SIFF 2015 Preview: Week One

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The 2015 edition of the Seattle International Film festival kicks off this Thursday, May 14th and we here at Seattle Screen Scene are planning some extensive coverage. We’ll be watching and reviewing as many festival films as we can over the next several weeks, and highlighting some you may want to check out. As a preview, here’s a list of some of our most-anticipated films from the festival’s first week. We’ll add links to the titles as we review them.

Week of May 15 – May 21:

The Look of SilenceThe much-buzzed about sequel to The Act of Killing focuses on the families of those lost in Indonesian genocide.

Results – The latest from Andrew Bujalski, the director of Computer Chess, is a romantic comedy with Guy Pearce, Cobie Smulders and Kevin Corrigan. The first of two movies starring Cobie Smulders at this year’s festival.

Seoul Searching – A comedy about diasporic Korean teens at a summer camp from Korean-American director Benson Lee.

When Marnie Was There – Possibly the last ever feature from Studio Ghibli, a gothic ghost story/coming of age tale from director Hiromasa Yonebayashi (The Secret of Arietty) that recalls some of the best films of Val Lewton.

The Red Shoes – A new restoration of Michael Powell & Emeric Pressburger’s 1948 film about the incompatibility of music, ballet and life that is simply one of the best movies ever made.

The Coffin in the Mountain – Three stories linked by the discovery of a mysterious corpse in a remote Chinese village. Directed by Xin Yukun.

Snow on the Blades – Director Setsuro Wakamatsu’s film about a samurai’s 13 year quest for vengeance in the 1860s, during the waning days of the Tokugawa shogunate as Japan begins rapidly modernizing.

Beyond Zero 1914-1918 – Director Bill Morrison’s excavation of never-before-seen World War I footage combined with a new score commissioned by the Kronos Quartet.

natural history – Experimental filmmaker James Benning’s exploration of the Museum of Natural History in Vienna.

Little Forest: Summer/Autumn – First two parts of a four-part movie about a woman who moves to the country and finds meaning in the growing and cooking of food. Like a Food Network version of Only Yesterday or No Regrets for Our Youth.

Little Forest: Winter/Spring – The other two parts. Directed by Junichi Mori.

Haemoo – First feature from director Shim Sungbo, who co-wrote Bong Joonho’s acclaimed Memories of Murder. A thriller about a fisherman’s disastrous attempt to smuggle Chinese immigrants into Korea.

A Hard Day – Another Korean thriller, this one about a cop who accidentally kills someone and tries to cover it up, like a black comic variation on Where the Sidewalk Ends.

Virtuosity – A documentary about a quadrennial piano competition held in Ft. Worth, Texas, where the young and elite compete for a chance at classical music stardom.

Temporary Family – Hong Kong screwball comedy about a man who has one year to buy an apartment so his girlfriend will marry him. So he invests in a luxury apartment with three other people in the hope of flipping it. I’m imagining a HK version of The More the Merrier. Starring Sammi Cheng, Nick Cheung and Angelababy and directed by Cheuk Wan-chi.

The Color of Pomegranates – Restored version of Sergei Parajonov’s 1968 film about Armenian poet Sayat Nova that is surely one of the most oblique, and weirdly beautiful biopics ever made.

Friday May 8 – Thursday May 14

Featured Film:

The Triplets of Belleville at the Central Cinema

Sylvain Chomet’s 2003 animated classic about cycling, jazz and questionable eating habits comes to the Central Cinema as part of an unlikely pair of films about bicycles. It’s an art nouveau Finding Nemo as designed by Jacques Tati. Our Preview.
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Playing This Week:

Admiral Theater:

What We Do in the Shadows (Jemaine Clement & Taika Waititi) Fri-Thurs Our Preview

Ark Lodge Cinemas:

White God (Kornél Mundruczó) Fri-Thurs

Central Cinema:

The Triplets of Belleville (Sylvain Chomet, 2003) Fri-Tues
Rad (Hal Needham, 1986) Fri-Weds

Century Federal Way:

Steel Magnolias (Herbert Ross, 1989) Sun Only

SIFF Cinema Egyptian:

Iris (Albert Maysles) Fri-Weds
The Rocky Horror Picture Show (Jim Sharman, 1975) Sat Midnight Only

Grand Cinema:

Clouds of Sils Maria (Olivier Assayas) Fri-Thurs Our Preview
Timbuktu (Abderrahmane Sissako) Tues Only

Grand Illusion Cinema:

Seattle Transmedia & Independent Film Festival Program Details
Roar (Noel Marshall) Sun, Weds and Thurs Only
Hallucinatory Maps (Georg Koszulinski) Tues Only Video & 16mm
Out of Print (Julia Marchese) Weds Only 35mm Director in attendance
Grindhouse Releasing presents Trailer Apocalypse Thurs Only 35mm

Cinemark Lincoln Square Cinemas:

Steel Magnolias (Herbert Ross, 1989) Sun Only

AMC Pacific Place:

Maggie (Henry Hobson) Fri-Thurs
Left Ear (Alec Su) Fri-Thurs

Scarecrow Video Screening Lounge:

Mother’s Day (Charles Kaufman, 1980) Fri Only
The Guy from Harlem (Rene Martinez Jr, 1977) Sat Only
Mildred Pierce (Michael Curtiz, 1945) Sun Only
Trigger, Jr (William Witney, 1950) Mon Only
Baffled (Philip Leacock, 1973) Tues Only
True Stories (David Byrne, 1986) Weds Only
Exterminators of the Year 3000 (Giuliano Carnimeo, 1983) Thurs Only

Seattle Art Museum:

Black Box 2.0: Landscapes, Revisited Fri Only
One Deadly Summer (Jean Becker, 1983) Thurs Only 35mm

Landmark Seven Gables:

Clouds of Sils Maria (Olivier Assayas) Fri-Thurs Our Preview

SIFF Film Center:

What We Do in the Shadows (Jemaine Clement & Taika Waititi) Fri-Sun Our Preview 

Sundance Cinemas Seattle:

Iris (Albert Maysles) Fri-Thurs
5 Flights Up (Richard Loncraine) Fri-Thurs
Lambert & Stamp (James D. Cooper) Fri-Thurs

SIFF Cinema Uptown:

Tangerines (Zaza Urushadze) Fri-Weds

Varsity Theatre:

Adult Beginners (Ross Katz) Fri-Thurs

The Triplets of Belleville (Sylvain Chomet, 2003)

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We at Seattle Screen Scene find ourselves deep in preparation for the Seattle International Film Festival (we’re planning extensive coverage, look for our preview sometime early next week), but before we start rolling that out, here’s our Featured Film of the week, Sylvain Chomet’s 2003 Oscar nominee for Best Animated Film, The Triplets of Belleville. Like that year’s Oscar winner, Finding Nemo, the movie is about a parent searching for their lost child, questing through a strange and wondrous world, having adventures and finding help along the way. But otherwise the two films couldn’t be more different, Bellville abandoning the impressive photo-realism of Pixar’s crisp computer images for a highly stylized reality, bodies and shapes distended and distorted in extreme art nouveau parodies of pale yellows, browns and greens, earthy and bilious, daring you to call it ugly.

It opens, as all great films do, with a cartoon. A black and white parody of the 1930s Warner Bros animated shorts that featured celebrity caricatures, with a Django Reinhardt (who looks weirdly like William Powell), a Josephine Baker (the men in the audience, transformed by the eroticism of her dance, turn into psychotic monkeys who rush the stage and steal all the bananas off her skirt) and Fred Astaire who tap dances right out of his shoes, which then grow mouths and devour him like carnivorous Cronenbergian beasts. Right away you know you’re in for something special.

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The quest plot follows a woman’s search for her grandson. He’s kidnapped while cycling in the Tour de France and she (along with his faithful dog Bruno) follow his abductors to the city of Belleville, a version of New York City. She’s aided in the search by the eponymous trio, elderly jazz musicians (they sang in the opening cartoon, in their youth) who find rhythm in unlikely household objects and have questionable dietary practices. Food is actually pretty disgusting throughout the film, a part of Chomet’s twin critiques of French and American culture: America is fat and disgusting, the source of overcrowded and soulless modernity; France is pretty gross too, but at least has an appreciation for the finer things in life like wine, jazz and bicycling.

Almost entirely lacking in dialogue (what there is it isn’t necessary to translate), the film is nevertheless resolutely aural, every effect a calculated addition to the symphonic whole, following in the tradition of Jacques Tati (even if you didn’t know Chomet would go on to adapt Tati’s The Illusionist, the reference is obvious: Belleville prominently features a M. Hulot’s Holiday poster, a weather vane in the shape of Tati from Jour de fête and even an actual clip from that same film (in which Tati plays a bicycle-riding mailman)). Similarly, while severely distorted, the bodies in the film follow a ruthlessly inviolable logic: giant mobsters with huge upper bodes and tiny legs dwarf the cars they ride in, as they stand through the sun-roofs of those cars in the final chase sequence, the balance of the vehicle is thrown off and sharp turns cause them to flip over, the villains doomed by their own enormity; a maitre’d so literally spineless in his obsequity that he literally leans over backwards, his head flopping back-to-front and side-to-side. What appears to be simple chaotic weirdness is in fact carefully constructed and calculated to achieve a specific effect, which I guess is a reasonably good definition of jazz.

A wickedly funny, strangely poignant and wildly inventive film, The Triplets of Belleville plays Friday through Tuesday this week at the Central Cinema, whose clever programmers have paired it with another classic about bicycling, the 1986 Hal Needham BMX film, Rad, with Lori Laughlin.

Friday May 1 – Thursday May 7

Featured Film:

Clouds of Sils Maria at the Seven Gables

Juliette Binoche and Kristen Stewart headline the latest from director Olivier Assayas, opening this week at the Seven Gables. Binoche plays a middle-aged actress reluctantly taking on the role of the older half of a poisonous relationship in a play she performed the younger role in in her own youth. Stewart is her steadfast assistant as the two discuss the play, acting in general and internet gossip in the Swiss Alps. Our Preview.
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Playing This Week:

Admiral Theater:

What We Do in the Shadows (Jemaine Clement & Taika Waititi) Fri-Thurs Our Preview

Central Cinema:

My Neighbor Totoro (Hayao Miyazaki, 1988) Fri-Weds
Serenity (Joss Whedon, 2005) Fri-Weds
2001: A Space Odyssey (Stanley Kubrick, 1969) Thurs Only

Century Federal Way:

Big Trouble in Little China (John Carpenter, 1986) Sun Only

SIFF Cinema Egyptian:

Kurt Cobain: Montage of Heck (Brett Morgen) Fri-Sun Only
Gimme Shelter (Albert & David Maysles & Charlotte Zwerin, 1970) Mon-Weds Only
The Rolling Stones: Crossfire Hurricane (Brett Morgen, 2012) Mon-Weds Only

Grand Cinema:

Ballet 422 (Jody Lee Lipes) Fri-Mon, Weds-Thurs Our Preview
1971 (Johanna Hamilton) Fri-Thurs
Backcountry (Adam MacDonald) Fri-Thurs
An Honest Liar (Justin Weinstein, 1979) Fri-Sun, Tues-Thurs
Seymour: An Introduction (Ethan Hawke) Fri-Thurs
The Wrecking Crew (Denny Tedesco, 2008) Fri-Thurs
Merchants of Doubt (Robert Kenner) Fri-Thurs
The Hunting Ground (Kirby Dick) Sat-Thurs
Return of the River (John Gussman & Jessica Plumb) Tues Only
Endless Abilities (Tripp Clemens & Harvey Burrell) Weds Only

Grand Illusion Cinema:

Seattle Transmedia & Independent Film Festival Program Details

Landmark Guild 45th:

The Salt of the Earth (Wim Wenders & Juliano Ribeiro Salgado) Fri-Thurs

Cinemark Lincoln Square Cinemas:

Big Trouble in Little China (John Carpenter, 1986) Sun Only

Majestic Bay Theatre:

What We Do in the Shadows (Jemaine Clement & Taika Waititi) Fri-Thurs Our Preview

Northwest Film Forum:

Man from Reno (Dave Boyle) Fri-Mon
BFE: DVD Release Party! (Shawn Telford) Sat Only
Gringo Trails (Pegi Vail) Sun Only
Balikbayan #1 (Kidlat Tahimik) Tues Only

AMC Pacific Place:

Kung Fu Killer (Teddy Chan) Fri-Thurs Our Preview

Regal Parkway Plaza:

You’re My Boss (Antoinette Jadaone) Fri-Thurs

Scarecrow Video Screening Lounge:

The Big Combo (Joseph H. Lewis, 1955) Fri Only
Malatesta’s Carnival of Blood (Christopher Speeth, 1973) Sat Only
Freaky Friday (Gary Nelson, 1976) Sun Only
Daisies (Vera Chytilová, 1966) Sun Only
Randy Rides Alone (Harry L. Fraser, 1934) Mon Only
Spellbound (Alfred Hitchcock, 1945) Tues Only
A Gnome Named Gnorm (Stan Winston, 1990) Weds Only
Ladies and Gentlemen, The Fabulous Stains (Lou Adler, 1982) Thurs Only

Seattle Art Museum:

Black Box 2.0 Opening Night Program Details
Le cercle rouge (Jean-Pierre Melville, 1970) Thurs Only 35mm

Landmark Seven Gables:

Clouds of Sils Maria (Olivier Assayas) Fri-Thurs Our Preview

SIFF Film Center:

What We Do in the Shadows (Jemaine Clement & Taika Waititi) Fri-Sat Our Preview 
Song of the Sea (Tomm Moore) Mon Only
In Country (Mike Attie & Meghan O’Hara) Fri-Sun Only

Sundance Cinemas Seattle:

Felix and Meira (Maxime Giroux) Fri-Thurs
Misery Loves Comedy (Kevin Pollack) Fri-Thurs
Wild Tales (Damián Szifrón) Fri-Thurs Our Preview
What We Do in the Shadows (Jemaine Clement & Taika Waititi) Fri-Thurs Our Preview

SIFF Cinema Uptown:

What We Do in the Shadows (Jemaine Clement & Taika Waititi) Sun-Weds Our Preview
Adult Beginners (Ross Katz) Fri-Thurs
Best of HUMP! Tour 2015 Fri-Sat Only
Frozen (Jennifer Lee, 2013) Sat Only Sing-along
Song of the Sea (Tomm Moore) Sat-Sun Only

Varsity Theatre:

Adult Beginners (Ross Katz) Fri-Weds

Clouds of Sils Maria (Olivier Assayas, 2014)

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The latest from French director Olivier Assayas finally makes its way to Seattle screens this week, opening at Landmark’s Seven Gables Theatre. It stars Juliette Binoche as a very Binochian actress, highly accomplished in both the commercial and artier realms of her trade, as she reluctantly takes on a role in a play by the writer who gave her her big break at age 18. The play is about the toxic relationship between an older businesswoman and her ambitious young intern, and Binoche, having played the young half 20 years earlier, is now asked to take on the older part, a character whose weakness she despises. Kristen Stewart plays Binoche’s assistant, young and plugged into the world, who encourages Binoche to see the play and its characters in a new light. The bulk of the film follows their discussions as they practice lines in the picturesque Swiss Alps, and their relationship draws some expected parallels and unexpected divergences from the play itself.

Continue reading Clouds of Sils Maria (Olivier Assayas, 2014)”

Kung Fu Jungle (Teddy Chan, 2014)

kfj-pics-1The latest acclaimed Hong Kong film to sneak onto Seattle Screens at the AMC Pacific Place (following Johnnie To’s Don’t Go Breaking My Heart 2 and Tsui Hark’s The Taking of Tiger Mountain, among other recent hits) is a new collaboration between director Teddy Chan and star/choreographer Donnie Yen. The two were previously paired in Chan’s 2009 period adventure film about Sun Yat-sen, Bodyguards and Assassins, but this new film is more in line with Yen’s present-day cop films SPL and Flash Point, both made with director Wilson Yip. Yen plays a kung fu expert serving a prison sentence for accidentally killing a man in a duel. Three years into his term, the cops are on the hunt for a serial killer, one who appears to be targeting kung fu experts. Donnie volunteers his services to track down the killer, but of course he knows more than he’s letting on. As with the Yip films, the action is brutally physical, aided in no small measure by CGI special effects, the impact of which is still working its way uneasily through the language of Hong Kong action cinema.

Continue reading Kung Fu Jungle (Teddy Chan, 2014)”

Oklahoma! (Fred Zinnemann, 1955)

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The Cinerama’s Saturday Classics series concludes this weekend with the laser projection of 1955’s smash hit musical Oklahoma!. The following is the review I wrote of the film last year, after finally bringing myself to watch it all the way through.

Richard Rodgers and Oscar Hammerstein II are generally credited with ushering in a Golden Age of musical theatre, this 1943 play marking the first truly integrated show, with music, lyrics and story seamlessly interwoven. Of course it wasn’t the first (Show Boat did much the same thing 15 years earlier, to say nothing of the operettas from the 19th century onward that did as well, but whatever), but it was a huge hit, inspiring many imitators, some of which are actually good. Similarly, the 1955 film adaptation was followed by a new form of musical film: more or less direct translations of stage musicals, often excruciatingly long, presented as roadshow extravaganzas (more expensive tickets, super widescreen formats, elaborate sets and locations). These films, increasingly bloated and dull, eventually killed the musical as a viable American film genre and played no small role in bankrupting the studio system that had been in place in Hollywood since the 1920s.

Continue reading Oklahoma! (Fred Zinnemann, 1955)”

Friday April 24 – Thursday April 30

Featured Film:

The Tales of Hoffmann at the Cinerama

The Cinerama this week presents Michael Powell and Emeric Pressburger’s musical follow-up to The Red Shoes. An adaptation of the Jacques Offenbach opera, itself based on a trio of stories by author ETA Hoffman, melding ballet, music and romantic melodrama into a glorious Technicolor fantasy. Our Preview.
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Playing This Week:

Admiral Theater:

What We Do in the Shadows (Jemaine Clement & Taika Waititi) Fri-Thurs Our Preview

Central Cinema:

Rope (Alfred Hitchcock, 1948) Fri, Sun-Weds
Slither (James Gnn, 2006) Fri, Sun-Weds

Century Federal Way:

Twenty (Lee Byeong-heon) Fri-Thurs
Tootsie (Sydney Pollack, 1982) Sun Only

Cinerama:

The Tales of Hoffmann (Michael Powell & Emeric Pressburger, 1951) Fri-Tues Our Preview
Oklahoma! (Fred Zinnemann, 1955) Sat Only Laser Projection Our Preview

Landmark Crest Cinema Center:

Song of the Sea (Tomm Moore) Fri-Thurs

SIFF Cinema Egyptian:

Kurt Cobain: Montage of Heck (Brett Morgen) Fri-Thurs

Grand Cinema:

GETT: The Trial of Viviane Amsalem (Shlomi & Ronit Elkabetz) Sat & Tues Only
Captain Abu Raed (Amin Matalqa, 2007) Sun Only
TCC Diversity Film Series Short Films Weds Only

Grand Illusion Cinema:

Amour fou (Jessica Hausner) Fri-Thurs
Roar (Noel Marshall, 1981/2014) Fri-Sun, Thurs
Planetary (Guy Reid) Sun Only
Excinema (Various) Tues Only Video & 16mm

Cinemark Lincoln Square Cinemas:

Dohchay (Sudheer Varma) Fri-Thurs
Tootsie (Sydney Pollack, 1982) Sun Only

Majestic Bay Theatre:

What We Do in the Shadows (Jemaine Clement & Taika Waititi) Fri-Thurs Our Preview

Regal Meridian:

Let’s Get Married (Liu Jiang) Fri-Thurs
Desert Dancer (Richard Raymond) Fri-Thurs

Northwest Film Forum:

Yakona: Journey Through the Eyes of a River (Paul Collins and Anlo Sepulveda) Fri-Sat Only Live Music, Filmmakers in Attendance

AMC Pacific Place:

Kung Fu Killer (Teddy Chan) Fri-Thurs Our Preview

Regal Parkway Plaza:

You’re My Boss (Antoinette Jadaone) Fri-Thurs

Scarecrow Video Screening Lounge:

Ghost in the Shell (Mamoru Oshii, 1995) Fri Only
Fandango (Kevin Reynolds, 1985) Sat Only
The House of Mirth (Terrence Davies, 2000) Sun Only
The Hedgehog (Mona Achache, 2009) Sun Only
A Pistol for Ringo (Duccio Tessari, 1965) Mon Only
Rope (Alfred Hitchcock, 1948) Tues Only
The Taste of Tea (Katsuhito Ishii, 2004) Weds Only
Women Without Men (Shirin Neshat & Shoja Azari, 2009) Thurs Only

Seattle Art Museum:

Army of Shadows (Jean-Pierre Melville, 1969) Thurs Only 35mm

Landmark Seven Gables:

The Salt of the Earth (Wim Wenders & Juliano Ribeiro Salgado) Fri-Thurs

SIFF Film Center:

GETT: The Trial of Viviane Amsalem (Shlomi & Ronit Elkabetz) Fri-Sun 
What We Do in the Shadows (Jemaine Clement & Taika Waititi) Fri-Sun, Weds Our Preview 
Mommy (Xavier Dolan) Mon Only
In Country (Mike Attie & Meghan O’Hara) Thurs Only

Sundance Cinemas Seattle:

Deli Man (Erik Anjou) Fri-Thurs
Black Souls (Francesco Munzi) Fri-Thurs
5 to 7 (Victor Levin) Fri-Thurs
Wild Tales (Damián Szifrón) Fri-Thurs Our Preview
What We Do in the Shadows (Jemaine Clement & Taika Waititi) Fri-Thurs Our Preview

SIFF Cinema Uptown:

What We Do in the Shadows (Jemaine Clement & Taika Waititi) Sun-Tues, Thurs Our Preview
GETT: The Trial of Viviane Amsalem (Shlomi & Ronit Elkabetz) Mon-Thurs
Adult Beginners (Ross Katz) Mon Only Nick Kroll in Attendance
Best of HUMP! Tour 2015 Starts Thurs

The Tales of Hoffmann (Michael Powell & Emeric Pressburger, 1951)

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After the smashing success of 1948’s The Red Shoes, with its lengthy fantasy ballet sequence fusing the stage arts with effects possible only in cinema, the writing-directing-producing team of Michel Powell and Emeric Pressburger wanted to make a truly operatic film. In 1951, they adapted Jacques Offenbach’s mostly-finished fantasy opera The Tale of Hoffman, adapted from three stories by writer ETA Hoffmann. Truly pan-European in concept, it’s an English film adapting a French variation on an Italian art form based on stories from a German author drawing on Central European folk traditions (whose story The Nutcracker is also the basis for the most famous of all Russian ballets). The film is entirely dialogue-free, every line sung in an English adaptation of Offenbach’s score by opera professionals, all pre-recorded with the film edited to match the score (all but two of the actors are dubbed, only star Richard Rounseville and Ann Ayars sing their own parts). Divided in three sections with a frame story, Rounseville plays Hoffmann, who is in love with a ballerina named Stella (Moira Shearer, star of The Red Shoes). During an intermission in her performance, he goes to a bar and gets drunk, telling an assembly of students stories of his three past loves gone wrong. Those stories, about women named Olympia, Giulietta and Antonia, are then dramatized as operettas within the whole.

Continue reading The Tales of Hoffmann (Michael Powell & Emeric Pressburger, 1951)”

Friday April 17 – Thursday April 23

Featured Film:

Jauja at the Northwest Film Forum

Viggo Mortensen stars in the latest from acclaimed Argentinian director Lisandro Alonso, playing a Danish engineer in 19th Century Patagonia who must set out across the desert in search of his runaway daughter. Inspiring comparisons as diverse as The Searchers, the mystical films of Apichatpong Weerasethakul and the Insanity Pepper episode of The Simpsons, it was one of the best films of 2014. Our Preview.
Sign up for our newsletter and get the best of Seattle arthouse and repertory programming in your Inbox every Friday morning.

Playing This Week:

Ark Lodge Cinemas:

Wild Tales (Damián Szifrón) Fri-Thurs Our Preview

Central Cinema:

The Last Starfighter (Nick Castle, 1984) Fri-Tues
Drop Dead Gorgeous (Michael Patrick Jann, 1999) Fri-Tues

Century Federal Way:

Patta Patta Singhan Da Vairy (PVS) (Naresh S. Garg) Fri-Thurs
The Sound of Music (Robert Wise, 1965) Sun & Weds Only

Cinerama:

North by Northwest (Alfred Hitchcock, 1959) Sat Only Laser Projection

Landmark Crest Cinema Center:

Song of the Sea (Tomm Moore) Fri-Thurs

SIFF Cinema Egyptian:

The Hunting Ground (Kirby Dick) Fri-Thurs
The Rocky Horror Picture Show (Jim Sharman, 1975) Sat Midnight Only
Kurt Cobain: Montage of Heck (Brett Morgen) Starts Thurs

Grand Cinema:

Annie (John Huston, 1982) Sat Only
The Little Tin Man (Matthew Perkins, 2013) Tues Only
Planetary (Guy Reid) Weds Only
Alive Inside: A Story of Music and Memory (Michael Rossato-Bennett) Thurs Only

Grand Illusion Cinema:

Of Horses and Men (Benedikt Erlingsson) Sat & Sun Only
1971 (Johanna Hamilton) Fri-Thurs
Backcountry (Adam MacDonald) Fri-Thurs

Cinemark Lincoln Square Cinemas:

Ex Machina (Alex Garland) Fri-Thurs
Detective Byomkesh Bakshy (Dibakar Banerjee) Fri-Thurs
The Sound of Music (Robert Wise, 1965) Sun & Weds Only

Majestic Bay Theatre:

What We Do in the Shadows (Jemaine Clement & Taika Waititi) Fri-Thurs Our Preview

Regal Meridian:

Let’s Get Married (Liu Jiang) Fri-Thurs
Desert Dancer (Richard Raymond) Fri-Thurs
Ex Machina (Alex Garland) Fri-Thurs

Northwest Film Forum:

Jauja (Lisandro Alonso) Fri-Thurs Our Preview
Cheatin’ (Bill Plympton) Fri-Tues
World of Tomorrow (Don Hertzfeldt) Sat, Sun & Tues Only Short, plays with Cheatin’ 
Maria Tallchief (Sandy Osawa) Fri Only Director in attendance
Speaking of Dying Sat Only
Sweet 16 (Millimeter) Sat Only 16mm
North by Pacific Northwest: the Films of Kelly Sears Sun Only
Alien (Ridley Scott, 1979) Mon Only Live score by Newaxeyes
Horrorism for Beginners, Beginners for Horrorism (Juan David González Monroy & Anja Dornieden) Thurs Only 16mm, Filmmakers in attendance

Regal Parkway Plaza:

You’re My Boss (Antoinette Jadaone) Fri-Thurs

Scarecrow Video Screening Lounge:

Whale Rider (Niki Caro, 2003) Fri Only
The Seventh Curse (Lam Ngai Kai, 1986) Fri Only
April Fool’s Day (Fred Walton, 1986) Sat Only
A Room with a View (James Ivory, 1985) Sun Only
Last Life in the Universe (Pen-Ek Ratanaruang, 2003) Sun Only
Chris Marker Group Mon Only
Strangers on a Train (Alfred Hitchcock, 1951) Tues Only
The Cat (Lam Ngai Kai, 1992) Weds Only
Listen to Me (Douglas Day Stewart, 1989) Thurs Only

Seattle Art Museum:

Le Doulos (Jean-Pierre Melville, 1962) Thurs Only 35mm

Landmark Seven Gables:

The Salt of the Earth (Wim Wenders & Juliano Ribeiro Salgado) Fri-Thurs

SIFF Film Center:

Tootsie (Sydney Pollack, 1982) Sat Only Cinema Dissection 
White God (Zsófia Psotta) Mon-Thurs

Sundance Cinemas Seattle:

Deli Man (Erik Anjou) Fri-Thurs
Desert Dancer (Richard Raymond) Fri-Thurs
Beyond the Reach (Jean-Baptiste Léonetti) Fri-Thurs
5 to 7 (Victor Levin) Fri-Thurs
Mr. Turner (Mike Leigh) Fri-Thurs
Wild Tales (Damián Szifrón) Fri-Thurs Our Preview
Kumiko the Treasure Hunter (David Zellner) Fri-Thurs Our Preview
What We Do in the Shadows (Jemaine Clement & Taika Waititi) Fri-Thurs Our Preview

SIFF Cinema Uptown:

What We Do in the Shadows (Jemaine Clement & Taika Waititi) Fri-Thurs Our Preview
GETT: The Trial of Viviane Amsalem (Shlomi & Ronit Elkabetz) Fri-Thurs
White God (Abderrahmane Sissako) Fri-Sun
Timbuktu (Abderrahmane Sissako) Mon Only
The Long Night (Tim Matsui, 2012) Weds Only
Wild & Scenic Film Festival Thurs Only