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

And you're listening to The Important Cinema Club. And today, we're going to get intense and manic and crazy.

Because we're talking about Andrei Zuvowski. I know I said that name incorrectly, so I'm just going to call him my pal Andre from now on. That's right. We are on a first name basis. We will both be calling him Andre, which is ridiculous. It would be ridiculous to do an episode about Fellini, where we just called him Federico, the whole episode. We call him Fred, because we're good friends, was Philead.

And a pitch at Pong, we're a sithakul. I called Joe. Zewowski. I could try Zewowski. No, I'm going to call them Andre. I like, I like Andre. Let's do it. Now, this is a filmmaker that I think that neither of us were very familiar with. We had seen possession, of course, because we legally have to.

But beyond that,

I think I had just kind of dipped in here or there. And there wasn't anything that made like a huge

impact on me that I was like, I got to see the rest of his filmography. I felt with like something

like possession and reading about him. I had gotten a pretty firm grip on what kind of filmmaker

that he was. I always had him filed away as for further research because I liked possession when I saw it almost a decade ago.

I knew there was a lot of interesting stuff in there.

And I knew also that he was part of this particular wave of Polish filmmakers, people like Roman Polansky, Jersey, Skolomowski, I'm probably

pronouncing that name wrong, people like them who were of a particular time and place and

political situation. And I always saw that and I thought, wow, that looks hard to parse.

So, you know, left him for a while.

I mean, the thing about Andre is that he is a filmmaker that, like, his pictures are so intense and in your face that they are almost the opposite of what people think of, like, Art House filmmaking.

They're difficult in a different way.

In interviews,

he'd love to say stuff like, you know, I don't want to make boring films that you see at

Khan. I want to make films that like scream in your face. And I mean, there is that advantage to them

versus, you know, the other stuff like Bergman, for example, when you're talking about those

like ossified, this is what art house

filmmaking is. Well, his style is very assaultive. You've got a camera that's constantly roaming

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