FYI:
– 8mm/16mm/35mm/70mm indicates that what I saw was a film print.
– DP indicates that what I saw was a Digital Projection in a theatre.
– 3D indicates that I saw a theatrical presentation and was encouraged to watch the picture while wearing some sort of special lens(es) (Polarized, Anaglyph, ChromaDepth, Pulfrich, Diffraction, et al). If I saw a film in “regular” / “full” 3D at home, the title of the film will be succeeded by “[3D]”. If it was an unusual format, that will be noted (“[Anaglyph 3D]”, “[ChromaDepth 3D]”, and so on). If the film was shot in an “Immersive Video” format (180-degree 3D) and viewed on a VR or mixed reality headset (e.g. an Apple Vision Pro), the format will be noted as “[IV-3D]”.
– IV-DP / IV-3D indicates that I saw an “immersive” screening that was augmented by the addition of pre-programmed environmental effects. (e.g. 4DX, the Sphere, etc.)
– N/I means this “film” has no image. Might not even count as cinema to be honest. I’m not gonna put up much of a fight if you say it doesn’t.
– All others were from Blu-rays, VOD streams, TV broadcasts, etc.
– A plus sign (+) at the beginning of a line indicates that I had seen this film before.
Furthermore:
– I only assign numerical ratings to films that are at least 40 minutes long.
– “Inc.” in lieu of a rating indicates that I don’t think that this screening was an accurate enough presentation of the film for me to make a quality judgment, either because it was a work-in-progress cut, or there weren’t English subtitles for a foreign language film, or the projector broke/sound cut out/the print burned, or someone in the theatre distracted me with too much talking/popcorn eating/cellular telephone usage/etc.
– I don’t log W/Os.
– I do log short films (≤ 39min.), sans ratings, but only those viewed from a film print, or in an official theatrical context (i.e., where there is published documentation that the screening of this particular film took place), or in 3D (regardless of format, as long as glasses are involved), or if it’s a first-time viewing of a film that was selected to screen (virtually or otherwise) in a credible film festival or was made by a clearly reputable filmmaker (whose work, perhaps, has screened at a credible festival in the past. Or whatever, they’re legit just trust me). Why these conditions? My OCD makes it difficult to distinguish between short films, television commercials, Youtube videos, random viral TikToks, etc.; I don’t want to log everything, and I don’t want to be arbitrarily discriminating what I log and what I don’t. This (admittedly still arbitrary) fix allows me to log only short films proper (whatever that means, etc.), which by the way will predominantly be avant-garde works. These films will appear below in italics.
And that translates to:
A+ 9.4 - 10.0 [Top 10 of All Time contender] A 8.6 - 9.3 [Masterpiece] A- 7.8 - 8.5 [Pretty great; Near-masterpiece] B+ 7.0 - 7.7 [Kinda great; Contender for Top 10 of its year] B 6.2 - 6.9 [Has a special something] B- 5.4 - 6.1 [Solid] C+ 4.6 - 5.3 [Doesn't arouse any particularly strong emotions either way] C 3.8 - 4.5 [Useless; Mediocre; Significantly flawed] C- 3.0 - 3.7 [What a failure] D+ 2.2 - 2.9 [What-a-failure with cheese] D 1.4 - 2.1 [Grating] D- 0.6 - 1.3 [Offensively horrific; Horrifically offensive] F 0.0 - 0.5 [Worst of All Time consideration]
January
Out of the Blue (1980, Dennis Hopper) – 5.1
The History of Sound (2025, Oliver Hermanus) – 4.7
Hidden Shapes of the Landscape [3D] (2025, Martin Dokoupil)
Redacted (2007, Brian De Palma) – 4.3
untitled (petal) (2025, Douglas Dixon-Barker)
Predators (2025, David Osit) – 5.3
Experiencias de cine en relieve (Años 30) [3D] (1933, Teófilo Mingueza)
Mektoub, My Love: Canto Due (2025, Abdellatif Kechiche) – 5.6
Ballast (2008, Lance Hammer) – 5.5
+Cléo from 5 to 7 (1962, Agnès Varda) – 7.0 [same]
Skyscraper Live (2026, Joe DeMaio) – 5.2
Norm (2025, Max Hattler)
notturno fluviale (meditazione sul rumore) (2024, Francesco Zanatta)
Palm Sunday (2025, Nathan Swann)
Elliptic (2024, Els van Riel)
Shapeless Variations (2025, Francisco Rojas)
Situation optique (2025, Joris Guibert)
fām II (2025, Arash Akbari)
It Has Me By The Throat And I Am The Fingerprint (2024, Jordan James Kaye)
Shashin no Ma (2021, Tetsuya Maruyama) IFFR, DP
Dead See (2021, Tetsuya Maruyama) IFFR, DP
Third Mountain (2026, Tetsuya Maruyama) IFFR, 16mm
Situation-Cinema (2023, Tetsuya Maruyama) IFFR, N/I
Untitled (three moons) (2024, Tetsuya Maruyama) IFFR, 16mm
水托邦 (Hydrotopia) (2026, Chiemi Shimada & Jamie Man) IFFR, DP – 2.5
An Impossible Address (2025, Suneil Sanzgiri) IFFR, DP
Statues Also Die? (2026, Thais Fernandes) IFFR, DP
Last Night I Dreamed It Was Raining Fish (2025, Shraddha Khanna) IFFR, DP
Au hasard [Red glasses] (2026, Darren Dominique Heroux) IFFR, 3D
SightNotSeeing (2026, Sheungman Yim) IFFR, DP
Greetings from Rhodes (2026, Viera Čákanyová) IFFR, DP
Venezia Diorama (2026, Nicolas Piret) IFFR, DP
+FELT (2025, Blake Williams) IFFR, 3D
Tamashi (2026, Ashima Shiraishi & Jess X. Snow) IFFR, DP
ANTFILM (2021, Tetsuya Maruyama) IFFR, 8mm
FOTOGRAFAR (2026, Tetsuya Maruyama) IFFR, 8mm
L.O.V.E.S.O.N.G. (2019, Tetsuya Maruyama) IFFR, 8mm
GIRA 2 (2024, Tetsuya Maruyama) IFFR, 8mm
One more performance that unfolds a space (2026, Tetsuya Maruyama) IFFR, 16mm
Q&A (2026, Tetsuya Maruyama) IFFR, DP
Corredor (2023, Tetsuya Maruyama) IFFR, 16mm
Veronique (2026, Friedl vom Gröller) IFFR, 16mm
DETRITUS (2026, Deborah S. Phillips & Zuzanna Marczak) IFFR, 16mm
XTENDED RELEASE (2026, Joshua Gen Solondz) IFFR, 16mm
See Through the Hollowed Blue Hellebore (2026, Jiayi Chen) IFFR, 16mm
Super, Natural (2025, Kyath Battie) IFFR, 16mm
Wounded Edges (2025, Yannick Mosimann) IFFR, 16mm
Pedra e Montanha (2025, Tetsuya Maruyama) IFFR, 35mm – 7.3
February
Chronovisor (2026, Kevin Walker & Jack Auen) IFFR, DP –