4o3v2h

Watched on Sunday May 18, 2025.

Watched on Friday May 16, 2025.

Watched on Friday May 16, 2025.

At the Aupuni Space installation this was presented quite elegantly alongside other films in the American Boyfriend series, and some small props: a photograph, Peace and Hope cigs in an ashtray. A lot of people actually stopped and wondered what was going on but never actually came inside or watched the film. It was the perfect environment to see this film in: bright and lonely, with ersby occasionally staring at you and a lot of glare reflecting off the screen.

It's instructive to compare the image of military planes flying in V formation in No Border with the birds that do the same in this film as they glide along the misty coast. George's films depict borders as richly populated and diverse ecologies. Human and non-human life become entangled, zones of sanitation and exclusion are presented as always already overgrown and infiltrated. When actions are mirrored between those two categories of life, the lie that renders migrants "animalistic" and civilians "civilized" breaks down. We are made to recognize that the world is co-created and shared by many irrepressible existences that can never be legislated into oblivion.

Watched on Sunday May 11, 2025.

Police raids as punctuation. Here, the record was marked, but no one can confine the sunlight with a period. The conclusion of every sentence beckons forth another, like refrains in a song (https://letterboxd.jeux1001.com/film/revolutions-happen-like-refrains-in-a-song/). In this way, we make inevitable the "necessary revolution."

Watched on Sunday May 11, 2025.

As it moves from abstraction into clarity, it becomes less impactful. I wonder why I feel that way and if that's ungenerous. But it's beautiful all the same.

Watched on Thursday April 24, 2025.

Watched on Thursday April 24, 2025.

Watched on Friday April 18, 2025.

It made me think of Apichatpong Weerasethakul's Ashes.

Christian Nyampeta's Evening School - Night 1

A study in rhythm that floats along rivers of language. Currents take us from to French Guiana to Martinique. The island as prison and homeland. The shot of the space station with barbed wire surrounding it says it all, and makes me think about the telescopes on Hawaiʻi's sacred summits.

Watched on Friday April 11, 2025.

I don't want to undersell Sky because he's very much an experimental filmmaker who takes the term "experimental" seriously, which is shockingly rare these days, but I really enjoy that there's a gestural toolkit he seems to have become more comfortable with sticking to as his work has developed. By now, you can recognize the things you're likely to find in a Sky Hopinka film: repeating visual motifs like refilming images in the frame, the auto-stabilization, playing with colors and layering, the creative use of subtitling. Yet none of it ever feels rote or rehearsed. Quite the opposite: it gives his work a primacy and tactility. It's like you're seeing him play with the different blending modes in the editing software until something looks cool (as opposed to filmmakers who try very hard to obscure how they find their film's "look"). It's transparent, but a complex transparency that shimmers and sways in the breeze. I recall a review which (derisively?) called his films just a bunch of different iMovie effects stacked on one another. But that reminds me of something Isiah Medina said about not being afraid to apply filters to an image, as if that can never be anything but a cheap shortcut. The images in Sky's films are working images, they can always be stretched, deformed, and inverted, and that creates an environment in which "basic" gestures become conceptually rich sites of abstraction.

Watched on Tuesday April 15, 2025.

Watched on Sunday April 13, 2025.

I've been tuned out on Shiraishi for a while, but I like how his grim sensibilities—which are usually plodding (and this does drag some)—complement this goofy 60s script. I particularly appreciated how much danger everyone seemed to be in...

NETPAC March screening. Vili always invites cool people, this time Amy Hill showed up. Prompted by the scene in the film where the grandson sings to the grandma, he told us a lovely story about visiting Eddie Kamae as he was dying, holding his hand and speaking to him about carrying his legacy on.

Watched on Sunday March 9, 2025.

I watched this because of a YouTube reel, in case you were curious how my late-stage brainrot was progressing

Watched on Monday February 17, 2025.

Watched on Saturday February 22, 2025.

Watched on Saturday February 22, 2025.

Kept the prayers short because everyone's hungry

Very direct and didactic (though not necessarily in a bad way), which is not what I've come to expect from Thompson's moving-image work. Which in turn makes me think there is more going on under the surface here.

Constitutional transformation as a precondition for climate adaptation (!)

Watched on Sunday February 9, 2025.

Literally perfect beginning and ending shot.

It was a pleasure to spend time with Jumana Manna and Students for Justice in Palestine at UH last week, watching and discussing this film and Michel Khleifi's Ma'loul Celebrates Its Destruction. Both that film and Abu Ali's have knowingly ironic titles - as Manna pointed out, they're in a way challenging their own titles. Despite having seen tons of different clips of this film on social media I never have actually watched it in one piece from beginning to end. It packs a ton of stuff into 25 minutes. What stands out to me is its generosity: the ease and confidence with which it proclaims its Third World, South-South solidarity, its ambitions for justice and democracy. It is a film that, despite the loss and destruction it depicts, is not in any way on the back foot. It is a film that is ready.

"They do not exist" is a statement that attempts to erase Palestinians from this world. Abu Ali's response is not really to negate the negation, but to demand/create another world entirely. Not content to be an observer, he intervenes in the scene through docufiction techniques, and this is what gives the film an ideological momentum beyond mere reportage. So yes, maybe Palestinians don't exist in *your* world, but they live in ours, and the ultimate struggle is not really to affirm Palestinian existence or perform apologetics for it, but to affirm *our* world. Which reminds me of something Mary Turfah wrote:

I was talking to my dad the other day, I think after I learned the Israelis had shot an old woman in her home, three weeks into a ceasefire only they have violated (1,100 times as of this writing), and I said something like, “this world is awful.” He was eating pumpkin seeds and sipping tea. He looked up at me and said, no, their world is awful. Our world is not, our world is [a bunch of words that sound less floaty in Arabic]. He’s right. Our world is beautiful; may 2025 bring us closer to it.

Like this film, Manna is an exceptionally generous person. She didn't even really talk about her art all that much, she gave us time to talk, was curious about what we had to say, how we related Palestine to Hawaiʻi, our shared and different histories of settler-colonialism. We read a number of her texts and also Adam HajYahia's The Principle of Return, which anchored our discussions. We talked about the images of return coming out of Gaza now, and Syria too. We talked about why solidarity between '48 Palestinians, East Jerusalem Palestinians, West Bankers, and Gazans is often so fraught and riddled with contradictions. We talked about Palestinian-Syrian solidarity, which is filled with contradictions to work through as well. We talked about how one "returns" to a place you already live in, how to live in the experience of return, not to a state or even to a physical location, but to a kind of futurity. We talked about the world we want to live in.

Watched on Wednesday February 5, 2025.

Happy Lunar New Year

First, some technical complaints. My viewing experience (on Docuseek, which is like the educational platform for OVID) was heavily marred by the captioning (clearly just mildly edited auto-captions in some parts of the film), which made no sense. The first part of the film was pretty good, but the captions in the second part are terrible, almost like they were done by two different people. Most likely the film was handed over to some big speech-to-text/CC company like Rev that had some underpaid workers do a job of varying quality without much thought put into it. I ed a rip of the French Blu-Ray, and found that the subtitles were much better. So OVID needs to the correct subtitles to the film on their streaming platform.

The film itself, however, is one of staggering beauty. At a certain point, it didn't matter that I couldn't understand what the hell people were talking about. Every shot is magnificent, and Kramer knows just what details to linger on: a chain being deftly lifted by the claw of an excavator, a wreath falling off a statue, sunlight coming down an alley, trash floating lazily in the water (Kramer's pacing and imagery surely inspired C.W. Winter & Anders Edström's approach to filmmaking). Through his camera, the world is strange and unusual again. It surprised me that a committed partisan like Kramer would spend so much time embedding with the "enemy," so to speak. He spends lots of time with the religious right, cruising around with and talking to cops and military men. On one level, this can be read as his portrayal of America's chauvinism, its structural racism and militarism and sexism as something ingrained into its national character, not in a sensationalized way, but as something insidiously prosaic, even pastoral. But I think there's something else to this.

As the launching of the weather balloon at the end makes clear, Route One/USA is about record-keeping, charting, surveying, measuring, and navigating. Its basic premise, a road trip down the length of an interstate highway, is the first instantiation of this theme. Along the way, we see these processes and procedures at work in service of industry, commerce, and memorialization. It is about history as regular change, a series of moving averages, a derivative, an accumulation of statistical detail. The authorities in the film, the agents of state power, control how this information is taken down; they want the motor of civil society smoothly and constantly humming along, and the film also slips into this kind of calm forward motion. Juxtaposed against this steady state are visions of breakdown: under-served housing projects, rural degradation, refugees struggling to make ends meet, turmoil abroad. Conniptions and wrinkles in the data, outliers that either get smoothed out or portend future chaos.

It is as if Kramer sees the country as one ecology, its predators and prey locked in interdependent formations, with him and his cast and crew slipping into the vastness of it all. Its spontaneity and systematicity can be credited to this approach. The docufictional nature of the project allows him to treat the work as an experiment, not unlike a scientist would, introducing stimuli to see how people respond. The character of the doctor is the perfect archetype for Kramer. He lets the social totality and all its contradictions take hold of him, letting it rip through the film like a fever. Because of this, Route One/USA is a very vulnerable and tender film, a film with a great sense of the present and the warmth of the people that inhabit it, but also one that contains visions of those very lives torn open by the great cycles and upheavals of history.

Finally, because I've been thinking about Juliana Spahr a lot (a poet who I feel shares some of Kramer's sensibilities), here's some lines from a poem of hers:

Streams going off in all directions.
Going off in all directions,
the road, almost cultureless,
exits at even intervals, floats
floats above
above the desire I want
the desire I want as epilogue,
as epilogue, for in my heart seeds
heart seeds of
unending love,
love, still, and also despite.

Watched on Sunday January 26, 2025.

Watched on Saturday January 25, 2025.

Watched on Saturday January 25, 2025.

Watched on Saturday January 25, 2025.

Watched on Saturday January 25, 2025.

The eroticism in this film is like a fine patina covering everything, like the orange of the sunset that seeps through in many of the interior shots of the factory. The sensual exertions of a body powering through stripped screws, over-tightened ts, connections that haven't been moved, changed or decoupled in a long time. Becoming the object of desire, teasing and frustrating the men who work on you. The fantasy of labor, the labor of fantasy. Guiraudie deliberately underplays his hand, lest the central metaphor of the film become too obvious too early, but he's not afraid to be direct when needed. It makes the frankness of the film's final moments that much more impactful.

Like many recent indie Japanese films, Super Happy Forever delivers a simple, wispy, transparent story, placing much more emphasis on the emotional reality it creates through its finely-tuned mise-en-scène. I didn't fully get what it was doing until the end, which is similar to how I felt about Igarashi's last feature, The Night I Swam. But when it hits, it hits. Everything is evoked with so much texture: the fading, crumbling glory of the resort town, the smell of the ocean spray or the steam rising from a cup of instant noodles. But while the material world seems immediately recognizable and nostalgic, there's something slightly off about the characters. They wander around like zombies, trying to find things they've lost. It's even more uncanny that the the first half is almost uniformly cold, cynical, and bitter, whereas the second is totally romantic, cute and charming. Revisiting the same places with dissonant moods, Igarashi creates an incredible sense of hauntedness through his use of elision and repetition.

Watched on Saturday January 11, 2025.

Watched on Saturday January 11, 2025.

Poetics of Relation Session 5

Noah Keone Viernes presented a slate of Apichatpong shorts for this session (last one was focused on WIP critiques). Great discussion afterwards, Noah helped us grasp the political depth of Apichatpong's work. We talked about the materiality of film, the life of machines, his Isan and Chinese background, his relationship to Buddhism and Buddhism's relationship to the Thai monarchy, borderland narratives and memories, how his films are consumed by Western audiences, his depiction of Colombia in Memoria, and other topics. Kind of heavy to watch all these films with fire in it, given current events.

The Thai title translates to something like "The sun goes out", the meaning of which is (deliberately?) missing in the English title, and which is much more politically charged.

Watched on Thursday January 9, 2025.

Watched on Thursday January 9, 2025.

Watched on Thursday January 9, 2025.

Watched on Thursday January 2, 2025.

Watched on Wednesday January 1, 2025.

When you simp over your neighbor's smoking hot GF so hard it causes you to spiral into a quarter life crisis... #igetit

Definitely didn't appreciate this film as much as I should have watching it as a teenager. In particular, I didn't appreciate how constantly low-key funny this is throughout. I love the way Hou's juvenile sense of humor hashes against his equally unrefined sense of melancholy. Everything is so sad and emo but the only way to get through it all is to keep dishing out and catching cracks to the head. Ah-Ching, as the only character whose flashbacks are shown, is the only one with a visible thread running from the past through to the future, keeping him grounded while those around him seem to only inhabit the short-fuse time of the present and its schemes, games, and dead-end jobs. But when that thread is severed with his father's death, he too dissolves into the great waves of people that crash over the city, eroding memory, love, time, and dreams into the sand that gets mixed into the concrete that composes its constant growth and destruction.

aupuni.space/Poetics-of-Relation

Aupuni Space, in collaboration with TRADES A.i.R., is pleased to present Poetics of Relation, a Moving Image Workshop led by Aily Tanaka Nash.

Édouard Glissant (1928-2011) was a Martinican post-colonial thinker who worked at the intersection of poetry, philosophy, and prose. Glissant’s archipelagic theory will be read in relation to the Pacific, and specifically to diasporic and indigenous experiences and ways of being in Hawaiʻi. We will also think through how the structures of creolization in the Caribbean might relate to that of Hawaiʻi’s diverse cultural influences and histories.

Starting with Glissant’s concept of opacity as a political and aesthetic method, this workshop will look to forms of resistance, refusal, and disruption as wellsprings from which to articulate potentials for an ‘otherwise’. We will enage with contemporary experimental narrative and documentary film, avant-garde cinema, and video art that articulate these methods. Provoking us to question where our attentions lie, and what forms of legitimacy we adhere to, these practices offer us myriad ways to look, listen, make, and be. We will encounter various modes of sharing that prioritize multi-narratives, entanglement, repetitions, translations, marginalia, spirals, abstraction, alterity, queerness, diaspora, and non-western expressions of time and space. How can we read the shadowy opacities and ambiguities in art as generative offerings and invitations for collaboration? How are the murky spaces of the unconscious, memory, and dreams expressed as alternatives to legitimized forms of knowledge?

Participants are asked to relate to the materials with their own practice by sharing films, work-in-progress, treatments, other aspects of their work, as well as bring in texts and epistemologies that are formative for their approach to making and being in the world. The participants’ contributions will inform the way we build the conversation together over the sessions.

The workshop will consist of gatherings to watch films, discuss readings, watch each other’s work, and engage in activities around the stated themes. We will meet three times in mid December, break for the holidays, and meet again for a few sessions in early January. There will be a culminating public event in which we will share aspects of the workshop and our own work with the community.

Here is the film I made for the public showcase: emersongoo.com/untitled-relation-2025

We also discussed the following texts:

Poetics of Relation - Édouard Glissant
Towards a de-speaking cinema - Olivier Marboeuf
The Sea Is History - Derek Walcott
Fugitive Futures: Some Notions of a Caribbean Cinema Yet To Be - Jonathan Ali

• Jáaji Approx.
• I'll You as You Were, Not as What You'll Become
• Dislocation Blues
• Ouvertures
• There Is Land!
• Apiyemiyekî?
• Farther Than the Eye Can See
• Home Movies Gaza
• Emerald
• Ashes

...plus 3 more. View the full list on Letterboxd.

"It is only through stupidity that people can have any kind of relationship to cinema."

Collecting links to every piece of film criticism by Hasumi that I've found online, in English or translated into English. Also books and articles that talk about his work and which contain partial translations. Significant credit must be given to Adrian Martin, editor of two different online film journals that have both published Hasumi's criticism. Here is Hasumi's own website (in Japanese): mube2.jp/

www.lolajournal.com/1/fiction.html
Fiction and the ‘Unrepresentable’: All Movies are but Variants on the Silent Film (trans. David Blust)

www.lolajournal.com/7/hasumi_naruse.html
Countering Errors in the Age of Discovery: On the International Critical Assessment of Mikio Naruse (trans. Earl Jackson, Jr.)

www.rouge.com.au/10/costa_hasumi.html
Adventure: An Essay on Pedro Costa

www.rouge.com.au/7/ford.html
John Ford, or The Eloquence of Gesture (trans. Adrian Martin)

www.rouge.com.au/6/cafe_lumiere.html
Café Lumière

www.rouge.com.au/5/hasumi.html
short contribution to Rouge 5: The Image Issue

www.rouge.com.au/4/ozu_women.html
Ozu's Angry Women

www.cambridge.org/core/books/ozus-tokyo-story/sunny-skies/40FBFA6232D1825E73217167EE5ACCFB
Sunny Skies (trans. Kathy Shigeta), in Ozu's Tokyo Story, ed. David Desser

www.bloomsbury.com/us/movie-mutations-9780851709833/
Two Auteurs: Masamura and Hawks, in Movie Mutations: The Changing Face of World Cinephilia, ed. Jonathan Rosenbaum and Adrian Martin

www.tandfonline.com/doi/abs/10.1080/14649370801965562
The eloquence of the taciturn: an essay on Hou Hsiao‐Hsien, in Inter-Asia Cultural Studies, 9:2, 184-194

read.dukeupress.edu/cultural-politics/article/11/3/301/25820/For-the-Liberation-of-a-Pluralist-ThinkingAn
For the Liberation of a Pluralist Thinking: An Interview with Roland Barthes (trans. Chris Turner), in Cultural Politics 1 November 2015; 11 (3): 301–314.

lysisme.art.blog/2021/05/31/a-private-dialogue-shigehiko-hasumi-and-ryuichi-sakamoto-on-the-last-emperor/
A Private Dialogue: Shigehiko Hasumi and Ryuichi Sakamoto on The Last Emperor (trans. Stella Hsieh)

umdb.um.u-tokyo.ac.jp/DPastExh/Publish_db/1999ozu/english/02.html
On the Everydayness of a "Miracle": Ozu Yasujiro and Atsuta Yuharu

web.archive.org/web/20120517012254/http://www.fipresci.org/undercurrent/issue_0509/kentucky_pride.htm
Touching the Glossy Coat of a Horse: John Ford's Kentucky Pride

imgur.com/a/vT9zKZh
First Look: Bright Future (trans. Linda Hoaglund), in Film Comment; New York Vol. 39, Iss. 2, (Mar/Apr 2003): 18.

imgur.com/a/SCKuw16
Missing Link: Shinji Somai (trans. Linda Hoaglund), in Film Comment; New York Vol. 38, Iss. 1, (Jan/Feb 2002): 41-42.

imgur.com/a/44hVGy6
From Velázquez's Mirror to Dream of Light: A Conversation about Film (trans. Ann Sherif), in The Cinema of Victor Erice: An Open Window (Revised Edition)

drive.google.com/file/d/1pYob50B8xbK5owxna6lHI9cQX97ItojA/view?usp=sharing
A World Without Seasons, in Seijun Suzuki: De woestijn onder de kersenbloesem (The Desert under the Cherry Blossoms) (trans. from Japanese by Jacinta Hin & Roos Eijsten, trans. into English by Frank van Herk)

www.uress.edu/books/directed-by-yasujiro-ozu/paper
Directed by Yasujiro Ozu (trans. Ryan Cook)
I recommend buying the book, but it's also easily available on shadow libraries.

mubi.com/en/notebook/posts/this-second-is-eternal-shiguehiko-hasumi-on-directed-by-yasujiro-ozu
This Second Is Eternal: Shiguéhiko Hasumi on “Directed by Yasujiro Ozu” (interview w/ Hasumi by K. F. Watanabe)

= Articles about Hasumi =

mubi.com/notebook/posts/given-to-see-a-tribute-to-shigehiko-hasumi
Given to See: A Tribute to Shigehiko Hasumi
by Adrian Martin

www.jstor.org/stable/42800646
An Impaired Eye: Hasumi Shigehiko on Cinema and Stupidity
by Ryan Cook, in Review of Japanese Culture and Society, DECEMBER 2010, Vol. 22, Decentering Theory: Reconsidering the History of Japanese Film Theory, pp. 130-143, published by University of Hawai'i Press

oxford.universitypressscholarship.com/view/10.1093/oso/9780190254971.001.0001/oso-9780190254971-chapter-4
Ozu to Asia via Hasumi
by Aaron Gerow, in Reorienting Ozu: A Master and His Influence, ed. Jinhee Choi

www.lolajournal.com/7/hasumi_suchenski.html
On Hasumi
by Richard I. Suchenski

www.lolajournal.com/7/hasumi_fujiwara.html
The Critical Event of Director Ozu Yasujiro
by Chris Fujiwara

www.lolajournal.com/7/hasumi_costa.html
Three Hours with Professor Hasumi on a Train, in Japan
by Pedro Costa

gagosian.com/quarterly/issues/summer-2024/
Museum of Gestures: Carlos Valladares and Moeko Fujii on “Directed by Yasujiro Ozu” 124-129.

Some films which Hasumi writes about in the articles above are listed below. Films in the series “Kinetic Visions: The Students of Hasumi Shigehiko” at the University of Chicago have also been included, because why not.

• Kentucky Pride
• Spies
• Doctor Bull
• Steamboat Round the Bend
• The Song Lantern
• My Darling Clementine
• She Wore a Yellow Ribbon
• Rio Grande
• A Place in the Sun
• Mother

...plus 35 more. View the full list on Letterboxd.

Features only

Not on LB:
Hawaii Ponoi 1970
Myths and Maidens
One Million Dolla
Terrestrial
The Shape of Things: The Dick Brewer Story

• A Samurai in Time
• About Family
• Agent of Happiness
• All Shall Be Well
• All We Imagine as Light
• An Unfinished Film
• And So It Begins
• Ashima
• Ballot
• Bird

...plus 74 more. View the full list on Letterboxd.

Curated by Julian Ross and May Adadol Ingawanij

Just making this to gather my impressions in one place.

Not on LB:
Painted Earth (Lawan Jirasuradej) - Program 1

• Birth of the Seanema
• No History in a Room Filled with People with Funny Names 5
• Your Voice Came Out Through My Throat
• The Cloud of Unknowing
• Tellurian Drama
• Foragers
• having-seen-snake
• Village and Elsewhere: Artemisia Gentileschi’s Judith Beheading Holofernes, Jeff Koons’ Untitled, and Thai Villagers

18 Japanese filmmakers chose 5 documentaries to answer the question:

"If you had to recommend a young person 5 'documentaries' to watch in order to show what cinema has to offer, what would you choose and why?"

arthouse-guide.jp

Yū Irie (1 - 5)
Sara Ogawa (6 - 9, already listed: The Emperor's Naked Army Marches On)
Kaori Oda (10 - 14)
Natsuka Kusano (15 - 19)
Haruka Komori (20 - 24)
Ryūichi Shimada (25 - 29)
Kōji Shiraishi (30 - 34)
Natsuki Seta (35 - 39)
Kazuhiro Sōda (40 - 44)
Katsuya Tomita (45 - 49, already listed: Magino Village: A Tale, The Forgotten Imperial Army)
Nanako Hirose (50 - 53, already listed: The Quince Tree Sun)
Kōji Fukada (54 - 58)
Akio Fujimoto (59 - 61, already listed: The Quince Tree Sun, Three Sisters)
Sora Hokimoto (62 - 63, already listed: In Vanda's Room, Self and Others, The Written Face)
Yōju Matsubayashi (64 - 67, already listed: My Name is Salt)
Sho Miyake (68 - 72, yes, he really listed these)
Yōko Yamanaka (73 - 76, already listed: The Quince Tree Sun)
Satoko Yokohama (77 - 79, already listed: Children in the Classroom, Daguerréotypes, Grey Gardens)

1. Hoop Dreams
2. Shooting Film is Battleground: Making of BATTLE ROYALE
3. Tokyo Trial
4. The Emperor's Naked Army Marches On
5. Collective
6. Never Let Me Go
7. Chinbotsu Kazoku
8. Welcome to Sato
9. Life is Fruity
10. Dream of Light

...plus 69 more. View the full list on Letterboxd.

Missing:
Jasmin (Jamil Sulong)
Aliens from Inner Space (Paul Atkins, Mike de Gruy, Grace Niska)
Brides of the Gods (W. R. Geddes)
Children of the Tribe (Kalle Lasn)
Choosing Victory (Muffett Kaufman)
The Departure (unknown)
Dew Drop (Greg Schiffner)
Dreamer (Paul Lawrence)
First Stop, China (John N. Smith)
Fourth Avenue (Mary Katzke)
The Fourth Stage (David Thompson)
Gift to my Children: A Molokai Family (Claudia Chotzen)
The Highly Exalted (Kim Shelton)
Hōkūleʻa: The Rediscovery Begins (Rick Mattos)
Hole Hole Bushi: Songs of the Canefield (unknown)
It's in Everyone of Us (Wernher Krutein)
Landscape with Waitress (Jeffrey Townsend)
Brand New Day (Bryan McLellan, David Noakes)
My Filipina (Stephen Teo)
A Nation Uprooted: Afghan Refugees in Pakistan (Judith Mann)
No Place Like Home (Sean McLaughlin)
The Shahsavan Nomads of Iran (Arlene Dallalfar-Fereydown Safizadeh)
Sugar... How Sweet It Is (Unknown)
Sweet Jail: The Sikhs of Yuba City (Beheroze F. Shroff)
Vacant Lot (Ken Selden)
Wang Yien The Puppeteer (Ray Jiing)
War Orphans (unknown, TBS Soko ga shiritai, KHAI-TV)
Winter Chill and Danceteria (Malcolm Wong)
With Silk Wings: Four Women (Loni Ding)
Wyland: The Art of Saving Whales (Marc Eremian)

• 'Merika
• All Under Heaven
• Army
• Awaara
• Bad Day at Black Rock
• The Cloud-Capped Star
• Crossroads
• The Diary of Anne Frank
• Dim Sum: A Little Bit of Heart
• Distant Thunder

...plus 43 more. View the full list on Letterboxd.

Missing:
Hong Kong Dong (Dong Kingman)
films by local film and videomakers (to be listed)

• Ah Ying
• Bali
• The Black Stallion
• Boat People
• The Bounty
• The Boys from Fengkuei
• The Brother from Another Planet
• Canada Vignettes: Faces
• Careful, He Might Hear You
• The Creation

...plus 27 more. View the full list on Letterboxd.

Missing:
Beyond the Great Wall (Bob Jones)
Cortile Cascino (Robert M. Young)
The Actor (Unknown)
A Tribute to James Wong Howe, Cinematographer (Beulah Quo)
Children of Portugal (Unknown, local production for school distribution and KHET)

• An Autumn Afternoon
• A Balinese Trance Seance
• The Ballad of Gregorio Cortez
• The Ballad of Narayama
• Becoming American
• Boy
• The Ceremony
• The Buffalo Boy and His Flute
• Cruel Story of Youth
• Diary of a Shinjuku Thief

...plus 43 more. View the full list on Letterboxd.

Missing:
Tok Perak (Syed Alwi)
Intimate Friends (Shanghai Animation Film Studio)

• 36 Chowringhee Lane
• Abang
• Angels of War
• Balablok
• Bread and Chocolate
• A Chairy Tale
• Chan Is Missing
• Chariots of Fire
• The Colonel Comes to Japan
• Dia Ibuku

...plus 13 more. View the full list on Letterboxd.

• Aguirre, the Wrath of God
• The Black Stallion
• Coming Home
• Gaijin: A Brazilian Odyssey
• Grease
• In Search of Famine
• Manganinnie
• My Young Auntie
• The Naked Island
• Romance on Lushan Mountain

...plus 3 more. View the full list on Letterboxd.

In an attempt to add some discipline to my viewing habits, Iʻm creating a syllabus for myself to tackle three significant directors that Iʻve wanted to watch but always keep putting off: Ozu, Ford, and Renoir. Hopefully this will help plug some major holes in my knowledge of film history. Iʻve already started on the Ozu viewing, but ideally what I would like is to watch the films from these directors in more or less chronological order, going back and forth between the films and reference texts about them. My loose deadline to complete this viewing project is my 25th birthday (just a little over a year).

Hereʻs the main books Iʻm using as reference material, though I'll certainly be reading other materials along the way:

Ozu:
The Cinema of Ozu Yasujiro: Histories of the Everyday (Woojeong Joo)
Ozuʻs Anti-Cinema (Kiju Yoshida)
Reorienting Ozu: A Master and His Influence (ed. Jinhee Choi)

Ford:
John Ford: The Man and His Films (Tag Gallagher)
John Ford, Revised and Enlarged Edition (Peter Bogdanovich)
How the West Was Sung: Music in the Westerns of John Ford (Kathryn Kalinak)
Searching for John Ford (Joseph McBride)
The John Ford Encyclopedia (Sue Matheson)

Renoir:
My Life and My Films (Jean Renoir)
Renoir on Renoir (Jean Renoir)
Jean Renoir (Pascal Mérigeau)
A Companion to Jean Renoir (ed. Alastair Phillips, Ginette Vincendeau)

• The Iron Horse
• Kentucky Pride
• La Chienne
• I Was Born, But...
• Boudu Saved from Drowning
• Woman of Tokyo
• A Story of Floating Weeds
• Toni
• The Informer
• Steamboat Round the Bend

...plus 51 more. View the full list on Letterboxd.

razzmatazzrazzledazzle.hatenablog.com/entry/2021/07/05/170023

Not on LB: Boys (Dečki), dir. Stanko Jost (1977)

• Keepers of the Fog
• On Our Own Land
• Kekec
• Frosina
• In the Net
• Cursed Money
• H-8...
• Dancing in the Rain
• Night Trip
• The Traitor

...plus 38 more. View the full list on Letterboxd.

For me, but also my fans? Not exhaustive.
emersongoo.blot.im/writing

• 76 Days
• Against the Tide
• aletheia
• alexia
• amaurosis
• And Then
• Anito
• Ars colonia
• Asako I & II
• August at Akiko's

...plus 52 more. View the full list on Letterboxd.

Surprised no one has made this list yet. I just used Wikipedia as a reference, any errors are my own.

In 2000, Jeonju International Film Festival launched the Jeonju Digital Project with the conviction to create “teasers for the future films that inspire us” With emphasis on the word “digital” and focusing on the format of a short film, every year Jeonju Digital Project has compiled three short films to create a feature length omnibus film.

Since its inception, Jeonju International Film Festival has concentrated on the potential of digital films and has been working with filmmakers from all around the world to broaden the horizon of film aesthetics using digital technology. As a result, Jeonju Digital Project films have made remarkable achievements in international film festivals including Venice, Locarno, and Toronto. In 2006, Locarno International Film Festival hosted a special exhibition titled Digital Asia and showcased all of Jeonju Digital Project films that had been made to date. Memories (a short film triptych by Pedro Costa, Harun Farocki, and Eugene Green) from Jeonju Digital Project 2007 was nominated for the Golden Leopard at Locarno International Film Festival. Among the short films created as part of Jeonju Digital Project 2008, Mahamat Saleh Haroun’s Expectations won the Special Jury Prize in the Muhr Asia/Africa Short category at Dubai International Film Festival. In this way, the products of the Jeonju Digital Project once again confirmed the project’s impact on the film world. And in 2011, the project came to solidify its position as a project that attracts attention from filmmakers around the world with the participation of three colossuses of European cinema— Jean Marie Starub, Claire Denis, and Jose Luis Guerin.

In 2014, Jeonju Digital Project made the decision to the production of feature-length films rather than short films. Since the digital film format has become ubiquitous, the project was also renamed to Jeonju Cinema Project. In line with its long-term vision, Jeonju Cinema Project aimed to continue its pursuit of innovation and focus on the characteristics and identity of Jeonju. This change to Jeonju Cinema Project marked a turning point for Jeonju International Film Festival to propose a new vision for film projects within the function and aesthetics of the film festival and the dynamics of the film industry. (Jeonju International Film Festival)

NOT ON LB:
Over There (Zhang Lu, 2013) (The entire JDP 2013 is listed on here as one film, so I just put that in as a placeholder)

• www.whitelover.com
• Dal segno
• Miss Jin Sing Story
• In Public
• Digitopia
• A Conversation with God
• Survival Game
• New Year
• A Letter from Hiroshima
• Daf

...plus 53 more. View the full list on Letterboxd.

Tashkent Encounters is a series of curated events organized by The Center for Contemporary Art in Tashkent. It brings together international art professionals and puts them in conversation with the Central Asian art scene in the capital of Uzbekistan in order to exhibit, share, perform and give talks. Each of the Tashkent Encounter`s public program will focus on a specific topic and include discussions and lectures.

The first event of Tashkent Encounters is dedicated to modern cinema in Central Asia. Filmmakers of Kazakhstan, Kyrgyzstan, Tajikistan and Uzbekistan will present their works, which have already become classics of modern cinema. This will allow viewers to notice the evolution of the film language of these authors-from the early 90`s to the present day. Films can be viewed this spring on the website and social networks of the Centre for contemporary art in Tashkent. The public program of Tashkent Film Encounters is planned for the fall of 2020 and will include a series of screenings, lectures and round tables. The detailed program of the event will be published on the center`s website.

The second edition of TFE presents series of feature and short films around womanhood in Central Asia. Films directed, interpreted, or inspired by women will be screened accompanied by dialogues with the filmmakers. TFE intends to portray female constellations in the cinematographic the landscape of Central Asia, contextualizing with the films from the neighboring countries of the region. This is a chance to reflect on the female figure in modern society through its image on-screen traveling across cultures, visions, and memories over decades of time. Somewhat depicted by the cinematography of Central Asia stays rather universal and can be easily related to by the viewers of the present.

This list is sorted chronologically, the websites below show what was in each program.

www.ccat.uz/en/project/encounter/film/1
www.ccat.uz/en/project/encounter/film/2
www.kinoklassikafoundation.org/project/tashkentfilmencounters/

• The Traces Go Beyond the Horizon
• Mother's Field
• The Daughter-in-Law
• Triptych
• The Swing
• Odds and Evens
• Everything Was Covered with Snow
• Cardiogram
• The Flight of the Bee
• The Orator

...plus 10 more. View the full list on Letterboxd.

1. Happy Hour
2. Storytellers
3. Intimacies

   first half only

4. Wheel of Fortune and Fantasy
5. Asako I & II
6. Heaven Is Still Far Away
7. Touching the Skin of Eeriness
8. Drive My Car
9. Dance with OJ
10. Like Nothing Happened

@ NFA Japan
www.nfaj.go.jp/exhibition/japanese1990s202201/

Minus some very obscure films (mostly shorts and pinku) this is everything in the program.

• Neo Chinpira: Zoom Goes the Bullet
• The Cherry Orchard
• World Apartment Horror
• Nowhere Man
• O-DE-KA-KE Diary
• A Dandelion, Rosaceae
• The Sleeping Flower
• Peach Baby Oil
• The Games Teachers Play
• Living on the River Agano

...plus 52 more. View the full list on Letterboxd.

• Cube
• Cube 2: Hypercube
• Cube Zero
• Circle
• The Platform
• Exam
• Squid Game
• Symbol
• Escape Room
• Escape Room: Tournament of Champions

for personal reference...

• Land Without Bread
• A.K.A. Serial Killer
• Here and Elsewhere
• Perfumed Nightmare
• Light Reading
• Sans Soleil
• Reassemblage: From the Firelight to the Screen
• Shoah
• Fake Fruit Factory
• Images of the World and the Inscription of War

...plus 35 more. View the full list on Letterboxd.

1. The Time to Live and the Time to Die
2. Good Men, Good Women
3. A Summer at Grandpa's
4. The Puppetmaster
5. A City of Sadness
6. The Boys from Fengkuei
7. Dust in the Wind
8. Daughter of the Nile

Yamagata International Documentary Film Festival 2021
International Competition

• Before the Dying of the Light
• Camagroga
• City Hall
• The First 54 Years: An Abbreviated Manual for Military Occupation
• Her Name Was Europa
• Inside the Red Brick Wall
• Miguel's War
• Night Shot
• Notturno
• Nuclear Family

...plus 5 more. View the full list on Letterboxd.

“Shoreline Movements” is a film program that approaches the threshold between land and water as a material environment and as a provocative metaphor for the uncertainties and conflicts of worldly existence. By attending to the shifting frontier of the shoreline and the organisms that inhabit it, we can learn to think ecologically, which means understanding the fluid relations that exist between a vast array of agents, to the point that presumed separations between them are put into question. Sometimes these relations are harmonious, but they can equally be characterized by discord and violence; the shoreline is where seemingly irreconcilable worlds confront one another in negotiations without end.

- Erika Balsom

www.taipeibiennial.org/2020/en-US/Project/Screenings_Content/7

Not on LB:
Beatriz Santiago Muñoz, Black Beach / Horse / Camp / The Dead / Forces, 2016, 8 mins.
Edith Dekyndt, Dead Sea Drawings (Part 1), 2010, 4 mins 40 secs. KADIST, Paris–San Francisco

• The Shiranui Sea
• Lagos Island
• Becoming Alluvium
• maɬni—towards the ocean, towards the shore
• At Land
• The Two Sights
• Blue Mantle
• Nefandus
• Voices of Orchid Island
• The Pearl Button

...plus 6 more. View the full list on Letterboxd.

Partial filmography from the book by Ananya Jahanara Kabir (University of Minnesota Press, 2009). Additional movies added by me.

Not on LB:
Ara, Shabnam, and Atul Gupta, dir. Waiting. 2005. www.youtube.com/watch?v=oXzlrqQkZ3g
Bazaz, Abir, and Meenu Gaur, dir. Kun’ear. 1999.
Bazaz, Abir, and Meenu Gaur, dir. Paradise on a River of Hell. 2002.
Kumar, Pankaj Rishi, dir. The Play Is On. 2000.
The Story of Papier maché. Srinagar: AVRC, 1991.

• Junglee
• Phir Wohi Dil Laya Hoon
• Kashmir Ki Kali
• Arzoo
• Janwar
• Jab Jab Phool Khile
• Before My Eyes
• Roja
• Mission Kashmir
• Yahaan

...plus 4 more. View the full list on Letterboxd.

An extended filmography from Akira Mizuta Lippit's 2005 book, sorted chronologically. This includes not just films mentioned in the text but also those in the index, in order to include movies that are discussed in the book's notes. This is NOT all of the films mentioned in the book. There's some films in the notes that aren't in the index, but those mentions are slight and I haven't included them. Apologies if I've accidentally missed any.

The atomic radiation that ended the war in Japan unleashed an excess visuality that threatened the material and conceptual dimensions of human interiority and exteriority. It assailed the bodies it touched, seared and penetrated them, annihilating the limits that established human existence in the world. The destruction of Hiroshima and Nagasaki in 1945 exposed the fragility of the human surface, the capacity of catastrophic light and lethal radiation to penetrate the human figure at its limit.

[...]

Since 1945, the destruction of visual order by the atomic light and force has haunted Japanese visual culture. Yet the origins of this postwar crisis, brought about by the advent of a penetrating radiation, began fifty years earlier in 1895 with the emergence of three new phenomenologies of the inside: psychoanalysis, X-rays, and cinema. Three techniques or technologies that pursued the scene of interiority, the opening of the mind, the body, and the world.

Not on LB:
The Bells of Nagasaki - dir. Hideo Ōba (1950)

• Workers Leaving the Lumière Factory
• Baby's Meal
• The Arrival of a Train at La Ciotat
• Demolition of a Wall
• Leaving Jerusalem by Railway
• The Haverstraw Tunnel
• How It Feels to Be Run Over
• Stop Thief!
• The Big Swallow
• Uncle Josh at the Moving Picture Show

...plus 42 more. View the full list on Letterboxd.

• Workers Leaving the Lumière Factory
• The Birth of a Nation
• Within Our Gates
• Body and Soul
• The Blood of Jesus
• Dirty Gertie from Harlem U.S.A.
• Africa on the Seine
• Sambizanga
• The Battle of Algiers
• The Hour of the Furnaces

Selections from www.societyofcontrol.com/ppmwiki/pmwiki.php/Main/Antifa-film organized chronologically.

ON A SPECIFIC OCCASION: ANTI-FASCISM IN FILM was a seminar and series of film screenings at the ADBK Munich. Selected and presented by ADBK students, Madeleine Bernstorff, Stephan Dillemuth, Gürsoy Dogtas, Karolin Meunier, Maria Muhle, Martin Schmidl, Stephanie Weber and Justin Lieberman, Tanja Widmann, Michaela Melián and others.

Also see:
www.michaelamelian.net/Michaela_Melian/Fohrenwald.html (Föhrenwald, Michaela Melián 2005)
player.vimeo.com/video/225409455 (From Camp to Campus, Franz Wanner 2019)
german-documentaries.de/en_EN/films/end-of-the-line-seeshaupt.7215 (END OF THE LINE: SEESHAUPT, Walter Steffen 2017)
www.achimklapp.de/index.php?id=4 (Sex Burns: Magnus Hirschfeld's Institute for Sexology and Book Burning, 2008)

• Kuhle Wampe or Who Owns the World?
• Election Campaign 1932 (Last Election)
• Fascist Boots Shall Not Trample Our Motherland
• To Be or Not to Be
• The Ducktators
• Der Fuehrer's Face
• Education for Death: The Making of the Nazi
• Paisan
• The Last Stage
• Long Is the Road

...plus 22 more. View the full list on Letterboxd.

• Boudu Saved from Drowning
• Mr. Arkadin
• Faust
• Hail Mary
• Johnny Guitar
• The Killer Elite
• Love Streams
• The Story of the Last Chrysanthemum
• The Sun Shines Bright
• Touchez Pas au Grisbi

• 76 Days
• Ainu Mosir
• Death of Nintendo
• Keep Rolling
• Mekong 2030
• My Prince Edward
• Night of the Kings
• The Real Thing
• Song of the Exile
• To Calm the Pig Inside

...plus 2 more. View the full list on Letterboxd.

At the back of the Fantagraphics edition of IWtWotT, there's a list of films presented as extra material for the reader. Here they are.

Not on LB:
Last Flight (a.k.a. The Crew) - dir. Maurice Tourneur (1928)
Angel's Wing - dir. Richard Dembo (1992)

• Shoulder Arms
• J'accuse
• The Big Parade
• Verdun: Visions of History
• The Dawn Patrol
• All Quiet on the Western Front
• Westfront 1918
• Wooden Crosses
• Broken Lullaby
• A Farewell to Arms

...plus 22 more. View the full list on Letterboxd.

100 classic Filipino films, as listed in Nick Deocampo's 2008 book. Created primarily as a pedagogical tool, it aids teachers in introducing Filipino films into the classroom, with notable inclusions of documentaries, animated shorts, propaganda films, and early films.

Listed alphabetically (titles on LB may differ from the book).

Not on LB:
Anak Maynila - dir. Nonoy Dadivas and Dange Desembrana (1993)
Ano ang Trabaho ng Nanay Mo? - dir. Tita Rosel (1995)
Big Broadcast, The - dir. Tony Cayado (1962)
Continuing Lives: Women of the Bases - dir. Nick Deocampo (1993)
Doon sa Kabila ng Bulkan - dir. Ellen Ramos (1997)
Early American Newsreels about the Philippines (So, I don't actually have the book and the Google Books preview is not letting me view this page to see what these suggested newsreels are. In lieu of this entry, Deocampo's 2007 article about the subject is a good start for those interested in the subject, and accessible through both legal and, er, less-than-legal means: Cinema and colonization: American colonization and the rise of cinema in the Philippines, Comparative American Studies An International Journal, 5:2, 147-171, DOI: 10.1179/147757007X204420)
Edades: Victorio C. Edades and Modernism in Philippine Art - dir. Nick Deocampo (2004)
Eye in the Sky, The - dir. Joey Agbayani (1984)
Junkzilla - dir. Nonoy Dadivas (1995)
Last Fish in the World, The (1996)
Legacy of Violence, A - dir. Nick Deocampo (1990)
Private Wars - dir. Nick Deocampo (1996)
Red Saga - dir. Kiri Dalena (2004)
Sa Kandungan ng Langit - dir. Gina Marissa Tagasa (2005)
Sa Kuko ng Agila - dir. Augusto Buenaventura (1989)
Spit/Optik - dir. Roxlee (1989)
Trip - dir. Jon Red (1993)
True Blue American Coconut Grove (Gawa sa Pilipinas) - dir. Louie Quirino (1989)
Ynang-Bayan: To Be a Woman is to Live in a Time of War - dir. Nick Deocampo (1991)

• Abakada.. Ina
• Aguila
• Anak
• Shadows
• Atsay
• The Sea Gypsies
• New Moon
• Lea's Story
• Martial Law
• Batch '81

...plus 71 more. View the full list on Letterboxd.

From LOLA Journal Issue 7 (November 2016): Ages
Edited by Adrian Martin and Girish Shambu

There is something both nostalgic and provocative in this idea of discovering a little-known, unsung or completely obscure film. In these days of streaming, ing and torrents, the idea of actually fossicking for and buying a DVD or VHS in this manner may already be an obsolete notion, a thing of the past. But it is a fundamentally different experience for a cinephile to discover a film when she or he is not consciously choosing to watch something they already know about. Rather, the Two Dollar Movie project is a reflection on what it means to take a chance on something we cannot predict, that we may never have heard of before … and to see where that blind chance takes us.

Click on the notes to see the author and a link to their write-up.

Not on LB:
Escape from the Planet of the Tapes (2003) - Lorena Cancela
www.lolajournal.com/7/two_dollar_movie_1.html#11
Toes (date unknown) - Edward Colless
www.lolajournal.com/7/two_dollar_movie_1.html#33

• China Doll

  Cristina Álvarez López
  www.lolajournal.com/7/two_dollar_movie_1.html#1

• Filmpiece For Sunshine

  Brecht Andersch
  www.lolajournal.com/7/two_dollar_movie_1.html#2

• Litan

  Paula Arantzazu Ruiz
  www.lolajournal.com/7/two_dollar_movie_1.html#3

• The Final Programme

  Louis Armand
  www.lolajournal.com/7/two_dollar_movie_1.html#4

• Everyday Life in a Syrian Village

  Canan Balan
  www.lolajournal.com/7/two_dollar_movie_1.html#5

• Kissed

  Lisa Bode
  www.lolajournal.com/7/two_dollar_movie_1.html#6

• The Illinois Parables

  Annabel Brady-Brown
  www.lolajournal.com/7/two_dollar_movie_1.html#7

• Rachel and the Stranger

  Anke Brouwers
  www.lolajournal.com/7/two_dollar_movie_1.html#8

• Starting Out in the Evening

  Rex Butler
  www.lolajournal.com/7/two_dollar_movie_1.html#9

• Blood Ties

  Zachary Campbell
  www.lolajournal.com/7/two_dollar_movie_1.html#10

...plus 9 more. View the full list on Letterboxd.

Selected filmography from the 2009 book edited by Sheldon H. Lu and Jiayan Mi.

• Yellow Earth
• Old Well
• The Wayward Cloud
• Suzhou River
• The River
• The Hole
• Rainclouds Over Wushan
• Still Life
• Balzac and the Little Chinese Seamstress
• Hero

...plus 16 more. View the full list on Letterboxd.

Yamagata International Documentary Film Festival 2019
International Competition

Not on LB
In Our Paradise (Claudia Marschal, 2019)
Self-Portrait: Window in 47 KM (Zhang Mengqi, 2019)

• Absence
• Cachada: The Opportunity
• Las cruces
• Dead Souls
• Did You Wonder Who Fired the Gun?
• Living the Light: Robby Müller
• Memento Stella
• Midnight Traveler
• Monrovia, Indiana
• Reason

...plus 3 more. View the full list on Letterboxd.

I'm not logging short films in my diary, so here they shall go.

August 2019 EDIT: I am logging them in my diary now! But this is everything I've watched before March 2018. I won't be using this list anymore.

• The Act of Seeing with One's Own Eyes
• From One Second to the Next
• This House Has People in It
• HELL/?????
• The Horse Raised by Spheres
• I Am Alone and My Head Is On Fire
• Unedited Footage of a Bear
• Live Forever as You Are Now with Alan Resnick
• Too Many Cooks
• Please Say Something

...plus 38 more. View the full list on Letterboxd.

If it deals with deafness/hearing loss in some way (however minuscule) it belongs here. This is a WIP. Suggestions appreciated.

• There Will Be Blood
• Knowing
• Read My Lips
• Mr. Holland's Opus
• The Tribe
• Children of a Lesser God
• Hush
• The Heart Is a Lonely Hunter
• Take Shelter
• Black

...plus 11 more. View the full list on Letterboxd.

If I've ever viewed it in a darkened, too-cold room on a big-ass silver screen, it goes here.

• X-Men: Days of Future Past
• The Hunger Games: Mockingjay – Part 1
• Pitch Perfect 2
• Dheepan
• Mustang
• The Assassin
• How to Win at Checkers (Every Time)
• Mountains May Depart
• The Boy and the Beast
• A Tale of Three Cities

...plus 55 more. View the full list on Letterboxd.

Cal Poly SLO Film Production Society screenings. If I write anything about any of these films I'll try to incorporate points from the after-screening discussions.

• Hiroshima Mon Amour
• Z
• Daisies
• Woman in the Dunes
• Possession
• The Spirit of the Beehive
• Right Now, Wrong Then

Yamagata International Documentary Film Festival 2017
International Competition

• Another Year
• Calabria
• Communion
• Donkeyote
• Ex Libris: The New York Public Library
• A House in Ninh Hoa
• I Am Not Your Negro
• In the Intense Now
• Lone Existence
• Machines

...plus 5 more. View the full list on Letterboxd.

Yamagata International Documentary Film Festival 2015 International Competition

Not on LB
Always and Again (Chloé Inguenaud, Gaspar Zurita, 2015)
We Shall Overcome (Mikami Chie, 2015)

• Dreamcatcher
• Future June
• Hebei Taipei
• Homeland: Iraq Year Zero
• Horse Money
• Sigo siendo
• Our Last Tango
• Paraguay ed
• The Pearl Button
• Silvered Water

...plus 3 more. View the full list on Letterboxd.

Didn't see anyone make this list yet.

Films taken from the Hawaii Film Office website: filmoffice.hawaii.gov/hawaii-a-filmography/feature-films/

These are productions that took place (entirely or partially) in Hawaii. These films may or may not actually be set (entirely or partially) in Hawaii. This is not a comprehensive list, but it should be pretty close to one...

• His Captive Woman
• Feet First
• The Black Camel
• Bird of Paradise
• Hell Below
• White Heat
• Four Frightened People
• Curly Top
• Navy Wife
• Waikiki Wedding

...plus 84 more. View the full list on Letterboxd.

Now that the festival is over, I've put this in ranked order. Sad that I couldn't see more (Her Love Boils Bathwater, Hamon: Yakuza Boogie, Pop Aye, Plastic China) but there wasn't a single dud amongst any of the movies I chose.

One of the most interesting and compelling spring lineups I've seen in a while. Thanks HIFF!

• Tampopo
• Tokyo Idols
• Rage
• The Mohican Comes Home
• The Wasted Times
• Bluebeard
• Duckweed
• Neko Atsume House

• Paris, Texas
• It's Such a Beautiful Day
• Yi Yi
• Chungking Express
• Love Exposure

A wild journey to the wild west.

• The Treasure of the Sierra Madre
• Johnny Guitar
• Ride the High Country
• The Wild Bunch
• El Topo
• McCabe & Mrs. Miller
• Red Sun
• Blazing Saddles
• Heaven's Gate
• Walker

...plus 7 more. View the full list on Letterboxd.

The list of movies I will be seeing at HIFF. Currently just listed in the order I will see them, after the festival, I'll rank them.

As the festival gets closer and I know more about my schedule, films may be dropped and others added...but for now this is what I have planned.

UPDATE: List ranked. I found all my 3.5 star ones to be pretty much on the same level.

1. Harmonium
2. A Bride for Rip Van Winkle
3. After the Storm
4. The Age of Shadows
5. Yourself and Yours
6. A Touch of Zen
7. Fire at Sea
8. Your Name.
9. Creepy
10. I Am Not Madame Bovary

...plus 4 more. View the full list on Letterboxd.

Based on what Wikipedia has, does not include works not out yet.

not included: A Homansu (1986), Akira No. 2 (2014), Bad Boys (2011), Chihayafuru: Kami no Ku (2016), Chihayafuru: Shimo no Ku (2016), Eko Eko Azarak: R-page (2006), Eko Eko Azarak: B-page (2006), From Kobe (2015), Futari H: Second Kiss (2011), Futari Ecchi: Triple Love (2012), Futari Ecchi: Love Forever (2012), Gaki Rock (2014), Garoden (1995),

• City Hunter
• 009-1: The End of the Beginning
• 20th Century Boys: Beginning of the End
• 20th Century Boys 2: The Last Hope
• 20th Century Boys 3: Redemption
• A Distant Neighborhood
• Afro Tanaka
• Be Crazy About Me
• The Legend of Love & Sincerity
• The Legend of Love & Sincerity: Continuation

...plus 53 more. View the full list on Letterboxd.

Original list by Joyce Heinen: letterboxd.jeux1001.com/joyceheinen/list/scavenger-hunt-15-june-2016/

Task # 1: A Dutch film
Task # 2: A film your mother loves
Task # 3: A film your father loves
Task # 4: A film from 1984
Task # 5: A film directed by Hayao Miyazaki
Task # 6: A favorite film from one of your Letterboxd friends that you haven’t seen yet (check the four films at the top of someone’s profile)
Task # 7: A film starring Naomi Watts
Task # 8: A film recommended to you by one of your friends
Task # 9: A film starring an actor/ actress from the TV show “The Walking Dead”
Task # 10: A film featuring a hotel/ motel
Task # 11: A film where someone has to pay or is asking for ransom
Task # 12: An animated sequel
Task # 13: A film where characters write each other letters (snail mail, no e-mails)
Task # 14: A film where a character works in fashion
Task # 15: A film where someone is being hypnotized
Task # 16: A Disney musical
Task # 17: A film with an imaginary friend
Task # 18: A film featuring a dysfunctional family
Task # 19: A fairytale retelling (ex. Red Riding Hood, Into the Woods, Snow White and the Huntsman)
Task # 20: A film based on a Stephen King novel
Task # 21: A film with rabbits/ a rabbit
Task # 22: A film about a serial killer that uses something other than a knife
Task # 23: A film with an athlete cameo
Task # 24: A film featuring a Bruce Springsteen song
Task # 25: A film with a slow motion scene
Task # 26: A film with a fast motion scene
Task # 27: A film featuring adultery
Task # 28: A film with a terrible boss
Task # 29: A film with the word versus (Vs.) in its title
Task # 30: A film based on the Asterix comic books, animation or live action ( Check out : en.wikipedia.org/wiki/List_of_Asterix_films )

1. The Vanishing
2. The Martian
3. The Warriors
4. Repo Man
5. The Wind Rises
6. Distant Voices, Still Lives
7. Eastern Promises
8. Nightcrawler
9. I Origins
10. The Grand Budapest Hotel

...plus 20 more. View the full list on Letterboxd.

• The Assassin
• The Boy and the Beast
• Dheepan
• How to Win at Checkers (Every Time)
• Mountains May Depart
• Mustang
• A Tale of Three Cities