Pantheon Inductions and Dissident Cinema Marathon Announcement

In this episode of Filmspotting, hosts Adam Kempinar and Josh Larson announce the 2026 inductees into the FilmSpotting Pantheon: Agnès Varda's *Cleo from 5 to 7* and Akira Kurosawa's *Rashomon*. The duo reflect on the formalized nomination process, which now includes a structured ballot with input from the Film Spotting family, and celebrate the inclusion of two international films that were previously underrepresented. They also unveil the lineup for the 2026 Dissident Cinema Marathon, a five-film series spotlighting politically charged films from non-U.S. perspectives—starting with Charlie Chaplin’s *The Great Dictator* (1940) and including landmark works like Rossellini’s *Rome Open City* (1945), Kurosawa’s *No Regrets for Our Youth* (1946), Costa Gavris’s *Z* (1969), and Marcel Ophüls’s *The Sorrow and the Pity* (1969). A sixth film, Jafar Panahi’s *The Circle* (2000), remains uncertain due to unavailability, prompting a listener-driven campaign to request library acquisition. The episode also features introspective commentary on the value of revisiting classic films, the emotional weight of political cinema, and the evolving role of the Pantheon as both a celebration and a creative catalyst for in-depth reviews. The hosts express enthusiasm for the marathon’s themes, noting their growing relevance amid ongoing global political tensions. Key takeaways include: (1) The Pantheon now formally recognizes international classics, expanding beyond American cinema; (2) The Dissident Cinema Marathon will spotlight films that challenge state power and expose systemic injustice; (3) Listeners are encouraged to advocate for unavailable films through their local libraries; (4) The Pantheon nomination process is now more structured, with rolling ballots and a 'soft sabbatical' rule to prevent stagnation; (5) Revisiting films like *Rashomon* and *Cleo from 5 to 7* has led to richer, more nuanced discussions than expected. The episode closes with a heartfelt reminder that film can be both a mirror and a weapon—especially when it confronts power with courage and artistry.