Show Notes
Letterboxd head of editorial Mitchell Beaupre returns to us this week to close out Pride month with one of Luca Guadagnino’s most divisive films. In 2024, with audiences still under the spell of Challengers, the director also brought to the screen a long-gestating passion project: an adaptation of William S. Burroughs’ Queer. Starring Daniel Craig as Burroughs alter ego William Lee, the film baroquely mines queer longing in an addiction story that earned as many fans as it did detractors.
This episode, we talk about Guadagnino’s preference for Queer over Challengers in the 2024 race and how Craig was in the Best Actor race until the final minute. We also talk about expectations that Guadagnino would return to Call Me By Your Name territory, how this film might troll critics of that film’s sexual modesty, and Lesley Manville’s brief turn as wild doctor in the jungle.
Topics also include Drew Starkey’s breakthrough role as Allerton, Craig plagued by Bond questions, and Jason Schwartzman playing gay in a fat suit.
More from This Had Oscar Buzz
Post-Chicago, just about any movie musical was fodder for awards buzz, especially if they boasted a cast as stacked as Romance and Cigarettes. A jukebox musical from the mind of John Turturro, the film stars James Gandolfini as a New York construction worker whose life goes into tumult when he cheats on his wife (Susan Sarandon) with a younger redhead (Kate Winslet). Bizarrely profane and minimally plotted, the film thudded onto the festival scene in 2005 and didn’t see a theatrical release until Turturro self-distributed it in 2007.
In the years after his Oscar win for The Untouchables, Sean Connery remained a major movie star and box office draw. The latter proved untrue in 1990 when The Russia House fizzled at the holiday box office. Based on the John le Carré novel, the film follows Connery as a publisher pulled into espionage in Russia during perestroika, only to fall in love with an informant’s wife, played by Michelle Pfeiffer. One year after The Fabulous Baker Boys, Pfeiffer earned a Globe nomination for her performance, but Oscar honored neither of these headliners.
In 2018, we were rooting for the comeback of director Karyn Kusama, emerging with the promising crime thriller Destroyer. Centering on Nicole Kidman playing against type as a grizzled investigator haunted by a previous undercover case gone wrong, the film applies a serpentine structure to its breed of hard boiled LA noir to mixed results. After receiving a mixed reaction on the festival circuit but praise for Kidman’s performance, the film was one of several 2018 Annapurna Pictures films that struggled to gain momentum.
We have writer Emily St. James back with us this week, so naturally we’re breaking our own record for oldest film discussed on the show (after her episode on Moby Dick)! Based on the Broadway smash comedy, Arsenic and Old Lacewas Frank Capra’s intentional return to comedy after a string of serious movies. Starring Cary Grant as the critic nephew of two aging sisters, the farce unfolds as the aunts reveal they have been offing unmarried travelers and a brother who now looks like Boris Karloff returns to the family. Since the adaptation rights stipulated the film could not open until the Broadway run ended, the film sat on a shelf and was not released until Capra was overseas documenting the war.
We’re back home from our latest trip to the Toronto International Film Festival! And as always, we’re offering you a buffet of our reactions from a week’s worth of movies that will be coming soon to a theatre near you! We talk about the newest People’s Choice Award winner La Bola Negra, along with the International People’s Choice Award winner (and Best Actor contender for Andrew Scott) Elsinore. Topics also include Julianne Moore earning huge crowd reaction in The Debut, Martin McDonagh’s Wild Horse Nine underwhelming us both, our collective favorite of the fest Mike Leigh’s Tender Loving Care, the TIFF preroll ads, injuries, festival flops, and more!!