March 2019 Capsules

Transit
The central conceit, of an environment where the anachronistic elements are essential to the frissons of the whole endeavor, is brilliant, but even more impressive might be Petzold’s restraint and careful deployment. Transit never comes off as overbearing in this — or indeed any — regard: there are no intrusions of technologies that could not have been replicated in the 1940s. The effect is so much richer in this withholding; because the situation is so carefully etched and the stakes so closely tied to a specific time, one can very easily forget the present-tense trappings. But when a modern car trundles into view, or a soldier in an American uniform and an assault rifle stands guard, the effect is continually vivid and bracing, never unsurprising, but never *just* a reminder that what is past is present.

A telling sign, and just one of many moments that shows that Petzold completely understands what he’s accomplishing: Georg lights his cigarettes with matches, not a lighter.

Last Year at Marienbad (rewatch)
As much as any one of the elements in Last Year at Marienbad, Resnais understands the inherent uneasiness and ethereality of his constantly moving camera. It glides past people, emphasizing the spaces around the figures rather than the statuesque forms themselves. In many senses, the people are nigh indistinguishable from the background themselves, and yet to say that Resnais gives them no inner life would be wholly inaccurate. The snatches of conversation, the particular glances or looks that they have on their faces, suggests the possibility of infinite stories, even past the multiple manifestations of the central relationships. It is a limitless film, consisting of hallways and memories leading to everywhere and nowhere.

12th (1974): “A World Phenomenon” Show Notes

Table of Contents: Description, Corrections/Clarifications, Housekeeping, General, Main Slate, Recurring Directors, Recurring Countries, One-Time Directors, Debuts, Festivals, Shorts, Discussions By Length, Specifications

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Description
The twelfth episode of the Catalyst and Witness podcast, devoted to exploring the films and format of the New York Film Festival, hosted by Ryan Swen and Dan Molloy. This covers the twelfth edition of the festival in 1974, and features special guest Jason Miller, New York cinephile and kind of a Twitter guy.

0:00-23:16 – Opening
23:17-1:23:06 – Part One [Don’t Cry With Your Full to Lancelot du Lac]
1:23:07-3:04:18 – Part Two [Part-Time Work of a Domestic Slave to Out 1: Spectre]
3:04:19-4:03:18 – Part Three [The Middle of the World to Céline and Julie Go Boating]
4:03:19-5:08:57 – Part Four [Alice in the Cities to The Phantom of Liberty]
5:08:58-5:13:31 – Closing

Corrections/Clarifications

  • Kristen Yoonsoo Kim’s name was misspoken as Kristen Soonyoo Kim.

Housekeeping

  • Hosted by Dan Molloy & Ryan Swen
  • Special Guest Jason Miller
  • Conceived and Edited by Ryan Swen
  • Recorded in Los Angeles and New York City on Zoom H4N and Sennheiser Microphones and MacBook GarageBand, Edited in Audacity
  • Podcast photograph from Yi Yi, Logo designed by Dan Molloy
  • Poster by Jean Tinguely
  • Recorded February 25, 2019
  • Released
  • Music (in order of appearance):
    • Don’t Cry With Your Mouth Full (opening night)
    • Stavisky… (another favorite)
    • Lancelot du Lac (favorite of the first section)
    • Out 1: Spectre (favorite of the second section)
    • Céline and Julie Go Boating (favorite of the third section)
    • A Woman Under the Influence (favorite of the fourth section)
    • The Phantom of Liberty (closing night)

General

  • Selection Committee: Richard Roud (program director), Richard Corliss, Arthur Knight, Arthur L. Mayer, Andrew Sarris, Susan Sontag, Henri Langlois (retrospective consultant)
  • Location: Alice Tully Hall and Avery Fisher Hall
  • Prices: 2, 2.50, 3.50, 5; for opening and closing night 4, 5, 7, 10
  • Films seen for the podcast:
    • Ryan
      • Seen before podcast watching period: Ali: Fear Eats the Soul, L’Age d’Or*, The Exterminating Angel*, The Discreet Charm of the Bourgeoisie*, A Woman Under the Influence
      • Seen for the podcast: All available except The Milky Way; Ali: Fear Eats the Soul, A Woman Under the Influence rewatched
      • Favorite films: Céline and Julie Go Boating, Out 1: Spectre, Lancelot du Lac, Ali: Fear Eats the Soul, Stavisky…, The Discreet Charm of the Bourgeoisie, A Woman Under the Influence
      • Least favorite films: Old-Fashioned Woman
    • Dan
      • Seen before podcast watching period: Lancelot du Lac, Ali: Fear Eats the Soul, Céline and Julie Go Boating, Alice in the Cities, L’Age d’Or*, The Exterminating Angel*, The Discreet Charm of the Bourgeoisie*, A Woman Under the Influence, The Phantom of Liberty
      • Seen for the podcast: All available except The Night of the Scarecrow, Lacombe Lucien, The Middle of the World, La Paloma; Alice in the Cities rewatched
      • Favorite films: Ali: Fear Eats the Soul, Céline and Julie Go Boating, A Woman Under the Influence, Lancelot du Lac, Stavisky…, Out 1: Spectre, From These Roots
      • Least favorite films: Part Time Work of a Domestic Slave, A Bigger Splash
    • Jason
      • Seen before podcast watching period: Lancelot du Lac, Italianamerican, Ali: Fear Eats the Soul, Les Enfants Terribles, Alice in the Cities, L’Age d’Or, The Exterminating Angel, The Milky Way, The Discreet Charm of the Bourgeoisie, A Woman Under the Influence, The Phantom of Liberty
      • Seen for the podcast: All available except The Night of the Scarecrow, Lacombe Lucien, The Middle of the World, La Paloma; Lancelot du Lac, Italianamerican, Ali: Fear Eats the Soul, The Milky Way, A Woman Under the Influence rewatched
      • Favorite films: Céline and Julie Go Boating, Lancelot du Lac, Out 1: Spectre, A Woman Under the Influence, The Exterminating Angel, The Phantom of Liberty, L’Age d’Or, The Discreet Charm of the Bourgeoisie, Ali: Fear Eats the Soul
      • Least favorite films: Part-Time Work of a Domestic Slave, Old-Fashioned Woman
  • Discoveries of the festival: From These Roots, The Night of the Scarecrow, La Paloma, Stavisky…, A Bigger Splash, the Middle of the World
  • Unavailable films: Don’t Cry With Your Mouth Full, The Bench of Desolation, Rome Wants Another Caesar, Yudie, The Circumstance

Main Slate

Opening Night: Don’t Cry With Your Mouth Full [Pleure pas la bouche pleine!] (1973, Pascal Thomas)
September 27, 9:00 {Avery Fisher Hall}
Released 1975
Retrospective: Liebelei [Flirtation] (1933, Max Ophuls)
September 28, 3:00
Released 1933
The Night of the Scarecrow [A Noite do Espantalho] (1974, Sérgio Ricardo)
September 28, 6:00
Never released
Lacombe Lucien (1974, Louis Malle)
September 28, 9:00
Released 1974
Stavisky… (1974, Alain Resnais)
September 29, 9:30
Released 1974
Lancelot du Lac [Lancelot of the Lake] (1974, Robert Bresson)
September 30, 9:30
Released 1975
Part-Time Work of a Domestic Slave [Gelegenheitsarbeit einer Sklavin] (1973, Alexander Kluge)
Also: The Bench of Desolation [Le banc de la désolation] (1974, Claude Chabrol)
October 1, 6:15
Never released/Never released
Rome Wants Another Caesar [Rome rivuole Cesare] (1974, Miklós Jancsó)
October 1, 9:30
Never released
“Roots”
Yudie (1974, Mirra Bank)
Old-Fashioned Woman (1974, Martha Coolidge)
From These Roots (1974, William Greaves)
Italianamerican (1974, Martin Scorsese)
October 3, 6:15
Never released/Released 1974/Never released/Released 1978
A Bigger Splash (1973, Jack Hazan)
October 3, 9:30
Released 1984
Out 1: Spectre (1972, Jacques Rivette)
October 5, 1:00
Never released
The Middle of the World [Le Milieu du monde] (1974, Alain Tanner)
October 5, 6:15
Released 1975
Ali: Fear Eats the Soul [Angst essen Seele auf/Fear Eat Soul Up] (1974, Rainer Werner Fassbinder)
October 5, 9:30
Released 1974
Retrospective: Les Enfants Terribles [The Terrible Children] (1950, Jean-Pierre Melville)
October 7, 6:15
Released 1952
Céline and Julie Go Boating [Céline et Julie vont en bateau] (1974, Jacques Rivette)
October 7, 8:45
Released 1978
Alice in the Cities [Alice in den Städten] (1974, Wim Wenders)
October 8, 6:15
Released 1977
La Paloma [The Dove] (1974, Daniel Schmid)
October 8, 9:30
Released 1992
The Circumstance [La Circostanza] (1973, Ermanno Olmi)
October 10, 9:30
Never released
Retrospective: Homage to Buñuel
L’Age d’Or [The Golden Age] (1930, Luis Buñuel)
The Exterminating Angel [El ángel exterminador] (1962, Luis Buñuel)
The Milky Way [La Voie lactée] (1969, Luis Buñuel)
The Discreet Charm of the Bourgeoisie [Le Charme discret de la bourgeoisie] (1972, Luis Buñuel)
October 12, 11:00
Released 1980/Released 1967/Released 1970/Released 1972
A Woman Under the Influence (1974, John Cassavetes)
October 12, 6:00
Released 1974
Closing Night: The Phantom of Liberty [Le Fantôme de la liberté] (1974, Luis Buñuel)
October 13, 9:00 {Avery Fisher Hall}
Released 1974

Recurring Directors
Key: films in this iteration excluding shorts/omnibus/retrospectives, films in this iteration including, films in the festival up to this point excluding, films up to this point including, number of gala spots (when applicable), number of festivals with more than one film shown (when applicable); † indicates their last appearance, fraction in parentheses indicates number of features shown from oeuvre, features released in the eligible timeframe, features in oeuvre

  • Jacques Rivette: 2/2/4/4/0/1
  • Luis Buñuel: 1/5/7/11/1/3
  • Robert Bresson: 1/1/6/6
  • Alain Resnais: 1/1/5/5/2
  • Claude Chabrol: 1/1/5/5/0/1
  • Ermanno Olmi: 1/1/5/5
  • Rainer Werner Fassbinder: 1/1/4/4
  • Miklós Jancsó: 1/1/4/4
  • Alexander Kluge: 1/1/3/3
  • Martin Scorsese: 1/1/3/3
  • Louis Malle: 1/1/2/2/1
  • John Cassavetes: 1/1/2/2
  • Alain Tanner: 1/1/1/1
  • Wim Wenders: 1/1/1/1
  • Jean-Pierre Melville: 0/1/1/2
  • Max Ophuls: 0/1/0/3

Recurring Countries
Key: films in this iteration excluding shorts/retrospectives, films in this iteration including, films in the festival up to this point excluding, films up to this point including, number of gala spots (when applicable)

  • France: 8/12/75/90/10
  • USA: 3/5/35/48/2
  • West Germany: 3/3/15/16
  • Italy: 2/2/29/33
  • Switzerland: 2/2/2/2
  • UK: 1/1/17/19/1
  • Brazil: 1/1/3/3
  • Germany: 0/1/0/2
  • Mexico: 0/1/2/3/1

One-Time Directors

  • Mirra Bank (short)
  • Martha Coolidge
  • William Greaves (short)
  • Jack Hazan
  • Sérgio Ricardo
  • Daniel Schmid
  • Pascal Thomas (gala)

Feature Debuts

  • Jack Hazan

Festivals

  • NYFF World Premiere
    • A Woman Under the Influence
  • Cannes
    • The Exterminating Angel (1962, FIPRESCI)
    • Stavisky… (Best Actor)
    • Ali: Fear Eats the Soul (FIPRESCI)
    • Lancelot du Lac (Out of Competition, FIPRESCI)
    • A Bigger Splash (Critics’ Week; also Locarno International Jury Second Prize)
    • La Paloma (Critics’ Week)
    • Céline and Julie Go Boating (Directors’ Fortnight; also Locarno International Jury Prize)
    • The Night of the Scarecrow (Directors’ Fortnight)
    • Part-Time Work of a Domestic Slave (Directors’ Fortnight)
  • Berlin
    • Out 1: Spectre (1973?)
    • Alice in the Cities (?)
  • Other
    • The Circumstance (Locarno, FIPRESCI)
    • The Middle of the World (Locarno)
  • N/A
    • L’Age d’Or
    • The Bench of Desolation
    • The Discreet Charm of the Bourgeoisie
    • Don’t Cry With Your Mouth Full
    • Les Enfants Terribles
    • From These Roots
    • Italianamerican
    • Lacombe Lucien
    • Liebelei
    • The Milky Way
    • Old-Fashioned Woman
    • The Phantom of Liberty
    • Rome Wants Another Caesar
    • Yudie

Oscar Nominees

  • A Woman Under the Influence: Best Director, Best Actress

Shorts

shorts

Discussions By Length (Approximate)

  • 41:21 Out 1: Spectre (2:22:57-3:04:18)
  • 29:52 “Roots” (1:41:49-2:11:41)
  • 22:05 Céline and Julie Go Boating (3:41:13-4:03:18)
  • 20:37 “Homage to Buñuel” (4:24:38-4:45:15)
  • 17:58 Lancelot du Lac (1:05:08-1:23:06)
  • 17:50 Ali: Fear Eats the Soul (3:14:50-3:32:40)
  • 17:04 A Woman Under the Influence (4:45:16-5:02:20)
  • 14:52 Part-Time Work of a Domestic Slave (1:24:06-1:38:58)
  • 13:54 Stavisky… (51:13-1:05:07)
  • 12:50 Liebelei (25:25-38:15)
  • 12:38 Alice in the Cities (4:04:20-4:16:58)
  • 11:14 A Bigger Splash (2:11:42-2:22:56)
  • 9:27 The Middle of the World [One Person] (3:05:22-3:14:49)
  • 8:31 Les Enfants Terribles (3:32:41-3:41:12)
  • 7:53 Lacombe Lucien [One Person] (43:19-51:12)
  • 6:36 The Phantom of Liberty (5:02:21-5:08:57)
  • 6:22 La Paloma [One Person] (4:16:59-4:23:21)
  • 5:02 The Night of the Scarecrow [One Person] (38:16-43:18)
  • 1:40 Rome Wants Another Caesar [Unavailable] (1:40:08-1:41:48)
  • 1:15 The Circumstance [Unavailable] (4:23:22-4:24:37)
  • 1:08 Don’t Cry With Your Mouth Full [Unavailable] (24:16-25:24)
  • 1:08 The Bench of Desolation [Unavailable] (1:38:59-1:40:07)

Specifications

  • Pascal Thomas, Pleure pas la bouche pleine!, 1973, 35 mm, color, mono sound, 116 minutes, 1.66:1, French, France.
  • Max Ophuls, Liebelei, 1933, 35 mm, black-and-white, mono sound, 88 minutes, 1.20:1, German, Germany.
  • Sérgio Ricardo, A Noite do Espantalho, 1974, 35 mm, color, mono sound, 92 minutes, 1.37:1, Portuguese, Brazil.
  • Louis Malle, Lacombe Lucien, 1974, 35 mm, color, mono sound, 138 minutes, 1.66:1, French, France.
  • Alain Resnais, Stavisky…, 1974, 35 mm, color, mono sound, 120 minutes, 1.66:1, French, France.
  • Robert Bresson, Lancelot du Lac, 1974, 35 mm, color, mono sound, 85 minutes, 1.66:1, French, France.
  • Alexander Kluge, Gelegenheitsarbeit einer Sklavin, 1973, 35 mm, black-and-white, mono sound, 91 minutes, 1.37:1, German, West Germany.
  • Claude Chabrol, Le banc de la désolation, 1974, 35 mm, color, mono sound, 52 minutes, 1.37:1, French, France.
  • Miklós Jancsó, Rome rivuole Cesare, 1974, 35 mm, color, mono sound, 78 minutes, 1.37:1, Italian, Italy.
  • Mirra Bank, Yudie, 1974, 16 mm, color, mono sound, 20 minutes, 1.37:1, English, USA.
  • Martha Coolidge, Old-Fashioned Woman, 1974, 16 mm, color, mono sound, 49 minutes, 1.37:1, English, USA.
  • William Greaves, From These Roots, 1974, 16 mm, black-and-white, mono sound, 31 minutes, 1.37:1, English, USA.
  • Martin Scorsese, Italianamerican, 1974, 16 mm, color, mono sound, 49 minutes, 1.37:1, English, USA.
  • Jack Hazan, A Bigger Splash, 1973, 35 mm, color, mono sound, 106 minutes, 1.66:1, English, UK.
  • Jacques Rivette, Out 1: Spectre, 1972, 16 mm, color, mono sound, 253 minutes, 1.37:1, French, France.
  • Alain Tanner, Le Milieu du monde, 1974, 35 mm, color, mono sound, 115 minutes, 1.37:1, French, Switzerland.
  • Rainer Werner Fassbinder, Angst essen Seele auf, 1974, 35 mm, color, mono sound, 92 minutes, 1.37:1, German, West Germany.
  • Jean-Pierre Melville, Les Enfants Terribles, 1950, 35 mm, black-and-white, mono sound, 105 minutes, 1.37:1, French, France.
  • Jacques Rivette, Céline et Julie vont en bateau, 1974, 16 mm, color, mono sound, 193 minutes, 1.37:1, French, France.
  • Wim Wenders, Alice in den Städten, 1974, 16 mm, black-and-white, mono sound, 110 minutes, 1.66:1, German, West Germany.
  • Daniel Schmid, La Paloma, 1974, 35 mm, color, mono sound, 110 minutes, 1.37:1, German, Switzerland.
  • Ermanno Olmi, La Circostanza, 1973, 35 mm, color, mono sound, 97 minutes, 1.37:1, Italian, Italy.
  • Luis Buñuel, L’Age d’Or, 1930, 35 mm, black-and-white, mono sound, 63 minutes, 1.20:1, French, France.
  • Luis Buñuel, El ángel exterminador, 1962, 35 mm, black-and-white, mono sound, 95 minutes, 1.37:1, Spanish, Mexico.
  • Luis Buñuel, La Voie lactée, 1969, 35 mm, color, mono sound, 102 minutes, 1.66:1, French, France.
  • Luis Buñuel, Le Charme discret de la bourgeoisie, 1972, 35 mm, color, mono sound, 102 minutes, 1.66:1, French, France.
  • John Cassavetes, A Woman Under the Influence, 1974, 35 mm, color, mono sound, 155 minutes, 1.85:1, English, USA.
  • Luis Buñuel, Le Fantôme de la liberté, 1974, 35 mm, color, mono sound, 104 minutes, 1.66:1, French, France.

February 2019 Capsules

Céline and Julie Go Boating
Perhaps the most elegant metaphor for cinema ever devised, and crucially Céline and Julie Go Boating lacks a *visible* camera (which would localize its aesthetic concerns too thoroughly); Rivette’s supreme intelligence is such that theater and cinema, to an even greater extent than in his past films, mesh through his deftness of both staging and editing, as each new shot choice or repetition creates its own associations. Plus, what image of a moviegoer is more relatable than the two women staring slack-jawed at the screen, occasionally giggling or gasping in disbelief?

Blackhat [rewatch, first time director’s cut]
Impossible to state how much the inclusion of the ship denied harbor by the effect of the rising soy prices does to establish the world in which Blackhat moves: it is one set by nebulous rules and regulations, where the fate of innumerable people can be turned by the whims of a ghost in the machine.

Only a ghost can kill another ghost.

All-Time Favorites

Les Vampires (Feuillade)
Dr. Mabuse, the Gambler (Lang)
Napoléon (Gance)
Sunrise (Murnau)
The Passion of Joan of Arc (Dreyer)
M (Lang)
Only Angels Have Wings (Hawks)
The Rules of the Game (Renoir)
Citizen Kane (Welles)
The Magnificent Ambersons (Welles)
Meet Me in St. Louis (Minnelli)
Notorious (Hitchcock)
Late Spring (Ozu)
Duck Amuck (Jones)
Tokyo Story (Ozu)
Rear Window (Hitchcock)
Sansho the Bailiff (Mizoguchi)
Seven Samurai (Kurosawa)
A Star Is Born (Cukor)
The Night of the Hunter (Laughton)
Night and Fog (Resnais)
Vertigo (Hitchcock)
The 400 Blows (Truffaut)
Rio Bravo (Hawks)
Last Year at Marienbad (Resnais)
La jetée (Marker)
The Birds (Hitchcock)
Muriel, or the Time of Return (Resnais)
Gertrud (Dreyer)
The Umbrellas of Cherbourg (Demy)
Pierrot le fou (Godard)
The Battle of Algiers (Pontecorvo)
Persona (Bergman)
Dragon Inn (Hu)
Wavelength (Snow)
Weekend (Godard)
The Young Girls of Rochefort (Demy)
Zorns Lemma (Frampton)
The Devils (Russell)
A New Leaf (May)
(nostalgia) (Frampton)
Out 1: Noli me tangere (Rivette)
A Touch of Zen (Hu)
Out 1: Spectre (Rivette)
The Mother and the Whore (Eustache)
Céline and Julie Go Boating (Rivette)
Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles (Akerman)
Nashville (Altman)
Eraserhead (Lynch)
The 36th Chamber of Shaolin (Lau)
Blade Runner (Scott)
Sans soleil (Marker)
That Day, on the Beach (Yang)
Paris, Texas (Wenders)
Stop Making Sense (Demme)
Taipei Story (Yang)
Blue Velvet (Lynch)
Manhunter (Mann)
The Terrorizers (Yang)
My Neighbor Totoro (Miyazaki)
Close-Up (Kiarostami)
Trust (Hartley)
A Brighter Summer Day (Yang)
Twin Peaks: Fire Walk With Me (Lynch)
Ashes of Time (Wong)
Chungking Express (Wong)
Heat (Mann)
Cure (Kurosawa)
The Hole (Tsai)
Outer Space (Tscherkassky)
Crouching Tiger, Hidden Dragon (Lee)
In the Mood for Love (Wong)
Platform (Jia)
Yi Yi (Yang)
A.I.: Artificial Intelligence (Spielberg)
Mulholland Dr. (Lynch)
Goodbye, Dragon Inn (Tsai)
Lost in Translation (Coppola)
Before Sunset (Linklater)
2046 (Wong)
Inland Empire (Lynch)
Miami Vice (Mann)
The Day He Arrives (Hong)
The Tree of Life (Malick)
Blackhat (Mann)
Carol (Haynes)
Silence (Scorsese)
Yourself and Yours (Hong)
Twin Peaks: The Return (Lynch)
Long Day’s Journey Into Night (Bi)

Auteurs with multiple entries include: Lang, Dreyer, Hawks, Welles, Hitchcock (4), Ozu, Resnais (3), Marker, Demy, Godard, Hu, Frampton, Rivette (3), Lynch (6), Yang (5), Mann (4), Wong (4), Tsai, Hong

2018 Muriel Awards

Best Feature-Length Film

  1. First Reformed
  2. The Other Side of the Wind
  3. The Day After
  4. Mission: Impossible – Fallout
  5. The Ballad of Buster Scruggs
  6. Bisbee ’17
  7. Burning
  8. Zama
  9. Let the Sunshine In
  10. If Beale Street Could Talk

Best Lead Performance

  1. Ethan Hawke, First Reformed
  2. John Huston, The Other Side of the Wind
  3. Kwon Hae-hyo, The Day After
  4. Juliette Binoche, Let the Sunshine In
  5. Kim Min-hee, The Day After
  6. Tom Cruise, Mission: Impossible – Fallout
  7. Steve Carell, Welcome to Marwen
  8. Clint Eastwood, The Mule
  9. Meinhard Neumann, Western
  10. Yoo Ah-in, Burning

Best Supporting Performance

  1. Steven Yeun, Burning
  2. Brian Tyree Henry, If Beale Street Could Talk
  3. Peter Bogdanovich, The Other Side of the Wind
  4. Bill Heck, The Ballad of Buster Scruggs
  5. Isabelle Huppert, Claire’s Camera
  6. Philip Ettinger, First Reformed
  7. Haley Lu Richardson, Support the Girls
  8. Zoe Kazan, The Ballad of Buster Scruggs
  9. Jeon Jeong-soo, Burning
  10. Colman Domingo, If Beale Street Could Talk

Best Direction

  1. Paul Schrader, First Reformed
  2. Orson Welles, The Other Side of the Wind
  3. Lucrecia Martel, Zama
  4. Christopher McQuarrie, Mission: Impossible – Fallout
  5. Lee Chang-dong, Burning

Best Cinematic Moment

  1. Soaring over humanity, First Reformed
  2. HALO jump, Mission: Impossible – Fallout
  3. Bathroom escapade, The Other Side of the Wind
  4. Dance in the sunset, Burning
  5. Daniel’s prison monologue, If Beale Street Could Talk
  6. Credits conversation, Let the Sunshine In
  7. Rooftop screams, Support the Girls
  8. Morning routines, The Commuter
  9. Subway bluffing, Unfriended: Dark Web
  10. Explaining the rules, Infinite Football

Best Documentary

  1. Bisbee ’17
  2. Infinite Football
  3. Caniba

Best Screenplay

  1. Paul Schrader, First Reformed
  2. Orson Welles & Oja Kodar, The Other Side of the Wind
  3. Hong Sang-soo, The Day After
  4. Joel & Ethan Coen, The Ballad of Buster Scruggs
  5. Barry Jenkins, If Beale Street Could Talk

Best Ensemble Performance

  1. The Other Side of the Wind
  2. The Ballad of Buster Scruggs
  3. The Day After
  4. Isle of Dogs
  5. If Beale Street Could Talk

Best Cinematography

  1. Alexander Dynan, First Reformed
  2. Gary Graver, The Other Side of the Wind
  3. Hong Kyung-pyo, Burning
  4. Kim Hyung-koo, The Day After
  5. Alfonso Cuarón, Roma

Best Editing

  1. The Other Side of the Wind
  2. Unfriended: Dark Web
  3. The House That Jack Built
  4. Notes on an Appearance
  5. Before We Vanish

Best Music

  1. Michel Legrand, The Other Side of the Wind
  2. Nicholas Britell, If Beale Street Could Talk
  3. Mowg, Burning
  4. Alexandre Desplat, Isle of Dogs
  5. Thom Yorke, Suspiria

Best Cinematic Breakthrough

  1. Orson Welles
  2. Bradley Cooper
  3. Steven Yeun
  4. Ricky D’Ambrose
  5. Ted Fendt

Best Body of Work

  1. Steven Yeun
  2. Kim Min-hee
  3. Esther Garrel
  4. Bradley Cooper
  5. Alec Baldwin

Best Youth Performance

  1. Koyu Rankin, Isle of Dogs
  2. Abby Ryder Fortson, Ant-Man and the Wasp
  3. Miguel Lobo, Good Manners

Other remarks:
Though this perhaps wasn’t an abnormally great year in film, this ballot was as hard as any I’ve ever made; too many honorable mentions for nearly every category to list.

10th Anniversary Award, Best Feature Film of 2008

  1. The Headless Woman
  2. Historias extraordinarias
  3. Two Lovers
  4. Wendy and Lucy
  5. 24 City

25th Anniversary Award, Best Feature Film of 1993

  1. Carlito’s Way
  2. Green Snake
  3. D’Est
  4. Schindler’s List
  5. Dazed and Confused

50th Anniversary Award, Best Feature Film of 1968

  1. Je t’aime, je t’aime
  2. 2001: A Space Odyssey
  3. The Immortal Story
  4. Night of the Living Dead
  5. Memories of Underdevelopment

Best Films of the 1980s

  1. Sans soleil
  2. The Terrorizers
  3. Paris, Texas
  4. Blade Runner
  5. Taipei Story
  6. Stop Making Sense
  7. Blue Velvet
  8. My Neighbor Totoro
  9. Manhunter
  10. That Day, on the Beach

11th (1973): “Trains in the Night” Show Notes

Table of Contents: Description, Corrections/Clarifications, Housekeeping, General, Main Slate, Recurring Directors, Recurring Countries, One-Time Directors, Debuts, Festivals/Oscar Nominees, Shorts, Discussions By Length, Specifications

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Description
The eleventh episode of the Catalyst and Witness podcast, devoted to exploring the films and format of the New York Film Festival, hosted by Ryan Swen and Dan Molloy. This covers the eleventh edition of the festival in 1973.

0:00-1:19:01 – Introduction [2018 Top Tens]
1:19:02-1:37:58 – Opening
1:37:59-2:18:45 – Part One [Day for Night to Réjeanne Padovani]
2:18:46-3:18:08 – Part Two [A Doll’s House to Land of Silence and Darkness]
3:18:09-4:14:49 – Part Three [Just Before Nightfall to Badlands]
4:14:50-4:20:34 – Closing

Corrections/Clarifications

  • Unlike the past ten episodes, this episode’s title comes from a quote in Day for Night, due to a lack of satisfactory headlines in the New York Times‘s coverage.

Housekeeping

  • Hosted by Dan Molloy & Ryan Swen
  • Conceived and Edited by Ryan Swen
  • Recorded in Los Angeles on Zoom H4N and Sennheiser Microphones, Edited in Audacity
  • Podcast photograph from Yi Yi, Logo designed by Dan Molloy
  • Poster by Niki de Saint Phalle
  • Recorded January 27, 2019
  • Released January 31, 2019
  • Music (in order of appearance):
    • Day for Night (opening night)
    • The Bitter Tears of Petra von Kant (another favorite)
    • La Rupture (another favorite)
    • History Lessons (favorite of the first section)
    • The Mother and the Whore (favorite of the second section)
    • Dr. Mabuse, the Gambler (favorite of the third section)
    • Badlands (closing night)

General

  • Selection Committee: Richard Roud (program director), Richard Corliss, Arthur Knight, Arthur L. Mayer, Andrew Sarris, Susan Sontag, Henri Langlois (retrospective consultant)
  • Location: Alice Tully Hall and Philharmonic Hall
  • Prices: 1-4, for opening and closing night 2, 4, 7.50, 10
  • Films seen for the podcast:
    • Ryan
      • Seen before podcast watching period: Badlands
      • Seen for the podcast: All available; Badlands rewatched
      • Favorite films: The Mother and the Whore; Dr. Mabuse, the Gambler; The Bitter Tears of Petra von Kant; Badlands; La Rupture; Just Before Nightfall; Mean Streets; Day for Night; History Lessons
      • Least favorite films: Réjeanne Padovani
      • Catch-Up Corner: The Assassination of Trotsky (10th)
    • Dan
      • Seen before podcast watching period: Day for Night; Mean Streets; La Rupture; The Bitter Tears of Petra von Kant; Dr. Mabuse, the Gambler; Badlands
      • Seen for the podcast: All available except The Illumination; Israel, Why; Just Before Nightfall; Andrei Rublev; Badlands rewatched
      • Favorite films: The Mother and the Whore, Mean Streets, Day for Night, History Lessons, Introduction to Arnold Schoenberg’s “Accompaniment to a Cinematographic Scene”
      • Least favorite films: Réjeanne Padovani, Kid Blue, La Rupture, A Doll’s House
  • Discoveries of the festival: The Mother and the Whore
  • Unavailable films: Ritorno

Main Slate

Opening Night: Day for Night [La Nuit américaine/The American Night] (1973, François Truffaut)
September 28, 9:00 {Philharmonic Hall}
Released 1973
Ritorno [Return] (1973, Gianni Amico)
September 29, 4:00
Never released
The Illumination [Iluminacja] (1973, Krzysztof Zanussi)
September 29, 6:30
Never released
Kid Blue (1973, James Frawley)
September 29, 9:30
Released 1973
History Lessons [Geschichtsunterricht] (1972, Jean-Marie Straub & Danièle Huillet)
Also: Introduction to Arnold Schoenberg’s “Accompaniment to a Cinematographic Scene” [Einleitung zu Arnold Schoenbergs Begleitmusik zu einer Lichtspielscene] (1973, Jean-Marie Straub & Danièle Huillet)
September 30, 4:00
Never released/Released 1976
Réjeanne Padovani (1973, Denys Arcand)
October 1, 6:15
Never released
A Doll’s House (1973, Joseph Losey)
October 1, 9:30
Released 1978
Mean Streets (1973, Martin Scorsese)
October 2, 9:30
Released 1973
La Rupture [The Breach] (1970, Claude Chabrol)
October 4, 6:15
Released 1975
The Mother and the Whore [La Maman et la Putain] (1973, Jean Eustache)
October 5, 6:15
Released 1974
Israel, Why [Pourquoi Israël] (1973, Claude Lanzmann)
October 7, 5:00
Never released
Land of Silence and Darkness [Land des Schweigens und der Dunkelheit] (1971, Werner Herzog)
October 8, 6:15
Released 1981
Just Before Nightfall [Juste avant la nuit] (1971, Claude Chabrol)
October 8, 9:30
Released 1975
Andrei Rublev (1966, Andrei Tarkovsky)
October 9, 9:30
Released 1992
Distant Thunder [Ashani Sanket/Impending Disaster] (1973, Satyajit Ray)
October 11, 6:15
Released 1975
The Bitter Tears of Petra von Kant [Die bitteren Tränen der Petra von Kant] (1972, Rainer Werner Fassbinder)
October 11, 9:30
Released 1976
Retrospective: Dr. Mabuse, the Gambler [Dr. Mabuse, der Spieler] (1922, Fritz Lang)
October 13, 1:00
Released 1927
Closing Night: Badlands (1973, Terrence Malick)
October 13, 7:00
Released 1974

Recurring Directors
Key: films in this iteration excluding shorts/omnibus/retrospectives, films in this iteration including, films in the festival up to this point excluding, films up to this point including, number of gala spots (when applicable), number of festivals with more than one film shown (when applicable); † indicates their last appearance, fraction in parentheses indicates number of features shown from oeuvre, features released in the eligible timeframe, features in oeuvre

  • Claude Chabrol: 2/2/4/4/0/1
  • Jean-Marie Straub & Danièle Huillet: 1/2/4/5/0/1
  • Werner Herzog: 1/1/4/4
  • Joseph Losey: 1/1/4/4
  • Satyajit Ray: 1/1/5/5/1
  • François Truffaut: 1/1/3/3/2
  • Rainer Werner Fassbinder: 1/1/3/3
  • Krzysztof Zanussi: 1/1/3/3
  • Gianni Amico: 1/1/2/3
  • Martin Scorsese: 1/1/2/2
  • Denys Arcand: 1/1/1/1
  • Claude Lanzmann: 1/1/1/1
  • Andrei Tarkovsky: 1/1/1/1
  • Fritz Lang: 0/1/0/1

Recurring Countries
Key: films in this iteration excluding shorts/retrospectives, films in this iteration including, films in the festival up to this point excluding, films up to this point including, number of gala spots (when applicable)

  • France: 5/5/67/78/8
  • USA: 3/3/32/43/2
  • West Germany: 2/3/12/13
  • Italy: 2/2/27/31/2
  • UK: 1/1/16/18/1
  • Poland: 1/1/9/9
  • USSR: 1/1/5/5/2
  • India: 1/1/5/5/1
  • Canada: 1/1/4/5
  • Germany: 0/1/0/1

One-Time Directors

  • Jean Eustache
  • James Frawley
  • Terrence Malick (gala)

Feature Debuts

  • Claude Lanzmann
  • Terrence Malick

Festivals

  • NYFF World Premiere
    • Badlands
    • Mean Streets
  • Cannes
    • The Mother and the Whore (Grand Prix)
    • Land of Silence and Darkness (1972 Directors’ Fortnight)
    • History Lessons (Directors’ Fortnight)
    • Réjeanne Padovani (Directors’ Fortnight)
    • Andrei Rublev (1969 Out of Competition)
    • Day for Night (Out of Competition)
    • A Doll’s House (Out of Competition)
  • Berlin
    • The Bitter Tears of Petra von Kant (1972)
    • Distant Thunder (Golden Bear)
  • Other
    • The Illumination (Locarno, Golden Leopard)
    • Just Before Nightfall
    • La Rupture
  • N/A
    • Dr. Mabuse, the Gambler
    • Introduction to Arnold Schoenberg’s “Accompaniment to a Cinematographic Scene”
    • Israel, Why
    • Kid Blue
    • Ritorno

Oscar Nominees

  • Day for Night: Best Foreign Film (winner), 1974 Best Director, Best Original Screenplay, Best Supporting Actress

Shorts

shorts

Discussions By Length (Approximate)

  • 20:00 The Mother and the Whore (2:47:15-3:07:15)
  • 12:19 Badlands (4:02:30-4:14:49)
  • 11:13 Day for Night (1:39:01-1:50:14)
  • 10:50 Dr. Mabuse, the Gambler (3:51:39-4:02:29)
  • 10:24 The Bitter Tears of Petra von Kant (3:41:14-3:51:38)
  • 10:16 Mean Streets (2:28:40-2:38:56)
  • 9:45 Andrei Rublev [One Person] (3:26:58-3:36:43)
  • 8:56 A Doll’s House (2:19:43-2:28:39)
  • 8:17 La Rupture (2:38:57-2:47:14)
  • 7:45 Just Before Nightfall [One Person] (3:19:12-3:26:57)
  • 7:21 History Lessons (2:02:17-2:09:38)
  • 6:29 Kid Blue (1:55:47-2:02:16)
  • 6:17 Israel, Why [One Person] (3:07:16-3:13:33)
  • 4:47 Introduction to Arnold Schoenberg’s “Accompaniment to a Cinematographic Scene” (2:09:39-2:14:26)
  • 4:34 Land of Silence and Darkness (3:13:34-3:18:08)
  • 4:29 Distant Thunder (3:36:44-3:41:13)
  • 4:18 Réjeanne Padovani (2:14:27-2:18:45)
  • 4:03 The Illumination [One Person] (1:51:43-1:55:46)
  • 1:27 Ritorno [Unavailable] (1:50:15-1:51:42)

Specifications

  • François Truffaut, La Nuit américaine, 1973, 35 mm, color and black-and-white, mono sound, 116 minutes, 1.66:1, French, France.
  • Gianni Amico, Ritorno, 1973, 35 mm, color, mono sound, 85 minutes, 1.37:1, Italian, Italy.
  • Krzysztof Zanussi, Iluminacja, 1973, 35 mm and 16 mm, color, mono sound, 91 minutes, 1.66:1, Polish, Poland.
  • James Frawley, Kid Blue, 1973, 35 mm, color, mono sound, 100 minutes, 2.39:1, English, USA.
  • Jean-Marie Straub & Danièle Huillet, Geschichtsunterricht, 1972, 16 mm, color, mono sound, 85 minutes, 1.37:1, German, Italy.
  • Jean-Marie Straub & Danièle Huillet, Einleitung zu Arnold Schoenbergs Begleitmusik zu einer Lichtspielscene, 1973, 16 mm, color and black-and-white, mono sound, 15 minutes, 1.37:1, German, West Germany.
  • Denys Arcand, Réjeanne Padovani, 1973, 35 mm, color, mono sound, 96 minutes, 1.85:1, French, Canada.
  • Joseph Losey, A Doll’s House, 1973, 35 mm, color, mono sound, 106 minutes, 1.66:1, English, UK.
  • Martin Scorsese, Mean Streets, 1973, 35 mm, color, mono sound, 112 minutes, 1.85:1, English and Italian, USA.
  • Claude Chabrol, La Rupture, 1970, 35 mm, color, mono sound, 124 minutes, 1.66:1, French, France.
  • Jean Eustache, La Maman et la Putain, 1973, 16 mm, black-and-white, mono sound, 217 minutes, 1.37:1, French, France.
  • Claude Lanzmann, Pourquoi Israël, 1973, 16 mm, color, mono sound, 185 minutes, 1.37:1, French and English and Hebrew and German and Russian, France.
  • Werner Herzog, Land des Schweigens und der Dunkelheit, 1971, 16 mm, color, mono sound, 85 minutes, 1.37:1, German, West Germany.
  • Claude Chabrol, Juste avant la nuit, 1971, 35 mm, color, mono sound, 106 minutes, 1.66:1, French, France.
  • Andrei Tarkovsky, Andrei Rublev, 1966, 35 mm, black-and-white and color, mono sound, 183 minutes, 2.35:1, Russian, USSR.
  • Satyajit Ray, Ashani Sanket, 1973, 35 mm, color, mono sound, 101 minutes, 1.37:1, Bengali, India.
  • Rainer Werner Fassbinder, Die bitteren Tränen der Petra von Kant, 1972, 35 mm, color, mono sound, 124 minutes, 1.37:1, German, West Germany.
  • Fritz Lang, Dr. Mabuse, der Spieler, 1922, 35 mm, black-and-white, silent, 242 minutes, 1.33:1, German, Germany.
  • Terrence Malick, Badlands, 1973, 35 mm, color, mono sound, 94 minutes, 1.85:1, English, USA.

January 2019 Capsules

The Mother and the Whore
Will go into this much, much further on the podcast, but it’s so difficult to quantify why this film functions as perhaps the epitome of what the French New Wave birthed. Is it that it simply exemplifies the principles of the Nouvelle Vague and pushes them to their logical conclusion? Or is it that Jean Eustache is just more attuned to his characters, more deft at sifting through the inherent effects of prior political associations and affiliations on present relationships? The answer probably lies to some degree in both, but perhaps most important of all is that the Nouvelle Vague — in many ways like Gilberte — acts as a phantom that shadows The Mother and the Whore without necessarily tangibly affecting it. What is apparent is the film’s openness, manifested in forms that register in the narrative as both positive (the indelibly etched relations) and negative (the frankness, the frequent crassness). All of these are inherent to Alexandre, Veronika, and Marie as they exist as people (and, it must be inferred, Eustache and his real-life lovers), and that lack of filter, that willingness to confront the morass of humanity head-on, is what feels so shattering about this monumental work.

Favorite Shots

If I’m being honest this should technically be called “Favorite Frames”; after all, the majority of these are chosen for pictorial value, though certainly all draw much of their power from the way they develop in motion. And while I certainly wouldn’t claim that these are definitely my ten favorite shots, nor the ones that rise to the surface of my brain most frequently, these are among the ones that continually come back to me, often out of thin air. While there are many worthy contenders, these are dearest to me at this moment. The first is first, the rest are unranked.

chungking

Chungking Express (1994, Wong Kar-wai)

night

The Night of the Hunter (1955, Charles Laughton)

north

North by Northwest (1955, Alfred Hitchcock)

pierrot

Pierrot le fou (1965, Jean-Luc Godard)

odyssey

2001: A Space Odyssey (1968, Stanley Kubrick)

touch

A Touch of Zen (1971, King Hu)

terrorizers

The Terrorizers (1986, Edward Yang)

close-up

Close-Up (1990, Abbas Kiarostami)

mulholland

Mulholland Dr. (2001, David Lynch)

miami

Miami Vice (2006, Michael Mann)

And a few more…

napoleon

Napoléon (1927, Abel Gance)

spione

Spione (1928, Fritz Lang)

ambersons

The Magnificent Ambersons (1942, Orson Welles)

meet

Meet Me in St. Louis (1944, Vincente Minnelli)

rochefort

The Young Girls of Rochefort (1967, Jacques Demy)

ashes

Ashes of Time (1994, Wong Kar-wai)

yi yi

Yi Yi (2000, Edward Yang) [the shot that changed my life]

2019 First Watches

Renewed Appreciation: Blackhat, Last Year at Marienbad, Hiroshima mon amour, Muriel, or the Time of Return, Badlands, The Heartbreak Kid, A Woman Under the Influence

Shorts: “Serene Velocity,” “When It Rains,” “Fireworks,” “Arnulf Rainer,” “Castro Street,” “Prelude: Dog Star Man,” “Hold Me While I’m Naked,” “Secret Goldfish,” “The Birth of Magellan: Cadenza I,” “Something Good – Negro Kiss,” “Reflections on Black”, “Radio Dynamics”, “Yggdrasill: Whose Roots Are Stars in the Human Mind,” “Ballet mécanique”, “Liberty,” “Introduction to Arnold Schoenberg’s ‘Accompaniment to a Cinematographic Scene'”, “Twelve Tales Told,” “Infinite Doors,” “From These Roots,” “Kid Auto Races at Venice,” “Tokyo March,” “Wong Sinsaang,” “Pasadena Freeway Stills,” “The Life and Death of 9413, a Hollywood Extra”

  1. Céline and Julie Go Boating (1974, Jacques Rivette) [February]
  2. The Mother and the Whore (1973, Jean Eustache) [January]
  3. Out 1: Spectre (1972, Jacques Rivette) [February]
  4. Dr. Mabuse, the Gambler (1922, Fritz Lang) [January]
  5. Lancelot du Lac (1974, Robert Bresson) [February]
  6. Goodbye to Language (2014, Jean-Luc Godard) [March]
  7. The Bitter Tears of Petra von Kant (1972, Rainer Werner Fassbinder) [January]
  8. Bound for the Fields, the Mountains, and the Seacoast (1986, Nobuhiko Obayashi) [February]
  9. Transit (2018, Christian Petzold) [March]
  10. Man With a Movie Camera (1929, Dziga Vertov) [January]
  11. The Quiet Man (1952, John Ford) [March]
  12. Police Story (1985, Jackie Chan) [February]
  13. The Sweet Hereafter (1997, Atom Egoyan) [January]
  14. Oki’s Movie (2010, Hong Sang-soo) [March]
  15. La Rupture (1970, Claude Chabrol) [January]
  16. Underground (1995, Emir Kusturica) [February]
  17. Paris Belongs to Us (1961, Jacques Rivette) [February]
  18. Just Before Nightfall (1971, Claude Chabrol) [January]
  19. All That Heaven Allows (1955, Douglas Sirk) [February]
  20. Killer of Sheep (1977, Charles Burnett) [March]
  21. Stavisky… (1974, Alain Resnais) [February]
  22. The Image Book (2018, Jean-Luc Godard) [February]
  23. La Chienne (1931, Jean Renoir) [March]
  24. Mean Streets (1973, Martin Scorsese) [January]
  25. Testament (1983, Lynne Littman) [February]
  26. Dragnet Girl (1933, Yasujiro Ozu) [March]
  27. Fox and His Friends (1975, Rainer Werner Fassbinder) [March]
  28. Day for Night (1973, François Truffaut) [January]
  29. Liebelei (1933, Max Ophuls) [February]
  30. Andrei Rublev (1966, Andrei Tarkovsky) [January]
  31. The Phantom of Liberty (1974, Luis Buñuel) [February]
  32. History Lessons (1972, Jean-Marie Straub & Danièle Huillet) [January]
  33. The Power of Kangwon Province (1998, Hong Sang-soo) [January]
  34. The Mule (2018, Clint Eastwood) [January]
  35. Unfriended: Dark Web (2018, Stephen Susco) [January]
  36. Mrs. Hyde (2017, Serge Bozon) [January]
  37. Belonging (2019, Burak Çevik) [March]
  38. Grey Gardens (1974, Albert Maysles & David Maysles & Ellen Hovde & Muffie Meyer) [March]
  39. Alice in the Cities (1974, Wim Wenders) [February]
  40. Welcome to Marwen (2018, Robert Zemeckis) [January]
  41. The Middle of the World (1974, Alain Tanner) [February]
  42. Infinite Football (2018, Corneliu Porumboiu) [January]
  43. The House That Jack Built (2018, Lars von Trier) [January]
  44. The Nasty Girl (1990, Michael Verhoeven) [January]
  45. The Night of the Scarecrow (1974, Sérgio Ricardo) [February]
  46. Classical Period (2018, Ted Fendt) [January]
  47. Italianamerican (1974, Martin Scorsese) [February]
  48. Israel, Why (1973, Claude Lanzmann) [January]
  49. The Competition (2016, Claire Simon) [February]
  50. Police Story 2 (1988, Jackie Chan) [February]
  51. Witness (1985, Peter Weir) [January]
  52. Trash Humpers (2009, Harmony Korine) [March]
  53. The Illumination (1973, Krzysztof Zanussi) [January]
  54. El Valley Centro (1999, James Benning) [March]
  55. The Rider (2017, Chloé Zhao) [January]
  56. Enamorada (1946, Emilio Fernández) [February]
  57. Les Enfants Terribles (1950, Jean-Pierre Melville) [February]
  58. Land of Silence and Darkness (1971, Werner Herzog) [January]
  59. A Doll’s House (1973, Joseph Losey) [January]
  60. Memento (2000, Christopher Nolan) [January]
  61. La Paloma (1974, Daniel Schmid) [February]
  62. Conversation Piece (1974, Luchino Visconti) [March]
  63. Field Niggas (2015, Khalik Allah) [March]
  64. Distant Thunder (1973, Satyajit Ray) [January]
  65. Spider-Man: Into the Spider-Verse (2018, Bob Persichetti & Peter Ramsey & Rodney Rothman) [January]
  66. Unbreakable (2000, M. Night Shyamalan) [January]
  67. Minding the Gap (2018, Bing Liu) [January]
  68. Happy Death Day 2U (2019, Christopher Landon) [January]
  69. Pan’s Labyrinth (2006, Guillermo del Toro) [March]
  70. Hedy (1966, Andy Warhol) [February]
  71. Milla (2017, Valérie Massadian) [January]
  72. A Bigger Splash (1973, Jack Hazan) [February]
  73. Glass (2019, M. Night Shyamalan) [February]
  74. Lacombe Lucien (1974, Louis Malle) [February]
  75. Did You Wonder Who Fired the Gun? (2017, Travis Wilkerson) [January]
  76. Part-Time Work of a Domestic Slave (1973, Alexander Kluge) [February]
  77. Honeyland (2019, Tamara Kotevska & Ljubomir Stefanov) [March]
  78. The Watermelon Woman (1996, Cheryl Dunye) [January]
  79. Riddles of the Sphinx (1977, Laura Mulvey & Peter Wollen) [March]
  80. Kid Blue (1973, James Frawley) [January]
  81. The Assassination of Trotsky (1972, Joseph Losey) [January]
  82. Réjeanne Padovani (1973, Denys Arcand) [January]
  83. Silence (1926, Rupert Julian) [March]
  84. Spring Breakers (2012, Harmony Korine) [March]
  85. Old-Fashioned Woman (1974, Martha Coolidge) [February]
  86. The Land of Steady Habits (2018, Nicole Holofcener) [January]
  87. Rabbit-Proof Fence (2002, Phillip Noyce) [February]
  88. Layer Cake (2004, Matthew Vaughn) [March]