Friday October 2 – Thursday October 8
Author: Sean Gilman
Entertainment (Rick Alverson, 2015)
Part of our coverage of the 2015 Vancouver International Film Festival. This review is by Vancouver-based critic Neil Bahadur.
Rick Alverson’s new film Entertainment, isn’t perfect. At first, I didn’t know if I’d even call it great. If not for Neil Hamburger’s humor, the first hour of the film would feel endlessly repetitive and banal, situations reiterating themselves with seeming meaninglessness, mimicking The Comedian’s situation which repeats itself in a series of dive-bars, where he is only greeted with disappointment and indifference. Not for nothing is the only place where Hamburger elicits a response a prison. Self-defeat rules this comedian’s life, and so too the film; it seems humor itself is the only defense mechanism left before falling into the void of cynicism and despair. Alverson’s distance is disconcerting at first: as Phil Coldiron alluded to in his review, Alverson has an Antonioni-esque spacial awareness. But perhaps this is necessary to make distinct the difference between Hamburger the performer, and Turkington the actor. Yet both are very similar: Turkington attempts twice to connect to his daughter and fails, Hamburger attempts several times to connect to an audience and fails. Hamburger doesn’t use these life-disappointments as fodder for material, he rather vomits out mad, belligerent nonsense (admittedly for me, often quite amusing) But for all these lapses of humor, I was ready to give up on the film. “OH great, another movie about like, alienation or something and some shitty guy being an asshole.” There’s even an impossibly obvious shot where our comedian walks around in circles. But then Turkington/Hamburger has to face repercussions for his actions, and suddenly the film takes a sharp, unexpected turn into something far more abstract, forcing me to re-evaluate something I was about to write-off. It became clear that Hamburger/Turkington is on a sort of pilgrimage, a hellish progression from self-consciousness to self-awareness.
VIFF 2015: James White (Josh Mond, 2015)
Part of our coverage of the 2015 Vancouver International Film Festival. This review is by Vancouver-based critic Neil Bahadur.
Beautifully unpretentious. The debut feature of indie producer Josh Mond, James White, is surprising in its coming from the New York independent scene because of its tender sincerity. Dishonesty is alien to this director; perhaps the film is more moving than it is interesting, but what of it? Clearly a very personal work, this is an attempt at self-catharsis, a successful attempt to try to express (and really document) emotions that one has difficulty understanding. Shot in a mere 18 days, the movie’s tight and controlled structure almost seems to betray its modesty. This isn’t a criticism: the movie never overreaches its fiscal limitations and is rather designed around it. And perhaps because of its remarkable self-control, the film seems far more ambitious than it actually is. The movie is so fixed in its purpose and it never misses a beat. It’s like James Gray distilled.
Friday September 25 – Thursday October 1
Featured Film:
The Vancouver International Film Festival
It’s stretching the definition of “Seattle-area”, but that’s where most of us are going to be for the next ten days or so. We’re heading across the border to Vancouver for one of the best film festivals in North America, which features a tremendous selection of international art house films, with a special focus on East Asian cinema. We’ll have lots of coverage, with reviews and probably some podcasts too. Where to follow us.
Sign up for our newsletter and get the best of Seattle arthouse and repertory programming in your Inbox every Friday morning.
Playing This Week:
Rear Window (Alfred Hitchcock, 1954) Fri-Weds
The Usual Suspects (Bryan Singer, 1995) Fri-Weds
Mistress America (Noah Baumbach) Fri-Thurs Our Review
Stonewall (Roland Emmerich) Fri-Thurs
Veteran (Ryoo Seung-wan) Fri-Thurs
Jimmy’s Hall (Ken Loach) Fri-Thurs
Learning to Drive (Isabel Coixet) Fri-Thurs
Pawn Sacrifice (Edward Zwick) Fri-Thurs
The Winding Stream (Beth Harrington) Tues Only
Dune (David Lynch) Weds Only
Attack on Titan Part One (Shinji Higuchi) Weds & Thurs Only
We Were Here (David Weissman & Bill Weber) Thurs Only
Welcome To Leith (Michael Beach Nichols & Christopher K. Walker) Fri-Thurs
Local Sightings Film Festival Sat, Weds & Thurs
Meru (Jimmy Chin & Elizabeth Chai Vasarhelyi) Fri-Thurs
Attack on Titan Part One (Shinji Higuchi) Weds Only
Sicario (Denis Villeneuve) Fri-Thurs
Kis Kisko Pyaar Karoon (Abbas Mustan) Fri-Thurs
Pawn Sacrifice (Edward Zwick) Fri-Thurs
Katti Batti (Nikhil Advani) Fri-Thurs
Ghost (Jerry Zucker, 1990) Sun & Weds Only
Attack on Titan Part One (Shinji Higuchi) Weds & Thurs Only
Sicario (Denis Villeneuve) Fri-Thurs
Sleeping with Other People (Leslye Headland) Fri-Thurs
Pawn Sacrifice (Edward Zwick) Fri-Thurs
Local Sightings Film Festival Fri-Thurs Full Program
Hit 2 Pass (Kurt Walker) Fri Only Our Review
Sleeping with Other People (Leslye Headland) Fri-Thurs
Office (Johnnie To) Fri-Thurs Our Review Our Podcast
Lost in Hong Kong (Xu Zheng) Fri-Thurs
Learning to Drive (Isabel Coixet) Fri-Thurs
Learning to Drive (Isabel Coixet) Fri-Thurs
Meru (Jimmy Chin & Elizabeth Chai Vasarhelyi) Fri-Thurs
Sleeping with Other People (Leslye Headland) Fri-Thurs
Learning to Drive (Isabel Coixet) Fri-Thurs
Kaun Karey Insaaf (Baljit Singh) Fri-Thurs
Scarecrow Video Screening Lounge:
Dark Star (John Carpenter, 1974) Fri Only
Wet Hot American Summer (David Wain, 2001) Sat Only
Laggies (Lynn Shelton, 2014) Sun Only
Chris Marker Group Mon Only
Back to School (Alan Metter, 1986) Tues Only
Wild Boys of the Road (William Wellman, 1933) Weds Only
The Second Mother (Anna Muylaert) Fri-Thurs
Pawn Sacrifice (Edward Zwick) Fri-Thurs
Sleeping with Other People (Leslye Headland) Fri-Thurs
Stonewall (Roland Emmerich) Fri-Thurs
Meet the Patels (Ravi & Geeta Patel) Fri-Thurs
Learning to Drive (Isabel Coixet) Fri-Thurs
Pawn Sacrifice (Edward Zwick) Fri-Thurs
Goodnight Mommy (Ulrich Seidel) Fri-Thurs
Racing Extinction (Louie Psihoyos) Fri-Thurs
Arcade Fire: The Reflektor Tapes (Kahlil Joseph) Fri-Thurs
Friday September 18 – Thursday September 24
Featured Film:
Office at the AMC Pacific Place
The latest from Hong Kong director Johnnie To is a musical based on a play written by Sylvia Chang, who also stars along with Chow Yun-fat. Set in the world of high finance at the time of the economic meltdown, it promises to be a fascinating companion to To’s 2011 duo of Life without Principle and Don’t Go Breaking My Heart. We’ll have full coverage coming this weekend, with reviews and a podcast recorded on-location from the theatre lobby. Our review. Our podcast.
Sign up for our newsletter and get the best of Seattle arthouse and repertory programming in your Inbox every Friday morning.
Playing This Week:
Meru (Jimmy Chin & Elizabeth Chai Vasarhelyi) Fri-Thurs
Chicago (Rob Marshall, 2002) Fri-Tues Our Podcast
The Shining (Stanley Kubrick, 1980) Fri-Tues
Lion’s Mane Art Collective: QTone Thurs Only
Mistress America (Noah Baumbach) Fri-Thurs Our Review
Cooties (Jonathan Milott & Cary Murnion) Fri-Weds
The Rocky Horror Picture Show (Jim Sharman, 1975) Sat Midnight Only
Veteran (Ryoo Seung-wan) Fri-Thurs
Psycho (Alfred Hitchcock) Sun & Weds Only
Jimmy’s Hall (Ken Loach) Fri-Thurs
Learning to Drive (Isabel Coixet) Fri-Thurs
Meru (Jimmy Chin & Elizabeth Chai Vasarhelyi) Fri-Thurs
Best of Enemies (Morgan Neville & Robert Gordon) Fri-Thurs
The Lives of Hamilton Fish (Rachel Mason) Sun Only
Listen to Me Marlon (Stevan Riley) Tues Only
Fresh Dressed (Sacha Jenkins) Thurs Only
Horse Money (Pedro Costa) Fri-Thurs Our Review
A Poem is a Naked Person (Les Blank, 1974) Sat-Weds
Korla (John Turner & Eric Christensen) Thurs Only
Meru (Jimmy Chin & Elizabeth Chai Vasarhelyi) Fri-Thurs
Sleeping with Other People (Leslye Headland) Fri-Thurs
Learning to Drive (Isabel Coixet) Fri-Thurs
Bhale Bhale Magadivoi (Maruthi) Fri-Thurs
Pawn Sacrifice (Edward Zwick) Fri-Thurs
Katti Batti (Nikhil Advani) Fri-Thurs
Psycho (Alfred Hitchcock) Sun & Weds Only
Sleeping with Other People (Leslye Headland) Fri-Thurs
Pawn Sacrifice (Edward Zwick) Fri-Thurs
The Black Panthers: Vanguard of the Revolution (Stanley Nelson Jr.) Fri-Mon
Puget Soundtrack: Tim Held Presents Predator (John McTiernan, 1987) Sat Only Live Performance
Recess Monkey Presents “Hot Air!” Sun Only Live Performance
Office (Johnnie To) Fri-Thurs Our Review Our Podcast
Learning to Drive (Isabel Coixet) Fri-Thurs
Learning to Drive (Isabel Coixet) Fri-Thurs
Meru (Jimmy Chin & Elizabeth Chai Vasarhelyi) Fri-Thurs
Learning to Drive (Isabel Coixet) Fri-Thurs
Scarecrow Video Screening Lounge:
The Element of Crime (Lars von Trier, 1984) Fri Only
Song of the Sea (Tomm Moore, 2014) Sun Only
Clueless (Amy Heckerling, 1995) Mon Only
The Man Who Knew Too Much (Alfred Hitchcock, 1956) Tues Only
Rachel Rachel (Paul Newman, 1968) Weds Only
Ruby in Paradise (Victor Nuñez, 1993) Thurs Only
Scarlet Street (Fritz Lang, 1945) Thurs Only 35mm
The New Girlfriend (François Ozon) Fri-Thurs
Paper Planes (Robert Connolly) Fri-Thurs
Sleeping with Other People (Leslye Headland) Fri-Thurs
Rififi (Jules Dassin, 1955) Fri-Thurs
Learning to Drive (Isabel Coixet) Fri-Thurs
Phoenix (Christian Petzold) Fri-Thurs Our Review
Decline of Western Civilization Part 1 (Penelope Spheeris, 1981) Fri Only Our Interview
Wayne’s World (Penelope Spheeris, 1992) Fri Only Our Interview
Women in Cinema Festival Fri-Thurs
Dead End (William Wyler, 1937) Mon Only
Dragon Blade (Daniel Lee) Fri-Thurs Our Review
Phoenix (Christian Petzold) Fri-Thurs Our Review
Psycho (Alfred Hitchcock) Sun & Weds Only
Dragon Blade (Daniel Lee, 2015)
A historical epic with Jackie Chan, John Cusack and Adrian Brody, set along the Silk Road as a fugitive Roman legion encounters a Chinese security force, this was even worse than I imagined it would be. Let’s set aside the complete and utter ahistoricality of it all (despite the “based on real events” title card at the start), (OK, one point: it’s set in 48 BC, but all the Romans refer to themselves as being part of the Roman Empire: Julius Caesar was assassinated in 44 BC, and the Empire not really established until 27 BC, and even then it wasn’t called that for quite awhile later) or the simplistic naiveté of Jackie Chan’s vision of interracial harmony, the uplifting and apparently inevitable side effect of manly exercises like play-fighting and building stuff, and just focus on the action, which is ostensibly all one looks for in a Jackie Chan film. It’s pretty boring. Chan looks old and tired, the costuming pads him out (the better to absorb blows he would have taken bare-chested 30 years ago?) and slows him down. The choreography occasionally makes creative use of found objects, but that only reminds one of better scenes in other Chan films. The editing has the same peripatetic rhythm of 21st century wuxia, but with none of the surreal flair that CGI effects can give such films (Chan remains the most committed to actuality of his peers). Most absurdly though, director Daniel Lee continually frames Chan as an angelic figure, beaming beatifically on the men he has lectured and unified, awkward grin on his poorly-coiffed head (some things never change) as he is haloed by the backlighting sun. It makes one long to return to the striking image of a crucified, eyeless, John Cusack, if only out of a longing to take his place.
Dragon Blade continues, somewhat surprisingly, at the Varsity Theatre.
Horse Money (Pedro Costa, 2014)
Horse Money opens this week at the Grand Illusion. The following is a slightly modified version of my capsule review from the 2014 Vancouver International Film Festival.
Pedro Costa’s Horse Money is possibly the richest and most-baffling film of the entire festival. A trip through the underworld, or purgatory at least, as one man, Ventura, relieves his past through the black and brown industrial landscapes of Lisbon’s Fontainhas district. A haunted, ghostly presence, Ventura slips in and out of memories and hospitals, wandering through impossible black spaces, both above and below the industrial ruins that pass as living spaces for much of the world’s forgotten classes and talking to acquaintances and friends, obliquely recounting crimes committed, mistakes made and losses witnessed. Dominated by shadow, splitting the screen, creating ancient irises, forming a primal void from which yellow apartment lights float like islands of life in a universe of emptiness, with vertical lines relentlessly drawing our eye upwards and out of the archaic 1.33 frame. It’s an astonishing film, unique and yet deeply cinephilic, forging connections across a century of cinema, not just The Man Who Shot Liberty Valance. Here is a partial list of the movies I thought of while watching Horse Money: The Phantom Carriage, Goodbye Dragon Inn, It’s a Wonderful Life, Pedicab Driver, The Thin Man, A Matter of Life and Death, Apocalypse Now, Ikiru, The Phantom of the Opera, Occurrence at Owl Creek Bridge and well, just DW Griffith in general. After watching it, I was overwhelmed, but sure that this would be a one-time experience, so draining and difficult was it to watch at times. After a couple of days though, all I really wanted to do was see Horse Money again.
Horse Money opens Friday, September 18 at the Grand Illusion Cinema.
Friday September 11 – Thursday September 17
Featured Film:
Queen of Earth at the Sundance Cinemas
Director Alex Ross Perry’s latest is a variation on the female psychological dramas of the late 60s and 1970s, in the vein of Persona or 3 Women, with the ultra-black comic spirit of Roman Polanski’s Apartment Trilogy (Repulsion in particular). But far from a mere pastiche, the film is gorgeously shot (those pale 70s colors!) and edited (those dissolves!) and anchored by two dynamite performances, from Inherent Vice‘s Katherine Waterston and Elizabeth Moss, who is proving that she might well be the best actress working in Hollywood today. (Our Review)
Sign up for our newsletter and get the best of Seattle arthouse and repertory programming in your Inbox every Friday morning.
Playing This Week:
Mistress America (Noah Baumbach) Fri-Thurs Our Review
The Princess Bride (Rob Reiner, 1987) Fri-Weds
This is Spinal Tap (Rob Reiner, 1984) Fri-Weds Our Review
My Neighbor Totoro (Hayao Miyazaki, 1988) Fri Only
Star Trek II: The Wrath of Khan (Nicholas Meyer, 1982) Fri Only
Fight Club (David Fincher, 1999) Fri Only
Casablanca (Michael Curtiz, 1942) Sat Only
Top Gun (Tony Scott, 1986) Sat Only
Blade Runner: the Final Cut (Ridley Scott, 1982) Sat Only
Die Hard (John McTiernan, 1989) Sat Only
Sunset Blvd. (Billy Wilder, 1950) Sun Only
Lawrence of Arabia (David Lean, 1962) Sun Only
Chinatown (Roman Polanski, 1974) Sun Only
Taxi Driver (Martin Scorsese, 1976) Sun Only
Labyrinth (Jim Henson, 1986) Mon Only
The Shawshank Redemption (Frank Darabont, 1994) Tues Only
Rear Window (Alfred Hitchcock, 1954) Tues Only
Big Trouble in Little China (John Carpenter, 1986) Tues Only
The Sting (George Roy Hill, 1973) Weds Only
Blue Velvet (David Lynch, 1986) Weds Only
The Hunt for Red October (John McTiernan, 1990) Weds Only
Akira (Katsuhiro Otomo, 1988) Thurs Only
Love and Mercy (Bill Pohlad) Fri-Thurs Our Interview
Mistress America (Noah Baumbach) Fri-Thurs Our Review
The Beauty Inside (Baek Jong-yeol) Fri-Weds
Phoenix (Christian Petzold) Fri-Thurs Our Review
Mistress America (Noah Baumbach) Fri-Thurs Our Review
Meru (Jimmy Chin & Elizabeth Chai Vasarhelyi) Fri-Thurs
Noble (Stephen Bradley) Tues Only
Vertigo (Alfred Hitchcock, 1958) Weds Only
A Poem is a Naked Person (Les Blank, 1974) Mon-Thurs
Top Spin (Sara Newens & Mina T. Son) Tues & Weds Only
Love Live! The School Idol Movie (Takahiko Kyogoku) Sat-Mon Only
Mistress America (Noah Baumbach) Fri-Thurs Our Review
Meru (Jimmy Chin & Elizabeth Chai Vasarhelyi) Fri-Thurs
Hero (Nikhil Advani) Fri-Weds
Learning to Drive (Isabel Coixet) Fri-Weds
Bhale Bhale Magadivoi (Maruthi) Fri-Weds
Welcome Back (Anees Bazmee) Fri-Weds
Irrational Man (Woody Allen) Fri-Thurs
The Mend (John Magary, 2014) Fri-Thurs
City Stories Youth Videos and Even The Walls: Seventy Years at Yesler Terrace Mon Only Filmmakers in Attendance
Learning to Drive (Isabel Coixet) Fri-Thurs
Mistress America (Noah Baumbach) Fri-Thurs Our Review
Meru (Jimmy Chin & Elizabeth Chai Vasarhelyi) Fri-Thurs
Learning to Drive (Isabel Coixet) Fri-Thurs
Ex with Benefits (Gino M. Santos) Fri-Thurs
Scarecrow Video Screening Lounge:
Near Dark (Kathryn Bigelow, 1987) Fri Only
Miss Representation (Jennifer Siebel Newsom, 2011) Sat Only
Real Women Have Curves (Patricia Cardoso, 2002) Sat Only
Daughters of the Dust (Julie Dash, 1991) Sun Only
Eve’s Bayou (Kasi Lemmons, 1997) Mon Only
Il Sorpasso (Dino Risi, 1963) Weds Only
Learning to Drive (Isabel Coixet) Fri-Thurs
We Come as Friends (Hubert Sauper) Fri-Thurs
Station to Station (Doug Aitken) Fir-Sun
Listen to Me Marlon (Stevan Riley) Mon-Thurs
Queen of Earth (Alex Ross Perry) Fri-Thurs Our Review
Steve Jobs: The Man in the Machine (Alex Gibney) Fri-Thurs
Slow Learners (Sheena M. Joyce & Don Argott) Fri-Thurs
Mistress America (Noah Baumbach) Fri-Thurs Our Review
Learning to Drive (Isabel Coixet) Fri-Thurs
Phoenix (Christian Petzold) Fri-Thurs Our Review
Nashville (Robert Altman, 1975) Weds Only
It’s Already Tomorrow in Hong Kong (Emily Ting) Thurs Only
Dragon Blade (Daniel Lee) Fri-Thurs
The Visit (M. Night Shyamalan, 2015)
After a decade or so of wandering in the big-budget wilderness, a victim as much of hype as hubris, M. Night Shyamalan has made perhaps his most perfect film, or at least his best film since the 1999-2002 run that made him a household name. Ingeniously adapting to the budgetary and compositional constraints of the found-footage horror genre, turning an archetypally generic story into a jump scare machine both hilarious and deeply sad. Two kids, Becca age 15, an aspiring filmmaker, and Tyler age 13, an aspiring rapper, leave home to visit their grandparents for the first time. Their mother (the ubiquitous but nevertheless always great Kathryn Hahn) ran away from home at age 19 and hasn’t spoken to her parents since. But the kids being older now, a rapprochement is in order. The kids head to the country via Amtrak while mom goes on a cruise with her boyfriend. Becca has a dual purpose: she’s also going to make a film about the trip and her family, and this film in progress is the movie we’re watching.
Friday September 04 – Thursday September 10
Featured Film:
Film Festivals Around Town
Labor Day weekend sees the arrival of a trio of miniature film festivals on Seattle Screens. The Cinerama begins a two week series of 40 fan favorite films, each playing one time only in state of the art digital presentations. The SIFF Film Center hosts a short film festival in conjunction with Bumbershoot, featuring a number of shorts that played SIFF earlier this year. And Scarecrow Video dedicates its Screening Lounge to classic films by female directors from around the world.
Sign up for our newsletter and get the best of Seattle arthouse and repertory programming in your Inbox every Friday morning.
Playing This Week:
Jimmy’s Hall (Ken Loach) Fri-Thurs
Mistress America (Noah Baumbach) Fri-Thurs Our Review
Porco Rosso (Hayao Miyazaki, 1993) Fri-Weds Subtitles on Weds Only
The Big Lebowski (The Coen Brothers, 1998) Fri-Weds
West Side Story (Robert Wise & Jerome Robbins, 1961) Thurs Only
No Country for Old Men (The Coen Brothers, 2007) Fri Only
Vertigo (Alfred Hitchcock, 1958) Fri Only
The Big Lebowski (The Coen Brothers, 1998) Fri Only
Forrest Gump (Robert Zemeckis, 1994) Sat Only
Citizen Kane (Orson Welles, 1941) Sat Only
The Prisoner of Azkaban (Alfonso Cuaron, 2004) Sat Only
Inception (Christopher Nolan, 2010) Sat Only
The Wizard of Oz (Victor Fleming, 1939) Sun Only
The Sound of Music (Robert Wise, 1965) Sun Only
The Godfather (Francis Ford Coppola, 1972) Sun Only
Spirited Away (Hayao Miyazaki, 2001) Sun Only
American Graffiti (George Lucas, 1973) Mon Only
Butch Cassidy and the Sundance Kid (George Roy Hill, 1969) Mon Only
The Good, the Bad & the Ugly (Sergio Leone, 1966) Mon Only
Zombieland (Ruben Fleischer, 2010) Mon Only
Mad Max (George Miller, 1979) Tues Only
Ghostbusters (Ivan Reitman, 1984) Tues Only
The Blues Brothers (John Landis, 1980) Tues Only
Almost Famous (Cameron Crowe, 2001) Tues Only
On the Waterfront (Elia Kazan, 1954) Weds Only
Last of the Mohicans (Michael Mann, 1992) Weds Only
Pulp Fiction (Quentin Tarantino, 1994) Weds Only
Donnie Darko (Richard Kelly, 2001) Weds Only
Moulin Rouge! (Base Luhrmann, 2001) Thurs Only
Raiders of the Lost Ark (Steven Spielberg, 1981) Thurs Only
Monty Python & the Holy Grail (Terry Gilliam & Terry Jones, 1975) Thurs Only
Love and Mercy (Bill Pohlad) Fri-Thurs Our Interview
Mistress America (Noah Baumbach) Fri-Thurs Our Review
Bloodsucking Bastards (Brian James O’Connell) Fri-Sat Midnight
Phoenix (Christian Petzold) Fri-Thurs Our Review
Mistress America (Noah Baumbach) Fri-Thurs Our Review
Meru (Jimmy Chin & Elizabeth Chai Vasarhelyi) Fri-Thurs
Sunshine Superman (Marah Strauch) Tues Only
The Iron Ministry (JP Sniadecki) Mon-Thurs Our Review
Top Spin (Sara Newens & Mina T. Son) Fri-Thurs
Mistress America (Noah Baumbach) Fri-Thurs Our Review
Meru (Jimmy Chin & Elizabeth Chai Vasarhelyi) Fri-Thurs
Mistress America (Noah Baumbach) Fri-Thurs Our Review
Phantom (Kabir Khan) Fri-Tues
Learning to Drive (Isabel Coixet) Fri-Thurs
Bhale Bhale Magadivoi (Maruthi) Fri-Thurs
Welcome Back (Anees Bazmee) Fri-Tues
Stripes (Ivan Reitman) Sun & Weds Only
Irrational Man (Woody Allen) Fri-Thurs
Steve Jobs: The Man in the Machine (Alex Gibney) Fri-Thurs
Human Highway: Director’s Cut (Neil Young & Dean Stockwell) Fir-Sun
Dance Film Salon: Vertigo Bird and Vashava Mon Only
Learning to Drive (Isabel Coixet) Fri-Thurs
Mistress America (Noah Baumbach) Fri-Thurs Our Review
Angrej (Simerjit Singh) Fri-Thurs
Scarecrow Video Screening Lounge:
Seattle Screen Scene 
