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Portrait of a Lady on Fire (2019): The Most Riveting Romance You Haven’t Seen
Episode 71 • 17th June 2024 • Back to the Frame Rate • Nathan Suher
00:00:00 01:12:19

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Join Nathan, Bee, and Sam as they dive deep into 'Portrait of a Lady on Fire' in the second episode of their June Pride exploration. The intense romance between Marianne and Héloïse, the film's breathtaking cinematography, and its exquisite sound mixing create a truly one of a kind cinematic experience.

02:04 - Walmart Woes

04:07 - This Week's Movie: Portrait of a Lady on Fire

11:30 - Nathan's Review

16:03 - Sam's Review

18:29 - Bee's Review

30:54 - The Id, Ego, and Superego

39:53 Interpreting Orpheus and Eurydice

42:31 The Final Symphony Scene

51:28 The Decision: SAVE OR PURGE!!!

52:51 Movie Pairings and Recommendations

01:00:00 Weekly Highlight and (New Segment)

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Transcripts

Speaker:

In the dying embers of human existence, as the asteroid, a behemoth the size of

Speaker:

Texas, hurdles relentlessly toward Earth, the world braces for an apocalyptic end.

Speaker:

Deep beneath the bunker, a refuge plunges into the bowels of the Earth.

Speaker:

Here, the chosen gather.

Speaker:

Their purpose clear, to preserve the very soul of our civilization.

Speaker:

The 35 and 70 millimeter prints that encapsulate the magic, the emotion,

Speaker:

and the dreams of generations past.

Speaker:

These masterpieces, each frame a testament to the human spirit, are

Speaker:

carefully cataloged and cradled in the cavernous confines of the bunker.

Speaker:

Perhaps there was room for more.

Speaker:

For friends and family yearning for salvation, but sacrifices must be made.

Speaker:

The movie nerds stand united, the keepers of a flame, promising a future where the

Speaker:

art of storytelling endures, transcending the boundaries of time and space.

Speaker:

God help us all.

Nathan:

Welcome to Back to the Framerate, part of the Western Media Podcast Network.

Nathan:

Join us as we watch and discuss films on VOD and streaming platforms, deliberating

Nathan:

on whether each one is worthy of salvation or destined for destruction in the face

Nathan:

of the impending asteroid apocalypse.

Nathan:

You can find more episodes of our podcast on back to the framerate.

Nathan:

com where you can subscribe and share our shows and find us on our

Nathan:

socials at back to the framerate.

Nathan:

I'm Nathan Shore and accompanying me are the extraordinary movie mavens,

Nathan:

Brianna Budworth and Sam Cole.

Nathan:

How are you guys tonight?

Nathan:

Hello.

Nathan:

I'm great.

Nathan:

What was that saying?

Nathan:

I am here from the hills of fire.

Nathan:

No, I don't know.

Nathan:

I thought you could do like Lothar

Nathan:

from the hill people or something.

Nathan:

Lothar.

Nathan:

Remember Lothar?

Nathan:

The Mike Myers character from

Nathan:

Saturday Night Live?

Nathan:

Oh my god.

Nathan:

Yes.

Sam:

That's also similar to the name of an orc in the game Warcraft 2.

Sam:

Yes.

Nathan:

I can't wait to talk about this movie tonight.

Nathan:

I don't have a question.

Nathan:

I dropped the ball completely.

Nathan:

I

Sam:

actually, I actually have a question for you guys.

Sam:

It's a bit of a non sequitur, but have you ever gone to Walmart and you buy

Sam:

stuff in the tech section and there's no one manning the desk in the tech?

Sam:

Section.

Sam:

Yet that's a location where they can, like, you can make the purchase there

Sam:

so you don't have to wait in the line.

Sam:

And so you're hopeful, but it's never manned.

Sam:

Is this just me or is this a universal Walmart experience?

Bee:

Universal.

Bee:

And it's really disappointing because one of my favorite things to get at Walmart

Bee:

is a bargain Blu ray or a bargain DVD, and they often have those big buckets

Bee:

that I can sift through just up to my elbows and old like Adam Sandler movies.

Bee:

I love that.

Nathan:

Dependent on like the Walmart employee that works in that tech section

Nathan:

to like unlock something for you.

Nathan:

Cause you can just take it some, go somewhere else.

Nathan:

No,

Sam:

not to unlock it, but like you can cash out there.

Sam:

Like they have a desk there.

Sam:

And so it's so convenient to do that.

Sam:

But like when I buy one thing and you go to the main line and there's like

Sam:

1200 people, like buying everything for the next three weeks, you're

Sam:

like, man, I wish that desk was mad.

Nathan:

What's preventing people from doing the opposite?

Nathan:

Like you want to buy your.

Nathan:

Slippers and your Cheetos going to the tech section.

Nathan:

Can you do that?

Sam:

That's true.

Sam:

That's a good point.

Sam:

I don't know.

Sam:

You could, I guess, but it'd be kind of like, I don't think

Sam:

anyone has thought to do that.

Sam:

Cause it's like there it's out of their way.

Sam:

Like, and if they're getting like food, they're closer to the main aisles anyway.

Sam:

And the usual Wal Mart map layout.

Sam:

Imagine somebody just It's like paying for

Bee:

your gum at the pharmacy, you know?

Sam:

Exactly.

Sam:

Yeah.

Nathan:

I think I've done that.

Bee:

Have you done that?

Bee:

Well, I Sometimes those pharmacy lines get long.

Bee:

When I do

Nathan:

pick up a prescription, I do load up.

Nathan:

Yeah.

Nathan:

Oh yeah.

Bee:

Yes.

Bee:

Yes.

Bee:

Yes.

Bee:

That is the time.

Bee:

These subjects

Sam:

would be perfect for that Saturday Night Live skit, What Up With That?

Sam:

My favorite.

Sam:

Ha ha

Bee:

ha ha.

Bee:

Kenan's an institution.

Sam:

Amazing.

Bee:

Ah.

Nathan:

Well, this has nothing to do with our, our, what we watched this week.

Nathan:

Yeah, that was a non sequitur.

Nathan:

Yeah, you're not

Bee:

going to find a movie like this in the bargain bin at Walmart.

Nathan:

Absolutely not.

Nathan:

But what we watched this week was a portrait.

Nathan:

Of a lady on fire.

Nathan:

This was the first time I watched it.

Nathan:

And I think we'll, I can't wait to talk about this with everyone, but I

Nathan:

have a trailer that's not in English.

Nathan:

We watched a foreign movie guys.

Nathan:

I think this is the first one.

Nathan:

Non English language.

Nathan:

Could this be the first one on our podcast?

Nathan:

I'm trying to recall.

Bee:

Since I joined.

Bee:

I think maybe, hang on, I have the episode.

Sam:

It's possible and to me it was really enlightening because up

Sam:

until last week, I did not know that there was anything beyond the ocean.

Sam:

I thought it was just, I didn't know there were other countries, like, I just, I just

Sam:

thought it was USA, Walmart, and ocean.

Sam:

I was 100

Bee:

percent sure you were going to say up until this week, I

Bee:

didn't know how to speak French.

Sam:

No, I still do not know how to speak French, unfortunately.

Bee:

Me neither.

Bee:

I'm not, I'm not

Sam:

proud of this fact, but Spanish, a little bit Spanish.

Sam:

I could get somewhere like in a, in a vehicle, probably.

Sam:

I can

Nathan:

get by a little bit on Spanish.

Nathan:

I lived in Los Angeles for three years and I picked up a lot.

Nathan:

And, and yeah, I picked up a little bit, you know, anyways, let me play

Nathan:

the trailer for this and, you know, Take away from a what you can.

Nathan:

I don't know.

Nathan:

She's waiting for you.

Nathan:

I've been dreaming of doing this for years.

Nathan:

Die?

Nathan:

Run.

Nathan:

Glances and the music is swelling.

Nathan:

And you know that it's a foreign language movie because nobody speaks in it.

Nathan:

And I think I probably saw a trailer for this, you know, five years ago.

Nathan:

I'm like, ah, I, this is not an English cause no one's

Nathan:

speaking and he's saying anything

Bee:

and it's not a dialogue.

Bee:

Heavy movie to say.

Bee:

Start with in, in any language, but they sure the dialogue that's there.

Bee:

I find cutting

Nathan:

and resourceful.

Nathan:

So I'll just read a quick plot synopsis here, and then

Nathan:

we'll get to some movie facts.

Nathan:

So France, 1770, Marianne, a painter is commissioned to do

Nathan:

a wedding portrait of somebody.

Nathan:

Tell me if I say this wrong, Heloise.

Bee:

Yeah.

Nathan:

Heloise?

Nathan:

Heloise?

Bee:

I think Heloise.

Bee:

Yeah.

Bee:

I don't know if her

Nathan:

name is ever said in this movie.

Nathan:

I, I, I don't remember.

Nathan:

I'm sure it is.

Nathan:

I couldn't, I was waiting for somebody to say her name in the movie.

Nathan:

Anyways, Heloise, a young woman who has just left The convent.

Nathan:

Heloise is a reluctant bride to be and Marianne must paint

Nathan:

her without her knowing.

Nathan:

She observes her by day to paint her secretly.

Bee:

Hot.

Nathan:

All right.

Nathan:

So Sam, I know you dreaded this moment.

Nathan:

Whip out all of that, that French dialect that you've been practicing.

Nathan:

I,

Sam:

I think in order, in order not to offend the world, I will

Sam:

read the movie facts as normal and as well respected as possible.

Nathan:

I want you to do it as the, the, the most ignorant American

Nathan:

Yeah, could you read this from

Bee:

inside a Walmart, actually?

Bee:

Could you?

Sam:

Oh, gosh.

Sam:

That's a hard character to portray because there's so many

Sam:

versions of it in this country.

Sam:

But I will begin by saying that Portrait of a Lady on Fire is a

Sam:

2019 French historical romantic drama film, Céline Sciamma.

Sam:

With two amazing, unbelievably realistic performances from

Sam:

Noemi Merlot and Adele Hanel.

Sam:

And their acting is incredible.

Sam:

Let's see this movie also was released May 2019 to Cannes Film Festival.

Sam:

It's budget was 4.

Sam:

86 million and its box office was 10 million.

Sam:

So it did solidly well.

Sam:

And.

Sam:

And I would really like to point out the cinematography by Claire Mathon, which I

Sam:

just thought was amazing in this movie.

Sam:

Like I, gorgeous, looked her up and obviously because I can't speak

Sam:

French, there were some films of like French, French films and foreign films.

Sam:

I hadn't heard of her cinematography was so good.

Sam:

I was like half wondering if it was like Roger Deakins or like, I

Sam:

expected to find some random big name.

Sam:

That's the level of quality of like the visuals in this movie.

Sam:

I thought,

Sam:

yeah,

Sam:

It was edited by Julian Lachery.

Sam:

And this also won the film, won the queer palm at Cairns becoming the first

Sam:

film directed by women to win the award.

Sam:

Sciamma also won the award for best screenplay at Cannes and

Sam:

the film was theatrically, excuse me, theatrically released in

Sam:

France on 18th of September 2019.

Sam:

And there are some, some more data.

Sam:

I don't know if you guys want to have any thoughts or there's tidbits.

Sam:

And it was

Nathan:

released, I think, in the United States on December 6th of

Nathan:

2019 and it charted at number 39.

Sam:

Wow.

Nathan:

It's

Sam:

really caught the attention of Americans and it came

Nathan:

in right after a great documentary called Fantastic Fungi.

Nathan:

Have you ever seen that?

Bee:

Yeah.

Bee:

I've heard

Nathan:

of it.

Nathan:

I have not seen it.

Nathan:

Amazing documentary.

Nathan:

It

Bee:

is fantastic.

Nathan:

Wasn't wasn't much else that debuted that week in December.

Nathan:

But number one at the box office was Frozen 2.

Nathan:

It was a great

Bee:

year for movies.

Bee:

2019 was great.

Bee:

And for foreign films.

Bee:

Parasite, right?

Nathan:

Yes.

Nathan:

I don't, I don't have any other real facts about this because yeah, that's it.

Nathan:

All right.

Nathan:

Thank you, Sam.

Sam:

Thank you.

Sam:

So yeah, in a nutshell, it was genuinely well received.

Nathan:

Yeah, I did look at all the awards.

Nathan:

This thing, there's a laundry list of festivals that this thing was

Nathan:

submitted to and was nominated and won.

Nathan:

It's more than I could go through, but it was very impressive.

Nathan:

Very, very well regarded film.

Bee:

It's also worth noting, I think until Petite Maman, which came out

Bee:

after Portrait, I think Adele Annel was in every one or most of Celine

Bee:

Sciamma's films, not that she has.

Bee:

An extensive filmography, there's a number of shorts in

Bee:

there, but that's how they met.

Nathan:

Okay, well, I drew the short straw, so I guess I'm going first.

Nathan:

I've been

Bee:

dying to know what you think of it.

Bee:

I'm glad you're going first.

Nathan:

So, all right, so the first thing, let me move my mic a little closer

Nathan:

because I think it's far away from me.

Nathan:

So, a little peek, you know, behind the curtain to our listeners.

Nathan:

We have this group thread.

Nathan:

You know, which I'm sure it doesn't surprise anybody, but I messaged everyone.

Nathan:

In our, in our, between the three of our hosts.

Nathan:

And I specifically was targeting you B, because I think you're the lone member of

Nathan:

our team that has seen this film before.

Nathan:

And I asked, is this basically two hours of edging?

Nathan:

Because that's what this movie felt like to me.

Nathan:

And it's not, it's not a negative thing.

Nathan:

Just, you know, this is such an incredibly intense, charged, Romance

Nathan:

that it's really depicted beautifully.

Nathan:

Nothing about the actual romance we see is, is graphically explicit.

Nathan:

I did not find, you know, the nudity titillating or gratuitous.

Nathan:

The eroticism lives in the glances and the observations that Marianne

Nathan:

and share with each other.

Nathan:

This movie is about.

Nathan:

The power of gazing and observing, and you can cut the sexual tension

Nathan:

between these two with a knife.

Nathan:

But I'm getting ahead of myself.

Bee:

Well, no, I'm glad you brought this up because this movie really

Bee:

spurred a big conversation about the female versus the male gaze in cinema.

Nathan:

I think, I think this movie is a masterpiece and I'm underlying think

Nathan:

because my takeaway Is that I really can't find a single flaw with this film.

Bee:

I, I'm totally with you.

Bee:

I'm sure that

Nathan:

everyone here is gonna say the same thing.

Nathan:

Every frame of this movie looks like a painting.

Nathan:

You know, you CMU complimented the cinematography.

Nathan:

I, I think it's even more than that.

Nathan:

There, there is a, a famous Dutch painter Johanna's Vermeer.

Nathan:

Yeah.

Nathan:

And.

Nathan:

I think there are so many frames of this movie that look like a Vermeer painting.

Nathan:

And he was, he was known for these lifelike, lifelike

Nathan:

paintings of, of people.

Nathan:

And I, at times where like these characters just kind of like

Nathan:

standing there, looking at each other, gazing at each other.

Nathan:

I'm, I feel like I'm looking at a Vermeer painting.

Nathan:

But like a moving Vermeer painting at times.

Nathan:

So I was just mesmerized by watching this movie.

Nathan:

The two leads we've already talked about B are just outstanding.

Nathan:

And actually this film is really a three hander.

Nathan:

I have, I have a lot of thoughts on the Sophie character, but the

Nathan:

two main women, Who's again, I was, I'm afraid to even say their names

Nathan:

because I don't want to butcher it, but they're, they're two of the best

Nathan:

performances I may have ever seen.

Nathan:

I think they're incredible.

Nathan:

Adele, you already talked about I think we should mention this, that how she

Nathan:

has left the acting industry, which.

Nathan:

I think it's a shame, but I fully understand and support

Nathan:

the reasons for her doing this.

Nathan:

But I think it's interesting that, you know, we can talk more about that.

Nathan:

But I guess there's just one thing.

Nathan:

I guess I'll, I'm not calling it a gripe, but it's the, it's actually a result

Nathan:

of how incredible the two leads are.

Nathan:

And this is going to sound kind of weird.

Nathan:

But the movie did feel a little stagy, and it's not, and it's not in a bad way.

Nathan:

I was constantly.

Nathan:

I was constantly snapped back into my world of watching this as

Nathan:

a gazer, sensing the acting, the acting is very forward facing.

Nathan:

Can I offer something on that?

Nathan:

Yeah, go ahead.

Bee:

I think that's exactly what they're talking about with Orpheus and Eurydice.

Bee:

You're forced to turn back and look.

Bee:

I think.

Bee:

This whole movie is about that.

Nathan:

There's a lot in there, yeah.

Nathan:

The facade of this whole thing, as, as, if I could see the actors putting on

Nathan:

their characters, their costumes, and pretending to be these people, and I'm

Nathan:

not saying that these are bad performances at all, they are absolutely amazing, I

Nathan:

think they're some of the best I've ever seen, but there's something about the

Nathan:

story, the characters felt like theater to me, like, where I sensed, The real

Nathan:

actors underneath the performances.

Nathan:

So this is a, maybe a minor quarrel, maybe it's intended.

Nathan:

I don't know, but this is a five star movie, possibly absolute masterpiece.

Nathan:

That's all I got.

Bee:

All right, Sam.

Bee:

All

Sam:

right.

Sam:

I would, I would definitely agree with that.

Sam:

And, and I think for me, the main thing that I like about this film,

Sam:

the main reason why I like it.

Sam:

Any movie that I love is because, for me, I felt like these characters were real,

Sam:

like the performances were so good, the situation felt real, the, the production

Sam:

design felt real, the authenticity, I, I mean, I, I I, I knew I was going to

Sam:

like this film, oddly enough, I kind of tend to zero in on like seemingly

Sam:

random scenes, but when she was like, riding in on the boat on the like rowboat

Sam:

at the beginning, they just felt like they got the, it just felt like I was

Sam:

in that time, you know what I mean?

Sam:

And so, I was like, I know what you mean about the like that feeling

Sam:

of like occasional staginess, Nathan, I didn't get that.

Sam:

But I do.

Sam:

I see how that there are like a lot of long like very like, you

Sam:

know, withheld pauses in this film.

Sam:

And so I can see that kind of feeling creeping in.

Sam:

But for me, The character seems so real that I was more of what focused

Sam:

on, I just felt the situation unfold and like, what's going to happen?

Sam:

Like, how is this relationship going to progress?

Sam:

Will it fall apart?

Sam:

Like, obviously it's got to end.

Sam:

The mother's coming back.

Sam:

She's going to leave.

Sam:

She's getting married.

Sam:

This is great.

Sam:

So I just got drawn into it.

Sam:

And I think that's a power a testament to like the incredible, like actors,

Sam:

the filmmaker, just the whole.

Sam:

Yeah.

Sam:

the whole production.

Sam:

And again, I, it's funny, it's a film that I would not necessarily have been drawn to

Sam:

or like aware of, if not for the podcast.

Sam:

And like, I'm glad I watched it because that I, the genre itself, like it

Sam:

normally wouldn't be something I'm immediately drawn to, but like, I

Sam:

just found this movie very engrossing.

Sam:

I would, I solidly liked it a lot.

Sam:

I would give it four.

Sam:

Stars.

Bee:

Nice.

Bee:

Nice.

Bee:

You gentlemen are arbiters of good taste.

Bee:

Thank you for coming to the podcast tonight.

Bee:

Yes.

Sam:

I changed my mind.

Sam:

One star.

Sam:

I want a movie about Walmart.

Sam:

This is boring.

Sam:

These women talking on a beach.

Sam:

Boring.

Sam:

No, I'm just kidding.

Sam:

They're not even talking in English.

Sam:

I don't know what

Sam:

Everything else I

Nathan:

said was true.

Nathan:

I didn't have my subtitles on, so I don't know what they're saying.

Bee:

I watched

Nathan:

the dubbed version.

Bee:

Weirdly, Robert Pattinson was in this dubbed version.

Bee:

Yeah, no, I'm.

Bee:

I, for me, this is a 10 out of 10 masterpiece.

Bee:

I love this movie.

Bee:

I love all of Celine Siama's movie.

Bee:

I saw this was the first one I saw from her and then I went back and did her whole

Bee:

filmography and it's absolutely worth it.

Bee:

I think everything about this movie is so layered and delicate.

Bee:

And every relationship in this movie just serves to give the, the a story,

Bee:

the romance, I think more dimension.

Bee:

I think the B plot with with the, the houseworker and the abortion is

Bee:

really well done and really beautiful.

Bee:

But I also think that that level of friendship and them getting to explore

Bee:

each other in the context of how they treat another person just adds more

Bee:

dimension into their relationship, too.

Bee:

I think that's great.

Bee:

It's absolutely, I think, about observation and and really seeing

Bee:

someone for who they are and seeing yourself for who you are.

Bee:

from their perspective for the first time and allowing yourself to be, to

Bee:

live in your truth and be the kind of person that you want them to see

Bee:

and that you want them to look for.

Bee:

The last 15 minutes of this movie are seared into my brain.

Bee:

I think it's a perfect, Ending.

Bee:

There's a few endings and I, and it's beautiful to the, to the blocking.

Bee:

One thing about this movie, the camera doesn't move a lot.

Bee:

There's a lot of shots that are still, and then there's movement within

Bee:

that, that do feel very painterly.

Bee:

What's up, Sam?

Sam:

No, I was going to say, I totally agree.

Sam:

I was just saying that's, I think what Nathan was saying about the staginess.

Sam:

I think that's where you get that feeling from just that in my opinion.

Sam:

But yeah.

Sam:

It's also in

Nathan:

the performance as well, because there is a couple

Nathan:

of times I don't want to.

Nathan:

Interrupt, but I'm watching the two actresses and I feel like they almost

Nathan:

are this close to breaking character.

Nathan:

Like they're like, they, they want to like crack up, like, like they're

Nathan:

having so much fun in these roles.

Nathan:

I felt like, and had such great chemistry that I felt like when

Nathan:

they kill cut, they're like, like, they just want to, like,

Bee:

chemistry is off the charts for me, my favorite scenes in

Bee:

this movie happen in the kitchen.

Bee:

And, and.

Bee:

You know, you can dig into what that means from a feminine perspective

Bee:

too, but all of that still camerawork just facing the table.

Bee:

And I love when the mother goes away and the maid is there stitching

Bee:

and the two of them are like, Oh, we get to play house now.

Bee:

And one's in the fire cooking, the other one's pouring wine.

Bee:

It's just really lovely to see.

Bee:

And then of course the bonfire is beautiful.

Bee:

Transcendental.

Bee:

I don't know how else to describe that.

Bee:

I'm obsessed with it.

Bee:

Yeah.

Bee:

We'll talk about it, but 5 out of 5.

Bee:

Love it.

Sam:

I also forgot to mention that I meant to say in my review, but

Sam:

the The sound mixing is incredible.

Sam:

Like, I can hear the crackling of every single, like, Ember of wood in the

Sam:

fireplaces and in all the scenes with fireplaces or like when they're talking

Sam:

so close and there's so much tension, like someone will like swallow or you're,

Sam:

you'll like hear like a throat noise.

Sam:

Like the audio is amped in this film.

Sam:

It's crisp.

Sam:

I

Nathan:

have a confession.

Nathan:

Like I, I can watch someone paint all day and it's not just about painting.

Nathan:

It's the, the sound of those.

Nathan:

Tools that they use the, that the, the metal on a canvas that's scraping sound

Nathan:

is like an ASMR experience for me.

Nathan:

Cool.

Nathan:

And I seriously, watch this, I was getting like goosebumps as

Nathan:

they're like the, the technique of creating in the hand movement.

Nathan:

I don't know if these were the actual actresses hands doing this.

Nathan:

If they, if they are, it'll be, it was unbelievable.

Nathan:

Like seeing the meticulous, you know you know, movement, hand

Nathan:

movements of painting these things.

Nathan:

I could have watched two hours of somebody just making, drawing a portrait, painting

Nathan:

a portrait and the sound of that doing it.

Nathan:

You

Bee:

got armpit sex.

Bee:

You got, you got armpit

Nathan:

sex.

Nathan:

That's right.

Nathan:

I was like, that was very jarring.

Nathan:

There's a couple interesting smash cuts in this movie that, Yeah.

Nathan:

But yeah,

Nathan:

wow.

Nathan:

Couple of things here.

Nathan:

I don't know who wants to, who wants to continue this.

Bee:

I was just going to sort of start from the top a little bit.

Bee:

So, you know, she, she comes in and we get introduced to the mom really quickly

Bee:

who we haven't talked about much, but.

Nathan:

Do you know who that is?

Nathan:

Valerie Galeno.

Bee:

Yes, she's amazing.

Nathan:

She, Sam, Valerie Galeno, you know who, I didn't

Nathan:

realize who this was at first.

Nathan:

She's been in so much stuff like big top peewee rain man.

Nathan:

I didn't realize who I was watching at first.

Nathan:

Hot shots.

Nathan:

Hot shots.

Nathan:

Yeah.

Nathan:

She's an awesome.

Nathan:

Yeah.

Nathan:

She's, she's a rock

Bee:

star.

Bee:

I think I'm supposed to do

Nathan:

also,

Bee:

I think I'm supposed to not like her character very

Bee:

much, but I love her character.

Bee:

I totally get where she's coming from in the sense of freedom that she wants for

Bee:

her daughter that can only be afforded through these societal constructions.

Bee:

Which that's,

Sam:

that's the thing.

Sam:

She's like a real, like you were saying, be like a real three, like

Sam:

these all feel like real people.

Sam:

Like if this was a poorly directed or acted movie, she'd be like the

Sam:

one note villain mother who was like, you will marry the blah, blah, blah,

Sam:

blah, blah, blah, blah, blah, blah.

Sam:

And she's like a three dimensional person who like.

Sam:

Has desires and then you hear her plan about wanting to go

Sam:

to Milan and it actually sounds kind of good like, you know I

Bee:

know and she like lights up when she's speaking Italian

Bee:

And

Bee:

she has this great little hair pieces adorable

Bee:

So she has a plan to trick sorry guy

Nathan:

No, go ahead.

Nathan:

You're talking with the mom.

Nathan:

Go ahead.

Bee:

And then together they hatch a plan to, to trick Heloise's character

Bee:

into being painted by saying she has a, a promenade companion, right?

Bee:

We're just going to go on walks together.

Bee:

So gay, you guys.

Bee:

But, we're just going to go on walks together and, and she's just observing her

Bee:

and, and, And Heloise's character allowing herself to be observed is already such a

Bee:

break because we learned that the former painter, she wasn't allowed to do that.

Bee:

And I think that just act of letting someone in, the walls are coming down

Bee:

a little bit and the romance starts to, and to, Spice up absolutely.

Sam:

And like, speaking of the walls, her entrance as a character where

Sam:

she's like shrouded in the like,

Sam:

it's like the most

Sam:

dramatic, like, this is the character.

Sam:

Yes.

Sam:

Yes.

Nathan:

There's a great, this is an unbelief.

Nathan:

And I made a note of this.

Nathan:

There's, there's a point, and this is, like I said, this is a movie about

Nathan:

the power of, of glances and gazes.

Nathan:

And there's, you know, they're standing out on this cliff.

Nathan:

This is one of the most striking shots I think I've ever seen in cinema where

Nathan:

Marian and Heloise are, they're looking out at the ocean over the cliff.

Nathan:

And it's like the side profile of them.

Nathan:

And, but, but Heloise is kind of like eclipsed by Marian as they're looking out.

Nathan:

And, but as Marian turns to look at her.

Nathan:

Heloise's face is revealed as looking back at her in this darting stare, and then

Nathan:

this exchange goes on for a few moments.

Nathan:

It's either foreshadowing or inferring that these two characters are going

Nathan:

to share this intimacy very soon.

Nathan:

Because if this, in this shot, they're literally sharing like one body almost.

Nathan:

I just love this moment.

Nathan:

Yeah, I know exactly what shot you're

Bee:

talking about.

Bee:

It's gorgeous.

Bee:

And,

Nathan:

and, and, It seems like such a simple shooting

Nathan:

technique, but it's so effective.

Nathan:

And I can't think of another film I've seen that done like this.

Nathan:

And I'm just, I, I watched, I actually rewound it and watched it again.

Nathan:

Cause it was like, wow.

Nathan:

And the location for this is like, it's almost looks like something from

Nathan:

A big budget science fiction movie.

Nathan:

Like I thought this would be like a Marvel movie or something from the

Nathan:

Star Wars universe or something.

Nathan:

This location.

Nathan:

It's the colors just

Bee:

really sing to me.

Bee:

They're so beautiful.

Bee:

I can't, I can't get enough of it.

Sam:

I wonder where exactly they shot it.

Sam:

I missed that.

Sam:

I'm sure that's in the Wikipedia.

Sam:

I'll check that.

Sam:

But like.

Sam:

It must have been somewhere like, I love the coastal, like I, I

Sam:

hope it's, I wouldn't be surprised if it was birthday soon on a

Nathan:

new walks of world.

Nathan:

Sam

Nathan:

. Sam: Exactly.

Nathan:

Yeah.

Nathan:

. Yeah, definitely epic landscape for sure.

Nathan:

Yeah.

Bee:

Yeah, it was, it was.

Bee:

It's filmed in in Brittany.

Nathan:

Oh, cool.

Bee:

Mm hmm.

Nathan:

Get on that, Sam.

Bee:

Yeah.

Bee:

Field trip.

Bee:

Already

Nathan:

on it.

Nathan:

It's flight booked.

Nathan:

Let's

Bee:

go.

Bee:

But yeah, their, their romance starts to develop.

Bee:

They're going on these walks together and of course she's painting her in secret.

Bee:

She finishes a painting that we get to see and when you see the

Bee:

painting reveal, the first one.

Bee:

What did you two think?

Bee:

Did you, were you like, Oh yeah, she nailed that painting.

Bee:

Or were you like, I was like, it's not quite

Bee:

her.

Nathan:

Like I'm actually, it's like, it didn't look quite like her, but I

Nathan:

was thinking myself, is this, is this like the greatest rendition of Heloise?

Nathan:

I'm like, no, I didn't think

Sam:

it was bad, but it was formal.

Sam:

Like it, it was like a her, but with a blank stare kind of,

Bee:

yeah, the rules and conventions to

Sam:

it.

Sam:

Yeah.

Bee:

And I love that Heloise was so honest about it and so angry.

Bee:

Like, I let you in.

Bee:

I let you spend so much time on the beach watching me.

Bee:

And, and this is what you come back with?

Bee:

But

Nathan:

she says like, is this how you see me?

Nathan:

Also, I was like,

Bee:

Ooh, yeah,

Nathan:

that

Sam:

was intense.

Nathan:

Yeah.

Bee:

And then it comes back to the marriage, right?

Bee:

This is how I'm not the only one that has to have this in mind.

Nathan:

It's more to that.

Nathan:

Like it says, is this how you see me?

Nathan:

Marian says, it's now only me.

Nathan:

There are rules, conventions, ideas.

Nathan:

I wrote this down here.

Nathan:

You mean there is no life, no presence.

Nathan:

Your presence is made up of fleeting moments that may lack truth.

Nathan:

So it was like, yeah.

Bee:

And at that point I am just.

Bee:

ceased on the floor.

Bee:

And then this movie

Sam:

does need to win.

Sam:

They need to create a new like Oscar category for like best tension ever.

Sam:

Like that's like the melodrama

Nathan:

is so rich in this film.

Nathan:

But

Bee:

the two like already are kind of in cahoots and they Without talking are

Bee:

able to, to, to prolong this process and get the house to themselves which

Bee:

is when this becomes the third, the three hander you talked about, Nathan.

Nathan:

Yeah.

Nathan:

Well, the reason why I also feel as a three hander, cause you know, we, we

Nathan:

haven't even gotten into this whole.

Nathan:

other piece of this, which is the, this, the story that it's kind of

Nathan:

being compared to the, the Morpheus and Eurydice, but also this, I mean, this

Nathan:

is also a, a a classic, a comparison example of three carriers that are

Nathan:

representing the, the human psyche, the id, the ego, and the super ego.

Bee:

Yeah.

Bee:

Yeah.

Nathan:

You've got Heloise.

Nathan:

Clearly the ID, you know, the ID represents the, the, the, the

Nathan:

primal desires, instinctive drives.

Nathan:

Heloise embodies the this aspect through, you know, emotions

Nathan:

and desires and the passion.

Nathan:

And he got Marianne, who's the ego, you know, the ego is the mediates

Nathan:

between the aid and the super ego.

Nathan:

And in reality Marianne is the artist.

Nathan:

you know, she's observing and processing the emotions and desires

Nathan:

and and feels for Heloise, right?

Nathan:

And she's creating that balance.

Nathan:

And, you know, she's tasked with painting Heloise and she's

Nathan:

grappling with the professional obligations of balancing emotions.

Nathan:

And it's mirroring the ego's role in, in between desires and the moral constraints.

Nathan:

And we haven't talked about Sophie yet, but Sophie is the super ego.

Nathan:

Sophie,

Nathan:

you know, the super ego represents, you know,

Nathan:

societal norms and ideals.

Nathan:

She's the maid.

Nathan:

And, you know, The maid is you know, supporting the, the, the societal

Nathan:

structures and, and moral standards.

Nathan:

You know, this is the classic, you know, we've pegged them

Nathan:

perfectly, you know, is in this.

Nathan:

So it's, it's

Bee:

interesting because I was looking at their trinity, that's

Bee:

a great read and I love that.

Bee:

But I was thinking of this Trinity.

Bee:

In mythology and in classical literature too, like we have the fates and we have

Bee:

the three witches and we have like this, this trio of three, that's, that's just

Bee:

this classical, like this story is going to get told through them and you know

Bee:

how it's going to end already, right?

Bee:

This movie is deep,

Nathan:

I think.

Bee:

You're there,

Nathan:

I know!

Nathan:

But yeah, so I, I didn't know much about.

Nathan:

I'm going to sound naive.

Nathan:

I didn't know anything really about Orpheus and Eurydice.

Nathan:

Eurydice?

Nathan:

Eurydice?

Nathan:

I

Nathan:

actually had to do a little bit more research on this afterwards.

Nathan:

So I, I, I was a novice.

Nathan:

But after I paused the movie and I actually had to like go on the

Nathan:

internet and like read about this.

Nathan:

All of a sudden, like, I'm like, Oh, okay, everything here is about this story.

Nathan:

Oh, pretty much everything is about this character, like turning

Nathan:

around and her lover disappears.

Nathan:

It's, this is happening this entire film, but what surprised me and I

Nathan:

don't want to jump too far ahead if we want to talk more about things, but

Nathan:

like, I thought this movie was going to end in a much bigger tragedy also.

Nathan:

You know, I mean, in a way it does me too.

Sam:

I was, I was worried about that.

Sam:

Like I was like, Oh, this is building to, and I was like,

Sam:

glad that she still is alive,

Nathan:

especially with what we've learned about the sister who.

Nathan:

Falls off the cliff.

Nathan:

I thought this was going to be some sort of self fulfilling prophecy that

Nathan:

this was, this is going to end up at the bottom of this cliff somehow,

Nathan:

you know, especially with, she was going to feel trapped by, by what,

Nathan:

what her future was going to be like.

Nathan:

They were never going to be the, the future was never going to be what

Nathan:

they thought it Wanted it to be and she was gonna be faced with something

Nathan:

and or commit suicide or something.

Nathan:

I had no idea where this was gonna go, but, mm-Hmm.

Nathan:

I thought we were going to a much more darker ending.

Nathan:

It seems like, you know, for the most part, it could have been, it could have

Nathan:

been a lot worse for, I feel like the

Bee:

ending's pretty dark.

Bee:

It, but it's not, it death.

Bee:

That's true.

Bee:

Yeah.

Bee:

I think the ending to me is well, we'll talk, we'll talk about the ending.

Bee:

We'll get, we'll, we'll get there when we

Nathan:

get there.

Bee:

Yeah.

Bee:

But in the meantime, we meet Sophie and, you know, Sophie's very matter

Bee:

of fact, like you said, you know, she, she knows the ins and outs of this.

Bee:

Island.

Bee:

And she, she helps lead the women a little bit out, out of their

Bee:

shell while mom's away and, and cats away, the mice will play.

Bee:

I love her character.

Bee:

I think she's really funny.

Nathan:

I liked her a lot.

Nathan:

Yeah, she is.

Nathan:

Yeah.

Nathan:

Yeah.

Nathan:

What did you think of, I kept trying to figure out if there

Nathan:

was some meaning behind.

Nathan:

The dress colors.

Nathan:

I know this might be getting really super deep, but you know,

Nathan:

typically Heloise is in a green dress and Marianne's in a red dress.

Nathan:

And I don't know if you guys, this might be getting way too

Nathan:

geeky, but I, I noticed that.

Nathan:

And I was like, you know, green nature, Maybe purity, maybe, I don't know.

Nathan:

Red is usually more passion and, and fire, but that felt

Nathan:

like it would be the opposite.

Nathan:

So I was, I was a little intrigued if I was reading it in a weird way.

Nathan:

I was trying to figure that out.

Nathan:

Is

Bee:

Sophie, here's, is Sophie in a yellowish or a beige ish?

Bee:

I think she is because then they're in primary colors until

Bee:

they come together to paint.

Nathan:

And she's in green.

Nathan:

We have red, green, Cause green is the dress

Bee:

she's painted in, but Heloise is normally in blue.

Bee:

Yeah.

Nathan:

By the way, it's really interesting.

Nathan:

The green dress, that green dress does not want to be painted.

Nathan:

Everybody's in that, like their head is either, you just notice like either

Nathan:

the painting, like it's cut off or when at one time somebody is looking

Nathan:

in the mirror and their head is literally cut off in the shot as well.

Nathan:

Yeah, it was, it was interesting how.

Nathan:

That it's, we're always kind of avoiding like seeing somebody for a while

Nathan:

in that green dress in full frame.

Nathan:

And I thought that was kind of interesting.

Nathan:

That's true.

Nathan:

Yeah.

Bee:

I think that's a good way to do a face reveal with Eloise too, when

Bee:

it's her sitting for the first time.

Bee:

I love the costuming in this.

Bee:

I think it's gorgeous.

Bee:

It's so textural.

Bee:

Everything in this movie just feels like, like you could just pick it

Bee:

up and, and touch it and feel it.

Bee:

It's great.

Bee:

How do you guys like the abortion B plot?

Bee:

I don't know how else to say that.

Nathan:

I thought it was, you know, think about, you know, there's today.

Nathan:

If somebody wants to go and think about getting an abortion,

Nathan:

I feel like there's counseling.

Nathan:

Like, do you really not want this baby?

Nathan:

Are you sure?

Nathan:

Have you considered like putting up for adoption?

Nathan:

And I feel like this is like the 1770 equivalent of that because

Nathan:

she's put down right next to a baby.

Nathan:

And I feel like, are you sure about this?

Nathan:

Because There's a baby right here.

Nathan:

I thought that was so messed up.

Nathan:

So

Bee:

messed up.

Bee:

It did.

Bee:

It did feel very like very matter of fact, you know, this is life.

Bee:

We're poor.

Bee:

You can't afford this kind of stuff.

Bee:

Like, where am I supposed to put this kid?

Bee:

You know, but

Nathan:

it's like, this is as I was thinking of right now, it's like,

Nathan:

it's, it's felt a little bit like that clinic you walk into like,

Nathan:

well, you know, baby right here.

Nathan:

You sure?

Bee:

Baby.

Bee:

I.

Bee:

Appreciated that she just immediately had the support of, of everyone around her.

Bee:

And they really, they tried every, I thought making her run

Bee:

back and forth was really funny,

Bee:

making

Bee:

her run back and forth on the beach.

Bee:

Like there was some great levity in this movie and it happens around

Bee:

this, which was just so smart.

Bee:

The scene where they're crouched in the grass and they all pop up like meerkats

Bee:

at the same time is just beautiful to look at, but then you realize what they're

Nathan:

doing.

Bee:

Exactly.

Bee:

You scare

Nathan:

a baby out of her.

Nathan:

I scare a

Bee:

baby.

Bee:

And then, and then of course it's, it's, is, you know, it is deeper than that.

Bee:

And it's about women helping other women and forming bonds outside of society

Bee:

because they weren't allowed to be their true selves and they weren't allowed to

Bee:

lead the kind of lives they want to live.

Bee:

So it, it relied on this radical collective care that still

Bee:

exists today that we often need.

Bee:

And, you know, I think the bonfire scene Is the perfect example of that.

Bee:

And just all those voices crescendoing out of the dark is so incredible.

Sam:

Yeah.

Sam:

Stunning.

Sam:

So

Bee:

stunning.

Bee:

And then of course you get that, that moment where the two of them, I think,

Bee:

realize that they love each other.

Bee:

That, that look across the fire is just, that's it, man.

Bee:

I'm done.

Bee:

And she smiles again

Nathan:

in that.

Nathan:

Yeah.

Nathan:

Yeah.

Nathan:

Oh, by the way, So, like I said, you know, I, I was joking before about this

Nathan:

movie being about two hours of edging.

Nathan:

The, the, the best release this movie, I think, had was the moment

Nathan:

that Heloise actually smiles.

Nathan:

Cause it was like, it's like, cause like all, I, I almost

Nathan:

didn't care about the romance.

Nathan:

Just smile.

Nathan:

Well, you know,

Bee:

well, you know, she took her time being funny.

Bee:

Yeah.

Nathan:

Yeah.

Nathan:

Yeah.

Nathan:

And the moment she does and cracks a smile, I was like, Oh, thank God.

Nathan:

It's just like, like, yeah.

Nathan:

So if, and it felt like I could relax and I think that happened

Nathan:

almost over an hour into this movie.

Nathan:

And it was like, I felt like I could finally just like settle

Nathan:

into my seat and like, have a good time with this movie after that.

Nathan:

But yeah, it, it really, really took off after that for me.

Nathan:

I really had a great time.

Nathan:

There's, let's see, there's a few other things here.

Nathan:

The visions that start to come up in this after, you know, cause the,

Nathan:

the whole story is introduced and.

Nathan:

Um, Marianne starts having these visions of Heloise in this

Nathan:

white, in this white dress and.

Nathan:

Of course mirroring the, the, the, the story that they were read,

Nathan:

the they read gave me chills.

Nathan:

Like really?

Nathan:

It was haunting.

Nathan:

Yeah, I really, I really, really, it was effective.

Nathan:

Can we talk

Bee:

a little bit about the story, because there's a few emotional and plot

Bee:

developments that happen when it's a trio.

Bee:

Mm-Hmm.

Bee:

. And one is that, heloise starts asking Marianne to paint, to draw

Bee:

them in books, to draw out the the scene, to sort of process what the

Bee:

three of them went through together.

Bee:

That is sort of a catalyst where she starts to find joy and, and

Bee:

take part of the process and take ownership of her image.

Bee:

And the other one is this story where they're sort of developing the

Bee:

narrative for, themselves through the lens of Orpheus and Eurydice and

Bee:

specifically that, that ending sequence that Heloise is reading aloud to the

Bee:

table because they didn't have TV.

Bee:

I don't know if you knew that.

Bee:

So they had to read the Greeks.

Bee:

And so.

Bee:

And, and the end is where, of course Eurydice is in the Underworld and,

Bee:

and he's trying to get her back, but he's made a deal and they say if

Bee:

you turn back and look for Eurydice, then she'll be trapped here forever.

Bee:

And he can't resist and he looks back for her and she's trapped and he moves on.

Bee:

And the three of them offer their own interpretation in the

Bee:

moment of what that could mean.

Bee:

Thank you.

Bee:

And they're defining the ending of this movie for us before it

Bee:

happens, like the Fates, right?

Bee:

Like the Three Witches.

Bee:

And they're saying, you know, did they, did he make the poet's choice?

Bee:

Is he choosing the memory?

Bee:

The lover's choice versus

Nathan:

the poet's choice.

Bee:

Choosing to remember her.

Bee:

And Heloise says maybe she's made a choice.

Bee:

Maybe she said, look at me.

Bee:

Which is the choice that she's been making this whole movie.

Bee:

So I, What's your read on it?

Nathan:

And I remember Sophie was, like, appalled.

Nathan:

Like, why would, why would they do that?

Nathan:

Like, that was so stupid.

Nathan:

All you had to do was not turn around, and everything would have been fine.

Nathan:

Sophie's

Nathan:

like these

Nathan:

dumb, damn men.

Nathan:

So pragmatic.

Nathan:

Like, why would you, why would you do this?

Nathan:

I remember finding

Sam:

that story very emotional, like, when I first heard it in fifth grade.

Sam:

I was like, I looked back, and like, I just, that was like, To my mind then

Sam:

that was such an intensely epic story.

Sam:

I was like, oh my god the tragedy.

Nathan:

Yeah.

Nathan:

Yeah That was my I remember that was my main takeaway.

Nathan:

I remember just Sophie being so like like angry at at How that how that turned

Nathan:

out and like why were you such an idiot?

Nathan:

All I had to do is just not turn around and keep going

Nathan:

And I'm trying to figure out if my, how it relates to the ending though.

Bee:

So the very end where where they're hearing music and it's,

Bee:

it's, we assume Heloise's first time at the symphony and they're playing

Bee:

the Vivaldi that Marianne played for seasons together, the four seasons.

Bee:

And she's looking and she's looking like she's behind.

Bee:

They almost switched places.

Bee:

Like now she's Eurydice and she.

Bee:

It's just wondering if, if she'll turn back and look at her

Nathan:

from across the, from across

Bee:

the balcony

Nathan:

because, you know, like we're,

Bee:

we're left thinking about that final look, you know, that

Bee:

final moment and they're sort of chasing each other through history,

Bee:

you

Bee:

know, and she's dropping all these clues, the 28, the

Bee:

book, like, You know, but

Sam:

then, but when they're at the play, like she doesn't turn and see her there.

Sam:

Like they don't, she doesn't turn.

Sam:

Yeah.

Bee:

Yeah.

Bee:

It's unfulfilled.

Bee:

Right.

Bee:

I kind of

Sam:

like that.

Nathan:

That's interesting.

Nathan:

I have so many thoughts in the end of this, but I didn't really think about

Nathan:

it that way, but that's, that's great.

Nathan:

I guess I'll, I'll share a couple thoughts on, on the end.

Nathan:

I mean, first of all, I was, I guess we could, no, I'll mention about

Nathan:

the end because I love the ending of this movie, but I was also sort

Nathan:

of conflicted for a little bit.

Nathan:

I saw this about four days ago.

Nathan:

So it's, I guess it's years later after the events of this, like nine

Nathan:

or 10 days that they had together at, you know, and, and Marianne goes

Nathan:

to this art gallery where there's a, there's some showing or so.

Nathan:

And

Nathan:

we obviously we see her and she, there's a portrait

Nathan:

of her with a child as well.

Nathan:

And it looks like the child's maybe what, what, five or six years old or so.

Nathan:

So sometimes gone by and she has the finger placed on inside

Nathan:

of page 28, which is amazing.

Nathan:

I love that moment because what we haven't said is that when, when,

Nathan:

when, when, when, when, when, when, Earlier in the movie, she asked Mary

Nathan:

to paint a little self portrait of herself inside the book on page 28.

Nathan:

And she drew a self portrait.

Nathan:

So obviously her love has never faded.

Nathan:

And I'm trying, I actually trying to imagine the conversation

Nathan:

between Heloise and the painter, you know, which is kind of funny.

Nathan:

Just, yeah, right little 28 right here, or maybe she comes around

Nathan:

like, Hey, just give me that.

Nathan:

Paintbrush.

Nathan:

All right, there you go.

Nathan:

I've seen some,

Bee:

some sort of cute interpretations where the eight kind of looks

Bee:

like an infinity symbol, right?

Bee:

So it'd be like two of us forever.

Bee:

It's kind of cute.

Bee:

I don't know if that was intentional, but.

Bee:

So

Nathan:

now at the concert, Marianne sees Heloise from across the concert hall and.

Nathan:

She never sees Marianne and the music begins, it gets super loud.

Nathan:

You know, we got all these four seasons being played.

Nathan:

It's by the way, it's the same music that Marianne plays in the

Nathan:

harpsichord earlier in the film.

Nathan:

And you can see that, you know, that rush of emotions and memories.

Nathan:

All hitting hoes at the same time.

Nathan:

It's actually, it's just an incredible feat of acting also.

Nathan:

Yes.

Nathan:

What you see there.

Nathan:

But here's the thing.

Nathan:

For a while, I was like, I love this, but it also kind of felt like a double ending.

Nathan:

And I was wondering, did I need this moment?

Nathan:

Because I, for a while, I felt like.

Nathan:

I need, I got everything I needed out of the story of these two.

Nathan:

When I saw that page 28, it told me everything about what I

Nathan:

needed from this relationship.

Nathan:

And that was like the aha moment.

Nathan:

Hell we just love never faded.

Nathan:

And.

Nathan:

Marion got to see, cause it's also set up.

Nathan:

I, she says it like twice.

Nathan:

I got to see Heloise one more time.

Nathan:

I got to see her one more time.

Nathan:

And I thought it would have been actually kind of cool if that seeing

Nathan:

her meant like in that portrait.

Nathan:

And that would have been like, Oh, I got to see her there.

Nathan:

That's her seeing her.

Nathan:

And that's what I thought, thought where the movie was trying to go.

Nathan:

But so if the movie ended right there, I would have thought this

Nathan:

was the greatest ending ever.

Nathan:

Honestly, no, I think, and I think there's an argument to be made

Nathan:

that final scene didn't with at the concert hall wasn't needed, but it was

Nathan:

superfluous, but I've been, I've been going back and forth, but I am now

Nathan:

convinced that the concert hall scene.

Nathan:

Actually add something really great to it because what the gallery scene is doing

Nathan:

is allowing Marianne to see Heloise.

Nathan:

What the concert hall scene is doing is allowing Heloise to

Nathan:

see Marianne through the music.

Bee:

Yes,

Nathan:

because that was their connection.

Nathan:

It's the memory of her.

Nathan:

It's the memory.

Nathan:

So we're now seeing.

Nathan:

everything rushing through Heloise in that moment.

Nathan:

She, we're now seeing her see.

Nathan:

Marianne.

Nathan:

And we wouldn't have gotten that otherwise.

Nathan:

Cause I was still like doing it.

Nathan:

It feels like a double, it felt like we get it, the ending.

Nathan:

Now we're getting the ending again, but it is showing us

Nathan:

another perspective of that love.

Bee:

And it's, it's, I think it comes back to that, the myth the Orpheus myth

Bee:

and just seeing Heloise from Marianne's perspective, raw and unvarnished and not.

Bee:

not with a purpose, just seeing her as she remembers.

Bee:

And then, you know, then it puts another layer on Marianne's painting

Bee:

in the previous scene, because you mentioned we see the painting of

Bee:

Heloise, but Marianne has a piece in that art show, which is why she's there.

Bee:

And it's the moment of the turn from the Orpheus and Eurydice myth.

Bee:

And, a collector comes up and says it's almost as if they're saying

Bee:

goodbye to each other in this moment.

Bee:

And, and I think you, you have that.

Bee:

Yeah.

Bee:

It's it's a masterful piece of acting.

Nathan:

All right.

Nathan:

I, I got nothing else.

Bee:

Sam, what'd you think of the ending?

Sam:

I liked it.

Sam:

I mean, I, I, I, but again, this whole movie, like I felt emotionally

Sam:

drawn in and so whether the ending was necessary or not, I was just happy

Sam:

to see another moment and see her,

Sam:

see her,

Sam:

and I, and I thought I was convinced that she was going to

Sam:

turn and see her and she didn't.

Sam:

And that surprised me.

Sam:

And that just kind of.

Sam:

Felt like, you know, added a bit of like melancholy to it.

Sam:

That ambiguity and like a little bit of tragedy.

Sam:

But I, I liked the theater ending.

Sam:

Like I was just, I was glad it was there.

Sam:

Cause I was emotionally involved.

Nathan:

I've never been so much at the edge of my seat, watching somebody

Nathan:

just listen to music, like at that final scene, like, what's, is she

Nathan:

just gonna like look and looked over across the concert hall or what?

Nathan:

I was like, It was, it was incredible.

Nathan:

Yeah.

Bee:

And so I wanted to pull up this quote from Celine Siama about the ending.

Bee:

She said, yes.

Bee:

And also because I wanted to question what a happy ending is.

Bee:

We have the romantic comedy philosophy of frozen image of two people being together.

Bee:

And we also have the tragic ending and I wanted neither.

Bee:

Why do we believe that eternal possession of somebody means a happy ending?

Bee:

Love educates us about art.

Bee:

Art consoles us from lost love.

Bee:

Our great loves are a condition of our future love.

Bee:

This film is the memory of a love story.

Bee:

It's sad, but it's full of hope.

Bee:

She's smart.

Bee:

I love

Sam:

that.

Sam:

That was, that was, that truly was amazing.

Sam:

I just love the adage.

Sam:

She's smart.

Bee:

She's smart.

Bee:

That

Sam:

was a very like, funny adage.

Sam:

Family guy.

Sam:

Like this speech is like, that was wicked.

Sam:

Great.

Sam:

Lois.

Sam:

Oh,

Sam:

but no, but amazing.

Sam:

Yeah.

Nathan:

All right.

Nathan:

Are we ready for a little break?

Bee:

Yeah.

Nathan:

All right.

Nathan:

All right.

Nathan:

Thanks for checking out our podcast and a review of portrait of a lady on fire.

Nathan:

If you agree.

Nathan:

Or disagree with our views.

Nathan:

Don't keep it to yourselves.

Nathan:

We would love to know your thoughts.

Nathan:

Sharing your feedback is essential to building a community around

Nathan:

all of our love of movies.

Nathan:

You can do so by sending an email to back to the framerate at gmail.

Nathan:

com or by finding us on Facebook, Instagram, threads, Twitter, or YouTube.

Nathan:

We would also love it.

Nathan:

If you could please take just a moment and leave us a solid rating

Nathan:

review on Apple podcasts, Spotify, or wherever you listen to our show.

Nathan:

We thank you all in advance.

Nathan:

It is time for us to decide if we are going to save or purge.

Bee:

Yeah, this is a real nail biter.

Nathan:

Gee,

Nathan:

I wonder what's gonna happen here.

Nathan:

Yeah, this movie is great.

Nathan:

I gave it five stars.

Nathan:

This, I don't think there's ever been a movie that I so instantly

Nathan:

went on Criterion and looked up, like, how, where can I get the, the

Nathan:

the, the Criterion Blu ray of this?

Nathan:

Cause I may do that right away.

Nathan:

Cause I, I was, I do want to.

Nathan:

See what special features are on this.

Nathan:

This, this movie was incredible and it's been on my list of movies to watch

Nathan:

for years and years, and I'm so glad that we decided to watch it this week.

Nathan:

So yeah, this is a save, a no brainer.

Bee:

Nice

Bee:

save

Bee:

control S

Bee:

just kidding.

Bee:

Purge it.

Bee:

No, I save it.

Bee:

Yeah.

Bee:

Yeah.

Bee:

It's an obvious.

Nathan:

I remember the sound effect this week.

Bee:

Nice.

Nathan:

Yeah.

Nathan:

Don't have to add it in post.

Nathan:

All right.

Nathan:

Let's do our movie pairings, which.

Bee:

Okay.

Bee:

So

Nathan:

we're keeping them as surprise.

Nathan:

I don't have my little set, my little sound effect.

Nathan:

Sam, I don't have my sound effect, but you know what I do have?

Sam:

What is that?

Sam:

What is the sound effect?

Nathan:

Well, I usually, I don't have my little, the bumper.

Nathan:

The bumper for it, but you know what I do have?

Nathan:

Because I couldn't find.

Nathan:

I lost the file for it.

Nathan:

I have this.

Bee:

We got twins!

Nathan:

Twins!

Bee:

Nathan, so for listeners, we're keeping our, our double feature

Bee:

pairings a surprise from each other.

Bee:

And I, Nathan, you're going first.

Bee:

I'm going last.

Bee:

I have a genuine concern that you and I have the same pairing.

Bee:

So , I'm dying to know what your story is.

Sam:

Damn.

Bee:

Does your, while you're

Sam:

worried about that, since, since double feature pairing

Sam:

doesn't have a song, might I suggest double feature pairing.

Sam:

Double feature

Sam:

pairing.

Sam:

Now I'm really

Nathan:

concerned too, GI, gimme the slightest hint of yours.

Nathan:

The slightest hint,

Nathan:

. Bee: Oh, there's nothing subtle about the movie I'm going to do.

Nathan:

Go ahead.

Nathan:

Just do it.

Nathan:

If it's, if it's that one, I'll pick a different one.

Nathan:

Okay.

Sam:

So let me guess newsroom with Jeff Daniels, right?

Sam:

It's Rambo three.

Bee:

America is the greatest.

Nathan:

My movie pairing this week.

Nathan:

I think is very appropriate because watching these two films together will

Nathan:

incite another form of temptation where Portrait of a Lady on Fire is what I

Nathan:

equate to two hour, a two hour lap dance.

Nathan:

You can look, but don't touch, but boy, does it get your motor running.

Nathan:

The two thousand.

Nathan:

Lashley Hallstrom film, Chocolat, equally, equally titillates

Nathan:

a different set of senses.

Bee:

Yeah, yeah, yeah.

Bee:

Okay.

Bee:

We don't have the same movie.

Bee:

That of

Nathan:

the exquisite looking confections that are crafted by

Nathan:

the film's lead, Juliette Binoche.

Nathan:

Who's always incredible.

Bee:

I love her.

Bee:

You've also

Nathan:

got Dame Judi Dench, Alfred Molina, Johnny Depp, and Carrie Anne Moss.

Nathan:

You know, what, what an incredible run for Carrie Anne Moss back around this time.

Nathan:

She did The Matrix.

Bee:

Yeah.

Nathan:

Memento, and this film within like a year.

Bee:

Did you mention Molina too?

Bee:

Sorry if I missed it.

Bee:

Alfred Molina.

Nathan:

Oh yeah.

Bee:

Yeah.

Bee:

Who's incredible.

Nathan:

I'm about to mention something.

Nathan:

So, but now she's Can we start like a

Bee:

Molina film?

Bee:

Fan club.

Bee:

I know

Nathan:

he's awesome.

Nathan:

Character moves into a small French village and all she wants to do is bring

Nathan:

the most decadent chocolate confections imaginable to the locals, but there's

Nathan:

some resistance from the Alfred Molina character who is steeped in tradition

Nathan:

and his moral high ground, but he's also, you know, a very complicated character.

Nathan:

And I don't want to spoil the ending, but there's just a great scene with

Nathan:

Alfred Molina at the end of this movie that I can't talk about if you haven't

Nathan:

seen it, but he is so good in this.

Bee:

Just watch Shock a lot.

Bee:

I know.

Bee:

I

Nathan:

think this is a great double feature because, well, first of

Nathan:

all, you've got the French setting, but the protagonists is, you know,

Nathan:

are also both strong female leads.

Nathan:

Both films explore social norms, personal freedoms, empowerment, self discovery.

Nathan:

But the films have very different tones.

Nathan:

Chocolates are much more whimsical.

Nathan:

Which would you

Bee:

watch first?

Bee:

Oh,

Nathan:

I'd watch Portrait first, then Chocolate to end it.

Bee:

A little palette cleanser.

Bee:

Oh,

Nathan:

yeah.

Nathan:

Yeah.

Nathan:

I still think it's a great pairing because by the end of the night,

Nathan:

you're you're going to feel some.

Nathan:

Tantalizing emotions in some form or another.

Nathan:

So,

Bee:

yeah.

Nathan:

Because, you know, sex and chocolate, you know?

Bee:

Yeah, yeah, yeah.

Bee:

They go together like sex and chocolate.

Bee:

Yeah.

Sam:

All right.

Sam:

So this is a very, very thinly drawn connection, but both movies are about,

Sam:

yes, that was the thing dedicated to the valent, no, I'm not gonna,

Sam:

nevermind but the movie action.

Sam:

Wow.

Sam:

No, I'm like, yeah.

Nathan:

I'm so sorry.

Nathan:

That's okay.

Nathan:

You derailed my point.

Nathan:

Pre programmed AI speech, B.

Nathan:

Thanks a lot.

Nathan:

No, I'm just kidding.

Nathan:

By the way,

Nathan:

Shotgun on Amazon is on prime video.

Nathan:

I should have mentioned.

Nathan:

Go ahead.

Sam:

So the film I would pick is it's, it's like forbidden love completely

Sam:

different, but the one thing they have in common are both incredibly,

Sam:

Well acted films that feel real to me.

Sam:

This movie is a film by Adrian Lynn called unfaithful.

Sam:

Very intense with Richard Gere and, and Diane Lane and totally different

Sam:

story of like forbidden passion.

Sam:

Even though the themes of these two films are entirely different,

Sam:

it is sexy and intense and, and like just rife with tension.

Sam:

So watch these movies.

Sam:

Both together in a single night to literally just like be rung

Sam:

out and then he'll fall asleep.

Bee:

When, when we did American Gigolo, we wanted to pick like underrated Richard

Bee:

Gere movies so listeners can, can go back.

Bee:

But I think this, I don't think this is underrated.

Sam:

Yeah,

Nathan:

the movie is incredible.

Nathan:

It's a great movie.

Nathan:

It came up during that.

Nathan:

Yeah.

Nathan:

Yeah.

Nathan:

Unfaithful is available on Hulu and Showtime.

Nathan:

Should watch it.

Nathan:

Yup.

Sam:

One sound effect we definitely need for the show, Nathan, and maybe

Sam:

I can get it is, is John Malkovich and in the line of fire when he's going,

Sam:

whoo, whoo,

Sam:

he's watching the president.

Sam:

Cause I imitate that all the time and I remind me the real soundbite.

Sam:

Yeah.

Sam:

Remind me.

Sam:

All right.

Bee:

All right.

Bee:

Me next.

Bee:

So I went with another queer love story.

Bee:

Another Adam could be, well, this one is, is I guess more of an overt adaptation.

Bee:

My own private Idaho, 1991, Gus Van Sant.

Bee:

Probably.

Bee:

I still have not

Sam:

seen that movie.

Sam:

I gotta see that

Bee:

film.

Bee:

This is another one that I'm like, this might be a masterpiece.

Bee:

I think it's wonderfully done.

Bee:

Henry the fourth.

Bee:

So it's a take on that, which Nathan, I know we want to do a

Bee:

Shakespeare one of these days.

Bee:

We could always throw that in there.

Bee:

But this is, this is a great movie.

Bee:

I don't want to give too much away, but you should watch it for the cast alone.

Bee:

Keanu Reeves and of course River Phoenix earned this.

Bee:

They play the two leads.

Bee:

You should check it out.

Bee:

It's on VOD and it's, it's not much for a few bucks.

Bee:

It's, it's a great, albeit Is a tough double pairing, but you can do it.

Bee:

It's worth it.

Bee:

You can do it.

Bee:

You can do it.

Bee:

You can do it.

Bee:

You can do it.

Bee:

Yeah.

Nathan:

All right.

Nathan:

These are some great recommendations.

Nathan:

Awesome.

Nathan:

All right.

Nathan:

There we

Nathan:

have it.

Nathan:

All right.

Nathan:

So

Bee:

sad boys and some sad girls.

Bee:

Back to the framerate.

Bee:

All right.

Nathan:

Well, we're cooking tonight.

Nathan:

I feel like we, we've been talking for a long time, but yeah, we've only

Nathan:

been on the hour in, how about this?

Nathan:

You know, I, I want to float something by you guys because I, I watch something.

Nathan:

I want to introduce maybe something segment that we could do

Nathan:

periodically if we have time for it, but I would like to propose.

Nathan:

Something maybe called a weekly highlight where we mentioned one thing that we

Nathan:

either watched or did this past week.

Nathan:

And I'd like, we don't, this could be completely optional,

Nathan:

but I'd like to mention one thing that I watched this week.

Nathan:

I watched hit man, the new Richard.

Nathan:

I just

Bee:

watched that like right before this podcast.

Nathan:

Okay.

Nathan:

Well, you can chime in too.

Nathan:

So I, I, I did, I watched this and I gotta say, I thought this movie was.

Nathan:

a lot of fun.

Nathan:

I think it's a good appetizer for the even bigger Glenn Powell

Nathan:

vehicle, Twisters coming out in July.

Nathan:

Hitman, like I said, is the latest from Richard Linklater.

Nathan:

And I knew that going into it, I watched this whole movie and then when it was

Nathan:

done and the credits came up and I saw Linklater's name as a director,

Nathan:

I was like, holy shit, that's right.

Nathan:

He directed this because it's weird.

Nathan:

watching Hitman because it completely left my consciousness that he was

Nathan:

behind this movie because I thought this had a completely different aesthetic.

Nathan:

But Richard Linklater is doing a lot of different types of movies these days.

Nathan:

And it shouldn't surprise me because he really is doing a lot to, to,

Nathan:

to flex himself as a director and do different kinds of movies.

Nathan:

But this was this was like something I feel like he's never done before.

Nathan:

This is a very popcorn movie.

Nathan:

And but I, I liked it a lot.

Nathan:

I was really surprised.

Sam:

I've got to see it.

Sam:

Cause I didn't even know that he directed that.

Sam:

And I'm a big, like Richard Linklater fan.

Sam:

Like I love a lot of his movies.

Sam:

Yeah.

Nathan:

Yeah.

Nathan:

And he co wrote this with Glenn Powell.

Nathan:

And so it has a very different feel to this.

Nathan:

Glenn Powell, he's he stars as this kind of like this nebbish college professor.

Nathan:

And he kind of, he moonlights with the New Orleans Police Department helping

Nathan:

them with their sting operations.

Nathan:

Which

Bee:

is a crazy premise that you have to buy into immediately.

Bee:

It is.

Bee:

It's the most

Nathan:

ridiculous scenario ever.

Bee:

So it asks you, Sam, to buy in, and this is not a spoiler.

Bee:

It asks you in the first five minutes of the movie to accept

Bee:

that a college professor would be working part time like this.

Bee:

Just on retainer for the local police department setting up like

Bee:

wire trap traps and video footage.

Bee:

Yes.

Bee:

It's it's a stretch.

Sam:

But

Nathan:

the funny thing is he's this he, but this is part of the whole thing.

Nathan:

He finds himself as the face of the operation where he is the one that's going

Nathan:

undercover as the fake hit man, you know, to solicit, you know, Would be entrapped.

Bee:

These potential

Nathan:

first half of this movie, I thought we had some legitimately

Nathan:

funny moments with Glenn Paul.

Nathan:

And I think he does a good job in it, especially where he has to keep on

Nathan:

creating these many different personas to meet up with these customers.

Nathan:

But this film, I kind of got into a conventional romantic

Nathan:

comedy, somewhat action final act,

Bee:

but

Nathan:

it's, it's still.

Nathan:

Pretty good.

Nathan:

I thought.

Nathan:

So I, I do recommend it cause even when it's, it could have gone to, to some very

Nathan:

conventional down the conventional path, it did surprise me because this isn't,

Nathan:

this isn't just like typical schlock, this, this does do some smart things.

Bee:

I thought it was really good.

Bee:

I think.

Bee:

You know, Glenn Powell is an and some of these other up and coming movie stars

Bee:

are on a trajectory with their careers.

Bee:

That's really a breath of fresh air separate from franchises.

Bee:

And so watching them do these sort of genre vehicles is fun.

Bee:

And I, I like what Glenn Powell's doing here.

Bee:

I thought this was very link later.

Bee:

Actually, I'm surprised.

Bee:

I thought this was, I did not have his fingerprints all over it.

Bee:

But especially at the soundtracks of Banger, that was great.

Bee:

But yeah, it's totally a popcorn movie, like you said.

Bee:

There's, there's room in the ecosystem for that.

Nathan:

I gotta check it out.

Nathan:

Yeah, Sam, I think you would like it a lot.

Nathan:

Yeah.

Nathan:

I do, yeah.

Nathan:

Yeah.

Nathan:

Sam,

Sam:

Yeah, I did.

Sam:

I did.

Sam:

I was gonna say, I did see Bad Boys Ride or Die, which I'd like to point out.

Sam:

Yeah, I did.

Sam:

Yeah.

Sam:

Yes.

Sam:

Did well, solidly well this weekend.

Sam:

56.

Sam:

The box office is back!

Sam:

The box office is back, exactly.

Sam:

Leave it to Will and Marima!

Sam:

No, but but so, I, I solidly enjoyed it.

Sam:

I thought the chemistry between them was great.

Sam:

Like it was a lot of fun.

Sam:

It was it like, obviously all those films are formulaic.

Sam:

It followed the formula quite to a T where I thought it did feel a little

Sam:

tired in parts, but there was a lot of fun action and spectacle and humor.

Sam:

And Martin Lawrence was hilarious and Will Smith was good.

Sam:

And like I, I, I enjoyed it and I will say I just wanted to quote a reviewer,

Sam:

a guy named Bilge Abiri that writes for the New York Vulture movie review.

Sam:

I do agree with this.

Sam:

I liked Bad Boys Ride or Die a lot.

Sam:

I thought it was, you know, they had sort of a smaller budget, even

Sam:

though it was still 90 million, but the two directors did some really

Sam:

incredible, inventive acting.

Sam:

Action scenes, but just to quote this review that I totally agree with nothing

Sam:

here can and begin quote nothing here can hold a candle to bad boys twos highway

Sam:

chase involving a car carrying trailer dumping all its cars onto the road or

Sam:

bad boys to chase involving a morgue van dumping all its carcasses on the road

Sam:

or bad boys twos chase drug shantytown where all the houses kept blowing up

Sam:

as Mike and Marcus Plowed through them.

Sam:

You might see where this is going.

Sam:

Basically, nothing here can match anything in bad boys too, which was a

Sam:

mess, certainly, but a glorious mess filled with some of the most ludicrously

Sam:

over the top action scenes of all time.

Sam:

And I agree because I love bad boys too is because it's just nuts.

Sam:

It's totally insane.

Sam:

So this was fun.

Sam:

I enjoyed it.

Sam:

It's good to see the characters.

Sam:

It just, you could just feel a little bit of, of.

Sam:

Franchise fatigue, a little formulaic, but some really good action and the

Sam:

positive outweighed the negative.

Sam:

So, I would give it like, I'd give it three, three and a half, yeah.

Nathan:

And in one, in just one weekend, it's already made back its budget.

Sam:

Yeah, I was just so glad that, like, I was glad that to see a movie

Sam:

make money this friggin summer.

Sam:

Like, break the curse.

Sam:

Except Planet of the Apes did well, but yeah.

Sam:

Get

Nathan:

ready for Bad Boys 5 in two years.

Sam:

Yeah.

Sam:

I will happily go.

Sam:

I think you know what it is.

Sam:

I will lastly say, because I love action movies.

Sam:

I feel that some of the earlier bad boys were like cutting edge action sequences.

Sam:

This movie was good.

Sam:

Some inventive action, but not like cutting edge to if they, if

Sam:

they hear this podcast for bad boys, five guys, you have to.

Sam:

Go all out and like blow up an oil tanker or something like make it huge.

Bee:

Yes.

Bee:

Yes.

Bee:

Go fast and furious.

Bee:

Just keep getting bigger.

Bee:

Exactly.

Bee:

Bigger, bigger.

Bee:

That's awesome.

Bee:

I want, I watched a good movie this week.

Bee:

I watched last stop in Yuma County.

Bee:

Has anyone heard of this?

Bee:

Yeah.

Nathan:

I have not actually.

Nathan:

I heard it's really good, but I know it's pretty good.

Nathan:

Yeah,

Bee:

it's pretty good.

Bee:

It's an

Nathan:

awful title, but yes.

Bee:

Well, it just kept making me think of 310 to Yuma, but

Bee:

newcomer Francis Gluppy, gloopy.

Bee:

I'm not sure.

Bee:

Yeah.

Bee:

Yeah.

Bee:

It was pretty good.

Bee:

It's, it, it totally earns all the reviews that say it's reminiscent of some early

Bee:

Coen Brothers stuff but that's not bad.

Bee:

You know, those are great movies.

Bee:

I'm, I'm happy to watch that.

Bee:

It's got great pacing.

Bee:

It's got a good story.

Bee:

I'm not totally sold on the ending of it, but it's a really fun, easy watch.

Bee:

I caught it on Amazon.

Bee:

I think it was like 5 and I think that was it.

Bee:

Exactly right.

Bee:

Perfect for that night.

Bee:

Oh, it's already

Nathan:

on VOD?

Bee:

Yeah.

Nathan:

Oh, good.

Nathan:

Yep.

Bee:

So that's pretty good.

Bee:

I like that.

Bee:

That was a good one.

Nathan:

I'm looking forward to that.

Nathan:

Good.

Bee:

Yeah.

Bee:

It's just, it's just nice to see new stories, new people, and there's

Bee:

a good mix of, there's a lot of faces in that movie that you've seen

Bee:

before, but there's going to be a lot of faces that you haven't too.

Sam:

Nice.

Bee:

Yeah.

Bee:

All right.

Bee:

New talent.

Sam:

Let's check it out.

Bee:

Yeah.

Nathan:

Awesome.

Nathan:

Woo!

Nathan:

I think that's it for tonight.

Nathan:

Rock and roll.

Nathan:

Next week we are watching Lillies from 1996.

Nathan:

A movie that I know nothing about and we are going to have a guest on joining us.

Nathan:

We'll save that just until that actually happens, just to make sure that.

Nathan:

If it's, it's legit.

Nathan:

So we'll, we'll see.

Nathan:

But yeah, so tune in next week when we watch and review Willie's from 1996.

Nathan:

I didn't even know where it's streaming.

Nathan:

We have to figure that out.

Nathan:

Oh, I think it's in Criterion.

Nathan:

Just hit Criterion.

Bee:

It is.

Nathan:

Yes.

Bee:

It looks awesome.

Bee:

John Grayson, the director.

Nathan:

And that will be the third and final movie and our June pride series.

Nathan:

Awesome.

Nathan:

All right.

Nathan:

Cool.

Nathan:

So thank you for dialing into, did I do my, I don't know if I

Nathan:

did, I did do my housekeeping.

Nathan:

That's right.

Nathan:

Back to the framerate.

Nathan:

Western media.

Nathan:

All right.

Nathan:

Back to the framerate.

Nathan:

It's part of the Western media podcast network.

Nathan:

We wish to thank Brian Ellsworth for our show opening on behalf of all of us.

Nathan:

We bid you farewell from our fall shelter.

Nathan:

Your presence in our underground sanctuary is truly appreciated.

Nathan:

We are truly sorry.

Nathan:

You cannot join us.

Nathan:

But we want to express our gratitude for your company.

Nathan:

If you were finding solace in our discussions, we kindly ask that you

Nathan:

please subscribe and leave a rating and review, you can find more episodes of

Nathan:

this podcast on back to the frame rate.

Nathan:

com and a handle on a bank, Sam.

Nathan:

And our

Nathan:

social and our socials back.

Nathan:

Framerate.

Nathan:

Your support is the beacon of light that brightens our confined space.

Nathan:

Head on over to Apple Podcasts, Spotify, or whichever portal connects you to

Nathan:

our broadcast and share your thoughts.

Nathan:

Until we emerge from the fallout, stay with us, keep up live,

Nathan:

and keep those reviews coming.

Nathan:

Back to the framerate, signing off.

Nathan:

I want you to know it's over.

Nathan:

Will.

Nathan:

Will.

Nathan:

Bye.

Nathan:

Bye.

Nathan:

We got twins!

Nathan:

Twins!

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