Wind, Reel, & Print

Funny Games (1997)

EPISODE 013: WEIRD @ WR&P
 
Using Michael Haneke's 1997 film “Funny Games” as a conversation focal point, Ryan and Kevin discuss the critical separation of content and form. Can you like a movie's cinematic style while absolutely despising the film's storyline? Haneke aims to challenge what it means to enjoy a movie.

F for Fake (1973)

EPISODE 012: META MOVIES
 
When it comes to combining the magic of cinema with the boundaries of reality, few blur the lines more than the legendary Orson Welles. Ryan and Kevin examine 1973's “F for Fake” as Welles' strongest example of cinematic mastery, noting how the filmmaker bends and breaks the filmic form to fit his hypothesis on the truth of art forgery and the lies of creative origin.

The Implications of Film Grain & Fragmentation

EPISODE 011: GUEST STARRING JOSH PARK
 
Featuring: Hulk (2003); Unfriended: Dark Web (2018); May December (2023)
 
WIND, REEL, & PRINT formally welcomes local Bay Area filmmaker/educator/critic Josh Park as the podcast’s first official guest. While examining the ways Netflix manipulates film grain, Josh highlights how the principles of fragmentation are essential to the craft of filmmaking while Ryan and Kevin question the implications of fragmentation in relation to the developments of new cinema technology.

"Beyond a Miracle"

EPISODE 010: LETTERBOXD TOP 250 SHUFFLE
 
Featuring: City Lights (1931); The Red Shoes (1948); Landscape in the Mist (1988); Red Beard (1965).
 
Ryan posits, “What is beyond a miracle?” There are few words that can describe the insurmountable cosmic intervention required to produce a movie of quality, and each film on the Letterboxd Top 250 stands as a fortified record of cinema’s miracles. This episode of the 250 Shuffle offers a brief lesson in film history with four master filmmakers presenting their unique version of cinematic excellence.

Didi (2024)

EPISODE 009: BAY AREA FLICKS
 
In their first foray into Bay Area Cinema, Ryan and Kevin take a look at recent Sundance indie darling Didi (2024) from writer/director Sean Wang. The co-hosts chat about the film’s writing choices and how it stacks up against other coming-of-age movies.

Videodrome (1983)

EPISODE 008: WEIRD @ WR&P 
 
The WR&P Pod gets weird with David Cronenberg’s Videodrome (1983), a sci-fi body horror flick that delves into the depths of underground television. While praising the filmmakers’ practical effects and neon-noir story aesthetics, Ryan and Kevin fall down the rabbit hole of deciphering Videodrome’s meaning.

Scenes From A Marriage Story

EPISODE 007: META - MARRIAGE STORY (2019) & SCENES FROM A MARRIAGE (1974)
 
For Wind, Reel, & Print’s first double feature, Ryan and Kevin cross-examine Noah Baumbach’s Marriage Story (2019) and Ingmar Bergman’s Scenes from a Marriage (1974). They explore how both films depict marriage through divorce, reflect the director’s married life, and subtly hint at a meta movie within a movie.

Challengers (2024)

EPISODE 006: NEWLY ACQUIRED
Ryan and Kevin offer their initial reactions to Luca Guadagnino’s sports romance smash hit Challengers (2024), praising the film’s cinematography, screenwriting, sound mix, and bumping score. In a contemporary rendition of the cinematic triad, this hypersexual tennis match leaves the WR&P co-hosts sweating for more.

Vivre sa vie (1962)

EPISODE 005: WEIRD @ WR&P
After briefly discussing Jean-Luc Godard’s Vivre sa vie (1962) in Ep 000, Ryan watches it for the first time and quizzes Kevin on this French New Wave classic. Kevin elaborates on theatrical realism, Brechtian cinema, and Russell Campbell’s book Marked Women: Prostitutes and Prostitution in the Cinema, and Ryan ponders on the ending of the movie.

Letterboxd Top 4

To introduce the Top 250 Shuffle, Ryan and Kevin begin with the cream of the crop, the top 4 narrative feature films as voted by Letterboxd members. Harakiri (1962), Come and See (1985), 12 Angry Men (1957), and Seven Samurai (1954) all offer insight into the type of movies which warrant the status of “best movie of all time”. From compelling depictions of humanity to inquisitive commentaries on death, these four films each seem to carry the weight of the world.