Author: Ryan Swen

April 2018 Capsules

Ryan Swen Reviews Tags: Leave a comment

Les Vampires
If a summation of what makes Les Vampires such a pleasurable experience inevitably devolves into a description of just a handful of its most indelible moments, this is by no means a weakness on the part of the film. Even more than most of the great directors, Feuillade seems to think in terms of the scene, plotting out all of the possibilities of drastic narrative change within this discrete block of time and then executing any number of them. The suspense aspect most associated with a “crime thriller” such as this is quickly replaced with the pleasure of the unexpected, and the even greater pleasure of seeing so many twists and turns executed so flawlessly, with such a skillful restraint in technique matched with the most outlandish developments imaginable.

Also everyone is superhuman in this.

2nd (1964): “All Over the World” Show Notes

Ryan Swen Catalyst and Witness Leave a comment

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

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Description
The second episode of the Catalyst and Witness podcast, devoted to exploring the films and format of the New York Film Festival, hosted by Ryan Swen and Dan Molloy. This covers the second edition of the festival in 1964.

0:00-9:58 – Opening
9:59-1:21:50 – Part One [Hamlet to Salvatore Giuliano]
1:21:51-2:21:44 – Part Two [A Woman Is a Woman to The Last Clean Shirt]
2:21:45-3:04:05 – Part Three [Passenger to Alone on the Pacific]
3:04:06-3:44:17 – Part Four [King & Country to The Big City]
3:44:18-3:50:37 – Closing

Corrections/Clarifications

  • The decision to withdraw the Museum of Modern Art from the New York Film Festival was made by the board of trustees, not the board of donors.
  • Though various New York Times articles claim that shorts were attached to the films at the 1st New York Film Festival, I was unable to find the titles of the shorts (aside from the Robert Drew short documentaries).
  • The song that plays in the scene from A Woman Is a Woman is sung by Charles Aznavour, not Maurice Chevalier.

Housekeeping

  • Hosted by Dan Molloy & Ryan Swen
  • Conceived and Edited by Ryan Swen
  • Recorded in Seattle and Portland on MacBook GarageBand, Edited in Audacity
  • Podcast photograph from Yi Yi, Logo designed by Dan Molloy
  • Poster by Saul Bass
  • Recorded March 5, 2018
  • Released March 12, 2018
  • Music (in order of appearance):
    • Hamlet (opening night)
    • A Woman Is a Woman (another favorite)
    • Woman in the Dunes (favorite of the first section)
    • Nothing But a Man (favorite of the second section)
    • Passenger (favorite of the third section)
    • King & Country (favorite of the fourth section)
    • The Big City (closing night)

General

  • Selection Committee: Richard Roud (program director), Amos Vogel (festival director)
  • Location: Philharmonic Hall
  • Prices: 2 for terrace, 2.50 or 3 for orchestra, 3.50 or 4 for loge, with 1 added to all seats for opening night
  • Pass for all programs: 42.50 vs. 50 for terrace, 55.00 vs. 62.50 and 67.50 vs. 75.00 for orchestra
  • Films seen for the podcast:
    • Ryan
      • Seen before podcast watching period: A Woman Is a Woman
      • Seen for the podcast: All available except Passenger, Before the Revolution, The Big City; A Woman Is a Woman rewatched
      • Favorite films: Woman in the Dunes, The Brig, Nothing But a Man
      • Least favorite films: Salvatore Giuliano, Siberian Lady Macbeth, The Last Clean Shirt, Fail-Safe
      • Seen after the podcast: The Big City (3rd), Passenger (3rd), Before the Revolution (3rd), Band of Outsiders rewatched (16th)
    • Dan
      • Seen before podcast watching period: Salvatore Giuliano, A Woman Is a Woman, Band of Outsiders, Nothing But a Man
      • Seen for the podcast: All available; A Woman Is a Woman rewatched
      • Favorite films: Nothing But a Man, Woman in the Dunes, Band of Outsiders
      • Least favorite films: Siberian Lady Macbeth, Alone Across the Pacific, Fail-Safe
  • Discoveries of the festival: Hamlet, The Brig, Passenger, Life Upside Down
  • Unavailable films: The Inheritance, To Love, Cyrano and d’Artagnan, Ça ira*

Main Slate

Opening Night: Hamlet [Gamlet] (1964, Grigori Kozintsev)
September 14, 9:00
Released 1966
The Inheritance [La Herencia] (1964, Ricardo Alventosa)
Also: Joseph Kilian [Postava k podpírání/A Character in Need of Support] (1963, Pavel Juráček & Jan Schmidt)
September 15, 6:30
Never released/Released 1966
Fail-Safe (1964, Sidney Lumet)
September 15, 9:15
Released 1964
Nobody Waved Good-bye (1964, Don Owen)
September 16, 6:30
Released 1965
Woman in the Dunes [Suna no Onna/Sand Woman] (1964, Teshigahara Hiroshi)
September 16, 9:15
Released 1964
Hands Over the City [Le mani sulla città] (1963, Francesco Rosi)
September 17, 6:30
Never released
Salvatore Giuliano (1962, Francesco Rosi)
September 17, 9:15
Released 1964
A Woman Is a Woman [Une femme est une femme] (1961, Jean-Luc Godard)
September 18, 6:30
Released 1964
Band of Outsiders [Bande à part] (1964, Jean-Luc Godard)
September 18, 9:15
Released 1966
Nothing But a Man (1964, Michael Roemer)
September 19, 6:30
Released 1964
Lilith (1964, Robert Rossen)
September 19, 9:15
Released 1964
Shin Heike Monogatari [Taira Clan Saga] (1955, Mizoguchi Kenji)
September 20, 3:00
Never released
The Brig (1964, Jonas Mekas)
Also: The Last Clean Shirt (1964, Alfred Leslie)
September 20, 6:30
Released 1966/Never released
Passenger [Pasażerka] (1963, Andrzej Munk)
Also: …A Valparaiso [To Valparaiso] (1963, Joris Ivens)
September 20, 9:15
Released 1970/Released 1965
L’Âge d’or [The Golden Age] (1930, Luis Buñuel)
September 21, 6:30
Released 1980
Diary of a Chambermaid [Le journal d’une femme de chambre] (1964, Luis Buñuel)
September 21, 9:15
Released 1965
Conflagration [Enjō] (1958, Ichikawa Kon)
September 22, 6:30
Never released
To Love [Att älska] (1964, Jörn Donner)
September 22, 9:15
Released 1964
Alone Across the Pacific [Taiheiyo hitori-botchi] (1963, Ichikawa Kon)
September 23, 6:30
Released 1964
King & Country (1964, Joseph Losey)
September 23, 9:15
Released 1966
Life Upside Down [La vie à l’envers] (1964, Alain Jessua)
September 24, 6:30
Released 1965
Before the Revolution [Prima della rivoluzione] (1964, Bernardo Bertolucci)
September 24, 9:15
Released 1965
She and He [Kanojo to kare] (1963, Hani Susumu)
September 25, 6:30
Released 1967
Cyrano and d’Artagnan [Cyrano et d’Artagnan] (1964, Abel Gance)
September 25, 9:15
Never released
Ça ira – Il fiume della rivolta (1964, Tinto Brass)
Replaced With: Siberian Lady Macbeth [Sibirska Ledi Magbet] (1962, Andrzej Wajda)
September 26, 6:30
Released 1971/Never released
“Closing Night”: The Big City [Mahanagar] (1963, Satyajit Ray)
September 26, 9:15
Released 1967

Ephemera

  • Excerpts from quartet of Andy Warhol films shown on the Grand Promenade at Philharmonic Hall: Eat, Kiss, Haircut, Sleep

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

  • Luis Buñuel: 2/2/3/3/1/1
  • Jean-Luc Godard: 2/2/2/3/0/1
  • Ichikawa Kon: 2/2/2/2/0/1
  • Francesco Rosi: 2/2/2/2/0/1
  • Joseph Losey: 1/1/2/2
  • Grigori Kozintsev: 1/1/1/1/1
  • Satyajit Ray: 1/1/1/1/1
  • Bernardo Bertolucci: 1/1/1/1
  • Abel Gance: 1/1/1/1
  • Sidney Lumet: 1/1/1/1
  • Jonas Mekas: 1/1/1/1
  • Mizoguchi Kenji: 1/1/1/1
  • Michael Roemer: 1/1/1/1
  • Teshigahara Hiroshi: 1/1/1/1
  • Andrzej Wajda: 1/1/1/1
  • Joris Ivens: 0/1/0/1

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

  • France: 6/7/12/13/1
  • Japan: 5/5/7/7
  • USA: 5/5/7/7
  • Italy: 4/4/7/7
  • Poland: 2/2/3/3
  • Argentina: 1/1/2/2
  • UK: 1/1/2/2
  • India: 1/1/1/1/1
  • USSR: 1/1/1/1/1
  • Canada: 1/1/1/1
  • Sweden: 1/1/1/1
  • Czechoslovakia: 0/1/0/1

One-Time Directors

  • Richardo Alventosa
  • Tinto Brass (replaced)
  • Jörn Donner
  • Hani Susumu
  • Alain Jessua
  • Pavel Juráček & Jan Schmidt (short)
  • Alfred Leslie (short)
  • Andrzej Munk
  • Don Owen
  • Robert Rossen

Feature Debuts

  • Ricardo Alventosa
  • Luis Buñuel (retrospective)
  • Alain Jessua
  • Don Owen
  • Michael Roemer

Final Features

  • Andrzej Munk
  • Robert Rossen

Festivals

  • NYFF World Premiere
    • Fail-Safe
  • Cannes
    • Woman in the Dunes (Special Jury Prize; also Montreal)
    • Passenger (Special Mention, FIPRESCI)
    • Alone Across the Pacific (also San Francisco)
    • Before the Revolution (International Critics’ Week, Young Critics Prize)
    • The Inheritance (International Critics’ Week)
    • Joseph Kilian (International Critics’ Week)
  • Berlin
    • A Woman Is a Woman (1961, Best Actress, Special Jury Prize)
    • Salvatore Giuliano (1962, Best Director; also 1963 Montreal)
    • The Big City (Best Director)
    • She and He (Best Actress, OCIC, Best Feature Film Suitable for Young People)
  • Venice
    • Hands Over the City (1963, Golden Lion)
    • Hamlet (Special Jury Prize)
    • To Love (Volpi Cup for Best Actress)
    • King & Country (Volpi Cup for Best Actor)
    • Life Upside Down (Best First Work; also Cannes International Critics’ Week)
    • Nothing But a Man (San Giorgio Prize)
    • The Brig (Documentary Festival, Grand Prize)
    • Ça ira (?)
    • Lilith (withdrawn)
  • Other
    • Nobody Waved Good-bye (Montreal)
    • Diary of a Chambermaid (Karlovy Vary, Best Actress; also Venice?)
  • N/A
    • Band of Outsiders (Berlin and Locarno?)
    • Shin Heike Monogatari
    • The Last Clean Shirt
    • …A Valparaiso
    • L’Âge d’or
    • Conflagration
    • Cyrano and d’Artagnan
    • Siberian Lady Macbeth

Oscar Nominees

  • Woman in the Dunes: Best Foreign Film, 1965 Best Director

Shorts

shorts

Discussions By Length (Approximate)

  • 15:35 Fail-Safe (30:55-46:30)
  • 14:24 The Brig (2:03:29-2:17:53)
  • 11:56 Hamlet (11:03-22:59)
  • 11:47 Woman in the Dunes (57:43-1:09:30)
  • 11:11 Nobody Waved Good-bye (46:31-57:42)
  • 10:44 Nothing But a Man (1:37:32-1:48:16)
  • 10:37 The Big City (3:33:40-3:44:17)
  • 8:44 Passenger (2:23:19-2:32:03)
  • 8:14 A Woman Is a Woman (1:23:02-1:31:16)
  • 7:47 Lilith (1:48:17-1:56:04)
  • 7:36 Diary of a Chambermaid (2:42:31-2:50:07)
  • 7:23 Shin Heike Monogatari (1:56:05-2:03:28)
  • 7:06 Joseph Kilian [Short] (23:48-30:54)
  • 7:03 Salvatore Giuliano (1:14:47-1:21:50)
  • 6:40 Alone Across the Pacific (2:57:25-3:04:05)
  • 6:26 King & Country (3:04:57-3:11:23)
  • 6:14 Band of Outsiders (1:31:17-1:37:31)
  • 5:42 Conflagration (2:50:08-2:55:50)
  • 5:32 Life Upside Down (3:11:24-3:16:56)
  • 5:31 Before the Revolution [One Person] (3:16:57-3:22:28)
  • 5:29 L’Âge d’or (2:37:01-2:42:30)
  • 5:15 Hands Over the City (1:09:31-1:14:46)
  • 5:00 She and He (3:22:29-3:27:29)
  • 4:56 …A Valparaiso [Short] (2:32:04-2:37:00)
  • 4:17 Ça ira/Siberian Lady Macbeth (3:29:22-3:33:39)
  • 3:50 The Last Clean Shirt [Short] (2:17:54-2:21:44)
  • 1:51 Cyrano and d’Artagnan [Unavailable] (3:27:30-3:29:21)
  • 1:33 To Love [Unavailable] (2:55:51-2:57:24)
  • 0:47 The Inheritance [Unavailable] (23:00-23:47)

Specifications

  • Григо́рий Ко́зинцев, Гамлет, 1964, 35 mm, black-and-white, 4-track stereo sound, 140 minutes, 2.35:1, Russian, USSR.
  • Ricardo Alventosa, La Herencia, 1964, 35 mm, black-and-white, mono sound, 78 minutes, 1.37:1, Spanish, Argentina.
  • Pavel Juráček & Jan Schmidt, Postava k podpírání, 1963, 35 mm, black-and-white, mono sound, 38 minutes, 1.37:1, Czech, Czechoslovakia.
  • Sidney Lumet, Fail-Safe, 1964, 35 mm, black-and-white, mono sound, 112 minutes, 1.85:1, English, USA.
  • Don Owen, Nobody Waved Good-bye, 1964, 16 mm, black-and-white, mono sound, 80 minutes, 1.66:1, English, Canada.
  • 勅使河原宏, 砂の女, 1964, 35 mm, black-and-white, mono sound, 147 minutes, 1.37:1, Japanese, Japan.
  • Francesco Rosi, Le mani sulla città, 1963, 35 mm, black-and-white, mono sound, 101 minutes, 1.85:1, Italian, Italy.
  • Francesco Rosi, Salvatore Giuliano, 1962, 35 mm, black-and-white, mono sound, 123 minutes, 1.85:1, Italian, Italy.
  • Jean-Luc Godard, Une femme est une femme, 1961, 35 mm, color, mono sound, 85 minutes, 2.35:1, French, France.
  • Jean-Luc Godard, Bande à part, 1964, 35 mm, black-and-white, mono sound, 97 minutes, 1.37:1, French, France.
  • Michael Roemer, Nothing But a Man, 1964, 35 mm, black-and-white, mono sound, 95 minutes, 1.37:1, English, USA.
  • Robert Rossen, Lilith, 1964, 35 mm, black-and-white, mono sound, 114 minutes, 1.85:1, English, USA.
  • 溝口健二, 新・平家物語, 1955, 35 mm, color, mono sound, 108 minutes, 1.37:1, Japanese, Japan.
  • Jonas Mekas, The Brig, 1964, 16 mm, black-and-white, mono sound, 68 minutes, 1.37:1, English, USA.
  • Alfred Leslie, The Last Clean Shirt, 1964, 16 mm, black-and-white, mono sound, 40 minutes, 1.37:1, Finnish, USA.
  • Andrzej Munk, Pasażerka, 1963, 35 mm, black-and-white, mono sound, 62 minutes, 1.85:1, Polish, Poland.
  • Joris Ivens, …A Valparaiso, 1963, 16 mm, black-and-white and color, mono sound, 26 minutes, 1.37:1, French, France.
  • Luis Buñuel, L’Âge d’or, 1930, 35 mm, black-and-white, mono sound, 63 minutes, 1.20:1, French, France.
  • Luis Buñuel, Le journal d’une femme de chambre, 1964, 35 mm, black-and-white, mono sound, 97 minutes, 2.35:1, French, France.
  • 市川崑, 炎上, 1958, 35 mm, black-and-white, mono sound, 99 minutes, 2.35:1, Japanese, Japan.
  • Jörn Donner, Att älska, 1964, 35 mm, black-and-white, mono sound, 90 minutes, 1.66:1, Swedish, Sweden.
  • 市川崑, 太平洋ひとりぼっち, 1963, 35 mm, color, mono sound, 104 minutes, 2.35:1, Japanese, Japan.
  • Joseph Losey, King & Country, 1964, 35 mm, black-and-white, mono sound, 88 minutes, 1.66:1, English, UK.
  • Alain Jessua, La vie à l’envers, 1964, 35 mm, black-and-white, mono sound, 92 minutes, 1.85:1, French, France.
  • Bernardo Bertolucci, Prima della rivoluzione, 1964, 35 mm, black-and-white, mono sound, 115 minutes, 1.85:1, Italian, Italy.
  • 羽仁進, 彼女と彼, 1963, 35 mm, black-and-white, mono sound, 110 minutes, 1.37:1, Japanese, Japan.
  • Abel Gance, Cyrano et d’Artagnan, 1964, 35 mm, color, mono sound, 145 minutes, 2.35:1, French, France.
  • Tinto Brass, Ça ira – Il fiume della rivolta, 1964, 35 mm, black-and-white, mono sound, 89 minutes, 1.37:1, Italian, Italy.
  • Andrzej Wajda, Sibirska Ledi Magbet, 1962, 35 mm, black-and-white, mono sound, 93 minutes, 2.35:1, Serbo-Croatian, Poland.
  • সত্যজিত রায়, মহানগর, 1963, 35 mm, black-and-white, mono sound, 136 minutes, 1.37:1, Bengali, India.

March 2018 Capsules

Ryan Swen Reviews Tags: Leave a comment

In the Mood for Love (rewatch)
Wong Kar-wai’s films are full of ambiguities, little moments of languor or frenzied motion that don’t so much stick out of the dense textures as infuse them with an odd charge. But I can’t recall anything in his filmography quite like Mr. Chow’s and Mrs. Chan’s spouses, in both their exclusively back-facing appearances and their place in the emotional narrative. Aside from a few direct, curt but not impolite interactions, they function as structuring absences, fitting into the abbreviated scene structure of the first third of the film with furtive phone conversations, often comprised of single lines that convey a whole world of feeling, just outside of their spouses’ – and the viewer’s – comprehension. Chow’s wife, and perhaps Chan’s husband towards the end, leave them so suddenly that I didn’t even notice it on first watch, and yet they are brought to life by those reenactments, those attempts to subsume identities that can’t help but become something more real, more mysteriously captivating.

Inevitably, the most traditionally Wongian sentiments and dialogue come in the final interactions between Chow and Chan, almost sounding like the voiceover of one of his other film’s protagonists, when the emotional connections and bittersweet recollections of missed romances come to the fore. All else is cloaked and yearning, which the filmmaking makes almost unbearably heartbreaking.

The Day After
“…a rare art that utilizes concrete human forms to reveal the phenomenal disposition and attitude of humans.”

Ever since the introduction of the zoom, Hong’s filmmaking has relied to some palpable extent upon the conspicuous, the emphatic gesture of a tripod-mounted camera. But I can’t recall him utilizing his main outlet for stylistic flourishes to the degree that he does for most of the conversations, panning back and forth, never holding on one face for more than ten seconds at a time. This suits The Day After, undeniably fractious and heated even by Hong’s standards, and especially the frazzled headspace in which Bongwan (Kwon Hae-hyo) is in. But what makes it so much more effective are the “bookend” conversations, both of which display a deep well of disappointment, in which the camera holds on the two figures for the majority of the shot. At one end of the film, there is total deceit and a stubborn lack of clarity. At the other, genuine change and a willingness to embrace a new beginning. In the middle lies every emotion, every obsession, everything that comprises the films of Hong.

Close-Up (rewatch)
I feel like the conceptualization of Close-Up – both in the general film cultural sense and specifically in my recollection – as a seamless docufiction runs counter to the actual experience of seeing the film. In truth, it is a true hybrid, with something more than half the film taken up by the “real” courtroom scene, shot in 16mm, and the rest by “fictional” reenactments, shot in 35mm. Of course, Kiarostami’s touch in this is such that both take on elements of the other – in particular, the chronicling of certain moments (like the conversation in the taxi) that takes on a whole new charge when considering that real people are telling their own stories. But a key factor in what makes the ending so overwhelming is the long-awaited fusing of these two impulses. The real is shot with a clarity that nevertheless is interrupted; the viewer strains to hear what ultimately cannot be spoken, and can simply be expressed with universal languages: music and vision.

2017 Muriel Awards

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Best Feature-Length Film

  1. On the Beach at Night Alone
  2. The Work
  3. Faces Places
  4. Princess Cyd
  5. Good Time
  6. Baahubali 2: The Conclusion
  7. The Post
  8. Resident Evil: The Final Chapter
  9. 120 BPM (Beats Per Minute)
  10. Star Wars: The Last Jedi

Best Lead Performance

  1. Kim Min-hee, On the Beach at Night Alone
  2. Saoirse Ronan, Lady Bird
  3. Rebecca Spence, Princess Cyd
  4. Vicky Krieps, Phantom Thread
  5. Cynthia Nixon, A Quiet Passion
  6. Robert Pattinson, Good Time
  7. Jessie Pinnick, Princess Cyd
  8. Kristen Stewart, Personal Shopper
  9. Daniel Day-Lewis, Phantom Thread
  10. Tim Robbins, Marjorie Prime

Best Supporting Performance

  1. Hong Chau, Downsizing
  2. Nahuel Pérez Biscayart, 120 BPM (Beats Per Minute)
  3. Elizabeth Marvel, The Meyerowitz Stories (New and Selected)
  4. Robert Pattinson, The Lost City of Z
  5. Tiffany Haddish, Girls Trip
  6. Lesley Manville, Phantom Thread
  7. Laurie Metcalf, Lady Bird
  8. Willem Dafoe, The Florida Project
  9. Christopher Plummer, All the Money in the World
  10. Lois Smith, Marjorie Prime

Best Direction

  1. Josh & Benny Safdie, Good Time
  2. Bertrand Bonello, Nocturama
  3. Eduardo Williams, The Human Surge
  4. Steven Spielberg, The Post
  5. Paul W.S. Anderson, Resident Evil: The Final Chapter

Best Screenplay

  1. Hong Sang-soo, On the Beach at Night Alone
  2. Stephen Cone, Princess Cyd
  3. Greta Gerwig, Lady Bird
  4. Noah Baumbach, The Meyerowitz Stories (New and Selected)
  5. Matías Piñeiro, Hermia & Helena

Best Cinematography

  1. Sean Price Williams, Good Time
  2. Darius Khondji, The Lost City of Z
  3. Janusz Kaminski, The Post
  4. [no credit], Phantom Thread
  5. Sayombhu Mukdeeprom, Call Me by Your Name

Best Editing

  1. Nocturama
  2. Wonderstruck
  3. Ex Libris – The New York Public Library
  4. Lady Bird
  5. Star Wars: The Last Jedi

Best Music

  1. Oneohtrix Point Never, Good Time
  2. Jonny Greenwood, Phantom Thread
  3. Carter Burwell, Wonderstruck
  4. Jon Brion, Lady Bird
  5. Bertrand Bonello, Nocturama

Best Documentary

  1. The Work
  2. Faces Places
  3. Ex Libris – The New York Public Library

Best Cinematic Moment

  1. Heartbeats, The Work
  2. Digital magic, The Florida Project
  3. Webcam transition, The Human Surge
  4. Projector breakdown, By the Time It Gets Dark
  5. Face dissolves, Félicité
  6. Photographs, A Quiet Passion
  7. Miranda’s monologue, Princess Cyd
  8. Questions with father, Hermia & Helena
  9. Dream memory, Call Me by Your Name
  10. Swan boat, Baahubali 2: The Conclusion

Best Youth Performance

  1. Millicent Simmonds, Wonderstruck
  2. Brooklynn Prince, The Florida Project
  3. Oona Laurence, The Beguiled

Best Cinematic Breakthrough

  1. Vicky Krieps
  2. Tiffany Haddish
  3. Rian Johnson
  4. Timothée Chalamet
  5. Greta Gerwig

Best Body of Work

  1. Sean Price Williams
  2. Nahuel Pérez Biscayart
  3. Robert Pattinson
  4. Buddy Duress
  5. Damien Bonnard

Best Ensemble Performance

  1. Lady Bird
  2. 120 BPM (Beats Per Minute)
  3. The Post
  4. Marjorie Prime
  5. Mudbound

Other remarks:
If it were eligible, Twin Peaks: The Return would take up most of the spots on this ballot.

10th Anniversary Award, Best Feature Film 2007

  1. Death Proof
  2. 4 Months, 3 Weeks and 2 Days
  3. Hot Fuzz
  4. The Darjeeling Limited
  5. Persepolis

25th Anniversary Award, Best Feature Film 1992

  1. Twin Peaks: Fire Walk With Me
  2. Rebels of the Neon God
  3. The Last of the Mohicans
  4. Raising Cain
  5. The Story of Qiu Ju

50th Anniversary Award, Best Feature Film 1967

  1. The Young Girls of Rochefort
  2. Dragon Inn
  3. Wavelength
  4. La Chinoise
  5. Playtime

February 2018 Capsules

Ryan Swen Reviews Tags: Leave a comment

Sansho the Bailiff
A man is not a human being without mercy. Even if you are hard on yourself, be merciful to others.

That the practitioners of these words are both empowered and powerless, torn asunder by the forces of evil in this world and yet brought back together in the most elemental ways, is the great mystery and the great beauty of this film. A fable, yes, but one with a direct conduit to the heart of human emotion.

Dragon Inn (rewatch)
Among the endless amount of perfect things that Dragon Inn does, perhaps the ending is the most telling. If the ending is abrupt, it is so because the elemental perfection of the scenario and its execution is such that there simply cannot be a continuation. The heroes ride off into the sunset, but it is almost an afterthought: what matters is the completion of the task, the visceral, punctuated triumph of motions.

Fallen Angels
Though Fallen Angels certainly has a dialogue in both narrative and production with Chungking Express, it’s important to stress just how exaggerated, how forceful so much of this film feels in comparison to even the glorious excesses of its predecessor. Especially for the almost purely sensorial opening fifteen minutes, where all narrative aside from the Wongian fundamentals of longing and disaffection is cast aside, every single shot feels nearly as revelatory as Takeshi Kaneshiro running through the blur of Hong Kong. Fallen Angels doesn’t settle down so much as overheat, but Wong running on the fumes of narrative still allows for some of the most sublime image-making I’ve witnessed. A film that feels like the Most version of itself, which means that it ranks among the Most films, for good and ill.

Woman in the Dunes
During perhaps the most primal scene among a film composed almost solely in a primordial key, the visages calling for physical titillation are concealed behind a multiplicity of masks, deliberately contrasting and jarring in their almost anachronistic qualities. In the grand sweep of surveillance on the part of both tribal masks and gas masks, an entire film’s sensibility is unlocked.

Woman in the Dunes, in its sparseness and yet its overpowering sensuality, in the perfect opacity of its central metaphor and structuring landscape, aims to capture something of both the distant past and all-too-present now; in other words, all of humanity. That it does so without ever once explicitly saying so is but the tip of its achievements.

1st (1963): “The Film As Art” Show Notes

Ryan Swen Catalyst and Witness Leave a comment

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

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Description
The first episode of the Catalyst and Witness podcast, devoted to exploring the films and format of the New York Film Festival, hosted by Ryan Swen and Dan Molloy. This covers the first edition of the festival in 1963, and includes an introduction to the mission of the podcast as a whole.

0:00-16:07 – Introduction to the Podcast
16:08-26:27 – Opening
26:28-1:09:45 – Part One [The Exterminating Angel to Elektra at Epidaurus]
1:09:46-1:48:11 – Part Two [Hallelujah the Hills to Ro.Go.Pa.G.]
1:48:12-2:39:48 – Part Three [The Servant to Sweet and Sour]
2:39:49-2:48:06 – Closing

Corrections/Clarifications

  • The editorial with the title “The Film As Art” was not written by Amos Vogel, likely written by the editorial team in collaboration with the publisher, Arthur Ochs Sulzberger.
  • Avery Fisher Hall was renamed as David Geffen Hall in 2015.
  • The Terrace is an Argentinian film, not an Italian movie.
  • Harakiri played in the 1963 Cannes Film Festival.
  • Barravento was released in New York City in 1987.
  • The last film to play at the festival was Sweet and Sour.
  • The whole festival was sold out.
  • Ted Zarpas directed Elektra at Epidaurus, not Takis Mouzenidis.

Housekeeping

  • Hosted by Dan Molloy & Ryan Swen
  • Conceived and Edited by Ryan Swen
  • Recorded in Seattle and Portland on MacBook GarageBand, Edited in Audacity
  • Podcast photograph from Yi Yi, Logo designed by Dan Molloy
  • Poster by Larry Rivers
  • Recorded January 28, 2018
  • Released February 1, 2018
  • Music (in order of appearance):
    • Sansho the Bailiff (first film to play at the New York Film Festival)
    • The Exterminating Angel (opening night)
    • Harakiri (second favorite of the first section)
    • An Autumn Afternoon (favorite of the first section)
    • The Trial of Joan of Arc (favorite of the second section)
    • Muriel, or the Time of Return (favorite of the third section)
    • Sweet and Sour (closing night)

General

  • Selection Committee: Richard Roud (program director), Amos Vogel (festival director)
  • Location: Philharmonic Hall
  • Prices: 1.50 for terrace, 2.25 for orchestra, 3.50 for loge
  • Films seen for the podcast:
    • Ryan
      • Seen before podcast watching period: An Autumn Afternoon
      • Seen for the podcast: All available; none rewatched
      • Favorite films: Muriel or the Time of Return, An Autumn Afternoon, The Servant
      • Least favorite films: Magnet of Doom, All the Way Home
      • Films seen after the podcast: Muriel or the Time of Return rewatched (13th)
    • Dan
      • Seen before podcast watching period: The Exterminating Angel, Harakiri, An Autumn Afternoon, The Trial of Joan of Arc
      • Seen for the podcast: All available except Ro.Go.Pa.G.; An Autumn Afternoon rewatched
      • Favorite films: An Autumn Afternoon, Muriel or the Time of Return, Le Joli Mai
      • Least favorite films: All the Way Home, Magnet of Doom
  • Discoveries of the festival: The Sea, Glory Sky, In the Midst of Life
  • Unavailable films: A Cozy Cottage, The Terrace, Elektra at Epidaurus, Sweet and Sour

Main Slate

“Opening Night”: The Exterminating Angel [El ángel exterminador] (1962, Luis Buñuel)
September 10, 9:15
Released 1967
In the Midst of Life [Au cœur de la vie] (1963, Robert Enrico)
September 11, 6:30
Never released
Knife in the Water [Nóż w wodzie] (1962, Roman Polański)
September 11, 9:15
Released 1963
A Cozy Cottage [Kertes házak utcája/Street With Garden Houses] (1963, Fejér Tamás)
September 12, 6:30
Never released
Harakiri [Seppuku] (1962, Kobayashi Masaki)
September 12, 9:15
Released 1964
An Autumn Afternoon [Sanma no aji/The Taste of Sanma] (1962, Ozu Yasujiro)
September 13, 6:30
Released 1973
The Terrace [La terraza] (1963, Leopoldo Torre Nilsson)
September 13, 9:15
Released 1964
Elektra at Epidaurus [Ilektra] (1962, Ted Zarpas)
September 14, 3:00
Never released
Hallelujah the Hills (1963, Adolfas Mekas)
September 14, 6:30
Released 1963
All the Way Home (1963, Alex Segal)
September 14, 9:15
Released 1963
Glory Sky [Ouranos/Heaven] (1962, Takis Kanellopoulos)
September 15, 3:00
Released 1963
The Trial of Joan of Arc [Procès de Jeanne d’Arc] (1962, Robert Bresson)
September 15, 6:30
Released 1965
The Fiancés [I fidanzati] (1963, Ermanno Olmi)
September 15, 9:15
Released 1964
Ro.Go.Pa.G. (1963, Omnibus: Roberto Rossellini, Jean-Luc Godard, Pier Paolo Pasolini, Ugo Gregoretti)
September 16, 6:30
Never released
The Servant (1963, Joseph Losey)
September 16, 9:15
Released 1964
The Sea [Il mare] (1963, Giuseppe Patroni Griffi)
September 17, 6:30
Never released
Magnet of Doom [L’Aîné des Ferchaux/The Son of Ferchaux] (1963, Jean-Pierre Melville)
September 17, 9:15
Never released
Le Joli Mai [The Lovely Month of May] (1963, Chris Marker & Pierre Lhomme)
September 18, 6:30
Released 1966
Muriel, or the Time of Return [Muriel ou le Temps d’un retour] (1963, Alain Resnais)
September 18, 9:15
Released 1963
Barravento [The Turning Wind] (1962, Glauber Rocha)
September 19, 6:30
Released 1987
“Closing Night”: Sweet and Sour [Dragées au Poivre/Peppered Sugared Almonds] (1963, Jacques Baratier)
September 19, 9:15
Released 1964

Ephemera

  • Crisis (Robert Drew) [shown with The Trial of Joan of Arc]
  • The Chair (Robert Drew) [shown with The Fiancés]
  • O.K. End Here (Robert Frank) [shown with Hallelujah the Hills]
  • Museum of Modern Art side-bar:
    • Sansho the Bailiff (Mizoguchi Kenji)
    • The Exiles (Kent MacKenzie)
    • I Live in Fear (Kurosawa Akira)
    • The Olive Trees of Justice (James Blue)
    • Point of Order (Emile de Antonio)
    • La Terra Trema (Luchino Visconti) [replaced with Peace to Him Who Enters (Aleksandr Alov & Vladimir Naumov)]
    • Fin de Fiesta (Leopoldo Torre Nilsson)
    • Bread of Our Former Years (Herbert Vesely)
    • The New Angels (Ugo Gregoretti)
    • Lola Montés (Max Ophuls)

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

  • Luis Buñuel: 1/1/1/1/1
  • Robert Bresson: 1/1/1/1
  • Kobayashi Masaki: 1/1/1/1
  • Joseph Losey: 1/1/1/1
  • Chris Marker: 1/1/1/1
  • Adolfas Mekas: 1/1/1/1
  • Jean-Pierre Melville: 1/1/1/1
  • Ermanno Olmi: 1/1/1/1
  • Roman Polański: 1/1/1/1
  • Alain Resnais: 1/1/1/1
  • Glauber Rocha: 1/1/1/1
  • Leopoldo Torre Nilsson: 1/1/1/1
  • Jean-Luc Godard: 0/1/0/1
  • Pier Paolo Pasolini: 0/1/0/1
  • Roberto Rossellini: 0/1/0/1

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

  • France: 6/6/6/6/1
  • Italy: 3/3/3/3
  • Greece: 2/2/2/2
  • Japan: 2/2/2/2
  • USA: 2/2/2/2
  • Mexico: 1/1/1/1/1
  • Argentina: 1/1/1/1
  • Brazil: 1/1/1/1
  • Hungary: 1/1/1/1
  • Poland: 1/1/1/1
  • UK: 1/1/1/1

One-Time Directors

  • Jacques Baratier (gala)
  • Robert Enrico
  • Féjér Tamás
  • Ugo Gregoretti (omnibus)
  • Giuseppe Patroni Griffi
  • Takis Kanellopoulos
  • Pierre Lhomme
  • Ozu Yasujiro
  • Alex Segal
  • Ted Zarpas

Feature Debuts

  • Giuseppe Patroni Griffi
  • Takis Kanellopoulos
  • Adolfas Mekas
  • Roman Polański
  • Glauber Rocha

Final Features

  • Ozu Yasujiro

Festivals

  • NYFF World Premiere
    • All the Way Home
  • Cannes
    • The Trial of Joan of Arc (1962, Special Jury Prize)
    • The Exterminating Angel (1962, FIPRESCI)
    • Harakiri (Special Jury Prize)
    • The Fiancés (OCIC)
    • A Cozy Cottage
    • Glory Sky
    • Hallelujah the Hills (International Critics’ Week; also Locarno, Silver Sail)
    • Le Joli Mai (International Critics’ Week)
  • Berlin
    • The Terrace
  • Venice
    • Muriel, or the Time of Return (Best Actress)
    • The Servant
    • Sweet and Sour
    • Elektra at Epidaurus (1962 Information Section)
    • Knife in the Water (1962 Information Section)
    • The Sea (1962 Information Section)
  • Other
    • An Autumn Afternoon (Montreal)
    • Barravento (Sestri Levante)
    • In the Midst of Life (San Sebastian, Best Director and FIPRESCI)
  • N/A
    • Magnet of Doom
    • Ro.Go.Pa.G.

Discussions By Length (Approximate)

  • 11:33 The Servant (1:49:09-2:00:41)
  • 10:44 Ro.Go.Pa.G. [Omnibus] (1:37:27-1:48:11)
  • 10:22 The Exterminating Angel (26:43-35:05)
  • 9:49 Muriel, or the Time of Return (2:24:23-2:34:12)
  • 9:10 An Autumn Afternoon (59:02-1:08:12)
  • 8:43 In the Midst of Life (35:06-43:49)
  • 8:34 Harakiri (50:27-59:01)
  • 8:32 Le Joli Mai (2:15:50-2:24:22)
  • 8:23 The Sea (2:00:42-2:09:05)
  • 6:43 Magnet of Doom (2:09:06-2:15:49)
  • 6:23 Hallelujah the Hills (1:10:42-1:17:05)
  • 6:01 All the Way Home (1:17:06-1:23:07)
  • 5:41 Knife in the Water (43:50-49:31)
  • 5:16 The Trial of Joan of Arc (1:26:57-1:32:12)
  • 5:13 The Fiancés (1:32:13-1:37:26)
  • 3:49 Barravento (2:34:13-2:38:02)
  • 3:48 Glory Sky (1:23:08-1:26:56)
  • 1:45 Sweet and Sour [Unavailable] (2:38:03-2:39:48)
  • 0:55 Elektra at Epidaurus [Unavailable] (1:08:50-1:09:45)
  • 0:54 A Cozy Cottage [Unavailable] (49:32-50:26)
  • 0:36 The Terrace [Unavailable] (1:08:13-1:08:49)

Specifications

  • Luis Buñuel, El ángel exterminador, 1962, 35 mm, black-and-white, mono sound, 95 minutes, 1.37:1, Spanish, Mexico.
  • Robert Enrico, Au cœur de la vie, 1963, 35 mm, black-and-white, mono sound, 95 minutes, 1.37:1, French, France.
  • Roman Polański, Nóż w wodzie, 1962, 35 mm, black-and-white, mono sound, 94 minutes, 1.37:1, Polish, Poland.
  • Fejér Tamás, Kertes házak utcája, 1963, 35 mm, black-and-white, mono sound, 80 minutes, 1.37:1, Hungarian, Hungary.
  • 小林正樹, 切腹, 1962, 35 mm, black-and-white, mono sound, 133 minutes, 2.35:1, Japanese, Japan.
  • 小津安二郎, 秋刀魚の味, 1962, 35 mm, color, mono sound, 113 minutes, 1.37:1, Japanese, Japan.
  • Leopoldo Torre Nilsson, La terraza, 1963, 35 mm, black-and-white, mono sound, 90 minutes, 1.85:1, Spanish, Argentina.
  • Ted Zarpas, Ilektra, 1962, 35 mm, black-and-white, mono sound, 82 minutes, 1.37:1, Greek, Greece. (?)
  • Adolfas Mekas, Hallelujah the Hills, 1963, 16 mm, black-and-white, mono sound, 88 minutes, 1.37:1, English, USA.
  • Alex Segal, All the Way Home, 1963, 35 mm, black-and-white, mono sound, 97 minutes, 1.66:1, English, USA.
  • Τάκης Κανελλόπουλοςs, Ουρανός, 1962, 35 mm, black-and-white, mono sound, 87 minutes, 1.37:1, Greek, Greece.
  • Robert Bresson, Procès de Jeanne d’Arc, 1962, 35 mm, black-and-white, mono sound, 65 minutes, 1.66:1, French, France.
  • Ermanno Olmi, I fidanzati, 1963, 35 mm, black-and-white, mono sound, 77 minutes, 1.85:1, Italian, Italy.
  • Roberto Rossellini/Jean-Luc Godard/Pier Paolo Pasolini/Ugo Gregoretti, Ro.Go.Pa.G., 1963, 35 mm, black-and-white and color, mono sound, 122 minutes, 1.85:1, Italian, Italy.
  • Joseph Losey, The Servant, 1963, 35 mm, black-and-white, mono sound, 116 minutes, 1.66:1, English, UK.
  • Giuseppe Patroni Griffi, Il mare, 1963, 35 mm, black-and-white, mono sound, 110 minutes, 1.85:1, Italian, Italy.
  • Jean-Pierre Melville, L’Aîné des Ferchaux, 1963, 35 mm, color, mono sound, 102 minutes, 2.35:1, French, France.
  • Chris Marker & Pierre Lhomme, Le Joli Mai, 1963, 16 mm and 35 mm, black-and-white, mono sound, 145 minutes, 1.66:1, French, France.
  • Alain Resnais, Muriel ou le Temps d’un retour, 1963, 35 mm, color, mono sound, 117 minutes, 1.66:1, French, France.
  • Glauber Rocha, Barravento, 1962, 35 mm, black-and-white, mono sound, 78 minutes, 1.37:1, Portuguese, Brazil.
  • Jacques Baratier, Dragées au Poivre, 1963, 35 mm, black-and-white, mono sound, 93 minutes, 1.37:1, French, France.

Catalyst and Witness Show Notes Index

Ryan Swen Catalyst and Witness

The podcast devoted to personal explorations of the New York Film Festival.

1st (1963): “The Film As Art”
2nd (1964): “All Over the World”
3rd (1965): “Films: Fashion of the Fashionable”
4th (1966): “An Exceptionally Personalized Point of View” [with Evan Morgan]
5th (1967): “To See and Be Seen”
6th (1968): “High Drama in Low Key” [with Etan Weisfogel]
7th (1969): “New Site, Same Scene” [with Caden Mark Gardner]
8th (1970): “The Deluge”
9th (1971): “This Year, Who Knows?”
10th (1972): “The Next Picture Show”
11th (1973): “Trains in the Night”
12th (1974): “A World Phenomenon” [with Jason Miller]
13th (1975): “Celluloid Guerillas” [with Alyssa Heflin]
14th (1976): “Artistic Freedom”
15th (1977): “A Real Smash” [with Keith Uhlich]
16th (1978): “A Thousand and One Details” [with Evan Morgan]
17th (1979): “Film Capital of the World” [with Jake Cole]
18th (1980): “The Earth Strikes Back” [with Shawn Glinis]

Running tallies of various NYFF statistics.

Festival Dispatches
2018 #1
2018 #2
2018 #3
2019 #1
2019 #2
2019 #3
2020 #1
2020 #2
2020 #3
2020 #4
2021 #1
2021 #2
2022
2023
2024 #1
2024 #2
2025 #1
2025 #2

podcast

Taipei Story (1985, Edward Yang)

Ryan Swen Reviews 1 Comment

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One important, vital aspect of my heritage that took me far too long to understand was the role of the Taiwanese dialect, specifically Taiwanese Hokkien. For many years, my parents spoke to each other semi-frequently in a language that sounded similar to the Mandarin that I knew, but which was generally unintelligible to me. I must confess that I still know very few words of Hokkien, but more important to me is the context in which my parents used it. Whether they intended it as such or not, I always felt as if they were keeping some form of secret from me, discussing things in front of my sister and me that we couldn’t understand, whether we wanted to or not.

Taipei Story, Edward Yang’s second masterful feature, doesn’t traffic in this level of a language barrier, but its use of language is no less revealing. In its portrayal of two estranged partners – Lung (Hou Hsiao-hsien) and Chin (Tsai Chin) – living in a rapidly modernizing Taipei, the film switches frequently and consistently between Hokkien and Mandarin Chinese. Without perhaps no exceptions, the conversations that only involve Lung, whether it be with childhood friends or elderly acquaintances, utilize Hokkien, while all conversations involving Chin – except those, crucially, with her parents – use Mandarin.

Though it is never stated outright in the film, my general impression of the role of Mandarin in Taiwan is that of the language of modernity – notably, Hokkien was banned in schools until roughly around the time this film was made. Accordingly, the business world of Chin and the deadbeat society of Lung are carried out in entirely different manners of speaking.

Yang is wise to never make Taipei Story a simple story of the struggle between the memories of the past, which Lung is never able to shake off, and the promises of the future. The conflict is complicated by both parties: Lung constantly tries to move to the United States, in a way not dissimilar to that of my own father, while Chin falls in with the youthful biker gangs that her younger sister hangs out with. Both members of the couple, to put it plainly, strive to capture and retain something of their youth while still prospering in the modern capitalist society of the mid-’80s.

In Yang’s vision of Taipei, this seems to be little more than a fantasy, as one has to choose between one or the other. But of course, this is never approached in a didactic or obvious manner, allowing for, as the film puts it, fleeting moments of hope to linger. That the film is maybe the most tragic of the Yangs I’ve seen is a testament to this sense of latent fatalism, of people too caught in the past, whether they realize it or not.

Through these inextricably entwined journeys, Yang shoots with his particular combination of intimacy and distance that never fails to surprise and move me. A shot from the other side of a mammoth office building, two perfectly rhymed tracking shots, numerous gazes down onto the busy streets of Taipei, all coalescing perfectly with the immaculately posed figures quietly discussing troubles in an apartment, or on a playground, or at a bar.

Those figures move inexorably towards their ends – one trading the world of physical architecture for the digital architecture of big data, the other beaten in a final attempt to prove his own sense of self-worth over the generation already overtaking him – but they do so with an inordinate sense of care on the part of Yang. Not one interaction, one small gesture ultimately feels out of place, and what resonates is the forlorn face of Lung, the implacability of Chin, each equally conveying an overwhelming sadness.

January 2018 Capsules

Ryan Swen Reviews Tags: Leave a comment

Millennium Mambo
“Dream of a dove flying.”

Always on the cusp of something but stranded in the moment, many beginnings but no endings.

A Man Escaped
There’s something very vital about the subtitle of A Man Escaped or: The Wind Bloweth Where It Listeth, which I can’t recall reading before I actually saw the film. Lifted from a scene almost exactly at the midpoint of the film, it is one of the points where the film becomes its most clear and removed from the (terrific) abstraction that otherwise characterizes it. Through the words of Jesus through John, as spoken by our hero Fontaine, the escape that he succeeds at is directly equated with spiritual salvation, even as his predecessor is being shot at that very moment. This divergence between the realm of the spiritual and the realm of the actual is key, layering ideas of transcendence that never distract from the intense, slow procedure of escape but rather enhance and contextualize them. Without more than a hint of background given to Fontaine, the viewer must draw the reason, the emotion from the struggle to survive itself, and the cell becomes its own crucible. Whether it is faith, chance, sheer will, or a combination of all that enables Fontaine to make his escape, there is no way to describe that feeling of cathartic release other than overwhelming grace.

The Hole
Yes, those musical sequences. Even if they weren’t so delightfully varied, so transcendently effervescent and yet grounded in the dilapidated Taipei that traps the protagonists, their programming alone is nothing short of masterful. I hadn’t noticed the placement of them at ~15 minute intervals, but what matters is their complete harmony with the emotional tenor of the film’s development, coming just after what would be considered an emotional crescendo in a regular movie and acting as the logical extension of that.

But, of course, this is still the realm of Tsai Ming-liang. The overtly apocalyptic tone and scenario feels like his trademark vision pushed to a kind of breaking point, and it’s remarkable to see his locked-down perspectives open up to no small degree, boasting pans, extended tracking shots, and even what appears to be a handheld shot, hurtling through a mall as it follows a squad of exterminators. But these don’t disrupt the stasis so much as heighten it, fleshing out the spaces so as to render them all the more claustrophobic yet cavernous. Decay and madness come hand in hand, the malaise is literalized, and any method of escape, no matter how fleeting, is what matters.

2018 First Watches

Ryan Swen Lists Tags: ,

Old
New

Renewed Appreciation: Vertigo, The Grandmaster, Dragon Inn, Yourself and Yours, Pierrot le fou, Alphaville, L’Avventura, Touch of Evil, North by Northwest, Au hasard Balthazar, Jeanne Dielman, Nashville, Mission: Impossible – Rogue Nation, Mission: Impossible – Ghost Protocol, The Last Picture Show, Jules et Jim, A Woman Is a Woman, Kaili Blues, Ali: Fear Eats the Soul, The Incredibles, The Florida Project, Collateral, Mission: Impossible, Fantastic Mr. Fox, The Day After, Masculin féminin, Mission: Impossible II, Mission: Impossible III, Bob & Carol & Ted & Alice, Goodbye, Dragon Inn

Shorts: “(nostalgia),” “Je vous salue, Sarajevo,” Arboretum Cycle, “Poetic Justice,” “Critical Mass,” “List,” “Orderly or Disorderly,” “Brouillard: Passage #14,” “A Movie,” “Standard Gauge,” “Lost in the Mountains,” “Lemon,” “Heaven Is Still Far Away,” “Listening to the Space in My Room,” “Another Movie,” “Associations,” “Six Cents in the Pocket,” “Surface Tension,” “Spiral Jetty,” “Projection Instructions,” “Tunneling the English Channel,” “Dyketactics,” “Calyx,” “Production Stills,” “AMOR,” “Der Klang, die Welt…,” “Among the Eucalyptuses,” “The Grandmother,” “Colophon,” “The Second Line,” “Autumn,” “Blue,” “Bagatelle II,” “The Suppliant,” “…A Valparaiso,” “Cyclops Observes the Celestial Bodies,” “Joseph Kilian,” “Record 957,” “Something Horizontal,” “Rodeo,” “Nine Behind”

  1. The Magnificent Ambersons (1942, Orson Welles) [October]
  2. Meet Me in St. Louis (1944, Vincente Minnelli) [February]
  3. Only Angels Have Wings (1939, Howard Hawks) [May]
  4. Late Spring (1949, Yasujiro Ozu) [July]
  5. Napoléon (1927, Abel Gance) [June]
  6. A Star Is Born (1954, George Cukor) [October]
  7. Sansho the Bailiff (1954, Kenji Mizoguchi) [January]
  8. Taipei Story (1985, Edward Yang) [January]
  9. Gertrud (1964, Carl Theodor Dreyer) [April]
  10. That Day, on the Beach (1983, Edward Yang) [June]
  11. My Neighbor Totoro (1988, Hayao Miyazaki) [February]
  12. The Hole (1998, Tsai Ming-liang) [January]
  13. Notorious (1946, Alfred Hitchcock) [September]
  14. 2046 (2004, Wong Kar-wai) [March]
  15. Weekend (1968, Jean-Luc Godard) [July]
  16. Cure (1997, Kiyoshi Kurosawa) [March]
  17. Long Day’s Journey Into Night (2018, Bi Gan) [October]
  18. The 36th Chamber of Shaolin (1978, Lau Kar-leung) [July]
  19. The Birds (1963, Alfred Hitchcock) [November]
  20. Les Vampires (1915, Louis Feuillade) [March]
  21. Seven Chances (1925, Buster Keaton) [March]
  22. F for Fake (1973, Orson Welles) [October]
  23. Hard-Boiled (1992, John Woo) [August]
  24. Tropical Malady (2004, Apichatpong Weerasethakul) [June]
  25. My Night at Maud’s (1969, Eric Rohmer) [August]
  26. Floating Clouds (1955, Mikio Naruse) [November]
  27. Out of the Past (1947, Jacques Tourneur) [July]
  28. Psycho (1960, Alfred Hitchcock) [November]
  29. Zorns Lemma (1970, Hollis Frampton) [September]
  30. First Reformed (2017, Paul Schrader) [May]
  31. Woman in the Dunes (1964, Hiroshi Teshigahara) [February]
  32. Millennium Mambo (2001, Hou Hsiao-hsien) [January]
  33. Beau Travail (1999, Claire Denis) [July]
  34. The Long Day Closes (1992, Terence Davies) [July]
  35. Marnie (1964, Alfred Hitchcock) [September]
  36. Spione (1928, Fritz Lang) [April]
  37. The Wrong Man (1956, Alfred Hitchcock) [October]
  38. Ishtar (1987, Elaine May) [June]
  39. The Bridges of Madison County (1995, Clint Eastwood) [July]
  40. Still Life (2006, Jia Zhangke) [May]
  41. Fallen Angels (1995, Wong Kar-wai) [February]
  42. A Man Escaped (1956, Robert Bresson) [January]
  43. Othon (1970, Jean-Marie Straub & Danièle Huillet) [September]
  44. Punishment Park (1971, Peter Watkins) [October]
  45. The Headless Woman (2008, Lucrecia Martel) [October]
  46. Unforgiven (1992, Clint Eastwood) [February]
  47. Happy Together (1997, Wong Kar-wai) [February]
  48. The Taking of Power by Louis XIV (1966, Roberto Rossellini) [June]
  49. L’Amour fou (1969, Jacques Rivette) [December]
  50. Je t’aime, je t’aime (1968, Alain Resnais) [September]
  51. Daisy Kenyon (1947, Otto Preminger) [July]
  52. The Other Side of the Wind (2018, Orson Welles) [October]
  53. Lola Montès (1955, Max Ophuls) [July]
  54. Sabotage (1936, Alfred Hitchcock) [August]
  55. The Lusty Men (1952, Nicholas Ray) [March]
  56. Legend of the Mountain (1979, King Hu) [January]
  57. Two English Girls (1971, François Truffaut) [December]
  58. Charulata (1964, Satyajit Ray) [March]
  59. Ash Is Purest White (2018, Jia Zhangke) [November]
  60. Hahaha (2010, Hong Sang-soo) [September]
  61. The Long Gray Line (1955, John Ford) [July]
  62. The Apartment (1960, Billy Wilder) [December]
  63. Tokyo Olympiad (1965, Kon Ichikawa) [February]
  64. Oxhide II (2009, Liu Jiayin) [April]
  65. The Grand Bizarre (2018, Jodie Mack) [November]
  66. All About Lily Chou-Chou (2001, Shunji Iwai) [July]
  67. The Lady Vanishes (1938, Alfred Hitchcock) [August]
  68. Come Drink With Me (1966, King Hu) [May]
  69. Insiang (1976, Lino Brocka) [January]
  70. Love in the Afternoon (1972, Eric Rohmer) [November]
  71. Nobody’s Daughter Haewon (2013, Hong Sang-soo) [January]
  72. Red Beard (1965, Akira Kurosawa) [April]
  73. The Immortal Story (1968, Orson Welles) [June]
  74. Moonfleet (1955, Fritz Lang) [July]
  75. We Won’t Grow Old Together (1972, Maurice Pialat) [December]
  76. Ugetsu (1953, Kenji Mizoguchi) [September]
  77. Les Rendez-vous d’Anna (1978, Chantal Akerman) [November]
  78. The World (2004, Jia Zhangke) [February]
  79. Los Angeles Plays Itself (2003, Thom Andersen) [July]
  80. Simon of the Desert (1965, Luis Buñuel) [April]
  81. Blissfully Yours (2002, Apichatpong Weerasethakul) [February]
  82. Le Boucher (1970, Claude Chabrol) [September]
  83. The Crucified Lovers (1954, Kenji Mizoguchi) [September]
  84. The Conformist (1970, Bernardo Bertolucci) [September]
  85. The 39 Steps (1935, Alfred Hitchcock) [August]
  86. One-Armed Swordsman (1967, Chang Cheh) [August]
  87. Mission: Impossible – Fallout (2018, Christopher McQuarrie) [July]
  88. The Red and the White (1967, Miklós Jancsó) [July]
  89. Applause (1929, Rouben Mamoulian) [June]
  90. What Time Is It There? (2001, Tsai Ming-liang) [June]
  91. Une femme mariée (1964, Jean-Luc Godard) [December]
  92. Hamlet (2000, Michael Almereyda) [February]
  93. Memories of Underdevelopment (1968, Tomás Gutiérrez Alea) [February]
  94. The Discreet Charm of the Bourgeoisie (1972, Luis Buñuel) [December]
  95. Boy (1969, Nagisa Oshima) [August]
  96. Oxhide (2005, Liu Jiayin) [April]
  97. The Servant (1963, Joseph Losey) [January]
  98. 24 City (2008, Jia Zhangke) [November]
  99. Days and Nights in the Forest (1970, Satyajit Ray) [September]
  100. The Wild Child (1970, François Truffaut) [September]
  101. La Ronde (1950, Max Ophuls) [August]
  102. The Nun (1966, Jacques Rivette) [July]
  103. The Passenger (1975, Michelangelo Antonioni) [September]
  104. Trouble Every Day (2001, Claire Denis) [October]
  105. Mr. Arkadin (1955, Orson Welles) [October]
  106. Four Nights of a Dreamer (1971, Robert Bresson) [October]
  107. The Ballad of Buster Scruggs (2018, Joel & Ethan Coen) [November]
  108. Nathalie Granger (1972, Marguerite Duras) [December]
  109. Shadows of Forgotten Ancestors (1965, Sergei Parajanov) [April]
  110. Hotel by the River (2018, Hong Sang-soo) [November]
  111. Tout va bien (1972, Jean-Luc Godard & Jean-Pierre Gorin) [December]
  112. The Odd One Dies (1997, Patrick Yau and Johnnie To) [December]
  113. The Man Who Knew Too Much (1956, Alfred Hitchcock) [October]
  114. Bisbee ’17 (2018, Robert Greene) [September]
  115. Mikey and Nicky (1976, Elaine May) [February]
  116. City on Fire (1987, Ringo Lam) [December]
  117. The Fate of Lee Khan (1973, King Hu) [January]
  118. Chronicle of Anna Magdalena Bach (1968, Jean-Marie Straub & Danièle Huillet) [May]
  119. U.S. Go Home (1994, Claire Denis) [March]
  120. A Touch of Sin (2013, Jia Zhangke) [November]
  121. Kiki’s Delivery Service (1989, Hayao Miyazaki) [June]
  122. The Merchant of Four Seasons (1971, Rainer Werner Fassbinder) [December]
  123. The Koumiko Mystery (1965, Chris Marker) [April]
  124. The War Is Over (1966, Alain Resnais) [May]
  125. 2 or 3 Things I Know About Her (1967, Jean-Luc Godard) [April]
  126. The Sorrow and the Pity (1969, Marcel Ophuls) [October]
  127. Mouchette (1967, Robert Bresson) [July]
  128. Burning (2018, Lee Chang-dong) [November]
  129. Suspiria (1977, Dario Argento) [October]
  130. Zama (2017, Lucrecia Martel) [February]
  131. The Exterminating Angel (1962, Luis Buñuel) [January]
  132. Blowup (1966, Michelangelo Antonioni) [June]
  133. A Better Tomorrow (1986, John Woo) [July]
  134. Red Desert (1964, Michelangelo Antonioni) [September]
  135. “I Do Not Care If We Go Down in History as Barbarians” (2018, Radu Jude) [November]
  136. Shadow of a Doubt (1943, Alfred Hitchcock) [September]
  137. Un beau soleil intérieur (2017, Claire Denis) [May]
  138. The Crime of Monsieur Lange (1936, Jean Renoir) [September]
  139. The Wedding March (1928, Erich von Stroheim) [April]
  140. Three Colors: Blue (1993, Krzysztof Kieslowski) [April]
  141. I Am Cuba (1964, Mikhail Kalatozov) [February]
  142. The Brig (1964, Jonas Mekas) [March]
  143. My Blueberry Nights (2007, Wong Kar-wai) [June]
  144. Une femme douce (1969, Robert Bresson) [August]
  145. All About Eve (1950, Joseph L. Mankiewicz) [July]
  146. Cold Water (1994, Olivier Assayas) [June]
  147. Heaven Can Wait (1943, Ernst Lubitsch) [August]
  148. Virgin Stripped Bare by Her Bachelors (2000, Hong Sang-soo) [June]
  149. If Beale Street Could Talk (2018, Barry Jenkins) [December]
  150. Triple Agent (2004, Eric Rohmer) [April]
  151. Portrait of Jason (1967, Shirley Clarke) [June]
  152. Too Late to Die Young (2018, Dominga Sotomayor) [November]
  153. Computer Chess (2013, Andrew Bujalski) [August]
  154. Awaara (1951, Raj Kapoor) [April]
  155. Before We Vanish (2017, Kiyoshi Kurosawa) [March]
  156. The Graduate (1967, Mike Nichols) [July]
  157. Harakiri (1962, Masaki Kobayashi) [January]
  158. A Letter to Three Wives (1949, Joseph L. Mankiewicz) [December]
  159. Kung Fu Hustle (2004, Stephen Chow) [August]
  160. Magnificent Obsession (1954, Douglas Sirk) [February]
  161. Rebecca (1940, Alfred Hitchcock) [September]
  162. Isle of Dogs (2018, Wes Anderson) [March]
  163. At the Top of the Stairs (1983, Paul Vecchiali) [May]
  164. Not Reconciled (1965, Jean-Marie Straub & Danièle Huillet) [March]
  165. Destroy, She Said (1969, Marguerite Duras) [August]
  166. Unknown Pleasures (2002, Jia Zhangke) [January]
  167. Far From Vietnam (1967, Jean-Luc Godard & Joris Ivens & William Klein & Claude Lelouch & Chris Marker & Alain Resnais & Agnès Varda) [June]
  168. Nothing But a Man (1964, Michael Roemer) [February]
  169. Tristana (1970, Luis Buñuel) [September]
  170. One Plus One (1968, Jean-Luc Godard) [July]
  171. Reminiscences of a Journey to Lithuania (1972, Jonas Mekas) [December]
  172. Chung Kuo – Cina (1972, Michelangelo Antonioni) [September]
  173. Toni (1935, Jean Renoir) [July]
  174. Red Psalm (1972, Miklós Jancsó) [December]
  175. Nitrate Kisses (1992, Barbara Hammer) [November]
  176. Cowboy Bebop: The Movie (2001, Shinichiro Watanabe) [June]
  177. A Star Is Born (2018, Bradley Cooper) [October]
  178. The Round-Up (1966, Miklós Jancsó) [May]
  179. The Trial of Joan of Arc (1962, Robert Bresson) [January]
  180. Le Départ (1967, Jerzy Skolimowski) [June]
  181. Happy as Lazzaro (2018, Alice Rohrwacher) [December]
  182. Junior Bonner (1972, Sam Peckinpah) [March]
  183. Pioneers in Ingolstadt (1971, Rainer Werner Fassbinder) [October]
  184. The Seashell and the Clergyman (1927, Germaine Dulac) [September]
  185. Support the Girls (2018, Andrew Bujalski) [August]
  186. Les Carabiniers (1963, Jean-Luc Godard) [June]
  187. Dishonored (1931, Josef von Sternberg) [April]
  188. Samurai Rebellion (1967, Masaki Kobayashi) [June]
  189. eXistenZ (1999, David Cronenberg) [August]
  190. The Great Silence (1968, Sergio Corbucci) [May]
  191. Pasazerka (1963, Andrzej Munk) [March]
  192. The Burmese Harp (1956, Kon Ichikawa) [May]
  193. The Big City (1963, Satyajit Ray) [March]
  194. Children of Men (2006, Alfonso Cuarón) [July]
  195. L’Enfance nue (1968, Maurice Pialat) [July]
  196. Wanda (1970, Barbara Loden) [August]
  197. Non-Fiction (2018, Olivier Assayas) [November]
  198. Useless (2007, Jia Zhangke) [November]
  199. Wind From the East (1970, Groupe Dziga Vertov and Jean-Luc Godard and Jean-Pierre Gorin) [September]
  200. Fata Morgana (1971, Werner Herzog) [October]
  201. Shoot the Piano Player (1960, François Truffaut) [October]
  202. The Locket (1946, John Brahm) [October]
  203. Rope (1948, Alfred Hitchcock) [September]
  204. HE Who Gets Slapped (1924, Victor Sjöström) [August]
  205. The Beaches of Agnès (2008, Agnès Varda) [April]
  206. The Rise and Fall of a Small Film Company (1986, Jean-Luc Godard) [August]
  207. Liza With a Z (1972, Bob Fosse) [August]
  208. The Decameron (1971, Pier Paolo Pasolini) [October]
  209. Love (1971, Károly Makk) [November]
  210. W.R.: Mysteries of the Organism (1971, Dusan Makavejev) [October]
  211. Dil Se.. (1998, Mani Ratnam) [March]
  212. Good Manners (2017, Juliana Rojas & Marco Dutra) [June]
  213. Western (2017, Valeska Grisebach) [January]
  214. Ismael’s Ghosts (2017, Arnaud Desplechin) [May]
  215. Le Petit Soldat (1960, Jean-Luc Godard) [April]
  216. A Grin Without a Cat (1977, Chris Marker) [October]
  217. The Commuter (2018, Jaume Collet-Serra) [January]
  218. I Confess (1953, Alfred Hitchcock) [September]
  219. Three (2016, Johnnie To) [August]
  220. Adalen 31 (1969, Bo Widerberg) [August]
  221. A Family Tour (2018, Ying Liang) [October]
  222. Murmur of the Heart (1971, Louis Malle) [October]
  223. The Inner Scar (1972, Philippe Garrel) [December]
  224. The Five Obstructions (2003, Jørgen Leth & Lars von Trier) [August]
  225. Les Biches (1968, Claude Chabrol) [July]
  226. Made in U.S.A (1966, Jean-Luc Godard) [June]
  227. Mysterious Object at Noon (2000, Apichatpong Weerasethakul) [January]
  228. Design for Living (1933, Ernst Lubitsch) [August]
  229. Strangers on a Train (1951, Alfred Hitchcock) [September]
  230. Repo Man (1984, Alex Cox) [February]
  231. Band of Outsiders (1964, Jean-Luc Godard) [February]
  232. Mandabi (1968, Ousmane Sembène) [August]
  233. Notes on an Appearance (2018, Ricky D’Ambrose) [August]
  234. BlacKkKlansman (2018, Spike Lee) [December]
  235. A Sense of Loss (1972, Marcel Ophuls) [December]
  236. Nénette et Boni (1996, Claire Denis) [June]
  237. The Firemen’s Ball (1967, Milos Forman) [July]
  238. Ray & Liz (2018, Richard Billingham) [November]
  239. Cabaret (1972, Bob Fosse) [August]
  240. Love Affair, or the Case of the Missing Switchboard Operator (1967, Dusan Makavejev) [May]
  241. The Debut (1970, Gleb Panfilov) [October]
  242. Ocean’s Eleven (2001, Steven Soderbergh) [June]
  243. Roma (2018, Alfonso Cuarón) [December]
  244. Il Mare (1962, Giuseppe Patroni Griffi) [January]
  245. Diamantino (2018, Gabriel Abrantes & Daniel Schmidt) [November]
  246. The Adversary (1970, Satyajit Ray) [December]
  247. Bicycle Thieves (1948, Vittorio De Sica) [April]
  248. In Our Time (1982, Omnibus) [March]
  249. Hamlet (1964, Grigori Kozintsev) [February]
  250. Shoot the Moon Right Between the Eyes (2018, Graham L. Carter) [September]
  251. La Musica (1967, Marguerite Duras & Paul Seban) [September]
  252. The Guests (2013, Ken Jacobs) [October]
  253. The Merry Widow (1925, Erich von Stroheim) [August]
  254. Lover for a Day (2017, Philippe Garrel) [April]
  255. Suspiria (2018, Luca Guadagnino) [November]
  256. Hale County This Morning, This Evening (2018, RaMell Ross) [July]
  257. sex, lies, and videotape (1989, Steven Soderbergh) [February]
  258. I fidanzati (1963, Ermanno Olmi) [January]
  259. Results (2015, Andrew Bujalski) [August]
  260. Dodes’ka-den (1970, Akira Kurosawa) [October]
  261. The Great Pretender (2018, Nathan Silver) [November]
  262. A Star Is Born (1937, William A. Wellman) [September]
  263. Une simple histoire (1959, Marcel Hanoun) [September]
  264. Xiao Shan Going Home (1995, Jia Zhangke) [November]
  265. To Catch a Thief (1955, Alfred Hitchcock) [October]
  266. Trouble in Mind (1985, Alan Rudolph) [July]
  267. The Lady Without Camelias (1953, Michelangelo Antonioni) [April]
  268. Two Plains & a Fancy (2018, Lev Kalman & Whitney Horn) [June]
  269. Loves of a Blonde (1965, Milos Forman) [April]
  270. Shin Heike Monogatari (1955, Kenji Mizoguchi) [March]
  271. Walkover (1965, Jerzy Skolimowski) [March]
  272. Oh! What a Lovely War (1969, Richard Attenborough) [August]
  273. Shoplifters (2018, Hirokazu Kore-eda) [December]
  274. 24 Hours in the Life of a Woman (1968, Dominique Delouche) [July]
  275. Troublemakers (1966, Norman Fruchter & Robert Machover) [May]
  276. Feast of the Epiphany (2018, Michael Koresky & Jeff Reichert & Farihah Zaman) [June]
  277. Faces (1968, John Cassavetes) [July]
  278. The Favourite (2018, Yorgos Lanthimos) [December]
  279. Even Dwarfs Started Small (1970, Werner Herzog) [September]
  280. One Fine Day (1968, Ermanno Olmi) [September]
  281. Logan Lucky (2017, Steven Soderbergh) [August]
  282. Family Life (1971, Krzysztof Zanussi) [October]
  283. Show People (1928, King Vidor) [June]
  284. The Green Fog (2017, Guy Maddin & Evan Johnson & Galen Johnson) [April]
  285. Game Night (2018, John Francis Daley & Jonathan Goldstein) [March]
  286. Life Upside Down (1964, Alain Jessua) [March]
  287. Kes (1969, Ken Loach) [September]
  288. Enjo (1958, Kon Ichikawa) [February]
  289. Yesterday Girl (1966, Alexander Kluge) [May]
  290. Shakespeare Wallah (1965, James Ivory) [March]
  291. Images (1972, Robert Altman) [December]
  292. Cold War (2018, Pawel Pawlikowski) [December]
  293. Directed by John Ford (1971, Peter Bogdanovich) [October]
  294. American Dreams (Lost and Found) (1984, James Benning) [April]
  295. The Shameless Old Lady (1965, René Allio) [May]
  296. The Great Buddha+ (2017, Huang Hsin-yao) [December]
  297. The Joke (1969, Jaromil Jires) [August]
  298. Black Panther (2018, Ryan Coogler) [February]
  299. In the Midst of Life (1963, Robert Enrico) [January]
  300. The 15:17 to Paris (2018, Clint Eastwood) [February]
  301. Artists Under the Big Top: Perplexed (1968, Alexander Kluge) [July]
  302. Lions Love (1969, Agnès Varda) [August]
  303. Suspicion (1941, Alfred Hitchcock) [October]
  304. Sorry to Bother You (2018, Boots Riley) [July]
  305. Partner. (1968, Bernardo Bertolucci) [July]
  306. Elvira Madigan (1967, Bo Widerberg) [June]
  307. Accattone (1961, Pier Paolo Pasolini) [May]
  308. Funny Ha Ha (2002, Andrew Bujalski) [August]
  309. L’Argent (1928, Marcel L’Herbier) [July]
  310. King & Country (1964, Joseph Losey) [February]
  311. Gemini (2017, Aaron Katz) [December]
  312. Félicité (2017, Alain Gomis) [January]
  313. Let the Corpses Tan (2017, Hélène Cattet & Bruno Forzani) [September]
  314. Unsane (2018, Steven Soderbergh) [December]
  315. Six in Paris (1965, Omnibus) [March]
  316. The King of Marvin Gardens (1972, Bob Rafelson) [December]
  317. Duet for Cannibals (1969, Susan Sontag) [August]
  318. Sweet Sweetback’s Baadasssss Song (1971, Melvin Van Peebles) [June]
  319. Dogtooth (2009, Yorgos Lanthimos) [September]
  320. The Hunt (1966, Carlos Saura) [May]
  321. Glory Sky (1962, Takis Kanellopoulos) [January]
  322. Yara (2018, Abbas Fahdel) [November]
  323. Identification Marks: None (1964, Jerzy Skolimowski) [March]
  324. In the Name of the Father (1971, Marco Bellocchio) [October]
  325. Raven’s End (1963, Bo Widerberg) [May]
  326. Diary of a Chambermaid (1964, Luis Buñuel) [February]
  327. Dead Horse Nebula (2018, Tarik Aktas) [November]
  328. Ready Player One (2018, Steven Spielberg) [April]
  329. Last Tango in Paris (1972, Bernardo Bertolucci) [December]
  330. The Hawks and the Sparrows (1966, Pier Paolo Pasolini) [April]
  331. Ro.Go.Pa.G. (1963, Omnibus) [January]
  332. She and He (1963, Susumu Hani) [March]
  333. Before the Revolution (1964, Bernardo Bertolucci) [March]
  334. The Wild Boys (2017, Bertrand Mandico) [August]
  335. The Scavengers (1970, Ermanno Olmi) [September]
  336. 24 Frames (2017, Abbas Kiarostami) [April]
  337. Sandra (1965, Luchino Visconti) [April]
  338. Winter’s Bone (2010, Debra Granik) [June]
  339. Signs of Life (1968, Werner Herzog) [July]
  340. Ant-Man and the Wasp (2018, Peyton Reed) [June]
  341. The Spider’s Stratagem (1970, Bernardo Bertolucci) [September]
  342. Incredibles 2 (2018, Brad Bird) [December]
  343. Cam (2018, Daniel Goldhaber) [November]
  344. Solo: A Star Wars Story (2018, Ron Howard) [May]
  345. Three (1965, Aleksandar Petrovic) [May]
  346. Fists in the Pocket (1965, Marco Bellocchio) [March]
  347. Jamaica Inn (1939, Alfred Hitchcock) [January]
  348. Acid Forest (2018, Rugile Barzdziukaite) [November]
  349. Qui trop embrasse… (1986, Jacques Davila) [May]
  350. The Epic That Never Was (1965, Bill Duncalf) [August]
  351. Heat (1972, Paul Morrissey) [December]
  352. Mickey One (1965, Arthur Penn) [March]
  353. Barrier (1966, Jerzy Skolimowski) [June]
  354. Three Colors: White (1994, Krzysztof Kieslowski) [April]
  355. The Guilty (2018, Gustav Möller) [May]
  356. Fail to Appear (2017, Antoine Bourges) [April]
  357. Last Men in Aleppo (2017, Feras Fayyad) [January]
  358. Widows (2018, Steve McQueen) [December]
  359. Father (1966, István Szabó) [June]
  360. The Man Who Had His Hair Cut Short (1966, André Delvaux) [May]
  361. The Garden of Delights (1970, Carlos Saura) [September]
  362. The Rite (1969, Ingmar Bergman) [August]
  363. Barravento (1962, Glauber Rocha) [January]
  364. The Old Man & the Gun (2018, David Lowery) [December]
  365. Ava (2017, Sadaf Foroughi) [June]
  366. Hallelujah the Hills (1963, Adolfas Mekas) [January]
  367. All the Money in the World (2017, Ridley Scott) [January]
  368. Hands Over the City (1963, Francesco Rosi) [February]
  369. Quiet Please, Murder (1942, John Larkin) [February]
  370. Happiness (1935, Aleksandr Medvedkin) [August]
  371. Hunger (1966, Henning Carlsen) [May]
  372. Fail-Safe (1964, Sidney Lumet) [February]
  373. A Safe Place (1971, Henry Jaglom) [October]
  374. Les Créatures (1966, Agnès Varda) [April]
  375. Alone Across the Pacific (1963, Kon Ichikawa) [March]
  376. Memoir of War (2017, Emmanuel Finkiel) [October]
  377. Young Törless (1966, Volker Schlöndorff) [June]
  378. Porcile (1969, Pier Paolo Pasolini) [August]
  379. L’Âge d’Or (1930, Luis Buñuel) [February]
  380. Family Life (1971, Ken Loach) [December]
  381. The Cannibals (1970, Liliana Cavani) [September]
  382. A Taste of Killing and Romance (1994, Veronica Chan) [December]
  383. Avengers: Infinity War (2018, Anthony & Joe Russo) [April]
  384. The Miseducation of Cameron Post (2018, Desiree Akhavan) [May]
  385. Capricious Summer (1968, Jiri Menzel) [June]
  386. Leave No Trace (2018, Debra Granik) [June]
  387. Hugo and Josephine (1967, Kjell Grede) [July]
  388. Zabriskie Point (1970, Michelangelo Antonioni) [September]
  389. Under the Silver Lake (2018, David Robert Mitchell) [November]
  390. The Lion Hunters (1965, Jean Rouch) [June]
  391. First Man (2018, Damien Chazelle) [October]
  392. La commare secca (1962, Bernardo Bertolucci) [April]
  393. Knave of Hearts (1954, René Clément) [April]
  394. Going Home (1972, Adolfas Mekas) [December]
  395. Bad Company (1972, Robert Benton) [December]
  396. Goto, Island of Love (1969, Walerian Borowczyk) [August]
  397. When Harry Met Sally… (1989, Rob Reiner) [February]
  398. Summer Soldiers (1972, Hiroshi Teshigahara) [December]
  399. Nobody Waved Good-bye (1964, Don Owen) [February]
  400. Intimate Lighting (1965, Ivan Passer) [May]
  401. Lilith (1964, Robert Rossen) [February]
  402. The Virgin Spring (1960, Ingmar Bergman) [February]
  403. Orders (2017, Eric Marsh & Andrew Stasiulis) [January]
  404. On Her Shoulders (2018, Alexandria Bombach) [November]
  405. Tonite Let’s All Make Love in London (1967, Peter Whitehead) [June]
  406. Memorandum (1965, Donald Brittain & John Spotton) [June]
  407. All the Way Home (1963, Alex Segal) [January]
  408. A Bread Factory – Part Two: Walk With Me a While (2018, Patrick Wang) [November]
  409. The Last Clean Shirt (1964, Alfred Leslie) [March]
  410. Comrades (1970, Marin Karmitz) [September]
  411. Looking at the Stars (2016, Alexandre Peralta) [March]
  412. Siberian Lady Macbeth (1962, Andrzej Wajda) [March]
  413. Magnet of Doom (1963, Jean-Pierre Melville) [January]
  414. Atomic Blonde (2017, David Leitch) [March]
  415. Love, Cecil (2017, Lisa Immordino Vreeland) [July]
  416. A Bread Factory – Part One: For the Sake of Gold (2018, Patrick Wang) [November]
  417. 12 Days (2017, Raymond Depardon) [January]
  418. Pearls of the Deep (1966, Omnibus) [May]
  419. Madeline’s Madeline (2018, Josephine Decker) [November]
  420. Harry Munter (1969, Kjell Grede) [September]
  421. Black Peter (1964, Milos Forman) [March]
  422. Ingrid Goes West (2017, Matt Spicer) [April]
  423. Bronson (2008, Nicolas Winding Refn) [November]
  424. A Report on the Party and the Guests (1966, Jan Nemec) [July]
  425. Eighth Grade (2018, Bo Burnham) [July]
  426. Jeannette: The Childhood of Joan of Arc (2017, Bruno Dumont) [April]
  427. Born to Win (1971, Ivan Passer) [October]
  428. Love Sex Aur Dhokha (2010, Dibakar Banerjee) [June]
  429. A Star Is Born (1976, Frank Pierson) [October]
  430. Sunset (2018, László Nemes) [November]
  431. Phone Booth (2002, Joel Schumacher) [May]
  432. Salvatore Giuliano (1962, Francesco Rosi) [February]
  433. Forever Young (2018, Li Fangfang) [July]
  434. Almost a Man (1966, Vittorio De Seta) [May]
  435. You Were Never Really Here (2017, Lynne Ramsay) [November]
  436. Vice (2018, Adam McKay) [December]
  437. Crazy Rich Asians (2018, Jon M. Chu) [August]
  438. Le Redoutable (2017, Michel Hazanavicius) [May]
  439. Battlefield Earth (2000, Roger Christian) [May]

Old

  1. The Magnificent Ambersons (1942, Orson Welles)
  2. Meet Me in St. Louis (1944, Vincente Minnelli)
  3. Only Angels Have Wings (1939, Howard Hawks)
  4. Late Spring (1949, Yasujiro Ozu)
  5. Napoléon (1927, Abel Gance)
  6. A Star Is Born (1954, George Cukor)
  7. Sansho the Bailiff (1954, Kenji Mizoguchi)
  8. Taipei Story (1985, Edward Yang)
  9. Gertrud (1964, Carl Theodor Dreyer)
  10. That Day, on the Beach (1983, Edward Yang)
  11. My Neighbor Totoro (1988, Hayao Miyazaki)
  12. The Hole (1998, Tsai Ming-liang)
  13. Notorious (1946, Alfred Hitchcock)
  14. 2046 (2004, Wong Kar-wai)
  15. Weekend (1968, Jean-Luc Godard)
  16. Cure (1997, Kiyoshi Kurosawa)
  17. The 36th Chamber of Shaolin (1978, Lau Kar-leung)
  18. The Birds (1963, Alfred Hitchcock)
  19. Les Vampires (1915, Louis Feuillade)
  20. Seven Chances (1925, Buster Keaton)
  21. F for Fake (1973, Orson Welles)
  22. Hard-Boiled (1992, John Woo)
  23. Tropical Malady (2004, Apichatpong Weerasethakul)
  24. My Night at Maud’s (1969, Eric Rohmer)
  25. Floating Clouds (1955, Mikio Naruse)
  26. Out of the Past (1947, Jacques Tourneur)
  27. Psycho (1960, Alfred Hitchcock)
  28. Zorns Lemma (1970, Hollis Frampton)
  29. Woman in the Dunes (1964, Hiroshi Teshigahara)
  30. Millennium Mambo (2001, Hou Hsiao-hsien)
  31. Beau Travail (1999, Claire Denis)
  32. The Long Day Closes (1992, Terence Davies)
  33. Marnie (1964, Alfred Hitchcock)
  34. Spione (1928, Fritz Lang)
  35. The Wrong Man (1956, Alfred Hitchcock)
  36. Ishtar (1987, Elaine May)
  37. The Bridges of Madison County (1995, Clint Eastwood)
  38. Still Life (2006, Jia Zhangke)
  39. Fallen Angels (1995, Wong Kar-wai)
  40. A Man Escaped (1956, Robert Bresson)
  41. Othon (1970, Jean-Marie Straub & Danièle Huillet)
  42. Punishment Park (1971, Peter Watkins)
  43. The Headless Woman (2008, Lucrecia Martel)
  44. Unforgiven (1992, Clint Eastwood)
  45. Happy Together (1997, Wong Kar-wai)
  46. The Taking of Power by Louis XIV (1966, Roberto Rossellini)
  47. L’Amour fou (1969, Jacques Rivette)
  48. Je t’aime, je t’aime (1968, Alain Resnais)
  49. Daisy Kenyon (1947, Otto Preminger)
  50. Lola Montès (1955, Max Ophuls)
  51. Sabotage (1936, Alfred Hitchcock)
  52. The Lusty Men (1952, Nicholas Ray)
  53. Legend of the Mountain (1979, King Hu)
  54. Two English Girls (1971, François Truffaut)
  55. Charulata (1964, Satyajit Ray)
  56. Hahaha (2010, Hong Sang-soo)
  57. The Long Gray Line (1955, John Ford)
  58. The Apartment (1960, Billy Wilder)
  59. Tokyo Olympiad (1965, Kon Ichikawa)
  60. Oxhide II (2009, Liu Jiayin)
  61. All About Lily Chou-Chou (2001, Shunji Iwai)
  62. The Lady Vanishes (1938, Alfred Hitchcock)
  63. Come Drink With Me (1966, King Hu)
  64. Insiang (1976, Lino Brocka)
  65. Love in the Afternoon (1972, Eric Rohmer)
  66. Nobody’s Daughter Haewon (2013, Hong Sang-soo)
  67. Red Beard (1965, Akira Kurosawa)
  68. The Immortal Story (1968, Orson Welles)
  69. Moonfleet (1955, Fritz Lang)
  70. We Won’t Grow Old Together (1972, Maurice Pialat)
  71. Ugetsu (1953, Kenji Mizoguchi)
  72. Les Rendez-vous d’Anna (1978, Chantal Akerman)
  73. The World (2004, Jia Zhangke)
  74. Los Angeles Plays Itself (2003, Thom Andersen)
  75. Simon of the Desert (1965, Luis Buñuel)
  76. Blissfully Yours (2002, Apichatpong Weerasethakul)
  77. Le Boucher (1970, Claude Chabrol)
  78. The Crucified Lovers (1954, Kenji Mizoguchi)
  79. The Conformist (1970, Bernardo Bertolucci)
  80. The 39 Steps (1935, Alfred Hitchcock)
  81. One-Armed Swordsman (1967, Chang Cheh)
  82. The Red and the White (1967, Miklós Jancsó)
  83. Applause (1929, Rouben Mamoulian)
  84. What Time Is It There? (2001, Tsai Ming-liang)
  85. Une femme mariée (1964, Jean-Luc Godard)
  86. Hamlet (2000, Michael Almereyda)
  87. Memories of Underdevelopment (1968, Tomás Gutiérrez Alea)
  88. The Discreet Charm of the Bourgeoisie (1972, Luis Buñuel)
  89. Boy (1969, Nagisa Oshima)
  90. Oxhide (2005, Liu Jiayin)
  91. The Servant (1963, Joseph Losey)
  92. 24 City (2008, Jia Zhangke)
  93. Days and Nights in the Forest (1970, Satyajit Ray)
  94. The Wild Child (1970, François Truffaut)
  95. La Ronde (1950, Max Ophuls)
  96. The Nun (1966, Jacques Rivette)
  97. The Passenger (1975, Michelangelo Antonioni)
  98. Trouble Every Day (2001, Claire Denis)
  99. Mr. Arkadin (1955, Orson Welles)
  100. Four Nights of a Dreamer (1971, Robert Bresson)
  101. Nathalie Granger (1972, Marguerite Duras)
  102. Shadows of Forgotten Ancestors (1965, Sergei Parajanov)
  103. Tout va bien (1972, Jean-Luc Godard & Jean-Pierre Gorin)
  104. The Odd One Dies (1997, Patrick Yau and Johnnie To)
  105. The Man Who Knew Too Much (1956, Alfred Hitchcock)
  106. Mikey and Nicky (1976, Elaine May)
  107. City on Fire (1987, Ringo Lam)
  108. The Fate of Lee Khan (1973, King Hu)
  109. Chronicle of Anna Magdalena Bach (1968, Jean-Marie Straub & Danièle Huillet)
  110. U.S. Go Home (1994, Claire Denis)
  111. A Touch of Sin (2013, Jia Zhangke)
  112. Kiki’s Delivery Service (1989, Hayao Miyazaki)
  113. The Merchant of Four Seasons (1971, Rainer Werner Fassbinder)
  114. The Koumiko Mystery (1965, Chris Marker)
  115. The War Is Over (1966, Alain Resnais)
  116. 2 or 3 Things I Know About Her (1967, Jean-Luc Godard)
  117. The Sorrow and the Pity (1969, Marcel Ophuls)
  118. Mouchette (1967, Robert Bresson)
  119. Suspiria (1977, Dario Argento)
  120. The Exterminating Angel (1962, Luis Buñuel)
  121. Blowup (1966, Michelangelo Antonioni)
  122. A Better Tomorrow (1986, John Woo)
  123. Red Desert (1964, Michelangelo Antonioni)
  124. Shadow of a Doubt (1943, Alfred Hitchcock)
  125. The Crime of Monsieur Lange (1936, Jean Renoir)
  126. The Wedding March (1928, Erich von Stroheim)
  127. Three Colors: Blue (1993, Krzysztof Kieslowski)
  128. I Am Cuba (1964, Mikhail Kalatozov)
  129. The Brig (1964, Jonas Mekas)
  130. My Blueberry Nights (2007, Wong Kar-wai)
  131. Une femme douce (1969, Robert Bresson)
  132. All About Eve (1950, Joseph L. Mankiewicz)
  133. Cold Water (1994, Olivier Assayas)
  134. Heaven Can Wait (1943, Ernst Lubitsch)
  135. Virgin Stripped Bare by Her Bachelors (2000, Hong Sang-soo)
  136. Triple Agent (2004, Eric Rohmer)
  137. Portrait of Jason (1967, Shirley Clarke)
  138. Computer Chess (2013, Andrew Bujalski)
  139. Awaara (1951, Raj Kapoor)
  140. The Graduate (1967, Mike Nichols)
  141. Harakiri (1962, Masaki Kobayashi)
  142. A Letter to Three Wives (1949, Joseph L. Mankiewicz)
  143. Kung Fu Hustle (2004, Stephen Chow)
  144. Magnificent Obsession (1954, Douglas Sirk)
  145. Rebecca (1940, Alfred Hitchcock)
  146. At the Top of the Stairs (1983, Paul Vecchiali)
  147. Not Reconciled (1965, Jean-Marie Straub & Danièle Huillet)
  148. Destroy, She Said (1969, Marguerite Duras)
  149. Unknown Pleasures (2002, Jia Zhangke)
  150. Far From Vietnam (1967, Jean-Luc Godard & Joris Ivens & William Klein & Claude Lelouch & Chris Marker & Alain Resnais & Agnès Varda)
  151. Nothing But a Man (1964, Michael Roemer)
  152. Tristana (1970, Luis Buñuel)
  153. One Plus One (1968, Jean-Luc Godard)
  154. Reminiscences of a Journey to Lithuania (1972, Jonas Mekas)
  155. Chung Kuo – Cina (1972, Michelangelo Antonioni)
  156. Toni (1935, Jean Renoir)
  157. Red Psalm (1972, Miklós Jancsó)
  158. Nitrate Kisses (1992, Barbara Hammer)
  159. Cowboy Bebop: The Movie (2001, Shinichiro Watanabe)
  160. The Round-Up (1966, Miklós Jancsó)
  161. The Trial of Joan of Arc (1962, Robert Bresson)
  162. Le Départ (1967, Jerzy Skolimowski)
  163. Junior Bonner (1972, Sam Peckinpah)
  164. Pioneers in Ingolstadt (1971, Rainer Werner Fassbinder)
  165. The Seashell and the Clergyman (1927, Germaine Dulac)
  166. Les Carabiniers (1963, Jean-Luc Godard)
  167. Dishonored (1931, Josef von Sternberg)
  168. Samurai Rebellion (1967, Masaki Kobayashi)
  169. eXistenZ (1999, David Cronenberg)
  170. The Great Silence (1968, Sergio Corbucci)
  171. Pasazerka (1963, Andrzej Munk)
  172. The Burmese Harp (1956, Kon Ichikawa)
  173. The Big City (1963, Satyajit Ray)
  174. Children of Men (2006, Alfonso Cuarón)
  175. L’Enfance nue (1968, Maurice Pialat)
  176. Wanda (1970, Barbara Loden)
  177. Useless (2007, Jia Zhangke)
  178. Wind From the East (1970, Groupe Dziga Vertov and Jean-Luc Godard and Jean-Pierre Gorin)
  179. Fata Morgana (1971, Werner Herzog)
  180. Shoot the Piano Player (1960, François Truffaut)
  181. The Locket (1946, John Brahm)
  182. Rope (1948, Alfred Hitchcock)
  183. HE Who Gets Slapped (1924, Victor Sjöström)
  184. The Beaches of Agnès (2008, Agnès Varda)
  185. The Rise and Fall of a Small Film Company (1986, Jean-Luc Godard)
  186. Liza With a Z (1972, Bob Fosse)
  187. The Decameron (1971, Pier Paolo Pasolini)
  188. Love (1971, Károly Makk)
  189. W.R.: Mysteries of the Organism (1971, Dusan Makavejev)
  190. Dil Se.. (1998, Mani Ratnam)
  191. Le Petit Soldat (1960, Jean-Luc Godard)
  192. A Grin Without a Cat (1977, Chris Marker)
  193. I Confess (1953, Alfred Hitchcock)
  194. Adalen 31 (1969, Bo Widerberg)
  195. Murmur of the Heart (1971, Louis Malle)
  196. The Inner Scar (1972, Philippe Garrel)
  197. The Five Obstructions (2003, Jørgen Leth & Lars von Trier)
  198. Les Biches (1968, Claude Chabrol)
  199. Made in U.S.A (1966, Jean-Luc Godard)
  200. Mysterious Object at Noon (2000, Apichatpong Weerasethakul)
  201. Design for Living (1933, Ernst Lubitsch)
  202. Strangers on a Train (1951, Alfred Hitchcock)
  203. Repo Man (1984, Alex Cox)
  204. Band of Outsiders (1964, Jean-Luc Godard)
  205. Mandabi (1968, Ousmane Sembène)
  206. A Sense of Loss (1972, Marcel Ophuls)
  207. Nénette et Boni (1996, Claire Denis)
  208. The Firemen’s Ball (1967, Milos Forman)
  209. Cabaret (1972, Bob Fosse)
  210. Love Affair, or the Case of the Missing Switchboard Operator (1967, Dusan Makavejev)
  211. The Debut (1970, Gleb Panfilov)
  212. Ocean’s Eleven (2001, Steven Soderbergh)
  213. Il Mare (1962, Giuseppe Patroni Griffi)
  214. The Adversary (1970, Satyajit Ray)
  215. Bicycle Thieves (1948, Vittorio De Sica)
  216. In Our Time (1982, Omnibus)
  217. Hamlet (1964, Grigori Kozintsev)
  218. La Musica (1967, Marguerite Duras & Paul Seban)
  219. The Guests (2013, Ken Jacobs)
  220. The Merry Widow (1925, Erich von Stroheim)
  221. sex, lies, and videotape (1989, Steven Soderbergh)
  222. I fidanzati (1963, Ermanno Olmi)
  223. Results (2015, Andrew Bujalski)
  224. Dodes’ka-den (1970, Akira Kurosawa)
  225. A Star Is Born (1937, William A. Wellman)
  226. Une simple histoire (1959, Marcel Hanoun)
  227. Xiao Shan Going Home (1995, Jia Zhangke)
  228. To Catch a Thief (1955, Alfred Hitchcock)
  229. Trouble in Mind (1985, Alan Rudolph)
  230. The Lady Without Camelias (1953, Michelangelo Antonioni)
  231. Loves of a Blonde (1965, Milos Forman)
  232. Shin Heike Monogatari (1955, Kenji Mizoguchi)
  233. Walkover (1965, Jerzy Skolimowski)
  234. Oh! What a Lovely War (1969, Richard Attenborough)
  235. 24 Hours in the Life of a Woman (1968, Dominique Delouche)
  236. Troublemakers (1966, Norman Fruchter & Robert Machover)
  237. Faces (1968, John Cassavetes)
  238. Even Dwarfs Started Small (1970, Werner Herzog)
  239. One Fine Day (1968, Ermanno Olmi)
  240. Family Life (1971, Krzysztof Zanussi)
  241. Show People (1928, King Vidor)
  242. Life Upside Down (1964, Alain Jessua)
  243. Kes (1969, Ken Loach)
  244. Enjo (1958, Kon Ichikawa)
  245. Yesterday Girl (1966, Alexander Kluge)
  246. Shakespeare Wallah (1965, James Ivory)
  247. Images (1972, Robert Altman)
  248. Directed by John Ford (1971, Peter Bogdanovich)
  249. American Dreams (Lost and Found) (1984, James Benning)
  250. The Shameless Old Lady (1965, René Allio)
  251. The Joke (1969, Jaromil Jires)
  252. In the Midst of Life (1963, Robert Enrico)
  253. Artists Under the Big Top: Perplexed (1968, Alexander Kluge)
  254. Lions Love (1969, Agnès Varda)
  255. Suspicion (1941, Alfred Hitchcock)
  256. Partner. (1968, Bernardo Bertolucci)
  257. Elvira Madigan (1967, Bo Widerberg)
  258. Accattone (1961, Pier Paolo Pasolini)
  259. Funny Ha Ha (2002, Andrew Bujalski)
  260. L’Argent (1928, Marcel L’Herbier)
  261. King & Country (1964, Joseph Losey)
  262. Six in Paris (1965, Omnibus)
  263. The King of Marvin Gardens (1972, Bob Rafelson)
  264. Duet for Cannibals (1969, Susan Sontag)
  265. Sweet Sweetback’s Baadasssss Song (1971, Melvin Van Peebles)
  266. Dogtooth (2009, Yorgos Lanthimos)
  267. The Hunt (1966, Carlos Saura)
  268. Glory Sky (1962, Takis Kanellopoulos)
  269. Identification Marks: None (1964, Jerzy Skolimowski)
  270. In the Name of the Father (1971, Marco Bellocchio)
  271. Raven’s End (1963, Bo Widerberg)
  272. Diary of a Chambermaid (1964, Luis Buñuel)
  273. Last Tango in Paris (1972, Bernardo Bertolucci)
  274. The Hawks and the Sparrows (1966, Pier Paolo Pasolini)
  275. Ro.Go.Pa.G. (1963, Omnibus)
  276. She and He (1963, Susumu Hani)
  277. Before the Revolution (1964, Bernardo Bertolucci)
  278. The Scavengers (1970, Ermanno Olmi)
  279. Sandra (1965, Luchino Visconti)
  280. Winter’s Bone (2010, Debra Granik)
  281. Signs of Life (1968, Werner Herzog)
  282. The Spider’s Stratagem (1970, Bernardo Bertolucci)
  283. Three (1965, Aleksandar Petrovic)
  284. Fists in the Pocket (1965, Marco Bellocchio)
  285. Jamaica Inn (1939, Alfred Hitchcock)
  286. Qui trop embrasse… (1986, Jacques Davila)
  287. The Epic That Never Was (1965, Bill Duncalf)
  288. Heat (1972, Paul Morrissey)
  289. Mickey One (1965, Arthur Penn)
  290. Barrier (1966, Jerzy Skolimowski)
  291. Three Colors: White (1994, Krzysztof Kieslowski)
  292. Father (1966, István Szabó)
  293. The Man Who Had His Hair Cut Short (1966, André Delvaux)
  294. The Garden of Delights (1970, Carlos Saura)
  295. The Rite (1969, Ingmar Bergman)
  296. Barravento (1962, Glauber Rocha)
  297. Hallelujah the Hills (1963, Adolfas Mekas)
  298. Hands Over the City (1963, Francesco Rosi)
  299. Quiet Please, Murder (1942, John Larkin)
  300. Happiness (1935, Aleksandr Medvedkin)
  301. Hunger (1966, Henning Carlsen)
  302. Fail-Safe (1964, Sidney Lumet)
  303. A Safe Place (1971, Henry Jaglom)
  304. Les Créatures (1966, Agnès Varda)
  305. Alone Across the Pacific (1963, Kon Ichikawa)
  306. Young Törless (1966, Volker Schlöndorff)
  307. Porcile (1969, Pier Paolo Pasolini)
  308. L’Âge d’Or (1930, Luis Buñuel)
  309. Family Life (1971, Ken Loach)
  310. The Cannibals (1970, Liliana Cavani)
  311. A Taste of Killing and Romance (1994, Veronica Chan)
  312. Capricious Summer (1968, Jiri Menzel)
  313. Hugo and Josephine (1967, Kjell Grede)
  314. Zabriskie Point (1970, Michelangelo Antonioni)
  315. The Lion Hunters (1965, Jean Rouch)
  316. La commare secca (1962, Bernardo Bertolucci)
  317. Knave of Hearts (1954, René Clément)
  318. Going Home (1972, Adolfas Mekas)
  319. Bad Company (1972, Robert Benton)
  320. Goto, Island of Love (1969, Walerian Borowczyk)
  321. When Harry Met Sally… (1989, Rob Reiner)
  322. Summer Soldiers (1972, Hiroshi Teshigahara)
  323. Nobody Waved Good-bye (1964, Don Owen)
  324. Intimate Lighting (1965, Ivan Passer)
  325. Lilith (1964, Robert Rossen)
  326. The Virgin Spring (1960, Ingmar Bergman)
  327. Tonite Let’s All Make Love in London (1967, Peter Whitehead)
  328. Memorandum (1965, Donald Brittain & John Spotton)
  329. All the Way Home (1963, Alex Segal)
  330. The Last Clean Shirt (1964, Alfred Leslie)
  331. Comrades (1970, Marin Karmitz)
  332. Siberian Lady Macbeth (1962, Andrzej Wajda)
  333. Magnet of Doom (1963, Jean-Pierre Melville)
  334. Pearls of the Deep (1966, Omnibus)
  335. Harry Munter (1969, Kjell Grede)
  336. Black Peter (1964, Milos Forman)
  337. Bronson (2008, Nicolas Winding Refn)
  338. A Report on the Party and the Guests (1966, Jan Nemec)
  339. Born to Win (1971, Ivan Passer)
  340. Love Sex Aur Dhokha (2010, Dibakar Banerjee)
  341. A Star Is Born (1976, Frank Pierson)
  342. Phone Booth (2002, Joel Schumacher)
  343. Salvatore Giuliano (1962, Francesco Rosi)
  344. Almost a Man (1966, Vittorio De Seta)
  345. Battlefield Earth (2000, Roger Christian)

New

  1. Long Day’s Journey Into Night (Bi Gan)
  2. First Reformed (Paul Schrader)
  3. The Other Side of the Wind (Orson Welles)
  4. Ash Is Purest White (Jia Zhangke)
  5. The Grand Bizarre (Jodie Mack)
  6. Mission: Impossible – Fallout (Christopher McQuarrie)
  7. The Ballad of Buster Scruggs (Joel & Ethan Coen)
  8. Hotel by the River (Hong Sang-soo)
  9. Bisbee ’17 (Robert Greene)
  10. Burning (Lee Chang-dong)
  11. Zama (Lucrecia Martel)
  12. “I Do Not Care If We Go Down in History as Barbarians” (Radu Jude)
  13. Un beau soleil intérieur (Claire Denis)
  14. If Beale Street Could Talk (Barry Jenkins)
  15. Too Late to Die Young (Dominga Sotomayor)
  16. Before We Vanish (Kiyoshi Kurosawa)
  17. Isle of Dogs (Wes Anderson)
  18. A Star Is Born (Bradley Cooper)
  19. Happy as Lazzaro (Alice Rohrwacher)
  20. Support the Girls (Andrew Bujalski)
  21. Non-Fiction (Olivier Assayas)
  22. Good Manners (Juliana Rojas & Marco Dutra)
  23. Western (Valeska Grisebach)
  24. Ismael’s Ghosts (Arnaud Desplechin)
  25. The Commuter (Jaume Collet-Serra)
  26. Three (Johnnie To)
  27. A Family Tour (Ying Liang)
  28. Notes on an Appearance (Ricky D’Ambrose)
  29. BlacKkKlansman (Spike Lee)
  30. Ray & Liz (Richard Billingham)
  31. Roma (Alfonso Cuarón)
  32. Diamantino (Gabriel Abrantes & Daniel Schmidt)
  33. Shoot the Moon Right Between the Eyes (Graham L. Carter)
  34. Lover for a Day (Philippe Garrel)
  35. Suspiria (Luca Guadagnino)
  36. Hale County This Morning, This Evening (RaMell Ross)
  37. The Great Pretender (Nathan Silver)
  38. Two Plains & a Fancy (Lev Kalman & Whitney Horn)
  39. Shoplifters (Hirokazu Kore-eda)
  40. Feast of the Epiphany (Michael Koresky & Jeff Reichert & Farihah Zaman)
  41. The Favourite (Yorgos Lanthimos)
  42. Logan Lucky (Steven Soderbergh)
  43. The Green Fog (Guy Maddin & Evan Johnson & Galen Johnson)
  44. Game Night (John Francis Daley & Jonathan Goldstein)
  45. Cold War (Pawel Pawlikowski)
  46. The Great Buddha+ (Huang Hsin-yao)
  47. Black Panther (Ryan Coogler)
  48. The 15:17 to Paris (Clint Eastwood)
  49. Sorry to Bother You (Boots Riley)
  50. Gemini (Aaron Katz)
  51. Félicité (Alain Gomis)
  52. Let the Corpses Tan (Hélène Cattet & Bruno Forzani)
  53. Unsane (Steven Soderbergh)
  54. Yara (Abbas Fahdel)
  55. Dead Horse Nebula (Tarik Aktas)
  56. Ready Player One (Steven Spielberg)
  57. The Wild Boys (Bertrand Mandico)
  58. 24 Frames (Abbas Kiarostami)
  59. Ant-Man and the Wasp (Peyton Reed)
  60. Incredibles 2 (Brad Bird)
  61. Cam (Daniel Goldhaber)
  62. Solo: A Star Wars Story (Ron Howard)
  63. Acid Forest (Rugile Barzdziukaite)
  64. The Guilty (Gustav Möller)
  65. Fail to Appear (Antoine Bourges)
  66. Last Men in Aleppo (Feras Fayyad)
  67. Widows (Steve McQueen)
  68. The Old Man & the Gun (David Lowery)
  69. Ava (Sadaf Foroughi)
  70. All the Money in the World (Ridley Scott)
  71. Memoir of War (Emmanuel Finkiel)
  72. Avengers: Infinity War (Anthony & Joe Russo)
  73. The Miseducation of Cameron Post (Desiree Akhavan)
  74. Leave No Trace (Debra Granik)
  75. Under the Silver Lake (David Robert Mitchell)
  76. First Man (Damien Chazelle)
  77. Orders (Eric Marsh & Andrew Stasiulis)
  78. On Her Shoulders (Alexandria Bombach)
  79. A Bread Factory – Part Two: Walk With Me a While (Patrick Wang)
  80. Looking at the Stars (Alexandre Peralta)
  81. Atomic Blonde (David Leitch)
  82. Love, Cecil (Lisa Immordino Vreeland)
  83. A Bread Factory – Part One: For the Sake of Gold (Patrick Wang)
  84. 12 Days (Raymond Depardon)
  85. Madeline’s Madeline (Josephine Decker)
  86. Ingrid Goes West (Matt Spicer)
  87. Eighth Grade (Bo Burnham)
  88. Jeannette: The Childhood of Joan of Arc (Bruno Dumont)
  89. Sunset (László Nemes)
  90. Forever Young (Li Fangfang)
  91. You Were Never Really Here (Lynne Ramsay)
  92. Vice (Adam McKay)
  93. Crazy Rich Asians (Jon M. Chu)
  94. Le Redoutable (Michel Hazanavicius)