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The Flick You Crew
the great happiness space
the pervert's guide to cinema
my best fiend
fear of a back hat
black rain (imamura)
star wars
the phantom of liberty
battles without honor and humanity
lady snowblood
the holy mountain
female prisoner scorpion
the colour of pomegranates
blind beast
hiroshima mon amour
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los angeles plays itself what you really meant to say was la plays itself then you can get in and win all the prizes that life has to offer

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until you are accepted you cannot vote, you may ask for clarification on a challenge question, what else am i forgetting

and again are we really doing this if so murdermystery do you really want to be in charge

kisses and hugs
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for either the contract or the ceremony, both films about catherine robbe-grillet?

the director is lina mannheimer, the first a short and the second a feature length film. i've been poking around the usual spots but haven't seen anything as of yet.

if you've any ideas, let me know.
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Shoot the Moon (1982)
The Ploughman's Lunch (1983)
A Serious Man (2009)
A New Leaf (1971)
Heroes (1977)
World on a Wire (1973)
Purple Noon (1960)
Letter from an Unknown Woman (1948)
The Ninth Configuration (1980)
Nashville (1975)
The Effect of Gamma Rays on Man-in-the-Moon Marigolds (1972)
Day of the Beast (1995)
Black Lizard (1968)
Solaris (1972)
The Trial (1962)
Head (1968)
Deconstructing Harry (1997)
The Loved One (1965)
Out of the Past (1947)
The American Friend (1977)
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The Long Goodbye
Los Angeles Plays Itself
Songs from the Second Floor
The Passenger
In a Year of 13 Moons
The Battle of Algiers
Stranger Than Paradise
The Devil, Probably
My Own Private Idaho
Safe (1995)
I am Cuba
The Intruder
Edvard Munch
Celine and Julie Go Boating
Picnic at Hanging Rock
Twin Peaks: Fire Walk with Me
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Twin Peaks: Fire Walk With Me
Under the Skin
Love Exposure
Pastoral: To Die in the Country
Certified Copy
Dead Ringers
The Wind Rises
2001: A Space Odyssey
Pacific Rim
Spider-Man 2
Universal Soldier: Day of Reckoning
Blade Runner
The Beyond
The Thing
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1) When did I become the "owner" of this community?

2) Anybody have any idea why it seems that I can no longer post a comment? I've tried like ten times

3) Welcome back?

4) Why does the page look like shit when I go into the comments?
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Pale Flower (Shinoda, 1964)
Speed Racer (Wachowskis, 2008)
Time Indefinite (McElwee, 1993)
Fat Girl (Breillat, 2001)
Nothing But A Man (Roemer, 1964)
Return of the Living Dead (O'Bannon, 1985)
Videodrome (Cronenberg, 1983)
The Conversation (Coppola, 1974)
Do The Right Thing (Lee, 1989)
Certified Copy (Kiarostami, 2010)
Memories of Murder (Bong, 2003)
Xala (Sembene, 1975)
2 or 3 Things I Know About Her (Godard, 1967)
Night of the Hunter (Laughton, 1955)
Princess Mononoke (Miyazaki, 1997)
Werckmeister Harmoniak (Tarr, 2000)
The Apartment (Wilder, 1960)
My Own Private Idaho (Van Sant, 1991)
Rushmore (Anderson, 1998)
Tomatos Another Day (Watson, 1930)
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The way I think about movies has changed so significantly in the past few years. I find myself more interested in the exploratory process of watching and responding to films than necessarily finding specific works that highlight my interests. As such, many of these films sit as either microcosms of larger ideas or as a variable/signifier to indicate a director's entire oeuvre. I think the largest problem I've always had when considering the construction of a personal canon, something that I've never quite been able to articulate, is that my fascination with horror movies is tied more to the mechanics of the genre than to specific titles. Because of this, I always feel like the lists I make of my "favorite" or "defining" films or w/e are always too light on horror. I'll be the first to say that it's very rare for a horror film to be perfect in any coherent sense, but I think this necessary imperfection is an important element of the genre. Horror is a genre dedicated to experience, in the sense that the experience of the viewer is privileged over certain elements of Film with a capital F--the experience of watching horror films is often far more important than the film in and of itself. Similarly, experimental films--at least those that I'm attracted to--privilege viewer experience and suffer (if "suffer" is actually the right word) a similar consequence.

With that being said, here is a list for 2015, that I feel comfortable establishing as a "Personal Canon."

Visitor to a Museum (Konstantin Lopushansky)
This is the first film I'd seen in ages that literally floored me, found me exhausted, totally drove me into an interior space of explosive permutation. This film is terrifying and sad, indicative of a cosmic finitude that finds us alone. There is a thought that this should be experience again, soon, and perhaps spoken of longer, but as the initial experience was so corporeal, I worry about the lessening.

La vie nouvelle (Philippe Grandrieux)
While the narrative of Sombre is more suited to my taste La Vie Nouvelle takes the spot because of what it does in the medium of film. Grandrieux is a very important filmmaker for me, because he understands & has pushed forward the idea of film as a direct experience for the viewer (rather than an empathetic experience). The catalog of techniques of affect present in La vie nouvelle is astounding.

Daughters of Darkness (Harry Kumel)
Delphine Seyrig, perfect soundtrack, endless & empty hotel. Functioning as an unrelated sequel to Last Year at Marienbad, this is a strictly narrative genre film that still manages to contain a scene of such singular intensity it's rarely matched: Seyrig speaks of the Countess Elizabeth Bathory to the young couple, she holds her blue drink, reflective light takes on the shape of a diamond in the soft focus of the camera's filter, Seyrig's voice is so controlled, so modulated, it's as if the camera is circling her in a dizzying whirlwind, the story continues, and it's a story of terror, the young wife cannot take it, Seyrig is still speaking but there's an air of silence--and then the young wife actually cannot take it any more, she erupts. The tension is developed to such a point that one could, as the expression goes "cut it with a knife"--but in this case, the thickened air actually is cut, and that wound serves as the crux of the entire film.

Pentimento (Frans Zwartjes)
A film I have watched only once, long ago at this point despite a repeated intention to re-visit, but a film that haunts my headspace, a confluence of memory and dream, what I really love about this movie might not even be there. But, as such, this film becomes a perfect vessel to deliver that idea. Film as a medium should be able to exist in interstitial space between memory and invention. What I can remember: an abandoned institute, doctors and nurses, women, high heels, running in the mud, violence, entrails spilling out, impossible colors, the perfect drone of zwartjes' soundtrack, a feast, class relations, allegory or narrative, distance, cold, iciness. Can connect in the head to several other lesser (though still worthwhile) films, overwhelmed by narrative instead of imagery: Lifespan, with its circling Terry Riley soundtrack; Footprints, with its moon-man trauma; & perhaps even to the recent Errors of the Human Body, which displaces trauma into the late-capitalist experience of greed. But what is it that unites these films? Pentimento stands far apart, but the construction of a network serves to heighten all four.

La femme du gange (Marguerite Duras)
The universe that Duras constructed in the 70s and early 80s, through a network of novels, plays, films & short texts, is an endlessly fascinating narrative universe. The Vice Consul as a novel, India Film as a play, L'Amour as a text and La femme du gange as a film, feel, to me, like the most important elements of this universe (despite, perhaps, the fact that The Ravishing of Lol V Stein is literally the launching point). While it is perhaps India Film or The Truck that get the most attention out of Duras's oeuvre, I think there's a calm and quiet brilliance--an intensity in the sense of light--that haunts this film. We move back and forth between the beach of S. Thala & the interior of a hotel--is it the ballroom where it happened? There's whispering, questions... Also, I believe this was the first time that Duras figured out what would become her trademark technique in film, allowing the voice-over text to not always match up diegetically with the events on screen, though there is always a tension that creates meaning. There's something to be said of, perhaps, the necessity to experience Duras's films without subtitles, as she developed an idea of narrative based around the idea of hearing someone read in opposition to reading--something, of course, impossible without being to speak French. This is where the problem comes from with India Song, and why La femme du gange takes precedence above it.

Dead Mountaineers Hotel (Grigori Kromanov)
Elements: a mystery, perhaps a murder; isolation, brought about by snow storm; secrets, perhaps cosmic secrets; and above all, a hotel--a beautiful and impossible hotel of black walls decorated by neon, ballrooms filled with Krautrock tinged synth-prog--together this is a narrative space that I want to spend time within. This film is pure joy on an aesthetic level, and perfect melodrama in how the plot develops--and the movement from mystery to sci-fi works perfectly instead of at a level of denigration to the plot.

Martyrs (Pascal Laugier)
My interest in this movie seems to repeatedly surprise people or at least be seen as a 'questionable' opinion, but since it's pretty much positioned itself into my brain and stayed there for like.... 7 years? I'm willing to recognize that it belongs on a list like this. There's so much I like about this. On a formal level, I love that it literally uses the archetypes of genre in a literal 'bait and switch' coming at the almost exact half-way point--which I also would maintain continues to function beyond the level of "first viewing experience twist" (if considered as movements as in a musical score, the latter is of course informed by the former but redirects expectations and, more importantly, on the level of affect it provides a disorientation). Again, on a formal level, I also love how the second act borrows from historical incidences of JOY IN THE FACE OF DEATH, even tweaking reality (which seems to be something I've seen people complain about, despite the fact that hi movies are not real) to fit the current of the film (this is also perhaps a very Bataillean movie when considered with any sort of gravitas). It is imperfect (for example, the montage scenes in the second Act accompanied by very over-the-top "emotional" music threatens to disrupt how well the film works), but it is important and brilliant.

Beyond the Black Rainbow (Panos Cosmatos)
I love virtually everything about this movie. I saw it three times in theaters during the two weeks it was playing San Francisco. I have watched it multiple times since then. In terms of aesthetics this is 100% Perfect. Colors, Film Quality, Architecture, Music, Dialogue. The narrative exists exclusively in the realm of atmosphere, which is the mode in which I most appreciate plot. The heshers at the end arguably break the diegesis, but there's also a pleasure in how entirely unnecessary the scene is. While I recognize this movie exists exclusively in consideration of cult genre films that came before it, Cosmatos learns from the films he's clearly obsessed with instead of just stealing scenes & ideas from them (in the way someone like Tarantino does)--as such, the movie is entirely his own. It has a lineage, but it is entirely contemporary to the present.

L'important c'est d'aimer (Andrzej Zulawski)
I refer to this, when I'm asked, as "my favorite movie of all time." The way I view film makes having a singular film holding that title difficult, but after a few years and countless re-watches, it seems that the sentiment remains. I was asked, once, why it was this film, more than any of Zulawski's others, that I loved the most. It's a complicated answer, but there are two key points, I believe, that offer some sort of explanation. First, perhaps moreso than any other film like it, everything in the diegesis of the film occurs at a limit. As such, it's perhaps one of the most important limit-texts in all of film. There is an extremity, a desperation present. The mise-en-abyme of the film also speaks worlds about the nature of art and performance, while this is weaved into an impossible relationship that drives the core of the film: the impossible love that Fabio Testi's character feels for Romy Schneider's character. Movement in a Zulawski film always feels choreographed like dance, but here the choreography is an emotional choreography. Secondly, Fabio Testi's character/Fabio Testi himself is just so unbelievably attractive to me on such a deep level, both physical an in terms of actual Character. I would like to note, however, that save for a few details (some not explained here), much of Zulawski's work could sit in this position: Possession, La femme publique, Szamanka or perhaps even L'amour braque.

Kairo (Kiyoshi Kurosawa)

It's always a bit of a toss up between this film and Kurosawa's Cure--on any given day I could perhaps give a different answer. However, there's something that feels so overarching about this film, it feels like it extends into everything. Much of Kurosawa's work has this feeling, but in Kairo it's so finely tuned. This came out in 2001, but the ideas of the film (if not the technology) feel so utterly contemporary--for what has been discussed more in philosophical circles lately than the state of the anthropocene & the development of AI? I regularly find myself drawn to films which carry a simultaneous "iciness" and heavy emotional core at the same time. Kairo is a masterpiece because it manages to flatten out any hierarchy of importance between the characters--they're all interchangeable, virtual players in the geocosmic trauma of the world: humans are unimportant when considered in the larger picture, and I can't think of another film that manages to say this so well without being explicitly didactic.

Invisible Adversaries (VALIE EXPORT)
EXPORT's film is revolutionary in its refusal to settle into anything definable. It's markedly queer while maintaining a heterosexual female as its protagonist, it's narrative driven despite the fact that there is no Grand Narrative dominating the film, it explodes into moments of EXPORT's performance art. I find it shocking that so few people tire of male-dominated cinema at times, and EXPORT's film is a perfect antidote to this exhaustion.

Querelle (Rainer Werner Fassbinder)

This is, on a deeply personal level, a perfect cinematic manifestation of desire. It manipulates lust and desire with more intensity than pornographic film. It creates a longing, an ennui, with narrative. The artifice is necessary and perfect, for how else could a citadel of eroticism be constructed with film? Fassbinder's final film, similar to EXPORT's film, is a stringent revolt against both lazy eroticism and the inherent binaries that drive a commonplace understanding of desire. Which is to say: this is an explicitly queer movie that traffics in masculinity without positing it as a supremacy. Even the captain, played so perfectly by that other stud of Italian genre cinema, Franco Nero, in his longing there is a variant eroticism on display: a self-driven eroticism that is not repressed, but rather dependent upon the object being unattainable.

Naked Blood (Hisayasu Sato)
Like many others, Sato is a director I have a bona fide obsession with. As such, there are many many films of his that warrant mention, so one might question why I chose his (arguably) most well-known film for the list? Before I re-watched this last year (as half of a brilliant double feature paired with The Kirlian Witness) I remembered it as little more than a gore-fest. But the strange--for want of a better word--"art house" elements that pepper much of Sato's pinku films are on full display here, to a devastating effect. A woman deep frying and eating all the parts of her own body, a woman who becomes orgasmically responsive to piercing her flesh with jewels, these set-pieces actually recede into the ether in comparison with the story that drives the film here. A father disappears into a burst of light on a family trip, and the son he leaves behind spends his life trying to attain a scientific success out of debt to the absence. Life is incomplete until a woman who communicates telepathically with a cactus is introduced into his life. It all ends in death, as everything does, but the route we're taken on to arrive there is beautiful and strange.

Anatomy of Hell (Catherine Breillat)
Breillat wanted to adapt Duras's The Malady of Death (which is one of my favorite books) but could not get the rights, so instead she wrote her own book based on The Malady of Death (Pornocracy) and then turned it into a film. It's a beautiful film--I feel like this is a movie that reveals more about women than anything else. Accusations that the movie is "homophobic" is so entirely off point and only reinforces a patriarchal structure of understanding: the man in this film (played by the beautiful & well endowed Italian porn star Rocco Siffredi) is not important. This is a film about women, for women. Breillat refuses to let men into the film. And for that reason, this film is not only necessary, but also brilliant.

Blue Movie (Alberto Cavallone)
There's a reality to Cavallone seeming infinitely more interesting in theory than in practice, but when his films work, they work exceptionally well. Blue Movie tackles trauma from so many various angles, while simultaneously masquerading (and at times, performing as) an exploitation film. The film is a nightmare of closed spaced, amped up because the only exterior scenes are scenes of violation: as such, there is no space to feel safe. There can be no difference between inside or outside. As a structural metaphor of the inescapability of trauma, this is brilliant. And the film collides such desperation and intensity with a smartly considered (and apparently completely missed by most viewers) critique--another example of a cinematic limit-text.

Outside Satan (Bruno Dumont)
I was very late to the game with Dumont, but as I've now seen all of his films except for Humanité, he has firmly established himself in my head as a completely necessary director. While he's often compared to Bresson for his philosophical & political underpinnings and use of non-actors, I find Dumont much more rewarding (which is not to sell Bresson short by any means) in perhaps his contemporary subjects--this is a man who is making films about what it means to be alive right now. Outside Satan was my introduction to his work, and as such holds a place of importance. Also, since in many ways Dumont has made the same film multiples times, Hors satan is perhaps my favorite permutation of that narrative (it should go without saying that not all of his films are the same film, but Life of Jesus - Hors satan - P'tit Quinquin seems like variations on a theme).

Mil Sexos Tiene la Noche (Jess Franco)
Consider this film as a signifier of Franco's entire Golden Productions period, which for me is without question Franco at his best. I literally love work from all points of his oeuvre, and there are still so many more films of his I've yet to see, but in considering what I'm interested in film doing, the Golden Productions serve that mode best. Mil sexos tiene la noche is perhaps my favorite due to two things: 1) set almost entirely within a hotel, 2) the dominating theme of hypnosis. The entire film is carried in a sort of somnolent ennui, peaks never quite peak & the entire film flattens into fugue. The first time I saw this was on a non-subtitled transfer that had bizarrely blown out & hyper-saturated colors--these elements helped serve the disorientation the film offers. Franco is someone regularly deserving of attention.

Vite (Daniel Pommereulle) / Deux fois (Jackie Raynal)
These two films, for me, stand in for all of the films of the Zanzibar film group. It perhaps could be seen as a sin to praise the Zanzibar group without mention of Philippe Garrel, but while I love La lit de la vierge, Pommereulle's elliptical and hermetic Vite, along with Raynal's astutely smart & challenging renegotiation of materialist film each bring something so unique to cinema. I feel a similar joy and attraction with the films of Franco Brocani & Marcel Hanoun--these are all films that are located in some unnameable quadrant where feature-length narrative films collide with pure experimentation & the political/philosophical play of the late 60s and early to mid 70s.

The Films of Dore O & Werner Nekes

I know very little about either half of this power-couple, but I know that the films both were making individually, and the films they made together, are unquestionably beautiful and hermetic. Like fever dreams of affect, the fugue of aesthetics. At some point I will spend more time and perhaps figure out something more specific, but this is all I can speak to for now.

The Pornographic Films of Phil Prince & Roget Watkins

These films are all dark and nasty, yet they exist in the liminal space of an early 80s New York City that is dripping with... something. I can't articulate precisely what is about Phil Prince's bizarre low-budget sleaze-epics, but there's such abjection and vitriol present on screen that a hyper-space of eroticism is recreated as something no one could slide into without any sort of traumatic introduction. It's the bizarre nature of his films that I find appealing, they're simultaneously cheesy and sleazy, disturbing and hilarious. But, what makes the films work best of all is the presence of George Payne, who inhabits the sadistic characters found in Prince's films so perfectly. There's an energy that I want to compare to that of Klaus Kinski--it's that sort of screen presence [note: I also find Payne almost Paynefully (get it) attractive, a corporeal response is always almost guaranteed]. Watkins pornographic features function differently, as they're far more narrative than Prince's. Corruption and Midnight Heat hold as much pathos and revelation as any of Abel Ferrara or Paul Schrader's films. Corruption specifically offers a sensual derangement that leads to a nightmarish journey through the self as visualized with corridors and secrets behind hidden doors. Probably half the stories in my book Slow Slidings are in some way or another indebted to Watkins.

Related films that offer indications to an expansive sense of this personal canon, which it would warrant adding notes to at some point in the future:

  • And Then There Were None (Peter Collinson)
  • Manhattan Baby (Lucio Fulci)
  • The Taking of Deborah Logan (Adam Robitel)
  • The various permutations of the films of the Vienna Actionists
  • Institute Benjamenta (Quay Brothers)
  • Last Year at Marienbad (Alain Resnais)
  • Gradiva Esquisse 1 (Raymonde Carasco)
  • The specific position of Eurohorror, though perhaps weakened in any sort of guiding notion, is still occupied by Alain Robbe-Grillet, Jose Benazeraf, Jean Rollin, Renato Polselli, Vicente Aranda, Michele Soavi, Lamberto Bava, Álex de la Iglesia & Eloy de la Iglesia
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a moment of innocence
madchen in uniform
sweet movie
red beard
still life
[74, saless]
la commune (paris, 1871)
in a year of 13 moons
the texas chain saw massacre
celine and julie go boating
woman in the dunes
the night of the hunter
killer of sheep
the day i became a woman
fucking amal
crime wave
35 shots of rum
bush mama

Current Music: Alan Licht - Ali | Powered by Last.fm

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certified copy
marie antoinette
point break
the rules of the game
speed racer
what time is it there?
los angeles plays itself
je t'aime, je t'aime
noriko's dinner table
rio bravo
window water baby moving
christmas in july
elsa la rose
fireworks (47)
the round-up
rumble in the bronx
the strange little cat

Current Location: procrastination
Current Mood: nervous
Current Music: public library - a sniffling man

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The Seashell and the Clergyman (1928)
Hellzapoppin' (1941)
The Earrings of Madame de... (1953)
Nothing But a Man (1964)
The Young Girls of Rochefort (1967)
Kustom Kar Kommandos (1970)
Pakeezah (1972)
Love & Anarchy (1973)
Score (1974)
Sweet Movie (1974)
The Driver (1978)
Ilha Das Flores (1989)
Malcolm X (1992)
Time Indefinite (1993)
Josie and the Pussycats (2001)
Morvern Callar (2002)
Moolaade (2004)
Broken Sky (2006)
Love Exposure (2008)
Margaret (2011)
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Die Hard
Die Hard 2
Die Hard: With a Vengeance
Romeo Is Bleeding
It's a Wonderful Life
Funny Games
It's All About Love
Six-String Samurai
Le Samourai
Terminator 2
Love Actually
Third Man
In Bruges
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In no order of preference:
La Notte (1961, Michelangelo Antonioni)
Faces (1968, John Cassavetes)
Der Himmel über Berlin (1987, Wim Wenders)
Dead Man (1995, Jim Jarmusch)
Зеркало (The Mirror)(1975, Andrey Tarkovsky)
Ascenseur pour l'échafaud (1959, Louis Malle)
L'année dernière à Marienbad (1961, Allen Resnais)
8½ (1963, Federico Fellini)
Короткие встречи (Brief Encounters) (1967, Keira Muratova)
Такси-блюз (1990, Павел Лунгин)
Il deserto rosso (1964, Michelangelo Antonioni)
Brazil (1985, Terry Gilliam)
Dekalog (1989, Krzysztof Kieślowski)
L'eclisse (1962, Michelangelo Antonioni)
Андрей Рублёв (Andrey Rublev) (1966, Andrey Tarkovsky)
Сталкер (Stalker) (1979, Andrey Tarkovsky)
Shadows (1959, John Cassavetes)
Opening Night (1977, John Cassavetes)
Det sjunde inseglet (1957, Ingmar Bergman)
Pierrot le fou (1965, Jean-Luc Godard)
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Well, I'll try:

first ten movies - in the order of preference

The Match Factory Girl

Wings of desire
The Mother and the whore
The Tulse Luper Suitcases
Do the right thing
The Eclipse

Brief Encounters
The Bohemian Life
Easy Rider
Rosencrantz and Guildenstern are dead
Stranger than paradise
Beloved Electra
After Hours
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1. "The Lady Vanishes" (1938)
2. "Hellzapoppin'" (1941)
3. "Le Corbeau" (1943)
4. "The Spiral Staircase" (1945)
5. "Les dames du Bois de Boulogne" (1945)
6. "The Night of the Hunter" (1955)
7. "The Innocents" (1961)
8. "L’Eclisse" (1962)
9. "Le passager de la pluie" (1969)
10. "Rendez-vous a Bray" (1971)
11. "The Sting" (1973)
12. "Picnic at Hanging Rock" (1975)
13. "Three Days of the Condor" (1975)
14. "The Duellists" (1977)
15. "The Falls" (1980)
16. "House of Games" (1987)
17. "Monsieur Hire" (1989)
18. "Clockwatchers" (1997)
19. "Domino" (2005)
20. "Easy Virtue" (2008)

Current Music: The National - Anyone's Ghost

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Yes, I know that this community is semi-dead. Yes, I know that I rarely use my LJ account and have not much friends in LJ. But I wanted to give this a try.

The Lady Eve
The Hole (1998)
Design for Living
The Thing from Another World
The House Is Black
Zu: Warriors from the Magic Mountain
A Question of Silence
Kiki's Delivery Service
Cemetery Man
Black Test Car
A Moment of Innocence
The Raspberry Reich
The Green Ray
The Little Girl Who Sold the Sun
Friday Night
Assault on Precinct 13
The Reckless Moment
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guess what i haven't done this since 2008




lol here's my last 6 applications
2004: http://community.livejournal.com/theflickyoucrew/138631.html
2004 again (jokeee): http://community.livejournal.com/theflickyoucrew/211798.html
2004 part three: http://community.livejournal.com/theflickyoucrew/191044.html
2006: http://community.livejournal.com/theflickyoucrew/322019.html
2007: http://community.livejournal.com/theflickyoucrew/351258.html

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I dunno if this community is still live, or if it's died for lack of new members (lol), but figured I'd apply for fun.

A Hard Day's Night
The Proposition
Tetsuo Iron Man
The Big Lebowski
Rio Bravo
Tokyo Fist
Electric Dragon 80000v
El Topo
The Grand Silence
Wages of Fear
Bronco Billy (it's all heart, and I admire that it doesn't care that it's not that good a movie)
Space Runaway Ideon: Be Invoked
Dead or Alive 2: Birds (Miike)
Bullet in the Head (the bootleg version with the car chase and the piss drinking scene)
Bad Boys II (I enjoy this in the way most people enjoy Manos: The Hands of Fate)
Exiled (To)
Full Contact (Lam)
Rumble Fish (Lol young adult fiction)

RAD! is probably the most obscure thing on this list. I get a kick out of bringing it out when people start talking about The Goonies or Breakin' 2, so the movie has personal value to me beyond its qualities as a film (or lack thereof).
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Solaris (1972)
Lust, Caution
Requiem for a Dream
A Tale of Two Sisters
Pandora's Box
Through a Glass Darkly
Ghost World
Phoebe in Wonderland
The Reader
Eternal Sunshine of the Spotless Mind
Wings of Desire
Inland Empire
Hannah and Her Sisters
My Life to Live
The Innocents (1961)
Hairspray (1988)
Last Year at Marienbad
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Are we really letting Dancer in the Dark in? Vote please.

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 Hi everybody.  I don't have a profile or an avatar.  A friend turned me on to this thread and I set up an account to participate.  
I like lists of interesting films; they're helpful when I need leads on new names and titles.  They're effective when half of the list includes things that I love and the other half contains things that I've never heard seen.  There are some interesting lists here and while I was initially turned off by the judging/hazing I realize it makes sense—you don't need a board clotted up with Amelie, The Shawshank Redemption, Requiem For A Dream, Juno, things that win at Sundance, etc., or obvious "classics" like The Four Hundred Blows, Breathless, Vertigo, or Lawrence of Arabia (while I wouldn't begrudge anyone these latter films, a list full of them is redundant—look at a Sight and Sound poll).
Whittling the pool of films that I love down to twenty is silly and unnecessary.  There are too many and the list changes capriciously.  Here are twenty that I love and recommend; if the list is interesting then maybe we'll have some things to talk about.
1.  Beau Travail
2.  Film Ist.
3.  A Moment of Innocence
4.  Begone Dull Care
5.  13 Lakes
6.  Mulholland Drive
7.  Outer Space
8.  Nothing But A Man
9.  Killer of Sheep
10.  The Son
11.  Werckmeister Harmonies
12.  Winchester '73
13.  The Portrait of Jennie
14.  Shoah
15.  Cockfighter
16.  A Walk Through H
17.  The Homecoming
18.  Faust
19.  Color of Pomegranates
20.  Mirror
I saw Laurent Cantet's "The Class" tonight and loved it.  
All of these knock me out.  I'd be happy to expand.  I'm sure you'll let me know if I can play along.
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Just a quick question for you film folk.Collapse )
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1. Walker (Alex Cox, 1987)
2. Superstar: The Karen Carpenter Story (Todd Haynes, 1987)
3. The Reflecting Skin (Philip Ridley, 1990)
4. The World's Greatest Sinner (Timothy Carey, 1962)
5. Tampopo (Juzo Itami, 1985)
6. Coonskin (Ralph Bakshi, 1975)
7. The Night Porter (Liliana Caviani, 1974)
8. Aguirre: The Wrath of God (Werner Herzog, 1972)
9. Titicut Follies (Frederick Wiseman, 1967)
10. Electra Glide in Blue (James William Guercio, 1973)
11. Amores Perros (Alejandro González Iñárritu, 2000)
12. Glen or Glenda (Edward D. Wood Jr., 1953)
13. Storefront Hitchcock (Jonathan Demme, 2000)
14. The Plague Dogs (Martin Rosen, 1982)
15. The Curse of the Cat People (Gunther von Fritsch and Robert Wise, 1944)
16. Dancer in the Dark (Lars von Trier, 2000)
17. The Rules of Attraction (Roger Avary, 2002)
18. Solaris (Andrei Tarkovsky, 1972)
19. The Ninth Configuration (William Peter Blatty, 1980)
20. The Old Dark House (James Whale, 1932)

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OK, so, these two tapes have been on my Amazon.com wishlist forever, and I have no idea how I found them:

Incision (dir. Pegarty Long) http://www.amazon.com/INCISION-Philomene-Long/dp/0967554705/ref=wl_it_dp?ie=UTF8&coliid=I1B736BCS61DWY&colid=1VNT1RL1OFVAT
Overhead (dir. Alejandro Jodorowsky?) http://www.amazon.com/Overhead-Denise-Brossot/dp/B00008FHK1/ref=wl_it_dp?ie=UTF8&coliid=I5WGUZSNQY7UQ&colid=1VNT1RL1OFVAT

Anybody know what either of these are/if they're worth actually tracking down?
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Land in Anguish (Rocha)
Bringing Up Baby (Hawks)
At Sea (Hutton)
<----> (Snow)
The Devils (Russell)
The Miracle of Morgan's Creek (Sturges)
Shift (Gehr)
La Collectionneuse (Rohmer)
Laura (Preminger)
Muriel (Resnais)
Report (Conner)
Debt Begins at 20 (Beroes)
Shadows of Forgotten Ancestors (Paradjanov)
Design for Living (Lubitsch)
The Cremator (Herz)
The Bad and the Beautiful (Minelli)
Very Nice Very Nice (Lipsett)
Pillow Talk (Doris)
The Connection (Clarke)
I Am a Fugitive From a Chain Gang (LeRoy)

Current Music: au revoir simone

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Burden of Dreams
McCabe & Mrs. Miller
The Piano Teacher
Days of Heaven
Barry Lyndon
The Decline of Western Civilization
The Tenant
Paper Moon
Taxi Driver
The Brood
Deep Red
Bad Timing
The General
Out of the Blue
The Decalogue
The Beyond
The Killing of a Chinese Bookie
Dawn of the Dead
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Visitor Q
Brief Encounter
Pather Panchali
Rosemary's Baby
Pink Flamingos
Play Time
Violent Cop
Wings of Desire
Untitled (For Marilyn)
Belle de Jour
Berlin: Symphony of a Great City
Passion of Joan of Arc
Pulse (K.K.) (lurked! thx)
Pandora's Box
Werner Herzog Eats His Shoe

I've been lurking this comm for awhile, so I just wanted to step out of the shadows and say hi, even though I don't expect to get accepted, because everyone here has good things to say. I don't really have an LJ (created this just to apply), but if anyone wants to add me I'll totes add back and maybe get into LJ for real!
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Empire Magazine's Top 500 Films of all Time

Remember a year or so ago I posted Total Film's list of the 100 best directors and we all bitched about there being no documentaries...
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I'm reapplying like r00b, becuase my list probably looks a lot different than it used to as well. No order, 20 gets harder to do the more movies I see, etc.

Victory Over the Sun
Score (Metzger)
Muscle (Sato)
Lips of Blood / Iron Rose (Rollin, tied for top Rollin)
Inland Empire
Eden and After
Mil Sexos Tiene La Noche (Franco, aka Night of 1,000 Sexes - neither title is more well known, I guess)
Corruption (Watkins)
Happy-End (Tscherkassky)
Daughters of Darkness
Possession / The Most Imporant Thing: Love (Zulawski, and I can't pick just one)
Fruits of Passion (Story of O Continued)
Last Year at Marienbad
The Beyond
Loft / Kairo (K. Kurosawa)
Two Lane Blacktop
Bells of Atlantis (Hugo)
Institute Benjamenta

now featuring my last five applications so we can all laugh about the time i didn't know what "balls out" meant:

2004: http://community.livejournal.com/theflickyoucrew/138631.html
2004 again (jokeee): http://community.livejournal.com/theflickyoucrew/211798.html
2004 part three: http://community.livejournal.com/theflickyoucrew/191044.html
2006: http://community.livejournal.com/theflickyoucrew/322019.html
2007: http://community.livejournal.com/theflickyoucrew/351258.html
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I'm reapplying because there are a bunch of movies that got left off my top 100, mostly due to my having watched them since I started my top 100, and I wanted to at least doff my hat to them.

In the style of uberdionysus, the last 20 great films I've seen.

Drunken Master (1978)
The Young Girls of Rochefort (1967)
Fat Girl (2001)
A Thousand Clouds of Peace (2003)
Out of the Blue (1981)
An Angel at My Table (1990)
The Cameraman's Revenge (1911)
L'Intrus (2004)
Casino Royale (2006)
After Hours (1985)
Trash (1970)
Bird with the Crystal Plumage (1970)
Score (1973)
Black Cat, White Cat (1998)
The Driver (1978)
Martin (1977)
Retribution (2006)
Black Caeser (1973)
The Yakuza Papers: Police Tactics (1974)
Parpaillon (1993)

All of these could easily make my top 100 and several could make my top 30 as well. I just didn't want to junk any of the work that I'd already done.

Current Mood: intimidated

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What 1998 movie went off without a hitch... and was a complete failure?

Get it?
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Previous app

The Cook, The Thief, His Wife and Her Lover
The Thing (Carpenter)
Faust (Svankmajer)
The Fourth Man (Verhoeven)
Aftermath (Cerda)
32 Short Films About Glenn Gould
Don't Look Now
Street of Crocodiles
The Searchers
The Trial (Welles)
Wild At Heart
Monty Python's Meaning of Life
Fires on the Plain
Day of the Dead
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Let me try

1. Casablanca (Curtiz)
2. Stalker (Tarkovsky)
3. Apocalypse Now (Coppola)
4. Dead Man (Jarmush)
5. Pierrot le fou (Godard)
6. Easy Rider (Hopper)
7. Cache (Haneke)
8. Blue Velvet (Lynch)
9. Chien andalou (Bunuel)
10. Days of being wild (Kar-Wai)
11. Falsche Bewegung (Wenders)
12. Hana-Bi (Kitano)
13. Nowhere (Araki)
14. Vanishing Point (Sarafian)
15. Y Tu Mama Tambien (Cuaron)
16. Last Tango in Paris (Bertolucci)
17. Irreversible (Noe)
18. In My Skin (de Van)
19. Happiness (Solondz)
20. Taxi Driver (Scorsese)
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I added some of you to my friends list. Mostly those of you who I recall being interesting or funny. Some becuase I perused most of your journals and found yours interesting. If you think that's creepy, let me know and I'll un-add you... I'll subtract you.

Kinda trying to get mine to be what I've been wanting it to be, and it's hard to find motivation to do anything good with my LJ when no one reads it, nah mean? If I didn't add you, it's probably because I don't remember you from here, or your journal seemed inactive, or your journal was friends-only and that makes me feel like I'd come off as too needy. Add me and I'll add you back.

While I'm here, anyone seen anything worth a damn lately?

I went to see Burn After Reading. It was a bit crap. Anyone else hate going to the theatre alone?

Forgetting Sarah Marshall was funny, but I wasn't "rolling" as a friend said I'd be.
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I pick up a lot of random reference books. Light material that I can skim when I'm bored or trying to get to sleep or in the car, etc. I'm currently reading a book of lists. Just hundreds of random lists. There's a section on several film industry people's lists of favorite movies. What would you vote on these people:

John Wayne

1. A Man for All Seasons
2. Gone With the Wind
3. The Four Horsemen of the Apocalypse
4. The Searchers
5. The Quiet Man

Grace Kelly

1. The Quiet Man
2. The Bicycle Thief
3. Gone with the Wind
4. La Grande Illusion
5. Some Like It Hot

Jane Fonda

1. Citizen Kane
2. Les Enfants du Paradis
3. Paths of Glory
4. The Grapes of Wrath

Sean Connery

1. The Seven Samurai
2. Seven Brides for Seven Brothers
3. Persona
4. The Best Years of Our Lives
5. Never on Sunday
6. On the Waterfront
7. The African Queen
8. Umberto D
9. The Gold Rush
10. Battleship Potemkin

Robert Duvall

1. The Seven Samurai
2. Kes
3. The Godfather
4. Tomorrow
5. Pixote
6. The 400 Blows
7. Gunga Din
8. Alambrista!
9. The Great Dictator
10. Kagemusha

Frederico Fellini

1. Several Charlie Chaplin films: The Circus, City Lights, Monsieur Verdoux
2. Stagecoach
3. A Marx Brothers or Laurel and Hardy Picture
4. Rashomon
5. The Discreet Charm of the Bourgeoisie
6. 2001: A Space Odyssey
7. Paisan
8. The Birds
9. Wild Strawberries
10. 8 1/2

William Wyler

1. The Cabinet of Dr. Caligari
2. Battleship Potemkin
3. All Quiet on the Western Front
4. Several Charlie Chaplin Films (Why can't these guys get specific with the Chaplin?)
5. Bridge on the River Kwai
6. Fanny (Pagnol's)
7. La Dolce Vita
8. The Treasure of the Sierra Madre
9. Dr. Strangelove
10. (With apologies) The Best Years of Our Lives

Pedro Almodovar

1. Viaggion in Italia
2. Leave Her to Heaven
3. Opening Night
4. The Apartment
5. To Be or Not to Be
6. El
7. Rules of the Game (Renoir)
8. The Quiet Man
9. Out of the Past
10. North by Northwest

Roger Corman

1. Battleship Potemkin
2. La Grande Illusion
3. The Seventh Seal
4. I Vitelloni
5. Citizen Kane
6. Lawrence of Arabia
7. The 400 Blows
8. The Grapes of Wrath
9. Star Wars
10. An Outcast of the Islands

William Friedkin

1. Citizen Kane
2. All About Eve
3. The Treasure of the Sierra Madre
4. Singin' in the Rain
5. The Band Wagon
6. Double Indemnity
7. 2001: A Space Odyssey
8. The Verdict
9. Fatal Attraction
10. Paths of Glory

Corman's is especially disappointing.
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Kiseichuu: kiraa pusshii /Sexual Parasite: Killer Pussy/ (2004) Takao Nakano
Vera (2003) Francisco Athié
Ed Wood: Look Back in Angora (1994) Ted Newsom
964 Pinocchio (1991) Shozin Fukui
Rosencrantz & Guildenstern Are Dead (1990) Tom Stoppard
Fingered (1986) Richard Kern
Burden of Dreams (1982) Les Blank
Dead Men Don't Wear Plaid (1982) Carl Reiner
El Castillo de la pureza /Castle of Purity/ (1973) Arturo Ripstein
Morte a Venezia /Death in Venice/ (1971) Luchino Visconti
Terrore nello spazio /Planet of the Vampires/ (1965) Mario Bava
Shree 420 /Mr. 420/ (1955) Raj Kapoor
Gojira /Godzilla/ (1954) Ishirô Honda
Sadko /The Magic Voyage of Sinbad/ (1953) Aleksandr Ptushko
Sorry, wrong number (1948) Anatole Litvak
Poruchik Kizhe /The Czar Wants to Sleep/ (1934) Aleksandr Fajntsimmer
Just Imagine (1930) David Butler
La Petite marchande d'allumettes /The Little Match Girl/ (1928) Jean Renoir
Die Nibelungen (1924) Fritz Lang
Prästänkan /The Witch Woman/ (1920) Carl Theodor Dreyer
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I'm cross-posting to another comm, so my apologies to those that see this twice.

I felt this might be a good group to ask about this. Please recommend me any scholarly journals that are devoted to documentary film, photography (photography theory?), archiving, or media and culture. I'm not concerned with where in the world they originate (though English is helpful).

Thanks for your help, lovelies.
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i am sort of amazed at how many of us have not seen a lot of films and admit to doing so in our challenges, responses to lists, etc. if we haven't seen this shit (and to be a snotty whore i've seen a lot of this shit) how on earth can we judge people fairly?

just wanted to throw that out there.
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Since this is getting actual attention, vote on this please:

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1. Out 1: Noli Me Tangere
2. Terror's Advocate
3. Salesman
4. Climates
5. Chikamatsu Monogatari
6. Week-End
7. Irreversible
8. Twentynine Palms
9. Satantango
10. Salo
11. Sullivan's Travels
12. High and Low
13. Marie Antoinette
14. Zero de Conduit (Zero for Conduct)
15. Medium Cool
16. Marat/Sade
17. Manderlay
18. Eyes Wide Shut
19. Chelsea Girls
20. Panic in Needle Park
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Almost Famous
Children of Men
The Creature from the Black Lagoon
Dazed and Confused
Donnie Darko
Five Easy Pieces
High Fidelity
Lost in Translation
Ocean’s 11
Pulp Fiction
Rear Window
The Shawshank Redemption
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The Umbrellas of Cherbourg
The Patsy (the King Vidor one, but Show People is also a pretty good example of Vidor/Davies; apparently there's a movie with the same title with Jerry Lewis, but I'm not French)
Imitation of Life (the Sirk one)
Careful (ooh or The Heart of the World, both are good Guy)
Fando y Lis
Serial Mom
Valerie and Her Week of Wonders
Blue Velvet (sorry)
Jules and Jim
Pistol Opera
Walk on the Wild Side
Drowning by Numbers
Midnight Lace
Women on the Verge of a Nervous Breakdown
Gentlemen Marry Brunettes
The Enchanted Forest
Pandora's Box
Night of the Living Dead

Uhhh, hi.

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hey i've been lurking this community for a time

i obv. don't use my lj at all so that's gonna get me banned but i'm gonna apply anyway

i mean what are you gonna do, come to my house and beat me up

i live in perth, australia so i'd like to see you try, prick

also i'm moving this week so that would make it extra difficult

yesterday i was smoking a cigarette and this guy i work with was like what are you doing you're not old enough to smoke and i had to assure him that i was. please keep this in mind

here are some movies i like

i hate fun and laughing and disclaimers

beau travail
crimes and misdemeanors
visitor q
the belly of an architect
el topo
songs from the second floor
the killing of a chinese bookie
fallen angels
my life to live
in memory of the day passed
the annunciation
last life in the universe
the beekeeper
mein leibster fiend

(please give me the top 5 pornstars challenge please come on)
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A friend at work asked me if I knew of any good Great Depression films. I suggested Grapes of Wrath, then realized I couldn't think of any others.

The list of films that have it as a keyword on imdb wasn't very helpful.

So like, got any?
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I've looked at some of the lists, and a lot of them look pretentious. I've seen a lot of the films that other applications are coveting, and it just seems like they're trying to be film snobs. So, hopefully, you guys aren't just grading on how obscure the films are..because mine...are not.

1. The Last House on the Left
2. A Tale of Two Sisters
3. Ed Wood
4. Fear and Loathing in Las Vegas
5. To Wong Foo: Thanks for Everything, Julie Newmar (I can't help it, I love this movie)
6. The Producers
7. American History X
8. Spirited Away
9. Disney's Beauty and the Beast
10. What Dreams May Come
11. Requiem for a Dream
12. A Clockwork Orange
13. Do the Right Thing!
14. American Psycho
15. Amadeus
16. Election
17. Mini's First Time
18. Labyrinth
19. Single White Female
20. Ever After (not very original, or well-made but I watch it over and over)
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Chan is Missing
Hot Fuzz
The Cabinet of Dr. Caligari
Return of the Living Dead II
Le Petite Lieutenant
The Host
Arsenic and Old Lace
Black is... Black Ain't
Pump Up the Volume
Dead Man
Blue Velvet
28 Days Later
A History of Violence
Night of the Hunter
The Virgin Suicides
The Shining
Control Room
Constantine (4EVR)
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the films that define me

  1. Double vie de Véronique, La/The Double Life of Veronique (1991, Krzysztof Kieslowski)

  2. Eternal Sunshine of the Spotless Mind (2004, Michel Gondry)

  3. Crimes and Misdemeanors (1989, Woody Allen)

  4. Bon voyage (2003, Jean-Paul Rappeneau)

  5. Bonnie and Clyde (1967, Arthur Penn)

  6. Network (1976, Sidney Lumet)

  7. Sunset Blvd. (1950, Billy Wilder)

  8. La Cérémonie/A Judgement in Stone (1995, Claude Chabrol)

  9. Trois couleurs: Rouge/Three Colors: Red (1994, Krzysztof Kieslowski)

  10. Sense and Sensibility (1995, Ang Lee)

  11. Shadow of a Doubt (1943, Alfred Hitchcock)

  12. Cléo de 5 à 7 /Cleo from 5 to 7 (1962, Agnes Varda)

  13. The Royal Tenenbaums(2001, Wes Anderson)

  14. Angst vor der Angst /Fear of Fear (1975, Rainer Werner Fassbinder)

  15. Vertigo (1958, Alfred Hitchcock)

  16. À bout de souffle/ Breathless (1959, Jean-Luc Godard)

  17. Dangerous (1935, Alfred E. Green)

  18. A Star is Born (1937, William A. Wellman)

  19. Vivement dimanche! (1983, Francois Truffaut)

  20. Confidences trop intimes/Intimate Strangers (2004)

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Cabiria 1914
Passion of Joan of Arc 1928
Shoeshine 1947
Devi 1960
My Green Crocodile 1966
Viy 1967
Titcut Follies 1967
Double Suicide 1969
Solyaris 1972
Badlands 1973
The Great Ecstasy of the Woodcarver Steiner 1975
The Man Who Fell to Earth 1976
The Desert of the Tartars 1976
After Hours 1985
A Zed & Two Noughts 1985
Breakfast on the Grass 1987
Seventh Continent 1989
Clifford 1994
Flowers of Shanghai 1998
Blind Shaft 2003
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