Author name: Blake Williams

Also known as, What Have You Done For Me Lately?

UPDATED: Line-up for the Official Selection is completed, and the Director’s Fortnight has been announced.

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Competition Films

2010 Film: Tournée (On Tour) – Mathieu Amalric
Previous film: Wimbledon Stage (2001)

2010 Film: Des hommes et des dieux (Of Gods and Men) – Xavier Beauvois
Previous Film: The Young Lieutenant (2005)

2010 Film: Hors-la-loi (Outside the Law) – Rachid Bouchareb
Previous Film: London River (2009)

2010 Film: Biutiful – Alejandro González Iñárritu
Previous Film: Babel (2006)

2010 Film: A Screaming Man – Mahamat-Saleh Haroun
Previous Film: Dry Season (2006)

2010 Film: The Housemaid – Sang-soo Im
Previous Film: The Old Garden (2006)

2010 Film: Certified Copy – Abbas Kiarostami
Previous Film: Shirin (2008)

2010 Film: Outrage – Takeshi Kitano
Previous Film: Achilles and the Tortoise (2008)

2010 Film: Poetry – Chang-dong Lee
Previous Film: Secret Sunshine (2007)

2010 Film: Another Year – Mike Leigh
Previous Film: Happy-Go-Lucky (2008)

2010 Film: Fair Game – Doug Liman
Previous Film: Jumper (2008)

2010 Film: My Joy – Sergei Loznitsa
Previous Film: Revue (2008)

2010 Film: La Nostra Vita (Our Life) – Daniele Luchetti
Previous Film: My Brother Is an Only Child (2007)

2010 Film: Burnt By the Sun 2: Exodus – Nikita Mikhalkov
Previous Film: 12 (2007)

2010 Film: Tender Son – The Frankenstein Project – Kornél Mondruczó
Previous Film: Delta (2008)

2010 Film: La Princesse de Montpensier – Bertrand Tavernier
Previous Film: In the Electric Mist (2009)

2010 Film: Uncle Boonmee Who Can Recall His Past Lives – Apichatpong Weerasethakul
Previous Film: Syndromes and a Century (2006)

2010 Film: : Rizhao Chongqing (Chongqing Blues) – Xiaoshuai Wang
Previous Film: In Love We Trust (2007)

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Un Certain Regard

2010 Film: Blue Valentine – Derek Cianfrance
Previous Film: none

2010 Film: O estranho caso de Angelica (Angelica) – Manoel de Oliveira
Previous Film: Eccentricities of a Blond Hair Girl (2009)

2010 Film: Les amours imaginaires (Heartbeats) – Xavier Dolan
Previous Film: I Killed My Mother (2009)

2010 Film: Los Labios (The Lips) – Iván Fund, Santiago Loza
Previous Film (Iván Fund) : The Laugh (2009)

Previous Film (Santiago Loza): The Invention of Flesh (2009)

2010 Film: Simon Werner a disparu… (Simon Werner is Missing…) – Fabrice Gobert
Previous Film: none

2010 Film: Film Socialisme – Jean-Luc Godard
Previous Film: Notre musique (2004)

2010 Film: Unter Dir Die Stadt (The City Below) – Christoph Hochhäusler
Previous Film: I Am Guilty (2005)

2010 Film: Ha Ha Ha – Sang-soo Hong
Previous Film: Like You Know It All (2009)

2010 Film: I Wish I Knew – Jia Zhang ke
Previous Film: 24 City (2008)

2010 Film: Rebecca H. (Return to the Dogs) – Lodge Kerrigan
Previous Film: Keane (2004)

2010 Film: Pál Adrienn (Adrienn Pál) – Ágnes Kocsis
Previous Film: Fresh Air (2006)

2010 Film: Udaan – Vikramaditya Motwane
Previous Film: none

2010 Film: Marti Dupa Craciun (Tuesday, After Christmas) – Radu Muntean
Previous Film: Boogie (2008)

2010 Film: Chatroom – Hideo Nakata
Previous Film: L: Change the World (2008)

2010 Film: Aurora – Cristi Puiu
Previous Film: The Death of Mr. Lazarescu (2005)

2010 Film: Life Above All – Oliver Schmitz
Previous Film: Hijack Stories (2000)

2010 Film: Carancho – Pablo Trapero
Previous Film: Lion’s Den (2008)

2010 Film: Octubre – Daniel Vega
Previous Film: none

2010 Film: R U There – David Verbeek
Previous Film: Shanghai Trance (2008)

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Directors’ Fortnight

2010 Film: The Joy – Marina Méliande & Felipe Bragança
Previous Film: A Fuga, a Raiva, a Danca, a Bunda, a Boca, a Calma, a Vida da Mulher Gorila (2009)

2010 Film: All Good Children – Alicia Duffy
Previous Film: none

2010 Film: Everything Will Be Fine – Christoffer Boe
Previous Film: Offscreen (2006)

2010 Film: Leap Year – Michael Rowe
Previous Film: none

2010 Film: Benda Bilili! – Renaud Barret & Florent de la Tullaye
Previous Film: Victoire Terminus, Kinshasa (2008)

2010 Film: The Silent House – Gustavo Hernandez
Previous Film: none

2010 Film: Cleveland Vs. Wall Street – Jean-Stéphane Bron
Previous Film: Mon frère se marie (2006)

2010 Film: Young Girls In Black – Jean-Paul Civeyrac
Previous Film: Through the Forest (2005)

2010 Film: The Wanderer – Avishai Sivan
Previous Film: none

2010 Film: Illegal – Olivier Masset-Depasse
Previous Film: Cages (2006)

2010 Film: The Light Thief – Aktan Arym Kubat
Previous Film: The Chimp (2001)

2010 Film: Little Baby Jesus of Flandr – Gust Van den Berghe
Previous Film: none

2010 Film: The Invisible Eye – Diego Lerman
Previous Film: Meanwhile (2006)

2010 Film: Picco – Philip Koch
Previous Film: none

2010 Film: Lily Sometimes – Fabienne Berthaud
Previous Film: Frankie (2005)

2010 Film: Le Quattro Volte -Michelangelo Frammartino
Previous Film: The Gift (2003)

2010 Film: Shit Year – Cam Archer
Previous Film: Wild Tigers I Have Known (2006)

2010 Film: We Are What We Are – Jorge Michel Grau
Previous Film: none

2010 Film: Tiger Factory – Woo Ming Jin
Previous Film: 15Malaysia (2009)

2010 Film: Todos vós sodes capitáns – Oliver Laxe
Previous Film: none

2010 Film: Two Gates of Sleep – Alistair Banks Griffin
Previous Film: none

2010 Film: Love Like Poison – Katell Quillévéré
Previous Film: none

I’m all kinds of too busy lately. I dolled up this blog a few months ago and I’ve barely touched it except for the occasional list or bit on James Benning. It’s frustrating. The truth is I’ve been swallowed up by a class on Michael Snow at the University of Toronto. My life has become a long stream of Elder, Sitney, Fried, and Michelson. I’m loving the material, though; and, I’ve finally gotten to see 16mm prints of Wavelength and La région centrale (twice! (the second of which was rocky; not a film to watch at 9AM)). But more than Michael Snow, I’m finally getting familiar with a huge chunk of avant-garde cinema that I’d been ashamedly unacquainted with. I plan on posting a few entries on some of the material that has really stunned me toward the end of the semester.

I’m also in the process of solidifying a June internship at Kino Arsenal in Berlin, which I couldn’t be more excited for. Nothing is set in stone yet; it’s all sort of stumbling into place. It’s still in its infant stages of organization, but if it happens, I’ll have some…thing up on here as that plays out as well.

I’ve also somehow managed to make some work in the last couple of months that I think is interesting, and I’ll be sending some of it out in the next couple of months to some programs that I probably have no business even hoping for, but I’m keeping my fingers crossed. I won’t mention that again unless something comes of it. I have some of the work hidden away online for viewing if anyone wants to take a look, but I’m not making it public so that I can still apply for certain events that prohibit that kind of thing.

In mean time I’m spending most of my free time at the Cinematheque. Their ‘Best of the Decade’ program, which is about to wrap up any day now, has allowed me to catch up on some titles I’d missed (Beau travail, L’intrus, In Praise of Love, Longing, Three Times, Platform) or been meaning to revisit (Werckmeister Harmonies) or vowed to never not see on the big screen whenever I have a chance to (Syndromes and Century, Tropical Malady). What I learned from all of this: Claire Denis and Apichatpong are two of the best we’ve got, I do not think I will ever ‘get’ late Godard (nor most of the early stuff) despite how pretty it really is, and standard-definition, non-anamorphic, interlaced transfers should be avoided at all cost for any Bela Tarr film.

And speaking of Decade summations, I will make one at the end of the year, to give all of 2009, and what I’ve missed from years previous, a chance.

The following is filmmaker Sven Ilgner’s account of the Q&A session which occurred at Duisburger Filmwoche on November 2, 2009 where James Benning’s new film Ruhr premiered (taken from a PDF which can be downloaded here).

***Also on Ruhr, here is a spectacular audio interview with Benning about the making of the film.***

Montag, 02. November 2009, 20.00 Uhr

33. DUISBURGER FILMWOCHE Diskussionsprotokoll

Podium: (Regie) James Benning
(Moderation) Werner Ruzicka

Unfortunately the discussion begins with an apology. Werner Ruzicka is sorry for the technical
problems, which had occurred while the film was shown. Despite that, he points out that James
Benning’s screening of Ruhr has surely been a precious and impressing opening for the 33rd
filmweek.

What was the original attraction? Why the Ruhr Valley?

James Benning felt familiar with the location. Having grown up in an industrial and working class
environment like Milwaukee, he noticed an immediate connection to the working class area Ruhr
Valley. The author normally works on films about places he knows very well. Since this was not
the case in Ruhr, his approach was slightly different. He got to know the places while putting
them on digital video. Ruhr is not a portrait, but rather a ‘deep map’ on HD.

Benning is aware of the fact that his films can be difficult for the audience. The process might not
reveal itself, if you are not used to absorbing the images deeply. A viewer has to be open to
working on the image he sees. It forces you to compare what you see and hear to what you know.
It forces you to find what is inside you. It is hard work.

How were the images finally chosen?

James Benning’s film now contains six shots. The original number was around 20. Including the
Rhine River and more parts of the steel mill. In the end, only a limited number of the images were
really ‘speaking’ to him.

What about the possible extension of time because of the format digital video?

James Benning reminds the audience of 16mm reels with a maximum time of 11 minutes. Ruhr is
his first work on HD video. With modern card storage systems, he could soon be able to shoot a
four hour shot. ‘This doesn’t necessarily mean I do it,’ but it makes life easier. Especially in
cases like the coke tower shot: It lasts one hour. In reality, 1 ½ hours had passed by. An
important part was the dissolving from day to night. So the author decided to manipulate. He
speeded up the sunset. Secretly. He used video’s ability to ‘completely hide the ellipse of time.’

James Bennings manipulations are taking a different route. He is manipulating to achieve more
truthfulness. The iterations of steaming differ from 10 to 20 minutes. By showing a shot of one
hour length, the author gives the possibility to undergo the process of waiting. You can find your
own kind of rhythm. It is about anticipation, waiting and expectations. It is what you see in the
picture, because you find it in yourself.

James Benning offers his view into the future: HD is the end of filmmaking as we know it. With
better resolution, but fewer distribution costs, we will see works that are far more real and less
nostalgic. In consequence we have to ‘embrace HD.’ A deeper view into the topic can be found in
James Benning’s article on www.dock-duisburg.de. There will also be a DVD collection with his
works. The filmmuseum Vienna has taken care of some of his (also unseen) films. Benning is not
keen on being a capitalistic scrooge. He is planning to digitize his work and therefore to offer his
films for free to be downloadable in the internet.

The different images are being discussed. With time and attention given, you can share Benning’s
sensation of vulnerability and fear in the first shot. One might feel trapped in the tunnel. The
man on the bicycle offers a comic relief. A floating autumn leaf ends the image. A flying plastic
bag had already opened it. The tunnel shot works in a very narrative way.

One viewer is curious about the ‘music’ in the first shot. Astonishingly it is the sound that
occurred in the moment and not composed music. We can hear trains crossing and whistling. The
blowing whistles really appear as if they were arranged, composed for the shot.

Werner Ruzicka is looking for metaphors. Does the author accept an interpretation of isolation
and loneliness?

James Benning agrees by saying that there are loaded images. There is an airplane, praying
muslims and a tower. After three weeks of editing, he realized a possible connection and was quite
shocked about what he had created. Due to media’s education and the people’s general memory,
strongly prejudiced interpretations are possible.

One member of the audience found his own connections between all six shots. In his view the
images are all dissolving themselves. Nevertheless he is doubtful and calls his idea possibly
‘klugscheißerisch’ (in German). As an example, Benning chooses to talk about the cleaning of the
Serra sculpture. There are many possible interpretations. It all depends on the viewers knowledge
and access. Who decides in the end, what is art? One who doesn’t know Richard Serra’s work
might consider the destruction of the graffiti paintings a brutal act. One might simply dismiss the
image and wait for the next one. James Benning shares with the audience that he is very aware of
the confusion his images provoke. Everybody’s own history and thoughts make the image. It is
hard work.

The author also reveals the manipulations in the Essen street shot. Benning cut out several
persons, made the moment less active. He emptied the street. A viewer expresses his amazement
that in this particular shot you can hardly hear the Autobahn, which is 300meter away from the
location. Benning: ‘You have to watch it in another theatre!’ It would have to be a screening
without a ‘gremlin’ inside the projector. The participants agree in their sadness about the sound
problems of the screening. There was no way of avoiding it. Gremlins just happen.

Sven Ilgner

This list, will be updated each time I see a film that had its world premiere in 2010 and is better than at least one of the films already on the list.

1. Certified Copy (Abbas Kiarostami)
2. Cave of Forgotten Dreams (Werner Herzog)
3. Marwencol (Jeff Malmberg)
4. Uncle Boonmee Who Can Recall His Past Lives (Apichatpong Weerasethakul)
5. Meek’s Cutoff (Kelly Reichardt)
6. Tuesday, After Christmas (Radu Muntean)
7. Exit Through the Gift Shop (Banksy)
8. Blue Valentine (Derek Cianfrance)
9. Silent Souls (Aleksei Fedorchenko)
10. The Robber (Benjamin Heisenberg)

My Top 10 Discoveries During 2010 (applies to films made before the 21st century)

1. Irma Vep (1996, Olivier Assayas)
2. Primate (1974, Frederick Wiseman)
3. Steamboat Bill, Jr. (1928. Buster Keaton)
4. Grand Opera: An Historical Romance (1977, James Benning)
5. S:TREAM:S:S:ECTION:S:ECTION:S:S:ECTIONED (1971, Paul Sharits)
6. Greed (1924, Erich von Stroheim)
7. Buffalo ’66 (1998, Vincent Gallo)
8. Beau Travail (1999, Claire Denis)
9. ‘Rameau’s Nephew’ by Diderot (Thanx to Dennis Young) by Wilma Schoen (1982, Michael Snow)
10. A Moment of Innocence (1996, Mohsen Makhmalbaf)

Other 2010 films I’ve seen

• Leap Year (Michael Rowe) – 7.2
• You Are Here (Daniel Cockburn) – 7.2
• The City Below (Christoph Hochhäusler) – 7.1
• Film Socialism (Jean-Luc Godard) – 7.1
• Hahaha (Hong Sangsoo) – 7.1
• Attenberg (Athina Rachel Tsangari) – 7.0
• The Trip (Michael Winterbottom) – 6.9
• Catfish (Schulman & Joost) – 6.9
• Le quattro volte (Michelangelo Frammartino) – 6.8
• How Do You Know (James L. Brooks) – 6.8
• Promises Written in Water (Vincent Gallo) – 6.6
• Empire North (Jakob S. Boeskov) – 6.5
• Beginners (Mike Mills) – 6.5
• The Arbor (Clio Barnard) – 6.5
• Tabloid (Errol Morris) – 6.5
• Guest (José Luis Guerín) – 6.5
• The Sleeping Beauty (Catherine Breillat) – 6.4
• Putty Hill (Matthew Porterfield) – 6.4
• The Secret World of Arrietty (Hiromasa Yonebayashi) – 6.4
• My Joy (Sergei Loznitsa) – 6.4
• Black Venus (Abdellatif Kechiche) – 6.4
• How I Ended This Summer (Alexei Popogrebsky) – 6.3
• Another Year (Mike Leigh) – 6.3
• Over Your Cities Grass Will Grow (Sophie Fiennes) – 6.3
• Soundtracker (Nick Sherman) – 6.3
• Benda Bilili! (Florent de la Tullaye & Renaud Barret) – 6.3
• Shutter Island (Martin Scorsese) – 6.2
• Young Girls in Black (Jean Paul Civeyrac) – 6.2
• Senna (Asif Kapadia) – 6.2
• Kaboom (Gregg Araki) – 6.2
• Black Swan (Darren Aronofsky) – 6.2
• Brownian Movement (Nanouk Leopold) – 6.2
• Cameraman: The Life and Work of Jack Cardiff (Craig McCall) – 6.2
• Buried (Rodrigo Cortés) – 6.1
• I Wish I Knew (Jia Zhang-ke) – 6.1
• A Useful Life (Federico Veiroj) – 6.1
• Cold Weather (Aaron Katz) – 6.1
• Toy Story 3 (Lee Unkrich) – 6.1
• Of Gods and Men (Xavier Beauvois) – 6.1
• Please Give (Nicole Holofcener) – 6.0
• The Social Network (David Fincher) – 6.0
• Boxing Gym (Frederick Wiseman) – 6.0
• Scott Pilgrim vs. the World (Edgar Wright) – 6.0
• 127 Hours (Danny Boyle) – 6.0
• Picco (Philip Koch) – 6.0
• The Strange Case of Angelica (Manoel de Oliveira) – 5.9
• Autobiography of Nicolae Ceausescu (Andrei Ujica) – 5.9
• Orly (Angela Schanelec) – 5.9
• Oki’s Movie (Hong Sang-soo) – 5.8
• Festival (Jean-Claude Rousseau) – 5.8
• Carlos (Olivier Assayas) – 5.8
• The Myth of the American Sleepover (David Robert Mitchell) – 5.8
• Never Let Me Go (Mark Romanek) – 5.8
• Poetry (Lee Chang-dong) – 5.8
• Sex Magic, Manifesting Maya (Eric Liebman & Jonathan Schell) – 5.8
• El Bulli: Cooking in Progress (Gereon Wetzel) – 5.7
• Tiny Furniture (Lena Dunham) – 5.7
• The Joy (Felipe Bragança & Marina Meliande) – 5.7
• Audrey the Trainwreck (Frank V. Ross) – 5.7
• Step Up 3D (Jon M. Chu) – 5.6
• Post Mortem (Pablo Larrain) – 5.6
• Sensation (Tom Hall) – 5.6
• If I Want to Whistle, I Whistle (Florin Serban) – 5.6
• Fair Game (Doug Liman) – 5.6
• Lily Sometimes (Fabienne Berthaud) – 5.6
• Chantrapas (Otar Iosseliani) – 5.5
• Jackass 3D (Jeff Tremaine) – 5.5
• Two Gates of Sleep (Alistair Banks Griffin) – 5.5
• Winter’s Bone (Debra Granik) – 5.4
• On Tour (Mathieu Amalric) – 5.4
• The Embrace of the River (Nicolas Rincon Gilles) – 5.4
• Rebecca H. (Return to the Dogs) (Lodge Kerrigan) – 5.3
• Curling (Denis Côté) – 5.3
• Somewhere (Sofia Coppola) – 5.3
• Udaan (Vikramaditya Motwane) – 5.3
• The Depths (Ryûsuke Hamaguchi) – 5.2
• Nostalgia for the Light (Patricio Guzmán) – 5.2
• Harry Potter and the Deathly Hallows: Part 1 (David Yates) – 5.2
• Carancho (Pablo Trapero) – 5.2
• Adrienn Pál (Ágnes Kocsis) – 5.1
• Free Radicals: A History of Experimental Film (Pip Chodorov) – 5.1
• LENNONYC (Michael Epstein)- 5.1
• 13 Assassins (Takashi Miike) – 5.1
• Outbound (Bogdan George Apetri) – 5.0
• At Night, They Dance (Isabelle Lavigne & Stéphane Thibault) – 5.0
• The Housemaid (Im Sangsoo) – 5.0
• The Bully Project (Lee Hirsch) – 5.0
• Rabbit Hole (John Cameron Mitchell) – 5.0
• Salt (Phillip Noyce) – 5.0
• The Wanderer (Avishai Sivan) – 5.0
• The Peddler (Eduardo de la Serna, Lucas Marcheggiano, Adriana Yurcovich) – 5.0
• Honey (Semih Kaplanoğlu) – 4.9
• A Screaming Man (Mahamat-Saleh Haroun) – 4.9
• Studies for the Decay of the West (Klaus Wyborny) – 4.9
• Norwegian Wood (Tran Anh Hung) – 4.9
• The Princess of Montpensier (Bertrand Tavernier) – 4.9
• Hubble 3D (Toni Myers) – 4.8
• The Lips (Ivan Fund & Santiago Loza) – 4.8
• Tears of Gaza (Vibeke Løkkeberg) – 4.8
• Mysteries of Lisbon (Raul Ruiz) – 4.7
• Aurora Cristi Puiu) – 4.7
• The Ditch (Wang Bing) – 4.7
• Summer of Goliath (Nicolás Pereda) – 4.6
• !Women Art Revolution – A Secret History (Lynn Hershman-Leeson) – 4.6
• Inside Job (Charles Ferguson) – 4.6
• Happy People: A Year in the Taiga (Dmitry Vasyukov & Werner Herzog) – 4.5
• R U There (David Verbeek) – 4.5
• Family Instinct (Andris Gauja) – 4.5
• Father (José María de Orbe) – 4.4
• Tender Son – The Frankenstein Project (Kornél Mondruczó) – 4.4
• The Tourist (Florian Henckel von Donnersmarck) – 4.4
• Biutiful (Alejandro González Iñárritu) – 4.4
• Howl (Rob Epstein & Jeffrey Friedman) – 4.4
• The Ghost Writer (Roman Polanski) – 4.3
• Rubber (Quentin Dupieux) – 4.3
• Morgen (Marian Crisan) – 4.2
• Beyond the Black Rainbow (Panos Cosmatos) – 4.2
• The Illusionist (Sylvain Chomet) – 4.2
• Anything You Want (Achero Mañas) – 4.2
• All Good Children (Alicia Duffy) – 4.2
• Heartbeats (Xavier Dolan) – 4.0
• Route 132 (Louis Bélanger) – 4.0
• Revolución (Carlos Reygadas, Gael García Bernal, Mariana Chenillo, Patricia Riggen, Fernando Eimbcke, Amat Escalante, Rodrigo García, Diego Luna, Gerardo Naranjo, & Rodrigo Plá) – 4.0
• Erotic Man (Jørgen Leth) – 3.9
• Illegal (Olivier Masset-Depasse) – 3.9
• Shit Year (Cam Archer) – 3.9
• True Grit (Joel & Ethan Coen) – 3.8
• TRON: Legacy (Joseph Kosinski) – 3.8
• Our Life (Daniele Luchetti) – 3.8
• Cirkus Columbia (Danis Tanovic) – 3.8
• Greenberg (Noah Baumbach) – 3.7
• Mamma Gógó (Fridrik Thor Fridriksson) – 3.7
• Inception (Christopher Nolan) – 3.6
• Nainsukh (Amit Dutta) – 3.6
• Home For Christmas (Bent Hamer) – 3.6
• Jack Goes Boating (Philip Seymour Hoffman) – 3.5
• The Last Circus (Alex de la Iglesia) – 3.5
• Cold Fish (Sion Sono) – 3.4
• All Things Were Now Overtaken by Silence (Nicolás Pereda) – 3.3
• We Are What We Are (Jorge Michel Grau) – 3.3
• Better Mus’ Come (Storm Saulter) – 3.3
• Chongqing Blues (Xiaoshuai Wang) – 3.2
• Route Irish (Ken Loach) – 3.2
• What I Most Want (Delfina Castagnino) – 3.1
• Women Will Come: Feminists Redefining Pornography (Joanne Loton) – 3.1
• Everything Will Be Fine (Christoffer Boe) – 3.0
• The Light Thief (Aktan Arym Kubat) – 2.8
• Incendies (Denis Villeneuve) – 2.8
• October (Daniel & Diego Vega) – 2.7
• You All Are Captains (Oliver Laxe) – 2.6
• The Tree (Julie Bertucelli) – 2.5
• Legend of the Fist: The Return of Chen Zhen (Andrew Lau) – 2.4
• Outrage (Takeshi Kitano) – 2.3
• Robinson in Ruins (Patrick Keiller) – 2.3
• The Tiger Factory (Ming Jin Woo) – 2.2
• Little Baby Jesus of Flandr (Gust Van den Berghe) – 2.0
• ANPO (Linda Hoaglund) – 2.0
• Lights Out (Fabrice Gobert) – 1.8
• The Silent House (Gustavo Hernández) – 1.2
• Dirty Girl (Abe Sylvia) – 0.9

Past Logs

2009 Film Log
2007 Film Log

*8mm/16mm/35mm/70mm denotes that what I saw was a film print.
*DP denotes that what I saw was a Digital Projection in a theatre (ie. Avatar 3D, or Los Angeles Plays Itself) either because the film doesn’t exist on celluloid, it was shown in 3D, or the theatre where I saw it is run by incompetent penny pinchers.
*All others were either from DVDs, downloads, or television.
*Only films that are at least 40 minutes long (the Academy’s minimum for a feature film) are logged.
*A grade of “Inc.” denotes that I don’t think that this screening was an accurate enough presentation of the film for me to make a value judgment, either because their weren’t English subtitles for a foreign language film, or the projector broke/sound cut out/the print burned, or an ass in the theatre distracted me with too much talking/cellphone usage, or, like the incident with 2001: A Space Odyssey at the Coolidge Corner Theatre in Brookline, MA, the reels are out of order.
*Regarding W/Os, I almost always finish what I start, and what I don’t, I don’t log.
*A ‘+’ at the beginning of a line means that I had seen this film before.