{"version":"1.0","type":"rich","provider_name":"Acast","provider_url":"https://acast.com","height":250,"width":700,"html":"<iframe src=\"https://embed.acast.com/$/69380c0d4a9751f83d7c325d/69380f28f05d0f36073c48be?\" frameBorder=\"0\" width=\"700\" height=\"250\"></iframe>","title":"Whit Stillman: renaissance of a cult film icon","thumbnail_width":200,"thumbnail_height":200,"thumbnail_url":"https://open-images.acast.com/shows/69380c0d4a9751f83d7c325d/1765281448161-e0c2175e-feac-4bc4-8fa6-c6c8d93f80d1.jpeg?height=200","description":"<p>Cinephiles are revisiting Whit Stillman's 90's movies. Tanjil Rashid meets Stillman to find out why.</p><p><br></p><p>--</p><p><br></p><p>Whit Stillman is something of a cult film director. He rose to prominence in 1990 with his debut film <em>Metropolitan</em>, which became the first in the so-called “Doomed. Bourgeois. In love” trilogy: Barcelona came out in 1994 and The Last Days of Disco in 1998. Set among America’s so-called “Preppy” class, the films are comedies of manners in the tradition of Jane Austen, exploring the transitional phase of youth and a certain American identity.</p><p><br></p><p>The films are now having something of a revival. Stillman joins the New Statesman's culture editor Tanjil Rashid.</p><p><br></p><p><br></p>","author_name":"The New Statesman"}