The Last Thing I Saw

Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. Sometime in May or June, I had a marvelous conversation about the sky. Not just one sky, but 10 skies, in fact, with the critic Erika Balsom. Balsom wrote an insightful book about the lovely, thought-provoking landscape film 10 Skies, from filmmaker James Benning. I think I originally saw the movie at a festival in the late 2000s, and it was a pleasure to revisit. Happily I have a new occasion to make this conversation available, thanks to a screening of 10 Skies at the Open City Documentary Festival in London. But no matter the occasion, 10 Skies is a work that always rewards looking at from a number of angles, opening up questions about art and philosophy that keep shifting and turning in your head like the clouds above. Balsom’s book is available from Fireflies Press. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Episode 74: Venice 6 – Reflection, Trenches, The Catholic School, Parallel Mothers with Jessica Kiang Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. My 2021 Venice Film Festival series of podcasts concludes (for now?) with critic Jessica Kiang, a contributor to Variety, The Playlist, and The New York Times. I talked with Jessica about the formally audacious film Reflection from Ukraine’s Valentyn Vasyanovych, with a shout-out to the conflict doc Trenches; a controversial Italian drama, The Catholic School; and one of her favorites of the festival, the life-giving Parallel Mothers. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. The 2021 Venice Film Festival series of podcasts continues with Variety critic Guy Lodge. I talked with Guy on the Lido about highlights from the festival, including Audrey Diwan's L'Evenement, Lorenzo Vigas’s La Caja (The Box), Ana Lily Amirpour’s Mona Lisa and the Blood Moon, the abortion drama L’Evenement (Happening), and Madeleine Collins starring Virginia Efira. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. The 2021 Venice Film Festival series of podcasts continues with critic Christina Newland, whose work has been published in Sight & Sound, Vulture, and the Criterion Collection. I’d been holding on to the Jane Campion film, The Power of the Dog, for discussion, and here it is at last, along with our consideration of The Lost Daughter, the directorial debut of Maggie Gyllenhaal, and Paolo Sorrentino’s autobiographical film The Hand of God. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. The 2021 Venice Film Festival series of podcasts continues with a deluxe installment featuring Glenn Kenny, a New York Times and RogerEbert.com contributor. It’s Glenn’s first time on the podcast and he makes up for lost time with a feast of movies: Dune from Denis Villeneuve, Almodóvar’s Parallel Mothers, Paul Schrader’s The Card Counter, The Cathedral (a sample selection from the Biennale-funded section), and documentary on an outré horror filmmaker, Inferno Rosso: Joe D’Amato on the Road of Excess. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw with your host, Nicolas Rapold. The 2021 Venice Film Festival is in full swing, and I sat down to chat with critic Jonathan Romney (The Observer, Screen Daily) about a few highlights: Edgar Wright’s Last Night in Soho, starring Thomasin McKenzie, Anya Taylor-Joy, Diana Rigg, and Terence Stamp; Pablo Larrain’s Spencer, starring Kristen Stewart; Michelangelo Frammartino’s Il Buco; and Official Competition (that’s the title) starring Penelope Cruz, Antonio Banderas, and Oscar Martinez. Please note there might be a little Venice ambience occasionally audible in the background—think of it as the festival buzz. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw. I’m your host, Nicolas Rapold. The Venice Film Festival has begun, with world premieres including Jane Campion’s The Power of the Dog, Pedro Almodóvar’s Parallel Mothers, Pablo Larraín’s Spenser, Edgar Wright’s Last night in Soho, and Denis Villeneuve’s Dune. I’ll be talking about as many of them as I can here on the podcast. But to start off, I thought I would talk with Paul Schrader, whose his new movie The Card Counter has its world premiere in Venice before its U.S. release on September 10th. Oscar Isaac plays a quiet gambler haunted by his time as a military interrogator at Abu Ghraib. He gets taken on by a gambling recruiter played by Tiffany Haddish, and befriends a strange young man played by Tye Sheridan, who has some scary ideas. I talked with Schrader a little about Venice (where he set his 1990 film The Comfort of Strangers), and about finishing The Card Counter in a pandemic, Tiffany Haddish’s vital importance to the movie, gambling, and of course the last movies he saw. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. Before the onslaught of new fall releases, I thought it’d be nice to tackle three big summer titles. We start with Annette, the long-awaited new feature from Leos Carax starring Adam Driver and Marion Cotillard; The Green Knight, David Lowery’s medieval fantasy with Dev Patel; and last but definitely not least, the mind-bender Old, from the mind of M. Night Shyamalan. Joining the podcast for the first time is Adam Nayman, a contributing editor at Cinema Scope whose work is published in The Ringer and Sight & Sound and who's written books about Paul Thomas Anderson, Joel and Ethan Coen, and Showgirls. And returning to the show is Beatrice Loayza, a fellow contributor at The New York Times whose work also appears in many other publications. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. It’s August and that means it’s time to talk about the Locarno film festival, which for years has been a reliable launching pad for stimulating and challenging cinema. This year I’m back talking with the critic and programmer Jordan Cronk (Acropolis Cinema). Our highlights include a raw adaptation of Medea from Russia by Alex Zeldovich, a spectacular debut feature called A New Old Play from a Chinese artist that looks at the afterlife, and the Indonesian genre film Vengeance Is Mine, All Others Pay Cash. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. A few months ago I caught wind of a book with an intriguing title: Billy Wilder on Assignment: Dispatches from Weimar Berlin and Interwar Vienna. It turned out to be a collection of writings from when Wilder as a brash young journalist—his previous career before becoming one of Hollywood’s absolute greatest directors. It’s a fascinating read, and as for his career, you can’t go wrong with a track record like Sunset Boulevard, Double Indemnity, Some Like It Hot, The Apartment, Ace in the Hole, to name only a few. So I decided to bring together three colleagues to pick one Wilder movie apiece -- one per decade -- and share a few things we love about the director’s work. I was joined by three powerhouse critics of classic Hollywood who practically need no introduction: Farran Smith Nehme, Sheila O’Malley, and Steven Mears. Special thanks to Noah Isenberg who edited Billy Wilder on Assignment (Princeton University Press) which helps launch our conversation. You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass