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PODCAST

The Next Picture Show

Filmspotting Network

Looking at cinema"s present via its past. The Next Picture Show is a biweekly roundtable by the former editorial team of The Dissolve examining how classic films inspire and inform modern movies. Episodes take a deep dive into a classic film and its legacy in the first half, then compare and contrast that film with a modern successor in the second. Hosted and produced by Genevieve Koski, Keith Phipps, Tasha Robinson and Scott Tobias.

tv & film film history

All Episodes

79:16

#427: Teenage Dreams, Pt. 1 — Donnie Darko

The Next Picture Show ·

2024/05/28

The horror-inflected suburban setting of the new I SAW THE TV GLOW — not to mention writer-director Jane Schoenbrun’s own comments on their inspiration — put us in mind of Richard Kelly’s 2001 cult classic DONNIE DARKO, which also follows a teen protagonist struggling to maintain their grip on reality. We’re joined once again by writer, critic, and friend of the show Emily St. James to discuss how our relationships to both that teen protagonist and the movie named for him have shifted over the

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74:27

#426: Playing the Hits, Pt. 2 — The Fall Guy

The Next Picture Show ·

2024/05/21

Like the first film in this pairing, Richard Rush’s 1980 oddity THE STUNT MAN, David Leitch’s new THE FALL GUY utilizes the chaos of a film set as the cover for a crime, not to mention the inspiration for both romance and comedy. THE FALL GUY is a bit more straightforward in its crowd-pleasing intentions, though, to both its benefit and detriment, which we talk through in sharing our reactions to the new film. Then we bring THE STUNT MAN back in to compare its overlapping but distinct ideas about

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69:50

#425: Playing the Hits, Pt. 1 — The Stunt Man

The Next Picture Show ·

2024/05/14

While there are countless movies featuring the work of stunt performers, movies that center the experiences of those performers are much more rare, which is part of what motivated former stunt performer David Leitch to make the new THE FALL GUY. One of the standouts on that short list is Richard Rush’s 1980 genre oddity THE STUNT MAN, which uses the experience of its accidental-stuntie protagonist to blur the lines between post-Vietnam reality and moviemaking fantasy in fascinating, sometimes

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62:17

#424: Mixed Doubles, Pt. 2 — Challengers

The Next Picture Show ·

2024/05/07

Justin Kuritzkes, who wrote the screenplay for Luca Guadagnino’s new CHALLENGERS, cites Alfonso Cuarón's coming-of-age classic Y TU MAMÁ TAMBIÉN as a longtime favorite, so it’s unsurprising to see that film’s DNA in this one. CHALLENGERS is far from a remake, though, operating in a very different milieu with very different narrative priorities, both which we discuss along with our generally-positive-to-rapturous reactions to it. Then in Connections we press these two movies’ faces together and make

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63:07

#423: Mixed Doubles, Pt. 1 — Y Tu Mamá También

The Next Picture Show ·

2024/04/30

The new CHALLENGERS is a sports drama the same way Alfonso Cuarón’s Y TU MAMÁ TAMBIÉN is a road movie: secondarily, as both films tend to be associated first with their respective sexy love triangles, each with a woman at its center. That shared character dynamic results in a lot of connections between the two films, which we’ll cover in the next episode, but this week we’re focusing on all the other elements that distinguish Y TU MAMÁ TAMBIÉN, from the way its narration forces us to consider the

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64:07

#422: Alex Garland's Catastrophic Visions, Pt. 2 —...

The Next Picture Show ·

2024/04/23

The strain of cynicism that characterizes so much of Alex Garland’s filmography is at its most pronounced in his latest, CIVIL WAR. But paired with Garland’s 2002 debut as a screenwriter, Danny Boyle’s 28 DAYS LATER, an interesting counterpoint emerges in their shared acknowledgement, even hope, that humanity could perhaps find a path forward through catastrophe. So after spending some time wallowing in the muck of CIVIL WAR’s muddy politics and unsettling violence, we examine that mutual glimmer of

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54:34

#421: Alex Garland's Catastrophic Visions, Pt. 1 — 28...

The Next Picture Show ·

2024/04/16

The new CIVIL WAR is the latest in a line of speculative scenarios that Alex Garland has pondered over the course of his career as a novelist-turned-filmmaker, but its journey through a country transformed by violent catastrophe is most reminiscent of his first project as a screenwriter, Danny Boyle’s zombie-adjacent horror film 28 DAYS LATER. So before digging into Garland’s vision of an apocalyptic near-future United States, we’re revisiting his vision of the apocalyptic England of 2002 to

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77:14

#420: Final Cuts, Pt. 2 — Do Not Expect Too Much From...

The Next Picture Show ·

2024/04/09

What does a powerless gofer in 2020s Romania have in common with a powerful studio executive in 1990s Hollywood? Radu Jude’s new DO NOT EXPECT TO MUCH FROM THE END OF THE WORLD may concern a very different type of moviemaking than that in Robert Altman’s satire THE PLAYER, but it takes a similarly cynical — and humorous — stance on the compromises involved in commercialized art. That’s the main connection that inspired returning guest Katie Rife to suggest this pairing to us, but there’s much more

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67:55

#419: Final Cuts, Pt. 1 — The Player

The Next Picture Show ·

2024/04/02

Romanian director Radu Jude’s new DO NOT EXPECT TOO MUCH FROM THE END OF THE WORLD is set in Bucharest, not Hollywood, but its cynicism about the act of capturing something on film nonetheless put us in mind of Robert Altman’s 1992 industry satire THE PLAYER. We’re joined by returning guest Katie Rife to discuss these two very different yet complementary movies about moviemaking, beginning with THE PLAYER’s caustically meta take on the Hollywood grind during a transitional moment for studio

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60:48

#418: Crimes of Passion, Pt. 2 — Love Lies Bleeding

The Next Picture Show ·

2024/03/26

Like the Wachowskis’ BOUND before it, Rose Glass’ new lesbian crime thriller LOVE LIES BLEEDING is playing with the tropes of noir and pulp, but it is also very much a love story between women who are trapped by their pasts and see in each other a way out. This week we’re joined once again by writer and friend of the show Emily St. James to talk through the unique, memorable way in which LOVE LIES BLEEDING balances those elements and tones, before bringing BOUND back into the discussion to consider

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58:23

#417: Crimes of Passion, Pt. 1 — Bound

The Next Picture Show ·

2024/03/19

Rose Glass’ new lesbian crime thriller LOVE LIES BLEEDING takes the neo-noir in a bold and unexpected direction, one that the Wachowskis first pointed the genre toward in 1996 with BOUND. While the sisters’ stylish debut first premiered amid a wave of “sexy thrillers,” it exists today in a significantly different context. We get into that shift this week with the help of returning guest Emily St. James, to discuss how BOUND subverts, even transcends, viewer expectations of noir, gender roles, and

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51:42

#416: Ethan Coen Co-Capers, Pt. 2 — Drive-Away Dolls

The Next Picture Show ·

2024/03/12

Is box-office disappointment DRIVE-AWAY DOLLS destined for the sort of belated appreciation eventually received by the Coen Brothers’ sophomore feature, 1987’s RAISING ARIZONA? That’s up for debate in our discussion of Ethan Coen’s latest comedy collaboration, this time with his wife Tricia Cooke, a crime caper in theory that acts more like a sex romp in practice. Nonetheless, we consider how certain Coen crime signatures — ill-considered schemes executed by duos who are the opposite of pros, one of

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46:06

#415: Ethan Coen Co-Capers, Pt. 1 — Raising Arizona

The Next Picture Show ·

2024/03/05

While DRIVE-AWAY DOLLS is technically the first narrative feature for which Ethan Coen has taken a solo directing credit, in practice the new comedy is as much a collaboration, here with his wife and co-screenwriter Tricia Cooke, as the films he made with brother Joel before their current hiatus. So in honor of Coen’s commitment to collaborative comedy, we’re revisiting 1987’s RAISING ARIZONA, the film that established the brothers’ comedic voice following their neo-noir debut BLOOD SIMPLE, and

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72:35

#414: Beach Bummers, Pt. 2 — How to Have Sex

The Next Picture Show ·

2024/02/27

Molly Manning Walker’s debut feature HOW TO HAVE SEX takes place more than six decades after 1960’s WHERE THE BOYS ARE, but as our discussion of the two films illuminates, frustratingly little has changed in that time when it comes to the blurred lines around consent, particularly in situations involving teenagers, alcohol, and social pressure around sex. We’re joined once again by Marya E. Gates to discuss HOW TO HAVE SEX’s deft navigation of that context before bringing WHERE THE BOYS ARE back in

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65:07

#413: Beach Bummers, Pt. 1 — Where the Boys Are (1960)

The Next Picture Show ·

2024/02/20

The new British coming-of-age film HOW TO HAVE SEX follows a group of girlfriends on a post-exam holiday into an environment where peer pressure, alcohol, and coercion can erode the boundaries of consent. But these problems aren’t unique to the film’s contemporary setting, as we’ll see in this week’s companion film, the seemingly frivolous 1960 spring break romp WHERE THE BOYS ARE. Special guest Marya Gates brings us some historical context about the film’s place in the continuum of “beach party”

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68:49

#412: Road Trip Trios, Pt. 1 — The Holdovers

The Next Picture Show ·

2024/02/13

A road trip through a chilly New England winter represents only one section of Alexander Payne’s THE HOLDOVERS, but the film’s overlap with Hal Ashby’s THE LAST DETAIL goes beyond that narrative echo. As in Ashby’s 1973 film, one of the examples of 1970s cinema Payne drew on for the look and feel of THE HOLDOVERS, a central triumvirate of two adults and their younger charge have a funny but imperfect bonding experience that avoids simplistic found-family conclusions. We talk through the ways THE

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62:06

#411: Road Trip Trios, Pt. 1 — The Last Detail

The Next Picture Show ·

2024/02/06

Alexander Payne has cited Hal Ashby’s THE LAST DETAIL as one of several 1970s movies informing the look and feel of THE HOLDOVERS, but there’s narrative resonance there as well, particularly in the films’ central threesomes: two disaffected older adults and their troubled teenage charge, each navigating a chilly East Coast winter, a road trip, and a series of disappointments and discoveries. We begin this week by focusing on THE LAST DETAIL’s trio of military-prison-bound sailors: what defines and

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64:06

#410: Hunting Games, Pt. 2 — Self Reliance

The Next Picture Show ·

2024/01/30

We return to the arena of comedic deathsport via Jake Johnson’s new debut as a writer-director, SELF RELIANCE. Despite a high-concept premise, it’s a film that seems most comfortable in the realm of hangout-slash-romantic comedy, but is that a satisfying approach when dealing with an ostensible story of life and death? That’s up for debate in our discussion of the film, which extends into Connections when we bring Elio Petri’s 1965 cult oddity THE 10TH VICTIM back into the conversation to compare

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59:20

#409: Hunting Games, Pt. 1 — The 10th Victim

The Next Picture Show ·

2024/01/23

Jake Johnson’s new directorial debut SELF RELIANCE draws from a deep well of “Most Dangerous Game” storytelling, but its interest in murder-for-sport as televised entertainment combined with its rom-com underpinnings put us most in mind of 1965 cult oddity THE 10TH VICTIM. Elio Petri’s film functions as a piece of pop art first, a satire second, and a romance a distant third, and this week we’re attempting to parse it on all three levels, when we’re not getting sidetracked by the many incidental

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63:28

#408: Succession, Pt. 2 — The Iron Claw

The Next Picture Show ·

2024/01/16

THE IRON CLAW is about a wrestling dynasty, not an organized-crime one, but Sean Durkin’s new biopic makes the family business seem just as dangerous as the one at the heart of Francis Ford Coppola’s THE GODFATHER. We’re joined once again by guest and wrestling aficionado Siddhant Adlakha to talk through THE IRON CLAW’s approach to said family business and the trauma it inflicts on both its characters and viewers. Then we bring THE GODFATHER back into the conversation to compare how these two family

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433 results

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