Join Charlene and Jackie, two NYC film crew workers with an absolute love of art house films …and an absolute lack of press passes to see those films at the major festivals where they premiere.
Each month your two hosts will venture through the wilds of NYC public transportation and psychotic post screening Q&A’s to discuss a festival film that has finally been released to the general public.
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Charlene and Jackie discuss Sentimental Value, the Cannes Grand Prix winning film from Therapized Norwegian King Joachim Trier.
Is it as good as The Worst Person in the World? What does it take to repair inherited generational trauma? And have you seen SKÅM??? All this and more in this week's episode of Tickets Secured.
A very special episode in which Charlene & Jackie fully commit to incorporating the themes of impermanence and incompetence in Kelly Reichardt’s The Mastermind, which premiered at Cannes, into their own podcast practice.
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In lieu of proper time stamped notes, please enjoy the sources of some ruminations on The Heist Genre and Kelly Reichardt that we arrived at in our (non recorded) conversation:
Autumn has fallen in New York and Charlene and Jackie celebrate by tumbling down the stairs of the Angelika straight into Oliver Hermanus’s Palme D’Or nominated The History of Sound.
A WWI (?), gay, heart wrenching movie starring mischievous scamp Josh O’Connor and former Phantom of the Opera Paul Mescal. Listen in as they discuss period filmmaking on a budget, the possible litigious wrath of Hanya Yanagihara, and what all this had to do with the Stomp Clap Hey music of Barack Obama’s first term.
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Charlene and Jackie see The Sparrow in The Chimney at BAM and there’s a lot to talk about: so many animals, so many kids, so many scenes where we had to cover our eyes.
Plus: Experiences with wild west Q&A Culture, why the English Patient actually rocks, and a harsh referendum on the New Yorker’s fall movie preview.
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Charlene and Jackie go in and go off on Sorry, Baby, Eva Victor’s Cannes playing, Sundance Award winning debut.
This episode has everything: wild speculation about A24’s business decision making process, Emerald Fennell haterade, thoughtful reflections on the use of time and trauma in storytelling, and of course, strong opinions about the Alamo Drafthouse’s popcorn.
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Charlene and Jackie dive into the JACU (Jane Austen Cinematic Universe) to discuss Laura Piani’s debut feature Jane Austen Wrecked My Life, which premiered at TIFF last fall.
Topics covered include writers writing about writing, the cinematic equivalent of click bait, best book stores in NYC, and what happens when a rom com lacks com.
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Charlene and Jackie discuss Andrew Ahn’s The Wedding Banquet, a 2025 update of Ang Lee’s celebrated 1993 film starring Lily Gladstone and Bowen Yang.
Topics discussed include our favorite book to movie adaptations, how to retell a 1990s gay love story in 2025, Ang Lee being a repressed king, fake movie jobs, and how well placed plants can make a film more believable.
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Charlene and Jackie debrief on Opus, the A24 pop star multi murder thriller/comedy (?) starring Ayo Adebiri and John Malkovich, a movie that shot straight from Sundance 2025 to the common multiplex in a mere two months.
Topics discussed include tracing the trope of cults in 21st century indie film, unhinged behavior at Williamsburg Cinemas, celebrity profiles where the journalist gets lost in the sauce, would Lady Gaga ever commit serial murder?, and how a film can suffer from use of the wrong dining chairs.
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The Mastermind included sounds (and images) from the radio, TV, and outside the windows of the historical political context of the time setting even though the main character JB did not engage directly with the social movements unfolding around him.
This reminded Charlene a lot about the main characters studied personal absorption tuning out the historical political context around them despite a very clever use of sound to intrude in the main character’s story like in The Zone of Interest.
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