{"id":24910,"date":"2024-01-01T01:00:00","date_gmt":"2024-01-01T06:00:00","guid":{"rendered":"https:\/\/blakewilliams.net\/blog\/?p=24910"},"modified":"2025-01-02T14:57:52","modified_gmt":"2025-01-02T19:57:52","slug":"2024-film-log","status":"publish","type":"post","link":"https:\/\/blakewilliams.net\/blog\/2024\/01\/2024-film-log\/","title":{"rendered":"2024 Film Log"},"content":{"rendered":"

Click for links to past logs.<\/span><\/a>
\n <\/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, Diffraction, et al). If I saw a film in “regular” \/ “full” 3D at home, the title of the film will be succeeded by “[3D]”. If it was an unusual format, that will be noted (“[Anaglyph 3D]”, “[ChromaDepth 3D]”, and so on). If the film was shot in an \u201cImmersive Video\u201d format (180-degree 3D) and viewed on a VR or mixed reality headset (e.g. an Apple Vision Pro), the format will be noted as “[IV-3D]”.
\n– IV-DP<\/span> \/ IV-3D<\/span> indicates that I saw an \u201cimmersive\u201d screening that was augmented by the addition of pre-programmed environmental effects. (e.g. 4DX, the Sphere, etc.)
\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.
\n <\/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? My OCD makes it difficult to distinguish between short films, television commercials, Youtube videos, random viral TikToks, etc.; I don’t want to log everything<\/em>, and I don’t want to be arbitrarily discriminating what I log and what I don’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

\"\"
\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
Ferrari (2023, Michael Mann) DP<\/span> – 4.7<\/p>\n
The Long Farewell (1971, Kira Muratova) DP<\/span> – 5.5<\/p>\n
Merry Christmas Mr. Lawrence (1983, Nagisa Oshima) 35mm<\/span> – 5.8<\/p>\n
Taboo (1999, Nagisa Oshima) 35mm<\/span> – 5.6<\/p>\n
Full Time (2021, \u00c9ric Gravel) – 6.3<\/p>\n
 <\/p>\n
February<\/span><\/strong><\/p>\n
The Restless (2021, Joachim Lafosse) – 4.6<\/p>\n
Stoneymollan Trail (2015, Charlie Prodger) DP<\/span> – 5.2<\/p>\n
BRIDGIT<\/em> (2016, Charlie Prodger) DP<\/span><\/p>\n
Interlude (1957, Douglas Sirk) 35mm<\/span> – 3.4<\/p>\n
Small Things Like These (2024, Tim Mielants) Berlinale<\/span>, DP<\/span> – 4.8<\/p>\n
The Adamant Girl (2024, P.S. Vinothraj) Berlinale<\/span>, DP<\/span> – 6.7<\/p>\n
All the Long Nights (2024, Sh\u00f4 Miyake) Berlinale<\/span>, DP<\/span> – 4.2<\/p>\n
Favoriten (2024, Ruth Beckermann) Berlinale<\/span>, DP<\/span> – 5.6<\/p>\n
La Cocina (2024, Alonso Ruizpalacios) Berlinale<\/span>, DP<\/span> – 3.0<\/p>\n
Sleep with Your Eyes Open (2024, Nele Wohlatz) Berlinale<\/span>, DP<\/span> – 5.1<\/p>\n
A Different Man (2024, Aaron Schimberg) Berlinale<\/span>, DP<\/span> – 5.3<\/p>\n
The Fable (2024, Raam Reddy) Berlinale<\/span>, DP<\/span> – 4.7<\/p>\n
On the Battlefield<\/em> (2024, Little Egypt Collective, Theresa Delsoin, Lisa Marie Malloy, J.P. Sniadecki, & Ray Whitaker) Berlinale<\/span>, DP<\/span><\/p>\n
Nanacatepec (2024, Elena Pardo & Azucena Losana) Berlinale<\/span>, 16mm<\/span> – 6.0<\/p>\n
Suspended Time (2024, Olivier Assayas) Berlinale<\/span>, DP<\/span> – 5.6<\/p>\n
A Family (2024, Christine Angot) Berlinale<\/span>, DP<\/span> – 4.4<\/p>\n
Republic (2023, Jin Jiang) Berlinale<\/span>, DP<\/span> – 5.8<\/p>\n
Who By Fire (2024, Philippe Lesage) Berlinale<\/span>, DP<\/span> – 5.5<\/p>\n
The Empire (2024, Bruno Dumont) Berlinale<\/span>, DP<\/span> – 6.2<\/p>\n
Dahomey (2024, Mati Diop) Berlinale<\/span>, DP<\/span> – 5.7<\/p>\n
Turn in the Wound (2024, Abel Ferrara) Berlinale<\/span>, DP<\/span> – 3.9<\/p>\n
The Periphery of the Base (2024, Zhou Tao) Berlinale<\/span>, DP<\/span> – 7.0<\/p>\n
Chime (2024, Kiyoshi Kurosawa) Berlinale<\/span>, DP<\/span> – 6.9<\/p>\n
August My Heaven<\/em> (2024, Riho Kudo) Berlinale<\/span>, DP<\/span> <\/p>\n
A Traveler\u2019s Needs (2024, Hong Sang-soo) Berlinale<\/span>, DP<\/span> – 6.7<\/p>\n
Architecton (2024, Victor Kossakovsky) Berlinale<\/span>, DP<\/span> – 4.9<\/p>\n
The Box Man (2024, Gakuryu Ishii) Berlinale<\/span>, DP<\/span> – 4.1<\/p>\n
Pepe (2024, Nelson Carlos De Los Santos Arias) Berlinale<\/span>, DP<\/span> – 5.4<\/p>\n
You Burn Me (2024, Mat\u00edas Pi\u00f1eiro) Berlinale<\/span>, DP<\/span> – 6.0<\/p>\n
Matt and Mara (2024, Kazik Radwanski) Berlinale<\/span>, DP<\/span> – 5.3<\/p>\n
Ivo (2024, Eva Trobisch) Berlinale<\/span>, DP<\/span> – 4.3<\/p>\n
Time of Maturity (1976, Sohrab Shahid Saless) Berlinale<\/span>, DP<\/span> – 6.6<\/p>\n
Abiding Nowhere (2024, Tsai Ming-liang) Berlinale<\/span>, DP<\/span> – 6.2<\/p>\n
Cidade; Campo (2024, Juliana Rojas) Berlinale<\/span>, DP<\/span> – 5.7<\/p>\n
Between the Temples (2024, Nathan Silver) Berlinale<\/span>, DP<\/span> – 6.4<\/p>\n
Black Tea (2024, Abderrahmane Sissako) Berlinale<\/span>, DP<\/span> – 5.4<\/p>\n
Invisible Days, or the Legend of the White Crocodiles [English Version] (1991, Eva Hiller) Berlinale<\/span>, DP<\/span> – 5.5<\/p>\n
The Invisible Zoo (2024, Romuald Karmakar) Berlinale<\/span>, DP<\/span> – 6.8<\/p>\n
DIRECT ACTION (2024, Ben Russell & Guillaume Cailleau) Berlinale<\/span>, DP<\/span> – 7.2<\/p>\n
Shambhala (2024, Min Bahadur Bham) Berlinale<\/span>, DP<\/span> – 5.9<\/p>\n
The Human Hibernation (2024, Anna Cornudella) Berlinale<\/span>, DP<\/span> – 3.2<\/p>\n
I Saw the TV Glow (2024, Jane Schoenbrun) Berlinale<\/span>, DP<\/span> – 4.5<\/p>\n
+The Periphery of the Base (2024, Zhou Tao) Berlinale<\/span>, DP<\/span> – 7.4 [up from 7.0]<\/span><\/p>\n
+Laberint Sequences<\/em> (2023, Blake Williams) 3D<\/span><\/p>\n
Twittering Soul (2023, Deimantas Narkevi\u010dius) 3D<\/span> – Inc. [No English subtitles]<\/span><\/p>\n
 <\/p>\n
March<\/span><\/strong><\/p>\n
+The Periphery of the Base (2024, Zhou Tao) – 7.6 [up from 7.4]<\/span><\/p>\n
The Wrong Movie (2024, Keren Cytter) – 5.1<\/p>\n
Sunday in Paris<\/em> (2016, Ernie Gehr) \u2028DP<\/span><\/p>\n
Back in the Park<\/em> (2019, Ernie Gehr) DP<\/span>\u2028<\/p>\n
Construction Sight<\/em> (2019, Ernie Gehr) \u2028DP<\/span><\/p>\n
+Flying Over Brooklyn<\/em> (2020, Ernie Gehr) DP<\/span><\/p>\n
For the Birds<\/em> (2016, Ernie Gehr) DP<\/span><\/p>\n
\u2028Auto-Collider XX<\/em> (2014, Ernie Gehr) DP<\/span><\/p>\n
\u2028Delirium<\/em> (2020, Ernie Gehr) DP<\/span><\/p>\n
\u2028Pedestrian Activities<\/em> (2023, Ernie Gehr) DP<\/span><\/p>\n
Here & Elsewhere<\/em>\u00a0(2023, Bram Ruiter) DP<\/span><\/p>\n
+It follows it passes on<\/em>\u00a0(2023, Erica Sheu) DP<\/span><\/p>\n
West Lounge<\/em>\u00a0(2023, Kevin Jerome Everson) DP<\/span><\/p>\n
Banging on Their Bars in Rhythm<\/em>\u00a0(2024, Kevin Jerome Everson) DP<\/span><\/p>\n
Stone, Hat, Ribbon & Rose<\/em>\u00a0(2023, Eva Giolo) DP<\/span><\/p>\n
How to Run a Trotline<\/em>\u00a0(2024, Carl Elsaesser) DP<\/span><\/p>\n
Caracole (for Mac)<\/em>\u00a0(2022, Nathaniel Dorsky) 16mm<\/span><\/p>\n
Seasonal Concerns<\/em>\u00a0(2024, Maximilien Luc Proctor) 16mm<\/span><\/p>\n
Five Days Till Tomorrow<\/em>\u00a0(2022, Lewis Klahr) DP<\/span><\/p>\n
Holographic Will<\/em>\u00a0(2023, Mike Stoltz) 16mm<\/span><\/p>\n
Hey Sweet Pea<\/em>\u00a0(2023, Alee Peoples) 16mm<\/span><\/p>\n
Glider<\/em> (2001, Ernie Gehr)\u2028 DP<\/span> <\/p>\n
Mechanical Magic Lantern Slides II<\/em> (2019, Ernie Gehr)\u2028 DP<\/span><\/p>\n
In Slumberland (Thanks to Winsor McCay)*<\/em> (2015, Ernie Gehr)\u2028 DP<\/span><\/p>\n
Creatures of the Night<\/em> (2023, Ernie Gehr)\u2028 DP<\/span><\/p>\n
Medicine Cabinet<\/em> (2022, Ernie Gehr) DP<\/span><\/p>\n
Chambers of Time<\/em> (2010, Ernie Gehr) DP<\/span><\/p>\n
Through the Hoops of Time<\/em> (2020, Ernie Gehr) DP<\/span><\/p>\n
Approposessexstreetmarket<\/em> (2018, Ernie Gehr) DP<\/span><\/p>\n
New York Central<\/em> (2020, Ernie Gehr)<\/p>\n
High-Wire Act<\/em> (2023, Ernie Gehr) DP<\/span><\/p>\n
Bon Voyage<\/em> (2016, Ernie Gehr) DP<\/span><\/p>\n
Lisbon Views<\/em> (2022, Ernie Gehr) DP<\/span><\/p>\n
What\u2019s Up!<\/em> (2023, Ernie Gehr) DP<\/span><\/p>\n
Carroll Gardens<\/em> (2023, Ernie Gehr) DP<\/span><\/p>\n
Gasoline Rainbow (2023, Bill Ross IV & Turner Ross) DP<\/span> – 5.2<\/p>\n
Ryuichi Sakamoto | Opus (2023, Neo Sora) DP<\/span> – 4.8<\/p>\n
Air (2023, Ben Affleck) – 4.6<\/p>\n
Dredd [3D] (2012, Pete Travis) – 5.4<\/p>\n
The Wonderful Story of Henry Sugar and Three More (2023, Wes Anderson) – 7.1<\/p>\n
 <\/p>\n
April<\/span><\/strong><\/p>\n
Louis and Languages<\/em> (2024, Aur\u00e9lien Froment)<\/p>\n
Where Are All My Lovers?<\/em> (2024, Jean-Claude Rousseau)<\/p>\n
Marbled Golden Eyes<\/em> (2024, Kevin Jerome Everson)<\/p>\n
Destroy, She Said (1969, Marguerite Duras) 35mm<\/span> – 5.8<\/p>\n
Her Venetian Name in Deserted Calcutta (1976, Marguerite Duras) DP<\/span> – 5.0<\/p>\n
The Truck (1977, Marguerite Duras) 35mm<\/span> – 4.7<\/p>\n
Woman of the Ganges (1974, Marguerite Duras) DP<\/span> – 3.7<\/p>\n
Nathalie Granger (1972, Marguerite Duras) DP<\/span> – 6.1<\/p>\n
Microcosmos<\/em> (2021, Takashi Makino) DP<\/span><\/p>\n
Space Noise 3D<\/em> (2015, Takashi Makino) 3D-16mm<\/span><\/p>\n
Memento Stella (2018, Takashi Makino) DP<\/span> – 5.3<\/p>\n
The Wolf House (2018, Joaqu\u00edn Coci\u00f1a & Crist\u00f3bal Le\u00f3n) – 5.7<\/p>\n
Poem of E.L.<\/em> (2022, Maya Gurantz)<\/p>\n
 <\/p>\n
May<\/span><\/strong><\/p>\n
The Island (2023, Damien Manivel) Jeonju<\/span>, DP<\/span> – 5.1<\/p>\n
Not a Pretty Picture (1976, Martha Coolidge) Jeonju<\/span>, DP<\/span> – 6.4<\/p>\n
Where (2022, Tsai Ming-liang) Jeonju<\/span>, DP<\/span> – 6.8<\/p>\n
+DIRECT ACTION (2024, Ben Russell & Guillaume Cailleau) Jeonju<\/span>, DP<\/span> – 7.2 [same]<\/span><\/p>\n
Center<\/em> (2024, Burak \u00c7evik) Jeonju<\/span>, DP<\/span><\/p>\n
Nothing in Its Place (2024, Burak \u00c7evik) Jeonju<\/span>, DP<\/span><\/p>\n
+Allures<\/em> (1961, Jordan Belson) Jeonju<\/span>, 35mm<\/span><\/p>\n
+Side\/Walk\/Shuttle (1992, Ernie Gehr) Jeonju<\/span>, 35mm<\/span> – 6.1 [same]<\/span><\/p>\n
+Work Done<\/em> (1984, Robert Beavers) Jeonju<\/span>, 35mm<\/span><\/p>\n
No Form<\/em> (2012, Tsai Ming-liang) Jeonju<\/span>, DP<\/span><\/p>\n
+Walker<\/em> (2012, Tsai Ming-liang) Jeonju<\/span>, DP<\/span><\/p>\n
Sleepwalk<\/em> (2012, Tsai Ming-liang) Jeonju<\/span>, DP<\/span><\/p>\n
Mimang (2023, Kim Tae-yang) Jeonju<\/span>, DP<\/span> – 3.9<\/p>\n
Dreaming Dogs (2024, Levin Peter & Elsa Kremser) Jeonju<\/span>, DP<\/span> – 5.3<\/p>\n
Diamond Sutra<\/em> (2012, Tsai Ming-liang) Jeonju<\/span>, DP<\/span><\/p>\n
Walking on Water<\/em> (2013, Tsai Ming-liang) Jeonju<\/span>, DP<\/span><\/p>\n
+No No Sleep<\/em> (2015, Tsai Ming-liang) Jeonju<\/span>, DP<\/span><\/p>\n
The Trouble with Harry (1955, Alfred Hitchcock) 35mm<\/span> – 5.9<\/p>\n
An Unfinished Film (2024, Lou Ye) Cannes<\/span>, DP<\/span> – 4.0<\/p>\n
The Second Act (2024, Quentin Dupieux) Cannes<\/span>, DP<\/span> – 4.7<\/p>\n
This Life of Mine (2024, Sophie Filli\u00e8res) Cannes<\/span>, DP<\/span> – 4.9<\/p>\n
On Becoming a Guinea Fowl (2024, Rungano Nyoni) Cannes<\/span>, DP<\/span> – 4.2<\/p>\n
It Doesn\u2019t Matter (2024, Josh Mond) Cannes<\/span>, DP<\/span> – 4.6<\/p>\n
Wild Diamond (2024, Agathe Riedinger) Cannes<\/span>, DP<\/span> – 3.8<\/p>\n
The Girl with the Needle (2024, Magnus von Horn) Cannes<\/span>, DP<\/span> – 5.3<\/p>\n
Furiosa: A Mad Max Saga (2024, George Miller) Cannes<\/span>, DP<\/span> – 4.3<\/p>\n
Bird (2024, Andrea Arnold) Cannes<\/span>, DP<\/span> – 2.7<\/p>\n
Megalopolis (2024, Francis Ford Coppola) Cannes<\/span>, DP<\/span> – 7.6<\/p>\n
Twilight of the Warriors: Walled In (2024, Soi Cheang) Cannes<\/span>, DP<\/span> – 4.5<\/p>\n
Christmas Eve in Miller\u2019s Point (2024, Tyler Taormina) Cannes<\/span>, DP<\/span> – 6.3<\/p>\n
Sc\u00e9narios<\/em> (2024, Jean-Luc Godard) Cannes<\/span>, DP<\/span><\/p>\n
Expos\u00e9 du film annonce du film “Sc\u00e9nario”<\/em> (2024, Jean-Luc Godard) Cannes<\/span>, DP<\/span><\/p>\n
Kinds of Kindness (2024, Yorgos Lanthimos) Cannes<\/span>, DP<\/span> – 5.6<\/p>\n
Oh, Canada (2024, Paul Schrader) Cannes<\/span>, DP<\/span> – 5.0<\/p>\n
Universal Language (2024, Matthew Rankin) Cannes<\/span>, DP<\/span> – 5.5<\/p>\n
Visiting Hours (2024, Patricia Mazuy) Cannes<\/span>, DP<\/span> – 5.3<\/p>\n
Caught by the Tides (2024, Jia Zhang-ke) Cannes<\/span>, DP<\/span> – 5.9<\/p>\n
Emilia P\u00e9rez (2024, Jacques Audiard) Cannes<\/span>, DP<\/span> – 5.5<\/p>\n
It\u2019s Not Me (2024, Leos Carax) Cannes<\/span>, DP<\/span> – 3.9<\/p>\n
Rumours (2024, Guy Maddin, Evan Johnson, & Galen Johnson) Cannes<\/span>, DP<\/span> – 5.2<\/p>\n
Eephus (2024, Carson Lund) Cannes<\/span>, DP<\/span> – 5.1<\/p>\n
Three Kilometers to the End of the World (2024, Emanuel Parvu) Cannes<\/span>, DP<\/span> – 4.0<\/p>\n
The Damned (2024, Roberto Minervini) Cannes<\/span>, DP<\/span> – 5.4<\/p>\n
Black Dog (2024, Guan Hu) Cannes<\/span>, DP<\/span> – 5.6<\/p>\n
The Substance (2024, Coralie Fargeat) Cannes<\/span>, DP<\/span> – 5.8<\/p>\n
Blue Sun Palace (2024, Constance Tsang) Cannes<\/span>, DP<\/span> – 4.5<\/p>\n
So Long (2024, Guillaume Brac) Cannes<\/span>, DP<\/span> – 4.3<\/p>\n
The Apprentice (2024, Ali Abbasi) Cannes<\/span>, DP<\/span> – 3.2<\/p>\n
Misericordia (2024, Alain Guiraudie) Cannes<\/span>, DP<\/span> – 6.9<\/p>\n
The Shrouds (2024, David Cronenberg) Cannes<\/span>, DP<\/span> – 6.6<\/p>\n
Eat the Night (2024, Caroline Poggi & Jonathan Vinel) Cannes<\/span>, DP<\/span> – 5.2<\/p>\n
Anora (2024, Sean Baker) Cannes<\/span>, DP<\/span> – 7.0<\/p>\n
Marcello Mio (2024, Christophe Honor\u00e9) Cannes<\/span>, DP<\/span> – 3.8<\/p>\n
Parthenope (2024, Paolo Sorrentino) Cannes<\/span>, DP<\/span> – 2.3<\/p>\n
Gazer (2024, Ryan J. Sloan) Cannes<\/span>, DP<\/span> – 1.7<\/p>\n
Grand Tour (2024, Miguel Gomes) Cannes<\/span>, DP<\/span> – 5.0<\/p>\n
Motel Destino (2024, Karim A\u00efnouz) Cannes<\/span>, DP<\/span> – 5.2<\/p>\n
Flow (2024, Gints Zilbalodis) Cannes<\/span>, DP<\/span> – 5.0<\/p>\n
Filmlovers! (2024, Arnaud Desplechin) Cannes<\/span>, DP<\/span> – 5.4<\/p>\n
Viet and Nam (2024, Minh Qu\u00fd Tr\u01b0\u01a1ng) Cannes<\/span>, DP<\/span> – 5.6<\/p>\n
All We Imagine as Light (2024, Payal Kapadia) Cannes<\/span>, DP<\/span> – 5.8<\/p>\n
Beating Hearts (2024, Gilles Lellouche) Cannes<\/span>, DP<\/span> – 4.5<\/p>\n
The Other Way Around (2024, Jon\u00e1s Trueba) Cannes<\/span>, DP<\/span> – 5.3<\/p>\n
The Most Precious of Cargoes (2024, Michel Hazanavicius) Cannes<\/span>, DP<\/span> – 3.2<\/p>\n
The Seed of the Sacred Fig (2024, Mohammad Rasoulof) Cannes<\/span>, DP<\/span> – 5.7<\/p>\n
Challengers (2024, Luca Guadagnino) – 6.5<\/p>\n
Photosynthesis<\/em> [ChromaDepth 3D] (2023, Brian Zahm)<\/p>\n
 <\/p>\n
June<\/span><\/strong><\/p>\n
This Closeness (2023, Kit Zauhar) – 5.1<\/p>\n
The Man Who Wasn’t There [3D] (1983, Bruce Malmuth) – 5.1<\/p>\n
Flamenco<\/em> (2024, Jean-Claude Rousseau)<\/p>\n
Life Story<\/em> (2024, Jessica Dunn Rovinelli)<\/p>\n
Leisure, Utopic<\/em> (2024, Beatrice Gibson)<\/p>\n
 <\/p>\n
July<\/span><\/strong><\/p>\n
Terrorizers (1986, Edward Yang) DP<\/span> – 5.3<\/p>\n
The Great Gatsby [3D] (2013, Baz Luhrmann) – 4.9<\/p>\n
Seven Walks with Mark Brown (2024, Pierre Creton & Vincent Barr\u00e9) – 5.9<\/p>\n
+Boxing Gym (2010, Frederick Wiseman) – 6.0 [down from 6.8]<\/span><\/p>\n
Twisters (2024, Lee Isaac Chung) IV-DP<\/span> – 4.3<\/p>\n
The Sparrow in the Chimney (2024, Ramon Z\u00fcrcher) – 5.1<\/p>\n
Invention (2024, Courtney Stephens) – 6.2<\/p>\n
 <\/p>\n
August<\/span><\/strong><\/p>\n
Trap (2024, M. Night Shyamalan) DP<\/span> – 5.4<\/p>\n
+Old (2021, M. Night Shyamalan) – 6.4 [same]<\/span><\/p>\n
Bogancloch (2024, Ben Rivers) – 5.3<\/p>\n
The Exploding Girl<\/em> (2024, Caroline Poggi & Jonathan Vinel)<\/p>\n
Practice, Practice, Practice<\/em> (2024, Kevin Jerome Everson)<\/p>\n
Days Before the Death of Nicky<\/em> (2024, Denis C\u00f4t\u00e9)<\/p>\n
Telepathic Letters (2024, Edgar P\u00eara) – 4.4<\/p>\n
Death Will Come (2024, Christoph Hochh\u00e4usler) – 4.6<\/p>\n
Freak<\/em> (2024, Claire Barnett)<\/p>\n
Sleep #2 (2024, Radu Jude) – 5.5<\/p>\n
Eight Postcards from Utopia (2024, Radu Jude & Christian Ferencz-Flatz) – 4.9<\/p>\n
Gender Reveal<\/em> (2024, Mo Matton)<\/p>\n
When the Phone Rang (2024, Iva Radivojevi\u0107) – 4.5<\/p>\n
Fire of Wind (2024, Marta Mateus) – 5.6<\/p>\n
100,000,000,000,000 (2024, Virgil Vernier) – 5.9<\/p>\n
Youth (Hard Times) (2024, Wang Bing) – 5.0<\/p>\n
By the Stream (2024, Hong Sang-soo) – 6.3<\/p>\n
exergue \u2014 on documenta 14 (2024, Dimitris Athiridis) – 5.8<\/p>\n
 <\/p>\n
September<\/span><\/strong><\/p>\n
L\u00e1zaro at Night (2024, Nicol\u00e1s Pereda) TIFF<\/span>, DP<\/span> – 6.1<\/p>\n
No Other Land (2024, Basel Adra, Hamdan Ballal, Yuval Abraham, & Rachel Szor) TIFF<\/span>, DP<\/span> – 4.4<\/p>\n
Diciannove (2024, Giovanni Tortorici) TIFF<\/span>, DP<\/span> – 4.8<\/p>\n
Cloud (2024, Kiyoshia Kurosawa) TIFF<\/span>, DP<\/span> – 5.7<\/p>\n
The Brutalist (2024, Brady Corbet) TIFF<\/span>, 35mm<\/span> – 3.9<\/p>\n
Drama 1882 (2024, Wael Shawky) TIFF<\/span>, DP<\/span> – 4.9<\/p>\n
Revolving Rounds<\/em> (2024, Johann Lurf & Christina Jauernik) TIFF<\/span>, 3D<\/span><\/p>\n
The Diary of a Sky (2024, Lawrence Abu Hamdan) TIFF<\/span>, DP<\/span> – 5.3<\/p>\n
October Noon<\/em> (2024, Francisco Rodr\u00edguez Teare) TIFF<\/span>, DP<\/span><\/p>\n
A Black Screen Too<\/em> (2024, Rhayne Vermette) TIFF<\/span>, DP<\/span><\/p>\n
Archipelago of Earthen Bones \u2014 To Bunya<\/em> (2024, Malena Szlam) TIFF<\/span>, DP<\/span><\/p>\n
The Room Next Door (2024, Pedro Almod\u00f3var) TIFF<\/span>, DP<\/span> – 5.1<\/p>\n
Hard Truths (2024, Mike Leigh) TIFF<\/span>, DP<\/span> – 6.4<\/p>\n
Someplace in Your Mouth<\/em> (2024, Beatrice Gibson & Nick Gordon) TIFF<\/span>, DP<\/span><\/p>\n
Notes of a Crocodile<\/em> (2024, Daphne Xu) TIFF<\/span>, DP<\/span><\/p>\n
Adrift Potentials<\/em> (2024, Leonardo Pirondi) TIFF<\/span>, DP<\/span><\/p>\n
Go Between<\/em> (2024, Chris Kennedy) TIFF<\/span>, DP<\/span><\/p>\n
The Sojourn<\/em> (2024, Tiffany Sia) TIFF<\/span>, DP<\/span><\/p>\n
Measures for a Funeral (2024, Sofia Bohdanowicz) TIFF<\/span>, DP<\/span><\/p>\n
Nightbitch (2024, Marielle Heller) TIFF<\/span>, DP<\/span> – 4.9<\/p>\n
Youth (Homecoming) (2024, Wang Bing) TIFF<\/span>, DP<\/span> – 6.2<\/p>\n
Happyend (2024, Neo Sora) TIFF<\/span>, DP<\/span> – 4.5<\/p>\n
+Sc\u00e9narios<\/em> (2024, Jean-Luc Godard) TIFF<\/span>, DP<\/span><\/p>\n
+Expos\u00e9 du film annonce du film \u201cSc\u00e9nario\u201d<\/em> (2024, Jean-Luc Godard) TIFF<\/span>, DP<\/span><\/p>\n
Being John Smith<\/em> (2024, John Smith) TIFF<\/span>, DP<\/span><\/p>\n
April (2024, Dea Kulumbegashvili) TIFF<\/span>, DP<\/span> – 5.6<\/p>\n
Relay (2024, David Mackenzie) TIFF<\/span>, DP<\/span> – 4.8<\/p>\n
Collective Monologue (2024, Jessica Sarah Rinland) TIFF<\/span>, DP<\/span> – 5.7<\/p>\n
+Anora (2024, Sean Baker) TIFF<\/span>, DP<\/span> – 6.5 [down from 7.0]<\/span><\/p>\n
The Ballad of Suzanne C\u00e9saire (2024, Madeleine Hunt-Ehrlich) TIFF<\/span>, DP<\/span> – 3.6<\/p>\n
Queer (2024, Luca Guadagnino) TIFF<\/span>, DP<\/span> – 6.4<\/p>\n
Essene (1972, Frederick Wiseman) TIFF<\/span>, DP<\/span> – 4.5<\/p>\n
+Megalopolis (2024, Francis Ford Coppola) TIFF<\/span>, DP<\/span> – 7.6 [same]<\/span><\/p>\n
Babygirl (2024, Halina Reijn) TIFF<\/span>, DP<\/span> – 4.1<\/p>\n
Harvest (2024, Athina Rachel Tsangari) TIFF<\/span>, DP<\/span> – 3.5<\/p>\n
Friendship (2024, Andrew DeYoung) TIFF<\/span>, DP<\/span> – 4.2<\/p>\n
+Misericordia (2024, Alain Guiraudie) TIFF<\/span>, DP<\/span> – 7.4 [up from 6.9]<\/span><\/p>\n
The End (2024, Joshua Oppenheimer) TIFF<\/span>, DP<\/span> – 4.1<\/p>\n
The Life of Chuck (2024, Mike Flanagan) TIFF<\/span>, DP<\/span> – 3.4<\/p>\n
Presence (2024, Steven Soderbergh) TIFF<\/span>, DP<\/span> – 2.4<\/p>\n
Early Monthly Segments<\/em>\u00a0(1970, Robert Beavers)\u00a035mm<\/span>\u2028<\/p>\n
Winged Dialogue<\/em>\u00a0(1967, Robert Beavers) 16mm<\/span>\u2028<\/p>\n
Plan of Brussels<\/em>\u00a0(1968, Robert Beavers)\u00a016mm<\/span>\u2028<\/p>\n
The Count of Days<\/em>\u00a0(1969, Robert Beavers)\u00a016mm<\/span>\u2028<\/p>\n
Palinode<\/em>\u00a0(1970, Robert Beavers)\u00a016mm<\/span>\u2028<\/p>\n
\u201cDer Klang, die Welt\u2026\u201d<\/em>\u00a0(2018, Robert Beavers)\u00a016mm<\/span><\/p>\n
Subtitled<\/em>\u00a0(2019, Christian Marclay)\u00a0DP<\/span><\/p>\n
Exodus<\/em>\u00a0(1997, Steve McQueen)\u00a0DP<\/span><\/p>\n
Sunshine State<\/em>\u00a0(2022, Steve McQueen)\u00a02 x DP<\/span><\/p>\n
Diminished Frame<\/em>\u00a0(1970, Robert Beavers)\u00a016mm<\/span>\u2028<\/p>\n
Still Light<\/em>\u00a0(1970, Robert Beavers)\u00a016mm<\/span>\u2028<\/p>\n
+From the Notebook of\u2026\u00a0(1971, Robert Beavers)\u00a035mm<\/span> \u2013 7.3 [same]<\/span><\/p>\n
The Painting<\/em>\u00a0(1972, Robert Beavers)\u00a016mm<\/span><\/p>\n
+Work Done<\/em>\u00a0(1972, Robert Beavers)\u00a035mm<\/span>\u2028<\/p>\n
Ruskin\u00a0(1975, Robert Beavers)\u00a035mm<\/span> \u2013 7.5<\/p>\n
Amor<\/em>\u00a0(1980, Robert Beavers)\u00a035mm<\/span>\u2028<\/p>\n
Sotiros<\/em>\u00a0(1978, Robert Beavers)\u00a035mm<\/span>\u2028<\/p>\n
Efpsychi<\/em>\u00a0(1983, Robert Beavers)\u00a035mm<\/span>\u2028<\/p>\n
Wingseed<\/em>\u00a0(1985, Robert Beavers)\u00a035mm<\/span>\u2028<\/p>\n
The Hedge Theatre<\/em>\u00a0(1990, Robert Beavers)\u00a035mm<\/span>\u2028<\/p>\n
+The Stoas<\/em>\u00a0(1997, Robert Beavers)\u00a035mm<\/span>\u2028<\/p>\n
+The Ground<\/em>\u00a0(2001, Robert Beavers)\u00a035mm<\/span>\u2028<\/p>\n
Pitcher of Colored Light<\/em>\u00a0(2007, Robert Beavers)\u00a035mm<\/span>\u2028<\/p>\n
+The Suppliant<\/em>\u00a0(2010, Robert Beavers)\u00a016mm<\/span>\u2028<\/p>\n
+Listening to the Space in My Room<\/em>\u00a0(2013, Robert Beavers)\u00a016mm<\/span>\u2028<\/p>\n
Among the Eucalyptuses<\/em>\u00a0(2017, Robert Beavers)\u00a016mm<\/span>\u2028<\/p>\n
The Sparrow Dream<\/em>\u00a0(2022, Robert Beavers)\u00a016mm<\/span>\u2028<\/p>\n
Dedication: Bernice Hodges<\/em>\u00a0(2024, Robert Beavers)\u00a016mm<\/span><\/p>\n
Jimmy\u00a0(2024, Yashaddai Owens) NYFF<\/span><\/strong>, DP<\/span> – 5.5<\/p>\n
bluish\u00a0(2024, Lilith Kraxner & Milena Czernovsky) NYFF<\/span><\/strong>, DP<\/span> – 6.3<\/p>\n
 <\/p>\n
October<\/span><\/strong><\/p>\n
Pavements\u00a0(2024, Alex Ross Perry) NYFF<\/span><\/strong>, DP<\/span> – \u20284.8<\/p>\n
My Left Eye Sees Ghosts\u00a0(2002, Johnnie To & Wai Ka-fai) 35mm<\/span> – \u20284.5<\/p>\n
Nickel Boys\u00a0(2024, RaMell Ross) NYFF<\/span><\/strong>, DP<\/span> – 5.3<\/p>\n
Stranger Eyes\u00a0(2024, Siew Hua Yeo) NYFF<\/span><\/strong>, DP<\/span> – \u20283.5<\/p>\n
Afternoons of Solitude\u00a0(2024, Albert Serra) NYFF<\/span><\/strong>, DP<\/span> – 7.1<\/p>\n
Little, Big, and Far\u00a0(2024, Jim Cohen) NYFF<\/span><\/strong>, DP<\/span> – \u20284.6<\/p>\n
Neighboring Animals<\/em> (2024, Mary Helena Clark)<\/p>\n
Man number 4<\/em> (2024, Miranda Pennell)<\/p>\n
+Revolving Rounds<\/em>\u00a0(2024, Christina Jauernik & Johann Lurf) NYFF<\/span><\/strong>, 3D<\/span><\/p>\n
ESP<\/em>\u00a0(2024, Laura Kraning) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
re-engraved<\/em>\u00a0(2024, Lei Lei) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
+A Black Screen Too<\/em>\u00a0(2024, Rhayne Vermette) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
The Land at Night<\/em>\u00a0(2024, Richard Tuohy & Dianna Barrie)\u00a0NYFF<\/span><\/strong>, 16mm<\/span>\u2028<\/p>\n
+Archipelago of Earthen Bones \u2014 To Bunya<\/em> (2024, Malena Szlam) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
Vibrant Matter<\/em>\u00a0(2024, Pablo Mar\u00edn) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
Towards the Sun, Far from the Center<\/em>\u00a0(2024, Pascal Viveros & Luciana Merino) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
No Spank<\/em>\u00a0(2024, Jordan Strafer) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
Sinking Feeling<\/em>\u00a0(2024, Zachary Epcar) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
My Undesirable Friends: Part I \u2014 Last Air in Moscow (2024, Julia Loktev) NYFF<\/span><\/strong>, DP<\/span> – 5.1<\/p>\n
The Suit\u00a0(2024, Heinz Emigholz) NYFF<\/span><\/strong>, DP<\/span> – 5.6<\/p>\n
Refuse Room<\/em> (2024, Simon Liu) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
Machine Boys<\/em> (2024, Karimah Ashadu) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
Razeh-del<\/em> (2024, Maryam Tafakory) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
+Practice, Practice, Practice<\/em> (2024, Kevin Jerome Everson) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
+October Noon<\/em> (2024, Francisco Rodr\u00edguez Teare) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
Reaching for the Doors to Paradise<\/em> [3D] (2024, Marc Downie & Paul Kaiser)<\/p>\n
BlackLetter<\/em> [3D] (2022, Marc Downie & Paul Kaiser)<\/p>\n
Submerged<\/em> [IV-3D] (2024, Edward Berger)<\/p>\n
Near Orou\u00ebt (1971, Jacques Rozier) DP<\/span> – 6.6<\/p>\n
cin\u00e9ma concret<\/em> [Pulfrich 3D] (2015, Takashi Makino)<\/p>\n
Red Rooms (2023, Pascal Plante) – 5.5<\/p>\n
Bwana Devil [3D] (1952, Arch Oboler) – 3.3<\/p>\n
 <\/p>\n
November<\/span><\/strong><\/p>\n
A Very Harold & Kumar 3D Christmas [3D] (2011, Todd Strauss-Schulson) – 5.6<\/p>\n
Four Unloved Women, Adrift on a Purposeless Sea, Experience the Ecstasy of Dissection<\/em> (2023, David Cronenberg)<\/p>\n
Postcard from Earth (2023, Darren Aronofsky) IV-DP<\/span> – 6.8<\/p>\n
Live Flesh (1997, Pedro Almod\u00f3var) 35mm<\/span> – 5.9<\/p>\n
Here (2024, Robert Zemeckis) – 6.2<\/p>\n
+L’Arriv\u00e9e d’un Train 3D<\/em> (1935, Louis Lumi\u00e8re) 3D<\/span><\/p>\n
Untitled Lumi\u00e8re Relief Test<\/em> [“Woman and Baby”] (1935, Louis Lumi\u00e8re) 3D<\/span><\/p>\n
Untitled Lumi\u00e8re Relief Test<\/em> [“People at the Beach”] (1935, Louis Lumi\u00e8re) 3D<\/span><\/p>\n
Untitled Lumi\u00e8re Relief Test<\/em> [“Steering a Boat”] (1935, Louis Lumi\u00e8re) 3D<\/span><\/p>\n
Untitled Lumi\u00e8re Relief Test<\/em> [“Kids at the Pier”] (1935, Louis Lumi\u00e8re) 3D<\/span><\/p>\n
+Hugo (2011, Martin Scorsese) 3D<\/span> – 6.0 [down from 6.4]<\/span><\/p>\n
 <\/p>\n
December<\/span><\/strong><\/p>\n
+Dimensional Excursions<\/em> (2024, Peter Rose) 3D<\/span><\/p>\n
+Red Capriccio<\/em> (2014, Blake Williams) 3D<\/span><\/p>\n
+Mutations<\/em> (1972, Lillian F. Schwartz) 3D<\/span><\/p>\n
+The Green Wave<\/em> (2011, Ken Jacobs) DP<\/span><\/p>\n
+cin\u00e9ma concret<\/em> (2015, Takashi Makino) 3D<\/span><\/p>\n
+Let Your Light Shine<\/em> (2013, Jodie Mack) 3D<\/span><\/p>\n
Transcontinent<\/em> [3D] (2024, Peter Rose)<\/p>\n
+Speechless<\/em> (2008, Scott Stark) 16mm<\/span><\/p>\n
+Flesh for Frankenstein (1973, Paul Morrissey) 3D<\/span> \u2013 7.3 [same]<\/span><\/p>\n
+Goodbye to Language (2014, Jean-Luc Godard) 3D<\/span> \u2013 8.5 [down from 9.2]<\/span><\/p>\n
+The Three Disasters<\/em> (2013, Jean-Luc Godard) 3D<\/span><\/p>\n
+Laberint Sequences<\/em> (2023, Blake Williams) 3D<\/span><\/p>\n
+Ulysses in the Subway (2017, Marc Downie, Paul Kaiser, & Ken and Flo Jacobs) 3D<\/span> – 6.5 [same]<\/span><\/p>\n
+Jackass 3D (2010, Jeff Tremaine) 3D<\/span> – 5.5 [down from 6.1]<\/span><\/p>\n
+House of Wax (1953, Andr\u00e9 De Toth) 3D<\/span> – 6.8 [up from 6.4]<\/span><\/p>\n
+Treasure of the Four Crowns (1983, Ferdinando Baldi) 3D<\/span> – 7.4 [same]<\/span><\/p>\n
Domo Arigato [3D] (1973, Arch Oboler) – 4.8<\/p>\n
No is E<\/em> (2006, Takashi Makino)<\/p>\n
At the Horizon<\/em> (2017, Takashi Makino & Manuel Knapp)<\/p>\n
TT3D: Closer to the Edge [3D] (2011, Richard De Aragues) – 4.2<\/p>\n
+Sorcerer (1977, William Friedkin) – 7.6 [same]<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"
Click for links to past logs.   FYI: – 8mm\/16mm\/35mm\/70mm indicates that what I saw was a film print. – DP indicates that what I saw was a Digital Projection in a theatre. – 3D indicates that I saw a theatrical presentation and was encouraged to watch the picture while wearing some sort of special […]<\/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-24910","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/posts\/24910","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/comments?post=24910"}],"version-history":[{"count":1,"href":"https:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/posts\/24910\/revisions"}],"predecessor-version":[{"id":24919,"href":"https:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/posts\/24910\/revisions\/24919"}],"wp:attachment":[{"href":"https:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/media?parent=24910"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/categories?post=24910"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/tags?post=24910"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}