Author: Ryan Swen

Welcome to the Working Week [DO NOT EXPECT TOO MUCH FROM THE END OF THE WORLD]

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Courtesy of MUBI.

Do Not Expect Too Much From the End of the World/Nu aștepta prea mult de la sfârșitul lumii

Rating **** Masterpiece

Directed by Radu Jude

Few directors working today can claim to have had as protean an oeuvre in as a short time as Radu Jude. He first began somewhere in the realm of contemplative cinema, with his international breakthrough Afterim! (2015) and considerably lesser-seen Scarred Hearts (2016) essaying self-consciously “antiquated” visual schemes—black-and-white widescreen in the former, color Academy ratio in the latter, both on 35mm—to capture historical periods constantly under the shadow of colonial and fascist forces. Since his decisive turn (in the narrative realm) to satire, inaugurated with “I Do Not Care If We Go Down in History as Barbarians” (2018) and solidified with his Golden Bear-winning Bad Luck Banging or Loony Porn (2021), the same intellectual rigor which undergirded those earlier efforts has been turned towards outright comedy. The opening moments of Barbarians, where the lead actress (purportedly out of character) tells a boxing joke that invokes Kant’s Critique of Pure Reason, set the fast-and-loose, unpredictable tone and spiral of citations and references.

Jude’s latest and best film to date, Do Not Expect Too Much From the End of the World, at least somewhat continues in the same vein as those previous two narrative features. Like those, it is centered upon a woman dealing with issues related to work—a director attempting to mount a reenactment of a massacre in Barbarians, a schoolteacher caught in a porn scandal in Bad Luck Banging—and features a decisive switch from celluloid to digital cinematography more than halfway through the film. Here, the woman is Angela (Ilinca Manolache), an overworked production assistant driving around Bucharest to film injured workers auditioning to be in a factory safety video; like Bad Luck, where the third part of the film used digital cameras to delineate the rancorous parent-teacher meeting, the second and final part of Do Not Expect uses a digital single 35-minute long take to capture the filming of the video.

But where Barbarians maintained a consistent pattern of philosophical and historical debate, and Bad Luck Banging confined its own shape-shifting play between fiction and archival signification to three separate parts, Do Not Expect refuses such boundaries to bracing, illuminating effect. Such interplay begins immediately with the first part, running over two hours in this 163-minute film, situated as a conversation of two Angelas: our heroine and the protagonist of the 1981 film Angela Moves On by Lucian Bratu. Extensive clips are used from that preexisting film, presented in both Academy ratio and 1.85:1, with the pale colors making for a stark contrast with Jude’s hazy black-and-white 16mm. These are in turn interrupted by Angela’s way of blowing off steam: an online persona named Bobiță, with Angela using an absurd Andrew Tate-esque face filter to make various crude and misogynistic jokes; these sequences are presented as bright digital iPhone footage.

What the proto-feminist film and the foul-mouthed TikTok personality have in common is a certain “found” nature: Manolache had apparently been posting as Bobiță, and when Jude learned about it he wanted to incorporate it. In interviews, he has talked about both his mixed-to-low opinion of the film—whose footage is frequently slowed down and zoomed-in to reveal images/signifiers of life under Ceaușescu missed by the censors—and his fascination with TikTok, comparing it to early silent cinema in its promise and capacity for invention, but what’s fascinating is how Do Not Expect Too Much From the End of the World avoids such associations. For one, the film embraces a certain slowness that matches the grind of Angela’s quotidian work experience: much of the film just observes both Angelas driving, and despite the frequent unpleasant interactions with other cars and blasting of music to stay awake, there is a certain pensive, even hypnotic quality that emerges.

This isn’t to say that Do Not Expect isn’t incredibly funny, both with its vulgarity and barrage of references—a single scene manages to reference Antonioni, Warhol, Freaks, and Godard’s suicide—but Jude’s aim has never been more balanced or effective. In large part, this is derived from the unsubtle but detailed shared exploitation between Angela and the workers she is interviewing, and in turn her own complicity in carrying out the bidding of her production company. That company has itself been hired by the Austrian company operating the factories in Romania where the accidents occurred, from which a great many more economic connections and injustices across nations can be inferred. Even a visit to the set of Uwe Boll’s latest film and an ongoing issue with a graveyard set to be moved conjure up a sense of life under oppressive capitalism as a series of inexplicable, numbing events, a rhythm that Jude creates while still making each of these individual moments across disparate media surprising.

By the end of Do Not Expect Too Much From the End of the World, both Angelas are sidelined, and Ovidiu, the wheelchair-bound worker selected for the video whose mother appears to be 1981 Angela herself (played by the same actress Dorina Lazăr), takes center stage. He leads the second and final part, which is classified as “raw material,” a phrase which applies equally to the actual camera footage and the dehumanizing outsourced labor which led to his injury in the first place. Combining the Lumières and Bob Dylan, along with the hilariously inane repetition of the phrase “gold diffusion filter,” this last part is both denouement and vital encapsulation, a hyper-compressed, real-time recapitulation of the previously seen lived experience across a single day within the span of half an hour, where ultimately even fabricated language proves inadequate to capture the intentions of an unfeeling corporation. But Jude’s vision, crucially, is not one of unmitigated bleakness. Whether it be the frequent use of poetry, including interspersed through his handwritten credits, or a haunting silent sequence towards the end of the first part that silently films crosses along a road infamous for car accidents, Do Not Expect constantly demands and foregrounds the moments of contemplation. And in those many, many scenes of Angela focused on the road, trying to stay awake as she moves from place to place, he has found the perfect vehicle.

Sundance 2024: DÌDI, KNEECAP, IBELIN, GIRLS WILL BE GIRLS, UNION

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Courtesy of Cinetic Media

Context is everything when it comes to choosing what to watch at a festival with as many sections and films as Sundance but no single “main” slate. A particularly enticing logline, a positive comment from a trusted fellow critic, or an established filmmaker making their next project: all these factors have outsized effects on viewing under time pressure. Admittedly, the online stage of this year’s Sundance offered some helpful constraints, aside from the standard practice of the biggest distributors (A24, NEON, etc.) to not make their most prominent films like I Saw the TV Glow, Presence, and A Different Man available even for critics: due to poor planning, I had only reserved a virtual seat for the first film in this festival dispatch, and as such the belated additional openings for the myriad award winners—numerous as the available titles were—gave me a second chance.

No such intervention was needed, however, for one of my most anticipated films. During my stint on the shorts jury at last year’s AFI Fest, Sean Wang’s “Nǎi Ni & Wài Pó” was one of the clear highlights, a warm documentary that, a few silly interludes aside, assembled a calm and lovely portrait of his grandmothers and their concerns with a great degree of care, captured at least partly on 16mm. It was our runaway favorite for the best of the documentary shorts on its way to a deserved Oscar nomination—which Wang improbably learned about during his time in Sundance—and he made a very affable impression when we met him to present the awards. When I saw that he had a film in this year’s lineup, it had me very curious to see how he would apply his sensibility to his first feature-length narrative feature.

Unfortunately, the answer was “not well.” Dìdi—admirably, the title has usually been rendered with the accompanying Chinese characters (弟弟), the term for “younger brother” that I’ve heard literally millions of times throughout my life—acts as another personal depiction of Asian American life in the San Francisco Bay Area, this time of the quasi-autobiographical figure of Chris Wang (played by Izaac Wang) in the summer of 2008 just before he began high school. Over the span of a few months, Chris handles a multitude of relationships old and new: with his sister, who’s about to leave for college and can’t tolerate his brattiness; with his mother (Joan Chen), often disappointed by her son’s antics, and grandmother; with a potential new girlfriend; and with various long-time and would-be friends, who he connects with through memes, MySpace, AIM, and skateboarding videography.

None of this is necessarily ruinous, and I should note here that, being only a few years younger than Wang, much of Dìdi bore a genuine fidelity to the things I observed growing up as a Taiwanese boy in the late 2000s, particularly the look of early YouTube and Facebook; even more inexplicably, Chris and his sister look uncannily like the children of my mother’s cousin, who I saw grow up, with the daughter starting college at the beginning of this current school year. But the film has almost nothing of the surprise and emotional insight that “Nǎi Nai & Wái Pò” did, instead functioning like a very typical Sundance coming-of-age story and relying heavily on upbeat montages, mortifying scenes of embarrassment, and the seemingly de rigeur drug trip scene. Characters are introduced then abandoned as soon as they have served their narrative purpose: Chris and his sister are openly cruel to each other until a single remark completely turns their relationship around; the older skaters that Chris attempts to ingratiate himself with disappear right after his videos are deemed to be inadequate; and a late-breaking act of violence mainly serves as a breaking point between Chris and his mother before things are patched up a few scenes later. Most surprising is the hostile treatment of Chris’s grandmother (his father is working in Taiwan offscreen during the entire film), the sole familial figure who does not get some measure of redemption, in a far cry from the short. Dìdi has its moments, including in the bursts of DV that break up the otherwise staid aesthetic and Joan Chen’s typically solid performance, but its adherence to narrative formula and easily defined emotions rings disappointingly false.

Another film based on real people was Kneecap, directed by Rich Peppiatt in his feature directorial debut, though I had no clue that this was the case until the end credits rolled. The NEXT section film is about the real-life Gaelic rap trio based in Northern Ireland, comprised of two delinquents and a teacher seeking a means of bringing prominence and expression to their language. The three members (Liam Óg Ó Hannaidh, Naoise Ó Cairelláin, and JJ Ó Dochartaigh) play themselves, along with a bevy of Irish actors headed by Michael Fassbender as Ó Cairelláin’s father, an IRA member in hiding from the law. As the trio come together and deal with police attention, drug dealing, and a rapidly growing fanbase finding resonance with the defiantly Irish republican politics, Peppiatt adopts a punk-ish aesthetic, with plenty of neon, voiceover, and lyrics splashed across the screen.

Kneecap is definitely fun, and for a total outsider to Ireland and the group the film makes no particular overtures towards differentiating fact from fiction, especially given the increasing attention it pays to police investigations and an anti-drug modern IRA cell seeking to bust the group, with a political referendum for the Irish language to be recognized as an official language of Northern Ireland in the background to boot. The film can be quite messy, having to juggle three separate main characters in this mélange of storylines, and characters like Ó Cairelláin’s depressed, voluntarily housebound mother often take away from the momentum. But the film has its heart in the right place, something made resoundingly clear when Kneecap participated in the pro-Palestine vigil on Main Street during the fourth day of the festival.

Turning to an actual documentary, one of the more talked-about films at the festival was Benjamin Ree’s Ibelin, a Norwegian documentary about Mats Steen, who died of muscular dystrophy at the age of 25. After his death, at the long tail end of an increasingly isolated existence where he withdrew into video games—frequently playing them at almost every waking hour in his final few years—his family posted the news of his passing to his blog, whereupon they received numerous messages of condolences from strangers. They realized that he had established a significant presence in World of Warcraft as his digital avatar Ibelin, a strapping detective that often served as a beloved source of guidance for his clan—from whom he concealed his condition until close to the end of his life—establishing numerous flirtations, feuds, and reconciliations along the way. To convey this progression, Ree first tells Steen’s real-life story from birth to death, including some talking head interviews with his family, before shifting to his virtual life and the memories of his in-game compatriots through both animated recreations of his exploits and live-action interviews.

Despite having played many video games over the course of my life (principally first-person shooters, only sometimes online), I never got into MMORPGs like World of Warcraft, and can only speak as someone who, like Steen, grew up fascinated by the ludic, transporting nature of video games. But Ibelin strikes me as the work of filmmakers with no concept of what it actually feels like to play video games; given the centrality of this experience to Steen’s existence, this seems like a colossal misunderstanding of the subject of the documentary. The biggest problem comes in a central component: to represent Steen’s WoW interactions, Ree enlisted animators to replicate interactions working with close-ups, much higher graphics, and posable expressions and gestures, all of which probably wouldn’t have been possible in the game; he also added professional voice acting that worked off of the players’ text-based chat logs. The result is something totally uncanny, a great deal of effort marshaled towards a false simulacra of what it would have been like to play the game in the late-2000s and early-2010s. Rather than working within the limits that both Steen and gamers at large face in their in-game interactions, or at the very least embracing the possibilities and charming idiosyncrasies that can come with machinima, the filmmaking opted for something more fanciful and less faithful to lived experience; even if one takes it as an illustration of how absorbed someone can be in a video game, the imposition of a more conventional aesthetic weighs heavily on the film. There are other significant issues that can be raised of course, most notably the garish decision to film the opening family segment in 1.33:1 before expanding to 1.77:1 to symbolize the shift from his physical confinement to his “liberation” in the video game realm. But the flattening effect of this crucial aesthetic choice smothers all.

The only (presumably) fully fictional film I ended up seeing online during this Sundance ended up being Shuchi Talati’s Girls Will Be Girls, another coming-of-age story, this time set in an elite co-ed boarding school in northern India. Mira (Preeti Panigrahi) begins the film at the top: in the opening scene, she is chosen to be the first female prefect in the history of the school. Immediately, she begins messing up when she meets a handsome transfer student (Kesav Binoy Kiron) and begins to discover her sexuality for the first time. This storyline runs concurrently with the growing disrespect that various other male students display and the ambiguous interest of her coddling mother (Kani Kusruti), who also went to the same boarding school, in the transfer student, as Mira’s well-earned position follows a downward spiral.

Such a character arc often poses a crucial issue: what was this character like before she began to unravel? Though Panigrahi makes for a restful and observant screen presence, there’s little sense of Mira as someone inclined even only in the past towards academic and social success, instead largely defining her through external forces that continuously undermine her position. Said position is largely theoretical, mostly signposted by greater interactions with teachers, light dress code citations, and the reporting of a few boys for upskirt photography, though the film culminates in a harrowing day where, per tradition, the prefect acts as the principal for the day, leading to a total loss of authority. Shot in (according to the film’s website) a 1.5:1 aspect ratio and running just shy of two hours, Girls Will Be Girls finds its footing in its most intimate moments, especially in the rush of pleasure, shy flirtations, and strange perversity of her mother’s actions, but the determinative arc feels lacking in some key context.

Thankfully, the best film I saw online at Sundance was also the last: Union, directed by Brett Story and Stephen Maing. I sadly haven’t seen work from either before, despite generally high regard for Story’s The Prison in Twelve Landscapes and The Hottest August, but like Dìdi the film was on my list based on directorial reputation, though I had also heard Story discussing the film on a Film Comment Labor Day panel. It observes the years-long effort to form the very first union at an Amazon factory—the Amazon Labor Union, serving the workers at a warehouse in Staten Island—largely through the eyes of its wily, charismatic president Chris Smalls, a former Amazon worker who was fired when he began unionizing efforts. This subject matter distinguishes itself not only via the extensive, almost entirely successful union-busting that Amazon has accomplished in the past, but also the ALU’s independent existence outside of traditional national labor unions, and the filmmakers feel fully embedded with the workers. Over the course of numerous Zoom calls and nights spent in the cold—a key part of the ALU’s canvassing was handing out free hot meals to the workers coming and going by bus across the street from the warehouse—many members of the union come into focus, each with unique backgrounds and levels of experience with both Amazon and organizing, all aimed towards securing enough votes to be officially recognized by the National Labor Relations Board. The film ends shortly after that successful, widely reported effort in April 2022 with a few scenes of discord and a failed second attempt to unionize at another NYC warehouse, and the result is something appropriately bittersweet, something borne out by the continual difficulties—including a tense confrontation with police seeking to force union organizers off the Amazon property—and clashes in personality that Story and Maing do not shy away from depicting.

Two moments, both involving the same camera movement, especially stuck out. The first comes after the initial successful effort to establish the union: the organizers get into a huddle, and a camera pointed upwards from within the circle spins around, capturing the elation and solidarity of each face with evident joy and good will. The second happens at a fairly routine meeting with miscommunicated start times: as interpersonal strife and frustrations at the lack of progress boil over, a camera located towards the back of the room spins around as the cameraperson moves to find a better position to capture all the rancorous participants. Those two clear breaks from standard observational camerawork, borne out of necessity, felt as resonant to me as anything I watched at the festival: the same formal choice conveying totally different emotional truths, and a perfect encapsulation of the highs and lows involved in this shared endeavor.

Slamdance 2024: GOOD BAD THINGS, Experimental Shorts

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Despite the infamously collegial atmosphere of Park City, where cast and crew apparently pack the world premieres and perhaps contribute at least a little to the notoriously hyperbolic hype, I wasn’t able to attend any public screenings at Sundance this year, sticking to press screenings out of relative convenience and scheduling complications. So it was somewhat amusing for my sole public screening to take place instead at Slamdance, the festival initially established in 1995 as a response to the growing mainstream nature of its much larger counterpart. Unlike Critics’ Week or Directors’ Fortnight with respect to Cannes, to my knowledge Slamdance has seldom been perceived as an inherent part of the Sundance festival experience, instead mostly existing as its own entity, lasting a week with no press screenings and full online accessibility for a nominal (by film festival standards) fee.

I obviously can’t speak about the degree to which Slamdance has preserved its imprimatur of independence, but it was interesting to hear that this was the first time in many years that it was held at the Yarrow, a DoubleTree hotel located in the same plaza as the multiplex where Sundance’s press screenings are held; apparently the Yarrow used to be a longtime Sundance locale, either for screenings or logistics, and the new repurposing may herald some kind of new move towards integration. More immediately apparent were the screening conditions; I only went inside one of the two theaters, but it felt surprisingly (not unpleasantly) ad hoc, a long hall full of individually placed dining room chairs.

In that setting, I saw a paired short and feature from the Unstoppable section, dedicated to films by filmmakers with disabilities. Radha Mehta’s “Dosh” was first, a 16-minute portrait of an Indian-American hard-of-hearing housewife attending her family member’s pre-wedding ceremony while struggling with her husband’s refusal to seek treatment for his worsening bipolar condition. The short never gets better than its opening shot, a nice wide shot of her house as she does laundry in the garage, the yellow light leading into an impromptu dance number. From there, the film falls into fairly surface-level depictions of the fraught relationship between generations in Asian society, culminating in a few absurd plot turns that the intimate final scenes can’t wash away.

The accompanying narrative feature was Good Bad Things by Shane D. Stanger, starring his childhood friend Danny Kurtzman, who has muscular dystrophy. In the film, Danny is a graphic designer living in Los Angeles with his friend, caretaker, and business partner Jason (Brett Dier), and is vying for a contract with a online dating company looking to refresh its brand image. Partly for research purposes, he begins using the app and meets Madi (Jessica Parker Kennedy), a free-spirited photographer who he quickly falls for, in the process coming to terms with his relationship with his body and state of existence.

For better or worse, Good Bad Things follows the arc of quality implied by its title. It initially begins with a welcome sense of humor about itself, recognizing the limitations of Danny’s movement and interactions while also taking the time to observe him speeding in his wheelchair along beautiful beachside streets, or stoically parked in a corner of a house party for hours on end. Jason aids immensely with this lightness of tone, an endearing goofball totally dedicated to his friend’s happiness, making it known through good-natured ribbing and impressive physical pratfalls.

The film runs into greater trouble the more it falls into sincere yet formulaic drama. The tentative beginnings of Danny and Madi’s courtship are cute, with an on-point emulation of Tinder’s user interface; however, it’s notable that this is literally the only match that Danny gets, and his initial decision to crop his wheelchair out of his profile photo gets no pushback whatsoever, two streamlining choices that avoid nastiness but make the film nevertheless feel strangely under-conceived and tentative. That feeling only deepens after a series of seesaw swings between acceptance and discomfort, predicated on rote storytelling beats; Good Bad Things‘s shift into bathos coincides very neatly with a stark tamping down on any comedic elements, especially in a shift away from Jason’s presence. This isn’t to say that the film leans more towards the latter half of its title; by the end, the two impulses reach a conventional but still satisfying ending. However, my feeling of untapped potential outweighed the highly positive crowd around me.

I didn’t have time to watch any of the most admired films at Slamdance in person or online, but I did watch all of the films that played in the Experimental Shorts program, both out of curiosity and to fill the void created by the substantial curtailing of Sundance’s New Frontier program. Last year, the three films selected there were all works by significant artists—Fox Maxy, Mary Helena Clark & Gibisser, Deborah Stratman—and formed the bulk of my most fascinating viewing experiences; this year, there were only two, with the more notable being a partly-AI generated Brian Eno documentary that wasn’t available online.

For convenience’s sake, I’ll be writing about them in alphabetical order, which both mirrored my own viewing order and offered some interesting, if not always flattering points of comparison. The first was “Entrance Wounds” by Calum Walter, one of the most ambitious works in the program by virtue of its multi-pronged examination of American gun culture, finding its grounding primarily in a few pointed images: the director holding a Guns & Ammo magazine in a supermarket like an actual pistol, a shattered car window, and rapidly accumulating snow in a backyard. The connections between each nodal point could sometimes be tenuous, but it arrives at an appropriately disquieting place.

Two excavations of the past followed, the former being the much more straightforward “Goddess of Speed,” directed by Frédéric Moffet. An attempt to “reimagine” a lost 1963 film listed in Andy Warhol’s filmography as either “Dance Movie” or “Rollerskate,” it is mostly composed of newly shot 16mm footage of a rollerskating performer acting as the original dancer Fred Herko, who died the following year; these split-screen black-and-white sequences are intercut with exterior building views in color. The result could occasionally feel a bit confused, neither acting as a full-on recreation of Warhol’s work or evoking what may have been Herko’s inner life, and the short eight-minute duration offers little chance for this to entirely develop.

More successful was “Light of Light” by Neritan Zinxhiria, easily my favorite of the slate. In many ways, its avowed simplicity is its greatest virtue, centered as it is upon the thousands of photographic plates made by a monk who lived in the monastic state of Mount Athos, which has laid mostly undisturbed since Byzantine times, ninety years ago. Interweaved with Super 8 footage shot by Zinxhiria, the effect is ghostly and out-of-time above all else, in many ways resembling the modus operandi of Mark Jenkin’s work. The scenes of monks going about their work, as captured in grainy black-and-white, feels as if it could have come from the silent era if it weren’t for extensive sound mixing. More concerned with mood than anything else, the unity of its conception and subject matter nevertheless made it my personal highlight.

This fully conceived work was followed by two interesting if somewhat disconnected efforts. “Lotus-Eyed Girl,” directed by Rajee Samarasinghe, runs a compact 6 minutes, yet faces the highly unusual problem where its central motif—a young woman’s mouth slowly opening and releasing pomegranate seeds—is its least appealing. Even given its ambit as a free collage, predominately of archival images captured in black-and-white, it still contains the capacity to surprise, especially in a series of dazzling, prismatic floral patterns in color that intersect with these scenes from the past.

Avowedly less sensual was Teresita Carson’s “Monolith”, a video essay featuring a multitude of elements and voiceover relating to archeology and colonialism, which frequently spirals out into Google Earth footage and even the kind of Internet kitsch 3D images featured in Fox Maxy’s Gush from last year. Its avowed anti-museum stance was surprisingly frank, though the trail of ideas that led there from the extensive hike that opens the film was less concentrated.

The last three films, unfortunately, all dealt in one way or another with the digital world and were uniformly the weakest. The first, Joseph Wilcox’s “Nobody Wants to Fix Things Anymore,” ran just four minutes, utilizing AI images and speech in conjunction with original video to tell the vaguely inane story of a self-styled fixer of broken things. The droning nature of the voiceover and images, especially with the knowledge of its generation, is counterproductive at best, encapsulated by a shrug of an ending.

Slightly better was “Nowhere Stream” by Luis Grane, an animated short (with some nice live-action shots of the LA River) about a largely featureless man beset by a series of disturbing occurrences on the Internet and/or at his computer, including morphing keyboards, videos of many copies of his head floating down a river, and the like. The deliberately bland nature of many of these unpleasant images sometimes pays dividends, mostly when juxtaposed with natural beauty encroached upon by urban development, but that only goes so far given the weak stabs at topicality.

Last, and regrettably least, was “Welcome to the Enclave,” directed by Sarah Lasley, seemingly filmed inside a Second Life-esque online game populated by live-action actresses. Designed as a crowdfunding video for two sisters who have created an online utopia for women on a virtual street known as The Enclave, it quickly goes haywire as anonymous trolls donate so that they can plaster memes and pornography on the walls of the houses. What goes crucially unaddressed, however, is the nature of these near-parodic, garishly White middle-class aspirations, conveyed through insipid marketing speak and appropriations of Eastern spirituality writ large. The result is a world where no one looks good, which wouldn’t be a problem if not for the seemingly sincere depiction of these women and their dreams throughout, which leads to a serious clash in intentions that does not appear to have been intended. Only the concluding long tracking shot through the houses as they clip in and out of a mountain offers something that genuinely engages with the chosen medium.

Sundance 2024: SUJO, BETWEEN THE TEMPLES, HIT MAN

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Courtesy of Cinetic Media and Fusion Entertainment

My first trip to Sundance itself, after two successive failed attempts, was marked by even more improvisation and recalibration of expectations than I had anticipated. Through a combination of competing obligations and severely limited time in Park City itself, I only saw three films at the festival, but the surrounding experience was enough to get a lay of the land. There are many things that, even if one actively reads Sundance dispatches every year, might not be immediately apparent: the shuttles necessary to navigate the hilly, slushy streets are really just city buses, sometimes packed with skiers jostling for position; the press and industry screenings during the festival all take place north of/down the hill from the far more picturesque and bustling Main Street in a requisitioned multiplex; and the shifting tides, both in terms of “internal”—the occasion of new festival director Eugene Hernandez’s first slate—and external politics—the continued partnership with a pro-Israeli organization during the ongoing genocide in Gaza, the passage during the festival of statewide anti-trans bathroom bills—can go largely unnoticed. This last point is by no means exclusive to Sundance, especially in these times of struggle and compromise (which I freely acknowledge I contribute to in my own minuscule way), but the specific concatenation of dire issues made for an especially strange experience amid the beautiful surroundings.

Such a conflicted perspective was on display in the first film I watched: Sujo, the third film from the Mexican directorial team of Astrid Rondero and Fernanda Valadez. I didn’t see their previous, well-received effort—2020’s Identifying Features, credited to Valadez alone—but this film seems to represent a simultaneous contraction and expansion of scope from its predecessor’s twinned tales of disappearances along the Mexico-U.S. border. Running half an hour longer at 125 minutes, Sujo nevertheless confines its focus to its eponymous subject, following him from childhood to young adulthood over the course of four parts. After the death of his father, a cartel gunman with the nom de guerre “El Ocho,” Sujo—whose unusual name is frequently remarked upon—goes to live with his aunt. For his safety, he is forced to stay at her home in the remote countryside outside the city, with only visits from a family friend and her two young sons for company. As the film unfolds, he joins the cartel himself and is eventually exiled to Mexico City, where he acts upon a long dormant interest in education.

Sujo often threatens to become a rote depiction of cyclical masculine structures—unfortunately underscored by an abrupt shift in attitude and behavior between the two actors playing Sujo as a boy in the former two parts and a teenager in the latter, offering little character-based justification for his sudden desire to join the cartel—ameliorated in part by some reasonably impressive dream sequences, which heighten the mildly ethereal tone already established in the quasi-rural setting. Given this, it might be somewhat odd to single out the last part, which takes place entirely in Mexico City, and yet it is where the interest in its character’s experience becomes most prominent, almost acting as its own, more successful film in miniature; seeing him on his own, as opposed to constantly in the company of his family or friends, goes some length in concentrating what can sometimes feel like a loose, surface examination of what it means to grow up in isolation.

A much more successful example of finding new material within familiar forms could be seen in Nathan Silver’s Between the Temples, by far the best world premiere I saw at Sundance. I’ve seen two of the prolific New York filmmaker’s works before—Thirst Street and The Great Pretender, both of which I enjoyed—but was still taken aback by the tone this immediately establishes, launching immediately into an initially contextless discussion between Ben (Jason Schwartzman in one of his best performances), a Jewish cantor still recovering from the death of his novelist wife, and his two mothers (Caroline Aaron and Dolly de Leon). This is only the first of many destabilizing encounters, which grow in hilarity and unpredictability, a tendency which helps greatly to color in the (relatively) standard central premise: over the course of the film, Ben literally finds his voice again with the companionship of Carla (Carol Kane), his childhood music teacher who, after reconnecting with him by chance, impulsively decides she wants to get a bat mitzvah.

Silver’s collaborators, once more, involve multiple luminaries of the New York independent film scene: he co-wrote with C. Mason Wells, while Sean Price Williams shot the film as usual on 16mm and John Magary edited with welcome freneticism. But there’s a strange alchemy at play in Between the Temples, which balances its pleasantly jaundiced take on the people in Ben’s life—especially those involved in his synagogue, including Rabbi Bruce (Robert Smigel)—with genuine, tentative chemistry between Schwartzman and Kane. This is above all a warm film, given jagged edges by the gambits that Silver orchestrates according to the demands of a particular scene: a recurring sound gag caused by Ben’s bedroom door, a cemetery tryst with Rabbi Bruce’s daughter Gabby (Madeline Weinstein) that improbably evokes both Drive My Car and Wheel of Fortune and Fantasy, an actually well-done hallucination sequence with shades of the more fanciful parts of La chimera. This all culminates in an exquisitely chaotic dinner party sequence where everything is laid bare, and the tenderness of what follows does not resolve things so much as find a place of great rapprochement.

But the best film I saw in Sundance’s selection was the last film I saw in person: Richard Linklater’s Hit Man, which premiered at Venice last year but hadn’t yet shown on the West Coast. I’ve admittedly been lax on staying current with Linklater despite my general appreciation for him, but the combination of exceptionally warm reception and widespread bemoaning of a likely cursory theatrical run courtesy of Netflix pushed me to prioritize this. Of course, Linklater himself has had a long history with Sundance stretching all the way back to Slacker—he also had an episode of the documentary miniseries God Save Texas at this year’s festival—that only sweetened the urge to see it with an audience. Co-written by and starring Glen Powell, the film follows the moderately fictionalized story of Gary Johnson, a New Orleans philosophy professor who takes up side work with the police department, eventually finding his role as an undercover cop posing as a hitman to entrap would-be clients. Eventually, he becomes entangled with Maddy (Adria Arjona), a woman seeking to kill her abusive husband, and the fallout that ensues takes all manner of truly delightful twists and turns.

Hit Man is definitely a very slick and crowd-pleasing affair, but in its own way it almost reads like Linklater’s idiosyncratic, breezy take on Vertigo wherein Scottie and Madeleine are embodied within the same person, a conscious molding of one’s persona to fit the situation. Each of Gary’s disguises are specifically tailored to what he thinks his target desires (deploying an array of ridiculous disguises and accents reminiscent of “The Wonderful Story of Henry Sugar”), and thus each transaction is premised on some manner of seduction. That impulse, of course, is taken to its absolute limit when Maddy enters the picture, and the inherent joy involved in watching Powell and Arjona eventually playacting their roles of cool professional and defiant possible criminal is inextricable from their red-hot magnetism. The final note, both perverse and good-natured, typifies the brilliant high-wire act that this film walks, and provided a great conclusion to this phase of my Sundance 2023 experience.

Favorite Film by Release Year (Eligible Films Only)

Ryan Swen Lists

Main list.
Feature films.
Release year.

1913: The Last Days of Pompeii (Mario Caserini & Eleuterio Rodolfi)
1914: Fantômas (Louis Feuillade)
1915: The Birth of a Nation (D. W. Griffith)
1916: Les Vampires (Louis Feuillade)
1917:
1918: Mickey (F. Richard Jones & James Young)
1919:

1920: Tih-Minh (Louis Feuillade)
1921: The Cabinet of Dr. Caligari (Robert Wiene)
1922: Nanook of the North (Robert J. Flaherty)
1923: Safety Last! (Fred C. Newmeyer & Sam Taylor)
1924: Greed (Erich von Stroheim)
1925: Seven Chances (Buster Keaton)
1926: Battleship Potemkin (Sergei Eisenstein)
1927: Sunrise: A Song of Two Humans (F. W. Murnau)
1928: The Docks of New York (Josef von Sternberg)
1929: Spies (Fritz Lang)

1930: Morocco (Josef von Sternberg)
1931: Dishonored (Josef von Sternberg)
1932: Shanghai Express (Josef von Sternberg)
1933: M (Fritz Lang)
1934: The Black Cat (Edgar G. Ulmer)
1935: Ruggles of Red Gap (Leo McCarey)
1936: Fury (Fritz Lang)
1937: The Awful Truth (Leo McCarey)
1938: The Story of a Cheat (Sacha Guitry)
1939: Only Angels Have Wings (Howard Hawks)

1940: His Girl Friday (Howard Hawks)
1941: Citizen Kane (Orson Welles)
1942: The Magnificent Ambersons (Orson Welles)
1943: The Seventh Victim (Mark Robson)
1944: Meet Me in St. Louis (Vincente Minnelli)
1945: The Clock (Vincente Minnelli)
1946: Notorious (Alfred Hitchcock)
1947: Out of the Past (Jacques Tourneur)
1948: Letter From an Unknown Woman (Max Ophuls)
1949: The Heiress (William Wyler)

1950: All About Eve (Joseph L. Mankiewicz)
1951: The Thing From Another World (Christian Nyby and Howard Hawks)
1952: The Quiet Man (John Ford)
1953: Gentlemen Prefer Blondes (Howard Hawks)
1954: Johnny Guitar (Nicholas Ray)
1955: The Night of the Hunter (Charles Laughton)
1956: Seven Samurai (Kurosawa Akira)
1957: Ordet (Carl Th. Dreyer)
1958: Vertigo (Alfred Hitchcock)
1959: Rio Bravo (Howard Hawks)

1960: Hiroshima mon amour (Alain Resnais)
1961: Breathless (Jean-Luc Godard)
1962: Last Year at Marienbad (Alain Resnais)
1963: Muriel, or the Time of Return (Alain Resnais)
1964: The Umbrellas of Cherbourg (Jacques Demy)
1965: The Love Eterne (Li Han-hsiang)
1966: Gertrud (Carl Th. Dreyer)
1967: The Battle of Algiers (Gillo Pontecorvo)
1968: The Young Girls of Rochefort (Jacques Demy)
1969: Once Upon a Time in the West (Sergio Leone)

1970: My Night at Maud’s (Éric Rohmer)
1971: A New Leaf (Elaine May)
1972: Two English Girls (François Truffaut)
1973: Charley Varrick (Don Siegel)
1974: The Mother and the Whore (Jean Eustache)
1975: Moses and Aaron (Danièle Huillet & Jean-Marie Straub)
1976: The Marquise of O… (Éric Rohmer)
1977: Close Encounters of the Third Kind (Steven Spielberg)
1978: Perceval le Gallois (Éric Rohmer)
1979: The Marriage of Maria Braun (Rainer Werner Fassbinder)

1980: Kagemusha (Kurosawa Akira)
1981: The Aviator’s Wife (Éric Rohmer)
1982: Blade Runner (Ridley Scott)
1983: Sunless (Chris Marker)
1984: L’Argent (Robert Bresson)
1985: Ran (Kurosawa Akira)
1986: The Green Ray (Éric Rohmer)
1987: Ishtar (Elaine May)
1988: The Thin Blue Line (Errol Morris)
1989: Do the Right Thing (Spike Lee)

1990: The Unbelievable Truth (Hal Hartley)
1991: Trust (Hal Hartley)
1992: Twin Peaks: Fire Walk With Me (David Lynch)
1993: Hard-Boiled (John Woo)
1994: Pulp Fiction (Quentin Tarantino)
1995: Heat (Michael Mann)
1996: Chungking Express (Wong Kar-wai)
1997: Happy Together (Wong Kar-wai)
1998: Comrades: Almost a Love Story (Peter Chan)
1999: Eyes Wide Shut (Stanley Kubrick)

2000: A One and a Two… (Edward Yang)
2001: Mulholland Drive (David Lynch)
2002: Spirited Away (Miyazaki Hayao)
2003: Millennium Mambo (Hou Hsiao-hsien)
2004: Goodbye, Dragon Inn (Tsai Ming-liang)
2005: Tropical Malady (Apichatpong Weerasethakul)
2006: Miami Vice (Michael Mann)
2007: Syndromes and a Century (Apichatpong Weerasethakul)
2008: Still Life (Jia Zhangke)
2009: Night and Day (Hong Sang-soo)

2010: Unstoppable (Tony Scott)
2011: Mysteries of Lisbon (Raúl Ruiz)
2012: The Day He Arrives (Hong Sang-soo)
2013: Like Someone in Love (Abbas Kiarostami)
2014: Stray Dogs (Tsai Ming-liang)
2015: The Assassin (Hou Hsiao-hsien)
2016: Mountains May Depart (Jia Zhangke)
2017: Nocturama (Bertrand Bonello)
2018: The Day After (Hong Sang-soo)
2019: La Flor (Mariano Llinás)

2020: Martin Eden (Pietro Marcello)
2021: Drive My Car (Hamaguchi Ryusuke)
2022: The Novelist’s Film (Hong Sang-soo)
2023: Pacifiction (Albert Serra)
2024: The Beast (Bertrand Bonello)
2025: Caught by the Tides (Jia Zhangke)
2026: Dry Leaf (Alexandre Koberidze)

Favorite Film by Release Year

Ryan Swen Lists

Main list.
Feature films only.
Eligible films only.

1913: The Last Days of Pompeii (Mario Caserini & Eleuterio Rodolfi)
1914: Fantômas (Louis Feuillade)
1915: The Birth of a Nation (D. W. Griffith)
1916: Les Vampires (Louis Feuillade)
1917:
1918: Mickey (F. Richard Jones & James Young)
1919:

1920: Tih-Minh (Louis Feuillade)
1921: The Cabinet of Dr. Caligari (Robert Wiene)
1922: Nanook of the North (Robert J. Flaherty)
1923: Safety Last! (Fred C. Newmeyer & Sam Taylor)
1924: Greed (Erich von Stroheim)
1925: Seven Chances (Buster Keaton)
1926: Battleship Potemkin (Sergei Eisenstein)
1927: Sunrise: A Song of Two Humans (F. W. Murnau)
1928: The Docks of New York (Josef von Sternberg)
1929: Spies (Fritz Lang)

1930: Morocco (Josef von Sternberg)
1931: Dishonored (Josef von Sternberg)
1932: Shanghai Express (Josef von Sternberg)
1933: M (Fritz Lang)
1934: The Black Cat (Edgar G. Ulmer)
1935: Ruggles of Red Gap (Leo McCarey)
1936: Fury (Fritz Lang)
1937: The Awful Truth (Leo McCarey)
1938: The Story of a Cheat (Sacha Guitry)
1939: Only Angels Have Wings (Howard Hawks)

1940: His Girl Friday (Howard Hawks)
1941: Citizen Kane (Orson Welles)
1942: The Magnificent Ambersons (Orson Welles)
1943: The Testament of Dr. Mabuse (Fritz Lang)
1944: Meet Me in St. Louis (Vincente Minnelli)
1945: The Clock (Vincente Minnelli)
1946: Notorious (Alfred Hitchcock)
1947: Out of the Past (Jacques Tourneur)
1948: Letter From an Unknown Woman (Max Ophuls)
1949: The Heiress (William Wyler)

1950: The Rules of the Game (Jean Renoir)
1951: The Thing From Another World (Christian Nyby and Howard Hawks)
1952: The Quiet Man (John Ford)
1953: Gentlemen Prefer Blondes (Howard Hawks)
1954: Johnny Guitar (Nicholas Ray)
1955: The Night of the Hunter (Charles Laughton)
1956: Seven Samurai (Kurosawa Akira)
1957: Ordet (Carl Th. Dreyer)
1958: Vertigo (Alfred Hitchcock)
1959: Rio Bravo (Howard Hawks)

1960: Hiroshima mon amour (Alain Resnais)
1961: Breathless (Jean-Luc Godard)
1962: Last Year at Marienbad (Alain Resnais)
1963: Muriel, or the Time of Return (Alain Resnais)
1964: The Umbrellas of Cherbourg (Jacques Demy)
1965: The Love Eterne (Li Han-hsiang)
1966: Gertrud (Carl Th. Dreyer)
1967: The Battle of Algiers (Gillo Pontecorvo)
1968: The Young Girls of Rochefort (Jacques Demy)
1969: Sansho the Bailiff (Mizoguchi Kenji)

1970: Au hasard Balthazar (Robert Bresson)
1971: A New Leaf (Elaine May)
1972: Late Spring (Ozu Yasujiro)
1973: An Autumn Afternoon (Ozu Yasujiro)
1974: The Mother and the Whore (Jean Eustache)
1975: Moses and Aaron (Danièle Huillet & Jean-Marie Straub)
1976: The Bitter Tears of Petra von Kant (Rainer Werner Fassbinder)
1977: F for Fake (Orson Welles)
1978: Céline and Julie Go Boating (Jacques Rivette)
1979: The Marriage of Maria Braun (Rainer Werner Fassbinder)

1980: Floating Clouds (Naruse Mikio)
1981: India Song (Marguerite Duras)
1982: Blade Runner (Ridley Scott)
1983: Sunless (Chris Marker)
1984: L’Argent (Robert Bresson)
1985: Flowing (Naruse Mikio)
1986: The Green Ray (Éric Rohmer)
1987: Ishtar (Elaine May)
1988: The Meetings of Anna (Chantal Akerman)
1989: Peking Opera Blues (Tsui Hark)

1990: The Unbelievable Truth (Hal Hartley)
1991: Trust (Hal Hartley)
1992: Twin Peaks: Fire Walk With Me (David Lynch)
1993: My Neighbor Totoro (Miyazaki Hayao)
1994: The Devil, Probably (Robert Bresson)
1995: Heat (Michael Mann)
1996: Chungking Express (Wong Kar-wai)
1997: Happy Together (Wong Kar-wai)
1998: Comrades: Almost a Love Story (Peter Chan)
1999: Close-Up (Abbas Kiarostami)

2000: A One and a Two… (Edward Yang)
2001: Mulholland Drive (David Lynch)
2002: Spirited Away (Miyazaki Hayao)
2003: Platform (Jia Zhangke)
2004: Goodbye, Dragon Inn (Tsai Ming-liang)
2005: Tropical Malady (Apichatpong Weerasethakul)
2006: Miami Vice (Michael Mann)
2007: Syndromes and a Century (Apichatpong Weerasethakul)
2008: Still Life (Jia Zhangke)
2009: Night and Day (Hong Sang-soo)

2010: World on a Wire (Rainer Werner Fassbinder)
2011: A Brighter Summer Day (Edward Yang)
2012: The Day He Arrives (Hong Sang-soo)
2013: Like Someone in Love (Abbas Kiarostami)
2014: Stray Dogs (Tsai Ming-liang)
2015: Out 1 (Jacques Rivette)
2016: A Touch of Zen (King Hu)
2017: Taipei Story (Edward Yang)
2018: Legend of the Mountain (King Hu)
2019: La Flor (Mariano Llinás)

2020: Yourself and Yours (Hong Sang-soo)
2021: Drive My Car (Hamaguchi Ryusuke)
2022: Rouge (Stanley Kwan)
2023: Pacifiction (Albert Serra)
2024: Beijing Watermelon (Obayashi Nobuhiko)
2025: Shanghai Blues (Tsui Hark)
2026: Dry Leaf (Alexandre Koberidze)

Favorite Film by Year (Features Only)

Ryan Swen Lists

Main list.
Release year.
Eligible films only.

1910:
1911:
1912:
1913: Fantômas (Louis Feuillade)
1914:
1915: Les Vampires (Louis Feuillade)
1916:
1917:
1918: Tih-Minh (Louis Feuillade)
1919:

1920:
1921:
1922: Dr. Mabuse, the Gambler (Fritz Lang)
1923: Safety Last! (Fred C. Newmeyer & Sam Taylor)
1924: Greed (Erich von Stroheim)
1925: Seven Chances (Buster Keaton)
1926: The General (Buster Keaton & Clyde Bruckman)
1927: Sunrise: A Song of Two Humans (F. W. Murnau)
1928: Spies (Fritz Lang)
1929: Man With a Movie Camera (Dziga Vertov)

1930: Morocco (Josef von Sternberg)
1931: M (Fritz Lang)
1932: Shanghai Express (Josef von Sternberg)
1933: The Testament of Dr. Mabuse (Fritz Lang)
1934: The Black Cat (Edgar G. Ulmer)
1935: Ruggles of Red Gap (Leo McCarey)
1936: Fury (Fritz Lang)
1937: The Awful Truth (Leo McCarey)
1938: Holiday (George Cukor)
1939: Only Angels Have Wings (Howard Hawks)

1940: His Girl Friday (Howard Hawks)
1941: Citizen Kane (Orson Welles)
1942: The Magnificent Ambersons (Orson Welles)
1943: Day of Wrath (Carl Th. Dreyer)
1944: Meet Me in St. Louis (Vincente Minnelli)
1945: The Clock (Vincente Minnelli)
1946: Notorious (Alfred Hitchcock)
1947: Out of the Past (Jacques Tourneur)
1948: Letter From an Unknown Woman (Max Ophuls)
1949: Late Spring (Ozu Yasujiro)

1950: La Ronde (Max Ophuls)
1951: Diary of a Country Priest (Robert Bresson)
1952: Lightning (Naruse Mikio)
1953: Gentlemen Prefer Blondes (Howard Hawks)
1954: Seven Samurai (Kurosawa Akira)
1955: Ordet (Carl Th. Dreyer)
1956: A Man Escaped (Robert Bresson)
1957: Pyaasa (Guru Dutt)
1958: Vertigo (Alfred Hitchcock)
1959: Rio Bravo (Howard Hawks)

1960: Breathless (Jean-Luc Godard)
1961: Last Year at Marienbad (Alain Resnais)
1962: An Autumn Afternoon (Ozu Yasujiro)
1963: Muriel, or the Time of Return (Alain Resnais)
1964: Gertrud (Carl Th. Dreyer)
1965: Pierrot le Fou (Jean-Luc Godard)
1966: The Battle of Algiers (Gillo Pontecorvo)
1967: The Young Girls of Rochefort (Jacques Demy)
1968: Death by Hanging (Oshima Nagisa)
1969: My Night at Maud’s (Éric Rohmer)

1970: Zorns Lemma (Hollis Frampton)
1971: A Touch of Zen (King Hu)
1972: The Bitter Tears of Petra von Kant (Rainer Werner Fassbinder)
1973: The Mother and the Whore (Jean Eustache)
1974: Céline and Julie Go Boating (Jacques Rivette)
1975: India Song (Marguerite Duras)
1976: News From Home (Chantal Akerman)
1977: Eraserhead (David Lynch)
1978: Perceval le Gallois (Éric Rohmer)
1979: Dirty Ho (Lau Kar-leung)

1980: Simone Barbès or Virtue (Marie-Claude Treilhou)
1981: The Aviator’s Wife (Éric Rohmer)
1982: Blade Runner (Ridley Scott)
1983: Sunless (Chris Marker)
1984: Shanghai Blues (Tsui Hark)
1985: Taipei Story (Edward Yang)
1986: The Green Ray (Éric Rohmer)
1987: Rouge (Stanley Kwan)
1988: My Neighbor Totoro (Miyazaki Hayao)
1989: A City of Sadness (Hou Hsiao-hsien)

1990: Trust (Hal Hartley)
1991: A Brighter Summer Day (Edward Yang)
1992: Twin Peaks: Fire Walk With Me (David Lynch)
1993: Naked (Mike Leigh)
1994: Chungking Express (Wong Kar-wai)
1995: Heat (Michael Mann)
1996: Comrades: Almost a Love Story (Peter Chan)
1997: Cure (Kurosawa Kiyoshi)
1998: The Hole (Tsai Ming-liang)
1999: Beau Travail (Claire Denis)

2000: A One and a Two… (Edward Yang)
2001: Mulholland Drive (David Lynch)
2002: My Left Eye Sees Ghosts (Johnnie To & Wai Ka-fai)
2003: Goodbye, Dragon Inn (Tsai Ming-liang)
2004: Tropical Malady (Apichatpong Weerasethakul)
2005: The Child (Jean-Pierre & Luc Dardenne)
2006: Syndromes and a Century (Apichatpong Weerasethakul)
2007: The Trap (Adam Curtis)
2008: Sparrow (Johnnie To)
2009: Oxhide II (Liu Jiayin)

2010: Mysteries of Lisbon (Raúl Ruiz)
2011: The Day He Arrives (Hong Sang-soo)
2012: Like Someone in Love (Abbas Kiarostami)
2013: Stray Dogs (Tsai Ming-liang)
2014: Phoenix (Christian Petzold)
2015: Mountains May Depart (Jia Zhangke)
2016: Yourself and Yours (Hong Sang-soo)
2017: Twin Peaks: The Return (David Lynch)
2018: La Flor (Mariano Llinás)
2019: Martin Eden (Pietro Marcello)

2020: Days (Tsai Ming-liang)
2021: Drive My Car (Hamaguchi Ryusuke)
2022: Pacifiction (Albert Serra)
2023: The Beast (Bertrand Bonello)
2024: Caught by the Tides (Jia Zhangke)
2025: Sirāt (Óliver Laxe)
2026: The Samurai and the Prisoner (Kurosawa Kiyoshi)

2024 First Watches

Ryan Swen Lists Tags: ,

Old
New

Renewed Appreciation: Charley Varrick, The Plagiarists, Jackie Brown, Tabu, Kung Fu Hustle, Nocturama, Leviathan, The Bitter Tears of Petra von Kant, The Clock, Sunrise: A Song of Two Humans, Dodes’ka-den, Rome, Open City, The Wayward Cloud, Exiled, The Straight Story, Safe, There Will Be Blood, Zombi Child, Unforgiven, Last Things, Happy Hour, Ali: Fear Eats the Soul, My Left Eye Sees Ghosts, Pulse, Here, Asako I & II, The Insider, Shrek

Shorts: Spacy, Thunder, This Action Lies, Train Again, We Don’t Talk Like We Used To, Revolving Rounds, If Every Girl Had a Diary, Grim, Travel Plans, Refuse Room, Ghost, In Public, Me and Rubyfruit, Zone, Jollies, Devil’s Circuit, Venus, Living Inside, The Land at Night, A Place Called Lovely, Wall, NE CORRIDOR, (it’s not a prison if you never try the door), Broken Specs, The Mummy’s Dream, Box, LUNA E SANTUR, (tourism studies), The United States of America, ESP, A Black Screen Too, Girl Power, Dreams Under Confinement, Special Features, Archipelago of Earthen Bones—To Bunya, Go Between, Pier Paolo Pasolini – Agnès Varda – New York – 1967, Going Out, Man in the Well, Extremely Short, Greetings From Crîngași!, Halimuhfack, A New Year, BURNING STAR, Mediums, Four Unloved Women, Adrift on a Purposeless Sea, Experience the Ecstasy of Dissection, Black Glass, The Great Sadness of Zohara, The Unnamed, Sunshine State (Extended Forecast), Laying Out, The Moon, Moon v. State, Out of Jungle, Developing, re-engraved, 28.IV.81 (Descending Figures), Siren’s Lullaby, Reckless Eyeballing, Speaking in Tongues: Take One, AGAINST LANDSCAPE, Van Gogh’s Ear

  1. Johnny Guitar (1954, Nicholas Ray) [March]
  2. La Région centrale (1971, Michael Snow) [March]
  3. The Beast (2023, Bertrand Bonello) [March]
  4. Caught by the Tides (2024, Jia Zhangke) [October]
  5. Le Trou (1960, Jacques Becker) [March]
  6. Rouge (1987, Stanley Kwan) [August]
  7. Evil Does Not Exist (2023, Hamaguchi Ryusuke) [May]
  8. In Vanda’s Room (2000, Pedro Costa) [June]
  9. Duck Soup (1933, Leo McCarey) [June]
  10. The Human Surge 3 (2023, Eduardo Williams) [April]
  11. Grand Tour (2024, Miguel Gomes) [December]
  12. Paisan (1946, Roberto Rossellini) [June]
  13. Black Narcissus (1947, Michael Powell & Emeric Pressburger) [July]
  14. Madame de… (1953, Max Ophuls) [August]
  15. Moving (1993, Somai Shinji) [August]
  16. Youth (Homecoming) (2024, Wang Bing) [September]
  17. Vagabond (1985, Agnès Varda) [September]
  18. Drunken Master II (1994, Lau Kar-leung) [March]
  19. 11 x 14 (1977, James Benning) [April]
  20. Youth (Hard Times) (2024, Wang Bing) [September]
  21. Gift (2023, Hamaguchi Ryusuke) [September]
  22. One Way Boogie Woogie (1977, James Benning) [April]
  23. Waking Life (2001, Richard Linklater) [March]
  24. Boat People (1982, Ann Hui) [March]
  25. Landscape Suicide (1986, James Benning) [April]
  26. Last Summer (2023, Catherine Breillat) [June]
  27. It’s Not Me (2024, Leos Carax) [November]
  28. A Traveler’s Needs (2024, Hong Sang-soo) [October]
  29. The Shadowless Tower (2023, Zhang Lu) [March]
  30. Eureka (2023, Lisandro Alonso) [April]
  31. Liverpool (2008, Lisandro Alonso) [April]
  32. The Shrouds (2024, David Cronenberg) [October]
  33. Los muertos (2004, Lisandro Alonso) [April]
  34. Anora (2024, Sean Baker) [October]
  35. El futuro (2013, Luis López Carrasco) [February]
  36. By the Stream (2024, Hong Sang-soo) [December]
  37. Germany Year Zero (1948, Roberto Rossellini) [June]
  38. Who by Fire (2024, Philippe Lesage) [September]
  39. Nickel Boys (2024, RaMell Ross) [September]
  40. Crimes and Misdemeanors (1989, Woody Allen) [August]
  41. A Night at the Opera (1935, Sam Wood) [June]
  42. Drunken Master (1978, Yuen Woo-ping) [March]
  43. Inside the Yellow Cocoon Shell (2023, Phạm Thiên Ân) [January]
  44. Man in Black (2023, Wang Bing) [January]
  45. Coma (2022, Bertrand Bonello) [March]
  46. You Have to Come and See It (2022, Jonás Trueba) [May]
  47. Hard Truths (2024, Mike Leigh) [October]
  48. The Other Way Around (2024, Jonás Trueba) [November]
  49. All We Imagine as Light (2024, Payal Kapadia) [October]
  50. The Wonderful Story of Henry Sugar and Three More (2024, Wes Anderson) [December]
  51. Sideways (2004, Alexander Payne) [September]
  52. The Room Next Door (2024, Pedro Almodóvar) [November]
  53. The Brutalist (2024, Brady Corbet) [October]
  54. Compensation (1999, Zeinabu irene Davis) [October]
  55. Dahomey (2024, Mati Diop) [October]
  56. Histoires d’Amérique: Food, Family and Philosophy (1989, Chantal Akerman) [November]
  57. Sylvia Scarlett (1935, George Cukor) [March]
  58. Forty Guns (1957, Samuel Fuller) [March]
  59. Twilight of the Warriors: Walled In (2024, Soi Cheang) [August]
  60. The Tsugua Diaries (2021, Maureen Fazendeiro & Miguel Gomes) [December]
  61. The Feeling That the Time for Doing Something Has Passed (2023, Joanna Arnow) [April]
  62. I’m Not There (2007, Todd Haynes) [December]
  63. Chime (2024, Kurosawa Kiyoshi) [October]
  64. Eephus (2024, Carson Lund) [October]
  65. The Virgin Suicides (1999, Sofia Coppola) [September]
  66. Hit Man (2023, Richard Linklater) [January]
  67. A Different Man (2024, Aaron Schimberg) [September]
  68. Between the Temples (2024, Nathan Silver) [January]
  69. The Serpent’s Path (2024, Kurosawa Kiyoshi) [October]
  70. This Closeness (2023, Kit Zauhar) [July]
  71. Nowhere Near (2023, Miko Revereza) [January]
  72. Matt and Mara (2024, Kazik Radwanski) [October]
  73. The Colors Within (2024, Yamada Naoko) [December]
  74. No Other Land (2024, Basel Adra & Rachel Szor & Hamdan Ballal & Yuval Abraham) [October]
  75. Juror #2 (2024, Clint Eastwood) [November]
  76. Cloud (2024, Kurosawa Kiyoshi) [October]
  77. The Beast in the Jungle (2023, Patric Chiha) [April]
  78. Christmas Eve in Miller’s Point (2024, Tyler Taormina) [November]
  79. The Look of Silence (2014, Joshua Oppenheimer) [November]
  80. Kuei-mei, a Woman (1985, Chang Yi) [August]
  81. The Sweet East (2023, Sean Price Williams) [January]
  82. Like Nothing Happened (2003, Hamaguchi Ryusuke) [August]
  83. Oh, Canada (2024, Paul Schrader) [October]
  84. Here (2024, Robert Zemeckis) [November]
  85. Serpent’s Path (1998, Kurosawa Kiyoshi) [October]
  86. Mambar Pierrette (2023, Rosine Mbakam) [February]
  87. Megalopolis (2024, Francis Ford Coppola) [September]
  88. Blitz (2024, Steve McQueen) [October]
  89. Furiosa: A Mad Max Saga (2024, George Miller) [May]
  90. AGGRO DR1FT (2023, Harmony Korine) [February]
  91. Janet Planet (2023, Annie Baker) [July]
  92. Pavements (2024, Alex Ross Perry) [October]
  93. Master Gardener (2022, Paul Schrader) [October]
  94. i hate myself 🙂 (2013, Joanna Arnow) [April]
  95. Ripples of Life (2021, Wei Shujun) [July]
  96. Desert of Namibia (2024, Yamanaka Yoko) [November]
  97. Dirty Like an Angel (1991, Catherine Breillat) [August]
  98. Dream Team (2024, Lev Kalman & Whitney Horn) [April]
  99. Challengers (2024, Luca Guadagnino) [May]
  100. Carry-On (2024, Jaume Collet-Serra) [December]
  101. Falling Lessons (1992, Amy Halpern) [December]
  102. Actual People (2021, Kit Zauhar) [July]
  103. Genèse (2018, Philippe Lesage) [September]
  104. You Burn Me (2024, Matías Piñeiro) [October]
  105. Striding Into the Wind (2020, Wei Shujun) [July]
  106. Gasoline Rainbow (2023, Bill & Turner Ross) [April]
  107. Little, Big, and Far (2024, Jem Cohen) [October]
  108. Stinking Heaven (2015, Nathan Silver) [March]
  109. Common Carrier (2017, James N. Kienitz Wilkins) [July]
  110. Hellhole (2019, Bas Devos) [November]
  111. Eyes of the Spider (1998, Kurosawa Kiyoshi) [October]
  112. Touching the Skin of Eeriness (2013, Hamaguchi Ryusuke) [August]
  113. Presence (2024, Steven Soderbergh) [November]
  114. Law and Order (1969, Frederick Wiseman) [September]
  115. Pepe (2024, Nelson Carlos de los Santos Arias) [October]
  116. Summer (2021, Vadim Kostrov) [October]
  117. French Exit (2020, Azazel Jacobs) [July]
  118. Stranger Eyes (2024, Yeo Siew Hua) [October]
  119. Fall (2022, Vadim Kostrov) [October]
  120. Soundtrack to a Coup d’État (2024, Johan Grimonprez) [November]
  121. The Seed of the Sacred Fig (2024, Mohammad Rasoulof) [October]
  122. Violet (2014, Bas Devos) [October]
  123. The Mission (1986, Roland Joffé) [May]
  124. Mr. Nice Guy (1997, Sammo Hung) [March]
  125. All Dirt Roads Taste of Salt (2023, Raven Jackson) [September]
  126. Good One (2024, India Donaldson) [October]
  127. Thunderbolt and Lightfoot (1974, Michael Cimino) [May]
  128. Only the River Flows (2023, Wei Shujun) [February]
  129. Union (2024, Brett Story & Stephen Maing) [January]
  130. Black Box Diaries (2024, Ito Shiori) [November]
  131. Trap (2024, M. Night Shyamalan) [August]
  132. Hundreds of Beavers (2022, Mike Cheslik) [December]
  133. Eat the Night (2024, Caroline Poggi & Jonathan Vinel) [November]
  134. Europa Europa (1990, Agnieszka Holland) [January]
  135. Rumours (2024, Guy Maddin & Evan & Galen Johnson) [October]
  136. I’m Still Here (2024, Walter Salles) [October]
  137. Red Island (2023, Robin Campillo) [August]
  138. Savanna and the Mountain (2024, Paulo Carneiro) [November]
  139. The Assignment (1997, Christian Duguay) [July]
  140. A Real Pain (2024, Jesse Eisenberg) [November]
  141. The Order (2024, Justin Kurzel) [December]
  142. Rebel Ridge (2024, Jeremy Saulnier) [September]
  143. Something Old, Something New, Something Borrowed (2024, Hernán Rosselli) [November]
  144. The Night Comes for Us (2018, Timo Tjahjanto) [August]
  145. His Three Daughters (2023, Azazel Jacobs) [July]
  146. Queer (2024, Luca Guadagnino) [November]
  147. Coconut Head Generation (2023, Alain Kassanda) [May]
  148. Kinds of Kindness (2024, Yorgos Lanthimos) [June]
  149. On Becoming a Guinea Fowl (2024, Rungano Nyoni) [October]
  150. Loving (2016, Jeff Nichols) [June]
  151. A Fidai Film (2024, Kamal Aljafari) [June]
  152. Red Rooms (2023, Pascal Plante) [December]
  153. I Saw the TV Glow (2024, Jane Schoenbrun) [May]
  154. Vermiglio (2024, Maura Delpero) [November]
  155. Joker: Folie à Deux (2024, Todd Phillips) [October]
  156. Rap World (2024, Danny Scharar & Connor O’Malley) [December]
  157. Flow (2024, Gints Zilbalodis) [December]
  158. Dune: Part Two (2024, Denis Villeneuve) [March]
  159. The Art of War (2000, Christian Duguay) [July]
  160. Inside Out 2 (2024, Kelsey Mann) [June]
  161. Stress Positions (2024, Theda Hammel) [May]
  162. We’re All Going to the World’s Fair (2021, Jane Schoenbrun) [January]
  163. Small Things Like These (2024, Tim Mielants) [October]
  164. The Greatest Night in Pop (2024, Bao Nguyen) [September]
  165. Kneecap (2024, Rich Peppiatt) [January]
  166. The Substance (2024, Coralie Fargeat) [September]
  167. Maria (2024, Pablo Larraín) [November]
  168. Don’t Let the Riverbeast Get You! (2012, Charles Roxburgh) [October]
  169. Nosferatu (2024, Robert Eggers) [November]
  170. Girls Will Be Girls (2024, Shuchi Talati) [January]
  171. Babygirl (2024, Halina Reijn) [November]
  172. Sujo (2024, Astrid Rondero & Fernanda Valadez) [January]
  173. Love Lies Bleeding (2024, Rose Glass) [March]
  174. American Fiction (2023, Cord Jefferson) [January]
  175. Gazer (2024, Ryan J. Sloan) [November]
  176. The Old Guard (2020, Gina Prince-Bythewood) [August]
  177. Good Bad Things (2024, Shane D. Stanger) [January]
  178. Death of a Saint (2024, Patricia Bbaale Bandak) [September]
  179. The Bikeriders (2023, Jeff Nichols) [June]
  180. Kiss the Future (2023, Nenad Cicin-Sain) [September]
  181. Conclave (2024, Edward Berger) [November]
  182. The End (2024, Joshua Oppenheimer) [November]
  183. Retribution (2023, Antal Nimród) [December]
  184. The Northman (2022, Robert Eggers) [November]
  185. The Friend (2024, Scott McGehee & David Siegel) [October]
  186. A Complete Unknown (2024, James Mangold) [November]
  187. New Wave (2024, Elizabeth Ai) [September]
  188. Murderess (2023, Eva Nathena) [December]
  189. Starring Jerry as Himself (2023, Law Chen) [September]
  190. Gladiator II (2024, Ridley Scott) [November]
  191. The People’s Joker (2022, Vera Drew) [March]
  192. Drive-Away Dykes (2024, Ethan Coen) [February]
  193. Dìdi (2024, Sean Wang) [January]
  194. September 5 (2024, Tim Fehlbaum) [November]
  195. Wicked: Part I (2024, Jon M. Chu) [December]
  196. El conde (2023, Pablo Larraín) [November]
  197. Civil War (2024, Alex Garland) [November]
  198. Sing Sing (2023, Greg Kwedar) [November]
  199. The Remarkable Life of Ibelin (2024, Benjamin Ree) [January]
  200. Turning Red (2022, Domee Shi) [June]
  201. Bird (2024, Andrea Arnold) [September]
  202. Emilia Pérez (2024, Jacques Audiard) [October]
  203. Mufasa: The Lion King (2024, Barry Jenkins) [December]
  204. We Need to Talk About Kevin (2011, Lynne Ramsay) [June]
  205. The Lion King (2019, Jon Favreau) [December]

Old

  1. Johnny Guitar (1954, Nicholas Ray)
  2. La Région centrale (1971, Michael Snow)
  3. Le Trou (1960, Jacques Becker)
  4. Rouge (1987, Stanley Kwan)
  5. In Vanda’s Room (2000, Pedro Costa)
  6. Duck Soup (1933, Leo McCarey)
  7. Paisan (1946, Roberto Rossellini)
  8. Black Narcissus (1947, Michael Powell & Emeric Pressburger)
  9. Madame de… (1953, Max Ophuls)
  10. Moving (1993, Somai Shinji)
  11. Vagabond (1985, Agnès Varda)
  12. Drunken Master II (1994, Lau Kar-leung)
  13. 11 x 14 (1977, James Benning)
  14. One Way Boogie Woogie (1977, James Benning)
  15. Waking Life (2001, Richard Linklater)
  16. Boat People (1982, Ann Hui)
  17. Landscape Suicide (1986, James Benning)
  18. Liverpool (2008, Lisandro Alonso)
  19. Los muertos (2004, Lisandro Alonso)
  20. El futuro (2013, Luis López Carrasco)
  21. Germany Year Zero (1948, Roberto Rossellini)
  22. Crimes and Misdemeanors (1989, Woody Allen)
  23. A Night at the Opera (1935, Sam Wood)
  24. Drunken Master (1978, Yuen Woo-ping)
  25. Sideways (2004, Alexander Payne)
  26. Compensation (1999, Zeinabu irene Davis)
  27. Histoires d’Amérique: Food, Family and Philosophy (1989, Chantal Akerman)
  28. Sylvia Scarlett (1935, George Cukor)
  29. Forty Guns (1957, Samuel Fuller)
  30. The Tsugua Diaries (2021, Maureen Fazendeiro & Miguel Gomes)
  31. I’m Not There (2007, Todd Haynes)
  32. The Virgin Suicides (1999, Sofia Coppola)
  33. The Look of Silence (2014, Joshua Oppenheimer)
  34. Kuei-mei, a Woman (1985, Chang Yi)
  35. Like Nothing Happened (2003, Hamaguchi Ryusuke)
  36. Serpent’s Path (1998, Kurosawa Kiyoshi)
  37. i hate myself 🙂 (2013, Joanna Arnow)
  38. Ripples of Life (2021, Wei Shujun)
  39. Dirty Like an Angel (1991, Catherine Breillat)
  40. Falling Lessons (1992, Amy Halpern)
  41. Actual People (2021, Kit Zauhar)
  42. Genèse (2018, Philippe Lesage)
  43. Striding Into the Wind (2020, Wei Shujun)
  44. Stinking Heaven (2015, Nathan Silver)
  45. Common Carrier (2017, James N. Kienitz Wilkins)
  46. Hellhole (2019, Bas Devos)
  47. Eyes of the Spider (1998, Kurosawa Kiyoshi)
  48. Touching the Skin of Eeriness (2013, Hamaguchi Ryusuke)
  49. Law and Order (1969, Frederick Wiseman)
  50. Summer (2021, Vadim Kostrov)
  51. French Exit (2020, Azazel Jacobs)
  52. Violet (2014, Bas Devos)
  53. The Mission (1986, Roland Joffé)
  54. Mr. Nice Guy (1997, Sammo Hung)
  55. Thunderbolt and Lightfoot (1974, Michael Cimino)
  56. Europa Europa (1990, Agnieszka Holland)
  57. The Assignment (1997, Christian Duguay)
  58. The Night Comes for Us (2018, Timo Tjahjanto)
  59. Loving (2016, Jeff Nichols)
  60. The Art of War (2000, Christian Duguay)
  61. We’re All Going to the World’s Fair (2021, Jane Schoenbrun)
  62. Don’t Let the Riverbeast Get You! (2012, Charles Roxburgh)
  63. The Old Guard (2020, Gina Prince-Bythewood)
  64. We Need to Talk About Kevin (2011, Lynne Ramsay)
  65. The Lion King (2019, Jon Favreau)

New

  1. The Beast (Bertrand Bonello)
  2. Caught by the Tides (Jia Zhangke)
  3. Evil Does Not Exist (Hamaguchi Ryusuke)
  4. The Human Surge 3 (Eduardo Williams)
  5. Grand Tour (Miguel Gomes)
  6. Youth (Homecoming) (Wang Bing)
  7. Youth (Hard Times) (Wang Bing)
  8. Gift (Hamaguchi Ryusuke)
  9. Last Summer (Catherine Breillat)
  10. It’s Not Me (Leos Carax)
  11. A Traveler’s Needs (Hong Sang-soo)
  12. The Shadowless Tower (Zhang Lu)
  13. Eureka (Lisandro Alonso)
  14. The Shrouds (David Cronenberg)
  15. Anora (Sean Baker)
  16. By the Stream (Hong Sang-soo)
  17. Who by Fire (Philippe Lesage)
  18. Nickel Boys (RaMell Ross)
  19. Inside the Yellow Cocoon Shell (Phạm Thiên Ân)
  20. Man in Black (Wang Bing)
  21. Coma (Bertrand Bonello)
  22. You Have to Come and See It (Jonás Trueba)
  23. Hard Truths (Mike Leigh)
  24. The Other Way Around (Jonás Trueba)
  25. All We Imagine as Light (Payal Kapadia)
  26. The Wonderful Story of Henry Sugar and Three More (Wes Anderson)
  27. The Room Next Door (Pedro Almodóvar)
  28. The Brutalist (Brady Corbet)
  29. Dahomey (Mati Diop)
  30. Twilight of the Warriors: Walled In (Soi Cheang)
  31. The Feeling That the Time for Doing Something Has Passed (Joanna Arnow)
  32. Chime (Kurosawa Kiyoshi)
  33. Eephus (Carson Lund)
  34. Hit Man (Richard Linklater)
  35. A Different Man (Aaron Schimberg)
  36. Between the Temples (Nathan Silver)
  37. The Serpent’s Path (Kurosawa Kiyoshi)
  38. This Closeness (Kit Zauhar)
  39. Nowhere Near (Miko Revereza)
  40. Matt and Mara (Kazik Radwanski)
  41. The Colors Within (Yamada Naoko)
  42. No Other Land (Basel Adra & Rachel Szor & Hamdan Ballal & Yuval Abraham)
  43. Juror #2 (Clint Eastwood)
  44. Cloud (Kurosawa Kiyoshi)
  45. The Beast in the Jungle (Patric Chiha)
  46. Christmas Eve in Miller’s Point (Tyler Taormina)
  47. The Sweet East (Sean Price Williams)
  48. Oh, Canada (Paul Schrader)
  49. Here (Robert Zemeckis)
  50. Mambar Pierrette (Rosine Mbakam)
  51. Megalopolis (Francis Ford Coppola)
  52. Blitz (Steve McQueen)
  53. Furiosa: A Mad Max Saga (George Miller)
  54. AGGRO DR1FT (Harmony Korine)
  55. Janet Planet (Annie Baker)
  56. Pavements (Alex Ross Perry)
  57. Master Gardener (Paul Schrader)
  58. Desert of Namibia (Yamanaka Yoko)
  59. Dream Team (Lev Kalman & Whitney Horn)
  60. Challengers (Luca Guadagnino)
  61. Carry-On (Jaume Collet-Serra)
  62. You Burn Me (Matías Piñeiro)
  63. Gasoline Rainbow (Bill & Turner Ross)
  64. Little, Big, and Far (Jem Cohen)
  65. Presence (Steven Soderbergh)
  66. Pepe (Nelson Carlos de los Santos Arias)
  67. Stranger Eyes (Yeo Siew Hua)
  68. Fall (Vadim Kostrov)
  69. Soundtrack to a Coup d’État (Johan Grimonprez)
  70. The Seed of the Sacred Fig (Mohammad Rasoulof)
  71. All Dirt Roads Taste of Salt (Raven Jackson)
  72. Good One (India Donaldson)
  73. Only the River Flows (Wei Shujun)
  74. Union (Brett Story & Stephen Maing)
  75. Black Box Diaries (Ito Shiori)
  76. Trap (M. Night Shyamalan)
  77. Hundreds of Beavers (Mike Cheslik)
  78. Eat the Night (Caroline Poggi & Jonathan Vinel)
  79. Rumours (Guy Maddin & Evan & Galen Johnson)
  80. I’m Still Here (Walter Salles)
  81. Red Island (Robin Campillo)
  82. Savanna and the Mountain (Paulo Carneiro)
  83. A Real Pain (Jesse Eisenberg)
  84. The Order (Justin Kurzel)
  85. Rebel Ridge (Jeremy Saulnier)
  86. Something Old, Something Borrowed, Something New (Hernán Rosselli)
  87. His Three Daughters (Azazel Jacobs)
  88. Queer (Luca Guadagnino)
  89. Coconut Head Generation (Alain Kassanda)
  90. Kinds of Kindness (Yorgos Lanthimos)
  91. On Becoming a Guinea Fowl (Rungano Nyoni)
  92. A Fidai Film (Kamal Aljafari)
  93. Red Rooms (Pascal Plante)
  94. I Saw the TV Glow (Jane Schoenbrun)
  95. Vermiglio (Maura Delpero)
  96. Joker: Folie à Deux (Todd Phillips)
  97. Rap World (Danny Scharar & Connor O’Malley)
  98. Flow (Gints Zilbalodis)
  99. Dune: Part Two (Denis Villeneuve)
  100. Inside Out 2 (Kelsey Mann)
  101. Stress Positions (Theda Hammel)
  102. Small Things Like These (Tim Mielants)
  103. The Greatest Night in Pop (Bao Nguyen)
  104. Kneecap (Rich Peppiatt)
  105. The Substance (Coralie Fargeat)
  106. Maria (Pablo Larraín)
  107. Nosferatu (Robert Eggers)
  108. Girls Will Be Girls (Shuchi Talati)
  109. Babygirl (Halina Reijn)
  110. Sujo (Astrid Rondero & Fernanda Valadez)
  111. Love Lies Bleeding (Rose Glass)
  112. American Fiction (Cord Jefferson)
  113. Gazer (Ryan J. Sloan)
  114. Good Bad Things (Shane D. Stanger)
  115. Death of a Saint (Patricia Bbaale Bandak)
  116. The Bikeriders (Jeff Nichols)
  117. Kiss the Future (Nenad Cicin-Sain)
  118. Conclave (Edward Berger)
  119. The End (Joshua Oppenheimer)
  120. Retribution (Antal Nimród)
  121. The Northman (Robert Eggers)
  122. The Friend (Scott McGehee & David Siegel)
  123. A Complete Unknown (James Mangold)
  124. New Wave (Elizabeth Ai)
  125. Murderess (Eva Nathena)
  126. Starring Jerry as Himself (Law Chen)
  127. Gladiator II (Ridley Scott)
  128. The People’s Joker (Vera Drew)
  129. Drive-Away Dykes (Ethan Coen)
  130. Dìdi (Sean Wang)
  131. September 5 (Tim Fehlbaum)
  132. Wicked: Part I (Jon M. Chu)
  133. El conde (Pablo Larraín)
  134. Civil War (Alex Garland)
  135. Sing Sing (Greg Kwedar)
  136. The Remarkable Life of Ibelin (Benjamin Ree)
  137. Turning Red (Domee Shi)
  138. Bird (Andrea Arnold)
  139. Emilia Pérez (Jacques Audiard)
  140. Mufasa: The Lion King (Barry Jenkins)

2024 Omnibus Log

Ryan Swen Lists Tags: ,

001. +Anatomy of a Fall (2023, Justine Triet) Television, File (Mother) 01 Jan – 9
002. +The Holdovers (2023, Alexander Payne) Television, File (Parents) 02 Jan – 7
003. Europa Europa (1990, Agnieszka Holland^) Television, File 08 Jan – 7
p001. The Secret Garden (1993, Agnieszka Holland) Television, File 08 Jan
004. Man in Black (2023, Wang Bing) 2220 Arts + Archives/Acropolis Cinema, File (Volunteer, Friend, Director Q&A) 13 Jan – 8
005. We’re All Going to the World’s Fair (2021, Jane Schoenbrun^) Television, File 18 Jan – 6
006. Sujo (2024, Astrid Rondero^ & Fernanda Valadez^†) Metropolitan Holiday Village 4, DCP [Sundance] 19 Jan – 6 [slight]
s001. Dosh (2023, Radha Mehta) Yarrow Hotel, DCP [Slamdance] 20 Jan – 6
007. Good Bad Things (2024, Shane D. Stanger^) Yarrow Hotel, DCP [Slamdance] 20 Jan – 6
008. Between the Temples (2024, Nathan Silver†) Metropolitan Holiday Village 4, DCP [Sundance] 20 Jan – 8
009. Hit Man (2023, Richard Linklater†) Metropolitan Holiday Village 4, DCP [Sundance] 20 Jan – 8
010. American Fiction (2023, Cord Jefferson^) Television, DVD Screener 22 Jan – 6
011. Nowhere Near (2023, Miko Revereza^) REDCAT, DCP (Director Zoom Q&A) 22 Jan – 8
012. Inside the Yellow Cocoon Shell (2023, Phạm Thiên Ân) AC Los Feliz 3, DCP (Friends) 25 Jan – 8
013. The Sweet East (2023, Sean Price Williams^) Landmark Nuart/Mezzanine, DCP (Director/Cast/Producers Q&A) 26 Jan – 8
014. Dìdi (2024, Sean Wang^) Monitor, Online Platform [Sundance] 27 Jan – 5
s002. Entrance Wounds (2023, Calum Walter) Monitor, Slamdance Channel [Slamdance] 27 Jan – 6
s003. Goddess of Speed (2023, Frédéric Moffet) Monitor, Slamdance Channel [Slamdance] 27 Jan – 6
s004. Light of Light (2023, Neritan Zinxhiria) Monitor, Slamdance Channel [Slamdance] 27 Jan – 7
s005. Lotus-Eyed Girl (2022, Rajee Samarasinghe) Monitor, Slamdance Channel [Slamdance] 27 Jan – 6
s006. Monolith (2023, Teresita Carson) Monitor, Slamdance Channel [Slamdance] 27 Jan – 6
s007. Nobody Wants to Fix Things Anymore (2023, Joseph Wilcox) Monitor, Slamdance Channel [Slamdance] 27 Jan – 5
s008. Nowhere Stream (2023, Luis Grane) Monitor, Slamdance Channel [Slamdance] 27 Jan – 5
s009. Welcome to the Enclave (2023, Sarah Lasley) Monitor, Slamdance Channel [Slamdance] 27 Jan – 4
015. +Je t’aime, je t’aime (1968, Alain Resnais¢) Television, Blu-ray 27 Jan – 9
016. Kneecap (2024, Rich Peppiatt^) Monitor, Online Platform [Sundance] 28 Jan – 6
017. The Remarkable Life of Ibelin (2024, Benjamin Ree^) Monitor, Online Platform [Sundance] 28 Jan – 5
018. Girls Will Be Girls (2024, Shuchi Talati^) Monitor, Online Platform [Sundance] 28 Jan – 6
019. Union (2024, Brett Story^ & Stephen Maing^) Monitor, Online Platform [Sundance] 28 Jan – 7
s010. This Action Lies (2018, James N. Kienitz Wilkins) Television, File 04 Feb – 8
s011. Train Again (2021, Peter Tscherkassky) Television, File 07 Feb – 8
020. Only the River Flows (2023, Wei Shujun^) NeueHouse Venice Beach/Acropolis Cinema, File (Friends) 08 Feb – 7
021. +Last Things (2023, Deborah Stratman) AC Los Feliz 3, 35mm 08 Feb – 7 [slight]
s012. +(nostalgia) (1971, Hollis Frampton) Television, Blu-ray 09 Feb – 10
s013. +Rose Hobart (1936, Joseph Cornell) Television, File 09 Feb – 10 [up from 8]
022. AGGRO DR1FT (2023, Harmony Korine) AC Los Feliz 3, DCP (Friends, Director Introduction) 10 Feb – 7
p002. The Shadowless Tower (2023, Zhang Lu) NeueHouse Venice Beach/Acropolis Cinema, File (Friends) 12 Feb
023. El futuro (2013, Luis López Carrasco) Television, File 23 Feb – 8
s014. Reckless Eyeballing (2004, Christopher Harris) 2220 Arts + Archives/Los Angeles Filmforum, 16mm (Director Q&A) 25 Feb – 7
s015. 28.IV.81 (Bedouin Spark) (2009, Christopher Harris) 2220 Arts + Archives/Los Angeles Filmforum, 16mm (Director Q&A) 25 Feb – 6
s016. 28.IV.81 (Descending Figures) (2011, Christopher Harris) 2220 Arts + Archives/Los Angeles Filmforum, File (Director Q&A) 25 Feb – 7
s017. +28.IV.81 (Descending Figures) (2011, Christopher Harris) 2220 Arts + Archives/Los Angeles Filmforum, File (Director Q&A) 25 Feb – 7
s018. Halimuhfack (2016, Christopher Harris) 2220 Arts + Archives/Los Angeles Filmforum, File (Director Q&A) 25 Feb – 7
s019. Sunshine State (Extended Forecast) (2007, Christopher Harris) 2220 Arts + Archives/Los Angeles Filmforum, File (Director Q&A) 25 Feb – 7
s020. Distant Shores (2016, Christopher Harris) 2220 Arts + Archives/Los Angeles Filmforum, File (Director Q&A) 25 Feb – 6
s021. Dreams Under Confinement (2020, Christopher Harris) 2220 Arts + Archives/Los Angeles Filmforum, File (Director Q&A) 25 Feb – 8
s022. Speaking in Tongues: Take One (2024, Christopher Harris) 2220 Arts + Archives/Los Angeles Filmforum, File (Director Q&A) 25 Feb – 7
024. Drive-Away Dykes (2024, Ethan Coen) Regal L.A. Live, DCP 27 Feb – 5
025. +Kung Fu Hustle (2004, Stephen Chow) New Beverly, 35mm 27 Feb – 10 [up from 8]
026. +Shaolin Soccer (2001, Stephen Chow) New Beverly, 35mm (Friend) 27 Feb – 8
027. Mambar Pierrette (2023, Rosine Mbakam^) Laemmle Glendale/Acropolis Cinema, DCP (Friends) 28 Feb – 8
028. Dune: Part Two (2024, Denis Villeneuve) Regal Edwards South Gate, IMAX DCP 03 Mar – 6
029. Boat People (1982, Ann Hui^) Television, Blu-ray 05 Mar – 9
030. +There Will Be Blood (2007, Paul Thomas Anderson) New Beverly, 35mm 08 Mar – 9 [up from 8]
031. La Région centrale (1971, Michael Snow) UCLA Billy Wilder Theater, 16mm (Friends) 08 Mar – 10
032. Stinking Heaven (2015, Nathan Silver) Brain Dead Studios/Mezzanine, 35mm (Director Q&A) 12 Mar – 7
033. +Nocturama (2016, Bertrand Bonello) Television, Blu-ray 12 Mar – 10 [up from 9]
034. +Zombi Child (2019, Bertrand Bonello) Television, File 13 Mar – 8
035. Coma (2022, Bertrand Bonello) Television, File 13 Mar – 8
s023. Drip-Along Daffy (1951, Chuck Jones) New Beverly, 35mm (Friend) 13 Mar – 6
036. Johnny Guitar (1954, Nicholas Ray) New Beverly, 35mm (Friend) 13 Mar – 10
037. Forty Guns (1957, Samuel Fuller) New Beverly, 35mm (Friends, Relative Q&A) 13 Mar – 8
038. Drunken Master (1978, Yuen Woo-ping) Television, Blu-ray 14 Mar – 8
039. The People’s Joker (2022, Vera Drew^†) Vidiots, File (Friend) 14 Mar – 5
040. The Beast (2023, Bertrand Bonello†) Wilshire Screening Room, DCP 14 Mar – 10
041. Drunken Master II (1994, Lau Kar-leung) New Beverly, 35mm 15 Mar – 9
042. Mr. Nice Guy (1997, Sammo Hung) New Beverly, 35mm (Stuntman Q&A) 15 Mar – 7 [Cantonese dub]
043. The Shadowless Tower (2023, Zhang Lu^) 2220 Arts + Archives/Acropolis Cinema, File (Volunteer) 17 Mar – 8
044. Love Lies Bleeding (2024, Rose Glass^) Regal L.A. Live, DCP 19 Mar – 6
045. +The End of Evangelion (1997, Anno Hideaki) AMC Burbank, DCP (Friends) 20 Mar – 10
s024. Greetings From Crîngași! (2023, Radu Jude) Monitor, File 21 Mar – 7
046. Waking Life (2001, Richard Linklater) AC Los Feliz 3, 35mm 21 Mar – 9 [late]
s025. Videos With Mom: Breast (2007, Joshua Gen Solondz) Brain Dead Studios/Acropolis Cinema, DCP (Friends, Director Q&A) 26 Mar – 6
s026. BURNING STAR (2011, Joshua Gen Solondz) Brain Dead Studios/Acropolis Cinema, DCP (Friends, Director Q&A) 26 Mar – 7
s027. (it’s not a prison if you never try the door) (2013, Joshua Gen Solondz) Brain Dead Studios/Acropolis Cinema, DCP (Friends, Director Q&A) 26 Mar – 8
s028. AGAINST LANDSCAPE (2014, Joshua Gen Solondz) Brain Dead Studios/Acropolis Cinema, DCP (Friends, Director Q&A) 26 Mar – 7
s029. LUNA E SANTUR (2016, Joshua Gen Solondz) Brain Dead Studios/Acropolis Cinema, 35mm (Friends, Director Q&A) 26 Mar – 8
s030. (tourism studies) (2019, Joshua Gen Solondz) Brain Dead Studios/Acropolis Cinema, 35mm (Friends, Director Q&A) 26 Mar – 8
s031. NE CORRIDOR (2022, Joshua Gen Solondz) Brain Dead Studios/Acropolis Cinema, 35mm (Friends, Director Q&A) 26 Mar – 8
s032. We Don’t Talk Like We Used To (2023, Joshua Gen Solondz) Brain Dead Studios/Acropolis Cinema, 35mm (Friends, Director Q&A) 26 Mar – 8
047. Le Trou (1960, Jacques Becker^) AC Egyptian Theatre, DCP (Friend) 27 Mar – 10
048. Sylvia Scarlett (1935, George Cukor) Academy Museum, 35mm 29 Mar – 8
s033. +Screw (1982, Ito Takashi) Monitor, File 30 Mar – 6
s034. Spacy (1981, Ito Takashi) Academy Museum, 16mm (Friends) 30 Mar – 10
s035. Box (1982, Ito Takashi) Academy Museum, 16mm (Friends) 30 Mar – 8
s036. Thunder (1982, Ito Takashi) Academy Museum, 16mm (Friends) 30 Mar – 9
s037. Devil’s Circuit (1988, Ito Takashi) Academy Museum, 16mm (Friends) 30 Mar – 8
s038. The Mummy’s Dream (1989, Ito Takashi) Academy Museum, 16mm (Friends) 30 Mar – 8
s039. Wall (1987, Ito Takashi) Academy Museum, 16mm (Friends) 30 Mar – 8
s040. Apparatus M (1996, Ito Takashi) Academy Museum, 16mm (Friends) 30 Mar – 7
s041. Venus (1990, Ito Takashi) Academy Museum, 16mm (Friends) 30 Mar – 8
s042. Grim (1985, Ito Takashi) Academy Museum, 16mm (Friends) 30 Mar – 8
s043. The Moon (1994, Ito Takashi) Academy Museum, 16mm (Friends) 30 Mar – 7
s044. Zone (1995, Ito Takashi) Academy Museum, 16mm (Friends) 30 Mar – 8
s045. Ghost (1984, Ito Takashi) Monitor, File 30 Mar – 8
049. The Beast in the Jungle (2023, Patric Chiha^) Television, File 03 Apr – 8
050. Gasoline Rainbow (2023, Bill & Turner Ross) 2220 Arts + Archives, DCP (Friend, Directors Q&A) [LAFM] 05 Apr – 7
051. The Human Surge 3 (2023, Eduardo Williams) 2220 Arts + Archives, DCP (Friends, Director Q&A) [LAFM] 05 Apr – 9
052. Dream Team (2024, Lev Kalman & Whitney Horn) 2220 Arts + Archives, DCP (Friends, Directors Q&A) [LAFM] 06 Apr – 8
053. +The Beast (2023, Bertrand Bonello) AMC Burbank, DCP (Friend, Director Q&A) 07 Apr – 10
054. +Los Angeles Plays Itself (2003, Thom Andersen) AC Aero Theatre, DCP (Friend, Director Q&A) 11 Apr – 10
s046. +Sarah Winchester: Ghost Opera (2016, Bertrand Bonello) Television, Blu-ray 12 Apr – 7 [up from 6]
055. +Leviathan (2012, Lucien Castaing-Taylor & Véréna Paravel) AC Aero Theatre, DCP (Friends, Directors Q&A) 13 Apr – 9 [slight; up from 8]
056. +Sweetgrass (2009, Ilisa Barbash & Lucien Castaing-Taylor) AC Aero Theatre, DCP (Friends, Directors Q&A) 13 Apr – 8 [slight]
s047. The United States of America (1975, James Benning & Bette Gordon) Television, File 18 Apr – 8
057. Landscape Suicide (1986, James Benning) Television, File 18 Apr – 9
058. i hate myself 🙂 (2013, Joanna Arnow^) Television, File 18 Apr – 8
s048. +Bad at Dancing (2015, Joanna Arnow) Television, File 18 Apr – 8
s049. Laying Out (2019, Joanna Arnow) Television, File 18 Apr – 7
059. One Way Boogie Woogie (1977, James Benning) Television, File 18 Apr – 9
060. The Feeling That the Time for Doing Something Has Passed (2023, Joanna Arnow†) Soho House West Hollywood, DCP 18 Apr – 8 [late]
061. 11 x 14 (1977, James Benning) Television, File 18 Apr – 9
062. Eureka (2023, Lisandro Alonso) AC Egyptian Theatre, DCP (Friends, Director Q&A) 26 Apr – 9 [slight]
063. Los muertos (2004, Lisandro Alonso) AC Aero Theatre, 35mm (Friend, Director Q&A) 27 Apr – 9 [slight]
064. Liverpool (2008, Lisandro Alonso) AC Aero Theatre, 35mm (Friend, Director Q&A) 27 Apr – 9 [subtitles]
065. Challengers (2024, Luca Guadagnino) Regal L.A. Live, DCP 01 May – 8
066. Evil Does Not Exist (2023, Hamaguchi Ryusuke) AMC The Grove, DCP (Director Q&A) 05 May – 9
067. I Saw the TV Glow (2024, Jane Schoenbrun) AMC The Grove, DCP 07 May – 6 [late]
068. Coconut Head Generation (2023, Alain Kassanda^) Laemmle Monica Film Center, DCP 07 May – 7 [slight]
069. Stress Positions (2024, Theda Hammel^) Landmark Sunset, DCP 08 May – 6
070. +Red Sorghum (1988, Zhang Yimou) Television, File 08 May – 7
071. +Ju Dou (1990, Zhang Yimou & Yang Fengliang) Television, File 08 May – 7 [down from 8]
072. You Have to Come and See It (2022, Jonás Trueba) Television, File 22 May – 8
s050. +The Hedonists (2016, Jia Zhangke¢) Television, File 22 May – 8
s051. +(nostalgia) (1971, Hollis Frampton¢) Television, Blu-ray 22 May – 10
073. +Twin Peaks: The Return (2017, David Lynch) Television, Blu-ray 23 May – 10
074. Furiosa: A Mad Max Saga (2024, George Miller) AMC Americana, DCP 26 May – 8
075. +In Our Day (2023, Hong Sang-soo) 2220 Arts + Archives/Acropolis Cinema, File (Volunteer) 26 May – 9
t001. +Day 2: 6:00pm-7:00pm (2003, 24) Television, File 27 May
t002. +Day 2: 7:00pm-8:00pm (2003, 24) Television, File 27 May
s052. Cobs and Robbers (1953, Dick Lundy) New Beverly, 35mm 29 May – 6
076. +Charley Varrick (1973, Don Siegel) New Beverly, 35mm 29 May – 9 [up from 7]
077. Thunderbolt and Lightfoot (1974, Michael Cimino) New Beverly, 35mm 29 May – 7
078. The Mission (1986, Roland Joffé^) New Beverly, 35mm 31 May – 7
079. +Tabu (2012, Miguel Gomes) AC Los Feliz 3, DCP (Friend, Cast Q&A) 31 May – 10 [up from 9]
080. +Kill Bill Vol. 1 (2003, Quentin Tarantino) New Beverly, 35mm 31 May – 8
081. +Rome, Open City (1945, Roberto Rossellini) AC Aero Theatre, 35mm (Farrell/Kogonada Introduction) 01 Jun – 8
082. Paisan (1946, Roberto Rossellini) AC Aero Theatre, 35mm 01 Jun – 9
083. Germany Year Zero (1948, Roberto Rossellini) AC Aero Theatre, 35mm 01 Jun – 8 [Italian dub]
084. +Unforgiven (1992, Clint Eastwood) AC Egyptian Theatre, 35mm 02 Jun – 9 [late]
s053. a shifting pattern (2024, Isaac Sherman) 2220 Arts + Archives, 16mm (Director Q&A) [Prismatic Ground West] 02 Jun – 7
085. A Fidai Film (2024, Kamal Aljafari) 2220 Arts + Archives, File (Artist Q&A) [Prismatic Ground West] 02 Jun – 7 [slight]
086. +Dodes’ka-den (1970, Kurosawa Akira) AC Los Feliz 3, 35mm 03 Jun – 8 [up from 7]
087. We Need to Talk About Kevin (2011, Lynne Ramsay) AC Aero Theatre, 35mm (Director Q&A) 04 Jun – 4
088. +You Were Never Really Here (2017, Lynne Ramsay) AC Aero Theatre, DCP (Director Q&A) 04 Jun – 5
089. In Vanda’s Room (2000, Pedro Costa) AC Los Feliz 3, DCP (Friend) 06 Jun – 9
090. A Night at the Opera (1935, Sam Wood^) New Beverly, 35mm 07 Jun – 8
091. Duck Soup (1933, Leo McCarey) New Beverly, 35mm 07 Jun – 9
092. +Beijing Watermelon (1989, Obayashi Nobuhiko) 2220 Arts + Archives/Acropolis Cinema, File (Volunteer, Friend) 08 Jun – 10
093. Turning Red (2022, Domee Shi^) Television, File 10 Jun – 4
094. Inside Out 2 (2024, Kelsey Mann^†) AMC The Grove, DCP 11 Jun – 6
095. +Ali: Fear Eats the Soul (1974, Rainer Werner Fassbinder) New Beverly, 35mm 12 Jun – 10 [up from 9]
096. +The Bitter Tears of Petra von Kant (1972, Rainer Werner Fassbinder) New Beverly, 35mm 12 Jun – 10 [slight; up from 9]
097. Kinds of Kindness (2024, Yorgos Lanthimos†) Frank G. Wells Theater, DCP 13 Jun – 6
098. +Kill Bill Vol. 2 (2004, Quentin Tarantino) New Beverly, 35mm 14 Jun – 8
s054. If Every Girl Had a Diary (1990, Sadie Benning) Academy Museum, DCP 17 Jun – 8
s055. Living Inside (1989, Sadie Benning) Academy Museum, DCP 17 Jun – 8
s056. Me and Rubyfruit (1990, Sadie Benning) Academy Museum, DCP 17 Jun – 8
s057. Jollies (1990, Sadie Benning) Academy Museum, DCP 17 Jun – 8
s058. A New Year (1989, Sadie Benning) Academy Museum, DCP 17 Jun – 7
s059. A Place Called Lovely (1991, Sadie Benning) Academy Museum, DCP 17 Jun – 8
s060. Girl Power (1992, Sadie Benning) Academy Museum, DCP 17 Jun – 8
099. Last Summer (2023, Catherine Breillat†) Laemmle Glendale, DCP 20 Jun – 9
100. Loving (2016, Jeff Nichols) Television, File 24 Jun – 6
101. The Bikeriders (2023, Jeff Nichols) San Jose Showplace ICON, DCP 25 Jun – 6
102. +The Dreamed Path (2016, Angela Schanelec) Television, File 26 Jun – 8
103. +The Clock (1945, Vincente Minnelli) Stanford Theatre, 35mm (Friend) 28 Jun – 10 [up from 9]
104. +Meet Me in St. Louis (1944, Vincente Minnelli) Stanford Theatre, 35mm (Friend) 28 Jun – 10
105. The Assignment (1997, Christian Duguay^$) Laptop, File 05 Jul – 7
106. The Art of War (2000, Christian Duguay$) Laptop, File 05 Jul – 6
107. This Closeness (2023, Kit Zauhar^) 2220 Arts + Archives/Acropolis Cinema, File (Friend, Director/Actor Q&A) 07 Jul – 8
108. Actual People (2021, Kit Zauhar) 2220 Arts + Archives/Acropolis Cinema, File (Friend, Director/Actor Q&A) 07 Jul – 7
s061. Moon v. State (2024, James N. Kienitz Wilkins) Television, Screener 09 Jul – 7
109. +Still Film (2023, James N. Kienitz Wilkins) Television, Screener 09 Jul – 8
s062. +Indefinite Pitch (2016, James N. Kienitz Wilkins) Television, File 09 Jul – 8
s063. +This Action Lies (2018, James N. Kienitz Wilkins) Television, File 09 Jul – 8
s064. Special Features (2014, James N. Kienitz Wilkins) Television, File 09 Jul – 7
s065. Mediums (2017, James N. Kienitz Wilkins) Television, Screener 09 Jul – 7
110. Common Carrier (2017, James N. Kienitz Wilkins) Television, File 10 Jul – 7
111. +The Plagiarists (2019, Peter Parlow) Television, File 10 Jul – 8 [up from 7]
112. Janet Planet (2023, Annie Baker^) AC Los Feliz 3, DCP (Friend) 11 Jul – 8
113. French Exit (2020, Azazel Jacobs^) Television, File 14 Jul – 7
114. His Three Daughters (2023, Azazel Jacobs†) Netflix Icon Roma Theater, DCP 16 Jul – 7
115. Black Narcissus (1947, Michael Powell & Emeric Pressburger) Academy Museum, 35mm Nitrate (Schoonmaker Q&A) 18 Jul – 9
116. Striding Into the Wind (2020, Wei Shujun) Television, File 21 Jul – 7
117. Ripples of Life (2021, Wei Shujun) Culver Theater/Acropolis Cinema, LED (Friends, Moderator) 22 Jul – 8
118. +The Hole (1998, Tsai Ming-liang) AC Los Feliz 3, 35mm (Moderator) 04 Aug – 10
119. +The Wayward Cloud (2005, Tsai Ming-liang) AC Los Feliz 3, 35mm 04 Aug – 9 [slight; up from 8]
120. Like Nothing Happened (2003, Hamaguchi Ryusuke) Television, Blu-ray 07 Aug – 7
121. Trap (2024, M. Night Shyamalan) Regal Edwards Market Place, DCP 07 Aug – 7 [technical]
122. Red Island (2023, Robin Campillo†) Laptop, Screener 07 Aug – 7
123. Touching the Skin of Eeriness (2013, Hamaguchi Ryusuke) Laptop, File 08 Aug – 7
124. Moving (1993, Somai Shinji^) AC Los Feliz 3, DCP (Friends) 08 Aug – 9 [slight]
125. +Happy Hour (2015, Hamaguchi Ryusuke) Television, Blu-ray 10 Aug – 10 [up from 9]
126. +Stray Dogs (2013, Tsai Ming-liang) AC Los Feliz 3, DCP 10 Aug – 10 [late]
127. Twilight of the Warriors: Walled In (2024, Soi Cheang) AMC Santa Anita, DCP 13 Aug – 8 [late]
128. Dirty Like an Angel (1991, Catherine Breillat) AC Los Feliz 3, 35mm (Friends) 14 Aug – 8 [slight]
129. +Miami Vice (2006, Michael Mann) AC Egyptian Theatre, 35mm (Friends, Director Q&A) 24 Aug – 10
130. Crimes and Misdemeanors (1989, Woody Allen) AC Aero Theatre, 35mm (Garlin Introduction) 25 Aug – 8
s066. Man in the Well (2016, Hu Bo) Television, Blu-ray 26 Aug – 7
131. Kuei-mei, a Woman (1985, Chang Yi^) Television, Blu-ray 26 Aug – 8
132. Rouge (1987, Stanley Kwan^) Television, Blu-ray 26 Aug – 9
s067. Neighbor Pests (1947, Dave O’Brien) New Beverly, 35mm 27 Aug – 6
133. +The Rules of the Game (1939, Jean Renoir) New Beverly, 35mm 27 Aug – 10
134. Madame de… (1953, Max Ophuls) New Beverly, 35mm 27 Aug – 9
135. The Night Comes for Us (2018, Timo Tjahjanto^) Television, Netflix (Father) 29 Aug – 7
136. The Old Guard (2020, Gina Prince-Bythewood^) Television, Netflix (Sister) 30 Aug – 6
137. +Trap (2024, M. Night Shyamalan) Television, File (Family) 31 Aug – 7
138. The Greatest Night in Pop (2024, Bao Nguyen^) Television, Netflix (Parents) 04 Sep – 6
139. Rebel Ridge (2024, Jeremy Saulnier) Television, Netflix (Parents) 06 Sep – 7
t003. June 17th, 1994 (2010, Brett Morgen) Television, ESPN+ 09 Sep
140. +Heat (1995, Michael Mann) Vista Theater, 35mm 10 Sep – 10
141. Youth (Hard Times) (2024, Wang Bing†) Television, Screener 11 Sep – 9
142. Youth (Homecoming) (2024, Wang Bing†) Television, Screener 12 Sep – 9
143. Vagabond (1985, Agnès Varda) New Beverly, 35mm 12 Sep – 9
144. Sideways (2004, Alexander Payne) New Beverly, 35mm 13 Sep – 8
145. +Jackie Brown (1997, Quentin Tarantino) New Beverly, 35mm 13 Sep – 9 [up from 8]
146. Law and Order (1969, Frederick Wiseman) AC Los Feliz 3, DCP 14 Sep – 7 [late]
147. +Sunrise: A Song of Two Humans (1927, F. W. Murnau) Academy Museum, 35mm 18 Sep – 10 [late]
148. The Substance (2024, Coraline Fargeat^) AMC The Grove, DCP 21 Sep – 6
149. Genèse (2018, Philippe Lesage^) Television, File 22 Sep – 7
150. Who by Fire (2024, Philippe Lesage†) Television, Screener 23 Sep – 8
151. Megalopolis (2024, Francis Ford Coppola) TCL Chinese Theatre, IMAX DCP (Director, Friends Livestream Q&A) 23 Sep – 8
152. Death of a Saint (2024, Patricia Bbaale Bandak^†) Monitor, Screener 24 Sep – 6
153. Kiss the Future (2023, Nenad Cicin-Sain^) Monitor, Screener 24 Sep – 6
154. New Wave (2024, Elizabeth Ai^†) Monitor, Screener 24 Sep – 5
155. Starring Jerry as Himself (2023, Law Chen^†) Monitor, Screener 24 Sep – 5
156. A Different Man (2024, Aaron Schimberg^) CAA Ray Kurtzman Theater, DCP (Director/Cast/Crew Q&A) 24 Sep – 8
157. Bird (2024, Andrea Arnold†) Rodeo Screening Room, DCP 25 Sep – 4
158. +Rebels of the Neon God (1991, Tsai Ming-liang) Television, Blu-ray 26 Sep – 8
159. The Virgin Suicides (1999, Sofia Coppola) New Beverly, 35mm 26 Sep – 8
160. All Dirt Roads Taste of Salt (2023, Raven Jackson^) Television, File 27 Sep – 7
161. Nickel Boys (2024, RaMell Ross†) MGM Screening Room, DCP (Friend) 27 Sep – 8
s068. Carrotblanca (1995, Douglas McCarthy) Vista Theater, 35mm 27 Sep – 6
162. +Lost in Translation (2003, Sofia Coppola) Vista Theater, 35mm 27 Sep – 9
163. Gift (2023, Hamaguchi Ryusuke) 2220 Arts + Archives/Acropolis Cinema, Blu-ray (Live Score, Friend) 28 Sep – 9
164. +Gift (2023, Hamaguchi Ryusuke) 2220 Arts + Archives/Acropolis Cinema, Blu-ray (Live Score) 28 Sep – 9
s069. In Public (2001, Jia Zhangke) Television, File 30 Sep – 8
s070. +Cry Me a River (2008, Jia Zhangke) Television, File 30 Sep – 8
s071. Out of Jungle (2023, Jia Zhangke) Television, File 30 Sep – 7
165. No Other Land (2024, Basel Adra^ & Rachel Szor^ & Hamdan Ballal^ & Yuval Abraham^†) Laptop, File 01 Oct – 8
166. Pepe (2024, Nelson Carlos de los Santos Arias^†) FLC Walter Reade Theater, DCP [NYFF] 01 Oct – 7
167. On Becoming a Guinea Fowl (2024, Rungano Nyoni^†) FLC Walter Reade Theater, DCP (Friend) [NYFF] 01 Oct – 6 [slight]
168. Pavements (2024, Alex Ross Perry†) FLC Walter Reade Theater, DCP (Friend) [NYFF] 01 Oct – 8 [slight]
169. Master Gardener (2022, Paul Schrader) Laptop, File 02 Oct – 8
170. Oh, Canada (2024, Paul Schrader†) FLC Walter Reade Theater, DCP (Friend) [NYFF] 02 Oct – 8
171. The Friend (2024, Scott McGehee^ & David Siegel^†) FLC Walter Reade Theater, DCP (Friends) [NYFF] 02 Oct – 5
172. Hard Truths (2024, Mike Leigh†) FLC Walter Reade Theater, DCP (Friends) [NYFF] 02 Oct – 8
173. Eephus (2024, Carson Lund) FLC Alice Tully Hall, DCP (Director/Actor Q&A) [NYFF] 02 Oct – 8
174. A Traveler’s Needs (2024, Hong Sang-soo) FLC Walter Reade Theater, DCP (Actor Q&A) [NYFF] 02 Oct – 9
175. Caught by the Tides (2024, Jia Zhangke†) FLC Walter Reade Theater, DCP (Friends) [NYFF] 03 Oct – 10
176. The Shrouds (2024, David Cronenberg†) FLC Walter Reade Theater, DCP (Friends) [NYFF] 03 Oct – 8
177. +My Left Eye Sees Ghosts (2002, Johnnie To & Wai Ka-fai) Museum of Modern Art, 35mm (Friend) 03 Oct – 9
178. You Burn Me (2024, Matías Piñeiro) FLC Elinor Bunin Munroe Film Center, DCP (Friend, Director, Producer Q&A) [NYFF] 03 Oct – 7 [fragments]
s072. Black Glass (2024, Adam Piron) FLC Elinor Bunin Munroe Film Center, DCP (Director Q&A) [NYFF] 03 Oct – 7
s073. Man number 4 (2024, Miranda Pennell) FLC Elinor Bunin Munroe Film Center, DCP (Director Q&A) [NYFF] 03 Oct – 6
s074. An All-Around Feel Good (2024, Jordan Lord) FLC Elinor Bunin Munroe Film Center, DCP (Director Q&A) [NYFF] 03 Oct – 6
s075. The Deep West Assembly (2024, Cauleen Smith) FLC Elinor Bunin Munroe Film Center, DCP (Director Q&A) [NYFF] 03 Oct – 6
179. Stranger Eyes (2024, Yeo Siew Hua^) FLC Elinor Bunin Munroe Film Center, DCP [NYFF] 04 Oct – 7 [slight]
180. +Exiled (2006, Johnnie To) Museum of Modern Art, 35mm (Friend) 04 Oct – 9 [slight; up from 8]
s076. Revolving Rounds (2024, Christina Jauernik & Johann Lurf) FLC Elinor Bunin Munroe Film Center, 3D DCP (Directors Q&A) [NYFF] 05 Oct – 8
s077. ESP (2024, Laura Kraning) FLC Elinor Bunin Munroe Film Center, DCP (Director Q&A) [NYFF] 05 Oct – 8
s078. re-engraved (2024, Lei Lei) FLC Elinor Bunin Munroe Film Center, DCP (Director Q&A) [NYFF] 05 Oct – 7
s079. A Black Screen Too (2024, Rhayne Vermette) FLC Elinor Bunin Munroe Film Center, DCP (Director Q&A) [NYFF] 05 Oct – 8
s080. The Land at Night (2024, Richard Tuohy & Dianna Barrie) FLC Elinor Bunin Munroe Film Center, 16mm [NYFF] 05 Oct – 8
s081. Archipelago of Earthen Bones—To Bunya (2024, Malena Szlam) FLC Elinor Bunin Munroe Film Center, DCP (Director Q&A) [NYFF] 05 Oct – 8
181. Compensation (1999, Zeinabu irene Davis^) FLC Elinor Bunin Munroe Film Center, DCP (Director/Cast/Crew Q&A) [NYFF] 05 Oct – 8
182. Little, Big, and Far (2024, Jem Cohen^) FLC Walter Reade Theater, DCP (Director Q&A) [NYFF] 05 Oct – 7 [fragments]
183. I’m Still Here (2024, Walter Salles^†) Sony Thalberg Screening Room, DCP 07 Oct – 7
184. Serpent’s Path (1998, Kurosawa Kiyoshi) Television, File 07 Oct – 8
185. Eyes of the Spider (1998, Kurosawa Kiyoshi) Television, File 07 Oct – 7
s082. Actually… (2022, Kurosawa Kiyoshi) Television, File 07 Oct – 6
186. The Serpent’s Path (2024, Kurosawa Kiyoshi) AC Egyptian Theatre, DCP (Director Q&A) [Beyond Fest] 07 Oct – 8
187. +Pulse (2001, Kurosawa Kiyoshi) AC Egyptian Theatre, 35mm [Beyond Fest] 07 Oct – 10 [up from 9]
188. All We Imagine as Light (2024, Payal Kapadia†) Sepulveda Screening Room, DCP 08 Oct – 8
189. +Tokyo Sonata (2008, Kurosawa Kiyoshi) AC Los Feliz 3, DCP (Moderator) 08 Oct – 9
190. Cloud (2024, Kurosawa Kiyoshi) AC Aero Theatre, DCP (Director Q&A) [Beyond Fest] 09 Oct – 8
191. Chime (2024, Kurosawa Kiyoshi) AC Aero Theatre, DCP [Beyond Fest] 09 Oct – 8
192. Matt and Mara (2024, Kazik Radwanski) 2220 Arts + Archives/Acropolis Cinema, File (Volunteer, Director/Actor Q&A) 10 Oct – 8 [slight]
193. Don’t Let the Riverbeast Get You! (2012, Charles Roxburgh^) Whammy!, File (Friends) 11 Oct – 6
194. Blitz (2024, Steve McQueen†) CAA Ray Kurtzman Theater, DCP (Friends, Director/Actor Q&A) 14 Oct – 8
195. The Seed of the Sacred Fig (2024, Mohammad Rasoulof^†) Wilshire Screening Room, DCP 15 Oct – 7
196. Joker: Folie à Deux (2024, Todd Phillips) Regal L.A. Live, DCP 15 Oct – 6
197. Summer (2021, Vadim Kostrov^) 2220 Arts + Archives/Acropolis Cinema, File (Volunteer, Director Q&A) 16 Oct – 7 [intermittent]
198. Fall (2022, Vadim Kostrov) 2220 Arts + Archives/Acropolis Cinema, File (Volunteer, Director Q&A) 16 Oct – 7 [intermittent]
199. Emilia Pérez (2024, Jacques Audiard^†) Netflix Icon Bly Manor Theater, DCP 17 Oct – 4
200. Small Things Like These (2024, Tim Mielants^†) Lionsgate Screening Room, DCP 18 Oct – 6
201. Anora (2024, Sean Baker) AMC The Grove, DCP 19 Oct – 9
202. The Brutalist (2024, Brady Corbet^†) DGA Theater, 70mm (Friend) 20 Oct – 8
203. Rumours (2024, Guy Maddin & Evan & Galen Johnson) Carson Valley Cinemas, DCP (Alone) 23 Oct – 7 [technical]
204. Dahomey (2024, Mati Diop†) Television, Screener 24 Oct – 8
s083. Broken Specs (2012, Ted Fendt) Television, File 27 Oct – 8
s084. Travel Plans (2013, Ted Fendt) Television, File 27 Oct – 8
s085. Going Out (2015, Ted Fendt) Television, File 27 Oct – 7
205. Violet (2014, Bas Devos) Television, File 28 Oct – 7
206. Good One (2024, India Donaldson^) Television, File 31 Oct – 7
207. Gazer (2024, Ryan J. Sloan^) Culver Theater/Acropolis Cinema, DCP (Volunteer) [Directors’ Fortnight Extended] 01 Nov – 6
208. Something Old, Something New, Something Borrowed (2024, Hernán Rosselli^) Culver Theater/Acropolis Cinema, DCP (Volunteer) [Directors’ Fortnight Extended] 02 Nov – 7 [slight]
209. Histoires d’Amérique: Food, Family and Philosophy (1989, Chantal Akerman) Culver Theater/Acropolis Cinema, DCP (Volunteer) [Directors’ Fortnight Extended] 02 Nov – 8 [slight]
210. Eat the Night (2024, Caroline Poggi^ & Jonathan Vinel^) Culver Theater/Acropolis Cinema, DCP (Volunteer) [Directors’ Fortnight Extended] 02 Nov – 7
211. Savanna and the Mountain (2024, Paulo Carneiro^) Culver Theater/Acropolis Cinema, DCP (Volunteer) [Directors’ Fortnight Extended] 03 Nov – 7 [slight]
s086. Extremely Short (2024, Yamamura Koji) Culver Theater/Acropolis Cinema, DCP (Volunteer, Friends) [Directors’ Fortnight Extended] 03 Nov – 7 [technical]
212. Desert of Namibia (2024, Yamanaka Yoko^) Culver Theater/Acropolis Cinema, DCP (Volunteer, Friends) [Directors’ Fortnight Extended] 03 Nov – 8
213. The Other Way Around (2024, Jonás Trueba) Culver Theater/Acropolis Cinema, DCP (Volunteer) [Directors’ Fortnight Extended] 03 Nov – 8
214. Juror #2 (2024, Clint Eastwood) AMC Americana, DCP 05 Nov – 8
215. Here (2024, Robert Zemeckis) AMC Americana, DCP 05 Nov – 8
216. Black Box Diaries (2024, Ito Shiori^) Television, Screener 06 Nov – 7 [delay]
217. Soundtrack to a Coup d’État (2024, Johan Grimonprez^) Television, Screener 06 Nov – 7 [delay]
218. Hellhole (2019, Bas Devos) Television, File 07 Nov – 7
219. The Northman (2022, Robert Eggers) Television, File 07 Nov – 5
220. Nosferatu (2024, Robert Eggers†) DGA Theater (Friends, Director Q&A) 07 Nov – 6
221. A Real Pain (2024, Jesse Eisenberg^) CAA Ray Kurtzman Theater, DCP (Director Q&A) 08 Nov – 7 [late]
222. September 5 (2024, Tim Fehlbaum^†) Paramount Theater, DCP 09 Nov – 5
223. Christmas Eve in Miller’s Point (2024, Tyler Taormina) Alamo Drafthouse DTLA, DCP (Friends) 11 Nov – 8
224. The Room Next Door (2024, Pedro Almodóvar†) Wilshire Screening Room, DCP 12 Nov – 8
225. Conclave (2024, Edward Berger^) AMC The Grove, DCP 12 Nov – 5
226. Queer (2024, Luca Guadagnino†) DGA Theater, DCP (Director/Cast/Crew Introduction) 13 Nov – 7
s087. Pier Paolo Pasolini – Agnès Varda – New York – 1967 (2022, Agnès Varda) Television, File 15 Nov – 7
s088. Four Unloved Women, Adrift on a Purposeless Sea, Experience the Ecstasy of Dissection (2023, David Cronenberg) Television, File 15 Nov – 7
227. +Here (2023, Bas Devos) Television, File 15 Nov – 8
228. Gladiator II (2024, Ridley Scott†) TCL Chinese Theatre, IMAX DCP (Cast/Producers Q&A) 16 Nov – 5
229. +The Straight Story (1999, David Lynch) AC Egyptian Theatre, 35mm 16 Nov – 8
230. Babygirl (2024, Halina Reijn^†) The London, DCP (Friend, Director Introduction) 16 Nov – 6
s089. Priscilla’s Dream (2020, Tony Wu) 2220 Arts + Archives/Los Angeles Filmforum, File (Director Q&A) 17 Nov – 6
s090. On the Way Home (1989, Yuan Goang-ming) 2220 Arts + Archives/Los Angeles Filmforum, File 17 Nov – 6
s091. The Unnamed (2010, Huang Ya-li) 2220 Arts + Archives/Los Angeles Filmforum, File (Director Q&A) 17 Nov – 7
s092. Looking for Siraya (2013, Cheng Li-ming) 2220 Arts + Archives/Los Angeles Filmforum, File 17 Nov – 6
s093. Siren’s Lullaby (2023, Wu Tzu-an) 2220 Arts + Archives/Los Angeles Filmforum, File (Director Q&A) 17 Nov – 7
s094. Developing (2021, Hsu Tsen-chu) 2220 Arts + Archives/Los Angeles Filmforum, File (Director Q&A) 17 Nov – 7
s095. Van Gogh’s Ear (1995, Wu Mi-sen) 2220 Arts + Archives/Los Angeles Filmforum, 16mm 17 Nov – 7
231. Sing Sing (2023, Greg Kwedar^) The London, DCP (Director/Cast Q&A) 18 Nov – 5
232. El conde (2023, Pablo Larraín) Television, File 19 Nov – 5
233. It’s Not Me (2024, Leos Carax) Television, Screener 19 Nov – 9
234. The Look of Silence (2014, Joshua Oppenheimer) Television, File 20 Nov – 8
235. Maria (2024, Pablo Larraín†) Netflix Epic Roma Theater, DCP 20 Nov – 6
236. A Complete Unknown (2024, James Mangold†) Fox Darryl F. Zanuck Theater, DCP (Director/Cast/Crew Q&A) 20 Nov – 5
237. The End (2024, Joshua Oppenheimer†) Wilshire Screening Room, DCP (Friends) 21 Nov – 5
238. Presence (2024, Steven Soderbergh†) Sepulveda Screening Room, DCP (Friend) 22 Nov – 7
239. Vermiglio (2024, Maura Delpero^†) Metropolitan Theatres Screening Room, DCP (Friends) 22 Nov – 6 [slight]
240. +Asako I & II (2018, Hamaguchi Ryusuke) 2220 Arts + Archives/Acropolis Cinema, File (Volunteer, Friend, Writer Q&A) 24 Nov – 10
241. Civil War (2024, Alex Garland) Television, File (Parents) 25 Nov – 5
t004. Pilot (2024, The Madness) Television, Netflix (Father) 30 Nov
t005. Djibouti (2024, The Madness) Television, Netflix (Father) 30 Nov
t006. Discord (2024, The Madness) Television, Netflix (Father) 30 Nov
242. The Tsugua Diaries (2021, Maureen Fazendeiro^ & Miguel Gomes) Television, File 03 Dec – 8
243. Grand Tour (2024, Miguel Gomes) Culver Theater/Acropolis Cinema, DCP (Volunteer, Director Q&A) 03 Dec – 9
244. +The Insider (1999, Michael Mann) Egyptian Theatre, 35mm (Friend, Director Q&A) 04 Dec – 8 [down from 9]
245. Rap World (2024, Danny Scharar^ & Connor O’Malley^) Monitor, YouTube 06 Dec – 6
246. The Colors Within (2024, Yamada Naoko†) Television, Screener 07 Dec – 8
s096. The Great Sadness of Zohara (1983, Nina Menkes) 2220 Arts + Archives/Acropolis Cinema, File (Volunteer, Friend, Director/Author Q&A) 07 Dec – 7
247. Falling Lessons (1992, Amy Halpern^) 2220 Arts + Archives/Acropolis Cinema, 16mm (Volunteer, Friend, Director/Author Q&A) 07 Dec – 8
248. Hundreds of Beavers (2022, Mike Cheslik^) Television, File 07 Dec – 7
249. Flow (2024, Gints Zilbalodis^) Television, Screener 08 Dec – 6
250. Wicked: Part I (2024, Jon M. Chu) Television, Screener 08 Dec – 5
251. I’m Not There (2007, Todd Haynes) Television, File 09 Dec – 8
252. +Safe (1995, Todd Haynes) Egyptian Theatre, 35mm (Director Q&A) 09 Dec – 10 [up from 9]
253. +Carol (2015, Todd Haynes) Egyptian Theatre, 35mm (Director Q&A) 09 Dec – 10
254. The Lion King (2019, Jon Favreau) Television, File 16 Dec – 3
255. Mufasa: The Lion King (2024, Barry Jenkins) AMC Century City, IMAX DCP 16 Dec – 4
256. The Wonderful Story of Henry Sugar and Three More (2024, Wes Anderson) Television, Netflix 19 Dec – 8
257. +Shrek (2001, Andrew Adamson & Vicky Jenson) Television, Box (Family) 24 Dec – 7
258. Carry-On (2024, Jaume Collet-Serra) Television, Netflix (Family) 25 Dec – 8
259. Retribution (2023, Antal Nimród^) Television, Box (Family) 25 Dec – 5
260. The Order (2024, Justin Kurzel) Television, File (Parents) 28 Dec – 7
s097. Go Between (2024, Chris Kennedy) Laptop, File 30 Dec – 8
s098. Refuse Room (2024, Simon Liu) Laptop, File 30 Dec – 8
261. Murderess (2023, Eva Nathena^†) Laptop, Screener 30 Dec – 5
262. Red Rooms (2023, Pascal Plante^) Laptop, File 30 Dec – 6
263. By the Stream (2024, Hong Sang-soo) Laptop, File 31 Dec – 8
264. +Juror #2 (2024, Clint Eastwood) Television, Box (Parents) 31 Dec – 8

2024 Viewing Log

Ryan Swen Lists Tags: ,

January
+Anatomy of a Fall (2023, Justine Triet) – 9
+The Holdovers (2023, Alexander Payne) – 7
Europa Europa (1990, Agnieszka Holland) – 7
Man in Black (2023, Wang Bing) – 8
We’re All Going to the World’s Fair (2021, Jane Schoenbrun) – 6
Sujo (2024, Astrid Rondero & Fernanda Valadez) Sundance, DP – 6
Dosh (2023, Radha Mehta) Slamdance, DP
Good Bad Things (2024, Shane D. Stanger) Slamdance, DP – 6
Between the Temples (2024, Nathan Silver) Sundance, DP – 8
Hit Man (2023, Richard Linklater) Sundance, DP – 8
American Fiction (2023, Cord Jefferson) – 6
Nowhere Near (2023, Miko Revereza) DP – 8
Inside the Yellow Cocoon Shell (2023, Phạm Thiên Ân) DP – 8
The Sweet East (2023, Sean Price Williams) DP – 8
Dìdi (2024, Sean Wang) Sundance – 5
Entrance Wounds (2023, Calum Walter) Slamdance
Goddess of Speed (2023, Frédéric Moffet) Slamdance
Light of Light (2023, Neritan Zinxhiria) Slamdance
Lotus-Eyed Girl (2022, Rajee Samarasinghe) Slamdance
Monolith (2023, Teresita Carson) Slamdance
Nobody Wants to Fix Things Anymore (2023, Joseph Wilcox) Slamdance
Nowhere Stream (2023, Luis Grane) Slamdance
Welcome to the Enclave (2023, Sarah Lasley) Slamdance
+Je t’aime, je t’aime (1968, Alain Resnais) – 9
Kneecap (2024, Rich Peppiatt) Sundance – 6
The Remarkable Life of Ibelin (2024, Benjamin Ree) Sundance – 5
Girls Will Be Girls (2024, Shuchi Talati) Sundance – 6
Union (2024, Brett Story & Stephen Maing) Sundance – 7

February
This Action Lies (2018, James N. Kienitz Wilkins)
Train Again (2021, Peter Tscherkassky)
Only the River Flows (2023, Wei Shujun) DP – 7
+Last Things (2023, Deborah Stratman) 35mm – 7
+(nostalgia) (1971, Hollis Frampton)
+Rose Hobart (1936, Joseph Cornell)
AGGRO DR1FT (2023, Harmony Korine) DP – 7
El futuro (2013, Luis López Carrasco) – 8
Reckless Eyeballing (2004, Christopher Harris) 16mm
28.IV.81 (Bedouin Spark) (2009, Christopher Harris) 16mm
28.IV.81 (Descending Figures) (2011, Christopher Harris) DP
+28.IV.81 (Descending Figures) (2011, Christopher Harris) DP
Halimuhfack (2016, Christopher Harris) DP
Sunshine State (Extended Forecast) (2007, Christopher Harris) DP
Distant Shores (2016, Christopher Harris) DP
Dreams Under Confinement (2020, Christopher Harris) DP
Speaking in Tongues: Take One (2024, Christopher Harris) DP
Drive-Away Dykes (2024, Ethan Coen) DP – 5
+Kung Fu Hustle (2004, Stephen Chow) 35mm – 10 [up from 8]
+Shaolin Soccer (2001, Stephen Chow) 35mm – 8
Mambar Pierrette (2023, Rosine Mbakam) DP – 8

March
Dune: Part Two (2024, Denis Villeneuve) DP – 6
Boat People (1982, Ann Hui) – 9
+There Will Be Blood (2007, Paul Thomas Anderson) 35mm – 9 [up from 8]
La Région centrale (1971, Michael Snow) 16mm – 10
Stinking Heaven (2015, Nathan Silver) 35mm – 7
+Nocturama (2016, Bertrand Bonello) – 10 [up from 9]
+Zombi Child (2019, Bertrand Bonello) – 8
Coma (2022, Bertrand Bonello) – 8
Drip-Along Daffy (1951, Chuck Jones) 35mm
Johnny Guitar (1954, Nicholas Ray) 35mm – 10
Forty Guns (1957, Samuel Fuller) 35mm – 8
Drunken Master (1978, Yuen Woo-ping) – 8
The People’s Joker (2022, Vera Drew) DP – 5
The Beast (2023, Bertrand Bonello) DP – 10
Drunken Master II (1994, Lau Kar-leung) 35mm – 9
Mr. Nice Guy (1997, Sammo Hung) 35mm – 7
The Shadowless Tower (2023, Zhang Lu) DP – 8
Love Lies Bleeding (2024, Rose Glass) DP – 6
+The End of Evangelion (1997, Anno Hideaki) DP – 10
Greetings From Crîngași! (2023, Radu Jude)
Waking Life (2001, Richard Linklater) 35mm – 9
Videos With Mom: Breast (2007, Joshua Gen Solondz) DP
BURNING STAR (2011, Joshua Gen Solondz) DP
(it’s not a prison if you never try the door) (2013, Joshua Gen Solondz) DP
AGAINST LANDSCAPE (2014, Joshua Gen Solondz) DP
LUNA E SANTUR (2016, Joshua Gen Solondz) 35mm
(tourism studies) (2019, Joshua Gen Solondz) 35mm
NE CORRIDOR (2022, Joshua Gen Solondz) 35mm
We Don’t Talk Like We Used To (2023, Joshua Gen Solondz) 35mm
Le Trou (1960, Jacques Becker) DP – 10
Sylvia Scarlett (1935, George Cukor) 35mm – 8
+Screw (1982, Ito Takashi)
Spacy (1981, Ito Takashi) 16mm
Box (1982, Ito Takashi) 16mm
Thunder (1982, Ito Takashi) 16mm
Devil’s Circuit (1988, Ito Takashi) 16mm
The Mummy’s Dream (1989, Ito Takashi) 16mm
Wall (1987, Ito Takashi) 16mm
Apparatus M (1996, Ito Takashi) 16mm
Venus (1990, Ito Takashi) 16mm
Grim (1985, Ito Takashi) 16mm
The Moon (1994, Ito Takashi) 16mm
Zone (1995, Ito Takashi) 16mm
Ghost (1984, Ito Takashi)

April
The Beast in the Jungle (2023, Patric Chiha) – 8
Gasoline Rainbow (2023, Bill & Turner Ross) LAFM, DP – 7
The Human Surge 3 (2023, Eduardo Williams) LAFM, DP – 9
Dream Team (2024, Lev Kalman & Whitney Horn) LAFM, DP – 8
+The Beast (2023, Bertrand Bonello) DP – 10
+Los Angeles Plays Itself (2003, Thom Andersen) DP – 10
+Sarah Winchester: Ghost Opera (2016, Bertrand Bonello)
+Leviathan (2012, Lucien Castaing-Taylor & Véréna Paravel) DP – 9 [up from 8]
+Sweetgrass (2009, Ilisa Barbash & Lucien Castaing-Taylor) DP – 8
The United States of America (1975, James Benning & Bette Gordon)
Landscape Suicide (1986, James Benning) – 9
i hate myself 🙂 (2013, Joanna Arnow) – 8
+Bad at Dancing (2015, Joanna Arnow)
Laying Out (2019, Joanna Arnow)
One Way Boogie Woogie (1977, James Benning) – 9
The Feeling That the Time for Doing Something Has Passed (2023, Joanna Arnow) DP – 8
11 x 14 (1977, James Benning) – 9
Eureka (2023, Lisandro Alonso) DP – 9
Los muertos (2004, Lisandro Alonso) 35mm – 9
Liverpool (2008, Lisandro Alonso) 35mm – 9

May
Challengers (2024, Luca Guadagnino) DP – 8
Evil Does Not Exist (2023, Hamaguchi Ryusuke) DP – 9
I Saw the TV Glow (2024, Jane Schoenbrun) DP – 6
Coconut Head Generation (2023, Alain Kassanda) DP – 7
Stress Positions (2024, Theda Hammel) DP – 6
+Red Sorghum (1988, Zhang Yimou) – 7
+Ju Dou (1990, Zhang Yimou & Yang Fengliang) – 7 [down from 8]
You Have to Come and See It (2022, Jonás Trueba) – 8
+The Hedonists (2016, Jia Zhangke)
+(nostalgia) (1971, Hollis Frampton)
+Twin Peaks: The Return (2017, David Lynch) – 10
Furiosa: A Mad Max Saga (2024, George Miller) DP – 8
+In Our Day (2023, Hong Sang-soo) DP – 9
Cobs and Robbers (1953, Dick Lundy) 35mm
+Charley Varrick (1973, Don Siegel) 35mm – 9 [up from 7]
Thunderbolt and Lightfoot (1974, Michael Cimino) 35mm – 7
The Mission (1986, Roland Joffé) 35mm – 7
+Tabu (2012, Miguel Gomes) DP – 10 [up from 9]
+Kill Bill Vol. 1 (2003, Quentin Tarantino) 35mm – 8

June
+Rome, Open City (1945, Roberto Rossellini) 35mm – 8
Paisan (1946, Roberto Rossellini) 35mm – 9
Germany Year Zero (1948, Roberto Rossellini) 35mm – 8
+Unforgiven (1992, Clint Eastwood) 35mm – 9
a shifting pattern (2024, Isaac Sherman) 16mm
A Fidai Film (2024, Kamal Aljafari) DP – 7
+Dodes’ka-den (1970, Kurosawa Akira) 35mm – 8 [up from 7]
We Need to Talk About Kevin (2011, Lynne Ramsay) 35mm – 4
+You Were Never Really Here (2017, Lynne Ramsay) DP – 5
In Vanda’s Room (2000, Pedro Costa) DP – 9
A Night at the Opera (1935, Sam Wood) 35mm – 8
Duck Soup (1933, Leo McCarey) 35mm – 9
+Beijing Watermelon (1989, Obayashi Nobuhiko) DP – 10
Turning Red (2022, Domee Shi) – 4
Inside Out 2 (2024, Kelsey Mann) DP – 6
+Ali: Fear Eats the Soul (1974, Rainer Werner Fassbinder) 35mm – 10 [up from 9]
+The Bitter Tears of Petra von Kant (1972, Rainer Werner Fassbinder) 35mm – 10 [up from 9]
Kinds of Kindness (2024, Yorgos Lanthimos) DP – 6
+Kill Bill Vol. 2 (2004, Quentin Tarantino) 35mm – 8
If Every Girl Had a Diary (1990, Sadie Benning) DP
Living Inside (1989, Sadie Benning) DP
Me and Rubyfruit (1990, Sadie Benning) DP
Jollies (1990, Sadie Benning) DP
A New Year (1989, Sadie Benning) DP
A Place Called Lovely (1991, Sadie Benning) DP
Girl Power (1992, Sadie Benning) DP
Last Summer (2023, Catherine Breillat) DP – 9
Loving (2016, Jeff Nichols) – 6
The Bikeriders (2023, Jeff Nichols) DP – 6
+The Dreamed Path (2016, Angela Schanelec) – 8
+The Clock (1945, Vincente Minnelli) 35mm – 10 [up from 9]
+Meet Me in St. Louis (1944, Vincente Minnelli) 35mm – 10

July
The Assignment (1997, Christian Duguay) – 7
The Art of War (2000, Christian Duguay) – 6
This Closeness (2023, Kit Zauhar) DP – 8
Actual People (2021, Kit Zauhar) DP – 7
Moon v. State (2024, James N. Kienitz Wilkins)
+Still Film (2023, James N. Kienitz Wilkins) – 8
+Indefinite Pitch (2016, James N. Kienitz Wilkins)
+This Action Lies (2018, James N. Kienitz Wilkins)
Special Features (2014, James N. Kienitz Wilkins)
Mediums (2017, James N. Kienitz Wilkins)
Common Carrier (2017, James N. Kienitz Wilkins) – 7
+The Plagiarists (2019, Peter Parlow) – 8 [up from 7]
Janet Planet (2023, Annie Baker) DP – 8
French Exit (2020, Azazel Jacobs) – 7
His Three Daughters (2023, Azazel Jacobs) DP – 7
Black Narcissus (1947, Michael Powell & Emeric Pressburger) 35mm – 9
Striding Into the Wind (2020, Wei Shujun) – 7
Ripples of Life (2021, Wei Shujun) LED – 8

August
+The Hole (1998, Tsai Ming-liang) 35mm – 10
+The Wayward Cloud (2005, Tsai Ming-liang) 35mm – 9 [up from 8]
Like Nothing Happened (2003, Hamaguchi Ryusuke) – 7
Trap (2024, M. Night Shyamalan) DP – 7
Red Island (2023, Robin Campillo) – 7
Touching the Skin of Eeriness (2013, Hamaguchi Ryusuke) – 7
Moving (1993, Somai Shinji) DP – 9
+Happy Hour (2015, Hamaguchi Ryusuke) – 10 [up from 9]
+Stray Dogs (2013, Tsai Ming-liang) DP – 10
Twilight of the Warriors: Walled In (2024, Soi Cheang) DP – 8
Dirty Like an Angel (1991, Catherine Breillat) 35mm – 8
+Miami Vice (2006, Michael Mann) 35mm – 10
Crimes and Misdemeanors (1989, Woody Allen) 35mm – 8
Man in the Well (2016, Hu Bo)
Kuei-mei, a Woman (1985, Chang Yi) – 8
Rouge (1987, Stanley Kwan) – 9
Neighbor Pests (1947, Dave O’Brien) 35mm
+The Rules of the Game (1939, Jean Renoir) 35mm – 10
Madame de… (1953, Max Ophuls) 35mm – 9
The Night Comes for Us (2018, Timo Tjahjanto) – 7
The Old Guard (2020, Gina Prince-Bythewood) – 6
+Trap (2024, M. Night Shyamalan) – 7

September
The Greatest Night in Pop (2024, Bao Nguyen) – 6
Rebel Ridge (2024, Jeremy Saulnier) – 7
+Heat (1995, Michael Mann) 35mm – 10
Youth (Hard Times) (2024, Wang Bing) – 9
Youth (Homecoming) (2024, Wang Bing) – 9
Vagabond (1985, Agnès Varda) 35mm – 9
Sideways (2004, Alexander Payne) 35mm – 8
+Jackie Brown (1997, Quentin Tarantino) 35mm – 9 [up from 8]
Law and Order (1969, Frederick Wiseman) DP – 7
+Sunrise: A Song of Two Humans (1927, F. W. Murnau) 35mm – 10
The Substance (2024, Coraline Fargeat) DP – 6
Genèse (2018, Philippe Lesage) – 7
Who by Fire (2024, Philippe Lesage) – 8
Megalopolis (2024, Francis Ford Coppola) DP – 8
Death of a Saint (2024, Patricia Bbaale Bandak) – 6
Kiss the Future (2023, Nenad Cicin-Sain) – 6
New Wave (2024, Elizabeth Ai) – 5
Starring Jerry as Himself (2023, Law Chen) – 5
A Different Man (2024, Aaron Schimberg) DP – 8
Bird (2024, Andrea Arnold) DP – 4
+Rebels of the Neon God (1992, Tsai Ming-liang) – 8
The Virgin Suicides (1999, Sofia Coppola) 35mm – 8
All Dirt Roads Taste of Salt (2023, Raven Jackson) – 7
Nickel Boys (2024, RaMell Ross) DP – 8
Carrotblanca (1995, Douglas McCarthy) 35mm
+Lost in Translation (2003, Sofia Coppola) 35mm – 9
Gift (2023, Hamaguchi Ryusuke) DP – 9
+Gift (2023, Hamaguchi Ryusuke) DP – 9
In Public (2001, Jia Zhangke)
+Cry Me a River (2008, Jia Zhangke)
Out of Jungle (2023, Jia Zhangke)

October
No Other Land (2024, Basel Adra & Rachel Szor & Hamdan Ballal & Yuval Abraham) – 8
Pepe (2024, Nelson Carlos de los Santos Arias) NYFF, DP – 7
On Becoming a Guinea Fowl (2024, Rungano Nyoni) NYFF, DP – 6
Pavements (2024, Alex Ross Perry) NYFF, DP – 8
Master Gardener (2022, Paul Schrader) – 8
Oh, Canada (2024, Paul Schrader) NYFF, DP – 8
The Friend (2024, Scott McGehee & David Siegel) NYFF, DP – 5
Hard Truths (2024, Mike Leigh) NYFF, DP – 8
Eephus (2024, Carson Lund) NYFF, DP – 8
A Traveler’s Needs (2024, Hong Sang-soo) NYFF, DP – 9
Caught by the Tides (2024, Jia Zhangke) NYFF, DP – 10
The Shrouds (2024, David Cronenberg) NYFF, DP – 8
+My Left Eye Sees Ghosts (2002, Johnnie To & Wai Ka-fai) 35mm – 9
You Burn Me (2024, Matías Piñeiro) NYFF, DP – 7
Black Glass (2024, Adam Piron) NYFF, DP
Man number 4 (2024, Miranda Pennell) NYFF, DP
An All-Around Feel Good (2024, Jordan Lord) NYFF, DP
The Deep West Assembly (2024, Cauleen Smith) NYFF, DP
Stranger Eyes (2024, Yeo Siew Hua) NYFF, DP – 7
+Exiled (2006, Johnnie To) 35mm – 9 [up from 8]
Revolving Rounds (2024, Christina Jauernik & Johann Lurf) NYFF, 3D
ESP (2024, Laura Kraning) NYFF, DP
re-engraved (2024, Lei Lei) NYFF, DP
A Black Screen Too (2024, Rhayne Vermette) NYFF, DP
The Land at Night (2024, Richard Tuohy & Dianna Barrie) NYFF, 16mm
Archipelago of Earthen Bones—To Bunya (2024, Malena Szlam) NYFF, DP
Compensation (1999, Zeinabu irene Davis) NYFF, DP – 8
Little, Big, and Far (2024, Jem Cohen) NYFF, DP – 7
I’m Still Here (2024, Walter Salles) DP – 7
Serpent’s Path (1998, Kurosawa Kiyoshi) – 8
Eyes of the Spider (1998, Kurosawa Kiyoshi) – 7
Actually… (2022, Kurosawa Kiyoshi)
The Serpent’s Path (2024, Kurosawa Kiyoshi) Beyond Fest, DP – 8
+Pulse (2001, Kurosawa Kiyoshi) Beyond Fest, 35mm – 10 [up from 9]
All We Imagine as Light (2024, Payal Kapadia) DP – 8
+Tokyo Sonata (2008, Kurosawa Kiyoshi) DP – 9
Cloud (2024, Kurosawa Kiyoshi) Beyond Fest, DP – 8
Chime (2024, Kurosawa Kiyoshi) Beyond Fest, DP – 8
Matt and Mara (2024, Kazik Radwanski) DP – 8
Don’t Let the Riverbeast Get You! (2012, Charles Roxburgh) DP – 6
Blitz (2024, Steve McQueen) DP – 8
The Seed of the Sacred Fig (2024, Mohammad Rasoulof) DP – 7
Joker: Folie à Deux (2024, Todd Phillips) DP – 6
Summer (2021, Vadim Kostrov) DP – 7
Fall (2022, Vadim Kostrov) DP – 7
Emilia Pérez (2024, Jacques Audiard) DP – 4
Small Things Like These (2024, Tim Mielants) DP – 6
Anora (2024, Sean Baker) DP – 9
The Brutalist (2024, Brady Corbet) 70mm – 8
Rumours (2024, Guy Maddin & Evan & Galen Johnson) DP – 7
Dahomey (2024, Mati Diop) – 8
Broken Specs (2012, Ted Fendt)
Travel Plans (2013, Ted Fendt)
Going Out (2015, Ted Fendt)
Violet (2014, Bas Devos) – 7
Good One (2024, India Donaldson) – 7

November
Gazer (2024, Ryan J. Sloan) Fortnight Extended, DP – 6
Something Old, Something New, Something Borrowed (2024, Hernán Rosselli) Fortnight Extended, DP – 7
Histoires d’Amérique: Food, Family and Philosophy (1989, Chantal Akerman) Fortnight Extended, DP – 8
Eat the Night (2024, Caroline Poggi & Jonathan Vinel) Fortnight Extended, DP – 7
Savanna and the Mountain (2024, Paulo Carneiro) Fortnight Extended, DP – 7
Extremely Short (2024, Yamamura Koji) Fortnight Extended, DP
Desert of Namibia (2024, Yamanaka Yoko) Fortnight Extended, DP – 8
The Other Way Around (2024, Jonás Trueba) Fortnight Extended, DP – 8
Juror #2 (2024, Clint Eastwood) DP – 8
Here (2024, Robert Zemeckis) DP – 8
Black Box Diaries (2024, Ito Shiori) – 7
Soundtrack to a Coup d’État (2024, Johan Grimonprez) – 7
Hellhole (2019, Bas Devos) – 7
The Northman (2022, Robert Eggers) – 5
Nosferatu (2024, Robert Eggers) DP – 6
A Real Pain (2024, Jesse Eisenberg) DP – 7
September 5 (2024, Tim Fehlbaum) DP – 5
Christmas Eve in Miller’s Point (2024, Tyler Taormina) DP – 8
The Room Next Door (2024, Pedro Almodóvar) DP – 8
Conclave (2024, Edward Berger) DP – 5
Queer (2024, Luca Guadagnino) DP – 7
Pier Paolo Pasolini – Agnès Varda – New York – 1967 (2022, Agnès Varda)
Four Unloved Women, Adrift on a Purposeless Sea, Experience the Ecstasy of Dissection (2023, David Cronenberg)
+Here (2023, Bas Devos) – 8
Gladiator II (2024, Ridley Scott) DP – 5
+The Straight Story (1999, David Lynch) 35mm – 8
Babygirl (2024, Halina Reijn) DP – 6
Priscilla’s Dream (2020, Tony Wu) DP
On the Way Home (1989, Yuan Goang-ming) DP
The Unnamed (2010, Huang Ya-li) DP
Looking for Siraya (2013, Cheng Li-ming) DP
Siren’s Lullaby (2023, Wu Tzu-an) DP
Developing (2021, Hsu Tsen-chu) DP
Van Gogh’s Ear (1995, Wu Mi-sen) 16mm
Sing Sing (2023, Greg Kwedar) DP – 5
El conde (2023, Pablo Larraín) – 5
It’s Not Me (2024, Leos Carax) – 9
The Look of Silence (2014, Joshua Oppenheimer) – 8
Maria (2024, Pablo Larraín) DP – 6
A Complete Unknown (2024, James Mangold) DP – 5
The End (2024, Joshua Oppenheimer) DP – 5
Presence (2024, Steven Soderbergh) DP – 7
Vermiglio (2024, Maura Delpero) DP – 6
+Asako I & II (2018, Hamaguchi Ryusuke) DP – 10
Civil War (2024, Alex Garland) – 5

December
The Tsugua Diaries (2021, Maureen Fazendeiro & Miguel Gomes) – 8
Grand Tour (2024, Miguel Gomes) DP – 9
+The Insider (1999, Michael Mann) 35mm – 8 [down from 9]
Rap World (2024, Danny Scharar & Connor O’Malley) – 6
The Colors Within (2024, Yamada Naoko) – 8
The Great Sadness of Zohara (1983, Nina Menkes) DP
Falling Lessons (1992, Amy Halpern) 16mm – 8
Hundreds of Beavers (2022, Mike Cheslik) – 7
Flow (2024, Gints Zilbalodis) – 6
Wicked: Part I (2024, Jon M. Chu) – 5
I’m Not There (2007, Todd Haynes) – 8
+Safe (1995, Todd Haynes) 35mm – 10 [up from 9]
+Carol (2015, Todd Haynes) 35mm – 10
The Lion King (2019, Jon Favreau) – 3
Mufasa: The Lion King (2024, Barry Jenkins) DP – 4
The Wonderful Story of Henry Sugar and Three More (2024, Wes Anderson) – 8
+Shrek (2001, Andrew Adamson & Vicky Jenson) – 7
Carry-On (2024, Jaume Collet-Serra) – 8
Retribution (2023, Antal Nimród) – 5
The Order (2024, Justin Kurzel) – 7
Go Between (2024, Chris Kennedy)
Refuse Room (2024, Simon Liu)
Murderess (2023, Eva Nathena) – 5
Red Rooms (2023, Pascal Plante) – 6
By the Stream (2024, Hong Sang-soo) – 8
+Juror #2 (2024, Clint Eastwood) – 8