{"id":15995,"date":"2017-01-01T00:01:41","date_gmt":"2017-01-01T05:01:41","guid":{"rendered":"http:\/\/blakewilliams.net\/blog\/?p=15995"},"modified":"2018-06-08T11:33:59","modified_gmt":"2018-06-08T16:33:59","slug":"2017-film-log","status":"publish","type":"post","link":"http:\/\/blakewilliams.net\/blog\/2017\/01\/2017-film-log\/","title":{"rendered":"2017 Film Log"},"content":{"rendered":"

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

<\/div>\n

FYI:<\/span>
\n– 8mm<\/span>\/16mm<\/span>\/35mm<\/span>\/70mm<\/span> indicates that what I saw was a film print.
\n– DP<\/span> indicates that what I saw was a Digital Projection in a theatre.
\n– 3D<\/span> indicates that I saw a theatrical presentation and was encouraged to watch the picture while wearing some sort of special lens(es) (Polarized, Anaglyph, ChromaDepth, Pulfrich, 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

Furthermore:<\/span>
\n– I only assign numerical ratings to films that are at least 40 minutes long.
\n– “Inc.” in lieu of a rating indicates that I don’t think that this screening was an accurate enough presentation of the film for me to make a quality judgment, either because 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 had 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
Duck Soup (1933, Leo McCarey) – 7.9<\/p>\n
Christabel (2001, James Fotopoulos) – 6.6<\/p>\n
Author: The JT Leroy Story (2016, Jeff Feuerzeig) – 5.2<\/p>\n
Howard and Jean<\/em> (2014, Heather Young) DP<\/span><\/p>\n
+Kaili Blues (2015, Bi Gan) DP<\/span> – 6.5 [same]<\/span><\/p>\n
Silence (2016, Martin Scorsese) DP<\/span> – 4.9<\/p>\n
London Road (2015, Rufus Norris) – 4.8<\/p>\n
This Film Is Not Yet Rated (2006, Kirby Dick) – 4.0<\/p>\n
Black Coal, Thin Ice (2014, Diao Yinan) – 5.3<\/p>\n
The Love Witch (2016, Anna Biller) – 5.5<\/p>\n
+Sieranevada (2016, Cristi Puiu) DP<\/span> – 5.8 [up from 4.9]<\/span><\/p>\n
Female (1933, Michael Curtiz) – 5.9<\/p>\n
+It’s Only the End of the World (2016, Xavier Dolan) DP<\/span> – 2.9 [same]<\/span><\/p>\n
somniloquies (2017, Lucien Castaing-Taylor & V\u00e9r\u00e9na Paravel) – 5.2<\/p>\n
+Wavelength (1967, Michael Snow) 16mm<\/span> – 9.7 [same]<\/span><\/p>\n
Meurtri\u00e8re (2015, Philippe Grandrieux) – 5.9<\/p>\n
+Some Like It Hot (1959, Billy Wilder) – 8.1 [same]<\/span><\/p>\n
Nobody Waved Good-bye (1964, Don Owen) DP<\/span> – 6.0<\/p>\n
Gimme Shelter (1970, David Maysles, Albert Maysles & Charlotte Zwerin) 35mm<\/span> – 7.8<\/p>\n
+Battleship Potemkin (1925, Sergei Eisenstein) 35mm<\/span> – 5.0 [~same]<\/span><\/p>\n
+Slack Bay (2016, Bruno Dumont) – 7.2 [up from 6.9]<\/span><\/p>\n
Inside Deep Throat (2005, Fenton Bailey & Randy Barbato) – 4.5<\/p>\n
Ville – quelle ville?<\/em> (1984, Midi Onodera) DP<\/span><\/p>\n
DP2<\/em> (2014, Peter Dudar) DP<\/span><\/p>\n
The Iconography of Venus<\/em> (1987, Annette Mangaard) 16mm<\/span><\/p>\n
Eye of the Mask (1985, Judith Doyle) 16mm<\/span> – Inc. [Only half the film was screened]<\/span><\/p>\n
Canada Mini-Notes<\/em> (1974, Jim Anderson) 16mm<\/span><\/p>\n
The Passenger (1975, Michelangelo Antonioni) 35mm<\/span> – 6.4<\/p>\n
\n
\n<\/br>\n<\/div>\n
February<\/span><\/strong><\/p>\n
The Stairs (2016, Hugh Gibson) – 4.9<\/p>\n
Passion (1982, Jean-Luc Godard) 35mm<\/span> – 5.0<\/p>\n
Malcolm X (1992, Spike Lee) 35mm<\/span> – 5.6<\/p>\n
Not a Love Story (1981, Bonnie Sherr Klein) – 4.7<\/p>\n
Thunderbolt and Lightfoot (1974, Michael Cimino) 35mm<\/span> – 5.3<\/p>\n
+Dusty Stacks of Mom: The Poster Project (2013, Jodie Mack) – 8.6 [same]<\/span><\/p>\n
Seven Stars<\/em> (2016, Sofia Banzhaf & Matthew Swanson) DP<\/span><\/p>\n
+Short Stay (2016, Ted Fendt) 35mm<\/span> – 6.3 [up from 6.1]<\/span><\/p>\n
+The Fugitive Kind (1960, Sidney Lumet) 35mm<\/span> – 4.1 [down from 5.9]<\/span><\/p>\n
+sex, lies, and videotape (1989, Steven Soderbergh) – 6.3 [~same]<\/span><\/p>\n
I Don’t Feel at Home in This World Anymore (2017, Macon Blair) – 4.2<\/p>\n
United in Anger: A History of ACT UP (2012, Jim Hubbard) – 5.6<\/p>\n
\n
\n<\/br>\n<\/div>\n
March<\/span><\/strong><\/p>\n
Chronicle of Anna Magdalena Bach (1968, Dani\u00e8le Huillet & Jean-Marie Straub) 35mm<\/span> – 5.8<\/p>\n
Machorka-Muff<\/em> (1962, Dani\u00e8le Huillet & Jean-Marie Straub) 35mm<\/span><\/p>\n
Not Reconciled, or Only Violence Helps Where Violence Rules (1965, Jean-Marie Straub) 35mm<\/span> – 5.0<\/p>\n
The Bridegroom, the Actress, and the Pimp<\/em> (1968, Jean-Marie Straub) 35mm<\/span><\/p>\n
Class Relations (1984, Dani\u00e8le Huillet & Jean-Marie Straub) 35mm<\/span> – 4.6<\/p>\n
Stranger in Paradise (2016, Guido Hendrikx) – 6.1<\/p>\n
The Watermelon Woman (1996, Cheryl Dunye) – 5.7<\/p>\n
+Punch-Drunk Love (2002, Paul Thomas Anderson) 35mm<\/span> – 8.9 [same]<\/span><\/p>\n
It’s No Real Pleasure in Life<\/em> (2016, Nikolay Michaylov) DP<\/span><\/p>\n
+Despite the Night (2015, Philippe Grandrieux) DP<\/span> – 5.5 [same]<\/span><\/p>\n
A Visit to the Louvre (2004, Dani\u00e8le Huillet & Jean-Marie Straub) 35mm<\/span> – 5.9<\/p>\n
C\u00e9zanne. Conversation with Joachim Gasquet (1990, Dani\u00e8le Huillet & Jean-Marie Straub) 35mm<\/span> – 5.6<\/p>\n
The Antigone of Sophocles after H\u00f6lderlin’s Translation Adapted for the Stage by Brecht 1948 (1992, Dani\u00e8le Huillet & Jean-Marie Straub) 35mm<\/span> – 6.0<\/p>\n
Introduction to Arnold Schoenberg’s “Accompaniment to a Cinematographic Scene”<\/em> (1973, Jean-Marie Straub) DP<\/span><\/p>\n
Moses and Aaron (1975, Dani\u00e8le Huillet & Jean-Marie Straub) DP<\/span> – 6.5<\/p>\n
Paris Is Burning (1990, Jennie Livingston) – 5.4<\/p>\n
+Mysterious Skin (2004, Gregg Araki) – 5.1 [~same]<\/span><\/p>\n
Araby (2017, Jo\u00e3o Dumans & Affonso Uchoa) – 4.5<\/p>\n
From Today Until Tomorrow (1997, Dani\u00e8le Huillet & Jean-Marie Straub) 35mm<\/span> – 6.4<\/p>\n
Sicilia! (1999, Dani\u00e8le Huillet & Jean-Marie Straub) 35mm<\/span> – 5.1<\/p>\n
Europa 2005, 27 October<\/em> (2006, Dani\u00e8le Huillet & Jean-Marie Straub) DP<\/span><\/p>\n
Joachim Gatti<\/em> (2009, Jean-Marie Straub) DP<\/span><\/p>\n
Corneille-Brecht<\/em> (2009, Jean-Marie Straub) DP<\/span><\/p>\n
+The Inconsolable One<\/em> (2011, Jean-Marie Straub) DP<\/span><\/p>\n
+An Heir<\/em> (2011, Jean-Marie Straub) DP<\/span><\/p>\n
Black Sin (1990, Dani\u00e8le Huillet & Jean-Marie Straub) 35mm<\/span> – 3.5<\/p>\n
+A Quiet Passion (2016, Terence Davies) – 6.9 [same]<\/span><\/p>\n
Workers, Peasants (2001, Dani\u00e8le Huillet & Jean-Marie Straub) 35mm<\/span> – 4.1<\/p>\n
Swimming to Cambodia (1987, Jonathan Demme) Big Ears<\/span>, 35mm<\/span> – 5.3<\/p>\n
Benjamin Smoke (2000, Jem Cohen) Big Ears<\/span>, DP<\/span> – 5.9<\/p>\n
+Stop Making Sense (1984, Jonathan Demme) Big Ears<\/span>, DP<\/span> – 5.6 [up from 5.3]<\/span><\/p>\n
Who Am I This Time? (1982, Jonathan Demme) Big Ears<\/span>, DP<\/span> – 6.6<\/p>\n
Another Telepathic Thing (2015, Jonathan Demme) Big Ears<\/span>, DP<\/span> – 5.9<\/p>\n
Tiger Tiger [music video for Holopaw]<\/em> (2016, Roger Beebe) Big Ears<\/span>, DP<\/span><\/p>\n
Farrebique (1946, Georges Rouquier) Big Ears<\/span>, DP<\/span> – 4.9<\/p>\n
+Mothlight<\/em> (1963, Stan Brakhage) Big Ears<\/span>, 16mm<\/span><\/p>\n
+Duck Amuck<\/em> (1953, Chuck Jones) Big Ears<\/span>, DP<\/span><\/p>\n
Blue Movement<\/em> (2016, Haruka Mitani & Michael Lyons) Big Ears<\/span>, DP<\/span><\/p>\n
Begone Dull Care<\/em> (1949, Evelyn Lambart & Norman McLaren) Big Ears<\/span>, 16mm<\/span><\/p>\n
+Glistening Thrills<\/em> (2013, Jodie Mack) Big Ears<\/span>, DP<\/span><\/p>\n
Ring<\/em> (2008, Kevin Jerome Everson) Big Ears<\/span>, DP<\/span><\/p>\n
Tygers<\/em> (2014, Kevin Jerome Everson) Big Ears<\/span>, DP<\/span><\/p>\n
Auditioning for Nathaniel<\/em> (2016, Kevin Jerome Everson) Big Ears<\/span>, DP<\/span><\/p>\n
R-15<\/em> (2017, Kevin Jerome Everson) Big Ears<\/span>, DP<\/span><\/p>\n
Smooth Surface<\/em> (2015, Kevin Jerome Everson) Big Ears<\/span>, DP<\/span><\/p>\n
Production Material Handler<\/em> (2015, Kevin Jerome Everson) Big Ears<\/span>, DP<\/span><\/p>\n
+Fe26<\/em> (2014, Kevin Jerome Everson) Big Ears<\/span>, DP<\/span><\/p>\n
+Ears, Nose and Throat<\/em> (2016, Kevin Jerome Everson) Big Ears<\/span>, DP<\/span><\/p>\n
Kriminalistik<\/em> (2014, Janie Geiser) Big Ears<\/span>, DP<\/span><\/p>\n
Ghost Algebra<\/em> (2009, Janie Geiser) Big Ears<\/span>, DP<\/span><\/p>\n
Kindless Villain<\/em> (2010, Janie Geiser) Big Ears<\/span>, DP<\/span><\/p>\n
The Floor of the World<\/em> (2010, Janie Geiser) Big Ears<\/span>, DP<\/span><\/p>\n
Arbor<\/em> (2012, Janie Geiser) Big Ears<\/span>, DP<\/span><\/p>\n
+The Hummingbird Wars<\/em> (2015, Janie Geiser) Big Ears<\/span>, DP<\/span><\/p>\n
+Cathode Garden<\/em> (2015, Janie Geiser) Big Ears<\/span>, DP<\/span><\/p>\n
+Flowers of the Sky<\/em> (2016, Janie Geiser) Big Ears<\/span>, DP<\/span><\/p>\n
Book of Days (1989, Meredith Monk) Big Ears<\/span>, 35mm<\/span> – 5.0<\/p>\n
Cousin Bobby (1992, Jonathan Demme) Big Ears<\/span>, DP<\/span> – 6.8<\/p>\n
Empyrean<\/em> (2016, Kalpana Subramanian) Big Ears<\/span>, DP<\/span><\/p>\n
Them Apples<\/em> (2016, Adam R. Levine) Big Ears<\/span>, 16mm<\/span><\/p>\n
1_ _ _ _1<\/em> (2015, Karissa Hahn) Big Ears<\/span>, DP<\/span><\/p>\n
Deux Champs (Two Fields)<\/em> (2015, Kevin Obsatz) Big Ears<\/span>, DP<\/span><\/p>\n
+AS WITHOUT SO WITHIN<\/em> (2016, Manuela De Laborde) Big Ears<\/span>, 16mm<\/span><\/p>\n
Koropokkuru<\/em> (2015, Akiko Maruyama & Philippe Roy) Big Ears<\/span>, DP<\/span><\/p>\n
Lost Book Found<\/em> (1996, Jem Cohen) Big Ears<\/span>, DP<\/span><\/p>\n
Parallel Inquiries<\/em> (2016, Christina C Nguyen) Big Ears<\/span>, 16mm<\/span><\/p>\n
+Nova Remnants<\/em> (2016, Stefan Grabowski) Big Ears<\/span>, DP<\/span><\/p>\n
Ghost Comb.<\/em> (2016, Ryland Walker Knight) Big Ears<\/span>, DP<\/span><\/p>\n
Spotlight on a Brick Wall<\/em> (2016, Alee Peoples & Mike Stoltz) Big Ears<\/span>, 16mm<\/span><\/p>\n
Little Orphant Annie<\/em> (2016, Bill Morrison) Big Ears<\/span>, DP<\/span><\/p>\n
One Roll in the Blackness<\/em> (2011, Chris Kennedy) Big Ears<\/span>, 16mm<\/span><\/p>\n
Women Will Come: Feminists Redefining Pornography (2010, Joanne Loton) – 3.1<\/p>\n
+Paterson (2016, Jim Jarmusch) – 6.9 [down from 7.1]<\/span><\/p>\n
+Landscape Suicide (1987, James Benning) – 8.4 [same]<\/span><\/p>\n
\n
\n<\/br>\n<\/div>\n
April<\/span><\/strong><\/p>\n
A Man and His Dog Out for Air<\/em> (1957, Robert Breer) 16mm<\/span><\/p>\n
Recreation<\/em> (1957, Robert Breer) 16mm<\/span><\/p>\n
Robert Breer at Home<\/em> (1992, Jennifer L. Burford) 16mm<\/span><\/p>\n
Gulls and Buoys<\/em> (1972, Robert Breer) 16mm<\/span><\/p>\n
70<\/em> (1970, Robert Breer) 16mm<\/span><\/p>\n
69<\/em> (1968, Robert Breer) 16mm<\/span><\/p>\n
Fuji<\/em> (1973, Robert Breer) 16mm<\/span><\/p>\n
LMNO<\/em> (1978, Robert Breer) 16mm<\/span><\/p>\n
Swiss Army Knife with Rats and Pigeons<\/em> (1980, Robert Breer) 16mm<\/span><\/p>\n
Trial Balloons<\/em> (1982, Robert Breer) 16mm<\/span><\/p>\n
What Goes Up<\/em> (2003, Robert Breer) 16mm<\/span><\/p>\n
Proposition in Four Parts (1985, Dani\u00e8le Huillet & Jean-Marie Straub) DP<\/span> – 5.2<\/p>\n
Eyes Do Not Want to Close at All Times or Perhaps One Day Rome Will Permit Herself to Choose in Her Turn (1970, Dani\u00e8le Huillet & Jean-Marie Straub) DP<\/span> – 6.7<\/p>\n
Song to Song (2017, Terrence Malick) DP<\/span> – 4.7<\/p>\n
+Her (2013, Spike Jonze) – 5.8 [same]<\/span><\/p>\n
Railway Sleepers (2017, Sompot Chidgasornpongse) – 5.4<\/p>\n
Still Night, Still Light (2016, Sophie Goyette) DP<\/span> – 3.6<\/p>\n
Four Days in France (2016, J\u00e9r\u00f4me Reybaud) – 6.7<\/p>\n
Early Spring (1956, Yasujiro Ozu) 35mm<\/span> – 5.1<\/p>\n
+The Passion of Joan of Arc (1928, Carl Theodor Dreyer) 35mm<\/span> – 6.6 [up from ~5.5]<\/span><\/p>\n
+Ordet (1955, Carl Theodor Dreyer) 35mm<\/span> – 8.2 [up from ~7.5]<\/span><\/p>\n
Day of Wrath (1943, Carl Theodor Dreyer) 35mm<\/span> – 6.0<\/p>\n
Xenoi<\/em> (2016, Deborah Stratman) Images<\/span>, DP<\/span><\/p>\n
A Distant Echo (2016, George Clark) Images<\/span>, DP<\/span> – 4.3<\/p>\n
Untitled (2017, Michael Glawogger & Monika Willi) – 4.8<\/p>\n
An Autumn Afternoon (1962, Yasujiro Ozu) 35mm<\/span> – 5.5<\/p>\n
Last Men in Aleppo (2017, Firas Fayyad & Steen Johannessen) Hot Docs<\/span>, DP<\/span> – 4.7<\/p>\n
Quest (2017, Jonathan Olshefski) Hot Docs<\/span>, DP<\/span> – 6.7<\/p>\n
\n
\n<\/br>\n<\/div>\n
May<\/span><\/strong><\/p>\n
Spettacolo (2017, Jeff Malmberg & Chris Shellen) Hot Docs<\/span>, DP<\/span> – 4.3<\/p>\n
Kaltes Tal<\/em> (2016, Florian G. M. Fischer & Johannes Krell) Hot Docs<\/span>, DP<\/span><\/p>\n
Machines (2016, Rahul Jain) Hot Docs<\/span>, DP<\/span> – 5.9<\/p>\n
A Friendship in Tow\/Toe<\/em> (2017, Atsushi Kuwayama) Hot Docs<\/span>, DP<\/span><\/p>\n
Maison du Bonheur (2017, Sofia Bohdanowicz) Hot Docs<\/span>, DP<\/span> – 5.6<\/p>\n
Strong Island (2017, Yance Ford) Hot Docs<\/span>, DP<\/span> – 5.5<\/p>\n
78\/52 (2017, Alexandre O. Philippe) Hot Docs<\/span>, DP<\/span> – 4.6<\/p>\n
Flames (2017, Zefrey Throwell) Hot Docs<\/span>, DP<\/span> – 6.1<\/p>\n
Sunrise on the Total Chaos<\/em> (2016, Craig Norris) Hot Docs<\/span>, DP<\/span><\/p>\n
Brimstone & Glory (2017, Viktor Jakovleski) Hot Docs<\/span>, DP<\/span> – 5.3<\/p>\n
Donkeyote (2017, Chico Pereira) Hot Docs<\/span>, DP<\/span> – 5.0<\/p>\n
Do Donkeys Act? (2017, David Redmon & Ashley Sabin) Hot Docs<\/span>, DP<\/span> – 5.3<\/p>\n
Prince of Darkness (1987, John Carpenter) 35mm<\/span> – 5.7<\/p>\n
Princess Cyd (2017, Stephen Cone) – 5.5<\/p>\n
Isma\u00ebl’s Ghosts (2017, Arnaud Desplechin) Cannes<\/span>, DP<\/span> – 5.1<\/p>\n
Loveless (2017, Andrey Zvyagintsev) Cannes<\/span>, DP<\/span> – 3.4<\/p>\n
Wonderstruck (2017, Todd Haynes) Cannes<\/span>, DP<\/span> – 6.9<\/p>\n
Western (2017, Valeska Grisebach) Cannes<\/span>, DP<\/span> – 6.1<\/p>\n
Let the Sun Shine In (2017, Claire Denis) Cannes<\/span>, DP<\/span> – 6.4<\/p>\n
Lover for a Day (2017, Philippe Garrel) Cannes<\/span>, DP<\/span> – 6.3<\/p>\n
Faces Places (2017, Agn\u00e8s Varda & JR) Cannes<\/span>, DP<\/span> – 7.2<\/p>\n
Barbara (2017, Mathieu Amalric) Cannes<\/span>, DP<\/span> – 4.6<\/p>\n
The Square (2017, Ruben \u00d6stlund) Cannes<\/span>, DP<\/span> – 4.4<\/p>\n
BPM (Beats Per Minute) (2017, Robin Campillo) Cannes<\/span>, DP<\/span> – 6.9<\/p>\n
Jupiter\u2019s Moon (2017, Korn\u00e9l Mundrucz\u00f3) Cannes<\/span>, DP<\/span> – 2.9<\/p>\n
Alive in France (2017, Abel Ferrara) Cannes<\/span>, DP<\/span> – 5.0<\/p>\n
Redoubtable (2017, Michel Hazanavicius) Cannes<\/span>, DP<\/span> – 5.4<\/p>\n
Jeannette, the Childhood of Joan of Arc (2017, Bruno Dumont) Cannes<\/span>, DP<\/span> – 8.2<\/p>\n
Claire\u2019s Camera (2017, Hong Sang-soo) Cannes<\/span>, DP<\/span> – 6.5<\/p>\n
Napalm (2017, Claude Lanzmann) Cannes<\/span>, DP<\/span> – 5.8<\/p>\n
Before We Vanish (2017, Kiyoshi Kurosawa) Cannes<\/span>, DP<\/span> – 6.4<\/p>\n
Happy End (2017, Michael Haneke) Cannes<\/span>, DP<\/span> – 5.6<\/p>\n
The Killing of a Sacred Deer (2017, Yorgos Lanthimos) Cannes<\/span>, DP<\/span> – 6.0<\/p>\n
The Florida Project (2017, Sean Baker) Cannes<\/span>, DP<\/span> – 5.3<\/p>\n
The Day After (2017, Hong Sang-soo) Cannes<\/span>, DP<\/span> – 6.1<\/p>\n
Golden Years (2017, Andr\u00e9 T\u00e9chin\u00e9) Cannes<\/span>, DP<\/span> – 4.3<\/p>\n
The Rider (2017, Chlo\u00e9 Zhao) Cannes<\/span>, DP<\/span> – 6.2<\/p>\n
Radiance (2017, Naomi Kawase) Cannes<\/span>, DP<\/span> – 4.6<\/p>\n
24 Frames (2017, Abbas Kiarostami) Cannes<\/span>, DP<\/span> – 7.0<\/p>\n
Frost (2017, Sharunas Bartas) Cannes<\/span>, DP<\/span> – 4.9<\/p>\n
Rodin (2017, Jacques Doillon) Cannes<\/span>, DP<\/span> – 3.7<\/p>\n
The Beguiled (2017, Sofia Coppola) Cannes<\/span>, DP<\/span> – 6.0<\/p>\n
Closeness (2017, Kantemir Balagov) Cannes<\/span>, DP<\/span> – 5.1<\/p>\n
I Am Not a Witch (2017, Rungano Nyoniand) Cannes<\/span>, DP<\/span> – 5.7<\/p>\n
A Gentle Creature (2017, Sergei Loznitsa) Cannes<\/span>, DP<\/span> – 4.5<\/p>\n
Good Time (2017, Josh & Benny Safdie) Cannes<\/span>, DP<\/span> – 6.7<\/p>\n
The Nothing Factory (2017, Pedro Pinho) Cannes<\/span>, DP<\/span> – 6.5<\/p>\n
12 Days (2017, Raymond Depardon) Cannes<\/span>, DP<\/span> – 5.8<\/p>\n
Double Lover (2017, Fran\u00e7ois Ozon) Cannes<\/span>, DP<\/span> – 2.6<\/p>\n
In the Fade (2017, Fatih Akin) Cannes<\/span>, DP<\/span> – 3.1<\/p>\n
Peru<\/em> (2017, Marie Kremer) Cannes<\/span>, DP<\/span><\/p>\n
Makala (2017, Emmanuel Gras) Cannes<\/span>, DP<\/span> – 5.2<\/p>\n
The Service Station<\/em> (2017, Patrick Ridremont) Cannes<\/span>, DP<\/span><\/p>\n
Gabriel and the Mountain (2017, Fellipe Barbosa) Cannes<\/span>, DP<\/span> – 6.1<\/p>\n
You Were Never Really Here (2017, Lynne Ramsay) Cannes<\/span>, DP<\/span> – 5.1<\/p>\n
Based On a True Story (2017, Roman Polanski) Cannes<\/span>, DP<\/span> – 4.6<\/p>\n
+The Florida Project (2017, Sean Baker) Cannes<\/span>, DP<\/span> – 6.3 [up from 5.3]<\/span><\/p>\n
Off Path<\/em> (2017, Julie Jouve & Redha Belghiat) Cannes<\/span>, DP<\/span><\/p>\n
A Ciambra (2017, Jonas Carpignano) Cannes<\/span>, DP<\/span> – 4.7<\/p>\n
+Let the Sun Shine In (2017, Claire Denis) Cannes<\/span>, DP<\/span> – 6.4 [same]<\/span><\/p>\n
The Meyerowitz Stories (New and Selected) (2017, Noah Baumbach) Cannes<\/span>, DP<\/span> – 6.3<\/p>\n
\n
\n<\/br>\n<\/div>\n
June<\/span><\/strong><\/p>\n
+The Lost City of Z (2016, James Gray) DP<\/span> – 6.1 [down from 7.7]<\/span><\/p>\n
Q<\/em> (2017, Caitlin Kennific) DP<\/span><\/p>\n
+The Park (2016, Damien Manivel) DP<\/span> – 6.3 [up from 6.1]<\/span><\/p>\n
Montparnasse Bienven\u00fce (2017, L\u00e9onor Serraille) – 4.7<\/p>\n
The Beguiled (1971, Don Siegel) – 6.5<\/p>\n
Ghostbusters (2016, Paul Feig) – 3.8<\/p>\n
Split (2016, M. Night Shyamalan) – 5.1<\/p>\n
Morgan (2016, Luke Scott) – 3.6<\/p>\n
Wonder Woman (2017, Patty Jenkins) DP<\/span> – 4.2<\/p>\n
Le Samoura\u00ef (1967, Jean-Pierre Melville) 35mm<\/span> – 5.9<\/p>\n
Okja (2017, Bong Joon-ho) – 5.9<\/p>\n
\n
\n<\/br>\n<\/div>\n
July<\/span><\/strong><\/p>\n
Is This It<\/em> (2017, Hazel Lee) DP<\/span><\/p>\n
Icaros: A Vision (2016, Leonor Caraballo & Matteo Norzi) DP<\/span> – 4.0<\/p>\n
Rectangle – Deux chansons de Jacno<\/em> (1980, Olivier Assayas) DP<\/span><\/p>\n
Winston Tong en studio<\/em> (1984, Olivier Assayas) 35mm<\/span><\/p>\n
Disorder (1986, Olivier Assayas) DP<\/span> – 3.3<\/p>\n
+La Ci\u00e9naga (2001, Lucrecia Martel) – 6.5 [down from 8.5]<\/span><\/p>\n
+The Holy Girl (2004, Lucrecia Martel) – 6.2 [down from 6.4]<\/span><\/p>\n
Paris Awakens (1991, Olivier Assayas) 35mm<\/span> – 5.5<\/p>\n
+The Headless Woman (2008, Lucrecia Martel) – 7.3 [down from 8.2]<\/span><\/p>\n
Dunkirk (2017, Christopher Nolan) 70mm<\/span> – 4.9<\/p>\n
Did You Wonder Who Fired the Gun? (2017, Travis Wilkerson) – 5.3<\/p>\n
David Lynch: The Art Life (2016, Jon Nguyen, Rick Barnes, & Olivia Neergaard-Holm) – 5.7<\/p>\n
A Ghost Story (2017, David Lowery) DP<\/span> – 6.3<\/p>\n
Person to Person (2017, Dustin Guy Defa) – 6.4<\/p>\n
Zama (2017, Lucrecia Martel) – 5.8<\/p>\n
\n
\n<\/br>\n<\/div>\n
August<\/span><\/strong><\/p>\n
Nick Carter, Master Detective (1939, Jacques Tourneur) Locarno<\/span>, 35mm<\/span> – 5.6<\/p>\n
Doctors Don’t Tell (1941, Jacques Tourneur) Locarno<\/span>, 35mm<\/span> – 5.0<\/p>\n
A Skin So Soft (2017, Denis C\u00f4t\u00e9) Locarno<\/span>, DP<\/span> – 6.1<\/p>\n
+Scaffold<\/em> (2017, Kazik Radwanski) Locarno<\/span>, DP<\/span><\/p>\n
+PROTOTYPE (2017, Blake Williams) Locarno<\/span>, 3D<\/span> – H.i<\/p>\n
Cocote (2017, Nelson Carlo de los Santos Arias) Locarno<\/span>, DP<\/span> – 3.8<\/p>\n
Let the Corpses Tan (2017, H\u00e9l\u00e8ne Cattet & Bruno Forzani) Locarno<\/span>, DP<\/span> – 4.5<\/p>\n
The Flame and the Arrow (1950, Jacques Tourneur) Locarno<\/span>, 35mm<\/span> – 5.6<\/p>\n
Phantom Raiders (1940, Jacques Tourneur) Locarno<\/span>, 16mm<\/span> – 4.9<\/p>\n
All for a Rose<\/em> (2017, Marco Bellocchio) Locarno<\/span>, DP<\/span><\/p>\n
Milla (2017, Val\u00e9rie Massadian) Locarno<\/span>, DP<\/span> – 5.9<\/p>\n
Days of Glory (1944, Jacques Tourneur) Locarno<\/span>, 35mm<\/span> – 7.6<\/p>\n
Lucky (2017, John Carroll Lynch) Locarno<\/span>, DP<\/span> – 5.2<\/p>\n
Mrs. Hyde (2017, Serge Bozon) Locarno<\/span>, DP<\/span> – 7.7<\/p>\n
3\/4 (2017, Ilian Metev) Locarno<\/span>, DP<\/span> – 6.3<\/p>\n
Way of a Gaucho\u00a0(1952, Jacques Tourneur) Locarno<\/span>, 35mm<\/span> – 4.4<\/p>\n
Once There Was Brasilia (2017, Adirley\u00a0Queir\u00f3s) Locarno<\/span>, DP<\/span> – 7.1<\/p>\n
Cat People (1942, Jacques Tourneur) Locarno<\/span>, 35mm<\/span> – 5.5<\/p>\n
Meteors (2017, G\u00fcrcan Keltek) Locarno<\/span>, DP<\/span> – 5.1<\/p>\n
The First Lap (2017, Kim Dae-hwan) Locarno<\/span>, DP<\/span> – 5.4<\/p>\n
Circle of Danger (1951, Jacques Tourneur) Locarno<\/span>, 35mm<\/span> – 7.3<\/p>\n
Wichita\u00a0(1955, Jacques Tourneur) Locarno<\/span>, 35mm<\/span> – 6.0<\/p>\n
Damned Summer (2017, Pedro Cabeleira) Locarno<\/span>, DP<\/span> – 6.6<\/p>\n
Rise and Fall of a Small Film Company\u00a0(1986, Jean-Luc Godard) Locarno<\/span>, DP<\/span> – 7.0<\/p>\n
Fantasy Sentences<\/em> (2017, Dane Komljen) Locarno<\/span>, DP<\/span><\/p>\n
Le Fort des fous (2017, Narimane Mari) Locarno<\/span>, DP<\/span> – 5.2<\/p>\n
Great Day in the Morning (1956, Jacques Tourneur) Locarno<\/span>, 35mm<\/span> – 5.6<\/p>\n
Aliens<\/em> (2017, Luis L\u00f3pez Carrasco) Locarno<\/span>, DP<\/span><\/p>\n
Good Luck (2017, Ben Russell) Locarno<\/span>, DP<\/span> – 5.4<\/p>\n
Mrs. Fang (2017, Wang Bing) Locarno<\/span>, DP<\/span> – 5.1<\/p>\n
Poison (1991, Todd Haynes) Locarno<\/span>, 35mm<\/span> – 5.7<\/p>\n
Nightfall\u00a0(1957, Jacques Tourneur) Locarno<\/span>, 35mm<\/span> – 4.8<\/p>\n
The Wandering Soap Opera (2017, Ra\u00fal Ruiz & Valeria Sarmiento) Locarno<\/span>, DP<\/span> – 7.1<\/p>\n
The Lonely Voice of Man (1987, Alexander Sokurov) Locarno<\/span>, DP<\/span> – 6.3<\/p>\n
The Mount of Ants (2017, Riccardo Palladino) Locarno<\/span>, DP<\/span> – 3.5<\/p>\n
Ouroboros (2017, Basma Alsharif) Locarno<\/span>, DP<\/span> – 4.7<\/p>\n
The Leopard Man (1943, Jacques Tourneur) Locarno<\/span>, 35mm<\/span> – 5.6<\/p>\n
Dragonfly Eyes (2017, Xu Bing) Locarno<\/span>, DP<\/span> – 4.7<\/p>\n
Sweating the Small Stuff (2017, Ninomiya Ryutaro) Locarno<\/span>, DP<\/span> – 5.3<\/p>\n
Farewell (2017, Astrid Johanna Ofner) Locarno<\/span>, DP<\/span> – 4.8<\/p>\n
Arri\u00e8re-saison<\/em> (2017, Jean-Claude Rousseau) Locarno<\/span>, DP<\/span><\/p>\n
Si loin, si proche<\/em> (2017, Jean-Claude Rousseau) Locarno<\/span>, DP<\/span><\/p>\n
Hello Horse!<\/em> (2017, Laila Pakalnina) Locarno<\/span>, DP<\/span><\/p>\n
Filmus (2017, Cl\u00e9ment Safra) Locarno<\/span>, DP<\/span> – 6.0<\/p>\n
Hallelujah the Hills\u00a0(1963, Adolfas Mekas) Locarno<\/span>, 35mm<\/span> – 6.1<\/p>\n
Canyon Passage (1946, Jacques Tourneur) Locarno<\/span>, 16mm<\/span> – 5.9<\/p>\n
Stars in My Crown (1950, Jacques Tourneur) Locarno<\/span>, 35mm<\/span> – 7.6<\/p>\n
+Sicilia! (1999, Dani\u00e8le Huillet & Jean-Marie Straub) Locarno<\/span>, 35mm<\/span> – 5.5 [up from 5.1]<\/span><\/p>\n
Light Years (2017, Manuel Abramovich) – 4.6<\/p>\n
+Zama (2017, Lucrecia Martel) – 5.8 [same]<\/span><\/p>\n
Marjorie Prime (2017, Michael Almereyda) – 6.8<\/p>\n
Thelma\u00a0(2017, Joachim Trier) DP<\/span> – 3.6<\/p>\n
\n
\n<\/br>\n<\/div>\n
September<\/span><\/strong><\/p>\n
Call Me by Your Name\u00a0(2017, Luca Guadagnino) DP<\/span> – 7.6<\/p>\n
Twin Peaks (2017, David Lynch) – 9.1<\/p>\n
Ex Libris: The New York Public Library (2017, Frederick Wiseman) TIFF<\/span>, DP<\/span> – 5.7<\/p>\n
+All the Cities of the North\u00a0(2016, Dane Komljen) DP<\/span> – 6.2 [up from 4.6]<\/span><\/p>\n
+The Rider (2017, Chlo\u00e9 Zhao) TIFF<\/span>, DP<\/span> – 6.2 [same]<\/span><\/p>\n
Bodied (2017, Joseph Kahn) TIFF<\/span>, DP<\/span> – 4.7<\/p>\n
The Guardians (2017, Xavier Beauvois) TIFF<\/span>, DP<\/span> – 6.1<\/p>\n
Onward Lossless Follows<\/em>\u00a0(2017, Michael Robinson) TIFF<\/span>, DP<\/span><\/p>\n
some cities<\/em>\u00a0(2017, Francesco Gagliardi) TIFF<\/span>, 16mm<\/span><\/p>\n
+The Watchmen<\/em>\u00a0(2017, Fern Silva) TIFF<\/span>, 35mm<\/span><\/p>\n
Wasteland no.1: Ardent, Verdant<\/em>\u00a0(2017, Jodie Mack) TIFF<\/span>, 16mm<\/span><\/p>\n
+Fantasy Sentences<\/em>\u00a0(2017, Dane Komljen) TIFF<\/span>, DP<\/span><\/p>\n
Florence<\/em>\u00a0(1970, Erkki Kurenniemi) TIFF<\/span>, DP<\/span><\/p>\n
+PROTOTYPE\u00a0(2017, Blake Williams) TIFF<\/span>, 3D<\/span> – H.i [same]<\/span><\/p>\n
Lady Bird\u00a0(2017, Greta Gerwig) TIFF<\/span>, DP<\/span> – 5.4<\/p>\n
+Strangely Ordinary This Devotion<\/em>\u00a0(2017, Dani Leventhal & Sheilah Wilson) TIFF<\/span>, DP<\/span><\/p>\n
Beyond the One\u00a0(2017, Anna Marziano) TIFF<\/span>, DP<\/span> – 4.6<\/p>\n
Molly\u2019s Game (2017, Aaron Sorkin) TIFF<\/span>, DP<\/span> – 5.5<\/p>\n
Pixillation<\/em>\u00a0(1976, Anne Charlotte Robertson) TIFF<\/span>, DP<\/span><\/p>\n
Ticino<\/em>\u00a0(2017, Friedl vom Gr\u00f6ller) TIFF<\/span>, 16mm<\/span><\/p>\n
Brown and Clear<\/em>\u00a0(2017, Kevin Jerome Everson) TIFF<\/span>, DP<\/span><\/p>\n
Turtles Are Always Home<\/em>\u00a0(2017, Rawane Nassif) TIFF<\/span>, DP<\/span><\/p>\n
Configuration in Black and White<\/em>\u00a0(2017, Helga Fanderl) TIFF<\/span>, 16mm<\/span><\/p>\n
Fire<\/em>\u00a0(2017, Lucy Parker) TIFF<\/span>, DP + 16mm<\/span><\/p>\n
From Source to Poem<\/em>\u00a0(2017, Rosa Barba) TIFF<\/span>, 35mm<\/span><\/p>\n
Fluid Frontiers<\/em>\u00a0(2017, Ephraim Asili) TIFF<\/span>, DP<\/span><\/p>\n
mother!\u00a0(2017, Darren Aronofsky) TIFF<\/span>, DP<\/span> – 3.3<\/p>\n
Lean On Pete\u00a0(2017, Andrew Haigh) TIFF<\/span>, DP<\/span> – 4.1<\/p>\n
Mr. Yellow Sweatshirt<\/em>\u00a0(2017, Pacho Velez & Yoni Brook) TIFF<\/span>, DP<\/span><\/p>\n
Yeti<\/em>\u00a0(2017, Wojciech B\u0105kowski) TIFF<\/span>, DP<\/span><\/p>\n
(100ft)<\/em>\u00a0(2017, Minjung Kim) TIFF<\/span>, 16mm<\/span><\/p>\n
Heart of a Mountain<\/em>\u00a0(2017, Parastoo Anoushahpour, Ryan Ferko, Faraz Anoushahpour) TIFF<\/span>, DP<\/span><\/p>\n
Rose Gold<\/em>\u00a0(2017, Sara Cwynar) TIFF<\/span>, DP<\/span><\/p>\n
Division Movement to Vungtau<\/em>\u00a0(2017, Benjamin Crotty & Bertrand Dezoteux) TIFF<\/span>, DP<\/span><\/p>\n
Flores<\/em>\u00a0(2017, Jorge J\u00e1come) TIFF<\/span>, DP<\/span><\/p>\n
Caniba\u00a0(2017, Lucien Castaing-Taylor & Verena Paravel) TIFF<\/span>, DP<\/span> – 6.9<\/p>\n
La Libertad<\/em>\u00a0(2017, Laura Huertas Mill\u00e1n) TIFF<\/span>, DP<\/span><\/p>\n
Palmerston Blvd.<\/em>\u00a0(2017, Dan Browne) TIFF<\/span>, DP<\/span><\/p>\n
below-above<\/em>\u00a0(2017, Andr\u00e9 Lehmann) TIFF<\/span>, 16mm<\/span><\/p>\n
+Aliens<\/em>\u00a0(2017, Luis L\u00f3pez Carrasco) TIFF<\/span>, DP<\/span><\/p>\n
Foxtrot\u00a0(2017, Samuel Maoz) TIFF<\/span>, DP<\/span> – 4.7<\/p>\n
+Dial M for Murder [Anaglyph 3D] (1954, Alfred Hitchcock) – 8.1 [same]<\/span><\/p>\n
The Shape of Water\u00a0(2017, Guillermo del Toro) TIFF<\/span>, DP<\/span> – 4.3<\/p>\n
Brawl in Cell Block 99\u00a0(2017, S. Craig Zahler) TIFF<\/span>, DP<\/span> – 5.9<\/p>\n
Downsizing\u00a0(2017, Alexander Payne) TIFF<\/span>, DP<\/span> – 5.8<\/p>\n
I Love You, Daddy\u00a0(2017, Louis C.K.) TIFF<\/span>, DP<\/span> – 7.0<\/p>\n
+Florence<\/em>\u00a0(1970, Erkki Kurenniemi) TIFF<\/span>, DP<\/span><\/p>\n
Dark River\u00a0(2017, Clio Barnard) TIFF<\/span>, DP<\/span> – 3.9<\/p>\n
Manhunt\u00a0(2017, John Woo) TIFF<\/span>, DP<\/span> – 5.3<\/p>\n
F\u00e9licit\u00e9\u00a0(2017, Alain Gomis) TIFF<\/span>, DP<\/span> – 6.0<\/p>\n
+Jeannette, the Childhood of Joan of Arc\u00a0(2017, Bruno Dumont) TIFF<\/span>, DP<\/span> – 8.0 [down from 8.2]<\/span><\/p>\n
First Reformed\u00a0(2017, Paul Schrader) TIFF<\/span>, DP<\/span> – 6.6<\/p>\n
The Seen and Unseen\u00a0(2017, Kamila Andini) TIFF<\/span>, DP<\/span> – 5.4<\/p>\n
Struggling\u00a0(1932, Shi Dongshan) TIFF<\/span>, DP<\/span> – 4.9<\/p>\n
Three Billboards in Ebbing, Missouri\u00a0(2017, Martin McDonagh) TIFF<\/span>, DP<\/span> – 4.2<\/p>\n
On Body and Soul\u00a0(2017, Ildik\u00f3 Enyedi) TIFF<\/span>, DP<\/span> – 4.0<\/p>\n
+Faces Places\u00a0(2017, Agn\u00e9s Varda & JR) TIFF<\/span>, DP<\/span> – 7.2 [same]<\/span><\/p>\n
+Cave of Forgotten Dreams [Anaglyph 3D] (2010, Werner Herzog) – 8.0 [same]<\/span><\/p>\n
On the Beach at Night Alone (2017, Hong Sang-soo) – 5.7<\/p>\n
Thirst Street (2017, Nathan Silver) – 4.2<\/p>\n
Occidental (2017, Ne\u00efl Beloufa) – 4.3<\/p>\n
Beach Rats (2017, Eliza Hittman) DP<\/span> – 3.9<\/p>\n
Columbus (2017, Kogonada) DP<\/span> – 4.8<\/p>\n
Sleep Has Her House (2017, Scott Barley) – 4.6<\/p>\n
The Venerable W. (2017, Barbet Schroeder) VIFF<\/span>, DP<\/span> – 5.0<\/p>\n
Fail to Appear (2017, Antoine Bourges) VIFF<\/span>, DP<\/span> – 5.6<\/p>\n
Forest Movie (2017, Matthew Taylor Blais) VIFF<\/span>, DP<\/span> – 2.8<\/p>\n
Idizwadidiz<\/em> (2017, Isiah Medina) VIFF<\/span>, DP<\/span><\/p>\n
+PROTOTYPE (2017, Blake Williams) VIFF<\/span>, 3D<\/span> – H.i [same]<\/span><\/p>\n
\n
\n<\/br>\n<\/div>\n
October<\/span><\/strong><\/p>\n
+Hugo [Anaglyph 3D] (2011, Martin Scorsese) – 6.4 [up from 6.1]<\/span><\/p>\n
October (1928, Sergei Eisenstein & Grigori Aleksandrov) DP<\/span> – 5.1<\/p>\n
Beauty and the Beast (1946, Jean Cocteau) 35mm<\/span> – 6.2<\/p>\n
The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks (1924, Lev Kuleshov) DP<\/span> – 4.7<\/p>\n
+By the Law [16fps \/ live piano] (1926, Lev Kuleshov) 35mm<\/span> – 8.8 [same]<\/span><\/p>\n
Step Up 3D [Anaglyph 3D] (2010, Jon M. Chu) – 5.6<\/p>\n
Golden Exits (2017, Alex Ross Perry) 35mm<\/span> – 6.0<\/p>\n
The Stewardesses [Anaglyph 3D] (1969, Al Silliman Jr.) – 5.5<\/p>\n
The Mission (1999, Johnnie To) 35mm<\/span> – 5.4<\/p>\n
Jackass 3D [Anaglyph 3D] (2010, Jeff Tremaine) – 5.2<\/p>\n
\n
\n<\/br>\n<\/div>\n
November<\/span><\/strong><\/p>\n
Baby Driver (2017, Edgar Wright) – 5.1<\/p>\n
It Came from Outer Space [3D] (1953, Jack Arnold) – 5.5<\/p>\n
The Mad Magician [3D] (1954, John Brahm) – 5.3<\/p>\n
+Wonder Woman [3D] (2017, Patty Jenkins) – 4.2 [same as 2D]<\/span><\/p>\n
Thor: Ragnarok (2017, Taika Waititi) 3D<\/span> – 6.1<\/p>\n
Rams 23 Blue Bears 21<\/em> (2017, Kevin Jerome Everson) Houston Cinema Arts<\/span>, DP<\/span><\/p>\n
+Ride Like Lightning, Crash Like Thunder<\/em> (2017, Fern Silva) Houston Cinema Arts<\/span>, 16mm<\/span><\/p>\n
+Onward Lossless Follows<\/em> (2017, Michael Robinson) Houston Cinema Arts<\/span>, DP<\/span><\/p>\n
+Wasteland No. 1: Ardent, Verdant<\/em> (2017, Jodie Mack) Houston Cinema Arts<\/span>, 16mm<\/span><\/p>\n
Shape of a Surface<\/em> (2017, Nazl\u012b Din\u00e7el) Houston Cinema Arts<\/span>, 16mm<\/span><\/p>\n
Galveston<\/em> (2017, Mark Lewis) Houston Cinema Arts<\/span>, DP<\/span><\/p>\n
+Palmerston Blvd.<\/em> (2017, Dan Browne) Houston Cinema Arts<\/span>, DP<\/span><\/p>\n
Get Out (2017, Jordan Peele) – 5.0<\/p>\n
+PROTOTYPE (2017, Blake Williams) Houston Cinema Arts<\/span>, 3D<\/span> – H.i [same]<\/span><\/p>\n
+Gravity [Anaglyph 3D] (2013, Alfonso Cuar\u00f3n) – 6.6 [up from 6.4]<\/span><\/p>\n
Nostalghia (1983, Andrei Tarkovsky) 35mm<\/span> – 5.9<\/p>\n
+Duck Soup (1933, Leo McCarey) – 7.9 [same]<\/span><\/p>\n
+Goodbye to Language [Anaglyph 3D] (2014, Jean-Luc Godard) – 9.9 [same]<\/span><\/p>\n
The Comedy and Tragedy of Bora Joksimovi\u0107<\/em> (1977, \u017delimir \u017dilnik) Mar del Plata<\/span>, DP<\/span><\/p>\n
+Red Capriccio<\/em> (2014, Blake Williams) Mar del Plata<\/span>, 3D<\/span><\/p>\n
+PROTOTYPE (2017, Blake Williams) Mar del Plata<\/span>, 3D<\/span> – H.i [same]<\/span><\/p>\n
Plus Ultra<\/em> (2017, Helena Gir\u00f3n & Samuel M. Delgado) Mar del Plata<\/span>, DP<\/span><\/p>\n
Fajr<\/em> (2017, Lois Pati\u00f1o) Mar del Plata<\/span>, DP<\/span><\/p>\n
La Bouche<\/em> (2017, Camilo Restrepo) Mar del Plata<\/span>, DP<\/span><\/p>\n
The Wild Boys (2017, Bertrand Mandico) Mar del Plata<\/span>, DP<\/span> – 3.4<\/p>\n
Tito Among the Serbs for the Second Time (1993, \u017delimir \u017dilnik) Mar del Plata<\/span>, DP<\/span> – 5.2 <\/p>\n
Rey (2017, Niles Atallah) Mar del Plata<\/span>, DP<\/span> – 3.7<\/p>\n
+Mrs. Hyde (2017, Serge Bozon) – 7.7 [same]<\/span><\/p>\n
How to Talk to Girls at Parties (2017, John Cameron Mitchell) Mar del Plata<\/span>, DP<\/span> – 5.9<\/p>\n
+Mrs. Hyde (2017, Serge Bozon) – 7.7 [same]<\/span><\/p>\n
Girls Trip (2017, Malcolm D. Lee) – 4.6<\/p>\n
\n
\n<\/br>\n<\/div>\n
December<\/span><\/strong><\/p>\n
Phantom Thread (2017, Paul Thomas Anderson) DP<\/span> – 6.6<\/p>\n
+Wavelength (1967, Michael Snow) 16mm<\/span> – 9.7 [same]<\/span><\/p>\n
Mudbound (2017, Dee Rees) – 4.8<\/p>\n
A Hero Never Dies (1998, Johnnie To) 35mm<\/span> – 7.2<\/p>\n
Big Little Lies (2017, Jean-Marc Vall\u00e9e) – 7.4<\/p>\n
The Other Side of Hope (2017, Aki Kaurism\u00e4ki) 35mm<\/span> – 4.4<\/p>\n
Dawson City: Frozen Time (2016, Bill Morrison) – 4.1<\/p>\n
The Lure (2015, Agnieszka Smoczynska) – 3.2<\/p>\n
+Hard Eight (1996, Paul Thomas Anderson) 35mm<\/span> – 5.7 [~same]<\/span><\/p>\n
Chocolat (1988, Claire Denis) 35mm<\/span> – 6.4<\/p>\n
Star Wars: Episode VIII\u2014The Last Jedi (2017, Rian Johnson) DP<\/span> – 5.9<\/p>\n
Unrest (2017, Philippe Grandrieux) – 4.7<\/p>\n
+Good Time (2017, Josh & Benny Safdie) – 6.7 [same]<\/span><\/p>\n
Wormwood (2017, Errol Morris) – 3.8<\/p>\n
+Marjorie Prime (2017, Michael Almereyda) – 6.8 [same]<\/span><\/p>\n
Streetscapes [Dialogue] (2017, Heinz Emigholz) – 7.0<\/p>\n
Spoor (2017, Agnieszka Holland & Kasia Adamik) – 4.0<\/p>\n
Common Carrier (2017, James N. Kienitz Wilkins) – 5.6<\/p>\n
2+2=22 [The Alphabet] (2017, Heinz Emigholz) – 5.1<\/p>\n
+24 Frames (2017, Abbas Kiarostami) – 7.0 [same]<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"
Click for links to past logs. FYI: – 8mm\/16mm\/35mm\/70mm indicates that what I saw was a film print. – DP indicates that what I saw was a Digital Projection in a theatre. – 3D indicates that I saw a theatrical presentation and was encouraged to watch the picture while wearing some sort of special lens(es) […]<\/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-15995","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/posts\/15995","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=15995"}],"version-history":[{"count":5,"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/posts\/15995\/revisions"}],"predecessor-version":[{"id":16452,"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/posts\/15995\/revisions\/16452"}],"wp:attachment":[{"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/media?parent=15995"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/categories?post=15995"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/tags?post=15995"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}