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First Impressions: Thinking Aloud About Film

Jose Arroyo & Richard Layne
First Impressions: Thinking Aloud About Film
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  • Thinking Aloud About Film: Maskerade (Willi Forst, 1934)
    The MASKS AND MUSIC: THE FILMS OF WILLI FORST strand of last year’s Il Cinema Ritrovato, curated by Lukas Foerster, was so popular that I was unable to see any of them. Richard is more organised and came out raving about two: MASQUERADE/ MASKERADE (1934) and TOMFOOLERY/ ALLOTRIA, (1936). Luckily for us The Internet Archive has a very good copy of Maskerade which enabled us to see it (or in Richard’s case, to see it again). In the podcast below we talk about the film in relation to the Wiener Genre, Authorship, Anton Walbrook’s career (he is here billed as Adolf Walbrook), the difficulties of dealing with works from authoritarian regimes, how it was the most popular film of its year in the German-speaking world. More specifically we discuss the rhythms of the opening scene, Anton Walbrook’s introduction, the narrative invention of the narration of the publication of the muff drawiing, the mise-en-scéne, the influence of vaudeville and the film’s intent on pleasing. We relate the film to Lubitsch’s work and comment on how a particular shot of a camera seeming to float through a window might have influenced Minnelli (in Meet Me in St. Louis) and, according to Mark Fuller, Powell & Pressburger (The Life and Death of Colonel Blimp). All this and much more may be listened to in the podcast below:
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  • José Arroyo in Conversation with Cinema Mentiré
    https://notesonfilm1.com/2025/08/24/jose-arroyo-in-conversation-with-cinema-mentire/ I was lucky enough to see Maria Luisa Bemberg's SEÑORA DE NADIE (NOBODY'S WIFE, 1982)and YO, LA PEOR DE TODAS (I, THE WORST OF ALL, 1990) at this year's CINEMA REDISCOVERED in Bristol, in gorgeous prints, with an  appreciative and enthusiastic audience. I'm a long-time fan of Bemberg's but I'd never had the opportunity to see  SEÑORA DE NADIE and I'd never seen YO LA PEOR DE TODAS in such a beautiful version. The films surprised and delighted. But what I was most taken with was the effervescence, energy and brilliance of Amina Farley Yael and Natalia Christofoletti Barrenha who introduced the two films. They along with Marta Calderon Quiñones are Cinema Mentiré. This podcast is the result of my wanting to know more about Cinema Mentiré, who they are, what they do; and also, of my wanting to publicise the re-circulation of such marvellous films by a legendary female filmmaker in new restorations (which films? What are they about? What are they like? Why are they worth seeing now?), and with new subtitles undertaken by Cinema Mentiré themselves.
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  • RYAN GILBEY, IT USED TO BE WITCHES: UNDER THE SPELL OF QUEER CINEMA
    https://notesonfilm1.com/2025/08/21/jose-arroyo-in-conversation-with-ryan-gilbey-on-it-used-to-be-witches-under-the-spell-of-queer-cinema/ Sometimes you read a new book and love it so much you want to speak to its author and find out more. This is what happened to me in relation to Ryan Gilbey’s IT USED TO BE WITCHES: UNDER THE SPELL OF QUEER CINEMA. What I liked most is that I learned a lot from it – all these new films and filmmakers I’d never heard of – and that it was great fun to read: Ryan’s got an enviable turn of phrase. If the narrative is posited as a process of discovery, the book also has an interesting mode of narration: it’s partly personal, sometimes he writes of himself in the third person in a way that reminds me of Èdouard Louis’ novels . This has the effect of delineating events whilst also questioning them and his own perspective on them. It’s a book that interrogates its own delineations with a loose structure that seems to flow from one filmmaker to another, very inclusive, sensitive to the nuances of race and gender and with a spotlight on trans cinema -- with a British perspective but on world –rather than Anglo-American – cinema; and with the big names (Almodóvar, Haynes, Van Sant), not quite absent but playing a supporting role to filmmakers like: Jenni Olson, Jessica Dunn Rovinelli, Elizabeth Purchell, Campbell X, Isabel Sandoval and others. I think it a landmark book, one of interest not only to those wanting to know more about, cinema and/or queer but also by anyone interested in the current cultural landscape. It seems to succeed in doing what I previously thought undoable, which is to get enough of a grip on the increasing and seemingly ceaseless stream of new queer works in order to lay out a landscape whilst offering multiple, tentative, questioning perspectives on it. A landmark book by a wonderful writer. We discuss all of this and more in the podcast below:
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  • Absolute Beginners (Julien Temple, 1986)
    https://notesonfilm1.com/2025/08/06/thinking-aloud-about-cinema-absolute-beginners-julien-temple-1986/ A rediscovery at Cinema Rediscovered: Julien Temple's marvellous Abolute Beginners.
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  • Cinema Rediscovered Wrap-Up 2025
    https://notesonfilm1.com/2025/07/30/thinking-aloud-about-cinema-cinema-rediscovered-2025-wrap-up/ If a week ago we podcast on what we were looking forward to at the CINEMA REDISCOVERED festival, this is the bookend reflecting on what we actually saw. We are once again full of praise for the organisers, the friendliness of the staff at the Watershed, the originality and diversity of the programme, the community aspect, the educational component and the way that it trains young people up to programme and curate and then gives them an opportunity to exercise those skills. Emotional highlights included a reunion of Stephen Frears, Hanif Kureishi and Gordon Warnecke at the MY BEAUTIFUL LAUNDRETTE screening and Stephen Wooley and Julian Temple getting back together to reminisce about Palace Pictures and ABSOLUTE BEGINNERS, which we liked so much we plan a separate podcast on it. We appreciated the mini programs scheduled on single days (Carlos Saura, Maria Luisa Bemberg, Anna Mae Wong) and the longer ones (the AGAINST THE GRAIN: 1980s BRITISH CINEMA, MASUMURA x WAKAO). It was fantastic to be able to see some films at the BRISTOL MEGASCREEN (THE FALL OF OTRAR, DIVA, THE BEAST TO DIE, MANJI). We talk at some length on individual films as well (ROSA LA ROSE, FILLE PUBLIQUE; THEMROC, DESERT HEARTS, ONE POTATO TWO POTATO and others. We praise the way Sheldon Hall designed his talk on films on Channel 4 for this particular audience, including broadcast dates on every film at the festival and under which strand; for Stephen Horne’s fantastic, multi-instrument accompaniment to the Anna Mae Wong programme; and the care in curating the introductions to the films, with most speakers understanding that the intro is not about them or their interests but about enhancing the audience’s experience and appreciation. The festival left us wishing for a fuller programme the last evening but being left wishing for more is not a bad thing. José Arroyo
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About First Impressions: Thinking Aloud About Film

Podcast by Jose Arroyo & Richard Layne
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