St. Vincent

“Okay, so where to begin? I think I'm going to start with John Waters classic, Female Trouble. This is the best thing in the world. John Waters forever.”

“Oh, do we have The Bitter Tears of Petra Von Kant? We do indeed. Oh my God. Okay, so this film, first of all, oh, it takes place all in one set and the set is perfection. She's, Petra is on the bed and she's in love with this younger woman and she's just, just all kinds of everything. Oh, I've referenced this movie so many times, I can't tell you. And behind her is this like blown-up mural of this flower and it's just like, it's so, it's so grandiose and like it just looks so good and, and so dramatic and, and it's tragic-queer. Bless her, Petra, bless her. She just, she's just looking for love, you know? We're all just looking for love.”

“Okay, Women on the Verge of a Nervous Breakdown. Pedro, I love you, I love you, I love you so much. You know, you, when you see movies by people who like, I don't know, like love women, like love their mothers, you know, this is a gift. Like he loves his mother and I love that for him and for us. I can't, I just [__] [__] can't, I cannot.”

“To Die For, Gus Van Sant. This movie is so funny. Nicole Kidman is so [__] funny in this movie. She's psychotic. She is like icy and just about to crack. She is absolutely terrifying. I mean, even just like look at Nicole Kidman's face on the cover of this, just... So there is some kind of through line happening here, I'm realizing, between John Waters and Pedro Almodóvar and, and Gus Van Sant and Fassbinder. It's a real like pantheon of queer cinema. You can draw a line, I think, around some of these aesthetics that are, you know... She knows how to code-switch 'cause she's got a lot of things going on all at once. Oh, she's perfection. I love it. I can't, I just can't, I cannot.”

“Okay, where do we go from here? Okay, I'll, I'm going to go, I'm going to go Guy Maddin on this. This is, I remember buying this film, Brand Upon the Brain! At Kim's Video in the East Village circa two... Who's counting? This is like, Guy Maddin is a freak. Just watching this black and white like bizarro world that he creates, I've definitely ripped him off as well. It's wild, it's wild in that, in that sort of like full dream state. What am I looking at? But you, but it feels very intimate at the same time. You're like, oh, I know exactly what he means. So I'm going to take it.”

“Oh, here's a good one. Okay, Dazed and Confused, classic Richard Linklater film. I saw this movie so many times on a VHS, in Dallas, Texas, growing up in Dallas. And oh, first of all, oh, the soundtrack is so good with, "Summer Breeze", Seals and Crofts, and, it's got Rick Derringer on it, it has Aerosmith, it has, who else? Black Sabbath is on it, or no, yeah, because "Paranoid" is in it. It's one of those movies where you feel sad when it's ending, like you feel like, oh my, the party's over, like you really feel like you don't want to leave the party, and the, the characters and the people. And so the final scene, they, the sun is rising and Lynyrd Skynyrd, "Tuesday's Gone" plays and it's just like, it breaks my heart. Also again, War, "Why Can't We Be Friends?" This is my first introduction to War, which is one of my favorite, bands. Shout out Long Beach scene. Oh, I put it in my bag, I get to keep it.”

“Okay, so I'm going to, I'm going to, spin around, like a piñata. No, the piñata doesn't spin, the person does. This is starting to hurt. That I'm going to get this, and it is Diamonds of the Night. I don't know this film. Okay, well, fate led me here, and I'm taking it.”

“Hey, can I take this Chantal Akerman? Can I take this? I want this, so I'm going to take it. You know why? 'Cause I don't know her work and I should. That's why I'm taking it.”