In Film We Trust

We're joined once again by filmmaker Dave Markey, whom in the last episode discussed his early years in the hard scene of the 1980s and his low-budget classics such as Desperate Teenage Lovedolls. This time he's here to discuss his perennial cult classic 1991:The Year Punk Broke, in which he toured Europe with the likes of Sonic Youth, Nirvana and Dinosaur Jr. He also teases his upcoming documentary on underground zelig Bill Bartell - a friend dating back to the punk days.

As a podcast that celebrates and champions the efforts of indie filmmakers, we’re very pleased to welcome on Mr. Dave Markey, musician, filmmaker and documentarian, and a man whose projects are the very definition of independent. In the first of this 2 part episode we’ll be discussing Dave’s formative years, his heavy involvement in the punk rock scene and the early work that put him on map, including The Slog Movie, Desperate Teenage Lovedolls and its sequel, Lovedolls Superstar. With some personal stories, amusing anecdotes and fascinating facts about punk music and the film scene that grew out of it scattered throughout, its an episode you simply can’t afford to miss. Keep your eyes and ears peeled for next weeks instalment, where we’ll be focusing on 1991: The Year Punk Broke, Dave’s signature documentaries, as well as an insight into what he has planned for the future.

In part 1 we discussed our listeners' number 4 and 3 ranked worst genre films of all time. Now it's finally time to conclude what we all started and get to the top 2 ranked worst genre flicks of all time!

Once again we're joined by friend of the podcast Flixology 101(who brought us this idea), and we'll also be joined be several friends throughout the episode.

Musical biopics are in no short supply, but they have a pretty rocky history and its rare that one actually does its subject matter justice. So this week we’re deep diving Love & Mercy from 2014 to see how the genre can be done right. From regular producer and occasional director Bill Pohlad, it tells the story of Beach Boys member Brian Wilson and some of the pivotal struggles he faced throughout his life, focusing on 2 especially important periods. This episode, we’re joined by Beach Boys fan and Paul Giamatti aficionado Rolo Tony, an enthusiastic proponent of the film, to chat about why it’s so effective in detailing the highs and lows of one of the greatest minds in modern music. Grab your favourite pair of floral shorts and break out the surfboard wax, because this is gonna be one wild ride.

We're heading back to 1932 to delve into Tod Browning's controversial carnival horror Freaks.

Luckily for us, we're joined by Arrow Video contributor(commentator on Psycho 2 and 3) who is currently writing the book on Freaks.

So stick around, for an informative, and personal, episode that takes a lot at the creative process, whether that's Johnny's work, or Browning's work on Freaks.

You may remember an episode we released last October where we dived into the French New Extremity movement. Far from being a thing of the past, it received a boost in popularity and status thanks to the work of up and coming director Julia Ducournau. So today we’re going to be taking a look at her debut feature film Raw, a story which follows a teenager’s first year at vet school. Beset by all the challenges and temptations that surround her, her life will soon take a very bizarre turn. Joining us in this endeavour is Reece Beaumont(@ReosPositivePOV), film critic, podcaster and avid fan of Ducournau’s work. Together we’ll sink our teeth, pun very much intended, into one of the best and most unique horror films of the last 10 years. Do you have a strong stomach? We certainly hope so.

We once again delve into the world of the 90s independent film scene, this time by way of Kevin Smith's debut feature Clerks. Indebted to the success of Linklater's Slacker, Smith took the indie scene by storm, showcasing his talent for dialogue and malaise of Gen X.

This is the 1st part of a 3 part series where we discuss each separate Clerks film. and we're not completely alone for this ep as there is a contribution from Newman, host of the terrific Movies4Dayz podcast!

Welcome back to our interview with Nikolas Schreck. Last week we delved into our guests formative years, experiences and the making and enduring legacy of his documentary Charles Manson Superstar. This week we discuss a host of other topics, including his connection with acclaimed filmmakers Kenneth Anger and Curtis Harrington, his efforts in producing Christopher Lee’s debut album, his book The Satanic Screen, his acting roles in Mortuary Academy & Blade Runner as well as his upcoming documentaries. There’s a few other things nestled away in the episode, so give it a listen if you want to get all the juicy details.

We welcome artist Nikolas Schreck onto our latest episode - which will be a 2 parter . In this weeks ep, Nikolas relays us stories of his formative years and his invitation into the world of esotericism. And ultimately, how those formative year drove him to befriend, and ultimately make the documentary Charles Manson Superstar.

Nikolas also talks of being caught up in the hysteria of the 80s Satanic panic as leader of the rock band Radio Werewolf, and husband of the daughter of the founder of The Church Of Satan, Zeena Lavey.

You can join us next week for part 2, where Nikolas will dive into other areas of his life and career, such as his relationships with Kenneth Anger and Curtis Harrington. His producing of Christopher Lee's debut album and much more!

For 75 episodes now, we've done our best to spotlight to many gems of the cinematic world, be they obscure hidden treasures or well-known masterpieces. But for episode 76, we're going the other way. We're going to take a look at a few films that our followers have called their most disliked. We put up a few polls, collated the results and whittled the list down to 4. This week, we're discussing the films thatg came 4th and 3rd, and then at sometime soon in the future, we'll subject ourselves to those that came 2nd and 1st. Joining us in this sadomasochistic pursuit is previous guest and close friend of the channel, Phil Deglass from Flixology 101. The results are in, the drinks are poured and we're prepared to tear these films a new one. If you enjoy the paina nd suffering, you came to the right place

We're back for our first episode of 2024, and we're back with one of the most controversial mainstream Hollywood film since its release.

In an episode that discusses the myriad of topics and issues surrounding Natural Born Killers - the Tarantino/Stone feud. The films attack on the sensationalist media reporting of the time such as the O.J Simpson and Menendez Brothers trials and much !

Welcome dear listeners to our final episode of 2023, and since we’re releasing it between Christmas and New Year, we’ve decided to make it extra special by covering a film from each of these holidays. For Christmas, were checking out a festive psychological horror from 2019, I Trapped The Devil, a film that does more or less what it says on the tin. As well as our customary deep dive, we’ll also be having a little fun with the theme of Christmas in cinema, including a chat on what exactly constitutes a Christmas film. For New Year, we’re throwing on our best costume and hopping aboard the Terror Train with the scream Queen herself, Jamie Lee Curtis. Released in 1980, when the slasher subgenre was really starting to take hold, it might not be the first movie you think of when someone says the words ‘New Year’, but it provides fertile ground for discussion and dissection. That is our jam after all! So, whether you’ve been with us for a while or just found us recently, thank you so much for your support in 2023. Enjoy this little treat of ours and we’ll see you all in 2024. - Wayne & Liam

For our latest episode we are joined by luchador and Troma horror host Gringo Fantastico(@realfantastico) as he brings IFWT John Carpenter's religious shocker Prince of Darkness - a film that would reunite Carpenter with Donald Pleasance.

Expect an episode that delves into our guests wrestling past, working for Lloyd kauffman as host of a Troma horror show. Also, expect a bountiful of conversation about all things John Carpenter and where we all stand with the Halloween franchise!

Well, it’s finally come to this. In Film We Trust, formerly a podcast of repute and family friendly entertainment, is plunging the very depths of depravity and degradation. We’ve covered Taxidermia, Threads, Scum, the French Extremity Movement and even dedicated an entire month to examining the Video Nasty craze. But compared to the movie we’re covering today, these films barely even scratch the surface when it comes to disturbing content. This movie is on a whole other level of violence and bad taste. Or is it? If you haven’t guessed by now, or managed not to catch a glimpse of the title when you clicked on this episode, today we’re discussing A Serbian Film, a movie mentioned in hushed whispers throughout the world of entertainment. But does it deserve its ugly reputation? Has its content been blown out of proportion over the years? Is it meaningful commentary on the abuse of an entire country, or pretentious exploitation masquerading as social allegory? With the help of another guest, Adam, a.k.a., Loon of The Blind Dead (@ajl__66) we attempt to answer these questions, and examine a movie that so many have avoided. Join us, if you dare.

In this weeks episode we bring you Author Coy Hall, who have brought us his favourite horror movie of all time, The Black Cat.

Sourced from Edgar Allen Poe's original short story, The Black Cat has gone through many adaptations ranging from Sergio Martino's Your Vice is a Locked Room and Only I Have the Key, to Fulci's The Black Cat. But how faithful exactly is Ulmer's '34 adaptation? Well, that is to be decided, in an episode that ranges from topics such as the themes of the film all the way to the horrors of WW1.

For episode 70 of In Film We Trust, we’re welcoming on another special guest: Felicia of the Seeing Faces In Movies Podcast, who is entrusting us with the task of deep diving her favourite film of all time, The Swimmer (1968). Released on the cusp of the New Wave movement that would come to define the following decade’s cinematic output, it stars Burt Lancaster, owner of one of Hollywood’s most famous smiles, as a man deciding to swim home via the various pools of his well-to-do neighbourhood. On the surface it appears to be a story of bottomless drinks, countless backyard parties and increasingly rude neighbours, but dig deeper and a far more sinister picture emerges. And dig deeper we shall! So don your finest swimwear, top up your gin and tonics and come with us as we navigate the perilous twists and turns of the Lucinda River.

With October drawing to a close, we’re rapidly approaching the most exciting time of the year for gore hounds, exploitation enthusiasts and jump scare junkies: Halloween. Last year we looked at Tim Buton’s quirky black comedy Beetlejuice. This year, we’re going a little darker. We’re taking a trip to Japan to deep dive the film that helped to usher in the New Asian Cinema Movement, as well as bringing J-Horror to international attention. Ring was released way back in 1998, but it’s timeless themes and universal concepts have given it a timeless quality, and its central storyline and implications have been analysed and dissected by many great minds over the years. Now, it’s our turn. So fire up that dusty old VHS player and join us as we discuss our history with J-Horror, the state of horror films at the time of Ring’s release, and break down the film itself, examining its relevance in not only the contemporary world, but also the modern one.

As we continue our spooky October, we are joined by Benjamin Vargas from the podcast Cinema Shitshow.

As is customary, at this point, with our guest episodes, our guest is just as important as the film we discuss. And in this wide ranging episode we dive into the New French Extremity Movement, the state of contemporary film, Benjamin's formative film experiences and, somehow, within all this, we manage to find time to discuss the French home invasion horror ils(Them).

You can find the Cinema Shitshow podcast @CinemaShitshow all our your typical socials.

Released in 1977, 4 years after its legendary predecessor, Exorcist 2: The Heretic failed to make anywhere near the same impression, and the cast, crew and even the director himself have spoken out against it. But some people, including our guest for this episode, believe it to be an unfairly maligned piece of genre brilliance. It’s been called the worst film ever made by various people and publications, but does it really deserve such a reputation? Well, that’s what we’re (hopefully) going to find out today. Join us and our special guest Justin from the Film Effects Podcast as we approach this film with fresh eyes and open hearts. What will be the result?

In this episode, rather than our usual deep dives delving into a specific film, we are in conversation with independent Scottish filmmaker David Wilde. Whilst Wilde may not be a household name within the film community, he has build an over two decade long career in the independent realm. With his debut feature Pasty Faces taking him over the Atlantic as he shot in Los Angeles and Las Vegas.

In this episode he proves a great raconteur, bringing us stories of his experiences within the industry, whether it's Cannes, dealing with producers, or crowdfunding his latest horror film Psycho Sex Dolls.

This is an episode that is a must listen for all those budding filmmakers who are inspiring towards the industry, or even for movie fans alike, who will find the conversation interesting and enlightening.

As spooky season approaches, our thoughts turn towards the murderous and the macabre, and so what better way to lead into October than with one of the most acclaimed slasher films of all time, one that many people say kickstarted the subgenre: Black Christmas. 4 years before John Carpenter’s Halloween initiated a horror revolution, a little Canadian film following a group of students in a sorority house being targeted by a deranged killer was already creating the blueprint for what would become the modern-day Slasher. Joining us for this deep dive into a cinematic classic is the one and only Phil DeGlass, the man behind Flixology101, a website that ingeniously combines films and drinking, a combination guaranteed to go down smooth. So, grab brewski(or two), put your feet up, kick back and let us delight you with the ins and outs of a 70s masterpiece. And please remember, always listen responsibly.

Detroit is a city on the verge of collapse. Crime is skyrocketing, the economy has plummeted, resources are scarce and internal corruption is running rampant. In a last-ditch attempt to save itself, the city has allowed mega-corporation OCP to run the city’s Police force with the hopes of bringing things under control. When a local cop is gunned down in the line of action, rather than mourning his loss, the company decides to bring him back to life and turn what’s left of him into a next-generation crime fighting machine. All this sound familiar? Well it should, because it’s the basis for one of the most influential sci-fi movies ever made: 1987s Robocop. On the surface it’s a loud and proud action flick, full of blood, gore, spectacular kills and comically over the top violence, the kind of things it’s director Paul Verhoeven is well known for. But if you dig a little deeper you’ll find a biting and eerily prescient satire on the world of corporate greed and privatisation, as well as a rumination on the nature of humanity and what it means to be human. With our next special guest waiting in the wings, let us take you back in time to the late 80s, to explore a film often imitated, but never bettered, and find out how it’s managed to stand the test of time.

We're back on home shores and back to folk horror as we discuss Mark Jenkin's sophomoric feature film Enys Men. We also discuss his debut feature Bait that straddles the other worldly and British kitchen sink tradition.

It seems like only yesterday we were covering Peter Jackson’s delightfully twisted directorial debut Bad Taste, and we had so much fun doing it that our next trip to New Zealand was inevitable. This time we’re venturing back to 1977, the tail end of the cinematic New Wave moment that produced some of the industries most acclaimed directors. Over in NZ however, their cinema boom was just getting started, precipitated by a little flick called Sleeping Dogs. A tale of one man’s quest to survive in trying times, stuck between warring factions with no intention of joining either of them. Based on the novel Smith's Dream by C.K. Stead, the film serves as both a commentary on contemporary New Zealand life, as well as an eerily prescient glimpse into a future plagued by riots, demonstrations, financial hardships and corrupt politicians doing anything they can to cling to power. Will In Film We Trust pick a side, or will we stand firm in the middle? Tune in to find out.

We're heading back to 2010 to explore Richard Ayoade's directorial feature debut Submarine. A British comedy-drama that is both singular, yet manages to effectively riff on its influences, such as Billy Liar, Harold and Maude and films of the French New Wave.

57 episodes in our back catalogue and we’ve never covered a David Cronenberg film yet. I know, we’re just as surprised as you are! So this week we’re rectifying that injustice by taking a look at one of his lesser regarded movies, but perhaps his most personal. The Brood was borne out of difficult circumstances, namely a painful divorce and child custody battle, elements which Cronenberg explores in his own, twisted way. Frank & Nola Carveth are separating, and their daughter Candice is torn between them. Frank is trying his best to care for her while Nola is confined to the Somafree Institute, receiving controversial psychiatric therapy from the mysterious Dr. Raglan, who is ‘coaching’ her to let go of her repressed emotions. A meditation on the animosity and destructive anger that can fester during a separation, and the bizarre and even dangerous ways people use to cope with such a situation, it has all the elements we love to discuss in a movie, and thus it’s a perfect subject for the new In Film We Trust deep dive.

In 1997 Satoshi Kon would make his directorial debut with the Hitchockian anime Perfect Blue. Mima, our protagonist, is an Idol singer, who attemps to break out into acting. Little does she know, she has caught the attention of a crazed fan - but who exactly is this fan?

Kon's Perfect Blue deals with many themes that draw parrells to contemporary society and our collective fears - the nature of identity, celebrity fandom and what it means to be an artist.

These themes proved to be a fruitful discussion for us here at IFWT, as we use Perfect Blue as a jumping off point, as we contextualise the film within a modern framework and tie it into the zeitgeist of now.

Way down in the streets of LA. There’s a fella called Rudy, things ain’t going his way.

He works in a store so he can make a little money. He cracks a few jokes, but nobody think they’re funny.

Ok, enough of that!

Eddie Murphy has had many ups and downs throughout his career, but in 2019, after a brief hiatus, he returned to the big screen with the sensational Dolemite Is My Name. Written by the masters of the anti-biopic, Scott Alexander and Larry Karaszewski, and directed by Craig Brewer, it documents the rise of Blaxploitation legend Rudy Ray Moore, as he creates one of pop culture’s most enduring characters: Dolemite. This week In Film We Trust are exploring the Blaxploitation genre, its impact and legacy, and deep diving one of the best comedies of the 21st century. Sit yourself down, grab a stiff drink and let us tell you all about that bad motherfucker called Dolemite.

Lights, camera, actione.

Sam Peckinpah never shied away from controversy, whether it be The Wild Bunch, that garnered him the name 'Bloody Sam' or the English-set Straw Dogs. But in 1974 he would make what is arguably his most personal film, starring Peckinpah regular Warren Oates - Bring Me The Head of Alfredo Garcia.

Peckinpah would head to Mexico, work with a largely Mexican crew, while dealing with rampant alcoholism and away from studio interference, and make a stark, bleak and blackly comic film.

In this episode we taker a look at the production, what made Peckinpah so 'bloody' and much more!

While his name might not be as readily recalled as the likes of Mike Leigh or Ken Loach, Alan Clarke is an important figure in the cinematic world of social realism, and today we’re taking a deep dive into one of his most acclaimed, and controversial projects: Scum. Banned, censored and excoriated by the uptight establishment at the time and condemned by the patron saint of killjoys, Mary Whitehouse, it’s now rightfully regarded as a cult classic. Carlin, played by a young Ray Winstone, enters a borstal and immediately finds himself at the mercy of an abusive, oppressive regime that seeks to strip each trainee of their individuality and reprogramme them as obedient, rule-following submissives. Will his new overlords grind him down, or will he take the ultimate risk and fight back? Will his fellow inmates join him in his rebellion or will they keep their heads down and do their time in “peace”. It’s time for your friends at In Film We Trust to serve their sentences as we examine one of the most hard-hitting Brit flicks of the 1970s. Oh won’t somebody PLEASE think of the children!

Buckle-up gorehounds, superfreaks and trash aficionados - In Film We Trust is heading to the drive-in for a peak into the world of the Godfather of Gore Herschell Gordon Lewis and his 1964 splatter classic Two Thousand Maniacs. The nudie cutie? The Roughie? Splatter Cinema? Hicksploitation? Lewis has been there for it all and even wrote the whole Goddamn proverbial book on it.

John Carpenter’s filmography speaks for itself, and while he hasn’t always enjoyed box office success, his films have consistently pushed the envelope in terms of suspense, ground-breaking practical effects and sheer craftsmanship. In our first foray into the world of this cinematic giant, we’re checking out a movie that was, like many of his projects, tepidly received upon release, made no money, and led to Carpenter abandoning Hollywood for independent cinema, and not for the last time. It’s the 1986 supernatural martial arts comedy caper, Big Trouble In Little China, a film that’s seen its reputation grow in the years since it premiered, and we’re gonna spend this episode trying to work out why that is. Put on your finest tank top and leave your ego at the door as we tuck into this delicious slice of 80s cinema to find out whether it deserved all the hate it got, or whether it was simply too smart and subversive for its audience to handle.

Adapted from Scott Heim's 1995 novel, cult director Gregg Araki managed to faithfully bring Heim's powerful and transgressive work of art to the big screen. After a 1990s filled with cult hits - Nowhere, The Doom Generation, Totally Fucked Up - Mysterious Skin brought Araki to the cusp of mainstream acceptance. But Araki, wasn't interested in any easy sentimentality to garner the industries respect. Instead, he brought us a complex, wrought and heart-wrenching piece of cinema that still retains his transgressive roots whilst also dealing in a subtlety that he could typically be accused of lacking previously.

This week, we’re taking you back to the 1960s. A time of free-loving, hedonism and profound social and cultural change. But 2 men who are in no way enjoying the perks of this legendary decade are our leads, Withnail & Marwood, commonly known as I. Living in poverty and squalor, struggling from one day to the next with the aid of booze and whatever drugs they can get their hands on, their aspiring acting careers are at an all time low. Desperate for a holiday, they head for the Cumbrian countryside, settling in a cottage owned by Withnail’s eccentric but wealthy Uncle Monty. But their hopes of rest and rejuvenation beyond the city limits are quickly dashed by inclement weather, unfriendly locals, lack of supplies and a most unwelcome visitor. For our 50th episode we’re covering a very special film. Timeless, iconic and quintessentially British, Withnail & I received a lukewarm reception on its release over 30 years ago, but is now heralded as one of this little island’s great cult films, and a personal favourite of ours. So, what better way to celebrate our anniversary than by cracking open a bottle or sherry, gin, wine, or, if you’re feeling especially daring, lighter fluid, as we deep-dive the truly magnificent Withnail & I. Chin chin!

When thinking of comic book adaptations, you would be forgiven for thinking of Batman, Spiderman or anything Marvel or DC related, but, simmering within the underground Daniel Clowes and Terry Zwigoff were teaming up to adapt Clowes' cynical classic Ghost World - a story of misfits navigating their own 'ghost world' . A takedown of all things conforming and safe, instead replaced with a questioning narrative that places two teens as our POV into an uncertain world. So stick with us, as we deep dive into this cult film and digress into a myriad of topics including Steve Buscemi's greatness and what Clowes and Zwigoff achieved in this pereninnial cult classic that grows in statue year by year.

While John Woo might only be known to the broader audience as the man behind explosion-filled, bullet-ridden 90s American action films such as Face Off, Hard Target & Broken Arrow, his directing career actually began in his native Hong Kong more than 40 years ago. During a pivotal time in East Asian cinema, Woo was making big noise, literally and figuratively, with films like A Better Tomorrow & Bullet In The Head, which combined outlandish gunfights with philosophical undercurrents. The Killer is another such movie. Starring John Woo stalwart Chow Yun-fat alongside Danny Lee & Sally Yeh, it’s a meditation on not just killers themselves, but also on the act of killing and its moral implications. Part over the top action film, part existential think piece, we take this episode to examine how well these elements blend together, and see if the film’s reputation, both at home and oversees, still holds up over 3 decades after its initial release.

We're diving deep into Abel Ferrara's polemic grindhouse classic, Ms .45. A film that tackles topics ranging from feminism to oppression on a larger scale. But as interesting a film as it is - and it is very interesting - equally fascinating is the lives of those attached to it, including the much mythologised Zoe Lund, star of Ms .45 and writer of Ferrara's Bad Lieutenant, and we at IFWT make sure to include many stories about those involved.  

New Zealand native Peter Jackson is a household name these days thanks to the unfathomably successful and popular Lord Of The Rings series. But before the Hobbits, before the Orcs, before the wizards, before the epic battles and before second breakfast, he would start his motion picture career in the suburbs of his nation’s capital, fighting off an alien invasion with a cache of guns, a chainsaw and a Beatles van. Shot on the weekends over the course of 4 years with a group of willing mates, Bad Taste would launch the career of one of cinemas modern directorial giants. Over 35 years after it’s release, we’re revisiting this gruesome little gem to work out why it’s so revered in the universe of cult cinema. Some people would run from such a task, but we’re In Film We Trust, and In Film We Trust doesn’t run! No idea what that joke was all about? Then grab a drink, put your feet up, polish off your finest spinning steel and let us fill you in.

Often dismissed as 'The Other Sergio' , Sergio Corbucci would carve a bloody path through the Old West. Better known for the Franco Nero starring Django, The Great Silence might actually be his magnum opus. This 'snow western' is a polemic work of political anger, that managed to capture the zeitgeist of the late 60s.  
For this info-heavy episode, we trace the roots of Italian westerns, and genre cinema in general; the influence on Tarantino's The Hateful Eight and so much more!
 

For our second episode of 2023, we’re venturing out to the snowy plains of Minnesota, where 3 ordinary men come across a crashed plane containing a dead pilot and, more importantly, over $4 million in cash. Rather than bringing them happiness and financial security, it causes them to fear, distrust and suspect one another, and the harder they try to cling to their dreams of lifelong wealth, the more dire the consequences end up being.  Sam Raimi, the guy who directed The Evil Dead, The Hudsucker Proxy, Spider-Man, Drag Me To Hell and many others, made one of his more conventional, yet deceptively complex films in 1998 with A Simple Plan. This week we’re lacing up our boots and trudging through the snow to find out why this often-overlooked gem is more than deserving of a vintage In Film We Trust deep dive.

After a longer than anticipated break, we are finally back with our first episode of 2023. It also brings us full circle, as we kicked off this podcast last year with Ben Wheatley's Kill List, and we find ourselves again within the world Wheatley carves, this time by way of A Field In England - a English civil war-set psychedelic horror with epic portions of fuckery thrown in, casting a shadow of the works of Jodorowsky, Lynch and more than its fair share of folk horror influences of yesteryear.  
So welcome back listeners of old who have stuck with us for what is our one year anniversary, and for new listeners, who have just made our acquaintance during our hiatus, glad you're with us, and we hope you all enjoy this new year for In Film We Trust.
 

The Christmas season is finally upon us! You’ve broken out your tree, adorned it with the finest decorations, written all your cards, bought all the presents and are now preparing for a happy, fun filled day with your nearest and dearest. Your friends at In Film We Trust, on the other hand, are gearing up to spend a bit of time with Father David in his dark, cold, lonely house. Aren’t we lucky!? To spice things up a bit, a pair of ‘nice when you get to know them’ individuals turn up, and pretty soon everything has descended into utter chaos. To round out 2022, we’re taking a look at Eric Pennycoff’s sleigh ride into insanity, The Leech. Have you seen It’s A Wonderful Life, A Christmas Story and Die Hard one too many times, and are looking for an Xmas flicks that’s a bit more, shall we say, twisted? Then this might just be the film for you.

If you're regular listeners, you're probably aware of our appreciation of all things A24. So why not dive into a film (and filmmakers) that epitomises the spirit, and style, that A24 is known for.  2017's Good Time, starring Robert Pattinson and co-director Benny Safdie, in a gritty New York crime odyssey that touches on the surreal.  

What could you possibly do in 20 minutes? Drive to the next town? Do your weekly shopping? Fuel up your car? Check out a life changing clip from the In Film We Trust Youtube channel? How about scraping together enough money to save the love of your life who’s about to be wiped out by ruthless criminals? That’s the task that the feisty, red-haired protagonist has on her hands in Run Lola Run, a German experimental film from that most experimental of decades, the 1990s, that launched the career of its director and its stars. Brimming with existential themes, creative imagery and innovative storytelling, its time for us to set up the mics, fire up the sound mixer and deep dive this little beauty to see why it’s still lauded over 20 years after its release, and what place it holds in the pantheon of experimental cinema.

It's Thanksgiving 1973. Watergate permeates the airwaves and the sexual revolution has made its way into the suburbs. The Hood family has devolved into ennui and their neighbors, The Carver's, aren't fairing much better. A film that relishes its ensemble - starring an A-list cast including Kevin Kline, Joan Allen, Sigourney Weaver, and such rising stars as Christina Ricci, Tobey Macquire and Elijah Wood, Ang Lee directs a film that isn't mere nostalogia, but deals with subjects, that may take place 50 years ago, but still leave a sting today. So take a seat, as we kickstart our first ever Thanksgiving episode, and deep dive this 90s classic, by way of 1973. 

Think your time in high school was miserable? Then thank your lucky stars your name isn’t Dawn Weiner! Yes, this week we’re taking a look at Welcome To The Dollhouse, the breakout film from famed cinematic satirist Todd Solondz, released to critical acclaim and box office success in that most glorious of decades: The 90s. Dawn hates her teachers, her classmates, her pestering sister and unsympathetic mother. But she’s no angel herself, often indulging in the same behaviour and name calling that she regularly suffers. So, allow us to welcome you to our very own Dollhouse as we take a disturbingly close look at this daring, frank and emotionally complex independent flick that still resonates to this day.

For its 10th anniversary, we're diving into Colin Trevorrow's Safety Not Guaranteed. A film that revolutionised the way we view films  - streaming. Starring a great ensemble cast of Mark Duplass, Aubrey Plaza, Jake Johnson and Karan Sonin, Safety Not Guaranteed takes a high-concept and grounds it in a relatable story firmly rooted to the ground. 

Following the huge success of The Matrix Trilogy, The Wachowskis' turned their attention to the world of comic book adaptations with 2005’s V for Vendetta. Featuring an often-overlooked James McTeigue in the directors’ chair and a combination of James Purefoy & Hugo Weaving behind the now iconic mask, it’s a tale of governmental domination, of totalitarianism, of suppression of freedoms and the extinguishing of liberties. London is ruled by an oppressive political party that controls every aspects of its citizens lives, but one man seeks to change that. Knowns only as a V, he conceals his identity behind a Guy Fawkes mask, and with his reluctant recruit Evey by his side, he seeks to do what the Gunpowder conspirators never managed, and destroy the Houses Of Parliament. Join us this week as we remember remember the 5th of November, and discuss whether or not V For Vendetta is a movie that should ever be forgot.