Hello, my name is Justin Klu, and I'm here today with Will Sloan.

And you're listening to The Important Cinema Club.

And on this episode, we need your click.

So we're talking about a filmmaker that I guess she wasn't recently in the news,

but it feels like a lot of people are talking about her because she is one of those directors that like... Because she's Joker fan number one. That's right. We're talking about Lucretia Martel. What jury was she on that they awarded the Joker 2? It was the Venice Film Festival. And, you know, having watched some more of her movies this week, I get it. Yeah, me too. She's interested in class. That's right. And so she's a director who hasn't directed that many films.

Zama came out recently.

And Zama was one that I think she was very well regarded before that.

But Zama, I think it was just recently number one in the film comment poll of best films of the decade.

It was really regarded as one of the major events.

And it was an event because she hadn't made a movie for so long. So her coming back and doing

something that while still in the wheelhouse of what she had done before was much bigger,

like it was on a bigger scope. It was a period piece. I think that really floored a lot of people

who were waiting for her to make that big step.

She has been called the Argentinian Terrence Malick, probably just for her productivity for the

first four movies.

She's also been called arguably the greatest Argentinian director, at least living.

And she's somebody who, when you hear her described, you often hear her described in terms

of she's precise.

Her films are beautifully composed.

They're opaque, challenging, slow.

And then we go, okay, maybe I'll watch these later.

Let's put Godzilla versus Megalon on.

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