{"id":14629,"date":"2016-01-01T12:39:55","date_gmt":"2016-01-01T17:39:55","guid":{"rendered":"http:\/\/blakewilliams.net\/blog\/?p=14629"},"modified":"2017-01-01T12:49:19","modified_gmt":"2017-01-01T17:49:19","slug":"2016-film-log","status":"publish","type":"post","link":"http:\/\/blakewilliams.net\/blog\/2016\/01\/2016-film-log\/","title":{"rendered":"2016 Film Log"},"content":{"rendered":"

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

2015 Film Log<\/span><\/a>
\n2014 Film Log<\/span><\/a>
\n2013 Film Log<\/span><\/a>
\n2012 Film Log<\/span><\/a>
\n2011 Film Log<\/span><\/a>
\n2010 Film Log<\/span><\/a>
\n2009 Film Log<\/span><\/a>
\n2007 Film Log<\/a>
\n<\/span><\/p>\n

<\/div>\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, Prismatic, et al). 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 indicates that I had seen this film before.<\/p>\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 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.
\n– I do<\/em> log 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). Why these conditions? The main reason I never logged shorts before 2015 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. This (admittedly still arbitrary) fix allows me to narrow it down to only short films proper (whatever that means, etc.), which will almost exclusively consist of avant-garde works. These films will appear below in italics<\/em>.<\/p>\n

<\/div>\n

\"\"<\/p>\n

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
The Shop Around the Corner (1940, Ernst Lubitsch) – 7.3<\/p>\n
Eastern Boys (2013, Robin Campillo) – 5.5<\/p>\n
+Knight of Cups (2015, Terrence Malick) – 8.1 [up from 7.7]<\/span><\/p>\n
Love & Mercy (2014, Bill Pohlad) – 4.8<\/p>\n
The End of the Tour (2015, James Ponsoldt) – 4.9<\/p>\n
Closet Monster (2015, Stephen Dunn) DP<\/span> – 4.1<\/p>\n
Henry Gamble’s Birthday Party (2015, Stephen Cone) – 6.7<\/p>\n
The Wise Kids (2011, Stephen Cone) – 7.2<\/p>\n
Black Box (2013, Stephen Cone) – 5.0<\/p>\n
Our Loved Ones (2015, Anne \u00c9mond) DP<\/span> – 4.8<\/p>\n
The Big Short (2015, Adam McKay) – 4.3<\/p>\n
The Revenant (2015, Alejandro G. I\u00f1\u00e1rritu) – 4.9<\/p>\n
Miami Blues (1990, George Armitage) 35mm<\/span> – 6.3<\/p>\n
Sixty Six (2015, Lewis Klahr) DP<\/span> – 7.3<\/p>\n
Morris from America (2016, Chad Hartigan) Sundance<\/span>, DP<\/span> – 5.6<\/p>\n
Hunt for the Wilderpeople (2016, Taika Waititi) Sundance<\/span>, DP<\/span> – 3.8<\/p>\n
Glove (2016, Alexa Lim Haas & Bernardo Britto)<\/em> Sundance<\/span>, DP<\/span><\/p>\n
Operation Avalanche (2016, Matt Johnson) Sundance<\/span>, DP<\/span> – 5.8<\/p>\n
Tallulah (2016, Si\u00e2n Heder) Sundance<\/span>, DP<\/span> – 5.2<\/p>\n
Manchester by the Sea (2016, Kenneth Lonergan) Sundance<\/span>, DP<\/span> – 7.0<\/p>\n
Love & Friendship (2016, Whit Stillman) Sundance<\/span>, DP<\/span> – 5.7<\/p>\n
The Eyes of My Mother (2016, Nicolas Pesce) Sundance<\/span>, DP<\/span> – 6.2<\/p>\n
Christine (2016, Antonio Campos) Sundance<\/span>, DP<\/span> – 6.0<\/p>\n
Certain Women (2016, Kelly Reichardt) Sundance<\/span>, DP<\/span> – 7.4<\/p>\n
The Land of the Enlightened (2016, Pieter-Jan De Pue) Sundance<\/span>, DP<\/span> – 5.3<\/p>\n
31 (2016, Rob Zombie) Sundance<\/span>, DP<\/span> – 4.2<\/p>\n
Dark Night (2016, Tim Sutton) Sundance<\/span>, DP<\/span> – 4.0<\/p>\n
The Fits (2015, Anna Rose Holmer) Sundance<\/span>, DP<\/span> – 5.7<\/p>\n
Wiener-Dog (2016, Todd Solondz) Sundance<\/span>, DP<\/span> – 6.3<\/p>\n
Indignation (2016, James Schamus) Sundance<\/span>, DP<\/span> – 5.5<\/p>\n
Complete Unknown (2016, Joshua Marston) Sundance<\/span>, DP<\/span> – 4.9<\/p>\n
Little Men (2016, Ira Sachs) Sundance<\/span>, DP<\/span> – 6.6<\/p>\n
Kate Plays Christine (2016, Robert Greene) – 6.5<\/p>\n
The Illinois Parables (2016, Deborah Stratman) – 3.8<\/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
\n
\n<\/br>\n<\/div>\n
February<\/span><\/strong><\/p>\n
+A New Leaf (1971, Elaine May) – 6.8 [same]<\/span><\/p>\n
Hail, Caesar! (2016, Joel & Ethan Coen) Berlinale<\/span>, DP<\/span> – 5.1<\/p>\n
Lily Lane (2016, Bence Fliegauf) Berlinale<\/span>, DP<\/span> – 4.3<\/p>\n
Tempestad (2016, Tatiana Huezo) Berlinale<\/span>, DP<\/span> – 5.2<\/p>\n
Homo sapiens (2016, Nikolaus Geyrhalter) Berlinale<\/span>, DP<\/span> – 6.8<\/p>\n
Short Stay (2016, Ted Fendt) Berlinale<\/span>, DP<\/span> – 6.1<\/p>\n
Midnight Special (2016, Jeff Nichols) Berlinale<\/span>, DP<\/span> – 4.9<\/p>\n
Boris Without B\u00e9atrice (2016, Denis C\u00f4t\u00e9) Berlinale<\/span>, DP<\/span> – 5.3<\/p>\n
Creepy (2016, Kiyoshi Kurosawa) Berlinale<\/span>, DP<\/span> – 6.6<\/p>\n
Fire at Sea (2016, Gianfranco Rosi) Berlinale<\/span>, DP<\/span> – 5.8<\/p>\n
Things to Come (2016, Mia Hansen-L\u00f8ve) Berlinale<\/span>, DP<\/span> – 6.0<\/p>\n
Eldorado XXI (2016, Salom\u00e9 Lamas) Berlinale<\/span>, DP<\/span> – 4.7<\/p>\n
A Quiet Passion (2016, Terence Davies) Berlinale<\/span>, DP<\/span> – 6.9<\/p>\n
The Son of Joseph (2016, Eug\u00e8ne Green) Berlinale<\/span>, DP<\/span> – 5.3<\/p>\n
Letters from War (2016, Ivo M. Ferreira) Berlinale<\/span>, DP<\/span> – 4.1<\/p>\n
Being 17 (2016, Andr\u00e9 T\u00e9chin\u00e9) Berlinale<\/span>, DP<\/span> – 6.2<\/p>\n
Carla [Uncensored 1990 restoration] (1965, Herrmann Zschoche) Berlinale<\/span>, 35mm<\/span> – 5.5<\/p>\n
Havarie (2016, Philip Scheffner) Berlinale<\/span>, DP<\/span> – 5.6<\/p>\n
Crosscurrent (2016, Yang Chao) Berlinale<\/span>, DP<\/span> – 6.0<\/p>\n
Fantastic (2016, Offer Egozy) Berlinale<\/span>, DP<\/span> – 1.3<\/p>\n
Elixir (2015, Daniil Zinchenko) Berlinale<\/span>, DP<\/span> – 4.5<\/p>\n
Soy Nero (2016, Rafi Pitts) Berlinale<\/span>, DP<\/span> – 2.9<\/p>\n
The Wounded Angel (2016, Emir Baigazin) Berlinale<\/span>, DP<\/span> – 5.9<\/p>\n
Illegitimate (2016, Adrian Sitaru) Berlinale<\/span>, DP<\/span> – 4.5<\/p>\n
The End (2016, Guillaume Nicloux) Berlinale<\/span>, DP<\/span> – 5.4<\/p>\n
The Meadow of Things (1988, Heinz Emigholz) Berlinale<\/span>, DP<\/span> – 4.7<\/p>\n
Ta\u2019ang (2016, Wang Bing) Berlinale<\/span>, DP<\/span> – 4.8<\/p>\n
The Dreamed Ones (2016, Ruth Beckermann) Berlinale<\/span>, DP<\/span> – 4.1<\/p>\n
Depth Two (2016, Ognjen Glavoni\u0107) Berlinale<\/span>, DP<\/span> – 3.6<\/p>\n
Rio Corgo (2015, Sergio da Costa & Maya Kosa) Berlinale<\/span>, DP<\/span> – 6.2<\/p>\n
Much Ado About Nothing (2016, Alejandro Fern\u00e1ndez Almendras) Berlinale<\/span>, DP<\/span> – 5.7<\/p>\n
A Lullaby to the Sorrowful Mystery (2016, Lav Diaz) Berlinale<\/span>, DP<\/span> – 5.0<\/p>\n
Saint Amour (2016, Beno\u00eet Del\u00e9pine & Gustave Kervern) Berlinale<\/span>, DP<\/span> – 4.7<\/p>\n
A Dragon Arrives! (2016, Mani Haghighi) Berlinale<\/span>, DP<\/span> – 6.5<\/p>\n
Tales of Two Who Dreamt (2016, Andrea Bussmann & Nicol\u00e1s Pereda) Berlinale<\/span>, DP<\/span> – 5.0<\/p>\n
Marble Ass (1995, \u017delimir \u017dilnik) Berlinale<\/span>, 35mm<\/span> – 6.5<\/p>\n
The Road Back [Restored Director’s Cut] (1937, James Whale) Berlinale<\/span>, 35mm<\/span> – 4.9<\/p>\n
Memento<\/em> (1966, Karlheinz Mund) Berlinale<\/span>, 35mm<\/span><\/p>\n
The Lost Angel (1966, Ralf Kirsten) Berlinale<\/span>, 35mm<\/span> – 5.9<\/p>\n
Life After Life (2016, Zhang Hanyi) Berlinale<\/span>, DP<\/span> – 4.8<\/p>\n
City of Jade (2016, Midi Z) Berlinale<\/span>, DP<\/span> – 4.5<\/p>\n
Blue Dress (2016, Igor Minaev) Woche der Kritik<\/span>, DP<\/span> – 4.6<\/p>\n
Vapour<\/em> (2015, Apichatpong Weerasethakul) Woche der Kritik<\/span>, DP<\/span><\/p>\n
Despite the Night (2015, Philippe Grandrieux) Woche der Kritik<\/span>, DP<\/span> – 5.5<\/p>\n
+88:88 (2015, Isiah Medina) Woche der Kritik<\/span>, DP<\/span> – 5.8 [down from 6.0]<\/span><\/p>\n
United States of Love (2016, Tomasz Wasilewski) Berlinale<\/span>, DP<\/span> – 4.3<\/p>\n
A Bigger Splash (2015, Luca Guadagnino) DP<\/span> – 5.8<\/p>\n
Two Weeks in Another Town (1962, Vincente Minnelli) 35mm<\/span> – 5.6<\/p>\n
\n
\n<\/br>\n<\/div>\n
March<\/span><\/strong><\/p>\n
Gosford Park (2001, Robert Altman) 35mm<\/span> – 6.2<\/p>\n
The Dead (1987, John Huston) 35mm<\/span> – 4.6<\/p>\n
Les berceaux<\/em> (1931, Jean Epstein) DP<\/span><\/p>\n
The Lighthouse Keepers (1929, Jean Gr\u00e9millon) 35mm<\/span> – 6.4<\/p>\n
Kaili Blues (2015, Bi Gan) – 6.5<\/p>\n
Philips-Radio<\/em> (1931, Joris Ivens) 35mm<\/span><\/p>\n
Song of Heroes (1932, Joris Ivens) DP<\/span> – Inc. [No English subtitles]<\/span><\/p>\n
The Blue Planet (1982, Franco Piavoli) Cin\u00e9ma du R\u00e9el<\/span>, 35mm<\/span> – 5.5<\/p>\n
…No Lies<\/em> (1974, Mitchell Block) Cin\u00e9ma du R\u00e9el<\/span>, 16mm<\/span><\/p>\n
Losing: A Conversation with the Parents<\/em> (1977, Martha Rosler) Cin\u00e9ma du R\u00e9el<\/span>, DP<\/span><\/p>\n
Daughter Rite (1980, Michelle Citron) Cin\u00e9ma du R\u00e9el<\/span>, 16mm<\/span> – 5.7<\/p>\n
Locke\u2019s Way<\/em> (2003, Donigan Cumming) Cin\u00e9ma du R\u00e9el<\/span>, DP<\/span><\/p>\n
Landscape Suicide (1987, James Benning) Cin\u00e9ma du R\u00e9el<\/span>, 16mm<\/span> – 8.4<\/p>\n
On Football (2015, Sergio Oksman) Cin\u00e9ma du R\u00e9el<\/span>, DP<\/span> – 5.2<\/p>\n
Faire la parole (2015, Eug\u00e8ne Green) Cin\u00e9ma du R\u00e9el<\/span>, DP<\/span> – 4.8<\/p>\n
Twenty-Eight Nights and a Poem (2015, Akram Zaatari) Cin\u00e9ma du R\u00e9el<\/span>, DP<\/span> – 6.0<\/p>\n
+Black Code\/Code noir<\/em> (2015, Louis Henderson) Cin\u00e9ma du R\u00e9el<\/span>, DP<\/span><\/p>\n
Welcome (2016, Zhu Rikun) Cin\u00e9ma du R\u00e9el<\/span>, DP<\/span> – 5.7<\/p>\n
Surname Viet Given Name Nam (1989, Trinh T. Minh-ha) Cin\u00e9ma du R\u00e9el<\/span>, 16mm<\/span> – 4.0<\/p>\n
Gift<\/em> (1995, Akram Zaatari) Cin\u00e9ma du R\u00e9el<\/span>, DP<\/span><\/p>\n
The Arabes Love Cats<\/em> (2009, Akram Zaatari & Liliane Giraudon) Cin\u00e9ma du R\u00e9el<\/span>, DP<\/span><\/p>\n
Love<\/em> (1997, Akram Zaatari) Cin\u00e9ma du R\u00e9el<\/span>, DP<\/span><\/p>\n
Majnounak: On Men, Sex and the City [2016 re-edit] (1997, Akram Zaatari) Cin\u00e9ma du R\u00e9el<\/span>, DP<\/span> – 5.4<\/p>\n
The Song of the Shirt (1979, Sue Clayton & Jonathan Curling) Cin\u00e9ma du R\u00e9el<\/span>, 16mm<\/span> – 6.1<\/p>\n
There Is Land!<\/em> (2016, Ana Vaz) Cin\u00e9ma du R\u00e9el<\/span>, DP<\/span><\/p>\n
[pewen]araucaria (2016, Carlos V\u00e1squez M\u00e9ndez) Cin\u00e9ma du R\u00e9el<\/span>, DP<\/span> – 3.3<\/p>\n
Red Chewing Gum<\/em> (2000, Akram Zaatari) Cin\u00e9ma du R\u00e9el<\/span>, DP<\/span><\/p>\n
Tomorrow Everything Will Be Alright<\/em> (2010, Akram Zaatari) Cin\u00e9ma du R\u00e9el<\/span>, DP<\/span><\/p>\n
The End of Time<\/em> (2013, Akram Zaatari) Cin\u00e9ma du R\u00e9el<\/span>, DP<\/span><\/p>\n
Dance to the End of Love<\/em> (2011, Akram Zaatari) Cin\u00e9ma du R\u00e9el<\/span>, DP<\/span><\/p>\n
Voices Through Time (1996, Franco Piavoli) Cin\u00e9ma du R\u00e9el<\/span>, 35mm<\/span> – 5.9<\/p>\n
This Day (2003, Akram Zaatari) Cin\u00e9ma du R\u00e9el<\/span>, DP<\/span> – 5.0<\/p>\n
+Scales in the Spectrum of Space\u2028<\/em> (2015, Fern Silva) Cin\u00e9ma du R\u00e9el<\/span>, DP<\/span><\/p>\n
Geographies (2016, Chaghig Arzoumanian) Cin\u00e9ma du R\u00e9el<\/span>, DP<\/span> – 4.2<\/p>\n
L\u00e0 dove scorre il Mincio<\/em> (2011, Franco Piavoli) Cin\u00e9ma du R\u00e9el<\/span>, DP<\/span><\/p>\n
Nostos: The Return (1990, Franco Piavoli) Cin\u00e9ma du R\u00e9el<\/span>, 35mm<\/span> – 7.1<\/p>\n
+From the East (1993, Chantal Akerman) Cin\u00e9ma du R\u00e9el<\/span>, 16mm<\/span> – 6.7 [same]<\/span><\/p>\n
At the First Breath of Wind (2002, Franco Piavoli) Cin\u00e9ma du R\u00e9el<\/span>, 35mm<\/span> – 7.1<\/p>\n
Of Shadows (2016, Yi Cui) Cin\u00e9ma du R\u00e9el<\/span>, DP<\/span> – 5.2<\/p>\n
House of Mothers (2015, Philippe Costantini) Cin\u00e9ma du R\u00e9el<\/span>, DP<\/span> – 5.9<\/p>\n
Pripyat (1999, Nikolaus Geyrhalter) Cin\u00e9ma du R\u00e9el<\/span>, DP<\/span> – 5.4<\/p>\n
Il solengo (2015, Alessio Rigo de Righi & Matteo Zoppis) Cin\u00e9ma du R\u00e9el<\/span>, DP<\/span> – 5.3<\/p>\n
The Year After Dayton (1997, Nikolaus Geyrhalter) Cin\u00e9ma du R\u00e9el<\/span>, DP<\/span> – 5.8<\/p>\n
\n
\n<\/br>\n<\/div>\n
April<\/span><\/strong><\/p>\n
A Page of Madness (1926, Teinosuke Kinugasa) 16mm<\/span> – 4.4<\/p>\n
Starless Dreams (2016, Mehrdad Oskouei) – 6.1<\/p>\n
Cameraperson (2016, Kirsten Johnson) – 6.9<\/p>\n
Tickled (2016, David Farrier & Dylan Reeve) – 4.6<\/p>\n
Our Daily Bread (2005, Nikolaus Geyrhalter) 35mm<\/span> – 5.9<\/p>\n
Contemporary Color (2016, Bill Ross IV & Turner Ross) – 4.7<\/p>\n
Drugstore Cowboy (1989, Gus Van Sant) 35mm<\/span> – 5.6<\/p>\n
Everybody Wants Some!! (2016, Richard Linklater) DP<\/span> – 7.0<\/p>\n
Lo and Behold: Reveries of the Connected World (2016, Werner Herzog) – 5.7<\/p>\n
The Yards (2000, James Gray) 35mm<\/span> – 5.9<\/p>\n
+Werckmeister Harmonies (2000, B\u00e9la Tarr) 35mm<\/span> – Inc. [No English subtitles; previous viewing: 7.9]<\/span><\/p>\n
Little Odessa (1994, James Gray) 35mm<\/span> – 5.4<\/p>\n
Black Book (2006, Paul Verhoeven) – 5.7<\/p>\n
The Sea of Trees (2015, Gus Van Sant) DP<\/span> – 3.3<\/p>\n
That Old Dream That Moves (2001, Alain Guiraudie) – 6.5<\/p>\n
Sunshine for the Poor (2001, Alain Guiraudie) – 5.3<\/p>\n
White Nights on the Pier (2014, Paul Vecchiali) – 5.0<\/p>\n
We Own the Night (2007, James Gray) 35mm<\/span> – 6.1<\/p>\n
No Rest for the Brave (2003, Alain Guiraudie) – 6.2<\/p>\n
People\u2019s Park (2012, J.P. Sniadecki & Libbie Dina Cohn) DP<\/span> – 6.8<\/p>\n
\n
\n<\/br>\n<\/div>\n
May<\/span><\/strong><\/p>\n
Time Has Come (2005, Alain Guiraudie) – 4.8<\/p>\n
To Have and Have Not (1944, Howard Hawks) 35mm<\/span> – 5.6<\/p>\n
Notorious (1946, Alfred Hitchcock) 35mm<\/span> – 7.6<\/p>\n
Desire (1936, Frank Borzage) 35mm<\/span> – 5.3<\/p>\n
My Man Godfrey (1936, Gregory La Cava) 35mm<\/span> – 6.0<\/p>\n
Caf\u00e9 Society (2016, Woody Allen) Cannes<\/span>, DP<\/span> – 5.4<\/p>\n
Sieranevada (2016, Cristi Puiu) Cannes<\/span>, DP<\/span> – 4.9<\/p>\n
Staying Vertical (2016, Alain Guiraudie) Cannes<\/span>, DP<\/span> – 6.6<\/p>\n
In Bed with Victoria (2016, Justine Triet) Cannes<\/span>, DP<\/span> – 4.5<\/p>\n
Sweet Dreams (2016, Marco Bellocchio) Cannes<\/span>, DP<\/span> – 5.3<\/p>\n
Slack Bay (2016, Bruno Dumont) Cannes<\/span>, DP<\/span> – 6.9<\/p>\n
Exile (2016, Rithy Panh) Cannes<\/span>, DP<\/span> – 4.4<\/p>\n
Momotaro, Sacred Sailors  (1945, Mitsuyo Seo) Cannes<\/span>, DP<\/span> – 6.8<\/p>\n
Toni Erdmann (2016, Maren Ade) Cannes<\/span>, DP<\/span> – 8.4<\/p>\n
The Handmaiden (2016, Park Chan-wook) Cannes<\/span>, DP<\/span> – 4.8<\/p>\n
The Transfiguration (2016, Michael O’Shea) Cannes<\/span>, DP<\/span> – 3.1<\/p>\n
Happy Times Will Come Soon (2016, Alessandro Comodin) Cannes<\/span>, DP<\/span> – 6.0<\/p>\n
American Honey (2016, Andrea Arnold) Cannes<\/span>, DP<\/span> – 4.1<\/p>\n
Harmonium (2016, K\u00f4ji Fukada) Cannes<\/span>, DP<\/span> – 5.6<\/p>\n
From the Land of the Moon (2016, Nicole Garcia) Cannes<\/span>, DP<\/span> – 3.6<\/p>\n
Dogs (2016, Bogdan Mirica) Cannes<\/span>, DP<\/span> – 3.5<\/p>\n
Beyond the Mountains and Hills (2016, Eran Kolirin) Cannes<\/span>, DP<\/span> – 6.5<\/p>\n
Paterson (2016, Jim Jarmusch) Cannes<\/span>, DP<\/span> – 7.1<\/p>\n
Loving (2016, Jeff Nichols) Cannes<\/span>, DP<\/span> – 3.9<\/p>\n
Mimosas (2016, Oliver Laxe) Cannes<\/span>, DP<\/span> – 5.9<\/p>\n
Wolf and Sheep (2016, Shahrbanoo Sadat) Cannes<\/span>, DP<\/span> – 5.1<\/p>\n
Personal Shopper (2016, Olivier Assayas) Cannes<\/span>, DP<\/span> – 6.3<\/p>\n
Julieta (2016, Pedro Almod\u00f3var) Cannes<\/span>, DP<\/span> – 5.0<\/p>\n
Aquarius (2016, Kleber Mendon\u00e7a Filho) Cannes<\/span>, DP<\/span> – 6.5<\/p>\n
Ma\u2019 Rosa (2016, Brillante Mendoza) Cannes<\/span>, DP<\/span> – 3.4<\/p>\n
The Park (2016, Damien Manivel) Cannes<\/span>, DP<\/span> – 6.1<\/p>\n
The Unknown Girl (2016, Jean-Pierre & Luc Dardenne) Cannes<\/span>, DP<\/span> – 5.7<\/p>\n
Le Cancre (2016, Paul Vecchiali) Cannes<\/span>, DP<\/span> – 5.5<\/p>\n
The Red Turtle (2016, Mich\u00e4el Dudok de Wit) Cannes<\/span>, DP<\/span> – 5.2<\/p>\n
It\u2019s Only the End of the World (2016, Xavier Dolan) Cannes<\/span>, 35mm<\/span> – 2.9<\/p>\n
Graduation (2016, Christian Mungiu) Cannes<\/span>, DP<\/span> – 5.1<\/p>\n
The Death of Louis XIV (2016, Albert Serra) Cannes<\/span>, DP<\/span> – 7.0<\/p>\n
Risk (2016, Laura Poitras) Cannes<\/span>, DP<\/span> – 6.2<\/p>\n
The Neon Demon (2016, Nicolas Winding Refn) Cannes<\/span>, DP<\/span> – 4.7<\/p>\n
Dog Eat Dog (2016, Paul Schrader) Cannes<\/span>, DP<\/span> – 5.7<\/p>\n
Thank You Mister Imada<\/em> (2016, Sylvain Chomet) Cannes<\/span>, DP<\/span><\/p>\n
Diamond Island (2016, Davy Chou) Cannes<\/span>, DP<\/span> – 5.0<\/p>\n
The Long Night of Francisco Sanctis (2016, Francisco M\u00e1rquez & Andrea Testa) Cannes<\/span>, DP<\/span> – 4.5<\/p>\n
The Salesman (2016, Asghar Farhadi) Cannes<\/span>, DP<\/span> – 6.4<\/p>\n
Elle (2016, Paul Verhoeven) Cannes<\/span>, DP<\/span> – 7.3<\/p>\n
The Last Face (2016, Sean Penn) Cannes<\/span>, DP<\/span> – 2.2<\/p>\n
Cassandre<\/em> (2016, Joffrey Renambatz) Cannes<\/span>, DP<\/span><\/p>\n
The Happiest Day in the Life of Olli M\u00e4ki (2016, Juho Kuosmanen) Cannes<\/span>, DP<\/span> – 6.0<\/p>\n
I, Daniel Blake (2016, Ken Loach) Cannes<\/span>, DP<\/span> – 5.5<\/p>\n
+At the First Breath of Wind (2002, Franco Piavoli) – 7.1 [same]<\/span><\/p>\n
+The Wise Kids (2011, Stephen Cone) – 7.2 [same]<\/span><\/p>\n
An Affair to Remember (1957, Leo McCarey) – 6.7<\/p>\n
\n
\n<\/br>\n<\/div>\n
June<\/span><\/strong><\/p>\n
From the Diary of a Wedding Photographer (2016, Nadav Lapid) – 3.9<\/p>\n
Low Tide (2012, Roberto Minervini) – 5.0<\/p>\n
The Margin (1967, Ozualdo Ribeiro Candeias) DP<\/span> – 3.7<\/p>\n
Broadway Danny Rose (1984, Woody Allen) 35mm<\/span> – 5.7<\/p>\n
Casualties of War (1989, Brian De Palma) 35mm<\/span> – 7.0<\/p>\n
Dionysus in ’69 (1970, Brian De Palma & Richard Schechner) 35mm<\/span> – 4.8<\/p>\n
Three (2016, Johnnie To) DP<\/span> – 6.1<\/p>\n
Sisters (1973, Brian De Palma) 35mm<\/span> – 6.8<\/p>\n
Possession (1981, Andrzej Zulawski) 35mm<\/span> – 8.6<\/p>\n
+The War of the Worlds (1953, Byron Haskin) – 4.0 [up from 2.9]<\/span><\/p>\n
+Henry Gamble’s Birthday Party (2015, Stephen Cone) DP<\/span> – 6.7 [same]<\/span><\/p>\n
+The Day the Earth Stood Still (1951, Robert Wise) – 5.8 [down from 6.1]<\/span><\/p>\n
Phantom of the Paradise (1974, Brian De Palma) 35mm<\/span> – 6.3<\/p>\n
\n
\n<\/br>\n<\/div>\n
July<\/span><\/strong><\/p>\n
The BFG (2016, Steven Spielberg) DP<\/span> – 4.2<\/p>\n
Hamlet Goes Business (1987, Aki Kaurism\u00e4ki) 35mm<\/span> – 4.5<\/p>\n
Greetings (1968, Brian De Palma) 35mm<\/span> – 6.6<\/p>\n
The Third Part of the Night (1971, Andrzej Zulawski) DP<\/span> – 5.2<\/p>\n
+Close Encounters of the Third Kind (1977, Steven Spielberg) – 7.5 [up from 7.1]<\/span><\/p>\n
Szamanka (1996, Andrzej Zulawski) 35mm<\/span> – 6.7<\/p>\n
+Forbidden Planet (1956, Fred M. Wilcox) – 5.5 [same]<\/span><\/p>\n
Hi, Mom! (1970, Brian De Palma) 35mm<\/span> – 5.6<\/p>\n
The Human Surge (2016, Eduardo Williams) – 6.9<\/p>\n
All the Cities of the North (2016, Dane Komljen) – 4.6<\/p>\n
+2001: A Space Odyssey (1968, Stanley Kubrick) \u2013 9.6 [same]<\/span><\/p>\n
The Challenge (2016, Yuri Ancarani) – 6.2<\/p>\n
+Twelve Monkeys (1995, Terry Gilliam) – 6.9 [same]<\/span><\/p>\n
+Strangers on a Train (1951, Alfred Hitchcock) 35mm<\/span> – 6.8 [~same]<\/span><\/p>\n
Obsession (1976, Brian De Palma) DP<\/span> – 6.5<\/p>\n
The Fury (1978, Brian De Palma) 35mm<\/span> – 6.3<\/p>\n
The Devil (1972, Andrzej Zulawski) DP<\/span> – 3.1<\/p>\n
The Soft Skin (1964, Fran\u00e7ois Truffaut) 35mm<\/span> – 6.4<\/p>\n
+Metropolis [2010 restored version] (1927, Fritz Lang) \u2013 5.8 [down from 6.9]<\/span><\/p>\n
Krisha (2015, Trey Edward Shults) DP<\/span> – 3.5<\/p>\n
+Alphaville (1965, Jean-Luc Godard) – 6.7 [same]<\/span><\/p>\n
The Dreamed Path (2016, Angela Schanelec) – 5.9<\/p>\n
+Computer Chess (2013, Andrew Bujalski) – 7.9 [same]<\/span><\/p>\n
Born in Flames (1983, Lizzie Borden) 35mm<\/span> – 5.6<\/p>\n
+A.I. Artificial Intelligence (2001, Steven Spielberg) – 8.6 [up from 8.4]<\/span><\/p>\n
Perceval (1978, Eric Rohmer) DP<\/span> – 5.4<\/p>\n
The Most Important Thing is to Love (1975, Andrzej Zulawski) DP<\/span> – 4.7<\/p>\n
The Fly (1958, Kurt Neumann) – 6.1<\/p>\n
\n
\n<\/br>\n<\/div>\n
August<\/span><\/strong><\/p>\n
+The Fly (1986, David Cronenberg) \u2013 8.4 [same]<\/span><\/p>\n
I Stayed in Berlin All Summer (1994, Angela Schanelec) – 5.1<\/p>\n
Soleil \u00d4 (1970, Med Hondo) 35mm<\/span> – 5.3<\/p>\n
Suspicion (1941, Alfred Hitchcock) 35mm<\/span> – 7.1<\/p>\n
My Sister’s Good Fortune (1995, Angela Schanelec) – 4.8<\/p>\n
4 Quarters<\/em> (2015, Ashley McKenzie) DP<\/span><\/p>\n
Fort Buchanan (2014, Benjamin Crotty) DP<\/span> – 4.5<\/p>\n
+Southland Tales [145-minute cut] (2006, Richard Kelly) – 7.3 [up from ~7.0]<\/span><\/p>\n
Two English Girls (1971, Fran\u00e7ois Truffaut) 35mm<\/span> – 4.6<\/p>\n
Places in Cities (1998, Angela Schanelec) – 6.2<\/p>\n
Passing Summer (2001, Angela Schanelec) – 5.2<\/p>\n
Marseille (2004, Angela Schanelec) – 6.8<\/p>\n
Afternoon (2007, Angela Schanelec) – 5.6<\/p>\n
Orly (2010, Angela Schanelec) – 5.9<\/p>\n
Nocturama (2016, Bertrand Bonello) – 7.5<\/p>\n
+The Dreamed Path (2016, Angela Schanelec) – 7.1 [up from 5.9]<\/span><\/p>\n
The Gift (2015, Joel Edgerton) – 4.9<\/p>\n
Hermia & Helena (2016, Mat\u00edas Pi\u00f1eiro) – 6.1<\/p>\n
The Nice Guys (2016, Shane Black) – 5.0<\/p>\n
By the Time It Gets Dark (2016, Anocha Suwichakornpong) – 4.9<\/p>\n
The Woman Who Left (2016, Lav Diaz) – 4.1<\/p>\n
Pete’s Dragon (2016, David Lowery) DP<\/span> – 4.8<\/p>\n
Werewolf (2016, Ashley McKenzie) – 5.8<\/p>\n
+Knight of Cups (2015, Terrence Malick) – 8.8 [up from 8.1]<\/span><\/p>\n
\n
\n<\/br>\n<\/div>\n
September<\/span><\/strong><\/p>\n
+Personal Shopper (2016, Olivier Assayas) DP<\/span> – 6.6 [up from 6.3]<\/span><\/p>\n
+New Fancy Foils<\/em> (2013, Jodie Mack) 16mm<\/span><\/p>\n
+Undertone Overture<\/em> (2013, Jodie Mack) 16mm<\/span><\/p>\n
+Dusty Stacks of Mom: The Poster Project (2013, Jodie Mack) 16mm<\/span> – 8.6 [same]<\/span><\/p>\n
+Glistening Thrills<\/em> (2013, Jodie Mack) 16mm<\/span><\/p>\n
+Let Your Light Shine<\/em> (2013, Jodie Mack) 3D-16mm<\/span><\/p>\n
Moonlight (2016, Barry Jenkins) DP<\/span> – 4.9<\/p>\n
Austerlitz (2016, Sergei Loznitsa) – 5.4<\/p>\n
+Manchester by the Sea (2016, Kenneth Lonergan) TIFF<\/span>, DP<\/span> – 6.5 [down from 7.0]<\/span><\/p>\n
A Decent Woman (2016, Lukas Valenta Rinner) TIFF<\/span>, DP<\/span> – 5.8<\/p>\n
+Nocturama (2016, Bertrand Bonello) TIFF<\/span>, DP<\/span> – 8.2 [up from 7.5]<\/span><\/p>\n
Free Fire (2016, Ben Wheatley) TIFF<\/span>, DP<\/span> – 4.6<\/p>\n
Nocturnal Animals (2016, Tom Ford) TIFF<\/span>, DP<\/span> – 5.0<\/p>\n
Voyage of Time: Life\u2019s Journey (2016, Terrence Malick) TIFF<\/span>, DP<\/span> – 3.3<\/p>\n
Nightlife<\/em> (2015, Cyprien Gaillard) TIFF<\/span>, 3D<\/span><\/p>\n
Silueta Sangrienta<\/em> (1975, Ana Mendieta) TIFF<\/span>, DP<\/span><\/p>\n
+H\u00e1 Terra!<\/em> (2016, Ana Vaz) TIFF<\/span>, DP<\/span><\/p>\n
Venus Delta<\/em> (2016, Antoinette Zwirchmayr) TIFF<\/span>, DP<\/span><\/p>\n
025 Sunset Red<\/em> (2016, Laida Lertxundi) TIFF<\/span>, DP<\/span><\/p>\n
Untitled, 1925<\/em> (2016, Madi Piller) TIFF<\/span>, DP<\/span><\/p>\n
Children of Lir<\/em> (2016, Katherin McInnis) TIFF<\/span>, DP<\/span><\/p>\n
Burning mountains that spew flame<\/em> (2016, Helena Gir\u00f3n & Samuel M. Delgado) TIFF<\/span>, DP<\/span><\/p>\n
Anima, Silueta de Cohetes (Firework Piece)<\/em> (1976, Ana Mendieta) TIFF<\/span>, DP<\/span><\/p>\n
The Rehearsal (2016, Alison Maclean) TIFF<\/span>, DP<\/span> – 5.9<\/p>\n
+Irma Vep (1996, Olivier Assayas) TIFF<\/span>, DP<\/span> – 8.5 [down from 8.9]<\/span><\/p>\n
Incantati<\/em> (2015, Dani\u00e8le Huillet & Jean-Marie Straub) TIFF<\/span>, DP<\/span><\/p>\n
Cilaos<\/em> (2016, Camilo Restrepo) TIFF<\/span>, DP<\/span><\/p>\n
An Aviation Field<\/em> (2016, Joana Pimenta) TIFF<\/span>, DP<\/span><\/p>\n
Strange Vision of Seeing Things<\/em> (2016, Ryan Ferko) TIFF<\/span>, DP<\/span><\/p>\n
Ears, Nose and Throat<\/em> (2016, Kevin Jerome Everson) TIFF<\/span>, DP<\/span><\/p>\n
Ten Mornings Ten Evenings and One Horizon<\/em> (2016, Tomonari Nishikawa) TIFF<\/span>, 16mm<\/span><\/p>\n
Luna e Santur<\/em> (2016, Joshua Gen Solondz) TIFF<\/span>, 35mm<\/span><\/p>\n
Voyage of Time: The IMAX Experience (2016, Terrence Malick) TIFF<\/span>, DP<\/span> – 4.2<\/p>\n
Una (2016, Benedict Andrews) TIFF<\/span>, DP<\/span> – 4.3<\/p>\n
Daughters of the Dust (1991, Julie Dash) TIFF<\/span>, DP<\/span> – 4.8<\/p>\n
(re)ASSIGNMENT (2016, Walter Hill) TIFF<\/span>, DP<\/span> – 6.0<\/p>\n
Untitled<\/em> (2016, Bj\u00f6rn K\u00e4mmerer) TIFF<\/span>, 35mm<\/span><\/p>\n
What\u2019s New<\/em> (2016, Nina K\u00f6nnemann) TIFF<\/span>, DP<\/span><\/p>\n
Foyer<\/em> (2016, Isma\u00efl Bahri) TIFF<\/span>, DP<\/span><\/p>\n
350 MYA<\/em> (2016, Terra Long) TIFF<\/span>, 16mm<\/span><\/p>\n
I\u2019ll Remember You as You Were, Not as What You\u2019ll Become<\/em> (2016, Sky Hopinka) TIFF<\/span>, DP<\/span><\/p>\n
Dark Adaptation<\/em> (2016, Chris Gehman) TIFF<\/span>, DP<\/span><\/p>\n
The Watershow Extravaganza<\/em> (2016, Sophie Michael) TIFF<\/span>, 16mm<\/span><\/p>\n
+The Human Surge (2016, Eduardo Williams) TIFF<\/span>, DP<\/span> – 6.9 [same]<\/span><\/p>\n
Daguerrotype (2016, Kiyoshi Kurosawa) TIFF<\/span>, DP<\/span> – 5.5<\/p>\n
La La Land (2016, Damien Chazelle) TIFF<\/span>, DP<\/span> – 6.6<\/p>\n
Jackie (2016, Pablo Larra\u00edn) TIFF<\/span>, DP<\/span> – 5.1<\/p>\n
Flowers of the Sky<\/em> (2016, Janie Geiser) TIFF<\/span>, DP<\/span><\/p>\n
Ayhan and me<\/em> (2016, belit sa\u011f) TIFF<\/span>, DP<\/span><\/p>\n
AS WITHOUT SO WITHIN<\/em> (2016, Manuela De Laborde) TIFF<\/span>, 16mm<\/span><\/p>\n
+Indefinite Pitch<\/em> (2016, James N. Kienitz Wilkins) TIFF<\/span>, DP<\/span><\/p>\n
Neruda (2016, Pablo Larra\u00edn) TIFF<\/span>, DP<\/span> – 4.4<\/p>\n
Searchers (2016, Zacharias Kunuk) TIFF<\/span>, DP<\/span> – 5.3<\/p>\n
Katie Says Goodbye (2016, Wayne Roberts) TIFF<\/span>, DP<\/span> – 1.0<\/p>\n
The Raid: Redemption (2011, Gareth Evans) – 4.5<\/p>\n
I Had Nowhere to Go (2016, Douglas Gordon) TIFF<\/span>, DP<\/span> – 5.8<\/p>\n
Yourself and Yours (2016, Hong Sang-soo) TIFF<\/span>, DP<\/span> – 7.1<\/p>\n
The Untamed (2016, Amat Escalante) TIFF<\/span>, DP<\/span> – 5.0<\/p>\n
Message from the King (2016, Fabrice du Welz) TIFF<\/span>, DP<\/span> – 2.3<\/p>\n
The B-Side: Elsa Dorfman\u2019s Portrait Photography (2016, Errol Morris) TIFF<\/span>, DP<\/span> – 4.6<\/p>\n
Arrival (2016, Denis Villeneuve) TIFF<\/span>, DP<\/span> – 6.0<\/p>\n
Salt and Fire (2016, Werner Herzog) TIFF<\/span>, DP<\/span> – 6.2<\/p>\n
The Bad Batch (2016, Ana Lily Amirpour) TIFF<\/span>, DP<\/span> – 3.2<\/p>\n
K\u00e9kszak\u00e1ll\u00fa (2016, Gast\u00f3n Solnicki) TIFF<\/span>, DP<\/span> – 6.4<\/p>\n
Sully (2016, Clint Eastwood) DP<\/span> – 5.3<\/p>\n
My Entire High School Sinking Into the Sea (2016, Dash Shaw) TIFF<\/span>, DP<\/span> – 5.5<\/p>\n
Ember (2016, Zeki Demirkubuz) TIFF<\/span>, DP<\/span> – 4.5<\/p>\n
Raw (2016, Julia Ducournau) TIFF<\/span>, DP<\/span> – 5.7<\/p>\n
Mister Universo (2016, Tizza Covi & Rainer Frimmel) TIFF<\/span>, DP<\/span> – 6.4<\/p>\n
Justin Timberlake + The Tennessee Kids (2016, Jonathan Demme) TIFF<\/span>, DP<\/span> – 6.0<\/p>\n
Colossal (2016, Nacho Vigalondo) TIFF<\/span>, DP<\/span> – 3.5<\/p>\n
The Beautiful Days of Aranjuez (2016, Wim Wenders) TIFF<\/span>, 3D<\/span> – 5.2<\/p>\n
My Life as a Courgette (2016, Claude Barras) TIFF<\/span>, DP<\/span> – 4.7<\/p>\n
Safari (2016, Ulrich Seidl) TIFF<\/span>, DP<\/span> – 6.5<\/p>\n
Abacus: Small Enough to Jail (2016, Steve James) TIFF<\/span>, DP<\/span> – 4.8<\/p>\n
The Ornithologist (2016, Jo\u00e3o Pedro Rodrigues) TIFF<\/span>, DP<\/span> – 5.1<\/p>\n
Rambo: First Blood Part II (1985, George P. Cosmatos) – 3.0<\/p>\n
Into the Inferno (2016, Werner Herzog) – 5.8<\/p>\n
+The Death of Louis XIV (2016, Albert Serra) – 7.0 [same]<\/span><\/p>\n
Two Lottery Tickets (2016, Paul Negoescu) – 5.2<\/p>\n
+The Rock (1996, Michael Bay) – 6.2 [~same]<\/span><\/p>\n
Rat Film (2016, Theo Anthony) – 5.4<\/p>\n
\n
\n<\/br>\n<\/div>\n
October<\/span><\/strong><\/p>\n
Silent Running (1972, Douglas Trumbull) DP<\/span> – 4.7<\/p>\n
+Elle (2016, Paul Verhoeven) – 7.3 [same]<\/span><\/p>\n
+Sherlock Jr. (1924, Buster Keaton) – 8.4 [same]<\/span><\/p>\n
Drawing Duncan Palmer<\/em> (2016, Rebeccah Love) DP<\/span><\/p>\n
Uncle Kent 2 (2015, Todd Rohal) DP<\/span> – 6.4<\/p>\n
+A Woman Under the Influence (1974, John Cassavetes) 35mm<\/span> – 6.1 [down from ~8.8]<\/span><\/p>\n
The Adventures of Robin Hood (1938, Michael Curtiz & William Keighley) – 5.3<\/p>\n
Epilogue (1984, Marlen Khutsiev) 35mm<\/span> – 4.6<\/p>\n
The Marrying Kind (1952, George Cukor) 35mm<\/span> – 6.2<\/p>\n
Everything Else (2016, Natalia Almada) NYFF<\/span><\/strong>, DP<\/span> – 4.7<\/p>\n
Billy Lynn\u2019s Long Halftime Walk [120fps] (2016, Ang Lee) NYFF<\/span><\/strong>, 3D<\/span> – 5.9<\/p>\n
To the Four Corners<\/em> (1949, Jacques Rivette) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
The Quadrille (1950, Jacques Rivette) NYFF<\/span><\/strong>, DP<\/span> – 7.2<\/p>\n
The Diversion (1952, Jacques Rivette) NYFF<\/span><\/strong>, DP<\/span> – 5.0<\/p>\n
The Lost City of Z (2016, James Gray) NYFF<\/span><\/strong>, 35mm<\/span> – 7.7<\/p>\n
Olympiad<\/em> (1971, Lillian Schwartz) 3D<\/span><\/p>\n
Enigma<\/em> (1972, Lillian Schwartz) 3D<\/span><\/p>\n
Googolplex<\/em> (1972, Lillian Schwartz) DP<\/span><\/p>\n
Apotheosis<\/em> (1972, Lillian Schwartz) 3D<\/span><\/p>\n
Mutations<\/em> (1972, Lillian Schwartz) DP<\/span><\/p>\n
Papillons<\/em> (1973, Lillian Schwartz) DP<\/span><\/p>\n
La Spiritata<\/em> (1976, Lillian Schwartz) DP<\/span><\/p>\n
Bagatelles<\/em> (1977, Lillian Schwartz) DP<\/span><\/p>\n
Before Before<\/em> (2012, Lillian Schwartz) 3D<\/span><\/p>\n
Exquisite Motions<\/em> (2013, Lillian Schwartz) 3D<\/span><\/p>\n
Lily’s Sea<\/em> (2013, Lillian Schwartz) 3D<\/span><\/p>\n
Xtreme Sightings<\/em> (2013, Lillian Schwartz) 3D<\/span><\/p>\n
Pixillation<\/em> (1970, Lillian Schwartz) DP<\/span><\/p>\n
+UFO’s<\/em> (1971, Lillian Schwartz) 3D<\/span><\/p>\n
Mathoms<\/em> (1970, Lillian Schwartz) DP<\/span><\/p>\n
The Inside Story (1948, Allan Dwan) 35mm<\/span> – 6.5<\/p>\n
July Rain (1967, Marlen Khutsiev) 35mm<\/span> – 4.3<\/p>\n
Imponderable [“5-D”] (2016, Tony Oursler) DP<\/span> – 2.8<\/p>\n
Dazed and Confused (1993, Richard Linklater) – 6.4<\/p>\n
+Raiders of the Lost Ark (1981, Steven Spielberg) – 5.3 [~same]<\/span><\/p>\n
+Creepy (2016, Kiyoshi Kurosawa) DP<\/span> – 6.6 [same]<\/span><\/p>\n
Sunset<\/em> (1967, Andy Warhol) 16mm<\/span><\/p>\n
The Bourne Supremacy (2004, Paul Greengrass) – 5.1<\/p>\n
+Rope (1948, Alfred Hitchcock) – 5.9 [~same]<\/span><\/p>\n
13th (2016, Ava DuVernay) – 4.4<\/p>\n
Little Sister (2016, Zach Clark) – 4.2<\/p>\n
The Bitter Tears of Petra von Kant (1972, Rainer Werner Fassbinder) 35mm<\/span> – 7.8<\/p>\n
Weiner (2016, Josh Kriegman & Elyse Steinberg) – 6.5<\/p>\n
\n
\n<\/br>\n<\/div>\n
November<\/span><\/strong><\/p>\n
Ronin (1998, John Frankenheimer) – 4.6<\/p>\n
In a Year of 13 Moons (1978, Rainer Werner Fassbinder) 35mm<\/span> – 7.2<\/p>\n
Effi Briest (1974, Rainer Werner Fassbinder) 35mm<\/span> – 4.9<\/p>\n
+Certain Women (2016, Kelly Reichardt) – 7.4 [same]<\/span><\/p>\n
Lola (1981, Rainer Werner Fassbinder) 35mm<\/span> – 4.4<\/p>\n
+The Wild Bunch (1969, Sam Peckinpah) – 4.1 [same]<\/span><\/p>\n
The Little Chaos<\/em> (1966, Rainer Werner Fassbinder) 35mm<\/span><\/p>\n
The City Tramp<\/em> (1966, Rainer Werner Fassbinder) 35mm<\/span><\/p>\n
The American Soldier (1970, Rainer Werner Fassbinder) 35mm<\/span> – 5.6<\/p>\n
+Johnny Guitar (1954, Nicholas Ray) – 6.9 [down from 7.6]<\/span><\/p>\n
+I Confess (1953, Alfred Hitchcock) – 6.2 [same]<\/span><\/p>\n
The Killer (1989, John Woo) – 5.5<\/p>\n
Rio das Mortes (1971, Rainer Werner Fassbinder) 16mm<\/span> – 4.5<\/p>\n
Hell or High Water (2016, David Mackenzie) – 5.4<\/p>\n
Tower (2016, Keith Maitland) – 6.3<\/p>\n
Veronika Voss (1982, Rainer Werner Fassbinder) 35mm<\/span> – 6.0<\/p>\n
Fear of Fear (1975, Rainer Werner Fassbinder) 35mm<\/span> – 4.7<\/p>\n
East Hastings Pharmacy (2012, Antoine Bourges) – 6.6<\/p>\n
Purple Rain (1984, Albert Magnoli) – 4.9<\/p>\n
The Academy of Muses (2015, Jos\u00e9 Luis Guerin) – 4.7<\/p>\n
+Point Break (1991, Kathryn Bigelow) – 5.2 [~same]<\/span><\/p>\n
\n
\n<\/br>\n<\/div>\n
December<\/span><\/strong><\/p>\n
+The Woolworths Choir of 1979<\/em> (2012, Elizabeth Price) DP<\/span><\/p>\n
Ma (2015, Celia Rowlson-Hall) DP<\/span> – 5.0<\/p>\n
Chinese Roulette (1976, Rainer Werner Fassbinder) 35mm<\/span> – 5.2<\/p>\n
+Haywire (2011, Steven Soderbergh) – 5.8 [same]<\/span><\/p>\n
Martha (1974, Rainer Werner Fassbinder) 35mm<\/span> – 5.9<\/p>\n
The Marriage of Maria Braun (1979, Rainer Werner Fassbinder) 35mm<\/span> – 6.5<\/p>\n
Pioneers in Ingolstadt (1971, Rainer Werner Fassbinder) 35mm<\/span> – 5.3<\/p>\n
Satan’s Brew (1976, Rainer Werner Fassbinder) 35mm<\/span> – 7.1<\/p>\n
Gods of the Plague (1970, Rainer Werner Fassbinder) 35mm<\/span> – 4.5<\/p>\n
+Homo sapiens (2016, Nikolaus Geyrhalter) – 6.3 [down from 6.8]<\/span><\/p>\n
The Third Generation (1979, Rainer Werner Fassbinder) 35mm<\/span> – 6.3<\/p>\n
Florence<\/em> (1975, Peter Hutton) 16mm<\/span><\/p>\n
Landscape (for Manon)<\/em> (1987, Peter Hutton) 16mm<\/span><\/p>\n
New York Portrait, Chapter II<\/em> (1981, Peter Hutton) 16mm<\/span><\/p>\n
Time and Tide<\/em> (2000, Peter Hutton) 16mm<\/span><\/p>\n
Belle de Jour (1967, Luis Bu\u00f1uel) 35mm<\/span> – 6.0<\/p>\n
Mother K\u00fcsters Goes to Heaven (1975, Rainer Werner Fassbinder) 35mm<\/span> – 5.2<\/p>\n
+Gremlins (1984, Joe Dante) – 8.1 [up from what I guessed was ~6.0]<\/span><\/p>\n
20th Century Women (2016, Mike Mills) – 6.2<\/p>\n
Trainwreck (2015, Judd Apatow) – 4.9<\/p>\n
O.J.: Made in America (2016, Ezra Edelman) – 6.8<\/p>\n
Joe Versus the Volcano (1990, John Patrick Shanley) – 6.1<\/p>\n
The Birth of a Nation (2016, Nate Parker) – 3.9<\/p>\n
+Sunset<\/em> (1967, Andy Warhol) 16mm<\/span><\/p>\n
By the Sea (2015, Angelina Jolie) – 5.6<\/p>\n
+Justin Timberlake + The Tennessee Kids (2016, Jonathan Demme) \u2013 6.0 [same]<\/span><\/p>\n
Sing Street (2016, John Carney) – 5.0<\/p>\n
The Thoughts That Once We Had (2015, Thom Andersen) – 3.7<\/p>\n
I Am Not Your Negro (2016, Rapul Peck) – 5.9<\/p>\n
+Toni Erdmann (2016, Maren Ade) – 7.8 [down from 8.4]<\/span><\/p>\n
Shadow of a Doubt (1943, Alfred Hitchcock) – 7.5<\/p>\n","protected":false},"excerpt":{"rendered":"
Past Logs 2015 Film Log 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 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 […]<\/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-14629","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/posts\/14629","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=14629"}],"version-history":[{"count":1,"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/posts\/14629\/revisions"}],"predecessor-version":[{"id":14630,"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/posts\/14629\/revisions\/14630"}],"wp:attachment":[{"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/media?parent=14629"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/categories?post=14629"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/tags?post=14629"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}