Read the transcript below:
Andrew Sweatman 0:08
Hello, hello and welcome to art house garage, the snob free film Podcast, where we make art house indie classic and foreign cinema accessible to the masses. I’m your host, Andrew Swenson, and the Oscars are just a few weeks away. So today on the show, we’re bringing you an Oscars preview, running down each of the Best Picture nominees. Plus a discussion with Arkansas filmmaker Andrew tamarillo. About Best Picture nominee menari don’t go anywhere.
Unknown Speaker 0:41
A Martini shaken not stuff. They call me mister tips.
Unknown Speaker 0:51
You can handle the truth. Always do the right thing to do. I’m ready for my class. We’re gonna need a bigger book.
Andrew Sweatman 1:09
The Oscars live April 25. on ABC. The Oscars are coming up on April 25, marking what is essentially the end of the 2020 movie a year. And what a strange year it was here in early 2021. Vaccines are rolling out movie theaters are reopening and the world is beginning to come to some sort of new normal, despite what an unusual year 2020 was. We did get some great films. And the Oscar nominations reflect that. For this Oscars preview, I’ll run through each of the Best Picture nominees and give my brief thoughts on each. So let’s get into it. Going alphabetically the first Best Picture nominee is the Father. This is a film about an aging father and his daughter dealing with the effects of his dementia. I gave a full review back on episode 51 of the podcast. But what’s unique about this film is that it puts us in the headspace of the lead character Anthony, played by Anthony Hopkins. So we experience the world just as Anthony does. It’s a very confusing world, thanks to his mental condition. Hopkins does incredible work here, as does Olivia Coleman as his daughter and both are nominated for acting Oscars as well. The moment I keep thinking about from this film comes when Anne is introducing her father to a new in home caretaker. He’s not taking it well. He’s acting out he’s being very rude to everyone involved. Olivia Coleman’s performance in this scene is layered and heartbreaking as she is apologizing to their guests for her father’s behavior. It’s an Oscar worthy performance for sure. Besides Best Picture Best Lead Actor and Best Supporting Actress. The father is nominated for Best Adapted Screenplay, best editing and Best Production Design. The father is now playing in theaters and on VOD. Next up Judas and the black Messiah. This one’s based on the true story of Fred Hampton, who was chairman of the Black Panther Party in Chicago in the late 60s. He’s played here in a magnificent performance by Daniel Colonia, the FBI under director J. Edgar Hoover wanted to silence Fred Hampton and infiltrated the Black Panthers using an undercover agent named Bill O’Neil played by the Keith Stanfield, both Columbia and Stanfield are doing remarkable work here. And both are nominated for Best Supporting Actor despite being set 50 years ago. This story has an incredible resonance today because of the divided nature of race relations both in and now, a good deal of time is spent hearing ideals and arguments from Chairman Fred and they seem to apply almost directly to 2021. America, that socially charged message is tied up in what’s one of the best double agent thrillers that I’ve seen since the departed, making this a really thoroughly memorable watch. The ending of this movie really took my breath away. Judas in the black Messiah is also nominated for Best Original Song, Best Original Screenplay and Best Cinematography. You can catch Judas in the black Messiah in theaters now or you can rent on demand at home.
The Academy loves movies about movies, and this year’s entry into that sub genre is manque. Gary Oldman plays Herman Mankiewicz, the renowned screenwriter of Citizen Kane, David Fincher directed this film, which looks at the writing process of Citizen Kane, and it looks at Mankiewicz is complex relationships with just about everyone in Hollywood. There’s some great recreations of classic Hollywood in this movie, including the presence of Marion Davies, who is played wonderfully by Amanda Seifried. She’s probably the best part of this film. And this film is also probably one of the least accessible of this award season. critics were somewhat divided on it as well, though I quite liked it with a few issues. I hashed all that out back on podcast episodes. Rance Collins Join me for that episode, which was fascinating because he actually personally knows a member of the Mankiewicz family. Mike is the most nominated this year with 10 nominations. Scott Best Picture Best Lead Actor for Gary Oldman, Best Supporting Actress for Amanda Seifried. Best Director for David Fincher as well as best sound, Best Production Design, original score, makeup and hairstyling costume design and cinematography. And make is now streaming on Netflix. Next up minority minority tells the story of a Korean American family in the 1980s who moves to Arkansas to start a farm. The young son David is the protagonist here and the film is based on the actual experiences of Writer Director Lee Isaac Chon. A family goes through challenges relationally and financially, with much of the film focusing on the father character Jacob, played by Steven yeun. In the second half of this podcast episode, I’m going to go in depth about this film with my guest, Andrew Amarillo. So I’ll save the rest for that. For now, I’ll just say this film is very well made and very moving. And I’m thrilled that it’s getting so much recognition this year. Apart from Best Picture menara is nominated for Best Lead Actor for Steven Ewan. Best Supporting Actress for young Yuan, who gives a wonderful performance as David’s grandmother, Best Director for Lee as Chung Best Original Screenplay, and Best Original Score. menorah can be rented on demand and it’s still playing in some theaters. The next nominee is the wonderful Nomad land, directed by Chloe Zhao and starring Francis McDormand. For a variety of reasons this film is the favorite to win, I will have no complaints if that happens. film follows Fern whose life has recently changed in big ways outside of her control. Not only has she lost her husband of many years, but the mining town where they lived has been abandoned after economic collapse. She finds herself alone living in her van and without a job and unsure what to do next. This is when she encounters the nomads, Fern falls in with a group of people who live in their vehicles and spend their lives traveling and working odd jobs. Director Chloe Zhao incorporates a number of real life nomads as characters in the film, and takes time to understand why they would choose this life. Over the course of the film, Fern Grows friendships experiences much of the natural beauty of the US and struggles with whether she should try and settle down in a more traditional way. The film is remarkable. It’s imbued with a sense of loneliness in some scenes that is almost overwhelming, but also joy in other scenes that I haven’t felt often in a movie. So for all its strengths for me Nomad land is fantastic for just how emotionally complex it is as a film. Back in Episode 41 of this podcast, I talked in depth about Nomad land with filmmaker Marty Lang, and he brought some wonderful insights about the film, so check that out for more and you can stream Nomad land on Hulu or rent on demand. Nomad land is nominated for Best Picture Best Lead Actress for Francis McDormand, Best Director Best Adapted Screenplay, Best Film Editing and Best Cinematography.
Now let’s talk about promising young woman. What a potent film this is. Part revenge thriller, part social commentary, part soul crushing drama, promising young woman stars Carey Mulligan as Cassandra, a traumatic event in her past has inspired Cassandra to go on a revenge spree. She’s targeting quote unquote nice guys at bars who prey sexually on women under the guise of taking care of them. That setup is just where the story begins, though. And over time, we begin to understand that whatever happened to Cassandra has left her permanently scarred and unable to move forward in her life. Over the course of the film, Cassandra tries to trust again, while we learn piece by piece, just what has happened in her past, all while she continues, upping the ante with her brilliantly conceived revenge plots. All of this leads to an absolutely unforgettable Final Act, which really shows off the incredible screenwriting talent of Writer Director Emerald Fennell. Another memorable aspect here is the film’s style. It’s got vibrant colors and bold music choices that give it this kind of unique blend of sickly sweet and foreboding Lee sinister. It’s like a candy coated Kill Bill, but with an important social message. Apart from Best Picture promising young woman is nominated for Best Lead Actress for Carey Mulligan, Best Director Best Original Screenplay and Best Film Editing, you can rent promising young woman on demand now. Next up is sound of metal. This my favorite film of 2020 stars Riz Ahmed as a metal drummer who suddenly loses his ability to hear I just covered this film in depth a couple weeks ago in Episode 51, with the help of filmmaker and musician Johnny Brennan, so I’ll be brief here but I love this film for the way it starts with a very specific premise and goes in unexpected directions. We end up learning a great deal about the Deaf community about sign language and about the controversial treatments around hearing loss. And ultimately the film is about the importance of holistic well being and self acceptance, especially in the face of enormous devastating loss. This movie kept me guessing as to what in the world would happen next. And then it absolutely knocked me out with its ending. I strongly encourage you to watch sound of metal available now on amazon prime video. The film also received Oscar nominations for Best Lead Actor for Riz Ahmed, who is magnetic in this movie, Best Supporting Actor for Paul racy best sound, Best Original Screenplay and Best Film Editing. And last up among Best Picture nominees is the trial of the Chicago seven. This is a courtroom drama from Writer Director Aaron Sorkin. It follows a trial that took place in Chicago in the late 60s, after the protest at the 1968 Democratic National Convention. At these protests, many different groups of protesters came together. And so the Chicago seven which is this the the seven defendants in this case, ranged from hippies to college kids to middle aged dads. The diversity of opinions of these characters creates really fertile ground for Aaron Sorkin to craft his signature witty dialogue full of ideas, just as he’s made his whole career doing and the cast is stacked with the film stars Eddie Redmayne, Sasha brown Cohen, Mark Rylance, Joseph Gordon Levitt, and many more great actors. Of all the Best Picture nominees This is actually the one I’m the most critical of all in all, I like this film, but I feel like I have to take it with an Aaron Sorkin sized grain of salt. I think Sorkin is a brilliant writer of dialogue, and very deserving of his many writing awards. But he can tend to be a bit syrupy, a bit idealistic in his writing. There are moments here that go for emotional, that really didn’t work for me. And there were situations that didn’t feel super believable, even though this is based on actual events. Also, I generally really like Sacha Baron Cohen, but I didn’t really like him in this. And I think that may be the result of the script, and maybe just podcasting. Even with those complaints. This is one of the better things I saw in 2020. And I’ll still recommend it. I think if you’re a big Aaron Sorkin fan, you will love this. And I do consider myself an Aaron Sorkin fan, but I’d rewatch say any episode of The West Wing before I rewatch this trial. The Chicago seven is also nominated for Best Supporting Actor for Sasha brown Cohen, Best Original Screenplay, Best Film Editing, Best Cinematography and Best Original Song. And you can watch it right now on Netflix. And that’s all the best picture nominated films this year. If you want to hear my thoughts on any of the other categories, I did a live video on Instagram a few weeks back and that is available on HGTV link in the show notes. Find the whole list of nominations on oscars.org and tune in to the Oscars on Sunday, April 25. on ABC, I’m also planning to record an Oscars reaction special with Rance Collins, who is an expert in all things Oscars, and is basically a walking encyclopedia of movie history. The plan is for that to come out the day after the Oscars on Monday, April 26.
Unknown Speaker 13:13
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Unknown Speaker 13:32
the Oscar goes to.
Andrew Sweatman 13:35
And now for the main event. Today we’re talking about menari the best picture nominated film about a Korean American family that starts a farm in 1980s, Arkansas. This is an intensely personal story from Writer Director Lee Isaac Chung, who based the screenplay on his own childhood. I’ll break down the plot in more detail with today’s guest. And my guest today is my friend and filmmaker Andrew tamarillo. Andrew has a great mind for cinema. And it’s always a pleasure to talk to you. He was the guest for a whole season of the podcast back when we looked at the art house starter pack. In that season, we looked at some of the great art house films like Tokyo’s story, stalker, the Tree of Life vagabond, and Andrew was there every step of the way to deep dive into those with me. I’m so happy to have him back on the show in Arkansas filmmaker to discuss an Arkansas film. Welcome to the podcast, Andrew tamarillo. How are you today?
Andrew Camarillo 14:29
I’m doing well. Thanks for having me on.
Andrew Sweatman 14:31
Yeah, it’s been a while I guess it’s probably since we talked about arthouse movies, a couple seasons back but I knew I wanted you back soon. So glad you’re here. And I’m excited to talk about menari with you. And it was one that I think when I was looking at 2020 movies, of course menara was originally going to come out sometime last year and was delayed and delayed. And this is this was always this was going to be one year on two Talk about being an arkansan, and just seemed like a good fit. So I’m excited to talk with you about it and to have you back. But before we get into that, what have you been watching lately? Anything else? Interesting?
Andrew Camarillo 15:09
Yes. So I’ve watched a few movies recently, I watched a film called Black Girl, which is a 1966 film from Senegal by Huisman sendang. And it was really incredible. I’ve never seen any of his work. But it’s sort of like a post colonial film about a woman who is hired on as a first like a nanny or like someone to take care of the children from this French couple. And when she moves to move in with them and take care of the children, it’s actually they’ve almost hired her on as like, doodle housekeeper cleaner. But it sort of explores her experience. It’s it’s I think it’s a great kind of dream dramatic and kind of almost tragic, yet the tragic work, but it was really good. So I enjoyed that. And I also watch Mooney rank rainbow, which is like the filmmaker Lee as a trend. Directed minority. It’s his first feature, and I thought it was excellent. It’s about a friendship between two Rwandan boys, one Hutu and Tutsi and sort of their relationship after the genocide in Rwanda. So yeah, those were great. And also the I watched this for the first time. And it was really fun. Ghost dog by Jim Jarmusch. I don’t know to watch that. Yeah. Yeah. So that was really great. And then the last two things great for danger. 1946 like mystery thriller with my mom. It was really fun. So it’s Alister Sim. And then the 1967 animated Jungle Book. That’s one of my favorite animated films. Yeah.
Andrew Sweatman 16:52
What’s that a long time? Probably since I was a kid.
Andrew Camarillo 16:55
That was really good. You should see it.
Andrew Sweatman 16:59
I wanted to ask is the other Chunky Monkey uranga? Bow? Is that streaming anywhere? Did you rent it? or something?
Andrew Camarillo 17:05
Yeah, it’s fun to be or to die. Yeah, it’s, it’s, it’s free, though. I think there are only a few times there were like advertisements for like a minute. But I yeah, it didn’t cost anything. So it was nice to see. And actually, I think Roger, he recalled a masterpiece when he was alive. So yeah, I thought it was really good. I was it’s actually made the it was made when he was in Rwanda, with a group of teenagers sort of who he was teaching in a film class there while his wife was doing volunteer work in Rwanda. And they had a big part he says, and creating the story and explained to him actually, the culture there, of course, in not being a native there, or originating from there. So they had a big part in actually developing the story. And also, just like the realism in the film, but I thought it was excellent, so I highly recommend it.
Andrew Sweatman 18:00
That’s great. Yeah, I’m trying to make time for that. That sounds really great. Yeah, let’s see, trying to think what else I’ve been watching lately, I watched several things. Let’s see, I a few weeks back had told my wife that I need just a morning off, I’m stay at home dad right now, which I’m loving. But you know, I need a break here, here and there. I said, Can I have like a half day and just go in the office and watch movies. And that’s what I did. So I ended up watching. I just seen all of small acts, the Steve McQueen series, which I think is great. And there’s a few of his films that I hadn’t ever watched before. So I went back and watched hunger, and then also shame, hunger I liked better out of those two. Both are really really good. I think hunger was really into I mean, both of them are really intense, but hunger especially Have you seen hunger before? I have. It is it’s very bleak and very rough. It’s about a hunger strike and an Irish prison. It’s kind of a you know, here’s a piece of history that should be more widely known kind of thing like this was a human rights violations kind of thing. And, and but it’s just incredibly well made the he’s got a great eye for cinematography, and he’s really become one of my favorite, I think, kind of living directors. So I’ll recommend hunger, but it’s not not for the faint of heart. It was heavy and then shame is really good, too. It’s Michael Michael Fassbender is in both of those films and shame is but he and his sister played by Carey Mulligan and it’s more modern day basically going through a lot of issues. Namely, he is a sex addict. And it paints that and obviously the the heaviness that it deserves and it yeah it’s it’s a it’s a heavy movie two but I do think out of the two are proper for hunger just a little bit, but but both What year was hunger made hunger was 2008 Okay, and just shame was 2011 and then Boom, after that it was 12 years of slave whenever that year was 2016, or something like that. And then widows which I think is a good movie, too, it’s more of a blockbuster style movie. It’s the heist movie, but it’s it’s solid. I think it’s really good too. So watch that some Steve McQueen stuff. And then I had never watched the passion of Joan of Arc, the the 1928. Film
Andrew Camarillo 20:24
Andrew Sweatman 20:25
Yes, that’s incredible. Yeah. And kind of learned about how there’s different cuts. And at that time period, you could run film at different speeds. So you can watch it in different different speeds. And it kind of gives a different vibes different soundtracks have been created for it. So yeah, really interesting, really, really moving. And we have visually groundbreaking, which I mean, if anyone’s heard of that movie, they know that that’s the kind of the thing about is that these close ups of her face, and other characters too, but but Joan, especially but but yeah, this is a really interesting look at the kind of religious dogma of the time, and how, how greatly affected people. So that was interesting. And then I wanted to mention, I also the last time you were on, I think we were talking about the tree of life. And since since that time, I watched the Extended Cut, which is on the criterion disc. And it was good. I really like it. It’s it’s lives over three hours, it’s a little over three hours. So it took a couple sittings. But it adds a lot of interesting context. extended family, actually, we get a lot of Jessica Justine’s mother and brother come to visit at certain times. And then we learn a little bit more about Brad Pitt’s father. So the kids grandparents, you know, I thought there might be more to the opening sequence with all the, you know, creation of the universe and stuff. But that’s pretty much the same, I think. And most of the things were just some more vignettes kind of with the family. There’s a whole section where the main character is sent off to boarding school and that none of that was there. So it really does add a lot of interesting stuff. I think it didn’t have a hugely different effect than than the the theatrical cut. So if time was a consideration, I would say just watch the regular one. But if you’re a big fan of his movie, like I am, it’s definitely worth watching. So yeah, that’s pretty of life extending, which I think is only on the criterion. disk, but yeah, cool. A few other things, but I’ll, I’ll wrap it up there. Oh, we’ll mention one more. Actually. This is kind of a fun one. I watched with the kids Kiki’s Delivery Service. It’s one of the Studio Ghibli films. And I still haven’t seen I’ve seen probably five or six of those out of all the ones they’ve made. But this one was really sweet and really cute. And I really liked a lot in my, my kids seem to enjoy it as well. But it tells a story of a witch a friendly witch who she’s young and she can ride her broom and everything. She’s still kind of learning she’s not great at it. But she decides to use this to be a delivery person. So she deliver stuff for this bakery and, and for other people too. Anyway, it’s just a sweet, cute little movie that we watched the American dub because as with my kids, and you know, I typically would prefer doing subtitles and listen to the Japanese but it was actually a solid dub. It has Phil Hartman as one of the characters he’s the cat. And he so it’s just funny hearing his voice come out of this like, tiny cute little cat and he’s saying these kind of droll things. Yeah. It’s a it’s a really a fun experience. And yeah, all the Studio Ghibli stuff is on HBO streaming now so that’s okay. It’s easy to do. So yeah. I’ve tried to watch a couple of those in the last little bit but anyway, that that can be enough of of what I’ve been watching but yeah, it’s been some good stuff here lately. All right. Well, let’s talk about menari
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Unknown Speaker 23:59
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Unknown Speaker 24:19
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Unknown Speaker 24:29
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Unknown Speaker 25:23
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Unknown Speaker 25:42
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Andrew Sweatman 25:50
talk about menari. So this is a film directed by Lee Isaac Chung star Steven Yuen. It’s about a family Korean family that comes to Arkansas. The Korean American family comes to Arkansas to start a farm. And they they’ve moved from California, but they’re kind of starting a new chapter a new life a little bit. And you Steven, your character’s name is Jacob, his wife is Monica. She’s not so thrilled about the new situation. They have two kids, David and and, and David is sort of the main character here that the at least if we kind of see things through his perspective, he’s played by Allen Kim and he sort of a stand in for the director because the director of the ASIC Chung has talked about this very much as based on his childhood experiences. And so they’re living in Arkansas and kind of a remote area, it’s starting a farm and kind of going through the struggles that come with that. And also kind of experiencing the culture of Arkansas in it, which is really interesting, as an arkansan to see. But it’s just really, it’s it’s pretty low key movie, but it’s beautifully made. It’s an A 24 film, which a 24 has sort of a cult following these days. And this, I think, you know, will not disappoint for anyone who’s a big a 24 fan. But yeah, that’s that’s kind of the basic setup. And it kind of goes through a period of life where they’re, they’re beginning this farm and the husband and wife, basically, their relationship is struggling to some degree. And that’s kind of a big thrust of the story, as well. It’s just kind of coming of age and Father, Son relationship stuff is all happening all at once. And then also, there’s a kind of a wrinkle comes when their grandmother moves in. And she’s an interesting character, we’ll talk about her but David, the main character, the young boy doesn’t like her for a while, and it’s in him to have a contentious relationship. And that’s, that’s an interesting part of the movie as well. But yeah, that’s that’s kind of the the basic set of this just came out. And it was 2020 film, but it was not released until a few weeks back here in 2021. But I think it is eligible for 2020 Oscars and all of that. But yeah, that’s, that’s menari I was gonna ask you, Andrew, kind of what did you think of this film, generally? And then I wanted to being an Arkansas native, did that affect your viewing of this film at all? And how, overall the
Andrew Camarillo 28:23
I thought it was excellent. I really enjoyed the film. And yes, like, like living in Arkansas, being from here, and watching the film has been. I was interesting to see the depiction from the point of view of a director who grew up here but also is a Korean American and his family, their experience with moving to, I guess, rural America and navigating that experience. I did I feel I think I may have had some preconceptions that potentially the depiction of rural, Caucasian and Americans were Arkansans, I mean, who are going to be depicted in a certain way but actually I felt like we as chum engaged third his the family engaged with the Arkansans, in a way that felt like it wasn’t as it wasn’t a character of an arkansan Caucasian garganta. And it was it was different and I thought in interviews with him after, after the film, Jeff Nichols,
Andrew Sweatman 29:37
I think did like Yeah, yes, thank you and watch the Arkansas cinema society, did a screening, visual screening and then had a conversation with Jeff Nichols. Yeah, I was gonna mention something from that team go head to head
Andrew Camarillo 29:49
it sort of Lee is spoke to, he experienced some racism, of course, but also he felt like he was part of the town and Lincoln where he grew up. So I I think there is a bit of like, empathy and sort of like compassion with the engagement with like, you know, native Arkansans at the time there. So I think the depiction wasn’t what I exactly thought and I felt like the film was maybe better because of it because it seemed as though Lee felt a part of being arkansan himself when he was growing up. I think he moved there when he was around two, maybe two or three. So yeah, yeah, it’s a different experience than like, Okay, look at a guy I expected it to be a bit more harsh, and it’s better not harsh, but actually, maybe somebody say realistic? I’m not sure. But it just it didn’t. It didn’t have a tone that was aggressive or, like, resentful. So
Andrew Sweatman 30:43
yeah, no, I agree completely yet, after, after that screening, where Jeff Nichols was telling him, Jeff Nichols said, you know, basically, you know, I kept expecting something to happen along those lines, some some big racial problem happening. But it doesn’t really if there’s, there’s a few, like, there’s a moment where another boy at church says something, why your eyes like that, or something, you know,
Andrew Camarillo 31:06
Why is your face flag?
Andrew Sweatman 31:08
Yeah, something like that. And then he says, I don’t know. And then they just kind of go on and other friends, you know, that that’s really as as extreme as that kind of stuff gets. And and yeah, I like that, too. It’s, you know, I think could could be good either way. Right. But it reminds me of kind of looking at, like, films made by African Americans, there’s this tendency that the things that went awards tend to be the ones about, you know, slavery, or like the one that racial struggles and that kind of thing. And there’s, there’s a growing movement to say, Let’s celebrate black joy, let’s celebrate things that are not the problems. You know, it seems like we can only win awards if we’re making these, these heavy movies. But so I thought that’s in a similar way, you know, you might go into this expecting an Asian family in Arkansas, that’s not going to be good. But that’s not at all what happens here. And it’s actually just a really lovely movie. And so I like that, too. I think that’s interesting choice to set it up that way. Yeah, I think to the being an arkansan it watching this as I always enjoyed that kind of thing. So you know, I know these locales, this feels very familiar, even though it was actually filmed outside of Tulsa. I saw in an interview, it definitely feels like they’re, they’re referencing towns and stuff. They’re like, Yeah, I know exactly where that is, I can get there in a couple of hours if I wanted to, that’s fine. Honestly, it made me kind of look more kindly on Arkansas a little bit. Like, there can be a tendency to want to distance yourself from where you grew up or something. And think about the problems that were there in your hometown. But I think this This movie has a lot of compassion for free after the Arkansans. And it there are definitely things that everything about scenes where like they’re in the church, and you can just feel how fish out of water they feel in that setting. And, and how odd so there’s this man that helps them on the farm. And he’s just an odd character, but yet feels like someone you’d really meet. And he’s based on real person. We, as Chuck said, in that interview, as well. So there’s there is such a difference there. But it’s not a problem, right. And I think that’s, that’s a cool way to to make this. But then things to like, there’s a scene where there, there’s a tornado coming and they live in a trailer and you think he says, if that tornado comes, this house will be blown away like something like that. And there’s definitely familiarity in wanting to you know, as a kid having to hide in the hallway and don’t need to put a mattress over us that kind of stuff. That just living in Tornado Alley, there’s a kind of a Yossi that depicted too too often in films like that. That’s part of living in Arkansas. That felt familiar as well.
Andrew Camarillo 33:59
Yeah, definitely. And for a family who’s not from like this region to move in and then I think he said within like the first week or a few days like they experienced a tornado warning or watcher of some kind and the idea that oh, this like Cyclone in the air could like destroy kill us. It’s very, like alarming for a child. And that would be like, would resonate in your memory? I think so. Yeah.
Andrew Sweatman 34:23
I remember thinking that when I was a kid, when I learned how prevalent tornadoes are like, why does anyone live here? Like, well, in California, they have earthquakes and like, you can’t get away from those things entirely. Anyway, I thought that was that was a nice touch to bring that in. But then I thought to the Well, is it we’ll talk about the father son stuff in a minute. Actually, that’s where I was gonna go. So yeah, let’s I guess let’s get into that. A big part of this film is kind of those familial relationships. Kind of Father, Son, and then the Son and the grandmother. And then the father and mother their marriage is a big part, but I want to see Did you find any of these relationships, particularly moving in Anything you want to say about this?
Andrew Camarillo 35:02
Well, I think the grandmothers role in the film, or with, with the dynamics with the grandchildren and her daughter, and her son in law was really interesting. And I thought it was beautifully acted as well. The David, the son, David, he is very uncomfortable with his grandmother coming, because it seems as though his parents are fighting about her in some way. Like he links his grandmother with tension between his mom and dad. And when she arrives, she doesn’t appear like what he thinks of as a grandma that like bakes cookies. And it’s like very kind. She, she’s sort of very invigorated and intense. And but she’s very, she’s nice, but she has this personality. That’s not what I guess David’s expecting from what he thinks of his Yes, grandmother. But she brings a lot of energy and fun and liveliness to the family. And also, she encourages David and I don’t think we’ve mentioned yet, but David has a heart murmur. And I think that in some way inhibits him from like, it’s not like I think a huge part of the film, but it is part of the film where he is, he feels limited. He gets a sense that from his mother, and that he needs to be careful. He doesn’t need to over exert himself, but his grandmother sort of encourages him to just live his life and not to be as scared or as worried. And I think that’s great. I really like her character in the film.
Andrew Sweatman 36:39
Yeah, it’s mom and dad are constantly saying, don’t run, David, don’t run, you can’t run because of your heart. And then she shows up and says, like, You’re stronger than you think you can do these things. And right, that’s a really, really sweet thing to Yeah, like the grandmother alive. And there’s a scene where this is in the trailers and stuff. But But David says, You’re not a real Grandma, grandma doesn’t swear or wear men’s underwear. Does they bake cookies and like, so just this idea of what a grandma is it the culture that he’s living in, you know, that she doesn’t fit that mold. But then there’s another nice touch when she first shows up, and kind of, I thought this was a good way to show his discomfort. He says grandma smells like Korea, and he means that in a negative way. So not only is that, like a visceral kind of, you know, sense tied with memory, like you can understand what he means there. And it’s I thought that was a nice way to tie it in, but also adds this interesting layer of being a Korean American and like, smelling like Korea is such a, you can see that it’s a very offensive thing someone could say, you know, again, here he is saying about his grandmother. And so I thought it was an interesting way to, to display that. But then also there’s, there’s like kind of a interesting religious theme throughout this, it’s, it’s not a huge part of the movie, but there is a they go to church, and they’re the only non white people at church. And then his mother, David’s mother, a few times has moments where she’s telling you Oh, if you pray for this, if you pray for that, then then maybe your heart will be healed or, or different things if you’re upset if you pray about this. And the grandma really pushes back on that in a few moments. And says, like, you don’t have to do that, like, that’s not gonna make a difference. And I don’t know if it was an interesting, like, I think I’ve always interested in when religious themes are kind of pulling a child this way in that, but it’s another way that he really, I think, begins to feel close to his grandmother. And I like that aspect of the film as well.
Andrew Camarillo 38:44
Yes, yeah. I think that did you want to talk a little bit more about the religious elements now or later? Okay. Yeah, I, I agree. His grandmother seemed to comfort him when he was like worrying about potentially going to hell, and she’s like, why are you concerned about that’s like, you shouldn’t be thinking about those things now. And she, she was really like, comforting to him and supportive of him when his mother means that we means well, of course, but I don’t think she’s as aware that it’s causing him some anxiety and stress. I also thought his father’s friendship with the the kind of farmhand guy.
Andrew Sweatman 39:24
Yeah. Paul, Paul Paul. Yeah.
Andrew Camarillo 39:27
So his relationship with him is interesting because the father seems of like all the family maybe to be a bit maybe less religious in some way or less. I don’t know involved in that. But his many works with the the arkansan he works with seems to be sort of, I’m not sure how to describe but I guess kind of he like he is very kind and open to friendship with Jacob but also he is a religious like the evangelical fundamentalist Some kind I guess
Andrew Sweatman 40:00
you could call him a zealot or so I’m not sure. So yeah, he’s he’s he has some interesting ideas and practices.
Andrew Camarillo 40:07
Andrew Sweatman 40:09
Maybe a normal churchgoer? I don’t know.
Andrew Camarillo 40:11
That’s true. Maybe maybe mysticism or something. Yeah, something right. So I just was going to say that, it seems as though there is still compassion and like connection between these people from very different backgrounds, and very different experiences. And initially, when he meets this man, the father, he, he’s handed some Korean money, like more money, I guess, like maybe before the war, the Korean War. And I think this was like moving to him that the man just like, gives him this or gives it to his son, David, and just says, Hey, I know when I met you, we were going to be friends, basically. And they do have a very considerate relationship and friendship. In the eyes externally, like, as you said earlier, it’s based off of this character is based off of someone who is friends with his father. And despite their differences, they seem to be wonderful friends and supportive of each other. And I thought that was a really interesting, dynamic as well. It really to religions. And at one point, you see the character walking with a cross, like, yeah, dragging it down the road. And the family drives by and they asked, hey, do you need a ride? And the and they’re kind of like, what is going on here? We’re very confused. But at a different point, I think we you see a church van with like, kids in it, and they go by and they, I think they say one of the arkansan kids, Caucasian organza kid says something like derogatory about that man, and just kind of like, treats him as like, he’s just, you know, trash and garbage or something where the Korean family is actually really kind and compassionate to him, even though they probably understand that he may have some potentially even like, you know, psychological difficulties or problems. And I thought that was really telling that the the immigrants are the are the ones actually like reaching out to those in the society that may be the most, you know, yeah.
Andrew Sweatman 42:19
But yeah, being on the outskirts kind of fosters that empathy in a way, right. Yeah. I think it’ll be easy for a movie about with a character like Paul to, to make him more of a joke or something like that. But I really doesn’t like it depicts exactly what he’s doing. But yeah, he’s he, and he’s even a source of humor in a few moments, but not in a way that that is at his expense. Really? Yeah. I thought that was really a nice, empathetic way to include that. Yeah, that’s a good point. I really like the father son relationship to me, we can talk about that a little bit. But there’s a lot of great moments there were so David, I mean, the film opens on David’s face. And so it kind of from the beginning, you know, like this is gonna be his perspective. And they’re pulling the moving van to the new house. And there’s a lot of moments where like, Dad is out, farming and teaching his son different things, you don’t pay for anything, you can’t get for free, and they’re trying to find water in the ground instead of paying someone to build a well for them. And just kind of kind of trying to still lessons there. And it’s a sweet relationship. And yeah, as complicated of a relationship, as David probably ends up having with his father, especially as he’s kind of as the mother and father began to have more tension. And the kids are kind of, obviously having some issues around that. I think the the father son relationship is strong. There’s even I like that they brought this into that, like David is supporting his father in some ways to not just the other way around. There’s a part where he’s kind of asking the son for affirmation about moving and he says, he’s kind of fishing. And he’s like, well, California have these problems, right? When we live there, and it wasn’t great. And he’s just like, yeah, sure, dad, it wasn’t great. And you can tell he kind of feels better about it. He’s questioning the decision to some degree, and start to feel better about it. And then even says, tell your mom that you like it here,
Andrew Camarillo 44:18
you know, right, using his son in some way to like, have some influence with his wife. Yeah, I thought that was really good. And also, in that same scene, I think he says something like, because, like, he and his wife are Chicken sexers. They kind of go through to see, like, distinguish between the male and female chickens. And in that same scene, he speaks to his son, and he’s telling his son like, you know, male chicks, I guess are not useful. And there’s an image of like the smoke, I guess, you know, make potentially I guess, killing the animals. The male chicks who can’t lay eggs and can’t do much and he says we need to be useful. And I and I actually thought that was really interesting and telling and potentially, me in a subtle way relate to immigrants who come to America who are male May, you know, from certain societies may feel a pressure to, I need to do this, I need to have a job, I need to create a business, I need to do something. Because potentially it may be in their mind that also, female people from their country may be just taken as let’s say, brides or wives to American men already, something like that. So the males may have to add this isn’t said or stated, but it’s felt like that to me. Yeah,
Andrew Sweatman 45:33
yeah, I definitely thought it was interesting from like, weren’t wondering about, like, a feminist aspect on this film and wondering how that would fit in. But yeah, that makes a lot of sense to you. I think that’s kind of related to just in general, like capitalism is, is all over this movie, as it’s driving the father to try to, like make it you know, in this way, for better or worse, and, and I think it’s just kind of depicting and letting you kind of draw your own conclusions from from how well that’s going. But you can see the pressure it puts on him, and then on his marriage on this whole family, that he feels like he has to, you know, be the self made man and kind of follow the American dream and a lot of ways. So yeah, that’s interesting part of this movie as well. And then yeah, I guess we can talk about the marriage a little bit, because it’s, it’s an interesting part that that kind of carries through, and I think we can avoid spoiling anything about the end of this movie. But it does have, you know, I say it’s pretty, pretty low key movie. That’s true, but it does have a pretty climactic ending as well. But from the from the very moment that they arrive at home at this new house, you can sense that, that the mom is not happy. Her name is Monica played by Irie Han. I think her performance is really good, like performance is in a minute. But she shows up and she says, What is this place like looking at their new home, this is our house may go inside. And she says it just gets worse and worse. And it’s funny, but it’s also telling, you know, the the tension that’s that’s going to grow there. And then when grandma shows up, she makes some comment too about what happened to you guys used to be used to be more lovey dovey, like you’ve forgotten everything, and I thought was interesting and kind of poignant observation on her part. And then there’s a scene I really like to wear. It’s kind of later in the film, but I can’t remember exactly what they’re, they’re, they’re having some conflict around this and having a serious discussion. And in that same moment, he he’s worked so hard in the farm, that he can’t use his arms, he’s in the bathtub. And he he’s like, I can’t wash my hair where you wash my hair for me. And so even in the in the midst of this argument, and this conflict they’re having, she does this tender thing and kind of washes his hair, and you can feel the there’s a tenderness still there despite the the marital problems are having. That was a really nice scene. But yeah, do you have any thoughts about the the marriage stuff,
Andrew Camarillo 47:54
the scene you just spoke of, I think he was he says something like working outdoors makes me feel alive. And he was saying, I’ll take care of us. And she’s like, we’re losing a lot of money here. And he’s gonna be like, I came here. For us, if this fails, you can do what you want and leave with the kids. You know, he says that kind of in passing. And, you know, it’s just like a shot of her kind of just kind of looking at him, but also continuing to wash his hair. And there are moments like that throughout the film that I think are really well acted and well written, that are subtle and delicate, but they provide a lot of information. Yeah,
Andrew Sweatman 48:29
that’s a big thing to say. But it’s it’s delivered in kind of an understated way. Right. Like he’s almost casual about it. But you know, that’s coming from his own insecurity about everything probably, too. Yeah, it’s, it’s really well done and well acted.
Andrew Camarillo 48:42
Yes, the relationship and there are several conversations throughout the film, where between the husband and wife that are, I think, just so well done. And there’s a lot of emotion in these conversations, and I think a lot of exposing and vulnerability being displayed. And sort of, as you were saying earlier, the the idea of the American dream or the dream to provide for one’s family and like be successful at a business or something sort of clouds his relationship at times with his family, or maybe puts it in jeopardy in his wife’s perspective. And I think there are a few, only a few conversations, I guess directly about this things really are. I don’t know have an emotional weight and resonance. So I like this a lot.
Andrew Sweatman 49:33
Yeah. I agree. And then that might be a good transition to talking about the performances here because I think, I mean, I think they’re all pretty strong. Is there anything that any of the performance that really stood out to you?
Andrew Camarillo 49:45
I think again, like the grandmother was excellent. And then the, the mother, Monica, the, the actress, she’s just so I felt like it is A lot of times understated, but it’s it’s so well done. And it’s it’s powerful that her role. She’s not the central figure in the film, but when she is president has something to say or do and like even her concern on her face. A few things happen in the film that, you know, are tragic, but she has these or alarming, I guess. And she has these moments where she’s looking at her children, or looking at her husband. And she’s like, I think she she acts very well without saying very much throughout the film. And yeah, I I’m a big fan. And the grandmother is just I feel like her character era, her acting as this character is just wonderful. And it kind of ties the film together. And I think it she’s a central figure for me as far as the heart of the film.
Andrew Sweatman 50:53
Yeah, I agree with that. So she’s playing by Eugene Yoon. hope I’m pronouncing that correctly. And actually, so I was looking at the south eastern Film Critics Association, which is a group of Film Critics kind of from this region, she won Best Supporting Actress this year, their awards the other day. So I was looking at that, but yeah, and very well deserved. I think you’re right, I think it’s a it’s a kind of a brilliant stroke, I think just on the script level to say, Okay, here’s the family, we’re going to set it up and kind of introduce everyone in this new situation. And then about a third of the way in, I guess, if we bring in Grandma, and the way she makes up reservations about the family, and the way she affects everyone in the family is really interesting. And it’s just a great way to add some wrinkles to the story as everything is developing. But she’s really great. And, and again, we won’t spoil anything, maybe that happens. But her performance also takes a turn. That’s really interesting. And I think it’s really well done as well. But yeah, just the the dynamic she has with with David especially is this really special and it feels authentic. I think Steven you and Jacob is the father here is really great as well, yes, it’s pretty. It’s pretty understated. I mostly know him from The Walking Dead. And he’s a pretty major character on that. And it’s kind of and he actually, at the beginning of the walking dead. He’s very young. And so we kind of see him grow over the years. And so now he’s playing this father figure, which is interesting, because that show has been on for forever. Now, it seems like, but he, yeah, he’s really great in this. And he’s not a strong silent type. Exactly. But he’s not especially vocal. But he when he speaks up, it’s no, it’s again, it’s understated in a way that feels real. Yeah, it just, I think it’s really great performance from him. Greg,
Andrew Camarillo 52:42
oh, no, I was just going to say, and I read that his father in real life is moved from Korea to Minnesota, and had to change his life. He was an architect in Korea. And when he moved to America, he had to, they had to start from scratch, sort of, and he said that playing this role helped him kind of close the gaps in times, in some way between he and his father. And his father actually got to see the film with him the premiere, I guess, in at Sundance, and it was very emotional for both of them. And I think he does an excellent job in this film. And I think for him, it was a bit of I don’t know, for just in a personal way, really revelatory, I think, from what I read. So
Andrew Sweatman 53:28
that’s fascinating. Another little piece of trivia there is that Steven Yuan is married to Lee asik. John’s Sister, I believe, is that that I think that’s correct.
Andrew Camarillo 53:36
Yeah, I think that’s right. That’s, that’s really incredible. Yeah, she’s
Andrew Sweatman 53:39
from Arkansas. I mean, obviously, he’s from Las Vegas, from an Arkansas or Kansas as well. So yeah, just interesting connection there. Within I wanted to mention another line that I really liked from Jacob is, it’s towards the beginning as well. And he’s kind of trying to make a case for why he’s moved their family here. And they’re looking at the dirt. And she’s like, what’s the big deal with the dirt and he says, This is the best dirt in America. I love the conviction with which he delivers that. And it’s a funny line, but it’s also Yeah, I think this movie, just in general, the humor in this movie is so yeah, understated and subtle. Like, that’s a funny line, but also poignant. And you know, it also shows, you know, their motivations and the script is really, really great for that reason. Then I want to mention Alan Camus, David as well as the, the young actor here. What do you think about his performance?
Andrew Camarillo 54:30
Oh, I thought both of the kids were great. I thought they did a really good job. And I believe it was the first time acting in a film
Andrew Sweatman 54:39
so I think that’s right from what I’ve heard about him. This one yeah. Yeah, I
Andrew Camarillo 54:44
thought it was really really good. I’m not sure how they did that. But it seemed like they had acted for a while, even though they’re young. So yeah, like
Andrew Sweatman 54:53
he seemed pretty experienced. Yeah, I don’t know if it’s I was trying to think like among child performances is A total total standout maybe not, but I think it’s really really good. Yes, yeah. If you’re looking at his IMDb now there’s there’s nothing else there’s something coming up. But nothing before this. Yeah, that’s that’s really impressive and the movie asked him to do so much. I mean, he’s, he’s the central character in a way. But it’s it’s kind of one of those things where he’s more observing things and we’re kind of learning about things, although a lot of a lot of the story involves him as well. So anyway, yes, good, good. Good performance out of him. Is there any other aspects of the sale Marine’s elements of this film that we haven’t talked about that, that you want to mention that you connected with?
Andrew Camarillo 55:36
The relationship the children had with a grandmother, I think was really interesting. It doesn’t mirror my relationship with my grandmother’s, but it the the grandmother does feel quite a bit older. In some way. I’m not sure that, you know, she’s depicted in that way. But from a different generation, a different culture from David himself, kind of seeming to grow up there in America is speaks English. It feels as though that she was very influential. And we haven’t spoken about that where the title come from.
Andrew Sweatman 56:09
Yeah, sorry, that Yeah,
Andrew Camarillo 56:10
is the grandmother, sort of planting the vegetable menari, down near this creek bed, and sort of going he, David and his grandmother going there together and kind of navigating exploring this region alone, sort of away from the parents away from his sister, where they develop this sort of intimate bond, where he grows closer to her even though at first he feels unsure and uncomfortable about her as someone in his life. Yeah. I really like that part of the film. And she sings a song at some point about menari. Or he and she both sing together about how menorah is so wonderful, and so tasty. And I thought that was just very beautiful. It those are very delicate touches that work. And I don’t think they’re overly sentimental. And I think this film could have because it’s in a way autobiographical, could have fallen into this maybe too much sentimentality, but I don’t think it does.
Andrew Sweatman 57:12
Yeah, I was I was surprised at just how not sentimental it is. And I think like, white audiences might not appreciate it as well, for that reason. Like, I wonder, I mean, I think it’s finding an audience for sure. But you could see this being a much bigger, you know, have a more sweeping score, written in a way that has all these huge emotional beats. And it doesn’t have that, but I think it’s Yeah, I think it’s stronger for it. Yeah, I agree. It’s a little more trivia stuff. I didn’t know until watching interviews, just about the plant menari itself. I didn’t even know that was a plant. You know, I didn’t know what the title meant, until watching this. But the ASIC giant explained in an interview, that it’s a plant that you kind of put, where nothing else will grow. It’s kind of it adapts to its region in a way. So that you can kind of see some symbolic things, they’re looking at the screen family, but then also, it tends to cleanse like if you put it near water, the water is going to become more drinkable, and more inhabitable for wildlife. And it sort of has a cleansing effect on the the region that it’s in, which I think is really interesting, too. And then one of the things he mentioned about it was that you’ve usually plant the first round, and then kind of discard it. And it’s not until the second generation that it really takes hold and thrives, which also can have some interesting kind of parallels to immigrant stories. And so I thought it was a an apt symbol. And I didn’t know any of that. But I don’t think you need to know that to appreciate the the plants that place in the film. But I think it does add some interesting things to think about there. So yeah, I thought that was really cool. As far as other things about this movie, I think I’ve said just about everything I wanted to mention the humor, there’s one great sequence that has to do with his bedwetting, he has a problem or he’s wetting the bed and grandma comments on it. And there’s a couple great punch lines around it. And also plot points so that it’s a part of the story. So I’m not going to spoil that. But that’s another way that the humor just really works effectively in the story. And it’s also very funny. But then, and by the way, if you haven’t seen it doesn’t make jokes at his expense about the bat wedding. Which, you know, he’s been through a lot he can almost understand, you know, that’s as I grew up and learn more about bedwetting in general tends to be around trauma and and different things. So anyway, that’s interesting part of this. So it’s kind of telling about his, his experiences as well. Yeah, that’s a that’s interesting part. But then the score, I think is really, really strong. And it’s it, look up the composer’s name, his name is Emil masari, who I didn’t recognize that name. But he has done the score for a few things that I’ve seen, including the last black man in San Francisco from a few years back which I love the score of that film as well. And then the Miranda July film kajillion. Air the new one, he did the score for that as well, which I that didn’t stick out to me as much in that film. But now I want to go back in and watch it and pay close attention to, to the score there. But yeah, I think the score in menari is really, really strong.
Andrew Camarillo 1:00:17
Yeah, I agree. I thought the squirrel was a really well done, and it wasn’t overbearing on the film. And I think it allowed a lot of space for the images to you know, take control. But then when it was needed, it was present. And it was really good. I think it fit the landscape as well.
Andrew Sweatman 1:00:33
I remember thinking, watching the movie like this kind of sounds like the band grizzly bear. That’s an indie band. Nice. I really like a lot. And listening back to the score. Just streaming as it does sound like it was I almost wonder, like, was this scored by grizzly bear? Because they did a couple of movies that they scored, but now he has no affiliation with that band. But yeah, that’s kind of the vibe of the music here. And I think it’s, it’s really great. Well, cool, I guess we can kind of wrap things up unless you anything else you want to bring up Andrew?
Andrew Camarillo 1:01:02
yeah, there’s one thing that I would like to say about without giving anything away, the film sort of ends back at referencing to minority, and it’s sort of this return to something that has provided in some way, a reprieve, but also this a bit of home a bit of where they’re from, what I don’t know, it’s sort of symbolizes To me, this family, and then also memory. And I think it’s really powerful. I think the film is well titled. And it ends in a way that feels like we’ve completed something. And we’ve, we’ve sort of been privileged to see this family go through these early struggles of moving to a place in which there aren’t many people like them, I think in the chicken zechstein sort of factory area, there are a few Koreans there. And I do think there is something very interesting there where the mother asked, Why has a Korean church been built? And she’s like, well, there’s a reason people have moved away from the cities, because they want to get away from the Korean church in some way. So the family even though there are some Koreans in the area, they’re trying to make their own way in America, in rural America, where they feel isolated. But this minority and having the grandmother there, I think provides them some stability or something that that brings them together and holds them together. It’s I guess, symbolically. And I thought that was very powerful.
Andrew Sweatman 1:02:41
Yeah, that’s a really good point. I really like that that line, too. And it’s just so telling you that Monica the mother wants to she’s wanting bad familiarity. She’s wanting the Korean church and, and finding that most of the Korean Americans here don’t share her opinion in that. Yeah, that’s interesting. Touch actually thought of one more thing that I thought was really funny and quirky. Was that the Mountain Dew situation? A lot of Mountain Dew. Yeah. It’s just a funny thing. It’s also kind of ties into the grandmas well, because you see the kid drinking Mountain Dew, and then the grandma says, what is what is this beverage you’re drinking? And he says, oh, that says it’s really healthy. It’s it’s water from the mountains. I just thought that was really funny. And again, like, she’s observing this culture for the first time, and they’ve kind of, I’m used to it. It’s just another funny observation in that, but yes, the ending is really, really strong. And yeah, I think the titles is really a guy. I again, I didn’t know what menari was. And so I can’t imagine it’s commonly grown in Arkansas at all. It’s a really unique part of their their heritage that they’re able to bring with them. Yeah. Great point. Well, that has been Ari, you’ve seen it twice. Is that rain?
Andrew Camarillo 1:03:53
I’ve seen I saw it twice. Yes. I wanted to see the second time. Because I think there’s a lot there, even though it’s I don’t think it’s like overfilled with like references or like anything heavy handed. But it’s it. There’s some nuanced performances that I wanted to focus on a little bit more in the family dynamics. And I definitely think it’s worth like multiple viewings. I think the second time around, I wanted to focus a bit more on the relationship between the husband, the man and woman and like, their relationship. And I thought that was really, really interesting. So
Andrew Sweatman 1:04:28
yeah, I mean, just to watch it again. I’ve just seen it the once but yeah, really strong. I hope it gets some more attention. I’ll be surprised if it doesn’t. But there’s a lot of good movies this year, so we’ll see what happens but All right, that’s menari. That is right now it’s a VOD. Of course this it’s really recent. So if you’re listening in the future, I imagine it’ll stream somewhere or become a cheaper online rental but definitely worth watching. If you’re an arkansan, you’ll connect with this. But even if you’re not you’ll you’ll find a lot to like about menari All right. Thanks so much for joining me again today. Andrew, I have you back again before too long. But this was a great discussion. Thank you so much.
Andrew Camarillo 1:05:08
Andrew Sweatman 1:05:09
Thanks again to Andrew for being here. It’s always a pleasure to have him on the show. Well, next up on our house garage is the Oscars reaction special. The Oscars are this coming Sunday, April 25. And I’m planning to get on the podcast with Randy Collins to break it all down. That should be out the following day on Monday, the 26th. I always plan season six to end with the Oscars. And that’s almost here. A little production note about this podcast, you may have noticed that I’ve been doing two films per episode for a few episodes now. And I’m going to try to keep that going. That will enable me to cover a greater variety of films on the show. Probably I’ll keep doing a series of films with a guest. Like I’ve done with the classic film Starter Pack season, or the season on contemporary Asian filmmakers. I love covering older films and marathoning through a series of films, and trying to learn as much about great movies as I can. And kind of pass that knowledge along through the podcast is actually my favorite part of doing this. But I also really love covering new films, giving my review of things that are just hitting theaters, so that hopefully I can give listeners ideas about what’s good to go and see, especially now that movie theaters are beginning to become a safe option again. All that is to say, I’m going to move away from the seasons model and instead continue doing an episode every two weeks, most likely featuring a newer film and an older film, and each episode, with the older films being part of a series and the newer films being whatever strikes my fancy among new releases. So stay tuned for that. I’ll try to give notice about what’s coming up next on the podcast schedule. I’ll announce the next marathon on next week’s Oscar special and I’ve got some exciting plans for down the road as well. And with that, thank you thank you for listening to art house garage.
We’ve got a few years worth of episodes and you can hear all of those in your podcast app of choice. Our theme music is by composer Paul unifil Learn more at www dot appalling productions calm or find the link in the show notes. If you want to support artists garage you can leave a rating or review in your podcast app. Or you can buy an art house garage t shirt at art house garage comm slash shop. stay in the loop about archives garage and the films we’re covering by subscribing to our email newsletter that’s at art house garage comm slash subscribe or you can email me directly Andrew at art house garage COMM And of course follow on social media. You can find us on Facebook, Twitter, Instagram and letterboxed just search at art house garage, all those places, or find links in the show notes. And that will do it for this episode. Thank you again so much for listening. And until next time, keep it snob free
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