Author: Ryan Swen

Artists Gone By [LATE FAME and PETER HUJAR’S DAY]

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Courtesy of Late Film LLC.


Courtesy of Janus Films.

New York Film Festival 2025:

Late Fame
Peter Hujar’s Day

Rating *** A must-see

Directed by Kent Jones
Directed by Ira Sachs

One of the presumably unintentional but noticeable trends that arose during the first week of the 63rd New York Film Festival’s press screenings was a consideration of art’s place in the world, often accompanied by an aesthetic that might be said to constitute a throwback. Films like Kleber Mendonça Filho’s The Secret Agent and Kelly Reichardt’s The Mastermind, which utilized thriller elements in tandem with a tumultuous ’70s backdrop, also featured extended meditations on how the experience of cinema and painting, respectively, can capture the spirit of then-modern sociopolitical currents. Two other films took 1970s artistry as their main subject: Kent Jones’s Late Fame and Ira Sachs’s Peter Hujar’s Day.

Though my familiarity with their work is roughly equal—both films are the second I’ve seen by their respective directors—and they belong to the same generation of Americans, the two filmmakers couldn’t be more dissimilar. Anyone who came to cinephilia in the past few years could be forgiven for not knowing the name Kent Jones, but there’s little excuse for anyone even remotely plugged into American film culture before then, considering his work as a longtime film critic—I routinely cite his piece on John Ford for Film Comment as one of my favorite articles of criticism—archivist (including for Martin Scorsese), and, most pertinently, director of the New York Film Festival for a surprisingly abbreviated term from 2013 to 2019. Though that span of time may be too short and recent to accurately judge, his tenure, especially considering Dennis Lim’s continual presence on the selection committee during that time, certainly helped usher along NYFF’s evolution into an ever more open and exploratory festival. In terms of his own filmmaking, Jones has already made a number of documentaries, and his fiction feature debut Diane (2018), a somber consideration of a woman near the end of her life, led him to leave film programming behind to make directing his main pursuit.

Ironically, I’m less familiar with Sachs: despite being five years Jones’s junior, he has already made nine features, starting with The Delta (1997). A mainstay of Sundance, with such celebrated works as Married Life (2007) and Love Is Strange (2014), along with a Cannes competition berth with the Isabelle Huppert-starring Frankie (2019), he had something of an unexpected mid-career resurgence with Passages, the only other film of his I’ve seen so far. A seemingly more overtly sensual work starring three of Europe’s most celebrated arthouse actors in Franz Rogowski, Ben Whishaw, and Adéle Exarchopoulos, it drew a seemingly larger than usual audience with its frank depiction of a queer love triangle inextricable from its apex’s bad behavior and badder outfits.

Both Late Fame and Peter Hujar’s Day, then, come as something of a pivot for both filmmakers. While the latter premiered, as usual, all the way back in Sundance—bypassing its predecessor’s summer MUBI release for this late but fitting New York fall festival spot—the former, contra the prior film’s Tribeca premiere, bowed in the Venice Orizzonti competition, an unexpected but deserved berth for an American independent film. The star is far more recognizable this time: Willem Dafoe plays the incongruously named Ed Saxberger, a poet of some minor renown in the late 1970s who works in today’s New York City as a post office employee, having settled into a comfortable routine of sorting letters and hanging out with barflies unaware of his past life. One day, he encounters Wilson Meyers (Edmund Donovan), the de facto leader of a young literary group known as the Enthusiasm Society, who has staked out his apartment and, over the course of a few effusive meetings, expresses his admiration for the erstwhile poet and asks him to join the society. As they gear up for a statement event and Saxberger attempts to write for the first time in decades, he draws closer to Gloria (Greta Lee), the only female member of the group, whose commitment to her acting aspirations and exaggerated mannerisms set her apart from the would-be mavericks.

Unlike Diane, Jones didn’t write the script for Late Fame, which was already penned by May December scribe Samy Burch, adapted to a modern American setting from Arthur Schnitzler’s novella. Though I had completely forgotten about this fact before the closing credits—and the screenplay doesn’t try to match the fiendish machinations on display in Todd Haynes’s film—it goes some ways in accounting for the renewed sense of relaxation that suffuses this film. From the opening montage, a stream of late-’70s New York avant-garde images that suggest the milieu in which Saxberger briefly practiced his craft, it is clear that Jones is interested in a much larger sense of place than the snowy woods of his previous film, and he takes care to recognize its hustle and bustle while also finding room for his hero’s own, more sanguine experience. The camera is wilder in its greater commitment to handheld, often used in tandem with rapid cutting during some of the larger group scenes, where a split-second shot of a minor member’s smirk adds to the viewer’s (and Saxberger’s) confusion while trying to understand his newfound milieu. In between these dialogue-heavy sequences, there are occasionally some lovely, rapid dissolves of the skies of New York, occupied by birds and buildings, which suggest Saxberger taking the temperature of his assumed home, a poetic mind still at work even as the form has fallen away.

Late Fame is, above all else, an often thrillingly imperfect film, one more open to the possibilities of total failure than Jones’s last film. From the inherent critique of these pretenders to the literary throne—the camera noticeably locks down for a few searing scenes that capture Meyers’s and his associates’ wealth—to Lee’s performance, which is so stylized and self-consciously that the expected reveal of her in a “normal” guise still carries a certain charge, the film risks being insular and even mean-spirited in its takedown of privileged posers, especially as the planned reading spirals further out of control. But it is all united under Dafoe, as warm and playfully rueful as he’s ever been, a force of calm in the midst of the chaos of his peers and his city. Crucially, though his poem is quite good (to my ears) and he does enjoy being feted, Saxberger, and therefore the film that he anchors, is free to slip in and out of these different modes; some are more successfully handled than others, but the lightness of its aging spirit is often unexpected and welcome.

Despite opening with the same camera slate opening as Passages, Peter Hujar’s Day is even more of a left turn for Sachs. Unlike Late Fame‘s fictional poet (but real poetry scene), the film takes not only real people but a very specific occurrence as its subject: in December 1974, writer Linda Rosenkrantz (Rebecca Hall) attempted to embark on a project where she would record artists she knew talking in minute detail about the events of their previous day. For her first and only entry—as laid out in intertitles at the beginning of the film—she chose Peter Hujar (Ben Whishaw), a semi-prominent photographer; though the tape was subsequently lost, a transcript was retained, the contents of which provided the basis for this 76-minute film.

At first glance, Peter Hujar’s Day might seem even more self-satisfied, a 16mm-shot recounting of a fairly banal day in the life of a long-gone New York artist, with an extended anecdote about photographing Allen Ginsberg and stray references to Susan Sontag as perhaps the most readily discernible signposts to the average viewer. But though I can’t recall the precise wording of those title cards, they gesture towards what becomes compelling, even moving about this film. Because the transcript presumably contains no details as to the timespan of the recording, nor what may have transpired between its gaps, the film thus registers as a hybrid between audio reenactment of a documented event and an opportunity to imagine intimate, symbiotic actions of speaking and listening, full of little digressions, snacking, and movements between Rosenkrantz’s apartment and the building’s roof.

Sachs evokes this not only with a precision of framing within the Academy ratio frame, but also by constantly highlighting the inherently constructed nature of this production. Some are a bit more gratuitous than others—a recurring use of film rollouts, a few long shots where the slate and boom mic are visible, a handful of montages where preexisting music swells as Whishaw and Hall appear in poised repose—but they provide continual punctuation that remind the viewer of the work that must go into recreating Hujar’s attempt to recall his own past day. The film even appears to take place over the span of a few days, with a full day-night-day-night cycle, suggesting that to simply talk about one’s day in any detail at all itself takes more time than it does to live it. There, then is the crux of Peter Hujar’s Day‘s raison d’être: given that Hujar’s own recounting of his previous day’s happenings is inherently colored by his own perspective and the inevitable lapses in concentration and memory, the film is thus an imagining of a real event’s imagining of real events. That this all does not take away from the pleasures of existing in a long-gone artistic climate and of watching a gifted actor speaking and another strong actor intently listening is, in its own knowingly small way, more than a little impressive.

2025 Festival Dispatch #1 Show Notes

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Description
The first 2025 festival dispatch of the Catalyst and Witness podcast, devoted to exploring the films and format of the New York Film Festival, hosted by Ryan Swen. This covers the first week of press screenings of the 2025 New York Film Festival, and features guest Alex Lei.

Housekeeping

  • Hosted by Ryan Swen
  • Conceived and Edited by Ryan Swen
  • Guest: Alex Lei
  • Recorded in New York City on Zoom H4N and Behringer Microphones, Edited in Audacity
  • Podcast photograph from Yi Yi, Logo designed by Dan Molloy
  • Recorded September 19, 2025
  • Released October 2, 2025
  • Music (in order of appearance):
    • Season of the Devil
    • Mimosas

New Horizons [Los Angeles Festival of Movies 2025]

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Courtesy of MUBI.

I’m not going to pretend that this festival dispatch isn’t overdue by close to half a year. Due to various other work and writing obligations that got in the way, I haven’t had the chance to sit down and write down any thoughts about the second year of the Los Angeles Festival of Movies. Indeed, I’ve tarried so long that I’m writing these words on the plane to the New York Film Festival, as good a marker as any that it’s time to jot down some thoughts before some of these films totally disappear from my memory. My LAFM was considerably expanded from last year—encompassing every feature film save the comedy-horror film Dead Lover, the Tim Robinson vehicle Friendship (which happened to screen at the same time as the festival’s sole world premiere), and the restoration title Will—which was largely a result of what seemed to me to be a generally more eclectic approach to programming than the festival’s first year. Whether this was the result of the festival finding its footing or an unusually strong offering of cinema on the margins remains to be seen, but it is a welcome development in either event. As you might expect, my thoughts on each of these films will be shorter than both what I had previously envisioned for this dispatch and last year’s three-film entry, but the slate was consistently intriguing enough to prompt even these few words. (Further disclaimer: since I don’t have access to wi-fi at the moment, more serious than usual factual errors/omissions may occur.)

The festival’s opening night film came from what might be, based on its director’s debut, an unexpected source. Amalia Ulman’s first feature El Planeta (2019) was one of the more delightful breakthroughs in recent memory, an overtly Hongian black-and-white comedy starring Ulman and her mother. Magic Farm, which premiered at Sundance, does in fact make sense as a gala selection, featuring Chloë Sevigny and Simon Rex in key supporting roles and a much more distinctly poppy, brightly-colored aesthetic. The basis of these choices comes from the ostensible premise, a VICE-style online show whose crew travels to an Argentinian village in search of a sensational story. When the production grinds to a halt, its members and the tentative relationships (platonic and romantic) they form take center stage, particularly the production assistants, including Alex Wolff and Ulman herself once more. Frequently incorporating iPhone footage and a few shots of distorted GoPro footage that bear a startling resemblance to last year’s LAFM highlight The Human Surge 3, the film is an admirable attempt by Ulman to engage in a completely different style, and there are some lovely moments of cross-cultural connection directly facilitated by its modern, online means of communication. But though Magic Farm gets a decent amount of mileage from the pathetic or merely lost outsiders, there is a familiarity to its satire that detracts from its more intriguing elements.

An altogether more successful instance of self-reinvention could be found in Invention, directed by Courtney Stephens and with an additional “a film by” credit given to star and co-writer Callie Hernandez. (Disclaimer: Stephens is a friend; I’ve also had the benefit of watching this film twice.) The latter plays Cassie Fernandez, who, just like her near-namesake, has recently suffered the unexpected death of her father, a self-styled health guru and daytime-TV mainstay. After learning that her father had massive debts but bequeathed to her a patent for a mysterious device, she seeks to learn more about its provenance, visiting with her father’s past clients, manufacturers, and friends while residing in his beautiful home in the woods. Stephens was previously best known for her documentaries, including The American Sector (2020, co-directed with Pacho Velez) and the live performance Terra Femme (2021). Accordingly, the film assumes a hybrid form, signaled by Hernandez’s presence and the inclusion of archival PSA and television footage of the father peddling his products and ideas; there are even a few interludes that overlay production chatter onto a shot of a flickering candle. But all of these would not function if Stephens and Hernandez were not so careful in their sketching of a coherent character arc where—in a manner not so dissimilar from David Cronenberg’s extraordinary The Shrouds from the same year—the destabilizing state of grief leads one down conspiratorial pathways as a means of reckoning with loss. The encounters along the way—including with people ably played by independent directors Joe Swanberg, Caveh Zahedi, and James N. Kienitz Wilkins as the attorny and executor—eventually culminate in a truly moving display of catharsis for Hernandez/Fernandez.

Another 16mm reverie came courtesy of French director Virgil Vernier’s Cent mille milliards (which translates to “one hundred thousand billion”), whose previous film Sophia Antipolis was a highlight of the 2019 edition of Locarno in Los Angeles. Here, he decamps to Monaco, largely following the slowly-forming bond between a male sex worker, a Russian dancer, and a Chinese daughter temporarily visiting the affluent town. From what little I remember of both films, this present work is somewhat looser and overtly sympathetic to the outsiders at its center. Vernier’s gift for capturing the sickly allure of his surroundings is on full display here, especially as the holiday season develops, and such images of his characters traversing these near-liminal spaces make up for a lot of the more unproductively hazy relationship developments.

It can sometimes be fraught to describe any particular restoration as a breakout—what might be a revelation to one person might be old hat to someone else—but with that caveat it’s fair to say that British filmmaker Robina Rose’s Nightshift (1981) is one of the most significant restorations of the last few years. Unfurling over the course of a single night at a hotel, almost completely from the perspective of the female concierge, the film has drawn deserved comparisons to Chantal Akerman among others, but there’s an oneiric pull that’s accentuated by the strikingly angular features of its main actor, the frequent use of point-of-view shots, and an unpredictable rhythm to the perambulations of the hotel’s occupants, both permanent and transient. Shot by legendary American iconoclast Jon Jost in sumptuous shadowy graininess, the barely-over-an-hour film feels much longer than that, for the better, and its textures and portent are extremely difficult to shake.

From what I experienced on the ground, there was no film more widely divisive than Debut, or, Objects of the Field of Debris as Currently Catalogued, Julian Castronovo’s own first directorial feature; for my money, it was the best film in the festival. Unspooling as an investigation of Castronovo’s disappearance that was spurred by his own quest to discover the meaning of a mysterious notebook that he found in the wall of his compartment, the film incorporates a neutral voiceover by an unidentified female collator, many scans or images of relevant and irrelevant items, and webcam footage of Castronovo as he narrates his own findings. The result is something that feels in the neighborhood of James N. Kienitz Wilkins and Ricky D’Ambrose while possessed with a gift for mordant humor that feels like all its own, a continually disarming work that eventually incorporates performance art, a cutting depiction of modern cinephile culture—a gag involving boutique distributors is especially inspired—and no-budget filmmaking far more technically sophisticated than might be expected from someone of Castronovo’s tender age.

LAFM’s sole world premiere was a surprisingly high-profile (in at least one sense of the term) get: Room Temperature, the second directorial collaboration between legendary gay novelist Dennis Cooper and Zac Farley. I must confess an unfortunate unfamiliarity with the former’s prose work, though I was able to catch up with their previous film Permanent Green Light (2018), a French film concerned with the death drive of suburban teenagers. This film’s is much closer to home, taking place in a community in the American Southwest, surrounding a single family determined to continue its tradition of crafting a haunted house in the face of growing dissatisfaction, if not outright hostility from both without and within. Though the general style is often impressive, utilizing long shots and chiaroscuro in ways that emphasize the isolation of its setting and family members. In the end, though, the final act’s turn towards psychosis is a little unsatisfying and preordained.

Zodiac Killer Project, by British filmmaker Charlie Shackleton, was one of the three most lauded documentaries at Sundance this year, understandably: after his proposed true-crime documentary about a specific theory concerning the identity of the Zodiac Killer had its funding fall through at the last minute, Shackleton decided to make a different version on his own terms. The result is oddly not so dissimilar from Debut: the bulk of the film is shots of the locations where the events took place and/or where Shackleton would have filmed his reenactments, while his voiceover weaves between straight recounting and musings about both his ultimately failed production and larger ideas about the often debased nature of true crime and documentary filmmaking at large. These latter sections, which include biting examples of the homogenized house styles, are the film’s most pleasurable, and it becomes increasingly clear that, despite some of Shackleton’s bemused protestations to the contrary, this version is almost certainly more compelling than any conventional form he could have made. However, the film is unfortunately something less than the sum of its parts, particularly in the decision to include copious use of (possibly public domain) footage, accompanied invariably by a woodblock hit, that more overtly illustrates the conventional true crime elements in a way that feels at odds with the Landscape Suicide-inspired suggestiveness of the shots that surround it.

It was perhaps only a matter of time before the redoubtable Omnes Films, perhaps current American independent cinema’s most promising collective, showed up in LAFM, represented here by French filmmaker Alexandra Simpson’s directorial debut No Sleep Till. (Disclaimer: I am good friends with the entire collective, including Simpson and producer Tyler Taormina). Though it represents something of an expansion in Omnes’s scope, as the first film by a non-founding member and to take place outside of the American Northeast or Los Angeles, it is a welcome, distinctive addition to the collective’s growing treasure trove of intimate portraits of a quietly free-floating time and place. In this instance, it’s a Florida town bracing for a hurricane of unprecedented magnitude; while some hole up, others go out and party, and one duo of friends resolves to leave their jobs and drive north in search of shelter. This last section, talky and frank about their intertwining quotidian and extreme anxieties, exists in deliberate counterpoint to the minimal dialogue of many other strands, including a stormchaser, whose videos of past storms are incorporated into the kaleidoscope of dreamy nighttime tableaus. The sanguine sensibility in the face of natural disaster conjures a potent yet fittingly lowkey mood.

The closing night film was Happyend, the fiction feature debut of Japanese-American filmmaker Sora Neo, whose Ryuichi Sakamoto | Opus was one of the great music films of recent years. That sense for rhythm and tone is folded into a considerably grander canvas: in a near-future Tokyo, following a prank on the school principal by the members of the electronic music club, a surveillance system that automatically cites pupils for any perceived misbehaviors, no matter how benign. In the face of this, two of the club members operate on increasingly divergent paths, with one wanting to maintain his carefree ways and the other getting involved in radical activities resisting an increasingly draconian government. Considering all of this freighted text, it’s thus something of a miracle that Happyend‘s title is by no means willfully ironic; it is instead one that belongs to a film of a profound, genuinely optimism in the power of the youth to make a difference in the world. Through the detail of its characters’ hangouts and struggles, their hopes and moments of play, Sora fashions a world of possibility entirely in keeping with the multitude of promising voices offered at this year’s festival.

New York Film Festival 2025 Predictions (Round 3)

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Main Slate
*After the Hunt (Luca Guadagnino)
*Father Mother Sister Brother (Jim Jarmusch)
*Is This Thing On? (Bradley Cooper)
Blue Moon (Richard Linklater)
The Blue Trail (Gabriel Mascaro)
Dracula (Radu Jude)
Drunken Noodles (Lucio Castro)
Duse (Pietro Marcello)
Enzo (Robin Campillo)
If I Had Legs I’d Kick You (Mary Bronstein)
It Was Just an Accident (Jafar Panahi)
Jay Kelly (Noah Baumbach)
Kontinental ’25 (Radu Jude)
Landmarks (Lucrecia Martel)
The Love That Remains (Hlynur Pálmason)
Magellan (Lav Diaz)
The Mastermind (Kelly Reichardt)
Mirrors No. 3 (Christian Petzold)
No Other Choice (Park Chan-wook)
The Perfect Neighbor (Geeta Gandbhir)
A Poet (Simón Mesa Soto)
Resurrection (Bi Gan)
Romería (Carla Simón)
Rose of Nevada (Mark Jenkin)
The Secret Agent (Kleber Mendonça Filho)
Sentimental Value (Joachim Trier)
Sirât (Óliver Laxe)
Sound of Falling (Mascha Schilinski)
Two Prosecutors (Sergei Loznitsa)
What Does That Nature Say to You (Hong Sang-soo)
Yes! (Nadav Lapid)
Young Mothers (Jean-Pierre & Luc Dardenne)

Currents
*Dry Leaf (Alexandre Koberidze)
After Dreaming (Christine Haroutounian)
The Currents (Milagros Mumenthaler)
Hair, Paper, Water (Nicolas Graux & Trương Minh Quý)
The Lake (Fabrice Aragno)
Mare’s Nest (Ben Rivers)
Phantoms of July (Julian Radlmaier)
Remake (Ross McElwee)
The Seasons (Maureen Fazendeiro)
Tales of the Wounded Land (Abbas Fahdel)
With Hasan in Gaza (Kamal Aljafari)

Spotlight
*Marty Supreme (Josh Safdie)
Back Home (Tsai Ming-liang)
Below the Clouds (Gianfranco Rosi)
Bugonia (Yorgos Lanthimos)
Hamnet (Chloé Zhao)
Late Fame (Kent Jones)
Nouvelle Vague (Richard Linklater)
One Battle After Another (Paul Thomas Anderson)
The Smashing Machine (Benny Safdie)
The Souffler (Gastón Solnicki)

New York Film Festival 2025 Predictions (Round 2)

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Virtual Lock
Dracula (Radu Jude)
It Was Just an Accident (Jafar Panahi)
Kontinental ’25 (Radu Jude)
The Mastermind (Kelly Reichardt)
Resurrection (Bi Gan)
The Secret Agent (Kleber Mendonça Filho)
Sentimental Value (Joachim Trier)
Sirât (Óliver Laxe)
What Does That Nature Say to You (Hong Sang-soo)

Strong Chance
Blue Moon (Richard Linklater)
The Blue Trail (Gabriel Mascaro)
Duse (Pietro Marcello)
Father Mother Sister Brother (Jim Jarmusch)
Jay Kelly (Noah Baumbach) [centerpiece]
Mirrors No. 3 (Christian Petzold)
Nuestra Tierra (Lucrecia Martel)
One Battle After Another (Paul Thomas Anderson)
Romería (Carla Simón)
Sound of Falling (Mascha Schilinski)
Two Prosecutors (Sergei Loznitsa)
Yes! (Nadav Lapid)

Moderate Possibility
Bugonia (Yorgos Lanthimos)
Drunken Noodles (Lucio Castro)
Enzo (Robin Campillo)
Franz (Agnieszka Holland)
Girl (Shu Qi)
Heads or Tails? (Alessio Rigo de Righi & Matteo Zoppis)
If I Had Legs I’d Kick You (Mary Bronstein)
Living the Land (Huo Meng)
Love on Trial (Fukada Koji)
The Love That Remains (Hlynur Pálmason)
Magellan (Lav Diaz)
Marty Supreme (Josh Safdie) [opening night]
No Other Choice (Park Chan-wook)
Nouvelle Vague (Richard Linklater)
The Perfect Neighbor (Geeta Gandbhir)
A Poet (Simón Mesa Soto)
Renoir (Hayakawa Chie)
Rose of Nevada (Mark Jenkin)
The Smashing Machine (Benny Safdie)
The Voice of Hind Rajab (Kaouther Ben Hania)
The Wizard of the Kremlin (Olivier Assayas)
Young Mothers (Jean-Pierre & Luc Dardenne)

Currents
The Currents (Milagros Mumenthaler)
Dry Leaf (Alexandre Koberidze) [gala]
Hair, Paper, Water (Nicolas Graux & Trương Minh Quý)
The Lake (Fabrice Aragno)
Mare’s Nest (Ben Rivers)
Phantoms of July (Julian Radlmaier)
The Seasons (Maureen Fazendeiro)
Tales of the Wounded Land (Abbas Fahdel)
With Hasan in Gaza (Kamal Aljafari)

Spotlight
Back Home (Tsai Ming-liang)
Below the Clouds (Gianfranco Rosi)
Hamnet (Chloé Zhao) [gala]
Late Fame (Kent Jones)
Remake (Ross McElwee)
The Souffler (Gastón Solnicki)

New

Dracula (Radu Jude)
Jude fiction film.

Duse (Pietro Marcello)
Lim is a great admirer of Marcello’s, and Scarlet made it in despite a relatively muted reception.

Father Mother Sister Brother (Jim Jarmusch)
Jarmusch’s NYFF attendance can be a bit inconsistent, but this hopefully seems like a return to form.

Jay Kelly (Noah Baumbach)
Baumbach’s become a NYFF regular, especially in gala slots (including the divisive White Noise), so predicting this for Centerpiece or Closing Night seems like a safe bet.

Nuestra Tierra (Lucrecia Martel)
Have no idea what to expect from a Martel documentary, but the general adoration of her work makes it likely that this will be in either Main Slate or Spotlight.

Bugonia (Yorgos Lanthimos)
The inclusion of Poor Things as a non-gala selection in Main Slate meant that the committee’s love for Lanthimos was greater than I anticipated; I’m still not entirely convinced that his inclusions aren’t a case-by-case basis but it’s in the cards.

Franz (Agnieszka Holland)
Green Border was a semi-surprising Main Slate pick, and I don’t know how to factor in the TIFF world premiere.

Girl (Shu Qi)
The Venice competition berth for one of cinema’s greatest actor’s directorial debut seems like a vote of confidence.

Marty Supreme (Josh Safdie)/The Smashing Machine (Benny Safdie)
Still not entirely sure how NYFF feels about the Safdies—Uncut Gems was notably a late addition to Spotlight, after the likes of Joker—but wouldn’t be shocked if Josh got the first Opening Night world premiere in a while, and Benny was also in the mix.

No Other Choice (Park Chan-wook)
Feel like Decision to Leave might not have made it into NYFF last time in a stronger premiere year/without the Cannes Best Director award, but he’s always a candidate.

A Poet (Simón Mesa Soto)
Included mostly because of the 1-2 Special acquisition, which signals at least a certain degree of confidence in the film’s merits.

Rose of Nevada (Mark Jenkin)
Enys Men was a slightly surprising choice, and this seems like a relatively more conventional film.

The Voice of Hind Rajab (Kaouther Ben Hania)
Four Daughters wasn’t picked and I truthfully have no idea how this especially sensitive and timely event will be tackled, but I wouldn’t be shocked if this was selected.

The Wizard of the Kremlin (Olivier Assayas)
Suspended Time didn’t make it but I retain some hope for Assayas.

Dry Leaf (Alexandre Koberidze)
This will almost certainly be in the NYFF selection, but an over-three-hour film shot entirely on a Sony Ericsson seems more in the vein of past Currents gala film The Human Surge 3.

Hamnet (Chloé Zhao)
Assuming one of the other films I’ve anticipated for Main Slate doesn’t take the Spotlight gala spot, I think this would make sense, especially considering the very low profile it’s had thus far relative to the prominence of Nomadland‘s 2020 run.

Lost in the World [MISERICORDIA and GRAND TOUR]

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Courtesy of Sideshow/Janus Films.


Courtesy of MUBI.

Misericordia/Miséricorde

Rating **** Masterpiece

Directed by Alain Guiraudie

Grand Tour

Rating **** Masterpiece

Directed by Miguel Gomes

I sometimes worry that my habit of writing about two new releases together—stolen, like the credits/ratings block immediately above, from Jonathan Rosenbaum—can feel like a crutch. True, it can sometimes provide a productive, logical point of comparison, and just as often it can come as something of a challenge. But in this instance, it’s meant, at least at the outset, as a means of saving time, of allowing me to write at length about two of my favorite films of the decade thus far without needing to shortchange one or the other by “consigning” it to a capsule review, or taking even longer than I already have in my delayed writing and publication of what you’re reading now. Of course, this very act of combination could be seen as an implicit denigration, meaning that the films either aren’t worth my time and effort to tackle individually or that they can’t stand up by themselves. That (I hope) incorrect assumption is something I’m willing to risk, for the sake of various other competing obligations (for this website and in the actually “important” things in the “real world”).

That being said, the more I think about these two films, the more parallels present themselves. In an earlier, embryonic version of this piece concerned solely with the first film, I noted that from my vantage point, the early to mid-2010s seemed like an unusual time period, full of filmmakers who established themselves with what appeared to be a breakthrough hit; some of them have gone on to become part of what might be considered the film festival mainstay, while others have receded in visibility within the American cinephile consciousness for one reason or another. Alain Guiraudie seems to me the clearest and most understandable example, given the particular confluence of thriller mechanics, frank gay sexuality, and rigorous form offered by 2013’s Stranger by the Lake. However, Miguel Gomes isn’t far behind, even though 2012’s Tabu ultimately had a marginally smaller footprint when it was released. Both continue to operate as statements, even milestones, pure expressions of fated desire as filtered through Guiraudie’s stunningly casual treatment of cruising within precise, locked-down frames and Gomes’s two-part, black-and-white meditation on colonialism present and past, eventually slipping into his own unique take on silent cinema.

Guiraudie and Gomes have each released two feature film projects within a year of each other since then, neither to close the same fanfare. The former’s case is perhaps more banal: Staying Vertical, despite a surprise Cannes competition berth, was too willfully weird to attract a wide audience, and Nobody’s Hero, despite its considerable strengths, was doomed by a reluctant festival rollout and risky treatment of its terrorism backdrop. Gomes, for his part, went both bigger and smaller: the ambitious three-part epic Arabian Nights, all components of which premiered at the same time, was destined to confuse listmakers and cinephiles alike, while the lowkey lockdown film The Tsugua Diaries (co-directed with his artistic and life partner Maureen Fazendeiro) was a minor work by its very nature.

At last year’s Cannes, Guiraudie and Gomes took unexpected paths towards some semblance of critical acclaim. The French director’s Misericordia bowed in the non-competitive Cannes Premiere section, a post-COVID addition widely perceived as a backhanded compliment and tertiary tier of programming amid the main selection, generating nearly as many comments expressing disbelief that it was not in Competition as Víctor Erice’s Close Your Eyes and Lisandro Alonso’s Eureka from the previous year put together. For his part, the Portuguese director did appear in Cannes Competition for the first time with Grand Tour, winning an unexpected yet very well-deserved Best Director prize from the jury. In the usual fashion, they both received US theatrical releases earlier this year, coming out in back-to-back weeks in March.

Much of the (separate) discussion around these two films has hinged around a crucial concept: a filmmaker knowingly revisiting the style of his past works, whether to recapture something of a past glory or not. Both Misericordia and Grand Tour seem to call back specifically to Stranger by the Lake and Tabu, respectively, and it’s certainly no accident that these somewhat more palatable modes have been received as something of a return to form. Guiraudie’s film does indeed return to the openly queer murder mystery framework, while Gomes issued another bifurcated black-and-white tale of thwarted colonialist romance conveyed through archaic cinematic methods. But to reduce these two films, and their elaborations upon past successes, is to risk taking two master filmmakers for granted, even considering their recent reemergence into the wider cinephile consciousness.

As might be inferred by my shorter enumeration, Misericordia shares less in common with Guiraudie’s past work than Grand Tour does with Gomes’s. Like those films, however, it begins fully in media res, a long winding opening shot from the perspective of a car that eventually enters Saint-Martial, a remote village in the French countryside. The driver is Jérèmie (Félix Kysyl), a young man returning to his hometown on the occasion of his baker mentor’s funeral. Though he initially plans to leave that same night, the baker’s wife Martine (Catherine Frot) urges him to stay, and so begins an indefinite period of time spent in the company of the local villagers, including Martine’s son Vincent (Jean-Baptiste Durand), former acquaintance Walter (David Ayala), and the local priest (Jacques Develay).

Though the aforementioned violence does occur remarkably early and acts as the nominal plot engine for Misericordia‘s second two-thirds, Guiraudie establishes early on that there is much more on his mind than another tale of a h(a)unted man. The most immediate impression is of a specific, unusual sense of routine within an environ that is—to Jérèmie at least—both old and new. He is frequently seen walking in the yellowing forests from the relatively few locations that constitute the bulk of the film’s centers of activity, a purely beautiful backdrop of foliage and mountains (captured by Guiraudie’s frequent collaborator Claire Mathon) that often dwarfs Jérèmie and those he interacts with. Across innumerable glasses of pastis, several physical and/or verbal fights of varying levels of intensity, and various criss-crossing attractions (mostly between men), the interplay between the expansive outdoors and cramped interiors comes to form an odd mirror for the situation that Jérèmie has found himself in.

As his moral struggle increases in prominence, so too does the priest’s role, in a manner not dissimilar from the lonely straight man played by Patrick d’Assumçao in Stranger by the Lake. Aside from some chance interactions, the intertwining of Jérèmie and the priest truly begins with one of the most remarkable scenes to ever take place in a confessional, an veiled outpouring of dedication and doubt that bursts open Guiruadie’s carefully couched conversations. Though the film’s title—Latin for mercy—is never uttered onscreen, this scene and another between the two men on a cliff overlooking the village communicate in unexpectedly forthright terms all that goes into such a concept, which involves forgiveness of both the other and the self. With these elements coming to form the more thematic framework, Misericordia is able to also incorporate characters and narratives closer to farce, including a pair of dogged yet polite police officers whose presence only further muddies the waters of Guiraudie’s characteristically slippery relationship between reality and dreams. The final note is one of total ambiguity, an unexpected note given to an unexpected person that refuses any hint of finality, one final gambit in a continual highwire act between hilarity, suspense, and heartrending emotion.

If Misericordia only gets more fascinating as it unfolds, Grand Tour is a marvel from its production concept alone. It is composed of what might be considered two separate tendencies: the narrative, which follows the story of a British civil servant (Edward, played by Gonçalo Waddington) who flees across Asia in the year 1918, pursued by his betrothed Molly (Crista Alfaite), which is told from first his perspective, then hers on obvious soundstages in Portugal shot in black-and-white by Rui Poças; and the non-narrative, which incorporates black-and-white and color footage shot in modern times with no attempts to hide the century-long gap between the diegesis of the story and the new aspects of the present; much of it was shot by Sayombhu Mukdeeprom, but the sections in China were shot (due to lockdown protocol) by Gui Liang, with Gomes directing remotely from across the country.

Over all of this, there is narration given by unnamed voices who speak in the language of the country Edward, then Molly is in at the time, and it is this wild collision of voices and past and present that gives Grand Tour so much of its spark. It is crucial that Gomes does not attempt to disguise what many have already characterized as an excessively Orientalist lens. There is never any point at which the film is unaware of the distance that exists between it and everything it is depicting: the gap in time between it and the Western characters, and the gap in perspective between it and the locales it is existing within. Like Molly’s continual pursuit of Edward, there is the constant sense of searching, during which Gomes’s unique methodology allows him to open up the film to the possibility of experiencing all that the world has to offer.

That being said, Grand Tour wouldn’t be as successful if Gomes lacked an investment in the central dynamic. Part of this is courtesy of the sneakily coherent structure of his screenplay (co-written with Fazendeiro, Telmo Churro, and Mariana Ricardo), which progresses rapidly through Edward’s hapless travails and then diverges from them during Molly’s retracing of his steps, throwing in additional characters which complicate and delay her quest in unexpected, often amusing ways. It also becomes clear that the ardor and care with which Gomes captures both halves of the twinned journeys form a metonym for the passion that Molly has for Edward despite his parting; Alfaite’s performance, full of exuberance and bemused determination, seems to represent Gomes’s perspective better than the shambling Waddington. By the end, which feels like a grand Classical Hollywood exit, the sights and sounds that the viewer experiences alongside these two people are overpowering, a reminder of all that remains to be seen.

New York Film Festival 2025 Predictions (Round 1)

Ryan Swen Musings Tags: 1 Comment

Virtual Lock
It Was Just an Accident (Jafar Panahi)
Kontinental ’25 (Radu Jude)
The Mastermind (Kelly Reichardt)
Resurrection (Bi Gan)
The Secret Agent (Kleber Mendonça Filho)
Sentimental Value (Joachim Trier)
Sirât (Óliver Laxe)
What Does That Nature Say to You (Hong Sang-soo)

Strong Chance
Blue Moon (Richard Linklater)
The Blue Trail (Gabriel Mascaro)
Mirrors No. 3 (Christian Petzold)
One Battle After Another (Paul Thomas Anderson)
Romería (Carla Simón)
Sound of Falling (Mascha Schilinski)
Two Prosecutors (Sergei Loznitsa)
Yes! (Nadav Lapid)

Moderate Possibility
Drunken Noodles (Lucio Castro)
Enzo (Robin Campillo)
Heads or Tails? (Alessio Rigo de Righi & Matteo Zoppis)
If I Had Legs I’d Kick You (Mary Bronstein)
Living the Land (Huo Meng)
Love on Trial (Fukada Koji)
The Love That Remains (Hlynur Pálmason)
Magellan (Lav Diaz)
Nouvelle Vague (Richard Linklater)
The Perfect Neighbor (Geeta Gandbhir)
Renoir (Hayakawa Chie)
Young Mothers (Jean-Pierre & Luc Dardenne)

Virtual Lock

It Was Just an Accident (Jafar Panahi)
Panahi.

Kontinental ’25 (Radu Jude)
Jude fiction film.

The Mastermind (Kelly Reichardt)
Reichardt.

Resurrection (Bi Gan)
Bi.

The Secret Agent (Kleber Mendonça Filho)
Mendonça Filho.

Sentimental Value (Joachim Trier)
Trier.

Sirât (Óliver Laxe)
Laxe.

What Does That Nature Say to You (Hong Sang-soo)
Hong.

Strong Chance

Blue Moon (Richard Linklater)
I feel like one of the Linklater festival competition films will make it into Main Slate and the other could make it to MS, Spotlight, or miss entirely; though this one is much less buzzy and more modest, the reviews were more uniformly positive.

The Blue Trail (Gabriel Mascaro)
Lim loved Neon Bull + Berlin Grand Jury Prize.

Mirrors No. 3 (Christian Petzold)
Maybe should be a Virtual Lock and I’m sure Lim still wishes he could have programmed Afire, but the avowed modesty of this has me just a little less sure.

One Battle After Another (Paul Thomas Anderson)
The film opens on the same day as NYFF Opening Night and it’s admittedly been a long time since the festival premiered a film on the same day it opened; a special preview Spotlight selection à la Megalopolis last year is more likely if anything happens, but Lim’s greater love of Anderson just might win out.

Romería (Carla Simón)
Considering the variable inclusions of the Golden Bear in NYFF (even during the Chatrian tenure), there might be more enthusiasm for Simón than I realized, and Cannes received this warmly.

Sound of Falling (Mascha Schilinski)
A little hesitant on where to put this; it’s certainly a significant breakthrough film but I could see its unsparing approach rubbing the committee the wrong way; Jury Prize and a strong Justin Chang advocacy makes it much more likely than not though.

Two Prosecutors (Sergei Loznitsa)
Lim certainly likes Loznitsa and this is a well-received return to narrative for him; My Joy is his only Main Slate selection though.

Yes! (Nadav Lapid)
Lapid; unless hesitancy over political considerations takes precedence.

Moderate Possibility

Drunken Noodles (Lucio Castro)
End of the Century was beloved and this seemed to be the highlight of the ACID program, though it would be the first Main Slate entry from there in at minimum a very long time, if not ever.

Enzo (Robin Campillo)
Relatively well-received, a nice tribute to Cantet, and Red Island was an outlier on all counts; 120 BPM might have been a specific alignment of circumstances though.

Heads or Tails? (Alessio Rigo de Righi & Matteo Zoppis)
The Tale of King Crab was in Currents and this seems to be bigger in scale.

If I Had Legs I’d Kick You (Mary Bronstein)
Still not sure if A24 plans to distribute this before the fall, but this was among the most well-received films of the early year and a long-awaited second film.

Living the Land (Huo Meng)
Berlin Best Director winner, though I don’t know much else about it.

Love on Trial (Fukada Koji)
Despite Venice competition title Love Life missing, I still think it’s possible that he could return to NYFF.

The Love That Remains (Hlynur Pálmason)
Strong reviews, general bafflement over its absence from Cannes Competition, and seems to be a shift away from the more ostentatious tone of Godland.

Magellan (Lav Diaz)
Norte, the End of History was his only NYFF entry and this happens to be his first(?) color film since then; the Albert Serra connection and relative cohesion of this might be an appealing occasion for a return.

Nouvelle Vague (Richard Linklater)
This is the less likely of the two Linklaters but it still has a considerable number of defenders (including Justin Chang) and I think it’ll find a place somewhere.

The Perfect Neighbor (Geeta Gandbhir)
The most beloved of the early-year documentaries, aesthetically inventive, and it hasn’t received a New York premiere yet; David Osit’s Predators is a remote possibility as well.

Renoir (Hayakawa Chie)
Was received modestly but strangely feels a little more probable in its references to Japanese cinema/Somai Shinji than something like Hafsia Herzi’s The Little Sister, Cannes Best Actress award notwithstanding.

Young Mothers (Jean-Pierre & Luc Dardenne)
Seems to have been more warmly received than most other recent Dardennes films, though even the Best Screenplay prize is no guarantee.

Henry Fonda for President

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From its title on down, Henry Fonda for President both follows along and defies the idiosyncratic, sweeping aims it has set for itself. The filmmaking debut of longtime film critic and Austrian Film Museum director Alexander Horwath takes its name from the plot of an episode of the obscure sitcom Maude, and while it’s never meant as a completely sincere political statement, it sums up the aspirational tone of both the actor’s most beloved work and the impossibility of concrete hope. By beginning where Horwath does—circa 1980, where the director’s first exposure to Fonda’s work came on a trip to Paris—and entwining it with the ascent of Ronald Reagan to the White House, Fonda’s belated Oscars, and the audio of a revealing interview with Playboy magazine’s Lawrence Grobel, he immediately conjures up the feeling of a paradise lost, a nation set inexorably on an ever-darker path juxtaposed against a last bastion of hope almost faded away.

I was even more primed for Henry Fonda for President than normal, as I was enlisted by Jordan Cronk to transcribe his interview with Horwath for Film Comment. The conversation was much longer than space allowed for, but one tidbit that did make it in was the unavoidable comparison to and inspiration of Thom Andersen’s Los Angeles Plays Itself; indeed, the legendary filmmaker came to the Los Angeles premiere of Horwath’s film. Certainly, there are many similarities to be found: an openly analytical, sociopolitical approach to cinephilia and the essay film, the three-hour runtime, the mix of film clips, footage shot on location at the sites of the former, and voiceover. That last point marks a fascinating point of divergence: Andersen’s is far more openly opinionated, witty, sarcastic, and somehow sincere in all the ways that make Los Angeles Plays Itself among the greatest of films, yet it was given by Encke King. Horwath speaks more neutrally but uses his own voice, and interweaves his own German words with Fonda’s recorded interview that asserts a certain objectivity, even as he makes all the logical assertions expected of an incisive scholar.

Henry Fonda for President is, of course, much closer to a biography of the legendary actor than it is a recounting of American history from the mid-1600s to 1981, but the latter is made possible by the sheer number of noteworthy films the former made that were strewn across time and brought to the forefront by Horwath’s generally chronological progression. Along the way, he makes some astonishing detours, including some brilliant digressions into Taxi Driver and Easy Rider, and while this does not quite possess the dynamism of Los Angeles Plays Itself, the steady, ruminative tone that Horwath establishes privileges the text and the man above all else. It is entirely to his credit that Horwath does not appear to ascribe to the clichéd notion of Fonda as simply an American paragon; his onscreen and personal lives are too multifaceted and anguished to support that kind of reading. Equally importantly, he still fully commits to the image of Fonda being proffered in a given text, incorporating the canonical films while also spending a surprising amount of time on lesser-known works, even giving over some of the most emotional cruxes to films like The Best Man and My Name Is Nobody. It is the kind of film that allows for, if not openly invites, room for extratextual associations: a brief interpolation of footage of elderly Fonda and John Ford revisiting the site of the final shot of Young Mr. Lincoln irresistibly brought to mind David Lynch’s portrayal of the latter in The Fabelmans, and I immediately became emotional in an entirely unexpected way.

Horwath’s own journey through America (mostly filmed at the tail end of the pandemic in 2021) doesn’t aim for the vibrancy of Deborah Stratman’s 16mm images in Los Angeles Plays Itself, but the separate immediacy of his HD digital video makes for a compelling contrast between the often variable sources of these entirely celluloid productions. The gulf in time is even greater, and even though Henry Fonda for President thankfully draws as few parallels to our current, analogous political situation as possible—some choice shots of a Trump impersonator dancing in Times Square, as part of a sequence that weaves together Fonda’s early Broadway success and Hamilton—the impression is of these places that, in some way or another, have largely fallen into a recursive image of themselves, a relatively young history nevertheless committed to a not unreasonable sense of self-preservation. Of course, the same is true of Fonda, and of Hollywood, and this brilliant film sees all of that with an inviting, ever-surprising eye.

2025 First Watches

Ryan Swen Lists Tags: ,

Old
New

Renewed Appreciation: Devil in a Blue Dress, Reservoir Dogs, Ugetsu Monogatari, Pickpocket, L for Leisure, Hermia & Helena, Viola, What You Gonna Do When the World’s on Fire?, The Other Side, Pulp Fiction, Taste of Cherry, The Thin Blue Line, Raiders of the Lost Ark, Kill Bill, Journey to the West, Boogie Nights, Minority Report, A Man Escaped, Isabella, Frances Ha, The Terminator, Memoria, Stranger Eyes, Goodbye CP, The Master, Melancholia, The Incredibles, Slow Action, Punishment Park, RoboCop, Inglourious Basterds, Indiana Jones and the Last Crusade

Shorts: Ten Mornings Ten Evenings and One Horizon, sound of a million insects, light of a thousand stars, Scénarios, Shibuya – Tokyo, Tokyo – Ebisu, Being John Smith, 45 7 Broadway, Market Street, Walking on Water, Venice Pier, A Portrait of Ga, UFOs, Diamond Sutra, 16-18-4, No Form, Sketch Film #1, The Night, Samadhi, Apollo, Incident, Sleepwalk, Lumphini 2552, Amusement Ride, When the Sun Is Eaten (Chi’bal K’iin), Light, Noise, Smoke and Light, Noise, Smoke, I Forgot!, The Tony Longo Trilogy, Exposé du film annonce du film “Scénario,” Sketch Film #2, Trafic, Manhattan One Two Three Four, In the Mood for Love 2001, Single Belief, New York Eye and Ear Control, Phenomena, Side Phase Drift, Olympiad, Sketch Film #4, That I’m Falling?, Momentum, D. M. T., Sketch Film #5, Into the Mass, Sketch Film #3, Sycorax, Clear Blue Sky, Hotel Chevalier, I Wasn’t There, False Expectations, A Letter to Uncle Boonmee, The Whirled, Magnetic Point, Grandma’s Scissors, Urth, Luminous Veil, Equinox, Madam Butterfly, Polly Two, It follows It passes on, Senseless, Hua yang de nian hua, Hand Held Day, Lapis, Fur Film vol.2: mirror mirror, birthday song (single channel), À propos de Nice, The Chicken, — ——-, Matrix III, A Short History, Preface to the Little Dialogue, transcript, off (I don’t know when to stop), Taris, Melting, Poemfield 7, Byjina Flores, Castello Cavalcanti, Binary Bit Patterns

  1. Ordet (1955, Carl Th. Dreyer) [June]
  2. To Have and Have Not (1944, Howard Hawks) [March]
  3. Day of Wrath (1943, Carl Th. Dreyer) [June]
  4. Sirāt (2025, Óliver Laxe) [September]
  5. Fat Girl (2001, Catherine Breillat) [April]
  6. Misericordia (2024, Alain Guiraudie) [February]
  7. The Emperor’s Naked Army Marches On (1987, Hara Kazuo) [April]
  8. One Battle After Another (2025, Paul Thomas Anderson) [September]
  9. Stranger Than Paradise (1984, Jim Jarmusch) [May]
  10. Resurrection (2025, Bi Gan) [October]
  11. The Thing From Another World (1951, Christian Nyby and Howard Hawks) [December]
  12. Anatomy of a Murder (1959, Otto Preminger) [March]
  13. Henry Fonda for President (2024, Alexander Horwath) [April]
  14. Love Affair(s) (2020, Emmanuel Mouret) [June]
  15. Extreme Private Eros: Love Song 1974 (1974, Hara Kazuo) [April]
  16. Last Chants for a Slow Dance (1977, Jon Jost) [June]
  17. No Bears (2022, Jafar Panahi) [June]
  18. Water and Power (1989, Pat O’Neill) [June]
  19. Modern Romance (1981, Albert Brooks) [July]
  20. Afternoons of Solitude (2024, Albert Serra) [June]
  21. Blue Moon (2025, Richard Linklater) [August]
  22. Se7en (1995, David Fincher) [June]
  23. The Plains (2022, David Easteal) [June]
  24. Tempting Heart (1999, Sylvia Chang) [October]
  25. Blue Collar (1978, Paul Schrader) [April]
  26. The Abyss (1989, James Cameron) [July]
  27. Kontinental ’25 (2025, Radu Jude) [October]
  28. A Silent Voice (2016, Yamada Naoko) [January]
  29. Unrest (2022, Cyril Schäublin) [June]
  30. Neighboring Sounds (2012, Kleber Mendonça Filho) [August]
  31. The Currents (2025, Milagros Mumenthaler) [October]
  32. What Does That Nature Say to You (2025, Hong Sang-soo) [October]
  33. It Was Just an Accident (2025, Jafar Panahi) [September]
  34. Minamata Mandala (2020, Hara Kazuo) [April]
  35. The Black Cat (1934, Edgar G. Ulmer) [August]
  36. Marty Supreme (2025, Josh Safdie) [November]
  37. 7 Walks With Mark Brown (2024, Pierre Creton & Vincent Barré) [September]
  38. Gremlins 2: The New Batch (1990, Joe Dante) [December]
  39. Escape From New York (1981, John Carpenter) [December]
  40. My Undesirable Friends: Part I—Last Air in Moscow (2024, Julia Loktev) [October]
  41. Saturday Night Fever (1977, John Badham) [May]
  42. The Sugarland Express (1974, Steven Spielberg) [April]
  43. Pump Up the Volume (1990, Allan Moyle) [March]
  44. Tongues Untied (1989, Marlon Riggs) [May]
  45. A Lake (2008, Philippe Grandrieux) [June]
  46. The Secret Agent (2025, Kleber Mendonça Filho) [September]
  47. Sand (2018, Tsai Ming-liang) [August]
  48. Father Mother Sister Brother (2025, Jim Jarmusch) [October]
  49. Lost in America (1985, Albert Brooks) [July]
  50. Below the Clouds (2025, Gianfranco Rosi) [September]
  51. Parking (2008, Chung Mong-hong) [May]
  52. Point Break (1991, Kathryn Bigelow) [July]
  53. The Mastermind (2025, Kelly Reichardt) [September]
  54. The Phoenician Scheme (2025, Wes Anderson) [May]
  55. Bitter Money (2016, Wang Bing) [October]
  56. DIRECT ACTION (2024, Guillaume Cailleau & Ben Russell) [May]
  57. Nouvelle Vague (2025, Richard Linklater) [November]
  58. Love Hotel (1985, Somai Shinji) [April]
  59. Easy Living (1937, Mitchell Leisen) [February]
  60. Nadja (1994, Michael Almereyda) [April]
  61. Night of the Demon (1957, Jacques Tourneur) [October]
  62. Those That, at a Distance, Resemble Another (2019, Jessica Sarah Rinland) [July]
  63. Broken Rage (2024, Kitano Takeshi) [February]
  64. Miroirs No. 3 (2025, Christian Petzold) [September]
  65. Pin de fartie (2025, Alejo Moguillansky) [October]
  66. Abiding Nowhere (2024, Tsai Ming-liang) [August]
  67. Debut, or, Objects of the Field of Debris as Currently Catalogued (2025, Julian Castronovo) [April]
  68. Dracula (2025, Radu Jude) [September]
  69. Nightshift (1981, Robina Rose) [April]
  70. Hail the Conquering Hero (1944, Preston Sturges) [May]
  71. The Missing (2003, Lee Kang-sheng) [September]
  72. The Eternal Daughter (2022, Joanna Hogg) [June]
  73. If I Had Legs I’d Kick You (2025, Mary Bronstein) [September]
  74. Despite the Night (2015, Philippe Grandrieux) [June]
  75. One False Move (1992, Carl Franklin) [May]
  76. Predators (2025, David Osit) [April]
  77. Egg and Stone (2012, Huang Ji) [August]
  78. Magellan (2025, Lav Diaz) [September]
  79. Mission: Impossible—The Final Reckoning (2025, Christopher McQuarrie) [May]
  80. An Evening Song (for three voices) (2023, Graham Swon) [May]
  81. Invention (2024, Courtney Stephens) [April]
  82. Yes (2025, Nadav Lapid) [October]
  83. Familiar Touch (2024, Sarah Friedland) [June]
  84. A Prince (2023, Pierre Creton) [September]
  85. Sinners (2025, Ryan Coogler) [April]
  86. Happyend (2024, Sora Neo) [April]
  87. Suburban Fury (2024, Robinson Devor) [October]
  88. Ed Wood (1994, Tim Burton) [October]
  89. Fire of Wind (2024, Marta Mateus) [April]
  90. Fast, Cheap & Out of Control (1997, Errol Morris) [April]
  91. The Damned (2024, Roberto Minervini) [June]
  92. Peter Hujar’s Day (2025, Ira Sachs) [September]
  93. Videoheaven (2025, Alex Ross Perry) [August]
  94. Christmas, Again (2014, Charles Poekel) [December]
  95. The Fence (2025, Claire Denis) [November]
  96. The Breaking Point (1950, Michael Curtiz) [June]
  97. It Happened One Night (1934, Frank Capra) [May]
  98. Last Days (2005, Gus Van Sant) [June]
  99. Coming to Terms (2013, Jon Jost) [April]
  100. A Land Imagined (2018, Yeo Siew Hua) [September]
  101. Eadweard Muybridge, Zoopraxographer (1975, Thom Andersen) [September]
  102. Help Me Eros (2007, Lee Kang-sheng) [September]
  103. Monkey Business (1931, Norman Z. McLeod) [August]
  104. Rich and Famous (1981, George Cukor) [May]
  105. The Smashing Machine (2025, Benny Safdie) [September]
  106. Late Fame (2025, Kent Jones) [September]
  107. Is This Thing On? (2025, Bradley Cooper) [October]
  108. No Sleep Till (2024, Alexandra Simpson) [April]
  109. I Only Rest in the Storm (2025, Pedro Pinho) [September]
  110. Jay Kelly (2025, Noah Baumbach) [October]
  111. Short Stay (2016, Ted Fendt) [January]
  112. The Heroic Trio (1993, Johnnie To) [May]
  113. Sound of Falling (2025, Mascha Schilinski) [November]
  114. The Passage (2011, Roberto Minervini) [June]
  115. Escape From L.A. (1996, John Carpenter) [December]
  116. Go, Toto! (2017, Pierre Creton) [September]
  117. The Love That Remains (2025, Hlynur Pálmason) [November]
  118. Duel (1971, Steven Spielberg) [April]
  119. John Lilly and the Earth Coincidence Control Office (2025, Michael Almereyda & Courtney Stephens) [April]
  120. A New Life (2002, Philippe Grandrieux) [June]
  121. Brand New Landscape (2025, Danzuka Yuiga) [November]
  122. No Other Choice (2025, Park Chan-wook) [September]
  123. L.A. Confidential (1997, Curtis Hanson) [August]
  124. My Stinking Kid (2004, Lee Kang-sheng & Tsai Ming-liang) [September]
  125. Rose of Nevada (2025, Mark Jenkin) [September]
  126. Avatar: Fire and Ash (2025, James Cameron) [December]
  127. Black Bag (2025, Steven Soderbergh) [March]
  128. Cent mille milliards (2024, Virgil Vernier) [April]
  129. Bogancloch (2024, Ben Rivers) [September]
  130. Collective Monologue (2024, Jessica Sarah Rinland) [July]
  131. Measures for a Funeral (2024, Sofia Bohdanowicz) [June]
  132. American Gigolo (1980, Paul Schrader) [April]
  133. Blue Strait (2015, Jon Jost) [April]
  134. After the Hunt (2025, Luca Guadagnino) [September]
  135. Your Touch Makes Others Invisible (2025, Rajee Samarasinghe) [December]
  136. The Ballad of Suzanne Césaire (2024, Madeleine Hunt-Ehrlich) [July]
  137. Mr. 3000 (2004, Charles Stone III) [May]
  138. We Are the Fruits of the Forest (2025, Panh Rithy) [October]
  139. The Foolish Bird (2017, Huang Ji & Otsuka Ryuji) [August]
  140. Kokuho (2025, Lee Sang-il) [September]
  141. Amiko (2017, Yamanaka Yoko) [May]
  142. Last Life in the Universe (2003, Pen-ek Ratanaruang) [July]
  143. Blue Sun Palace (2024, Constance Tsang) [May]
  144. After the Rain (2021, Fan Jian) [March]
  145. In the Lost Lands (2025, Paul W. S. Anderson) [March]
  146. Times Square (1980, Allan Moyle) [March]
  147. Sombre (1998, Philippe Grandrieux) [June]
  148. Permanent Green Light (2018, Dennis Cooper & Zac Farley) [April]
  149. April (2024, Dea Kulumbegashvili) [April]
  150. Left-Handed Girl (2025, Tsou Shih-ching) [October]
  151. The Little Sister (2025, Hafsia Herzi) [November]
  152. Den of Thieves: Pantera (2025, Christian Gudegast) [January]
  153. Wild Foxes (2025, Valéry Carnoy) [November]
  154. Pillion (2025, Harry Lighton) [November]
  155. Escape From the 21st Century (2024, Li Yang) [June]
  156. Breathless (2024, James Benning) [February]
  157. They All Lie (2009, Matías Piñeiro) [March]
  158. Sleep #2 (2024, Radu Jude) [April]
  159. Eight Postcards From Utopia (2024, Radu Jude & Christian Ferencz-Flatz) [April]
  160. The Iron Giant (1999, Brad Bird) [March]
  161. DeadEndz (2023, Jon Jost) [June]
  162. Mickey 17 (2025, Bong Joon-ho) [March]
  163. Romería (2025, Carla Simón) [September]
  164. Wake Up Dead Man (2025, Rian Johnson) [December]
  165. The Things You Kill (2025, Alireza Khatami) [November]
  166. Dead Man’s Wire (2025, Gus Van Sant) [October]
  167. A Private Life (2025, Rebecca Zlotowski) [October]
  168. Highest 2 Lowest (2025, Spike Lee) [August]
  169. Magic Farm (2025, Amalia Ulman) [April]
  170. Her Will Be Done (2025, Julia Kowalski) [November]
  171. Dracula (1931, Tod Browning) [October]
  172. 12 Angry Men (1957, Sidney Lumet) [April]
  173. The World to Come (2020, Mona Fastvold) [June]
  174. Bugonia (2025, Yorgos Lanthimos) [October]
  175. Norma Rae (1979, Martin Ritt) [August]
  176. Gaucho Gaucho (2024, Michael Dweck & Gregory Kershaw) [February]
  177. Urchin (2025, Harris Dickinson) [October]
  178. Hummingbirds (2023, Silvia Del Carmen Castaños & Estefanía “Beba” Contreras) [February]
  179. Room Temperature (2025, Dennis Cooper & Zac Farley) [April]
  180. Daughter’s Daughter (2024, Huang Xi) [October]
  181. The Testament of Ann Lee (2025, Mona Fastvold) [November]
  182. The Girls We Want (2025, Prïncia Car) [November]
  183. A Brief History of Time (1991, Errol Morris) [April]
  184. Zodiac Killer Project (2025, Charlie Shackleton) [April]
  185. Sentimental Value (2025, Joachim Trier) [September]
  186. Sorry, Baby (2025, Eva Victor) [March]
  187. Anemone (2025, Ronan Day-Lewis) [October]
  188. Hamnet (2025, Chloé Zhao) [October]
  189. Springsteen: Deliver Me From Nowhere (2025, Scott Cooper) [October]
  190. F1 (2025, Joseph Kosinski) [November]
  191. Ballerina (2025, Len Wiseman) [June]
  192. Key Largo (1948, John Huston) [March]
  193. Materialists (2025, Celine Song) [June]
  194. The Wild Robot (2024, Chris Sanders) [March]
  195. Vox Lux (2018, Brady Corbet) [June]
  196. Eddington (2025, Ari Aster) [July]
  197. Frankenstein (2025, Guillermo del Toro) [October]
  198. Double Happiness (2025, Joseph Hsu) [October]
  199. The History of Sound (2025, Oliver Hermanus) [August]
  200. Beau Is Afraid (2023, Ari Aster) [May]
  201. The Apprentice (2024, Ali Abbasi) [March]
  202. KPop Demon Hunters (2025, Maggie Kang & Chris Appelhans) [December]
  203. The Actor (2025, Duke Johnson) [February]
  204. Mongrel (2024, Chiang Wei-liang & Yin You-qiao) [April]
  205. Train Dreams (2025, Clint Bentley) [November]
  206. Preparation for the Next Life (2025, Liu Bing) [August]
  207. Patrice: The Movie (2024, Ted Passon) [February]
  208. A House of Dynamite (2025, Kathryn Bigelow) [September]
  209. Ballad of a Small Player (2025, Edward Berger) [October]
  210. Die My Love (2025, Lynne Ramsay) [October]
  211. Saturday Night (2024, Jason Reitman) [January]
  212. Honey Don’t! (2025, Ethan Coen) [August]
  213. The Voice of Hind Rajab (2025, Kaouther Ben Hania) [October]

Old

  1. Ordet (1955, Carl Th. Dreyer)
  2. To Have and Have Not (1944, Howard Hawks)
  3. Day of Wrath (1943, Carl Th. Dreyer)
  4. Fat Girl (2001, Catherine Breillat)
  5. The Emperor’s Naked Army Marches On (1987, Hara Kazuo)
  6. Stranger Than Paradise (1984, Jim Jarmusch)
  7. The Thing From Another World (1951, Christian Nyby and Howard Hawks)
  8. Anatomy of a Murder (1959, Otto Preminger)
  9. Love Affair(s) (2020, Emmanuel Mouret)
  10. Extreme Private Eros: Love Song 1974 (1974, Hara Kazuo)
  11. Last Chants for a Slow Dance (1977, Jon Jost)
  12. No Bears (2022, Jafar Panahi)
  13. Water and Power (1989, Pat O’Neill)
  14. Modern Romance (1981, Albert Brooks)
  15. Se7en (1995, David Fincher)
  16. The Plains (2022, David Easteal)
  17. Tempting Heart (1999, Sylvia Chang)
  18. Blue Collar (1978, Paul Schrader)
  19. The Abyss (1989, James Cameron)
  20. A Silent Voice (2016, Yamada Naoko)
  21. Unrest (2022, Cyril Schäublin)
  22. Neighboring Sounds (2012, Kleber Mendonça Filho)
  23. Minamata Mandala (2020, Hara Kazuo)
  24. The Black Cat (1934, Edgar G. Ulmer)
  25. Gremlins 2: The New Batch (1990, Joe Dante)
  26. Escape From New York (1981, John Carpenter)
  27. Saturday Night Fever (1977, John Badham)
  28. The Sugarland Express (1974, Steven Spielberg)
  29. Pump Up the Volume (1990, Allan Moyle)
  30. Tongues Untied (1989, Marlon Riggs)
  31. A Lake (2008, Philippe Grandrieux)
  32. Sand (2018, Tsai Ming-liang)
  33. Lost in America (1985, Albert Brooks)
  34. Parking (2008, Chung Mong-hong)
  35. Point Break (1991, Kathryn Bigelow)
  36. Bitter Money (2016, Wang Bing)
  37. Love Hotel (1985, Somai Shinji)
  38. Easy Living (1937, Mitchell Leisen)
  39. Nadja (1994, Michael Almereyda)
  40. Night of the Demon (1957, Jacques Tourneur)
  41. Those That, at a Distance, Resemble Another (2019, Jessica Sarah Rinland)
  42. Nightshift (1981, Robina Rose)
  43. Hail the Conquering Hero (1944, Preston Sturges)
  44. The Missing (2003, Lee Kang-sheng)
  45. The Eternal Daughter (2022, Joanna Hogg)
  46. Despite the Night (2015, Philippe Grandrieux)
  47. One False Move (1992, Carl Franklin)
  48. Egg and Stone (2012, Huang Ji)
  49. Ed Wood (1994, Tim Burton)
  50. Fast, Cheap & Out of Control (1997, Errol Morris)
  51. Christmas, Again (2014, Charles Poekel)
  52. The Breaking Point (1950, Michael Curtiz)
  53. It Happened One Night (1934, Frank Capra)
  54. Last Days (2005, Gus Van Sant)
  55. Coming to Terms (2013, Jon Jost)
  56. A Land Imagined (2018, Yeo Siew Hua)
  57. Eadweard Muybridge, Zoopraxographer (1975, Thom Andersen)
  58. Help Me Eros (2007, Lee Kang-sheng)
  59. Monkey Business (1931, Norman Z. McLeod)
  60. Rich and Famous (1981, George Cukor)
  61. Short Stay (2016, Ted Fendt)
  62. The Heroic Trio (1993, Johnnie To)
  63. The Passage (2011, Roberto Minervini)
  64. Escape From L.A. (1996, John Carpenter)
  65. Go, Toto! (2017, Pierre Creton)
  66. Duel (1971, Steven Spielberg)
  67. A New Life (2002, Philippe Grandrieux)
  68. L.A. Confidential (1997, Curtis Hanson)
  69. My Stinking Kid (2004, Lee Kang-sheng & Tsai Ming-liang)
  70. American Gigolo (1980, Paul Schrader)
  71. Blue Strait (2015, Jon Jost)
  72. Mr. 3000 (2004, Charles Stone III)
  73. The Foolish Bird (2017, Huang Ji & Otsuka Ryuji)
  74. Amiko (2017, Yamanaka Yoko)
  75. Last Life in the Universe (2003, Pen-ek Ratanaruang)
  76. After the Rain (2021, Fan Jian)
  77. Times Square (1980, Allan Moyle)
  78. Sombre (1998, Philippe Grandrieux)
  79. Permanent Green Light (2018, Dennis Cooper & Zac Farley)
  80. They All Lie (2009, Matías Piñeiro)
  81. The Iron Giant (1999, Brad Bird)
  82. Dracula (1931, Tod Browning)
  83. 12 Angry Men (1957, Sidney Lumet)
  84. The World to Come (2020, Mona Fastvold)
  85. Norma Rae (1979, Martin Ritt)
  86. A Brief History of Time (1991, Errol Morris)
  87. Key Largo (1948, John Huston)
  88. Vox Lux (2018, Brady Corbet)

New

  1. Sirāt (Óliver Laxe)
  2. Misericordia (Alain Guiraudie)
  3. One Battle After Another (Paul Thomas Anderson)
  4. Resurrection (Bi Gan)
  5. Henry Fonda for President (Alexander Horwath)
  6. Afternoons of Solitude (Albert Serra)
  7. Blue Moon (Richard Linklater)
  8. Kontinental ’25 (Radu Jude)
  9. The Currents (Milagros Mumenthaler)
  10. What Does That Nature Say to You (Hong Sang-soo)
  11. It Was Just an Accident (Jafar Panahi)
  12. Marty Supreme (Josh Safdie)
  13. 7 Walks With Mark Brown (Pierre Creton & Vincent Barré)
  14. My Undesirable Friends: Part I—Last Air in Moscow (Julia Loktev)
  15. The Secret Agent (Kleber Mendonça Filho)
  16. Father Mother Sister Brother (Jim Jarmusch)
  17. Below the Clouds (Gianfranco Rosi)
  18. The Mastermind (Kelly Reichardt)
  19. The Phoenician Scheme (Wes Anderson)
  20. DIRECT ACTION (Guillaume Cailleau & Ben Russell)
  21. Nouvelle Vague (Richard Linklater)
  22. Broken Rage (Kitano Takeshi)
  23. Miroirs No. 3 (Christian Petzold)
  24. Pin de fartie (Alejo Moguillansky)
  25. Abiding Nowhere (Tsai Ming-liang)
  26. Debut, or, Objects of the Field of Debris as Currently Catalogued (Julian Castronovo)
  27. Dracula (Radu Jude)
  28. If I Had Legs I’d Kick You (Mary Bronstein)
  29. Predators (David Osit)
  30. Magellan (Lav Diaz)
  31. Mission: Impossible—The Final Reckoning (Christopher McQuarrie)
  32. An Evening Song (for three voices) (Graham Swon)
  33. Invention (Courtney Stephens)
  34. Yes (Nadav Lapid)
  35. Familiar Touch (Sarah Friedland)
  36. A Prince (Pierre Creton)
  37. Sinners (Ryan Coogler)
  38. Happyend (Sora Neo)
  39. Suburban Fury (Robinson Devor)
  40. Fire of Wind (Marta Mateus)
  41. The Damned (Roberto Minervini)
  42. Peter Hujar’s Day (Ira Sachs)
  43. Videoheaven (Alex Ross Perry)
  44. The Fence (Claire Denis)
  45. The Smashing Machine (Benny Safdie)
  46. Late Fame (Kent Jones)
  47. Is This Thing On? (Bradley Cooper)
  48. No Sleep Till (Alexandra Simpson)
  49. I Only Rest in the Storm (Pedro Pinho)
  50. Jay Kelly (Noah Baumbach)
  51. Sound of Falling (Mascha Schilinski)
  52. The Love That Remains (Hlynur Pálmason)
  53. John Lilly and the Earth Coincidence Control Office (Michael Almereyda & Courtney Stephens)
  54. Brand New Landscape (Danzuka Yuiga)
  55. No Other Choice (Park Chan-wook)
  56. Rose of Nevada (Mark Jenkin)
  57. Avatar: Fire and Ash (James Cameron)
  58. Black Bag (Steven Soderbergh)
  59. Cent mille milliards (Virgil Vernier)
  60. Bogancloch (Ben Rivers)
  61. Collective Monologue (Jessica Sarah Rinland)
  62. Measures for a Funeral (Sofia Bohdanowicz)
  63. After the Hunt (Luca Guadagnino)
  64. Your Touch Makes Others Invisible (Rajee Samarasinghe)
  65. The Ballad of Suzanne Césaire (Madeleine Hunt-Ehrlich)
  66. We Are the Fruits of the Forest (Panh Rithy)
  67. Kokuho (Lee Sang-il)
  68. Blue Sun Palace (Constance Tsang)
  69. In the Lost Lands (Paul W. S. Anderson)
  70. April (Dea Kulumbegashvili)
  71. Left-Handed Girl (Tsou Shih-ching)
  72. The Little Sister (Hafsia Herzi)
  73. Den of Thieves: Pantera (Christian Gudegast)
  74. Wild Foxes (Valéry Carnoy)
  75. Pillion (Harry Lighton)
  76. Escape From the 21st Century (Li Yang)
  77. Breathless (James Benning)
  78. Sleep #2 (Radu Jude)
  79. Eight Postcards From Utopia (Radu Jude & Christian Ferencz-Flatz)
  80. DeadEndz (Jon Jost)
  81. Mickey 17 (Bong Joon-ho)
  82. Romería (Carla Simón)
  83. Wake Up Dead Man (Rian Johnson)
  84. The Things You Kill (Alireza Khatami)
  85. Dead Man’s Wire (Gus Van Sant)
  86. A Private Life (Rebecca Zlotowski)
  87. Highest 2 Lowest (Spike Lee)
  88. Magic Farm (Amalia Ulman)
  89. Her Will Be Done (Julia Kowalski)
  90. Bugonia (Yorgos Lanthimos)
  91. Gaucho Gaucho (Michael Dweck & Gregory Kershaw)
  92. Urchin (Harris Dickinson)
  93. Hummingbirds (Silvia Del Carmen Castaños & Estefanía “Beba” Contreras)
  94. Room Temperature (Dennis Cooper & Zac Farley)
  95. Daughter’s Daughter (Huang Xi)
  96. The Testament of Ann Lee (Mona Fastvold)
  97. The Girls We Want (Prïncia Car)
  98. Zodiac Killer Project (Charlie Shackleton)
  99. Sentimental Value (Joachim Trier)
  100. Sorry, Baby (Eva Victor)
  101. Anemone (Ronan Day-Lewis)
  102. Hamnet (Chloé Zhao)
  103. Springsteen: Deliver Me From Nowhere (Scott Cooper)
  104. F1 (Joseph Kosinski)
  105. Ballerina (Len Wiseman)
  106. Materialists (Celine Song)
  107. The Wild Robot (Chris Sanders)
  108. Eddington (Ari Aster)
  109. Frankenstein (Guillermo del Toro)
  110. Double Happiness (Joseph Hsu)
  111. The History of Sound (Oliver Hermanus)
  112. Beau Is Afraid (Ari Aster)
  113. The Apprentice (Ali Abbasi)
  114. KPop Demon Hunters (Maggie Kang & Chris Appelhans)
  115. The Actor (Duke Johnson)
  116. Mongrel (Chiang Wei-liang & Yin You-qiao)
  117. Train Dreams (Clint Bentley)
  118. Preparation for the Next Life (Liu Bing)
  119. Patrice: The Movie (Ted Passon)
  120. A House of Dynamite (Kathryn Bigelow)
  121. Ballad of a Small Player (Edward Berger)
  122. Die My Love (Lynne Ramsay)
  123. Saturday Night (Jason Reitman)
  124. Honey Don’t! (Ethan Coen)
  125. The Voice of Hind Rajab (Kaouther Ben Hania)

2025 Omnibus Log

Ryan Swen Lists Tags: ,

s001. Sycorax (2021, Lois Patiño & Matías Piñeiro) Television, Blu-ray 07 Jan – 8
s002. À propos de Nice (1930, Jean Vigo & Boris Kaufman) Television, Blu-ray 13 Jan – 7
s003. Taris (1931, Jean Vigo) Television, Blu-ray 13 Jan – 7
s004. A Letter to Uncle Boonmee (2009, Apichatpong Weerasethakul) Television, Blu-ray 13 Jan – 7
s005. The Second (2024, Taylor Ramos & Tony Zhou) Laptop, YouTube 14 Jan – 4
s006. +Fantasy Sentences (2017, Dane Komljen) Laptop, File 14 Jan – 8 [up from 6]
001. Short Stay (2016, Ted Fendt) Monitor, File 14 Jan – 7
t001. +Pilot (1990, Twin Peaks) Monitor, File 16 Jan
002. Saturday Night (2024, Jason Reitman) Television, File (Father) 18 Jan – 4
s007. Incident (2023, Bill Morrison) Monitor, File 19 Jan – 8
s008. Being John Smith (2024, John Smith) Monitor, File 19 Jan – 8
003. A Silent Voice (2016, Yamada Naoko) Monitor, File 21 Jan – 8
004. Den of Thieves: Pantera (2025, Christian Gudegast) Television, File (Father) 29 Jan – 7
s009. That I’m Falling? (2013, Eduardo Williams) Television, File 06 Feb – 8
s010. I Forgot! (2014, Eduardo Williams) Television, File 07 Feb – 8
005. +Breathless (1960, Jean-Luc Godard) Television, Blu-ray 07 Feb – 10
s011. A Portrait of Ga (1952, Margaret Tait) Monitor, File 08 Feb – 8
s012. Bottle Rocket (1993, Wes Anderson) Monitor, File 11 Feb – 6
s013. Hotel Chevalier (2007, Wes Anderson) Monitor, File 11 Feb – 8
s014. Castello Cavalcanti (2013, Wes Anderson) Monitor, YouTube 11 Feb – 7
006. +A Real Pain (2024, Jesse Eisenberg) Television, File (Father) 11 Feb – 7
007. Breathless (2024, James Benning†) Monitor, File 16 Feb – 7
008. Hummingbirds (2023, Silvia Del Carmen Castaños^ & Estefanía “Beba” Contreras^) Monitor, Screener 17 Feb – 6
009. Broken Rage (2024, Kitano Takeshi) Television, File (Father) 18 Feb – 8
010. Patrice: The Movie (2024, Ted Passon^) Television, Hulu 22 Feb – 5
011. Gaucho Gaucho (2024, Michael Dweck^ & Gregory Kershaw^) Television, File 22 Feb – 6 [delay]
012. Misericordia (2024, Alain Guiraudie†) Sepulveda Screening Room, DCP (Friends) 26 Feb – 9
013. The Actor (2025, Duke Johnson) Sepulveda Screening Room, DCP (Friend) 27 Feb – 5
s015. +Nine Behind (2016, Sophy Romvari) Television, Criterion Channel 28 Feb – 6 [down from 7]
s016. It’s Him (2017, Sophy Romvari) Television, Criterion Channel 28 Feb – 6
s017. +Pumpkin Movie (2017, Sophy Romvari) Television, Criterion Channel 28 Feb – 6 [down from 7]
s018. Grandma’s House (2018, Sophy Romvari) Television, Criterion Channel 28 Feb – 6
s019. Norman Norman (2018, Sophy Romvari) Television, Criterion Channel 28 Feb – 6
s020. In Dog Years (2019, Sophy Romvari) Television, Criterion Channel 28 Feb – 6
s021. Remembrance of József Romvári (2020, Sophy Romvari) Television, Criterion Channel 28 Feb – 6
s022. It’s Pink, But Is It Mink? (1975, Robert McKimson) New Beverly, 35mm 28 Feb – 6
014. Easy Living (1937, Mitchell Leisen^) New Beverly, 35mm 28 Feb – 8
s023. +Still Processing (2020, Sophy Romvari) Television, Criterion Channel 28 Feb – 6
015. The Apprentice (2024, Ali Abbasi^) Television, File 01 Mar – 5 [delay]
s024. Teeny Weeny Meany (1966, Sid Marcus) New Beverly, 35mm 01 Mar – 6
016. +Raiders of the Lost Ark (1981, Steven Spielberg) New Beverly, 35mm 01 Mar – 10 [up from 9]
017. To Have and Have Not (1944, Howard Hawks) New Beverly, 35mm 01 Mar – 10
018. Key Largo (1948, John Huston) New Beverly, 35mm 01 Mar – 6
019. The Wild Robot (2024, Chris Sanders) Television, File 01 Mar – 6
020. Pump Up the Volume (1990, Allan Moyle^) AC Aero Theatre, 35mm (Director Q&A) 07 Mar – 8 [late]
021. Times Square (1980, Allan Moyle) AC Aero Theatre, DCP (Director Q&A) 07 Mar – 7
022. Mickey 17 (2025, Bong Joon-ho) AMC The Grove, DCP 08 Mar – 7
023. In the Lost Lands (2025, Paul W. S. Anderson) AMC The Grove, DCP 08 Mar – 7 [late]
024. +Isabella (2020, Matías Piñeiro) AC Aero Theatre, DCP (Friends, Director Q&A) 14 Mar – 8 [slight; up from 7]
025. +Viola (2012, Matías Piñeiro) AC Aero Theatre, DCP (Friends, Director Q&A) 14 Mar – 8 [late; up from 7]
026. +Hermia & Helena (2016, Matías Piñeiro) AC Los Feliz 3, DCP (Friend, Moderator) 15 Mar – 9 [up from 8]
027. They All Lie (2009, Matías Piñeiro) AC Los Feliz 3, DCP (Friends, Director Introduction) 15 Mar – 7 [slight]
s025. Preface to the Little Dialogue (2025, Matías Piñeiro) AC Egyptian Theatre, DCP (Friend, Director Q&A) 15 Mar – 7
028. +You Burn Me (2024, Matías Piñeiro) AC Egyptian Theatre, DCP (Friend, Director Q&A) 15 Mar – 7 [fragments]
029. After the Rain (2021, Fan Jian^) Culver Theater/Alula, LED (Director Q&A) 16 Mar – 7
030. Black Bag (2025, Steven Soderbergh) Culver Theater, LED 16 Mar – 7
s026. A Short History (2017, Erica Sheu) 2220 Arts + Archives/Acropolis Cinema, 16mm Dual Projection (Volunteer, Friends, Director Q&A) 18 Mar – 7
s027. the way home (2018, Erica Sheu) 2220 Arts + Archives/Acropolis Cinema, File (Volunteer, Friends, Director Q&A) 18 Mar – 6
s028. transcript (2019, Erica Sheu) 2220 Arts + Archives/Acropolis Cinema, File (Volunteer, Friends, Director Q&A) 18 Mar – 7
s029. pài-lak ē-poo (2020, Erica Sheu) 2220 Arts + Archives/Acropolis Cinema, 16mm (Volunteer, Friends, Director Q&A) 18 Mar – 6
s030. birthday song (single channel) (2021, Erica Sheu) 2220 Arts + Archives/Acropolis Cinema, 16mm (Volunteer, Friends, Director Q&A) 18 Mar – 7
s031. off (I don’t know when to stop) (2021, Erica Sheu) 2220 Arts + Archives/Acropolis Cinema, File (Volunteer, Friends, Director Q&A) 18 Mar – 7
s032. Grandma’s Scissors (2021, Erica Sheu) 2220 Arts + Archives/Acropolis Cinema, File (Volunteer, Friends, Director Q&A) 18 Mar – 7
s033. Fur Film vol.2: mirror mirror (2022, ЯeaRflex) 2220 Arts + Archives/Acropolis Cinema, File (Volunteer, Friends, Director Q&A) 18 Mar – 7
s034. It follows It passes on (2022, Erica Sheu) 2220 Arts + Archives/Acropolis Cinema, File (Volunteer, Friends, Director Q&A) 18 Mar – 7
s035. False Expectations (2023, Erica Sheu) 2220 Arts + Archives/Acropolis Cinema, 16mm Triple Projection (Live Score, Volunteer, Friends, Director Q&A) 18 Mar – 8
031. Anatomy of a Murder (1959, Otto Preminger) Vista Theater, 35mm 21 Mar – 9
032. +A Man Escaped (1956, Robert Bresson) New Beverly, 35mm 23 Mar – 10
033. +Pickpocket (1959, Robert Bresson) New Beverly, 35mm (Friend) 23 Mar – 9 [up from 8]
034. The Iron Giant (1999, Brad Bird) Egyptian Theatre, DCP (Friends, Director Q&A) 26 Mar – 7
035. +The Incredibles (2004, Brad Bird) Egyptian Theatre, DCP (Director Q&A) 26 Mar – 8
036. Sorry, Baby (2025, Eva Victor^†) CAA Ray Kurtzman Theater, DCP (Director Q&A) 28 Mar – 6
037. +Ugetsu Monogatari (1953, Mizoguchi Kenji) AC Los Feliz 3, 35mm 30 Mar – 10 [late; up from 8]
s036. Woolen Under Where (1963, Phil Monroe & Richard Thompson) New Beverly, 35mm 01 Apr – 6
038. Blue Collar (1978, Paul Schrader) New Beverly, 35mm 01 Apr – 9
039. American Gigolo (1980, Paul Schrader) New Beverly, 35mm 01 Apr – 7
040. Magic Farm (2025, Amalia Ulman) Vidiots, DCP (Friends, Director/Cast Q&A) [LAFM] 03 Apr – 6
041. Invention (2024, Courtney Stephens) 2220 Arts + Archives, DCP (Friend, Director/Actor Q&A) [LAFM] 04 Apr – 8 [slight]
042. Cent mille milliards (2024, Virgil Vernier) 2220 Arts + Archives, DCP (Director/Producer Q&A) [LAFM] 04 Apr – 7 [slight]
043. Nightshift (1981, Robina Rose^) 2220 Arts + Archives, DCP (Friend, Cooper Introduction) [LAFM] 05 Apr – 8 [intermittent]
044. Permanent Green Light (2018, Dennis Cooper^ & Zac Farley^) Television, File 05 Apr – 7 [delay]
045. Debut, or, Objects of the Field of Debris as Currently Catalogued (2025, Julian Catronovo^) 2220 Arts + Archives, DCP (Friends, Director Q&A) [LAFM] 05 Apr – 8
046. Room Temperature (2025, Dennis Cooper & Zac Farley) 2220 Arts + Archives, DCP (Directors/Cast Q&A) [LAFM] 05 Apr – 6 [slight]
047. Zodiac Killer Project (2025, Charlie Shackleton^) 2220 Arts + Archives, DCP (Friend, Director Q&A) [LAFM] 06 Apr – 6 [slight]
048. No Sleep Till (2024, Alexandra Simpson^) 2220 Arts + Archives, DCP (Friend, Director/Crew Q&A) [LAFM] 06 Apr – 7 [slight]
049. Happyend (2024, Sora Neo) Vidiots, DCP (Friend, Director/Producers Q&A) [LAFM] 06 Apr – 8
050. Mongrel (2024, Chiang Wei-liang^ & Yin You-qiao^†) Television, Screener 09 Apr – 5
051. 12 Angry Men (1957, Sidney Lumet) Television, File 09 Apr – 6 [delay]
052. Henry Fonda for President (2024, Alexander Horwath^) 2220 Arts + Archives/Acropolis Cinema, File (Volunteer, Director/Crew Q&A) 09 Apr – 9 [slight]
053. Eight Postcards From Utopia (2024, Radu Jude & Christian Ferencz-Flatz^) AC Los Feliz 3, DCP 10 Apr – 7 [late; slight]
054. Sleep #2 (2024, Radu Jude) AC Los Feliz 3, DCP 10 Apr – 7 [slight]
055. Fire of Wind (2024, Marta Mateus^) AC Los Feliz 3, DCP 11 Apr – 8 [late; intermittent]
056. Fast, Cheap & Out of Control (1997, Errol Morris) AC Los Feliz 3, 35mm (Director Q&A) 12 Apr – 8 [intermittent]
057. The Emperor’s Naked Army Marches On (1987, Hara Kazuo) AC Egyptian, DCP (Hader Introduction, Director Q&A) 12 Apr – 9
058. +The Thin Blue Line (1988, Errol Morris) AC Egyptian, 35mm (Director Q&A) 12 Apr – 8 [intermittent]
059. A Brief History of Time (1991, Errol Morris) AC Egyptian, 35mm (Director Q&A) 12 Apr – 6
060. Minamata Mandala (2020, Hara Kazuo) Television, File 13 Apr – 8 [delay]
061. +Goodbye CP (1972, Hara Kazuo) AC Los Feliz 3, DCP (Friend, Director Q&A) 14 Apr – 8 [late; intermittent]
062. Extreme Private Eros: Love Song 1974 (1974, Hara Kazuo) AC Los Feliz 3, DCP (Friend, Director Q&A) 15 Apr – 9 [slight]
063. Predators (2025, David Osit^) AC Los Feliz 3, DCP (Director Q&A) 16 Apr – 8
064. April (2024, Dea Kulumbegashvili†) Laemmle Glendale, DCP (Friend) 17 Apr – 7 [slight]
065. John Lilly and the Earth Coincidence Control Office (2025, Michael Almereyda & Courtney Stephens) AC Los Feliz 3, DCP (Directors Q&A) 17 Apr – 7 [slight]
066. Nadja (1994, Michael Almereyda) AC Los Feliz 3, 35mm (Friends, Director/Cinematographer Q&A) 20 Apr – 8
067. Duel (1971, Steven Spielberg) New Beverly, 35mm 21 Apr – 7 [slight]
068. The Sugarland Express (1974, Steven Spielberg) New Beverly, 35mm 21 Apr – 8
069. +Devil in a Blue Dress (1995, Carl Franklin) Egyptian Theatre, DCP (Director Q&A) 22 Apr – 8 [up from 6]
070. Love Hotel (1985, Somai Shinji) 2220 Arts + Archives/Acropolis Cinema, File (Volunteer, Friends) 23 Apr – 8
071. +In the Mood for Love (2000, Wong Kar-wai) Academy Museum, 35mm (Yang Introduction) 24 Apr – 10
072. Sinners (2025, Ryan Coogler) Regal Irvine Spectrum, IMAX 70mm 26 Apr – 8
073. Coming to Terms (2013, Jon Jost^) Television, Screener 30 Apr – 8
074. Blue Strait (2015, Jon Jost) Television, Screener 30 Apr – 7
075. Fat Girl (2001, Catherine Breillat) New Beverly, 35mm 30 Apr – 9 [slight]
076. +36 Fillette (1988, Catherine Breillat) New Beverly, 35mm 30 Apr – 8
077. DIRECT ACTION (2024, Guillaume Cailleau^ & Ben Russell^) 2220 Arts + Archives/Acropolis Cinema, File (Volunteer, Friend) 03 May – 8 [intermittent]
078. +Dog Day Afternoon (1975, Sidney Lumet) Egyptian Theatre, 35mm (Strauss Introduction) 05 May – 7 [up from 6]
079. +Dersu Uzala (1975, Kurosawa Akira) Egyptian Theatre, 35mm (Speaker) 07 May – 9 [up from 8]
080. Amiko (2017, Yamanaka Yoko) Television, File 10 May – 7
081. Beau Is Afraid (2023, Ari Aster) Television, File 16 May – 5
082. Parking (2008, Chung Mong-hong^) AC Los Feliz 3, 35mm (Director Q&A) 16 May – 8
083. Stranger Than Paradise (1984, Jim Jarmusch) AC Los Feliz 3, 35mm 18 May – 9 [late]
084. +Minority Report (2002, Steven Spielberg) AC Egyptian Theatre, 35mm (Friends) 18 May – 8 [slight; up from 7]
085. +RoboCop (1987, Paul Verhoeven) New Beverly, 35mm (Screenwriter Q&A) 21 May – 9
086. +The Terminator (1984, James Cameron) New Beverly, 35mm 21 May – 9 [up from 8]
087. Mission: Impossible—The Final Reckoning (2025, Christopher McQuarrie) AMC The Grove, DCP 22 May – 8 [late]
088. +Invention (2024, Courtney Stephens) Now Instant, DCP (Friend, Director/Actor Q&A) 23 May – 8
s037. Surf-Bored Cat (1967, Abe Levitow) New Beverly, 35mm 24 May – 6
089. +Jaws (1975, Steven Spielberg) New Beverly, 35mm 24 May – 9
090. It Happened One Night (1934, Frank Capra) Vista Theater, 35mm 25 May – 8
091. Hail the Conquering Hero (1944, Preston Sturges) AC Los Feliz 3, 35mm (Friend) 25 May – 8
092. Blue Sun Palace (2024, Constance Tsang^) AC Los Feliz 3, DCP (Friend, Producers Introduction) 25 May – 7
093. +The Master (2012, Paul Thomas Anderson) Academy Museum, 70mm 25 May – 9 [late; up from 8]
s038. Apollo (2003, Nishikawa Tomonari) Television, Vimeo 26 May – 8
s039. Sketch Film #1 (2005, Nishikawa Tomonari) Television, Vimeo 26 May – 8
s040. Sketch Film #2 (2005, Nishikawa Tomonari) Television, Vimeo 26 May – 8
s041. Market Street (2005, Nishikawa Tomonari) Television, Vimeo 26 May – 8
s042. Sketch Film #3 (2006, Nishikawa Tomonari) Television, Vimeo 26 May – 8
s043. Clear Blue Sky (2006, Nishikawa Tomonari) Television, Vimeo 26 May – 8
s044. Sketch Film #4 (2007, Nishikawa Tomonari) Television, Vimeo 26 May – 8
s045. Sketch Film #5 (2007, Nishikawa Tomonari) Television, Vimeo 26 May – 8
s046. Into the Mass (2007, Nishikawa Tomonari) Television, Vimeo 26 May – 8
s047. 16-18-4 (2008, Nishikawa Tomonari) Television, Vimeo 26 May – 8
s048. Lumphini 2552 (2009, Nishikawa Tomonari) Television, Vimeo 26 May – 8
s049. Tokyo – Ebisu (2010, Nishikawa Tomonari) Television, Vimeo 26 May – 9
s050. Shibuya – Tokyo (2010, Nishikawa Tomonari) Television, Vimeo 26 May – 9
s051. 45 7 Broadway (2013, Nishikawa Tomonari) Television, Vimeo 26 May – 8
s052. sound of a million insects, light of a thousand stars (2014, Nishikawa Tomonari) Television, Vimeo 26 May – 9
s053. Manhattan One Two Three Four (2014, Nishikawa Tomonari) Television, Vimeo 26 May – 8
s054. Luminous Veil (2016, Nishikawa Tomonari) Television, Vimeo 26 May – 7
s055. Ten Mornings Ten Evenings and One Horizon (2016, Nishikawa Tomonari) Television, Vimeo 26 May – 9
s056. Amusement Ride (2019, Nishikawa Tomonari) Television, Vimeo 26 May – 8
s057. Trafic (2021, Nishikawa Tomonari) Television, Vimeo 26 May – 8
s058. Magnetic Point (2023, Nishikawa Tomonari) Television, Vimeo 26 May – 7
s059. Light, Noise, Smoke and Light, Noise, Smoke (2023, Nishikawa Tomonari) Television, Vimeo 26 May – 8
094. Rich and Famous (1981, George Cukor) AC Los Feliz 3, 35mm (Longworth Introduction) 27 May – 8
095. One False Move (1992, Carl Franklin) New Beverly, 35mm (Friends) 27 May – 8
096. The Heroic Trio (1993, Johnnie To) Television, Blu-ray 28 May – 7
097. Tongues Untied (1989, Marlon Riggs^) Television, Blu-ray 28 May – 8
098. Mr. 3000 (2004, Charles Stone III^) Television, File 29 May – 7 [delay]
099. The Phoenician Scheme (2025, Wes Anderson) AMC The Grove, DCP 29 May – 8
100. An Evening Song (for three voices) (2023, Graham Swon) 2220 Arts + Archives/Acropolis Cinema, File (Volunteer, Friends, Director Q&A) 29 May – 8 [intermittent]
101. +Rope (1948, Alfred Hitchcock) Academy Museum, 35mm Nitrate (Koresky/Aster Q&A) 30 May – 8
s060. Fractured Friendship (1965, Sid Marcus) New Beverly, 35mm 31 May – 6
102. +Frances Ha (2012, Noah Baumbach) New Beverly, 35mm 31 May – 9
103. Saturday Night Fever (1977, John Badham^) AC Los Feliz 3, 35mm 31 May – 8 [late]
104. The Breaking Point (1950, Michael Curtiz) AC Los Feliz 3, 35mm (Connor Introduction) 01 Jun – 8
105. Last Chants for a Slow Dance (1977, Jon Jost) AC Los Feliz 3, DCP (Director Q&A) 01 Jun – 9 [late; slight]
106. DeadEndz (2023, Jon Jost) AC Los Feliz 3, DCP (Director Q&A) 01 Jun – 7 [late]
107. Despite the Night (2015, Philippe Grandrieux^) AC Los Feliz 3, DCP (Director Zoom Q&A) 01 Jun – 8 [slight]
108. Sombre (1998, Philippe Grandrieux) AC Aero Theatre, 35mm (Director Zoom Q&A) 02 Jun – 7 [late; technical]
109. A New Life (2002, Philippe Grandrieux) AC Aero Theatre, 35mm (Friend, Director Zoom Q&A) 02 Jun – 7 [slight]
110. A Lake (2008, Philippe Grandrieux) AC Los Feliz 3, 35mm (Director Zoom Q&A) 03 Jun – 8 [late; intermittent]
111. +Melancholia (2011, Lars von Trier) AC Egyptian Theatre, 35mm (Actor Q&A) 04 Jun – 8
112. The World to Come (2020, Mona Fastvold^) AC Los Feliz 3, 35mm (Director/Actor Q&A) 05 Jun – 6
113. Vox Lux (2018, Brady Corbet) AC Los Feliz 3, 35mm (Friend, Director/Screenwriter/Cinematographer Introduction) 05 Jun – 5
114. +Taste of Cherry (1997, Abbas Kiarostami) AC Los Feliz 3, 35mm (Speaker, Friends) 06 Jun – 10 [late; up from 9]
115. Last Days (2005, Gus Van Sant) AC Los Feliz 3, 35mm (Director Q&A) 06 Jun – 8 [late; intermittent]
116. Ordet (1955, Carl Th. Dreyer) Television, File 07 Jun – [delay]
117. Day of Wrath (1943, Carl. Th. Dreyer) AC Egyptian Theatre, 35mm Nitrate (Friends, Stoiber Introduction) 07 Jun – 10
118. +Clueless (1995, Amy Heckerling) Academy Museum, 35mm (Director/Cast/Crew Q&A) 07 Jun – 9
119. +Limbo (2021, Soi Cheang) AC Los Feliz 3, DCP (Speaker, Friends) 08 Jun – 9
120. Escape From the 21st Century (2024, Li Yang^) AMC Atlantic Times Square, DCP (Friends) 09 Jun – 7 [late]
121. The Damned (2024, Roberto Minervini) 2220 Arts + Archives/Acropolis Cinema, File (Volunteer, Director/Cinematographer/Actor Q&A) 13 Jun – 8 [slight]
122. The Passage (2011, Roberto Minervini) Brain Dead Studios/Acropolis Cinema, DCP (Volunteer, Friends, Director Q&A) 14 Jun – 7 [slight]
123. +The Other Side (2015, Roberto Minervini) 2220 Arts + Archives/Acropolis Cinema, File (Volunteer, Friend, Director Q&A) 15 Jun – 8 [slight]
124. Water and Power (1989, Pat O’Neill^) Philosophical Research Society/Los Angeles Filmforum, 16mm 15 Jun – 9 [intermittent; technical]
s061. Venice Pier (1976, Gary Beydler) Philosophical Research Society/Los Angeles Filmforum, 16mm 15 Jun – 8
s062. +Pasadena Freeway Stills (1974, Gary Beydler) Monitor, File 16 Jun – 8 [up from 7]
125. Ballerina (2025, Len Wiseman) AMC The Grove, DCP 17 Jun – 6
126. Materialists (2025, Celine Song) AMC The Grove, DCP 17 Jun – 6
127. Se7en (1995, David Fincher) Vista Theater, 35mm 22 Jun – 9 [late]
128. +What You Gonna Do When the World’s on Fire? (2018, Roberto Minervini) Brain Dead Studios/Acropolis Cinema, DCP (Volunteer, Friends) 23 Jun – 8 [slight]
s063. Hand Held Day (1975, Gary Beydler) Television, File 25 Jun – 7
s064. Scénarios (2024, Jean-Luc Godard) Television, File 25 Jun – 9
s065. Exposé du film annonce du film “Scénario” (2024, Jean-Luc Godard) Television, File 25 Jun – 8
129. Love Affair(s) (2020, Emmanuel Mouret) Television, File 25 Jun – 9 [delay]
130. The Plains (2022, David Easteal^) Television, File 25 Jun – 9 [delay]
131. No Bears (2022, Jafar Panahi) Television, File 25 Jun – 9 [delay]
132. Unrest (2022, Cyril Schäublin^) Television, File 25 Jun – 8 [delay]
133. The Eternal Daughter (2022, Joanna Hogg) Television, File 25 Jun – 8 [delay]
s066. Experiments in Motion Graphics (1968, John Whitney Sr.) 2220 Arts + Archives/Lightstruck, 16mm 26 Jun – 6
s067. Poemfield 7 (1968, Stan VanDerBeek & Ken Knowlton) 2220 Arts + Archives/Lightstruck, 16mm 26 Jun – 7
s068. Olympiad (1971, Lillian Schwartz & Ken Knowlton) 2220 Arts + Archives/Lightstruck, 16mm 26 Jun – 8
s069. UFOs (1971, Lillian Schwartz & Ken Knowlton) 2220 Arts + Archives/Lightstruck, 16mm 26 Jun – 8
s070. Byjina Flores (1966, John Whitney Jr.) 2220 Arts + Archives/Lightstruck, 16mm 26 Jun – 7
s071. Binary Bit Patterns (1969, Michael Whitney) 2220 Arts + Archives/Lightstruck, 16mm 26 Jun – 7
s072. Matrix III (1972, John Whitney Sr.) 2220 Arts + Archives/Lightstruck, 16mm 26 Jun – 7
s073. Lapis (1966, James Whitney) 2220 Arts + Archives/Lightstruck, 16mm 26 Jun – 7
s074. Phenomena (1965, Jordan Belson) 2220 Arts + Archives/Lightstruck, 16mm 26 Jun – 8
s075. Samadhi (1967, Jordan Belson) 2220 Arts + Archives/Lightstruck, 16mm 26 Jun – 8
s076. Momentum (1969, Jordan Belson) 2220 Arts + Archives/Lightstruck, 16mm 26 Jun – 8
s077. Side Phase Drift (1969, John Whitney Jr.) 2220 Arts + Archives/Lightstruck, 16mm Triple Projection 26 Jun – 8
134. Familiar Touch (2024, Sarah Friedland^) Laemmle Royal, DCP (Director/Actor Q&A) 28 Jun – 8
135. Measures for a Funeral (2024, Sofia Bohdanowicz) 2220 Arts + Archives/Acropolis Cinema, File (Volunteer, Friend, Director Q&A) 29 Jun – 7 [slight]
136. Afternoons of Solitude (2024, Albert Serra) AC Los Feliz 3, DCP (Friend) 30 Jun – 9 [slight]
137. +Reservoir Dogs (1992, Quentin Tarantino) Vista Theater, 35mm 08 Jul – 8 [up from 6]
138. +Pulp Fiction (1994, Quentin Tarantino) Vista Theater, 35mm 08 Jul – 9 [up from 8]
139. Those That, at a Distance, Resemble Another (2019, Jessica Sarah Rinland^) Television, File 08 Jul – 8 [delay]
140. Collective Monologue (2024, Jessica Sarah Rinland) 2220 Arts + Archives/Acropolis Cinema, File (Volunteer, Friend, Director Q&A) 08 Jul – 7 [intermittent]
141. The Abyss (1989, James Cameron) Academy Museum, 70mm (Producer, Crew Introduction) 09 Jul – 9
142. +Inglourious Basterds (2009, Quentin Tarantino) New Beverly, 35mm 11 Jul – 9 [up from 8]
143. +Moonrise Kingdom (2012, Wes Anderson) New Beverly, 35mm 12 Jul – 9
144. +Drive (2011, Nicolas Winding Refn) Academy Museum, 35mm (Composer Introduction) 12 Jul – 6
145. +Les Vampires (1915, Louis Feuillade) Academy Museum, DCP (Friend) 13 Jul – 10 [slight]
s078. In the Mood for Love 2001 (2001, Wong Kar-wai) Laemmle Glendale, DCP 17 Jul – 8
146. Point Break (1991, Kathryn Bigelow) New Beverly, 35mm 17 Jul – 8
147. +Indiana Jones and the Last Crusade (1989, Steven Spielberg) New Beverly, 35mm 19 Jul – 8 [up from 7]
148. Last Life in the Universe (2003, Pen-ek Ratanaruang^) AC Los Feliz 3, 35mm 19 Jul – 7
149. +PlayTime (1967, Jacques Tati) AC Egyptian Theatre, 70mm 20 Jul – 10 [late]
150. +Boogie Nights (1997, Paul Thomas Anderson) AC Egyptian Theatre, 70mm 20 Jul – 8
151. Eddington (2025, Ari Aster) AMC The Grove, DCP 22 Jul – 5 [late]
152. Lost in America (1985, Albert Brooks^) New Beverly, 35mm 22 Jul – 8
153. Modern Romance (1981, Albert Brooks) New Beverly, 35mm 22 Jul – 9
154. The Ballad of Suzanne Césaire (2024, Madeleine Hunt-Ehrlich^) 2220 Arts + Archives/Acropolis Cinema, File (Volunteer, Friend) 23 Jul – 7 [slight]
155. +Kill Bill (2004, Quentin Tarantino) Vista Theater, 35mm (Friend) 24 Jul – 9 [up from 8]
156. +The Little Mermaid (1989, John Musker & Ron Clements) Egyptian Theatre, DCP (Directors Q&A) 24 Jul – 6
s079. +Spectrum Reverse Spectrum (2014, Margaret Honda) AC Aero Theatre, 70mm (Director Q&A) 26 Jul – 8
s080. Equinox (2019, Margaret Honda) AC Aero Theatre, 70mm (Director Q&A) 26 Jul – 7
t002. A Fair Murderer (2006, Furuhata Ninzaburo) Monitor, File 27 Jul
157. +The Clock (1945, Vincente Minnelli) Television, File 01 Aug – 10
158. Neighboring Sounds (2012, Kleber Mendonça Filho) Television, Blu-ray 01 Aug – 8 [delay]
p001. Wild Man Blues (1997, Barbara Kopple) Television, File (Friend) 01 Aug
159. Abiding Nowhere (2024, Tsai Ming-liang) Television, File 06 Aug – 8
s081. No Form (2012, Tsai Ming-liang) AC Los Feliz 3, DCP 06 Aug – 8
s082. Hua yang de nian hua (2000, Wong Kar-wai) Television, Blu-ray 08 Aug – 7
160. Egg and Stone (2012, Huang Ji) Television, File 08 Aug – 8
161. Videoheaven (2025, Alex Ross Perry) AC Los Feliz 3, DCP (Friend) 08 Aug – 8
s083. Single Belief (2016, Lee Kang-sheng) Television, File 09 Aug – 8
162. The Foolish Bird (2017, Huang Ji & Otsuka Ryuji) Television, File 09 Aug – 7
163. +Stonewalling (2022, Huang Ji & Otsuka Ryuji) Television, File 09 Aug – 8
s084. +No Form (2012, Tsai Ming-liang) AC Aero Theatre, DCP (Friends, Director/Actor Q&A) 10 Aug – 8
s085. +Walker (2012, Tsai Ming-liang) AC Aero Theatre, DCP (Friends, Director/Actor Q&A) 10 Aug – 8
s086. Walking on Water (2013, Tsai Ming-liang) AC Aero Theatre, DCP (Friends, Director/Actor Q&A) 10 Aug – 8
164. +Journey to the West (2014, Tsai Ming-liang) AC Aero Theatre, DCP (Friends, Director/Actor Q&A) 10 Aug – 9 [slight; up from 8]
s087. +No No Sleep (2015, Tsai Ming-liang) AC Aero Theatre, DCP (Friends, Director/Actor Q&A) 10 Aug – 9
165. Sand (2018, Tsai Ming-liang) AC Aero Theatre, DCP (Friend, Director/Actor Q&A) 10 Aug – 8 [slight]
s088. Sleepwalk (2012, Tsai Ming-liang) AC Aero Theatre, DCP (Friend, Director/Actor Q&A) 10 Aug – 8
s089. Diamond Sutra (2012, Tsai Ming-liang) AC Aero Theatre, DCP (Friend, Director/Actor Q&A) 10 Aug – 8
166. +Where (2022, Tsai Ming-liang) AC Aero Theatre, DCP (Friend, Director/Actor Q&A) 10 Aug – 8 [slight]
167. +Abiding Nowhere (2024, Tsai Ming-liang) AC Aero Theatre, DCP (Friend, Director/Actor Q&A) 10 Aug – 8 [slight]
168. Norma Rae (1979, Martin Ritt^) Egyptian Theatre, DCP (Friends, Actor Q&A) 13 Aug – 6
169. Highest 2 Lowest (2025, Spike Lee) Regal L.A. Live, DCP 19 Aug – 6
170. L.A. Confidential (1997, Curtis Hanson^) Academy Museum, 35mm 20 Aug – 7 [late]
171. +L for Leisure (2014, Lev Kalman & Whitney Horn) Coaxial Arts/Shadow Kitchen, File (Director Q&A) 21 Aug – 9 [up from 8]
172. The History of Sound (2025, Oliver Hermanus^†) Wilshire Screening Room, DCP 22 Aug – 5 [late]
173. Monkey Business (1931, Norman Z. McLeod^) UCLA Billy Wilder Theater, DCP (Historian Introduction) 22 Aug – 8
174. The Black Cat (1934, Edgar G. Ulmer) UCLA Billy Wilder Theater, 35mm 22 Aug – 8
175. Preparation for the Next Life (2025, Liu Bing†) Culver Theater, LED (Director/Actor Q&A) 25 Aug – 5
176. Honey Don’t! (2025, Ethan Coen) AMC The Grove, DCP 27 Aug – 4 [late]
177. Blue Moon (2025, Richard Linklater†) Crescent Theater, DCP (Friends) 27 Aug – 9
178. A Land Imagined (2018, Yeo Siew Hua) Television, File 02 Sep – 8
179. +Stranger Eyes (2024, Yeo Siew Hua) Television, File 02 Sep – 8 [up from 7]
180. The Missing (2003, Lee Kang-sheng^) Television, File 03 Sep – 8
181. My Stinking Kid (2004, Lee Kang-sheng & Tsai Ming-liang) Television, File 03 Sep – 7
182. Help Me Eros (2007, Lee Kang-sheng) Television, File 03 Sep – 8
183. It Was Just an Accident (2025, Jafar Panahi) Crescent Theater, DCP (Director Q&A) 04 Sep – 8 [late]
184. After the Hunt (2025, Luca Guadagnino†) Culver Theater, DCP (Friend) 10 Sep – 7
185. +Pierrot le Fou (1965, Jean-Luc Godard) New Beverly, 35mm 10 Sep – 10 [slight]
s090. The Chicken (2020, Sora Neo) Television, Blu-ray 11 Sep – 7
s091. Melting (1965, Thom Andersen) Television, File 11 Sep – 7
s092. — ——- (1967, Thom Andersen & Malcolm Brodwick) Television, File 11 Sep – 7
186. The Smashing Machine (2025, Benny Safdie) DGA Theater, DCP (Director/Cast/Subject Q&A) 11 Sep – 8
187. A Prince (2023, Pierre Creton^) Television, File 13 Sep – 8
188. Eadweard Muybridge, Zoopraxographer (1975, Thom Andersen) Television, File 13 Sep – 8
189. 7 Walks With Mark Brown (2024, Pierre Creton & Vincent Barré^) 2220 Arts + Archives/Acropolis Cinema, File (Volunteer, Friends) 13 Sep – 8
190. Go, Toto! (2017, Pierre Creton) 2220 Arts + Archives/Acropolis Cinema, File (Volunteer, Friends) 13 Sep – 7
191. +Los Angeles Plays Itself (2003, Thom Andersen) Television, Blu-ray 13 Sep – 10
p002. Red Hollywood (1996, Thom Andersen & Noël Burch) Television, File 14 Sep
192. One Battle After Another (2025, Paul Thomas Anderson†) Warner Bros. Steven J. Ross Theater, VistaVision 35mm (Friends) 15 Sep – 9
s093. The Tony Longo Trilogy (2014, Thom Andersen) Television, Blu-ray 15 Sep – 8
193. Miroirs No. 3 (2025, Christian Petzold†) FLC Walter Reade Theater, DCP (Friends) [NYFF] 17 Sep – 8
194. The Mastermind (2025, Kelly Reichardt†) FLC Walter Reade Theater, DCP (Friends) [NYFF] 17 Sep – 8
195. Late Fame (2025, Kent Jones†) FLC Walter Reade Theater, DCP (Friends) [NYFF] 17 Sep – 7
196. No Other Choice (2025, Park Chan-wook†) FLC Walter Reade Theater, DCP (Friends) [NYFF] 17 Sep – 7
197. I Only Rest in the Storm (2025, Pedro Pinho^†) FLC Walter Reade Theater, DCP (Friend) [NYFF] 18 Sep – 7
198. Peter Hujar’s Day (2025, Ira Sachs†) FLC Walter Reade Theater, DCP (Friends) [NYFF] 18 Sep – 8
199. The Secret Agent (2025, Kleber Mendonça Filho†) FLC Walter Reade Theater, DCP (Friend) [NYFF] 18 Sep – 8
200. Sirāt (2025, Óliver Laxe†) FLC Walter Reade Theater, DCP (Friends) [NYFF] 18 Sep – 9
201. Magellan (2025, Lav Diaz†) FLC Walter Reade Theater, DCP (Friends) [NYFF] 19 Sep – 8
202. Below the Clouds (2025, Gianfranco Rosi†) FLC Walter Reade Theater, DCP (Friends) [NYFF] 19 Sep – 8
203. Rose of Nevada (2025, Mark Jenkin†) FLC Walter Reade Theater, DCP (Friends) [NYFF] 19 Sep – 7
204. Romería (2025, Carla Simón^†) FLC Walter Reade Theater, DCP (Friends) [NYFF] 19 Sep – 6
205. Kokuho (2025, Lee Sang-il^†) Television, Screener 21 Sep – 7
s094. The Whirled (1961, Ken Jacobs) 2220 Arts + Archives/Acropolis Cinema, 16mm (Volunteer, Friends, Hoberman Q&A) 25 Sep – 7
s095. Senseless (1962, Ron Rice) 2220 Arts + Archives/Acropolis Cinema, 16mm (Volunteer, Friends, Hoberman Q&A) 25 Sep – 7
s096. New York Eye and Ear Control (1964, Michael Snow) 2220 Arts + Archives/Acropolis Cinema, 16mm (Volunteer, Friends, Hoberman Q&A) 25 Sep – 8
s097. D. M. T. (1966, Jud Yalkut) 2220 Arts + Archives/Acropolis Cinema, 16mm (Volunteer, Friends, Hoberman Q&A) 25 Sep – 8
206. Sentimental Value (2025, Joachim Trier†) Rodeo Screening Room, DCP (Friend) 26 Sep – 6
207. If I Had Legs I’d Kick You (2025, Mary Bronstein^) AC Aero Theatre, DCP (Friend, Director/Cast Q&A) [Beyond Fest] 26 Sep – 8
208. Dracula (2025, Radu Jude) AC Aero Theatre, DCP (Friends) [Beyond Fest] 27 Sep – 8
209. +Slow Action (2010, Ben Rivers) 2220 Arts + Archives/Acropolis Cinema, File (Volunteer, Friends, Director Q&A) 28 Sep – 8 [up from 7]
s098. Urth (2016, Ben Rivers) 2220 Arts + Archives/Acropolis Cinema, File (Volunteer, Friends, Director Q&A) 28 Sep – 7
s099. +Look Then Below (2019, Ben Rivers) 2220 Arts + Archives/Acropolis Cinema, File (Volunteer, Friends, Director Q&A) 28 Sep – 7
210. A House of Dynamite (2025, Kathryn Bigelow†) Dolby Burbank, DCP (Friend) 29 Sep – 4
211. Bogancloch (2024, Ben Rivers) 2220 Arts + Archives/Acropolis Cinema, File (Volunteer, Friends, Director Q&A) 30 Sep – 7
212. Ed Wood (1994, Tim Burton) Academy Museum, 35mm 01 Oct – 8
213. Resurrection (2025, Bi Gan) AC Aero Theatre, DCP (Friends, Director Q&A) [Beyond Fest] 02 Oct – 9
214. Dracula (1931, Tod Browning^) New Beverly, 35mm 03 Oct – 6
215. +Sirāt (2025, Óliver Laxe) AC Aero Theatre, DCP (Friend, Director/Actor Q&A) [Beyond Fest] 03 Oct – 9
216. Hamnet (2025, Chloé Zhao†) Harmony Gold Preview House, DCP (Friends, Director/Actor Q&A) 05 Oct – 6
217. Die My Love (2025, Lynne Ramsay†) Wilshire Screening Room, DCP 06 Oct – 4 [late]
218. Anemone (2025, Ronan Day-Lewis^) DGA Theater, DCP (Friend, Director/Actor/Producer Q&A) 06 Oct – 6 [slight]
219. +One Battle After Another (2025, Paul Thomas Anderson) AMC Universal CityWalk, IMAX 70mm 07 Oct – 9 [late]
220. Left-Handed Girl (2025, Tsou Shih-ching^†) Netflix Icon Home Theater, DCP (Friend) 08 Oct – 7
221. Suburban Fury (2024, Robinson Devor^†) Television, Screener 09 Oct – 8
222. My Undesirable Friends: Part I—Last Air in Moscow (2024, Julia Loktev) Television, Screener 09 Oct – 8 [delay]
223. Bugonia (2025, Yorgos Lanthimos†) Rodeo Screening Room, DCP 10 Oct – 6 [late]
224. Is This Thing On? (2025, Bradley Cooper†) DGA Theater, DCP 10 Oct – 7
225. Urchin (2025, Harris Dickinson^) Television, Screener 11 Oct – 6
226. Ballad of a Small Player (2025, Edward Berger†) Egyptian Theatre, DCP (Director/Producer/Cast Introduction) 14 Oct – 4
227. Frankenstein (2025, Guillermo del Toro†) Netflix Epic Roma Theater, DCP (Friends) 15 Oct – 5
228. A Private Life (2025, Rebecca Zlotowski^†) Crescent Theater, DCP (Friend) 16 Oct – 6
229. +A City of Sadness (1989, Hou Hsiao-hsien) Culver Theater, LED (Moderator) [Alula Film Festival] 16 Oct – 10 [slight]
230. Bitter Money (2016, Wang Bing) Television, File 19 Oct – 8
231. Jay Kelly (2025, Noah Baumbach†) Netflix Epic Roma Theater, DCP (Friends) 20 Oct – 7 [late]
s100. Polly Two (2018, Kevin Jerome Everson) 2220 Arts + Archives/Acropolis Cinema, File (Volunteer, Friend, Director/Composer Q&A) 20 Oct – 7
s101. When the Sun Is Eaten (Chi’bal K’iin) (2025, Kevin Jerome Everson) 2220 Arts + Archives/Acropolis Cinema, File (Volunteer, Friend, Director/Composer Q&A) 20 Oct – 8
232. Daughter’s Daughter (2024, Huang Xi^†) Television, Screener 22 Oct – 6
233. Tempting Heart (1999, Sylvia Chang^) Television, File 23 Oct – 9
234. Pin de fartie (2025, Alejo Moguillansky^) TCL Chinese 6, DCP (Friends, Director Introduction) [AFI Fest] 23 Oct – 8
235. Yes (2025, Nadav Lapid) TCL Chinese 6, DCP (Director/Actor Q&A) [AFI Fest] 23 Oct – 8
236. The Currents (2025, Milagros Mumenthaler^) TCL Chinese 6, DCP (Friends) [AFI Fest] 23 Oct – 8
237. Father Mother Sister Brother (2025, Jim Jarmusch) TCL Chinese 6, DCP [AFI Fest] 24 Oct – 8
238. Dead Man’s Wire (2025, Gus Van Sant) TCL Chinese Theatre, DCP (Director Q&A) [AFI Fest] 25 Oct – 6 [late]
239. The Voice of Hind Rajab (2025, Kaouther Ben Hania^) TCL Chinese 6, DCP (Friend, Producer Introduction) [AFI Fest] 25 Oct – 3
240. Kontinental ’25 (2025, Radu Jude) TCL Chinese 6, DCP [AFI Fest] 25 Oct – 8 [slight]
241. What Does That Nature Say to You (2025, Hong Sang-soo) TCL Chinese 6, DCP (Friends) [AFI Fest] 26 Oct – 8 [slight]
242. Night of the Demon (1957, Jacques Tourneur) New Beverly, 35mm (Friend) 27 Oct – 8
243. Springsteen: Deliver Me From Nowhere (2025, Scott Cooper) AMC Universal CityWalk, DCP 28 Oct – 6
244. We Are the Fruits of the Forest (2025, Panh Rithy†) Television, Screener 28 Oct – 7
245. Double Happiness (2025, Joseph Hsu^†) Monitor, Screener 31 Oct – 5
246. The Little Sister (2025, Hafsia Herzi^) DGA Theater, DCP (Actor Q&A) [TAFFF] 01 Nov – 7
247. The Fence (2025, Claire Denis) DGA Theater, DCP (Friends) [TAFFF] 03 Nov – 8
248. The Testament of Ann Lee (2025, Mona Fastvold) AC Aero Theatre, 70mm 03 Nov – 6
249. Train Dreams (2025, Clint Bentley^†) Ross House, DCP (Waititi Introduction, Director/Cast/Crew Q&A) 05 Nov – 5
250. Her Will Be Done (2025, Julia Kowalski^) DGA Theater, DCP (Volunteer, Friends) [Directors’ Fortnight Extended] 08 Nov – 6
251. Brand New Landscape (2025, Danzuka Yuiga^) DGA Theater, DCP (Volunteer, Friend, Director Q&A) [Directors’ Fortnight Extended] 08 Nov – 7 [slight]
252. The Girls We Want (2025, Prïncia Car^) DGA Theater, DCP (Volunteer, Friends) [Directors’ Fortnight Extended] 09 Nov – 6
253. Wild Foxes (2025, Valéry Carnoy^) DGA Theater, DCP (Volunteer, Friend) [Directors’ Fortnight Extended] 09 Nov – 7
254. Nouvelle Vague (2025, Richard Linklater) Vista Theater, 35mm 10 Nov – 8 [late]
255. Sound of Falling (2025, Mascha Schilinski^†) Soho House West Hollywood, DCP (Director/Cinematographer Q&A) 11 Nov – 7 [late]
256. Marty Supreme (2025, Josh Safdie†) DGA Theater, DCP (Friend, Director/Cast Q&A) 13 Nov – 8
257. +Breathless (1960, Jean-Luc Godard) Vista Theater, 35mm 14 Nov – 10
258. Pillion (2025, Harry Lighton^†) CAA Ray Kurtzman Theater, DCP (Director/Cast Q&A) 16 Nov – 7
259. The Things You Kill (2025, Alireza Khatami^) Lumiere Music Hall, DCP (Friend, Director Q&A) 21 Nov – 6 [slight]
260. The Love That Remains (2025, Hlynur Pálmason^†) Four Seasons, DCP (Friends, Director Virtual Introduction) 22 Nov – 7
s102. Madam Butterfly (2009, Tsai Ming-liang) Television, Blu-ray 24 Nov – 7
s103. The Night (2021, Tsai Ming-liang) Television, File 24 Nov – 8
t003. 7:00 A.M. (2025, The Pitt) Television, File (Family) 25 Nov
261. F1 (2025, Joseph Kosinski) Television, File (Family) 25 Nov – 6
t004. Where the Sun Rises (2025, Physical: Asia) Television, Netflix (Family) 26 Nov
t005. On the Brink (2025, Physical: Asia) Television, Netflix (Family) 26 Nov
t006. Shipwreck (2025, Physical: Asia) Television, Netflix (Sister) 26 Nov
262. Your Touch Makes Others Invisible (2025, Rajee Samarasinghe^†) Monitor, Screener 01 Dec – 7 [delay]
263. Avatar: Fire and Ash (2025, James Cameron†) Disney Studios Main Theater, 3D DCP (Friend) 01 Dec – 7
264. Escape From New York (1981, John Carpenter) Television, File 04 Dec – 8
265. Escape From L.A. (1996, John Carpenter) Egyptian Theatre, 35mm (Friends, Director Q&A) 04 Dec – 7
s104. I Wasn’t There (2014, Sky Hirschkron) Television, Vimeo (Friends) 05 Dec – 8
266. Wake Up Dead Man (2025, Rian Johnson) Landmark Sunset, DCP 05 Dec – 6
267. BLKNWS: Terms & Conditions (2025, Kahlil Joseph) Television, Screener 06 Dec – 7 [delay]
268. Arco (2025, Ugo Bienvenu^) Television, Screener 06 Dec – 6
269. Scarlet (2025, Hosoda Mamoru†) Television, Screener 06 Dec – 7 [delay]
270. Little Amélie or the Character of Rain (2025, Maïlys Vallade^ & Han Liane-cho^) Television, Screener 07 Dec – 7 [delay]
271. KPop Demon Hunters (2025, Maggie Kang^ & Chris Appelhans^) Television, File 07 Dec – 5 [delay]
272. +Christmas Eve in Miller’s Point (2024, Tyler Taormina) New Beverly, 35mm (Director Q&A) 09 Dec – 8
273. Christmas, Again (2014, Charles Poekel^) New Beverly, 35mm (Friends, Director Introduction) 09 Dec – 8
274. The Thing From Another World (1951, Christian Nyby^ and Howard Hawks) Aero Theatre, 35mm (Scholar Introduction) 18 Dec – 9
275. Gremlins 2: The New Batch (1990, Joe Dante) New Beverly, 35mm 18 Dec – 8
276. +Punishment Park (1971, Peter Watkins) UCLA Billy Wilder Theater, 35mm (Friends, Cartoonist Introduction) 19 Dec – 9
277. +Memoria (2021, Apichatpong Weerasethakul) Lumiere Music Hall, DCP (Friend) 31 Dec – 10 [late, slight; up from 9]