We'll start with things to listen to, beginning with the latest episode of the Projection Booth (106’41”). Mike White has invited four authors to discuss Alfred Hitchcock’s Marnie (1964): Tania Modleski (The Women Who Knew Too Much: Hitchcock and Feminist Theory), Susan White (The Cinema of Max Ophuls), Tony Lee Moral (Hitchcock and the Making of Marnie)—and Tippi Hedren herself (Tippi: A Memoir).
Barry Jenkins (Moonlight) tells SFMOMA about “the first production at The Garage on San Francisco’s Howard Street in 2007 (the play Under the Bed by Margery Fairchild), and what happens when you stage a performance in an actual garage.” (8’27”).
On the new Film Comment Podcast (53’00”), Michael Koresky, Violet Lucca, Aliza Ma, and Mayukh Sen each talk “about one film that reminds them of cooking while growing up, and another that simply makes them hungry.”
Still Processing is back! On the first episode (50’04”) of the new season (and already, there are three), Wesley Morris and Jenna Wortham discuss “the cultural moment that black women are having right now in pop culture. We run through a brief history of black women in movies and television and consider those who built the foundation for this moment.”
Also discussing Sundance are Film Quarterly editor B. Ruby Rich and columnist Bilal Qureshi. Other topics on the new episode of the FQ Podcast (15’15”) include this year’s Oscar nominations and “the controversy over a new Bollywood film, Padmaavat directed by Sanja Leela Bhansali.”
Slate’s latest Culture Gabfest (68’30”) was actually recorded at Sundance, where Stephen Metcalf, Dana Stevens, and Julia Turner also discussed the Oscar nominations before turning their attention to Tim Wardle’s Three Identical Strangers.
Fette Sans has posted footage Chris Marker shot on the set of Andrei Tarkovsky’s The Sacrifice (1986) (25’51”).
“Boy Meets Girl” is an audiovisual essay by Irina Trocan on the contrasting personae of Dean Martin, “charismatic and street-wise,” and Jerry Lewis, “the sympathetic goofball,” in Frank Tashlin’s Hollywood or Bust (1956) (6’29”).
Also at the Notebook is Ricardo Pinto de Magalhães’s “L'année dernière à Twin Peaks (Last Year at Twin Peaks),” highlighting the shared themes and compositions in Alain Resnais’s Last Year at Marienbad (1961) and David Lynch’s epic.
Viewable through March 22 at ARTE in English is Elisabeth van Zijll Langhout’s documentary Paul Verhoeven, Master of Provocation (2015) (ca. 55’).
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