Someone Else’s Movie gets meta this week, as I’m joined by French actor Guillaume Marbeck, who plays French director Jean-Luc Godard in Richard Linklater’s delightful new movie Nouvelle Vague, to talk about Godard’s revolutionary debut Breathless … the film we see Marbeck’s Godard making in Linklater’s film.

It’s a house of mirrors, but a really fun one, and I’m indebted to veteran publicist Winnie Wong for coming up with the idea. Time constraints meant the episode is tighter than I would have liked, but that also rhymes with the circumstances in which JLG made his breakthrough, so let’s just pretend it was intentional.

I did trim one thing, though — an early moment where Guillaume asked if I wanted him to record the episode in character as Godard, which I admit I briefly considered. But you know what they say: Podcasts are supposed to be the truth at 96 kilobits per second.

Anyway, give it a listen! Subscribe to the show on Apple, Spotify, YouTube Podcasts or your podcatcher of choice, or just download the episode directly from the web and listen to it while you race around the streets of Paris with a camera, a girl and a gun. That’s all you need, really.

And then you can catch up on Shiny Things, if you’ve fallen behind; last week, I wrote about Relay and Clown in a Cornfield and A24’s coffee-table-friendly release of Ti West’s X Trilogy, and took a moment to savor the stunning Warner Archive Collection release of The Curse of Frankenstein, which reached me just a little too late for Halloween but belongs on your shelf whenever you can grab it.  If you aren’t already a subscriber … well, you should be! So subscribe!

Oh, and Dick Cheney is finally dead. That’s nice.

I’ve been trying to land Bryan Fuller for an episode of Someone Else’s Movie ever since I started the podcast; in addition to being a creator of endlessly fascinating television, he’s a genre fiend whose love of the strange and unusual rivals that of Guillermo Del Toro’s, and I knew he’d bring a wealth of insight to any movie he brought to the show.

So imagine my delight when the arrival of his first feature Dust Bunny gave me the chance to book him, and I found out he’d picked Philip Kaufman’s brilliant 1978 adaptation of Invasion of the Body Snatchers — as rich a text as any film of its era, and one that only grows more complex and prophetic as the decades pass. We’re also about the same age, and the discovery that we had very similar experiences of the film gave us a great starting point.

It’s a good one! Subscribe to the show on Apple, Spotify, YouTube Podcasts or your podcatcher of choice, or just download the episode directly from the web and listen while you walk expressionless through your environment, trying very hard not to give yourself away. And if you’re in Brooklyn, think about braving the rush line for Thursday night’s screening of Dust Bunny; it’s a blast with a crowd, and everybody else has to wait until December.

And then, there’s Shiny Things. For some weird reason the first half of the month is the busy part, release-wise, so I’ve spent the last few editions catching up to the new arrivals. Over the last week I reviewed F1, Mission: Impossible – The Final Reckoning and Nobody 2, and an edition that tackles Eddington and Weapons is going out later today. Subscribe now and be ahead of the curve!

Also! This weekend, I’ll be down at the Windsor International Film Festival, introducing movies and moderating Q&As and industry panels on Thursday, Friday and Saturday and celebrating the winner of the festival’s $25,000 WIFF Prize in Canadian Film on Sunday. I am debating whether or not to wear a Jays hat for the length of my stay.

It’s my first time at the festival, so if you run into me there feel free to say hi and give me directions to your favorite coffee place. I will definitely need a latte or twelve.

The Pirates of the Caribbean franchise has gone dormat of late, and not without reason; it’s kind of a master class in the law of diminishing returns. But the first one, The Curse of the Black Pearl, was an unexpected pleasure, and that’s why writer-director Elliott Hasler chose it for his episode of Someone Else’s Movie.

See, Elliott — whose new movie  Vindication Swim opens in US theaters this Friday, and will be on Canadian screens pretty soon — was three years old when the movie came out, too young to see it in theatres. But it made a massive impression on him when his parents brought the DVD home the following year … to the point that he credits Gore Verbinski’s swashbuckling fantasy adventure with inspiring him to make movies.  And that unconditional love gives this week’s podcast rather a different energy.

You’ll see! Subscribe to the show on Apple, Spotify, YouTube Podcasts or your podcatcher of choice, or just download the episode directly from the web and listen as you stand in front of your wardrobe, trying to determine the perfect number of scarves to wear to work.

After that, feel free to catch up on Shiny Things, where I’ve just covered Warner’s seven-disc 4K upgrade of the original Nightmare on Elm Street cycle — which includes the first release of Freddy’s Dead‘s climax in the original 3D format — and Paramount’s 20th anniversary 4K release of Aeon Flux, which I must admit I did not see coming. Plenty more coming this week, assuming the supply chain works as it ought to. Subscribe now so you don’t miss any of it!

Also! My pals at Hollywood Suite just released two new episodes of their Cinema A to Z series, which gathers a couple dozen film folks — myself included — to shuffle through some favorite films, always with a specific theme in mind. This time around it’s Ghosts and Perfect Pairs, exploring what happens when two actors are perfectly matched — or perfect opposites — in a given project. Abbott and Costello, Lemmon and Matthau, Grodin and De Niro, you know the deal.

Check ’em out! And if you’ve missed the other episodes, they’re all right here, free to stream in perpetuity. Watch them out of sequence and see my weight go up and down depending on which job I was working and whether I’d just had COVID! That’s always fun!

This week’s episode of Someone Else’s Movie risks creating a little bit of a paradox, as I’m joined by Daniel Bernhardt — who stars in Steven Kostanski’s endearing Deathstalker reboot, opening everywhere on Friday — to discuss a film that’s near and dear to his heart: The Matrix.

Why is this one spacey-timey? Because Daniel has dozens of action-movie credits, and one of them is The Matrix Reloaded … which let him stomp around in the world the Wachowskis created four years previous. I think that’s cool; Daniel thinks that’s cool. So we talked about it a little. But mostly we talked about The Matrix, because it’s still pretty awesome.

Join in! Subscribe to the show on Apple, Spotify, YouTube Podcasts or your podcatcher of choice, or just download the episode directly from the web and listen to it as you eat the best steak of your life.

Also, if you’re curious to hear more from Team Deathstalker, you can and should check out Steven Kostanski’s 2021 SEMcast on Mortal Kombat, and co-star Conor Sweeney’s 2024 episode on Alien; these are people who love weird creatures and strange environments, and they’re very savvy about why they love them. Never a dull moment.

And then you can catch up to the latest edition of Shiny Things, where I dug into Decal’s new Blu-ray release of Mike Flanagan’s The Life of Chuck — which turns out to be a lovely package for one of the best films of the year.

Subscribers to the paid tier also got my reviews of Play Dirty, All of You and V/H/S Halloween on Friday as part of the weekly What’s Worth Watching newsletter; if you want to be among the elite and informed, it’s awfully easy to upgrade that subscription! So maybe do that? I bet you’ll be a lot happier.

Now that Someone Else’s Movie is in its eleventh year — wild, right? — I’ve been allowing the occasional repeat of either a guest or a film choice. But this week’s episode is a groundbreaker for a couple of reasons.

First, because it’s the third time the chosen film has been discussed on the show, and second, because my guest is Lizzie Borden, whose 1983 Born in Flames is as much of a breakthrough feminist statement as the film she wanted to talk about.

That would be Chantal Akerman’s Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles, first tackled on the podcast in 2020 by Wayne Wang and again in 2023 by Lukas Dhont, both of whom had some very pertinent thoughts about Akerman’s unblinking study of domestic desperation, and the shattering precision of Delphine Seyrig’s performance. But Lizzie has a different approach to the film, wondering what happens after the credits roll and how Akerman’s vision allows the viewer to imagine a whole world beyond the Dielman apartment.

It’s a really fun conversation, given the subject matter, and of course Lizzie discusses her own cinematic evolution as well. So you should give it a listen! And check out the other Jeanne Dielman episodes if you haven’t heard them, what the hell.

You know how this goes. Subscribe to the show on Apple, Spotify, YouTube Podcasts or your podcatcher of choice, or just download the episode directly from the web and listen to it while you draw up the plans for your intersectional feminist group’s political action. The resistance is on a schedule, you know.

Oh, and pick up the new Criterion Blu-ray of Born in Flames when you have the chance — it’s an excellent release of a landmark cinematic work. I featured it this weekend in the latest Shiny Things, in fact, alongside Warner Archive’s splendid 4K edition of Get Carter. Of course, if you were a subscriber you’d already know that. Why aren’t you a subscriber? What’s wrong with you?

I’m sorry about the headline. I am. It’s low-hanging fruit. But Alex Winter really is excellent, both in his art and his activism, and I’ve been trying to get him for an episode of Someone Else’s Movie almost since I launched the show. And he’s been into it! He’s just, you know, really busy … especially right now, what with releasing a new movie, Adulthood, the same week he and Keanu Reeves bring Waiting for Godot to Broadway.

… so of course he’d carve out an hour the morning after the first Gotot preview to sit down and record the episode I released today. Because he’s excellent.

Alex wanted to talk about Luis Bunuel’s 1951 drama Los Olvidados, a study of impoverished young people turning on each other, and  ultimately themselves, because there’s nowhere else to direct their rage. Hailed at Cannes — but scorned by Mexican critics who’d been hoping for a homegrown Bicycle Thief — it’s an uncompromising work that feels even more meaningful in light of Bunuel’s turn towards absurdist satire for his social critiques. This one’s raw and angry and real, and that’s why Alex is championing it.

You can find the episode on Apple, Spotify, YouTube Podcasts or your podcatcher of choice, or just download it directly from the web and listen to it while you’re dragged around the most neglected parts of Mexico City by an older boy who’s enlisted you in a fevered plan for violent revenge. Because that’s fun.

After that, there’s more Shiny Things to catch up on! By the time you read this, I should have published my reviews of Criterion’s new release of Born in Flames and Warner Archive’s 4K special edition of Get Carter, both of which have that above-and-beyond feeling that tells me the people who worked on these discs truly loved doing so.

And of course subscribers to the paid tier already got this morning’s What’s Worth Watching, where I reviewed Mike Figgis’ Megadoc, Alexandre O. Philippe’s Chain Reactions and the second season of Amazon’s Gen V.  Not a subscriber yet? Maybe you should be!

I mean, you don’t have to take the paid option, but obviously it’d be swell if you did.

TIFF has reached its mid-point, and while I’ve been doing a few things here and there I’ve been pleasantly out of the loop on most of the happenings. It’s been relaxing!

But if you were worried, I still got my annual Festival moment of surrealism: Yesterday afternoon while dismounting from a bike in front of the Royal York hotel, I nearly kicked Bob Odenkirk in the leg. There was no hostility to it; he was doing his best to avoid a crowd of lookie-loos and walked right into the docking station. And before you ask: Yes, I know better than to attack Bob Odenkirk on the street. I’ve seen Nobody.

Speaking of surrealism and unexpected violence, let me introduce you to Todd Rohal, the guest on today’s episode of Someone Else’s Movie. He’s the guy who made the off-kilter indies The Guatemalan Handshake and The Catechism Cataclysm — the latter of which was tackled by Mel Eslyn on her SEMcast a couple of years back — and tomorrow he premieres his latest venture, the inglorious comedy Fuck My Son!, in TIFF’s Midnight Madness.  (Tickets for that show, and Thursday’s repeat screening in the Scotiabank IMAX room, should still be available at the links here.)

Todd wanted to talk about the cinema of George Kuchar, using his 1966 short film Hold Me While I’m Naked as the entry point into the underground filmmaker’s lurid, obsessive universe of underdogs and freaks — perhaps best expressed in the 160-minute hardcore porn epic Thundercrack!, which also comes up in the conversation. It’s a lively and digressive episode, which is part of the fun; I’m honestly not sure how we swerved into an appreciation of the artistic legacy of “Weird Al” Yankovic, but there you go. I cast a wide net and it’s always fun to see what it pulls in.

Subscribe to the show on Apple, Spotify, YouTube Podcasts or your podcatcher of choice, or just download the episode directly from the web and listen to it while you have a miserable, lonely shower, because that’s all you believe you deserve.

But you deserve so much more! Todd’s episode isn’t the only one I released since last Tuesday; I also dropped a special Friday show with Redlights and Aberdeen director Eva Thomas, whose new feature Nika and Madison premiered at TIFF over the weekend, talking at length about her love of Barry Jenkins’ Moonlight.

I love it too, and our conversation was one of the most earnest and moving I’ve had with anybody all year. If you’ve already subscribed to the podcast it should be in your queue already, but browser listeners can stream it right here.

And that brings us to Shiny Things, where last week I wrote about Via Vision’s Impact edition of Hud and Canadian International Pictures’ exceptional restoration-cum-resurrection of David Secter’s groundbreaking queer drama Winter Kept Us Warm, and also had fun recounting my experience of the mobile Criterion Closet, which was the biggest draw on Festival Street last weekend. Subscribers already know which titles I picked; if you’re curious, there’s a really easy way to find out.