On this episode we discuss the choices of Terrence Malick. New release KNIGHT OF CUPS goes back to similar territory about choices in love, or how the lack of making a choice has lead to an unfulfilling existence, which we also see play out in his previous films THE NEW WORLD and TO THE WONDER. However both of those films differ greatly in providing a straightforward narrative, so we also discuss the continued evolution of Malick as a filmmaker, where he assaults the viewer with an unrelenting amount of visual choices, and confounds them with his storytelling choices of dropping characters in and out of his films with little or no explanation. Unable to explain KNIGHT OF CUPS, we make the choice to discuss timing your sexual prowess by the length of a GREEN DAY song, how THE TREE OF LIFE is similar to BRING IT ON, and also a shoutout to NBA legend Tom Chambers.
MULHOLLAND DRIVE is a complex and surreal film directed by David Lynch, known for its non-linear narrative and dreamlike sequences. The ending is open to interpretation and has been the subject of much debate among viewers. Here's a breakdown of the ending: Diane's Dream vs. Reality: Throughout the film, there are two main narrative threads: one follows Betty/Diane's dreamlike experiences in Hollywood, and the other delves into Diane's harsh reality. The ending reveals that the majority of the film has been a dream constructed by Diane Selwyn, a failed actress, as a means to escape the guilt and pain of her actions. Betty/Diane's Descent into Madness: Betty, played by Naomi Watts, represents Diane's idealized self—a hopeful and innocent aspiring actress. However, as the film progresses, it becomes clear that Betty's story is unraveling, and her identity begins to merge with Diane's. This culminates in the revelation that Betty is merely a construct of Di...