The Next Reel Film Podcast

Ann Hui has had a long career and was close to retiring in 2011 when she made A Simple Life. Luckily, she enjoyed making that film so much and enjoyed its success that she decided to keep directing. The film is a quiet one about a maid who has served the same family for over 60 years, now looking after Roger, the son who has become a film producer. After a stroke, however, she decides to retire. And Roger has to now figure out how to take care of her. Join us – Pete Wright and Andy Nelson – as we continue our 10 Year Anniversary series with a crossover episode that is also the first entry in our Ann Hui series with her 2011 film A Simple Life.A Simple Life is a simple film, but emotionally rich.With Andy Lau as Roger and his real-life godmother Deannie Ip playing Ah Tao, his family’s maid for generations, there is a built-in connection between these two actors. They feel real and feel like family. That being said, Lau does a great job at the start playing the workaholic who hardly even acknowledges her presence, except when he wants to request particular meals. He never has had to think of her as anything but the person who gets everything done for him.So when Ah Tao has a stroke and decides to retire to a nursing home, the story provides a strong opportunity for Roger to figure out how to fit caring for her into his own life. Lau plays it incredibly well, but part of the reason it works so well is because he’s playing opposite Ip who shines in her role.It’s a quiet film though. There isn’t a lot of time for large, gregarious scenes. These two never make the film maudlin. It always feels even keel, even when we’re left to wonder if we’re supposed to be seeing the nursing home as an antagonistic force in her life. It never quite plays the way we think it would and that provides a bit of confusion for us, but largely it’s fine.We have a great time with this film. It’s touching in its quiet methodologies and carried by incredible performances. It’s great to see it still works so well 10 years later, and it’s a great film to kick off our Ann Hui series with. Check this film out then tune in! The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Watch this on Apple or Amazon, or find other places at JustWatchTheatrical trailerPoster artworkFlickchartLetterboxd Support The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

"Your fiancée can’t crash your bachelor party!”Bollywood has overtaken Hollywood as the largest center for film production in the world, but we have yet to talk about a Bollywood film on this podcast. Well, we’re changing things with today’s episode. Zoya Akhtar, co-writer and director of this film, is from a prominent film production family. This was her second film and it became an immediate success, following three friends as they take a periodic adventure vacation merged with a bachelor party for one of them who is recently engaged. The film becomes a story of personal journeys for each of them, though, and that’s a formula that often works very well for us. Join us – Pete Wright and Andy Nelson – as we hit the road with Akhtar to celebrate the 10 Year Anniversary of her 2011 film Zindagi Na Milegi Dobara.Zindagi Na Milegi Dobara is a delight of a film.There’s not as much music as we thought there would be in Zindagi Na Milegi Dobara, but there is music, there is dancing, and there’s a lot of fantastic character development in this film. Plus, everyone in this film is downright beautiful. If you’re thirsty, you’re bound to find someone to enjoy. The three leads playing the friends on their road trip – Hrithik Roshan, Frahan Akhtar, and Abhay Deol – are great characters and we always buy them as friends.To that end, they each have their own journeys to take as they enjoy this road trip. Are the female characters in this film given as much development as the men? Or are they just there to help their development? Honestly, they’re so much fun that it’s okay that they may be a bit trope-y.Zindagi Na Milegi Dobara is a fun film that hits all the spots for us. We have a great time talking about it and it’s certainly an easy film to recommend. Check it out and definitely enjoy the soundtrack. It’s a blast! Then tune in to the podcast and enjoy! The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Watch this on Apple or Amazon, or find other places at JustWatchScript TranscriptTheatrical trailerPoster artworkFlickchartLetterboxd Support The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

Nadine Labaki started as an actress but starting in 2007 with Caramel, she started working as a writer/director. Her films look at life in Lebanon but through unique prisms that aren’t confined by the grim realities. In her 2011 film Where Do We Go Now?, Labaki uses a magical realist tone with musical elements to craft a story about the women in an isolated village working together to stop the men – divided by Christian and Muslim faiths – from constantly fighting. Join us – Pete Wright and Andy Nelson – as we continue our 10 Year Anniversary series with Labaki’s Where Do We Go Now?.We clearly enjoy Where Do We Go Now? and have a lot to say about Labaki’s film.This is a film that may work for some people and not others, but it worked for us. The story shines with magical realism, creating this isolated town where the news is sparse, allowing for the women to craft their own narrative essentially. That allows for a unique story, one that surprises as much as it delights.The women of the town, led by Labaki playing Amal, keep trying ploy after ploy to stop the men, divided by religion, from fighting. Not all their plans work, but they’re always thinking and ready to try new things, even if that means hiring Ukranian exotic dancers for a week. That’s an area we struggled with a bit, but it still generally works. And with Labaki at the helm, this unique story feels cohesive.The cinematography and music come together wonderfully in the musical elements. Could it have used more songs? Maybe. But we like it as-is and think it would have to be double its length to really include more songs. It works the way it is with just the few musical moments. They’re enough to remind us of the magic of this worldIt’s a fun movie about a serious subject and allows for a unique vision of this community without saying that Labaki’s solved religious conflicts the world over by allowing women to be the ones driving the decisions. It’s a beautiful story of community and one that really surprised us with its warmth. Check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Watch this on Apple or Amazon, or find other places at JustWatchTheatrical trailerPoster artworkFlickchartLetterboxd Support The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

"You don’t look happy.”“Have I ever?”Tackling a film that looks at a school shooting is a challenging prospect, but writer/director Lynne Ramsay and her co-writer Rory Stewart Kinnear decided to accept the challenge when they signed on to adapt Lionel Shriver’s book “We Need to Talk About Kevin.” The film is a tough film to watch, but the focus on the mother dealing with what her son has done allows us to explore thoughts about the role of a parent in this sort of situation, nature versus nurture, community reactions, and more. Join us – Pete Wright and Andy Nelson – as we continue our 10 Year Anniversaries series with Ramsay’s 2011 film We Need to Talk About Kevin.There’s a lot to talk about in We Need to Talk About Kevin.Tilda Swinton. Ezra Miller. John C. Reilly. Three incredible performances at the heart of this movie in a film full of great performances, but it’s Swinton who carries the film as we follow her on her journey to deal with what her son’s done. She’s a powerhouse in this film and takes us on quite a trip. The way Ramsay puts the film together is a key part of that too, though, because she’s dancing all through her life from the time she met her husband through to now, and we see those bits pop up like memories flitting through her mind as she debates with herself if she’s at fault.And that’s really the crux of the film. Is she at fault? She’s certainly taken the blame upon herself as we’ve seen over the course of the film that she’s never gotten along with her son. But is she right? Was he intrinsically evil already? And does that matter to her or will she always carry all these emotions and walls?It’s a strong film and one we love, despite being a very dark and challenging story. We have a great conversation about it so check it out and tune in! The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Watch this on Apple or Amazon, or find other places at JustWatchScript TranscriptTheatrical trailerPoster artworkOriginal MaterialFlickchartLetterboxd Support The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

"It’s kind of complicated, actually.”Céline Sciamma had already proven herself a strong writer/director of complicated love stories involving people figuring out their own sexuality when she wrote and directed Tomboy. The film tells a story of a 10-year-old girl – our titular tomboy – who tells all the kids she’s a boy when she moves to a new neighborhood. It’s a small decision but an important one as this young kid works to figure out who she is. Join us – Pete Wright and Andy Nelson – as we continue our 10 Year Anniversaries series with Sciamma’s 2011 film Tomboy.Tomboy worked exceptionally well for both of us.This story is touching and powerfully performed by the young actors in the film, notably Zoé Héran in the title role of Laure who starts going by Mickäel. The quiet intensity in this child’s performance is stunning and has to be weighted as she’s carrying Tomboy on her shoulders. On top of that, she has to play as a boy. This means taking her shirt off when her team goes skins for the football match. It’s incredible.Sciamma gets amazing performances from the adults as well, and does a great job of not writing Laure’s parents as antagonists. Their reaction to her decision makes perfect sense as a parent and come across as loving people trying to figure all of this out themselves.And Sciamma delivers a simple but beautiful film to look at. Many shots, notably of Laure as Mickäel, feel like still portraits and capture her struggle and strength. It’s these moments where Héran’s quiet performance really shines through.Tomboy is a strong film about identity that feels as relevant today – if not moreso – than it did in 2011 when it was first released. The fact that Sciamma continues releasing potent, powerful, and important films dealing with this subject says a lot about her staying power as a filmmaker. We have a great time talking about this film. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Find where you can watch this at JustWatchScript TranscriptTheatrical trailerPoster artworkFlickchartLetterboxd Support The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

"You’re not the podcast I knew ten years ago.”“It’s not the years, honey, it’s the mileage.”It’s fun revisiting Spielberg’s 1981 classic Raiders of the Lost Ark, the film that we used as our launching point for this podcast. In honor of our ten year anniversary, we thought it would be fun to return to where it all began and have another conversation about Raiders as well as what we’ve been doing over the last ten years. So join us – Pete Wright and Andy Nelson – as we dig back into the archives with Indiana Jones to celebrate our anniversary.It’s not just Raiders of the Lost Ark we discuss.Sure, we talk about Spielberg’s 1981 masterpiece, but we also talk about how we came to the decision to start a podcast. Why did it take Andy so long to jump on the podcasting bandwagon all those years ago? And why did it take him so long to get a better audio system?We also talk about the origins as Movies We Like and our early, looser format. With time, everything’s evolved and (hopefully) improved. And other than our summer hiatuses, which we started a few years ago, we’ve been keeping consistent on the podcast with a new episode every week, not counting member bonus episodes and more.But we do dig into Raiders of the Lost Ark a bit, and we also talk about our reactions to what we thought in that first episode. We look at what Spielberg, Harrison Ford, Karen Allen, and more have been up to since we last discussed them. We talk about the ten consistent team members who worked on all four films. And we look at awards and the numbers for the movie.It’s a delightful conversation and a great way to return to where it all began. If you haven’t seen Raiders of the Lost Ark, by all means stop reading and go watch it immediately, but if you have, tune in and enjoy this retrospective episode! The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Tune in to that First EpisodeWatch this on Apple or Amazon, or find other places at JustWatchScript TranscriptTheatrical trailerPoster artworkFlickchartLetterboxd Support The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

“I’m not running. I’m choosing.”While in film school at NYU, Dee Rees directed a short film called Pariah that was essentially the first act of a feature script she was developing. Spike Lee, her professor and mentor, helped her get the feature version financed and in 2011, she released it to much acclaim. Join us – Pete Wright and Andy Nelson – as we continue our 10 Year Anniversary series with Rees’ feature version of her short film Pariah.There’s a lot to discuss about Pariah, from the performances to the filmmaking style.We love all of the performances in this film, but Adepero Oduye as Alike, our protagonist, is the heart of this film. Her journey of coming out as a lesbian is a powerful one, and we’re right along the ride with her from the start of the film. But all the performances in Pariah are great. Pernell Walker as Alike’s best friend Laura. Aasha Davis as her first love Bina. Charles Parnell and Kim Wayans as her parents. Everyone gets story time and they sell this journey.Pariah is a strong story because Rees doesn’t make the parents typical antagonists who aren’t happy with her as a lesbian. We get a sense of their world and can understand their perspective, even if we don’t agree with them. We also get a strong sense of the family world and connections to church, not to mention Dad’s affair. All of this helps us feel like we understand the family dynamics.Rees and her cinematographer Bradford Young crafted a personal, intimate film. The film is beautiful to look at with many gorgeous closeups. It also has raw energy in the scenes that require it. All told, it’s clear right out of the gate that Rees is a filmmaker pushing honesty and truth with her first film in a visually exciting way.Pariah is a powerful film that delivers and rightfully holds up as one of the great LGBTQ films. We have a great time talking about it, so check it out then tune in! The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Watch this on Apple or Amazon, or find other places at JustWatchScriptTheatrical trailerPoster artworkFlickchartLetterboxdPariah NYU Short • 2007Pariah on Criterion Support The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

"This place is a real find!”Brazil’s economy has certainly had its share of ups and downs over the decades. The struggle to create a capitalist economy hasn’t been easy, and allowed for rich fodder for the filmmaking duo of Juliana Rojas and Marco Dutra to write and direct a story about a middle class family struggling in the labor market. This film, Trabalhar Cansa or Hard Work in English, came out 10 years ago now. Does it resonate today? Does it resonate for people outside of Brazil (or Brasil, as Brasileros would write)? And do the filmmakers try to do too much – or too little – in their film? Join us – Pete Wright and Andy Nelson – as we continue our 10 Year Anniversary series with Rojas’ and Dutra’s 2011 film Hard Labor.Hard Labor deals with a lot more than the labor market.Like we ran into a number of times in our Horror Debuts series, Rojas’ and Dutra’s film is laden with metaphors and allegories. There are vicious barking dogs outside of Helena’s new store that threaten her when she’s trying to leave. There’s black seepage oozing from between the tiles in the back of the store. And let’s not forget the werewolf-esque body parts that Helena pulls from out of behind her wall. These elements give the film a definite horror vibe, but is that enough if the film doesn’t stick with the horror?To that end, would it have been better if it stuck with the straight drama of our characters Helena, Otávio, and Paula and their struggles with employement instead of including these metaphors? By including them, does the film get muddled and become less clear on its messaging?We go back and forth on these points because Pete didn’t like them at all and Andy liked them, though still felt they were a bit confusing. But what about the dramatic story in Hard Labor?This is where we feel the film excels. Watching the three main characters struggle with their jobs is the heart of this movie, particularly when Rojas and Dutra end the film on such a punch-in-the-gut moment. They each show an interesting transition over the course of the film. What did we think about them? How well do we care for them? And do we find any particularly interesting or less intriguing?It’s an interesting film that never quite works as well as it should but still clearly shows a proclivity for a type of storytelling that it sounds like Rojas and Dutra have continued, both solo and together. It’s an interesting film to discuss even if watching it won’t be for everyone. Check it out and tune in! The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Watch this on Apple or find other places at JustWatchTheatrical trailerPoster artworkFlickchartLetterboxd Support The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

"So for all practical purposes, in a month, that’s it for us.”Miranda July spends more time as a performance artist than as a filmmaker, so it makes sense that her second film, The Future, feels a bit like a performance piece. That also likely speaks to why its quirky charm works for some but for others, they feel it represents the worst side of independent film. But that’s what art is, right? Join us – Pete Wright and Andy Nelson – as we continue our 10th Anniversary celebration series with July’s 2011 film The Future.Miranda July and Hamish Linklater are a perfect couple in The Future.Linklater’s recently appeared on Mike Flanagan’s Midnight Mass on Netflix and was amazing in that role, so it’s great to jump back 10 years to see him in this film. He and July, playing his girlfriend, are the perfect 30-something couple, happy with their existence but unsure how to move things forward. That’s when the cat Paw-Paw enters their lives, and suddenly, they feel like their lives are coming to an end.From there, it’s a bit of an existential journey with each character – Linklater as Jason and July as Sophie – working through their own interpretation of the future and their position in life. But where do we land on the film as a whole versus the various parts?There’s also Paw-Paw the cat and the Moon as well.The first half focuses on their relationship. The second half focuses on them struggling with where they think their lives might lead. But there’s also Paw-Paw the cat, talking to us in metaphors about life and the death. At the same time, we also have the Moon, talking to Jason while he’s frozen time and is struggling about whether to unfreeze it or not.The Future is a unique film that works for us, but likely won’t work for everyone.July gives us a lot to discuss with this quirky, unique film. Not everyone will like it – we even are a bit split on it – but it’s clearly a film from a unique voice and certainly worth watching and revisiting. Check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.Watch this on Apple or Amazon, or find other places at JustWatchTheatrical trailerPoster artworkFlickchartLetterboxd Support The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

"Remember how devastated you were at first? So why get others to do the same?”In 2008, 18 students at Gloucester High School in Gloucester, MA, all got pregnant. At the time, the principal said that there had been a pact between a number of the girls to all get pregnant together. The mayor later came out to say that there wasn’t a pact, and later some of the girls said there was a pact but it had been made after the pregnancies and more about helping each other raise their babies together.The initial story about the pregnancy pact had gotten out into the world, however, and created quite a fervor because the concept of so many young teens making a life-altering decision like this in such an off-the-cuff way is so frightening. Some people wrote books, others made Lifetime movies. French writer/director sisters Delphine and Muriel Coulin adapted the concept into their feature film debut 17 Filles, or 17 Girls in English. Join us – Pete Wright and Andy Nelson – as we kick off our Tenth Anniversary series, celebrating films celebrating their 10th anniversaries as we celebrate our own – with Coulins’ 17 Filles, or 17 Girls. It’s a challenging film for each of us for different reasons, which makes for a lot to talk about with 17 Girls.Pete didn’t like this movie. He didn’t like the characters. He found the story fairly boring. Andy liked the movie, but didn’t love it. He found more compelling elements in a few of the characters but certainly not all of them. He didn’t find it boring but understands how people could find it that way.We mainly focus on Camille, the first of the girls to get pregnant, but she’s a challenging character to have as a protagonist. Is she more our antagonist? There is a moment early on when we get a sense of her life at home. Does that give us what we need to latch on to her and start feeling what she’s going through? Or do we need more?How About the 17 Girls in 17 Girls?What about #2? This speaks partly to our frustrations about the film – we’re assuming all 17 of the girls have names, but we aren’t given many of them in the film. But #2 gets pregnant just because she wants to be part of the in-crowd. Of all the stories, perhaps hers is the most tragic. But we’re not given much of her.How about Clémentine? If any girls ends up getting more of our sympathy, surely it’s her. She’s desperate to stay a part of the club so does everything she can to get pregnant, even though her body is too small to handle a pregnancy. She runs away from home after fighting with her parents and her friends put her up in an abandoned trailer by the beach. It’s miserable. But do we end up garnering much sympathy for her?This is the challenge of the film. It’s constructed more like a parable or fable, and we don’t find much to connect with the characters themselves. Is that a problem in context of this film? Or would it be fine if the story had more energy?17 Girls is a slow-paced film.We spend a lot of time with our group of pregnant girls together as well as alone. When they’re alone, they’re often sitting quietly at home looking scared, helpless, lost. When they’re together, they’re talking about all the great times they’ll have helping each other care for their children. If you can’t connect with these girls, it’s easy to feel bored. And that’s a big part of our conversation.We also talk about the nature of the town of Lorient, France, where the story takes place. It feels like a dying town, and perhaps we’re meant to feel that the people here are dying as much as the town is and in a weird way, these girls may be trying to find a way to latch onto life. That also ties into the ladybugs we see in the film.It’s an interesting film to kick off our new series with. Is it a fun film? No, but it provides a lot of points for discussion. Perhaps that’s all we needed right now, even if it’s not a film we’ll be returning to. Check it out (or not) then tune in to this week’s episode! The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.Watch this on Apple or Amazon, or find other places at JustWatchTheatrical trailerPoster artworkFlickchartLetterboxd Support The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible