A Personal Canon

For almost as long as this blog has been in existence I’ve kicked around the idea of undertaking some kind of “best of” countdown, a 100 Favorite Films list or something along similar lines. Lists are endlessly fun to read and react to, and there’s something inexplicably irresistible to ranked lists in particular. But I’ve also come to realize what a Sisyphean task such an endeavor would ultimately prove to be—the porousness of memory and fickleness of affinity and taste means what constitutes a “favorite” is endlessly in flux: titles demand to be added, others mysteriously fade and no longer seem to merit such distinction, others seemingly forgotten suddenly assert themselves at some later point. For this reason this list will be in a perpetual state of change.

And what exactly merits a mention on this list? Essentially because I feel like it: these are the films that, for one reason or another, have gotten their hooks into me. I watch many excellent films and have a favorable response to the majority I set out to watch (I decided many years ago that there are too many films I want to see to bother with those that don’t interest or appeal to me), but the ones listed below are the ones that do something special for me. And while I do think certain through lines that can be discerned, what that entails is intensely personal, unabashedly idiosyncratic, and honestly not always something I’d be able to clearly articulate.

Please note that these are not necessarily the films I would cite as “greatest,” “best,” or even “essential.” Indeed, a good many titles widely conferred the title of canonical (by Sight and Sound, academia, or otherwise) are absent here, and many revered filmmakers make films that simply don’t appeal to me. I will concede, however, that this Personal Canon isn’t as geographically or culturally diverse as I’d want it to be; Anglo-European titles predominate, and that’s a personal oversight I’m continually working to address.

Certain titles are marked in bold, and those the films I currently designate as one of my very favorites. Those titles are compiled on a separate list here. Titles that are hyperlinked are attached to reviews of the films posted on this site, and I’ve included some statistics at the very bottom of the page.

Last updated: November 2017

Before 1919
THE CAMERAMAN’S REVENGE (Wladyslaw Starewicz, Russia, 1912)
LES VAMPIRES (Louis Feuillade, France, 1915)
DAS CABINET DES DR. CALIGARI (Robert Weine, Germany, 1919)

1920s
THE PHANTOM CARRIAGE (Victor Sjöström, Sweden, 1921)
COEUR FIDÈLE (Jean Epstein, France, 1923)
SALOMÉ (Charles Bryant & Alla Nazimova, USA, 1923)
LE SOURIANTE MADAME BEUDET (Germaine Dulac, France, 1923)
THE ADVENTURES OF PRINCE ACHMED (Lotte Reiniger, Germany, 1926)
MÉNILMONTANT (Dimitri Kirsanoff, France, 1926)
FLESH AND THE DEVIL (Clarence Brown, USA, 1927)
LE MYSTÈRE DE LA TOUR EIFFEL(Julien Duvivier, France, 1927)
L’ARGENT (Marcel L’Herbier, France, 1928)
THE CAMERAMAN (Buster Keaton, USA, 1928)
THE DOCKS OF NEW YORK (Josef von Sternberg, USA, 1928)
FINIS TERRAE (Jean Epstein, France, 1929)

1930s
BORDERLINE (Kenneth MacPherson, UK, 1930)
LE SANG D’UN POÈTE (Jean Cocteau, France, 1930)
MÄDCHEN IN UNIFORM (Leontine Sagan, Germany, 1931)
FREAKS (Tod Browning, USA, 1932)
ONE HOUR WITH YOU (Ernst Lubitsch, USA, 1932)
SHANGHAI EXPRESS (Josef von Sternberg, USA, 1932)
TROUBLE IN PARADISE (Ernst Lubitsch, USA, 1932)
VAMPYR (Carl Th. Dreyer, Germany/France, 1932)
CHRISTOPHER STRONG (Dorothy Arzner, USA, 1933)
DESIGN FOR LIVING (Ernst Lubitsch, USA, 1933)
LA MATERNELLE (Jean Benoît-Lévy & Marie Epstein, France, 1933)
QUEEN CHRISTINA (Rouben Mamoulian, USA, 1933)
THE DEVIL IS A WOMAN (Josef von Sternberg, USA, 1935)
A MIDSUMMER NIGHT’S DREAM (Max Reinhardt & William Dieterle, USA, 1935)
PAPAGENO (Lotte Reiniger, Germany, 1935)
OSAKA ELEGY (Kenji Mizoguchi, Japan, 1936)
PARTIE DE CAMPAGNE (Jean Renoir, 1936)
ROSE HOBART (Joseph Cornell, USA, 1936)
ANGEL (Ernst Lubitsch, USA, 1937)
LA MORT DU CYGNE (Jean Benoît-Lévy & Marie Epstein, France, 1937)
STAGE DOOR (Gregory La Cava, USA, 1937)
HOLIDAY (George Cukor, USA, 1938)
ONLY ANGELS HAVE WINGS (Howard Hawks, USA, 1939)
THE WOMEN (George Cukor, USA, 1939)

1940s
THE SHOP AROUND THE CORNER (Ernst Lubitsch, USA, 1940)
THE SHANGHAI GESTURE (Josef von Sternberg, USA, 1941)
REMORQUES (Jean Grémillon, USA, 1941)
ANIKI BÓBÓ (Manoel de Oliveira, Portugal, 1942)
CAT PEOPLE (Jacques Tourneur, USA, 1942)
I WALKED WITH A ZOMBIE (Jacques Tourneur, USA, 1943)
MESHES OF THE AFTERNOON (Maya Deren, USA, 1943)
THE SEVENTH VICTIM (Mark Robson, USA, 1943)
AT LAND (Maya Deren, USA, 1945)
THE CURSE OF THE CAT PEOPLE (Robert Wise, USA, 1944)
MEET ME IN ST. LOUIS (Vincente Minnelli, USA, 1944)
TO HAVE AND HAVE NOT (Howard Hawks, USA, 1944)
CHRISTMAS IN CONNECTICUT (Peter Godfrey, USA, 1945)
LES DAMES DU BOIS DE BOULOGNE (Robert Bresson, France, 1945)
THE CLOCK (Vincente Minnelli, USA, 1945)
DETOUR (Edgar G. Ulmer, USA, 1945)
THE ENCHANTED COTTAGE (John Cromwell, USA, 1945)
THE BIG SLEEP (Howard Hawks, USA, 1946)
THE CHASE (Arthur Ripley, USA, 1946)
FRAGMENT OF SEEKING (Curt Harrington, USA, 1946)
GILDA (Charles Vidor, USA, 1946)
THE HARVEY GIRLS (George Sidney, USA, 1946)
A MATTER OF LIFE AND DEATH (Michael Powell & Emeric Pressburger, UK, 1946)
NOTORIOUS (Alfred Hitchcock, USA, 1946)
DAISY KENYON (Otto Preminger, USA, 1947)
DESERT FURY (Lewis Allen, USA, 1947)
FIREWORKS (Kenneth Anger, USA, 1947)
THE LADY FROM SHANGHAI (Orson Welles, USA, 1947)
OUT OF THE PAST (Jacques Tourneur, USA, 1947)
THE WOMAN ON THE BEACH (Jean Renoir, USA, 1947)
LETTER FROM AN UNKNOWN WOMAN (Max Ophüls, USA, 1948)
RED RIVER (Howard Hawks, USA, 1948)
ROPE (Alfred Hitchcock, USA, 1948)
THE SEARCH (Fred Zinnemann, USA, 1948)
THEY LIVE BY NIGHT (Nicholas Ray, USA, 1948)
A LETTER TO THREE WIVES (Joseph L. Mankiewicz, USA, 1949)
PUCE MOMENT (Kenneth Anger, USA, 1949)
THE RECKLESS MOMENT (Max Ophüls, USA, 1949)
UNE SI JOLIE PETITE PLAGE [SUCH A PRETTY LITTLE BEACH] (Yves Allégret, France, 1949)

1950s
AVENTURERA (Alberto Gout, Mexico, 1950)
UN CHANT D’AMOUR (Jean Genet, France, 1950)
CRONACA DI UN AMORE (Michelangelo Antonioni, Italy, 1950)
LES ENFANTS TERRIBLES (Jean Pierre Melville, France, 1950)
GUN CRAZY (Joseph H. Lewis, USA, 1950)
IN A LONELY PLACE (Nicholas Ray, USA, 1950)
HIS KIND OF WOMAN (John Farrow, USA, 1951)
JOURNAL D’UN CURÉ DE CAMPAGNE (Robert Bresson, France, 1951)
MACAO (Josef von Sternberg, USA, 1952)
RANCHO NOTORIOUS (Fritz Lang, USA, 1952)
BEAT THE DEVIL (John Huston, USA, 1953)
GENTLEMEN PREFER BLONDES (Howard Hawks, USA, 1953)
GAÎTÉ PARISIENNE (Victor Jessen, USA, 1954)
JOHNNY GUITAR (Nicholas Ray, USA, 1954)
REAR WINDOW (Alfred Hitchcock, USA, 1954)
SEVEN BRIDES FOR SEVEN BROTHERS (Stanley Donen, USA, 1954)
VIAGGIO IN ITALIA (Roberto Rossellini, Italy, 1954)
LE AMICHE (Michelangelo Antonioni, Italy, 1955)
FEMALE ON THE BEACH (Joseph Pevney, USA, 1955)
FRENCH CANCAN (Jean Renoir, France, 1955)
LES GRANDES MANŒUVRES (René Clair, France, 1955)
KISS ME DEADLY (Robert Aldrich, USA, 1955)
PATHER PANCHALI (Satyajit Ray, India, 1955)
LA POINTE COURTE (Agnès Varda, France, 1955)
REBEL WITHOUT A CAUSE (Nicholas Ray, USA, 1955)
CRAZED FRUIT (Kô Nakahira, Japan, 1956)
THE GIRL CAN’T HELP IT (Frank Tashlin, USA, 1956)
TOUTE LA MÉMOIRE DU MONDE (Alain Resnais, France, 1956)
THE INCREDIBLE SHRINKING MAN (Jack Arnold, USA, 1957)
NIGHT OF THE DEMON (Jacques Tourneur, USA, 1957)
LE NOTTI DI CABIRIA (Federico Fellini, Italy, 1957)
PEYTON PLACE (Mark Robson, USA, 1957)
PYAASA (Guru Dutt, India, 1957)
THE SEVENTH SEAL (Ingmar Bergman, Sweden 1957)
WILL SUCCESS SPOIL ROCK HUNTER? (Frank Tashlin, USA, 1957)
APPALACHIAN SPRING (Peter Glushanok, USA, 1958)
BONJOUR TRISTESSE (Otto Preminger, USA, 1958)
CAT ON A HOT TIN ROOF (Richard Brooks, USA, 1958)
THE TARNISHED ANGELS (Douglas Sirk, USA, 1958)
VERTIGO (Alfred Hitchcock, USA, 1958)
BALLAD OF A SOLDIER (Grigoriy Chukhrai, Russia, 1959)
HIROSHIMA MON AMOUR (Alain Resnais, France/Japan, 1959)
LES QUATRE CENTS COUPS (François Truffaut, France, 1959)
SUDDENLY, LAST SUMMER (Joseph L. Mankiewicz, USA, 1959)

1960s
À BOUT DE SOUFFLE (Jean-Luc Godard, France, 1960)
L’AVVENTURA (Michelangelo Antonioni, Italy, 1960)
THE DARK AT THE TOP OF THE STAIRS (Delbert Mann, USA, 1960)
LA DOLCE VITA (Federico Fellini, Italy, 1960)
LES YEUX SANS VISAGE (Georges Franju, France, 1960)
L’ANNÉE DERNIÈRE À MARIENBAD (Alain Resnais, France, 1961)
ARABESQUE FOR KENNETH ANGER (Marie Menken, USA, 1961)
THE BIRDS (Alfred Hitchcock, USA, 1961)
LOLA (Jacques Demy, France, 1961)
MOTHER JOAN OF THE ANGELS (Jerzy Kawalerowicz, Poland, 1961)
CARNIVAL OF SOULS (Herk Harvey, USA, 1962)
CLÉO DE 5 À 7 (Agnès Varda, France, 1962)
L’ECLISSE (Michelangelo Antonioni, Italy, 1962)
THE EXTERMINATING ANGEL (Luis Buñuel, Mexico, 1962)
LA JETÉE (Chris Marker, France, 1962)
KNIFE IN THE WATER (Roman Polanski, Poland, 1962)
LONG DAY’S JOURNEY INTO NIGHT (Sidney Lumet, USA, 1962)
LA BAIE DES ANGES (Jacques Demy, France, 1963)
I FIDANZATI (Ermanno Olmi, Italy, 1963)
FLAMING CREATURES (Jack Smith, USA, 1963)
L’IMMORTELLE (Alain Robbe-Grillet, France, 1963)
JUDEX (Georges Franju, France, 1963)
LE MÉPRIS [CONTEMPT] (Jean-Luc Godard, France, 1963)
WINTER LIGHT (Ingmar Bergman, Sweden, 1963)
IL DESERTO ROSSO (Michelangelo Antonioni, Italy, 1964)
GERTRUD (Carl Th. Dreyer, Denmark, 1964)
LES PARAPLUIES DE CHERBOURG (Jacques Demy, France, 1964)
LA PEAU DOUCE (François Truffaut, France, 1964)
SEANCE ON A WET AFTERNOON (Bryan Forbes, UK, 1964)
SCORPIO RISING (Kenneth Anger, USA, 1964)
ALPHAVILLE (Jean-Luc Godard, France, 1965)
LE BONHEUR (Agnès Varda, France, 1965)
BUNNY LAKE IS MISSING (Otto Preminger, USA, 1965)
LOVES OF A BLONDE (Milos Forman, Czechoslovakia, 1965)
MY HUSTLER (Andy Warhol & Chuck Wein, USA, 1965)
THE SOUND OF MUSIC (Robert Wise, USA, 1965)
DAISIES (Vera Chytilová, Czechoslovakia, 1966)
GALAXIE (Gregory Markopoulos, USA, 1966)
THE SECRET OF WENDEL SAMSON (Mike Kuchar, USA, 1966)
LES DEMOISELLES DE ROCHEFORT (Jacques Demy, France, 1967)
MOUCHETTE (Robert Bresson, France, 1967)
PORTRAIT OF JASON (Shirley Clarke, USA, 1967)
WAVELENGTH (Michael Snow, USA, 1967)
BARBARELLA (Roger Vadim, France/Italy, 1968)
LES BICHES (Claude Chabrol, France, 1968)
THE QUEEN (Frank Simon, USA, 1968)
SIGNS OF LIFE (Werner Herzog, Germany, 1968)
TEOREMA (Pier Paolo Pasolini, Italy, 1968)
BOB & TED & CAROL & ALICE (Paul Mazursky, USA, 1969)
DÉTRUIRE DIT-ELLE (Marguerite Duras, France, 1969)
FUNERAL PARADE OF ROSES (Toshio Matsumoto, Japan, 1969)
MODEL SHOP (Jacques Demy, USA, 1969)
MA NUIT CHEZ MAUD (Eric Rohmer, France, 1969)

1970s
THE BOYS IN THE BAND (William Friedkin, USA, 1970)
THE CONFORMIST (Bernardo Bertolucci, Italy, 1970)
THE GARDEN OF THE FINZI-CONTINI (Vittorio de Sica, Italy, 1970)
I WAS A MALE YVONNE DE CARLO (Jack Smith, USA, 1970)
PUZZLE OF A DOWNFALL CHILD (Jerry Schatzberg, USA, 1970)
WANDA (Barbara Loden, USA, 1970)
THE BOY FRIEND (Ken Russell, UK, 1971)
BOYS IN THE SAND (Wakefield Poole, USA, 1971)
DAUGHTERS OF DARKNESS (Harry Kümel, Belgium/France, 1971)
FOUR NIGHTS OF A DREAMER (Robert Bresson, France, 1971)
PINK NARCISSUS (James Bidgood, USA, 1972)
THE BITTER TEARS OF PETRA VON KANT (Rainer Werner Fassbinder, West Germany, 1972)
CONFESSIONS (Curt McDowell, USA, 1972)
LA CHARM DISCRET DE LA BOURGEOISIE (Luis Buñuel, France, 1972)
THE DEATH OF MARIA MALIBRAN (Werner Schroeter, West Germany, 1972)
NATHALIE GRANGER (Marguerite Duras, France, 1972)
WE WON’T GROW OLD TOGETHER (Maurice Pialat, France, 1972)
LA MAMAN ET LA PUTAIN (Jean Eustache, France, 1973)
THE SPIRIT OF THE BEEHIVE (Victor Erice, Spain, 1973)
CÉLINE ET JULIE VONT EN BATEAU (Jacques Rivette, France, 1974)
EDVARD MUNCH (Peter Watkins, Sweden/Norway, 1974)
FEMALE TROUBLE (John Waters, USA, 1974)
MES PETITES AMOUREUSES (Jean Eustache, France, 1974)
BARRY LYNDON (Stanley Kubrick, USA, 1975)
COUSIN COUSINE (Jean-Charles Tacchella, France, 1975)
GREY GARDENS (Maysles Bros, USA, 1975)
INDIA SONG (Marguerite Duras, France, 1975)
JEANNE DIELMAN, 23, QUAI DU COMMERCE, 1080 BRUXELLES (Chantal Akerman, Belgium, 1975)
THE MAGIC FLUTE (Ingmar Bergman, Sweden, 1975)
NASHVILLE (Robert Altman, USA, 1975)
THE PLACE BETWEEN OUR BODIES (Michael Wallin, USA, 1975)
SALÒ (Pier Paolo Pasolini, Italy, Italy, 1975)
XALA (Ousmane Sembene, Senegal, 1975)
DIE MARQUISE VON O… (Eric Rohmer, West Germany/France, 1976)
LE CAMION (Marguerite Duras, France, 1977)
KILLER OF SHEEP (Charles Burnett, USA, 1977)
3 WOMEN (Robert Altman, USA, 1977)
L’ENFANT SECRET (Philippe Garrel, France, 1979)
THE HYPOTHESIS OF THE STOLEN PAINTING (Raul Ruiz, France, 1979)
THE TEMPEST (Derek Jarman, UK, 1979)

1980s
POTO AND CABENGO (Jean-Pierre Gorin, USA/West Germany, 1980)
HOURS FOR JEROME (Nathaniel Dorsky, USA, 1980-2)
DOCUMENTEUR (Agnès Varda, USA/France, 1981)
COME BACK TO THE FIVE & DIME, JIMMY DEAN, JIMMY DEAN (Robert Altman, 1982)
ILLUSIONS (Julie Dash, USA, 1982)
QUERELLE (Rainer Werner Fassbinder, West Germany/France, 1982)
VERONIKA VOSS (Rainer Werner Fassbinder, West Germany, 1982)
BORN IN FLAMES (Lizzie Borden, USA, 1983)
THE TIMES OF HARVEY MILK (Rob Epstein, USA, 1984)
‘JE VOUS SALUE, MARIE’ [HAIL MARY] (Jean-Luc Godard, France, 1985)
LOADS (Curt McDowell, USA, 1985)
THE TIES THAT BIND (Su Friedrich, USA, 1985)
CARAVAGGIO (Derek Jarman, UK, 1986)
NUTCRACKER: THE MOTION PICTURE (Carroll Ballard, USA, 1986)
WORKING GIRLS (Lizzie Borden, USA, 1986)
CHOCOLAT (Claire Denis, France/West Germany/Cameroon, 1988)
DISTANT VOICES, STILL LIVES (Terence Davies, UK, 1988)
SUPERSTAR: THE KAREN CARPENTER STORY (Todd Haynes, USA, 1988)
LOOKING FOR LANGSTON (Isaac Julien, UK, 1989)
JOHANNA D’ARC OF MONGOLIA (Ulrike Ottinger, West Germany/France, 1989)
TONGUES UNTIED (Marlon Riggs, USA, 1989)

1990s
PARIS IS BURNING (Jennie Livingston, USA, 1990)
DAUGHTERS OF THE DUST (Julie Dash, USA, 1991)
JACQUOT DE NANTES (Agnès Varda, France, 1991)
MEETING OF TWO QUEENS (Cecilia Barriga, Spain, 1991)
POISON (Todd Haynes, USA, 1991)
THE LONG DAY CLOSES (Terence Davies, UK, 1992)
QUINCE TREE OF THE SUN (Victor Erice, Spain, 1992)
NO SKIN OFF MY ASS (Bruce LaBruce, Canada, 1993)
ORLANDO (Sally Potter, UK, 1993)
MEANWHILE SOMEWHERE… 1941 – 1943 (Péter Forgács, Hungary, 1994)
SUPER 8 1/2 (Bruce LaBruce, Canada, 1994)
BEFORE SUNRISE (Richard Linklater, USA, 1995)
IRMA VEP (Olivier Assayas, France, 1996)
NÉNETTE ET BONI (Claire Denis, France, 1996)
THE WATERMELON WOMAN (Cheryl Dunye, USA, 1996)
ON CONNAÎT LA CHANSON [SAME OLD SONG] (Alain Resnais, France, 1997)
HAPPY TOGETHER (Wong Kar-Wai, Hong Kong, 1997)
JACKIE BROWN (Quentin Tarantino, USA, 1997)
THE WINGS OF THE DOVE (Ian Softley, USA/UK, 1997)
ALONE. LIFE WASTES ANDY HARDY (Martin Arnold, Austria, 1998)
THE THIN RED LINE (Terrence Malick, USA, 1998)
TODO SOBRE MI MADRE (Pedro Almodóvar, Spain, 1999)
BEAU TRAVAIL (Claire Denis, France, 1999)
EYES WIDE SHUT (Stanley Kubrick, USA, 1999)
THE TALENTED MR. RIPLEY (Anthony Minghella, USA, 1999)
LE TEMPS RETROUVÉ [TIME REGAINED] (Raul Ruiz, France, 1999)

2000s
LA CAPTIVE (Chantal Akerman, France/Belgium, 2000)
THE HOUSE OF MIRTH (Terence Davies, UK/USA, 2000)
IN THE MOOD FOR LOVE (Wong Kar-Wai, Hong Kong, 2000)
LES GLANEURS ET LA GLANEUSE (Agnès Varda, France, 2000)
OUTER SPACE (Peter Tscherkassky, Austria, 2000)
ÉLOGE DE L’AMOUR [IN PRAISE OF LOVE] (Jean-Luc Godard, France, 2001)
MILLENNIUM MAMBO (Hou Hsiao-Hsien, Taiwan/France, 2001)
PORTO DA MINHA INFÂNCIA (Manoel de Oliveira, Portugal, 2001)
THE ROYAL TENENBAUMS (Wes Anderson, USA, 2001)
THE HOURS (Stephen Daldry, USA, 2002)
8 FEMMES (François Ozon, France, 2002)
RAISING VICTOR VARGAS (Peter Sollett, USA, 2002)
VENDREDI SOIR (Claire Denis, France, 2002)
LA MALA EDUCACIÓN (Pedro Almodóvar, Spain, 2004)
BEFORE SUNSET (Richard Linklater, USA, 2004)
THE GARDEN OF EARTHLY DELIGHTS (Lech Majewski, UK/Italy/Poland, 2004)
INNOCENCE (Lucile Hadzihalilovic, Belgium/France, 2004)
2046 (Wong Kar-Wai, Hong Kong, 2004)
LES AMANTS RÉGULIERS (Philippe Garrel, France, 2005)
BALLETS RUSSES (Daniel Geller & Dayna Goldfine, USA, 2005)
THE NEW WORLD (Terence Malick, USA, 2005)
PHANTOM LIMB (Jay Rosenblatt, USA, 2005)
WHO’S CAMUS ANYWAY? (Mitsuo Yanagimachi, Japan, 2005)
DANS PARIS (Christophe Honoré, France, 2006)
LADY CHATTERLEY (Pascale Ferran, France, 2006)
L’AMOUR D’ASTRÉE ET DE CÉLEDON (Eric Rohmer, France, 2007)
LES CHANSONS D’AMOUR (Christophe Honoré, France, 2007)
NE TOUCHEZ PAS LA HACHE (Jacques Rivette, France, 2007)
PHANTOM LOVE (Nina Menkes, USA, 2007)
STELLET LICHT [SILENT LIGHT] (Carlos Reygadas, Mexico, 2007)
UN VIELLE MAÎTRESSE (Catherine Breillat, France, 2007)
LES PLAGES D’AGNÈS (Agnès Varda, France, 2008)
L’HEURE D’ÉTÉ [SUMMER HOURS] (Olivier Assayas, France, 2008)
NICK AND NORAH’S INFINITE PLAYLIST (Peter Sollett, USA, 2008)
SITA SINGS THE BLUES (Nina Paley, USA, 2008)
35 SHOTS OF RUM (Claire Denis, France, 2008)
AROUND A SMALL MOUNTAIN (Jacques Rivette, France, 2009)
ECCENTRICITIES OF A BLONDE-HAIRED GIRL (Manoel de Oliveira, Portugal, 2009)

2010s
HEARTBEATS [Les AMOURS IMAGINAIRES] (Xavier Dolan, Canada, 2010)
LES HERBES FOLLES [WILD GRASS] (Alain Resnais, France, 2010)
PUBLIC SPEAKING (Martin Scorsese, USA, 2010)
SOMEWHERE (Sofia Coppola, USA, 2010)
HOMME AU BAIN (Christophe Honoré, France, 2011)
THE HOUSE OF PLEASURES [L’APOLLONIDE (SOUVENIRS DE LA MAISON CLOSE)] (Bertrand Bonello, France 2011)
MISTÉRIOS DE LISBOA (Raul Ruiz, Portugal/France, 2011)
TREE OF LIFE (Terence Malick, USA, 2011)
UNCLE BOONMEE WHO CAN RECALL HIS PAST LIVES (Apichatpong Weerasethakul, Thailand, 2011)
WEEKEND (Andrew Haigh, UK, 2011)
WHORES’ GLORY (Michael Glawogger, Germany/Austria, 2011)
WORDS OF MERCURY (Jerome Hiler, USA, 2011)
ASSUMPTIONS OF YOUR PHANTOM(SY) (Karissa Hahn, USA, 2012)
AUGUST AND AFTER (Nathaniel Dorsky, USA, 2012)
FRANCES HA (Noah Baumbach, USA, 2012)
THE LAST TIME I SAW MACAO (João Pedro Rodrigues & João Rui Guerra da Mata, Portugal, 2012)
MUSEUM HOURS (Jem Cohen, Austria/USA, 2012)
TABU (Miguel Gomes, Portugal, 2012)
YOU AIN’T SEEN NOTHIN’ YET (Alain Resnais, France, 2012)
ONLY LOVERS LEFT ALIVE
 (Jim Jarmusch, Germany/France, 2013)
IT FOLLOWS (David Robert Mitchell, USA, 2014)
SAINT LAURENT (Bertrand Bonello, France, 2014)
CAROL (Todd Haynes, USA, 2015)
CEMETERY OF SPLENDOR (Apichatpong Weerasethakul, Thailand, 2015)
CAFÉ SOCIETY (Woody Allen, USA, 2016)
COLUMBUS (Kogonada, USA, 2017)

Most represented filmmakers
Agnès Varda: 7
Jacques Demy: 6
Alain Resnais: 6
Michelangelo Antonioni: 5
Claire Denis: 5
Jean-Luc Godard: 5
Howard Hawks: 5
Alfred Hitchcock: 5
Ernst Lubitsch: 5
Josef von Sternberg: 5
Kenneth Anger: 4
Marguerite Duras: 4
Nicholas Ray: 4
Jacques Tourneur: 4

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