2020 Omnibus Log

r001. India Song (1975, Marguerite Duras) 01 Jan – 8.9 [up from 8.6]
001. That Obscure Object of Desire (1977, Luis Buñuel$) Monitor, File 01 Jan – 7.4 [parts]
002. Life Without Principle (2011, Johnnie To) Monitor, File 04 Jan – 6.3
003. Star Wars: The Rise of Skywalker (2019, J.J. Abrams) Regal L.A. Live, DCP 07 Jan – 6.2
004. A Hidden Life (2019, Terrence Malick) The Landmark, DCP 09 Jan – 7.2 [slight]
005. +What Time Is It There (2001, Tsai Ming-liang) UCLA Bridges Theater, 35mm (Date, Friends) 09 Jan – 7.9 [up from 7.5]
006. Synonyms (2019, Nadav Lapid^) Monitor, Screener 10 Jan – 7.4
007. Atlantics (2019, Mati Diop^) Monitor, Netflix 11 Jan – 6.6 [parts]
008. +Once Upon a Time…in Hollywood (2019, Quentin Tarantino) New Beverly, 35mm 11 Jan – 7.5 [up from 7.3]
t001. The Pilot (1994, Friends) Norris Cinema Theatre, DVD (TA Lecture) 13 Jan
t002. The One With the East German Laundry Detergent (1994, Friends) Norris Cinema Theatre, DVD (TA Lecture) 13 Jan
t003. The One Where Ross Finds Out (1995, Friends) Norris Cinema Theatre, DVD (TA Lecture) 13 Jan
009. Mekong Hotel (2012, Apichatpong Weerasethakul*) Monitor, File 14 Jan – 5.8
010. +Apocalypse Now (1979, Francis Ford Coppola) Norris Cinema Theatre, Blu-ray (TA Lecture) 14 Jan – 7.9 [intermittent; down from ~8.1]
011. Mysteries of Lisbon (2010, Raúl Ruiz) Monitor, File 15 Jan – 8.9
012. +Feast of the Epiphany (2018, Michael Koresky & Jeff Reichert & Farihah Zaman) Lumiere Music Hall, DCP (Friends, Directors Q&A) 15 Jan – 6.4 [same]
s001. +Something Between Us (2015, Jodie Mack) Monitor, Vimeo 17 Jan – 7.1 [up from 6.6]
013. Sentimental Education (2013, Júlio Bressane^) Monitor, MUBI 17 Jan – 6.7
014. Romancing in Thin Air (2012, Johnnie To) Monitor, File 18 Jan – 8.0
015. The Arbor (2010, Clio Barnard^) Monitor, Criterion Channel 18 Jan – 7.0
016. The Cool World (1963, Shirley Clarke) UCLA Wilder Theater, 35mm (Friend) 18 Jan – 7.1
017. +Nothing But a Man (1964, Michael Roemer) UCLA Wilder Theater, 35mm (Friend, Screenwriter Q&A) 18 Jan – 7.6 [up from 7.1]
018. Drug War (2012, Johnnie To) Monitor, File 19 Jan – 8.1
019. +Rear Window (1954, Alfred Hitchcock) Egyptian Theatre, 35mm IB Technicolor 19 Jan – 8.9 [same]
s002. What Did Jack Do? (2017, David Lynch) Monitor, Netflix 20 Jan – 6.6
020. The Wolf of Wall Street (2013, Martin Scorsese) Laptop, Amazon 20 Jan – 7.5 [drunk]
s003. Jefferson Circus Songs (1973, Suzan Pitt) REDCAT, DCP 20 Jan – 6.2
s004. Asparagus (1979, Suzan Pitt) REDCAT, 35mm 20 Jan – 7.5
s005. Clay Woman Smoking (1975, Suzan Pitt) REDCAT, DCP 20 Jan – 5.6
s006. Joy Street (1995, Suzan Pitt) REDCAT, 35mm 20 Jan – 7.0
s007. Visitations (2011, Suzan Pitt) REDCAT, DCP 20 Jan – 6.4
s008. El Doctor (2006, Suzan Pitt) REDCAT, 35mm 20 Jan – 6.5
s009. Pinball (2013, Suzan Pitt) REDCAT, DCP 20 Jan – 6.7
p001. ®Garoto (2015, Júlio Bressane) Monitor, File 21 Jan
t004. Betty, Girl Engineer (1956, Father Knows Best) USC Screening Room, Amazon (Lecture) 21 Jan
021. +There Will Be Blood (2007, Paul Thomas Anderson) USC Norris Cinema Theatre, Blu-ray (TA Lecture) 21 Jan – 7.6 [up from 7.4]
022. +Cemetery of Splendour (2015, Apichatpong Weerasethakul*) Monitor, Blu-ray 22 Jan – 8.7 [up from 7.4]
023. differently, Molussia (2012, Nicolas Rey^) Monitor, File 23 Jan – 7.4 [6, 3, 9, 8, 4, 5, 7, 2, 1]
024. Garoto (2015, Júlio Bressane) Monitor, File 24 Jan – 7.4
025. Blind Detective (2013, Johnnie To) Monitor, Netflix 24 Jan – 7.4
026. Shadows (1959, John Cassavetes) UCLA Wilder Theater, 35mm (Friends) 25 Jan – 7.3
027. The Wind Rises (2013, Hayao Miyazaki) Monitor, File 26 Jan – 8.1
t005. My Favorite Shapes (2019, Julio Torres) USC Norris Cinema Theatre, HBO (TA Lecture) 27 Jan
028. Unstoppable (2010, Tony Scott) Monitor, File 27 Jan – 7.3
029. Journey to the West (2014, Tsai Ming-liang*) Monitor, Blu-ray 27 Jan – 7.5
s010. Nightwalk (2013, Scott Barley) Monitor, Vimeo 28 Jan – 6.0
s011. Night Without Distance (2015, Lois Patiño) Monitor, Vimeo 28 Jan – 7.4
t006. Family Photograph (1949, The Goldbergs) USC Screening Room, Website 28 Jan
t007. Gracie’s Checking Account (1950, The George Burns and Gracie Allen Show) USC Screening Room, Archive 28 Jan
030. +Gook (2017, Justin Chon) USC Norris Cinema Theatre, Blu-ray (TA Lecture, Director Q&A) 28 Jan – 4.6 [down from 5.7]
s012. Fainting Spells (2018, Sky Hopinka) Monitor, MUBI 29 Jan – 6.8
031. Hanagatami (2017, Nobuhiko Obayashi) Monitor, File 29 Jan – 7.7 [slight]
032. +Phoenix (2014, Christian Petzold) Monitor, File 29 Jan – 8.6 [up from 8.2]
033. The Tale of the Princess Kaguya (2013, Isao Takahata) Monitor, File 30 Jan – 7.6
034. Under the Skin (2013, Jonathan Glazer) Monitor, Kanopy 31 Jan – 6.6
035. Tabu (2012, Miguel Gomes^) Monitor, Kanopy 31 Jan – 7.8
s013. No No Sleep (2015, Tsai Ming-liang) Monitor, File 31 Jan – 7.7
036. Like Someone in Love (2012, Abbas Kiarostami) Monitor, Blu-ray 31 Jan – 8.8
037. +SPL II: A Time for Consequences (2015, Soi Cheang) Monitor, Blu-ray 31 Jan – 7.7 [up from 7.1]
038. +Transit (2018, Christian Petzold) Monitor, Blu-ray 31 Jan – 8.7 [up from 8.0]
039. The World Is Full of Secrets (2018, Graham Swon^) Echo Park Film Center/Acropolis Cinema DCP (Friends, Director/Actress Q&A) 31 Jan – 6.7 [technical]
040. Double messieurs (1986, Jean-François Stévenin^) Monitor, File 02 Feb – 7.6
t008. Do You Know How to Dispose of a Body? (2019, Killing Eve) USC Norris Cinema Theatre, Amazon Prime (TA Lecture) 03 Feb
s014. Meltdown (2012, Mike Kuchar) REDCAT, DCP (Friend, Director Q&A) 03 Feb – 5.7
s015. The Stranger in Apartment 9F (1998, Mike Kuchar) REDCAT, DCP (Friend, Director Q&A) 03 Feb – 6.2
s016. Fallen Angels (2013, Mike Kuchar) REDCAT, DCP (Friend, Director Q&A) 03 Feb – 5.9
s017. I Was a Teenage Rumpot (1960, George & Mike Kuchar) REDCAT, 16mm (Friend, Director Q&A) 03 Feb – 6.0
s018. Sylvia’s Promise (1962, George & Mike Kuchar) REDCAT, 16mm (Friend, Director Q&A) 03 Feb – 6.1
s019. Cattle Mutilations (1983, George Kuchar) REDCAT, 16mm (Friend, Director Q&A) 03 Feb – 6.3
s020. Temple of Torment (2006, George Kuchar) REDCAT, DCP (Friend, Director Q&A) 03 Feb – 6.6
041. +Meek’s Cutoff (2010, Kelly Reichardt) USC Norris Cinema Theatre, Blu-ray (TA Lecture) 04 Feb – 8.6 [up from 8.3]
042. The Human Condition I: No Greater Love (1959, Masaki Kobayashi) Aero Theatre, 35mm 08 Feb – 6.3
t009. Pilot (1951, I Love Lucy) USC Norris Cinema Theatre, DVD (TA Lecture) 10 Feb
t010. The Ballet (1952, I Love Lucy) USC Norris Cinema Theatre, DVD (TA Lecture) 10 Feb
t011. Halloween Party (1952, The Adventures of Ozzie and Harriet) USC Norris Cinema Theatre, DVD (TA Lecture) 10 Feb
043. Daisies (1966, Vera Chytilová^) Laptop, Criterion Channel 11 Feb – 5.7 [slight]
044. West Side Story (1961, Robert Wise & Jerome Robbins^) New Beverly, 35mm 12 Feb – 7.4
s021. I’m Cold (1954, Tex Avery) New Beverly, 35mm (Friend) 12 Feb – 5.8
045. McCabe & Mrs. Miller (1971, Robert Altman) New Beverly, 35mm (Friend) 12 Feb – 7.1
046. Ham on Rye (2019, Tyler Taormina^) Downtown Independent, DCP (Friend, Director/Cinematographer Q&A) [Locarno in Los Angeles] 13 Feb – 6.3
047. Oroslan (2019, Matjaz Ivanisin^) Downtown Independent, DCP [Locarno in Los Angeles] 14 Feb – 5.9 [slight]
048. A Girl Missing (2019, Koji Fukada) Downtown Independent, DCP [Locarno in Los Angeles] 14 Feb – 6.6
049. A Voluntary Year (2019, Ulrich Köhler & Henner Winckler^) Downtown Independent, DCP (Friend) [Locarno in Los Angeles] 15 Feb – 7.5
050. Vitalina Varela (2019, Pedro Costa) Downtown Independent, DCP (Friends, Director Q&A) [Locarno in Los Angeles] 15 Feb – 7.3 [slight]
t012. Lemons (2017, Black-ish) USC Screening Room, Amazon (Lecture) 18 Feb
t013. So Chineez (2015, Fresh Off the Boat) USC Screening Room, Amazon (Lecture) 18 Feb
051. E.T. the Extra-Terrestrial (1982, Steven Spielberg) USC Norris Cinema Theatre, Blu-ray (TA Lecture) 18 Feb – 7.9 [up from ~7.4]
052. The American Sector (2020, Courtney Stephens^ & Pacho Velez†) Sunset Screening Room, DCP 19 Feb – 6.2
053. 36 Fillette (1988, Catherine Breillat^) UCLA Bridges Theater, 35mm (Friends) 20 Feb – 7.4
054. To All the Boys I’ve Loved Before (2018, Susan Johnson^) Television, Netflix (Friends) 22 Feb – 4.7 [technical]
p002. Don’t Go Breaking My Heart (2011, Johnnie To) Monitor, Netflix 23 Feb
t014. College (1999, The Sopranos) USC Norris Cinema Theatre, DVD (TA Lecture) 24 Feb
t015. Made in America (2007, The Sopranos) USC Norris Cinema Theatre, DVD (TA Lecture) 24 Feb
055. Safe (1995, Todd Haynes) Laptop, File (TA Class) 25 Feb – 8.0 [slight]
056. +Blue Velvet (1986, David Lynch) USC Norris Cinema Theatre, Blu-ray [TA Lecture] 25 Feb – 9.0 [same]
057. Zombi Child (2019, Bertrand Bonello) Landmark Nuart, DCP 26 Feb – 6.8
058. Dawn of the Dead (1978, George A. Romero@) Monitor, File 26 Feb – 7.9
059. Day of the Dead (1985, George A. Romero@) Egyptian Theatre, 35mm (Friends) 27 Feb – 7.4
060. A Faithful Man (2018, Louis Garrel^) Monitor, MUBI 29 Feb – 6.3
061. The Clock (1945, Vincente Minnelli) Egyptian Theatre, 35mm (Friends) 01 Mar – 8.2
062. Batang West Side (2001, Lav Diaz) Egyptian Theatre, 35mm (Director Q&A) 01 Mar – 5.7 [slight]
t016. 1:23:45 (2019, Chernobyl) USC Norris Cinema Theatre, Blu-ray (TA Lecture) 02 Mar
063. Fear of Fear (1975, Rainer Werner Fassbinder$) Monitor, File 02 Mar – 6.5 [parts]
064. +The Matrix (1999, Lana & Lilly Wachowski) USC Norris Cinema Theatre, Blu-ray (TA Lecture) 03 Mar – 7.5 [up from ~6.8]
065. +Vive L’Amour (1994, Tsai Ming-liang) Monitor, File 04 Mar – 7.8 [up from 7.5]
s022. +Duck Dodgers in the 24½th Century (1953, Chuck Jones) New Beverly, 35mm 06 Mar – 7.5 [up from 7.3]
066. Starship Troopers (1997, Paul Verhoeven) New Beverly, 35mm 06 Mar – 7.6
s023. Cry When It Happens (2010, Laida Lertxundi) Monitor, File 08 Mar – 7.1
t017. +Traces to Nowhere (1990, Twin Peaks) USC Norris Cinema Theatre, Blu-ray (TA Lecture) 09 Mar
t018. +Part 4 (2017, Twin Peaks: The Return) USC Norris Cinema Theatre, Blu-ray (TA Lecture) 09 Mar
067. Candyman (1992, Bernard Rose^) Monitor, Netflix (TA Class) 09 Mar – 6.2 [intermittent]
068. High and Low (1963, Akira Kurosawa) Aero Theatre, 35mm 11 Mar – 9.0
069. Noroît (une vengeance) (1976, Jacques Rivette) Monitor, Blu-ray 12 Mar – 7.4
070. Gamer (2009, Mark Neveldine^ & Brian Taylor^) Monitor, HBO Go 13 Mar – 4.9
071. Grand Illusion (1937, Jean Renoir) Monitor, File 13 Mar – 7.0 [intermittent]
072. His Girl Friday (1940, Howard Hawks) Monitor, Kanopy 13 Mar – 8.9
073. Metropolis (1927, Fritz Lang) Monitor/Laptop, Kanopy/Criterion Channel 14 Mar – 7.5 [parts]
074. Fantômas (1913, Louis Feuillade) Monitor, Blu-ray 16 Mar – 8.4 [serial]
075. Meeting a Milestone (1989, Goutam Ghose^) Monitor, File 17 Mar – 6.5
076. +Vivre sa vie (1962, Jean-Luc Godard) Monitor, Blu-ray 18 Mar – 7.0 [down from ~8.5]
r002. La Dolce Vita (1960, Federico Fellini) 18 Mar – ~6.8 [down from ~8.1]
r003. 8½ (1963, Federico Fellini) 18 Mar – ~6.8 [down from ~7.8]
077. The Blue Angel (1930, Josef von Sternberg@) Monitor, Kanopy 19 Mar – 7.4
078. +La Notte (1961, Michelangelo Antonioni) Monitor, Kanopy 20 Mar – 7.1 [slight; same]
079. Pauline at the Beach (1983, Eric Rohmer) 21 Mar – 7.5 [slight]
s024. Fit Model (2019, Myna Joseph) Monitor, Le CiNéMa Club 21 Mar – 6.2
t019. Please Remain Calm (2019, Chernobyl) Monitor, HBO Go (TA Class) 23 Mar
t020. Open Wide, O Earth (2019, Chernobyl) Monitor, HBO Go (TA Class) 23 Mar
t021. The Happiness of All Mankind (2019, Chernobyl) Monitor, HBO Go (TA Class) 23 Mar
t022. Vichnaya Pamyat (2019, Chernobyl) Monitor, HBO Go (TA Class) 24 Mar
080. Simone Barbès or Virtue (1980, Marie-Claude Treilhou^) Monitor, File 24 Mar – 7.8
081. The Love Eterne (1963, Li Han-hsiang^) Monitor, File 25 Mar – 8.8
082. +Blackhat [Approximate Cut] (2015, Michael Mann) Monitor, File 26 Mar – 8.7 [up from 8.6]
s025. The Sky Is Clear and Blue Today (2019, Ricky D’Ambrose) Monitor, Website 27 Mar – 7.1
s026. B-ROLL With Andre (2015, James N. Kienitz Wilkins) Monitor, Le CiNéMa Club 27 Mar – 5.8
s027. +Indefinite Pitch (2016, James N. Kienitz Wilkins) Monitor, File 28 Mar – 6.6 [up from 5.8]
083. Locke (2013, Steven Knight^) Monitor, Netflix Party 29 Mar – 5.7
084. Fight Club (1999, David Fincher) Monitor, HBO (TA Class) 30 Mar – 5.1
t023. Parce Domine (2020, Westworld) Monitor, HBO (TA Class) 30 Mar
t024. The Winter Line (2020, Westworld) Monitor, HBO (TA Class) 31 Mar
085. American Psycho (2000, Mary Harron^) Monitor, iTunes (TA Class) 31 Mar – 5.2
086. At This Late Date, the Charleston (1981, Kihachi Okamoto^) Monitor, File 31 Mar – 7.5
087. In Transit (2015, Albert Maysles & Lynn True^ & David Usui^ & Nelson Walker^ & Ben Wu^) Monitor, Vimeo 01 Apr – 6.3 [intermittent]
088. Bacurau (2019, Kleber Mendonça Filho & Juliano Dornelles^) Monitor, Kino Marquee/Laemmle Theatres 02 Apr – 7.2 [slight]
089. Femmes Femmes (1974, Paul Vecchiali) Monitor, File 03 Apr – 9.0
090. +L’Eclisse (1962, Michelangelo Antonioni) Monitor, File 04 Apr – 7.3 [slight; up from 6.9]
091. The Wild Goose Lake (2019, Diao Yinan^) Monitor, Film Movement Plus/Art Theatre Long Beach 04 Apr – 7.1
s028. La France contre les Robots (2020, Jean-Marie Straub) Monitor, Website 05 Apr – 6.3
092. +Contempt (1963, Jean-Luc Godard) Monitor, File 05 Apr – 7.2 [same]
093. The Hurt Locker (2008, Kathryn Bigelow) Monitor, File (TA Class) 05 Apr – 6.1
t025. Mister Rogers: It’s You I Like (2018, John Paulson) Monitor, Kanopy (TA Class) 06 Apr
094. Zero Dark Thirty (2012, Kathryn Bigelow) Monitor, File (TA Class) 06 Apr – 6.3
s029. Toute la mémoire du monde (1956, Alain Resnais) Monitor, Blu-ray 07 Apr – 7.2
095. Providence (1977, Alain Resnais) Monitor, File 07 Apr – 8.0 [intermittent]
096. +Band of Outsiders (1964, Jean-Luc Godard) Monitor, File 08 Apr – 6.8 [same]
097. Sparrow (2008, Johnnie To) Monitor, File 08 Apr – 8.7
098. Wild Strawberries (1957, Ingmar Bergman) Monitor, Kanopy 09 Apr – 5.8 [intermittent]
r004. Autumn Sonata (1978, Ingmar Bergman) 10 Apr – 5.4 [down from 6.1]
s030. All My Life (1966, Bruce Baillie) Monitor, File 10 Apr – 8.7
099. The Sign of Leo (1962, Eric Rohmer) Monitor, File 10 Apr – 6.4
100. +Crouching Tiger, Hidden Dragon (2000, Ang Lee) Monitor, Blu-ray 10 Apr – 8.8 [up from 8.0]
101. Ikiru (1952, Akira Kurosawa) Monitor, Kanopy 12 Apr – 6.3 [slight]
t026. The Great War and Modern Memory (2019, True Detective) Monitor, HBO Go (TA Class) 14 Apr
t027. Kiss Tomorrow Goodbye (2019, True Detective) Monitor, HBO Go (TA Class) 14 Apr
102. Brokeback Mountain (2005, Ang Lee) Monitor, File (TA Class) 14 Apr – 7.0 [slight]
103. Accident (2009, Soi Cheang) Monitor, File 15 Apr – 7.7
104. Film Socialisme (2010, Jean-Luc Godard) Monitor, File 16 Apr – 7.6 [slight]
105. Afternoon (2015, Tsai Ming-liang) Monitor, File 17 Apr – 7.8
106. Le Samouraï (1967, Jean-Pierre Melville) Monitor, File 17 Apr – 6.2
107. The Matrix Reloaded (2003, Lana & Lilly Wachowski) Monitor, Netflix 18 Apr – 6.6
108. Peking Opera Blues (1986, Tsui Hark) Monitor, File 18 Apr – 8.8
109. The Matrix Revolutions (2003, Lana & Lilly Wachowski) Monitor, Netflix 19 Apr – 5.8
t028. The Beach (2016, The Night Of) Monitor, HBO Go (TA Lecture) 20 Apr
110. Faubourg St. Martin (1986, Jean-Claude Guiguet^) Monitor, File 21 Apr – 8.0
111. SPL: Kill Zone (2005, Wilson Yip) Monitor, File 22 Apr – 5.7
112. Pyaasa (1957, Guru Dutt^) Monitor, File 22 Apr – 8.7
113. +Come Drink With Me (1966, King Hu) Monitor, File 23 Apr – 7.6 [same]
s031. Visit (2020, Jia Zhangke) Monitor, YouTube 24 Apr – 6.9
114. Through the Forest (2005, Jean-Paul Civeyrac^) Monitor, File 24 Apr – 7.6
115. Rosemary’s Baby (1968, Roman Polanski) Monitor, Netflix 24 Apr – 7.4
116. SPL: Paradox (2017, Wilson Yip) Monitor, File 25 Apr – 6.2
117. +Dragon Inn (1967, King Hu) Monitor, Blu-ray 26 Apr – 9.0 [up from 8.9]
118. Never Rarely Sometimes Always (2020, Eliza Hittman) Monitor, iTunes 26 Apr – 5.7
119. +Two English Girls (1971, François Truffaut¢) Monitor, File 27 Apr – 8.7 [up from 7.7]
120. The Valiant Ones (1975, King Hu) Monitor, File 27 Apr – 7.6
s032. +The Wold Shadow (1972, Stan Brakhage) Monitor, YouTube 27 Apr – 6.3 [up from ~4.9]
s033. +Night Music (1986, Stan Brakhage) Monitor, YouTube 27 Apr – 7.5 [up from ~5.8]
s034. +Stellar (1993, Stan Brakhage) Monitor, YouTube 27 Apr – 7.2 [up from ~6.1]
t029. Where Is Everybody? (1959, The Twilight Zone) Monitor, Vimeo (TA Lecture) 28 Apr
t030. The Shelter (1961, The Twilight Zone) Monitor, Dailymotion (TA Lecture) 28 Apr
t031. Will the Real Martian Please Stand Up? (1961, The Twilight Zone) Monitor, Dailymotion (TA Lecture) 28 Apr
121. +Legend of the Mountain (1979, King Hu¢) Monitor, Blu-ray 28 Apr – 8.3 [up from 7.8]
122. Safety Last! (1923, Fred C. Newmeyer^ & Sam Taylor^) Monitor, Kanopy 28 Apr – 6.3
123. Klute (1971, Alan J. Pakula^) Laptop, Criterion Channel 29 Apr – 6.9
124. Sunrise/Sunset (2019, Jong Ougie Pak^) Monitor, Grasshopper Virtual Cinema/Acropolis Cinema 30 Apr – 5.8
125. Ema (2019, Pablo Larraín) Monitor, MUBI 01 May – 5.5
s035. Possibly in Michigan (1983, Cecelia Condit) Monitor, YouTube 02 May – 6.7
126. Enter the Dragon (1973, Robert Clouse) Monitor, File 02 May – 5.6
127. Election (2005, Johnnie To) Monitor, File 02 May – 7.3
128. Den of Thieves (2018, Christian Gudegast^) Monitor, Netflix 03 May – 6.4
129. Election 2 (2006, Johnnie To) Monitor, File 03 May – 8.6
130. The Century of the Self (2002, Adam Curtis^) Monitor, File 04 May – 7.6 [serial]
131. The Mouth Agape (1974, Maurice Pialat) Monitor, File 04 May – 7.5
132. Lust, Caution (2007, Ang Lee) Monitor, File 04 May – 6.3
133. +The Unspeakable Act (2012, Dan Sallitt) Monitor, File 05 May – 7.4 [up from 7.1]
134. Hit 2 Pass (2014, Kurt Walker^) Monitor, File 05 May – 5.8
135. Too Many Ways to Be No. 1 (1997, Wai Ka-fai) Monitor, File 07 May – 8.0
s036. Caterina (2019, Dan Sallitt) Monitor, Website 08 May – 7.1
136. +Raiders of the Lost Ark (1981, Steven Spielberg) Monitor, Netflix 08 May – 8.2 [up from 7.5]
137. Merry-Go-Round (1981, Jacques Rivette) Monitor, Blu-ray 08 May – 7.2 [slight]
138. Your Face (2018, Tsai Ming-liang) Monitor, File 09 May – 6.6
139. +The Girl With the Dragon Tattoo (2011, David Fincher) Monitor, File 09 May – 7.5 [up from 6.8]
140. Beijing Watermelon (1989, Nobuhiko Obayashi) Monitor, File 10 May – 8.9
141. The Boston Strangler (1968, Richard Fleischer^) Monitor, File 11 May – 7.1
142. Where Now Are the Dreams of Youth? (1932, Yasujiro Ozu) Monitor, File 12 May – 7.6
143. s01e03 (2020, Kurt Walker) Monitor, YouTube 12 May – 5.8
144. My First Film (2018, Zia Anger^) Monitor, Website Livestream 13 May – 4.0
s037. Transformers: The Premake (2014, Kevin B. Lee) Monitor, Vimeo 13 May – 7.7
145. Some Divine Wind (1991, Roddy Bogawa†) Monitor, Screener 14 May – 6.2
146. A Wedding (1978, Robert Altman$) Monitor, File 16 May – 5.8
147. +Spione (1928, Fritz Lang$) Monitor, Blu-ray 16 May – 8.7 [up from 8.0]
s038. Origins of the 21st Century (2000, Jean-Luc Godard) Monitor, File 17 May – 7.5
148. Fourteen (2019, Dan Sallitt) Monitor, Grasshopper Virtual Cinema/Acropolis Cinema 17 May – 7.9
149. The Power of Nightmares: The Rise of the Politics of Fear (2004, Adam Curtis) Monitor, File 18 May – 8.0 [serial]
150. Throw Down (2004, Johnnie To) Monitor, File 18 May – 8.3
151. Skip Tracer (1977, Zale Dalen^$) Monitor, File 19 May – 5.8
152. The Green Room (1978, François Truffaut$) Monitor, File 19 May – 7.5
153. The Mask of Zorro (1998, Martin Campbell) Monitor, Netflix 20 May – 5.8
154. Pedicab Driver (1989, Sammo Hung^) Monitor, File 20 May – 8.7
155. Camouflage (1977, Krzysztof Zanussi$) Monitor, File 21 May – 6.4 [slight]
s039. Le Chant du styrène (1959, Alain Resnais) Monitor, YouTube 22 May – 8.0
156. Bloodbrothers (1978, Robert Mulligan^$) Monitor, File 23 May – 4.5
157. They Are Their Own Gifts (1978, Lucille Rhodes^ & Margaret Murphy^$) Monitor, File 23 May – 5.5
158. With Babies and Banners: Story of the Women’s Emergency Brigade (1978, Lorraine Gray^$) Monitor, File 23 May – 6.1
s040. Yudie (1974, Mirra Bank$) Monitor, Criterion Channel 24 May – 6.6
159. Elevator to the Gallows (1958, Louis Malle) Monitor, Criterion Channel 24 May – 5.6
s041. Statues Also Die (1953, Alain Resnais & Chris Marker & Ghislain Cloquet) Monitor, File 25 May – 7.1
160. Langlois (1970, Eila Hershon^ & Roberto Guerra^$) Monitor, Criterion Channel 25 May – 5.7
161. My Left Eye Sees Ghosts (2002, Johnnie To & Wai Ka-fai) Monitor, File 25 May – 8.0
162. Newsfront (1978, Phillip Noyce$) Monitor, File 26 May – 5.8
163. The Apple Game (1977, Vera Chytilová$) Monitor, File 27 May – 4.9
164. Get Out Your Handkerchiefs (1978, Bertrand Blier^$) Monitor, File 28 May – 7.7
165. Winter Light (1963, Ingmar Bergman) Monitor, Criterion Channel 28 May – 6.6
r005. The Seventh Seal (1957, Ingmar Bergman) 28 May – 6.3 [down from 6.8]
166. The Left-Handed Woman (1978, Peter Handke^$) Monitor, File 29 May – 7.2
167. Eastern Condors (1987, Sammo Hung) Monitor, File 29 May – 8.0
168. Dossier 51 (1978, Michel Deville^$) Monitor, File 30 May – 7.4
169. Despair (1978, Rainer Werner Fassbinder$) Monitor, File 31 May – 6.7
170. Chasing Dream (2019, Johnnie To) Monitor, File 31 May – 6.9
171. Like a Turtle on Its Back (1978, Luc Béraud^$) Monitor, File 01 Jun – 6.8
172. The Trap: What Happened to Our Dream of Freedom (2007, Adam Curtis) Monitor, File 01 Jun – 8.8 [serial]
173. Gates of Heaven (1978, Errol Morris$) Monitor, Criterion Channel 01 Jun – 6.6
174. The Shout (1978, Jerzy Skolimowski$) Monitor, File 02 Jun – 6.6
175. Perceval le Gallois (1978, Eric Rohmer$) Monitor, File 02 Jun – 8.9
176. American Boy: A Portrait of Steven Prince (1978, Martin Scorsese$) Monitor, Criterion Channel 04 Jun – 6.4
177. A Girl Is a Gun (1971, Luc Moullet^) Monitor, File 04 Jun – 6.8 [dub]
178. The Miracle of the Wolves (1924, Raymond Bernard^$) Monitor, File 06 Jun – 5.4
179. Violette Nozière (1978, Claude Chabrol$) Monitor, File 06 Jun – 7.1
180. Golden Swallow (1968, Chang Cheh) Monitor, File 07 Jun – 7.7
181. The Body Remembers When the World Broke Open (2019, Elle-Máijá Tailfeathers^ & Kathleen Hepburn^) Monitor, Netflix 08 Jun – 5.5
182. The Way of the Dragon (1972, Bruce Lee^) Monitor, File 09 Jun – 4.8
183. Wheels on Meals (1984, Sammo Hung) Monitor, File 09 Jun – 8.4
184. Alita: Battle Angel (2019, Robert Rodriguez^) Monitor, HBO Go 10 Jun – 5.8
s042. Parsi (2018, Eduardo Williams) Monitor, YouTube 10 Jun – 7.2
185. +Thief (1981, Michael Mann) Monitor, Blu-ray 10 Jun – 7.7 [down from 7.9]
186. +Chi-Raq (2015, Spike Lee) Monitor, Amazon Prime 11 Jun – 4.3 [up from 3.9]
187. My Young Auntie (1981, Lau Kar-leung) Monitor, File 11 Jun – 7.8
188. Victoria (2016, Justine Triet^) Monitor, File 12 Jun – 6.7
189. +Green Snake (1993, Tsui Hark) Monitor, File 13 Jun – 8.1 [up from 7.4]
s043. Redemption (2013, Miguel Gomes) Monitor, File 14 Jun – 7.6
190. Da 5 Bloods (2020, Spike Lee) Monitor, Netflix 14 Jun – 6.4
191. It Felt Like a Kiss (2009, Adam Curtis) Monitor, File 16 Jun – 8.1
192. Love on a Diet (2001, Johnnie To & Wai Ka-fai) Monitor, File 16 Jun – 7.3
193. Paris Is Burning (1990, Jennie Livingston^) Monitor, File 17 Jun – 6.8
194. Bound (1996, Lana & Lilly Wachowski) Monitor, File 18 Jun – 7.0
195. Shaolin Soccer (2001, Stephen Chow) Monitor, File 19 Jun – 7.2
196. Wasp Network (2019, Olivier Assayas) Monitor, Netflix 20 Jun – 5.8
s044. Foreign Powers (2019, Bingham Bryant) Monitor, Website 21 Jun – 7.5
197. But I’m a Cheerleader (1999, Jamie Babbit^) Monitor, Criterion Channel 21 Jun – 5.7
198. An Autumn’s Tale (1987, Mabel Cheung^) Monitor, File 23 Jun – 7.0
199. +Claire’s Camera (2017, Hong Sang-soo) Monitor, Blu-ray 24 Jun – 7.3 [up from 7.2]
200. Le Beau Serge (1958, Claude Chabrol) Monitor, File 24 Jun – 7.5
201. Infernal Affairs (2002, Andrew Lau^ & Alan Mak^) Monitor, File 25 Jun – 6.3
202. Michael Clayton (2007, Tony Gilroy^) Monitor, HBO Go 26 Jun – 7.4
203. Love in a Puff (2010, Pang Ho-cheung^) Monitor, File 27 Jun – 7.6
s045. +La jetée (1963, Chris Marker) Monitor, Blu-ray 28 Jun – 9.3 [~same]
204. Bless Their Little Hearts (1983, Billy Woodberry^) Monitor, File 28 Jun – 7.1
205. +Los Angeles Plays Itself (2003, Thom Andersen) Monitor, Blu-ray 28 Jun – 8.8 [up from 7.5]
206. All Watched Over by Machines of Loving Grace (2011, Adam Curtis) Laptop, File 03 Jul – 7.4 [serial]
207. A Hero Never Dies (1998, Johnnie To) Laptop, File 03 Jul – 7.3
208. 6 Underground (2019, Michael Bay) Television, Netflix 04 Jul – 5.0
209. Yearning (1964, Mikio Naruse) Laptop, File 08 Jul – 8.7
210. +In the Heat of the Sun (1994, Jiang Wen) Laptop, File 09 Jul – 8.2 [up from 6.5]
211. Hamilton (2020, Thomas Kail^) Television, Disney+ (Mother) 10 Jul – 3.9
212. Chinese Odyssey 2002 (2002, Jeffrey Lau^) Television, File (Mother) 11 Jul – 7.7
213. Experimenter: The Stanley Milgram Story (2015, Michael Almereyda) Laptop, File 13 Jul – 7.2
214. +Chungking Express (1994, Wong Kar-wai) Television, File (Date) 16 Jul – 9.0 [same]
215. The Rocking Horsemen (1992, Nobuhiko Obayashi) Laptop, File 18 Jul – 8.7
216. Labyrinth of Cinema (2019, Nobuhiko Obayashi†) Laptop, File 19 Jul – 7.3
217. +Catch Me If You Can (2002, Steven Spielberg) Laptop, Amazon Zoom 20 Jul – 7.1 [up from ~5.9]
218. L’Idiot (2008, Pierre Léon^) Laptop, File 21 Jul – 7.4
219. Fury (1936, Fritz Lang) Laptop, File 22 Jul – 7.9
220. Bitter Lake (2015, Adam Curtis) Laptop, File 23 Jul – 7.7
s046. Ambush (2001, John Frankenheimer) Laptop, YouTube 24 Jul – 6.1
s047. Chosen (2001, Ang Lee) Laptop, YouTube 24 Jul – 5.8
s048. The Follow (2001, Wong Kar-wai) Laptop, YouTube 24 Jul – 7.2
s049. Star (2001, Guy Ritchie) Laptop, YouTube 24 Jul – 3.6
s050. Powder Keg (2001, Alejandro González Iñárritu) Laptop, YouTube 24 Jul – 4.4
s051. Hostage (2002, John Woo) Laptop, YouTube 24 Jul – 6.3
s052. Ticker (2002, Joe Carnahan) Laptop, YouTube 24 Jul – 4.8
s053. Beat the Devil (2002, Tony Scott) Laptop, YouTube 24 Jul – 6.2
r006. Perceval le Gallois (1978, Eric Rohmer) 25 Jul – 9.0 [up from 8.9]
221. Beduino (2016, Júlio Bressane) Laptop, File 28 Jul – 7.3
222. Bloody Nose, Empty Pockets (2020, Bill^ & Turner Ross^) Laptop, ALTAVOD/Acropolis Cinema 29 Jul – 7.1
r007. Goodfellas (1990, Martin Scorsese) 30 Jul – 7.3 [up from 5.9]
223. Running on Karma (2003, Johnnie To & Wai Ka-fai) Television, File (Parents) 31 Jul – 7.9
224. First Cow (2019, Kelly Reichardt) Laptop, A24 Eventive/Film at Lincoln Center Virtual Cinema 02 Aug – 7.4
225. The Strange Case of Angelica (2010, Manoel de Oliveira^) Laptop, File 03 Aug – 7.3
226. Spring in a Small Town (1948, Fei Mu^) Laptop, File 04 Aug – 8.2
227. +Certain Women (2016, Kelly Reichardt) Television, File 07 Aug – 7.8 [up from 7.2]

2020 Viewing Log

January
That Obscure Object of Desire (1977, Luis Buñuel) – 7.4
Life Without Principle (2011, Johnnie To) – 6.3
Star Wars: The Rise of Skywalker (2019, J.J. Abrams) DP – 6.2
A Hidden Life (2019, Terrence Malick) DP – 7.2
+What Time Is It There? (2001, Tsai Ming-liang) 35mm – 7.9 [up from 7.5]
Synonyms (2019, Nadav Lapid) – 7.4
Atlantics (2019, Mati Diop) – 6.6
+Once Upon a Time…in Hollywood (2019, Quentin Tarantino) 35mm – 7.5 [up from 7.3]
Mekong Hotel (2012, Apichatpong Weerasethakul) – 5.8
+Apocalypse Now (1979, Francis Ford Coppola) DP – 7.9 [down from ~8.1]
Mysteries of Lisbon (2010, Raúl Ruiz) – 8.9
+Feast of the Epiphany (2018, Michael Koresky & Jeff Reichert & Farihah Zaman) DP – 6.4 [same]
+Something Between Us (2015, Jodie Mack)
Sentimental Education (2013, Júlio Bressane) – 6.7
Romancing in Thin Air (2012, Johnnie To) – 8.0
The Arbor (2010, Clio Barnard) – 7.0
The Cool World (1963, Shirley Clarke) 35mm – 7.1
+Nothing But a Man (1964, Michael Roemer) 35mm – 7.6 [up from 7.1]
Drug War (2012, Johnnie To) – 8.1
+Rear Window (1954, Alfred Hitchcock) 35mm – 8.9 [same]
What Did Jack Do? (2017, David Lynch)
The Wolf of Wall Street (2013, Martin Scorsese) – 7.5
Jefferson Circus Songs (1973, Suzan Pitt) DP
Asparagus (1979, Suzan Pitt) 35mm
Clay Woman Smoking (1975, Suzan Pitt) DP
Joy Street (1995, Suzan Pitt) 35mm
Visitation (2011, Suzan Pitt) DP
El Doctor (2006, Suzan Pitt) 35mm
Pinball (2013, Suzan Pitt) DP
+There Will Be Blood (2007, Paul Thomas Anderson) DP – 7.6 [up from 7.4]
+Cemetery of Splendour (2015, Apichatpong Weerasethakul) – 8.7 [up from 7.4]
differently, Molussia (2012, Nicolas Rey) – 7.4
Garoto (2015, Júlio Bressane) – 7.4
Blind Detective (2013, Johnnie To) – 7.4
Shadows (1959, John Cassavetes) 35mm – 7.3
The Wind Rises (2013, Hayao Miyazaki) – 8.1
Unstoppable (2010, Tony Scott) – 7.3
Journey to the West (2014, Tsai Ming-liang) – 7.5
Nightwalk (2013, Scott Barley)
Night Without Distance (2015, Lois Patiño)
+Gook (2017, Justin Chon) DP – 4.6 [down from 5.7]
Fainting Spells (2018, Sky Hopinka)
Hanagatami (2017, Nobuhiko Obayashi) – 7.7
+Phoenix (2014, Christian Petzold) – 8.6 [up from 8.2]
The Tale of the Princess Kaguya (2013, Isao Takahata) – 7.6
Under the Skin (2013, Jonathan Glazer) – 6.6
Tabu (2012, Miguel Gomes) – 7.8
No No Sleep (2015, Tsai Ming-liang)
Like Someone in Love (2012, Abbas Kiarostami) – 8.8
+SPL II: A Time for Consequences (2015, Soi Cheang) – 7.7 [up from 7.1]
+Transit (2018, Christian Petzold) – 8.7 [up from 8.0]
The World Is Full of Secrets (2018, Graham Swon) DP – 6.7

February
Double messieurs (1986, Jean-François Stévenin) – 7.6
Meltdown (2012, Mike Kuchar) DP
The Stranger in Apartment 9F (1998, Mike Kuchar) DP
Fallen Angels (2013, Mike Kuchar) DP
I Was a Teenage Rumpot (1960, George & Mike Kuchar) 16mm
Sylvia’s Promise (1962, George & Mike Kuchar) 16mm
Cattle Mutilations (1983, George Kuchar) 16mm
Temple of Torment (2006, George Kuchar) DP
+Meek’s Cutoff (2010, Kelly Reichardt) DP – 8.6 [up from 8.3]
The Human Condition I: No Greater Love (1959, Masaki Kobayashi) 35mm – 6.3
Daisies (1966, Vera Chytilová) – 5.7
West Side Story (1961, Robert Wise & Jerome Robbins) 35mm – 7.4
I’m Cold (1954, Tex Avery) 35mm
McCabe & Mrs. Miller (1971, Robert Altman) 35mm – 7.0
Ham on Rye (2019, Tyler Taormina) Locarno in Los Angeles, DP – 6.3
Oroslan (2019, Matjaz Ivanisin) Locarno in Los Angeles, DP – 5.9
A Girl Missing (2019, Koji Fukada) Locarno in Los Angeles, DP – 6.6
A Voluntary Year (2019, Ulrich Köhler & Henner Winckler) Locarno in Los Angeles, DP – 7.5
Vitalina Varela (2019, Pedro Costa) Locarno in Los Angeles, DP – 7.3
+E.T. the Extra-Terrestrial (1982, Steven Spielberg) DP – 7.9 [up from ~7.4]
The American Sector (2020, Courtney Stephens & Pacho Velez) DP – 6.2
36 Fillette (1988, Catherine Breillat) 35mm – 7.4
To All the Boys I’ve Loved Before (2018, Susan Johnson) – 4.7
Safe (1995, Todd Haynes) – 8.0
+Blue Velvet (1986, David Lynch) DP – 9.0 [same]
Zombi Child (2019, Bertrand Bonello) DP – 6.8
Dawn of the Dead (1978, George A. Romero) – 7.9
Day of the Dead (1985, George A. Romero) 35mm – 7.4
A Faithful Man (2018, Louis Garrel) – 6.3

March
The Clock (1945, Vincente Minnelli) 35mm – 8.2
Batang West Side (2001, Lav Diaz) 35mm – 5.7
Fear of Fear (1975, Rainer Werner Fassbinder) – 6.5
+The Matrix (1999, Lana & Lilly Wachowski) DP – 7.5 [up from ~6.8]
+Vive L’Amour (1994, Tsai Ming-liang) – 7.8 [up from 7.5]
+Duck Dodgers in the 24½th Century (1953, Chuck Jones) 35mm
Starship Troopers (1997, Paul Verhoeven) 35mm – 7.6
Cry When It Happens (2010, Laida Lertxundi)
Candyman (1992, Bernard Rose) – 6.2
High and Low (1963, Akira Kurosawa) 35mm – 9.0
Noroît (une vengeance) (1976, Jacques Rivette) – 7.4
Gamer (2009, Mark Neveldine & Brian Taylor) – 4.9
Grand Illusion (1937, Jean Renoir) – 7.0
His Girl Friday (1940, Howard Hawks) – 8.9
Metropolis (1927, Fritz Lang) – 7.5
Fantômas (1913, Louis Feuillade) – 8.4
Meeting a Milestone (1989, Goutam Ghose) – 6.5
+Vivre sa vie (1962, Jean-Luc Godard) – 7.3 [down from ~8.5]
The Blue Angel (1930, Josef von Sternberg) – 7.4
+La Notte (1961, Michelangelo Antonioni) – 7.1 [same]
Pauline at the Beach (1983, Eric Rohmer) – 7.5
Fit Model (2019, Myna Joseph)
Simone Barbès or Virtue (1980, Marie-Claude Treilhou) – 7.8
The Love Eterne (1963, Li Han-hsiang) – 8.8
+Blackhat [Approximate Cut] (2015, Michael Mann) – 8.7 [up from 8.6]
The Sky Is Clear and Blue Today (2019, Ricky D’Ambrose)
B-ROLL With Andre (2015, James N. Kienitz Wilkins)
+Indefinite Pitch (2016, James N. Kienitz Wilkins)
Locke (2013, Steven Knight) – 5.7
Fight Club (1999, David Fincher) – 5.1
American Psycho (2000, Mary Harron) – 5.2
At This Late Date, the Charleston (1981, Kihachi Okamoto) – 7.5

April
In Transit (2015, Albert Maysles & Lynn True & David Usui & Nelson Walker & Ben Wu) – 6.3
Bacurau (2019, Kleber Mendonça Filho & Juliano Dornelles) – 7.2
Femmes Femmes (1974, Paul Vecchiali) – 9.0
+L’Eclisse (1962, Michelangelo Antonioni) – 7.3 [up from 6.9]
The Wild Goose Lake (2019, Diao Yinan) – 7.1
La France contre les Robots (2020, Jean-Marie Straub)
+Contempt (1963, Jean-Luc Godard) – 7.2 [down from 7.3]
The Hurt Locker (2008, Kathryn Bigelow) – 6.1
Zero Dark Thirty (2012, Kathryn Bigelow) – 6.3
Toute la mémoire du monde (1956, Alain Resnais)
Providence (1977, Alain Resnais) – 8.0
+Band of Outsiders (1964, Jean-Luc Godard) – 6.8 [same]
Sparrow (2008, Johnnie To) – 8.7
Wild Strawberries (1957, Ingmar Bergman) – 5.8
All My Life (1966, Bruce Baillie)
The Sign of Leo (1962, Eric Rohmer) – 6.4
+Crouching Tiger, Hidden Dragon (2000, Ang Lee) – 8.8 [up from 8.0]
Ikiru (1952, Akira Kurosawa) – 6.3
Brokeback Mountain (2005, Ang Lee) – 7.0
Accident (2009, Soi Cheang) – 7.7
Film Socialisme (2010, Jean-Luc Godard) – 7.6
Afternoon (2015, Tsai Ming-liang) – 7.8
Le Samouraï (1967, Jean-Pierre Melville) – 6.2
The Matrix Reloaded (2003, Lana & Lilly Wachowski) – 6.6
Peking Opera Blues (1986, Tsui Hark) – 8.8
The Matrix Revolutions (2003, Lana & Lilly Wachowski) – 5.8
Faubourg St. Martin (1986, Jean-Claude Guiguet) – 8.0
SPL: Kill Zone (2005, Wilson Yip) – 5.7
Pyaasa (1957, Guru Dutt) – 8.7
+Come Drink With Me (1966, King Hu) – 7.6 [same]
Visit (2020, Jia Zhangke)
Through the Forest (2005, Jean-Paul Civeyrac) – 7.6
Rosemary’s Baby (1968, Roman Polanski) – 7.4
SPL: Paradox (2017, Wilson Yip) – 6.2
+Dragon Inn (1967, King Hu) – 9.0 [up from 8.3]
Never Rarely Sometimes Always (2020, Eliza Hittman) – 5.7
+Two English Girls (1971, François Truffaut) – 8.7 [up from 7.7]
The Valiant Ones (1975, King Hu) – 7.6
+The Wold Shadow (1972, Stan Brakhage)
+Night Music (1986, Stan Brakhage)
+Stellar (1993, Stan Brakhage)
+Legend of the Mountain (1979, King Hu) – 8.3 [up from 7.8]
Safety Last! (1923, Fred C. Newmeyer & Sam Taylor) – 6.3
Klute (1971, Alan J. Pakula) – 6.9
Sunrise/Sunset (2019, Jong Ougie Pak) – 5.8

May
Ema (2019, Pablo Larraín) – 5.5
Possibly in Michigan (1983, Cecelia Condit)
Enter the Dragon (1973, Robert Clouse) – 5.6
Election (2005, Johnnie To) – 7.3
Den of Thieves (2018, Christian Gudegast) – 6.4
Election 2 (2006, Johnnie To) – 8.6
The Century of the Self (2002, Adam Curtis) – 7.6
The Mouth Agape (1974, Maurice Pialat) – 7.5
Lust, Caution (2007, Ang Lee) – 6.3
+The Unspeakable Act (2012, Dan Sallitt) – 7.4 [up from 6.8]
Hit 2 Pass (2014, Kurt Walker) – 5.8
Too Many Ways to Be No. 1 (1997, Wai Ka-fai) – 8.0
Caterina (2019, Dan Sallitt)
+Raiders of the Lost Ark (1981, Steven Spielberg) – 8.2 [up from 7.5]
Merry-Go-Round (1981, Jacques Rivette) – 7.2
Your Face (2018, Tsai Ming-liang) – 6.6
+The Girl With the Dragon Tattoo (2011, David Fincher) – 7.5 [up from 6.8]
Beijing Watermelon (1989, Nobuhiko Obayashi) – 8.9
The Boston Strangler (1968, Richard Fleischer) – 7.1
Where Now Are the Dreams of Youth? (1932, Yasujiro Ozu) – 7.6
s01e03 (2020, Kurt Walker) – 5.8
My First Film (2018, Zia Anger) – 4.0
Transformers: The Premake (2014, Kevin B. Lee)
Some Divine Wind (1991, Roddy Bogawa) – 6.2
A Wedding (1978, Robert Altman) – 5.8
+Spione (1928, Fritz Lang) – 8.7 [up from 8.0]
Origins of the 21st Century (2000, Jean-Luc Godard)
Fourteen (2019, Dan Sallitt) – 7.9
The Power of Nightmares: The Rise of the Politics of Fear (2004, Adam Curtis) – 8.0
Throw Down (2004, Johnnie To) – 8.3
Skip Tracer (1977, Zale Dalen) – 5.8
The Green Room (1978, François Truffaut) – 7.5
The Mask of Zorro (1998, Martin Campbell) – 5.8
Pedicab Driver (1989, Sammo Hung) – 8.7
Camouflage (1977, Krzysztof Zanussi) – 6.4
Le Chant du styrène (1959, Alain Resnais)
Bloodbrothers (1978, Robert Mulligan) – 4.5
They Are Their Own Gifts (1978, Lucille Rhodes & Margaret Murphy) – 5.5
With Babies and Banners: Story of the Women’s Emergency Brigade (1978, Lorraine Gray) – 6.1
Yudie (1974, Mirra Bank)
Elevator to the Gallows (1958, Louis Malle) – 5.6
Statues Also Die (1953, Alain Resnais & Chris Marker & Ghislain Cloquet)
Langlois (1970, Eila Hershon & Roberto Guerra) – 5.7
My Left Eye Sees Ghosts (2002, Johnnie To & Wai Ka-fai) – 8.0
Newsfront (1978, Phillip Noyce) – 5.8
The Apple Game (1977, Vera Chytilová) – 4.9
Get Out Your Handkerchiefs (1978, Bertrand Blier) – 7.7
Winter Light (1963, Ingmar Bergman) – 6.6
The Left-Handed Woman (1978, Peter Handke) – 7.2
Eastern Condors (1987, Sammo Hung) – 8.0
Dossier 51 (1978, Michel Deville) – 7.4
Despair (1978, Rainer Werner Fassbinder) – 6.7
Chasing Dream (2019, Johnnie To) – 6.9

June
Like a Turtle on Its Back (1978, Luc Béraud) – 6.8
The Trap: What Happened to Our Dream of Freedom (2007, Adam Curtis) – 8.8
Gates of Heaven (1978, Errol Morris) – 6.6
The Shout (1978, Jerzy Skolimowski) – 6.6
Perceval le Gallois (1978, Eric Rohmer) – 8.9
American Boy: A Profile of Steven Prince (1978, Martin Scorsese) – 6.4
A Girl Is a Gun (1971, Luc Moullet) – 6.8
The Miracle of the Wolves (1924, Raymond Bernard) – 5.4
Violette Nozière (1978, Claude Chabrol) – 7.1
Golden Swallow (1968, Chang Cheh) – 7.7
The Body Remembers When the World Broke Open (2019, Elle-Máijá Tailfeathers & Kathleen Hepburn) – 5.5
The Way of the Dragon (1972, Bruce Lee) – 4.8
Wheels on Meals (1984, Sammo Hung) – 8.4
Alita: Battle Angel (2019, Robert Rodriguez) – 5.8
Parsi (2018, Eduardo Williams)
+Thief (1981, Michael Mann) – 7.7 [down from 8.2]
+Chi-Raq (2015, Spike Lee) – 4.3 [up from 3.9]
My Young Auntie (1981, Lau Kar-leung) – 7.8
Victoria (2016, Justine Triet) – 6.7
+Green Snake (1993, Tsui Hark) – 8.1 [up from 7.4]
Redemption (2013, Miguel Gomes)
Da 5 Bloods (2020, Spike Lee) – 6.4
It Felt Like a Kiss (2009, Adam Curtis) – 8.1
Love on a Diet (2001, Johnnie To & Wai Ka-fai) – 7.3
Paris Is Burning (1990, Jennie Livingston) – 6.8
Bound (1996, Lana & Lilly Wachowski) – 7.0
Shaolin Soccer (2001, Stephen Chow) – 7.2
Wasp Network (2019, Olivier Assayas) – 5.8
Foreign Powers (2019, Bingham Bryant)
But I’m a Cheerleader (1999, Jamie Babbit) – 5.8
An Autumn’s Tale (1987, Mabel Cheung) – 7.0
+Claire’s Camera (2017, Hong Sang-soo) – 7.3 [up from 7.2]
Le Beau Serge (1958, Claude Chabrol) – 7.5
Infernal Affairs (2002, Andrew Lau & Alan Mak) – 6.3
Michael Clayton (2007, Tony Gilroy) – 7.4
Love in a Puff (2010, Pang Ho-cheung) – 7.6
+La Jetée (1962, Chris Marker)
Bless Their Little Hearts (1983, Billy Woodberry) – 7.1
+Los Angeles Plays Itself (2003, Thom Andersen) – 8.8 [up from 7.5]

July
All Watched Over by Machines of Loving Grace (2011, Adam Curtis) – 7.4
A Hero Never Dies (1998, Johnnie To) – 7.3
6 Underground (2019, Michael Bay) – 5.0
Yearning (1964, Mikio Naruse) – 8.7
+In the Heat of the Sun (1994, Jiang Wen) – 8.2 [up from 6.5]
Hamilton (2020, Thomas Kail) – 3.9
Chinese Odyssey 2002 (2002, Jeffrey Lau) – 7.7
Experimenter: The Stanley Milgram Story (2015, Michael Almereyda) – 7.2
+Chungking Express (1994, Wong Kar-wai) – 9.0 [same]
The Rocking Horsemen (1992, Nobuhiko Obayashi) – 8.7
Labyrinth of Cinema (2019, Nobuhiko Obayashi) – 7.3
+Catch Me If You Can (2002, Steven Spielberg) – 7.1 [up from ~5.9]
L’Idiot (2008, Pierre Léon) – 7.4
Fury (1936, Fritz Lang) – 7.9
Bitter Lake (2015, Adam Curtis) – 7.7
Ambush (2001, John Frankenheimer)
Chosen (2001, Ang Lee)
The Follow (2001, Wong Kar-wai)
Star (2001, Guy Ritchie)
Powder Keg (2001, Alejandro Goonzález Iñárritu)
Hostage (2002, John Woo)
Ticker (2002, Joe Carnahan)
Beat the Devil (2002, Tony Scott)
Beduino (2016, Júlio Bressane) – 7.3
Bloody Nose, Empty Pockets (2020, Bill & Turner Ross) – 7.1
Running on Karma (2003, Johnnie To & Wai Ka-fai) – 7.9

August
First Cow (2019, Kelly Reichardt) – 7.4
The Strange Case of Angelica (2010, Manoel de Oliveira) – 7.3
Spring in a Small Town (1948, Fei Mu) – 8.2
+Certain Women (2016, Kelly Reichardt) – 7.8 [up from 7.2]

Top 26 of 2019

As I’ve said elsewhere, 2019 was one of the most extraordinary American release years for film I’ve ever seen, benefiting from both a truly fantastic 2018 premiere year and a wonderful slate of American films in 2019. The variety and sheer ingenuity provided so many pleasures and bewitching moments, without ever feeling rote or perfunctory.

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 in 2019. A list, not the list.

1. La Flor (Mariano Llinás)

2. Asako I & II (Ryusuke Hamaguchi)

3. Long Day’s Journey Into Night (Bi Gan)

4. I Heard You Paint Houses (Martin Scorsese)

5. Transit (Christian Petzold)

6. Ash Is Purest White (Jia Zhangke)

7. Grass (Hong Sang-soo)

8. Parasite (Bong Joon-ho)

9. High Life (Claire Denis)

10. Uncut Gems (Josh & Benny Safdie)

11. In My Room (Ulrich Köhler)

12. Her Smell (Alex Ross Perry)

13. An Elephant Sitting Still (Hu Bo)

14. The Image Book (Jean-Luc Godard)

15. Hotel by the River (Hong Sang-soo)

16. “I Do Not Care If We Go Down in History as Barbarians” (Radu Jude)

17. Once Upon a Time…in Hollywood (Quentin Tarantino)

18. Marriage Story (Noah Baumbach)

19. Little Women (Greta Gerwig)

20. Too Late to Die Young (Dominga Sotomayor)

21. What You Gonna Do When the World’s on Fire? (Roberto Minervini)

22. Non-Fiction (Olivier Assayas)

23. Pain and Glory (Pedro Almodóvar)

24. 3 Faces (Jafar Panahi)

25. Ad Astra (James Gray)

26. Richard Jewell (Clint Eastwood)

My Top 10 Discoveries During 2019 (for first-time viewings of films made before 2000)

  1. Céline and Julie Go Boating (1974, Jacques Rivette)
  2. The Testament of Dr. Mabuse (1933, Fritz Lang)
  3. The Awful Truth (1937, Leo McCarey)
  4. The Mother and the Whore (1973, Jean Eustache)
  5. Mahjong (1996, Edward Yang)
  6. A City of Sadness (1989, Hou Hsiao-hsien)
  7. The End of Evangelion (1997, Hideaki Anno)
  8. Out 1: Spectre (1972, Jacques Rivette)
  9. A Confucian Confusion (1994, Edward Yang)
  10. India Song (1975, Marguerite Duras)

December 2019 Capsules

Eyes Wide Shut (rewatch)
It’s crucial that practically the only sexual element that Bill doesn’t shrink away from is the actual centerpiece orgy. Be it the couple passionately kissing on the street, the Japanese businessman with the Russian daughter, the sexual desires of his wife, even the obviously gay hotel concierge: these all visibly upset him more than the slow accumulation of passionless humping that is more glimpsed than reveled in. This is almost to be expected: above all, Bill’s obsession is not with perversion or desire, but with the maintenance in his status quo, only pursuing his little threads as long as he can ensure he won’t get blood on his hands. In the “real world” (on the NYC city streets of a studio) he is constantly under threat, as various intimations of subversive or unconventional sexuality — not to call all of them equally moral — challenge his stalwart viewpoint. In the mansion, he is free to roam and observe, to float from room to room, with a mask on and personality off, without a waiting call from a wife or patient.

But in the end, he’s still wearing a rented tuxedo.

In Defense of Lists

moses und aron

I wish to preface this by saying that I bear no ill will toward Dr. Elena Gorfinkel, Another Gaze, or indeed anyone especially opposed to the practice of list-making with regards to cinema. Such a pastime is, of course, not for everyone, and a certain temperament is required in order to sit in front of a computer for hours on end, entering the same title over and over into a website in order to constantly keep certain lists updated. But I found Gorfinkel’s piece, and indeed the largely positive reaction to it, to be more than a little worrying, considering the openly antagonistic tone to a pursuit that, like many in film culture, contains far more facets than one might assume from the commercialized and rigid co-opting by the innumerable mass of film websites (with some worthy exceptions). So I wanted to write this rebuttal, not only as a means of defending a practice that I find to be immensely rewarding, but also in order to properly engage with this piece, and perhaps to in the process form a politique des listes, if you will.

The aim is to examine the essay line-by-line, or at the very least point-by-point, though given the manifesto tone of it some statements are difficult to expand upon. The statements from the original piece will be written in bold, with my thoughts on them directly below; these are intended to be as open-minded and in good faith as possible, but given my biases I apologize for anything too overtly polemical. For reading convenience, they are numbered; I realize that by doing so I’m transforming Gorfinkel’s piece into its own list, which adds a nice irony.

1. Lists of films will not save you.

This opening line immediately sets the stage both for Gorfinkel’s incendiary approach and my pronounced distaste, and demands a personal preface. I originally got into films because of my long-held obsession with lists: first the AFI top 100 list (as limited as it is) when I discovered it in 2010 and then They Shoot Pictures, Don’t They’s aggregate top 1000 in 2015. Obviously, both have their limitations, and possess no shortage of consensus concessions, but they provided me an entryway into the medium that, to indulge in just a little bit of hyperbole, provided me an earthly salvation. So yes, lists of films saved me.

2. Lists of films will not save films.

This, more than anything, begs the question of what exactly we mean by “saving” a film. Is it in the processes of restoration and preservation? This idea is brought up a few statements later, so it might be assumed that Gorfinkel means it in a broader sense, in the evolution and decay of the medium as a whole. In that case, it’s nigh impossible to ascribe the task of saving cinema to any single pursuit, even one as possibly pervasive as the act of listmaking. Saving film requires a more cohesive and holistic defense.

3. Lists of films will not reorganise how films gain and lose value.

I’d argue this is exactly what lists do, or at the very least should strive to do. With the ever-increasing glut of film lists, especially at the end of this decade, it is natural that consensus favors the well-known or the acknowledged masterpieces, but this only constitutes the general, not the particular placing of certain works; any reader should strive to consider the films they have not seen, and use the list as a guideline. Even the reevaluative nature of some lists, like a publication issuing a Best of the 1990s list a decade apart, inherently reorganizes the value of certain films, based on what have risen and fallen.

4. Lists will not preserve all those thousands and thousands of films decomposing in alleys, basements, storage lockers: films lost, unseen, and unpreserved.

I could be pedantic and name the National Film Registry as a list that does precisely that, but it’s even more worth pointing out that almost everything related to film culture (including film writing) doesn’t accomplish this either. Unless one fancies themselves a film archaeologist, climbing into abandoned movie theaters and trying to trace the paper trails leading back to Bill Gunn’s Stop or something along those lines, nothing they do can preserve those films.

5. Lists of films will not write new film histories.

As with point 3, this is exactly what lists of films can and should do; what is a history of film if not a list of films and their makers? Context is key, so many other sociopolitical and cultural histories must be brought in, but they are nothing without the actual works that have been made.

6. Lists are not neutral or innocent or purely subjective.

Gorfinkel seems to contradict herself between the former two and the latter descriptors, in a way that I find difficult to parse, but each of them feels faulty. Claiming the neutrality or objectivity of a list is inherently false, of course, but doing so seems much more at the hands of film publications or enormous polls; to any discerning reader, the list indicates “the X greatest films in [insert category] as chosen by an aggregate of X contributors,” not the end-all be-all truth. Even more importantly, lists should not be innocent, at least in my conception of the term, which signals naiveté and lack of an even slightly expanded knowledge of the world of film. Innocence is for those without visual literacy or film history. As for “purely subjective,” what is Gorfinkel striving to convey? That lists and viewing should come one’s pure id, uninflected by valuable learned information? These structures are necessary for establishing one’s foundational vantage point on film, so their inclusion in lists should be no surprise.

7. Lists do not enshrine your hallowed taste, they only dilute it.

It’s hard for me to understand this statement, simply because I feel that the former is a strong argument that can be made against my list obsession. But calcification (a process which I hope my lists escape) is a different process than dilution, and Gorfinkel seems to be arguing that it encourages the listmaker to stick to their established lists and nothing else, which goes entirely against my idea of lists as forever in flux, dynamically responding to each film I watch and reevaluate.

8. Lists are attentional real estate for the fatigued, enervated, click-hungry.

It’s somewhat difficult to argue with this with regards to websites, but more than anything it feeds into the desire to get one’s own ideas and thoughts about film into a evermore public space. Indeed, such a charge could be made of this very article (not to mention my own), and lists merely ease the process along. And individual lists are just as often furtive, secretive acts, made for personal uses and deliberately designed to not be seen by others.

9. Lists aggregate the already known and consolidate power.

See point 3.

10. Lists count and account and ceaselessly weigh and measure ‘genius’ and ‘greatness’ as if they are empirical substances.

This varies from list to list, but part of what excites me is the quicksilver nature of listing, of comparing such vastly different works to each other. It is as evaluative as assigning a rating to a film, and allows for a certain dialogue and unforeseen resonances to emerge. In this conception, genius and greatness are by nature undefinable and intangible: it is the job of the writer or listmaker to express them in some slightly more graspable way, that shifts each time either looks at their piece, their list, or the film.

11. Lists convert numerical appearance into that seeming empiricism of the prodigious.

See point 3, with the added note that individuals’ lists by no means always aspire to be empirical or definitive.

12. And who in the longue durée has been bestowed those plaudits?

Without going into exact details, I don’t exactly fit the standard hetero cis old white man image of a listmaker; the times they are a’changin’, and denying the potential of budding cinephiles to create lists is foolish at best.

13. Lists won’t create new canons – especially not of lost women, queer, trans, Black, Latinx, global south, decolonial and anti-colonial filmmakers.

What is a canon but a form of listing? The onus, as always, should be on the viewer to seek these out, and lists can and sometimes (if not often) do so.

14. Who will ask Barbara Hammer, Kathleen Collins, Kira Muratova, and Sara Gómez for their lists?

This deliberately polemical statement especially rankles, largely because it uses the demise of these filmmakers as a cudgel. Leaving aside the notion that listmaking isn’t for everyone, or that plenty of non-European female filmmakers have been asked for their lists, what difference does it make for those who wish to make their own lists?

15. Lists pretend to make a claim about the present and the past, but are anti-historical, obsessed with their own moment, with the narrow horizon and tyranny of contemporaneity. They consolidate and reaffirm the hidebound tastes of the already heard.

I don’t think it’s impossible or even difficult to embody both history and a present obsession with the contemporary. Both lists and tastes are formed outside of a vacuum, influenced by factors as seemingly insignificant as the time since one has seen a film or their viewing environment, or something as significant as the restoration of a long-lost film. Creating a list can be as much an act of history, reassessing and reevaluating one’s conception of what came before, as of a contemporary mindset, one which will always continue to evolve. As for the hidebound tastes, listmakers can and should strive to expand their tastes, and are just as often unheard as “already heard,” though even the latter can provide new discoveries.

16. Lists colonise the mind and impoverish the imagination.

The idea of lists affecting the mind is absolutely true, particularly in my case, but the specific use of “colonize” especially bristles, especially when it brings up global history in a manner that feels inappropriate at best. At their best, lists expand the imagination, asking the reader to consciously construct a profile of the listmaker’s taste or otherwise to decipher their precise process in choosing these particular films at the exclusion of others.

17. Lists will always disappoint, even as they promise an inexhaustible world, an infinite plenum.

As opposed to films, which invariably provide unbelievable amounts of pleasure? Lists rarely, if ever, promise infinity, especially considering the proliferation of lists set in specific categories or with strict parameters, so only the most sweeping or authoritative can disappoint (which yes, can include lists like the recent BBC films-directed-by-women list).

18. Lists bludgeon the dispossessed with a metric of popularity, as if it is a universal value.

As mentioned in points 3 and 6, lists cannot and should not be seen as universally applicable or as solely describing the popular, and, if read with a proper mindset, should be interrogated but not totally discounted.

19. Lists assert property, mastery, possession.

Possession feels apropos in a certain regard, though it all depends on one’s mindset; at least for most, films are not merely names on a piece of paper or on a website, but codified and yet mysterious objects, which shift and change; this idea of the listmaker as lepidopterist only fitfully applies, and ignores the desire to explore the film just below the surface.

20. Lists are an anti-film politics.

Herein lies the central point of disagreement: Gorfinkel sees lists as existing against film, whereas I see them as uplifting and supporting film. Obviously, exclusions have to be made, but this applies in every film pursuit, when one chooses to write about one film instead of another. In many ways, lists are precisely worthwhile because they illuminate what the listmaker values most, which is inevitable and desirable when choosing to value film as an artform.

21. Lists are metrics.

See point 8.

22. Metrics are our enemy, and the enemy of art and of political struggle. Every list is by necessity impossible, and must remain unwritten, a private reckoning. The unwritten list tarries with the inevitable vortex of unknowability into which all films will certainly fall, unless we can defend and describe them better, making space for their work as live and active forms.

I don’t necessarily disagree with the first sentence, which does contain a certain truth about the state of media economy in which we live. However, the act of listmaking is first and foremost a private reckoning, asking the listmaker to evaluate certain films, and thus their own conception of their aesthetic taste. Likewise, listmaking acts as an invaluable step in defending and describing the films, especially when justification is demanded and provided for certain choices.

23. Burn the list to free your ass.

I half-admire the outright polemicism of this statement, which exists so much in the manifesto format that I can’t really dispute it — save for the perception of freedom that I perceive in my dynamic conception of listmaking.

24. The impulse to list is allied with collection, a desire to record, to archive, to remember, to preserve experience and the aesthetic feeling of films one might not otherwise recall. These are meaningful, important and historically enshrined activities, on their own terms. But in this hyper-mediated moment, the recirculated compulsory form of the list – list as desiderata of consumption, a grocery receipt of your watching – has become an instrument of commodity fetishism, of algorithmic capture, of priapic, indulgent self-exposure. Look closely. Who exactly produces this flurry of lists?

Here, Gorfinkel gets at something potentially more truthful and in good faith, before reverting to the far too general castigation of her manifesto. Ideally, lists are by no means compulsory, except if readers expect them. Following this idea, fetishizing taste and self-exposure is much more a tendency of film culture, as seen in point 8; also, as far as I’m aware, my lists aren’t being used as part of any algorithm. And what exactly is wrong with keeping track of what one has watched? Memory already fulfills at least some of that tendency, and relying on the written word instead of the ravages of the mind seems to be an entirely reasonable and worthy endeavor.

25. How many lists must we read to know that their makers have captured the essential existence of these works in a graspable net? Ceaselessly writing, reading and consuming this polluted ocean of lists, we enter into the rotten mercantilism of the cinephilic soul. Perhaps more pernicious practices aggrieve film culture, but even so, lists are as banal and telling a symptom as any of this spoiled, melting world.

This point largely speaks out against the state of film culture, which can frequently be as harmful as Gorfinkel says it is. But, as in points 10 and 19, the lists by no means harness or contain the essential nature of these works, other than the fact that they exist and that they are valued according to the parameters of this list. Furthermore, dynamic lists are by definition ever-expansive and mutable, which is a far cry from the tyrannical, graspable net.

26. Torch your list. If you must count, write as many words about any film not on your list.
Read as many words about a woman filmmaker or filmmaker from the global south.
Or convert those words and characters into units of time, watching a film never on your list.

The sentiments expressed here are slightly admirable, but it begs the question of whether all time should be solely dedicated to the watching of films. Even with such an activity, decompression and space is needed; speaking for myself, listmaking is frequently a therapeutic and relaxing activity, far more (temporarily) concrete than the daily goings-on. And putting a film on a list can do as much to spotlight a film as writing about it.

27. A potlatch of lists: redistribution of resources redirected from the collective energy of list-making.

See point 26.

28. Claiming aesthetic supremacy begins with the list. Would that we had other ways to create spheres of value or to abolish the shallow terms of value altogether, and along with them the capricious and impoverished arbitration of what counts as cinematic art, art worth watching and worth fighting for. The list consolidates as if self-evidence, reasserting in all that it doesn’t list, all that its lister failed to learn, to see, to know.

This contains a central contradiction, insofar as spotlighting and writing about a film inherently categorizes it as “worth fighting for,” whether one puts it on a list or not. The simple fact is that not all art is equal in the eye of any single beholder, which is not to say that not all art should be preserved. But in thinking about film, in discussing it, at least some structure of valuation is necessary to direct one’s energy and focus. As for the last sentence, no person nor group of people has seen every film, and as such their blindspots are inevitably revealed, whether in list or in writing.

29. Lists are for laundry, not for film.

See point 23.

30. If we wash out our eyes and ears and minds, we will find that what clings to us, after the suds clear, are the tendrils of another cinematic world, of images, spaces, voices, passages, struggles, and time: time recovered from its theft by narcissistic cinephilia’s allegiance with capital.

Many lists bear little to no allegiance with capital, and many pieces of writing do, and most importantly practically all possess a certain narcissism. The very nature of the term cinephilia implies a personal relationship and passion with the medium, and discounting that reeks of hypocrisy. And suggesting that individual aspects of a film can’t be evoked by the list is absurd: just seeing the title of a film carries with it such associations for the person who has watched it, and lists offer a way to put them into dialogue.

Ultimately, I don’t wish to discount the importance of writing and research in fostering a sense of cinephilia whatsoever. But for me, lists provide a unique and compact way of expanding the reader’s ideas about film, of giving them the chance to explore more and become exposed to new works and reframing their ideas on those they have already become familiar with. Lists are by no means superior to the films, but provide a structure for them, allowing them to wait for the next person to uncover them and discover the pleasures that await within.

November 2019 Capsules

Jojo Rabbit
Let’s leave aside the extravagant vanity and stupidity of this, a project that seems as much an excuse for Waititi to clown around in Führer cosplay as to indulge his worst and most juvenile tendencies: the twee coming-of-age story, the playful mocking that ultimately coalesces into love. Let’s even excuse the utterly incoherent at best, downright fascistic approach to Nazism, which doesn’t so much dismantle the very real and very dangerous ideology as it presents it baldly and plainly, hoping that the viewer will find these hideous statements and behaviors from cuddly and/or blasé puppets hilarious. Jojo Rabbit would be utterly irredeemable if it just stuck to its proudly “anti-hate satire” formulations and its virtually nonexistent comedy, but it somehow manages to sink lower, into simpering, sappy romance.

Much of Jojo Rabbit is almost literally cloistered, as at least half of the film takes place solely within the eponymous character’s home, where he co-habits with both his vaguely antifascist mother and a teenage Jewish girl. Like with everything in this, Waititi’s approach comes off as maddeningly incoherent, going as far to employ a terribly overextended use of every horror movie trick in the book to accompany her first scene. But slowly, gradually, the true intent is revealed: despite her experiences fleeing the rot of fascist power, she is as flat and childlike as everyone, the object of affection — laid out oh-so-helpfully with paper-animated butterflies — and just another figure for Jojo to latch onto. In doing so, her inherent identity, which has caused the gassing of her parents and her present fearful existence, is all but erased, seemingly replaced uncomfortably with the role of both mother and lover. And in a film that refuses to reckon whatsoever with the horrors of fascism, that lies about the nature of ideologies, that closes itself off from any interesting or subversive view of the modern world, such a grievous conflation is just left there, as abject as anything in this monstrosity of a film.

Martin Eden
It’s crucial that, for all of the political rabble-rousing Martin does in writing and speech over the course of this film, his prose writing, which appears to be a true cornerstone of his success, is relegated in small snatches, only fitfully represented. As shown in his previous work, especially Lost and Beautiful, Marcello’s sensibility is never settled but always restless, and paradoxically the seeming strictures of a narrative format only amplify his tendencies. In this particular case, his penchant for archival footage is weaponized for a specific intent, taking on the immense task of capturing the undeniable power of Martin’s writing. By juxtaposing the bits of writing with longer, more abstruse moments of perhaps-found, perhaps-created shots of mundane life, Marcello both creates an emotional and an intellectual bond, reaching across class and time to conjure up an ever more complicated, beautiful feeling.

2019 Festival Dispatch #3 Show Notes

Listen to the podcast here.
Subscribe to the podcast here.

Description
The third 2019 festival dispatch of the Catalyst and Witness podcast, devoted to exploring the films and format of the New York Film Festival, hosted by Ryan Swen. This covers the second half of the 2019 New York Film Festival, and features guests Graham L. Carter, Beatrice Loayza, and Dan Schindel.

0:00-26:36 – Part One
26:37-48:14 – Part Two

[A discussion of the New York Shorts program was deleted.]

Housekeeping

  • Hosted by Ryan Swen
  • Conceived and Edited by Ryan Swen
  • Guests: Graham L. Carter, Beatrice Loayza, Dan Schindel
  • Recorded in Los Angeles, New York City, and Washington D.C. on Zoom H4N and Sennheiser Microphones and MacBook GarageBand and Audacity and iPhone, Edited in GarageBand
  • Podcast photograph from Yi Yi, Logo designed by Dan Molloy
  • Recorded October 13, 2019
  • Released November 3, 2019
  • Music (in order of appearance):
    • In Vanda’s Room
    • Seventh Code
    • Belmonte

2019 Festival Dispatch #2 Show Notes

Listen to the podcast here.
Subscribe to the podcast here.

Description
The second 2019 festival dispatch of the Catalyst and Witness podcast, devoted to exploring the films and format of the New York Film Festival, hosted by Ryan Swen. This covers the first half of the 2019 New York Film Festival, and features guests Forrest Cardamenis, Lena Houst, Jake Pitre, and Etan Weisfogel.

0:00-57:26 – Part One
57:27-1:49:38 – Part Two

[Two phrases in the Bacurau discussion were redacted to avoid substantial spoilers.]

Housekeeping

  • Hosted by Ryan Swen
  • Conceived and Edited by Ryan Swen
  • Guests: Forrest Cardamenis, Lena Houst, Jake Pitre, Etan Weisfogel
  • Recorded in Los Angeles, New York City, and Montreal on Zoom H4N and Sennheiser Microphones and MacBook GarageBand and Audacity and iPhone, Edited in Audacity
  • Podcast photograph from Yi Yi, Logo designed by Dan Molloy
  • Recorded October 4, 2019
  • Released October 12, 2019
  • Music (in order of appearance):
    • GoodFellas
    • Old Joy
    • Nocturama

October 2019 Capsules

Mahjong
“In ten years, this place will be the center of the world. The future of Western civilization lies right here. And do you know what the odd thing is? We used to study history, the 19th century with the glorious age of imperialism right? Just wait ’till you see the 21st century.”

These words, said in English by an arrogant British industrialist in voiceover towards the close of Mahjong, of course shouldn’t be taken strictly at face value; Yang’s own Yi Yi four years later acts in many ways as a repudiation of a great number of the statements made in this and A Confucian Confusion, effectively the sister film to this. But it acts as a key signifier for Yang’s own intentions: in every work of his save perhaps A Brighter Summer Day, Yang sees the future of Taipei as its past and present, continually reflecting on the former as directly affecting and molding the latter. This is reflected most obviously in the familial relationships, which dominate practically all his films and especially this one, but it reveals itself in so many other ways: the scattered rock memorabilia (especially the Beatles), the past entanglements of multiple characters, and most importantly in language. Here, too, Yang gestures towards the future: Hokkien is phased further out, and English shares center stage with Mandarin. The effect is like a less overtly reflexive version of Mountains May Depart‘s third act: slightly uncanny, immensely focused on the minutiae involved in translation (skewed or otherwise), and eventually incredibly moving. It’s no accident that the two final definitive acts almost eschew language all together: Yang’s cinema is nothing if not at turns impossibly alienated and unbearably intimate, and Mahjong contains both of these impulses at their fullest force.

A City of Sadness
Even besides the obvious narrative and thematic implications that come with language and communication in A City of Sadness, its imprint on reinforcing Hou’s style feels paramount. Taking place at a much more contemplative pace than the naturalistic conversations found elsewhere (especially in scenes with co-writer Wu Nien-jen), the viewer is forced to consider not only what Tony Leung and Xin Shufen write to one another, but how they communicate by other means: the little glances, the manner in which they pass the pen and pad of paper back and forth. It feels so indicative that the words are not shown in inserts of the paper, but in intertitles: even their most inconsequential words are imbued with an additional, almost transcendent power. And the one exception, the message given by Leung to the widow, the words of a man who he never heard or spoke to, accrues its power from the materiality of his final statement, from the imprint of the ink.

Stray Dogs
The Taipei that Hsiao-kang grew up in has almost vanished. Gone are the motorcycle rides that acted as a reprieve from daily existence, the skywalks, the flooded apartments, the street stands. They’ve been supplanted by the high-end condos like Vive L’Amour‘s, only that the erotic potential is gone; even the streets feel sterile now. So Hsiao-kang can only go almost literally underground, with offspring in tow; they wander the construction sites and gleaming supermarkets, eating from plastic takeout trays and fitfully drawing mosquito nets around their meager living conditions. It’s not much, but it’s the home he knows, and the only home he can imagine.

September 2019 Capsules

Days of Being Wild (rewatch)
Wong’s characters’ obsession with time, which reaches its early peak here, fits so deeply into his overall aesthetic concerns because it’s at once concrete and yet subjective. Unlike a pair of earrings, a car, or a lighter, time isn’t something that can be contained, even by the numerous watches or clocks scattered around the relative ghost town of 1960 Hong Kong. Instead, it floats between them, suffusing the characters and their perceptions. For the male characters, it’s more concrete: Leslie Cheung means it when he says he’ll remember his minute with Maggie Cheung, even if he forgets everything else; Andy Lau’s existence is defined by being on the clock, first in vocation and then in tentative infatuation. For the female characters, it’s something more slippery: a state of constant reverie and remembrance, wondering exactly when their relationships went wrong. But no one can escape their own subjectivity, their own flawed commitments: even Tony Leung’s hustler has to glance at his watch before he brings the lights down.