#mike duplass

[eyeronmaus]

The Creep Tapes [s01e01 - Mike]

[twomystdunstans]

HAYWARD I HAVE FEELINGS FOR YOU.

[ratboyvince]

For the ask game, cus I know you for sure have plenty of podcasts to answer these for, 6, and 7!

Oh YEAH i do

6) what characters from podcast would be friends

Is saying Alice and Tim a cop out? Specifically i think they’d be friends with benefits like they’d fuck freaky bisexual style them go for a drink afterwards and be in hysterics but we’ve known that. I’ll get a different one

Paige Duplass and Sydney Sargent, we’ve talked about this but I don’t think either of us put it on tumblr. They would have so much to talk about they both have a weird and disturbing relationship with nature and religion they got the trans swag they got parent issues, and honestly and maybe most importantly Paige would CUT HIM SOME SLACK. I once said she’d wash his hair but I don’t think Sydney would WANT that so instead she’d just braid it for him. Frankly i think enough time talking with Paige would make Sydney cry he’s never been listened to in his LIFE and Paige would SOOOOO be that for him. Im sick im inconsolable actually GOD Please I NEED THEM TO MEET ACTUALLY PLEASEEE

7) what characters from podcasts would hate eachother

Cecil Palmer and Mike Walters would HATE each other. You know that meme of two people thinking “bitch.” about the other? Thats them. Cecil would drive Mike up the fucking WALL its such a stark contrast that Cecil would be annoyed at Mike being so nihilistic and self deprecating and Mike would be annoyed at Cecils positivity. Also Cecil’s urge to shut up and let the government be sketchy would really annoy Mike he’d be like “HOW can you not SEE WHATS GOING ON RIGHT IN FRONT OF YOU” and i think this rivalry would become ridiculous to a point they’d get into arguments about what boyfriend is better and like…..which one of them can be cheesier about it.

Oh also Cecil would think Mike Talks Funny but its just Mike being terminally online

(I dont think Carlos and Edgar would feel strongly about eachother one way or the other they’re just….watching)

[wellhalesbells]

Okay, so, new shows I've picked this fall are English Teacher (which entirely has to do with it being a Brian Jordan Alvarez joint and The Gay and Wondrous Life of Caleb Gallo remains one of the best things ever. I love it so far and Markie steals every scene he's in) and High Potential (which I am literally only watching for Kaitlin Olson, though Judy Reyes was a lovely surprise! It's a not-so-great premise and it is another cop show [blech] but Kaitlin Olson is freaking wonderful in it and it is a popcorn show so..... either it'll really click and it'll be on forever or it won't and it'll die in its first season. We shall see. Every time I try to make a prediction on which procedural show will last, I am always wrong lol).

Other ones I'm planning to check out are How to Die Alone (I have never seen Natasha Rothwell in something - Insecure or Love, Simon - and not thought: more, MORE so I really need to get to this one. Especially since she's not just the star but also the creator), Murder in a Small Town (I completely get why true crime podcasts/shows would be so bingeable but I also can't help but feel gross indulging in them so fictional ones should be perfect for me. Like, I really like books that have true crime podcasts in them so this show will hopefully scratch that itch, right? Not to say that this has a true crime podcast in it but that should be the vibe, yeah? And I'm willing to get further away from it because Bodkin was honestly such a disappointment for me), Penelope (Mark Duplass is pretty much the whole draw here, I like the stuff he does but the description is so bleh so I keep forgetting about it) and Grotesquerie (honestly this is because I always try to get in on a Ryan Murphy show on the ground floor because almost every time I find them, there are 80,000 episodes and everyone is telling you it's shit anyway, lol. I also have no problem dropping his shows if they're terrible - I don't even think I made it out of the first season of Glee and I know I only got as far as I did because of Jane Lynch. Plus, Niecey Nash! I follow my Reno 911! people around, I can't help myself). I am completely on the fence about A Very Royal Scandal (as mentioned, I don't like rooting around through real people's trauma and the only draw to this is Michael Sheen). Oh and maybe Twilight of the Gods (I want someone else to watch this and tell me if it's at all worthwhile or if it's too bro-y for words because sometimes.... *coughs*).

Ones that aren't out yet but that I'm definitely gonna poke at: Teacup (a James Wan horror show? Yes, please!), Disclaimer (this sounds bonkers and Cate Blanchett and Kevin Kline? Okay fine, I'm in.), St. Denis Medical (some of my favorite comic actors and I like Abbott Elementary, okay, so if people keep wanting to apply that formula elsewhere? I'm for it!), Interior Chinatown (sounds like it could be cool as hell), The Franchise (if we have to keep doing superheores, at least we're switching up the premise for them), Sweetpea (there's just nothing about this that doesn't appeal to me, lol), maybe The Pradeeps of Pittsburgh (I liked Fresh Off the Boat a lot, the problem is all the descriptions make it sound like it's just that show but with an Indian family now and I don't know if I liked it enough to watch it again, y'know?), A Man on the Inside (Mike Schur, Ted Danson, Stephanie Beatriz? You couldn't keep me away from this if you tried), and The Madness (it's all for Colman Domingo, act surprised). Maybe Poppa's House (I love Damon Wayans, Jr., but I have a massive hate hard-on for CBS shows, they feel so soulless to me and everything contributes to that. The laugh tracks, the lighting, the acting, etc.).

So this is partly for me to keep track of shows that I want to watch/aren't out yet and partly because I have an ad blocker, I don't watch anything that can give me commercials, and this is the only social media I'm on so if you've heard of something that sounds cool (or you've checked out one of the ones on my list and are like: well you could watch that or just stab a pencil in your eye instead...) let me know!

[violence-infatuation]

ok ranking them even though it's difficult and painful to do also lowkey useless bc in my heart they're all number 1

the creep tapes ranked by how much they made me laugh:

mike

brad

jeremy

elliot

mom (and albert)

brandt

the creep tapes ranked by how much they scared me:

jeremy

brandt

mike

brad

mom (and albert)

elliot

the creep tapes ranked by how much i wanted to climb mark duplass:

brad

mike

jeremy

mom (and albert)

brandt

elliot

[miaeons]

yesterday was pure magic a forever holiday in my mind, first it was the 30th anniversary of interview with the vampire and then they announced new blair witch content (first seen on mike monellos instagram) from the OG source material and then finally mark duplass was saying on reddit creep 3 is a tv show n its on shudder this friday!!!!!!!

for horror fans

november 12th 2024 was 3 times blessed (or cursed)

[tilbageidanmark]

Movies I watched this Week # 142 (Year 3/Week 38):

“Wasson?…”

Mark Kermore just resigned from his post as The Observor's film critic after 10 years, and in his last article he listed his top films from 2013 until now. His most favourite? Bait, which he called “the defining British film of the decade”, by new Cornish filmmaker Mark Jenkin. It is indeed a visually-different, experimental-like masterpiece, shot in splotchy black & white, like a grainy, monochrome Tarkovsky. 100% on Rotten Tomatoes. 8/10. I'll watch his recent film 'Enys Men' next (even though I don't usually care for 'British Folk Horror').

🍿

2 about the monstrous Margaret Thatcher:

🍿 Meantime, my 9th beloved film by British mensch Mike Leigh, another story about the plight of a lower working class family, living in a dystopian Clockwork Orange tenement. Uncomfortable viewing about dreary, miserable lives, mired in poverty and hopelessness during the 1979 "Revolution". With teenager Tim Roth, young Alfred Molina, and psychotic skinhead Gary Oldman. Tragic And heartbreaking. 7/10.

🍿 El Conde, my second by Chilean Pablo Larrain (after 'Spencer'). A black comedy horror metaphor that tried to humanize Augusto Pinochet, by making him a blood-sucking vampire. Like 'Jojo Rabbit', it caused me nothing but distress, especially now on the 50th anniversary of Pinochet cruel coup. It opened with the most unpleasant voiceover, which turned out to be Margaret Thatcher, the other despicable puppet master from that time, here playing the fascist's mother. He went for Magical Realism, but he was no Gabriel García Márquez. 4/10.

🍿

The quiet girl, my 3rd or 4th re-watch of this tender, magnificent gem, one of my most cherished films from 2022. An illustration of Care vs. Neglect. My mom told me about this beautiful story she was reading, and which was the basis for this film, and I was delighted to introduce her to this sublime masterpiece, which we watched together. 10/10.

🍿

First watch! Charlie Chaplin's 1915 silent movie The tramp, the first time he introduced his signature character proper. Filmed in Niles, California, which is today Fremont, and then was a budding film town.

🍿

Objector, a very Israeli 2019 documentary about a young woman who refuses to serve in the army, becomes a conscientious objector, and even serves 110 days in a military prison. As an ex-Israeli and as a guy unwilling to join the army in 1970, this affair was specifically very relevant to me. My hatred for the Israeli occupation is immense, and the story told here was desperately tragic and heartbreaking. Unfortunately, as a movie, it wasn’t very good, probably because the director was inexperienced. That most of the characters spoke English among themselves was another big drawback.

🍿

I never heard about comic genius ventriloquist Nina Conti (Tom Conti's daughter) until finding her on r/nextfuckinglevel. Watching a bunch of her YouTube clips, this pretty, sexy, hilarious comic is superbly creative. In 2012, she wrote and directed a personal documentary, Her master’s Voice. In it she travels to an odd international ventriloquist convention in Kentucky (Photo Above). But it's mostly a tribute to a man, Ken Campbell, who just died. He's the one who had introduced her to the puppets years ago but he also was her lover, when she was in her twenties, and he was in his sixties. Brilliant. 9/10.

🍿

Another re-watch of occasional random 'Mad Men' episode, Signal 30 from S5 E5. That's the one with the dripping faucet in Pete's kitchen, and the visit to the whorehouse, which ends in a fiasco. Co-written by Frank Pierce (who also directed 'Conspiracy'). Another example of the superb ensemble drama, featuring dozens of complex characters. "A thing like that"... 9/10.

🍿

Jeff who lives at home, my second film directed by the Duplass Brothers, the "other" writer-director brother-duo. And this too is an "indie" comedy-drama about two brothers at odds with each other. What a different and how much better film it would have been, if indeed The Coens were the ones doing it. 3/10.

🍿

2012, a Roland Emmerich's big budget disaster extravaganza from 2009, about the end of the world. CGI science fiction popcorn is usually not my gig, but I stuck out and watched all 158 minutes of it. Who pays to see these kind of mindless garbage movies? 1/10.

🍿

Throw-back to the "Art project”:  

Ahed Tamimi Adora.

Ventriloquist Adora.

🍿  

(My complete movie list is here)

[thishadoscarbuzz]

215 - Beatriz at Dinner

On the eve of the return of The White Lotus, we’re taking a look at the Mike White oeuvre with returning guest Jorge Molina and 2017′s Beatriz at Dinner. Starring our beloved Salma Hayek as a holistic masseuse trapped at a toxic dinner party held by her wealthy clients, the film debuted at Sundance and was immediately viewed through the lens of our outrage and despair in the immediate aftermath of Trump’s election. The dark cringe comedy had a divisive finale but a brilliant ensemble including Connie Britton, John Lithgow, and Chloe Sevigny, with Hayek giving one of her finest performances. But the 2017 Best Actress race was highly competitive, and this summer release struggled to make an awards season comeback.

This episode, we talk about the Arteta/White partnership including White’s television output and Arteta as the quintessential journeyman director. Topics also include scrubbed John Early clips, our dreams for Hayek’s deserved awards future, and comparing Beatriz at Dinner to another 2017 film that succeeded with Oscar.

Topics also include the 2002 Best Actress nominees pitching grants, Mike White’s run on Survivor and The Amazing Race, and performing Salma in Snatch Game.

Links:

The 2017 Oscar nominations

Muy Gay Too Mexicano on HBOMax

Just to Be Nominated podcast

Subscribe:

Spotify

Apple Podcasts

Google Play

Stitcher

[clemsfilmdiary]

Your Sister’s Sister (2011, Lynn Shelton)

4/15/21

[mrrobertgray]

I’m unsure if this is the legit adult casting or not; I haven’t heard any official word from Warner Brothers or New Line Cinemas regarding the matter yet. But, nevertheless, there are some quality actor choices here and the posters (likely fan made) look amazing!

[trapstrblog]

[dogmotifs]

i’m so glad people don’t talk abt creep (2014) like half the other horror movies on here. i would fucking end it all if i had to hear shit like peach fuzz my beloved. josef x aaron enemies to lovers slow burn. mike duplass is serving cunt.

[ultra-violet-hues]

Independent Films to Watch on a Rainy Day ☔️

10. Landline

Director: Gillian Robespierre

Cast: Jenny Slate, Edie Falco, John Turturro, Jay Duplass, Abby Quinn

9. Outside In

Director: Lynn Shelton

Cast: Kaitlyn Dever, Jay Duplass, Edie Falco, Ben Schwartz

8. Joshy

Director: Jeff Baena

Cast: Thomas Middleditch, Adam Pally, Nick Kroll, Jenny Slate, Brett Gelman, Alex Ross Perry, Lauren Graham, Aubrey Plaza, Joe Swanberg, Alison Brie, Jake Johnson, Frankie Shaw, Paul Reiser

7. Happy Christmas

Director: Joe Swanberg

Cast: Anna Kendrick, Melanie Lynskey, Joe Swanberg, Lena Dunham, Mark Webber

6. Standing Up, Falling Down

Director: Matt Ratner

Cast: Ben Schwartz, Billy Crystal, Nate Corddry, Debra Monk

5. Paddleton

Director: Alex Lehmann

Cast: Ray Ramano, Mark Duplass

4. Your Sister’s Sister

Director: Lynn Shelton

Cast: Emily Blunt, Rosemarie Dewitt, Mark Duplass, Mike Birbiglia

3. About Alex

Director: Jesse Zwick

Cast: Jason Ritter, Max Greenfield, Aubrey Plaza, Max Minghella, Jane Levy, Nate Parker, Maggie Grace,

2. Drinking Buddies

Director: Joe Swanberg

Cast: Olivia Wilde, Jake Johnson, Anna Kendrick, Ron Livingston, Jason Sudeikus

1. Obvious Child

Director: Gillian Robespierre

Cast: Jenny Slate, Jake Lacy, Gaby Hoffman, Richard Kind, Gabe Liedman, David Cross

[lifejustgotawkward]

365 Day Movie Challenge (2017) - #291: Beatriz at Dinner (2017) - dir. Miguel Arteta

Beatriz at Dinner might not literally be the “first great film of the Trump era,” as the poster states - doesn’t that honor belong to Get Out? - but Miguel Arteta’s film certainly is a beautifully made, sharply incisive dramedy observing the many divisions in American society. We follow an eventuful day in the life our protagonist, Beatriz (a brilliant Salma Hayek), who works as a holistic healer at a cancer treatment center and also as a masseuse to an upper-crust clientele in southern California. Late one afternoon, Beatriz drives from Santa Monica to Newport Beach for a massage appointment with a rich housewife, Kathy (Connie Britton). The two women seem to have a personal bond: Kathy’s daughter, Tara, was stricken with cancer as a teenager and Beatriz's care and friendship helped Tara on the road to recovery. When Beatriz finds that her old car won’t start and that she can’t leave Kathy’s house just yet, Kathy invites her friend to stay for a dinner party that she and her husband, Grant (David Warshofsky), are throwing for some of his colleagues and their wives. This is the point at which the story’s wheels really begin to turn.

As the guests arrive at the house, Beatriz struggles to fit in with conversation topics that concern only the rich, white social circle. Despite engaging in chitchat that she enjoys, it is clear that the other visitors - including Shannon (Chloë Sevigny), Alex (Jay Duplass) and Jeana (Amy Landecker) - consider her a bizarre anomaly encroaching on their comfortable territory. As the dinner progresses, Beatriz finds herself locked in a war of words with Grant’s boss, Doug Strutt (the incomparable John Lithgow), a Trumplike tycoon who flaunts both his wealth and his contempt for anyone of a lower social class (or perhaps a darker skin tone) than him. Beatriz tries to enlighten her companions with her memories of growing up in a Mexican village that was destroyed by an American construction company that never followed through on its building plans, but the only feedback she receives is disinterest.

Beatriz at Dinner’s mood changes as our heroine becomes increasingly aware that Kathy and Grant’s home is a hostile environment. The film shifts from comedy to drama as Beatriz’s confrontations with her adversaries become ever more emotionally charged. It’s too bad that Mike White’s script loses its satirical edge, but this is necessary to show Beatriz’s evolution over the course of this tense and upsetting night. Many viewers have argued that the film’s ending is a letdown, that it suggests - in a “bigger picture” sense - that acquiescing is the ultimate solution when one is faced with a bully or an outright villain. But if you consider Beatriz’s own story, just focusing how much she longs to return to a past that no longer exists (as evidenced in the themes of the song she performs for the dinner guests), the conclusion of her arc makes sense.

It’s amazing to realize how rare it is to see Salma Hayek in a performance like the one she gives in Beatriz at Dinner. The successes and failures of her career have always seemed to be predicated on how much makeup her characters wear and/or how tight and revealing their clothes are; occasionally she gets an opportunity, like in Frida and in Beatriz at Dinner, to show her power as an actress. In Beatriz, she wears no makeup; her hair is tied in a straightforward ponytail; her outfit is a utilitarian work ensemble. Without all of the usual distracting accoutrements, we can concentrate on the simple, striking impact of Hayek’s face, which radiates so much grace and strength in every frame. Even if you think you disagree with the political messages of Beatriz at Dinner, please see it for its extraordinary showcase of Salma Hayek, as well as the poetic cinematography of Wyatt Garfield.

[stainedglassgardens]

Favourite films watched in 2020

In no particular order:

Katalin Varga (Peter Strickland, 2009) The Gleaners and I (Les Glaneurs et la glaneuse, Agnès Varda, 2000) Land of Silence and Darkness (Land des Schweigens und der Dunkelheit, Werner Herzog, 1971) Post Tenebras Lux (Carlos Reygadas, 2012) The Return (Возвращение, Andrey Zvyaginstev, 2003) The Grand Bizarre (Jodie Mack, 2018) Transnistra (Anna Eborn, 2019) Ghost Town Anthology (Répertoire des villes disparues, Denis Côté, 2019) The Petrified Forest (Archie Mayo, 1936) Viy (Вий, Georgiy Kropachyov & Konstantin Ershov, 1967)

Complete list of all 323 films watched in 2020 under the cut!

January

Angus, Thongs and Perfect Snogging (Gurinder Chadha, 2008) Blade (Steven Norrington, 1998) Who Among Us! (Abhishek Prasad and Rebecca Kahn, 2019) Brotherhood (Meryam Joobeur, 2018) Disctrict 9 (Neill Blomkamp, 2009) Hair Love (Matthew A. Cherry and Karen Rupert Toliver, 2019) Kitbull (Rosana Sullivan, 2019) Sister (妹妹, Siqi Song, 2019) Nuts! (Penny Lane, 2016) The Judge (Erika Cohn, 2017) The Ghosts of Sugar Land (Bassam Tariq, 2019) Amazonia (Dominic Hicks, 2018) Dearborn Ash (Hena Ashraf, 2018) Pineal (Jenny Rinta-Kanto, 2019) Headcleaner (Nick Scott, 2019) Rattlesnake (Zak Hilditch, 2019) The Neon Demon (Nicolas Winding Refn, 2016) Skin (Audrey Rosenberg, 2018) The Banishment (Изгнание, Andrey Zvyagintsev, 2007) F is for Friendship (Shaya Mulcahy, 2016) Paradise Hills (Alice Waddington, 2019) Road House (Rowdy Herrington, 1989) Hustlers (Lorene Scafaria, 2019) I Believe in Unicorns (Leah Meyerhoff, 2014) Ghost Train (Lee Cronin, 2014) Troop Zero (Bert & Bertie, 2019) For the Love of God (Pour l'Amour de Dieu, Micheline Lanctôt, 2011)

February

Sitting Next to Zoe (Ivana Lalović, 2013) Dark Places (Gilles Paquet-Brenner, 2015) Nocturnal Animals (Tom Ford, 2016) The Limey (Steven Soderbergh, 1999) Side Effects (Steven Soderbergh, 2013) Good Sam (Kate Melville, 2019) Anima (Paul Thomas Anderson, 2019) What Did Jack Do? (David Lynch, 2017) Fleur de tonnerre (Stéphanie Pillonca, 2016) Parasite (Bong Joon-ho, 2019) The Field Guide to Evil (Peter Strickland, Veronika Franz & Severin Fiala, Katrin Gebbe, Yannis Veslemes, Ashim Ahluwalia, Agnieszka Smoczynska, Can Evrenol, Calvin Reeder, 2018) Devil (John Eric Dowdle, 2010) 37 Seconds (Hikari, 2019) The Falling (Carol Morley, 2014) Grave of the Fireflies (火垂るの墓, Hotaru no Haka, Isao Takahata, 1988) Elena (Елена, Andrey Zvyagintsev, 2011) The Lighthouse (Robert Eggers, 2019) Baskin (Can Evrenol, 2015) In Fabric (Peter Strickland, 2018) Leviathan (Левиафан, Andrey Zvyagintsev, 2014) Suffragette (Sarah Gavron, 2015)

March

The East (Zal Batmanglij, 2013) Solaris (Солярис, Andrei Tarkovsky, 1972) Mamma Mia! (Phyllida Lloyd, 2008) There Will Be Blood (Paul Thomas Anderson, 2007) Io (Jonathan Helpert, 2019) The Death and Life of Marsha P. Johnson (David France, 2017) A Bump Along the Way (Shelly Love, 2019) Color Out of Space (Richard Stanley, 2019) Divines (Houda Benyamina, 2016) Vanishing Waves (Kristina Buožytė, 2012) Mirror (Зеркало, Andrei Tarkovsky, 1975) Zama (Lucrecia Martel, 2017) Swallow (Carlo Mirabella-Davis, 2019) Joy (Sudabeh Mortezai, 2018) Good Time (Josh and Benny Safdie, 2017) Quarantine (John Eric Dowdle, 2008) The Reflecting Skin (Philip Ridley, 1990) Three Billboards Outside Ebbing, Missouri (Martin McDonagh, 2017) Leto (Лето,  Kirill Serebrennikov, 2018) The 39 Steps (Alfred Hitchcock, 1935)

April

Queen of Earth (Alex Ross Perry, 2015) Black Christmas (Sophia Takal, 2019) Dogs of Chernobyl (Léa Camilleri & Hugo Chesnel, 2020) Firecrackers (Jasmin Mozaffari, 2018) Les Misérables (Ladj Ly, 2019) The Evil Dead (Sam Raimi, 1981) The Daughters of Fire (Las hijas del fuego, Albertina Carri, 2018) The Fallen Idol (Carol Reed, 1948) The Wailing (곡성, Gokseong, Na Hong-jin, 2016) Inherent Vice (Paul Thomas Anderson, 2014) Sorrowful Shadow (Guy Maddin, 2004) Mistery Lonely (Harmony Korine, 2007) The Grand Bizarre (Jodie Mack, 2018) Zombieland: Double Tap (Ruben Fleischer, 2019) Waves '98 (Ely Dagher, 2015) Uncut Gems (Josh and Benny Safdie, 2019) The Last Séance (Laura Kulik, 2018) Too Late to Die Young (Tarde para morir joven, Dominga Sotomayor Castillo, 2018) Room (Lenny Abrahamson, 2015) Queen & Slim (Melina Matsoukas, 2019) The Holy Mountain (La montaña sagrada, Alejandro Jodorowsky, 1973) The Chaser ( 추격자, Chugyeokja, Na Hong-jin, 2008) Made in Dagenham (Nigel Cole, 2010) The Color of Pomegranates (Նռան գույնը, Nřan guynə, Sergei Parajanov, 1969) Lost Girls (Liz Garbus, 2020) Ghost Town Anthology (Répertoire des villes disparues, Denis Côté, 2019) And Then There Were None (René Clair, 1945) Doctor Sleep (Mike Flanagan, 2019) Meshes of the Afternoon (Maya Deren and Alexander Hammid, 1943) Circus of Books (Rachel Mason, 2019) Catfish (Henry Joost and Ariel Schulman, 2010) Wildling (Fritz Böhm, 2018) Delphine (Chloé Robichaud, 2019) The Strange Love of Martha Ivers (Lewis Milestone, 1946) The Red Balloon (Le Ballon rouge, Albert Lamorisse, 1956) Nona. If They Soak Me, I’ll Burn Them (Nona. Si me mojan, yo los quemo, Camila José Donoso, 2019) The Lodge (Veronika Franz & Severin Fiala, 2019) Invisible Man (Leigh Whannell, 2020) Sans Soleil (Chris Marker, 1983)

May

A Russian Youth (Мальчик русский, Alexander Zolotukhin, 2019) Sicario (Denis Villeneuve, 2015) Fedora (Billy Wilder, 1978) LoveTrue (Alma Har'el, 2016) The Platform (Galder Gaztelu-Urrutia, 2019) Water Lilies (Naissance des pieuvres, Céline Sciamma, 2007) The Assistant (Kitty Green, 2019) The Half of It (Alice Wu, 2020) Tomboy (Céline Sciamma, 2011) The Last Man on Earth (Ubaldo Ragona and Sidney Salkow, 1964) Beanpole (Дылда, Kantemir Balagov, 2019) Mommy (Xavier Dolan, 2014) The Fall (Jonathan Glazer, 2020) Girlhood (Bande de filles, Céline Sciamma, 2014) Carnival of Souls (Herk Harvey, 1962) Marguerite & Julien (Valérie Donzelli, 2015) Portrait of a Lady on Fire (Portrait de la jeune fille en feu, Céline Sciamma, 2019) This Magnificent Cake! (Ce Magnifique Gâteau!, Emma De Swaef & Marc James Roels, 2018) Romantic Comedy (Elizabeth Sankey, 2019) Transnistra (Anna Eborn, 2019) Eraserhhead (David Lynch, 1977) The Farewell (Lulu Wang, 2019) Emma. (Autumn de Wilde, 2020) Late Night (Nisha Ganatra, 2019) Charlie's Angels (Elizabeth Banks, 2019) Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) (Cathy Yan, 2020) The Ancestors Came (Cecile Emeke, 2017) Suicide by Sunlight (Nikyatu Jusu, 2019) Anthropocene: The Human Epoch (Edward Burtynsky, Jennifer Baichwal, Nicholas de Pencier, 2018) A Perfect 14 (Giovanna Morales Vargas, 2018) Westwood: Punk, Icon, Activist (Lorna Tucker, 2018) Free Radicals (Len Lye, 1958) Aniara (Pella Kågerman and Hugo Lilja, 2018) Vivarium (Lorcan Finnegan, 2019) La Pointe-Courte (Agnès Varda, 1955) Diary of a Pregnant Woman (L'Opéra-Mouffe, Agnès Varda, 1958) Salut les Cubains (Agnès Varda, 1964) Uncle Yanco (Oncle Yanco, Agnès Varda, 1967) GUO4 (Peter Strickland, 2019) Atlantiques (Mati Diop, 2009) Sitara: Let Girls Dream (Sharmeen Obaid-Chinoy, 2019) Lions Love (Lions Love... And Lies, Agnès Varda, 1969) Živan Makes a Punk Festival (Živan pravi pank festival, Ognjen Glavonić, 2014) Plastic and Glass (Tessa Joosse, 2009) The So-Called Caryatids (Les Dites Cariatides, Agnès Varda, 1984) The Octopus (La Pieuvre, Jean Painlevé, 1928) Hyas and Stenorhynchus (Hyas et sténorinques, crustacés marins, Jean Painlevé, 1929) Sea Urchins (Les Oursins, Jean Painlevé, 1929) Bernard-L'Hermite (Bernard-l'Ermite, Jean Painlevé, 1930) The Sea Horse (L'Hippocampe ou "cheval marin", Jean Painlevé, 1934) Voyage to the Sky (Voyage dans le ciel, Jean Painlevé, 1937) Le Vampire (Jean Painlevé, 1945) Freshwater Assassins (Assassins d'eau douce, Jean Painlevé, 1947) How Some Jellyfish Are Born (Comment naissent des méduses, Jean Painlevé and Geneviève Hamon, 1960) Shrimp Stories (Histoires de crevettes, Jean Painlevé and Geneviève Hamon, 1964) The Love Life of the Octopus (Les Amours de la pieuvre, Jean Painlevé and Geneviève Hamon, 1965) Acera, or The Witches' Dance (Acera, ou le Bal des Sorcières, Jean Painlevé and Geneviève Hamon, 1972) Pigeons of the Square (Les Pigeons du square, Jean Painlevé, 1982) The Slumber Party Massacre (Amy Holden Jones, 1982) Jane B. par Agnès V. (Agnès Varda, 1988) The Cranes Are Flying (Летят журавли, Mikhail Kalatozov, 1957) Crystal Swan (Хрусталь, Darya Zhuk, 2018) Take Me Somewhere Nice (Ena Sendijarević, 2019) Microhabitat ( 소공녀, Jeon Go-woon, 2017) The Unforeseen (Laura Dunn, 2007)

June

Funny Games (Michael Haneke, 1997) Louise Bourgeois: The Spider, the Mistress and the Tangerine (Marion Cajori and Amei Wallach, 2008) Wodaabe: Herdsmen of the Sun (Werner Herzog, 1989) Bells from the Deep: Faith and Superstition in Russia (Glocken aus der Tiefe - Glaube und Aberglaube in Russland, Werner Herzog, 1993) We Are the Best! (Vi är bäst!, Lukas Moodysson, 2013) Olla (Ariane Labed, 2019) Return to Reason (Le Retour à la raison, Man Ray, 1923) Ghosts Before Breakfast (Vormittagsspuk, Hans Richter, 1928) Sissy Boy Slap Party (Guy Maddin, 2004) The Republic of Enchanters (La République des enchanteurs, Fanny Liatard and Jérémy Trouilh, 2016) Sullivan's Banks (Sullivans Banken, Heinz Emigholz, 2000) Black Panthers (Agnès Varda, 1970) Asparagus (Suzan Pitt, 1979) America (Valérie Massadian, 2013) The Fall (Tarsem Singh, 2006) The Watermelon Woman (Cheryl Dunye, 1996) Douce Menace (Ludovic Habas, Yoan Sender, Margaux Vaxelaire, Mickaël Krebs, Florent Rousseau, 2011) Curling (Denis Côté, 2010) Trouble Every Day (Claire Denis, 2001) The Return (Возвращение, Andrey Zvyaginstev, 2003) Maillart's Bridges (Maillarts Brücken, Heinz Emigholz, 2000) Two Years at Sea (Ben Rivers, 2011) The Creeping Garden (Tim Grabham and Jasper Sharp, 2014) Homo Sapiens (Nikolaus Geyrhalter, 2016) A Radiant Life (Une Vie radieuse, Meryll Hardt, 2013) Shirley (Josephine Decker, 2020) Disclosure (Sam Feder, 2020) Baghead (Mark Duplass and Jay Duplass, 2008) Lahemaa (Leslie Lagier, 2010) Closeness (Теснота, Kantemir Balagov, 2017) Touki Bouki (Djibril Diop Mambéty, 1973) Daughter (Dcera, Daria Kashcheeva, 2019) Human Nature (Sverre Fredriksen, 2019) 1 Dimension (一维, Lü Yue, 2013)

July

Post Tenebras Lux (Carlos Reygadas, 2012) Something to Remember (Något Att Minnas, Niki Lindroth Von Bahr, 2019) Gegenüber (Ewa Wikiel, 2019) The Claudia Kishi Club (Sue Ding, 2020) Villa Empain (Katharina Kastner, 2019) Fata Morgana (Werner Herzog, 1971) Some Like It Hot (Billy Wilder,1959) Breakwater (Quebramar, Cris Lyra, 2019) Y a-t-il une vierge encore vivante? (Bertrand Mandico, 2015) Virus Tropical (Santiago Caicedo, 2017) The Tribe (Племя, Miroslav Slaboshpitsky, 2014) Integration Report 1 (Madeline Anderson, 1960) Tribute to Malcolm X (Madeline Anderson, 1967)

August

The Stopover (Voir du pays, Delphine and Muriel Coulin, 2016) Our Time (Nuestro Tiempo, Carlos Reygadas, 2018) Never Rarely Sometimes Always (Eliza Hittman, 2020) Land of Silence and Darkness (Land des Schweigens und der Dunkelheit, Werner Herzog, 1971) Continental, a Film Without Guns (Continental, un film sans fusil, Stéphane Lafleur, 2007) Spaceship Earth (Matt Wolf, 2020) The Go-Go's (Alison Ellwood, 2020) First Cow (Kelly Reichardt, 2019) Light of My Life (Casey Affleck, 2019) Wadjda (Haifaa al-Mansour, 2012) Spinster (Andrea Dorfman, 2020) Love and Anarchy (Film d'amore e d'anarchia, ovvero: stamattina alle 10, in via dei Fiori, nella nota casa di tolleranza..., Lina Wertmüller, 1973) Shapito Show (Шапито шоу, Sergey Loban, 2011) Charade (Stanley Donen, 1693) Cat People (Jacques Tourneur, 1942) Radioactive (Marjane Satrapi, 2019) Tabloid (Errol Morris, 2010) The Mourning Forest ( 殯の森, Mogari No Mori, Naomi Kawase, 2007) Lilya 4-ever (Lilja 4-ever, Lukas Moodysson, 2002)

September

The Nightingale (Jennifer Kent, 2018) Babyteeth (Shannon Murphy, 2019) Let the Corpses Tan (Laissez bronzer les cadavres, Hélène Cattet & Bruno Forzani, 2017) Wings of Desire (Der Himmel über Berlin, Wim Wenders, 1987) In My Room (Mati Diop, 2020) Katalin Varga (Peter Strickland, 2009) Les 3 Boutons (Agnès Varda, 2015) Somebody (Miranda July, 2014) Öndög (Wang Quan'an, 2019) Strasbourg 1518 (Jonathan Glazer, 2020) Mermaid (Русалка, Anna Melikyan, 2007) The Lighthouse (Маяк, Maria Saakyan, 2006) Phenomena (Dario Argento, 1985) That One Day (Crystal Moselle, 2016) Brigitte (Lynne Ramsay, 2019) The Wedding Singer's Daughter (Haifaa al-Mansour, 2018) Shako Mako (Hailey Gates, 2019) Carmen (Chloë Sevigny, 2017) The Summer of Sangailė (Sangailės Vasara, Alanté Kavaïté, 2015) Hello Apartment (Dakota Fanning, 2018) Seed (Naomi Kawase, 2016) Beyond the Visible: Hilma af Klint (Halina Dyrschka, 2019) Matthias & Maxime (Xavier Dolan, 2019) The Gleaners and I (Les Glaneurs et la glaneuse, Agnès Varda, 2000)

October

American Murder (Jenny Popplewell, 2020) Hereditary (Ari Aster, 2018) Ghostland (Pascal Laugier, 2018) Triangle (Christopher Smith, 2009) The Amityville Horror (Stuart Rosenberg, 1979) The Visit (M. Night Shyamalan, 2015) The House of the Devil (Ti West, 2009) Misery (Rob Reiner, 1990) The Exorcist (William Friedkin, 1973) Coherence (James Ward Byrkit, 2013) Metamorphosis (변신, Kim Hong-sun, 2019) Errementari (Paul Urkijo Alijo, 2017) I Am a Ghost (H.P. Mendoza,2012) The Changeling (Peter Medak, 1980) Witching and Bitching (Las Brujas de Zugarramurdi, Álex de la Iglesia, 2013) Thirst (박쥐, Park Chan-wook, 2009) V/H/S ( Adam Wingard, David Bruckner, Ti West, Glenn McQuaid, Joe Swanberg, Radio Silence, 2012) The Autopsy of Jane Doe (André Øvredal, 2016) Overlord (Julius Avery, 2018) Häxan (Benjamin Christensen, 1922) Viy (Вий, Georgiy Kropachyov & Konstantin Ershov, 1967) Amulet (Romola Garai, 2020) A Bucket of Blood (Roger Corman, 1959) The Wasp Woman (Roger Corman, 1959) Mother! (Darren Aronofsky, 2017) Suspiria (Dario Argento, 1977) The Open House (Matt Angel, Suzanne Coote, 2018)

November

The Damned Don't Cry (Vincent Sherman, 1950) Notorious (Alfred Hitchcock, 1946) While the City Sleeps (Fritz Lang, 1956) The Man Who Wasn't There (Joel Coen, 2001) The Naked City (Jules Dassin, 1948) The Petrified Forest (Archie Mayo, 1936) Croupier (Mike Hodges, 1998) In a Lonely Place (Nicholas Ray, 1950) Elevator to the Gallows (Ascenseur pour l'échafaud, Louis Malle, 1958) Key Largo (John Huston, 1948) Dial M for Murder (Alfred Hitchcock, 1954) The Long Farewell (Долгие проводы, Kira Muratova, 1971) The Killers (Robert Siodmak, 1946) Gun Crazy (Joseph H. Lewis, 1950) Alphaville (Jean-Luc Godard, 1965) Laura (Otto Preminger, 1944) The Third Man (Carol Reed, 1949) Dark City (Alex Proyas, 1998) Night and the City (Jules Dassin, 1950) Ace in the Hole (Billy Wilder, 1951)

December

Nimic (Yorgos Lanthimos, 2020) Elsa la rose (Agnès Varda, 1966) Le Bonheur (Agnès Varda, 1965) Little Girl (Petite Fille, Sébastien Lifshitz, 2020) Cold Meridian (Peter Strickland, 2020) The Fiancés of the Bridge Mac Donald (Les Fiancés du Pont Mac Donald ou (Méfiez-vous des Lunettes Noires)) (Agnès Varda, 1961) Along the Coast (Du côté de la côte, Agnès Varda, 1958) Vic + Flo Saw a Bear (Vic + Flo ont vu un ours, Denis Côté, 2013) Zootopia (Byron Howard, Rich Moore, 2016) It's a Wonderful Life (Frank Capra, 1946) Paddington (Paul King, 2014) Miracle on 34th Street (George Seaton, 1947) High Life (Claire Denis, 2018) Paddington 2 (Paul King, 2017)

[kwebtv]

Manhunt:  Unabomber  -  Discovery Channel -  August 1, 2017 - September 12, 2017

Drama / True Crime (8 episodes)

Running Time:  60 minutes

Stars:

Sam Worthington as Jim Fitzgerald

Paul Bettany as Ted Kaczynski

Jeremy Bobb as Stan Cole

Keisha Castle-Hughes as Tabby Milgrim

Lynn Collins as Natalie Rogers

Brían F. O'Byrne as Frank McAlpine

Elizabeth Reaser as Ellie Fitzgerald

Ben Weber as Andy Genelli

Chris Noth as Don Ackerman

Recurring

Jane Lynch as Janet Reno

Katja Herbers as Linda Kaczynski

Michael Nouri as Bob Guccione

Jill Remez as Susan Mosse

Wallace Langham as Louis Freeh

Brian d'Arcy James as Henry Murray

Mark Duplass as David Kaczynski

Diesel Madkins as Ernie Esposito

Will Murden as Sean Fitzgerald

Carter and Colby Zier as Ryan Fitzgerald

Jana Allen as Heidi Shumway

Trieste Kelly Dunn as Theresa Oakes

Griff Furst as Burkhardt

Rebecca Henderson as Judy Clarke

Bonnie Johnson as Wanda Kaczynski

Steve Coulter as Anthony Bisceglie

Mary Rachel Dudley as Lois Epstein

Tyler Huth as Timmy Oakes

Doug Kruse as David Gelernter

Mike Pniewski as Charles Epstein

Gregory Alan Williams as Garland Burrell

McKenna Grace Martin as Joanna Epstein