality. We then discuss the ideas presented in In The Heights, including celebrating community, the journey of being otherised and the stories of undocumented young people in the United States of America. We then discuss the dream sequences in both films, the character development, and the interchange between the dialogue and music.

Robot uprising films. Sarah Watt, Jeremy Downing and William Chen discuss The Mitchells vs the Machines (2021) and Terminator 2: Judgement Day (1991), two films detailing the robot apocalypse and dysfunctional families finding their way in the skirmish. We begin by talking about The Mitchells vs the Machines, comparing it to Phil Lord and Chris Miller's other works, notably Cloudy with a Chance of Meatballs and Spider-Man: Into the Spider-verse. We applaud the visual style of the film, but critique how all the pieces fit together. We further compare the film to WALL-E, Once Upon a Time... in Hollywood, specifically how animation is used in conjunction with real-world elements - further comparing styles to The Mandalorian, The Congress, Rogue One: A Star Wars Story, The Imaginarium of Doctor Parnassus, Da 5 Bloods and The Irishman. We then move into a discussion of Terminator 2: Judgement Day, specifically how the special and practical effects hold up. We talk about the film in connection to Jurassic Park, Shocker, Aliens, Titanic and Breaking Bad. Our conversation then moves into how the story is established and paid off throughout the film, connecting to the Greek prophetess Sibyl, 12 Monkeys, The Matrix, A Glitch in the Matrix, I, Robot, Lego Movie 2: The Second Part and Avatar.

Versus films. Sarah Watt, Jeremy Downing and William Chen discuss Godzilla vs. Kong (2021) and Kramer vs. Kramer (1979), two films at the ends of the 'versus films' spectrum. We jump into Godzilla vs. Kong, unpacking the plot details, and connecting and comparing it to Batman v Superman: Dawn of Justice (2016), The Guest (2014), Transformers (2007), Alien vs. Predator (2004), Alien vs. Predator: Requiem (2007), Captain America: Civil War (2016), Eagle vs Shark (2007), Freddy vs. Jason (2003), Opera (1987), Suspiria (1977), The People vs. Larry Flynt (1996), Monsters vs. Aliens (2009), and American Crime Story (2016-), including the O.J. Simpson season, the Versace season and the upcoming Monica Lewinsky season. We then move our conversation onto Kramer vs. Kramer (1979), unpacking the details of the story, and connecting and comparing it to Marriage Story (2019), Before Midnight (2013), Before Sunset (2004) and the series of 'Before' films as a whole. We wrap up our conversation by highlighting last thoughts and final 'versus films' connections, including Shin Godzilla (2016), Ford v Ferrari (2019), Formula 1: Drive to Survive (2019), The United States vs. Billie Holiday (2021), Scott Pilgrim vs. the World (2010), and Allen v. Farrow (2021).

Academy Awards 2021. Sarah Watt, Jeremy Downing and William Chen discuss the Oscar nominations for 2021 a few weeks before the awards ceremony.

Houseless on the road. Sarah Watt, Jeremy Downing and William Chen discuss Nomadland (2020) and Into The Wild (2007), two films with protagonists who are houseless and on the road. We begin by discussing the real world connections inherent in both films, including the non-actors (but highlighting the skills and strengths of Frances McDormand), elements based on true stories and the production styles of both films. We unpack the narrative in Nomadland and how the manages genre, and what it is saying about capitalism, choice and survival. Our discussion then moves to Into The Wild, sharing our general criticism of the film, including the ethos of the main character, the photography, editing and direction. Our conversation then moves into the dystopian qualities of Nomadland, particularly the factory scenes set in Amazon, the central character Fern working at the Sugar-beet Plant and the open desert spaces, and highlights the commentary on modern day slavery. We praise the strength of Chloe Zhao's direction and criticise some of Sean Penn's direction. We talk about the past of Emile Hirsch and Sean Penn, touching on allegations of them being violent, Speed Racer (2008), and other connections to events and films of the time Into The Wild came out.

MeToo revenge and road trips. Sarah Watt, Jeremy Downing and William Chen are joined by Julia Craig to discuss Promising Young Woman (2021) and Thelma & Louise (1991), two films dealing with sexual assault, female revenge and the unpicking of society's complicity and encouragement of toxic, dangerous and misogynist behaviours. We begin by sharing our experiences watching Thelma & Louise and our reactions to Promising Young Woman. We then focus on the characters in both films, the lead roles and the various side characters. Our conversation moves into how each film deals with systemic issues of brining up sexual assault, complicity and overstepping of consent. Music becomes our next focus topic, especially the needle drops in Promising Young Woman.

Exploring the "greatest film of all time". Sarah Watt, Jeremy Downing and William Chen discuss Mank (2020) and Citizen Kane (1941). We start by comparing Mank to Joker and Alien3, and then jumping into a discussion of Citizen Kane, as the subjective greatest film of all time. We discuss the impressive cinematography and the strength of the cast, linking the strength of the ensemble to the films of Christopher Guest. We unpack the shots and cinema work of both Citizen Kane and Mank, praising the work of Kane and questioning some of the techniques used in Mank. We compare Mank to Roma and Ed Wood, for their use of cinema techniques. Our discussion moves to the various motivations behind the making of Mank and how they either work or don't work. We talk about the strengths and weaknesses of the cast of Mank, including Amanda Seyfried, Gary Oldman, Charles Dance, Tuppence Middleton, Tom Burke and Lilly Collins. Our conversation touches on the Netflix deal David Fincher has made, comparing the potential compromise to the work of Francis Ford Coppola, Terry Gilliam and Quentin Tarantino. We finish our chat with a focus on Citizen Kane and Mank's storytelling, politics, and intentions around social and political commentary.

Memorable film and television from an unpredictable year. Sarah Watt, Jeremy Downing and William Chen discuss their highlights from 2020, but because of the unsettled nature of 2020, we talk about both film and TV we watched this year, regardless of when they were released. We talk about and mention the films Babyteeth, One Cut of the Dead, Cats, Corpus Christi, Queen & Slim, The Surrogate, The Lord of the Rings: The Fellowship of the Ring, Hamilton and The Invisible Man. We also mention and discuss multiple television series, including Green Eggs and Ham, Watchmen (2019), Ted Lasso, Schitt's Creek, The Midnight Gospel and BoJack Horseman.

Aaron Sorkin scripts. Sarah Watt, Jeremy Downing and William Chen discuss The Social Network (2010) and The Trial of Chicago 7 (2020). We start by speaking about the real-world impact of the real-life stories of both films, especially Facebook and how its impact has changed over time. Our conversation then moves into the work of Aaron Sorkin, highlighting his work on The West Wing, A Few Good Men and Molly's Game. We talk about the strengths and weaknesses of The Trial of the Chicago 7, especially the brilliance of the cast and script, but the misfires around the direction, pace and tone of the film. We then move onto a more focused discussion of The Social Network, praising the cast in this film as well and the music of Trent Reznor and Atticus Ross.

Two versions of Mulan. Sarah Watt, Jeremy Downing and William Chen discuss Mulan (1998) and Mulan (2020), both available on Disney+. We start by discussing the state of Disney live action remakes and whether the new Mulan is a "cash grab". We discuss the talents of Niki Caro and what she brought to the live action film. We criticise the lack of intention in the new live action films or the new films not understanding what made the original animated films tick, including bringing up Aladdin, The Lion Kind and The Jungle Book. We talk about the accents in the films and how language works in Disney films, considering where the story is set, like watching the Chinese version in Mulan and French version of Ratatouille. We discuss the openings of both films, with the instant stakes in the original and the messiness of the new film. We talk about the intended audience of the new film, comparing it to The Great Wall. We discuss the music in the animated Mulan film and both the great themes and missed opportunities, bringing up Hercules and The Little Shop of Horrors. We compare some of the set pieces between the two films, like the avalanche scene, the palace climax and the new film ending in a claustrophobic construction site. We talk about representation in both films, including Mushu in the original film. We discuss the gender play in the stories, including how much we can suspend disbelief and how the relationships are developed.

Christopher Nolan films. Sarah Watt, Jeremy Downing, Doug Dillaman and William Chen discuss two Christopher Nolan films, Memento (2000) and Tenet (2020). We start by discussing how we each saw Tenet at the cinema, with a global pandemic, comparing our respective experiences - especially the sound design of Nolan's films. Sarah unpacks elements of the sound in Tenet, highlighting her own podcast The Sound of Movies and the work of Hans Zimmer. Our discussion then moves into the central story of Tenet, trying to unpack what the film is trying to do and comparing it to the simple narrative drive of Memento. We compare the work done behind the scenes in bth films, especially the big budget nature of Tenet and the low-budget focus of Memento. We compare the films to Zack Snyder's work, The Matrix, Jonathan Nolan and Westworld, Primer, Timecrimes, Triangle, Inception, The Lost Boys and Timecop.

Obsessive game competition documentaries. Sarah Watt, Jeremy Downing and William Chen discuss the Netflix+ distributed The Speed Cubers and The King of Kong (2007). We begin by discussing the despicable qualities of the people featured in The King of Kong, particularly Billy Mitchell, and the under-dog qualities of Steve Wiebe. We then talk about the filmmaking and crafting of The King of Kong, particularly the areas where artistic license has been taken, and highlighting the characters of Brian Kuh and Steve Sanders. We move the conversation into The Speed Cubers, highlighting the difference in spirit between the two films, with the more recent film being far kinder than the harsher older film - connecting to our previous episode on Catfish and Tickled. We unpack the focus of the film The Speed Cubers, especially around its lack of focus on speed cubing competitions, with a focus on the relationship between Max and Feliks. We then discuss the films in comparison to other documentary films and documentary series, such as Spellbound, Wordplay, Double Dare, Jesus Camp, Jeffrey Epstein: Filthy Rich, Capturing the Friedmans, Three Identical Strangers, The Wolfpack, The Act of Killing, The Last Dance, Samsara and Koyaanisqatsi, particularly in structure and crafting, genre and place within the wider documentary film landscape, and the change in distribution style, between classic cinema release and Netflix. Our conversation then moves to the films' focus on the autism spectrum, discussing Max Park, the potential of Steve Wiebe being on the spectrum, with further connections to the Netflix docu-series Love on the Spectrum. We finish our conversation by considering both films as commentary on modern times, particularly each film representing two different philosophies around how to perceive of the world, with The King of Kong being a potential allegory for America's journey over the past decade, with The Speed Cubers being a story of friendship, community and hope for young people, regardless of nationality.

Musical political figures. Sarah Watt, Jeremy Downing and William Chen discuss the Disney+ distributed, live-filmed presentation of Hamilton and Evita (1996). We begin by discussing Madonna, her cultural influence and her performance in Evita. We criticise the adaptation of Andrew Lloyd Webber shows to film, including Cats and Jesus Christ Superstar, but also highlight the ways that Evita fix aspects of the stage musical in the film. The conversation then moves into a discussion around Hamilton and our experience with the musical before watching it. We compare the Lin-Manuel Miranda show with the work of Shakespeare, and then the work of Tim Rice and Andrew Lloyd Webber. Our conversation then moves into a discussion of the female characters in the two shows/films. We then discuss the way Hamilton explores race representation, captures the heart of its story through its cast and how it is a metonymy for wider America. We also discuss the representation in Evita, including its cast's previous work, like Jonathan Pryce in Miss Saigon.

Treasure hunts in war. Billy Revell-Siō, William Chen and Jeremy Downing discuss the Netflix film Da 5 Bloods and 1999 film Three Kings. We begin by unpacking Da 5 Bloods, and how it doesn't work on a whole, but highlighting the areas that it does do well. We then talk about Three Kings and the commentary it is trying to achieve, the experimentation with film techniques and how well those elements have aged. We talk about the films' ability to be ironic and build commentary around American military involvement in other countries. We then discuss the cast of Three Kings, including Cliff Curtis, Spike Jonze, Said Taghmaoui, Judy Greer and Jamie Kennedy, alongside the leads of Mark "Marky Mark" Wahlberg, Ice Cube and George Clooney. We discuss the experimentation with film indicative of the late 1990s and early 2000s, including Ocean's Eleven, Lock Stock and Two Smoking Barrels, Snatch, Run Lola Run and The Matrix. We finish with a discussion around how the cinema medium has changed and is changing, with the rise of Netflix and other streaming platforms and the disruption of Covid-19.

Chase action films. Sarah Watt, William Chen and Jeremy Downing discuss the Netflix film Extraction and 2002 film The Bourne Identity. We begin by pulling Extraction apart, highlight many of its floors. We highlight the brilliant photography, production design and direction of the film, and spent time celebrating the action and stunt choreography. We compare the long shot in Extraction to Children of Men and Atomic Blonde. We talk about the classic qualities of The Bourne Identity, and how the series developed through Bourne Supremacy, Bourne Ultimatum, Bourne: Legacy and Jason Bourne.

Our fourth anniversary, celebrating by discussing the greatest Number 4 films. Sarah Watt, William Chen and Jeremy Downing discuss Toy Story 4 (2019), Mission Impossible: Ghost Protocol (2011), Mad Max: Fury Road (2015), and Star Wars (1977), which was retrospectively assigned the subtitle Episode 4: A New Hope. Each are great examples of the fourth film being a great work of cinema, despite other fourth films typically being sub-par. We begin discussion around Star Wars and the way they if backloaded a franchise into its title, as well as how this franchisation has been preloaded into films since, as well as the place of the prequel. We talk about the way each of these four films work into their series, particularly the quality of the films they are following. Our discussion then moves into a discussion of the Mission Impossible series, focused around Mission Impossible: Ghost Protocol. We then talk about Toy Story 4 and how the whole of Pixar's original series has played out. We talk about the strength of Bo Peep in Toy Story 4 and Furiosa in Mad Max: Fury Road, and their roles as strong female characters. This then moves into a discussion about felinity, feminism and the statement that Mad Max: Fury Road is making about gender. We return back to Star Wars and finish our discussion around the grandfather film that influenced the other three, including mentioning a raft of other fourth films which aren't good.

Streaming options during our Covid-19 crisis. Sarah Watt, William Chen and Jeremy Downing discuss films that you can watch while stuck at home, during the Covid-19 lockdowns occurring around the world. We have split our discussion into five categories:

Film for the family: William: How to Train Your Dragon (2010, Netflix) Sarah: The Adventures of TinTin: The Secret of the Unicorn (2011, Netflix) Jeremy: Hairspray (2007, Netflix)

Classic to rewatch: Sarah: Sense and Sensibility (1995, Netflix) Jeremy: Beetlejuice (1988, Netflix) William: Master and Commander: The Far Side of the World (2003, Netflix)

Something new: Jeremy: Russian Doll (2019, Netflix) William: Sonic the Hedgehog (2020, Amazon Prime Video) Sarah: The Occupant (2020, Netflix)

Something a bit off the wall: Sarah: Eye in the Sky (2015, Netflix) Jeremy: Mulholland Drive (2001, Netflix) William: Cats (2019, Lightbox)

Go to happy film: Jeremy: The Castle (1997, Lightbox) Sarah: Game Night (2018, Netflix) William: Community (2009-2015, Amazon Prime Video)

Post Oscars discussion. Sarah Watt, William Chen and Jeremy Downing discuss the 2020 Academy Awards. We begin by discussing our expectations going into the ceremony, our general apathy towards the ceremony in general and our collective surprise as to how things rolled out. The biggest and best surprise was Parasite, the Cinema in Context film of 2019, winning Best Picture. We discuss the Netflix representation in the ceremony, with lack of awards for Marriage Story, The Irishman and Klaus, as well as referencing Roma from last year. Our discussion then moves into the "Oscars so white" and lack of female nominations debates and the representation of not-white people in the ceremony. We then talk about the four acting awards, with Brad Pitt, Laura Dern, Joaquin Phoenix and Renee Zellweger all taking away at award. Our conversation then moves into discussing 1917 and its technical prowess, including the fantastic work of Roger Deakins. We talk about the Best Score award won by Hildur Guðnadóttir for Joker, the Best Song award won by Elton John and Bernie Taupin for Rocketman, which develops into a discussion about Rocketman-director Dexter Fletcher's work on Bohemian Rhapsody, and the thankful non-awarding of Frozen 2. Discussion then moves into the realm of Taika Waititi and his success in winning Best Adapted Screenplay, as well as the way he presented himself at the Oscars, which then moves into a general discussion of his work, both historical and upcoming (including Next Goal Wins, Thor: Love and Thunder, and Time Bandits). We finish with a quick-fire discussion about the other awards and films, including Ford v Ferrari, Little Women, Once Upon A Time... In Hollywood and Hair Love.

Continuous shot films. Sarah Watt, William Chen and Jeremy Downing discuss two films that use a continuous shot throughout most of their films: 1917 (2019) and Birdman or (The Unexpected Virtue of Ignorance) (2014). We begin by discussing the way each film utilises the continuous shot affect. We compare the two films to other films that explore long takes, including Gravity (2013), Dunkirk (2017), The Adventures of Tintin (2011), Searching (2018), Children of Men (2006), and Roma (2018). Roger Deakins' work is celebrated in 1917, as we marvel the photography and how it works within the real world realities of filming this film. We compare the way the two films balance their leads with their supporting characters and how that plays out with the continuous shot structure. 1917 is compared to a range of better films, including The Revenant (2015), Saving Private Ryan (1998), and Apocalypse Now (1979). We unpack and marvel the choreography in both films, which help make the continuous shot dynamic work. We talk about the satire of Birdman that has sadly come to pass in 2020, with our overuse of cellphones, reliance on social media, over saturation of super hero films and obsession over realism. The conversation shifts into a discussion around the upcoming Academy Awards and how both films are represented in their respected awards seasons. We talk about Thomas Newman's score in 1917 and Antonio Sanchez' score in Birdman, both of which are brilliant.

Best films of 2019. Sarah Watt, William Chen and Jeremy Downing discuss their top films of the year, in the following categories: Biggest surprise, biggest disappointment, most anticipated film yet to come out (this episode was recorded in mid-November), wildcard, runner up films and each of our film of the year.

Biggest Surprise: William: Midsommar Sarah: The Cameraman (1928) Jeremy: Doctor Sleep

Biggest Disappointment: Sarah: Once Upon a Time... in Hollywood William: Us Jeremy: Once Upon a Time... in Hollywood

Most anticipated film yet to come out: Jeremy: Jumanji: The Next Level William: Klaus Sarah: The Irishman

Wildcard: Sarah: Family Romance, LLC. William: Crazy Alien Jeremy: Mary Poppins Returns

Runner up films to Film of the Year, in order from 4th to 2nd: William: Toy Story 4, The Nightingale, Parasite Jeremy: Homecoming: A Film by Beyoncé, Toy Story 4, Midsommar Sarah: Les Misérables (2019), Joker, Bacurau

Film of the Year: Sarah: Parasite Jeremy: Parasite William: Apollo 11

Cinema in Context overall Film of the Year: Parasite

Comedic World War Two. Sarah Watt, William Chen and Jeremy Downing discuss two films that focus on Nazi-occupied Europe during World War Two that have a comedic or satirical edge: Jojo Rabbit (2019) and Inglourious Basterds (2009). We begin by discussing the situations and ways we first watched Inglourious Basterds, highlighting key reactions we had to the film the first time and upon rewatching it. We then move into a discussion of Jojo Rabbit, beginning with a comparison of music between the two films and then progressing into a chat about the film generally. We unpack the way that Jojo Rabbit plays with comedic moments, while not underplaying the horrors of the regime and war, as well as thinking about how the film connects to other movies. We celebrate the character of Col. Hans Landa and the work of Christoph Waltz. We talk about the tension in Tarantino films and how editor Sally Menke's work contributes to his films' confidence in tension. Our discussion then moves back to Jojo Rabbit and how it deals with serious moments, as well looking at how successful the satirical Hitler scenes were. We finish our discussion by exploring the performances in both films and highlighting key actors.

Dark comedian stories. Sarah Watt, William Chen and Jeremy Downing discuss two films that centre around wannabe comedians, with a story that follows a dark trajectory: Joker (2019) and The King of Comedy (1982). We begin by discussing the clear connections between the two films, particularly how clearly Joker is riffing on The King of Comedy. The discussion moves onto the mythology of Joker and how it weaves in the existing threads of Batman stories, while fabricating new storylines and ideas. We talk about the concern around Joker inciting violence and the depiction of violence in the film. The discussion harks back to earlier versions of the Joker and representations in other Batman media, including Batman: The Animated Series (1992), The Dark Knight (2008) and Batman (1989). We then discuss The King of Comedy, connecting to the cringe-factor in Curb Your Enthusiasm, the inclusion of Martin Scorsese's mother, who also appears in Goodfellas. We talk about the female characters in The King of Comedy, including Shelley Hack as Cathy Long, Diahnne Abbot as Rita Keene, and Sandra Bernhard as Masha. We finish our discussion about the endings of both films and whether they both suggest that they are fantasies in the lead characters' heads.

Bong Joon-ho directed films. Sarah Watt, William Chen and Jeremy Downing discuss Bong Joon-ho's films Parasite and Snowpiercer. We begin by discussing Parasite, particularly its status as the winner of the 2019 Palm d'Or and the way an audience should come into the watching of the film, mainly with no spoilers. We compare Parasite to the work of Tarantino, particularly Once Upon A Time... In Hollywood and Inglourious Basterds, and how the both directors are working within the realms of building tension and paying it off. Our discussion then moves to Snowpiercer, and its balance of reality and heightened-reality. We compare the film to the work of Jean-Pierre Jeunet, particularly Alien: Resurrection, Delicatessen, City of Lost Children and Micmacs, and the work of Terry Gilliam. We then talk about the themes of class explored in both films, how heavy-handed that exploration is and how the films bring about questions of the morality of class systems.

Cinema experiences, the world over. Sarah Watt, William Chen and Jeremy Downing discuss the various films and cinema experiences from their trips around the world. Sarah opens the discussion by outlining her trip around Europe. She mentions La Dolce Vita, Drive and Avengers: Endgame. She talked about multiple masterclasses, including with steadicam inventor Garrett Brown, one with Rutger Hauer, another with Joe Dante and later with Francis Ford Coppola. William then shared about his trip to the United States, highlighting Los Angeles and its focus on cinema. He watched Toy Story, Story 2 and Toy Story 3 on the plane, which guides the discussion for a while. We chat about Thor: Ragnarok, Eagle vs Shark, The Breaker Upperers, No. 2 and Whale Rider. William then chats about Hobbs & Shaw, as well as the Fast & Furious connections. We talk about the jarring feeling of hearing the New Zealand accent in big budget films, like Star Wars: Episode II - Attack of the Clones, Aquaman and in Hobbs & Shaw. This moves into a discussion around Pacific Island culture representation, including the final act of Hobbs & Shaw and Moana. This moves into a conversation about Vai, including the progression of Pasifika cinema. We highlight The Orator, One Thousand Ropes, Three Wise Cousins, Hibiscus & Ruthless, and Take Home Pay. We unpack the filmmaking of Vai, comparing it to Waru. William then brings up the brilliance of Idris Elba in Hobbs & Shaw, including the rap that he wrote for the film. William raps. It is quite glorious. We wrap up the episode with Sarah sharing her experience at Festival de Cannes 2019. She mentions multiple films and her involvement in press conferences and interviews. This includes lining up for two hours to see Once Upon A Time... In Hollywood, Sarah's husband Doug getting the opportunity to interview Joon Ho Bong, director of Palme d'Or winning Parasite, watching the films Les Misérables and Bacurau, as well as seeing conversation with Sylvester Stallone. Sarah had the opportunity to see Apocalypse Now: Final Cut, as well as taking part in a masterclass with Francis Ford Coppola. She also watched The Piano and The Devil Thumbs a Ride, finishing her trip with a visit to a Stanley Kubrick exhibition.

Toy Story 4. Jeremy Downing and William Chen have separate conversations in different parts of the world. The first is with Georgie Swan and the second is with Jon Portinga.

The first conversation is lead by Jeremy, talking with Georgie Swan, during a conference focused on Indigenous Education, hosted in Auckland, New Zealand. The discussion begins about the first three Toy Story films and what they mean to both Georgie and Jeremy, specially around the social conscience of Pixar films. They then talk about the place of Toy Story 4 in the series and the overall arc of the characters, as well as how the films are able to connect to children and adults. Talk then moves into the themes, around the ideas of where toys go to die and the idea of brokenness. Conversation then focuses on the role Woody plays in the film, with the ensemble taking more of a back seat.

The second conversation is lead by William, talking with Jon Portinga, at a cafe called Sara's Table, in Duluth, USA. Discussion between William and Jon starts around the history of the Toy Story films, looking at the greatness of the first film. They then get into a discussion around the success of the sequels, specifically the simplicity of the first two films and then the escalation of Tory Story 3. Conversation then moves into a discussion around Toy Story 4 and the experience of watching the film at a local Duluth cinema. They then discuss the role of Po Beep and her representation throughout the films, as well as what she brings out in the films. Discussion then moves into exploring the concept of Woody being a surrogate parent to various characters, like Bonnie and Forky, as well as an exploration of usefulness and a person's purpose. This conversation then moves into a chat around Gabby Gabby and the role she plays alongside Woody, as well as how she sits alongside previous villains, Stinky Pete and Lotso. The discussion finishes with a chat around how Toy Story 4 is the conclusion and feelings towards that conclusion.

The X-Men universe. Special guests Sinead Fitzgerald and Adam Spedding join Jeremy Downing and William Chen to discuss X-Men, Dark Phoenix and all the X-Men films in between. Discussion starts with ripping into Dark Phoenix and discussing how the original X-Men film established the world. We then work our way through the other X-Men films, starting with X-Men: Days of Future Past and the moving through X-Men: First Class, X-Men Origins: Wolverine, The Wolverine, Logan, X-Men: Apocalypse, X2, X-Men: The Last Stand, Deadpool and Deadpool 2. We talk about the ageing of various characters in the films, including the CGI de-ageing processes of the new Marvel films and how many characters don't seem to age in the X-Men timeline. We talk about how the series and the genre has developed over the past twenty years, and what that might mean for the X-Men in the future. We discuss the various fantastic opening sequences and it being one of the strongest aspects of the films.

A Song of Ice and Fire. Special guests Sarah Cullen, Jeremy Foster, Katy Roose, Phoebe Shum and Rewa Worley join Jeremy Downing and William Chen to discuss the HBO television series Game of Thrones. We start by focusing on whether people were satisfied or dissatisfied by the series finale and unpacking why. We then move into discussing specific character arcs, starting with a general discussion of Daenerys Targaryen and whether the creators succeeded with her arc or it was a fail. We then present our favourite character arcs, starting with Sansa Stark, then moving through to Podrick Payne, Arya Stark, Joffrey Baratheon, Samwell Tarly, Jon Stark, Brienne of Tarth, Jaime Lannister, Theon Greyjoy, with a quick dig at Euron Greyjoy, finishing with a discussion about Davos Seaworth. We end by quickly going through our biggest shock or win moments, starting with Jon killing Daenerys, the death of Lady Mormont, Jon parrying the white walker's sword attack at Hardhome, Bron shooting the fire arrow into the ship of wildfire in Blackwater Bay, Cersei destroying the Sept of Baelor, the battle between Oberyn Martell and The Mountain, the death of Catelyn Stark, the fight between Brienne and The Hound, and a special shout out to Arya killing all of the Freys.

Phil Lord and Christopher Miller films. Special Guest Katy Roose joins Jeremy Downing and William Chen to discuss two films produced by Phil Lord and Christopher Miller: The Lego Movie 2: The Second Part and Cloudy with a Chance of Meatballs. Discussion starts with looking into Lord and Miller's work being focused on what things aren't, and subverting expectations. We jump into a chat about Cloudy with a Chance of Meatballs, specifically focusing on the character of Sam Sparks. This leads into a talk about the meta-quality of The Lego Movie 2, particularly the layering of themes, storytelling and ideas, specifically Toxic Masculinity. We look at the wider oeuvre of Lord and Miller, talking about 21 Jump Street, 22 Jump Street and Spider-Man: Into the Spider-Verse. We talk about the songs and credit sequences in both films. The discussion returns to the themes of gender in The Lego Movie 2, through the characters of Lucy, Emit and rex Dangervest. William then goes into an incredible rant about the themes in childrens' films, including ripping into: the Hotel Transylvania films, the Ice Age films, Despicable Me 2, The Secret Life of Pets and Peter Rabbit. This leads into further investigation into the family and community present in Cloudy with a Chance of Meatballs. We finish our discussion by looking at the structure of Lord and Miller's films, specifically how they earn their third and fourth acts, and the way that they reincorporated disparate elements into the climax and greater narratives.

Post Oscars discussion. Special Guest Phoebe Shum joins Jeremy Downing and William Chen to discuss the 2019 Academy Awards. Our discussion touches on the selected films this year in contrast to previous years. We mention The Shape of Water, Moonlight and La La Land. We talk about the lead up to the ceremony, with the suggestions around the "Popular Oscar" category and shifting certain awards to the ad breaks, and the outcome of not having a dedicated host. We unpack the Best Picture winner and nominees, starting by discussing Green Book, then moving into a discussion around Black Panther, BlacKkKlansman and Roma. Our discussion about Roma focuses on the Netflix presence in the cinema landscape, how watching on a smaller screen affects the Roma viewing experience and how streaming services will affect enjoyment of cinema moving forward. We talk about the varying degrees of quality in Bohemian Rhapsody. We discuss the Best Animated Feature winner and nominees, focusing on Spider-Man: Into The Spider-Verse, Isle of Dogs, The Incredibles 2 and Ralph Breaks The Internet. We then discuss the Best Animated Short winner Bao and its connection to the Asian family experience. We talk about Olivia Coleman, Glenn Close and Lady Gaga in the Best Actress category, and the surprise around Coleman winning. We finish by discussing the various other categories, touching on "Shallow" by Lady Gaga and Bradley Cooper, Mary Poppins Returns, and we end the discussion with a return back to talking about Black Panther and Isle of Dogs in more detail.

James Cameron Science Fiction. Special Guest Sinead Fitzgerald joins Jeremy Downing and William Chen to discuss two films written by James Cameron: his 2009 Box Office breaking Avatar and his most recent script Alita: Battle Angel. Discussion starts with looking into Cameron's career, including his multiple cinematic hits and even his work in theme park rides. We then get into talking about Avatar, the world building, the special effects and the soundtrack. The use of 3D in films comes into our discussion, specifically about the representation of flight of screen, through Avatar, How To Train Your Dragon and Gravity. Our chat then moves to Alita: Battle Angel, the predicability of the story and the strength of the action. Our discussion then moves onto the career of Robert Rodriguez, and his strength and weaknesses.

M. Night Shyamalan films. Sarah Watt, Jeremy Downing, Doug Dillaman and William Chen discuss two M. Night Shyamalan films: his 2008 clunker The Happening and his most recent film Glass. Discussion starts with a discussion about Glass and looking at its connections to Unbreakable and Split. The chat then moves onto The Happening and covers some of the many pitfalls of the film. The conversation then explores the history of Shyamalan's career and the placement of his films in the wider cinema landscape.

Sarah Watt, Jeremy Downing and William Chen discuss their top films of the year. This year, they have split their top films into five categories: Biggest Surprise, Biggest Disappointment, Most Anticipated (still come to come out, at the time of recording), Wildcard, and Film of the Year.

Biggest Surprise: William: Annihilation Sarah: Filmworker Jeremy: Avengers: Infinity War

Biggest Disappointment: Sarah: BlacKkKlansman William: Hereditary Jeremy: Incredibles 2

Most Anticipated (still to come out, at the time of recording): Jeremy: Roma William: Spider-Man: Into the Spider-Verse Sarah: The Children Act

Wildcard: William: Teen Titans Go! To The Movies Sarah: Upgrade Jeremy: Jumanji: Welcome to the Jungle

Runner-ups to Film of the Year: Sarah: A Quiet Place, Phantom Thread, McQueen William: Isle of Dogs, Mission: Impossible - Fallout, First Reformed, Paddington 2 Jeremy: Annihilation, Isle of Dogs, A Quiet Place

Film of the Year: Sarah: Mission: Impossible - Fallout William: Sorry To Bother You Jeremy: A Star Is Born

Cinema in Context Overall Film of the Year: Mission: Impossible - Fallout

Wizarding World sequels. Sarah Watt, Jeremy Downing and William Chen discuss the second Fantastic Beasts film, The Crimes of Grindelwald, and the third Harry Potter film, subtitles The Prisoner of Azkaban. Our discussion begins by discussing the Wizarding World logo and the franchise quality of these films, and then quickly develops into how the two stories are structured. We compare the casts in both films, and praise the commitment and calibre of the performances. The world-building is impressive in both films, with Prisoner of Azkaban changing the visual style of the films for the better and Fantastic Beasts potentially retreading ground. We spend a reasonable amount of time fanning out on the time travel in Prisoner of Azkaban. We then talk through the madness that is the final scenes and sequences of Fantastic Beasts: The Crimes of Grindelwald, and how the film needs an additional screenwriter. We celebrate the music in Prisoner of Azkaban and the brilliance of John Williams. We praise the Dementors in Azkaban, the Quidditch sequence and the film's sense of humour.

Diegetic musicals. Sarah Watt, Jeremy Downing and William Chen discuss A Star Is Born and Cabaret. We begin by discussing the prowess of both Lady Gaga and Liza Minelli in the opening of each film. We unpack the narrative structure of A Star Is Born, looking at the first and second half, and stylistic throw-backs to other directors, which include Richard Linklater and David O. Russell. We talk about the heightened nature of Cabaret, particularly the sharp cuts that add to the irony in the film, how ominous the film is, and how the film carefully develops character. Our discussion moves to talking about the music and performance in A Star Is Born, how they constructed the live scenes and its treatment of the different music styles. We talk about the artistic choices in Cabaret, with the Emcee being a personification of Berlin and capturing German Expressionism.

Culture clash wedding films. Sarah Watt, Jeremy Downing and William Chen discuss Crazy Rich Asians and My Big Fat Greek Wedding, two romantic comedies that have broken Box Office records. Our discussion begins with acknowledging that My Big Fat Greek Wedding has not aged very well, so we try and find redeemable qualities in the film. We burst out in outrage at the poor Health and Safety protocols of John Corbett's teacher character. As teachers, we were not amused. The film is not pretty to look at, with corny wipes, bland colour schemes and setups with limited depth. We compare My Big Fat Greek Wedding to another one-woman stage show adaptation, No. 2, and another stage to film adaptation, Mamma Mia! Our conversation then jumps into a discussion about Crazy Rich Asians, talking about the clear appeal the film has with audiences. We talk about the strength of the four main female actors, particularly Awkwafina and Michelle Yeoh. The film is beautiful to look at, particularly as an advertisement for holidays in Singapore. The consumerism on display in the film is unsettling and we talk about how we came to terms with it. We then talked about specific scenes of the film, like the opening prologue, the best friend's family and the wedding itself. When then investigate the strange music choices made in Crazy Rich Asians, particularly the 1950s post-war Chinese music. We then return to My Big Fat Greek Wedding and discuss the use of voice over.

Tom Cruise action films. Sarah Watt, Jeremy Downing and William Chen discuss Mission: Impossible - Fallout and Top Gun. We jump straight into a discussion about the Mission: Impossible films, highlighting the strength of the director talent for each of the films, comparing it to the James Bond and Harry Potter films. Our chat then moves to Top Gun and how out of date the film feels in retrospect. Gender representation, hard-body masculinity and homoerotica is talked about in regards to Top Gun. We all agree that Tom Cruise is an impressive performer, both in terms of charisma and commitment. We talk about the strength of the other actors in Mission: Impossible - Fallout, except for Henry Cavill, which sparks a debate. We talk about the strength of certain characters and action sequences in Mission: Impossible - Fallout.

Action films in a building. Sarah Watt, Jeremy Downing and William Chen discuss Die Hard and Skyscraper. We begin by comparing Skyscraper to other films, like Star Wars: The Force Awakens, Galaxy Quest, Mission Impossible: Ghost Protocol, MacGyver, and even the musical Annie. Dwayne Johnson does a great job as the "every man" action hero and Neve Campbell does a great job as his calm and collected wife. We then discuss whether Skyscraper was taking itself seriously or self-aware silly. Discussion then moves onto Die Hard and how fantastic the film is, tightly woven together like a puzzle. We then talk about experiential cinema experiences, watching Die Hard with themed food, secret cinema viewings of Blade Runner and promotional beach screenings of Jaws. We talk about Die Hard as a Christmas film, along with Batman Returns, Lethal Weapon and Gremlins. Alan Rickman is brilliant and we talk about his strengths, and how apart from his character, Bruce Willis's character and Sgt. Al Powell, the film is populated with idiots. Our discussion then moves into a space where we consider the Chinese cinema market and how recent Hollywood films are appealing to China market, which includes Skyscraper being set in Hong Kong. We then talk about different cultures and how they produce different types of films.

Ocean's Eleven franchise films. Sarah Watt, Jeremy Downing and William Chen discuss Ocean's Eight and Ocean's Eleven, starting with acknowledging that the two films are very similar. We talk about the strength of the cast in Ocean's Eight, especially with the film's focus on character. We talk about the cinematography in both films, with the strength of cinematography in Ocean's Eleven and the straightforward, functional camerawork in Ocean's Eight. We talk about the possible "coming out" of the characters in Ocean's Eight and other films, like Captain America: The Winter Soldier. We then talk about certain characters in both films who don't fully work as well rounded individuals, then also praising key performances. Our discussion then moves into a discussion about pace in both films. Ocean's Twelve, Ocean's Thirteen and the original Ocean's 11 then become the focus of our discussion, talking about how all three are not as good as these two other films. Our conversation wraps up by touching on the gender politics in both films and how both films add to the catalogue of predominantly female storytelling.

Social satire set in Japan. Sarah Watt, Jeremy Downing and William Chen discuss Isle of Dogs and Battle Royale. Discussion starts by comparing Battle Royale to our teaching experience, to The Hunger Games and to the current popularity of Battle Royale genre computer games, like Fortnite. We shift discussion to Isle of Dogs and commend the beautiful imagery, the tonal darkness of the story and how that relates to our world, and the joy of some of the gags in the film. Both films introduce romance, with young people professing their love in Battle Royale and a handful of couplings in Isle of Dogs. Our discussion then moves into how America and American cinema intersects with these films, with an American character in Isle of Dogs, made by an American creative team, and then the commentary around American involvement in other countries in Battle Royale II. Our conversation wraps up by discussing youth and how they factor into both films.

Science Fiction thrillers. Sarah Watt, Jeremy Downing and William Chen discuss A Quiet Place and Signs, two films with a lot of similarities, with the most obvious connections being that they are about small families surviving in the midst of an invasion by hostile creatures. We start by discussing the merits of A Quiet Place and the dated qualities of Signs. We discuss the history of cinema around the release of Signs and where M. Night Shyamalan's career headed. Discussion then moves into the merits of A Quiet Place, particularly the strength of the acting without spoken dialogue. Our discussion then goes back to M. Night Shyamalan's films and the atrociousness of The Happening, Split and Lady In The Water. For fear of bagging on Signs the whole time, we then move our discussion back to A Quiet Place and talk about its strong world-building, its ability to build a threatening alien presence, and the metaphor of the silence present in the film. We talk about the strength of the sound design in the film, including the use of diegetic music, comparing it to a similar use in Lost and Baby Driver. But we can't help ourselves and return to pull apart Signs.

Super hero films. SPOILER ALERT FOR MANY SUPERHERO FILMS Sarah Watt, Jeremy Downing and William Chen discuss Black Panther and any of the superhero films made in cinema history. We jump right into the discussion around black representation in Black Panther and if it does enough for representation. We compare representation of race with similar representation in Wonder Woman and District 9. We then talk about the cast in Black Panther, the strength of the talent on screen and the complexity of their characters. Black Panther is not only strong in its representation of people of colour, but also its representation of women. We then move on to comparing it to other superhero films, like X-Men, Batman, Batman Returns, Superman, Spider-Man, X-Men: First Class, X-Men: Days of Future Past, X-Men: The Last Stand, The Wolverine, Wonder Woman 2, Thor: Ragnarok, Flash Gordon, Chronicle, Captain America: Civil War, Doctor Strange, Avengers: Age of Ultron, Logan, Watchmen, The Incredibles, Man of Steel, Justice League, Suicide Squad, Batman Begins, The Dark Knight, The Dark Knight Rises, Unbreakable, Split, Glass, X-Men Origins: Wolverine, Deadpool, and Deadpool 2.

Oscar Special 2018. Sarah Watt, Max Tarrant, Jeremy Downing and William Chen discuss the films nominated for Academy Awards this year. Here are our picks: - Best Picture: Dunkirk - Actor in a Leading Role: Gary Oldman, Darkest Hour - Actress in a Leading Role: Frances McDormand, Three Billboards outside Ebbing Missouri - Actor in a Supporting Role: Sam Rockwell, Three Billboards outside Ebbing, Missouri - Actress in a Supporting Role: Allison Janney, I, Tonya - Animated Feature Film: Coco (2 votes) / Loving Vincent (1 vote) - Cinematography: Blade Runner (3 votes) / Dunkirk (1 vote) - Directing: The Shape of Water (3 votes) / Dunkirk (1 vote) - Adapted Screenplay: Call Me By Your Name - Original Screenplay: Get Out (2 votes) / Lady Bird (2 vote) / (Though it will likely be…) Three Billboards outside Ebbing, Missouri

We ran out of time to talk about the following categories, but here are our picks: - Costume Design: Phantom Thread - Film Editing: Dunkirk (2 votes) / Baby Driver (1 vote) / I, Tonya (1 vote) - Foreign Language Film: The Square - Makeup and Hairdressing: Darkest Hour - Original Score: Dunkirk (2 votes) / The Shape of Water (2 votes) - Original Song: “This Is Me,” The Greatest Showman - Production Design: Blade Runner 2049 (2 votes) / The Shape of Water (2 votes) - Sound Editing: Dunkirk (3 votes) / Blade Runner 2049 (1 vote) - Sound Mixing: Baby Driver (1 vote) / Blade Runner 2049 (1 vote) / Dunkirk (1 vote) / Star Wars: The Last Jedi (1 vote) - Visual Effects: Blade Runner 2049 (2 votes) / War for the Planet of the Apes (2 votes)

And we didn’t discuss these categories, having not seen most of the films nominated: - Documentary Feature - Documentary Short Subject - Animated Short Film - Live Action Short Film

Frances McDormand. Sarah Watt, Max Tarrant, Jeremy Downing and William Chen discuss the films Three Billboards Outside Ebbing, Missouri and Fargo. We begin by praising Fargo, particularly the performances of the actors and the balancing of tones in the film. We then compare the merits, similarities and differences between the two McDormand characters. The discussion then moves onto the merits and weaknesses of Three Billboards Outside Ebbing, Missouri, touching particularly on the messy race and sexual politics in the film. We then pivot into the positive aspects of the film, which includes the character dynamism and dialogue. We then investigate into the two films, looking at aspects that work and aspects that don’t. Both films take place in a real place, and we discuss which of the two films are more successful at feeling like the real place. The discussion wraps up with the four of us talking about the use of swearing in films, the television series of Fargo and the potential Oscar wins for Three Billboards Outside Ebbing, Missouri.

Top films of 2017. Max Tarrant, Sarah Watt, Jeremy Downing and William Chen discuss each of their top three films of the year.

Max’s top three: 1. The Square 2. The Killing Of A Sacred Deer 3. Get Out

Sarah’s top three: 1. Manchester by the Sea 2. The Killing of a Sacred Deer 3. Baby Driver

Jeremy’s top three: 1. Alien: Covenant 2. Blade Runner: 2049 3. War for the Planet of the Apes

William’s top three: 1. Dunkirk 2. The LEGO Batman Movie 3. War for the Planet of the Apes (4. LOGAN)

Cinema In Context’s Overall Top Films: 1. The Killing of the Sacred Deer 2. War for the Planet of the Apes

Wildcards: - Wolf Warrior 2 (William) - Okja (Max) - Brigsby Bear (Sarah) - Patti Cake$ (Sarah) - Gaga: Five Foot Two (Jeremy)

Taika Waititi films. Sarah Watt, Max Tarrant, Jeremy Downing and William Chen discuss the films Thor: Ragnarok (2017) and Hunt For The Wilderpeople (2016). The discussion starts by talking about the wonderful pace and opening of Hunt For The Wilderpeople and Waititi’s knack for pathos. All of his films balance both sadness and joy extremely well. We talk about Taika Waititi’s status as an auteur and his strength as a visual storyteller. The cast in Thor: Ragnarok is very strong, with highlight performances from Cate Blanchett, Mark Ruffalo, Chris Hemsworth and Jeff Goldblum. Disagreements are had around the strengths of Thor: Ragnarok, particularly around the structure of the film. We then talk about whether the films are definitively kiwi in their style and the politics around transposing this style onto the international stage, which develops into whether the style of the films are kiwi or just representative of Waititi’s style. This then develops into a discussion around self-deprecating humour and its origins. We finish by talking about the themes of colonisation and displacement in Thor: Ragnarok, and whether they are clear or not.

Two Blade Runners. Sarah Watt, Max Tarrant, Jeremy Downing and William Chen discuss the films Blade Runner and Blade Runner 2049. Our discussion starts by discussing the bold visual choices in both films, particularly the mastery present in the lighting, as well as the complimenting iconic music. We talk about some of the story elements, particularly the opening, and the keeping of Hampton Fancher as the writer from the original film to the sequel. We then delve into the box office returns on the new film and how it echoes the struggles of the original film. Our discussion then moves on to the great work done by the actors in Blade Runner 2049, particularly Sylvia Hoeks as Luv and Ryan Gosling as Agent K. We all agreed at the strength of the writing and filmmaking around the K and Joi relationship in the new film. We then debate and disagree on the effect of the fight scene between the two Blade Runners in the new film and the success of the Rachel clone special effects. We then get into the sexual politics of the two films and whether or not acknowledging the objectification of women warrants having naked female figures everywhere, as well as the complicated nature of the sex scenes.

Mother times two. Sarah Watt, Max Tarrant, Jeremy Downing and William Chen discuss the films mother! (2017) and Madeo, or Mother (2009). The discussion starts around mother! (2017) and unpacks its more horrific elements. We then have a back and forth discussion around the merits of Jennifer Lawrence’s character and the strength of her performance. We then jump into the allegory of the film, wondering whether it is a commentary on the experience of women, a commentary on Darron Arronofsky’s romantic relationships, or a commentary on Man’s treatment of the planet. Perhaps it is about obsession with a person’s own creation, whatever the context… Our discussion then moves onto Mother, or Madeo, from Korean director Joon Ho Bong. We start by unpacking the central mother character, played wonderfully by Hye-ja Kim. The portrayal of the young women and their sexualisation is discussed, with the film coming across as immature in this regard. The character of the son and the way his mental disability is dealt with is talked about, and how this aspect of his character is used. We also talk about the relationship between him and his mother. We then talk about the social commentary of the film, particularly its depiction of the impoverished situation of the town. We finish by generally discussing the messages behind both films and how they connect to other films.

Luc Besson Space Operas. Sarah Watt, Max Tarrant, Jeremy Downing and William Chen discuss the films Valerian and the City of a Thousand Planets (2017) and The Fifth Element (1997). The discussion touches on gender politics and romance stories in both films. We talk about the connections to other films, like Blade Runner, Stars Wars, Avatar, Indiana Jones and Singin’ in the Rain. Luc Besson clearly loves the story he is telling in both films. We discuss other visual directors, like Peter Jackson, Terry Gilliam, Sam Rami and George Lucas, and how too much money makes their films too long. Both films have strong female actors in the central roles, with Mila Jovovich and Cara Delevingne. We compare the casts in both films, with limited strong performances in Valerian, and a strong cast in The Fifth Element. We return to the gender politics in both films, initially around the juvenile depiction of the female leads and the non-traditional depiction of specific male characters. We compare the music in both films: the forgettable music in Valerian and the dated music in The Fifth Element. The visuals in both films, particularly Big Market in Valerian and the cityscape in The Fifth Element, are impressive.

Heist films with music. Max Tarrant, William Chen and Jeremy Downing discuss the films Baby Driver (2017) and Reservoir Dogs (1992). The discussion begins by talking about the tightly woven nature of both films and a clear confidence in each. We focus initially on Reservoir Dogs, talking about the strength of the characters and relationships, particularly the work of Harvey Keitel, Tim Roth, Michael Madsen and Steve Buscemi. We then talk about how the narrative is constructed, with the large number of cut-aways that reveal the characters. We discuss Reservoir Dogs in relation to Quentin Tarantino’s other films, like Django Unchained, Kill Bill, Pulp Fiction, The Hateful Eight and Inglourious Basterds. We also talk about the intensity of Reservoir Dogs, particularly the large amount of shouting. This develops into a discussion around violence and how violence is used in Tarantino’s films, as well as other films like The Dark Knight, and Guillermo del Toro’s films Pans Labyrinth and The Devil’s Backbone. We then move into a discussion around Baby Driver, starting with the presence of pop culture in the film and the nostalgia of iPods. We compare the film to musicals, particularly Little Shop of Horrors and The Producers. There has been an upsurge in jukebox retro soundtracks, including Guardians of the Galaxy, Suicide Squad, Kong: Skull Island, Atomic Blonde and Watchmen. We talk about the strength of the actors in Baby Driver, including Jon Hamm, Jamie Foxx and Kevin Spacey. We then talk about the weak representation of women in Baby Driver and Edgar Wright’s history with female characters, which also touches on the sexism in Reservoir Dogs, including the famous Madonna “Like a Virgin” speech. We talk about the fatigue around films skipping through their soundtrack to quickly, comparing it to the great amount of space that the TV series Twin Peaks gives to its music. Discussion around music, gender politics, and Edgar Wright and Quentin Tarantino develops into a chat about the TV series Spaced.

William, Jeremy, Max and Sarah discuss their best and worst cinema experiences.

Comic book action heroines. Sarah Watt, Max Tarrant, Jeremy Downing and William Chen discuss the films Wonder Woman (2017) and Barbarella (1968). The discussion touches on the fun to be had in both films, as well as its exploration of female empowerment, sexual politics and the qualities of both title characters. Sex plays a prominent role in the cult classic sexploitation Barbarella, while careful discussion of sex is explored in the mainstream Wonder Woman. The production design in Barbarella is impressive, which develops into a discussion around the strengths and weaknesses of visual and special effects. We compare the strength of the music in Barbarella to the forgettable music in Wonder Woman. We discuss the female gaze and male gaze in the compared films, and how much the traditional male gaze influences the choices made in the female directed Wonder Woman. Sarah wraps up the discussion with her own personal visceral reaction to seeing a strong female hero on the screen and realising how much a character of this type is needed. Our final words are around the strength of Jane Fonda’s performance in Barbarella, despite being in an overly camp film, and the iconic status of Wonder Woman, and her role in providing young girls a hero to look up to.

Bringing racial tension home. Sarah Watt, Max Tarrant, Jeremy Downing and William Chen discuss the films Get Out (2017) and Guess Who’s Coming To Dinner (1967). The discussion touches on: uncovering racial prejudices in society that both films investigate; how the films shift social perceptions on issues like interracial marriage, and both the problematic and successful aspects of that; the gap between generations, when social expectation ideals are different between parent and child; the connection between films Night of the Living Dead (1968), Stepford Wives (1975), Dawn of the Dead (1978) and Keanu (2016); the role of the maid in both films and how it comments on the expected social position of African Americans; the strength of the performances from Catherine Keener, Alison Williams and Daniel Kaluuya; the lens from which we watch a film and investigating how things have or haven’t changed.

William, Jeremy and Max discuss Alien: Covenant (2017). Warning: Spoilers!

Oscar winners of the Best Foreign Language Film Academy Award: the first winner and the latest winner. Jeremy Downing, Max Tarrant and Sarah Watt discuss the films The Salesman (2016) and La Strada (1954). The discussion touches on the treatment of the women in the films and the meta quality of Federico Fellini. The connection between the theatrical in both films is discussed, with the travelling circus in La Strada and the play “Death of a Salesman” in The Salesman. Both films are working just beyond a Neo Realist style and melding it with more fantastical influenced genres. Both films also use children in interesting ways, physically wrap up the female characters in clothing, have a significant second man and reflect the sociopolitical contexts of their times.

Protagonists struggle with sanity. William Chen, Jeremy Downing and Max Tarrant discuss the films A Cure For Wellness (2016) and Repulsion (1965). The discussion focusses on protagonists that struggle with their sanity or their perception of sanity. The conversation touches on a number of different areas, starting off with a discussion around Roman Polanski’s cinematic work, how his films endure beyond their time and connections to other director’s works, such as David Lynch and Alfred Hitchcock. The discussion then focussed on the strong visual imagery in both films, including cracking walls, a candlestick, a bloody book, a photograph, an eye and eels! The conversation then delves into A Cure For Wellness and how the film goes for broke with its imagery, including the impressive cinematography and visual style. Gender politics and the Bechdel Test is brought up, but challenged by the messy management of topics in Wellness. Connections are made between the two films and Rosemary’s Baby (1968), Housebound (2014), The Shining (1980), The Ring (2002) and Split (2016).

Trainspotting times two. Jeremy Downing, Max Tarrant and Sarah Watt discuss the films T2: Trainspotting (2017) and Trainspotting (1996). The discussion touches on the films of Danny Boyle and his fall out with Ewan McGregor. The strength of T2 as a sequel, with themes of reconciliation and redemption, as well as the questioning of one’s past and how they have spent their time. Talk then continues into the uncomfortably of films dealing with drugs, but then Danny Boyle’s mastery in creating an enjoyable experience in both films. Respect is lavished on Danny Boyle, in creating both a brilliant first film and a creatively successful second film. Nostalgia is discussed and how it is intertwined into the second film, including shots from the first film and new footage of the characters’ childhoods. The talk touches on the strengths of Kelly McDonald and her character. Both films have fantastic cinematography and equally impressive soundtracks, which is identified and then develops into a discussion around the aesthetic style of Boyle. The second film introduces the history of the four male characters’ relationships, including their childhood connections, encouraging the audience to think about their own childhood connections. Chat continues to talk about connections with other films, including T2: Judgement Day (1991), A Clockwork Orange (1971) and Blade Runner (1982).

Musicals on film. William Chen, Jeremy Downing, Max Tarrant and Sarah Watt discuss the films La La Land (2016) and Singin’ In The Rain (1952). Both films are movie musicals about filmmaking. The discussion touches on the magic of musicals, while both films deconstructing the magic of cinema. Nostalgia for older cinema, in both films. The suspension of disbelief in musical films and the grey area between fantasy and reality. The Academy being behind the eight-ball and taking a year or so to catch up. The potential renaissance of musicals in Disney Animation Studio films, particularly Moana (2016). The message of La La Land is problematic, while the female representation of Singin’ In The Rain is equally problematic. The impressive technical achievements of both films. The strength of Jean Hagen in Singin’ In The Rain and her underrated performance as Lina Lamont. There is comedy in Singin’ In The Rain that has or hasn’t dated, while the Broadway Melody sequence being out of place.

Top 2016 films. In this double episode William Chen, Jeremy Downing, Max Tarrant and Sarah Watt share their top films for 2016.

Max’s picks: 1. The Salesman 2. The Lobster 3. Zootopia 4. Tickled 5. The Handmaiden Wildcard: Eat That Question: Frank Zappa In His Own Words

William’s picks: 1. The Handmaiden 2. Hunt For the Wilderpeople 3. Kubo and the Two Strings 4. 10 Cloverfield Lane 5. Green Room Wildcard: Gods of Egypt; League of Gods

Sarah’s picks: 1st equal: The Revenant; Green Room 3. Room 4. Zootopia 5. Doctor Strange Wildcard: Train to Busan

Jeremy’s picks: 1. Finding Dory 2. The Hateful Eight 3. Fantastic Beasts and Where To Find Them 4. Hunt For the Wilderpeople 5. Zootopia Wildcard: Poi E

Cinema in Context Film of the Year: Zootopia

First alien encounters. William Chen, Jeremy Downing and Max Tarrant discuss the films Arrival (2016) and Close Encounters of the Third Kind (1977). Both films have the premise of human first contact with aliens. The discussion touches on connection between humanity’s fascination with aliens being metaphor for relationships. We also talk about the exploration of mental health issues in Close Encounters of the Third Kind. Fantastic cinematography and lighting. The balance of having a lyrical pacing and mood, and keeping the plot interesting enough. The ‘idiot authority’ trope. Our excitement and fears around Blade Runner 2049 (2017). Comparing Arrival to Interstellar (2014) and Gravity (2013). The strength of Amy Adams’ performance. Alien fascination being a metaphor for distraction from relationships. Comparing Close Encounters of the Third Kind with Jaws (1975) and what Steven Spielberg is exploring with his early films. Enjoy!

Our discussion of these two Woody Allen films touches on Allen’s films touring around the world, female characters used as a trope to motivate the male characters, the laws of relationships in Allen’s films, bad use of voiceover, quantity producing quality, Allen’s storytelling style, the beautiful photography in both films, the complication of reading a film in a disconnected way from the director’s private life, our commitment as teachers to young people and how that impacts on our reading of the films, the different expectations of relationships from the 1970s to now, whether or not Allen’s characters are designed to be likeable, the manic-pixie-dream-girl trope, and the endings of both films. William Chen, Jeremy Downing, Max Tarrant and Sarah Watt discuss the films Café Society (2016) and Manhattan (1979).

Sarah Watt, Jeremy Downing and William Chen discuss the films Captain Fantastic (2016) and A History of Violence (2005), two films that star Viggo Mortensen in unorthodox father roles. The discussion touches on the talents of Viggo Mortensen, the brilliant children actors in Captain Fantastic, what matters in raising children, the tension between discussing heavy issues and telling the audience what to think, David Cronenberg’s cinematic style, copycat musical scores, issues with temp track film scoring, the different music choices in Captain Fantastic, the struggle with sincerity in Captain Fantastic, the casting in both films, and the use of sex in film.

Sarah Watt, Max Tarrant, Jeremy Downing and William Chen discuss the films Ghostbusters (2016) and Ghostbusters (1984). The discussion touches on nostalgia, the strangeness of the original film, the baffling sexism the stars of the new film have been facing, the radicalisation of pop culture, Ghostbusters hate stepping into Gamer Gate territory, the new film’s meta quality of addressing the kick back towards the film, the logic of ghost busting, the influence of women collaborating in film, the over-analysis of female roles, who should feel entitled to ‘claim’ the film, and institutionalised sexism.

William Chen, Jeremy Downing and Max Tarrant discuss the films Independence Day (1996) and its sequel Independence Day: Resurgence (2016). We discuss nostalgia, fast food, over-the-top-ness, practical visual effects being more tangible that CGI, Roland Emmerich’s connection to Steven Spielberg, pacing, films both pre and post 9/11, international box office strategies, diversity and globalisation, and the future of blockbusters.

William Chen, Jeremy Downing, Max Tarrant and Sarah Watt discuss the films Tickled (2016) and Catfish (2010). Both films are documentaries and deal with online manipulation. The discussion touches on a number of topics, including: how film creates a sense of place; the universal struggle of bullying; how truth is created in documentary filmmaking; creating online personas with varying levels of resources; differences in class; tension in documentary; the desire to investigate the truth when you have been “duped”; “catfish” becoming a verb; what is morally okay to reveal in documentary filmmaking; how both films capture a sense of humanity; the various uses of a camera in a coffee cup; and the ethics of recording people without their knowledge.

William Chen, Jeremy Downing, Max Tarrant and Sarah Watt discuss the films Zootopia (2016) and The Lion King (1994). Both films were produced by Disney Animation Studios and deal with anthropomorphic characters. The discussion touches on the technology behind “world building” and animation, the history of Disney, story structure expectations, the trend of musical animation, the “milk toast” hero archetype, the urban landscape of modern animation cinema and the motivation of villains.

Jeremy Downing, Sarah Watt and Max Tarrant discuss the context around and connections between Lee Tamahori's films Mahana (2016) and Once Were Warriors (1994). The conversation touches on New Zealand cinema, depiction of Māori in film, strong female characters in film, the changing face of cinema and the careers of New Zealand directors.