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forever in progress

• The Black Dahlia
• Force of Evil
• The Woman on the Beach
• On Dangerous Ground
• The Long Goodbye
• Kiss Me Deadly
• Femme Fatale
• The Prowler
• Touch of Evil
• Detour

...plus 290 more. View the full list on Letterboxd.

• Halloween II
• Halloween III: Season of the Witch
• Halloween
• Halloween II
• Halloween: The Curse of Michael Myers
• Halloween
• Halloween: Resurrection
• Halloween 4: The Return of Michael Myers
• Halloween Kills
• Halloween 5: The Revenge of Michael Myers

...plus 3 more. View the full list on Letterboxd.

• The Black Dahlia
• Force of Evil
• All the Colors of the Dark
• Nixon
• Ulzana's Raid
• Once Upon a Time... in Hollywood
• The Woman on the Beach
• Sorcerer
• The Fall of the House of Usher
• The Long Goodbye

...plus 90 more. View the full list on Letterboxd.

• Star Wars: Episode III – Revenge of the Sith
• Star Wars: Episode II – Attack of the Clones
• Star Wars: Episode I – The Phantom Menace
• The Empire Strikes Back
• Star Wars
• Return of the Jedi
• Star Wars: The Last Jedi
• Solo: A Star Wars Story
• Rogue One: A Star Wars Story
• Star Wars: The Rise of Skywalker

...plus 1 more. View the full list on Letterboxd.

• Eden
• Kill List
• Resident Evil: The Final Chapter
• The Other Side of the Wind
• Dragged Across Concrete
• Queen of Earth
• The Wind Rises
• Batman v Superman: Dawn of Justice
• The Turin Horse
• Once Upon a Time... in Hollywood

...plus 90 more. View the full list on Letterboxd.

• Carlito's Way
• Goodbye South, Goodbye
• The Bridges of Madison County
• Eyes Wide Shut
• Twin Peaks: Fire Walk with Me
• Close-Up
• Unforgiven
• Crash
• Edward Scissorhands
• The River

av club step your game up - 35 sci-fi film GOATs since 1982

• On the Silver Globe
• Tank Girl
• Lifeforce
• Escape from L.A.
• Resident Evil: The Final Chapter
• Hard to Be a God
• Neon Genesis Evangelion: The End of Evangelion
• Star Wars: Episode III – Revenge of the Sith
• A.I. Artificial Intelligence
• Mission to Mars

...plus 25 more. View the full list on Letterboxd.

• 'Gator Bait
• Hail Mary
• ...All the Marbles
• 1922
• Big Bang Love, Juvenile A
• We Still Kill the Old Way
• God's Comedy
• Hovering Over the Water
• Yesterday Girl
• All the Vermeers in New York

...plus 188 more. View the full list on Letterboxd.

my growing VHS collection

• 2001: A Space Odyssey
• Executive Action
• Enemy of the State
• Days of Thunder
• Benny & Joon
• Crimson Tide
• Bringing Out the Dead
• Serial Mom
• Jeepers Creepers
• Force of Evil

...plus 213 more. View the full list on Letterboxd.

www.bfi.org.uk/films-tv-people/sightandsoundpoll2012/voter/1064

It’s not a list of the films I think are the greatest, it’s just the ten films that maybe counted the most for me in my education. It’s important for me to say that because they’re not the ten most important films in the history of cinema, just the ten most important films for me.

Napoleon: I associate it with his novel Prisme, which I read at the same time as I discovered this film, and what I found extraordinary was the fact that he’d managed to create a work that was historical and of quite an uncommon force and at the same time show invention on a formal level that, especially in relation to his era, was quite visionary – and it was in service of something that was completely poetic and intimate. What stayed with me was iraton for the ambition of the film, especially aesthetically, but also the emotion and the incredibly personal nature of the film; it seems to have been filmed in the first person. There is a snowball scene at the beginning that is completely sublime and there’s a party scene that’s shot hand-held and it’s just a totally unique film.

La maison des bois: It’s a fairly unique film for Pialat in that it’s very long and although it’s a TV film it’s hard not to view it as a film in its own right. It’s really cinema made to be seen on a big screen. There’s a richness in that film that I haven’t seen in his other films in the same way, except maybe Van Gogh, but there’s something even in spite of the subject and the tragic nature of it – there’s a joy and a goodness, something incredibly sunny. What I find great is the ability to tell the story that takes place at a very dark moment in ’s history, from a point of view of lightness, of childhood. The film taught me a lot about staging, about filming with children, the importance of allowing the time to take very long shots, following the children and giving them freedom, truly making the camera work in service of what’s happening.

La frontiere de l’aube: I ire the work of Garrel but I chose this one in particular because there’s something more political about it. To me it’s magnificent, and is quite similar to Garrel’s other films but while Garrel often made very similar films, I don’t think of that as being a weakness. There are great painters who always painted the same scene and it’s something that characterises them. He’s someone who seemed to be followed by the same demons and the same ghosts and it’s a film that really deals with ghosts. I chose this film because it was very poorly understood. The press really liked but it had very little in the way of audience and was misunderstood even by people who like Garrel’s work, and that’s why it touched me. It made me feel somewhat isolated in of taste. It happens a lot and on this occasion in particular it was a very strong sense of loneliness in that respect.

Le rayon vert: It’s a film that completely blew me away. I love Rohmer’s work but I love this in particular because it’s the portrait of a woman in her loneliness over the course of a summer. It’s a film of a stunning truth. It’s often said that Rohmer is a filmmaker of language – he uses words, his films are chatty – which is true, but the beauty of this film comes from things that happen in silence. There is something in the work of Rohmer that isn’t given, that’s unsaid, something mysterious. I find that is very moving because there’s something that escapes us in the loneliness of this woman.

Les 1001 nuits: I saw it a long time ago and it’s stayed with me, haunted me. Pasolini is the filmmaker who, in of writing, perhaps comes closest to poetry. Here, he managed to give the impression of not watching a film opening a window onto an imaginary world. It has such a degree of authenticity and force of representing this world, and the success with which it does it is miraculous to me. There’s an innocence and joy that he creates here. There’s something really magical about this film.

Fanny & Alexander: In Bergman’s films there are a lot of couples but this is the only one that deals with childhood. It’s a film that I thought of a lot when I’ve made films with children. He managed to capture the age of time, sadness, particularly of the mother, relationships. For me there’s something unbeatable about it. There’s also a sense of nostalgia, especially with regards to the past and the age of time that feels very close to me. Something visceral there. There are recurring shots in the film, like those of running water, that I find completely universal. There are things about my childhood in that film, and I find it a very universal film.

Millenium Mambo: This is the film that most accurately represented life as I lived it at the age of 20. It happens far away, in a completely different culture, but it best captured an atmosphere of those years for the people of my generation who were that age. Hedonism but melancholy that were inseparable from each other. I recognised a world there more than any French film of that time.

Heat: I love Mann’s films and I’ve seen this one so many times. It seems very classical in the story it tells – the conflict between need for action, responsibility, love, couples. What touches me about Mann’s films is the way he puts these things back into play but in his own language, a language that speaks with the poetry of the modern city, contemporary melancholy. And there’s something really erotic about this film, the interactions between the couples, the arguments, what plays out between the couples, especially between Ashley Judd and Val Kilmer. I find it highly erotic but deeply melancholy, and the way those two things speak to each other is singular in that film.

La maman et la putain: Even though it came later, there’s something very New Wave about this. I don’t think Jean-Pierre Leaud has ever been as good as he was in this film. There’s a way of filming words here that I find really exciting, and the fact I saw this film when I was so young really helped to make my ideas clear in my head and settled the kind of cinema I wanted to make.

Eyes Wide Shut: I think I liked this for the same reasons I liked Heat even though it’s a very different kind of cinema. For the way he filmed the couple but also the sadness of the film. I’m also a big fan of the Schnitzler work that it’s based on. It’s a timeless film but I found it shocking that it was received in with an element of disdain after Kubrick’s death. It says something about sadness, about the failure of a couple, but also about strength. It has unforgettable shots and eroticism.

• Napoleon
• The House in the Woods
• Frontier of Dawn
• The Green Ray
• Arabian Nights
• Fanny and Alexander
• Millennium Mambo
• Heat
• The Mother and the Whore
• Eyes Wide Shut

www.slantmagazine.com/features/article/the-50-greatest-horror-films-of-the-21st-century

• Them
• Amer
• Don't Breathe
• Black Death
• 28 Days Later
• The Descent
• You're Next
• Sinister
• Mulholland Drive
• The Invitation

...plus 40 more. View the full list on Letterboxd.

• Mulholland Drive
• Elephant
• Tropical Malady
• The Host
• A History of Violence
• The Secret of the Grain
• Tie Xi Qu: West of the Tracks
• War of the Worlds
• The New World
• Ten

speaks for itself www.slantmagazine.com/house/article/the-films-of-david-cronenberg-ranked

• Crash
• Videodrome
• Dead Ringers
• The Fly
• The Brood
• Naked Lunch
• Spider
• Cosmopolis
• Eastern Promises
• A History of Violence

...plus 11 more. View the full list on Letterboxd.

Guy Maddin, director of Brand Upon the Brain!, My Winnipeg, The Saddest Music in the World among countless shorts and other films, shares his top 10 submission for the 2012 Sight and Sound Poll:

Joyous, aggressively primitive and trope-giddy, Zéro de conduite is the best shortcut back to the intensely wondrous state of childhood – and therefore the source of all creation – in the history of cinema.

Tod Browning and forgotten genius Lon Chaney's perfectly executed allegory about the self-castration impulse in all of us, The Unknown is immensely entertaining, unpredictable and thoroughly disinhibited – perhaps the most fearless and shameless melodrama of all time.

Man’s Castle is the best example of how Frank Borzage slows a film down to unspool in ‘lover's time’, a pace that allows him to pack in all the tiny details that encrust and encase a pair of throbbing hearts. Agonising and cathartic!

The Tree of Life isn't even a movie, it's a vest of dynamite that rips open the viewer's bosom and keeps it suffering long after detonation.

Is L’Age d’or an oneiric essay film? Still the most inspiring, ragged, cocky, smart and mischievous – all of it expressed in an extinct but somehow modern filmic vocabulary. We'll never quite catch up to this picture.

The Long Goodbye is mannered in crazy, loosey-goosey ways. Altman, in the zone, completely repurposes a genre!

Mulholland Dr.: boom! Game changed!

Letter from an Unknown Woman: sadistic comedy or delirious tragedy? Masterfully both.

Singular use, reuse and re-reuse of memory and film-as-memory in After Life, Kore-eda’s strangely playful yet moving wonder. What a structure!

Zvenigora is mind-bogglingly eccentric!

• After Life
• L'Âge d'or
• Letter from an Unknown Woman
• The Long Goodbye
• Man's Castle
• Mulholland Drive
• The Tree of Life
• The Unknown
• Zero for Conduct
• Zvenygora

These are the top 10 films of Slant Magazine's top 10 of the 00's. The entire list can be found here www.slantmagazine.com/features/article/best-of-the-aughts-film

1. Mulholland Drive
2. Inland Empire
3. Yi Yi
4. The New World
5. In the Mood for Love
6. Crimson Gold
7. Werckmeister Harmonies
8. Bad Education
9. Femme Fatale
10. The Son