{"id":21232,"date":"2021-01-01T00:01:00","date_gmt":"2021-01-01T05:01:00","guid":{"rendered":"http:\/\/blakewilliams.net\/blog\/?p=21232"},"modified":"2022-01-03T22:35:57","modified_gmt":"2022-01-04T03:35:57","slug":"2021-film-log","status":"publish","type":"post","link":"http:\/\/blakewilliams.net\/blog\/2021\/01\/2021-film-log\/","title":{"rendered":"2021 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 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 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), or in 3D (regardless of format, as long as glasses are involved), or — new for 2021!<\/b> — if it’s a first-time viewing of a film that was selected to screen (virtually or otherwise) in a credible film festival, or was made by a clearly reputable filmmaker (whose work, perhaps, has screened at a credible festival in the past. Or whatever, they’re legit just trust me)<\/span>. Why these (increasingly lax)<\/span> 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 log only short films proper (whatever that means, etc.), which by the way will predominantly be 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 Seventh Continent (1989, Michael Haneke) – 6.1<\/p>\n
The Girl and the Spider (2021, Ramon Z\u00fcrcher) – 6.8<\/p>\n
Teenage Emotions (2021, Fr\u00e9d\u00e9ric Da) – 6.5<\/p>\n
Some Kind of Heaven (2020, Lance Oppenheim) – 5.6<\/p>\n
+Lux \u00c6terna (2019, Gaspar No\u00e9) – 6.5 [same]<\/span><\/p>\n
El Planeta (2020, Amalia Ulman) – 6.4<\/p>\n
 <\/p>\n
February<\/span><\/strong><\/p>\n
A Glitch in the Matrix (2021, Rodney Ascher) – 5.5<\/p>\n
Searchers (2021, Pacho Velez) – 5.8<\/p>\n
All Light, Everywhere (2021, Theo Anthony) – 5.8<\/p>\n
Prisoners of the Ghostland (2021, Sion Sono) – 3.1<\/p>\n
In My Room<\/em> (2020, Mati Diop)<\/p>\n
Pebbles (2021, P.S. Vinothraj) – 5.9<\/p>\n
Er is een geest van mij<\/em> (2021, Mateo Vega)<\/p>\n
Flowers Blooming In Our Throats<\/em> (2021, Eva Giolo)<\/p>\n
Sunsets, Everyday<\/em> (2021, Basir Mahmood)<\/p>\n
Taming the Garden (2021, Salom\u00e9 Jashi) – 4.8<\/p>\n
Patrick<\/em> (2020, Luke Fowler)<\/p>\n
Citadel<\/em> (2020, John Smith)<\/p>\n
Something to Touch That Is Not Corruption or Ashes or Dust<\/em> (2020, Mike Stoltz)<\/p>\n
Tellurian Drama<\/em> (2020, Riar Rizaldi)<\/p>\n
Tracing Utopia<\/em> (2021, Nick Tyson & Catarina de Sousa)<\/p>\n
Plant (879 pages, 33 days)<\/em> (2020, Ruth H\u00f6flich)<\/p>\n
Maat Means Land<\/em> (2020, Fox Maxy)<\/p>\n
The Hole\u2019s Journey<\/em> (2021, Ghita Skali)<\/p>\n
80,000 Years Old<\/em> (2020, Christelle Lheureux)<\/p>\n
Inner Landscape Meditations<\/em> [Anaglyph 3D] (2014, Dominik Lange)<\/p>\n
Manifesto<\/em> (2021, Ane Hjort Guttu)<\/p>\n
For the Sake of Calmness<\/em> (2020, Newsha Tavakolian)<\/p>\n
The Women\u2019s Revenge<\/em> (2020, Su Hui-yu)<\/p>\n
Best Year Ever<\/em> (2021, James N. Kienitz Wilkins)<\/p>\n
Friends and Strangers (2021, James Vaughan) – 6.3<\/p>\n
Desert Lights<\/em> (2021, F\u00e9lix Blume)<\/p>\n
Lemongrass Girl<\/em> (2021, Pom Bunsermvicha)<\/p>\n
The Eternal Springtime<\/em> (2021, Vi\u1ec7t V\u0169)<\/p>\n
Who Is Afraid of Ideology? Part 3 Micro Resistances<\/em> (2020, Marwa Arsanios)<\/p>\n
You Like It, I Love It<\/em> (2013, James Vaughan)<\/p>\n
earthearthearth<\/em> (2021, Da\u00efchi Sa\u00efto)<\/p>\n
Wheel of Fortune and Fantasy (2021, Ry\u00fbsuke Hamaguchi) – 7.0<\/p>\n
Jack’s Ride (2021, Susana Nobre) – 5.1<\/p>\n
Bicentenario (2020, Pablo Alvarez Mesa) – 4.9<\/p>\n
Night for Day (2020, Emily Wardill) – 4.3<\/p>\n
Ploy (2020, Prapat Jiwarangsan) – 3.6<\/p>\n
Bad Luck Banging or Loony Porn (2021, Radu Jude) – 5.9<\/p>\n
Thirteen Ways of Looking at a Blackbird<\/em> (2021, Ana Vaz)<\/p>\n
Natural Light (2021, D\u00e9nes Nagy) – 4.2<\/p>\n
Keep on turning<\/em> (1974, Karin Wiertz & Jacques Verbeek)<\/p>\n
The Good Woman of Sichuan (2021, Sabrina Zhao) – 6.5<\/p>\n
Ste. Anne (2021, Rhayne Vermette) – 4.5<\/p>\n
Taste (2021, L\u00ea B\u1ea3o) – 4.3<\/p>\n
A River Runs, Turns, Erases, Replaces (2021, Shengze Zhu) – 5.6<\/p>\n
Bloodsuckers (2021, Julian Radlmaier) – 5.0<\/p>\n
Dirty Feathers (2021, Carlos Alfonso Corral) \u2013 5.3<\/p>\n
The White Fortress (2021, Igor Drlja\u010da) – 4.9<\/p>\n
Cryptozoo (2021, Dash Shaw) – 5.4<\/p>\n
+Wheel of Fortune and Fantasy (2021, Ry\u00fbsuke Hamaguchi) – 7.2 [up from 7.0]<\/span><\/p>\n
 <\/p>\n
March<\/span><\/strong><\/p>\n
Censor (2021, Prano Bailey-Bond) – 4.9<\/p>\n
Language Lessons (2021, Natalie Morales) – 4.4<\/p>\n
Moon, 66 Questions (2021, Jacqueline Lentzou) – 6.2<\/p>\n
Drift Away (2021, Xavier Beauvois) – 5.9<\/p>\n
Fabian, or Going to the Dogs (2021, Dominik Graf) – 6.3<\/p>\n
For Lucio (2021, Pietro Marcello) \u2013 5.4<\/p>\n
Ballad of a White Cow (2021, Behtash Sanaeeha & Maryam Moghaddam) \u2013 5.0<\/p>\n
Come Here (2021, Anocha Suwichakornpong) \u2013 6.0<\/p>\n
The Scary of Sixty-First (2021, Dasha Nekrasova) \u2013 4.7<\/p>\n
What Do We See When We Look at the Sky? (2021, Alexandre Koberidze) \u2013 6.5<\/p>\n
Petite Maman (2021, C\u00e9line Sciamma) \u2013 5.8<\/p>\n
I’m Your Man (2021, Maria Schrader) \u2013 5.1<\/p>\n
Limbo (2021, Soi Cheang) \u2013 4.5<\/p>\n
May June July<\/em> (2021, Kevin Jerome Everson)<\/p>\n
Social Hygiene (2021, Denis C\u00f4t\u00e9) – 5.4<\/p>\n
Ski (2021, Manque La Banca) – 4.1<\/p>\n
Introduction (2021, Hong Sang-soo) \u2013 6.6<\/p>\n
The Dog Who Wouldn’t Be Quiet (2021, Ana Katz) \u2013 6.5<\/p>\n
Rock Bottom Riser (2021, Fern Silva) \u2013 7.3<\/p>\n
Forest: I See You Everywhere (2021, Bence Fliegauf) \u2013 5.3<\/p>\n
What Will Summer Bring (2021, Ignacio Ceroi) \u2013 4.8<\/p>\n
A Cop Movie (2021, Alonso Ruizpalacios) \u2013 4.9<\/p>\n
We (2021, Alice Diop) \u2013 5.9<\/p>\n
Azor (2021, Andreas Fontana) \u2013 5.5<\/p>\n
From Where They Stood (2021, Christophe Cognet) \u2013 5.4<\/p>\n
Mr. Bachmann and His Class (2021, Maria Speth) \u2013 6.9<\/p>\n
The Men Who Wait<\/em> (2021, Tr\u01b0\u01a1ng Minh Qu\u00fd)<\/p>\n
Wife of a Spy (2020, Kiyoshi Kurosawa) – 5.3<\/p>\n
The Depths (2010, Ry\u00fbsuke Hamaguchi) – 5.2<\/p>\n
Landscapes of Resistance (2021, Marta Popivoda) \u2013 5.2<\/p>\n
Garage, Engines and Men (2021, Claire Simon) – 4.6<\/p>\n
Kindertotenlieder<\/em> (2021, Virgil Vernier)<\/p>\n
Come Coyote<\/em> (2019, Dani & Sheilah ReStack)<\/p>\n
Future from Inside<\/em> (2021, Dani & Sheilah ReStack)<\/p>\n
THOMA<\/em> (2021, Gina Telaroli)<\/p>\n
The Inventory Will Be Drawn Up at 11 a.m. in the Presence of the Poet\u2019s Wife (2021, Martin Verdet) \u2013 5.6<\/p>\n
The I and S of Lives<\/em> (2021, Kevin Jerome Everson)<\/p>\n
Random Patrol<\/em> (2021, Yohan Guignard)<\/p>\n
Saxifrages, Four White Nights (2021, Nicolas Klotz & Elisabeth Perceval) – 7.0<\/p>\n
End of the Season<\/em> (2020, Jason Evans)<\/p>\n
Sol de Campinas<\/em> (2021, Jessica Sarah Rinland)<\/p>\n
Retour d\u2019un rep\u00e8re<\/em> (1979, Rose Lowder)<\/p>\n
Les Tournesols color\u00e9s<\/em> (1983, Rose Lowder)<\/p>\n
Bouquets 1-10<\/em> (1995, Rose Lowder)<\/p>\n
Bouquets 21-30<\/em> (2005, Rose Lowder)<\/p>\n
Under the Sun<\/em> (2011, Rose Lowder)<\/p>\n
Sources<\/em> (2012, Rose Lowder)<\/p>\n
Nightvision<\/em> (2021, Clara Claus)<\/p>\n
Un monde flottant (2021, Jean-Claude Rousseau) \u2013 7.0<\/p>\n
The Human Voice<\/em> (2020, Pedro Almod\u00f3var)<\/p>\n
Corps Samples<\/em> (2021, Astrid de la Chapelle)<\/p>\n
Armour<\/em> (2020, Sandro Aguilar)<\/p>\n
Jeune femme \u00e0 sa fen\u00eatre lisant une lettre (1983, Jean-Claude Rousseau) – 5.3<\/p>\n
Venise n’existe pas<\/em> (1984, Jean-Claude Rousseau)<\/p>\n
Keep in Touch<\/em> (1987, Jean-Claude Rousseau)<\/p>\n
Faux d\u00e9part<\/em> (2006, Jean-Claude Rousseau)<\/p>\n
Deux fois le tour du monde<\/em> (2006, Jean-Claude Rousseau)<\/p>\n
Delft dans le lointain<\/em> (2017, Jean-Claude Rousseau)<\/p>\n
In Memoriam<\/em> (2019, Jean-Claude Rousseau)<\/p>\n
Juste avant l’orage<\/em> (2004, Jean-Claude Rousseau)<\/p>\n
Veduta<\/em> (2010, Jean-Claude Rousseau)<\/p>\n
Chansons d\u2019amour<\/em> (2016, Jean-Claude Rousseau)<\/p>\n
Eaux profondes<\/em> (2012, Jean-Claude Rousseau)<\/p>\n
Partage des Eaux<\/em> (2014, Jean-Claude Rousseau)<\/p>\n
Pas cette nuit<\/em> (2007, Jean-Claude Rousseau)<\/p>\n
Nuit blanche<\/em> (2011, Jean-Claude Rousseau)<\/p>\n
Un jour<\/em> (2011, Jean-Claude Rousseau)<\/p>\n
Attique<\/em> (2011, Jean-Claude Rousseau)<\/p>\n
L\u2019air d\u2019\u00eatre l\u00e0<\/em> (2013, Jean-Claude Rousseau)<\/p>\n
L’appel de la for\u00eat<\/em> (2008, Jean-Claude Rousseau)<\/p>\n
S\u00e9rie noire<\/em> (2009, Jean-Claude Rousseau)<\/p>\n
Senza mostra<\/em> (2011, Jean-Claude Rousseau)<\/p>\n
Saudade<\/em> (2012, Jean-Claude Rousseau)<\/p>\n
 <\/p>\n
April<\/span><\/strong><\/p>\n
+Streetscapes [Dialogue] (2017, Heinz Emigholz) – 7.0 [same]<\/span><\/p>\n
La vall\u00e9e close (1995, Jean-Claude Rousseau) – 6.1<\/p>\n
Dernier soupir<\/em> (2011, Jean-Claude Rousseau)<\/p>\n
Une vue sur l\u2019autre rive<\/em> (2005, Jean-Claude Rousseau)<\/p>\n
La Villa<\/em> (2017, Jean-Claude Rousseau)<\/p>\n
Festival (2010, Jean-Claude Rousseau) – 5.8<\/p>\n
+The Last City (2020, Heinz Emigholz) – 7.1 [up from 6.9]<\/span><\/p>\n
 <\/p>\n
May<\/span><\/strong><\/p>\n
Trois fois rien (2006, Jean-Claude Rousseau) – Inc. [No English subtitles]<\/span><\/p>\n
De son appartement (2007, Jean-Claude Rousseau) – 6.3<\/p>\n
A Tuning Fork<\/em> (2021, Phil Coldiron)<\/p>\n
La Nature (2019, Artavazd Pelechian) – 5.5<\/p>\n
+Charlie Victor Romeo [3D] (2013, Robert Berger, Patrick Daniels, & Karlyn Michelson) – 6.8 [2D version: 5.3]<\/span><\/p>\n
The Empty Man (2020, David Prior) – 3.4<\/p>\n
 <\/p>\n
June<\/span><\/strong><\/p>\n
Short Vacation (2020, Kwon Min-pyo & Seo Han-sol) – 5.6<\/p>\n
+Siberia (2020, Abel Ferrara) – 5.0 [down from 6.6]<\/span><\/p>\n
RoboCop (1987, Paul Verhoeven) – 7.1<\/p>\n
Promising Young Woman (2020, Emerald Fennell) – 4.6<\/p>\n
Upgrade (2018, Leigh Whannell) – 5.5<\/p>\n
Basic Instinct (1992, Paul Verhoeven) – 5.3<\/p>\n
Playground (2021, Laura Wandel) – 2.9<\/p>\n
 <\/p>\n
July<\/span><\/strong><\/p>\n
Returning to Reims [Fragments] (2021, Jean-Gabriel P\u00e9riot) – 5.0<\/p>\n
\u00centregalde (2021, Radu Muntean) – 5.6<\/p>\n
Ghost Song (2021, Nicolas Peduzzi) Cannes<\/span>, DP<\/span> – 6.3<\/p>\n
Annette (2021, Leos Carax) Cannes<\/span>, DP<\/span> – 5.5<\/p>\n
Between Two Worlds (2021, Emmanuel Carr\u00e8re) Cannes<\/span>, DP<\/span> – 4.2<\/p>\n
Black Notebooks [Viviane] (2021, Shlomi Elkabetz) Cannes<\/span>, DP<\/span> – 5.1<\/p>\n
Black Notebooks [Ronit] (2021, Shlomi Elkabetz) Cannes<\/span>, DP<\/span> – 5.4<\/p>\n
Ahed\u2019s Knee (2021, Nadav Lapid) Cannes<\/span>, DP<\/span> – 5.8<\/p>\n
Onoda (2021, Arthur Harari) Cannes<\/span>, DP<\/span> – 7.0<\/p>\n
Jane by Charlotte (2021, Charlotte Gainsbourg) Cannes<\/span>, DP<\/span> – 4.5<\/p>\n
The Souvenir Part II (2021, Joanna Hogg) Cannes<\/span>, DP<\/span> – 7.2<\/p>\n
Great Freedom (2021, Sebastian Meise) Cannes<\/span>, DP<\/span> – 5.0<\/p>\n
Cow (2021, Andrea Arnold) Cannes<\/span>, DP<\/span> – 3.6<\/p>\n
After Yang (2021, Kogonada) Cannes<\/span>, DP<\/span> – 3.4<\/p>\n
The Worst Person in the World (2021, Joachim Trier) Cannes<\/span>, DP<\/span> – 6.7<\/p>\n
Lingui (The Sacred Bonds) (2021, Mahamat-Saleh Haroun) Cannes<\/span>, DP<\/span> – 4.0<\/p>\n
House Arrest (2021, Alexey German Jr.) Cannes<\/span>, DP<\/span> – 4.8<\/p>\n
Benedetta (2021, Paul Verhoeven) Cannes<\/span>, DP<\/span> – 6.1<\/p>\n
The Divide (2021, Catherine Corsini) Cannes<\/span>, DP<\/span> – 4.8<\/p>\n
Hit the Road (2021, Panah Panahi) Cannes<\/span>, DP<\/span> – 6.4<\/p>\n
The Tale of King Crab (2021, Alessio Rigo de Righi & Matteo Zoppis) Cannes<\/span>, DP<\/span> – 5.7<\/p>\n
Compartment No. 6 (2021, Juho Kuosmanen) Cannes<\/span>, DP<\/span> – 4.9<\/p>\n
Flag Day (2021, Sean Penn) Cannes<\/span>, DP<\/span> – 2.4<\/p>\n
Ali & Ava (2021, Clio Barnard) Cannes<\/span>, DP<\/span> – 4.1<\/p>\n
The Innocents (2021, Eskil Vogt) Cannes<\/span>, DP<\/span> – 3.7<\/p>\n
Drive My Car (2021, Ry\u00fbsuke Hamaguchi) Cannes<\/span>, DP<\/span> – 6.8<\/p>\n
Three Floors (2021, Nanni Moretti) Cannes<\/span>, DP<\/span> – 4.2<\/p>\n
Bergman Island (2021, Mia Hansen-L\u00f8ve) Cannes<\/span>, DP<\/span> – 7.0<\/p>\n
Futura (2021, Pietro Marcello, Francesco Munzi, & Alice Rohrwacher) Cannes<\/span>, DP<\/span> – 5.5<\/p>\n
Petrov’s Flu (2021, Kirill Serebrennikov) Cannes<\/span>, DP<\/span> – 4.7<\/p>\n
The French Dispatch of the Liberty, Kansas Evening Sun (2021, Wes Anderson) Cannes<\/span>, DP<\/span> – 4.6<\/p>\n
The Crusade (2021, Louis Garrel) Cannes<\/span>, DP<\/span> – 5.7<\/p>\n
The Tsugua Diaries (2021, Miguel Gomes & Maureen Fazendeiro) Cannes<\/span>, DP<\/span> – 7.1<\/p>\n
Lamb (2021, Valdimar J\u00f3hannsson) Cannes<\/span>, DP<\/span> – 4.3<\/p>\n
A Hero (2021, Asghar Farhadi) Cannes<\/span>, DP<\/span> – 5.2<\/p>\n
Deception (2021, Arnaud Desplechin) Cannes<\/span>, DP<\/span> – 5.0<\/p>\n
Titane (2021, Julia Ducournau) Cannes<\/span>, DP<\/span> – 6.6<\/p>\n
Tralala (2021, Arnaud & Jean-Marie Larrieu) Cannes<\/span>, DP<\/span> – 5.1<\/p>\n
Simone Is Gone<\/em> (2021, Mathilde Chavanne) Cannes<\/span>, DP<\/span><\/p>\n
Sycorax<\/em> (2021, Lois Pati\u00f1o & Mat\u00edas Pi\u00f1eiro) Cannes<\/span>, DP<\/span><\/p>\n
The Windshield Wiper<\/em> (2021, Alberto Mielgo) Cannes<\/span>, DP<\/span><\/p>\n
Train Again<\/em> (2021, Peter Tscherkassky) Cannes<\/span>, DP<\/span><\/p>\n
Red Rocket (2021, Sean Baker) Cannes<\/span>, DP<\/span> – 7.4<\/p>\n
The Story of My Wife (2021, Ildiko Enyedi) Cannes<\/span>, DP<\/span> – 4.7<\/p>\n
Paris 13th District (2021, Jacques Audiard) Cannes<\/span>, DP<\/span> – 4.4<\/p>\n
Hold Me Tight (2021, Matheiu Amalric) Cannes<\/span>, DP<\/span> – 3.1<\/p>\n
Memoria (2021, Apichatpong Weerasethakul) Cannes<\/span>, DP<\/span> – 6.3<\/p>\n
France (2021, Bruno Dumont) Cannes<\/span>, DP<\/span> – 7.7<\/p>\n
Casablanca Beats (2021, Nabil Ayouch) Cannes<\/span>, DP<\/span> – 4.4<\/p>\n
Prayers for the Stolen (2021, Tatiana Huezo) Cannes<\/span>, DP<\/span> – 6.0<\/p>\n
In Front of Your Face (2021, Hong Sang-soo) Cannes<\/span>, DP<\/span> – 5.9<\/p>\n
Nitram (2021, Justin Kurzel) Cannes<\/span>, DP<\/span> – 5.4<\/p>\n
Marx Can Wait (2021, Marco Bellocchio) Cannes<\/span>, DP<\/span> – 5.0<\/p>\n
Vortex (2021, Gaspar No\u00e9) Cannes<\/span>, DP<\/span> – 6.8<\/p>\n
Outside Noise (2021, Ted Fendt) FIDMarseille<\/span>, DP<\/span> – 5.2<\/p>\n
The Invisible Mountain (2021, Ben Russell) FIDMarseille<\/span>, DP<\/span> – 5.2<\/p>\n
Worlds<\/em> (2021, Isaac Goes)<\/p>\n
Let’s Say Revolution (2021, Nicolas Klotz & Elisabeth Perceval) FIDMarseille<\/span>, DP<\/span> – 4.6<\/p>\n
Constellation<\/em> (2021, Dania Reymond Boughenou) FIDMarseille<\/span>, DP<\/span><\/p>\n
Vikken<\/em> (2021, Dounia Sichov) FIDMarseille<\/span>, DP<\/span><\/p>\n
Topology of Sirens (2021, Jonathan Davies) FIDMarseille<\/span>, DP<\/span> – 6.1<\/p>\n
Pig (2021, Michael Sarnoski) – 5.3<\/p>\n
Twin Peaks (1977, Al Wong) – 7.6<\/p>\n
 <\/p>\n
August<\/span><\/strong><\/p>\n
Four Letter Words (2000, Sean Baker) – 2.3<\/p>\n
Take Out (2004, Sean Baker & Shih-Ching Tsou) – 5.1<\/p>\n
Prince of Broadway (2008, Sean Baker) – 4.5<\/p>\n
Ventana<\/em> (2021, Edgar Jorge Baralt)<\/p>\n
Surviving You, Always<\/em> (2020, Morgan Quaintance)<\/p>\n
Emergence Collapse<\/em> (2021, Rainer Kohlberger & Jung An Tagen)<\/p>\n
+What Do We See When We Look at the Sky? (2021, Alexandre Koberidze) \u2013 7.1 [up from 6.5]<\/span><\/p>\n
The First 54 Years: An Abbreviated Manual for Military Occupation (2021, Avi Mograbi) – 3.5<\/p>\n
Wood and Water (2021, Jonas Bak) – 6.5<\/p>\n
CODA (2021, Si\u00e2n Heder) \u2013 4.1<\/p>\n
+Annette (2021, Leos Carax) – 6.3 [up from 5.5]<\/span><\/p>\n
+Fourteen (2019, Dan Sallitt) – 6.9 [same]<\/span><\/p>\n
First Time \u2014 The Time for All but Sunset [Violet] (2021, Nicolaas Schmidt) – 6.9<\/p>\n
Final Stage \u2014 The Time for All but Sunset [BGYOR]<\/em> (2017, Nicolaas Schmidt)<\/p>\n
Inflorescence<\/em> (2020, Nicolaas Schmidt)<\/p>\n
 <\/p>\n
September<\/span><\/strong><\/p>\n
+Twin Peaks (1977, Al Wong) – 7.6 [same]<\/span><\/p>\n
+First Time \u2014 The Time for All but Sunset [Violet] (2021, Nicolaas Schmidt) – 7.2 [up from 6.9]<\/span><\/p>\n
The Cathedral (2021, Ricky D\u2019Ambrose) – 5.5<\/p>\n
Reflection (2021, Valentyn Vasyanovych) – 4.8<\/p>\n
Ieva<\/em> (2021, Domas Petronis & Vytautas Plukas)<\/p>\n
Immaculate Virtual<\/em> (2021, Ryley O’Byrne)<\/p>\n
Motorcyclist’s Happiness Won’t Fit Into His Suit<\/em> (2021, Gabriel Herrera)<\/p>\n
Vengeance is Mine, All Others Pay Cash (2021, Edwin) TIFF<\/span>, DP<\/span> – 5.4<\/p>\n
+Petite Maman (2021, C\u00e9line Sciamma) – 6.4 [up from 5.8]<\/span><\/p>\n
The Power of the Dog (2021, Jane Campion) TIFF<\/span>, DP<\/span> – 5.2<\/p>\n
+Drive My Car (2021, Ry\u00fbsuke Hamaguchi) TIFF<\/span>, DP<\/span> – 6.1 [down from 6.8]<\/span><\/p>\n
Last Night in Soho (2021, Edgar Wright) TIFF<\/span>, DP<\/span> – 4.3<\/p>\n
Aloners (2021, Hong Sung-eun) – 5.1<\/p>\n
Dune: Part One (2021, Denis Villeneuve) TIFF<\/span>, DP<\/span> – 4.8<\/p>\n
Earwig (2021, Lucile Had\u017eihalilovi\u0107) TIFF<\/span>, DP<\/span> – 5.2<\/p>\n
+The Tsugua Diaries (2021, Miguel Gomes & Maureen Fazendeiro) – 7.3 [up from 7.1]<\/span><\/p>\n
Neptune Frost (2021, Saul Williams & Anisia Uzeyman) – 5.6<\/p>\n
A Night of Knowing Nothing (2021, Payal Kapadia) TIFF<\/span>, DP<\/span> – 5.0<\/p>\n
+Onoda (2021, Arthur Harari) – 6.2 [down from 7.0]<\/span><\/p>\n
Benediction (2021, Terence Davies) TIFF<\/span>, DP<\/span> – 3.8<\/p>\n
+Memoria (2021, Apichatpong Weerasethakul) TIFF<\/span>, DP<\/span> – 7.9 [up from 6.3]<\/span><\/p>\n
Sundown (2021, Michel Franco) – 4.4<\/p>\n
Unclenching the Fists (2021, Kira Kovalenko) – 5.5<\/p>\n
Drunken Birds (2021, Ivan Grbovic) – 5.3<\/p>\n
Spencer (2021, Pablo Larra\u00edn) TIFF<\/span>, DP<\/span> – 3.6<\/p>\n
+France (2021, Bruno Dumont) TIFF<\/span>, DP<\/span> – 7.7 [same]<\/span><\/p>\n
Flee (2021, Jonas Poher Rasmussen) – 4.7<\/p>\n
+Titane (2021, Julia Ducournau) TIFF<\/span>, DP<\/span> – 6.0 [down from 6.6]<\/span><\/p>\n
After Blue (Paradis sale) (2021, Bertrand Mandico) – 3.2<\/p>\n
Mr. Kneff (2021, Steven Soderbergh) TIFF<\/span>, DP<\/span> – 4.5<\/p>\n
(No Subject)<\/em> (2021, Guillermo Moncayo)<\/p>\n
In Flow of Words<\/em> (2021, Eliane Esther Bots)<\/p>\n
Day Is Done<\/em> (2021, Zhang Dalei)<\/p>\n
38<\/em> (2021, Daniel Chew & Micaela Durand)<\/p>\n
Elle<\/em> (2021, Luise Donschen)<\/p>\n
Do Not Circulate<\/em> (2021, Tiffany Sia)<\/p>\n
Dreams Under Confinement<\/em> (2020, Christopher Harris)<\/p>\n
All of Your Stars Are but Dust on My Shoes<\/em> (2021, Haig Aivazian)<\/p>\n
Dear Chantal<\/em> (2021, Nicol\u00e1s Pereda)<\/p>\n
The Capacity for Adequate Anger<\/em> (2021, Vika Kirchenbauer)<\/p>\n
Polycephaly in D<\/em> (2021, Michael Robinson)<\/p>\n
\u201cThe red filter is withdrawn.\u201d<\/em> (2021, Minjung Kim)<\/p>\n
Inner Outer Space<\/em> (2021, Laida Lertxundi)<\/p>\n
Personality Test<\/em> (2021, Justin Jinsoo Kim)<\/p>\n
Dog Star Descending<\/em> (2020, Aykan Safo\u011flu)<\/p>\n
Homage to the Work of Philip Henry Gosse<\/em> (2020, Pablo Mart\u00edn Weber)<\/p>\n
Home When You Return<\/em> (2021, Carl Elsaesser)<\/p>\n
Cutting the Mushroom<\/em> (2021, Mike Crane)<\/p>\n
Estuary<\/em> (2021, Ross Meckfessel)<\/p>\n
The Canyon<\/em> (2021, Zachary Epcar)<\/p>\n
Reach Capacity<\/em> (2020, Ericka Beckman)<\/p>\n
Here is the Imagination of the Black Radical<\/em> (2020, Rhea Storr)<\/p>\n
Strange Object<\/em> (2020, Miranda Pennell)<\/p>\n
To Pick a Flower<\/em> (2021, Shireen Seno)<\/p>\n
Grandma\u2019s Scissors<\/em> (2021, Erica Sheu)<\/p>\n
Blind Body<\/em> (2021, Allison Chhorn)<\/p>\n
If I could name you myself (I would hold you forever)<\/em> (2021, Hope Strickland)<\/p>\n
What is it that you said?<\/em> (2021, Shun Ikezoe)<\/p>\n
In and Out a Window<\/em> (2021, Richard Tuohy & Dianna Barrie)<\/p>\n
Tonalli<\/em> (2021, Los Ingr\u00e1vidos)<\/p>\n
Ficciones<\/em> (2021, Manuela de Laborde)<\/p>\n
Six Seventy-Two Variations, Variation 1<\/em> (2021, Tomonari Nishikawa)<\/p>\n
They Carry Death (2021, Samuel M. Delgado & Helena Gir\u00f3n) – 4.3<\/p>\n
El Gran Movimiento (2021, Kiro Russo) – 6.4<\/p>\n
Sad Film<\/em> (2021, Vasili)<\/p>\n
Veslem\u00f8y\u2019s Song<\/em> (2018, Sofia Bohdanowicz)<\/p>\n
 <\/p>\n
October<\/span><\/strong><\/p>\n
Everything Went Fine (2021, Fran\u00e7ois Ozon) – 3.8<\/p>\n
Haruhara-san\u2019s Recorder (2021, Kyoshi Sugita) – 5.7<\/p>\n
Semiotic Plastic<\/em> (2021, Radu Jude)<\/p>\n
The Card Counter (2021, Paul Schrader) – 5.8<\/p>\n
Old (2021, M. Night Shyamalan) \u2013 6.4<\/p>\n
Babi Yar. Context (2021, Sergei Loznitsa) – 5.4<\/p>\n
The Velvet Underground (2021, Todd Haynes) – 5.2<\/p>\n
flowers\/distance 3.20 – 4.19<\/em> (2021, Taylor Yocom)<\/p>\n
Learning Tagalog with Kayla<\/em> (2021, Kayla Galang)<\/p>\n
Butterfly Birth Bed<\/em> (2021, Virginia Lee Montgomery)<\/p>\n
Salvage<\/em> (2021, Christopher Boulton)<\/p>\n
The Water Knows<\/em> (2021, Uwa Iduozee)<\/p>\n
The Wind and the Kite<\/em> (2021, Robert Machoian & Keely Song)<\/p>\n
Be Kind, Please<\/em> (2021, Ace McColl)<\/p>\n
A Few Things I\u2019m Beginning to Understand<\/em> (2021, Xenia Matthews)<\/p>\n
In Place of Monuments<\/em> (2021, Naima Ramos-Chapman)<\/p>\n
Procession (2021, Robert Greene) – 3.9<\/p>\n
Many Fires This Time: We the 100 Million (2021, Jason R.A. Foster) – 4.7<\/p>\n
A Chiara (2021, Jonas Carpignano) – 6.0<\/p>\n
I Want to Talk About Duras (2021, Claire Simon) – 4.9<\/p>\n
Flak-Kaserne Ludwigsburg<\/em> (2021, Kevin Jerome Everson)<\/p>\n
Bunker (2021, Jenny Perlin) – 6.2<\/p>\n
The Night<\/em> (2021, Tsai Ming-liang)<\/p>\n
South<\/em> (2021, Morgan Quaintance)<\/p>\n
North by Current (2021, Angelo Madsen Minax) – 4.5<\/p>\n
+Ste. Anne (2021, Rhayne Vermette) – 5.9 [up from 4.5]<\/span><\/p>\n
We’re All Going to the World’s Fair (2021, Jane Schoenbrun) – 5.8<\/p>\n
Ready Mix (2021, Lucy Raven) – 6.7<\/p>\n
Canticles<\/em> (2019, Nathaniel Dorsky) 16mm<\/span><\/p>\n
Lamentations<\/em> (2020, Nathaniel Dorsky) 16mm<\/span><\/p>\n
Temple Sleep<\/em> (2020 Nathaniel Dorsky) 16mm<\/span><\/p>\n
Emanations<\/em> (2020, Nathaniel Dorsky) 16mm<\/span><\/p>\n
Ember Days<\/em> (2021, Nathaniel Dorsky) 16mm<\/span><\/p>\n
Terce<\/em> (2021, Nathaniel Dorsky) 16mm<\/span><\/p>\n
No Sudden Move (2021, Steven Soderbergh) – 6.1<\/p>\n
 <\/p>\n
November<\/span><\/strong><\/p>\n
The Green Knight (2021, David Lowery) – 4.7<\/p>\n
The Sugarland Express (1974, Steven Spielberg) – 7.2<\/p>\n
Dressed to Kill (1980, Brian De Palma) – 7.4<\/p>\n
The Bridges of Madison County (1995, Clint Eastwood) – 6.1<\/p>\n
+Vanilla Sky (2001, Cameron Crowe) – 5.2 [~same]<\/span><\/p>\n
+The French Dispatch of the Liberty, Kansas Evening Sun (2021, Wes Anderson) DP<\/span> – 4.1 [down from 4.6]<\/span><\/p>\n
+Where Does Your Hidden Smile Lie? (2001, Pedro Costa) – 7.6 [~same]<\/span><\/p>\n
 <\/p>\n
December<\/span><\/strong><\/p>\n
Passing (2021, Rebecca Hall) – 5.3<\/p>\n
Zeros and Ones (2021, Abel Ferrara) – 5.4<\/p>\n
The Beta Test (2021, Jim Cummings & PJ McCabe) – 5.4<\/p>\n
Prism (2021, El\u00e9onore Yameogo, An van. Dienderen, & Rosine Mbakam) – 4.8<\/p>\n
Just a Movement (2021, Vincent Meessen) – 4.0<\/p>\n
+Chronicle of Anna Magdalena Bach (1968, Jean-Marie Straub & Dani\u00e8le Huillet) – 5.8 [same]<\/span><\/p>\n
Atlantide (2021, Yuri Ancarani) – 5.1<\/p>\n
Parallel Mothers (2021, Pedro Almod\u00f3var) – 5.6<\/p>\n
Il Buco (2021, Michelangelo Frammartino) – 5.1<\/p>\n
Malignant (2021, James Wan) – 4.9<\/p>\n
Licorice Pizza (2021, Paul Thomas Anderson) 70mm<\/span> – 6.8<\/p>\n
Funniest Show on Earth [3D] (1953, Mario Mattoli) – 6.1<\/p>\n
from Bakersfield to Mojave (2021, James Benning) – 6.4<\/p>\n
+Flesh for Frankenstein [3D] (1973, Paul Morrissey) – 7.3 [same]<\/span><\/p>\n
The Matrix Resurrections (2021, Lana Wachowski) – 5.4<\/p>\n
+The Card Counter (2021, Paul Schrader) – 6.6 [up from 5.8]<\/span><\/p>\n
C’mon C’mon (2021, Mike Mills) – 4.5<\/p>\n
Homework (1989, Abbas Kiarostami) – 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-21232","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/posts\/21232","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=21232"}],"version-history":[{"count":3,"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/posts\/21232\/revisions"}],"predecessor-version":[{"id":21250,"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/posts\/21232\/revisions\/21250"}],"wp:attachment":[{"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/media?parent=21232"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/categories?post=21232"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/tags?post=21232"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}