I’m combining all of these days together because I’m attending the Seattle International Film Festival. Instead of a daily blog format, I’m writing individual reviews for every film that I watch. This post will just bee to ensure there’s some consistency when looking at the project as a whole and will have a quick personal blurb followed by a link to the individual reviews for each day.

Day 98 – First day of SIFF and I tried to hit the ground running. I made it through 4 films today including The Pink Cloud which was the film I had heard the most buzz for going into it.

The Pink Cloud (2021, Dir. Iuli Gerbase)

I’M FINE (Thanks for Asking) (2021, Dir. Kelley Kali and Angelique Molina)

Summer of 85 (2020, François Ozon)

The Dog Who Wouldn’t Be Quiet (2021, Dir. Ana Katz)

Day 99 – Only three movies for the second day of SIFF, but today’s lot included one of the longest films in the festival as well as the film I was inspired to write the longest review over.

Goddess of the Fireflies (2020, Dir. Anaïs Barbeau-Lavalette)

Valentina (2020, Dir. Cássio Pereira dos Santos)

There Is No Evil (2020, Dir. Mohammad Rasoulof)

Day 100 – It feels somewhat anticlimactic to be hitting this milestone and treating it as a blurb in the midst of this aggregate post, but with 4 movies watched and a review written for each, today’s already been a long writing day. The only thing I really have to add is that this project has been amazing for me, and I feel much better 100 days later for undertaking it.

Bad Tales (2020, Dir. Damiano and Fabio D’Innocenzo)

Charter (2020, Dir. Amanda Kernell)

Summertime (2021, Dir. Carlos López Estrada)

Bebia, à Mon Seul Désir (2021, Dir. Juja Dobrachkous)

Day 101 – I’m not going to lie, I definitely underestimated the amount of work writing a review for this many films was going to be. It’s definitely slowing my watching progress (I assumed that weekends I could probably fit in five films when I only got through three today). I’m going to keep this up as much as I can, but wow am I exhausted.

Little Girl (2020, Dir. Sébastien Lifshitz)

Get the Hell Out (2020, Dir. I.-Fan Wang)
—– Also includes Mom Fight (2019, Dir. Mickey Finnegan)

Slalom (2021, Dir. Charlène Favier)

Day 102 – I definitely should have taken the week off of work. This has been an exhausting endeavor. The blog posts that I’ve done for this project thus far has not prepared me for the extend of writing I’m doing for this, but if I can at least keep making it through two movies a day I’ll call it a success.

Beans (2021, Dir. Tracey Deer)
—– Also includes Bub (2021, Dir. Oriwa Hakaraia and Te Mahara Tamahana)

Waikiki (2020, Dir. Christopher Kahunahana)
—– Also includes PIIKSI/Huia (2021, Dir. Joshua Manyheads and Cian Elyse White)

Day 103 – A busy day at work again kept me limited to two viewings. Like I mentioned yesterday. If I can routinely make it through 2 movies with reviews while working full days, that’s a win.

Sweat (2020, Dir. Magnus von Horn)

The Earth is Blue as an Orange (2020, Dir. Iryna Tsilyk)

Day 104 – Another busy one today, but I made it through another 2 films. The festival fatigue is really hitting (even with it being exclusively virtual), but I’m still glad I’ve kept this up even if the reviews come increasingly late.

Strawberry Mansion (2021, Dir. Kentucker Audley and Albert Birney)
—– Also includes The Other Morgan (2021, Dir. Alison Rich)

Wisdom Tooth (2019, Dir. Liang Ming)

Day 105 – I managed to suppress a bit of the festival fatigue today by watching the first film of the night outside on my balcony. The fresh air really helped. Today’s offerings were very uneven. One film that I did not connect with and the other that jumps into the to tier of the ones I’ve seen for the festival.

Rebel Objects (2021, Dir. Carolina Arias Ortiz)

Topside (2021, Dir. Logan George and Celine Held)
—– Also includes Huntsville Station (2020, Dir. Chris Filippone and Jamie Meltzer)

Day 106 – This was a surreal day for me involving this project. Earlier in the week, my review of Valentina got the notice of the film’s twitter account. That made me feel great, but I realized it was just free PR for the film. Today’s engagement level was different. The positive review I gave for Too Late resulted in not just a retweet from the film’s account, but retweets from the director stating that I made her happy cry and a DM from the lead actress left me flabbergasted. This is the best I’ve felt in a long time.

Too Late (2021, Dir. D.W. Thomas)
—–Also includes Unholy ‘Mole (2019, Dir. David Bornstein)

The Spy (2019, Dir. Jens Jonsson)

Day 107 – The second to last day of the festival and even though it was a weekend I’m approaching the end of the list of films I pegged for watching, so I let today be a relatively light day before a final push tomorrow.

The Teacher (2019, Dir. Ming-Lang Chen)

Ma Belle, My Beauty (2021, Dir. Marion Hill)

Day 108 – The last day of SIFF. For today only, I chose to adjust my schedule a bit. I had been writing each film’s review before proceeding the the next, but for the final day I watch movies straight through so I could get as many in before the end of the festival as possible. I’m happy with the decision even if it means I’m going to be juggling multiple projects for the next couple days.

Fly So Far (2021, Dir. Celina Escher)

The Perfect Candidate (2021, Dir. Haifaa Al-Mansour)

God Exists, Her Name is Petrunya (2019, Dir. Teona Strugar Mitevska)

Son of Monarchs (2021, Dir. Alexis Gambis)