White Lies, Pt. 2 — Passing

Rebecca Hall’s new PASSING takes a more restrained, internal approach to its story about racial identity and the rejection thereof than Douglas Sirk’s 1959 classic IMITATION OF LIFE, but the two films share an awareness of how style and subject matter can work hand in hand. We’re joined again this week by critic Odie Henderson to discuss how each film balances its messaging, storytelling, and style, after digging into PASSING’s black-and-white cinematography, literary source material, and ambiguous ending. Plus Your Next Picture Show, where we share recent viewing experiences in hopes of putting something new on your radar.

Please share your comments, thoughts, and questions about IMITATION OF LIFE, PASSING, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. 

Show Notes:

Works Cited:

• “One Last Bit of Black History” by Odie Henderson (Big Media Vandalism)

• “Angels of Death: A Prairie Home Companion and All That Jazz” by Odie Henderson (Slant Magazine)

Your Next Picture Show:

• Odie: Douglas Sirk’s LURED; Lewis Seiler’s WOMEN’S PRISON; Mamoru Hosada’s BELLE

• Tasha: Hayao Miyazaki’s FUTURE BOY CONAN

• Genevieve: Penny Lane’s LISTENING TO KENNY G

• Keith: Todd Haynes’ FAR FROM HEAVEN; Mike Mills’ C’MON C’MON

Outro music: “Irene and Claire” by Devonté Hynes

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