In our very first episode we forge a podcast alliance based on deception and raw sexual tension as your hosts Josh, Jared, and Mike take a look back at films released on the same weekend one year ago: ALLIED and ALWAYS SHINE. In Robert Zemeckis' mainstream wide release we have movie stars Brad Pitt and Marion Cotillard playing married spies who may still be on the job as they attempt to start a domesticated family life together. In Sophia Takal's limited release from Thanksgiving weekend of 2016 we see a previously close friendship of two actresses unravel as their professional paths diverge and also perhaps their personalities in this twisted take on cabin in the woods horror. Did the big budget throwback to Hollywood spectacle deserve its middling reviews? And does the little seen indie with a great performance from Mackenzie Davis deserving of more judging eyes? Find out in our inaugural episode of SOBER CINEMA.
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...