Friday January 24 – Thursday January 30

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Featured Film:

Chinese Portraits and Ghosts at the Beacon

This weekend is Lunar New Year, but because of the coronavirus outbreak in China, two of the week’s biggest releases were cancelled at the last minute. We hope to see detective Chinatown 3 and Dante Lam’s The Rescue sometime soon, but in the meantime, the Beacon has got us covered for our Lunar New Year needs. Saturday night, they’re playing Ching Siu-tung and Tsui Hark’s seminal 1987 fantasy wuxia A Chinese Ghost Story, with Leslie Cheung and Joey Wong. It’s a story from Strange Tales from a Chinese Studio, done in the style of Evil Dead 2. And Friday through Sunday, they have the local premiere of Wang Xiaoshuai’s fascinating experimental documentary Chinese Portrait. Also at the Beacon this week, our friends at the Suspense is Killing Us podcast are presenting Brian de Palma’s Blow Out Tuesday night.

Playing This Week:

The Beacon Cinema:

Chinese Portrait (Wang Xiaoshuai) Fri-Sun Our Review 
Xtro (Harry Bromley Davenport, 1982) Fri Only 
Dog Day Afternoon (Sidney Lumet, 1975) Sat, Mon & Weds Only 
Fantastic Planet (René Laloux, 1973) Sat, Mon & Tues Only 
A Chinese Ghost Story (Ching Siu-tung, 1987) Sat Only 
Patlabor 2 The Movie (Mamoru Oshii, 1993) Sun Only 
Remains of the Day (James Ivory, 1993) Sun Only 
Blow Out (Brian De Palma, 1981) Tues Only 
The Driver (Walter Hill, 1978) Weds & Thurs Only 
Song to the Siren: The Beacon Guide to 4D Thurs Only 

Central Cinema:

The Muppet Movie (James Frawley, 1979) Fri-Weds 
Troll 2 (Claudio Fragasso, 1990) Fri-Weds Hecklevision

SIFF Egyptian:

Color Out of Space (Richard Stanley) Fri-Thurs 

Century Federal Way:

Weathering with You (Makoto Shinkai) Fri-Thurs Subtitled 

Grand Cinema:

Santa Sangre (Alejandro Jodorowsky, 1989) Sat Only 
Midnight Family (Luke Lorentzen) Tues Only 

Grand Illusion Cinema:

The Cave (Feras Fayyad) Fri-Thurs 
VHYes (Jack Henry Robbins) Fri-Thurs  
Saturday Secret Matinees Sat Only 

Cinemark Lincoln Square:

Weathering with You (Makoto Shinkai) Fri-Thurs Subtitled or Dubbed, Check Listings
Ala Vaikunthapurramullo (Trivikram Srinivas) Fri-Thurs 
Tanhaji: The Unsung Warrior (Om Raut) Fri-Thurs 
Sarileru Neekevvaru (Anil Ravipudi) Fri-Thurs 
Disco Raja (Vi Anand) Fri-Thurs
Panga (Ashwiny Iyer Tiwari) Fri-Thurs 
Street Dancer 3 (Remo D’Souza) Fri-Thurs 
Darbar (A.R. Murugadoss) Sat Only 
Anjaam Pathira (Midhun Manuel Thomas) Sat & Sun Only 

Regal Meridian:

Weathering with You (Makoto Shinkai) Fri-Thurs Subtitled or Dubbed, Check Listings

Northwest Film Forum:

Redoubt (Matthew Barney) Fri & Sat Only  
Always in Season (Jacqueline Olive) Fri-Sun Filmmaker Q&A Fri
2019 Sundance Film Festival Short Film Tour Sat, Sun & Weds  
Murder on a Sunday Morning (Jean-Xavier de Lestrade, 2001) Sun Only  
The Swan (Ása Hjörleifsdóttir, 2017) Sun Only  
Visionaries: Pioneering Experimental Shorts Weds Only 16mm
Train of Life (Radu Mihăileanu, 1998) Thurs Only  
Botero (Don Millar) Thurs-Next Sun  

Regal Parkway Plaza:

Street Dancer 3 (Remo D’Souza) Fri-Thurs 
Miracle in Cell No. 7 (Lee Hwan-kyung) Fri-Thurs 
Tanhaji: The Unsung Warrior (Om Raut) Fri-Thurs 
Pain & Glory (Pedro Almodóvar) Fri-Thurs 
Good Newwz (Raj Mehta) Fri-Thurs 

AMC Seattle:

Les misérables (Ladj Ly) Fri-Thurs

Seattle Art Museum:

Claire’s Knee (Eric Rohmer, 1970) Thurs Only 

SIFF Film Center:

Little Joe (Jessica Hausner) Fri-Sun 

AMC Southcenter:

Weathering with You (Makoto Shinkai) Fri-Thurs Subtitled

Regal Thornton Place:

Weathering with You (Makoto Shinkai) Fri-Thurs Subtitled or Dubbed, Check Listings

SIFF Uptown:

White Snake (Amp Wong & Zhao Ji) Sat Only Our Review

Varsity Theatre:

Fantastic Fungi (Louie Schwartzberg) Fri-Thurs 
Les misérables (Ladj Ly) Fri-Thurs

In Wide Release:

The Rise of Skywalker (JJ Abrams) Our Review 
Little Women (Greta Gerwig) Our Review
Parasite (Bong Joonho) Our Review Our Podcast
Once Upon a Time in Hollywood (Quentin Tarantino) Our Review Our Other Review
 

Friday January 17 – Thursday January 23

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Featured Film:

Zu: Warriors from the Magic Mountain at the Beacon

The early evening showing of Death Race 2000 on Saturday is sold out, so unless you’ve already got a ticket, you’re not going to be able to make yourself a killer double feature of it and Tsui Hark’s fantasy wuxia masterpiece. If you are going to Death Race though, you owe it to yourself to stick around for the late show, because movies don’t get any wilder than Zu: Warriors from the Magic Mountain, which is about Yuen Biao being a human in a war between color-coded armies (he fights Sammo Hung, as usual) who gets lost in the middle of a war between the gods and somehow might end up saving everyone. It’s part of a Beacon miniseries on 80s fantasy wuxia, with Tsui and Ching Siu-tung’s A Chinese Ghost Story (another indisputable classic) to follow next week and Holy Flame of the Martial World the week after that. Elsewhere around town, Makoto Shinkai’s Weathering with You is a worthy follow-up to his excellent Your Name. and the Rohmer series continues at SAM with Claire’s Knee. Also at the Beacon: many versions of Alec Guiness get killed in Kind Hearts and Coronets.

Playing This Week:

AMC Alderwood:

Ashfall (Lee Hae-jun & Kim Byung-seo) Fri-Thurs 
A Hidden Life (Terrence Malick) Fri-Thurs Our Podcast 

Ark Lodge Cinemas:

Fantastic Fungi (Louie Schwartzberg) Fri-Thurs 

The Beacon Cinema:

Kind Hearts and Coronets (Robert Hamer, 1949) Fri-Thurs 
Lifeforce (Tobe Hooper, 1985) Fri Only 
The Little Mermaid (Karel Kachyna, 1976) Sat-Mon & Weds Only 
Death Race 2000 (Paul Bartel, 1975) Sat Only 
Zu: Warriors of the Magic Mountain (Tsui Hark, 1983) Sat Only 
Macross: Do You Remember Love? (Shōji Kawamori, Noboru Ishiguro, 1984) Sun Only 
Property is No Longer a Theft (Elio Petri, 1973) Sun Only 
Tampopo (Juzo Itami, 1985) Tues Only 

Central Cinema:

Dr. Strangelove (Stanley Kubrick, 1964) Fri-Weds 
Freaks (Tod Browning, 1932) Fri-Weds 

SIFF Egyptian:

Color Out of Space (Richard Stanley) Weds Only 

Century Federal Way:

Weathering with You (Makoto Shinkai) Fri-Thurs Subtitled or Dubbed, Check Listings
Ashfall (Lee Hae-jun & Kim Byung-seo) Fri-Thurs 
An American in Paris (Vincente Minnelli, 1951) Sun Only 

Grand Cinema:

March of the Penguins (Luc Jacquet, 2005) Sat Only Free Screening
The Princess Bride (Rob Reiner, 1987) Sat Only 
The Kingmaker (Lauren Greenfield) Tues Only 
Color Out of Space (Richard Stanley) Weds Only 

Grand Illusion Cinema:

Queen of Hearts (May el-Toukhy) Fri-Thurs 
The Wave (Gille Klabin) Fri-Sun, Weds 
Saturday Secret Matinees Sat Only 

Cinemark Lincoln Square:

Weathering with You (Makoto Shinkai) Fri-Thurs Subtitled or Dubbed, Check Listings
Ala Vaikunthapurramullo (Trivikram Srinivas) Fri-Thurs 
Darbar (A.R. Murugadoss) Fri-Thurs In Tamil or Telugu, Check Listings
Sarileru Neekevvaru (Anil Ravipudi) Fri-Thurs 
Chhapaak (Meghna Gulzar) Fri-Thurs
Tanhaji: The Unsung Warrior (Om Raut) Fri-Thurs 
Entha Manchivaadavuraa (Satish Vegesna) Fri-Thurs 
Pattas (R.S. Durai Senthilkumar) Fri-Thurs 
An American in Paris (Vincente Minnelli, 1951) Sun & Weds Only 

Regal Meridian:

Weathering with You (Makoto Shinkai) Fri-Thurs Subtitled or Dubbed, Check Listings
Les misérables (Ladj Ly) Fri-Thurs
Color Out of Space (Richard Stanley) Weds Only 

Northwest Film Forum:

2019 Sundance Film Festival Short Film Tour Fri-Sun, Tues & Weds 
Chulas Fronteras (Les Blank & Chris Strachwitz, 1976) Fri-Sun 
Redoubt (Matthew Barney) Weds-Sat 
Georgetown Super 8 Film Festival Encore & Kick-Off Thurs Only 

AMC Pacific Place:

The Song of Names (François Girard) Fri-Thurs 

Regal Parkway Plaza:

Miracle in Cell No. 7 (Lee Hwan-kyung) Fri-Thurs 
Tanhaji: The Unsung Warrior (Om Raut) Fri-Thurs 
Pain & Glory (Pedro Almodóvar) Fri-Thurs 
Good Newwz (Raj Mehta) Fri-Thurs 

AMC Seattle:

Les misérables (Ladj Ly) Fri-Thurs

Seattle Art Museum:

My Night at Maud’s (Eric Rohmer, 1969) Thurs Only 

SIFF Film Center:

The Hottest August (Brett Story) Fri-Sun 
The Gleanors & I (Agnès Varda, 2000) Sat Only 
Faces, Places (Agnès Varda & JR, 2017) Sun Only Our Review

AMC Southcenter:

Weathering with You (Makoto Shinkai) Fri-Thurs Subtitled

Regal Thornton Place:

Weathering with You (Makoto Shinkai) Fri-Thurs Subtitled or Dubbed, Check Listings
An American in Paris (Vincente Minnelli, 1951) Sun & Weds Only
Color Out of Space (Richard Stanley) Weds Only 

Varsity Theatre:

Fantastic Fungi (Louie Schwartzberg) Fri-Thurs 
An American in Paris (Vincente Minnelli, 1951) Weds Only 

In Wide Release:

The Rise of Skywalker (JJ Abrams) Our Review 
Little Women (Greta Gerwig) Our Review
Parasite (Bong Joonho) Our Review Our Podcast
Once Upon a Time in Hollywood (Quentin Tarantino) Our Review Our Other Review
 

Friday January 10 – Thursday January 16

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Featured Film:

Eric Rohmer at the Seattle Art Museum

I somehow missed that the terrific Eric Rohmer series started at SAM last week, so apologies if you missed out on Pauline at the Beach because of me. But there’s still a lot more great Rohmer to come over the next several Thursday nights, starting with this week’s show of La collectionneuse. The series skips around the career of the greatest of all French New Wave directors, with four of his Moral Tales and three of his Comedies and Proverbs, and one of his Four Seasons and another miscellaneous one in the mix. The Green Ray, playing on February 13, is probably the best, but they’re all basically perfect so it’s kind of silly to rank them and you really should see them all. Elsewhere around town, SIFF’s Agnès Varda series continues with One Sings, the Other Doesn’t, and her last film, the lovely autobiography Varda by Agnès. And in what is sure to be one of the anime events of the year, the Beacon has all six episodes of Neon Genesis Evangelion and Shin Godzilla genius Hideaki Anno’s Gunbuster on Sunday afternoon. There’s just time enough to watch it before the Seahawks game.

Playing This Week:

AMC Alderwood:

Tanhaji: The Unsung Warrior (Om Raut) Fri-Thurs 
Ip Man 4 (Wilson Yip) Fri-Thurs Our Review 
A Hidden Life (Terrence Malick) Fri-Thurs Our Podcast 

The Beacon Cinema:

My Twentieth Century (Ildikó Enyedi, 1989) Fri-Sun, Tues-Thurs 
Set It Off (F. Gary Gray, 1996) Sat-Mon 
Gunbuster (Hideaki Anno, 1988) Sun Only 

Central Cinema:

Roman Holiday (William Wyler, 1953) Fri-Tues 
American Psycho (Mary Harron, 2000) Fri-Weds 

Century Federal Way:

Ip Man 4 (Wilson Yip) Fri-Thurs Our Review 
Sarileru Neekevvaru (Anil Ravipudi) Fri-Thurs
Forbidden Dream (Hur Jinho) Fri-Thurs
Weathering with You (Makoto Shinkai) Weds & Thurs Subtitled or Dubbed

Grand Cinema:

Freeway (Matthew Bright, 1996) Sat Only 
The Cave (Feras Fayyad) Tues Only 
The Princess Bride (Rob Reiner, 1987) Weds Only 

Grand Illusion Cinema:

When Lambs Become Lions (Jon Kasbe) Fri-Thurs 
Saturday Secret Matinees Sat Only 

Cinemark Lincoln Square:

Darbar (A.R. Murugadoss) Fri-Thurs In Tamil or Telugu, Check Listings
Sarileru Neekevvaru (Anil Ravipudi) Fri-Thurs 
Chhapaak (Meghna Gulzar) Fri-Thurs
Tanhaji: The Unsung Warrior (Om Raut) Fri-Thurs 
Good Newwz (Raj Mehta) Fri-Thurs 
Mathu Vadalara (Ritesh Rana) Fri-Thurs 
Ala Vaikunthapurramullo (Trivikram Srinivas) Sat-Thurs   
Weathering with You (Makoto Shinkai) Weds & Thurs Subtitled or Dubbed

Regal Meridian:

Tanhaji: The Unsung Warrior (Om Raut) Fri-Thurs 
Darbar (A.R. Murugadoss) Fri-Thurs In Hindi or Tamil, Check Listings
Weathering with You (Makoto Shinkai) Weds & Thurs Subtitled or Dubbed

Northwest Film Forum:

Fuselage Dance Film Festival: Winter Program Fri Only 
Duet for Cannibals (Susan Sontag, 1969) Sat & Sun Only 
The Hottest August (Brett Story) Sat, Weds & Thurs Only 
At the Video Store (James Westby) Weds & Thurs Only 

AMC Oak Tree:

A Hidden Life (Terrence Malick) Fri-Thurs Our Podcast 

AMC Pacific Place:

Ip Man 4 (Wilson Yip) Fri-Thurs Our Review 
Adoring (Larry Yang) Fri-Thurs

Regal Parkway Plaza:

Tanhaji: The Unsung Warrior (Om Raut) Fri-Thurs 
Dabangg 3 (Prabhu Deva) Fri-Thurs 
Good Newwz (Raj Mehta) Fri-Thurs 

Seattle Art Museum:

La collectionneuse (Eric Rohmer, 1967) Thurs Only 

SIFF Film Center:

Varda by Agnès (Agnès Varda) Fri-Sun 
One Sings, the Other Doesn’t (Agnès Varda, 1977) Sat Only 

Regal Thornton Place:

Weathering with You (Makoto Shinkai) Weds & Thurs Subtitled or Dubbed

Varsity Theatre:

Three Christs (Jon Avnet) Fri-Thurs 
The Assent (Pearry Reginald Teo) Fri-Thurs 
Reality Queen! (Steven Jay Bernheim) Fri-Thurs 
Fantastic Fungi (Louie Schwartzberg) Fri-Thurs 

In Wide Release:

The Rise of Skywalker (JJ Abrams) Our Review 
Little Women (Greta Gerwig) Our Review
Parasite (Bong Joonho) Our Review Our Podcast 

Friday January 3 – Thursday January 9

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Featured Film:

Agnès Varda at the SIFF Film Center

SIFF launches a mini-retrospective on the late, great French director Agnès Varda this week. Emphasis on the “mini-” unfortunately, as her masterpieces Cléo from 5 to 7 and Vagabond get only one show each, on Saturday and Sunday afternoons, respectively. There’s more Varda at SIFF in the coming weeks though. And later in the week the Film Center also has single shows of Pedro Almodóvar’s classic screwball Women on the Verge of a Nervous Breakdown (you can catch his latest, Pain and Glory, which like Women also stars Antonio Banderas, at the Parkway Plaza in Tukwila), and Terrence Malick’s 1978 Days of Heaven (his latest, A Hidden Life, is still at the Oak Tree and the Uptown).

Playing This Week:

AMC Alderwood:

Good Newwz (Raj Mehta) Fri-Thurs 
Ip Man 4 (Wilson Yip) Fri-Thurs Our Review

Ark Lodge Cinemas:

Fantastic Fungi (Louie Schwartzberg) Fri-Thurs 

The Beacon Cinema:

Good Time (Josh & Benny Safdie, 2017) Fri & Sat Only 

Central Cinema:

Labyrinth (Jim Henson, 1986) Fri-Weds 
The Hunger (Tony Scott, 1983) Fri-Tues 
Tammy and the T-Rex (Stewart Raffill, 1994) Thurs Only Hecklevision

Century Federal Way:

Ip Man 4 (Wilson Yip) Fri-Thurs Our Review

Grand Cinema:

Fantastic Fungi (Louie Schwartzberg) Fri-Thurs 
The Shining (Stanley Kubrick, 1980) Sat Only 
#Female Pleasure (Barbara Miller) Tues Only 

Grand Illusion Cinema:

Temblores (Jayro Bustamante) Fri-Mon, Thurs 35mm

Cinemark Lincoln Square:

Ip Man 4 (Wilson Yip) Fri-Thurs Our Review
Adoring (Larry Yang) Fri-Thurs
Good Newwz (Raj Mehta) Fri-Thurs 
Mathu Vadalara (Ritesh Rana) Fri-Thurs 
Prati Roju Pandage (Maruthi) Fri-Thurs  
Avane Srimannarayana (Sachin Ravi) Sat & Sun Only 
Driving License (Jean Paul Lal) Sat & Sun Only  

Regal Meridian:

Avane Srimannarayana (Sachin Ravi) Fri-Thurs 
Good Newwz (Raj Mehta) Fri-Thurs 

Northwest Film Forum:

Babylon (Franco Rosso, 1980) Fri-Sun 
Midnight Family (Luke Lorentzen) Fri-Thurs 
Duet for Cannibals (Susan Sontag, 1969) Weds & Next Sat & Sun Only 

AMC Oak Tree:

A Hidden Life (Terrence Malick) Fri-Thurs Our Podcast 

AMC Pacific Place:

Ip Man 4 (Wilson Yip) Fri-Thurs Our Review 
Midnight Family (Luke Lorentzen) Fri-Thurs 
Adoring (Larry Yang) Fri-Thurs

Regal Parkway Plaza:

Pain and Glory (Pedro Almodóvar) Fri-Thurs 
Dabangg 3 (Prabhu Deva) Fri-Thurs 
Good Newwz (Raj Mehta) Fri-Thurs 

SIFF Film Center:

What She Said: The Art of Pauline Kael (Rob Garver) Fri-Sun 
Cléo from 5 to 7 (Agnès Varda, 1962) Sat Only 
Vagabond (Agnès Varda, 1985) Sun Only 
Women on the Verge of a Nervous Breakdown (Pedro Almodóvar, 1988) Weds Only 
Days of Heaven (Terrence Malick, 1978) Thurs Only 

Regal Thornton Place:

Ip Man 4 (Wilson Yip) Fri-Thurs Our Review 

SIFF Uptown:

A Hidden Life (Terrence Malick) Fri-Thurs Our Podcast 
Our Bodies Our Doctors (Jan Haaken) Weds Only 

Varsity Theatre:

Ana (Charles McDougall) Fri-Thurs 
Fantastic Fungi (Louie Schwartzberg) Fri-Thurs 

In Wide Release:

The Rise of Skywalker (JJ Abrams) Our Review 
Little Women (Greta Gerwig) Our Review
Parasite (Bong Joonho) Our Review Our Podcast 

2019 in Review

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As I did last year, I asked the team here at Seattle Screen Scene to send in their favorites of the past year. They could be anything: movies, books, music, non-entertainment related thing, whatever. They could be from 2019, or from the past decade. No rules. This is what they said:

Lawrence Garcia:

Top 10 of 2019 (by world premiere):

1. To the Ends of the Earth (Kiyoshi Kurosawa)
2. Martin Eden (Pietro Marcello)
3. A Voluntary Year (Ulrich Köhler & Henner Winckler)
4. A Hidden Life (Terrence Malick)
5. I Was at Home, But… (Angela Schanelec)
6. The Young Ahmed (Jean-Pierre & Luc Dardenne)
7. The Traitor (Marco Bellocchio)
8. Tommaso (Abel Ferrara)
9. Belonging (Burak Çevik)
10. Synonyms (Nadav Lapid)

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Sean Gilman:

1. Kyoto Animation

I was of course quite taken with Naoko Yamada’s Liz and the Blue Bird last year, and had begun watching KyoAni’s unclassifiable series Nichijou, but after the devastating fire that rocked Kyoto Animation’s studio this year, I spent some serious time catching up with their work, and nothing I watched in 2019 made me happier. Sound Euphonium!, the series from which Liz and the Blue Bird spun off, is as gorgeous as anything Makoto Shinkai has done, but with a depth of feeling and character that belies its teen drama trappings. The earlier series K-On! is more fun, more cartoonish, but ultimately just as rewarding., and even more dedicated to the purity of being a show about nothing. These series, along with Liz and Yamada’s 2016 film A Silent Voice, had me seeing echoes of the slice-of-life anime genre everywhere: from more obvious antecedents like Nobuhiro Yamashita’s Linda Linda Linda to two of my favorites from this year’s VIFF: Mikhaël Hers’s Amanda and Dan Sallitt’s Fourteen, even in Martin Scorsese’s The Irishman. In the 2003 documentary The Mindscape of Alan Moore, the genius writer and wizard predicted that thanks to exponentially increasing information, right around 2015 our culture would reach its boiling point and turn to steam. I think he’s undeniably been proven correct, and these films and shows, grounded in the minutiae of interpersonal experience, are the only antidote I’ve found to the speed and weightlessness of the present.

2. Chinese Movies

A perennial entry on my list of course, at least for the past six years. Most of my movie-watching this year was project-related: an obituary for Ringo Lam, a big piece on Jia Zhangke, a complete run through the work of Fruit Chan and partial dives into the filmographies of Ann Hui and Herman Yau. Seems like I spent the first quarter of the year on Jia, as the initial essay led to a lecture and a comprehensive look at his use of pop music, and then multiple podcasts where I talked at length about Ash is Purest White. But on the whole, this year’s Chinese films have been disappointing, whether because 2018 was such a good year, or as a result of the censorship and political concerns that have split Chinese-language film into multiple, mutually-hostile camps. Increasingly dispirited, I realized a couple of weeks ago that I hadn’t watched a Johnnie To film all year. None since April of 2018 in fact. But with a rewatch of Romancing in Thin Air (his best film of the decade) and an initial viewing of his surprise 2019 film Chasing Dream (dropped mere weeks after rumors of his retirement traversed the twitterverse), I’m feeling a bit better.

3. Star Wars

Well, until I think about Rise of Skywalker that is. I’d like to think that its failure can be agreed to be the nadir of the Disneyfied blockbuster era. That in the future we’ll be getting more idiosyncratic works out of the properties the corporate behemoth mined from my childhood faves. The Mandalorian is cool, and some of the Star Wars comics are pretty great (Doctor Aphra!). Rewatches of Clone Wars, RebelsRogue One, and The Last Jedi have confirmed that is possible to produce good, distinctive work under the Disney umbrella. But I also watched all of the MCU movies this year, and while I’ve now developed a grudging liking for most of them, they have yet to produce anything as good. And if the MCU is the Star Wars model moving forward. . . whelp. I’ll just be retreating a couple of decades into the EU books in the new year, I guess.

4. Reading Books

Speaking of books, I finally finished Robert Caro’s The Power Broker and it is magnificent. I loved it so much that I immediately started reading his LBJ series, knowing that it’ll probably take me most of the 2020s to finish it. I don’t care, it’s great. My chronological read-though of Agatha Christie continued, with some of the best and some of the worst books I read this year. I also read a bunch of Eliot Weinberger (the best) and continued to hack away at Against the Day and Middlemarch (both great) and even started another couple massive, but delightful, book projects (Ducks, Newburyport and Kim Stanley Robinson’s Mars Trilogy). I finally caught up with some standout comics from the past: the first two volumes of Alan Moore’s Swamp Thing, Frank Miller’s The Dark Knight Returns, and Moore’s League of Extraordinary Gentlemen. My chronological read through of Marvel Comics continues apace as well: most of it is bad, but the Fantastic Four, Doctor Strange, and The Amazing Spider-Man are generally really good, and Jim Steranko’s run on Nick Fury, Agent of SHIELD is the first thing to really break with the Lee/Kirby model and take the superhero comic somewhere new and weird.

5. The Beacon Cinema

The most exciting thing to happen to the Seattle screen scene in 2019 was the opening of the Beacon. I only made it there opening weekend, but checking the listings every week always sparks the kind of joy that’s been missing around here for a long time. And those shows I did see were the best non-VIFF theatrical experiences I had all year: the opening night show of Gold Diggers of 1933 (sweltering hot because they hadn’t figured out the AC yet, but no one cared) and the following day’s quadruple feature of City Lights, To Be or Not To Be, Speed Racer, and Buddha’s Palm. Nothing in 2019 made me like movies more.

6. Free Time

Maybe it’s just that Award Season has me down. It’s the time of year when I feel obligated to watch a bunch of movies I’m not really interested in, just so I can have a say in what people are calling the best of the year. It’s very dumb. But looking back at the movies I watched this year, almost all of them were related to some kind of writing project. A lot of those were very good, of course, but right now I’m really treasuring the movies I watched for no reason at all. Desperately Seeking Susan, for example. Or the Kyoto Animation stuff. The slasher movies I caught up with at Halloween: the Slumber Party Massacres and the first two Halloween sequels. Watching Shaolin vs. Lama dubbed just because RZA mentioned it in a video. Even capping off my MCU binge with Howard the Duck was an absolute blast. I’m increasingly ambivalent about the whole writing about movies thing, about turning what used to be my hobby into (almost completely) unpaid work. Watching things without a deadline, for no reason other than that it’s there and it looks interesting, should be the goal, right?

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Jhon Hernandez:

Not a very strong year of movies for me. Didn’t see much, and didn’t love much of what I saw. The list includes new films, and also the best old films I saw this year.

A Hidden Life (Terrence Malick)
Richard Jewell (Clint Eastwood)
The Irishman (Martin Scorsese)
Ad Astra (James Gray)
Little (Tina Gordon Chism)

A Day in the Country (Jean Renoir)
Set It Off (F. Gary Gray)
Bamboozled (Spike Lee)
Lo Zebu e la Stella (Franco Piavoli)

Hope 2020 is better!

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Sue Lonac:

Sue’s Top Ten Films of the Decade

1. Moonlight (dir. Barry Jenkins, 2016): The most beautiful and moving film of the decade, Moonlight also featured some high-risk experimental moves that paid off handsomely. It turned mistakes into integral structural elements, cast three actors who look nothing alike as the same character, and expertly fused indelible moments of reality (like Mahershala Ali’s actually teaching Alex R. Hibbert how to swim) into the fictional world. A masterpiece.

2. Spider-Man: Into the Spiderverse (dir. Bob Persichetti, Peter Ramsey, Rodney Rothman, 2018): Utterly brilliant, vibrantly imaginative, totally hilarious. John Mulaney should have won an Oscar for his sassy turn as Peter Porker/Spider-Ham.

3. Leave No Trace (dir. Debra Granik, 2018): This intensely suspenseful and profoundly affecting drama is a close-up depiction of a young woman’s mastery of survival skills and her simultaneous painful individuation from her father. Not one false step for the length of the film.

4. What We Do in the Shadows (dir. Jemaine Clement, Taika Waititi, 2014): This vampire-mockumentary is the funniest film ever made.

5. Mad Max: Fury Road (dir. George Miller, 2015): The guitar is also a flame-thrower.

6. Get Out (dir. Jordan Peele, 2017): Jordan Peele’s “elevated horror” film is both a completely terrifying thriller and an incisive, illuminating comment on the emotional experience of being marginalized and never truly safe. Absolutely original.

7. Parasite (dir. Bong Joon-ho, 2019): Not as bonkers as Snowpiercer, less brittle than Okja, Bong Joon-ho’s latest exposes the deep cruelties of class inequity with real feeling but no sentimentalism. The film is tragic, hilarious, stylish, and resolutely unflinching in its look at human ugliness and human frailty.

8. Selma (dir. Ava DuVernay, 2014): This film had one of the most thrilling climaxes of the decade in the Reverend Dr. Martin Luther King’s soaring speech at the courthouse. The film is even more remarkable given that DuVernay had to write all the speeches herself because Steven Spielberg refused to give up the film rights to King’s real speeches. Somehow, she caught the tone, the rhythms, and the distinctive verbal finesse of the real King’s writing perfectly. For his part, Oyelowo caught all the cadences of the real man’s voice exactly without ever descending into impressionism. A triumph.

9. Gravity (dir. Alfonso Cuarón, 2013): The expertly managed suspense of this film was secondary to its delicate depiction of a woman’s fear, bravery, loneliness, strength, and resourcefulness. Cuarón created a work of great psychological realism that rises to the level of myth by its last, profoundly resonant frames.

10. Little Women (dir. Greta Gerwig, 2019): Simply lovely.

amanda

Evan Morgan:

10 for 2019

After putting together multiple Best of the Decade ballots and enduring countless year-end roll calls, I cannot abide another rank ordered catalog of movies, so I’m taking Sean’s open-ended invitation to heart this year and offering a few non-cinematic favorites, chaotically organized. Admittedly, because I am a captive who loves his captor, there are still some films and filmmakers included in this personal sampler platter (please, let’s not call it a list) though it does seem that, with each passing year, literature and music conquer more and more of the mental space that I once greedily stored away for the seventh art. If there was simply less room in my head this year for cinema, well, that was probably for the best. We could all stand to watch a few fewer movies. Then again, I’ve been offered the key that unlocks this dark little room once or twice before, and each time, without fail, I stay put, right where I am.

The Fiction of David Stacton

My regular rendezvous with novelist, historian, poet, and all-time great gay David Derek Stacton were, without doubt, the most rewarding that I had this year. His fiction encompasses an incredible range of topics, periods, and experiences (a small sample: the doomed life of Giovanna d’Aragona, Duchess of Amalfi; Akhetaton’s failed attempts to remake Egyptian state religion; a sexual roundelay at an international film festival circa 1962) but they are united by Stacton’s unusual voice, which is wisecracking and aphoristic, and by the melancholy emotions that they inspire, which Stacton conjures up despite his work’s obvious literary “flaws.” Stacton’s characters are described with cutting wit, but they are stubbornly theoretical; his narratives lurch forward without much development; everything is subordinate to a good turn of phrase. And yet, somehow, each Stacton novel gives birth to a universe—and then, brutally, one epigram at a time, snatches it away. “Not that there will not be a new world, but this is the end of ours. And being selfish, we are concerned with that.” There is also, for a particular kind of reader, the unexpected inkling of recognition: I would challenge anyone of the other persuasion to read a Stacton novel (preferably one that lacks obviously queer content, of which there are many) and not to experience some shock of the familiar. Stacton’s people may often be kings and sovereigns, men who rule over vast swaths of land and who command the most prized levers of power, but they are closeted fantasists all. They thirst after precisely that which society says they cannot have, and, being subject always to the laws of sociological circumstance (for who is the ultimate subject of a society if not its ruler?), they remain forever behind a mask. Their only true dominion is a borderless empire of solitude.

Jean-François Stévenin, in front of the camera, yes, but—more importantly—behind it.

Monsieur singulier

The Cinema of Patricia Mazuy

Gone to earth!

Titanic Rising

No other work of art from 2019 offered me so much comfort amid the general doom. Music for drowning people.

Crying with Mikhaël Hers

I included Amanda on Seattle Screen Scene’s 2018 round-up, so, even if I had some minor reservations, the film clearly clicked for me on a first viewing. It took a revisit this year, however, for me to understand just how deeply it had penetrated my heart. (I wept thrice.) Encountering Hers’s earlier work was crucial: in classic auteurist fashion, I can now list a dozen ideas and images that recur throughout his oeuvre, most of which reach their zenith in Amanda. But I won’t, because if I’m being honest, what really matters to me is that I got to savor the sweet taste of validation. A pet theory is—by my lights, anyways—confirmed: namely, that despite a certain straightness of approach, Hers’s films belong, indisputably, to the Diagonale lineage. Like Paul Vecchiali, Jean-Claude Guiguet, and Marie-Claude Treilhou (whose first film, Simone Barbes or Virtue, gets a cameo in Montparnasse), Hers believes—with a conviction unparalleled in contemporary cinema—that tears are a gift.

Eating with Joseph Wechsberg

Life (and history and culture) is meals.

Black Wings Has My Angel

I do not believe in “Lynchian” as an adjective to describe works made by anyone other than The Man from Another Place, but for once I’m tempted to use it. A complete cosmology of American desire.

Aspern

An infinite mansion is best explored with friends.

A King Alone

Who is it who said, “A king without diversion is a man full of wretchedness?”

Japan’s “Lost Decade”

The 1980s get a bad rap among Japanese film critics. Numerous theses abound, some more compelling than others, but I sense that the implicit idea is, essentially, a version of that old saw about economic prosperity and aesthetic ambition: good times produce bad art. An obvious if undefeatable fallacy, so I won’t bother with a full-throated rebuttal. I’ll just assume, with utmost generosity, that the scholars have simply been watching the wrong movies: this so called “Lost Decade” bears fruit as bountifully as any of the more cherished periods of Japanese film history. Personal favorite Nobuhiko Obayashi had his greatest run from ‘82-’86; Seijun Suzuki returned from television exile with the Taisho Trilogy; Kiyoshi Kurosawa made his debut with a superior screwball porno. And those are the big names. I keep running across little curios that suggest rich veins yet to be mined. There’s Yokohama BJ Blues, for example, a jazzy noir about a singer who moonlights as a P.I. and who—between torchlit performances of ditties that describe too much drinking and too much Hemingway—investigates Yokohama’s gay crime syndicate; or The Lonely Hearts Club Band in September, a biker movie in which a middle-aged, middle-class salaryman exacts violent revenge on a gang of young cruisers. Their crime? Choosing to ride their own road while society barrels forward in a different direction. If, strapped in with the culture at large, we fail to glimpse them as we zoom on by, if we continue to survey cinema from its empty, homogenized center, rather than from its shabbier margins, that’s on us, not the movies.

hlHUSnd

Ryan Swen:

Top 10 2019 Double Features

2019 was an unusually great year for film, both in terms of US releases and in my viewing of new-to-me films. In commemoration of this, I’ve decided to steal Mubi’s annual “Fantasy Double Features” idea (which three fellow Seattle Screen Scene writers have contributed to) and list my 2019 top ten along with ten of my favorite first watches. Most of these are fairly obvious picks, but they’re all eminently great films.

1. La Flor (Mariano Llinás)/Céline and Julie Go Boating (1974, Jacques Rivette)

Two sprawling films co-conceived by their directors and four actresses, openly engaging with the limitless potential of storytelling, viewership, and cinema, exploding barriers one indelible moment and flight of fancy at a time.

2. Asako I & II (Ryüsuke Hamaguchi)/Syndromes and a Century (2006, Apichatpong Weerasethakul)

Sure, there’s the bipartite construction of each film, but registering even more strongly is the subtle interplay between the city and the countryside in each, and how they inform and shape the sense of romance on display. Their senses of rapture resonate together, even if one’s height is at the beginning and the other’s at the close.

3. Long Day’s Journey Into Night (Bi Gan)/India Song (1975, Marguerite Duras)

Two of the most intoxicating atmospheres put to film, using a surfeit of formal daring and judiciously deployed star presence to encapsulate worlds and histories of longing and loss.

4. The Irishman (Martin Scorsese)/Stray Dogs (2013, Tsai Ming-liang)

Decay of the body, the landscape, and the nation, captured in a way only digital technology and the talents of some of the most masterful directors and actors alive can do.

5. Transit (Christian Petzold)/The Testament of Dr. Mabuse (1933, Fritz Lang)

Two Germanic masters operating at the height of their powers, daringly depicting the fascist forces thriving under strife and unrest and the romantic agents desperately trying to resist and survive.

6. Ash Is Purest White (Jia Zhangke)/A City of Sadness (1989, Hou Hsiao-hsien)

Two of the greatest modern directors cast a glance back at the weight of national change, locating unrest in the quotidian and in the absences that accumulate as the years go by.

7. Grass (Hong Sang-soo)/Certified Copy (2010, Abbas Kiarostami)

Some of the most elusive films by enormously elusive filmmakers, utilizing familiar forms and actors in entirely unfamiliar and emotionally/relationally revelatory ways.

8. Parasite (Bong Joon-ho)/Mahjong (1996, Edward Yang)

In a certain sense Bong’s airtight constructions and Yang’s freewheeling approach are at odds, but both capture the hustle and disappointments of capitalism, the transactional nature of interpersonal interactions.

9. High Life (Claire Denis)/The End of Evangelion (1997, Hideaki Anno)

This really should include the entirety of Neon Genesis Evangelion, one of the most significant experiences I had with any media object this year; these are works moving between coldness and viscera, anguish and remove, operating with frightening range and abandon.

10. Her Smell (Alex Ross Perry)/The Mother and the Whore (1973, Jean Eustache)

Though one of Perry’s earlier films would be an even better fit; there’s no redemption for Eustache’s characters, just a sense of total exhaustion. But there’s plenty of that in Perry’s latest, as maximalist and overtly sensorial as Eustache’s approach is minimalist and documentarian.

Pather Panchali (1955 India)
Directed by Satyajit Ray
Shown: Subir Bannerjee

Melissa Tamminga:

In the midst of 2019 year-end (and decade-end) lists, I find myself reflecting more on viewing experiences, often viewing experiences I’ve shared with others, more than specific 2019 films I loved. It’s the moments of film-related insight, or inspiration, or emotion, and, especially, personal connection, I think, that will keep me going this new year, in a world that feels increasingly lost and chaotic, in need of beauty and of reminders of humanity.

In no particular order, just a few of these moments:

–Re-watching Pather Panchali and seeing and feeling, as I hadn’t before, the heartbreaking beauty contained in waterbugs and wind-whipped lily pads, a world contained in a series of images and feeling again that thing, that knowledge you can’t know but you have to feel, the thing that is cinema

–The rapturous reception of Godard’s Breathless by one particular film history student — though an avid and voracious consumer of film, she’d never seen anything like Breathless and her joy in it, whatever my jaded reflections on the New Wave, particularly with regard to women, reminded me what is so invigorating about the New Wave, perhaps particularly to youthful film lovers

–Watching The Florida Project with a group of students who’d never seen it nor heard of it but, as a group, were more moved by it than by any film I’ve ever shown to a class, and who managed to sweep away any reservations I had about the film myself; their wide-ranging discussion afterwards about social justice and the need for marginalized perspectives, reminded me just how provocative a medium film is and how grateful I am for it

–Discussing If Beale Street Could Talk with a student who was doing an independent study and landing in our discussion on the point in the film where the camera seems to hold its breath, where it stops time, contains an overwhelming emotion that cannot be done with words — in remembering the scene together, all we could do was look at each other and say nothing for a long moment

–After a screening of Stories We Tell, one student walking up to me in tears, so moved was she by the film, and then we both just cried together

–Watching Wadjda with my 10-year old, who loved the way Wadjda colored her shoes with a black marker, a moment of two girls and a simple, shared humanity

–The stillness of the rapt silence when my film history students watched Killer of Sheep and the way they struggled to articulate themselves about what they’d seen and been so moved by afterwards

–Watching Eighth Grade with my teen daughters and seeing the way film can reach across distances and bring validation and healing in ways that perhaps no other medium can do

–My daughters all falling in love with Agnès Varda while watching Faces Places

–Experiencing, yet again, the truth that film moves others in ways it does not always move me, in this case, after years of earnestly trying to get my daughters to love the Star Wars universe as I do, it was, ironically, the deeply flawed Rise of Skywalker (and, let’s face it, the hot blood of the Kylo Ren and Rey dynamic) that finally got them to see the light, and, at their bidding, we’ve re-watched the original Star Wars films as a family, and now they are pretending they’ve always loved the series

Friday December 27 – Thursday January 2

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Featured Film:

Little Women in Wide Release

Two of the finest films of the year open this week in wide release, and while much of the buzz in my area of the internet seems to revolve around the Safdie’s Uncut Gems, which is terrific, I like Greta Gerwig’s Little Women more. It’s a lovely movie, of course, and the source material is impeccable, but the ways in which Gerwig manipulates its structure to make it unmistakably her picture as much as Louisa May Alcott’s is extremely impressive. It’s got great sets, great acting (Emma Watson’s performance as Meg is my favorite), and a whole lot of great hair–just some of its many beauties.

Playing This Week:

AMC Alderwood:

Good Newwz (Raj Mehta) Fri-Thurs 

The Beacon Cinema:

Punch-Drunk Love (Paul Thomas Anderson, 2012) Fri & Sat Only 

Central Cinema:

My Neighbor Totoro (Hayao MIyazaki, 1988) Fri-Tues Dubbed or Subtitled, Check Listings

Century Federal Way:

Ip Man 4 (Wilson Yip) Fri-Thurs 

Grand Cinema:

A Hidden Life (Terrence Malick) Fri-Tues Our Podcast 
Fantastic Fungi (Louie Schwartzberg) Fri-Thurs 
Snowpiercer (Bong Joonho, 2014) Sat Only Our Podcast 
Cyrano, My Love (Alexis Michalik) Tues Only 

Grand Illusion Cinema:

It’s a Wonderful Life (Frank Capra, 1946) Fri-Mon, Thurs 35mm

Cinemark Lincoln Square:

A Hidden Life (Terrence Malick) Fri-Thurs Our Podcast 
Ip Man 4 (Wilson Yip) Fri-Thurs 
Good Newwz (Raj Mehta) Fri-Thurs 
Dabangg 3 (Prabhu Deva) Fri-Thurs 
Prati Roju Pandage (Maruthi) Fri-Thurs  

Regal Meridian:

Good Newwz (Raj Mehta) Fri-Thurs 

AMC Pacific Place:

Ip Man 4 (Wilson Yip) Fri-Thurs 

Regal Parkway Plaza:

Pain and Glory (Pedro Almodóvar) Fri-Thurs 
Dabangg 3 (Prabhu Deva) Fri-Thurs 
Good Newwz (Raj Mehta) Fri-Thurs 

AMC Seattle:

Only Cloud Knows (Feng Xiaogang) Fri-Thurs 

Regal Thornton Place:

Ip Man 4 (Wilson Yip) Fri-Thurs 

SIFF Uptown:

A Hidden Life (Terrence Malick) Fri-Thurs Our Podcast 
Moulin Rouge! (Baz Luhrmann, 2001) Tues Only Sing-along

Varsity Theatre:

Fantastic Fungi (Louie Schwartzberg) Fri-Thurs 

In Wide Release:

The Rise of Skywalker (JJ Abrams) Our Review 
Little Women (Greta Gerwig) Our Review
Parasite (Bong Joonho) Our Review Our Podcast 

Friday December 20 – Thursday December 26

F_4_a_hidden_life
Featured Film:

A Hidden Life at the Egyptian, the Grand, and the Lincoln Square

A certain blockbuster has sucked up most of the screens around town, but while you’re waiting for Christmas morning to open up to two of the finest movies of the year (Greta Gerwig’s Little Women and Josh & Benny Safdie’s Uncut Gems), you can catch Terrence Malick’s latest at three strategically placed locations around the Puget Sound area. An epic of sorts about a man, since sainted, who refused to swear an oath of allegiance to Hitler and the Nazi party and was executed for it, it’s one of Malick’s most fascinating films from a shockingly productive and idiosyncratic decade. No mainstream Hollywood filmmaker more challenges his audience, and Malick’s 2010s will likely be remembered more fondly by history than they have been in his own time. A Hidden Life isn’t a perfect film, though I’m admittedly more ambivalent on it than some of my colleagues, but it’s certainly among the most thought-provoking movies of the year. Catch it on a big screen while you can.

Playing This Week:

The Beacon Cinema:

Carol (Todd Haynes, 2015) Fri, Sat & Tues Only 
A Very Beacon Christmas (??? ?????, ????) Fri & Tues Only 
Carol for Another Christmas (Joseph L. Mankiewicz, 1964) Sat Only 
Evenings on a Farm Near Dikanka (Aleksander Rou, 1961) Sat & Mon Only 
The Dybbuk (Michal Waszynski, 1937) Sat & Mon Only 
The Beacon Holiday Party and Mystery Movie Sat Only 
Tokyo Godfathers (Satoshi Kon, 2003) Sun Only 
Fanny and Alexander (Ingmar Bergman, 1983) Sun Only Full-Length Version
Ghost Stories for Christmas (Jonathan Miller, 1968/Lawrence Gordon Clark, 1976) Sun & Tues Only 
Black Christmas (Bob Clark, 1974) Mon Only 

Central Cinema:

Elf (Jon Favreau, 2003) Fri-Mon  

Crest Cinema Centrer:

The Two Popes (Fernando Meirelles) Fri-Thurs 

SIFF Egyptian:

A Hidden Life (Terrence Malick) Fri-Mon Our Podcast 
Fantastic Fungi (Louie Schwartzberg) Mon Only 

Century Federal Way:

It’s a Wonderful Life (Frank Capra, 1946) Tues Only 

Grand Cinema:

A Hidden Life (Terrence Malick) Fri-Thurs Our Podcast 
Fantastic Fungi (Louie Schwartzberg) Fri-Thurs 
Elf (Jon Favreau, 2003) Sat Only  
Rare Exports: A Christmas Tale (Jalmari Helander, 2010) Sat Only 
Die Hard (John McTiernan, 1988) Sat Only 
White Christmas (Michael Curtiz, 1954) Mon Only 

Grand Illusion Cinema:

It’s a Wonderful Life (Frank Capra, 1946) Fri-Thurs 35mm

Cinemark Lincoln Square:

A Hidden Life (Terrence Malick) Fri-Tues Our Podcast 
Dabangg 3 (Prabhu Deva) Fri-Tues 
Hero (P.S. Mithran) Fri-Mon  
Prati Roju Pandage (Maruthi) Fri-Tues  
Ruler (K. S. Ravikumar) Fri-Tues 
Thambi (Jeethu Joseph) Fri-Sun  
Venky Mama (K. S. Ravindra) Fri-Tues 
It’s a Wonderful Life (Frank Capra, 1946) Tues Only 

Regal Meridian:

Only Cloud Knows (Feng Xiaogang) Fri-Mon 
Dabangg 3 (Prabhu Deva) Fri-Tues 

Northwest Film Forum:

Celebration: Yves Saint Laurent (Olivier Meyrou) Fri Sun 
Everybody’s Everything (Ramez Silyan & Sebastian Jones) Sun Only 

AMC Pacific Place:

Ip Man 4 (Wilson Yip) Starts Weds 

Regal Parkway Plaza:

Dabangg 3 (Prabhu Deva) Fri-Tues 

AMC Seattle:

Only Cloud Knows (Feng Xiaogang) Starts Weds 

SIFF Film Center:

White Christmas (Michael Curtiz, 1954) Fri-Tues Sing-along

SIFF Uptown:

Fantastic Fungi (Louie Schwartzberg) Fri-Sun  
A Hidden Life (Terrence Malick) Tues-Thurs Our Podcast 
Fiddler on the Roof (Norman Jewison, 1971) Weds Only Sing-along

Varsity Theatre:

Fantastic Fungi (Louie Schwartzberg) Fri-Thurs 
The Report (Scott Z. Burns)  Fri Only  

In Wide Release:

The Rise of Skywalker (JJ Abrams) Our Review 
Little Women (Greta Gerwig) Our Review
Parasite (Bong Joonho) Our Review Our Podcast 

Friday December 13 – Thursday December 19

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Featured Film:

Make Way for Tomorrow at the Beacon

The Awful Truth is one of the great screwballs of all time, the prototypical Comedy of Remarriage and among the finest work by stars Cary Grant and Irene Dunne. And it’s only the second-best movie Leo McCarey made in 1937. The best is Make Way for Tomorrow, a very sad comedy, or a very funny tragedy, about an elderly couple who’s children can’t afford to support them together, and so they’re split among their children’s homes. An avowed influence on Yasujiro Ozu, it’s one of the finest movies classical Hollywood ever made at it’s playing three days this week at the Beacon, just in time for holiday season familial guilt. The Beacon’s also got Mr. Arkadin, arguably Orson Welles’s weirdest movie, and Nagisa Oshima’s sublime Merry Christmas, Mr. Lawrence, with David Bowie as a World War II prisoner of Ryuichi Sakamoto and Takashi Kitano.

Playing This Week:

AMC Alderwood:

Pati Patni Aur Woh (Mudassar Aziz) Fri-Thurs 

The Beacon Cinema:

Make Way for Tomorrow (Leo McCarey, 1937) Fri, Tues & Weds Only 
The Worst Friday the 13th Movie(??? ?????, ????) Fri Only 
Mr. Arkadin (Orson Welles, 1955) Sat & Sun Only 
The White Reindeer (Erik Blomberg, 1952) Sat, Sun & Weds Only 
American Matchmaker (Edgar G. Ulmer, 1940) Sat & Mon Only 
Merry Christmas, Mr. Lawrence (Nagisa Oshima, 1983) Sat & Mon Only 
Silent Night, Deadly Night (Charles E. Seiler Jr, 1984) Sat & Thurs Only 
Horus, Prince of the Sun (Isao Takahata, 1968) Sun Only 
Dial Code Santa Claus (René Manzor, 1989) Sun & Tues Only 
Ringu (Hideo Nakata, 1998) Mon Only 
A Smokey Mountain Christmas (Henry Winkler, 1986) Thurs Only 

Central Cinema:

Elf (Jon Favreau, 2003) Fri-Weds 
Love, Actually (Richard Curtis, 2003) Fri-Weds 
Jingle All the Way (Brian Levant, 1996) Thurs Only Hecklevision

Cinerama:

Holiday Film Series Sat-Tues 

Crest Cinema Centrer:

The Two Popes (Fernando Meirelles) Fri-Thurs 
Marriage Story (Noah Baumbach) Fri-Thurs 

SIFF Egyptian:

Fantastic Fungi (Louie Schwartzberg) Fri-Thurs 

Grand Cinema:

The Two Popes (Fernando Meirelles) Fri-Thurs 
Fantastic Fungi (Louie Schwartzberg) Fri-Thurs 
Bad Santa (Terry Zwigoff, 2003) Sat Only 
The Report (Scott Z. Burns) Tues Only 
White Christmas (Michael Curtiz, 1954) Weds & Thurs Only 

Grand Illusion Cinema:

It’s a Wonderful Life (Frank Capra, 1946) Fri-Thurs 35mm
The Wicked/Outback Vampires  Sat Only VHS

Cinemark Lincoln Square:

Venky Mama (K. S. Ravindra) Fri-Thurs 
Pati Patni Aur Woh (Mudassar Aziz) Fri-Thurs 
Panipat (Ashutosh Gowariker) Fri-Thurs  
Mamangam (M. Padmakumar) Fri-Thurs  
The Body (Jeethu Joseph) Fri-Thurs 
Mardaani 2 (Gopi Puthran) Fri-Thurs 
Babru (Sujay Ramaiah) Sat & Sun Only 
Kettyyolanu Ente Malakha (Nissam Basheer) Sat & Sun Only 
The Tale of the Princess Kaguya (Isao Takahata, 2013) Mon & Weds Only Subtitled Weds
Frankie (Ira Sachs) Tues Only 

Regal Meridian:

Panipat (Ashutosh Gowariker) Fri-Thurs  
The Polar Express (Robert Zemeckis, 2004) Sat Only  
The Tale of the Princess Kaguya (Isao Takahata, 2013) Mon & Weds Only Subtitled Weds

Northwest Film Forum:

The Final Level: Escaping Rancala (Canyon Prince) Fri-Thurs  
Celebration: Yves Saint Laurent (Olivier Meyrou) Sat-Next Sun 
Everybody’s Everything (Ramez Silyan & Sebastian Jones) Sat Only 
Mother (Bong Joonho, 2009) Sun & Weds Only 

AMC Oak Tree:

The Whistleblower (Xue Xiaolu) Fri-Thurs 

AMC Pacific Place:

Honey Boy (Alma Har’el) Fri-Thurs 
The Whistleblower (Xue Xiaolu) Fri-Thurs 

Regal Parkway Plaza:

The Body (Jeethu Joseph) Fri-Thurs 
Honey Boy (Alma Har’el) Fri-Thurs 
Panipat (Ashutosh Gowariker) Fri-Thurs  

SIFF Film Center:

Mystery Science Theater 3000: Santa Claus ( Jim Mallon, 1993) Fri-Sun 

AMC Southcenter:

En Brazos De Un Asesino (Matías Moltrasio) Fri-Thurs 

Regal Thornton Place:

The Polar Express (Robert Zemeckis, 2004) Sat Only  
The Tale of the Princess Kaguya (Isao Takahata, 2013) Mon & Weds Only Subtitled Weds

Varsity Theatre:

Mob Town (Danny A. Abeckaser) Fri & Sat Only 
Daniel Isn’t Real (Adam Egypt Mortimer) Fri-Thurs 
The Death and Life of John F. Donovan (Xavier Dolan) Fri-Thurs 
Line of Descent (Rohit Karn Batra) Fri-Thurs 
The Tale of the Princess Kaguya (Isao Takahata, 2013) Mon & Weds Only Subtitled Weds

In Wide Release:

Parasite (Bong Joonho) Our Review Our Podcast 

Friday December 6 – Thursday December 12

B0011EQBOS_WarGames_UXMG1._SX1080_
Featured Film:

Paranoid Data at the Northwest Film Forum

Despite the fact that Christmas films have already been sneaking on to Seattle Screens for the last week, it is still too early for that kind of thing. Thankfully, the Northwest Film Forum is headed in a different direction this weekend, with a bunch of sci-fi films from the 80s and 90s under the heading “Paranoid Data: Pre-Millennium Tension in Film“. Where else in town can you watch a Harun Farocki doc back-to-back with a 35m print of Johnny Mnemonic? The series also includes a 35 print of Kathryn Bigelow’s 1995 stealth classic Strange Days, David Cronenberg’s Scanners, and a movie I’ve loved since I was seven years old, John Badham’s WarGames. The Beacon has the best movie in town this week, with Night of the Hunter, which just might be the greatest movie ever, and shout out to the Grand, where on Saturday you can watch Marriage Story, The Irishman, Parasite, and Eyes Wide Shut all in a row.

Playing This Week:

AMC Alderwood:

The Whistleblower (Xue Xiaolu) Fri-Thurs 
Pati Patni Aur Woh (Mudassar Aziz) Fri-Thurs 

The Beacon Cinema:

Marketa Lazarová (František Vláčil, 1967) Fri-Tues 
Female Trouble (John Waters, 1974) Fri & Sat Only 
The Snow Queen (Päivi Hartzell, 1986) Fri, Sun & Weds Only 
Tevya (Maurice Schwartz, 1939) Sat & Mon Only 
Night of the Hunter (Charles Laughton, 1955) Sun & Tues Only 
Comet in Moominland (Hiroshi Saitô, 1992) Sun Only 
Kuroneko (Kaneto Shindô, 1968) Mon Only 
Class of 1999 (Mark L. Lester, 1990) Weds Only 
Children Must Laugh (Alexander Ford, 1938) Thurs Only 
Last Action Hero (John McTiernan, 1993) Thurs Only 

Central Cinema:

Die Hard (John McTiernan, 1988) Fri-Tues 
Muppet Christmas Carol (Brian Henson, 1992) Fri-Weds 

Crest Cinema Centrer:

The Irishman (Martin Scorsese) Fri-Thurs 
Marriage Story (Noah Baumbach) Fri-Thurs 

SIFF Egyptian:

Fantastic Fungi (Louie Schwartzberg) Fri-Thurs 

Century Federal Way:

Promare (Hiroyuki Imaishi) Sun & Tues Only Dubbed Tues
Meet Me in St. Louis (Vincente Minnelli, 1944) Sun & Weds Only Our Podcast 

Grand Cinema:

The Irishman (Martin Scorsese) Fri-Thurs 
Marriage Story (Noah Baumbach) Fri-Thurs 
Pain and Glory (Pedro Almodóvar) Fri-Thurs 
Eyes Wide Shut (Stanley Kubrick, 1999) Sat Only 
Raise Hell: The Life & Times of Molly Ivins (Janice Engel) Tues Only 

Grand Illusion Cinema:

Light from Light (Paul Harrill) Fri-Thurs   
Tammy & the T-Rex (Stewart Raffill, 1994) Fri, Tues & Next Fri Only 

Cinemark Lincoln Square:

The Whistleblower (Xue Xiaolu) Fri-Thurs 
Pati Patni Aur Woh (Mudassar Aziz) Fri-Thurs 
Panipat (Ashutosh Gowariker) Fri-Thurs  
Madhanam (Ajay Sai Manikandan) Fri-Sun Only  
Helen (Mathukutty Xavier) Sat & Sun Only 
Irandan Ulagaporin Kadaisi Gundu (Athiyan Athirai) Sat & Sun Only 
Promare (Hiroyuki Imaishi) Sun & Tues Only Dubbed Tues
Meet Me in St. Louis (Vincente Minnelli, 1944) Sun & Weds Only Our Podcast 

Regal Meridian:

Gremlins (Joe Dante, 1984) Fri-Thurs  
The Whistleblower (Xue Xiaolu) Fri-Thurs 
Panipat (Ashutosh Gowariker) Fri-Thurs  
Promare (Hiroyuki Imaishi) Sun, Tues & Weds Only Subtitled Sun

Northwest Film Forum:

Unlikely (Adam Fenderson & Jaye Fenderson) Fri Only  
And with Him Came the West (Mike Plante) Fri Only Director in Attendance
Everybody’s Everything (Ramez Silyan & Sebastian Jones) Sat Only 
WarGames (John Badham, 1983) Sat Only 
Videograms of a Revolution (Harun Farocki & Andrei Ujică, 1992) Sat Only 
Johnny Mnemonic (Robert Longo, 1995) Sat Only 35mm
Scanners (David Cronenberg, 1981) Sun Only 
Strange Days (Kathryn Bigelow, 1995) Sun Only 
Force of Nature Natalia (Gerald Fox) Sun Only 
Animation Next Weds & Thurs Only 
The Masque of the Red Death (Roger Corman, 1964) Thurs Only 

AMC Oak Tree:

Honey Boy (Alma Har’el) Fri-Thurs 
The Whistleblower (Xue Xiaolu) Fri-Thurs 

AMC Pacific Place:

Honey Boy (Alma Har’el) Fri-Thurs 
Two Tigers (Fei Li) Fri-Thurs 
The Whistleblower (Xue Xiaolu) Fri-Thurs 

Regal Parkway Plaza:

Pati Patni Aur Woh (Mudassar Aziz) Fri-Thurs 
Panipat (Ashutosh Gowariker) Fri-Thurs  

AMC Seattle:

The Whistleblower (Xue Xiaolu) Fri-Thurs 

SIFF Film Center:

The Princess Bride (Rob Reiner, 1987) Fri-Sun Quote-along
No Dominion: The Ian Horvath Story (Margaret Mullin, Nel Shelby) Tues Only 

AMC Southcenter:

En Brazos De Un Asesino (Matías Moltrasio) Fri-Thurs 

Regal Thornton Place:

Gremlins (Joe Dante, 1984) Fri-Thurs  
Promare (Hiroyuki Imaishi) Sun, Tues & Weds Only Subtitled Sun
Meet Me in St. Louis (Vincente Minnelli, 1944) Sun & Weds Only Our Podcast 

SIFF Uptown:

Pain and Glory (Pedro Almodóvar) Fri-Thurs 

Varsity Theatre:

Knives and Skin (Jennifer Reeder) Fri & Sat Only 
The Aeronauts (Tom Harper) Fri-Thurs 
A Million Little Pieces (Sam Taylor-Johnson) Fri-Thurs 
I See You (Adam Randall) Fri-Thurs 
The Mandela Effect (David Guy Levy) Fri-Thurs 
A New Christmas (Daniel Tenenbaum) Fri-Thurs 

In Wide Release:

The Lighthouse (Robert Eggers) Our Review 
Parasite (Bong Joonho) Our Review Our Podcast