Credit Offset

Chay discusses the most basic of film language - Cuts. Films mentioned in order: Oki's Movie (Sang-soo Hong, 2010)

Chay discusses a want for a film to be a TV series. Films mentioned in order: Mad Detective (Johnnie To & Ka-Fai Wai, 2007) Starbuck (Ken Scott, 2011)

Chay went to the ICO's event The 'D' word on diversity in film programming. They briefly rambles about that and the democratisation of film production. Films mentioned in order: Beyond the Lights (Gina Prince-Bythewood, 2014) Tangerine (Sean Baker, 2015)

Chay discusses their dislike for how the film form of Formula 1 has evolved. Films mentioned in order: Senna (Asif Kapadia, 2010)

Chay discusses the truley shocking end of Masculin féminin Films mentioned in order: Masculin féminin (Jean-Luc Godard, 1966)

Chay's back, they're saying yes. Films mentioned in order: Yes Man (Peyton Reed, 2008)

Chay talks about feeling down. (Taking a small break whilst I move and reorganise and thought I'd end for the time being on a nice down note, like all the best films) Films mentioned in order: Salesman (Albert Maysles, David Maysles & Charlotte Zwerin, 1968) In the Mood for Love (Wong Kar-Wai, 2000) 8 1/2 (Federico Fellini, 1963) An Autumn Afternoon (Yasujirô Ozu, 1962) News from Home (Chantal Ackerman, 1977) Symbiopsychotaxiplasm: Take One (William Greaves, 1968) Persona (Ingmar Bergman, 1966) Juno (Jason Reitman, 2007)

Chay tries to discuss what keeps Symbiopsychotaxiplasm together Films mentioned in order: Symbiopsychotaxiplasm: Take One (William Greaves, 1968)

Chay discusses feeling mediative. News from Home (Chantal Ackerman, 1977) Samsara (Ron Fricke, 2011) Mad Max: Fury Road (George Miller, 2015)

Chay discusses choreographed office scenes. Films mentioned in order: Anna Karenina (Joe Wright, 2012) Brazil (Terry Gilliam, 1985) One, Two, Three (Billy Wilder, 1961) The Producers (Susan Stroman, 2005)

Chay discusses how you can hate a director’s style and then love it. Films mentioned in order: Tokyo Story (Yasujirô Ozu, 1953) An Autumn Afternoon (Yasujirô Ozu, 1962) Rashômon (Akira Kurosawa, 1950) Ran (Akira Kurosawa, 1985) 8½ (Federico Fellini, 1963) City of Women (Federico Fellini, 1980) Some Like It Hot (Billy Wilder, 1959) The Apartment (Billy Wilder, 1960)

Chay discusses a film going beyond the vocabulary of cinema. Films mentioned in order: The Stranger (Satyajit Ray, 1991)

Chay discusses how slowness and stillness hides the pain. Films mentioned in order: L’argent (Robert Bresson, 1983) Jeanne Dielman, 23 Commerce Quay, 1080 Brussels (Chantal Akerman, 1975)

Chay discusses how Inherent Vice tells us what we need to know Films mentioned in order: Inherent Vice (Paul Thomas Anderson, 2014)

Chay discusses their experiences with movie marathons. Films mentioned in order: Chinatown (Roman Polanski, 1974) The Naked Gun: From the Files of Police Squad (David Zucker, 1988) The Big Lebowski (Joel Coen, 1998) The Long Goodbye (Robert Altman, 1973) Zabriske Point (Michelangelo Antonioni, 1970) Inherent Vice (Paul Thomas Anderson, 2014) The Lord of the Rings: The Fellowship of the Ring (Peter Jackson, 2001) The Twilight Saga: Breaking Dawn - Part 2 (Bill Condon, 2012)

Chay discusses films that make you want to participate in taking drugs through an empathetic association. Films mentioned in order: The Long Goodbye (Robert Altman, 1973) Inherent Vice (Paul Thomas Anderson, 2014) Pineapple Express (David Gordon Green, 2008)

Chay discusses a parodic moment done right Films mentioned in order: The Big Lebowski (Joel & Ethan Coen, 1998)

Chay discusses when laughter isn't infectious Films mentioned in order: The Naked Gun: From the Files of Police Squad (David Zucker, 1988)

Chay discusses minor characters Films mentioned in order: Chinatown (Roman Polanski, 1974)

Chay discusses watching a film with a dirty screen Films mentioned in order: Citizenfour (Laura Poitras, 2014) Her (Spike Jonze, 2013) The Great Beauty (Paolo Sorrentino, 2013) Napoleon (Abel Gance, 1927) 2001: A Space Odyssey (Stanley Kubrick, 1968)