Ryusuke Hamaguchi's “Wheel of Fortune and Fantasy” at Northwest Film Forum: Nov 17 - 21

Two decades have elapsed since the Japanese cinema explosion of the 1990s. The directors who led that wave; Kiyoshi Kurosawa, Hirokazu Kore-eda, Takeshi Kitano, Naomi Kawase, and Takashi Miike, are still among the industry's most high profile faces on the international festival circuit. Contemporaneously, a new generation of filmmakers are also making themselves heard. Taste of Cinema's 2017 overview goes some way to assert this, with their substantial serving offered in the "The 25 Best Japanese Movies of The 2010s (So Far)". 2015 was a standout year for this set of rising new directors. It saw the domestic release of Shunji Iwai's disorienting urban drama, "A Bride for Rip Van Winkle", Ryusuke Hamaguchi's 5-hour domestic tranquility stunner, "Happy Hour", and Koji Fukada taking home the Un Certain Regard Jury Prize at Cannes for “Harmonium”. Fukada utilizing the global platform of his Cannes win to state that, "Japanese Cinema Must Adapt to Survive". Of this new batch of directors, it could be said that "Fukada’s Filmmaking is a Breath of Fresh Air" that can be seen to follow explicitly in the footsteps of Kiyoshi Kurosawa in his darkly pessimistic take on the concerns that comprise modern Japanese life. Another string of films in the last half decade that have been rich in character nuance, and high in drama have distinguished Kazuya Shiraishi, particularly that of his most recent, "'Last of the Wolves': A Sequal With as Much Bite as the First". There have also been strong returns offered by "Sion Sono's Set of Films That Don’t Fit His Bad-Boy Label", and Takahisa Zeze's miraculous transformation seen in "The Chrysanthemum and the Guillotine", offering up a whole new array of concerns around, "Takahisa Zeze's Crime, Punishment, and Transcendence".

In many regards, this "New Wave of Japanese Filmmakers Matches the Old", with new films by both Fukada and Hamaguchi premiering at Cannes to outstanding reviews in 2020 and 2021. Ryusuke Hamaguchi has particularly delivered higher nuance and complexity than previously seen, with a set of two new films in the year. The first of which took home the best screenplay award for it's adaptation of Haruki Murakami's short story of the same name published in the "Men Without Women" anthology. As Peter Bradshaw's review in The Guardian states, this "Mysterious Murakami Tale of Erotic and Creative Secrets" has more than a resemblance to the concerns explored in “Wheel of Fortune and Fantasy”. More than a "Triptych of Light-Touch Philosophy", this deceptively unassuming movie instead watches as a mildly subversive observation on the goings-on between men and women, and at its core is an exploration of, "What We Talk About". By this, Manohla Dargis means to say that it maps a geometry of desire expressed in sometimes casual and cruel intimacies that are divulged through three extended segments. As men and women circle one another, they exchange confessions and accusations, through a cascade of words, gestures, and glances. It is through these effusive dialogues that they slowly come to unveil the nature of their central yearnings, fears, and intentions. Taking a major prize amidst the abundance on offer at, "Berlin Film Festival 2021: The Most Impressive Selection in Years", this first of the year's films from Hamaguchi is the director's most solidly constructed and satisfying to date. "Wheel of Fortune and Fantasy" is the newest installment in a filmmography of challenging narrative choices, extended durations, understated visuals, and a rejection of the kind of dramatic problems, moral instruction and visually appealing dressing meant to ease the complexity of interpersonal relationships too often encountered in American independent cinema. Western film culture in general could look to Hamaguchi, as in just a year he has given us two works that represent superior routes out of the impasse of this particular brand of storytelling bankruptcy.

Japan Cuts 2021 Edition: Aug 20 - Sept 2 & New York Asian Film Festival: Aug 6 - 22 | Nippon Connection, Japan Film Festival Plus | Virtual Festival Exhibitions

Now in the second year of the global coronavirus pandemic, many festivals continue to pivot to online virtual settings for their programming. Last year saw a number of the "Asia-themed Film Festivals Migrate Online Amid Coronavirus Pandemic", and more specifically, Japan Foundation's global Japan Film Festival Plus, Japan Society New York's Japan Cuts, Hawaii International Film Festival's J-Fest, and the Chicago Japan Film Collective, continuing their role as standard-bearers for the issuance of quality film from Japan. All of which presented their array of new cinema in the unusual festival setting of online platforms in 2021. This was also mirrored in Europe by examples like Frankfurt's excellent Nippon Connection, which also had its second year of virtual exhibitions. This year the programmers chose to make it a hybrid bridging of in-person screenings and virtual festival setting, "Nippon Connection Film Festival Goes Hybrid". For further reading, The Japan Times feature highlights the unexpected convergence of quality and volume on offer from the latter, "Frankfurt's Nippon Connection Brings Together an Extensive Collection of Japanese Films". There's also no shortage of excellence presented annually by Japan Society's North American setting of, "Japan Cuts Film Festival at Japan Society Emphasizes the Eccentric". Year in and year out, the festival offers "Asian Cinema That Pauses for Reflection", "Life in the No-Go Zone of Fukushima and Two Views on Husbandry", "The Hard Road of the Japanese Documentary Maker", and generally an expansive representation of, "The Best of Contemporary Japanese Cinema". This year's installment is also a hybrid event, with both in-person screenings and a virtual cinema platform, each with distinct offerings. Not to be overlooked, "The 2021 New York Asian Film Festival Brings the Goods", in both in-person and virtual settings. The latter hosted this year by Lincoln Center's Virtual Cinema, with some 33 films on offer.

These various festivals continue to represent a bounty of Japanese-specific cinema over the course of the two decades since the Japanese cinema explosion of the 1990s. The directors who led that wave; Kiyoshi Kurosawa, Hirokazu Kore-eda, Takeshi Kitano, Naomi Kawase, and Takashi Miike,are still among the industry's most high profile faces on the international festival circuit. Contemporaneously, a new generation of filmmakers are also making themselves heard. Though one is hard-pressed to see the abundance offered by these voices in domestic theaters. Particularly regionally here in the northwest as we have seen a significant dropoff of such titles in the programming offered in the once-abundant Seattle International Film Festival. Make no mistake, while there has been a dearth of opportunities to see these films on domestic screens, this is not representative of the volume and quality still issuing from Japan. Taste of Cinema's 2017 overview goes some way to assert this, with their substantial serving offered in the "The 25 Best Japanese Movies of The 2010s (So Far)". 2015 was a standout year for this set of rising new directors, it saw the domestic release of Shunji Iwai's disorienting urban drama, "A Bride for Rip Van Winkle", Ryusuke Hamaguchi's 5-hour domestic tranquility stunner, "Happy Hour", and Koji Fukada taking home the Un Certain Regard Jury Prize at Cannes for “Harmonium”. Fukada utilizing the global platform of his Cannes win to state that, "Japanese Cinema Must Adapt to Survive". Of this new batch of directors, it could be said that "Fukada’s Filmmaking is a Breath of Fresh Air" that can be seen to follow explicitly in the footsteps of Kiyoshi Kurosawa in his darkly pessimistic take on the concerns that comprise modern Japanese life. It is not long before it becomes clear that, "In ‘Harmonium,’ a Family has Let the Wrong One In". In many regards, this "New Wave of Japanese Filmmakers Matches the Old", with new films by both Fukada and Hamaguchi premiering at Cannes to outstanding reviews in 2020 and 2021. A string of films in the last half decade that have been rich in character nuance, and high in drama have distinguished Kazuya Shiraishi, particularly that of his most recent, "'Last of the Wolves': A Sequal With as Much Bite as the First". There have also been strong returns offered by "Sion Sono's Set of Films That Don’t Fit His Bad-Boy Label", and Takahisa Zeze's miraculous transformation seen in "The Chrysanthemum and the Guillotine", offering up a whole new array of concerns around, "Takahisa Zeze's Crime, Punishment, and Transcendence".

Japan Cuts 2020 Edition: Jul 17 - 30 & Nippon Connection: Jun 9 - 14 | Virtual Festival Exhibitions

Worldwide, the organizers of film festivals scheduled for the spring and summer have responded to the pandemic in a variety of ways. Generally by cancelling altogether, optimistically postponing, or going online with virtual theatrical exhibitions. Even Cannes, the world's most prestigious and influential festival will not be hosting a physical edition. But have instead opted to organize events in other festivals in the coming year, what they termed “Cannes hors les murs”. Cannes also joined Berlin, Venice, Toronto, New York and other major film festivals to present last month's free live streaming fundraiser, We Are One: A Global Film Festival. Concurrently there are also a number of significant Asian and Japanese-specific festivals that have found themselves unable to host a physical edition this year and have transitioned into the virtual. From which The Japan Times have assembled an overview, "Asia-themed Film Festivals Migrate Online Amid Coronavirus Pandemic". These festivals continue to represent and offer a bounty of cinema over the course of the two decades since the Japanese cinema explosion of the 1990s. The directors who led that wave; Kiyoshi Kurosawa, Hirokazu Kore-eda, Takeshi Kitano, Naomi Kawase, and Takashi Miike, are still among the industry's most high profile faces on the international festival circuit. Contemporaneously, a new generation of filmmakers are also making themselves heard. Though one is hard-pressed to see the abundance offered by these voices in domestic theaters. Particularly regionally here in the northwest as we have seen a significant dropoff of such titles in the programming offered in the once-abundant Seattle International Film Festival. Make no mistake, while there is a dearth to be seen on domestic screens, this is not representative of the volume and quality still issuing from Japanese film culture. Taste of Cinema's 2017 overview goes some way to assert this, with their substantial serving offered in the "The 25 Best Japanese Movies of The 2010s (So Far)".

2015 was a standout year for this set of rising new directors, it saw the domestic release of Shunji Iwai's disorienting urban drama, "A Bride for Rip Van Winkle", Ryusuke Hamaguchi's 5-hour domestic tranquility stunner, "Happy Hour", and Koji Fukada taking home the Un Certain Regard Jury Prize at Cannes for “Harmonium”. In many regards, this "New Wave of Japanese Filmmakers Matches the Old". Of them, it could be said that "Fukada’s Filmmaking is a Breath of Fresh Air" following most explicitly in the footsteps of Kiyoshi Kurosawa in his darkly pessimistic take on the concerns that comprise modern Japanese life. It is not long before it becomes clear that, "In ‘Harmonium,’ a Family has Let the Wrong One In". As well as directorial debuts from new voices like Isamu Hirabayashi and Kiyoshi Kurosawa student, Yui Kiyohara who arrived with her fully formed "Our House". There have also been strong returns offered by "Sion Sono's Set of Films That Don’t Fit His Bad-Boy Label", and Takahisa Zeze's miraculous transformation seen in "The Chrysanthemum and the Guillotine", offering up a whole new array of concerns around, "Takahisa Zeze's Crime, Punishment, and Transcendence". San Francisco's Japan Film Festival, and New York's Japan Cuts have been two of the standard-bearers for representing this ongoing issuance of quality film from Japan, as are examples seen in European settings like Frankfurt's Nipppon Connection. For further reading, The Japan Times feature highlights the unexpected convergence of quality and volume on offer from the latter, "Frankfurt's Nippon Connection Brings Together an Extensive Collection of Japanese Films". There's also no shortage of excellence presented annually by Japan Society's North American setting of, "Japan Cuts Film Festival at Japan Society Emphasizes the Eccentric". Year in and year out, the festival offers "Asian Cinema That Pauses for Reflection", "Life in the No-Go Zone of Fukushima and Two Views on Husbandry", "The Hard Road of the Japanese Documentary Maker", and generally an expansive representation of, "The Best of Contemporary Japanese Cinema".

By way of example, this year's online edition of Nippon Connection saw the memorable feature length oddity of Isamu Hirabayashi "Shell & Joint", the excellent Sakura Ando boxing vehicle from Masaharu Take "100 Yen Love". Documentary and genre works are presented,  Sabu's supernatural "Dancing Mary", the tough skinned urban realities of Tetsuya Nakashima's "World of Kanako", Sion Sono trying his hand at sci-fi in "Whispering Star", and the documentary on progressive journalist Isoko Mochizuki, by Tatsuya Mori "I-Documentary of the Journalist". There's also groundbreaking anime to be had in Masaki Yuasa's follow up to his award-winning "The Tatami Galaxy", "The Night is Short, Walk On Girl", and Keiichi Hara's historic "Miss Hokusai". Urban life is painted in very different hues by Yukiko Mishima in "Shape of Red", and Takafumi Tsuchiya's "Flowers & Rain". Inspired by Roc Morin's "How to Hire Fake Friends and Family" for The Atlantic, Werner Herzog delivers one of the slipperiest of his indistinguishable hybrids of documentary and fiction, "Family Romance LLC", and "Nobuhiko Obayashi, Unpredictable Japanese Director", leaves us his final film as a "Labyrinth of Cinema". Similarly there's some overlap to be had in this year's online iteration of Japan Cuts. Hirabayashi's "Shell & Joint" is on offer, as is Obayashi's final film, and a documentary on the late director as well. If one missed any of Yoji Yamada's serial films focused on the imperturbable Tora-san, there's a quartet being presented, from his first to the fiftieth, and a few in between. This year's winner of the prestigious Kinema Junpo award, Haruhiko Arai's "It Feels So Good", will surely be a highlight, as will Takuya Misawa's "The Murders of Oiso". "Snow on the Blades" director Setsuro Wakamatsu makes a return with star power and melodrama in "Fukushima 50", and "One Cut of the Dead" director Shinichiro Ueda is back again with some, "Special Actors". Tadanobu Asano likely had a wonderful time making Toshiyaki Toyoda's spirited response to his wrongful arrest. New films by rising directors can be found from the assistant director on Kiyoshi Kurosawa's "Journey to the Shore" Taku Tsuboi, as well as the passion project from Hirokazu Kore-eda protege, Nanako Hirose. Also appealing are award-winning mentions for relative unknowns Anshul Chauhan, and the intensity on offer from newcomer Ryo Katayama. Discussions on labor and class, with a dash of "the humanistic impulses of Kenji Mizoguchi", from Kana Yamada, and a tender and quietly devastating roadtrip drama, seen as a bridging of adolescence and adulthood in this Berlin Film Festival Special Mention from Nobuhiro Suwa.

João Pedro Rodrigues' "The Ornithologist" & Koji Fukada's "Harmonium" at Northwest Film Forum: Aug 2 - 6 & Aug 23 - 24

Returning after it's screening in the Seattle International Film Festival, João Pedro Rodrigues newest stood as a highlight of the festival, evoking the best of classic surrealism in the vein of Luis Buñuel and contemporaries like Apichatpong Weerasethakul. The protagonist's journey through this "Portuguese Filmmaker’s Erotic Phantasmagorias" that is, "The Ornithologist" forces him into intimacy with a pervasive incoherence, the unconscious and the metaphysical. "Cast Adrift on a Surreal Journey", the titular ornithologist finds his quest to document the avian populations of a mountainous jungle region in northern Portugal confounded by a series of events that waylay his progress. Swept away by dangerous rapids while traversing the course of the film's central river, he finds himself the captor of two lesbian religious pilgrims. Stripping his body of clothes and roping him to a tree, their recreation of the martyrdom of San Sebastian marks just the beginnings of his troubles. These encounters repeatedly heighten the gulf between man and beast, by turns more alienating in it's description of the mysterious ways in which man and nature communicate across the gulf of understanding. Couched in an overpowering sense of serenity, a tone that prevails amid a proliferation of bewildering Christian and pagan allusions, his journey comes to echo that of the Portugal-born Anthony of Padua. Eventually these metaphysical scenarios develop into an inescapable setting, entrapping the film's "Super-Ornithologist: João Pedro Rodrigues’ Birdman", in a darkly troubling metamorphosis.



Nearly two decades have elapsed since the Japanese cinema explosion of the 1990s. The directors who led this wave; Kiyoshi Kurosawa, Hirokazu Kore-eda, Naomi Kawase, and Takashi Miike, are still among the industry's most high profile faces on the international festival circuit. Concurrently, a new generation of filmmakers from Japan are starting to make themselves heard. This year saw the domestic release of Shunji Iwai's disorienting urban drama, "A Bride for Rip Van Winkle", Ryusuke Hamaguchi's 5-hour domestic tranquility stunner, "Happy Hour", rising indie animation figure, Makoto Shinkai obliterating the box-office competition with “Your Name", and Koji Fukada taking home the Un Certain Regard Jury Prize at Cannes for “Harmonium”. In many regards, this "New Wave of Japanese Filmmakers Matches the Old", yet "Fukada’s Filmmaking is a Breath of Fresh Air", in part due to the groundwork laid down by fellow producers, festival programmers and film distributors with the 2012 establishment of the Independent Cinema Guild. It's in this funding and distribution market that Fukada has been able to produce his darkly pessimistic take on the concerns that comprise modern Japanese life. As is the case with earlier films in the director's filmography, "Harmonium" pivots on the arrival of an unexpected guest who is curiously welcomed and given a job in the home and workshop of his former friend. Stoic yet seductive, the guest ingratiates himself with the household's apprehensive wife and their pre-adolescent daughter. It is not long before it becomes clear that, "In ‘Harmonium,’ a Family has Let the Wrong One In", and in a dramatic turn of events their lives are revealed to have held secrets that are irreconcilable with the home and marriage they deceptively once led.

Seattle International Film Festival: May 19 - Jun 12

Seattle International Film Festival once again arrives bringing a spectrum of cinema from across the world! This year like the string of years since 2008, the festival sees a qualitative diversity dip in the percentage of all things foreign cinema, auteur, arthouse, experimental and progressive. These were content agendas that once had prominence within SIFF, making it a festival that approached the per-capita in these areas of Toronto and New York. Those times are now decades in the past. That said, this year's festival isn't as painfully omissive as 2011 or 2010 for that matter. We saw string of years that suggested relief from the lackluster programming described above which waned a bit in 2012 and a further positive trend in that direction in 2013. For the 2014 festival, their 40th Anniversary was celebrated with SIFF's strongest programming in almost a decade, suggesting a renewed vision for the festival. Nonetheless this year, like 2015, we're again seeing that same glut of middle ground contemporary romances and knowingly clever dramas for the sub-Sundance sect. One can speculate that this middle-road approach to programming has been taken to entice some imagined Northwest demographic out of their suburban hobbles and inner-city condos. The inclusion of showcases in the outlying areas of Bellevue, Kirkland and Renton are indicative of such. One can't help but consider these factors alongside the changing economic and cultural landscape of Seattle and what may be SIFF's bid at strengthening financial ties with it all.

By way of example, two west coast festivals that have produced smaller, yet significantly more qualitative festivals have established a standard that can clearly be seen from year to year. The San Francisco International Film Festival concluding just this week features not only a diverse body of work, ranging from commercial entertainment to the experimental, embracing both award winning auteur works, genre film and potential indie breakouts. A cross section of the programming can be seen in their selection of new historic documentary by Sergey Loznitsa "The Event" and the superior of last year's two haunting dramas by Kiyoshi Kurosawa "Journey to the Shore". Yorgos Lanthimos Jury Prize winning film "The Lobster", a decidedly "Kafka-esque Meditation on Romance and Estrangement" premiered at Cannes a year ago now and will have a brief run at Sundance Cinema along with Matteo Garrone's adaptation of Giambattista Basile's bawdy Neopolitan "Tale of Tales", adding some "Grown-Up Twists to the Fairy Tale". The festival also hosted what from the outset appears a traditional melodrama by Ryusuke Hamaguchi, "Happy Hour", belies a deeper core deserving of it's Film Comment mention in their Best Cinema from Asia feature. This year's SFIFF also saw Christopher Doyle's "Hong Kong Trilogy" and Lewis Klahr's cinematic archeology of the American unconscious, his "66" employing the unlikeliest of tools in it's telling of mass culture as myth. Happily there is some shared programming between the festivals. Zhang Yang's most recent "Paths of the Soul", Wener Herzog's much anticipated "Lo and Behold: Reveries of the Connected World" and Vitaly Mansky's documentary on the fashioning of a North Korean family of "model citizens", all grace Seattle as well. Other highlights screening outside of the festival in the coming weeks include the Freudian psychedelia of Eiichi Yamamoto's "Belladonna of Sadness" and another of Naome Kawase's hushed familial melodramas, "Sweet Bean".

Screening in SFIFF and outside of the festival at SIFF Cinema, Ben Wheatley's adaptation of JG Ballard's "High-Rise" is ostensibly the most promising thing both festivals share in their programming this month. The Guardian's film of the week review going some way to how it is that the challenges of "High-Rise Takes Dystopian Science Fiction to a New Level". In a fashion, "The Nightmare of JG Ballard's Towering Vision" even proved daunting to the unmade Nicolas Roeg production of the late 1970s. Our neighboring city to the south, though smaller in scale and less urban in some sense, has a strong showing in their Portland International Film Festival again this year. It should be established that with each of them concluding some time before, the content of in each of these festivals was made available to the programming directors at SIFF. They simply made choices otherwise. Which begs the question, what kind of thinking is behind choosing to not program something like the pathos of an Otaku's transformation seen in Masaharu Take's "100 Yen Love"? Or Gabriel Ripstein's Best First Feature award-winner, "600 Miles" from this year's Berlin International Film Festival? Other global festival highlights featured in PIFF, include Jacques Audiard's Palme d'Or winning "Dheepan" and Nanni Moretti's "Mia Madre". With some unexpected surprises like Keiichi Hara's animated period feature, "Miss Hokusai" and another Cannes award winner in Ida Panahandeh's "Nahid". Portland also saw Patricio Guzmán's most recent meditation on the colonization of Chile, "The Pearl Button", festival favorite Hong Sang-Soo's "Right Now, Wrong Then" and Ben Rivers' epic, experimental merging of documentary and fable, "The Sky Trembles and the Earth Is Afraid and the Two Eyes Are Not Brothers". All of which are absent from this year's programming in Seattle.

Seattle International Film Festival in the past has existed as a focal point of visionary cinema curatorialship, with the resources, funds and legacy to be a hugely influential institution. From the above one can can adduce San Francisco and Portland producing festivals of a caliber that SIFF has seemingly un-learned as they continue to go astray of the standard of the international festival circuit embodied by New York, Cannes, Toronto, Rotterdam, Vienna, Venice, Berlin and Locarno. But there remain a handful of legitimate, original, well crafted cinema to be found in here too. Largely culled from the Contemporary World Cinema, Archival Presentations, Alternate Cinema, Documentary Films, Midnight Adrenaline, Catalyst, and New Directors sections, this year I found some approximate 20 or so films of interest, curiosity or gravitas that I plan to attend. These run the spectrum from directors of note, archival restorations and new developing artists. As a consequence the majority of the titles listed below are simply films of curiosity, rather than considered essential viewing. Not the least compelling year in recent memory, but not approaching the par established with SIFF's own stellar run spanning the decades of 1987-2007. It must also be said, this year's SIFFX sidebar does little in the way of compensating for these programming oversights. Nonetheless, I continue to be enthused about their home at the SIFF Cinema Uptown and expanded screens between the recently acquired SIFF Cinema Egyptian and Film Center. Their curation for these year-round venues has exhibited the scope of SIFF, with this year's Recent Raves series exemplifying a visionary path forward for the institution. Unfortunately the 42nd Seattle International Film Festival doesn't continue this high standard.

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Tuesday, May 17

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7:00 PM - Ben Wheatley "High-Rise"

SIFF Cinema Uptown
HIGH0517B

http://myaccount.siff.net/cinema/reserve.aspx?fid=261&id=34443

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Friday, May 20
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4:00 PM - Terence Davies "Sunset Song"
SIFF Cinema Egyptian
SUNS0520

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33757

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Friday, May 20
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6:00 PM - Hirokazu Kore-eda "Our Little Sister"
SIFF Cinema Uptown
OURL0520

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33612

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Saturday, May 21

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4:00 PM - Eiichi Yamamoto "Belladonna of Sadness"

Northwest Film Forum

http://nwfilmforum.org/live/page/calendar/3914

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Saturday, May 21
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6:30 PM - James Schamus "Indignation"
AMC Pacific Place 11
INDI0521

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33844

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Saturday, May 21
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9:00 PM - Mauro Herce "Dead Slow Ahead"
SIFF Film Center
DEAD0521

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=34075

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Sunday, May 22
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1:30 PM - Douglas Sirk "A Scandal in Paris"
AMC Pacific Place 11
SCAN0522

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33618

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Sunday, May 22
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9:00 PM - Bence Fliegauf "Lily Lane"
SIFF Cinema Egyptian
LILY0522

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33769

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Monday, May 23
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3:30 PM - Yaelle Kayam "Mountain"
SIFF Cinema Uptown
MOU0523

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33697

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Monday, May 23

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7:50 PM - Matteo Garrone "Tale of Tales"
Sundance Cinema

https://www.sundancecinemas.com/coming_soon.html

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Tuesday, May 24
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7:00 PM - Orson Welles "Chimes at Midnight"
SIFF Cinema Egyptian
CHIM0524

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33772

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Wednesday, May 25
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6:00 PM - Helen Walsh "The Violators"
SIFF Cinema Uptown
VIOL0525

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33919

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Thursday, May 26
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3:00 PM - Shunji Iwai "A Bride for Rip Van Winkle"
SIFF Cinema Egyptian
BRID0526

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33776

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Thursday, May 26
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9:30 PM - Marcin Wrona "Demon"
SIFF Cinema Uptown
DEMO0526

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33558

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Friday, May 27
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4:00 PM - Zhang Yang "Paths of the Soul"
SIFF Cinema Uptown
PATH0527

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33559

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Friday, May 27
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9:00 PM - Marta Minorowicz "Zud"
SIFF Cinema Uptown
ZUDD0527

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33704

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Saturday, May 28
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11:00 AM - Ernst Lubitsch "Heaven Can Wait"
SIFF Cinema Egyptian
HEAV0528

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33783

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Sunday, May 29
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3:30 PM - Ti West "In a Valley of Violence"
Lincoln Square Cinemas
INAV0529

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33793

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Sunday, May 29
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9:30 PM - Lucile Hadžihalilović "Evolution"
SIFF Cinema Uptown
EVOL0529

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33638

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Monday, May 30
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7:10 PM - Yorgos Lanthimos "The Lobster"
Sundance Cinema

https://www.sundancecinemas.com/coming_soon.html

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Tuesday, May 31
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6:00 PM - Naotaro Endo "Tsukiji Wonderland"
SIFF Cinema Uptown
TSUK0531

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33646

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Wednesday, June 01
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9:15 PM - Vitaly Mansky "Under the Sun"
SIFF Cinema Uptown
UNDER0601

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33722

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Thursday, June 2
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8:15 PM - Naome Kawase "Sweet Bean"
Northwest Film Forum

http://nwfilmforum.org/live/page/calendar/3972

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Friday, June 03
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9:30 PM - Jaco Van Dormael "The Brand New Testament"
SIFF Cinema Egyptian
BRAN0603

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33808

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Saturday, June 04
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2:00 PM - Fernando Ayala "The Bitter Stems"
SIFF Cinema Egyptian
BITT0604

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33812

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Saturday, June 04
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8:00 PM - Werner Herzog "Lo and Behold, Reveries of the Connected World"
SIFF Cinema Uptown
LOAN0604

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33578

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Sunday, June 05
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2:30 PM - Ferdinando Cito Filomarino "Antonia"
SIFF Cinema Uptown
ANTO0605

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33734

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Sunday, June 05
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8:30 PM - Małgorzata Szumowska "Body"
SIFF Cinema Uptown
BODY0605

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33547

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Monday, June 06
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7:00 PM - Sylvia Chang "Murmur of the Hearts"
SIFF Cinema Uptown
MURM0606

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33588

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Monday, June 06
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9:30 PM - José Luis Guerin "The Academy of Muses"
AMC Pacific Place 11
ACAD0606

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33908

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Tuesday, June 07
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9:30 PM - Sion Sono "Tag"
SIFF Cinema Uptown
TAGG0607

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33592

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Wednesday, June 08
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7:00 PM - King Hu "Dragon Inn"
SIFF Cinema Egyptian
DRAG0607

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33820

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Thursday, June 09
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3:00 PM - Jia Zhang-ke "Mountains May Depart"
SIFF Cinema Uptown
MOUNT0609

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33826

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Thursday, June 09
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7:00 PM - André Téchiné and Céline Sciamma "Being 17"
SIFF Cinema Egyptian
BEIN0609

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33827

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Friday, June 10
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7:00 PM - Mark Cousins "I am Belfast"
SIFF Film Center
IAMB0610

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=34084

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Saturday, June 11
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8:45 PM - Kiyoshi Kurosawa "Creepy"
SIFF Cinema Egyptian
CREE0611

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33833

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Sunday, June 12
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4:30 PM - Gilles Legrand "The Scent of Mandarin"
SIFF Cinema Egyptian
SCEN0612

http://myaccount.siff.net/cinema/reserve.aspx?fid=346&id=33836