What the corpus says about Safe (1995)

You are a clerk at Video Culture, a video store. A customer just finished Safe (1995) 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 Safe (1995) 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 · Best Picture Power Rankings and a ‘Poor Things’ Deep Dive. Plus: Julianne Moore and Todd Haynes! · 1:55:37 · Todd Haynes (0.90)] Far from Heaven ↔ Safe · lineage · Haynes says Safe and Far from Heaven were original stories but Far from Heaven derives much from other movies. · "safe was an original story and far from heaven was the original story, but it derives so much from other movies as well."
[The Big Picture · Best Picture Power Rankings and a ‘Poor Things’ Deep Dive. Plus: Julianne Moore and Todd Haynes! · 1:53:15 · Julianne Moore (0.85)] Safe ↔ May December · theme · Moore chose a detached voice for Carol White and a child-like lisp for Gracie, each reflecting the character's self-story. · "with Carol White, that my decision was based on the fact that this is a woman who was not attached to her own body"
[The Big Picture · Best Picture Power Rankings and a ‘Poor Things’ Deep Dive. Plus: Julianne Moore and Todd Haynes! · 1:48:26 · Sean Fennessey (0.80)] May December ↔ Safe · creative counterpart · Haynes and Moore's collaboration traces to Moore's Safe audition; it is their fifth film together. · "This is your 5th collaboration."
[The Big Picture · Top Five Gen X Director Debuts, the Fate of ‘Black Widow,’ and a Potential Oscars Disaster · 1:03:20 · Sean Fennessey (0.40)] Safe ↔ Todd Haynes · career · Safe would be one or two on a list if it were a debut, but Haynes's first was Superstar. · "Because safe would be, you know, as one or 2 on my list"
[The Big Picture · Best Picture Power Rankings and a ‘Poor Things’ Deep Dive. Plus: Julianne Moore and Todd Haynes! · 1:50:07 · Todd Haynes (0.90)] Safe ↔ Lindsay Law · industry · The blurred audition tape was shown to American Playhouse's Lindsay Law while closing financing. · "Uh, Lindsay Law from American Playhouse, I believe."
[pairs] Safe ↔ May December · said 2 times in 1 episode
[The Big Picture · Best Picture Power Rankings and a ‘Poor Things’ Deep Dive. Plus: Julianne Moore and Todd Haynes! · 2:00:37 · Todd Haynes (0.80)] April ↔ May December · craft · Haynes recalls a Q and A with April, May December's costume designer, who developed color and clothing choices with Julianne Moore. · "I had a great, uh, Q and A kit with April the other day, who was our coffee designer on, on, on May, December"
[The Big Picture · Best Picture Power Rankings and a ‘Poor Things’ Deep Dive. Plus: Julianne Moore and Todd Haynes! · 1:56:54 · Sean Fennessey (0.80)] Douglas Sirk ⇒ Far from Heaven (the maker said so: Haynes in the interview segment) · lineage · Sean asks whether Moore studied Sirk films; Haynes says Far from Heaven derives from other movies and 1950s domestic melodramas. · "do you watch Douglas Cirque films when you're preparing"
[speaker] Sean Fennessey · latest sketch, The Big Picture · ‘Resident Evil’ Absolutely Rips! · Loves gory, funny, fast genre movies with craft and confidence, especially 87-minute films that never overstay. Can't stand ponderous elevated horror that fills out its runtime with introspection and sad family history. A sucker for the Carpenter-era lineage, Die Hard homages, and directors who break studio dogma. · stances: Resident Evil is one of the best films of the year; Horror movies have become a drag; fun genre experiences are needed; Short running times are a virtue; Video-game films work best when great filmmakers get creative license
[speaker] Todd Haynes · latest sketch, The Big Picture · Best Picture Power Rankings and a ‘Poor Things’ Deep Dive. Plus: Julianne Moore and Todd Haynes! · Obsessed with languages of film, melodrama and artifice that still lands as real emotion, and leaving spaces for audiences to fill in. Loves collaborators with strong intuition; praises Melton and Moore. Admires Poor Things and Past Lives. · stances: Films are discourses in languages we speak without knowing; Melodrama is real emotion in artificial form; May December is about the transgressions embedded in narrative
[speaker] Julianne Moore · latest sketch, The Big Picture · Best Picture Power Rankings and a ‘Poor Things’ Deep Dive. Plus: Julianne Moore and Todd Haynes! · Loves immersive research and learning craft from experts, finds Haynes's scaffolding of references freeing, and is moved by Past Lives ('like a poem') and Poor Things. Loves a film that leaves you on an inhale. · stances: The best films leave you with questions; Research is a student/teacher relationship, not consumption; Real-person roles are layers of narrative, not the truth
[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 Safe (1995); name it the way the line names it. Don't recommend Safe (1995) 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.