{"id":22535,"date":"2022-01-01T09:31:00","date_gmt":"2022-01-01T14:31:00","guid":{"rendered":"https:\/\/blakewilliams.net\/blog\/?p=22535"},"modified":"2023-01-01T10:32:58","modified_gmt":"2023-01-01T15:32:58","slug":"2022-film-log","status":"publish","type":"post","link":"http:\/\/blakewilliams.net\/blog\/2022\/01\/2022-film-log\/","title":{"rendered":"2022 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 someone in the theatre distracted me with too much talking\/popcorn eating\/cellular telephone usage\/etc.
\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 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). 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 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
+Red Rocket (2021, Sean Baker) – 7.1 [down from 7.4]<\/span><\/p>\n
Soylent Green (1973, Richard Fleischer) – 4.9<\/p>\n
Don\u2019t Look Up (2021, Adam McKay) – 5.0<\/p>\n
The Lost Daughter (2021, Maggie Gyllenhaal) – 5.5<\/p>\n
The Killing of Two Lovers (2020, Robert Machoian) – 6.3<\/p>\n
Missing<\/em> (2021, Allison Chhorn)<\/p>\n
The Last Duel (2021, Ridley Scott) – 4.5<\/p>\n
My Two Voices (2022, Lina Rodriguez) – 3.8<\/p>\n
Answering the Sun (2022, Rainer Kohlberger) – 5.6<\/p>\n
Pleasure (2021, Ninja Thyberg) – 4.6<\/p>\n
Belle (2021, Mamoru Hosoda) – 5.9<\/p>\n
The Tragedy of Macbeth (2021, Joel Coen) – 4.1<\/p>\n
Enemies of the State (2020, Sonia Kennebeck) – 5.3<\/p>\n
Who’s Stopping Us (2021, Jon\u00e1s Trueba) – 6.9<\/p>\n
Happening (2021, Audrey Diwan) \u2013 5.2<\/p>\n
Riotsville, USA (2022, Sierra Pettengill) – 5.5<\/p>\n
Call Jane (2022, Phyllis Nagy) – 4.8<\/p>\n
The Beatles: Get Back (2021, Peter Jackson) – 6.7<\/p>\n
Summering (2022, James Ponsoldt) \u2013 5.1<\/p>\n
Sharp Stick (2022, Lena Dunham) \u2013 5.7<\/p>\n
Cha Cha Real Smooth (2022, Cooper Raiff) \u2013 5.5<\/p>\n
Resurrection (2022, Andrew Semans) \u2013 5.4<\/p>\n
Dos Estaciones (2022, Juan Pablo Gonz\u00e1lez) \u2013 6.0<\/p>\n
blood (2022, Bradley Rust Gray) \u2013 5.0<\/p>\n
Good Luck to You, Leo Grande (2022, Sophie Hyde) \u2013 5.4<\/p>\n
Glass Life<\/em> [Single Channel] (2021, Sara Cwynar)<\/p>\n
Wasteland No. 3: Moons, Sons<\/em> (2021, Jodie Mack)<\/p>\n
Impersonator<\/em> (2021, Andrew Norman Wilson)<\/p>\n
A Human Certainty<\/em> (2021, Morgan Quaintance)<\/p>\n
Glazing<\/em> (2022, Lilli Carr\u00e9)<\/p>\n
Bogwaters<\/em> (2022, Michiel van Bakel)<\/p>\n
The Ocean Analog<\/em> (2022, Luis Mac\u00edas)<\/p>\n
Isn\u2019t It a Beautiful World<\/em> (2020, Joseph Wilson)<\/p>\n
Ikebana<\/em> (2021, Rita Ferrando)<\/p>\n
Tomorrow Is a Water Palace<\/em> (2022, Juanita Onzaga)<\/p>\n
Punctured Sky<\/em> (2021, Jon Rafman)<\/p>\n
Nazarbazi<\/em> (2022, Maryam Tafakory)<\/p>\n
Becoming Male in the Middle Ages<\/em> (2022, Pedro Neves Marques)<\/p>\n
Fireflies<\/em> (2021, Pauline Curnier Jardin & Feel Good Cooperative)<\/p>\n
Skin to Skin<\/em> (2021, Mel Arranz)<\/p>\n
The Worm<\/em> (2021, Ed Atkins)<\/p>\n
Double Wow [3D] (2021, Ken Jacobs) – 5.7<\/p>\n
Sonata for Smoke<\/em> (2021, Samson Young)<\/p>\n
Golden Jubilee<\/em> (2021, Suneil Sanzgiri)<\/p>\n
EAMI (2022, Paz Encina) – 4.7<\/p>\n
OUTHERE (for Lee Lozano)<\/em> (2021, Ma\u00efder Fortun\u00e9 & Annie MacDonell)<\/p>\n
Shunyata<\/em> (2021, Lichun Tseng & Robert Kroos)<\/p>\n
Kinorama \u2013 Beyond the Walls of the Real [3D] (2021, Edgar P\u00eara) – 5.6<\/p>\n
Fingerpicking<\/em> (2021, Riccardo Giacconi)<\/p>\n
Nosferasta: First Bite<\/em> (2021, Bayley Sweitzer & Adam Khalil)<\/p>\n
Constant<\/em> (2022, Sasha Litvintseva & Beny Wagner)<\/p>\n
Chants from a Holy Book<\/em> (2022, Cesar Gananian & Cassiana Der Haroutiour)<\/p>\n
Dawn<\/em> (2021, Leonor Noivo)<\/p>\n
urban solutions<\/em> (2022, Arne Hector, Vin\u00edcius Lopes, Luciana Mazeto, & Minze Tummescheit)<\/p>\n
Tugging Diary<\/em> (2021, Yan Wai Yin)<\/p>\n
The Reflection of the Man<\/em> (2022, Martine Stig)<\/p>\n
Places We\u2019ll Breathe<\/em> (2022, Davor Sanvincenti)<\/p>\n
Songs for Dying<\/em> (2022, Korakrit Arunanondchai)<\/p>\n
Met Mes (2022, Sam de Jong) \u2013 6.5<\/p>\n
Songs for Living<\/em> (2022, Korakrit Arunanondchai & Alex Gvojic)<\/p>\n
The Making of Crime Scenes<\/em> (2022, Hsu Che-yu)<\/p>\n
The Name of Things (2022, Diego Escobar) \u2013 3.3<\/p>\n
Aromana<\/em> (2021, Vukan \u017darkovi\u0107)<\/p>\n
yet another leap year<\/em> (2022, Sara Rajaei)<\/p>\n
The Price for Fire<\/em> (2021, Rossella Nisio)<\/p>\n
When We Were Monsters<\/em> (2020, James Richards & Steve Reinke)<\/p>\n
Heat Waves<\/em> (2021, Kent Chan)<\/p>\n
A Sod State<\/em> (2022, Eoghan Ryan)<\/p>\n
EKOBIO<\/em> (2022, Elkin Calder\u00f3n Guevara & Diego Pi\u00f1eros Garc\u00eda)<\/p>\n
The Plains (2022, David Easteal) – 7.5<\/p>\n
The African Desperate (2022, Martine Syms) \u2013 6.6<\/p>\n
 <\/p>\n
February<\/span><\/strong><\/p>\n
The Civil Dead (2022, Clay Tatum) \u2013 6.3<\/p>\n
The Child (2022, Marguerite de Hillerin & F\u00e9lix Dutilloy-Li\u00e9geois) \u2013 4.6<\/p>\n
Footnote (2022, Zhengfan Yang) \u2013 5.5<\/p>\n
Third Grade (2021, Jacques Doillon) \u2013 6.1<\/p>\n
Jackass Forever (2022, Jeff Tremaine) DP<\/span> \u2013 5.3<\/p>\n
West Side Story (2021, Steven Spielberg) DP<\/span> \u2013 4.7<\/p>\n
The Dream and the Radio (2022, Renaud Despr\u00e9s-Larose & Ana Tapia Rousiouk) \u2013 7.0<\/p>\n
Geographies of Solitude (2022, Jacquelyn Mills) \u2013 5.0<\/p>\n
Super Natural (2022, Jorge J\u00e1come) Berlinale<\/span>, DP<\/span> – 3.8<\/p>\n
Nobody’s Hero (2022, Alain Guiraudie) Berlinale<\/span>, DP<\/span> – 5.9<\/p>\n
Rimini (2022, Ulrich Seidl) Berlinale<\/span>, DP<\/span> – 4.4<\/p>\n
Flux Gourmet (2022, Peter Strickland) Berlinale<\/span>, DP<\/span> – 4.8<\/p>\n
Coma (2022, Bertrand Bonello) Berlinale<\/span>, DP<\/span> – 7.2<\/p>\n
Jet Lag (2022, Zheng Lu Xinyuan) Berlinale<\/span>, DP<\/span> – 3.9<\/p>\n
Robe of Gems (2022, Natalia L\u00f3pez Gallardo) Berlinale<\/span>, DP<\/span> – 4.3<\/p>\n
Both Sides of the Blade (2022, Claire Denis) Berlinale<\/span>, DP<\/span> – 5.6<\/p>\n
The United States of America (2022, James Benning) Berlinale<\/span>, DP<\/span> – 6.5<\/p>\n
The Kegelstatt Trio (2022, Rita Azevedo Gomes) Berlinale<\/span>, DP<\/span> – 5.1<\/p>\n
The Line (2022, Ursula Meier) Berlinale<\/span>, DP<\/span> – 4.4<\/p>\n
Happer\u2019s Comet (2022, Tyler Taormina) Berlinale<\/span>, DP<\/span> – 5.5<\/p>\n
The Middle Ages (2022, Alejo Moguillansky & Luciana Acu\u00f1a) Berlinale<\/span>, DP<\/span> – 6.7<\/p>\n
This House (2022, Miryam Charles) Berlinale<\/span>, DP<\/span> – 5.2<\/p>\n
The Passengers of the Night (2022, Mikha\u00ebl Hers) Berlinale<\/span>, DP<\/span> – 5.4<\/p>\n
That Kind of Summer (2022, Denis C\u00f4t\u00e9) Berlinale<\/span>, DP<\/span> – 6.4<\/p>\n
Dry Ground Burning (2022, Adirley Queir\u00f3s & Joana Pimenta) Berlinale<\/span>, DP<\/span> – 6.6<\/p>\n
Queens of the Qing Dynasty (2022, Ashley McKenzie) Berlinale<\/span>, DP<\/span> – Inc. [Missed first 15 min. due to delayed COVID test results]<\/span><\/p>\n
Small, Slow but Steady (2022, Sh\u00f4 Miyake) Berlinale<\/span>, DP<\/span> – 5.2<\/p>\n
Striking Land (2022, Raul Domingues) Berlinale<\/span>, DP<\/span> – 6.0<\/p>\n
The Sower of Stars<\/em> (2022, Lois Pati\u00f1o)<\/p>\n
Camouflage (2022, Jonathan Perel) Berlinale<\/span>, DP<\/span> – 5.5<\/p>\n
Unrest (2022, Cyril Sch\u00e4ublin) Berlinale<\/span>, DP<\/span> – 4.9<\/p>\n
Nuclear Family (2021, Erin & Travis Wilkerson) Berlinale<\/span>, DP<\/span> – 2.9<\/p>\n
The Veteran (2022, Jer\u00f3nimo Rodr\u00edguez) Berlinale<\/span>, DP<\/span> – 3.6<\/p>\n
Brother in Every Inch (2022, Alexander Zolotukhin) Berlinale<\/span>, DP<\/span> – 4.7<\/p>\n
Afterwater (2022, Dane Komljen) Berlinale<\/span>, DP<\/span> – 6.7<\/p>\n
The Novelist’s Film (2022, Hong Sang-soo) Berlinale<\/span>, DP<\/span> – 6.8<\/p>\n
A Little Love Package (2022, Gast\u00f3n Solnicki) Berlinale<\/span>, DP<\/span> – 5.7<\/p>\n
Gazing… Unseeing<\/em> (2022, Mohamed Abdelkarim) Berlinale<\/span>, DP<\/span><\/p>\n
Surface Rites<\/em> (2022, Parastoo & Faraz Anoushahpour, & Ryan Ferko) Berlinale<\/span>, DP<\/span><\/p>\n
Sun Under Ground<\/em> (2022, Mareike Bernien & Alex Gerbaulet) Berlinale<\/span>, DP<\/span><\/p>\n
A Flower in the Mouth (2022, \u00c9ric Baudelaire) – 5.3<\/p>\n
Mutzenbacher (2022, Ruth Beckermann) Berlinale<\/span>, DP<\/span> – 5.5<\/p>\n
Rewind & Play (2022, Alain Gomis) Berlinale<\/span>, DP<\/span> – 6.7<\/p>\n
See You Friday, Robinson (2022, Mitra Farahani) Berlinale<\/span>, DP<\/span> – 5.6<\/p>\n
partial differential equation<\/em> (2020, Kevin Jerome Everson)<\/p>\n
Kicking the Clouds<\/em> (2022, Sky Hopinka)<\/p>\n
2020<\/em> (2021, Friedl vom Gr\u00f6ller Kubelka)<\/p>\n
The Newest Olds<\/em> (2022, Pablo Mazzolo)<\/p>\n
What Distinguishes the Past<\/em> (2020, Ben Russell)<\/p>\n
MERAPI<\/em> (2021, Malena Szlam)<\/p>\n
Sea Series 23<\/em> (2022, John Price)<\/p>\n
Zero Length Spring<\/em> (2021, Ross Meckfessel)<\/p>\n
Kimi (2022, Steven Soderbergh) – 5.9<\/p>\n
a so-called archive<\/em> (2020, Onyeka Igwe)<\/p>\n
Fire Emergencies<\/em> (2022, Kevin Jerome Everson)<\/p>\n
vs<\/em> (2022, Lydia Nsiah)<\/p>\n
Agrilogistics<\/em> (2022, Gerard Ort\u00edn Castellv\u00ed)<\/p>\n
+Queens of the Qing Dynasty (2022, Ashley McKenzie) – 6.9 [up from ~6.1]<\/span><\/p>\n
 <\/p>\n
March<\/span><\/strong><\/p>\n
Dragon Tooth<\/em> (2022, Rafael Castanheira Parrode)<\/p>\n
My Home<\/em> (2022, Azar Saiyar)<\/p>\n
Moune \u00d4<\/em> (2022, Maxime Jean-Baptiste)<\/p>\n
Instant Life<\/em> (2022, Anja Dornieden, Juan David Gonz\u00e1lez Monroy, & Andrew Kim)<\/p>\n
Mr. Landsbergis (2021, Sergei Loznitsa) Cin\u00e9ma du r\u00e9el<\/span>, DP<\/span> – 6.1<\/p>\n
Man’s Favorite Sport? (1964, Howard Hawks) 35mm<\/span> \u2013 6.2<\/p>\n
Lago Gat\u00fan (2021, Kevin Jerome Everson) Cin\u00e9ma du r\u00e9el<\/span>, DP<\/span> – 5.7<\/p>\n
Hors-titre<\/em> (2021, Wiame Haddad) Cin\u00e9ma du r\u00e9el<\/span>, DP<\/span><\/p>\n
Interm\u00e8de<\/em> (2022, Maria Kourkouta) Cin\u00e9ma du r\u00e9el<\/span>, DP<\/span><\/p>\n
7h15 \u2013 Blackbird<\/em> (2021, Judith Auffray) Cin\u00e9ma du r\u00e9el<\/span>, DP<\/span><\/p>\n
Everything Near Becomes Distant<\/em> (2021, Yunyi Zhu) Cin\u00e9ma du r\u00e9el<\/span>, DP<\/span><\/p>\n
Language of Birds (2022, Erik Bullot) Cin\u00e9ma du r\u00e9el<\/span>, DP<\/span> – 3.6<\/p>\n
Anyox (2022, Ryan Ermacora & Jessica Johnson) Cin\u00e9ma du r\u00e9el<\/span>, DP<\/span> – 4.0<\/p>\n
We, Students! (2022, Rafiki Fariala) Cin\u00e9ma du r\u00e9el<\/span>, DP<\/span> – 5.5<\/p>\n
The Tomb of Kafka<\/em> (2022, Jean-Claude Rousseau) Cin\u00e9ma du r\u00e9el<\/span>, DP<\/span><\/p>\n
When There Is No More Music to Write, and Other Roman Stories (2022, \u00c9ric Baudelaire) Cin\u00e9ma du r\u00e9el<\/span>, DP<\/span> – 3.9<\/p>\n
Deep Water (2022, Adrian Lyne) – 4.9<\/p>\n
Navalny (2022, Daniel Roher) – 5.1<\/p>\n
Apollo 10\u00bd: A Space Age Childhood (2022, Richard Linklater) DP<\/span> – 6.8<\/p>\n
 <\/p>\n
April<\/span><\/strong><\/p>\n
Catwoman vs. The White House<\/em> (2022, Scott Calonico) Hot Docs<\/span>, DP<\/span><\/p>\n
+Rewind & Play (2022, Alain Gomis) Hot Docs<\/span>, DP<\/span> – 6.7 [same]<\/span><\/p>\n
 <\/p>\n
May<\/span><\/strong><\/p>\n
Fire of Love (2022, Sara Dosa) – 4.8<\/p>\n
Her Scents of Pu Er<\/em> (2022, Anna-Claria Ostasenko Bogdanoff) Hot Docs<\/span>, DP<\/span><\/p>\n
Terra Femme (2021, Courtney Stephens) Hot Docs<\/span>, DP<\/span> – 5.4<\/p>\n
2nd Chance (2022, Ramin Bahrani) – 5.2<\/p>\n
I Didn’t See You There (2022, Reid Davenport) – 6.1<\/p>\n
Call of the Wild [Anaglyph 3D] (2009, Richard Gabai) – 2.3<\/p>\n
Concrete Valley (2022, Antoine Bourges) – Inc. [Rough cut]<\/span><\/p>\n
+Treasure of the Four Crowns [3D] (1983, Ferdinando Baldi) – 7.4 [up from 7.1]<\/span><\/p>\n
Final Cut (2022, Michel Hazanavicius) Cannes<\/span>, DP<\/span> – 4.2<\/p>\n
Exterior Night (2022, Marco Bellocchio) Cannes<\/span>, DP<\/span> – 4.9<\/p>\n
Tcha\u00efkovsky\u2019s Wife (2022, Kirill Serebrennikov) Cannes<\/span>, DP<\/span> – 4.7<\/p>\n
Scarlet (2022, Pietro Marcello) Cannes<\/span>, DP<\/span> – 5.6<\/p>\n
The Eight Mountains (2022, Charlotte Vandermeersch & Felix van Groeningen) Cannes<\/span>, DP<\/span> – 4.9<\/p>\n
God\u2019s Creatures (2022, Saela Davis & Anna Rose Holmer) Cannes<\/span>, DP<\/span> – 3.7<\/p>\n
Rodeo (2022, Lola Quivoron) Cannes<\/span>, DP<\/span> – 5.1<\/p>\n
Armageddon Time (2022, James Gray) Cannes<\/span>, DP<\/span> – 5.9<\/p>\n
EO (2022, Jerzy Skolimowski) Cannes<\/span>, DP<\/span> – 7.8<\/p>\n
One Fine Morning (2022, Mia Hansen-L\u00f8ve) Cannes<\/span>, DP<\/span> – 6.2<\/p>\n
Corsage (2022, Marie Kreutzer) Cannes<\/span>, DP<\/span> – 5.0<\/p>\n
Enys Men (2022, Mark Jenkin) Cannes<\/span>, DP<\/span> – 5.4<\/p>\n
Brother and Sister (2022, Arnaud Desplechin) Cannes<\/span>, DP<\/span> – 5.8<\/p>\n
Three Thousand Years of Longing (2022, George Miller) Cannes<\/span>, DP<\/span> – 5.4<\/p>\n
Pamfir (2022, Dmytro Sukholytkyy-Sobchuk) Cannes<\/span>, DP<\/span> – 5.3<\/p>\n
Triangle of Sadness (2022, Ruben \u00d6stlund) Cannes<\/span>, DP<\/span> – 6.1<\/p>\n
Diary of a Fleeting Affair (2022, Emmanuel Mouret) Cannes<\/span>, DP<\/span> – 5.0<\/p>\n
R.M.N. (2022, Cristian Mungiu) Cannes<\/span>, DP<\/span> – 5.7<\/p>\n
Aftersun (2022, Charlotte Wells) Cannes<\/span>, DP<\/span> – 5.5<\/p>\n
Magdala (2022, Damien Manivel) Cannes<\/span>, DP<\/span> – 6.0<\/p>\n
Holy Spider (2022, Ali Abbasi) Cannes<\/span>, DP<\/span> – 4.1<\/p>\n
Don Juan (2022, Serge Bozon) Cannes<\/span>, DP<\/span> – 4.6<\/p>\n
Sick of Myself (2022, Kristoffer Borgli) Cannes<\/span>, DP<\/span> – 5.1<\/p>\n
The Five Devils (2022, L\u00e9a Mysius) Cannes<\/span>, DP<\/span> – 3.6<\/p>\n
De Humani Corporis Fabrica (2022, V\u00e9r\u00e9na Paravel & Lucien Castaing-Taylor) Cannes<\/span>, DP<\/span> – 7.4<\/p>\n
Decision to Leave (2022, Park Chan-wook) Cannes<\/span>, DP<\/span> – 4.8<\/p>\n
Funny Pages (2022, Owen Kline) Cannes<\/span>, DP<\/span> – 6.1<\/p>\n
The Natural History of Destruction (2022, Sergei Loznitsa) Cannes<\/span>, DP<\/span> – 7.1<\/p>\n
The Dam (2022, Ali Cherri) Cannes<\/span>, DP<\/span> – 5.3<\/p>\n
Crimes of the Future (2022, David Cronenberg) Cannes<\/span>, DP<\/span> – 6.5<\/p>\n
Will-o\u2019-the-Wisp (2022, Jo\u00e3o Pedro Rodrigues) Cannes<\/span>, DP<\/span> – 4.9<\/p>\n
Metronom (2022, Alexandru Belc) Cannes<\/span>, DP<\/span> – 5.2<\/p>\n
Forever Young (2022, Valeria Bruni Tedeschi) Cannes<\/span>, DP<\/span> – 5.3<\/p>\n
Leila\u2019s Brothers (2022, Saeed Roustaee) Cannes<\/span>, DP<\/span> – 3.3<\/p>\n
Godland (2022, Hlynur P\u00e1lmason) Cannes<\/span>, DP<\/span> – 5.2<\/p>\n
Stars at Noon (2022, Claire Denis) Cannes<\/span>, DP<\/span> – 4.5<\/p>\n
The Night of the Hunters<\/em> (2022, Pascale Arbillot) Cannes<\/span>, DP<\/span><\/p>\n
La Jaur\u00eda (2022, Andr\u00e9s Ram\u00edrez Pulido) Cannes<\/span>, DP<\/span> – 4.1<\/p>\n
Pacifiction (2022, Albert Serra) Cannes<\/span>, DP<\/span> – 6.7<\/p>\n
Close (2022, Lukas Dhont) Cannes<\/span>, DP<\/span> – 3.4<\/p>\n
Broker (2022, Hirokazu Kore-eda) Cannes<\/span>, DP<\/span> – 3.6<\/p>\n
Christophe… Definitely (2022, Dominique Gonzalez-Foerster & Ange Leccia) – 5.9<\/p>\n
Showing Up (2022, Kelly Reichardt) Cannes<\/span>, DP<\/span> – 7.5<\/p>\n
Mother and Son (2022, L\u00e9onor Serraille) Cannes<\/span>, DP<\/span> – 6.3<\/p>\n
Boy from Heaven (2022, Tarik Saleh) Cannes<\/span>, DP<\/span> – 4.0<\/p>\n
Tori and Lokita (2022, Jean-Pierre & Luc Dardenne) Cannes<\/span>, DP<\/span> – 6.0<\/p>\n
Nostalgia (2022, Mario Martone) Cannes<\/span>, DP<\/span> – 4.4<\/p>\n
 <\/p>\n
June<\/span><\/strong><\/p>\n
Hospital (1970, Frederick Wiseman) – 7.2<\/p>\n
Ghost Dog: The Way of the Samurai (1999, Jim Jarmusch) 35mm<\/span> – 4.7<\/p>\n
+Crimes of the Future (2022, David Cronenberg) DP<\/span> – 6.5 [same]<\/span><\/p>\n
+France (2021, Bruno Dumont) – 7.7 [same]<\/span><\/p>\n
Forever a Woman (1955, Kinuyo Tanaka) DP<\/span> – 5.3<\/p>\n
The Human Torch<\/em> (2022, Risto-Pekka Blom)<\/p>\n
Blind (1987, Frederick Wiseman) – 6.4<\/p>\n
The Big Chill (1983, Lawrence Kasdan) – 4.2<\/p>\n
+Hugo [3D] (2011, Martin Scorsese) – 6.4 [same]<\/span><\/p>\n
Take Me Out to the Ball Game (1949, Busby Berkeley) – 5.0<\/p>\n
 <\/p>\n
July<\/span><\/strong><\/p>\n
+Dial M for Murder [3D] (1954, Alfred Hitchcock) – 8.1 [same]<\/span><\/p>\n
+Treasure of the Four Crowns [3D] (1983, Ferdinando Baldi) – 7.4 [same]<\/span><\/p>\n
Way Out Ahead of Us (2022, Rob Rice) FIDMarseille<\/span>, DP<\/span> – 4.8<\/p>\n
Garden Sandbox (2022, Yukinori Kurokawa) FIDMarseille<\/span>, DP<\/span> – 4.4<\/p>\n
The Lives of Infamous Men (2022, Gilles Deroo & Marianne Pistone) FIDMarseille<\/span>, DP<\/span> – 6.9<\/p>\n
Welcome<\/em> (2022, Jean-Claude Rousseau) FIDMarseille<\/span>, DP<\/span><\/p>\n
Against Time<\/em> (2022, Ben Russell) FIDMarseille<\/span>, DP<\/span><\/p>\n
Ptitsa<\/em> (2022, Alina Maksimenko) FIDMarseille<\/span>, DP<\/span><\/p>\n
After Work<\/em> (2022, C\u00e9line Condorelli & Ben Rivers) FIDMarseille<\/span>, DP<\/span><\/p>\n
+A Woman Escapes (2022, Sofia Bohdanowicz, Burak \u00c7evik, & Blake Williams) FIDMarseille<\/span>, 3D<\/span> – H.i<\/p>\n
We Had the Day Bonsoir (2022, Narimane Mari) FIDMarseille<\/span>, DP<\/span> – 7.1<\/p>\n
Fall (2022, Vadim Kostrov) FIDMarseille<\/span>, DP<\/span> – 5.1<\/p>\n
Life Lasts Two Days (2022, Leonardo Mouramateus) FIDMarseille<\/span>, DP<\/span> – 4.6<\/p>\n
Nomotopowell (2022, Brent Chesanek) FIDMarseille<\/span>, DP<\/span> – 4.9<\/p>\n
+A Woman Escapes (2022, Sofia Bohdanowicz, Burak \u00c7evik, & Blake Williams) FIDMarseille<\/span>, 3D<\/span> – H.i [~same]<\/span><\/p>\n
Night Detour (2022, Paul Chotel & Ariane Falardeau St-Amour) FIDMarseille<\/span>, DP<\/span> – 3.8<\/p>\n
+Unrest (2022, Cyril Sch\u00e4ublin) FIDMarseille<\/span>, DP<\/span> – 5.5 [up from 4.9]<\/span><\/p>\n
Quarries (2022, Ellie Ga) FIDMarseille<\/span>, DP<\/span> – 4.2<\/p>\n
Who Is Afraid of Ideology? Part IV – Reverse Shot<\/em> (2022, Marwa Arsanios) FIDMarseille<\/span>, DP<\/span><\/p>\n
Aftersun (2022, Llu\u00eds Galter) FIDMarseille<\/span>, DP<\/span> – 5.1<\/p>\n
The Unstable Object II (2022, Daniel Eisenberg) FIDMarseille<\/span>, DP<\/span> – 6.2<\/p>\n
About the Clouds (2022, Mar\u00eda Aparicio) FIDMarseille<\/span>, DP<\/span> – 6.4<\/p>\n
Dispatch from Przemy\u015bl (Notes for a Democratic Europe)<\/em> (2022, Marine Hugonnier)<\/p>\n
Sappukei<\/em> (2022, Wang Chun & Hikky Chen)<\/p>\n
Site of Passage<\/em> (2022, Lucy Kerr)<\/p>\n
Nope (2022, Jordan Peele) DP<\/span> – 5.6<\/p>\n
Can Someone Meet Me in Dark Alley? (2022, Gaetano Liberti & Luciano P\u00e9rez Savoy) – 3.3<\/p>\n
Barail (2022, Denis Cointe) – 5.7<\/p>\n
Dying in Ibiza: A Film in Three Summers (2022, Matt\u00e9o Eustachon, L\u00e9o Couture, & Anton Balekdjian) – 6.1<\/p>\n
You Have to Come and See It (2022, Jon\u00e1s Trueba) – 4.7<\/p>\n
+Concrete Valley (2022, Antoine Bourges) – TK<\/p>\n
 <\/p>\n
August<\/span><\/strong><\/p>\n
The French (1982, William Klein) DP<\/span> – 6.3<\/p>\n
Human Flowers of Flesh (2022, Helena Wittmann) – 5.4<\/p>\n
To Be Sound Is to Be Solid<\/em> (2022, Erin Johnson)<\/p>\n
Poitiers (2022, J\u00e9r\u00f4me Reybaud) – 5.6<\/p>\n
It Is Night in America (2022, Ana Vaz) – 5.3<\/p>\n
Matter Out of Place (2022, Nikolaus Geyrhalter) – 5.3<\/p>\n
The Adventures of Gigi the Law (2022, Alessandro Comodin) – 5.9<\/p>\n
Angles of Incidence<\/em> (1973, William Raban)<\/p>\n
View<\/em> (1970, William Raban)<\/p>\n
Colours of This Time<\/em> (1972, William Raban)<\/p>\n
Breath<\/em> (1974, William Raban)<\/p>\n
Sundial<\/em> (1992, William Raban)<\/p>\n
The Potemkinists<\/em> (2022, Radu Jude)<\/p>\n
as time passes<\/em> (2022, Jamil McGinnis)<\/p>\n
Underground Rivers<\/em> (2022, Sim\u00f3n Velez)<\/p>\n
Tender Kisses<\/em> (1972, Mike Leggett)<\/p>\n
Sheepwoman<\/em> (1970, Mike Leggett)<\/p>\n
What The Water Said, nos. 1\u20143<\/em> (1998, David Gatten)<\/p>\n
What the Water Said, nos. 4 – 6<\/em> (2007, David Gatten)<\/p>\n
+The Lobby (2020, Heinz Emigholz) – 6.7 [same]<\/span><\/p>\n
 <\/p>\n
September<\/span><\/strong><\/p>\n
Life Without Dreams<\/em> (2022, Jessica Bardsley)<\/p>\n
News from Nowhere<\/em> (2020, Ben Balcom)<\/p>\n
Kalsubai<\/em> (2021, Yudhajit Basu)<\/p>\n
Continuity of Parks<\/em> (2022, Zhenia Kazankina)<\/p>\n
Eyes and Horns<\/em> (2021, Chaerin Im)<\/p>\n
Beef<\/em> (2022, Brendon Kingsbury & Sean Webley)<\/p>\n
Tigre del Carb\u00f3n<\/em> (2022, aZuLosa)<\/p>\n
Lacerate<\/em> (2020, Janis Rafa)<\/p>\n
What Dying Feels Like<\/em> (2022, Philip Ullman)<\/p>\n
Cherries<\/em> (2022, Vytautas Katkus)<\/p>\n
Alcarr\u00e0s (2022, Carla Sim\u00f3n) – 4.5<\/p>\n
Fairytale (2022, Aleksandr Sokurov) – 6.9<\/p>\n
Valeria Is Getting Married (2022, Michal Vinik) TIFF<\/span>, DP<\/span> – 4.3<\/p>\n
Joyland (2022, Saim Sadiq) TIFF<\/span>, DP<\/span> – 4.5<\/p>\n
Women Talking (2022, Sarah Polley) TIFF<\/span>, DP<\/span> – 4.8<\/p>\n
Return to Seoul (2022, Davy Chou) TIFF<\/span>, DP<\/span> – 6.0<\/p>\n
The Inspection (2022, Elegance Bratton) TIFF<\/span>, DP<\/span> – 4.2<\/p>\n
So Much Tenderness (2022, Lina Rodriguez) TIFF<\/span>, DP<\/span> – 5.5<\/p>\n
2 Lizards<\/em> (2020, Meriem Bennani & Orian Barki) TIFF<\/span>, DP<\/span><\/p>\n
Life on the CAPS<\/em> (2022, Meriem Bennani) TIFF<\/span>, DP<\/span><\/p>\n
EVENTIDE<\/em> (2022, Sharon Lockhart) TIFF<\/span>, DP<\/span><\/p>\n
Horse Opera (2022, Moyra Davey) TIFF<\/span>, DP<\/span> – 5.6<\/p>\n
No Bears (2022, Jafar Panahi) TIFF<\/span>, DP<\/span> – 4.9<\/p>\n
Tales from the Gimli Hospital Redux (1988, Guy Maddin) TIFF<\/span>, DP<\/span> – 5.0<\/p>\n
Fata Morgana<\/em> (2022, Tacita Dean) TIFF<\/span>, 16mm<\/span><\/p>\n
+After Work<\/em> (2022, C\u00e9line Condorelli & Ben Rivers) TIFF<\/span>, DP<\/span><\/p>\n
F1ghting Looks Different 2 Me Now<\/em> (2022, Fox Maxy) TIFF<\/span>, DP<\/span><\/p>\n
Moonrise<\/em> (2022, Vincent Grenier) TIFF<\/span>, DP<\/span><\/p>\n
The Time That Separates Us<\/em> (2022, Parastoo Anoushahpour) TIFF<\/span>, DP<\/span><\/p>\n
The Fabelmans (2022, Steven Spielberg) TIFF<\/span>, DP<\/span> – 6.4<\/p>\n
Dal\u00edland (2022, Mary Harron) TIFF<\/span>, DP<\/span> – 3.4<\/p>\n
Other People\u2019s Children (2022, Rebecca Zlotowski) TIFF<\/span>, DP<\/span> – 5.2<\/p>\n
What Rules the Invisible<\/em> (2022, Tiffany Sia) TIFF<\/span>, DP<\/span><\/p>\n
+Hors-titre<\/em> (2022, Wiame Haddad) TIFF<\/span>, DP<\/span><\/p>\n
Puerta a Puerta<\/em> (2022, Luis Arn\u00edas & Jessica Sarah Rinland) TIFF<\/span>, DP<\/span><\/p>\n
Bigger on the Inside<\/em> (2022, Angelo Madsen Minax) TIFF<\/span>, DP<\/span><\/p>\n
I Thought the World of You<\/em> (2022, Kurt Walker) TIFF<\/span>, DP<\/span><\/p>\n
+The Newest Olds<\/em> (2022, Pablo Mazzolo) TIFF<\/span>, DP<\/span><\/p>\n
The Whale (2022, Darren Aronofsky) TIFF<\/span>, DP<\/span> – 2.2<\/p>\n
Glass Onion (2022, Rian Johnson) TIFF<\/span>, DP<\/span> – 6.1<\/p>\n
Riceboy Sleeps (2022, Anthony Shim) TIFF<\/span>, DP<\/span> – 5.6<\/p>\n
All the Beauty and the Bloodshed (2022, Laura Poitras) TIFF<\/span>, DP<\/span> – 6.4<\/p>\n
The Banshees of Inisherin (2022, Martin McDonagh) TIFF<\/span>, DP<\/span> – 5.9<\/p>\n
Saint Omer (2022, Alice Diop) TIFF<\/span>, DP<\/span> – 6.8<\/p>\n
Empire of Light (2022, Sam Mendes) TIFF<\/span>, DP<\/span> – 3.7<\/p>\n
Falcon Lake (2022, Charlotte Le Bon) TIFF<\/span>, DP<\/span> – 5.1<\/p>\n
The Greatest Beer Run Ever (2022, Peter Farrelly) TIFF<\/span>, DP<\/span> – 4.6<\/p>\n
Viking (2022, St\u00e9phane Lafleur) TIFF<\/span>, DP<\/span> – 5.3<\/p>\n
Stonewalling (2022, Huang Ji & Otsuka Ryuji) TIFF<\/span>, DP<\/span> – 4.4<\/p>\n
+EO (2022, Jerzy Skolimowski) TIFF<\/span>, DP<\/span> – 7.8 [same]<\/span><\/p>\n
How to Blow Up a Pipeline (2022, Daniel Goldhaber) TIFF<\/span>, DP<\/span> – 5.5<\/p>\n
Walk Up (2022, Hong Sang-soo) TIFF<\/span>, DP<\/span> – 6.3<\/p>\n
I Shot Andy Warhol (1996, Mary Harron) TIFF<\/span>, 35mm<\/span> – 4.3<\/p>\n
Theater of Thought (2022, Werner Herzog) TIFF<\/span>, DP<\/span> – 5.4<\/p>\n
The Worst Ones (2022, Romane Gueret & Lise Akoka) TIFF<\/span>, DP<\/span> – 4.8<\/p>\n
The Maiden (2022, Graham Foy) TIFF<\/span>, DP<\/span> – 4.7<\/p>\n
The Eternal Daughter (2022, Joanna Hogg) TIFF<\/span>, DP<\/span> – 5.5<\/p>\n
Femme Fatale (2002, Brian De Palma) 35mm<\/span> – 6.7<\/p>\n
Maria Schneider, 1983<\/em> (2022, Elisabeth Subrin)<\/p>\n
+Goodbye to Language [3D] (2014, Jean-Luc Godard) – 9.2 [down from 9.9]<\/span><\/p>\n
PEAK HEAVEN LOVE FOREVER<\/em> (2022, Jordan Strafer)<\/p>\n
Watch the Fire or Burn Inside It<\/em> (2022, Caroline Poggi & Jonathan Vinel)<\/p>\n
+Avatar (2009, James Caneron) 3D<\/span> \u2013 5.8 [up from 5.4]<\/span><\/p>\n
Blonde (2022, Andrew Dominik) DP<\/span> \u2013 6.2<\/p>\n
 <\/p>\n
October<\/span><\/strong><\/p>\n
Slaughterhouses of Modernity (2022, Heinz Emigholz) – 5.1<\/p>\n
+A Woman Escapes (2022, Sofia Bohdanowicz, Burak \u00c7evik, & Blake Williams) VIFF<\/span>, 3D<\/span> – H.i<\/p>\n
*** ***** ***** ** **** (2023, ******* ********** ****) – Inc. [Rough cut]<\/span><\/p>\n
+A Woman Escapes (2022, Sofia Bohdanowicz, Burak \u00c7evik, & Blake Williams) Black Canvas<\/strong>, 3D<\/span> – H.i<\/p>\n
Negative Path (2022, Alan Mart\u00edn Segal) Black Canvas<\/strong>, DP<\/span> – 6.3<\/p>\n
+It Is Night in America (2022, Ana Vaz) Black Canvas<\/strong>, DP<\/span> – 5.3 [same]<\/span><\/p>\n
The Water (2022, Elena L\u00f3pez Riera) Black Canvas<\/strong>, DP<\/span> – 4.8<\/p>\n
A Couple (2022, Frederick Wiseman) Black Canvas<\/strong>, DP<\/span> – 5.1<\/p>\n
Sparta (2022, Ulrich Seidl) Festival du nouveau cin\u00e9ma<\/span>, DP<\/span> – 6.6<\/p>\n
+Num\u00e9ro deux (1975, Jean-Luc Godard) 35mm<\/span> – 6.9 [up from 5.9]<\/span><\/p>\n
T\u00c1R (2022, Todd Field) DP<\/span> – 4.9<\/p>\n
 <\/p>\n
November<\/span><\/strong><\/p>\n
Babylon (2022, Damien Chazelle) DP<\/span> – 4.5<\/p>\n
Devil\u2019s Peak<\/em> (2021, Simon Liu)<\/p>\n
FELT TIP<\/em> (2018, Elizabeth Price)<\/p>\n
Underfoot<\/em> (2022, Elizabeth Price)<\/p>\n
There There (2022, Andrew Bujalski) – 5.6<\/p>\n
Vengeance Is Mine (1984, Michael Roemer) 35mm<\/span> – 6.9<\/p>\n
 <\/p>\n
December<\/span><\/strong><\/p>\n
Top Gun: Maverick (2022, Joseph Kosinski) – 5.3<\/p>\n
+Apollo 10\u00bd: A Space Age Childhood (2022, Richard Linklater) DP<\/span> – 7.3 [up from 6.8]<\/span><\/p>\n
Exhibition<\/em> (2022, Mary Helena Clark)<\/p>\n
M\uff0aU\uff0aS\uff0aH<\/em> (2022, Jodie Mack)<\/p>\n
Cactus Raptus<\/em> (2018, Maxime Hot)<\/p>\n
Black Palms<\/em> (2022, Justin Clifford Rhody)<\/p>\n
Black Hole Space Debt, or a Basic Guide to Syncing Sound and Image<\/em> (2022, Stephen Wardell)<\/p>\n
The Black Tower<\/em> (1987, John Smith)<\/p>\n
The Black Tower<\/em> (2022, Mandy Eugeniou)<\/p>\n
ROTO\u042f | Sonic Body<\/em> (2020, NO1)<\/p>\n
Woman as Image, Man as Bearer of the Look<\/em> (2022, Carlos Velandia)<\/p>\n
Om<\/em> (1986, John Smith)<\/p>\n
Gargantuan<\/em> (1992, John Smith)<\/p>\n
The Kiss<\/em> (1999, John Smith & Ian Bourn)<\/p>\n
The Waste Land<\/em> (1999, John Smith)<\/p>\n
Leading Light<\/em> (1975, John Smith)<\/p>\n
FAN<\/em> (1978, John Smith)<\/p>\n
Avatar: The Way of Water [48fps] (2022, James Cameron) 3D<\/span> – 6.3<\/p>\n
RRR (2022, S. S. Rajamouli) DP<\/span> – 6.6<\/p>\n
A State of Grace<\/em> (2019, John Smith)<\/p>\n
The Girl Chewing Gum<\/em> (1976, John Smith)<\/p>\n
Regression<\/em> (1999, John Smith)<\/p>\n
Shepherd\u2019s Delight: An Analysis of Humour<\/em> (1984, John Smith)<\/p>\n
A Short Story<\/em> (2022, Bi Gan)<\/p>\n
\u00c9chos<\/em> (2021, El\u00e9onore Huisse & Fran\u00e7ois J. Bonnet)<\/p>\n
Fourth of July (2022, Louis C.K.) – 5.6<\/p>\n
Descendant (2022, Margaret Brown) – 5.1<\/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-22535","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/posts\/22535","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=22535"}],"version-history":[{"count":1,"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/posts\/22535\/revisions"}],"predecessor-version":[{"id":22536,"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/posts\/22535\/revisions\/22536"}],"wp:attachment":[{"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/media?parent=22535"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/categories?post=22535"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/tags?post=22535"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}