Letterboxd — Your life in film

Upgrade your Letterboxd aesthetic with our new custom-poster feature. 

It’s that time of year, folks. We give thanks to you for your love of film and your support of Letterboxd by discounting our Pro and Patron memberships.

We’re finishing up the year in pretty great shape: several site improvements, the release of the iOS app beta to Patrons, and the 2015 Year in Review which we’ll publish in January. Diary entries are a significant driver for getting good results from the YIR, so be sure to get your diaries up to date by December 31.

Introducing an “all-time stats” feature for Pro and Patron members.

Two neat new features for our Pro and Patron members today:

Fixes, features and Facebook: a few updates just for you.

In June of this year, Netflix announced via its API Developer blog that it was discontinuing what remained of its public API service for all but a handful of services. Letterboxd was not—and despite our best efforts in the intervening months, is not—one of those services. The upshot of this decision is that from November 14, we won’t have any means of updating our availability data to stay current with Netflix’s content library.

Steve McQueen’s 12 Years a Slave is the Letterboxd community’s highest-rated film; Tarantino’s Django Unchained is the most popular.

Big news: we’re launching our Android app on Tuesday 29 August. Read on for details, initial feature set and more.

We’re thrilled to announce that after fifteen months of public beta, Letterboxd is no longer invitation-only. Today, deep in the Letterboxd HQ bunker, we threw the switch to remove the invitation code requirement during sign-up: Letterboxd is now open to all!

Hello! Here’s a quick note about some new updates we have for you in the run up to the end of the year, with apologies to David Fincher.

Advertising is coming to Letterboxd and it’s all good.

Today we’re beyond thrilled to announce a partnership with The Dissolve, a fantastic new film criticism site from the team behind Pitchfork.

We’ve once again punched our calculator buttons and lovingly computed for you the fourth-annual Letterboxd Year in Review. It’s a representation of our community’s combined ratings as at January 1, 2016, and we’ve spent the past couple of weeks compiling and fine-tuning the review based on this data. Some rankings may have changed over the intervening period, but we do not adjust the review retrospectively (at the time we published the 2014 review, the highest-rated film had already been replaced…

Richard Linklater’s Boyhood tops our Year in Review, while Wes Anderson’s The Grand Budapest Hotel is the most popular film. 

In the 22 months since the launch of our iPhone app, we’ve consistently received the same feedback: please make this work on my iPad! Now we have, complete with split-screen and automation support…

Hello fine people. Here’s a brief note regarding some changes we’ve made to the site over the past fortnight or so.

We’ve partnered with Nanocrowd to bring the ‘what’ and ‘why’ of film watching together, and help you find thematic links between films more easily. We talk to the man behind the nanogenres, Roderic March, and suggest interesting uses for our newest enhancement.

We’re proud to announce our fifth-annual Letterboxd Year in Review. Our hearty congratulations to Barry Jenkins and Moonlight on taking the top spot for 2016. After the Mad Max: Fury Road juggernaut of 2015, we began 2016 with no idea what film might win people’s hearts, and as much as we made no secret of our Mad Max obsession, we’re taking immense pleasure in seeing a low-budget movie with a diverse cast of mainly unknown actors and no franchise history…

Ella Kemp takes a deep-dive into our newest all-time stats addition—the top 100 films directed by women—and finds, to nobody’s surprise, that Agnès Varda is indisputably the GOAT.