Robert Pattinson again in cleared unease highlife, we chatted with the great Claire Dini earlier in the show talking about her experience working with Robert Pattinson among other topics. I'm curious if anything she said helped you process highlife further or better, Scott. This is a movie you have seen twice is that. Okay. So you've had a couple goes at this film, definitely on one level, very simple film, but a complex film. She is not interested as a filmmaker in spoon. Feeding you anything. There are a lot of different strands and ideas thrown out in this movie. Sometimes they're thoroughly explored sometimes they're not sometimes they're introduced, and you have to do the work to figure out how that may fit into some of the larger themes, and ideas, she's exploring we've mentioned this that it's only her second. Some people say, it's her first English language film. But actually trouble every day is a movie that is largely in English still as she. Touched on. It's not familiar to her. It's not how she normally works and certainly genre. She's not used to working in though, she is working with one of her usual collaborators, not only actually on the music tender sticks. But jump all far Joe who co wrote the film with D as he usually does I bring all that up to ask you sort of where you put this film in Denise larger body of work not worried so much about the ranking. But is this a movie that you consider up there with her best films? I'm not sure about that. I wouldn't necessarily go that far though, it certainly helped see it a second time to clarify my thoughts on a little bit. I think it's one of her more difficult films. Relishes interesting to me that that you have this movie that is surely her largest swing as far as a US audience might be concerned, it has Robert Pattinson than the lead is science fiction, though. She will deny that characterization. Yeah. I don't think we use the word. We did not read another thing. We've would've. That for good reason. But yeah, so it's it's difficult. It's difficult film. It's not necessarily one that I would start with you. If you've never seen the clear Janie movie, I would kind of go with something like Friday night or thirty five shots of rum, which are much simpler love stories, but it has it has all those elements that you expect from her movies, the elliptical use of time the gives you a lot to unpack. I mean, I was not surprised and also kind of grateful that she didn't try to unpack her her own movies. Not really that type. I think she really wants to give audiences a chance to experience it and kind of groove on the associated qualities of the film. So I appreciate that in as far as my own reaction to highlight is concerned. I appreciate it as much for what it isn't than what it is. It's such a defiant film as far as a movie goes about space travel. We are used to movies about space being sterile cold emotionless. And here's. A movie that is that opens with the shot of a garden and then cuts to a shot of a crying, baby.