Latest / Left of the Projector / Emilia Perez (2024) with Bring Out Your Dead podcast

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Emilia Perez (2024) with Bring Out Your Dead podcast · Left of the Projector

• 0:16
  Track 1: Hello and welcome to Left to the Projector. I'm your host Evan,
• 0:19
  Track 1: back again for another film discussion from the left.
• 0:22
  Track 1: You can listen to the show at lefttotheprojector.com and you can support the
• 0:28
  Track 1: show at patreon slash lefttotheprojector pod.
• 0:31
  Track 1: With me, I think for the fourth time, I think that's correct,
• 0:36
  Track 1: I have the hosts Griff and Chris of Bring Out Your Dead.
• 0:40
  Track 1: Welcome back to discuss this marvelous film, which I forgot to even say because no one wants to say it.
• 0:45
  Track 1: We're talking about the 13 nominated film Emilia Perez.
• 0:53
  Track 2: I'm not, you are. I refuse. Me duele la pinche vulva.
• 1:00
  Track 2: You know what? You can cut this out if you think it's too vulgar,
• 1:03
  Track 2: Evan. I know you're a married man now, but cast yourself back to being single.
• 1:08
  Track 2: If you got like a voice note from a Tinder date and they were like Like,
• 1:12
  Track 2: when I think about you, my vulva aches.
• 1:14
  Track 2: How would you react to that?
• 1:17
  Track 1: I would be... That would be a little bit too weird for me.
• 1:23
  Track 2: But we were saying that lots of stuff has come out about this movie,
• 1:26
  Track 2: that it was written in French and then just translated.
• 1:29
  Track 2: Yeah, like Google translated, literally. So maybe that's what people in France say.
• 1:32
  Track 2: Yeah, they are perverts. They are perverts. Pervert land.
• 1:35
  Track 1: Interesting. Yeah, but so for anyone who's been living under a rock or just
• 1:39
  Track 1: hasn't heard anything, This film is deeply polarizing,
• 1:44
  Track 1: mostly on the bad scale from the director kind of just saying some shitty things,
• 1:51
  Track 1: defending the way he made this movie.
• 1:53
  Track 1: The star of the film, Carla Gasson, being a horrible, horrible person with some
• 2:00
  Track 1: horrible, horrible tweets, praising Mr.
• 2:05
  Track 1: Mustache Man and anti all kinds of things. people have probably all heard about
• 2:10
  Track 1: all of those things and so,
• 2:12
  Track 1: it's it's it's kind of amazing sometimes you get controversy around a movie
• 2:16
  Track 1: that's maybe good and you're like oh well but the people in it are bad but maybe
• 2:20
  Track 1: i can appreciate the movie this is like the rare instance where it's not that
• 2:24
  Track 1: it's a terrible movie with terrible people about a terrible thing it.
• 2:28
  Track 2: Doesn't even have like camp value you know what i mean like because
• 2:32
  Track 2: the the other the other sort of controversial film before this was that robbie
• 2:35
  Track 2: williams film and i've not watched it but there's like you know there's like
• 2:39
  Track 2: they're going for some kind of like they're going like a camp value like it
• 2:41
  Track 2: seems to be competently made this is just bad in every single sense of the word
• 2:46
  Track 2: there's not a single way that is not bad griff did you know that this movie killed david lynch.
• 2:51
  Track 1: He was like.
• 2:56
  Track 2: Yep i'm gone yeah it's over it's over film is over now.
• 3:02
  Track 1: Yeah and so and i guess i'll very briefly like since yeah there's lots of controversy if you
• 3:07
  Track 1: google this film there's a countless articles about
• 3:10
  Track 1: like the rise and fall of amelia paris there's one in the guardian i
• 3:13
  Track 1: have open you know like what went wrong with this oscar nominated film
• 3:16
  Track 1: i think we'll save some of the like oscar aspects and
• 3:19
  Track 1: like the just why people even like
• 3:23
  Track 1: why this movie is even getting any kind of press to begin
• 3:26
  Track 1: with from a critic perspective you know you could
• 3:29
  Track 1: put critics in quotation marks i mean are those actually the real critics
• 3:32
  Track 1: but as a film itself the the general plot
• 3:36
  Track 1: of this is a a leader of
• 3:39
  Track 1: a uh cartel in mexico he um
• 3:42
  Track 1: wants to transition to be a woman he
• 3:45
  Track 1: brings this kind of up-and-coming lawyer from
• 3:49
  Track 1: from town to help her transition and then as the film progresses she ends up
• 3:55
  Track 1: starting a ngo to help people find their lost loved ones from the violence of
• 4:02
  Track 1: cartels in Mexico. And, uh...
• 4:07
  Track 1: that's about all i can say i mean i.
• 4:09
  Track 2: Mean don't don't forget the aspect of like manipulating and then abusing her
• 4:14
  Track 2: ex-wife that's also like a.
• 4:15
  Track 1: Major that's true and so that is that is an actress played that that character
• 4:20
  Track 1: is played by selena gomez who
• 4:21
  Track 1: gives maybe the worst performance of her entire career i mean it is just.
• 4:25
  Track 2: I'm i'm i was just thinking no she's the only one going for it like she actually
• 4:30
  Track 2: like i mean she can't speak spanish and that's why it's a terrible performance
• 4:33
  Track 2: but she's at least trying to do something everyone else it's like just on autopilot.
• 4:38
  Track 1: Yeah she kind of overacted to a point where it just felt like it yeah i i give
• 4:44
  Track 1: it i think that someone i was talking to said that she was just not the right
• 4:47
  Track 1: person for this role yeah nobody was nobody was.
• 4:51
  Track 2: Like i'm gonna push back on that someone from mexico was the right person yeah.
• 4:56
  Track 1: Any role so that's
• 4:59
  Track 1: that's an added piece of the controversy and maybe i should also say
• 5:02
  Track 1: i'm not outing you that you both live in mexico so
• 5:05
  Track 1: you have some more uh eyes to the ground intel that
• 5:09
  Track 1: we would do not have in living in the imperial core that
• 5:11
  Track 1: is uh the united states but there is no
• 5:14
  Track 1: mexican actors in this film there is no mexican crew
• 5:18
  Track 1: the director jacques uh jacques whatever is uh is it audyard audyard yeah jacques
• 5:26
  Track 1: audyard he basically said like he didn't bother doing any research into mexico
• 5:31
  Track 1: he didn't film this in mexico he doesn't care about mexico he basically yeah he.
• 5:35
  Track 2: Doesn't need to learn spanish because it's the language of poor countries is what he said.
• 5:38
  Track 1: Everything about the yeah yeah.
• 5:40
  Track 2: Yeah digest that one digest that one yeah and again like i think sort of they're
• 5:46
  Track 2: like in mexico like people know it's offensive but it's just like yeah again
• 5:51
  Track 2: why did you why did you bother making this film in spanish because,
• 5:55
  Track 2: Selena Gomez can't speak Spanish. Zoe Saldana is so clearly Caribbean.
• 6:01
  Track 2: Like her accent is, she's from Dominican Republic. Her accent is very clearly
• 6:03
  Track 2: from there. And every single other person sounds Spanish.
• 6:06
  Track 2: And in Spanish, the Spanish accent is like a super identifiable,
• 6:12
  Track 2: very obvious, very ugly accent.
• 6:14
  Track 2: And so it's just like, it's not in Mexico.
• 6:17
  Track 1: Isn't that where Carla Gasson is from? She's from Spain.
• 6:20
  Track 2: Yeah, she's from Spain. She's from Spain.
• 6:21
  Track 1: So like you couldn't even cast your one title person,
• 6:26
  Track 1: you know i understand they wanted to include someone which
• 6:29
  Track 1: we think we should also talk about this too so the she is
• 6:32
  Track 1: played by a trans actress uh carla
• 6:35
  Track 1: gasson and she plays a trans character in the in the film and god where was
• 6:41
  Track 1: i going to go with this so that was sort of like the the one thing they did
• 6:45
  Track 1: i guess you could say to try and be inclusive but at the same time her character
• 6:50
  Track 1: is also very one-dimensional and sort of like almost anti-trans.
• 6:55
  Track 2: But you can't try to go for some sort of inclusive like movie when your whole
• 7:01
  Track 2: setting and the whole people and the culture is not included in the story arc.
• 7:06
  Track 2: And I'll tell you one thing. I'll tell you one thing quickly.
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  Track 2: Mexicans, right? We live in Mexico. Mexicans, it's impossible to insult a Mexican.
• 7:13
  Track 2: Yeah. They have the thickest skin.
• 7:15
  Track 2: Yeah. Right? They just insult each other all the time. They don't give a shit.
• 7:18
  Track 2: You just can't hurt them.
• 7:20
  Track 2: Yeah. And they are hurt by this movie. That shows how bad it is.
• 7:23
  Track 2: But also, the thing is that, like, the fact that the main character is a trans
• 7:29
  Track 2: woman and portrayed by a trans woman is what they're using to sort of,
• 7:33
  Track 2: like, present this as a kind of liberal, progressive film.
• 7:37
  Track 2: Basically, that's what they're getting their credentials out of.
• 7:40
  Track 2: And then every single thing in the film is just deeply, deeply regressive.
• 7:45
  Track 2: You know what I mean? It's like...
• 7:46
  Track 1: And I think that speaks to the fact that, like, Like they were going for this
• 7:51
  Track 1: liberal kind of like anti-woke concept.
• 7:54
  Track 1: And that's what I think is the, and I said we'd talk about this later,
• 7:57
  Track 1: but I just have to say it now is that's, that's why I think you're seeing all
• 8:01
  Track 1: of these award, award shows.
• 8:04
  Track 1: This movie got four golden globes. It got the best comedy slash musical above
• 8:09
  Track 1: like actual good movies.
• 8:12
  Track 1: And it got the best not English language film. I mean, again,
• 8:15
  Track 1: you can say what you will about awards, but I think the people who run these
• 8:18
  Track 1: award shows and vote on these award shows they saw ooh musical mexico trans person boom.
• 8:24
  Track 2: Award nomination but yeah best comedy
• 8:27
  Track 2: well it's comedy or musical yeah i
• 8:30
  Track 2: picked up on that too i did not laugh it doesn't jump
• 8:35
  Track 2: the shark except for one scene where it goes into that sort of ridiculous it
• 8:39
  Track 2: goes for camp one point yeah one point it no this this is dealing which we will
• 8:43
  Track 2: get to this is dealing with like like the deepest scar in Mexico's like Mexican
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  Track 2: society. Yeah. It's not a fucking comedy.
• 8:52
  Track 2: And I think actually one thing, we should actually state, the Mexican drug war,
• 8:57
  Track 2: it's hard to know how many people it's killed, but it's killed at least 500,000 Mexicans.
• 9:02
  Track 2: And that is then minus 1,000 Mexicans who have just disappeared.
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  Track 2: No one knows where they are.
• 9:06
  Track 2: 100,000. 100,000, sorry. Yeah, 100,000 Mexicans who just disappeared and no
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  Track 2: one knows where they are.
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  Track 2: It has been the cause of mass sexual violence, mass torture.
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  Track 2: It has displaced another, like maybe 100,000, 200,000 Mexicans have been internally displaced.
• 9:20
  Track 2: this is what the film is using as its subject matter and using as a prop for
• 9:26
  Track 2: the self-actualization of emilia perez like yes.
• 9:31
  Track 1: You're supposed you're supposed to almost initially like the way that they sort
• 9:35
  Track 1: of introduce the the character i think what is uh his name before it's.
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  Track 2: Like las manitas it's like it's like mono de las manitas which again is not
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  Track 2: what a mexican would call themselves it's not a mexican name no las manitas like yeah like.
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  Track 1: So it's you're immediately brought
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  Track 1: to them in like in like a very stereotypical way like she's
• 9:57
  Track 1: put into a car the black bag overhead taken to you
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  Track 1: know wherever she goes to meet to meet up with uh
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  Track 1: to be offered this opportunity to help
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  Track 1: him undergo a gender affirming surgery and
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  Track 1: become this new person and have this new life and leave behind everything
• 10:13
  Track 1: that you know that she uh or he at this point has uh you know as part of this
• 10:18
  Track 1: thing you're almost it's it's almost like spitting in the face of like i think
• 10:23
  Track 1: of other movies and i hate to bring this one up but like sicario just because
• 10:26
  Track 1: we're talking about uh you know films by my least favorite director dennis villanuevo but no.
• 10:32
  Track 2: Be careful chris is a fan of.
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  Track 1: Villanuevo i think he's pretty good anyway we don't we don't need to go down
• 10:36
  Track 1: that hole and people are going to hate me enough uh for but.
• 10:39
  Track 2: I i also hate villanuevo.
• 10:40
  Track 1: But i think of like other movies where they where they bring in drug cartel
• 10:44
  Track 1: and that kind of thing and they give it at least some like grit and like give
• 10:47
  Track 1: it both sides you know showing the horrors of it in this they don't even really
• 10:51
  Track 1: show you the horror they're like celebrating and dancing and shit like it's.
• 10:56
  Track 2: Because because again the main character is the head
• 10:58
  Track 2: of a drug cartel if they showed what like drug cartels actually do there would
• 11:03
  Track 2: be no way of elisting empathy for emilia perez so they just have to ignore it
• 11:07
  Track 2: and pretend that it's fine and i'll talk about a little bit later in the story
• 11:11
  Track 2: There's ways that are even more offensive of them sort of making it like,
• 11:16
  Track 2: oh, it's fine that these people are dying.
• 11:18
  Track 2: It's fine that Mexicans just kill each other. Get over it. I'll go into more detail on that later.
• 11:24
  Track 2: the reason they don't do that is because you can't do that right the only if
• 11:27
  Track 2: if you made the film actually about what's happening in mexico then you would
• 11:31
  Track 2: be like we should shoot amelia pedas get a shot straight away you know what
• 11:34
  Track 2: i mean it's like we we did say we weren't going to like you know go scene by
• 11:38
  Track 2: scene in the movie but uh i do want to do that a little bit yeah.
• 11:41
  Track 1: No i mean we definitely go through it but i don't in some parts i think they're worth.
• 11:46
  Track 2: But there might be some parts that you that you as an american uh like did not
• 11:51
  Track 2: pick up or i'm i'm that's without it down i mean i think there's things that.
• 11:54
  Track 1: I just there's times where i'm just like i couldn't i don't want to say i couldn't
• 11:58
  Track 1: follow it but the music and the songs just took away from like if the first
• 12:04
  Track 1: note that i wrote in my thing in my notes was why is this a musical.
• 12:07
  Track 2: Yeah why is this a musical and there's no reason and also the way they put this
• 12:12
  Track 2: because we were just looking up before it's like how many songs are in it it's
• 12:14
  Track 2: 43 songs and none of them are memorable yeah and also And also,
• 12:19
  Track 2: yeah, and none of them are memorable.
• 12:21
  Track 2: There's two big ones where they put it like a set piece. It's like,
• 12:25
  Track 2: this is a set piece musical sort of number.
• 12:28
  Track 2: But the rest of them are just, they come across as like, they forgot it was a musical.
• 12:32
  Track 2: Like, oh, fuck, put a song in. Put a song right here. Just make them sing now. You know what I mean?
• 12:37
  Track 2: I don't know, right? But at the opening of the movie, I don't know if this would have followed.
• 12:41
  Track 2: Fallen flat it felt flat for us i don't know if it would have fallen flat
• 12:43
  Track 2: for everybody but like you know you got to establish your scene
• 12:46
  Track 2: you got to establish like where are you what's your world like yeah and
• 12:49
  Track 2: it's like she's in mexico city okay so we have
• 12:53
  Track 2: our lawyer which is zoe salana she's she's
• 12:56
  Track 2: our lawyer she's a she's a lawyer who's like disenfranchised with
• 12:59
  Track 2: the corruption of the mexican system how would you know that griff because
• 13:02
  Track 2: what's it there because she says what she
• 13:06
  Track 2: feels she's sitting at a taco stand with
• 13:09
  Track 2: her macbook yeah right right yeah like
• 13:12
  Track 2: writing like just obviously i don't have to this is not happening
• 13:15
  Track 2: right yeah writing up like like her i don't
• 13:18
  Track 2: know her like writing up something to say in court um and
• 13:21
  Track 2: it's it's it's amazing because group brought this up a
• 13:24
  Track 2: lot it's like it's so quiet yeah you've got
• 13:27
  Track 2: this like this mexico city street scene and a tianguis
• 13:31
  Track 2: a market with tacos and all this stuff yeah it's just
• 13:33
  Track 2: so quiet and nobody's acting right yeah
• 13:37
  Track 2: and even even the city like mexico city
• 13:40
  Track 2: is an iconic city has very iconic architecture
• 13:44
  Track 2: it's like very beautiful colonial buildings very unique art deco kind of buildings
• 13:48
  Track 2: yeah and what clearly happened was odiad was like well it's latin america it
• 13:52
  Track 2: probably looks like a shithole let's just go to let's just go to a shithole
• 13:55
  Track 2: in paris and film it there yeah and it's so obviously in paris like the courthouse
• 14:00
  Track 2: yeah they couldn't even build.
• 14:01
  Track 1: A set inside like Like, make it at least like Mexico.
• 14:05
  Track 2: But, like, it's small things. It's small things like that. Like,
• 14:07
  Track 2: the woman who's serving her tacos is like, you're going to be late. And it's like, stop.
• 14:11
  Track 2: Okay. None of this is going to happen. And you're going to be late for what?
• 14:14
  Track 2: For going to court in the middle of the night? Yeah.
• 14:17
  Track 2: Like, none of this makes sense. And then they all start dancing like it's high
• 14:20
  Track 2: school musical for a moment.
• 14:22
  Track 2: Yeah. And she sings about how she's, what does she, like, the songs are so bad,
• 14:26
  Track 2: but it's like, basically.
• 14:27
  Track 1: It's about the person who has to, like, she has to argue that they've been,
• 14:29
  Track 1: like, killed by suicide or something.
• 14:31
  Track 2: Yeah, so it's a guy who murdered his wife, and then the Aguasir,
• 14:35
  Track 2: like the prosecutor, calls her
• 14:36
  Track 2: up and he's like, no, you have to write a report saying it was a suicide.
• 14:40
  Track 2: And so that's like her kind of like, that's supposed to be sort of the explanation
• 14:45
  Track 2: of why she then accepts Amelia Perez's office.
• 14:48
  Track 2: She's like, she's done with the legal system, it's too corrupt.
• 14:50
  Track 2: But again, there's no connective tissue there. It doesn't connect those two
• 14:53
  Track 2: ideas. I do remember now, now that you're saying this scene, I do remember.
• 14:56
  Track 2: So we go into the court scene and it's some weird like Star Wars looking courtroom.
• 15:01
  Track 2: I don't know what the fuck are they doing? Like, it's like, it's not how it looks.
• 15:04
  Track 2: Anyway, and like, I guess the lawyer's giving his closing remarks and his closing
• 15:09
  Track 2: remarks are literally like, you think that my client killed this person?
• 15:14
  Track 2: Obviously not. And then everybody goes,
• 15:17
  Track 2: like like amazing amazing you convinced me.
• 15:21
  Track 1: It feels like the to me as an american watching
• 15:25
  Track 1: this the the impression that i got in watching that opening
• 15:28
  Track 1: bit like giving the context to this lawyer who's going to be you know the the
• 15:32
  Track 1: the main the other main character i guess in the film is the mexican legal system
• 15:38
  Track 1: is corrupt and stupid and bad and um you should just laugh at them for their
• 15:43
  Track 1: stupid corrupt mexican court system.
• 15:45
  Track 2: Yeah no but but what you know again people don't
• 15:48
  Track 2: know what like good corruption looks like corruption in mexico
• 15:52
  Track 2: it's not like just a bunch of jokers arriving you know
• 15:54
  Track 2: at 11 o'clock at night with taco stains on their shirt yeah like
• 15:58
  Track 2: they they have a they have a judicial system they
• 16:01
  Track 2: have they have rules yeah and in fact in fact they have it's
• 16:04
  Track 2: corrupt they have they have an extremely intricate bureaucracy mexican
• 16:07
  Track 2: bureaucracy is the most annoying thing to deal with yeah it's a very bureaucratic
• 16:10
  Track 2: country it's a country where like everything has to be rubber stamped
• 16:13
  Track 2: everything has to be this and this and this you can't just be like oh
• 16:16
  Track 2: you know what last minute make it a suicide it's like no you have to get like five people
• 16:19
  Track 2: to stamp that document yeah and then
• 16:23
  Track 2: yeah and then and then so she wins the case and then
• 16:26
  Track 2: she sings and she's sad uh because she tells us she's
• 16:28
  Track 2: sad in the song and then she gets a phone call from a mystery voice
• 16:32
  Track 2: and it's like meet me at the taco stand so we can use the
• 16:34
  Track 2: same set again yeah and she
• 16:38
  Track 2: goes back and then like and then her phone rings again or it's just like you
• 16:42
  Track 2: want to make money and then they kidnap her yeah right oh wait can you hear
• 16:46
  Track 2: the noise by the way can you hear the noise of the city yeah i did more noise
• 16:49
  Track 2: than in the film exactly because mexico is a noisy place and that's not that's
• 16:54
  Track 2: not a criticism it just is noisy all the time yeah.
• 16:57
  Track 2: But yeah anyway and then they get taken off to like not to like
• 17:00
  Track 2: the the not to las manitas like the drug kingpin
• 17:03
  Track 2: narco as house but just to
• 17:06
  Track 2: the desert where they're all listening to reggaeton which is
• 17:08
  Track 2: not mexican music yeah like yeah i've i have this with the songs like
• 17:11
  Track 2: so there's a couple songs where they kind of put like 15 reggaeton into it and
• 17:16
  Track 2: it's like and again it's a french fucking director he's like oh reggaeton that's
• 17:20
  Track 2: latino shit mexican reggaeton is not mexican and in fact mexicans don't listen
• 17:25
  Track 2: to a lot of reggaeton yeah you know mexicans mostly listen to like band and
• 17:28
  Track 2: knock down your cumbia. Let me tell you one thing, right?
• 17:30
  Track 2: Cast your mind back to the opening scene of this movie, the very first scene.
• 17:35
  Track 2: The camera zooms in. We got three mariachis.
• 17:38
  Track 2: Yeah. And they're like, they've got, they're sobreros and they've got like lights
• 17:41
  Track 2: on them and it zooms into them. And I'm like,
• 17:45
  Track 2: like the cinematography is like oh that's interesting they never once used mariachi
• 17:50
  Track 2: music yeah in the whole thing so why are they established like they're just
• 17:54
  Track 2: doing that they're they're dressing up in the most like insulting ways like
• 17:58
  Track 2: mexico that's what that says they're like they're making.
• 18:00
  Track 1: A movie that is if it was like a mexican restaurant in france or something.
• 18:03
  Track 2: Yeah no exactly like and again it is filmed in
• 18:06
  Track 2: paris like it is literally ultimate quote it is literally filmed in
• 18:09
  Track 2: paris and clearly what are the odds responds to
• 18:12
  Track 2: like mexico city latino city it's like
• 18:15
  Track 2: oh it would just look like the shittest part of paris obviously like you
• 18:18
  Track 2: know i mean and that's what he did yeah it's
• 18:21
  Track 2: almost like the last episode we did was um 007 yeah
• 18:24
  Track 2: it was golden eye and they go to the space laser center yeah they might as well
• 18:28
  Track 2: just written at the bottom this is like number 10 mexico street yeah yeah yeah
• 18:32
  Track 2: court number one yeah i think even john's tacos i saw it there was like once
• 18:37
  Track 2: there is like it's a tiny shot i just picked i just noticed it because It was like, that's so French.
• 18:41
  Track 2: It was like a little, like, you know, this sort of, like, news agent boxes,
• 18:46
  Track 2: like a box where they sell newspapers and chocolates and stuff.
• 18:49
  Track 2: And it was so obviously a French design. And then just on the top, it said Azteca.
• 18:55
  Track 2: It's like Mexico.
• 18:58
  Track 1: I wouldn't be surprised if they just actually had, like, French magazines.
• 19:01
  Track 1: They just, like, put a little piece of paper over just to, you know, pretend.
• 19:05
  Track 2: But we will get into this. But this is like, what is the musical?
• 19:08
  Track 2: It's musical. but what is the musical style what is the theme
• 19:11
  Track 2: is is this latin american general latin america
• 19:14
  Track 2: is this mariachi it's not reggaeton it's again like big band is this i would
• 19:18
  Track 2: say i would say there's like 10 reggaeton and then the rest was just like someone
• 19:22
  Track 2: who doesn't know how to write music yeah like i was always so quiet like they're
• 19:26
  Track 2: whispering oh my god no no i i'm gonna bring this up because i said this to
• 19:30
  Track 2: griff already it's just like every time they start singing right
• 19:34
  Track 2: First of all, they transition just so, like I was saying to Griff,
• 19:37
  Track 2: it's like a bad stinky fart. It slowly creeps in, you know?
• 19:42
  Track 2: It's just like they're talking and then they're singing about their, but they never go big.
• 19:46
  Track 2: They stay very monotone. They whisper and they're out of tune.
• 19:51
  Track 2: And this is like, this is like my sleep paralysis nightmare monster.
• 19:58
  Track 2: Yeah. Like singing to me in Spanish. Yeah. That's what it feels like.
• 20:01
  Track 1: The one where it was really pronounced the for the first time was when they
• 20:04
  Track 1: go to tel aviv when she so she agrees.
• 20:06
  Track 2: I i have a like we have a whole thing on like why the fuck did she go to tel
• 20:10
  Track 2: aviv she went to bangkok and they were like yeah we'll do the surgery it will
• 20:12
  Track 2: cost this much and then for no apparent reason she had to go to tel aviv and
• 20:16
  Track 2: get an israeli doctor instead
• 20:18
  Track 2: and then and then we're jumping over way too much we'll come we'll come back
• 20:22
  Track 2: to it let's get back to that because that deserves well.
• 20:24
  Track 1: Yeah i mean well i mean i was kind of like getting to that with just like the
• 20:27
  Track 1: music being whispering i was just going to say that the time that i felt there
• 20:31
  Track 1: was the worst was when they're at the tel aviv doctor talking about the surgery.
• 20:36
  Track 2: And he's being transphobic even though he's yeah he's being transphobic even
• 20:40
  Track 2: though he's a sex change doctor yeah and yeah.
• 20:42
  Track 1: And then he and then they sing the little song while they're like whispering
• 20:45
  Track 1: and i'm like i can't hear you can you can you speak up please.
• 20:49
  Track 2: Yeah i really i do think it's just that no one in this film can sing like you
• 20:53
  Track 2: know like no one is no one can sing no one can actually sing One person can
• 20:57
  Track 2: sing, and I'll get to her later. One person can sing.
• 21:00
  Track 2: But yeah, no, like, so, yeah. Anyway, she gets kidnapped. She gets brought to,
• 21:03
  Track 2: like, the Natico hideout. And then she meets Las Manitas.
• 21:09
  Track 2: And... Again, I want to...
• 21:11
  Track 2: on all the ways he's not Mexican so Las Manitas
• 21:14
  Track 2: he's got grills and he's got face tattoos and
• 21:17
  Track 2: that is not what a Mexican narco looks like a Mexican narco looks like Chilino
• 21:21
  Track 2: Sanchez that's what a Mexican narco looks like and instead again there's like
• 21:24
  Track 2: oh it's like Latinos I've seen some photos of like MS-13 they get face tattoos
• 21:28
  Track 2: and it's like it's just not it's like but Las Manitas like is like hey I want you to,
• 21:36
  Track 2: to like help me get a sex change and then Zoe Saldana has her one moment in
• 21:40
  Track 2: the movie where she speaks in she goes why the fuck are you asking me to do
• 21:43
  Track 2: this yeah like i'm a lawyer yeah and like i'm a pretty prominent lawyer yeah
• 21:49
  Track 2: yeah it's like basically do you.
• 21:51
  Track 1: Want to be rich like do you want.
• 21:52
  Track 2: Yeah yeah do you want to be rich and then zoe goes um yeah and
• 21:55
  Track 2: again that's the thing sure that's the thing like well because again the first song
• 21:58
  Track 2: was supposed was her literally saying like i'm sick of this corrupt
• 22:01
  Track 2: system so i guess the the inference is like okay
• 22:04
  Track 2: she's ready to just like flip and make get her bag but there's
• 22:07
  Track 2: no like again the acting is
• 22:10
  Track 2: so bad like no one acts a real emotion in this
• 22:13
  Track 2: film there's no emotional moment where it's always
• 22:15
  Track 2: had done is like fuck all of this i'm sick of it i'm just gonna be a nihilist
• 22:18
  Track 2: there's no acting there's no sense of emotion there's
• 22:21
  Track 2: no sense of feeling she's just like yeah okay save it
• 22:24
  Track 2: again she doesn't she also doesn't she then she accepts the
• 22:27
  Track 2: deal with las manitas but she doesn't do this to
• 22:30
  Track 2: sort of be like oh you know what like i've been part of this corrupt mexican
• 22:33
  Track 2: like bureaucratic judiciary system she's just like no i'm just going to go full
• 22:37
  Track 2: in now and i'm going to do it for money but money was never the thing she was
• 22:41
  Track 2: interested in yeah she has money yeah but like that's the one thing that sways
• 22:45
  Track 2: her he's like i'll do it for money yeah doesn't.
• 22:47
  Track 1: She hand him a doesn't she hand her a check it's.
• 22:50
  Track 2: Like no i think that was his contract and he like shows her his phone he's like
• 22:56
  Track 2: look how much money i've got right he literally shows her his phone he's like
• 22:58
  Track 2: look at my bank account i mean you're ready to think.
• 23:01
  Track 1: He has like a billion dollars or something or like hundreds.
• 23:04
  Track 2: Of millions well I mean again it's not really because again I originally thought
• 23:08
  Track 2: it was the Sinaloa cartel I've never said which cartel it is but as the head
• 23:11
  Track 2: of a cartel I mean probably not a billionaire but definitely like hundreds of
• 23:16
  Track 2: millions like you know what I mean like
• 23:18
  Track 2: yeah and no and then so she says yes and then and then and then the then the
• 23:22
  Track 2: fun starts yeah like the one part so.
• 23:24
  Track 1: Here here's the thing so we you're talking about the israeli thing so and you
• 23:27
  Track 1: were saying like okay she goes to bangkok and they're like oh no we're not gonna
• 23:30
  Track 1: do that one then they go to.
• 23:31
  Track 2: Tel aviv the best song of the movie to me well yeah that is that's the only
• 23:36
  Track 2: time in the movie where it was.
• 23:37
  Track 1: Like kind of funny and like wait.
• 23:39
  Track 2: A minute yeah it was do you remember it was the only it
• 23:42
  Track 2: was the only part of the movie where i was like actually fully locked
• 23:45
  Track 2: in paying attention when it just like what did that song go like
• 23:48
  Track 2: it was like it was it was like la vagina plastia yeah
• 23:51
  Track 2: it was it was like man to woman from penis to vagina no like they're dancing
• 23:55
  Track 2: around and just no it goes like this are you ready hello very nice to meet you
• 24:01
  Track 2: i'd like to know about a sex change operation i see i see man to woman or woman
• 24:08
  Track 2: to man see if the whole film had.
• 24:10
  Track 1: Been like that style of songs it actually wouldn't like it would be laughably bad but at least not like.
• 24:17
  Track 2: It would be it would be like camp it would be like a cult movie yeah it would
• 24:20
  Track 2: be like that was the one time where they're actually having fun yeah and yeah
• 24:24
  Track 2: and it's the only time i think for all three of us the only time you like i
• 24:27
  Track 2: actually like put my phone down and like paid attention you know i was watching
• 24:30
  Track 2: i was watching between my fingers in front of my face what do you make of them.
• 24:34
  Track 1: Choosing israel like do you think that that was like purely like a choice because.
• 24:38
  Track 2: I mean like i was saying it's like was it zainas and i was like you know what
• 24:42
  Track 2: actually probably an israeli doctor probably is the only one who would do a
• 24:46
  Track 2: sex change for a narco i mean everything actually says a lot but like but just
• 24:50
  Track 2: going back a little bit like that whole song that they sing in bangkok is literally
• 24:53
  Track 2: the doctor saying yeah i'll do that yeah i'll do that yeah,
• 24:56
  Track 2: and even in the song he's like this the song is so fucking long he lists like
• 25:01
  Track 2: 10 different surgeries and then and then like and then she's like how much and
• 25:04
  Track 2: he's like it cost this much it cost this much it cost this much mammoplasty
• 25:08
  Track 2: yes thailand is a thailand is too poor.
• 25:11
  Track 1: We can't have you like you know scoundrels.
• 25:14
  Track 2: But again it doesn't make sense because the doctor the doctor is like okay this
• 25:18
  Track 2: is all the stuff we'll do and it costs this much money and then she's like okay
• 25:22
  Track 2: and then the next scene she's like in tel aviv it's like what oh i can't find
• 25:26
  Track 2: anybody to do this she has to.
• 25:29
  Track 1: Get her uh she has to get a second opinion for uh.
• 25:31
  Track 2: Yeah yeah you know a lower price And like, this is another thing as well.
• 25:35
  Track 2: I don't know what all the Oscars they're nominated for, but it's like one of
• 25:38
  Track 2: them for like, I don't know, for location. Is that an Oscar?
• 25:43
  Track 2: or for like the scenes or whatever
• 25:46
  Track 2: because when they go to when they go to tel aviv it's obviously just an office
• 25:50
  Track 2: yeah in in paris you know but it just says tel aviv at the bottom and this happens
• 25:55
  Track 2: throughout it they end up in switzerland and it just says switzerland at the
• 25:58
  Track 2: bottom and they just are running a smoke machine so it looks like they're in
• 26:01
  Track 2: the clouds so that it's so lazy i.
• 26:05
  Track 1: Can i can this is this will take a while because they've
• 26:07
  Track 1: been nominated for 13 but they've been nominated for best picture international
• 26:11
  Track 1: film director actress supporting actress adapted screenplay film editing which
• 26:15
  Track 1: goddamn best sound best cinematography best hair and makeup and hair design
• 26:20
  Track 1: or hair styling original score and best original song twice two original scores songs.
• 26:25
  Track 2: Also is it is a vagina plasty one of them one of the songs the one that um i
• 26:32
  Track 2: just sang no also that's the best one also not to be too catty but best hair
• 26:36
  Track 2: and makeup selena gomez has the worst fucking dye job i've ever seen in this also.
• 26:42
  Track 1: The editing like the times where there's weird cuts so
• 26:45
  Track 1: oh so hold on i wrote this down like i wrote
• 26:48
  Track 1: down like the most silly notes in here but there's one that
• 26:51
  Track 1: i can't when she was about to buy her her flight on like first class they're
• 26:55
  Track 1: like are you sure you want to buy this she's like pulls out her credit card
• 26:58
  Track 1: she drops her credit card onto the ground and then it zooms into the lights
• 27:02
  Track 1: of the credit card and then it becomes the headlights for the airplane in quite
• 27:06
  Track 1: possibly the dumbest transition i've ever seen in a film.
• 27:08
  Track 2: Like you're reminding me
• 27:11
  Track 2: though you're reminding me of that scene like she calls she calls
• 27:15
  Track 2: like the airline and it's just like hey i want to fly to bangkok tomorrow
• 27:18
  Track 2: something like that and she's like oh okay that's going to cost like it's like
• 27:22
  Track 2: two weeks the next flight is in two weeks yeah it's like two weeks
• 27:25
  Track 2: it's ten thousand dollars it's like oh no i need to go tomorrow it's just
• 27:28
  Track 2: like what you mean like first class and she's like yeah it's like oh that's
• 27:32
  Track 2: expensive it's like you work you work for the airline what are you trying to
• 27:35
  Track 2: convince her not to spend money nobody has ever had this experience with with
• 27:40
  Track 2: an air flight carrier before in their life they're like are you sure you want
• 27:43
  Track 2: to spend that much money it's quite expensive yeah yeah.
• 27:47
  Track 1: None of that none of that makes any sense whatsoever.
• 27:49
  Track 2: Yeah but.
• 27:51
  Track 1: Yeah i mean going back to the Israeli thing, I also didn't pin it as necessarily
• 27:56
  Track 1: something related to Zionist or anything. I think it was just...
• 28:02
  Track 2: I think it's literally just saying like israeli doctors have no morals i think
• 28:05
  Track 2: that's just the point well he has morals he he's transphobic yeah that's true
• 28:10
  Track 2: and then they have to bring.
• 28:11
  Track 1: Him out to to mexico like black bag his face so he doesn't.
• 28:16
  Track 2: Know where it's.
• 28:16
  Track 1: Going he complained about the loud music in the car it's like bro just relax.
• 28:20
  Track 2: Yeah yeah again like have you
• 28:23
  Track 2: never heard of the mexican cartels they needed
• 28:27
  Track 2: to reuse that scene again it was so memorable that scene was yeah
• 28:30
  Track 2: yeah so they yeah they brought him and and then they didn't even i thought they
• 28:33
  Track 2: were bringing the doctor to their hideout so to do the surgery but they don't
• 28:37
  Track 2: even do the surgery there yeah here look we're getting stuck in the first like
• 28:40
  Track 2: 50 minutes and this movie is long yeah we haven't even got to like amelia perez being when she.
• 28:48
  Track 1: Becomes amelia perez she sends her her wife and her two kids to live in switzerland
• 28:52
  Track 1: which you were saying for you know for an undisclosed amount of time.
• 28:55
  Track 2: Now four years it says four okay.
• 28:57
  Track 1: Right sorry for well at the time she sends them she doesn't know how long.
• 29:00
  Track 2: It's gonna be yeah yeah and.
• 29:01
  Track 1: Then at this point she then like go.
• 29:03
  Track 2: Starts you know she also she also like creates a
• 29:06
  Track 2: whole ruse so that they think she's dead yeah right so she's like yeah and then
• 29:11
  Track 2: then it cuts to four years later and zoe zardana's in london like just having
• 29:15
  Track 2: a great time doing whatever yeah she's with all of these socialites these arseholes
• 29:19
  Track 2: and amelia perez appears at the dinner and is like remember who i am yeah and so yeah that song was.
• 29:25
  Track 1: Really terrible holy.
• 29:26
  Track 2: No no no but wait a minute i didn't just i didn't realize zoe saldana
• 29:29
  Track 2: realizes that that was las manitas which is
• 29:32
  Track 2: now emilia perez in about five seconds but later
• 29:35
  Track 2: in the movie emilia perez's wife and kids do not know do not who she ends up
• 29:40
  Track 2: living with yeah like who like looking in her eyes have no idea who she is but
• 29:44
  Track 2: zoe saldana yeah figured it out and also in about five seconds and also again
• 29:48
  Track 2: with the representatives of mexico like mexico you know it is a place that like
• 29:51
  Track 2: it's very dangerous to be a journalist,
• 29:54
  Track 2: emilia perez makes herself into a prominent public figure and no one in mexico
• 29:58
  Track 2: was like where'd she get that money from or like who is this person what's her
• 30:02
  Track 2: background they say okay well zoe saldano figured it out but nobody else can yeah also like.
• 30:08
  Track 1: How did zoe's not they didn't let her see what she looked like after the surgery
• 30:13
  Track 1: was like she went off to get the surgery and then they just like.
• 30:16
  Track 2: Parted ways they had yeah yeah she so we didn't
• 30:19
  Track 2: see her like after the after she had that surgery but yeah
• 30:23
  Track 2: so like so now it's always odana and emilia perez
• 30:26
  Track 2: have hooked back up because the gang's back
• 30:28
  Track 2: together yeah right like she's got her a team back but but
• 30:32
  Track 2: as well like there's just there's small bits that we're obviously not mentioning
• 30:35
  Track 2: but but like las manitas when it was las manitas was like terrorizing zoe saldana's
• 30:40
  Track 2: character like violently yeah right and now he kidnaps her kidnaps her puts
• 30:45
  Track 2: a bag over her head like like really violent this is scary guy this is the this
• 30:48
  Track 2: is the leader this is a narco lord This is a Nautical Lord,
• 30:50
  Track 2: right? Yeah, and now the gang's back together. Now they're mates.
• 30:53
  Track 1: Yeah, like she needs more help, more help.
• 30:55
  Track 2: Yeah. And so then she creates this ruse where, I can't remember if it's a cousin
• 31:00
  Track 2: or aunt, she says that, as Emilia Perez, she was the aunt of her pre-transition self,
• 31:08
  Track 2: and gets her ex-wife and her kids to come live with her in Mexico City.
• 31:12
  Track 1: That she somehow never met before this too.
• 31:14
  Track 2: Yeah, yeah.
• 31:16
  Track 2: yeah i know it just doesn't make any fucking sense and so they move into.
• 31:19
  Track 1: Like the what do they do they ever say this is the only time in the film where
• 31:22
  Track 1: i felt like it kind of felt like mexico a little bit.
• 31:25
  Track 2: Even though they probably.
• 31:26
  Track 1: Didn't film it in mexico.
• 31:27
  Track 2: Like the overhead shots the interior of
• 31:31
  Track 2: the house does look like a mexico city house but the thing
• 31:33
  Track 2: that i caught immediately when they have like the establishing shot
• 31:37
  Track 2: of mexico city they make it look like it's fucking tropical and mexico city
• 31:41
  Track 2: is a cold it's on the top of a fucking mountain it's cold it rains all the time
• 31:46
  Track 2: and they're like tropical mexico they get some stock footage they did get some
• 31:50
  Track 2: stock footage that they added in there because they've got their gondolas yeah and they have them in and.
• 31:54
  Track 1: Some yellow filters too on there.
• 31:56
  Track 2: Yeah the yellow filter came out the sepia came out yeah.
• 31:59
  Track 1: So yeah so like this is like the part in the film where i'm like looking at
• 32:03
  Track 1: my watch and it's only been like 30 minutes.
• 32:05
  Track 2: I know holy shit christ yeah.
• 32:07
  Track 1: And and like you said the children don't have any inkling who this is at all, like looking at him.
• 32:15
  Track 2: Don't forget the one scene, which I think comes like half an hour later,
• 32:18
  Track 2: where the son, he's like, you smell like my dad. And then what was the line
• 32:21
  Track 2: he said, Chris? He's like, you smell like guacamoles.
• 32:23
  Track 2: Yeah, he's like, you smell like mezcal and guacamoles.
• 32:26
  Track 2: Like, which is just, I don't have to explain why that's not correct, right?
• 32:30
  Track 2: Like, yeah, but it's really creepy because this kid does not know this person.
• 32:34
  Track 2: And also this person who's actually the kid's father, but pretending to be the kid's aunt.
• 32:38
  Track 2: yeah and then it's like comes and hugs him
• 32:41
  Track 2: in the bed and then starts the kid starts smelling emilia perez it's like you
• 32:45
  Track 2: smell like my dad yeah and also the other thing we need to bring up is like
• 32:50
  Track 2: so selena gomez who apparently is incapable of realizing who emilia perez is like emilia perez,
• 32:59
  Track 2: manipulates that position to like become her confidant and get like her innermost
• 33:04
  Track 2: feelings and sort of like control her life.
• 33:07
  Track 2: It's like a deeply abusive sort of way to like deal with the situation.
• 33:11
  Track 1: Oh, it's so manipulative. Like it's really- Yeah.
• 33:14
  Track 2: It's insane, right?
• 33:15
  Track 1: It's twisted and like getting, like finding out about, because all that she
• 33:18
  Track 1: really wanted to do, Amelia Perez was to find out like who this man that she's sleeping with is.
• 33:24
  Track 1: Like it seemed like her entire motive was to find out who this person is.
• 33:28
  Track 2: And then we're jumping into the story a bit, but so eventually Selena Gomez,
• 33:32
  Track 2: who like thinks her husband is dead, has spent
• 33:35
  Track 2: four years in switzerland that she hated is now like being manipulated by
• 33:38
  Track 2: her husband in her new with the husband being
• 33:41
  Track 2: emilia perez now and so at one point she's like
• 33:43
  Track 2: you know what like i've got this boyfriend i'm gonna get married and emilia
• 33:47
  Track 2: perez is like and what about your children well obviously my children will come
• 33:50
  Track 2: and live with me and so emilia perez physically assaults her just like attacks
• 33:54
  Track 2: her and then like cuts off all her bank accounts tries to make her homeless
• 34:00
  Track 2: like tries to basically like...
• 34:02
  Track 2: When we talk about like Emilia Perez like becoming a good person being her true
• 34:05
  Track 2: self her true self is like a manipulative...
• 34:08
  Track 2: It's a person who physically abuses their spouse. We have to assume that this
• 34:11
  Track 2: physical abuse is not the first time.
• 34:13
  Track 2: And then tries to destroy her spouse for wanting to be free and live her life.
• 34:19
  Track 1: Yeah, it's really twisted. Is this simultaneously happening with her NGO or is this just after that?
• 34:27
  Track 2: We jumped a bit ahead, so we skipped over the NGO. The NGO comes before that.
• 34:32
  Track 1: I think that's something we need to talk a lot about, especially as it relates
• 34:36
  Track 1: to this. Uh, so I, when we're doing some, like looking into the film and like
• 34:41
  Track 1: talking about it, there's a book called looking beyond neoliberalism.
• 34:46
  Track 1: And it's a talks specifically about the French films and the first chapter dives directly into Mr.
• 34:55
  Track 1: Jacques Ajar. so it kind of talks about his previous films and how it kind of
• 35:00
  Track 1: really is just it's meant to seem like either conservative or liberal leaning
• 35:05
  Track 1: or progressive but hidden beyond all that is just neoliberal.
• 35:08
  Track 2: Values and.
• 35:10
  Track 1: Ways and so i think the ngo that emilia paris starts i think is like a perfect
• 35:15
  Track 1: encapsulation of that type of politics.
• 35:18
  Track 2: And again it's it's like all
• 35:21
  Track 2: of the violence and destruction we sort of you know i laid it out a
• 35:24
  Track 2: little bit earlier like again 500 000 people dead the
• 35:27
  Track 2: displacement of unknown people like an unknown
• 35:30
  Track 2: amount of sexual violence but an enormous amount all of
• 35:33
  Track 2: this is what like the mexican drug cartels have done to mexico and this person
• 35:38
  Track 2: who is directly responsible for making that happen is allowed to be forgiven
• 35:44
  Track 2: just by using the people they victimize as props like they're just props for
• 35:48
  Track 2: her self-actualization you know this is this This is like,
• 35:52
  Track 2: this is the point in the movie where, yeah, first of all, it starts ridiculous
• 35:56
  Track 2: and it's obviously like disingenuous.
• 35:59
  Track 2: And then it gets really campy in like Bangkok.
• 36:01
  Track 2: And then you look at your watch and you're like, holy shit, this is boring.
• 36:06
  Track 2: And then, but then it starts getting into this, right?
• 36:08
  Track 2: So now they're back in Mexico City. You've got Emilia Perez and Zoe Saldana, who are besties.
• 36:12
  Track 2: And they're eating tacos because that's all the people in Mexico eat. and
• 36:16
  Track 2: then this woman comes along this this this this woman
• 36:18
  Track 2: comes and she puts a piece of paper on the table where they're eating and
• 36:21
  Track 2: it's about a disappeared that's what they call it here the disappeared well
• 36:25
  Track 2: that's part of see those yeah the missing people and i think again for context
• 36:28
  Track 2: like this is a thing that is very much at the forefront of life in mexico i
• 36:34
  Track 2: you know i i i work at a school but i also teach private classes i walk a lot around the streets and
• 36:39
  Track 2: When you walk along across the streets of Mexico, every single time I walk somewhere,
• 36:43
  Track 2: there are posters like, this person has disappeared.
• 36:46
  Track 2: Where is this person? Like, family members putting posters up.
• 36:49
  Track 2: Like, my son is gone. My family is gone.
• 36:52
  Track 2: This is something you see every single day in Mexico. I live right beside this,
• 36:56
  Track 2: like, really big avenue here in the city.
• 36:58
  Track 2: And every Sunday, they close the streets so people can cycle,
• 37:02
  Track 2: which is really, really nice.
• 37:03
  Track 2: But every Sunday, you see people getting up early. there's this whole group
• 37:07
  Track 2: of like family members and they plaster these,
• 37:10
  Track 2: posters which are in the movie I don't
• 37:13
  Track 2: know how we got that right and they poster it everywhere
• 37:16
  Track 2: everywhere on every single surface it's just like missing missing
• 37:19
  Track 2: missing missing you can't look away from it and then the government here
• 37:22
  Track 2: like doesn't do anything about it and just spray paints over
• 37:25
  Track 2: like they put it on like a metal pole and then the government
• 37:28
  Track 2: would just come and spray paint it silver so it's gone and then the next Sunday
• 37:30
  Track 2: they come out and they do it again it's this horrible horrible cycle
• 37:34
  Track 2: and it is something that like again it's you every single
• 37:37
  Track 2: street if you walk in if you walk like we live in guadalajara
• 37:40
  Track 2: it's like the second big city if you walk for 10 minutes you
• 37:42
  Track 2: will see a missing person poster she's less than that griff yeah
• 37:45
  Track 2: fucking less than that every freaking two minutes yeah you can see it so so
• 37:49
  Track 2: but they they do this so in this scene they they this woman comes and she lays
• 37:53
  Track 2: down a picture of her missing son on the on the on the table while they're like
• 37:58
  Track 2: rudely interrupting their little taco date yeah and and then they're like what
• 38:02
  Track 2: is that as if they don't fucking know what,
• 38:04
  Track 2: As if Emilia Perez is not directly fucking responsible for this.
• 38:08
  Track 2: It's just like, oh yeah, like my son went missing like in 2014.
• 38:12
  Track 2: I miss him on do you know if like we're looking for him.
• 38:15
  Track 2: And then Zoe looks at Emilia Perez and it's just like that knowing look. Yeah.
• 38:21
  Track 2: And she gives her the statistics. She's like 100,000 Mexicans are missing.
• 38:25
  Track 2: It's like, this is a narco law. They fucking did probably half of them.
• 38:29
  Track 2: So as I was saying, this is the moment where we've gone from like bewilderment to
• 38:33
  Track 2: surprise to boredom and now we're getting into deep deep
• 38:36
  Track 2: offense anger yeah this made me so angry
• 38:39
  Track 2: like and of course i'm watching it with my mexican girlfriend she's like
• 38:42
  Track 2: fuming at this like where it's like this is so like inappropriate
• 38:45
  Track 2: but like okay what are they going to do with this now what are they going to
• 38:48
  Track 2: do we've obviously got this conflict now here's our central conflict this must
• 38:52
  Track 2: be the conflict of the movie right it's just like we've got this we've got emilia
• 38:56
  Track 2: perez who used to be las manitas las manitas was the head of all these cartels
• 39:01
  Track 2: or a big cartel that was responsible for killing people and making them disappear.
• 39:06
  Track 2: What are we going to do now, Griff? We're going to set up a vainglorious charity
• 39:11
  Track 2: that is all about how good a person Amelia Perez is.
• 39:14
  Track 2: Exactly, we are. Like, not feeling bad at all. Yeah.
• 39:17
  Track 2: And Zoe Saldana is just, what has happened to her? She was a lawyer.
• 39:21
  Track 2: Yeah. She was a rich socialite. And she was angry about the fact she had to
• 39:25
  Track 2: cover up a murder. Yeah. And now she's just like, yeah, whatever. Now I'm just your buddy.
• 39:30
  Track 2: And I think it's cutting ahead a little bit. but basically emilia
• 39:34
  Track 2: pedas figures out how to solve mexico's ills except
• 39:38
  Track 2: she doesn't because we know but she knows she does we never see
• 39:41
  Track 2: it we never see her like i mean she finds like body we'll talk about the scene
• 39:46
  Track 2: where she she talks to like the spouse of someone who's disappeared insane but
• 39:49
  Track 2: like she all she does is use these people as props as like i'm a good person
• 39:55
  Track 2: i'm a good person now it doesn't matter they made these people disappear now i'm trying to find Yeah,
• 39:59
  Track 2: but how the movie does this is through the medium of, of course, song.
• 40:04
  Track 2: Good song? No, it doesn't even matter. It could be the world's best song.
• 40:07
  Track 2: It's just, it's terrible.
• 40:09
  Track 2: They're like, we're going to sing it better. We're going to sing and make Mexico whole again.
• 40:14
  Track 2: We're not going to be afraid anymore. We're going to face our fears.
• 40:18
  Track 2: You have the whole community, everybody singing.
• 40:21
  Track 2: Mothers, daughters, fathers, sons, they're singing. And what are they singing?
• 40:25
  Track 2: They're singing, estamos aquí.
• 40:26
  Track 2: We are here. yeah i don't know how that relates to anything but they keep on singing that the.
• 40:32
  Track 1: Song that was nominated for one of the the two songs was el mal was that the song you're talking.
• 40:36
  Track 2: About the evil i don't know what they're called yeah i don't know what this song is that.
• 40:42
  Track 1: Was when that song is when i think all of the um the the like when they're at
• 40:46
  Track 1: the awards uh non-profit.
• 40:48
  Track 2: Thing which is also like ridiculous and also like again because that one like
• 40:54
  Track 2: that that's like one of the other ones was like, okay, this is actually like a musical set piece.
• 40:59
  Track 2: And it's a little bit reggaeton as well for no reason. But that one,
• 41:02
  Track 2: Zoe Seltaniket's like super sexual.
• 41:04
  Track 2: She's like writhing on the table. She's like serpentine and aggressive.
• 41:08
  Track 2: She's like rubbing hair between her legs. Yeah, she grabs like a blonde woman's
• 41:11
  Track 2: hair and starts writhing it between her legs.
• 41:14
  Track 2: It's like, what are you doing? And also like your character has not displayed
• 41:18
  Track 2: any, your character has been asexual for the whole movie. There's been no sexuality displayed.
• 41:22
  Track 2: Now suddenly you're just sexualizing yourself in this supposed appeal to like stop the murder.
• 41:28
  Track 2: yeah yeah but that's but that's that's us going ahead a little
• 41:31
  Track 2: bit i just i just want us i want us just to circle for a
• 41:34
  Track 2: little bit around this because this is the central like like horror
• 41:37
  Track 2: of this fucking movie is the disappeared people yeah
• 41:41
  Track 2: so they have this song and i think they decide i
• 41:44
  Track 2: think emilia perez is like i still have connections so um
• 41:47
  Track 2: basically i'm gonna tell all the narcos to start
• 41:50
  Track 2: looking we narco juniors the little kid the little the saccadios the
• 41:53
  Track 2: fucking assassins in the prison to like basically tell everybody
• 41:56
  Track 2: where all their missing missing family members are yeah and
• 41:59
  Track 2: then we have a fucking montage of them
• 42:02
  Track 2: digging up bodies yeah to like this like semi-somber
• 42:05
  Track 2: whispered song but again also that montage is so
• 42:08
  Track 2: offensive because like you see a scene it's like it's literally like an
• 42:11
  Track 2: industrial digging machine like fucking pulling bones
• 42:14
  Track 2: out of the ground and then it cuts to me and then it cuts immediately to
• 42:17
  Track 2: emilia perez as always held down to me like we're just here we're just
• 42:20
  Track 2: happy we can help and it's like again emilia perez you're
• 42:23
  Track 2: a knock-o-lord you're you did this yeah thank you
• 42:26
  Track 2: yeah it's it's this this is just this is not this is not fuel for your shit
• 42:32
  Track 2: musical this is not like this is not i was gonna say it's like what's his next
• 42:36
  Track 2: movie gonna be gaza yeah right or the bell of belfast yeah what the fuck are
• 42:41
  Track 2: you gonna do next you horror show that was so gross do you think anyone's.
• 42:44
  Track 1: Gonna give him money to make another fucking film.
• 42:46
  Track 2: I mean come on like it's it's a it's a
• 42:49
  Track 2: pretentious neo-liberal french director he's his career is fine he's
• 42:55
  Track 2: in demand right now but anyway anyway yeah like
• 42:58
  Track 2: yeah but i think if you want to see any more i think that i think that
• 43:01
  Track 2: was a pertinent point that you because you mentioned this to me before we
• 43:04
  Track 2: started recording as well is like i think there
• 43:07
  Track 2: is a view like there is a like supported by
• 43:11
  Track 2: the western media is like the all this chaos in mexico so well that's just that's
• 43:14
  Track 2: just mexico it's what mexicans do they kill each other and it's like no like
• 43:17
  Track 2: what has been happening in Mexico is the equivalent like maybe I don't want
• 43:22
  Track 2: to mix up my words here but like to make a musical about all of this chaos and
• 43:27
  Track 2: this violence that's been happening in Mexico,
• 43:29
  Track 2: is the equivalent of being like yeah Gaza the musical like it is do you know what I mean it's like,
• 43:35
  Track 2: it's it's deeply insensitive and
• 43:37
  Track 2: as i was sort of saying it's like yeah don't watch this movie to find out how
• 43:41
  Track 2: how offensive it is but just it does get worse we're not going to go into every
• 43:44
  Track 2: single like every single part that makes it offensive but anyway they do do
• 43:49
  Track 2: that they pull that yeah they have like some guy being like i'm going to wash
• 43:52
  Track 2: my tat singing i'm going to wash my tattoos off i'm going to be a good person like it's insane.
• 43:57
  Track 1: And just just like in another aspect of
• 44:00
  Track 1: not necessarily the offensiveness but this is
• 44:03
  Track 1: something that just one of the things i always say about
• 44:06
  Track 1: like billionaires and millionaires who start foundations like
• 44:09
  Track 1: the bill the mill and bill and melinda gates foundation like
• 44:12
  Track 1: all this this is those these foundations are simply for two things
• 44:15
  Track 1: to launder your money launder money tax write-offs and
• 44:18
  Track 1: just to make themselves like launder the reputation make them
• 44:21
  Track 1: seem like good people this film and this ngo that
• 44:24
  Track 1: this former like killer of countless
• 44:28
  Track 1: people is starting an ngo
• 44:31
  Track 1: funded by other people who fund the
• 44:34
  Track 1: drug who were part of the drug war to make herself feel better about the horrible
• 44:38
  Track 1: things she did and that's exactly what actually what if if they had made and
• 44:42
  Track 1: maybe we talked about this was if they had used this theme of them doing this
• 44:47
  Track 1: but like not in a this is actually good way like this is actually a really evil
• 44:51
  Track 1: way yeah that's something yeah.
• 44:53
  Track 2: I think like and even there's there's a scope here in
• 44:56
  Track 2: like in this story structure there is a genuine like you could go with an interesting
• 45:01
  Track 2: angle as i well is is there any way that like mexican society could forgive
• 45:06
  Track 2: a person who's done this right that would be an interesting way of examining
• 45:08
  Track 2: this but there is no examination she set up an ngo so she's a good person that's
• 45:14
  Track 2: it like you know what i mean it's.
• 45:15
  Track 1: It's it's uh it's wild.
• 45:20
  Track 2: Like it's fucking wild it is like when like when people are offended by this
• 45:24
  Track 2: movie like it is deeply offensive it's insanely offensive to do this yeah.
• 45:28
  Track 1: We'll talk about the maybe like the last i think
• 45:31
  Track 1: we're kind of at the last third or so which we can kind of maybe go through
• 45:34
  Track 1: but if you're if you're i i don't even really know this is like this is a movies
• 45:40
  Track 1: are subjective right like i could say i hate you know dennis villanoebu films
• 45:45
  Track 1: and chris you could say you love them that's fine like i can understand i never
• 45:48
  Track 1: said i love them all right Just chill.
• 45:50
  Track 2: Everybody. I don't have a hatred for it.
• 45:52
  Track 1: We can have different opinions on film or whatever.
• 45:56
  Track 1: But someone who watches this and finds it enjoyable or thinks it's award-worthy,
• 46:01
  Track 1: I can't really understand that perspective.
• 46:06
  Track 2: And I think it comes from both angles as well. Because, again,
• 46:09
  Track 2: like we said, the whole, like, it's a movie about a trans woman,
• 46:12
  Track 2: it's a trans actor, is like the progressive credentials.
• 46:16
  Track 2: But like the portrayal of the trans woman in this movie is in itself like a
• 46:22
  Track 2: really dangerous portrayal of a trans woman.
• 46:24
  Track 2: Like we said, she manipulates her family. She physically assaults her ex.
• 46:27
  Track 2: She is violent, chaotic, and she uses her trans identity to- As a disguise.
• 46:33
  Track 2: As a disguise, as a way of being able to inflict violence on her ex. Yeah, as a weapon.
• 46:39
  Track 2: And like, that is the exact same fucking message as a transphobe saying that
• 46:43
  Track 2: like it's dangerous to let a trans woman in a public bathroom.
• 46:45
  Track 2: it's just made from the other side and pretending it's progressive but the reality
• 46:50
  Track 2: is that like yeah trans women are dangerous that's what this movie is telling
• 46:53
  Track 2: us right that's what it's telling us.
• 46:54
  Track 1: And not to mention from from aside from this is from someone i think who was
• 46:59
  Track 1: this wasn't my perspective but simply only looking at the identity of a trans
• 47:05
  Track 1: person simply by like the surgical aspect of it not really considering like
• 47:10
  Track 1: i guess there is that one scene where she
• 47:12
  Track 1: has it convinced the israeli doctor like uh
• 47:15
  Track 1: telling him about his past and uh like as a child or something they try and
• 47:19
  Track 1: dig into something but it feels like very one-dimensional of like this is the
• 47:23
  Track 1: only thing you know that's hindering me from being you know a person is like
• 47:28
  Track 1: all these surgeries because not everyone can afford all of these surgeries you're a very rich person.
• 47:32
  Track 2: And yeah i mean i think to me like the thing that the
• 47:35
  Track 2: overriding message of this again is pretending it's progressive it's
• 47:38
  Track 2: pretending like oh yeah it's a self it's a trans woman like actualizing herself
• 47:41
  Track 2: self-authorizing but it's like no it's what it's telling you is that like a
• 47:46
  Track 2: sex change operation is a way to hide how dangerous you are that's what it's
• 47:52
  Track 2: telling you like that's literally what it's telling you you know i mean and
• 47:54
  Track 2: that is a deeply dangerous message like it's like you're right.
• 47:57
  Track 1: Yeah and so the the final kind of bit of
• 48:00
  Track 1: this is i think you already alluded to before is
• 48:03
  Track 1: that the that uh selena gomez decides to marry this other man she's going to
• 48:08
  Track 1: run off with her her kids in fact she does they run away and she wants to get
• 48:13
  Track 1: married and the you know the the new husband i don't today is he just like another like a smaller he is.
• 48:21
  Track 2: Completely inconsequential and like we're talking about it's like they don't
• 48:24
  Track 2: establish him as any anything dangerous i mean we're,
• 48:28
  Track 2: i guess we have to guess he's a narco because when selena gomez kidnaps emilia
• 48:32
  Track 2: perez he's totally down so i guess we have to guess that but it's yeah he's
• 48:36
  Track 2: completely inconsequential he has like two lines of dialogue yeah he just she basically.
• 48:41
  Track 1: Emilia perez takes away all of selena gomez's money so she has no.
• 48:46
  Track 2: Because she wants to move on she wants to move on which let's face.
• 48:49
  Track 1: It that's she thinks her husband's fucking dead.
• 48:51
  Track 2: You know and.
• 48:52
  Track 1: And so they kidnap her cut off three of his fingers is that like is that like a trademark that seemed.
• 48:58
  Track 2: Like i get it yeah so they they cut off emilia perez's
• 49:01
  Track 2: fingers is like we have her like you know we have her we're gonna kill her
• 49:04
  Track 2: but again this scene is so fucking stupid like so
• 49:07
  Track 2: we've established emilia perez is a fucking
• 49:10
  Track 2: dangerous person she is a narco lord she is like
• 49:13
  Track 2: mass murder mass rape torture she's fine with all those
• 49:16
  Track 2: things and then selena gomez and her
• 49:19
  Track 2: boyfriend who just like is a hot guy with a cowboy hat
• 49:22
  Track 2: kidnap her and she's like please don't
• 49:25
  Track 2: hurt me please leave me alone i'm sorry yeah yeah
• 49:28
  Track 2: no no to go to go back to go back a little
• 49:30
  Track 2: bit earlier like like we we see her when she
• 49:33
  Track 2: arrives to london like she's a force she's a scary force yeah you know she can
• 49:36
  Track 2: threaten people when she's in mexico she always has got a driver and she's got
• 49:39
  Track 2: like bodyguards around her like she like she's like she's so well connected
• 49:43
  Track 2: that when emilia perez gets kidnapped zoe zaldana like makes one phone call
• 49:47
  Track 2: and 12 goons turn up with like assault rifles yeah you know i mean like This
• 49:50
  Track 2: is how dangerous this person is.
• 49:51
  Track 1: How did she get kidnapped?
• 49:54
  Track 2: Yeah, yeah. They didn't bother to show us that. That would have been interesting.
• 49:57
  Track 2: Yeah. But no, but like going back just a tiny bit, which does link to this,
• 50:01
  Track 2: is this is the bit that when I was watching it, I just, I just,
• 50:03
  Track 2: I mean, I don't know, checked out for the fifth time.
• 50:08
  Track 2: There was a moment where Emilia Perez is in her NGO office.
• 50:13
  Track 2: Oh, yeah. We need to talk about that. We need to talk about this,
• 50:15
  Track 2: right? It's in her NGO office and then this woman, when it starts,
• 50:19
  Track 2: we see this woman putting a knife in her handbag.
• 50:22
  Track 2: We're like, oh, is something going to fucking happen in this movie?
• 50:25
  Track 2: Yeah, it's like, finally. Finally, like a plot point.
• 50:28
  Track 1: A stabber in the neck or something.
• 50:29
  Track 2: So this woman walks up the stairs, goes into Emilia Perez's office.
• 50:33
  Track 2: And again, I want to start with this. So this woman at this NGO,
• 50:37
  Track 2: which is helping people locate their disappeared family members comes into
• 50:40
  Track 2: Emilia Perez's office to find out about her disappeared family
• 50:42
  Track 2: member and Emilia Perez does the classic she sits
• 50:45
  Track 2: down and Emilia Perez just for like spends a minute and a
• 50:48
  Track 2: half just typing on a computer without acknowledging this person has
• 50:51
  Track 2: entered yeah she's acting like really shitty you know she's like but wait a
• 50:56
  Track 2: second so the woman goes it's like oh I'm looking for my husband and then Emilia
• 51:02
  Track 2: Perez is like ah yeah him he's in the morgue like really callous and the woman's
• 51:07
  Track 2: like in shock and the woman's like are you sure and she's like yeah,
• 51:11
  Track 2: he's dead he's dead fuck you really aggressive and then Emilio Perez was like
• 51:15
  Track 2: oh here look I'm sorry that was a bit I was a bit like short with you there
• 51:18
  Track 2: and then it turns out that the woman is not actually in not actually upset she's
• 51:25
  Track 2: actually relieved because but wait a second she was actually relieved,
• 51:29
  Track 2: because her husband was a bastard her husband like beat her and abused her and
• 51:34
  Track 2: was a criminal and again And I mentioned this at the start.
• 51:38
  Track 2: That is the only of all of the disappeared mexicans that
• 51:42
  Track 2: is the only mexican the dis only disappeared mexican where it's
• 51:44
  Track 2: like oh that's who that person was that's that's like
• 51:47
  Track 2: this is the person who disappeared this is who they were and it's
• 51:50
  Track 2: he's a fucking cunt who deserved to be killed anyway and it
• 51:53
  Track 2: and again the message you're getting from that is like oh well
• 51:57
  Track 2: you know like mexicans just kind of kill each other and it's fine that's just what they're
• 51:59
  Track 2: like you know they're all like this they all kind of deserved it anyway so
• 52:03
  Track 2: it doesn't matter that emilio perez was responsible for making disappear
• 52:06
  Track 2: it doesn't matter that like this war is ongoing it doesn't
• 52:09
  Track 2: matter that Emilia Perez is fucking evil because you
• 52:11
  Track 2: know like all these guys kind of just deserved it anyway yeah but I
• 52:14
  Track 2: think that seems like written really sloppily but then there's like
• 52:17
  Track 2: a post scene part where the woman leaves and she walks down
• 52:20
  Track 2: the stairs and then Emilia Perez sticks her head out the window into like she
• 52:24
  Track 2: sticks her head out the window but into this open space full of these like family
• 52:29
  Track 2: members milling around waiting for that for news of their of their missing family
• 52:33
  Track 2: members and Emilia Perez shouts over all them hey what do you want me to do
• 52:37
  Track 2: with your husband's remains she's like yeah she's like throw it in the fucking trash.
• 52:42
  Track 2: Yeah it's like they don't fucking laugh and there's like just
• 52:44
  Track 2: all around them there's like 50 people there's like 50 people
• 52:47
  Track 2: in the lobby like you know waiting to find out what happens to their daughter
• 52:50
  Track 2: what happened to their son what happened to their fucking like you know
• 52:53
  Track 2: grandfather or whatever and then yeah i mean
• 52:56
  Track 2: if it's like oh this guy like what you always do they're like throw him
• 52:58
  Track 2: in the fucking trash yeah haha but then
• 53:02
  Track 2: but the reason i link this is because at that point the woman
• 53:04
  Track 2: goes I actually brought a knife to this meeting and Emilia Pelez
• 53:07
  Track 2: pulls out this like this ivory pistol yeah a narco gun like a narco gun and
• 53:13
  Track 2: I was just like me too so it's just like so wait you are scary you are dangerous
• 53:18
  Track 2: you are like your armed you're packing you're locked and loaded and yet she
• 53:22
  Track 2: was kidnapped by Selena Gomez and like her.
• 53:24
  Track 1: Like douchey fucking.
• 53:26
  Track 2: Husband her douchey boyfriend and like the only introduction to Selena there
• 53:29
  Track 2: is an introduction scene to Selena Gomez this character which is them singing karaoke,
• 53:33
  Track 2: and he's wearing he's wearing like a tank top and a cowboy hat and they do a karaoke scene together
• 53:37
  Track 2: and it's like yeah this is just like a hot guy in a cowboy hat like what the fuck
• 53:40
  Track 2: it's weird as well because that like scene is quite visually interesting but
• 53:43
  Track 2: it's just it's it's completely like sidetracked by the fact that emilia like
• 53:46
  Track 2: not emilia then i can never remember her name no what's her
• 53:49
  Track 2: name the famous selena gomez is just a
• 53:52
  Track 2: terrible singer yeah who knew but also the other thing
• 53:55
  Track 2: like because that scene it's deeply offensive before the way
• 53:58
  Track 2: it characterizes the people who've actually disappeared but again
• 54:01
  Track 2: on the on the other aspect that the representation of
• 54:04
  Track 2: trans people the way that scene plays out is
• 54:07
  Track 2: this woman she sort of bears her
• 54:09
  Track 2: heart to emilia perez she's like this guy fucking beat
• 54:13
  Track 2: me you know if if he was alive i would have fucking killed
• 54:15
  Track 2: him right now because he's such a fucking bastard who traumatized me and did
• 54:18
  Track 2: all this shit to me and then emilia perez's response is like as the powerful
• 54:23
  Track 2: ngo head is like how about we meet up for some sex later how about how about
• 54:28
  Track 2: me and you fuck and it's like and it's like she's just a fucking predator she's
• 54:33
  Track 2: like you know what i mean it's like totally.
• 54:38
  Track 2: There are small things I know you're trying to get to the last third but there's
• 54:41
  Track 2: one small thing I'll say right just on the details right,
• 54:45
  Track 2: we was watching it and there was a Selena Gomez and Emilia Perez are like having
• 54:50
  Track 2: a heart to heart talking about this guy that she's now in love with and it's
• 54:54
  Track 2: like hey would you like a whiskey,
• 54:55
  Track 2: and he's like yeah why not and they pour each other she pours them whiskeys
• 54:59
  Track 2: yeah no squirt no ice no to be fair no I will accept that because in
• 55:04
  Track 2: the north of Mexico they love drinking whiskey whiskey straight Yeah,
• 55:08
  Track 2: no, they love Buchanan's in the North of Mexico. Yeah, but they wouldn't drink it straight.
• 55:11
  Track 2: They would not drink it straight. There's other things. My girlfriend was picking
• 55:14
  Track 2: up, like they're leaving voice messages for each other all the time. Yeah.
• 55:17
  Track 2: My girlfriend was like, bitch, we never leave voice messages.
• 55:21
  Track 2: Like just these small, like small little like details. I don't know.
• 55:25
  Track 2: WhatsApp voice messages are the only way that they communicate. That's a problem.
• 55:29
  Track 1: Well, I mean, like you're, you're like joking about like getting to the last
• 55:32
  Track 1: third, but I mean, that really is, that's kind of like the end,
• 55:36
  Track 1: like the shootout that they have to rescue emilia perez is awful.
• 55:40
  Track 2: And and then and then dies and then and then like emilia perez
• 55:43
  Track 2: gets put in the boot of the car and they're driving away and they
• 55:46
  Track 2: have like a literally like a simpsons car crash where like the car crashes the
• 55:50
  Track 2: car crashes and then like there's like two minutes and then it just it's obviously
• 55:55
  Track 2: it's done post as well but you're right there is about like three seconds where
• 56:01
  Track 2: the car is just sitting there yes have you seen have.
• 56:05
  Track 1: You either have you seen groundhog day.
• 56:06
  Track 2: Yeah yeah there's.
• 56:07
  Track 1: A scene where like i think where he steals the car on the groundhog and it goes
• 56:10
  Track 1: into the quarry and it falls off and the cameraman's like i think he'd be okay
• 56:14
  Track 1: and then like two seconds later it blows up it's like maybe not.
• 56:18
  Track 2: Yeah that is literally what happens they crash the car and and again like they're,
• 56:23
  Track 2: so like the tension in the movie or like what's supposed
• 56:26
  Track 2: to be the tension is that emilia perez has this
• 56:30
  Track 2: former identity and that's like supposed to create tension right
• 56:33
  Track 2: with her ex-wife but also in general that
• 56:36
  Track 2: like she was this drug lord that should be tense right yeah
• 56:39
  Track 2: but then the way that like selena gomez finds
• 56:42
  Track 2: out that emilia perez is her ex-husband is that
• 56:46
  Track 2: emilia perez literally just says i'm your husband and
• 56:49
  Track 2: she's like what he's like i'm your husband and then she puts him in the boot
• 56:52
  Track 2: of the car and it takes like 10 minutes to process what was said and then she's
• 56:56
  Track 2: like oh my god my husband it's like yeah he told you like i'm sorry he she told
• 57:06
  Track 2: you that 10 minutes ago let.
• 57:09
  Track 1: Me ask you this should she be.
• 57:12
  Track 2: Arrested yes well well.
• 57:15
  Track 1: Like is she at fault for like everything think like if she just told him no
• 57:19
  Track 1: i mean i think they would found someone else.
• 57:22
  Track 2: I mean again because again like the film is so badly
• 57:25
  Track 2: structured and so badly written i mean we're supposed
• 57:28
  Track 2: to i guess we're supposed to understand that zoe saldana is
• 57:30
  Track 2: terrified of emilia perez but true they wrote they
• 57:33
  Track 2: wrote it as the fact that they're mates so you don't get that
• 57:36
  Track 2: right like there's no there's no emoting of
• 57:39
  Track 2: like so there's no scene of zoe saldana being like fuck like
• 57:42
  Track 2: i'm actually scared of what's gonna happen they're just friends and so
• 57:45
  Track 2: it's like but why are they friends yeah it's
• 57:48
  Track 2: like well what's the tension here like why is this situation you
• 57:52
  Track 2: know what i mean like it's always so that is just fine with this i guess it's like
• 57:54
  Track 2: she loses all agency yeah completely like
• 57:58
  Track 2: she just now is just following emilia perez around indefinitely yeah like she
• 58:04
  Track 2: was a lawyer yeah and when she met emilia perez as emilia perez she was like
• 58:09
  Track 2: doing a master's or a doctorate or something and she just like fuck that off i guess she's.
• 58:14
  Track 1: I mean i mean i think that's the point i think that once even even when she
• 58:18
  Track 1: goes there the first time to be offered this position i think she's too afraid to say.
• 58:23
  Track 2: Yeah no.
• 58:24
  Track 1: And so everything that she does afterwards is out of fear however she could
• 58:29
  Track 1: have not gone back with her to mexico after they meet.
• 58:32
  Track 2: In london and also and also there's no displaying of
• 58:35
  Track 2: that fear you know what i mean again there's no scene where it's like okay
• 58:38
  Track 2: yeah i understand there's that bit like when
• 58:41
  Track 2: she's going to bed in bangkok and tel aviv where like some goons
• 58:44
  Track 2: turn up and put a bag over her head and put the phone but
• 58:47
  Track 2: then after that they're just like friends because again the message of this
• 58:51
  Track 2: movie is that like because this fucking like genesee there got a sex change
• 58:56
  Track 2: he's a good person now or she sorry because she got this exchange she is a good
• 59:01
  Track 2: person now and so we don't get to see her being threatening or angry or,
• 59:06
  Track 2: using her knuckle guys so it's like then there's no tension it just doesn't
• 59:11
  Track 2: make sense you know it's like.
• 59:12
  Track 1: Okay so but another scene that
• 59:16
  Track 1: irked me greatly so after Amelia Paris is
• 59:19
  Track 1: dead Rita uh she tells the kids like what happened then they have the final
• 59:25
  Track 1: scene of the entire film is the eulogy saying how great Amelia Paris is and
• 59:31
  Track 1: like I think that it's like fight for truth and freedom some other nonsense
• 59:34
  Track 1: like that is just to me like spitting in the face of everything.
• 59:38
  Track 2: Of every yeah all of it it's again like the
• 59:41
  Track 2: whole point i think i sent a message to you evan where it's like
• 59:43
  Track 2: this film could have been a really
• 59:46
  Track 2: interesting reflection on like well what
• 59:49
  Track 2: like what what does mexico do with these people right the drug war has to end
• 59:54
  Track 2: and how does mexico deal with these people when it ends it could have been an
• 59:58
  Track 2: interesting reflection on that but these people have so little respect for mexico
• 1:00:03
  Track 2: and mexicans that they're like oh no it's fine like if if they like pretend
• 1:00:07
  Track 2: to help that that's fine you know it's like.
• 1:00:09
  Track 1: It's yeah it's it's as we said like it perfectly encapsulates like the neoliberal
• 1:00:15
  Track 1: uh way of solving any kind of problem or like pretending to solve a problem i guess.
• 1:00:22
  Track 2: Yeah yeah no yeah that
• 1:00:25
  Track 2: final scene where they're like all the like again are they still in mexico city
• 1:00:28
  Track 2: because now they're in a pueblo they're in like a little village they're like
• 1:00:31
  Track 2: they're in like a fucking trailer which again mexicans don't have like there's
• 1:00:34
  Track 2: no trailer parks in mexico but they're in a trailer yeah and they're the whole
• 1:00:38
  Track 2: town is like singing now oh fuck
• 1:00:40
  Track 2: okay yeah that one yeah no that that one pissed me off as well because,
• 1:00:45
  Track 2: so like emilia perez's funeral you get like the whole the
• 1:00:48
  Track 2: whole pueblo the whole community that comes out for a funeral
• 1:00:50
  Track 2: and the thing that they put in
• 1:00:53
  Track 2: there is they have a statue of emilia perez as like
• 1:00:56
  Track 2: a vergencita and like vergencitas are
• 1:01:00
  Track 2: a massive part of mexican catholicism it's like
• 1:01:02
  Track 2: a very kind of mexican unique tradition this
• 1:01:05
  Track 2: idea of like sacred virgins it's a
• 1:01:08
  Track 2: deep religious kind of thing but it's also very connected to mexican nationalism
• 1:01:11
  Track 2: like the vergen de guadalupe is a symbol of like the mexican nation and so this
• 1:01:17
  Track 2: again this idea i'm sure like they just like looked up oh mexicans have mexico
• 1:01:21
  Track 2: has lots of virgins right there's a vergen de zapopan which is from where we live,
• 1:01:26
  Track 2: Vergen de Guadalupe is close to Mexico City, but this idea that they're like,
• 1:01:30
  Track 2: oh yeah, we're just going to make her a vergencita, why not?
• 1:01:33
  Track 2: And it's like, no, that's like a religious national image of Mexico,
• 1:01:37
  Track 2: and you're like, this fucking asshole drug lord gets to be made a part of Mexican Catholicism, why?
• 1:01:45
  Track 2: Because they set up a charity? Like, go fuck yourself. Yeah.
• 1:01:49
  Track 2: emilia perez the movie yeah.
• 1:01:50
  Track 1: I was i was just looking i had i still had letterboxd open from before and i
• 1:01:55
  Track 1: was just clicking and i was like i'm not going to read all like most of these
• 1:01:57
  Track 1: views are bad it has the the overall rating for the film out of five is 2.2
• 1:02:02
  Track 1: which would be the if it were to win let's say best picture which it's not going
• 1:02:06
  Track 1: to win but let's say it did it would be.
• 1:02:07
  Track 2: How did it get 50 though like how did it get that like that's 50 i.
• 1:02:13
  Track 1: Some people were saying is like that people who were spanish speakers had to put on subtitles to.
• 1:02:18
  Track 2: Understand it i had to put on subtitles yeah specifically for
• 1:02:21
  Track 2: selena gomez so like zoe saldana again she
• 1:02:24
  Track 2: she just sounds dominican right she's she's dominican she
• 1:02:27
  Track 2: sounds dominican she can speak spanish yeah but she can speak spanish selena gomez
• 1:02:31
  Track 2: i i had to turn on the subtitles for selena gomez and i speak spanish like i
• 1:02:34
  Track 2: mean you know me and my girlfriend we speak english and spanish every day like
• 1:02:37
  Track 2: we have like sort of bilingual conversation every day i speak spanish every
• 1:02:41
  Track 2: day at work like live in mexico you know like and i had to put on subtitles for cilina gomez i.
• 1:02:48
  Track 1: Was just looking at an article that said originally this film
• 1:02:51
  Track 1: was supposed to be shot in mexico like a year or six months before it was supposed
• 1:02:55
  Track 1: to it was six months before it actually was shot and then the director said
• 1:03:00
  Track 1: no let's film it in paris it was purely his decision to say fuck off mexico
• 1:03:07
  Track 1: i'm gonna film the movie about mexico not mexico.
• 1:03:10
  Track 2: I did i did see a thing as well that the casting director was
• 1:03:14
  Track 2: like um wanted to have mexicans in it but by her own like she said she's like
• 1:03:22
  Track 2: no i'm sorry we couldn't find any good mexican actresses like what yeah and
• 1:03:28
  Track 2: a country of 122 million people of a single good actress you know what I mean,
• 1:03:35
  Track 2: that's just so insulting everything is so insulting you know it's like I don't
• 1:03:39
  Track 2: need to go to Mexico to know Mexico I don't need to speak Spanish I don't need
• 1:03:42
  Track 2: to speak Spanish I don't need to hire hire any Mexicans I don't even and again like
• 1:03:46
  Track 2: aesthetically it's like I don't even need to look at a photo of Mexico you know
• 1:03:50
  Track 2: what I mean like if you saw a photo of Mexico City you'd be like oh yeah it
• 1:03:52
  Track 2: doesn't look like Paris but no no it's fine looks like Paris yeah.
• 1:03:55
  Track 1: And this is something also this is completely this is just like a a thing that
• 1:04:00
  Track 1: bothered me I saw actually a review who's like that was their whole review the
• 1:04:03
  Track 1: beginning of the movie there is no less than like 15 title cards before it says
• 1:04:08
  Track 1: like presented by netflix and then the movie starts.
• 1:04:10
  Track 2: I forgot that part but i'm like.
• 1:04:13
  Track 1: Oh my god is this what i'm in for.
• 1:04:14
  Track 2: Yeah like and again i think this thing i was like it's so long it's such a long
• 1:04:22
  Track 2: yeah it is two hours and 15 feels longer oh yeah it feels like four.
• 1:04:28
  Track 2: But that's the amazing thing. It's just like you go through so many emotions.
• 1:04:31
  Track 2: You're just like, what is this? This is terrible.
• 1:04:33
  Track 2: This is offensive. But your final emotion is boredom.
• 1:04:37
  Track 2: like i i said to chris like the final song with like you know the her funeral
• 1:04:42
  Track 2: and it's like it's supposed to be like the dramatic send-off i was literally
• 1:04:45
  Track 2: just like like looking at my fucking watch like how many fucking more minutes
• 1:04:50
  Track 2: is this gonna go i started washing the dishes i had to i actually.
• 1:04:53
  Track 1: Had to take a pause like an hour and 20 minutes and i'm like i need a break from this.
• 1:04:57
  Track 2: Film right.
• 1:04:57
  Track 1: Now and so another thing that we didn't really talk about but we did a little
• 1:05:01
  Track 1: bit is a lot of the uh like the lgbtq community and other.
• 1:05:05
  Track 2: Folks well they hated.
• 1:05:06
  Track 1: It they they recalled it like transgressive you know retrograde of trans women
• 1:05:11
  Track 1: portrayal like it almost makes them seem and i think you said this before it
• 1:05:16
  Track 1: refers to them as um what was the thing as uh uh fuck where did it go painting
• 1:05:21
  Track 1: them as liars like because they have.
• 1:05:23
  Track 2: To lie.
• 1:05:23
  Track 1: To people to be able to like get into like it is it is at all accounts like a conservative.
• 1:05:28
  Track 2: Yeah yeah like i said i think like that whole thing of like that whole classic
• 1:05:34
  Track 2: transphobic argument of like trans women should not be allowed to use a public
• 1:05:38
  Track 2: bathroom because it'll be like it's dangerous quote unquote this
• 1:05:43
  Track 2: movie makes that exact same point but
• 1:05:47
  Track 2: just pretending it's liberal right it's like because like
• 1:05:51
  Track 2: emilia perez is trans she is able to manipulate her
• 1:05:54
  Track 2: family to control them to assault them to like you know basically try and destroy
• 1:05:58
  Track 2: their lives and what it's telling you is that like yeah because she because
• 1:06:04
  Track 2: her change in identity was hidden because she's got a new identity she's able
• 1:06:08
  Track 2: to be more dangerous let me ask you a question griff,
• 1:06:12
  Track 2: What are the name of the kids? No fucking idea. They never say the name of the
• 1:06:16
  Track 2: kids. I don't think they ever say it. It's a big thing in the movie though,
• 1:06:18
  Track 2: isn't it? Yeah. I want to go back to spend time with my kids.
• 1:06:20
  Track 2: They don't even bother to even establish their names. Their names.
• 1:06:23
  Track 2: Yep. Don't give them any names.
• 1:06:25
  Track 2: Everything is just a vehicle for Emilia Perez to look good.
• 1:06:30
  Track 2: Yeah. Or in her own eyes. To be the hero. To be the heroine.
• 1:06:34
  Track 1: I think I know now what led me down the path of bringing up Denis Villeneuve.
• 1:06:39
  Track 1: He stated that this was one of his- He says he loves it.
• 1:06:42
  Track 2: He loves this movie like.
• 1:06:43
  Track 1: I'm sorry i can't trust you fuck off.
• 1:06:45
  Track 2: And again i don't get like i get like i can't understand like
• 1:06:48
  Track 2: even if you're kind of like a conservative viewer and
• 1:06:51
  Track 2: you're watching this movie and you i know you're supportive of the
• 1:06:54
  Track 2: like you know yeah it doesn't matter the mexicans get killed yeah trans women
• 1:06:57
  Track 2: are dangerous how can you watch this and be like it's good in any way just as
• 1:07:02
  Track 2: a piece of cinema it's fucking terrible just a terrible work of art as a comedy
• 1:07:08
  Track 2: bad as a musical bad yeah as i don't know i don't know it's just bad in every
• 1:07:13
  Track 2: single thing it tries to do yeah are.
• 1:07:15
  Track 1: You ready to hear some of the other like decent movie stars who like this film.
• 1:07:19
  Track 2: Okay let's go emily.
• 1:07:21
  Track 1: Blunt called it a singular experience.
• 1:07:23
  Track 2: Emily blunt's not that good she is a single she is a singular experience meryl.
• 1:07:29
  Track 1: Streep referred to selena gomez performance it's as beautiful, sensual, incredible.
• 1:07:35
  Track 2: Oh my God. I mean, again, I think I saw a Mexican actor doing an interview on
• 1:07:40
  Track 2: this, where I think he brought up a really good point.
• 1:07:43
  Track 2: He was like, you know, if we as Mexicans were watching a film in French,
• 1:07:46
  Track 2: we would not pick up on the fact that the French is bad, right?
• 1:07:50
  Track 2: We just wouldn't be able to see that.
• 1:07:51
  Track 2: because we don't speak French. And so I think, you know, if you don't speak
• 1:07:55
  Track 2: Spanish, yeah, I can forgive you saying like, oh yeah, that's actually like
• 1:07:58
  Track 2: a good Spanish performance.
• 1:08:00
  Track 2: But if you do speak Spanish, you're like, this is fucking dog shit.
• 1:08:05
  Track 1: All right, get ready for that.
• 1:08:06
  Track 2: You don't even need to.
• 1:08:06
  Track 1: Get ready for this one.
• 1:08:08
  Track 2: Go on.
• 1:08:09
  Track 1: Guillermo del Toro.
• 1:08:10
  Track 2: I've seen this one. I've seen this. I've seen it. He likes it? He likes it.
• 1:08:13
  Track 1: He likes it. It's so beautiful to see a movie that is cinema.
• 1:08:17
  Track 2: Oh.
• 1:08:17
  Track 1: And I love his fucking films.
• 1:08:19
  Track 2: But that is just- I love- And he's from Guadalajara. He's from Guadalajara.
• 1:08:23
  Track 2: He's the son of Guadalajara. He's from Guadalajara.
• 1:08:25
  Track 2: He, like, Pan's Labyrinth is a good movie. I mean, he's got lots of good movies.
• 1:08:29
  Track 2: I know. I mean, The Shape of Water is not great.
• 1:08:30
  Track 1: No, that's a dud.
• 1:08:32
  Track 2: That's the one best picture. Yeah.
• 1:08:34
  Track 1: Oh, and also another one, Michael Mann, another one of my favorite directors,
• 1:08:39
  Track 1: Contemporary Masterpiece.
• 1:08:40
  Track 2: Yeah, but here, look, did you see Dune 2?
• 1:08:44
  Track 1: I didn't like it, but yes.
• 1:08:45
  Track 2: Right? All right. I liked it. It's just a Marvel movie. But we're not going to go there.
• 1:08:48
  Track 2: that's that's that's that's too far right but
• 1:08:51
  Track 2: anyway shut up shut up you're wrong but anyway anyway anyway the
• 1:08:54
  Track 2: point is not like talking to if dune is too is like the best movie ever is really
• 1:08:58
  Track 2: good whatever but it did not get cinematography you can admit that like yeah
• 1:09:03
  Track 2: it's it's a well-made yes well-made yeah absolutely like the costumes yeah it's
• 1:09:09
  Track 2: a well-made movie like yeah like and what are you giving the costume for emilia perez,
• 1:09:14
  Track 2: for like zoe sardana's pantsuits yeah which again is just not mexican at all
• 1:09:20
  Track 2: you know i've never seen i have as long as i've lived here i have not seen a pantsuit,
• 1:09:26
  Track 2: yeah but yeah i mean i i mean genuine question like these these people who like
• 1:09:32
  Track 2: you know like they have they do have artistic credentials you know they're respected
• 1:09:36
  Track 2: actors respected directors,
• 1:09:38
  Track 2: like why do you like because i watched this film and again it's like every single
• 1:09:43
  Track 2: sort of what's the word every single way you could judge it every single way
• 1:09:48
  Track 2: you could view it it's bad right not just like the social stuff just as a technical
• 1:09:54
  Track 2: piece of cinema it's a bad piece of cinema,
• 1:09:57
  Track 2: it's like like why do you think they're saying it's good like what what do you think got them.
• 1:10:01
  Track 1: I'm gonna say for some of them not the not the mexican one like you know like
• 1:10:07
  Track 1: you said like you could be an american and watch this and not understand it
• 1:10:11
  Track 1: and think the performance is there i have two two theories theory number one
• 1:10:15
  Track 1: is they're asked about the movie and they don't want to shit on it.
• 1:10:18
  Track 2: Okay so.
• 1:10:19
  Track 1: They're lying or like they're making it they're just kind.
• 1:10:23
  Track 2: Of they just haven't watched it yeah yeah.
• 1:10:24
  Track 1: Or haven't watched it just like yeah it's a masterpiece or whatever And then
• 1:10:27
  Track 1: the other thing is, maybe they just have shitty taste.
• 1:10:31
  Track 2: Yeah. Maybe it's like, they're like, oh, I don't want to actually touch on,
• 1:10:35
  Track 2: or I don't want to give my opinion or talk about anything to do with the trans
• 1:10:39
  Track 2: community or the Mexican community or about the drug war going on.
• 1:10:44
  Track 2: And to them, I would say, don't worry, the director doesn't give a shit either. Yeah.
• 1:10:49
  Track 2: You've got so much in common with the director, so that's maybe why you liked it.
• 1:10:52
  Track 1: Paul Schrader said he loved this movie. like it's just it's it's it's just uh
• 1:10:56
  Track 1: did they see it i don't know.
• 1:10:58
  Track 2: Do you think it's gonna win all right all right read read
• 1:11:01
  Track 2: out again all right now all right let's put on our bullshit uh oscar hats okay
• 1:11:05
  Track 2: i'm gonna do i'm gonna do my i'm an oscar judge all right emilia paris was necessary
• 1:11:12
  Track 2: essential viewing confrontational in the best way it.
• 1:11:19
  Track 1: Received more nominations than.
• 1:11:22
  Track 2: Schindler's List. It just makes no fucking sense.
• 1:11:24
  Track 1: And I'm not saying that Schindler's List is the best movie ever made.
• 1:11:27
  Track 2: But it's a good movie.
• 1:11:28
  Track 1: But it's a good movie. It's well made.
• 1:11:30
  Track 2: It's a good movie, yeah. But do me a favor, do me a favor.
• 1:11:33
  Track 2: Read them out and we're going to say, not if we think it deserves it because
• 1:11:37
  Track 2: we think it deserves none, but what do we think it's going to get?
• 1:11:40
  Track 2: All right? Okay, read out the first one.
• 1:11:42
  Track 1: Best Picture.
• 1:11:43
  Track 2: No. No, it's not going to get it. It's not going to get it.
• 1:11:45
  Track 1: Best International Picture.
• 1:11:47
  Track 2: Yes, yes, yes. Going to get it. Yes.
• 1:11:49
  Track 1: Okay, Best Director.
• 1:11:51
  Track 2: No. No, I think... I think it's going to get it.
• 1:11:53
  Track 2: No, I think The Brutalist has got a lot of movement behind it.
• 1:11:57
  Track 2: Who is it? Who's the guy who did The Brutalist?
• 1:11:59
  Track 1: Do we want to see... Do we want to know the full award so we can... Well...
• 1:12:03
  Track 1: best director the best director is uh man gold for complete unknown brutalist
• 1:12:09
  Track 1: sean baker for anora and carla forgette for substance.
• 1:12:12
  Track 2: I think i think the brutalist will get it i think the brutalist will
• 1:12:15
  Track 2: get best director all right so best actress but which one who's over carla carla
• 1:12:20
  Track 2: gustle no she's not gonna get it she's fucked it yeah no that's that's like
• 1:12:23
  Track 2: a diversity kind of thing yeah but she fucked it because now she's like yeah
• 1:12:26
  Track 2: well yeah yeah we didn't even talk about that she's a fucking enormous i know
• 1:12:30
  Track 2: i know yeah she's not gonna get it.
• 1:12:32
  Track 1: I think the me more is going to win that one but.
• 1:12:34
  Track 2: Yeah probably all.
• 1:12:35
  Track 1: Right so next one best supporting actress.
• 1:12:37
  Track 2: And that's selena gomez no yes yes i think she's gonna get it do you think she
• 1:12:43
  Track 2: got to go she got the golden globe all right all right i can say yes okay.
• 1:12:46
  Track 1: Next one we got best adapted screenplay.
• 1:12:49
  Track 2: I don't fucking know what's it adapted from from the somebody's from the stage
• 1:12:53
  Track 2: show it says it's adapted.
• 1:12:56
  Track 1: From a novel.
• 1:12:58
  Track 2: No no there's an amelia perez novel it's called Ecoute. Ecoute? So it's a French novel.
• 1:13:05
  Track 1: Yeah, I guess it's a French novel.
• 1:13:06
  Track 2: Of course, why not?
• 1:13:08
  Track 1: It's not Ecoute, then it'll be Ecoute. My accents are brutally bad.
• 1:13:12
  Track 2: No, it's not going to get it. It's not going to get it.
• 1:13:14
  Track 1: Okay, so next one, film editing. No fucking way.
• 1:13:18
  Track 2: Yes, yes, for some reason, yes. Just for some reason. No one cares about that
• 1:13:22
  Track 2: one. Yeah, no one cares about that one. Just annoy you. Just annoy you.
• 1:13:25
  Track 1: Best sound.
• 1:13:30
  Track 2: I mean, like this is the thing right like people
• 1:13:33
  Track 2: have talked about this before like with all the kind of strikes in
• 1:13:36
  Track 2: hollywood and the general like introduction of ai like those technical jobs
• 1:13:40
  Track 2: have been increasingly lost that's why like every movie and tv series is so
• 1:13:45
  Track 2: fucking dark because they've cut out cinematographers it's why like sounds now
• 1:13:50
  Track 2: you can't hear what people are fucking saying because like sound editors is
• 1:13:53
  Track 2: the first ones get cut out so yeah why not they'll get,
• 1:13:56
  Track 2: for all the mumbling that happens in this movie.
• 1:13:58
  Track 1: Best cinematography.
• 1:14:00
  Track 2: I hope it gets it.
• 1:14:04
  Track 2: Yeah, just for that spotlight. No, no, not for the Bangkok scene.
• 1:14:07
  Track 1: I think The Brutalist has got that one, maybe.
• 1:14:09
  Track 2: I haven't seen The Brutalist, so I don't know. Didn't they say The Brutalist
• 1:14:12
  Track 2: used A, oh no, it was for his accent, right?
• 1:14:14
  Track 1: He's up for the accents, yeah.
• 1:14:15
  Track 2: Okay, not for this.
• 1:14:16
  Track 1: I don't even know what The Brutalist is. That's a whole other conversation.
• 1:14:19
  Track 1: All right, best makeup and hairstyling.
• 1:14:21
  Track 2: I swear to God, ow. If it gets the best makeup and hairstyling,
• 1:14:24
  Track 2: I will fucking like I will suicide bomb the Oscars like this like,
• 1:14:30
  Track 2: no one looks good in this movie like no one looks good even Selena Gomez looks
• 1:14:35
  Track 2: kind of ugly no you know what it's gonna get it it's gonna get it it's gonna
• 1:14:38
  Track 2: get it no it's gotta go quicker or substance for that no no because because how they how they like,
• 1:14:44
  Track 2: las manitas with their face tattoos and the grills but again but that's what
• 1:14:49
  Track 2: that's what they're gonna go for nah nah i think wicked wicked's gonna take it wicked's got that.
• 1:14:52
  Track 1: All right so next one we got more there's oh yeah best original score oh.
• 1:14:57
  Track 2: My god if it gets best original score as long as vaginoplasty isn't there you
• 1:15:03
  Track 2: know where it's just like mammoplasty yeah.
• 1:15:05
  Track 1: Like that's that's like it has to.
• 1:15:07
  Track 2: Be yeah yeah i mean again but like but is is wicked an original score because it's like salt and.
• 1:15:12
  Track 1: High right yeah i think some of the songs are new some of them are not so i
• 1:15:16
  Track 1: guess you could say you could argue maybe not like maybe the maybe i don't know
• 1:15:21
  Track 1: if you either you saw conclade like the score on that was pretty pretty good.
• 1:15:23
  Track 2: I haven't seen i haven't seen it.
• 1:15:25
  Track 1: All right so last last one best original song which was two of them which was
• 1:15:28
  Track 1: el mall and mi camino were the two songs.
• 1:15:31
  Track 2: Oh which are those which ones are those.
• 1:15:33
  Track 1: El mall was the one where they're all singing about how evil like how they want
• 1:15:37
  Track 1: to get there find out about their families and how drug cartels are terrible.
• 1:15:40
  Track 2: Okay, so the most offensive part of the movie.
• 1:15:42
  Track 1: And then the second one is Mi Camino, which is...
• 1:15:46
  Track 2: It's the fucking one with Selena Gomez in her room where she's got the telephone
• 1:15:50
  Track 2: and she's like, can't speak Spanish.
• 1:15:52
  Track 2: Yeah, she's acting like a 13-year-old. Yeah. She's going to win.
• 1:15:58
  Track 2: Hands down.
• 1:15:59
  Track 1: So based on your predictions, this movie will win no less than six Oscars.
• 1:16:04
  Track 2: Yeah. Why not? Why the fuck not? But like, if that song was just like,
• 1:16:08
  Track 2: that's not even viral on TikTok.
• 1:16:11
  Track 2: like that's i've seen a few i've seen again like i live like because we live
• 1:16:14
  Track 2: in mexico like all of the most like all of the stupidest parts of the movie
• 1:16:18
  Track 2: have been like massive memes i've seen that scene on instagram and tiktok like a hundred times yeah.
• 1:16:26
  Track 1: I mean the so one could say the oscars doesn't have a whole lot of weight anyway
• 1:16:32
  Track 1: in the sense of like the things that win the things that are nominated and you
• 1:16:35
  Track 1: know the whole whatever them as long as i think as long as they don't win like
• 1:16:39
  Track 1: the the big awards they don't win best director they don't win best actor.
• 1:16:43
  Track 2: Supporting actress i mean i won't be mad.
• 1:16:46
  Track 1: But like that's just winning those awards to me just tells me like you are a joke.
• 1:16:50
  Track 2: I do i do you just realize that your country is a joke oh
• 1:16:53
  Track 2: no that was like jesus christ i do
• 1:16:56
  Track 2: wonder though because like again like emilia perez it basically it got it got
• 1:17:01
  Track 2: nominated for all this shit because it's like oh it's a trans woman blah blah
• 1:17:04
  Track 2: blah blah but like do you think the controversy would sort of like actually
• 1:17:09
  Track 2: affect if it wins or not because i mean like everyone fucking hates it well i mean i.
• 1:17:14
  Track 1: Mean if you were to believe that everything has already been
• 1:17:17
  Track 1: like envelopes are sealed everything is all said and done
• 1:17:20
  Track 1: then i don't think that the controversy makes any difference i'd like to think
• 1:17:24
  Track 1: that they've already voted and there wouldn't be any changing i think it almost
• 1:17:27
  Track 1: seems like the campaign to like bring all the stuff out afterwards after they've
• 1:17:32
  Track 1: already voted tells me like they're
• 1:17:34
  Track 1: almost preparing you for the fact that it's gonna win something big.
• 1:17:38
  Track 2: Yeah and.
• 1:17:38
  Track 1: You're gonna be like extra mad.
• 1:17:40
  Track 2: Because not only is.
• 1:17:41
  Track 1: It shit that it's also like this evil.
• 1:17:43
  Track 2: But again like i mean so evan i think i can't remember
• 1:17:45
  Track 2: was it yesterday or the day before you sent me the news article that was
• 1:17:48
  Track 2: saying that um gascon like amelia
• 1:17:51
  Track 2: the actress amelia perez has been so racist
• 1:17:54
  Track 2: and vile that like netflix has like says they won't pay for to go to the oscars
• 1:18:00
  Track 2: like they're not gonna they've cut off her fucking money chain like i like we've
• 1:18:04
  Track 2: seen this the controversy is having effects like you know what i mean it's i
• 1:18:08
  Track 2: did you think it will like do you think it will affect the oscars or do you think it's just done i.
• 1:18:13
  Track 1: I gosh i'm not like a like a ox like an expert on these sorts of things and this.
• 1:18:20
  Track 2: Is more.
• 1:18:20
  Track 1: Like from my own i i think so the thing that i don't i think i don't think she's gonna go to the oscars.
• 1:18:25
  Track 2: I mean again like just does Does she really want to show her face?
• 1:18:30
  Track 1: I don't know.
• 1:18:31
  Track 2: But I think she... It's so weird how little... Just even self-preservation she
• 1:18:38
  Track 2: has. You know what I mean?
• 1:18:39
  Track 1: Yeah, it doesn't care.
• 1:18:41
  Track 2: She's so racist that the best PR agents in the world could not stop her from being racist.
• 1:18:47
  Track 2: Do you think that if she...
• 1:18:51
  Track 2: she doesn't win then trump will get angry but if she does win trump will also
• 1:18:56
  Track 2: get angry do you think this is going to like bleed into the bullshit news cycle
• 1:19:00
  Track 2: oh yeah and i think yeah i think so but but i i think no matter what happens yeah not not.
• 1:19:06
  Track 1: Winning would say like how like it's anti people are because the director.
• 1:19:10
  Track 2: Is calling anyone who doesn't like.
• 1:19:11
  Track 1: This is anti-trans like.
• 1:19:12
  Track 2: Anti-trans yeah and but also well also gascon
• 1:19:15
  Track 2: as well that was that was gascon's big thing is like mexico hates this
• 1:19:18
  Track 2: movie because they're transphobic and then he event
• 1:19:21
  Track 2: but he eventually the director apologized he did he did do
• 1:19:24
  Track 2: a public apology to mexico but it was a total non-apology so his
• 1:19:27
  Track 2: apology was i'm gonna paraphrase here but his apology was basically i don't
• 1:19:32
  Track 2: understand why people are getting so offended by this it's just a piece of art
• 1:19:36
  Track 2: i'm not pretentious i just want to make a movie no but i think it also had a
• 1:19:41
  Track 2: paraphrase like line and it was just like i'm sorry if you didn't get it yeah
• 1:19:45
  Track 2: basically yeah that's like sorry.
• 1:19:47
  Track 1: I offended you but.
• 1:19:48
  Track 2: Yeah i don't care and then gas gascon has done the whole thing of like if you
• 1:19:52
  Track 2: don't like it is because you're transphobic um as well as like multiple rants
• 1:19:57
  Track 2: about how like islam is going to kill europe she deleted her like like in 2025.
• 1:20:02
  Track 1: To delete your twitter account over like worry of more things coming out like you have.
• 1:20:06
  Track 2: To be really fucking bad in elon musk's twitter like.
• 1:20:10
  Track 1: Sorry like this nazi is like too far from the.
• 1:20:12
  Track 2: Other nazis that.
• 1:20:13
  Track 1: Are on our on our platform.
• 1:20:15
  Track 2: But i mean to be fair she's spanish like you know spanish people are like that
• 1:20:18
  Track 2: spanish people ask me ask me ask me ask me ask me do i recommend the movie ask me.
• 1:20:23
  Track 1: Do you do you recommend this movie chris.
• 1:20:25
  Track 2: No
• 1:20:29
  Track 2: like no man this is probably the first time.
• 1:20:32
  Track 1: In history that i.
• 1:20:32
  Track 2: Would say like.
• 1:20:33
  Track 1: Do not see this movie unless you hate yourself.
• 1:20:36
  Track 2: Yeah yeah yeah it's it's really just it's just not worth it in any way because
• 1:20:41
  Track 2: it's also boring that's the thing you're not going to be like oh this might
• 1:20:44
  Track 2: be like yeah it's not like oh it's going to be fun it's not like watching madam webb.
• 1:20:47
  Track 1: Or whatever like.
• 1:20:48
  Track 2: Oh this is stupid.
• 1:20:49
  Track 1: And campy but.
• 1:20:50
  Track 2: Yeah yeah this is the.
• 1:20:52
  Track 1: Only person i would tell to recommend this movie to is if you are kind of like
• 1:20:56
  Track 1: me like a completionist when it comes to watching all the best pictures nominees
• 1:21:00
  Track 1: that's the only reason to watch this.
• 1:21:02
  Track 2: But again i mean we all had the same experience where it's like by the time
• 1:21:05
  Track 2: we get into the end of this film it's just like when can I turn this off like
• 1:21:08
  Track 2: when the fuck can I stop watching this movie there's no like oh it's fun or
• 1:21:13
  Track 2: like oh the ending's dramatic it's like just when can I turn this off,
• 1:21:18
  Track 2: and everybody should feel bad about it,
• 1:21:21
  Track 2: Zoe Zaldana Zoe Zaldana she has with the grace of a swan sort of escaped the
• 1:21:26
  Track 2: controversy she has because she's easily the best actress in the whole thing,
• 1:21:31
  Track 2: but Selena Gomez did that whole she did that whole online rant she's being bullied
• 1:21:36
  Track 2: by Mexicans like Mexico's bullying her but yeah she's going to be fine Zoe Zaldana
• 1:21:41
  Track 2: is going to be fine yeah I mean it's Zoe Zaldana she's going to be fine I don't.
• 1:21:45
  Track 1: You can't blame her for like for the shittiness of the film like she probably
• 1:21:50
  Track 1: did the best she could you could.
• 1:21:52
  Track 2: You can blame you can blame her for being in it i think you can
• 1:21:55
  Track 2: you can blame every single actor for being in it but
• 1:21:58
  Track 2: like the the reality is it's like
• 1:22:01
  Track 2: um is it gascon or gas gas on i can't
• 1:22:04
  Track 2: remember her son and uh emilia perez gascon yeah carla carla something gascon
• 1:22:09
  Track 2: and adi art like just utter fucking cunts like irredeemable like those two are
• 1:22:16
  Track 2: irredeemable Salima Gomez whatever alright you fucked up Zoe Saldana you were
• 1:22:21
  Track 2: in a shit movie whatever you know what I mean but those two,
• 1:22:25
  Track 2: unforgivable yeah I.
• 1:22:26
  Track 1: Don't think I mean as far as the lead like I don't think what kind of films is she gonna do now.
• 1:22:33
  Track 2: What did yeah I think I sent you this message where I was like,
• 1:22:36
  Track 2: All that Gascon really had to do was just put out a couple of tweets,
• 1:22:41
  Track 2: maybe do a couple of interviews where she'd be like, you know,
• 1:22:44
  Track 2: I'm sorry that this offends Mexicans, but it's important that a trans woman
• 1:22:48
  Track 2: is in the movie. All she had to do was like that.
• 1:22:50
  Track 2: And she'd get a couple of roles in Hollywood and she'd get a career.
• 1:22:54
  Track 2: But instead she had to be like, no, like Islam is going to destroy Spain.
• 1:22:59
  Track 2: And like, like, you know what I mean? Like, it's just, do you want an Oscar? Yeah.
• 1:23:06
  Track 2: because this is not how you get an Oscar all she had to do was just basically
• 1:23:09
  Track 2: representation is important and she would have got a career she did.
• 1:23:14
  Track 1: The wrong she should have first won the award and then come out as a racist person like.
• 1:23:18
  Track 2: Mel Gibson or something.
• 1:23:22
  Track 1: To anyone listening I think watch it your own risk.
• 1:23:28
  Track 2: Just don't watch it this episode if you somehow have a friend who is going to
• 1:23:35
  Track 2: pretend this movie is good.
• 1:23:36
  Track 2: This podcast has told you why it's bad and that's all you need. Don't watch it.
• 1:23:41
  Track 2: My life is worse because I watched it. It made my life worse watching this movie.
• 1:23:45
  Track 2: Don't even listen to this podcast.
• 1:23:48
  Track 1: Wait, but you've already listened. It's too late.
• 1:23:51
  Track 2: All you need to do is just all of the things we said about this film and this
• 1:23:55
  Track 2: podcast, tell that to your weird liberal friend who thinks it's a good movie
• 1:23:59
  Track 2: and don't watch it because it's not fun.
• 1:24:02
  Track 2: It's not interesting. It's offensive. you'll just you will just you will just hate it i told my uh my.
• 1:24:07
  Track 1: My in-laws they're like they i.
• 1:24:09
  Track 2: Mentioned that.
• 1:24:09
  Track 1: I just seen it and they hadn't seen it yet like oh like that they had heard
• 1:24:12
  Track 1: it was bad i'm like do not watch this film they're.
• 1:24:15
  Track 2: Like okay good thank god you told that told me like i.
• 1:24:18
  Track 1: Trust that you believe that this movie is so bad we won't watch it.
• 1:24:21
  Track 2: Let me let me ask you something because i haven't watched any of these other
• 1:24:24
  Track 2: ones that are in the whole oscars buzz which one of the which one of the other
• 1:24:28
  Track 2: movies would you recommend let's finish this episode by telling people to watch something.
• 1:24:33
  Track 1: Oh, no, that's like always a good
• 1:24:34
  Track 1: thing to do. Like, I like to recommend something. I would say if you're...
• 1:24:39
  Track 1: purely going off of the like the 10 that are nominated for best picture like
• 1:24:44
  Track 1: which one of those would i there's 10 yeah they do 10 now like they change it
• 1:24:49
  Track 1: like three or four years ago,
• 1:24:50
  Track 1: well it's because now they added like comedies and like action movies like dune
• 1:24:55
  Track 1: would never get nominated normally it's.
• 1:24:57
  Track 2: A great movie.
• 1:24:58
  Track 1: I would say for me my favorite film of my favorite oscar nominee film for this
• 1:25:03
  Track 1: year like as far as just a good time is probably the substance but i think the
• 1:25:09
  Track 1: best movie i think is probably a tie between anora and the brutalist both were very good yeah.
• 1:25:15
  Track 2: I would say like the substance was great i've heard the brutalist is really
• 1:25:19
  Track 2: good i haven't watched it i liked it i liked it's a double episode everybody
• 1:25:22
  Track 2: now the substance go evan.
• 1:25:24
  Track 1: Introduce the episode like a good so we can talk about a good movie but the
• 1:25:27
  Track 1: the brutalist is very good and it's not the zionist film that i i anticipated it to be.
• 1:25:32
  Track 2: Yeah that's the thing i haven't watched it because i read the story and it sounds very pro-israel.
• 1:25:36
  Track 1: It's not i actually don't think that it is.
• 1:25:38
  Track 2: Okay and then what's the one that you were saying.
• 1:25:41
  Track 1: Conclave i think is really good conclave i think it's gonna win best picture actually that's my pick.
• 1:25:45
  Track 2: What's the one that goes it's like the two brothers that go to poland.
• 1:25:48
  Track 1: That is that that's oh that wasn't nominated for best picture that's a real
• 1:25:51
  Track 1: pain it wasn't nominated for best picture okay but that's really good that's
• 1:25:55
  Track 1: actually that could be my favorite film of the year of 2024 that's just overall i'm picking any film.
• 1:26:01
  Track 2: That one i'm gonna watch i want to watch that one.
• 1:26:03
  Track 1: Yeah kieran kieran um Culkin gives like he's gonna win the Oscar without a doubt
• 1:26:08
  Track 1: if he doesn't win I'd be shocked.
• 1:26:10
  Track 2: No it's gonna be who's the boyfriend from Amelia.
• 1:26:14
  Track 1: It's gonna be him from one scene,
• 1:26:18
  Track 1: he's in a cowboy hat he comes up on stage,
• 1:26:22
  Track 1: I would say the other one, have either of you seen Kneecap? Have I talked to you about this?
• 1:26:26
  Track 2: Oh my god. Stop. We're big, big Kneecap fans.
• 1:26:30
  Track 1: That's my second favorite film of the year.
• 1:26:31
  Track 2: I haven't seen it, but I haven't seen it. I mean, this is perfect for me.
• 1:26:36
  Track 2: This is something I should.
• 1:26:37
  Track 1: Kneecap is excellent.
• 1:26:40
  Track 2: And honestly, again, sort of the cultural perspective, you know,
• 1:26:42
  Track 2: Chris is from the Republic of Ireland, I'm from Britain.
• 1:26:45
  Track 2: Like, the fact that these guys are just like, no, we're going to speak Gaelic and go fuck yourself,
• 1:26:49
  Track 2: has had such a massive impact on Britain and island legacy yeah i i like i listen
• 1:26:54
  Track 2: to music i know them i don't know them personally but like i know i haven't
• 1:26:58
  Track 2: i haven't even thought about watching a movie to be honest it's really good.
• 1:27:01
  Track 1: Think it just uh it's now on streaming on something i forget what it.
• 1:27:05
  Track 2: Is it is worth it yeah yeah yeah.
• 1:27:07
  Track 1: That one's worth it the other the last one i've recommended in another episode
• 1:27:10
  Track 1: but is uh red rooms is another really good one french film.
• 1:27:14
  Track 2: No no no i haven't seen that.
• 1:27:16
  Track 1: It's uh it's like uh i don't even know how to describe it it's it's uh like
• 1:27:20
  Track 1: a very violent film without like seeing the violence uh.
• 1:27:24
  Track 2: Is it like you know like what was that french horror movement called like the new french horror.
• 1:27:29
  Track 1: I don't know if it's really would fit into there it's it's very it's like a
• 1:27:33
  Track 1: it's like the movie natural born killers but okay but good okay i don't know no.
• 1:27:39
  Track 2: It's not a good movie.
• 1:27:40
  Track 1: No it's it explores like the same theme of like violence in society,
• 1:27:45
  Track 1: but in a much better nuanced way.
• 1:27:47
  Track 2: Evan, I got some good news for you. Are you ready?
• 1:27:49
  Track 1: Yes.
• 1:27:50
  Track 2: You never, ever have to think about Emilia Perez again. Griff,
• 1:27:53
  Track 2: you're free. You're free.
• 1:27:55
  Track 1: You're free, everybody. It's not true. Why? I'm going to have to edit this podcast
• 1:27:58
  Track 1: and listen to what you're talking about.
• 1:27:59
  Track 2: Loser. For me, you're free. Here's my final line. No me duele el pinche vulva.
• 1:28:06
  Track 1: And I think that's a good sign-off to...
• 1:28:11
  Track 1: to this terrible film with uh with very good guests uh chris and griff thank you for uh.
• 1:28:17
  Track 2: Coming on and talking yeah this shit it's all right yeah it's all right i know
• 1:28:21
  Track 2: next time we're gonna have to do a film that we actually like because we've
• 1:28:23
  Track 2: done like three films where like these are not yeah i guess i guess we like
• 1:28:27
  Track 2: talking shit about things well we started we started.
• 1:28:29
  Track 1: Off like from like the peak from children.
• 1:28:31
  Track 2: Of men and like have slowly descended well like yeah because el conde was all
• 1:28:36
  Track 2: right it's it was all right it's not a great it's not a great movie it's all
• 1:28:39
  Track 2: right golden eye was shit and
• 1:28:41
  Track 2: this this is like a new level of shit like they need a new word for this,
• 1:28:46
  Track 2: slop just like but.
• 1:28:48
  Track 1: We'll find something of of higher entertainment if if not like high art just fun.
• 1:28:53
  Track 2: Yeah just some just something that i'm like i watched that movie like i liked
• 1:28:57
  Track 2: it if you want if you want some higher entertainment right me and griff are
• 1:29:00
  Track 2: just about to release um our final it's it's sort of like an add-on to our last
• 1:29:05
  Track 2: season yeah it's like a radio play It was like a radio play. We sort of went all in.
• 1:29:10
  Track 1: Was this the one that you were talking about doing or no?
• 1:29:12
  Track 2: Yeah, yeah. We were talking about doing it. Yeah. Yeah. So it is basically it's
• 1:29:16
  Track 2: Hernan Cortes, Bartolomir Las Casas.
• 1:29:19
  Track 2: Walter Raleigh. Walter Raleigh, The Warners, and William Lamport all descending to hell in an elevator.
• 1:29:25
  Track 1: That's great.
• 1:29:26
  Track 2: It's ready. It's on my computer. Griff's angry at me because I'm not giving
• 1:29:29
  Track 2: it to him to release. We're going to release it. It's going to be released by
• 1:29:32
  Track 2: the time this episode is out.
• 1:29:33
  Track 1: What's that director who did like all the, this is going to like the, he's like Woody Allen.
• 1:29:40
  Track 1: He has a film called Deconstructing Harry, which is like one of the few Woody
• 1:29:44
  Track 1: Allen movies that I kind of like, it's okay.
• 1:29:46
  Track 1: And it literally is him descending to hell. Like that's what we think of it. That's why.
• 1:29:50
  Track 2: Oh yeah. Shit. I haven't seen it. Neither of us have watched that,
• 1:29:54
  Track 2: but like, yeah, the idea is.
• 1:29:55
  Track 1: Don't watch it. Don't watch it.
• 1:29:56
  Track 2: They're all in a lift going down to hell. We're going to release that probably a couple of days.
• 1:30:00
  Track 2: Yeah. But at the time this episode is out, it will be out. so come over to uh
• 1:30:03
  Track 2: yeah i'm gonna flip this one up pretty quick because it's like.
• 1:30:06
  Track 1: You know i'm gonna i'm gonna take.
• 1:30:07
  Track 2: That take hold of the.
• 1:30:08
  Track 1: Oscar because i'm doing next week i'm doing a real pain so i'm gonna release them both.
• 1:30:12
  Track 2: Probably yeah and also the one thing that we are terrible at doing even in our
• 1:30:15
  Track 2: own podcast is reminding people we have a patreon please give please give us
• 1:30:20
  Track 2: some yes i you should you you.
• 1:30:23
  Track 1: Should and then and you should also everyone listen to this their podcast it
• 1:30:26
  Track 1: is uh it is very good and you should uh you should do that at the bare minimum.
• 1:30:30
  Track 2: Yeah at the bare minimum listen to it and tell someone
• 1:30:33
  Track 2: else is good yeah i will be back we'll be back for some other episode we keep
• 1:30:37
  Track 2: on talking about different movies we have so many yeah and you know what the
• 1:30:40
  Track 2: next one's going to be i'm going to say it right now there's no changing it
• 1:30:42
  Track 2: you ready star wars to the wrath of khan star wars or star trek i haven't.
• 1:30:52
  Track 1: Seen that in such a long time.
• 1:30:53
  Track 2: I stand by what i said i've never been a trekkie he's never been a trekkie and
• 1:30:57
  Track 2: i'm a trekkie even though i just said star wars too i've seen.
• 1:31:01
  Track 1: I i like i'm more of like a fan of like the some of the shows like the next generation that was.
• 1:31:06
  Track 2: Always no you know you gotta watch the wrath of can do you accept accept live
• 1:31:09
  Track 2: now do you accept oh i i think i think like because i'm i've never really watched
• 1:31:14
  Track 2: star trek but i think there's a lot that's interesting to talk about star trek
• 1:31:17
  Track 2: right like the first interracial kiss like the kind of it's all like left liberal
• 1:31:21
  Track 2: kind of media right i think it is Rathakhan too. Stay tuned.
• 1:31:26
  Track 1: Dear listeners, we may be back for the Rathakhan. The Empire Strikes Back.
• 1:31:32
  Track 2: See, shut the fuck up. You bad bastard. You did this to yourself. I totally did.
• 1:31:38
  Track 2: I totally did. I'm talking to you from six feet deep right now. I dug my own grave.
• 1:31:42
  Track 1: But everyone can listen to your podcast.
• 1:31:46
  Track 2: Bring out your dad.
• 1:31:47
  Track 1: And this podcast because you're listening right now and we will catch you for
• 1:31:51
  Track 1: a future installment of this group in the future signing off always a pleasure.