How does one portray dissent within an oppressive institution, be it Russian, Roman, German [Expressionist], Goblin, or Alien? The answer may surprise you. We hope you enjoy, and thank you for your time. p.s. apologies for the weird audio

It's episode 23 of Oll Obout Ovid!, the podcast dedicated to Ovid.tv, and this month B and Witney talk about three films they saw on the service (a 90s queer cyberpunk drama set in New York City, a tender end-of-life drama out of Hong Kong, and a quirky workplace musical also from Hong Kong), as well as a lot of other random stuff. We dunno, this episode's a casual one. We hope you enjoy, and thank you for your time.

On this twenty-second episode of OLL OBOUT OVID!, on this ONE HUNDREDTH episode of THE SCREEN'S MARGINS, Witney and B have a very special guest! Here to talk with them about her films, which are being showcased on Ovid.tv, is none other than experimental documentary filmmaker Lynne Sachs! Among the films discussed in the first half of their chat are SERMONS AND SACRED PICTURES (1989), WHICH WAY IS EAST: NOTEBOOKS FROM VIETNAM (1994), STATES OF UNBELONGING (2005) and YOUR DAY IS MY NIGHT (2013), which are currently on Ovid. The second half of the conversation will be released on February 9th, when five more of Lynne Sachs' films are released to the service. We hope you enjoy, and thank you for your time! Link to the second half of this conversation: https://anchor.fm/screensmargins/episodes/Oll-Obout-Ovid--No--22---The-Works-of-Lynne-Sachs-feat--Lynne-Sachs----Part-2-e1e3gov

Welcome to the 99th and final podcast from THE SCREEN'S MARGINS of the year! What a year it's been, and what better way to round out 2021 than by...okay there's nothing special, it's just B Peterson and Witney Seibold talking good film that's available on Ovid.tv, aka the premise of OLL OBOUT OVID! We talk Alain Renais' 1956 tribute to libraries, Madeline Anderson's documentation of Civil Rights activism and activists, Lynne Sachs' experimental explorations of history, language and the documentary form itself, Jill Li's chronicling of a democratic movement in Southern China, and more besides! We hope you enjoy, and thank you for your time.

Hey y'all, we're back. We made it to episode twenty of our Ovid.tv podcast: oh oh oh two oh! And what better and more on-brand way for B Peterson and Witney Seibold to celebrate, than by exploring some international independent arthouse films, three of which are shorts, and one of which is four hours in length. That's right, this month Witney and B are discussing the complete [filmed] works of Chinese novelist, writer, editor, and director Hu Bo, who left us far too soon. They include his two 2014 thesis short films DISTANT FATHER, which he co-wrote and edited, and NIGHT RUNNER, his directorial debut, as well as MAN IN THE WELL, the 2016 short he made while working under Béla Tarr, and, of course, AN ELEPHANT SITTING STILL, his first and final feature. A warning: discussions of suicide and suicidal ideation ahead. Thank you for your time.

This week on OLL OBOUT OVID!, the Ovid.tv podcast, Witney and B talk two super long things and one very short thing. The two super long things are Ryūsuke Hamaguchi's HAPPY HOUR (2015), which B has now caught up on, HOTEL TERMINUS: THE LIFE AND TIMES OF KLAUS BARBIE (1988), the Marcel Ophuls documentary abut a Nazi's life after WWII (which B will not be catching up on), and THE GREAT MALAISE (2019), a short film from Catherine LaPage about...three guesses. We hope you enjoy, and thank you for your time.