Hit Factory

We finally bring the brilliant, indelible work of Claire Denis to the pod with a discussion of her 1994 TV movie U.S. Go Home. Produced as part of the anthology series Tous les garcons et les filles de leur age… alongside work from other French visionaries like Chantal Akerman, Olivier Assayas and André Téchiné, Denis' film is an elliptical, compassionate coming-of-age story that regularly subverts expectations and never succumbs to the potentially regressive tendencies of its narrative milieu. We begin with some chatter about recent Hit Factory-featured filmmaker Edward Yang and a recent watch of his final work, Yi Yi. Then, we explore Denis' film - its lyrical formalism, its exquisite soundtrack - and how she crafts a work of simultaneously keen observation and hypnotic ambiguity. Watch U.S. Go Home on YouTubeThe Roxie theater in San Francisco is still seeking funds to help buy their building! Be sure to listen to our recent conversation with producer and Roxie board member Henry S. Rosenthal and visit the Roxie website to donate today!Get access to all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.....Our theme song is "Mirror" by Chris Fish

Get access to this entire episode as well as all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.David Cronenberg returns to the big screen this week with The Shrouds, perhaps his most autobiographical film to date. The film involves grieving tech entrepreneur Karsh (played brilliantly by Vincent Cassel) who has developed the means to surveil the dead in their tombs, including his recently deceased wife. After a series of grave defacements in the cemetery plot he owns, and in which his wife is buried, Karsh ventures down a rabbit hole of conspiracies technological, geopolitical, and psychosexual seeking answers in an increasingly indeterminate reality.We attempt to unpack this rich text with an examination of Cronenberg's perspectives on our hypermediated present, and how the constant hum of "connectedness" becomes an impedement to our ability to process our own traumas. Then, we explore the films labyrinthine narrative, weaving an intricate - a deliberately unresolvable - web of various plots, evoking the derealization of our interconnected age of information overload. Finally, we explore the films nuanced, mature eroticism, and illuminate why Cronenberg is the master of making non-cinematic sex feel simultaneously trenchant and deeply arousing.The Roxie theater in San Francisco is still seeking funds to help buy their building! Be sure to listen to our recent conversation with producer and Roxie board member Henry S. Rosenthal and visit the Roxie website to donate today!....Our theme song is "Mirror" by Chris Fish

The Roxie Theater, a San Francisco landmark in the Mission District, is one of the oldest continuously operated cinemas in the United States, with its history tracing back to the early 1900s. Recently, The Roxie kicked off the public phase of their fundraising campaing, Forever Roxie, in order to purchase their buidling, invest in technology upgrades, and expand their programming. As the premier theater destination for both hosts of Hit Factory, we want to get the word out to listeners and ask for your support in ensuring that The Roxie remains a cherised and thriving institution in San Francisco for the long haul. We sat down for a breif conversation with film producer, former punk drummer, and Roxie board member Henry S. Rosenthal to learn more about the Forever Roxie campaign, to talk movies and the state of cinema more broadly, and cast light on why The Roxie's efforts to guide their own future as the owners of their building extends beyond San Francisco's film community and could become a roadmap for independent film exhibition all over the country. The Roxie is more than a theater. It is a home alive with engagement and inspiration where filmmakers, artists, and audiences forge a creative community through workshops, conversations, collaborative projects and fierce programming that place The Roxie at the forefront of independent film. Please donate what you can to help bring this quintessential SF film instituion into the future! Donate to Forever Roxie & Find More Ways to Support HERE.Help spread the word on your own with the Forever Roxie Social Media Toolkit.Follow The Roxie on Instagram for more updates. 

We inaugurate the brilliant Taiwanese master Edward Yang with a conversation about his transcendent 1994 social satire A Confucian Confusion. Following up his staggering masterwork A Brighter Summer Day, Yang turned his attention to Taipei in the 1990s at the height of its rapid evolution into a port city of global capital and the effects this shift had on the value systems and relational dynamics of the city's people. Evoking the slapstick and breackneck pacing of more popular modes of cinema - including the American romantic comedy - the film follows a large ensemble of Taipei's young professionals caught up in the frenzy of capitalism's mechanisms of social order, all in pursuit of an irresolute alternative that can liberate them from their self-made misery and help them achieve something approaching an honest, authentic way of life. We begin with a conversation about Yang as artist, his preoccupations, his distinct convergence of heart and wit. Then, we break down A Confucian Confusion's ensemble, how the characters reflect Yang's feelings about Taipei's consumer-friendly, corporatized status, and how honest desire is sublimated into the cold calculus of business language - a phenomenon that presages and predicts modern tech culture and its bastardized language of wellness and attunement. Finally, we discuss the film's unique and delicate balance of trenchant political satire and touching character drama; how Yang achieves a profound and honest reflection of the minor victories and acts of liberation we can achieve within a totalizing capitalist milieu. Get access to all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.....Our theme song is "Mirror" by Chris Fish. 

Get access to this entire episode as well as all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.Xuanlin Tham, author of the new book Revolutionary Desires: The Political Power of the Sex Scene returns to the show to discuss the Wachowskis' debut feature - the sharp, sexy sapphic neo-noir Bound. Emboldened by brilliant performances from its two leads Gina Gershon and Jennifer Tilly, the film is both an assured and nimble stylistic calling card for the future Matrix directors and a carefully studied lesbian romance, rendered in considered motif and visual flourish.We begin with an examination of the Wachowskis as filmmakers and how their work exists at a singular nexus of mass appeal and subversiveness. Then, we discuss the influence of feminist author and journalist Susie Bright, a key influence and collaborator on the film, and how she informed the Wachowskis' formal approach to formally conveying the slow burn of lesbian eroticism. Finally, we discuss the film's erotic sequences, how they transcend simple arousal, and what they tell us about the revolutionary capacity of sex and pleasure as a weapon against capitalism's confining homogeneity.Buy and read Xuanlin's book Revolutionary Desires: The Political Power of the Sex Scene at 404Ink.Read Xuanlin's Manifesto for the Modern Cinematic Sex Scene at AnOther.....Our theme song is "Mirror" by Chris Fish

Film critic and author A.S. Hamrah joins for a conversation on his recent Fast Company piece "Hollywood’s obsession with AI-enabled ‘perfection’ is making movies less human", which details some alarming (and frankly, depressing) recent use cases of A.I. in both studio blockbuster fare and awards-contending independent releases like Brady Corbet's The Brutalist.We attempt to unpack the psychology driving the pervasive and exponential use of A.I. in moviemaking - Is there a genuine impetus on the part of a moviegoing audience to iron out anything that antagonizes credulity? Why do filmmakers seem so eager to embrace the ease of A.I. at the expense of cinema's sense of "authenticity"? The, we examine the material implications of A.I. on film workers, and how the unanimous embrace of the technology poses an existential threat to the future of craftspeople in Hollywood. Finally, we look to the near future and ask, "Are we already past the tipping point? What, if anything, can we do to oppose A.I.s dominance of Hollywood at the expense of real artistry?"Buy A.S. Hamrah's book, The Earth Dies Streaming from n+1Read A.S. Hamrah on the 2025 Oscar nominees and the best films of 2024 at n+1.Follow A.S. Hamrah on Twitter.Get access to all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.....Our theme song is "Mirror" by Chris Fish. 

Returning friend of the show Comrade Yui swings by to discuss the 1994 Full Moon direct-to-video masterwork Dark Angel: The Ascent. The story follows the exploits of a bored, beautiful young demon Veronica Iscariot (Angela Featherstone) as she defies the orders of her parents and the rules of hell to visit Earth and walk among the humans. It's not long before she realizes that humanity has forsaken its God-given gifts and descended into all manners of evil, which must be brutally punished. Written by Freeway director Matthew Bright and directed by Linda Hassani (her sole feature directorial effort), the film defies all expectations of the DTV format with an unusually rich premise, emotional depth, and style to spare.We begin with a discussion of the film's unique theology, offering a vision of Heaven and Hell working in concert to do the bidding of the Almighty. Then, we explore how Bright's script searingly antagonizes many of society's ills, especially those germane and topical to the mid-90s - anti-welfare rhetoric, police brutality, antisexualism. Then, we uncover the film's depthful look at the notion of fallenness, and how its characters perceive of complacency and disregard for evil as tantamount to evil itself.   Follow Comrade Yui on Twitter.Get access to all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.....Our theme song is "Mirror" by Chris Fish. 

Get access to this entire episode as well as all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.We're back talking about the recently-released Babygirl, directed by Dutch actor-turned-director Halina Reijn. Despite some initial apprehensions based on the discourse and reviews from trusted sources, we both found the film to be a stylish, funny, and intelligent examination of desire, kink, and the ways that the patriarchy suppresses and rejects expressions of female pleasure that are incongruent with the capitalist guardrails of our culture.We begin by discussing the film's nimble balancing of aesthetic impulses which heighten the proceeding's with a sense of hyperreality without sacrificing the story's emotional core. Then, we praise the magnetic work of Nicole Kidman, and the nuances of her performance and character: a high-powered woman caught in the ideological trap of patriarchy that grants her material success while demanding that she stifle her corporeal desires, judging them as aberrant, even wicked. Finally, we explore the film's thoughtful approach to the nature of sexuality and erotic experience, finding compelling layers of meaning and understanding often missing from today's films.Read Justine Peres Smith on Babygirl for Cult MTL.Read Jourdain Searles on Babygirl for the Los Angeles Review of Books.Pre-Order Xuanlin Tham's Revolutionary Desires from 404Ink.....Our theme song is "Mirror" by Chris Fish.

Fan favorite Hard Mike returns to the show alongside newcomer Syd Bricks to discuss Paul Schrader's Affliction, one of the filmmaker's most well-observed explorations of addiction and the generational cycles of suffering that manifest as a result of leaving personal trauma and pain unresolved. The film follows Nick Nolte's Wade Whitehouse, an alcohlic, washed-up cop in a small New Hampshire town whose maladies put him at odds with his community as he circles the drain, falling deeper into his own delusions of murder, conspiracy, and betrayal. The film also stars a monstrous James Coburn as the Whitehouse patriarch, in a role that would earn him an Oscar for Best Supporting Actor. Together, we discuss our personal experiences with alcoholism and why the film is one of the very best about the subject in its dizzying, unmooring evocation of being caught in the chaos of addiction, both as the afflicted and as someone who loves them. Then we discuss the film's novel use of the neo-noir format as a subversive element of narrative to capture us in the dragnet of delusion meticulously architected by the film's unreliable protagonist. Finally, we praise the exemplary work of the film's cast, especially Nolte and Coburn, and how their screen personas function perfectly as characters filled with unmanageable woe, malice, and hurt. Follow Hard Mike on Twitter. Follow Syd Bricks on Twitter. Get access to all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.....Our theme song is "Mirror" by Chris Fish. 

Get access to this entire episode as well as all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.Film critic Eamon Tracy returns to the show to discuss Renny Harlin's mountain-bound Die Hard riff Cliffhanger starring Sylvester Stallone, John Lithgow, and Michael Rooker. A taut, well-staged action thriller that served as a revitalization effort for Stallone's leading man bonafides in the early 90s after a rough patch of box office and critical bombs, the film sports a refreshingly lean premise and a host of jaw-dropping setpieces that were rewarded with a massive $255 million worldwide box office haul and a quietly outsized influence on the past three decades of action cinema.We begin with a discussion of Stallone and how the film makes use of both the actor's surprising capacity for subtlety in performance as well as his much more conspicuous and impressive physique. Then, we pull apart the film's broadly apolitical plot mechanics, including the intricate ways the script navigates around giving John Lithgow's Eric Qualen an explicitly partisan or geopolitical motive. Finally, we talk broadly about the sport of mountain climbing, the colonial ideology perpetuated by notions of conquering forbidding terrain, and the ways that indigenous communities are seeking to problematize imperialist narratives and perspectives within arenas of outdoor sport and recreation.Read Eamon's recent reviews for Jesse Eisenberg's A Real Pain and Seijun Suzuki's Underworld Beauty at Irish Film Critic.Follow Eamon Tracy on Twitter.....Our theme song is "Mirror" by Chris Fish