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Post by ibbi on Dec 3, 2022 9:38:52 GMT
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Post by The_Cake_of_Roth on Dec 3, 2022 9:54:58 GMT
Absolutely precious that Bong and Miller put each other's films on their list.
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Post by JangoB on Dec 3, 2022 11:41:16 GMT
Well, the list did its job - I finally watched Jeanne Dielman after making a stab at it years ago and bailing after 30 minutes. Things sure have changed... Really dug the movie. I don't think it's deserving of a #1 of all time status (to me it's not even top 5 of its year... or maybe it is, I'm still thinking) but it's still a fascinating and quite singular cinematic experience so I don't really care if its placement on the list is agenda-driven or not - after watching it I don't really mind. At least it wasn't Beau Travail. I do think that there is a funny aspect about it placing first though. For all the advancements and flights of fancy cinema has birthed over its 120-year existence, the pinnacle of it being a 200 minute collection of static shots most of which involve one character doing domestic chores is almost perversely amusing
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Post by DeepArcher on Dec 3, 2022 15:59:10 GMT
Anyway. If we're still doing this part of the thread, I think I settled on my ten. I think. I dunno if I like it:
Vertigo (Hitchcock) Mulholland Drive (Lynch) In the Mood for Love (Wong) High and Low (Kurosawa) Fanny and Alexander (Bergman) Orpheus (Cocteau) The Red Shoes (Powell & Pressburger) Spirited Away (Miyazaki) Eyes Wide Shut (Kubrick) The Graduate (Nichols)
Hard to do. Sadly excludes some of my personal 10 essentials (Heat, The Matrix), excludes probably my favorite genre altogether (horror), and excludes for example Paris, Texas which some days is my #1 - but once I settled on this ten I didn't really want to cut anything.
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Post by pessimusreincarnated on Dec 3, 2022 17:30:01 GMT
1. 12 Angry Men (Lumet) 2. 2001: A Space Odyssey (Kubrick) 3. Persona (Bergman) 4. Ran (Kurosawa) 5. Apocalypse Now (Coppola) 6. Psycho (Hitchcock) 7. Mulholland Drive (Lynch) 8. Raging Bull (Scorsese) 9. City of God (Meirelles) 10. The Last Picture Show (Bogdanovich)
More a list of what I consider to be the truly greatest films I've seen rather than just personal taste. Though, I do absolutely love most of these and they're all at least in my personal top 50.
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Post by Tommen_Saperstein on Dec 3, 2022 17:51:30 GMT
sure I'll take a stab at it.
01. Lawrence of Arabia (Lean) 02. The Godfather (Coppola) 03. Le Bonheur (Varda) 04. Vertigo (Hitchcock) 05. Z (Gavras) 06. Il Posto (Olmi) 07. Persona (Bergman) 08. Singin' in the Rain (Kelly & Donen) 09. City Lights (Chaplin) 10. Barry Lyndon (Kubrick)
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Post by mikediastavrone96 on Dec 3, 2022 18:21:53 GMT
2001: A Space Odyssey (Kubrick, 1968) City Lights (Chaplin, 1931) Cléo from 5 to 7 (Varda, 1962) Eternal Sunshine of the Spotless Mind (Gondry, 2004) E.T. the Extra-Terrestrial (Spielberg, 1982) The Godfather Part II (Coppola, 1974) Persona (Bergman, 1966) Singin' in the Rain (Kelly & Donen, 1952) Stalker (Tarkovsky, 1979) The Wizard of Oz (Fleming, 1939)
If I went Scorsese and submitted 15:
Back to the Future (Zemeckis, 1985) Man with a Movie Camera (Vertov, 1929) Paris, Texas (Wenders, 1984) Taxi Driver (Scorsese, 1976) United 93 (Greengrass, 2006)
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Post by DeepArcher on Dec 3, 2022 18:23:03 GMT
01. Lawrence of Arabia (Lean) 02. The Godfather (Coppola) 03. Le Bonheur (Varda)
04. Vertigo (Hitchcock) 05. Z (Gavras) 06. Il Posto (Olmi) 07. Persona (Bergman) 08. Singin' in the Rain (Kelly & Donen) 09. City Lights (Chaplin) 10. Barry Lyndon (Kubrick) I adore Le Bonheur, great call. Kind of kicking myself for completely spacing on it as a contender for my own list.
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Film Socialism
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Post by Film Socialism on Dec 3, 2022 19:54:47 GMT
Celine and Julie Go Boating (Rivette, 1974) Wax, or the Discovery of Television Among the Bees (Blair, 1991) Bicycle Thieves (De Sica, 1948) Les miserables (Bernard, 1934) The Mother and the Whore (Eustache, 1973) The Thing (Carpenter, 1982) City of God (Meirelles & Lund, 2002) La dolce vita (Fellini, 1960) The Tree of Life (Malick, 2011) Dawn Breaking (Fudong, 2018)
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Post by ibbi on Dec 3, 2022 19:55:56 GMT
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Post by Tommen_Saperstein on Dec 3, 2022 20:42:28 GMT
01. Lawrence of Arabia (Lean) 02. The Godfather (Coppola) 03. Le Bonheur (Varda)
04. Vertigo (Hitchcock) 05. Z (Gavras) 06. Il Posto (Olmi) 07. Persona (Bergman) 08. Singin' in the Rain (Kelly & Donen) 09. City Lights (Chaplin) 10. Barry Lyndon (Kubrick) I adore Le Bonheur, great call. Kind of kicking myself for completely spacing on it as a contender for my own list. The way a certain characters disappears from the protagonist's life and practically nothing changes about it makes the movie one of the most shocking (and tbh eerie) gender parables I've seen. I haven't seen Dielman yet but Le Bonheur feels like a definitive feminist film and I'm surprised it didn't make the S&S list. only having a top 10 is super limiting. I was kicking myself for not including Vivre sa Vie but I loved that you included Eyes Wide Shut. I wasn't sure which Kubrick to include so I just defaulted to Lyndon but I can't get enough of EWS.
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Post by countjohn on Dec 3, 2022 20:43:32 GMT
From the reaction I was expecting this to be much more of a film school freshman/film twitter hot take list. It's relatively normal aside from the elephant in the room at number 1.
Doubt the magazine was involved but I find it hard to believe there wasn't some kind of "campaigning" going on behind the scenes to get a female directed film to no. 1. Going from the mid 30's to 1 in one poll isn't normal without some kind of big public reassessment which didn't happen here. Kane went from 11 to 1 from 52 to 62 and that was with Welles starting to be championed as the ultimate auteur by the French New Wave guys when he has been considered a washed up has been in 52. Then Vertigo slowly climbed the list over the decades in accordance with it's critical reputation improving and was only five votes behind Kane in 02.
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Post by JangoB on Dec 3, 2022 20:48:49 GMT
You showed us yours so I'll show you mine:
- 8½ (1963, Fellini) - 2001: A Space Odyssey (1968, Kubrick) - Late Spring (1949, Ozu) - The Cranes Are Flying (1957, Kalatozov) - The Life and Death of Colonel Blimp (1943, Powell & Pressburger) - A.I. Artificial Intelligence (2001, Spielberg) - Raging Bull (1980, Scorsese) - Gone with the Wind (1939, Fleming and co.) - The Godfather (1972, Coppola) - Aliens (1986, Cameron)
This isn't my personal top 10 of all time (although they're all among my very favorites) - I approached this from a "time capsule" type of scenario, imagining a bunch of future people discovering a hard drive with "CINEMA" written on it. Basically the movies I'd choose to represent the medium.
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Post by countjohn on Dec 3, 2022 20:50:43 GMT
Lawrence of Arabia isn't a white savior narrative at all. He's a sadomasochistic narcissist with a god complex in search of identity and purpose that he never finds, and then he goes home to England to die in a stupid motorcycle accident. If anything the film is a deconstruction of the white savior narrative and that's among the reasons why it's so great. And this isn't even particularly subtle so I'm not even sure what there is to "get" here. I'm not sure what it is about the "politics" of the film that Dash objects to when the movie's political position is pretty clearly that the British fucked up the Middle East for generations to come. And it outright shows Lawrence massacring surrendering soldiers as other characters look on in horror so IDK why we have to bring up his war crimes as a "yeah but" for the movie when it doesn't gloss over it at all. It's like people these days can't wrap their heads around the themes of a movie unless you spell it all out for them in a caption at the end or have characters just look straight into the camera and talk at the audience like Adam McKay always does.
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Post by countjohn on Dec 3, 2022 20:57:04 GMT
from the man who just won Best Director with the NYFC This would be way more punk rock if the other 9 were super obscure European arthouse shit but then he just dropped Kung Fu Panda on there and wrote a philosophical giant spiel about it underneath like when Zizek reviewed it.
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Post by Tommen_Saperstein on Dec 3, 2022 20:57:14 GMT
Lawrence of Arabia isn't a white savior narrative at all. He's a sadomasochistic narcissist with a god complex in search of identity and purpose that he never finds, and then he goes home to England to die in a stupid motorcycle accident. If anything the film is a deconstruction of the white savior narrative and that's among the reasons why it's so great. And this isn't even particularly subtle so I'm not even sure what there is to "get" here. I'm not sure what it is about the "politics" of the film that Dash objects to when the movie's political position is pretty clearly that the British fucked up the Middle East for generations to come. And it outright shows Lawrence massacring surrendering soldiers as other characters look on in horror so IDK why we have to bring up his war crimes as a "yeah but" for the movie when it doesn't gloss over it at all. It's like people these days can't wrap their heads around the themes of a movie unless you spell it all out for them in a caption at the end or have characters just look straight into the camera and talk at the audience like Adam McKay always does. oh god, now I'm imagining Lawrence of Arabia with freeze-frames and cynical jokey narration "it was at that moment, he knew he fucked up"
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Post by JangoB on Dec 3, 2022 21:09:34 GMT
And this isn't even particularly subtle so I'm not even sure what there is to "get" here. I'm not sure what it is about the "politics" of the film that Dash objects to when the movie's political position is pretty clearly that the British fucked up the Middle East for generations to come. And it outright shows Lawrence massacring surrendering soldiers as other characters look on in horror so IDK why we have to bring up his war crimes as a "yeah but" for the movie when it doesn't gloss over it at all. It's like people these days can't wrap their heads around the themes of a movie unless you spell it all out for them in a caption at the end or have characters just look straight into the camera and talk at the audience like Adam McKay always does. oh god, now I'm imagining Lawrence of Arabia with freeze-frames and cynical jokey narration "it was at that moment, he knew he fucked up" "And here's Margot Robbie in a bathtub to explain what happened next..."
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Post by ibbi on Dec 3, 2022 21:45:45 GMT
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Post by Joaquim on Dec 3, 2022 22:18:22 GMT
Limiting my 10 to 1 per director
1. Dunkirk (Nolan, 2017) 2. Scarface (De Palma, 1983) 3. Fight Club (Fincher, 1999) 4. Band of Outsiders (Godard, 1964) 5. A Clockwork Orange (Kubrick, 1971) 6. Raiders of the Lost Ark (Spielberg, 1981) 7. Forrest Gump (Zemeckis, 1994) 8. Pink Floyd: The Wall (Parker, 1982) 9. The Wages of Fear (Clouzot, 1953) 10. Psycho (Hitchcock, 1960)
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Post by pacinoyes on Dec 3, 2022 22:51:12 GMT
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Post by The_Cake_of_Roth on Dec 3, 2022 23:16:33 GMT
My personal top 10 list of favorites is different, but these are all in my top 50. 1 per director:
The Godfather Part II The Tree of Life Dekalog 2001: A Space Odyssey Jean de Florette/Manon of the Spring Vertigo Chinatown Unforgiven No Country for Old Men Aguirre, the Wrath of God
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Post by pacinoyes on Dec 3, 2022 23:56:17 GMT
I'll give it a shot- this is not exactly my top 10 - I'm not great at lists or consistent with them either - but my personal top 10 isn't exactly what I'd vote for in a poll like this - I think not being able to differentiate between your faves and best is kind of weird for me anyway
1 per:
Chinatown (Polanski) The Conversation (Coppola) Aguirre, Wrath of God (Herzog) Vertigo (Hitchcock) La Jetée (Marker)
The Virgin Spring (Bergman) Dekalog (Kieslowski) Jean De Florette / Manon of the Spring (Berri) Taxi Driver (Scorsese) Citizen Kane (Welles)
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Post by countjohn on Dec 4, 2022 2:33:31 GMT
I'll attempt one, I think I have a solid eight-
2001: A Space Odyssey (Kubrick, 1968) Citizen Kane (Welles, 1941) Discreet Charm of the Bourgeoisie (Bunuel, 1972) Ivan the Terrible (Eisenstein, 1944) Tea and Sympathy (Minelli, 1956) The Apartment (Wilder, 1960) The Godfather (Coppola, 1972) The Graduate (Nichols, 1967)
I'd pick the remaining two from some other choices-
Doctor Zhivago (Lean, 1965) Fantasia (Armstrong, Algar, et al, 1940) Gone With the Wind (Fleming, 1939) Hamlet (Olivier, 1948) Network (Lumet, 1976) On the Waterfront (Kazan, 1954) Roman Holiday (Wyler, 1953) The Dark Knight (Nolan, 2008) The Royal Tenebaums (Anderson, 2001) Toy Story (Lasseter, 1995) Uncle Boonmee Who Can Recall His Past Lives (Weerasethakul, 2010) Waterloo Bridge (LeRoy, 1940)
Could have gone with Apocalypse Now or a second Kubrick too but was keeping it to one a director
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Post by Mattsby on Dec 4, 2022 3:09:11 GMT
Shouting out two more tens. One, maybe the most unfaultable list yet from Schrader who met a lot of controversy today for his misconstrued comments we posted on the prev page. Two, someone I've never heard of, her list is amazing (tho I've n/s a few) bc it's the only one I've come across that has McCabe or Mikey and Nicky... and it has Dark Star which isn't very good but fun and in the spirit of filmmaking and better than 2001 which it spoofs (I wonder if she placed it as a middle finger to the anticipated overpraise of the Kubrick).
Paul Schrader
Pickpocket Tokyo Story Persona The Rule of the Game The Conformist Vertigo The Wild Bunch Metropolis The Godfather The Lady Eve
Athina Rachel Tsangari (dir of Attenberg, Chevalier; producer of Dogtooth, Before Midnight)
The House is Black Wanda Zama Shoah Dark Star McCabe & Mrs Miller Mikey and Nicky Pierrot le fou The General Blissfully Yours
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Post by cinemagirl16 on Dec 4, 2022 3:16:33 GMT
The White Ribbon (Haneke) Persona (Bergman) In the Mood for Love (Kar-wai) Paris, Texas (Wenders) Possession (Zulawski) Black Narcissus (Powell, Pressburger) Amadeus (Forman) Metropolis (Lang) Princess Mononoke (Miyazaki) Cleo 9 to 5 (Varda)
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