WEBVTT 1 00:00:00.120 --> 00:00:03.680 The Projection Booth podcast a sponsored by Scarecrow Video. Try 2 00:00:03.720 --> 00:00:06.719 out Scarecrow's rent by mail service. Choose from over one 3 00:00:06.799 --> 00:00:09.759 hundred and fifty thousand films again Blu rays, four k's 4 00:00:09.800 --> 00:00:13.839 and DVDs delivered directly to your door. Visit scarecrow dot 5 00:00:13.880 --> 00:00:14.960 com today. 6 00:00:20.239 --> 00:00:24.879 Oh gee is folks, it's showtime. People say good money 7 00:00:24.879 --> 00:00:27.280 to see this movie When they go out to a theater. 8 00:00:27.519 --> 00:00:31.640 They want closed sodas, hot popcorn, and no monsters. 9 00:00:31.199 --> 00:00:32.320 In the projection booth. 10 00:00:32.479 --> 00:00:55.960 Everyone pretend podcasting isn't boring, Put it off? Who is it? 11 00:00:56.039 --> 00:01:05.239 Fisa the shoot show it a momentally do tiu posers. 12 00:01:04.760 --> 00:01:11.120 Then themselves here the mutilation Barchette to Cortoon. 13 00:01:14.480 --> 00:01:16.040 Would be there. Would you sold. 14 00:01:18.000 --> 00:01:18.359 Me you like. 15 00:01:22.359 --> 00:01:28.239 Coe could use confer. 16 00:01:36.239 --> 00:01:40.920 She brought you the really good can't can't be kept them? 17 00:01:40.959 --> 00:02:01.879 Then in expectation, I mean the Pipsis. 18 00:01:58.359 --> 00:02:00.120 She probably she used a purple porch. 19 00:02:05.120 --> 00:02:05.480 Officer. 20 00:02:33.400 --> 00:02:35.719 Welcome to the projection both, I'm your host, Mike White, 21 00:02:35.800 --> 00:02:38.599 join me once again. Is mister axel Cohagen. 22 00:02:38.759 --> 00:02:40.000 Stopping in for a nibble. 23 00:02:40.639 --> 00:02:45.400 Also back in the Buddhist mister Ben Buckingham Salutations. We 24 00:02:45.599 --> 00:02:48.960 continue October with a look at In My Skin, released 25 00:02:49.000 --> 00:02:51.879 in two thousand and two. The film was written, directed by, 26 00:02:52.000 --> 00:02:56.319 and stars Marina Devon as Esther, a marketing exec who 27 00:02:56.400 --> 00:02:59.039 injures her leg while wandering off from a party. She 28 00:02:59.159 --> 00:03:02.000 becomes fast by the wound, and this begins the story 29 00:03:02.199 --> 00:03:05.319 of how Esther forms a new relationship with her own body. 30 00:03:06.039 --> 00:03:08.680 We will be spoiling all the gory details as we 31 00:03:08.800 --> 00:03:10.840 go along, so if you don't mind anything ruined, please 32 00:03:10.879 --> 00:03:13.759 track down the movie and watch it before continuing. Just 33 00:03:13.879 --> 00:03:16.759 it pause and we'll just be waiting, trapped like flies 34 00:03:16.800 --> 00:03:19.199 and Amber act sol When was the first time you 35 00:03:19.280 --> 00:03:20.199 saw in My Skin? 36 00:03:20.360 --> 00:03:21.280 And what did you think? 37 00:03:22.120 --> 00:03:24.840 This is the first time I've seen it. I went 38 00:03:24.879 --> 00:03:29.639 through a huge New French extremity kick when I as 39 00:03:29.680 --> 00:03:34.199 soon as I watched my first film, which probably would 40 00:03:34.240 --> 00:03:38.000 have been Martyrs or High Tension, I needed to see 41 00:03:38.759 --> 00:03:45.159 everything within the genre. It really struck me. It's a singular, 42 00:03:45.520 --> 00:03:52.439 amazing film style like the Jay horror films or you 43 00:03:52.479 --> 00:03:56.319 know American cult movies from the seventies and eighties. It's 44 00:03:57.080 --> 00:04:00.319 it's just this perfect time period. But I I don't 45 00:04:00.439 --> 00:04:04.680 think I came across In My Skin until preparing for this, 46 00:04:05.280 --> 00:04:09.280 and my first response is that even though it has 47 00:04:09.439 --> 00:04:13.039 so many hallmarks and is definitely indicative of the new 48 00:04:13.159 --> 00:04:18.079 French extremity in a lot of ways, it's also a 49 00:04:18.399 --> 00:04:24.399 very straightforward film, does not pull a lot of punches, 50 00:04:25.360 --> 00:04:32.319 and I think directors has kind of downplayed heavy symbolism, 51 00:04:32.639 --> 00:04:35.680 and I actually agree with her that this is a 52 00:04:35.800 --> 00:04:41.040 straightforward film about a woman's discovery of her body. 53 00:04:41.839 --> 00:04:42.959 And Ben, how about yourself. 54 00:04:43.759 --> 00:04:47.519 It was twenty seventeen that I first and the only 55 00:04:47.600 --> 00:04:50.800 time I've seen it until recently. I haven't kind a 56 00:04:50.839 --> 00:04:54.279 funny relationship with this film. I laughed when you contacted 57 00:04:54.319 --> 00:04:56.279 me and said, hey, Ben, I want you to do 58 00:04:56.720 --> 00:04:59.959 In My Skin because you're the second person to stick 59 00:05:00.040 --> 00:05:02.759 this film in front of me. When I ran a 60 00:05:04.000 --> 00:05:07.839 barroom film night way back, when one of my co 61 00:05:08.000 --> 00:05:11.279 hosts Along the Way picked In my Skin to play. 62 00:05:12.279 --> 00:05:15.079 I was a film I'd come across in reading bits 63 00:05:15.120 --> 00:05:19.800 and pieces but hadn't actually seen, and it was a 64 00:05:19.920 --> 00:05:23.199 curious pick for our night. We definitely played some pretty intense, heavy, 65 00:05:23.319 --> 00:05:26.360 messed up film, so we definitely we weren't playing it 66 00:05:26.480 --> 00:05:29.040 safe a lot of the time, but not exactly the 67 00:05:29.160 --> 00:05:30.639 kind of film you go and have a couple of 68 00:05:30.720 --> 00:05:33.959 beers and then sit down in the bandroom in ancient 69 00:05:34.079 --> 00:05:37.120 couches and soak up with a group of people. At 70 00:05:37.160 --> 00:05:39.839 the end of it, even I was a bit like, hey, Liam, 71 00:05:41.000 --> 00:05:44.959 interesting choice. He's like, I thought you'd appreciate it that. 72 00:05:45.040 --> 00:05:50.720 I'm like, yeah, yeah, I did. But also so once 73 00:05:50.759 --> 00:05:54.240 again I was like, ah, yeah, okay, Mike, Yeah, I 74 00:05:54.360 --> 00:05:55.199 appreciated that. 75 00:05:55.759 --> 00:05:57.519 You're my cannibal go to guy. 76 00:05:58.199 --> 00:06:00.160 I am the go to cannibal guy, which is why 77 00:06:00.240 --> 00:06:02.160 this film has been put in front of me twice now. 78 00:06:03.319 --> 00:06:05.959 It is a film that I think I went yep 79 00:06:06.120 --> 00:06:08.959 okay at passort of the way and knew that one 80 00:06:09.079 --> 00:06:12.399 day it would return, and hadn't thought much about it 81 00:06:12.600 --> 00:06:15.399 until now when it suddenly seems to be exploding back 82 00:06:15.439 --> 00:06:17.879 into attention, getting a couple of Blu Ray releases around 83 00:06:17.920 --> 00:06:21.519 the world, and I'm very happy to return to re 84 00:06:21.759 --> 00:06:26.199 examine it, and I definitely am much more impressed by it. 85 00:06:26.439 --> 00:06:28.079 I thought that I wasn't impressed by it when I 86 00:06:28.240 --> 00:06:30.480 first saw it. I don't think it is an easy 87 00:06:30.600 --> 00:06:35.560 film to absorb on a single viewing, and I think 88 00:06:35.680 --> 00:06:38.439 that watched it quietly in the dark on your own 89 00:06:38.600 --> 00:06:40.959 at least once, not all the time, but at least 90 00:06:41.040 --> 00:06:44.560 once is definitely the way to really follow the experience. 91 00:06:45.759 --> 00:06:47.480 Yeah, I'm trying to remember the first time that I 92 00:06:47.519 --> 00:06:50.680 saw this film because I am not a big fan 93 00:06:50.959 --> 00:06:54.959 of the French extremity films. I walked out of high 94 00:06:55.040 --> 00:06:59.439 tension before their big twist was revealed. I talked about 95 00:06:59.480 --> 00:07:02.720 that on our Martyrs episode. We did an episode on murders, 96 00:07:03.199 --> 00:07:06.759 and I don't think that that went overwhelm with at 97 00:07:06.839 --> 00:07:08.959 least one of my co hosts on that one. But 98 00:07:09.079 --> 00:07:11.600 I do remember liking this film, and I do remember 99 00:07:11.839 --> 00:07:16.360 enjoying that this was such a look at a woman 100 00:07:16.519 --> 00:07:18.920 in her relationship with her own body. And by the way, 101 00:07:19.439 --> 00:07:21.879 how great is it that we have three dudes on 102 00:07:22.000 --> 00:07:26.120 this episode here to explain to women exactly what this 103 00:07:26.279 --> 00:07:28.920 film is about and to really mansplain all of the 104 00:07:29.040 --> 00:07:32.680 things that they experience and go through. I mean, we 105 00:07:32.720 --> 00:07:37.240 can talk about all kinds of bodily trauma and rape 106 00:07:37.560 --> 00:07:40.639 and menstrual anxiety and all those things and just really 107 00:07:40.720 --> 00:07:43.480 give the girls heads up on what it means to 108 00:07:43.560 --> 00:07:44.079 be a woman. 109 00:07:44.279 --> 00:07:45.279 So yay us. 110 00:07:46.439 --> 00:07:49.800 I think I had watched it twice in preparation for this, 111 00:07:50.000 --> 00:07:52.959 and I had notes, and I kind of had had 112 00:07:53.040 --> 00:07:56.759 some ideas of what I was going to say, and 113 00:07:57.000 --> 00:08:03.199 then I listened to Faculty of Horror's excellent podcasts on 114 00:08:03.439 --> 00:08:09.519 this film and thought, well, shit, this is covering a 115 00:08:09.560 --> 00:08:15.680 lot of the stuff from a feminine perspective. I'm gonna 116 00:08:15.759 --> 00:08:19.040 have to to push it a little bit harder, you know. 117 00:08:19.120 --> 00:08:23.279 I see this as a challenge for us to rise 118 00:08:23.480 --> 00:08:29.399 to well acknowledging, you know, our identities and possible limitations. 119 00:08:30.199 --> 00:08:32.240 And next week when we talk about raw, will have 120 00:08:32.440 --> 00:08:34.919 two female co hosts and then me to explain to 121 00:08:35.039 --> 00:08:37.639 them what things are going on. So it's easier here 122 00:08:37.720 --> 00:08:38.759 when we have three guys. 123 00:08:39.000 --> 00:08:40.600 That's that's called balance, isn't it. 124 00:08:40.639 --> 00:08:42.440 Oh yeah, yeah, fair and balanced. 125 00:08:43.000 --> 00:08:45.879 Also we can see who has the worst French pronunciation 126 00:08:46.039 --> 00:08:50.440 as well. The Australian accent is not one that mixes 127 00:08:50.480 --> 00:08:53.320 with friends very easily, and I did not get a 128 00:08:53.480 --> 00:08:55.840 chance to look up any pronunciations, So I'm just gonna 129 00:08:55.840 --> 00:08:56.879 apologize right now. 130 00:08:57.600 --> 00:08:59.879 I'm going to do my best to avoid French at all. 131 00:09:00.679 --> 00:09:05.039 That's why I didn't say this is called dance mapeau. 132 00:09:04.919 --> 00:09:07.240 Or however, that's the easy one. You've got to say 133 00:09:07.279 --> 00:09:08.960 that as many as times as possible, because that's the 134 00:09:09.000 --> 00:09:12.639 easy one to get the points up. It dance Mapu, well, 135 00:09:12.639 --> 00:09:13.200 it looks. 136 00:09:13.039 --> 00:09:16.080 Like dance mapeu, which I know is definitely not it 137 00:09:16.320 --> 00:09:17.480 as in Pepe the Pew. 138 00:09:18.240 --> 00:09:20.919 It was only in preparing for this podcast that I 139 00:09:21.080 --> 00:09:25.120 learned his name is pronounced Gaspar no Way and not 140 00:09:25.360 --> 00:09:29.200 Gaspar Noir. It kind of changed everything for me. 141 00:09:30.039 --> 00:09:32.960 Yeah, I was looking up Rabelists or no, I've already 142 00:09:33.000 --> 00:09:36.120 gotten it. That's the one that I looked up. I'm like, 143 00:09:36.240 --> 00:09:38.960 I know it's not Rabelists. That's so as where I was, 144 00:09:39.000 --> 00:09:41.679 I was disappearing into some strange places. I had to 145 00:09:41.720 --> 00:09:43.840 listen to the facult of your Horror episode as well, 146 00:09:43.919 --> 00:09:47.039 and I was it was good because my brain wasn't 147 00:09:47.039 --> 00:09:49.440 particularly going in those directions. I had other weird things 148 00:09:49.519 --> 00:09:51.440 to look up, and I got distracted by all of 149 00:09:51.480 --> 00:09:53.360 the piles of books that I have and didn't get 150 00:09:53.399 --> 00:09:58.960 around looking up the pronunciations. But yeah, there is a 151 00:09:59.159 --> 00:10:04.240 lot of way is to approach this film in our defense, Well, 152 00:10:04.279 --> 00:10:06.360 obviously this is a film dealing with a lot of 153 00:10:06.399 --> 00:10:13.000 feminist issues. It's a lot of just general societal mental health, 154 00:10:13.480 --> 00:10:18.960 community connections, modernity, all sorts of things that I think 155 00:10:19.080 --> 00:10:23.360 are much more widespread. It's just that we don't tend 156 00:10:23.399 --> 00:10:28.159 to get a film that so specifically hones in on 157 00:10:28.639 --> 00:10:32.960 a woman's experience, and especially a woman who isn't afraid 158 00:10:33.039 --> 00:10:36.200 of being a and I mean is extremely positively a 159 00:10:36.320 --> 00:10:37.519 weird little goblin freak. 160 00:10:38.320 --> 00:10:40.360 Yeah. As I was watching this, I was making a 161 00:10:40.480 --> 00:10:43.799 list of all the oppositions that happen in this film, 162 00:10:44.320 --> 00:10:48.200 the idea of inside outside, negative, positive, And I'm going 163 00:10:48.240 --> 00:10:50.279 to be focusing on these opening credits quite a bit, 164 00:10:50.519 --> 00:10:55.639 just a warning work in personal woman, man, public, private beauty, 165 00:10:55.759 --> 00:10:59.879 ugliness and then person body And even in the credit, 166 00:11:00.639 --> 00:11:04.120 Don's MAPO is split between that M and the A 167 00:11:05.000 --> 00:11:08.320 and these opening credits. Like, I don't focus on the 168 00:11:08.440 --> 00:11:12.639 credits nearly as much, but with this film, the whole 169 00:11:12.759 --> 00:11:17.440 idea of these negative and positive images, and that sometimes 170 00:11:17.480 --> 00:11:19.480 it looks like it's the same image on the left, 171 00:11:19.559 --> 00:11:22.000 which is positive, versus the image on the right, which 172 00:11:22.080 --> 00:11:26.960 is negative. Sometimes they are the same, very similar, and 173 00:11:27.120 --> 00:11:30.639 sometimes they are complete opposites. And you even get the 174 00:11:30.799 --> 00:11:34.279 split of the image when it comes to first times 175 00:11:34.320 --> 00:11:36.600 that we see our main character when we get that 176 00:11:36.759 --> 00:11:39.240 amazing shot of her leg, and her leg is such 177 00:11:39.360 --> 00:11:42.480 the focus of so much of this film, and you 178 00:11:42.679 --> 00:11:45.360 have the chair on the left hand side, the leg 179 00:11:45.480 --> 00:11:48.279 on the right, and it almost looks like an architectural 180 00:11:48.559 --> 00:11:52.759 sculpture rather than a person, and that kind of disassociation, 181 00:11:52.879 --> 00:11:55.279 which we'll also be talking quite a bit about, and 182 00:11:55.399 --> 00:11:58.080 then you get the split screen comes back a few times, 183 00:11:58.200 --> 00:12:01.559 especially in what I would consider the opening to the 184 00:12:01.639 --> 00:12:05.600 third act, because this movie goes along pretty normal, well 185 00:12:05.799 --> 00:12:09.919 normal a narrative path through the first and second act 186 00:12:10.039 --> 00:12:11.480 quite a bit, and then when it comes to the 187 00:12:11.559 --> 00:12:15.159 third act, it's still of a piece, but it goes 188 00:12:15.279 --> 00:12:17.519 off in a different direction, and it's handled and is 189 00:12:17.639 --> 00:12:20.000 shot in a little bit of a different way. And 190 00:12:20.080 --> 00:12:22.039 I did find it fascinating to find out that the 191 00:12:22.559 --> 00:12:27.240 cinematographer of this film also has a very successful business 192 00:12:27.360 --> 00:12:32.720 shooting food, and the food in this film is so unappetizing, 193 00:12:33.360 --> 00:12:36.919 especially when you get a shift. I think that's more 194 00:12:36.919 --> 00:12:41.879 of the second act shift of the restaurant scene. Because 195 00:12:41.960 --> 00:12:44.080 so much of this I talked about how it's work 196 00:12:44.159 --> 00:12:46.759 and personal, and it's this whole idea of the societal 197 00:12:47.159 --> 00:12:53.320 expectations this idea of our main character being this it 198 00:12:53.399 --> 00:12:55.639 doesn't really matter what her job is, but she is 199 00:12:55.679 --> 00:12:58.960 in advertising, which I guess actually does matter because advertising 200 00:12:59.080 --> 00:13:01.960 is all about presentation. It's all about the gloss. It's 201 00:13:01.960 --> 00:13:04.120 all about you know, you don't sell the steak, you 202 00:13:04.200 --> 00:13:06.200 sell the sizzle kind of thing, you know. And this 203 00:13:06.799 --> 00:13:11.559 idea of her working at this marketing company and having 204 00:13:11.639 --> 00:13:14.480 all of these expectations thrust upon her as far as 205 00:13:15.039 --> 00:13:19.080 it's not just the nine to five, it's the party afterwards, 206 00:13:19.200 --> 00:13:22.279 it's the dinner with clients. It's these things that you 207 00:13:22.480 --> 00:13:26.200 have to perform at as well as the job, and 208 00:13:26.840 --> 00:13:29.360 those things are not necessarily I mean, you can be 209 00:13:29.480 --> 00:13:34.039 a fucking fantastic writer, have a great mind for ad 210 00:13:34.159 --> 00:13:38.679 copy or imagery, but then having to perform at a 211 00:13:38.960 --> 00:13:41.799 social function when you are definitely not comfortable doing that, 212 00:13:42.399 --> 00:13:44.480 it is such a pain in the ass. And that 213 00:13:44.559 --> 00:13:46.840 doesn't matter whether you're a man or a woman, but 214 00:13:46.960 --> 00:13:49.399 when you are a woman you have extra stuff put 215 00:13:49.480 --> 00:13:51.879 upon you as far as well. You have to be pretty, 216 00:13:52.000 --> 00:13:53.679 and you have to be pleasant, and you have to 217 00:13:53.759 --> 00:13:56.840 know how much you can talk versus not talk, because 218 00:13:56.960 --> 00:13:59.559 Lord knows, if you are there with a male client. 219 00:14:00.000 --> 00:14:02.279 You have to defer to them, and you just have 220 00:14:02.440 --> 00:14:06.440 to be basically arm candy or eye candy for this person, 221 00:14:07.360 --> 00:14:09.240 just be seen and not necessarily heard. 222 00:14:10.039 --> 00:14:13.360 Yeah, I knew the order of my notes was going 223 00:14:13.440 --> 00:14:16.000 to drive me insane. But you just zigzagged through like 224 00:14:16.399 --> 00:14:18.200 three quarters of the film there, Mike. 225 00:14:18.559 --> 00:14:20.240 Oh yeah, oh yeah. No, we are going to be 226 00:14:20.279 --> 00:14:23.480 all over the place. We are not taking the narrative 227 00:14:24.240 --> 00:14:26.399 way at all. We're definitely going to be all over. 228 00:14:27.399 --> 00:14:31.240 This film needs like hyperlinks on hyperlinks to go through everything. 229 00:14:32.960 --> 00:14:36.480 There's just to like duck back to the opening credit. 230 00:14:36.879 --> 00:14:40.200 I would just gribe it as a dynamic dichotomy that 231 00:14:40.320 --> 00:14:46.159 it isn't entirely as you said, reflections splits divisions. I 232 00:14:46.440 --> 00:14:48.960 did get a chance to check out a little bit 233 00:14:49.000 --> 00:14:52.360 of her commentary, and she said that she described that 234 00:14:52.480 --> 00:14:55.399 you wanted to start it like a normal film. I 235 00:14:55.480 --> 00:14:56.960 love the idea, like, oh yeah, we'll just start it 236 00:14:57.360 --> 00:14:59.440 normal and then go from there. Have it dragged you 237 00:14:59.480 --> 00:15:01.799 into something not but what she meant by that when 238 00:15:01.799 --> 00:15:03.519 she wanted to do it in the American style of 239 00:15:03.639 --> 00:15:06.840 having the starting with the city and then moving in 240 00:15:07.000 --> 00:15:10.440 closer to the buildings than the people and the person, 241 00:15:11.080 --> 00:15:14.639 but to do it in a way that was different, 242 00:15:14.879 --> 00:15:19.120 that was a bit more abstract and changing it up. 243 00:15:19.799 --> 00:15:22.960 The split screen does return later, and there, she said, 244 00:15:23.080 --> 00:15:25.399 when it returns later, that is meant to represent the 245 00:15:25.519 --> 00:15:30.080 wound itself rather than showing it, which does make that 246 00:15:30.240 --> 00:15:33.519 opening title sequence extra interesting, that the city itself as 247 00:15:33.600 --> 00:15:36.279 a possible wound. I don't necessarily think that the split 248 00:15:36.360 --> 00:15:38.039 always means that in the film, but you can certainly 249 00:15:38.039 --> 00:15:41.000 read it as such, and it is deeply meaningful. She 250 00:15:41.120 --> 00:15:43.799 wanted it to start with the city because you actually 251 00:15:43.840 --> 00:15:48.360 don't get much contextualizing geography or background throughout the film. 252 00:15:48.399 --> 00:15:51.639 It really stays owned it and close to her, and 253 00:15:51.840 --> 00:15:54.519 so gets out of the way that opening sequence. But 254 00:15:54.639 --> 00:15:56.679 it also it's not just the city. It's the office space, 255 00:15:56.799 --> 00:16:01.360 it's the office materials, it's objects, It's so many you know, yes, 256 00:16:01.480 --> 00:16:02.919 did you get a bit of her leg mixed in 257 00:16:03.080 --> 00:16:09.200 with these objects. It's quite a fascinating hypnotic experience that 258 00:16:09.360 --> 00:16:12.919 is also feels like real sense. Memory of the Naughty 259 00:16:13.000 --> 00:16:15.000 is the way it's kind of like the vibe of 260 00:16:15.159 --> 00:16:19.159 the film stock and the color choices and the like. 261 00:16:19.240 --> 00:16:21.840 There was a gentle piano I think to kind of ease, 262 00:16:21.960 --> 00:16:24.519 U see it like everything is just yeah, it almost 263 00:16:24.600 --> 00:16:28.799 feels normal, except there's that destabilization with the split, and 264 00:16:28.879 --> 00:16:33.320 then the image is not necessarily being matched or unmatched 265 00:16:33.360 --> 00:16:38.720 in a easily classifiable way that the opening. 266 00:16:39.399 --> 00:16:44.600 To me, I see it as establishing the monotony and 267 00:16:45.200 --> 00:16:51.639 boredom of her world. It's it's giving us this it's 268 00:16:51.759 --> 00:16:57.200 a split world, but it's yeah, I found it purposefully 269 00:16:57.519 --> 00:17:01.279 bound compelling in terms of showing us what she's going 270 00:17:01.360 --> 00:17:05.039 to have to break free. And then there's the shot 271 00:17:05.160 --> 00:17:08.440 of her leg, which you know, as I remembered it 272 00:17:08.559 --> 00:17:12.319 and as I noted down, it's kind of a you know, 273 00:17:12.440 --> 00:17:16.519 a Laura Mulvey gaze kind of thing, because I think 274 00:17:16.640 --> 00:17:20.480 that first shot it kind of starts down near her 275 00:17:20.559 --> 00:17:25.039 foot or ankle and goes up to her thigh in 276 00:17:25.160 --> 00:17:28.839 a way that I see it as kind of that 277 00:17:29.799 --> 00:17:34.279 that male gaze, and I see that as establishing in 278 00:17:34.359 --> 00:17:39.279 the beginning, this is not her body. It is there, 279 00:17:39.759 --> 00:17:43.640 and people are gazing upon her, and she is an 280 00:17:43.680 --> 00:17:47.119 object to be looked at, and I think that happens. 281 00:17:47.519 --> 00:17:52.200 To contrast, shots later on of her and the leg 282 00:17:52.519 --> 00:17:58.440 are more static, not that zoom in not that like 283 00:17:59.279 --> 00:18:03.640 lawyer is. It's just this has become her body and 284 00:18:03.759 --> 00:18:07.759 she has reclaimed it. And also I may be reading 285 00:18:07.799 --> 00:18:10.279 too much into this, but I think it goes from 286 00:18:11.000 --> 00:18:14.640 moving over her leg. I think it cuts to a 287 00:18:14.799 --> 00:18:19.400 container of pens with scissors in it, and I thought 288 00:18:19.480 --> 00:18:20.680 that was a nice little touch. 289 00:18:21.519 --> 00:18:24.079 Definitely inclined to agree that the things we're seeing are 290 00:18:24.400 --> 00:18:28.480 boring world, because I mean, well, three of us don't 291 00:18:28.519 --> 00:18:30.720 look like the type of guys who would be especially 292 00:18:30.839 --> 00:18:33.440 thrilled to be in an office space all the time. 293 00:18:34.480 --> 00:18:37.119 That's my life is working in this office. 294 00:18:37.240 --> 00:18:43.319 Yes, And the commentary Marina Devan says that she really 295 00:18:43.359 --> 00:18:46.160 wanted to establish that she had this professional life, that 296 00:18:46.319 --> 00:18:49.440 she had things that where she places, where she had 297 00:18:49.480 --> 00:18:53.400 a kind of meaning, the connection, that she wasn't somebody necessarily. 298 00:18:53.640 --> 00:18:57.920 You know, she's not Jack in fight Club already fractioned 299 00:18:58.000 --> 00:19:04.119 and splintering loosekin with It's like things could be just fine, 300 00:19:04.920 --> 00:19:07.680 they could just continue on. She is on a track 301 00:19:07.920 --> 00:19:13.880 at the track is very familiar and unexciting and not 302 00:19:14.200 --> 00:19:15.799 prone to flipping. 303 00:19:16.400 --> 00:19:19.400 I'm so glad you mentioned fight Club because the line. 304 00:19:20.559 --> 00:19:24.160 Self improvement is masturbation. A self destruction. 305 00:19:25.720 --> 00:19:29.599 I mean, this whole movie feels like self destruction, but 306 00:19:29.759 --> 00:19:33.480 really coming to grips with yourself as far as feeling 307 00:19:33.599 --> 00:19:36.160 your body and knowing your body, because so much of 308 00:19:36.240 --> 00:19:40.000 this too it feels like this disassociation between her and 309 00:19:40.240 --> 00:19:43.000 her body. I mean, we get the scene at the 310 00:19:43.400 --> 00:19:46.240 dinner and again jumping all over, but at that dinner 311 00:19:46.279 --> 00:19:50.880 scene where her arm is completely disconnected, it's not even 312 00:19:50.960 --> 00:19:55.319 her arm anymore. And when she is shown later suckling 313 00:19:55.440 --> 00:19:59.359 on it, biting on it, sucking the blood. She says 314 00:19:59.440 --> 00:20:02.079 in that kind of terry fucking fantastic commentary, and it's 315 00:20:02.119 --> 00:20:05.440 so nice to have for me a visual commentary, you know, 316 00:20:05.599 --> 00:20:08.519 like hearing her seeing the subtitles watching the movie at 317 00:20:08.559 --> 00:20:11.680 the same time was really really great. And to have 318 00:20:11.960 --> 00:20:16.079 her talking about how she shot it as to show 319 00:20:16.279 --> 00:20:18.599 that this arm isn't even hers, you know, that it 320 00:20:18.759 --> 00:20:22.880 is so disconnected, and those scenes where she will, god, 321 00:20:22.920 --> 00:20:25.640 I wish I was this flexible still where she'll take 322 00:20:25.720 --> 00:20:28.799 her foot and rub her foot over her face, and 323 00:20:28.920 --> 00:20:32.240 it's like, this is so unnatural to see the way 324 00:20:32.319 --> 00:20:35.720 that she is framing her own body, the way that 325 00:20:35.920 --> 00:20:40.119 she talks later on when she lays back and her 326 00:20:40.240 --> 00:20:42.240 leg is in front of her, and she's like, I 327 00:20:42.400 --> 00:20:44.799 shot this as if my leg were a lover coming 328 00:20:44.920 --> 00:20:48.720 to me. I'm like, wow, that's great that you are 329 00:20:49.079 --> 00:20:53.759 so conscious of this disassociation of your own body. But yeah, 330 00:20:53.880 --> 00:20:58.920 that arm on the table and then to I guess, 331 00:20:58.960 --> 00:21:02.400 almost like relieve stress at this dinner, the way she 332 00:21:02.599 --> 00:21:06.160 takes her arm later on as part of her but 333 00:21:06.279 --> 00:21:09.200 again we don't see it connected necessarily, and just as 334 00:21:09.440 --> 00:21:12.240 stabbing her arm with the fork and with the knife 335 00:21:12.359 --> 00:21:15.759 and well, it could be that plastic arm that you saw, 336 00:21:15.920 --> 00:21:18.759 but it's this whole idea of like she's almost become 337 00:21:18.839 --> 00:21:21.559 a mannequin at that point, with that arm and the 338 00:21:21.720 --> 00:21:24.440 watch on there. It almost seems like an object that 339 00:21:24.559 --> 00:21:27.319 she would have in a commercial or inside of a 340 00:21:27.559 --> 00:21:29.319 marketing copy, a print app. 341 00:21:30.160 --> 00:21:32.559 I did briefly pick up my copy of The Sexual 342 00:21:32.680 --> 00:21:36.559 Politics of Meat by Carol Adams and have a quick 343 00:21:36.640 --> 00:21:38.759 flick through, but it was just like a little too 344 00:21:40.000 --> 00:21:45.079 specific in its approach to the material that's definitely exists 345 00:21:45.160 --> 00:21:49.920 in the DNA of this film, the objectification of bodies, 346 00:21:50.960 --> 00:21:58.160 the parallel associations of animal butchered meat and women's bodies 347 00:21:58.240 --> 00:22:02.079 in language, imagery marketing. In a lot of ways, this 348 00:22:02.200 --> 00:22:07.480 film feels quite singular, which is partly to do with 349 00:22:07.640 --> 00:22:11.000 that France doesn't have a huge history of horror cinema. 350 00:22:11.759 --> 00:22:15.880 It sort of does, but it kind of doesn't. The 351 00:22:16.079 --> 00:22:21.240 orthodoxy of French critical film theory does not, or at 352 00:22:21.359 --> 00:22:26.640 least has not recognized horror cinema until very recently. I 353 00:22:26.720 --> 00:22:28.119 can't I was trying to find the reference, but I 354 00:22:28.160 --> 00:22:30.720 couldn't find anywhere but that there was some massive like 355 00:22:30.920 --> 00:22:35.319 Encyclopedia of French Cinema published in France, was very well recognized, 356 00:22:35.680 --> 00:22:38.720 and when it got to talking about George Fanzou just 357 00:22:38.920 --> 00:22:43.759 left Eyes without a Face out completely, which is his 358 00:22:44.119 --> 00:22:49.480 most significant film now was still a pretty goddamn significant 359 00:22:49.519 --> 00:22:50.759 film at the time, but it was just like, oh no, 360 00:22:50.839 --> 00:22:53.519 we don't this is not proper to talk about that. 361 00:22:53.680 --> 00:22:57.240 They would talk about the fantastic, you know, things like 362 00:22:57.640 --> 00:23:01.559 Labet Labette and George the Ear and all those kinds 363 00:23:01.599 --> 00:23:04.359 of things, but it had to be this more poetic 364 00:23:05.119 --> 00:23:10.279 fantasy rather than horror. And going back and looking at it, 365 00:23:10.359 --> 00:23:13.519 there's like that scene that you talk about, the dinner scene. 366 00:23:14.279 --> 00:23:16.359 There's quite a few parts in this that do feel 367 00:23:16.440 --> 00:23:20.119 quite like Louis Bounuel films. That one is that one 368 00:23:20.200 --> 00:23:22.160 is the one that definitely has the strongest connections with 369 00:23:22.279 --> 00:23:25.079 the Seven Hand to like when she on andlou and 370 00:23:25.359 --> 00:23:31.359 to Exterminating Angel. But also I'm struck this the Franzos 371 00:23:31.440 --> 00:23:35.920 connection feels really significant. And it's not just eyes without 372 00:23:35.920 --> 00:23:39.839 a face, because obviously that film is a woman in 373 00:23:39.960 --> 00:23:44.640 pieces has lost her face and who's been experimented on 374 00:23:44.799 --> 00:23:47.559 by doctors to make her whole again, which is the first, 375 00:23:47.640 --> 00:23:49.519 you know, the first interaction she has with the doctor. 376 00:23:49.559 --> 00:23:51.519 The doctor offers to make her hold of have use 377 00:23:51.559 --> 00:23:54.920 plastic surgery to smooth over the wound, and she says, no, thanks, 378 00:23:54.960 --> 00:23:55.319 I'm good. 379 00:23:56.640 --> 00:23:58.519 I thought you were talking about I just thought the 380 00:23:58.599 --> 00:24:00.720 face because I almost said not just the doctor but 381 00:24:00.880 --> 00:24:04.319 her father. But yeah, the doctor in this he's cool. 382 00:24:04.880 --> 00:24:07.079 He's one of those first encounters where it's just like, oh, 383 00:24:07.160 --> 00:24:09.759 don't you want to be pretty? You know, the expectation 384 00:24:09.960 --> 00:24:12.759 is that your leg is a sex object. 385 00:24:13.519 --> 00:24:16.000 Yeah, and ironically played by her brother in the film. 386 00:24:16.079 --> 00:24:20.559 But also to frans use Blood of the Beasts, which 387 00:24:20.599 --> 00:24:24.519 is a documentary he made about the Paris abattoirs and 388 00:24:24.720 --> 00:24:29.160 is an absolutely horrific and grueling experience, and so like that. 389 00:24:29.240 --> 00:24:31.279 It feels like Blood of the Beasts is very much 390 00:24:31.400 --> 00:24:36.319 part of the DNA of this film, of contrasting two 391 00:24:36.559 --> 00:24:40.759 sides of Parisian life. This sort of like the everyday 392 00:24:40.960 --> 00:24:44.920 normal world and then this absolute horrific blood bath that 393 00:24:45.119 --> 00:24:48.640 is occurring in a private sphere. 394 00:24:49.680 --> 00:24:53.960 I would like to lodge a complaint that the Australian 395 00:24:54.039 --> 00:24:57.599 guy is doing very well at pronouncing things in French 396 00:24:57.880 --> 00:25:01.839 and as the guy with the mid Western accent, I 397 00:25:03.039 --> 00:25:05.519 don't like that because it does not set me up 398 00:25:05.559 --> 00:25:06.200 for success. 399 00:25:06.839 --> 00:25:11.119 Okay, sorry, sorry, Axel, I'll try to be worse. These 400 00:25:11.160 --> 00:25:13.119 are the only ones that I can do properly, which 401 00:25:13.119 --> 00:25:15.920