Cinema Junkie offers up some quarantine viewing options that provide escapism. First up, TCM Classic Film Festival had to cancel its Hollywood event but has moved it to its TCM cable channel for a Home Edition that anyone can enjoy while sheltering at home. Charles Tabesh, senior vice president in charge of programming at Turner Classic Movies, previews the festival. The Nora Fiore, author of the Nitrate Diva blog, highlights the best screwball comedies to take your mind off the coronavirus pandemic. She suggests some well-known classics as well as under-appreciated gems. Plus enjoy a rendition of "The Good Ship Lollipop" that will delight and surprise you.

UC San Diego professor Joel Wertheim uses the 2011 Steven Soderbergh film "Contagion" to teach a class every fall in epidemiology because it is so accurate in depicting a global pandemic. I talk to Wertheim about viruses and what we might be able learn from pop culture about dealing with the current coronavirus pandemic.

I became a fan of Benh Zeitlin after his first film "Beasts of the Southern Wild." Now almost eight years later he has a second film that once again captures the wonder of childhood through a young girl's eyes. For "Wendy" he has reimagined "Peter Pan" from her point of view and place the idea of motherhood front and center. I speak to him about shooting on 16mm, working with non-professional child actors, and keeping reality as part of the magical world he creates.

February is Women In Horror Month and Cinema Junkie checks in with the Twisted Twins Jen and Sylvia Soska. The Soskas have a new film currently streaming, it's the remake of fellow Canadian David Cronenberg's 70s cult favorite, "Rabid." I have been following the rise of the Twisted Twins since their feature debut "Dead Hooker in a Trunk" in 2009 and their brilliant and most personal project "American Mary" in 2012. The good news is that they are returning to another very personal horror project that I can't wait to see.

The Academy Award nominations always incite me to give out my own awards for best of the year. So here are the Cinema Junkie Awards to highlight the films that I loved this year, some of which I feel were severely under-appreciated.

Imagine a body as your canvas, a knife as your paintbrush, and blood as your medium. That in a nutshell is the Italian giallo film. Cinema Junkie is on holiday break so I am serving up a tasty archive from 2017 when I looked to Italian giallo cinema. I’ll be back with a new episode in two weeks where I give out the Cinema Junkie Awards. But since I am co-hosting a film series in San Diego at Digital Gym Cinema focusing on Italian Genre Cinema, I decided to replay this podcast to whet your appetite for our latest Film Geeks SD program. If you don’t know what giallo is I have a pair of guests to enlighten you and if you already know the pleasures of this over-the-top Italian genre then you can delight in insights from Troy Howarth, author of the giallo study "So Deadly So Perverse;" and Rachael Nisbet, who runs a film blog dedicated to giallo and Italian genre cinema. The word “giallo” translates literally as “yellow” but it became synonymous with a particular style of literary thriller that got its name from the cheap yellow covers of the novels published in Italy in the ’50s and ’60s. The films that drew on these literary roots embellished the lurid tales with an audacious visual style and pulsating soundtrack that consumed you like a fever dream. Although murder is often at the center of these films don't waste your time trying to figure out whodunit because plot feels like an afterthought in these films that are drip with intoxicating style. The style IS the content so you can resist it or you can simply succumb to this assault on your senses and enjoy the perverse pleasures of Italian giallo cinema.

Fasten your seatbelts! Cinema Junkie is racing off on a vacation break and playing a favorite archive episode this week. I'll be back with new episodes in January. Since I will be co-hosting a yearlong Gearhead Cinema program at San Diego's Digital Gym Cinema in 2020 I am digging into the archives for my interview with stunt driver Steve Lepper who talks about the best car movies and car chases of all time. Lepper came to San Diego in late 2018 to see the Bullitt car at the San Diego Air and Space Museum. He will return to San Diego to introduce some of the classic car films in the Gearhead Cinema program.

At a time when much of Hollywood's award hopefuls feel familiar in their storytelling formula, it's refreshing to find films like "Waves" and the upcoming "A Hidden Life" from Terrence Malick that speak in an audaciously cinematic language that is pure visual poetry. "Waves'" filmmaker Trey Edward Shults grabbed my attention two years ago for "It Comes At Night," an unconventional horror film that was poorly served by its misleading ad campaign. I had the opportunity to speak to Shults back in 2017 when "It Comes At Night" opened. With his new film in theaters I thought it would be fun to revisit his interview.