Hilde Mosse comes from one of the wealthiest families in Berlin and stands to inherit an enormous fortune. But she longs for something more meaningful than the luxurious lifestyle her family provides. So Hilde decides to pursue her dream of becoming a doctor. As the Nazis take power in Germany and the Mosse family is forced to flee, Dr. Hilde Mosse lands in New York having nearly lost everything.. She finds her calling treating the mental health of Black youth – and the symptoms of a racist system. In addition to photographs, school records, and correspondence spanning Hilde Mosse’s entire lifetime, the Mosse Family Collection in the LBI Archives includes the diaries she kept between 1928 and 1934, from the ages of 16-22. Hilde’s papers are just part of the extensive holdings related to the Mosse Family at LBI. Learn more at lbi.org/hilde . Exile is a production of the Leo Baeck Institute, New York and Antica Productions. It’s narrated by Mandy Patinkin. This episode was written by Lauren Armstrong-Carter. Our executive producers are Laura Regehr, Rami Tzabar, Stuart Coxe, and Bernie Blum. Our producer is Emily Morantz. Research and translation by Isabella Kempf. Voice acting by Hannah Gelman. Sound design and audio mix by Philip Wilson. Theme music by Oliver Wickham. Please consider supporting the work of the Leo Baeck Institute with a tax-deductible contribution by visiting lbi.org/exile2025 . The entire team at Antica Productions and Leo Baeck Institute is deeply saddened by the passing of our Executive Producer, Bernie Blum. We would not have been able to tell these stories without Bernie's generous support. Bernie was also President Emeritus of LBI and Exile would not exist without his energetic and visionary leadership. We extend our condolences to his entire family. May his memory be a blessing. This episode of Exile is made possible in part by a grant from the Conference on Jewish Material Claims Against Germany, which is supported by the German Federal Ministry of Finance and the Foundation Remembrance, Responsibility and Future.…
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Вміст надано A Damn Fine Cup of Culture. Весь вміст подкастів, включаючи епізоди, графіку та описи подкастів, завантажується та надається безпосередньо компанією A Damn Fine Cup of Culture або його партнером по платформі подкастів. Якщо ви вважаєте, що хтось використовує ваш захищений авторським правом твір без вашого дозволу, ви можете виконати процедуру, описану тут https://uk.player.fm/legal.
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Вміст надано A Damn Fine Cup of Culture. Весь вміст подкастів, включаючи епізоди, графіку та описи подкастів, завантажується та надається безпосередньо компанією A Damn Fine Cup of Culture або його партнером по платформі подкастів. Якщо ви вважаєте, що хтось використовує ваш захищений авторським правом твір без вашого дозволу, ви можете виконати процедуру, описану тут https://uk.player.fm/legal.
Join us every month for a cup of freshly brewed culture! Matt, Julie and friends talk about films, TV series, books or games that have grabbed their attention.
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For our February espresso podcast, we’ve got a very special treat: this month, Matt and Julie talk to British writer, critic, curator and film historian Pamela Hutchinson . Pamela, a regular contributor to the Guardian and to Sight & Sound , joins us for a look at The Lady with the Torch, a selection of films that played at the Locarno Film Festival 2024 and that was recently featured (in part) at the Kino REX in Bern, Switzerland, where Pamela spoke about the films and Fritz Lang’s The Big Heat in particular. Find out more about what made Columbia Pictures special, how its co-founder and president Harry Cohn was both a terror and a boon to the studio, and how Columbia Pictures ended up offering opportunities especially to the women working there that were unheard of elsewhere – and watch out for our recommendations for the Columbia Pictures films of the era you need to see, from the biting screwball comedy of Twentieth Century (1934) to the heartbreaking darkness of In a Lonely Place (1950) and the prescient political drama of All the King’s Men (1949). Don’t miss this special treat for lovers of classic Hollywood – and a big thank you to Pamela from all of us at A Damn Fine Cup of Culture! P.S.: As director Dorothy Arzner features in the history of Columbia Pictures and comes up in our conversation with Pamela, make sure to check out last year’s May espresso podcast for a closer look at Arzner and her films . P.P.S.: You can find Pamela’s talk at the REX on Columbia Pictures and The Big Heat here. You can also download the podcast at the following link: A Damn Fine Espresso: February 2025…
1 A Damn Fine Cup of Culture Podcast #89: Second Chances (feat. Shirley MacLaine) 1:00:48
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Відтворити Пізніше Відтворити Пізніше Списки Подобається ПодобаєтьсяIt’s that time of the year again, when we look at films we didn’t enjoy originally and give them another chance. This time it’s Sam and Alan having another look at movies they’d previously bounced off of, and both films feature Shirley MacLaine: Billy Wilder’s The Apartment (1960) (yes, Alan hasn’t been a big fan of the film to date!) and MacLaine’s first film, The Trouble with Harry (1955), her first feature appearance and one of the movies generally considered to be lesser Hitchcock. Will our intrepid two come away with a new appreciation of these films, or will their original opinions be reinforced? For more Second Chances episodes, make sure to check out: A Damn Fine Cup of Culture Podcast #77: Second Chances (2024) , in which Matt and Sam revisit two very different musicals, Lars von Trier’s Dancer in the Dark and Richard Attenborough’s adaptation of A Chorus Line A Damn Fine Cup of Culture Podcast #67: Second Chances – Two Androids called David , in which Alan and Matt give another chance to Steven Spielberg’s A.I. and Ridley Scott’s first Alien prequel Prometheus A Damn Fine Cup of Culture Podcast #62: Second Chances (2) , which sees Sam and Alan revisiting two David Fincher films, Fight Club and The Curious Case of Benjamin Button A Damn Fine Cup of Culture Podcast #47: Second Chances , our very first Second Chances episode, in which Julie and Matt have another look at Michael Curtiz’ Mildred Pierce and Andrew Dominik’s Killing Them Softly – an obvious combination, don’t you think? You can also download the podcast at the following link: A Damn Fine Cup of Culture Podcast #89: Second Chances (feat. Shirley MacLaine)…
Sometimes they come back: in late 2024, Robert Eggers broke with his series of films titled “The” followed by a proper noun with the release of his remake of Nosferatu . Following F.W. Murnau’s 1922 version, a rip-off of Dracula so good that it took on a life (or should that be undeath?) of its own, and the 1979 remake by living legend Werner Herzog, Eggers’ Nosferatu calls back to the earlier versions while putting its own spin on the material. Join Alan and Matt for their discussion of the film: What does Eggers’ Nosferatu bring to the table? How does it compare to other versions of Nosferatu and of Dracula ? What are the film’s greatest strengths, and where does it perhaps falter? And where do Matt and Alan stand on big bushy moustaches? For more talk of the undead, make sure to check out our episode “Three Draculas” from October 2023 , in which Julie, Sam and Matt talk about Murnau’s Nosferatu as well as the 1958 and 1992 versions of Dracula. You can also download the podcast at the following link: A Damn Fine Espresso: January 2025…
Welcome to 2025! We’re taking the new year as an opportunity to look both forward and into the past – and to do something we’ve never done before: for the very first time (no, Robin Beck, we don’t mean you!) we’ve recorded a conversation featuring all four of the damn fine core podcasters: Alan, Julie, Matt and Sam. In the first episode of the year, we’re having a look at the cups of culture (mostly film) that came out in 1925, 1950, 1975 and 2000, from Marion Davies and Zander the Great via the wonderfully meta double bill All About Eve and Sunset Boulevard and ’70s greats such as Jaws and Chinatown to the still futuristic-sounding year 2000, which brought us films as different as Gladiator , Memento and In the Mood for Love . We cap off our conversation about a century of cinema with a look at the year to come and the films we’re anticipating the most. Wishing everyone a damn fine year, or indeed century! You can also download the podcast at the following link: A Damn Fine Cup of Culture Podcast #88: Century…
It is that time of the year again: snow, carol singing, and Bruce Willis crawling through air vents muttering to himself before he delivers the presents. Which also means: it’s time for our Christmas Special! This year, we’re taking the topic of the summer series as the starting point, remakes – but as everyone knows, these can be naughty or nice, so we’ve asked our guests as well as our regulars to talk about their dream remakes, the ones they would like to see made, or the nightmare remakes which they wouldn’t even wish on the people at CinemaSins. From train-bound screwball comedy to sexy ’60s spies, from dodgy demons to festive skeletons, from one serial killer to a different serial killer altogether: these are the films we would love, or hate, to see remade. A great big thank you goes out to our guests of 2024 who have contributed to the Christmas Special: film critic Alan Mattli (of Maximum Cinema , Swissinfo and Facing the Bitter Truth ), filmmaker and podcaster Daniel Thron (of Martini Giant ) and film historian and cultural critic Marcy Goldberg – and obviously to all of you out there who have been following our work at A Damn Fine Cup of Culture. The Damn Fine Cup of Culture crew wishes everyone happy holidays, filled with good films, series, books, games and music! You can also download the podcast at the following link: A Damn Fine Cup of Culture Podcast Christmas Special 2024…
It’s December – which means, it’s time for snow! And since the actual white stuff falling from the sky is becoming rarer and rarer in many places, your cultural baristas at A Damn Fine Cup of Culture are talking about the cinematic version: snow in films. Join Julie, Sam and Matt as they talk about films in which snow is central, focusing on the following three movies: James Whale’s The Invisible Man (1933), starring a young Claude Rains, Where Eagles Dare (1968), Brian G. Hutton’s WW2 adventure featuring Richard Burton and Clint Eastwood, and finally an enduring favourite of several of us at A Damn Fine Cup: the Coen Brothers’ modern classic Fargo (1996). What role does snow play in these films – and which of them is the ultimate snow movie, in which the white stuff isn’t just an aesthetic choice or a means to an end but much, much more? (By the way, due to technical difficulties, Matt’s audio in this episode unfortunately sounds like he recorded his audio with his mic in one room and himself in another. We hope that you’ll still enjoy the conversation – and if necessary, we’ll send him and his mic out into the snow until he’s promised to do better next time!) P.S.: If you’re interested in more talk about the Coens, make sure to check out our podcast from summer 2023: A Damn Fine Cup of Culture Podcast #71: Summer of Collaborations – The Coen Brothers & Co You can also download the podcast at the following link: A Damn Fine Cup of Culture Podcast #87: Snowpisode!…
We’ve covered remakes extensively this summer , but what about their often derided sibling, the sequel? We’re taking the recent release of two high-profile sequels, Joker: Folie à deux and Gladiator 2 , as an opportunity to talk about sequels. Are they all creatively bankrupt exercises in IP masturbation, or is there potential in sequels? Is the only good sequel one that gives us more of what we enjoyed the first time around, or should a sequel break with what has gone before and surprise us? Where are Joker 2 and Gladiator 2 on the continuum from more-of-the-same sequels to throw-everything-out-the-window sequels? Is Folie à deux as much of a waste of talent and money as most people said? Is Gladiator 2 a worthwhile return to Rome and to the arena that gets our thumbs-up? For more thoughts on sequels with a bonus link to Ridley Scott, you may want to check out the following: A Damn Fine Espresso: September 2024 (in which Sam and Alan talk about Alien: Romulus , the latest sequel? prequel? something-quel to Ridley Scott’s iconic Alien ) A Damn Fine Cup of Culture Podcast #67: Second Chances – Two Androids called David (in which Alan and Matt discuss Prometheus , as well as Steven Spielberg’s A.I. ) You can also download the podcast at the following link: A Damn Fine Espresso: November 2024…
For this year’s summer series, A Damn Fine Cup of Culture focused on remakes , from men who knew too much and trucks bearing explosive goods to planets that create their own remakes and finally to stars being born and dying . But these are the obvious remakes (whatever their directors might say, depending on which day of the week it is): what about iconic films – that almost no one knows to be remakes? In this episode, Julie and Alan get together to talk about two films that are infinitely more famous than the originals that preceded them: Some Like It Hot (1959) and The Maltese Falcon (1941). Why do these films escape the frequent criticism of remakes: that originality is dead and that Hollywood only knows how to repeat itself? How do the originals compare to the more iconic later films? And what’s the key to making a remake that will eclipse the film(s) that came before? You can also download the podcast at the following link: A Damn Fine Cup of Culture Podcast #86: Stealth remakes…
On the podcast, we’ve talked about festivals before, both about specific festivals (such as Queersicht, the annual LGBTIAQ+ film festival held in Bern, Switzerland ) and about the experience of going to cultural festivals of any kind . Autumn is festival season, and Alan and Sam talk about film festivals they’ve been to, from Switzerland’s festivals in Locarno and Zürich via San Sebastian Film Festival in Spain (which Sam recently visited) to the London Film Festival , where Alan regularly catches some of the more off-the-radar small films. What’s it like to attend these festivals? What is the experience like? How good are they for celebrity-spotting? And would they recommend the festivals to film fans, or are they reserved more for filmmakers and journalists? You can also download the podcast at the following link: A Damn Fine Espresso: October 2024…
1 A Damn Fine Cup of Culture Podcast #85: Halloween Special – Death in Venice (and Summerisle) 1:01:22
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Відтворити Пізніше Відтворити Пізніше Списки Подобається ПодобаєтьсяThe 1970s were a bad time for men travelling in Europe, doubly so if they were following the traces of a mysterious girl, and triply so if they weren’t good at listening to advice. Before you know it, you meet with a gruesome fate at the hands of cultists or misshapen serial killers, and then where will you be? Dead! That’s where. Dead in Venice or Summerisle. For this year’s October episode, we finally fulfil a common wish of ours: join Matt, Sam and Julie as they talk about two creepy favourites of theirs, the cult folk horror that is the original The Wicker Man , directed by Robin Hardy, and the mournful, intricate, watery loops of Nicolas Roeg’s Don’t Look Now . Apart from both coming out in 1973 and being shown as a double bill at the time, what do these two films have in common? Why are they both such enduring classics, in spite of very clearly being products of their time? And – in keeping with our summer theme – why do the two films resist being remade, in spite of an ill-fated attempt by Neil LaBute and starring Nicolas Cage at maximum Cage? You can also download the podcast at the following link: A Damn Fine Cup of Culture Podcast #85: Halloween Special – Death in Venice (and Summerisle)…
We’ve talked about the Alien franchise before on our podcast, so we didn’t want to miss the opportunity presented by the release of the latest addition to the series, Alien: Romulus , which came out in August. Join Sam and Alan as they talk about Fede Álvarez’ return to the roots of the franchise. How successful is the movie’s ‘back to basics’ approach? How scary can the film be after an entire series has done a lot to strip its iconic set of monsters of their original mystery? What have Álvarez and his collaborators done to keep all things xenomorph fresh, how do they play with an almost overpowering legacy? And what about that unexpected return from the dead: an effective homage or a tacky reference? For more thoughts on the long-running Alien franchise, check out the following podcast episodes: A Damn Fine Cup of Culture Podcast #34: Xeno-who? The Alien franchise (the first episode featuring our very own Alan? A Damn Fine Cup of Culture Podcast #67: Second Chances – Two Androids called David (in which Alan and Matt discuss Prometheus , as well as Steven Spielberg’s A.I. ) You can also download the podcast at the following link: A Damn Fine Espresso: September 2024…
1 A Damn Fine Cup of Culture Podcast #84: Summer of Remakes – A Star is Born 1:09:53
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Відтворити Пізніше Відтворити Пізніше Списки Подобається ПодобаєтьсяOur Summer of Remakes is coming to an end, with a conversation about not one, two, three or four films, but a whopping five, starting with What Price Hollywood? (1932), which was adapted in 1937 into A Star Is Born – and again in 1954, starring Judy Garland and James Mason. Then, in 1976, the story got the Streisand treatment, and in 2018 we got Bradley Cooper’s version, starring himself and Lady Gaga. Join Julie, Sam and Alan as they talk about the remake extravaganza. What is it about the material that makes it so enduring? How do the films tell their story differently? And, if A Star Is Born , is such an enduring tale, what would our cultural baristas expect from a near-future remake, should one be forthcoming? You can also download the podcast at the following link: A Damn Fine Cup of Culture Podcast #84: A Star Is Born…
Imagine not only being a cinephile, and not only writing and talking about film – but doing this professionally: being a film critic is something many of us in the blogosphere dream of. Meet Alan Mattli: Alan is not only teaching and doing research into literature and film at the University of Zürich, Switzerland, he is also a reviewer for the German-language Swiss film and TV platform Maximum Cinema and (Swiss German) the Maximum Cinema podcast . While his reviews at Maximum Cinema and on his website Facing the Bitter Truth (which he launched in 2008, while still at school), and while much of his writing at these sites is in German, you can find his writing in English on Letterboxd . In our August espresso podcast, Matt talks to Alan about his way to becoming a film critic, whether he watches films differently as a critic, and how film criticism has changed in recent years. P.S.: Here’s a list of Alan’s favourite current film critics: Jake Cole Josh Lewis Angelica Jade Bastién Manohla Dargis Richard Brody Filipe Furtado Caitlin Quinlan Phuong Le Will Sloan Priscilla Page Brandon Streussnig You can also download the podcast at the following link: A Damn Fine Espresso: August 2024…
1 A Damn Fine Cup of Culture Podcast #83: Summer of Remakes – Solaris 1:05:44
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Відтворити Пізніше Відтворити Пізніше Списки Подобається ПодобаєтьсяAndrei Tarkovsky’s Solaris (1972), an adaptation of Stanislaw Lem’s 1961 novel, is classic sci-fi cinema: as can be expected of a film by Tarkovsky, it is intriguing, hypnotic, at times sublime, but undoubtedly also confounding and even frustrating at times. It is a product of its time in some ways but timeless in others. Steven Soderbergh’s Solaris (2002) is unlikely to stand the test of time to the same extent – but is it still a worthwhile take on Lem’s novel? Is it indeed a remake – and, if so, is it a meaningful, worthwhile one, or is it an uncanny replica of the original material, much like the revenants that Lem’s mysterious planet produces, possibly in an attempt to communicate with humanity? Join Matt, Alan and Sam for the third episode in our Summer of Remakes , as they discuss these two films and their takes on both. How do they compare, in their approaches to Lem’s story, and in how successful those approaches are in creating a memorable film? For another take on the films of Steven Soderbergh, make sure to check out our 2020 episode (featuring Dan Thron of Martini Giant ): A Damn Fine Cup of Culture Podcast #35: Soderbergh’s Schizopolis, Schizopolis’ Soderbergh You can also download the podcast at the following link: A Damn Fine Cup of Culture Podcast #83: Solaris…
Summer is a good time to catch up on films and series – in this case, the Netflix series Ripley , created by Steven Zaillian and released last spring. The Talented Mr. Ripley has been adapted before, most famously as Plein Soleil (AKA Purple Noon , by René Clément and starring a deliciously evil Alain Delon) and under its original title in 1999 (by Anthony Minghella, with Matt Damon as a more soulful murderer) – so what is the purpose of another adaptation? Join Sam and Matt as they ponder this question. What does Zaillian’s Ripley bring to the discussion, compared to the films by Clément and Minghella? What is the effect on the story of casting Andrew Scott as a Ripley a dozen years older than the earlier versions? What are the unique qualities of Netflix’s Tom Ripley? And is this version a more faithful adaptation of Highsmith’s story and character? For more on Patricia Highsmith’s Tom Ripley and the various film adaptations of his adventures, make sure to check out these posts and podcasts: A Damn Fine Cup of Culture Podcast #45: Ripley vs Ripley – who’s the most talented? A Damn Fine Espresso: December 2023 (in which Sam and Matt discuss the other adaptations of Tom Ripley novels) Anyone you can be, I can be better: All About Eve and The Talented Mr Ripley You can also download the podcast at the following link: A Damn Fine Espresso: July 2024…
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