Le chant du styrène

L'arrivée à l'usine Resnais


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A World's Fair of modern(ist) form, Alain Resnais's short, plastic essay-poem-film Le chant du styrène [The Song of the Styrene, 1958] takes the viewer on a backward journey from the final removal of finished plastic products off the mold, through the process of manufacture, to their petrochemical concoction and elemental origin. We learn styrene used to be made from benzoin, drawn from the resin of the bush Styrax.

The film was commissioned by the industrial concern Pechiney. Resnais eluded their expectations; his effort is a Mad Men campaign run Tati-influenced riot, a Season 7 brainstorm in a Season 1 backdrop. He enlisted Raymond Queneau to write the voice-over narration (read by Pierre Dux), which is comprised wholly of alexandrines; a stanza by Victor Hugo acts as prologue. Then of course Pierre Barbeau added a rich and dynamic score for strings, itself a small masterpiece...

The film exists in versions featuring two different opening titles respectively: one maintains Resnais's original: "Le chant du styrène." The other merely announces: "STYRENE," and it's this version (a Janus Films print) that appears on The Criterion Channel and on the Criterion Blu-ray of Last Year in Marienbad. Alteration for the sake of a Pechiney in-house print, intended for screening at the corporate getaway?

The film moves from Mon oncle to Red Desert. Its structure and imagery echo that of Resnais's earlier Night and Fog. Here is a different kind of "concentration" camp, albeit one not without, to quote Queneau's script, its own "origins obscure". The film concludes on a plunge into the primordial: now proved prophetic: the siren's song of industry: "the future's in plastics"? •

===
There's an excellent text on the film by Pierre Lazlo viewable here as a PDF.

Here is Raymond Queneau's voice-over text in full:

O temps, suspends ton bol, ô matière plastique !
D'où viens-tu ? Qui es-tu ? et qu'est-ce qui explique
Tes rares qualités ? De quoi es-tu donc fait ?
Quelle est son origine ? En partant de l'objet
Retrouvons ses aïeux ! Qu'à l'envers se déroule
son histoire exemplaire. Voici d'abord le moule.
Incluant la matrice, être mystérieux,
il engendre le bol ou bien tout ce qu'on veut.
Mais le moule est lui-même inclus dans une presse
qui injecte la pâte et conforme la pièce.
Ce qui présente donc le très grand avantage
d'avoir l'objet fini sans autre façonnage.
Le moule coûte cher : c'est un inconvénient -
mais il peut re-servir sur d'autres continents
Le formage sous vide est une autre façon
d'obtenir des objets : par simple aspiration.
A l'étape antérieure, adroitement rangé,
Le matériau tiédi est en plaque extrudé.
Pour entrer dans la buse il fallait le piston
et le manchon chauffant - ou le chauffant manchon
Auquel on fournissait - Quoi ? Le polystyrène
vivace et turbulent qui se hâte et s'égrène.
Et l'essaim granulé sur le tamis vibrant
fourmillait tout heureux d'un si beau colorant.
Avant d'être granule on avait été jonc,
joncs de toutes couleurs, teintes, nuances, tons
Ces joncs avaient été suivant une filière
un boudin que sans fin une vis agglomère
Et ce qui donnait lieu à l'agglutination ?
Des perles colorées de toutes les façons.
Et colorées comment ? Là devient homogène,
le pigment qu'on mélange à du polystyrène.
Mais avant il fallut que le produit séchât
et, rotativement, le produit trébucha.
C'est alors que naquit notre polystyrène
polymère produit du plus simple styrène.
Polymérisation : ce mot, chacun le sait,
désigne l'obtention d'un complexe élevé
de poids moléculaire. Et dans un autoclave
machine élémentaire à la panse concave
les molécules donc s'accrochant, se liant
en perles se formaient. Oui, mais - auparavant ?
Le styrène n'était qu'un liquide incolore
Quelque peu explosif et non pas inodore.
Et regardez-le bien : c'est la seule occasion
pour vous d'apercevoir le liquide en question.
Le styrène est produit en grande quantité
A partir de l1éthyl-benzène surchauffé.
Faut un catalyseur comme cela se nomme
oxyde ou bien de zinc ou bien de magnésium.
Le styrène autrefois s'extrayait du benjoin
provenant du styrax, arbuste indonésien.
De tuyau en tuyau ainsi nous remontons
à travers le désert des canalisations
vers les produits premiers, vers la matière abstraite
qui circulait sans fin, effective et secrète.
On lave et on distille et puis on redistille
et ce ne sont pas là exercices de style.
L'éthylbenzène peut - et doit même éclater
si la température atteint certain degré.
Il faut se demander maintenant d'où proviennent
ces produits essentiels : éthylène et benzène.
Ils s'extraient du pétrole, un liquide magique
qu'on trouve de Bordeaux jusqu'au coeur de l'Afrique.
Ils s'extraient du pétrole et aussi du charbon.
Pour faire l'un et l'autre, et l'autre et l'un sont bons.
Se transforment en gaz, le charbon se combure
et donne alors naissance à ces hydrocarbures.
On pourrait repartir sur ces nouvelles pistes
et rechercher pourquoi et l'un et l'autre existent.
Le pétrole vient-il de masses de poissons ?
On ne sait pas trop ni d'où vient le charbon.
Le pétrole vient-il du plancton en gésine ?
Question controversée... obscures origines...
Et pétrole et charbon s'en allaient en fumée
Quand le chimiste vint qui eut l'heureuse idée
de rendre ces nuées solides et d'en faire
d'innombrables objets au but utilitaire.
En matériaux nouveaux ces obscures résidus
Sont ainsi transformés. Il en est d'inconnus
qui attendent encore un travail similaire
pour faire le sujet d'autres documentaires.

===
More writing at Cinemasparagus on the films of Alain Resnais:

Nuit et brouillard [Night and Fog, 1955]
===

Night and Fog

Deportations

(All images are details from iPhone photos taken of the film playing from the Criterion Blu-ray.)


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These recent viewings of Night and Fog [Nuit et brouillard, Alain Resnais, 1955] have been my first of the CNC-funded 2015 restoration, performed at 4K from the original 35mm camera negative by Éclair Group for the image and L. E. Diapason for the sound. An opening title reads: "As digital projection and restoration rapidly invaded the film world, Alain Resnais lamented that the same respect awarded old books — despite their battered covers and worn-out pages — was painfully missing when it came to aging film prints and negatives. — Thus, the utmost restraint has been exercised in the restoration of this film, in an attempt to preserve the integrity of the archival footage. – Argos Films"

Truffaut once wrote: "The effective war film is often the one in which the action begins after the war, when there is nothing but ruins and desolation everywhere: Rossellini’s Germany Year Zero and, above all, Alain Resnais’s Nuit et brouillard, the greatest film ever made." Resnais's picture certainly established a standard point of perspective — the retrospective reckoning, the face à face projections of history and memory — that would be adopted and focused further not only in the filmmaker's subsequent work but in that of Lanzmann, Marker, Godard, Akerman, and others. A method of forensic-science: train the camera, magnify the evidence. Observe the brilliant opening shot upon docile pasture, as the camera cranes down like the very Geist or omniscient prodigy only to reveal barbed wire fences in parallax relation; beneath Hanns Eisler's ambivalent score, scenarist Jean Cayrol's voice-over intones: "Même un paysage tranquille..." / "Even a peaceful landscape..." (Side-note: Every Resnais film serves also as homage to its scenarists, here Cayrol and in an associate capacity Chris Marker. Note the owl-like visage of one particular prisoner: hybrid grotesque: strange fruit.)

Soon we see the overgrown train-tracks that, filmed by Resnais in tracking-shot (le travelling), transported the prisoners from across Europe here to Auschwitz, to Bergen-Belsen, etc. These shots not only dramatize, attempt to replicate the 'feeling' of, arrival at this destination, disused now or rather preserved in its disuse (cf. Auschwitz I, now converted to a museum, and discussed in my piece on Comolli and Lindeperg's film Face aux fantômes), but manifest in a sense the inevitability of the narrative-line's endpoint itself. Resnais shoots Auschwitz-Birkenau 1955 in color, with cranes and via oblique high-angle tracking shots; he shoots Auschwitz I 1955 in black-and-white, using lateral tracking shots; lastly, he incorporates archival and newsreel footage and photographic documents from the 1940s. All three approaches emanate ghosts. In Face aux fantômes, Sylvie Lindeperg will raise the question of the presence and provenance of the cameras filming the Jews from the train platform as they prepare to depart to the camps. The camera-eye doesn't blink before the men, women, and children "unaware that hundreds of miles away a place has already been assigned to them."

The color images make the events hyperreal — according to Cayrol, "are all that's left for us to imagine." They also defy, silently, implicitly, "that nocturnal spectacle the Nazis were so fond of." Here lies a basis for the detail of "night and fog," a phrase used early on in the narration, some minutes before images show up of prisoners the back of whose shirts are stained with an "N N" — for "Nacht und Nebel". Such was the 'poetic' gallows-humor of the Oberhäupter and the Kapos who, in any case, were largely comprised of "petty criminals, masters among subhumans."

In 1942, Himmler visited the camps to examine progress. (In the administration's eyes, "these strange 70-pound workers are unreliable.") Cayrol tells us that the precise process of annihilation is Himmler's idea, but that "efficiency" is left up to the engineers. Work begins apace upon the furnaces. The ghoulish irony is that documents such as those made to better assess the operations' prized efficiency should lend so ineluctable a materiality to the dead: no 'ashes of time' in history, but starved desocketed corpses in piles, heaped, bulldozed into mass graves. •

===

Repast

Fresh Wounds, Every Morning

(All images are details from iPhone photos taken of the film playing from the FilmStruck app on Apple TV; built-in screen-capturing is disabled during playback from the Web and from the FilmStruck app on iPhone/iPad.)

Prefatory note: The go-to reference work in English about Naruse's films is Dan Sallitt's A Mikio Naruse Companion: Notes on the Extant Films, 1931-1967, which exists as a WordPress site accessible from the link. I've been reading his entries on each film after my initial viewing, and have been enjoying tremendously the lucid and sensitive considerations he's drawn from his own viewings over the years.

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Financial clerk Hatsunosuke (Ken Uehara) is married to Michiyo (Setsuko Hara), housewife. The thirty-something couple reside in a small Osaka two-story centrally located on a narrow lane adjacent to the main road; the neighbors stop by daily to share neighborhood news or request neighborly favors. One afternoon, Hatsunosuke's 20-year-old niece Satoko (Yukiko Shimazaki) arrives unexpectedly in town on the train from Tokyo to take an extended (unannounced) holiday in the household of her favorite father's-brother, escaping in the process a marriage offer she's not seriously considering.

Money pressures have weighed upon the couple; rather, have pressed upon pecuniary-minded Michiyo more than active-earner Hatsunosuke. Childless, the two make do on the salary of the husband, who had been promised prospects at his current post greater than have yet come to fruition. His secretary packs a more fulfilling bentô lunch than he does. On a rare afternoon, Michiyo leaves the zone of her washing room / de facto kitchen/pantry (designated as her zone by its cardinally framed recession up-stage in Naruse's recurring master-shot of the living room) and splurges to attend a reunion with her school friends for ¥100. The lunch is brief, given that most of the other attendees have been called away by their day-duties to their families and children.

Michiyo runs into a handsome single cousin, Kazuo (Hiroshi Nihon'yanagi), who offers to lend her the money for her Tokyo trip. We perceive Michiyo's scrimping and saving maybe as almost pathological, an assessment made difficult to gauge without qualification by her husband's own supreme indifference and lassitude.

It's hard to empathize with any of the main characters of Meshi [Repast, 1951] — especially to do so with protagonist Michiyo, the star typed here as the harried and suspicious housewife, but it's easy to take her as a complete bitch... Then again, the viewer recalls her situation, that she's likely been dealt her lot-in-life by way of a parentally-arranged marriage. 'Cattiness,' as in Naruse's previous '51 picture, Ginza Makeup: while Michiyo is out with the girls, Satoko greets Hatsunosuke home from the office. They flirt, he pings her on the forehead (Naruse makes a glorious cut-on-action here from a medium two-shot to the full-shot). Laying down she's overcome with a nosebleed he consequently attends to. She goes to sleep without having prepared the evening meal she'd promised the couple.

Michiyo packs up and leaves for Tokyo, accompanied by Satoko her albatross who figures it wise to return to her parents, even as in chance parallel Michiyo is returning to her own for the purpose of spousal hiatus. In the course of the train ride, who appears but Cousin Kazuo; Michiyo grows visibly perturbed by the advances made on Satoko's part to her finely groomed and chiseled blood-relative. She resents Satoko's carefree approach to life and love, and her indifference to a marriage proposal (arranged or not?) that awaits in Tokyo. As with the 'weirdness' between her husband and his niece, so exists a tension-on-crush for Michiyo towards her cousin.

Once in Tokyo, Michiyo's brother quickly disabuses her of the decision to reintegrate even briefly into the nuclear family, on the basis of a disruption to their own routine while she works through her own situation, having taken leave from the marriage house and in search of work. The final act, out of a contemporary Hollywood picture, heralds a typhoon that disrupts the already unsettled house with restless sleep and structural damage to the home.

Shortly after Satoko wonders aloud to Michiyo that, "It would make you and Hatsunosuke happy if I married Kazuo, right?", the elder woman erupts into a crazed laughter upon which Naruse punctuates the scene. Hatsunosuke arrives in Tokyo, cowed, or chastened, or whatever suggests an equivalent more invisible. A pair of street-troupers gambol down a lane (just as in Ginza Makeup) providing an interlude of relief from the bittersweet drama at hand. Hatsunosuke explains that he's found new income — his uncle has given him a job offer, and the prospect of increased income, money is reignited.

The couple boards the train back to Osaka, and Michiyo's internal monologue returns in voice-over narration (taken from text from the Hayashi source novel?) for the third time in the film, following the opening and her arrival in Tokyo: "...as we share our lives together in search of happiness: perhaps that is what true happiness means to me."

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More writing at Cinemasparagus on the films of Mikio Naruse:

Koshiben ganbare [Flunky, Work Hard, 1931]

Nasanu-naka [No Blood Relation, 1932]

Kimi to wakarete [Apart from You, 1933]

Yogoto no yume [Every-Night Dreams, 1933]

Kagirinaki hodô [Endless Pavement, 1934]

Ginza keshô [Ginza Makeup, 1951]
===

Face aux fantômes

And Yet

(All images are details from iPhone photos taken of the film playing from the Criterion Blu-ray for Night and Fog.)

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Face aux fantômes [Facing Ghosts] by Jean-Louis Comolli and Sylvie Lindeperg, produced by Argos Films under the aegis of the INA in 2009, details in 99 minutes the background of the creation of Alain Resnais's 1955 landmark Nuit et brouillard [Night and Fog]. The film takes the form of a lengthy and elucidating interview with historian Sylvie Lindeperg conducted and shot by Comolli within a hangar-like media-workspace illumined by footlights and various blue gels. The first shot reflexes upon a dolly track setup, with 'bowed' angle of the camera recording the traversal of the track's length; unnecessary apparatus for this kind of project, one would think — indeed the entire space seems a little ostentatious or overreaching, albeit this context of steely, 'futuristic' cavernousness perhaps materializes an interior 'third-image' of Night and Fog intended by Resnais in the course of what he would come to describe as a "re-presentation" of the death-camp footage.

1945. French families awaiting deportees' return. The image that will survive: the patriotic deportee: the Resistance fighter coming home to France. Lindeperg: "This of course left unmentioned the specific and tragic fate of the Jews deported for extermination. Images of deportees begin to be shown in late April 1945; they're used to convey this message, even though the faces and bodies tell another story, one that wasn't part of the message of Frenay's ministry nor of the French news."

She continues: "When the Auschwitz camp was evacuated in January of 1945 due to the advance of Soviet troops, the deportees were evacuated westward, in what was later called 'death marches,' to the concentration camps of the Greater Germanic Reich. At that point, they were mixed with, notably, Resistance prisoners. This was the case at the Bergen-Belsen camp, which received many evacuees from Auschwitz. They were liberated in April by British forces and repatriated to France along with other categories of deportees. So if we examine the image of the camps and deportees as seen from France, these deportees return to France together, and that contributes to the confusion. Furthermore, the dominant political line presenting deportees as Resistance fighters reinforces the image of the concentration camp as the only sort of camp, one in which Jews and non-Jews, without distinction, suffered the same fate. In addition, the images shown to the French immediately after the war are of the Western camps. No images of the liberation of Auschwitz or Majdanek were shown. When we speak of the creation of the collective image of the concentration camps and their liberation, all the images were of the Western camps."

Lindeperg goes on to relate that in November 1954, an exhibition opened in Paris titled "Résistance — Libération — Déportation, (1940-1945)" at the Musée Pédagogique. "It's helmed by the French Committee for the History of the Second World War, and more specifically, its secretary general, Henri Michel, and Olga Wormser, who oversees the section on deportation." Wormser, in the early '50s, also joined the committee on the history of deportation, which concentrated on examining the structure of the concentration camp system and whose members included ex-Resistance fighters among others. Their mandate "was first to gather evidence, and then to write the history."

Wormser and Michel write Tragédie de la déportation, 1940-1945, témoignages de survivants des camps de concentration allemands, based on accounts from Resistance prisoners while indicating the gaping absence of the genocide of the Jews. (Lindeperg: Wormser "does this discreetly, first because the narrative frame doesn't allow for it, and also because her understanding of the two phenomena still lacks clarity.")

Fast-forward: Henri Michel ("working under the gaze of the deportees"; Lindeperg cites "the demands of memory and of history") contacts Anatole Dauman (co-founder with Philippe Lifschitz of Argos Films), asks can he produce such a work. Dauman writes to Michel accepting, on the grounds the film will only ever exist if it aims for and meets "the highest artistic ambitions". The film will be produced within the context of the aforementioned exhibition of documents and relics pertaining to the war and in accord with the vision the Réseau du Souvenir. It must honor the dead. Amid these tensions Nuit et brouillard must operate. And it will further serve to advance Olga Wormser's own inquiries.

Resnais will operate on "the principle of accumulation". He is given access to the documents and objects used in the exhibition.

Resnais's modus operandi in part was to make a film in direct contrast to Les camps de la mort (realized by correspondents, Allies, etc.) — a print of which the director owned on 16mm as a "reference". Lindeperg notes that for Resnais it was essential to find the balance between the straight presentation (let's say, an archive dump) and artistic construction.

"It's no longer 1945 — he's 're-presenting' these archival images."

The images of Westerbork and the transport contain no narration by his screenwriter, Jean Cayrol. "Resnais shows a sort of intuition that comes before perceptual knowing..." — "One must both pierce the mystery, and preserve it."

"Were the subjects reassured by the camera's presence?" — "The camera pans to seek out her face." — her name was Anna Maria "Settela" Steinbach.

Wormser was historical consultant to Resnais — her knowledge and point of view was still being shaped; as Lindeperg puts it, and as indicated earlier: the film is "a rough draft and an initial synthesis of a history still taking shape."

Resnais had to tweak Cayrol's narration to fit the editing — as he Cayrol couldn't bear to return to the editing room. — "This was where Chris Marker came in." — "He did a sort of rewrite of Cayrol's text, but based on the film's images, of course. So then Cayrol pulled himself together and rewrote Chris Marker's version, but this time in the editing room. That's how we moved forward: sentence by sentence. We'd try each one out. So the structure of the narration is very much in the style of Chris Marker, but it's Cayrol's words and thoughts."

Auschwitz-Birkenau in Poland and Resnais's arrival to shoot there — no 'museum' in an institutional sense as with the site of "Auschwitz I" — where the filmmaker shoots in black-and-white various interiors. Lindeperg: "This choice implies that everything shot in the museum [of Auschwitz I] is relegated to the past."

The film concludes with a thread about Celan's adaptation of Cayrol's V.O. for the German-language dub: How does it differ from Cayrol's original French-language version? "It shows intent." Here the word is directly used: They "lied".

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Ginza Makeup [aka "Ginza Cosmetics"]

Days and Nights of Money

(All images are details from iPhone photos taken of the film playing from the FilmStruck app on Apple TV; built-in screen-capturing is disabled during playback from the Web and from the FilmStruck app on iPhone/iPad.)

The Criterion Channel has begun offering a selection of films by Mikio Naruse not released on Blu-ray or DVD by the label, and I plan to write about each of them (many of which I've never before seen) in chronological order of their release. I'm starting with 1951's Ginza keshô [Ginza Makeup, a better translation than the title by which the film has been more commonly known in the west: Ginza Cosmetics, which suggests a product-line or shop-name, rather than the idea of concealment].

The go-to reference work in English about Naruse's films is Dan Sallitt's A Mikio Naruse Companion: Notes on the Extant Films, 1931-1967, which exists as a WordPress site accessible from the link. I've been reading his entries on each film after my initial viewing, and have been enjoying tremendously the lucid and sensitive considerations he's drawn from his own viewings over the years.

===
The flat of Yukiko Tsujin (Kinuyo Tanaka) is not immediately or clearly defined by Naruse as her own. It might be an inn, like the one we'll see later in the film featuring a similar balcony set off the sitting-room; it might be the top-floor apartment of some commercial establishment she's involved with. Soon we meet a small child, her son Haruo (Yoshihirô Nishikubo). Who is the man dressing this morning to leave for work? Not a spouse; is he a john? A boyfriend? He goes by Fujimura (Masao Mishima). And this Kyôko (Kyôko Kagawa) who enters the scene: a roommate? A tenant? Yukiko's younger sister? She mentions a ¥3,000 bill due, which Yukiko promptly tells her to ignore.

Relationships, definitions will become gradually clearer as the film progresses. In five minutes Naruse establishes the major themes and ambiguities of the aptly titled Ginza Makeup, and foreshadows events that will reach peak thrust only in the final 20 minutes out of 87, when it becomes strikingly apparent that the director has taken a coherent and practical découpage and grafted it upon an unusual dramaturgy: 67 minutes perambulating through the lives of a clan of hostesses down on their money-luck, when suddenly the prospect of a husband and a secure future for Yukiko materializes.

It doesn't pan out. The man in question, Kyôsuke (Yûji Hori — no relation to Yûji Horii of DragonQuest fame) ends up falling for and getting engaged to Kyôko — a cruelty of fate of that stings all the more keenly given the closeness of Kyôko to Yukiko, especially given her role as a mentee (and, as is gradually revealed, a paid house-helper) to the elder woman, who throughout has been telegraphed as past-her-prime at 41: single with child, manager of a hostess bar, damaged goods.

Money, in its presence or absence, contuses and corrupts. It's the practical passion, most would agree or concede. Yukiko's acquaintance Shizue (Ranko Hanai) latched a ways back onto a man for security (nevertheless, her Kasai [Yoshio Kosugi] presently rents their house until he "has funds later this year"), and wishes to introduce Yukiko to her companion's boss, Kanno-san the Orthodontic (Eijirô Tôno). She agrees to a meeting, but Kanno's aggressively thrifty and sexually lurid manner spoils the arrangement of a ¥200,000 loan to Yukiko to prevent the hostess bar BelAmi's proprietress from selling the place. Perhaps to throw Yukiko a (nefariously callous, overly calcified) bone in remuneration, Shizue will later enlist her to guide a visiting lover, Kyôsuke, around Ginza and greater Tokyo. "Yukiko graduated from college," she tells him. "So she'll make a great companion." It turns out Yukiko is indeed more than nominally educated; she confirms Kyôsuke's observation that the BelAmi is named after the Maupassant novel, and, in the scene that clinches her attraction to him, recites by heart the words of an ode to the romance of cosmological constancy. (Yukiko, giddy the following afternoon: "Kyôko-chan, do you know about Andromeda? Or Cassiopeia?" — "What are they — bars?")

Following her son Haruo's short disappearance from home, Yukiko will become ostensibly re-grounded from Big Notions: the boy's comfort in joyful lone wanders amid the neighborhood in pursuit of a pick-up stickball game or a bucket of fish contrasts starkly with the mother's hitherto alleycat necessity of the lean-to noodle joint and crepuscular shortcut.

===

End of Year 2016: Best-Of and What-I-Saw List

TOP 3 FILMS OF 2016

3.
Aphex Twin: “CIRKLON3 [ Колхозная mix ]”
by Ryan Wyer

Watch here.

2.
Donald Cried
by Kris Avedisian

1.
Horace and Pete
by Louis C.K.

WHAT I SAW IN 2016

1941 [Francis Lee, 1941]
21-aya Kino-pravda [Kino-Truth No. 21] [Dziga Vertov, 1925]
24 Frames Per Century [Athina Rachel Tsangari, 2013]
The 2Nite $how $tarring Johnny Carson [Conner O’Malley and Tim Hunt, 2016]
88:88 [Isiah Medina, 2015]
9 Variations on a Dance Theme [Hilary Harris, 1967]
À bout de souffle [Breathless] [Jean-Luc Godard, 1959]
Abstronic [Mary Ellen Bute, 1952]
The Adult Swim Golf Classic: Daly vs. Scott [Bill Benz, 2016]
Albatross [Theodore Collatos, 2016]
Alle anderen [Everyone Else] [Maren Ade, 2009]
Allied [Robert Zemeckis, 2016]
All That Heaven Allows [Douglas Sirk, 1955]
Always Shine [Sophia Takal, 2016]
Los amantes pasajeros [Fleeting Lovers / Passenger Lovers] [Pedro Almodóvar, 2013]
Le amiche [The Girlfriends] [Michelangelo Antonioni, 1955]
An [Sweet Bean Paste] [Naomi Kawase, 2015]
Anémic cinéma [Rrose Sélavy, aka Marcel Duchamp, 1926]
À nous la liberté [Here’s to Us and to Liberty] [René Clair, 1931]
Aparajito [The Unvanquished] [Satyajit Ray, 1956]
À propos de Nice [On the Subject of Nice] [Jean Vigo, 1930]
Aphex Twin: “CIRKLON3 [ Колхозная mix ]” [Ryan Wyer, 2016]
Apur sansar [The World of Apu] [Satyajit Ray, 1959]
The Arbalest [Adam Pinney, 2016]
Arcancil: “Mat Hysteria” [Gabe Klinger, 2016]
Arrival [Denis Villeneuve, 2016]
L’Atalante [Jean Vigo, 1934]
Attenberg [Athina Rachel Tsangari, 2010]
Back Stage [Roscoe “Fatty” Arbuckle, 1919]
Bâd mâ râ khâhad bord… [The Wind Will Carry Us…] [Abbas Kiarostami, 1999]
Bai ge ji hua [Our Time, Our Story] [Hsiao Chu-chen, 2002]
Ballada o soldate [Ballad of a Soldier] [Grigori Chukhrai, 1959]
Ballet mécanique [Mechanical Ballet] [Fernand Léger and Dudley Murphy, 1924]
The Bank. [Charles Chaplin, 1915]
Barcelona [Whit Stillman, 1994]
The Beatles: Eight Days a Week: The Touring Years [Ron Howard, 2016]
The Bell Boy [Roscoe “Fatty” Arbuckle and Buster Keaton, 1918]
Bells of Atlantis [Ian Hugo, 1953]
La bête humaine [The Human Beast] [Jean Renoir, 1938]
Better Call Saul: Season 1 [showrunners: Vince Gilligan and Peter Gould / directors: Vince Gilligan, Peter Gould, et al, 2015]
Better Call Saul: Season 2 [showrunners: Vince Gilligan and Peter Gould / directors: Vince Gilligan, Peter Gould, et al, 2016]
The Big Lebowski [Joel Coen and Ethan Coen, 1998]
The Bishop’s Wife [Henry Koster, 1947]
The Bitter Tea of General Yen [Frank Capra, 1933]
Blue Ruin [Jeremy Saulnier, 2013]
The Boat [Buster Keaton with Edward Cline, 1921]
Bob Pitches a Movie [Bob Odenkirk, 2007]
Body Double [Brian De Palma, 1984]
The Boy with the Girl’s Disease [Jay Giampietro, 2001]
Brett Gelman’s Dinner in America [Jason Woliner, 2016]
A Bronx Morning [Jay Leyda, 1931]
The Brood [David Cronenberg, 1979]
Burlesque on ‘Carmen’. [Charles Chaplin, 1916]
The Butcher Boy [Roscoe “Fatty” Arbuckle, 1917]
By the Sea. [Charles Chaplin, 1915]
Candy Rides [Jay Giampietro, 2013]
The Capsule [Athina Rachel Tsangari, 2012]
Un carnet de bal [A Dancecard] [Julien Duvivier, 1937]
Castro Street (The Coming of Consciousness) [Bruce Baillie, 1966]
Cavalo Dinheiro [Horse Money] [Pedro Costa, 2014]
The Champion. [Charles Chaplin, 1915]
Ch’an [Francis Lee, 1983]
The Charge of the Light Brigade [Michael Curtiz, 1936]
Check It Out! w/ Dr. Steve Brule: Season 4 [Tim Heidecker and Eric Wareheim, 2016]
Chelovek s kinoapparatom [The Man with a Movie-Camera] [Dziga Vertov, 1929]
Chevalier [Athina Rachel Tsangari, 2015]
La chienne [The Bitch] [Jean Renoir, 1931]
The Childhood of a Leader [Brady Corbet, 2015]
A Child Is Waiting [John Cassavetes, 1962]
Christine [Antonio Campos, 2016]
Christmas, Again [Charles Poekel, 2014]
Cike Nie Yinniang [The Assassin Nie Yinniang] [Hou Hsiao-hsien, 2015]
Cimetero senza croci [Cemetery Without Crosses] [Robert Hossein, 1969]
Clouds of Sils Maria [Olivier Assayas, 2014]
Coney Island [Roscoe “Fatty” Arbuckle, 1917]
Contamination [Luigi Cozzi, 1980]
Conversation Piece [Luchino Visconti, 1974]
A Conversation with Gregory Peck [Barbara Kopple, 1999]
Convict 13 [Buster Keaton with Edward Cline, 1920]
The Cook [Roscoe “Fatty” Arbuckle, 1918]
Cops [Buster Keaton with Edward Cline, 1922]
Cosmopolis [David Cronenberg, 2012]
Le coup du berger [Shepherd’s Mate / Scholar’s Mate] [Jacques Rivette, 1956]
The Creative Eye: Satyajit Ray [James Beveridge, 1967]
Crimes of the Future [David Cronenberg, 1970]
Crumb [Terry Zwigoff, 1994]
Les dames du bois de Boulogne [The Ladies of the Bois de Boulogne] [Robert Bresson, 1945]
David Golder [Julien Duvivier, 1930]
Day Night Day Night [Julia Loktev, 2006]
Day of the Outlaw [Andre de Toth, 1959]
Days of Being Mild [Robbie Hillyer Barnett, 2016]
Dear Martha… [aka The Honeymoon Killers] [Leonard Kastle, 1969]
Death Proof [Quentin Tarantino, 2007]
Decker: Unclassified [Eric Notarnicola and Tim Heidecker, 2016]
The Decline of Western Civilization Part II: The Metal Years [Penelope Spheeris, 1988]
Demigawds [Ludovic Clementia, 2014]
De nåde Faergen [They Caught the Ferry] [Carl Theodor Dreyer, 1948]
Le dernier des injustes [The Last of the Unjust] [Claude Lanzmann, 2013]
DL2 [Lawrence Janiak, 1970]
Dodge City [Michael Curtiz, 1939]
Donald Cried [Kris Avedisian, 2016]
“Don’t You Remember It, Seánin?”: John Ford: ‘The Quiet Man’ [Tag Gallagher, 2015]
Dr. Strangelove, or: How I Learned to Stop Worrying and Love the Bomb [Stanley Kubrick, 1964]
Du skal aere din Hustru [Thou Shalt Honor Thy Wife] [Carl Theodor Dreyer, 1925]
Eastern Promises [David Cronenberg, 2007]
Easy: Season 1 [Joe Swanberg, 2016]
Eaux d’artifice [Kenneth Anger, 1953]
Edvard Munch {3h 42m Long Version} [Peter Watkins, 1974]
Eleven Men and a Girl [William A. Wellman, 1930]
The End of a Love Affair [Pedro Costa, 2003]
Enter the Ninja [Menahem Golan, 1981]
Entr’acte [Interlude] [René Clair, 1924]
Entuziazm (Simphoniya Donbassa) [Enthusiasm (Symphony of the Donbass)] [Dziga Vertov, 1931]
Eureka [Nicolas Roeg, 1983]
Evolution [Jim Davis, 1954]
The Expanded Universe [Christopher Jason Bell, 2016]
Falstaff (Chimes at Midnight) [Orson Welles, 1966]
Fedora [Billy Wilder, 1978]
The Film That Rises to the Surface of Clarified Butter [Owen Land, 1968]
Die Finanzen des Großherzogs [The Grand Duke’s Finances] [F. W. Murnau, 1924]
Fit [Athina Rachel Tsangari, 1994]
Fixed Bayonets! [Samuel Fuller, 1951]
Flaked: Season 1 [showrunners: Will Arnett and Mark Chappell / directors: Wally Pfister, Josh Gordon and Will Speck, Tom DiCillo, 2016]
Four Daughters [Michael Curtiz, 1938]
Four in the Afternoon [James Broughton, 1951]
Four’s a Crowd [Michael Curtiz, 1938]
Four Wives [Michael Curtiz, 1939]
Frankenstein Meets the Wolf Man [Roy William Neill, 1943]
Free of Thought [Nathan Barillaro, 2015]
The Friends of Eddie Coyle [Peter Yates, 1973]
The Garage [Roscoe “Fatty” Arbuckle and Buster Keaton, 1920]
Gertrud, et tidsbillede fra århundredets begyndelse [Gertrud: A Portrait from the Turn of the Century] [Carl Theodor Dreyer, 1964]
Get Well Soon [Jennifer Prediger, 2016]
The Ghost Goes West [René Clair, 1935]
The Ghost of Frankenstein [Erle C. Kenton, 1942]
Ghosts of Shepherdstown [Aaron Burk, Will Ehbrecht, Mark Kadin, et al, 2016]
Gilda [Charles Vidor, 1946]
Girls: Season 5 [showrunners: Lena Dunham and Jenni Konner / directors: Lena Dunham, Jesse Peretz, et al, 2016]
The Goat [Buster Keaton with Mal St. Clair, 1921]
The Godless Girl [Cecil B. DeMille, 1929]
GoodFellas [Martin Scorsese, 1990]
Good Night Nurse [Roscoe “Fatty” Arbuckle, 1918]
La grande bouffe [The Big Feast] [Marco Ferreri, 1973]
Les grandes manoeuvres [Grand Maneuvers] [René Clair, 1955]
Guling jie shaonian sharen shijian [The Youth Killing Incident on Guling Street] / A Brighter Summer Day [Edward Yang, 1991]
Gyromorphosis [Hy Hirsh, 1957]
Half Price: A Conversation Between Alex Ross Perry & Sean Price Williams [Adam Ginsberg and Stephen Gurewitz, 2015]
Hallaréis: aka Moro [Ye Shall Find: aka Moro] [Gonzalo Fernandez, 2010]
Hallaréis: Moro eterno: 2: El canto [Ye Shall Find: Moro Everlasting: 2: The Verdict-Song] [Gonzalo Fernandez, 2010]
Hard Luck [Buster Keaton with Edward Cline, 1921]
The Haunted House [Buster Keaton with Edward Cline, 1921]
The Hayseed [Roscoe “Fatty” Arbuckle, 1919]
The Heartbreak Kid [Elaine May, 1972]
The Heiress [William Wyler, 1949]
High School [Frederick Wiseman, 1968]
High Sign [Buster Keaton with Edward Cline, 1920/1921]
Herr Tartüff [F. W. Murnau, 1925]
His New Job. [Charles Chaplin, 1915]
His Regeneration. [G. M. “Broncho Billy” Anderson, 1915]
His Wedding Night [Roscoe “Fatty” Arbuckle, 1917]
Une histoire d’eau [A Water Story] [François Truffaut and Jean-Luc Godard, 1958]
Hollywood and the Stars: The Odyssey of Rita Hayworth [Al Ramrus, 1964]
Horace and Pete [Louis C.K., 2016]
House II: The Second Story [Ethan Wiley, 1986]
House of Frankenstein [Erle C. Kenton, 1944]
The Hunger [Tony Scott, 1983]
The Hurricane [John Ford, 1937]
Hurry! Hurry! [Marie Menken, 1957]
Hush, Foxy [Tim Heidecker and Eric Wareheim, 2016]
I Married a Witch [René Clair, 1942]
I’m a Stranger Here Myself: A Portrait of Nicholas Ray {Slightly Condensed Criterion Version} [David Helpern Jr. and James C. Gutman, 1974/2016]
In a Lonely Place [Nicholas Ray, 1950]
Incubo sulla città contaminata [Nightmare About the Infected City] [Umberto Lenzi, 1980]
In the Park. [Charles Chaplin, 1915]
In the Street [Helen Levitt, Janice Loeb Levitt, and James Agee, 1952]
Io la conoscevo bene [I Knew Her Well] [Antonio Pietrangeli, 1965]
I Origins [Mike Cahill, 2014]
Ishtar [Elaine May, 1987]
James White [Josh Mond, 2015]
Jewel Robbery [William Dieterle, 1932]
Jimmy P.: Psychotherapy of a Plains Indian [Arnaud Desplechin, 2013]
A Jitney Elopement. [Charles Chaplin, 1915]
Juarez [William Dieterle, 1939]
Jungfrukällan [The Virgin Spring] [Ingmar Bergman, 1960]
Kaidan [Ghost Stories] [Masaki Kobayashi, 1964]
Kampen mod Kraeften [The Fight Against Cancer] [Carl Theodor Dreyer, 1947]
Kämpfende Herzen, oder die Vier um die Frau [Struggling Hearts, or: Four Around the Woman] [Fritz Lang] [1921]
Kate Plays Christine [Robert Greene, 2016]
Kes [Ken Loach, 1969]
The Kid [Charles Chaplin, 1921/1972]
Kino-glaz [Kino-Eye] [Dziga Vertov, 1924]
Kishibe no tabi [Shore Journey] [Kiyoshi Kurosawa, 2015]
Kiss Kiss Fingerbang [Gillian Wallace Horvat, 2015]
Kitty [Chloë Sevigny, 2015]
Krisha [Trey Edward Shults, 2015]
Landsby Kirken [The Village Church] [Carl Theodor Dreyer, 1947]
The Last Command [Josef von Sternberg, 1928]
Der letzte Mann [The Last Man] [F. W. Murnau, 1924]
The Life and Death of 9413: A Hollywood Extra [Robert Florey and Slavko Vorkapich, 1927]
Lifeboat [Alfred Hitchcock, 1944]
Light Form [James Alexander Warren, 2016]
Listen Up Philip [Alex Ross Perry, 2014]
Little Sister [Zach Clark, 2016]
Little Women [George Cukor, 1933]
Lóng mén kè zhàn [Dragon Gate Inn] [King Hu, 1967]
The Lost Weekend [Billy Wilder, 1945]
Lot in Sodom [J. S. Watson, Jr., Melville Webber, Alec Wilder, Remsen Wood, and Bernard O'Brien, 1933]
Love & Friendship [Whit Stillman, 2016]
Love It Leve It [Tom Palazzolo, 1970]
Love: Season 1 [showrunners: Judd Apatow, Lesley Arfin, and Paul Rust / directors: Dean Holland, Joe Swanberg, Steve Buscemi, et al, 2016]
The Love Witch [Anna Biller, 2016]
Madman [Joe Giannone, 1982]
Magellan: Straits of Magellan: Day 000 = 1 Jan: Ingenivm Nobis Ipsa Pvella Fecit: Part I [Hollis Frampton, 1975]
Magellan: Straits of Magellan: Day 000 = 1 Jan: Magellan: At the Gates of Death: Part I: The Red Gate 1, 0 [Hollis Frampton, 1976]
Magellan: Straits of Magellan: Day 000 = 1 Jan: Pan 2 [Hollis Frampton, 1974]
Magellan: Straits of Magellan: Day 001 = 2 Jan: Pan 3 [Hollis Frampton, 1974]
Magellan: Straits of Magellan: Day 001 = 2 Jan: Pan 4 [Hollis Frampton, 1974]
Magellan: Straits of Magellan: Day 354 = 20 Dec: Pan 697: Butchering [Hollis Frampton, 1974]
Magellan: Straits of Magellan: Day 354 = 20 Dec: Pan 698: Panning Buttercup 6/73 Eaton [Hollis Frampton, 1974]
Magellan: Straits of Magellan: Day 355 = 21 Dec: Winter Solstice [Hollis Frampton, 1974]
Magellan: Straits of Magellan: Day 356 = 22 Dec: Pan 699: Will and Frog [Hollis Frampton, 1974]
Magellan: Straits of Magellan: Day 356 = 22 Dec: Pan 700: Quad Super-Traffic 12/69 [Hollis Frampton, 1974]
Magellan: The Death of Megellan: Day YYY = 3 Jan: Gloria! [Hollis Frampton, 1979]
Manchester by the Sea [Kenneth Lonergan, 2016]
The Manchurian Candidate [John Frankenheimer, 1962]
Mandalay [Michael Curtiz, 1934]
Manhatta [Paul Strand and Charles Sheeler, 1921]
Marcel Ophuls et Jean-Luc Godard, la Rencontre de Saint Gervais [Marcel Ophuls and Jean-Luc Godard: The Saint Gervais Meeting] [Frédéric Coffat and Vincent Lowy, 2011]
Maps to the Stars [David Cronenberg, 2014]
Mechanical Principles [Ralph Steiner, 1930]
Meditation on Violence [Maya Deren, 1948]
Meek’s Cutoff [Kelly Reichardt, 2010]
Men Go to Battle [Zachary Treitz, 2015]
Meshes of the Afternoon [Maya Deren and Alexandr Hackenschmied, 1943]
Metropolitan [Whit Stillman, 1990]
Mike Nichols: An American Master [Elaine May, 2016]
Mikey and Nicky [Elaine May, 1977]
Milano calibro 9 [Milano 9 Caliber] [Fernando Di Leo, 1972]
Miles Ahead [Don Cheadle, 2015]
Mødrehjaelpen [Mothers’ Aid] [Carl Theodor Dreyer, 1942]
Money Monster [Jodie Foster, 2016]
Monica: Season 2 [Doron Max Hagay, 2016]
Moonshine [Roscoe “Fatty” Arbuckle and Buster Keaton, 1918]
Mr. Rose [Jay Giampietro, 2002]
Mulholland Dr. [David Lynch, 2001]
Naked Lunch [David Cronenberg, 1991]
The Naked Prey [Cornel Wilde, 1965]
La natation, par Jean Taris, champion de France. [Swimming, by Jean Taris, France’s Champion.] [Jean Vigo, 1931]
National Gallery [Frederick Wiseman, 2014]
Ne change rien [Change Nothing] [Pedro Costa, 2009]
Neighbors [Buster Keaton with Edward Cline, 1920]
The Neon Demon [Nicolas Winding Refn, 2016]
Neruda [Pablo Larraín, 2016]
New Cops [Timothy Morton, 2016]
A New Leaf [Elaine May, 1971]
Nice and Friendly [Charles Chaplin, 1922]
A Night in the Show. [Charles Chaplin, 1915]
Night Moves [Kelly Reichardt, 2013]
A Night Out. [Charles Chaplin, 1915]
O nosso homem [Our Man] [Pedro Costa, 2010]
Nothing Left Unsaid: Gloria Vanderbilt & Anderson Cooper [Liz Garbus, 2016]
Nothing Sacred [William A. Wellman, 1937]
Novecento [Nineteen-Hundred] [Bernardo Bertolucci, 1976]
La nuit américaine [American Night / Day for Night] [François Truffaut, 1973]
N.Y.,N.Y.: A Day in New York [Francis Thompson, 1958]
An Optical Poem [Oskar Fischinger, 1938]
Oscar Night Year 2010 [Jay Giampietro, 2010]
On Cinema at the Cinema: Season 8 [Tim Heidecker, 2016]
Oh Doctor! [Roscoe “Fatty” Arbuckle, 1917]
One-Eyed Jacks [Marlon Brando, 1961]
One Week [Buster Keaton with Edward Cline, 1920]
“ — Only Angels Have Wings” [Howard Hawks, 1939]
Only Lovers Left Alive [Jim Jarmusch, 2013]
On purge Bébé [Baby’s Getting His Laxative] [Jean Renoir, 1931]
Ordet. [The Word.] [Carl Theodor Dreyer, 1955]
Ostře sledované vlaky [Closely Watched Trains] [Jiří Menzel, 1966]
Our Lady of the Sphere [Lawrence Jordan, 1969]
Out West [Roscoe “Fatty” Arbuckle, 1918]
Pacific Rim [Guillermo del Toro, 2013]
The Paleface [Buster Keaton with Edward Cline, 1922]
Paris nous appartient [Paris Belongs to Us] [Jacques Rivette, 1961]
Partie de campagne [Country Outing] [Jean Renoir, 1936]
Passion, le travail et l’amour, introduction à un scénario [Passion: Work and Love: Introduction to a Scenario] [Jean-Luc Godard, 1981]
Pather panchali [Song of the Little Road] [Satyajit Ray, 1955]
Paths of Glory [Stanley Kubrick, 1957]
Patton Oswalt: Talking for Clapping [Patton Oswalt and Rhonda Freeson, 2016]
La peau douce [Soft Skin] [François Truffaut, 1964]
A Perfect Couple [Robert Altman, 1979]
Persona [Ingmar Bergman, 1966]
Perversion for Profit [Charles Keating, 1965]
Phantom [F. W. Murnau, 1922]
Pictures at an Exhibition [Sean Price Williams and Jay Giampietro, 2002]
Pitfall [Andre de Toth, 1948]
Place de la République [Louis Malle, 1974]
The Player [Robert Altman, 1992]
The Play House [Buster Keaton with Edward Cline, 1921]
Poem 8 [Emlen Etting, 1933]
Poil de Carotte [Julien Duvivier, 1932]
Police. [Charles Chaplin, 1916]
Porcile [Pigsty] [Pier Paolo Pasolini, 1969]
Portrait of Jason [Shirley Clark, 1967]
Pursuit of Happiness [Rudy Burckhardt, 1940]
Les quatre cents coups [The Four Hundred Blows / Wild Oats] [François Truffaut, 1959]
The Quiet Man [John Ford, 1952]
Radiohead: “Burn the Witch” [Chris Hopewell, 2016]
Radiohead: “Daydreaming” [Paul Thomas Anderson, 2016]
Radiohead: “The Numbers” [Paul Thomas Anderson, 2016]
Radiohead: “Present Tense” [Paul Thomas Anderson, 2016]
Le rapport Karski [The Karski Report] [Claude Lanzmann, 2010]
Reservoir Dogs [Quentin Tarantino, 1992]
The Revenant [Alejandro G. Iñárritu, 2015]
Ride in the Whirlwind [Monte Hellman, 1966]
Rihanna: “Needed Me” [Harmony Korine, 2016]
The River [Jean Renoir, 1951]
The Road to Glory [Howard Hawks, 1936]
Robinson Crusoe on Mars [Byron Haskin, 1964]
Rocco e i suoi fratelli [Rocco and His Brothers] [Luchino Visconti, 1960]
Rock Hudson’s Home Movies [Mark Rappaport, 1992]
Rogue One [Gareth Edwards, 2016]
Roller Boogie [Mark L. Lester, 1979]
The Rough House [Roscoe “Fatty” Arbuckle, 1917]
Sabbatical [Brandon Colvin, 2014]
Sappho and Jerry: Parts 1-3 [Bruce Posner, 1978]
Scanners [David Cronenberg, 1981]
The Scarecrow [Buster Keaton with Edward Cline, 1920]
Schloß Vogeloed, die Enthüllung eines Geheimnisses [Castle Vogeloed: The Revelation of a Secret] [F. W. Murnau, 1921]
Scully: “No Sense” [Caroline Partamian, 2016]
The Sea Hawk [Michael Curtiz, 1940]
The Sea Wolf [Michael Curtiz, 1941]
Seasons… [Phil Solomon and Stan Brakhage, 2002]
Seconds [John Frankenheimer, 1966]
Shane [George Stevens, 1953]
Shanghaied. [Charles Chaplin, 1915]
The Shooting [Monte Hellman, 1966]
Sicario [Denis Villeneuve, 2015]
The Skull [Freddie Francis, 1965]
Skyscraper Symphony [Robert Florey, 1929]
Sleigh Bells: “I Can Only Stare” [Alex Ross Perry, 2016]
Et Slot i et Slot, Krogen og Kronborg [A Castle Within a Castle: Krogen and Kronborg] [Carl Theodor Dreyer, 1954]
The Slow Business of Going [Athina Rachel Tsangari, 2000]
Sobibor, 14 octobre 1943, 16 heures [Sobibor, October 14, 1943, 4 P.M.] [Claude Lanzmann, 2001]
Sommer ohne Gitti, …nur der Mond war Zeuge [Summer Without Gitti: …Only the Moon Was Witness] [Maren Ade, 2009]
Songs from Scratch: Dame D.O.L.L.A. x Raphael Saadiq: “Hero" [James Alexander Warren, 2016]
Songs from Scratch: Oshi x Dawn: “Lemonade Lakes” [James Alexander Warren, 2016]
Sous les toits de Paris [Under the Roofs of Paris] [René Clair, 1930]
A Star Is Born [William A. Wellman, 1937]
Star Wars: Episode IV: A New Hope [George Lucas, 1977/1997]
Star Wars: Episode V: The Empire Strikes Back [Irvin Kershner and George Lucas, 1980/1997]
Star Wars: Episode VI: Return of the Jedi [Richard Marquand and George Lucas, 1983/1997]
Star Wars: Episode VII: The Force Awakens [J.J. Abrams, 2015]
Stereo [David Cronenberg, 1969]
Stoker [Park Chan-wook, 2013]
Storstrøms Broen [The Storstrøm Bridge] [Carl Theodor Dreyer, 1950]
The Stranger [Orson Welles, 1946]
Strangers on a Train [Alfred Hitchcock, 1951]
The Strawberry Blonde [Raoul Walsh, 1941]
Supreme [Harmony Korine, 2016]
Swansea Love Story [Leo Leigh and Andy Capper, 2010]
Tarantella [Mary Ellen Bute, 1940]
Tentato suicidio [Suicide Attempt] [Michelangelo Antonioni, 1953]
La tête d’un homme [A Man’s Head] [Julien Duvivier, 1933]
That Cold Day in the Park [Robert Altman, 1969]
Thimble Theater [Joseph Cornell, 1968]
Thorvaldsen [Carl Theodor Dreyer, 1949]
Toback vs Mailer: The Incident [Josh Safdie and Benny Safdie, 2016]
To Each His Own [Mitchell Leisen, 1946]
Top Speed [Mervyn LeRoy, 1930]
Trainwreck [Judd Apatow, 2015]
The Tramp. [Charles Chaplin, 1915]
Transport….. [Amy Greenfield, 1970]
La traversée de Paris [The Trip Across Paris] [Claude Autant-Lara, 1956]
Tri pesni o Lenine, o vozhde ugnetennykh vsego mira [Three Songs About Lenin: On the Leader of All the Oppressed Peoples of the World] [Dziga Vertov, 1934]
Tristana [Luis Buñuel, 1970]
Truth with Wine [Theodore Collatos, 2016]
Twilight’s Last Gleaming [Robert Aldrich, 1977]
Uccellacci e uccellini [Hawks and Sparrows] [Pier Paolo Pasolini, 1966]
The Unholy Three [Tod Browning, 1925]
The Unknown [Tod Browning, 1927]
Vape [Doron Max Hagay, 2016]
Veep: Season 4 [showrunner: Armando Iannucci / directors: Chris Addison, Becky Martin, et al, 2015]
Veep: Season 5 [showrunner: David Mandel / directors: Chris Addison, Becky Martin, et al, 2016]
A Very Murray Christmas [Sofia Coppola, 2015]
I vinti [The Vanquished] [Michelangelo Antonioni, 1953]
Viola [Matías Piñeiro, 2012]
Viva [Anna Biller, 2007]
Vrai faux passeport [Real Fake Passport] [Jean-Luc Godard, 2006]
Vredens Dag [Day of Wrath] [Carl Theodor Dreyer, 1943]
Waking Sleeping Beauty [Don Hahn, 2009]
A Woman. [Charles Chaplin, 1915]
Woman in Gold [Simon Curtis, 2015]
The Witch: A New-England Folktale [Robert Eggers, 2015]
Das Wolkenphänomen von Maloja. [The Cloud Phenomenon of Maloja.] [Arnold Fanck, 1924]
The ’Wonders in the Dark’ 2011 Oscars Preview [Jay Giampietro, 2011]
The ‘Wonders in the Dark’ 2013 Oscars Preview [Jay Giampietro, 2013]
Work. [Charles Chaplin, 1915]
The X-Files: Season 10 [showrunner: Chris Carter / directors: Chris Carter, James Wong, et al, 2016]
Xia nu [The Heroic Maid] [King Hu, 1971]
Yîdài-zôngshî [The Grandmaster] {Domestic 2h 10m Chinese Version} [Wong Kar-wai, 2013]
You Can Never Really Know Someone [Adam Nee and Aaron Nee, 2016]
Zéro de conduite, jeunes diables au collège. [Zero for Conduct: Young Devils at School.] [Jean Vigo, 1933]

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Elaine's

My short film about the films of Elaine May, commissioned by José Oliveira for the Lucky Star - Cineclube de Braga. You can watch it here.

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