The first proper book I ever read (or, to be honest, had read to me) was The Hobbit, and I spent most of my childhood (plus, to be honest, my adulthood) wanting to be one. As I wasn’t allowed to outside without footwear, the primary appeal (and, to be honest, the secondary and tertiary appeals) of being a Hobbit was living a lifestyle devoid of footwear.
Earlier this year, I took my first-ever trip to Aotearoa (New Zealand), and stepping – with actual shoes – into Hobbiton was a life-altering experience. This wasn’t like seeing the outside of Scottie’s house from Vertigo (a thoroughly random example that just happens to accord with something I did in San Francisco a year earlier); this was immersive and expansive and real, the town seeming to go on forever, just like I imagined it. As close to a childhood fantasy world properly coming true before your eyes as is physically possible.
I didn’t want to leave. I refused to. The tour guide did their best, then brought in security, who had to call in the local police force. I resisted them all. Eventually they figured out all they needed was an old man in grey robes to assign me a quest, and I happily skipped out of town with a cheerful “I’m going on an adventure!”.
In accordance with local blog customs, I begin this round-up with my best first-time vintage watches. Longtime fans of my lists (known as Leestheads, colloquially) will recall that last year’s was extremely 1969-heavy, due to my comprehensive and needlessly-excessive prep work for this game. And given we didn’t actually end up playing until July, said prep work continued well into 2024, so it’s yet another overwhelmingly ’69 list. Nice.
They Shoot Horses Don’t They (1969), The Prime of Miss Jean Brodie (1969), Alice’s Restaurant (1969), Castle Keep (1969), Ascenseur pour l’échafaud (Elevator to the Gallows) (1958), Sabata (1969, The Boys of Paul Street (1969), Hard Contract (1969), La Piscine (The Swimming Pool) (1969), Coherence (2013)
The temptation to sneak a second-time watch into the list – notably The Bed-Sitting Room – when the second viewing converted it from a film I love into a proper all-time favourite was strong, but hey, I don’t make the rules. Except, yes I do. And speaking of which…
As always, my qualification criteria for these end-of-year wraps are frustratingly inconsistent and subjective. Almost to the point where you’d think I’m being annoying on purpose. A film is eligible for the list if it premiered in 2024 (like, say, The Substance)… unless it doesn’t come out in Australia until 2025 (like, say, The Brutalist)… except if I somehow got a chance to see it early (like, say, Nosferatu)… which means that 2023 films that didn’t make it to Australia until 2024 qualify (like, say, The Iron Claw)… but not if I caught them in 2023 (like, say, Ferrari).
It’s easy to remember, just use this simple key: AFIEFTLIIPI24UIDCOIAU25EIISGACTSIEWMT23FTDMITAU24QBNIICTI23.
I have no idea which held-over 2024 titles might have made the list – Luca Guadagnino’s Queer seems like it might have been a gimme – but of the ones I did see (worryingly complete list below), there were some frustrating near-misses.
Had my top ten comprised Luca Guadagnino’s previous work Challengers, Aaron Schimberg’s identity-questioning A Different Man, Pat Boonnitipat’s funny and heartrending Lahn Mah (How To Make Millions Before Grandma Dies), Guy Maddin’s unhinged G7 satire Rumours, Jacques Audiard’s genre-bending musical Emilia Perez, Jeremy Saulnier’s intense thriller Rebel Ridge, Zoë Kravitz’s severely underrated Don’t Blink, Rich Peppiatt’s semi-fictitious Irish hiphop biopic Kneecap, Maryam Moghaddam & Behtash Sanaeeha’s tragicomic Keyk-e mahbub-e man (My Favourite Cake), and Kelly O’Sullivan & Alex Thompson’s amateur theatre drama Ghost Light… well, that would have been a more-than-respectable list, and one I’d have been pretty happy to hit publish on.
So which ten beat them out?
10. HERETIC
If you’re surprised to see this film on the list, I guarantee your surprise is nothing next to mine. By all rights, this film should be insufferable: heady religious arguments tackled in genre works often results in a sophomoric set of lectures that give the distinct impression the writer spent a full ten minutes skimming the Wikipedia entry on John Rawls before opening up Final Draft. (Don’t ask me for examples of films that do this, we don’t have time and also I can’t think of any.) But Heretic feels different. There’s lofty proselytising, sure, but it’s informed by character… even if the character in question is largely inscrutable, you know there’s a very deliberate motivation behind it. These aren’t avatars going back and forth like they’ve spent the last year in debate prep; they stumble, they grasp, they negotiate, they balancing the strict rules of social niceties and politeness against the growing feeling of danger. These are people with opinions and agency trying to reach a very clear and simple goal, and debating the existence of God is really just to them something that’s getting in the way of that. And the arguments themselves are refreshingly unpretentious: well-researched, but also appropriately,perfectly silly. How can you not love a locked-house horror film in which charming antagonist Hugh Grant uses Jar Jar Binks as a metaphor for the development of Christianity? You can’t, I checked. Ultimately, what tipped the balance and got Heretic into my favourites list was the fact that I’m still thinking about it. More than a few times I’ve gone back over lists from years past and discovered that a film I could have sworn was an easy top three was actually several rungs under something I don’t recall watching at all. And I have a pretty strong feeling Heretic’s going to stick with me.
9. HUNDREDS OF BEAVERS
You’d think that the ubiquity of high-end filmmaking technology would have brought with it an all-conquering generation of new filmmakers, making the kinds of works that basic equipment and limited money might once have impeded or even prevented. Unfortunately, those infinite possibilities seems to have inured us, ushering those who may once have turned to long-form filmmaking towards the quick-hit thrills of podcasting or TikToks, and the rest of us – now numbed by the tidal wave of content that new tech and distribution methods have afforded – simply unable to tell if there is actually a revolution going on and none of us noticed. Hundreds of Beavers is the exact type of batshit movie we are owed by the digital age: part Looney Tunes, part Nanook of the North, part video game, part surrealist fever dream, this deranged work follows an applejack maker in the snowy woods trying to catch some beavers to trade with a local merchant. And that’s it. It’s basically Wile E Coyote and Buster Keaton by way of Guy Maddin, the most ridiculous visual gags, rough and bespoke in all the best ways. Bafflingly long given its short film ancestry (1h48m!), but it’s so stupidly entertaining, you don’t really mind.
8. PARTHENOPE
Early in the film, the young Parthenope looks across the Gulf of Napoli, and says that the future takes place in the distance, over the water. For a woman born in the ocean, named for the siren who killed herself after failing to seduce Odysseus, that future is distant, constantly kept at arm’s length by salt water, a theme that permeates every moment of Paolo Sorrentino’s Parthenope. Sorrentino has long been preoccupied with youth and beauty – which won’t come as a surprise to anyone who saw his films Youth (2015) and The Great Beauty(2013) – but he’s more fascinated with our preoccupation of those things. He examines our desires critically without ever denying them, the film unapologetically seduced as the camera lingers on the impossibly-beautiful Parthenope. It’s important that we truly understand the preternatural allure of her; people seem to go mad when they see her, as they did with the sirens, and then blame their desire on her existence. In Sorrentino’s world, beauty is an innocent, destructive force of nature, blameless but blamed by all, an unwilling possessor of power though still curious about it. He is a deeply seductive director, and I’m always at his mercy given he infuses almost every moment of his films with movement and music. He’s obsessed with the beautiful outer form of cinema, but never at the expense of what lies beneath.
7. MEMORY
A woman struggling with memories of past abuse encounters a man with early on-set dementia, and very slowly, romance develops; a love story between someone who trying not to remember and someone simply unable to. There couldn’t be any better title for a film preoccupied with what it means to recall the past, one that avoids the easy drama of histrionics, and opts for the more dramatically-challenging path of empathy. It made me remember a time when a film like this would be seen by everyone, talked about endlessly, absorbed into the culture in a way that would prompt and provoke; when a subjects esoteric as memory – the false memories, the lost memories, the denied memories, the disguised memories – would be enough of a hook to draw us in. We’d debate its intent, its conflicting realities, the meaning behind that final moment. Now, a veritable masterpiece is dropped into an ocean of content, barely noticed, and our collective memory suffers because of it.
6. DUNE: PART TWO
If you’re after a big escapist fantasy, Dune: Part Two is not the droid you’re looking for: in this world, religion is overtly indistinguishable from a cult, used almost solely as a method of power and control, and the standard science fiction Chosen One narrative – as lazy a concept as is possible – is deftly used by both filmmaker and characters, a cynical manipulative tool to steer the population. It would be bold to release a film like this any year, but 2024 feels like a special case. Books will be written about how Dune: Part Two paralleled real events, assuming books continue to exist. I’m a big fan of schlocky science fiction, with its simple good-and-evil narratives, but it’s hard to think of too many works, on this kind of big-budget studio scale, that have avoided those easy questions and easier answers in favour of something far more complex and disturbing. Really, the only thing black and white in this film is the Harkonnen homeworld.
5. A REAL PAIN
Between the logline, the poster, and the strengths of the two leads, it’s not a huge challenge to correctly guess almost every beat of this film: Jesse Eisenberg is the neurotic and awkward one, Keiren Culkin is the brash and charismatic one, and they struggle with incompatible reactions on a trip to their ancestral homeland, dealing with traumas both ancestral and current. The path may be well-trodden, but writer/director/star Eisenberg walks it in a way that makes it feel entirely new, blisteringly funny and deeply heartbreaking and irresistibly enjoyable. There are no easy answers in A Real Pain, no big revelatory moments the way you may expect. These are broad characters, but in the way the real world is broad, complicated and insightful and annoying and charming.
4. LOVE LIES BLEEDING
There’s a fatality to noir romances, and the title of this one suitably sets us up for the brutal tragedy of it all. There’s no subtlety in that name, which in a way makes it the perfect mission statement for the ideal of film noir as a whole. The endless, exhausting culture wars that now seem to flavour every piece of art, and – perhaps more crucially – every reaction to every piece of art, may make a 1990s-era lesbian romance seem manufactured for the moment. And yet this love story between a homeless body builder and a chain-smoking female hick version of Michael Corleone if he’d actually committed to turning away from the family business, is about as far from manufactured as you can get. If US-based film noir is about the American dream gone wrong (and let’s just agree for the sake of today’s argument that it is), few things encapsulate this more than the casting of Ed Harris: once the epitome of chiselled Americana –the NASA buzzcut flight director of Apollo 13, the square-jawed general of The Rock, the impeccable artist of The Truman Show – here, gothic and straggled, his long hair and glasses making him look like the emaciated ghost of ambition. Kristen Stewart and Katy O’Brien are phenomenal and a pairing for the ages, but it’s co-writer/director Rose Glass who shines brightest. She makes some bold, bold choices, diving headfirst into magical realism and symbolism in moments where the audience could be forgiven for wanting something more tangible, but they’re choices that pay off: rage and righteous fury given form in a way that realism simply doesn’t allow. The film runs for 104 minutes, and I’m fairly sure I didn’t take a breath for a single one of them.
3. CONCLAVE
Everyone’s scared that the barbarians are at the gate; nobody considers that the barbarians could be them.Conclave feels like a pointed rebuke to the modern idea that every film’s stakes should conform to revolutionary ideals external to the film: why should I care about the problems of kings or the wealthy given the state of the real world? A perfectly reasonable question when applied to the real world, but a meaningless one when asked within the walls of a world constructed in service of a particular story. And walls are what Conclave is about. In the heart of Vatican City, a new pope is about to be chosen. Within the confines of this baroque castle, factions bicker and scheme, traditionalists raging at the erosion of institution, liberals yearning to escape traps of the past. But how big are the stakes, really? These people are locked away from the outside world, and the outside world is locked away from them, but its fury is still felt, the unseen masses indistinguishable from the wrath of an angry God. The appeal of Conclave is that it’s a process story, a peek inside the machinations of a petty political process that feels a million miles away from the concept of a Holy Spirit divinely appointing the pontiff. But it’s also about the universal nature of desire: everyone sees their own weaknesses reflected in rivals, identifying ambition they can’t admit to possessing themselves. How do you reconcile a world in which ambition is a punishable sin, yet only the ambitious survive?
2. SATURDAY NIGHT
About 24 hours before I watched this, I was at my day job in live TV when we received some big news. The news was related to the segment I’d spent the day producing, and the new information rendered everything I’d made entirely useless and out-of-date. But it also meant that if we could get our act together, we’d be the first in the world with this news. We threw out my now-obsolete package, recut existing footage to fit over a hastily-written newsread, and frantically rewrote interview questions directly into the autocue as one of my colleagues Joan Cusacked printed copies up two floors to the hosts. It was sweat-inducing, heart-pounding chaos that somehow translated into flawlessly smooth television, and we breathed a sigh of relief, then – with the work behind us – allowed ourselves the luxury of engage emotionally with the substance of the news we’d just heard, verified, and passed on.
Almost every film or show that deals with the bedlam of producing live television paints both the planned and the spontaneous as simply spontaneous, which makes almost all of them factually misleading and emotionally accurate. But screw it, print the legend; that’s the psychological truth of it anyway. I don’t know how much of Saturday Night – a film that tracks the 90 minutes leading up to the broadcast of the first ever episode of the show that would eventually become known as Saturday Night Live – is true, but I think I can spot which bits were real and which were condensed for the sake of drama.
SNL the show doesn’t carry the cultural cache in Australia because we simply weren’t able to watch it until long after it had dissolved into the culture. We had to divine what the show was from the cultural artefacts – spin-off films, references in other shows, my high school friend Kirk with his SNL Best of Mike Myers VHS, my uni friends sharing bootlegged wav files of the recurring Celebrity Jeopardy sketch – artefacts we studied like Platonic cave shadows. But we understood it was an institution, and while Saturday Night The Movie does carry an odour of manifest destiny about it, it’s not exactly reverential. It almost goes too far in the other direction, conflating stories into a compressed timeframe to make it seem more chaotic and miraculous than it could possibly have been. But I bet it felt exactly like this film makes it seem.
This is Jason Reitman’s best work by a country mile, a tonally-perfect encapsulation of why cultural progress has to be generational and passionate. Beneath the frenetic long-takes and propulsive drum-driven Batiste score is a film with a point of view, and while it leans just a little too hard on assumed knowledge, that at least means it avoids the sin of lengthy exposition. Reitman and Gil Keenan’s script is taut and funny, the grainy 16mm cinematography is perfect, the score is appropriately tense, and the editing pitch-perfect. There’s not a wrong note in the cast, from Nicholas Braun’s double duty as Andy Kaufman and Jim Henson down to the blink-and-you’ll-miss-him baby Frank Oz.
There are many forms this film could have taken, and I get why some of the others might be preferred, but taken purely on its own merits, and to an audience member who’s seen a bit of SNL but heard a lot of its legend, who can quote sketches from its first season without ever actually having seen any of it, who loves a good behind-the-scenes story and knows what it feels like to be seconds away from broadcasting live across the country and not knowing if the thing you’ve made will make it until it does, Saturday Night played perfectly.
In fact, there was only one day of the week that hit me harder.
1. TUESDAY
Death, in the form of a bird, comes for a terminally-ill teenager named Tuesday. She knows it’s coming, even if she doesn’t anticipate its ornithomorphised form, and somehow manages to outwit it, setting in motion a series of triumphs and tragedies that I won’t detail here. As with all the best films, it’s better to go in ignorant.
Going in ignorant was easy for me. This was meant to be a time-filler at the Melbourne International Film Festival, something interesting to see before the main event: Francis Ford Coppola’s Megalopolis in IMAX. And while I’m glad I saw Francis Ford Coppola’s singular work with that crowd and in that location, my night was defined by Daina Oniunas-Pusic’s fantasy of grief and resolve. Sure, every passing year seems to make me more susceptible to whatever emotional manipulation that a film (and, in some cases, pre-film ads for health insurance) wants to inflict on me, but no film has left me as messy a wreck as this one.
This is a film that explores the cosmic repercussions of outwitting death, but those repercussions happen in the background. We’re aware the world has changed, and every big question we have is answered, but never at the expense of the main story. This is about a mother (Julia Louis-Dreyfus) and her daughter (Lola Petticrew) trying to navigate the inevitable and the unspeakable, and even within the high fantasy of death’s embodiment, the micro and the macro are kept perfectly in balance.
Days before I saw this, I found myself drifting into the familiar onanistic trap of wondering if cinema still had the power to move, or if all the great works had already been made. It’s probably a thought I have once a month, and it’s indescribably thrilling when that question is answered so resolutely. May it be answered with similar resolution every year.
New Releases Watched in 2024
Good Grief, The Boys in the Boat, The Iron Claw, American Fiction, Argylle, The Greatest Night in Pop, Next Goal Wins, Drive-Away Dolls, Shirley, Scoop, Dune: Part Two, Kingdom of the Planet of the Apes, Love Lies Bleeding, Furiosa: A Mad Max Saga, Madame Web, Immaculate, Anyone But You, Night Swim, Sous la Seine (Under Paris), Kinds of Kindness, Lisa Frankenstein, Challengers, The Fall Guy, Ricky Stanicky, The First Omen, The Exorcism, Miller’s Girl, The Watchers, The Idea of You, A Family Affair, Spaceman, Bad Boys: Ride Or Die, Hitman, Society of the Snow, Ghostbusters: Frozen Empire, Deadpool & Wolverine, Mother’s Instinct, Civil War, Godzilla x Kong: The New Empire, Remembering Gene Wilder, The Color Purple, Damsel, Back To Black, Bob Marley: One Love, Timestalker, The Instigators, Abigail, Soundtrack to a Coup d’État, Arcadian, Sleeping Dogs, Tuesday, Megalopolis, Menus-Plaisirs – Les Troisgros, Hors de temps (Suspended Time), Grand Tour, Les Fantômes (Ghost Trail), Intercepted, Problemista, Faye, Monkey Man, The Union, In a Violent Nature, The Shrouds, Made in England: The Films of Powell and Pressburger, The Hyperboreans, Rumours, Longlegs, La Bête (The Beast), Unfrosted, Jackpot!, Hundreds of Beavers, Water Horse, MaXXXine, Twisters, Trap, Road House, The Killer, Borderlands, A Quiet Place: Day One, The Ministry of Ungentlemanly Warfare, Rebel Ridge, Oddity, The Beekeeper, Beetlejuice Beetlejuice, Land of Bad, Gunner, Uglies, Blink Twice, Horizon: An American Saga – Chapter 1, The Fabulous Four, Last Straw, Force of Nature: The Dry 2, The Crow, Inside Out 2, Wolfs, It Ends With Us, Young Woman and the Sea, Apartment 7A, The Deliverance, If, Imaginary, Fly Me to the Moon, Afraid, The Wasp, Hold Your Breath, Brats, Knox Goes Away (Assassin’s Plan), Frank Capra: Mr America, I.S.S., Self Reliance, Downtown Owl, The Unholy Trinity, The Dead Don’t Hurt, Kneecap, Thelma, Mr Crocket, I Saw the TV Glow, Brothers, His Three Daughters, Woman of the Hour, Alien: Romulus, Memory, The 4:30 Movie, Treasure, Will & Harper, Lonely Planet, Janet Planet, Daddio, The Bikeriders, Slave Play. Not a Movie. A Play, Ghostlight, Mother Couch!, Dogman, The Wild Robot, Joker: Folie à Deux, The Apprentice, Never Let Go, Hellboy: The Crooked Man, Speak No Evil, The Platform 2, Don’t Move, It’s What’s Inside, The Critic, The Substance, My Old Ass, Subtraction, Subservience, Suncoast, Am I Okay?, Smile 2, Saturday Night, Blitz, Memoir of a Snail, Aku wa sonzai shinai (Evil Does Not Exist), L’été dernier (Last Summer), The Piano Lesson, Didi, Lee, Here, Un Silence (A Silence), Nosferatu, Lahn Mah (How To Make Millions Before Grandma Dies), The People’s Joker, Conclave, Kuolleet lehdet (Fallen Leaves), Sasquatch Sunset, We Live In Time, A Different Man, Gladiator II, Juror No. 2, Heretic, Venom: The Last Dance, Nutcrackers, Emilia Perez, Wicked, Kid Snow, Your Monster, Super/Man: The Christopher Reeve Story, Close To You, Carry-On, Dear Santa, Red One, That Christmas, The Order, Joy, Parthenope, The Lord of the Rings: The War of the Rohirrim, Keyke mahboobe man (My Favourite Cake), The Room Next Door, Anora, A Real Pain, Wallace and Gromit: Vengeance Most Fowl
Past Releases Watched in 2024
Duck Soup (1933), The Princess Bride (1987), The Limey (1999), Russian Ark (2002), Lost Highway (1997), Elevator to the Gallows (1958), A Hard Day’s Night (1964), Time Bandits (1981), Double Indemnity (1944), Wall-E (2008), My Winnipeg (2007), Training Day (2001), Camelot (1967), Coherence (2013), Love and Death(1975), You Are So Not Invited To My Bat Mitzvah (2023), Capricorn One (1977), Fellini Satyricon (1969), Dillinger è morto (Dillinger Is Dead) (1969), Porcile (Pigsty) (1969), Medea (1969), La caduta degli dei (The Damned) (1969), Le malizie di Venere (Venus In Furs) (1969), Paroxismus (Venus In Furs) (1969), Marquis de Sade: Justine (1969), Der heiße Tod (99 Women) (1969), Die sieben Männer der Sumuru (The Girl From Rio) (1969), The Castle of Fu Manchu (1969), Rote Lippen, Sadisterotica (Two Undercover Angels) (1969), Küß mich, Monster (Kiss Me Monster) (1969), Una sull’altra (One on Top of the Other) (1969), Beatrice Cenci (The Conspiracy of Torture) (1969), Gli specialisti (The Specialists) (1969), Ehi amico… c’è Sabata. Hai chiuso!’ (Sabata) (1969), Anatomy of a Fall (2023), Gli intoccabili (Machine Gun McCain) (1969), Femina Ridens (The Laughing Woman) (1969), Un esercito di cinque uomini (The Five Man Army) (1969), Salvare la faccia (Psychout For Murder) (1969), Orgasmo (Paranoia) (1969), Così dolce… così perversa (So Sweet… So Perverse) (1969), Paranoia (A Quiet Place To Kill) (1970), Une corde, un Colt… (Cemetery Without Crosses)(1969), Le altre (The Others) (1969), Queimada (Burn!) (1969), La Sirène du Mississippi (Mississippi Mermaid) (1969), A tanú (The Witness) (1969), Amore e rabbia (Love and Anger) (1969), Z (1969), Une femme douce (A Gentle Woman) (1969), Le Clan des Siciliens (The Sicilian Clan) (1969), La Piscine (The Swimming Pool) (1969), La Voie lactée (The Milky Way) (1969), L’Armée des ombres (Army of Shadows) (1969), The Voices (2014), Que la bête meure (This Man Must Die) (1969), Downhill Racer (1969), La femme infidèle (The Unfaithful Wife) (1969), Winning (1969), Yawar mallku (Blood of the Condor) (1969), Eggshells (1969), Medium Cool (1969), The Prime of Miss Jean Brodie (1969), Dune (2021), Lions Love (1969), They Shoot Horses, Don’t They? (1969), The Illustrated Man (1969), Holdudvar (Binding Sentiments) (1969), Marooned (1969), The Battle of Britain (1969), The Rain People (1969), The Computer Wore Tennis Shoes (1969), Whatever Happened To Aunt Alice? (1969), Play Dirty (1969), Paint Your Wagon (1969), Le Gai savoir (The Joy of Learning) (1969), The Oblong Box (1969), Tell Them Willie Boy Is Here (1969), Anne of a Thousand Days (1969), My Side of the Mountain (1969), Pit Stop (1969), Pendulum (1969), Castle Keep (1969), Support Your Local Sheriff! (1969), The Comic (1969), Don’t Drink the Water (1969), True Grit (1969), The April Fools (1969), The Undefeated (1969), The Italian Job (1969), Oh! What a Lovely War (1969), The Learning Tree(1969), The Night of the Following Day (1969), Target: Harry (aka How To Make It) (1969), The Chairman (1969), Mackenna’s Gold (1969), Marlowe (1969), L’amour fou (Mad Love) (1969), Model Shop (1969), The Royal Hunt of the Sun (1969), Staircase (1969), Crossplot (1969), Hook, Line and Sinker (1969), Bob & Carol & Ted & Alice (1969), Hard Contract (1969), Cactus Flower (1969), 100 Rifles (1969), Shark (1969), A Walk With Love and Death (1969), On Her Majesty’s Secret Service (1969), Sinful Davey (1969), Mondo Trasho(1969), Before Winter Comes (1969), The Assassination Bureau (1969), The Extraordinary Seaman (1969), A Time For Dying (1969), Impasse (1969), The Gypsy Moths (1969), The Bed Sitting Room (1969), Carry On Camping (1969), Carry On Again Doctor (1969), In Search of Gregory (1969), The Appointment (1969), Goodbye, Mr Chips (1969), Hello, Dolly! (1969), Alice’s Restaurant (1969), Sweet Charity (1969), A Bullet For Sandoval (1969), Take the Money and Run (1969), The Madwoman of Chaillot (1969), Sam’s Song (1969), It Takes All Kinds (1969), 2000 Weeks (1969), Women In Love (1969), Otley (1969), Don’t Let the Angel Fall(1969), A Touch of Love (1969), A Pál utcai fiúk (The Boys of Paul Street) (1969), Kes (1969), Laughter in the Dark (1969), The Good Guys and the Bad Guys (1969), Last Summer (1969), Coming Apart (1969), Goodbye Columbus (1969), Easy Rider (1969), The Big Bounce (1969), Gaily, Gaily (1969), La Fiancée du pirate (A Very Curious Girl) (1969), The Wild Bunch (1969), John and Mary (1969), Topaz (1969), Hannibal Brooks (1969), Ma nuit chez Maud (My Night At Maud’s) (1969), The Wedding Party (1969), Slogan (1969), That Cold Day in the Park (1969), Trilogy (1969), Three (1969), The Secret of Santa Vittoria (1969), The Bridge at Remagen (1969), Blue Movie (1969), Paris n’existe pas (Paris Does Not Exist) (1969), The Virgin Soldiers(1969), The Sterile Cuckoo (1969), Che! (1969), Bronco Bullfrog (1969), Midnight Cowboy (1969), The Happy Ending (1969), How To Commit Marriage (1969), The Reivers (1969), Me, Natalie (1969), Death of a Gunfighter (1969), De Sade (1969), Bad Boys For Life (2020), The Color Purple (1985), C’est arrivé près de chez vous (Man Bites Dog) (1992), Road House (1948), Road House (1989), Inside Out (2015), Dip huet seung hung (The Killer) (1989), Beetlejuice (1988), Jack L Warner: The Last Mogul (1993) (2023 re-release), Dementia 13 (1963), You’re a Big Boy Now (1966), Finian’s Rainbow (1969), The Godfather (1972), Spirited (2022), It’s a Wonderful Life (1946)
Short Films Watched in 2024
The Running, Jumping & Standing Still Film (1957), Carl’s Date (2023), Men of Crisis: The Harvey Wallinger Story (1971), Carry On Christmas (1969), Invocation of My Demon Brother (1969), Bambie Meets Godzilla(1969), Captain Voyeur (1969), Frosty the Snowman (1969), Vinni-Pukh (Winnie-the-Pooh) (1969), Passion Pop (WIP) (2024), Riley’s First Date? (2015), The Simpsons: The Most Wonderful Time of the Year (2024), Piper (2016), Lambert the Sheepish Lion (1952), No Cigar (1956)