Latest / Secret Movie Club Podcast / SMC Pod #222: 2025 Movies Pt 2 & Disclosure Day

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SMC Pod #222: 2025 Movies Pt 2 & Disclosure Day · Secret Movie Club Podcast

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Hello, Secret Movie Clubbers, and welcome to Secret Movie Club Podcast 222,
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2025 Movies Part 2, and Disclosure Day.
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My name is Craig Hamill. I'm the founder, programmer of Secret Movie Club.
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It is wonderful to be here with you. Thank you for letting me do this podcast.
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Today, as I said in the podcast previous, I'm probably in the future just going
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to wait to do a podcast about the previous year's movies.
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Because when I did movies of 2025, I hadn't seen something like three or four
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that I desperately wanted to see. I've now seen them.
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And today we're going to talk about four of them. Surat, Marty Supreme,
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Sound of Falling, and The Secret Agent.
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And it just made me realize, see at least 10 or 20 before you do a podcast on
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them. So I wanted to follow up.
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Also, I've seen Disclosure Day and in Steven Spielberg's Disclosure Day,
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which came out June 12th.
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And I realized in a previous pod, I said I'd talk about it. And it seems right
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in this one to talk about Steven Spielberg's Disclosure Day,
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even though that is a movie of 2026.
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Secret Movie Club Podcast 223 will be about movie structure.
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And this is something, if you're a movie maker, if you go to film school,
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you spend a decent amount of time talking about.
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A lot of people know the three-act structure. That's often what people are taught
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in screenwriting classes, but that's not the only structure for a screenplay.
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And in fact, I think the more that you make movies and the more you talk to
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people, you realize there's the symphonic structure, which is four movements in a way.
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You could call it four acts, and I think that's fair, but I think the way you
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think about it is a little different. So we're going to talk about that next.
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Next week, which will be July 3rd, there will be no podcast.
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As we always do, we do three pods and then we take a week off.
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It just happens that next week is the week off. We would love for you to go
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through our back catalog. We have something like 200 plus episodes.
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We hope you enjoy them. When we come back, it'll be July 10th.
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I'm also really happy to say I can announce our next movies, our next events.
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So here we go. August 1st, Saturday, August 1st, at the Palace Theater in downtown
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Los Angeles, We are showing on 35mm the sixth sense in Unbreakable,
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probably my two favorite M.
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Night Shyamalan movies, also with two of the best twists of the last few decades
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on 35mm. I'm very excited to do that.
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And then that's going to be a matinee.
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1 p.m. is Sixth Sense. 3.30 p.m. is Unbreakable.
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Then Saturday, August 1st in the evening at 7.30, we are showing The Big Lebowski,
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one of my favorite movies of all time, my personal favorite Coen Brothers movie.
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And the reason we're at the palace, among other things, it's an incredible theater,
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and we would love to show you guys all the amazing movie palaces on Broadway.
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The palace also happens to be the location, That loft on the top of the palace
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is where they shot Maud's apartment.
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And we are going to do a Maud's apartment after party. So 730,
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we're showing the movie. The movie's about two hours.
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And then from 10 to 1, we're going up. There are four flights of stairs.
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There are also two elevators. So everyone can get up there.
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We have a hard cap at 500. And I'm not even sure we're going to go to that.
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Right now, I'm looking to see if we go 300 and then make a decision.
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But it is a huge space up there.
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Maude's apartment is actually pretty huge.
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We're going to have music, art. We want it to be fun.
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It's definitely going to be a, and I hope Maude would be proud of this,
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kind of a performance already thing. We'll have some actors there.
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It is a bar, so it'll be 21 plus. And we just want it to be fun.
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That being said, just make sure you're 21 or older if you get the ticket.
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Right now, we're selling the all-dude access pass. That's $50.
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That gets you into the movie and the after party.
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And that price is good until we sell out of the 300 or we get to July 26th,
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whichever one comes first, then the prices go up. So if you want to be a part
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of this, we'd love to have you be a part of this.
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Get your tickets now. You can find out about what we're doing by going to secretmovieclub.com.
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Scroll to the bottom of the page, get on our newsletter. The newsletter goes out every Tuesday.
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And we are hard at work planning more events. So if you're on the newsletter,
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you'll hear about more events upcoming.
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And you can write us at community at secretmovieclub.com. Email us there.
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And our socials are at secretmovieclub. You can follow us there.
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We have a lot, I hope, that we are about to do.
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But let's focus on what we are doing. We are showing two M. Night Shyamalan
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movies on 35. We're showing The Big Lebowski.
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We're partying in Maude's apartment Saturday, August 1st. We would love to have you.
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I wanted to talk to you about four more movies from 2025, three that are on
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my top 10 now, one that is not, but I think is fascinating.
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And then we're also going to talk about Steven Spielberg's Disclosure Day.
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So when I recorded a number of pods ago, the movies of 2025,
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I had seen, you know, something like 10 to 15 movies from 2025.
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I picked a few of them to talk about, and there were movies that really captured my imagination.
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But I had not seen a number of films that I really wanted to see,
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and I've now seen them. So I wanted to talk to you about them.
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And it just reminds me that, you know, I was glad that I saw them because when
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I recorded the first movies of 2025, I thought 2025 was a good year.
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You know, I don't know that there's ever been a year where I thought,
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oh, man, this year was horrible for movies.
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I know other people might think that way, but I always see two to four movies,
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in any given year that I think are dynamite. And if you can get two to four
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movies that are dynamite out of a year, that to me is you're doing good.
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But when I saw these movies, I suddenly 2025 looked like a much better year
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to me than it had when I recorded the first podcast. So let's dive into it.
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First, I want to talk about the one movie that I didn't that that wasn't in my top 10.
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But the more I think about it, the more I really think it was an ambitious film,
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a fascinating film and a film that really was going for it. And that really
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earns a lot of respect from me.
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And that is the movie by Oliver Lachey called Surratt, produced by Pedro Almodovar, a Spanish film.
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It's a really fascinating film. You have to pay attention to catch some of the
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details that I think, to their credit, they don't hammer on the head.
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But if you don't pick up on them, it might affect the way you think about the movie.
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Basically, it's a movie where we're in some very near future dystopia where
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society is basically about to fall apart.
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There are shortages, climate disaster things happening. It's very children of men in a way.
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Because it's clearly our world, but it seems like maybe 10 years from now,
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5, 10 years from now, 20 years from now, there are soldiers,
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there's a lot of violence, there's a lot of chaos.
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And a group of people are in the Moroccan desert and they just set up raves.
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And their answer to whatever is going on in the world is to just dance and be
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part of this rave culture, maybe because they just don't feel they can do anything about it.
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And so that's how the movie starts at a rave. And then we meet a father and
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a son who are looking for their daughter, sister, because she sort of disappeared into this rave culture.
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And she's not at this rave, but a few of the people at the rave are going to
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some kind of secret rave even further in the Moroccan desert.
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And the dad begs them to let him tag along.
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And then as the movie goes on, the way that they get there is so harrowing.
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And they go on these roads that are very narrow and are way,
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way high up. And I mean, it's a beautifully shot film. You get these Moroccan
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desert vistas, Moroccan mountain vistas.
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But as they recede further and further from society around.
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It gets more and more dangerous and things happen. Oliver Lachey is Muslim,
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and Surratt, as I understand it, refers to the bridge in Islamic spiritual belief
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that a person crosses when they die to the afterworld.
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And it is razor thin, supposedly.
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And this does actually play a really key part in the last third of the movie.
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I don't want to spoil it because it really is in some ways.
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The movie develops getting to this point. I had issues, and I can't really talk
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about the issues without spoiling the movie, and I don't want to spoil the movie.
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So I am going to be a little vague here because I do encourage you to see it. It's streaming now.
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I was initially totally in. I really liked the open. I really liked the dad
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going with these ravers.
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You wanted to judge the people, but you couldn't. You were trying to figure
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out the world and what was going on.
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The filmmaking is cinematic and gorgeous and incredible.
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And then something happens. And it's very much meant, I believe,
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to, I mean, it's very intentional. It's shocking.
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For me, and I think for a lot of people who would be in my situation.
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When movies do a certain thing, a whole group of people in the world are you're going to,
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really trigger their lizard brain because it's it's kind of the worst nightmare
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for a lot of people and oliver lachey does something and he does it in a very
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head-on way and i actually had to stop the movie when this happened and i had
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to look up a certain fact about him and sure enough it was confirmed that,
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his situation is not the situation i'm in i'm so sorry to be vague.
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But I thought, yeah, OK, there we go. This is something somebody would do if
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they didn't if they weren't in the situation that a lot of people in the world are in.
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They would think of it as a very bold, artistic, challenging, emotional thing to do.
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And I understand, I think, why
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he did it, but I think you have to be very careful when you do this thing.
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And I was out of the movie for like 40 minutes.
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I mean, I watched it, but I just couldn't believe one of the characters motivations after that.
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It just seemed like Oliver Lachey didn't know how somebody in that situation would truly react.
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It started to feel like the movie was trying to get us to a point through screenwriting.
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And and and I just was like, I'm out.
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But then towards the end of the movie, there's an incredible sequence in a minefield,
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that I quite liked. It's funny. I was talking to a friend and that was the sequence that took him out.
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So there you go. You never know. But I thought that sequence was quite good.
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And then I thought the ending of the movie was a little less profound than it thought it was.
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And that's me. What I will say, though, is that Surat as a movie certainly doesn't
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play it safe, and you have to give it credit for that.
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Certainly Oliver Lachey knows how to direct a film, and it is certainly a gripping
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and fascinating film, and there is something going on in it,
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spiritually, that I'm still wrestling with.
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So I do recommend you see it, but I will say, I mean, if we ever meet on the
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street or what have you, I can tell you what it was.
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You'll know when you see it. I did feel that the choices made were made by somebody
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who had not had certain life experiences and had Oliver Lachey had those life experiences.
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I do not think he would have chosen to do what he did in the way that he did.
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That I've now seen. These now all went on my top 10, and that is Josh Safdie's
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Marty Supreme starring Timothee Chalamet, the incredible Klaber-Mendoza-Filyeu
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movie The Secret Agent starring Wagner Mora,
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and a Brazilian film, and then an incredible German film by Masha,
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Schlinsky called Sound of Falling.
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These three movies absolutely went on my top 10.
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And Sound of Falling in particular, even though I thought it had some issues,
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I thought the cinema was so,
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unique and Masha Shlinsky and her cinematographer and her team were finding
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new ways of expressing things cinematically that every few years a movie like
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this comes along that I really anchor my belief in cinema on.
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I'm like, okay, good. People are still doing new things.
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And it is still a vital form. And Masha Shlinsky's Sound of Falling is one of those movies.
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Before that, for me, it might have been 2021's The Worst Person in the World by Joaquin Trier.
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Before that, maybe 2018's, I think it was 2018, Into the Spider-Verse.
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I love that film. 2015, Fury Road.
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I loved Um Prophet, which was from 2009 is a film I love. So every few years
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a movie comes and I just go, wow, you know, this is one of the greatest films I've seen in a few years.
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And Sound of Falling was one of those. Let's start with Marty Supreme.
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Now, I went into Marty Supreme. I don't know exactly what I expected,
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but I didn't expect to love it as much as I did.
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And I loved it probably because it is a character study of somebody who is.
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So ambitious and so determined that they will do anything. Nothing will dissuade them.
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And that really appeals to me. That really spoke to me.
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Marty is played by Timothee Chalamet, actually based, interestingly,
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partly loosely on a real 1950s New Yorker ping pong champion before ping pong really got big.
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And basically the movie is that Marty goes to England. He's clearly a grifter
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and a con artist and cocky.
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He eventually gets to the finals against a superlative Japanese ping pong player
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who is deaf, actually. And the Japanese ping pong player wins.
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Marty is embarrassed. He goes back to New York and he spends the rest of the
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movie trying to get to Tokyo, where the next ping pong championship is going
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to happen for a rematch. That's basically the movie.
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I have not seen Benny Softee's The Smashing Machine starring The Rock.
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The Safdie brothers had done a number of movies, and then their last two movies
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really catapulted them to fame.
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Good Time starring Robert Pattinson, which I initially did not like at all.
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And then something happened to me about two-thirds of the way through that movie
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where I was like, actually, I do really like this movie.
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But I found it very abrasive, and I was wondering how I was supposed to like
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the Robert Pattinson character.
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But then something happened and I just I was all in.
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And then specifically the Adam Sandler starring Uncut Gems. And then they went
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their separate ways, which is a bummer.
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But, you know, Josh Safdie, Marty Supreme feels of a piece with Good Time and Uncut Gems.
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It's an incredible movie, and there are a lot of choices that are a lot of fun.
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Safdie uses 80s music, even though it's a 1950s film.
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He uses a synth score, which are interesting choices.
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He continues this thing that the Safdie brothers were doing,
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especially in Uncut Gems, where the casting is crazy. It's like all over the
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place. You've got Chalamet as Marty Supreme, and you've got a number of actors.
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Then you've got rappers.
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Tyler, the creator, I believe, stars in it. You've got Gwyneth Paltrow as a
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Hollywood actress trying to make a comeback in Broadway, and she and Marty have an affair.
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You have this guy from Shark Tank. I've not really watched a lot of Shark Tank,
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but Kevin O'Leary from the reality business TV show playing,
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a businessman that Marty has a love-hate relationship with because the businessman
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could possibly get him over to Japan.
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And so it's just Fran Drescher is in the movie.
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So it's this really eclectic cast. And Abel Ferrara, the director,
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plays a really major supporting part as a gangster who's really attached to his dog.
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And you have to give it up for the eccentricity of the characters and the casting,
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and it does somehow cohere.
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The movie is shot by Darius Kanji, the famed cinematographer. It is gorgeous.
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The production design is by Jack Fisk, one of the greatest production designers
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ever to, you know, practice the craft.
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What really blew me away is I think you can say that Good Time,
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Uncut Gems and Marty Supreme are really a trilogy of New York grifter hustlers
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who are basically amoral and will do anything to get what they want.
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But each movie represents a kind of evolution.
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And Marty Supreme, the character arc is the strongest because ultimately,
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and I don't think this spoils it too much, but ultimately Marty does change.
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He is not the same person he was at the beginning.
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Not to sound trite, but he does actually learn something.
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And it really moved me. I am a father. And in the movie, there are these issues
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of fatherhood that are very well planted and paid off.
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And by the end of the movie, you know, you feel like Josh Softee is making a
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comment on that sea change that happens when you become a father.
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And I was all in for it. And then, like I said, I really was moved by its portrait of ambition.
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Also, the style is incredible. It's just this sort of two-hour panic attack,
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but cinematic panic attack.
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But maybe even—I don't even know if that's the way to say it,
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because who wants to go through a two-hour panic attack? It's more like just—.
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And Softie's ability to pace a film is really impressive, really enviable.
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You know, I'm watching Michael Curtiz right now. I'm watching We're No Angels.
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And I would say that, you know, Curtiz is someone who knows how to move a film.
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Spielberg often is someone who knows how to move a film. And Softie,
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Scorsese, is someone who knows how to move a film.
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And Softie is now somebody who really knows how to move a film.
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The next movie, The Secret Agent, Brazilian film by Kleber Mendoza Filiu,
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I had seen his movie just before this one called Baccarat, which I loved,
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which was a most dangerous game riff where basically sort of entitled obnoxious.
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First world white people come to a small Brazilian town to hunt people.
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And they think that there's going to be no consequences.
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And then the town kind of rebels and fights back.
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It's got Udu Kier in it. Udu does a great job. And I love that film.
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And so I was really looking forward to this film.
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And when I finally saw it, I loved it.
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Again, like Marty Supreme, very eccentric film.
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There's a whole subplot about a severed leg. and Phil Yu devotes a whole sequence
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to the leg attacking mashers in a kind of make-out park, which is very funny.
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And you're like, what is this about? But it's, I mean, it works because it's
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sort of about the Brazilian media and the Brazilian press and how they run wild with the story.
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The essential story is it takes place in the 70s in Brazil when dissidents were disappeared.
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A very common story in all of South America. and,
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We follow one dissident, played incredibly by Wagner Mora, who is trying to
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get his son and get out of the country.
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And so he gets to an apartment, kind of a safe apartment where other dissidents
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are staying. He reconnects with his son. His wife has died.
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And so, but his wife's parents are there to support him.
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And then Wagner Mora is trying to find a way to tell his story and get out before he gets killed.
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And that is essentially the the movie the plot of the film.
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It definitely goes places you don't expect it to,
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it definitely is doing something different it's not meant to just be a genre exercise and in fact.
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It has a lot of echoes and rhymes with a movie like no country for old men among
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others it zigs and it zags in fact so much so that it seems like no country
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for old men probably directly influence The Secret Agent.
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It's not a spy movie, really, but it does have thriller elements.
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It does have political elements and it does have it is a political thriller
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in a way, but it but it's a political thriller the way that Phil you wants to do it, which is great.
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There's a whole in fact, talking about Steven Spielberg, there is a whole subplot
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that revolves around Jaws, which is being shown in movie theaters.
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Movie theaters play a big role in the film.
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And I love films that about a country's.
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History and what it's gone through and somehow communicate to you the socioeconomic
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and the sociopolitical realities of a country, but somehow do it in a way that's captivating a cinema.
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And Secret Agent does that. It's anchored by a number of great performances.
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It makes you fascinated with Brazil.
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And it's just a tremendous film, a tremendously shot film, tremendously performed
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film, and a tremendously directed film.
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Sound of Falling, the Masha Schlinsky film from Germany, in some ways is the
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most incredible in terms of its cinema.
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And at the same time, there are some things that I thought didn't work,
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that I thought were a little too much.
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But basically, it's a German film about a farm, basically, right on the border
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of East and West Germany.
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And we see five generations, I think four or five generations of women who live
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on this farm and the movie cross cuts between their stories.
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And like so much world cinema that is an American cinema, Sound of Falling isn't
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there to spell things out for you, even though I think it does a really good
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job of having you follow the story. There is a.
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A really fascinating thing Shalinsky does where you're never quite sure what,
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is real, what is daydreams or fantasy in the minds of the women.
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What is maybe distorted given the narrator.
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And I think in some ways that's really the movie saving grace because there
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are a number of things that happened in the movie that I found,
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and maybe it's my American sensibility, but like too dramatic,
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too, like too dour, too depressing.
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And I was like, there's just something about when too many depressing things
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happen in a film, you just start to go, okay.
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I mean, look, and the world is a thousand times more difficult and brutal than any film.
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I'm not trying to sound pie in the sky or delusional, but there's something
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about cinema where if you get a little too fetishistic about your fatalism, it can feel like a pose.
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And I would say that A Sound of Falling suffers from that a bit,
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I thought, especially towards the end. But that being said...
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There are just these incredible sequences where
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she'll cut to this kind of shoegaze song and there'll be a woman in the river
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and it'll be a slow-mo shot, a single shot locked off, and a face will come
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out of the muddy silt, come towards the camera,
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recede back, and you're just like, wow, this is beautiful cinema.
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There's also really interesting things where something that doesn't make sense.
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In one scene, several scenes later, you get the information to go,
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oh, oh, that's what was going on. OK, that makes sense.
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And then there are characters who reoccur in several of the generations.
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A teenage boy character in one of the earlier stories is a man.
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He's an amputee, and he reappears as sort of an older, sexual,
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virile man, even though he's missing a leg and becomes sort of the object of
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obsession of a woman in a later story.
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There are characters who were younger sisters who become mothers, and they're.
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But the movie also is a pretty rough, brutal takedown of how women were treated
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in this society from World War I through really to the present moment.
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Although the present moment feels much more enlightened than the World War I,
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the interregnum, the World War II, even the communist Russia,
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or communist East Germany.
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This farm is, I think, on the East—in fact, I know it's on the East German side.
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So there are these things you find out about that are pretty rough,
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like that the women are forced to be sterilized so that the men on the farm
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can rape them, essentially,
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although the men on the farm don't look at it that way.
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Basically, the women are expected to gratify the men's sexual urges.
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This isn't all the women, but it's a few key women, and it's really hard to
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take, but it does force you to think.
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And then in later stories, there are teenage girls or young women who –.
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Are toying with the power they have in their sexuality, but also unsettled at,
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the libidinousness, the cravenness of some of the men they're even related to.
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So it is a rough movie, and yet it's a beautiful film.
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And really the thing that is the most incredible about the movie is its cinema.
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There are scenes where characters run through the house and almost in a Theo Angelopoulos way.
27:36
You get different time periods in a single shot.
27:40
There are incredible compositions, incredibly edited aspects of the movie.
27:45
There are ghost elements that you're trying to figure out.
27:50
It's just an incredibly made film, and I cannot recommend it enough.
27:56
If you love cinema, you are going to be inspired, and Masha Shlinsky made an incredible movie.
28:03
Okay disclosure day so i saw disclosure day with my son uh actually june 11th
28:10
right before it opened wide on 70 millimeter at the vista theater and,
28:16
you know in a nutshell what i would say would be ultimately i thought it was
28:22
a good movie i mean ultimately i agreed with what spielberg was saying Ultimately, I thought,
28:28
he subversively, in a way, took the genre he's most known for, sci-fi, aliens.
28:35
It definitely felt like a summing up. There were elements of Close Encounters,
28:39
there were elements of E.T., there were elements of War of the Worlds,
28:42
but there were also, unfortunately, elements of Kingdom of the Crystal Skull.
28:45
Some of the CGI was not good.
28:49
There were elements of AI, but he's not there to do the greatest hits.
28:55
He uses the alien genre really to talk about where we're at right now as a society and as a culture.
29:02
And I thought that was really interesting. The opening shot of the film is of
29:05
a wrestler just stomping the camera at a wrestling event.
29:09
And there are a lot of people in the audience of that event who are wearing red caps.
29:13
And you can't, you see it and you're like, oh, whoa, okay.
29:17
And then by the end of the film, it's very clear that Spielberg has something
29:21
on his mind that bothers him about where we are as a society.
29:25
And I respect the hell out of somebody who makes a movie that is determined
29:34
to make a sociopolitical comment.
29:38
It's kind of a, I think you call it a cri de corps, a cry of the heart.
29:42
It feels like that. Now, it is a slow movie, and I thought the script was not good.
29:50
There were scenes and dialogue and exposition I thought was really clunky,
29:56
and there were long portions of the film where my eyes kind of flared,
30:00
and I was like, I cannot believe that they did not take scissors to this.
30:05
The movie runs about two hours, 20 minutes. I don't think it needed to be in
30:08
more than an hour 45, personally. Now, look.
30:12
Far be it for me. I am not Steven Spielberg. So, you know, that's an obvious.
30:18
That was just sort of my feeling. And I wondered, like, didn't anybody tell
30:23
him that this doesn't work or you didn't need that or this feels like it's lagging?
30:28
I didn't feel he was super engaged in the action sequences. Some people are
30:32
praising them. There are really only two, I thought, in the entire film, or three.
30:36
And I really liked the last one. My son did, too.
30:40
Even though it's the most comical, but it's the most comical in a way that felt
30:45
very Spielbergian and it was enjoyable.
30:48
You know, Emily Blunt did a great job. I'm sure you've heard this.
30:51
She has one incredible scene where basically something, she has some relationship
30:56
to the aliens and we don't know what at the beginning of the movie,
30:59
but a certain thing happens that triggers something inside her or opens,
31:03
unlocks something inside her.
31:04
And suddenly in the course of a scene, She's speaking three or four different
31:09
languages with her boyfriend, played by Wyatt Russell, like flawlessly.
31:13
And it really is fun to see an actor that good.
31:18
Everybody is fine in the film. I felt like Colin Firth was not helped by whatever
31:24
the backstory was supposed to be.
31:25
He plays the bad guy kind of in a way of the movie, although he's a bad guy,
31:29
a bad guy with heart and soul and one of those people who thinks they're doing
31:33
things for the right reason.
31:35
But there's this subplot that has to deal with his wife that never was explained.
31:40
Like, I never fully understand what that what that was supposed to be about.
31:43
And obviously it was meant to be important for decisions he makes at the end
31:46
of the film. But I couldn't really follow it. I mean, I think if you're being
31:50
brutal, you have to say the movie didn't work in a lot of ways.
31:54
And yet, at the same time, you have to say that it was a daring film and a fascinating
32:01
film and a film where Spielberg could have easily done a feel-good layup.
32:06
And he didn't. He wanted to do
32:08
something different. And I think that's the hallmark of a great filmmaker.
32:11
And the fact that Spielberg is 80 and he is still trying to do things that are
32:18
not obvious home runs, but are really ambitious and interesting.
32:24
You know, that won me over. That did win me over. And I do think ultimately
32:28
a lot of his points about how God and aliens can coexist and how.
32:33
I don't feel his point was actually overtly liberal or conservative.
32:36
I felt his point was, and this is very Spielbergian, I felt his point was very empathetic.
32:42
It was about like all of us trying to put aside our pettiness to try to find
32:48
a way back to having some kind of connection and civility and productiveness
32:54
with each other. And I commend him for that.
32:56
And the final sequence of the movie, which is the disclosure,
33:00
where they disclose to the whole world through all these different news feeds,
33:04
was a lot of fun and really well edited.
33:06
That part was great. I was down for that and that was really really well done
33:10
so go see it be ready for it to be slow and clunky and for a few times for you to be like what the fuck,
33:18
but by the end i'd be curious to see what you think it did win me over.
33:23
Thank you guys for listening. That is the end of Secret Movie Club Podcast 222.
33:28
Secret Movie Club Podcast 223 will not come out next week. That's an off week for us.
33:34
But the week after, July 10th, we will be back and we will be talking about
33:39
film structure, which often has to do with screenwriting, but not always.
33:43
Sometimes the structure of a film is found in the editing and whatever the screenplay
33:47
was. I mean, there's so many famous stories.
33:50
American Beauty being one of the great ones where that whole movie was about
33:53
a court case and it was bookended by these courtroom scenes that they cut out entirely.
33:58
And, you know, Annie Hall, Woody Allen's Annie Hall was originally a much more
34:03
expansive, zany comedy that was pared down to like 89 minutes and just focused
34:09
on the ebb and flow and the rise and fall of a love relationship.
34:13
So oftentimes structure is found in the editing as well. And so when I say film
34:19
structure, we are not just talking about three-act screenwriting structure,
34:23
but I do want to get into it. I do find it fascinating. I do find it important to understand.
34:28
We'll get into all that in two weeks. In the meantime, please go to secretmovieclub.com,
34:34
go to our socials at secretmovieclub, get on our newsletter.
34:36
August 1st, 2026, we are at the Palace Theater.
34:40
We are doing the sixth sense and unbreakable on 35 millimeter as a double matinee.
34:46
And then at seven 30, we are doing the big Lebowski and we are having a 10 PM
34:50
to 1 AM party in mods apartment where they actually shot the mods apartment
34:54
scenes above the theater. And we're going to make it, we hope to make it a blast.
35:00
We would love to have you there. And we only have, we have a set number of tickets
35:03
and we cannot just, we cannot sell more than those. So if you want to watch
35:07
Lebowski and party in Maude's apartment. Grab those tickets now.
35:11
Email us as always at community at secretmovieclub.com. I hope you guys are
35:15
making movies. I hope you guys are fighting the good fight, running the race, keeping the faith.
35:20
I am under the weather, but that's what happens when you have got a family of
35:26
four and my wife and I are both under the weather.
35:29
But, you know, being able to do these podcasts, being able to keep on keeping
35:35
on with cinema and with movies and with you guys, it helps.
35:38
It helps when you're not feeling great. So thank you.
35:41
And I wish you guys a great few weeks. Happy 4th.