{"id":19945,"date":"2020-01-01T01:00:17","date_gmt":"2020-01-01T06:00:17","guid":{"rendered":"http:\/\/blakewilliams.net\/blog\/?p=19945"},"modified":"2021-01-01T12:22:22","modified_gmt":"2021-01-01T17:22:22","slug":"2020-film-log","status":"publish","type":"post","link":"http:\/\/blakewilliams.net\/blog\/2020\/01\/2020-film-log\/","title":{"rendered":"2020 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). In 2020, I started also including home viewings of 3D shorts (regardless of format, as long as glasses are involved)<\/strong><\/span>. 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
The King of Comedy (1982, Martin Scorsese) DP<\/span> – 7.0<\/p>\n
+Parasite (2019, Bong Joon-ho) – 6.4 [same]<\/span><\/p>\n
vulture (2019, Philip Hoffman) DP<\/span> – 5.4<\/p>\n
The Body Remembers When the World Broke Open (2019, Elle-M\u00e1ij\u00e1 Tailfeathers & Kathleen Hepburn) – 5.4<\/p>\n
The Mortal Storm (1940, Frank Borzage) 35mm<\/span> – 6.9<\/p>\n
Midsommar (2019, Ari Aster) – 4.7<\/p>\n
+Billy Lynn’s Long Halftime Walk [24fps 3D] (2016, Ang Lee) – 5.3 [120fps 3D version: 5.9]<\/span><\/p>\n
+Holy Motors (2012, Leos Carax) 35mm<\/span> – 6.6 [down from 8.5]<\/span><\/p>\n
Lovely Yellow Colour<\/em> (1991, Angela Schanelec) 16mm<\/span><\/p>\n
Prague, March 92<\/em> (1992, Angela Schanelec) 16mm<\/span><\/p>\n
Princip, Text<\/em> (2014, Angela Schanelec) DP<\/span><\/p>\n
Far Away<\/em> (1992, Angela Schanelec) 16mm<\/span><\/p>\n
+I Stayed in Berlin Over the Summer (1994, Angela Schanelec) 35mm<\/span> – 6.7 [up from 5.1]<\/span><\/p>\n
I Walked with a Zombie (1943, Jacques Tourneur) 35mm<\/span> – 5.6<\/p>\n
 <\/p>\n
February<\/span><\/strong><\/p>\n
Light of My Life (2019, Casey Affleck) – 6.4<\/p>\n
+Passing Summer (2001, Angela Schanelec) 35mm<\/span> – 5.8 [up from 5.2]<\/span><\/p>\n
Private Imaginings and Narrative Facts<\/em> (1970, Edward Owens) DP<\/span><\/p>\n
+Remembrance: A Portrait Study<\/em> (1967, Edward Owens) DP<\/span><\/p>\n
Tomorrow’s Promise (1967, Edward Owens) DP<\/span> – 6.8<\/p>\n
+Marseille (2004, Angela Schanelec) 35mm<\/span> – 7.4 [up from 6.8]<\/span><\/p>\n
+Places in Cities (1998, Angela Schanelec) 35mm<\/span> – 5.5 [down from 6.2]<\/span><\/p>\n
Swimming Out Till the Sea Turns Blue (2020, Jia Zhang-ke) Berlinale<\/span>, DP<\/span> – 5.2<\/p>\n
The Tango of the Widower and Its Distorting Mirror (2020, Ra\u00fal Ruiz & Valeria Sarmiento) Berlinale<\/span>, DP<\/span> – 5.7<\/p>\n
The Calming (2020, Song Fang) Berlinale<\/span>, DP<\/span> – 4.9<\/p>\n
Malmkrog (2020, Cristi Puiu) Berlinale<\/span>, DP<\/span> – 6.8<\/p>\n
Most of What Follows Is..True<\/em> (2020, Maged Nader) Berlinale<\/span>, DP<\/span><\/p>\n
Her Name Was Europa (2020, Anja Dornieden & Juan David Gonz\u00e1lez Monroy) Berlinale<\/span>, 16mm<\/span> – 5.3<\/p>\n
The Viewing Booth (2020, Ra\u2019anan Alexandrowicz) Berlinale<\/span>, DP<\/span> – 3.4<\/p>\n
Death of Nintendo (2020, Raya Martin) Berlinale<\/span>, DP<\/span> – 5.3<\/p>\n
Maggie\u2019s Farm (2020, James Benning) Berlinale<\/span>, DP<\/span> – 6.1<\/p>\n
Red Moon Tide (2020, Lois Pati\u00f1o) Berlinale<\/span>, DP<\/span> – 4.1<\/p>\n
Los Conductos (2020, Camilo Restrepo) Berlinale<\/span>, DP<\/span> – 4.6<\/p>\n
Uppercase Print (2020, Radu Jude) Berlinale<\/span>, DP<\/span> – 5.0<\/p>\n
La Boh\u00e8me (1926, King Vidor) Berlinale<\/span>, 35mm<\/span> – 6.3<\/p>\n
The Salt of Tears (2020, Philippe Garrel) Berlinale<\/span>, DP<\/span> – 7.6<\/p>\n
The Murder of Fred Hampton (1971, Howard Alk) Berlinale<\/span>, 35mm<\/span> – 6.0<\/p>\n
First Cow (2019, Kelly Reichardt) Berlinale<\/span>, DP<\/span> – 6.1<\/p>\n
The Two Sights (2019, Joshua Bonnetta) Berlinale<\/span>, DP<\/span> – 5.4<\/p>\n
Undine (2020, Christian Petzold) Berlinale<\/span>, DP<\/span> – 5.6<\/p>\n
All the Dead Ones (2020, Marco Dutra & Caetano Gotardo) Berlinale<\/span>, DP<\/span> – 3.1<\/p>\n
Eldridge Cleaver, Black Panther (1970, William Klein) Berlinale<\/span>, 35mm<\/span> – 6.4<\/p>\n
Zero (2020, Kazuhiro Soda) Berlinale<\/span>, DP<\/span> – 5.0<\/p>\n
It Wasn\u2019t the Right Mountain, Mohammad<\/em> (2020, Mili Pecherer) Berlinale<\/span>, DP<\/span><\/p>\n
Playback<\/em> (2019, Agustina Comedi) Berlinale<\/span>, DP<\/span><\/p>\n
+2008<\/em> (2019, Blake Williams) Berlinale<\/span>, 3D<\/span><\/p>\n
\u00c9cume<\/em> (2020, Omar Elhamy) Berlinale<\/span>, DP<\/span><\/p>\n
Siberia (2020, Abel Ferrara) Berlinale<\/span>, DP<\/span> – 6.6<\/p>\n
The Woman Who Ran (2020, Hong Sang-soo) Berlinale<\/span>, DP<\/span> – 6.4<\/p>\n
Orphea (2020, Alexander Kluge & Khavn) Berlinale<\/span>, DP<\/span> – 4.7<\/p>\n
Recovery<\/em> (2020, Kevin Jerome Everson) Berlinale<\/span>, DP<\/span><\/p>\n
Equinox<\/em> (2020, Margaret Honda) Berlinale<\/span>, 70mm<\/span><\/p>\n
The Phantom Menace<\/em> (2020, Graeme Arnfield) Berlinale<\/span>, DP<\/span><\/p>\n
+2008<\/em> (2019, Blake Williams) Berlinale<\/span>, 3D<\/span><\/p>\n
Isabella (2020, Mat\u00edas Pi\u00f1eiro) Berlinale<\/span>, DP<\/span> – 5.9<\/p>\n
The Last City (2020, Heinz Emigholz) Berlinale<\/span>, DP<\/span> – 6.9<\/p>\n
Bloody Nose, Empty Pockets (2020, Bill Ross IV & Turner Ross) Berlinale<\/span>, DP<\/span> – 6.7<\/p>\n
+2008<\/em> (2019, Blake Williams) Berlinale<\/span>, 3D<\/span><\/p>\n
Days (2020, Tsai Ming-liang) Berlinale<\/span>, DP<\/span> – 7.1<\/p>\n
The Wedding Night (1935, King Vidor) Berlinale<\/span>, 35mm<\/span> – 7.2<\/p>\n
+2008<\/em> (2019, Blake Williams) Berlinale<\/span>, 3D<\/span><\/p>\n
The Citadel (1938, King Vidor) Berlinale<\/span>, 35mm<\/span> – 6.5<\/p>\n
Irradiated (2020, Rithy Panh) Berlinale<\/span>, DP<\/span> – 2.6<\/p>\n
Mare\u2019s Tail (1968, David Larcher)  Berlinale<\/span>, 16mm<\/span> – 4.9<\/p>\n
Ruby Gentry (1952, King Vidor) Berlinale<\/span>, 35mm<\/span> – 5.6<\/p>\n
A l’abordage (2020, Guillaume Brac) Berlinale<\/span>, DP<\/span> – 4.7<\/p>\n
There Is No Evil (2020, Mohammad Rasoulof) Berlinale<\/span>, DP<\/span> – 4.4<\/p>\n
 <\/p>\n
March<\/span><\/strong><\/p>\n
+Wavelength (1967, Michael Snow) – 9.7 [same]<\/span><\/p>\n
Epicentro (2020, Hubert Sauper) First Look<\/span>, DP<\/span> – 4.3<\/p>\n
Blue Eyes and Colorful My Dress (2020, Polina Gumiela) – 5.3<\/p>\n
+2008<\/em> (2019, Blake Williams) First Look<\/span>, 3D<\/span><\/p>\n
Ridge (2019, John Skoog) First Look<\/span>, DP<\/span> – 5.4<\/p>\n
Purple Sea (2020, Amel Alzakout & Khaled Abdulwahed) – 4.6<\/p>\n
Young and Innocent (1937, Alfred Hitchcock) – 6.0<\/p>\n
Segunda Vez (2018, Dora Garc\u00eda) – 6.4<\/p>\n
+Aykan<\/em> [3D] (2018, Sebastian Buerkner)<\/p>\n
+Cavalcade<\/em> [3D] (2019, Johann Lurf)<\/p>\n
+Marking Time<\/em> [3D] (2015, Malcolm Le Grice)<\/p>\n
IWOW: I Walk on Water (2020, Khalik Allah) – 5.1<\/p>\n
Mosco Street 2<\/em> [3D] (2016, Ken Jacobs)<\/p>\n
So Late So Soon (2020, Daniel Hymanson) – 6.3<\/p>\n
Last and First Men (2020, J\u00f3hann J\u00f3hannsson) – 4.8<\/p>\n
Circumstantial Pleasures (2020, Lewis Klahr) – 5.8<\/p>\n
Brian May’s Brief History of 3D [3D] (2011, Julian Kemp) – 5.0<\/p>\n
measuring change (2016, James Benning) – 6.5<\/p>\n
Expedition Content (2020, Ernst Karel & Veronika Kusumaryati) – 6.0<\/p>\n
Bickels [Socialism] (2017, Heinz Emigholz) – 4.5<\/p>\n
A Shape of Things to Come (2020, J.P. Sniadecki & Lisa Malloy) – 5.2<\/p>\n
Treasure Island (2018, Guillaume Brac) – 5.6<\/p>\n
Inventing the Future (2020, Isiah Medina) – 6.6<\/p>\n
The Anchorage (2009, Anders Edstr\u00f6m & C.W. Winter) – 5.9<\/p>\n
 <\/p>\n
April<\/span><\/strong><\/p>\n
Koyaanisqatsi (1982, Godfrey Reggio) – 7.0<\/p>\n
Powaqqatsi (1988, Godfrey Reggio) – 5.3<\/p>\n
Naqoyqatsi (2002, Godfrey Reggio) – 6.9<\/p>\n
Never Rarely Sometimes Always (2020, Eliza Hittman) – 4.9<\/p>\n
+*Corpus Callosum (2002, Michael Snow) – 8.5 [up from 7.9]<\/span><\/p>\n
A Day in the Country<\/em> [3D] (1953, Jack Rieger)<\/p>\n
The Black Swan<\/em> [3D] (1952, Leonard Reeve)<\/p>\n
Hillary Hess Presents Mid-Century Memories in Kodachrome Stereo<\/em> [3D] (2020, uncredited)<\/p>\n
Games in Depth<\/em> [3D] (1966, uncredited)<\/p>\n
The Sword of Granada [3D] (1953, Edward Dein & Carlos V\u00e9jar hijo) – 3.7<\/p>\n
The American Sector (2020, Courtney Stephens & Pacho Velez) – 6.0<\/p>\n
That Cloud Never Left (2019, Yashaswini Raghunandan) – 5.1<\/p>\n
Quick Billy (1971, Bruce Baillie) – 6.9<\/p>\n
Where the Chocolate Mountains (2015, Pat O’Neill) – 4.4<\/p>\n
+Come Closer<\/em> [Pulfrich 3D] (1953, Hy Hirsh)<\/p>\n
ma\u026cni \u2013 towards the ocean, towards the shore (2020, Sky Hopinka) \u2013 4.8<\/p>\n
Street Scene (1931, King Vidor) – 7.1<\/p>\n
DAU. Natasha (2020, Ilya Khrzhanovskiy & Jekaterina Oertel) \u2013 6.7<\/p>\n
Our Daily Bread (1934, King Vidor) – 6.4<\/p>\n
Hallelujah (1929, King Vidor) – 6.5<\/p>\n
The Champ (1931, King Vidor) – 5.9<\/p>\n
The Works and Days (of Tayoko Shiojiri in the Shiotani Basin) (2020, Anders Edstr\u00f6m & C.W. Winter) – 6.5<\/p>\n
DAU. Degeneration (2020, Ilya Khrzhanovskiy & Ilya Permyakov) \u2013 7.3<\/p>\n
Intimate Distances (2020, Phillip Warnell) – 5.7<\/p>\n
Corporate Accountability (2020, Jonathan Perel) – 3.9<\/p>\n
Zeus Machine. The Invincible (2019, Nadia Ranocchi & David Zamagni) \u2013 5.6<\/p>\n
White Epilepsy (2012, Philippe Grandrieux) – 4.7<\/p>\n
Sedu\u00e7\u00e3o da Carne (2018, J\u00falio Bressane) \u2013 5.8<\/p>\n
Show People (1928, King Vidor) – 5.7<\/p>\n
DAU. Nora Mother (2020, Ilya Khrzhanovskiy & Jekaterina Oertel) – 5.2<\/p>\n
Bird of Paradise (1932, King Vidor) – 5.6<\/p>\n
The Patsy (1928, King Vidor) – 5.4<\/p>\n
The Decay of Fiction (2002, Pat O\u2019Neill) – 5.8<\/p>\n
Window Boy Would Also Like to Have a Submarine (2020, Alex Piperno) – 4.8<\/p>\n
The Incredible Shrinking Man (1957, Jack Arnold) – 6.8<\/p>\n
The Assistant (2019, Kitty Green) – 5.5<\/p>\n
 <\/p>\n
May<\/span><\/strong><\/p>\n
DAU. Three Days (2020, Ilya Khrzhanovskiy & Jekaterina Oertel) – 7.0<\/p>\n
The Invisible Man (2020, Leigh Whannell) – 6.3<\/p>\n
Ghosts of the Pastures<\/em> [3D] (2019, Christian A. Zschammer)<\/p>\n
Little Planet in 3D<\/em> [3D] (2019, Takashi Sekitani)<\/p>\n
The Invisible Man (1933, James Whale) – 6.2<\/p>\n
s01e03 (2020, Kurt Walker) – 6.5<\/p>\n
+DAU. Natasha (2020, Ilya Khrzhanovskiy & Jekaterina Oertel) \u2013 6.7 [same]<\/span><\/p>\n
Hollow Man (2000, Paul Verhoeven) – 6.8<\/p>\n
The Plastic House (2019, Allison Chhorn) – 6.0<\/p>\n
Second Star to the Right and Straight On \u2019Til Morning (2020, Bill Ross IV & Turner Ross) – 6.2<\/p>\n
The Stereo Photography of Harold Lloyd<\/em> [3D] (2020, uncredited)<\/p>\n
DAU. Brave People (2020, Ilya Khrzhanovskiy & Aleksey Slusarchuk) – 6.9<\/p>\n
Man Without a Star (1955, King Vidor) – 5.1<\/p>\n
Panic in the Streets (1950, Elia Kazan) – 5.9<\/p>\n
The Sky Socialist [2019 edition] (1968, Ken Jacobs) – 3.8<\/p>\n
Not So Dumb (1930, King Vidor) – 6.0<\/p>\n
The Stranger’s Return (1933, King Vidor) – 6.5<\/p>\n
Death on the Diamond (1934, Edward Sedgwick) – 4.3<\/p>\n
DAU. Katya Tanya (2020, Ilya Khrzhanovskiy & Jekaterina Oertel) – 5.7<\/p>\n
It Happens Every Spring (1949, Lloyd Bacon) – 4.8<\/p>\n
Miss Sadie Thompson [3D] (1953, Curtis Bernhardt) – 5.6<\/p>\n
Gun Fury [3D] (1953, Raoul Walsh) – 5.4<\/p>\n
Tricked (2012, Paul Verhoeven) – 6.1<\/p>\n
The Guests [3D] (2014, Ken Jacobs) – 5.3<\/p>\n
Man in the Dark [3D] (1953, Lew Landers) – 6.4<\/p>\n
DAU. New Man (2020, Ilya Khrzhanovskiy & Ilya Permyakov) – 5.8<\/p>\n
The History of the Seattle Mariners (2020, Jon Bois) – 6.8<\/p>\n
Inferno [3D] (1953, Roy Ward Baker) – 6.2<\/p>\n
Rhubarb (1951, Arthur Lubin) – 4.0<\/p>\n
Adam and 6 Eves [3D] (1962, John Wallis) – 4.5<\/p>\n
Taza, Son of Cochise [3D] (1954, Douglas Sirk) – 5.5<\/p>\n
The Fountainhead (1949, King Vidor) – 7.8<\/p>\n
The Bellboy and the Playgirls [3D] (1962, Francis Ford Coppola & Fritz Umgelter) – 3.9<\/p>\n
Dragonfly Squadron [3D] (1954, Lesley Selander) – 5.1<\/p>\n
Kiss Me Kate [3D] (1953, George Sidney) – 5.3<\/p>\n
+Circumstantial Pleasures (2020, Lewis Klahr) – 6.4 [up from 5.8]<\/span><\/p>\n
 <\/p>\n
June<\/span><\/strong><\/p>\n
Bardelys the Magnificent (1926, King Vidor) – 4.8<\/p>\n
Bamboozled (2000, Spike Lee) – 6.6<\/p>\n
Cristaux (1978, Teo Hern\u00e1ndez) – 4.8<\/p>\n
Cease Fire [3D] (1953, Owen Crump) – 5.0<\/p>\n
DAU. String Theory (2020, Ilya Khrzhanovskiy & Aleksey Slusarchuk) – 5.9<\/p>\n
Shirley (2020, Josephine Decker) – 4.5<\/p>\n
Tea and Sympathy (1956, Vincente Minnelli) – 6.5<\/p>\n
Commute (1995, Bruce & Lorie Baillie) – 4.1<\/p>\n
DAU. Nikita Tanya (2020, Ilya Khrzhanovskiy & Jekaterina Oertel) – 5.3<\/p>\n
The Big Parade (1925, King Vidor) – 6.8<\/p>\n
Those Redheads from Seattle [3D] (1953, Lewis R. Foster) – 5.5<\/p>\n
Da 5 Bloods (2020, Spike Lee) – 6.7<\/p>\n
So Red the Rose (1935, King Vidor) – 5.8<\/p>\n
Long Gone Summer (2020, AJ Schnack) – 3.7<\/p>\n
To Sleep with Anger (1990, Charles Burnett) – 6.9<\/p>\n
New Orleans, Mon Amour (2008, Michael Almereyda) – 5.7<\/p>\n
Cynara (1932, King Vidor) – 6.0<\/p>\n
Sangaree [3D] (1953, Edward Ludwig) – 4.2<\/p>\n
The Glass Shield (1994, Charles Burnett) – 5.5<\/p>\n
+S:TREAM:S:S:ECTION:S:ECTION:S:S:ECTIONED (1971, Paul Sharits) – 8.1 [same]<\/span><\/p>\n
Twister (1989, Michael Almereyda) – 5.7<\/p>\n
Billy the Kid (1930, King Vidor) – 5.8<\/p>\n
Another Girl Another Planet (1992, Michael Almereyda) – 5.7<\/p>\n
Things We Say, Things We Do: Love Affair(s) (2020, Emmanuel Mouret) – 5.4<\/p>\n
Itinerary of Jean Bricard (2008, Dani\u00e8le Huillet & Jean-Marie Straub) – 5.9<\/p>\n
Spring Blossom (2020, Suzanne Lindon) – 4.9<\/p>\n
The Boss of It All (2006, Lars von Trier) – 4.6<\/p>\n
House of Wax [3D] (1953, Andr\u00e9 de Toth) – 6.4<\/p>\n
The Texas Rangers (1936, King Vidor) – 5.7<\/p>\n
Losing Ground (1982, Kathleen Collins) – 6.2<\/p>\n
Viena and the Fantomes (2020, Gerardo Naranjo) – 4.7<\/p>\n
 <\/p>\n
July<\/span><\/strong><\/p>\n
September Storm [3D] (1960, Byron Haskin) – 4.9<\/p>\n
Nadja (1994, Michael Almereyda) – 6.1<\/p>\n
Imitation of Life (1934, John M. Stahl) – 6.9<\/p>\n
The Wind Is Driving Him Toward the Open Sea (1968, David Brooks) – 3.5<\/p>\n
Stella Dallas (1937, King Vidor) – 7.3<\/p>\n
At Sundance (1995, Michael Almereyda & Amy Hobby) – 6.6<\/p>\n
Labyrinth of Cinema (2019, Nobuhiko \u014cbayashi) – 6.2<\/p>\n
Within Our Gates (1920, Oscar Micheaux) – 4.8<\/p>\n
Variety (1983, Bette Gordon) – 7.3<\/p>\n
Palm Springs (2020, Max Barbakow) – 5.5<\/p>\n
Bay of Angels (1963, Jacques Demy) – 6.5<\/p>\n
\u2018\u2018Northwest Passage\u2019\u2019 (Book I – –<\/span> Rogers’ Rangers) (1940, King Vidor) – 6.6<\/p>\n
My Brother\u2019s Wedding (1983, Charles Burnett) – 5.1<\/p>\n
Cathedrals of Culture [3D] (2014, Wim Wenders, Michael Glawogger, Michael Madsen, Robert Redford, Margreth Olin, & Karim A\u00efnouz) \u2014 4.8<\/p>\n
Empty Suitcases (1980, Bette Gordon) – 5.2<\/p>\n
The Eternal (1998, Michael Almereyda) – 6.0<\/p>\n
Comrade X (1940, King Vidor) – 5.5<\/p>\n
Punishment Park (1971, Peter Watkins) – 6.3<\/p>\n
Hamlet (2000, Michael Almereyda) – 6.4<\/p>\n
Happy Here and Now (2002, Michael Almereyda) – 7.2<\/p>\n
William Eggleston in the Real World (2005, Michael Almereyda) – 6.8<\/p>\n
+Wild Grass (2009, Alain Resnais) – 8.5 [same]<\/span><\/p>\n
Liminal (2020, Philippe Grandrieux, Manuela de Laborde, Lav Diaz, & \u00d3scar Enr\u00edquez) – 5.0<\/p>\n
 <\/p>\n
August<\/span><\/strong><\/p>\n
She Dies Tomorrow (2020, Amy Seimetz) – 3.7<\/p>\n
Microphones in 2020 (2020, Phil Elverum) – 6.6<\/p>\n
Tesla (2020, Michael Almereyda) – 6.0<\/p>\n
Boys State (2020, Amanda McBaine & Jesse Moss) – 6.3<\/p>\n
+Tesla (2020, Michael Almereyda) – 6.6 [up from 6.0]<\/span><\/p>\n
+First Cow (2019, Kelly Reichardt) – 6.1 [same]<\/span><\/p>\n
Tenet (2020, Christopher Nolan) 70mm<\/span> – 5.9<\/p>\n
Slow Machine (2020, Paul Felten & Joe DeNardo) – 6.5<\/p>\n
My Mexican Bretzel (2019, Nuria Gim\u00e9nez) – 6.3<\/p>\n
Ouvertures (2019, Louis Henderson & Olivier Marboeuf) – 5.0<\/p>\n
 <\/p>\n
September<\/span><\/strong><\/p>\n
The Year of the Discovery (2020, Luis L\u00f3pez Carrasco) – 4.3<\/p>\n
I\u2019m Thinking of Ending Things (2020, Charlie Kaufman) – 5.8<\/p>\n
Tragic Jungle (2020, Yulene Olaizola) – 3.8<\/p>\n
Night of the Kings (2020, Philippe Lac\u00f4te) – 4.7<\/p>\n
Shiva Baby (2020, Emma Seligman) – 5.4<\/p>\n
One Night in Miami (2020, Regina King) – 5.7<\/p>\n
Saint-Narcisse (2020, Bruce LaBruce) – 5.6<\/p>\n
The Disciple (2020, Chaitanya Tamhane) – 6.8<\/p>\n
Fireball: Visitors from Darker Worlds (2020, Werner Herzog & Clive Oppenheimer) – 5.6<\/p>\n
Nomadland (2020, Chlo\u00e9 Zhao) – 4.2<\/p>\n
Pieces of a Woman (2020, Korn\u00e9l Mundrucz\u00f3) – 4.8<\/p>\n
Summer of 85 (2020, Fran\u00e7ois Ozon) – 4.9<\/p>\n
MLK\/FBI (2020, Sam Pollard) – 4.8<\/p>\n
New Order (2020, Michel Franco) – 3.4<\/p>\n
The Inheritance (2020, Ephraim Asili) – 5.5<\/p>\n
Beginning (2020, Dea Kulumbegashvili) – 7.0<\/p>\n
Notturno (2020, Gianfranco Rosi) – 5.7<\/p>\n
City Hall (2020, Frederick Wiseman) – 6.5<\/p>\n
Fauna (2020, Nicol\u00e1s Pereda) – 7.2<\/p>\n
The Devil All the Time (2020, Antonio Campos) – 2.5<\/p>\n
Preparations to Be Together For an Unknown Period of Time (2020, Lili Horv\u00e1th) – 4.8<\/p>\n
The Truffle Hunters (2020, Michael Dweck & Gregory Kershaw) – 5.3<\/p>\n
Gunda (2020, Viktor Kossakovsky) – 5.4<\/p>\n
All In: The Fight for Democracy (2020, Liz Garbus & Lisa Cort\u00e9s) – 4.9<\/p>\n
Time (2020, Garrett Bradley) – 6.4<\/p>\n
The Monopoly of Violence (2020, David Dufresne) – 6.5<\/p>\n
Her Socialist Smile (2020, John Gianvito) – 7.0<\/p>\n
On the Rocks (2020, Sofia Coppola) – 3.5<\/p>\n
There Are Not Thirty-Six Ways of Showing a Man Getting on a Horse (2020, Nicol\u00e1s Zukerfeld) – 5.6<\/p>\n
Identifying Features (2020, Fernanda Valadez) – 5.0<\/p>\n
Kokoloko (2020, Gerardo Naranjo) – 5.8<\/p>\n
Hopper\/Welles (2020, Orson Welles) – 6.6<\/p>\n
 <\/p>\n
October<\/span><\/strong><\/p>\n
+The Salt of Tears (2020, Philippe Garrel) – 6.9 [down from 7.6]<\/span><\/p>\n
I Carry You with Me (2020, Heidi Ewing) – 4.1<\/p>\n
The Lobby (2020, Heinz Emigholz) – 6.7<\/p>\n
Lovers Rock (2020, Steve McQueen) – 5.3<\/p>\n
Red, White and Blue (2020, Steve McQueen) – 5.1<\/p>\n
Mangrove (2020, Steve McQueen) – 4.0<\/p>\n
Atarrabi and Mikelats (2020, Eug\u00e8ne Green) – 6.2<\/p>\n
Dick Johnson is Dead (2020, Kirsten Johnson) – 5.5<\/p>\n
+Beginning (2020, Dea Kulumbegashvili) – 6.3 [down from 7.0]<\/span><\/p>\n
The Wolf of Snow Hollow (2020, Jim Cummings) – 5.3<\/p>\n
French Exit (2020, Azazel Jacobs) – 5.6<\/p>\n
Sand (2018, Tsai Ming-liang) – 6.6<\/p>\n
Kajillionaire (2020, Miranda July) – 5.6<\/p>\n
David Byrne\u2019s American Utopia (2020, Spike Lee) – 5.2<\/p>\n
The Trial of the Chicago 7 (2020, Aaron Sorkin) – 3.7<\/p>\n
Borat Subsequent Moviefilm (2020, Jason Woliner) – 3.6<\/p>\n
Rebecca (2020, Ben Wheatley) – 3.9<\/p>\n
Dragged Across Concrete (2018, S. Craig Zahler) – 6.9<\/p>\n
+Election (1999, Alexander Payne) – 6.5 [~same]<\/span><\/p>\n
Bone Tomahawk (2015, S. Craig Zahler) – 6.3<\/p>\n
 <\/p>\n
November<\/span><\/strong><\/p>\n
We Are Who We Are (2020, Luca Guadagnino) – 5.7<\/p>\n
Jivaro [3D] (1954, Edward Ludwig) – 5.0<\/p>\n
The Cameraman (1928, Edward Sedgwick) – 5.1<\/p>\n
Sportin’ Life (2020, Abel Ferrara) – 5.4<\/p>\n
A Rainy Day in New York (2019, Woody Allen) – 5.7<\/p>\n
The Nest (2020, Sean Durkin) – 5.9<\/p>\n
Woman on the Beach (2006, Hong Sang-soo) – 7.2<\/p>\n
Red Post on Escher Street (2020, Sion Sono) – 6.4<\/p>\n
Home Front (2020, Lucas Belvaux) – 3.5<\/p>\n
 <\/p>\n
December<\/span><\/strong><\/p>\n
Ammonite (2020, Francis Lee) – 4.1<\/p>\n
Mank (2020, David Fincher) – 5.5<\/p>\n
The Day a Pig Fell Into the Well (1996, Hong Sang-soo) – 6.3<\/p>\n
Alex Wheatle (2020, Steve McQueen) – 3.7<\/p>\n
Let Them All Talk a.k.a. The Fall of 2019 (2020, Steven Soderbergh) – 6.9<\/p>\n
The Power of Kangwon Province (1998, Hong Sang-soo) – 7.0<\/p>\n
Nasir (2020, Arun Karthick) – 4.7<\/p>\n
Minari (2020, Lee Isaac Chung) – 4.0<\/p>\n
Education (2020, Steve McQueen) – 5.4<\/p>\n
+The Woman Who Ran (2020, Hong Sang-soo) – 6.4 [same]<\/span><\/p>\n
Build the Wall (2020, Joe Swanberg) – 6.2<\/p>\n
+Her Socialist Smile (2020, John Gianvito) – 7.3 [up from 7.0]<\/span><\/p>\n
Virgin Stripped Bare by Her Bachelors (2000, Hong Sang-soo) – 5.5<\/p>\n
Tale of Cinema (2005, Hong Sang-soo) – 5.9<\/p>\n
A Christmas Carol [3D] (2009, Robert Zemeckis) – 5.6<\/p>\n
+Days (2020, Tsai Ming-liang) – 7.1 [same]<\/span><\/p>\n
Claire\u2019s Knee (1970, Eric Rohmer) – 7.0<\/p>\n
Night and Day (2008, Hong Sang-soo) – 7.1<\/p>\n
Shithouse (2020, Cooper Raiff) – 5.7<\/p>\n
Night of the Living Dead (1968, George A. Romero) – 6.7<\/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-19945","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/posts\/19945","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=19945"}],"version-history":[{"count":1,"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/posts\/19945\/revisions"}],"predecessor-version":[{"id":19946,"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/posts\/19945\/revisions\/19946"}],"wp:attachment":[{"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/media?parent=19945"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/categories?post=19945"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/tags?post=19945"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}