You're saying that in all of the 1970s, only one female solo-directed a motion picture in the UK? Yep. It's THE OTHER SIDE OF THE UNDERNEATH!
Back in the 1970's in the United Kingdom, there was a sole female Director of a movie. It was an avant-garde, cinematic depiction of the person's stage work and a perfect example of "Panic" Cinema. That film is THE OTHER SIDE OF THE UNDERNEATH.
It's a cinematic journey we could not take on our own so we brought back Josh and Kat of Uncomfortable Brunch to bring a bit of academia to the table. We also introduce a new segment that tests Josh's proclivities. In an episode that talks about everything but the film in question, we believe our thought process is accurate.
Everything makes sense... eventually.
The Avant-Garde Experience of The Other Side of the Underneath
Laura: Well, hello there. Welcome to On the BiTTE the podcast that uncovers full frontal male nudity in cinema. Uh, my name is Laura and I am joined by my co host, Ryan.
Ryan: Hello.
Laura: And I also joined by our special guest, Kat and Josh from Uncomfortable Brunch. Hello to the two of you.
Josh: Hello.
Kat: Hi.
Laura: How'it got one frequent guest. Thanks for always coming over when we ask.
Josh: No problem.
Kat: Yeah, we're always, um, available to talk about dicks.
Laura: Yay. Uh, the. Well, we would. I guess we're. The dick thing is it's not too much of it, but it's in the 1972 experimental psychological drama the Other side of the Underneath, which is an uncomfortable brunch film that is showing. Well, that has already shown because this is coming out after, so everyone has already seen Movie to the Future they can enjoy.
Kat: You've seen it now. You can unwind and think about it and be like, what did I just watch?
Laura: And nothing we're go goingna say is going toa help you understand it at all. Uh, this film was directed by Jane Arden, Starring is hard to say because it's like a interesting collaborative group experiment. Uh, but some of the people in this film are Sheila Allen, Ann Lynn, Penny Slinger, and Jane Arden herself. And the synopsis that I pulled from letterboxed is one beautiful sentence. A therapist looks into the mind of a woman diagnosed as schizophrenic and finds not madness, but tortured sexual guilt created by the tdoos of society.
Ryan: Pretty accurate. Completely understandable from start to finish.
Laura: Yes, absolutely comprehensible. And why don't you tell us about our director, Ryan, before we. Yes, dig in.
Ryan: Okay, so Jane Arden, she's a British film director. Atrix singer, songwriter and poet. Um, u. She, uh, joined Movements for Feminism and Anti. Like, he just comes up and like, ripped through. He did.
Laura: That's not appropriate right now.
Ryan: Um, sorry, Jane. Um, so, yeah, she joined Movements for Feminism and Anti Psychiatry. Um, she is very much known for her feminism, film and radical theater. Um, but unfortunately, she died of suicide at the age of 55. So I guess if we want to look at her, her selected works, um, just due to the fact that there's a lot of directorship, co directorship, like uncredited roles and stuff that she has. We can start off with separation in 1968, where she's also the writer and the actor. Um, obviously we have this movie the Other side of the underneath, from 1972, where she is the writer actor, and she is the so_e director of this piece. And we also have anti clock from 1979 where she's the writer, composer and co director. There's also vibration in 75 and that's a short film where she's also the co director, writer, cinematographer and also the editing. Um, but yeah, there's a little bit of TV as well. Um, some of her acting credits that are quite vast. Um, but she's also quite, quite a consistent writer as well. So there's a lot there. We kind of just focus on the movies. But yeah, um, there's a fair amount there.
Laura: What was the first one? Is it this one? Is it Vibr.
Josh: No, that's, that's Short Vibrations was a short. She actually, she did write um, Separation, which Jack Bond directed. But she uh, basically had a hand in directing in an uncredited uh, capacity. That was the first feature that they did together.
Kat: Uh, she wrote plays.
Laura: Oh yeah, yeah.
Ryan: That's.
Kat: So if you want to talk about the plays that she wrote, they have some interesting titles.
Laura: Oh, do youn. To name. Well, I know what. So this film is loosely adapted From Jane Arden's 1971 multimedia stage piece called A New Communion for Free Freaks, Prophets and Witches. So that is what this came from. And I think something that's really. We've already basically said it but this is the only British feature film that was solo directed by a woman in the 1970s. Which is odd, you know, like what was going on there and why is it that with the three films that she kind of had a hand in, this one kind of Stuck in the Middle is the
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Laura: only one that like Jack Bond didn't really have his hands on as much like he produced.
Josh: He produced it.
Laura: Yeah, he produced it. But the other films were co directed and so I think it's interesting that this one was just kind of her project and hers alone.
Kat: Yeah. Versus the two of them because they seem to be like a team.
Laura: Yeah. Um, I was watching the. Some of the kind of features and the. What was it like the introduction to the film on the Severin, uh, collection.
Josh: Mhm.
Laura: That this film is in which is the house of psychotic women. And how do you pronounce her name properly? Kira. Janie.
Josh: Yes, Carol.
Laura: She was saying. She said a lot of interesting things. Obviously it's a great collection to pick up if you guys don't have that already. But I know you. I know you do, Josh. But she said that it was rumored that Jacque Bond and Jane Arden were. Were lovers. So I don't know. I don't know what that's about. Why not? You know.
Josh: Right. Yeah. It was actually really cool. U. She uh, um. She and I were able to enter uh, email back and forth a little bit when we booked the film.
Laura: Oh really?
Josh: Yeah. Um, because I wanted to chop down uh, some of that introduction um, and use it kind of in lieu of a um, trailer because I feel like her introduction to that was really, really strong.
Laura: Right.
Josh: Um, it's like nine minutes long. So um. But I wasn't sure if that what the logistic find that were. I didn't want to just do it. So um, shot her an email through her website and she got back right away. Yeah. That's cool. She seemed like really into anybody was showing it. Yeah. So, uh, yeah, very, very nice. Uh, she. She wrote a book, House of Psychotic Women. That, that uh, box that came out in conjunction with necessary uh, reading. Just Great, great book.
Laura: I thought because I assume you have that book. Yeah, I was thinking about picking it up as well because it's really interesting.
Josh: It's really good. They. She did a 10th, 10 year anniversary um, um, reprint of it. I saw her speak a uh, couple years ago now I guess. Um, but she uh, she talked about doing a um, re release of it after only 10 years and she's like well the real big thing that was the difference between 2012 and 2022 was um, that there were more rape revenge movies being directed by women. Um, and so there's about a hundred pages worth of uh, information there that she's like the based up just because of what the book is about.
Laura: Right.
Josh: It would seems silly to omit that at this point where it was just was and as relevant when it originally published. So she was great. But any case, she was really, really uh, wonderful and basically uh, said ee uh, it's under. There's a. We have a contract that it's a uh, Blu ray only. But just don't advertise it like. All right. Yeah, no problem. And it's not like we're using it as an advertr. I mean we're. It's fine.
Kat: Uh, it's not. It's not gonna. Yeah, I bring in the masses because.
Laura: Yeah. For that intro. I wondered. I think I know which one of you pitched this one for Uncomfortable Breunch. Had you heard about it?
Kat: Kine? No, he was just like we should show this. And he gave it to me to watch and I watched it. I was like this is insane. Yes, let's do it.
Laura: So did you read about it in the book first, Josh?
Josh: Yeah, I had read about it over the years. And actually I don't even know if it was specifically from the book, uh, because it was one of those titles that it didn't get released proper. A proper physical release I think, in like 2009.
Laura: Yeah.
Josh: So, um, it's one of those that I just heard about a little bit, but never had actually seen.
Kat: Um, well, like after her suicide, I guess like Jack Bond was kind of like keeping the collection of films that she worked on, like just in his own private archives until like way later.
Laura: It was like the year after she died because she passed away in 82 and in 83 there was a national film tribute to her.
Josh: Mhm.
Laura: Where they publicly screened the films which they hadn't done before, like, you know, since maybe they came out.
Josh: Right, right.
Laura: Um, and then BFI restored them in 2009. So I think that was the first time.
Kat: Just got like locked away in the Jack Bond vault. Like.
Laura: Yeah, the Disney vault.
Josh: Which I don't know. I mean, I don't know the story. I don't know the story behind it, but that pro. In a lot of ways that might have been beneficial because uh, he. I'm sure he kept him in good condition. That uh, you know, those aren't exactly titles that uh. The titles that could disappear into obscurity pretty fucking quick. Uh, I don't know. I have no idea. Maybe he uh, uh, you know, was obsessive and crazy and didn't want to share her. I don't know.
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Josh: I have no idea. But him doing that probably did uh, uh, keep pretty pristine 35 negatives and.
Kat: Proper storagee and also like helping them become almost mythical so that people are like, oh, this is a film that nobody has access to. And then as soon as it. They do have access to it, it's kind of like diamonds.
Josh: They're like, ooh, clown that cried. Can't wait. You know about this, right?
Kat: No.
Josh: Jerry Lewis movie. Oh, there's a. There was a. I don't. I've heard different accounts of whether it was finished or not. Not. But he made a. It was meant to be a drama like um, some semi uplifting but like ended up being super tone deaf where he plays a Jewish clown that makes the children that are being taken to be executed be more upbeat, not knowing that that's what's gonna happen. And. And he kept it in his private collection and said that it was not allowed to be released until eczema. I think it was like 10 years after his death. Um, which it has been that amount of time and actually, uh, apparently, yeah, it exists. The National Film Artchive has it.
Kat: Uh, someone saw and they were like, no one needs to see.
Josh: No, no, no. It was Jerry Lewis that said it. Jerry Lewis pulled it. It was written and directed and starring him. And he said, I'll never release this. Uh, the only person I know off the top of my head who's seen it in its entirety is, um, Harry Shearer has seen it and talked about it.
Laura: Wow.
Josh: Which'kind of weird, but. Yeah. Case. Yeah. So keep.
Laura: We can't watch it.
Josh: Not yet. I don't know. But I'll let you know whenever it comes available.
Laura: We need to do, like, a national treasure, because I definitely go in and steal it.
Ryan: Right.
Josh: Because I keep up on this. Like, I'm very interested in whenah. Jim Desantis and I talk about this once a month, probably, I'd say in.
Laura: Between in your monthly, uh, meetup.
Josh: No, no, we bullshit easily like once or easily uh, once a day, so. But actually, I'm almost willing to bet that it's in recent conversation.
Laura: Let me see.
Kat: We're gonna have, like, a live text reading.
Josh: Look at that.
Ryan: What?
Josh: Thursday. Full cut of Jerry Lewis is the day the clown cried. Found after 45 years lost. And he just said, stop fucking with us. See, we talk about this a lot.
Kat: When was that?
Josh: Thursday.
Laura: So for context, that was two days ago.
Josh: Y.
Kat: It is now Saturday.
Laura: Wow. Okay. Well, now I. I don't know. I want to see. But that happens all the time where there are those random films that are just kind of like, found. Wasn't Miami, um, connection one of those in a weird way?
Josh: I think so, yeah.
Laura: It was just kind of like sitting around in. Someone help. No, there's other ones. There's like a ninja movie that was like, that Someone found it and then they, like, kind of recut it.
Josh: Right.
Laura: It'like lost mass.
Josh: Um, bat pussy. That's what comes to mind immediately. Oh, you've never seen this?
Laura: No.
Josh: Oh, man. I gotta lend you that. It's outstanding.
Laura: Oh, but it's out. But it's available now.
Josh: Oh, it is available, yes.
Kat: Uh, bat pussy.
Josh: Yeah. This really has nothing to do with what we're talking about with Jane aren so we'll goangent later.
Kat: It relates to obscurity and, like, things being locked away, I guess. So it's tangentiallyrel related.
Josh: Do you want me to tell you what b pussy is?
Kat: Yes, yes. I think the people want to know.
Josh: Um, I'm people in the back of a storage area of a hardcore porn theater, I believe, outside of Nashville as I recall, definitely Tennessee. Um, somebody purchased. There was a huge amount of 16 millimeter prints, one of which had no heads or tails on it. So there was no title and no credits, uh, outside of Bat Pussy. And it is very much. It's. It's definitely made in the early 70s. Um, there's a couple who seem like they were cast by John Waters that are just yelling horrible, horrible slurs at each other while naked trying to have sex. But he never gets erect enough for there to be any real penetration. Uh, and it's just her like calling him like gay slurs and all these like horrible things and him just like saying how bad or pussy smells and really shitty weird. And at this goes on back and forth for the length of the entire movie, which is about 7:65 minutes. But intercut with that is a woman dressed as the Adam West Batman who catches wind that in Gotham City someone is gonna make a porno tape which apparently are these people even though they never show a camera in this room at all. And so this Batman parody has to find them, I guess. And by doing that there's. They're on like of those bouncy ball things to handle, huh? Yeah, it's bouncing on that. And this is probably about three or four minutes of actual footage of this inn intercut with these trashy people
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Josh: screaming at each other while trying to fuck. Now what's really interesting about it though is that it's totally inept. Horrible, horrible filmmaking. Doesn't make any sense. Who is this for? But there's no credits on it. So the Internet salutes have gone crazy trying to figure it out where it came from. And they've done some really good research on it where it's like one of the magazines that's being read at the beginning. They figured out what issue it was. So it's like what had to have been made after March 1971. And one of the actors has a tattoo on his ass that is a mascot of a local football team. I think it's high school actually. Of. So it's of. I think as I recall it was s. Kind of like on that Texarkanaa border area. So like they figured out region wise where it is and it kind of makes sense for their dialect and their. It's. It's really funny.
Laura: U.
Josh: Uh, so yeah, but there was a Blu ray release of this that something weird and vinegar syndrome put out that I very excited that I have. So I'll. I'll le it to you. I. I make people watch it all the time I've watched it with, uh, uh, at least three people. It's awesome. Like, I actually kind of want to watch it with y'all. Like, it's much better to watch it together because it's awesome.
Laura: And not just alone by yourself.
Josh: Because it's not sexy.
Laura: No.
Josh: There's never any moment where you'd be like, uh, E, maybe I shouldn't be watching this with my platonic friends. U But no, that. No. Yeah.
Laura: And now you can get bat pussy and the Other side of the Underneath on Blu Ray disc. So the Other side of the Underneath was shot in Whles, which, you know, makes sense because Jane Ararden was Welsh. I'BRINGING it back, guys.
Josh: That's true.
Kat: Yeah, that's good.
Laura: Bringing it back and proud of you. Thank you. She brought her experimental feminist theater company which was called the Holocaust. Or Holocaust.
Josh: Yeah, I think it was just Holocaust.
Laura: Just Holocaust. I don't want to.
Josh: A Holocaust. Not the Holocaust.
Laura: Thank you. Thank you.
Kat: M not specifically any Holocaust.
Laura: Uh, an unspecific Holocaust to whales. Uh, she brought her theater company to.
Ryan: Film this to Wales. She brought a Holocaust to.
Laura: Waale comes Holocaust.
Ryan: Ha ha. Here comes a Holocaust.
Laura: Which I'm sure being the theater troupe that I assume was in the, uh, the show that this is based off of.
Ryan: Well, I think it's the original cast members from.
Josh: From the show that the show was. Was comprised of all women as well.
Ryan: Yeah.
Laura: Not a ton. Not a ton of dudes in this.
Josh: No, no, they there are. But, uh, U the theater troupe consisted of all.
Kat: All female.
Laura: Makes sense.
Josh: Mhm.
Kat: And the, um, the title of this comes from. I found it. Vagina Rex and the gas oven, 1969. That's where the Other side of the Underneath comes from. It was in her play. O like the actual title, the title.
Laura: Came from the play called what?
Kat: Vagina Rex and the Gas Oven.
Laura: Why am I not surprised that that's what that's called?
Kat: Why not, uh, 1969.
Laura: That's right. Um, this film, seeing that it's comprised mostly of actors, all of actors who were in the theater company. Right. For the most part, makes this film very much like something you would see on this stage.
Josh: Oh, yeah, this is.
Laura: And I mean, there's very much. I mean, there's parts of it that are on a stage.
Josh: So I mean, there are moments where you see the boom operator and it's not. I don't think it's poor filmmaking. I think it was intentional, you know, uh, it was during that crazy sequence with that, like, psychedelic jazz Quintet or whatever the fuck it was.
Ryan: Noise ban.
Laura: I gotta tell you. I started screaming. I actually started screaming when that part came on because there was so much noise and I thought my brain was going to exp. Explode.
Kat: Yeah, it's like an assault on the senses.
Laura: That's exactly what I said.
Kat: I'm like, I'm being assaulted. I'm literally being assaulted. But, like, maybe that, uh, it is the point, because it's just like, you. You're not in control of your surroundings or anything that's happening around you. And it's all the, like, uh, overstimulation and, like, everything's happening all at once.
Laura: It was almost like stunt rock, but, like, not as cool.
Kat: Bringing it back to Stunt Rock.
Laura: Yeah, I wish Stunt rock wasn't PG and it had a wiener in it to talk about it.
Kat: When. Whenever I. Whenever I got here, Laura was like, have you. Have you seen Stunt Rock? I've been watching Stunt Rock.
Laura: I'm really
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Laura: gonna plant my flag in the world of stunt rock this year.
Ryan: Yeah. Ryan, have you seen Stunt Rock? Do you want to watch Stunt Rock?
Kat: Can we watch Ryanun?
Ryan: I might just get a copy of Stunt Rock. Do you want to watch Stunt Rock? I've been hearing that every single.
Laura: I don't have the copy of Stunt Rock yet. Is in the mail. I really want to watch.
Ryan: It's in the mail. I thought, all right, okay, that's fine. What from Umbrella is that? That one's a keyote Moie.
Laura: It's both.
Josh: O. Oh, really?
Laura: Umbrella has one, but it was more expensive, obviously, and then I'd have to spend $1 50 for free shipping.
Ryan: Yeah.
Laura: Which I'd be happy.
Josh: I feel like if I spent more than $15 on stun rock, I probably wouldn't have liked it as much.
Laura: Why? Watched it on Tubi.
Josh: Nah, I would like it twice as much then if I watched it for free.
Laura: Yeah, I watched it on Tubi and I was like, this is the greatest experience.
Ryan: I think watching anything on 2B, though, is like. It's a good 1.75% or times increase of enjoyment because you still have to deal with the multitude of ads that are there.
Kat: And the ads are always so much louder than everything else.
Ryan: Yes.
Laura: Stunt rock is very loud, which is.
Ryan: Why it can't be two times as much. It's like 1.75 times as much enjoyment from watching something that's free, but then also is, like, bombarding you of commercials.
Josh: I just like the two be so fucking crazy with their content.
Ryan: They have so much shit on There like it.
Josh: The Wild west, man. Wild westaming.
Laura: The other side of the underneath is on ti.
Josh: Yeah.
Ryan: You could survive in this streaming world just with toi, like, without any issues whatsoever.
Laura: I'm going to get a 2B tattoo. Like, I 100% agree with you. If we didn't have any other streaming service, I wouldn't be mad. TO B is free.
Ryan: Yeah.
Laura: And it's incredible.
Ryan: It is.
Laura: Anytime I want to watch something, I go on my letterbox watch list, and, uh, there's hundreds and hundreds of things I want to watch. Guess what? Most of them are on Tubi.
Josh: I've been adding to my watch list for years now. How many times I've actually opened it? 0 times. 0 times.
Kat: I don't add anything to my watch that's been. Yeah, there's probably o. I don't look at it. I don't.
Josh: Yeah, I add to it. I add to it, but I never.
Laura: Almost daily.
Josh: And now I look at it and be like, I don't know what the fuck that is.
Laura: Because you can go, okay, this is an ad for letterbox. They need to start paying us. But, like, you can go into your letterbox watch list and you can, uh, sort it. Buy different streaming services. And then you're like, oh, what streaming services do I have? Oh, I want to watch something on fraking Tubi or whatever. And it shows you what's on there.
Kat: Um, yeah, you can sort it like that. I never.
Laura: You can go to your friends, watch a list. I could go. I could go to Josh's watch list. I'm m. Like, me and Josh are gonna watch a movie tonight. Okay. What do we both want to watch? I can go to his watch list, and I can sort it by what's in our mutual watch list.
Kat: Yeah, but we don't add to our watch list.
Laura: So you never.
Josh: I do.
Laura: Oh, you do. And Ryan does as well. So I've done that. Where I go, we don't know what to watch. Right. Because that's the struggle. It's like, what are we gonna eat for dinner? Jesus Christ.
Ryan: I add on minimum pair year, about 200 plus least. Yeah. That I add to my watch list. But I don't necessarily watch. A lot of them are unavailable. Like, I don't know where to find them.
Laura: Basically, that's what letterbox watch list is for. You can go in there. What's for dinner? I don't know. We figure it out. What are we gonna watch tonight? We can do this. It's easy. We go to the watch list, sort it out.
Josh: I don't know though, the lot of it too is that I just. U, uh, don't. I don't watch streaming stuff very often anymore. Never sit down. Like because I'm so far behind on physical media. It is rid ridiculous. I would feel real guilty if I was putting on a random title from.
Kat: Twoi when I have like 6 or 7 movies that I've borrowed from you that I still haven't watched yet.
Josh: Oh really?
Kat: I need to actually do that, but I'm just so distracted. So I'm only like half watching most things.
Ryan: You know what's so good about toi? You can watch the Other side of the Underneath on that streaming platform.
Laura: You absolutely can.
Ryan: Ye.
Laura: So when you're watching the Other side of the Underneath on Tubi or if you watched it at uncomfortable priceights.
Kat: Yeah. Which you should have.
Laura: You should have been there. You will understand that most of the company that worked on this film parted ways after the film wrapped because it was so intense.
Josh: Uh, there was a lot of drug use on that set.
Kat: Yeah. It was most like lsd, right?
Josh: Mhm. Yeah.
Laura: Natasha Morgan, who was in the film, uh, said in an interview that everyone, at least in like the therapy session scene, were on LSD and the director was steadily drinking her way through the entire production. But it has also been said that the company was on LSD for most of the film, regardless of what scene it was.
Josh: Yeah.
Kat: So I mean, that's like. Well, with Jane Arden them, um, saying about her that she was drinking through. It's like there's a lot of directors that were probably drunk a lot. Like, like Todd Browning notoriously was always
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Kat: drinking when he was directing stuff. I think he killed a person. Like drunk driving.
Laura: Oh God.
Kat: And then came back to set the next day.
Laura: Didn Matthew Broderick kill a guy?
Kat: I don t. Yes.
Laura: No.
Kat: It was two women in Ireland and he just paid a fine. $125.
Laura: Matthew Broderick killed two women in his car.
Ryan: Matthew Broderick killed some.
Josh: Someone. $125 apiece or for both?
Kat: No, for both.
Josh: Oh, wow.
Kat: Yeah, I'm pret. Jennifer Gray was with him in the car. It was in the 1980sus.
Ryan: I mean I was going toa say Sam Peckinp was a pretty crazy alcoholic, but now that we're on Matthew Broderick, I'm all over this shit.
Kat: I don't think that it, um, um, like there's details about if he was drunk or not, but he did hit two Irish women and they died.
Laura: I mean cocaine Fueled many emotion picture, you know?
Ryan: Yeah. It's certainly during the seventies at least. Yes. But u. Well, I remember. I remember at least one of. One of my favorite Sanm Peck and Bar stories, although he is, he is a fucking asshole. Um, was that he was watching Rushia'in the cinema one time and he hated them so much he went down and he pissed on the screen.
Kat: Excellent Nice things that people can do.
Ryan: With their dicks and freakin Used to bring a gun to set as well and just like fire it off or just like have it on his lap and stuff.
Josh: Yeah.
Laura: Oh yeah.
Kat: He told that like it was a funny story in that documentary about um, the Exorcist.
Josh: I mean it is kind of a funny story.
Ryan: Yeah. Well, I mean he got, he got a genuine. He got a genuine reaction out over because gun. Because it would't have worked in any other way.
Kat: It's like when my mom tells a story and she's just like this funny thing happened when you were growing up. I'm like that's really like a traumatic thing that happened to me. Thank you for reminding me that you did that.
Ryan: So talking about Matthew Broderick. Yeah. 1987. He had a car crash while in a rented car outside uh, Tempo Northern Ireland. Um, he crossed into the wrong lane. Colle he'd hide on with another car. The driver, um, and their passenger. They were killed instantly. He was vacationing with Jennifer Gray. They were just uh. Began dating during the filming. Ah Ferris Bureau the day off. Uh, he suffered a fractured leg and ribs, concussion, collapsed lung. Uh, Brodderickk told police he had no recollection of the crash and did not know why he had been in the wrong lane. I remember. Yeah. What Iversed remember is waking up in the hospital with a very strange feeling going on in my leg. He was charged with causing death by dangerous driving. He was only fined 100 pounds or $175.
Laura: He was dating his. The person who played his sister in the film.
Kat: Yeah.
Ryan: Yeah.
Kat: Uh, so I was wrong on the amount of the fine, but I was pretty close in the detailst. I'm proud of myself.
Ryan: Yeah. I mean it wasn't. It wasn't like we'd made a. Made a mistake in that it was thousands. It was still relatively in the ablute hundredhetic amount of money that he had to pay.
Kat: 100 pounds or US$175 heove.
Laura: He went into the wrong lane, drove head first into a couple people, murdered.
Ryan: Them accidentally and broke his leg.
Laura: He doesn't remember.
Ryan: Yep.
Kat: And uh, doesn't know if he was drunk or not. Like, there's no details on. I'm sure he, he was under the influence. No, but like the Internet doesn't know.
Laura: Right.
Ryan: Did anyone remember that story about that kid who was driving a car and he was rich andash into. He crashed into like a group of people and he got off in court for, uh, what they deemed as affluenza is that he was too rich to know what he was doing.
Kat: Yeah, that was like 2011 or something. I remember I was working, uh, as an unpaid intern at a news station when that happened.
Ryan: Um, the Other side of the Underneath. Guys, what are we talking about here?
Kat: Well, it all relates to everything and nothing because trauma, this, watching this film is kind of a traumatic experience because you're going through what the inside of a woman's mind is when she's losing it.
Laura: Right.
Kat: And everyone was on drugs while filming it.
Laura: M Mhm. H. Yeah. I just wonder if it would have helped me if I was also on drugs.
Ryan: I would have said yes.
Kat: Yeah, I don't know.
Laura: I really could have gotten into it harder, you know, I mean, I don't.
Ryan: Think you got into it at all. I mean, for large swathes of the film, I'm watching your face while things are happening on the screen. And then you started kind of seeing things that were, uh, quite disparaging. Um, I think. Well, no, here's the thing. We sandwiched
00:30:00
Ryan: the other side of the, uh, underneath between two of the Father of the Bride movies.
Josh: I was wondering about that.
Ryan: Uh, yeah.
Laura: Oh, weird.
Kat: So that's an interesting choice.
Laura: Well, no, well, no, it wasn't like we weren't like, let's put on Father the Bride.
Ryan: It was just on. It was on the. It was on the Romance Hub, the channel we have on our tv.
Josh: Yeah.
Laura: Uh, free channels. I don't know what it is, but'called the Ro.
Ryan: We watched at least 30 minutes of Father of the Bride.
Laura: Father the Bride. Awesome.
Ryan: Which is pretty good. And then Father the Bride too, where you're just kind of like, wow, wow. Like they're really leaning into the fact that Steve Martin's character kind of wants to fall in love with his daughter in a not okay way.
Laura: The role of the Father of the Bride series is shot as if it's a romantic comedy between Steve Martin and his daughter.
Ryan: Because it's like the daughter has no warmth for Diane Keaton, like whatsoever.
Laura: She doesn't even have to be in.
Ryan: Yeah. And they completely ignore, uh, little Culkin. He's just he's like a, uh, nothing element in this family, like, whatsoever.
Laura: Yeah. So anyway, we couldn't watch the Other side of the Underneath and, like, eat dinner. Right. And so we had to put something on.
Josh: Why not?
Laura: Um, I wanted to focus. I felt like I needed to focus.
Kat: She wanted a full attention. She didn't want it in between bites.
Laura: We had hot dogs for dinner. As you do as an adult man.
Josh: I want hot dogs.
Laura: Yeah. So had some hot dogs. And I just couldn't focus if I was eating a hot dog and watching the other side of the underneath. So, yeah, we romance. Hub Father the Bride and then when we finished it, the end of, uh, Father The Bride Part 2 was on.
Ryan: Yeah.
Laura: So it was, like, kind of weird.
Ryan: Yeah. Where Steve Martin ends up being a father once again. He has another child. Yeah, he's another child.
Josh: That's right. I haven't seen that movie.
Laura: Theing his grandson and his new daughter at the same time. And I almost vomited, I think.
Ryan: Yeah.
Laura: I went, ew.
Ryan: There's a shot where he holds up, uh, the mollusk of, like, that little. That little baby boy, and he's, like, smiling, and the child's face looks like a wrg up dry sponge. And it's just this horrible fucking thing. Yeah. And you're just saying. Yeah, you're saying. Well, he says something. He has it in. Has. And he goes, um, holding my. Holding my, uh, my grandson and my. And my daughter. I mean, I couldn't be any happier than I am, um, right now. And then I hear you in the other room just basically go, gross.
Laura: Yes. They had those kids, like, way too far apart, and they're, like, quite a bit older. They're in their mid-40s, and they just had a baby. Like, I can't imagine, like, chasing around.
Ryan: It's not like the daughters s left the home and she's never going to see her again.
Laura: Okay.
Ryan: And then obviously, like, that says she's got this other. He's got this other child. Anyway.
Kat: Okay, so what was your reaction to.
Laura: Oh, to the Other side of the Underneath or to The Father Part 1?
Kat: No, not the father. My God. Focus.
Laura: Oay.
Kat: To the other side of the underneath. Like, what. What were your thoughts as you were watching it? Because, like, I haven't watched it in a few months. And so it's really hard to recollect certain aspects of it because, like, there's some striking imagery that sticks in my mind. Like, the. The crucifixion part is like.
Laura: Love it.
Kat: Um, um, Interesting. Like, that sticks in my mind. And then, like, the, like, sex part, which is towards the end.
Laura: Yes.
Kat: Male, female.
Laura: Um, the traveler scene is interesting. Like, that is quite memorable. Um, like the traveler's wedding, you know, kind of. That's right before that sex scene. But there are so many incredible shots throughout the film that are, like you said, very striking, very visually rich. And the film itself is so difficult. This is a film. I think I yelled after it was over, and I was like, this is cinema. Like, this is a film. I like movies. This isn't for me. Okay.
Kat: It's too academic because.
Laura: And Ryan, you said something that I loved. You go. You know, I thought I was losing my edge because he hangs out m with me too much. Right?
Ryan: Yeah.
Laura: Where I like movies too much, where.
Ryan: It'S like, let's go watch plane. Because he, you know.
Laura: Yes.
Ryan: Yeah. And I'm like, well, no, uh, this is actually quite enjoyable. But then when we put this on, this was kind of like a breath of fresh air where it's just kind of like.
Laura: I was.
Ryan: Yeah, yeah, no, I can.
Laura: He had rated it, like, right off the bat, I, like, opened letterbox and he had already rated it at 5. And I was like, are you fucking kidding me right now?
Ryan: It reminded me a lot
00:35:00
Ryan: of my time at, like, university when I was a big, pretentious wank. Because I used to hang. I used to hang out with people who did this sort of thing. Um, and they were. They were contemporary theater performance students, and I filmed stuff that they did. And some of the things they did were fucking wild. Absolutely crazy. I remember filming someone. I still have that footage somewhere. Or at least I think those. Maybe those tapes have been destroyed. But I, uh, filmed someone in a basement one day. She was doing a performance, and she was, uh, fixating herself with a plastic bag. And, uh. I didn't stop filming.
Laura: You meant to.
Ryan: And we did it from several different angles. Yeah, no, I mean, I used to film a lot of their stuff. I filmed, like, you know, folks performances and things like that that, you know, to the average, to the layman would be like, what is this? What is this horse shit? But to me, I found it. I found it fascinating. Used to go to, like, art openings and stuff like that. And you saw some really. I don't know. I have a great appreciation for things like this, so I'm. I was a lot more forgiving of the film's content, style. Like, it's. It's musings more than, say, maybe yourself.
Laura: So does it warm you to know that you're still a pretentious film wink. Like that hasn't left you.
Ryan: So I don't think I ever. I don't think I ever forgot that.
Laura: You never lost it?
Ryan: No, I don't think I ever lost it. But it's like, you know, I used to hang out. I used to hang out with folk who would never. They wouldn't see any of this. And I remember my friend at university, he said he likened ctp, which is what the course was called, to folk covering themselves in, like, uh, petroleum jelly and dancing with cucumbers. That's basically what he kind of likened it to. Yeah. Um, and kind of like, funnily enough, I saw some of that, so, I mean, that's kind of just the way it was. But the thing is, is that you. You know, these people grew up. The people that I was with, they grew up to be, you know, patrons of that particular art scene. And they're like, oh, my God, this is some of the most radical work we've ever seen. And I kind of strayed away from it. So it was. This was kind of. This was a breath of fresh air.
Laura: It brought you back home.
Ryan: Yeah, kind of. Kind of. I mean, I like. I like this sort of thing, you know, because really, we have spent a lot of our time watching movies, and certainly in mainstream cinema, you don't really get. You don't really get stuff like this. You know, it's kind of very much. There's very much things that are within their lane. And this is. This was just a breath of fresh air to me.
Kat: Yeah, it's like, uh, films like this that are more avant garde get kind of siloed and a certain, um. Um, to a certain demographic. And so, like, it's challenging to reach out to this type of art.
Ryan: Yeah.
Kat: What are your thoughts, Josh? You've been quiet for a bit.
Josh: What are my thoughts on what?
Ryan: Father of the Bride 2.
Josh: I haven't seen it since 1994. Did that come out in 94? I feel like that was a 94. 93. That was a 93 movie. Any case.
Laura: Ryan will fact check that.
Josh: Yeah, yeah, I'm pretty sure it was 93. U. Um. If.
Ryan: If Iuck could be 93 now.
Josh: Yeah, I know. Right now. Yeah. I think part one was, uh, 90 or 91 now.
Ryan: You're wrong.
Josh: What was it?
Ryan: It was 95.
Josh: Fuck. First one was 91. Right?
Ryan: Well, no, we're gonna find that out. We need to know what your thoughts are on. On that. Like, uh. Yeah, 91. Yeah, you're right for 91. For that first one.
Josh: Oh God, thank Christ.
Ryan: Yeah. Able sleep tonight O fucking credibility was falling flushing down at Listen, I'm not.
Josh: Good at anything in this world except for that bullshit. So yeah, that's. No, but any case, uh, no, I um.
Ryan: Well no, I mean I agree because that's literally all I'm very good uh, at. It's like I miss films years by like one almost 90% of the time.
Josh: Yeah, I can't remember my own. I actually have to reference what movies I saw to figure out what happened in my own life sometimes because my timeline doesn't make sense anymore. Um, any case, uh, no, I think that uh, that this. I'm really excited to be able to show this kind of work. Uh, we don't do it very often because it's not exactly the most commercial in the world. Even with uh, some of the more I mean shit stuff we show is obviously pretty niche to begin with but even for us this is kind of on the fringes. But uh, I don't know, uh, I feel like that's part of the reason that we work towards what we work towards is to be able to have these one offs where we're, you know, ask an audience to uh, just
00:40:00
Josh: trust us and you know, we're not even claiming that they're gonna like it. You know I honestly didn't think that you were gonna like it all that much. Uh, the responses are actually pretty on point from what I assumed would happen.
Laura: Really?
Josh: Oh yeah, for sure. Because that doesn't with you and Ryan.
Laura: Yeah, I usually like everything.
Kat: Oh no, we keep track of your letterbox uh, ratings. I'm like oh, Ryan literally loved this and Laura didn't. And then I just like kind of track what you guys rateid I like. Oh, that's interesting.
Ryan: It's rare that I end up loving something. And Laura. Yeah, Laura's just kind of on the opposite side of. Because I would say that she hates it because la. Laura loves Laura loves moving pictures.
Laura: I do, yeah. Looking pictures are everything.
Josh: The science of long cinema acrossoss 120 minutes. Right.
Ryan: Exactly.
Laura: Like a Mission Impossible movie.
Josh: Perfect movies, perfect summer movies.
Laura: I want to like those.
Josh: Um, any case, uh, yeah. So any. I don't know, I can't really expound uh, more on kind of what Ryan was talking about. Uh, outside of. It's just, it's a really, really unique film in its own way and even if uh, audience members don't particularly love it, I like the idea of seeing something in a cinema that you really haven't seen before.
Laura: Right.
Josh: Um, and I mean we've seen movies like this, uh, experimental films like this before certainly. But um, especially because of a lot of the work with um, what was popular at the time that Hdorowski was doing. These other uh, sort of chauvinist male forces were the. Were the driving for of these kind of ah, pieces of work. You know, even in a pop culture sense. You know, Andy Warhol is kind of a piece of shit. You know, he wasn't really a nice person. Not really. And uh, I have no idea if Jane Aren was a nice person which probably wasn't. Um, but that said it was uh, was. It's nice to see um, these kind of um, avant garde methods, um, of um, artistic expression told through a different lens than we're used to.
Laura: I think that's what kind of keeps me into this motion picture is the fact that it is incredibly unique and it is telling a story from such a different and wildly fascinating perspective. It's hard to kind of keep track of it. But I don't. You're not. I don't assume that you're meant to.
Josh: I think another thing I like with a film like this is um. Their point that they're trying to make is super ham fisted. It's clear they just fucking hate psychiatry. And that's kind of cool because I'm not say that I agree or disagree with that point one way or the other. It just makes all of the insanity a little bit easier to sift through because at the end of the day you know, okay, this is their. What they're ultimately getting at. So u. Um, you know, I mean the movie's over 50 years old and there's uh, it's from a different continent. It's you know, there's gonna be um, nuances and intricacies to it that maybe I don't pick up on that would we don't pick up on. But uh, but because the ultimate point of the film is pretty pretty again pretty ha fisted. Uh, I kind of appreciate that. Which is not always the case. Um, very rarely the case Do I want something to be. Have no nuance. But I think in this situation it helped.
Kat: Yeah. Because the psychiatrist character. Does Jane Arden play the psychiatrist in the film or is that.
Laura: Yes, yes. Ye.
Ryan: She's meant to be like the therapist.
Kat: She's meant to be, I think an unsympathetic um, force because she's a uh, source of negativity.
Ryan: I guess like most people who work in psychiatry, they tend to be impartial. So they have to Kind of be emotionless. If anyone's ever dealt with anyone who works in psychiatry field only therapy.
Kat: Yeah, I've been to a psychiatrist. I'm on drugs.
Ryan: Nice.
Laura: My last therapist was super cool. I miss her.
Kat: I'm not on fun ones, though. They just regulate.
Laura: Not like the cast of the Other side of the Underneath.
Kat: No. Yeah. No, no lsd, uh, microdosing.
Ryan: For me, the difference is, like, a therapist can't prescribe medication, but psychiatrist can. Right, yeah. Okay, that makes sense.
Laura: And a psychologist can't.
Josh: Cannot.
Kat: Can. Yeah, that's a therapist psycholog.
Josh: Psychologist, basically. Or psychiatrist. A psychologist with an md More or less.
Laura: Um.
Kat: Yeah.
Laura: Okay. Fun. Yeah. No, I only had a therapist, but she had good advice. So
00:45:00
Laura: why don't we jump towards the end of this film, uh, about an hour, 36 minutes and 35 psists, and talk about that one glimpse. Man on woman. The man woman scene with a woman in the back.
Ryan: The sex by the water wal'hanging y a lot. Bars hanging. A lot of fingersing.
Josh: There was a lot of fingering. I'm a big fan of that.
Laura: Yeah. Like, there was.
Josh: I don't. I think it was real.
Laura: Like, uh, that looked very real.
Kat: They were just doing it, I think, and they're like, okay, we're gonna do it, and you guys are filming.
Ryan: Did anyone find it odd? Like, did they feel a little bit disconcer because they had these massive rings on and he's just, like, going to town?
Josh: No, I mean, I was hoping he'd lose one.
Kat: It is like a vacuum in there.
Josh: No, I was hoping he was gonna lose it on the other end.
Laura: On the other side of the underneath.
Kat: M. The other side of the underneath.
Laura: Right, right.
Josh: Turns into a Jackass sketch.
Ryan: We got together to a hospital. I need that ring back.
Kat: It was my grandmother's.
Ryan: Uh, that, uh, ring has value.
Laura: When you first see these two people, they're kind of embracing each other, and he's just rubbing her spine in a downward motion.
Josh: It's like petting a cat backwards.
Laura: Just hard petting her spine. And I thought, my God, if anything's gonna get me in the mood, it's a hard rubbing in my spine.
Kat: Hard spine rubbing.
Laura: Yeah. That'how that's how you get a lady going. If you guys don't know that. But, like, extra hard.
Josh: I'm well aware.
Ryan: Yeah.
Laura: Through otter confusion, it reminds me of, like, when I don't remember what Simpsons episode, but, like, someone pets a cat so hard that the cat's like, eyeballs come out of its head. Like, that's how it felt watching this guy pet this woman's spine. Um, but they're by this stream and it just looks so uncomfortable because they're also very thin. Yeah, these people don't have any like flesh cushion. So it's just very thin. People on rocks by a stream rubing hard rubbing spines, emaciation and hard fingering.
Ryan: Yeah.
Kat: Oh, with that also is like your pelvic bone isnna rub on. I'm sure they got like really bad bruises from their bones hitting each other.
Ryan: Caus she I mean they were I don't think were sucucking on a rock.
Laura: She was never face uh, down on the rocks though because that would have sucked for her. She was on her back which still would hurt. And she was on top because of the fingering.
Josh: Yeah, there was.
Laura: Yeah.
Ryan: And then he does like like a push up and it comes back down. We see the dangle.
Laura: That's when we see the dangle. And it's not a particularly long scene but by God it feels long because just like these solid shots of just hands and pushing and um. Not sexy. If you felt. I mean I don't know on this on Josh's like arousal meter.
Kat: Like what are you rate of an arousal meter?
Ryan: I feel like.
Laura: I mean not an official one, but we should.
Josh: Oh, it's official.
Ryan: I feel like we're. I feel like we're missing a trick with Laura being the audio descriptor voice for the other side of the underneath.
Laura: Oh, really?
Ryan: Describing everything that's happening U. Oh for say like the heart of sight. You know, just.
Laura: She can't like, like when she couldn't quite get the mirror placement right in that one scene with all of the mirrors and she trying to put it on her knees so she could see her face. I loved that scene by the way.
Ryan: Like do I do remember can't quite get it.
Laura: She's not quite get in the mirror. Right.
Ryan: I do remember that when she starts knocking on the door that says knock then wait. She kept on knocking and I'm like she just has to wait. She s just read the sign and everything will make sense. Um, yeah, no, I, I. Yeah, yah. I don't know. I don't want to talk anym more about it because well, we need to.
Laura: See Josh's arousal meter. The official arousal meter.
Ryan: What's that? Is this a new addition to the podcast?
Laura: Every time Josh is here now from Net1. I'm gonna add it to the list.
Kat: Things to ask about.
Laura: Yeah.
Ryan: So what were you most aroused by in this film?
Josh: Josh, what were your boner inducingnts on a scale of Boys don't cry to Gadget from Chippendale's Rescue Rangers.
Laura: Which are both 10. Right?
Josh: Those are both 10.
Ryan: Um, gadget happy PR
00:50:00
Ryan: really like if we can't explain like exactly what's going on in the movie. So we're going from father of the bride to Chipend Dale Rescue Rangers. Fucking Mission Impossible.
Kat: You know all it all relates.
Laura: Which one'chip is um.
Ryan: Is ah, he's the one with the hat.
Laura: I think he's Indiana Jones.
Ryan: He's the one with the black nose.
Laura: He's the hot one.
Ryan: Dale's the one with the buck. Teaeah.
Laura: Magnum P.I.
Ryan: Yeah. Yeah, he's Magnum P.I.
Laura: Yeah, okay.
Ryan: He's Magnum P.I.
Laura: Not as hot.
Josh: Not as hot. Tom selling neither of them were is hot.
Laura: Yeah, Gadget is super hot. But. Oh, and you know what? We didn't talk about that. The pilot.
Josh: The pilot.
Laura: The Isn't there the pilot in the show? He's like.
Josh: He's like the really big guy'big oh yeah, yeah, yeah. What's Monterey Jack?
Laura: Monterey Jack O that's awesome.
Ryan: Right?
Laura: I haven't seen that river. That dude's hot.
Ryan: Yeah it for a really long time.
Josh: I think you don't want to stay with people want to fuck zipper. That's bad News Bears.
Laura: That is bad.
Ryan: Be more into doucktails than Chippendale Rescue Rangers. But I did watch both.
Josh: Yeah.
Laura: Oh yeah. I don't want to fuck any of.
Josh: Those uh, ducks.
Laura: In Ducktess.
Josh: No, I mean I'd fuck Scrooge, but.
Laura: M. I'GIVE a fuck about theseuckah coins. That would be harder than that Rock Stream.
Josh: That's fine in this film. I've done far dumber things in my dick for way less money.
Ryan: If there's.
Laura: If there's definitely leave us some coins up your butt.
Ryan: Well, if there's a segue that I enjoy in in Internet content is people explaining the fact that you can't dive into into a pool full of coins.
Laura: Oh it would just obliterate.
Ryan: And the fact broken and the fact is that the video itself is 10 minutes long of them showing over and over the same animation of someone just smashing into just a pool full of coins and how you wouldn't be able to swim in them.
Kat: Did they like generate an AI thing? Like this is what would happen if you.
Ryan: So it's like.
Kat: Like those truck.
Ryan: It's like those safety videos. So they show you how it is in the show and then they show you what it would be like in real life. And then Obviously it's this 3D modeled man who's just like hitting the surface over and over again. Douubblin over, bent round and bleeding and bloody and broken. And it's like okay, I get the point. Like I understand that this obviously could not work in real life, but I'm fascinated all the same for fucking 10 to 15 minutes.
Kat: So arousal meter. What is it for this?
Ryan: Yeah, we can. We need to. Yeah, we need to figure out.
Josh: Oh, our. Yeah.
Kat: Um, 1 to 10.
Josh: 1 to 10. It's uh, a 6.5. I don't wana but I could if I had to.
Laura: Yay.
Ryan: Because what was the last one we did with Josh? Like what's the last movie we did with Josh?
Kat: Salw.
Ryan: Was it Salw?
Josh: O I still haven't listened to that. I know you bleeed it out, but I never heard it.
Kat: You it put it on social media too.
Laura: We got a uh, comment on our YouTube page about the Salo and someone said like something like what is the point of this?
Josh: Excellent.
Laura: And I was like dude, I can't tell you. I honestly couldn't tell you. I don't know anymore. Great comment, bro.
Kat: What is the point? They listen to it, the, the whole thing and then they're like what was this for?
Laura: It's either like the comments are either like I love this than uh, or what is this? Or I thought this was the movie get mad.
Ryan: Yeah, they do get mad. It's pretty hilarious.
Laura: I'm like okay, nevere.
Kat: Oh well listen to the whole thing and be like I thought this was the movie.
Laura: I listened to an hour of this podcast on the podcast page and yeah.
Ryan: That'S like our YouTube is a little bit of a wild westuse. Strangers by the Lake is not only our most listened to episode on YouTube.
Josh: Oh really?
Ryan: It is also our most hated.
Kat: Is it like just'funny? 90% dislikes.
Ryan: It has almost 14,000 views and listens. But yes, it has like a downgrade rate that is astonishing.
Laura: I bet it isus people want to watch like minus.
Ryan: I mean it's something crazy. It's like minus 350% or something.
Josh: Is it not easy to obtain these days?
Laura: No, I got it, I bought it.
Josh: I think I watched it on Netflix.
Ryan: I think people don't like but Netflix, the gay stuff. I think it's. That's the problem is that I.
Laura: That's a 10 out of 10.
Ryan: It. I think it's a little bit, a little bit bigotry is being's going on. I think it's 100% what's going on.
Laura: One should watch that movie.
Josh: Yeah, that movie's definitelyome a 9 on the arousal meter for sure. Ye. I would enjoy making that work.
Laura: Yeah. Yeah. Okay, so, uh, let's wrap this up now. I'm done.
00:55:00
Laura: Uh, I'm done. We're done. This film is a, a whole different thing. It'a whole different thing. So I think, gosh, we go into ratings. I'll go ahead and start. So in terms of, like, visibility and context for the, the dick scene, the penis scene, like, it's probably a 2 context. I genuinely couldn't tell you because it don't know about much that's going on because it's all just happening. Right. So it. Your.
Kat: It's not your turn.
Laura: Not your turn yet.
Ryan: Hold on, Josh. It'snna happen. Just let her talk. Let's, uh, see what happens. Let's see what she says.
Laura: Oh, no, I don't have anything to say. Uh, it's a two because you can't really see it very well. And I mean, it is interesting that its in there because considering that the whole original troupe or females and theres not a whole lot of men in here, theres a lot of female nudity in this film. So I don't know too. And in terms of the film, I didnt rate it. Who Letterbox. And I dont know if Im going to get away with not rating it now, but its not fair. Im going to give it a three because I think its important and its interesting and the way that it was made is fascinating and why it was made is fascinating. And theres so much visual.
Josh: Uh, uh.
Laura: Uh, delights in this motion picture that you really wont forget. There'shots that are just unforgettable and there are scenes that are incredibly fascinating, um, that are going to stick with me for a very long time. So it's just something that I is like, how. How many times do you watch this movie? Maybe you guys will tell me. Okay, I'm gonna shoot it to Ryan now.
Ryan: So for the, for the scene, I kind of agree with you. Like, contextually, I, I'm a little bit kind of, um, up in the air with that. Because I think probably, I mean, I would just. I'mnna go straight down the middle with it all in safe three. Because to me, like, I can. I can look at it contextually, as in, you know, as the whole piece. Becausee I do feel like the minute we get to the traveler stuff, the film kind of dips down a little bit because I liked all the madcap craziness that happened before. And then when you start to ground it a little bit more in reality, I kind of. I lost a little bit more interest. But, um, I'm not about to try and ascertain exactly what Jane's trying to say with every single little thing. So I'm certainly not going to ascertain exactly what I think that she's doing with this scene. But I'll go down the middle and just give it. Just give it a three. And for the film, I mean, I already gave it a, ah, five because that's just. That's just. It's just. It's just my bag.
Josh: Um. Um.
Ryan: But no, like, if I look at it from face valueuse, I don't know how many times I'm gonna watch this film. Um, certainly, I think, yeah, if we're gonna, you know, watch it again, it. It.
Josh: Yeah.
Ryan: I don't know. I don't know how I would take it the second time round. But certainly from the first time from, like, the disorientation, the music, the landscape, um, the changes, the obscurity, the choices that everything kind of contribute to, like, this hellish nature that. That being depicted. I think that's kind of where a lot of my interest in it stems from. Um. So, yeah, I give it a five because I don't. And I also don't feel the need to try and even explain it. I just kind of. I like it just as a piece, um, from start to finish. So. So they are.
Laura: You know what I'm thinking about this last scene, like, if I think about it more, because this film has a lot to do about, like, sexual guilt. Right. So maybe it's something about her looking down upon two people being quite free in their sexuality. Right.
Ryan: Yeah, she is. She is a watcher in this scene.
Laura: Um, so maybe that has. Maybe that's the reason.
Ryan: I don't know, potentially.
Laura: So it. Maybe it is more important. It's much more important and Than I'm giving it cred.
Ryan: It's been very interesting watching you try to rationalize certain things about this film. When I feel like it doesn't.
Laura: I don't need to.
Ryan: Not so much that you don't need to, but it's like you can tell that, like, you are fighting with your mind and your mind is not. It's not jigging with what you're seeing and you're just kind of like,
01:00:00
Ryan: why don't I understand this? When other people seemingly can understand this, like, It's. It was very fascinating to kind of just watch your m. What's your mind kind of melt down because you're just like. I wish I could understand this. And I don't. I think, like, personally, I don't think you. It depends on who you are, but I think you don't. You don't need to. You know, okay, let's throw it.
Laura: Let's throw it. And we'll go in a circle and throw it to Josh.
Josh: Um. All right, context, invisibility, visibility, like, whatever. A3. You barely see it. Um, context, though. Um, I think that I would, uh, place it a little bit higher. Probably a four. Um, mostly because it did feel very naturalistic. Like, it almost feels like it might have as easily not been there as it was there. The n. Nudity, that is. Um. So, yeah, I would say that, uh. Uh, that's where I would place that. Um, and then the film itself. Yeah, I mean, I give it a five. I have watched it three times now, and I would say that, uh, I don't echo what Ryan just said. Um, I don't feel the need to put a concrete. This is why I like this. These are the things that I like about this movie. Um, I look at it more as how I would describe liking a piece of fine art at a gallery. Um, where I don't have the academic or emotional language to explain exactly why I like everything that I do in it. Um, and like is probably not even the right word. Um, find it rewarding or I'm affected by all of that. Um, so, yeah. But, uh, any case, that's, um. Yeah, I mean, I just. I really love the film.
Laura: Okay.
Kat: Um, so visibility, as discussed, it's pretty low, so also a three there. Um, as far as context, I would give it a four as well. Um, because I think it's playing into the sexual guilt. And as someone who was raised with a Catholic mother, I understand, like, seeing other people, um, engaging in what seems to be pleasure on their end, even though it seems, like, really, like, oh, this looks, like, uncomfortable. It's like when people talk about having sex on the beach, and it's just like, there's a lot of sand that, um, would happen, but, like, more power to you, man. Like, you're gonna get, like, sand fleas or whatever. They're.
Laura: Yeah.
Kat: Anyways. Um, so, yeah, four. And then as far as, like, the overall movie, I would give it a four. Um, I struggle with the avant garde films, but there are feelings that come across, and those are really strong when, like, watching just like, certain segments of this film. And I think that being able to connect with it at certain moments, it's just like, it's this strong feeling. Um, but I don't. I can't really put into words, like, why I like those certain parts, but that's it.
Laura: Well, excellent.
Ryan: You go, we did it. We did do it. We got it done.
Kat: Well, kind of got it done.
Josh: Yeah.
Laura: Uh, in a roundabout s a lot.
Kat: Of, uh, tangents that happened. We learned about Matthew Broderick and M. Josh's attraction to Gadget.
Josh: Don't say that like it's weird. That's a normal thing.
Kat: And, um, Zipper not.
Josh: It would not be.
Laura: Yeah.
Kat: I looked up a picture of Zipper. If you're sexually attracted to Zipper, you should, uh, get checked out by a psychiatrist.
Laura: Specifically a psychiatrist, because she should probably.
Kat: Be on some meds, like, anti peto ones.
Ryan: Oh, that s Zipper. He's a fly. Oh, uh, no.
Laura: Yeah.
Kat: That's a child.
Ryan: Yeah.
Laura: I mean, you know what Gadget looks like, though?
Ryan: Um, not off the top of my headir.
Josh: Really. My joke didn't even land the audience.
Kat: No, I looked her up and I.
Ryan: Was like, I know, right? Yeah.
Laura: She's cute because her, like, jumpsuit, you know, partially unbuttoned as well.
Ryan: Yeah. You know, there'you. Know, there's a. There's a cosplayer out there that's done this and the way that you think. Yeah. I mean, look at that one there with the. Yeah, yeah, There you go.
Kat: She's
01:05:00
Kat: got, like, a crop top on.
Ryan: Yep. And little pink shorts.
Kat: What's the pilot's name in that?
Laura: Yeah.
Ryan: Uh, well, thing is.
Kat: Likeack, she's Mongomery. Jack's a.
Ryan: She's a mouse or She's a Monter.
Laura: Jack or Mongo.
Josh: Oh, I think it's Montgomery, actually. I thought money first. Sure.
Ryan: She's.
Josh: Maybe. I can't remember.
Ryan: The deeper I get into this, the more I'm gonna regret it.
Kat: It's got a huge red Monterey Jack.
Josh: It'monterey. Okay.
Laura: Oh, nice.
Ryan: Well, I'm falling into, like, AI generated images where they're, like. You know, there's, like, cups going on here.
Laura: Oh, stop.
Kat: Oh, no.
Laura: Y.
Kat: Don't do that.
Ryan: Don't get. Yeah, it's. Yeah, that's what's gonna happen.
Josh: I've looked at far worse.
Kat: Me too. I look up, like, crime scene photos, so.
Laura: Oh, shit. Yeah.
Josh: I still have to come back to, uh. I did go into incognito mode to find out what were the legal ramifications of exhibiting unsimulated bestiality if penetration was.
Ryan: Not shown in fucking what? In what?
Laura: Why? What reason?
Kat: Because we had that um, bestiality triple feature for Valentine's Day back in.
Josh: They were all documentaries.
Kat: Was that 2017, 2018, something like that.
Josh: Yeah.
Ryan: Right, okay.
Josh: Ah, yeah, no, I wasn't worried about Zoo. It was a donkey love because they actually do show people fucking donkeys in it. Yeah, you just don't, don't see the penetration.
Kat: You don't see the dick going into the donke. But you on, you do see them put a condom on and them thrusting.
Josh: Yeah. And by the way, um, um, it's not illegal to show it if it doesn't show penetration. If it does, it's a misdemeanor. But so is doing it.
Kat: That's really strange that it's the same.
Josh: I feel like if you're gonna show, you might as well just do it at that point. Caus you're gonna get in trouble the.
Laura: Same way it was about to go. Oh, hey guys, make sure to follow us on Instagram.
Ryan: Yeah, it't bother. It's a complete waste of fucking.
Laura: I'm sure uncomfortable brunch has they also have ah, social m media.
Josh: Yep.
Laura: You have a website?
Kat: Website? No, we got a website.
Laura: You got a mailing list?
Ryan: Yeah.
Kat: And all that stuffeah. We're gonna stay on social media because you can't escape it. It's just a hellscape. It's just.
Laura: You can follow us all on letterbox as well if you want. See what kind of uh, stuff Josh is watching.
Kat: Emm me, I'm on there too.
Laura: Yeah, you're watching.
Kat: Well, I'm not watching nun porn.
Josh: Like I don't watch any nun porn in ages, I don't think.
Ryan: Yeah, we need Josh to come back because we need to continue the saga of the arousal mirror like we really do.
Josh: Oh, that's kind of funny.
Ryan: It's a fantastic addition.
Josh: What weirdo shit does Josh find interesting sexually? Cool. Make me more of a novelty than I already am.
Laura: You've done it to yourself.
Josh: Oh, I'm aware. Fucking awarear.
Laura: Thanks guys. Can't wait to see you again. Uh, next time. And um, all I wrote at the end of this was multiply and divide, multiply and divide. And uh, we'll see you next time. Thanks for coming guys.
Kat: Bye bye bye bye.
Ryan: Prague Rock AE Attack. I wrote that in my notes. Oh yeah, yeah, my notes are quite sparing but Stunt rock'we stunt rock.
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