Author: markbould

Tomboy (aka The Assignment) (Walter Hill 2016)

Cil8I9LWgAAOcRQand so anyway it turns out that the best thing about Tomboy aka The Assignment (2016), Walter Hill’s tawdry and exploitative story about a hitman, Frank Kitchen, played by Michelle Rodriguez, complete with facial (and other, more southerly) merkins and a prosthetic male chest and torso every bit as convincing as Nicolas Cage’s chest in Ghost Rider (Johnson 2007) and a prosthetic penis (cos yes there is a full frontal shower scene), who is double-crossed by the gangster Honest John (naughty Anthony LaPaglia!) who hired her and sold to the wealthy-genius-but-struck-off-female-surgeon-who-dresses-mannishly-and-likes-to-experiment-on-homeless-people-who-won’t-be-missed-and-whose-brother-was-killed-by-Frank-the-hitman, Dr Rachel Jane (naughty Sigourney Weaver!), who exacts her revenge on her brother’s killer while simultaneously trying to free Frank from the trap of toxic masculinity by performing unwanted and non-consenting sex change surgery on him, and who then – like the gangsters – becomes the target of revenge for the female Frank, also played by Michelle Rodriguez (who won an acting award for this shit, though admittedly a fairly obscure German one), again with some full frontal nudity, presumably to reassure the audience that the male body prosthetics caused no lasting damage to Letty, is not Hill’s unnecessarily complex nested narrative that jumps back-and-forth in time in order to cover up what looks like a collapsed budget and disastrous shoot while minimising anything resembling interest or suspense, nor is it that he also managed to trick Tony Shalhoub into appearing as Dr Galen (how long did it take to come up with that name?) in long and badly written dialogue scenes with the now-institutionalised Dr Jane, nor is it that somehow Walter Hill manages to make this tawdry and exploitative story so very bland that you are left wishing Abel Ferrara had directed it, or a young Jonathan Demme, or even a young Walter Hill, so as to make it properly tawdry, no, the very best thing about Tomboy aka The Assignment is that, despite Hill’s ploddingly pedestrian and mostly completely inoffensive treatment of this tawdry and exploitative tale, he nonetheless – and albeit by an extraordinarily circuitous route – manages to leave you feeling as dirty as you should by making you grateful  he has always resisted the urge to direct a movie in the Alien franchise he produces, which means you are grateful for films directed by Sir Diddley Squat…

The stuff what I done in 2017

While it was happening, this mostly felt like another year lost to the day job – launching a new BA and helping launch a new MA while the previous new BA was only entering its third year – so loads of new modules to design and teach alongside a tidal wave of related admin. It came as a bit of a surprise, then, to see how long this post turned out to be.

16729548_1350898058315138_6294972275530792296_nEditing
The big news, I guess, was the decision to stand down as an editor of Science Fiction Film and Television, which Sherryl Vint and I launched a decade ago. We have now ascended to the giddy heights of editors emerita/us, while leaving all the hard work of actual editing to Gerry Canavan, Dan Hassler-Forest and another to be announced soon. (Though Sherryl and I return almost immediately as guest-editors for 11.2, the ‘Celebrating Mary Shelley’ issue.)

The other big news is that Rhys Williams and I finally finished editing M John Harrison: Critical Essays, which should be out from Gylphi soon(ish). This is the second collection to come from the conference we organised at Warwick back in 2014; the first was SF Now (Paradoxa 26), which somehow we turned around in three months rather than three years.

I also joined the advisory board of Comparative Literature and Culture.

Writing
I wrote one journal article this year, and quite freakily it came out just four months later:

‘From world sf (via, if we must, World Sf) to world-sf: an introduction’, Fantastika 2 (2017)

I published three essays in edited collections

‘Between the Sleep and the Dream of Reason: Dystopian Science Fiction Cinema’ in Rainer Rother and Annika Schaeffer, eds, Future Imperfect: Science Fiction Film (Bertz/Fischer Verlag 2017), 42–63

‘Pulp SF and its Others, 1918–39’ in Roger Luckhurst, ed., Science Fiction: A Literary History (British Library 2017), 100–128

‘Afrocyberpunk Cinema: The Postcolony Finds Its Own Use for Things’ in Graham J Murphy and Lars Schmeink, eds, Cyberpunk and Visual Culture (Routledge 2017), 213–234

And I wrote two other essays, the first of which came out within a month of submitting a hastily concocted first draft, and involved what was without doubt the most astonishingly brilliant experience of being edited I have ever had (goddammit, that sounds sarcastic; they really were incredible to work with). I am also extremely grateful to the editors of the second piece, who tolerated six months of delays as the day job (and not unrelated health issues) got in the way.

‘Dulltopia’ in Junot Díaz, ed, Global Dystopias (Boston Review) (2017), 191–206

‘Space/Race: Recovering John M. Faucette’ in Isiah Lavender III and Lisa Yaszek, eds, Afrofuturism Through Time and Space (Ohio State UP)—forthcoming

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I published one review essay, six reviews and an introduction to a novel

‘Max Sexton and Malcolm Cook, Adapting Science Fiction to TV: Small Screen, Expanded Universe, Steven Gil, Science Wars through the Stargate: Explorations of Science and Society in Stargate SG-1 and Douglas and Shea T. Brode, eds, Gene Roddenberry’s Star Trek: The Original Cast Adventures’, Critical Studies in Television: The International Journal of Television Studies 12.3 (2017), 315–19

‘Brian Willems, Shooting the Moon’, Science Fiction Film and Television 10.3 (2017), 418–421

‘African Science Fiction’ on Cambridge Journal of Postcolonial Literary Inquiry’s ‘African SF’ Special Issue, The Los Angeles Review of Books (2 October 2017)

‘David S. Roh, Betsy Huang and Greta A. Niu, eds, Techno-Orientalism: Imagining Asia in Speculative Fiction, History, and Media’, Extrapolation 58.1 (2017), 95–99

Contributor to ‘Best SF Films of 2016’ (reviews of Evolution, He Never Died and Mænd & høns/Men & Chicken), Vector 285 (2017), 11–18

‘Introduction’ to HG Wells, The Time Machine (Pan Macmillan, 2017), vii–xv

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In memoriam, I wrote a piece about Mark Fisher and an entry for a collection Mike Levy was to have edited and which Farah Mendlesohn brilliantly took on in his stead:

‘Verschränkung’. Contribution to ‘In Memoriam: Mark Fisher’, Los Angeles Review of Books (2017)

Entry on Arrival for Mike Levy and Farah Mendlesohn, eds, Aliens in Popular Culture (Greenwood)—forthcoming

Banging on
There was an absurd world tour of keynotes, plenaries and other invited research presentations

‘Making Habitable Worlds in the Late Anthropocene’, The Centre for Exoplanets and Habitability, University of Warwick, 20 November 2017

‘Art/Science at the Edge’ closing plenary discussion with Susanne Winterling, chaired by Bodhisatva Chattopadhyay, Synchronizing the World: Historic Times, Globalized Times, Anthropogenic Times, Universitetet i Oslo, Norway, 12–14 June 2017

‘This is the Worst of All Possible Worlds’, Dystopia Now, Birkbeck, 26 May 2017

‘The Anthropocene Unconscious of African Second Contact Narratives: District 9, Rosewater, Lagoon’, Inventions of the Text seminar series, University of Durham, 10 May 2017

‘Staying with Wahala: Making Time in the Anthropocene’, Africa of the Past, Africa of the Future: The Dynamics of Time in Africanist Scholarship and Art, SOAS, University of London, 5–6 May 2017

‘Figuring History in Robots of Brixton and Crumbs’, The Distorted Mirror: Reflections of Time and Space in Speculative Media, Bayreuth International Graduate School of African Studies/Universität Bayreuth, Germany 29–30 April 2017

‘Afrofuturism Archive Anthropocene’, Cornell University, 17 April 2017

‘Making Afrofuturism, Salvaging History’, University of California, Riverside, 10 April 2017

and some public talks

Selected and introduced Arthur Robison’s The Informer for Southwest Silents, The Lansdown, Bristol, 18 October 2017

Introduced Robert Zemeckis’s Contact for Electric Shadows in the Cathedral, Bristol Cathedral, 4 October 2017

Selected and introduced Jacques Feyder’s Visages d’enfants for Southwest Silents, The Lansdown, Bristol, 15 March 2017

and the media non-appearance

Like almost everyone I know in the UK (except Caroline Edwards), I spent a couple of hours being interviewed for BBC Radio 4’s We Are the Martians, 6–8 March 2017, but did not actually appear on any of the programmes (though some of my words did, albeit from the mouths of presenters). I even came to the rescue when the producer had only an hour or so in which to find a (literal) hole in the ground in Arizona to record an echo-y cave effect while reconstructing John Carter’s first astral visit to Mars/Barsoom. But still my fucking words are only fucking good enough to fucking air if fucking said by someone fucking else they are actually fucking paying for their fucking labour with my fucking licence fee.

I also examined one PhD, Thomas Connolly’s Bio/Techno/Homo: A Critical History of the Human in Anglo-American Science Fiction (Maynooth University, Eire 2017), and served my first year as a jury member on two awards:

The Science Fiction Research Association’s Pilgrim Lifetime Achievement Award for Critical Contributions to the Study of Science Fiction and Fantasy, which went to Tom Moylan

The International Association of the Fantastic in the Arts’ David G Hartwell Emerging Scholar Award, which went to Grant Dempsey

 

My top 31 books of 2017

In 2017, I read 247 books, 214 of them for the first time. My top 31 in categories and then roughly in order are:

300738Novels

  1. William T. Vollmann, Argall: The True Story of Pocahontas and Captain John Smith (2001)
  2. Kim Stanley Robinson, Aurora (2015)
  3. Zora Neale Hurston, Their Eyes Were Watching God (1937)
  4. Henrietta Rose-Innes, Nineveh (2011)
  5. Claude McKay, Home to Harlem (1928)
  6. Edwidge Danticat, Breath, Eyes, Memory (1994)
  7. Mohammad Rabie, Otared (2016)
  8. Thomas Pynchon, Bleeding Edge (2013)
  9. Shirley Jackson, The Sundial (1958)
  10. Gwyneth Jones, Proof of Concept (2017)
  11. Karen Lord, Redemption in Indigo (2010)
  12. Amir Tag Elsir, Telepathy (2015)
  13. William T. Vollmann, Europe Central (2005)
  14. Richard House, The Kills (2013)
  15. Wu Ming, Manituana (2009)

Short stories

  1. Sherman Alexie, The Lone-Ranger and Tonto Fistfight in Heaven (1993)
  2. M. John Harrison, You Should Come With Me Now (2017)

Comics

  1. David F Walker, Sanford Greene, Flaviano, Lee Loughridge, John Rauch, Power Man and Iron Fist: The Boys Are Back In Town (2016)
  2. Keziah Jones and Native Maqari, Captain Rugged (2014)
  3. Ta-Nehisi Coates, Brian Stelfreeze, et al., Black Panther: A Nation Under Our Feet, books 1–3 (2016–17)

Poetry

  1. John A. Williams, Safari West: Poems (1998)

Non-fiction

  1. China Miéville, October: The Story of the Russian Revolution (2017)
  2. Andreas Malm, Fossil Capital: The Rise of Steam Power and the Roots of Global Warming (2015)
  3. WReC, Combined and Uneven Development: Towards a New Theory of World-Literature (2015)
  4. Dan Hassler-Forest, Science Fiction, Fantasy and Politics: Transmedia Worldbuilding Beyond Capitalism (2016)
  5. Donna J. Haraway, Staying with the Trouble: Making Kin in the Anthropocene (2016)
  6. Anna Lowenhaupt Tsing, The Mushroom at the End of the World: On the Possibility of Life in Capitalist Ruins (2015)
  7. Allyson Nadia Field, Uplift Cinema: The Emergence of African American Film and the Possibility of Black Modernity (2015)
  8. Mark Fisher, The Weird and the Eerie (2016)

2017 Portnoy compliancy figures
Titles by straight white men writing in English = 97
Titles by all of the rest of the world except straight white men writing in English = 124 (including just 54 titles by women)
Titles by multiple authors which thus do not fit these distinctions = 25

The full list of 2017’s 247 titles
Chinua Achebe, Arrow of God (1964)
–. No Longer at Ease (1960)
–. Things Fall Apart (1958)
Sherman Alexie, The Lone-Ranger and Tonto Fistfight in Heaven (1993)
Dorothy Allison, Bastard Out of Carolina (1992)
Charlie Jane Anders, All the Birds in the Sky (2016)
Emily Apter, Against World Literature: On the Politics of Untranslatability (2013)
John Arcudi, Brian Michael Bendis, Mike Benson, Adam Glass, Pepe Larraz, Frank Miller, Dalibir Talajic, Billy Tan, Herb Trimpe, Lenil F Yu, Luke Cage: Avenger (2016)
Isaac Asimov, ed., More Soviet Science Fiction (1962)

Angela Baldassarre, Reel Canadians: Interviews from the Canadian Film World (2002)
Amiri Baraka, Dutchman (1964)
–. The Slave (1964)
Julian Barnes, England, England (1998)
Stephen Baxter, Voyage (1996)
Paul Beatty, The Sellout (2015)
Lauren Beukes, Dale Halvorsen, Ryan Kelly and Eva De LA Cruz, Survivors’ Club (2015–16)
Franco ‘Bifo’ Berardi, After the Future (2011)
–. The Uprising: On Poetry and Finance (2012)
Adolfo Bioy Casares, The Adventures of a Photographer in La Plata (1985)
Alexander Bogdanov, Red Star (1909)
Roberto Bolaño, Monsieur Pain (1999)
Arna Bontemps, Sad-faced Boy (1937)
Ray Bradbury, Fahrenheit 451 (1953)
Christopher Brookmyre, Quite Ugly One Morning (1996)
Claude Brown, Manchild in the Promised Land (1964)
John Edward Bruce, The Black Sleuth (1907–09)
Paul Buhle and David Wagner, A Very Dangerous Citizen: Abraham Lincoln Polonsky and the Hollywood Left (2001)
Andrew M Butler, Eternal Sunshine of the Spotless Mind (2014)

Terry Carr, ed., Universe Three (1973)
Pascale Casanova, The World Republic of Letters (1999)
Fidel Castro and Che Guevara, To Speak the Truth (1992)
Shadreck Chikoti, Azotus the Kingdom (2015)
Timothy Clark, Ecocriticism on the Edge: The Anthropocene as a Threshold Concept (2015)
JM Coetzee, Foe (1986)
Joseph Conrad, Heart of Darkness (1899)
Ta-Nehisi Coates and Brian Stelfreeze, Black Panther: A Nation Under Our Feet, book one (2016)
–. Black Panther: A Nation Under Our Feet, book two (2017)
Ta-Nehisi Coates, Brian Stelfreeze, Chris Sprouse, Jonathan Hickman and Valerio Schiti, Black Panther: A Nation Under Our Feet, The People’s Revolution (2017)
Joseph Conrad, The Secret Agent (1907)
Iver P. Cooper, 1636: Seas of Fortune (2014)
James Crumley, The Wrong Case (1975)
–. The Last Good Kiss (1978)
–. Dancing Bear (1983)
Barry Curtis, Dark Places: The Haunted House in Film (2008)
George F. Custen, Twentieth Century’s Fox: Darryl F. Zanuck and the Culure of Hollywood (1997)

Edwidge Danticat, Breath, Eyes, Memory (1994)
Kamel Daoud, The Meersault Invertigation (2013)
Rjurik Davidson, Unwrapped Sky (2014)
Junot Díaz, Drown (1996)
–-. ed., Global Dystopias (2017)
Philip K. Dick, Do Androids Dream of Electric Sheep? (1968)
Wai Chee Dimock and Lawrence Buell, eds, Shades of the Planet: American Literature as World Literature (2007)
Frederick Douglass, The Narrative of the Life of Frederick Douglas, an American Slave (1845)
Sonya Dorman, Planet Patrol (1978)
Rachel Dwyer, Bollywood’s India: Hindi Cinema as a Guide to Contemporary India (2014)

Ralph Ellison, Invisible Man (1952)
Scott Eyman, The Speed of Sound: Hollywood and the Talkie Revolution, 1926–1930 (1997)

John M. Faucette, The Age of Ruin (1968)
–. Black Science Fiction (2002)
–. Crown of Infinity (1968)
–. Disco Hustle (1978)
–. Siege of Earth (1971)
–. The Warriors of Terra (1970)
Jessie Redmon Fauset, Plum Bun (1928)
James Felder, Jaime Campis, John Ostrander, Roger Stern, Joe Bennett, Pasqual Ferry, Stephen Jones and Gabe Alberola, Luke Cage and Iron Fist and Heroes for Hire, volume 1 (2016)
Ellen Feldman, Scottsboro (2008)
Allyson Nadia Field, Uplift Cinema: The Emergence of African American Film and the Possibility of Black Modernity (2015)
Audrey Fisch, The Cambridge Companion to the African American Slave Narrative (2007)
Mark Fisher, The Weird and the Eerie (2016)
Rudolph Fisher, The Walls of Jericho (1928)
F. Scott Fitzgerald, The Great Gatsby (1925)
Eric Flint and David Carrico, 1636: The Devil’s Opera (2013)
Eric Flint and Andrew Dennis, 1635: A Parcel of Rogues (2016)
Eric Flint and Charles E Gannon, 1635: The Papal Stakes (2012)
Eric Flint and Charles E Gannon, 1636: Commander Cantrell in the West Indies (2014)
Eric Flint, Gorg Huff and Paula Goodlett, 1636: The Viennese Waltz (2014)
John Bellamy Foster, Richard York and Brett Clark, The Ecological Rift: Capitalism’s War on the Earth (2011)
Peter Frase, Four Futures: Life After Capitalism (2016)

Ed Guerrero, Do The Right Thing (2001)

Julian Jason Haladyn, Boredom and Art: Passions of the Will to Boredom (2015)
Edmond Hamilton, The Hidden World (1929)
–. The Other Side of the Moon (1929)
–. Return to the Stars (1968)
–. The Star Kings (1949)
Ian Hamilton, Writers in Hollywood, 1915–1951 (1990)
Lorraine Hansberry, A Raisin in the Sun (1959)
–. The Sign in Sidney Brustein’s Window (1964)
Donna J. Haraway, Staying with the Trouble: Making Kin in the Anthropocene (2016)
Nick Harkaway, Tigerman (2014)
Charlaine Harris, Dead Until Dark (2001)
M. John Harrison, You Should Come With Me Now (2017)
Dan Hassler-Forest, Science Fiction, Fantasy and Politics: Transmedia Worldbuilding Beyond Capitalism (2016)
Richard Heinberg, Peak Everything: Waking Up to the Century of Decline in Earth’s Resources (2007)
DuBose Heyward, Porgy (1925)
Adam Hochschild, King Leopold’s Ghost (1998)
Gerald Horne, Paul Robeson: The Artist as Revolutionary (2016)
Richard House, The Kills (2013)
Langston Hughes, Not Without Laughter (1930)
–. The Ways of White Folks (1933)
Zora Neale Hurston, Their Eyes Were Watching God (1937)
Zora Neale Hurston, Their Eyes Were Watching God (1937)
Aamer Hussein, Turquoise (2002)
George Hutchinson, ed., The Cambridge Companion to the Harlem Renaissance (2007)

F Abiola Irele, ed., The Cambridge Companion to the African Novel (2009)
Kazuo Ishiguro, The Remains of the Day (1989)

Julian Jackson, La Grande Illusion (2009)
Shirley Jackson, The Haunting of Hill House (1959)
–. The Sundial (1958)
Harriet A Jacobs, Incidents in the Life of a Slave Girl, Written by Herself (1861)
Fredric Jameson, The Political Unconscious: Narrative as a Socially Symbolic Act (1981)
Tove Jannson, The Moomins and the Great Flood (1945)
NK Jemisin, The Broken Kingdoms (2010)
–. The Kingdom of Gods (2011)
–. The Killing Moon (2012)
–. The Shadowed Sun (2012)
–. The Awakened Kingdom (2014)
–. The Fifth Season (2015)
–. Shades in Shadow (2015)
–. The Obelisk Gate (2016)
–. The Stone Sky (2017)
Gwyneth Jones, Proof of Concept (2017)
James Weldon Johnson, The Autobiography of an Ex-Colored Man (1912)
Keziah Jones and Native Maqari, Captain Rugged (2014)

William Melvin Kelley, A Different Drummer (1959)
–. A Different Drummer (1959)
–. dem (1967)
Rachael King, The Sound of Butterflies (2006)
Naomi Klein, This Changes Everything (2014)
Elizabeth Kolbert, The Sixth Extinction: An Unnatural History (2014)

Paul Lafargue, The Right to Be Lazy, and Other Studies (1883)
Nella Larsen, Quicksand (1928)
–. Passing (1929)
Victor LaValle, Big Machine (2009)
– The Ballad of Black Tom (2016)
John Le Carré, The Looking Glass War (1965)
Ann Leckie, Ancillary Mercy (2015)
David Levering Lewis, When Harlem was in Vogue (1979)
David Levering Lewiss, ed., The Portable Harlem Renaissance Reader (1994)
John Ajvide Lindquist, Let the Right One In (2004)
Ivy Litvinov, She Knew She Was Right (1971)
Ania Loomba, Colonialism/Postcolonialism (2002)
Karen Lord, Redemption in Indigo (2010)
James Lovelock, The Revenge of Gaia: Why the Earth is Fighting Back – and How We Can Still Save Humanity (2006)
Roger Luckhurst, Zombies: A Cultural History (2015)
Roger Luckhurst, ed., Science Fiction: A Literary History (2017)

Graham McCann, Bounder! The Biography of Terry-Thomas (2008)
Ian McEwan, The Child in Time (1987)
Jimmy McDonough, Big Bosoms and Square Jaws: The Biography of Russ Meyer (2005)
Tom McDonough, ed., Boredom: Documents of Contemporary Art (2017)
Claude McKay, Home to Harlem (1928)
Marc McLaurin, DG Chichester, Gregory Wright, Scott Benefiet, Paris Cullins, Brian Pelletier, Richard Pace, Kirk Van Wormer and Steven Butler, Luke Cage: Second Chances, volume two
Shawn Malley, Excavating the Future (2018)
Andreas Malm, Fossil Capital: The Rise of Steam Power and the Roots of Global Warming (2015)
George Marshall, Don’t Even Think About It: Why Our Brains are Wired to Ignore Climate Change (2014)
Pamela Marvin, Lee: A Romance (1997)
Mark Maslin, Global Warming (2014)
Stephenie Meyer, Twilight (2005)
China Miéville, London’s Overthrow (2012)
–. October: The Story of the Russian Revolution (2017)
Timothy Mitchell, Carbon Democracy: Political Power in the Age of Oil (2011)
George Monbiot, How Did We Get Into This Mess? Politics, Equality, Nature (2017)
Michael Moorcock, The Brothel on Rosenstrasse (1982)
Toni Morrison, Beloved (1987)
Oliver Morton, The Planet Remade: How Geoengineering Could Change the World (2015)
Haruki Murakami, Underground: The Tokyo Gas Attack and the Japanese Psyche (2000)

Kim Newman, Quatermass and the Pit (2014)
Ngũgĩ wa Thiong’o, Decolonising the Mind: The Politics of Language in African Literature (1986)
Rob Nixon, Slow Violence and the Environmentalism of the Poor (2011)
Flora Nwapa, Efuru (1966)

Geoffrey O’Brien, Hardboiled America: Lurid Paperbacks and the Masters of Noir, expanded edition (1997)
Tim O’Brien, The Things They Carried (1990)
Nnedi Okorafor, Binti: Home (2017)
–. Lagoon (2015)
John Ostrander, Joe Edkin, Pasqual Ferry, Scott Kolins, Martin Egeland, Mary Mitchell, Derece Aucoin and Chris Renaud, Luke Cage, Iron Fist and the Heroes for Hire, volume 2 (2017)

Alison Peirse, After Dracula: The 1930s Horror Film (2013)
Andrew Pulver, Night and the City (2010)
Thomas Pynchon, Bleeding Edge (2013)
Mohammad Rabie, Otared (2016)
Ali Rattansi, Multiculturalism (2011)
Eric Rhode, Tower of Babel: Speculations on the Cinema (1966)
Kim Stanley Robinson, 2312 (2012)
–. Aurora (2015)
–. The Wild Shore (1984)
Henrietta Rose-Innes, Nineveh (2011)
Rainer Rother and Annika Schaefer, eds, Future Imperfect: Science Fiction Film (2017)

Carl Sagan, Contact (1985)
Sofia Samatar, A Stranger in Olondria (2013)
William W Savage, Jr., Commies, Cowboys, and Jungle Queens: Comic Books and America 1945–54 (1990)
George S. Schuyler, Black No More (1932)
–. Black No More (1932)
Sam Selvon, The Lonely Londoners (1956)
Ousmane Sembene, God’s Bits of Wood (1960)
–. Tribal Scars (1975)
Ntozake Shange, for colored girls who have considered suicide/when the rainbow is enuf (1974)
Steven Shaviro, Digital Music Video (2017)
–. Discognition (2016)
Patrick F Sheeran, The Informer (2002)
A Sivanandan, A Different Hunger: Writings on Black Resistance (1982)
Zadie Smith, The Autograph Man (2002)
John Steinbeck, Of Mice and Men (1937)
Theodore Sturgeon, Baby Is Three: The Complete Stories of Theodore Sturgeon, volume 6 (1999)
–. A Saucer of Loneliness: The Complete Stories of Theodore Sturgeon, volume 7 (2001)
–. Bright Segment: The Complete Stories of Theodore Sturgeon, volume 8 (2002)
–. And Now the News…: The Complete Stories of Theodore Sturgeon, volume 9 (2003)
–. The Man Who Lost the Sea: The Complete Stories of Theodore Sturgeon, volume 10 (2005)
Lars Svendsen, A Philosophy of Boredom (1999)
Imre Szeman, Jennifer Wenzel and Patricia Yaeger, eds, Fueling Culture: 101 Words for Energy and Environment (2017)
Amir Tag Elsir, Telepathy (2015)
Jim Thompson, Bad Boy (1953)
Tade Thompson, Rosewater (2016)
Wallace Thurman, The Blacker the Berry (1929)
Lavie Tidhar, A Man Lies Dreaming (2014)
John Timberlake, Landscape and the Science Fiction Imaginary (2018)
Peter Toohey, Boredom: A Lively History (2011)
Jean Toomer, Cane (1923)
Anna Lowenhaupt Tsing, The Mushroom at the End of the World: On the Possibility of Life in Capitalist Ruins (2015)

Peter Van Greenaway, Judas! (1972)
–. A Man Called Scavener (1978)
Verso editors, The Right to the City: A Verso Report (2017)
William T. Vollmann, Argall: The True Story of Pocahontas and Captain John Smith (2001)
–. Europe Central (2005)

Alice Walker, The Color Purple (1982)
David F Walker, Sanford Greene, Flaviano, Lee Loughridge, John Rauch, Power Man and Iron Fist: The Boys Are Back In Town (2016)
David F walker, Flaviano, Sanford Greene and Scott Hepburn, Power Man and Iron Fist 2: Civil War II (2017)
David F Walker, Nelson Blake II and Marcio Menyz, Luke Cage: Sins of the Father (2017)
Cheryl A. Wall, The Harlem Renaissance (2016)
Kenneth W. Warren, What Was African American Literature? (2011)
Robert Penn Warren, All the King’s Men (1946)
Rosie Warren, ed., Salvage 4 (2017)
Haydn Washington and John Cook, Climate Change Denial: Heads in the Sand (2011)
HG Wells, Kipps: The Story of a Simple Soul (1905)
Donald E. Westlake, The Comedy is Finished (2012)
Walter White, The Fire in the Flint (1924)
Colson Whitehead, The Underground Railroad (2016)
John A. Williams, Safari West: Poems (1998)
Harriet E. Wilson, Our Nig, or Sketches from the Life of a Free Black (1859)
WReC, Combined and Uneven Development: Towards a New Theory of World-Literature (2015)
Wu Ming, Manituana (2009)

Sol Yurick, The Warriors (1965)

David Zindell, The Broken God (1992)
–. The Wild (1995)
–. War in Heaven (1998)
Slavoj Žižek, Violence: Six Sideways Reflections (2008)
Slavoj Žižek, ed., An American Utopia: Dual Power and the Universal Army (2016)

 

My top 25 films of 2017

This year I watched 373 films. Of the 245 I saw for the first time, these are my top 25 (in roughly this order):
Dead-slow-ahead.0Dead Slow Ahead (Mauro Herce 2015)
Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles (Chantal Akerman 1975)
Salvatore Giuliano (Francesco Rossi 1962)
Kurôn wa kokyô wo mezasu/The Clone Returns Home (Nakajima Kanzi 2008)
La kermesse héroïque (Jacques Feyder 1935)
État de siege/State of Siege (Costa-Gavras 1972)
Il caso Mattei/The Mattei Affair (Francesco Rosi 1972)
Days of Hope: 1916 (Ken Loach 1975)
Days of Hope: 1921 (Ken Loach 1975)
Days of Hope: 1924 (Ken Loach 1975)
Days of Hope: 1926 (Ken Loach 1975)
Get Out (Jordan Peele 2017)
Goon: Last of the Enforcers (Jay Baruchel 2017)
Las Acacias (Pablo Giorgelli 2011)
The Soul of Nigger Charley (Larry G. Spangler 1973)
Grave/Raw (Julia Ducournau 2016)
Politist, adjectiv/Police, Adjective (Corneliu Porumboiu 2009)
Road Movie (Joseph Strick 1974)
Bílá Nemoc (Hugo Haas 1937)
Black Is…Black Ain’t (Marlon Riggs 1994)
The Watermelon Woman (Cheryl Dunye 1996)
Xiao cheng zhi chun/Spring in a Small Town (Mu Fei 1948)
Mustang (Deniz Gamze Ergüven 2015)
Brothers of the Head (Keith Fulton and Louis Pepe 2005)
Top Five (Chris Rock 2014)

Best soundtrack Good Time (Benny and Josh Safdie 2017) – in stark contrast to the sheer ordinariness of the rest of the movie

Most amazing opening ten minutes La proprietà non è più un furto/Property Is No Longer A Theft (Elio Petri 1973) – to be fair, no film could live up to an opening like that

Most amazing final ten minutes So pat lo 2/Kill Zone 2 (Pou-Soi Cheang 2015) – almost made it worth sitting through the preceding hundred or so

Worst Rian Johnson movie Star Wars: The Last Jedi (Rian Johnson 2017) – but that doesn’t make it a bad Star Wars movie

Movie with tallest cameraman The Killing of a Sacred Deer (Yorgos Lanthimos 2017) – and most ominous spaghetti

Most woman-centred and yet most misogynist melodrama Mother! (Darren Aronfsky 2017) – if only Jennifer Lawrence had brought her bow and arrow to work

Least disappointing sequel to a cult classic with a date in the title Blade Runner 2049 (Denis Villeneuve 2017) – though ultimately it was as empty as every Villeneuve film

Movie you finally rewatched after all these years and still can’t figure out what the fuck people see in it Withnail & I (Bruce Robinson 1987)

And should anyone care, here is the full list of 373 films:
7 días de enero/Seven Days in January (Juan Antonio Bardem 1979)
10 Cloverfield Lane (Dan Trachtenberg 2016)
12 Years a Slave (Steve McQueen 2013)
21 Jump Street (Phil Lord and Chris Miller 2012)
22 Jump Street (Phil Lord and Chris Miller 2014)

Las Acacias (Pablo Giorgelli 2011)
The Aerial Submarine (Walter R Booth 1910)
Aguirre, der Zorn Gottes/Aguirre, the Wrath of God (Werner Herzog 1972)
Ai Zai Shi Jie Mo Ri/Love After Time (Tsai Tsung-Han 2016)
All I Desire (Douglas Sirk 1953)
À Meia Noite Levarei Sua Alma/At Midnight I Will Take Your Soul (José Mojica Marins 1964)
American Honey (Andrea Arnold 2016)
Anime (Arnaud Brisebois 2016)
Anomalisa (Duke Johnson and Charlie Kaufman 2015)
Anonymous (Roland Emmerich 2011)
Anvil: The Story of Anvil (Sacha Gervasi 2008)
L’ariagnéléphant/The Spiderelephant (Piotr Kamler 1967)
Argo (Ben Affleck 2012)
Arrival (Denis Villeneuve 2016)
Arrival (Denis Villeneuve 2016)
The Assassination Bureau (Basil Dearden 1969)
L’Assassino (Elio Petri 1961)
At Sea (Peter Hutton 2007)
At Sea (Peter Hutton 2007)
The Autobiography of Miss Jane Pittman (John Korty 1974)

Baby Driver (Edgar Wright 2017)
Barbe Bleue (Catherine Breillat 2009)
Bastille Day (James Watkins 2016)
Beauty and the Beast (Gary Trousdale and Kirk Wise 1991)
Becoming Cary Grant (Mark Kidel 2017)
Berlin: Die Sinfonie der Grosstadt (Walther Ruttman 1927)
The Big Doll House (Jack Hill 1971)
Bílá Nemoc (Hugo Haas 1937)
The Birth of a Nation (Nate Parker 2016)
Bir Zamanlar Anadolu’da/Once Upon a Time in Anatolia (Nuri Bilge Ceylan 2011)
The Bishop’s Wife (Henry Koster 1947)
Black Is…Black Ain’t (Marlon Riggs 1994)
Black Mountain (Nick Szostakiwskyj 2014)
Blade Runner: The Director’s Cut (Ridley Scott 1992)
Blade Runner 2049 (Denis Villeneuve 2017)
Blood Simple: The Director’s Cut (Joel and Ethan Coen 2017)
Body and Soul (Oscar Micheaux 1925)
Bølgen/The Wave (Roar Uthaug 2015)
The Boondock Saints (Troy Duffy 1999)
Boss Nigger (Jack Arnold 1975)
El botón de nácar/The Pearl Button (Patricio Guzmán 2015)
The Bride of Frankenstein (James Whale 1935)
The Bride of Frankenstein (James Whale 1935)
The Bride Wore Boots (Irving Pichel 1946)
Bromo and Juliet (Leo McCarey 1926)
Brothers of the Head (Keith Fulton and Louis Pepe 2005)
Busanhaeng/Train to Busan (Sang-ho Yeon 2016)
Busy Bodies (Lloyd French 1933)

Captain America: Civil War (Joe and Anthony Russo 2016)
Captain Phillips (Paul Greengrass 2013)
The Car (Elliot Silverstein 1977)
Il caso Mattei/The Mattei Affair (Francesco Rosi 1972)
Casque d’Or (Jacques Becker 1952)
Central Intelligence (Rawson Marshall Thurber 2016)
Un chien andalou (Luis Buñuel 1929)
Chikyû Bôeigun/The Mysterians (Ishiro Honda 1961)
La Chinoise (Jean-Luc Godard 1967)
Chronopolis (Piotr Kamler 1982)
Cìkè Niè Yinniáng/The Assassin (Hsiao-Hsien Hou 2015)
Citizen Kane (Orson Welles 1941)
City Girl (FW Murnau 1930)
Cleopatra Jones (Jack Starrett 1973)
Clueless (Amy Heckerling 1995)
Coeur de secours (Piotr Kamler 1973)
A Cottage on Dartmoor (Anthony Asquith 1929)
Colossal (Nacho Vigalondo 2016)
Contact (Robert Zemeckis 1997)
Contact (Robert Zemeckis 1997)
Crainquebille (Jacques Feyder 1922)
The Creation of the Humanoids (Wesley Barry 1962)
Crumbs (Miguel Llansó 2015)
Daphne (Peter Mackie Burns 2017)
The Darktown Revue (Oscar Micheaux 1931)
Daughters of Darkness (Harry Kümel 1971)
Daughters of the Dust (Julie Dash 1991)
Days of Hope: 1916 (Ken Loach 1975)
Days of Hope: 1921 (Ken Loach 1975)
Days of Hope: 1924 (Ken Loach 1975)
Days of Hope: 1926 (Ken Loach 1975)
Deadpool (Tim Miller 2016)
Dead Slow Ahead (Mauro Herce 2015)
Dead Slow Ahead (Mauro Herce 2015)
Dead Slow Ahead (Mauro Herce 2015)
The Death of Stalin (Armando Iannucci 2017)
Deepwater Horizon (Peter Berg 2016)
The Defiant Ones (Stanley Kramer 1958)
Délicieuse catastrophe (Piotr Kamler 1970)
The Dentist (Leslie Pearce 1932)
Dirty Work (Lloyd French 1933)
The Disaster Artist (James Franco 2017)
Disorder (Alice Winocour 2015)
Død snø/Dead Snow (Tommy Wirkola 2009)
Dog Shy (Leo McCarey 1926)
La Dolce Vita (Federico Fellini 1960)
Double Whoopee (Lewis R Foster 1929)
Le Doulos (Jean-Pierre Melville 1962)
Down in the Delta (Maya Angelou 1998)
Down Terrace (Ben Wheatley 2009)
Dr Jekyll and Mr Hyde (Rouben Mamoulian 1931)
Dr Jekyll and Mr Hyde (Rouben Mamoulian 1931)
Dr Strangelove: Or How I Learned to Stop Worrying and Love the Bomb (Stanley Kubrick 1964)
Drum (Steve Carver and Burt Kennedy1976)

The East (Zal Batmanglij 2013)
East LA Interchange (Betsy Kalin 2015)
Eaten Alive (Tobe Hooper 1976)
The Emperor Jones (Dudley Murphy 1933)
Enemy (Denis Villeneuve 2013)
État de siege/State of Siege (Costa-Gavras 1972)
Evolution (Lucile Hadzihalilovic 2015)
Ex Machina (Alex Garland 2014)
Extase/Ecstasy (Gustav Machatý 1933)
Eye in the Sky (Gavin Hood 2015)

The Falling (Carol Morley 2014)
Fast & Furious 6 (Justin Lin 2013)
Fast & Furious 8 (F. Gary Gray 2017)
Fast & Furious 8 (F. Gary Gray 2017)
Fast Five (Justin Lin 2011)
The Fatal Glass of Beer (Clyde Bruckman 1933)
Fences (Denzel Washington 2016)
Fifth Avenue Girl (Gregory La Cava 1939)
The Finishing Touch (Clyde Bruckman 1928)
Die Flucht/The Flight (Roland Graf 1977)
Force of Evil (Abraham Polonsky 1948)
The Four Musketeers (Richard Lester 1974)
Free Fire (Ben Wheatley 2017)
Free Fire (Ben Wheatley 2017)
Friday Foster (Arthur Marks 1975)
The Front Page (Lewis Milestone 1931)
Funny Face (Stanley Donen 1957)

The Gentle Sex (Leslie Howard and Maurice Elvey 1943)
Get Out (Jordan Peele 2017)
Get Out (Jordan Peele 2017)
Ghostbusters (Paul Feig 2016)
Ghostbusters II (Ivan Reitman 1989)
Ginger Snaps (John Fawcett 2000)
The Golf Specialist (Monte Brice 1930)
Good Time (Benny and Josh Safdie 2017)
Goon (Michael Dowse 2011)
Goon: Last of the Enforcers (Jay Baruchel 2017)
Le grand jeu (Jacques Feyder 1933)
The Grapes of Wrath (John Ford 1940)
Grave/Raw (Julia Ducournau 2016)
The Great Man’s Lady (William A Wellman 1942)
The Green Butchers (Anders Thomas Jensen 2003)
Green Room (Jeremy Saulnier 2015)
Guardians of the Galaxy Vol 2 (Jim Gunn 2017)

The Half Way House (Basil Dearden and Cavalcanti 1944)
Hallelujah (King Vidor 1929)
Hamlet (Svend Gade and Heinz Schall 1921)
Heart of Darknes (Nicolas Roeg 1993)
The Heat (Paul Feig 2013)
The Heisters (Tobe Hooper 1964))
The Help (Tate Taylor 2011)
Hell or High Water (David Mackenzie 2016)
He Never Died (Jason Krawcyzk 2015)
Her Broken Shadow (Dilman Dila 2017)
Highlander II: The Quickening (Russell Mulcahy 1992)
High Plains Drifter (Clint Eastwood 1973)
His Wooden Wedding (Leo McCarey 1925)
Hiver (Piotr Kamler 1964)
Hog Wild (James Parrott 1930)
The Hound of the Baskervilles (Sidney Lanfield 1939)
Howard the Duck (Willard Huyck 1986)
How to Be Human (Bruno Centofanti 2017)
Hugo (Martin Scorsese 2011)
The Hurt Locker (Kathryn Bigelow 2008)

I Am Not Your Negro (Raoul Peck 2016)
I, Daniel Blake (Ken Loach 2016)
Imitation of Life (Douglas Sirk 1959)
L’immortel/22 Bullets (Richard Berry 2010)
In a Valley of Violence (Ti West 2016)
Das Indische Grabmal/The Indian Tomb (Fritz Lang 1959)
The Informer (Arthur Robison 1929) – silent version
The Informer (Arthur Robison 1929) – silent version
The Informer (Arthur Robison 1929) – sound version
Inherent Vice (Paul Thomas Anderson 2014)
Innocent Husbands (Leo McCarey 1925)
Internes Can’t Take Money (Alfred Santell 1937)
In the Future They Ate From the Finest Porcelain (Larissa Sansour/Soren Lind 2016)
In the Heat of the Night (Norman Jewison 1967)
Island in the Sun (Robert Rossen 1957)
Isn’t Life Terrible? (Leo McCarey 1925)
Izbavitelj/The Rat Saviour (Krsto Papic 1976)

Jason Bourne (Paul Greengrass 2016)
Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles (Chantal Akerman 1975)
Journey to the Center of Time (David L Hewitt 1967)
The Jungle (William Berke 1952)

Kenjû zankoku monogatari/Cruel Gun Story (Takumi Furukawa 1964)
La kermesse héroïque (Jacques Feyder 1935)
Kaputt (Volker Schlecht 2016)
Karl Marx Stadt/Karl Marx City (Petra Epperlein, Michael Tucker 2016)
The Killers (Robert Siodmak 1946)
Killer’s Kiss (Stanley Kurbick 1955)
The Killing of a Sacred Deer (Yorgos Lanthimos 2017)
King Dinosaur (Bert I Gordon 1955)
King Kong (Ernest B Schoedsack and Merian C Cooper 1933)
King Kong (Ernest B Schoedsack and Merian C Cooper 1933)
Knight without Armour (Jacques Feyder 1937)
Kong: Skull Island (Jordan Vogt-Roberts 2017)
Kong: Skull Island (Jordan Vogt-Roberts 2017)
Koroshi no rakuin/Branded to Kill (Suzuki Seijun 1967)
Kung Fu Hustle (Stephen Chow 2004)
Kurôn wa kokyô wo mezasu/The Clone Returns Home (Nakajima Kanzi 2008)
Kyûketsu dokuro-sen/The Living Skeleton (Hiroki Matsuno 1968)

Le labyrinthe (Piotr Kamler 1970)
The Lady Gambles (Michael Gordon 1949)
Legend (Brian Helgeland 2015)
The Legend of Nigger Charley (Martin Goldman 1972)
The Legend of Tarzan (David Yates 2016)
The Lego Batman Movie (Chris McKay 2017)
The Lego Batman Movie (Chris McKay 2017)
Let the Right One In (Tomas Alfredson 2008)
Leviathan (Lucien Castaing-Taylor and Verena Paravel 2012)
The Life Aquatic with Steve Zissou (Wes Anderson 2004)
Lilies of the Field (Ralph Nelson 1963)
Little Nikita (Richard Benjamin 1988)
London Has Fallen (Babak Najafi 2016)
The Long Good Friday (John Mackenzie 1981)
Loong Boonmee raleuk chat/Uncle Boonmee Who Can Recall His Past Lives (Apichatpong Weerasethakul 2010)
Lost Horizon (Charles Jarrott 1973)

Magic Mike XXL (Gregory Jacobs 2015)
The Magnificent Ambersons (Orson Welles 1942)
The Magnificent Seven (John Sturges 1960)
Make Mine Mink (Robert Asher 1960)
The Maltese Falcon (John Huston 1941)
Mandingo (Richard Fleischer 1975)
A Man for All Seasons (Fred Zinnemann 1966)
The Man from U.N.C.L.E. (Guy Ritchie 2015)
The Martian (Ridley Scott 2015)
Mary Poppins (Robert Stevenson 1964)
Mechanic: Resurrection (Dennis Gansel 2016)
Meek’s Cutoff (Kelly Reichardt 2010)
Men & Chicken (Anders Thomas Jensen 2015)
Metropolis (Rintaro 2001)
Midnight Special (Jeff Nichols 2016)
The Mighty Gorga (David L Hewitt 1969)
Miles Ahead (Don Cheadle 2016)
Millions Like Us (Sidney Gilliat and Frank Launder 1943)
Mindhorn (Sean Foley 2017)
Une mission éphémère/Ephemeral Mission (Piotr Kamler 1993)
Moonlight (Barry Jenkins 2016)
Mother! (Darren Aronfsky 2017)
Murder Ahoy (George Pollock 1964)
Murder at the Gallop (George Pollock 1963)
Murder Most Foul (George Pollock 1964)
Murder, She Said (George Pollock 1961)
The Music Box (James Parrott 1932)
Mustang (Deniz Gamze Ergüven 2015)

The Naked Truth (Mario Zampi 1957)
Network (Sidney Lumet 1976)
The Nice Guys (Shane Black 2016)
The Night Before (Jonathan Levine 2015)
North by Northwest (Alfred Hitchcock 1959)
Nostalgia de la luz/Nostalgia for the Light (Patricio Guzmán 2011)
Nothing But a Man (Michael Roemer 1964)
Nothing to Declare (Will Adams 2017)
Nueve reinas/Nine Queens (Fabián Bielinsky 2000)

Oil: A Symphony in Motion (Artkino 1933)
Oklahoma! (Fred Zinnemann 1955)
One Million AC/DC (Ed De Priest 1969)
The Organization (Don Medford 1971)

Partie de campage (Jean Renoir 1936)
Le pas (Piotr Kamler 1975)
La passion de Jeanne d’Arc (Carl Dreyer 1928)
Penda’s Fen (Alan Clarke 1973)
Pendulum (Lauren Cooney 2017)
The Philadelphia Story (George Cukor 1940)
Il pianeta errante/War Between the Planets (Anthony Dawson 1966)
Picnic at Hanging Rock (Peter Weir 1975)
La planète vert (Piotr Kamler 1966)
Play Time (Jacques Tati 1967)
Politist, adjectiv/Police, Adjective (Corneliu Porumboiu 2009)
Princess Tam-Tam (Edmond T. Gréville 1935)
La proprietà non è più un furto/Property Is No Longer A Theft (Elio Petri 1973)
Psycho (Alfred Hitchcock 1960)
Purlie Victorious (Nicholas Webster 1963))

Ragnarok (Nuopuolis) (Johan and Urtė Oettinger)
A Raisin in the Sun (Daniel Petrie 1961)
Rat Film (Theo Anthony 2016)
Razorback (Russell Mulcahy 1984)
Real Artists (Cameo Wood 2017)
RED 2 (Dean Parisot 2013)
Remember the Night (Mitchell Leisen 1940)
Resident Evil: The Final Chapter (Paul W.S. Anderson 2016)
The Revenant (Alejandro González Iñárritu 2015)
Revolution: New Art for a New World (Margy Kinmonth 2016)
Road (Nick Driftwood 2017)
Road Movie (Joseph Strick 1974)
RoGoPaG (Roberto Rossellini, Jean-Luc Godard, Pier Paolo Pasolini and Ugo Gregoretti 1963)
Rogue One (Gareth Edwards 2016)
Room (Lenny Abrahamson 2015)
Royal Flash (Richard Lester 1975)
Russkiy kovcheg/Russian Ark (Aleksandr Sokurov 2002)

Salvatore Giuliano (Francesco Rossi 1962)
Sankofa (Haile Gerima 1993)
Sankofa (Haile Gerima 1993)
Santo contra las mujeres vampiro/Santo vs. the Vampire Women (Alfonso Corona Blake 1962)
Sayat Nova/The Colour of Pomegranates (Sergei Parajanov 1969)
The Scar of Shame (Frank Peregini 1927)
Schatten – Eine nächtliche Halluzination/Warning Shadows (Arthur Robison 1923)
The Secret Adventures of Tom Thumb (Dave Borthwick 1993)
Seven Chances (Buster Keaton 1925)
Shine ’em Up! (James Davis 1922)
The Shooting (Monte Hellman 1966)
La sirène des tropiques (Mario Nalpas and Henri Étiévant 1927)
Sky West and Crooked (John Mills 1966)
Slaves (Herbert J Biberman 1969)
The Social Network (David Fincher 2010)
So pat lo 2/Kill Zone 2 (Pou-Soi Cheang 2015)
The Soul of Nigger Charley (Larry G. Spangler 1973)
Spring Breakers (Harmony Korine 2012)
Star Wars: The Force Awakens (JJ Abrams 2015)
Star Wars: The Last Jedi (Rian Johnson 2017)
Suicide Squad (David Ayer 2016)
Sunset Blvd (Billy Wilder 1950)
Sweet Smell of Success (Alexander Mackendrick 1957)
The Symbol of the Unconquered (Oscar Micheaux 1920)

Tamango (John Berry 1958)
Tangerine (Sean Baker 2015)
Technotajz – Edit i ja/Technotise: Edit & I (Aleksa Gajic, Nebojsa Andric and Stevan Djordjevic 2009)
Tell Them Willie Boy Is Here (Abraham Polonsky 1969)
Ten Nights in a Barroom (Roy Calnek 1926)
Teströl és lélekröl/On Body and Soul (Ildikó Enyedi 2017)
There’s Always Tomorrow (Douglas Sirk 1956)
They Call Me MISTER Tibbs! (Gordon Douglas 1970)
They Won’t Forget (Mervyn LeRoy 1937)
The Thing (from another world) (Christian Nyby 1951)
Thor: Ragnarok (Taika Waititi 2017)
The Three Musketeers (Richard Lester 1973)
Der Tiger von Eschnapur/Tiger of Bengal (Fritz Lang 1959)
To Die For (Gus Van Sant 1995)
Too Many Crooks (Mario Zampi 1959)
Top Five (Chris Rock 2014)
Touchez pas au grisbi (Jacques Becker 1954)
A Touch of the Sun (Frank Parry 1956)
Trainwreck (Judd Apatow 2015)
Triple 9 (John Hillcoat 2016)
Le trou (Piotr Kamler 1969)
True Romance (Tony Scott 1993)
Tsar to Lenin (Herman Axelbank 1937)

Under the Skin (Jonathan Glazer 2013)
Upstream Color (Shane Carruth 2013)
Urufu gai: Moero ôkami-otoko/Wolf Guy: Enraged Lycanthrope (Kazuhiko Yamaguchi 1975)

Visages d’enfants (Jacques Feyder 1925)
Visages d’enfants (Jacques Feyder 1925)
Visages d’enfants (Jacques Feyder 1925)
Volcano (Mick Jackson 1997)
Voyage à travers le cinéma français/My Journey Through French Cinema (Bertrand Tavernier 2016)

WALL-E (Andrew Stanton 2008)
War on Everyone (John Michael McDonagh 2016)
Wasabi (Gérard Krawczyk 2001))
The Watermelon Woman (Cheryl Dunye 1996)
The Watermelon Woman (Cheryl Dunye 1996)
We Need to Talk About Kevin (Lynne Ramsay 2011)
Westworld (Michael Crichton 1973)
What We Do In the Shadows (Jemaine Clement and Taika Waititi 2014)
White Dog (Sam Fuller 1982)
Wings (William Wellmann 1927)
The Witch: A New England Folk Tale (Robert Eggers 2015)
Within Our Gates (Oscar Micheaux 1920)
Withnail & I (Bruce Robinson 1987)
The Wizard of Mars (David L Hewitt 1965)
Wonder Woman (Patty Jenkins 2017)
The World, the Flesh and the Devil (Ranald MacDougall 1959)

Xiao cheng zhi chun/Spring in a Small Town (Mu Fei 1948)
xXx (Rob Cohen 2002)
xXx: The Next Level (Lee Tamahori 2005)
xXx: Return of Xander Cage (DJ Caruso 2017)