{"id":25665,"date":"2025-01-01T07:00:00","date_gmt":"2025-01-01T12:00:00","guid":{"rendered":"https:\/\/blakewilliams.net\/blog\/?p=25665"},"modified":"2026-01-04T04:46:14","modified_gmt":"2026-01-04T09:46:14","slug":"2025-film-log","status":"publish","type":"post","link":"https:\/\/blakewilliams.net\/blog\/2025\/01\/2025-film-log\/","title":{"rendered":"2025 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
+Here (2024, Robert Zemeckis) – 7.1 [up from 6.2]<\/span><\/p>\n
Juror #2 (2024, Clint Eastwood) – 5.8<\/p>\n
Free Solo (2018, Jimmy Chin & Elizabeth Chai Vasarhelyi) – 5.1<\/p>\n
Journey to the Center of the Earth [3D] (2008, Eric Brevig) – 5.3<\/p>\n
The Final Destination [3D] (2009, David R. Ellis) – 5.6<\/p>\n
+Trenque Lauquen (2022, Laura Citarella) – 7.4 [same]<\/span><\/p>\n
Final Destination 5 [3D] (2011, Steven Quale) – 6.5<\/p>\n
Le boucher (1970, Claude Chabrol) – 6.9<\/p>\n
Texas Chainsaw [3D] (2013, John Luessenhop) – 3.5<\/p>\n
They Live (1988, John Carpenter) – 6.6<\/p>\n
+Our Hospitality (1923, Buster Keaton & John G. Blystone) – 6.1 [down from 8.0]<\/span><\/p>\n
 <\/p>\n
February<\/span><\/strong><\/p>\n
Ariel (2025, Lois Pati\u00f1o) IFFR<\/span>, DP<\/span> – 4.5<\/p>\n
John Lilly and the Earth Coincidence Control Office (2025, Michael Almereyda & Courtney Stephens) IFFR<\/span>, DP<\/span> – 5.6<\/p>\n
liminal light<\/em> (2025, Lichun Tseng & Robert Kroos) IFFR<\/span>, 16mm<\/span><\/p>\n
+3D Movie<\/em> (1975, Paul Sharits) IFFR<\/span>, 3D-16mm<\/span><\/p>\n
Gyromorphosis<\/em> (1956, Hy Hirsh) IFFR<\/span>, 3D-16mm<\/span><\/p>\n
+Opening the Nineteenth Century: 1896<\/em> (1990, Ken Jacobs) IFFR<\/span>, 3D-16mm<\/span><\/p>\n
+Wall<\/em> (1987, Takashi Ito) IFFR<\/span>, 16mm<\/span><\/p>\n
Orbit<\/em> (2006, Kerry Laitala) IFFR<\/span>, 3D-16mm<\/span><\/p>\n
Turkish Traffic<\/em> (1998, Jeff Scher) IFFR<\/span>, 3D-16mm<\/span><\/p>\n
+Let Your Light Shine<\/em> (2013, Jodie Mack) IFFR<\/span>, 3D-16mm<\/span><\/p>\n
The Geneva Mechanism: A Ghost Movie<\/em> (2024, P\u00e9ter Lichter) IFFR<\/span>, DP<\/span><\/p>\n
Ode to R.G. Springsteen<\/em> (2024, John Winn) IFFR<\/span>, DP<\/span><\/p>\n
Saturn Return<\/em> (2024, Daniela Zahlner) IFFR<\/span>, DP<\/span><\/p>\n
Where Russia Ends<\/em> (2024, Oleksiy Radynski) IFFR<\/span>, DP<\/span><\/p>\n
Snow<\/em> (2024, Roland Truffaut) IFFR<\/span>, DP<\/span><\/p>\n
Videoheaven (2025, Alex Ross Perry) IFFR<\/span>, DP<\/span> – 4.8<\/p>\n
+Afternoons of Solitude (2024, Albert Serra) IFFR<\/span>, DP<\/span> – 7.3 [up from 7.1]<\/span><\/p>\n
Debut, or, Objects of the Field of Debris as Currently Catalogued (2025, Julian Castronovo) – 6.0<\/p>\n
The Light (2025, Tom Tykwer) Berlinale<\/span>, DP<\/span> – 3.3<\/p>\n
Little Trouble Girls (2025, Urska Dukic) Berlinale<\/span>, DP<\/span> – 5.1<\/p>\n
Punku (2025, Juan Daniel Fern\u00e1ndez Molero) Berlinale<\/span>, DP<\/span> – 4.9<\/p>\n
After Dreaming (2025, Christine Haroutounian) Berlinale<\/span>, DP<\/span> – 6.1<\/p>\n
Where the Night Stands Still (2025, Liryc Dela Cruz) Berlinale<\/span>, DP<\/span> – 3.1<\/p>\n
Hot Milk (2025, Rebecca Lenkiewicz) Berlinale<\/span>, DP<\/span> – 2.7<\/p>\n
80+ (2025, \u017delimir \u017dilnik) Berlinale<\/span>, DP<\/span> – 5.4<\/p>\n
Dreams (2025, Michel Franco) Berlinale<\/span>, DP<\/span> – 4.6<\/p>\n
Ari (2025, L\u00e9onor Serraille) Berlinale<\/span>, DP<\/span> – 4.8<\/p>\n
Mickey 17 (2025, Bong Joon-ho) Berlinale<\/span>, DP<\/span> – 4.9<\/p>\n
little boy (2025, James Benning) Berlinale<\/span>, DP<\/span> – 5.0<\/p>\n
Deadlock (1970, Roland Klick) Berlinale<\/span>, 35mm<\/span> – 4.7<\/p>\n
Reflection in a Dead Diamond (2025, H\u00e9l\u00e8ne Cattet & Bruno Forzani) Berlinale<\/span>, DP<\/span> – 6.7<\/p>\n
The Blue Trail (2025, Gabriel Mascaro) Berlinale<\/span>, DP<\/span> – 4.9<\/p>\n
The Ice Tower (2025, Lucile Had\u017eihalilovi\u0107) Berlinale<\/span>, DP<\/span> – 5.3<\/p>\n
Olmo (2025, Fernando Eimbcke) Berlinale<\/span>, DP<\/span> – 4.5<\/p>\n
Mad Bills to Pay (or Destiny, dile que no soy malo) (2025, Joel Alfonso Vargas) Berlinale<\/span>, DP<\/span> – 5.9<\/p>\n
Girls on Wire (2025, Vivian Qu) Berlinale<\/span>, DP<\/span> – 3.8<\/p>\n
Paul (2025, Denis C\u00f4t\u00e9) Berlinale<\/span>, DP<\/span> – 5.7<\/p>\n
Canone effimero (2025, Gianluca De Serio) Berlinale<\/span>, DP<\/span> – 5.3<\/p>\n
Blue Moon (2025, Richard Linklater) Berlinale<\/span>, DP<\/span> – 5.5<\/p>\n
The Incredible Snow Woman (2025, S\u00e9bastien Betbeder) Berlinale<\/span>, DP<\/span> – 5.2<\/p>\n
BLKNWS: Terms & Conditions (2025, Kahlil Joseph) Berlinale<\/span>, DP<\/span> – 5.4<\/p>\n
Kontinental \u201825 (2025, Radu Jude) Berlinale<\/span>, DP<\/span> – 5.9<\/p>\n
Dreams (2024, Dag Johan Haugerud) Berlinale<\/span>, DP<\/span> – 5.2<\/p>\n
If I Had Legs I’d Kick You (2025, Mary Bronstein) Berlinale<\/span>, DP<\/span> – 2.4<\/p>\n
Evidence (2025, Lee Anne Schmitt) Berlinale<\/span>, DP<\/span> – 3.6<\/p>\n
Eel (2025, Chu Chun-Teng) Berlinale<\/span>, DP<\/span> – 4.3<\/p>\n
Timestamp (2025, Kateryna Gornostai) Berlinale<\/span>, DP<\/span> – 4.9<\/p>\n
What Does That Nature Say to You (2025, Hong Sang-soo) Berlinale<\/span>, DP<\/span> – 6.5<\/p>\n
+Opening the Nineteenth Century: 1896<\/em> (1990, Ken Jacobs) 3D-16mm<\/span><\/p>\n
+Other Urban Lives<\/em> (2023, Ken Jacobs) DP<\/span><\/p>\n
+Red Capriccio<\/em> (2014, Blake Williams) 3D<\/span><\/p>\n
+Airship<\/em> (2012, Kenneth Anger) 3D<\/span><\/p>\n
+Wall<\/em>\u00a0(1987, Takashi Ito) 16mm<\/span><\/p>\n
+Apotheosis<\/em> (1972, Lillian F. Schwartz) 3D<\/span><\/p>\n
+Photosynthesis<\/em> (2023, Brian Zahm) 3D<\/span><\/p>\n
+Speechless<\/em> (2008, Scott Stark) DP<\/span><\/p>\n
+Let Your Light Shine<\/em>\u00a0(2013, Jodie Mack) 3D-16mm<\/span><\/p>\n
The Shipwrecked Triptych (2025, Deniz Eroglu) – 5.9<\/p>\n
 <\/p>\n
March<\/span><\/strong><\/p>\n
+Dressed to Kill (1980, Brian De Palma) DP<\/span> \u2013 6.4 [down from 7.4]<\/span><\/p>\n
Wolf Man (2025, Leigh Whannell) – 4.7<\/p>\n
Deep End (1970, Jerzy Skolimowski) – 6.1<\/p>\n
A Thousand Waves Away<\/em> (2025, Helena Wittmann)<\/p>\n
Baby Invasion [Pure version] (2024, Harmony Korine) – 7.9<\/p>\n
+Baby Invasion [Pure version] (2024, Harmony Korine) – 8.1 [up from 7.9]<\/span><\/p>\n
+Baby Invasion [Impure version] (2024, Harmony Korine) – 7.6 [Pure version: 8.1]<\/span><\/p>\n
 <\/p>\n
April<\/span><\/strong><\/p>\n
+INLAND EMPIRE (2006, David Lynch) 35mm<\/span> \u2013 10.0 [same]<\/span><\/p>\n
+The Shrouds (2024, David Cronenberg) DP<\/span> \u2013 6.6 [same]<\/span><\/p>\n
 <\/p>\n
May<\/span><\/strong><\/p>\n
Drunken Noodles (2025, Lucio Castro) – 5.3<\/p>\n
The Plague (2025, Charlie Polinger) – 3.6<\/p>\n
Left-Handed Girl (2025, Shih-Ching Tsou) – 5.1<\/p>\n
Pillion (2025, Harry Lighton) – 5.9<\/p>\n
Put Your Soul On Your Hand and Walk (2025, Sepideh Farsi) – 5.6<\/p>\n
Leave One Day (2025, Amelie Bonnin) Cannes<\/span>, DP<\/span> – 4.6<\/p>\n
Enzo (2025, Robin Campillo) Cannes<\/span>, DP<\/span> – 5.2<\/p>\n
Sound of Falling (2025, Mascha Schilinski) Cannes<\/span>, DP<\/span> – 5.3<\/p>\n
Two Prosecutors (2025, Sergei Loznitsa) Cannes<\/span>, DP<\/span> – 5.7<\/p>\n
Mission: Impossible \u2014 The Final Reckoning (2025, Christopher McQuarrie) Cannes<\/span>, DP<\/span> – 4.9<\/p>\n
Case 137 (2025, Dominik Moll) Cannes<\/span>, DP<\/span> – 6.1<\/p>\n
Sir\u00e2t (2025, Oliver Laxe) Cannes<\/span>, DP<\/span> – 7.2<\/p>\n
Her Will Be Done (2025, Julia Kowalski) Cannes<\/span>, DP<\/span> – 2.9<\/p>\n
Eddington (2025, Ari Aster) Cannes<\/span>, DP<\/span> – 5.3<\/p>\n
The Little Sister (2025, Hafsia Herzi) Cannes<\/span>, DP<\/span> – 4.0<\/p>\n
Mirrors No. 3 (2025, Christian Petzold) Cannes<\/span>, DP<\/span> – 4.8<\/p>\n
Nouvelle Vague (2025, Richard Linklater) Cannes<\/span>, DP<\/span> – 5.6<\/p>\n
Die My Love (2025, Lynne Ramsay) Cannes<\/span>, DP<\/span> – 6.2<\/p>\n
Urchin (2025, Harris Dickinson) Cannes<\/span>, DP<\/span> – 4.7<\/p>\n
The Secret Agent (2025, Kleber Mendon\u00e7a Filho) Cannes<\/span>, DP<\/span> – 5.0<\/p>\n
The Phoenician Scheme (2025, Wes Anderson) Cannes<\/span>, DP<\/span> – 4.5<\/p>\n
The Love That Remains (2025, Hlynur P\u00e1lmason) Cannes<\/span>, DP<\/span> – 6.4<\/p>\n
Lucky Lu (2025, Lloyd Lee Choi) Cannes<\/span>, DP<\/span> – 5.4<\/p>\n
I Only Rest in the Storm (2025, Pedro Pinho) Cannes<\/span>, DP<\/span> – 5.3<\/p>\n
Magellan (2025, Lav Diaz) Cannes<\/span>, DP<\/span> – 5.8<\/p>\n
Highest 2 Lowest (2025, Spike Lee) Cannes<\/span>, DP<\/span> – 5.1<\/p>\n
Alpha (2025, Julia Ducournau) Cannes<\/span>, DP<\/span> – 3.4<\/p>\n
It Was Just an Accident (2025, Jafar Panahi) Cannes<\/span>, DP<\/span> – 4.3<\/p>\n
A Private Life (2025, Rebecca Zlotowski) Cannes<\/span>, DP<\/span> – 4.1<\/p>\n
The Last One for the Road (2025, Francesco Sossai) Cannes<\/span>, DP<\/span> – 5.5<\/p>\n
Romeria (2025, Carla Sim\u00f3n) Cannes<\/span>, DP<\/span> – 5.3<\/p>\n
Sentimental Value (2025, Joachim Trier) Cannes<\/span>, DP<\/span> – 2.8<\/p>\n
Yes (2025, Nadav Lapid) Cannes<\/span>, DP<\/span> – 6.6<\/p>\n
Woman and Child (2025, Saeed Roustaee) Cannes<\/span>, DP<\/span> – 4.6<\/p>\n
Resurrection (2025, Bi Gan) Cannes<\/span>, DP<\/span> – 4.9<\/p>\n
Young Mothers (2025, Jean-Pierre & Luc Dardenne) Cannes<\/span>, DP<\/span> – 4.2<\/p>\n
The Mastermind (2025, Kelly Reichardt) Cannes<\/span>, DP<\/span> – 5.6<\/p>\n
+2008<\/em> (2019, Blake Williams) 3D<\/span><\/p>\n
+****<\/em> (2025, ***** ********) 3D<\/span><\/p>\n
+Cavalcade<\/em> (2019, Johann Lurf) 3D<\/span><\/p>\n
Toward a Fundamental Theory of Physics<\/em> (2025, Victor Van Rossem) 3D<\/span><\/p>\n
Ferment<\/em> (1999, Tim Macmillan) 35mm<\/span><\/p>\n
+Austrian Pavillion<\/em> (2019, Philipp Fleischmann) 35mm<\/span><\/p>\n
+Gyromorphosis<\/em> (1953, Hy Hirsh) 3D-16mm<\/span><\/p>\n
+Red Capriccio<\/em> (2014, Blake Williams) 3D<\/span><\/p>\n
Revolving Door<\/em> (2011, Ken Jacobs) 3D<\/span><\/p>\n
One More Time with Feeling [3D] (2016, Andrew Dominik) – 6.1<\/p>\n
 <\/p>\n
June<\/span><\/strong><\/p>\n
Bono: Stories of Surrender (Immersive) [IV-3D] (2025, Andrew Dominik) – 3.9<\/p>\n
La Quinta del Sordo<\/em> (2021, Philippe Parreno) DP<\/span><\/p>\n
The Electric Kiss<\/em> (2024, Rainer Kohlberger) DP<\/span><\/p>\n
At Least I Will Be 8 294 400 Pixel<\/em> (2024, Marco Talarico) DP<\/span><\/p>\n
The Eggregores\u2019 Theory<\/em> (2024, Andrea Gatopoulos) DP<\/span><\/p>\n
Format Error Occurred at Offset<\/em> (2024, Zirui Chen) DP<\/span><\/p>\n
Moth Glitch<\/em> (2024, Eryk Salvaggio) DP<\/span><\/p>\n
Infravision<\/em> (2024, Joris Guibert) DP<\/span><\/p>\n
In Place of a Hollow Tree<\/em> (2024, Eislow Johnson) DP<\/span><\/p>\n
Cada gesto<\/em> (2024, Valentina Matos) DP<\/span><\/p>\n
Nomadism, Temporal Connection and New Feminine Longings<\/em> (2024, Maria Bilbao Herrera) DP<\/span><\/p>\n
When the Plug Is Pulled Out and the Set is Cold<\/em> (2024, Alex Broadwell) DP<\/span><\/p>\n
Reporting from the Ghost Cities of the Metaverse: Decentraland<\/em> (2024, sub net) DP<\/span><\/p>\n
#47 Mountain Fort<\/em> (2024, Lorelei d\u2019Andriole) DP<\/span><\/p>\n
Triple Loaders<\/em> (2023, Max Van Loan) DP<\/span><\/p>\n
an inimitable place called home<\/em> (2023, Jolene Mok) DP<\/span><\/p>\n
Digital Light Leak<\/em> (2024, Zoe Chronis) DP<\/span><\/p>\n
A Sense of Nothing<\/em> (2024, Francisco Roja) DP<\/span><\/p>\n
Midsummer<\/em> (2024, Masha Vaslova) DP<\/span><\/p>\n
Brume of the Billows<\/em> (2024, Rodrigo Faustini) DP<\/span><\/p>\n
The Year<\/em> (2024, Grace Mitchell) DP<\/span><\/p>\n
it\u2019s called round like a head<\/em> (2024, Andrew Wood & Molly Pattinson) DP<\/span><\/p>\n
WILLIAMBABE<\/em> (2024, Tianjiao Wang) DP<\/span><\/p>\n
Katpar<\/em> (2024, Shoya Group) DP<\/span><\/p>\n
a shifting pattern<\/em> (2024, Isaac Sherman) DP<\/span><\/p>\n
The Blob<\/em> (2024, Mahda Purhmedi & Cesar Herron) DP<\/span><\/p>\n
Study for Three Streams<\/em> [Silent Version] (2024, Kyujae Park) DP<\/span><\/p>\n
Part-Time Moon<\/em> (2021, San Kit Li) DP<\/span><\/p>\n
Final Destination Bloodlines (2025, Zach Lipovsky & Adam B. Stein) – 6.5<\/p>\n
Parergon<\/em> (2021, John Winn)<\/p>\n
Reservoir (Seven Fragments)<\/em> (2022, John Winn)<\/p>\n
Invocations for Spring<\/em> (2022, John Winn)<\/p>\n
Landskip<\/em> (2022, John Winn)<\/p>\n
weak signal<\/em> (2023, John Winn)<\/p>\n
Red River Nonsites<\/em> (2023, John Winn)<\/p>\n
+Sir\u00e2t (2025, Oliver Laxe) DP<\/span> – 6.2 [down from 7.2]<\/span><\/p>\n
Final Destination 2 (2003, David R. Ellis) – 5.2<\/p>\n
you may break<\/em> (1983, Judith Goddard)<\/p>\n
Final Destination 3 (2006, James Wong) – 4.5<\/p>\n
 <\/p>\n
July<\/span><\/strong><\/p>\n
High School (1968, Frederick Wiseman) DP<\/span> – 5.7<\/p>\n
The Store (1983, Frederick Wiseman) DP<\/span> – 7.0<\/p>\n
Sinners (2025, Ryan Coogler) – 5.4<\/p>\n
Point<\/em> (1984, David Ehrlich)<\/p>\n
Fresh Values<\/em> (2025, Drew Durepos & Isaac Brooks)<\/p>\n
Model (1980, Frederick Wiseman) DP<\/span> – 6.4<\/p>\n
every dove is a pigeon and every pigeon is a dove<\/em> (2024, Kate Colenbrander) DP<\/span><\/p>\n
+Invention (2024, Courtney Stephens) DP<\/span> – 6.2 [same]<\/p>\n
Zoo (1993, Frederick Wiseman) DP<\/span> – 6.4<\/p>\n
Le Lac (2025, Fabrice Aragno) – Inc. [Workprint sans mix & colour grading]<\/span><\/p>\n
Mare\u2019s Nest (2025, Ben Rivers) – 3.3<\/p>\n
Hair, Paper, Water\u2026 (2025, Nicolas Graux & Tr\u01b0\u01a1ng Minh Qu\u00fd) – 5.0<\/p>\n
 <\/p>\n
August<\/span><\/strong><\/p>\n
The Seasons (2025, Maureen Fazendeiro) – 4.5<\/p>\n
White Snail (2025, Elsa Kremser & Levin Peter) – 4.2<\/p>\n
Dry Leaf (2025, Alexandre Koberidze) – 7.3<\/p>\n
With Hasan in Gaza (2025, Kamal Aljafari) – 5.8<\/p>\n
Crooklyn (1994, Spike Lee) 35mm<\/span> – 5.4<\/p>\n
Phantoms of July (2025, Julian Radlmaier) – 5.1<\/p>\n
Index<\/em> (2025, Radu Muntean)<\/p>\n
Slet 1988<\/em> (2025, Marta Popivoda)<\/p>\n
Balearic (2025, Ion de Sosa) – 5.6<\/p>\n
Dracula (2025, Radu Jude) – 6.4<\/p>\n
Desire Lines (2025, Dane Komljen) – 4.4<\/p>\n
A Balcony in Limoges (2025, J\u00e9r\u00f4me Reybaud) – 5.1<\/p>\n
Mosquitoes (2025, Valentina Bertani & Nicole Bertani) – 4.3<\/p>\n
Tales of the Wounded Land (2025, Abbas Fahdel) – 4.7<\/p>\n
Tulsa<\/em> (2025, Scott Stark)<\/p>\n
The Plant from the Canaries (2025, Ruan Lan-Xi) – 5.0<\/p>\n
+Le Lac (2025, Fabrice Aragno) – 6.3 [~same]<\/span><\/p>\n
Copper (2025, Nicol\u00e1s Pereda) – 5.5<\/p>\n
Harlan County U.S.A. (1976, Barbara Kopple) 35mm<\/span> – 6.1<\/p>\n
 <\/p>\n
September<\/span><\/strong><\/p>\n
+Magellan\u00a0(2025, Lav Diaz) TIFF<\/span>, DP<\/span> – 5.4 [down from 5.8]<\/span><\/p>\n
Landmarks\u00a0(2025, Lucrecia Martel) TIFF<\/span>, DP<\/span> – 5.4<\/p>\n
The Fence\u00a0(2025, Claire Denis) TIFF<\/span>, DP<\/span> – 5.2<\/p>\n
Bouchra\u00a0(2025, Orian Barki & Meriem Bennani) TIFF<\/span>, DP<\/span> – 5.9<\/p>\n
The Wizard of the Kremlin\u00a0(2025, Olivier Assayas) TIFF<\/span>, DP<\/span> – 4.1<\/p>\n
Levers\u00a0(2025, Rhayne Vermette) TIFF<\/span>, DP<\/span> – 5.6<\/p>\n
+Ten Mornings Ten Evenings and One Horizon<\/em>\u00a0(2016, Tomonari Nishikawa) TIFF<\/span>, 16mm<\/span><\/p>\n
Rojo \u017dalia Blau<\/em>\u00a0(2025, Viktoria Schmid) TIFF<\/span>, DP<\/span><\/p>\n
Disappeared<\/em>\u00a0(2025, Sohrab Hura) TIFF<\/span>, DP<\/span><\/p>\n
09\/05\/1982<\/em>\u00a0(2025, Jorge Caballero & Camilo Restrepo) TIFF<\/span>, DP<\/span><\/p>\n
Map of Traces<\/em>\u00a0(2025, Chan Hau Chun) TIFF<\/span>, DP<\/span><\/p>\n
In Transit<\/em>\u00a0(2025, Vadim Kostrov) TIFF<\/span>, DP<\/span><\/p>\n
+Dry Leaf\u00a0(2025, Alexandre Koberidze) TIFF<\/span>, DP<\/span> – 7.7 [up from 7.3]<\/span><\/p>\n
The Testament of Ann Lee\u00a0(2025, Mona Fastvold) TIFF<\/span>, 70mm<\/span> – 3.6<\/p>\n
I Saw the Face of God in the Jet Wash<\/em>\u00a0(2025, Mark Jenkin) TIFF<\/span>, DP<\/span><\/p>\n
From My Cloud<\/em>\u00a0(2025, Minjung Kim) TIFF<\/span>, DP<\/span><\/p>\n
Cairo Streets<\/em>\u00a0(2025, Abdellah Ta\u00efa) TIFF<\/span>, DP<\/span><\/p>\n
Daria\u2019s Night Flowers<\/em>\u00a0(2025, Maryam Tafakory) TIFF<\/span>, DP<\/span><\/p>\n
Aftertide<\/em>\u00a0(2025, Kaiwen Ren) TIFF<\/span>, DP<\/span><\/p>\n
To the Victory!\u00a0(2025, Valentyn Vasyanovych) TIFF<\/span>, DP<\/span> – 3.8<\/p>\n
Dead Man\u2019s Wire\u00a0(2025, Gus Van Sant) TIFF<\/span>, DP<\/span> – 5.1<\/p>\n
Land of Barbar<\/em>\u00a0(2025, Fredj Moussa) TIFF<\/span>, DP<\/span><\/p>\n
Conditio Humana<\/em>\u00a0(2025, Friedl vom Gr\u00f6ller) TIFF<\/span>, 16mm<\/span><\/p>\n
Slightest Pretense<\/em>\u00a0(2025, Eri Saito) TIFF<\/span>, DP<\/span><\/p>\n
CONFERENCE<\/em>\u00a0(2025, Bj\u00f6rn K\u00e4mmerer) TIFF<\/span>, 35mm<\/span><\/p>\n
Morgenkreis<\/em>\u00a0(2025, Basma al-Sharif) TIFF<\/span>, DP<\/span><\/p>\n
+FELT<\/em>\u00a0(2025, Blake Williams) TIFF<\/span>, 3D<\/span><\/p>\n
Orphan\u00a0(2025, L\u00e1szl\u00f3 Nemes) TIFF<\/span>, DP<\/span> – 4.3<\/p>\n
The Voice of Hind Rajab\u00a0(2025, Kaouther Ben Hania) TIFF<\/span>, DP<\/span> – 4.0 <\/p>\n
Duse\u00a0(2025, Pietro Marcello) TIFF<\/span>, DP<\/span> – 4.2<\/p>\n
Wake Up Dead Man\u00a0(2025, Rian Johnson) TIFF<\/span>, DP<\/span> – 5.0<\/p>\n
Powwow People\u00a0(2025, Sky Hopinka) TIFF<\/span>, DP<\/span> – 5.6<\/p>\n
Cover-Up\u00a0(2025, Laura Poitras & Mark Obenhaus) TIFF<\/span>, DP<\/span> – 4.4<\/p>\n
The Smashing Machine\u00a0(2025, Benny Safdie) TIFF<\/span>, DP<\/span> – 6.1<\/p>\n
The Currents\u00a0(2025, Milagros Mumenthaler) TIFF<\/span>, DP<\/span> – 5.5<\/p>\n
+The Love That Remains\u00a0(2025, Hlynur P\u00e1lmason) TIFF<\/span>, DP<\/span> – 6.4 [same]<\/span><\/p>\n
Two Pianos\u00a0(2025, Arnaud Desplechin) TIFF<\/span>, DP<\/span> – 5.4<\/p>\n
No Other Choice\u00a0(2025, Park Chan-wook) TIFF<\/span>, DP<\/span> – 4.9<\/p>\n
Barrio Triste\u00a0(2025, STILLZ) TIFF<\/span>, DP<\/span> – 3.0 <\/p>\n
Train Dreams\u00a0(2025, Clint Bentley) TIFF<\/span>, DP<\/span> – 4.2<\/p>\n
Blue Heron\u00a0(2025, Sophy Romvari) TIFF<\/span>, DP<\/span> – 6.2<\/p>\n
Exit 8\u00a0(2025, Genki Kawamura) TIFF<\/span>, DP<\/span> – 5.3<\/p>\n
Nirvanna the Band the Show the Movie\u00a0(2025, Matt Johnson) TIFF<\/span>, DP<\/span> – 7.1<\/p>\n
Hen\u00a0(2025, Gy\u00f6rgy P\u00e1lfi) TIFF<\/span>, DP<\/span> – 4.9<\/p>\n
The Christophers\u00a0(2025, Steven Soderbergh) TIFF<\/span>, DP<\/span> – 6.4<\/p>\n
Below the Clouds\u00a0(2025, Gianfranco Rosi) TIFF<\/span>, DP<\/span> – 5.1<\/p>\n
Silent Friend\u00a0(2025, Ildik\u00f3 Enyedi) TIFF<\/span>, DP<\/span> – 3.7<\/p>\n
Rose of Nevada\u00a0(2025, Mark Jenkin) TIFF<\/span>, DP<\/span> – 6.0<\/p>\n
Maddie’s Secret\u00a0(2025, John Early) TIFF<\/span>, DP<\/span> – 5.6<\/p>\n
Last Night I Conquered the City of Thebes (2025, Gabriel Azor\u00edn) – 5.8<\/p>\n
One Battle After Another (2025, Paul Thomas Anderson) 70mm<\/span> – 5.6<\/p>\n
 <\/p>\n
October<\/span><\/strong><\/p>\n
Peter Hujar\u2019s Day (2025, Ira Sachs) NYFF<\/span><\/strong>, DP<\/span> – 4.9<\/p>\n
Back Home (2025, Tsai Ming-liang) NYFF<\/span><\/strong>, DP<\/span> – 3.4<\/p>\n
Ecce Mole<\/em> (2025, Heinz Emigholz) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
Escape (2025, Masao Adachi) NYFF<\/span><\/strong>, DP<\/span> – 5.2<\/p>\n
Gavagai (2025, Ulrich K\u00f6hler) NYFF<\/span><\/strong>, DP<\/span> – 5.8<\/p>\n
No! YOU’RE WRONG. or: Spooky Action at a Distance (2025, Crispin Hellion Glover) DP<\/span> – 4.1<\/p>\n
Late Fame (2025, Kent Jones) NYFF<\/span><\/strong>, DP<\/span> – 4.4<\/p>\n
As Told by a Corpse<\/em> (2025, Yace Sula) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
Time Life Volume 15. Monument to a Period of Time in Which I Lived<\/em> (2025, Mungo Thomson) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
A Metamorphosis<\/em> (2025, Lin Htet Aung) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
+09\/05\/1982<\/em> (2025, Jorge Caballero & Camilo Restrepo) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
+Slet 1988<\/em> (2025, Marta Popivoda) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
Water Sports<\/em> (2024, Whammy Alcazaren) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
+Morgenkreis<\/em> (2025, Basma al-Sharif) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
Tigers Can Be Seen in the Rain<\/em> (2025, Oscar Ruiz Navia) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
Dooni<\/em> (2025, Kevin Jerome Everson & Claudrena N. Harold) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
A Real Christmas<\/em> (2025, Justin Jinsoo Kim) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
+Daria\u2019s Night Flowers<\/em> (2025, Maryam Tafakory) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
After the Hunt (2025, Luca Guadagnino) DP<\/span> – 5.3<\/p>\n
Acetone Reality<\/em> (2025, Sara Magenheimer & Michael Bell-Smith) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
Their Eyes<\/em> (2025, Nicolas Gourault) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
And If the Body<\/em> (2025, Toby Lee) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
Fiction Contract<\/em> (2025, Carolyn Lazard) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
Jacob\u2019s House<\/em> (2025, Lucas Kane) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
Anoka<\/em> (2025, Karthik Pandian) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
Give It Back: Crimes Against Realty<\/em> (2025, New Red Order) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
Father Mother Sister Brother (2025, Jim Jarmusch) NYFF<\/span><\/strong>, DP<\/span> – 6.5<\/p>\n
+FELT<\/em> (2025, Blake Williams) NYFF<\/span><\/strong>, 3D<\/span><\/p>\n
Lover, Lovers, Loving, Love<\/em> (2025, Jodie Mack) NYFF<\/span><\/strong>, 16mm<\/span><\/p>\n
Keyhole Conversation<\/em> (2025, Peter Larsson) NYFF<\/span><\/strong>, DP<\/span><\/p>\n
+toward a fundamental theory of physics<\/em> (2025, Victor Van Rossem) NYFF<\/span><\/strong>, 3D<\/span><\/p>\n
As a Tree Walks to Its Forest<\/em> (2025, Jiayi Chen) NYFF<\/span><\/strong>, 16mm<\/span><\/p>\n
TRON: Ares (2025, Joachim R\u00f8nning) 3D<\/span> – 3.3<\/p>\n
Rebel Ridge (2024, Jeremy Saulnier) – 5.1<\/p>\n
+Uncut Gems (2019, Josh & Benny Safdie) – 8.1 [same]<\/span><\/p>\n
Barbara’s Blindness<\/em> (1965, Joyce Wieland & Betty Ferguson)<\/p>\n
Catfood<\/em> (1967, Joyce Wieland)<\/p>\n
1933<\/em> (1967, Joyce Wieland)<\/p>\n
A House of Dynamite (2025, Kathryn Bigelow) – 5.4<\/p>\n
Bugonia (2025, Yorgos Lanthimos) DP<\/span> – 7.0<\/p>\n
 <\/p>\n
November<\/span><\/strong><\/p>\n
The Comedy of Work (1988, Luc Moullet) DP<\/span> – 4.9<\/p>\n
Anatomy of a Relationship (1976, Luc Moullet & Antonietta Pizzorno) DP<\/span> – 5.7<\/p>\n
Twinless (2025, James Sweeney) – 4.5<\/p>\n
The Perfect Neighbor (2025, Geeta Gandbhir) – 6.8<\/p>\n
+Bugonia (2025, Yorgos Lanthimos) DP<\/span> – 7.0 [same]<\/span><\/p>\n
Plainclothes (2025, Carmen Emmi) – 4.0<\/p>\n
+The Death of Mr. Lazarescu (2005, Cristi Puiu) DP<\/span> – 5.9 [~same]<\/span><\/p>\n
+Gummo (1997, Harmony Korine) – 7.4 [Up from 6.3]<\/span><\/p>\n
Mother (1952, Mikio Naruse) 35mm<\/span> – 4.5<\/p>\n
 <\/p>\n
December<\/span><\/strong><\/p>\n
+Voyage of Time: The IMAX Experience (2016, Terrence Malick) \u2013 4.8 [Up from 4.2]<\/span><\/p>\n
Jay Kelly (2025, Noah Baumbach) – 3.4<\/p>\n
Scattered Clouds (1967, Mikio Naruse) 35mm<\/span> – 6.2<\/p>\n
Marty Supreme (2025, Josh Safdie) DP<\/span> – 5.2<\/p>\n
Ella McCay (2025, James L. Brooks) DP<\/span> – 5.5<\/p>\n
The Dark Room<\/em> (2001, Minyong Jang)<\/p>\n
Roofman (2025, Derek Cianfrance) – 4.0<\/p>\n
Avatar: Fire and Ash (2025, James Cameron) 3D<\/span> – 5.6<\/p>\n
Weapons (2025, Zach Cregger) – 4.8<\/p>\n
+Le Trou (1960, Jacques Becker) – 8.2 [Up from 7.1]<\/span><\/p>\n
+Hatari! (1962, Howard Hawks) – 6.8 [down from 7.4]<\/span><\/p>\n
The Brood (1979, David Cronenberg) \u2013 6.2<\/p>\n
Angst (1983, Gerald Kargl) \u2013 6.0<\/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-25665","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/posts\/25665","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=25665"}],"version-history":[{"count":1,"href":"https:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/posts\/25665\/revisions"}],"predecessor-version":[{"id":25667,"href":"https:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/posts\/25665\/revisions\/25667"}],"wp:attachment":[{"href":"https:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/media?parent=25665"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/categories?post=25665"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blakewilliams.net\/blog\/wp-json\/wp\/v2\/tags?post=25665"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}