BooF FM | Podcast en RSS.com

BooF FM

por Jessie and Seán

Música Criticas de Cine

Temporada 1

015 Boof Requests: Wasteman, Souleymane's Story, and Rubber

This week we decided to honour some listener requests. We know you've been busy boofing. This week we boof your favourite movies. Firstly we are turning our attention to the high-wire tension of the British prison system, as seen through the eyes (and iPhone) of Cal McMau in last year’s Wasteman (2025). A film which was initially supposed to be a Safdie Brothers’ picture, it foregrounds the performative and pornographic masculinity of life inside. It also features scenes of Tom Blyth blithely pissing, something which Seán has become all too familiar with. Next, we will be drawing parallels to another anxiety-attack drama from recent memory, this time in focusing on the hardships of moving through a broken asylum system. The stylistic similarities of Souleyman’s Story (Boris Lojkine, 2024) will be analyzed in depth, as well as the incredible breakout performance from Abou Sangare. And for the last fan request we will be initiated into the cult of Quentin Depieux’s tire-slasher Rubber (2010). For the outsider, this is a film about a telekinetic murderously animated tire with one of the most gleefully silly opening sequences in Jessie's recent memory. Music from Julia Holter.

014 Boofaway Camp: Teenage Sex and Death at Camp Miasma, Sleepaway Camp, and But I'm a Cheerleader

We are excited to announce that BooF FM Summer Camp is now accepting applications! Kicking off camp in style: Teenage Sex and Death at Camp Miasma. Jane Schoenbrun’s growing catalogue of nostalgia-drenched, hyper-meta horror films has a new entry, this time attempting to reframe the placement of the queer body in the ‘final girl’ slasher film. Narrating dynamics of desire and awakening, Schoenbrun reconciles with the parts of their identity which have been informed by texts they now consider problematic. The film has been both adored and castigated since its release. Praise for the films bold and beautiful horror-cum-romance has been punctured by accusations of it being overwrought and academic. Fitting then that the opinions of Seán and Jessie are divided. Tune in to find out who’s in what camp. Shortly after we will be dividing the campers into two groups. The first group will be revising the problematic legacy of Robert Hiltzik’s Sleepaway Camp (1983). The second group will undoubtedly be having more fun, with a film which has retrospectively garnered cult status in Jamie Babbit's But I’m a Cheerleader (1999). Music from Dolly.

013 Delulu Boys: Tony, All That Jazz, and Fallen Angels

First order of boofness: Anthony Bourdain. Matt Johnson’s bildungsroman of the bon viveur raconteur serves as an origin story of the rock and roll chef. His risqué chronicles of the ne’er do wells and boys behaving badly of the culinary underbelly make for bold cinematic exploration. Why then did this leave Jessie in tears? We will be poring over the individual ingredients of AI24’s new release - the latest in Johnson’s filmic catalog which explores the delusional ambition of its protagonist. With this we wanted to look back at other films which may have helped inform this century’s filmic fascination with exploring obsessive and delusional characters. We will be drawing parallels from the enduring indulgence of Bob Fosse’s All That Jazz (1979). If you’re tuning in online and after the fact we will have an additional section dedicated to the stylized delusion of Wong Kar Wai’s Fallen Angels (1995). We’ll call it a Director’s Cut. Music from favourite of Bourdain, Ryuichi Sakamoto.

012 - "Coming" of Age: I Want Your Sex, Y Tu Mama Tambien, and My Beautiful Laundrette

Faithful BooFers. One of our most anticipated films of this year is finally in (a few) theatres. One of the show's all time favourites and agent provocateur of American independent cinema Gregg Araki is back, and he wants your sex. With I Want Your Sex, Araki's "sex positive note to Gen-Z" comes one of the year's most predictably bawdy, brash and borderline vexatious releases. But does the sexual satire have anything insightful to say about Gen-Z's celibacy, or has Araki become like the litany of older critics from whom he used to gleefully draw ire? We will be reviewing the new film in the context of Araki's oeuvre to see how it fits in the filmic canon of a man who has inspired mass festival walkouts and shrieks of "pure fascism" from figureheads of hetero hysteria (we're looking at you Ebert). With this release we have been pondering the cinematic legacy of other sex-based coming of age narratives. With this in mind we will be applying our retrospective gaze to the poly-tical road trip of Alfonso Cuarón's Y Tu Mama Tambien (2001) and at Hanif Kureishi/Stephen Frears class-conscious My Beautiful Laundrette (1985). Music from Medicine.

011- Twinning: The Double, the Dopelganger, and the Uncanny

Bonjour Boofies. This Thursday we will be traversing through fragments of time and memory, dipping down through the uncanny valley before landing in… Cornwall? Mark Jenkin has emerged as a forerunner in the new heritage of British independent cinema, capturing the nostalgic and other-world imaginary with his retro-technical formalism. Shooting exclusively with Bolex handhelds on 16mm developed by hand and with all audio overdubbed, his practical style is peerless in contemporary film. His new feature Rose of Nevada, starring George McKay and Mr. Dua Lipa uses these mechanisms to meditate on the hauntological erasure of the present and future of his native Cornwall. This ghost story takes the strange shape of grief, transference and the uncanny double. We decided to further erode the barrier between our conscious and unconscious. In doing so we’ve gotten tripped out on two films which evoke the double or the doppelgänger to obfuscate between these shifts in consciousness. We will be exploring the melancholy and sensuality of Kieślowski’s The Double Life of Veronique (1991) and the ultimate in expressionism and interiority, Bergman’s Persona (1966). Music from Jenny Hval.

010- Eyemaxxing: The Odyssey

Fizzy Bum Gang. The film event of the year is here. To mark the occasion we will be embarking on an odyssey-like journey in this weeks episode, using the full hour to discuss both Chistopher Nolan’s and Homer’s the Odyssey. With the whole world Homermaxxing we decided it was appropriate that we too dance the Homeric beat, using the film to ask what about the text has endured to remain so ripe for adaptation. With ancient themes of ‘Nostos’ to contemporary interpretations of the Pyrrhic Victory - what can one of humanities oldest texts tell us about the collective human experience? We will be examining with arrow like precision the good and bad from the film and it’s deviations from the source material. The cyclopean spectacle, woefully written women, far right Trojan horsing, IMAX elitism, the reanimation of practical effects, poor puppy yeeting and dialogic exposition more nauseating than wine-dark seasickness. The summer blockbuster is back. Come celebrate with us tomorrow at 5, or join us after on streaming through the link in our bio. Music of the Greek variety from Thanasis Papakonstantinou.

009 Who's Afraid of Indecent Proposals: The Invite and Open Marriages

Fizzy Bum Gang, you are cordially invited to BooF's couple counselling night. You can join us along with three other couples who are in need of serious intervention. We will also be serving jamón. Our first candidates are Joe and Angela who come to us courtesy of The Invite, Olivia Wilde's dramedy about a marriage running long beyond its expiration date. Featuring Seth Rogan and Olivia herself armed with a lexicon of millennial cringe and weaponized therapy speak. We will devour the collective subconscious of our hosts as the possibility of a "dinner" party rears its seductive head. Who's Afraid? Next on the docket are Francois and Therese Chevalier, peering at us from beyond the impermeable membrane of time, in France, 1965. Shockingly, this couple couldn't be more happy! That is, until Francois falls in love with a second woman. Agnès Varda contemplates on the concept of Le Bonheur, or for us anglophones, happiness. This is French new wave as you've never seen it - actually good. Finally we have Tom and George and Gilda. A trio of will they, won't they...oh? They will? Nevermind. We find out how to manage a menage a trois in Ernst Lubitsch's licentious pre-code comedy, Design for Living (1933). Much like The Invite, we will have music from Blood Orange.

008 In Poor Taste: Maddie's Secret

We've boofed Maddie's Secret to avoid tasting it, but we'd recommend that you try it the standard way. The directorial debut of John Early boasts an impressive cast of freak comedians that will surely satisfy your hunger if you've been as starved as us for a high camp indie takeaway. If you've already gobbled this up and are looking for an even richer, more melodramatic masterpiece de resistance, may we recommend John Water's Polyester (1981)? Leads with notes of foot stomping, raucous sensuality, and astringent alcoholism before finishing scorchingly sweet. If you'd prefer to be berated by your selection, we'd recommend you try Peter Greenaway's The Cook, The Thief, His Wife, and Her Lover of 1989 vintage. It's finally time to take this one out of the cellar, admire it's beautiful label, and tuck in. We hope you're hungry for revenge.

007 Girls Like Girls Like Leviticus

We’ve decided to investigate the intersection of two very different queer films released this June; Adrian Chiarella’s homophobia horror Leviticus and Hayley Kiyoko’s transmedia bildungsroman Girls Like Girls. With both these releases we will be analyzing how frameworks provided by genre can be used in very different ways to explore identity and queerness - and how both horror and the coming of age genre has historically been well placed to do so. With this we will be looking at the lycanthropic cult classic of CanCon horror Ginger Snaps (2000) while also touching on Julia Ducournau’s full throttle cvntfest Titane (2021). The generic framework of Celine Sciamma’s genderqueer coming of age masterpiece Tomboy (2011) will also get the full BooF treatment.

006 Possession Obsession

Curry Barker's foray into film, Obsession, has been the belle of the boof this summer. It's traditional Monkey's Paw makeup has defied expectations by showing Hollywood can still produce interesting and profitable projects, and that not all YouTubers are unemployed. We will be asking what insights we can gain from this and other tales of amour fou. Where does it fit in the canon of romance-gone-wrong horror films. Do these films have more to tell us about the manifold manic female love interests on screen, or perhaps more about the often divorced men who direct them. With this in mind we will be exploring Cronenberg and Zulawski's divorce horrors the Brood (1979) and Possession (1981). With these, plus Kim Ki Young's the Housemaid (1960), we will explore how the genre has more broadly been used as a vehicle to explore relationships breaking down and breaking up. On top of that we will be assessing the obvious imprint of Possession and Pulse (2001) on Inde Navarrette's powerhouse performance.

1 de 2