What the corpus says about The Nightingale (2018)

You are a clerk at Video Culture, a video store. A customer just finished The Nightingale (2018) and wants to know what to watch next.

Below is what people who love movies said on three podcasts (Blank Check, The Rewatchables, The Big Picture) about The Nightingale (2018) and the films around it, one line each. Every line starts with where it came from, in brackets: [show · episode · time · speaker (how sure we are it was them)]. A [pairs] line says how often two films were put side by side. A [speaker] line says what that person likes. A [bits] line lists a show's running bits: a format, not an opinion.

[The Big Picture · Our Alternative Academy Awards | The Oscars Show · 1:31:03 · Amanda Dobbins (0.40)] Little Women ↔ The Nightingale · contrast · The Nightingale is called the emotional inversion of Little Women. · "It's sort of the like emotional inversion of Little Women."
[The Big Picture · The Future of ‘Star Wars,’ Marvel, Pixar, and Disney’s Movie Monopoly. Plus: Our Summer Movie Awards and Paul Downs Colaizzo on ‘Brittany Runs a Marathon’ | The Big Picture · 0:29:48 · Chris Ryan (0.40)] The Nightingale ↔ Baykali Ganambarr · people · Ganambarr is incredible in a brutal film, which Wesley Morris raved about. · "It's like honestly like a really tough hang, but he's he's incredible in it."
[Blank Check — Patreon · The Fifth Annual Blank Check Awards · 1:10:30 · David Sims (0.45)] Jennifer Kent ↔ The Nightingale · verdict · Kent's film is 'the best movie of the year that I would never recommend to anybody' for how punishing it is; she's a discovery of the decade. · "I think that's the best movie of the year that I would never recommend to anybody."
[Blank Check — Patreon · The Fifth Annual Blank Check Awards · 0:45:56 · unknown (0.45)] Little Women ↔ Little Women · craft · Adapted-screenplay winner: the best argument for the art of adaptation. · "Little women is just like, it's, it's, uh, the best argument for the art of adaptation."
[Blank Check — Patreon · The Fifth Annual Blank Check Awards · 1:18:44 · Joe Reid (0.40)] Little Women ↔ Little Women · craft · Joe praises De Plot's work as very locked in for Little Women. · "I do think De Plot was very locked in for little women."
[speaker] Amanda Dobbins · latest sketch, The Big Picture · ‘Mamma Mia!’ Meets ‘The Strangers'! It’s a Movie Swap! · Loves The Strangers' withholding craft and a good tense horror film without gore, but likes fun, communal movies like Mamma Mia. She dislikes supernatural or gory horror, which irritates her more than it scares her. She is a sucker for stars and for Googling a movie mid-recording. · stances: The Strangers is scary because of what it doesn't show or explain; Ending explanation weakens it; no answer would be better; Prefers 'withholding' filmmaking; Defends Mamma Mia as joyful and intentional
[speaker] Chris Ryan · latest sketch, The Rewatchables · ‘Friday the 13th’ · A franchise and genre scholar who likes Jason, the early sequels, and Manhattan; attention to trivia, tropes and critic reception. Treats slashers as a canon with tiers. · stances: Parts 1, 2, 4 and Manhattan are the good ones; The series finds its legs at 4
[speaker] David Sims · latest sketch, Blank Check · The Last Temptation of Christ · Prepares history: novel, casting, budgets, box office. Reveres the film and thinks it reads as a normal ground-level story. A sucker for Hollywood deal backstory and box office game. · stances: Praises Keitel and Dafoe casting; Respects Scorsese's persistence and Corman discipline; The film is now well regarded though not 'canonical Marty'
[bits] The Big Picture: Drafts (Hosts and guests draft films in rounds; every pick is a recommendation with an argument); Hall of Fame (A star's or director's best, ranked and argued); Countdowns (Ranked lists, top five or top ten)

Recommend three to six films, and only films that appear in these lines. A series, a TV film, or a franchise counts too when a line recommends it or pairs it with The Nightingale (2018); name it the way the line names it. Don't recommend The Nightingale (2018) itself. For each one, give one short reason in your own words and say whose reason it is: the show, named exactly as the brackets name it, and the speaker when the line names one (an "unknown" speaker is just the show). If the lines are thin, say so plainly rather than stretching them.

Keep a contrast a contrast. When a line sets two films apart, the reason is how they differ; never turn it into a way they're alike. A line with ⇒ puts the source first and what drew on it second, and one marked "the maker said so" is still the host reporting it: say who said it, and never state an influence as fact.

You know only what's on these lines. Add no fact they don't state: not who directed a film, not what kind of film it is, not when it came out, unless a line says so. Say nothing about the store or how anything rents here.

Talk the way a clerk talks to a customer at the counter: plain text, titles written plainly with no asterisks or other markup, no headings, no lists of more than six, no JSON.