After such a strong week two, week three began with a bit of a disadvantage. Beginning in Japan, and ending in Poland, week three crisscrossed the globe, telling an incredibly diverse group of stories along the way. A surrealist short (from the incomparable Luis Buñuel), a rockumentary, an Oscar nominee, and a chilling horror diversified my week three viewing experience, rendering it the most jarring day-to-day film campaign of my “March.” From the hammy melodrama of Misaki Kobayashi’s I Will Buy You to the psychological complexities of Jane Campion’s Sweetie, week three became an exercise in “resetting” my expectations. One of my goals for this project was to go into as many films as blindly as possible. I purposefully neglected to research any films on my list (save for the few added to alleviate the pressure of my expanding queue), challenging myself to pick up cues as to the narrative structure/cinematic style without any preconceptions or information. With the narrative subversion of I Will Buy You, and the disjointed timeline of Milcho Manchevski’s Before the Rain, week three proved to be a conjectural struggle. In order to fully appreciate these films, any prior knowledge, biases, and even my mood had to be discarded before facing the daily film. More so than any other week, my ability to discard supposition was rigorously tested. The need to quickly pick up social cues, cultural and historical context and narrative tendencies was crucial to fully understanding each of week three’s diverse range of films – strengthening my abilities to conceptualize a film’s purpose without any prior research.