Felicia Maroni (Seeing Faces in Movies) joins the show to discuss the first half of John Cassavetes' filmography: Shadows (1958); Too Late Blues (1961); A Child is Waiting (1963); Faces (1968); Husbands (1970); and Minnie & Moskowicz (1971). When we talk about John Cassavetes, we're talking about the history of American independent movies, from what preceded and influenced the movement, to how the format adapted and was deeply influenced by the style of indie auteurs like Cassavetes. By studying this filmmaking tradition, we can give shape to a whole world of cinema crafted outside the system and trace every step of contemporary productions back to their root source. By working outside the system and against the market, Cassavetes created a new system and a new market. We explore the eccentricities of this improvisational and naturalistic filmmaker who changed movies forever, one Opening Night, one Face, one Husband, one Chinese Bookie, and one Woman Under the Influence at a time. Stay tuned as Felicia will return for the second half of our series, and some of the most influential indie films of all time, next month.

Paul Thomas Anderson's exquisite Phantom Thread (2017) is our New Year's movie of choice, as our friend Renee (follow on LB: Pixie_Bomber) sits in for a discussion that weaves discussions of terrific costume design with subjects who are driven to become experts in their field. Phantom Thread is one of the reasons this site came to exist and we'll always have time for PTA's tightly-wound precision. Meanwhile, George Clooney has directed The Boys in the Boat, the story of the UW rowing team who beat Hitler's team, and Renee has brought her expertise as a former coxswain to weigh in on the new locally-focused movie. All this and more as we enter another year of delightful cinema ahead.

Your Christmas friends Calvin & Perla (follow on LB: pxcaballero) discuss cinema's weightiest Christmas film, Todd Haynes' exceptional Carol (2015). How do we perceive each other, Carol asks, at a perfect remove, characters stand back and observe one another. They take each other in. There is a boldness to let the movie happen, to always place the camera in the right place, having all the costumes right, having the right script, the right actors, the right everything, that goes right all the time. This is an intoxicating holiday concoction where characters hold their spaces on-screen, spaces that are of themselves and for each other. Always watching, standing in the back, perceiving, as we perceive them. Then it all comes together and is simply one of the greatest statements in romantic filmmaking. Carol is the best gift movies have given us for holidays and now we play it back for you. We wish all of our friends a safe and happy holiday season full of good movies and good cheer. Come for the holiday cheer and stay for the in-depth Carol discussion, starting at 41:43.