The Dissident Cinema Marathon continues with Marcel Ophuls’s towering 1969 documentary The Sorrow and the Pity, which challenged the so-called “Gaullist myth” that the French people had largely resisted Nazi occupation.

The Dissident Cinema Marathon continues with Marcel Ophuls&rsquo;s towering 1969 documentary The Sorrow and the Pity, which challenged the so-called &ldquo;Gaullist myth&rdquo; that the French people had largely resisted Nazi occupation.

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

Marcel Ophuls’s bracing documentary about French collaboration during the Nazi occupation.

The Sorrow and the Pity: Dismantling the Gaullist Myth | Dissident Cinema

https://api.omny.fm/orgs/e73c998e-6e60-432f-8610-ae210140c5b1/clips/9c63ce0d-6a6c-4a8d-9ed9-b48a00269e08/transcript

Screenwriter and producer David Kajganich (Suspiria, Bones and All) joins Michael Phillips to test a provocative rule of adaptation from filmmaker Whit Stillman: "You owe everything to the movie and nothing to the original [source]."

But what about the opposite approach? As the Coen brothers once joked about adapting Cormac McCarthy's No Country for Old Men: "One of us types into the computer while the other holds the spine of the book flat." Between those two extremes lies the art of adaptation.

Drawing on more than two decades of adapting novels, memoirs, plays, and films, Kajganich explores when fidelity serves a movie, when it becomes a trap, and why great adaptations sometimes have to break the bones of the original work. As you'd expect, Christopher Nolan's The Odyssey enters the conversation, along with Howards End, The Shining, The Zone of Interest, and Where the Wild Things Are.

Is the best adaptation the one that faithfully recreates its source? Or the one that expresses something new? Join the conversation: email themovieracket@filmspotting.net

Screenwriter and producer David Kajganich (Suspiria, Bones and All) joins Michael Phillips to test a provocative rule of adaptation from filmmaker Whit Stillman: "You owe everything to the movie and nothing to the original [source]." But what about the opposite approach? As the Coen brothers once joked about adapting Cormac McCarthy's No Country for Old Men: "One of us types into the computer while the other holds the spine of the book flat." Between those two extremes lies the art of adaptation. Drawing on more than two decades of adapting novels, memoirs, plays, and films, Kajganich explores when fidelity serves a movie, when it becomes a trap, and why great adaptations sometimes have to break the bones of the original work. As you'd expect, Christopher Nolan's The Odyssey enters the conversation, along with Howards End, The Shining, The Zone of Interest, and Where the Wild Things Are. Is the best adaptation the one that faithfully recreates its source? Or the one that expresses something new? Join the conversation: email <a href="mailto:themovieracket@filmspotting.net" aria-haspopup="menu">themovieracket@filmspotting.net</a>

"You owe everything to the movie and nothing to the original" with David Kajganich | The Movie Racket

https://api.omny.fm/orgs/e73c998e-6e60-432f-8610-ae210140c5b1/clips/78648541-3caa-4a96-a99b-b4a8015a1b87/transcript

Adam and Josh share their favorite discoveries, performances, and scenes from the recently completed Dissident Cinema Marathon, which included Chaplin’s The Great Dictator, Kurosawa's No Regrets for Our Youth, and Rossellini’s Rome, Open City.

Links:
-The Circle Ending Revealed | BFI
⁠old.bfi.org.uk/sightandsound/review/1960⁠

-Filmspotting Marathons
https://www.filmspotting.net/marathons

Adam and Josh share their favorite discoveries, performances, and scenes from the recently completed Dissident Cinema Marathon, which included Chaplin&rsquo;s The Great Dictator, Kurosawa's No Regrets for Our Youth, and Rossellini&rsquo;s Rome, Open City.
Links: -The Circle Ending Revealed | BFI <a href="⁠old.bfi.org.uk/sightandsound/review/1960⁠">⁠old.bfi.org.uk/sightandsound/review/1960⁠</a>
-Filmspotting Marathons <a href="https://www.filmspotting.net/marathons">https://www.filmspotting.net/marathons</a>

Favorite performances, scenes, films, and more, from the Dissident Cinema Marathon.

Marathon Awards | Dissident Cinema 

https://api.omny.fm/orgs/e73c998e-6e60-432f-8610-ae210140c5b1/clips/a36bc05c-4823-4784-973c-b4a701208904/transcript

Jane Schoenbrun’s uncategorizable third feature, Teenage Sex and Death at Camp Miasma, marks the director as among the most assured and provocative filmmakers of their generation. Adam and Josh agree that it’s the film of the year so far. Plus, other notable third features this decade, listeners pick their favorite Spider-Man movie, and Adam reviews The Brink of War.

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 (00:00:00-00:02:38)

Teenage Sex and Death at Camp Miasma (00:02:39-00:45:20)

Filmspotting Family (00:45:21-00:51:21)

The Brink of War (00:51:22-01:01:11)

Polls(01:01:12-01:11:25)

Credits / Releases (01:11:26-01:15:26)

Feedback:

-Email us at feedback@filmspotting.net⁠⁠

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

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Jane Schoenbrun&rsquo;s uncategorizable third feature, Teenage Sex and Death at Camp Miasma, marks the director as among the most assured and provocative filmmakers of their generation. Adam and Josh agree that it&rsquo;s the film of the year so far. Plus, other notable third features this decade, listeners pick their favorite Spider-Man movie, and Adam reviews The Brink of War.
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 (00:00:00-00:02:38)
Teenage Sex and Death at Camp Miasma (00:02:39-00:45:20)
Filmspotting Family (00:45:21-00:51:21)
The Brink of War (00:51:22-01:01:11)
Polls (01:01:12-01:11:25)
Credits / Releases (01:11:26-01:15:26)
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 episodes and complete archive access.
<a href="http://filmspottingfamily.com">http://filmspottingfamily.com</a>
-Filmspotting Shop for T-shirts and more.<a href="https://www.filmspotting.net/shop">⁠ ⁠</a>
<a href="https://www.filmspotting.net/shop">⁠https://www.filmspotting.net/shop⁠</a>⁠⁠⁠
Follow:
-Watch Filmspotting on YouTube:
<a href="https://youtube.com/filmspotting">⁠https://youtube.com/filmspotting⁠</a>
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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>
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Jane Schoenbrun’s meta-slasher is the film of the year so far.

Teenage Sex and Death at Camp Miasma and The Brink of War | #1076

https://api.omny.fm/orgs/e73c998e-6e60-432f-8610-ae210140c5b1/clips/9fd3aa43-3e55-4d38-a001-b4a500025453/transcript

The Sorrow and the Pity: Dismantling the Gaullist Myth | Dissident Cinema

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