Eavesdropping at the Movies

Jose Arroyo and Michael Glass

"I have this romantic idea of the movies as a conjunction of place, people and experiences, all different for each of us, a context in which individual and separate beings try to commune, where the individual experience overlaps with the communal and where that overlapping is demarcated by how we measure the differing responses between ourselves and the rest of the audience: do they laugh when we don’t (and what does that mean?); are they moved when we feel like laughing (and what does that say about me or the others) etc. The idea behind this podcast is to satiate the urge I sometimes have when I see a movie alone – to eavesdrop on what others say. What do they think? How does their experience compare to mine? Snippets are overhead as one leaves the cinema and are often food for thought. A longer snippet of such an experience is what I hope to provide: it’s two friends chatting immediately after a movie. It’s unrehearsed, meandering, slightly convoluted, certainly enthusiastic, and well informed, if not necessarily on all aspects a particular work gives rise to, certainly in terms of knowledge of cinema in general and considerable experience of watching different types of movies and watching movies in different types of ways. It’s not a review. It’s a conversation." - José Arroyo. "I just like the sound of my own voice." - Michael Glass.

  1. 13h ago

    486 - Fatherland

    The third film in Paweł Pawlikowski's historical trilogy, after Ida (2013) and Cold War (2018), Fatherland follows one of the defining authors of the twentieth century, Thomas Mann, as he returns to Germany in 1949 with his daughter, Erika, after sixteen years away, finding his country effectively under occupation by the two new superpowers: the USA controlling the west, the Soviet Union controlling the east. The Manns encounter former Nazis (and continuing Nazi ideologues) forming the new polite society on one side, enthusiastic adherents to Communism and an alternative type of totalitarianism on the other, all while dealing with an intensely personal tragedy - the suicide of their son and brother, Klaus. Pawlikowski's direction is austere, delicate and engrossing, and the film both benefits and suffers from its economical storytelling. Aspects of the characters and societies that are just barely dramatised with hints and ellipses might be better approached head-on, particularly the sexualities of some characters (Erika and Klaus were both gay, Klaus openly so, but the film builds in ambiguity to that, arguably doing their characters a disservice in the process); on the other hand, we're given room to interpret what we're shown, and the film's stylistic simplicity and brevity is a pleasure. Fatherland is an interesting, intelligent and moving film, and, as José says, a fitting companion to Ida and Cold War: at least their equal, perhaps their superior. We recommend it. Recorded on 26th October 2026.

    486 - Fatherland
  2. Aug 30

    481 - Teenage Sex and Death at Camp Miasma

    Horror is surely the most deconstructed genre in film, the slasher the most deconstructed subgenre therein, and Teenage Sex and Death at Camp Miasma may be the most deconstructy of all such cinematic deconstructions. It tells the story of a young, queer, indie filmmaker hired to resurrect a problematic slasher series of yesteryear, the Camp Miasma films, which feature a box-headed villain who periodically emerges from a lake to murder teens who are drinking too much and forcing themselves on each other. Attempting to decide what she wants her reboot to be, she revisits the first film and meets its reclusive star, the enigmatic look in whose eye, in that first film, she's desperate to understand. Mike gets on with Teenage Sex and Death; José does not. What José finds cutesy and aimless, Mike sees originality and charm in. Writer-director Jane Schoenbrun is keen to have their cake and eat it, building in criticism of Gen Z-esque reevaluations of old media by modern standards while engaging in them all the same. This is a film loaded with irony - but its love of its subject matter is obvious. It's easy to argue that Teenage Sex and Death is at odds with itself when its former final girl (a delightfully drawling, glamorous Gillian Anderson) encourages the visiting filmmaker to cast off her intellectual pretensions and simply enjoy the "flesh and fluids", but it's a film that has plenty of room for ambiguity and blurring of the lines between points of view, and reality, media and fantasy. To some, the ambiguities will be approached as a problem to solve - just what is reality and what isn't, at the end of the day? - but for Mike, they're Schoenbrun's way of following Anderson's advice. It's not a perfect film and there will be those to whom it fails to speak at all (one of them is on this podcast), but Teenage Sex and Death at Camp Miasma is at the very least interesting, and an eager addition to the groaning shelves of self-referential horror media. Recorded on 23rd August 2026.

    481 - Teenage Sex and Death at Camp Miasma

Ratings & Reviews

4
out of 5
8 Ratings

About

"I have this romantic idea of the movies as a conjunction of place, people and experiences, all different for each of us, a context in which individual and separate beings try to commune, where the individual experience overlaps with the communal and where that overlapping is demarcated by how we measure the differing responses between ourselves and the rest of the audience: do they laugh when we don’t (and what does that mean?); are they moved when we feel like laughing (and what does that say about me or the others) etc. The idea behind this podcast is to satiate the urge I sometimes have when I see a movie alone – to eavesdrop on what others say. What do they think? How does their experience compare to mine? Snippets are overhead as one leaves the cinema and are often food for thought. A longer snippet of such an experience is what I hope to provide: it’s two friends chatting immediately after a movie. It’s unrehearsed, meandering, slightly convoluted, certainly enthusiastic, and well informed, if not necessarily on all aspects a particular work gives rise to, certainly in terms of knowledge of cinema in general and considerable experience of watching different types of movies and watching movies in different types of ways. It’s not a review. It’s a conversation." - José Arroyo. "I just like the sound of my own voice." - Michael Glass.

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