The Next Reel Film Podcast

"You’re not the podcast I knew ten years ago.”“It’s not the years, honey, it’s the mileage.”It’s fun revisiting Spielberg’s 1981 classic Raiders of the Lost Ark, the film that we used as our launching point for this podcast. In honor of our ten year anniversary, we thought it would be fun to return to where it all began and have another conversation about Raiders as well as what we’ve been doing over the last ten years. So join us – Pete Wright and Andy Nelson – as we dig back into the archives with Indiana Jones to celebrate our anniversary.It’s not just Raiders of the Lost Ark we discuss.Sure, we talk about Spielberg’s 1981 masterpiece, but we also talk about how we came to the decision to start a podcast. Why did it take Andy so long to jump on the podcasting bandwagon all those years ago? And why did it take him so long to get a better audio system?We also talk about the origins as Movies We Like and our early, looser format. With time, everything’s evolved and (hopefully) improved. And other than our summer hiatuses, which we started a few years ago, we’ve been keeping consistent on the podcast with a new episode every week, not counting member bonus episodes and more.But we do dig into Raiders of the Lost Ark a bit, and we also talk about our reactions to what we thought in that first episode. We look at what Spielberg, Harrison Ford, Karen Allen, and more have been up to since we last discussed them. We talk about the ten consistent team members who worked on all four films. And we look at awards and the numbers for the movie.It’s a delightful conversation and a great way to return to where it all began. If you haven’t seen Raiders of the Lost Ark, by all means stop reading and go watch it immediately, but if you have, tune in and enjoy this retrospective 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.Tune in to that First EpisodeWatch this on Apple or Amazon, or find other places at JustWatchScript TranscriptTheatrical 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’m not running. I’m choosing.”While in film school at NYU, Dee Rees directed a short film called Pariah that was essentially the first act of a feature script she was developing. Spike Lee, her professor and mentor, helped her get the feature version financed and in 2011, she released it to much acclaim. Join us – Pete Wright and Andy Nelson – as we continue our 10 Year Anniversary series with Rees’ feature version of her short film Pariah.There’s a lot to discuss about Pariah, from the performances to the filmmaking style.We love all of the performances in this film, but Adepero Oduye as Alike, our protagonist, is the heart of this film. Her journey of coming out as a lesbian is a powerful one, and we’re right along the ride with her from the start of the film. But all the performances in Pariah are great. Pernell Walker as Alike’s best friend Laura. Aasha Davis as her first love Bina. Charles Parnell and Kim Wayans as her parents. Everyone gets story time and they sell this journey.Pariah is a strong story because Rees doesn’t make the parents typical antagonists who aren’t happy with her as a lesbian. We get a sense of their world and can understand their perspective, even if we don’t agree with them. We also get a strong sense of the family world and connections to church, not to mention Dad’s affair. All of this helps us feel like we understand the family dynamics.Rees and her cinematographer Bradford Young crafted a personal, intimate film. The film is beautiful to look at with many gorgeous closeups. It also has raw energy in the scenes that require it. All told, it’s clear right out of the gate that Rees is a filmmaker pushing honesty and truth with her first film in a visually exciting way.Pariah is a powerful film that delivers and rightfully holds up as one of the great LGBTQ films. We have a great time talking about 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 JustWatchScriptTheatrical trailerPoster artworkFlickchartLetterboxdPariah NYU Short • 2007Pariah on CriterionSupport 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

"This place is a real find!”Brazil’s economy has certainly had its share of ups and downs over the decades. The struggle to create a capitalist economy hasn’t been easy, and allowed for rich fodder for the filmmaking duo of Juliana Rojas and Marco Dutra to write and direct a story about a middle class family struggling in the labor market. This film, Trabalhar Cansa or Hard Work in English, came out 10 years ago now. Does it resonate today? Does it resonate for people outside of Brazil (or Brasil, as Brasileros would write)? And do the filmmakers try to do too much – or too little – in their film? Join us – Pete Wright and Andy Nelson – as we continue our 10 Year Anniversary series with Rojas’ and Dutra’s 2011 film Hard Labor.Hard Labor deals with a lot more than the labor market.Like we ran into a number of times in our Horror Debuts series, Rojas’ and Dutra’s film is laden with metaphors and allegories. There are vicious barking dogs outside of Helena’s new store that threaten her when she’s trying to leave. There’s black seepage oozing from between the tiles in the back of the store. And let’s not forget the werewolf-esque body parts that Helena pulls from out of behind her wall. These elements give the film a definite horror vibe, but is that enough if the film doesn’t stick with the horror?To that end, would it have been better if it stuck with the straight drama of our characters Helena, Otávio, and Paula and their struggles with employement instead of including these metaphors? By including them, does the film get muddled and become less clear on its messaging?We go back and forth on these points because Pete didn’t like them at all and Andy liked them, though still felt they were a bit confusing. But what about the dramatic story in Hard Labor?This is where we feel the film excels. Watching the three main characters struggle with their jobs is the heart of this movie, particularly when Rojas and Dutra end the film on such a punch-in-the-gut moment. They each show an interesting transition over the course of the film. What did we think about them? How well do we care for them? And do we find any particularly interesting or less intriguing?It’s an interesting film that never quite works as well as it should but still clearly shows a proclivity for a type of storytelling that it sounds like Rojas and Dutra have continued, both solo and together. It’s an interesting film to discuss even if watching it won’t be for everyone. Check it out and 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 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

"So for all practical purposes, in a month, that’s it for us.”Miranda July spends more time as a performance artist than as a filmmaker, so it makes sense that her second film, The Future, feels a bit like a performance piece. That also likely speaks to why its quirky charm works for some but for others, they feel it represents the worst side of independent film. But that’s what art is, right? Join us – Pete Wright and Andy Nelson – as we continue our 10th Anniversary celebration series with July’s 2011 film The Future.Miranda July and Hamish Linklater are a perfect couple in The Future.Linklater’s recently appeared on Mike Flanagan’s Midnight Mass on Netflix and was amazing in that role, so it’s great to jump back 10 years to see him in this film. He and July, playing his girlfriend, are the perfect 30-something couple, happy with their existence but unsure how to move things forward. That’s when the cat Paw-Paw enters their lives, and suddenly, they feel like their lives are coming to an end.From there, it’s a bit of an existential journey with each character – Linklater as Jason and July as Sophie – working through their own interpretation of the future and their position in life. But where do we land on the film as a whole versus the various parts?There’s also Paw-Paw the cat and the Moon as well.The first half focuses on their relationship. The second half focuses on them struggling with where they think their lives might lead. But there’s also Paw-Paw the cat, talking to us in metaphors about life and the death. At the same time, we also have the Moon, talking to Jason while he’s frozen time and is struggling about whether to unfreeze it or not.The Future is a unique film that works for us, but likely won’t work for everyone.July gives us a lot to discuss with this quirky, unique film. Not everyone will like it – we even are a bit split on it – but it’s clearly a film from a unique voice and certainly worth watching and revisiting. 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 — visit TruStory FM.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

"Remember how devastated you were at first? So why get others to do the same?”In 2008, 18 students at Gloucester High School in Gloucester, MA, all got pregnant. At the time, the principal said that there had been a pact between a number of the girls to all get pregnant together. The mayor later came out to say that there wasn’t a pact, and later some of the girls said there was a pact but it had been made after the pregnancies and more about helping each other raise their babies together.The initial story about the pregnancy pact had gotten out into the world, however, and created quite a fervor because the concept of so many young teens making a life-altering decision like this in such an off-the-cuff way is so frightening. Some people wrote books, others made Lifetime movies. French writer/director sisters Delphine and Muriel Coulin adapted the concept into their feature film debut 17 Filles, or 17 Girls in English. Join us – Pete Wright and Andy Nelson – as we kick off our Tenth Anniversary series, celebrating films celebrating their 10th anniversaries as we celebrate our own – with Coulins’ 17 Filles, or 17 Girls. It’s a challenging film for each of us for different reasons, which makes for a lot to talk about with 17 Girls.Pete didn’t like this movie. He didn’t like the characters. He found the story fairly boring. Andy liked the movie, but didn’t love it. He found more compelling elements in a few of the characters but certainly not all of them. He didn’t find it boring but understands how people could find it that way.We mainly focus on Camille, the first of the girls to get pregnant, but she’s a challenging character to have as a protagonist. Is she more our antagonist? There is a moment early on when we get a sense of her life at home. Does that give us what we need to latch on to her and start feeling what she’s going through? Or do we need more?How About the 17 Girls in 17 Girls?What about #2? This speaks partly to our frustrations about the film – we’re assuming all 17 of the girls have names, but we aren’t given many of them in the film. But #2 gets pregnant just because she wants to be part of the in-crowd. Of all the stories, perhaps hers is the most tragic. But we’re not given much of her.How about Clémentine? If any girls ends up getting more of our sympathy, surely it’s her. She’s desperate to stay a part of the club so does everything she can to get pregnant, even though her body is too small to handle a pregnancy. She runs away from home after fighting with her parents and her friends put her up in an abandoned trailer by the beach. It’s miserable. But do we end up garnering much sympathy for her?This is the challenge of the film. It’s constructed more like a parable or fable, and we don’t find much to connect with the characters themselves. Is that a problem in context of this film? Or would it be fine if the story had more energy?17 Girls is a slow-paced film.We spend a lot of time with our group of pregnant girls together as well as alone. When they’re alone, they’re often sitting quietly at home looking scared, helpless, lost. When they’re together, they’re talking about all the great times they’ll have helping each other care for their children. If you can’t connect with these girls, it’s easy to feel bored. And that’s a big part of our conversation.We also talk about the nature of the town of Lorient, France, where the story takes place. It feels like a dying town, and perhaps we’re meant to feel that the people here are dying as much as the town is and in a weird way, these girls may be trying to find a way to latch onto life. That also ties into the ladybugs we see in the film.It’s an interesting film to kick off our new series with. Is it a fun film? No, but it provides a lot of points for discussion. Perhaps that’s all we needed right now, even if it’s not a film we’ll be returning to. Check it out (or not) then tune in to this week’s 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 — visit TruStory FM.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

We’re done talking about the movies. Now let’s talk about the series.We have come to the end of our Horror Debuts series, exploring six films and one extra as our September 2021 Member Bonus Episode. All told, we looked at Messiah of Evil, Goodnight Mommy, A Girl Walks Home Alone at Night, The Babadook, The Lure, Saint Maud, and Relic. Each director (or pair of directors as the case may be) brings a unique vision to their story, and perhaps the fact that they chose the horror genre as the place to start their feature film career is telling as it allows for a lot of play. So what did we – Pete Wright and Andy Nelson – think about not just the films but the series as a whole? How do these films stand up to other horror films of the past and of this last decade? Why these shifts in the types of horror films getting made? We dig in to horror films in general and these films specifically in our Horror Debuts Retake.Here’s a hint at what we talk about.How accurate were our original star ratings from when we had our initial conversations as compared to now? Pete found that Goodnight Mommy hasn’t held up over time and demoted it whereas Andy largely still connects with The Babadook the least. Relic tops both of our lists though. Horror films have evolved over the years and decades. It’s great seeing so many strong female voices rising in the ranks as directors over the last few decades. We would’ve liked to have had more woman-directed horror debuts on this list but found few before the turn of the century. Messiah of Evil is a fun one to include, but even that was co-directed (and still had Gloria Katz uncredited for her role in directing, likely because of DGA policies). But is there anything to the fact that these films have horror elements but aren’t straight-up horror films? Or that they’re incorporating metaphorical elements much more strongly than we’ve seen recently? Horror films have shifted each decade, so this tone definitely seems to fit the overall vibe of horror in the 2010s, but is any of that coming from the larger group of female directors?We finally rank all of the films on Flickchart. It’s becoming more and more clear to us that our middle block is throwing too many films we really like into the bottom half. Regardless, it’s an interesting order that mostly reflects our positions on the films, even if not 100% accurate. All in all, it was a thrilling series and a great addition to our 11th season. Next up – as a way to celebrate our tenth anniversary coming up on November 11th, we’re looking at 10 films that are also celebrating their Tenth Anniversaries! 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 SundriesOriginal poster artworkRank the Movies on Flickchart:Messiah of EvilGoodnight MommyA Girl Walks Home Alone at NightThe BabadookThe LureSaint MaudRelicThe Series on LetterboxdListen to Each of the Episodes:Messiah of EvilGoodnight MommyA Girl Walks Home Alone at NightThe BabadookThe LureSaint MaudRelicThis is a member bonus episode.We'd love it if you became a member to support our show, but you’d love it because of everything you get. We have monthly member bonus episodes that only members can access. You also get monthly Flickchart re-ranking episodes, access to members-only Discord channels, and early releases for every episode. We have a special episode we release at the end of each series called Retake during which we break down our overall thoughts of the entire season. Plus, you get to vote on the movies we discuss in our members only episodes as well as the movie lists we discuss on the Saturday Matinée podcast! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.

“Meryl Streep is not in enough movies where she feeds on people with the mouth in her armpit.”Who rules the roost in this month’s Flickchart Re-Ranking? Pete or Andy?Pete and Andy are back for yet another cockfight, this time for our October Flickchart Re-Ranking for our wonderful members. Also, Andy challenges Pete to remember which series each movie was featured. Here’s a breakdown of the battles. Based on this list, what would you pick to win? And which one will win as we duke it out?Here's the list of our rankings in this month's Flickchart Re-Ranking episode.Inception vs. The FlySnatch. vs. MoonCity Zero (Zerograd) vs. The Illusionist (2006)Sophie’s Choice vs. TimeCrimesDr. Strangelove vs. Miller’s CrossingThe Book of Eli vs. The EmigrantsIl Postino (The Postman) vs. Force MajeureCompulsion vs. NetworkStar Trek V: The Final Frontier vs. The TownDefending Your Life vs. RabidFast Times at Ridgemont High vs. Day of the LocustCloverfield vs. The Philadelphia StoryDuck, You Sucker vs. IntactoBorn on the Fourth of July vs. 2001: A Space OdysseyLady Vengeance vs. Underworld: EvolutionInterstellar vs. The Man With Two BrainsRoma vs. Son of the BrideNational Lampoon’s Vacation vs. DetourDead Ringers vs. The Lonely GuyThe Illusionist (2006) vs. Letters From Iwo JimaSilver Streak vs. Sophie’s ChoiceThe Hurt Locker vs. Pennies From HeavenDrive vs. Alice Doesn’t Live Here AnymoreWe also look at our top 5 and bottom 5.Should we feel guilty about any of these or are we okay with where they are? What do you think?So much blood in our re-rankings this month. Wanna look at our entire chart? Just click here to visit our Flickchart page!

"We don’t need anyone else.”The release of Rose Glass’s 2019 film Saint Maud was cut short due to the pandemic. That being said, the film still garnered enough attention from festival play and the awards circuit to become a talking point in movie circles as the newest horror film worth seeing. Glass received a lot of the praise as a new director who clearly has a sense of vision and story with this, her debut feature. And the performances of both Morfydd Clark and Jennifer Ehle were discussed as true highlights. Join us – Pete Wright and Andy Nelson – as we wrap up our Horror Debuts series with Glass’s 2019 film Saint Maud.We are a bit split on Saint Maud.Despite the fact that the trailer for this was selected for a Saturday Matinée episode in December 2019, Pete didn’t remember watching it so had no idea what to expect when he started this movie. When the story shifted at its midway point, that disappointed him. The story in that first half engaged him so strongly that he was never able to really connect with the film after that point. Andy, on the other hand, remembered the trailer. While he didn’t feel the trailer changed his opinion of the film, he was able to move along with the shift in the story.So does that matter? Or does it end up becoming a point in the story where you just have to go along with the shift? Some people seem to be able to go along with that better than others but there certainly is a contingent of people online who seemed to connect more to the first half of the story.Despite our split, there's a lot to love about Saint Maud.Outside of that, though, Glass has a sense of story clearly. We both firmly connected with Maud’s journey, particularly as it relates to her time with Amanda. Both Clark and Ehle are perfect in their parts. The exploration of obsession, possession, and mental breakdowns are handled well.Glass crafted a difficult but affecting journey with Maud. We discuss the way she works through Maud’s descent into madness and religious fervor. Maud's self harm comes up. Maud also uses sex as a tool when she is trying to get out of her personal nadir before reconnecting with God.Then there’s the conversation with Joy. If Joy had agreed to hang out, would all of this have gone away? Or would it have gotten there eventually? It’s hard to say but interesting to think about.It’s a powerful film that didn’t affect us equally but is still a strong one worth looking at. 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! Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.Film SundriesFind out where you can watch this 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

“To me, you’ll always be a fish, an animal.”There is clearly a coming of age story in Agnieszka Smoczynksa’s 2015 film The Lure, which is also a horror and a musical. And it’s likely that genre mashup that made it difficult for people to connect to the movie and why it did poorly at the box office. Smoczynska created a strong vision for her first film, though. Because of that, the film’s cult following is already growing not to mention people taking it seriously because of its placement in Criterion’s lineup of releases.Join us – Pete Wright and Andy Nelson – for the fifth film in our Horror Debuts series as we join the dance party in Smoczynska’s 2015 film The Lure.The Lure is pretty bonkers, but at a level that works well for both of us.While the genre mashup may be difficult for some people to click with, it worked for us. Well, to that end, Andy feels more comfortable calling it a dark fairytale musical rather than a horror film. No matter how you slice it, though, it’s a fascinating film that metaphorically explores female coming-of-age and sexuality through a fairytale lens. There is a strong current of Hans Christian Anderson’s “The Little Mermaid” running through this film. The filmmakers have also imbued the mermaids with the darker elements from Homer’s “The Odyssey.”Using horror films like The Lure to explore metaphorical issuesWe’ve talked about horror as metaphor in both The Babadook and Relic. Horror has often been a way for storytellers to deal with issues in metaphorical ways. There’s something strong in this recent run of films we’ve discussed, though, that seems to make the metaphors very visual. It’s a wonderful genre to explore ideas like these. We love how recent filmmakers are pushing their stories forward so deliberately. Plus, they all have strong visual design and story structure that makes these films stand out. The Lure does have its share of story issues, particularly as it builds toward the climax in the third act, but the world is so unique and engaging that it’s easy to give it more of a pass.But why does The Lure need to be in the 80s? Is it just because that’s when the director, writer, and musicians upon which the story is very loosely based spent their childhood? Do the metaphors work when trying to explore what they’re saying about Communist Poland in the 80s? On top of that, we also have a metaphor for immigrants moving to foreign lands to make better lives for themselves only to get trapped in the sex industry. So when is it too much?Regardless, we still really enjoy The Lure. The performances are great, particularly from the three actresses playing the two mermaids and their mother figure in the band. We have a lot to talk about with this one so check the film out and 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 — visit TruStory FM.Watch this on Amazon, or find other places at JustWatchScript TranscriptOriginal theatrical trailerOriginal poster 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

"It’s here. Under the bed.”Relic delivers on the haunted house tropes.There’s a tone and mood that often permeates horror films that give you a constant sense of dread and terror. Sometimes, it’s broken up with laughs or jump scares, but that’s clearly not what director/co-writer Natalie Erika James is looking for. Her debut film Relic generates this sense of dread and terror but maintains it throughout in a quiet way that for some keeps them on the edges of their seats but for others leaves them feeling bored. Which are we? Join us – Pete Wright and Andy Nelson – as we add to our Horror Debuts series this member bonus episode, James’ 2020 film Relic.Relic is a quiet but moody metaphorical horror film.There are shadowy spirits lurking in the corners of Edna’s house, but are they really there? The way James constructs the film creates wonderful tension as we just catch glimpses of something in the shadows. It’s really a blink-and-you-miss-it type of treat because they’re not highlighted by musical stings that hit you over the head. We love the way she builds tension through these techniques, and how she uses her location to great effect.The cast is wonderful as well. Emily Mortimer, Robyn Nevin and Bella Heathcote play the three generations of this family and as the story progresses, we are right there with mother and daughter as they try to sort out what’s wrong with Gram. Their performances become more affecting as the story reveals itself to be about the family struggle with Alzheimer’s. It’s a powerful metaphor handled well and works because of the power in the three lead performances.Relic is a quiet horror film but one that works exceptionally well for us. It’s likely not for everyone, particularly people who are looking for those jump scares in their horror, but we had a great time watching it and 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 — visit TruStory FM.Watch this on Apple or Amazon, or find other places at JustWatchTheatrical trailerPoster artworkFlickchartLetterboxdGet your Relic T-Shirt!