Hello, my name's Justin LeClew and I'm here today with Will Sloan.

And you're listening to The Important Cinema Club live for the first time in a long time.

That's right. Justin and I are in the same room together in Justin's beautiful new apartment.

I'm looking at Justin's film scanner right behind him with a big,

big reel of Ron Orman's King of the Bullwhip on it. I've watched this third reel of the film

at least 20 times at this point. That's more than Ron Ormond ever watched that movie. And we're

doing this live episode to talk about someone that we need to go through together, Will, because neither of us

are confident about this topic. Well, that's true. I mean, you and I, we are just medium smart

men, and here we are dealing with one of the most intimidating art house filmmakers of all time.

That's right. It's the novelist, the intellectual Marguerite Dura. And what's interesting

about Marguerite Dura is that she doesn't really have that one movie

that everybody has seen.

I mean, India Song is probably her most famous one, but it doesn't get talked about in the

same way that her contemporaries in French cinema.

Usually when she gets discussed, it's like, whoa, boy, that's a tough one.

I think she is best known as a literary figure. Yeah, part of the new novel that came about in,

oh, I don't know the exact year that had happened, but it was like Alain Rob Grier,

who would also screenwrite last year in Marion Bad. And have you ever read any new novels?

Well, I read The Lover by Marguerite Dura, but not recently.

And that one was written in 1984. I was very surprised at how far it was in her career, because

earlier on she had novels like Moderato Cantabille, The Ravishing of Lall Stein. And, you know,

the new novel is all about breaking down the form of what

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