#715 - Failure to Communicate (w/ Josh Lewis)
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Josh Lewis joins Michael and Us for a blistering critique of Alejandro González Iñárritu’s 2006 prestige epic *Babel*, dissecting it not as a masterpiece of global empathy but as a self-congratulatory exercise in cinematic pretension. The episode unfolds as a deep dive into the film’s structural flaws, racialized stereotypes, and moral cowardice—particularly in how it frames cross-cultural misunderstandings as tragic inevitabilities rather than systemic failures. Lewis argues that *Babel*’s famous tagline, 'a failure to communicate,' is not a profound observation but a lazy narrative cop-out, one that lets white liberal audiences feel enlightened while absolving themselves of real responsibility. He traces this pattern through Iñárritu’s broader filmography, from *Amores Perros* to *21 Grams*, showing how the director’s technical bravado masks a lack of substantive political or emotional insight. The discussion also reveals the irony of Iñárritu’s Oscar-winning legacy—built on films that were praised for their 'seriousness' but ultimately feel emotionally hollow and visually indulgent. Ultimately, the episode positions *Babel* as the peak of a genre that confused misery with meaning, and where the most powerful message was not about connection, but about how easily art can be used to comfort the privileged while pretending to confront the world’s pain.
Babel’s 'failure to communicate' theme is a narrative cop-out that avoids real political or structural critique
The film reinforces racist stereotypes by framing Morocco and Mexico as inherently chaotic and violent
Cross-cutting in Babel is not a storytelling device but a confusing gimmick that undermines narrative coherence
The Japanese segment uses deafness as a literal metaphor for communication failure while exploiting Orientalist tropes
Iñárritu’s films rely on technical proficiency to mask emotional emptiness and moral evasion
…and 3 more takeaways available in PodZeus
Podcaster Confessions: The Art of the Guest Invitation
Michael and the host discuss the delicate balance of inviting guests to a podcast, especially when it involves watching films. They reflect on how they frame the experience to avoid making it feel like homework, with a focus on guest autonomy and relevance to their interests.
The All-Star Paradox: Letterboxd, Merch, and the Toronto Screening
Josh Lewis is introduced as a Letterboxd All-Star and co-host of the Essential Sleazoids podcast. He promotes a special screening of Michael Mann’s *Black Hat* in Toronto, highlighting the film’s director’s cut and the event’s connection to the Hear Me Out series.
Cannes 2006: The Myth of the Standing Ovation
The hosts reflect on the infamous reception of *Southland Tales* and *Marie Antoinette* at Cannes, contrasting their initial boos with their later cult status. They question the reliability of festival reactions as a measure of cinematic value.
The 2000s Studio Trash Project: Revisiting Forgotten Films
Josh reveals his personal project of rewatching every poorly rated 2000s studio film he’d logged on Letterboxd. He explains how this began during the pandemic as a way to reconcile his past ratings with actual viewing experience.
The Oscar-ification of Cinema: Why 'Serious' Films Feel Like Homework
The hosts critique the mid-2000s trend of 'prestige' films that prioritize emotional weight over narrative clarity. They argue that these movies—like *The Da Vinci Code* and *Up in the Air*—are often praised for their seriousness but lack real substance.
“I just don't like it. I find it completely miserable, I find it confused, and I find the way that it is indulgent... any sort of issue, whether it's a geopolitical one or whether it's a stereotypical one. I find it never actually takes a brave enough stance on anything to warrant even bringing it up in the first place.”
“It’s constantly in a way that it thinks is very clever. It’s constantly sort of undercutting and saying, oh, you think this? Well, what about this? And that’s something it has in common with Crash where it’s like, oh, you may think that the Matt Dillard cop character is a bad guy because he sexually assaulted a woman and is racist. But did you also know that his dad is sick? And isn’t that a shame?”
“The movie reaffirms certain stereotypes that you have where it’s like, yeah, even though the movie is saying that it’s bad that children are being shot, it’s also a movie that’s reaffirming, well, there are certain parts of the world like Morocco slash the Middle East where children get shot. These mistakes just happen for logical kind of reasons, unfortunately.”
Host
Guest
babel
media
alejandro gonzález iñárritu
person
21 grams
media
josh lewis
person
amores perros
media
letterboxd
other
southland tales
media
cannes film festival
other
black hat
media
adam naiman
person
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