June 11, 2021
Aronofsky’s first feature film is discussed in terms of its closeness to autistic meltdown, an affect that appears rarely in film, driven by the character’s fascination with patterns, a propensity for maths as the language of the universe and a magical number. Computers feature heavily in the film, debated as either a potentially problematic alliance between autism and automatism, or possibly autistic attention to the material world and its many capacities. The film’s ending proves controversial: does it suggest that lobotomy is the only way to end suffering for Max, that there is no place in this world for neurodiversity?
Discussants: Georgia Bradburn, Janet Harbord, David Hartley, Alex Widdowson.
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May 28, 2021
The discussion of Chloé Zhao’s second feature film addresses the fine line between fact and fiction with actors playing themselves. We debate whether autistic sister Lily (Lily Jandreau) is the only free character in this western set in the badlands of South Dakota, resistant to the demands of the hyper-masculine patriarchal world of rodeo and refusing the trappings of femininity by cutting up a bra her father buys her. There’s also debate about whether difference is drafted into the film as story markers or plot points, the problematic treatment of animals (particularly horses), and the potentially cliched idea that there’s affinity between animals and autistic people.
It's also worth noting that this episode was recorded before Zhao won the Best Picture and Best Director Academy Awards for Nomadland (2020), just in case you were wondering why we don't mention it!
Discussants: Georgia Bradburn, Steven Eastwood, Janet Harbord, David Hartley, Alex Widdowson.
May 14, 2021
Can non-autistic actors play autistic characters motivates this discussion which takes as its focus the Safdie brothers’ film Good Time, and references Sia’s Music along the way. The problematic performance of a learning disability in Music is considered in its reductive and child-like presentation. We discuss whether Nick in Good Time, a character with a learning disability played by Ben Safdie, can offer something more positive as a vehicle for exploring autistic meltdowns and masking. Or is he, like many autistic characters, a narrative prosthesis, grafted on to a plot essentially about the drama of crime. Does institutional care offer support away from his brother’s exploitation, or confinement and a restricted life. Anxiety generated through the pace and soundtrack including tracks by Oneohtrix Point Never, and the Iggy Pop song The Pure and the Damned.
Discussants: Alex, David, Georgia, Janet, John-James.
May 7, 2021
Adam Sandler’s intensity as a character and actor garners much love in this discussion of autism, comedy and romance. The relationship of the neurodivergent character with his neurotypical siblings is discussed in terms of its pain and discomfort, and the character’s romantic relationship as an antidote to this. The character’s chaos meets a certain otherness in Emily Watson’s character, perhaps her Englishness featuring as Other. The discussion debates whether the film sets and colour palette, and the spatial arrangement of the scenes, foreground an autistic sensibility. Equally significant in this discussion is the eclectic soundtrack including Shitmat.
Discussants: Alex, David, Georgia.
May 7, 2021
Welcome to the Autism Through Cinema podcast!