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cover art for 79: Let Me Finish (Je, tu, il, elle)

Showbiz: Amateur Adventures in Film Studies

79: Let Me Finish (Je, tu, il, elle)

Season 2, Ep. 28

This week we notice ambiguous sex scenes, chemistry, and something the internet seemed to miss in Je, tu, il, elle.

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  • 29. 80: SciFi AND French

    41:08
    This week we do a bit of noticing about representations of childhood, building fantasy into your story, and how refreshing a simple film can be.
  • 27. 78: Bonerparte (Napoleon 1927)

    41:30
    This week we do a bit of noticing about cool camera techniques, Robespierre revisionism, and that everyone agrees Napoleon and Josephine were wack (not wiggity wack... just regular) in Napoleon (1927).
  • 26. 77: You Are a FATHER, Sir! (The Crowd)

    40:50
    This week we do a bit of noticing of visual motifs and lateral career moves in the brilliant The Crowd (1928).
  • 25. 76: Set Fire to Him... (Europa '51)

    45:13
    This week we do a bit of noticing about social commentary in film, the trouble with satire, and that Wolverine and Sabre-tooth really, really need to just bone down...
  • 24. 75: Madonna Played Evita, Right? (The Hour of the Furnaces)

    36:26
    We do a bit of noticing of bias, propaganda, and interrupted sleep in The Hour of the Furnaces.
  • 23. 74: Puppy Pouch (Intolerance)

    51:47
    We do a bit of noticing about the famously racist director of Birth of a Nation making a movie about intolerance in a movie that was seemingly a million dollar attempt to take his ball and go home. Also, the Oscars were a thing.
  • 22. 73: Not Even the Best Droid (Star Wars)

    42:19
    We do a bit of noticing about special effects in and the cultural impact of Star Wars. Do we get sidetracked discussing the diminishing returns of a Galaxy Far, Far Away? Sure. May the Force be with us as we try to decide which character we would be and which franchise movie was the biggest let down.
  • 21. 72: Face Touching (Cries and Whispers)

    44:24
    We do a bit of noticing of messed up sibling dynamics, red rooms, and academic loneliness in Cries and Whispers directed by Ingmar Bergman.