Oscar Season 2025-2026; "Kiss of the Spider Woman" Officially Enters the Race; Countdown to Cannes: There Will Be Paul Thomas Anderson, Wes Anderson, Richard Linklater, Jim Jarmusch, and more!

On this episode of ACADEMY ANONYMOUS:

• KISS OF THE SPIDER WOMAN reunites Bill Condon and Lionsgate Films, reaffirms Roadside Attractions as a committed Oscar flix distributor
• JLo and Tonatiuh enter the awards conversation with lucrative distribution deal and THEATRICAL release!
• Gywneth Paltrow turns heads in the Chalamet-verse with sex-charged MARTY SUPREME talk. One to watch for this year? 
• Warner Bros. rethinks release slate - doubles down on Leonardo DiCaprio and Paul Thomas Anderson, railroads Maggie Gyllenhaal's THE BRIDE! 
• Our first takes on what you should expect to pop-up on the Croisette at this summer's Cannes Film Festival - films for cinephiles and Oscar addicts staking a claim as among the year's absolute best! 

Episode Transcript

Joseph (00:13):
Hello and welcome to another episode of Academy
Anonymous.
I'm your host, joseph, and I'mhere with Jules, and on today's
episode we are going to betalking about Khan.
We're anticipating the lineupreveal very soon, so we're going
to start talking about sometitles that we may be seeing
there for the first time.
You know a lot of those titlesannouncing themselves as future

(00:35):
competitors for Oscars, on thedomestic front, on the
international film front.
So a lot of exciting thingsgoing on there.
International film front so alot of exciting things going on
there.
But before we dig in to the conportion of today's show, why
don't we talk a little bit aboutOscar headlines?
I mean headlines related to theOscars.
What do you got for us, jules?

Jules (00:55):
Well, something that called our attention that we
were happy to see was that Kissof the Spider Woman finally got
acquired after about two monthsafter its premiere.
I know there was a lot ofcommotion about you know how
this big scale project thatlanded at Sundance probably was
the most buzzed about film atthe Sundance Film Festival, how

(01:16):
it hadn't acquired yet adistributor and people freaking
out and being frantic that thatmeant something bad, that that
meant something bad.
But you know the way thesethings sort of develop.
It takes time to, you know, getthese deals sorted out,
especially if there's, you know,complications with, you know,
licensing and contracts andwhatnot.

Joseph (01:35):
Right, and I think at one point the speculation was
that this film was made for like$65 million.
Which is just ridiculous, and itplayed at Sundance and who the
hell is going to pay $65 millionoff for a Sundance title.
You know Sundance, and who thehell is going to pay $65 million
off for a Sundance title, youknow.
And then everything.
Once the deal closed, thenumbers have gone, you know,
back to planet earth and what.

(01:56):
I think that's an acquisitionfor.
I think the mid thirties.
I think the budget must havebeen in the mid thirties or low
thirties something like that.

Jules (01:59):
So who ended up acquiring it?
So it was acquired by it'sgoing to be a co-distributed by
Lionsgate and RoadsideAttractions and LD Entertainment
and it's sort of you know,we've seen Roadside
Entertainment, which I think isI mean Roadside Attractions,
which I think is sort of beingthe main distributor here or,

(02:19):
you know, sort of taking thefront seat here.
They've collaborated often withLionsgate for other theatrical
releases.
Just last year they had SmallThings Like these which
premiered at the Berlin FilmFestival and it was very
unanimously acclaimed.

Joseph (02:34):
Artist's Equity also, I believe, yeah, artist's Equity
as well, matt Damon.

Jules (02:37):
Maybe that had something to do with this partnership
blooming for Kiss of theSpadwoman this time around as
well.
That makes sense.
But the point is that roadsideattractions is an interesting
studio because, first of all,their output is good they have
very good quality films but,more importantly, I feel like
they're adept at getting votersto see their films.

(02:57):
If you remember, uh, the lastshowgirl was distributed by
Roadside Attractions just lastyear and it got so dangerously
close to getting nominated forBest Supporting Actress
certainly for Jamie Lee Curtis.
If she had not been nominatedfor Everything, everywhere All
At Once, let alone win, shewould have definitely been

(03:17):
nominated for the Last Showgirl,I agree, and Pamela Anderson
got hopping and skipping awayfrom getting her first
nomination at the Academy Awards.

Joseph (03:26):
And she beat out Kate Winslet and Angelina Jolie for
that SAG nomination.
So that was, you know, mightilyclose Right.

Jules (03:32):
And so Road to Attractions.
I think, like I said, is goodat getting voters to see their
films, and they were nominatedfor Best Picture for Winter's
Bone a while back, 2010.
Right, and I think you knowthey were also responsible for
Judy getting nominated, Oohthat's interesting.

Joseph (03:49):
I forgot about that.

Jules (03:50):
And was also nominated for Makeup, I believe and so
they're good at getting theirfilms seen by these voters.
I think that if they boughtthis film, they see the
potential for an awards campaign.
Obviously, the press releaserevealed that that's what's
planned the potential for anawards campaign.
Obviously, the press releaserevealed that that's what's
planned.
I think it's an eight-figuredeal for press promotion, which
is no small thing.
That's big and it's going tocount.

Joseph (04:12):
That's big.

Jules (04:13):
So they're obviously investing a lot of energy and
time and focus into thiscampaign, into an awards
campaign.
That's a really good sign, andso I think that, again, they're
a very good distributor.
They have very good qualityfilms.
They don't always compete forOscars, that's certainly true,
but they have a great slate offilms, uh that they've
distributed, and so if theybought Kiss of the Spider Woman,

(04:35):
I think they see a lot ofpotential in it, and to uh
collaborate with Lionsgate andgive it a wide theatrical
release, I think only bolstersits potential for awards
consideration.
So I think it was a very goodget.
For Kiss of the Spotted Woman,I think better than most people
were starting to think, and youknow I'm happy to see that.

Joseph (04:56):
I agree with you.
I think some people were alittle skittish.
The idea that Lionsgate isgoing to roll this out wide to
me is very exciting.
You know there had been thissort of narrative that the film
is very difficult to sort ofpresent to wide audiences,
because not only is it a musical, not only is it an independent
musical, but it's also, you know, not necessarily the most
upbeat topic You're talkingabout.

(05:17):
You know LGBTQ themes and beingimprisoned, and Argentina in
the 80s, I believe.
So I'm really excited to seehow Lionsgate unrolls this.
I think I believe that theyannounced a fall release right?

Jules (05:31):
Yes, it's going to be in the fall.
We don't know exactly where yetyou and I are speculating that
September might be a good spotbecause Lionsgate has an open
slot at that time possibly.
But who knows, it could go, youknow, know it could be later.
I certainly think that if Iwere them, I would release it
before wicked oh yeah certainlyrelease it before wicked I mean,

(05:53):
I I agree with that.

Joseph (05:54):
I wonder, if I think we were looking at their lineup,
they do have a gap in septemberand they are going wide with it
and I I think it makes sense forSeptember.
Do you think that it mightmaybe show at a couple, a couple
more festivals before then?
I think there's a very, youknow, a baby date, right?

Jules (06:11):
I think that for well, I don't love September.
You know I would love more onOctober release.
September sometimes is thatsort of dicey month where you
know it's just the very start ofthe fall and, like you said,
it's sort of slow business forthe movie going.

Joseph (06:28):
Summer has ended, yeah exactly.

Jules (06:30):
And so you know, just historically, films released in
September, you know, as, as atleast as a recent trend, haven't
, you know, been able to fullycapitalize on Oscar nominations.
Actually, this is veryinteresting.
Hustlers, which again was, youknow, jennifer Lopez, was so
unceremoniously snubbed unfairlyfor that film.

(06:52):
That film was released inSeptember by STX.

Joseph (06:55):
And that was a big.
That was a big time, I thinkweekend, I think 30 million plus
, yeah, and it did really wellthat weekend.

Jules (07:00):
But the point is, you know, there's that September
sort of curse, that, uh, youknow, or or just the dead weight
of September.
You know it's really hard forfilms to premiere at that date
and power through to the veryend.
Um, so I don't love September.
However, just last year therewas a film, a big film, that was
able to buck that trend.
That's right and that was theSubstance which was able to get

(07:23):
a Best Picture nomination andeventually become the favorite
to win Best Actress Right, andthat came out in September and
made a buttload of money, yeah,which helped its cause to you
know, sort of you know, prolongthat race until March of the
Oscars.
So you know, I think it canwork.
Obviously, the Substance provedthat it can work, but it's

(07:45):
always a dicey month, you know.
Well, listen, I never got achance.
But yeah, I do think pardon me,but I do think that a fall
release makes it very likely fora Toronto premiere, yeah, I was
talking about that too.
But I'm hoping that it would atleast premiere at Telluride as
well.
I know Bill Condon has beenthere before I think he was
there for Kinsey, I believe andso possibly they'll welcome him

(08:14):
back to the Telluride fold.
Let's see.
I would love this film to benot just Toronto, to have
something else in its bag likeTelluride.

Joseph (08:17):
It would be great to see this film at Telluride because
I think Telluride, you know,does invite a lot of up and
coming Latino talent and I thinkTonya too would make an
excellent sort of person toinvite and start exposing to the
audience.
And Telluride I, I think it,will play Toronto.
I think we're looking at maybeend of September release, early

(08:37):
October, something like thesubstance and I think you quoted
an excellent movie in terms ofhow much success you can have in
terms of Oscars, in terms ofbox office success in September.
You know I'm going to say thatI haven't been very open about
this, but I love, I absolutelyloved small things like these.
It was one of my favorite filmsof the year.
Last year I was disappointed Ididn't get more accolades, but I

(09:02):
suppose, since we were comingoff Cillian Murphy and
Oppenheimer, that's why a biggerdeal wasn't made of that film
just in every aspect, butcertainly his performance, and I
think that the combination ofLionsgate, roadside attractions
and artist equity did such afantastic job with the
promotions, with the artwork.

(09:22):
I was so happy with it.
I thought it was verycreatively inclined and I think
that they should really, youknow, have a very creative sort
of marketing and P&R for thismovie.
I think it welcomes it.
I think you know you have yourwhole movie within a movie, so I
think you can have so much funwith it.
You can get a lot of peopleexcited about it, and I think
that you know, like I said, andI think that you know, like I

(09:43):
said, I think it's really boldto go wide and I think it may
pay off.
And I said this in our Sundanceepisode you guys can go back
and check that out an episode ortwo ago.
To me, after seeing this moviein Sundance, you know, I always
thought it was locked and loaded.
It was just waiting for adistributor, for someone, to
step up.
I think they got good studiosto step up.
I think, you know, had thisgone to Searchlight or it could

(10:05):
have even gone to Paramount, itwould have been, you know, just
as competitive.
I think this is a good, areally good pickup, not just for
the Jennifer Lopez bid, but forthe Tonya 2 bid, the Diego Luna
bid, the crafts.
Like I said, even really goodbox office makes this movie a
best picture contender In myopinion.
I'm not sure that I see a yearthat is, you know, enormously

(10:26):
strong like 2023.
I think there's more thanenough room to welcome this,
this type of musical and thisrespected, you know property.
Again, this was nominated forbest picture in 1985.
Um, the other thing I'll say isthat it's, in my eyes, it's so
massively important to campaignthis movie as a complete movie.
I I think any campaign thattries to focus in their efforts

(10:48):
on just one particular aspect,whether it's one craft category,
one performance, just thewriting, just the directing,
it's bound to fail.
I think you have to make amovie that's widely appealing to
all voters.
That's why I think it's equallyas important to campaign Diego
Luna and Jennifer Lopez as it isTonya Tu, who's the lesser
known but certainly possibly themost acclaimed from the film,

(11:11):
or one of the most acclaimedfrom the film.
You have to sort of campaignthe art director and the costume
designer.
And then the other thing I'llsay is I think there's some kind
of serendipity at work, becauseI think it was Lionsgate that
picked up Gods and Monsters outof Sundance in 1998.
And so when I heard that news,that was immediately what I

(11:32):
thought of, and so I think Ilater read that Bill Connan was
saying it's sort of a homecomingfor him.
Certainly the Sundance premiere, but the idea of working with
Lionsgate again and I think thatyou know the film, which is a
very delicate project but Ithink has a tremendous amount of
potential is in good hands.

Jules (11:51):
Right, I really like that .
What you said about theserendipity you know of the
whole thing, I think that'sreally cool.
I'm glad that it got picked upand I think it did a pretty good
job at getting acquired andhaving a good sort of position
now in the awards conversation.
So, um, I'm glad to see thatGwyneth Paltrow made headlines

(12:12):
with her remark.
You know that during theproduction of Marty Supreme,
which will be out later thisyear by the SAFT, by, uh, benny
Safdie, that, uh, she did notwant to have a intimacy
coordinator in the project or atleast she sort of pushed the
idea a bit or, you know, wasjust not very thrilled with the
whole thing.
The whole experience andsupposedly there's a lot of sex

(12:35):
scenes in Marty Supreme.

Joseph (12:37):
Isn't that what she said ?
She said there was a lot of sexscenes in Marty Supreme.

Jules (12:39):
Yeah, between her and Timothee Chalamet, and so she, I
think, was discussing how itfelt uncomfortable and awkward
to have an intimacy coordinator.
And it's interesting becausewe're in a place in this
industry at this moment where,you know, I think this is sort
of a fragile topic because somepeople are going to feel that
it's absolutely necessary tohave that sort of safety imbued

(13:02):
in the project, to havesomething like an intimacy
coordinator just to make surethat everything is operating the
way that it needs to beoperated.
And then there are the peoplewho feel like it's unnecessary.

Joseph (13:14):
Yeah, you're seeing some resistance to it now.
I mean, I remember Mikey, yeah,mikey.

Jules (13:18):
Madison.
Yeah, that was something thatpopped up in her campaign and
that some people were criticalabout, and so it's kind of
interesting to think about howthat's going to, how voters are
going to perceive that.
Are they going to care, arethey going to feel that it's a
little, you know, and I don'twant to say inappropriate or
insensitive, but certainly maybenot in the direction that they

(13:40):
feel the industry should begoing in, right?
Or they're going to sort ofapplaud that someone is airing
out feelings that theythemselves feel just haven't
aired out as well, right,intimacy coordinators, and so
you know, I thought that waskind of interesting.
What did you think?

Joseph (13:56):
Well, I think it's interesting as well.
I mean, I think it's going tobe different to have this coming
from someone like GwynethPaltrow, who's an established
figure in the industry, althoughshe hasn't acted in what seems
like forever by choice, Isuppose versus Mikey Madison
right, who's an up and comingactor, a young actress ended up
winning the Oscar, but is alsosort of playing a sex worker in

(14:17):
the film Right right, right, andso it'll be interesting to see
how that whole narrative playsout.
And if she's turning heads rightnow just with that headline, I
can only imagine what's going tohappen when the movie comes out
and the sex scenes are sort ofviewed and commented on and an
opinion is formed on them, andso I think this is something
that we can keep tracking untilwhat late later in the year when

(14:38):
we expect this one to come out.
Yeah, exactly.

Jules (14:41):
Right, and then another.
Another story that made theheadlines and that caught our
attention was that there was abig shakeup in Warner Brothers
this is big yeah in their filmslate for the rest of the year
and the beginning of next year.
And so there was a handful offilms that got reorganized, and
probably the two biggest onesthat called our attention and

(15:01):
called most people's attentionis that they moved up the paul
thomas anderson film, or rathermoved down, yeah, paul thomas
anderson film from early augustto late september and that in
effect, in effect kind of bootedout the late september slot
that maggie jillian halls, thebride, had and that film the

(15:21):
bride got and ended up beingpushed back to next year, 2026,.

Joseph (15:25):
March.

Jules (15:26):
I guess the first thing that comes to my mind is that in
sort of delaying the releasefor a PTA film, they're probably
trying to position it morecomfortably in the sort of
awards, kind of space calendarRight.
Kind of space calendar Right.
Um uh, again, late September,you know, feels just more prime

(15:48):
for Oscar fodder than earlyAugust.

Joseph (15:51):
Dog Days of Summer.
Really, it was kind of like aDog Days of Summer release back
in August Exactly.

Jules (15:56):
And um and.
But, like we mentioned,september is not always great
either.
Um, but I know that the pressrelease was saying that.
You know, part of the delay wasbecause they want to present
some prints in VistaVision andthey need some time to get those
prints ready and to getprojectors for the 70 millimeter
.

Joseph (16:15):
So that's how I want to present the Brutalist in
VistaVision.
I know that it's veryinteresting.
I want to see how many printsthey cut of that Right and so
that was very interesting.

Jules (16:24):
Interesting I want to see how many prints they cut of
that Right and so that was veryinteresting.
And what really called myattention is booting Maggie
Gyllenhaal's film till next year.
That was heartbreaking when Ilearned that, and so for me that
reached to me that if they feltthey had a bona fide you know,
awards contender in the Bride, Idon't think they would have
done that, and then let alonepush it back to spring.

(16:45):
You know.
I think that that shows thatwhatever they think the Bride is
, it's not an awards player.

Joseph (16:52):
I think that goes to show to, you know, really
visionary filmmakers like, Ithink, maggie Gyllenhaal
presented herself to be the LostDaughter.
You know, do not take the money, do not take the money.
Do not take the money, do notwork for warner brothers.
You know, most of the timewarner brothers movies have to
fight warner brothers in orderto come out.
So I think maggie jenna hall isstill in the fortunate place

(17:16):
that they haven't canceled thefilm altogether yet, even though
they're, you know, developingthat reputation.
But I was very disappointed Onthe upside.
We're not going to get two sortof versions of Frankenstein, so
there won't be any sort ofinternal competition there with
the Academy because Guillermodel Toro's Frankenstein from
Netflix is coming out.
I thought it was tremendouslyironic that Netflix's

(17:38):
Frankenstein spin is going tocome out and Warner Brothers
hired Maggie Gyllenhaal, whosort of made her name as a
director with Netflix, to makethe Bride of Frankenstein
version of that and then thatgot booted out.

Jules (17:51):
Do we think that that might have played a part sort of
like I don't know?
There's intel that that youknow Guillermo's, you know
Frankenstein is, you know, up tosnuff and the Bride, I guess in
their eyes, just you know,doesn't doesn't compare very,
the bride, I guess in their eyes, just you know, doesn't doesn't
compare very well.
And so they said well, I mean,if we can't compete with
Frankenstein, let's just move itto next year.

Joseph (18:12):
I think there may be a case for that, but I think
there's a stronger case for theydon't know what the hell
they're doing, right?
You know canceling movies hereand there and you know coming
out with Mad Max and basicallykilling it before it comes out
to theaters.
So Joker 2.
So I want to say that any filminside the Warner Brothers house
is in trouble, it doesn'tmatter whether you shift your

(18:34):
date.
I think that this takes Maggieout of the conversation for this
year and is in a very toughspot to even compete next year
if they keep that March releasedate.
I will say that for my money.
I don't think we've heard theend of this conversation.
I have a lot of red flags withall these projects.
I'm gonna, you know, put mycards on the table now and say

(18:58):
that I think this isn't the lastWarner Brothers shakeup.
We'll see.
I think a project likeWeathering Heights from Emeril
Fanel, or even the Tom CruiseAlejandro Iñárritu project may
end up showing up this year,because I think Warner Brothers
wants a bona fide hit that cancross over with the Oscars, and

(19:18):
I think right now they're intremendous trouble trying to
produce that.

Jules (19:24):
Well, you know, on that note, I think we can transition
quite well from these headlinetopics into what will be the
majority of our episode, whichwill be looking at the possible
titles that will be premieringat the Cannes Film Festival very
soon and sort of hopefully, bythe end of our sort of

(19:46):
exploration of films that couldpossibly contend give our
predictions for what actuallywill, we think will be
premiering there.

Joseph (19:53):
Yeah.

Jules (19:54):
The Cannes Film Festival is going to be in May, I believe
May 13th.
Yeah, I think it runs for 10 or11 days.
The jury is headed by thealways exceptional, iconic Julia
Binoche, one of the greatestactors of our time.

Joseph (20:10):
And a great, a great spectator also yes, great
cinephile.

Jules (20:13):
Absolutely, and I can't wait to see who's going to be
joining her on the jury.
But what's interesting is thatthe titles will actually be
revealed on April 10th, so we'regoing to be devoting a couple
of episodes to predicting who wethink is going to be in that
lineup, right?

Joseph (20:31):
um, well, I can't wait to hear the other members of the
jury.
Yeah, but let's uh startdigging into that lineup what
we're seeing.
Let's maybe present to theaudience some spoilers, and I
think there's no better place tostart than one battle after
another.
Paul Thomas.

Jules (20:47):
Anderson.

Joseph (20:48):
The Paul Thomas Anderson film.
Not only did we get the WarnerBrothers shuffle a few days ago,
but we also got some footageright.

Jules (20:54):
Right.

Joseph (20:55):
We got some footage, interesting stuff.
Maybe we'll comment on it in alittle bit, but here's what we
know.
We know that the film there'sbeen rumblings online it.
Here's what we know.
We know that the film there'sbeen rumblings online.
It's been screening.
It's been screening, we know thefilm was close to three hours.
I think two hours 50.
It's now down to two hours anda half.
We know this is going to be abig Paul Thomas Anderson film.

(21:17):
The budget 100 plus 100 million, plus possibly the biggest I
believe by a wide margin budgetthat PTA has been given.
Warner Brothers also releasingthis, and IMAX quote unquote
printing, vistavision prints,which I think is wonderful, and
I wouldn't put it past someonelike Paul Thomas Anderson who
really loves the film experience, the cellular experience, the

(21:40):
projection of film, that ideathat he wants to present it on
film in as many places aspossible.
Here's what we know.
We also know that the releaseis set for September 26th with
that shakeup.
But I'm going to pose the ideathat, despite reputable outlets
like Variety, sort of quotingthat the film will certainly not

(22:03):
play at Cannes con.
I want to maybe throw a littlebit of skepticism.
Skepticism about that.
Right, um, here's my pitch.
My pitch is that paul thomasanderson I don't know that he
loves going in competition tofestivals, right um, you know
he's, he's done a few of them.

(22:24):
There will be blood went tofantastic fest, inherent vice
went to new york, the masterwent to venice.
But if warner brothers is sortof pitching this september
release as a you know, as thefilm possibly screening
somewhere between telluridetoronto and venice, which
occurred during those septemberrelease dates again early
september, very late august, interms of Telluride Toronto,

(22:47):
going from early September tomid-September, I think the
release is a little bit late forthat and I'm not sure how
excited someone like Paul ThomasAnderson would be to show his
film there in competition.
Here's the other thing.
I think that Warner Brothersreally needs this film that's
coming out on IMAX screens tomake some money.
They really need this film tomake some money.

(23:09):
I've even heard rumblingsonline about how the film has to
cross $300 million to come upwith a profit, and I think
there's some faith being putthere on Paul Thomas Anderson,
but certainly on the lead,leonardo DiCaprio, and my idea
is that if a film comes out inVenice and it gets glowing
reviews, the very fact that it'sa Paul Thomas Anderson film, a

(23:32):
visionary filmmaker, he's notgoing to pander to the audience.
It's not necessarily ever goingto be an easy sell for people to
go and buy a ticket two weekslater.
I think it's incredibly risky.
So to me, with that date, whatI see is maybe you do a
screening at Telluride and tryto get some of that excitement,

(23:54):
sort of like how Jason Ryman didfor Saturday Night, but that
didn't really translate verywell.
The other thing I couldpossibly see is New York,
because New York starts on the25th of September, and so maybe
Paul's going to do a veryspecial this division screening
there.
That would be great.
I think that would be wonderful.

Jules (24:09):
But again there's not Sort of like.

Joseph (24:10):
Inherent Vice, sort of like Inherent Vice, I just maybe
the opening night film right,which is something that David
Fincher did for Gone Girl theyear that Inherent Vice
premiered there.
So it's not, you know, off thetable, but I don't know that.
That gives you a lot of time tobuild up that buzz.
So my idea is that the bestpossible place for warner

(24:31):
brothers to premiere this filmwould have to be the con film
festival and they have to try tocopy or mimic as best as
possible the sort of playbookthat once upon a time in ho had.
Now I don't think this is thekind of film.
Again, from what I know aboutit, it may be more mainstream,
it's inspired by Vineland, soI'm not sure this is the kind of

(24:54):
film that's going to draw theaudience of Once Upon a Time in
Hollywood.
But if you premiere it atCannes, I think you're getting a
chance to sort of repeat thatstrategy.
And so a big, splashy WarnerBrothers premiere at Cannes for
this type of film I think ispossible.
I think it would probably goout of competition.

(25:14):
So, despite all indicationssaying no, it's not going to
happen, I want to go ahead andput this back in play as to why
it could happen and why I'm notcompletely discounting it.
The other thing I'll say is thatleonardo dicaprio, who's going
to be one of the most bankablethings about this film?
Right um, he has a really goodreputation with with con right

(25:37):
killers of the flower moon onceupon a time in hollywood.
Right um, he doesn't really dotoo many of the fall festival
circuits.
Very rare for you to see himsomewhere between Venice,
telluride and Toronto.
He likes to maybe focus on anice big summer release.
Maybe what he thinks is theking of all the festivals.

(25:58):
So I'm kind of thinking thatthe Great Gatsby was another one
that premiered there.
So I'm kind of thinking rightnow that they're either going to
premiere this in Cannes orforego any type of festival.

Jules (26:15):
So New York.

Joseph (26:16):
And possibly, if they do premiere it in Cannes and it
does go well, don't be surprisedif maybe they push that date a
little bit, september 26 tomaybe back to August, late
August.
I guess it depends on how otherfilms do.
The only thing that I would bemaybe a little bit hesitant
about is, I don't doubt thatPaul wants to show it in

(26:37):
VistaVision.
So if they are trying to printat least one copy of that right
to show at a festival, I'mpretty sure that Paul would want
to show it off.
That.
I'm sure Khan can manage.
But will it be printed in time?
Will it be ready in time?
Right, right, but I'm certainlynot taking out the table.
I want to put it back on thetable and say that variety is
wrong.

(26:57):
Right, but we got footage.
What did you think of thefootage?
Not necessarily a teaser yet,but we got some images.
What are you thinking?

Jules (27:03):
Oh well, you know, just, personally, like many, you know,
pta is my favorite filmmaker,and so, in a way, you know, pta
can do no wrong.
I think it looks, you know,amazing.
I can't wait, and I think it'skind of odd, though, to have,
you know, a kind of, you know,pre-trailer before the trailer.

(27:25):
You know, I wish you would just, you know, just show us the
trailer or the teaser whateverit is.

Joseph (27:31):
Right.

Jules (27:32):
But I think it looks great.
And you know, I purposely trynot to read too much about it
because I just want to have avery sort of singular experience
with a PTA film.
Yeah, you know, I think he's,you know, the greatest living
filmmaker alive.
And you know I think he's, youknow, the greatest living
filmmaker alive.
And you know, I think manypeople feel that way.
Um and so, yeah, I can't wait.
So I was very happy to see that.
What about you?

Joseph (27:53):
I agree, I think it's always going to be a tough sell.
I don't think it's going tomake its money back because I
don't think audiences areeducated enough to sort of buy
the ticket for this, Um, but Iwill say that from what I saw in
terms of Oscar prospects, youknow it's always going to be a
tough sell a Paul ThomasAnderson film, because he
doesn't, like I said, pander tothe audience and he sort of
lives in his own wavelength,which is wonderful, and he's

(28:15):
also not interested in how manyawards or Oscars his project's
got.

Jules (28:18):
Yeah, he doesn't care, which is why his films are great
, right, exactly.

Joseph (28:21):
But I will say I really like the way Tiana Taylor looks
in it.

Jules (28:32):
And will say I I really like the way tiana taylor looks
in it and I think that he shelooks like she has a very good
part.
I actually found yeah, I agreewith you I think that the
actress who plays the daughter,chase infinity, I think she's
going to have a very big,prominent part.

Joseph (28:38):
You know, she stood out to me a lot yeah, I agree, and
so it kind of brings up the idea.
There's been a lot of rumblingsthat you know this film is
finally going to give reginahall the position in the oscar
race that she has long deserved.
Amazing actor, an extraordinaryactress.
But the footage I'm seeing,sort of you know, pushed me a
little bit more towards tianataylor and jason finnett, yeah,

(29:00):
and that said, you know this isa huge cast.
Yeah, um, there's been a lot ofgood word for sean penn's turn
in this, even though sean pennnot always the easiest person to
vote for.
God bless him, he's the best,the best.
Um, but it sort of brings upthis idea right where, in terms
of awards prospects, there'sgoing to be so much infighting
in this movie and internalcompetition, because everyone

(29:21):
gets a good part right almosteveryone gets a stand-up part
and we'll get some moment toshine yeah
and so you.
It wouldn't surprise me ifthere's just the.
The love for the performancesis just too spread out that you
come up with, you know, nonominations.
But from the footage I wasseeing, you know, dicaprio of
course always going to be afavorite and he got snubbed for
killers, so he's definitely backon the table in terms of best

(29:43):
actor, right, right.
But chase infinity, t, butChase Infinity, tiana Taylor
look like they have excellentparts, yes, and looks like
they're going to do a wonderfuljob there, right.
So then, after that which Iwant to throw back on the table,
let's go to some favorites.
And so Variety has sort of, Isuppose, officially or
unofficially confirmed thatwe're going to see Jim Jarmusch
in the festival again, which isgreat.

(30:04):
We haven't seen him since 2019'sthe Dead Don't Die.

Jules (30:07):
And he's presenting.
Yeah, it's been a while.

Joseph (30:09):
He's presenting Father, Mother, Brother, Sister, which
could be a bit of a tonguetwister.

Jules (30:14):
I think it's Father Mother Sister Brother.
Excuse me, father Mother SisterBrother.
Yeah, exactly, father Mother,sister Father.
Yeah, this is going to be athing with me all season long,
okay.

Joseph (30:25):
Jim Jarmusch, one of my favorite filmmakers.
He has a great cast here.
He's got the always notableCate Blanchett Adam Driver
Reunion there from their work onPatterson which premiered at
Cannes.
Wonderful film between the twoof them.
You got Tom Waits in this, yougot Charlotte Rampling, miami
Alec just a very great cast.
Vicky Creeps a.

Jules (30:45):
Paul Thomas Anderson, veteran.

Joseph (30:47):
Yeah Right, so it looks like a great cast.
The film is being describedsort of as a triptych, in the
sense that it has these threesort of parallel stories going
on.
We don't know how related ornot they are.
Some of the details are scarce.
We know that it's taking placein multiple locations.

(31:09):
I think the mother story isoccurring in dublin, the father
story in north eastern unitedstates and the sister brother
section where they share onechapter I think is occurring in
paris.
It's tough to tell who's gonnastand out.
Um, I remember him commentingon this sort of saying.
The film is is very funny butalso kind of very quiet.
Um, there's always a certainsense of melancholy and and a
Jarmusch film.
I think his films have onlygone as far as winning the Grand

(31:31):
Jury Prize, I believe, forBroken Flowers Won one of the
big three, I believe so he hasyet to win a big one.

Jules (31:38):
I think it won.
Didn't it win the big one atCannes?
Broken Flowers, I think, wonthe Palme.

Joseph (31:42):
No, I don't think that it won the Palm Dior.
I actually think that he hasyet won the Palm Dior, despite
being there Maybe the Grand Prix.
So often, maybe the Grand Prix,maybe I'm confusing it with the
jury prize, but he hasn't wonthe Palm Dior yet.
This is an early one that theyconfirmed.
It makes me think that it'sbeen widely screened enough in
the industry and that it wassubmitted and it's a no-brainer

(32:03):
that it's going to be acceptedby Thierry.
Interesting thing here is youhave his editor, alfonso
Goncalves, which I believe heworked with on Only Lovers Left
Alive, beautifully edited, andthen he has two DPs on this
Frederick Elms, who's wonderful,that everyone should know, from
Blue Velvet, right, and he'sworked with Jim Jarmusch a lot.

(32:24):
He shot Patterson, being a newjersey native himself, I believe
, um, but also has yorick yorick, uh, so right, so he's done
some very prominent work.
So, um, two cinematographers,two cinematographers.
I don't know why that is.
we do have multiple locationsand I hope it's not any other
type of personal complication.
They're wonderful, wonderfulartists.

(32:45):
Yeah, um, we also know this iscoming from mooby.
We know mooby has bought therights to this already.
So I mean, uh, could thisfigure into the race?
You know there could be astandout part here for a
supporting player.
I'm not sure this is going tobe the vehicle to bring back
someone like adam driver or kblanchett, even though adam
driver and him have worked sobeautifully in the past.

Jules (33:04):
Um, what's interesting?
What's interesting is that youknow, as we mentioned privately,
that you know jim jarmusch filmhas never really made an impact
in.
You know the award circuit.
You know, you haven't seen hisfilms at the academy awards ever
.
Right, or?
Or the golden globes, yeah, Ibelieve um, or the any of the
guild awards, really.
So you know, you know it.

(33:26):
It's sort of Jim Jarmusch, likePTA is sort of on his really
singular own specific beautifulwavelength.

Joseph (33:33):
Yeah.

Jules (33:34):
You know where sort of awards are, just, you know, just
not that important.

Joseph (33:37):
Right, this would need to be sort of such a critical
standout for the Academy to evenembrace this Again you stand
out for the academy to evenembrace this again.
You talk about that amazingbill murray performance from
broken flowers.
Didn't get nine for anything,just a tremendous cast too, by
the way, yeah, but uh, it didn'tget nine for anything and they
could have nominated bill thatyear because they snubbed him
for the win in 03 right right.

(33:58):
So I think it's tough to everget a a jim jarmusch film
nominated for anything but movie.
Mubi is getting stronger.
You know Charlotte Ramplingjust got nominated a little
while ago.
Could she possibly be a winnerat some point?
I don't know who's playing who,so maybe she plays mother.

(34:18):
Tom Waits, I hope, plays father.

Jules (34:21):
I think Francois Lebrun.
I wonder if she's going to playmother.
I remember her from Vortex,which we saw a couple years ago
which is an amazing film byGaspar Noé, the French vet.
Yeah, and I don't know.
I feel like she, to me, sticksout as someone who could play
mother.

Joseph (34:38):
We could have multiple mothers in this movie.
I have no idea, but it's greatto see him collaborating with
these actors.
I'm sure it's going to be awonderful film.
This is a film that I'm I'msure is going to play new york
and play right telly ride, soit'll be exciting to see what
happens here.
Um, another title that has beenall but confirmed, I believe,
is wes anderson's latest, rightthe furnition scheme.

(35:00):
Right, right, um, and that'scoming from focus features, and
it has a release date, I believe, of may 30th, june 6th, wide in
theaters, and so this is theperfect place to premiere it.
You know Wes Anderson, a staplehere, brought his last film,
asteroid City, which was myfavorite film of 2023.
So we don't know very muchabout it.

(35:21):
We do know that there's thissort of espionage element, and I
heard rumblings that it's inthe 1950s.
Could be very interesting.
You know who's in this isbenicio del toro, right, uh, who
has yet to be nominated in thelead actor role.
I believe he's the lead here,but it has a great cast, right,
um, including tom hanks, scottjohansson, michael cera right,

(35:42):
right, um, I've been hearingthat this might be a breakout
moment for a young actress.
I believe I'm saying her nameright Mia Thrableton, I believe,
who was actually Kate Winslet'sdaughter.
I heard she has a very goodpart in this.

Jules (35:57):
I'm really excited to see that.
I'm really excited to see.
Well, first of all, wesAnderson again one of my
absolute favorite filmmakersyears as well, right, and so I
can't wait for this.
Absolutely favorite filmmakersyears as well, right, and so I
can't wait for this.
But I'm very curious, and Ialready know that so many of
these actors work beautifullywith him.
Scott Hunter Hanson was sobeautiful in Asteroid City.
Yeah, bill Murray, you knowactors that he works often with.

(36:19):
I can't wait to see CharlotteGainsbourg in this movie
Cumberbatch, been in Cumberbatch.
But you know Mia Threepolton, Ican't wait to see her debut.
It's her first film, isn't it?

Joseph (36:30):
I don't know if it's her first film, but I think it's
her first big role.
I can't wait to see that yougot some new people here
Charlotte Gainsbourg is in thisone, riz Ahmed and some people
who worked with him on thoseshorts, hope Davis, bill Murray
is always there, bryan Cranston,again co-written by roman
coppola.
They work so well together andyou know what I thought was
interesting about this?

(36:50):
And here's the thing when youhave a wes anderson film, you
kind of work with?

Jules (36:54):
I'm sorry, has he ever worked with richard ayodi?

Joseph (36:57):
richard ayode.
I don't know if he has he.
Maybe he did on one of thoseshorts.
I don't think he's worked onhim, with him on a film, so
that'd be cool to see also.

Jules (37:05):
That might be very interesting, right, because they
have a very similar sensibility, right?

Joseph (37:10):
Yeah, that could be a very interesting combination.
Scarlett Johansson is going tohave one hell of a year this
year and this, I think, will beone of her first stops at Cannes
.
She's going to have more filmscoming out.
Maybe she can present a film ortwo in Cannes.
She can present a film or twoin Cannes.
I don't know, I'm not peggingit right now, but it could
happen.
Something really interestinggoing on here Again, when you
have a Wes Anderson filmcompeting for Oscars, they

(37:32):
almost always deserve but don'tget nearly enough recognition in
the categories of costumedesign, in the categories of
production design.
Very interesting thing he'sworking with a very prominent
makeup artist, again, prostheticdesigner, I believe Mark
Coulier is his name and theyworked together on the Grand
Budapest Hotel so he'sback on this one.
So we're going to see some verycool makeup work.
So watch out for that.

(37:54):
And here's what I thought wassuper, super exciting, which is
Wes Anderson Again, always atreat to watch for below the
line, and it should compete inmore categories whenever he
comes out with a film.
But we know him for hiscollaboration with Robert Yeoman
, right, and this time he'sgoing to be collaborating with

(38:17):
Bruno Delbonel, right, and Ithink the only thing that comes
to my mind is remember the lasttime that Bruno Delbonel sort of
stepped in to photograph a filmfrom a prominent, uh, singular,
filmmakers and sort of broughthis own spin and it ended up
being one of their mostbeautiful looking films yeah,
and that's when he broughtalongside the coen brothers

(38:39):
inside lewin davis to con 2013.
Right, the coen brothers, ofcourse, known for their
collaborations with, uh, rogerdeacons, right, right, but it
ended up being such a gorgeouslooking film and so I cannot
wait to see what bruno delanoand wes anderson cook up
together I'm sure it's going tobe beautiful yeah um, now the
problem is that wes hasn'treally turned out to be always a

(39:00):
great bet, I think, for focusfeatures, but I I hope this one
turns out to be anothercontender, because, god knows,
he deserves so many morenominations than what he has so
far.

Jules (39:11):
Yes, you know, flowers upon flowers.
But I will say that Benicio delToro did work on the French
Dispatch, so you know, this issort of his second collaboration
, I believe, with Wes Anderson,and actually he was my favorite
part, I think of the French.
Dispatch, so I can't wait tosee him.
If he is the lead here, that'svery exciting.

Joseph (39:31):
Yeah, and I believe his name is Zaza Korda.
So I cannot wait for this film.
Watch out for Benicio Del Toro.
Side note Benicio Del Toro alsohas a supporting part in one
battle after another.
Could that be a little bit of agiveaway here?
Battle after another.
Could that be a little bit of agiveaway here?
We don't know, possibly.
Um, the next title hasn't beenconfirmed, but I've had this

(39:51):
pegged for con ever since Iheard about the project and I
think it's going to be a majorfilm at con and I cannot wait to
hear how it goes.
And that's richard linkladder's latest nouvelle vague.
Right translates to New Waveand it's a film about the French
New Wave filmmakers.
It sounds very exciting.
I think he's been excited aboutit for a while.

(40:12):
I think that this is all butguaranteed a spot.
It should be competition.
Here's what I know.
I know it's again a big castand his film is going to be sort
of behind the scenes of themaking of breathless jean-luc
godard is going to be acharacter, gene seberg is going
to be a character, but then youhave all these influential

(40:34):
people from the new wave, thefrench new wave, you know.
Are going to be charactersfrancois truffaut, for example,
and a lot of the members of thecast I think are relatively
unknown yeah, I think most are.
Yeah, most of them are knownFrench actors.
I think maybe the mostprominent is the actress who is
playing Juliette Greco, right,and she's the most prominent

(40:56):
French actress.
And then, of course, Zoe.
Zoe Dodge.
Zoe Dodge, who they worktogether on.

Jules (41:01):
Everybody Wants Some.

Joseph (41:02):
Everybody Wants Some, and so a little bit of a reunion
for them.
And she's playing Seberg, whichStewart, kristen Stewart played
not too long ago to someacclaim, and so the other thing
I know is that it's shot inblack and white, you know, and
that you know in a very new wavesort of way.

Jules (41:19):
Not every day you see a Richard Linklater film in black
and white, exactly.

Joseph (41:24):
I don't know the DP right now I can't put my finger
on it.
I'll look for it.
But I do know that the film isgoing in without any
distributors, so thedistribution will be up for
grabs.
Here's the thing is that thisfilm can go one of two ways.
It can either be a huge gem ofthe festival that's going to win

(41:46):
the hearts of the Frenchcinephile community, who can be
very resistant to sort of thekitsch of representing them on
screen.
I remember Misha Hazavinichushad a Jean-Luc Godard film I
think play here.
It did not go well.
I don't think that Jean-LucGodard would smile upon any sort

(42:07):
of representation of his onscreen.
But I do think that RichardLinklater is just such a lover
of cinema, such a cinephile,such a cineast, that I think
that he's going to be able towalk that really narrow line
between homage um of reverenceand also maybe use it as a

(42:32):
jumping off point to what hethinks cinema in the future
could be right, right, um, youknow, we talk about sort of the
idea of jason reitman's saturdaynight, sort of recreating
history for that moment andplaying like gangbusters at
telluride.
But it had problems right,finding legs with the overall
movie going community andcertainly Oscar voters.

(42:52):
Unfortunately, I don't thinkthat Richard Linklater will have
the same issue.
What do you think?

Jules (42:59):
I agree with you.
I think that this film to me Idon't know what the trades are
predicting or not, as opposed to, I mean, regarding a premiere,
but this would seem like a nobrainer to me as well.
Um, and you know, I think,richard Linklater, a great
filmmaker who certainly, youknow, operates on a more nuanced
register, but you know, hisfilmmaking to me has always been

(43:22):
very, you know, direct but wise, and you know, full of depth,
yeah.
Full of depth, and so I agreewith you.
I think that was really wellsaid what you said.
I think his films have atendency to sort of, you know,
be very rooted in, uh, thepresent as well as looking
forward.

(43:42):
So in tackling this, you know,um nostalgic sort of movement,
uh, I'm interested to see howhe's going to apply his, his
sensibility, his vision um andhis uh signature.

Joseph (43:57):
Right, um, and it seems like a lot of his below the line
talent doesn't really have anysort of history with Oscars,
because he's sort of taking theanti-Jacques RDR route, if I may
say, in the sense that there'sa lot of French talent here
French DP, french editor and sohe worked as closely as he could
with French talent to make thefilm.

(44:19):
Again, I think it speaks to hisreverence for the place that
French cinema has in history andcertainly in his heart.
So I think that this is goingto be a big deal, and this can
either go one of two ways.
This is either going to be amovie that is going to be
tremendously tarnished andripped to pieces by French
critics and French audiences, orI think it may just be the de

(44:41):
facto winner of one of the threebig prizes because he's just so
big hearted and he's just suchan expert filmmaker.
Yeah, um, who's gonna grab it?
I don't know, because this, youknow, it's stacking up in terms
of your slate.
I don't think neon has any room.
I think a24 is running out ofroom.
Um, I would hate, hate, hate tosee this go to netflix, because

(45:04):
that basically disqualifies itof almost competing in any
category.
Right?
Um, I just don't think, as wesaw last year, that Netflix will
ever make a movie that'scompelling enough to win win up
against the argument that it'snot movie.
Going to sit at home and watcha movie on Netflix, that it is
not the practice of watching amovie, um.

(45:26):
So I don't think it's in thecards for them and I think that
them sort of taking on thistitle is it's going to.
Maybe the title can muster afew nominations, but it's going
to be tough.
I would love to see Richardwork with IFC again.
Uh, richard brought IFC therefor Boyhood.
Ifc, a tremendous, tremendousdistributor of quality cinema.

(45:47):
I'd love to see thatcollaboration.
Of course, some people aregoing to be skittish about the
black and white right.
No known actors, essentially,right.
This is a film for cinephiles,right?

Jules (45:58):
So you got to really watch out for netflix, though,
because you know he has arelationship with them but they
did so bad by him right forhitman, right, but to hear that,
you know, I think neon wassaying the other day in an
interview representatives ofneon that they really wanted
hitman and they lost it out tonetflix.
Um, and you know, just you know, don't discount Netflix.

(46:23):
Being someone who could reallybuy a Richard Linklater film,
especially one that they see,you know, awards potential for.

Joseph (46:30):
I, you're right, I completely agree, but I think
Richard Linklater is going towant this one in theaters.
He's going to want this homagein theaters.
I think, like I said, thiscould be one of the biggest
titles to premiere there andthat someone might scoop this up
really fast, right?
Um, I wonder how julia binocheis gonna feel about this movie.

(46:50):
It could be very interesting.
Um, anyway, let's move on intothe next title and speak of the
devil.
It is actually going to beneon's title sentimental value
by joaquin treer.
Of course, joaquin had arunaway hit with worst person in
the world, which neon alsoacquired and campaigned in the

(47:12):
year 2021.
It did not win the palm dior,um, although he's competed for
multiple times, on multipleoccasions, for the prize, he has
yet to win the big prize, um,but the worst person in the
world was a huge crossover hitwith academy members.
It probably got super close.
Yes to best picture, to bestactress, and so there's a lot of
anticipation for this next filmand I'm wondering if it's going

(47:34):
to be able to meet the moment.
Um, this is going to be not justa neon presentation, a film
that neon has already acquiredthe rights to, but I believe BBC
Films is also going to beinvolved here in this production
.
I think Compleason, which isthe wonderful company, a
production company associatedwith Marenade, is on here as

(47:54):
well, and we have a reunionbetween Joaquin and Renate Reins
.
Right, and she's taking thelead role here again.
Right, and everyone remembersshe was a huge critic, darling
for worst person in the world,so she's a lead here again.
Lo and behold, I believe she'splaying an actress in this film
which could be, you know, oscarfodder in and of itself, um most

(48:17):
recently she was kind ofplaying an actress, I think in
Armand which premiered on asidebar at Cannes.
So I think you know this will bean opportunity for her to get
back in the conversation, Ithink.
As far as I know again, detailsare few right now, but she's an
actress, she has a sister.
They're sort of mourning hermother and the father, who I

(48:40):
believe is is estranged, comesback into the picture and and he
is a once famous director or afamous director and I think you
know he's trying to heal hisrelationship with them.
At the same time, I believehe's written something and wants
to take on a project that'ssomewhat inspired by his family
life and he even brings it tothe daughter, renata Reins, as a

(49:02):
possible role and from what Iunderstand she passes on the
part and that brings him to takethe part to another actress,
which I believe is going to bethe role for Al Fanning in this
film, al Fanning starring inthis film.
This is again a co-production.
As far as I know, some of it isin Norway, some of it's from

(49:23):
Denmark and I think wouldn't besurprised if some of it was shot
stateside or is in the Englishlanguage, but so I think that's
where we're going to get AlFanning right, possibly as that
actress you know who else is inthis movie is Corey Michael
Smith right, who had a littlebit of a scene stealer part in
saturday night and it's sort ofmay december, may, december,

(49:45):
right may, december, often withwith yeah, todd haynes exactly
so he's no stranger to conhimself to scene stealing right
or to scenestealing.
You're right, um and um.
You know he's a very brightfuture and so he's in this as
well.
I'm not sure in what capacity,but I found it very interesting
that he's in this.
Um, I think a lot of hisfrequent collaborators are on
this, but I think a lot of eyesare on whether this neon film

(50:09):
can win the palm dior again,because onora just came off of
the neon win right and you gottriangle of sadness, which was
picked up by Neon, I believe,before it premiered.
So is Neon going to go thedistance again?
I mean, I forgot that.
I believe that Palme d'Or didgo to Anatomy of a Fall right,

(50:32):
and that was another Neonrelease.

Jules (50:34):
I'm going to say my gut tells me that this is going to
be the year that we're sick ofNeon, that I think they're going
to look elsewhere and elsewhereand not give neon the palm d'or
win, otherwise it would feeltoo, you know, you know, I don't
know, uh, purposeful, let'sjust give the neon film festival
, brought to you by neon filmsright.
So I think they're.
They're, my gut tells me.

(50:55):
I mean, having not seen any ofthe films, and I'm sure this
film is going to be great.
I, I love Joaquin Trier, youknow.
I just think that they're goingto want to, you know, give
another studio an opportunity.

Joseph (51:08):
Well, I mean, what do you think about the Renata
Ryan's playing an actress onthis?
You think that's going to beanother Beatty Rover?

Jules (51:14):
I do think.
So I don't think that she isgoing to win best actress at con
, which I think greatly helped.

Joseph (51:19):
Well, she got snubbed last time.

Jules (51:20):
Right?
Well, no con.
I mean I don't think she'sgoing to win best actress at con
, because she won.
You don't think she's going towin for this one, right, because
she won for worst person in theworld.
Oh, I'm sorry.
Yeah, so you know that'sprobably not on the cards for
her, so she you don't thinkthey're going to give it to her
twice in a row.
Yeah, I'm not sure if there's arule against that or not, I'm

(51:42):
not very well versed on thoseparticular rules, but I doubt
that she wins so close behindyou know, 2021.
And so I think it would have tokind of make an impact
elsewhere in the awards.
But I think, certainly, I thinkthe Academy at least.
You know, the trends in thepast have been that they like

(52:02):
actors playing actors, and so,uh, I think that bodes well for
her chances and I think she wasvery snubbed.
She had a great performance inWorst Person in the World.
She probably was super duperclose, and so if this film is
even just remotely in the avenueof you know, success, I think
she's going to stand a terrificchance.

Joseph (52:23):
I think all that's well said.
I mean talking about Snub, wetalk about Elle Fanning had a
great year last year.
Yeah, this year she, I think,is poised to have another great
year, at least going to have onetitle in Cannes.
But I expect her to have acouple more titles in the
festival circuit this year, alsoplaying circuit this year, also
playing an actress.
Do you think maybe there's achance there for supporting
actress for her?

Jules (52:42):
Yeah, I mean, I would really hope so.
I think it's kind of crazy thatsomeone like Elle Fanning, with
the you know career that she'shad and the talent that she has,
has never been nominated for anAcademy Award.
I would love to see her there.
I think a lot of actors feelthat way about her.
She's, you know, among thebrightest in her age group.
I think everyone knows thatwe're going to continue seeing

(53:03):
great things from her, so it waskind of a bummer to see that
she couldn't capitalize on thatfor Complete Unknown.
She was so good in that movie,so it'd be nice to see her in
the conversation as well.

Joseph (53:15):
Yeah, maybe she'll fulfill that potential, I think
this year, with that nomination.
And then you know, StellanSkarsgård, the great Stellan
Skarsgård, who has never beennominated, who has never been
nominated?
Who is you know?
You just see his face and youknow who it is.
Yeah, Is playing the estrangedfather slash director in this
film.

Jules (53:34):
I would say that that's one.
I think that's one of thebiggest, if not the biggest part
to look out for, right.
You know, I thinkStanskarsgaard is way overdue
for a nomination, and so if hehas a meaty part in this film
and it does well, I seeabsolutely no reason why he
wouldn't be a major factor inthe awards conversation.

Joseph (53:53):
You know, what I thought was interesting about this and
why I sort of brought it up also, is the idea that Compleason
again that production companyassociated with Miranda Adea,
who was behind Maria SpencerCorsage Ahead's Knee.
You know it.
Just, I found it interestingbecause it's a whole
father-daughter relationshiphere.

Jules (54:10):
Oh yeah, Tony Erdman, yeah it's.

Joseph (54:11):
Tony Erdman had the same sort of thing, at its heart
with a wonderful film.

Jules (54:15):
Yeah.

Joseph (54:15):
And so I think this has the Miranda Dea sort of seal of
approval.
She has great taste, she hasamazing taste, amazing.
So certainly I think all eyesare on this film to potentially
win the Palme d'Or.
You're saying they're going togo elsewhere.
I totally buy that argument.

Jules (54:29):
Well, no, I said they're going to go elsewhere for
actress, for actress.

Joseph (54:32):
Right, excuse me.
So what do you think about thePalme d'Or as well?

Jules (54:36):
as that.
Yeah, the Palme d'Or will notgo to a neon film.

Joseph (54:39):
The neon streak ends with Onora.

Jules (54:41):
I think it's very interesting Kind of makes sense.
Onora climbed all the mountainsthat were to climb Right that's
it so now that's a new slate.

Joseph (54:48):
Yeah, I'm sick of neon says.

Jules (54:49):
Khan, no, no, no I'm kidding.

Joseph (54:52):
Anyway, I think that brings us up to the last title
that I want to talk about today.
Again.
So, titles, I hope we can talkabout them some more on our next
episode, but I think it wouldbe so appropriate to end with a
film that I think we'redefinitely going to see there,
along with some of these othertitles we've mentioned today,

(55:12):
which is the new film from JuliaDucarnel entitled Alpha Julia,
of course, coming off her winfor the Palme d'Or in 2021, same
year as worst person in theworld for her film titan, which
I absolutely adored.
Um, that film did not make verymuch noise, uh, interestingly
enough, talking about paulthomas anderson, he, he liked
the film.
Um, it was a very popular filmamongst critics and I didn't get

(55:36):
the support that other filmshad gotten to get nominations.
But I bring this up because itis yet another neon presentation
here.
This is neon behind this filmas well, right, uh, film nation,
I think also here.
Um, and I think julie dukernowis so interesting because we

(55:56):
talk about titan not beingnominated for any oscars.
But I've told you before, Ithink it was so instrumental the
idea that Teton comes out incompetition in Cannes and wins
the Palme d'Or.
I think it was so instrumentalto the idea of the substance
being made and the substancefinding success within Cannes

(56:17):
and with global audiences,within con and with global
audiences.
Just this idea that we're inthis possibly exciting moment,
this exciting era, where thesevery assertive, bold female
voices are really exploiting thegenre, genre filmmaking, to
come up with these reallysingular pieces of cinema.

(56:38):
I think that was sort of theburgeoning of that was Teton,
and so I don't think that juliadu carnau could repeat as a palm
d'or winner.
I don't, I don't think so, eventhough it's happened with
reuben oslund most recently.
Um, but I think she's missingthat attention at the academy
because titan wasn't even up forforeign film.
And so from what I understandabout this project, uh, set in

(57:01):
the 1980s I believe and I leavethe the plot summary or the
synopsis has been sort ofpresented as this idea of this
young girl who's sort ofostracized by her, by her
classmates, uh, because ofrumors that swirl, or, uh, this
idea that she is carrying thisinfectious disease.

(57:22):
Some people have brought up theidea that there's some
similarities here between thisfilm and an earlier short film
of Julia's career.
Maybe we're going to see someof that I think.
The other thing that I know iswe have someone like Tahar Rahim

(57:43):
on this film and the wonderfulactress who, interestingly
enough, had a reallyscene-stealing part in Patterson
Golshifta Farahani, I believe,is her name.
I hope I'm pronouncing it right, but she's a wonderful actress.
She's in this as well, andthere's a young, young girl in
the film.
I think they're going to playsort of these parental figures.

(58:05):
Um, from what I understand,tahar rahim lost an incredible
amount of weight to play thisrole and, uh, from what I
understand, there's beenrumblings online that julia
dukernel was sort ofinvestigating interesting ideas
about sort of I think it'scalled regression therapy, you
know, a sort of hypnotism thatyou're trying to go back to past

(58:27):
traumas in your life or traumasin a past life.
At the same time, she was reallyseeking out the counsel of, I
believe, of, I believe, act Up,which was really involved when

(58:49):
the HIV sort of epidemic, youknow, unfolded in the world and
the United States and certainlyin New York City.
I believe part of the film isshot in New York City.
I think, from what I've read,julia Dukernow had a residency
in New York and so it sort ofreminded me a little bit of
Andrea Arnold's residencystateside I think it was New
York as well before she madeAmerican Honey in 2016, which

(59:09):
would premiere in Cannes, and soI think Julia Ducournau took
the opportunity of thatresidency to explore these
things she wanted to talk aboutand maybe tried setting it in
New York City.
Of course, this is aco-production with France, among
other countries, I believe, butI think we're going to possibly

(59:30):
see a tale that unfolds in NewYork, with sort of the HIV AIDS
epidemic sort of possibly in thebackground there or in the
subtext, and I think that may bea little bit in the
conversation of what's you knowgoing on in Julia's mind in
terms of making this film couldbe really interesting stuff.
It would be really interestingto see Julia sort of do an

(59:51):
English language film, but I'msure she's going to bring her
unique mix of genre, her uniquelove for, you know, the
cinematic.
I think this is a reallyexciting film.

Jules (01:00:03):
again, neon has a problem here because they have two
competing projects right um well, they had that last year too,
with an aura and the seat of thesacred fig they did, they did,
uh, to the detriment of the seatof sacred fig.

Joseph (01:00:15):
Might I add a film that I loved last year?
Um, but you're right, and, andthe winner came from among those
two.
And so what do you think?
I'm not sure Alpha can repeatat the Palme d'Or, but do you
think that Alpha may be the filmthat brings her stateside to
some Oscar attention?

Jules (01:00:32):
Well, you know, I think all the details that you managed
to dig up are absolutelyfascinating.
You know, just based on thosedetails, I can't wait to see
this film.
I think Julia D'Arcornau is avery talented filmmaker.
Um, I loved her debut film, raw.
I love, love that movie.
I was more okay with Tetonpersonally, um, but I certainly

(01:00:53):
think she's the kind offilmmaker that will make a
splash wherever she, whereverher films end up, um, uh, she
just, you know, that's just,that's just her, um, and so I'm
looking forward to this.
I agree with you, I don't thinkthat she can repeat as, like as
a Palme d'Or winner, um, but, uh, I do, and I do agree with you
that the success of Teton inCannes sort of uh, or for what

(01:01:18):
would be to come with thesubstance a few years later, I
do think that the substance had,you know, a sheen, or rather, I
should say like a facet, thatyou know a movie like a body
horror movie like Teton wasmissing regarding, you know,
sort of more directly commentingon the industry and femininity,

(01:01:41):
and you know the aging femaleactor, you know all these things
, these elements that I thinkreally helped catapult the
substance into becoming what iteventually became Uh.
So I think her her body horrorfilm and Teton didn't have that,
and raw obviously didn't havethat either.
So I'm not sure she's thatinterested in those kinds of

(01:02:03):
aspects, um, and so I'm not 100sure that I see her being you
know a awards uh kind offilmmaker, a filmmaker that's
sort of you know uh destined forthis sort of you know awards
platform so you don't thinkshe'll be able to cross over
with this film possibly.

Joseph (01:02:23):
I mean, it is possibly set stateside Right and it is
possibly partly in English.
Yeah, no.

Jules (01:02:31):
I wouldn't say that.
I don't think that.
I.
Just, having seen her last twofilms, I think I see her a
little bit further removed fromCrowley Farja and where the
substance ended up.
That being said, again, I thinkthat she's always fascinating
her a little bit further removedfrom Crowley Farja and where
the substance ended up, um.
That being said, again, I thinkthat she's always fascinating.
I think she's going to coversome very fascinating material
here, just based on everythingthat you shared with us, um, and

(01:02:51):
so possibly it's, it'scertainly possible that uh, it,
uh, you know, breaks out into um.
I know the awards conversation.
I will say that Tahar Rahim isan incredible actor.

Joseph (01:03:02):
That's what I was going to bring up.
What do you think about Tahar?
I think Tahar.

Jules (01:03:05):
Rahim is an incredible actor who's sort of been on the
cusp before with regard toawards prospects, awards
conversation.

Joseph (01:03:12):
He got really close.
I think he got really closewith Mark Tanyan in 2020.

Jules (01:03:16):
And so here he is again.
You know, I think he's anamazing actor.
I'd love to see him in theconversation.
I think it's it's significantthe amount of weight that he
lost for this role.
Um, I think it's a supportingrole right.

Joseph (01:03:27):
Do you think it's exactly?

Jules (01:03:29):
um, and it's just, you know it's, it's obviously it
would feel to me that it wouldbe a demanding you know
demanding part, and so I thinkthere's certainly possibility
there for him to shine there.

Joseph (01:03:41):
And of course, tahar Rahim, I think, has the benefit
of having worked in a moreinternational capacity than some
of the other actors who aregoing to be in con.
You know, he was in that spidersense lady spider, whatever
movie with Dakota Fanning.
He's been on television.
He got really close with MauraTanyan which I thought was a
wonderful performance from him.

(01:04:01):
I wish he would have beennominated for it, but it was so
competitive and it is supportingactors, so I wouldn't be
surprised for him to end up inthe conversation there.
You know, I think as we wrap upI think today's conversation,
we have more titles to discuss.
I hope we can get to next time,but I'll leave you with one
little pebble for food forthought.
I believe Julia Ducarnel mostrecently worked with Julia

(01:04:27):
Binoche on that Apple TV series.

Jules (01:04:29):
Oh, really the new look or the look.
She was part of that.
I haven't seen it.
She was a part of that.

Joseph (01:04:33):
I believe Julia Ducarnel had some directing duties on
that Interesting and JuliaBinoche was in it.
Very interesting, you're right.

Jules (01:04:39):
She directed two episodes Interesting and Julia Binoche
was in it.
Very interesting.
You're right, she directed twoepisodes.

Joseph (01:04:42):
Yes and Julia Binoche, I believe, starred in it had at
least a portion of it.

Jules (01:04:46):
Yes, yes, absolutely.

Joseph (01:04:47):
And so I'm just going to leave that for some food for
thought in terms of howsuccessful.
The film could be at Cannes.

Jules (01:05:03):
That's not to me.
You know that's not the onlyaward that she's.
You know she hasn't won all theother awards.

Joseph (01:05:06):
Right certainly.

Jules (01:05:07):
Something like the Best Director award is still in play
Right, of course.
Well, that's been our sort ofpreliminary dive into the Cannes
Film Festival, what we believewill be appearing on April 10th
on their official lineup.
We believe will be appearing onApril 10th on their official
lineup.
We have a lot more titles to gothrough.
We're going to go through themnext time on our next episode,
and at the end of going throughall our titles, we will be

(01:05:33):
giving our official predictionsof what we think will actually
be making the final lineup atcon All right, so thank you for
joining us today, until nexttime.

Joseph (01:05:39):
This is Joseph and this is Jules, and it's been a
pleasure.

Jules (01:05:40):
Thank so.
Thank you for joining us today,until next time.
This is Joseph and this isJules, and it's been a pleasure,
thank you.
The music on this episodeentitled Cool Cats was
graciously provided by KevinMacLeod and incompetechcom,
licensed under Creative Commonsby Attribution 3.0.
Http//creativecommonsorglicenses buy 3.0.

Joseph (01:06:14):
Disclaimer the Academy Anonymous podcast is in no way
affiliated or endorsed by theAcademy of Motion Picture Arts
and Sciences.