Deep Cut partners with Asian Film Archive which is presenting Twin Tales: Éric Rohmer and Hong Sang-soo, a special programme featuring six pairings of films by French New Wave director Éric Rohmer and prolific Korean filmmaker Hong Sang-soo. Buy tickets here!

We’ve teased this for YEARS! And it’s finally here. The DC Trio break the ice by introducing notorious Korean director Hong Sang-soo to the canon by talking about a 2006 deep cut, Woman on the Beach. We talk about the pairing with Rohmer’s The Green Ray (our ep. 24), discuss why this feels odd in Hong’s filmography, and debate on what shape this movie looks like. Join us for a lively first foray into the work of Hong Sang-soo.

Links:

Film at Lincoln Center: Hong Sangsoo on Woman on the Beach

The New Yorker: Hong Interview with Dennis Lim

Hong Sang-soo Notarized: Woman on the Beach by Ryan Swen

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Timestamps:

00:00:00 Intro

00:02:13 Twin Tales: Hong x Rohmer

00:05:00 Our journeys with Hong

00:15:34 Hong Sang-soo Overview

00:24:02 Woman on the Beach Summary and Reactions

00:31:40 Notarized Hong

00:34:03 Whose story is this?

00:41:31 Men vs Women

00:43:09 Some scenes

00:45:06 Characterizations

00:47:28 Comparison with The Green Ray, and others

00:54:38 Cinematography

00:57:21 Diagrams

01:00:54 Restaurant scene

01:02:32 Triangulation

01:05:58 The Ending

01:10:36 Outro

I want to podcast with you. Without speaking. On this episode of Deep Cut Upkeep we step into 1950s Mexico City and dive into the lush world of Luca Guadagnino’s Queer. Wilson expands more on his love for the film and why it topped his 2024 film list. Eli talks about the narrative constraints of this (bio)pic about William S. Burroughs. Ben draws links between Queer and Stanley Kubrick’s 2001: A Space Odyssey. Together, we talk about performance, Guadagnino’s eye for style, debate that Ayahuasca sequence, and end the episode with a quick round of Luca Guadagnino power rankings.

Links:

Natalie’s letterboxd review of Queer

NYFF panel of Queer

Take a TRIP to our free patreon, discord server, and our socials @ www.deepcutpod.com

Timestamps:

00:00 Intro

02:50 General reactions

08:26 Spoiler warning

09:31 Production context

12:50 Narrative structure

16:30 Craig's performance as Lee

19:12 Blocking and eyelines

21:03 First meeting between Lee and Allerton

25:09 Act 2

27:35 Yagé

29:28 The relationship

36:40 Comparison with In The Mood for Love

40:32 The trip

47:15 The ending

50:55 Comparison to other Guadagnino

58:33 Outro

As voted for on our Patreon, we return to Kelly Reichardt with her 2010 Western, Meek’s Cutoff.

Ben argues that no discussion of the American Western is complete without Reichardt’s film, Wilson highlights the film’s fraught production that miraculously led to its poetic ending, and Eli frames the film within the larger context of America’s problematic Manifest Destiny.

We get serious, analytical and near-academic with Reichardt’s masterwork… all the way until you hear us try on our best impressions of Bruce Greenwood’s Stephen Meek as Wallace from Wallace and Gromit. (?????)

Get lost at our FREE patreon, discord server, and our socials @ www.deepcutpod.com

Links:

Kelly Reichardt on WTF with Marc Maron

Sundance interview

Last of the Buffalo

American Progress

Timestamps:

00:00:00 Intro

00:04:42 Plot Summary

00:05:54 General reactions

00:09:22 Eli loves the ending

00:13:24 The film as a Western

00:15:53 Production context

00:18:20 How she got that ending

00:22:10 The Western is distinctly American

00:24:20 American mythology

00:28:21 As "feminist" Western

00:30:59 Stephen Meek

00:33:15 Not your typical Western

00:37:39 Chaos and destruction

00:39:41 Actors

00:40:36 Mishandling of Reichardt's releases

00:45:25 Cinematography

00:50:47 Why 4:3

00:56:33 What's in store for Reichardt

01:00:02 Outro