Cinema

The Epic List of My Most Favorite Films from the 1920s to the Present
(This, of course, will be frequently updated as I watch more great films)

1901
Excelsior! Prince of Magicians (Georges Melies, France)

1922
Cops (Buster Keaton & Edward F. Cline, USA)

1924
Sherlock Jr. (Buster Keaton, USA)
The Navigator (Buster Keaton, USA)

1925
Battleship Potemkin (Sergei Eisenstein, Soviet Union)
Strike (Sergei Eisenstein, Soviet Union)

1926
The Scarlet Letter (Victor Sjostrom, USA)
Mother (Vsevolod Pudovkin, Soviet Union)
A Page of Madness (Teinosuke Kinugasa, Japan)

1927
The Girl with the Hat Box (Boris Barnet, Soviet Union)
Bed and Sofa (Abram Room, Soviet Union)
Metropolis (Fritz Lang, Germany)

1928
The Cameraman (Edward Sedgwick, USA)
The Passion of Joan of Arc (Carl Theodor Dreyer, France)

1930
Earth (Aleksandr Dovzhenko, Soviet Union)

1932
I Was Born, But… (Yasujiro Ozu, Japan)
Que Viva Mexico! (Sergei Eisenstein, Soviet Union)
The Music Box (James Parrott, USA)

1933
Design for Living (Ernst Lubitsch, USA)
Queen Christina (Rouben Mamoulian, USA)

1934
The Goddess (Yonggang Wu, China)
Our Neighbor, Miss Yae (Yasujiro Shimazu, Japan)

1935
Happiness (Aleksandr Medvedkin, Soviet Union)
A Night at the Opera (Sam Wood, USA)

1936
Mr. Thank You (Hiroshi Shimizu, Japan)
The Crime of Monsieur Lange (Jean Renoir, France)
Fury (Fritz Lang, USA)

1937
Shall We Dance (Mark Sandrich, USA)
Make Way for Tomorrow (Leo McCarey, USA)

1938
The Masseurs and a Woman (Hiroshi Shimizu, Japan)
Holiday (George Cukor, USA)
Bringing Up Baby (Howard Hawks, USA)

1940
His Girl Friday (Howard Hawks, USA)

1941
The Lady Eve (Preston Sturges, USA)
Hellzapoppin’ (HC Potter, USA)

1942
To Be or Not to Be (Ernst Lubitsch, USA)

1943
Meshes of the Afternoon (Maya Deren, USA)
The Leopard Man (Jacques Tourneur, USA)
Day of Wrath (Carl Theodor Dreyer, Denmark)

1944
The Private Life of a Cat (Alexander Hammid, USA)
Jammin’ the Blues (Gjon Mili, USA)

1945
Brief Encounter (David Lean, UK)
Under the Bridges (Helmut Kautner, Germany)
Isle of the Dead (Mark Robson, USA)

1946
Ritual in Transfigured Time (Maya Deren, USA)
Bedlam (Mark Robson, USA)
Shoeshine (Vittorio De Sica, Italy)

1947
The Ghost and Mrs. Muir (Joseph L. Mankiewicz, USA)
Nightmare Alley (Edmund Goulding, USA)
Fireworks (Kenneth Anger, USA)

1948
Spring in a Small Town (Fei Mu, China)
The Red Shoes (Michael Powell & Emeric Pressburger, UK)

1949
The Reckless Moment (Max Ophuls, USA)
Begone Dull Care (Evelyn Lambart & Norman McLaren, Canada)
Stray Dog (Akira Kurosawa, Japan)

1950
Un Chant D’amour (Jean Genet, France)
Orpheus (Jean Cocteau, France)
Los Olvidados (Luis Bunuel, Mexico)

1951
Venom and Eternity (Isidore Isou, France)
Alice in Wonderland (Clyde Geronimi & Wilfred Jackson, USA)

1952
Okaasan (Mikio Naruse, Japan)
The Narrow Margin (Richard Fleischer, USA)
Casque D’or (Jacques Becker, France)
On Dangerous Ground (Nicholas Ray, USA)
Lightning (Mikio Naruse, Japan)

1953
El (Luis Bunuel, Spain)
The Saga of Anatahan (Josef von Sternberg, Japan)
Duck Amuck (Chuck Jones, USA)

1954
Johnny Guitar (Nicholas Ray, USA)
The Thunder of the Mountain (Mikio Naruse, Japan)
Sansho the Bailiff (Kenji Mizoguchi, Japan)

1955
Ordet (Carl Theodor Dreyer, Denmark)
The Night of the Hunter (Charles Laughton, USA)
Night and Fog (Alain Resnais, France)

1956
A Man Escaped (Robert Bresson, France)
Street of Shame (Kenji Mizoguchi, Japan)
Crazed Fruit (Ko Nakahira, Japan)
A Girl in Black (Mihalis Kakogiannis, Greece)
Flowing (Mikio Naruse, Japan)
Autumn Leaves (Robert Aldrich, USA)

1957
Kisses (Yasuzo Masumura, Japan)
Pyaasa (Guru Dutt, India)
Kanal (Andrzej Wajda, Poland)
A Chairy Tale (Norman McLaren & Claude Jutra, Canada)
The Incredible Shrinking Man (Jack Arnold, USA)
Will Success Spoil Rock Hunter? (Frank Tashlin, USA)
The Cranes Are Flying (Mikhail Kalatozov, Soviet Union)

1958
Ashes and Diamonds (Andrzej Wajda, Poland)
Giants and Toys (Yasuzo Masumura, Japan)
Murder by Contract (Irving Lerner, USA)
Flower in Hell (Shin Sang-ok, South Korea)

1959
The Human Condition (Masaki Kobayashi, Japan)
Rio Bravo (Howard Hawks, USA)
Good Morning (Yasujiro Ozu, Japan)
Some Like It Hot (Billy Wilder, USA)
Pickpocket (Robert Bresson, France)

1960
The Cloud-Capped Star (Ritwik Ghatak, India)
When a Woman Ascends the Stairs (Mikio Naruse, Japan)
The Apartment (Billy Wilder, USA)
Daughters, Wives and a Mother (Mikio Naruse, Japan)
Rocco and His Brothers (Luchino Visconti, Italy)

1961
Il Posto (Ermanno Olmi, Italy)
Last Year at Marienbad (Alain Resnais, France)
The Errand Boy (Jerry Lewis, USA)
Very Nice, Very Nice (Arthur Lipsett, Canada)
Accattone (Pier Paolo Pasolini, Italy)

1962
The Exterminating Angel (Luis Bunuel, Mexico)
The Sun in a Net (Stefan Uher, Czechoslovakia)
A Valparaiso (Joris Ivens, Chile)
Ivan’s Childhood (Andrei Tarkovsky, Soviet Union)

1963
The House Is Black (Forugh Farrokhzad, Iran)
La Ricotta (Pier Paolo Pasolini, Italy)
The Big City (Satyajit Ray, India)
Blow Job (Andy Warhol, USA)
Salut les Cubains (Agnes Varda, France)
Vidas Secas (Nelson Pereira dos Santos, Brazil)
I Fidanzati (Ermanno Olmi, Italy)

1964
Scorpio Rising (Kenneth Anger, USA)
Yearning (Mikio Naruse, Japan)
I Am Cuba (Mikhail Kalatozov, Cuba)
Noite Vaiza (Walter Hugo Khouri, Brazil)
Shadows of Forgotten Ancestors (Sergei Parajanov, Soviet Union)
The Gospel According to St. Matthew (Pier Paolo Pasolini, Italy)
Black God, White Devil (Glauber Rocha, Brazil)
Dry Summer (Metin Erksan, Turkey)
Red Desert (Michelangelo Antonioni, Italy)
Band of Outsiders (Jean Luc-Godard, France)
Os Fuzis (Ruy Guerra, Brazil)
Dr. Strangelove (Stanley Kubrick, USA)
21-87 (Arthur Lipsett, Canada)

1965
Subarnarekha (Ritwik Ghatak, India)
The War Game (Peter Watkins, UK)
Elegia (Zoltan Huszarik, Hungary)
The Mistral (Joris Ivens, France)
Tri (Aleksandar Petrovic, Yugoslavia)

1966
Coach to Vienna (Karel Kachyna, Czechoslovakia)
Closely Watched Trains (Jiri Menzel, Czechoslovakia)
Fighting Elegy (Seijun Suzuki, Japan)
Wings (Larisa Shepitko, Soviet Union)
Red Angel (Yasuzo Masumura, Japan)
The Battle of Algiers (Gillo Pontecorvo, Algeria)
Persona (Ingmar Bergman, Sweden)
Black Girl (Ousmane Sembene, Senegal)
Piece Mandala/End War (Paul Sharits, USA)
Young Torless (Volker Schlondorff, West Germany)
Breakaway (Bruce Conner, USA)

1967
The Young Girls of Rochefort (Jacques Demy, France)
The Red and the White (Miklos Jancso, Hungary)
Beginning (Artavazd Peleshian, Soviet Union)
Warrendale (Allan King, Canada)
La Chinoise (Jean Luc-Godard, France)
Terra em Transe (Glauber Rocha, Brazil)

1968
The Hour of the Furnaces (Octavio Getino & Fernando Solanas, Argentina)
Reconstruction (Lucian Pintilie, Romania)
Memories of Underdevelopment (Tomas Gutierrez Alea, Cuba)
Death by Hanging (Nagisa Oshima, Japan)
Pas de Deux (Norman McLaren, Canada)
Valley of the Bees (Frantisek Vlacil, Czechoslovakia)
Teorema (Pier Paolo Pasolini, Italy)
T,O,U,C,H,I,N,G (Paul Sharits, USA)

1969
Antonio das Mortes (Glauber Rocha, Brazil)
Eros Plus Massacre (Yoshishige Yoshida, Japan)
Katzelmacher (Rainer Werner Fassbinder, West Germany)
Blind Beast (Yasuzo Masumura, Japan)
Invocation of My Demon Brother (Kenneth Anger, USA)
Funeral Parade of Roses (Toshio Matsumoto, Japan)
Shonen (Nagisa Oshima, Japan)
Kes (Ken Loach, UK)

1970
Days and Nights in the Forest (Satyajit Ray, India)
This Transient Life (Akio Jissoji, Japan)
Once Upon a Time There Was a Singing Blackbird (Otar Iosseliani, Soviet Union)
Adelheid (Frantisek Vlacil, Czechoslovakia)
El Topo (Alejandro Jodorowsky, Mexico)

1971
The Third Part of the Night (Andrzej Zulawski, Poland)
Punishment Park (Peter Watkins, USA)
Walkabout (Nicolas Roeg, Australia)
Harold and Maude (Hal Ashby, USA)
Evdokia (Alexis Damianos, Greece)
Death in Venice (Luchino Visconti, Italy)

1972
My Childhood (Bill Douglas, UK)
The Adversary (Satyajit Ray, India)
The Devil (Andrzej Zulawski, Poland)
Lucifer Rising (Kenneth Anger, USA)
Ballet Adagio (Norman McLaren, Canada)

1973
Castle of Purity (Arturo Ripstein, Mexico)
The Spirit of the Beehive (Victor Erice, Spain)
Island (Fyodor Khitruk, Soviet Union)
Love and Anarchy (Lina Wertmuller, Italy)

1974
The Man Who Sleeps (Bernard Queysanne, France)
Edvard Munch (Peter Watkins, Norway)
Penda’s Fen (Alan Clarke, UK)
Ali: Fear Eats the Soul (Rainer Werner Fassbinder, West Germany)
The Traveler (Abbas Kiarostami, Iran)
The Enigma of Kaspar Hauser (Werner Herzog, West Germany)

1975
The Passenger (Michelangelo Antonioni, Italy)
Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles (Chantal Akerman, Belgium)
Shivers (David Cronenberg, Canada)
Xala (Ousmane Sembene, Senegal)
Fox and His Friends (Rainer Werner Fassbinder, West Germany)
The Travelling Players (Theo Angelopoulos, Greece)
Seven Beauties (Lina Wertmuller, Italy)
Dog Day Afternoon (Sidney Lumet, USA)
Salo, or 120 Days of Sodom (Pier Paolo Pasolini, Italy)

1976
Harvest: 3000 Years (Haile Gerima, Ethiopia)
Sebastiane (Derek Jarman, UK)
Insiang (Lino Brocka, Philippines)
Chinese Roulette (Rainer Werner Fassbinder, West Germany)
Three Years Without God (Mario O’Hara, Philippines)
The Rites of May (Mike de Leon, Philippines)
Assault on Precinct 13 (John Carpenter, USA)
The Tenant (Roman Polanski, France)

1977
The Perfumed Nightmare (Kidlat Tahimik, Philippines)
Io Island (Kim Ki-young, South Korea)
Hausu (Nobuhiko Obayashi, Japan)
Ceddo (Ousmane Sembene, Senegal)
The Ascent (Larisa Shepitko, Soviet Union)
Annie Hall (Woody Allen, USA)
A Grin Without A Cat (Chris Marker, France)
Suspiria (Dario Argento, Italy)

1978
Les Rendez-vous D’Anna (Chantal Akerman, Belgium)
Jubilee (Derek Jarman, UK)
Veredas (Joao Cesar Monteiro, Portugal)
In a Year of Thirteen Moons (Rainer Werner Fassbinder, West Germany)

1979
Camera Buff (Krzysztof Kieslowski, Poland)
The Hypothesis of the Stolen Painting (Raul Ruiz, France)
And Quiet Rolls the Dawn (Mrinal Sen, India)

1980
The Age of the Earth (Glauber Rocha, Brazil)
The Falls (Peter Greenaway, UK)

1981
Taxi Zum Klo (Frank Ripploh, West Germany)
Possession (Andrzej Zulawski, France)
Polyester (John Waters, USA)
Pixote (Hector Babenco, Brazil)
Kisapmata (Mike de Leon, Philippines)

1982
Batch ’81 (Mike de Leon, Philippines)
Querelle (Rainer Werner Fassbinder, Germany)
Himala (Ishmael Bernal, Philippines)
Tenebre (Dario Argento, Italy)
Made in Britain (Alan Clarke, UK)

1983
Sans Soleil (Chris Marker, France)
Videodrome (David Cronenberg, Canada)
Born in Flames (Lizzie Borden, USA)
The Boys from Fengkuei (Hou Hsiao-Hsien, Taiwan)
A Question of Silence (Marleen Gorris, Netherlands)
The Fourth Man (Paul Verhoeven, Netherlands)
L’Argent (Robert Bresson, France)
Local Hero (Bill Forsyth, UK)

1984
Shadow of a Fern (Frantisek Vlacil, Czechoslovakia)
Manuel on the Island of Wonders (Raul Ruiz, France)
Nausicaa of the Valley of the Wind (Hayao Miyazaki, Japan)
Stranger Than Paradise (Jim Jarmusch, USA)
My Friend Ivan Lapshin (Aleksei German, Soviet Union)
When the Tenth Month Comes (Nhat Minh Dang, Vietnam)
What Have I Done to Deserve This? (Pedro Almodovar, Spain)
Stop Making Sense (Jonathan Demme, USA)
Barres (Luc Moullet, France)

1985
Phenomena (Dario Argento, Italy)
A Zed and Two Noughts (Peter Greenaway, UK)
Come and See (Elem Klimov, Soviet Union)
Day of the Dead (George A. Romero, USA)
Submit to Me (Richard Kern, USA)
After Hours (Martin Scorsese, USA)
Tampopo (Juzo Itami, Japan)
Mix-up (Francoise Romand, France)

1986
The Green Ray (Eric Rohmer, France)
Mauvais Sang (Leos Carax, France)
Peking Opera Blues (Tsui Hark, Hong Kong)
Dust in the Wind (Hou Hsiao-Hsien, Taiwan)
The Fly (David Cronenberg, USA)
Withnail and I (Bruce Robinson, UK)

1987
Law of Desire (Pedro Almodovar, Spain)
Family Viewing (Atom Egoyan, Canada)
Yeelen (Souleymane Cisse, Mali)
Where Is the Friend’s Home? (Abbas Kiarostami, Iran)

1988
A Tale of the Wind (Joris Ivens, France)
Landscape in the Mist (Theo Angelopoulos, Greece)
A Short Film About Love (Krzysztof Kieslowski, Poland)
Dead Ringers (David Cronenberg, USA)
Chocolat (Claire Denis, France)
High Hopes (Mike Leigh, UK)
Drowning by Numbers (Peter Greenaway, UK)

1989
Kiki’s Delivery Service (Hayao Miyazaki, Japan)
Chameleon Street (Wendell B. Harris Jr., USA)
A City of Sadness (Hou Hsiao-Hsien, Taiwan)
Tongues Untied (Marlon Riggs, USA)
The Cook, the Thief, His Wife & Her Lover (Peter Greenaway, UK)
Mystery Train (Jim Jarmusch, USA)
My 20th Century (Ildiko Enyedi, Hungary)
Speaking Parts (Atom Egoyan, Canada)

1990
Close-up (Abbas Kiarostami, Iran)
Days of Being Wild (Wong Kar-Wai, Hong Kong)
The Reflecting Skin (Philip Ridley, UK)

1991
A Brighter Summer Day (Edward Yang, Taiwan)
Les Amants du Pont-Neuf (Leos Carax, France)
A Little Stiff (Caveh Zahedi & Greg Watkins, USA)
Only Yesterday (Isao Takahata, Japan)
Night and Day (Chantal Akerman, Belgium)
Edward II (Derek Jarman, UK)
Prospero’s Books (Peter Greenaway, Netherlands)

1992
Rock Hudson’s Home Movies (Mark Rappaport, USA)
Rebels of the Neon God (Tsai Ming-Liang, Taiwan)
The Living End (Gregg Araki, USA)
Kairat (Darezhan Omirbayev, Kazakhstan)
Actress (Stanley Kwan, China)
Hyenas (Djibril Diop Mambety, Senegal)

1993
My Nightmare (Richard Kern, USA)
Blue (Derek Jarman, UK)
Calendar (Atom Egoyan, Canada)

1994
I Can’t Sleep (Claire Denis, France)
A Confucian Confusion (Edward Yang, Taiwan)
Cemetery Man (Michele Soavi, Italy)
Chungking Express (Wong Kar-Wai, Hong Kong)
Wild Reeds (Andre Techine, France)

1995
Safe (Todd Haynes, USA)
Whisper of the Heart (Yoshifumi Kondo, Japan)
From the Journals of Jean Seberg (Mark Rappaport, USA)
Welcome to the Dollhouse (Todd Solondz, USA)
Fallen Angels (Wong Kar-Wai, Hong Kong)

1996
A Moment of Innocence (Mohsen Makhmalbaf, Iran)
Irma Vep (Olivier Assayas, France)
Crash (David Cronenberg, Canada)
Leila (Dariush Mehrjui, Iran)
Deep Crimson (Arturo Ripstein, Mexico)
The Pillow Book (Peter Greenaway, UK)
A Summer Dress (Francois Ozon, France)

1997
Happy Together (Wong Kar-Wai, Hong Kong)
Sick: The Life and Death of Bob Flanagan, Supermasochist (Kirby Dick, USA)
Princess Mononoke (Hayao Miyazaki, Japan)
The River (Tsai Ming-Liang, Taiwan)

1998
The Hole (Tsai Ming-Liang, Taiwan)
Turbulent (Shirin Neshat, Iran)
Lovers of the Arctic Circle (Julio Medem, Spain)
Fucking Amal (Lukas Moodysson, Sweden)

1999
The Little Girl Who Sold the Sun (Djibril Diop Mambety, Senegal)
All About My Mother (Pedro Almodovar, Spain)
Outer Space (Peter Tscherkassky, Austria)
Beau Travail (Claire Denis, France)

2000
La Commune (Paris, 1871) (Peter Watkins, France)
Yi Yi (Edward Yang, Taiwan)
The Day I Became a Woman (Marzieh Meshkini, Iran)
The Heart of the World (Guy Maddin, Canada)
The Gleaners and I (Agnes Varda, France)
Faat Kine (Ousmane Sembene, Senegal)
O Fantasma (Joao Pedro Rodrigues, Portugal)

2001
The Fourth Dimension (Trinh T. Minh-ha, USA)
La Cienaga (Lucrecia Martel, Argentina)
Trouble Every Day (Claire Denis, France)
Y Tu Mama Tambien (Alfonso Cuaron, Mexico)

2002
Friday Night (Claire Denis, France)
Lilja 4-ever (Lukas Moodysson, Sweden)
Ten (Abbas Kiarostami, Iran)
Japon (Carlos Reygadas, Mexico)
Sweet Sixteen (Ken Loach, UK)

2003
Crimson Gold (Jafar Panahi, Iran)
Fast Film (Virgil Widrich, Austria)
The Saddest Music in the World (Guy Maddin, Canada)
The Forest for the Trees (Maren Ade, Germany)

2004
The Raspberry Reich (Bruce LaBruce, Canada)
Eternal Sunshine of the Spotless Mind (Michel Gondry, USA)
Mysterious Skin (Gregg Araki, USA)
Before Sunset (Richard Linklater, USA)
Tropical Malady (Apichatpong Weerasethakul, Thailand)
Moolaade (Ousmane Sembene, Senegal)

2005
A Short Film About the Indio Nacional (Raya Martin, Philippines)
The Wayward Cloud (Tsai Ming-Liang, Taiwan)
The Blossoming of Maximo Oliveros (Auraeus Solito, Philippines)
The Death of Mr. Lazarescu (Cristi Puiu, Romania)
L’Enfant (Jean-Pierre & Luc Dardenne, Belgium)

2006
Syndromes and a Century (Apichatpong Weerasethakul, Thailand)
Offside (Jafar Panahi, Iran)
Brand Upon the Brain! (Guy Maddin, Canada)

2007
Import/Export (Ulrich Seidl, Austria)
My Winnipeg (Guy Maddin, Canada)

2008
Blind Pig Who Wants to Fly (Edwin, Indonesia)

2009
Everyone Else (Maren Ade, Germany)

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13 Comments »

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  1. Im. Pres. Sive.

  2. Will you be updating this list anytime soon to include your favorites from 2007-2009?

    • This is regularly updated :D.

      Oh, it’s just that I haven’t seen a lot of films from 2007 to 2010. And the ones I’ve seen, not so great. I’ve been catching up on a lot old movies so it might take a while before I get to the more recent ones :P.

      Have a similar list of favorite films as well?

  3. I’m really only just getting into older and foreign-language stuff, so I couldn’t make a list of favorites as comprehensive as yours. I do like many of the recent films you highlight though. The Squid and the Whale, Marie Antoinette, Dancer in the Dark, Y tu Mama Tambien and the Blossoming of Maximo Oliveros are films I especially adore from the past decade. (I have to thank Slant Mag.- which you seem to be aware of as well- for directing me to the Filipino film. I probably never would have heard of it otherwise).

    Among the few older films I’ve come across recently that happen to be on your list, I absolutely love Happy Together (anything pre-2000 I consider old!) and Jeanne Dielman. Amazing films! Maybe I should stop watching recent stuff altogether.

    Anyway, I asked about an update just because I think your blog’s pretty cool, based on the few posts I’ve read so far. They’re so honest and relatable. And I just love how you use movies to springboard into the personal stuff. Your blog is actually kind of a nice supplement to all of the dry “professional” film writing I like to keep up with…So keep up the good work!

    • A lot of people hate Marie Antoinette but I don’t understand the hate. I am annoyed by Lost in Translation though.
      Glad to see a non-Filipino(?) person liking The Blossoming of Maximo Oliveros too.
      I must try to convince everybody, especially people who love films, to watch older films (1900s-1980s). They don’t know what they’re missing out on :(.
      Thanks :D.
      If it’s not obvious, I am not capable of talking about films, film school style. My vocabulary is quite limited, as you see, but I have read a couple of film criticism articles and books like Jonathan Rosenbaum’s.
      Do you have your own blog that I can perhaps check out as well?

      • Sorry, no blog. Really don’t have the time, nor the patience to maintain one…

        With Marie Antoinette, I think people were expecting something different- like maybe more history being featured in the movie, if that makes sense. Also, I don’t think it helps that Marie Antoinette is such an unabashedly girly film…but then, so is Virgin Suicides, and that one I think was generally well reviewed.

        By “dry professional film writing” I didn’t mean academic stuff, if that’s what you thought. I mostly just follow a few journalistic critics and on-line film websites, that’s all. Sorry for the confusion there, poor choice of words.

        I kind of want to expand my film reading to include stuff that’s a little more incisive/informative than what I’m used to though. I’ve heard of Jonathan Rosenbaum…So you’d say he’s pretty accessible for someone who doesn’t have a film-school background, for someone who’s just beginning to get into “serious” cinema? Any book of his you recommend in particular?

      • Hey, I like “feminine” films. They are quite relaxing and such a good break after seeing tons and tons of films full of machismo and a bunch of testerone-filled jerks @_@.
        And oh, by the way, Jeanne Dielman is a fucking masterpiece. You must see Les Rendez-vous d’Anna, if you loved Jeanne Dielman. Yeah, you should see more old films. If you’re out of any films to watch, you can always rely on my film favorites here ;).
        Then how were you able to discover my blog then? Just curious :P.
        I’m not sure if this might mean anything but I don’t have a film background yet I love Jonathan Rosenbaum’s writings. If I think about it, he is kinda mainstream (but not as much as Roger Ebert; Ebert is too compromising and quite often chooses the safe and neutral side on things and most of his “great films” are already canonical that they don’t need more praising from him) but I love how Rosenbaum appreciates a lot of less well-known, underrated, and absolutely ignored films.
        I have unfortunately only read Movie wars: how Hollywood and the media limit what films we can see and Essential Cinema: On the Necessity of Film Canons. I recommend you read Movie Wars first; the topic is quite intriguing too which makes it more readable.

  4. I found it through the Auteurs website. During one particularly unproductive day, I was browsing the site mindlessly, veering away from the Notebook section that I usually stick to and looking at various films’ pages. On the Maximo Oliveros page I noticed your lone comment about the film’s ending. After a few more mouse clicks, I found myself here!

    I added Akerman’s films from the Eclipse series to my Netflix queue after watching Jeanne Dielman. (Not that that automatically means much- I’ve got hundreds of films lined up, many of which I’ll probably never get to.) But your recommendation of Rendez-vous d’Anna bumps it into my top 20. You should be proud of your influence! Haha…

    Thanks for your take on Rosenbaum. Sounds promising. I’ll have to give Movie Wars a try some day. Exactly when though, I’m not sure.

    • Add me in The Auteurs. That is, if you still use the website.
      If you like, just tell me what kind of films do you usually have a soft spot for, and I can just give you a bunch of suggestions of what I think you’d love.
      Oh, I tried using Zip (Canada’s equivalent for Netflix) but I just don’t have the patience to wait for them when I can just drop by the video store and rent most of the titles there. Hehehe. And the wait and the shipping took so long, I remember, that I just deactivated it.
      Whenever you get the chance to read it, I’d like to hear your thoughts.

      • Yeah, no Auteurs account either, though I guess making one wouldn’t be such a bad idea. The site seems to attract a pretty intimidating crowd though.

        Like I mentioned above, I’ve got plenty of movies in my netflix queue to watch, but I’m always up for a few recommendations!

        Anything you can think of based on the few films I’ve mentioned already?
        If it gives you any ideas, I notice I tend to gravitate towards character-centered films with strong lead performances (Happy-Go-Lucky, Julia, The Wrestler for me are recent, excellent examples, but maybe you haven’t seen these?).
        Don’t really have any favorite directors yet, but I’ve enjoyed the distinctive work I’ve seen so far of Terrance Malick, Todd Solondz, and Jacques Demy.

      • If you haven’t seen any of these, then I absolutely recommend Malick’s Badlands, Solondz’s Welcome to the Dollhouse and Demy’ Young Girls of Rochefort. I never liked Umbrellas of Cherbourg but The Young Girls of Rochefort just made me smile the whole time I was watching it. Not a big fan of either Deneuve or Kelly but they were both charming there.
        I am not much of a fan of character-centered films with great acting performances. I guess I am concerned on how they tell the story, whether it be narrative or non-narrative, etc. etc. I couldn’t really care less if the acting was good or not, ergo, my love for campy films like Mommie Dearest. But based on this, I would recommend:
        Safe
        A Short Film About Love
        Secrets & Lies
        Martha
        The Cook, the Thief, His Wife and Her Lover
        A Place in the Sun
        Red Desert
        Il Posto
        Queen Christina
        Lilja 4-Ever
        Seconds
        All my favorites but then again we all do have varied tastes and what I might find great might be something you would find awful and vice versa. But if any does pique your interests, then I say go for it then hehe.

  5. Thanks for the recommendations. I’ve been meaning to check out Secrests & Lies, Red Desert and Lilja 4-Ever- they’re all in my queue, somewhere. The others look interesting as well, though some of them aren’t available through Netflix.

  6. I think you are amazing for having this list, for keeping track of the movies you’ve seen. There’s like a bajillion of them! So how do you know which movies to see?


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