Paul And Corey Cross The Streams

Having amassed more than 100 episodes in its run, PACCTS’ sixth season will focus its sights on “the greatest films of all time” (both in the US and internationally), as assembled by the British Film Institute’s 2022 Sight and Sound Poll of industry critics. Corey will be choosing American films from the list, and Paul will be choosing international ones.  Our goal is to examine the films that are considered great, and why that may be the case.   Ranked 243, Andrzej Żuławski's Possession (1981) has only recently gotten the attention it deserves. A difficult and overwhelming examination of divorce (and tentacles), the film was banned in countries, highly edited in America, and labeled as a Video Nasty in the UK. It's been difficult to find, and only recently has Possession been readily available in its entirety in the US, streaming on Shudder. Sam Neill and Isabelle Adjani play a married couple in West Berlin. The film begins with him returning home from a spy mission, only to learn his marriage is over

Having amassed more than 100 episodes in its run, PACCTS’ sixth season will focus its sights on “the greatest films of all time” (both in the US and internationally), as assembled by the British Film Institute’s 2022 Sight and Sound Poll of industry critics. Corey will be choosing American films from the list, and Paul will be choosing international ones.  Our goal is to examine the films that are considered great, and why that may be the case.   Ranked at 25, Charles Laughton's first and only(!) directorial feature, The Night of the Hunter (1955). The film was so ahead of its time, critics and audiences could not wrap their heads around its blending of genres, style, and themes. The Night of the Hunter has become a true American classic, influencing countless filmmakers.

Having amassed more than 100 episodes in its run, PACCTS’ sixth season will focus its sights on “the greatest films of all time” (both in the US and internationally), as assembled by the British Film Institute’s 2022 Sight and Sound Poll of industry critics. Corey will be choosing American films from the list, and Paul will be choosing international ones.  Our goal is to examine the films that are considered great, and why that may be the case.   Ranked at 60, Federico Fellini's La Dolce Vita (1960) launched him onto the world's stage as an artistic force to be reckoned with. Coming from the Italian neorealist movement, Fellini began to make dreamlike, expressionist art films that were glamorous and yet explored the rot at the center of that glamor. La Dolce Vita is structurally inventive, dense with meaning, and even intimidated Paul as to how well he'd do in discussing it. (Spoiler: Paul and Corey did a great job.) Ciao!

Ranked at 15, John Ford's The Searchers (1956) has been generally touted as the best American western. German journalist Andreas Kilb called The Searchers, "The essence of American Myth in one film," and Paul (but maybe not Corey) agrees - with the caveat that that's not exactly a good thing. Ford had already made 100 films by this point in his career and worked with star John Wayne in a great number of them. The Searchers marked a maturation of the genre for Ford in which he wanted to tackle the topic of racism through an anti-hero for the ages, Ethan Edwards. Even within the film and in the context of the time of its relief, there's a feeling of deep ambivalence in how to feel about Ethan Edwards. And in 2024, the feeling has only grown more complicated (or perhaps clearer than ever). It all leads to an excellent discussion of America, settler colonialism, and racism as the ideology that allowed/s for the creation of them both.

Sara Gómez's first and only feature, De Cierta Manera / One Way or Another (1977), is ranked at 196. Gómez was a revolutionary filmmaker in Cuba who spent her career examining and highlighting the struggles of the Afro-Cuban community, women, and the marginalized as they dealt with continued inequalities after social revolution. De Cierta Manera combines documentary footage and fictionalized narratives; professional and amateur actors as well as people playing themselves; and facts and argumentation. Agnes Varda, who worked with Gomez, once characterized her work as "didactic films," and Paul and Corey wholeheartedly agree - to the film's credit and limitations. Because of...the whole America-Cuba thing, De Cierta Manera is not readily available for streaming. You can watch a rough copy here on YouTube. It's a great discussion of an interesting film. Enjoy!

*At the outset, we advise anyone who feels uncomfortable listening to a frank appraisal of Woody Allen, his alleged crimes, and his work to skip this episode. The purpose of this show is to entertain and inform, and we have complete sympathy for anyone who may find this topic too much to endure. We will see you in two weeks. Having amassed more than 100 episodes in its run, PACCTS’ sixth season will focus its sights on “the greatest films of all time” (both in the US and internationally), as assembled by the British Film Institute’s 2022 Sight and Sound Poll of industry critics. Corey will be choosing American films from the list, and Paul will be choosing international ones. Our goal is to examine the films that are considered great, and why that may be the case.   Welp, Corey finally did it. We had to discuss Woody Allen. Annie Hall (1977) ranked at 243. A lot to discuss.

Having amassed more than 100 episodes in its run, PACCTS’ sixth season will focus its sights on “the greatest films of all time” (both in the US and internationally), as assembled by the British Film Institute’s 2022 Sight and Sound Poll of industry critics. Corey will be choosing American films from the list, and Paul will be choosing international ones.  Our goal is to examine the films that are considered great, and why that may be the case.   For this episode, Paul jumped right to the head of the class: the number one film on the list, Chantal Akerman's Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (1975). Never are Paul and Corey ones to give spoiler warnings, but due to the experiential nature of how this film communicates with the viewer, they highly recommend that listeners watch it before listening to the episode. Jeanne Dielman follows three days in the life of a widow who lives with and dotes upon her teenage son. We watch her disciplined schedule of cooking, cleaning, running er

Having amassed more than 100 episodes in its run, PACCTS’ sixth season will focus its sights on “the greatest films of all time” (both in the US and internationally), as assembled by the British Film Institute’s 2022 Sight and Sound Poll of industry critics. Corey will be choosing American films from the list, and Paul will be choosing international ones.  Our goal is to examine the films that are considered great, and why that may be the case.   Corey went back to an old PACCTS favorite for this week's episode: Billy Wilder. Ranked at number 54, The Apartment (1960) might just be one of the first American dramedies. The Apartment really is a tricky film. It's a film about office politics, sexual politics, and the process of dehumanization endemic to capitalism, but at the same time, none of that is discussed overtly or didactically. Just really well-rounded characters in tough situations doing the best they can (for the most part). A lot to discuss, so shut up and deal! (famous last line)

Having amassed more than 100 episodes in its run, PACCTS’ sixth season will focus its sights on “the greatest films of all time” (both in the US and internationally), as assembled by the British Film Institute’s 2022 Sight and Sound Poll of industry critics. Corey will be choosing American films from the list, and Paul will be choosing international ones.  Our goal is to examine the films that are considered great, and why that may be the case.   (fanfare) For our hundredth film, Paul chose the film that made Abbas Kiarostami an international star, Where Is the Friend's House? (1987), ranked at number 157. A simple, yet profound, story of an eight-year-old boy trying to return his friend a notebook, Where Is the Friend's House? can only be described as a perfect film. Paul and Corey discuss Kiarostami and his place within the Iranian New Wave and themes of duty, obedience, and love. You simply have to watch this film.

Welcome back for Season 6, everyone! Having amassed more than 100 episodes in its run, PACCTS’ sixth season will focus its sights on “the greatest films of all time” (both in the US and internationally), as assembled by the British Film Institute’s 2022 Sight and Sound Poll of industry critics. Corey will be choosing American films from the list, and Paul will be choosing international ones.  Our goal is to examine the films that are considered great, and why that may be the case.   For the first episode, Corey chose the Chaplin classic – and arguably the greatest romantic comedy of all time – City Lights (1931), ranked at number 36. From a Dickensian childhood to becoming the most recognizable character on earth, Charlie Chaplin was able to mine his personal demons and interests into comedy that has transcended space and (ultimately) time. City Lights is his masterpiece, and we had a blast discussing it.

Based on Corey’s Being There (1979), Paul said, "To hell with connecting movies to each other," and picked Carol (2015). Directed by Todd Haynes and starring Cate Blanchett and Rooney Mara, Paul and Corey close out the year talking about Haynes' career, the 1950s as a period of reaction and the Closet, Patricia Highsmith, and more. Thank you very much for listening this year. Happy Holidays, and Paul and Corey Cross the Streams will return in February of 2024!

Based on Paul’s I Was a Communist for the FBI (1951), Corey decided to stay in Washington, DC (??) and watch a film he absolutely adores: Being There (1979). Directed by Hal Ashby and starring Peter Sellers and Shirley MacLaine, this classic satire of American culture (especially television), politics, and human interaction in the '70s is infinitely watchable and discussable.

In solidarity with SAG-AFTRA, Paul and Corey have decided to change things up: For the duration of the TA voting process, they will: 1) cover only films about labor unions/strikes/solidarity/etc.; 2) not cover any new releases (that includes Corey’s Pass or Plays); and 3) not recommend any streaming services for where you can find these films. Following Corey's choice, Norma Rae (1979), Paul wanted to make a right turn. Look at things from another perspective. So, the idea was to journey back to the Red Scare and watch some anti-Communist fare. I Was a Communist for the FBI (1951). Based on the true (lol okay) story of Matt Cvetic, the film follows his life as he acts as an informant for the FBI while he pretends to be a proud member of the Communist Party (CPUSA) in Pittsburgh. Hooooooo boy, comrades! This thing sucked. What makes propaganda effective or at the very least enjoyable? Was this guy the biggest jagoff in Pittsburgh? The answers to these and more lie within...

In solidarity with SAG-AFTRA, Paul and Corey have decided to change things up: For the duration of the TA voting process, they will: 1) cover only films about labor unions/strikes/solidarity/etc.; 2) not cover any new releases (that includes Corey’s Pass or Plays); and 3) not recommend any streaming services for where you can find these films. Following Paul's choice, 9 to 5 (1980), Corey wanted to talk about another labor film of the era - Norma Rae (1979). Starring Sally Field, Ron Leibman, and Beau Bridges, this film packs a wallop. Paul and Corey have a wonderful time discussing this one.

In solidarity with the WGA and SAG-AFTRA strike (the latter of which Paul and Corey are both members), Paul and Corey have decided to change things up: For the duration of the strike, they will: 1) cover only films about labor unions/strikes/solidarity/etc.; 2) not cover any new releases (that includes Corey’s Pass or Plays); and 3) not recommend any streaming services for where you can find these films. Following Corey’s choice, Harlan County, USA (1976), Paul decided for a fun one. 9 to 5 (1980). Starring Jane Fonda, Lily Tomlin, and Dolly Parton, and featuring the Oscar-nominated title song, the film was a colossal success.  There is a lot to discuss - from the stars' careers to Second-Wave Feminism to the War on Drugs. Enjoy!

Following Paul's choice, The Grapes of Wrath (1940), Corey wanted to choose a film they both knew they'd get to eventually – Harlan County, USA (1976). The film is a documentary which focuses primarily on the Brookside miners' strike in 1973, against Duke Power Company-owned Eastover Coal Company's Brookside Mine and Prep Plant in Harlan County, Kentucky. The film won an Academy Award for Best Documentary, and Corey himself declared it "one of the best documentaries ever made." There is a lot to discuss, from the career of director Barbara Kopple to the 1968 and 1972 UMWA elections to the ins-and-outs of a strike to the heroism of the strikers and their wives to Marx's Law of Value (a.k.a. Labor Theory of Value).

In solidarity with the WGA and SAG-AFTRA strike (the latter of which Paul and Corey are both members), Paul and Corey have decided to change things up: For the duration of the strike, they will: 1) cover only films about labor unions/strikes/solidarity/etc.; 2) not cover any new releases (that includes Corey’s Pass or Plays); and 3) not recommend any streaming services for where you can find these films. Following Corey's choice, Billy Elliot (2000), Paul wanted to take it back to the Dust Bowl - The Grapes of Wrath (1940). There is soooo much to cover: the novel, John Steinbeck, John Ford, Henry Fonda, the Great Depression, the Dust Bowl, even...Sanora Babb?

In solidarity with the WGA and SAG-AFTRA strike (the latter of which Paul and Corey are both members), Paul and Corey have decided to change things up. For the duration of the strike, they will: 1) cover only films about labor unions/strikes/solidarity/etc.; 2) not cover any new releases (that includes Corey’s Pass or Plays); and 3) not recommend any streaming services for where you can find these films. Following Paul's choice, The Killing Floor (1984), Corey wanted to lighten the mood a little and picked Billy Elliot (2000). A beloved film when it came out and adapted into an equally successful musical, Paul and Corey were excited to dive in. But... it doesn't quite hold up as well as they remembered. THERE'S A LOT TO LOVE in the film, but it's definitely a film of its day (and not quite in the way you might guess!).

In solidarity with the WGA and SAG-AFTRA strike (the latter of which Paul and Corey are both members), Paul and Corey have decided to change things up: For the duration of the strike, they will: 1) cover only films about labor unions/strikes/solidarity/etc.; 2) not cover any new releases (that includes Corey's Pass or Plays); and 3) not recommend any streaming services for where you can find these films. First up, Paul was able to connect this film with Corey's previous Babe (1995). This is a film about race relations in the attempt to organize a Chicago slaughterhouse in 1918-19, it's The Killing Floor (1984). The film was made for PBS as a sort of pilot for a (n abandoned) 10-part series on the American labor movement. It was heavily researched by the producer, Elsa Rassbach; written by Obie-winning playwright, Leslie Lee; and directed by Bill Duke (of whom, the Pakler family has a connection...). There's a lot to cover, so put on your union pin and enjoy!

Based on Paul’s JFK (1991), Corey looked at Kevin Bacon, and chose… Babe (1995)! (ba-dum-bum) From Aristotle to Wittgenstein to factory farming to Animal Farm to Temptation Island, this is one of the most free-wheeling episodes in a while.