Andy 0:26 Welcome to monkey off my backlog the podcast where we exercise our pop culture demons by tackling the army to do lists one week at a time. I'm your host, Andy, and with me are my co hosts, Dr. Sam. Allah. And Tessa. Hi. Tessa 0:46 That's hello and Danish. Andy 0:48 This week, get your reading glasses on. We're not doing books. We're doing subtitles. That's right. We're doing international films this week. This week, Tessa watches the film narrated by Nasir Khan and Jamie Lannister. Sam watches an Almodovar film about maternity starring Penelope Cruz. But the new one the new one. And I sit down for Dindin with the fam. Sam 1:14 I, by the way, Andy really fast like if you're trying to choose between one of the five openings we just did. I like the one where it sounded like you were saying it was a monkey off of your backlog. Like we were just doing stuff that's on your backlog? Yeah, Andy 1:30 monkey off of my backlog that's right to the podcast, or we focus on just doing me. So international films. That's right films that aren't in English. I'm having some fun. Let's let's start with this week's first contestant. Tessa, Tessa, Tessa 1:50 are we racing them? Are they competing? Andy 1:52 Yes, they're competing Sam 1:54 at the at the Academy Awards this March. Tessa 1:57 I'm just saying mine is actually called fleece. So out of all of them. I feel like maybe it's the speediest okay, Andy 2:03 but just let you know, this is called Monkey up on backlog not monkey off my backlog sons frontiers. So there are competitions, you know, in the spirit of AI, or the Olympics still going on? Sam 2:19 I believe they I believe they end today. Andy 2:23 Cool. Yes, yes, yes. Okay. So we'll be giving out a bronze silver and a gold medal for no discernible reason. Tessa, what did you do? Tessa 2:36 I as I just mentioned, watched the 2018 Danish animated Docu drama, directed by Jonah's por RAS mucin fle Andy 2:47 Wait, 2018 Yeah, but it's an Oscar nomination this year. Tessa 2:55 I don't know what to tell you. Oscar, it was so yeah, it is weird the way that Oscars often have rules about animated film or not animated films. It's weird how the Oscars often have rules about international films. I'd like to actually look that up. I didn't before this episode. But this film was selected as the Danish entry for the Academy Award for Best International Film where it received a nomination. It also was nominated as a Best Documentary Feature and Best Animated Feature. It's the first film to be nominated in all three categories, which is what first piqued my interest because I found the idea of a animated documentary to be fascinating. I mean, like, you just don't get many of those. Andy 3:45 Alright, Tesla. Apparently fle had its world premiere on January 28, of 2021. Sam 3:51 But it was scheduled to premiere the year before. Right, but postponed because of the pandemic. My guess is because it was animated. Like this movie has been in the works since 2018. So like, yeah, it's been a while. Yeah, but it is in a Grammy situation. Tessa 4:08 Right. So okay, I will correct myself. 2020 ones flee. Andy 4:12 Okay, I just I just I just know that there are people like me who are pedants, and they also have access to Twitter, just like me. And they will shoot you down for saying the wrong year. And because I'll tell them to Tessa 4:28 the worst, worst thing that's ever happened to me. Andy 4:31 Okay, so in any way the documentary though, that, to me, that goes against what a documentary is, like, inherently. Because, you know, I don't want a documentary with reenactments, right. I don't. It's so weird. Well, I Tessa 4:50 I think this is fascinating the way that this movie is put together. So basically, the premise of the story is that we are being told sorry The premise of the story is that Jonas poer Rasmussen, who is the creator and director is interviewing a man named Amin nawabi, who is who tells the story of how his family fled from Afghanistan in the late 80s, when the Taliban took over the country, and their struggles to find a place where they could safely live and the different places that they've had to live and the different ways that they had to try to smuggle themselves and different members of their family into Europe specifically. So I mean, nawabi ended up in Denmark at one point in Copenhagen, and he's telling the story to Jonas. The interesting part about this is that it is animated, but the animated portions mainly are showing the interview between Amin and Jonas, as well as the stories that I mean is telling about the different places that he's lived. So obviously, there isn't footage of that. So the animation takes the place of his of what happened, but he's narrating the entire experience. So it's, it's kind of like, if you took a podcast, which it is cut, the interview is very much set up like a cast. Sam 6:19 Andy, have you seen the Ricky Gervais Show? Andy 6:24 No, Sam 6:25 that's when they took a podcast and animated it. That's exactly what this Tessa 6:29 Yeah, that's kind of like what this is. But the animation is also interspersed with footage from some of the historical events, the news events of the things that he is describing as well. So there is like animated footage. And then there's real life footage, non animated footage, I guess I would put that so it is put together as a documentary. But the animated portions mainly rely on this first person narrative that Amin is telling. Andy 6:54 So So yeah, it the animated portions are like what other documentaries might do is like a reenactment, though, right? Tessa 6:59 Yes, yes. But it's much better as animation. I think then, because reenactments kind of feel weird to me. Like they feel really cheesy a lot of the time or like, what how would this actor know, but the animation feels like it's a lot more flexible. Ross mucin especially does a really good job of when I mean, says like, this is what happened of like, including these incredibly detailed sketches designs of something that happened. But then when I mean, who clearly is very traumatized, talks about like, I don't actually remember what happened here, he'll like, the animation will become more abstract and more like foggy. And like the the very small details that I mean, remembers will be in the animation, but it won't be as detailed. So it sort of mimics like the way that some memories are sort of obscured by like, a cloud of trauma, or, you know, just the fact that he was a kid during parts of it, he just doesn't remember certain things super well, like that all is very well done, I think because it sort of represents the ways in which first person narration is sort of subject to memory interpretation. So I just I think that's really interesting, or like, the he'll tell a story about something that happened. And it was actually something that made the news. And so they'll have like the news footage. So it's just very interesting to get like those different perspectives. I think the other reason that they went that sorry, I think the other reason that Ross mucin went with the animation is because at the beginning of the film, they say like this is a true story. But we have changed some names and some places to protect the identities of the people involved. And Amin, technically is in Denmark. He's in Denmark, on a lie. And so like, which he doesn't admit to until about halfway through the film, that he had lied to them in order to get in, basically. And so I think part of the reason it's animated is to protect our means identity as well, so he won't get into trouble with like, the Danish immigration authorities. So that's another really clever way I think of protecting your subject by not, you know, by basically making them animated instead of, you know, trying to like, obscure they their identity in other ways. Andy 9:26 Yeah, yeah, that would definitely be a way to protect your subject. There's a documentary I watched called Welcome to Chechnya, which is about basically smuggling LBGT people out of Chechnya where they might be killed. You know, like if your family finds out, it's almost like an honor killing situation. And they, what they did was there, they actually has real cameras, but they digitally digitally change the faces of the people who they are smuggling and to keep them safe and keep them from getting caught going back in then, you know? Yeah, yeah, it is incredibly intense. So fully sounds a little bit like that, like, you're actually able to change and protect people a little bit without making it this obvious like, we're changing the net, we're blurring out the faces, we're changing the voices. Tessa 10:15 And we all know that, like, when people look at things, when they look at faces, they tend to engage more with the content, because we're obsessed with faces. I mean, that's why selfies get like more engagement than anything else on social media. And so I think that sometimes when you black out or pixely, or whatever a person's face in order to protect their identity, it's harder for the audience to connect with them. Whereas I can get I can connect with an animated person. Like, just because he's animated doesn't mean that like, I can't connect with him. So I think that that's that they do a really good job of that. Sam 10:50 In all this discussion about animated documentaries, this one's not a documentary. It's a memoir. But I thought throughout this movie that on some level, this has to be a yes. And Tessa 11:05 to Persepolis. Yes, this one did really remind me of Persepolis. Right Sam 11:09 so that's, that's marriage on so trapeze memoir about growing up in Iran, and having to flee. And that was turned in from a graphic novel to an animated film. I haven't seen the movie. I've seen parts of it, but I haven't seen the whole thing, but I've read the comic. And so this it made me think about this the whole time. Tessa 11:31 Yeah, it definitely gave me some Persepolis vibes as well. But yeah, I think that it's very interesting. And I like that you brought up the the Chechnya documentary as well, Andy, because Amin is gay. And the one of the reasons for this documentary is that he's like, on the verge of getting married to his long term partner, Casper, who is Danish, but he is incredibly afraid of getting married, because he has all this traumatic, like, he opens the film by saying, like, a home is somewhere that you know, you don't have to run from. But then he talks a lot in the film about how when you're living in a country like this, you're always afraid, like, you're always afraid that you're going to have to run again, or that they're going to find out something that they that would allow them to kick you out, like all of this stuff. And so it is very much also about his sexual identity and his relationships and how like the traumatic act of fleeing his country and living in all these precarious situations have really damaged his ability to have relationships. Like he even says that his partner doesn't know everything like he hasn't taught told his partner all these stories, because he had an ex boyfriend use these stories against him before and so he's been like, always afraid to tell these stories. In fact, there are there are situations where he won't tell Jonas things until much later he'll say I don't want to talk about that right now. And it'll won't be till later in the in the movie that they'll sort of circle back around to that. So I thought that was interesting. There's also multiple languages. We were talking about how the language in these films works. The really interesting part about this movie is that it was originally made with the conversations between Amin and Jonas in Danish. But the two of the executive producers of this film were Riz Ahmed and Nikolaj Coster Waldo. And they actually do English dubbing of the conversations between Jonas and mean, which is the version that we watched. But a lot of the conversations that happened in the past are still in various languages, depending on where Amin was at certain times. So I don't know enough about the languages spoken in Afghanistan to know what language specifically they were speaking in this film. It's either dari or Pashto. Those are like the two main languages. Listeners, if you know the difference, I'd love to know like I legitimately like to know about languages. There's a lot of Russian also spoken in this movie because they go to Moscow. 80s. Yeah. And but they also have to go to Moscow, and a lot of the movies them trying to get out of Moscow trying to get into Western Europe. So the yeah, there's a lot of that as well. But yeah, I would say there's a lot in this and Riz Ahmed and Nicola, SJ cost Coster Waldau do an amazing job. They're both really, really good in this, but I would just say that this movie is really it's only an hour and a half long, so it would fit in your 90 minute window. Andy, I know you enjoy that. But it also it's just very it's very hard to watch because it does deal with some very serious subject matter. It deals with the ways in which Western Europe has made it incredibly dense. difficult for human beings who are fleeing death and horror and torture to survive it. There are some real like moments where, you know, fingers are being pointed at very specific entities in Western Europe, right. And a lot of the things that happened to Amin and his family are very horrific. So I would definitely not say this as a light watch. But I think it's a very important watch, because we know that these things are still happening, right? We hear news reports all the time about refugees and the struggles that they go to try to get into Western Europe, the he talks about human trafficking, he talks about, you know, being in a boat that almost, you know, goes down, you know, with him in it, you know, all of these things are in this this movie, but they also still happen to this day. And I think that's why rescued and made this movie was not only to document what happened to me, but to also talk about what is still happening in a lot of these countries. And of course, the US has its own immigration problems, which, you know, this movie is not about this, that's us specific, but as someone who is in the US, I could definitely see a lot of parallels between our situation and that situation. So it's a beautifully done film, I highly recommend it, just maybe not if you're looking for like a light, short watch. Okay, that makes sense. Andy 16:22 On so what's the animation style? Like? Is it consistent is a change from space to space? Oh, I Tessa 16:28 think I mentioned that earlier is that like it the scenes that he remembers really well, and the scenes between him, like when he's being interviewed are very detailed. But when he starts talking about certain emotions, like he'll talk about his emotions and the feelings of being traumatized, it'll start to get more abstract and more like, you know, trying to capture his emotional state. But then other times, too, like, there's a like a really big gap in his memory that he talks about where he's like, I legit don't know how I got from this place to this place. And he's like, all I do remember is like this light, and there's like this, the way they animate it is like, it's like a fog. But then you can see like this red light kind of blinking. And so it's, it kind of goes back and forth between that. Those different styles. It's very flexible, but it's all very beautifully done. And you can recognize mean from scene to scene very well even like young. I mean, versus like the older. I mean, it's great. I, I really liked it. I thought it was a beautiful film. Andy 17:30 Cool. Cool. Have you seen any of the other documentaries that are nominated for document degrees? Tessa 17:37 I don't think so. So this is something that we I know, Sam wanted to talk about, um, okay. Yeah, we haven't seen any of the other ones yet. But we're planning on at least watching summer of soul. I do know that. Andy 17:50 Ready to segue to the next segment. So, you know, international films or foreign films, whatever you want to call them, films that aren't in English. What, what, what? What characteristics of foreign films draw you to them? Right? Like, like, what do you go for? You know, slow drama, high action. You know, what, uh, what makes you more interested in a foreign film where you have to read? Sam 18:22 First of all, how dare you insinuate that I don't want to read subtitles. In fact, I think if anybody takes umbrage with what Andy just said, I think you should definitely. And also if you have any problems with with reading subtitles, I would invite you to tweet at our complaint department at portly Island boy, Tessa 18:46 I'm sure that he would love to hear all of your thoughts on why you don't want to read subtitles. He has, he has real opinions about that. Andy 18:56 Okay, here's, here's the problem that I have with subtitles in general, and just sometimes reading them can take me out of the movie, depending on one on the location of the subtitles, the actual subtitles themselves, too. Sometimes, whoever made the subtitles didn't do it. Right. And they're, uh, they're not easy to read. You know, if you have a very bright movie, and you use yellow subtitles, Tessa 19:24 I hate you. Yeah, or like white subtitles against a white background. Andy 19:30 But sometimes like it does improve sometimes I also use subtitles like closed captions for very British movies. Because I need to adjust. I did this with the BBC Sherlock. Like I would have to have like the subtitles on for like half an hour to like Tessa 19:48 so this is actually a source of disagreement between Sam and I in our watching styles is that I like having closed captions on for any movie or television show that I watch Just sometimes I don't hear lines correctly, or I don't put together I have a hard time putting together what people are saying exactly. And sometimes I don't like having to turn up and down a film, because their sound mixing isn't very good. So a lot of times I'll just have closed captions on because I just prefer to have that there. Sam does not like that. In English film, Sam 20:26 I've read some really interesting things recently about how there are supposed to be two or three sound mixes done. You know, if you're going to show something theatrically, it needs to be compressed differently for home video release. And then also for streaming, but they don't do this. So I this, this falls under the I'm not at I don't have ADHD, but my my mom will tell you that growing up, whenever I watch TV, I was doing two other things at the same time. I cannot be dependent upon looking at the screen the entire time. That's not going to work for me. So that's why the you know, the closed captions don't work for me. So if I'm gonna watch a film with subtitles, I have to invest in it. It's a matter of fact, you know, over the last couple of weeks, and don't think we're through with this reading glasses comment. In the last few weeks, I've I've taken up a new hobby, taking out cross stitch, which is a family thing, but I can't do that while we're watching a foreign film. Which which is fine. Fine, you know, I that's okay, but, but also, I haven't gotten any farther into money heist, because I can't bear to turn the dub on. And I and I was actually like, Can I can I suffer through the dub of this? Like, are they really as bad as they seem? appear according to several things that I read very, very quickly. The answer is yes. Because they try to match. I don't ever want to read the words lip flap again in my life. They try to match the lip flap to the extent that they will change the meaning and unlike dude's I grew up in the 80s when we were still making fun of Asian Dubs. Okay. Like, I'm glad we've moved past it. But apparently we haven't if that's what you're doing. So there you go. Andy 22:43 Yeah, there's some as somebody watches anime a, you know, famously dubbed constantly. Medium. Yeah, the lip flap things can really bother me if they're not synced up. But what I can't do close captures for his comedies. Because if I get to read the punch line before the punch line happens, it does take away some of the joke. Tessa 23:11 So yeah, I don't see it that way. I like read along with what they're saying. I guess I've never I've just never had that experience where I've Andy 23:20 Tessa, Are you a person who laughs out loud by yourself? Tessa 23:22 Yeah, all the time. Okay, Andy 23:24 never go. There we go Tessa 23:25 that Sam can attest to Sam 23:27 you. Do you dance? Well, no one's watching. Tessa 23:30 Sam can attest because I will often giggle to myself or I think I like burst out in a huge belly laugh the other day over something that I read and related. And then I forced Sam to listen to me read it to her and then she's like, please stop. Gross. Andy 23:44 That That explains it. That's it. No more comments, just that explains it. So. Okay, so a foreign movie, or subtitled movie is one that you have to invest in. And they are kind of notorious for being very long. Sam 23:58 I see. I don't know, when I think about this question. The subtitle issue. Well, right, but the subtitle issue is there sure. But when you say what kind of you know what kind of international film Well, the same kinds. I would also like to watch it like it. I don't I go, okay. I'm not going to watch French New Wave on purpose. Sorry, guys. I'm not going to. Okay. Right. I'm not. I've seen I've seen going over to Italy. I've seen eight and a half. Okay, you know, I really need does nothing for me. But you know, so like when it comes to like, the International classics, fine. I whatever. It's nice to know. You know, you know, some countries have like Korean horror, right has been a big thing. Like I kinda know that's a niche thing. And so that's cool. Like, you know, I'm not the biggest horror movie fan in the world. But if you tell me there's a Korean horror film that's really good, there's a higher likelihood that I will say, Okay, let's watch that than if it was an American horror film. You know, Andy 25:13 see, because I like meta stuff. When stuff gets meta I'm, I'm very, very interested in it. And for movies are more willing to get meta. Tessa 25:23 See, I, I think that there's a tendency and I'm going to try to say this very carefully because I am actually what I tend to do is I get into certain regions and certain time periods and certain genres and then I want to watch all of it. So like right now I'm going through a real what do we call the genre that I'm watching right now with a Crouching Tiger? Hidden Dragon? Sam 25:46 The Wire? Tessa 25:48 Yeah. Whoo. Yeah, I'm on like a really big Whoo, shoe kick right now. But I'm also just like, Hong Kong cinema. We went through a lot of that last year, I plan on continuing that. So like, you know, I'll get onto these like little kicks where I'm like, I want to see everything by this director, or I want to see everything in this particular genre. Right now. I think that there is an issue sometimes, though, in the US when we say like, oh, yeah, like, what are your favorite international films to immediately go to Asia, which is fine. There are a lot of really great Asian films. But there are other parts of the world that have really great cinema as well. And that's something I've been trying to work on. Like, I would really love to see some more Nigerian films because Nigeria is apparently like having a huge Renaissance with their cinema. Right now. I would like to see more Bollywood films because I've never really gotten into that. What I wish is that somebody and if this exists, listeners, and I just don't know about it, please tweet at me at suela Tessa, because I was thinking about this the other day, I would like somebody to put together like intro lists, like intro to Nigerian cinema, Intro to Bollywood intro to like, a essentials list. I'm not talking about like an extensive exhaustive list. I'm talking about, like, if you want to have a conversation about this kind of cinema, you need to have seen these six films, or these six filmmakers, or whatever. Because yeah, I am very interested in having these conversations and expanding my vocabulary when I'm talking about international film, but I don't I sometimes it can be a little overwhelming to know exactly where to start, because I'm just not familiar with the language of that particular cinema. Right? Like I don't know where to start with Bollywood cinema. Exactly. Andy 27:35 Does that make sense? Yeah, yeah. For for me, it has nothing to do with like, if the premise Matt meshes well with what I know of the that regions stuff, right that that regions like tropes and stuff like there's a movie called in order of disappearance, which was remade I believe it's called pursuit with Liam Neeson. But the by the same director, by the way, so just remade it in English. But like some of the jokes and stuff like like, knowing that it's, uh, oh, man, I need to make sure in order of disappearance in Norwegian, or Swedish or Norwegian, okay, Norwegian write the, the jokes and stuff. Like imagine like, oh, yeah, this premise will go well with like, the Norwegian sense of humor. Tessa 28:30 Right? Well, I guess what I'm trying to say is that there are there are whole traditions of cinema that I don't know what the tropes are that I don't know who the big directors are. So it'd be cool if I could go somewhere and have like a shortlist of in this like region in Iranian cinema. Like, these are like the big directors or these are like the classic classic films, because I know that a lot of these countries do have like thriving cinema. And I know that sometimes it's hard to access those. But if I do have access to it, I would like to actually know like, here's the starting point. Like here's the cop where the conversation starts. Sam 29:06 Yeah, I mean, there was a we need to do this with a lot more because of course, you know, right before the pandemic pontoon Whoa. It looked like there was going to be a real victory lap for Korean filmmaking. And of course, the pandemic swept that off, but we tend to do this in America where Hollywood sucks the oxygen out of almost all the room and there's only room left for one thing, like there was a real moment at mid aughts. I want to say mid late aughts, for Spanish speaking directors you had, you know, you had Del Toro, you had Carone. You had in your Eetu, N bar and andavar. Of course we were going to talk about later and it was like you could have conversations about all five of those directions. At once, and there's a decent chance if you're interacting with somebody who also enjoys films, that they've seen films by all five of these people. And that was exciting. Yeah, that was a moment. And of course, the Spanish speaking world is huge. And we're talking about, I believe, three Mexican directors, and one Spanish director and one's Spanish, Julian director. So I mean, that's not even a really good representation. But the fact that we could talk about five of these directors at the same time, we can't do that with I couldn't name your five Korean directors right now, Andy, maybe you could, but I'm willing to bet you that. You know, I know for a fact I couldn't name any other group of directors like I could those. Those guys who are all right, right, Andy 30:55 it's it's really fascinating. And I was I was reading or not reading, I was listening to a podcast with somebody who's a into Brazilian cinema. And they're from Brazil. And they're talking about how like, the Brazilian films we get in America are not the ones that are super popular in Brazil, like, like, like, they are the ones that are hand picked to be like, Oh, these are appealing to a international audience. Tessa 31:20 Have your have your friends send us like top five Brazilian films like I'd love. I'm serious. Like I want like intro guides to do some of this stuff. Because I feel like I'd be less overwhelmed. Because yeah, I usually rely on things like the Oscars or things like this is a really good like, somebody will tell me oh, this film is really good. And I'll be like, okay, like, I'll watch it. I would actually really like something that's a little bit more systematic. Sam 31:47 Kind of makes you wonder if the films that get imported or they get chosen to represent the country at the Academy Awards. Kind of like Eurovision Yeah, that's music that comes from that country. Tessa 32:02 Yeah, and I also kind of wonder, too, if they consider because the academy is mostly American, if they're just like, oh, like, how is this gonna do it an American audience? You know what I mean? Like, they have to like think about Sam 32:14 it's like, that's like reverse Hollywood foreign press. Yeah. Where it's like, here's what everybody not in America likes. You. You really you tell me that Emily and Paris is one of the most popular comedies in the rest of the world. You really straight face. Gonna tell me that? Is Phil Collins that popular guys? I don't think so. Tessa 32:36 I mean, Phil Collins might well it is well, no, I Sam 32:38 mean, like, I can't think of a single thing that's gonna make that. I mean, it's not it's not Sex in the City stands across the world. I mean, that that's very, I think, located in one or two places. I got Phil Collins, I got Tessa 32:54 I think I told someone the other day that it was made by Darren star and they're a huge sex city fan. And they didn't even know it was made by dinner and star. So Sam 33:02 this is this is our idea of international. Yeah. Yeah, it's kind of the point of that show. Tessa 33:08 Yeah, I think I think this is a long way of answering your question, Andy. But honestly, I'd be interested in watching any, any genre of foreign film like any genre of film that I like in English, I'm probably gonna like it not in English. Do as long as I have subtitles. Sam 33:23 Yeah. And I mean, same thing. Like if I see a really good movie, by a director, I'm much more likely to go seek out that director again. I don't watch chan Wook Park movies, because he's, you know, Korean. I watch him because I saw boy. Yeah, same with Delta wanted to watch more. That's weird. Hold on. Same with Tessa 33:47 Del Toro and me, I have been a huge Del Toro fan for a long time. So yeah, I guess that's the other answer. Your question is I do follow certain directors as well. Andy 33:56 Yeah. What, uh, what is what is fun? I think you should consider looking at the list of submissions to the Academy Awards. Because these are where, you know, each country says like, this is our best film of the year. And they submit it and speaking of this is our best film of the year and they submit it. Spain did not submit parallel mothers. Sam 34:21 They did not because they're fools. Apparently. Andy 34:25 They submitted the good boss. Sam 34:27 I just feel like if you're Spain, you know, he comes out andavar comes out with a movie every one or two years. You can't send it in every every time you got to let somebody else have a turn. I guess that's where they're coming from. Sorry. Go on. Andy 34:41 Okay, well, then let's talk about parallel mothers. Tessa 34:47 Wait, who is the director that you follow? Right? Yes. Who is Pedro Almodovar? Sam 34:55 Who is who is that International Man of Mystery Trying to figure out where you should put queer and that queer International Man of Mystery, international queer man of mystery, or International Man of queer mystery. Tessa 35:08 I just have to say at this point that when we started this movie last night, I was like, All right, I'm just waiting for the queer stuff to happen because every movie Sam 35:16 was painting glory. Your first on the far movie. It was okay. Andy 35:20 The poster for this is really disturbing. Hey, Kapan Sam 35:23 from Instagram. Temporarily, they apologized. Which is the only time that is the only time and Instagram history somebody has been apologized to for removing a female presenting nipple. And when she know it, it was a man they apologize to. Yeah, hey, can you shake Andy 35:48 hands during image? Sam 35:49 Yeah. Well, I mean, I think that's a whole genre of international film is the disturbing image. That's true. They're much better. They and by they, I mean, literally not America is much better at this. Tessa 36:03 So this is someone you follow? What's your experience? Have you seen all of his film? Sam 36:08 No, no. I would like to know I wouldn't like to meet the person who seen all of underbars movies because I would feel very intimidated. So if you're not familiar, and I imagine there's a good chance you are. Pedro Almodovar is a Spanish director, writer, producer. He is a Tessa 36:30 definite and fan of Penelope Cruz. Sam 36:32 Right? Well, we'll get to that. Here are the films that by andavar that have been nominated for Oscars in some form or another. So he had a breakthrough in 88. Women on the verge of a nervous breakdown. There's some years there and the 99 todo sobre mi madre, which one for Ford language film update on a which one for screenplay, ver pain and glory, parallel mothers. So this is somebody who it's a good chance. If you know you don't say I hate to read subtitles, there's a darn good chance you've heard about this director, whether you've seen him or not kind of depends on a couple of things. I'm not gonna say that on the VARs niche, but I am gonna say that to see an underbar film is to know that you're getting into a some kind of examination of masculinity femininity and what it means to be queer, Tessa 37:38 and mobs. Andy 37:39 So I really, really need to know. Is that how you say his name? Sam 37:46 So I it's this is one of those I've heard it both ways. Think. Um, the it really depends on how short you pronounce the O between M and D. So if you heard Tracy, not Tracy Jordan. Andy 38:04 Chris Holman. Sam 38:05 No, the the guy who announced the Oscars with you know, the short old dude with a southern accent. Oh, let Leslie Leslie Jordan Jordan. Yeah, I knew one of the words was right. So Leslie Jordan pronounced it Almodovar. Tessa 38:26 And Jordan was really struggling. Well, yeah. Sam 38:28 I mean, that wasn't the only one he struggled with. But I've I've heard so many people pronounced and I'm not just talking like, you know, dumb Americans. It's, it's kind of like, to me, it feels like the difficulty in pronouncing the G. In in a bow. No, it's there. And I know how it works, but I can't make myself say Andy 38:53 Do do you want me to tell you how he says you should pronounce it? Go on. Any way you want. Sam 38:59 Right. So, um, Devaraj. It is. Andy 39:04 Sorry, sorry. I just I just that's another thing where I've always heard it just Almodovar. And then I will like, like, was like, oh, it's not supposed to announce it. Sam 39:16 But well, that's how I pronounced it one time to people who knew better. And the look they gave me told me I pronounced it on the VAR. And that's how I've always pronounced it since then. Because I don't want people to look at me like that. I like that. It's not fun. Andy 39:30 I just listened to him on the Graham Norton Show he uses goes any way you want. I don't care. Sam 39:35 I don't know, I would be so intimidated to meet him. But he's probably like one of the coolest people on the planet. Tessa 39:42 And again, he hangs out with Penelope Cruz. Sam 39:45 Well, yeah. And so I mean, the other thing about andavar is, you should you should expect some sort of discourse on family and sexuality. And, you know, you're gonna have Antonio Banderas Penelope Cruz in whatever movie there's like a really good chance, Andy 40:04 or heavier Bardem ever been in our movie. Sam 40:08 So I'm trying to he hasn't been any of the ones that I've seen. Guy out Garcia Bernal has been in a movie that I'll talk about here in a little bit. But But yeah. So I've seen, he's a very prolific director. And he has a movie every year, every 18 months along that schedule. And so I haven't seen women on the verge of a nervous breakdown. I've seen all the other films that I've mentioned so far, I have also seen his 2004 highly controversial film, the second nc 17 movie I saw in the theater, the Malla advocacy home, which is about all about Catholicism, and child abuse, through the lens of meta fiction, and the main character we would now refer to as a trans character. So it's andavar is not afraid he is not he is not afraid. He does not care what you think. And I think that, I mean, he's never you think about all the Spanish speaking directors I mentioned earlier on Devaraj has not come to Hollywood. And I don't think he will. I don't think Hollywood could handle him. And he's not willing to compromise, which I think is awesome. So let's so when so when you talk about like so, you know, Andy made fun of us for watching, using this to only talk about our academy watching thing. And so I we talked about this a little bit last week. I would I would justify this as if I needed to. But I would justify this by saying that. I'm the VaR is until I have watched every single film he has made. He will always be on my backlog. And any movie that he makes is instantly on the backlog. So I mean, like, yeah, it could have watched women on the verge of a nervous breakdown for today, but I'll get to it. Tessa 42:20 Let's talk about parallel mothers. Yeah. And tell us about this particular film. Sam 42:24 So as as Andy mentioned, parallel mother's is not nominated for Best International Film. Penelope Cruz is nominated for Best Actress. I I mean, look, first of all, Penelope Cruz has won an Academy Award. Has she won it for? Let's see, hold on. She was nominated for Volvo there. That is a one woman film that is like a showcase for her more than usual. She did not win. She's also been nominated for for nine the musical by the guy did Chicago. Tessa 43:11 That's the one about Fellini, right, Sam 43:13 I guess. Yeah. Yes. She won. Or Vicky Cristina Barcelona. She won for her turn. She She is Pedro on de VARs muse. But she won for a goddamn Woody Allen film. So she won't win this year either. I think that the category is too stacked. I think that she doesn't stand out in this as much as she did go there. And and I would be happy to see her walk away with it for this movie. I just don't think it's going to happen. But so all you need to know is that this is an omnivore movie starring Penelope Cruz that I shouldn't have to tell you anything about it. But Tessa 43:59 you're going to I'm going to say Andy 44:01 I need something more than that. I have a single Sam 44:05 movie. Here you go. You go. Alright, here you go. So parallel mothers is about what paternity, maternity familial blood lines what those things actually mean. Not in terms of legality or anything like that. Just what does it mean to say, I am the child of I am the father, the mother of what are the things what are these things mean? And so he explores this through two threads. There are two threads running through this movie. The first one is so Penelope Cruz's character it's so fun watching all of our movies with the subtitles because I can just about keep up with what's actually being said out loud. But I'm terribly afraid I'm gonna say your name wrong. Yeah, nice. I mean, she's named after Janice John. But there is a burial pit from the Spanish Civil War outside of her hometown. And she's working with an organization to get it excavated, to give, you know, her family closure. And the second thread is she's just had a baby. And there is this is in the trailer, we, you know, we I was trying to figure out if there was a spoiler alert to this, but it's in the trailer, the increasingly disturbing fact that her baby looks nothing like her or her father. So if those seem like two completely different stories to you, they are and then all of our figures out how to make them come together in a very satisfying way. That's that's his strength. Hmm. Interesting. Tessa 45:54 And this is not the first time he's had Penelope Cruz play a mother because she played the mother of the main character in painting glory, which was the last film that he did. Sam 46:03 Oh, I mean, like this is this is like on the far bingo, Penelope Cruz, mother's queerness. I mean, there's everything you could possibly want. Tessa 46:17 So what stood out to you in this film? Besides all those things you just mentioned? Sam 46:24 I thought this was so you know, when I talked earlier about the films that I had seen there was like a between Voltaire and painting glory, there's 13 years. And he was like, was he still making movies? And he was, but it seemed like, I don't know, this could be just me. But it seemed like he kind of dropped off. Our like, I'm still fairly mainstream, right? When it comes to international films, like andavar is like just right there on the fringe of mainstream. And it feels like he dropped off of that fringe. That could just be me. But this feels like a fairly standard andavar film and what I mean is, like, good verging on Great. That's what, that's what his standard is. Good, close to great. And so this one's really good. I think it's a, it's hard for me to pinpoint a place to start, I wouldn't start with bad education. That is not the first on the bar movie you should watch. But literally any of the others would be good places to start. This one is interesting. Because we don't really know much about the Spanish Civil War. I mean, us You mean, you exactly. I mean, when you're talking about international features, right? We're being invited into, we're being invited into another culture. I mean, that's, that's the thing. It's more than just about the fact that they don't speak English, although that's the rule, I understand. But it's an opportunity for another country to say, listen to what we're trying to listen to this story. And, of course, Spain didn't pick this one, but they should have, because we people who aren't directly concerned with it, or its aftermath, don't know a lot about the Spanish Civil War. And this movie challenges you to learn a little bit about it. The, the place that Penelope Cruz's characters from it, these a large number of people from that town were killed during the Spanish Civil War. And and what we learned throughout the film is that the the rebels executed just innocent bystanders. And that's who are in this burial pit. And, you know, we went to look after the film, you know, commonly the number of million is cited as number of deaths as the result of the Spanish Civil War, but up to 200,000 of that, it's believed that it was just rebels going around and taking people out. And, and so there's a lot of like, even if you don't know any of that, you you understand the collective trauma that's come out of this. The fact that the government isn't funding these excavations, the you know, these people from these towns in these villages are having to beg NGOs and other organizations to help them preserve remains, dig them up so they can honor them. And this is something that happened in 1936 through 1939. i That's not something I knew about. That's not something we learned in school. So I mean, like it's on the verb but it's also an invitation to an education, Tessa 50:01 right and um, LeVar is not the only director to explore this like Del Toro has, especially through Pan's Labyrinth is the one I'm thinking of. I think it's hard sometimes for the like the United States to connect with another country's cultural trauma in this way. Like there's a big conflict. There's a scene in this movie where two of the characters, Jenny's is one of them, and there's another character have a big fight about what this means to her. And she basically, you know, it's like, no, like, you need to learn like the history like it's important to know this history, it's important to not just look away from it right to, to know what happened. And it's it it is really interesting, because yeah, in the US, we maybe we don't think about the Spanish Civil War all that much. But there's a lot of parallels about what's happening into the, in this movie, to the way that the US currently is trying to brush certain things under the rug in education contexts. So there's, there's a lot of those parallels as well. Well, Sam 51:01 the other thing is to it. You know, looking at this movie, I just lost it. It's gone. Train of Thought it's gone. Oh, no, it left, it might come back. Andy 51:12 I'm just going to say that the only thing I know about the Spanish Civil War is beyond what Del Toro has done in his movies is a George Orwell fought in the Spanish Civil War, and wrote about how to throw grenades at fascists. Tessa 51:29 Right? Yeah, there's a lot of like, I think there's probably more about it in European writing in general than there is like in the US, because it just seemed, we even call it a civil war. And I'm not sure they would call it that, either. Yeah. So I'm curious. So Sam 51:43 the train came back. Right. Alright. So maybe back to that best international feature category. I think every year, Tessa and I have watched the Academy Awards together, which is literally every year we've been together. i We say the same thing. I wish we had watched that one, or that one looks good. Next year, we're gonna watch them all. And, you know, I say this about all the major categories, I get stalled out, I usually get all the best pictures. I try to get all the acting. I'm aspirational. Like, I think this year, we might do it, I think because we have a plan. We got organized. Thank you mumble discord, especially friend, especially friend of the pod. Megan, thank you for your help. Tessa 52:35 Also, thank you, Andy, for doing an international theme, right helping us check off to Sam 52:42 be perfectly honest, worked. I mean, we would have watched flee, we would have watched parallel mothers, but I'm excited to see those those other, you know, three films that we don't get to every year to see, you know, because it it's Andy 53:05 drive, my car is on the list. Sam 53:07 As somebody who's had as somebody who's had to teach World Literature at the high school level, we run into this problem, that world literature becomes the study of world atrocities, what every international film that gets nominated for an Oscar, every international film that you watch shouldn't be some like, documentation of how terrible people are all over the world. That doesn't mean parasite wasn't a great film. And it absolutely deserve to win Best Picture, period. But, you know, we should be able to appreciate international films that do other things. You know, but at the end of the day, Andy, as you said, each country gets to pick their submits. And we're gonna watch them all this year. But I mean, that's the thing to me that's really important, is you shouldn't, you know, pigeonhole what you're doing when you check out the world, and we tend to do that. Tessa 54:09 So who would you recommend us movie to Sam 54:12 I? Well, I mean, I think you could start if you'd never seen an omnivore film, I think you could start here, I think that'd be perfectly fine. I think this is a lot less of an issue now than it was 20 years ago. When I started watching all of our movies. You really need to get your head around the fact that some people think being queer is not strange to play on a word here. And if you're not comfortable with that, well first of all, get comfortable and you can get that way by watching on the bar. Okay? Very, very, very quickly. Your eye. You know, that was the thing like 20 years ago when I first started was like, Oh, this is this is kind of uncomfortable because I'm okay with this in theory, somebody who's, you know, not not been exposed to a whole whole lot other than being, you know, knowing a lot of things existed, but seeing them on film for the first time with andavar I think about that every time I watch on depart, it's pretty funny. I had to say one other thing. There's some extreme close ups in this movie. It's like, Bro, why are you doing that? There is some filmmaking things that really bother me. Because I'm like, you're shooting on a green screen, right? Shooting on a green screen? Uh huh. Please don't do that. And then you watch the person get up, walk into the background and interact with a person and props behind them. It's like dear God. Focus that look like a bad like video game intercut. How are you doing that? And why? Zoom out a little bit. That said, the movie was really good. I have Tessa 56:13 to just add here at the end because it's something it goes with the conversation we had two weeks ago when I talked about the bodyguard. Remember how I said there's not enough romantic thrillers in the world? If you want a little romantic thriller in your life this movie has some of those Sam 56:28 movie almost turned into horror like sure where there was a moment where Tessa 56:33 I was like, it's gonna turn and I don't know which way it's gonna go. So if you're if you are interested in that there is a it's sexy, it is sexy in a way. They don't think it's Penelope Cruz. Cruz and it's omnivore but it's sexy in a way that I don't think a lot of movies get to be anymore. Like they just aren't. But like you said, um, Navarro doesn't care. He knows what he wants to talk about. So Sam 56:57 the that's that's the dream, right? Being being being good enough to not care. Yeah. Being good enough to not care. Speaking about being good enough to not care. Andy, I know you're gonna tell us about an indie horror or an anime today? Andy 57:12 Uh, yes. Actually, I'm talking. I'm going to be talking about work. Or could it be both? No, it is going to be both it is a is an indie horror movie. It is the feast. Sam 57:23 All right. Be like I want like a like a triangle. Tessa 57:27 Yeah, I feel like we need some kind of like visual representation, like a whiteboard or something. Sam 57:32 I got. I got this. Tessa 57:34 Hold on. Do you have an Iran? Yeah. Our DIY sound effects Sam 57:46 That's right. We're doing indie horror, mambo indie horror. You know, like two months from now I'm going to do an indie horror film and just blew his mind. It's gonna be great. Andy 57:56 Yeah, yeah, we'll see. I don't even know. You could name an indie horror movie. Unknown Speaker 58:03 Yeah, I already did that one. Yeah, but Sam 58:07 I can name it. That what he's talking about that? I didn't think about that. That would be good. That would have been smart. Andy 58:19 Yeah. Yeah. Yeah. So I did a Oh, a Welsh indie horror movie. Sam 58:25 Well, I can't I can't is that as a xenophobic joke, and I won't make it. Well, don't make a xenophobic joke. Gonna be about the fact that they speak English. But that's only kind of was it in? Yeah, was it? Well, she was it in English. Unknown Speaker 58:40 Ah, Andy 58:42 there we go. That was that question I was waiting for. Sam 58:46 That's one of the reasons best foreign film category is a trash name and I'm glad we're rid of it. Right. Tessa 58:51 Yeah. internationals. Yeah, Andy 58:53 so the answer is it is in Welsh, the length Sam 58:56 we did it. Is the horror the number of vowels and consonants together? Andy 59:03 But here's the thing. I didn't know that going in. I didn't plan on making this my international movie. Sam 59:13 Is this 100 Is it 100%? Well, sure. Is it back and forth? It's 100%. Andy 59:17 Welsh. Wow. 100%. So So I started this without subtitles on. And I was so confused. Because in, in my, in my head, like Welsh as as a language when someone says like, Oh, it's a Welsh movie. Yeah, I figured the Welsh accent. Right. So So I'm sitting there like, I think I'm getting some of these words. Is their accent is their accent that that thick? Tessa? Tessa 59:54 So I took a semester of middle Welsh, which is the Welsh that they were speaking in what we Consider the Middle Ages. So I was translating bits of the Macedonian for an example. There are some words that sound that there are some words that clearly made it into English in some ways. And what's fascinating is that they really had to do a lot of work to resurrect Welsh, it's one of the few examples of a language that was almost dead that they basically brought back from from the dead. So the fact that this film is 100% in Welsh is actually kind of a like, cultural victory. So I'm really excited to hear about it and perhaps, watch it myself, Sam 1:00:34 I just watched Andy the episode of the crown, where they force Charles to go to Wales and study with a professor of Welsh for a semester, because, you know, you should kind of be able to speak the language and have some basic knowledge of the people that you are allegedly Prince of. So that was, like getting to see that and see him struggle to learn parts and bits of Welsh was fine. And then he gives his speech in Welsh. That is literally the only relationship I have with Welsh. How did that go? Andy 1:01:08 Yeah. So eventually, I realized, like, oh, wait, this is a movie. You know, because it's, it's one of the things where, like, oh, it's recommended, you know, it's called Welsh, I think it's gonna be an English, right? Because it's just, oh, it's a Welsh film. And it is a very, very, very, very not an English. Once I once I finally turned on the subtitles and restart it. I was like, Oh, this makes so much more sense. Tessa 1:01:35 Right. I think it's interesting, and I'm sure Nigel would have a lot to say about this if she was on here, because it's interesting when people say something like, oh, well like non English speaking films. They often assume that everybody who lives in what's considered the British Isles although Nigel will probably take issue with that statement as well. Sam 1:01:54 I think Nigel at this point is like reach through the the internet and like tried to strangle me already, right? Yeah. Andy 1:02:00 Hopefully we really should have had her on this week. I just didn't think there was enough. Enough Sam 1:02:05 also. Although Andy I want I think the tagline for Welsh the language should be aggressively not English. Yes. As you said, like you said it and I'm like, put that on a shirt. Put that on a t shirt Welsh, so relatively not English. So Tessa 1:02:20 this goes back to what I was saying before about not really knowing a lot about certain areas of of cinema. What do you what is what are the general vibes of this film? Like what is? What is Welsh filmmaking? Like? Andy 1:02:34 A very Swedish. Oh, yeah. Yeah, so So first of all, this is a very modern film, it's, you know, 2021 it was a movie I missed when I when I was wanting to watch South by Southwest stuff. So I was just very interested because the idea is like, oh, a wealthy family gathers to dinner in a Welsh you know, in the Welsh mountains. And they invite to guests and things go a little weird. Go a little little off. I'm not going to say too much beyond that. Just say the the wealthy family comes in they, they have hired a a local girl to help before the for the night. And, and it's one of those movies where you're not sure that it's a horror movie until it becomes a horror movie. It is a very slow burn. It's only 93 minutes, which I love. And I won't say how it becomes a horror movie. But it's also like, oh, the hints have been there the entire time. You know, this is a the snowman kind of thing. Like I gave you all the hints. All the clues. Mr. Policeman, why didn't you save him? Kind of thing? Yeah, yeah. It's so hard to describe this movie, one because it's not English. So you know, I can't like it. It's also very okay with being quiet. And that was another reason why it took me like 10 minutes to figure out that it wasn't an English movie, because there was not any dialogue for the first 10 minutes. Sam 1:04:17 So I have a question for you. And maybe this will help. I'm gonna start off with a pre question. Okay. What's that movie? What's the English language movie where everybody's in the house? And people start dying. A clue to what it's not your next is it? Your thing? How is this not your next because when you describe the movie, I heard you're next in Wales. Hmm. Explain to me how I'm wrong. And I think I'll have a better idea of what the movie is. Okay. Andy 1:04:57 It's a little bit more fantastical. So it's a little bit more like the vich. Unknown Speaker 1:05:03 Alright, yeah. Andy 1:05:05 Just just just as far as like, one you don't know what may or may not be killing these people. And you don't know if it's a person, if it's a natural force, if it's something else, you don't know. And it even even does this thing where there are multiple it gives you multiple Hey, this could this could be, this could be the thing. This could be, you know, one of the couple's teenage kids was a doctor or not teenage kids just like the kids that are living at home. They're both weird in different ways. One was a doctor who was fired for mysterious circumstances. Another was it is just like a burner us burn burnt stoner burnout type who's a delinquent and a bit of a masochist. The other the the father of this wealthy family is a hunter who's there's something a little wrong with him. The mother also like there's there's a lot that it could be and that's one of the things that makes it fun is like, okay, or is it the guest? Is it the girl that they've hired? You know, like, you don't know. Sam 1:06:29 Okay, so I've got another question for you. But first, okay, but first, I can't stop thinking about this. So just a brief digression, which would be better clue in the style of your next or your next in the style of clue. Tessa 1:06:46 Can Tim Curry your next like how Sam 1:06:48 I described here next to you? And you were like clue, which it was a bad description, but now I can just think about that. That's all I got. Andy 1:06:57 Your next is already a comedy so Sam 1:07:00 yeah, but it's a very different okay. Tessa 1:07:03 We just actually I figured it out. It's your next the whole movie just the way it is. But Tim carries Tim Curry's character from clue is in the movie. Ah, that's actually but Andy 1:07:16 also Jim Carrey is playing his brother. Robot robot Nick moustache from Sonic. Sam 1:07:25 Ah, see, I wanted him to have a wooden mask that's cursed. Tessa 1:07:30 I do have a I do have a serious question for I had a Sam 1:07:32 serious question, too. I told you I had a pretty question. Unknown Speaker 1:07:36 Yes. And all your pre question. That was not the real question. Sam 1:07:42 Andy. Yes. So you you said it's, it's quiet. It's more fantastic than your next we just talked about the fact that your next is a comedy. I'm assuming the feast is not? Who knows? Oh, no. Andy 1:08:02 All right. So Sam 1:08:03 so what else can you say about the vibe? Andy 1:08:07 It's Oh, it's so it's so hard to describe because of the the quietness it. It almost is like an episode of Hannibal would be a good way to put it. As far as there is focus on the food. darkly luxurious, yes. Yes, there is a luxuriousness. There is a a calm demeanor about everything. It's very good. I liked it quite a bit. Sam 1:08:33 Okay, so now Tessa now that I've found my way through a half dozen interconnected questioning Tessa 1:08:38 them pre question, Sam 1:08:40 I see my question all fit together. Okay, try to interrupt my flow. I cede my time. Okay, Tessa 1:08:49 I have one question. Not even pre questions. Just one question. Andy 1:08:53 One question. I'm unfamiliar with this concept, but I will give it a try. Tessa 1:08:58 So what I really love about films like the one you're describing, when you have like a group of people who get together for dinner, or are trapped in a house together or something like that, is that usually these are really good vehicles for character work. And you just described like a handful of characters in this family. How would you describe the character work and the acting and this, Andy 1:09:21 the acting I think is very good. The character work is is interesting, Man, I'm really trying to think you you're you're purposely you don't know much about the characters going in. And you really don't know much about the characters going out either. And that's kind of part of the point. Gotcha. You have an idea but also, not as many characters come out as the ones that go in I'll put it that way. Tessa 1:09:51 Absolutely fair. Andy 1:09:53 Oh, yeah. It's it's really hard to describe like you get a good idea of who these characters are. And you get idea of probably what they did. And also, uh, you know what the killer is? Tessa 1:10:07 By the end of the film? Yes, yes, Andy 1:10:09 absolutely. I think the climax is very good. I'll put it that way. There's a little bit of gore. There's not much but there's enough that I would say this is not a Sarah approved movie. But it does have the oh shit moment when everything comes together that I think like a good horror movie should have. Tessa 1:10:28 Okay, yeah, I was about to ask about our Sarah watch scale. Yeah, no. metric for our listeners. Andy 1:10:36 It's still light. But, you know, there are some horrific things that happen that may or may not be related to the overall like, horror theme. Right? Like, like it may there is an accident that happens that it may be a genuine accident. It may not but it you know, when you're preparing a dinner, you know, and it's a lavish meal, and you're doing some intricate nice for like, you know, something can happen to a finger. Tessa 1:11:10 So, so recommend, but not to people who dislike horror films. Andy 1:11:14 Right? Right. But also not to people who if basically, if you like cannibal watch this movie, ah show? Yeah. You know, right, if you're willing to do the slow burn as well. Unknown Speaker 1:11:32 So if you like Hitchcock, Andy 1:11:35 yeah, yeah, yeah. If you're a Hitchcock person, because when you get the like, moment, like, Oh, this is what's happening, and this is what's going to happen. It's very good. Also, it does. It hints at the folklore a little bit, but it doesn't fully address the folklore, but you have to like figure it out. So if you're a Welsh person, you probably understand it a little bit better. That's there. Yep. So definitely watch it. Tessa 1:12:08 You're ready to use what I'm doing next week. We don't have anything written down. Sam 1:12:11 I can tease what I'm doing too. Andy 1:12:14 I can't tease anything that I'm doing next week. That's why you should do Sam 1:12:17 something copy bookie and then we would have an inadvertent team episode. Yeah, cuz I think I'm doing a comic book Andy 1:12:23 too. It wouldn't it be inadvertent because you told me Sam 1:12:28 this is more of a comment than a question. Tessa 1:12:31 Should we just do a comic? Oh, Andy 1:12:33 this is a woman. Sam 1:12:35 No, that's it. I'm I just wanted to say that. Okay. Andy 1:12:40 condtion got you. Sam 1:12:42 You have some garden. Andy 1:12:44 That's it. Who where? Where can people find you? Where can people find you? Tessa 1:12:50 So you can find me on Twitter and letterboxed at suela Tessa Swehla is spelled SW e HLA. Please if you have intro list of different types of cinema from different places, I would love to hear them. You can also find me on our sister podcast at Nick. You can also find me on our sister podcast nanny ox book club where Nigel and I are currently reading through all 41 of Terry Pratchett's Discworld novels. I think this is the week where we're going to really small Gods you can find that podcast anywhere that you listen to your podcast you can find that podcast on Twitter at nannies book club and on Instagram at nanny ox book club. Andy 1:13:32 Dr. Sam where can people find you? Sam 1:13:35 Cuz I have a question. If Nanny Ogg is the sister podcast what is Tessa watches last? Where does it fit in the Bible Andy 1:13:45 that we don't want to talk about? Tessa 1:13:47 I was gonna say it's the cat Sam 1:13:50 URL route and you could find me on Twitter at Sam underscore Morris. Andy 1:13:55 It is the cat It's invasive in our feed and it'll it knocks over any Sam 1:14:01 it'll work your way to your art. work its way into your heart. Andy 1:14:07 You can find me at Andy noted on Twitter. You can find us on Twitter at monkey backlog. You can email us at monkey my backlog@gmail.com you can please rate review subscribe on Spotify, iTunes or wherever you get your podcasts. So get that monkey off your backlog. Transcribed by https://otter.ai