Filmske novosti, zanimljivosti i komentari na njih

Društvo online filmskih kritičara (Online Film Critics Society,OFCS), organizacija koja okuplja filmske kritičare koji pišu na Internetu, upravo je objavila rezultate svoje velike ankete u kojoj suse njeni članovi izjasnili o najboljim debitantskim filmskim ostvarenjima svih vremena.. Rezultat je popis od 100 naslova, kojisvojim vremenskim rasponom pokriva gotovo cijelu povijest filmske umjetnosti, tako da se tamo mogu pronaći i djela iz doba nijemog filma,ali i neka koja su napravljena tek prije nekoliko godina.Na prvom mjestu, iako to možda neće predstavljati neko posebnoveliko iznenađenje, jest djelo američkog filmaša čiji se spomenik nalazi ispred splitskog "Jokera". Riječ je, dakako, o "Građaninu Kaneu",prvom i najboljem filmu legendarnog Orsona Wellesa, snimljenim daleke1941. godine. Taj "film s ključem" o kontroverznom novinskom tajkunuW.R. Hearstu se smatra jednim od najutjecajnijih ostvarenja sedmeumjetnosti, pa i ne čudi što već desetljećima poput najvećeg"evergrina" osvaja prva mjesta u kritičarskim anketama o najboljimfilmovima ikada snimljenim.Međutim, ostatak popisa pokazuje kako je tu već manje filmova kojise smatraju dijelom "opće kulture", odnosno među njima ima i ostvarenjao kojima šira javnost nikada nije ništa čula. Tako se već na drugommjestu nalazi "Eraserhead", kultni crno-bijeli hororDavida Lyncha iz 1977. godine, koji je malo poznat ikome osim najzagriženijih fanova filmaša daleko poznatijeg po "Twin Peaksu".Geekovski karakter popisa, pak, odaje treće mjesto koje je pripalo "Noći živih mrtvaca",kultnom hororu Georgea A. Romera iz 1968. godine, također crno-bijelomfilmu, ali zaslužnom za lavinu filmova o zombijima koje su slijedile.Na četvrtom se mjestu, pak, našao još jedan crno-bijeli, ali ipak nešto malo konvencionalniji film – "Malteški sokol"iz 1941. godine, jedan od popularnih i često citiranih trilera izvremena Starog Hollywooda. Prvi ne-američki film koji se našao napopisu jest "Do posljednjeg daha", crno-bijeli filmkojim se Jean-Luc Godard 1959. nametnuo kao jedna od najvećihautoriteta francuskog Novog vala, a koji se našao na petom mjestu.Najbolje plasirani film u boji se našao tek na šestom mjestu, a ta je čast pripala Tarantinovim "Psima iz rezevoara", koji su 1992. godine lansirali karijeru današnjeg holivudskog gurua. Na sedmom mjestu se, pak, nalazi "Noć lovca",crno-bijeli triler snimljen 1955. godine, ali koji se usprkos više odpola stoljeća starosti doima neobično modernim, dijelom i zato što jelegendarni Robert Mitchum sjajan u za njega nekarakterističnoj uloziserijskog ubojice. Još jedan debitantski film se našao na osmom mjestu,a riječ je o trileru "Krvavo prosto" (Blood Simple)kojim je 1984. godine počela karijera braće Coen. Deveto mjesto jepripalo još jednom francuskom novovalovcu – Francoisu Truffautu injegovom poluautobiografskom djelu "400 udaraca" iz 1959. godine. Na desetom mjestu se našao još jedan crno-bijeli film – legendarna sudska drama "12 gnjevnih ljudi" koju je Sydney Lumet snimio 1957. godine.Na jedanaestom mjestu se nalazi "Atalanta", film tragično preminulog francuskog filmaša Jeana Vigoa iz 1934. godine. Najbolje plasirani animirani film je "Priča o igračkama" na dvanaestom mjestu. Trinaesto mjesto je pripalo "Pustari" Terrencea Mallicka, u kojoj je 1973. mladi Martin Sheen glumio serijskog ubojicu. Četrnaesto mjesto je pripalo "Biti John Malkovich", nadrealnoj komediji Spikea Jonzea iz 1999. godine, a petnaesto komediji "This Is Spinal Tap" kojom je 1984. godine Rob Reiner popularizirao žanr lažnog dokumentarca.Najbolje plasirani pravi dokumenatarac koji se našao na popisu jest "Gates of Heaven"kojim je Errol Morris godine 1978. opisivao groblja kućnih ljubimaca, akoji se nalazi na šesnaestom mjestu. Iza njega je došlo još jednofrancusko novovalno ostvarenje u obliku "Hiroshima ljubavi moja", drame Alaina Resnaisa kojom su se 1959. obarale neke tadašnje filmske, ali i društvene konvencije.Najbolja plasirana od svih filmskih parodija – na osamnaestom mjestu - je, pak, "Ima li pilota u avionu" iz 1981. godine, koja se pamti davno nakon što su filmovi katastrofekoje je parodirala zaboravljeni. Devetnaesto mjesto je, pak, pripaloStevenu Spielbergu i njegovom cestovnom trileru "Dvoboj" iz 1971. godine. Na dvadesetom se mjestu, pak, našao "Željezni div", animirani film iz 1999. godine.
1. Citizen Kane (directed by Orson Welles)
“I started at the top and have been working my way down every since,”joked Orson Welles in the years following his startling debut feature. Citizen Kanehas been so longed hailed as “the greatest film ever made” that it isin serious danger of becoming the least seen masterpiece around. Thelegends surrounding the film and its creator have too long overshadowedthe actual film. Above all, Welles was a showman and Citizen Kaneis a three ring circus of cinematic ingenuity, a startlinglyentertaining blend of pulp melodrama, historical biography, detectivestory, political drama, storytelling confabulation, and plain oldtheatrical flourish. Years ahead of its time in its layered use ofsound and score (a pioneering piece of dramatic composition by BernardHerrmann, Welles’ radio collaborator), stunningly designed, andbrilliantly shot by Gregg Toland with a creative invention that pushedthe envelope of motion picture photography, Citizen Kane is a vital, exciting moment of American cinema brought back to life with every viewing. (Sean Axmaker)

2. Eraserhead (David Lynch)
David Lynch’s monochrome fever dream of frustrated desires and horrificunease was to be the last triumphant gasp of the Midnight Moviemovement. Eluding easy definition or comfortable reception, Eraserheadwas as much a phantasmagoria of tactile textures and immersivesoundscapes as a nightmarish parable of fatherhood and the creativeprocess. By turns beautiful, annoying, funny, exasperating andrepellent, but always bristling with a nervous energy, Lynch’s debutmerges the drab world and anxious subconscious of Henry Spencer (JackNance), a vacationing printer who must stay home to nurse his monstrous(and unwanted) babe in bandages. Sporting an impossibly tall haircutthat has become one of the film’s most iconic signifiers of otherness,Henry is one of cinema’s great misfits, his very appearance andphysical stiffness embodying the discomfort that the film inspires inits viewers -- and yet Nance’s performance is a master class intragicomic understatement, all minutely nuanced gestures and Tati-esquehumanity. Beneath the amorphous surface of this unnerving filmicexperience is an undiscovered planet of untold depths and hidden layersin which to become lost, sickened or sublimely elevated. (Anton Bitel)

3. Night of the Living Dead (George A. Romero)
Simultaneously a sleeper cult hit and a candidate for arthouse exhibition, George Romero’s Night of the Living Deadhas become one of the most influential independent films ever made inthe forty-plus years since it was originally unleashed. The “zombies”of Romero’s movie (a term never actually used in the movie) are not thereanimated/drugged servants of voodoo lore; they are, in fact, not theproduct of a mythology at all. They are simply the dead -- corpses thathave risen and now shuffle around aimlessly, their only impulse anunexplained urge to eat the living. Against this backdrop of anunexplained and incomprehensible menace, Romero places several averagecitizens trapped together in an isolated farmhouse and lets the humandrama commence. Hysteria, frayed nerves, and an unspoken contest forAlpha Male supremacy keep the living from ever marshaling their forceseffectively against the undead outside. At the time of its release, Night of the Living Deadwas interpreted as a metaphor for the Vietnam War, microcosm of thebreakdown of social order between generations and races in the middleof the Counterculture Revolution, and a critique of the reliance onauthority figures for understanding and purpose. It can be all of thosethings, and it can be reinterpreted and resignified by currentaudiences two generations unborn when it was first released, but firstand foremost it is a dark, relentless, and scary piece of cinema. (Nathan Shumate)

4. The Maltese Falcon (John Huston)
Unpromising project: young but already seasoned studio serf JohnHuston, desperate to make the difficult career leap from screenwritingto directing, takes on a pulpy property that’s already been filmedtwice in the past decade with a low budget and lower expectations.Unlikely result: Huston’s rock-solid classical technique, exactcasting, and carefully transcribed screenplay, lay the groundwork for afilm that works with the drive and efficiency of a Formula One engine,even managing the unthinkable task of giving Citizen Kanea run for its money as the best debut film of 1941. Huston’s long,variable career would rarely see his pet themes and ironic romanticismas tautly conveyed as in this chamber-piece proto-noir. HumphreyBogart’s incarnation of seamy, but honourable, private eye Sam Spadecemented him as a star, and Sydney Greenstreet, Peter Lorre, ElishaCook, Jr., and Mary Astor backed him up with some of the finestcharacter acting on record. (Roderick Heath)

5. Breathless (Jean-Luc Godard)
Breathless, the feature debut of Jean-Luc Godard, is an earlyfilm of the French New Wave. The film tells the story of Michel(Jean-Paul Belmondo), a roguish petty criminal who crosses a line whenhe shoots a police officer after stealing a car. On the run frompolice, Michel seeks out his American student girlfriend, Patricia(Jean Sebring); Patricia hides him for a while, planning an escape withMichel to Italy, before betraying him to police. Breathless isnotable for its visual style; shot on a handheld camera with mostlynatural lighting, Godard intended the film to evoke a documentary feel,and the use of the handheld camera allowed for spontaneity in theshooting of the film. Breathless is most known for Godard’sgroundbreaking use of editing jump cuts throughout the film, whichbroke all established rules of continuity editing that were prevalentat the time. Breathless today is seen as the cornerstone of New Wave, and has influenced countless filmmakers. (Kim Voynar)

6. Reservoir Dogs (Quentin Tarantino)
Reservoir Dogs was the gritty, engaging, and exhilarating debutfilm of a 29-year-old self-educated former video store clerk, and theresult was a cinematic revolution. Soon to be a household name, QuentinTarantino produced an imminently imitable ballet of macho posturing,gun-pointing, and creative deployment of verbal obscenity. With atestosterone level that is off every chart, it happily wallows in itsown juvenile love of criminals and violence, but the film’s dexterityand complexity proved Tarantino to be an extraordinary filmmaker rightout of the gate -- his raw talent and an unmistakable understanding offilm lore is embedded in every frame. The film is a landmark in filmdebuts because, despite borrowing widely in terms of both plot elementsand style, Tarantino made Reservoir Dogs wholly his. (James Kendrick)

7. The Night of the Hunter (Charles Laughton)
The great Charles Laughton delivered great performances in a number ofgreat films. But he only directed one feature, which was -- well –flippin’ fantastic. Meditations on good versus evil don’t get morebeautiful and chilling than The Night of the Hunter,in which two youngsters (Billy Chapin and Sally Jane Bruce) are pursuedby a phony preacher (Robert Mitchum) after their nogoodnik father’smoney. Ostensibly a run-for-your-life thriller, The Night of the Hunteris at its finest in detailing how easy it is for the greatest terrorsto slip by under the guise of virtue. Mitchum’s greed leads to aconclusion in which the forces of light and dark square off, acaptivating cap-off to a spry and sneaky expressionist classic. (A.J. Hakari)

8. Blood Simple (Joel and Ethan Coen)
Just after Lawrence Kasdan and Bob Rafelson sexed-up classic noirs in the early 1980s -- with Body Heat and The Postman Always Rings Twice, respectively -- in Blood Simplethe Coens took the latter narrative and turned it inside out. Insteadof the discontent wife and lover successfully killing the husband (asin Postman), a seamy hitman (M. Emmet Walsh as Loren Visser),hired to off the adulterous couple, instead aims at the jealous man whohired him. When the body turns up not quite dead -- as the lover buriesthis evidence -- he gets his own shot, and a comedy of (t)errorsfollows. Though fate fueled the descent of classic noirs, in the Coens'paranoia runs off absurdist misdirection. A true reassessment of noir, Blood Simplemoves beyond the pre-erotic-thriller (not so)neo-noirs. Further proof:the freshness of Zhang Yimou's 2009 remake, set in historical China. (Matthew Sorrento)

9. The 400 Blows (François Truffaut)
At age 27, François Truffaut kick-started the Nouvelle Vague movementwith this gritty drama about feisty 12-year-old Antoine Doinel (aniconic character that actor Jean-Pierre Léaud would revisit five moretimes). The film's free-form structure is still exhilarating today,bristling with schoolboy exuberance and a darkly evocative sense ofpre-teen yearning. By the time that unforgettable freeze-frame appearsat the end, we know this movie has changed the way we look at theworld. Just as it changed cinema itself. (Rich Cline)

10. 12 Angry Men (Sidney Lumet)
Twelve men arguing in a single room, in real time. It sounds like aplay, because it was a play, and a television movie before that. But inthe hands of the 34-year-old theater/TV veteran Lumet, 12 Angry Menbecame so intensely, thrilling cinematic, it’s hard to imagine it inany other medium. With a dazzling array of shots and visualperspectives that switch around with every bend in the drama, andanchored by a legendary collection of the best character actors the’50s had to offer, the film that would arguably remain the pinnacle ofLumet’s career established him in one stroke as an unmatched master ofboth the camera and character. (Tim Brayton)

11. L’Atalante (Jean Vigo)
L'Atalante is, perhaps, considered by some, a dated film as faras its style goes. But there is no denying that it is still powerfulviewing because of its magical poetical gestures to the subject of loveand the refreshingly lyrical way it looks out at its surroundingseascape towns and at the human condition. Its romantic story is muchlike Murnau’s Sunrise (1927), of innocents from the countrygetting corrupted by the big lure of the city and then finding theirtrue roots again. Because the story is such a simple one and the coupleis so ordinary, it is not the story in itself that is exhilarating asmuch as the way the film moves us to look at our own lives with all itspossibilities and disappointments. It makes us see things in a way thatis disarmingly enchanting. That despite the daily grind of regularlife, there is also a poetical and romantic mood waiting to be tapped.We are encouraged to look into our hearts and see what matters to us,just as Jean looked into the water for his missing bride and in afrazzled state saw an emanation of his bride and dove into the water togo after what he was looking for. Jean realized that the love he hasinside him is manifested in his dreams, and sometimes our reality ismerely an illusion. (Dennis Schwartz)

12. Toy Story (John Lasseter)
One of the traits one looks for in first features is the element ofsurprise that comes along with the freshness of a new filmmaker. JohnLasseter, along with a handful of terrific writers (including PeteDocter and Andrew Stanton), brought on-screen a magical mixture ofhonest storytelling and compelling filmmaking, marking our hearts byreminding viewers of all ages of that wonderful time where kidsactually held playtime heroes in their hands and their fantasticaladventures were only limited by one’s own imagination, instead of theirgraphic cards’ capabilities and some programmer’s coding skills. Woody,Buzz and the rest of the gang, set the ground for a new, exciting wayto look at animated films, not only as an art form, but also as a verylucrative business model, paving the way for that marvelous thing thatbecame of Pixar: a powerhouse of modern animation that seems almostunable to miss both viewers’ souls and box office records. What morecan you ask for from a film debut? (Joseph Proimakis)

13. Badlands (Terrence Malick)
Viewers familiar with Terrence Malick from his sprawling epics The Thin Red Line and The New World may be surprised to discover just how spare and economical his debut is. Badlandsis still very recognizable as a Malick film, though, with theruminative voiceover, striking imagery, unusual rhythms and inspiredmusical choices all being key elements of this startlingly impressivedebut feature. Martin Sheen and Sissy Spacek are magnificent as thecasually amoral Kit and naïve schoolgirl Holly, a pair of lonely, boredyoungsters whose aimless romance drifts towards multiple murders. Thisis a supremely confident debut from Malick, who handles the film with asense of cool tranquility, allowing the story to wind down seeminglyinconsequential avenues before the narrative is abruptly brought intosharp focus by sudden acts of violence. As ever, this director is asfascinated by the environments his characters inhabit as he is by thecharacters themselves, and the badlands Kit and Holly eventually strayinto are captured with a stark beauty by the film's three creditedcinematographers. Standing as one of the most distinctive and excitingdebut films ever made and one of the great American films of the 70's,Malick's first masterpiece is essential viewing. (Phillip Concannon)

14. Being John Malkovich (Spike Jonze)
Chalk it up pre-millennial madness. 1999 brought us the off-kilterdebut of two talents who would be integral to 21st-century cinema.Television writer Charlie Kaufman and video director Spike Jonzecombined puppetry, alternate realities, and a post-modern affection oftheir titular star to create Being John Malkovich,an oddball journey by one man into another man's mind. John Cusackstars as the confused individual who literally has access to JohnMalkovich's skull, and Cameron Diaz, nearly unrecognizable in wig andglasses, goes along as the sweetly nerdy love interest. The fact thatMalkovich himself shows up just adds further fruity icing to themadness. Assured in its quirks, yet not just quirky for the sake of it,Being John Malkovich is a triumph of the intellectually odd and would give many who came after permission to let their freak flags fly. (Jamie S. Rich)

15. This Is Spinal Tap (Marty DiBergi; co-directed by Rob Reiner)
In 1984, a very special comedy arrived in cinemas and wasoverwhelmingly embraced by audiences. Made on a miniscule budget ofonly $4.5 million, it went on to gross approximately $146 millionworldwide. It spent five weeks atop the U.S. box office and spawned sixsequels. That film was Police Academy. A peculiar little fake-doco from comedian-cum-director Rob Reiner debuted in cinemas three weeks before Police Academybowed... and went largely ignored. But here we are, twenty-six yearslater, and people aren’t dressing up like Larvell Jones and CareyMahoney on Halloween. They’re dressing as the core members of thelegendary metal band Spinal Tap: David St. Hubbins (named after thepatron saint of quality footwear), Derek Smalls (notorious zucchinismuggler) and Nigel Tufnel (writer of the haunting piano solo “Lick MyLove Pump”). This Is Spinal Tap -- full of unforgettableone-liners, offensively catchy songs and genuinely touchingperformances -- slowly but surely wormed its way into the publicconsciousness, kick-starting the mockumentary movement and making “11”a perfectly viable level of volume on future speaker systems. AlthoughReiner’s directorial career would not live up to the promise of hisdebut feature (Rumour Has It features more gut-churning moments than Videodrome), This Is Spinal Tapremains an unequivocally influential achievement in comedy. How muchfunnier could this film be? The answer is none. None more funnier. (Simon Miraudo)

16. Gates of Heaven (Errol Morris)
Errol Morris takes his camera around California and interviews variouspeople involved in pet cemeteries. The first person we meet, FloydMcClure, opened his cemetery as his lifelong dream after his dog waskilled; he saw his dream wither away when the cemetery went belly-upand more than 450 animal corpses had to be disinterred and moved.Morris moves on to Cal Harberts, who started his own cemetery with theanimals left over from McClure’s land. We don’t get to know him as wellas we do his two sons, Phil and Dan, who help run the cemetery. Phil isa former insurance salesman who’s listened to one too many motivationaltapes. He seems to be psyching himself up to deal with the remainder ofhis dull life. Dan is a would-be rock musician who drags his ampoutside and practices when nobody is around. The sound of his guitarriffs bouncing off the pet gravestones is incredibly sad and chilling.Did Morris set out to make a quirky documentary about what some wouldconsider a trivial subject? He came back with an unforgettable moodpiece about human loneliness, in which the mourned pets seem much moreimportant than if they had been the movie’s true focus. (Rob Gonsalves)

17. Hiroshima mon amour (Alain Resnais)
Hiroshima mon amour broke all the rules, even those of theNouvelle Vague, of which it formed the initial, ear-splitting cannonadea half-century ago. Director Alain Resnais was no upstart critic, but atalent who had been cutting his teeth on short films and documentariesfor fifteen years. His feature debut was a close collaboration withestablished literary figure Marguerite Duras, whose personal blend ofmelancholic nostalgia, suppressed horror, and sickly sensualityprovided the springboard for Resnais’ semi-experimental narrative.Cinematic time and space was suddenly in dynamic flux, and sexuality ofa kind barely seen before in a mainstream movie only added to the shockof the new. East and West, unthinkable apocalypse and private tragedy,and the flesh of lovers are as closely entwined and yet forlornlyalienated as Resnais’ syncopated sounds and images, in a display oftechnique as challenging as it is original, and yet it’s the emotionalheart of the film that triumphs in cathartic epiphany. (Roderick Heath)

18. Airplane! (Jerry Zucker, Jim Abrahams, David Zucker)
Airplane! changed the face of cinema by inventing a genre thatdidn’t previously exist. It was a disaster movie by way of Madmagazine, with a healthy sprinkling of comic non sequiturs and sightgags added for seasoning. Using the 1957 B-movie Zero Hour asthe template for their spoof, the ZAZ filmmaking team (consisting ofDavid Zucker, Jim Abrahams, and Jerry Zucker) mercilessly ridiculedevery cliché and convention imaginable in the disaster genre. They didit with a frantic, high-energy style unlike anything audiences had everseen before. There was literally a joke of some sort every threeseconds, and the film required multiple viewings because some of thebest gags were in the background, where you’d initially miss them.There have been lots of other spoof movies in the thirty years sincethe release of Airplane! but none of them have ever matched itscomedic brilliance. Today’s spoofs are particularly missing the point;they simply reference other, better movies, whereas Airplane! spoofed the structure of an entire genre. (Mike McGranaghan)

19. Duel (Steven Spielberg)
The inclusion of Duelon a list like this courts controversy because it famously made its1971 debut on American television. But watch it some time and you maylikely conclude that it doesn't feel at all like a TV movie from the’70’s. This is because its wunderkind director, Steven Spielberg, shotit with a theatrical presentation in mind -- it even had additionalscenes shot to pad it when its studio, Universal Studios, decided itcould be released theatrically in Europe. That it did premiere overseason the big screen before Spielberg’s next feature, The Sugarland Express,would arrive in U.S. theaters may make a convincing case to consider ithis legitimate first feature film; but an even better argument emergesfrom just watching the movie itself. Duel is a tense, tightlycontrolled exercise in suspense -- not the cheap kind that demandssomeone jump out at the audience every five minutes, but a realsweat-inducing, hand-wringing, consistently anxious affair. Spielberg,with the sure hand of an expert, draws out the cat-and-mouse conflictbetween Dennis Weaver’s unlucky commuter and his unseentractor-trailer-driving nemesis and keeps it alive, interesting, andinventively involving. The film bears the mechanical hallmarks of hisfuture works -- his abilities to understand and manipulate audiencesympathy and to effortlessly generate thrills, and his uncanny masteryof timing to elicit the strongest desired reactions. Spielberg wouldfurther hone and utilize this skillset with mega-successes such as Jaws, Raiders of the Lost Ark, and Jurassic Park, but the first evidence of his auteurism can be justifiably located in Duel. (Jeffrey Chen)

20. The Iron Giant (Brad Bird)
Originally developed as a big screen take on Pete Townshend’s concept album The Iron Man (itself an adaptation of Ted Hughes’ book), The Iron Giant became something entirely different -- and entirely wondrous -- once Amazing Stories and Simpsonsvet Brad Bird came aboard. Townshend’s songs were ditched; Birdrelocated the setting to small town America at the height of the ColdWar; screenwriter Tim McCanlies supplied the film’s central theme: “youare who you choose to be.” And in choosing to be the good guy insteadof the villain, the Giant displays more humanity than most of thecowardly humans he encounters. His genuine goodness betrays hisoriginal war machine programming; his determination to “not be a gun”leads to an act of heroic selflessness which still resonates elevenyears and countless viewings later. (David Cornelius)

21. The Evil Dead (Sam Raimi)
22. The Producers (Mel Brooks)
23. Knife in the Water (Roman Polanksi)
24. The Shawshank Redemption (Frank Darabont)
25. The Kid (Charles Chaplin)
26. District 9 (Neill Blomkamp)
27. Monty Python and the Holy Grail (Terry Gilliam and Terry Jones)
28. Donnie Darko (Richard Kelly)
29. L’Age d’Or (Luis Buñuel)
30. Synecdoche, New York (Charlie Kaufman)
31. Pather Panchali (Satyajit Ray)
32. Henry V (Kenneth Branagh)
33. Easy Rider (Dennis Hopper)
34. Clerks (Kevin Smith)
35. The Blair Witch Project (Daniel Myrick and Eduardo Sanchez)
36. Who’s Afraid of Virginia Woolf? (Mike Nichols)
37. Gattaca (Andrew Niccol)
38. Primer (Shane Carruth)
39. Pee-Wee’s Big Adventure (Tim Burton)
40. Brick (Rian Johnson)
41. Killer of Sheep (Charles Burnett)
42. Sex, Lies, and Videotape (Steven Soderbergh)
43. Mad Max (George Miller)
44. Pi (Darren Aronofsky)
45. In Bruges (Martin McDonagh)
46. Harlan County U.S.A. (Barbara Kopple)
47. American Beauty (Sam Mendes)
48. Boyz N the Hood (John Singleton)
49. Hedwig and the Angry Inch (John Cameron Mitchell)
50. Delicatessen (Marc Caro and Jean-Pierre Jeunet)
51. Elevator to the Gallows (aka Frantic) (Louis Malle)
52. Bottle Rocket (Wes Anderson)
53. Titicut Follies (Frederick Wiseman)
54. She’s Gotta Have It (Spike Lee)
55. Shadows (John Cassavetes)
56. Moon (Duncan Jones)
57. Monsters Inc. (Pete Docter)
58. Slacker (Richard Linklater)
59. Say Anything... (Cameron Crowe)
60. Shallow Grave (Danny Boyle)
61. Closely Watched Trains (Jiri Menzel)
62. Gone Baby Gone (Ben Affleck)
63. Repo Man (Alex Cox)
64. The Virgin Suicides (Sofia Coppola)
65. Amores Perros (Alejandro González Iñárritu)
66. On the Town (Stanley Donan and Gene Kelly)
67. The Triplets of Belleville (Sylvain Chomet)
68. Ivan’s Childhood (aka My Name Is Ivan) (Andrei Tarkovsky)
69. My Favorite Year (Richard Benjamin)
70. El Mariachi (Robert Rodriguez)
71. Performance (Nicolas Roeg and Donald Cammell)
72. In the Company of Men (Neil LaBute)
73. They Live By Night (Nicholas Ray)
74. Love Actually (Richard Curtis)
75. Fast Times at Ridgemont High (Amy Heckerling)
76. One-Eyed Jacks (Marlon Brando)
77. Hard Eight (Paul Thomas Anderson)
78. Following (Christopher Nolan)
79. Cabin in the Sky (Vincente Minnelli)
80. George Washington (David Gordon Green)
81. Blood of a Poet (Jean Cocteau)
82. The Station Agent (Thomas McCarthy)
83. Kiss Kiss Bang Bang (Shane Black)
84. Away from Her (Sarah Polley)
85. Thank You for Smoking (Jason Reitman)
86. The Orphanage (Juan Antonio Bayona)
87. Chicago (Rob Marshall)
88. The 40-Year-Old Virgin (Judd Apatow)
89. Pleasantville (Gary Ross)
90. Force of Evil (Abraham Polonsky)
91. Drugstore Cowboy (Gus Van Sant)
92. Nanook of the North (Robert Flaherty)
93. Heathers (Michael Lehmann)
94. Lock, Stock and Two Smoking Barrels (Guy Ritchie)
95. Strictly Ballroom (Baz Luhrmann)
96. Dances with Wolves (Kevin Costner)
97. The Falls (Peter Greenaway)
98. Koyaanisqatsi (Godfrey Reggio)
99. Get Carter (Mike Hodges)
100. Ratcatcher (Lynne Ramsay)

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