this is the first show we have done together. i know it's a bit late, but there we are. ok, so, we have memoria, which is a cannesjury prizewinner. the scream franchise is back with scream — scream five, but it's just called scream. and andrea arnold's feature documentary debut cow. well, there's a good mixture — yes, kick us off. ok, so, memoria, which is the new film from apichatpong weerasethakul, who won the palme d'or for uncle boonmee who can recall his past lives. which is a really wonderful film. tilda swinton, who i think is great in almost everything, is a botanist, a flower trader. she is in bogota, where her sister is in hospital. we see her visiting her sister and talking to her sister and her partner, she is woken in the middle of the night by a sound. a strange booming sound. and she thinks that there must be building work going on next door, but she speaks to people and there isn't any building work going on. and she starts hearing the sound wherever she is and it's a really peculiar sound and she becomes obsessed with the idea that nobody else appears to be able to hear it. so she goes to a sound engineer to say, can you make a copy of the sound for me, to describe it? here is a clip. so the film was colombia's submission for the oscars for best international feature. it's very elusive and meditative. i mean, apichatpong weerasethakul was kind of thought of as the high priest of slow cinema, and if somebody says what's the film about, the temptation is to say it's about two and a quarter hours. it's about the disjuncture between the past and present, between man and nature. people have memories that aren't their memories, there are people who appear to be dead but then aren't dead, and a lot of this is to do with tilda swinton wondering if everything is in her own mind as she makes a journey into the jungle to discover some kind of ecstatic truth. i have to say i really liked it, because i find this something meditative about this kind of cinema. i mean, you just watch. you look at things for a really long time, this is the opening shot before she even wakes up. it's not for everybody. but if you are a fan of apichatpong weerasethakul, which i am, this is a really intriguing film. in the third act it does something which is completely out of the blue. and i think some people will think this is ridiculous and some people think this is very important and others will think, as i do, it's a bit of both. i love the fact that with his movies you never know where they are going. the key to this is tilda swinton. if you didn't have an actor of her skill holding it all together — because what you're doing is you are watching the world through her eyes. you are watching her befuddlement about this sound. what does it mean, where is it going? why is everything i know about the world suddenly uncertain? and when the film provides an answer or at least some of an answer you will either go "0h", or you'll go... he gasps ..but it's watching her respond that really makes it work, and it's in cinemas only, and i thought it was really impressive, i really liked it. 0k. intriguing. definitely intriguing. something rather different, ithink. it is horror movie time again. happy days! happy new year. my friend alanjones are said to try and sell this horror movie to jane. this is the scream franchise "requeled", which is part sequel, part reboot, in much the same way as the 2018 halloween, was just called halloween. but this is scream. and we are back in modern—day woodsboro, the ghostface killings, which have been immortalised in the film within the film, the stab movies, are starting up again and there's the usual cocktail of meta—textual gags, because the whole thing about the scream franchise is it's a scary movie, which people talk about being in a scary movie, but there's original cast members and there's also fresh new blood. the co—directors and writer of this made a film called ready or not, which you and i talked about before, it's a kind of horror movie—black comedy hybrid and i really liked it. so i went into this with high expectations. they weren't generally met because i think film is fine — if you've never seen the wes craven original in the cinema, 0k, fine, there will be a new generation of people wanting to see this on the big screen. the problem is what you don't have is the fear of the original. the original scream was scary. people forget. 0k, yes, it was post—modern and everything, but it was scary. and also you don't have that an amazing thrill of originality. the thing i would say is if you are really interested in scream and you want to see something else, go back and that at wes craven�*s new nightmare, which is the film before scream, which is also the film that basically inspired matrix resurrections, and every year that goes by that film just looks better and better. this is fine and i have no doubt it will prove a crowd pleaser but for somebody of my vintage who was kind of there the first time around with scream, and it feels a bit like, show us a new trick. right, yeah. do we need five of them? yeah. 0k. a documentary for your third choice. this is directed by andrea arnold. i know you are a fan of andrea arnold. red road, fish tank, american honey. it follows the life of luma, who is cow on a dairy farm and the cycle of her life is basically impregnation, then birth, lactation, separation from calves, largely within strip lit barns, fairly industrial barns, but very briefly out in the open. here's a clip. mooing. i have to say that is an unusual moment in the film, most of it takes place within very confined spaces and it's a very industrialised environment. and do you remember the film gunda, a viktor kossakovsky film, which was just an observational documentary about a pig? what the director said he was trying to do was to demonstrate that farmyard animals are living, experiencing creatures, but without a narration telling you about that. well, you get that here. gunda was shot in very elegant black and white. this is much more urgent hand—held, you know, very up close and personal and a lot of looking straight into the cow's eyes. i have to say it's very well done and very upsetting. ah, i was about to say, is it upsetting? it is. it absolutely is. but here's the thing that is important about it. it's not a film which tells you what to think about this or lectures you or anything, but what it does is it says if you are partaking of the dairy industry you need to be aware of how it works, you need to know where the produce that's on your table comes from. and i think the thing that is really powerful about this is, without lecturing you or without seeming like it's banging its drum, it tells its story in its visual images and itjust says, 0k, look, this is what it is. you make of this what you will. i know one film critic friend of mine who was in floods of tears for a lot of it. not everybody will feel the same way. i think that's one of its strengths. is that it is, "here it is, you make your own decisions." yes. i want to see it, i have slight a knot in my stomach at the thought of seeing it. but it is a labour of love, i know, for andrea arnold. so best out, mark. licorice pizza. you are not a fan, are you? i want to know what you think. i think it's great. i love paul thomas anderson. i think it's a great coming—of—age movie. i think it's the evocation of the valley in the 1970s. it is brilliant, i love the use of music in it. i think cooper hoffman and alana haim are brilliant in their first starring roles. i know that you don't like it. well, no... some of that i agree with. i think the two leads, we just saw them there, are just fantastic, just fantastic. both of them. and so captivating. the first 45 minutes to an hour i was loving it. i was loving it. and then it dips in the middle and i have spoken to a lot of people who do agree with me they think it's too long and could have done with some editing and you see the fundamental problem with that central premise of a 15—year—old boy and a 25—year—old woman. who aren't having a relationship. just doesn't work. who aren't having a relationship. yeah... but i'm trying not to say anything without doing sort of plot—spoilers... it's not a plot—spoiler, it's not a plot—spoiler. she says, we are not going out. she does say that several times. she has to get him off the phone and he phones her up and doesn't talk down the phone, and that's a really scary thing to do. let me ask you a question. did you like punch—drunk love? i can't remember enough about it, i'm afraid. punch—drunk love is the adam sandler movie that after having made magnolia they said to paul thomas anderson, what will you do now? you've made this three—hour masterpiece. he said, i'm going to make a 90 minute comedy with adam sandler, and he did. it's my other favourite paul thomas anderson film. i love this. it has turned out to be a marmite film and it's currently in the pack leaders for best film nominations. it looks beautiful. it's beautifully made and i love the two central performances. love them. let's consolidate that part of that we like. this might be do i need to watch it again? you gave it a fair hearing. hey, i just love it. it looks beautiful. i've seen it three times. yeah. we may never agree on that one. so, streaming, dvd? tragedy of macbeth has come to apple tv. i think it looks brilliant. it's been in cinemas for a couple of weeks. this is joel coen�*s adaptation of the shakespeare, obviously. i think it looks brilliant. it has got a look of a carl dreyer film, everything on sets, a bit of german expressionism in there, great cast, denzel washington, frances mcdormand — have you seen it? no, very recently seen a stage production. so i am interested to compare. i have seen a lot of versions of macbeth. here's the thing. i admired it, but from a distance. i thought, this looks really good, these individual performances are great, but they all seem to be in their own movie — and particularly when you see macbeth on stage it's all about macbeth and lady macbeth, if they appear to be in two different films it's like where is the central conflict? so people love it, i've read loads of 5—star reviews — i think i feel the same way that you do about licorice pizza. there are things in there that are great. but i'm not buying the whole thing. we will go with that. that's our theme for this for that week. thank you very much. thank you for watching and enjoy your cinema going. see you next time. goodbye.

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