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Civilcinema

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Cinephile argument with the edges left on.

The gist

Civilcinema treats each film as a doorway, not a checklist. A Better Tomorrow, Manoel de Oliveira, Bela Tarr, and Robert Duvall become occasions for plot reconstruction, historical context, cinephile comparison, and loose but serious argument.

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About Civilcinema

Civilcinema is a Chilean cinephile conversation with the shape of a hangout and the appetite of a private film education. It does not move like a scripted review show. Episodes begin with dates, jokes, corrections, pending lists, football moods, platform notes, and small domestic signals before settling into the movie at hand. Then the frame widens. A Better Tomorrow becomes a discussion of Hong Kong action, John Woo, mafia loyalty, competing families, brotherhood, Chow Yun-Fat, Leslie Chung, and the feeling of watching a tradition from slightly outside it. Manoel de Oliveira opens into a meditation on Porto, old houses, mirrors, ghosts, Ruiz, modernist architecture, family memory, and the way a documentary gesture can start to look like another film nested inside the first. El caballo de Turín turns into talk about repetition, biblical structure, irony, Patricio Guzmán, apocalypse, labor, the daughter and father, the horse, the well, and the bleak comedy of a world running out of motion. The Apostle brings Robert Duvall, faith, jealousy, violence, Johnny Cash-like drama, religious expression, community, and American politics into the same difficult room. The show can be funny. It can also go grave very quickly. Its method is cumulative: summarize the plot, interrupt the summary, compare it to another director, correct a detail, and keep pressing until the movie gives up a broader cultural or aesthetic problem. That looseness is part of the value. Civilcinema sounds like criticism before it has been ironed flat, where uncertainty, memory, and association remain visible. The result is not beginner-friendly in the explanatory sense, but it is generous to listeners who enjoy hearing films thought through in real time. It treats cinema as a living archive of gestures, debts, missed classics, old arguments, and new doubts. It is especially strong on directors whose work resists neat entry points. It prefers patience over verdicts. It also has a dry comic streak, including running awareness of its own endless backlog and its own capacity to lose count. For the right listener, that mess is the point.

Made for: For Spanish-speaking film listeners who enjoy director-focused discussion, long-form cinephile association, and criticism that moves from scene detail to cultural claim. It especially suits people comfortable with digression, older cinema, and informal Chilean conversation.

What sets it apart: Civilcinema stands apart by letting the thinking remain live: corrections, detours, half-remembered references, and sudden comparisons are part of the critical method. It can move from John Woo gunplay to family structure, or from Oliveira's houses to cinema's ghosts, without sanding down the transition.

In their own words

Un podcast acerca de películas que no nos avergüenzan. Conducido por Juan Pablo Vilches y Christian Ramírez

Why you'd press play

A mirror dodges the cameraman, and suddenly you are rethinking how movies hide their ghosts.

Press play if you want

  • patient scene-reading that notices why a camera dips away from a mirror
  • film talk that connects Robert Duvall's preacher, faith, and Trump without flattening the tension
Read the full recommendation in PlayNext →
director-focused film discussionHong Kong action cinemaEuropean art cinemafamily, loyalty, and crimereligion and American culturearchitecture and memoryapocalyptic repetitionunfinished viewing lists

Talks about

Film Reviews

Episodes

  1. 1

    #569 Annie Hall (1977), de Woody Allen

    ·1h 21m
  2. 2

    #568 Quiz Show (1994), de Robert Redford

    ·1h 32m
  3. 3

    #567 M. El hijo del siglo (2024), de Joe Wright

    ·1h 40m
  4. 4

    #566 Jonas Mekas en los años 60

    ·1h 5m
  5. 5

    #565 Sirāt (2025), de Olivier Laxe

    ·1h 14m
  6. 6

    #564 La ola (2025), de Sebastián Lelio

    ·1h 5m
  7. 7

    #563 One Battle After Another (2025), de Paul Thomas Anderson

    ·1h 44m
  8. 8

    #562 Better Man (2024), de Michel Gracey

    ·1h 16m
  9. 9

    #561 Severance (2022-2025), creada por Dan Erickson

    ·1h 42m
  10. 10

    #560 The Life and Death of Colonel Blimp (1943), de Michael Powell y Emeric Pressburger

    ·2h 1m
  11. 11

    #559 The Sopranos Temporada 1 (1999), de David Chase

    ·1h 35m
  12. 12

    #558 El cine de Martin Rejtman (2006-2024)

    ·1h 39m
  13. 13

    #557 El cine de Martin Rejtman (1986-2003)

    ·1h 34m
  14. 14

    #556 El Decálogo (1989) de Krzysztof Kieślowski y Krzysztof Piesiewicz

    ·1h 35m
  15. 15

    #555 Las cien mejores del siglo XXI, según The New York Times

    ·50m
  16. 16

    #554 Denominación de origen (2025), de Tomás Alzamora

    ·52m
  17. 17

    #553 The Conversation (1974), de Francis Ford Coppola

    ·1h 28m
  18. 18

    #552 Anora (2024), de Sean Baker

    ·1h 22m
  19. 19

    #551 Il sol dell'avvenire (2023), de Nanni Moretti

    ·1h 58m
  20. 20

    #550 Peter Pan en el Siglo XX (1953-1991)

    ·1h 52m
  21. 21

    #549 Gritos y susurros (1972), de Ingmar Bergman

    ·1h 24m
  22. 22

    #548 El séptimo sello (1957), de Ingmar Bergman

    ·1h 40m
  23. 23

    #546 El niño y la garza (2023), de Hayao Miyazaki

    ·1h 33m
  24. 24

    #547 Reality + (2014) y The Substance (2024), de Coralie Fargeat

    ·1h 18m
  25. 25

    #545 Ordet (1955), de Carl Theodor Dreyer

    ·1h 51m
  26. 26

    #544 Cerrar los ojos (2023), de Víctor Erice

    ·2h 10m
  27. 27

    #543 Scorpio Rising (1963), de Kenneth Anger

    ·1h 41m
  28. 28

    #542 Daughters of the Dust (1991), de Julie Dash

    ·1h 7m
  29. 29

    #541 Tangerine (2015), The Florida Project (2017) y Red Rocket (2021), de Sean Baker

    ·1h 50m
  30. 30

    #540 Take Out (2004), de Shih-Ching Tsou y Sean Baker

    ·52m
  31. 31

    #539 Civil War (2024), de Alex Garland

    ·1h 15m
  32. 32

    #538 Los delincuentes (2023), de Rodrigo Moreno

    ·2h 11m
  33. 33

    #537 Imitation of life (1934), de John M. Stahl. Imitation of life (1959), de Douglas Sirk

    ·1h 52m
  34. 34

    #536 Perfect Days (2023), de Wim Wenders

    ·1h 57m
  35. 35

    #535 The Zone of Interest (2023), de Jonathan Glazer

    ·1h 53m
  36. 36

    #534 Passione d'Amore (1981) de Ettore Scola y Passion (1994), de Stephen Sondheim

    ·1h 59m
  37. 37

    #533 La princesa Mononoke (1997), de Hayao Miyazaki

    ·1h 55m
  38. 38

    #532 The Last Movie Stars (2022), de Ethan Hawke

    ·1h 33m
  39. 39

    #531 Asteroid City (2023), de Wes Anderson

    ·1h 59m
  40. 40

    #530 Frankenstein (1931), The Bride of Frankenstein (1934) y Son of Frankenstein (1939)

    ·1h 49m
  41. 41

    #529 The Corner (2000), de Charles S. Dutton y David Simon

    ·1h 17m
  42. 42

    #528 The Texas Chainsaw Massacre (1974), de Tobe Hooper

    ·1h 36m
  43. 43

    #527 Killers of the Flower Moon (2023), de Martin Scorsese

    ·2h 42m
  44. 44

    #526 El México de Luis Estrada (1999-2023)

    ·2h 51m
  45. 45

    #525 Babylon (2022), de Damien Chazelle

    ·1h 43m
  46. 46

    #524 El Conde (2023), de Pablo Larraín

    ·1h 44m
  47. 47

    #523 Winchester '73 (1950), de Anthony Mann

    ·1h 12m
  48. 48

    #522 3.10 to Yuma (1957), de Delmer Daves, y 3.10 to Yuma (2007), de James Mangold

    ·1h 40m
  49. 49

    #521 Oppenheimer (2023), de Christopher Nolan

    ·2h 1m
  50. 50

    #520 Notas para una película (2023), de Ignacio Agüero

    ·1h 34m
  51. 51

    #519 Ran (1985), de Akira Kurosawa

    ·1h 36m
  52. 52

    #518 I Confess (1953) y The Wrong Man (1956), de Alfred Hitchcock

    ·1h 45m
  53. 53

    #517 Barry (2018-2023), de Bill Hader y Alec Berg

    ·2h 26m
  54. 54

    #516 Pickpocket (1959), de Robert Bresson

    ·1h 48m
  55. 55

    #515 Diario de un cura rural (1951), de Robert Bresson

    ·1h 38m
  56. 56

    #514 Ace in the Hole (1951), de Billy Wilder

    ·1h 44m
  57. 57

    #513 Bullitt (1968), de Peter Yates

    ·1h 43m
  58. 58

    #512 King Kong (1933) de Ernest B. Shoedsack y Merian C. Cooper

    ·1h 59m
  59. 59

    #511 La Momia, monstruo y arquetipo (1932, 1959, 1999, 2017)

    ·2h
  60. 60

    #510 The Fabelmans (2022), de Steven Spielberg

    ·2h 51m
  61. 61

    #509 Sullivan's Travels (1941), de Preston Sturges

    ·1h 36m
  62. 62

    #508 Wavelength (1967), de Michael Snow

    ·1h 12m
  63. 63

    #507 2001: A Space Odyssey (1968), de Stanley Kubrick

    ·1h 34m
  64. 64

    #506 La encuesta Sight and Sound 2022

    ·1h 9m
  65. 65

    #505 Fight Club (1999), de David Fincher

    ·1h 28m
  66. 66

    #504 La morte rouge (2006), de Víctor Erice

    ·1h
  67. 67

    #503 Get Out (2017), Us (2019) y Nope (2022), de Jordan Peele

    ·1h 53m
  68. 68

    #502 Bamboozled (2000), de Spike Lee

    ·2h 59m
  69. 69

    #501 Playtime (1967), de Jacques Tati

    ·1h 44m
  70. 70

    #500 Passion (1982), Prenom Carmen (1983) y Je vous salue, Marie (1985), de Jean-Luc Godard

    ·2h 47m
  71. 71

    #499 Irma Vep (1996) e Irma Vep (2022), de Olivier Assayas

    ·2h 45m
  72. 72

    #498 Les vampires (1915-1916), de Louis Feuillade

    ·2h 4m
  73. 73

    #497 El árbol de los zuecos (1978), de Ermanno Olmi

    ·1h 34m
  74. 74

    #496 Il posto (1961) e I fidanzati (1963), de Ermanno Olmi

    ·1h 51m
  75. 75

    #495 We Own This City (2022), creada por David Simon y George Pelecanos

    ·1h 37m
  76. 76

    #494 Ready Player One (2018), de Steven Spielberg

    ·1h 42m
  77. 77

    #493 El cine de Celine Sciamma (2007-2021)

    ·2h 44m
  78. 78

    #492 Nosferatu (1922), de F. W. Murnau

    ·1h 51m
  79. 79

    #491 Valerie en el país de las maravillas (1970), de Jaromil Jires

    ·1h 17m
  80. 80

    #490 El relojero de Saint Paul (1974), de Bertrand Tavernier

    ·1h 44m
  81. 81

    #489 Drive My Car (2021), de Ryusuke Hamaguchi

    ·2h 7m
  82. 82

    #488 Mis vecinos los Yamada (1999), de Isao Takahata

    ·1h 24m
  83. 83

    #487 Nightmare Alley (1947) y Nightmare Alley (2021)

    ·1h 53m
  84. 84

    #486 The Green Knight (2021), de David Lowery

    ·2h 12m
  85. 85

    #485 Nostalghia (1983), de Andrei Tarkovsky

    ·2h 48m
  86. 86

    #484 Licorice Pizza (2021), de Paul Thomas Anderson

    ·1h 56m
  87. 87

    #483 Edge of Tomorrow (2014) y las paradojas de la repetición

    ·1h 48m
  88. 88

    #482 I pugni in tasca (1965) y Gli occhi, la bocca (1982), de Marco Bellocchio

    ·2h 1m
  89. 89

    #481 Viaje al principio del mundo (1997) y Vuelvo a casa (2001), de Manoel de Oliveira

    ·1h 36m
  90. 90

    #480 El otro (2020), de Francisco Bermejo

    ·1h 27m
  91. 91

    #478 Berlin, Sinfonía de una gran ciudad (1927) y Gente en domingo (1930)

    ·1h 42m
  92. 92

    #477 The Beatles: Get Back (2021), de Peter Jackson

    ·2h 34m
  93. 93

    #476 Ted Lasso (2020-21), de Jason Sudeikis, Brendan Hunt y Bill Lawrence

    ·1h 54m
  94. 94

    #475 The Long Goodbye (1973), de Robert Altman

    ·1h 42m
  95. 95

    #474 The Romanoffs (2018), de Matthew Weiner

    ·2h 20m
  96. 96

    #571 The Apostle (1997), de Robert Duvall

    Civilcinema episode 571 analyzes Robert Duvall's 'The Apostle' (1997), a project Duvall developed for 30 years after being moved by fieldwork at a Southern evangelical church in the late 1960s, with the episode prompted by his recent death.

    ·1h 19m·5 clips
  97. 97

    #570 El caballo de Turín (2011), de Béla Tarr y Ágnes Hranitzky

    Hidden gem

    Civilcinema #570 links Béla Tarr and Ágnes Hranitzky’s El caballo de Turín to the Turin anecdote about Friedrich Nietzsche, the horse, and the line "soy un tonto".

    ·1h 1m·2 clips
  98. 98

    #479 Visita o memorias y confesiones (1982) y Porto da minha infancia (2001), de Manoel de Oliveira

    Hosts Juan Pablo Vilches and Christian Ramírez discuss two autobiographical films by Portuguese director Manoel de Oliveira: 'Visita o Memorias y Confesiones' (1982) and 'Porto da Minha Infancia' (2001).

    ·1h 26m·5 clips
  99. 99

    #573 A Better Tomorrow (1986), de John Woo

    Juan Pablo Vilches and Christian Ramírez discuss John Woo's 1986 Hong Kong film 'A Better Tomorrow'.

    ·1h 24m·5 clips
  100. 100

    #572 Marty Supreme (2025), de Josh Safdie

    ·1h 36m