{"id":17271,"date":"2018-01-01T12:50:39","date_gmt":"2018-01-01T17:50:39","guid":{"rendered":"http:\/\/blakewilliams.net\/blog\/?p=17271"},"modified":"2019-01-02T23:19:19","modified_gmt":"2019-01-03T04:19:19","slug":"2018-film-log","status":"publish","type":"post","link":"http:\/\/blakewilliams.net\/blog\/2018\/01\/2018-film-log\/","title":{"rendered":"2018 Film Log"},"content":{"rendered":"

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

FYI:<\/span>
\n– 8mm<\/span>\/16mm<\/span>\/35mm<\/span>\/70mm<\/span> indicates that what I saw was a film print.
\n– DP<\/span> indicates that what I saw was a Digital Projection in a theatre.
\n– 3D<\/span> indicates that I saw a theatrical presentation and was encouraged to watch the picture while wearing some sort of special lens(es) (Polarized, Anaglyph, ChromaDepth, Pulfrich, 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 it was a work-in-progress cut, or there weren’t English subtitles for a foreign language film, or the projector broke\/sound cut out\/the print burned, or an ass in the theatre distracted me with too much talking\/popcorn eating, or whatever.
\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

 <\/p>\n

\"\"<\/p>\n

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

A+\t9.4 - 10.0\t[Top 10 of All Time contender]\nA\t8.6 - 9.3\t[Masterpiece]\nA-\t7.8 - 8.5\t[Pretty great; Near-masterpiece]\nB+\t7.0 - 7.7\t[Kinda great; Contender for Top 10 of its year]\nB\t6.2 - 6.9\t[Has a special something]\nB-\t5.4 - 6.1\t[Solid]\nC+\t4.6 - 5.3\t[Doesn't arouse any particularly strong emotions either way]\nC\t3.8 - 4.5\t[Useless; Mediocre; Significantly flawed]\nC-\t3.0 - 3.7\t[What a failure]\nD+\t2.2 - 2.9\t[What-a-failure with cheese]\nD\t1.4 - 2.1\t[Grating]\nD-\t0.6 - 1.3\t[Offensively horrific; Horrifically offensive]\nF\t0.0 - 0.5\t[Worst of All Time consideration]<\/pre>\n
 <\/p>\n
January<\/span><\/strong><\/p>\n
Daisy Kenyon (1947, Otto Preminger) – 8.1<\/p>\n
+A Restoration<\/em> (2016, Elizabeth Price) DP<\/span><\/p>\n
Room 666 (1982, Wim Wenders) DP<\/span> – 5.3<\/p>\n
ROOM H.264: Brooklyn, NY, June 2016 (2018, Jeff Reichert, Damon Smith, & Eric Hynes) DP<\/span> – 5.6<\/p>\n
Blade Runner 2049 (2017, Denis Villeneuve) – 5.4<\/p>\n
The Disaster Artist (2017, James Franco) – 5.1<\/p>\n
Behemoth (2015, Zhao Liang) – 5.7<\/p>\n
+Phantom Thread (2017, Paul Thomas Anderson) DP<\/span> – 6.6 [same]<\/span><\/p>\n
The Green Fog (2017, Guy Maddin, Evan Johnson, & Galen Johnson) – 5.5<\/p>\n
Ava (2017, Sadaf Foroughi) DP<\/span> – 4.2<\/p>\n
The Road Movie (2016, Dmitrii Kalashnikov) – 6.1<\/p>\n
+Princess Cyd (2017, Stephen Cone) – 5.5 [same]<\/span><\/p>\n
The Post (2017, Steven Spielberg) – 3.7<\/p>\n
I Can No Longer Hear the Guitar (1991, Philippe Garrel) 35mm<\/span> – 4.9<\/p>\n
+The Inner Scar (1972, Philippe Garrel) 35mm<\/span> – 8.0 [same]<\/span><\/p>\n
+Eye Myth<\/em> (1967, Stan Brakhage) 16mm<\/span><\/p>\n
In Between<\/em> (1955, Stan Brakhage) 16mm<\/span><\/p>\n
+Mothlight<\/em> (1963, Stan Brakhage) 16mm<\/span><\/p>\n
Coupling<\/em> (1999, Stan Brakhage) 16mm<\/span><\/p>\n
+Window Water Baby Moving<\/em> (1959, Stan Brakhage) 16mm<\/span><\/p>\n
Creation<\/em> (1979, Stan Brakhage) 16mm<\/span><\/p>\n
The Cat of the Worm’s Green Realm<\/em> (1997, Stan Brakhage) 16mm<\/span><\/p>\n
I… Dreaming<\/em> (1988, Stan Brakhage) 16mm<\/span><\/p>\n
+The Dante Quartet<\/em> (1987, Stan Brakhage) 35mm<\/span><\/p>\n
The Christians (2008, Stephen Cone) – 4.6<\/p>\n
This Afternoon (2014, Stephen Cone) – 6.2<\/p>\n
The Mystery of Life (2014, Stephen Cone) – 5.6<\/p>\n
In Memoriam (2011, Stephen Cone) – 4.5<\/p>\n
Rue Fontaine<\/em> (1984, Philippe Garrel) 35mm<\/span><\/p>\n
Libert\u00e9, la nuit (1984, Philippe Garrel) 35mm<\/span> – 3.9<\/p>\n
 <\/p>\n
February<\/span><\/strong><\/p>\n
Piercing (2018, Nicolas Pesce) – 5.5<\/p>\n
+Wild Grass (2009, Alain Resnais) – 8.4 [same]<\/span><\/p>\n
+Personal Shopper (2016, Olivier Assayas) – 6.1 [down from 6.6]<\/span><\/p>\n
\u2605 [January 2018 Cut] (2017, Johann Lurf) – 7.1<\/p>\n
Hymn to Her<\/em> (1974, Stan Brakhage) 16mm<\/span><\/p>\n
The Stars Are Beautiful<\/em> (1974, Stan Brakhage) 16mm<\/span><\/p>\n
+On the Beach at Night Alone (2017, Hong Sang-soo) DP<\/span> – 6.8 [up from 5.7]<\/span><\/p>\n
+Syndromes and a Century (2006, Apichatpong Weerasethakul) – 9.6 [same]<\/span><\/p>\n
Grass (2018, Hong Sang-soo) – 5.5<\/p>\n
+A Ghost Story (2017, David Lowery) – 6.0 [down from 6.3]<\/span><\/p>\n
Notes on an Appearance (2018, Ricky D’Ambrose) – 5.1<\/p>\n
Madeline’s Madeline (2018, Josephine Decker) – 5.6<\/p>\n
Classical Period (2018, Ted Fendt) – 4.8<\/p>\n
Casanova Gene (2018, Luise Donschen) – 5.3<\/p>\n
The Wold Shadow<\/em> (1972, Stan Brakhage) 16mm<\/span><\/p>\n
Sirius Remembered<\/em> (1959, Stan Brakhage) 16mm<\/span><\/p>\n
Anticipation of the Night (1958, Stan Brakhage) 16mm<\/span> – 6.9<\/p>\n
 <\/p>\n
March<\/span><\/strong><\/p>\n
Infinite Football (2018, Corneliu Porumboiu) – 5.8<\/p>\n
+Phantom Thread (2017, Paul Thomas Anderson) 70mm<\/span> – 6.6 [same]<\/span><\/p>\n
Transit (2018, Christian Petzold) – 6.6<\/p>\n
In the Waves (2017, Jacquelyn Mills) DP<\/span> – 4.6<\/p>\n
+The Wandering Soap Opera (2017, Ra\u00fal Ruiz & Valeria Sarmiento) – 7.1 [same]<\/span><\/p>\n
Black Mother (2018, Khalik Allah) – 6.9<\/p>\n
+Goodbye to Language [3D] (2014, Jean-Luc Godard) – 9.9 [same]<\/span><\/p>\n
Annihilation (2018, Alex Garland) – 4.7<\/p>\n
Five: 5 Long Takes Dedicated to Yasujiro Ozu (2003, Abbas Kiarostami) DP<\/span> – 7.2<\/p>\n
Spice It Up [3D] (2018, Calvin Thomas & Yonah and Lev Lewis) – Inc. [Rough cut]<\/span><\/p>\n
Releasing Human Energies<\/em> (2012, Mark Toscano) Big Ears<\/span>, 16mm<\/span><\/p>\n
What is a Man?<\/em> (1958, Sara Kathryn Arledge) Big Ears<\/span>, 16mm<\/span><\/p>\n
Associations<\/em> (1975, John Smith) Big Ears<\/span>, 16mm<\/span><\/p>\n
Hot Leatherette<\/em> (1967, Robert Nelson) Big Ears<\/span>, 16mm<\/span><\/p>\n
+Dyketactics<\/em> (1974, Barbara Hammer) Big Ears<\/span>, 16mm<\/span><\/p>\n
Flower, The Boy, The Librarian<\/em> (1997, Stephanie Barber) Big Ears<\/span>, 16mm<\/span><\/p>\n
The Snowman<\/em> (1995, Phil Solomon) Big Ears<\/span>, 16mm<\/span><\/p>\n
+Swiss Army Knife with Rats & Pigeons<\/em> (1981, Robert Breer) Big Ears<\/span>, 16mm<\/span><\/p>\n
+Confessions<\/em> (1971, Curt McDowell) Big Ears<\/span>, 16mm<\/span><\/p>\n
Thine Inward-Looking Eyes<\/em> (1993, Thad Povey) Big Ears<\/span>, 16mm<\/span><\/p>\n
Mercy<\/em> (1989, Abigail Child) Big Ears<\/span>, 16mm<\/span><\/p>\n
Akbar<\/em> (1970, Richard Myers) Big Ears<\/span>, 16mm<\/span><\/p>\n
+3D Movie<\/em> (1975, Paul Sharits) Big Ears<\/span>, 3D-16mm<\/span><\/p>\n
+Olympiad<\/em> (1971, Lillian F. Schwartz) Big Ears<\/span>, 3D<\/span><\/p>\n
+Enigma<\/em> (1972, Lillian F. Schwartz) Big Ears<\/span>, 3D<\/span><\/p>\n
+Cyclops Observes the Celestial Bodies<\/em> (2014, Ken Jacobs) Big Ears<\/span>, DP<\/span><\/p>\n
+NOT AND OR<\/em> (2015, Simon Payne) Big Ears<\/span>, DP<\/span><\/p>\n
+Let Your Light Shine<\/em> (2013, Jodie Mack) Big Ears<\/span>, 3D-16mm<\/span><\/p>\n
+Arrival of a Train at La Ciotat<\/em> (1935, Auguste & Louis Lumi\u00e8re) Big Ears<\/span>, 3D<\/span><\/p>\n
Ulysses in the Subway (2017, Marc Downie, Paul Kaiser, & Ken and Flo Jacobs) Big Ears<\/span>, 3D<\/span> – 6.5<\/p>\n
Two Hours to Zero<\/em> (2004, Lewis Klahr) Big Ears<\/span>, DP<\/span><\/p>\n
Black River Falls<\/em> (2017, Lewis Klahr) Big Ears<\/span>, DP<\/span><\/p>\n
+City Film<\/em> (1992, Lewis Klahr) Big Ears<\/span>, DP<\/span><\/p>\n
Well Then There Now<\/em> (2011, Lewis Klahr) Big Ears<\/span>, DP<\/span><\/p>\n
High Rise<\/em> (2017, Lewis Klahr) Big Ears<\/span>, DP<\/span><\/p>\n
+The Occidental Hotel<\/em> (2014, Lewis Klahr) Big Ears<\/span>, DP<\/span><\/p>\n
Open Eye Sleep<\/em> (2012, Lewis Klahr) Big Ears<\/span>, DP<\/span><\/p>\n
+Goodbye to Language (2014, Jean-Luc Godard) Big Ears<\/span>, 3D<\/span> – 9.9 [same]<\/span><\/p>\n
+Twelve Tales Told<\/em> (2014, Johann Lurf) Big Ears<\/span>, 3D<\/span><\/p>\n
+Insight\u2019s Cataract<\/em> (2008, Willy Le Maitre) Big Ears<\/span>, 3D<\/span><\/p>\n
+more than everything<\/em> (2018, Rainer Kohlberger) Big Ears<\/span>, 3D<\/span><\/p>\n
+2012<\/em> (2013, Takashi Makino) Big Ears<\/span>, 3D<\/span><\/p>\n
Light Lick (Amen)<\/em> (2017, Saul Levine) Big Ears<\/span>, 16mm<\/span><\/p>\n
Catfilm for Katy and Cynnie<\/em> (1973, Standish Lawder) Big Ears<\/span>, 16mm<\/span><\/p>\n
Ciao Bella or Fuck Me Dead<\/em> (1978, Betzy Bromberg) Big Ears<\/span>, 16mm<\/span><\/p>\n
28.IV.81<\/em> (Bedouin Spark) (2009, Christopher Harris) Big Ears<\/span>, 16mm<\/span><\/p>\n
Redshift<\/em> (2001, Emily Richardson) Big Ears<\/span>, 16mm<\/span><\/p>\n
+A Study in Natural Magic<\/em> (2013, Charlotte Pryce) Big Ears<\/span>, 16mm<\/span><\/p>\n
Starlight<\/em> (1970, Robert Fulton) Big Ears<\/span>, 16mm<\/span><\/p>\n
Swish<\/em> (1982, Jean Sousa) Big Ears<\/span>, 16mm<\/span><\/p>\n
Hand Held Day<\/em> (1975, Gary Beydler) Big Ears<\/span>, 16mm<\/span><\/p>\n
Portland<\/em> (1996, Greta Snider) Big Ears<\/span>, 16mm<\/span><\/p>\n
Degrees of Limitation<\/em> (1982, Scott Stark) Big Ears<\/span>, 16mm<\/span><\/p>\n
Shrimp Boat Log<\/em> (2010, David Gatten) Big Ears<\/span>, 16mm<\/span><\/p>\n
Boston Fire<\/em> (1979, Peter Hutton) Big Ears<\/span>, 16mm<\/span><\/p>\n
Orchard<\/em> (2004, Julie Murray) Big Ears<\/span>, 16mm<\/span><\/p>\n
+Jackass 3D (2010, Jeff Tremaine) Big Ears<\/span>, 3D<\/span> – 6.1 [up from 5.2]<\/span><\/p>\n
Duo Concertantes<\/em> (1964, Lawrence Jordan) Big Ears<\/span>, 16mm<\/span><\/p>\n
Billabong<\/em> (1969, Will Hindle) Big Ears<\/span>, 16mm<\/span><\/p>\n
Love It\/Leave It<\/em> (1973, Tom Palazzolo) Big Ears<\/span>, 16mm<\/span><\/p>\n
Removed<\/em> (1999, Naomi Uman) Big Ears<\/span>, 16mm<\/span><\/p>\n
Chronicles of a Lying Spirit (by Kelly Gabron)<\/em> (1992, Cauleen Smith) Big Ears<\/span>, 16mm<\/span><\/p>\n
Terrace 49<\/em> (2004, Janie Geiser) Big Ears<\/span>, 16mm<\/span><\/p>\n
Point de Gaze<\/em> (2012, Jodie Mack) Big Ears<\/span>, 16mm<\/span><\/p>\n
Encounters I May Or May Not Have Had With Peter Berlin<\/em> (2014, Mariah Garnett) Big Ears<\/span>, 16mm<\/span><\/p>\n
Lie Back & Enjoy It<\/em> (1982, JoAnn Elam) Big Ears<\/span>, 16mm<\/span><\/p>\n
Decodings<\/em> (1988, Michael Wallin) Big Ears<\/span>, 16mm<\/span><\/p>\n
+Now is the Time (To Put On Your Glasses)<\/em> (Norman McLaren) Big Ears<\/span>, 3D<\/span><\/p>\n
+Around is Around<\/em> (1951, Norman McLaren) Big Ears<\/span>, 3D<\/span><\/p>\n
+A to A<\/em> (2011, Johann Lurf) Big Ears<\/span>, 3D<\/span><\/p>\n
+All Sides of the Road<\/em> (2012, Paul Kaiser & Marc Downie) Big Ears<\/span>, 3D<\/span><\/p>\n
+Terra Incognita<\/em> (2009, Kerry Laitala) Big Ears<\/span>, 3D<\/span><\/p>\n
+UFOs<\/em> (1971, Lillian F. Schwartz) Big Ears<\/span>, 3D<\/span><\/p>\n
+Apotheosis<\/em> (1972, Lillian F. Schwartz) Big Ears<\/span>, 3D<\/span><\/p>\n
+Speechless<\/em> (2008, Scott Stark) Big Ears<\/span>, DP<\/span><\/p>\n
Another Occupation<\/em> (2011, Ken Jacobs) Big Ears<\/span>, DP<\/span><\/p>\n
+Seeking the Monkey King (2011, Ken Jacobs) Big Ears<\/span>, DP<\/span> – 7.3 [up from 6.3]<\/span><\/p>\n
Ready Player One (2018, Steven Spielberg) DP<\/span> – 6.0<\/p>\n
 <\/p>\n
April<\/span><\/strong><\/p>\n
+PROTOTYPE (2017, Blake Williams) Locarno in LA<\/span>, DP<\/span> – H.i [same]<\/span><\/p>\n
+Wasteland No. 1: Ardent, Verdant<\/em> (2017, Jodie Mack) Locarno in LA<\/span>, DP<\/span><\/p>\n
+Plus Ultra<\/em> (2017, Helena Gir\u00f3n & Samuel M. Delgado) Locarno in LA<\/span>, DP<\/span><\/p>\n
+Aliens<\/em> (2017, Luis L\u00f3pez Carrasco) Locarno in LA<\/span>, DP<\/span><\/p>\n
+Fantasy Sentences<\/em> (2017, Dane Komljen) Locarno in LA<\/span>, DP<\/span><\/p>\n
+Scaffold<\/em> (2017, Kazik Radwanski) Locarno in LA<\/span>, DP<\/span><\/p>\n
Distant Constellation (2017, Shevaun Mizrahi) Locarno in LA<\/span>, DP<\/span> – 6.2<\/p>\n
Victory Day (2018, Sergei Loznitsa) – 3.6<\/p>\n
 <\/p>\n
May<\/span><\/strong><\/p>\n
Let the Summer Never Come Again (2017, Alexandre Koberidze) Jeonju<\/span>, DP<\/span> – 5.0<\/p>\n
The Best We Can (2018, Alejandro Fern\u00e1ndez Almendras) Jeonju<\/span>, DP<\/span> – 4.2<\/p>\n
+PROTOTYPE (2017, Blake Williams) Jeonju<\/span>, 3D<\/span> – H.i [same]<\/span><\/p>\n
Three Crowns of the Sailor (1983, Ra\u00fal Ruiz) Jeonju<\/span>, DP<\/span> – 5.5<\/p>\n
Spell Reel (2017, Filipa C\u00e9sar) Jeonju<\/span>, DP<\/span> – 4.3<\/p>\n
An Elephant Sitting Still (2018, Hu Bo) Jeonju<\/span>, DP<\/span> – 6.3<\/p>\n
Readers (2017, James Benning) Jeonju<\/span>, DP<\/span> – 5.4<\/p>\n
The Golden Boat (1990, Ra\u00fal Ruiz) Jeonju<\/span>, DP<\/span> – 6.5<\/p>\n
+Transit (2018, Christian Petzold) Jeonju<\/span>, DP<\/span> – 6.2 [down from 6.6]<\/span><\/p>\n
Happy Hour (2015, Ry\u00fbsuke Hamaguchi) – 7.0<\/p>\n
Everybody Knows (2018, Asghar Farhadi) Cannes<\/span>, DP<\/span> – 4.0<\/p>\n
Birds of Passage (2018, Cristina Gallego & Ciro Guerra) Cannes<\/span>, DP<\/span> – 4.1<\/p>\n
Support the Girls (2018, Andrew Bujalski) March\u00e9 du Film<\/span>, DP<\/span> – 5.9<\/p>\n
Donbass (2018, Sergei Loznitsa) Cannes<\/span>, DP<\/span> – 6.8<\/p>\n
Yomeddine (2018, A.B. Shawky) Cannes<\/span>, DP<\/span> – 3.5<\/p>\n
Petra (2018, Jaime Rosales) Cannes<\/span>, DP<\/span> – 6.0<\/p>\n
To the Ends of the World (2018, Guillaume Nicloux) Cannes<\/span>, DP<\/span> – 5.1<\/p>\n
Border (2018, Ali Abbasi) Cannes<\/span>, DP<\/span> – 4.9<\/p>\n
Sorry Angel (2018, Christophe Honor\u00e9) Cannes<\/span>, DP<\/span> – 4.6<\/p>\n
Cold War (2018, Pawel Pawlikowski) Cannes<\/span>, DP<\/span> – 4.9<\/p>\n
Ten Years Thailand (2018, Aditya Assarat, Wisit Sasanatieng, Chulayarnon Sriphol, & Apichatpong Weerasethakul) Cannes<\/span>, DP<\/span> – 5.3<\/p>\n
The Image Book (2018, Jean-Luc Godard) Cannes<\/span>, DP<\/span> – 7.5<\/p>\n
Ash is Purest White (2018, Jia Zhang-ke) Cannes<\/span>, DP<\/span> – 6.2<\/p>\n
Diamantino (2018, Gabriel Abrantes & Daniel Schmidt) Cannes<\/span>, DP<\/span> – 4.7<\/p>\n
+The Image Book (2018, Jean-Luc Godard) Cannes<\/span>, DP<\/span> – 7.5 [same]<\/span><\/p>\n
The Load (2018, Ognjen Glavonic) Cannes<\/span>, DP<\/span> – 5.6<\/p>\n
Girls of the Sun (2018, Eva Husson) Cannes<\/span>, DP<\/span> – 4.4<\/p>\n
Climax (2018, Gaspar No\u00e9) Cannes<\/span>, DP<\/span> – 7.7<\/p>\n
3 Faces (2018, Jafar Panahi) Cannes<\/span>, DP<\/span> – 5.2<\/p>\n
Happy as Lazzaro (2018, Alice Rohrwacher) Cannes<\/span>, DP<\/span> – 5.7<\/p>\n
Girl (2018, Lukas Dhont) Cannes<\/span>, DP<\/span> – 5.8<\/p>\n
Shoplifters (2018, Hirokazu Kore-eda) Cannes<\/span>, DP<\/span> – 5.6<\/p>\n
Buy Me a Gun (2018, Julio Hern\u00e1ndez Cord\u00f3n) Cannes<\/span>, DP<\/span> – 5.0<\/p>\n
Asako I & II (2018, Ry\u016bsuke Hamaguchi) Cannes<\/span>, DP<\/span> – 6.6<\/p>\n
BlacKkKlansman (2018, Spike Lee) Cannes<\/span>, DP<\/span> – 6.5<\/p>\n
The House That Jack Built (2018, Lars von Trier) Cannes<\/span>, DP<\/span> – 8.7<\/p>\n
Long Day’s Journey Into Night (2018, Bi Gan) Cannes<\/span>, 3D<\/span> – 7.3<\/p>\n
At War (2018, St\u00e9phane Briz\u00e9) Cannes<\/span>, DP<\/span> – 5.4<\/p>\n
Leave No Trace (2018, Debra Granik) Cannes<\/span>, DP<\/span> – 4.6<\/p>\n
Under the Silver Lake (2018, David Robert Mitchell) Cannes<\/span>, DP<\/span> – 3.9<\/p>\n
The Pluto Moment (2018, Ming Zhang) Cannes<\/span>, DP<\/span> – 5.1<\/p>\n
Burning (2018, Lee Chang-dong) Cannes<\/span>, DP<\/span> – 7.7<\/p>\n
The Dead and the Others (2018, Jo\u00e3o Salaviza & Ren\u00e9e Nader Messora) Cannes<\/span>, DP<\/span> – 5.3<\/p>\n
Dogman (2018, Matteo Garrone) Cannes<\/span>, DP<\/span> – 4.7<\/p>\n
\u00c2mes s\u0153urs<\/em> (2018, Pierre Deladonchamps) Cannes<\/span>, DP<\/span><\/p>\n
Sauvage (2018, Camille Vidal-Naquet) Cannes<\/span>, DP<\/span> – 4.9<\/p>\n
In My Room (2018, Ulrich K\u00f6hler) Cannes<\/span>, DP<\/span> – 6.5<\/p>\n
Capernaum (2018, Nadine Labaki) Cannes<\/span>, DP<\/span> – 4.5<\/p>\n
Knife + Heart (2018, Yann Gonzalez) Cannes<\/span>, DP<\/span> – 4.4<\/p>\n
Ayka (2018, Sergey Dvortsevoy) Cannes<\/span>, DP<\/span> – 5.6<\/p>\n
The Wild Pear Tree (2018, Nuri Bilge Ceylan) Cannes<\/span>, DP<\/span> – 5.0<\/p>\n
Summer (2018, Kirill Serebrennikov) Cannes<\/span>, DP<\/span> – 3.6<\/p>\n
The Task (2017, Leigh Ledare) – 5.9<\/p>\n
Pirosmani (1969, Giorgi Shengelaia) 35mm<\/span> – 4.5<\/p>\n
+Ulysses in the Subway [3D] (2017, Marc Downie, Paul Kaiser, & Ken and Flo Jacobs) – 6.5 [same]<\/span><\/p>\n
Hale County This Morning, This Evening (2018, RaMell Ross) – 5.6<\/p>\n
Hereditary (2018, Ari Aster) DP<\/span> – 4.4<\/p>\n
The Tale (2018, Jennifer Fox) – 4.7<\/p>\n
 <\/p>\n
June<\/span><\/strong><\/p>\n
The Miseducation of Cameron Post (2018, Desiree Akhavan) Inside Out<\/span>, DP<\/span> – 4.0<\/p>\n
How to Disappear Completely (2013, Raya Martin) – 5.2<\/p>\n
In the Realm of Perfection (2018, Julien Faraut) – 6.5<\/p>\n
Please Give (2010, Nicole Holofcener) – 6.0<\/p>\n
Game Night (2018, John Francis Daley & Jonathan M. Goldstein) – 5.7<\/p>\n
The 15:17 to Paris (2018, Clint Eastwood) – 4.1<\/p>\n
Blood (2013, Alina Rudnitskaya) – 6.2<\/p>\n
MS Slavic 7 (2019, Sofia Bohdanowicz & Deragh Campbell) – Inc. [Rough cut]<\/span><\/p>\n
The Bubble [3D] (1966, Arch Oboler) – 6.4<\/p>\n
The Shores of Phos: A Fable<\/em> (1972, Stan Brakhage) 16mm<\/span><\/p>\n
The Text of Light (1974, Stan Brakhage) 16mm<\/span> – 7.9<\/p>\n
The Heartbreak Kid (1972, Elaine May) 35mm<\/span> – 7.2<\/p>\n
Hatari! (1962, Howard Hawks) 35mm<\/span> – 7.4<\/p>\n
The Maze [3D] (1953, William Cameron Menzies) – 4.5<\/p>\n
Le amiche (1955, Michelangelo Antonioni) 35mm<\/span> – 4.2<\/p>\n
The Grand Bizarre (2018, Jodie Mack) – 6.6<\/p>\n
Introduzione All\u2019Oscuro (2018, Gast\u00f3n Solnicki) – 4.8<\/p>\n
Faust (2018, Andrea Bussmann) – 4.3<\/p>\n
Coincoin and the Extra-Humans (2018, Bruno Dumont) – 6.3<\/p>\n
Winter’s Night (2018, Jang Woo-jin) – 5.9<\/p>\n
Speed Racer (2008, The Wachowskis) 70mm<\/span> – 6.7<\/p>\n
+Notorious (1946, Alfred Hitchcock) – 7.6 [same]<\/span><\/p>\n
+Seeking the Monkey King (2011, Ken Jacobs) – 7.3 [same]<\/span><\/p>\n
 <\/p>\n
July<\/span><\/strong><\/p>\n
Isle of Dogs (2018, Wes Anderson) – 4.9<\/p>\n
+Milla (2017, Val\u00e9rie Massadian) DP<\/span> – 5.9 [same]<\/span><\/p>\n
TRON: Legacy [3D] (2010, Joseph Kosinski) – 3.8<\/p>\n
Jaws 3-D [3D] (1983, Joe Alves) – 6.6<\/p>\n
Tortured Dust (1984, Stan Brakhage) 16mm<\/span> – 7.4<\/p>\n
To Live and Die in L.A. (1985, William Friedkin) 35mm<\/span> – 4.7<\/p>\n
Cruising (1980, William Friedkin) 35mm<\/span> – 5.1<\/p>\n
Roi Soleil (2018, Albert Serra) – 5.0<\/p>\n
+Moneyball (2011, Bennett Miller) – 7.5 [same]<\/span><\/p>\n
Boy (1969, Nagisa Oshima) 35mm<\/span> – 5.3<\/p>\n
Performance (1970, Nicolas Roeg & Donald Cammell) 35mm<\/span> – 5.3<\/p>\n
+Lost Highway (1997, David Lynch) 35mm<\/span> – 7.3 [~same]<\/span><\/p>\n
+The Grand Bizarre (2018, Jodie Mack) – 6.6 [same]<\/span><\/p>\n
 <\/p>\n
August<\/span><\/strong><\/p>\n
The Maltese Falcon (1941, John Huston) 35mm<\/span> – 5.6<\/p>\n
Scary Mother (2017, Ana Urushadze) – 5.4<\/p>\n
+Moneyball (2011, Bennett Miller) – 7.5 [same]<\/span><\/p>\n
+MS Slavic 7 (2019, Sofia Bohdanowicz & Deragh Campbell) – Inc. [Rough cut]<\/span><\/p>\n
Too Late to Die Young (2018, Dominga Sotomayor) – 4.6<\/p>\n
+Li’l Quinquin (2014, Bruno Dumont) – 7.3 [same]<\/span><\/p>\n
Your Face (2018, Tsai Ming-liang) – 4.9<\/p>\n
Creature from the Black Lagoon (1954, Jack Arnold) 3D<\/span> – 4.4<\/p>\n
Revenge of the Creature (1955, Jack Arnold) 3D<\/span> – 5.0<\/p>\n
 <\/p>\n
September<\/span><\/strong><\/p>\n
+PROTOTYPE (2017, Blake Williams) 3D<\/span> – H.i [same]<\/span><\/p>\n
The Other Side of the Wind (2018, Orson Welles) – 5.1<\/p>\n
Wildlife (2018, Paul Dano) TIFF<\/span>, DP<\/span> – 3.0<\/p>\n
Non-Fiction (2018, Olivier Assayas) TIFF<\/span>, DP<\/span> – 6.2<\/p>\n
Our Time (2018, Carlos Reygadas) TIFF<\/span>, DP<\/span> – 6.9<\/p>\n
The River (2018, Emir Baigazin) TIFF<\/span>, DP<\/span> – 4.6<\/p>\n
Aniara (2018, Pella K\u00e5german & Hugo Lilja) TIFF<\/span>, DP<\/span> – 3.2<\/p>\n
The Mountain (2018, Rick Alverson) TIFF<\/span>, DP<\/span> – 4.0<\/p>\n
Greta (2018, Neil Jordan) TIFF<\/span>, DP<\/span> – 5.4<\/p>\n
Polly One<\/em> (2018, Kevin Jerome Everson) TIFF<\/span>, DP<\/span><\/p>\n
Blue<\/em> (2018, Apichatpong Weerasethakul) TIFF<\/span>, DP<\/span><\/p>\n
Fainting Spells<\/em> (2018, Sky Hopinka) TIFF<\/span>, DP<\/span><\/p>\n
Prologue to the Tarot: Glenna<\/em> (2018, Brittany Gravely & Ken Linehan) TIFF<\/span>, 16mm<\/span><\/p>\n
+Hoarders Without Boarders<\/em> (2018, Jodie Mack) TIFF<\/span>, 16mm<\/span><\/p>\n
ante mis ojos<\/em> (2018, Lina Rodriguez) TIFF<\/span>, DP<\/span><\/p>\n
ALTIPLANO<\/em> (2018, Malena Szlam) TIFF<\/span>, 35mm<\/span><\/p>\n
Arena<\/em> (2018, Bj\u00f6rn K\u00e4mmerer) TIFF<\/span>, 70mm<\/span><\/p>\n
L. COHEN (2018, James Benning) TIFF<\/span>, DP<\/span> – 7.1<\/p>\n
Vox Lux (2018, Brady Corbet) TIFF<\/span>, DP<\/span> – 4.7<\/p>\n
Those Who Desire<\/em> (2018, Elena L\u00f3pez Riera) TIFF<\/span>, DP<\/span><\/p>\n
+The Grand Bizarre (2018, Jodie Mack) TIFF<\/span>, 16mm<\/span> – 6.6 [same]<\/span><\/p>\n
Belmonte (2018, Federico Veiroj) TIFF<\/span>, DP<\/span> – 5.3<\/p>\n
Ada Kaleh<\/em> (2018, Helena Wittmann) TIFF<\/span>, DP<\/span><\/p>\n
The Glass Note<\/em> (2018, Mary Helena Clark) TIFF<\/span>, DP<\/span><\/p>\n
mumok kino<\/em> (2017, Philipp Fleischmann) TIFF<\/span>, 35mm<\/span><\/p>\n
Trees Down Here<\/em> (2018, Ben Rivers) TIFF<\/span>, 35mm<\/span><\/p>\n
1986 Summer<\/em> (1986, Toshio Matsumoto) TIFF<\/span>, DP<\/span><\/p>\n
+Words, Planets<\/em> (2018, Laida Lertxundi) TIFF<\/span>, DP<\/span><\/p>\n
The Invisible Cinema 3<\/em> (2017, Philipp Fleischmann) TIFF<\/span>, 16mm<\/span><\/p>\n
Walled, Unwalled<\/em> (2018, Lawrence Abu Hamdan) TIFF<\/span>, DP<\/span><\/p>\n
Widows (2018, Steve McQueen) TIFF<\/span>, DP<\/span> – 5.7<\/p>\n
A Faithful Man (2018, Louis Garrel) TIFF<\/span>, DP<\/span> – 5.1<\/p>\n
Girl Pack<\/em> (1981, Lisa Baumgardner) TIFF<\/span>, DP<\/span><\/p>\n
Please step out of the frame.<\/em> (2018, Karissa Hahn) TIFF<\/span>, DP<\/span><\/p>\n
The Air of the Earth in Your Lungs<\/em> (2018, Ross Meckfessel) TIFF<\/span>, 16mm<\/span><\/p>\n
Sira<\/em> (2018, Rolla Tahir) TIFF<\/span>, DP<\/span><\/p>\n
Slip<\/em> (2018, Celia Perrin Sidarous) TIFF<\/span>, 16mm<\/span><\/p>\n
Alice<\/em> (1974, Maria Lassnig) TIFF<\/span>, DP<\/span><\/p>\n
Fallen Arches<\/em> (2018, Simon Liu) TIFF<\/span>, 35mm<\/span><\/p>\n
I Hope I\u2019m Loud When I\u2019m Dead<\/em> (2018, Beatrice Gibson) TIFF<\/span>, DP<\/span><\/p>\n
+Climax (2018, Gaspar No\u00e9) TIFF<\/span>, DP<\/span> – 7.7 [same]<\/span><\/p>\n
If Beale Street Could Talk (2018, Barry Jenkins) TIFF<\/span>, DP<\/span> – 5.1<\/p>\n
Her Smell (2018, Alex Ross Perry) TIFF<\/span>, DP<\/span> – 4.7<\/p>\n
Colophon (for the Arboretum Cycle)<\/em> (2018, Nathaniel Dorsky) TIFF<\/span>, 16mm<\/span><\/p>\n
A Return<\/em> (2018, James Edmonds) TIFF<\/span>, 16mm<\/span><\/p>\n
The Labyrinth<\/em> (2018, Laura Huertas Mill\u00e1n) TIFF<\/span>, DP<\/span><\/p>\n
\u00cele d\u2019Ouessant<\/em> (2018, David Dudouit) TIFF<\/span>, 16mm<\/span><\/p>\n
Julio Iglesias\u2019s House<\/em> (2018, Natalia Mar\u00edn) TIFF<\/span>, DP<\/span><\/p>\n
Man in the Well<\/em> (2018, Hu Bo) TIFF<\/span>, DP<\/span><\/p>\n
High Life (2018, Claire Denis) TIFF<\/span>, DP<\/span> – 7.0<\/p>\n
ROMA (2018, Alfonso Cuar\u00f3n) TIFF<\/span>, DP<\/span> – 5.2<\/p>\n
The Death and Life of John F. Donovan (2018, Xavier Dolan) TIFF<\/span>, DP<\/span> – 3.4<\/p>\n
Jinpa (2018, Pema Tseden) TIFF<\/span>, DP<\/span> – 5.9<\/p>\n
What You Gonna Do When the World’s on Fire? (2018, Roberto Minervini) TIFF<\/span>, DP<\/span> – 5.4<\/p>\n
Sunset (2018, L\u00e1szl\u00f3 Nemes) TIFF<\/span>, DP<\/span> – 3.7<\/p>\n
Meeting Gorbachev (2018, Werner Herzog & Andr\u00e9 Singer) TIFF<\/span>, DP<\/span> – 4.9<\/p>\n
Mid90s (2018, Jonah Hill) TIFF<\/span>, DP<\/span> – 5.6<\/p>\n
A Star is Born (2018, Bradley Cooper) TIFF<\/span>, DP<\/span> – 5.6<\/p>\n
Maya (2018, Mia Hansen-L\u00f8ve) TIFF<\/span>, DP<\/span> – 5.4<\/p>\n
+Long Day\u2019s Journey Into Night (2018, Bi Gan) TIFF<\/span>, 3D<\/span> – 7.3 [same]<\/span><\/p>\n
The Trial (2018, Sergei Loznitsa) TIFF<\/span>, DP<\/span> – 4.5<\/p>\n
Green Book (2018, Peter Farrelly) TIFF<\/span>, DP<\/span> – 6.6<\/p>\n
Monrovia, Indiana (2018, Frederick Wiseman) TIFF<\/span>, DP<\/span> – 6.0<\/p>\n
Destroyer (2018, Karyn Kusama) TIFF<\/span>, DP<\/span> – 4.8<\/p>\n
The Land of Steady Habits (2018, Nicole Holofcener) TIFF<\/span>, DP<\/span> – 3.8<\/p>\n
In Fabric (2018, Peter Strickland) TIFF<\/span>, DP<\/span> – 4.9<\/p>\n
La Flor (2018, Mariano Llinas) TIFF<\/span>, DP<\/span> – 6.4<\/p>\n
First Man (2018, Damian Chazelle) TIFF<\/span>, DP<\/span> – 5.0<\/p>\n
Hotel by the River (2018, Hong Sang-soo) TIFF<\/span>, DP<\/span> – 6.4<\/p>\n
Anthem of a Teenage Prophet (2018, Robin Hays) – 2.9<\/p>\n
+Notes on an Appearance (2018, Ricky D’Ambrose) – 5.8 [up from 5.1]<\/span><\/p>\n
Clara (2018, Akash Sherman) – 2.8<\/p>\n
Firecrackers (2018, Jasmin Mozaffari) – 3.5<\/p>\n
Thunder Road (2018, Jim Cummings) – 5.5<\/p>\n
Where<\/em> (2018, Sofia Bohdanowicz)\u2028 VIFF<\/span>, DP<\/span><\/p>\n
Roy Thomson<\/em> (2018, Sofia Bohdanowicz) VIFF<\/span>, DP<\/span><\/p>\n
+Spice It Up (2018, Lev and Yonah Lewis & Calvin Thomas)\u2028 VIFF<\/span>, DP<\/span> – 6.3<\/p>\n
A Family Tour (2018, Ying Liang)\u2028 VIFF<\/span>, DP<\/span> – 3.9<\/p>\n
The Soft Space<\/em> (2018, Sofia Bohdanowicz & Melanie Scheiner) VIFF<\/span>, DP<\/span><\/p>\n
M\/M (2018, Drew Lint) VIFF<\/span>, DP<\/span> – 5.9<\/p>\n
The Far Shore (2018, David Uloth)\u2028 – 4.1<\/p>\n
RAY & LIZ (2018, Richard Billingham) VIFF<\/span>, DP<\/span> – 5.2<\/p>\n
The Museum of Forgotten Triumphs (2018, Bojan Bodru\u017ei\u0107)\u2028 VIFF<\/span>, DP<\/span> – 4.0<\/p>\n
N.O.N. (2018, Zebulon Zang) VIFF<\/span>, DP<\/span> – 5.3<\/p>\n
 <\/p>\n
October<\/span><\/strong><\/p>\n
Communion Los Angeles (2018, Peter Bo Rappmund & Adam R. Levine)\u2028 VIFF<\/span>, DP<\/span> – 5.8<\/p>\n
Mangoshake (2018, Terry Chiu) VIFF<\/span>, DP<\/span> – 4.7<\/p>\n
Freaks (2018, Zach Lipovsky & Adam Stein) VIFF<\/span>, DP<\/span> – 3.8<\/p>\n
When the Storm Fades (2018, Sean Devlin)\u2028 – 4.6<\/p>\n
The New Romantic (2018, Carly Stone) – 4.6<\/p>\n
A Land Imagined (2018, Siew Hua Yeo)\u2028 VIFF<\/span>, DP<\/span> – 4.9<\/p>\n
The Favourite (2018, Yorgos Lanthimos) VIFF<\/span>, DP<\/span> – 5.4<\/p>\n
The Grizzlies (2018, Miranda de Pencier) – 2.3<\/p>\n
Quickeners<\/em> (2014, Jeremy Shaw)\u2028 VIFF<\/span>, DP<\/span><\/p>\n
Liminals<\/em> (2017, Jeremy Shaw)\u2028 VIFF<\/span>, DP<\/span><\/p>\n
I Can See Forever (2018, Jeremy Shaw)\u2028 VIFF<\/span>, DP<\/span> – 6.5<\/p>\n
Everything Outside (2018, David Findlay) – 5.2<\/p>\n
Diane (2018, Kent Jones)\u2028 VIFF<\/span>, DP<\/span> – 4.2<\/p>\n
Roads in February (2018, Katherine Jerkovic) – 4.8<\/p>\n
Three Atlas<\/em> (2018, Miryam Charles) VIFF<\/span>, DP<\/span><\/p>\n
A Fortress<\/em> (2018, Miryam Charles) VIFF<\/span>, DP<\/span><\/p>\n
Song of a Seer (2018, A\u00efda Maigre-Touchet) VIFF<\/span>, DP<\/span> – 3.9<\/p>\n
+The House That Jack Built (2018, Lars von Trier) VIFF<\/span>, DP<\/span> – 8.7 [same]<\/span><\/p>\n
+Game Night (2018, John Francis Daley & Jonathan M. Goldstein) – 5.7 [same]<\/span><\/p>\n
+Titanic (1997, James Cameron) – 6.5 [~same]<\/span><\/p>\n
Unfriended: Dark Web (2018, Stephen Susco) – 5.6<\/p>\n
Private Life (2018, Tamara Jenkins) – 6.1<\/p>\n
Mandy (2018, Panos Cosmatos) – 4.3<\/p>\n
Eighth Grade (2018, Bo Burnham) – 6.3<\/p>\n
Sorry to Bother You (2018, Boots Riley) – 5.4<\/p>\n
Minding the Gap (2018, Bing Liu) – 5.3<\/p>\n
Touch Me Not (2018, Adina Pintilie) – 4.9<\/p>\n
Thoroughbreds (2017, Cory Finley) – 5.5<\/p>\n
 <\/p>\n
November<\/span><\/strong><\/p>\n
Suspiria (2018, Luca Guadagnino) DP<\/span> – 4.1<\/p>\n
+Burning (2018, Lee Chang-dong) DP<\/span> – 7.2 [down from 7.7]<\/span><\/p>\n
Gemini (2017, Aaron Katz) – 5.5<\/p>\n
Night Music<\/em> (1986, Stan Brakhage) 16mm<\/span><\/p>\n
First Hymn to the Night \u2014 Novalis<\/em> (1994, Stan Brakhage) 16mm<\/span><\/p>\n
The Horseman, the Woman, and the Moth<\/em> (1968, Stan Brakhage) 16mm<\/span><\/p>\n
Garden Path<\/em> (2001, Stan Brakhage & Mary Beth Reed) 16mm<\/span><\/p>\n
Autumnal<\/em> (1993, Stan Brakhage) 16mm<\/span><\/p>\n
Naughts<\/em> (1994, Stan Brakhage) 16mm<\/span><\/p>\n
The Dark Tower<\/em> (1999, Stan Brakhage) 16mm<\/span><\/p>\n
Stately Mansions Did Decree<\/em> (1999, Stan Brakhage) 16mm<\/span><\/p>\n
Persian Series 1-5<\/em> (1999, Stan Brakhage) 16mm<\/span><\/p>\n
Interpolations 1-5<\/em> (1992, Stan Brakhage) 35mm<\/span><\/p>\n
Jap\u00f3n (2002, Carlos Reygadas) – 6.2<\/p>\n
+Our Time (2018, Carlos Reygadas) – 6.9 [same]<\/span><\/p>\n
+Post Tenebras Lux (2012, Carlos Reygadas) – 5.5 [down from 6.1]<\/span><\/p>\n
The Garden of Earthly Delights<\/em> (1981, Stan Brakhage) 35mm<\/span><\/p>\n
A Child’s Garden and the Serious Sea (1991, Stan Brakhage) 16mm<\/span> – 8.2<\/p>\n
Run for Cover (1995, Richard W. Haines) 3D-35mm<\/span> – 3.9<\/p>\n
Frankenstein’s Bloody Terror (1968, Enrique Lopez Eguiluz) 3D-35mm<\/span> – 5.3<\/p>\n
Treasure of the Four Crowns (1983, Ferdinando Baldi) 3D-35mm<\/span> – 7.1<\/p>\n
+Jaws 3-D (1983, Joe Alves) 3D-35mm<\/span> – 5.9 [down from 6.6]<\/span><\/p>\n
Amityville 3-D (1983, Richard Fleischer) 3D-35mm<\/span> – 6.8<\/p>\n
Flesh for Frankenstein (1973, Paul Morrissey) 3D-35mm<\/span> – 7.3<\/p>\n
Friday the 13th Part III (1982, Steve Miner) 3D-35mm<\/span> – 2.8<\/p>\n
Silent Madness (1984, Simon Nuchtern) 3D-35mm<\/span> – 5.7<\/p>\n
Comin’ at Ya! (1981, Ferdinando Baldi) 3D-35mm<\/span> – 4.8<\/p>\n
Parasite (1982, Charles Band) 3D-35mm<\/span> – 5.0<\/p>\n
The Ballad of Buster Scruggs (2018, Joel & Ethan Coen) – 4.6<\/p>\n
A*P*E [3D] (1976, Paul Leder) – 4.7<\/p>\n
Blankets for Indians [3D] (2012, Ken Jacobs) – 6.5<\/p>\n
A Primer in Sky Socialism [3D] (2013, Ken Jacobs) – 4.3<\/p>\n
What Ever Happened to Baby Jane? (1962, Robert Aldrich) 35mm<\/span> – 3.3<\/p>\n
 <\/p>\n
December<\/span><\/strong><\/p>\n
Electro-Pythagoras: A Portrait of Martin Bartlett (2017, Luke Fowler) – 4.5<\/p>\n
+Daisy Kenyon (1947, Otto Preminger) 35mm<\/span> – 8.0 [down from 8.1]<\/span><\/p>\n
+Support the Girls (2018, Andrew Bujalski) – 5.9 [same]<\/span><\/p>\n
El Mar La Mar (2017, Joshua Bonnetta & J.P. Sniadecki) – 5.5<\/p>\n
Chinese Series<\/em> (2003, Stan Brakhage) 35mm<\/span><\/p>\n
Commingled Containers<\/em> (1996, Stan Brakhage) 16mm<\/span><\/p>\n
+Seasons\u2026<\/em> (2002, Stan Brakhage & Phil Solomon) 16mm<\/span><\/p>\n
Max<\/em> (2002, Stan Brakhage) 16mm<\/span><\/p>\n
Panels for the Walls of Heaven<\/em> (2002, Stan Brakhage) 16mm<\/span><\/p>\n
Lovesong 3 & 4<\/em> (2001, Stan Brakhage) 16mm<\/span><\/p>\n
The Mule (2018, Clint Eastwood) DP<\/span> – 5.2<\/p>\n
+The House That Jack Built (2018, Lars von Trier) – 8.7 [same]<\/span><\/p>\n
+Pina [3D] (2011, Wim Wenders) – 5.7 [down from 6.3]<\/span><\/p>\n
+The Tree of Life [Extended Version] (2011, Terrence Malick) – 7.1 [Theatrical Version: 7.5]<\/span><\/p>\n
Bisbee ’17 (2018, Robert Greene) – 4.7<\/p>\n
Dim the Fluorescents (2017, Daniel Warth) – 5.6<\/p>\n
+Ready Player One [3D] (2018, Steven Spielberg) – 6.7 [2D Version: 6.0]<\/span><\/p>\n
They Shall Not Grow Old (2018, Peter Jackson) 3D<\/span> – 4.9<\/p>\n
+In the Realm of Perfection (2018, Julien Faraut) – 6.5 [same]<\/span><\/p>\n
Empire of the Sun (1987, Steven Spielberg) 35mm<\/span> \u2013 5.8<\/p>\n
+The General (1926, Buster Keaton & Clyde Bruckman) – 7.6 [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-17271","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/posts\/17271","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=17271"}],"version-history":[{"count":8,"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/posts\/17271\/revisions"}],"predecessor-version":[{"id":17300,"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/posts\/17271\/revisions\/17300"}],"wp:attachment":[{"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/media?parent=17271"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/categories?post=17271"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/tags?post=17271"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}