Stereoactive Movie Club:

Ep 37 // Beau Travail

Season 1 Episode 37 // Published Wed 1/31/2024

https://www.stereoactivemedia.com/stereoactive-movie-club-ep-37-beau-travail/

Episode Description

It’s Jeremiah’s Round 6 Pick: Beau Travail, the 1999 film directed by Clair Denis.

Beau Travail, which is something of a loose adaptation of Herman Melville’s Billy Budd, was commissioned by a European culture channel Arte as a film about foreignness. It updates the classic novella to feature French Legionnaires stationioned in the East African nation of Djibouti, which at the time of the film’s production had only recently, relatively speaking, ceased to be ruled by France after nearly a century of occupation. The film received good reviews when it was released in the United States, even topping the Village Voice’s critics poll in 2000. It was also recognized at several film festivals and by critics associations.

As for our purposes, Beau Travail made its first appearance in the top 10 of Sight and Sound’s “greatest films” polling in 2022 when it was ranked #7 by critics; it was also tied at #14 on the directors poll. Among the filmmakers who had it on their top 10 lists that year were Steve McQueen, Kirsten Johnson, Atom Egoyan, and Barry Jenkins.

Produced by Stereoactive Media

Transcript:

• mostly generated by AI, so please excuse any inaccuracies.

Jeremiah: [00:00:00] Welcome to the Stereoactive Movie Club. My name is Jeremiah. And I'm here with Alicia, Nia, Stephen, and our special guest for this round of movies, Michelle. And we're going to be talking about the 1999 film, Beau Travelle, directed by Claire Denis. But, before we go on, let's hear from everyone about one movie they've watched recently that they want to talk about here.

Stephen, let's start with you.

Stephen: Um, I watched the new Dungeons and Dragons Honor Among Thieves movie last week, and, um, I really, really enjoyed it. I had no expectations of it, and, um, my former roommate, JPK, who's a friend of the podcast, recommended that I see it. He just said, oh, you'll love it, and I really did.[00:01:00] 

Um, it was kind of refreshing to see a movie that wasn't trying to be set up for a sequel or more. It was just sort of self contained. Plus, everybody had such fun doing the movie. It just felt like a really good movie. Just, uh Watch it wasn't heavy or anything, but it was just really enjoyable. And I was surprised at how much I enjoyed it.

So, you know, I, I feel like people should see it if they're in for something kind of light and fun and it's self contained. Um, so yeah,

Jeremiah: it was good. Uh, Alicia, how about you? What have you been watching?

Alicia: I went to see with Steven a movie called polite society a few weeks ago. Um, it took place in London. Uh, it was about two sisters and.

their relationship. Um, and they were both like Indian British, I think. So it was about sort of that, um, a little bit of like that culture and an arranged marriage. And I went to some places I was not expecting it to go, but it was really funny. Um, and it was very good. So I would definitely recommend seeing.[00:02:00] 

Jeremiah: And Michelle, how about you? So

Michelle: I watched a bunch of bad movies with my 10 year old daughter, starting with princess diaries, one and two, which I never, I'd never seen them. And I just want to mention them because I don't know if any of you have seen them, but in the first movie, one of the characters says.

Look what we have, the perfect nerd couple, Mia and Jeremiah.

Jeremiah: No. Yes. Yes. Yeah. That's fun. I never knew that. Oh.

Michelle: Yeah, I thought that was pretty funny. And then, um, yes, we watched one and two and I was kind of half watching them, but I think she kind of developed a little Innocent Crush on Chris Pine, so then we watched Star Trek 1 and 2, and the Dungeons and Dragons movie.

Oh wow. So, but um, you know, I wouldn't really want to talk about any of them. I enjoyed Dungeons and Dragons, Steven, it was pretty fun, but we also saw, not Zoey, but Jack and I saw Bo is Afraid, another [00:03:00] Bo movie, and um, I loved it, it was

Jeremiah: Amazing, I thought. Yeah, I still need to see that. Um, Mia, have you seen anything?

No, I was about to say, to balance out, Michelle, I haven't seen anything. Um, we've been traveling and I've been continuing my re watch of Girls. Um, still going strong there. And obviously, just like, deep into only thinking about Succession all the time. Yeah, as we're recording this, we're just a couple days away from this series finale coming out.

Well, despite our traveling, I happened to see two movies while we were in New York, uh, cause I made a point of getting out to see some stuff that was playing there. I saw Blackberry, and I've heard jokes about how there's quietly a, um, IP brand Uh, cinematic universe developing between this movie, Air, and Tetris, [00:04:00] and uh, I, there's a movie about Tetris, about the person who made Tetris.

So um, I didn't see Tetris, I didn't see Air, I heard someone who, who had seen all three. Point out that the difference with Blackberry is that it's about a failure, a massive failure. So I think it's the better movie overall. Um, I mean, I didn't see Tetris. I heard it's good. I saw air. I didn't like it as much as other people, but Blackberry is pretty good.

It's, it's not like the best movie ever, but it's engaging. It's entertaining. It's funny. And I'd recommend seeing it. If, if you have any passing interest at all and, and. The movie, or you're like Glenn Howerton from, uh, it's always sunny in Philadelphia. Um, anything like that? So it's worth, it's worth a watch.

Stephen: It's interesting that we're getting into the point where we're, we were all alive when that was invented. So we actually remember, you know, when they came out and all that stuff, same [00:05:00] thing with the shoes or, right. I don't know how old Tetris is, but they became a big thing when we were young. So it's kind of, kind of fun to watch something that kind of developed when you were of

Jeremiah: age and remember it.

Yeah, yeah, that's true. So for those who may not have listened to the show before, this is a podcast where we discuss movies that have appeared on Sight and Sound magazine's poll of the greatest movies ever made that comes out every 10 years. And again, this time we are talking about Boa Travail. But before we get into the history and background of the movie, what did each of us know about it going into this viewing?

Who, if anyone, has seen it before? And if you hadn't, what were you expecting, if anything? And since I picked this movie, Um, I'll start us off and also remind everyone why I chose it. So basically I chose it because it's one of the newest movies to enter the top 10 and the list that came out last year, just in December.

So not very long ago at all. And, um, so that piqued my interest of it being something [00:06:00] that entered so recently. It's also by Claire Denis. Who I know is a filmmaker that I have a big blind spot of. I've only only seen before high life, which I loved, and I've been meaning to see more of her movies. So this was a good excuse.

And also it is loosely, I knew this based on, uh, Herman Melville's, um, Billy bud, which I always thought was an interesting story. So that was intriguing to me as well. So those were my reasons for picking it, uh, beyond that. I don't know that I had much in the way of expectations. Cause like, I didn't really know what the movie was outside of the belly butt aspect.

And so I feel like my expectations were, they were both high and completely low. Like they were high because this movie is so high on the list now and low because like, I just don't know what this movie is or I didn't know what it was before watching it really. Um, so that's where I stood and, uh, Michelle, how about you?

Had you, had you seen it before? What did you know [00:07:00] about it? What were your expectations, et cetera?

Michelle: No, I had never seen it and I knew. Pretty much nothing about it except for the director, Claire Denis. Um,

Jeremiah: so yeah. Okay. And Mia? Yeah, nothing. I knew Claire Denis, but beyond that, nothing. Alright. Buzzing right through this round.

Stephen? Um,

Stephen: yeah, I had only heard of the director. Never heard of the movie. And I was kind of intrigued that it was so highly, uh, rated. So, I was really curious about

Jeremiah: it. And Alicia? Yeah, I,

Alicia: I also really didn't know much. I did know that it was like a French film from the title and then I knew that it was, um, like loosely inspired by Billy Budd, which was a story that I had was supposed to read in high school and pretty [00:08:00] much was like, Oh, I'm not reading this and didn't read.

Um, I did. I wasn't a Melville fan. I read like Bartleby and I liked Bartleby the Scrivener. I liked, I prefer not to, I liked that. Yeah. But um, I think I was very much in my like, teenage girl world of like, this sounds terribly boring and I'm never gonna read this. But I would go back and give it another shot now after like watching this and knowing a little bit more about it.

So, but anyway, yeah, that's all I

Jeremiah: knew. Well, for me, I had read Billy Budd in high school, like it was an assigned book, like my freshman year of high school. And I remember. It's one of the few books that I can really remember the conversations about it and the things that the teacher told us about it and his sort of lessons about the book.

So, again, I think that's why I had an interest in the movie outside of it being Claire Denis and it being where it is now on the list and all that. Okay, so that's where we [00:09:00] stood on the film before watching it for this episode, and we'll get more into the film in just a moment, but first, let's take a break.

And we're back. So, as we've done in recent episodes, I thought I'd start us off by reading from Sight Sound's entry for the film on their website. Which, in this case, is written by Simran Hans. As always, the parts that may be more subjective are not from me, personally, but perhaps we can delve into those things as we get into our group discussion.

It started as a sort of joke. Claire Denis was commissioned by the TV network Arte to make a film about foreignness, and so, wryly, provocatively, she made a movie in which her own people were the foreigners. In Marseilles, Sergeant Galoup, Denis Levant, Reflects on his time as a perfect legionnaire in Djibouti, East Africa, serving the [00:10:00] French Foreign Legion.

He and his soldiers, including the undeniably pretty and unusually well liked Gilles Sintaine, uh, Grégoire Colline, perform highly choreographed military drills in the desert heat. Under the blazing sun, resentment simmer. In the evenings, the men dance at a nightclub with the local women, who are beautiful, modern, and ambivalent.

Djibouti, a former French colony, gained independence in 1977. These soldiers are irrelevant. The colonial project is obsolete. Unfit for life, unfit for civilian life, is how Gallup describes himself in his diary. But feeling unmoored from one's purpose, feeling like a foreigner to your own life, is a timeless conundrum, and one that seems to resonate with both film lovers and filmmakers.

Barry Jenkins has mentioned its influence on 2016's Moonlight. It remains Denise's only true crowd pleaser. Denise's great gift is her ability to evoke emotion with gesture and juxtaposition. In the Djibouti desert, Water shimmers and ripples, [00:11:00] naked shoulders perspire, and black mosquito nets recall sheer lingerie.

In a Claire Denis film, dialogue is sparse, but images are charged with meaning. Making films, for me, is to get rid of explanations, she told The Guardian back in 2000. The final scene is pure release. A wordless explanation after 90 minutes of tension. Visual references travel through quotation marks in other works and in recent times through the internet.

Films are portioned up and divorced from their original contexts, reappropriated, and shared as memes. I wonder if the renewed popularity of Beau Travelle in this decade's greatest films poll is a result of its increased visibility among a younger generation, many of whom have likely encountered, or at least revisited, its euphoric dance floor set conclusion via their computers.

Again, that was all from Sight and Sound's website. Beau Travelle, which is something of a loose adaptation of Herman Melville's Billy Bud, received good reviews when it was released in the United States. Even topping the [00:12:00] Village Voice's Critics Poll in 2000. It was also recognized at several film festivals and by critics associations.

To give a sense of what was popular in the United States when Beau Travelle was released, American Beauty was the big winner at the Oscars in 1999, while Gladiator and Traffic were the big winners in 2000. Meanwhile, the highest grossing movies in North America for 1999 were from 1 to 5, Star Wars The Phantom Menace, The Sixth Sense, Toy Story 2, The Matrix, and Tarzan.

As for our purposes, Beau Travelle made its first appearance in the top ten of Sight and Sound's greatest films polling last year, when it was ranked number seven by critics. It was also tied at number fourteen on the director's poll. And among the filmmakers who had it on their top ten lists that year were Steve McQueen, Kirsten Johnson, Adam McGuigan, and Barry Jenkins.

So, uh, since again, this was my pick, I guess I'll start us off with my thoughts on the film and whether it met my expectations. [00:13:00] And as I said before, my expectations were kind of split or whatever you want to say, because on one hand, I expected it to be a great film because it's, uh, listed now as the number seven greatest film of all time by critics as of 2022.

And also I didn't know that much about it, so I wasn't sure where to go with my expectations exactly, but I find myself. Needing to say that this is a movie that I want to like, or I wanted to like as I'm, even as I'm watching it and I'm just not sure quite fully how to process it yet. Like I, I think I understand the movie.

I'm not sure I can say I enjoyed my watch of it. Um, although I've like reading about it some more, like I enjoy that aspect of it of kind of like learning about the movie. That's always a nice thing to be able to do. I'm just gonna say for now, it's a movie I would really like to like, but I can't say that I quite do at this point.

Um, [00:14:00] so, Alicia, what were your thoughts and how did it match any expectations you had, which I think you said basically you didn't, so.

Alicia: I actually really, I liked it. Like, I watched it like three times. Oh, wow. Yeah, I really just thought it was like visually, I mean, I will say this, it's going to be really hard for me to put into words what I liked about it.

Um, but I just thought it was like visually stunning. I mean, the landscape that they were in was like amazing with the sea and the mountains and the salt flats and all of that. It was just like, so, so foreign to me. Um, and. And I just thought it was like beautiful, um, and then I, I found myself like drawn into this gloops, you know, story and I sympathize with him, but also, you know, you see the, you see this villainy, villainous sort of side of him and, [00:15:00] um, so, but it left me with a lot of questions too.

And, um, I think that's why I did go back and watch it a few times cause I was like Get my head around what I thought happened leading up to the final events. And also, there's like that sequence towards the beginning that he says portends the final events. I couldn't quite wrap my head around what happened there either.

Um, but yeah, I just, I don't know. I liked it. And then the final scene, I was just like, so moved by that. It's like such a simple thing. And we have seen it at this point in culture. We've seen it like many times, but it still was really effective for me. And I think I also hadn't heard that song in like a long time.

And I never thought of it as like, particularly like emotionally moving song either. So to see it in that context was like, New for me. So I, I liked it. Yeah. I, I, I wasn't expecting a lot cause I didn't like Billy bud and I didn't know much about the movie, but yeah, [00:16:00] it, it took me by surprise and I liked it.

Jeremiah: Great. Um, I do want to say that, um, I feel like this is a headspace movie. That's what I would call it. Like, I, I think it's a movie that you have to be in the right headspace when you're watching it, maybe for it to hit you the right way, or at least the first time you watch it so that you can make a connection with it.

Or like you have to have that one. Good experience of like being in the right headspace and enjoying it, whether it's your second, third, fourth time ever seeing it or something, and then like you can lock in on it. Maybe I've had movies like that before, and this seems like that type of movie, but I don't want to talk much more.

I want to bring in Steven. Steven, what did you think of the movie? Yeah. It's kind

Stephen: of echoing what you said, Jeremiah. I, I did watch the movie twice and the first time it, you know, as you know, and anybody who listens to the podcast, I usually try to make sense of things and that like a linear way when I watch something.

So when that doesn't happen, I get really confused. So I think upon first watch, I sort of understood what it was and then watching it again, [00:17:00] I really liked it a lot more, um, because of the aesthetic kind of forced you to look at that more than you did. Pay attention to the dialogue because it was so sparse.

So I did find myself paying attention a lot more to like, you know, the body language and, and the, the, um, the atmosphere that we were looking at. And it felt really timeless too, because other than some of the things that you saw with like the coffee maker and stuff, it could have been like, you know.

Cause just because of like how they interacted with each other and the sparseness of where they were. So I, I kind of appreciated that about the movie. Um, I was a little confused about the timeline. I think it was halfway through the first viewing that I was like, Oh, he's, this isn't happening in real time.

It was sort of like, he was kind of doing a look back of it. So that, that to me, I was sort of like, Oh, I need to watch this again. So I can kind of. Understand what that was about. Because there were some scenes that I thought were happening at that time, but he was like wearing like a black outfit. So I was like, did that happen later?

Like when he was in town and he was like living by himself or was that when he was actually You know, in, in the service. [00:18:00] Um, but overall it was really great. It kind of also reminded me of those nineties, like Calvin Klein ads where like, there was just like a lot of focus on muscles and you know, how beautiful everybody was and they're kind of ambiguous looking as they were walking around, cause all the guys sort of like, they're very attractive, but yet they had a similar quality to them.

So I kind of was, was trying to figure out what that was about. Um, but overall, yeah, it was just. Really powerful. I felt, um, and I did enjoy watching it. It, it, it, it is one of those things. I feel like I need to watch even one more time to sort of understand a little bit more, but yeah, I liked it overall.

Jeremiah: Yeah. To the, to your point about, um, Not realizing at first that it was a flashback that it was happening in two timelines, basically, I think I'm not sure that I would have known that except that I did happen to read something about that in advance. So I knew that he was in Marseilles and reflecting on his time in the French Foreign Legion.

[00:19:00] So I really am not sure I would have known. I might have been in the same boat as you, but I happened to have read that, like I said. Um. Mia, what did you think? I didn't love it. Um, I thought like aesthetically it was so beautiful. I really liked that of it, but like just like the plot, I was just, I don't know.

It didn't hook me. I would watch it again. Like I definitely think it's one of those movies that like, on a second viewing or a third viewing, like maybe it would grab me a little bit more. Um. I loved the opening like when the women are dancing in the club and like the kiss kiss song like any I didn't know anything about it like I didn't know it was set in Djibouti.

I didn't know it was about a French Legion like I literally didn't know anything I was like, Oh, this is what this is about like this is really fun and cool here. And so I thought that was beautiful like I loved all the scenes of. the Djiboutian people and [00:20:00] like the colors and the brightness and the landscapes and the water and the mountains and like, like the women, you know, like the scene of like the women when they're, when the Legion guys are like practicing their raid and then there's like the three or four women like giggling together at like the guy climbing the telephone pole, you know, like, I just loved like the little things like that.

Um, But just overall, like, I don't know. I just didn't really care about whatever he was so upset about. I get it that it's like, I don't know. I'm sure we'll get into this more, but like maybe this whole like secret lust for this man. And so he hates him and all of this, but I don't know. I was just like, dude, just chill.

Like it's okay. Um, um, I did enjoy all of. The lead 10 men's like very short shorts as they like worked in the sun. Like definitely like very aesthetically pleasing movie. Um,[00:21:00] 

like best aesthetic, most aesthetically pleasing movie we've watched probably overall. In terms of its short game, sure. Yes, definitely in terms of the short game. Like there is one scene when they're like out, maybe it's even when they do the like, this night portended everything. And it's like they're in their little like hats and jackets and then shorts.

And like Jeremiah was like, what are they wearing?

Alicia: It's hot there. I know, that's what I was thinking too.

Jeremiah: They're always in shorts. It was just, it was almost like a funny reveal though, because it was like, you see, first you see their hats, then you see them from like the waist up or something, then suddenly they cut to a wide shot and you're like, Oh, they're all wearing these weird shorts with these uniforms.

I was like, Oh, French Foreign Legion be weird y'all. I know, I know. Um, but yeah, so aesthetically like so great and like the last like 20 minutes I was like super into it because I was like, Is he dead like [00:22:00] what is going on and like the singing people with the camels and then they find him and is he is the other guy going to kill himself and you know, I was super into the last 20 minutes.

The dance scene was so incredible. I totally agree with you, Alicia. Like, I played the song for Rowan tonight and she was like dancing around to it. And I was like, it is, this is the rhythm of my life. Like I'm having this like super emotional moment with this song. Like, you know, this is the rhythm of his life.

Like, what is the rhythm of your life? So that was good, but there was just a lot of other stuff in there that I was. It's just, I don't know, not really that invested, but I would give it another shot. You know, I can, I can see it being something that I agree with Jeremiah kind of about the headspace. I think I was just expecting something earlier to happen in the film that would be like a catalyst for something.

And since it just wasn't coming, I kind [00:23:00] of kept waiting and waiting and I just think I needed someone to tell me it's not going to come and you just need to chill and I just couldn't chill into the movie and go with it. Um, so yeah, those are my thoughts on the film. Yay shorts. Bad lack of cattle catalyzing action earlier in the movie,

Alicia: in my opinion, in my

Michelle: opinion, I don't know.

It sounds, sounds to me like you liked it, man. I know.

Jeremiah: I was going to say the same thing. I like

Stephen: aspects. I mean, it's a 90 minute movie. 20 minutes out of a movie is a lot.

Jeremiah: I was like, where are we in the movie? It was only 90 minutes, but I'll admit that Jeremiah and I were both like, how much is left?

Alicia: Oh, really?

It's that bye for me. Like I was like, Oh, I didn't know it was going to be like this.

Jeremiah: I mean, I think, well, I'm going to, let's, let's let Michelle talk. Yeah. So Michelle, what did you think of the movie?

Michelle: I loved it. And, [00:24:00] um, I, I actually was wrong. I, um, earlier when asked about what we knew about it, I think I did.

I had heard that it was. Kind of in some circles considered like maybe a gay kind of fantasy or movie that was, you know heralded by the gay community and I also think that I Thought that it was going to be from the point of view of the young man So I found that was surprising that it was From the point of view of the commandant, or was he the commandant?

Yeah. And, um, and I just, I just thought it was so lyrical and I loved the rhythm and the flow of the editing and the pacing and the imagery. And I actually really liked the voiceover as well. I felt like it was. Even though it was, you know, English [00:25:00] translation, not French, but it was, I found it was really poetic and it, and it, and it, and it served the images just enough to make, to me, it felt, it made it feel, the story feel more, even more mysterious and, um, kind of slowly built up this anticipation of what's going to happen, the dread, like I, I really, I loved it.

The lines where he talked about, um, is that how you say his last sentence? Yeah. Um, about maybe, you know, just, it felt like very ominous and, um, as. You've all said, I loved the colors, the photography, um, uh, as you said, Alicia, just being in such a different foreign land, you know, world, um, you know, maybe someday I'll be able to cook too, but I, since, uh, thus far have not, it [00:26:00] just, yeah, I just really kind of drank up the, the imagery and I loved the, uh, Sound design, you know, the crunching of the rocks under the boots and, you know, and the, and the very, very sparse dialogue.

I don't even think anyone has an exchange for like the first 15 or 16 minutes. Um, you know, not counting his, his, um, voiceover. And, um, I loved the use of music and just everything. And, you know, it's, I've been thinking about like what you guys talked about. Being in the right headspace and I mean, this is obvious, you know, we all, we all intake experiences and films differently.

Like for me, I don't know, this movie just hit me. I didn't have to think about it. I didn't care that it didn't have an inciting incident on camera that. You know, we needed to kind of follow, um, I don't know. It's just, you know, my, my sensibilities. I [00:27:00] just, I loved it. It was like eating a really satisfying meal, especially after watching, you know, a bunch of, you know, Marvel stuff and Princess Diaries and stuff.

I just, like when, as soon as Into this movie, not, not far into this movie, I just felt like, oh, yes, this feels so good.

Jeremiah: Right. I wonder actually if, if part of the thing that tripped me up in watching this movie was that I knew a little bit about what the plot was. That it was like loosely based on Billy Budd, so I just kept waiting for that to kick in and it wasn't obvious.

And, and like, I mean, I could kind of tell, but like the actual mechanics of the plot. We're not until like kind of Mia said, almost until the last 20 minutes in the movie or something. Um, so I wonder if that, like I said, kind of hung me up on really enjoying it. Cause like I was watching it and I did also.

Enjoy the visuals of the movie, but I kept like sort of being [00:28:00] frustrated by waiting for an inciting incident, um, that, that I was anticipating and like, and then also, like Mia said, like once the plot kind of kicked in, like I've, I've found it kind of exhilarating and interesting to watch and in a different way, because I did find the visuals interesting, but like I found the story interesting more, Bye.

Once the plot kicked in, uh, definitely, but again, I do stick by thinking it's a headspace movie for me of like, I was not in the right headspace to enjoy this type of movie on a first viewing like this under these circumstances. And I think it was also just like for us, just the circumstances of how we watched it, where we were like fitting in between doing a million other things instead of like really taking.

Time to just kind of like, enjoy the movie and watch it with a clear head. So that never is helpful, especially for a movie that maybe is, is demands a little more of you. Um, but Elisa, what [00:29:00] did you want to say?

Alicia: Um, I was just going to say that in terms of like action happening in the film, I agree like so much does happen in the last like 20 minutes or so, that when I went back and watched it the second time, I had totally forgotten.

about stuff that did happen in the first half of the movie. Like there was a helicopter crash. You don't see the helicopter crash, but you see the aftermath of it. I had totally forgotten that that happened. Um, the stuff that happens in that nightclub sort of taxi sequence with the forestier chewing on the leaves and everything and talking to the taxi driver.

I had totally forgotten about that. I kind of forgotten about the girlfriend, like I have so much happened in that last 20 minutes. I mean, compared to the rest of the film, it's not like a super action packed film overall, but like that I, when I watched the second, I was like, Oh yeah, all this other stuff did happen.

Right. I also sort of had it in my head that it was like, that I just was like watching like [00:30:00] a Yeah, like men doing exercises. I forgot that like, Oh yeah, like things did happen. But yeah, I think it, it's easy to forget those scenes, those things, because it is just so, there's so much silence and there's so much other, there's so much, it's so much more about like this, that, that underlying like resentment or whatever that he's feeling towards senten.

That you kind of forget that like anything else was happening,

Jeremiah: right? Well, uh, Michelle. Yeah. What did you have to say?

Michelle: Oh, sorry. Just wanted to add on not that this took away from my love for the movie but I actually he was racing for more of a violent kind of climax and We talk about spoilers on this podcast, right?

Yeah, yeah. Um, yeah, so, um, yeah, so, you know, definitely him casting him [00:31:00] out and then messing with the compass to sabotage him, you know, could have been deadly. Um, but yeah, I really, I, I, I think maybe because I did watch, uh, the trailer, um, on, Line before and I think there was like there's that shot of you know An explosion of blood in the water and I think that was related to the helicopter crash Yeah, but I just and then it's just this that tension and the the you know, it just felt Just from the trailer, I just, and I just felt like it was going to be a lot more violent than it was.

Jeremiah: I have a question, because one thing, uh, when Mia and I were talking about the movie afterwards that I realized is, like, I realized that the compass went haywire, because I remember that shot that they hold on where it's just spinning around, when he's in the, uh, out in the desert. But I missed Completely, uh, that it had been tampered [00:32:00] with, like I, when did that happen?

Cause I just didn't see it. He writes

Michelle: about it in his journal. Yeah. I must have missed that. But I don't think we see him actually tampering.

Jeremiah: I missed that. So that, that, that would have been nice information for me to have. Um, yeah. Sorry, Alicia, you said something? I just

Alicia: said I missed it the first time to you did like I didn't I kind of was like what I just thought he just I thought his

Jeremiah: compass just malfunctioned.

Yeah, same. I thought it was just a malfunction. So that like this thing that he was doing to punish him just ended up being more punishing by accident. So he still like took the blame for it, but it wasn't necessarily his fault. But like the fact that he tampered with it, obviously changes that completely.

So like I said, would have been nice information to have. Um, Yeah. Stephen, did you want to say something? I thought I saw, um,

Stephen: well, just that, like, I, I feel like this was one of those movies where it was like more like show. Don't tell, because you could kind of see the tension kind of ratcheting up in a very slow way [00:33:00] throughout the movie.

So when it does kind of happen at the end, it's sort of, that's why a lot of the action does happen at the last 20 minutes is just sort of like, you know, you see his reactions to all of the men and he feels kind of isolated because there's so much younger. Plus, like for me, it was kind of interesting that like, Centane was, he looked like all the other guys.

Cause I, I, I read Billy about a long time ago, but I thought Billy had just a physical different look than everybody else that was in the story. So with them, it seemed like he was part of the group of people. So that felt even more isolating because when you look at, um, uh, what's, what's the gentleman's name?

Jeremiah: Um, yeah,

Stephen: he definitely looks different than galoop because he's such an older guy and you know, his face is definitely like weathered and he feels like he knows everything, but yet he's still isolated. So I felt like that isolation kind of grew until he couldn't take it. So I felt like that, that sort of worked for this movie just because of the aesthetics.

Jeremiah: And maybe that goes back to what Alicia mentioned kind of in passing a moment ago, the [00:34:00] resentment. Um, so, I mean, I, I feel like if, if you know Billy Budd, you have a sense of what the resentment is. I feel like we've touched on it, but, but do you think that that was totally clear? Like say, if you didn't read Billy Budd or just like, what does anybody think about that, that source of resentment?

And to be, to be clear, like there's like a homosexual undertone to Billy Budd that I think is translated into this movie. So that's what I'm talking about. But is that clear?

Alicia: Yeah, I thought it, I mean, I think that's definitely there and I think it's. It's not explicitly stated, but I think it's like pretty clear, but what I was a little bit like Unsure of and I guess it could be happening on different levels is there was like but besides Galoop having his own like whatever impossible attraction or what and like self hatred Right about centain.

There was also like something happening with the older gentleman. Yeah, you know [00:35:00] Yes that I was like is this Because he says at the beginning of the movie, there were rumors about him after the Algerian conflict. Right. So I'm like, okay, so were those rumors that he was gay or that he like, maybe made a pass at a soldier or something?

Like what happened? We never find out. So I also thought he was kind of like, I also thought Galoop was kind of worried that, like, Forestier was attracted to Centane, because Forestier does say some stuff to Centane that could be construed in that way. Definitely. Um, and like, is he worried about Forestier's position?

Is he worried about his own position, like, being replaced by Centane in Forestier's eyes? Is it just his own thing with Centane that is happening. I was just kind of like, what exactly is that? Right. I was okay with it not being fully clear because I still really liked it overall and I think all [00:36:00] those things could all be true all happening at

Stephen: once.

That's what I was

Jeremiah: thinking. Well in my mind, sorry, in my mind also Galoop, like I'm not sure he knows. I'm not sure he is processing it as like, I'm attracted to this person. Like, I think that, that that's why there's like this crossed wire inside of him of like, this attraction is coming out as violence or resentment or whatever.

Um, and so, and he, isn't there a point early in the movie where talking about for say, he says something about like, he kind of looks up to him, but he's also like, you know, not sure about him. So, like, I, I feel like he has. That in his direction too, as I think you're kind of alluding to Alicia, you know,

Michelle: yeah, like I love, I love that, um, part, if you remember, there's, um, at first I didn't know if force da was.

Um, because he was kind of talking about him in the past tense and there's, and there are those [00:37:00] beautiful evocative shots of him where I, I, I, I, yeah, well, I don't know what this movie had so much where I'm like, where, why haven't I been watching clear team movies and I don't know if her other movies are like this at all.

But like, there's like a shot where like it's kind of in half silhouetted and he's looking at the camera. He's might be smoking or something. And it just felt like a dream, you know, like so many of those shots felt like a dream. And also during that segment, that part, I thought of the film, The Power of the Dog.

It just popped into my mind. And have you seen that? Yeah. Where it's kind of like similar dynamics. Um, Benedict Cumberbatch's. Character has this fondness and this pining for this, um, older cowboy that he learned a lot from and that who was his like mentor. And he like holds on to one of his, um, like handkerchiefs for him as a memento or something like that.

And then he's got the younger kid staying on the ranch and he kind of takes him under [00:38:00] Anyway, I'm, I know I'm sorry, I'm talking about another film, but I just, I

Jeremiah: think it's worth bringing up. Like, I do think you're right that there are similar dynamics of this like confusion between lust and violence, repulsion, and Attraction, you know, power.

Yeah. And power. Yes. Obviously.

Stephen: Yeah. Well, when we do see Bruno, uh, at the beginning, he, they have that really attractive picture of him Like in black and white when you see it coming out, of course, you definitely are more attuned to that But also like I had to look up that that what they were chewing on Well, he was chewing on was a stimulant and there was some line about how galoop was like, he wouldn't participate because he wanted to stay on edge all the time.

So I think he did kind of admire who Bruno was being able to, like, I don't care about any, I could give a shit about what everybody thinks of me. And he sort of wishes he was that person, but he's just not. And then seeing, um, the, uh, what's his name? Uh, The centain, you know, he just [00:39:00] wishes he was that person and see Bruno kind of gravitating towards him.

He's just like, I've done everything perfectly like a legionnaire does, and he doesn't like me like he does this other person who's more of a free spirit. So it's sort of, you know, plays into the whole thing of him just getting so wound up about it and just having to do what he did at the end.

Jeremiah: Yeah, um, kind of to taking Michelle's lead of.

Of, um, relating this movie to other movies because this movie came out in 1999, it also, not that I think the movies necessarily have that much in common, but like it sort of had me thinking tangentially of the talented Mr. Ripley as another, another movie that sort of presents a characters who are, who seem to be confused.

Between lust and repulsion or that it

Alicia: comes out as violence when it's not reciprocated or

Jeremiah: whatever. Yeah, yeah, [00:40:00] at least I think you wanted to ask something, uh, specifically about the, um, inciting incident or or perhaps absent inciting incidents.

Alicia: Yeah, I was very confused about. Um, what happened during the sequence where Galoop says that, Oh, this, there was something that happened on this night that seemed to portend how things would end.

And I just was never clear what exactly it was that happened. There were, there was like a scene where he's there, like the men are like out at a night club. And then you see. Um, Galoop walking down the street and he kind of goes up the staircase and then he's only there for like a minute and he turns back around and comes back down and he seems like shaken and then he goes and he like stops the taxi that Forestier is riding in and Forestier and the taxi driver are having this kind of weird conversation too about like blood and fornication and, [00:41:00] um, how much is a, you know, a black woman's life worth here in this.

country or something. I don't know. It was very, it, there, I was like, did somebody get like raped or killed or, and we just don't see it. And then there's also like, there, there's a part where they're carrying one of the men. He's like shirtless and he has some kind of like red bandana or something like wrapped around his shoulder sort of area.

Just a cloth. I don't know what exactly what it is, but I was just like, something happened with blood, but I have no idea

Jeremiah: what. Right. Yeah, it's definitely cryptic.

Alicia: Yeah, I just, I felt that, that was very, was just confusing. I just didn't know exactly what it was. Again, it didn't take my enjoyment away, but I was confused about it.

Stephen: Yeah, the only thing I can add to that was when they were talking about like how much is a colored girl worth like I was thinking he was the taxi driver knew [00:42:00] that, um, Bruno might've been gay and he was just sort of like making fun of him in a way sort of like, cause he knew that he wasn't interested in women at all.

So like he was sort of saying that in that way to sort of, cause he sort of laughed about it. So like it could go either way with that. No, that's the only thing I was thinking as an interpretation.

Alicia: Yeah, it was just totally unclear. I could, I, you're, you're a hundred percent right. I, I wasn't sure if their conversation pertained to whatever had happened or not.

I just clocked that it, that that was, was the conversation. I was like, maybe that was about something that happened, but I wasn't sure. When I think

Michelle: back on that sequence, I feel like I didn't watch What was going on with Galoop and then with the, um, young men as happening like in the same space or, or connected, but the way you kind of describe it, Alicia, did you feel like, did they ever meet, did they cross paths [00:43:00] on that night?

I don't, I don't know

Alicia: because there's a part where the men are walking in the street or some men are walking in the street, I think it was them, and they kind of move out of the way for like cars to pass by. And then later you see Galoops literally standing in front of the taxi, like I presume trying to stop it.

To say, you know, talk to him, but I don't know if they saw each other or I just have no like, I just felt like this was such a confusing sequence. I have never, I really don't

Jeremiah: know. I guess I thought that they were being watched in that because it was like this slow motion shot of, of. The guy's being hoisted on shoulders and carried down the street, right?

And it, for some reason, it seemed like we were watching it from somebody's perspective. So I assumed it was Galoops or Forestiers or something. I don't know. Or both of theirs. I don't know. I mean, I guess I, I think it's open to interpretation, right? Like, I think it could be as simple as like, he goes up to the bar and maybe he just sees them and is like, Oh, I don't want to [00:44:00] be here.

Like they're out having a good time or whatever. Like, I don't want to be. Here where they are, you know what I mean? Um, and just turns around and leaves immediately. Yeah, I mean, maybe he just saw like good looking men and he was like, I can't deal with this. I mean, I'm like, I'm not making a joke. Oh, for sure.

He's someone who's like, um, yeah. He's not that

Stephen: person. He's definitely one of those people that like, he's very structured. He's very outward. He wants people to look at him in a certain way. Yeah. If he was at the dance club, you know, with the other guys, they would think like, oh, he's one of us. He's having a good time and unleashing himself, but he couldn't do that, so he had to immediately leave.

Jeremiah: Yeah. Exactly. Yeah. He needs to be at the club where like all the women are dancing and dancing with a woman and you know, his girlfriend and that kind of stuff. So like it could have been as simple as that. He could have walked in and seen men. Doing something with each other, you know, some like take it a [00:45:00] step further from that right and been like, Oh my God, what is going on here and left?

Um, or you could have seen something, you know, more to what Alicia was saying, like maybe something more violent or something and just been like, even more so, like I need to get out of here. You know, I think any of those situations is

Alicia: plausible.

Stephen: Yeah, I guess it's like when you were talking earlier, I think maybe Jeremiah is like about violence and sex being kind of, kind of the same coin almost.

It's like it could have been either one because they both could have been perceived as the same thing.

Jeremiah: True. Right. Yeah, that's a good point. Like maybe it doesn't matter what it was because for him, they're confused anyway.

Michelle: Yeah. Yeah. Yeah. It did seem like something. Must have happened with the young men, right?

Like, the, the, the guy they were hoisting up, they were celebrating, kind of, or, you know, like, you did it, you either killed somebody, or you, yeah,

Jeremiah: lost your virginity. Or they [00:46:00] just, like, really pulled a nice move on the floor, you know? , right?

Alicia: I mean, they're all young. Those pretend the very last scene, I guess.

Yeah. Yeah. .

Jeremiah: Oh, yeah, yeah. True, true. Yeah. That is the thing, like connecting it to that statement is like, I'm not sure. I'm not sure. Mm-Hmm? ,

Michelle: yeah. Mm-Hmm? . I watched it on the Criterion Channel and right afterward. Was a conversation between Barry Jenkins and Claire Denny and so I watched that and um, don't think she mentioned Billy, but at all and she talked about Either when she first presented the screenplay or she or the film was done that it angered I think the people who asked her to make the film, um, because they said, this is gay.

And then she, and, and, and her explaining it, that wasn't part of the, the message of the movie that it was more about like the humans, the individuals within the system of the French. [00:47:00] Legionnaire and that even though they're in this system, you know, that the human, the humanness it takes over, you know, and so she talked about, like, Galoop being jealous, you know, and, um, the jealousy and then, and then, you know, yeah, and then.

Still lust, but like yeah, she wasn't looking at it or presenting it through any kind of lens of, you know, this is supposed to be, you know, speaking on gay experience

Jeremiah: or anything. Yeah. I mean, she can say that, but like, yeah, I, I don't know, like, yeah, true. She can say that , I mean, she can say whatever she wants to say, but like, it, it, it stands that if it's loosely based on Billy, but it's hard to divorce it from the potential Mm-Hmm.

potential. Homosexuality that, that you might expect to be underpinning the story and that article that I sent, I don't know if you had a chance to read it, but it, it also said it made the argument that maybe the thing to look to more for this [00:48:00] movie is actually the opera based on Billy Budd from the fifties and, and the composer of that was, was homosexual and like, there's discussion around that and And the music that we hear throughout the movie, a lot of it is from that, uh, from that opera.

So, which is part of what they're basing that, that claim on of like, where the inspiration lies. Um, you know.

Alicia: I think that either way, the military is like, the perfect Metaphor for exploring that because you don't have to, you don't have to come out and say that is what it's about, but it's obviously about somebody trying to, so, so hard to fit into some extremely structured.

True. You know, society and then just it breaking them and, and something violent occurs and, you know. Yeah. Not that that always is what happens in real life when people are gay, but I'm just saying like, obviously, but like, [00:49:00] you know, I think she was trying really hard to also like avoid the, from what I read about Billy Bud.

The character that would be like the galoop Compile, you know person Was like more Written as like this like villainous gay character. Right, right, right that and so she was trying really hard to like Explore the fact that this person did do something that he shouldn't have done. He did do something wrong But like show you a more empathetic Reasoning behind why what happened happened, and I think putting it setting it in the military does that too, because he is trying really hard to fit into

Jeremiah: that structure.

Yeah, and it's been a while since I read Billy Bud, but from the article I gleaned, and it reminded me, I guess, that in Billy Bud, the character that Galoop is sort of based on is, is the one that. That character dies, like the, the [00:50:00] incident is that Billy Bud accidentally kills him, um, and then the captain of the ship or whatever, who would be like the approximation of Forestier, um, starts, like, then he's overcompensating because he also has feelings for Billy Bud and He, uh, court martials, um, Billy Budd and, like, strings him up from the mast, um, to kind of, like, hide that he actually has affection for this young man as well.

Um, so it's, so in, even in that book, both the ranking officers seem to be attracted, um, and I don't necessarily mean sexually attracted, but just, like, attracted. In some fashion to Billy, but, um, they take notice of him, you know, and everybody kind of does. And I think in the, in the novella at least. So do we have any other thoughts we want to get into about this or should we move on?

Stephen: I really enjoyed the ironing scene. That's not my favorite scene in [00:51:00] the movie, but I did enjoy watching precision ironing is not much you see in movies. So yeah, yeah.

Alicia: Yeah. I wanted to say, I thought that the, the opera, the operatic music I thought was really effective too. I, I. Yeah. I forgot to mention that earlier.

Jeremiah: Agreed. Mm hmm. Okay, so those are our thoughts on Beau Travelle. Uh, we'll share our final thoughts on the movie and answer our bonus question after this break.

And we're back. So, what was your favorite scene or moment or some element of the movie, whether it's the music or cinematography? It doesn't have to be like a plot. Moment, a scene necessarily, uh, Michelle, how about we start with you? I would say

Michelle: I [00:52:00] was most fond of the, the editing and the rhythm of the shots.

And, um, also the, just the camera work, how I think for most of the film, it was a static camera and a lot of times we were like coming into the moment. After something had happened, you know, like for example, the helicopter crash or, um, other moments we've. Talked about earlier and I just, I don't know, I just was very entranced by how all of the, the shots kind of just flowed together within, I think the sound design, um, um, was very key in that.

And, um, yeah, I just, I thought it, I felt like it was very hypnotic and, and, uh,

Jeremiah: satisfying. Yeah. And Steven, how about you?

Stephen: Um, I really liked, um, I think when they were doing the obstacle course, there was just something about like [00:53:00] the muscles that were moving with the guy with the green hat and he was very dark skinned and just moving through.

For some reason that, that scene, it was just sort of like aesthetically just looked really interesting. Um, especially in the backdrop. So I think a lot of the scenes in the movie, since they were so sparsely kind of put together, they just were very powerful and I really liked that part.

Jeremiah: Okay. And Mia.

Yeah. That obstacle course was crazy. It was like, Oh my God, these guys are like so fit. Um, I really loved the dance sequence at the end. Just loved it. Amazing.

Alicia: Alicia. Yeah. I also really loved the dance sequence at the end. I'm trying to think if there was like another moment, but I think it's just so, it's just so, it's just so perfect.

And, uh, it's such a, it just caps the movie perfectly.

Jeremiah: Um, I'm going to say that the cinematography is my favorite part of the movie, specifically the use of color, which I guess also brings in [00:54:00] production design or art direction. Um, and I honestly wonder if you could maybe write a whole, like, essay about the use of the color blue in this.

For some reason, like, it seemed like blue, like, if I close my eyes and think of this movie, I think of, like, blue against white. Um, I know there are other colors that play in the movie, but like, it seemed like blue meant something throughout the movie for some reason. Um, so I, if I was to watch the movie again, I think I'd have an eye on, on that.

Um, so, has the movie, as far as you're concerned, Stood the test of time or another way of framing it. Do you think it resonates today? And Steven, let's start with you.

Stephen: I think it does. Um, and I, I feel like it is one of those movies that you either have to be in the right mood to watch, or you need to watch a few times.

Because I feel like you will get more out of it, um, but I think it does stand the test of time in terms of the construction of the movie and in terms of what you're going to get out of it, even if you don't necessarily know what the [00:55:00] plot is.

Jeremiah: So, yeah. Okay, Michelle?

Michelle: Yes, um, I feel like it's, um, timeless and, um, just for, yeah, the filmmaking and, and, um, also the themes explored.

Stephen: Mia,

Jeremiah: I'm gonna optimistically say yes. You guys like convinced me to like it a little bit more through this conversation. , you've done our job. I know. Yeah. Like I, I mean, already I was like, I would watch it again. Like I would totally give it another shot. I agree with like the last, our like last month of life has just been like really heck.

It was like a lot of trips and like work and like things going on. So I just feel like we were kind of like, okay, like another thing we have to do. Ah, like not really the time to like sit and watch and like, just like relax into the movie. So anyways, I would watch it again. So just to not be like a total, but [00:56:00] I'll just say yes.

All right. Um, Alisa.

Alicia: Yeah, definitely. I mean, I, I think it's, it's not that old. It's only like 20. Three, 24 years old, but yeah, I think it's still relevant. The stuff that, yeah, that the themes of explorers are still very relevant in our society. I think people always want to break out of structures that are holding them back no matter what.

So for that, it definitely holds up.

Jeremiah: Yeah. I mean, I think on this one, like I could take myself out of it. Like I think the movie proves it is timeless or resonates in some way because it's first off. adapting a work from long ago and then the movie is 20 years old and it's now considered one of the greatest movies of all time as of six months ago.

Um, so like, obviously it resonates with, with people and their stuff in it [00:57:00] that, that, uh, that translates across time. So I think it would be silly to say otherwise. Um, and I think the themes of it, like our themes that are almost like, I don't want to say a Rorschach test because that sounds odd, but like, you know, I think someone reading Billy Bud when it was released can't necessarily depending on who they are, what context they're having a conversation and have the same conversation.

about that story that we can have about this movie. You know what I mean? Of like the topic that it, that it touches on of, of homosexuality and, uh, and lust and all this, like you can have a more open conversation about that these days. So I, I do, I think that that's maybe important to note. Um, although, you know, some people would like us to stop.

Um, so. Our bonus question. Let's move on to our bonus question. What movie do you think uses extensive voiceovers [00:58:00] the best, or at least really well, and Steven, why don't we start with you again?

Stephen: Um, I'm going to say clueless, um, because I really did like, uh, cause I just watched that actually just last week again, and I was like, I really love this movie, but I was thinking about like how, how shares voice is just definitely perfect

Jeremiah: for,

Stephen: you know, She uses like colloquial language and she really propels the story by the way that she talks.

And, you know, you get an inner voice and she's a kind person. So I think it just really works for the way that she's talking. You know, you feel like you're having a conversation with her as she's playing out her life. I really liked that.

Jeremiah: All right, Mia. I haven't seen it in a long time, but if election uses a lot of voiceover and I really like that movie, um, so that's what I'm gonna say as my movie.

I don't specifically remember the voiceover, but it's such a good movie. So I'm gonna go with that. It's got good voiceovers. There you go. I remember them [00:59:00] though. Uh, Michelle, I had

Michelle: to google it.

Alicia: I googled earlier. And so a few of my faves

Michelle: popped up and I don't know really which to talk about. Um, It's been a while since I've seen him, but, um, I mean, Goodfellas, um, the Henry Hill character and then toward the end when he actually, you know, he's having to break down and look and monitor and making the pasta sauce and he like looks up like that.

Is that the first time I think that he addresses the camera and he, you know, us and. And top and breaks fourth wall. So I would say that, um, and then I, um, I'd forgotten that Badlands, which is one of my favorite movies, I think, um, Sissy Spacek character, right? Is gives, but I don't know if it's like as much as the loops was in this, you know what I mean?

I feel like in, I mean, it's a lot. Yeah. Right. Like it. And I think that again, like, I, I think it really helps, um, round you. Cause otherwise you're just. You know, you're kind of just floating [01:00:00] through the

Jeremiah: scenes. I mean, if you want to talk about a king of voiceovers in movies, Terrence Malick. Yes. That's kind of his whole thing.

Oh yeah,

Alicia: and in D's of

Michelle: Heaven. Oh yeah. D's of Heaven, the little girl.

Jeremiah: Yeah. Like every movie. That's great. It's just like, let's shoot someone walking through a field and put a voiceover. Yeah. Trademark. Poetic voiceover. Yeah. Um, yeah. Uh, did you have others, Michelle? Sorry.

Michelle: Oh, and then one other one that they, That I, I was like, oh yeah, uh, stand by me, um, which, you know, that's definitely, uh, kind of a conventional storytelling device, you know, more than this was where, you know, he's like writing the story and then he's looking back on his life and.

It kind of, you know, the old hymn book ends the movie and, but it's done really well, I think.

Jeremiah: I thought about Goodfellas as well. I also thought about a movie we covered recently on the podcast. I'm sure there's more movies that we've covered with, with good use of voiceover, but, um, Apocalypse Now has a great voiceover.

Um, I mean, now that I'm thinking about it, didn't Hiroshima and [01:01:00] Monomore have voiceover? So that's another one. But the one I really want to point to. As maybe my favorite use of voiceover is Sunset Boulevard, um, because anytime I've read about or been told about like at film school or something, the, the, um, the impact that that voiceover had of like the movie starts with a voiceover from a dead man that like the first thing you see is a dead man in a pool and then he's giving the voiceover and you're like, What the fuck is happening here?

Um, like, I mean, that's not that unusual to us now. You know, like, but when that movie came out in, what was it like 1950? Um, that was kind of, uh, that was, that was dramatic, you know, that was, that was a big thing. Um, so I think that that's a great one.

Stephen: Yeah. I think another honorable mention would be the Shawshank Redemption.

Sure. Um, just because it's Morgan Freeman and you can't go wrong with hearing him for

Jeremiah: two hours. Yeah. [01:02:00] I felt like that's the archetypal Morgan Freeman. Um, voiceover performance, Alicia, how about you?

Alicia: I was also going to say Sunset Boulevard, so I'll say Trainspotting because I love that

Jeremiah: movie. Well, our next episode is Michelle's pick.

You want to tell people what your pick

Michelle: is? Yes, it's David Lynch's masterpiece Mulholland Drive.

Jeremiah: That's it for this episode of the Stereoactive Movie Club. You can subscribe to the show just about anywhere you listen to podcasts. We invite you to join our conversation about movies by joining our Facebook group, and you can find a link to that along with our email address, links to a lot of other places where you can find the show, and other info by going to StereoActiveMedia.

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Thanks for listening.

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