"So here’s the challenge: Tell the story of a disturbing legacy of sexual violence systemically perpetrated by one man, but perpetuated by an industry that delivered potential victims to the door of his office almost daily. Any takers? Yeah… Hollywood moguls aren’t exactly leaping at the chance to examine such behavior off-screen, let alone on-screen. It’s why “Bombshell,” Jay Roach’s electrifyingly empathetic new film, feels so necessary and cathartic. Roach directs brilliant actors (Charlize Theron, Nicole Kidman, Margot Robbie) as brilliant journalists who blew the whistle on Roger Ailes (John Lithgow), that special brand of psychopath who was not only their abuser but also responsible for their careers. With deft documentary-style camera work, Roach expertly unfurls the vipers nest of cult-like psychosis that permeates every floor of Fox News. His perfected technique of blending existing footage with stunning re-creations make a scene like Megyn Kelly (Theron) and Trump at the Republican Primary debate somehow more realistic than when it actually happened. But rather than leaning into satire, Roach weaves in enough humor and humanity that in some moments “Fox News” could be any office. It’s not a political film. It’s a film about women. Roach understands that workplace sexual assault is not about how you vote or what news channel you watch or even about sex. It’s about fear and power. Human emotions wielded in offices around the country every day. “Bombshell” is the result of a compassionate filmmaker who knew the responsibility of telling this tough but important story."

"""What else do I like? A Godard film called Prenom Carmen, which sounds like I’m just saying that to be cool, but it’s actually one of my favorite films. I think it’s the best Godard film. It’s like his version of Carmen the opera, one of his films from the eighties. In terms of just pure filmmaking and manipulating an audience, it kind of starts out as a farce, as a complete, stupid farce, with this bank robbery; but it’s really, really…Godardian, with kind of a stupid humor that’s so random. Only he could make it, mixed up with these kinds of philosophical elements. It starts out with one of these bank robbers, these students, and she starts to sleep with one of the guards; she’s having sex with him in the bank, and he pretends to arrest her and they run away together. And he wants to be part of her gang. It’s all so completely ridiculous. And then suddenly, halfway through, it turns into the most heartbreaking, serious thing that you’ve ever seen — out of nowhere! — and you’re suddenly so attached to these characters, which you weren’t before, because it seemed like a stupid student film. They have this secondary story where they have a string quartet playing the soundtrack which runs in the other story, but they film them during rehearsal, just doing really close up things with them playing cello and stuff, and it’s about the relationship with the conductor and this girl, the cellist — and it’s completely random to the film, but it’s incredible."""