[MUSIC]

Hello, everybody, and welcome to Pass Pirate Pay,

the movie discussion show. My name is Ken. I am your host,

alongside my co-host Andy. >> I'm great. How are you Ken?

>> I'm okay. A little bit of melancholy to start off the show, you know?

>> Yeah, we just got the sad news not too long ago that David Lynch passed away.

We talked about him briefly when we did the Lynch Oz episode.

>> I think it was more than brief.

>> Yeah, I mean, we talked about the movie and then we talked about our feelings.

>> Yeah, it was all centered around David Lynch.

>> Yeah, well segment.

>> Yeah, yeah. So, yeah, it was a really sad day for me.

Generally, celebrity deaths don't really do it much for me.

Like, I never even know when people are dead.

I think the last one that hit me as hard as this one was when Bowie died.

>> Yeah, that was bad. >> But this John Prime got me.

>> Yeah. Yeah, but this one, I don't know. Twin Peaks, the return, was what,

five years ago now? And he hasn't made a movie. I didn't even see Inland Empire.

So, he hasn't made a movie that I've seen in over 20 years.

But he's just still like, he has been a character in our lives in culture for the whole time.

Like, one of my favorite things David Lynch has done ever, but certainly recently is the guest spot

he did on Louis. I don't know if you remember that. I don't know.

Louis is in talks to replace David Letterman on his talk show.

And he hires a coach to coach him on how to be a talk show host.

And that coach is David Lynch. It's so funny.

>> He's great.

>> I mean, he's not playing David Lynch, but he's, David Lynch can't be anything other than David Lynch.

>> Yeah, it wasn't. >> He's just doing his own thing.

>> Wasn't he also in the Fable Mons?

>> Yeah, you played John Ford in the Fable Mons?

>> Plants John Ford so funny.

>> It's one of the greatest cameos in film.

>> I totally agree.

It's, I like the Fable Mons a lot. And I think one of the reasons why I really, really like it is

because it ends on a perfect note. >> Yeah.

>> David Lynch just.

>> Yeah, and which is odd for Spielberg.

Because I think Spielberg is prone to end on big soaring endings, big giant music swell.

And this was like a goofy kind of funny ending.

>> Yep.

>> You know? And I'm like, that's kind of cool.

>> Yep. And it was great. And honestly, there's no one who could have done that part better than David Lynch.

>> No, it was, it was, it was perfect. >> I think they knew they Lewis couldn't have done it better than the big, big, big glitches.

>> Really good. It was just so good.

>> So, yeah. I mean, this is a very sad time.

It's like, it's a very sad thing that happened.

I'm certainly going to miss him.

And he is a filmmaker who means a lot to me.

Like Quinn Peaks, as I've said, is my favorite television show of all time.

>> Uh-huh.

>> And Mulholland Drive is one of my favorite movies ever.

And I love, I love a lot of his work.

And the stuff I don't love, I respect the hell out of, because man, that guy was one of one.

You know? He did his thing.

>> He took big swings.

>> Oh, yeah.

>> Oh, yeah.

>> You know?

>> So, yeah. That's just, just, just, I felt like we couldn't let this go by without saying RIP to David Lynch.

>> Yeah, absolutely.

>> Yeah.

>> All right. So moving on from that.

>> Oh, boy.

Here we go.

>> What a week we had.

>> We sure did.

>> Uh-huh.

>> So you found yourself a list of the most disturbing movies of all time.

>> Yes. And those movies, the list that I found, the guy did like 40 movies.

>> Oh my God.

>> And those were just three.

I picked sort of random one.

>> Okay.

>> You know?

>> Okay.

>> I thought these would be the most fun.

There's a, there's some of those movies on that list were, were just like, glorified

snuff films, you know, like faces of death is on that list.

>> Right. Sure.

>> And I didn't want any of those.

I wanted something that was a movie movie with characters and a story and, you know,

the whole, you know, movie, you know?

>> Sure.

>> Yeah.

>> You know, because that's what we do here.

>> Right. Absolutely.

>> So I found three.

>> Yeah.

>> And those are the ones we're going to do the most disturbing films ever made.

>> Yeah. So the movies we will be doing are a Serbian film.

Megan is missing and Salo or 120 days of Sodom.

>> The Criterion collection.

>> From the Criterion collection.

>> Salo.

>> Yeah. Yeah.

So yeah, we're going to get right into those.

I want to talk about these in the order that I watch them because, you know,

this was a whole thing.

This was a whole experience that I went through watching these movies.

>> Yeah.

>> I'm sure you did too.

>> Yeah.

>> Yeah.

>> So the first movie is a Serbian film from 2010,

directed by Sir Don Spassović.

Pass.

>> Next movie.

>> No, kidding.

We will.

We can't talk about this.

>> So before we get into any of these,

I think we need to tell our audience that these are very disturbing films.

>> Very.

>> And we'll be talking about some really, really awful things.

>> Yeah.

>> That is true. So yeah, trigger warning or whatever you want to say.

Don't listen to this in front of kids.

>> Yeah.

>> These are gnarly movies.

>> Yeah.

These are movies made by people who want to shock.

>> Right.

>> And we're going to be talking about all the

parts that were in these movies.

>> Yeah.

>> So be careful.

>> Yeah.

>> Very shocking things happen and we can't not talk about them.

So yeah.

>> Yeah.

>> So a Serbian film is the story of

the greatest porn actor of all time.

>> I guess quite the stallion.

>> Yeah.

>> At one point he is referred to as the Nikola Tesla of pornography.

>> Yeah, that's how I pray.

>> I guess if you're in Serbia, I mean it's going to be

hard to do better than that.

>> Yeah, so this guy, everybody is talking about how all of the women he ever worked with

in these movies were all falling in love with him because he was always had a big heart.

>> Yeah.

>> Yeah.

>> And got the job done every time.

>> Yeah.

>> Everybody always wants to be him.

But he's mostly retired now.

>> Uh-huh.

>> And he's got a little family.

>> Scott has got a wife and a small kid.

>> Uh-huh.

>> And they're bringing him out of retirement for one last job.

>> [laughs]

>> See, he's going through some money problems.

The kid wants to take some piano lessons.

And, you know, our hero, Miloš is peeling off his money

and he's realizing it's running out.

>> Yeah.

>> So he gets a call from one of his former co-stars and she's telling him about

this guy who wants to make this big movie and they're going to pay him enough money

to set him up for life.

So that's where we go.

>> Yeah.

>> And, you know, so he decides, yeah, I'll go and I'll

I'll hear this guy out and we'll make this movie.

But they won't tell him what it's about for reasons that quickly become clear.

>> Uh-huh.

>> So this is a Skinimax movie for the first like 40 minutes of it, right?

>> It feels like that, yeah.

Like from the acting to the cinematography, the way it's shot.

>> The music.

>> The music, yeah.

It's a washed out like video shitty looking quality.

The music sounds like that kind of stuff.

All of the women are like,

their breasts are popping out of their shirts and it's just like this looks like

a movie that you would watch on Cinimax at 1 a.m. on a Saturday morning.

>> Right.

>> It's really stupid because there are scenes where we're watching some of Miloci's

old porn movies and those movies are made to look ridiculous.

But the acting in just the regular movie parts is just as bad as all of the acting.

And all of this is like, what the fuck are we even doing here?

Like, yeah, what's going on?

But that doesn't really matter because none of the movie really matters until we get to the final,

I don't know, what is it?

The last third of the movie feels like it, which is just like a prolonged freak out scene.

For some reason, told in flashback, like Miloci has been drugged.

>> Yeah, because you can't remember anything.

>> Right.

>> And he's had a piece in it together.

>> Right, so he wakes up and he's in bed and he has a bloody nose and you know,

he's all beat up.

>> Yeah, and he's blood all over him.

>> And he doesn't know what has happened.

And then for, so the movie is showing us these things that happen as a flashback.

I can't really figure out why.

And the things that have happened are psychotically disturbing.

Like just the person who made this movie just decided I am going to

throw every single fucked up thing I can at you for an endurance test.

I don't really know, right?

>> Yeah.

>> The thing that got to the point where it got so over the top that I was laughing.

I didn't laugh, but I was laughing.

>> I totally checked out.

>> It actually kind of won me over.

>> Really?

>> A little bit.

>> Yeah.

>> Just a little bit because of how just stupid, far it went.

>> Yeah.

I was just numb to everything that was happening after a while.

So it gets started, I guess, I mean, I don't really think we need to get into all the stupid shit

that happens.

>> Yeah.

>> And I don't think we need to worry about spoilers at all for any of these.

>> Yeah, fuck that.

>> We're not.

>> Yeah.

>> But it gets started where the director is showing melos this movie that he's making.

>> Well, he's quit.

Melos just quit.

>> He doesn't want to do it.

>> Yeah, yeah, yeah.

>> And the director is like this guy who's like talking about how he's going to revolutionize

pornography, he's going to make the greatest statement movie ever made, right?

>> Yeah.

>> And the thing that he shows melos is a guy comes in and he starts fucking a pregnant woman,

a very pregnant woman while she's in labor, right?

And then the baby comes out and he starts fucking the newborn baby.

>> Yeah.

>> And then the director, melos is horrified by this and the director is like,

newborn porn and he's like, can it be that you don't understand what I'm doing here?

>> Yeah.

>> What?

>> Ever-loving fuck, right?

And then it just goes from there.

And like, so melos has been drugged up with this cocktail, which is like horse afro-deezy

act, I think they say, right?

Where it's like, so he's, he's, it's a combination of some kind of like speed or coke and

rufis and viagra times a billion.

So he's just like, he's just like compelled to fuck everything in his mouth,

putting him in situations where he's doing nasty awful thing, right?

>> Right.

>> And so we're just going through these things and then like people are being murdered while

this is happening and at one point he's fucking his own kid and like, it's a, it's a fucking mess,

man.

This movie is ridiculous.

>> They old boy him.

>> Yeah.

>> In the worst way.

>> Yeah.

>> The thing that struck me is when the director is talking about this big vision that he has,

right?

It seemed to me like the movie was showing us the making of itself.

>> Yeah.

>> Right.

Like the actual director of this fucking movie is probably thinking those very things, right?

Like he didn't say out, the guy who made this movie must have set out to be like, I'm

going to change everything.

I'm doing all of these things and nobody has ever seen anything like this before and I'm

going to revel, I'm making the citizen cane of Serbia.

>> Yeah.

>> And the director character in the movie is saying all of these things and yet somehow it

doesn't seem like this movie gets how ridiculous it is.

I mean, maybe you were amused by it just how ridiculously far it went.

>> Yeah.

>> At one point I was just, and I'll tell you the point that turned for me where I was like,

maybe this is a comedy is where it's after he'd been old boy and he's like, he kills the director.

He kills the henchman and then there's the one nasty henchman who fucked the baby.

And he punches him and knocks his sunglasses off and he's got like a missing eye and he

fucks the eye hole of the guy.

He's like, I died laughing.

Oh my God.

>> This is so good.

>> Oh my God.

>> Yeah.

>> So that's a Serbian film.

>> Is there any parts you want to go back and reflect on for that?

>> No.

>> How does it make you feel after you watched it?

>> This movie, did it disserb you?

Did it do its job?

>> Yeah.

I guess so.

I certainly didn't feel good after I watched it.

I felt gross.

I felt like no one should watch this movie.

It's not, it's just not good.

It's not good for the world that it exists.

>> No, there were points where it felt like the person making it was a bad human being.

>> Right.

>> Where it felt like, it felt bad.

>> I guess I said this when we were talking about the terrifying movies where it's just like,

who is this for?

I don't really understand it.

>> Yeah.

>> This movie, I really don't understand it.

I know people who are into some really fucked up shit and they just really like watching fucked

up shit.

I was talking to one of them about this movie and they're like, that movie, fuck no.

It's no.

I don't know who this movie is for.

>> Even they refuse to, like they had seen it and they're just like, yeah, that movie's

fucked up.

That's too much.

>> Yeah.

>> I don't understand what the point of this movie is.

I don't understand why it exists.

I mean, I think it is to push boundaries.

>> Right.

>> And sometimes those are necessary.

>> Yeah.

>> Sometimes boundary pushing things are necessary, but sometimes when they're done in such

or taste.

>> Right.

>> There are movies that are pushed to boundaries that are still great.

>> Right.

>> I know.

>> Yeah, I agree.

>> So I don't know anything about Serbia.

I've met a few Serbian people and every person I've ever met from Serbia is a hard, hard

motherfucker.

>> Yeah.

>> If you want to get shanked, go fuck with a Serbian guy is my experience.

So I feel like this movie is making a point.

Like when they're talking about how they're making this porn movie, people are like, you're

making it in Serbia.

Like it's weird that they're making this movie in Serbia.

So I think that they're trying to say that this really, really fucked up porn that they're

making is uniquely Serbian in some way.

>> Yeah.

And I also did read somewhere when I was like doing a little research on this movie that

it does reflect on Serbian society because it is gross and violent and hard, like you said.

And that reflects on the political system and abstract ways.

>> Right.

>> So I feel like that's what the director was going for.

It's so funny.

I was thinking about my least favorite movies of all time.

And one of my least favorite movies ever, one of the worst movies I will say is The Force

Awakens.

The Force Episode Seven.

And the reason I hate it is because it is creatively bankrupt, right?

Like it's not trying to do anything other than tickle people's member baryze and make a

fuck ton of money, right?

It's there's no value to it as a creative artifact, right?

So and I hate it because it is soulless, right?

This movie, the fucking guy who's making this movie is really trying to do something.

Like you really wants to say something.

But the thing he wants to say is awful.

He has no ability to make the thing that he wants to say.

Like everyone involved in this movie is untalented and it's a statement that should not be made

or having been made should not be received by anyone because it adds nothing to the conversation

of the world.

Yeah.

So I don't know where I come down on this thing where it's like obviously this movie is

atrocious.

I hate it, right?

But is it one of the is where does it rank on the list of the worst movies I've ever seen?

I don't really know because I do applaud effort.

I do like it when people try things.

But fuck man, what the fuck?

Why are why this?

What?

Yeah.

Just just know.

Oh, seriously.

I feel you.

Yeah.

I feel you.

It was also just like, but they did like there was some effort to humanize our hero.

Yeah.

You know, and to and to give him some sort of arc, you know, that was there.

Right.

Right.

Yeah.

Like it wasn't just gross stuff.

Yeah.

You know, some of the movies in this on that list were just a compilation of gross stuff.

Yeah.

No characters, no nothing just Gonzo gross.

Yeah.

Yeah.

I guess.

I mean, yeah.

I do give the movie a small amount of credit for for a swing, right?

But yeah, I don't know.

It's it's it's it kind of feels like saying that about Charles Manson, right?

Like he was trying to do stuff.

He was trying to.

He had a character.

Right.

Yeah.

I mean, this is just a movie is not a murderer, but like like if the thing that you're trying

is so reprehensible, then how much credit can you really be given for trying?

Yeah.

Yeah.

I get you.

Yeah.

I get you.

I'm I tried to think of a redeemable quality of this movie and I couldn't come up with

one.

Yeah.

Yeah.

I was talking to some people after I watched this movie and I was describing it slightly

and and one of my friends is like, Oh, that sounds awesome.

I'm going to watch that.

And it's just like, I can't stress this and just don't well, here's the thing.

Shock and disgust are emotions.

Sure.

When a movie elicits an emotion, it's doing its job.

Yeah.

And this movie was built to elicit shock and disgust.

Yeah.

So did it.

I think it achieved that.

Ah, yeah.

I suppose you're right.

I yeah, you're right.

You know, I don't think this person set out whoever made this movie.

I don't think they set out to make a blockbuster.

Sure.

This was a niche movie.

This is exploitation, right?

You know, yeah.

But I don't I don't think that's the entire goal that this person had, right?

I think they're also trying to say something.

They're trying to make some kind of political or artistic statement beyond, I'm going to

make you as uncomfortable as I possibly can.

Right.

Yeah.

I don't it's not the only goal of the movie, but it is the only thing it achieves.

But I will say that there are people who enjoy movies that shock and disgust them.

Yeah.

Like whoever said that.

Yeah.

You know, your friend that said that.

Yes.

So I like things like that too when they're done better.

I guess like the exorcist.

Sure.

Yeah, exactly.

Yeah.

Yeah.

But you foundries.

Yeah.

Yeah.

That was on this list.

Yeah.

One of the movies I was surprised you didn't even mention as we called irreversible.

It's a French movie.

But I can't make a list of the most disturbing movies without including it.

It could have been on that.

Yeah.

And it's a movie that is very grotesque at times and very difficult to watch.

But it's really good.

It's actually saying something.

The difference between that movie and this movie is so stark to me.

Whereas it's like, you know, you can you can shock and horrify while like you said, like

the exorcist like you can shock and horrify in a good way.

Or in a way that actually does something beyond that and that's when it's valuable.

Yeah.

Me too.

Yeah.

Me too.

I do not see come movies in order to be shocked and discussed it.

I avoid those.

Yeah.

I would have avoided every one of these movies.

Yeah.

You know, but I didn't for you Ken.

Oh, thank you.

You say that even though this was your idea.

It was my idea.

It was my idea.

But my idea was to shock and discuss you and have you tell me about it.

Uh-huh.

But I didn't think that was fair.

Yeah, I didn't think that was very there.

So we but irreversible sounds interesting.

We will save that for part two of Ken gets disturbed.

Yeah.

Right.

So so let's make it official.

Yeah.

Let's do a Serbian film, a past pirate pay for you Ken.

I mean, past seriously, like go outside and play.

Don't watch this movie.

It is also a past for me.

Don't I know it may sound cool to that.

You know, oh, oh, so bad ass.

He's hardcore Serbian gross out movie.

Don't just don't if you never listen to another thing I say on this podcast.

Listen to this one.

Don't go see this.

Don't see the movie.

Don't watch this movie.

No one watched this movie fair enough.

All right.

Our second movie of the disturbing trifecta is 2001 2011's Megan is missing directed by

Michael goi.

This is a found footage movie.

It's all footage from basically two teenage girls like web cams and one of them has like

a camcorder security cameras and news clips and things like that.

It's about two 15 year old girls and they are abducted and horrible things happen to

them.

Yep.

So this is another movie where Ken I mean, it's weird to say because these are low budget

movies, but like the quality of the acting in these movies.

Very, very bad.

This one especially really bad like the actress who plays Megan is particularly terrible.

Like yes, just very, very bad everybody is everybody's everybody's bad, but she to me stood

out like yeah, it's real.

It feels like student film.

Yeah, acting like the thing is like thinking about found footage movies like the Blair Witch

project.

That's a movie that was made for no budget with three actors.

Nobody's ever heard of.

But I actually think those people are good.

So I have a theory about that.

You know all about the way they filmed.

Yeah, right.

I do.

Yeah, actually there was no script.

Right.

And they just put them in the situation.

Go out in the woods and we're going to screw with you.

And they scared them.

Yeah.

They they depleted their food.

Right.

They did a whole.

And they would leave notes.

They would leave notes for one of them to do a thing.

Yeah.

And so the other two didn't know about it.

Right.

And at some point like they weren't acting anymore.

Yeah, I guess that's fair.

You know, and I think that this movie also has a little of that.

I think you might be right.

Yeah.

But the acting did get good.

Yeah.

And certain point.

Yeah.

I thought.

Yeah.

Yeah.

I can see what you're saying.

Yeah.

The actors who plays Amy, the other friend.

She goes through a lot in this movie.

A lot.

A lot.

And yeah, you're right.

I mean, I guess it's kind of like Shelley Duval in the shining kind of thing where

it's just like you push this person to the end of the edge of their.

I don't know if that's how it went.

Right.

But sure seems like it.

But there was a turning point in the acting.

Yeah.

I thought.

But yeah, this this movie and like there's weird choices made where it's like these are

supposed to be high school kids hanging out.

So Megan has one friend named Amy who's a good girl.

They're the best.

They're two best friends, right?

But then Megan's all of Megan's other friends are like dirt bags and sluts.

Yeah.

Like just banging random dudes to get drugs and that's their lives, right?

And one of these other friends is hanging out with some dude and I if you like their their

trying like this guy is supposed to be roughly their same age, but he looks like he's 40.

Like he's just hanging out at this high school party with all these.

Yeah, yeah, I know.

I know.

You're talking about it.

He looks like he could have gotten a high school with me.

Like, I don't like it's really strange.

So yeah, it's really weird casting and then like there's this one dude who's supplying drugs

and he's throwing this party and he's like, I got all the best parties.

I'm the I got the and it's just like this fucking abandoned house.

Yeah.

This super cool party that they're all at is just kids sitting around on the floor drinking

and smoking weed.

And then there's somebody's off in a random room getting a blow job.

It's like, this is no like, what is this super cool party?

What the fuck are we doing?

It's it's it's really weird.

Yeah.

So eventually Megan meets this dude on the internet.

He doesn't have a webcam because it's broken, but he shows a picture of him and he's a young

guy just like them and he convinces Megan to meet up with him and then he abduct her and

then he later abducts Amy and then the movie ends.

You know, there's a caption on the screen that says the final 22 minutes of this movie

are unedited footage from Amy's video camera.

Yeah.

And it's that's when the really fucking disturbing stuff happens.

Yeah, that's when that's when the movie takes a turn.

Yeah, which is what the last third kind of yeah, that yeah, basically.

And like, this is bad filmmaking, right?

Like you're making a found footage movie.

I don't know why you've chosen to make it as a found footage movie.

It doesn't seem like you need to do it to tell the story that way.

And if you're going to do it that way, don't cheat in the universe of this movie.

There's no reason for the footage in the last 22 minutes of this movie to exist, right?

Like the killer is filming Amy as he's doing all of these horrible things to her.

Like there's a prolonged rap scene that is really, really uncomfortable.

Yeah, it is.

And then the movie ends notably where he puts Amy.

Well, before this, he says, he says, I need you to get in this barrel.

Right.

And I'll take you home.

Yeah.

And they open the barrel and Megan's and Megan's in their dead.

And that's kind of a jarring.

Yeah.

I like that kind of surprised me.

Yeah.

Yeah.

Like I kind of knew it was going to happen.

Yeah.

But the imagery of it is, right?

It is.

She was dead.

Yeah.

She was ugly dead.

Yeah.

Oh, yeah.

So then Amy gets in the barrel and she's sealed it in this barrel and the movie just

ends with the camcorder lying on the ground as this guy is digging a hole to put the barrel

in.

And she's begging for her life, like convincingly, like she's pleading.

She's telling the guy that she loves him and she'll be whatever she was trying to

ever.

Yeah.

And so it's just a prolonged, like a long, long, long shot of this guy digging while

Amy is begging for her life.

And like it's really unsettling and really uncomfortable.

And I'm not even saying it's not effective.

I think it actually was.

I think it was.

Very effective.

I think that whole third act was very effective.

But like why does it exist?

Because before they show us that, they show us where the filmmakers, I guess in universe

filmmakers got this footage from, which is the killer just dropped this camcorder in

a garbage can somewhere where it's just like, why is this guy filming all of this stuff

and then throwing the camcorder in the garbage is no reason for this to exist.

Why?

It's just so stupid to me.

Well, now you're looking for plot holes.

I mean, crazy people do crazy things.

I don't think it's a plot hole.

I think it's lazy filmmaking is just like, like, found footage is a gimmick.

And I'm going to get people to talk about my movie by using this gimmick, but I'm not going

to play by the rules of the found footage because I'm just going to have all this stuff

that would never exist in a real if this were really found footage.

And why wouldn't it exist?

Why is this guy filming this stuff?

Well, he never shows his face.

Sure.

He never shows himself.

No, I avoid that.

I get it, but like, why does he, if he's not saving this footage for to jerk off to later

or whatever, why ever a person would film something like this?

Why, if he's just going to throw the camcorder in the garbage, then why is he bothering

to record it anyway?

It doesn't make any sense.

Maybe so other people can find it and it's like, as like a, look what I did.

Yeah, I just don't know.

I'm not a killer.

I just don't buy it.

I don't buy it at all.

It just seemed like a massive cheat to me.

Like it's just, it's in, it seems really not, it seemed like not good filmmaking.

It seemed like a movie not playing by its own rules.

Yeah.

I understand.

Yeah.

But that didn't pull me out of the movie.

Yeah.

Well, got me out of the movie was the entire everything before that.

Yeah.

Yeah.

There's, if the, if the beginning was better, I think this might have been an okay movie.

Yeah.

Yeah.

I mean, I certainly, I don't, I don't know if I'd go that far because I think this,

this is another movie where, because you would care about the characters more.

Yeah.

This is another movie where the director clearly is trying to say something, right?

This time, I actually think that the guy making this movie, I think his heart is in the

right place.

Yeah.

I think he wants to make some kind of a statement about the way we treat young women in

this country, in this world and the state of the internet.

Yeah.

Exactly.

Yeah.

Exactly.

And you're as it can be.

Yeah.

Like Megan, she's constantly talking about like how she was sexually abused by her stepfather

and she's just like, she is made to perform all these sex act to get drugs because she's

an addict and, and she's 15 years old.

And they're all of the young women, except for Amy, all of the, the young women in, in

Megan's orbit are like, seem like they're kind of in the similar world where they're just

like doing all of these degrading things for all of these dudes.

Because they're all addicted to whatever drugs they were taking.

Yeah.

So it just, it seems, it does seem to me like the director is trying to say something good

in this case.

It's the, the separated from a Serbian film.

It seems like the director is doing something that should theoretically be, but be worthwhile.

But at the same time, I once again have to quibble with the way he goes about it, right?

Like this is, it's a very exploitative movie.

I think, right?

Like the prolonged rap scene is very shocking, but it's also like, I don't know, it's graphic

and kind of unnecessary and it feels really like I said, exploitative towards the actor

playing Amy.

Like, I just like, it feels like the women in this movie, Girls, I guess, I don't know how

all the actors are.

They're playing 15 year olds, but they feel like, they feel like 18 or 19 year old.

Yeah, probably.

It does feel like they're being exploited, you know?

Like there's a lot of stuff like that that's happening that it just didn't, it felt kind

of gross.

So even though I feel like the director is trying to solve a problem, he's also contributing

to the problem, which is, I don't know if he's contributing to the problem.

I don't know.

He's just making a crappy movie.

I mean, he's definitely making a crappy movie.

This is not a, but I don't think he's like glorifying anything or, I don't know.

I think it's a, it's a movie that like, if you're a, I don't know.

A teenage girl that sees this, it might scare you straight.

That's true.

But if you're a teenage boy who's watching this movie, you might feel like drilled by it.

I don't know.

I know about that.

If you feel thrilled by it, you're a piece of shit.

I agree, but there are a lot of boys out there who pieces of shit.

There's no, that's what the movie is about.

And I think this movie is playing to them on some level.

I think this movie is probably appreciated by a certain subset of piece of shit, young

boys, young kids.

I don't know.

It just didn't strike me as, as right.

It didn't, the tone of the movie did not jib with what I think the director was trying

to say.

That's what I think.

But again, like apart from the fact that it feels like a cheat, I do feel like the,

the end of this movie is appropriately chilling.

Like, um, all the stuff, all the stuff where Amy is in this guy's dungeon.

Yeah.

And he's like, like, yeah, you're right about her acting in this part of the movie.

Yeah.

It's believable that she is going through this torment, you know?

And like, there's a sadistic shit where like the killer has her teddy bear.

And he's like holding it with, holding it from her to get her to do this grading shit.

Yeah.

And then he gives it to her and she is like, reverted to this child like state where she gets

her teddy bear back.

And she's like, a little, little girl again.

Yeah.

It's like, it's kind of disturbing.

And she's, yeah, she does a, she does a good job in that spot.

But yeah, I, like you said, the, the movie getting to that part is bad.

Yeah.

It's objectively bad.

Yeah.

I almost abandoned ship.

Yeah.

It was so bad.

I was just rolling my eyes.

You the entire first hour.

Yeah.

Um, but the, and they, the final shot of just, it's, the, the, the final shot of her begging

from the barrel while he's digging the hole, which is, I don't know, felt like at least

five minutes, maybe 10 minutes, just whole, just whole digging.

That's a, that's a very effective way to end a movie.

But there is that.

Yeah.

Yeah.

I was shocked and disturbed.

Yeah.

Like, like it wanted me to feel.

Yeah.

One, one final thing I would like to say in this movie's favor.

So after Megan is kidnapped, there are several scenes of like a hard copy kind of a news magazine

television show that are shown, you know, talking about right?

Yeah.

Where it's like this newswoman is like, Megan is missing is where you know, like they keep

showing us.

Yeah.

And they go through all these great, great lengths to talk about the, the, the things that

have happened.

There's a reenactment of the, but really stupid and all these scenes are so ridiculous.

Like terribly ridiculous.

And so you were talking about some of the stuff in the story and film that you found funny

that this is stuff that I actually thought was really funny.

And the end of the first segment, the first one of these segments after their space

bend, you know, five minutes talking about Megan, the, the newswoman before signing off

is like, oh, and Tercel Jackson is also missing moving on.

Like, like, like, a young, black kid, the young white girl is missing and we're going to

spend all this time.

We're going to interview a parent notice that.

That's hilarious.

Yeah.

I thought it was really funny.

Like that was, that was some good social commentary there.

Yeah.

It's like the black, the young, pretty white girl is missing.

Let's talk about that.

Also, a black boy is missing.

Let's move on.

All right.

So can just to make it official.

Yeah.

Will you give Megan is missing a past pirate or pay?

This is also a pass for me.

Also a pass.

Yeah.

What about you?

I'm a little torn.

I'm on the line between pass and pirate.

Okay.

But I'm going to go pass just because so much of this movie was not good.

Right.

It just was not good.

Yeah.

You know, but if you want to shock your teenage daughter and are not talking to strangers

on the internet, put this on one night, make some popcorn, put on Megan is missing.

Yeah.

I think that may be the only value that this movie could have.

Yeah.

Don't talk to internet, do you?

Right.

Don't meet strangers you met on the internet in real life without no matter what they

say.

Yeah.

But yeah.

Yeah.

This is another one.

This is not nearly as awful as a Serbian film.

So even though they're both passes for me, there are, we have levels of pass.

Yeah.

But I mean, this movie, this again, you don't have to watch it.

No.

You don't have to watch it.

This pass.

Okay.

Our final movie is we're going to go all the way back to 1975.

Well, a year before I was born.

Oh, yes.

They neither of us were alive when Salo was made.

Salo directed by Pierre Pollo Pasolini.

This is an Italian film.

We as a collection in the criterion collection.

That's right.

Only the greatest movies.

Oh, yeah.

I mean, when you said that, I would like to point out that Armageddon has a criterion

curriculum.

Does it?

Oh, yeah.

Oh, yeah.

So I had to lost that.

Yeah.

So, you know, they don't have 100% track rights.

Even though I do like Armageddon, it is, it is, I think it is excellent trash.

But yeah, so this is a criterion collection movie.

This movie.

Oh, boy.

Bill Hader was in the criterion closet.

Have you seen those clips?

No.

Criterion, their YouTube channel.

They have a closet with all their movies.

Okay.

And they get celebrities to go in there and pick out their favorites.

Okay.

Bill Hader picked this one out.

First one.

And he said, perfect date movie.

Thanks.

I guess that's a good bit.

Yeah.

So, this movie, it takes place at the end of the fascist regime in Italy in the 40s.

Okay.

And so some high ranking members of the government, bourgeoisie, they take it upon themselves

to kidnap nine young teenage boys and nine teenage girls for the purposes of doing relentlessly

horrible sexual things to them.

So they kidnap them and they bring them to this estate and turn them into sex slaves.

Exactly.

This movie, it's so it's blows my mind.

It came out in 1975.

Yeah.

Blows my mind.

No, it doesn't.

To me, this feels like the 70s to me actually.

Does it?

Yeah.

It does.

Especially European 70s movies.

You ever see any like Italian horror movies?

Not really.

For that era.

Yeah.

Like the original Suspiria, all those Dario Agento horror movies.

There's a lot of, it doesn't go as far as this movie, but there's a lot of very similar

things going on.

This movie felt like the 70s of Europe to me.

Okay.

But yeah, so this movie starts out with like black and white opening credits with some like

feels like music from the 40s over the credits.

And it's just like, it's like, oh, this is this is movie.

This is the third movie I watched.

Like I said, we're doing these in the order that I watched them in.

And I was like, and then we get some of these shots and there are some like very artistically

framed shots in this movie.

Like we're shooting things through doorways so that the frame of the door is framing the thing

in the image that's happening.

And it's like, oh, this is a person who is actually taking some care after watching the

two previous pieces of shit that we just watched.

Right.

I was like, refresh.

I was like, whoa, this is this.

Oh, we actually going to get something good here.

This is, this is very exciting to me.

You know, we're getting some things.

I was quickly disabused of that notion.

Oh, no.

This we were in a fan of solo.

Oh, man, dude.

Oh, man.

So again, another movie where the, I kind of feel like I know what the filmmaker is trying

to say.

And in this case, it seems to me like there's a lot of stuff where the dudes in charge, they're

all very anti-religious, these fascist dudes, right?

So like, and they're doing all of these horribly depraved things that all the lot of them,

like there are wedding ceremonies and stuff so they're like tinged with sacrilege because

Italy is very Catholic country, you know?

So I feel like, I feel like the guy who made this movie is probably Catholic.

And I think so.

This is his reaction to rich atheist bourgeois assholes.

Like I feel like part of what this movie is trying to say is if you, if you subtract God

from your life, you become a shit eating animal.

I watched a little bit about this director.

This director was a big fan of like localized cultures.

Okay.

And at the time, we were getting more global, right?

McDonald's was opening in other countries.

Yeah, yeah.

And that was the scene we'll get to later.

He said that like food was becoming, because he was Italian and he grew up in a little Italian

village with a tight knit culture and he saw that going away and he saw the food becoming

gross and vial.

And he also said that this is what you get if absolute power comes into play.

Right.

Like you get an anarchy from the people in power.

Yeah.

Yeah, because this movie is, it is very an arctic, right?

Like the people who are in charge, these dudes are totally unpredictable into it as to

what they're going to do at any given moment, right?

This, this movie is very, I feel like it's over long because there's a lot of repetitive

things.

It's like how many different scenes are there where all of the naked kids are sitting around

a room while somebody's playing a piano and an old woman is telling stories, telling disgusting

stories of blowing somebody or, or, or, or taking a shit on some guy's face or something

you know.

And then, but while these things are happening, these guys are, one of these guys will be randomly

grabbing a kid's dick or, or like, groping somebody or bending over and showing his ass hold

of people.

Yeah.

Like, just doing random things and these guys are for no reason over and over again, one

of these guys will just fly into a rage and start shouting at people.

Yeah.

And it's, it's very much, there's a sense of anarchy because you just never know what these

fucking guys are going to do because they're completely insane.

Well, let me ask you this.

Like, do you think there is maybe parallels between solo and Epstein's Island?

Uh, yes.

I think probably.

And that, that, that maybe the thing that he was trying to warn us about played out a little

bit.

Yeah.

Yeah.

I, you, you could very well be right.

I guess it's entirely possible that there was a, a state where some shit like this was actually

happening in Italy at the time, but I think it's, oh, I don't think there was.

Right.

I don't think there was.

I think this was his prediction.

Right.

If you go down this road, yeah, of fascism and absolute power, I think that you could end

up with something like this.

I think you're right.

Yeah.

I definitely think so.

I think that this is his comment on the modern world getting away from the value

of the past leads us to like, I mean, the obsession with shit in this movie is, is insane.

Like so much shit in this new gross.

I, I, I, so I took two swipes at this movie, right?

I watched the first, the circle of desire.

Yeah.

Because they're broken up into desire, shit and blood.

Yep.

And I watched desire and I watched all that.

And then I took a break.

I like a day long break.

I came back, made myself a nice plate of micro Ablezania.

Oh, no.

And tucked into circle of shit.

Oh my God.

Just so much shit.

People bathing in it, people eating it, covering themselves with it.

Like it's fucking crazy.

Yeah.

It's so disgusting.

Yeah.

It's like, I watched a making of a little bit, a little bit of a making of.

And I guess like you think that this is very traumatizing these actors.

A lot of them are naked.

Uh-huh.

But they said that the way that they filmed it was they would film just little pieces at

a time here and there.

Yeah.

And that the editing is what made it really shocking.

Okay.

And they said they had a great time filming it.

I said it was a great time.

They had the guy who made the shit that they ate.

Yeah.

And he made it delicious.

Oh my God.

Because even the, the bourgeoisie, they partake in the eating of the shit.

Yeah.

And I guess he made it with like berries and chocolate and I guess it was delicious.

Oh my God.

And then the way the movie ends where it's just like all of the kids are being brutally

murdered tortured, tortured to death.

Where it's like we're lighting candles and putting the fire underneath their dicks or over

their breasts or more.

You know, like we're taking a branding iron to people, somebody's nipples, fucking their

eyes out.

Somebody gets scalped.

Yeah.

I mean, it's just like it's, it's just so fucking gross.

Viceroyle and and 70 special effects.

Viceroyle.

Yeah.

And like it's also like really weirdly stagy.

So I guess that speaks to your point about how they must, how much of the movie was done

in editing because there's so many shots where it's just like it kind of looks like a

gross painting where it's just like you'll see a bunch of then young naked kids like posed

in a certain way like as the as some action is happening in the foreground, the background

will be all these kids just like posed with blood or shit all over them in some way.

And it's like it's really weirdly stagy and heightened or the opposite of heightened maybe

like unrealistic and some not unrealistic is in like I can't believe this would ever happen.

But done in a way as to be like, Hey, you are watching a movie.

It felt like there was a there was quite a bit of that.

Yeah.

Where it's just like they're not trying to make you feel like this is reality.

They're trying to be like this is, I don't know art.

Yeah.

You know, but when I had to put myself in the mind of why this would make the criterion

collection.

Right.

I had to do like research on the movie.

Yeah.

Because there were things that I missed.

Yeah.

You know, that that just political things were happening at the time that you know that I

wasn't aware of.

Yeah.

And the director's sensibility of it all because because this is a outrageous movie and it is

it's these four like high up ranking.

It's the president.

Yeah.

Emissary like all these big giant high ranking individuals.

And they're indulging in their their darkest most awful fantasies exactly that they possibly

can.

Yeah.

At one point somebody one of the guys is soliloquizing about about the nature of lust and

power and he's just like the only way you can have true sexual gratification is in a world

with slavery because only when you have total power over someone can you become gratified.

That's the way these guys think.

Yeah.

You know, only because they're free to they hold these kids lives in their hands.

They can murder them at any time and force them to do whatever they want.

And that's the only way these guys can get off.

Yeah.

And that's what the point of the movie is wait like that's what this this these guys are

doing to society right.

Yeah.

This is what a system like fascism breeds.

It makes people like this.

You know.

This is the system that is just too far gone that tilts power too high in one direction.

Yeah.

Which is kind of like our system which is why a Jeffrey Epstein existed right for so long

right.

Which is rich and powerful friends.

Yeah.

I mean probably partaking in some of this fucking awful shit.

Yeah.

We are currently living in more of an oligarchy than then probably even existed in Italy at

this time right.

Certainly at the time the movie was made but probably maybe not in the 40s but like the power

that is concentrated in the in the hands of so few wealthy dudes is like disturbing and

obviously very bad for society.

Yeah.

Like I think he pretty I don't know.

I don't know about 100% but he predicted things like Epstein's Island.

Yeah.

He predicted that.

Yeah.

But yeah.

This movie obviously is making a case it's got a point to make but goddamn man.

Why?

Just I don't need it.

I don't need.

I don't need shit eating in my life.

I just like you can make that point in better in other ways.

I don't know.

I guess you want to shock people out of their comfort zones and make them like wake up.

This is what's going on.

Yeah.

Like nobody's going to go see this movie nobody's going to watch this movie.

You've made it too inaccessible by making it so fucking gross.

Yeah.

And I'd also like to talk about that for just one second.

Sure.

I tried to find where to watch this.

Yeah.

You and I have secret access to everything.

Sure.

But I tried to find where you can watch this just normally.

Yeah.

The only way you can do it is by buying the criterion collect channel.

No where online.

Yeah.

I don't think it's on the channel.

Oh really?

I don't have to buy the DVD.

But it didn't it on just watch.

It was nowhere online.

Oh wow.

And you had to buy the DVD and they'd start at like $50 or $85 for high definition.

Yeah.

So you have to spend a lot of money to watch this movie.

Yeah.

I just I don't know.

Like I understand the value of shocking people, especially when people are so complacent.

And that is certainly the problem with our society at this time.

And I guess has probably been the problem with societies throughout time.

Right?

But there's a there's a line.

There's a way to do it.

And once you make a movie that goes so far, it only has notoriety and no one will ever

go see it because of its notoriety, then your message is just falling on deaf ears.

Shite yourself in the foot.

Right.

Yeah.

Like who is watching this movie?

Like cinema snobs.

It's in the criterion collection.

So cinema snobs have seen this movie.

But like people who can actually the the the message or whatever who you're trying to wake

up, they're never going to see this movie.

They're never going to hear your message.

So then what the fuck are you doing?

You're just jerking off into a pile of shit.

Well, I don't know.

I think that this is a big swing and it's a mess.

Yeah.

You know, because of those reasons that you stated, I think so.

But like that's art, man.

Yeah.

That's art.

Some people don't give a shit.

Some artists don't give a shit who sees their message.

Some artists just have a message and they need to get it out.

And this is I think this is one of those guys.

This was a planned trilogy.

This is the first part of a trilogy.

Oh my God.

Because I guess this guy did movies did a trilogy about love previously.

And this was about like the dark side of humanity.

But he got murdered and I haven't delved into the murder.

I don't know if it's because of Salo.

But Salo, all three of these movies, now Megan is missing, I don't think.

But Serbian film was banned in Serbia and banned in a lot of other places.

This was definitely banned in a ton of places.

Right.

Can you imagine like what theater would run this?

Right.

You remember in taxi driver when Travis Bickle takes civil shepherd to the porn movie?

It's 70s theater porn.

So it's like a kind of starting in there.

Yeah.

I would imagine that that kind of theater would show something like this.

Maybe.

You know, like an elevated porn theater where they show and X rated because this is X in

1975, it had to be an X rated movie.

If it got released at all in the United States.

Yeah.

I don't know if it did, but eventually it must have been released somewhere because we're

talking about it.

Right.

But yeah, I don't know.

Yeah, I definitely hear what you're saying.

And I think a Serbian film is the only one of these movies that I would go so far as to

say should not exist.

Yeah.

So I'm not trying to shit on artists, especially artists who are trying to be shocking.

But I guess I'm just too much of a normie.

I just, I need more grounding in something comfortable to me, I guess.

Yeah.

Where is this like, I need a line.

You're going to reach, I feel like you're going to do a better job of reaching people if

you rain yourself in just a little bit.

Yeah.

And I think there is, there is a universe where, where a movie like Solo is done right.

Yeah.

Yeah.

I mean, like, we started this episode talking about David Lynch and David Lynch is an

avant-garde filmmaker.

There's no other way around it, right?

Right.

But at the same time, he's a guy who had a television show on network TV in 1990 because

which is kind of an anomaly, which is insane.

But it's also like, he has enough of a reputation to allow for the possibility for that to

happen.

This is an avant-garde filmmaker working within the framework of popular entertainment.

And that's, at the end of the day, that's what cinema is, right?

It's popular entertainment.

And if you're, and if you're not, I mean, it can be just crazy art.

Sure.

I agree.

But those aren't usually considered films in the same way, right?

Yeah.

Like experiment.

This isn't talked about as an experimental film.

This is talked about as a work of cinema, you know?

Yeah.

It doesn't work in that way for me.

It's just not there for me at all.

It's too disgusting and too unwatchable.

Yeah.

Yeah.

I don't know.

I did not appreciate it.

Did not appreciate this movie.

No, no, I don't know if I appreciated any of them.

Yeah.

Out of all of them, though, which one did you appreciate the most?

I think, I guess this one has the most merit.

That's what I was thinking.

I think the part of any of these three movies that work best as cinematic entertainment

or just cinema in general is the end of Megan is missing.

But this one on the whole, I think, is the closest to an artistic achievement.

Yeah.

You know, but man, just come on.

I don't know.

I don't know.

I don't know.

Yeah.

Quite a wild ride.

Yeah.

All three of these were.

Yeah, man.

It was just a dark place this week.

Pretty salty.

Pretty salty with you for this idea.

You see?

All right.

So is that is that all you have to say about solo?

Yeah.

That's it.

That's the end of it.

And I hope never to think about any of these movies again.

You won't.

There'll be a whole new batch on part two.

We'll never have to go back to these.

So Ken, would you give solo a pass, pirate or pay?

Solo is a pass for me.

So you're a triple pass on the disturbing movies.

I don't.

Yeah.

I don't want people to watch these movies.

I sat through them and I don't.

I'm not happy that I did it.

I know.

I dreaded turning them on.

Yeah.

I'm really.

I'm not happy that I watch these movies.

I do not appreciate the time that I spent watching them or the space in my brain that

I've allowed them to take up.

And I do not wish that on anyone listening to this podcast.

So please just don't.

So yeah, that's a pass for me too.

It's a triple pass for both of us.

Yeah.

I think it's the first time.

Yeah, I think I agree.

We agreed on everything.

But it's a triple pass for two for triple pass.

Yeah.

I mean, all right.

So you've done it too.

You made your big swing.

You thought, let's watch the most disturbing movies ever.

I did.

I thought it would make for an interesting show and I don't think I'm wrong about that.

I agree.

I agree.

You took your swing.

I hope, here's what I hope.

I hope nobody watches these movies.

Yeah.

But I hope they listen to the podcast.

Yeah.

Cause I think they'd be more fun to listen to the podcast less disturbing.

Yeah.

To listen to us talk about it.

To be sure less disturbing than it is to watch it.

Yeah.

Yeah.

But if you're a true fan, you'll watch all three.

Don't do that.

Just don't just don't listen to Andy.

He's not not your friend.

Except my mother.

Please mom, if you're listening, do not watch any of these movies.

Oh God.

Oh God.

She actually was the inspiration for this.

Oh, really?

She made a post where she said, I think an interesting show would be movies that you saw

and but she said, if you saw them and liked them, but would never watch them again.

Oh, okay.

You know, cause there's a few of those.

Yeah.

Yeah.

When we talked about when I was talking about irreversible, that's a movie that I really,

really liked and I never want to see it again.

Yeah.

Seven.

I felt that way.

Great movie.

Yeah.

Do we want to talk about what we're doing next week?

Yeah.

Let's talk about next week.

All right.

So next week in honor of the newly released Wolfman movie, we're going to do a universal

monster's theme.

Yeah.

So next week we're going to be doing Wolfman and we're going to be doing Abbott and Castello

meet Frankenstein.

Yeah.

And we're going to be doing the creature from the Black Lagoon.

Yeah.

So some classic horror and some modern horror.

Yeah.

We'll see you next week.

All right.

Thanks for tuning in to Past Pyrite Pay.

This episode was produced by the one and only Andy Morris.

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[Music]

Naomi?

Anyone who sits in the palm of King Kong Tanned is a movie star for life.

[BLANK_AUDIO]

Hello, everybody.

Welcome once again to Pass Pirate Pay, the movie discussion show.

My name is Ken.

I'm your host, alongside my co-host Andy.

Hello.

Andy, how are you doing today?

I'm doing great.

Hope you brought your appetite today.

Oh, I did.

We are going to be doing a trio of movies about chefs, master chefs.

Yeah.

So we're doing that Betz feast, big night, and the taste of things.

Yes.

A few of these, the theme actually was conceived by one of our listeners.

Yes, Jared.

Jared, hello.

Jared wanted us to do-- he wanted to see Chef in here, though, but I want to save that for another time.

Yeah, never seen Chef, so I can say pretty good choices.

Anyway, we'll see what we actually think about them in the minutes to come.

Yeah.

Yes.

You texted me during one of these movies talking about how hungry you were and I feel the same

way.

These movies are very food forward.

They are.

They are.

Let's dig in.

Okay.

So we're going to get started.

We're going to go back to 1987 for Betz feast.

This is directed by Gabrielle Axel.

This movie is Danish.

I wasn't sure if it was Danish or French.

Yeah, it's-- I'm actually not sure.

I think it's made by a French person, but most of the dialogue is in Danish.

Right.

So I'm not sure exactly what country it was made in.

But language-- linguistically, it is Danish.

Okay.

It takes place in the 19th century sometime.

Yeah, I want to say early.

Yeah, I'm not sure.

I'm not up on my European history, but it's about a woman who's a French refugee who

flees to Denmark.

It's not the French Revolution.

It's not that early.

No, I'm not sure what it was.

I didn't look at the history of it or anything.

Not sure.

Anyway, the movie is about these two old women who are the daughters of the leader of this

weird religious sect in this small Danish community that most people in town seem to be

a member of this sect in there.

Yeah, light cult.

Yeah.

It's not super culty.

We're not red-stating here.

No, you know.

But yeah, it seems to very religious people.

So they take Babette in.

Each of these women are spinsters and they have loves from their past and the two loves

come back at the end of the movie, one of whom sends Babette to the women.

And the other one is the main impetus for the feast that is the title of the movie.

So the movie starts out when the women are younger and we see the two brushes with love that

they have.

And the tone is set right away by this narration.

We never see who the narrator is.

It's narrated by a woman.

But the tone of the narration is kind of, it seems really light, like really lighthearted.

And the movie is pretty goofy, I would say, from the get-go.

One of the women, her love interest is this military man and he is very formal, but at the

same time he's like kind of a buffoon.

He can't, he's burping all the time and he's constantly standing in attention and clicking

his heels together, but he seems extraordinarily ridiculous.

And the other woman falls in love with this opera singer and he is dressed like a straight

up clown.

He's got humongous top hat on most of the time and he's wearing an ass-cott and he just

gives these poofy sleeves.

People generally look ridiculous.

But they're the most formal people that there are.

So it seems to me that the movie was setting the tone right away to be like, formality is

dumb, right?

Like, this is a very homey kind of movie.

And everybody who is not in on this homey vibe doesn't seem like they're-

They fit in.

Yeah.

And the movie seems like it's just like it's saying, hey, look how ridiculous these people are

in a way that I found it was kind of amusing.

But yeah, so the main plot of the movie and where we get our title is, "Babbette," who

is the French cook fleeing from France.

Her only connection to her home country is this lottery that she is entering in every

week.

And when she wins the lottery, she wins 10,000 francs, which seems to be like a lot of money.

And she's like, well, now that I have all this money, I'm going to repay these- the kindness

that this village has shown me and I'm going to have the greatest feast that anybody's

ever seen.

And that's what we do.

So she wants to cook for everybody in town, but they're all in this weird religious semi-cult.

So everybody is like, there's like- there's one scene where it's like a nightmare hallucination

that the cult members are having.

Right.

And she says, I really want to thank you, you saved my life.

And I really want to thank you.

So I'm going to cook you this big dinner.

And she goes, and I need to get all the ingredients.

So she parades the ingredients into town and everybody's blowing their minds like, what is

this?

Right.

And that's when they have the nightmares with all the ingredients in the nightmare.

Right.

The nightmare sequence is like, "Babbette is a witch blowing up this devil's cauldron

of who knows what?"

But then the reality is also insane.

Like, at one point, we're watching "Babbette in the Kitchen" and the camera just pans over

to this like enormous sea turtle.

She's living like a live turtle that she's going to be turning into turtle soup for the

end of the movie.

But yeah, so all of the religious people, they're all, they make a solemn vow.

Like we're going to turn off our taste buds and no matter what she cooks us, we're

just going to politely eat it and we're not going to enjoy ourselves.

But I don't say a word about it.

Yeah, nothing.

They're just, you know, this, I guess this is just one of those weird things that religious

people do, right?

Where it's just-

Yeah.

And look, it's, I think it's like religious people are like, if it's anything like that brings

you pleasure, then it's not good.

Right, right.

Exactly.

Exactly.

But somehow being a good Christian means that this woman who is spending an extraordinary

amount of her own money to create this meal just to give you pleasure, it's the Christian

thing to do is to not enjoy ourselves in any way or let her know that she's doing something

wonderful before.

Right?

That's just, you know, that's just the way that these people are.

But so our old friend, the military man, he gets an invite to this, to this affair and

he's now a general is a very respected man.

Yeah.

And he kind of throws a monkey wrench in these cultists plan because this guy loves some

food.

And you know, the movie is doing a lot of shots of the keep showing the general eating his

food and he is could not be more delighted by anything that's going on.

Yeah, he is, he's absolutely stoked.

Yeah.

And while this is happening, all of the townspeople are trying to do their thing where they're

super stoic and not enjoying themselves.

Yeah.

But then gradually they just like are overcome.

Yeah.

The meal is too decadent and glorious and they can't help themselves.

Yeah, which I think is like the mountaintop of the movie.

Yeah.

Like them like the meal changing their minds, you know?

Yeah.

Yeah.

Yeah.

Yeah.

These like people who are so like died in the wool, purest, anti pleasure.

Right.

And it was really cool watching them not fight anymore.

Yeah.

You know, not bicker anymore.

Yeah.

And just start like just be in the state of euphoria.

Yeah.

It seems like they talk about like spiritual appetite versus physical appetite and like the

world to come the heaven that awaits these people versus the world that we're currently

in.

Uh-huh.

And eventually what happens is that Bet's feast is so delicious that the lines between

those things are blurred.

Right.

And then it comes no difference between spiritual satisfaction and physical satisfaction.

Yeah.

Singing songs.

Yeah.

Everybody got all the wrong.

They're all too wrong.

Yeah.

Yeah.

It's, uh, yeah.

It's, it's really good.

It's, I mean, it's really fun.

It's like, I'm, I'm kind of with you, right?

The movie was winning me over as it was winning the people over.

Yeah.

Like as the people are enjoying themselves more and more.

I'm just, I'm enjoying myself more, myself more and more watching it.

Yeah.

I thought it was, and the food stuff was really good in it.

Yeah.

And I just realized it like, God damn, the French were so ahead of everybody else.

Yeah.

As far as cuisine went.

Yeah.

You know, maybe French and Italians, but everybody else was just eating, did you see what

they were eating before, Bet got there?

Bread, soup.

Yeah.

That's a huge thing, right?

Like, yeah, she, they're, they're making literally bread soup.

They're just softening bread in hot water.

Right.

And that's the dinner.

Yeah.

And there's, and there's also like, uh, there's, they're fish hanging out and people

are like, well, it's not very fresh.

I'm like, oh, it's all right.

We can, we can use it anyway.

And like, they're, they're eating bacon and it's like, well, it's rancid, but it doesn't,

like, it doesn't really matter.

It's like the Danish food seems so disgusting.

Yeah.

And, yeah.

And like most European food, except for French and Italian.

Yeah.

And those cooking styles have been adopted by everything else.

Right.

Everything else uses those cooking styles.

Right.

Well, I mean, that's the, that's the colonization, right?

When the French take over the world, they take over.

They bring their cooking skills.

There's still good ideas and, no, no, no, no, no, no, no, no, no.

Better ideas than what was there.

Right.

Yeah.

Right.

It's fun.

And this was a, this was a really fun movie.

I thought I, I, I did not, I did not expect it to be as fun as it was.

And I had a really good time watching it.

I thought it was, yeah, it was, lightly paced and just, it just carries you along with the,

with the mood of the movie.

Uh-huh.

And then the, the end of the movie is, is the spoiler territory?

I'm not really, is this, I mean, it's not really a spoilable movie.

Okay.

Right.

I, I don't think so.

It's just, so the end of the movie is, that bad is revealed to be this great artist, right?

She had been a chef at some really fancy, French restaurant, yeah, fancy French restaurant,

yeah, in Paris.

And at some point she, you know, she, she says to the two old women, she's like, this

wasn't just for your sake.

This was for my sake, because she is an artist, right?

I think, and, and this is a theme that we're going to talk about in all three of these

movies, where it's just like a,

a chef is an artist.

It's a person who is, this cooking is an art form.

And the way that, by that can feel like herself again, because, you know, she's living as

this, these two women's, she was a famous French chef.

And now she's living as these two old women in Denmark's cook.

And she just doesn't get to feel alive.

So the way she feels alive is by creating this massive meal and winning over these, these

people.

And so like, the art of making the food is the way that she expresses herself, but also

the way that she, like, fulfills her life's purpose, it seems like, you know, it seems like

that's what we're getting at.

So I was wondering, you are an excellent cook.

Oh, thank you, Ken.

Oh, I mean, this is not news, everybody here.

You're an excellent cook.

And you are very much inclined to create feasts for large groups of people.

Yeah.

I'm wondering if this movie resonated for you in that way, where it's just like, do you

get any kind of the feeling that she got from, from creating the meals that you create?

Oh, absolutely.

Yeah, absolutely.

I've said it before.

It's a love language.

Yeah.

That's how you express love and joy to people that are close to you.

Yeah.

A long time ago, and I pulled it up a long time ago, a Facebook friend of mine.

It was right after Anthony Bourdain died.

Okay.

And a Facebook friend of mine put a post up, and I want to read it.

All right.

Because when we were doing this episode, when I was watching these movies, his name is Matt

Kendall, is a friend of mine.

He said, I feel like when someone makes food for someone else, that it's not a mundane activity

that's just part of the day.

I literally think of it as an act of love because you are working with limited and expensive

resources to literally sustain the life of another person.

If a person doesn't eat, they will eventually die.

A cook, chef, grandma, aunt, mom, dad in the kitchen is working to prolong your life.

Maybe the ease of which we can attain food makes us all take this for granted, but at least

on a symbolic level, people in the kitchen are making you live.

Cooking for another person should be considered a sacred act, and the people who do it should

be treated with the appropriate reverence.

So I think it's a good day to thank everyone who spends time in the kitchen to make other

people's lives more delightful.

Nice.

And I think that he really encompassed everything.

Yeah.

Like all three of these movies feel this way.

Right.

For sure.

Well, I hope that you know that we all feel that way about you.

No, we certainly do.

I appreciate the wonderful efforts that you put into it for the meals that you create for

us every week.

Yeah, it's fun.

I love cooking.

When you're cooking, your mind is only on that and everything else is in the wind.

And it's just a good way to just decompress.

I love cooking.

Yeah.

That's cool.

That's really cool.

Spoiler warning.

Her bets feast spoilers ahead.

Skip to the next chapter or minute marker 15 minutes and 17 seconds to hear the verdict.

You have been warned after the feast is over and everybody's congratulating by bet done

on what she's done.

She reveals that she has spent her entire lottery winnings on importing all of the ingredients

and that she's not leaving.

Yeah.

She's sticking around.

She's going to still be these these women's servants.

She's standing in this Danish village.

She just she spent everything she had just to do this one thing and the great thing it's

never explicitly said, but the movie leaves no doubt that that bet and everyone else feels

like it's worth it, right?

Yeah.

This is this was not a waste of her money.

This was money well spent for her.

She got to do this thing that she enjoyed doing and everybody in spite of themselves wound

up wound up really enjoying it.

Yeah.

I don't know who he is, but he was not invited to the feast.

So he's just hanging out in the kitchen with that bet.

Well, he's cooking, but he's getting to taste everything.

Yeah.

And boy, this guy is really enjoying himself too, right?

There's also a great shot of one of the one of the old women in the congregation.

It's after she's already started really enjoying her meal, right?

And she she she takes a big bite of something and she eats it and she swallows it and then

she goes and she grabs a glass of water and she takes a sip of the water and then she's

like, you get this look on her face like, nope, that's not going to do it.

And then she puts the water down, picks up a glass of wine and takes a big, quick of the wine.

And he's just like, you know what, fuck this.

Let's live with that.

Yeah.

All right.

So Ken, for Babette's Feast is it a past pirate pay for you?

For me, Babette's Feast is a pay.

So pay for me too.

Yeah.

It was really good.

Yeah.

Yeah.

Okay.

Our second movie today is 1996's Big Night.

Uh-huh.

It's directed by Stanley Tucci and Campbell Scott.

Yes.

Starring Stanley Tucci and Tony Shaloub as secondo and primo, two brothers, immigrants from

Italy.

Uh-huh.

Uh, they have a failing restaurant.

Where that Rhode Island New Jersey?

I don't know.

I don't think they say.

They say it's the East Coast, but I don't think they say exactly where it is.

Feels like 1950s Long Island.

Yeah.

It seems like it could easily be Long Island.

Or New Jersey.

Or New Jersey.

Sounds like I don't know.

I have no idea.

They're all Italian.

Well, not all of them, I guess.

Yeah.

Yeah.

Because all of the non-immigrants in the movie, they just sound like, I don't know, middle

American people, right?

Like, like, many drivers.

She's, I mean, she's, oh, and also before we get into this.

Yeah.

Don't you have a history with many driver?

Yeah.

I guess we could tell the story one night.

I was inebriated and I was watching Goodwill Hunting.

Uh-huh.

And I was struck by how amazing Mini Driver is in that movie.

And I, and I got on the Twitter and I tweeted out as such.

I said something along the lines of Goodwill Hunting is an incredible movie, but Mini Driver

is at a whole other level or something like that.

And did you tag Mini Driver?

I did.

I did.

I did tag to write on there.

Yeah.

Oh, uh, wake up and open up my Twitter account and there she is.

I actually had responded to me.

Wow.

Saying, oh, thank you very much.

That's so nice or something like that.

You didn't send her $10,000.

I did.

I did not.

I did not.

But I mean, that is one of the highlights of my life.

I got Mini Driver to, uh, and it was really her, huh?

I mean, unless somebody was using her account, unless the, at real Mini Driver or whatever

the hell it was, actual Mini Driver account, right?

Well, there are fake people who use it, but didn't have the check mark.

Did everything?

Yeah, I mean, this was legitimate.

Years, this was 10 years ago.

So I think it was, the check mark was more legitimate back then.

So I'm pretty sure that it was her.

Yeah.

So, and that, I mean, goes right into one of the things I have to say about this movie,

which is, it's possible that there has never been a woman captured on film that is more

beautiful than Mini Driver in this movie.

Oh, yeah, yeah, yeah.

My fan, huh?

I mean, she is unbelievable.

She is really pretty.

She looks unreal.

And this is 96.

96, yeah.

Just, she's just, she looks so beautiful and she's so good in this movie, but I, I don't understand

why her career wasn't better.

Like, why did she, what, after like this and gross point blank and goodwill hunting, she

basically vanished, right?

Like, she doesn't, she's never, she was never the star of anything ever again, really.

You know, like, she was on some TV shows or something.

Yeah, maybe.

But I think she's amazing.

I think she's, she was a tremendous actor and, and just so beautiful and, and just great.

Is she British?

Yeah, she's British.

This cast was really good.

Amazing.

I love all of you.

Did you notice, you notice we have Shriver?

I did and I didn't when I first watched it a long time ago.

Yeah, because probably because he wasn't very famous.

Right.

And he has no lines.

Is it you?

Does he?

Yeah, I didn't know this couple.

I did not know.

Stanley Tutti asked him and goes, is he here?

He goes, yeah, he's inside.

Oh, yeah, that's right.

Yeah, that's right.

That's about it.

He's a door man at, at, at Ian Holmes restaurant.

That had to have been one of his very first holes.

He has to be.

Yeah, he's not doing much, but he's just standing there looking like we have Shriver.

Stack that cast was.

Even the bit players restores.

Yeah, I mean, the, the acting in this movie is for the most part, just absolutely

top notch, right?

Yeah, it's got one of my favorite actresses on earth, which is Allison Janie.

And Tony Shilu, I think, is the best actor in this movie.

I think he's doing the best work.

Yeah.

And in anything Tony Shilu, obviously, but particularly in this movie, all of his scenes with

Allison Janie are so good.

Yeah.

He's so funny because he's, he's got this huge crush on her.

Yeah.

And he's very awkward and trying to be charming and like, and just at the same time, he's

so nervous around her.

It's so sweet and others, they're scenes together.

They're just so good.

Yeah.

The first scene where they're together, where they're in her flower shop and he like crawls

into her flower case.

They're picking up flowers and he just crawls, walks right into his pocket flower case like

crams and so forth.

It's so funny. He's so good throughout this movie.

Ian Home, who is one of my all time favorites.

He's really good enough.

He plays Pascal, who is, who is the owner of the competing Italian restaurant.

And he's so good.

He's being very big and boisterous.

He's so huge.

His performance is so big, but it's so good and so funny.

Like he keeps every time he sees Stanley Tucci, he goes and like tries to bite him on the

ass.

He's fucking gagged.

Like during during the climactic dinner scene, you know, where they were.

Primo, he makes this Timpano.

Yeah, speaking of to have you ever had a Timpano?

I believe I have.

Oh really?

Where'd you have that?

I had it at your whole main by you.

I was inspired by Big Night when I first saw it.

Yeah.

Yeah.

Yeah.

And what was really funny was like I saw Big Night a long time ago.

And then when we started doing poker dinners, I said, I'm gonna make a Timpano like they

did on Big Night.

Yeah.

And remember when they're sitting around, they take off the pot.

Yep.

And they're looking at it like tapping it and they're like, yep, they're like, do we wait?

Do we cut it?

Yeah.

I was thinking the same exact thing with mine.

It's so fun.

I was like, oh no, it's going to spill all over the place.

Yeah.

I love that shit where they're tapping it.

Yeah.

It's like, what are you telling?

What are you getting out of this tapping?

I have no idea.

But yeah, so during that scene where the Timpano is revealed and everybody is eating it.

So when we did our complete unknown episode, we talked about how there are so many scenes

of people just standing around watching Dylan with their mouths of game.

Yeah, yeah.

This is the same thing.

Actually, all these movies have this where yeah, it's the Dylan face, right?

Where these people are eating and they're just like, what the fuck?

How is this so amazing?

It's so good.

So they all taste the Timpano and then Ian home like yells and everybody stops and they're

all looking at him and he stands up and he starts walking over to Tony Shaloube like

menacingly and he's just like, I should kill you.

This is so fucking good.

I should kill you.

Like, it's so great.

It's so great.

Yeah, I, I, oh man.

Yeah, Ian home is so funny in this movie and so good.

Yeah, everybody's just really good.

It's just a really well.

It is.

Everybody's doing such a good job.

Yeah.

Yep.

Yep.

And the food stuff is really cool too, the suckling pig and yeah, like all that stuff, man.

And they all know what they're doing too.

Yeah.

Which especially Stanley Tucci, but isn't he like a Italian food like master?

Yeah, I think he like he has a show on TV about Italian food.

Yeah.

Yeah, he's definitely an expert.

And you know, I don't speak Italian, but it seems like he and Tony Shaloube,

are doing a fairly reasonable Italian accent when they speak, you know, they're when they're

speaking.

Accent and speaking in Italian.

Yeah, I mean, it doesn't sound like I didn't know where it because Tony Shaloube played

so many different ethnicities.

Yeah.

And I didn't know what ethnicity he was.

I assume he's, I thought he was Middle Eastern.

He's Lebanese.

Yeah, that would have been.

Yeah, I don't think.

I think Green Bay or something.

It's so weird because he's, he's such a chameleonian.

But he's played a Jew.

He's played an Italian.

He's played Middle Eastern characters.

Yeah.

So one thing I thought was really funny looking at it from the lens of now because Tony Shaloube

is on or was on when it was on the Marvelous Mrs. Maisel.

And the very early scene in the movie is two people dining at their restaurant and this

old couple and the woman is, she orders risotto and she's trying to get spaghetti and meatballs

as a side dish in the zone.

Was that his wife?

No.

That was the other wife that was, that was, it was Joel, Joel's mother, Kevin Pollock's

wife.

And on the Marvelous Mrs. Maisel, like Tony Shaloube character, but she was a lot younger.

But I recognize it.

So on the show, Tony Shaloube's character basically spends all of his time being annoyed

by this woman and a cup and in this woman, that's the same thing.

He's just like, he's not.

I love that scene at the beginning.

It's so good.

Yeah, he serves the risotto and then Stanley Tucci is waiting on them and he goes in the back

and asks for a bowl of spaghetti and meatballs.

And Tony Shaloube's just like, she's a criminal.

Let me talk to her.

That's a too much stoch.

She won my potato too.

No, she's a criminal.

She's a finestine.

I'm not talk to her.

Yeah, he's so dismissive of every, he's the artist like you were talking about where his

standards are so high and he just refuses.

And one of the great things that the movie does is the movie starts in their restaurant

and there's one couple there and there's dead.

There's nothing going on.

And then Stanley Tucci goes over to the competing restaurant to Pascal's and it's

just lively.

There's music going and the restaurant is packed and the first thing they show is a big

plate of spaghetti and meatballs.

Yeah, it's just like is this is what the movie is constantly talking about the distance,

the difference between giving people what they want and giving people what they should

want, right?

Yeah, like Tony Shaloube knows what good food is and he refuses to compromise.

Right.

And Ian Holm doesn't give a fuck and he just wants to get people in the door and he'll

do whatever he can to do it.

And that's what he does and Stanley Tucci is just in the middle, right?

Like it seems like he, his, his, uh, seco, his character just wants to, he thinks of himself

as an artist like his brother, right?

But at the same time, he wants all of the things that Pascal has.

Right.

And he is running a business.

Right.

Like the brother isn't concerned with any of the business stuff.

Yeah, exactly.

He's only concerned about creativity.

Yeah, exactly.

And he's seen right after, right after seco comes back from Pascal's restaurant, uh, he

goes back to his own restaurant and, and primo and this painter guy who was like their only

customer, but who never pays, uh, sitting in there and the painter is paying Tony Shaloube

for the food with a painting.

Yeah.

And he's like, I wish I could give you some money and primo responses.

Ah, what would I do with money?

Meanwhile, his, his brother is like, is at the bank.

The bank is telling them they're going to be foreclosed on.

Yeah, it's just like the thing I, the thing I really like about this movie is that it seems

really non-judgmental, right?

It's there's no, nobody is all good or all bad, right?

Right.

Like seco is an asshole.

He's cheating on his girlfriend.

Many drivers is girlfriend and he's cheating on her with Pascal's wife, right?

But we're still rooting for him, you know, like we still like him.

And his brother is this complete asshole uncompromising artist.

Yeah.

But then we have this great dinner scene where everybody's enjoying his food and it's

just like, well, fuck, maybe this is worth it.

Maybe it's, maybe it's reasonable to be like this guy, you know, because after the dinner

is over, nobody is complimenting, nobody cares.

So the, the dinner is supposed to be for Louis Prima, right?

He's supposed to show up and he never, yeah, is going to call him, right?

Because they're friends to come to the restaurant, right?

But this whole thing was just Pascal setting him up to fail, right?

So he could, he wants seco to come work for him and his restaurant.

Yeah.

Psycho and Prima.

He wants a bowl.

Yeah, exactly.

But at the end, nobody who was there is really concerned that Louis Prima never showed up.

All anybody wants to do is congratulate Prima on what a great meal he has made, right?

And it's just like, well, shit, what are we doing?

But then like, once it's revealed that Pascal never invited Louis Prima, you're supposed

to think that like, oh, shit, maybe this guy is the bad, you know, this guy's a real thick

too.

He's, he's the real bad guy of the movie.

But then he has this great scene with seco where he's just like, I'm a businessman.

What are you?

Like what are you?

Yeah, your brothers and artists and I'm this businessman and what exactly are you?

What do you do?

What do you bring to the party?

You know, it's like, seco seems to want to have it both.

It's like the karate kid, right?

Either you, either you karate do yes or you karate do no, you can't go in the middle.

You got to have a terrible, which is really terrible.

Like either, either give these, these fat American idiot pigs what they want or be true

to your art, you know?

Yeah, it's a, it's, it's a real shame.

But like, I really enjoy the fact that the movie doesn't seem to come down on either side

as to who's right or who's wrong, right?

Like is Primo right or is Pascal right?

Who's right?

Like if Primo is this great artist and he's making all these people happy, but his restaurant

is also out of business.

He can't sustain the thing that he's doing.

Yeah.

You know?

Yeah, I don't know.

I, I thought it was really interesting.

I think it's, it's a really interesting movie.

The first time I saw this movie, I didn't like it at all.

Oh, really?

I, I saw it when I was in college.

I saw my freshman year of college and a friend of mine, um, she showed it to me.

And when it ended, I was like, what the fuck was that?

I just, I don't know what was wrong with me.

I just, I, I was expecting, like crazy.

It's not, it's, it's like how your palette changes over time.

Right.

You, there are foods that you hated when you were a kid that you love now.

Yeah.

I just, I wasn't the way the movie ends.

It's just, it ends on such a, like, I don't know.

Antichlomactic is not the right word.

I actually thought it was a perfect anything.

I agree.

I think it's fantastic.

But at the time when I first saw it, you know, 25 years ago, I just wasn't ready for it.

I just didn't understand that you could make a movie that way.

I hadn't seen enough movies or thought, right?

Right.

Enough about movies to, you know, you know, you know, a movie did that for me.

Same thing happened to me.

Days in confused.

Oh, yeah.

I saw days in confused in high school.

Yeah.

And I'm like, this is lame.

It's just like a night of us hanging out.

This is lame.

Yeah.

I, you know, fast forward 20 years.

And I watch it and I go, this is a perfect movie.

It's just like a night of us when we hung out.

Like I loved it for the same reasons I hated it.

But when you're in it, it didn't make any sense to make a movie about it.

Yeah.

But when you're away from it, it all worked.

Yeah.

Yeah.

I mean, the end, the, the very end of this movie is, like you said, about the cooking.

It's, it's so, it's such a cool way to end the movie, I think, where it's just one

long shot where Seco comes back into the kitchen and the, the, the fauna, I think he's his name,

Mark Anthony character.

It's the morning after the big night.

And nobody's been to sleep yet.

And it's just like, all right, well, we want some breakfast.

Let's make some breakfast and we just watch Stanley Tucci make eggs.

We just watch him make some scrambled eggs.

And eventually Primo comes in and the three of them are just there and they're just eating

breakfast.

And then he, the entire meal of eggs made from opening the, opening the shells into the

pan onto the plates and then them eating it all one shot.

I think it's, and, and, and I think it's so cool and such a perfect, like, like you said,

perfect ending.

It's just low heat.

And I had forgotten about it.

Yeah.

I forgot how it ended and I was like, how do they end this?

Like when they had the big fight on the beach.

Yeah.

And they, you know, they were absolutely pissy.

Yeah.

And then the next day, it's like, man, never happened.

Right.

Yep, exactly.

Yeah.

Yeah.

Yeah.

Their relationship makes so much sense to me as brothers, you know, and it's just, it's, it's

it was really good.

And that's a thing that I think might get overlooked in this movie, but it is a perfect portrayal.

Yeah.

Of a brother relationship.

Yeah.

You know, the way they talk to each other, the Frank and like honest and harsh way they talk

to each other.

You don't talk like that with anyone else.

You know, yeah.

Yeah.

Yeah.

Yeah.

There were a couple of, there's a couple of weird things in this movie.

Like, I don't know that I've ever seen another movie directed by Stanley Tucci and some of

the choices he made.

Like, there's one scene where he's driving by Pascal's restaurant and there's a cook running

out of the building on fire.

And they're throwing him out like, yeah, him on fire.

Yeah.

Like, Pascal and we have Shriver are chasing this cook out of the restaurant and the

guys pants are flaming and it's done in slow motion and that that was weird.

It's weird and it's never explained.

Never.

Do you think they do that to show that this guy is really like kind of a piece of shit underneath

it all?

Yeah.

I guess it could be.

I guess it could be.

That's a real hard way to do it though.

You could probably use a lighter touch than lighting a chef on fire.

It's really weird.

Really, really weird.

There's another scene where Seco and Pascal are talking in Pascal's office and there's

this lamp in between them.

At first, every time you see Seco's face, there's a lamp is like cutting across the center of

his face.

And then at one point, Pascal's like, slams the lamp down and then the lamp is in the middle

of his face for the rest of his scene.

I was like, why are you doing this is really strange.

There's got some sort of message there.

Yeah.

And I don't understand it.

I'm like, this is going to be a bunch of times and I just can't every time I watch it,

I'm like, what is going on in this scene?

Why are you doing this?

And the one scene that's really weird even though I really like it is the scene where Seco

goes to the Cadillac dealership and he meets this really fucking weird car salesman.

This guy is like, he's just so strange.

Guys like, he's like, oh, you're from Italy?

Beautiful country.

You ever been there?

No, never.

And he's got this cast on his hand.

He's like, oh, your hand.

He's like, yeah, hurt my hand.

How'd you hurt it?

I remember.

Oh, you have a brother?

Yeah, I have a brother.

I hate him.

What is this guy?

It's so strange.

Yeah.

So yeah, there's a lot of like, there's a few like weird stylistic touches that I just don't

get in this movie, but, you know, this minor stuff is mostly, mostly incredible.

Yeah.

Yeah, I thought it was mostly incredible.

I really like the music.

There's like, it's a lot of Italian music, right?

Yeah.

It's like, well, yeah, the soundtrack is mostly Louis Prima.

I think there's a score.

I can't really tell.

Is it a guitar or is it some other string instrument?

I can't really, I don't know.

Zither or something, but it's like every time we're transitioning from scene to scene, it's

this very Italian sounding guitar, mandolin, right?

Probably a mandolin, right?

It could be a mandolin, yeah.

A lot of mandolin and Italian stuff.

Yeah, but it's really cool because it's a really low key movie on the whole.

And the score is very much non-intrusive and just keeps things moving along in that

way.

So it's really good.

Yeah, one of my, this is another, like another thing where the feast where it's just like,

this movie is just people enjoying food.

And there's a great cut where they're all eating dessert and everybody's having a great

time.

And then the camera abruptly cuts to this woman, one of the diners and she's just sobbing.

And they're like, what are you doing?

She's like, my mother was such a terrible cook.

This meal has opened up all of these memories for her.

That's what this meal, that's what a great meal can do, right?

It can be, go back to your childhood and just like relive past traumas or whatever.

Or joys.

Or joys, everything.

Yeah, everything.

That's just, you know, that's what, that's what great food can do.

Yeah.

All right, Ken.

So what would you give big night a past pirate or pay?

Past pirate or pay for big night?

Obviously, a, yeah, obviously this is, this is, this is a classic.

The way I found out about this movie is I was watching no reservations.

Oh, yeah.

I think he was with Stanley Tucci and like, and he was like in Italy or something.

Yeah.

And he told Stanley Tucci he said, big night is one of the only movies that gets food right.

Interesting.

And I was like, I've never seen that.

I got to see that.

So I just saw it out and saw it.

It's another Bourdain mentioned.

That's great.

Yeah.

I said, I got this, this movie was recommended to my friend in college.

So Ilka, if you're listening, I've spoken to you.

And since, I don't know, 1998, but if you happen to be listening to this podcast, you were

right and I was wrong.

This movie is great.

Our final movie today is 2023's The Taste of Things, directed by Trump.

We're on Hong.

This is a French movie.

I believe the director is Vietnamese, but quite a combo.

Yeah.

I mean, you know, again, colonialism French, French colonized.

That's why we have the, that's why we have the bond me.

It's the San Antonio Baguette from Vietnam.

You know, yeah.

So this is another movie about a chef who is an artist.

Yeah.

Yeah.

He's a Yugenie, she's played by Julien Pinot.

And her lover, I guess you would call him is a name is Dodan.

I think he is the chef and she is the cook.

Interesting.

I think he comes up with the recipes and she executes them.

Interesting.

I couldn't really tell.

It seemed like I called him the culinary Napoleon.

Yeah.

But I don't know.

It just seems like he is more of a like Gormand, right?

Like he is the guy who throws the parties and serves the food, which he's the one who actually

prepares it.

She definitely is the one who prepares it.

Yeah.

Yeah, I'm not sure.

You could be right.

But I think he was coming.

I think the both were coming up with recipes.

Yeah.

Yeah.

So this is another movie that takes place in the past in the 19th century again, I think.

And Dodan is what seems to be like a barely obscenely wealthy person.

And he's got a bunch of very wealthy friends.

And they're just gorging themselves on food all the time, right?

Like it's with royalty.

Yeah.

Yeah.

There's the Prince of Eurasia, which I'm guessing is like Turkey.

I guess he's like a Turkish Royal tea or some kind.

Okay.

But yeah, he comes and visits at one point.

There's a very amusing scene where the Prince's chef comes in and reads the menu and it's

like we're going to have three courses, but it's not actually three courses.

Each course is like a five course meal in itself.

Yeah.

And it's just like this absurdly ridiculous is like, well, we're going to have squab and

then we're going to have Turkey and we're going to have duck and we're going to have muscles

and we're going to have like, it's just there.

They're having every single thing that could possibly be imagined.

But yeah, so the main focus of the movie is this couple and their love of food and the

at the beginning of the movie, Eugenie, they're not married.

So Dan at one point says that he's been trying to get her to marry him forever.

But she's just his cook.

She lives in his house.

They have sex.

It's very unusual.

I can't really feel it.

It's French.

Yeah.

I guess it is very French.

But then at some point he makes her a meal and the meal is so wonderful that she decides

to move that she will relent and marry him.

Yep.

It'll do that.

A dinner like that.

Oh.

Trouples under the chicken skin.

Holy moly.

So when we did our discussion of only lovers left alive, we talked about how you do not have

a tolerance for movies where nothing happens.

Yeah.

So I'm wondering the first like 40 minutes of this movie is just the preparation of a meal.

Like merely maybe it just hit me right on the right spot.

I kind of figured because I loved it.

I loved every single frame of this movie.

I thought I thought it was I maybe think it might be the most beautiful movie I have ever

seen.

Opening scene of them preparing this meal where it's it's Eugenie and Dodan and then these

two young women who are like employee.

I guess she's an employee too, but she's got higher standing.

These other two young women are just like, I don't know, maids or something.

Yeah.

But they're constantly all four of them are doing like a ballet, right?

Yeah.

Where they're just ducking in and out and they're working together and then they're working

separately and somebody gets out of the way while these things are happening.

Yeah.

They're all done on this like Kitchens work.

Yeah.

And it's all done on this period stove equipment where it's just like, you know, it's like

open fires, a pulse.

Yeah.

Yeah.

And it's so beautiful.

It really did just remind me of ballet just watching these people cook and the colors

and the way that the way that the sun shown to the sea.

Yeah.

And the scene starts with them in the garden.

So you see them like getting the vegetables out of the garden and then brushing the

dirt off of them and then preparing them to be cooked and like you see everything from

the beginning to the end and then eventually it goes out onto the plates of these rich people

as it's happening.

But yeah, it's so beautiful.

You're right.

I mean, on the whole of the movie is very gorgeous.

Every single frame, I bet if you took any frame of that movie, it looks like like a Monet

painting.

Yeah.

It's beautiful.

Yeah, you're right.

And you're right.

And Monet is a good example because it's like, it's beautiful, but it's also like

dirty.

It's like, it's a lot of earthy.

It's earthy.

That's great.

That's a great word.

It's like shades of brown like earth tones and copper.

Yeah.

And but you're right.

It's still just manages to look absolutely fantastic.

Oh, yeah.

I was watching this movie and said, if heaven exists, I want it to be this.

I want it to be just this.

All of this.

It's really something to look at.

It really is.

So throughout the course of the movie, it's hinted at that.

Yuzhene has some kind of disease.

We never really know what it is.

It's the old fainting spell.

Yeah.

Caught it into an apcan disease.

Yeah, exactly.

She's like, yeah, she's, she's all of a sudden overcome and she has, she needs to sit

out and she's, she's lost consciousness at one point.

She's like, oh, I just took a nap, but it was like she's leaning up against the tree.

Yeah.

It's very, yeah.

Who knows what exactly is happening here?

Spoiler warning.

The taste of things, spoilers ahead, skip to the next chapter or minute marker, 53 minutes

and 30 seconds to hear the verdict.

You have been warned.

So Yuzhene dies and still a lot of movie left, lots of movie left.

And for me, once she dies, the movie stops working.

Oh, really?

Yeah.

Oh, I don't think so.

So I don't really like, I, Julia, I don't know.

She's good.

But I feel like for the parts of what she's alive, Dodan is the more interesting character.

Oh, I thought she was really interesting.

I thought she was great.

I, I agree, but I thought Dodan was more interesting.

But then once she dies, the movie just seems to completely peter out for me where it's

like Dodan is beside himself and he's just, he's completely unable to carry on without

her.

You know, he's looking for a new cook.

Uh-huh.

Trying to get, you know, it's how he moves on.

It's like, right, it's like him moving on.

Yeah, yeah, right, right, right.

And he's having trouble with it.

Yeah.

Yeah.

But then very abruptly at the end of the movie, he's like, he's talking to one of the young

made women about how she is the love of his life and there will never be anyone who could

ever replace her and nothing ever happened.

And then one of his rich friends comes in and says, you have to try this.

This is some food, this, this, this chef we just made found and he tries it and he's like,

all of a sudden brought back to life.

He's like, this is it.

We found her.

She's like, my new cook and off they go and it seems and that's the end of the movie.

It was like, oh, we found a new cook.

Life is great again.

You didn't like the relationship between the young girl who was wanted to be a chef.

She's learning how to be a chef.

Yeah, I did.

I thought that was cool.

Then the whole end like had to do with that too.

Yeah, I agree, but I don't know.

It just seems like for all the times where Dodand doesn't know what to do without Yugenie,

the movie didn't seem to know what to do without her either.

And I have a, what might be a weird reading of this movie and I want to see what you think

of it.

I don't, I don't even know if I believe this, but I think that it is possible.

I think it's possible that this movie is a class consciousness satire.

Okay.

The welcome on the wealth of these people is so absurd and Dodand's relationship with

Yugenie is so strange that I think the movie is trying to say that he doesn't actually love

her as a person.

He only loves her because she is this amazing cook.

And at one point, he, at one point, they're talking to each other and she actually says to

him, yeah, do you love me as a woman or do you love me as a cook and he without hesitation

is like, oh, as a cook.

And then when all of his rich friends are mourning Yugenie's death, they're talking about the

food.

And then at some point, somebody's like, you know, it should also be mentioned that she was

a very beautiful woman, whereas just like this is the afterthought her as a person is an

afterthought.

So it just seems to me like I think it's entirely possible that the movie is trying to suggest

that these people, these glutton are rich assholes and that this is not a way that society

should run.

And the way that they're basically willing to discard Yugenie and once we find somebody

who can do what she has done, then we don't need her at all anymore and we can stop my

way to her death.

I know.

I need to.

What a, what a horrible prism to view this movie through.

I don't know.

This beautiful movie.

The thing is though, that's the only way that the ending makes sense to me.

I originally after the movie ended, I felt the way you feel and I thought, yeah, this is

a beautiful movie about the glory of like the other ones, like the two we've already talked

about, about the glory of cooking, you know, the art of meal preparation and things like

that.

And I was thinking that and I just didn't really like the way that it ended.

And then the more I thought about the ending, I'm just like the only way this makes sense

is if the movie is trying to signal it, if the director is trying to signal us that

these people are not good people.

You may be on to something.

I didn't think of that until you said it.

Yeah.

But I thought a little bit about it when I started researching or to land, bunting.

Okay.

Or to land, bunting is the bird that they ate at their friends house.

Okay.

Do you know how that's prepared?

No.

It's illegal.

Uh-huh.

They ate it in succession and they mentioned that it was kind of illegal.

Oh, with the napkins over their heads?

The napkins over the heads.

Yeah.

So the reason they put the napkins over their heads is there's two reasons and it's fuzzy

on which one it is.

One is that you inhale all the aroma and your secluded off from everything else.

You can focus on just eating the bird.

The second is that you are hiding your face in shame from God and from the people at the

table so they don't see you enjoy this awful dish because the way it's prepared is the

bird is caught and then its eyes are plucked out.

And it lives in a cage and is fed figs and oranges and all this sweet, delicious fruit

until it overgorgeous itself and it's doubled in size.

And it is drowned in a brandy.

That's how they kill it.

They drown it in a brandy.

Oh my God.

And then when you eat it, you eat everything.

Yeah.

Bones, guts, skull, everything.

And because of how cruel of a dish it was to make, it's been outlawed in the U.S. and

in the UK.

Jesus.

And the bird is like native to the UK.

Yeah.

See?

This is what I'm saying.

It's entirely possible that this director is making a very, very subtle jab at the rich

people, at rich people, right?

Like a lot of movies about the super rich are way more obvious when they're like lampooning

them.

And this is a bit more subtle.

I feel like this movie is is cloaked in beautiful imagery of food.

Like it's on the surface.

It's gorgeous food porn.

Yeah.

And underneath, I feel like this guy is trying to tell us something.

Oh.

Well, I did not get that.

I didn't think you would.

And I don't even know that it's there.

I'm not even 100% convinced myself that that's what it is.

Well because it like his feelings for her are so poetic and so big and so right beautiful.

And that's not how rich people think of poor people.

At least in my mind, especially in a satire of class, do they respect the artistry of

poor people that much that they love them that much.

But the thing is that Yuzhene is not really a poor person, right?

She is an artist.

She is, she's not wealthy like them, but she is clearly distinct from the other young woman

that works for them, right?

She is definitely a level above the other servants.

So she's not just a servant.

So I think that that's what we're showing like her talent is the thing that he's in

love with.

And that is what allows him to keep her separate from all of the other peons that we're

for you.

Okay.

That's what I think.

I think that I think I think it is entirely possible that that's what this is do.

I think this is very likely or not very likely, but very possibly a super subtle satire.

What about when she wouldn't go in his room after they were married and she wanted to stay

separate?

Yeah.

Or, you know, I think that's the case that you're not really in love with people.

And they're not the same.

Yeah, for sure.

That's true, right?

I don't know.

Their relationship is he's clearly taken with her, right?

He clearly has very strong feelings for her.

But I really feel like it's where we might supposed to think we might be supposing to think

that his feelings for her are as a cook and not as a person.

That's why she is replaceable with the end.

All right.

That's what I see it.

That's what I think.

That's really depressing because I thought that was really sweet and really beautiful.

You put this whole dark tinge on it.

That's what I'm here for.

Either way, I feel like if the movie is not that tire, then the end really doesn't work.

And if the movie is satire, then I wish it were a little more overt.

I wish I didn't have to debate with myself as to whether or not that's actually what it

is.

Or maybe that might not be the movie's fault.

That just might be I'm not smart enough to see what this guy's going for.

I don't know.

I don't know.

But yeah, but wasn't the food awesome in that?

It wasn't a photograph like perfectly.

It looked very beautiful.

It was very like every single thing, the baked Alaska, whatever that bread, like soup dish

at the beginning.

Yeah.

Oh, that the oysters, the paper bread thing that he makes at one point really.

Yeah, that was cool.

That was cool.

That was cool.

Yeah.

That was cool.

Holy mackerel.

It was just so it was like a like a third leading character in the movie.

Yeah.

The food was it really is.

This movie undeniably works as food porn.

Yeah.

It is.

It is certainly a movie that will make you hungry and just people blowing their minds eating

stuff.

That's always fun to watch.

Yeah.

And that was a lot.

There was a lot of that in there.

A lot.

I just wanted to bring it up.

I thought that was my my main takeaway from the movie about the next morning after I

watched it.

I was outside walking my dog.

And as I was walking, I was thinking about the movie and I was like, we, you know what?

Maybe.

Maybe this guy's trying to tell us something.

Maybe he is.

I remember the next day I was thinking about what was that bread thing and how I make it.

I'm sure Google can tell you that.

So Ken, I'm very curious.

What do you give the taste of things a past pirate or pay for me?

The taste of things is a pirate.

I know.

I know.

You know.

It's a pay for me.

If it was only shots of the food.

Yeah.

I think characters or plot or anything, I'd still give it a pay.

It was so beautiful.

Yeah.

I think I would have liked the better if that were the case.

So beautiful.

I still like the story.

I love the acting.

I love the writing.

Everything worked for me.

I mean, like I said, the first, the first 40 minutes of this movie are incredible.

I thought I just, I'm so beautiful and so captivating.

But yeah, once you start getting into, there's not much story involved here, but once you

start getting into it, it's a little muddled for me and I didn't love it.

I did.

It's pay for me.

Yeah.

All right.

So pay, pay, pirate, pay, pirate, yep.

And I'm pay, pay, pay, all the way, baby.

That is some good, that's some good movie making right there.

We did, we did, we did well.

Yeah.

These are some good ones.

All right, Ken.

We got to talk about next week's assignment.

Yeah.

Okay.

So I think that for the past few weeks, I think you've had a pretty good, I feel like I

have.

Yeah.

We've been watching this really, really good movie.

I've liked very much liked almost everything we've watched.

Well, maybe a little too good.

Yeah.

So, I stumbled upon a YouTube clip last week and it is the, like, the most disturbing movies

ever made.

Oh, no.

So I curated this list.

Okay.

I came up with three.

Now, tell me if you've seen any of these because I want these all to be new to you.

Okay.

Okay.

The first one is called Megan is missing.

Nope.

Never seen it?

Never heard of it.

You're going to watch that one.

Megan is missing.

Megan is missing.

Okay.

The second one is a foreign film called Salo, S-A-L-O.

Nope.

That's your second one.

Okay.

That's an older one too, I think.

Okay.

Um, and your last one is a Serbian film.

Okay.

You haven't seen that?

A Serbian film?

It's called a Serbian film.

No, I've never heard of it.

That's your third one.

Oh, fuck, Zake.

Who am I getting into?

I kind of wanted to hold off on that because it's pretty hardcore.

Oh, fuck.

Megan is missing.

Salo and a Serbian film.

Okay.

Great.

Are you going to be watching these?

Eeeeeee.

Should I?

I mean, should I?

I mean, I hope it's to have a discussion if you're watching them too.

All right.

I'll watch them.

Oh, I can't put you through it and not put me through it.

Yeah.

I mean, these aren't the worst movies of all time.

Great.

So catch up, folks.

I can't wait.

Can't wait.

If you're out there in a listener land, make sure you go see all three of those movies.

Yeah.

And if you're listening to the week of January 13th, maybe give me a hug, because I might need

one after this assignment.

All right.

Good luck, Ken.

See you next week.

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[MUSIC]

Hello everybody and welcome once again to Pass Pirate Pay, the movie discussion show.

My name is Ken, I'm your host alongside my co-host Andy, Andy, how you doing?

I'm great Ken, how are you?

Spectacular, happy new year to you?

Happy new year to you sir.

Yeah, do you do anything fun for new years?

Yeah, oh yeah.

I stayed here with the dogs while they cowered in fear of the fireworks.

Oh, that sounds amazing.

Yeah, I comforted them and watched more fireworks on TV.

Oh, excellent, excellent.

Yeah, I got invited to a friend's house at about 6 p.m.

and I was like, that sounds very good.

And then, they're like, yeah, we're probably going to leave before, way before midnight.

I'm like, oh, that sounds pretty good.

So I went and hung out with some people and then went home and was home by 10 p.m.

Oh, nice.

Yeah, it was great.

It was nice.

Yeah.

They were getting too old for new years.

Yeah, we might be old people, I think.

Yeah, usually I play for new years, but we didn't have a gig this year, so.

Yeah.

That's always fun.

I like playing on new years.

Yeah, I like working.

That sounds pretty good.

Yeah, I've had some great new years playing.

All of my friends come to the gig.

It's just fun.

Nice.

Yeah, that sounds like a good time, but not this year.

Yeah, this year was just me and the dogs.

Scary cat dogs.

Anyway, so this week on the show, we are, we're going to, we're going to a little spooky.

Oh, I mean, maybe, I don't know.

We're doing vampires.

We're not doing the spookiest of vampires.

Yeah, we do.

So we're doing 2013's only lovers left alive.

They were doing 2023's, humanist vampire seeking, consenting suicidal person.

Yeah, that's what they call.

I think so.

I would try.

People keep asking, what are you doing on the show this weekend?

I just cannot remember the title of this movie.

It's a long title, but it's a, it, it definitely encapsulates everything in the movie.

Yeah, I'm sure to be sure.

And then our last movie is going to be Noose Faratou in theaters now.

So I know that's what he said.

We jump right in.

All right, go ahead, Ken.

And I'm following your lead as always.

Go chronologically.

So let's go back to 2013 with Jim Jarmos' only lovers left alive.

This movie is about 'Till the Swinton and Tom Hiddleston play vampires that have been

alive for centuries, and they're living on separate continents and the world is basically

decaying all around them.

And they're normal decay.

Yeah, yeah, but you know, they're just basically living and observing as the world is getting

shittier and shittier.

So this movie starts off with, they have shots of, of 'Till the and Tom'.

Their names are Adam and Eve.

They are.

Yeah, yeah, it's not great, but, you know, they're laying on their backs and they're looking

up and the camera is looking down at them and the camera is spinning around and then they

show stars in the sky and then this camera starts spinning, the star start moving and then

they cut to a 45 spinning on a turntable.

And that starts spinning around and everything is spinning.

Deadly cool.

And the song is 'Funnel of Love' and it's covered by squirrel, which is Jim Jarmas'

zone band.

And it's exactly what I thought.

That wasn't the woman, what is her name?

Wanda Jackson?

No, it's a cover.

Oh, because I knew it was different, but it sounded like just a remix.

No, no, I looked it up.

It was a cover.

I forget the name of the woman who's singing with Jim Jarmas' band, but it's not the

original song, it's not the Wanda Jackson version.

All right.

Anyway, within the first 30 seconds of this of this movie, I was like, this is a movie for

me.

Yeah, I was like, this is a movie that I am going to love.

It's like the mood is set perfectly.

The song is awesome.

The shots look great.

Everything.

It looks super cool.

I'm totally into it.

And simultaneously, I'm thinking Andy is going to fucking hate this movie.

Why are you nailed it?

I mean, as this movie is going on, I'm just like, there is no chance in hell that Andy likes

this movie.

I have seen a few Jim Jarmas movies.

I've seen The Dead Don't Die, which is a zombie movie.

I saw Dead Man.

I saw Coffee and Cigarettes.

The only one, and I saw this, the only one I liked out of all of them was Coffee and Cigarettes.

Yeah, I remember you said you didn't like Dead Man and I was like, oh boy, this one doesn't

die.

This was a no chance.

Oh, boring, boring movie.

I like a lot of Jim Jarmas movies.

Stranger than Paradise is first movie, I think is really good.

And Coffee and Cigarettes is great.

And this one, I thought was really fucking great.

I really, really liked it.

I mean, this is a movie that is 100% atmosphere and 0% plot.

Yeah, right.

Yeah, which is my, I hate those movies.

Yeah, exactly.

And you have to create one fucking hell of an atmosphere for me to enjoy it.

And I feel like he did.

I just think like the music in this movie is so awesome.

I thought like it just sounds great.

It's all like really slow, language, music, but it's also kind of noisy.

It just sounds super cool to me.

I just really loved it.

And like I think it looks really cool.

I don't know man, the aesthetic of the movie just, I was so into it.

I thought it was really fantastic.

I thought it was dull as dishwasher, man.

Yeah.

There's a few things going on in this movie.

These vampires are depressed.

They're not killers.

Yeah, they are depressed.

Well, not all of them, but Adam.

Adam is very depressed.

So the movie starts, he's in Detroit and, and he's depressing.

He's very depressing.

He's in the fucking ruins of Detroit.

And Eve, she's in Tangier, which you know, looks pretty vibrant and kind of cool.

Yeah.

Well, they both have ways through various medical establishments of getting blood.

Yes.

Because so they're not going around boring.

How boring.

They're not going around killing people, right?

How fucking boring.

You're doing a vampire movie and they're getting, they're feeding in the, like the most boring

possible way.

Well, the thing is, just paying for Jeffrey Wright for blood.

Yeah.

So the thing is like the point of the movie, I think, is about decay of the world, right?

So the reason that they don't go hunting for blood like a typical vampire would is that

all of the humans have painted blood.

Like the way we live now, the way we humans live now is so filthy and unclean in our environment.

They're not hunting down the clean blood.

Right.

It's, it's, they're finding clean blood is, is a commodity that's really hard to come by.

So it's just like, yeah, because they do with John hurt.

And I thought that John hurt stuff was good.

Yeah, I thought it was really cool.

So John hurt, I love John hurt.

John hurt, yeah, it's great.

I think everybody in this movie is awesome.

I think they all did a fine acting.

When I, when I was watching the, when I was watching the opening credits, I just kept seeing

people's names and it's just like, oh, wow.

And it's just, it's a really cool cast like, like Anton Yellich is in any place of human.

And you know, that's a tragic story.

Yeah, because he was so good.

He was such a good actor.

And you know what happened to him, right?

Was it a car accident?

It was a weird car accident.

Like he got run over by a car when he was standing outside of it or something.

He was at his house.

Yeah.

And he got out of his own car to get the mail.

And his own car rolled back and pinned him against like a pillar.

And he died that way.

Yeah, just tragic, really tragic.

Yeah, because he, I mean, everything I've ever seen him in, I think he's, he was really

good.

Yeah, I really like him in this.

So he's in this movie, he is the, he's the human.

Basically, he's the main human.

He's what he called the familiar.

Yeah, I guess he's like Adams gofer.

Yeah.

Adams is pace him lots of money to go find whatever things he needs like musical equipment

or, or you know, so Adam is a musician and he is releasing anonymously all of this music.

And so Antoniel, which is character is like the person responsible for getting that music

out into the wild, which is I guess how the money keeps coming in.

But he's like so like in love with Adam.

Basically, he's just like, oh, this guy is so cool.

I just want to be around him.

I want to be in his orbit.

And he's like, he's wearing sunglasses, whenever they're all wearing sunglasses, he just

wants to be part of this world, you know?

And I don't think he knows their vampire.

No, no, it's a big secret.

Nobody.

Yeah, because the plot for what it's worth, the plot, such as it is of this movie, really

starts to get going.

So Eve flies from Tangier to Detroit to cheer up, depressed Adam.

And right after she gets there, her sister played by Mia Waska.

Yeah, Alice in Alice in Alice in Alice in Alice in one of them movies.

Yeah.

So she shows up and she is a dick.

I guess is basically she's just like, doesn't give a fuck about anything.

She's just going to do whatever the hell she wants and, you know, consequences be damned.

Yeah.

So like she shows up and she immediately drinks all the blood that Adam's got hidden

in his refrigerator and, and, uh, slasks it for when they go out.

Yeah.

So the three of them and Anton, they go out to this club to see this band.

And yeah, Anton's like trying to get them beers and stuff with their vampires.

So they don't, they don't thank you.

Yeah.

Yeah.

But yes.

So the sister, Ava, she's, uh, she's like hanging on to Anton and, and like, he's like, oh,

we're gonna, we're gonna, we're gonna get this guy.

She, like, we, everybody can see what's gonna happen, right?

Is she?

Yeah.

Anton is, or I guess it's Ian in the movie, but, uh, he is hanging around with

them and Ava, she's getting very flirty with him and, and we all know it's gonna happen

and sure enough, after they're done with the music club, Adam and Eve go to bed.

And, uh, the next morning we wake up and, uh, yeah, Ian, Ian is dead.

He's, uh, he has been drunk by, by evil.

Yeah.

They were hitting it off.

You knew that was, you knew what that was headed?

Yeah.

Yeah.

And I mean, one of the, my, one of my favorite things in the whole movie is Tom Hiddleston

as Adam.

He comes in and he sees bloodless Ian on the couch and Eve, like, laying on top of him and

he just dead pants.

He's like, you drank Ian.

You drank Ian.

You drank Ian.

I thought it was so funny.

It's so funny.

Um, but yeah, so all the vampires refer to all the humans in this movie as zombies.

Yeah.

And that makes me think of the movies called Only Lovers Left Alive.

Yeah.

And what I think the title means is that Adam and Eve specifically and John Hurd is Christopher

Marlowe also, they're like the only people left in the world who still appreciate things

because all the humans are just like, they're just zombies.

They're just walking through life without realizing the, the beauty of the world or the,

and they're fucking it up as they go along too, right?

So that's what it is, right?

But all they are the only lovers left alive.

Everybody else that's left alive is just taken up space.

Yeah.

And that's what I, I mean, that's what I think that the movie is all about, right?

The appreciating beauty in a decaying world and trying to, I don't know, stand apart from

the dying world we live in.

I don't know.

That's what it, that's what it seemed like it was about to me.

I don't know.

And it really resonated with me.

But like, I don't know, the, the aesthetic of the vampires was so cool to me.

It's like, yeah, we should be like them.

I'm, I'm in.

I buy what Jim Jarmoosh is selling with this movie.

So I had a different, I have a different take on it.

All right.

I think that Jim Jarmoosh thinks he's cooler than everybody else.

Yeah.

So he wants to make characters that are cooler than everybody else who listen to coolass music

like Jim Jarmoosh.

Yeah.

And then Jim Jarmoosh is banned because Jim Jarmoosh dresses like a fucking cool douche.

Yeah.

I've actually never seen him.

I have no idea what he looks like.

He's got like white hair and a pompador and he's skinny.

Yeah.

He wears like tight jeans and leather jackets.

He looks just like those goddamn vampires.

Yeah.

Awesome.

And it's, it's so up its own ass artistic douchey to me.

That's, I couldn't get away from that the whole time.

Yeah.

I don't know.

I mean, I think it's okay to think that you're cool if you're cool.

I don't know.

I just think this is cool.

Well, it is cool.

Okay.

That's fine.

But also tell a story.

Don't just shoot your fucking cool vampires.

What is it, man?

It is a story.

It's like this movie barely.

It's, it's, I think it's really about something.

I think that the point of the movie really resonated with me.

I thought it was super interesting, a super interesting way to show the fact that the

world is shitty and getting shittier.

And a good way to do that is by having characters who are centuries old and are like, we're

around before this time because we weren't here, right?

So it's just like these vampires are able to come from a place of knowing what they're

talking about when they're saying things aren't as good as they used to be.

I don't know.

I just thought it was an interesting way to go about it.

I just, I thought it was super cool.

Yeah.

I, I didn't, I thought it was dull, dull, dull, dull.

I had to take two swipes out of it.

Yeah.

I liked the makeup of the way that the way the characters looked.

Yeah.

The aesthetic of the movie was good.

I just wish someone else would write them.

Yeah.

That's what I, like Jim Tarmusch is not a bad director.

I think all of his movies look good.

They all look good.

They all create a really cool tone.

Like the whole universe that his movies take place in, they're all really like dead man

look good.

Like they all look good.

Yeah.

But there's just no stories there.

Yeah.

No, dull and I just want it to be better.

Yeah.

I don't know.

I guess my coffee and cigarettes worked because there was, it wasn't telling stories.

Right.

It was just putting two interesting people in a room together.

Two or three, you know, in a room together.

Yeah.

I guess I, I don't know.

I guess it's just like his movies to me are, they're more poetry than prose, right?

Where it's just like this movie is about creating feelings.

A movie doesn't have to have a story for me.

I don't know if you're making a compelling case for something and doing it in a way that

is interesting or cool or fun or, and I thought this movie was all of those things, then

I'm totally on board with it.

I just love it.

I don't know.

I don't, I don't need a story if the non story is cool enough or, or interesting enough.

And I thought this definitely what?

Yeah.

I didn't.

Yeah.

And I think it was interesting.

I mean, it was interesting to look at.

Yeah.

Like that, you know, for sure, but yeah, I was just bored to tears.

Yeah.

I knew.

I absolutely knew it.

I, except when John Hart was on screen, like I thought that all his stuff, I would have

loved it to see a movie about Christopher Marlowe, the vampire, with John Hart playing

the old version.

I would love to see that.

Right.

That was the most interesting part for me.

Yeah.

Yeah.

Like I said, I could tell within 30 seconds, I knew that I would love it and you would hate

it.

Oh, it's totally on board.

Like I wasn't sure where you would be on it because I, I can never tell where you're going

to fall on things.

Yeah.

But I'm pretty predictable.

Yeah.

I don't know.

You've surprised me before, but this one I was, I was pretty sure.

I was pretty sure.

Yeah.

I was pretty sure.

Yeah.

If it's, if it's a boring ass movie, you can count on me not liking it.

All right.

All right.

So is that it?

Is that why you have it?

That's why I have to live.

Yep.

So I'm going to have to live.

Yep.

So I think I was pretty clear where we're at.

Yeah.

I think so, but maybe official, right?

Let's make it official.

Ken, where do you stand?

Past, pirate or pay?

This is...

Not only lovers left alive.

Only lovers left alive.

Definitely.

I pay for me.

Definitely a pass for me.

Pass.

Okay.

Our second movie today is a humanist vampire seeking

consenting suicidal person from 2023.

This is a French Canadian movie directed by Ariane Louis Says.

Yeah.

And I had never heard of this movie until you told me we were going to watch it.

I watched this a few, I want to say like two months ago.

Oh, okay.

I think I found it just by browsing through the movie thing.

Yeah.

And I saw it.

I'm like, that sounds interesting.

Yeah.

So the thing, I said earlier, I can never remember the title of this movie.

Yeah.

It was just like the title of this movie is...

I think simultaneously awesome and terrible.

Like, it's just like, I can't tell anybody to watch this movie because I can't remember the

name of the fucking title of it.

But at the same time, when you hear the title of this, I heard the title of this movie,

like, there's no way that movie is not going to be good.

How is it?

There's no way.

It's an amazing title for a movie.

There's no chance it's going to be bad.

It's a big, balsy title.

That's something a title of studio would go, no, absolutely not.

And it ended up getting through anyway.

Yeah.

Right.

Yeah, exactly.

Maybe, you know, in Quebec, they don't have a big studio system.

But if you want to make a movie there, you're just like, yeah, do what you want.

Whatever, don't care.

Yeah.

So this movie is about a young teenage vampire named Sasha.

She comes from a vampire family, which I thought was really fine.

It's an interesting way to go about it.

And she is tremendously empathetic and she loves people.

Yeah.

So she doesn't want to kill us.

Once again, we have non-murdering vampires.

Non-murdering vampires.

But at least this is a focus of it.

Like, yeah, this is the crux of the film.

Right.

So the movie starts with her as a little girl and her parents are like, oh no, it's just

a phase.

She'll grow out of it, but then she becomes a teenager.

And it's just like, oh, when is she going to start eating?

We need to get her to eat like, is there bringing home blood and keeping the refrigerator

in the, that's how she, that's how she stays alive.

Yeah.

But eventually the parents decide, nope, this is, this is got to stop.

And they send her out to live with her blood thirsty vampire cousin.

And she's going to learn the ropes and she's going to become a vampire.

And then she encounters a suicidal teen and he is more than willing to give himself up

to her.

Yeah.

She can stay alive and not die of hunger for a little while, but she's still not, you

know, so she's still not sure she wants to do it.

And that's where the, that's where the movie goes.

So the, I really like the beginning of this movie, I thought was fantastic.

It starts off when Sasha is a little girl.

It's her birthday.

And so they give her a present and it's a piano and it turns out she's like a, it's a little,

it's a little keyboard.

Yeah.

She's like a piano prodigy.

She just immediately starts playing.

And then the doorbell rings and the, her aunt is like, oh, it must be another present.

And they're like, what?

We didn't expect another present.

And it's this fucking goofy ass birthday clown.

Yeah.

And the clown shows up and Sasha is immediately like delighted.

She loves it.

And the clown comes in and he's doing all this dumb clown dancing around and he's doing magic

tricks.

And the whole family are just staring at him.

Like, what is this guy?

This is so stupid.

And Sasha is just so excited about the whole clowning business.

Yeah.

And eventually the clown is going to do a magic trick and he gets in a box and the cousin

who's also a young girl at this point.

She's, she's like, are we done with this?

When are we going to eat this guy?

Hey.

And we're off and running, right?

That's the, so the eat the clown.

But yeah, so like the movie establishes, hey, if they, when they eat the clown to this,

say it tastes a little funny.

No, that's terrible.

So before the opening credits, this movie establishes, it's a really unique vampire world,

right?

Where it's just like, we have vampire families and there's like a whole vampire community

infrastructure.

Like, so the fangs of the vampires in this movie only protrude when they're about, when

they're like hungry or turned on or they're going to eat somebody.

Yeah.

So what Sasha is, she doesn't want to eat.

So fangs don't come in.

So they like take her to a vampire dentist, right?

And then the dentist is like, well, I don't know what the problem is.

So then they take her to a vampire psychiatrist.

Yeah.

And it's just like, and it's all done.

And they said, night because their vampires were like, we have this whole weird world,

right?

But like, it's, it's the first like, I don't know, less than 10 minutes of the movie is

all before we meet the Sasha that's the main character of the movie as a young adult.

But it establishes exactly what's going on in the movie.

It's a perfect opening.

Yeah.

It sets the tone.

It's really funny.

Yeah.

And it's just great.

It's really cool.

So I really enjoyed that.

Yeah.

So the main human character is this kid named Paul and he is in high school and he's bullied

constantly.

And he's just like, he's suicidal.

He hates his life.

And a big part of the movie is Sasha trying to get up to the nerve to eat him.

And one of the ways she's doing it is it's like, well, maybe if you have a dying wish,

I can help grant your dying wish and then I have no problem eating you.

So he's like, he decides that all of the people who are bullying him, he wants to go

fuck with them.

Yeah.

So that's like a fun montage, right?

He's just fucking with people.

That's it was really fun too.

But this movie is also like, it's funny, right?

It's a, it's a comedy for sure.

But it's also like kind of about dissatisfaction with life, right?

Like is both of these characters Sasha with not wanting to eat and Paul with hating.

I wanted to live.

Yeah, not wanting to be alive because he hates everything about his life.

These, these characters are just like totally going through life without any kind of joy,

right?

But there are a lot of like beautiful scenes of the two of them together.

These two people or none, one non person, whatever, just making this connection.

It's like there's a great, great scene in Sasha's bedroom where she has a record player.

She's got a collection of records and you know, Paul's like, which ones are favorite and

they put on this brand-o-lee record.

I think it's called emotions.

And it's just a still camera shot of the two of them standing in front of her record

player and then the song comes on and she starts lip syncing along with the song and dancing

along and he's just kind of watching her.

And then eventually like he starts getting into the song and he starts dancing along and

then she looks at him and she's like, oh, fuck, I'm supposed to be eating this guy and she's

like gets pissed off about the whole thing.

But it's like a two minute long, totally static camera shot of just watching the two of

them.

They're adorable.

They're just two amazing adorable, dorky kids and it's so great.

I just loved it so, so much.

You know, it's like Paul is like, he looks like a weird science era, Anthony Michael Hall,

except Frisch.

And she looks, Sasha looks like the daughter from the Incredibles come to life and you

come in form.

They're just so, just kind of awkward about everything and just like, I don't know the way

the characters presented in the way that the two actors portray them.

They're so lovable.

I just, I'm so into both of them.

It's just so great.

I don't know.

I really, really enjoyed everything about this movie.

Yeah, yeah, I did too.

That was really funny.

Yeah.

So Sasha is sent to live with her cousin Denise, who is a typical vampire and she, you know,

she's like a good looking young woman.

So she's able to attract these douchey dudes.

And she just kills all these douchebag guys and she lives in like this hipster loft.

She's a painter and she's got weird paintings all of her and meat hooks everywhere from

the dudes she's killing.

So when she takes Sasha out, she's like, okay, we're going to kill this guy and they, they

like, kidnap this drunk douchebag named JP outside of a bar and he's the doucheiest guy you

could ever imagine, right?

And so like, they take him to his place and he gets out of their car and he's like, he's

like, come on, come to my place.

We're going to whatever we're going to do.

We're going to have a good time.

So Denise says, okay, now when you bite him, make sure you keep drinking until he dies

because if you don't, he's going to get turned and then we're going to have to deal

with this guy for all eternity.

But sure enough, Sasha stops Denise from killing him after she bites him.

So JP is just hanging around for the rest of the movie and every time you see him, he's

just like making some stupid as comment about whatever and every time he speaks, I was laughing.

I thought he was so funny.

It was really funny.

So he is, I mean, he was really great.

And Sasha's parents are like, her dad is like this really well-meaning guy.

He's like, so she doesn't want to kill whatever who cares.

He just, he tells his wife, you know, you just bring home the blood and we'll all drink it.

We can live that way.

Who cares?

And he's just wants to go along with everything.

And it's just, you know, but nobody else seems to think that this is okay.

Spoiler warning.

Humanist vampire seeking consenting suicidal person.

Bill is ahead, skip to the next chapter or minute marker, 30 minutes and 23 seconds to hear

the verdict.

You have been warned.

The, the movie ends Sasha, uh, Sasha and Paul, they go around and they perform all these

pranks on, uh, on all the various people.

And then they kill one of the bullies that's bullying him.

And they're trying to figure out how they're going to get out of this mess they've gotten

themselves into.

And so all the sides that the way they're going to do it is that she turns him into a vampire.

Yeah.

So she turns him into a vampire.

And this is where the title of the title of the movie gets mentioned, where Paul and Sasha

become these two vampires and what they're, the way they're going to do it from now on is

they're going to like Dr. Kavorkian people vampirically.

Yeah.

Right.

Where it's like the movie ends with with this old woman who's dying of whatever in the hospital.

And Paul and Sasha come along and they're like, we're going to take you to the other side

in a very soothing because Sasha's got this piano playing ability.

So she's playing this beautiful piano music as this woman expires and they're draining her

blood.

And it's like, now we have blood.

So this is the way that we're going to, we're going to go about doing this.

And I thought it was really cool because the whole time I'm like, how are they going

to blend this plane?

How are we ever going to get out of this situation?

Right?