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Ric Aqui
(in alphabetical order)
Being John Malkovich (Spike Jonze, 1999) Ric Aqui designs books at the Institute of Modern Art in Brisbane.
Kevin Barry
(in chronological order)
Intolerance (D.W. Griffith, 1916) Kevin Barry, a native New Yorker currently living in Cincinnati, Ohio, is a playwright whose plays have been produced in New York, Los Angeles, Chicago, Denver and Cincinnati. He has been an avid film-lover for many years.
Michael Bush
After much wavering, sleepless nights and angst-ridden drunken stupors –
I have finally commited myself to the following:
(in preferential order)
1. Some Like it Hot (Billy Wilder, 1959)
4. Double Indemnity (Billy Wilder, 1944) Five that didn't quite make it: In the Mood For Love (Wong Kar-wai), The Great Escape (Sturges) …everyone needs a skeleton in the closet, Se7en (Fincher), Get Carter (Hodges) and Moulin Rouge! (Luhrmann). Michael Bush is a lecturer in Film and Media Studies at The Bournemouth and Poole College, Dorset, UK.
Wayne Cabradilla
(in preferential order)
1. 2001: A Space Odyssey (Stanley Kubrick, 1968)
2. Crimes and Misdemeanors (Woody Allen, 1989)
3. The Killer (John Woo, 1989)
5. Rushmore (Wes Anderson, 1998)
6. Once Upon a Time in the West (Sergio Leone, 1969)
8. The Wild Bunch (Sam Peckinpah, 1969) Wayne Cabradilla is an amateur film buff and a student studying in Nanjing, PRC.
Dan Callahan
(in no particular order)
Rear Window (Alfred Hitchcock, 1954) Honorable Mentions: Vivre sa vie (Jean-Luc Godard, 1962), Brief Encounter (David Lean, 1945), Dr. Mabuse: The Gambler (Fritz Lang, 1922), Autumn Leaves (Robert Aldrich, 1956), The Scarlet Empress (Josef von Sternberg, 1934). Dan Callahan began loving films at the age of eight when he abandoned Star Wars for Alfred Hitchcock. He has been writing about films for various publications for a few years now.
Christian Cargnelli
(in no particular order)
Night Moves (Arthur Penn, 1975) Just outside the list: Preston Sturges, Frank Tashlin, Marcel Ophüls, Ernst Lubitsch, Le mépris (Godard). Christian Cargnelli, 39, is an editor of books on film exile, film melodrama and film noir. He lives in Vienna, Austria.
Eric Carpenter
(in preferential order)
1. The Searchers (John Ford, 1956) Honorable mentions: Vertigo, Exterminating Angel, Pickpocket, My Darling Clemintine, and His Girl Friday. See also Eric's revised list: Oct–Dec 2006 Eric is a cinephile and film student currently residing in North Carolina.
Joanna Di Mattia
(in no particular order)
Raging Bull (Martin Scorsese, 1980) Joanna Di Mattia is a doctoral student in Melbourne, Australia, and is infinitely bewitched by the cinema.
Anthony Easton
(revised list, in no particular order)
F for Fake (Orson Welles, 1975)
Barry Lyndon (Stanley Kubrick, 1975)
Il Decameron (Pier Paolo Pasolini, 1970)
Sunset Boulevard (Billy Wilder, 1950)
Rope (Alfred Hitchcock, 1948)
If…. (Lindsay Anderson, 1968)
Pinocchio (Hamilton Luske & Ben Sharpsteen, 1940)
Kids (Larry Clark, 1995)
Cabaret (Bob Fosse, 1972)
Gentlemen Prefer Blondes (Howard Hawks, 1953) See also Anthony's previous list: July–Aug 2001 Anthony Easton is a student at the University of Alberta in Edmonton, and tries to go to the movies once a week.
Nick Figliola
(in preferential order)
1. Wild Strawberries (Ingmar Bergman, 1957) See also Nick's revised list: Apr–June 2007 Nick Figliola is a Communication Arts major interested in journalism and a career in writing for film, based in Wilmington, DE in the United States.
Aaron Goldberg
(in no particular order)
After Hours (Martin Scorsese, 1985) Honorable mentions: Blue Velvet (David Lynch), Killing of a Chinese Bookie (John Cassavettes), Blade Runner (Ridley Scott), Sunset Boulevard (Billy Wilder), La Cérémonie (Claude Chabrol). Aaron Goldberg studies screenwriting at RMIT in Melbourne and writes for R4 magazine, JJJ websites and anywhere else that will have him.
Ernest Haines
Ten answers to the question, "Why Am I A Cinephile?"
(in alphabetical order)
Bob le flambeur (Jean-Pierre Melville, 1955)
The Cranes are Flying (Mikhail Kalatozov, 1957)
El (Luis Buñuel, 1952)
High and Low (Akira Kurosawa, 1963)
Ivan's Childhood (Andrei Tarkovsky, 1962)
Jules et Jim (François Truffaut, 1962)
Im Lauf der Zeit (Wim Wenders, 1976)
La Dolce Vita (Federico Fellini, 1960)
Persona (Ingmar Bergman, 1966)
Taxi Driver (Martin Scorsese, 1976) See also Ernest's revised list: Jan–Mar 2004 Ernest Haines, Jr. is a cineaste / aspiring filmmaker residing in San Jose, California.
Eric Henderson
(revised list, in chronological order)
Make Way for Tomorrow (Leo McCarey, 1937) Runners-up obviously abound (maybe next year). In the interest of the golden "one film per director" rule, I had to leave out: Nashville (Altman, '75), Dressed to Kill (De Palma, '80), Long-Haired Hare (Jones, '49), and Night of the Living Dead (Romero, '68). Some very recent masterpieces that I copped-out by not mentioning in favour of "they're just too new" are: Showgirls (Paul Verhoeven, 1995), Taste of Cherry (Abbas Kiarostami, 1997), Flowers of Shanghai (Hou Hsiao-hsien, 1998), Eyes Wide Shut (Stanley Kubrick, 1999), L'Humanité (Bruno Dumont, 1999), A.I.: Artificial Intelligence (Steven Spielberg, 2001), and The Royal Tenenbaums (Wes Anderson, 2001). See also Eric's previous list: July–Aug 2001 Eric Henderson, who, like everyone, has a website, lives in Minneapolis and gives his props to the U Film Society, the Walker Art Center, and the Oak Street Cinema.
Fábio Kawano
(in preferential order)
1. Wild Strawberries (Ingmar Bergman, 1957) Fábio Kawano is a film student in São Paulo.
Robert Lawton
(in no particular order)
Underground (Emir Kusturica, 1995)
An Autumn Afternoon (Yasujiro Ozu, 1962)
Black Narcissus (Michael Powell & Emeric Pressburger, 1947)
Barry Lyndon (Stanley Kubrick, 1975)
Ivan's Childhood (Andrei Tarkovsky, 1962)
Rocco and His Brothers (Luchino Visconti, 1960)
Taxi Driver (Martin Scorsese, 1976)
The Thin Red Line (Terrence Malick, 1998)
Once Upon a Time in America (Sergio Leone, 1984)
Dersu Uzala (Akira Kurosawa, 1974) Honorable mentions: Dekalog 2 (Kieslowski), Miller's Crossing (Coen), Mulholland Drive (Lynch), Accident (Losey), Manhattan (Allen). Robert Lawton is an Australian living in Yorkshire, UK. He is looking forward to visiting Lawrence of Arabia's grave at Christmas.
James Leahy
Of course David Thomson is right, it's a children's game, but like many children's games, it's fun. And sometimes it can allow one to make a polemical point, as Thomson did when he took ten Hawks films to his desert island. I thought about voting for ten Renoirs, but decided I couldn't live without Singin' in the Rain and at least one Ozu. So here we go (apart from my number one, they're in no particular order):
1. La Règle du jeu (Jean Renoir, 1939)
Singin' in the Rain (Stanley Donen & Gene Kelly, 1952)
Vertigo (Alfred Hitchcock, 1958)
The Searchers (John Ford, 1956)
Tokyo Story (Yasujiro Ozu, 1953)
Bitter Victory (Nicholas Ray, 1957)
Le Crime de Monsieur Lange (Jean Renoir, 1936)
Le Carrosse d'or (Jean Renoir, 1952)
Vampyr (Carl Dreyer, 1932)
Sarraounia (Med Hondo, 1986)
Five films and six directors survive from the list I contributed to the 1982 Sight & Sound poll. Out have gone: James Leahy is a film historian, critic, lecturer, actor and screenwriter, co-scenarist of 1871, an official selection at Cannes and Karlovy Vary in 1990.
Henrique Lopes
(in no particular order)
Amarcord (Federico Fellini, 1974) See also Henrique's revised list: Jul–Sept 2005 Born in the city of Montemor-o-Novo, Portugal, Henrique Lopes is a 38 year old music teacher with a parallel career as a composer. He is an inveterate cinephile, and a movie critic for a local newspaper, Folha de Montemor.
John Orr
(in alphabetical order)
A Bout de Souffle (Jean-Luc Godard, 1959)
The Apu Trilogy (Satyajit Ray, 1955–59)
Ashes and Diamonds (Andrzej Wajda, 1958)
Los Olvidados (Luis Buñuel, 1950)
Mirror (Andrei Tarkovsky, 1974)
Persona (Ingmar Bergman, 1966)
Ran (Akira Kurosawa, 1985)
Il Deserto Rosso (Michelangelo Antonioni, 1964)
Touch of Evil (Orson Welles, 1958)
Vertigo (Alfred Hitchcock, 1958) Regrets: The General, The Passion of Joan of Arc, Shadows of our Forgotten Ancestors, Days of Heaven. John Orr lives in Edinburgh and teaches film at Edinburgh University. He is author of Cinema and Modernity, Contemporary Cinema, and The Art and Politics of Film.
Andrew Rector
(in no particular order)
Killer of Sheep (Charles Burnett, 1977) Of these films, the sound films have startling sound: rich direct sound, thematic musical variations, skillful flaws, communal music, and all around there is a combination of sound and image that is akin to the rhythms of the silents listed. This is just one reason for their inclusion, but an important one for me. As we see more and more disintegrated digital images, sound is of utmost inspiration. In this respect the absence of Bresson is a crime. The inclusion of Made in U.S.A. and La Chienne is meant to implicate Nicholas Ray/Fuller/Hawks and Lang respectively. Andrew Rector is a filmmaker residing in Los Angeles who is always trying to see Straub/Huillet films.
George Robinson
In alphabetical order, because when you get to this level of achievement, anything else is an insult to the artists.
Chimes at Midnight (Orson Welles, 1966) This list will probably different a half-hour from now, although several of the titles have been on my list over thirty years as a film critic. George Robinson is the film critic for Jewish Week (NYC) and INSIDE Magazine (Philadelphia).
Matt Severson
(in chronological order)
La Passion de Jeanne D'Arc (Carl Dreyer, 1928) 5 runners up: Madame de… (1953, France) Max Ophuls; Sanshô dayû (1954, Japan) Kenji Mizoguchi; Bonjour Tristesse (1958, USA) Otto Preminger; 3 Women (1977, USA) Robert Altman; The Cook, the Thief, His Wife & Her Lover (1989, UK) Peter Greenaway. Matt Severson is Assistant Photograph Curator at the Academy of Motion Picture Arts and Sciences.
Mark Sprecher
(in chronological order)
Intolerance (D.W. Griffith, 1916) These are all movies that have shifted the ground under the feet – in terms of personal identify, sense of the world, and immersion into film style, breadth and depth. The thing that pains me here are some of the movies and directors I've had to leave off: Chaplin, Cukor, Dreyer, Hawks, Lubitsch, Mizoguchi, Ophuls, Satyajit Ray, Renoir, Truffaut. (And that still leaves off Chabrol, Goddard, Keaton, Lang, Leone, McCarey, Murnau, Nicholas Ray, Preston Sturges, Wilder). Time for the ten-best lists to get expanded to 20, at least. Mark Sprecher is a former 2nd A.D., personal assistant (including to one of the directors on his ten-best list), and repertory film programmer and booker. He resides in Los Angeles.
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TALLY at November–December 2002,
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By film: |
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1. 2. 3. 4. 5. 7. 8. |
Vertigo (Alfred Hitchcock, 1958) Citizen Kane (Orson Welles, 1941) 2001: A Space Odyssey (Stanley Kubrick, 1968) La Règle du jeu (Jean Renoir, 1939) The Searchers (John Ford, 1956) Sunrise (F.W. Murnau, 1927) Seven Samurai (Akira Kurosawa, 1954) Au Hasard, Balthazar (Robert Bresson, 1966) The Thin Red Line (Terrence Malick, 1998) Tokyo Story (Yasujiro Ozu, 1953) |
60 34 30 26 24 24 21 20 20 20 |
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By director: |
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1. 2. 3. 4. 5. 6. 7. 8. 9. |
Alfred Hitchcock Orson Welles Jean-Luc Godard Robert Bresson Stanley Kubrick Andrei Tarkovsky Martin Scorsese Carl Dreyer Ingmar Bergman Federico Fellini |
107 76 73 67 59 57 51 50 47 47 |
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Mark Adnum
(in no particular order)
All About My Mother (Pedro Almodóvar, 1999) Mark Adnum is a writer living in Sydney. He contributes articles to websites such as www.spiked-online, and has made a couple of short films, which have shown in Melbourne, Sydney, and Los Angeles.
Daud M. Ali
(in preferential order)
1. 7 Women (John Ford, 1966) Honourable mentions: One Way Passage (Tay Garnett, 1932), The Lusty Men (Nick Ray, 1952), Little Man, What Now? (Frank Borzage, 1934), Where the Sidewalk Ends (Otto Preminger, 1950), Gentleman Jim (Raoul Walsh, 1942). Daud M. Ali is a mensch cinephile and media student at Carleton University, Ottawa, ON, Canada.
Alex Castro
(revised list, in no particular order)
8½ (Federico Fellini, 1963) See also Alex's previous list: Mar 2000 Alex Castro is a film lover first and foremost, with a particular interest in Latin American cinema. He is director of Melbourne Filmoteca: Spanish + Latin American Film Group, and has coordinated festivals of Hispanic and Chilean cinema in Melbourne, as well as serving on short film selection panels for MIFF 2000–2002.
David Ehrenstein
(in preferential order)
1. Those Who Love Me Can Take the Train (Patrice Chéreau, 1998) See also David's revised lists: Apr–June 2004 Jul–Sept 2006 David Ehrenstein was born in New York City in 1947. His books include Film: The Front Line – 1984, The Scorsese Picture, and Open Secret. He has contributed to Film Culture, Film Quarterly, Positif and Cahiers du Cinema. He lives in Los Angeles. Visit www.ehrensteinland.com.
KinMarcus Ferate
(in preferential order)
1. Wingsof Desire (Wim Wenders, 1987) Honorable mentions: Pink Flamingos by John Waters, Phenomena by Dario Argento, Berlin Alexanderplatz by Rainer Werner Fassbinder, Scorpio Rising by Kenneth Anger, Bringing Up Baby by Howard Hawks, and too many more to mention here right now… KinMarcus Ferate is a film geek/critic who is working to get into the business as a director/scriptwriter. He lives in Seattle, Washington.
Neil Godfrey
(in preferential order)
1. My Dinner with André (Louis Malle, 1981)
2. Wings of Desire (Wim Wenders, 1987)
3. Pee-Wee's Big Adventure (Tim Burton, 1985)
4. Solaris (Andrei Tarkovsky, 1972)
5. La Maman et la Putain (Jean Eustache, 1973)
6. Sebastiane (Derek Jarman, 1976)
7. Naked (Mike Leigh, 1993)
8. Even Dwarfs Started Small (Werner Herzog, 1971)
9. Puce Moment (Kenneth Anger, 1949)
10. Empire (Andy Warhol, 1964) And honorable mentions to Rio Bravo, which is the second funniest movie ever. To Orgazmo – the best Mormon-themed movie yet. And to Buffalo '66 which, according to Vincent Gallo, is "a masterpiece." Must be so… Neil Godfrey, 23, is an Arizona-based full-time food service industry whore *and* frequent consumer of "the spectacle."
Cameron Grace
(in preferential order)
1.
2001: A Space Odyssey (Stanley Kubrick, 1968) 2. The Swimmer (Frank Perry, 1968)
3. Duck Soup (Leo McCarey, 1933)
4. Le Samourai (Jean-Pierre Melville, 1967)
5. Two-Lane Blacktop (Monte Hellman, 1971)
6. The Innocents (Jack Clayton, 1961)
7. Withnail and I (Bruce Robinson, 1986)
8. Two for the Road (Stanley Donen, 1966)
9. Blood and Roses (Roger Vadim, 1960)
10. Les Parapluies de Cherbourg (Jacques Demy, 1964) Cameron Grace is a star-crossed fairground attendant who also writes film related stuff for Inpress in Melbourne.
Alexander Greenhough
(revised list, in no particular order)
Rear Window (Alfred Hitchcock, 1954) See also Alexander's other lists: Sept–Oct 2001 Jan–Mar 2004 Alexander Greenhough is a filmmaker living in Wellington, New Zealand.
David Hoggan
(in preferential order)
1. Tokyo Story (Yasujiro Ozu, 1953) David Hoggan is a film buff living in Vienna, VA.
Matt Holden
In no particular order, ten films I'd watch again and again …
Light Sleeper (Paul Schrader, 1991) Matt Holden blogs anything that catches his eye – including film – here.
Tim Holm
(revised list, in preferential order)
1. Star Wars: A New Hope (George Lucas, 1977) See also Tim's previous list: Nov–Dec 2001 Tim Holm is a 17 year old film lover and aspiring director from British Columbia, Canada.
Julien Humphreys
(revised list, in no particular order)
La Strada (Federico Fellini, 1954) Also just outside the final list: A scene at the sea (Kitano), La comare secca (Bertolucci), Sunday's Children (Daniel Bergman), Cries and Whispers (Ingmar Bergman), Au revoir les enfants (Malle) and several others. Diolch yn fawr, Cymru am byth! See also Julien's previous list: Jul–Aug 2001 Julien Humphreys is an 18 year old cinephile living in Bangor, Wales, and studying Welsh, English, French and Spanish in school. Next year he will hopefully go to Liverpool University to study Modern Languages and European Cinema.
Elric Kane
(revised list, in no particular order)
Greed (Erich von Stroheim, 1925)
Sherlock, Jr. (Buster Keaton, 1924)
Werckmeister Harmonies (Béla Tarr, 2000)
Woman in the Dunes (Hiroshi Teshigahara, 1964)
Harold and Maude (Hal Ashby, 1971)
The Night of the Hunter (Charles Laughton, 1955)
Buffet froid (Bertrand Blier, 1979)
Hour of the Wolf (Ingmar Bergman, 1968)
The Lady From Shanghai (Orson Welles, 1947)
O Lucky Man! (Lindsay Anderson, 1973) Five that just missed out this time: 1. Suspiria (Argento) 2. King of New York (Ferrera) 3. Chinese Roulette (Fassbinder) 4. Stroszek (Herzog) 5. Trust (Hartley). See also Elric's other lists: Sept–Oct 2001 Jul–Sept 2004 Elric Kane is a filmmaker living in Wellington, New Zealand.
Rainer Knepperges
(in chronological order)
Große Freiheit Nr.7 (Helmut Käutner, 1944) Rainer Knepperges, born 1965 in Korschenbroich, Germany, is Co-Founder of Filmclub 813 in Cologne and editor of Gdinetmao. He has written screenplays (Happy Weekend) and made short films (Tour Eiffel).
Josh Mabe
(in no particular order)
God's Step Children (Oscar Micheaux, 1938) … plus a few shorts: Hagop Hovnatanian (Parajanov) & Fireworks (Anger) & Window Water Baby Moving (Brakhage) & Jollies (Benning). See also Josh's revised list: Jan–Mar 2004 Josh Mabe is a film geek from Rock Hill, South Carolina.
John Martin
(in preferential order)
1. Days of Heaven (Terrence Malick, 1978) Five films from the last five years that I couldn't bear to leave unmentioned, in alphabetical order: Memento (Christopher Nolan, 2001), Requiem for a Dream (Darren Aronofsky, 2000), The Royal Tenenbaums (Wes Anderson, 2001), The Thin Red Line (Terrence Malick, 1998), Waking Life (Richard Linklater, 2001). See also John's revised list: Oct–Dec 2004 John Martin is a high school student living in Fargo, North Dakota.
Angelique Morin
(in no particular order)
Blow-Up (Michelangelo Antonioni, 1966) * The narrative structure is built around the centrifugal concept of existence – are they living, are they dying or somewhere in between (i.e. fantasy)? Seamless. Angelique Morin has studied film theory formally and without restraint. She is an Australian living in Vancouver, Canada.
Tony Rigby
(in preferential order)
1. Jubilee (Derek Jarman, 1977) Tony Rigby lives in London and watches films.
Chuck Rudolph
(in preferential order)
1. McCabe and Mrs. Miller (Robert Altman, 1971) Honorable Mentions: A Day in the Country, Nashville, The Graduate, Gimme Shelter, Coming Home. Three westerns, two musicals (three if you count Alan Price's enormous contributions to O Lucky Man!), and choices that cover just about every year in the oh-so-cliched heyday of the late '60s/early '70s. (Sorry, 1969.) These are not all movies that I understand top to bottom or feel issue an inarguable profundity, but they are what my mind returns to again and again, recalling specific images, moods, or words that will be with me until the end of time. A personal rule mandates that no film less than a decade old can make the list, forcing potential inductees BIlly Bob Thornton's Sling Blade (1996), Michael Mann's Heat (1995), and Quentin Tarantino's Jackie Brown (1997) to run off and form a list of their own. Chuck Rudolph is a writer and editor at Matinee Magazine, and a member of the Online Film Critics Society.
Jeremy Schwab
(in no particular order)
Seven Samurai (Akira Kurosawa, 1954) Jeremy Schwab is an avid movie collector who owns about 250 DVDs and is mostly interested in classic cinema and foreign films. He is located in Vancouver, Canada.
Jason Sound
(in preferential order)
1. Lost Highway (David Lynch, 1997) The next five: Eraserhead (David Lynch, 1976), The Texas Chainsaw Massacre (Tobe Hooper, 1974), Dancer in the Dark (Lars von Trier, 2000), The Mother and the Whore (Jean Eustache, 1973), Julien Donkey-Boy (Harmony Korine, 1999). See also Jason's revised list: Jul–Aug 2003 Jason Sound is a filmmaker and artist from Seattle, WA.
Adam Suraf
(in preferential order)
1. Citizen Kane (Orson Welles, 1941) Adam Suraf, 22, is a recent graduate of film studies at the University of Buffalo, NY.
Eric Wahl
These are ten films that move me emotionally and intellectually through a marriage of
compelling writing, acting, and cinematography. Films that stir passion because they were created with passion…
(in no particular order)
Trois Couleurs: Rouge (Krzysztof Kieslowski, 1994) With honorable mentions to: The Pillow Book (Peter Greenaway, 1997), Chungking Express (Wong Kar-wai, 1994), Apartment Zero (Martin Donovan, 1988), The Remains of the Day (James Ivory, 1993), and The Way of the Gun (Chris McQuarrie, 2000). Eric Wahl earned his MFA in fiction from the University of Idaho, where he was actually scripting epic movies he passed off as short stories so he could get his thesis finished and printed. He is a teacher and writer currently living in Green Valley, AZ.
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TALLY at July–August 2002,
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By film: |
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1. 2. 3. 4. 5. 6. 7. 10. |
Vertigo (Alfred Hitchcock, 1958) Citizen Kane (Orson Welles, 1941) 2001: A Space Odyssey (Stanley Kubrick, 1968) La Règle du jeu (Jean Renoir, 1939) Sunrise (F.W. Murnau, 1927) Seven Samurai (Akira Kurosawa, 1954) The Searchers (John Ford, 1956) The Thin Red Line (Terrence Malick, 1998) Tokyo Story (Yasujiro Ozu, 1953) Au Hasard, Balthazar (Robert Bresson, 1966) |
53 34 28 24 22 21 19 19 19 18 |
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1. 2. 3. 4. 5. 6. 7. 8. 9. 10. |
Alfred Hitchcock Jean-Luc Godard Orson Welles Robert Bresson Stanley Kubrick Andrei Tarkovsky Carl Dreyer Martin Scorsese Ingmar Bergman Federico Fellini Akira Kurosawa |
96 73 68 64 55 52 46 44 43 42 42 |
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Fabien Boully
Contrairement à Jean-Luc Godard, je ne crois qu'il n'y a que dix films qui ont été tournés dans l'Histoire(s) du cinéma – dix films comme nous avons dix doigts de la main. Choisir dix films est pour moi impossible. Mais comme dit Leos Carax, dont je n'aime pas les films, "à l'impossible on est tenu". Voilà donc mes dix films. Plus cinq.
Contrary to Jean-Luc Godard, I do not believe there are only ten films in the '(hi)story(s) of cinema' – ten films like we have ten fingers. For me, a choice of ten films is impossible. But as Leos Carax (whose films I don't like) once said, "we are stuck with the impossible". So here are my ten films – plus five. – transl. Adrian Martin (in impossible preferential order)
1. Vertigo (Alfred Hitchcock, 1958) 11. The Incredible Shrinking Man (Jack Arnold, 1957) 12. Playtime (Jacques Tati, 1967) 13. Les Demoiselles de Rochefort (Jacques Demy, 1968) 14. Madame de… (Max Ophuls, 1953) 15. Freaks (Tod Browning, 1932). Fabien Boully teaches Film Studies at the University of Paris X-Nanterre.
Thomas Caldwell
My top ten films significantly moved me emotionally or intellectually when I first saw them. They inspired my love of film and encouraged me to explore new areas of film theory.
(in preferential order)
1. 2001: A Space Odyssey (Stanley Kubrick, 1968) Just missed out: City Lights (Charles Chaplin, 1931), Bad Boy Bubby (Rolf de Heer, 1994), Taxi Driver (Martin Scorsese, 1976), Midnight Cowboy (John Schlesinger, 1969), Fight Club (David Fincher, 1999). Thomas Caldwell is a Cinema Studies graduate from The University of Melbourne and a freelance film writer based in Melbourne, Australia.
John Davies
(in preferential order)
1. Sansho Dayu (Kenji Mizoguchi, 1954) Just outside the list: Mirror (Tarkovsky), Some Like it Hot (Wilder), Maborosi (Kore-eda), Vertigo (Hitchcock), Letter from an Unknown Woman (Ophuls). See also John's revised lists: May–June 2003 Oct–Dec 2004 John Davies is 41, Welsh, and writes as an enthusiast/customer for MovieMail, a British World Cinema video/DVD rental and sale company. He is also the writer/publicist for the Brecon Film Society.
Bill Georgaris
(in chronological order)
Le Crime de Monsieur Lange (Jean Renoir, 1936) It goes without saying that this list would alter from day to day. On any given day, films from Hitchcock, Lang, Ford, Melville, Scorsese and countless others would comfortably sneak in. Bill Georgaris is a hardcore film fanatic who drives his family completely insane. He's also the creator of They Shoot Pictures Don't They?, a fledgling website dedicated to film directors. He lives in Adelaide, Australia.
Helen Goritsas
(in preferential order)
1. Blade Runner (Ridley Scott, 1982) Helen Goritsas is a Sydney-based film enthusiast – a regular cinemagoer, writer, film student and filmmaker.
Darren Hughes
(in alphabetical order)
Cries and Whispers (Ingmar Bergman, 1972) If asked to name my single favourite film, I would probably cheat and just offer up whichever of these ten films I had seen most recently. Today, that would be Pather Panchali, but I've been feeling the itch to watch Ordet and Mirror again. It seems a shame to have omitted Dr. Strangelove, but I limited myself to one film per director. And besides, Harold and Maude is just as dark, just as biting, and just as funny (and with Cat Stevens, to boot). I also should have left a slot for Bresson, but he and I are still feeling each other out. Ask me again in a year. Darren Hughes is a doctoral candidate in American literature at the University of Tennessee and author of the website, Long Pauses.
Volker Hummel
Naturally, this list is nothing more than a snapshot of my current preferences. The films I saw last tend to be the ones I find to be the greatest or most abonimable ever. So there is always some kind of balancing involved, of remembered wonders against recent jolts of pleasure, of abstract considerations and bodily reactions. The images that stay are parts of certain aesthetic universes rather than of unique films. The works of David Lynch, Federico Fellini, Takashi Miike, Wong Kar-wai, Michelangelo Antonioni, Alfred Hitchcock and David Cronenberg for me constitute coherent wonderlands of unforgettable scenes and dreams. Choosing "the best" is more an act of repression than of revelation. Where for example is Kubrick on my list, where the Coen brothers? Lost in the neglectable space beyond the ten. One last word: Fuck Citizen Kane.
(in no particular order)
Crumb (Terry Zwigoff, 1994)
The Elephant Man (David Lynch, 1980)
La Dolce Vita (Frederico Fellini, 1960)
"Living Dead" Trilogy by George R. Romero
– Night of the Living Dead (1968); Dawn of the Dead (1978); Day of the Dead (1985)
In the Mood for Love (Wong Kar-wai, 2000)
L'Année dernière à Marienbad (Alain Resnais, 1962)
Visitor Q (Takashi Miike, 2001)
A Chinese Ghost Story (Ching Siu-tung, 1987)
Crash (David Cronenberg, 1996)
Une flamme dans mon coeur (Alain Tanner, 1987) Volker Hummel is a freelance journalist from Hamburg, Germany, and writes on literature and film. He is also author of The Vortex.
Jack Jewers
Almost impossible to say, but I think this is a pretty good selection, at least a worthy one. It's all in the interest of fun anyway. I somehow think I should be more controversial, but maybe that's best left to the list of worst movies ever made!
(in chronological order)
Napoléon (Abel Gance, 1927; 2000 restoration, not dreadful TV version) I don't mean to place undue emphasis on Fellini, but it was somehow easier to narrow some of the others down to one film each. I also tried to make the list representative of as wide a spectrum as possible. Honourable mentions therefore to Bronenosets Potyomkin (Sergei Eistenstein, 1925); Paths of Glory (Stanley Kubrick, 1957); Det Sjunde Inseglet (Ingmar Bergman, 1957); Psycho (Alfred Hitchcock, 1960) and Manhattan (Woody Allen, 1979). See also Jack's revised list: Apr–June 2004 Jack Jewers is a film graduate and fledgling director from London, England.
Eddie Kasica
For this top ten, I have restricted myself to one film per director.
(in chronological order)
Sunrise (F.W. Murnau, 1927) Very honorable mentions: Madame de… (Ophuls), The Wrong Man (Hitchcock), Meshi (Naruse), Ugetsu (Mizoguchi), Au Hasard Balthazar (Bresson). Eddie Kasica is a New York-based screenwriter and magazine editor.
Craig Kinney
(in preferential order)
1. Vertigo (Alfred Hitchcock, 1958)
2. Ashes of Time (Wong Kar-wai, 1994)
3. The Road Home (Zhang Yimou, 1999)
4. The Thin Red Line (Terrence Malick, 1998)
5. Crouching Tiger, Hidden Dragon (Ang Lee, 2000)
6. The Empire Strikes Back (Irvin Kershner, 1980)
7. Mirror (Andrei Tarkovsky, 1974)
8. In the Mood for Love (Wong Kar-wai, 2000)
9. The Good, The Bad, and The Ugly (Sergio Leone, 1966)
10. Yojimbo (Akira Kurosawa, 1961) Honorable mention to the brilliant Truman Show which did not fit on the list. Craig Kinney is a Liberal Studies student at Oregon State University, and he knows cinema is in his future.
Lance Laack
(in preferential order)
1. Wings of Desire (Wim Wenders, 1987) Honorable mentions: Alexander Nevsky (Eisenstein), Grand Illusion (Renoir), The Third Man (Reed), High and Low (Kurosawa), and The Sweet Hereafter (Egoyan). Lance Laack is a consultant in Washington, DC.
Eoin McGuigan
1. Chungking Express (Wong Kar-wai, 1994)
(the rest in no order)
Léon (Luc Besson, 1994) Obviously, I'm a rather biased Wong Kar-wai fan. But in my mind it seems as if he can't go wrong. Either way I hope to be able to contribute to a list like this some day in the actual production area. Eoin McGuigan is a prospective film student at Columbia University in Chicago. Currently he resides in the Twin Cities (Minnesota) and works part time for Asian Media Access, a film exhibition/education non-profit organisation.
Andrea Parissis
I have spent my grown up life in the darkness of the cinemas, watching films and movies. Before assuming reality (wife, children and opening great restaurants), I was viewing up to three films a day. So, this selection is one from a believer and a lover of cinema.
(in chronological order)
Sunrise (F.W. Murnau, 1927)
The Magnificent Ambersons (Orson Welles, 1942)
The Third Man (Carol Reed, 1949)
Ugetsu Monogatari (Kenji Mizoguchi. 1953)
The Searchers (John Ford, 1956)
L'Avventura (Michelangelo Antonioni, 1960)
Viridiana (Luis Buñuel, 1961)
8½ (Federico Fellini, 1963)
Il Conformista (Bernardo Bertolucci, 1969)
Apocalypse Now (Francis Ford Coppola, 1979) Andrea Parissis is a film lover based in Perth.
Marc Raymond
(in preferential order)
1. Mean Streets (Martin Scorsese, 1973) Honorable mention: The Hustler (Robert Rossen, 1961), Once Upon a Time in the West (Sergio Leone, 1968), Dr. Strangelove (Stanley Kubrick, 1964), The Conformist (Bernardo Bertolucci, 1970), Force of Evil (Abraham Polonsky, 1948). Marc Raymond is a PhD Candidate, Institute for Comparative Studies in Literature, Art and Culture at Carleton University, Ottawa, ON, Canada.
Marcy Saude
These films have blown my mind and/or changed my perception of cinema.
(in no particular order)
Sátántangó (Béla Tarr, 1994)
A Bout de Souffle (Jean-Luc Godard, 1959)
Solaris (Andrei Tarkovsky, 1972) If… (Lindsay Anderson, 1968) Stranger Than Paradise (Jim Jarmusch, 1984) Ladri di Biciclette (Vittorio de Sica, 1948) Why Does Herr R. Run Amok? (Ranier Werner Fassbinder, 1970)
Wings of Desire (Wim Wenders, 1987)
Diary of a Shinjuku Thief (Nagisa Oshima, 1968)
Meshes of the Afternoon (Maya Deren and Alexander Hammid, 1943) Not enough room for Fallen Angels, Sonatine, Mahanagar, La Strada or any documentaries, like Hands on a Hard Body… Not enough time to see all the movies I need to see… Marcy Saude makes/studies film and art and stuff in Oakland, California.
Ekrem Serdar
(in preferential order)
1. Dekalog (Krzysztof Kieslowski, 1988) My apologies to Godard, Truffaut, Wilder, Antonioni and Kurosawa… See also Ekrem's revised list: Jul–Sept 2007 Ekrem Serdar is from Istanbul and is currently studying in Buffalo, NY. He is a film critic and maker in training.
Rochelle Siemienowicz
(in no particular order)
Rear Window (Alfred Hitchcock, 1954) Rochelle Siemienowicz is the film reviewer for the Australian edition of The Big Issue magazine.
Andy Sparks
(revised list, in no particular order)
Pierrot le Fou (Jean-luc Godard, 1965)
Taste of Cherry (Abbas Kiarostami, 1997)
L'Atalante (Jean Vigo, 1934)
L'Avventura (Michelangelo Antonioni, 1960)
La Passion de Jeannne d'Arc (Carl Dreyer, 1928)
The Birds (Alfred Hitchcock, 1963)
M (Fritz Lang, 1931)
Double Indemnity (Billy Wilder, 1944)
Henry Fool (Hal Hartley, 1997)
Waking Life (Richard Linklater, 2001) See also Andy's previous list: Sept–Oct 2001 Andy Sparks is a filmmaker now living in New York and finishing his first two short films.
Tommy Strangie
(in no particular order)
Cat People (Jacques Tourneur, 1942) Runners-up include Darling, Vertigo, Nashville, and Gilda. Tommy Strangie lives in Miami Beach, Florida and has been the host of local radio and television shows.
Erik Ulman
This time around I'm changing all ten titles, in order to give some other favourites a chance.
(revised list, in chronological order)
Tabu (F.W. Murnau, 1930)
Love Me Tonight (Rouben Mamoulian, 1932)
Le Crime de Monsieur Lange (Jean Renoir, 1936)
The Man Who Shot Liberty Valance (John Ford, 1962)
Au Hasard, Balthazar (Robert Bresson, 1966)
Andrei Rublev (Andrei Tarkovsky, 1966)
En Passion (Ingmar Bergman, 1970)
Céline et Julie vont en bateau (Jacques Rivette, 1974)
Moses und Aron (Jean-Marie Straub & Danièle Huillet, 1975)
Ici et ailleurs (Jean-Luc Godard, Jean-Pierre Gorin & Anne-Marie Miéville, 1975) I regret particularly the omission of Griffith, Hawks, and Dreyer. Next time? See also Erik's other lists: Sept–Oct 2000 Apr–May 2001 Jan–Mar 2004 Erik Ulman is a composer who teaches music at the University of California, San Diego.
Jeff Vorndam
I apologise for the glut of Robert De Niro in my top ten – I make no claims for breadth – these are simply the ten that cast a spell over me each time I watch them.
(in alphabetical order)
The Ballad of Narayama (Shohei Imamura, 1983) Hon. Mentions: 2001: A Space Odyssey, Raising Arizona, Les enfants terribles, Nights of Cabiria and The Night of the Hunter. Jeff Vorndam lives near San Francisco because he's too cheap to live *in* San Francisco. He reviews films for AboutFilm.com.
Richard Waara
(in dramatic order)
1. Peter Ibbetson (Henry Hathaway, 1935) 2. L'Âge d'Or (Luis Buñuel, 1930)
3. Berlin Alexanderplatz (Rainer Werner Fassbinder, 1979–80) 4. The Devil is a Woman (Josef von Sternberg, 1935)
5. Life of Oharu (Kenji Mizoguchi, 1952)
6. Flowers of Shanghai (Hou Hsiao-hsien, 1998)
7. Saragossa Manuscript (Wojciech Has, 1964) 8. Ashes of Time (Wong Kar-wai, 1994) 9. Peeping Tom (Michael Powell, 1960)
10. Looking for Mushrooms (Bruce Conner, 1959/67, 1996, 14½ minutes) This is a list of personal favourites. Excluding Mr. Hathaway, I could have picked an alternative title from each of these filmmakers that would have made my list. I do regret that as of this time my list does not include any women filmmakers. Richard Waara lives in San Francisco and hopes to write more extensively about the cinema when he retires.
|
TALLY at May–June 2002,
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By film: |
|
||||
|
1. 2. 3. 4. 5. 6. 10. |
Vertigo (Alfred Hitchcock, 1958) Citizen Kane (Orson Welles, 1941) 2001: A Space Odyssey (Stanley Kubrick, 1968) La Règle du jeu (Jean Renoir, 1939) Sunrise (F.W. Murnau, 1927) Tokyo Story (Yasujiro Ozu, 1953) The Searchers (John Ford, 1956) Seven Samurai (Akira Kurosawa, 1954) The Thin Red Line (Terrence Malick, 1998) Mirror (Andrei Tarkovsky, 1974) |
53 31 27 24 22 18 18 18 18 17 |
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By director: |
| ||||
|
1. 2. 3. 4. 5. 6. 7. 8. 9. 10. |
Alfred Hitchcock Jean-Luc Godard Orson Welles Robert Bresson Andrei Tarkovsky Stanley Kubrick Carl Dreyer Martin Scorsese Ingmar Bergman Federico Fellini Akira Kurosawa Yasujiro Ozu |
90 71 63 62 53 51 45 41 40 39 39 39 |
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Stan Alderson
(in preferential order)
1. The Godfather (Francis Ford Coppola, 1972) Stan Alderson is an accountant from Columbia, TN. His greatest movie experience was the first time he took his son to see The Little Mermaid. He dropped his popcorn and coke when he saw the giant screen that played cartoons.
Bill Blackwell
I can't resist this folly.
(in no order)
Sans soleil (Chris Marker, 1982) Bill Blackwell has been retired for two years from teaching film classes at high school and college level in the Washington D.C. area. He has started to miss the excitement of introducing students to the works of Ophuls, Keaton, Sturges, Marker, Tati, Murnau, Buñuel, and Bresson.
Jaime N. Christley
I'm not sure what kind of statement I'm making here – I've simply picked ten movies that give me great pleasure, or which inspire in me a feeling of awe.
(in chronological order)
La Règle du jeu (Jean Renoir, 1939) See also Jaime's revised list: Jul–Aug 2003 Jaime N. Christley is the editor, director, and chief contributor to filmwritten magazine, and is enrolled in New York University's Cinema Studies program. He is a six-year veteran of the U.S. Navy.
Ally Clow
My only true favourite is the one at the top of the list. A film more full of humanity I haven't seen.
1. Fargo (Joel Coen, 1995) I know it's a bit crap to include the Three Colours trilogy as one, but I couldn't have one in to the detriment of the other two. This list may change as I have discovered a great arts centre in London, the Riverside Studios with a continuing agenda of truly great and diverse films. Thanks also to the NFT and Curzon cinemas. Also FilmFour. Not as much as the filmmakers, but you have to get the right kind of people to distribute the right kind of cinema. Love Jack Nicholson, Orson Welles as actor even more than director, Toshiro Mifune, Peter Falk in Wings turns the film into something really special. All three main actors in The Last Metro mixed so well. Apocalypse Now for plain old action doused in metaphorical complexity. Three Colours should be in any philosophy course in the world. Happy. Deer Hunter – amazing ensemble acting. Not happy. Some Like it Hot – amazing script and energy on screen. Ally Clow is a former film student in his first job (junior editor) on a ladder of some kind, unsure of what's on the next rung.
Jonathan DeVerchai
(in preferential order)
1. Pulp Fiction (Quentin Tarantino, 1994) Honorable mentions to Kubrick's Paths Of Glory, Truffaut's Shoot The Piano Player, Godard's Breathless, Bergman's Cries and Whispers and Lean's Bridge On The River Kwai. Jonathan DeVerchai is a film critic, filmmaker, writer and film lover. He lives in Ontario, Canada.
Ruslan Dzhanumyan
(in preferential order)
1. Modern Times (Charles Chaplin, 1936)
2. Cet obscur objet du désir (Luis Buñuel, 1977)
3. I Racconti di Canterbury (Pier Paolo Pasolini, 1972)
4. Othello (Orson Welles, 1951)
5. Pulp Fiction (Quentin Tarantino, 1994)
6. Mulholland Drive (David Lynch, 2001)
7. Orphée (Jean Cocteau, 1950)
8. Twin Peaks (TV series) (David Lynch)
9. Shadows of Our Forgotten Ancestors (Sergei Parajanov, 1964)
10. Vivre sa vie (Jean-Luc Godard, 1962) See also Ruslan's revised list: Apr–June 2004 Ruslan Dzhanumyan was born in Russia, and is currently studying film in UC Irvine, CA.
Todd Ford
(in no order)
Apocalypse Now Redux (Francis Ford Coppola, 1979/2001) See also Todd's revised lists: Apr–June 2005 Apr–June 2007 Todd Ford is a web programmer and life-long film buff living in Bismarck, ND.
Martin Ibi
I have tried to make this a list of all my moods and to include movies of every genre.
(in no order)
La Maman et la Putain (Jean Eustache, 1973) Martin Ibi is a graphic designer from Vienna, Austria.
Ash Loydon
(in preferential order)
1. The Straight Story (David Lynch, 1999) Ash Loydon is 32 and lives in Glasgow, Scotland. Although trained in animation/illustration, he works as a freelance arts specialist, organising and implementing workshops for teenagers. He also organsises a monthly cult movie night in Glasgow ('The Man With No Suitcase').
Jay MacIntyre
(in no order)
Vertigo (Alfred Hitchcock, 1958)
The Apartment (Billy Wilder, 1960)
L'Avventura (Michelangelo Antonioni, 1960)
West Side Story (Robert Wise / Jerome Robbins, 1961)
The Manchurian Candidate (John Frankenheimer, 1962)
Nightmare Alley (Edmund Goulding, 1947)
A Star is Born (George Cukor, 1954)
Midnight Cowboy (John Schlesinger, 1969)
This Sporting Life (Lindsay Anderson, 1963)
The Thin Red Line (Terrence Malick, 1998) Not to be forgotten: Lonesome Dove (Simon Wincer, 1989), Breathless (Jean-Luc Godard, 1959), Alien (Ridley Scott, 1979), The Servant (Joseph Losey, 1963), La Dolce Vita (Federico Fellini, 1960). See also Jay's revised list: Apr–June 2004 Jay MacIntyre is an occasional film and video reviewer, and musician, in Boston.
Mike Murray
My top ten has been compiled with a bias to the films that I watched between the ages of 15 and 19. Since I have studied films now for so long it becomes increasingly difficult to suspend my disbelief. I'm sure that I'm not the only one.
They are in preferential order with the exception of the top two which I can't seperate.
1. Taxi Driver (Martin Scorsese, 1976) /
Midnight Cowboy (John Schlesinger, 1969) I could go into many reasons as to why these are my favourite films, but would simply like to state that they all have intelligent scripts and a multitude of acting and directorial talent. Mike Murray has completed a degree at Stirling University, Scotland in Film and Media Studies. He is currently working in London as a digital video editor, but is about to start a Scholarship in Film production and Screenwriting at UCLA in September.
Ioanna Nezi
Right now my top ten "can't-enough-of-'em' films" looks like this:
(in rough preferential order):
1. Ugetsu Monogatari (Kenji Mizoguchi, 1953) Only one of these is in colour, I notice. I wonder why. Can't resist the game of "some films that didn't quite make it to the top ten today": Invasion of the Body Snatchers (Kaufman – haven't seen the '50s version that everyone seems to prefer), Aguirre Wrath of God, Ladri di biciclette, Le charme discret de la bourgeoisie, Satyajit Ray's Seemabandha. The mutability of this list has its limits: Ordet, Ugetsu, Citizen Kane, The Seventh Seal and Pulp Fiction would always be there. Call them my top five, if you will. I tried to stick to one film per director – I could have listed Kurosawa's Seven Samurai or Rashomon; Huston's Treasure of the Sierra Madre or The Asphalt Jungle; Wilder's Sunset Boulevard or Some Like it Hot. Though nothing else by Godard… Ioanna Nezi is a film lover in Thessaloniki, Greece.
Claus Philipp
I can only do this by listing my favourite films of those directors of whom I love almost every film, or think to be continually inspiring, interesting.
(in alphabetical order of director)
Lancelot du Lac (Robert Bresson, 1974) Claus Philipp is arts editor and film critic for the Austrian daily paper Der Standard and former editor of the short-lived film magazine Meteor.
Lalit Rao
These films have made me a better human being as they have stirred me to do something worthwhile for the greater glory of serious cinema.
(in preferential order)
1. Life and Nothing More? (Abbas Kiarostami, 1992) Lalit Rao is a cinephile based in Bangalore, India. He runs a web site for the promotion of serious cinema, at www.lalitrao.com, where he lists his Top 100 films.
Scott Sharpe
This list is in no particular order, and maybe it's shortsighted/daring to choose so many recent films, but I'm an ardent supporter of the '90s.
2001: A Space Odyssey (Stanley Kubrick, 1968)
Johnny Guitar (Nicholas Ray, 1954)
The Puppetmaster (Hou Hsiao-hsien, 1993)
Rio Bravo (Howard Hawks, 1959)
Fast, Cheap and Out of Control (Errol Morris, 1996)
Chimes at Midnight (Orson Welles, 1966)
Le Crime de Monsieur Lange (Jean Renoir, 1936)
Tabu (F.W. Murnau and Robert Flaherty, 1931)
An Actor's Revenge (Kon Ichikawa, 1963)
Sátántangó (Béla Tarr, 1994) Are these really the best? Can An Actor's Revenge even be the best film of 1963 (there is Contempt after all)? Does a 7.5 hour film have any business being made? Could Chimes at Midnight be Welles' masterwork? Pointless questions really, but I'm very happy with my list (despite the annoying restriction imposed on us by a numerology contingent on how many fingers the average human has). Scott Sharpe is a student at Stanford Uni, CA, finishing a doctoral thesis in laser physics after 6 years of running various film clubs and festivals on campus. He has no clue what to do next.
Con Skordilis
(in preferential order)
1. Vertigo (Alfred Hitchcock, 1958) Con Skordilis is a prospective movie writer based in Melbourne, and has had a passion for art cinema since he was a teen.
John Henrik Welle
(in preferential order)
1. The Godfather (Francis Ford Coppola, 1972) John Henrik Welle is an ordinary film lover from Norway.
Jordi Xifra
My self-imposed parameter: only one film per filmmaker (if not, all of them would be McCarey, Renoir, Godard, Buñuel or Dreyer films).
(in chronological order)
The Unknown (Tod Browning, 1927) Jordi Xifra is film critic for Ona Catalana, a Spanish radio station.
Raymond Young
Since I've rarely encountered people whose words ever match their actions, my take on film is that stories are best told visually. Dialogue-heavy films like Kane and Discreet Charm are wondrous for utilising the space between the lines.
(in chronological order)
The Birth of a Nation (D.W. Griffith, 1915) Films which have affected me on a more personal level would include Destiny (Fritz Lang, 1921), The Scarlet Empress (Josef von Sternberg, 1934), Performance (Donald Cammell with Nicolas Roeg, 1970), Chloe in the Afternoon (Eric Rohmer, 1972), and F for Fake (Orson Welles, 1975). Raymond Young is proprietor of www.flickhead.com.
|
TALLY at March–April 2002,
|
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By film: |
|
||||
|
1. 2. 3. 4. 5. 6. 8. 10. |
Vertigo (Alfred Hitchcock, 1958) Citizen Kane (Orson Welles, 1941) La Règle du jeu (Jean Renoir, 1939) 2001: A Space Odyssey (Stanley Kubrick, 1968) Sunrise (F.W. Murnau, 1927) Tokyo Story (Yasujiro Ozu, 1953) The Searchers (John Ford, 1956) Seven Samurai (Akira Kurosawa, 1954) The Thin Red Line (Terrence Malick, 1998) Mirror (Andrei Tarkovsky, 1974) |
50 28 25 22 19 18 18 17 17 16 |
|||
By director: |
| ||||
|
1. 2. 3. 4. 5. 6. 7. 8. |
Alfred Hitchcock Jean-Luc Godard Robert Bresson Orson Welles Andrei Tarkovsky Stanley Kubrick Carl Dreyer Ingmar Bergman Akira Kurosawa Yasujiro Ozu Martin Scorsese |
78 66 60 56 48 44 41 37 37 37 37 |
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Brook Benton
(no particular order, no more than 3 by one director)
Une Femme douce (Robert Bresson, 1969) Brook Benton is a film student in Adelaide.
Kendahl Cruver
I've never understood why it's always ten choices – why not twelve? Still, I like making lists – even if I really don't have ten favourites. These movies have affected me strongly:
(in no particular order)
Notorious (Alfred Hitchcock, 1946) Kendahl Cruver is based in Seattle and writes about classic actresses every other week for a website called Suite101.
Ken Eisen
An impossible but fun game to play, the only fair way of playing has to be "by the rules." So, in "preferential" order:
1. Il Conformista (Bernardo Bertolucci, 1969) With apologies to the missing whose complete works ought to somehow be on here: Mizoguchi, Bresson, Dreyer, Lang, Anthony Mann, Buñuel, Wilder, Kieslowski, Kobayashi. Ken Eisen is film critic for The Maine Times and programmer for the Maine International Film Festival and Railroad Square Cinema in Waterville, Maine.
Lee Hill
List making is a filthy habit, but it beats grabbing a smoke in the shadow of an office tower. For what it's worth:
(in chronological order)
The Crowd (King Vidor, 1928)
Mr. Arkadin (Orson Welles, 1955)
La Dolce Vita (Federico Fellini, 1960)
Dr. Strangelove (Stanley Kubrick, 1964)
Charade (Stanley Donen, 1963)
Pierrot Le Fou (Jean-Luc Godard, 1965)
Catch-22 (Mike Nichols, 1970)
The Passenger (Michelangelo Antonioni, 1975)
Bad Timing (Nicolas Roeg, 1980)
Husbands and Wives (Woody Allen, 1992) …All top ten lists are in a constant state of revision, but I normally promote such perennials as Chinatown, City Lights, Apocalypse Now/Redux when asked…and it pains me to leave out work by Kieslowski, Hitchcock, Bergman, Egoyan, Peckinpah, and countless others, but it is a top ten list, not a top gizillion list. So this time around I opted to highlight underrated faves as well as films that I think everyone should be legally compelled to see as a matter of public duty. My tastes were shaped by the New Hollywood of the '70s and the dominance of reps and films societies in those pre-VCR years…and last, but not least, watching the late show with my father when 2-3 channels were all that were needed to build a lifetime film habit. Lee Hill is based in Canada and is the author of A Grand Guy: The Art and Life of Terry Southern and a BFI monograph on Easy Rider.
Matthew Lehrer
My two self-imposed parameters: only one film per filmmaker, and films should hover around the accepted "feature-length" of roughly 90 minutes or more.
(alphabetical by filmmaker)
News from Home (Chantal Akerman, 1976)
Vivre sa vie (Jean-Luc Godard, 1962)
A Moment of Innocence (Mohsen Makhmalbaf, 1996)
The Last Laugh (F.W. Murnau, 1925)
The End of St. Petersburg (Mikhail Doller & Vsevolod Pudovkin, 1927)
Still Life (Sohrab Shahid Saless, 1974)
Playtime (Jacques Tati, 1967)
Vive L'Amour (Tsai Ming-liang, 1994)
Fallen Angels (Wong Kar-wai, 1995)
Vagabond (Agnes Varda, 1985) Matthew Lehrer is a journalist and filmmaker whose writing has previously appeared in the Canadian film magazine Cinemascope. He lives in New York City.
Carlos Nogueira
My reason dictated the following choice (in alphabetical order of director's name):
Tristana (Luis Buñuel, 1970) But my heart still bleeds for the exclusion of films by Manoel de OLIVEIRA (Francisca), Abbas KIAROSTAMI (Zendegi edameh darad-And life goes on), Stanley KUBRICK (Eyes Wide Shut), Jean-Luc GODARD (Le mépris), Luchino VISCONTI (Il gattopardo), and numerous others … Carlos Nogueira is a Portuguese, working in Brussels, and a former film reviewer and film programmer, and currently just a plain film lover.
Evan Smith
(in no order or i'd kill myself)
Clerks (Kevin Smith, 1994) Honourable mentions to: Trainspotting (Danny Boyle), 2001: A Space Odyssey (Stabley Kubrick), Breathless (Jean-Luc Godard), Le Samourai (Jean-Pierre Melville), Battleship Potemkin (Sergei Eisenstein). Evan Smith is a film student at Flinders University, Adelaide, and a self-styled zine reviewer of film.
|
TALLY at January–February 2002,
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By film: |
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|
1. 2. 3. 4. 6. 7. |
Vertigo (Alfred Hitchcock, 1958) Citizen Kane (Orson Welles, 1941) La Règle du jeu (Jean Renoir, 1939) Sunrise (F.W. Murnau, 1927) 2001: A Space Odyssey (Stanley Kubrick, 1968) Tokyo Story (Yasujiro Ozu, 1953) Mirror (Andrei Tarkovsky, 1974) The Searchers (John Ford, 1956) Seven Samurai (Akira Kurosawa, 1954) The Thin Red Line (Terrence Malick, 1998) |
44 24 21 19 19 17 16 16 16 16 |
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By director: |
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1. 2. 3. 4. 6. 7. 8. 9. |
Alfred Hitchcock Jean-Luc Godard Robert Bresson Andrei Tarkovsky Orson Welles Stanley Kubrick Carl Dreyer Ingmar Bergman Martin Scorsese Yasujiro Ozu |
69 61 58 46 46 41 38 36 35 35 |
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