"It's such an important film in his [Scorsese's] filmography. I'm so happy people are discovering it and Criterion decided to focus on it."

In this episode of Why This Film?, Ron is joined by critic and writer Sheila O'Malley of RogerEbert.com to discuss After Hours, Martin Scorsese's dark comedy and anxiety-driven odyssey through late-night SoHo. Sheila also wrote the essay for Criterion's release of the film.

Together, they walk through the film scene by scene, tracing how the evening spirals out of Paul's control. The poor guy just wants to go home. The discussion goes from Scorsese to Hitchcock to Kafka to Mr. Softee.

And as always, Sheila answers the central question: Why is After Hours included in the Criterion Collection, and why does it still matter today?

You can find more from Sheila from the links below:

The Sheila Variations

RogerEbert.com Archive

Frankenstein by Sheila O'Malley

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In episode 3 of Why This Film?, Ron is joined by Ciara Moloney to discuss The Breakfast Club, John Hughes's defining 1980s teen film.

Together, they walk through the film scene by scene, talking about why these characters still resonate 40 years later. They discuss the film's use of archetypes and how it reveals we are often more alike than we may seem on the surface.

Along the way, they unpack the film's emotions, its humor, its blind spots, and why it continues to connect with audiences who didn't grow up in 1980s American suburbia.

And, as always, Ciara answers the central question: why is this film included in the Criterion Collection and why does it still matter today?

You can find more from Ciara from the links below:

Bluesky

https://ciaramoloney.net/
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"If retirement means you're in a lovely flat in Paris and your fridge is full of foie gras and champagne - I'm okay with that."

In episode 2 of Why This Film?, Ron discusses Jacques Becker's Touchez pas au grisbi (1954) with Ginette Vincendeau, one of the most influential scholars of French cinema working today.

Together, they explore how Grisbi reshapes the gangster genre through efficient storytelling and the routine life away from violent action. They move through the film's pacing, its focus on aging and friendship, and the authority of Jean Gabin's performance.

Ginette brings her expertise to questions of women's roles in French cinema and society, masculinity, and filmmaking of this period.

And as always, Ginette answers the central question: Why is this film included in the Criterion Collection and why does it still matter today?

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