{"id":17630,"date":"2019-01-01T00:00:41","date_gmt":"2019-01-01T05:00:41","guid":{"rendered":"http:\/\/blakewilliams.net\/blog\/?page_id=17630"},"modified":"2026-04-23T03:05:49","modified_gmt":"2026-04-23T08:05:49","slug":"film-log","status":"publish","type":"page","link":"http:\/\/blakewilliams.net\/blog\/film-log\/","title":{"rendered":"2026 Film Log (New: Punto de Vista)"},"content":{"rendered":"

Click for links to past logs.<\/span><\/a>
\n <\/p>\n

FYI:<\/span>
\n– 8mm<\/span>\/16mm<\/span>\/35mm<\/span>\/70mm<\/span> indicates that what I saw was a film print.
\n– DP<\/span> indicates that what I saw was a Digital Projection in a theatre.
\n– 3D<\/span> 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 \u201cImmersive Video\u201d 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]”.
\n– IV-DP<\/span> \/ IV-3D<\/span> indicates that I saw an \u201cimmersive\u201d screening that was augmented by the addition of pre-programmed environmental effects. (e.g. 4DX, the Sphere, etc.)
\n– N\/I<\/span> means this \u201cfilm\u201d has no image. Might not even count as cinema to be honest. I\u2019m not gonna put up much of a fight if you say it doesn\u2019t.
\n– All others were from Blu-rays, VOD streams, TV broadcasts, etc.
\n– A plus sign (+) at the beginning of a line indicates that I had seen this film before.
\n <\/p>\n

Furthermore:<\/span>
\n– I only assign numerical ratings to films that are at least 40 minutes long.
\n– “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.
\n– I don’t log W\/Os.
\n– I do<\/em> log short films (\u2264 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<\/em>, 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<\/em>.<\/p>\n

 <\/p>\n

\"\"
\n <\/p>\n

And that translates to:<\/span><\/strong><\/p>\n

A+\t9.4 - 10.0\t[Top 10 of All Time contender]\nA\t8.6 - 9.3\t[Masterpiece]\nA-\t7.8 - 8.5\t[Pretty great; Near-masterpiece]\nB+\t7.0 - 7.7\t[Kinda great; Contender for Top 10 of its year]\nB\t6.2 - 6.9\t[Has a special something]\nB-\t5.4 - 6.1\t[Solid]\nC+\t4.6 - 5.3\t[Doesn't arouse any particularly strong emotions either way]\nC\t3.8 - 4.5\t[Useless; Mediocre; Significantly flawed]\nC-\t3.0 - 3.7\t[What a failure]\nD+\t2.2 - 2.9\t[What-a-failure with cheese]\nD\t1.4 - 2.1\t[Grating]\nD-\t0.6 - 1.3\t[Offensively horrific; Horrifically offensive]\nF\t0.0 - 0.5\t[Worst of All Time consideration]<\/pre>\n
 <\/p>\n
January<\/span><\/strong><\/p>\n
Out of the Blue (1980, Dennis Hopper) – 5.1<\/p>\n
The History of Sound (2025, Oliver Hermanus) – 4.7<\/p>\n
Hidden Shapes of the Landscape<\/em> [3D] (2025, Martin Dokoupil)<\/p>\n
Redacted (2007, Brian De Palma) – 4.3<\/p>\n
untitled (petal)<\/em> (2025, Douglas Dixon-Barker)<\/p>\n
Predators (2025, David Osit) – 5.3<\/p>\n
Experiencias de cine en relieve (A\u00f1os 30)<\/em> [3D] (1933, Te\u00f3filo Mingueza)<\/p>\n
Mektoub, My Love: Canto Due (2025, Abdellatif Kechiche) – 5.6<\/p>\n
Ballast (2008, Lance Hammer) – 5.5<\/p>\n
+Cl\u00e9o from 5 to 7 (1962, Agn\u00e8s Varda) – 7.0 [same]<\/span><\/p>\n
Skyscraper Live (2026, Joe DeMaio) – 5.2<\/p>\n
Norm<\/em> (2025, Max Hattler)<\/p>\n
notturno fluviale (meditazione sul rumore)<\/em> (2024, Francesco Zanatta)<\/p>\n
Palm Sunday<\/em> (2025, Nathan Swann)<\/p>\n
Elliptic<\/em> (2024, Els van Riel)<\/p>\n
Shapeless Variations<\/em> (2025, Francisco Rojas)<\/p>\n
Situation optique<\/em> (2025, Joris Guibert)<\/p>\n
fa\u0304m II<\/em> (2025, Arash Akbari)<\/p>\n
It Has Me By The Throat And I Am The Fingerprint<\/em> (2024, Jordan James Kaye)<\/p>\n
Shashin no Ma<\/em> (2021, Tetsuya Maruyama) IFFR<\/span>, DP<\/span><\/p>\n
Dead See<\/em> (2021, Tetsuya Maruyama) IFFR<\/span>, DP<\/span><\/p>\n
Third Mountain<\/em> (2026, Tetsuya Maruyama) IFFR<\/span>, 16mm<\/span><\/p>\n
Situation-Cinema<\/em> (2023, Tetsuya Maruyama) IFFR<\/span>, N\/I<\/span><\/p>\n
Untitled (three moons)<\/em> (2024, Tetsuya Maruyama) IFFR<\/span>, 16mm<\/span><\/p>\n
\u6c34\u6258\u90a6 (Hydrotopia) (2026, Chiemi Shimada & Jamie Man) IFFR<\/span>, DP<\/span> – 2.5<\/p>\n
An Impossible Address<\/em> (2025, Suneil Sanzgiri) IFFR<\/span>, DP<\/span><\/p>\n
Statues Also Die?<\/em> (2026, Thais Fernandes) IFFR<\/span>, DP<\/span><\/p>\n
Last Night I Dreamed It Was Raining Fish<\/em> (2025, Shraddha Khanna) IFFR<\/span>, DP<\/span><\/p>\n
Au hasard<\/em> [Red glasses] (2026, Darren Dominique Heroux) IFFR<\/span>, 3D<\/span><\/p>\n
SightNotSeeing<\/em> (2026, Sheungman Yim) IFFR<\/span>, DP<\/span><\/p>\n
Greetings from Rhodes<\/em> (2026, Viera \u010c\u00e1kanyov\u00e1) IFFR<\/span>, DP<\/span><\/p>\n
Venezia Diorama<\/em> (2026, Nicolas Piret) IFFR<\/span>, DP<\/span><\/p>\n
+FELT<\/em> (2025, Blake Williams) IFFR<\/span>, 3D<\/span><\/p>\n
Tamashi<\/em> (2026, Ashima Shiraishi & Jess X. Snow) IFFR<\/span>, DP<\/span><\/p>\n
ANTFILM<\/em> (2021, Tetsuya Maruyama) IFFR<\/span>, 8mm<\/span><\/p>\n
FOTOGRAFAR<\/em> (2026, Tetsuya Maruyama) IFFR<\/span>, 8mm<\/span><\/p>\n
L.O.V.E.S.O.N.G.<\/em> (2019, Tetsuya Maruyama) IFFR<\/span>, 8mm<\/span><\/p>\n
GIRA 2<\/em> (2024, Tetsuya Maruyama) IFFR<\/span>, 8mm<\/span><\/p>\n
One more performance that unfolds a space<\/em> (2026, Tetsuya Maruyama) IFFR<\/span>, 16mm<\/span><\/p>\n
Q&A<\/em> (2026, Tetsuya Maruyama) IFFR<\/span>, DP<\/span><\/p>\n
Corredor<\/em> (2023, Tetsuya Maruyama) IFFR<\/span>, 16mm<\/span><\/p>\n
Veronique<\/em> (2026, Friedl vom Gr\u00f6ller) IFFR<\/span>, 16mm<\/span><\/p>\n
DETRITUS<\/em> (2026, Deborah S. Phillips & Zuzanna Marczak) IFFR<\/span>, 16mm<\/span><\/p>\n
XTENDED RELEASE<\/em> (2026, Joshua Gen Solondz) IFFR<\/span>, 16mm<\/span><\/p>\n
See Through the Hollowed Blue Hellebore<\/em> (2026, Jiayi Chen) IFFR<\/span>, 16mm<\/span><\/p>\n
Super, Natural<\/em> (2025, Kyath Battie) IFFR<\/span>, 16mm<\/span><\/p>\n
Wounded Edges<\/em> (2025, Yannick Mosimann) IFFR<\/span>, 16mm<\/span><\/p>\n
Pedra e Montanha (2025, Tetsuya Maruyama) IFFR<\/span>, 35mm<\/span> – 7.3<\/p>\n
 <\/p>\n
February<\/span><\/strong><\/p>\n
Chronovisor (2026, Kevin Walker & Jack Auen) IFFR<\/span>, DP<\/span> – 6.8<\/p>\n
The Misconceived (2026, James N. Kienitz Wilkins) IFFR<\/span>, DP<\/span> – 5.1<\/p>\n
Omen<\/em> (2000, Peter Rose) IFFR<\/span>, DP<\/span><\/p>\n
44 Houses<\/em> (2025, Kari Fisher & Isaac Forsland) IFFR<\/span>, DP<\/span><\/p>\n
RE:EXPOSURE<\/em> (2021, Vicky Smith) IFFR<\/span>, DP<\/span><\/p>\n
Verdigris<\/em> (2025, Chloe Brenan) IFFR<\/span>, DP<\/span><\/p>\n
gestures toward Plant Vision<\/em> (2021, Sarah Abbott) IFFR<\/span>, DP<\/span><\/p>\n
A Letter from Elli<\/em> (2019, Elina Saloranta) IFFR<\/span>, DP<\/span><\/p>\n
20\/68<\/em> (1968, Kurt Kren) IFFR<\/span>, 16mm<\/span><\/p>\n
Roseblood<\/em> (1974, Sharon Couzin) IFFR<\/span>, DP<\/span><\/p>\n
The Devil and the Beauty (1969, Lee Yong-min) IFFR<\/span>, 3D<\/span> – 5.5<\/p>\n
Tycoon (2026, Charlotte Zhang) IFFR<\/span>, DP<\/span> – 5.7<\/p>\n
Nox (2026, Matti Harju) IFFR<\/span>, DP<\/span> – 4.9<\/p>\n
Nightmare\u2019s Advice (2026, Renaud Despr\u00e9s-Larose & Ana Tapia Rousiouk) IFFR<\/span>, DP<\/span> – 5.8<\/p>\n
ADGIN PRRX (2026, Norbert Pfaffenbichler) IFFR<\/span>, DP<\/span> – 6.2<\/p>\n
Pattern Impulse<\/em> (1979, Jean Sousa) 16mm<\/span><\/p>\n
No Title<\/em> (1968, Mike Jacobson) 16mm<\/span><\/p>\n
Sonata for Pen, Brush and Ruler<\/em> (1968, Barry Spinello) 16mm<\/span><\/p>\n
Colored Relations<\/em> (1970, Barry Spinello) 16mm<\/span><\/p>\n
Six Loop-Paintings<\/em> (1970, Barry Spinello) 16mm<\/span><\/p>\n
Apparent Motion<\/em> (1975, Paul Sharits) 16mm<\/span><\/p>\n
Raindance<\/em> (1972, Standish Lawder) 16mm<\/span><\/p>\n
Body, remember\u2026<\/em> (2026, Matthew Berka)<\/p>\n
Domestic Demon<\/em> (2026, Anahid Yahjian)<\/p>\n
o<\/em> (2026, Francisca Alarc\u00e3o)<\/p>\n
Home is where the heart is<\/em> (2026, Timoth\u00e9e Engasser)<\/p>\n
Notebook<\/em> (1962, Marie Menken) 16mm<\/span><\/p>\n
Visual Variations on Noguchi<\/em> (1945, Marie Menken) DP<\/span><\/p>\n
+Hurry! Hurry!<\/em> (1957, Marie Menken) DP<\/span><\/p>\n
Dwightiana<\/em> (1959, Marie Menken) 16mm<\/span><\/p>\n
Arabesque for Kenneth Anger<\/em> (1961, Marie Menken) 16mm<\/span><\/p>\n
Bagatelle for Willard Maas<\/em> (1961, Marie Menken) 16mm<\/span><\/p>\n
Glimpse of the Garden<\/em> (1957, Marie Menken) 16mm<\/span><\/p>\n
Lights<\/em> (1966, Marie Menken) 16mm<\/span><\/p>\n
Eye Music in Red Major<\/em> (1961, Marie Menken) 16mm<\/span><\/p>\n
Moonplay<\/em> (1964, Marie Menken) 16mm<\/span><\/p>\n
Mood Mondrian<\/em> (1965, Marie Menken) 16mm<\/span><\/p>\n
Sidewalks<\/em> (1966, Marie Menken) 16mm<\/span><\/p>\n
Excursion<\/em> (1968, Marie Menken) DP<\/span><\/p>\n
Go! Go! Go!<\/em> (1964, Marie Menken) 16mm<\/span><\/p>\n
No Good Men (2026, Shahrbanoo Sadat) Berlinale<\/span>, DP<\/span> – 3.4<\/p>\n
Trial of Hein (2026, Kai St\u00e4nicke) Berlinale<\/span>, DP<\/span> – 4.2<\/p>\n
Liminals<\/em> (2026, Pierre Huyghe) DP<\/span><\/p>\n
Good Luck, Have Fun, Don\u2019t Die (2025, Gore Verbinski) Berlinale<\/span>, DP<\/span> – 5.6<\/p>\n
Light Pillar (2026, Xu Zao) Berlinale<\/span>, DP<\/span> – 5.5<\/p>\n
Everybody Digs Bill Evans (2026, Grant Gee) Berlinale<\/span>, DP<\/span> – 3.5<\/p>\n
Mouse (2026, Kelly O\u2019Sullivan & Alex Thompson) Berlinale<\/span>, DP<\/span> – 5.5<\/p>\n
Dao (2026, Alain Gomis) Berlinale<\/span>, DP<\/span> – 5.6<\/p>\n
Crystal Palace (1934, Hryhorii Hrycher) Berlinale<\/span>, DP<\/span> – 5.3<\/p>\n
Doggerland (2026, Kim Ekberg) Berlinale<\/span>, 35mm<\/span> – 6.1<\/p>\n
WAX & GOLD (2026, Ruth Beckermann) Berlinale<\/span>, DP<\/span> – 4.9<\/p>\n
Atlas of the Universe (2026, Paul Negoescu) Berlinale<\/span>, DP<\/span> – 5.8<\/p>\n
Rose (2026, Markus Schleinzer) Berlinale<\/span>, DP<\/span> – 4.4<\/p>\n
If I Were Alive (2026, Andr\u00e9 Novais Oliveira) Berlinale<\/span>, DP<\/span> – 6.3<\/p>\n
This Suffocating Now<\/em> (2026, Vika Kirchenbauer) Berlinale<\/span>, DP<\/span><\/p>\n
El Le\u00f3n<\/em> (2026, Diana Bustamante) Berlinale<\/span>, DP<\/span><\/p>\n
Filme Pin<\/em> (2026, Mar\u00eda Rojas Arias & Andr\u00e9s Jurado [La Vulcanizadora]) Berlinale<\/span>, DP<\/span><\/p>\n
Fruits of Despair<\/em> (2026, Nima Nassaj) Berlinale<\/span>, DP<\/span><\/p>\n
I Built A Rocket Imagining Your Arrival (2026, Jana\u00edna Marques) Berlinale<\/span>, DP<\/span> – 3.6<\/p>\n
At the Sea (2026, Korn\u00e9l Mundrucz\u00f3) Berlinale<\/span>, DP<\/span> – 2.3<\/p>\n
Nina Roza (2026, Genevi\u00e8ve Dulude-de Celles) Berlinale<\/span>, DP<\/span> – 4.2<\/p>\n
My Wife Cries (2026, Angela Schanelec) Berlinale<\/span>, DP<\/span> – 7.1<\/p>\n
Isabel (2026, Gabe Klinger) Berlinale<\/span>, DP<\/span> – 4.8<\/p>\n
Queen at Sea (2026, Lance Hammer) Berlinale<\/span>, DP<\/span> – 6.6<\/p>\n
London (2026, Sebastian Brameshuber) Berlinale<\/span>, DP<\/span> – 6.5<\/p>\n
The Moths & the Flame (2026, Kevin Contento) Berlinale<\/span>, DP<\/span> – 4.5<\/p>\n
Flies (2026, Fernando Eimbcke) Berlinale<\/span>, DP<\/span> – 4.9<\/p>\n
Home Stories (2026, Eva Trobisch) Berlinale<\/span>, DP<\/span> – 4.0<\/p>\n
Warnings to the Distant Future<\/em> (2026, Juliane Jaschnow & Stefanie Schroeder) Berlinale<\/span>, DP<\/span><\/p>\n
The Weary Hours of Two Lab Assistants<\/em> (2026, Burak \u00c7evik) Berlinale<\/span>, DP<\/span><\/p>\n
Forever\u2026Forever<\/em> (2026, Johann Lurf) Berlinale<\/span>, 70mm<\/span><\/p>\n
EIGHT BRIDGES (2026, James Benning) Berlinale<\/span>, DP<\/span> – 6.1<\/p>\n
The Loneliest Man in Town (2026, Rainer Frimmel & Tizza Covi) Berlinale<\/span>, DP<\/span> – 5.8<\/p>\n
Cesarean Weekend (2026, Mohammad Schirvani) Berlinale<\/span>, DP<\/span> – 4.6<\/p>\n
+Bamboozled (2000, Spike Lee) Berlinale<\/span>, 35mm<\/span> – 6.6 [same]<\/span><\/p>\n
Yo (2026, Anna Fitch & Banker White) Berlinale<\/span>, DP<\/span> – 3.8<\/p>\n
Josephine (2026, Beth de Ara\u00fajo) Berlinale<\/span>, DP<\/span> – 2.9<\/p>\n
The Day She Returns (2026, Hong Sang-soo) Berlinale<\/span>, DP<\/span> – 5.4<\/p>\n
Foreign Travel (2026, Ted Fendt) Berlinale<\/span>, DP<\/span> – 5.1<\/p>\n
Everything Else Is Noise (2026, Nicol\u00e1s Pereda) Berlinale<\/span>, DP<\/span> – 6.3<\/p>\n
 <\/p>\n
March<\/span><\/strong><\/p>\n
Flim Flam<\/em> (2026, Siegfried A. Fruhauf)<\/p>\n
Katabasis<\/em> (2026, Martin Moolhuijsen)<\/p>\n
The Seats of the Alcazar (1989, Luc Moullet) – 6.0<\/p>\n
Klute (1971, Alan J. Pakula) 35mm<\/span> – 5.9<\/p>\n
South Stone<\/em> (2011, Zhou Tao)<\/p>\n
Collector<\/em> (2012, Zhou Tao)<\/p>\n
Blue and Red<\/em> (2014, Zhou Tao)<\/p>\n
The Worldly Cave (2017, Zhou Tao) – 6.0<\/p>\n
The Bride! (2026, Maggie Gyllenhaal) DP<\/span> – 5.6<\/p>\n
Saboteur (1942, Alfred Hitchcock) – 6.6<\/p>\n
+Laberint Sequences<\/em> (2023, Blake Williams) 3D<\/span><\/p>\n
+PROTOTYPE (2017, Blake Williams) 3D<\/span><\/p>\n
Project Hail Mary (2026, Phil Lord & Chris Miller) 70mm<\/span> – 2.9<\/p>\n
The Longest Night<\/em> (2026, Phuong Thao Nguyen)<\/p>\n
Shot Reverse Shot<\/em> (2026, Radu Jude & Adrian Ciofl\u00e2nc\u0103)<\/p>\n
Local Sensations<\/em> (2026, Tulapop Saenjaroen)<\/p>\n
Blind Song (2026, Stefano Canapa & Natacha Muslera) – 4.9<\/p>\n
Revue !!!<\/em> [3D] (2025, Bernd L\u00fctzeler)<\/p>\n
Another Earth<\/em> (2026, Ben Russell)<\/p>\n
One Equal Night<\/em> (2026, Ma\u00efder Fortun\u00e9 & Annie MacDonell)<\/p>\n
Baisanos<\/em> (2025, Andr\u00e9s & Francisca Khamis Giacoman)<\/p>\n
Windward (2025, Sharon Lockhart) – 6.0<\/p>\n
The Serpent in Bonanjo<\/em> (2026, Max Mbakop & Lilia Kilburn)<\/p>\n
The Rib of the Greater Bay Area (2026, Zhou Tao) – 8.0<\/p>\n
Barefoot Maria (2026, Rebecca Digne) – 5.3<\/p>\n
Modern Rose, Huancor, Pakatnamu Premonition, Three Short Forms<\/em> (2026, Louidgi Beltrame)<\/p>\n
The Nightseekers<\/em> (2026, Kavich Neang)<\/p>\n
Once Again<\/em> (2026, Skander Mestiri)<\/p>\n
Looking at You Looking at Me<\/em> (2025, Max Bowens)<\/p>\n
Narrative (2025, Anocha Suwichakornpong) – 4.3 <\/p>\n
Crau (2026, Charles Moreau-Boiteau) – 5.5<\/p>\n
Suburbia, There and Back (2026, Damien Cattinari) – 5.4<\/p>\n
 <\/p>\n
April<\/span><\/strong><\/p>\n
13 Ghosts (1960, William Castle) 3D<\/span> – 5.6<\/p>\n
Aspen (1991, Frederick Wiseman) – 7.2<\/p>\n
Dekalog, Six (1989, Krzysztof Kieslowski) – 7.1<\/p>\n
+Arrival of a train 3D<\/em> (1935, Louis Lumi\u00e8re) Punto de Vista<\/span><\/strong>, 3D<\/span><\/p>\n
+Opening the Nineteenth Century: 1896<\/em> (1991, Ken Jacobs) Punto de Vista<\/span><\/strong>, 3D-16mm<\/span><\/p>\n
+Olympiad<\/em> (1971, Lillian F. Schwartz) Punto de Vista<\/span><\/strong>, 3D<\/span><\/p>\n
+Orbit<\/em> (2006, Kerry Laitala) Punto de Vista<\/span><\/strong>, 3D-16mm<\/span><\/p>\n
+Airship 1<\/em> (2010, Kenneth Anger) Punto de Vista<\/span><\/strong>, 3D<\/span><\/p>\n
+Tulsa<\/em> (2025, Scott Stark) Punto de Vista<\/span><\/strong>, DP<\/span><\/p>\n
+FELT<\/em> (2025, Blake Williams) Punto de Vista<\/span><\/strong>, 3D<\/span><\/p>\n
Benita (2025, Alan Berliner) Punto de Vista<\/span><\/strong>, DP<\/span> – 1.8<\/p>\n
Swan<\/em> (1986, Alia Syed) Punto de Vista<\/span><\/strong>, 16mm<\/span><\/p>\n
Unfolding<\/em> (1986, Alia Syed) Punto de Vista<\/span><\/strong>, 16mm<\/span><\/p>\n
Fatima’s Letter<\/em> (1992, Alia Syed) Punto de Vista<\/span><\/strong>, 16mm<\/span><\/p>\n
Eating Grass<\/em> (2003, Alia Syed) Punto de Vista<\/span><\/strong>, 16mm<\/span><\/p>\n
Priya<\/em> (2011, Alia Syed) Punto de Vista<\/span><\/strong>, 16mm<\/span><\/p>\n
+3D Movie<\/em> (1975, Paul Sharits) Punto de Vista<\/span><\/strong>, 3D-16mm<\/span><\/p>\n
+Dimensional Excursions<\/em> (2024, Peter Rose) Punto de Vista<\/span><\/strong>, 3D<\/span><\/p>\n
+toward a fundamental theory of physics<\/em> (2025, Victor Van Rossem) Punto de Vista<\/span><\/strong>, 3D<\/span><\/p>\n
+Gyromorphosis<\/em> (1956, Hy Hirsh) Punto de Vista<\/span><\/strong>, 3D-16mm<\/span><\/p>\n
+Wall<\/em> (1987, Takashi Ito) Punto de Vista<\/span><\/strong>, DP<\/span><\/p>\n
+Photosynthesis<\/em> (2023, Brian Zahm) Punto de Vista<\/span><\/strong>, 3D<\/span><\/p>\n
+Let Your Light Shine<\/em> (2013, Jodie Mack) Punto de Vista<\/span><\/strong>, 3D-16mm<\/span><\/p>\n
Dystopias Achieved (2026, Nayra Sanz Fuentes) Punto de Vista<\/span><\/strong>, DP<\/span> – 4.7<\/p>\n
+Twelve Tales Told<\/em> (2014, Johann Lurf) Punto de Vista<\/span><\/strong>, 3D<\/span><\/p>\n
+more than everything<\/em> (2018, Rainer Kohlberger) Punto de Vista<\/span><\/strong>, 3D<\/span><\/p>\n
+Pixillation<\/em> (1970, Lillian F. Schwartz) Punto de Vista<\/span><\/strong>, 3D<\/span><\/p>\n
+The Day Was a Scorcher<\/em> (2009, Ken Jacobs) Punto de Vista<\/span><\/strong>, DP<\/span><\/p>\n
+2012<\/em> (2013, Takashi Makino) Punto de Vista<\/span><\/strong>, 3D<\/span><\/p>\n
+Notes of a Crocodile<\/em> (2024, Daphne Xu) Punto de Vista<\/span><\/strong>, DP<\/span><\/p>\n
Huahua’s Dazzling World and Its Myriad Temptations (2022, Daphne Xu) Punto de Vista<\/span><\/strong>, DP<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"
Click for links to past logs.   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 […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"class_list":["post-17630","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/pages\/17630","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/comments?post=17630"}],"version-history":[{"count":2799,"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/pages\/17630\/revisions"}],"predecessor-version":[{"id":26053,"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/pages\/17630\/revisions\/26053"}],"wp:attachment":[{"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/media?parent=17630"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}