With Ernst Lubits like pacing, Talbot allows him to grow in spaces between moments, the jokes are hard to describe, but easy to pay.

That's when Jeffrey M. Anderson filmed critic for San Francisco Examiner talking about the last black man in San Francisco, the film will be focusing on this week on Sina Fowl.

Thanks so much for always checking us out. This is Adam Burke, of course, and my last episode of producer Joe.

You can always get in touch with us, Sina Fowl Pod, C-I-N-E-P-H-I-L-E-P-O-D, and of course my Twitter handle, A-D-N-S-V-I-R-K.

We're talking about that film, but also our Mount Rushmore is going to be because of this film, which is such a love letter to San Francisco, Mount Rushmore films that identify with a certain place.

So think about that topic and four films we're going to get.

And my buddy Max Bredos, my old friend from ESPN, got to join us talking about Rolling Thunder. He's like Joe, he's a Bob Dylan fan, and he actually loved the film.

So I'm curious to get his take on it, and he'll do some great impressions as well, because it's a new audience now. Joe hasn't heard his own Connery Impression, so we'll get that in there.

But let's talk first about this film, the last black man in San Francisco. So this was a huge hit at Sundance, and I was very eager to see it because of all the buzz that was there.

Here's the plot around it. Jimmy and his best friend Mont try to reclaim the house built by Jimmy's grandfather, launching them in a point in an odyssey that connects them to their past, even as it tests their friendship and sense of belonging in the place they call home.

And honestly, it's a stunning film. It really is, as I mentioned, a love letter to San Francisco, but also one that's an indictment of San Francisco. So these two guys are just regular Joe's trying to get by Jimmy fails is the main character.

And that's actually his real name. He is that's his name and that's his name in the movie. So Jimmy is trying to reclaim this house. And it maybe think about for anybody listening.

If there's a place you've ever really loved, whether it's a house or a building or an environment, there's just say, you know what that place just feels so comfortable to me.

Home is where the hardest. There's nothing like home, etc. And that's where this place is times tennis is Victorian home, which he says was built by his grandfather back in 1946.

It's a beautiful house in San Francisco. Three stories high. And he was kind of checks up on it with his friend Mont just to kind of make sure the house is in good upkeep because he cares about it so much.

And one day he sees an argument outside between the tenant and the previous person that was living there. And the tenant tells me up, you know, there was a death in the family.

It's going to be fought over whose belongs the property, etc. And he goes to the real estate agent to find out if he can buy the property. And he says, you know what?

Unfortunately, when it comes to litigation, these things take a long time. So we're not going to know whose action ownership of the house and therefore we can't transfer it over.

And Joe says, great. This is great news for me and Mont. They basically break into the place. He gets all his old furniture and they start living in this house.

This house, which is his safe haven, which is his favorite place to roll, which is inspiring and Mont, who's played by Jonathan Majors is an artist.

So he starts working on his writing and he's working on his plays and directing. And that's where the story goes. And then eventually, of course, these guys are not going to live in this house forever.

The landlord finds out about it. They get into a little issue with the real estate agent, etc.

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