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b'Corrie Chen joins us to talk the films of Nora Ephron!
\\nRochelle and Lee look back at some key films from this month, including Haifaa al-Mansour’s gothic biopic\\xa0Mary Shelley (01:37), the Ruth Bader Ginsburg documentary\\xa0RBG\\xa0(06:01), the Kiwi comedy\\xa0The Breaker Upperers\\xa0(10:29), and William Friedkin’s exorcism doco\\xa0The Devil and Father Amorth\\xa0(13:29).
\\nThey then welcome this month’s guest, writer-director Corrie Chen, and ask her about one of Nora Ephron’s favourite phrases: “everything is copy”. Is Ephron correct? Is storytelling a way of owning your life story? And has Corrie applied this lesson to her own filmmaking?\\xa0(18:31)
\\nThen, Corrie takes us through the films and career of Nora Ephron. Now best known for writing the romantic comedy\\xa0When Harry Met Sally, and for writing and directing\\xa0Sleepless In Seattle, Ephron was a prolific writer, penning articles, books and stageplays, fighting for justice when denied a writing job by her employer because of her gender, and bringing an acerbic wit to the most heartfelt of stories. We look back at what made her voice so distinct and unique, and discover a few hidden meanings threaded throughout her works.\\xa0(31:13)
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