From KCRW Santa Monica and KCRW.com, it's The Treatment.

It's the treatment, which you can also hear at KCRW.com slash the treatment.

I think when I was just telling my guest, writer-director, Arias, that I first heard about

him when I was teaching at AFI, and the film everybody told me that I had to see was

the strange thing about the Johnsons.

He's going to make such films as hereditary, midsummer, his newest film, which I really

do think is an intersection between a serious man and raising Arizona, among other things, is Eddington, which I saw at this year's Cannes Film Festival.

Ari, first of all, thanks for being here.

Thank you for having, man.

There is an aspect of the Cohen films that are also kind of like old EC horror comics, and there's an aspect of film that this, that too, but the kind of horror that makes

you laugh and gasp at the same time.

And so much of what you do is geared toward getting people to, I want to use the word, engage,

but I think give in to the movies the way that people don't anymore.

Right.

Look, I'm a genre filmmaker, right?

So that means I'm working in a space that, you know, comes with a lot of expectations and

familiarity and people, you know, know, know what to expect.

And I enjoy that because then I can upend those expectations.

And so I am always looking for ways to play with, you know, a language that's already kind of established.

I'm just thinking of going back to the strange thing about the Johnson's.

I mean, that room is so claustrophobic, that bedroom that you start the film off.

We should say it's about a father-son relationship that, in many of the cases, your film takes a turn.

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