Three Hundred and Three Favorite Films

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  1. 1920's
  2. The Kid (Charlie Chaplin, 1920)
  3. Sherlock Jr. (Buster Keaton, 1924)
  4. The Gold Rush (Charlie Chaplin, 1925)
  5. Faust (F.W. Murnau, 1926)
  6. Konets Sankt-Peterburga The End of St. Petersburg (Vsevolod Pudovkin, 1927)
  7. La Passion de Jeanne d'Arc The Passion of Joan of Arc (Carl Dreyer, 1927)
  8. Sunrise: A Song of Two Humans (F.W. Murnau, 1927)
  9. The General (Buster Keaton, 1927)
  10. The Cameraman (Buster Keaton, 1928)
  11. The Crowd (King Vidor, 1928)

  12. 1930's
  13. L'Age d'Or (Luis Buñuel, 1930)
  14. City Lights (Charlie Chaplin, 1931)
  15. M (Fritz Lang, 1931)
  16. The Front Page (Lewis Milestone, 1931)
  17. Ivan (Aleksandr Dovzhenko, 1932)
  18. Trouble in Paradise (Ernst Lubitsch, 1932)
  19. Vampyr (Carl Dreyer, 1932)
  20. L'Atalante (Jean Vigo, 1934)
  21. The Gay Divorcee (Mark Sandrich, 1934)
  22. The Merry Widow (Ernst Lubitsch, 1934)
  23. Top Hat (Mark Sandrich, 1935)
  24. Modern Times (Charlie Chaplin, 1936)
  25. Mr. Deeds Goes to Town (Frank Capra, 1936)
  26. Swing Time (George Stevens, 1936)
  27. La Grande Illusion Grand Illusion (Jean Renoir, 1937)
  28. La Règle du jeu The Rules of the Game (Jean Renoir, 1939)
  29. Mr. Smith Goes to Washington (Frank Capra, 1939)
  30. Young Mr. Lincoln (John Ford, 1939)
  31. Zangiku monogatari The Story of the Last Chrysanthemums (Kenji Mizoguchi, 1939)

  32. 1940's
  33. His Girl Friday (Howard Hawks, 1940)
  34. The Great Dictator (Charlie Chaplin, 1940)
  35. The Shop Around the Corner Ernst Lubitsch, 1940)
  36. Citizen Kane (Orson Welles, 1941)
  37. Meet John Doe (Frank Capra, 1941)
  38. The Magnificent Ambersons (Orson Welles, 1942)
  39. Vredens Dag Day of Wrath (Carl Dreyer, 1943)
  40. Meet Me in St. Louis (Vincente Minnelli, 1944)
  41. Brief Encounter (David Lean, 1945)
  42. It's a Wonderful Life (Frank Capra, 1946)
  43. The Big Sleep (Howard Hawks, 1946)
  44. Monsieur Verdoux (Charlie Chaplin, 1947)
  45. Germania anno zero Germany, Year Zero (Roberto Rossellini, 1948)
  46. Ladri di biciclette Bicycle Thieves (Vittorio De Sica, 1948)
  47. Letter from an Unknown Woman (Max Ophuls, 1948)
  48. Rope (Alfred Hitchcock, 1948)
  49. Yoidore tenshi Drunken Angel (Akira Kurosawa, 1948)
  50. Xiǎochéng zhī chūn Spring in a Small Town (Fei Mu, 1948)
  51. Banshun Late Spring (Yasujirō Ozu, 1949)
  52. Kind Hearts and Coronets (Robert Hamer, 1949)
  53. The Third Man (Carol Reed, 1949)

  54. 1950's
  55. Stromboli (Roberto Rossellini, 1950)
  56. Sunset Blvd (Billy Wilder, 1950)
  57. An American in Paris (Vincente Minnelli, 1951)
  58. Bakushū Early Summer (Yasujirō Ozu, 1951)
  59. Le Fleuve The River (Jean Renoir, 1951)
  60. The Steel Helmet (Sam Fuller, 1951)
  61. Ikiru To Live (Akira Kurosawa, 1952)
  62. Saikaku Ichidai Onna The Life of Oharu (Kenji Mizoguchi, 1952)
  63. Umberto D. (Vittoria De Sica, 1952)
  64. Singin' in the Rain (Gene Kelly & Stanley Donen, 1952)
  65. Él Him (Luis Buñuel, 1953)
  66. Jigokumon Gate of Hell (Kazuo Hasegawa, 1953)
  67. The Saga of Anatahan (Josef von Sternberg, 1953)
  68. Sawdust & Tinsel (Ingmar Bergman, 1953)
  69. Tōkyō monogatari Tokyo Story (Yasujiro Ozu, 1953)
  70. Ugetsu monogatari Tales of the Moon and Rain (Kenji Mizoguchi, 1953)
  71. La strada The Road (Federico Fellini, 1954)
  72. Rear Window (Alfred Hitchcock, 1954)
  73. Sanshō Dayū Sansho the Bailiff (Kenji Mizoguchi, 1954)
  74. Shichinin no Samurai Seven Samurai (Akira Kurosawa, 1954)
  75. Touchez pas au grisbi Don't Touch The Loot) (Jacques Becker, 1954)
  76. Viaggo in Italia Journey to Italy (Roberto Rossellini, 1954)
  77. Du rififi chez les hommes Rififi (Jules Dassin, 1955)
  78. Nuit et brouillard Night and Fog (Alain Resnais, 1955)
  79. Ordet The Word (Carl Dreyer, 1955)
  80. Pather Panchali Song of the Little Road (Satyajit Ray, 1955)
  81. Rebel Without A Cause (Nicholas Ray, 1955)
  82. The Night of the Hunter (Charles Laughton, 1955)
  83. Yokihi Princess Yang Kwei-Fei (Kenji Mizoguchi, 1955)
  84. Akasen chitai Street of Shame (Kenji Mizoguchi, 1956)
  85. Aparajito The Unvanquished (Satyajit Ray, 1956)
  86. Kumonosu-jō Throne of Blood (Akira Kurosawa, 1957)
  87. Un condamné à mort s'est échappé A Man Escaped (Robert Bresson, 1956)
  88. Tōkyō boshoku Tokyo Twilight (Yasujirō Ozu, 1957)
  89. Jalsaghar The Music Room (Satyajit Ray, 1958)
  90. Popiół i diament Ashes and Diamonds (Andrej Wajda, 1958)
  91. Touch of Evil (Orson Welles, 1958)
  92. Vertigo (Alfred Hitchcock, 1958)
  93. Apur Sansar The World of Apu (Satyajit Ray, 1959)
  94. Hiroshima Mon Amour Hiroshima, My Love (Alain Resnais, 1959)
  95. Les Quatre Cents Coups The 400 Blows (François Truffaut, 1959)
  96. North by Northwest (Alfred Hitchcock, 1959)
  97. Pickpocket (Robert Bresson, 1959)
  98. Shadows (John Cassavetes, 1959)
  99. Some Like It Hot (Billy Wilder, 1959)

  100. 1960's
  101. À bout de souffle Breathless (Jean-Luc Godard, 1960)
  102. Akibiyori Late Autumn (Yasujirō Ozu, 1960)
  103. L'Avventura The Adventure (Michelangelo Antonioni, 1960)
  104. Meghe Dhaka Tara The Cloud-Capped Star (Ritwik Ghatak, 1960)
  105. Psycho (Alfred Hitchcock, 1960)
  106. The Apartment (Billy Wilder, 1960)
  107. L'Année dernière à Marienbad Last Year at Marienbad (Alain Resnais, 1961)
  108. L'Eclisse Eclipse (Michelangelo Antonioni, 1961)
  109. Såsom i en spegel Through a Glass Darkly (Ingmar Bergman, 1961)
  110. Viridiana (Luis Buñuel, 1961)
  111. Jules et Jim Jules and Jim (François Truffaut, 1962)
  112. La Jetée The Pier (Chris Marker, 1962)
  113. Sanma no aji An Autumn Afternoon (Yasujirō Ozu, 1962)
  114. The Man Who Shot Liberty Valance (John Ford, 1962)
  115. Window Water Baby Moving (Stan Brakhage, 1962)
  116. 8½ (Frederico Fellini, 1963)
  117. From Russia with Love (Terence Young, 1963)
  118. Le Mépris Contempt (Jean-Luc Godard, 1963)
  119. Mothlight (Stan Brakhage, 1963)
  120. Nippon konchūki The Insect Woman (Shohei Imamura, 1963)
  121. Charulata The Lonely Wife (Satyajit Ray, 1964)
  122. Gertrud (Carl Dreyer, 1964)
  123. Goldfinger (Guy Hamilton, 1964)
  124. Il Vangelo secondo Matteo The Gospel According to St. Matthew (Pier Paolo Pasolini, 1964)
  125. My Fair Lady (George Cukor, 1964)
  126. Suna no onna Woman in the Dunes (Hiroshi Teshigahara, 1964)
  127. Tini zabutykh predkiv Shadows of Forgotten Ancestors (Sergei Parajanov, 1964)
  128. Chimes at Midnight (Orson Welles, 1965)
  129. Dr. Zhivago (David Lean, 1965)
  130. I pugni in tasca Fists in the Pocket (Marco Bellocchio, 1965)
  131. Pierrot le fou (Jean-Luc Godard, 1965)
  132. Repulsion (Roman Polanski, 1965)
  133. The War Game (Peter Watkins, 1965)
  134. Simón del desierto Simon of the Desert (Luis Buñuel, 1965)
  135. Andrei Rublev (Andrei Tarkovsky, 1966)
  136. Au hasard Balthazar (Robert Bresson, 1966)
  137. Breakaway (Bruce Conner, 1966)
  138. La battaglia di Algeri The Battle of the Algiers (Gillo Potecorvo, 1966)
  139. Persona (Ingmar Bergman, 1966)
  140. Sult Hunger (Henning Carlsen, 1966)
  141. Tanin no kao The Face of Another (Hiroshi Teshigahara, 1966)
  142. Unsere Afrikareise Our Trip to Africa (Peter Kubelka, 1966)
  143. Mouchette (Robert Bresson, 1967)
  144. Play Time (Jacques Tati, 1967)
  145. Le Samouraï The Samurai (Jean-Pierre Melville, 1967)
  146. Faces (John Cassavetes, 1968)
  147. Goto, l'île d'amour Goto, Island of Love (Walerian Borowczyk, 1968)
  148. Night of the Living Dead (George A. Romero, 1968)
  149. Sayat Nova The Color of Pomegranates (Sergei Parajanov, 1968)
  150. L'armée des ombres Army of Shadows (Jean-Pierre Melville, 1969)
  151. Ma nuit chez Maud My Night at Maud's (Eric Rohmer, 1969)
  152. The Sorrow and the Pity (Marcel Ophuls, 1969)
  153. Une femme douce A Gentle Woman (Robert Bresson, 1969)

  154. 1970's
  155. Husbands (John Cassavetes, 1970)
  156. Il conformista The Conformist (Bernardo Berolucci, 1970)
  157. Il giardino dei Finzi-Contini The Garden of the Finzi-Continis (Vittorio De Sica, 1970)
  158. Le Cercle rouge The Red Circle (Jean-Pierre Melville, 1970)
  159. The Hart of London (Jack Chambers, 1970)
  160. A New Leaf (Elaine May, 1971)
  161. McCabe & Mrs. Miller (Robert Altman, 1971)
  162. Minnie & Moskowitz (John Cassavetes, 1971)
  163. Punishment Park (Peter Watkins, 1971)
  164. Solaris (Andrei Tarkovsky, 1971)
  165. The Act of Seeing with One's Own Eyes (Stan Brakhage, 1971)
  166. Aguirre, der Zorn Gottes Aguirre, the Wrath of God ( (Werner Herzog, 1972)
  167. Die Bitteren Tränen der Petra von Kant The Bitter Tears of Petra von Kant (Rainer Werner Fassbinder, 1972)
  168. Le charme discret de la bourgeoisie The Discreet Charm of the Bourgeoisie (Luis Buñuel, 1972)
  169. The Godfather (Francis Ford Coppola, 1972)
  170. Hotel Monterey (Chantal Akerman, 1972)
  171. Trafic Traffic (Jacques Tati, 1972)
  172. Badlands (Terrence Malick, 1973)
  173. El espíritu de la colmena The Spirit of the Beehive (Victor Erice, 1973)
  174. La Montaña Sagrada The Holy Mountain (Alejandro Jodorowsky, 1973)
  175. Scener ur ett äktenskap Scenes from a Marriage (Ingmar Bergman, 1973)
  176. The Long Goodbye (Robert Altman, 1973)
  177. A Woman Under the Influence (John Cassavetes, 1974)
  178. Angst essen Seele auf Ali: Fear Eats the Soul (Rainer Werner Fassbinder, 1974)
  179. Céline et Julie vont en bateau Céline and Julie Go Boating (Jacques Rivette, 1974)
  180. Chinatown (Roman Polanski, 1974)
  181. Den-en ni shisu Pastoral: To Die in the Country (Shūji Terayama, 1974)
  182. Edvard Munch (Peter Watkins, 1974)
  183. F for Fake (Orson Welles, 1974)
  184. Fontane Effi Briest (Rainer Werner Fassbinder, 1974)
  185. Lancelot du Lac Lancelot of the Lake (Robert Bresson, 1974)
  186. The Conversation (Francis Ford Coppola, 1974)
  187. The Godfather Part II (Francis Ford Coppola, 1974)
  188. The Mouth Agape (Maurice Pialat, 1974)
  189. Zerkalo Mirror (Andrei Tarkovsky, 1974)
  190. Dog Day Afternoon (Sidney Lumet, 1975)
  191. Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (Chantal Akerman, 1975)
  192. Nashville (Robert Altman, 1975)
  193. O Thiassos The Travelling Players (Theo Angelopolous, 1975)
  194. Professione: reporter The Passenger (Michelangelo Antonioni, 1975)
  195. Picnic at Hanging Rock (Peter Weir, 1975)
  196. Seasons of the Year (Artavazd Peleshyan, 1975)
  197. Ai no Korīda In the Realm of the Sense (Nagisa Oshima, 1976)
  198. I, You, He, She (Chantal Akerman, 1976)
  199. Taxi Driver (Martin Scorsese, 1976)
  200. Mikey and Nicky (Elaine May, 1976)
  201. News From Home (Chantal Akerman, 1976)
  202. Novecento 1900 (Bernardo Bertolucci, 1976)
  203. Nuts in May (Mike Leigh, 1976)
  204. The Killing of a Chinese Bookie (John Cassavetes, 1976)
  205. 3 Women (Robert Altman, 1977)
  206. Abigail's Party (Mike Leigh, 1977)
  207. Eraserhead (David Lynch, 1977)
  208. The Killer of Sheep (Charles Burnett, 1977)
  209. Opening Night (John Cassavetes, 1977)
  210. Days of Heaven (Terrence Malick, 1978)
  211. In einem Jahr mit 13 Monden In A Year Of 13 Moons (Rainer Werner Fassbinder, 1978)
  212. Les Rendez-vous d'Anna The Meeting of Anna (1978)
  213. Apocalypse Now (Francis Ford Coppola, 1979)
  214. Die Ehe der Maria Braun The Marriage of Maria Braun (Rainer Werner Fassbinder, 1979)
  215. Stalker (Andrei Tarkovsky, 1979)

  216. 1980's
  217. Arrebato Rapture (Ivan Zulueta, 1980)
  218. Possession (Andrzej Żuławski, 1981)
  219. Raiders of the Lost Ark (Steven Spielberg, 1981)
  220. The Thing (John Carpenter, 1982)
  221. À nos amours To Our Love (Maurice Pialat, 1983)
  222. L'Argent Money (Robert Bresson, 1983)
  223. Nostalghia (Andrei Tarkovsky, 1983)
  224. Sans Soleil Sunless (Chris Marker, 1983)
  225. Sleepaway Camp (Robert Hiltzik, 1983)
  226. Videodrome (David Cronenberg, 1983)
  227. Antonio Gaudi (Hiroshi Teshigahara, 1984)
  228. Love Streams (John Cassavetes, 1984)
  229. Meantime (Mike Leigh, 1984)
  230. Paris, Texas (Wim Wenders, 1984)
  231. The Killing Fields (Roland Joffe, 1984)
  232. Idi i smotri Come and See (Elem Klimov, 1985)
  233. Police (Maurice Pialat, 1985)
  234. Blue Velvet (David Lynch, 1986)
  235. Le Rayon vert The Green Ray (Eric Rohmer, 1986)
  236. Offret The Sacrifice (Andrei Tarkovsky, 1986)
  237. The Fly (David Cronenberg, 1986)
  238. Der Himmel über Wings of Desire (Wim Wenders, 1987)
  239. Khane-ye doust kodjast? Where is the Friend's Home? (Abbas Kiarostami, 1987)
  240. Sous le soleil de Satan Under the Sun of Satan (Maurice Pialat, 1987)
  241. High Hopes (Mike Leigh, 1988)
  242. Histoire(s) du cinéma The Histories of Cinema (Jean-Luc Godard, 1988-1998)
  243. Kárhozat Damnation (Béla Tarr, 1988)
  244. Krótki film o zabijaniu A Short Film About Killing (Krzysztof Kieślowski, 1988)
  245. Topio stin omichli Landscape in the Mist (Theo Angelopolous, 1988)
  246. Der Siebente Kontinent The Seventh Continent (Michael Haneke, 1989)
  247. Do The Right Thing (Spike Lee, 1989)
  248. For All Mankind (Al Reinert, 1989)
  249. Indiana Jones and the Last Crusade (Steven Spielberg, 1989)
  250. The Cook, the Thief, His Wife & Her Lover (Peter Greenaway, 1989)

  251. 1990's
  252. Goodfellas (Martin Scorsese, 1990)
  253. Home Alone (Chris Columbus, 1990)
  254. Nema-ye Nazdik Close-Up (Abbas Kiarostami, 1990)
  255. Sink or Swim (Su Friedrich, 1990)
  256. To Sleep With Anger (Charles Burnett, 1990)
  257. Podwójne życie Weroniki The Double Life of Véronique (Krzysztof Kieślowski, 1991)
  258. Zendegi va digar hich Life, and Nothing More... (Abbas Kiarostami, 1991)
  259. El Sol del Membrillo Dream of Light (Abbas Kiarostami, 1992)
  260. Le Tombeau d'Alexandre The Last Bolshevik (Chris Marker, 1992)
  261. Lektionen in Finsternis Lessons of Darkness (Werner Herzog, 1992)
  262. Naked (Mike Leigh, 1993)
  263. Exotica (Atom Egoyan, 1994)
  264. Pulp Fiction (Quentin Tarantino, 1994)
  265. Sátántangó Satan's Tango (Béla Tarr, 1994)
  266. The Lion King (Roger Allers & Rob Minkoff, 1994)
  267. Trois Couleurs: Rouge Three Colors: Red (Krzysztof Kieślowski, 1994)
  268. What Happened Was... (Tom Noonan, 1994)
  269. Clean, Shaven (Lodge Kerrigan, 1995)
  270. Dead Man (Jim Jarmusch, 1995)
  271. Podzemlje Underground (Emir Kustrica, 1995)
  272. Safe (Todd Haynes, 1995)
  273. When It Rains (Charles Burnett, 1995)
  274. Crash (David Cronenberg, 1996)
  275. Fargo (Coen Bros, 1996)
  276. Gummo (Harmony Korine, 1997)
  277. He liu The River (Mang-liang Tsai, 1997)
  278. Lost Highway (David Lynch, 1997)
  279. Mat i sin Mother & Son (Aleksandr Sokurov, 1997)
  280. Ta'm-e gīlās Taste of Cherry (Abbas Kiarostami, 1997)
  281. Idioterne The Idiots (Lars von Trier, 1998)
  282. L'assedio Besieged (Bernardo Bertolucci, 1998)
  283. Los amantes del círculo polar Lovers of the Arctic Circle (Julio Médem, 1998)
  284. Bād mā rā khāhad bord The Wind Will Carry Us (Abbas Kiarostami, 1999)
  285. Beau travail Beautiful Work (Claire Denis, 1999)
  286. Honey (David Ball, 1999)

  287. 2000's
  288. Code inconnu: Récit incomplet de divers voyages Code Unknown: Incomplete Tales of Several Journeys (Michael Haneke, 2000)
  289. Sånger från andra våningen Songs from the Second Floor (Roy Anderson, 2000)
  290. Werckmeister harmóniák Werckmeister Harmonies (Béla Tarr, 2000)
  291. Hei yan quan What Time Is It There? (Ming-liang Tsai, 2001)
  292. Ararat (Atom Egoyan, 2002)
  293. Cremaster 3 (Matthew Barney, 2002)
  294. Irréversible (Gaspar Noé, 2002)
  295. Russian Ark (Alexander Sokurov, 2002)
  296. Spider (David Cronenberg, 2002)
  297. Ten (Abbas Kiarostami, 2002)
  298. 21 Grams (Alejandro González Iñárritu, 2003)
  299. Bu San Goodbye, Dragon Inn (Ming-liang Tsai, 2003)
  300. Elephant (Gus Van Sant, 2003)
  301. Kôhî jikô Cafe Lumiere (Hou Hsiao-hsien, 2003)
  302. Twentynine Palms (Bruno Dumont, 2003)
  303. 2046 (Kar-wai Wong, 2004)
  304. Satpralat Tropical Malady (Apichatpong Weerasethakul, 2004)
  305. Trilogia I: To Livadi pou dakryzei The Weeping Meadow (Theo Angelopoulos, 2004)
  306. The New World (Terrence Malick, 2005)
  307. Hēi yǎn quān I Don't Want To Sleep Alone Ming-liang Tsai, 2006)
  308. Iklimler Climates (Nuri Bilge Ceylan, 2006)
  309. Inland Empire (David Lynch, 2006)
  310. Sang sattawat Syndromes and a Century (Apichatpong Weerasethakul, 2006)
  311. 35 Rhums 35 Shots of Rum (Claire Denis, 2008)
  312. Wendy and Lucy (Kelly Reichardt, 2008)

As always, great list. And some surprising choices as well: Home Alone and Lion King

Thanks! Home Alone is probably the movie I've seen most, and I still haven't tired of it despite knowing it back to front. The Lion King broke my young heart into millions of pieces. Nothing--from Bambi to The Wayward Cloud, Late Spring to Old Yeller--has been so affecting. My reaction today is obviously completely different from my initial one, so it's definitely the nostalgia talking.

Trust me, I understand. I was obsessed with the first Robocop (still not a bad film) as a kid (my parents were pretty cool for letting me see it at 8 years old)...I watched it something like 53 times in the late 80s and early 90s ( : Jurassic Park a few years later was my choice for "greatest film ever", and for some reason Crimson Tide crept in there shortly thereafter...then in 1997 I came across Sight and Sounds 1992 list and saw Citizen Kane, 2001 and a host of other classic masterpieces and never looked back

As you have a pretty comprehensive view of film perhaps you can help me:

I'm currently looking for a movie(s) which have ALL of the following attributes:

A) Relentlessly fast-paced
B) Very satirical, blackly comic
C) Visually vibrant & multi-faceted (preferrably in color)
D) Anarchic

To give you an idea, a perfect example of all these elements could be Natural Born Killers. A very good example could be The Cook, The Thief, His Wife & Her Lover. Another great example could be Bringing Up Baby (though lacking in "C"). A good one as well could be Delicatessen.

Any suggestions employing 3 or, even better, all 4 of the categories above, are greatly appreciated ( :

Any ideas?

Man Bites Dog is pretty fast-paced, creatively filmed, and totally satisfies B and D.
Also don't forget Hausu and El Topo and Weekend. Actually, the more I think about it, F For Fake.

Weekend is along the lines of what I'm looking for, as well as Hausu (visually for sure, particularly in the finale). I've only seen a small portion of El Topo so I'll check into that one. F for Fake qualifies in some ways though Mr Arkadin might work better for this. I've also considered Lady From Shanghai...

Now, Man Bites Dog, that's a particularly interesting choice, mainly because I've never seen it. I just started watching it and am about 10 minutes in. Pretty dispicable but also pretty fascinating and blackly comic in the extreme - we'll see if it holds up through the entire running time...seems like a possible influence on Natural Born Killers (though Stone's film is much more stunning visually).

Thanks for your suggestions! If you think of more, please tell. I am searching for the "equivelant" of John Zorn's Cobra (or, if it's easier to grasp, Butthole Surfers' Psychic...Powerless album) and my above stipulations are approximations of what that would probably be film-wise.

Sorry to butt-in, but might I suggest some Harmony Korine? His first two features are must-see, Julien Donkey Boy is closer to what you're looking for, though Gummo is the better work imo.

Unfortunately your description kind of fits outside of my interest range. With the exception of one filmmaker I don't like anyone who's relentlessly fast-paced, and satire has never been a focal point. Before I give a few suggestions, can I just mention how it's a little odd that you're restricting your Greatest Films list to matching your Greatest Albums one? What about works that simply don't fit this criteria? What about the very nature of great art as a distinctly personal and unique vision? Anyways -- here's some suggestions of films I like about that kind of fit into your yardsticks:

- I agree with all of Cabbage's and Elston's suggestions, with the exception of Hausu which I haven't seen.
- Stan Brakhage is the fastpaced filmmaker who I like, I'd say a lot of his work qualifies for (a), (c) and (d). I'd say you should give The Dante Quartet, Dog Star Man and Mothlight all a go.
- The Cremaster Series is pretty wonderful, both anarchic and vibrant.
- The films of Ersnt Lubitsch deserve a look (not sure why he's absent from my list, will have to rectify that). I recommend Trouble in Paradise, The Shop Around the Corner and The Merry Widow.
- Mike Leigh has done amazing satire, but is exempt from your other qualifications.
- Mark Rappaport's The Scenic Route is worth a go. It's not a film I'm overly fond of myself but people (okay, person) I respect a lot swear by it.
- The Holy Mountain
- Maurice Pialat's Police

Blah, I wish I could be more helpful, but hopefully a film or two here catches your interest.

Thanks for all your suggestions. I'll have to delve into Lubitsch. Don't know why I've left him out. I find Brakhage alternately boring and interesting but that isn't an indictment great enough for me to say I wouldn't keep giving him a shot. Also, Holy Mountain might fit the bill if it's a masterpiece (last I watched it I found it to be 7.5/10).

Now for your questions...

Before I give a few suggestions, can I just mention how it's a little odd that you're restricting your Greatest Films list to matching your Greatest Albums one? What about works that simply don't fit this criteria? What about the very nature of great art as a distinctly personal and unique vision?

Your questions are extremely valid points and I can understand why you're asking them...but...I hope I can relay this to you precisely...I'll try: I'm actually not "restricting" my list to these paramaeters. For instance, both Blade Runner and Wings of Desire don't match my Greatest Albums list, but rather albums rated 8.5/10. If I find more 9/10's or 9.5/10's that don't match my Albums list than I will surely add them to the list. I've used my Greatest Albums list as a comparitive guide to assist me in finding films of the same caliber. From probably any vantage point but my own this could seem like a gimmick and rather arbitrary, but in practice it actually hasn't been--it's really worked. I didn't start out my Greatest Films list this way at all; rather it was a curious phenomena I noticed when I started listing my films out. Gradually, as I discovered more great films, I was realizing how closely the order matched the layout of my Albums list. Infact it was virtually exact. It was only after seeing it's workability, that I started intentionally using the Albums as a guide to then go find equivalent films.

The basic theoretical reason why it works is (hopefully) explained over the next portion of this reply... Those albums are not just albums randomly listed out. They are EXACTLY ordered according to my preferences and according to a numerical scale showing the degree in which they match those preferences. Preferences, meaning "the degree of emotional impingement and resonance", are what I look for in any work of art, so translate perfectly when viewing film (or paintings, etc). Hell, if I wanted to I could probably rate my favorite girlfriends on the same scale ( : or the most amazing, thought-provoking conversations I've ever had, or the greatest chair I've ever sat in!!!

If you look at it from that somewhat mathematical/scientific viewpoint you may be able to see how it could make sense that a film which meets similar or the same degree of emotional impingment and resonance as an album would rate equally or nearly equally on the same scale (that's key: that both the films and the albums are being rated on the exact same scale). This next part is very important to understanding the method to my madness: you may also be able to see the possibility that there are only so many levels of emotion that could be on that scale, as in, there are only so many realistically separable decimals between a 9 and 9.5, or more exactly an 8.8 (currently Rashomon) and a 9.5 (Metropolis). In between Nostalghia and Metropolis is actually something of a gap (Nostalghia being a 9.3 and Metropolis being a solid 9.5). Comparitively, Rashomon is an 8.8 and Jigoku could be said to be an 8.82, Blade Runner an 8.825, Taxi Driver an 8.83, Come and See an 8.84, Lady From Shanghai, 8.845, with Zardoz an 8.85 or (rounded up) the first 8.9/10...and so on up the list.

Ok, hopefully I haven't lost you. With all that said, is it possible that, say an 8.8, represents not just a number BUT a degree of emotional impingment and resonance, and that particular degree of emotion has certain qualities and characteristics that make it that impinging and resonant? If you see that as possible, then it follows that those characteristics and qualities making up that degree of emotion would carry over to any work of art, and thus the works would be remarkably similar in content, themes, etc, when compared between music, film, etc.

If you didn't think so before, I am deifinitely a nerd now ( :

Well, thank-you for clearing that up. You're outta your mind but I think you know that.

( :

Thanks, I haven't seen either yet, though I've heard of both, and have definitely heard great things about Gummo.

I just re-watched Julien Donkey Boy and it's not that great. I can't wholeheartedly recommend it. Gummo is great, though not exactly what you're looking for. You've seen Fear and Loathing in Las Vegas haven't you? I would think it'd be quite at home on your list. I was going to recommend Fight Club, Trainspotting, Face Off, but of course you already have those. Oh and of course, probably the movie that I have that most resembles what you're looking for is A Zed and Two Noughts by Greenaway. In fact, I see that you just saw another of his films, and I wonder if this isn't what ultimately triggered your search. A Zed and Two Noughts is exactly what you're looking for, though I don't think it's quite an 8+.

You're definitely right on the money with the types of choices your suggesting. Fear & Loathing in Las Vegas is certainly along the lines of what I'm looking for. I've seen most of it but it was all foreign language with NO subtitles (!!!) and after surviving through the majority of the film I decided to drop it (I would never make a rating based on that though it had potential). If you have a link for a free english version that would be much appreciated. Also, Diabel by Zulawski (is that the film you were comparing to Kusturica? Seems like it from what I've seen...) Trainspotting is definitely along these lines as well - it's amazing and more or less flawless at what it does but, similar to Requiem For A Dream, it would need more depth to be a 9. I've actually seriously considered Face/Off before but when I watch it it's never risen above an 8/10 for me. Fight Club isn't too far off either. Thanks for the Greenaway -I'm looking into it as soon as I'm done with this reply (and yes, The Cook The Thief His Wife & Her Lover is incredible)

You were right that A Zed and Two Noughts was what I was looking for; if one took it apart piece by piece, and surveyed these pieces, it would seem to fit perfectly. However, as a whole, it didn't do much for me at least for the time that I watched it. I lost interest and started watching something else after 40 minutes - the film seemed mostly pointless. More specifically, it had a lot of inventive idiosynchracies but it didn't seem to add up to anything emotional. It seemed a very good example of tons of style (and visually it is quite something), but little (emotionally affecting) substance. Does it get better as it plays out? Does it turn into something amazing?

Oh god, I couldn't tell you. I've had the exact same reaction every time I've watched it. I think in many ways it's a failed experiment without much point to it. It's largely empty, like you say. Makes me want to check out The Cook, the Thief, His Wife, & her Loveer though, as it sounds that one is more compelling. Couldn't find a free link to Fear and Loathing in Las Vegas, though you could of course try your luck on torrent sites. It would be interesting to think what other films suffer from this. I personally think a lot of Zulawski's work did, despite the extraordinary Possession. But were you saying that Diabel is quite good? I also think some of Godard's work suffers from this as well, although I do think he's a great director.

Looks like we agree on Zed.... An intriguing find nonetheless - Greenaway is a fascinating filmmaker. I urge you to check into The Cook......it's amazing. A perfect example of a film both incredible stylistically and in emotional substance.

Thanks for looking for Fear & Loathing....

I haven't seen Diabel yet except for a few scenes. The opening is extraordinary. I want to see the whole film more than any other movie I can think of right now.

Agreed on Godard. Breathless is the film that avoids these more than others, while Weekend has the highest high points.

I will get on it, Zed is certainly something.

I always thought Contempt was good film, but otherwise I think Godard's parts are greater than the sum. I can't think of a single film by him that really adds up to something amazing.

Marquee, I'd love to see your picks in my "Greatest Films Poll"

I wonder if there's anything pre 1920s that would catch your eye/heart/mind/etc.
(I honestly find there's something beautiful and meditative about the Lumieres' Grand Cafe Program/Ten Actualities or whatever, there's no official title.)

I don't understand pre-20's cinema, but I haven't seen a lot, either. I've watch the Lumiere Bros, Griffith, Chaplin and a few others but I didn't love any of them, enjoyable as they were (ie. Musketeers of Pig Alley, Fishing for Gold Fish). The one I really liked was Chaplin's One AM, and if I watched it again as a refresher I wouldn't be surprised if it makes the cut.

I'd love to see Louis Feuillade's Les Vampires, though.

Something about early cinema fascinates me. *PRETENTIOUS GEEK*.
But that's a Chaplin I am not at all familiar with and I definitely need to check out. Been meaning to check out some Alice Guy Blanche, Abel Gance and Melies's more ambitious projects (and Les Vampires! (and an early Ernst Lubitsch film called the Oyster Princess sounds wacky as hell but interesting)). Really want to find Assassination of the Duke of Guise just for the sake of the Saint-Saens score.

So, what's the big deal with Kiarostami's A Taste of Cherry?

I love the minimalist feel, it's so spare and suggestive; as if dialog and actions can only partially account for the intense emotions bound up in identity. The negotiation between Badii's consciousness and social structure shows a fascinating tension between the privacy of imagination and the world. I think this concept is brought to life spatially by Kiarostami with the faces of characters being juxtaposed with the endless landscape that we see beyond the car windows, in addition to the flashes of children playing, construction workers, etc. There's also the incongruence between history and modernity. The sonic spareness of it all--we're mostly exposed to character dialog--means that we become all the more sensitive to car horns and laughing children; this enriches the film deeply on an experiential level. The same can be said for when the typical in-car camera perspective is punctuated by different shots, disrupting the normal rhythm.

Particularly effective was Kiarostami's decision to withhold most of the information about his protagonist, because really it doesn't matter. The enigma surrounding Badii makes him all the more interesting, in addition to putting us at a place of non-judgement. We don't know enough to say for certain whether his

Spoiler: Highlight to view
decision to commit suicide
is justifiable or not. This disallows us from pronouncing judgment as well as being able to view him from the perspective of his passengers. The multiple perspectives we do get deeply widens the scope of the film, and offers us a pluralistic vision of the world.

The scenery is stunning, all the acting--particularly the young soldier--is incredible, and the narrative structure--which never fully explains anything--makes demands on the viewer, thus creating a film that is a communal effort between audience and filmmaker.

I thought it was an overwhelming triumph. What made you rank it a mere 6/10?

I love the minimalist feel, it's so spare and suggestive; as if dialog and actions can only partially account for the intense emotions bound up in identity. The negotiation between Badii's consciousness and social structure shows a fascinating tension between the privacy of imagination and the world. I think this concept is brought to life spatially by Kiarostami with the faces of characters being juxtaposed with the endless landscape that we see beyond the car windows, in addition to the flashes of children playing, construction workers, etc. There's also the incongruence between history and modernity. The sonic spareness of it all--we're mostly exposed to character dialog--means that we become all the more sensitive to car horns and laughing children; this enriches the film deeply on an experiential level. The same can be said for when the typical in-car camera perspectrewive is punctuated by different shots, disrupting the normal rhythm.

This is a rather illuminating paragraph I will definitely be taking into account when I rewatch...

Thank you

I forgot to click "reply" but this is a reply to Marquee's last post re: A Taste of Cherry...

I ranked it as a 6/10 because I thought it was a successful, moving, film. A 6/10 is not a bad rating. It's still a pretty good deal above average (5/10).

That said, I suppose I have to go into the film's "faults" now (which I don't fancy myself a "critic" so is not very interesting to me to talk/write about). So let me state that any faults described are only relative to films I find to be "greater", and not particularly "faults" in and of themselves.

Also, let it be known that I am very willing to give the film another shot and perfectly open to my opinion changing. The point of this conversation (for me) is to see another view (yours) to see if this can help me see greater things in the film upon my next viewing.

The visuals were good. I thought they supported the emotional state of the protagonist, but forced to point out flaws I'd say I didn't feel they enhanced it, or made it more emotional. Compare Von Trier's Medea (an unfair example?) which takes spare material not far from the subject of suicide and enhances the emotion greatly with its visuals (what otherwise may have been a 5/10 is probably a 6.5/10). A more fair example visually may be Dreyer's Passion of Joan of Arc which uses extreme, continuous close-ups to enhance the sense of attack/criticism/interrogation towards Joan and claustrophobia/isolation of Joan. Or, Persona, which makes the characters enter a multitude of psychological guises and at times makes them seem almost supernatural. The visuals in A Taste of Cherry didn't make me feel anything more than the sight of what was being shot. It was like watching a documentary, which of course didn't make it detract from it either. There were some exceptions: I thought the scene where he was sitting on the hillside, with all the work going on around him, before he was told to move, dust billowing, was a touching scene. I thought the short portion when he finally lodged himself in the hole was quite good visually as well.

I thought the editing was rudimentary, and at times "hypnotic", serving well the thematic content.

The performances were very realistic.

In short, the film didn't really stand out for me. It was an engaging, moderately emotional experience. I will see it again though, and who knows, maybe something will click.

Wow, an amazing comic interpretation of Godard's Breathless.

I highly recommend Angelopoulos' Eternity and a Day to you on an immediate basis, if you haven't seen it already. I'm assuming you haven't, otherwise I'd be shocked because it's not on this list. It's truly one of the most profound films ever made. It actually manages to approximate an impressive degree of the milieu, emotional pull and depth on a similar wavelength as Tarkovsky's Nostalghia.

I haven't seen that, thanks for the recommendation. Angelopoulos is a filmmaker whose catalog I've mostly neglected, and I definitely need to fix that.

I've, regrettably, seen a total of zero films this year; Tintin tomorrow will be number one. Hopefully I'll be able to get back into my viewing habits. I just got my hands on a number of filmmakers I haven't touched (ie. Gillian Armstrong, Sean Penn, Ken Loach) so hopefully those and an Angelopoulos film will motivate and ease me back into my routine.

Also I'm glad to see you're sticking with your Weekly log for yet another year, I continue to read it regularly. Nice to read that you're seeing some of my favorites (Late Spring, Syndromes and a Century, Sansho and Army of Shadows).

If Angelopoulos keeps this pace up with The Beekeeper and Suspended Step of the Stork and Weeping Meadow, I wouldn't be surprised at all to find him in my top 5 directors.

Re: the weekly log... thanks, those films were all quite amazing. Syndromes deserves another viewing (at least). Late Spring and Sansho were very moving. Army of Shadows was visually stunning and very expertly (and realistically) presented. Out of all them, Sansho was the biggest surprise because it fairly significantly exceeded my expectations.

I HIGHLY recommend Why Has Bodhi-Dharma Left for the East? to you (if you haven't seen it already). It's one of the most beautiful and profound films ever made. That, and Eternity and a Day, would make an amazing night of film viewing :)

Btw, a couple minor errors I happened to notice when looking your list over: Modern Times is listed as 1963 instead of '36 and The Conformist 1951 instead of '71

Ahh, thank-you. I will correct those ASAP.

And I haven't seen Bodhi-Dream! I'm really interested in Buddhism so that seems right up my alley. Unfortunately, my grand plan to leap back into films never quite materialized and Eternity & a Day still goes unseen. Thanks for the recommendation, though, and if you think of anything else I may enjoy please let me know, even if I don't get to it any time soon. I still love film, but a lot of classical music and a lot of literature continue to strangle my free hours.

You're welcome. Those are great art forms to keep you occupied. I'll be jumping back into classical music in the not-too-distant future. I'll definitely give you a holler if I run across any more film recommendations, as well as music ones as they come.

Nothing from the 2010s so far?

Hey, thanks for dropping by. I've stopped stopped editing this list (and virtually all of my others). To be honest, I'm sure there's lots of good films being produced in the 2010's but I don't watch movies very often anymore, and when I do I tend to see films that are little more than enjoyable time passes. That said, if there are any really great films that you think have come out in the last few years I'd be very interested to hear of them; Kiarostami's Like Someone in Love interests me.

I have watched only a few films from this decade, so I am the one who should be asking for recommendations actually. Anyway, the only one I've watched that I could call a masterpiece would be The Grand Budapest Hotel.