Fall in love with three beautiful podcast hosts; fumble the bag with all three. To prepare for our upcoming interview with director Mary Stephen, we study her work editing Éric Rohmer’s A Summer’s Tale. Almost five years following our initial series on the French auteur, have our thoughts changed on his calm naturalism? We compare his work to more recent Deep Cut director Hong Sang-soo, discuss the structure of his scenes, and wonder about how Stephen helped sculpt time in this film. Most importantly: do we really find that pouty French twink hot?

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Timestamps:

00:00:00 Intro

00:06:00 A Summer Tale context

00:10:38 General reactions

00:20:02 Film structure and opening

00:24:47 Gaspard’s conundrum

00:30:48 Margot

00:36:08 What is the film trying to say?

00:38:15 Naturalism and conversations

00:44:05 The passage of time

00:46:15 The audience’s trust

00:50:17 Hong v Rohmer, closing tangents

Eli flies in from his foray into his favorite film fest, the 64th installation of the New York Film Festival. It’s a year full of delicate, considerate, humanistic films: Sandra Wollner’s Everytime, Ira Sachs’ The Man I Love, Jordan Firstman’s Club Kid, and Mike Leigh’s Tender Loving Care. Ben and Wilson share their thoughts on two more films in the lineup, Hong Sang-soo’s The Day She Returns, and William Greaves’ Once Upon a Time in Harlem. Also, just for the heck of it, hear what Wilson thinks about Kore-eda Hirokazu’s latest, Look Back.

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Timestamps:

00:00 Intro

06:40 Everytime (2026) dir. Sandra Wollner

13:05 The Man I Love (2026) dir. Ira Sachs

23:17 Club Kid (2026) dir. Jordan Firstman

27:31 Tender Loving Care (2026) dir. Mike Leigh

32:37 For The Moon (2026) dir. Eric Baudelaire

38:44 The Day She Returns (2026) dir. Hong Sang-soo

44:07 Once Upon a Time in Harlem (2026) dir. William Greaves, David Greaves

47:25 Look Back (2026) dir. Hirokazu Kore-eda

50:59: Upcoming festival coverage

Before Paul Verhoeven was Hollywood’s pervert-auteur of choice, he was making massive hits in Dutch cinema like this episode’s focus, Katie Tippel. Ben’s main question for this episode: what is Paul Verhoeven’s worldview? To answer, the Deep Cut trio explores the economic and sexual exploitation of Tippel’s world, the surprisingly modern-feeling period filmmaking, and lots of nudity.

Links:

Adam Nayman on Katie Tippel

Ben’s review of Mahjong

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Timestamps:

00:00:00 Intro

00:03:51 Summary, context, and general reactions

00:19:08 Verhoeven's worldview

00:33:43 Prostitution and sexuality

00:48:47 Historical films and the feeling of modernity

01:04:00 Exploitation?