{"id":18564,"date":"2019-01-01T01:00:46","date_gmt":"2019-01-01T06:00:46","guid":{"rendered":"http:\/\/blakewilliams.net\/blog\/?p=18564"},"modified":"2021-01-01T12:23:44","modified_gmt":"2021-01-01T17:23:44","slug":"2019-film-log","status":"publish","type":"post","link":"http:\/\/blakewilliams.net\/blog\/2019\/01\/2019-film-log\/","title":{"rendered":"2019 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, Youtube videos, random viral TikToks, 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
Cold Water (1994, Olivier Assayas) – 4.6<\/p>\n
Paddington 2 (2017, Paul King) – 4.8<\/p>\n
The Color Purple (1985, Steven Spielberg) 35mm<\/span> – 5.9<\/p>\n
The Old Man & the Gun (2018, David Lowery) – 5.6<\/p>\n
Other Men’s Women (1931, William A. Wellman) 35mm<\/span> – 6.2<\/p>\n
The Polar Express [3D] (2004, Robert Zemeckis) – 6.3<\/p>\n
The Last Race (2018, Michael Dweck) – 5.2<\/p>\n
Ray Meets Helen (2017, Alan Rudolph) – 5.7<\/p>\n
Crazy Rich Asians (2018, Jon M. Chu) – 4.1<\/p>\n
Mission: Impossible\u2014Fallout (2018, Christopher McQuarrie) – 6.5<\/p>\n
Black Panther (2018, Ryan Coogler) – 4.8<\/p>\n
Mamma Mia! Here We Go Again (2018, Ol Parker) – 4.5<\/p>\n
Unstoppable (2010, Tony Scott) – Inc. [~5.5; Viewed on IFC in an ~85min. cut]<\/span><\/p>\n
Unsane (2018, Steven Soderbergh) – 4.9<\/p>\n
+Details of Pollock’s White Light<\/em> (2019, Ken Jacobs) DP<\/span><\/p>\n
+more than everything<\/em> (2018, Rainer Kohlberger) 3D<\/span><\/p>\n
+Twelve Tales Told<\/em> (2014, Johann Lurf) 3D<\/span><\/p>\n
+PROTOTYPE (2017, Blake Williams) 3D<\/span> – H.i [same]<\/span><\/p>\n
+Avatar [3D] (2009, James Cameron) – 5.4 [down from 6.0]<\/span><\/p>\n
Life and Nothing More (2017, Antonio M\u00e9ndez Esparza) – 6.3<\/p>\n
Detective Dee: The Four Heavenly Kings [3D] (2018, Tsui Hark) – 3.9<\/p>\n
Dovlatov (2018, Alexey German Jr.) – 4.4<\/p>\n
Can You Ever Forgive Me? (2018, Marielle Heller) – 5.8<\/p>\n
 <\/p>\n
February<\/span><\/strong><\/p>\n
The Death of Stalin (2017, Armando Iannucci) – 4.8<\/p>\n
High Flying Bird (2019, Steven Soderbergh) – 4.7<\/p>\n
Metalstorm: The Destruction of Jared-Syn [3D] (1983, Charles Band) – 5.3<\/p>\n
Spy Kids 3-D: Game Over [3D] (2003, Robert Rodriguez) – 6.6<\/p>\n
The Adventures of Sharkboy and Lavagirl 3-D [3D] (2005, Robert Rodriguez) – 5.4<\/p>\n
Millennium Mambo (2001, Hou Hsiao-hsien) 35mm<\/span> – 5.5<\/p>\n
Ghosts of the Abyss [3D] (2003, James Cameron) – 5.1<\/p>\n
I Was at Home, But… (2019, Angela Schanelec) – 7.0<\/p>\n
Sin City: A Dame to Kill For [3D] (2014, Robert Rodriguez & Frank Miller) – 3.3<\/p>\n
Alita: Battle Angel (2019, Robert Rodriguez) 3D<\/span> – 5.5<\/p>\n
The Plagiarists (2019, Peter Parlow) – 7.2<\/p>\n
So Pretty (2019, Jessie Jeffrey Dunn Rovinelli) – 5.6<\/p>\n
 <\/p>\n
March<\/span><\/strong><\/p>\n
Years of Construction (2019, Heinz Emigholz) – 5.8<\/p>\n
+Ordet (1955, Carl Dreyer) – 7.6 [down from 8.2]<\/span><\/p>\n
+The Soft Space<\/em> (2018, Sofia Bohdanowicz & Melanie Scheiner) DP<\/span><\/p>\n
Drift (2017, Helena Wittmann) DP<\/span> – 5.8<\/p>\n
Katy Perry: Part of Me [3D] (2012, Dan Cutforth & Jane Lipsitz) – 4.5<\/p>\n
Just Don\u2019t Think I\u2019ll Scream (2019, Frank Beauvais) – 6.7<\/p>\n
Fourteen (2019, Dan Sallitt) – 6.9<\/p>\n
Anne at 13,000 Feet. (2019, Kazik Radwanski) – Inc. [Rough cut]<\/span><\/p>\n
Belonging (2019, Burak \u00c7evik) – 5.6<\/p>\n
+F for Fibonacci<\/em> (2014, Beatrice Gibson) DP<\/span><\/p>\n
The Tiger\u2019s Mind<\/em> (2012, Beatrice Gibson) DP<\/span><\/p>\n
Agatha<\/em> (2012, Beatrice Gibson) DP<\/span><\/p>\n
+I Hope I\u2019m Loud When I\u2019m Dead<\/em> (2018, Beatrice Gibson) DP<\/span><\/p>\n
Us (2019, Jordan Peele) DP<\/span> – 6.5<\/p>\n
+\u2605 [January 2019 version] (2017, Johann Lurf) DP<\/span> – 7.3 [Up from 7.1]<\/span><\/p>\n
 <\/p>\n
April<\/span><\/strong><\/p>\n
Glass (2019, M. Night Shyamalan) – 5.5<\/p>\n
Native Son (2019, Rashid Johnson) – 5.9<\/p>\n
11 x 14 (1977, James Benning) – 6.0<\/p>\n
Welcome to Marwen (2018, Robert Zemeckis) – 6.1<\/p>\n
Light from Light (2019, Paul Harrill) – 6.4<\/p>\n
Embers and the Giants<\/em> (2019, Kelly Richardson) DP<\/span><\/p>\n
Lichen<\/em> (2019, Lisa Jackson) 3D<\/span><\/p>\n
Garden of the Legend of the Golden Snail<\/em> (2019, Oliver Husain) 3D<\/span><\/p>\n
Aerial<\/em> (2019, Leila Sujir) DP<\/span><\/p>\n
Cityscape<\/em> (2019, Michael Snow) DP<\/span><\/p>\n
The Beach Bum (2019, Harmony Korine) DP<\/span> – 2.4<\/p>\n
The Edge of Democracy (2019, Petra Costa) Hot Docs<\/span>, DP<\/span> – 4.9<\/p>\n
Untitled (Burned Rubber on Asphalt, 2018)<\/em> (2019, Tinja Ruusuvuori) Hot Docs<\/span>, DP<\/span><\/p>\n
Acid Forest (2018, Rugile Barzd\u017eiukaite) Hot Docs<\/span>, DP<\/span> – 5.6<\/p>\n
The El Duce Tapes (2019, Rodney Ascher & David Lawrence) Hot Docs<\/span>, DP<\/span> – 4.0<\/p>\n
The Hottest August (2019, Brett Story) Hot Docs<\/span>, DP<\/span> – 5.9<\/p>\n
Mektoub, My Love: Canto Uno (2017, Abdellatif Kechiche) – 4.5<\/p>\n
 <\/p>\n
May<\/span><\/strong><\/p>\n
American Factory (2019, Julia Reichert & Steven Bognar) Hot Docs<\/span>, DP<\/span> – 5.3<\/p>\n
Flight of the Butterflies (2012, Mike Slee) Hot Docs<\/span>, 3D<\/span> – 5.4<\/p>\n
Hubble 3D (2010, Toni Myers) Hot Docs<\/span>, 3D<\/span> – 4.8<\/p>\n
Season of the Devil (2018, Lav Diaz) – 4.9<\/p>\n
I Lost My Body (2019, J\u00e9r\u00e9my Clapin) Cannes<\/span>, DP<\/span> – 5.0<\/p>\n
The Dead Don\u2019t Die (2019, Jim Jarmusch) Cannes<\/span>, DP<\/span> – 6.1<\/p>\n
Deerskin (2019, Quentin Dupieux) Cannes<\/span>, DP<\/span> – 4.5<\/p>\n
Bull (2019, Annie Silverstein) Cannes<\/span>, DP<\/span> – 5.1<\/p>\n
Les Mis\u00e9rables (2019, Ladj Ly) Cannes<\/span>, DP<\/span> – 4.9<\/p>\n
Bacurau (2019, Kleber Mendon\u00e7a Filho & Juliano Dornelles) Cannes<\/span>, DP<\/span> – 6.4<\/p>\n
Beanpole (2019, Kantemir Balagov) Cannes<\/span>, DP<\/span> – 6.2<\/p>\n
A White, White Day (2019, Hlynur P\u00e1lmason) Cannes<\/span>, DP<\/span> – 6.2<\/p>\n
Atlantics (2019, Mati Diop) Cannes<\/span>, DP<\/span> – 5.4<\/p>\n
Demonic<\/em> (2019, Pia Borg) Cannes<\/span>, DP<\/span><\/p>\n
Please Speak Continuously and Describe Your Experiences as They Come to You<\/em> (2019, Brandon Cronenberg) Cannes<\/span>, DP<\/span><\/p>\n
Naptha<\/em> (2019, Moin Hussain) Cannes<\/span>, DP<\/span><\/p>\n
Sorry We Missed You (2019, Ken Loach) Cannes<\/span>, DP<\/span> – 4.3<\/p>\n
Zombi Child (2019, Bertrand Bonello) Cannes<\/span>, DP<\/span> – 5.5<\/p>\n
Living and Knowing You Are Alive (2019, Alain Cavalier) Cannes<\/span>, DP<\/span> – 5.8<\/p>\n
Little Joe (2019, Jessica Hausner) Cannes<\/span>, DP<\/span> – 5.9<\/p>\n
Pain and Glory (2019, Pedro Almod\u00f3var) Cannes<\/span>, DP<\/span> – 5.1<\/p>\n
First Love (2019, Takashi Miike) Cannes<\/span>, DP<\/span> – 6.0<\/p>\n
Port Authority (2019, Danielle Lessovitz) Cannes<\/span>, DP<\/span> – 3.9<\/p>\n
Joan of Arc (2019, Bruno Dumont) Cannes<\/span>, DP<\/span> – 6.6<\/p>\n
Libert\u00e9 (2019, Albert Serra) Cannes<\/span>, DP<\/span> – 7.7<\/p>\n
Family Romance, LLC. (2019, Werner Herzog) Cannes<\/span>, DP<\/span> – 5.7<\/p>\n
The Whistlers (2019, Corneliu Porumboiu) Cannes<\/span>, DP<\/span> – 5.3<\/p>\n
On a Magical Night (2019, Christophe Honor\u00e9) Cannes<\/span>, DP<\/span> – 5.5<\/p>\n
A Hidden Life (2019, Terrence Malick) Cannes<\/span>, DP<\/span> – 5.8<\/p>\n
Portrait of a Lady on Fire (2019, Celine Sciamma) Cannes<\/span>, DP<\/span> – 4.4<\/p>\n
The Invisible Life of Eur\u00eddice Gusm\u00e3o (2019, Karim A\u00efnouz) Cannes<\/span>, DP<\/span> – 5.4<\/p>\n
Lux \u00c6terna (2019, Gaspar No\u00e9) Cannes<\/span>, DP<\/span> – 6.5<\/p>\n
Young Ahmed (2019, Jean-Pierre & Luc Dardenne) Cannes<\/span>, DP<\/span> – 6.9<\/p>\n
Tommaso (2019, Abel Ferrara) Cannes<\/span>, DP<\/span> – 6.5<\/p>\n
Frankie (2019, Ira Sachs) Cannes<\/span>, DP<\/span> – 4.3<\/p>\n
Dogs Don\u2019t Wear Pants (2019, Jukka-Pekka Valkeap\u00e4\u00e4) Cannes<\/span>, DP<\/span> – 5.1<\/p>\n
Tlamess (2019, Ala Eddine Slim) Cannes<\/span>, DP<\/span> – 5.2<\/p>\n
Once Upon a Time… in Hollywood (2019, Quentin Tarantino) Cannes<\/span>, 35mm<\/span> – 5.9<\/p>\n
Parasite (2019, Bong Joon-ho) Cannes<\/span>, DP<\/span> – 6.4<\/p>\n
For the Money (2019, Alejo Moguillansky) Cannes<\/span>, DP<\/span> – 5.2<\/p>\n
The Halt (2019, Lav Diaz) Cannes<\/span>, DP<\/span> – 5.5<\/p>\n
Fire Will Come (2019, Oliver Laxe) Cannes<\/span>, DP<\/span> – 5.7<\/p>\n
Matthias and Maxime (2019, Xavier Dolan) Cannes<\/span>, 35mm<\/span> – 4.9<\/p>\n
Summer of Changsha (2019, Zu Feng) Cannes<\/span>, DP<\/span> – 4.1<\/p>\n
The Traitor (2019, Marco Bellocchio) Cannes<\/span>, DP<\/span> – 6.6<\/p>\n
Mektoub, My Love: Intermezzo (2019, Abdellatif Kechiche) Cannes<\/span>, DP<\/span> – 4.7<\/p>\n
Ghost Tropic (2019, Bas Devos) Cannes<\/span>, DP<\/span> – 5.6<\/p>\n
+Zombi Child (2019, Bertrand Bonello) Cannes<\/span>, DP<\/span> – 5.5 [same]<\/span><\/p>\n
It Must Be Heaven (2019, Elia Suleiman) Cannes<\/span>, DP<\/span> – 4.8<\/p>\n
The Lighthouse (2019, Robert Eggers) Cannes<\/span>, DP<\/span> – 4.4<\/p>\n
The Wild Goose Lake (2019, Diao Yinan) Cannes<\/span>, DP<\/span> – 4.3<\/p>\n
Oh Mercy (2019, Arnaud Desplechin) Cannes<\/span>, DP<\/span> – 5.4<\/p>\n
Sibyl (2019, Justine Triet) Cannes<\/span>, DP<\/span> – 6.2<\/p>\n
+The Strange Little Cat (2013, Ramon Z\u00fcrcher) – 8.9 [same]<\/span><\/p>\n
 <\/p>\n
June<\/span><\/strong><\/p>\n
+Joan of Arc (2019, Bruno Dumont) – 6.6 [same]<\/span><\/p>\n
Domino (2019, Brian De Palma) – 5.5<\/p>\n
Old Hat<\/em> (2016, Zach Iannazzi) 16mm<\/span><\/p>\n
Ceiba<\/em> (2016, No\u00e9 Rodr\u00edguez) DP<\/span><\/p>\n
Pond and Waterfall<\/em> (1982, Barbara Hammer) 16mm<\/span><\/p>\n
Casa de la noche<\/em> (2016, Marcel Beltr\u00e1n Fern\u00e1ndez) DP<\/span><\/p>\n
Les Ombres aquatiques<\/em> (2016, Philippe Cote) DP<\/span><\/p>\n
+The River (1951, Jean Renoir) 35mm<\/span> – 5.6 [up from 5.0]<\/span><\/p>\n
Watching the Detectives<\/em> (2017, Chris Kennedy) 16mm<\/span><\/p>\n
+Classical Period (2018, Ted Fendt) 35mm<\/span> – 6.3 [up from 4.8]<\/span><\/p>\n
Blonde Venus (1932, Josef von Sternberg) 35mm<\/span> \u2013 5.2<\/p>\n
Varda by Agn\u00e8s (2019, Agn\u00e8s Varda) – 5.6<\/p>\n
Elena and Her Men (1956, Jean Renoir) 35mm<\/span> \u2013 4.7<\/p>\n
The Twentieth Century (2019, Matthew Rankin) \u2013 4.1<\/p>\n
Sunrise\/Sunset (2019, Jong Ougie Pak) – 5.4<\/p>\n
The Little Match Girl (1928, Jean Renoir) DP<\/span> \u2013 5.7<\/p>\n
+A Day in the Country (1936, Jean Renoir) 35mm<\/span> \u2013 6.6 [same]<\/span><\/p>\n
Toni (1935, Jean Renoir) 35mm<\/span> \u2013 5.8<\/p>\n
The Souvenir (2019, Joanna Hogg) DP<\/span> \u2013 6.3<\/p>\n
Shanghai Express (1932, Josef von Sternberg) DP<\/span> \u2013 5.3<\/p>\n
Morocco (1930, Josef von Sternberg) 35mm<\/span> \u2013 6.8<\/p>\n
+A.I. Artificial Intelligence (2001, Steven Spielberg) – 8.7 [up from 8.6]<\/span><\/p>\n
 <\/p>\n
July<\/span><\/strong><\/p>\n
The Lower Depths (1936, Jean Renoir) 35mm<\/span> \u2013 5.5<\/p>\n
+The Elephant Man (1980, David Lynch) 35mm<\/span> \u2013 6.2 [down from 7.3]<\/span><\/p>\n
KISS<\/em> (2012, Lyndsay Bloom) 16mm<\/span><\/p>\n
Across<\/em> (1997, Cara Morton) 16mm<\/span><\/p>\n
Dandelions<\/em> (1995, Dawn Wilkinson) 16mm<\/span><\/p>\n
Swell<\/em> (1998, Carolynne Hew) 16mm<\/span><\/p>\n
Scratch<\/em> (1998, Deirdre Logue) 16mm<\/span><\/p>\n
Phil’s Film Farm<\/em> (2002, John Porter) 16mm<\/span><\/p>\n
Your New Pig is Down the Road<\/em> (1999, Helen Hill) 16mm<\/span><\/p>\n
What Comes Between<\/em> (2009, Cecilia Araneda) DP<\/span><\/p>\n
Traces<\/em> (2002, Christina Zeidler) DP<\/span><\/p>\n
Captifs d’amour<\/em> (2010, John Greyson) DP<\/span><\/p>\n
I Regret<\/em> (2018, Jonathan Culp) 16mm<\/span><\/p>\n
Goodbye<\/em> (2010, Daniel McIntyre) DP<\/span><\/p>\n
Kaleidoscope<\/em> (2017, Jaene Castrillon) DP<\/span><\/p>\n
We Are Going Home<\/em> (1998, Jennifer Reeves) 16mm<\/span><\/p>\n
+Big Little Lies (2017, Jean-Marc Vall\u00e9e) – 7.4 [same]<\/span><\/p>\n
Dishonored (1931, Josef von Sternberg) 35mm<\/span> – 6.2<\/p>\n
The War is Over (1966, Alain Resnais) 35mm<\/span> – 4.4<\/p>\n
Jackie Brown (1997, Quentin Tarantino) 35mm<\/span> – 7.6<\/p>\n
+Once Upon a Time… in Hollywood (2019, Quentin Tarantino) DP<\/span> – 5.9 [same]<\/span><\/p>\n
Providence (1977, Alain Resnais) DP<\/span> – 5.1<\/p>\n
Dune (1984, David Lynch) DP<\/span> – 4.8<\/p>\n
 <\/p>\n
August<\/span><\/strong><\/p>\n
Le Trou (1960, Jacques Becker) DP<\/span> – 7.1<\/p>\n
+The Straight Story (1999, David Lynch) 35mm<\/span> – 8.0 [up from 6.3]<\/span><\/p>\n
+Wild Grass (2009, Alain Resnais) 35mm<\/span> – 8.5 [up from 8.4]<\/span><\/p>\n
Krabi, 2562 (2019, Ben Rivers & Anocha Suwichakornpong) – 5.2<\/p>\n
+Twin Peaks: Fire Walk With Me (1992, David Lynch) – 7.4 [same]<\/span><\/p>\n
Wilcox (2019, Denis C\u00f4t\u00e9) – 5.4<\/p>\n
Un Film Dramatique (2019, \u00c9ric Baudelaire) – 4.1<\/p>\n
The Giverny Document (Single Channel) (2019, Ja’Tovia Gary) – 6.7<\/p>\n
143 Sahara Street (2019, Hassen Ferhani) – 5.2<\/p>\n
Bird Island (2019, Sergio da Costa & Maya Kosa) – 6.5<\/p>\n
+The Plagiarists (2019, Peter Parlow) – 7.2 [same]<\/span><\/p>\n
The Climb (2019, Michael Angelo Covino) DP<\/span> – 3.0<\/p>\n
The Docks of New York (1928, Josef von Sternberg) 35mm<\/span> – 4.9<\/p>\n
 <\/p>\n
September<\/span><\/strong><\/p>\n
+Punch-Drunk Love (2002, Paul Thomas Anderson) – 8.2 [down from 8.9]<\/span><\/p>\n
A Girl Missing (2019, Koji Fukada) TIFF<\/span>, DP<\/span> – 5.2<\/p>\n
Saturday Fiction (2019, Lou Ye) TIFF<\/span>, DP<\/span> – 5.0<\/p>\n
The Truth (2019, Hirokazu Kore-eda) TIFF<\/span>, DP<\/span> – 5.3<\/p>\n
Synonyms (2019, Nadav Lapid) TIFF<\/span>, DP<\/span> – 6.1<\/p>\n
Heavy Metal Detox<\/em> (2019, Josef Dabernig) TIFF<\/span>, DP<\/span><\/p>\n
Those That, at a Distance, Resemble Another (2019, Jessica Sarah Rinland) TIFF<\/span>, DP<\/span> – 6.4<\/p>\n
Blood Quantum (2019, Jeff Barnaby) TIFF<\/span>, DP<\/span> – 2.9<\/p>\n
Proxima (2019, Alice Winocour) TIFF<\/span>, DP<\/span> – 4.8<\/p>\n
Three Summers (2019, Sandra Kogut) TIFF<\/span>, DP<\/span> – 5.3<\/p>\n
Austrian Pavillion<\/em> (2019, Philipp Fleischmann) TIFF<\/span>, 35mm<\/span><\/p>\n
SaF05 (2019, Charlotte Prodger) TIFF<\/span>, DP<\/span> – 6.5 [Tentative]<\/span><\/p>\n
Slow Volumes<\/em> (2019, Mike Gibisser) TIFF<\/span>, 35mm<\/span><\/p>\n
The Bite<\/em> (2019, Pedro Neves Marques) TIFF<\/span>, DP<\/span><\/p>\n
Vitalina Varela (2019, Pedro Costa) TIFF<\/span>, DP<\/span> – 6.3<\/p>\n
Cunningham (2019, Alla Kovgan) TIFF<\/span>, 3D<\/span> – 5.0<\/p>\n
Wet Season (2019, Anthony Chen) TIFF<\/span>, DP<\/span> – 3.9<\/p>\n
White Lie (2019, Calvin Thomas & Yonah Lewis) TIFF<\/span>, DP<\/span> – 6.1<\/p>\n
+2008<\/em> (2019, Blake Williams) TIFF<\/span>, 3D<\/span><\/p>\n
Amusement Ride<\/em> (2019, Tomonari Nishikawa) TIFF<\/span>, 16mm<\/span><\/p>\n
Black Sun<\/em> (2019, Maureen Fazendeiro) TIFF<\/span>, DP<\/span><\/p>\n
A Topography of Memory<\/em> (2019, Burak \u00c7evik) TIFF<\/span>, DP<\/span><\/p>\n
Sun Rave<\/em> (2019, Roy Samaha) TIFF<\/span>, DP<\/span><\/p>\n
(tourism studies)<\/em> (2019, Joshua Gen Solondz) TIFF<\/span>, 35mm<\/span><\/p>\n
Martin Eden (2019, Pietro Marcello) TIFF<\/span>, DP<\/span> – 5.4<\/p>\n
Seven Years in May (2019, Affonso Uch\u00f4a) TIFF<\/span>, DP<\/span> – 5.1<\/p>\n
My Skin, Luminous (2019, Gabino Rodr\u00edguez & Nicolas Pereda) TIFF<\/span>, DP<\/span> – 5.8<\/p>\n
2minutes40seconds<\/em> (1975, Han Ok-hee) TIFF<\/span>, DP<\/span><\/p>\n
Hrvoji, Look at You From the Tower<\/em> (2019, Ryan Ferko) TIFF<\/span>, DP<\/span><\/p>\n
Circumplector<\/em> (2019, Gast\u00f3n Solnicki) TIFF<\/span>, DP<\/span><\/p>\n
C\u00e9zanne<\/em> (2019, Luke Fowler) TIFF<\/span>, 16mm<\/span><\/p>\n
Second Generation<\/em> (2019, Miryam Charles) TIFF<\/span>, DP<\/span><\/p>\n
Transcript<\/em> (2019, Erica Sheu) TIFF<\/span>, 35mm<\/span><\/p>\n
Who is Afraid of Ideology? Part 2<\/em> (2019, Marwa Arsanios) TIFF<\/span>, DP<\/span><\/p>\n
The Moneychanger (2019, Federico Veiroj) TIFF<\/span>, DP<\/span> – 4.5<\/p>\n
Knives Out (2019, Rian Johnson) TIFF<\/span>, DP<\/span> – 6.7<\/p>\n
Endless Night (2019, Eloy Enciso) TIFF<\/span>, DP<\/span> – 4.0<\/p>\n
Billy<\/em> (2019, Zachary Epcar) TIFF<\/span>, DP<\/span><\/p>\n
Remembrance: A Portrait Study<\/em> (1967, Edward Owens) TIFF<\/span>, DP<\/span><\/p>\n
Vever (for Barbara)<\/em> (2019, Deborah Stratman) TIFF<\/span>, DP<\/span><\/p>\n
Book of Hours<\/em> (2019, Annie MacDonell) TIFF<\/span>, DP<\/span><\/p>\n
We Still Have to Close Our Eyes<\/em> (2019, John Torres) TIFF<\/span>, DP<\/span><\/p>\n
This Action Lies<\/em> (2019, James N. Kienitz Wilkins) TIFF<\/span>, DP<\/span><\/p>\n
Uncut Gems (2019, Josh & Benny Safdie) TIFF<\/span>, DP<\/span> – 7.0<\/p>\n
The Laundromat (2019, Steven Soderbergh) TIFF<\/span>, DP<\/span> – 5.7<\/p>\n
Wasp Network (2019, Olivier Assayas) TIFF<\/span>, DP<\/span> – 4.2<\/p>\n
+Libert\u00e9 (2019, Albert Serra) TIFF<\/span>, DP<\/span> – 7.7 [same]<\/span><\/p>\n
Marriage Story (2019, Noah Baumbach) TIFF<\/span>, DP<\/span> – 6.5<\/p>\n
Ema (2019, Pablo Larra\u00edn) TIFF<\/span>, DP<\/span> – 4.7<\/p>\n
To the Ends of the Earth (2019, Kiyoshi Kurosawa) TIFF<\/span>, DP<\/span> – 5.7<\/p>\n
Atlantis (2019, Valentyn Vasyanovych) TIFF<\/span>, DP<\/span> – 6.6<\/p>\n
About Endlessness (2019, Roy Andersson) TIFF<\/span>, DP<\/span> – 6.9<\/p>\n
Collective (2019, Alexander Nanau) TIFF<\/span>, DP<\/span> – 6.2<\/p>\n
The Fever (2019, Maya Da-Rin) – 4.6<\/p>\n
Devil Between the Legs (2019, Arturo Ripstein) TIFF<\/span>, DP<\/span> – 5.1<\/p>\n
+The Matrix (1999, The Wachowski Brothers) – 5.8 [~same]<\/span><\/p>\n
+I Was at Home, But\u2026 (2019, Angela Schanelec) TIFF<\/span>, DP<\/span> – 7.0 [same]<\/span><\/p>\n
Rocks (2019, Sarah Gavron) TIFF<\/span>, DP<\/span> – 5.5<\/p>\n
Clemency (2019, Chinonye Chukwu) TIFF<\/span>, DP<\/span> – 3.7<\/p>\n
My Zoe (2019, Julie Delpy) TIFF<\/span>, DP<\/span> – 5.1<\/p>\n
Anne at 13,000 Feet. (2019, Kazik Radwanski) TIFF<\/span>, DP<\/span> – 6.0<\/p>\n
The Vast of Night (2019, Andrew Patterson) TIFF<\/span>, DP<\/span> – 5.4<\/p>\n
Heimat is a Space in Time (2019, Thomas Heise) TIFF<\/span>, DP<\/span> – 5.9<\/p>\n
State Funeral (2019, Sergei Loznitsa) TIFF<\/span>, DP<\/span> – 6.5<\/p>\n
Ad Astra (2019, James Gray) DP<\/span> – 4.1<\/p>\n
+Bicycle Thieves (1948, Vittorio De Sica) – 7.3 [~same]<\/span><\/p>\n
A Voluntary Year (2019, Ulrich K\u00f6hler & Henner Winckler) – 6.3<\/p>\n
+The Tree of Life [Theatrical Version] (2011, Terrence Malick) – 7.1 [~same as Extended Version]<\/span><\/p>\n
 <\/p>\n
October<\/span><\/strong><\/p>\n
Bab Sebta (Cueta\u2019s Gate)<\/em> (2019, Randa Maroufi) Black Canvas<\/span>, DP<\/span><\/p>\n
Realms<\/em> (2018, Patrik S\u00f6derlund) Black Canvas<\/span>, DP<\/span><\/p>\n
Mar\u00e9e<\/em> (2019, Manon Coubia) Black Canvas<\/span>, DP<\/span><\/p>\n
Oil on Wind<\/em> (2018, Alejandro P\u00e9rez) Black Canvas<\/span>, DP<\/span><\/p>\n
Syndrome IO<\/em> (2018, Anastasia Braiko, Anastasia Veber, & Egor Sevastyanov) Black Canvas<\/span>, DP<\/span><\/p>\n
The Golden Legend<\/em> (2019, Chema Garc\u00eda Ibarra & Ion de Sosa) Black Canvas<\/span>, DP<\/span><\/p>\n
Patision Avenue<\/em> (2018, Thanasis Neofotistos) Black Canvas<\/span>, DP<\/span><\/p>\n
Watermelon Juice<\/em> (2019, Irene Moray) Black Canvas<\/span>, DP<\/span><\/p>\n
Wild Berries<\/em> (2018, Marianna Vas, Hedda Bednarszky, & Romulus Balazs) Black Canvas<\/span>, DP<\/span><\/p>\n
All Inclusive<\/em> (2018, Corina Schwingruber Ili\u0107) Black Canvas<\/span>, DP<\/span><\/p>\n
Bocamina<\/em> (2018, Miguel Hilari) Black Canvas<\/span>, DP<\/span><\/p>\n
Reconstrucci\u00f3n<\/em> (2018, Ji\u0159\u00ed Havl\u00ed\u010dek & Ond\u0159ej Nov\u00e1k) Black Canvas<\/span>, DP<\/span><\/p>\n
+Life After Love<\/em> (2018, Zachary Epcar) Black Canvas<\/span>, DP<\/span><\/p>\n
In Those Lands<\/em> (2018, Nayra Sanz Fuentes) Black Canvas<\/span>, DP<\/span><\/p>\n
Labour\/Leisure<\/em> (2019, Jessica Johnson & Ryan Ermacora) Black Canvas<\/span>, DP<\/span><\/p>\n
Aziza<\/em> (2019, Soudade Kaadan) Black Canvas<\/span>, DP<\/span><\/p>\n
Sea of Lost Time (2019, Gurvinder Singh) Black Canvas<\/span>, DP<\/span> – 5.1<\/p>\n
Light<\/em> (2018, Tsai Ming-liang) Black Canvas<\/span>, DP<\/span><\/p>\n
Out of the Present (1997, Andrei Ujic\u0103) Black Canvas<\/span>, DP<\/span> – 6.4<\/p>\n
Gemini Man [60fps] (2019, Ang Lee) 3D<\/span> – 6.5<\/p>\n
Interlude<\/em> (2019, Nathaniel Dorsky) 16mm<\/span><\/p>\n
Ossuary (2016, Nathaniel Dorsky) 16mm<\/span> – 8.1<\/p>\n
Lux Perpetua II<\/em> (2016, Nathaniel Dorsky) 16mm<\/span><\/p>\n
+Gemini Man [120fps] (2019, Ang Lee) 3D<\/span> – 6.5 [same]<\/span><\/p>\n
Play the Wind<\/em> (2019, Alex Prager) DP<\/span><\/p>\n
The Dreamer<\/em> (2016, Nathaniel Dorsky) 16mm<\/span><\/p>\n
Calyx<\/em> (2018, Nathaniel Dorsky) 16mm<\/span><\/p>\n
+Colophon (for the Arboretum Cycle)<\/em> (2018, Nathaniel Dorsky) 16mm<\/span><\/p>\n
Apricity<\/em> (2019, Nathaniel Dorsky) 16mm<\/span><\/p>\n
+Interlude<\/em> (2019, Nathaniel Dorsky) 16mm<\/span><\/p>\n
The Irishman (2019, Martin Scorsese) NYFF<\/b>, DP<\/span> – 5.3<\/p>\n
 <\/p>\n
November<\/span><\/strong><\/p>\n
+Boarding Gate (2007, Olivier Assayas) – 3.0 [~same]<\/span><\/p>\n
+Blankets for Indians [3D] (2012, Ken Jacobs) – 7.9 [up from 6.5]<\/span><\/p>\n
+From the East (1993, Chantal Akerman) DP<\/span> – 7.0 [up from 6.7]<\/span><\/p>\n
King of New York (1990, Abel Ferrara) 35mm<\/span> – 4.8<\/p>\n
+Southland Tales (2006, Richard Kelly) – 7.3 [same]<\/span><\/p>\n
+So Is This (1983, Michael Snow) – 7.5 [same]<\/span><\/p>\n
Toute une nuit (1982, Chantal Akerman) 35mm<\/span> – 6.0<\/p>\n
The Eighties (1983, Chantal Akerman) DP<\/span> – 6.2<\/p>\n
Gamer (2009, Mark Neveldine & Brian Taylor) – 5.7<\/p>\n
+Lore<\/em> (2019, Sky Hopinka) Houston Cinema Arts<\/span>, DP<\/span><\/p>\n
+Austrian Pavillion<\/em> (2019, Philipp Fleischmann) Houston Cinema Arts<\/span>, 35mm<\/span><\/p>\n
E-Ticket<\/em> (2019, Simon Liu) Houston Cinema Arts<\/span>, DP<\/span><\/p>\n
+Cityscape<\/em> (2019, Michael Snow) Houston Cinema Arts<\/span>, DP<\/span><\/p>\n
Low Tide<\/em> (2019, Eva Kolcze) Houston Cinema Arts<\/span>, DP<\/span><\/p>\n
+The Giverny Document (Single Channel) (2019, Ja’Tovia Gary) Houston Cinema Arts<\/span>, DP<\/span> – 7.3 [up from 6.7]<\/span><\/p>\n
Chappie (2015, Neill Blomkamp) – 5.4<\/p>\n
+Alita: Battle Angel [3D] (2019, Robert Rodriguez) – 5.1 [down from 5.5]<\/span><\/p>\n
+Cosmopolis (2012, David Cronenberg) – 7.4 [same]<\/span><\/p>\n
Who’s That Knocking at My Door (1967, Martin Scorsese) 35mm<\/span> – 5.5<\/p>\n
Where’d You Go, Bernadette (2019, Richard Linklater) – 5.9<\/p>\n
Portrait of a Young Girl at the End of the ’60s in Brussels (1994, Chantal Akerman) DP<\/span> – 5.6<\/p>\n
 <\/p>\n
December<\/span><\/strong><\/p>\n
New York, New York (1977, Martin Scorsese) 35mm<\/span> – 6.6<\/p>\n
Water Pulu 1869 1896<\/em> (1987, Ivan Ladislav Galeta) 35mm<\/span><\/p>\n
Two Times in One Space<\/em> (1984, Ivan Ladislav Galeta) 35mm<\/span><\/p>\n
PiR\u00e1M\u00eddas 1972-1984<\/em> (1984, Ivan Ladislav Galeta) 35mm<\/span><\/p>\n
Wal(l)zen<\/em> (1989, Ivan Ladislav Galeta) 35mm<\/span><\/p>\n
Sfa\u0129ra 1985-1895<\/em> (1984, Ivan Ladislav Galeta) 35mm<\/span><\/p>\n
End Art No. 1<\/em> (2000, Ivan Ladislav Galeta) 35mm<\/span><\/p>\n
+The Pettifogger (2011, Lewis Klahr) – 7.4 [down from 9.1]<\/span><\/p>\n
Begotten (1989, E. Elias Merhige) – 4.6<\/p>\n
After Hours (1985, Martin Scorsese) 35mm<\/span> – 7.2<\/p>\n
Movements of a Nearby Mountain (2019, Sebastian Brameshuber) DP<\/span> – 4.2<\/p>\n
Gog [3D] (1954, Herbert L. Strock) – 4.1<\/p>\n
+The Polar Express (2004, Robert Zemeckis) 3D<\/span> – 6.3 [same]<\/span><\/p>\n
Dark Waters (2019, Todd Haynes) DP<\/span> – 5.3<\/p>\n
Kundun (1997, Martin Scorsese) 35mm<\/span> – 5.1<\/p>\n
+Knight of Cups (2015, Terrence Malick) – 8.6 [down from 8.8]<\/span><\/p>\n
Little Women (2019, Greta Gerwig) DP<\/span> – 3.9<\/p>\n
Joker (2019, Todd Phillips) – 5.9<\/p>\n
+Nostos: The Return (1989, Franco Piavoli) – 7.1 [same]<\/span><\/p>\n
Peterloo (2018, Mike Leigh) – 5.8<\/p>\n
A Beautiful Day in the Neighborhood (2019, Marielle Heller) – 5.1<\/p>\n
+Uncut Gems (2019, Josh & Benny Safdie) DP<\/span> – 8.1 [up from 7.0]<\/span><\/p>\n
+Interstellar (2014, Christopher Nolan) 70mm<\/span> – 8.4 [up from 5.0]<\/span><\/p>\n
End of the Century (2019, Lucio Castro) – 5.6<\/p>\n
Only Angels Have Wings (1939, Howard Hawks) \u2013 6.3<\/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-18564","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/posts\/18564","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=18564"}],"version-history":[{"count":5,"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/posts\/18564\/revisions"}],"predecessor-version":[{"id":19844,"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/posts\/18564\/revisions\/19844"}],"wp:attachment":[{"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/media?parent=18564"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/categories?post=18564"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/tags?post=18564"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}