Monday, December 28, 2009


Note from Allison: Any question I didn't have time for, I deleted. ;)

1) Second-favorite Coen Brothers movie.
Hudsucker Proxy. It used to be my favorite, however, I finally had to admit to myself that Fargo was the much better movie. A Serious Man also killed me, but I'd have to rewatch it to make sure I didn't love it better than the aforementioned films.

2) Movie seen only on home format that you would pay to see on the biggest movie screen possible? (Question submitted by Peter Nellhaus)
La double vie de Véronique. They played it at LACMA the weekend I went to visit my grandmother in Arizona. I was kind of sad, because it's my favorite film.

3) Japan or France? (Question submitted by Bob Westal)
France. I subscribe to TV5Monde and watch everything from France I can get my hands on; the highlight of my year is when the French film fest takes place in Los Angeles.

4) Favorite moment/line from a western.
Pursued. (scroll over the text to see the spoiler) When Teresa Wright's character married Robert Mitchum's character to get revenge on him.

5) Of all the arts the movies draw upon to become what they are, which is the most important, or the one you value most?
The novel. It is sincerely overrated. It seems that books are only still published these days in the hopes a film will be made out of it. Seriously, there are many novels I'd adapt, but few short stories or plays and even fewer comic books.

6) Most misunderstood movie of the 2000s.
May. Heck, I probably misunderstood it, probably.

7) Name a filmmaker/actor/actress/film you once unashamedly loved who has fallen furthest in your esteem.
Gwyneth Paltrow. Probably.

9) Which is your least favorite David Lynch film (Submitted by Tony Dayoub)
Inland Empire. The worst is probably Dune, but I didn't have the patience to sit through it. I paid $25 apiece for my friend and I to watch it at the AFI Fest when it came out. Basically, it is a complete waste of talent and effort and I hope David Lynch completely changes after this. It looked so terrible on the big screen.

11) Second favorite Don Siegel movie.
The Lineup. It's tough, because I like noir more than westerns, but perhaps my favorite Siegel film is The Shootist, but just by a margin. I rated them both 7/10 on IDMB.

12) Last movie you saw on DVD/Blu-ray? In theaters?
VHS: Senso.
DVD: The Grocer's Son.
Theater: It's Complicated.

13) Which DVD in your private collection screams hardest to be replaced by a Blu-ray? (Submitted by Peet Gelderblom)
N/A - I for one am not buying into the Blu-ray craze.

15) Actor/actress who you feel automatically elevates whatever project they are in, or whom you would watch in virtually anything.
Actor: Steve Martin
Actress: Isabelle Huppert

16) Fight Club -- yes or no?
Yes. Mainly, but depending on my mood. The first time I tried to watch it, I went to bed exhausted and asked my brother what happened in the morning. I was shocked, because I knew he could never make up something like that.

17) Teresa Wright or Olivia De Havilland?
Teresa Wright. Thank you for asking, because I have never found Olivia De Havilland too appealing. That, and Teresa Wright's in Shadow of a Doubt, one of my favorite films.

18) Favorite moment/line from a film noir.
Gilda. When Rita Hayworth tells Glenn Ford how exciting of an emotion hate is.

19) Best (or worst) death scene involving an obvious dummy substituting for a human or any other unsuccessful special effect(s)—see the wonderful blog Destructible Man for inspiration.
Meet Joe Black. I watched the death scene five hundred times because I was so amused by it.

20) What's the least you've spent on a film and still regretted it? (Submitted by Lucas McNelly)
The Cell. I pretty much walked into the theater and out, but I was still disturbed. I worked at a theater at the time, so I took chances. (Not sure whether the question was in regard to $ or time.)

22) Favorite Alan Rudolph film.
Mrs. Parker and the Vicious Circle. By default. I am dying to see Songwriter, though. Perhaps that is the one I'll really like.

23) Name a documentary that you believe more people should see.
Harlan County, U.S.A. It's classic without being deceitful or emotional, but has a great soundtrack as well.

24) In deference to this quiz’s professor, name a favorite film which revolves around someone becoming stranded.
Castaway. If only more people talked to volleyballs.

25) Is there a moment when your knowledge of film, or lack thereof, caused you an unusual degree of embarrassment and/or humiliation? If so, please share.
Yes. I was embarrassed when I saw the movie A Clockwork Orange, so the first time someone asked me if I had seen it, I lied and said no.

26) Ann Sheridan or Geraldine Fitzgerald? (Submitted by Larry Aydlette)
Geraldine Fitzgerald. Right now I'm working on Jonathan Rosenbaum's 1000 Essential Films. There was a very good film on the list called Good Sam. Gary Cooper was great in this, but Ann Sheridan plays his less than sympathizing wife. I didn't really like her delivery (she drove me up the wall the whole time). Geraldine Fitzgerald was in this great episode of The Alfred Hitchcock Hour called "Power of Attorney" (click on the link to watch).

27) Do you or any of your family members physically resemble movie actors or other notable figures in the film world? If so, who?
Yes. My grandfather (now deceased) resembled Clint Eastwood. My grandfather lives on through him.

28) Is there a movie you have purposely avoided seeing? If so, why?
Rocky. The sequels were so bad I just can't bring myself to watch the first.

29) Movie with the most palpable or otherwise effective wintry atmosphere or ambience.
Frozen River. I just say this because this guy I dated really didn't like this movie and was kind of rude about it, so I chose not to continue to see him.

31) The best cinematic antidote to a cultural stereotype (sexual, political, regional, whatever).
Gentleman's Agreement. Gregory Peck is the best he's ever been in this!

32) Second favorite John Wayne movie.
The Quiet Man. My first would have to be The Man Who Shot Liberty Valance.

33) Favorite movie car chase.
The French Connection. Any other car chase would be inferior.

34) In the spirit of His Girl Friday, propose a gender-switched remake of a classic or not-so-classic film. (Submitted by Patrick Robbins)
Yes, I think I will tell my thoughts on this much later.

36) Favorite Andre De Toth movie.
Veronica Lake was my favorite wife of his.

37) If you could take one filmmaker's entire body of work and erase it from all time and memory, as if it had never happened, whose oeuvre would it be? (Submitted by Tom Sutpen)
Fred Zinnemann, with Harmony Korine being a close second.

38) Name a film you actively hated when you first encountered it, only to see it again later in life and fall in love with it.
Breakfast at Tiffany's.

41) Your favorite movie cliché.
When the bad guy explains the reason for everything to the good guy (when he's tied up), only for the good guy to later escape.

42) Vincente Minnelli or Stanley Donen? (Submitted by Bob Westal)
Robert Wise or Alfred Hitchcock.

43) Favorite Christmas-themed horror movie or sequence.
Holiday Horror, the script I wrote that was never produced.

44) Favorite moment of self- or selfless sacrifice in a movie.
Bruce Willis in Armageddon. I am laughing so hard as I write this.

45) If you were the cinematic Spanish Inquisition, which movie cult (or cult movie) would you decimate? (Submitted by Bob Westal)
Rocky Horror Picture Show.

47) Favorite eye-patch wearing director. (Submitted by Patty Cozzalio)
John Huston. I can't think of anyone better.

48) Favorite ambiguous movie ending. (Original somewhat ambiguous submission---“Something about ambiguous movie endings!”-- by Jim Emerson, who may have some inspiration of his own to offer you.)
Crimes and Misdemeanors. I always felt Woody Allen could have wrapped that movie up in another 30 minutes and was surprised when it ended. I imagined the best ending to it of all time.

49) In giving thanks for the movies this year, what are you most thankful for?
Cria Cuervos. Porque te vas.

Monday, December 21, 2009

Top Films of 2009
[Magaly Solier in La teta asustada/The Milk of Sorrow (2009).]

1. A Serious Man
2. The White Ribbon
3. The Milk of Sorrow
4. Adoration
5. La Belle Personne
6. Un prophète
7. An Education
8.The Messenger
9. In the Electric Mist
10. 35 Rhums
11. Love Exposure
12. The Class
13. Inglourious Basterds
14. The Brothers Bloom
15. Broken Embraces
16. Faubourg 36 / Paris 36

Thursday, December 10, 2009

100 Favorite Films of the Decade (The Noughts)
  1. Eternal Sunshine of the Spotless Mind (2004)
  2. The Royal Tenenbaums (2001)
  3. Bon voyage (2003)
  4. Synecdoche, New York (2008)
  5. Le scaphandre et le papillon/ The Diving Bell and the Butterfly (2007)
  6. Confidences trop intimes/Intimate Strangers (2004)
  7. Happy-Go-Lucky (2008)
  8. Memento (2000)
  9. My Life Without Me (2003)
  10. Mulholland Dr. (2001)
  11. Amores perros (2000)
  12. Das weisse Band - Eine deutsche Kindergeschichte/The White Ribbon (2009)
  13. Tideland (2005)
  14. Wo hu cang long/Crouching Tiger, Hidden Dragon (2000)
  15. Kill Bill: Vol. 1 (2003)
  16. Volver (2006/I)
  17. Broken Flowers (2005)
  18. I Heart Huckabees (2004)
  19. Mystic River (2003)
  20. C.R.A.Z.Y. (2005)
  21. Coeurs/Private Fears in Public Places (2006)
  22. Adoration (2008)
  23. The Pianist (2002)
  24. Fa yeung nin wa/In the Mood For Love (2000)
  25. Gosford Park (2001)
  26. Hable con ella/Talk to Her (2002)
  27. You Can Count on Me (2000)
  28. A Serious Man (2009)
  29. La belle personne (2008)
  30. Il y a longtemps que je t'aime/I've Loved You So Long (2008)
  31. Babel (2006)
  32. Les choristes/The Chorus (2004)
  33. Caché (2005)
  34. L'heure d'été/Summer Hours (2008)
  35. An Education (2009)
  36. Roman de gare (2007)
  37. Le fantôme d'Henri Langlois/Henri Langlois: The Phantom of the Cinematheque (2004)
  38. The Visitor (2007/I)
  39. Après vous... (2003)
  40. La mala educación/Bad Education (2004)
  41. Capote (2005)
  42. The Dreamers (2003)
  43. 5x2 (2004)
  44. The Squid and the Whale (2005)
  45. De fem benspænd/The Five Obstructions (2003)
  46. Corpse Bride (2005)
  47. Billy Elliot (2000)
  48. Chaos (2001)
  49. About Schmidt (2002)
  50. The Aviator (2004)
  51. In Her Shoes (2005)
  52. Slipstream (2007)
  53. Elegy (2008/I)
  54. Sideways (2004)
  55. Les glaneurs et la glaneuse/The Gleaners and I (2000)
  56. A History of Violence (2005)
  57. El laberinto del fauno/Pan's Labyrinth (2006)
  58. Kiss Kiss Bang Bang (2005)
  59. Sur mes lèvres/Read My Lips (2001)
  60. Nueve reinas/Nine Queens (2000)
  61. The Messenger (2009/I)
  62. The Three Burials of Melquiades Estrada (2005)
  63. The Bourne Identity (2002)
  64. Big Fish (2003)
  65. Last Chance Harvey (2008)
  66. In the Electric Mist (2009)
  67. Slumdog Millionaire (2008)
  68. Death at a Funeral (2007)
  69. Enigma (2001)
  70. Vicky Cristina Barcelona (2008)
  71. The Brothers Bloom (2008)
  72. Little Lady Fauntleroy (2004)
  73. Paris, je t'aime (2006)
  74. 35 rhums (2008)
  75. Rois et reine (2004)
  76. Feast of Love (2007)
  77. Entre ses mains/In His Hands (2005)
  78. The Hours (2002)
  79. Le placard/The Closet (2001)
  80. La veuve de Saint-Pierre/The Widow of Saint-Pierre (2000)
  81. Little Miss Sunshine (2006)
  82. Hedwig and the Angry Inch (2001)
  83. Ai no mukidashi/Love Exposure (2008)
  84. Adaptation. (2002)
  85. Naissance des pieuvres/Water Lilies (2007)
  86. Grizzly Man (2005)
  87. Pay It Forward (2000)
  88. Baarìa (2009)
  89. Inglourious Basterds (2009)
  90. Finding Forrester (2000)
  91. Los abrazos rotos/Broken Embraces (2009)
  92. Down from the Mountain (2000)
  93. Hearts in Atlantis (2001)
  94. Der Baader Meinhof Komplex (2008)
  95. The Luzhin Defence (2000)
  96. El orfanato/The Orphanage (2007)
  97. Donnie Darko (2001)
  98. Divine Secrets of the Ya-Ya Sisterhood (2002)
  99. Unbreakable (2000)
  100. The Transporter (2002)

Honorable Mention: May (2002)

Tuesday, December 1, 2009

Six Great Films I Saw in the Month of November, 2009

The Merry Microbes (1909)

Der Baader Meinhof Komplex (2008)

The Messenger (2009)
Moving. [ Blog ]

Deux jours à tuer (2008)

Baarìa (2009)

5th Ave Girl (1939)

Wednesday, November 4, 2009
Last night I saw a film that utterly and brutally got to me: The Messenger (2009). It was so well done.

Basically, it is about a Sergeant and a Captain assigned to personally deliver the news of fallen soldiers to their families. In the film, they said that during Vietnam, families were notified of their sons' death through a telegram. In this day and age, why not an email or a telephone call? Every "delivery" was a stunning revelation of human behavior.

Steve Buscemi plays the father of one of the soldiers who has died. His reaction is unexpected and intolerable. This may be a spoiler, but, I'll say it anyway: he does not go away. He comes back later in the film and wow, his performance just blew me away.

In the preview, it seems like this may be a romance between Ben Foster and Samantha Morton. It should have been developed that way possibly, or not promoted as a romance, and maybe more of a bromance between Woody Harrelson and Ben Foster. One of my friends thought that this was completely deceitful. However, if Hollywood is able to overlook that this film is semi-related to the Iraqi War, then maybe, just maybe it could be a contender for Best Picture. Maybe some of the actors will be nominated. It IS a longshot. However, the quality completely exceeds any misconceptions I had about the movie.

On a personal note, my brother did two tours in Iraq, and volunteered for a third. Everytime my mother called during those two years (approximately), I would be jumpy. And she called a lot! I can just imagine getting the news and being as destroyed and incredulous as some of the people in the movie. At least two of the women in the movie screamed their guts out upon finding that their sons or husbands had been killed.

It's highly recommended. However, if you don't like emotional dramas, this is not for you. I can say that I haven't loved any other of the Iraqi war movies. I liked Lions for Lambs, but it did not do well at the box office, and Tom Cruise gets on my nerves. The Kingdom wasn't that great, with the exception of a few performances. Grace is Gone was a tad boring, kind of alright, but definitely not to die for.

However, this film isn't about the Iraqi War, per se. It's just about humans. The movie has the perfect imbalance of humor and drama. From the beginning, it's a tearjerker. When it finally lets up, and I mean finally, there is a scene or two of intense humor. I have to say the ending might be a letdown, however, I have already explained that Ben Foster and Samantha Morton's relationship is not the focus.

See it or don't. If the Academy ends up nominating it, take their word and not mine.

Thursday, September 17, 2009

Paris (2008, Cédric Klapisch)

Cédric Klapisch has created Paris, a little masterpiece. All his other films are light and perhaps trivial. I did not have high hopes for Paris, yet it excelled in so many ways.

First, you would be hard-pressed to find a better cast. Fabrice Luchini (very good with conveying emotion), Francois Cluzet (his "normal" character has unusual depth), Karin Viard (plays a manic character which is extremely against type for her), Maurice Bénichou (the reserved psychologist who has a little laugh), and Juliette Binoche (the aging single mother who only needs a little time for "herself" to help out her brother).

Secondly, though the subject matter is extremely serious and darker than a normal Klapisch film, it still has many humorous moments. Fabrice Luchini's character's fascination with a female student (played by Inglourious Basterds' Mélanie Laurent) poses many awkward and charming moments. Even Romain Duris' character is able to laugh about things despite his impending death (it could be tomorrow or it could be decades from now).

Overall, it miraculously causes the audience to think and to be entertained at the same time. Pretty good. Recommended.

Thursday, September 3, 2009

Das weiße Band / The White Ribbon Q&A (2009, Michael Haneke)

Germany's Official Selection for the Academy Awards

Sir, do dreams come true?
-Say your dream is being a good student. If you study and work hard, maybe you'll get to the top of your class.

[The above dialogue takes place between the schoolteacher/narrator (left) and Erna (not shown), the sister of Eva (right).]

Michael Haneke explained that he first wrote The White Ribbon as a book almost ten years ago. Financiers weren't eager to produce the film, so he waited for the opportune moment. He told the audience that his choice to shoot the film in black and white was to get the look of old photographs and used narration to put some distance between the film and the audience. The movie is as close to a novel as can be though, with the careful introductions of each character.

While an audience member thought Bergman's influence was present in a scene where a child dares God to kill him, Haneke persisted that he was more influenced by the likes of Bresson. Haneke explains his reasoning behind this film: to show how children are the lowest in society's hierarchy, but they also our future. Some children seem like they're destined to be S.S. Officers, while Haneke insists that most of the youngsters are actually well-behaved.

Still, even the peaceful children are not exempt from terrible fates, strange punishments from parents, or emotional suffering from the death of a loved one. In a touching scene, a young four or five year-old boy named Rudi questions his older teen sister, Anni, about death. Haneke claims he tried to recount how a "young Michael" might have felt when trying to write out this moment.

Violence is always a central theme in Michael Haneke's films. He says, "If violence is normal, it's dangerous." He spoke that his intention of Funny Games was to be "a slap to the face" to make desensitized American audiences realize how cruel, rampant, and real violence is.

Haneke doesn't always show violent acts in his films, but always reveals the terrible aftermath. The imagery and emotions The White Ribbon evokes makes you realize how screwed up random acts of violence really are and how lasting the effects are.

Haneke confirms that he "forces the audience to think instead of just consume", but at the same time his "goal is to be indirect". Still, it's all too clear that the seemingly brutal attacks on the small village are about to be expanded a hundred-fold when life becomes a living hell for not only the village but the world around them.

As a film professor, he gives advice to future filmmakers:
"80% of good directing is preparation."
"The style should never be more important than the story the movie contains."
"Some are influence by people they admire, but you can only be worse as a copy-cat."

He insists that the most important thing for his students is to find their voice in explaining the world, as he doesn't "want a bunch of little Hanekes running around". It is true that as daring and provocative as Haneke is, it would be very tempting but disturbing to have hundreds of his clones on the loose.

I was sad for the night to end, but now am eager to see Haneke's next unwritten (as of now) project: about how society's view of people changes once they become elderly and decrepit. His idea mirrors the mid-wife character in The White Ribbon, who realizes that growing older will make her less desirable.

Friday, August 14, 2009

Top 100 Favorite Films

  1. Double vie de Véronique, La/The Double Life of Veronique (1991, Krzysztof Kieslowski)
  2. A Star is Born (1937, William A. Wellman)
  3. Trois couleurs: Rouge/Three Colors: Red (1994, Krzysztof Kieslowski)
  4. Eternal Sunshine of the Spotless Mind (2004, Michel Gondry)
  5. Bonnie and Clyde (1967, Arthur Penn)
  6. Network (1976, Sidney Lumet)
  7. Crimes and Misdemeanors (1989, Woody Allen)
  8. Sunset Blvd. (1950, Billy Wilder)
  9. Bon voyage (2003, Jean-Paul Rappeneau)
  10. La Cérémonie/A Judgement in Stone (1995, Claude Chabrol)
  11. Sense and Sensibility (1995, Ang Lee)
  12. Shadow of a Doubt (1943, Alfred Hitchcock)
  13. Roman Holiday (1953, William Wyler)
  14. Cléo de 5 à 7 /Cleo from 5 to 7 (1962, Agnes Varda)
  15. The Royal Tenenbaums(2001, Wes Anderson)
  16. Angst vor der Angst /Fear of Fear (1975, Rainer Werner Fassbinder)
  17. Goodfellas (1990, Martin Scorsese)
  18. Vertigo (1958, Alfred Hitchcock)
  19. Dangerous (1935, Alfred E. Green)
  20. All About Eve (1950, Joseph L. Mankiewicz)
  21. Todo sobre mi madre/All About My Mother (1999, Pedro Almodóvar)
  22. Confidences trop intimes/Intimate Strangers (2004, Patrice Leconte)
  23. My Life Without Me (2003, Isabel Coixet)
  24. M (1931, Fritz Lang)
  25. Cet obscur objet du désir, That Obscure Object of Desire (1977, Luis Buñuel)

  26. Vivement dimanche! (1983, François Truffaut)
  27. Ensayo de un crimen/The Criminal Life of Archibaldo de la Cruz (1955, Luis Buñuel)
  28. À bout de souffle/ Breathless (1959, Jean-Luc Godard)
  29. Witness for the Prosecution (1957, Billy Wilder)
  30. Camille Claudel (1988, Bruno Nuytten)
  31. Memento(2000, Christopher Nolan)
  32. Casablanca (1942, Michael Curtiz)
  33. La Fille sur le pont/The Girl On the Bridge (1999, Patrice Leconte)
  34. Quai Des Orfèvres/Jenny Lamour (1947, Henri-Georges Clouzot)
  35. Au hasard Balthazar (1966, Robert Bresson)
  36. (Nuovo) Cinema Paradiso (1988, Giuseppe Tornatore)
  37. Demoiselles de Rochefort, Les/Young Girls of Rochefort (1967, Jacques Demy/Agnès Varda)
  38. The Graduate (1967, Mike Nichols)
  39. My Man Godfrey (1936, Gregory La Cava)
  40. The Bad and the Beautiful (1952, Vincente Minnelli)
  41. Laura (1944, Otto Preminger)
  42. The Sweet Hereafter (1997, Atom Egoyan)
  43. It Happened One Night (1934, Frank Capra)
  44. Alice (1990, Woody Allen)
  45. The Purple Rose of Cairo (1985, Woody Allen)
  46. Another Woman (1988, Woody Allen)
  47. Coup de torchon/Clean Slate (1981, Bertrand Tavernier)
  48. The French Connection (1971, William Friedkin)
  49. L.A. Confidential (1997, Curtis Hanson)
  50. Inside Daisy Clover (1965, Robert Mulligan)
  51. Antoine and Colette (1962, François Truffaut)
  52. Volver / To Return (2006, Pedro Almodóvar)

  53. Gilda (1946, Charles Vidor)
  54. Mulholland Dr. (2001, David Lynch)
  55. Three Days of the Condor (1975, Sydney Pollack)
  56. The Thin Man (1934, W.S. Van Dyke)
  57. Now Voyager (1942, Irving Rapper)
  58. The Godfather (1972, Francis Ford Coppola)
  59. The Godfather: Part II (1974, Francis Ford Coppola)
  60. Bringing Up Baby (1938, Howard Hawks)
  61. The Dead Zone (1983, David Cronenberg)
  62. Singin' in the Rain (1952, Stanley Donen)
  63. Chelovek s kino-apparatom/Man With the Movie Camera (1929, Dziga Vertov)
  64. Les Yeux sans visage / Eyes Without a Face (1960, Georges Franju)
  65. I Heart Huckabees (2004, David O. Russell)
  66. Rushmore (1998, Wes Anderson)
  67. Shopgirl (2005, Anand Tucker)
  68. The Squid and the Whale (2005, Noah Baumbach)
  69. One Flew Over the Cuckoo's Nest (1975, Milos Forman)
  70. Amadeus (1984, Milos Forman)
  71. Leon: The Professional (1994, Luc Besson)
  72. Mystic River (2003, Clint Eastwood)
  73. Lolita (1962, Stanley Kubrick)
  74. Scaphandre et le papillon, Le/The Diving Bell and the Butterfly (2007, Julian Schnabel)
  75. Breakfast at Tiffany's (1961, Blake Edwards)
  76. Lola (1961, Jacques Demy)
  77. Fem benspaend, De /The Five Obstructions (2003, Jørgen Leth)
  78. You Can Count on Me (2000, Kenneth Lonergan)
  79. Broken Flowers (2005, Jim Jarmusch)
  80. Bitteren Tränen der Petra von Kant, Die/ The Bitter Tears of Petra Von Kant (1972, Rainer Werner Fassbinder)
  81. Scarface (1983, Brian De Palma)
  82. All the President's Men (1976, Alan J. Pakula)
  83. Something's Gotta Give (2003, Nancy Meyers)
  84. Angst essen Seele auf /Ali: Fear Eats the Soul (1974, Rainer Werner Fassbinder)
  85. Amores Perros (2000, Alejandro González Iñárritu)
  86. His Girl Friday (1940, Howard Hawks)
  87. Underground (1995, Emir Kusturica)
  88. Tess (1979, Roman Polanski)
  89. Persona (1966, Ingmar Bergman)
  90. Bad Timing (1980, Nicolas Roeg)
  91. Jeanne la Pucelle - Les prisons (1994, Jacques Rivette)
  92. Heavenly Creatures (1994, Peter Jackson)
  93. Coeurs/Private Fears in Public Places (2006, Alain Resnais)
  94. Se7en (1995, David Fincher)
  95. Les Diaboliques (1955, Henri-Georges Clouzot)
  96. The Untouchables (1987, Brian De Palma)
  97. Deserto rosso, Il /The Red Desert (1964, Michelangelo Antonioni)
  98. Angèle (1934, Marcel Pagnol)
  99. The Night of the Iguana (1964, John Huston)
  100. Synecdoche, New York (2008, Charlie Kaufman)