2023 Film Log (New: Self-Portrait)

Click for links to past logs.

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, Prismatic, et al). If I saw a film in 3D at home, the title of the film will be succeeded by “[3D]”.
– All others were from Blu-Rays, downloads, television, etc.
– A plus sign (+) at the beginning of a line indicates that I had seen this film before.

– 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? The main reason I never logged shorts before 2015 is that my OCD had prevented me from distinguishing between short films, television commercials, Youtube videos, random viral TikToks, etc.; I didn’t want to log everything, and I didn’t want to be arbitrarily discriminating what I logged and what I didn’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]



Worst Case Scenario (2003, John Smith)

Bones and All (2022, Luca Guadagnino) – 4.4

The Demands of Ordinary Devotion (2022, Eva Giolo)

Lost Sound (2001, John Smith & Graeme Miller)

Slow Glass (1991, John Smith) – 6.9

White Noise (2022, Noah Baumbach) – 6.4

Snow in Venice (1970, Don Owen)

Barbarian (2022, Zach Cregger) – 4.8

Darkness, Darkness, Burning Bright (2022, Gaëlle Rouard) – 5.2

Three Tidy Tigers Tied a Tie Tighter (2022, Gustavo Vinagre) – 2.8

Twice (2020, John Smith)

Flag Mountain (2010, John Smith)

Wil-o-Wisp (2018, Rachel Rose)

Paradiso, XXXI, 108 (2022, Kamal Aljafari)

+Invocation (1982, Amy Halpern) 16mm

Elixir (2012, Amy Halpern) 16mm

Falling Lessons (1992, Amy Halpern) 16mm – 6.5

The Fire Within: Requiem for Katia and Maurice Krafft (2022, Werner Herzog) – 5.7

For 13 Days, I Believed Him (2022, Kiyoshi Kurosawa) – 5.3

Astrakan (2022, David Depesseville) – 5.4

Skinamarink (2022, Kyle Edward Ball) – 5.0

Where Is This Street? or With No Before or After (2022, João Pedro Rodrigues & João Rui Guerra da Mata) – 5.7

The Kingdom (1994, Lars von Trier) – 4.6

Trenque Lauquen (2022, Laura Citarella) – 7.4

Tales of the Purple House (2022, Abbas Fahdel) – 6.4

3rd Degree [Single Screen version] (1982, Paul Sharits)

Gush (2023, Fox Maxy) – 5.9

Last Things [Anaglyph 3D] (2023, Deborah Stratman) – 5.0

A Common Sequence (2023, Mary Helena Clark & Mike Gibisser) – 5.8

Self-Portrait (2022, Joële Walinga) DP – 5.1