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💔

One of the greatest to ever do it. Forever enamored by the way Agnès saw people and the spaces we move through.

The scene with Jane chasing after Lardy reminds me of the scene on the beach in Persona

Such a shame that this film is entirely half baked with a script that treats women horribly at every opportunity. Even the race jokes weren’t even at a level that was classy. 

It’s watchable only for the fact that it’s Chris Tucker & Jackie Chan. 

Disgusting that Roman Polanski is in here. 

The definition of phoning it in.

Watched on Wednesday June 4, 2025.

Watched on Tuesday June 3, 2025.

I wish the dialogue was able to watch the beautiful visuals, but it seems like the film or more so the studios didn’t trust the audience to be interested in the very thing that audiences want to see with Star Trek. 

You can very much tell it was a lil too influenced by 2001: A Space Odyssey.

Still an enjoyable slow ride.

Beautiful, touching, powerful, sad 

Skid Row’s peoples market 😭😭😭❤️❤️❤️

So Yun Um is brave for placing that segment of her father and her discussing the protest between George Floyd’s murder. Allowing the full range of feelings and beliefs to be displayed without trying to protect an image. It’s so smart because these are the hard conversations that need to be had more openly, between our generation and also with the older generation. We can’t overcome any system without being able together ourselves. “It’s only through solidarity that can bring real change”

“I find myself looking back to our ancestors and seeing, “what are they calling us to do?” We’re a generation out of, the long generation of humanity, and one day, we will be up on.. we will be on the ancestors side too.”

Coulda been perfect but stupid decisions prevented this. Objectively it’s probably a 3.5 but I love Star Trek and there’s a lot going for it in this film that explores some cool elements. I never expect the movies to be as contemplative as the show so I appreciate the questions they asked though they didn’t linger.

“You don’t rob a bank when your get away car has a flat tire”

I love the various quiet moments listening to individuals speaking about a range of their emotions, from happiness to fears, sadness and aspirations. 

There is some exceptional cinematography in this film too, hope to see a 4K restoration one day, there’s some incredibly stunning petzval bokeh near the end of this film. 

I adore the message in this film.

“Because time is the longest distance between two places”

The film starts with a heavy punch to the gut that only slightly lets up as the film carries on. Though I wish the film were 20 minutes longer. 

I love the black and white cinematography with the heavy emphasis on the nostalgia factor of the 80s. If we are going to make comparisons with Roma, I do think it’s interesting to see that Charon opted to go for the clean look like his memories and León & Briones went with the stylized look.  

I think this is the first film I’ve seen from Peru. 

In a critical viewpoint the film has me asking questions about Pedro Campos intentions at the end of the film. The questions that arise in my head, aren’t of one that I feel aligns with his motivations throughout the film. I can understand where they leave off with Georgina’s character, and usually I am okay with sitting with the pensive thoughts however I can’t help but long for more character development and/or writing for her. I was able to cling to the soul moving performance she gives early on in the film to feel the pain in the eyes but as the credits roll I don’t feel like I’m left with a sensation that has me deep in thought. Does every film need to leave you deep in thought? Absolutely not, however for a subject as serious as this and being based on a true story, I personally want to feel like this is somebody I know by the end, to resonate deeply with their entire range of emotions to my best of ability. At the end of the day, grateful that this story as been told all while being saddened by the wickedness that exist in an array of forms on this planet.

I had some laughs!

I feel like this is the most Women I’ve seen on screen at the same time in an early silent film outside of Alice Guy Blaché’s Les Résultats du féminisme.

Chaplin’s character was feisty, mans was laying hands on anybody who wanted it!

Watched on Thursday May 29, 2025.

I loved how Scorsese's parents mentioned how storytelling used to be better back in the old country, in a time ed. Still carrying those traditions in their own recounting of their upbringing, and how it's also made its way to Marty wanting to preserves the stories in his own medium. It's so simple yet beautiful.

It reminds me that my mother documenting my grandparents entire history on miniDV, a project that I still need to piece together this footage that was shot from over a decade ago. I always say that one day I will do the same for my parents. Back then I was iring from behind the scenes, and now I am a filmmaker myself.

As much as I try to preserve the medium of film as my main tool, at the end of the day it's the stories we tell that matter the most, never the tools.

In another timeline we have a plethora of black cinema void of the stereotypical tropes. Nonetheless it’s beautiful to see Black people existing in this era exploring stories with sound as a tool. I think this is my first early black cinema film with sound? To think only 4 years later Sydney Poitier breaks on the scene in No Way Out

Gertie on the balcony smoking was such a beautiful shot, I wish they would have held it there longer, and then rolled credits 😭

Seeing the boom in the frame made me so happy

I wasn’t familiar with this book prior to watching this film. I read somewhere that Solomon Northup dedicated his novel Twelve Years A Slave to the author Harriet Beecher Stowe, whom was an abolitionist author.

The cliff scene was top.

Could have done without the blackface character though, still found a way to get that in there huh, can’t let the real black man enjoy his bigger role. 

I love the shot where the white people save the daughter from drowning and ignore Uncle Tom, but the black people help him up. Reminds me of blazing Saddles.

Thoroughly enjoyed this film, stunning that it was the directors first feature! 

At times the film felt a little too modern for the story it was trying to tell which made it feel a little disted but at the same time it gives it, its own energy. 

The hyperrealistic cinematography was super interesting, at times it detracts from the story but most the time it really sets me into the Western.

The last shot of this film with the dialogue is immaculate. Holds so much weight.

Watched on Monday May 26, 2025.

Reverend Solomon Sir Jones began documenting black life on 16mm film only a year after the release of the first 16mm camera in 1923. 

It’s beautiful to be apart of this lineage of preserving the beauty of black culture on a medium that is more affordable to the working class than 35mm. I shot my film Blackness is Everything in the same vein. 

I wonder is Reverend Solomon Sir Jones had the foresight to know about the decades of improper representation that was to follow in such an early age of cinema; or was he merely wanting to show love to his community. 

I love love love that amidst all the improper representation & depiction of all people of colour in the silent era, that there is a documentary showing the wide range of interest, skill sets and mannerisms that exist outside of the racial caricatures depicted in this era. It truly was so beautiful to see.

I loved the shot of the band performing on the horns for the funeral, and the baptism scene that follows afterwards.

Holds up so well 🥲 there’s definitely a lot of flaws but it does a fun n clever job at crafting a backstory of their younger selves.

Still so sad over Anton Yelchin, r.i.p.

“Damn it man I’m a doctor not a pyshicst”

Holds up well 😮‍💨

I wish it was the film was more focused on the story in Yubari.

This ain’t it.

I love that is only a year after Charlie Chaplin’s first role.

I enjoyed seeing the wide shots of the crowd.

Oscar Micheaux was so ahead of his time, there’s so beautifully tender shots contained within this film, all while maintaining a clear storyline that doesn’t feel dated with overt bodily expressions throughout its duration. This film has commentary on racism, colorism, greed, and industrialism. 

It’s no surprise the section that’s missing from this film is what would have really made it a massive landmark in cinema around the world. It’s really unfortunate to not have that portion of the film, however the shot of the KKK at night with their torches is so haunting and to know the characters overcame that imagery is a testament itself. 

I think this is what Tarantino was trying to go for with Django Unchained but you can see the grace and understanding that Micheuax as at the end of the film with Van Allen coming out on top, without having to be stripped of any dignity. Double feature it with There Will Be Blood at this point 😤 

The last two shots make me think of Sinners when Sammie walks in on Stack & Mary. It’s funny to see the types of humor and observations black people made over 100 years ago still shows up in today’s cinema. Like to recognize the nuance in the facial expressions.

"But if her skin is white, her eyes betray her origins."

I love seeing the Bay Area through black and white photography. I feel like it pairs well with the grit, hustle, and ambition we have here, as well as the isolation & loneliness that this film captures so well through the experience of Donya.

I’ve never left the Bay but I often imagine the experience of withstanding culture shock of living in another country, longing for home and the guilt/survivors guilt that would come with it. It’s beautiful how this film balances these themes with elements of slight comedy too. 

I recently met folks from Afghanistan while in the south of . Had tea with them and learned about their culture and language all while speaking French. I had no idea they spoke Persian in Afghanistan, so following up with that experience to watching Fremont, I appreciated learning about more cultural nuances through this film. 

I want to see every story we have here in the Bay Area & I love when the credits are full of all the homies names. 

“I don’t know how people feel safe in a place where stars change so much.”

Watched on Tuesday May 20, 2025.

Watched on Tuesday May 20, 2025.

I disagree with the notion that this film is incomprehensible, I found it quite the opposite. Richard Maurice gave the audience a chance to trust the audience by allowing them to visually make connections to what’s taking place on the screen without the over reliance on inter-titles. There was a moment where he’s intercutting between tense scenes with a camera shooting out the back of a car, stuff that I’ve also seen done in Suspense (1913) by Lois Weber, the type of stuff that Godard later gets praised for. 

I like how bold this film is to tell a narrative across decades with its limited resources and taking that extra step to incorporate different philosophical values into the inter-titles too. 

Nothing could have prepared me for that ending haha but it’s the very vein of black cinema that we see connected to present day with the likes of Jordan Peele & Ryan Coogler. Incorporating both humor & horror into their films that aren’t really per-se either of those genre films.

Moving to just be moving 😩

This film is chaotic 😂 There are times when I forgot it’s a comedy and I wanted to roll my eyes then I was reminded that it’s making a commentary on relationships or subverting expectations. I wish it could have dove a little deeper with the dialogue but the visual language was great.

The quick scene in the car where each song skip reflects what’s going on in the characters life (which we later see done so well in Shaun of the Dead). I wonder when this motif begin in cinema. 

The scene in the car with Ellen is gold. 

Frederick Elmes was the camera operator 😳

“Maybe that’s movie love, maybe you’ve seen them, maybe you’ve worked on so many of your pictures that’s what you think it is. 

Sorry but Agnes Varda made the first French New Wave film, not Le Beau Serge, but you know how the world operates. 

A 98 minute picture of watching men inflict harm to the women around them. 

I don’t understand why the film paints François as an upstanding person when the entire time we watch him disregard anybody around him. Nobody in this film seems to genuinely care about anybody and I don’t understand the motives of François wanting to help Serge.

In a sense I could see this film being a somewhat real depiction of reality & interpersonal relationships but at the end of the day it felt a lot of Le Beau Serge, is script hitting various beat points to move the story along to…?

Henri Decaë snapped with the beautiful black and white photography tho as he always does! A star will be  given to it for his participation. 

So glad the movie ended 🥹

I love that the film showcases how Women are an integral part of these resistance movements across the world against oppressive colonial power, notably I think of Vietnam. Considering this film is from 1966, I wasn’t expecting to see that truth to the history, nor was I expecting to see imagery on the screen that is no different from what we are witnessing in present day, with Gaza in specific 

While I always crave hearing and receiving a well rounded history lesson during films, I love that this film gave that lesson through its actions, not exposition. It really places you in a position to better understand the resistance.

This is such an important film, that really shows the political tactics that are used to manipulate not only the world view, but even the people being oppressed. This is something that should be taught to kids at a young age, because we know the schools aren’t going to kick knowledge to the truth. 

I learned so much in this film, and had no idea about the history of the Algerian Flag, I love it even more know. 

It’s heartbreaking that so many lives on both sides of war have to be lost over the greed of Man in power. At a moments notice ready to sacrifice their own soldiers’ lives or mental stability all in efforts to maintain control over a people.

Free Palestine, Free Burkina Faso, Free Sudan, Free Congo, Free Hawai’i and all nations fighting against their colonizers.

"It’s hard enough to start a revolution even harder to sustain it, and hardest of all to win it. But it’s only afterwards, once we’ve won, that the real difficulties begin. In short, there’s still so much to do."

There’s beauty in all this chaos. If someone gives me 2.5 million to produce a documentary I promises I’ll show it 🥺

But yeah Capitalism & Industrialism cooked America, would have been nice to see some indigenous representation in this. 

I think of the Bay Area were we have both of these worlds (Nature & City) all within an hours drive. Grateful to be from here. Got a kick out of seeing the old freeway on the Embarcadero.

Recommend checking out Earth from Oleksandr Dovzhenko

I was ready to hit play, right after it finished. 

Ingrid Bergman is so good in this film.

This holds up as such a great film over the years/rewatches. 

Although this isn’t a great musical per-se, great music overall & incredible acting + storytelling but half the musical numbers aren’t doing it for me. Especially the first 20 mins 🫩

I never thought to look at a painting in such a vivid way, seeing the deconstruction or more so reconstruction of a photograph is such a fascinating exploration of what makes a frame come to live.

I wish there was more of these types of Frames, the fully animated frames were cool but for a longer run time, these animated frames did start to feel a little long when it was frames that I wasn’t particularly interested in, however all the more fascinating to know it struck something deep within others. 

Perhaps more mixing of these two different styles could have helped for me. A beautiful balance of it all is the frame of the family at the Eiffel Tour and the way the music slowly rolls in softly like the snow falling. So beautiful. 

Learned so much by studying the pacing of these frames.

I am inspired. I randomly stumbled upon this film at the library.

So beautiful seeing the many landscapes and moments of peace throughout China throughout the rapid changes the whole planet has undergone through technological advancements. Love to see people existing and not stuck on their screens.

Love to see childlike joy explored; I’m sure it was healing for the filmmakers involved. 

Fatima is such a fun character, her bravery and independence reminds me of the character in The Little Girl Who Sold The Sun.

Watched on Saturday May 10, 2025.

The male gaze is nauseating.

I can’t get down with sporadic borderline frenetic editing. Every time the camera cuts it reminds me I am watching a film. In certain instances it works really well throughout cinema, but 9/10 times for Suzhou River it feels contrived.

“I have in my mouth an aftertaste of the ocean. In several languages, these memories whisper in my ear the full weight of a past of which I am the trance, the trace. I’m torn between the fear of not being recognized by anyone and not recognizing anything.”

Continuously seeking new ways to connect to my culture. I was awe struck from the images from Mati Diop’s Dahomey, when I learned it was from Benin, and not Sénégal, it reminded me that through Ancestry.com Benin is my 3rd highest percentage, just 1 perfect above Mali and Cameroon. The quote above struck deep as a tirelessly seek a connection with one of these West African countries and their language. Being that I also somehow ended up learning French on the shores of the pacific, that element somehow still connects me to the shores of the Atlantic in a strange way. Forever burdened with the unlearning of the concept that we come from an enslaved people, and reclaiming ancestral practices and language. It’s beautiful that artist such as Diop, her father Djibril Diop Mambéty, Ousmane Sembène, etc, have created films that serve as a road map to help us reclaim our identity before and after slavery.

There’s elements of this film, Dahomey that I love, especially the editing in the last 25 minutes but there’s also some elements of this film that dragged out a little to long for me. For example the shots of surveillance in the beginning, or just these slow paced shots of interior places didn’t do anything for the story for me personally. Would have loved to have seen these beautiful discussions that are at the end woven throughout the film perhaps? 

I know in real life the energy and discussions that were partially played in this film must have been incredible to be apart of. 

In general I loved the concept of giving 26 a voice and hearing their story as they travel home but the way it was laid out overall was hard for me to feel engaged. I thought I was going to be absolutely moved and shattered after hearing that quote I placed above.

Nonetheless I am so happy that this film exist and to see the home of some of my ancestors.  

Highly recommend this film Sembène: The Making of African Cinema 

“We all bear the same scars”

The phone calls to her mother reminded me of the themes in News From Home. 

Important film 🥺🙏🏾

Watched on Thursday May 1, 2025.

Okay all the critiques I had about this film on my first watch, is now out the window. I felt the character development and differences between the Twins and how they’re the real leads of the film. I love the Verbal / non Verbal moments of vulnerability in these black men in 1932 Deep South, beautiful to reclaim the narrative while also speaking truth to it. 
While I do wish there was more lore of the Mississippi Delta, I felt like I was able to receive it through the blues this go around. Furthermore the intentions of the villain for this film is incredible. 

“I’ve been travelling I don’t know why I’ve been here for so long” that shot on the end on “I don’t know why I’ve been here for so long” on Stack is so powerful, though a vampire that kills, Coogler manages to humanize him in this moment as a black man having to live through all the tragedies that occur throughout history moving forwards, unable to escape it and covering his pain through the facade of being okay in gold chains, and the cultural attire of the time. It brings me back to Remmick and how he longs to be back in deeper connection with his ancestors who were also colonized and lost key elements to their culture. It’s deep man.

I really love the character Smoke, I wish we could have a film about their stint in WW1, 

The whole crowd started clapping at the end when he lets the gun off on bruh, I love my black people man 👏🏾

“German trenches nigga” 😭

They are yearning so hard in this movie. 
I lost the subtitles about 45 minutes in but honestly I think even with them I wouldn’t have been able to decipher this madness haha but I FELT it. I came for Leon Lai & Jacky Cheung (whose music I could hear within this score near the end 😍) and stayed for DRAMA + folks flying all through the air. A soft reminder to start my online class that I copped earlier this year 😮‍💨

Cracking up at Leon Lai shooting the fun up in the air at the end 🤣🤣 with like 4 song changes in a few minutes. Man, we used to have cinema!!! 😭

I wonder if the anime of this story is any good. 

“快樂“

Groundbreaking film but at the end of the day not for me 😭 the last 25 minutes gives a glimpse to the beautiful imagery, nuance and social commentary that will later be seen in his films. I wish we could have seen more from him 🤧

I spent the whole week going down a Sinners rabbit hole of interviews. It’s means so much to see somebody who looks and talks like me, born in the same town, doing it major at the highest level. No code switching, just the real. I was back n forth all week between a 4, 4.5, and 5. For some reasons I’ll get into below, but just thinking back to the Juke t Scene. I’m still in awe all while being perplexed at how that works in this movie. It transcends cinema for me and touches somewhere deep, unlocking the magical power of art, music, and expression. When I listen to Puerto Rican music, I feel those Yoruba drums layered in the fabric of that resistance and joy. It sits deep within every fiber. That scene was able to personify that visual. I have a script where I’m looking to do skin to this with a portal per se, and show the lineage & connection to our ancestors, and I’m simply inspired & invigorated. So off top I’m finna just have to give it 5 stars for making that scene work. Next viewing will see how many stars I give it hahaha 

Something that really stood out to me during that scene is revolved around Smoke and Stacks having a blue and red hat. Without it, based on appearance it would be hard to differentiate the two but they still move with similar objectives. When the hats are on you can better identify the two and their motives. In that juke t scene Coogler shows Bloods (red bandana) and Crips (blue bandana) in separate rooms. Again based on appearance without their flags, had to tell apart, with the flags you can start hearing/seeing the differences. I feel like that was a beautiful ode to showing the need to be together as one unit, back to the roots of protecting black lives, no longer separated, but just like in real life. The two become pitted against one another. It’s deep man. 

Lastly my main critique with this film is wishing the dialogue itself went a little deeper into storytelling. The scene in the car when Delta Slim is telling the story is so heavy and sticks with me long after the film as ended. Although that’s the only scene where the dialogue really sits with me apart from all the comical or horny elements in the film. For example I would have loved to hear more about the Hoodoo-ism of the Mississippi Delta and how that has affected the people of the towns. Secondly, I feel like I would have liked to learn a little more about Smoke & Stacks personalities outside of the women they were involved with. I don’t know if necessarily it should have been more back story, or maybe a scene of weighted dialogue, but yeah the film left me feeling like Annie & Mary were the leads of the film. Maybe that’ll change on the second watch for me. I feel like I may have been wrapped up in the spectacle of the films.

I loved that the first hour was patient and a little saddened that the second half was silly but you know what, go off original screenplay! 

Real Black humor is alllllllll through this film, love to see it. 

Big love to all the Bay Area creatives that brought the pieces to the puzzle.

Watched on Monday April 21, 2025.

The production design, costume design and cinematography are absolutely sublime. Everything ties in so well to the themes of the story, when the screenplay isn’t speaking the texture of the visuals are for you. Love, entrapment, warmth, sorrow, joy. 

I wish the film itself carried the nuance of these three elements. At times the acting could be a little to heavy handed or the music forced the emotions unto you rather then letting the story building really deliver these beats to you. I’m sure the novel is a fantastic read.

Always love seeing films in the Bay & films written by woman, shout out Oakland’s very own Amy Tam. There’s a portion in the film where a character speaks on the things she does for her husband without him even asking, as a loving thing to do but with that and turning down opportunities for herself is ultimately shrinking herself. Hearing these perspectives are so eye opening and so important to be heard. 

“I saw my own face looking back at me”

Still very much enjoy the range of emotions this film is looking to touch but on a second watch the screenplay doesn’t take it as deep as I felt initially. It’s always fun to see how films land for you differently with whatever is going on in life. 

Gorgeously photographed

• Being Two Isn't Easy
• Through the Olive Trees
• Marketa Lazarová
• Affair in the Snow
• To Live
• Haru
• Grey Gardens
• The House Is Black
• Sanjuro
• Song of the Exile

...plus 41 more. View the full list on Letterboxd.

• Far and Away
• Redbelt
• Carmen Jones
• Enter the Dragon
• Fist of Fury
• The Way of the Dragon
• Shogun Assassin
• Switchback
• RRR
• Werewolf by Night

...plus 22 more. View the full list on Letterboxd.

• Pale Flower
• The Conversation
• Good Time
• Drive My Car
• Eternal Sunshine of the Spotless Mind
• Life, and Nothing More…
• Stalker
• Mandy
• Putney Swope
• Easy Rider

...plus 6 more. View the full list on Letterboxd.

Films predominantly in the Cantonese language.

Feel free to comment more or fact check me if it's actually a different language 🫣

• The House of 72 Tenants
• The Wild, Wild Rose
• Sun, Moon and Star: Part 1
• The Legend of Purple Hairpin
• A Maid from Heaven
• Love Without End
• Torrents of Spring
• Kung Fu Hustle
• Made in Hong Kong
• A City of Sadness

...plus 62 more. View the full list on Letterboxd.

• Everything Everywhere All at Once
• High and Low
• The Umbrellas of Cherbourg
• The Little Girl Who Sold the Sun
• Barry Lyndon
• In the Mood for Love
• Harakiri
• Tell No One

Out of the 76 films watched this year, this is my top 10.

• Comrades, Almost a Love Story
• Sing Sing
• Forever a Woman
• My Heart Is That Eternal Rose
• Infernal Affairs
• City on Fire
• Perfect Days
• Days of Being Wild
• The Bigamist
• An Autumn Afternoon

This list comprises of my 100 favourite films. By no means do I think this list encapsulates what I feel are the "best films ever made" that list would look very different. 

A lot of what makes a movie my favourite would be a mix of how often do I watch or think about it, meshed with how did it make me feel / the cinematic techniques of it. I truly believe films can hit you at the right time and became a favourite of yours. In The Mood For Love & Phantom Thread are two films I initially didn’t like my first couple of watches and now they’re two of my favourites. 

I’m going to try to periodically update this list throughout 2024, as many of these I haven’t watched in a while, plus some films I feel could land on this list in general are in desperate need of a rewatch, so I left it off entirely (something like Tokyo Story for example).

Honorable Mentions

These films are one rewatch away from landing anywhere within this top 100

The Kingdom of the Fairies (1903)
The Phantom Carriage (1921)
L’invitation au Voyage (1927)
City Lights (1931)
It Happened One Night (1934)
Port of Shadows (1938)
The Grapes of Wrath (1940)
The Treasure of Sierra Madre (1948)
Late Spring (1949)
All That Heaven Allows (1955) 
Wild Strawberries (1957)
The Apartment (1960)
La Notte (1961)
Harakiri (1962)
Tongues Untied (1989)
Close-Up (1990)
Embrace of the Serpent (2015)
Minding the Gap (2018)

• Rear Window
• It's a Wonderful Life
• La Haine
• The Umbrellas of Cherbourg
• In the Mood for Love
• The Thing
• Stalker
• Persona
• Casablanca
• On the Waterfront

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

Out of the 92 films watched this year, this is my top 10.

*not including 2023 films and rewatches*

• Whisper of the Heart
• Taipei Story
• Tokyo Twilight
• Sembène: The Making of African Cinema
• Minding the Gap
• Return to Seoul
• Uncle Yanco
• All That Heaven Allows
• Love Letter
• Twin Peaks: Fire Walk with Me

Out of the 335 films watched for the first time this year, this is my top 20.

*not including 2022 films*

• The Last Command
• The Little Girl Who Sold the Sun
• To Be or Not to Be
• Orpheus
• Life, and Nothing More…
• Chan Is Missing
• The Shop Around the Corner
• The Kingdom of the Fairies
• Residue
• Tongues Untied

...plus 10 more. View the full list on Letterboxd.

An inclusive & extensive look at important/significant films through the decades of cinema from the inception to present day. 

Generally, a lot of decades list & film schools only showcase the same rotation of films from White men. 

This list aims to further help shed light on films from People of Color, Women, Lgtbqia+, World Cinema, etc from the very beginning.

Although this list lacks in the fact that I am only pulling from the list of films that I’ve seen, furthermore I’m not trying to grab every important film just a few from every decade. Sure there are many many important films left off, but at the end of the day this entire art form is so special and important, just hoping this serves as encouragement to look deeper into the history of cinema.

*Planning on adding a few more films*

• age of Venus
• Sallie Gardner at a Gallop
• Dickson Experimental Sound Film
• The Sprinkler Sprinkled
• Boat Leaving the Port
• The Cabbage-Patch Fairy
• The Arrival of a Train at La Ciotat
• The Astronomer's Dream
• Something Good — Negro Kiss
• A Trip to the Moon

...plus 165 more. View the full list on Letterboxd.

Movies watched in film school.

• Nosferatu
• Battleship Potemkin
• Modern Times
• M
• Citizen Kane
• Bicycle Thieves
• Double Indemnity
• Rashomon
• Shadows
• Breathless

...plus 57 more. View the full list on Letterboxd.

Out of the 136 films watched for the first time this year, this is my top 15.

*not including 2021 films*

• High and Low
• La Notte
• Face to Face
• Dreams
• Late Spring
• The Conversation
• Possession
• Soul
• Harakiri
• As Tears Go By

...plus 5 more. View the full list on Letterboxd.