{"id":12882,"date":"2015-01-01T00:00:14","date_gmt":"2015-01-01T05:00:14","guid":{"rendered":"http:\/\/blakewilliams.net\/blog\/?p=12882"},"modified":"2016-11-17T22:09:20","modified_gmt":"2016-11-18T03:09:20","slug":"2015-film-log","status":"publish","type":"post","link":"http:\/\/blakewilliams.net\/blog\/2015\/01\/2015-film-log\/","title":{"rendered":"2015 Film Log"},"content":{"rendered":"

Past Logs<\/span><\/span><\/p>\n

2014 Film Log<\/a>
\n2013 Film Log<\/a>
\n2012 Film Log<\/a>
\n2011 Film Log<\/a>
\n2010 Film Log<\/a>
\n2009 Film Log<\/span><\/a>
\n2007 Film Log<\/a>
\n<\/span><\/p>\n

\n
\n<\/br>\n<\/div>\n

– 8mm<\/span>\/16mm<\/span>\/35mm<\/span>\/70mm<\/span> denotes that what I saw was a film print.
\n– DP<\/span> denotes that what I saw was a Digital Projection in a theatre.
\n– 3D<\/span> denotes that I saw a theatrical projection for which I was provided some sort of special spectacles\u2014including but not limited to Polarized, Anaglyph, ChromaDepth, Pulfrich, and Prismatic technologies\u2014to wear during part or all of the film. If I saw a feature-length film in 3D at home, the title of the film will be succeeded by “[3D]”.
\n– All others were from Blu-Rays, downloads, television, etc.
\n– A plus sign (+) at the beginning of a line denotes that I had seen this film before. <\/p>\n

– Only films that are at least 40 minutes long (the Academy’s minimum for a feature film) are logged.
\n– 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\/popcorn eating, etc.
\n– I don’t log W\/Os.<\/p>\n

***NEW for 2015***<\/span>
\nI’m now logging short films (\u2264 39min.), sans ratings, but only those viewed either 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).<\/span> Why these conditions?<\/span> The main reason I’ve never logged shorts is that my OCD has prevented me from distinguishing between short films, television commercials, music videos, random viral clips, etc.; I didn’t want to log everything<\/em>, and I didn’t want to be arbitrarily discriminating what I logged and what I didn’t.<\/span> This (admittedly still arbitrary) fix allows me to narrow it down to only the short films proper, which will almost exclusively consist of avant-garde works.<\/span> These films will appear below in italics<\/em>.<\/span>
\n**********************<\/span><\/p>\n

\n
\n<\/br>\n<\/div>\n

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

A+\t9.4 - 10.0\t[Top 10 of All Time contender]\r\nA\t8.6 - 9.3\t[Masterpiece]\r\nA-\t7.8 - 8.5\t[Pretty great; Near-masterpiece]\r\nB+\t7.0 - 7.7\t[Kinda great; Contender for Top 10 of its year]\r\nB\t6.2 - 6.9\t[Has a special something]\r\nB-\t5.4 - 6.1\t[Solid]\r\nC+\t4.6 - 5.3\t[Doesn't arouse any particularly strong emotions either way]\r\nC\t3.8 - 4.5\t[Useless; Mediocre; Significantly flawed]\r\nC-\t3.0 - 3.7\t[What a failure]\r\nD+\t2.2 - 2.9\t[What-a-failure with cheese]\r\nD\t1.4 - 2.1\t[Grating]\r\nD-\t0.6 - 1.3\t[Offensively horrific; Horrifically offensive]\r\nF\t0.0 - 0.5\t[Worst of All Time consideration]<\/pre>\n
\n
\n<\/br>\n<\/div>\n
January<\/span><\/strong><\/p>\n
+Safe (1995, Todd Haynes) – 8.8 [~same]<\/span><\/p>\n
+Whiplash (2014, Damien Chazelle) – 5.9 [up from 5.5]<\/span><\/p>\n
A Most Violent Year (2014, J.C. Chandor) – 5.6<\/p>\n
A Master Builder (2013, Jonathan Demme) – 4.7<\/p>\n
Selma (2014, Ava DuVernay) – 4.4<\/p>\n
+Inherent Vice (2014, Paul Thomas Anderson) DP<\/span> – 6.2 [same]<\/span><\/p>\n
A Most Wanted Man (2014, Anton Corbijn) – 4.1<\/p>\n
Beloved Sisters (2014, Dominik Graf) – 6.6<\/p>\n
The Naked Room (2013, Nuria Ib\u00e1\u00f1ez) – 5.8<\/p>\n
John Wick (2014, Chad Stahelski) – 5.3<\/p>\n
Da Sweet Blood of Jesus (2014, Spike Lee) – 3.8<\/p>\n
Blackhat (2015, Michael Mann) DP<\/span> – 6.4<\/p>\n
Stop the Pounding Heart (2013, Roberto Minervini) – 6.8<\/p>\n
+Oh, Woe is Me (1993, Jean-Luc Godard) 35mm<\/span> – 6.2 [down from 6.9]<\/span><\/p>\n
Last Days in Vietnam (2014, Rory Kennedy) – 5.1<\/p>\n
Dear White People (2014, Justin Simien) – 5.3<\/p>\n
The Imitation Game (2014, Morten Tyldum) – 4.6<\/p>\n
The Trouble with Dick (1987, Gary Walkow) – 5.9<\/p>\n
Best of Enemies (2015, Morgan Neville & Robert Gordon) Sundance<\/span>, DP<\/span> – 4.8<\/p>\n
The Witch (2015, Robert Eggers) Sundance<\/span>, DP<\/span> – 5.7<\/p>\n
The Overnight (2015, Patrick Brice) Sundance<\/span>, DP<\/span> – 4.9<\/p>\n
I Am Michael (2015, Justin Kelly) Sundance<\/span>, DP<\/span> – 4.0<\/p>\n
Tangerine (2015, Sean Baker) Sundance<\/span>, DP<\/span> – 7.2<\/p>\n
James White (2015, Josh Mond) Sundance<\/span>, DP<\/span> – 6.5<\/p>\n
Fresh Dressed (2015, Sacha Jenkins) Sundance<\/span>, DP<\/span> – 5.1<\/p>\n
Mistress America (2015, Noah Baumbach) Sundance<\/span>, DP<\/span> – 5.9<\/p>\n
Western (2015, Bill Ross IV & Turner Ross) Sundance<\/span>, DP<\/span> – 6.1<\/p>\n
Nasty Baby (2015, Sebastian Silva) Sundance<\/span>, DP<\/span> – 2.8<\/p>\n
Last Days in the Desert (2015, Rodrigo Garcia) Sundance<\/span>, DP<\/span> – 2.2<\/p>\n
Ten Thousand Saints (2015, Robert Pulcini & Shari Springer Berman) Sundance<\/span>, DP<\/span> – 5.2<\/p>\n
Unexpected (2015, Kris Swanberg) Sundance<\/span>, DP<\/span> – 3.8<\/p>\n
Cronies (2015, Michael J. Larnell) Sundance<\/span>, DP<\/span> – 5.3<\/p>\n
The Forbidden Room (2015, Guy Maddin & Evan Johnson) Sundance<\/span>, DP<\/span> – 6.7<\/p>\n
Things of the Aimless Wanderer (2015, Kivu Ruhorahoza) Sundance<\/span>, DP<\/span> – 5.9<\/p>\n
Entertainment (2015, Rick Alverson) Sundance<\/span>, DP<\/span> – 6.6<\/p>\n
Take Me to the River (2015, Matt Sobel) Sundance<\/span>, DP<\/span> – 2.6<\/p>\n
The Trouble with Dot and Harry (2015, Gary Walkow) Slamdance<\/span>, DP<\/span> – 6.0<\/p>\n
Digging for Fire (2015, Joe Swanberg) Sundance<\/span>, DP<\/span> – 4.4<\/p>\n
Results (2015, Andrew Bujalski) Sundance<\/span>, DP<\/span> – 5.8<\/p>\n
The Nightmare (2015, Rodney Ascher) Sundance<\/span>, DP<\/span> – 6.5<\/p>\n
Dope (2015, Rick Famuyiwa) Sundance<\/span>, DP<\/span> – 3.9<\/p>\n
Zipper (2015, Mora Stephens) Sundance<\/span>, DP<\/span> – 2.5<\/p>\n
Station to Station (2015, Doug Aitken) Sundance<\/span>, DP<\/span> – 4.7<\/p>\n
Diamond Tongues (2015, Pavan Moondi & Brian Robertson) Slamdance<\/span>, DP<\/span> – 5.1<\/p>\n
Experimenter (2015, Michael Almereyda) Sundance<\/span>, DP<\/span> – 6.3<\/p>\n
The Wolfpack (2015, Crystal Moselle) Sundance<\/span>, DP<\/span> – 7.1<\/p>\n
Kurt Cobain: Montage of Heck (2015, Brett Morgen) Sundance<\/span>, DP<\/span> – 4.8<\/p>\n
Slow West (2015, John Maclean) Sundance<\/span>, DP<\/span> – 5.7<\/p>\n
+The Forbidden Room (2015, Guy Maddin & Evan Johnson) Sundance<\/span>, DP<\/span> – 8.2 [up from 6.7]<\/span><\/p>\n
+Results (2015, Andrew Bujalski) Sundance<\/span>, DP<\/span> – 6.6 [up from 5.8]<\/span><\/p>\n
Get on Up (2014, Tate Taylor) – 4.3<\/p>\n
\n
\n<\/br>\n<\/div>\n
February<\/span><\/strong><\/p>\n
Christmas, Again (2014, Charles Poekel) – 5.5<\/p>\n
Something, Anything (2014, Paul Harrill) – 5.6<\/p>\n
The Chinese Mayor (2015, Hao Zhou) – 5.5<\/p>\n
The Comedy (2012, Rick Alverson) – 6.0<\/p>\n
Appropriate Behavior (2014, Desiree Akhavan) – 6.4<\/p>\n
One, Two, Three (1961, Billy Wilder) 35mm<\/span> – 5.8<\/p>\n
Five Graves to Cairo (1943, Billy Wilder) 35mm<\/span> – 5.1<\/p>\n
Kiss Me, Stupid (1964, Billy Wilder) 35mm<\/span> – 6.6<\/p>\n
Accidental Love (2015, Stephen Greene [aka David O. Russell]) – 3.6<\/p>\n
What We Do in the Shadows (2014, Jemaine Clement & Taika Waititi) – 6.0<\/p>\n
Tatum’s Ghost (2011, Stephanie Barber)<\/em> DP<\/span><\/p>\n
Degas (2011, Stephanie Barber)<\/em> DP<\/span><\/p>\n
At the Baths (2011, Stephanie Barber)<\/em> DP<\/span><\/p>\n
Miniatures (2011, Stephanie Barber)<\/em> DP<\/span><\/p>\n
At the Shore (2011, Stephanie Barber)<\/em> DP<\/span><\/p>\n
Some Animals (2011, Stephanie Barber)<\/em> DP<\/span><\/p>\n
Have You Seen Diane (2011, Stephanie Barber)<\/em> DP<\/span><\/p>\n
Little Kitten (2011, Stephanie Barber)<\/em> DP<\/span><\/p>\n
For W.G. Sebald (Travel Without Travel) (2011, Stephanie Barber)<\/em> DP<\/span><\/p>\n
To Be Old (2011, Stephanie Barber)<\/em> DP<\/span><\/p>\n
The Phone Call (2011, Stephanie Barber)<\/em> DP<\/span><\/p>\n
Bruce Nauman (2011, Stephanie Barber)<\/em> DP<\/span><\/p>\n
The White Caravan (1964, Tamaz Meliava & Eldar Shengelaia) 35mm<\/span> – 4.2<\/p>\n
The Money Complex (2015, Juan Rodrig\u00e1\u00f1ez) – 5.6<\/p>\n
Prison System 4614 (2015, Jan Soldat) – 5.4<\/p>\n
The Mend (2014, John Magary) – 6.5<\/p>\n
Altair (1995, Lewis Klahr)<\/em> 16mm<\/span><\/p>\n
Engram Sepals (2000, Lewis Klahr)<\/em> 16mm<\/span><\/p>\n
Daylight Moon (2002, Lewis Klahr)<\/em> 16mm<\/span><\/p>\n
Helen of T (2013, Lewis Klahr)<\/em> DP<\/span><\/p>\n
+False Aging (2008, Lewis Klahr)<\/em> DP<\/span><\/p>\n
Green ’62 (1996, Lewis Klahr)<\/em> 16mm<\/span><\/p>\n
City Film (1993, Lewis Klahr)<\/em> DP<\/span><\/p>\n
Shop Windows (Lewis Klahr)<\/em> 16mm<\/span><\/p>\n
“Home Movie of Middle Aged Couple” (Lewis Klahr)<\/em> 16mm<\/span><\/p>\n
Whirligigs in the Late Afternoon (1996, Lewis Klahr)<\/em> 16mm<\/span><\/p>\n
+Occidental Hotel (2014, Lewis Klahr)<\/em> DP<\/span><\/p>\n
Over the Years (2015, Nikolaus Geyrhalter) – 5.6<\/p>\n
Approaching the Elephant (2014, Amanda Rose Wilder) – 7.5<\/p>\n
Androids Dream (2014, Ion De Sosa) – 4.6<\/p>\n
Mar (2014, Dominga Sotomayor) – 5.5<\/p>\n
Tired Moonlight (2015, Britni West) – 5.5<\/p>\n
+Images of the World and the Inscription of War (1989, Harun Farocki) 16mm<\/span> – 7.1 [up from 4.7]<\/span><\/p>\n
+(nostalgia)\u2002(1971, Hollis Frampton)<\/em> 16mm<\/span><\/p>\n
Poetic Justice\u2002(1972, Hollis Frampton)<\/em> 16mm<\/span><\/p>\n
Critical Mass\u2002(1971, Hollis Frampton)<\/em> 16mm<\/span><\/p>\n
Travelling Matte\u2002(1971, Hollis Frampton)<\/em> 16mm<\/span><\/p>\n
Ordinary Matter\u2002(1972, Hollis Frampton)<\/em> 16mm<\/span><\/p>\n
Remote Control\u2002(1972, Hollis Frampton)<\/em> 16mm<\/span><\/p>\n
Special Effects\u2002(1972, Hollis Frampton)<\/em> 16mm<\/span><\/p>\n
The Chinatown Mystery (1928, J.P. McGowan) 35mm<\/span> – 4.8<\/p>\n
The Private Life of Sherlock Holmes (1970, Billy Wilder) 35mm<\/span> – 5.9<\/p>\n
\n
\n<\/br>\n<\/div>\n
March<\/span><\/strong><\/p>\n
+Vertigo (1958, Alfred Hitchcock) 70mm<\/span> – 8.8 [same]<\/span><\/p>\n
Ray Gun Virus (1966, Paul Sharits)<\/em> 16mm<\/span><\/p>\n
+69 (1968, Robert Breer)<\/em> 16mm<\/span><\/p>\n
Rubber Cement (1976, Robert Breer)<\/em> 16mm<\/span><\/p>\n
+S:TREAM:S:S:ECTION:S:ECTION:S:S:ECTIONED (1971, Paul Sharits) 16mm<\/span> – 8.1 [down from 8.6]<\/span><\/p>\n
Big Deal on Madonna Street (1958, Mario Monicelli) 35mm<\/span> – 4.1<\/p>\n
The Fall of the House of Usher (1928, Jean Epstein) – 6.5<\/p>\n
Game (1965, Karpo Godina & Jure Pervanje)<\/em> 35mm<\/span><\/p>\n
Dog (1965, Karpo Godina & Mario Ur\u0161i\u0107)<\/em> 35mm<\/span><\/p>\n
A.P. (Anno Passato) (1965, Karpo Godina)<\/em> 35mm<\/span><\/p>\n
The Gratinated Brains of Pupilija Ferkeverk (1970, Karpo Godina)<\/em> 35mm<\/span><\/p>\n
About the Art of Love or a Film with 14441 Frames (1972, Karpo Godina)<\/em> 35mm<\/span><\/p>\n
Bite Me. Once Already\u2002(1980, Davorin Marc)<\/em> 8mm<\/span><\/p>\n
Slaughter Ahoy\u2002(1981, Davorin Marc)<\/em> 8mm<\/span><\/p>\n
Fear in the City (1181 Days Later or Smell of Rats)\u2002(1984, Davorin Marc)<\/em> 35mm<\/span><\/p>\n
Buzzard (2014, Joel Potrykus) DP<\/span> – 3.6<\/p>\n
King Kong (1933, Merian C. Cooper & Ernest B. Schoedsack) 35mm<\/span> – 6.3<\/p>\n
Storm Children: Book One (2014, Lav Diaz) CAAMFest<\/span>, DP<\/span> – 4.7<\/p>\n
Spartacus & Cassandra (2014, Ioanis Nuguet) – 5.4<\/p>\n
Beginning\u2002(1967, Artavazd [aka Arthur] Peleshian)<\/em> 35mm<\/span><\/p>\n
Crossroads\u2002(1976, Bruce Conner)<\/em> 35mm<\/span><\/p>\n
Our Lady of the Sphere\u2002(1969, Lawrence Jordan)<\/em> 35mm<\/span><\/p>\n
Quasi at the Quackadero\u2002(1976, Sally Cruikshank)<\/em> 35mm<\/span><\/p>\n
The Forenoon of a Faun (1963, Tomislav Gotovac)<\/em> 16mm<\/span><\/p>\n
Straight Line (Stevens-Duke) (1964, Tomislav Gotovac)<\/em> 16mm<\/span><\/p>\n
Circle (Jutkevich-Count) (1964, Tomislav Gotovac)<\/em> 16mm<\/span><\/p>\n
I\u2019m Mad (1967, Ivan Martinac)<\/em> 16mm<\/span><\/p>\n
Encounter (1963, Vladimir Petek, Yugoslavia)<\/em> 35mm<\/span><\/p>\n
Focus (1967, Ivan Martinac)<\/em> 35mm<\/span><\/p>\n
People (in Passing) II (1967, Lordan Zafranovi\u0107)<\/em> 35mm<\/span><\/p>\n
Afternoon (The Gun) (1968, Lordan Zafranovi\u0107)<\/em> 35mm<\/span><\/p>\n
+Tangerine (2015, Sean Baker) – 6.7 [down from 7.2]<\/span><\/p>\n
Antonio’s Broken Mirror (1957, Du\u0161an Makavejev)<\/em> DP<\/span><\/p>\n
Triptych on Matter and Death (1960, \u017divojin Pavlovi\u0107)<\/em> DP<\/span><\/p>\n
The Wall (1960, Vojislav Kokan Rakonjac)<\/em> DP<\/span><\/p>\n
Smoke and Water (1962, Dragoslav Lazi\u0107)<\/em> DP<\/span><\/p>\n
Arms in the Purple Distance (1962, Sava Trifkovi\u0107)<\/em> DP<\/span><\/p>\n
Ecstasy (1963, Petar Arandjelovi\u0107)<\/em> DP<\/span><\/p>\n
Blue Rider (Godard-Art) (1964, Tomislav Gotovac)<\/em> DP<\/span><\/p>\n
Violet (2014, Bas Devos) – 4.3<\/p>\n
+Inherent Vice (2014, Paul Thomas Anderson) 70mm<\/span> – 6.2 [same]<\/span><\/p>\n
Rules of the Game (2014, Claudine Bories & Patrice Chagnard) – 6.5<\/p>\n
+John Wick (2014, Chad Stahelski) – 5.3 [same]<\/span><\/p>\n
+A Cold Compress (2010, Blake Williams)<\/em> DP<\/span><\/p>\n
+Depart (2012, Blake Williams)<\/em> DP<\/span><\/p>\n
+Coorow-Latham Road (2011, Blake Williams)<\/em> DP<\/span><\/p>\n
+C-LR: Coorow-Latham Road For Those Who Don’t Have the Time (2013, Blake Williams)<\/em> DP<\/span><\/p>\n
+Many a Swan (2012, Blake Williams)<\/em> 3D<\/span><\/p>\n
+Baby Blue (2013, Blake Williams)<\/em> 3D<\/span><\/p>\n
+Red Capriccio (2014, Blake Williams)<\/em> 3D<\/span><\/p>\n
+Something Horizontal (2015, Blake Williams)<\/em> 3D<\/span><\/p>\n
District 9 (2009, Neill Blomkamp) – 5.6<\/p>\n
Sweaty Betty (2015, Joe Frank & Zack Reed) – 6.4<\/p>\n
Funny Games (2007, Michael Haneke) – 6.8<\/p>\n
The Corral and the Wind (2014, Miguel Hilari) – 4.0<\/p>\n
+Phoenix (2014, Christian Petzold) \u2013 7.6 [same]<\/span><\/p>\n
\n
\n<\/br>\n<\/div>\n
April<\/span><\/strong><\/p>\n
+Ali: Fear Eats the Soul (1974, Rainer Werner Fassbinder) 35mm<\/span> – 7.0 [up from ~6.0]<\/span><\/p>\n
+Sorrows\u2002(1969, Gregory J. Markopoulos)<\/em> 16mm<\/span><\/p>\n
The Mysteries\u2002(1968, Gregory J. Markopoulos) 16mm<\/span> – 5.1<\/p>\n
Political Portraits\u2002(1969, Gregory J. Markopoulos)<\/em> 16mm<\/span><\/p>\n
Innocence (2004, Lucile Hadzihalilovic) – 5.8<\/p>\n
+In the Mood for Love (2000, Wong Kar-wai) 35mm<\/span> – 6.0 [up from 5.8]<\/span><\/p>\n
layover (2014, Vanessa Renwick)<\/em> CROSSROADS<\/span>, DP<\/span><\/p>\n
+Figure-Ground (2013, Jean-Paul Kelly)<\/em> CROSSROADS<\/span>, DP<\/span><\/p>\n
A Field Guide to the Ferns (2015, Basma Alsharif)<\/em> CROSSROADS<\/span>, DP<\/span><\/p>\n
Song for Awe and Dread (2015, Tommy Becker)<\/em> CROSSROADS<\/span>, DP<\/span><\/p>\n
The Quilpo Dreams Waterfalls (2012, Pablo Mazzolo)<\/em> CROSSROADS<\/span>, DP<\/span><\/p>\n
a Beginning a Middle and an End (2013, Jon Behrens)<\/em> CROSSROADS<\/span>, DP<\/span><\/p>\n
Greetings to the Ancestors (2015, Ben Russell)<\/em> CROSSROADS<\/span>, DP<\/span><\/p>\n
Hypnosis Display [live score by Grouper] (2014, Paul Clipson) CROSSROADS<\/span>, 16mm<\/span> – 6.3<\/p>\n
The HandEye (Bone Ghosts) (2012, OJOBOCA)<\/em> CROSSROADS<\/span>, 16mm<\/span><\/p>\n
+Sea of Vapors (2014, Sylvia Schedelbauer)<\/em> CROSSROADS<\/span>, DP<\/span><\/p>\n
Emulsion Electrons Imbued (2014, Karissa Hahn)<\/em> CROSSROADS<\/span>, DP<\/span><\/p>\n
The Somber Vault (2014, John Powers)<\/em> CROSSROADS<\/span>, DP<\/span><\/p>\n
+Things (2014, Ben Rivers)<\/em> CROSSROADS<\/span>, DP<\/span><\/p>\n
Apocalypse for You [double projection] (2014, OJOBOCA)<\/em> CROSSROADS<\/span>, 16mm<\/span><\/p>\n
Cicatrix (2014, Jeremy Moss)<\/em> CROSSROADS<\/span>, DP<\/span><\/p>\n
Soon (2014, Jeanne Liotta)<\/em> CROSSROADS<\/span>, DP<\/span><\/p>\n
Dancing Glitch (2013, Michael Betancourt)<\/em> CROSSROADS<\/span>, DP<\/span><\/p>\n
L\u2019entre Deux (2014, Karl Lemieux)<\/em> CROSSROADS<\/span>, 16mm<\/span><\/p>\n
Sayre\u2019s Vapor (2013, Karissa Hahn)<\/em> CROSSROADS<\/span>, DP<\/span><\/p>\n
Conjectures (2013, Pablo Mazzolo)<\/em> CROSSROADS<\/span>, DP<\/span><\/p>\n
As Near as Light (2014, Susan DeLeo)<\/em> CROSSROADS<\/span>, DP<\/span><\/p>\n
+Second Sighted (2014, Deborah Stratman)<\/em> CROSSROADS<\/span>, DP<\/span><\/p>\n
The Golden Hour (2014, Ross Meckfessel)<\/em> CROSSROADS<\/span>, DP<\/span><\/p>\n
Laborat (2014, Guillaume Cailleau)<\/em> CROSSROADS<\/span>, DP<\/span><\/p>\n
+Jenny Haniver (2014, Stephen Broomer)<\/em> CROSSROADS<\/span>, 16mm<\/span><\/p>\n
Chestnut Street (2014, Karissa Hahn)<\/em> CROSSROADS<\/span>, DP<\/span><\/p>\n
7285 (2015, Sarah J. Christman)<\/em> CROSSROADS<\/span>, 16mm<\/span><\/p>\n
Photooxidation (2013, Pablo Mazzolo)<\/em> CROSSROADS<\/span>, DP<\/span><\/p>\n
Sunspots and Solar Flares (2013, Maria Magnusson)<\/em> CROSSROADS<\/span>, DP<\/span><\/p>\n
Demolished Every Second (2014, John Davis)<\/em> CROSSROADS<\/span>, DP<\/span><\/p>\n
vindm\u00f8ller (2014, Margaret Rorison)<\/em> CROSSROADS<\/span>, 16mm<\/span><\/p>\n
Traces\/Legacy (2015, Scott Stark)<\/em> CROSSROADS<\/span>, 35mm<\/span><\/p>\n
Bunte Kuh (2015, Faraz Anoushahpour, Parastoo Anoushahpour, & Ryan Ferko)<\/em> CROSSROADS<\/span>, DP<\/span><\/p>\n
+Under the Heat Lamp an Opening (2014, Zachary Epcar)<\/em> CROSSROADS<\/span>, DP<\/span><\/p>\n
Travelling with Maxim Gorkiy (2014, Kolja Kunt & Bernd L\u00fctzeler)<\/em> CROSSROADS<\/span>, DP<\/span><\/p>\n
Meanwhile at the Moon Hotel (2014, Jesse Stead)<\/em> CROSSROADS<\/span>, DP<\/span><\/p>\n
Frozen Giants (2013, Christine Negus)<\/em> CROSSROADS<\/span>, DP<\/span><\/p>\n
Simmer (2014, Karissa Hahn)<\/em> CROSSROADS<\/span>, DP<\/span><\/p>\n
A Home Inside [triple projection] (2013, OJOBOCA)<\/em> CROSSROADS<\/span>, 16mm<\/span><\/p>\n
+vis \u00e0 vis (2013, Abigail Child)<\/em> CROSSROADS<\/span>, DP<\/span><\/p>\n
+Lunar Almanac (2013, Malena Szlam)<\/em> CROSSROADS<\/span>, 16mm<\/span><\/p>\n
Prisoner\u2019s Cinema (2012, Joshua Gen Solondz)<\/em> CROSSROADS<\/span>, DP<\/span><\/p>\n
Wake (2015, Eric Stewart)<\/em> CROSSROADS<\/span>, 16mm<\/span><\/p>\n
The Kiss (2014, Luis Maci\u00e1s)<\/em> CROSSROADS<\/span>, 35mm<\/span><\/p>\n
+The Sound of Running in My Voice (2014, Mary Helena Clark)<\/em> CROSSROADS<\/span>, DP<\/span><\/p>\n
a kind of quiet (2014, Jonathan Schwartz)<\/em> CROSSROADS<\/span>, 16mm<\/span><\/p>\n
an aging process (2014, Jonathan Schwartz)<\/em> CROSSROADS<\/span>, 16mm<\/span><\/p>\n
+a certain worry (2014, Jonathan Schwartz)<\/em> CROSSROADS<\/span>, 16mm<\/span><\/p>\n
+Sugarcoated Arsenic (2014, Claudrena Harold & Kevin Jerome Everson)<\/em> CROSSROADS<\/span>, DP<\/span><\/p>\n
+O, Persecuted (2014, Basma Alsharif)<\/em> CROSSROADS<\/span>, DP<\/span><\/p>\n
+Sunset Blvd. (1950, Billy Wilder) 35mm<\/span> – 6.2 [down from ~7.7]<\/span><\/p>\n
I Am the People (2014, Anna Roussillon) – 5.6<\/p>\n
A New Leaf (1971, Elaine May) 35mm<\/span> – 6.8<\/p>\n
+Entertainment (2015, Rick Alverson) SFIFF<\/span>, DP<\/span> – 7.3 [up from 6.6]<\/span><\/p>\n
Wanda (1970, Barbara Loden) SFIFF<\/span>, 35mm<\/span> – 6.5<\/p>\n
+The Forbidden Room (2015, Guy Maddin & Evan Johnson) SFIFF<\/span>, DP<\/span> – 8.2 [same]<\/span><\/p>\n
The Searchers (1956, John Ford) 35mm<\/span> – 5.7<\/p>\n
+The Look of Silence (2014, Joshua Oppenheimer) SFIFF<\/span>, DP<\/span> – 5.1 [same]<\/span><\/p>\n
Listen to Me Marlon (2015, Stevan Riley) SFIFF<\/span>, DP<\/span> – 5.3<\/p>\n
Me and Earl and the Dying Girl (2015, Alfonso Gomez-Rejon) SFIFF<\/span>, DP<\/span> – 3.2<\/p>\n
+Results (2015, Andrew Bujalski) SFIFF<\/span>, DP<\/span> – 6.6 [same]<\/span><\/p>\n
Cosmodrama (2015, Philippe Fernandez) – 4.6<\/p>\n
\n
\n<\/br>\n<\/div>\n
May<\/span><\/strong><\/p>\n
Noh (1977, Takashi Ito)<\/em> Oberhausen<\/span>, DP<\/span><\/p>\n
Movement 2 (1979, Takashi Ito)<\/em> Oberhausen<\/span>, DP<\/span><\/p>\n
\u2028Movement 3 (1980, Takashi Ito)<\/em> Oberhausen<\/span>, DP<\/span><\/p>\n
+\u2028Spacy (1981, Takashi Ito)<\/em> Oberhausen<\/span>, 16mm<\/span><\/p>\n
+Box (1982, Takashi Ito)\u2028<\/em> Oberhausen<\/span>, 16mm<\/span><\/p>\n
Thunder (1982, Takashi Ito)<\/em> Oberhausen<\/span>, 16mm<\/span><\/p>\n
\u2028Drill (1983, Takashi Ito)\u2028<\/em> Oberhausen<\/span>, 16mm<\/span><\/p>\n
Ghost (1984, Takashi Ito)\u2028<\/em> Oberhausen<\/span>, 16mm<\/span><\/p>\n
Grim (1985, Takashi Ito)\u2028<\/em> Oberhausen<\/span>, 16mm<\/span><\/p>\n
Zone (1995, Takashi Ito)\u2028<\/em> Oberhausen<\/span>, 16mm<\/span><\/p>\n
L’Arriv\u00e9e d’un train en gare de La Ciotat (1935, Auguste & Louis Lumi\u00e8re)\u2028<\/em> Oberhausen<\/span>, 3D<\/span><\/p>\n
Come Coco (2008, Santiago Caicedo)<\/em> Oberhausen<\/span>, 3D<\/span><\/p>\n
\u2028Lapse of Time (2013, C\u00e9line Tricart)<\/em> Oberhausen<\/span>, 3D<\/span><\/p>\n
\u2028The Chimera of M. (2013, Sebastian Buerkner)\u2028<\/em> Oberhausen<\/span>, 3D<\/span><\/p>\n
Cochemare (2013, Chris Lavis & Maciek Szczerbowski)\u2028<\/em> Oberhausen<\/span>, 3D<\/span><\/p>\n
Spell (2011, ZAPRUDERfilmmakersgroup [David Zamagni & Nadia Ranocchi])<\/em> Oberhausen<\/span>, 3D<\/span><\/p>\n
\u2028An Improvisation (2015, Nishizaki Keisuke & Okamura Tomomi)<\/em> Oberhausen<\/span>, DP<\/span><\/p>\n
\u2028Unfinished Film (2014, Evgeny Granilshchikov)\u2028<\/em> Oberhausen<\/span>, DP<\/span><\/p>\n
+Sound of My Soul (2014, Wojciech B\u0105kowski)\u2028<\/em> Oberhausen<\/span>, DP<\/span><\/p>\n
Last Angel (2014, Takashi Ito)<\/em> Oberhausen<\/span>, DP<\/span><\/p>\n
\u2028We Know We Are Just Pixels (2014, Laure Prouvost)<\/em> Oberhausen<\/span>, DP<\/span><\/p>\n
Shashin Ki (Takashi Ito)<\/em> Oberhausen<\/span>, DP<\/span><\/p>\n
\u2028Wall (1987, Takashi Ito)\u2028<\/em> Oberhausen<\/span>, 16mm<\/span><\/p>\n
Shashin Ki 87 (1987, Takashi Ito)\u2028<\/em> Oberhausen<\/span>, DP<\/span><\/p>\n
Akuma No Kairozu (1988, Takashi Ito)\u2028<\/em> Oberhausen<\/span>, 16mm<\/span><\/p>\n
Miira No Yume (1989, Takashi Ito)\u2028<\/em> Oberhausen<\/span>, 16mm<\/span><\/p>\n
Venus (1990, Takashi Ito)\u2028<\/em> Oberhausen<\/span>, 16mm<\/span><\/p>\n
Ju-Ni-Gatsu No Kakurenbo (1993, Takashi Ito)\u2028<\/em> Oberhausen<\/span>, DP<\/span><\/p>\n
The Moon (1994, Takashi Ito)\u2028<\/em> Oberhausen<\/span>, 16mm<\/span><\/p>\n
Gi Sochi M (1996, Takashi Ito)<\/em> Oberhausen<\/span>, 16mm<\/span><\/p>\n
Die Urszene (1981, Christine Noll Brinckmann)\u2028<\/em> Oberhausen<\/span>, 16mm<\/span><\/p>\n
The Whitewashing of 5 Pointz (2014, Ben Schwartz)\u2028<\/em> Oberhausen<\/span>, 3D<\/span><\/p>\n
_grau (2015, Robert Seidel)\u2028<\/em> Oberhausen<\/span>, 3D<\/span><\/p>\n
Ora (2011, Philippe Baylaucq)<\/em> Oberhausen<\/span>, 3D<\/span><\/p>\n
+Box (1982, Takashi Ito)\u2028<\/em> Oberhausen<\/span>, 16mm<\/span><\/p>\n
Skizm (2014, Andristy\u00e1k Marcell)<\/em> Oberhausen<\/span>, DP<\/span><\/p>\n
+Red Capriccio (2014, Blake Williams)<\/em> Oberhausen<\/span>, 3D<\/span><\/p>\n
\u2028Aurora Borealis (2015, Nakamura Ikuo)\u2028<\/em> Oberhausen<\/span>, 3D<\/span><\/p>\n
Something Might Happen (2014, Timothy Geraghty)<\/em> Oberhausen<\/span>, 3D<\/span><\/p>\n
Declaration of War (2011, Val\u00e9rie Donzelli) – 4.9<\/p>\n
Monochrome Head (1997, Takashi Ito)\u2028<\/em> Oberhausen<\/span>, 16mm<\/span><\/p>\n
A Silent Day (2002, Takashi Ito)\u2028<\/em> Oberhausen<\/span>, DP<\/span><\/p>\n
Dizziness (2001, Takashi Ito)\u2028<\/em> Oberhausen<\/span>, 16mm<\/span><\/p>\n
Sweet Life (2010, Takashi Ito)<\/em> Oberhausen<\/span>, DP<\/span><\/p>\n
The Last Mango Before the Monsoon (2014, Payal Kapadia)\u2028<\/em> Oberhausen<\/span>, DP<\/span><\/p>\n
Zlat\u00e9 Piesky Rocket Launch (2015, Josef Dabernig)\u2028<\/em> Oberhausen<\/span>, 35mm<\/span><\/p>\n
+Color Neutral (2014, Jennifer Reeves)<\/em> Oberhausen<\/span>, 16mm<\/span><\/p>\n
\u2028Two Clothespins in an Envelope (2015, Susanna Wallin)\u2028<\/em> Oberhausen<\/span>, DP<\/span><\/p>\n
+7285 (2015, Sarah Christman)<\/em> Oberhausen<\/span>, DP<\/span><\/p>\n
\u2028Blow-Up (2014, Zhu Changquan)<\/em> Oberhausen<\/span>, DP<\/span><\/p>\n
\u2028From Another Movie (2014, Sarah Ibrahim)<\/em> Oberhausen<\/span>, DP<\/span><\/p>\n
moon blink (2015, Rainer Kohlberger)<\/em> Oberhausen<\/span>, DP<\/span><\/p>\n
Max Thurnheim (2014, Friedl vom Gr\u00f6ller)<\/em> Oberhausen<\/span>, 16mm<\/span><\/p>\n
carte noire (2014, Michaela Grill)<\/em> Oberhausen<\/span>, DP<\/span><\/p>\n
Tiniest Dreams (2014, Randy Sterling Hunter)<\/em> Oberhausen<\/span>, DP<\/span><\/p>\n
Odessa Crash Test\u00a0(Notes on Film 09) (2014, Norbert Pfaffenbichler)<\/em> Oberhausen<\/span>, DP<\/span><\/p>\n
Of Stains, Scraps and Tires (2014, Sebastian Bramshuber)<\/em> Oberhausen<\/span>, DP<\/span><\/p>\n
Tarang (2013, Jonny Greenwald & Shyam Kannapurakaran)<\/em> Oberhausen<\/span>, 3D<\/span><\/p>\n
+Capitalism: Child Labor (2006, Ken Jacobs)<\/em> Oberhausen<\/span>, DP<\/span><\/p>\n
3D-Movie (1975, Paul Sharits)<\/em> Oberhausen<\/span>, 3D-16mm<\/span><\/p>\n
All Sides of the Road (2012, OpenEndedGroup [Marc Downie & Paul Kaiser])<\/em> Oberhausen<\/span>, 3D<\/span><\/p>\n
Galaxy (2008, Santiago Caicedo)<\/em> Oberhausen<\/span>, 3D<\/span><\/p>\n
To the Sea (Mint Julep) (2013, A Nice Idea Every Day [Vivien Weyrauch & Fabian R\u00f6ttger])<\/em> Oberhausen<\/span>, DP<\/span><\/p>\n
Hate (2012, Sami van Ingen)<\/em> Oberhausen<\/span>, 35mm<\/span><\/p>\n
Terra Incognita (2011, Kerry Laitala)<\/em> Oberhausen<\/span>, 3D<\/span><\/p>\n
Arheo29 (2010, Vladislav Kne\u017eevi\u0107)<\/em> Oberhausen<\/span>, 3D<\/span><\/p>\n
Back Track (2015, Virgil Widrich)<\/em> Oberhausen<\/span>, 3D<\/span><\/p>\n
All Is Not Lost (OK Go) (2011, Trish Sie & Eric Kurland)<\/em> Oberhausen<\/span>, 3D<\/span><\/p>\n
+Twelve Tales Told (2014, Johann Lurf)<\/em> Oberhausen<\/span>, 3D<\/span><\/p>\n
5 m 80 (2012, Nicolas Deveaux)<\/em> Oberhausen<\/span>, 3D<\/span><\/p>\n
Speechless (2008, Scott Stark)<\/em> Oberhausen<\/span>, 16mm<\/span><\/p>\n
Ztring Theory (2009, Karl Bryhn & Jo Eld\u00f8en)<\/em> Oberhausen<\/span>, 3D<\/span><\/p>\n
Impression en Haute Atmosph\u00e8re (1989, Jose Antonioni Sistiaga)<\/em> Oberhausen<\/span>, 3D-35mm<\/span><\/p>\n
+Around Is Around (1951, Norman McLaren)<\/em> Oberhausen<\/span>, 3D<\/span><\/p>\n
Plasticity (2010, Ryan Suits)<\/em> Oberhausen<\/span>, 3D<\/span><\/p>\n
Color Rhapsody (1948, Mary Ellen Bute)<\/em> Oberhausen<\/span>, 3D-16mm<\/span><\/p>\n
Virtuos Virtuell (2013, Thomas Stellmach & Maja Oschmann)<\/em> Oberhausen<\/span>, 3D<\/span><\/p>\n
Our World Is a Crazy Fractal (2014, San Base)<\/em> Oberhausen<\/span>, 3D<\/span><\/p>\n
Stare (1991, Karl Kels)<\/em> Oberhausen<\/span>, 3D-16mm<\/span><\/p>\n
Invocation (1982, Amy Halpern)<\/em> Oberhausen<\/span>, 16mm<\/span><\/p>\n
Quick Billy Roll 47 (1970, Bruce Baillie)<\/em> Oberhausen<\/span>, 16mm<\/span><\/p>\n
Penny Bright and Jimmy Witherspoon (1967, Robert Nelson)<\/em> Oberhausen<\/span>, 16mm<\/span><\/p>\n
Money (1970, Mike Henderson)<\/em> Oberhausen<\/span>, 16mm<\/span><\/p>\n
The Gypsy Cried (1973, Chris Langdon)<\/em> Oberhausen<\/span>, 16mm<\/span><\/p>\n
Toxic Shock (1983, Vanessa Renwick)<\/em> Oberhausen<\/span>, 16mm<\/span><\/p>\n
Primary Stimulus (1980, Robert Russett)<\/em> Oberhausen<\/span>, 16mm<\/span><\/p>\n
Coreopsis (1998, Pat O’Neill)<\/em> Oberhausen<\/span>, 35mm<\/span><\/p>\n
Madame Mao’s Lost Love Letters (1983, Tom Leeser & Diana Wilson)<\/em> Oberhausen<\/span>, 35mm<\/span><\/p>\n
A Soft Warrior (1981, Nina Menkes)<\/em> Oberhausen<\/span>, DP<\/span><\/p>\n
Endtrip (2013, Koen de Mol, Olivier Ballast, & Rick Franssen)<\/em> Oberhausen<\/span>, 3D<\/span><\/p>\n
Arrive (2002, Ed Holdsworth)<\/em> Oberhausen<\/span>, 3D<\/span><\/p>\n
Wanderlust (Bj\u00f6rk) (2008, Encyclopedia Pictura)<\/em> Oberhausen<\/span>, 3D<\/span><\/p>\n
Transmutation (2012, Volker Kuchelmeister)<\/em> Oberhausen<\/span>, 3D<\/span><\/p>\n
Opening the 19th Century: 1896 (1990 Ken Jacobs)<\/em> Oberhausen<\/span>, 3D-16mm<\/span><\/p>\n
When I Paint! (2014, Dirk-Martin Heinzelmann)<\/em> Oberhausen<\/span>, 3D<\/span><\/p>\n
Embargo (2014, Johann Lurf)<\/em> Oberhausen<\/span>, 3D<\/span><\/p>\n
Plant (2011, OpenEndedGroup [Mark Downie, Shelley Eshkar, & Paul Kaiser])<\/em> Oberhausen<\/span>, 3D<\/span><\/p>\n
+brouillard \u2013 passage 14 (2013, Alexandre Larose)<\/em> Oberhausen<\/span>, 35mm<\/span><\/p>\n
(Be)Longing (2014, Jo\u00e3o Pedro Pl\u00e1cido) – 5.5<\/p>\n
The Kidnapping of Michel Houellebecq (2014, Guillaume Nicloux) – 5.3<\/p>\n
Alms for a Blind Horse (2011, Gurvinder Singh) – 5.9<\/p>\n
Aliyah (2012, Elie Wajeman) – 6.0<\/p>\n
On My Way (2013, Emmanuelle Bercot) – 4.8<\/p>\n
My Sex Life… or How I Got Into an Argument (1996, Arnaud Desplechin) – 7.2<\/p>\n
Standing Tall (2015, Emmanuelle Bercot) Cannes<\/span>, DP<\/span> – 4.7<\/p>\n
Tale of Tales (2015, Matteo Garrone) Cannes<\/span>, DP<\/span> – 5.3<\/p>\n
Actua 1 (1968, Philippe Garrel)<\/em> Cannes<\/span>, 35mm<\/span><\/p>\n
In the Shadow of Women (2015, Philippe Garrel) Cannes<\/span>, DP<\/span> – 6.2<\/p>\n
Sleeping Giant (2015, Andrew Cividino) Cannes<\/span>, DP<\/span> – 5.4<\/p>\n
One Floor Below (2015, Radu Muntean) Cannes<\/span>, DP<\/span> – 6.5<\/p>\n
Son of Saul (2015, L\u00e1szl\u00f3 Nemes) Cannes<\/span>, 35mm<\/span> – 5.8<\/p>\n
The Anarchists (2015, Elie Wajeman) Cannes<\/span>, DP<\/span> – 3.8<\/p>\n
The Lobster (2015, Yorgos Lanthimos) Cannes<\/span>, DP<\/span> – 5.7<\/p>\n
My Golden Days (2015, Arnaud Desplechin) Cannes<\/span>, DP<\/span> – 6.0<\/p>\n
Taxi (2015, Jafar Panahi) Cannes March\u00e9 du Film<\/span>, DP<\/span> – 4.9<\/p>\n
Afterthought (2015, Elad Keidan) Cannes<\/span>, DP<\/span> – 6.1<\/p>\n
The Shameless (2015, Oh Seung-Uk) Cannes<\/span>, DP<\/span> – 4.2<\/p>\n
My Mother (2015, Nanni Moretti) Cannes<\/span>, DP<\/span> – 5.0<\/p>\n
Arabian Nights: Volume 1, The Restless One (2015, Miguel Gomes) Cannes<\/span>, DP<\/span> – 7.3<\/p>\n
Carol (2015, Todd Haynes) Cannes<\/span>, DP<\/span> – 5.2<\/p>\n
Disorder (2015, Alice Winocour) Cannes<\/span>, DP<\/span> – 6.4<\/p>\n
Mon roi (2015, Ma\u00efwenn) Cannes<\/span>, DP<\/span> – 3.4<\/p>\n
The High Sun (2015, Dalibor Matanic) Cannes<\/span>, DP<\/span> – 3.7<\/p>\n
Journey to the Shore (2015, Kiyoshi Kurosawa) Cannes<\/span>, DP<\/span> – 4.3<\/p>\n
Louder than Bombs (2015, Joachim Trier) Cannes<\/span>, DP<\/span> – 6.1<\/p>\n
The Measure of a Man (2015, St\u00e9phane Briz\u00e9) Cannes<\/span>, DP<\/span> – 5.3<\/p>\n
Cemetery of Splendour (2015, Apichatpong Weerasethakul) Cannes<\/span>, DP<\/span> – 7.6<\/p>\n
Two Friends (2015, Louis Garrel) Cannes<\/span>, DP<\/span> – 4.0<\/p>\n
Arabian Nights: Volume 2, The Desolate One (2015, Miguel Gomes) Cannes<\/span>, DP<\/span> – 7.5<\/p>\n
Marguerite & Julien (2015, Val\u00e9rie Donzelli) Cannes<\/span>, DP<\/span> – 5.9<\/p>\n
Sicario (2015, Denis Villeneuve) Cannes<\/span>, DP<\/span> – 4.5<\/p>\n
Songs My Brothers Taught Me (2015, Chlo\u00e9 Zhao) Cannes<\/span>, DP<\/span> – 5.5<\/p>\n
Inside Out (2015, Pete Docter) Cannes<\/span>, DP<\/span> – 6.2<\/p>\n
Mountains May Depart (2015, Jia Zhangke) Cannes<\/span>, DP<\/span> – 5.6<\/p>\n
Arabian Nights: Volume 3, The Enchanted One (2015, Miguel Gomes) Cannes<\/span>, DP<\/span> – 6.9<\/p>\n
Peace to Us in Our Dreams (2015, Sharunas Bartas) Cannes<\/span>, DP<\/span> – 4.1<\/p>\n
The Assassin (2015, Hou Hsiao-hsien) Cannes<\/span>, DP<\/span> – 6.4<\/p>\n
Love (2015, Gaspar No\u00e9) Cannes<\/span>, 3D<\/span> – 6.6<\/p>\n
The Treasure (2015, Corneliu Porumboiu) Cannes<\/span>, DP<\/span> – 7.2<\/p>\n
The Other Side (2015, Roberto Minervini) Cannes<\/span>, DP<\/span> – 6.3<\/p>\n
Cosmos (2015, Andrzej Zulawski) Cannes March\u00e9 du Film<\/span>, DP<\/span> – 5.9<\/p>\n
Visit, or Memories and Confessions (1982, Manoel de Oliveira) Cannes<\/span>, 35mm<\/span> – 6.1<\/p>\n
Chronic (2015, Michel Franco) Cannes<\/span>, DP<\/span> – 2.0<\/p>\n
Dheepan (2015, Jacques Audiard) Cannes<\/span>, DP<\/span> – 4.9<\/p>\n
The Grief of Others (2015, Patrick Wang) Cannes<\/span>, DP<\/span> – 5.1<\/p>\n
Paulina (2015, Santiago Mitre) Cannes<\/span>, DP<\/span> – 4.9<\/p>\n
The Fourth Direction (2015, Gurvinder Singh) Cannes<\/span>, DP<\/span> – 6.1<\/p>\n
Macbeth (2015, Justin Kurzel) Cannes<\/span>, DP<\/span> – 5.2<\/p>\n
Pap\u00e9 (2015, Nicolas Polix\u00e8ne)<\/em> Cannes<\/span>, DP<\/span><\/p>\n
Mustang (2015, Deniz Gamze Erg\u00fcven) Cannes<\/span>, DP<\/span> – 5.0<\/p>\n
Embrace of the Serpent (2015, Ciro Guerra) Cannes<\/span>, DP<\/span> – 3.9<\/p>\n
Our Little Sister (2015, Hirokazu Kore-eda) Cannes<\/span>, DP<\/span> – 4.6<\/p>\n
Youth (2015, Paolo Sorrentino) Cannes<\/span>, DP<\/span> – 4.4<\/p>\n
Valley of Love (2015, Guillaume Nicloux) Cannes<\/span>, DP<\/span> – 6.6<\/p>\n
Mad Max: Fury Road (2015, George Miller) DP<\/span> – 6.0<\/p>\n
+A Midsummer\u2019s Fantasia (2014, Jang Kun-jae) DP<\/span> – 7.2 [same]<\/span><\/p>\n
\n
\n<\/br>\n<\/div>\n
June<\/span><\/strong><\/p>\n
She’s Funny That Way (2014, Peter Bogdanovich) – 5.4<\/p>\n
(T)ERROR (2015, Lyric R. Cabral & David Felix Sutcliffe) – 6.3<\/p>\n
Babobilicons (1982, Daina Krumins)<\/em> 35mm<\/span><\/p>\n
Water and Power (1989, Pat O’Neill) 35mm<\/span> – 5.8<\/p>\n
7 Chinese Brothers (2015, Bob Byington) – 4.3<\/p>\n
Field Niggas (2015, Khalik Allah) – 6.2<\/p>\n
+Margaret [Theatrical Cut] (2011, Kenneth Lonergan) – 7.5 [same; Extended Cut: 8.8]<\/span><\/p>\n
Kumiko, the Treasure Hunter (2014, David Zellner) – 5.4<\/p>\n
Island of Lost Souls (1932, Erle C. Kenton) – 4.5<\/p>\n
Nahid (2015, Ida Panahandeh) – 5.0<\/p>\n
natural history (2014, James Benning) – 7.3<\/p>\n
+Singin’ in the Rain (1952, Stanley Donen & Gene Kelly) – 6.1 [down from 6.7]<\/span><\/p>\n
Hole (2014, Martin Edralin)<\/em> DP<\/span><\/p>\n
+What Now? Remind Me (2013, Joaquim Pinto) DP<\/span> – 5.9 [up from 5.2]<\/span><\/p>\n
What’s Out Tonight Is Lost (1983, Phil Solomon)<\/em> 16mm<\/span><\/p>\n
Crossroad (2005, Phil Solomon & Mark LaPore)<\/em> DP<\/span><\/p>\n
The Exquisite Hour (1994, Phil Solomon)<\/em> 16mm<\/span><\/p>\n
The Secret Garden (1988, Phil Solomon)<\/em> 16mm<\/span><\/p>\n
Seasons… (2002, Phil Solomon & Stan Brakhage)<\/em> 16mm<\/span><\/p>\n
The Snowman (1995, Phil Solomon)<\/em> 16mm<\/span><\/p>\n
Heaven Can Wait (1943, Ernst Lubitsch) 35mm<\/span> – 5.7<\/p>\n
Love Battles (2013, Jacques Doillon) – 5.5<\/p>\n
When Marnie Was There (2014, Hiromasa Yonebayashi) – 5.8<\/p>\n
F\u00e9lix & Meira (2014, Maxime Giroux) – 6.3<\/p>\n
\n
\n<\/br>\n<\/div>\n
July<\/span><\/strong><\/p>\n
A Poem Is a Naked Person (1974, Les Blank) – 5.2<\/p>\n
Stinking Heaven (2015, Nathan Silver) – 5.7<\/p>\n
In the Basement (2014, Ulrich Seidl) – 4.4<\/p>\n
+Sherlock Jr. (1924, Buster Keaton) 16mm<\/span> – 8.4 [up from 8.1]<\/span><\/p>\n
Le Million (1931, Ren\u00e9 Clair) 16mm<\/span> – 6.9<\/p>\n
The Royal Road (2015, Jenni Olson) – 5.6<\/p>\n
A Walk (2008, Ute Aurand)<\/em> 16mm<\/span><\/p>\n
In the Park (2008, Ute Aurand)<\/em> 16mm<\/span><\/p>\n
ZUOZ (2008, Ute Aurand)<\/em> 16mm<\/span><\/p>\n
Hanging Upside Down in the Branches (2009, Ute Aurand)<\/em> 16mm<\/span><\/p>\n
+To Be Here (2013, Ute Aurand)<\/em> 16mm<\/span><\/p>\n
At Home (1998, Ute Aurand)<\/em> 16mm<\/span><\/p>\n
Toponymy (2015, Jonathan Perel) – 5.0<\/p>\n
The Children Are Watching Us (1944, Vittorio De Sica) 35mm<\/span> – 4.9<\/p>\n
+Prelude (2000, Michael Snow)<\/em> 35mm<\/span><\/p>\n
+Presents (1981, Michael Snow) 16mm<\/span> – 8.0 [up from 7.4]<\/span><\/p>\n
+Landform 1 (2015, Stephen Broomer)<\/em> 16mm<\/span><\/p>\n
Toccata for Toy Trains (1957, Charles & Ray Eames)<\/em> 16mm<\/span><\/p>\n
Island of Death (1976, Nico Mastorakis) – 4.2<\/p>\n
The Tales of Hoffmann (1951, Michael Powell & Emeric Pressburger) DP<\/span> – 4.7<\/p>\n
88:88 (2015, Isiah Medina) – Inc. [Rough cut]<\/span><\/p>\n
My Name Is Hmmm… (2013, Agn\u00e8s Troubl\u00e9) – 3.3<\/p>\n
+O Canada (1951, Evelyn Lambart)<\/em> 3D<\/span><\/p>\n
Twirligig (1952, Gretta Ekman)<\/em> 3D<\/span><\/p>\n
+Around is Around (1951, Norman McLaren)<\/em> 3D<\/span><\/p>\n
Now Is the Time (1951, Norman McLaren)<\/em> 3D<\/span><\/p>\n
Begone Dull Care (1947, Norman McLaren & Evelyn Lambart)<\/em> DP<\/span><\/p>\n
Fiddle-De-Dee (1947, Norman McLaren)<\/em> DP<\/span><\/p>\n
Dots (1940, Norman McLaren)<\/em> DP<\/span><\/p>\n
Blinkity Blank (1955, Norman McLaren)<\/em> DP<\/span><\/p>\n
Norman McLaren: Animated Musician (2014, Donald McWilliams)<\/em> DP<\/span><\/p>\n
Pas de deux (1968, Norman McLaren)<\/em> DP<\/span><\/p>\n
Magnificent Obsession (1954, Douglas Sirk) DP<\/span> – 6.4<\/p>\n
Santa Teresa & Other Stories (2015, Nelson De Los Santos Arias) – 4.7<\/p>\n
How Heavy This Hammer (2015, Kazik Radwanski) – Inc. [Rough cut]<\/span><\/p>\n
+Red Desert (1964, Michelangelo Antonioni) 35mm<\/span> – 6.2 [down from ~7.7]<\/span><\/p>\n
Queen of Earth (2015, Alex Ross Perry) – 3.9<\/p>\n
Veils (2013, Madison Brookshire)<\/em> 16mm<\/span><\/p>\n
Color Series (2010, Madison Brookshire) 16mm<\/span> – 4.5<\/p>\n
Lost and Beautiful (2015, Pietro Marcello) – 5.2<\/p>\n
August Winds (2014, Gabriel Mascaro) – 5.7<\/p>\n
+88:88 (2015, Isiah Medina) – 6.9 [up from ~6.0]<\/span><\/p>\n
+Championship (2013, Stephen Broomer)<\/em> 16mm<\/span><\/p>\n
+Sentimental Education (2013, J\u00falio Bressane) DP<\/span> – 6.7 [same]<\/span><\/p>\n
Seduced and Abandoned (1964, Pietro Germi) 35mm<\/span> – 5.4<\/p>\n
Crossing the Line (2007, Pietro Marcello) – 4.2<\/p>\n
Amy (2015, Asif Kapadia) DP<\/span> – 4.5<\/p>\n
\n
\n<\/br>\n<\/div>\n
August<\/span><\/strong><\/p>\n
The Silence of Pele\u0161jan (2011, Pietro Marcello) – 5.7<\/p>\n
+The Mouth of the Wolf (2009, Pietro Marcello) – 5.8 [down from 6.1]<\/span><\/p>\n
+Lost and Beautiful (2015, Pietro Marcello) – 6.5 [up from 5.2]<\/span><\/p>\n
The Movement (2015, Benjamin Naishtat) – 5.9<\/p>\n
+So Is This (1983, Michael Snow) 16mm<\/span> – 7.5 [same]<\/span><\/p>\n
+SSHTOORRTY (2000, Michael Snow)<\/em> 35mm<\/span><\/p>\n
+Lucy (2014, Luc Besson) – 6.8 [same]<\/span><\/p>\n
No Home Movie (2015, Chantal Akerman) – 5.3<\/p>\n
Mission: Impossible \u2014 Rogue Nation (2015, Christopher McQuarrie) DP<\/span> – 4.1<\/p>\n
Right Now, Wrong Then (2015, Hong Sang-soo) – 6.6<\/p>\n
Invention (2015, Mark Lewis) – 5.9<\/p>\n
+88:88 (2015, Isiah Medina) – 6.0 [down from 6.9]<\/span><\/p>\n
Brooklyn (2015, John Crowley) DP<\/span> – 3.8<\/p>\n
+Cemetery of Splendour (2015, Apichatpong Weerasethakul) DP<\/span> – 7.6 [same]<\/span><\/p>\n
Magic Mike XXL (2015, Gregory Jacobs) – 7.1<\/p>\n
45 Years (2015, Andrew Haigh) DP<\/span> – 5.6<\/p>\n
\n
\n<\/br>\n<\/div>\n
September<\/span><\/strong><\/p>\n
BAM<\/em> (2015, Howie Shia) DP<\/span><\/p>\n
Bird Heart<\/em> (2015, Halfdan Olav Ullmann T\u00f8ndel) DP<\/span><\/p>\n
A Few Seconds<\/em> (2015, Nora El Hourch) DP<\/span><\/p>\n
The Magnetic The Magnetic Nature<\/em> (2015, Mateo Bendesky) DP<\/span><\/p>\n
4 Quarters<\/em> (2015, Ashley McKenzie) DP<\/span><\/p>\n
Rate Me<\/em> (2015, Fyzal Boulifa) DP<\/span><\/p>\n
The Man Who Shot Hollywood<\/em> (2015, Barry Avrich) DP<\/span><\/p>\n
Court (2014, Chaitanya Tamhane) DP<\/span> – 6.3<\/p>\n
Heart of a Dog (2015, Laurie Anderson) DP<\/span> – 4.5<\/p>\n
Chevalier (Athina Rachel Tsangari) DP<\/span> – 5.5<\/p>\n
Under Capricorn (1949, Alfred Hitchcock) 35mm<\/span> – 4.3<\/p>\n
+Court (2014, Chaitanya Tamhane) DP<\/span> – 6.3 [same]<\/span><\/p>\n
+How Heavy This Hammer (2015, Kazik Radwanski) – 5.6 [~same]<\/span><\/p>\n
Tharlo (2015, Pema Tseden) – 5.9<\/p>\n
Hitchcock\/Truffaut (2015, Kent Jones) TIFF<\/span>, DP<\/span> – 4.6<\/p>\n
+One Floor Below (2015, Radu Muntean) TIFF<\/span>, DP<\/span> – 6.5 [same]<\/span><\/p>\n
In Jackson Heights (2015, Frederick Wiseman) TIFF<\/span>, DP<\/span> – 6.3<\/p>\n
The Pearl Button (2015, Patricio Guzm\u00e1n) TIFF<\/span>, DP<\/span> – 5.7<\/p>\n
The Chickening<\/em> (2015, Davy Force & Nick DenBoer) TIFF<\/span>, DP<\/span><\/p>\n
Green Room (2015, Jeremy Saulnier) TIFF<\/span>, DP<\/span> – 5.4<\/p>\n
The Martian (2015, Ridley Scott) TIFF<\/span>, 3D<\/span> – 4.9<\/p>\n
Office (2015, Johnnie To) TIFF<\/span>, 3D<\/span> – 6.9<\/p>\n
+3D Movie<\/em> (1975, Paul Sharits) TIFF<\/span>, 3D-16mm<\/span><\/p>\n
Fugue<\/em> (2015, Kerstin Schr\u00f6dinger) TIFF<\/span>, 16mm<\/span><\/p>\n
Prima Materia<\/em> (2015, Charlotte Pryce) TIFF<\/span>, 16mm<\/span><\/p>\n
The Fire in My Brain That Separates Us<\/em> (2015, Benjamin Ram\u00edrez P\u00e9rez) TIFF<\/span>, DP<\/span><\/p>\n
+Something Horizontal<\/em> (2015, Blake Williams) TIFF<\/span>, 3D<\/span><\/p>\n
The Exquisite Corpus<\/em> (2015, Peter Tscherkassky) TIFF<\/span>, 35mm<\/span><\/p>\n
11 Minutes (2015, Jerzy Skolimowski) TIFF<\/span>, DP<\/span> – 3.5<\/p>\n
Evolution (2015, Lucile Had\u017eihalilovic) TIFF<\/span>, DP<\/span> – 4.8<\/p>\n
Bang Gang (A Modern Love Story) (2015, Eva Husson) TIFF<\/span>, DP<\/span> – 4.6<\/p>\n
A Distant Episode<\/em> (2015, Ben Rivers) TIFF<\/span>, 16mm<\/span><\/p>\n
An Old Dog\u2019s Diary<\/em> (2015, Shai Heredia & Shumona Goel) TIFF<\/span>, DP<\/span><\/p>\n
The Reminder<\/em> (2015, Behrouz Rae) TIFF<\/span>, DP<\/span><\/p>\n
Solo for Rich Man<\/em> (2015, Beatrice Gibson) TIFF<\/span>, DP<\/span><\/p>\n
YOLO<\/em> (2015, Ben Russell) TIFF<\/span>, DP<\/span><\/p>\n
Analysis of Emotions and Vexations<\/em> (2015, Wojciech B\u0105kowski) TIFF<\/span>, DP<\/span><\/p>\n
+Bunte Kuh<\/em> (2015, Ryan Ferko, Parastoo Anoushahpour, & Faraz Anoushahpour) TIFF<\/span>, DP<\/span><\/p>\n
Anomalisa (2015, Charlie Kaufman) TIFF<\/span>, DP<\/span> – 7.2<\/p>\n
Sunset Song (2015, Terence Davies) TIFF<\/span>, DP<\/span> – 5.3<\/p>\n
Maggie\u2019s Plan (2015, Rebecca Miller) TIFF<\/span>, DP<\/span> – 5.4<\/p>\n
From Afar (2015, Lorenzo Vigas) TIFF<\/span>, DP<\/span> – 4.5<\/p>\n
Navigator<\/em> (2015, Bj\u00f6rn K\u00e4mmerer) TIFF<\/span>, 35mm<\/span><\/p>\n
Th\u00e9odolitique<\/em> (2015, David K. Ross) TIFF<\/span>, DP<\/span><\/p>\n
Office Space Modulation<\/em> (2015, Terrarea [aka Janis Demkiw, Emily Hogg, & Olia Mishchenko]) TIFF<\/span>, DP<\/span><\/p>\n
Palms<\/em> (2015, Mary Helena Clark) TIFF<\/span>, DP<\/span><\/p>\n
Occidente<\/em> (2014, Ana Vaz) TIFF<\/span>, DP<\/span><\/p>\n
Terrestrial<\/em> (2015, Calum Walter) TIFF<\/span>, DP<\/span><\/p>\n
Tarlaba\u015f\u0131<\/em> (2015, Cynthia Madansky) TIFF<\/span>, DP<\/span><\/p>\n
Faux D\u00e9part (False Start)<\/em> (2015, Yto Barrada) TIFF<\/span>, DP<\/span><\/p>\n
Sector IX B (2015, Mathieu Kleyebe Abonnenc) TIFF<\/span>, DP<\/span> – 5.7<\/p>\n
High-Rise (2015, Ben Wheatley) TIFF<\/span>, DP<\/span> – 5.9<\/p>\n
Bleak Street (2015, Arturo Ripstein) TIFF<\/span>, DP<\/span> – 6.2<\/p>\n
Incident Light (2015, Ariel Rotter) TIFF<\/span>, DP<\/span> – 4.1<\/p>\n
+Actua 1<\/em> (1968, Philippe Garrel) TIFF<\/span>, 35mm<\/span><\/p>\n
Time for Outrage!<\/em> (2015, Friedl vom Gr\u00f6ller) TIFF<\/span>, 16mm<\/span><\/p>\n
Untitled<\/em> (2015, Behrouz Rae) TIFF<\/span>, DP<\/span><\/p>\n
Many Thousands Gone<\/em> (2015, Ephraim Asili) TIFF<\/span>, DP<\/span><\/p>\n
Neither God nor Santa Maria<\/em> (2015, Samuel M. Delgado & Helena Gir\u00f3n) TIFF<\/span>, DP<\/span><\/p>\n
Psychic Driving<\/em> (2015, William E. Jones) TIFF<\/span>, DP<\/span><\/p>\n
UNcirCling<\/em> (2015, John Creson & Adam Rosen) TIFF<\/span>, DP<\/span><\/p>\n
Engram of Returning<\/em> (2015, Da\u00efchi Sa\u00efto) TIFF<\/span>, 35mm<\/span><\/p>\n
The Apostate (2015, Federico Veiroj) TIFF<\/span>, DP<\/span> – 6.0<\/p>\n
+Office (2015, Johnnie To) TIFF<\/span>, 3D<\/span> – 6.7 [down from 6.9]<\/span><\/p>\n
Bring Me the Head of Tim Horton<\/em> (2015, Guy Maddin, Evan Johnson, & Galen Johnson) TIFF<\/span>, DP<\/span><\/p>\n
Blood of My Blood (2015, Marco Bellocchio) TIFF<\/span>, DP<\/span> – 7.5<\/p>\n
Demolition (2015, Jean-Marc Vall\u00e9e) TIFF<\/span>, DP<\/span> – 6.3<\/p>\n
Hong Kong Trilogy: Preschooled Preoccupied Preposterous (2015, Christopher Doyle) TIFF<\/span>, DP<\/span> – 5.1<\/p>\n
The Event (2015, Sergei Loznitsa) TIFF<\/span>, DP<\/span> – 5.5<\/p>\n
Francofonia (2015, Alexander Sokurov) TIFF<\/span>, DP<\/span> – 4.6<\/p>\n
The War of the Worlds (1953, Byron Haskin) – 2.9<\/p>\n
Afternoon (2015, Tsai Ming-liang) TIFF<\/span>, DP<\/span> – 6.2<\/p>\n
Campo Grande (2015, Sandra Kogut) TIFF<\/span>, DP<\/span> – 5.5<\/p>\n
The Sky Trembles and the Earth is Afraid and the Two Eyes Are Not Brothers (2015, Ben Rivers) TIFF<\/span>, 35mm<\/span> – 6.1<\/p>\n
The Club (2015, Pablo Larra\u00edn) TIFF<\/span>, DP<\/span> – 4.5<\/p>\n
Story of Judas (2015, Rabah Ameur-Za\u00efmeche) TIFF<\/span>, DP<\/span> – 5.9<\/p>\n
Our Brand is Crisis (2015, David Gordon Green) TIFF<\/span>, DP<\/span> – 4.0<\/p>\n
Yakuza Apocalypse (2015, Takashi Miike) TIFF<\/span>, DP<\/span> – 5.6<\/p>\n
+The Treasure (2015, Corneliu Porumboiu) TIFF<\/span>, DP<\/span> – 7.2 [same]<\/span><\/p>\n
The Wait (2015, Piero Messina) TIFF<\/span>, DP<\/span> – 5.2<\/p>\n
Les Cowboys (2015, Thomas Bidegain) TIFF<\/span>, DP<\/span> – 5.3<\/p>\n
Where to Invade Next (2015, Michael Moore) TIFF<\/span>, DP<\/span> – 4.9<\/p>\n
Neon Bull (2015, Gabriel Mascaro) TIFF<\/span>, DP<\/span> – 6.4<\/p>\n
Forbidden Planet (1956, Fred M. Wilcox) – 5.5<\/p>\n
Standard Time<\/em> (1967, Michael Snow) 16mm<\/span><\/p>\n
Seated Figures (1990, Michael Snow) 16mm<\/span> – 5.1<\/p>\n
+Puccini Conservato<\/em> (2008, Michael Snow) DP<\/span><\/p>\n
+Blood of My Blood (2015, Marco Bellocchio) – 7.5 [same]<\/span><\/p>\n
Summer<\/em> (2013, Nathaniel Dorsky) NYFF<\/span><\/strong>, 16mm<\/span><\/p>\n
February<\/em> (2014, Nathaniel Dorsky) NYFF<\/span><\/strong>, 16mm<\/span><\/p>\n
Avraham<\/em> (2014, Nathaniel Dorsky) NYFF<\/span><\/strong>, 16mm<\/span><\/p>\n
December<\/em> (2014, Nathaniel Dorsky) NYFF<\/span><\/strong>, 16mm<\/span><\/p>\n
Love\u2019s Refrain<\/em> (2001, Nathaniel Dorsky) NYFF<\/span><\/strong>, 16mm<\/span><\/p>\n
Intimations<\/em> (2015, Nathaniel Dorsky) NYFF<\/span><\/strong>, 16mm<\/span><\/p>\n
Prelude<\/em> (2015, Nathaniel Dorsky) NYFF<\/span><\/strong>, 16mm<\/span><\/p>\n
+Ingreen<\/em> (1964, Nathaniel Dorsky) NYFF<\/span><\/strong>, 16mm<\/span><\/p>\n
+A Fall Trip Home<\/em> (1964, Nathaniel Dorsky) NYFF<\/span><\/strong>, 16mm<\/span><\/p>\n
+Summerwind<\/em> (1965, Nathaniel Dorsky) NYFF<\/span><\/strong>, 16mm<\/span><\/p>\n
Kodachrome Dailies from the Time of Song and Solitude (Reel 1) (2006, Nathaniel Dorsky) NYFF<\/span><\/strong>, 16mm<\/span> – 6.0<\/p>\n
+Bring Me the Head of Tim Horton<\/em> (2015, Guy Maddin, Evan Johnson, & Galen Johnson) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
Two Personal Gifts aka Fool\u2019s Spring<\/em> (1967, Jerome Hiler & Nathaniel Dorsky) NYFF<\/span><\/strong>, 16mm<\/span><\/p>\n
Hours for Jerome Part 1 <\/em> (1982, Nathaniel Dorsky) NYFF<\/span><\/strong>, 16mm<\/span><\/p>\n
Hours for Jerome Part 2<\/em> (1982, Nathaniel Dorsky) NYFF<\/span><\/strong>, 16mm<\/span><\/p>\n
+In the Stone House<\/em> (2012, Jerome Hiler) NYFF<\/span><\/strong>, 16mm<\/span><\/p>\n
New Shores<\/em> (2012, Jerome Hiler) NYFF<\/span><\/strong>, 16mm<\/span><\/p>\n
Marginalia<\/em> (2015, Jerome Hiler) NYFF<\/span><\/strong>, 16mm<\/span><\/p>\n
Gladly Given<\/em> (1997, Jerome Hiler) NYFF<\/span><\/strong>, 16mm<\/span><\/p>\n
+Words of Mercury<\/em> (2011, Jerome Hiler) NYFF<\/span><\/strong>, 16mm<\/span><\/p>\n
The Walk (2015, Robert Zemeckis) 3D<\/span> – 5.3<\/p>\n
Pneuma<\/em> (1983, Nathaniel Dorsky) NYFF<\/span><\/strong>, 16mm<\/span><\/p>\n
17 Reasons Why<\/em> (1987, Nathaniel Dorsky) NYFF<\/span><\/strong>, 16mm<\/span><\/p>\n
Alaya<\/em> (1987, Nathaniel Dorsky) NYFF<\/span><\/strong>, 16mm<\/span><\/p>\n
Triste<\/em> (1996, Nathaniel Dorsky) NYFF<\/span><\/strong>, 16mm<\/span><\/p>\n
Variations<\/em> (1998, Nathaniel Dorsky) NYFF<\/span><\/strong>, 16mm<\/span><\/p>\n
Arbor Vitae<\/em> (2000, Nathaniel Dorsky) NYFF<\/span><\/strong>, 16mm<\/span><\/p>\n
+Song and Solitude<\/em> (2006, Nathaniel Dorsky) NYFF<\/span><\/strong>, 16mm<\/span><\/p>\n
Threnody<\/em> (2004, Nathaniel Dorsky) NYFF<\/span><\/strong>, 16mm<\/span><\/p>\n
The Visitation<\/em> (2002, Nathaniel Dorsky) NYFF<\/span><\/strong>, 16mm<\/span><\/p>\n
+Blow Out<\/strong> (1981, Brian De Palma) NYFF<\/span><\/strong>, DP<\/span> – 4.9 [down from 5.9]<\/span><\/p>\n
\n<\/div>\n
\n<\/br>
\nOctober<\/span>\u00a0<\/strong><\/p>\n
+Compline<\/em> (2009, Nathaniel Dorsky) NYFF<\/span><\/strong>, 16mm<\/span><\/p>\n
+Aubade<\/em> (2010, Nathaniel Dorsky) NYFF<\/span><\/strong>, 16mm<\/span><\/p>\n
Winter<\/em> (2007, Nathaniel Dorsky) NYFF<\/span><\/strong>, 16mm<\/span><\/p>\n
+The Return<\/em> (2011, Nathaniel Dorsky) NYFF<\/span><\/strong>, 16mm<\/span><\/p>\n
+Pastourelle<\/em> (2010, Nathaniel Dorsky) NYFF<\/span><\/strong>, 16mm<\/span><\/p>\n
+August and After<\/em> (2012, Nathaniel Dorsky) NYFF<\/span><\/strong>, 16mm<\/span><\/p>\n
+April<\/em> (2012, Nathaniel Dorsky) NYFF<\/span><\/strong>, 16mm<\/span><\/p>\n
+Song<\/em> (2013, Nathaniel Dorsky) NYFF<\/span><\/strong>, 16mm<\/span><\/p>\n
+Spring<\/em> (2013, Nathaniel Dorsky) NYFF<\/span><\/strong>, 16mm<\/span><\/p>\n
+Neither God nor Santa Mar\u00eda\u2028<\/em> (2014, Samuel M. Delgado & Helena Gir\u00f3n) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
+Something Horizontal<\/em> (2015, Blake Williams) NYFF<\/span><\/strong>, 3D<\/span><\/p>\n
+Analysis of Emotions and Vexations<\/em> (2015, \u2028\u2028Wojciech Bakowski) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
+Traces\/Legacy\u2028<\/em> (2015, Scott Stark) NYFF<\/span><\/strong>, 35mm<\/span><\/p>\n
+\u2028Entangled<\/em> (2014, Riccardo Giacconi) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
+Prima Materia<\/em> (\u20282015, Charlotte Pryce) NYFF<\/span><\/strong>, 16mm<\/span><\/p>\n
\u2028Intersection<\/em> (2015, \u2028Vincent Grenier) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
\u2028Port Noir<\/em> (2014, \u2028Laura Kraning) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
\u2028Centre of the Cyclone<\/em> (\u20282015, Heather Trawick) NYFF<\/span><\/strong>, 16mm<\/span><\/p>\n
The Devastated Land\u2028<\/em> (2015, Emmanuel Lefrant) NYFF<\/span><\/strong>, 35mm<\/span><\/p>\n
Cathode Garden\u2028<\/em> (2015, Janie Geiser) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
\u2028Something Between Us\u2028<\/em> (2015, Jodie Mack) NYFF<\/span><\/strong>, 16mm<\/span><\/p>\n
\u2028brouillard \u2013 passage 15\u2028<\/em> (2014, Alexandre Larose) NYFF<\/span><\/strong>, 35mm<\/span><\/p>\n
+\u2028A Distant Episode<\/em> (\u20282015, Ben Rivers) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
\u2028In Girum Imus Nocte<\/em> (2015, \u2028Giorgio Andreotta Cal\u00f2) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
\u2028\u2028Half Human, Half Vapor<\/em> (\u20282015, Mike Stoltz) NYFF<\/span><\/strong>, 16mm<\/span><\/p>\n
+\u2028\u2028Occidente<\/em> (2014, Ana Vaz) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
+\u2028\u2028YOLO\u2028<\/em> (2015, Ben Russell) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
\u2028\u2028Ah humanity!<\/em> (\u20282015, Ernst Karel, Verena Paravel, & Lucien Castaing-Taylor) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
+Neither God nor Santa Mar\u00eda\u2028<\/em> (2014, Samuel M. Delgado & Helena Gir\u00f3n) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
+Something Horizontal<\/em> (2015, Blake Williams) NYFF<\/span><\/strong>, 3D<\/span><\/p>\n
+Analysis of Emotions and Vexations<\/em> (2015, \u2028\u2028Wojciech Bakowski) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
+Traces\/Legacy\u2028<\/em> (2015, Scott Stark) NYFF<\/span><\/strong>, 35mm<\/span><\/p>\n
+\u2028Entangled<\/em> (2014, Riccardo Giacconi) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
\u2028\u2028Night Without Distance\u2028<\/em> (2015, Lois Pati\u00f1o) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
\u2028\u2028Hard as Opal\u2028<\/em> (2015, Jared Buckhiester & Dani Leventhal) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
\u2028\u2028Confessions\u2028<\/em> (1971, Curt McDowell) NYFF<\/span><\/strong>, 16mm<\/span><\/p>\n
\u2028\u2028\u2028Non-Stop Beautiful Ladies\u2028<\/em> (2015, Alee Peoples) NYFF<\/span><\/strong>, 16mm<\/span><\/p>\n
\u2028\u2028\u2028Mars Garden\u2028<\/em> (2014, Lewis Klahr) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
+\u2028\u2028\u2028The Exquisite Corpus\u2028<\/em> (2015, Peter Tscherkassky) NYFF<\/span><\/strong>, 35mm<\/span><\/p>\n
\u2028\u2028\u2028Lost Note\u2028<\/em> (2015, Saul Levine) NYFF<\/span><\/strong>, 16mm<\/span><\/p>\n
Soft Fiction (1979, \u2028Chick Strand) NYFF<\/span><\/strong>, 16mm<\/span> – 6.6<\/p>\n
\u2028\u2028\u2028\u2028Live to Live\u2028<\/em> (2015, \u2028Laida Lertxundi) NYFF<\/span><\/strong>, 16mm<\/span><\/p>\n
Minotaur (\u20282015, Nicolas Pereda) NYFF<\/span><\/strong>, DP<\/span> – 5.7<\/p>\n
Hello\u2028<\/em> (2015, Simon Fujiwara) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
+\u2028F for Fibonacci\u2028<\/em> (2014, Beatrice Gibson) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
\u2028Black Code<\/em> (2015, \u2028Louis Henderson) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
Lessons of War\u2028<\/em> (2014, Peggy Ahwesh) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
Scales in the Spectrum of Space\u2028<\/em> (2015, Fern Silva) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
Microbe and Gasoline (2015, Michel Gondry) NYFF<\/span><\/strong>, DP<\/span> – 5.6<\/p>\n
\u2028OM Rider\u2028<\/em> (2014, Takeshi Murata) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
Rabbit Season, Duck Season\u2028<\/em> (2014, Michael Bell-Smith) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
All My Love All My Love\u2028<\/em> (2015, Hannah Black) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
Velvet Peel 1\u2028<\/em> (2015, Victoria Fu) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
Don\u2019t Blink: Robert Frank (2015, Laura Israel) NYFF<\/span><\/strong>, DP<\/span> – 4.4<\/p>\n
+Bunte Kuh<\/em> (2015, Ryan Ferko, Faraz Anoushahpour & Parastoo Anoushahpour) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
The Everyday Ritual of Solitude Hatching Monkeys<\/em> (2015, Basim Magdy) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
Radio at Night<\/em> (2015, \u2028James Richards) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
All That Is Solid<\/em> (\u20282014, Louis Henderson) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
Mad Ladders<\/em> (2015, \u2028Michael Robinson) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
\u2028Erysichthon<\/em> (2015, \u2028Jon Rafman) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
Slow Zoom Long Pause<\/em> (\u20282015, Sara Magenheimer) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
Hyperlinks or It Didn\u2019t Happen\u2028<\/em> (2014, C\u00e9cile B. Evans) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
Neither Heaven Nor Earth (2015, Cl\u00e9ment Cogitore) – 5.2<\/p>\n
+2001: A Space Odyssey (1968, Stanley Kubrick) – 9.6 [same]<\/span><\/p>\n
Junun (2015, Paul Thomas Anderson) – 5.1<\/p>\n
+Queen of Earth (2015, Alex Ross Perry) DP<\/span> – 3.9 [same]<\/span><\/p>\n
+Twelve Monkeys (1995, Terry Gilliam) – 6.5 [down from 6.9]<\/span><\/p>\n
Baby Doll<\/em> (1982, Tessa Hughes-Freeland) 16mm<\/span><\/p>\n
Mutiny<\/em> (1982, Abigail Child) 16mm<\/span><\/p>\n
Noyes<\/em> (1976, Bette Gordon) 16mm<\/span><\/p>\n
Abstraction<\/em> (1971, Rosalind Schneider) 16mm<\/span><\/p>\n
All Women Are Equal<\/em> (1972, Marguerite Paris) 16mm<\/span><\/p>\n
The Scary Movie<\/em> (1996, Peggy Ahwesh) 16mm<\/span><\/p>\n
What Is a Man?<\/em> (1958, Sara-Kathryn Arledge) 16mm<\/span><\/p>\n
Bridge of Spies (2015, Steven Spielberg) DP<\/span> – 6.1<\/p>\n
+Mulholland Dr. (2001, David Lynch) 35mm<\/span> – 8.9 [up from 8.4]<\/span><\/p>\n
+The Day the Earth Stood Still (1951, Robert Wise) – 6.1 [up from ~5.0]<\/span><\/p>\n
Love Exists<\/em> (1960, Maurice Pialat) 35mm<\/span><\/p>\n
+Naked Childhood (1968, Maurice Pialat) 35mm<\/span> – 7.3 [~same]<\/span><\/p>\n
Doomsdays (2013, Eddie Mullins) – 5.2<\/p>\n
Loulou (1980, Maurice Pialat) 35mm<\/span> – 5.7<\/p>\n
+Valley of Love (2015, Guillaume Nicloux) DP<\/span> – 6.6 [same]<\/span><\/p>\n
We Won’t Grow Old Together (1972, Maurice Pialat) 35mm<\/span> – 5.8<\/p>\n
Unfriended (2014, Levan Gabriadze) – 5.0<\/p>\n
In Absentia<\/em> (2000, Stephen & Timothy Quay) 35mm<\/span><\/p>\n
Quay<\/em> (2015, Christopher Nolan) 35mm<\/span><\/p>\n
The Comb (From the Museums of Sleep)<\/em> (1999, Stephen & Timothy Quay) 35mm<\/span><\/p>\n
+Street of Crocodiles<\/em> (1986, Stephen Quay) 35mm<\/span><\/p>\n
Mark of the Vampire (1935, Tod Browning) 16mm<\/span> – 5.9<\/p>\n
Edgar Allan Poe<\/em> (1909, D.W. Griffith) 16mm<\/span><\/p>\n
+The Fall of the House of Usher (1928, Jean Epstein) 16mm<\/span> – 6.5 [same]<\/span><\/p>\n
Invasion of the Body Snatchers (1956, Don Siegel) – 6.3<\/p>\n
+\u00c0 nos amours (1983, Maurice Pialat) 35mm<\/span> – 7.6 [same]<\/span><\/p>\n
Chelsea Girls (1966, Andy Warhol & Paul Morrissey) 16mm<\/span> – 7.9<\/p>\n
\n<\/div>\n
\n<\/br>
\nNovember<\/span><\/strong><\/p>\n
The Mouth Agape (1974, Maurice Pialat) DP<\/span> – 6.0<\/p>\n
Shaun the Sheep Movie (2015, Mark Burton & Richard Starzack) – 5.4<\/p>\n
Kid (2015, J\u00falio Bressane) – 6.0<\/p>\n
Here’s to the Future! (2014, Gina Telaroli) DP<\/span> – 5.2<\/p>\n
+Hit 2 Pass (2014, Kurt Walker) DP<\/span> – 5.6 [same]<\/span><\/p>\n
+Close Encounters of the Third Kind (1977, Steven Spielberg) – 7.1 [up from 5.7]<\/span><\/p>\n
Harlot (1965, Andy Warhol) 16mm<\/span> – 5.6<\/p>\n
Fists in the Pocket (1965, Marco Bellocchio) – 5.9<\/p>\n
The Witches’ Sabbath (1988, Marco Bellocchio) – 5.8<\/p>\n
Vincere (2009, Marco Bellocchio) – 4.7<\/p>\n
+Alphaville (1965, Jean-Luc Godard) – 6.7 [same]<\/span><\/p>\n
My Mother’s Smile (2002, Marco Bellocchio) – 5.9<\/p>\n
Police (1985, Maurice Pialat) 35mm<\/span> – 5.3<\/p>\n
Good Morning, Night (2003, Marco Bellocchio) – 6.0<\/p>\n
+Dormant Beauty (2012, Marco Bellocchio) – 5.6 [up from 4.8]<\/span><\/p>\n
+Blood of My Blood (2015, Marco Bellocchio) – 7.5 [same]<\/span><\/p>\n
The Wedding Director (2006, Marco Bellocchio) – 5.0<\/p>\n
+Metropolis [2010 restored version] (1927, Fritz Lang) – 6.9 [down from 7.8]<\/span><\/p>\n
Le Gar\u00e7u (1995, Maurice Pialat) 35mm<\/span> – 6.7<\/p>\n
+Where is the Friend’s Home? (1987, Abbas Kiarostami) DP<\/span> – 9.0 [same]<\/span><\/p>\n
Short Shave<\/em> (1965, Michael Snow) 16mm<\/span><\/p>\n
TO LAVOISIER, Who Died in The Reign of Terror (1991, Michael Snow) 16mm<\/span> – 6.9<\/p>\n
Aloha (2015, Cameron Crowe) – 5.9<\/p>\n
The Plague Dogs (1982, Martin Rosen) – 4.1<\/p>\n
+Mad Max: Fury Road (2015, George Miller) – 6.0 [same]<\/span><\/p>\n
Creed (2015, Ryan Coogler) DP<\/span> – 5.7<\/p>\n
\n
\n<\/br>\n<\/div>\n
December<\/span><\/strong><\/p>\n
+Semi-auto colours<\/em> (2010, Isiah Medina) DP<\/span><\/p>\n
(\u2203u) [u \u2264 f and u \u2264 m]<\/em> (2013, Isiah Medina) DP<\/span><\/p>\n
For May and December<\/em> (2015, Isiah Medina) DP<\/span><\/p>\n
+Field Niggas (2015, Khalik Allah) DP<\/span> – 6.2 [same]<\/span><\/p>\n
Oblivion (2013, Joseph Kosinski) – 3.1<\/p>\n
John’s T-Shirts<\/em> (2014, John Porter) 8mm<\/span><\/p>\n
Amusement Park<\/em> (1978, John Porter) 8mm<\/span><\/p>\n
Firefly<\/em> (1980, John Porter) 8mm<\/span><\/p>\n
Funnel Benefit<\/em> (1982, John Porter) 8mm<\/span><\/p>\n
Urban Underground<\/em> (1985, John Porter) 8mm<\/span><\/p>\n
More Milk, Yvette (1966, Andy Warhol) 16mm<\/span> – 2.3<\/p>\n
+Carol (2015, Todd Haynes) DP<\/span> – 5.2 [same]<\/span><\/p>\n
Spotlight (2015, Tom McCarthy) – 4.9<\/p>\n
A to Z<\/em> (1956, Michael Snow) 16mm<\/span><\/p>\n
+*Corpus Callosum (2002, Michael Snow) 16mm<\/span> – 7.9 [~same]<\/span><\/p>\n
Room (2015, Lenny Abrahamson) – 4.7<\/p>\n
Of Men and War (2014, Laurent B\u00e9cue-Renard) – 5.0<\/p>\n
Ex Machina (2015, Alex Garland) – 5.3<\/p>\n
Star Wars: Episode VII – The Force Awakens (2015, J.J. Abrams) 3D<\/span> – 5.6<\/p>\n
The Diary of a Teenage Girl (2015, Marielle Heller) – 6.1<\/p>\n
+Christmas, Again (2014, Charles Poekel) DP<\/span> – 5.8 [up from 5.5]<\/span><\/p>\n
The Hateful Eight (2015, Quentin Tarantino) 70mm<\/span> – 7.4<\/p>\n
Steve Jobs (2015, Danny Boyle) – 4.2<\/p>\n
Chi-Raq (2015, Spike Lee) – 5.1<\/p>\n
The Intestine (2016, Lev Lewis) – Inc. [rough cut]<\/span><\/p>\n
Gabriel (2014, Lou Howe) – 6.4<\/p>\n
+All That Heaven Allows (1955, Douglas Sirk) – 7.3 [same]<\/span><\/p>\n
+The Hateful Eight (2015, Quentin Tarantino) 70mm<\/span> – 7.4 [same]<\/p>\n
Joy (2015, David O. Russell) – 6.0<\/p>\n
Jellyfish Eyes (2013, Takashi Murakami) – 2.7<\/p>\n
Knight of Cups (2015, Terrence Malick) – 7.7<\/p>\n","protected":false},"excerpt":{"rendered":"
Past Logs 2014 Film Log 2013 Film Log 2012 Film Log 2011 Film Log 2010 Film Log 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. – 3D denotes that I saw a […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","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":""},"categories":[1],"tags":[],"class_list":["post-12882","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/posts\/12882","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/types\/post"}],"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=12882"}],"version-history":[{"count":4,"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/posts\/12882\/revisions"}],"predecessor-version":[{"id":14492,"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/posts\/12882\/revisions\/14492"}],"wp:attachment":[{"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/media?parent=12882"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/categories?post=12882"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/tags?post=12882"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}