Adam and Josh continue Filmspotting’s Dissident Cinema Marathon with Akira Kurosawa’s 1946 drama No Regrets for Our Youth. Released in the immediate aftermath of WWII, the film stands out as a blatantly political entry in Kurosawa's catalog — and notably, his only film featuring a sole female protagonist.

Adam and Josh continue Filmspotting&rsquo;s Dissident Cinema Marathon with Akira Kurosawa&rsquo;s 1946 drama No Regrets for Our Youth. Released in the immediate aftermath of WWII, the film stands out as a blatantly political entry in Kurosawa's catalog &mdash; and notably, his only film featuring a sole female protagonist.

Adam Kempenaar and Josh Larsen review new and classic movies, offering "affable, insightful film analysis since 2005" (NY Times).

New and classic movie reviews and top 5 lists.

Filmspotting

Since 2005, Filmspotting has featured Adam Kempenaar and Josh Larsen's in-depth movie reviews and Top 5 lists, delivering "weekly installments of affable, insightful film analysis" (The New York Times). Today, the Filmspotting feed also offers an expanded lineup of original movie and pop culture shows.

Since 2005, Filmspotting has featured Adam Kempenaar and Josh Larsen's in-depth movie reviews and Top 5 lists, delivering "weekly installments of affable, insightful film analysis" (The New York Times). Today, the Filmspotting feed also offers an expanded lineup of original movie and pop culture shows.

Bringing silent film grammar to a post-war awakening. 

No Regrets for Our Youth: Kurosawa’s Bold Post-War Melodrama | Dissident Cinema

https://api.omny.fm/orgs/e73c998e-6e60-432f-8610-ae210140c5b1/clips/8040d2eb-a658-43ec-b9ac-b46200c0d627/transcript

For our Noirvember edition, Chris Klimek convenes a showdown between two noir classics featuring unforgettable Orson Welles villains: Carol Reed's The Third Man and Welles's own Touch of Evil.

One is a postwar mystery set amid the shattered streets and shadows of occupied Vienna, featuring Welles as the charmingly monstrous Harry Lime. The other is a feverish border-town nightmare with the filmmaker buried beneath prosthetics as corrupt police captain Hank Quinlan.

Arguing for The Third Man is Matt Gourley (Conan O'Brien Needs a Friend, With Gourley and Rust, James Bonding), who contends that Reed's masterpiece transcends noir, combining unforgettable atmosphere, moral ambiguity, and one of cinema's greatest endings. Representing Touch of Evil is Anne Thompson (IndieWire, Screen Talk), who makes the case that Welles's final Hollywood film is a singular feat of visual storytelling and one of the boldest achievements ever produced within the studio system.

Which Welles villain casts the longer shadow, and which film deserves to survive? Choose your winner at moviedeathmatch.com.

(Times will not be precise with ads.)

Intro / Meet the Advocates (00:00:00-00:12:01)

Rd. 1 – The Movies in Their Time (00:12:02-00:24:14)

Rd. 2 – The Movies in Our Time (00:24:15-00:46:49)

Rd. 3 – The Movies for All Time (00:46:50-01:05:33)

The Verdict / Credits (01:05:34-01:13:04)

More From Anne:

-IndieWire

https://www.indiewire.com/author/anne-thompson/

-Sight & Sound: Who voted for Touch of Evil?

https://www.bfi.org.uk/film/829f71c1-8c9d-5294-b77d-93de81913c9d/touch-of-evil

-The $11 Billion Year: From Sundance to the Oscars…

https://www.amazon.com/dp/0062218018

More From Matt:

-“Normal Like Me”

https://deathbed.ghost.io/normal-like-me/

-Superego

https://www.gosuperego.com/

Follow Chris:

-Instagram | Bluesky | X

For our Noirvember edition, Chris Klimek convenes a showdown between two noir classics featuring unforgettable Orson Welles villains: Carol Reed's The Third Man and Welles's own Touch of Evil.
One is a postwar mystery set amid the shattered streets and shadows of occupied Vienna, featuring Welles as the charmingly monstrous Harry Lime. The other is a feverish border-town nightmare with the filmmaker buried beneath prosthetics as corrupt police captain Hank Quinlan.
Arguing for&nbsp;The Third Man is Matt Gourley (Conan O'Brien Needs a Friend, With Gourley and Rust, James Bonding), who contends that Reed's masterpiece transcends noir, combining unforgettable atmosphere, moral ambiguity, and one of cinema's greatest endings. Representing Touch of Evil is Anne Thompson (IndieWire, Screen Talk), who makes the case that Welles's final Hollywood film is a singular feat of visual storytelling and one of the boldest achievements ever produced within the studio system.
Which Welles villain casts the longer shadow, and which film deserves to survive? Choose your winner at<a href="http://moviedeathmatch.com"> moviedeathmatch.com</a>.
(Times will not be precise with ads.)
Intro / Meet the Advocates (00:00:00-00:12:01)
Rd. 1 &ndash; The Movies in Their Time (00:12:02-00:24:14)
Rd. 2 &ndash; The Movies in Our Time (00:24:15-00:46:49)
Rd. 3 &ndash; The Movies for All Time (00:46:50-01:05:33)
The Verdict / Credits (01:05:34-01:13:04)
More From Anne:
-IndieWire
<a href="https://www.indiewire.com/author/anne-thompson/">https://www.indiewire.com/author/anne-thompson/</a>
-Sight &amp; Sound: Who voted for Touch of Evil?
<a href="https://www.bfi.org.uk/film/829f71c1-8c9d-5294-b77d-93de81913c9d/touch-of-evil">https://www.bfi.org.uk/film/829f71c1-8c9d-5294-b77d-93de81913c9d/touch-of-evil</a>
-The $11 Billion Year: From Sundance to the Oscars&hellip;
<a href="https://www.amazon.com/dp/0062218018">https://www.amazon.com/dp/0062218018</a>
More From Matt:
-&ldquo;Normal Like Me&rdquo;
<a href="https://deathbed.ghost.io/normal-like-me/">https://deathbed.ghost.io/normal-like-me/</a>
-Superego
<a href="https://www.gosuperego.com/">https://www.gosuperego.com/</a>
Follow Chris:
-<a href="https://www.instagram.com/snakeoilck">Instagram</a> |<a href="https://bsky.app/profile/ctklimek.bsky.social/"> Bluesky</a> |<a href="https://x.com/ctklimek"> X</a>

The Third Man vs. Touch of Evil | Movie Death Match

https://api.omny.fm/orgs/e73c998e-6e60-432f-8610-ae210140c5b1/clips/a548a06b-0885-4b9f-9339-b4f50146b5b2/transcript

Adam and Travis welcome Samantha N. Sheppard, PhD, Associate Professor of Cinema and Media Studies at Cornell University, to discuss Steve James's landmark 1994 documentary Hoop Dreams.

Drawing on research from her new book, The Basketball Film: A Cultural and Transmedia History, Sheppard explains why Hoop Dreams stands as the defining work of the basketball film genre. The conversation explores the film's complicated relationship to competition, bell hooks' famous critique, and why the stories of Arthur Agee and William Gates continue to resonate more than three decades later.

Along the way, Sheppard reflects on her own path to becoming one of the leading scholars of sports cinema and shares some personal favorites from the basketball movie canon.

Next Episode:

–The Hurricane with Grant Wiedenfeld, Ph.D., MFA (University of Toronto)

Links:

–Email the show at fos@filmspotting.net.

-Sporting Blackness: Race, Embodiment, and Critical Muscle Memory on Screen

Theme Music:

–King of the Corpse Flowers by Oxykitten | Spotify

Adam and Travis welcome <a href="https://pma.cornell.edu/samantha-noelle-sheppard">Samantha N. Sheppard, PhD</a>, Associate Professor of Cinema and Media Studies at Cornell University, to discuss Steve James's landmark 1994 documentary Hoop Dreams.
Drawing on research from her new book, <a href="https://www.rutgersuniversitypress.org/the-basketball-film/9781978806269">The Basketball Film: A Cultural and Transmedia History</a>, Sheppard explains why Hoop Dreams stands as the defining work of the basketball film genre. The conversation explores the film's complicated relationship to competition, bell hooks' famous critique, and why the stories of Arthur Agee and William Gates continue to resonate more than three decades later.
Along the way, Sheppard reflects on her own path to becoming one of the leading scholars of sports cinema and shares some personal favorites from the basketball movie canon.
Next Episode:
&ndash;The Hurricane with Grant Wiedenfeld, Ph.D., MFA (University of Toronto)
Links:
&ndash;Email the show at <a href="mailto:fos@filmspotting.net">fos@filmspotting.net</a>.
-<a href="https://www.ucpress.edu/books/sporting-blackness/paper">Sporting Blackness: Race, Embodiment, and Critical Muscle Memory on Screen</a>
Theme Music:
&ndash;King of the Corpse Flowers by Oxykitten | <a href="https://open.spotify.com/artist/6tSTBObVBSHlIBxULaiYJe?si=h7H6dGQdQpSVpjjFaBbxSw">Spotify</a>

The basketball film that changed the game.

Hoop Dreams (1994) with Samantha N. Sheppard | Field of Scenes

https://api.omny.fm/orgs/e73c998e-6e60-432f-8610-ae210140c5b1/clips/4fb3f44f-511a-4f37-a1bb-b4f300d1224d/transcript

For Halloween week, Adam and Josh revisit the movie that reanimated the slasher, Wes Craven’s 1996 meta-horror classic Scream. Plus, highlights from the 5th annual Refocus Film Festival and Massacre Theatre. 

This episode is presented by⁠ Regal Unlimited⁠⁠, the all-you-can-watch movie subscription pass that pays for itself in just two visits. Use code FILMSPOT26 to take 15% off.

(Timecodes will not be precise with ads.)

Intro (00:00:00-00:01:55)

Scream at 30 (00:01:56-00:30:43)

Filmspotting Family (00:30:44-00:34:56)

Scream cont. (00:34:57-00:1:03:28)

Refocus Film Festival(00:1:03:29-01:15:07)

Massacre Theatre (01:15:08-01:22:23)

Credits / New Releases (01:22:24-01:26:47)

Notes:

-Refocus Film Festival

https://refocusfilmfestival.org/

Feedback:

-Email us at feedback@filmspotting.net⁠⁠

⁠⁠⁠⁠-⁠Ask Us Anything⁠⁠⁠⁠⁠ and we might answer your question in bonus content.

Support:

-Join the Filmspotting Family for bonus shows, archive access, and more.

http://filmspottingfamily.com

-Filmspotting Shop for T-shirts and more.

⁠https://www.filmspotting.net/shop⁠⁠⁠⁠

Follow:

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-Adam/Filmspotting

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-Josh/LarsenOnFilm

⁠Letterboxd⁠ | ⁠Instagram⁠ |⁠ Facebook⁠ | ⁠Bluesky

For Halloween week, Adam and Josh revisit the movie that reanimated the slasher, Wes Craven&rsquo;s 1996 meta-horror classic Scream. Plus, highlights from the 5th annual Refocus Film Festival and Massacre Theatre.&nbsp;
This episode is presented by⁠ Regal Unlimited⁠⁠, the all-you-can-watch movie subscription pass that pays for itself in just two visits.<a href="https://experience.regmovies.com/join-unlimited?utm_source=podcast&amp;utm_medium=referral&amp;utm_campaign=filmspotting"> Use code FILMSPOT26 to take 15% off.</a>
(Timecodes will not be precise with ads.)
Intro (00:00:00-00:01:55)
Scream at 30 (00:01:56-00:30:43)
Filmspotting Family (00:30:44-00:34:56)
Scream cont. (00:34:57-00:1:03:28)
Refocus Film Festival (00:1:03:29-01:15:07)
Massacre Theatre (01:15:08-01:22:23)
Credits / New Releases (01:22:24-01:26:47)
Notes:
-Refocus Film Festival
<a href="https://refocusfilmfestival.org/">https://refocusfilmfestival.org/</a>
Feedback:
-Email us at <a href="mailto:feedback@filmspotting.net">feedback@filmspotting.net⁠⁠</a>
⁠⁠⁠⁠-<a href="https://forms.gle/PGVFAm4GvbmPJWqG8">⁠Ask Us Anything⁠</a>⁠⁠⁠⁠ and we might answer your question in bonus content.
Support:
-Join the Filmspotting Family for bonus shows, archive access, and more.
<a href="https://filmspotting.supportingcast.fm/join?sc_promo=summer&amp;utm_source=podcast&amp;utm_medium=1077&amp;utm_campaign=summer">http://filmspottingfamily.com</a>
-Filmspotting Shop for T-shirts and more.
<a href="https://www.filmspotting.net/shop">⁠https://www.filmspotting.net/shop⁠</a>⁠⁠⁠
Follow:
-Watch Filmspotting on YouTube:
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<a href="https://letterboxd.com/filmspotting/">⁠Letterboxd⁠</a> |<a href="https://instagram.com/filmspotting%E2%81%A0%E2%81%A0%E2%81%A0%E2%81%A0">⁠ Instagram⁠</a> |<a href="https://facebook.com/filmspotting%E2%81%A0%E2%81%A0%E2%81%A0%E2%81%A0">⁠ Facebook⁠</a> |<a href="https://bsky.app/profile/filmspotting.bsky.social"> ⁠Bluesky⁠</a>
-Josh/LarsenOnFilm
<a href="https://letterboxd.com/larsenonfilm%E2%81%A0%E2%81%A0%E2%81%A0">⁠Letterboxd⁠</a> |<a href="https://www.instagram.com/larsenonfilm/"> ⁠Instagram⁠</a> |<a href="https://facebook.com/larsenonfilm">⁠ Facebook⁠</a> |<a href="https://bsky.app/profile/larsenonfilm.bsky.social"> ⁠Bluesky</a>

The 1996 meta-horror movie understands the rules.

Wes Craven’s Scream at 30 | #1087

https://api.omny.fm/orgs/e73c998e-6e60-432f-8610-ae210140c5b1/clips/5189f00c-dcbf-47cd-a957-b4f2012e5da1/transcript

No Regrets for Our Youth: Kurosawa’s Bold Post-War Melodrama | Dissident Cinema

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