The Next Reel Film Podcast

Does The Empire Strikes Back Suffer From Middle-Film-Itis?There’s a complaint about trilogies that are designed to be one long story that the middle film suffers the most because it neither feels like it has a beginning or an ending. Is that a problem with this film? What about being a sequel? Does it do more than the original did? Join us – Pete Wright and Andy Nelson – as we continue our series looking at the original Star Wars trilogy with Irvin Kershner’s 1980 film The Empire Strikes Back.Here’s a hint at what we talk about.Obviously, we love Empire so we don’t think it has those issues, but there are contingents of people out there who don’t find it as strong as the original. Still, George Lucas and director Irvin Kershner created a spectacular film that’s a thrill from start to finish. What do we think of Harmy’s despecialized version? And how have all the subsequent projects affected our readings of certain lines in the film? The key question though is do any of those readings affect our joy?The Empire Strikes Back is a magnificent film and we have a great time talking about it. Check it out then tune in! The Next Reel – when the movie ends, our conversation begins! Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Watch this on Apple or Amazon, or find other places at JustWatchScript TranscriptTheatrical trailerPoster artworkHarmy’s Despecialized EditionFlickchartLetterboxdStarships – Dimensions at Real ScaleSupport The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

“You think there’s something wrong with me or something? You think I’m wacko or something?”Talking About John Cassavetes’ 1974 film ‘A Woman Under the Influence with our guest Tami ReikerIn this episode of The Speakeasy, we’re joined by award-winning cinematographer Tami Reiker to talk about one of her favorite movies, John Cassavetes’ 1974 film A Woman Under the Influence. This is a film Tami has often shown to directors she’s worked with as they discuss the projects that influence them and what they want to pull from it to bring in as influences on the project. It’s a powerful film that’s full of incredible moments brought by both leads – Gena Rowlands and Peter Falk – not to mention fascinating direction by Cassavetes himself. How has it influenced Tami over her career and what does she pull from it?Tami’s Current Project Surface on Apple TV+We also talk about the new series she’s worked on with director Sam Miller and star Gugu Mbatha-Raw, Surface. For the episodes she worked on, Tami and Miller wanted to use swing shift lenses to amplify the disconnection Mbatha-Raw’s character has from the world due to post-accident amnesia. It’s a powerful tool and connects directly with their authorial voice.There’s a lot to talk about with Tami about both A Woman Under the Influence and Surface on The Speakeasy. Tune in!Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!About TamiAward-winning cinematographer Tami Reiker, ASC, made history by becoming the first woman to win an American Society of Cinematographers award. She took home the ASC Outstanding Achievement in Cinematography Award for her work on the HBO pilot, Carnivalé.Reiker recently worked on the highly anticipated new Apple TV+ series Surface starring Gugu Mbatha-Raw and created by Veronica West, bringing together innovative technology and breathtaking visuals for the first two episodes of the psychological thriller, each with director Sam Miller. She also lensed Regina King’s directorial debut One Night In Miami, chronicling a fictional account of a real night when the lives of Cassius Clay, Sam Cooke, Jim Brown and Malcolm X are forever changed. The drama already made history at the 2020 Venice Film Festival as the first film directed by a Black woman to be selected and is also an official selection at the 2020 Toronto International Film Festival.Previously, Reiker photographed the action epic The Old Guard for Netflix and frequent collaborator director Gina Prince-Bythewood. Based on the graphic novel series of the same name, the film follows a group of immortal soldiers who must defeat a corrupt man trying to expose their secret. The feature shattered records after its release, becoming one of the top ten most streamed films in Netflix’s history, with Prince-Bythewood becoming the first Black female director to land a spot on the list.Reiker’s additional feature credits include: Beyond the Lights for Gina Prince-Bythewood, starring Minnie Driver, Danny Glover and Gugu Mbatha-Raw; the critically praised Pieces of April for director Peter Hedges; and High Art, a visual collaboration with director Lisa Cholodenko, which earned Reiker a Best Cinematography nomination at the Independent Spirit Awards.For television, Reiker lensed: episode one of Woman of The Movement, directed by Gina Prince-Bythewood; HBO Max’s Delilah pilot for director James Griffiths; Marvel’s Cloak and Dagger pilot; CBS’s Charmed pilot, with director Brad Silberling; the pilot for Fox’s Shots Fired, the critically praised ten-part series chronicling the investigation of a police shooting; and HBO’s Getting On pilot for director Miguel Arteta.After beginning her career and making a name for herself in the New York film community, Reiker moved to Los Angeles where she still lives now, with her son. She is represented worldwide by DDA.Film SundriesLearn more about supporting The Speakeasy and TruStory FM’s other entertainment podcasts through your own membership.Watch _A Woman Under the Influence on Apple or Amazon, or find other places at JustWatchWatch Surface on Apple TV+Script TranscriptTheatrical trailerPoster artworkFlickchartLetterboxdTami’s WebsiteTami on IMDbSupport The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & more

“Only Imperial Storm Troopers are so precise.”Star Wars – The Start of Something BigFor our twelfth season, we’re looking at franchises and series of films that for one reason or another, we just haven’t gotten around to yet. To start things off, we look at the original Star Wars trilogy. Join us – Pete Wright and Andy Nelson – as we start this series with George Lucas’ 1977 classic Star Wars.What hasn’t been said by this point about Star Wars?It’s a big question – what do we talk about in a film that seemingly everyone’s already talked about? For starters, we chat about our first experiences with this film and how it shaped our youths. We also discuss the Harmy Despecialized edition, as those are the versions we’re looking at for this series. What changes has Lucas made to the film over the decades, why, and do they change our approach to the film?There have also been spinoffs of so many types over the years. How does this film change with projects like Rogue One: A Star Wars Story and Obi-Wan Kenobi? Does it make certain lines of dialogue in this film not work as well? Or are we able to look past that? And how do we define what’s canon?The cast is iconic by this point. Mark Hamill, Carrie Fisher, Harrison Ford, Sir Alec Guinness, Peter Cushing, Anthony Daniels, Kenny Baker, Peter Mayhew, David Prowse, James Earl Jones. They all are as much a part of this film and this franchise as it’s a part of them. That holds true for the technical teams as well. Effects, sounds, costume, production design, score – it’s all a core piece of what this film is. And of course it all comes back to George Lucas and this journey he created based on the Hero’s Journey.We have a wide-ranging conversation about the film but it warrants it, so revisit this great film then tune in for a great episode. The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Watch this on Apple or Amazon, or find other places at JustWatchScript TranscriptTheatrical trailerPoster artworkFlickchartLetterboxdSNL Star Wars Lounge SingerStar Wars/Cantina DiscoHarmy’s Despecialized EditionSupport The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

Waiter, there’s a fly in my soup...We’ve been running the show for over a decade now and want to keep going. One of the things we’re doing to keep the lights on is the addition of dynamic advertising during the episodes, both past episodes and moving forward. If you’d like to keep listening but don’t want to hear the ads, you can still support the show by becoming a member.Members get early access to all new episodes. They get our monthly member bonus episodes. Members get our Flickchart Re-Ranking episodes. And members get our Retake episodes. Plus, members have access to special members-only channels in our Discord community where they can chat with other like-minded film fans as well as vote on upcoming member bonus episodes. It’s a great way to support the show. And, of course, members get their own podcast feed where they can listen to episodes ad-free.Learn more about membership here.Either way, your support means the world to us and keeps us going. Thanks for all the years of listening and being a part of our community! The Next Reel – when the movie ends, our conversation begins.

“Did the penguin tell you to do this?”Tamra Davis came on as director for Billy Madison after they’d already been filming for a few days of production as the studio felt the original director wasn’t funny enough. Davis had already met with Sandler and they connected. Plus, it helped that she found him funny. Because of this, she ended up in the director’s seat, taking over the project and delivering a film that, like it or not, has given Sandler a solid home in mid-budget comedy production. Join us – Pete Wright and Andy Nelson – as we wrap up our 90s Comedies series and our 11th season with Davis’ 1995 comedy Billy Madison.Adam Sandler – Love Him or Hate HimThis is a tough film for us to review. Neither of us are fans of Sandler’s juvenile comedy, so we really struggled to review this in a way that appeals to his fans. What we did try to do, though, is to maintain a critical eye without being overly judgmental, knowing that we’re just not the audience for this movie.It’s a tough place for us, as we both certainly love crass and dumb comedies. We’re both big fans of Dumb and Dumber. So why is this film so much more difficult to like?There’s a certain element that definitely falls on Sandler’s shoulders. His dumb title character just makes little sense to us. In context of the film’s world, why does he want to run his dad’s company? Is it just to keep Eric from it? Even Billy seems to acknowledge he doesn’t know how to do it. With that, the story ends up feeling like a lot more sketches that don’t tie together cohesively than anything else. That’s a big frustration for us.We’re also not huge fans of how some of the characters are treated or portrayed. Miss Vaughn isn’t treated well and is written to fall for Billy far too quickly. And what are Sandler and co-writer Tim Herlihy saying about their other female characters, not to mention the gay school principal?There are funny moments, but rarely do they fall to Billy. For a film about Billy, this makes it very hard for us. Regardless, we do work to not completely bag on this movie but to approach it with some serious thought. Many love it, and for that, we’re happy they have this, Sandler’s comedy, and his film productions. So check it out if you want. Either way, it’s a great conversation. Tune in to check it out. The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Watch this on Apple or Amazon, or find other places at JustWatchScript TranscriptTheatrical trailerPoster artworkFlickchartLetterboxdAnd check out our lineup for Season 12 right here which looks at franchises and series. The first episode drops July 28th for members, August 4th for everyone else! Support The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

“How could you guys eat with a dead man at the table?”With an Oscar nomination under her belt for a short film and connections to many in Hollywood, Stacy Title was in a great position to make her first feature. She and screenwriter Dan Rosen made a black comedy that tackled liberals and conservatives along with bombastic one-way thinking with their collaboration The Last Supper. Join us – Pete Wright and Andy Nelson – as we continue our 90s Comedies series with Title’s 1995 film The Last Supper.More Than Biblical ReferencesThe title clearly connects the film to Biblical stories, so does that make this film more of a parable? Crafting a black comedy can be very challenging as often, we’re left with few people to root for. That’s certainly the case here as everyone ends up fairly despicable, even if they find a form of salvation in the end. So with all of that, how well does Title bring this film to fruition?And what about the actors? We have Cameron Diaz, Ron Eldard, Annabeth Gish, Courtney B. Vance, and Jonathan Penner as our five liberal grad students who set the story’s deadly dinners into motion. Their guests include Bill Paxton, Charles Durning, Mark Harmon, Jason Alexander, and Ron Perlman. The actors are all bringing their own thing to the parts, but are they given enough to work with? Or perhaps as a parable, the script is giving them – and by extension us – enough to work with so we can watch the story unfold and deliver its message.To the point of the message, is it as effective as we’d like? Does the ‘if you could travel back in time, would you kill young Hitler before he could do anything’ question posed several times throughout the film deliver the point of the film? How about that last dinner with Ron Perlman’s Rush Limbaugh-esque character?And what about the story thread with Nora Dunn’s sheriff as she tries to find a missing girl? What’s that doing for the story? Is it as effective as we want it to be? Could it have been used for better effect?Stacy Title’s Battle with ALSUnfortunately, Stacy Title was diagnosed with ALS in 2017, and it took her from this life in 2021. She never had as robust a film career as she likely deserved, though she still managed to make some interesting projects. We chat a bit about her and the struggles she had. We also touch on the commitment her husband Penner had in supporting her through this difficult time.Wrapping upAll in all, it’s an interesting film that generates some interesting conversations. Did it work better in 1995 than it does today? Or perhaps does it feel more relevant today than it did then? Would it work as a play now if updated? Or would that fall as flat as the film does for some modern eyes? There’s a lot to talk about here and we have a great time digging into it. So check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Watch this on Apple or Amazon, or find other places at JustWatchTheatrical trailerPoster artworkFlickchartLetterboxdMore About Stacy Title and Her Battle With ALSSupport The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

“So, okay, you’re probably going, ‘Is this, like, a Noxema commercial or what?’ But seriously, I actually have a very normal life for a teenage girl.”Amy Heckerling started a project about a positive high school student for TV. She wrote several iterations before it stalled out, but when she switched agents, her new agent said it was too good for TV. So she switched it to be a feature film. And with that the foundation for Clueless was born. Join us – Pete Wright and Andy Nelson – as we continue our 90s Comedies series with Heckerling’s 1995 film Clueless.Here are some clues about what we talk about in our Clueless episode.The foundation for Clueless may be Heckerling’s TV project, but it didn’t take long for her to realize she had been pulling in elements from Jane Austen’s “Emma.” Locking that in and focusing on the Beverly Hills high school set, Heckerling found the story. And it’s a delight.Alicia Silverstone is the key for this film. She’s perfect as Cher, delivering a performance that’s authentic and kind, even while being a rich shopaholic. The rest of the cast fleshes out the film. Stacey Dash, Paul Rudd, Brittany Murphy – everyone feels perfect for the roles they play.And that holds true for the adults too. Dan Hedaya as Cher’s dad? What a loveable grump.But the movie’s more than the cast. Heckerling’s script, which intrinsically different from Fast Times at Ridgemont High because of the RomCom nature of this story, still captures the teens of the mid-90s in action and speech. Mona May’s costumes both captured the time and ended up influencing fashion for years to come. And the production design and cinematography together bring the colors and vibes to the forefront to create a hyper-realistic world.It’s a delight of a film. It’s not perfect, but is an easy watch and an easy one to fall in love with. Check it out then tune in to this week’s episode on your podcatcher of choice. The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Watch this on Apple or Amazon, or find other places at JustWatchScript TranscriptTheatrical trailerPoster artworkOriginal MaterialFlickchartLetterboxdSupport The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

“I can’t believe I’m doing this. I can’t believe I’m in a graveyard with a strange man hunting for vampires on a school night.”Fran Rubel Kuzui seems like an odd choice to end up helming a vampire comedy. Her only other film was Tokyo Pop, a drama about a young American woman trying to make it in Tokyo. But she and her husband, producer Kaz Kuzui, had found the script for Buffy the Vampire Slayer written by a then unknown writer named Joss Whedon, put the financing together with Dolly Parton’s production company, and got it made. Apparently, it was off-the-wall enough that the studio didn’t request a known commodity for the director’s chair. So Rubel Kuzui directed it, and made what feels like a bit of a mess. Join us – Pete Wright and Andy Nelson – as we kick off the last series in our 11th season – 90s Comedies. For this first episode of the series, we’re looking at Rubel Kuzui’s 1992 film Buffy the Vampire Slayer.We need to talk about Joss.Unfortunately, Joss Whedon (or Tig Notaro as we like to call him) is a key part of this property, and we have to discuss a bit about who he is and why he’s a problem. But a lot of other people worked on this film as well as the spinoff shows that it’s still valuable to talk about these properties. We do, though, have to acknowledge him. And we definitely complain about signs of his issues as they come out in his writing and treatment of the protagonist.The Film Vs. the TV SeriesThe TV series obviously was huge and had its own spinoff, comics, video games, etc. The Buffyverse is massive and still popular. So how does this film feel as the origin of all of that? That’s a tough place to start because, well, this film’s a mess. The film never can settle on a tone so ends up feeling disjointed and rushed. The world-building, while it has a strong foundation, doesn’t get enough focus so far too many elements feel disconnected and nonsensical.The actors deliver fine performances for the most part. The challenge is that so many of the characters feel underwritten. Is that on Notaro? On rewrites dictated by the studio? Improv done on set at the behest of Rubel Kuzui? It’s hard to say, but it makes it feel like some of the actors are giving fairly flat performances. Only Paul Reubens really shines in his role, as he seemed to figure out what was going on. That leaves Kristy Swanson, Donald Sutherland, Rutger Hauer, Luke Perry, David Arquette, Hilary Swank, and many others flailing.In the end, this ends up disappointing us. We had remembered enjoying it back in the day. But now, it just doesn’t stand up well on its own and, for any fans of the show, feels like a rough first draft. But it does allow for a fantastic conversation, so check it out if you’d like then tune in. The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Watch this on Apple or Amazon, or find other places at JustWatchScript TranscriptTheatrical trailerPoster artworkThe TV SeriesFlickchartLetterboxdSupport The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

“You can’t just run our lives in your sick head.”It’s clear from our two films in our current series that Susanne Bier enjoys films with complex characters dealing with complex situations. Open Hearts had two families whose lives are upturned after a car accident affects both of them. In After the Wedding, it’s a revealing toast at the wedding that turns lives upside down and forces several people to reevaluate their connections to each other. Join us – Pete Wright and Andy Nelson – as we wrap up our Mads & Susanne series with her 2006 film After the Wedding.We have a lot of thoughts about After the Wedding.This is a film dealing in a mess of a situation but somehow avoids melodramatic, false emotions. Crafting a story like that isn’t easy, but Bier manages it and delivers a powerful film here. The performances of Mads Mikkelsen, Sidse Babett Knudsen, Rolf Lassgård, and Stine Fischer Christensen are spot-on perfect, but it’s the script and direction that keeps the story believable.And that’s with a story that has several large reveals that in any other film would be signs of it being over-the-top. But not here. Bier allows the characters to learn the information then react to it as people would. It’s powerful how effective it is. It feels as if Bier learned a lot about connecting to her characters with her work in the Dogme 95 style, and even though she’s not operating under their rules here, it still shows she understands the core principals of being honest.There’s a lot to be discussed about how wealth affects and shapes Jorgen’s thinking, not to mention how he treats his family. There are also elements of altruism reflected throughout. How does that come up with the characters and their intentions?It’s a powerful film and one we’re glad to cover on the show. So check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Watch this on Apple or Amazon, or find other places at JustWatchTheatrical trailerPoster artworkFlickchartLetterboxdSupport The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible

“I didn’t mean for this to happen.”The Dogme 95 movement started in 1995 with the first two films made under its manifesto released in 1998. By the time Susanne Bier made her film Elsker dig for evigt – or Open Hearts as it was released in English – it was the 28th film certified as a Dogme 95 film. Join us – Pete Wright and Andy Nelson – as we look a Bier’s 2002 film Open Hearts.What does Dogme 95 bring to Open Hearts?Because Dogme 95 is a key component of this film, how it looks, and its production – and because it’s the first Dogme 95 film we’ve discussed on the show – we spend a bit of time looking at its foundation, its rules, and how this fits – including what rules Bier broke during production.There’s a lot of heightened emotion throughout this film due to the nature of the story. We disagree a bit about the strength of the story. Is it just a soap opera about infidelity? Or does the inciting incident of the car accident connecting these two couples together make it something more? And does the fact that the story seems intent on having all of these characters do things we don’t like make them unlikeable, or does it make them more realistic? Either way, it’s a story dealing with a lot of complicated emotions that make for a great conversation.Regardless of what we think of the story and its melodramatic nature, the performances are great. Mads Mikkelsen always excels, and he’s fantastic here. He and Bier clearly know how to tap into some heavy emotions in their working relationships. Paprika Steen may be our favorite, though, as his wife. Nikolaj Lie Kaas and Sonja Richter put a lot on the table in their roles as well. All in all, it’s clear this is an actor’s film.But it’s hard to completely get past that Dogme 95 look, which does leave the film feeling muddy. In today’s modern digital world where digital looks as good as film, it’s tough to go back to a film like this and want to sit through the home video look.Still, it’s a film that warrants a lot of discussion, and we cover a lot of ground with it. so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Find where to watch this on JustWatchTheatrical trailerPoster artworkFlickchartLetterboxdSupport The Next Reel Family of Film Podcasts:Become a member for just $5/month or $55/yearJoin our Discord community of movie loversThe Next Reel Family of Film Podcasts:Cinema Scope: Bridging Genres, Subgenres, and MovementsThe Film BoardMovies We LikeThe Next Reel Film PodcastSitting in the DarkConnect With Us:Main Site: WebMovie Platforms: Letterboxd | FlickchartSocial Media: Facebook | Instagram | Threads | Bluesky | YouTube | PinterestYour Hosts: Andy | PeteShop & Stream:Merch Store: Apparel, stickers, mugs & moreWatch Page: Buy/rent films we've discussedOriginals: Source material from our episodesSpecial offers: Letterboxd Pro/Patron discount | Audible