Author: Ryan Swen

2021 ICS Awards

Ryan Swen Lists Tags: Leave a comment

Best Picture

  1. Drive My Car
  2. Can’t Get You Out of My Head: An Emotional History of the Modern World
  3. Memoria
  4. What Do We See When We Look at the Sky?
  5. Wheel of Fortune and Fantasy
  6. West Side Story
  7. A River Runs, Turns, Erases, Replaces
  8. Evangelion: 3.0+1.0 Thrice Upon a Time
  9. In Front of Your Face
  10. Annette

Best Director

  1. Apichatpong Weerasethakul, Memoria
  2. Hamaguchi Ryūsuke, Drive My Car
  3. Alexandre Koberidze, What Do We See When We Look at the Sky?
  4. Steven Spielberg, West Side Story
  5. Leos Carax, Annette

Best Actor

  1. Nishijima Hidetoshi, Drive My Car
  2. Adam Driver, Annette
  3. Vincent Lindon, Titane
  4. Cooper Hoffman, Licorice Pizza
  5. Avshalom Pollak, Ahed’s Knee

Best Actress

  1. Tilda Swinton, Memoria
  2. Miura Tōko, Drive My Car
  3. Léa Seydoux, France
  4. Lee Hye-young, In Front of Your Face
  5. Alana Haim, Licorice Pizza

Best Supporting Actor

  1. Elkín Diaz, Memoria
  2. Okada Masaki, Drive My Car
  3. Mike Faist, West Side Story
  4. Rayan Sarlak, Hit the Road
  5. Simon Helberg, Annette

Best Supporting Actress

  1. Park Yu-rim, Drive My Car
  2. Urabe Fusako, Wheel of Fortune and Fantasy
  3. Kirishima Reika, Drive My Car
  4. Kawai Aoba, Wheel of Fortune and Fantasy
  5. Mori Katsuki, Wheel of Fortune and Fantasy

Best Ensemble

  1. Drive My Car
  2. Wheel of Fortune and Fantasy
  3. Licorice Pizza
  4. The Tragedy of Macbeth
  5. West Side Story

Best Original Screenplay

  1. Wheel of Fortune and Fantasy
  2. In Front of Your Face
  3. Memoria
  4. What Do We See When We Look at the Sky?
  5. Bad Luck Banging or Loony Porn

Best Adapted Screenplay

  1. Drive My Car
  2. Fabian, or Going to the Dogs
  3. West Side Story
  4. Benedetta
  5. The Tragedy of Macbeth

Best Film Editing

  1. What Do We See When We Look at the Sky?
  2. Can’t Get You Out of My Head: An Emotional History of the Modern World
  3. The Velvet Underground
  4. Drive My Car
  5. Fabian, or Going to the Dogs

Best Cinematography

  1. Memoria
  2. West Side Story
  3. What Do We See When We Look at the Sky?
  4. The Tragedy of Macbeth
  5. Topology of Sirens

Best Production Design

  1. The Tragedy of Macbeth
  2. The French Dispatch of the Liberty, Kansas Evening Sun
  3. West Side Story
  4. What Do We See When We Look at the Sky?
  5. Memoria

Best Score

  1. Drive My Car
  2. What Do We See When We Look at the Sky?
  3. The Witches of the Orient
  4. Annette
  5. El Gran Movimiento

Best Animated Picture

  1. Evangelion: 3.0+1.0 Thrice Upon a Time

Best Documentary

  1. Can’t Get You Out of My Head: An Emotional History of the Modern World
  2. A River Runs, Turns, Erases, Replaces
  3. Procession
  4. The Velvet Underground
  5. The Witches of the Orient

Best Sound Design

  1. Memoria
  2. The Velvet Underground
  3. West Side Story
  4. Topology of Sirens
  5. Annette

Best Debut Feature

  1. Topology of Sirens
  2. Pebbles
  3. Hit the Road
  4. El Planeta

Best Breakthrough Performance

  1. Rayan Sarlak, Hit the Road
  2. Devyn McDowell, Annette
  3. Cooper Hoffman, Licorice Pizza
  4. Alana Haim, Licorice Pizza
  5. Karuththadaiyaan, Pebbles

2022 Capsules

Ryan Swen Musings Tags: Leave a comment

January

In the Mood for Love [rewatch]
While it serves different purposes in different films, Wong’s voiceover has always been central as another layer in his characters’ and cinema’s means of expression. But while there are numerous phone conversations that hang over the film’s images, In the Mood for Love only contains two lines of true voiceover. They both come from Cheung, immediately after she and Leung realize they both know the secret that initially unites, then ultimately divides them: “I thought I was the only one that knew,” then “I wonder how it started,” both laid over a distant, hazy shot of the two of them walking away together.

Wong then cuts to black, then to what appears to be an innocent conversation, then an alarming upsetting of propriety, then a tentative and tortured reenactment. If cinema can be said to embody mindsets, to flesh out characters, then this may be among the greatest of examples: the decision to go down this path is not made on screen, but it is embodied in that brief strip of black leader, that ambiguous space between thought and action, made in an instant that haunts and grows in the mind.

Lincoln [rewatch]
Ten years and the nakedly obvious upheaval therein may have actually improved the fundamental politics of this, at least from my perspective. In the Obama era, Lincoln’s steadfast commitment to his principles could be seen as timely, a friendly reminder from an icon to continue the good work. Now, it’s the actual machinations that resonate; in a way it has matured, or perhaps its outlook has curdled, like some of the greatest historical films; it has come to take on the politics of its time, which is as much a testament to the unchanging undercurrents of America as it is to the total inhabitation from all here.

February

Who’s Stopping Us
There’s a scene in here that feels almost like a lo-fi version of the go-fast boat to Cuba in Miami Vice, two characters acting on an urge to kayak briefly across to Portugal. Though they have to return sooner rather than later, that spirit of freedom within certain limits feels so resonant with the experience of teenagehood, of all these characters moving in and out of focus as Trueba’s style shifts in response. Talking heads, voiceover, extensive hangout scenes, all of them feel integrated yet disruptive, a steady stream of insights and bullshitting that doesn’t aim to necessarily take any of the events (fiction or non-fiction) at face value. It is about the experience, the cross-section of life and vitality that gets at so much more.

Tree of Knowledge
The key moment early on (among many) is the journey of the dissected fox, first seen in long shot as the children, quiet and respectful for once, gather around the table in a circle. Gore is liberally shown but never gleefully, and the emphasis remains on the children, who have a certain awe at seeing this mini-spectacle. Two of the boys then take it, attempt to scare girls with it — only succeeding with the outcast Mona — then take it home to attempt to recreate the experience themselves. If Tree of Knowledge is as much a film about education as it is about the cruelty of children, this moment demonstrates it most clearly: a startlingly visceral punctum that breaches the bawdiness of its society that leads them to want to imitate their future selves. Unfortunately, some futures are more grown-up than others, and therein lies the essential, awful problem.

March

The Gospel According to St. Matthew
Everything comes forth from Pasolini’s early decision to convey the Sermon on the Mount in a seemingly endless series of forward tracking shots, framing Jesus the Anointed in front of a boundless and blank sky. It gets to the heart of what makes the New Testament such an oddly difficult collection of books to adapt to a different medium, even the nigh-universally known gospel. Pasolini’s great genius was to lean into that almost anecdotal quality, the procession of incident and teaching that the Book of Matthew provides, in doing so emphasizing the inherent integrity and value of each moment. The words spoken in each sentence of the Sermon function both in tandem and separately, and by placing them in formal conversation, by having them spoken directly to the viewer, their power is interpreted and conveyed with a stark impact.

Spirited Away [rewatch]
It’s a piercing testament to Miyazaki’s genius here that, for all the earned sentimentalism that flows throughout this, the film ends with Chihiro’s perspective of the tunnel receding into the distance. No view of her newfound friends, or her potential life partner, or even the mysterious gods is possible in the ultimate dichotomy between these worlds. As much as she was able to bring a great vitality to the bath house, there are forces greater than magic or love ruling over these realms, and so she must return to the living, and the sensations of the other side must remain a memory, just like the river that saved and nurtured her so long ago. It’s too far in both time and space, and that’s the way it must be.

Pom Poko
The interlude with the foxes, already comfortably assimilated into modern Japanese society, helps clarify and differentiate the plight and journey of the raccoons. It’s said early in the film that their nature doesn’t allow them to have the same focus as the foxes, too prone to sloth to be as convincingly for as long. While that may be true, that’s also exactly what allows them to produce such grand and beautiful feats: their community, their ability to feed off of each other’s energy to bolster each other. In their final decision to join Tokyo, it is still with that same compassion, a splitting up to keep as many alive as possible, an invisible community of bodies built up with each celebration, each humorous yet poignant transformation.

April

Gentlemen Prefer Blondes
I’m sure others have discussed the Céline and Julie Go Boating parallels/potential homage by Rivette, but it’s fascinating how Lorelei and Dorothy’s own pantomime relies on a relative interchangeability that Céline and Julie decidedly lack. Despite their differing viewpoints on the attractiveness of a man, they both share an unabashed openness about said views, and consequently are able to inhabit each other, whether in intelligence or lunacy, shrewdness or naivetie. Like so much of the film, the illusion is as alluring as the reality, and the space created to inhabit it is as immaculate and wondrous as they come.

June

Flowers of Shanghai
I’ve never heard Shanghainese at such length before, and while I’m sure this film would be every bit as great in Mandarin or even Cantonese — it kind of sounds like Leung is dubbed when he isn’t speaking Cantonese, his voice is a little higher — it adds so much to the film. I have little knowledge of the mechanics of Shanghainese, but it sounds like it is either toneless or has tones that are much less pronounced than in other dialects. This creates a much more even-toned sound quality, an aural texture every bit as hypnotic as those repeated music cues, those tracking shots, those different yet similar narratives of decline and possibility.

July

Ruggles of Red Gap
One of the best things about this is how each musical moment holds at least two meanings at the same time depending on perspective: a dance becomes a first expression of autonomy, a new chance at love, an irritating defiance; a drum session becomes an almost childlike wonder, a bemused courtship, a momentary setback alleived by money. What McCarey accomplishes so well is being able to do justice to all of them, to find the beauty and opportunities that this paradise offers.

December

Yi Yi [rewatch]
This has never not been among the heights of cinema for me, but something that always puzzled me before this viewing was the focus on the father, sister, and brother, with the mother whisked unceremoniously away for most of the film. But apart from the absence it creates, the room allowed for all members of the family to flirt with the unknown (even the mother, trying out overt spirituality), it also removes the closest familial connection to the grandmother. Everyone else is at a slight remove from the old, comatose woman they express their thoughts to, whether by blood or by a generation gap; even the uncle has to overcome the grandmother’s apprehensiveness. If Yi Yi is the most incisive of films about family, it’s also crucial that the family is forced into unconventional circumstances for so long, that the final reunion is as bittersweet as possible, with chances for new life lost and the passing of a loved one. But they are together in the end, still fundamentally themselves, and that’s what matters.

2022 First Watches

Ryan Swen Lists Tags: ,

Old
New

Renewed Appreciation: Lincoln, Only Yesterday, Videodrome, The Killer, Right Now, Wrong Then, Spirited Away, Tropical Malady, Au hasard Balthazar, Remember My Name, Kiki’s Delivery Service, The Devil, Probably, The Last of the Mohicans, Uncle Boonmee Who Can Recall His Past Lives, In Another Country, Irma Vep, Yourself and Yours, Rio Bravo, Oki’s Movie, Grass, On the Occasion of Remembering the Turning Gate, Mouchette, Blissfully Yours, Like You Know It All, Greed, Jauja, The Calming, The Big Sleep, Hard-Boiled, Woman in the Dunes, Nobody’s Daughter Haewon, The Woman Who Ran, The Walk, Wild at Heart, The Day After, An Elephant Sitting Still, El Gran Movimiento, Hahaha, Destroy, She Said, A Man Escaped, Diary of a Country Priest, Virgin Stripped Bare by Her Bachelors, Crouching Tiger, Hidden Dragon, Out 1: Noli me tangere, Night and Day, The Day He Arrives, Seven Samurai, In the Mood for Love, A.I. Artificial Intelligence, Our Sunhi, Tale of Cinema, Hill of Freedom, Les Dames du Bois de Boulogne, Claire’s Camera, Sign “O” the Times, Chungking Express

Shorts: “Les trois désastres,” Dog Star Man, “earthearthearth,” “EVENTIDE,” “Z = |Z/Z•Z-1 mod 2|-1: Lavender Town Syndrome,” “Ein Bild,” “Spectrum Reverse Spectrum,” “La bouche,” “Single Stream,” “Ode to Seekers 2012,” “Kicking the Clouds,” “Impersonator,” “Z = |Z/Z•Z-1 mod 2|-1: The Old Victrola,” “China Girls,” “A wild patience has taken me here,” “Releasing Human Energies,” “Soft Animals,” “JG,” “Starfuckers,” “The Headhunter’s Daughter”

  1. Ruggles of Red Gap (1935, Leo McCarey) [July]
  2. L’Argent (1983, Robert Bresson) [September]
  3. Letter From an Unknown Woman (1948, Max Ophuls) [January]
  4. Gentlemen Prefer Blondes (1953, Howard Hawks) [April]
  5. The Heiress (1949, William Wyler) [April]
  6. Flowers of Shanghai (1998, Hou Hsiao-hsien) [June]
  7. Once Upon a Time in China (1991, Tsui Hark) [February]
  8. The Docks of New York (1928, Josef von Sternberg) [March]
  9. The Gospel According to St. Matthew (1964, Pier Paolo Pasolini) [February]
  10. Walk Up (2022, Hong Sang-soo) [October]
  11. Tree of Knowledge (1981, Nils Malmros) [February]
  12. Assault on Precinct 13 (1976, John Carpenter) [April]
  13. Pacifiction (2022, Albert Serra) [November]
  14. The Seventh Victim (1943, Mark Robson) [June]
  15. Once Upon a Time in China II (1992, Tsui Hark) [February]
  16. Avanti! (1972, Billy Wilder) [February]
  17. Amanda (2018, Mikhaël Hers) [January]
  18. Pom Poko (1994, Takahata Isao) [March]
  19. La libertad (2001, Lisandro Alonso) [September]
  20. The Novelist’s Film (2022, Hong Sang-soo) [October]
  21. EO (2022, Jerzy Skolimowski) [November]
  22. Deja Vu (2006, Tony Scott) [November]
  23. The Fabelmans (2022, Steven Spielberg) [November]
  24. Choose Me (1984, Alan Rudolph) [September]
  25. Face/Off (1997, John Woo) [July]
  26. Il buco (2021, Michelangelo Frammartino) [May]
  27. Trenque Lauquen (2022, Laura Citarella) [November]
  28. Who’s Stopping Us (2021, Jonás Trueba) [February]
  29. My Neighbors the Yamadas (1999, Takahata Isao) [February]
  30. Bamboozled (2000, Spike Lee) [May]
  31. World on a Wire (1973, Rainer Werner Fassbinder) [June]
  32. Malcolm X (1992, Spike Lee) [January]
  33. The City Below (2010, Christoph Hochhäusler) [February]
  34. Marie Antoinette (2006, Sofia Coppola) [March]
  35. The Conversation (1974, Francis Ford Coppola) [January]
  36. Section 1 (2022, Jon Bois) [June]
  37. Tatort: Frau Bu lacht (1995, Dominik Graf) [February]
  38. A New Old Play (2021, Qiu Jiongjiong) [March]
  39. One Fine Morning (2022, Mia Hansen-Løve) [December]
  40. Dreileben: Beats Being Dead (2011, Christian Petzold) [February]
  41. Diary of a Fleeting Affair (2022, Emmanuel Mouret) [October]
  42. Crimes of the Future (2022, David Cronenberg) [June]
  43. Hush! (2002, Hashiguchi Ryōsuke) [April]
  44. RRR (2022, S. S. Rajamouli) [March]
  45. Dirty Harry (1971, Don Siegel) [July]
  46. The People You’re Paying to Be in Shorts (2022, Jon Bois) [November]
  47. Seconds (1966, John Frankenheimer) [August]
  48. Equation to an Unknown (1980, Dietrich de Velsa) [January]
  49. ★ (2017, Johann Lurf) [February]
  50. Dreileben: Don’t Follow Me Around (2011, Dominik Graf) [February]
  51. Decision to Leave (2022, Park Chan-wook) [October]
  52. The Girl and the Spider (2021, Ramon and Silvan Zürcher) [April]
  53. Point Blank (1967, John Boorman) [February]
  54. The United States of America (2022, James Benning) [March]
  55. Wing Chun (1994, Yuen Woo-ping) [March]
  56. Miracle Mile (1988, Steve De Jarnatt) [January]
  57. La Vie des morts (1991, Arnaud Desplechin) [March]
  58. TÁR (2022, Todd Field) [October]
  59. Beloved Sisters (2014, Dominik Graf) [February]
  60. Die Katze (1988, Dominik Graf) [February]
  61. White Noise (2022, Noah Baumbach) [December]
  62. The August Virgin (2019, Jonás Trueba) [February]
  63. Carnival of Souls (1962, Herk Harvey) [April]
  64. Saint Omer (2022, Alice Diop) [December]
  65. Avatar: The Way of Water (2022, James Cameron) [December]
  66. Basic Instinct (1992, Paul Verhoeven) [October]
  67. The Traveling Players (1975, Theodoros Angelopoulos) [December]
  68. Medea (2021, Alexander Zeldovich) [March]
  69. The Friends of the Friends (2002, Dominik Graf) [February]
  70. The Cathedral (2021, Ricky D’Ambrose) [January]
  71. Queens of the Qing Dynasty (2022, Ashley McKenzie) [February]
  72. Nope (2022, Jordan Peele) [July]
  73. Blonde Venus (1932, Josef von Sternberg) [June]
  74. The Sacred Spirit (2021, Chema García Ibarra) [March]
  75. Haruhara-san’s Recorder (2021, Sugita Kyoshi) [February]
  76. The Invincibles (1994, Dominik Graf) [February]
  77. Benediction (2021, Terence Davies) [February]
  78. Red Rocket (2021, Sean Baker) [January]
  79. Armageddon Time (2022, James Gray) [October]
  80. Los Conductos (2020, Camilo Restrepo) [May]
  81. Wood and Water (2021, Jonas Bak) [April]
  82. Onoda (2021, Arthur Harari) [February]
  83. All the Beauty and the Bloodshed (2022, Laura Poitras) [November]
  84. Le Navire Night (1979, Marguerite Duras) [March]
  85. Riotsville, U.S.A. (2022, Sierra Pettengill) [January]
  86. Daisy Miller (1974, Peter Bogdanovich) [November]
  87. Drunken Angel (1948, Kurosawa Akira) [March]
  88. FIRST TIME [The Time for All But Sunset – VIOLET] (2021, Nicolaas Schmidt) [March]
  89. Return to Seoul (2022, Davy Chou) [December]
  90. Tai-Chi Master (1993, Yuen Woo-ping) [March]
  91. Polizeiruf 110: Smoke on the Water (2014, Dominik Graf) [February]
  92. Gummo (1997, Harmony Korine) [January]
  93. A Night of Knowing Nothing (2021, Payal Kapadia) [February]
  94. Expedition Content (2020, Ernst Karel & Veronika Kusumaryati) [January]
  95. Arrebato (1979, Iván Zulueta) [January]
  96. Nobody’s Hero (2022, Alain Guiraudie) [October]
  97. Human Flowers of Flesh (2022, Helena Wittmann) [November]
  98. Dry Ground Burning (2022, Joana Pimenta & Adirley Queirós) [November]
  99. Don Juan (2022, Serge Bozon) [May]
  100. The Women (1939, George Cukor) [April]
  101. Social Hygiene (2021, Denis Côté) [July]
  102. Thunderbolt (1929, Josef von Sternberg) [March]
  103. Virgin Blue (2021, Niu Xiaoyu) [March]
  104. Vengeance Is Mine, All Others Pay Cash (2021, Edwin) [March]
  105. Deception (2021, Arnaud Desplechin) [March]
  106. True Romance (1993, Tony Scott) [February]
  107. Rampart (2021, Marko Grba Singh) [March]
  108. Amsterdam (2022, David O. Russell) [September]
  109. Our Eternal Summer (2021, Émilie Aussel) [March]
  110. Relative (2022, Michael Glover Smith) [August]
  111. Aftersun (2022, Charlotte Wells) [December]
  112. Bad Girls Go to Hell (1965, Doris Wishman) [March]
  113. Petite conversation familiale (2000, Hélène Lapiower) [March]
  114. The Bling Ring (2013, Sofia Coppola) [March]
  115. Gangs of New York (2002, Martin Scorsese) [July]
  116. Will-o’-the-Wisp (2022, João Pedro Rodrigues) [May]
  117. Car Wash (1976, Michael Schultz) [September]
  118. Belle (2021, Hosoda Mamoru) [March]
  119. Ambulance (2022, Michael Bay) [April]
  120. Rock Bottom Riser (2021, Fern Silva) [March]
  121. Top Gun: Maverick (2022, Joseph Kosinski) [June]
  122. A Human Position (2022, Anders Emblem) [January]
  123. Free Chol Soo Lee (2022, Eugene Yi & Julie Ha) [January]
  124. Call Jane (2022, Phyllis Nagy) [January]
  125. Singing in the Wilderness (2021, Chen Dongnan) [April]
  126. Every Day in Kaimukī (2022, Alika Tengan) [January]
  127. Mija (2022, Isabel Castro) [January]
  128. Triangle of Sadness (2022, Ruben Östlund) [September]
  129. Three Thousand Years of Longing (2022, George Miller) [August]
  130. Wet Sand (2021, Elene Naveriani) [March]
  131. Prime Cut (1972, Michael Ritchie) [February]
  132. Play It As It Lays (1972, Frank Perry) [June]
  133. Roy’s World: Barry Gifford’s Chicago (2020, Rob Christopher) [September]
  134. From the Planet of the Humans (2021, Giovanni Cioni) [March]
  135. Werewolf (2016, Ashley McKenzie) [February]
  136. A Nightmare on Elm Street 5: The Dream Child (1989, Stephen Hopkins) [October]
  137. The Banshees of Inisherin (2022, Martin McDonagh) [December]
  138. The City and the City (2022, Christos Passalis & Syllas Tzoumerkas) [April]
  139. Bones and All (2022, Luca Guadagnino) [November]
  140. Dreileben: One Minute of Darkness (2011, Christoph Hochhäusler) [February]
  141. God’s Creatures (2022, Saela Davis & Anna Rose Holmer) [October]
  142. Jujutsu Kaisen 0 (2022, Park Sung-hoo) [September]
  143. Something in the Dirt (2022, Justin Benson & Aaron Moorhead) [January]
  144. Dear Mr. Brody (2021, Keith Maitland) [March]
  145. A Love Song (2022, Max Walker-Silverman) [January]
  146. Dangerous Game (1988, Stephen Hopkins) [October]
  147. Three Minutes: A Lengthening (2021, Bianca Stigter) [August]
  148. The Mission (2022, Tania Anderson) [January]
  149. Casablanca Beats (2021, Nabil Ayouch) [September]
  150. The Exiles (2022, Violet Columbus & Ben Klein) [January]
  151. Divertimento (2022, Marie-Castille Mention-Schaar) [October]
  152. Close (2022, Lukas Dhont) [December]
  153. Athena (2022, Romain Gavras) [October]
  154. Framing Agnes (2022, Chase Joynt) [January]
  155. Everything Everywhere All at Once (2022, Daniel Kwan & Daniel Scheinert) [April]
  156. Spencer (2021, Pablo Larraín) [February]
  157. Bardo: False Chronicle of a Handful of Truths (2022, Alejandro González Iñárritu) [November]
  158. The Whale (2022, Darren Aronofsky) [November]
  159. Babylon (2022, Damien Chazelle) [November]

Old

  1. Ruggles of Red Gap (1935, Leo McCarey)
  2. L’Argent (1983, Robert Bresson)
  3. Letter From an Unknown Woman (1948, Max Ophuls)
  4. Gentlemen Prefer Blondes (1953, Howard Hawks)
  5. The Heiress (1949, William Wyler)
  6. Flowers of Shanghai (1998, Hou Hsiao-hsien)
  7. Once Upon a Time in China (1991, Tsui Hark)
  8. The Docks of New York (1928, Josef von Sternberg)
  9. The Gospel According to St. Matthew (1964, Pier Paolo Pasolini)
  10. Tree of Knowledge (1981, Nils Malmros)
  11. Assault on Precinct 13 (1976, John Carpenter)
  12. The Seventh Victim (1943, Mark Robson)
  13. Once Upon a Time in China II (1992, Tsui Hark)
  14. Avanti! (1972, Billy Wilder)
  15. Amanda (2018, Mikhaël Hers)
  16. Pom Poko (1994, Takahata Isao)
  17. La libertad (2001, Lisandro Alonso)
  18. Deja Vu (2006, Tony Scott)
  19. Choose Me (1984, Alan Rudolph)
  20. Face/Off (1997, John Woo)
  21. My Neighbors the Yamadas (1999, Takahata Isao)
  22. Bamboozled (2000, Spike Lee)
  23. World on a Wire (1973, Rainer Werner Fassbinder)
  24. Malcolm X (1992, Spike Lee)
  25. The City Below (2010, Christoph Hochhäusler)
  26. Marie Antoinette (2006, Sofia Coppola)
  27. The Conversation (1974, Francis Ford Coppola)
  28. Tatort: Frau Bu lacht (1995, Dominik Graf)
  29. Dreileben: Beats Being Dead (2011, Christian Petzold)
  30. Hush! (2002, Hashiguchi Ryōsuke)
  31. Dirty Harry (1971, Don Siegel)
  32. Seconds (1966, John Frankenheimer)
  33. Equation to an Unknown (1980, Dietrich de Velsa)
  34. ★ (2017, Johann Lurf)
  35. Dreileben: Don’t Follow Me Around (2011, Dominik Graf)
  36. Point Blank (1967, John Boorman)
  37. Wing Chun (1994, Yuen Woo-ping)
  38. Miracle Mile (1988, Steve De Jarnatt)
  39. La Vie des morts (1991, Arnaud Desplechin)
  40. Beloved Sisters (2014, Dominik Graf)
  41. Die Katze (1988, Dominik Graf)
  42. The August Virgin (2019, Jonás Trueba)
  43. Carnival of Souls (1962, Herk Harvey)
  44. Basic Instinct (1992, Paul Verhoeven)
  45. The Traveling Players (1975, Theodoros Angelopoulos)
  46. The Friends of the Friends (2002, Dominik Graf)
  47. Blonde Venus (1932, Josef von Sternberg)
  48. The Invincibles (1994, Dominik Graf)
  49. Le Navire Night (1979, Marguerite Duras)
  50. Daisy Miller (1974, Peter Bogdanovich)
  51. Drunken Angel (1948, Kurosawa Akira)
  52. Tai-Chi Master (1993, Yuen Woo-ping)
  53. Polizeiruf 110: Smoke on the Water (2014, Dominik Graf)
  54. Gummo (1997, Harmony Korine)
  55. Arrebato (1979, Iván Zulueta)
  56. The Women (1939, George Cukor)
  57. Thunderbolt (1929, Josef von Sternberg)
  58. True Romance (1993, Tony Scott)
  59. Bad Girls Go to Hell (1965, Doris Wishman)
  60. Petite conversation familiale (2000, Hélène Lapiower)
  61. The Bling Ring (2013, Sofia Coppola)
  62. Gangs of New York (2002, Martin Scorsese)
  63. Car Wash (1976, Michael Schultz)
  64. Prime Cut (1972, Michael Ritchie)
  65. Play It As It Lays (1972, Frank Perry)
  66. Werewolf (2016, Ashley McKenzie)
  67. A Nightmare on Elm Street 5: The Dream Child (1989, Stephen Hopkins)
  68. Dreileben: One Minute of Darkness (2011, Christoph Hochhäusler)
  69. Dangerous Game (1988, Stephen Hopkins)

New

  1. Walk Up (Hong Sang-soo)
  2. Pacifiction (Albert Serra)
  3. The Novelist’s Film (Hong Sang-soo)
  4. EO (Jerzy Skolimowski)
  5. The Fabelmans (Steven Spielberg)
  6. Il buco (Michelangelo Frammartino)
  7. Trenque Lauquen (Laura Citarella)
  8. Who’s Stopping Us (Jonás Trueba)
  9. Section 1 (Jon Bois)
  10. A New Old Play (Qiu Jiongjiong)
  11. One Fine Morning (Mia Hansen-Løve)
  12. Diary of a Fleeting Affair (Emmanuel Mouret)
  13. Crimes of the Future (David Cronenberg)
  14. RRR (S. S. Rajamouli)
  15. The People You’re Paying to Be in Shorts (Jon Bois)
  16. Decision to Leave (Park Chan-wook)
  17. The Girl and the Spider (Ramon and Silvan Zürcher)
  18. The United States of America (James Benning)
  19. TÁR (Todd Field)
  20. White Noise (Noah Baumbach)
  21. Saint Omer (Alice Diop)
  22. Avatar: The Way of Water (James Cameron)
  23. Medea (Alexander Zeldovich)
  24. The Cathedral (Ricky D’Ambrose)
  25. Queens of the Qing Dynasty (Ashley McKenzie)
  26. Nope (Jordan Peele)
  27. The Sacred Spirit (Chema García Ibarra)
  28. Haruhara-san’s Recorder (Sugita Kyoshi)
  29. Benediction (Terence Davies)
  30. Red Rocket (Sean Baker)
  31. Armageddon Time (James Gray)
  32. Los Conductos (Camilo Restrepo)
  33. Wood and Water (Jonas Bak)
  34. Onoda (Arthur Harari)
  35. All the Beauty and the Bloodshed (Laura Poitras)
  36. Riotsville, U.S.A. (Sierra Pettengill)
  37. FIRST TIME [The Time for All But Sunset – VIOLET] (Nicolaas Schmidt)
  38. Return to Seoul (Davy Chou)
  39. A Night of Knowing Nothing (Payal Kapadia)
  40. Expedition Content (Ernst Karel & Veronika Kusumaryati)
  41. Nobody’s Hero (Alain Guiraudie)
  42. Human Flowers of Flesh (Helena Wittmann)
  43. Dry Ground Burning (Joana Pimenta & Adirley Queirós)
  44. Don Juan (Serge Bozon)
  45. Social Hygiene (Denis Côté)
  46. Virgin Blue (Niu Xiaoyu)
  47. Vengeance Is Mine, All Others Pay Cash (Edwin)
  48. Deception (Arnaud Desplechin)
  49. Rampart (Marko Grba Singh)
  50. Amsterdam (David O. Russell)
  51. Our Eternal Summer (Émilie Aussel)
  52. Relative (Michael Glover Smith)
  53. Aftersun (Charlotte Wells)
  54. Will-o’-the-Wisp (João Pedro Rodrigues)
  55. Belle (Hosoda Mamoru)
  56. Ambulance (Michael Bay)
  57. Rock Bottom Riser (Fern Silva)
  58. Top Gun: Maverick (Joseph Kosinski)
  59. A Human Position (Anders Emblem)
  60. Free Chol Soo Lee (Eugene Yi & Julie Ha)
  61. Call Jane (Phyllis Nagy)
  62. Singing in the Wilderness (Chen Dongnan)
  63. Every Day in Kaimukī (Alika Tengan)
  64. Mija (Isabel Castro)
  65. Triangle of Sadness (Ruben Östlund)
  66. Three Thousand Years of Longing (George Miller)
  67. Wet Sand (Elene Naveriani)
  68. Roy’s World: Barry Gifford’s Chicago (Rob Christopher)
  69. From the Planet of the Humans (Giovanni Cioni)
  70. The Banshees of Inisherin (Martin McDonagh)
  71. The City and the City (Christos Passalis & Syllas Tzoumerkas)
  72. Bones and All (Luca Guadagnino)
  73. God’s Creatures (Saela Davis & Anna Rose Holmer)
  74. Jujutsu Kaisen 0 (Park Sung-hoo)
  75. Something in the Dirt (Justin Benson & Aaron Moorhead)
  76. Dear Mr. Brody (Keith Maitland)
  77. A Love Song (Max Walker-Silverman)
  78. Three Minutes: A Lengthening (Bianca Stigter)
  79. The Mission (Tania Anderson)
  80. Casablanca Beats (Nabil Ayouch)
  81. The Exiles (Violet Columbus & Ben Klein)
  82. Divertimento (Marie-Castille Mention-Schaar)
  83. Close (Lukas Dhont)
  84. Athena (Romain Gavras)
  85. Framing Agnes (Chase Joynt)
  86. Everything Everywhere All at Once (Daniel Kwan & Daniel Scheinert)
  87. Spencer (Pablo Larraín)
  88. Bardo: False Chronicle of a Handful of Truths (Alejandro González Iñárritu)
  89. The Whale (Darren Aronofsky)
  90. Babylon (Damien Chazelle)

2022 Omnibus Log

Ryan Swen Lists Tags: ,

001. Amanda (2018, Mikhaël Hers^) Laptop, File 01 Jan – 8.0
t001. +Day 1: 8:00am-9:00am (2002, 24) Monitor, File 07 Jan
t002. +Day 1: 9:00am-10:00am (2002, 24) Monitor, File 07 Jan
002. +What Time Is It There? (2001, Tsai Ming-liang) Monitor, File 08 Jan – 7.9 [same]
s001. Get Lost! Little Doggy (1964, Sid Marcus) New Beverly, 35mm (Friend) 11 Jan – 4.8
003. +In the Mood for Love (2000, Wong Kar-wai) New Beverly, 35mm (Friend) 11 Jan – 9.5 [up from 9.4]
004. Gummo (1997, Harmony Korine) AC Los Feliz 3, 35mm 12 Jan – 7.0
s002. Single Stream (2014, Paweł Wojtasik & Toby Kim Lee & Ernst Karel) Lumiere Music Hall/Acropolis Cinema, DCP (Friend) 14 Jan – 6.6
005. Expedition Content (2020, Ernst Karel^ & Veronika Kusumaryati^) Lumiere Music Hall/Acropolis Cinema, DCP (Friend) 14 Jan – 6.9
006. Malcolm X (1992, Spike Lee) AC Aero Theatre, 70mm 14 Jan – 7.7
007. Miracle Mile (1988, Steve De Jarnatt^) AC Los Feliz 3, 35mm (Friend) 15 Jan – 7.3
008. Arrebato (1979, Iván Zulueta^) New Beverly, 35mm 19 Jan – 6.9
009. +Videodrome (1983, David Cronenberg) New Beverly, 35mm 19 Jan – 7.7 [up from 6.8]
t003. +Day 1: 10:00am-11:00am (2002, 24) Monitor, File 20 Jan
010. +Lincoln (2012, Steven Spielberg) AC Los Feliz 3, 35mm (Friend) 20 Jan – 7.8 [up from 5.4]
t004. +Day 1: 11:00am-12:00pm (2002, 24) Monitor, File 21 Jan
011. The Exiles (2022, Violet Columbus^ & Ben Klein^) Monitor, Online Platform [Sundance] 21 Jan – 4.9
012. Call Jane (2022, Phyllis Nagy^) Monitor, Online Platform [Sundance] 21 Jan – 6.3
013. Red Rocket (2021, Sean Baker) Lumiere Music Hall, 35mm (Friend, Director Q&A) 21 Jan – 7.1
014. A Love Song (2022, Max Walker-Silverman^) Monitor, Online Platform [Sundance] 24 Jan – 5.3
015. The Mission (2022, Tania Anderson^) Monitor, Online Platform [Sundance] 24 Jan – 4.9
016. Riotsville, U.S.A. (2022, Sierra Pettengill^) Monitor, Online Platform [Sundance] 24 Jan – 7.1
017. Free Chol Soo Lee (2022, Eugene Yi^ & Julie Ha^) Monitor, Online Platform [Sundance] 24 Jan – 6.2
018. Mija (2022, Isabel Castro^) Monitor, Online Platform [Sundance] 25 Jan – 5.9
019. The Cathedral (2021, Ricky D’Ambrose) Monitor, Online Platform [Sundance] 25 Jan – 7.2
020. Framing Agnes (2022, Chase Joynt^) Monitor, Online Platform [Sundance] 26 Jan – 4.7
021. Something in the Dirt (2022, Justin Benson^ & Aaron Moorhead^) Monitor, Online Platform [Sundance] 27 Jan – 5.5
p001. ®Three Minutes: A Lengthening (2021, Bianca Stigter) Monitor, Online Platform [Sundance] 27 Jan
s003. Soft Animals (2021, Renee Zhan) Monitor, Online Platform [Sundance] 28 Jan – 6.1
s004. Starfuckers (2022, Antonio Marziale) Monitor, Online Platform [Sundance] 28 Jan – 6.0
s005. Kicking the Clouds (2021, Sky Hopinka) Monitor, Online Platform [Sundance] 28 Jan – 6.3
s006. The Headhunter’s Daughter (2022, Don Josephus Raphael Eblahan) Monitor, Online Platform [Sundance] 28 Jan – 6.0
s007. A wild patience has taken me here (2021, Érica Sarmet) Monitor, Online Platform [Sundance] 28 Jan – 6.2
022. Every Day in Kaimukī (2022, Alika Tengan^) Monitor, Screener [Sundance] 28 Jan – 6.1
023. The Conversation (1974, Francis Ford Coppola) Landmark Nuart, 35mm 29 Jan – 7.7
s008. A Corny Concerto (1943, Bob Clampett) New Beverly, 35mm (Friend) 30 Jan – 5.9
024. +Sign “O” the Times (1987, Prince) New Beverly, 35mm (Friend) 29 Jan – 7.1 [up from 6.9]
025. Letter From an Unknown Woman (1948, Max Ophuls) AC Los Feliz 3, 35mm 30 Jan – 9.0
026. A Human Position (2022, Anders Emblem†) Monitor, Screener 31 Jan – 6.3
s009. Erection (1981, Guido Manuli) New Beverly, 35mm (Friends) 31 Jan – 5.4
027. Equation to an Unknown (1980, Dietrich de Velsa^) New Beverly, 35mm (Friends) 31 Jan – 7.5
028. The August Virgin (2019, Jonás Trueba^) Monitor, File 01 Feb – 7.3
029. Benediction (2021, Terence Davies) Monitor, File 02 Feb – 7.1
030. Haruhara-san’s Recorder (2021, Sugita Kyoshi^) Monitor, Screener 02 Feb – 7.2
031. Spencer (2021, Pablo Larraín) Monitor, File 03 Feb – 4.6
032. Onoda (2021, Arthur Harari^) Monitor, Screener 03 Feb – 7.1
033. Who’s Stopping Us (2021, Jonás Trueba) Monitor, Screener 04 Feb – 7.8
034. +Crouching Tiger, Hidden Dragon (2000, Ang Lee) Academy Museum, 35mm 04 Feb – 9.0 [late; up from 8.8]
035. Die Katze (1988, Dominik Graf*) Laptop, File 05 Feb – 7.3
036. +Only Yesterday (1991, Takahata Isao) Academy Museum, 35mm 05 Feb – 7.8 [up from 6.2]
037. The Invincibles (1994, Dominik Graf*) Monitor, File 06 Feb – 7.1
038. Tatort: Frau Bu lacht (1995, Dominik Graf*) Monitor, File 06 Feb – 7.7
039. The Friends of the Friends (2002, Dominik Graf*) Monitor, File 07 Feb – 7.2
040. Dreileben: Beats Being Dead (2011, Christian Petzold*) Monitor, File 07 Feb – 7.6
041. Beloved Sisters (2014, Dominik Graf*) Monitor, File 07 Feb – 7.3
042. Dreileben: Don’t Follow Me Around (2011, Dominik Graf*) Monitor, File 08 Feb – 7.4
043. Polizeiruf 110: Smoke on the Water (2014, Dominik Graf*) Monitor, File 08 Feb – 7.0
044. +Fabian, or Going to the Dogs (2021, Dominik Graf*) Monitor, File 08 Feb – 7.1 [same]
045. The City Below (2010, Christoph Hochhäusler^*) Monitor, File 09 Feb – 7.7
046. Dreileben: One Minute of Darkness (2011, Christoph Hochhäusler*) Monitor, File 09 Feb – 5.6
047. My Neighbors the Yamadas (1999, Takahata Isao) Academy Museum, 35mm (Friend) 12 Feb – 7.7
048. True Romance (1993, Tony Scott) New Beverly, 35mm 16 Feb – 6.7
049. +Wild at Heart (1990, David Lynch) New Beverly, 35mm 16 Feb – 7.8 [up from 7.7]
050. Werewolf (2016, Ashley McKenzie^) Monitor, File 17 Feb – 5.7
t005. +Day 1: 12:00pm-1:00pm (2002, 24) Monitor, File 17 Jan
051. Queens of the Qing Dynasty (2022, Ashley McKenzie†) Monitor, Screener 17 Feb – 7.2
t006. +Day 1: 1:00pm-2:00pm (2002, 24) Monitor, File 18 Jan
052. A Night of Knowing Nothing (2021, Payal Kapadia^) 2220 Arts + Archives/Acropolis Cinema, File (Volunteer) 18 Feb – 7.0
053. Tree of Knowledge (1981, Nils Malmros^) 2220 Arts + Archives/Mezzanine, File (Friends) 20 Feb – 8.2
054. The Gospel According to St. Matthew (1964, Pier Paolo Pasolini) Academy Museum, 35mm (Friend) 21 Feb – 8.6 [slight]
055. Avanti! (1972, Billy Wilder) New Beverly, 35mm (Friends) 22 Feb – 8.0
056. Once Upon a Time in China (1991, Tsui Hark) Monitor, Blu-ray 23 Feb – 8.6
057. Once Upon a Time in China II (1992, Tsui Hark) Monitor, Blu-ray 24 Feb – 8.1
058. +The Last of the Mohicans (1992, Michael Mann) New Beverly, 35mm 25 Feb – 7.6 [up from 7.3]
s010. Pancho’s Hideaway (1964, Friz Freleng) New Beverly, 35mm 25 Feb – 5.5
059. Point Blank (1967, John Boorman^) New Beverly, 35mm 25 Feb – 7.4
060. Prime Cut (1972, Michael Ritchie) New Beverly, 35mm 25 Feb – 6.1
061. ★ [Version 2022] (2017, Johann Lurf^) Academy Museum, DCP (Friend, Director Q&A) 26 Feb – 7.5
062. +Destroy, She Said (1969, Marguerite Duras) AC Los Feliz 3, 35mm (Friends) 01 Mar – 7.4 [slight; up from 7.2]
t007. +Day 1: 2:00pm-3:00pm (2002, 24) Monitor, File 02 Mar
t008. +Day 1: 3:00pm-4:00pm (2002, 24) Monitor, File 02 Mar
063. Dear Mr. Brody (2021, Keith Maitland†) Monitor, Screener 03 Mar – 5.5
064. La Vie des morts (1991, Arnaud Desplechin) 2220 Arts + Archives/Mezzanine, File (Friend, Director Q&A) 03 Mar – 7.3
065. Petite conversation familiale (2000, Hélène Lapiower^) 2220 Arts + Archives/Mezzanine, File (Friend, Programmer Q&A) 03 Mar – 6.5
066. Deception (2021, Arnaud Desplechin) Lumiere Music Hall/Mezzanine, File (Friends, Director Q&A) 04 Mar – 6.7
067. +Spirited Away (2001, Miyazaki Hayao) New Beverly, 35mm 05 Mar – 8.9 [up from ~8.1]
068. The United States of America (2022, James Benning) UCLA Billy Wilder Theater, DCP (Director Q&A) 06 Mar – 7.4 [intermittent]
069. +The Day a Pig Fell Into the Well (1996, Hong Sang-soo*) Monitor, File 07 Mar – 7.1 [same]
s011. The Crunch Bird (1971, Ted Petok) New Beverly, 35mm 07 Mar – 5.3
070. Bad Girls Go to Hell (1965, Doris Wishman^) New Beverly, 35mm 07 Mar – 6.6
071. +Le Camion (1977, Marguerite Duras) AC Los Feliz 3, 35mm (Friends) 08 Mar – 7.3 [intermittent; up from 7.2]
072. +The Power of Kangwon Province (1998, Hong Sang-soo*) Monitor, Blu-ray 09 Mar – 7.2 [same]
073. +My Blueberry Nights (2007, Wong Kar-wai) AC Los Feliz 3, 35mm (Friends) 09 Mar – 7.2 [same]
074. +Last Year at Marienbad (1961, Alain Resnais) Monitor, Blu-ray 10 Mar – 9.1 [same]
075. Pom Poko (1994, Takahata Isao) Academy Museum, 35mm 10 Mar – 8.0
s012. The Tom and Jerry Cartoon Kit (1962, Gene Deitch) New Beverly, 35mm (Friends) 11 Mar – 5.1
076. Tai-Chi Master (1993, Yuen Woo-ping) New Beverly, 35mm (Friends) 11 Mar – 7.0
077. Wing Chun (1994, Yuen Woo-ping) New Beverly, 35mm (Friends) 11 Mar – 7.3
078. Rock Bottom Riser (2021, Fern Silva^) Lumiere Music Hall/Acropolis Cinema, 35mm (Friends) 12 Mar – 6.4 [slight]
079. +Mulholland Dr. (2001, David Lynch) AC Aero Theatre, 35mm 13 Mar – 9.8 [same]
080. +Sunset Blvd. (1950, Billy Wilder) AC Aero Theatre, 35mm 13 Mar – 7.2 [down from 8.3]
081. Le Navire Night (1979, Marguerite Duras) AC Los Feliz 3, 35mm 15 Mar – 7.1
082. +Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles (1975, Chantal Akerman) New Beverly, 35mm 16 Mar – 8.8 [slight; same]
083. Vengeance Is Mine, All Others Pay Cash (2021, Edwin^) 2220 Arts + Archives, File (Volunteer, Friend) [Locarno in Los Angeles] 17 Mar – 6.9
084. Virgin Blue (2021, Niu Xiaoyu^†) Monitor, Screener 18 Mar – 7.1
085. FIRST TIME [The Time for All But Sunset – VIOLET] (2021, Nicolaas Schmidt^) 2220 Arts + Archives, File (Volunteer, Friends) [Locarno in Los Angeles] 18 Mar – 7.0 [intermittent]
086. +Virgin Stripped Bare by Her Bachelors (2000, Hong Sang-soo*) Monitor, File 18 Mar – 7.4 [up from 7.2]
087. Our Eternal Summer (2021, Émilie Aussel^) 2220 Arts + Archives, File (Volunteer) [Locarno in Los Angeles] 19 Mar – 6.6
088. From the Planet of the Humans (2021, Giovanni Cioni^) 2220 Arts + Archives, File (Volunteer) [Locarno in Los Angeles] 19 Mar – 5.8 [slight]
089. A New Old Play (2021, Qiu Jiongjiong^) 2220 Arts + Archives, File (Volunteer) [Locarno in Los Angeles] 19 Mar – 7.7
090. The Sacred Spirit (2021, Chema García Ibarra^) 2220 Arts + Archives, File (Volunteer, Friend) [Locarno in Los Angeles] 19 Mar – 7.2
091. Rampart (2021, Marko Grba Singh^) 2220 Arts + Archives, File (Volunteer) [Locarno in Los Angeles] 20 Mar – 6.6 [slight]
092. Wet Sand (2021, Elene Naveriani^) 2220 Arts + Archives, File (Volunteer) [Locarno in Los Angeles] 20 Mar – 6.1
093. Medea (2021, Alexander Zeldovich^) 2220 Arts + Archives, File (Volunteer) [Locarno in Los Angeles] 20 Mar – 7.2
094. Belle (2021, Hosoda Mamoru^) 2220 Arts + Archives, File (Volunteer, Friends) [Locarno in Los Angeles] 20 Mar – 6.4
095. +On the Occasion of Remembering the Turning Gate (2002, Hong Sang-soo*) Monitor, File 21 Mar – 7.7 [up from 7.3]
096. +India Song (1975, Marguerite Duras) AC Los Feliz 3, 35mm 22 Mar – 8.8 [slight; same]
097. +Nathalie Granger (1972, Marguerite Duras) 2220 Arts + Archives/Mezzanine, 16mm (Friends, Author Reading) 24 Mar – 7.4 [same]
098. RRR (2022, S. S. Rajamouli) Regal Edwards Market Place, DCP (Alone) 25 Mar – 7.6
099. The Docks of New York (1928, Josef von Sternberg) UCLA Billy Wilder Theater, 35mm (Friends) 26 Mar – 8.6
100. Thunderbolt (1929, Josef von Sternberg) UCLA Billy Wilder Theater, 35mm (Friends) 26 Mar – 6.9
s013. French Rarebit (1951, Robert McKimson) New Beverly, 35mm (Friend) 28 Mar – 5.6
101. Marie Antoinette (2006, Sofia Coppola) New Beverly, 35mm (Friend) 28 Mar – 7.7
102. The Bling Ring (2013, Sofia Coppola) New Beverly, 35mm 28 Mar – 6.5
t009. +Day 1: 4:00pm-6:00pm (2002, 24) Monitor, File 30 Mar
103. Drunken Angel (1948, Kurosawa Akira) AC Los Feliz 3, 35mm 30 Mar – 7.1
104. +The Big Sleep (1946, Howard Hawks) AC Los Feliz 3, 35mm 30 Mar – 8.6 [up from 8.2]
t010. +Day 1: 5:00pm-6:00pm (2002, 24) Monitor, File 31 Mar
s014. Ode to Seekers 2012 (2016, Andrew Norman Wilson) 2220 Arts + Archives/Acropolis Cinema, File (Director Presentation, Friend) 31 Mar – 6.6
s015. The Unthinkable Bygone (2016, Andrew Norman Wilson) 2220 Arts + Archives/Acropolis Cinema, File (Director Presentation, Friend) 31 Mar – 5.6
s016. Z = |Z/Z•Z-1 mod 2|-1: Lavender Town Syndrome (2019, Andrew Norman Wilson) 2220 Arts + Archives/Acropolis Cinema, File (Director Presentation, Friend) 31 Mar – 7.1
s017. +In the Air Tonight (2020, Andrew Norman Wilson) 2220 Arts + Archives/Acropolis Cinema, File (Director Presentation, Friend) 31 Mar – 6.2 [up from 5.8]
s018. Impersonator (2021, Andrew Norman Wilson) 2220 Arts + Archives/Acropolis Cinema, File (Director Presentation, Friend) 31 Mar – 6.3
105. The Women (1939, George Cukor) UCLA Billy Wilder Theater, 35mm 01 Apr – 7.0
106. Hush! (2001, Hashiguchi Ryōsuke^) UCLA Billy Wilder Theater, 35mm (Friends) 02 Apr – 7.5
107. The Heiress (1949, William Wyler^) AC Los Feliz 3, 35mm 03 Apr – 8.8
108. Carnival of Souls (1962, Herk Harvey^) AC Los Feliz 3, 35mm 04 Apr – 7.2
s019. Z = |Z/Z•Z-1 mod 2|-1: The Old Victrola (2019, Andrew Norman Wilson) Monitor, File 05 Apr – 6.4
s020. +Indefinite Pitch (2016, James N. Kienitz Wilkins) Monitor, File 05 Apr – 7.2 [up from 6.6]
109. +Goodbye, Dragon Inn (2003, Tsai Ming-liang) AC Los Feliz 3, DCP 05 Apr – 9.2 [same]
110. +Rio Bravo (1959, Howard Hawks) New Beverly, 35mm 06 Apr – 9.0 [up from 8.8]
111. Assault on Precinct 13 (1976, John Carpenter) New Beverly, 35mm (Producer/Distributor Introduction) 06 Apr – 8.2
112. +Woman Is the Future of Man (2004, Hong Sang-soo*) Monitor, Blu-ray 09 Apr – 7.1 [same]
113. +Hard-Boiled (1992, John Woo) New Beverly, 35mm 09 Apr – 8.7 [up from 8.4]
114. +Seven Samurai (1954, Kurosawa Akira) AC Aero Theatre, 35mm 10 Apr – 9.4 [up from 9.2]
115. +Tale of Cinema (2005, Hong Sang-soo*) Monitor, Blu-ray 13 Apr – 7.9 [up from 7.7]
116. The Girl and the Spider (2021, Ramon and Silvan Zürcher^) 2220 Arts + Archives/Acropolis Cinema, File (Volunteer) 13 Apr – 7.4
t011. +Day 1: 6:00pm-7:00pm (2002, 24) Monitor, File 14 Apr
t012. +Day 1: 7:00pm-8:00pm (2002, 24) Monitor, File 14 Apr
117. The City and the City (2022, Christos Passalis^ & Syllas Tzoumerkas^†) Monitor, Screener 15 Apr – 5.7
118. +My Neighbor Totoro (1988, Miyazaki Hayao) Academy Museum, 35mm 15 Apr – 8.7 [late; same]
119. +Woman on the Beach (2006, Hong Sang-soo*) Monitor, Blu-ray 16 Apr – 7.6 [same]
120. Wood and Water (2021, Jonas Bak^) Monitor, Screener 17 Apr – 7.1
121. Ambulance (2022, Michael Bay) AMC The Grove, DCP 17 Apr – 6.4
122. +Memoria (2021, Apichatpong Weerasethakul) Landmark Nuart, 35mm 17 Apr – 8.4 [same]
123. Everything Everywhere All at Once (2022, Daniel Kwan & Daniel Scheinert) The Landmark, DCP 19 Apr – 4.7
124. +Blissfully Yours (2002, Apichatpong Weerasethakul) AC Los Feliz 3, File 19 Apr – 7.8 [slight; up from 7.3]
125. Singing in the Wilderness (2021, Chen Dongnan^†) Laptop, Screener 22 Apr – 6.2
s021. China Girls (2006, Michelle Silva) UCLA Billy Wilder Theater, 16mm (Director/Academic Panel) 22 Apr – 6.3
s022. +Standard Gauge (1984, Morgan Fisher) UCLA Billy Wilder Theater, 16mm (Director/Academic Panel) 22 Apr – 8.0 [up from 7.3]
s023. Ein Bild (1983, Harun Farocki) UCLA Billy Wilder Theater, File (Director/Academic Panel) 22 Apr – 7.3
s024. Releasing Human Energies (2012, Mark Toscano) UCLA Billy Wilder Theater, 16mm (Director/Academic Panel) 22 Apr – 6.2
126. Gentlemen Prefer Blondes (1953, Howard Hawks) UCLA Billy Wilder Theater, 35mm (Friend) 23 Apr – 9.1
127. +Tropical Malady (2004, Apichatpong Weerasethakul) AC Aero Theatre, 35mm (Friends) 24 Apr – 8.7 [up from 8.1]
128. +Uncle Boonmee Who Can Recall His Past Lives (2010, Apichatpong Weerasethakul) AC Aero Theatre, 35mm 24 Apr – 8.6 [slight; up from 8.4]
129. +Night and Day (2008, Hong Sang-soo*) Monitor, File 27 Apr – 8.7 [up from 8.6]
130. +Like You Know It All (2009, Hong Sang-soo*) Monitor, File 28 Apr – 7.7 [up from 7.5]
s025. +Lost in the Mountains (2009, Hong Sang-soo*) Monitor, Blu-ray 28 Apr – 7.4 [up from 7.2]
131. +Hahaha (2010, Hong Sang-soo*) Monitor, File 29 Apr – 8.0 [up from 7.7]
132. +Oki’s Movie (2010, Hong Sang-soo*) Monitor, File 30 Apr – 7.8 [up from 7.6]
133. +The Day He Arrives (2011, Hong Sang-soo*) Monitor, File 01 May – 8.8 [up from 8.6]
s026. +List (2011, Hong Sang-soo*) Monitor, Blu-ray 01 May – 7.6 [up from 7.5]
s027. Jane Brakhage (1975, Barbara Hammer) 2220 Arts + Archives/Los Angeles Filmforum, 16mm 01 May – 6.0
s028. +Prelude: Dog Star Man (1962, Stan Brakhage) 2220 Arts + Archives/Los Angeles Filmforum, 16mm 01 May – 7.8 [up from 7.4]
s029. Dog Star Man: Part I (1963, Stan Brakhage) 2220 Arts + Archives/Los Angeles Filmforum, 16mm 01 May – 7.4
s030. Dog Star Man: Part II (1964, Stan Brakhage) 2220 Arts + Archives/Los Angeles Filmforum, 16mm 01 May – 7.9
s031. Dog Star Man: Part III (1964, Stan Brakhage) 2220 Arts + Archives/Los Angeles Filmforum, 16mm 01 May – 7.5
s032. Dog Star Man: Part IV (1964, Stan Brakhage) 2220 Arts + Archives/Los Angeles Filmforum, 16mm 01 May – 7.7
134. +In Another Country (2012, Hong Sang-soo*) Monitor, File 02 May – 7.9 [up from 7.3]
s033. JG (2013, Tacita Dean) Academy Museum, 35mm (Director Q&A) 02 May – 6.2
s034. Spectrum Reverse Spectrum (2014, Margaret Honda) Academy Museum, 70mm (Director Q&A) 02 May – 7.1
s035. earthearthearth (2021, Saïto Daïchi) Academy Museum, 35mm (Director Q&A) 02 May – 7.6
135. +Nobody’s Daughter Haewon (2013, Hong Sang-soo*) Monitor, File 03 May – 7.9 [up from 7.3]
136. +Our Sunhi (2013, Hong Sang-soo*) Monitor, File 04 May – 7.6 [up from 7.4]
s036. +50:50 (2013, Hong Sang-soo*) Monitor, File 04 May – 7.3 [up from 7.0]
137. +Hill of Freedom (2014, Hong Sang-soo*) Monitor, Blu-ray 05 May – 8.0 [up from 7.7]
138. +Right Now, Wrong Then (2015, Hong Sang-soo*) Monitor, Blu-ray 06 May – 8.6 [up from 7.8]
139. +Yourself and Yours (2016, Hong Sang-soo*) Monitor, Blu-ray 07 May – 9.1 [up from 8.8]
140. +Kiki’s Delivery Service (1989, Miyazaki Hayao) New Beverly, 35mm 08 May – 7.8 [up from 7.3]
141. +On the Beach at Night Alone (2017, Hong Sang-soo*) Monitor, Blu-ray 08 May – 7.8 [same]
142. +Claire’s Camera (2017, Hong Sang-soo*) Monitor, Blu-ray 09 May – 7.5 [up from 7.3]
143. +The Day After (2017, Hong Sang-soo*) Monitor, Blu-ray 10 May – 7.8 [up from 7.6]
144. +Grass (2018, Hong Sang-soo*) Monitor, Blu-ray 11 May – 8.4 [up from 8.0]
145. Los Conductos (2020, Camilo Restrepo^) 2220 Arts + Archives/Acropolis Cinema, File (Volunteer) 11 May – 7.1
146. +Hotel by the River (2018, Hong Sang-soo*) Monitor, Blu-ray 12 May – 7.4 [same]
147. +Yourself and Yours (2016, Hong Sang-soo) AC Los Feliz 3, DCP (Friends) 12 May – 9.1 [same]
148. +The Woman Who Ran (2020, Hong Sang-soo*) Monitor, Blu-ray 15 May – 7.8 [up from 7.5]
149. +Inland Empire (2006, David Lynch) 2220 Arts + Archives/Acropolis Cinema/Mezzanine, Blu-ray (Volunteer, Friends) 18 May – 8.8 [same]
150. +Sans soleil (1983, Chris Marker) Academy Museum, 35mm (Friends) 19 May – 9.7 [same]
151. +A.I. Artificial Intelligence (2001, Steven Spielberg) Academy Museum, 35mm (Friends) 22 May – 8.9 [same]
t013. +Day 1: 8:00pm-9:00pm (2002, 24) Laptop, File 24 May
t014. +Day 1: 9:00pm-10:00pm (2002, 24) Laptop, File 24 May
152. Don Juan (2022, Serge Bozon†) Laptop, Screener 25 May – 7.0
153. +The Day He Arrives (2011, Hong Sang-soo) AC Los Feliz 3, 35mm (Friends) 25 May – 8.8 [same]
154. +Claire’s Camera (2017, Hong Sang-soo) AC Los Feliz 3, DCP (Friends) 25 May – 7.5 [same]
155. Il buco (2021, Michelangelo Frammartino^) Laemmle Royal, DCP 26 May – 7.8
156. Bamboozled (2000, Spike Lee) Academy Museum, 35mm 27 May – 7.7 [late]
s037. Wild and Woody! (1948, Dick Lundy) New Beverly, 35mm 27 May – 5.5
157. +No Country for Old Men (2007, Joel & Ethan Coen) New Beverly, 35mm 27 May – 6.8 [same]
158. Will-o’-the-Wisp (2022, João Pedro Rodrigues†) Laptop, Screener 30 May – 6.5
t015. +Day 1: 10:00pm-11:00pm (2002, 24) Laptop, File 31 May
t016. +Day 1: 11:00pm-12:00am (2002, 24) Laptop, File 31 May
t017. To You, in 2000 Years: The Fall of Shiganshina, Part 1 (2013, Attack on Titan) Phone, Crunchyroll (Partner) 02 Jun
159. +An Elephant Sitting Still (2018, Hu Bo) AC Aero Theatre, DCP (Speaker) 04 Jun – 7.7 [up from 7.5]
160. Crimes of the Future (2022, David Cronenberg) AMC Tustin, DCP 05 Jun – 7.3
161. Flowers of Shanghai (1998, Hou Hsiao-hsien) UCLA Billy Wilder Theater, 35mm (Friends) 05 Jun – 8.7
162. The Seventh Victim (1943, Mark Robson^) AC Los Feliz 3, 35mm (Friend) 06 Jun – 8.1
163. +The Sweet Hereafter (1997, Atom Egoyan) AC Los Feliz 3, 35mm (Friend) 06 Jun – 7.7 [same]
164. +Morocco (1930, Josef von Sternberg) New Beverly, 35mm 07 Jun – 8.0 [same]
165. Blonde Venus (1932, Josef von Sternberg) New Beverly, 35mm (Friends) 07 Jun – 7.2
166. Top Gun: Maverick (2022, Joseph Kosinski^) Regal Irvine Spectrum, IMAX DCP 08 Jun – 6.3
167. +Happy Together (1997, Wong Kar-wai) New Beverly, 35mm 10 Jun – 8.0 [late; same]
168. +Days of Being Wild (1990, Wong Kar-wai) New Beverly, 35mm (Friend) 10 Jun – 8.8 [same]
169. +Lolita (1962, Stanley Kubrick) Laptop, File 13 Jun – 7.5 [down from 8.3]
t017. The Severed Head (2022, Irma Vep) Laptop, File 13 Jun
s038. +Cilaos (2016, Camilo Restrepo) Laptop, File 15 Jun – 6.9 [up from 6.1]
s039. La bouche (2017, Camilo Restrepo) Laptop, File 15 Jun – 6.9
t018. The Ring That Kills (2022, Irma Vep) Laptop, File 20 Jun
t019. Dead Man’s Escape (2022, Irma Vep) Laptop, File 22 Jun
170. +Remember My Name (1978, Alan Rudolph) New Beverly, 35mm (Friend) 23 Jun – 7.6 [up from 6.8]
171. Play It As It Lays (1972, Frank Perry^) New Beverly, 35mm (Friend) 23 Jun – 5.9
172. World on a Wire (1973, Rainer Werner Fassbinder) New Beverly, 35mm 24 Jun – 7.7
173. Section 1 (2022, Jon Bois^) Laptop, YouTube 25 Jun – 7.8
174. +Irma Vep (1996, Olivier Assayas) Monitor, Blu-ray 28 Jun – 7.9 [up from 7.3]
t020. The Poisoner (2022, Irma Vep) Laptop, File 30 Jun
175. Dirty Harry (1971, Don Siegel) AC Los Feliz 3, 35mm (Friend) 02 Jul – 7.5
176. Gangs of New York (2002, Martin Scorsese) New Beverly, 35mm 02 Jul – 6.5
177. Ruggles of Red Gap (1935, Leo McCarey) AC Los Feliz 3, 35mm (Friend) 03 Jul – 9.0
t021. That Day: The Fall of Shiganshina, Part 2 (2013, Attack on Titan) Phone, Crunchyroll (Partner) 03 Jul
t022. Hypnotic Eyes (2022, Irma Vep) Laptop, File 05 Jul
t023. A Dim Light Amid Despair: Humanity’s Comeback, Part 1 (2013, Attack on Titan) Phone, Crunchyroll (Partner) 05 Jul
t024. The Night of the Closing Ceremony: Humanity’s Comeback, Part 2 (2013, Attack on Titan) Phone, Netflix (Partner) 05 Jul
t025. First Battle: The Struggle for Trost, Part 1 (2013, Attack on Titan) Phone, Netflix (Partner) 05 Jul
t026. The World the Girl Saw: The Struggle for Trost, Part 2 (2013, Attack on Titan) Phone, Netflix (Partner) 05 Jul
178. Social Hygiene (2021, Denis Côté) 2220 Arts + Archives/Acropolis Cinema, File (Volunteer) 07 Jul – 6.9
t027. The Thunder Master (2022, Irma Vep) Monitor, File 13 Jul
s040. Bill of Hare (1962, Robert McKimson) New Beverly, 35mm 15 Jul – 5.3
179. +Woman in the Dunes (1964, Teshigahara Hiroshi) New Beverly, 35mm 15 Jul – 8.6 [up from 8.1]
180. Face/Off (1997, John Woo) Academy Museum, 35mm 17 Jul – 7.8
t028. The Spectre (2022, Irma Vep) Monitor, File 19 Jul
181. +Out 1: Noli me tangere (1971, Jacques Rivette) Monitor, File 21 Jul – 9.3 [up from 8.6]
182. Nope (2022, Jordan Peele) Regal Irvine Spectrum, IMAX DCP 22 Jul – 7.2 [same]
t029. The Terrible Wedding (2022, Irma Vep) Monitor, File 26 Jul
183. Seconds (1966, John Frankenheimer) AC Los Feliz 3, 35mm 14 Aug – 7.5
184. Three Minutes: A Lengthening (2021, Bianca Stigter^†) Monitor, Screener 14 Aug – 4.9
185. Three Thousand Years of Longing (2022, George Miller†) Wilshire Screening Room, DCP 16 Aug – 6.1
t030. The Boy in the Iceberg (2005, Avatar: The Last Airbender) Phone, Netflix (Partner) 18 Aug
186. Relative (2022, Michael Glover Smith) Monitor, Screener 18 Aug – 6.5
187. +El Gran Movimiento (2021, Kiro Russo) 2220 Arts + Archives/Acropolis Cinema, File (Volunteer) 18 Aug – 7.2 [up from 6.5]
r001. Back to the Future (1985, Robert Zemeckis) 25 Aug – 7.5 [up from ~6.7]
r002. Back to the Future Part II (1989, Robert Zemeckis) 25 Aug – 6.4 [up from ~5.1]
r003. Back to the Future Part III (1990, Robert Zemeckis) 25 Aug – 6.5 [up from ~5.0]
188. +Diary of a Country Priest (1951, Robert Bresson) AC Aero Theatre, 35mm 02 Sep – 8.6 [late; up from 7.7]
189. +A Man Escaped (1956, Robert Bresson) AC Aero Theatre, 35mm (Friends) 02 Sep – 8.7 [up from 7.7]
190. +The Walk (2015, Robert Zemeckis) Laptop, File 03 Sep – 6.5 [up from 5.5]
191. Roy’s World: Barry Gifford’s Chicago (2020, Rob Christopher^) AC Los Feliz 3, DCP (Moderator) 03 Sep – 5.9 [slight]
192. La libertad (2001, Lisandro Alonso) Monitor, File 08 Sep – 7.9
193. +The Killer (1989, John Woo) New Beverly, 35mm (Friend) 11 Sep – 8.9 [up from 8.2]
t031. Small Blade: The Struggle for Trost, Part 3 (2013, Attack on Titan) Phone, Netflix (Partner) 15 Sep
194. +Au hasard Balthazar (1966, Robert Bresson) AC Aero Theatre, 35mm 15 Sep – 8.6 [up from 8.2]
195. +Mouchette (1967, Robert Bresson) AC Aero Theatre, 35mm 15 Sep – 7.8 [up from 7.3]
196. Casablanca Beats (2021, Nabil Ayouch^) Monitor, Screener 16 Sep – 4.9
197. L’Argent (1983, Robert Bresson) AC Los Feliz 3, 35mm 16 Sep – 8.9
s041. Fastest With the Mostest (1960, Chuck Jones) New Beverly, 35mm 16 Sep – 6.0
198. Car Wash (1976, Michael Schultz^) New Beverly, 35mm 16 Sep – 6.5
199. Amsterdam (2022, David O. Russell†) AMC Century City, DCP 19 Sep – 6.6 [late]
s042. EVENTIDE (2022, Sharon Lockhart) REDCAT, DCP 21 Sep – 7.2
200. Choose Me (1984, Alan Rudolph) New Beverly, 35mm (Friend) 22 Sep – 7.9
201. +Les Dames du Bois de Boulogne (1945, Robert Bresson) AC Aero Theatre, 35mm (Friend) 22 Sep – 7.4 [up from 7.2]
202. +The Devil, Probably (1977, Robert Bresson) AC Aero Theatre, 35mm (Friend) 22 Sep – 8.7 [up from 8.0]
203. Triangle of Sadness (2022, Ruben Östlund) The London, DCP (Friend, Actress Q&A) 26 Sep – 6.2
204. Jujutsu Kaisen 0 (2022, Park Sung-hoo^) Monitor, Crunchyroll (Partner) 28 Sep – 5.5
t032. I Can Hear His Heartbeat: The Struggle for Trost, Part 4 (2013, Attack on Titan) Monitor, Netflix (Partner) 28 Sep
t033. Whereabouts of His Left Arm: The Struggle for Trost, Part 5 (2013, Attack on Titan) Monitor, Netflix (Partner) 28 Sep
t034. Response: The Struggle for Trost, Part 6 (2013, Attack on Titan) Monitor, Netflix (Partner) 28 Sep
t035. Idol: The Struggle for Trost, Part 7 (2013, Attack on Titan) Monitor, Netflix (Partner) 28 Sep
205. God’s Creatures (2022, Saela Davis^ & Anna Rose Holmer†) Monitor, File 05 Oct – 5.6
206. The Novelist’s Film (2022, Hong Sang-soo†) Monitor, File 06 Oct – 7.9
207. Decision to Leave (2022, Park Chan-wook†) Raleigh Studios Pickford Theater, DCP (Friends) 07 Oct – 7.5
208. Walk Up (2022, Hong Sang-soo†) Monitor, Screener 08 Oct – 8.2
209. Diary of a Fleeting Affair (2022, Emmanuel Mouret) DGA Theater, DCP (Jury) [TAFFF] 11 Oct – 7.6
210. Divertimento (2022, Marie-Castille Mention-Schaar^) DGA Theater, DCP (Jury) [TAFFF] 11 Oct – 4.7
t036. Wound: The Struggle for Trost, Part 8 (2013, Attack on Titan) Monitor, Netflix (Partner) 12 Oct
t037. Primal Desire: The Struggle for Trost, Part 9 (2013, Attack on Titan) Monitor, Netflix (Partner) 12 Oct
t038. Can’t Look Into His Eyes Yet: Eve of the Counterattack, Part 1 (2013, Attack on Titan) Monitor, Netflix (Partner) 12 Oct
t039. Special Operations Squad: Eve of the Counterattack, Part 2 (2013, Attack on Titan) Monitor, Netflix (Partner) 13 Oct
t040. What Needs to Be Done Now: Eve of the Counterattack, Part 3 (2013, Attack on Titan) Monitor, Netflix (Partner) 13 Oct
211. +Relative (2022, Michael Glover Smith) AC Los Feliz 3, DCP (Moderator) 14 Oct – 6.5 [same]
212. Nobody’s Hero (2022, Alain Guiraudie†) Monitor/Laptop, File (Jury) 19 Oct – 6.7
213. Athena (2022, Romain Gavras^) Monitor/Laptop, Netflix (Jury) 19 Oct – 4.7
214. Basic Instinct (1992, Paul Verhoeven) New Beverly, 35mm 21 Oct – 7.2
215. +The Calming (2020, Song Fang) 2220 Arts + Archives/Acropolis Cinema, File (Volunteer) 23 Oct – 7.0 [up from 6.5]
216. Armageddon Time (2022, James Gray†) Universal Executive Screening Room, DCP (Friend) 24 Oct – 7.1
217. TÁR (2022, Todd Field^) AMC Century City, DCP 25 Oct – 7.3
218. Dangerous Game (1988, Stephen Hopkins$) Monitor, YouTube 31 Oct – 5.3
219. A Nightmare on Elm Street 5: The Dream Child (1989, Stephen Hopkins$) Monitor/Laptop, File 31 Oct – 5.7
220. Bones and All (2022, Luca Guadagnino†) Sepulveda Screening Room, DCP 02 Nov – 5.6 [late]
221. Daisy Miller (1974, Peter Bogdanovich) New Beverly, 35mm 02 Nov – 7.1
222. Dry Ground Burning (2022, Joana Pimenta^ & Adirley Queirós^) TCL Chinese 6, DCP (Director Q&A) [AFI Fest] 03 Nov – 7.0 [late]
223. All the Beauty and the Bloodshed (2022, Laura Poitras^†) NeueHouse Hollywood, DCP (Director Q&A) 04 Nov – 7.1 [late]
224. Pacifiction (2022, Albert Serra) TCL Chinese 6, DCP (Friends, Director Q&A) [AFI Fest] 04 Nov – 8.1
225. Human Flowers of Flesh (2022, Helena Wittmann) TCL Chinese 6, DCP (Friends) [AFI Fest] 04 Nov – 7.0 [late]
226. EO (2022, Jerzy Skolimowski) TCL Chinese 6, DCP [AFI Fest] 05 Nov – 7.9 [late]
227. Trenque Lauquen (2022, Laura Citarella^) TCL Chinese 6, DCP (Friends) [AFI Fest] 06 Nov – 7.8 [late]
228. The People You’re Paying to Be in Shorts (2022, Jon Bois) Monitor, YouTube (Live Premiere) 09 Nov – 7.6
229. The Fabelmans (2022, Steven Spielberg) Linwood Dunn Theater, DCP (Friend) 11 Nov – 7.7 [late]
230. Babylon (2022, Damien Chazelle†) Samuel Goldwyn Theater, DCP (Director, Cast Q&A) 14 Nov – 1.2
231. +Greed (1924, Erich von Stroheim¢) Monitor, File 15 Nov – 8.7 [up from 7.9]
232. +Jauja (2014, Lisandro Alonso¢) Monitor, Blu-ray 16 Nov – 8.6 [up from 7.8]
233. Bardo: False Chronicle of a Handful of Truths (2022, Alejandro González Iñárritu) Wilshire Screening Room, DCP 18 Nov – 4.0 [late]
234. The Whale (2022, Darren Aronofsky†) Laemmle Fine Arts, DCP (Friend, Screenwriter and Actors Q&A) 18 Nov – 2.7
235. +Chungking Express (1994, Wong Kar-wai) Monitor, File (Half) 27 Nov – 9.3 [up from 9.0]
236. Deja Vu (2006, Tony Scott) AC Los Feliz 3, 35mm 27 Nov – 7.9 [late]
237. +Yi Yi (2000, Edward Yang) Monitor, Blu-ray (Half) 04 Dec – 10
238. Avatar: The Way of Water (2022, James Cameron) Frank G. Wells Theater, 3D DCP 08 Dec – 8
239. Close (2022, Lukas Dhont^) Rodeo Screening Room, DCP 09 Dec – 5 [late]
240. White Noise (2022, Noah Baumbach) Netflix Epic Roma Theater, DCP 09 Dec – 8
241. The Banshees of Inisherin (2022, Martin McDonagh) Monitor, Screener 10 Dec – 6
242. One Fine Morning (2022, Mia Hansen-Løve) Monitor, Screener 10 Dec – 8
243. Return to Seoul (2022, Davy Chou^) Monitor, Screener 10 Dec – 8
244. Aftersun (2022, Charlotte Wells^) Monitor, Screener 11 Dec – 7
245. Saint Omer (2022, Alice Diop^) Monitor/Laptop, Screener 11 Dec – 8
s043. Les trois désastres (2013, Jean-Luc Godard) 2220 Arts + Archives/Acropolis Cinema, 3D File (Volunteer, Friend) 14 Dec – 9
246. The Traveling Players (1975, Theodoros Angelopoulos^) UCLA Billy Wilder Theater, 35mm (Friend) 18 Dec – 8
247. +The Fabelmans (2022, Steven Spielberg) Television, File (Parents) 23 Dec – 9
248. +Decision to Leave (2022, Park Chan-wook) Television, File (Parent) 29 Dec – 8

2022 Viewing Log

Ryan Swen Lists Tags: ,

January
Amanda (2018, Mikhaël Hers) – 8.0
+What Time Is It There? (2001, Tsai Ming-liang) – 7.9 [same]
Get Lost! Little Doggy (1964, Sid Marcus) 35mm
+In the Mood for Love (2000, Wong Kar-wai) 35mm – 9.5 [up from 9.4]
Gummo (1997, Harmony Korine) 35mm – 7.0
Single Stream (2014, Paweł Wojtasik & Toby Kim Lee & Ernst Karel) DP
Expedition Content (2020, Ernst Karel & Veronika Kusumaryati) DP – 6.9
Malcolm X (1992, Spike Lee) 70mm – 7.7
Miracle Mile (1988, Steve De Jarnatt) 35mm – 7.3
Arrebato (1979, Iván Zulueta) 35mm – 6.9
+Videodrome (1983, David Cronenberg) 35mm – 7.7 [up from 6.8]
+Lincoln (2012, Steven Spielberg) 35mm – 7.8 [up from 5.4]
The Exiles (2022, Violet Columbus & Ben Klein) Sundance – 4.9
Call Jane (2022, Phyllis Nagy) Sundance – 6.3
Red Rocket (2021, Sean Baker) 35mm – 7.1
A Love Song (2022, Max Walker-Silverman) Sundance – 5.3
The Mission (2022, Tania Anderson) Sundance – 4.9
Riotsville, U.S.A. (2022, Sierra Pettengill) Sundance – 7.1
Free Chol Soo Lee (2022, Eugene Yi & Julie Ha) Sundance – 6.2
Mija (2022, Isabel Castro) Sundance – 5.9
The Cathedral (2021, Ricky D’Ambrose) Sundance – 7.2
Framing Agnes (2022, Chase Joynt) Sundance – 4.7
Something in the Dirt (2022, Justin Benson & Aaron Moorhead) Sundance – 5.5
Soft Animals (2021, Renee Zhan) Sundance
Starfuckers (2022, Antonio Marziale) Sundance
Kicking the Clouds (2021, Sky Hopinka) Sundance
The Headhunter’s Daughter (2022, Don Josephus Raphael Eblahan) Sundance
A wild patience has taken me here (2021, Érica Sarmet) Sundance
Every Day in Kaimukī (2022, Alika Tengan) Sundance – 6.1
The Conversation (1974, Francis Ford Coppola) 35mm – 7.7
A Corny Concerto (1943, Bob Clampett) 35mm
+Sign “O” the Times (1987, Prince) 35mm – 7.1 [up from 6.9]
Letter From an Unknown Woman (1948, Max Ophuls) 35mm – 9.0
A Human Position (2022, Anders Emblem) – 6.3
Erection (1981, Guido Manuli) 35mm
Equation to an Unknown (1980, Dietrich de Velsa) 35mm – 7.5

February
The August Virgin (2019, Jonás Trueba) – 7.3
Benediction (2021, Terence Davies) – 7.1
Haruhara-san’s Recorder (2021, Sugita Kyoshi) – 7.2
Spencer (2021, Pablo Larraín) – 4.6
Onoda (2021, Arthur Harari) – 7.1
Who’s Stopping Us (2021, Jonás Trueba) – 7.8
+Crouching Tiger, Hidden Dragon (2000, Ang Lee) 35mm – 9.0 [up from 8.8]
Die Katze (1988, Dominik Graf) – 7.3
+Only Yesterday (1991, Takahata Isao) 35mm – 7.8 [up from 6.2]
The Invincibles (1994, Dominik Graf) – 7.1
Tatort: Frau Bu lacht (1995, Dominik Graf) – 7.7
The Friends of the Friends (2002, Dominik Graf) – 7.2
Dreileben: Beats Being Dead (2011, Christian Petzold) – 7.6
Beloved Sisters (2014, Dominik Graf) – 7.3
Dreileben: Don’t Follow Me Around (2011, Dominik Graf) – 7.4
Polizeiruf 110: Smoke on the Water (2014, Dominik Graf) – 7.0
+Fabian, or Going to the Dogs (2021, Dominik Graf) – 7.1 [same]
The City Below (2010, Christoph Hochhäusler) – 7.7
Dreileben: One Minute of Darkness (2011, Christoph Hochhäusler) – 5.6
My Neighbors the Yamadas (1999, Takahata Isao) 35mm – 7.7
True Romance (1993, Tony Scott) 35mm – 6.7
+Wild at Heart (1990, David Lynch) 35mm – 7.8 [up from 7.7]
Werewolf (2016, Ashley McKenzie) – 5.7
Queens of the Qing Dynasty (2022, Ashley McKenzie) – 7.2
A Night of Knowing Nothing (2021, Payal Kapadia) DP – 7.0
Tree of Knowledge (1981, Nils Malmros) DP – 8.2
The Gospel According to St. Matthew (1964, Pier Paolo Pasolini) 35mm – 8.6
Avanti! (1972, Billy Wilder) 35mm – 8.0
Once Upon a Time in China (1991, Tsui Hark) – 8.6
Once Upon a Time in China II (1992, Tsui Hark) – 8.1
+The Last of the Mohicans (1992, Michael Mann) 35mm – 7.6 [up from 7.3]
Pancho’s Hideaway (1964, Friz Freleng) 35mm
Point Blank (1967, John Boorman) 35mm – 7.4
Prime Cut (1972, Michael Ritchie) 35mm – 6.1
★ [Version 2022] (2017, Johann Lurf) DP – 7.5

March
+Destroy, She Said (1969, Marguerite Duras) 35mm – 7.4 [up from 7.2]
Dear Mr. Brody (2021, Keith Maitland) – 5.5
La Vie des morts (1991, Arnaud Desplechin) DP – 7.3
Petite conversation familiale (2000, Hélène Lapiower) DP – 6.5
Deception (2021, Arnaud Desplechin) DP – 6.7
+Spirited Away (2001, Miyazaki Hayao) 35mm – 8.9 [up from ~8.1]
The United States of America (2022, James Benning) DP – 7.4
+The Day a Pig Fell Into the Well (1996, Hong Sang-soo) – 7.1 [same]
The Crunch Bird (1971, Ted Petok) 35mm
Bad Girls Go to Hell (1965, Doris Wishman) 35mm – 6.6
+Le Camion (1977, Marguerite Duras) 35mm – 7.3 [up from 7.2]
+The Power of Kangwon Province (1998, Hong Sang-soo) – 7.2 [same]
+My Blueberry Nights (2007, Wong Kar-wai) 35mm – 7.2 [same]
+Last Year at Marienbad (1961, Alain Resnais) – 9.1 [same]
Pom Poko (1994, Takahata Isao) 35mm – 8.0
The Tom and Jerry Cartoon Kit (1962, Gene Deitch) 35mm
Tai-Chi Master (1993, Yuen Woo-ping) 35mm – 7.0
Wing Chun (1994, Yuen Woo-ping) 35mm – 7.3
Rock Bottom Riser (2021, Fern Silva) 35mm – 6.4
+Mulholland Dr. (2001, David Lynch) 35mm – 9.8 [same]
+Sunset Blvd. (1950, Billy Wilder) 35mm – 7.2 [down from 8.3]
Le Navire Night (1979, Marguerite Duras) 35mm – 7.1
+Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles (1975, Chantal Akerman) 35mm – 8.8 [same]
Vengeance Is Mine, All Others Pay Cash (2021, Edwin) Locarno in Los Angeles, DP – 6.9
Virgin Blue (2021, Niu Xiaoyu) – 7.1
FIRST TIME [The Time for All But Sunset – VIOLET] (2021, Nicolaas Schmidt) Locarno in Los Angeles, DP – 7.0
+Virgin Stripped Bare by Her Bachelors (2000, Hong Sang-soo) – 7.4 [up from 7.2]
Our Eternal Summer (2021, Émilie Aussel) Locarno in Los Angeles, DP – 6.6
From the Planet of the Humans (2021, Giovanni Cioni) Locarno in Los Angeles, DP – 5.8
A New Old Play (2021, Qiu Jiongjiong) Locarno in Los Angeles, DP – 7.7
The Sacred Spirit (2021, Chema García Ibarra) Locarno in Los Angeles, DP – 7.2
Rampart (2021, Marko Grba Singh) Locarno in Los Angeles, DP – 6.6
Wet Sand (2021, Elene Naveriani) Locarno in Los Angeles, DP – 6.1
Medea (2021, Alexander Zeldovich) Locarno in Los Angeles, DP – 7.2
Belle (2021, Hosoda Mamoru) Locarno in Los Angeles, DP – 6.4
+On the Occasion of Remembering the Turning Gate (2002, Hong Sang-soo) – 7.7 [up from 7.3]
+India Song (1975, Marguerite Duras) 35mm – 8.8 [up from 8.7]
+Nathalie Granger (1972, Marguerite Duras) 16mm – 7.4 [same]
RRR (2022, S. S. Rajamouli) DP – 7.6
The Docks of New York (1928, Josef von Sternberg) 35mm – 8.6
Thunderbolt (1929, Josef von Sternberg) 35mm – 6.9
French Rarebit (1951, Robert McKimson) 35mm
Marie Antoinette (2006, Sofia Coppola) 35mm – 7.7
The Bling Ring (2013, Sofia Coppola) 35mm – 6.5
Drunken Angel (1948, Kurosawa Akira) 35mm – 7.1
+The Big Sleep (1946, Howard Hawks) 35mm – 8.6 [up from 8.2]
Ode to Seekers 2012 (2016, Andrew Norman Wilson) DP
The Unthinkable Bygone (2016, Andrew Norman Wilson) DP
Z = |Z/Z•Z-1 mod 2|-1: Lavender Town Syndrome (2019, Andrew Norman Wilson) DP
+In the Air Tonight (2020, Andrew Norman Wilson) DP
Impersonator (2021, Andrew Norman Wilson) DP

April
The Women (1939, George Cukor) 35mm – 7.0
Hush! (2001, Hashiguchi Ryōsuke) 35mm – 7.5
The Heiress (1949, William Wyler) 35mm – 8.8
Carnival of Souls (1962, Herk Harvey) 35mm – 7.2
Z = |Z/Z•Z-1 mod 2|-1: The Old Victrola (2019, Andrew Norman Wilson)
+Indefinite Pitch (2016, James N. Kienitz Wilkins)
+Goodbye, Dragon Inn (2003, Tsai Ming-liang) DP – 9.2 [same]
+Rio Bravo (1959, Howard Hawks) 35mm – 9.0 [up from 8.8]
Assault on Precinct 13 (1976, John Carpenter) 35mm – 8.2
+Woman Is the Future of Man (2004, Hong Sang-soo) – 7.1 [same]
+Hard-Boiled (1992, John Woo) 35mm – 8.7 [up from 8.4]
+Seven Samurai (1954, Kurosawa Akira) 35mm – 9.4 [up from 9.2]
+Tale of Cinema (2005, Hong Sang-soo) – 7.9 [up from 7.7]
The Girl and the Spider (2021, Ramon and Silvan Zürcher) DP – 7.4
The City and the City (2022, Christos Passalis & Syllas Tzoumerkas) – 5.7
+My Neighbor Totoro (1988, Miyazaki Hayao) 35mm – 8.7 [same]
+Woman on the Beach (2006, Hong Sang-soo) – 7.6 [same]
Wood and Water (2021, Jonas Bak) – 7.1
Ambulance (2022, Michael Bay) DP – 6.4
+Memoria (2021, Apichatpong Weerasethakul) 35mm – 8.4 [same]
Everything Everywhere All at Once (2022, Daniel Kwan & Daniel Scheinert) DP – 4.7
+Blissfully Yours (2002, Apichatpong Weerasethakul) DP – 7.8 [up from 7.3]
Singing in the Wilderness (2021, Chen Dongnan) – 6.2
China Girls (2006, Michelle Silva) 16mm
+Standard Gauge (1984, Morgan Fisher) 16mm
Ein Bild (1983, Harun Farocki) DP
Releasing Human Energies (2012, Mark Toscano) 16mm
Gentlemen Prefer Blondes (1953, Howard Hawks) 35mm – 9.1
+Tropical Malady (2004, Apichatpong Weerasethakul) 35mm – 8.7 [up from 8.1]
+Uncle Boonmee Who Can Recall His Past Lives (2010, Apichatpong Weerasethakul) 35mm – 8.6 [up from 8.4]
+Night and Day (2008, Hong Sang-soo) – 8.7 [up from 8.6]
+Like You Know It All (2009, Hong Sang-soo) – 7.7 [up from 7.5]
+Lost in the Mountains (2009, Hong Sang-soo)
+Hahaha (2010, Hong Sang-soo) – 8.0 [up from 7.7]
+Oki’s Movie (2010, Hong Sang-soo) – 7.8 [up from 7.6]

May
+The Day He Arrives (2011, Hong Sang-soo) – 8.8 [up from 8.6]
+List (2011, Hong Sang-soo)
Jane Brakhage (1975, Barbara Hammer) 16mm
+Prelude: Dog Star Man (1962, Stan Brakhage) 16mm
Dog Star Man: Part I (1963, Stan Brakhage) 16mm
Dog Star Man: Part II (1964, Stan Brakhage) 16mm
Dog Star Man: Part III (1964, Stan Brakhage) 16mm
Dog Star Man: Part IV (1964, Stan Brakhage) 16mm
+In Another Country (2012, Hong Sang-soo) – 7.9 [up from 7.3]
JG (2013, Tacita Dean) 35mm
Spectrum Reverse Spectrum (2014, Margaret Honda) 70mm
earthearthearth (2021, Saïto Daïchi) 35mm
+Nobody’s Daughter Haewon (2013, Hong Sang-soo) – 7.9 [up from 7.6]
+Our Sunhi (2013, Hong Sang-soo) – 7.6 [up from 7.4]
+50:50 (2013, Hong Sang-soo)
+Hill of Freedom (2014, Hong Sang-soo) – 8.0 [up from 7.7]
+Right Now, Wrong Then (2015, Hong Sang-soo) – 8.6 [up from 7.8]
+Yourself and Yours (2016, Hong Sang-soo) – 9.1 [up from 8.8]
+Kiki’s Delivery Service (1989, Miyazaki Hayao) 35mm – 7.8 [up from 7.3]
+On the Beach at Night Alone (2017, Hong Sang-soo) – 7.8 [same]
+Claire’s Camera (2017, Hong Sang-soo) – 7.5 [up from 7.3]
+The Day After (2017, Hong Sang-soo) – 7.8 [up from 7.6]
+Grass (2018, Hong Sang-soo) – 8.4 [up from 8.0]
Los Conductos (2020, Camilo Restrepo) DP – 7.1
+Hotel by the River (2018, Hong Sang-soo) – 7.4 [same]
+Yourself and Yours (2016, Hong Sang-soo) DP – 9.1 [same]
+The Woman Who Ran (2020, Hong Sang-soo) – 7.8 [up from 7.5]
+Inland Empire (2006, David Lynch) DP – 8.8 [same]
+Sans soleil (1983, Chris Marker) 35mm – 9.7 [same]
+A.I. Artificial Intelligence (2001, Steven Spielberg) 35mm – 8.9 [same]
Don Juan (2022, Serge Bozon) – 7.0
+The Day He Arrives (2011, Hong Sang-soo) 35mm – 8.8 [same]
+Claire’s Camera (2017, Hong Sang-soo) DP – 7.5 [same]
Il buco (2021, Michelangelo Frammartino) DP – 7.8
Bamboozled (2000, Spike Lee) 35mm – 7.7
Wild and Woody! (1948, Dick Lundy) 35mm
+No Country for Old Men (2007, Joel & Ethan Coen) 35mm – 6.8 [same]
Will-o’-the-Wisp (2022, João Pedro Rodrigues) – 6.5

June
+An Elephant Sitting Still (2018, Hu Bo) DP – 7.7 [up from 7.5]
Crimes of the Future (2022, David Cronenberg) DP – 7.3
Flowers of Shanghai (1998, Hou Hsiao-hsien) 35mm – 8.7
The Seventh Victim (1943, Mark Robson) 35mm – 8.1
+The Sweet Hereafter (1997, Atom Egoyan) 35mm – 7.7
+Morocco (1930, Josef von Sternberg) 35mm – 8.0 [same]
Blonde Venus (1932, Josef von Sternberg) 35mm – 7.2
Top Gun: Maverick (2022, Joseph Kosinski) DP – 6.3
+Happy Together (1997, Wong Kar-wai) 35mm – 8.0 [same]
+Days of Being Wild (1990, Wong Kar-wai) 35mm – 8.8
+Lolita (1962, Stanley Kubrick) – 7.5 [down from 8.3]
+Cilaos (2016, Camilo Restrepo)
La bouche (2017, Camilo Restrepo)
+Remember My Name (1978, Alan Rudolph) 35mm – 7.6 [up from 6.8]
Play It As It Lays (1972, Frank Perry) 35mm – 5.9
World on a Wire (1973, Rainer Werner Fassbinder) 35mm – 7.7
Section 1 (2022, Jon Bois) – 7.8
+Irma Vep (1996, Olivier Assayas) – 7.9 [up from 7.3]

July
Dirty Harry (1971, Don Siegel) 35mm – 7.5
Gangs of New York (2002, Martin Scorsese) 35mm – 6.5
Ruggles of Red Gap (1935, Leo McCarey) 35mm – 9.0
Social Hygiene (2021, Denis Côté) DP – 6.9
Bill of Hare (1962, Robert McKimson) 35mm
+Woman in the Dunes (1964, Teshigahara Hiroshi) 35mm – 8.6 [up from 8.1]
Face/Off (1997, John Woo) 35mm – 7.8
+Out 1: Noli me tangere (1971, Jacques Rivette) – 9.3 [up from 8.4]
Nope (2022, Jordan Peele) DP – 7.2

August
Seconds (1966, John Frankenheimer) 35mm – 7.5
Three Minutes: A Lengthening (2021, Bianca Stigter) – 4.9
Three Thousand Years of Longing (2022, George Miller) DP – 6.1
Relative (2022, Michael Glover Smith) – 6.5
+El Gran Movimiento (2021, Kiro Russo) DP – 7.2 [up from 6.5]

September
+Diary of a Country Priest (1951, Robert Bresson) 35mm – 8.6 [up from 7.7]
+A Man Escaped (1956, Robert Bresson) 35mm – 8.7 [up from 7.7]
+The Walk (2015, Robert Zemeckis) – 6.5 [up from 5.5]
Roy’s World: Barry Gifford’s Chicago (2020, Rob Christopher) DP – 5.9
La libertad (2001, Lisandro Alonso) – 7.9
+The Killer (1989, John Woo) 35mm – 8.9 [up from 8.2]
+Au hasard Balthazar (1966, Robert Bresson) 35mm – 8.6 [up from 7.6]
+Mouchette (1967, Robert Bresson) 35mm – 7.8 [up from 7.3]
Casablanca Beats (2021, Nabil Ayouch) – 4.9
L’Argent (1983, Robert Bresson) 35mm – 8.9
Fastest With the Mostest (1960, Chuck Jones) 35mm
Car Wash (1976, Michael Schultz) 35mm – 6.5
Amsterdam (2022, David O. Russell) DP – 6.6
EVENTIDE (2022, Sharon Lockhart) DP
Choose Me (1984, Alan Rudolph) 35mm – 7.9
+Les Dames du Bois de Boulogne (1945, Robert Bresson) 35mm – 7.4 [up from 7.2]
+The Devil, Probably (1977, Robert Bresson) 35mm – 8.7 [up from 8.0]
Triangle of Sadness (2022, Ruben Östlund) DP – 6.2
Jujutsu Kaisen 0 (2022, Park Sung-hoo) – 5.5

October
God’s Creatures (2022, Saela Davis & Anna Rose Holmer) – 5.6
The Novelist’s Film (2022, Hong Sang-soo) – 7.9
Decision to Leave (2022, Park Chan-wook) DP – 7.5
Walk Up (2022, Hong Sang-soo) – 8.2
Diary of a Fleeting Affair (2022, Emmanuel Mouret) TAFFF, DP – 7.6
Divertimento (2022, Marie-Castille Mention-Schaar) TAFFF, DP – 4.7
+Relative (2022, Michael Glover Smith) DP – 6.5 [same]
Nobody’s Hero (2022, Alain Guiraudie) – 6.7
Athena (2022, Romain Gavras) – 4.7
Basic Instinct (1992, Paul Verhoeven) 35mm – 7.2
+The Calming (2020, Song Fang) DP – 7.0 [up from 6.5]
Armageddon Time (2022, James Gray) DP – 7.1
TÁR (2022, Todd Field) DP – 7.3
Dangerous Game (1988, Stephen Hopkins) – 5.3
A Nightmare on Elm Street 5: The Dream Child (1989, Stephen Hopkins) – 5.7

November
Bones and All (2022, Luca Guadagnino) DP – 5.6
Daisy Miller (1974, Peter Bogdanovich) 35mm – 7.1
Dry Ground Burning (2022, Joana Pimenta & Adirley Queirós) AFI Fest, DP – 7.0
All the Beauty and the Bloodshed (2022, Laura Poitras) DP – 7.1
Pacifiction (2022, Albert Serra) AFI Fest, DP – 8.1
Human Flowers of Flesh (2022, Helena Wittmann) AFI Fest, DP – 7.0
EO (2022, Jerzy Skolimowski) AFI Fest, DP – 7.9
Trenque Lauquen (2022, Laura Citarella) AFI Fest, DP – 7.8
The People You’re Paying to Be in Shorts (2022, Jon Bois) – 7.6
The Fabelmans (2022, Steven Spielberg) DP – 7.7
Babylon (2022, Damien Chazelle) DP – 1.2
+Greed (1924, Erich von Stroheim) – 8.7 [up from 7.9]
+Jauja (2014, Lisandro Alonso) – 8.6 [up from 7.8]
Bardo: False Chronicle of a Handful of Truths (2022, Alejandro González Iñárritu) DP – 4.0
The Whale (2022, Darren Aronofsky) DP – 2.7
+Chungking Express (1994, Wong Kar-wai) – 9.3 [up from 9.0]
Deja Vu (2006, Tony Scott) 35mm – 7.9

December
+Yi Yi (2000, Edward Yang) – 10
Avatar: The Way of Water (2022, James Cameron) 3D – 8
Close (2022, Lukas Dhont) DP – 5
White Noise (2022, Noah Baumbach) DP – 8
The Banshees of Inisherin (2022, Martin McDonagh) – 6
One Fine Morning (2022, Mia Hansen-Løve) – 8
Return to Seoul (2022, Davy Chou) – 8
Aftersun (2022, Charlotte Wells) – 7
Saint Omer (2022, Alice Diop) – 8
Les trois désastres (2013, Jean-Luc Godard) 3D
The Traveling Players (1975, Theodoros Angelopoulos) 35mm – 8
+The Fabelmans (2022, Steven Spielberg) – 9
+Decision to Leave (2022, Park Chan-wook) – 8

Top 31 of 2021

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2019 seems to have become my benchmark for great release years, but 2021, through the truly heroic distributors who released probably more notable arthouse films the same year they premiered than any year since probably 2016, came pretty close to equaling it. While there wasn’t quite the same amount of masterpieces, the bench was very deep for great films, and spanning a wide swath of filmmaking.

The following list is formed from the reds, oranges, greens, and blues that I have seen at time of writing that were commercially released in New York City or received a virtual commercial release in 2021. A list, not the list.

1. Drive My Car (Hamaguchi Ryūsuke)

2. Memoria (Apichatpong Weerasethakul)

3. Days (Tsai Ming-liang)

4. The Works and Days (of Tayoko Shiojiri in the Shiotani Basin) (C.W. Winter & Anders Edström)

5. What Do We See When We Look at the Sky? (Alexandre Koberidze)

6. Wheel of Fortune and Fantasy (Hamaguchi Ryūsuke)

7. Beginning (Déa Kulumbegashvili)

8. West Side Story (Steven Spielberg)

9. The Woman Who Ran (Hong Sang-soo)

10. Wife of a Spy (Kurosawa Kiyoshi)

11. Malmkrog (Cristi Puiu)

12. Just Don’t Think I’ll Scream (Frank Beauvais)

13. Evangelion: 3.0+1.0 Thrice Upon a Time (Anno Hideaki)

14. Labyrinth of Cinema (Ōbayashi Nobuhiko)

15. Annette (Leos Carax)

16. Licorice Pizza (Paul Thomas Anderson)

17. Swimming Out Till the Sea Turns Blue (Jia Zhangke)

18. The Tragedy of Macbeth (Joel Coen)

19. The Disciple (Chaitanya Tamhane)

20. Bad Luck Banging or Loony Porn (Radu Jude)

21. Procession (Robert Greene)

22. The Velvet Underground (Todd Haynes)

23. France (Bruno Dumont)

24. The Power of the Dog (Jane Campion)

25. Notturno (Gianfranco Rosi)

26. The French Dispatch of the Liberty, Kansas Evening Sun (Wes Anderson)

27. Fauna (Nicolás Pereda)

28. The Souvenir: Part II (Joanna Hogg)

29. The Metamorphosis of Birds (Catarina Vasconcelos)

30. Benedetta (Paul Verhoeven)

31. Parallel Mothers (Pedro Almodóvar)

My Top 10 Discoveries During 2021 (for first-time viewings of films made before 2001)

  1. Shanghai Express (1932, Josef von Sternberg)
  2. Comrades: Almost a Love Story (1996, Peter Chan)
  3. Shanghai Blues (1984, Tsui Hark)
  4. Tih-Minh (1918, Louis Feuillade)
  5. The Aviator’s Wife (1981, Éric Rohmer)
  6. Canyon Passage (1946, Jacques Tourneur)
  7. Kagemusha (1980, Kurosawa Akira)
  8. Rosa la rose, fille publique (1986, Paul Vecchiali)
  9. Once Upon a Time in the West (1968, Sergio Leone)
  10. The Color of Pomegranates (1969, Sergei Parajanov)

2021 Los Angeles Film Critics Association Awards Ballot

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Career Achievement
(3) Paul Vecchiali
(2) Nakadai Tatsuya
(1) Claire Denis

The Douglas Edwards Experimental/Independent Film/Video Award
(3) The Works and Days (of Tayoko Shiojiri in the Shiotani Basin)
(2) Just Don’t Think I’ll Scream
(1) małni — towards the ocean, towards the shore

Best Cinematography
(3) The Works and Days (of Tayoko Shiojiri in the Shiotani Basin)
(2) Memoria
(1) West Side Story

Best Music/Score
(3) Drive My Car
(2) What Do We See When We Look at the Sky?
(1) The Witches of the Orient

Best Supporting Actress
(3) Park Yu-rim, Drive My Car
(2) Urabe Fusako, Wheel of Fortune and Fantasy
(1) Reika Kirishima, Drive My Car

Best Production Design
(3) The Tragedy of Macbeth
(2) Wife of a Spy
(1) The French Dispatch of the Liberty, Kansas Evening Sun

Best Editing
(3) What Do We See When We Look at the Sky?
(2) The Works and Days (of Tayoko Shiojiri in the Shiotani Basin)
(1) Labyrinth of Cinema

Best Supporting Actor
(3) Elkin Díaz, Memoria
(2) Okada Masaki, Drive My Car
(1) Mike Faist, West Side Story

Best Animation
(3) Evangelion: 3.0+1.0 Thrice Upon a Time

Best Screenplay
(3) Drive My Car
(2) Wheel of Fortune and Fantasy
(1) The Woman Who Ran

Best Documentary/Non-Fiction Film
(3) Just Don’t Think I’ll Scream
(2) Swimming Out Till the Sea Turns Blue
(1) Procession

Best Actress
(3) Tilda Swinton, Memoria
(2) Miura Toko, Drive My Car
(1) Léa Seydoux, France

Best Actor
(3) Nishijima Hidetoshi, Drive My Car
(2) Lee Kang-sheng, Days
(1) Adam Driver, Annette

Best Director
(3) Apichatpong Weerasethakul, Memoria
(2) Hamaguchi Ryūsuke, Drive My Car
(1) Tsai Ming-liang, Days

Best Picture
(3) Drive My Car
(2) Memoria
(1) Days

Best Film Not in the English Language
(3) Memoria
(2) Days
(1) What Do We See When We Look at the Sky?

New Generation Award
(3) Alexandre Koberidze, What Do We See When We Look at the Sky?
(2) Déa Kulumbegashvili, Beginning
(1) Alana Haim & Cooper Hoffman, Licorice Pizza

Cinéma Du Look [FRANCE]

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France

Rating *** A must-see

Directed by Bruno Dumont

Maybe the best scene(s) of France — not La France, though Bruno Dumont doesn’t attempt to hide the national implications of the film, literally making the first shot a view of a French flag — comes early in the film, as the amusingly named France de Meurs (Léa Seydoux) is shooting one of her many news reports in a war-torn country. After conducting a translated interview with one of the loyalist fighters, she essentially directs a smattering of B-roll: a reverse shot with her issuing questions straight-on into the camera against a different background, a shot of another soldier instructed to walk past the camera, and a series of miscommunications with soldiers, attempting to get them to act heroic. After this jumble of moments, the next scene shows the end result, a genuinely rousing expression of solidarity that concludes, tellingly, with a close-up of France. While the temptation to connect this with an exposé of the journalistic process or, especially, filmmaking in general, is quite strong, the impact of the sequence, apart from the minutiae of interactions that take place — including a selfie taken by the first fighter and the general spectacle of watching Seydoux in a troop transport — lies in the synthesis, in the gulf between different manifestations of appearances.

I will freely confess that my firsthand knowledge of Dumont’s work is limited to the Quin/Coin duology, which I have a strong fondness for, and Jeannette, which I found so mindnumbing that I haven’t seen its counterpart. But France evidently marks a departure for the director, who made fairly austere and rigorous works for about the first decade and a half of his career, then began making much more overtly comedic works beginning with P’tit Quinquin (2014) and Slack Bay (2016). While even those works took place for the most part in rural areas, this film firmly situates its home turf in Paris, and specifically in the most elegant arrondissements of the city. Everything, as befits a film at least in large part about the media, is hyperreal: France and her husband and son live in a ludicrously large and high-ceilinged modern apartment that looks lifted straight out of Saint Laurent, car ride scenes are rendered with too-large rear projected images, and the cinematography is glaringly bright; even bombed-out ruins are shiny and digital, something that the shifts to lower-quality news camera footage can only do so much to overcome.

From these layers of artifice comes an unexpected anchoring force: the visage of Léa Seydoux, which would seem almost too perfect in this setting — and buffeted by the colorful array of attire she wears — to convey a host of emotions, each more complex and profound than the last. But France spends something like a fifth of its not inconsiderable runtime to simply sit and stare at her face. It’s uncommon for a film that’s otherwise this glossy to spend the contemplation that’s apparent here, with so many moments where the conversation or surrounding context will seem to drop out and Seydoux’s face — which at turns throughout the film is inscrutable, mischievous, anguished, and nearly every other emotion under the sun — will undergo a series of minute transformations. Such movement amidst restiveness forms something of a manifesto for this film’s intentions: to turn the gaze of fame and sensationalism back upon itself, a set of reflections that produce unexpected changes.

As I said before, I haven’t seen Dumont’s actual rendering of the trial, but it’s irresistible to see France as another, modern iteration of Joan of Arc, here spun out not into issues of life and death — that comes for other people — but into questions of morality and belief, though of a much more worldly pattern and through often hilariously absurd moments. The close-ups are certainly suggestive, but it comes forth even more fully in the rapid back-and-forths of emotion and interactions, sometimes almost too pointed in their intention but each palpably registering, thanks to Dumont’s willingness to sit with the moment. Everything rests upon a sequence of gaps: between the glamor of France and the dire situations that she puts herself in, in an almost competitive desire to push her coverage into uncharted waters; between the malicious intentions of a journalist and his apparently genuine adoration; between the seeming unseriousness of France with the scrupulousness and insight of her reporting.

Perhaps most boldly of all, France appears to recognize the limits of the transformation that traumatic events can provide within the modern world. The characters, including France, generally retain their general outlines, their convictions as can be rendered on a multitude of two-dimensional screens: a television, a smartphone). But Dumont shakes them, at least for a time, making sure that the gravity of the world can exert its force in both the most expected and unexpected of circumstances, one drawn-out shot and rupture at a time.

Emotion Smoothing [THE BEATLES: GET BACK]

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Let It Be — and Get Back, and the bulk of the sessions and the rooftop concert — have always posed a conundrum in its relation to The Beatles. Simultaneously the flawed but fascinating final statement and a stopgap before Abbey Road, with a series of mixes that haven’t been able to displace the less-fitting excesses of Phil Spector and a film of its making nearly suppressed for decades, it is almost ignored, an album maudit where engagement is filled with complications.

The Beatles: Get Back, which chronicles the month of January 1969 that led to the fabled rooftop concert, seeks to bring forth both the complications and correct the record to a certain extent: while it presents a view of the extended recording sessions that is by no means the totally fractious chaos that it has often been characterized as, there are still flare-ups and disagreements, often characterized by long arguments. Unfortunately, however, Peter Jackson’s molding of the 60 hours of footage at his disposal — as directed initially by Michael Lindsay-Hogg — aims for something close to a recreation of what ends up being something less consistently or genuinely engaging than might be hoped; I say this as a great fan of the Beatles, though it’s been a while since I read Mark Lewisohn’s descriptions in his invaluable tome about the recording sessions, and Let It Be is among my least favorite of their records.

Initially announced as a documentary film, which then turned into a roughly six-hour three-part series, The Beatles: Get Back has now ballooned into an ungainly seven-and-a-half-hour series, with the second part alone, covering the two weeks between George’s departure and just before the rooftop concert preparations, running almost three hours. Length itself is not a problem in and of itself, but the emphases, or rather lack thereof, that Jackson chooses to place are: music is played frequently but in snippets, and a desultory mood quickly sets in, a lethargy that might be warranted if the series was able to sustain and uphold it with its sense of form.

But Jackson is limited by the footage he has, and for inexplicable reasons has chosen to tamper with it further. It appears that Lindsay-Hogg had something like ten cameras all rolling simultaneously, in both Twickenham and Apple, with some of them set in direct close-up of even marginal figures, and Jackson decides to cut rapidly between them almost without pause, holding few shots on either the band as a whole or wide shots of individual figures, aside from ones that emphasize the cavernous space of Twickenham. Moreover, the already discussed anti-archival implications — “restorations” which have heavily degrained most of the footage, thus erasing the 16mm textures that now only truly exist in the nicely vibrant colors — are immediately and continuously distracting in their lack of tactility, and the reframing done, switching the 1.37:1 footage to 1.77:1, might be even more off-putting, cutting off faces and shoving close-ups into angles that were never intended.

With all of this distraction — along with some cutaways, some (the Beatles singing “Rock and Roll Music” intercut with their performances of it on the 1966 world tour) considerably more integrated and lively than others (immigration protests which inspired “Get Back”) — the overall sense of the Beatles running on fumes rings even stronger. And yet… these still are the Lads, and the music when it truly clicks still has a sense of motion and closeness that’s still palpable. The problem, which extends even to the truly fantastic rooftop concert that almost closes the series, lies in the paucity of material that makes it past the vaguely noodling rehearsal stage. The impact of the forty-minute rooftop concert lessens somewhat when the Beatles only play five distinct songs, plus one reprisal each of “Don’t Let Me Down” and “I’ve Got a Feeling” and two reprisals of “Get Back,” especially when the night before they had floated the possibility of playing such songs as “Oh! Darling,” “All Things Must Pass,” and “Maxwell’s Silver Hammer.” The confusion of the entire month, with constant downsizing of plans and missed dates, even extends to the Beatles’ indecision on the day of the rooftop concert; while Jackson’s decision to include this state of mind makes sense from an accuracy standpoint — which, it must be said, only occasionally feels extended to his patience with showcasing entire rehearsals of songs — it makes for amorphous filmmaking, only made more confusing by frequent mismatching of audio and footage.

Still, bland and blithe filmmaking can still yield some fantastic moments; the Beatles even at low ebb are prime camera subjects, though it’s a pity that Ringo (my favorite) has a minimal presence, a charming performance of “Octopus’s Garden” and some little moments aside, due to his general reticence to speak. In one of the few moments that derives its power from duration, the camera holds on Paul as he gradually comes up with “Get Back”; the first jam with Billy Preston yields an energy that registers nicely; it’s genuinely a pleasure to see the exact contexts in which some of John’s studio banter on Let It Be came from. Key figures in the Beatles’ orbit — George Martin and Mal Evans especially — have a nice presence, though it’s somewhat strange to see how much involvement Lindsay-Hogg and Glyn Johns had in the proceedings. And in one of the best aspects, Ono Yōko emerges vindicated; she is a constant presence by John’s side, but remains fairly subdued aside from some really cool moments in which she jams with the Beatles (all of whom seem engaged) using her trademark vocal style, which Paul’s adopted daughter Heather adorably mimics on the recording of “Dig It.”

On the whole, though, The Beatles: Get Back feels both overstuffed and incomplete, something which might be best indicated by the ending. The rooftop concert is enlivening, in large part because of the split screens and perspectives that Jackson utilizes and the corresponding use of proper aspect ratios; the music could be turned up a bit louder than the police constables’ exasperated attempts to close down the production, but a great deal of fun is had in mixing in the voices of the spectators and their bemused appreciation. But rather than close on that, there is a coda of the Beatles and company listening to the recordings, followed by a regression to the desultory studio recordings that they embarked upon immediately after. There is also no mention of the long delay in release, or Spector, or Abbey Road. It’s definitely possible to argue that it’s justified by the overall focus on the sessions themselves (aside a blitzkrieg of a well-executed, if slightly achronological opening ten-minute recap), but so much else of this feels unnecessarily thrown-in — there are even handy chyrons showing who each person is, even the members of the Beatles, for each part — that such an omission feels off. That might be the best description of The Beatles: Get Back: an admirable but compromised effort, to an even greater degree than the album it partially documents.

Away With Language [DRIVE MY CAR]

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Drive My Car/ドライブ・マイ・カー/Doraibu mai kā

Rating **** Masterpiece

Directed by Hamaguchi Ryūsuke

The depiction of the creation of art is certainly nothing new to film, and has yielded both some transcendent works and some profoundly mediocre movies. But something that continually eludes the grasp of all but the finest of cinematic artists is the capture of that most intangible yet essential of elements: inspiration. Whether bestowed by the muses or birthed by external forces, it emerges without warning, upsetting the artist’s entire worldview with the force of their expression.

In his own unassuming, humble way, Hamaguchi Ryūsuke has joined those select few with Drive My Car, his second truly great film of 2021, and a giant step forward in his ongoing synthesis of various influences to create something entirely his own. That he has blown up the forty page Murakami Haruki short story of the same name into a three-hour epic is one thing, but his care on all levels — the script co-written with Oe Takamasa, the purposeful direction, and most of all the extraordinary feats of casting — yields something altogether more complex, emotionally direct in a similar way to his previous film, Wheel of Fortune and Fantasy yet tied up in the narrative and emotional reverberations across that most typical of surrogate families: the theater troupe.

Drive My Car finds its pater familias in Kafuku Yūsuke (Nishijima Hidetoshi, a regular in Hamaguchi’s mentor Kurosawa Kiyoshi’s films), a theater director/actor whose signature style involves staging classic plays with actors speaking their own native languages — examples in the film include Indonesian, German, Korean, Mandarin, Thai, and, in one of the most galvanizing touches in recent memory, Korean Sign Language. A forty-minute prologue, set two years before the rest of the film, quickly establishes the elements that continue to permeate throughout: his love for driving his bright red Saab 900, his cosmopolitan engagement with the theatrical world, his daughter’s early demise, and most of all the mysterious, erotic relationship he has with his wife Oto (Kirishima Reika). She is the focus of the film’s first shot, a hazy nude silhouette against the sunrise, narrating a story about a young girl who habitually enters her crush’s house. As the film relates, this mixture of eros and inspiration is crucial to her creative process, as sex — with either Kafuku or the coterie of affairs that she embarks on, which unbeknownst to her he is aware of — sometimes triggers a dreamlike series of recollections that her partner memorializes for her. She is also involved in Kafuku’s own creative process, recording the other roles of plays that he is acting in to help him internalize the rhythm that forms the bedrock of his productions.

The tape of Anton Chekhov’s Uncle Vanya, which Kafuku plays over and over, reciting to and against while in that Saab, ends up being the last tangible vestige he has of Oto: she dies unexpectedly of a cerebral hemorrhage, and the grief and unresolved tensions inherent to their relationship enter into the swirl of emotions and relationships to be elaborated upon. Two years later, Kafuku is invited by a theater festival in Hiroshima to direct Uncle Vanya, and learns that, due to the rules of the contract, he is not allowed to drive his Saab during the residency. His assigned driver is Watari (Miura Tōko), a taciturn young woman with a prominent scar on her left cheek, whose driving allows Kafuku to enter a state of bliss and concentration in his car that he has never felt before. The gradual growth of their relationship, as they open up more and more about their pasts of grief, trauma, and loss, intertwines with Kafuku’s production of Uncle Vanya, as he enlists, among others, Takatsuki (Okada Masaki), Oto’s final lover and a notorious playboy, to play the much older role of Vanya; and Lee Yun-a (Park Yu-rim), a mute Korean woman, to play Sonya.

Drive My Car‘s mystery lies in its sense of balance, its ability to juggle all of these already myriad relationships mentioned above and the numerous other connections that Kafuku — and, by reticent extension, Watari — form with the company at large. For this is a true ensemble film, and one that understands that a transcendent moment of connection, within a group of people that requires it for both artistic and personal reasons, can arise between any pairing and within any moment, whether it be a charming dinner — featuring one of the cutest couples in film history — a fraught, emotionally and temporally taxing car ride, or a reconfigured rehearsal in the sunlight that adds new depths to relationships only hinted at before.

Rehearsals, as might be expected by the Rivettian label that has been, rightly or wrongly, ascribed to Hamaguchi, form a significant chunk of Drive My Car‘s non-car driving scenes, but their nature, and the back-and-forth that Kafuku has with his actors, goes far beyond simple questions of duration. In keeping with the rhythmic sense that Oto’s tape provides, the actors are instructed to speak slowly and without emotion, internalizing both the text and the reactions from their fellow players, so that it has formed a bedrock that blocking and motion can build upon in emotional terms. In explaining why he has refused to play Vanya, as he did just after Oto’s death, Kafuku explains that Chekhov brings out the reality of a person’s soul, extracting all that is hidden and buried, and that quality comes through forcefully in the many tape scenes in the car. Each extract is deployed judiciously, often seeming like Oto — or any number of other characters — is talking directly to Kafuku through Chekhov, while at other times embodying Kafuku’s perspective, hinting at inner fonts of rage, insecurity, and distress that he can’t permit himself to express.

Nishijima’s performance acts as a perfect channel for these mixed feelings, precisely because so much about it is simultaneously fixed and shifting. Sometimes within the same shot, his face appears to change age, with the slightest movement able to embody a cheerful youth or a wearied maturity, and his emotional range occupies that same continuum. Such a quality meshes beautifully with Miura’s role, especially as she becomes more and more prominent through the final hour, which breaks from the theatrical setting to embody a flight into the unknown, a space for pondering and emotional excavation that zeroes in on the most guarded feelings of two broken people. Her contribution rests in that stoicism, borne from the experiences of someone well beyond her years, an exterior that seems almost impenetrable until what first seems to be an unusually direct and standard — for Hamaguchi — scene of emotional catharsis, the third-to-last sequence that might well be the last lingering moment in a far lesser film.

That is where the last two scenes come in, and especially Park’s role. Kafuku and Watari’s relationship gradually becomes mapped onto the Vanya and Sonya relationship, and Hamaguchi brings it full circle with the second-to-last scene, performing the final scene of the play with Kafuku as Vanya. Lee emerges as a central character, embodying the hope and optimism that, as in Uncle Vanya the other characters can’t quite bring themselves to fully believe in, and so much of that comes through the particular nature of the sign language, the physicality of it and the duration that it invites. As the actors become more and more familiar with the text and she is translated for less and less, the performance seems to reach across into the viewer, a direct communication to the camera that emphasizes each stroke and motion with a deliberateness that transmutes the already considerable emotional catharsis of the play.

And if that weren’t enough, Drive My Car offers a final coda, set in another time and another place. The precise meaning of it is purposefully elusive, radically reconfiguring the accumulated objects present throughout the film to provide another form of catharsis entirely. Hamaguchi understands in his bones the interplay of emotionality and mystery, the weight that he must give to each character and their hopes and dreams, embodied in so many manners: even the score, a supremely pleasant and relaxed jazz score by Ishibashi Eiko, casts an entirely different light on the driving scenes, inviting a new sense of contemplation. Drive My Car marks out that space for thought, for pondering, and in doing so crowns the ascension of one of the 21st century’s finest filmmakers to date.