Oscar Nominees, Part Two

This episode of the Plastic Podcast is the second half of a conversation about the Academy Award nominations and omissions.

The Plastic Podcast

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Oscar Nominees, Part Two

This episode of the Plastic Podcast is the second half of a conversation about the Academy Award nominations and omissions.

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Daily Plastic is an ironically named Chicago-based movie blog, a collaboration between Robert Davis and J. Robert Parks, the same pair who brought you the wearable movie tote, the razor-thin pencil pocket, and that joke about aardvarks. If you know the whereabouts of the blue Pontiac Tempest that was towed from the Plastic Parking Lot on the evening of August 7th, 2008, or more importantly if you've recovered the red shoebox that was in its trunk, please contact us at your earliest convenience.

Davis is the chief film critic for Paste Magazine, and you can send him messages via Twitter. At this moment he is seated in a movie theatre or watching a DVD screener or eating a homemade cracker with his daughter while sipping puerh, or two of the above. Meanwhile, Parks, whose work has appeared in TimeOut Chicago, The Hyde Park Herald, and Paste, is molding unsuspecting, college-aged minds in the aforementioned windy city. Media types are warned to stay clear of his semester-sized field of influence because of the distorting effects that are likely to develop.

The © copyright of all content on Daily Plastic belongs to the respective authors.

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Michael Stuhlbarg in the Coen Brothers' A Serious Man

On this episode of the Plastic Podcast, Rob and J. Robert talk about the new film by the Coen brothers, A Serious Man, and the work of Chantal Akerman, especially her 1993 film D'Est (From the East).

0:00 Intro
2:01 The Coen Brothers and A Serious Man
26:03 Overlap
28:34 Chantal Akerman and D'Est
59:21 Outro

Further Reading

  • Rob's blog post about A Serious Man
  • Forgot to mention: Ben Russell, whose intriguing new film Let Each One Go Where He May has been receiving accolades at film festivals this fall, cites Akerman's D'Est as a major influence, along with the work of Jean Rouch.