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Film TraceTracing the Life of a Film Author: Film Trace
We trace the Life of a Film from conception to production all the way to its release and reception. You know when you dive into a film's wikipedia and imdb after watching it? Then the director's page, then the actor's page. Our show does that for you. We use our nerd superpowers to obsessively tell the story of a movie: how it came to be, how it played out, and what it means today. It is a crash course on a single film filled with primary documents, lovely asides, and frequent guest voices. It is an investigation and celebration of films both great and small. Language: en Genres: Film History, Film Reviews, TV & Film Contact email: Get it Feed URL: Get it iTunes ID: Get it |
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The Rise of A24 - Enemy (2014) and The Tenant (1976)
Episode 9
Monday, 5 January, 2026
The penultimate episode in our Rise of A24 season features two psychological free falls, Denis Villeneuve's Enemy (2014) and the infamous Roman Polanski's The Tenant (1976)Special Guest: Hollywood Insider and great friend of the show, RyanSlipping identity is one of the better themes for existential horror, but its narrative power can easily list the story until it capsizes. There is perhaps nothing scarier than losing one's self. It is a fear so extreme and palpable, it is not spoke of often, which reflects on how on edge we have become in the age of social media. Our self identities have never been more slippery than right now, as our self image has become a kaleidoscope of algorithms, vibes, propaganda, and postmodern chicanery. Denis Villeneuve's Enemy (2014) seems almost out of time despite being written and shot during the hyper acceleration of social media. The movie starts with a quote "Chaos is order yet undeciphered." Yet, the entire film works to obfuscate the actual connection between the doppelgangers at the center of it story. The ending is notoriously opaque as well. All of this adds up to a classic A24 style film. A film that offers a lot of vibes and questions, but doesn't dare write a thesis statement that is decipreable. Roman Polanski's The Tenant (1976) comes from a different world than our own. Pre-internet and personal computer, The Tenant harkens back to Kafkaesque institutional paranoia and identity dissolution more commonly seen in Scandinavian film. Here the maleficent forces are clear and all around us. Small acts of coercion via social compliance begin to rewrite Trelkovsky's self-identity until he himself finally erases the last mark of his former self. It is easy to see how The Tenant has had a large influence beyond its limited social cachet. While uneven and unkempt, Polanski confidently and courageously explores his own sense of faltering self.
