Author: Ryan Swen

2018 Viewing Log

Ryan Swen Lists Tags: ,

January
Millennium Mambo (2001, Hou Hsiao-hsien) – 8.0
A Man Escaped (1956, Robert Bresson) – 7.9
Taipei Story (1985, Edward Yang) – 8.9
Western (2017, Valeska Grisebach) – 6.9
The Hole (1998, Tsai Ming-liang) – 8.7
Unknown Pleasures (2002, Jia Zhangke) – 7.1
Legend of the Mountain (1979, King Hu) – 7.8
Mysterious Object at Noon (2000, Apichatpong Weerasethakul) – 6.8
Félicité (2017, Alain Gomis) DP – 6.2
12 Days (2017, Raymond Depardon) – 5.2
The Exterminating Angel (1962, Luis Buñuel) – 7.3
The Commuter (2018, Jaume Collet-Serra) DP – 6.9
The Trial of Joan of Arc (1962, Robert Bresson) – 7.1
Hallelujah the Hills (1963, Adolfas Mekas) – 6.0
+Rear Window (1954, Alfred Hitchcock) – 8.9 [same]
In the Midst of Life (1963, Robert Enrico) – 6.3
All the Money in the World (2017, Ridley Scott) DP – 5.8
Last Men in Aleppo (2017, Feras Fayyad) – 5.9
+Collateral (2004, Michael Mann) – 7.4 [up from 7.2]
Insiang (1976, Lino Brocka) – 7.6
The Fate of Lee Khan (1973, King Hu) – 7.3
Jamaica Inn (1939, Alfred Hitchcock) – 6.0
The Grandmother (1970, David Lynch)
Sansho the Bailiff (1954, Kenji Mizoguchi) – 8.8
The Servant (1963, Joseph Losey) – 7.4
Magnet of Doom (1963, Jean-Pierre Melville) – 5.4
+The Florida Project (2017, Sean Baker) – 6.9 [up from 6.2]
I fidanzati (1963, Ermanno Olmi) – 6.5
Harakiri (1962, Masaki Kobayashi) – 7.2
Barravento (1962, Glauber Rocha) – 5.8
All the Way Home (1963, Alex Segal) – 5.6
+Dragon Inn (1967, King Hu) – 8.3 [up from 7.2]
+The Seventh Seal (1957, Ingmar Bergman) 35mm – 6.8 [down from ~8.2]
Glory Sky (1962, Takis Kanellopoulos) – 6.2
Ro.Go.Pa.G. (1963, Omnibus) – 6.1
Il Mare (1962, Giuseppe Patroni Griffi) – 6.6
Orders (2017, Eric Marsh & Andrew Stasiulis) – 5.6
Nobody’s Daughter Haewon (2013, Hong Sang-soo) – 7.6
Orderly or Disorderly (1981, Abbas Kiarostami)

February
Mikey and Nicky (1976, Elaine May) – 7.4
Releasing Human Energies (2012, Mark Toscano) 16mm
What Is a Man? (1958, Sara Kathryn Arledge) 16mm
Associations (1975, John Smith) 16mm
Hot Leatherette (1967, Robert Nelson) 16mm
Dyketactics (1974, Barbara Hammer) 16mm
Flower, The Boy, The Librarian (1997, Stephanie Barber) 16mm
The Snowman (1995, Phil Solomon) 16mm
Swiss Army Knife With Rats & Pigeons (1981, Robert Breer) 16mm
Confessions (1971, Curt McDowell) 16mm
Thine Inward-Looking Eyes (1993, Thad Povey) 16mm
Mercy (1989, Abigail Child) 16mm
Akbar (1970, Richard Myers) 16mm
Zama (2017, Lucrecia Martel) – 7.3
Fallen Angels (1995, Wong Kar-wai) – 7.9
Hamlet (1964, Grigori Kozintsev) – 6.6
+A Woman Is a Woman (1961, Jean-Luc Godard) – 7.1 [up from 6.7]
Tokyo Olympiad (1965, Kon Ichikawa) – 7.6
Repo Man (1984, Alex Cox) – 6.8
L’Âge d’Or (1930, Luis Buñuel) – 5.9
The World (2004, Jia Zhangke) – 7.5
The 15:17 to Paris (2018, Clint Eastwood) DP – 6.3
Woman in the Dunes (1964, Hiroshi Teshigahara) – 8.1
Fail-Safe (1964, Sidney Lumet) – 5.8
Hamlet (2000, Michael Almereyda) – 7.4
My Neighbor Totoro (1988, Hayao Miyazaki) – 8.7
sex, lies, and videotape (1989, Steven Soderbergh) – 6.5
Blissfully Yours (2002, Apichatpong Weerasethakul) – 7.3
When Harry Met Sally… (1989, Rob Reiner) – 5.6
Magnificent Obsession (1954, Douglas Sirk) – 7.2
Band of Outsiders (1964, Jean-Luc Godard) – 6.8
Quiet Please, Murder (1942, John Larkin) 35mm – 5.8
+Lady Bird (2017, Greta Gerwig) – 7.1 [same]
Unforgiven (1992, Clint Eastwood) – 7.9
Hands Over the City (1963, Francesco Rosi) – 5.8
Nobody Waved Good-bye (1964, Don Owen) – 5.6
+Mildred Pierce (1945, Michael Curtiz) 35mm – 7.2 [same]
Happy Together (1997, Wong Kar-wai) – 7.8
Black Panther (2018, Ryan Coogler) DP – 6.3
Diary of a Chambermaid (1964, Luis Buñuel) – 6.2
Meet Me in St. Louis (1944, Vincente Minnelli) – 8.0
The Virgin Spring (1960, Ingmar Bergman) DP – 5.6
Nothing But a Man (1964, Michael Roemer) – 7.1
I Am Cuba (1964, Mikhail Kalatozov) 35mm – 7.3
Lilith (1964, Robert Rossen) – 5.6
Enjo (1958, Kon Ichikawa) – 6.3
Memories of Underdevelopment (1968, Tomás Gutiérrez Alea) DP – 7.4
King & County (1964, Joseph Losey) – 6.3
Joseph Kilian (1963, Pavel Juracek & Jan Schmidt)
Salvatore Giuliano (1962, Francesco Rosi) – 5.3

March
Shin Heike Monogatari (1955, Kenji Mizoguchi) – 6.4
Rodeo (1969, Carroll Ballard) DP
Junior Bonner (1972, Sam Peckinpah) 35mm – 7.1
The Lusty Men (1952, Nicholas Ray) 35mm – 7.8
The Brig (1964, Jonas Mekas) – 7.2
The Last Clean Shirt (1964, Alfred Leslie) – 5.5
She and He (1963, Susumu Hani) – 6.1
Life Upside Down (1964, Alain Jessua) – 6.4
Alone Across the Pacific (1963, Kon Ichikawa) – 5.8
…A Valparaiso (1963, Joris Ivens)
Siberian Lady Macbeth (1962, Andrzej Wadja) – 5.4
The Big City (1964, Satyajit Ray) – 7.0
+In the Mood for Love (2000, Wong Kar-wai) – 9.4 [same]
Nine Behind (2016, Sophy Romvari)
U.S. Go Home (1994, Claire Denis) – 7.3
Pasazerka (1963, Andrzej Munk) – 7.0
Cure (1997, Kiyoshi Kurosawa) – 8.6
Before We Vanish (2017, Kiyoshi Kurosawa) DP – 7.2
Looking at the Stars (2016, Alexandre Peralta) – 5.4
+The Day After (2017, Hong Sang-soo) – 7.4 [up from 7.2]
+Close-Up (1990, Abbas Kiarostami) – 9.3 [down from ~9.6]
In Our Time (1982, Omnibus) – 6.5
Game Night (2018, John Francis Daley & Jonathan Goldstein) DP – 6.4
Before the Revolution (1964, Bernardo Bertolucci) – 6.1
+Alphaville (1965, Jean-Luc Godard) – 7.3 [up from 5.9]
Six Cents in the Pocket (2015, Ricky D’Ambrose)
Atomic Blonde (2017, David Leitch) – 5.3
Not Reconciled (1965, Jean-Marie Straub & Danièle Huillet) – 7.1
Spiral Jetty (2017, Ricky D’Ambrose)
Lost in the Mountains (2009, Hong Sang-soo)
+Fantastic Mr. Fox (2009, Wes Anderson) – 7.5 [up from ~7.1]
2046 (2004, Wong Kar-wai) – 8.6
Les Vampires (1915, Louis Feuillade) – 8.3
Mickey One (1965, Arthur Penn) – 5.9
Dil Se.. (1998, Mani Ratnam) – 7.0
Isle of Dogs (2018, Wes Anderson) DP – 7.2
Seven Chances (1925, Buster Keaton) – 8.2
The Railrodder (1965, Gerald Potterton)
+The Breakfast Club (1985, John Hughes) – 5.6 [up from ~5.0]
Identification Marks: None (1964, Jerzy Skolimowski) – 6.2
Charulata (1964, Satyajit Ray) – 7.7
Six in Paris (1965, Omnibus) – 6.2
Black Peter (1964, Milos Forman) – 5.2
Walkover (1965, Jerzy Skolimowski) – 6.3
Shakespeare Wallah (1965, James Ivory) – 6.3
Fists in the Pocket (1965, Marco Bellocchio) – 6.0

April
Gertrud (1964, Carl Theodor Dreyer) – 8.8
The Beaches of Agnès (2008, Agnès Varda) – 7.0
The Koumiko Mystery (1965, Chris Marker) – 7.3
Awaara (1951, Raj Kapoor) – 7.2
The Lady Without Camelias (1953, Michelangelo Antonioni) – 6.5
Fail to Appear (2017, Antoine Bourges) – 5.9
Le Petit Soldat (1960, Jean-Luc Godard) – 6.9
Three Colors: Blue (1993, Krzysztof Kieslowski) – 7.3
Knave of Hearts (1954, René Clément) – 5.7
The Wedding March (1928, Erich von Stroheim) – 7.4
Sandra (1965, Luchino Visconti) – 6.1
Film (1965, Alan Schneider)
Red Beard (1965, Akira Kurosawa) – 7.6
Ready Player One (2018, Steven Spielberg) 70mm – 6.1
Three Colors: White (1994, Krzysztof Kieslowski) – 5.9
Oxhide (2005, Liu Jiayin) – 7.4
Oxhide II (2009, Liu Jiayin) DP – 7.6
+Claire’s Camera (2017, Hong Sang-soo) DP – 7.2 [up from 7.1]
2 or 3 Things I Know About Her (1967, Jean-Luc Godard) – 7.3
Jeannette: The Childhood of Joan of Arc (2017, Bruno Dumont) DP – 4.7
Ingrid Goes West (2017, Matt Spicer) – 4.8
Loves of a Blonde (1965, Milos Forman) – 6.4
Spione (1928, Fritz Lang) – 8.0
Dishonored (1931, Josef von Sternberg) – 7.1
The Green Fog (2017, Guy Maddin & Evan Johnson & Galen Johnson) DP – 6.4
24 Frames (2017, Abbas Kiarostami) DP – 6.1
Triple Agent (2004, Eric Rohmer) – 7.2
Bicycle Thieves (1948, Vittorio De Sica) – 6.6
+Au Hasard Balthazar (1966, Robert Bresson) – 7.6 [up from 7.3]
Avengers: Infinity War (2018, Anthony & Joe Russo) DP – 5.8
American Dreams (Lost and Found) (1984, James Benning) – 6.3
+Faces Places (2017, Agnès Varda & JR) – 7.4 [same]
+Yourself and Yours (2016, Hong Sang-soo) – 8.6 [up from 7.7]
Simon of the Desert (1965, Luis Buñuel) – 7.5
+The Cheat (1915, Cecil B. DeMille) – 5.7 [up from 5.1]
Lover for a Day (2017, Philippe Garrel) – 6.5
Shadows of Forgotten Ancestors (1965, Sergei Parajanov) – 7.4
La commare secca (1962, Bernardo Bertolucci) – 5.7
Wholly Communion (1965, Peter Whitehead)
+Masculin féminin (1966, Jean-Luc Godard) – 7.1 [up from 6.7]
Meet Marlon Brando (1966, Albert & David Maysles)
The Hawks and the Sparrows (1966, Pier Paolo Pasolini) – 6.1
Les Créatures (1966, Agnès Varda) – 5.8

May
Troublemakers (1966, Norman Fruchter & Robert Machover) – 6.1
+Zama (2017, Lucrecia Martel) DP – 7.3 [same]
The Man Who Had His Hair Cut Short (1966, André Delvaux) – 5.8
+Six Cents in the Pocket (2015, Ricky D’Ambrose)
Chronicle of Anna Magdalena Bach (1968, Jean-Marie Straub & Danièle Huillet) DP – 7.3
Almost a Man (1966, Vittorio De Seta) – 4.4
Intimate Lighting (1965, Ivan Passer) – 5.6
The Hunt (1966, Carlos Saura) – 6.2
The Shameless Old Lady (1965, René Allio) – 6.3
Pearls of the Deep (1966, Omnibus) – 5.6
Three (1965, Aleksandar Petrovic) – 6.0
The Round-Up (1966, Miklós Jancsó) – 7.1
The Burmese Harp (1956, Kon Ichikawa) – 7.0
Hunger (1966, Henning Carlsen) – 5.8
Accattone (1961, Pier Paolo Pasolini) – 6.3
+Pierrot le fou (1965, Jean-Luc Godard) – 8.9 [up from 8.5]
The War Is Over (1966, Alain Resnais) – 7.3
Only Angels Have Wings (1939, Howard Hawks) – 9.1
Ismael’s Ghosts (2017, Arnaud Desplechin) DP – 6.9
The Great Silence (1968, Sergio Corbucci) DP – 7.1
+Pather Panchali (1955, Satyajit Ray) – 7.2 [same]
+The Battle of Algiers (1966, Gillo Pontecorvo) – 8.8 [same]
At the Top of the Stairs (1983, Paul Vecchiali) – 7.2
Come Drink With Me (1968, King Hu) – 7.6
Qui trop embrasse… (1986, Jacques Davila) 35mm – 6.0
Yesterday Girl (1966, Alexander Kluge) – 6.3
Phone Booth (2002, Joel Schumacher) – 4.6
+Manhunter (1986, Michael Mann) – 8.8 [same]
First Reformed (2017, Paul Schrader) SIFF, DP – 8.1
Je vous salue, Sarajevo (1993, Jean-Luc Godard)
Still Life (2006, Jia Zhangke) – 7.9
Le Redoutable (2017, Michel Hazanavicius) SIFF, DP – 2.6
+Kaili Blues (2015, Bi Gan) – 7.4 [up from 6.9]
Heaven Is Still Far Away (2016, Ryûsuke Hamaguchi)
Love Affair, or the Case of the Missing Switchboard Operator (1967, Dusan Makavejev) – 6.7
Raven’s End (1963, Bo Widerberg) – 6.2
The Miseducation of Cameron Post (2018, Desiree Akhavan) SIFF, DP – 5.8
The Guilty (2018, Gustav Möller) SIFF, DP – 5.9
Un beau soleil intérieur (2017, Claire Denis) SIFF, DP – 7.4
+The Day After (2017, Hong Sang-soo) DP – 7.5 [up from 7.4]
Solo: A Star Wars Story (2018, Ron Howard) DP – 6.0
Battlefield Earth (2000, Roger Christian) – 2.2

June
Les Carabiniers (1963, Jean-Luc Godard) – 7.1
Applause (1929, Rouben Mamoulian) – 7.5
Love Sex Aur Dhokha (2010, Dibakar Banerjee) – 4.7
Elvira Madigan (1967, Bo Widerberg) – 6.3
Brouillard: Passage #14 (2013, Alexandre Larose)
The Taking of Power by Louis XIV (1966, Roberto Rossellini) – 7.8
Father (1966, István Szabó) – 5.8
Show People (1928, King Vidor) – 6.3
Made in U.S.A (1966, Jean-Luc Godard) – 6.8
Barrier (1966, Jerzy Skolimowski) – 5.9
Good Manners (2017, Juliana Rojas & Marco Dutra) – 6.9
Ava (2017, Sadaf Foroughi) – 5.8
Virgin Stripped Bare by Her Bachelors (2000, Hong Sang-soo) – 7.2
That Day, on the Beach (1983, Edward Yang) – 8.8
Portrait of Jason (1967, Shirley Clarke) – 7.2
Le Départ (1967, Jerzy Skolimowski) – 6.8
Samurai Rebellion (1967, Masaki Kobayashi) – 7.1
Young Törless (1966, Volker Schlöndorff) – 5.8
La Cartographe (2018, Nathan Douglas)
Tonite Let’s All Make Love in London (1967, Peter Whitehead) – 5.6
Sweet Sweetback’s Baadasssss Song (1971, Melvin Van Peebles) DP – 6.2
Napoléon (1927, Abel Gance) – 9.0
Blowup (1966, Michelangelo Antonioni) – 7.3
Feast of the Epiphany (2018, Michael Koresky & Jeff Reichert & Farihah Zaman) – 6.4
+2001: A Space Odyssey (1968, Stanley Kubrick) 70mm – 8.9 [down from 9.5]
The Lion Hunters (1965, Jean Rouch) – 5.7
Memorandum (1965, Donald Brittain & John Spotton) – 5.6
Far From Vietnam (1967, Jean-Luc Godard & Joris Ivens & William Klein & Claude Lelouch & Chris Marker & Alain Resnais & Agnès Varda) – 7.1
Ishtar (1987, Elaine May) – 7.9
Winter’s Bone (2010, Debra Granik) – 6.1
What Time Is It There? (2001, Tsai Ming-liang) – 7.5
Nénette et Boni (1996, Claire Denis) – 6.7
Ocean’s Eleven (2001, Steven Soderbergh) – 6.7
Tropical Malady (2004, Apichatpong Weerasethakul) – 8.1
Leave No Trace (2018, Debra Granik) DP – 5.7
+Mission: Impossible (1996, Brian De Palma) – 7.2 [up from 6.7]
Kiki’s Delivery Service (1989, Hayao Miyazaki) – 7.3
Ant-Man and the Wasp (2018, Peyton Reed) – 6.0
Two Plains & a Fancy (2018, Lev Kalman & Whitney Horn) – 6.5
Capricious Summer (1968, Jiri Menzel) – 5.8
My Blueberry Nights (2007, Wong Kar-wai) – 7.2
The Immortal Story (1968, Orson Welles) – 7.5
Cowboy Bebop: The Movie (2001, Shinichiro Watanabe) – 7.1
Cold Water (1994, Olivier Assayas) DP – 7.2

July
The Red and the White (1967, Miklós Jancsó) – 7.5
All About Eve (1950, Joseph L. Mankiewicz) – 7.2
Lola Montès (1955, Max Ophuls) – 7.8
+Mission: Impossible II (2000, John Woo) – 6.2 [up from ~4.9]
Faces (1968, John Cassavetes) – 6.4
+Mission: Impossible III (2006, J.J. Abrams) – 5.9 [up from ~5.4]
Partner. (1968, Bernardo Bertolucci) – 6.3
Hale County This Morning, This Evening (2018, RaMell Ross) – 6.5
+Mission: Impossible – Ghost Protocol (2011, Brad Bird) – 7.1 [up from ~5.7]
Les Biches (1968, Claude Chabrol) – 6.8
+Mission: Impossible – Rogue Nation (2015, Christopher McQuarrie) – 7.4 [up from 5.9]
+Ashes of Time [Original] (1994, Wong Kar-wai) – 8.4 [Redux: 8.8]
Love, Cecil (2017, Lisa Immordino Vreeland) – 5.3
Toni (1935, Jean Renoir) – 7.1
A Report on the Party and the Guests (1966, Jan Nemec) – 4.8
Mouchette (1967, Robert Bresson) – 7.3
The Nun (1966, Jacques Rivette) – 7.4
L’Argent (1928, Marcel L’Herbier) – 6.3
L’Enfance nue (1968, Maurice Pialat) – 7.0
24 Hours in the Life of a Woman (1968, Dominique Delouche) – 6.4
Late Spring (1949, Yasujiro Ozu) – 9.1
Moonfleet (1955, Fritz Lang) – 7.5
Signs of Life (1968, Werner Herzog) – 6.1
+The Grandmaster (2013, Wong Kar-wai) – 7.9 [up from 6.3]
Weekend (1967, Jean-Luc Godard) – 8.6
One Plus One (1968, Jean-Luc Godard) – 7.1
Artists Under the Big Top: Perplexed (1968, Alexander Kluge) – 6.3
Hugo and Josephine (1967, Kjell Grede) – 5.7
Oratorio for Prague (1968, Jan Nemec)
The Firemen’s Ball (1967, Milos Forman) – 6.7
Eighth Grade (2018, Bo Burnham) DP – 4.7
The Long Gray Line (1955, John Ford) – 7.7
Beau Travail (1999, Claire Denis) – 8.0
Sorry to Bother You (2018, Boots Riley) DP – 6.3
The Graduate (1967, Mike Nichols) – 7.2
Children of Men (2006, Alfonso Cuarón) – 7.0
Out of the Past (1947, Jacques Tourneur) – 8.1
The 36th Chamber of Shaolin (1978, Lau Kar-leung) – 8.5
Mission: Impossible – Fallout (2018, Christopher McQuarrie) DP – 7.5
The Bridges of Madison County (1995, Clint Eastwood) – 7.9
Daisy Kenyon (1947, Otto Preminger) – 7.8
All About Lily Chou-Chou (2001, Shunji Iwai) – 7.6
The Long Day Closes (1992, Terence Davies) – 8.0
Los Angeles Plays Itself (2003, Thom Andersen) – 7.5
Trouble in Mind (1985, Alan Rudolph) – 6.5
+The Commuter (2018, Jaume Collet-Serra) – 6.9 [same]
+The Incredibles (2004, Brad Bird) – 7.2 [up from ~6.6]
Forever Young (2018, Li Fangfang) – 4.5
A Better Tomorrow (1986, John Woo) – 7.3

August
+Night and Fog (1956, Alain Resnais)
Kung Fu Hustle (2004, Stephen Chow) – 7.2
Wanda (1970, Barbara Loden) – 7.0
Three (2016, Johnnie To) – 6.9
The Rise and Fall of a Small Film Company (1986, Jean-Luc Godard) – 7.0
Hard-Boiled (1992, John Woo) – 8.2
One-Armed Swordsman (1967, Chang Cheh) – 7.5
+Bob & Carol & Ted & Alice (1969, Paul Mazursky) – 7.1 [up from 6.9]
Logan Lucky (2017, Steven Soderbergh) – 6.4
The Joke (1969, Jaromil Jires) – 6.3
Une femme douce (1969, Robert Bresson) – 7.2
Notes on an Appearance (2018, Ricky D’Ambrose) – 6.7
+Spiral Jetty (2017, Ricky D’Ambrose)
The Rite (1969, Ingmar Bergman) – 5.8
Boy (1969, Nagisa Oshima) – 7.4
Heaven Can Wait (1943, Ernst Lubitsch) 35mm – 7.2
Design for Living (1933, Ernst Lubitsch) 35mm – 6.8
Adalen 31 (1969, Bo Widerberg) – 6.8
Liza With a Z (1972, Bob Fosse) 35mm – 7.0
Cabaret (1972, Bob Fosse) 35mm – 6.7
Crazy Rich Asians (2018, Jon M. Chu) DP – 3.7
The Epic That Never Was (1965, Bill Duncalf) – 5.9
Funny Ha Ha (2002, Andrew Bujalski) – 6.2
Lions Love (1969, Agnès Varda) – 6.3
Computer Chess (2013, Andrew Bujalski) – 7.2
eXistenZ (1999, David Cronenberg) – 7.1
Angel of Death [3D] (2018, Nathan Smith)
La Ronde (1950, Max Ophuls) – 7.4
Results (2015, Andrew Bujalski) – 6.5
My Night at Maud’s (1969, Eric Rohmer) – 8.1
The Merry Widow (1925, Erich von Stroheim) – 6.6
Support the Girls (2018, Andrew Bujalski) DP – 7.1
The 39 Steps (1935, Alfred Hitchcock) DP – 7.5
+Meshes of the Afternoon (1943, Maya Deren & Alexander Hammid) DP
+Frankenstein (1931, James Whale) DP – 7.3 [same]
The Wild Boys (2017, Bertrand Mandico) – 6.1
Duet for Cannibals (1969, Susan Sontag) – 6.2
+Dune (1984, David Lynch) 35mm – 7.2 [down from 7.3]
Destroy, She Said (1969, Marguerite Duras) – 7.2
HE Who Gets Slapped (1924, Victor Sjöström) – 7.0
Goto, Island of Love (1969, Walerian Borowczyk) – 5.7
The Five Obstructions (2003, Jørgen Leth & Lars von Trier) – 6.8
Mandabi (1968, Ousmane Sembène) – 6.7
Porcile (1969, Pier Paolo Pasolini) – 5.8
Oh! What a Lovely War (1969, Richard Attenborough) – 6.4
Something Horizontal [3D] (2015, Blake Williams)
Sabotage (1936, Alfred Hitchcock) 35mm – 7.8
The Lady Vanishes (1938, Alfred Hitchcock) DP – 7.6
Chess Fever (1925, Vsevolod Pudovkin & Nikolai Shpikovsky) DP
Happiness (1935, Aleksandr Medvedkin) DP – 5.8

September
Hahaha (2010, Hong Sang-soo) – 7.7
Shoot the Moon Right Between the Eyes (2018, Graham L. Carter) – 6.6
Dogtooth (2009, Yorgos Lanthimos) – 6.2
The Wild Child (1970, François Truffaut) – 7.4
Rebecca (1940, Alfred Hitchcock) DP – 7.2
Wind From the East (1970, Groupe Dziga Vertov and Jean-Luc Godard and Jean-Pierre Gorin) – 7.0
The Crime of Monsieur Lange (1936, Jean Renoir) DP – 7.3
+Five Easy Pieces (1970, Bob Rafelson) – 6.3 [up from 6.1]
List (2011, Hong Sang-soo)
Let the Corpses Tan (2017, Hélène Cattet & Bruno Forzani) – 6.2
Zorns Lemma (1970, Hollis Frampton) – 7.7
A Star Is Born (1937, William Wellman) – 6.5
The Narrow Road (1912, D.W. Griffith) 8mm
A Change of Spirit (1912, D.W. Griffith) 8mm
Friends (1912, D.W. Griffith) 8mm
The Painted Lady (1912, D.W. Griffith) 8mm
A Smoked Husband (1908, D.W. Griffith) DP
Deceived Slumming Party (1908, D.W. Griffith) DP
The Adventures of Dollie (1908, D.W. Griffith) DP
Othon (1970, Jean-Marie Straub & Danièle Huillet) – 7.9
Le Boucher (1970, Claude Chabrol) – 7.5
One Fine Day (1968, Ermanno Olmi) – 6.4
+The Last Picture Show (1971, Peter Bogdanovich) – 7.2 [up from 6.0]
Shadow of a Doubt (1943, Alfred Hitchcock) DP – 7.3
Ugetsu (1953, Kenji Mizoguchi) DP – 7.6
+List (2011, Hong Sang-soo)
Comrades (1970, Marin Karmitz) – 5.5
+L’Avventura (1960, Michelangelo Antonioni) 35mm – 7.8 [up from 7.2]
Return to Lisca Bianca Island (1983, Michelangelo Antonioni) DP
Cinematic Study of an Arabesque (1929, Germaine Dulac) 35mm
Thèmes et variations (1928, Germaine Dulac) 35mm
Record 957 (1928, Germaine Dulac) 16mm
Invitation to a Voyage (1927, Germaine Dulac) 16mm
The Seashell and the Clergyman (1927, Germaine Dulac) 35mm – 7.1
The Crucified Lovers (1954, Kenji Mizoguchi) – 7.5
Kes (1969, Ken Loach) – 6.4
Je t’aime, je t’aime (1968, Alain Resnais) – 7.8
La Musica (1967, Marguerite Duras & Paul Seban) – 6.6
Une simple histoire (1959, Marcel Hanoun) – 6.5
Even Dwarfs Started Small (1970, Werner Herzog) – 6.4
The Spider’s Stratagem (1970, Bernardo Bertolucci) – 6.0
Harry Munter (1969, Kjell Grede) – 4.9
Notorious (1946, Alfred Hitchcock) 35mm – 8.7
Rope (1948, Alfred Hitchcock) DP – 7.0
+Nashville (1975, Robert Altman) DP – 8.8 [up from 8.5]
The Garden of Delights (1970, Carlos Saura) – 5.8
Red Desert (1964, Michelangelo Antonioni) 35mm – 7.3
The Conformist (1970, Bernardo Bertolucci) – 7.5
The Passenger (1975, Michelangelo Antonioni) 35mm – 7.4
Zabriskie Point (1970, Michelangelo Antonioni) 35mm – 5.7
Days and Nights in the Forest (1970, Satyajit Ray) – 7.4
The Cannibals (1970, Liliana Cavani) – 5.8
Chung Kuo – Cina (1972, Michelangelo Antonioni) 35mm – 7.1
The Scavengers (1970, Ermanno Olmi) – 6.1
Tristana (1970, Luis Buñuel) – 7.1
Bisbee ’17 (2018, Robert Greene) DP – 7.4
Strangers on a Train (1951, Alfred Hitchcock) DP – 6.8
I Confess (1953, Alfred Hitchcock) 35mm – 6.9
Marnie (1964, Alfred Hitchcock) DP – 8.0
Laissé inachevé à Tokyo (1982, Olivier Assayas)

October
Shoot the Piano Player (1960, François Truffaut) – 7.0
+Jules et Jim (1962, François Truffaut) – 7.5 [up from 6.3]
The Wrong Man (1956, Alfred Hitchcock) 35mm – 8.1
A Star Is Born (1954, George Cukor) – 8.9
A Star Is Born (1976, Frank Pierson) – 4.7
A Star Is Born (2018, Bradley Cooper) DP – 7.1
Trouble Every Day (2001, Claire Denis) – 7.4
The Debut (1971, Gleb Panfilov) – 6.7
A Grin Without a Cat (1977, Chris Marker) 35mm – 6.9
+Goodbye, Dragon Inn (2003, Tsai Ming-liang) – 8.9 [up from 8.8]
Cyclops Observes the Celestial Bodies (2014, Ken Jacobs) DP
+Cat Listening to Music (1988, Chris Marker)
The Guests (2013, Ken Jacobs) 3D – 6.6
+The Day He Arrives (2011, Hong Sang-soo) – 8.6 [same]
The Man Who Knew Too Much (1956, Alfred Hitchcock) DP – 7.4
Marilyn Times Five (1973, Bruce Conner) DP
(nostalgia) (1971, Hollis Frampton) DP
+Zorns Lemma (1970, Hollis Frampton) DP – 8.1 [up from 7.7]
Blue (2018, Apichatpong Weerasethakul)
+Touch of Evil (1958, Orson Welles) 35mm – 8.4 [up from ~7.4]
Mr. Arkadin [Confidential Report] (1955, Orson Welles) 35mm – 7.4
+Dyketactics (1974, Barbara Hammer) DP
Psychosynthesis (1975, Barbara Hammer) DP
The Headless Woman (2008, Lucrecia Martel) 35mm – 7.9
The Magnificent Ambersons (1942, Orson Welles) 35mm – 9.4
Suspicion (1941, Alfred Hitchcock) – 6.3
F for Fake (1973, Orson Welles) – 8.2
The Other Side of the Wind (2018, Orson Welles) 35mm – 7.8
Memoir of War (2017, Emmanuel Finkiel) – 5.8
+Lost in the Mountains (2009, Hong Sang-soo)
The Locket (1946, John Brahm) – 7.0
The Second Line (2007, John Magary)
Tears of Chiwen (2017, Sun Xun) DP
Long Day’s Journey Into Night (2018, Bi Gan) 3D – 8.6
A Family Tour (2018, Ying Liang) DP – 6.8
Family Life (1971, Krzysztof Zanussi) – 6.4
The Decameron (1971, Pier Paolo Pasolini) – 6.9
Dodes’ka-den (1970, Akira Kurosawa) – 6.5
Directed by John Ford (1971, Peter Bogdanovich) – 6.3
Fata Morgana (1971, Werner Herzog) – 7.0
First Man (2018, Damien Chazelle) DP – 5.7
+Vertigo (1958, Alfred Hitchcock) DP – 9.3 [up from ~8.5]
Four Nights of a Dreamer (1971, Robert Bresson) – 7.4
+Ali: Fear Eats the Soul (1974, Rainer Werner Fassbinder) DP – 8.1 [up from ~7.7]
Pioneers in Ingolstadt (1971, Rainer Werner Fassbinder) – 7.1
Born to Win (1971, Ivan Passer) – 4.7
The Sorrow and the Pity (1969, Marcel Ophuls) – 7.3
“Der Klang, die Welt…” (2018, Robert Beavers) 16mm
AMOR (1980, Robert Beavers) 35mm
The Suppliant (2010, Robert Beavers) 16mm
Listening to the Space in My Room (2013, Robert Beavers) 16mm
Among the Eucalyptuses (2017, Robert Beavers) 16mm
+“Der Klang, die Welt…” (2018, Robert Beavers) 16mm
Punishment Park (1971, Peter Watkins) – 7.9
In the Name of the Father (1971, Marco Bellocchio) – 6.2
W.R.: Mysteries of the Organism (1971, Dusan Makavejev) – 6.9
A Safe Place (1971, Henry Jaglom) – 5.8
Murmur of the Heart (1971, Louis Malle) – 6.8
To Catch a Thief (1955, Alfred Hitchcock) – 6.5
+North by Northwest (1959, Alfred Hitchcock) DP – 8.2 [up from ~7.3]
Pumpkin Movie (2017, Sophy Romvari)
Suspiria (1977, Dario Argento) – 7.3

November
Useless (2007, Jia Zhangke) – 7.0
Xiao Shan Going Home (1995, Jia Zhangke) DP – 6.5
+Xiao Wu (1997, Jia Zhangke) 16mm – 7.1 [same]
A Movie (1958, Bruce Conner)
Production Stills (1970, Morgan Fisher) 16mm
Projection Instructions (1976, Morgan Fisher) 16mm
Standard Gauge (1984, Morgan Fisher) 16mm
Another Movie (2017, Morgan Fisher) DP
+Platform (2000, Jia Zhangke) 35mm – 8.9 [same]
+Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles (1975, Chantal Akerman) DP – 8.8 [up from 8.5]
24 City (2008, Jia Zhangke) – 7.4
A Touch of Sin (2013, Jia Zhangke) – 7.3
Ash Is Purest White (2018, Jia Zhangke) AFI Fest, DP – 7.7
Non-Fiction (2018, Olivier Assayas) AFI Fest, DP – 7.0
Yara (2018, Abbas Fahdel) AFI Fest, DP – 6.2
Sunset (2018, László Nemes) AFI Fest, DP – 4.6
The Great Pretender (2018, Nathan Silver) AFI Fest, DP – 6.5
Too Late to Die Young (2018, Dominga Sotomayor) AFI Fest, DP – 7.2
Diamantino (2018, Gabriel Abrantes & Daniel Schmidt) AFI Fest, DP – 6.6
The Grand Bizarre (2018, Jodie Mack) AFI Fest, DP – 7.6
Acid Forest (2018, Rugile Barzdziukaite) AFI Fest, DP – 6.0
Ray & Liz (2018, Richard Billingham) AFI Fest, DP – 6.7
Nitrate Kisses (1992, Barbara Hammer) AFI Fest, 16mm – 7.1
Under the Silver Lake (2018, David Robert Mitchell) AFI Fest, DP – 5.7
Dead Horse Nebula (2018, Tarik Aktas) AFI Fest, DP – 6.1
Hotel by the River (2018, Hong Sang-soo) AFI Fest, DP – 7.4
“I Do Not Care If We Go Down in History as Barbarians” (2018, Radu Jude) AFI Fest, DP – 7.3
Psycho (1960, Alfred Hitchcock) – 8.1
The Birds (1963, Alfred Hitchcock) DP – 8.4
Bronson (2008, Nicolas Winding Refn) DP – 4.8
Les Rendez-vous d’Anna (1978, Chantal Akerman) DP – 7.6
Burning (2018, Lee Chang-dong) DP – 7.3
On Her Shoulders (2018, Alexandria Bombach) – 5.6
The Ballad of Buster Scruggs (2018, Joel & Ethan Coen) DP – 7.4
Suspiria (2018, Luca Guadagnino) DP – 6.5
Surface Tension (1968, Hollis Frampton)
Love in the Afternoon (1972, Eric Rohmer) – 7.6
You Were Never Really Here (2017, Lynne Ramsay) – 4.3
Tunneling the English Channel (1907, Georges Méliès)
Cam (2018, Daniel Goldhaber) – 6.0
Love (1971, Károly Makk) – 6.9
A Bread Factory – Part One: For the Sake of Gold (2018, Patrick Wang) DP – 5.3
A Bread Factory – Part Two: Walk With Me a While (2018, Patrick Wang) DP – 5.5
Floating Clouds (1955, Mikio Naruse) – 8.1
Words of Mercury (2011, Jerome Hiler) 16mm
Bagatelle II (2016, Jerome Hiler) 16mm
Marginalia (2016, Jerome Hiler) 16mm
Madeline’s Madeline (2018, Josephine Decker) – 4.9

December
The Favourite (2018, Yorgos Lanthimos) – 6.4
Facades (2018, Jerome Hiler) 16mm
Bagatelle I (2018, Jerome Hiler) 16mm
Autumn (2016, Nathaniel Dorsky) 16mm
Colophon (2018, Nathaniel Dorsky) 16mm
Calyx (2018, Nathaniel Dorsky) 16mm
Cold War (2018, Pawel Pawlikowski) – 6.3
+Elohim (2017, Nathaniel Dorsky) 16mm
+Abaton (2017, Nathaniel Dorsky) 16mm
Coda (2017, Nathaniel Dorsky) 16mm
Ode (2017, Nathaniel Dorsky) 16mm
September (2017, Nathaniel Dorsky) 16mm
Monody (2017, Nathaniel Dorsky) 16mm
Epilogue (2017, Nathaniel Dorsky) 16mm
BlacKkKlansman (2018, Spike Lee) – 6.7
Lemon (1969, Hollis Frampton)
Poetic Justice (1972, Hollis Frampton)
Critical Mass (1971, Hollis Frampton)
If Beale Street Could Talk (2018, Barry Jenkins) – 7.2
Roma (2018, Alfonso Cuarón) DP – 6.6
Happy as Lazzaro (2018, Alice Rohrwacher) – 7.1
+Meet Me in St. Louis (1944, Vincente Minnelli) 35mm – 9.2 [up from 8.0]
We Won’t Grow Old Together (1972, Maurice Pialat) – 7.6
Bunny and Claude: We Rob Carrot Patches (1968, Robert McKimson) 35mm
A Taste of Killing and Romance (1994, Veronica Chan) 35mm – 5.8
The Odd One Dies (1997, Patrick Yau and Johnnie To) 35mm – 7.4
Summer Soldiers (1972, Hiroshi Teshigahara) – 5.6
Red Psalm (1972, Miklós Jancsó) – 7.1
A Sense of Loss (1972, Marcel Ophuls) – 6.7
Family Life (1971, Ken Loach) – 5.8
Marriage Wows (1949, Izzy Sparber) 35mm
A Letter to Three Wives (1949, Joseph L. Mankiewicz) 35mm – 7.2
Reminiscences of a Journey to Lithuania (1972, Jonas Mekas) – 7.1
Going Home (1972, Adolfas Mekas) – 5.7
Heat (1972, Paul Morrissey) – 5.9
The Inner Scar (1972, Philippe Garrel) – 6.8
Nathalie Granger (1972, Marguerite Duras) – 7.4
The Adversary (1970, Satyajit Ray) – 6.6
Bad Company (1972, Robert Benton) – 5.7
The Merchant of Four Seasons (1971, Rainer Werner Fassbinder) – 7.3
Images (1972, Robert Altman) – 6.3
L’Amour fou (1969, Jacques Rivette) – 7.8
Tout va bien (1972, Jean-Luc Godard & Jean-Pierre Gorin) – 7.4
Two English Girls (1971, François Truffaut) – 7.7
The King of Marvin Gardens (1972, Bob Rafelson) – 6.2
The Discreet Charm of the Bourgeoisie (1972, Luis Buñuel) – 7.4
Last Tango in Paris (1972, Bernardo Bertolucci) – 6.1
Unsane (2018, Steven Soderbergh) – 6.2
+A Star Is Born (2018, Bradley Cooper) – 7.1 [same]
Widows (2018, Steve McQueen) – 5.9
+If Beale Street Could Talk (2018, Barry Jenkins) – 7.2 [same]
The Great Buddha+ (2017, Huang Hsin-yao) – 6.3
Vice (2018, Adam McKay) – 4.0
Gemini (2017, Aaron Katz) – 6.2
The Old Man & the Gun (2018, David Lowery) – 5.8
City on Fire (1987, Ringo Lam) – 7.4
Incredibles 2 (2018, Brad Bird) – 6.0
Shoplifters (2018, Hirokazu Kore-eda) – 6.4
Une femme mariée (1964, Jean-Luc Godard) – 7.5
The Apartment (1960, Billy Wilder) – 7.7

Top 19 of 2017

Ryan Swen Lists Tags: , Leave a comment

2017 was, to put it mildly and flippantly, an utter oddity of a year in so many ways. When I look at my list, the overall quality of the films themselves was perhaps no poorer than in the monumental selections of the past two years, but there was a certain bewilderment, a malaise that put me at a distance. With the exception of Twin Peaks: The Return, there was practically no film where my love was not complicated in some way, and it seems equally due to the films as it is to the year at large.

The following list is formed from the reds, oranges, greens, and blues (plus a few more) that I have seen at time of writing that were commercially released in New York City in 2017. It is a snapshot rather than a permanent fixture.

no1

1. On the Beach at Night Alone (Hong Sang-soo)

no2

2. The Work (Jairus McLeary and Gethin Aldous)

no3

3. Faces Places (Agnès Varda & JR)

no4

4. Princess Cyd (Stephen Cone)

no5

5. Good Time (Josh & Benny Safdie)

no6

6. Baahubali 2: The Conclusion (S.S. Rajamouli)

no7

7. Lady Bird (Greta Gerwig)

no8

8. The Meyerowitz Stories (New and Selected) (Noah Baumbach)

no9

9. Phantom Thread (Paul Thomas Anderson)

no10

10. Resident Evil: The Final Chapter (Paul W.S. Anderson)

no11

11. The Son of Joseph (Eugène Green)

no12

12. 120 BPM (Beats Per Minute) (Robin Campillo)

no13

13. Marjorie Prime (Michael Almereyda)

no14

14. Call Me by Your Name (Luca Guadagnino)

no15

15. The Post (Steven Spielberg)

no16

16. Hermia & Helena (Matías Piñeiro)

no17

17. Star Wars: The Last Jedi (Rian Johnson)

no18

18. The Human Surge (Eduardo Williams)

no19

19. Downsizing (Alexander Payne)

My Top 10 Discoveries During 2017 (for first-time viewings of films made before 2000)

  1. A Touch of Zen (1971, King Hu)
  2. The Terrorizers (1986, Edward Yang)
  3. Rear Window (1954, Alfred Hitchcock)
  4. Rio Bravo (1959, Howard Hawks)
  5. A New Leaf (1971, Elaine May)
  6. Ashes of Time (1994, Wong Kar-wai)
  7. Surviving Desire (1991, Hal Hartley)
  8. Do the Right Thing (1989, Spike Lee)
  9. The Unbelievable Truth (1989, Hal Hartley)
  10. The Texas Chainsaw Massacre (1974, Tobe Hooper)

2017 “Senses of Cinema” Ballot

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Hypothetical ballot for the 2017 Senses of Cinema World Poll. Mostly based on 2017 New York City commercial releases.

1. Twin Peaks: The Return (2017, David Lynch)

2. On the Beach at Night Alone (2017, Hong Sang-soo)

3. Three Films From Ten Seconds Into the Future:
The Human Surge (2016, Eduardo Williams)
By the Time It Gets Dark (2016, Anocha Suwichakornpong)
Kékszakállú (2016, Gaston Solnicki)

4. Humanist Documentaries
The Work (2017, Jairus McLeary and Gethin Aldous)
Faces Places (2017, Agnès Varda & JR)

5. Independent Breakthroughs:
Princess Cyd (2017, Stephen Cone)
Good Time (2017, Josh & Benny Safdie)

6. Auteurist Franchise Works
Baahubali 2: The Conclusion (2017, S.S. Rajamouli)
Resident Evil: The Final Chapter (2016, Paul W.S. Anderson)
Star Wars: The Last Jedi (2017, Rian Johnson)

7. “American” Histories:
The Post (2017, Steven Spielberg)
Phantom Thread (2017, Paul Thomas Anderson)
The Lost City of Z (2016, James Gray)

8. Family Dramedys
Lady Bird (2017, Greta Gerwig)
The Meyerowitz Stories (New and Selected) (2017, Noah Baumbach)
The Son of Joseph (2016, Eugène Green)

9. French Sensuality:
120 BPM (Beats Per Minute) (2017, Robin Campillo)
Personal Shopper (2016, Olivier Assayas)
Nocturama (Bertrand Bonello)

10. Old Masters:
Ex Libris – The New York Public Library (2017, Frederick Wiseman)
Song to Song (2017, Terrence Malick)

December 2017 Capsules

Ryan Swen Reviews Tags: Leave a comment

A Touch of Zen
The rare film whose greatness is both totally, utterly assured and constantly daring, pushing and probing at its own ambitions to create something more. The opening section alone evokes this seeming contradiction: Hu’s constant camera motions, cutting judiciously to closer and closer views of the central fort, tease out so much of the haunted textures that define roughly two-thirds of the film, but crucially never come close to spelling out the layout of the structure. It is a metaphysical realm even before the priests take the center stage, one defined by the delineation between standard society and the mystical forces that swirl just outside of the town square. Ku moves between these freely, defined by his indecision and complacency, serving as the perfect conduit and viewpoint from which to marvel at these barely superhuman figures. Methodical, explosive, eerie, A Touch of Zen seems to contain all of humanity’s attributes for good and ill, and then goes beyond in its final foregrounding of the mystical, the fundamentally unknowable.

Star Wars: The Last Jedi
Establishes itself from the outset, with the tactical equivalent of a prank call, to be an exceptionally perceptive, playful and loving subversion of practically every single convention of the closest thing post-20th century culture has to a modern myth. At times, Star Wars: The Last Jedi almost feels like a series of constantly escalating dares that Rian Johnson is issuing over the span of two and a half hours, willfully bewildering and perplexing the viewer with totally unexpected events, structural conceits, and even performance choices. But to reduce such a textually and aesthetically rich film to gambits is foolish: it is as much invested in reinforcement as it is in subversion, and the journey to the former while balancing the latter is rendered expertly.

Like its predecessors (and especially The Force Awakens), the galactic struggles are consistently cast in terms of the personal, focusing on individual reactions and motivations as reflections of a wider movement. The whittling down of the Resistance makes this register even more strongly, but the decision to fracture the narrative into roughly four parts (so jarring at first that I nearly missed just how carefully the movie was edited together, especially in those oh-so-crucial Force conversations) means that the viewer’s grounding must be, even more than normal, in the characters. Their essential uncertainty, their hesitation to stand in the face of monumental events, is what defines them, and the film is willing to lean into these flaws in order to access something deeper, more painful than I could have expected.

Non-Released Features

Ryan Swen Lists

The feature films I have seen that, for one reason or another, (appear to) have not played in theaters for a week in New York City.

Main list.
Secondary list.
Tertiary list.

Bardi (2026, Tala Hadid)
Bucking Fastard (2026, Werner Herzog)
An Injury to All (2026, Travis Wilkerson)
Hekla (2026, Michael Glover Smith)
I Deserve a Lover Whose Every Rise Sets Fiery Dooms Raging Across the Skies (2026, Mani Haghighi)
Life of Jorge Luis Borges (2026, Marinao Llinás)
London (2026, Sebastian Brameshuber)
The Loneliest Man in Town (2026, Tizza Covi & Rainer Frimmel)
My Wife Cries (2026, Angela Schanelec)
The Rib of the Greater Bay Area (2026, Zhou Tao)
What Can’t Be Mentioned (2026, Dan Sallitt)
After Dreaming (2025, Christine Haroutounian)
Brand New Landscape (2025, Danzuka Yuiga)
Debut, or, Objects of the Field of Debris as Currently Catalogued (2025, Julian Castronovo)
Double Happiness (2025, Joseph Hsu)
Escape (2025, Adachi Masao)
Evidence (2025, Lee Anne Schmitt)
The Girls We Want (2025, Prïncia Car)
I Only Rest in the Storm (2025, Pedro Pinho)
isaiah’s phone (2025, Frédéric Da)
little boy (2025, James Benning)
Pin de fartie (2025, Alejo Moguillansky)
Revelations of Divine Love (2025, Caroline Golum)
Room Temperature (2025, Dennis Cooper & Zac Farley)
We Are the Fruits of the Forest (2025, Panh Rithy)
Wild Foxes (2025, Valéry Carnoy)
Your Touch Makes Others Invisible (2025, Rajee Samarasinghe)
Abiding Nowhere (2024, Tsai Ming-liang)
Breathless (2024, James Benning)
Broken Rage (2024, Kitano Takeshi)
Carry-On (2024, Jaume Collet-Serra)
Cent mille milliards (2024, Virgil Vernier)
Death of a Saint (2024, Patricia Bbaale Bandak)
Eight Postcards From Utopia (2024, Radu Jude & Christian Ferencz-Flatz)
Escape From the 21st Century (2024, Li Yang)
Gaucho Gaucho (2024, Michael Dweck & Gregory Kershaw)
Good Bad Things (2024, Shane D. Stanger)
The Greatest Night in Pop (2024, Bao Nguyen)
It’s Not Me (2024, Leos Carax)
Lázaro at Night (2024, Nicolás Pereda)
Measures for a Funeral (2024, Sofia Bohdanowicz)
Mongrel (2024, Chiang Wei-liang & Yin You-qiao)
The Other Way Around (2024, Jonás Trueba)
Pepe (2024, Nelson Carlos de los Santos Arias)
The Periphery of the Base (2024, Zhou Tao)
Rap World (2024, Danny Scharar & Connor O’Malley)
Rebel Ridge (2024, Jeremy Saulnier)
Savanna and the Mountain (2024, Paulo Carneiro)
The Serpent’s Path (2024, Kurosawa Kiyoshi)
Sleep #2 (2024, Radu Jude)
Something Old, Something New, Something Borrowed (2024, Hernán Rosselli)
Spermworld (2024, Lance Oppenheim)
The Wonderful Story of Henry Sugar and Three More (2024, Wes Anderson)
Absence (2023, Wu Lang)
ALLENSWORTH (2023, James Benning)
The Beast in the Jungle (2023, Patric Chiha)
The Caine Mutiny Court Martial (2023, William Friedkin)
A Common Sequence (2023, Mary Helena Clark & Mike Gibisser)
DeadEndz (2023, Jon Jost)
An Evening Song (for three voices) (2023, Graham Swon)
Following the Sound (2023, Sugita Kyoshi)
Gift (2023, Hamaguchi Ryusuke)
Gush (2023, Fox Maxy)
Man in Black (2023, Wang Bing)
Murderess (2023, Eva Nathena)
Nowhere Near (2023, Miko Revereza)
The Plough (2023, Philippe Garrel)
Samsara (2023, Lois Patiño)
The Adventures of Gigi the Law (2022, Alessandro Comodin)
Astrakan (2022, David Depesseville)
The Blue Rose of Forgetfulness (2022, Lewis Klahr)
Cette maison (2022, Miryam Charles)
The City and the City (2022, Christos Passalis & Syllas Tzoumerkas)
Diary of a Fleeting Affair (2022, Emmanuel Mouret)
Divertimento (2022, Marie-Castille Mention-Schaar)
Don Juan (2022, Serge Bozon)
Every Day in Kaimukī (2022, Alika Tengan)
The Exiles (2022, Violet Columbus & Ben Klein)
The Fadings (2022, You Wenhu)
Fall (2022, Vadim Kostrov)
A Human Position (2022, Anders Emblem)
It Is Night in America (2022, Ana Vaz)
Kimi (2022, Steven Soderbergh)
The King of Wuxia (2022, Lin Jing-jie)
The Maiden (2022, Graham Foy)
The Mission (2022, Tania Anderson)
The People You’re Paying to Be in Shorts (2022, Jon Bois)
The Plains (2022, David Easteal)
Relative (2022, Michael Glover Smith)
Safe Place (2022, Juraj Lerotić)
Section 1 (2022, Jon Bois)
Shin Ultraman (2022, Higuchi Shinji)
Sister, What Grows Where Land Is Sick? (2022, Franciska Eliassen)
Tales of the Purple House (2022, Abbas Fahdel)
The United States of America (2022, James Benning)
Warriors of Future (2022, Ng Yuen-fai)
Where (2022, Tsai Ming-liang)
Where Is This Street? or With No Before or After (2022, João Pedro Rodrigues & João Rui Guerra da Mata)
The Woman From Myanmar (2022, Wang Xiuyue)
After the Rain (2021, Fan Jian)
Be Concerned (2021, Li Jia)
Can’t Get You Out of My Head: An Emotional History of the Modern World (2021, Adam Curtis)
Come Here (2021, Anocha Suwichakornpong)
Deception (2021, Arnaud Desplechin)
FIRST TIME [The Time for All But Sunset – VIOLET] (2021, Nicolaas Schmidt)
From the Planet of the Humans (2021, Giovanni Cioni)
Haruhara-san’s Recorder (2021, Sugita Kyoshi)
Home Sweet Home (2021, Leste Chen)
In the Morning of La Petite Mort (2021, Wang Yu-lin)
Limbo (2021, Soi Cheang)
A Marble Travelogue (2021, Sean Wang)
Medea (2021, Alexander Zeldovich)
The One Who Runs Away Is the Ghost (2021, Lei Qinyuan)
Our Eternal Summer (2021, Émilie Aussel)
Pebbles (2021, PS Vinothraj)
Rampart (2021, Marko Grba Singh)
Ripples of Life (2021, Wei Shujun)
A River Runs, Turns, Erases, Replaces (2021, Shengze Zhu)
The Sacred Spirit (2021, Chema García Ibarra)
Singing in the Wilderness (2021, Chen Dongnan)
Social Hygiene (2021, Denis Côté)
The Soul (2021, Cheng Wei-hao)
Summer (2021, Vadim Kostrov)
Topology of Sirens (2021, Jonathan Davies)
Vengeance Is Mine, All Others Pay Cash (2021, Edwin)
Virgin Blue (2021, Niu Xiaoyu)
Wet Sand (2021, Elene Naveriani)
Who’s Stopping Us (2021, Jonás Trueba)
All the Light We Can See (2020, Pablo Escoto Luna)
Atarrabi and Mikelats (2020, Eugène Green)
The Calming (2020, Song Fang)
The Eight Hundred (2020, Guan Hu)
The Last City (2020, Heinz Emigholz)
The Lobby (2020, Heinz Emigholz)
Love Affair(s) (2020, Emmanuel Mouret)
Minamata Mandala (2020, Hara Kazuo)
One Second (2020, Zhang Yimou)
Radiograph of a Family (2020, Firouzeh Khosrovani)
Roy’s World: Barry Gifford’s Chicago (2020, Rob Christopher)
s01e03 (2020, Kurt Walker)
Short Vacation (2020, Kwon Min-pyo & Seo Han-sol)
Striding Into the Wind (2020, Wei Shujun)
There are not thirty-six ways of showing a man getting on a horse. (2020, Nicolás Zukerfeld)
The Year of the Discovery (2020, Luis López Carrasco)
Belonging (2019, Burak Çevik)
Cenote (2019, Kaori Oda)
Chasing Dream (2019, Johnnie To)
A City Called Macau (2019, Li Shaohong)
Gyopo (2019, Samuel Kiehoon Lee)
Hellhole (2019, Bas Devos)
Krabi, 2562 (2019, Ben Rivers & Anocha Suwichakornpong)
Oroslan (2019, Matjaz Ivanisin)
Present.Perfect. (2019, Shengze Zhu)
Those That, at a Distance, Resemble Another (2019, Jessica Sarah Rinland)
A Voluntary Year (2019, Ulrich Köhler & Henner Winckler)
Acid Forest (2018, Rugile Barzdziukaite)
Amanda (2018, Mikhaël Hers)
Belmonte (2018, Federico Veiroj)
Coincoin and the Extra-Humans (2018, Bruno Dumont)
Dead Horse Nebula (2018, Tarik Aktas)
Dear Ex (2018, Mag Hsu & Hsu Chih-yen)
A Family Tour (2018, Ying Liang)
Fausto (2018, Andrea Bussmann)
Film Catastrophe (2018, Paul Grivas)
Forever Young (2018, Li Fangfang)
A Land Imagined (2018, Yeo Siew Hua)
Liz and the Blue Bird (2018, Yamada Naoko)
Long Way Home (2018, André Novais Oliveira)
The Night Comes for Us (2018, Timo Tjahjanto)
Permanent Green Light (2018, Dennis Cooper & Zac Farley)
Sand (2018, Tsai Ming-liang)
Shoot the Moon Right Between the Eyes (2018, Graham L. Carter)
Sophia Antipolis (2018, Virgil Vernier)
To All the Boys I’ve Loved Before (2018, Susan Johnson)
Yara (2018, Abbas Fahdel)
Your Face (2018, Tsai Ming-liang)
Amiko (2017, Yamanaka Yoko)
Common Carrier (2017, James N. Kienitz Wilkins)
Deidra & Laney Rob a Train (2017, Sydney Freeland)
Drift (2017, Helena Wittmann)
Fail to Appear (2017, Antoine Bourges)
The Foolish Bird (2017, Huang Ji & Otsuka Ryuji)
Forest Movie (2017, Matthew Taylor Blais)
From Nine to Nine (2017, Neil Bahadur)
Go, Toto! (2017, Pierre Creton)
SPL: Paradox (2017, Wilson Yip)
Radio Mary (2017, Gary Walkow)
A Skin So Soft (2017, Denis Côté)
★ (2017, Johann Lurf)
Streetscapes [Dialogue] (2017, Heinz Emigholz)
Tonsler Park (2017, Kevin Jerome Everson)
Twin Peaks: The Return (2017, David Lynch)
Another Year (2016, Shengze Zhu)
Bad Black (2016, Nabwana IGG)
Beduino (2016, Júlio Bressane)
Close Relations (2016, Vitaly Mansky)
Dark Skull (2016, Kiro Russo)
The Dreamed Path (2016, Angela Schanelec)
House of Little Deaths (2016, Scout Tafoya)
HyperNormalisation (2016, Adam Curtis)
Justin Timberlake + The Tennessee Kids (2016, Jonathan Demme)
Lemonade (2016, Kahlil Joseph & Beyoncé Knowles Carter)
Looking at the Stars (2016, Alexandre Peralta)
Lumière! The Adventure Begins (2016, Thierry Frémaux)
Ma’ Rosa (2016, Brillante Mendoza)
Sieranevada (2016, Cristi Puiu)
Victoria (2016, Justine Triet)
Aragane (2015, Kaori Oda)
Bitter Lake (2015, Adam Curtis)
Blue Strait (2015, Jon Jost)
Dead Slow Ahead (2015, Mauro Herce)
Despite the Night (2015, Philippe Grandrieux)
88:88 (2015, Isiah Medina)
Event for a Stage (2015, Tacita Dean)
Garoto (2015, Júlio Bressane)
Helios (2015, Longman Leung & Sunny Luk)
John From (2015, João Nicolau)
Journey to the Shore (2015, Kurosawa Kiyoshi)
The Leisure Class (2015, Jason Mann)
Minotaur (2015, Nicolás Pereda)
The Sky Trembles and the Earth Is Afraid and the Two Eyes Are Not Brothers (2015, Ben Rivers)
The Distance (2014, Sergio Caballero)
Hit 2 Pass (2014, Kurt Walker)
Journey to the West (2014, Tsai Ming-liang)
The Midnight After (2014, Fruit Chan)
Not My Type (2014, Lucas Belvaux)
Polizeiruf 110: Smoke on the Water (2014, Dominik Graf)
Silvered Water, Syria Self-Portrait (2014, Ossama Mohammed & Wiam Simav Bedirxan)
Violet (2014, Bas Devos)
Blind Detective (2013, Johnnie To)
Coming to Terms (2013, Jon Jost)
El futuro (2013, Luis López Carrasco)
The Guests (2013, Ken Jacobs)
Local Legends (2013, Matt Farley)
Miss and the Doctors (2013, Axelle Ropert)
Nobody’s Daughter Haewon (2013, Hong Sang-soo)
Our Sunhi (2013, Hong Sang-soo)
Sacro GRA (2013, Gianfranco Rosi)
Sentimental Education (2013, Júlio Bressane)
Seventh Code (2013, Kurosawa Kiyoshi)
3x3D (2013, Peter Greenaway/Jean-Luc Godard/Edgar Pêra)
Touching the Skin of Eeriness (2013, Hamaguchi Ryusuke)
differently, Molussia (2012, Nicolas Rey)
Don’t Let the Riverbeast Get You! (2012, Charles Roxburgh)
Easy Rider (2012, James Benning)
Egg and Stone (2012, Huang Ji)
Evangelion: 3.0 You Can (Not) Redo (2012, Anno Hideaki)
Game Change (2012, Jay Roach)
Krivina (2012, Igor Drljaca)
Me @ the Zoo (2012, Chris Moukarbel & Valerie Veatch)
A Month in Thailand (2012, Paul Negoescu)
Motorway (2012, Soi Cheang)
Romancing in Thin Air (2012, Johnnie To)
All Watched Over by Machines of loving Grace (2011, Adam Curtis)
Don’t Go Breaking My Heart (2011, Johnnie To)
Dreileben: Beats Being Dead (2011, Christian Petzold)
Dreileben: Don’t Follow Me Around (2011, Dominik Graf)
Dreileben: One Minute of Darkness (2011, Christoph Hochhäusler)
Elegy to the Visitor From the Revolution (2011, Lav Diaz)
Life Without Principle (2011, Johnnie To)
Low Life (2011, Nicolas Klotz and Élisabeth Perceval)
The Passage (2011, Roberto Minervini)
The Pettifogger (2011, Lewis Klahr)
Rosalinda (2011, Matías Piñeiro)
A World Without Women (2011, Guillaume Brac)
ANPO: Art X War (2010, Linda Hoaglund)
The City Below (2010, Christoph Hochhäusler)
Hahaha (2010, Hong Sang-soo)
Love in a Puff (2010, Pang Ho-cheung)
Love Sex Aur Dhokha (2010, Dibakar Banerjee)
Slow Action (2010, Ben Rivers)
Accident (2009, Soi Cheang)
Blondes in the Jungle (2009, Lev Kalman & Whitney Horn)
Disorder (2009, Huang Weikai)
It Felt Like a Kiss (2009, Adam Curtis)
Like You Know It All (2009, Hong Sang-soo)
Oxhide II (2009, Liu Jiayin)
Cape No. 7 (2008, Wei Te-Sheng)
L’Idiot (2008, Pierre Léon)
A Lake (2008, Philippe Grandrieux)
Parking (2008, Chung Mong-hong)
Sparrow (2008, Johnnie To)
Death Proof (2007, Quentin Tarantino)
Help Me Eros (2007, Lee Kang-sheng)
Secret (2007, Jay Chou)
The Trap: What Happened to Our Dream of Freedom (2007, Adam Curtis)
Useless (2007, Jia Zhangke)
Dong (2006, Jia Zhangke)
Fabulous! The Story of Queer Cinema (2006, Lisa Ades & Lesli Klainberg)
Live Freaky! Die Freaky! (2006, John Roecker)
Oxhide (2005, Liu Jiayin)
Perhaps Love (2005, Peter Chan)
SPL (2005, Wilson Yip)
Through the Forest (2005, Jean Paul Civeyrac)
The Five People You Meet in Heaven (2004, Lloyd Kramer)
The Hand (2004, Wong Kar-wai)
Mulan II (2004, Darrell Rooney & Lynne Southerland)
My Stinking Kid (2004, Lee Kang-sheng & Tsai Ming-liang)
Triple Agent (2004, Eric Rohmer)
The Uncles (2004, Tacita Dean)
Vénus and Fleur (2004, Emmanuel Mouret)
Like Nothing Happened (2003, Hamaguchi Ryusuke)
The Missing (2003, Lee Kang-sheng)
PTU (2003, Johnnie To)
The Room (2003, Tommy Wiseau)
Running on Karma (2003, Johnnie To & Wai Ka-fai)
Turn Left, Turn Right (2003, Johnnie To & Wai Ka-Fai)
Chinese Odyssey 2002 (2002, Jeffrey Lau)
Fat Choi Spirit (2002, Johnnie To & Wai Ka-fai)
Film ist. 7-12 (2002, Gustav Deutsch)
The Friends of the Friends (2002, Dominik Graf)
Mischka (2002, Jean-François Stévenin)
My Left Eye Sees Ghosts (2002, Johnnie To & Wai Ka-fai)
A New Life (2002, Philippe Grandrieux)
On the Occasion of Remember the Turning Gate (2002, Hong Sang-soo)
Looking for Tsai (2002, Patrik Eriksson & Erik Hemmendorff)
Batang West Side (2001, Lav Diaz)
Desperado Square (2001, Benny Toraty)
A Fine Day (2001, Thomas Arslan)
La libertad (2001, Lisandro Alonso)
Love on a Diet (2001, Johnnie To & Wai Ka-fai)
That Old Dream That Moves (2001, Alain Guiraudie)
Durian Durian (2000, Fruit Chan)
In Vanda’s Room (2000, Pedro Costa)
Joseph: King of Dreams (2000, Rob LaDuca & Robert C. Ramirez)
The Little Mermaid II: Return to the Sea (2000, Jim Kammerud & Brian Smith)
Petite conversation familiale (2000, Hélène Lapiower)
The State I Am In (2000, Christian Petzold)
Barren Illusion (1999, Kurosawa Kiyoshi)
Charisma (1999, Kurosawa Kiyoshi)
Little Cheung (1999, Fruit Chan)
The Mission (1999, Johnnie To)
My Neighbors the Yamadas (1999, Takahata Isao)
Silvia Prieto (1999, Martín Rejtman)
South (1999, Chantal Akerman)
Tempting Heart (1999, Sylvia Chang)
El Valley Centro (1999, James Benning)
Dil Se.. (1998, Mani Ratnam)
Eyes of the Spider (1998, Kurosawa Kiyoshi)
Film ist. 1-6 (1998, Gustav Deutsch)
Flowers of Shanghai (1998, Hou Hsiao-hsien)
A Hero Never Dies (1998, Johnnie To)
License to Live (1998, Kurosawa Kiyoshi)
The Longest Summer (1998, Fruit Chan)
Pocahontas II: Journey to a New World (1998, Tom Ellery & Bradley Raymond)
Sombre (1998, Philippe Grandrieux)
Xiao Wu (1998, Jia Zhangke)
The Odd One Dies (1997, Patrick Yau and Johnnie To)
Pooh’s Grand Adventure: The Search for Christopher Robin (1997, Karl Geurs)
Pride Divide (1997, Paris Poirier)
The Revenge: A Visit From Fate (1997, Kurosawa Kiyoshi)
Too Many Ways to Be No. 1 (1997, Wai Ka-fai)
The Day a Pig Fell Into the Well (1996, Hong Sang-soo)
Goodbye South, Goodbye (1996, Hou Hsiao-hsien)
Mahjong (1996, Edward Yang)
Roam Sweet Home (1996, Ellen Spiro)
Viva Erotica (1996, Derek Yee & Lo Chi-leung)
The Eternal Evil of Asia (1995, Chin Man-kei)
Tatort: Frau Bu lacht (1995, Dominik Graf)
Xiao Shan Going Home (1995, Jia Zhangke)
A Confucian Confusion (1994, Edward Yang)
In the Heat of the Sun (1994, Jiang Wen)
The Invincibles (1994, Dominik Graf)
100 Years of Japanese Cinema (1994, Oshima Nagisa)
A Taste of Killing and Romance (1994, Veronica Chan)
U.S. Go Home (1994, Claire Denis)
Wing Chun (1994, Yuen Woo-ping)
The Eagle Shooting Heroes (1993, Jeffrey Lau)
From the East (1993, Chantal Akerman)
Green Snake (1993, Tsui Hark)
Kanehsatake: 270 Years of Resistance (1993, Alanis Obomsawin)
Tai-Chi Master (1993, Yuen Woo-ping)
Falling Lessons (1992, Amy Halpern)
Full Contact (1992, Ringo Lam)
Hill of No Return (1992, Wang Toon)
I Have Graduated (1992, Shi Jian and Wang Guangli)
Nemesis (1992, Albert Pyun)
The Rocking Horsemen (1992, Obayashi Nobuhiko)
Dirty Like an Angel (1991, Catherine Breillat)
Keep It for Yourself (1991, Claire Denis)
The Life of the Dead (1991, Arnaud Desplechin)
Sisters in the Struggle (1991, Dionne Brand & Ginny Stikeman)
Some Divine Wind (1991, Roddy Bogawa)
Surviving Desire (1991, Hal Hartley)
To Lavoisier, Who Died in the Reign of Terror (1991, Michael Snow)
Bullet in the Head (1990, John Woo)
Empire of the Dark (1990, Steve Barkett)
Troll 2 (1990, Claudio Fragasso)
American Stories: Food, Family and Philosophy (1989, Chantal Akerman)
A City of Sadness (1989, Hou Hsiao-hsien)
Kiki’s Delivery Service (1989, Hayao Miyazaki)
Meeting a Milestone (1989, Goutam Ghose)
Pedicab Driver (1989, Sammo Hung)
The Seventh Continent (1989, Michael Haneke)
Les Sièges de l’Alcazar (1989, Luc Moullet)
Tongues Untied (1989, Marlon Riggs)
Water and Power (1989, Pat O’Neill)
The Cat (1988, Dominik Graf)
Dangerous Game (1988, Stephen Hopkins)
The Discarnates (1988, Obayashi Nobuhiko)
Grotesque (1988, Joe Tornatore)
I Love Maria (1988, David Chung)
Uma Pedra no Bolso (1988, Joaquim Pinto)
School on Fire (1988, Ringo Lam)
An Autumn’s Tale (1987, Mabel Cheung)
A Better Tomorrow II (1987, John Woo)
A Chinese Ghost Story (1987, Ching Siu-tung)
City on Fire (1987, Ringo Lam)
The Death of Empedocles (1987, Danièle Huillet & Jean-Marie Straub)
Eastern Condors (1987, Sammo Hung)
Aces Go Places IV (1986, Ringo Lam)
A Better Tomorrow (1986, John Woo)
Bound for the Fields, the Mountains, and the Seacoast (1986, Obayashi Nobuhiko)
Double messieurs (1986, Jean-François Stévenin)
Faubourg Saint-Martin (1986, Jean-Claude Guiguet)
His Motorbike, Her Island (1986, Obayashi Nobuhiko)
Just Like Weather (1986, Allen Fong)
Landscape Suicide (1986, James Benning)
Qui trop embrasse (1986, Jacques Davila)
Contact (1985, Alan Clarke)
Kuei-mei, a Woman (1985, Chang Yi)
American Dreams (Lost and Found) (1984, James Benning)
Long Arm of the Law (1984, Johnny Mak)
Threads (1984, Mick Jackson)
Wheels on Meals (1984, Sammo Hung)
All the King’s Men (1983, King Hu)
At the Top of the Stairs (1983, Paul Vecchiali)
Suffer Little Children (1983, Alan Briggs)
That Day, on the Beach (1983, Edward Yang)
The Wheel of Life (1983, King Hu/Lee Hsing/Pai Ching-jui)
Zu: Warriors of the Magic Mountain (1983, Tsui Hark)
In Our Time (1982, Tao Te-chen/Edward Yang/Ko I-chen/Chang Yi)
Nomad (1982, Patrick Tam)
Too Early/Too Late (1982, Danièle Huillet & Jean-Marie Straub)
At This Late Date, the Charleston (1981, Okamoto Kihachi)
Dirty Ho (1981, Lau Kar-leung)
Kagero-za (1981, Suzuki Seijun)
Merry-Go-Round (1981, Jacques Rivette)
My Young Auntie (1981, Lau Kar-leung)
Nightshift (1981, Robina Rose)
Tree of Knowledge (1981, Nils Malmros)
Here’s looking at you, kid. (1980, William Edgar Cohen)
Nights at O’Rear’s (1980, Robert Mandel)
Simone Barbès or Virtue (1980, Marie-Claude Treilhou)
Sunday Daughters (1980, Rózsa Janós)
Alexandria… Why? (1979, Youssef Chahine)
All Quiet on the Western Front (1979, Delbert Mann)
And Quiet Rolls the Dawn (1979, Mrinal Sen)
Black Jack (1979, Ken Loach)
From the Cloud to the Resistance (1979, Danièle Huillet & Jean-Marie Straub)
The Maids of Wilko (1979, Andrzej Wajda)
Le Navire Night (1979, Marguerite Duras)
A Scream From Silence (1979, Anne Claire Poirier)
Short Memory (1979, Eduardo de Gregorio)
Drunken Master (1978, Yuen Woo-ping)
Game of Death (1978, Robert Clouse)
Molière (1978, Ariane Mnouchkine)
Other People’s Money (1978, Christian de Chalonge)
Shades of Silk (1978, Mary Stephen)
The Star Wars Holiday Special (1978, Steve Binder)
They Are Their Own Gifts (1978, Lucille Rhodes & Margaret Murphy)
The 36th Chamber of Shaolin (1978, Lau Kar-leung)
Le Camion (1977, Marguerite Duras)
11 x 14 (1977, James Benning)
Hot Tomorrows (1977, Martin Brest)
Last Chants for a Slow Dance (1977, Jon Jost)
Omar Gatlato (1977, Merzak Allouache)
One Way Boogie Woogie (1977, James Benning)
Pafnucio Santo (1977, Rafael Corkidi)
Skip Tracer (1977, Zale Dalen)
Assault on Precinct 13 (1976, John Carpenter)
Bernice Bobs Her Hair (1976, Joan Micklin Silver)
Fortini/Cani (1976, Danièle Huillet & Jean-Marie Straub)
Insiang (1976, Lino Brocka)
News From Home (1976, Chantal Akerman)
Noroît (une vengeance) (1976, Jacques Rivette)
The Opening of Misty Beethoven (1976, Radley Metzger)
Autobiography of a Princess (1975, James Ivory)
Compañero: Victor Jara of Chile (1975, Stanley Forman & Martin Smith)
Eadweard Muybridge, Zoopraxographer (1975, Thom Andersen)
Fear of Fear (1975, Rainer Werner Fassbinder)
The Valiant Ones (1975, King Hu)
The Bench of Desolation (1974, Claude Chabrol)
Extreme Private Eros: Love Song 1974 (1974, Hara Kazuo)
Femmes Femmes (1974, Paul Vecchiali)
The Mouth Agape (1974, Maurice Pialat)
The Night of the Scarecrow (1974, Sérgio Ricardo)
The Illumination (1973, Krzysztof Zanussi)
Israel, Why (1973, Claude Lanzmann)
Part-Time Work of a Domestic Slave (1973, Alexander Kluge)
Réjeanne Padovani (1973, Denys Arcand)
A Simple Event (1973, Sohrab Shahid-Saless)
Going Home (1972, Adolfas Mekas)
Goodbye CP (1972, Kazuo Hara)
History Lessons (1972, Jean-Marie Straub & Danièle Huillet)
The Inner Scar (1972, Philippe Garrel)
Liza With a Z (1972, Bob Fosse)
Nathalie Granger (1972, Marguerite Duras)
Out 1: Spectre (1972, Jacques Rivette)
Summer Soldiers (1972, Hiroshi Teshigahara)
The Way of the Dragon (1972, Bruce Lee)
Directed by John Ford (1971, John Ford)
Family Life (1971, Krzysztof Zanussi)
Fata Morgana (1971, Werner Herzog)
In the Name of the Father (1971, Marco Bellocchio)
Pioneers in Ingolstadt (1971, Rainer Werner Fassbinder)
La Région centrale (1971, Michael Snow)
The Cannibals (1970, Liliana Cavani)
Comrades (1970, Marin Karmitz)
Four Moods (1970, Pai Ching-jui/King Hu/Lee Hsing/Li Han-hsiang)
Hospital (1970, Frederick Wiseman)
Langlois (1970, Eila Hershon & Roberto Guerra)
The Man Who Left His Will on Film (1970, Oshima Nagisa)
The Scavengers (1970, Ermanno Olmi)
Wind From the East (1970, Groupe Dziga Vertov and Jean-Luc Godard and Jean-Pierre Gorin)
Zorns Lemma (1970, Hollis Frampton)
The Color of Pomegranates (1969, Sergei Parajanov)
Goto, Island of Love (1969, Walerian Borowczyk)
Harry Munter (1969, Kjell Grede)
Law and Order (1969, Frederick Wiseman)
Pigsty (1969, Pier Paolo Pasolini)
The Rite (1969, Ingmar Bergman)
The Arch (1968, Tang Shu-shuen)
Artists Under the Big Top: Perplexed (1968, Alexander Kluge)
Golden Swallow (1968, Chang Cheh)
High School (1968, Frederick Wiseman)
One Fine Day (1968, Ermanno Olmi)
Signs of Life (1968, Werner Herzog)
Three Resurrected Drunkards (1968, Oshima Nagisa)
24 Hours in the Life of a Woman (1968, Dominique Delouche)
Branded to Kill (1967, Suzuki Seijun)
Hugo and Josephine (1967, Kjell Grede)
Japanese Summer: Double Suicide (1967, Oshima Nagisa)
La Musica (1967, Marguerite Duras & Paul Seban)
One-Armed Swordsman (1967, Chang Cheh)
Scattered Clouds (1967, Naruse Mikio)
Tonite Let’s All Make Love in London (1967, Peter Whitehead)
Wavelength (1967, Michael Snow)
Almost a Man (1966, Vittorio De Seta)
Barrier (1966, Jerzy Skolimowski)
Come Drink With Me (1966, King Hu)
Hedy (1966, Andy Warhol)
Hit and Run (1966, Naruse Mikio)
Pearls of the Deep (1966, Jiri Menzel/Jan Nemec/Evald Schorm/Vera Chytilová/Jaromil Jires)
Roger la Honte (1966, Riccardo Freda)
Tokyo Drifter (1966, Suzuki Seijun)
Troublemakers (1966, Norman Fruchter & Robert Machover)
Yesterday Girl (1966, Alexander Kluge)
Bad Girls Go to Hell (1965, Doris Wishman)
The Epic That Never Was (1965, Bill Duncalf)
The Lion Hunters (1965, Jean Rouch)
Memorandum (1965, Donald Brittain & John Spotton)
Shadows of Forgotten Ancestors (1965, Sergei Parajanov)
Sons of Good Earth (1965, King Hu)
Brick and Mirror (1964, Ebrahim Golestan)
The Enchanted Desna (1964, Yuliya Solntseva)
The Last Clean Shirt (1964, Alfred Leslie)
The Story of Sue San (1964, King Hu)
Yearning (1964, Naruse Mikio)
Flaming Creatures (1963, Jack Smith)
Hands Over the City (1963, Francesco Rosi)
In the Midst of Life (1963, Robert Enrico)
Magnet of Doom (1963, Jean-Pierre Melville)
Ro.Go.Pa.G. (1963, Roberto Rossellini/Jean-Luc Godard/Pier Paolo Pasolini/Ugo Gregoretti)
Suzanne’s Career (1963, Eric Rohmer)
Carnival of Souls (1962, Herk Harvey)
Garrincha: Hero of the Jungle (1962, Joaquim Pedro de Andrade)
Glory Sky (1962, Takis Kanellopoulos)
The Sea (1962, Giuseppe Patroni Griffi)
Siberian Lady Macbeth (1962, Andrzej Wajda)
The Sign of Leo (1962, Eric Rohmer)
Hercules Conquers Atlantis (1961, Vittorio Cottafavi)
The Story of the Flaming Years (1961, Yuliya Solntseva)
The Approach of Autumn (1960, Naruse Mikio)
Daughters, Wives and a Mother (1960, Naruse Mikio)
The Giants of Thessaly (1960, Riccardo Freda)
The 1000 Eyes of Dr. Mabuse (1960, Fritz Lang)
When a Woman Ascends the Stairs (1960, Naruse Mikio)
A Simple Story (1959, Marcel Hanoun)
Ajantrik (1958, Ritwik Ghatak)
Conflagration (1958, Kon Ichikawa)
Poem of an Inland Sea (1958, Yuliya Solntseva)
8 Hours of Terror (1957, Suzuki Seijun)
Pyaasa (1957, Guru Dutt)
Shin Heike Monogatari (1955, Mizoguchi Kenji)
Sound of the Mountain (1954, Naruse Mikio)
Wife (1953, Naruse Mikio)
Lightning (1952, Naruse Mikio)
Mother (1952, Naruse Mikio)
Repast (1951, Naruse Mikio)
Spring in a Small Town (1948, Fei Mu)
Women of the Night (1948, Mizoguchi Kenji)
Great Freedom No. 7 (1944, Helmut Käutner)
Traveling Actors (1940, Naruse Mikio)
Three Sisters With Maiden Hearts (1935, Naruse Mikio)
Bad Seed (1934, Billy Wilder and Alexander Esway)
The Goddess (1934, Wu Yonggang)
Street Without End (1934, Naruse Mikio)
Dragnet Girl (1933, Ozu Yasujiro)
Where Now Are the Dreams of Youth? (1932, Ozu Yasujiro)
My Grandmother (1929, Kote Mikaberidze)
L’Argent (1928, Marcel L’Herbier)
The Seashell and the Clergyman (1928, Germaine Dulac)
The Child of Paris (1913, Léonce Perret)

2017 Seattle Film Critics Society Nominations Ballot

Ryan Swen Lists Tags: Leave a comment

Best Picture

  1. On the Beach at Night Alone
  2. Faces Places
  3. Princess Cyd
  4. Good Time
  5. The Post
  6. Resident Evil: The Final Chapter
  7. 120 BPM (Beats Per Minute)
  8. Lady Bird
  9. Phantom Thread
  10. The Meyerowitz Stories (New and Selected)

Best Director

  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 Actor

  1. Robert Pattinson, Good Time
  2. Daniel Day-Lewis, Phantom Thread
  3. Claes Bang, The Square
  4. Adam Sandler, The Meyerowitz Stories (New and Selected)
  5. Ben Stiller, The Meyerowitz Stories (New and Selected)

Best Actress

  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

Best Supporting Actor

  1. Nahuel Pérez Biscayart, 120 BPM (Beats Per Minute)
  2. Robert Pattinson, The Lost City of Z
  3. Tim Robbins, Marjorie Prime
  4. Willem Dafoe, The Florida Project
  5. Dustin Hoffman, The Meyerowitz Stories (New and Selected)

Best Supporting Actress

  1. Elizabeth Marvel, The Meyerowitz Stories (New and Selected)
  2. Lois Smith, Marjorie Prime
  3. Laurie Metcalf, Lady Bird
  4. Tiffany Haddish, Girls Trip
  5. Julianne Moore, Wonderstruck

Best Ensemble Cast

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

Best Youth Performance

  1. Millicent Simmonds, Wonderstruck
  2. Oona Laurence, The Beguiled
  3. Brooklynn Prince, The Florida Project
  4. Valeria Cotto, The Florida Project
  5. Ahn Seo-hyun, Okja

Best Villain

  1. The texter, Personal Shopper
  2. Fei and Lin, The Ornithologist
  3. Rose, Get Out
  4. Dr. Isaacs, Resident Evil: The Final Chapter
  5. James Murray, The Lost City of Z

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 Animated Feature

  1. Your Name.
  2. My Entire High School Sinking Into the Sea

Best Documentary Feature

  1. Faces Places
  2. Ex Libris – The New York Public Library
  3. Starless Dreams
  4. Escapes
  5. Rat Film

Best Foreign Language Film

  1. On the Beach at Night Alone
  2. Faces Places
  3. 120 BPM (Beats Per Minute)
  4. The Son of Joseph
  5. Nocturama

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. Ed Lachman, Wonderstruck

Best Costume Design

  1. Phantom Thread
  2. Nocturama
  3. Princess Cyd
  4. Good Time
  5. Lady Bird

Best Film Editing

  1. Nocturama
  2. Wonderstruck
  3. Ex Libris – The New York Public Library
  4. Lady Bird
  5. Thirst Street

Best Original Score

  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 Production Design
N/A

Best Visual Effects
N/A

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Reverse Shot Year-End Lists
Toronto International Film Festival Masters and Wavelengths Features
Various Critics’ Top Ten Lists

Not compiled by me:
Cahiers du cinéma Top Tens
Filipe Furtado
Filmmaker Mag 35mm Lists
LoveHKFilm Best Hong Kong Film Lists
New York Film Festival 1-53 Main Slates
New York Film Festival Views From the Avant-Garde
Skandies
Toronto International Film Festival Line-Ups (2011-Present)
Various Critics’ Top Tens

November 2017 Capsules

Ryan Swen Reviews Tags: Leave a comment

The Texas Chain Saw Massacre
By no means a slow burn, and yet the kills come in swift and brutal fashion only after the atmosphere has been totally, completely set in place. Scenes are elongated and yet completely compact – the scene with the hitchhiker, conducted entirely within the confines of the van, contains its own taut, visceral fear even before the razor blade comes out. And Marilyn Burns’ perpetual screaming, at once continuous and unchanging and always impactful, the editing and score combining to create something utterly inhuman. The ending, with its brief hint of hope amid the horror still visible in the rearview mirror, still provides an overwhelming moment of catharsis, a small triumph that still registers.

Unfriended
Looking at Unfriended from the vantage point of three years into the future, there have already been some drastic software changes that put me at a slight remove. The Facebook interface is overhauled, OS X is sleeker, just about every program or website here is reconfigured in some way. And there’s the fact that, though I watched it on my computer and am a contemporary of sorts with these teens if they existed in real life, I only sparingly used Skype in the same way, and my own desktop/browser/application dock/etc. are entirely different and less cluttered. But that doesn’t take away from the experience, and in some ways enhances it: the rapid blur of the cursor, the slightly-too-quick typing (even if it includes some extremely apropos typos), the excessive lagging all create a truly uncanny atmosphere, a disconnect between the way I look at my screen and the way Blair looks at her own. What exists on the screen is a heightened replica; there’s an odd sort of mise-en-scéne and blocking at play here, often cutting off half of the central Skype call and inadvertently creating two different reaction shots (creating six different reaction shots to a default profile icon is ingenious), and in general creating an almost 3-D feeling with the numerous layers of apps. The effect is natural enough that it feels spontaneous, but it’s still immensely striking. Gabriadze doesn’t need music, cuts, or unconventional cinematography to do this; it’s already created in the comfortable and familiar dimensions of the laptop screen, in our ingrained reactions to the sounds of notifications twisted by their contents. When even Google and Facebook aren’t functioning in the expected manner, it’s already too late.

The River
Tsai has obviously used stasis to extraordinary lengths and effects throughout his oeuvre, but halfway through I wonder if he’s employed it elsewhere in such a specifically patient manner. The style here isn’t vastly removed from that of, Vive L’Amour, but it’s applied to a much more specific and ostensibly insular societal institution. In Tsai’s world, the family is as amorphous and free-floating as the individuals that inhabit it, and part of the fascination that I had watching The River was seeing just how they would come together. Of course, the movie goes down immensely dark and upsetting paths, realized with some extraordinary plays with light and shadow, but the core images – rain, Lee Kang-sheng’s pained face, the decay of urban Taipei – remain the same. And Tsai (and I) wouldn’t have it any other way.

Night of the Living Dead
Almost certainly one of the most productive examples of a film effectively split in two. The first third or so – “They’re coming to get you Barbra” included – establishes an immense tone of melancholy and paranoia, buoyed by the dueling insular intensities of Jones and an effectively mute O’Dea. With both communicating the most fundamental fears and emotions with furtive glances and odd movements, Night of the Living Dead could conceivably have stayed in this vein for the entirety of its running time, especially with the radio providing clarification and more mystery in equal measure. But with more characters and the television comes necessary, even vital complications. Romero seems to be entirely truthful when he says that Jones wasn’t cast because of his race, but it adds a log to the raging fire that is this movie, only highlighted by the newsreel-esque footage playing under the credits. Primal tension is replaced by all-too-human tendencies towards self-destruction, so much so that the eventual resurrection by zombie bite is almost an afterthought.

September/October 2017 Capsules

Ryan Swen Reviews Tags: Leave a comment

Clueless
It’s all too fitting that Clueless at once hews closely to and sets itself entirely apart from the standard template of the American teen comedy. In outline it conforms, as girl tries to meet boy before realizing she’s loved another all the while, but Heckerling’s skill is such that it never feels remotely formulaic or inorganic to the development of Cher as both character and ideal. This is owed in small part to the stylistic devices (blatant voiceover, atypical stirrings of music) but the key factor is the surroundings, literally and figuratively sunny. Every character both does and doesn’t fit in with the Beverly Hills setting, which is an all-inclusive, ultimately deeply loving and caring environment. There is never the hint that things will go dreadfully wrong for any character, and that makes the whole thing sing.

October

Platform
As with most films, I kept going back to various works this reminded me of – Edward Yang in approach, To Live in rough thematic scope, and even Twin Peaks: The Return in editing and screenplay structure – but this is really a thoroughly surprising, immensely affecting work, in the way it mirrors the rhythms of everyday life. Duration helps with this of course, but even more key seems to be the structure of the scenes. This isn’t the realm of the memory film, where the events feel as if they are being recalled from a distant vantage point, but there is a similar weightlessness here, of time slipping away with each passing day in the way in which many events that are alluded to become elided or barely touched on before the next “non-event” occurs. Everything and nothing feels important in this decade-long span. In this context, the extended long shots and pans feel like the only logical way in which to film this, rendering each space with a tactility and sense of grounding that achieves a perfect, empathetic distance.

Ashes of Time [Redux]
Hadn’t gone in knowing about the various differences between the original and redux versions, and thus I’m wondering just how much of the pixelated smear that defines so much of Ashes of Time comes from Wong’s tinkering. Regardless, this is maybe shot-for-shot the most stunning looking film I’ve ever seen, radically reinventing itself and adapting with the utmost fluidity to each scenario and season. The main setting is the desert, but the smallest glances at another place, whether shown in hallucination or vision, sear themselves into the mind just as strikingly. Narratively, events sort themselves out in time, but the emotions and ruminations remain crystal clear from the very moment of their emergence, remaining ephemeral, haunting, yet transporting to the last.