Dane Benko,
Albuquerque, NM USA
Dane Benko is
a freelance filmmaker and way tl;dr Internet movie discussion participant. Recently he has started making more movies
than watching them.
I don’t like
making lists without explanations so here’s my responses to movies featured on
the Sight and Sound 2012 100 list, in order of how much I ‘like’ them.
THIS IS WHY
CINEMA EXISTS
Movies in
this section are canonical classics that I also personally adore and could
never grow tired of discussing or rewatching.
Sherlock Jr.
| Buster KEATON | 1924
Buster Keaton
in general (ha! See what I did thar?) is
a guy I turn to when I need the world to be okay, but this movie is tops in
every regard. In addition to showing the
best techniques only he could offer, it also summarily wraps up the silent era
in a cocoon of ‘this is the new art, and it is a good art.’
La Jetée | Chris
MARKER | 1962
…and on the
flipside there’s always the proof that one of the most remarkable and
inspirational pieces of film could be constructed of mostly stills from a cheap
camera if you’re as ace whiz as Chris Marker (may he RIP) and turn every medium
you touch into gold.
L'Eclisse | Michelangelo
ANTONIONI | 1962
Most of my
love of this film is compositional and structural and I’m astounded at how the
pieces fit together. It doesn’t matter
what aspect of the film you mention, it somehow eclipses some significant other
part of the film that gets revealed later.
Sans Soleil
| Chris MARKER | 1983
Puzzles
feature a lot in my taste preferences and this is one I’ve rebuilt over and
over and over again and found a satisfying new picture every single time. I once started an eight page essay on it
where the introduction was supposed to break down its structure. Sixteen pages later, I had finished breaking
down its structure and turned in the introduction as the essay itself.
Stalker | Andrei
TARKOVSKY | 1979
Bewildering
at first but an epic fable at center, one of the things about this film is that
every time I watch the scene where they walk through the grass following the
rolled up nuts, I get the howling fantods.
Tarkovsky constructed a Borgesian like maze out of fields and wind. Crazy.
TOP OF THE LINE CLASSICS
You have to
see this movie. No really, it’s
important. No, really, you have to.
Ugetsu
Monogatari | MIZOGUCHI Kenji | 1953
Like floating
through the netherworld. Also at heart a
morality fable, nevertheless of a haunting and foggy type.
Un Chien
Andalou | Luis BUÑUEL | 1929
I prefer late
Bunuel to early Bunuel (and both to mid-career, but that’s a discussion for
another day), but this is good to put on to remind yourself of some of the
semantic roots of surrealist film. And
its sense of humor.
Blade Runner
| Ridley SCOTT | 1982
Probably the
most likely on this section to be dismissed as ‘not important’, ultimately I
like how the movie completely dissolves boundaries between human, machine,
animal, and godhead. Plus it’s
beautiful.
Rashomon | KUROSAWA
Akira | 1950
Much of what
is amazing about cinema is how it constructs perspective and this movie is a
text-book example of that idea, in a more accessible and narrative manner than
relying on structuralist breakdowns or other abstract theory. It’s one of those movies that even the most
unrelated of subsequent ‘point, counterpoint’ plots get called out as ‘A
Rashomon ripoff.’
Sunset Blvd.
| Billy WILDER | 1950
Neil Postman
has us constantly asking of various new technologies and media, “What do we
gain and what have we lost?” Sunset Boulevard reveals that that
question is important within a specific medium as well. The movie is an ironically talkie production
about the loss of the silent era, but it’s the only one that uses its irony (as
opposed to stuff like Singin’ in the Rain
or The Artist) to disturb and to use
the audience against itself. With Buster
Keaton saying ‘Fold’ and a voiceover narration from a dead character, it’s
attacking its own audio from the inside.
Mirror | Andrei
TARKOVSKY | 1975
Unfortunately
this is more the type of film where you have to have seen other movies to
understand this one, namely some of if not all of Tarkovsky’s other
pieces. Chris Marker sez, “It is a house
where at any moment, one of the characters from his other films may walk
through the door.” Contained in that
house is also something of his autobiography, meaning his work and life are
sutured indefinitely.
Sansho Dayu
| MIZOGUCHI Kenji | 1954
I would say
this movie is just as haunting as Ugetsu Monogatori
but from a more realist perspective.
The sister and brother are traces in the wind that you follow to find a
very tragic history.
WE CAN ALL AGREE ON THIS, RIGHT?
Movies in
this section are hated only by irascible contrarians looking for attention, but
to be fair they’re not perfect.
Blue Velvet
| David LYNCH | 1986
After you get
passed the novelty of a Lynch film, his wider career is more interesting than
the specifics of any typical movie, because of how he developed a film language
specific to only him. Here is one
highlight that’s important merely because it applies his film language to
probably one of his most narrative films and the result is satisfyingly
self-contained. We don’t have to debate
whether the blue key is really all that great of a save of a failed pilot or
deal with the roughness that is his first and latest feature films (Eraserhead and Inland Empire). Instead, we
have only Frank. Dear God scary,
terrifying, Frank.
Seven
Samurai | KUROSAWA Akira | 1954
Weighted and
balanced character development of lost heroes; sheer cinematic storytelling, a
basic foundation for how to make a good narrative film.
Man
with a Movie Camera | Dziga VERTOV | 1929
The work
silent era explorers did in discovering the uses of a movie camera as a tool
for making art is continued to this day in the experimental realm, but unfortunately
the wider culture of ‘cinema’ forgets much of the spectacular alternative uses
of this tool for their preference on mere narratives. This movie is kino-eye and kino-man and
kino-culture and kino-world, construction of visual all through a camera
lens. Claiming that ‘Movies are about
story’ comes from either uneducated or dismissive ignorance of movies like
this.
Wild
Strawberries | Ingmar BERGMAN | 1957
The dream
that sets the protagonist on his journey also sets the audience on the same
one. Rarely are audience and protagonist
searching for the same thing and haunted by the same idea, undefinable by
simplification of things like ‘life’ ‘death’ or ‘aging.’
Singin' in
the Rain | Stanley DONEN & Gene KELLY | 1952
Sunset Boulevard is about what we have lost. Singin’
in the Rain is about what we have gained.
‘Nuff said.
Modern Times
| Charles CHAPLIN | 1936
I’d be hard
pressed to understand the perspective of a person who doesn’t like Modern Times. That’s like hating puppies and kittens and
guinea pigs in Tyrannosaurus Rex costumes.
Though I hear conservative talkshow hosts aren’t much for entertainment
pieces with social messages or something.
STOCK CLASSICS
The type of
stuff that, if you haven’t seen, you should probably get around to, and for the
most part set the standard for qualitative cinematic experiences.
A
Matter of Life and Death | M. POWELL & E. PRESSBURGER | 1946
A matter of
love of life and color and cinema and British humor.
The
Spirit of the Beehive | Víctor ERICE | 1973
Surprisingly
it’s not the meta aspects of the Frankenstein monster that wins this one for me
though that type of stuff is right down my alley. Rather, it’s the construction of the
‘beehive’ house and how it warmly cocoons the little girl’s life.
City Lights
| Charles CHAPLIN | 1931
It’s not Modern Times but it’s still fun times.
The
Battle of Algiers | Gillo PONTECORVO | 1966
Possibly a
bit too painful for average audiences but nevertheless a token construct of
cinema as documentary of a certain time, place, issue, and arena. This movie is extremely difficult to ignore
and equally as difficult to forget.
Also, the irony of all ironies is how it’s sometimes used to introduce
new soldiers to techniques of urban zone combat.
The Night
of the Hunter | Charles LAUGHTON | 1955
Now normally
I don’t react well to intense tonal shifts in movies (see Sunrise: A Song of Two Humans below) but nevertheless Laughton just
saturates all ‘reality’ with the
feelings of his characters. It’s like
this movie takes place inside the hearts of the little children
protagonists. Which is actually
terrifying when it comes down to the fact that this movie is about a serial
killer.
Mulholland
Dr. | David LYNCH | 2001
Nice save,
Lynch. Some people may not be into the
literal key in a puzzlebox reveal but nevertheless the first half indicates the
hint of a wider world that Lynch was about to explore (and gratefully returned
to in Inland Empire) and the second
half manages to wrap up the whole gift and contain it in one character.
Tokyo Story
| OZU Yasujirō | 1953
Damn this
movie is good. And relaxing. And wonderful. Like warm green tea during late spring (see
what I did thar?).
The
Life and Death of Colonel Blimp | Michael POWELL & Emeric PRESSBURGER |
1943
To be fair,
if you’re not a fan of British sense of humor, this movie will probably pass
right over your head. I am not British
and this is one of the movies that makes me suspect I may be missing some good
details herethere. Nevertheless a very
compelling character for the fact that he was based off of a caricature.
L'Avventura
| Michelangelo ANTONIONI | 1960
Personally I
prefer L’Eclisse and find it tighter
structurally and compositionally speaking, but if you’ve seen the one you
really ought to see the other. This
movie is delicate though because on the one hand, it works better if you don’t
know where it’s going, and on the other hand, the type of people with enough
attention span and memory for detail for specific points are typically the type
of people who hear about this from people who explain how it works. I went into it educated on its structure in
advance, so I never really got a chance to be hit on the side of the head. Basically consider it the arthouse equivalent
of a spoiler, though I don’t believe in such things. The movie’s good either way.
The
Passion of Joan of Arc | Carl Th. DREYER | 1928
If a shot is
a sentence, then this movie is all exclamatory.
The Third
Man | Carol REED | 1949
You know
what’s great about this? Such a perfect
film noir flavor with such a light and fun soundtrack. Appealing in a variety of ways that makes it
what one could call ‘a crowdpleaser’ without application to lowest common
denominator thinking.
YEAH HEY I’LL DEFEND IT
Movies in
this section are classics I personally like a lot but can easily see why other
people don’t. For the most part we can
agree to disagree but I urge you give it a second chance if you have the time.
The General
| Clyde BRUCKMAN & Buster KEATON | 1927
Like I said,
I enjoy Buster Keaton. What’s
interesting is that this is one of the lower on the list of his movies I
enjoy. What’s also interesting is that
it subsists on these lists despite getting called out on occasion for having
the protagonist on the Confederates’ side.
I’ve noticed over time that Birth
of a Nation is slowly trickling down these sorts of lists while Intolerance (see below) is gaining head,
and I think the same is true of The
General. The difference is that I
can see how Birth of a Nation stands
out in DW Griffith’s specific filmography whereas The General really is not one of Buster Keaton’s best work. Nevertheless, damn look at what he does with
those trains!
Andrei
Rublev | Andrei TARKOVSKY | 1966
Every now and
then a critic uses the term ‘painterly’ to describe a movie. Here’s one, and purposefully meant to be
so. Andrei meets Andrei (it’s better
than Michelangelo Meets Michelangelo,
a late career short of Antonioni brushing his hand over a Michelangelo
statue). However, it’s the bell
sequences that won me over. I thought
that kid was a much more fascinating story than most of the rest of Rublev’s
own.
The
Seventh Seal | Ingmar BERGMAN | 1957
Two things
about the iconography: one, this movie really created a new image of Death both
familiarized by older versions and also unique to its own; two, and did so well
at it that now it’s a Bill and Ted joke.
I love Bill and Ted movies and I don’t count parodies against classics,
but unfortunately the iconography of this movie sometimes gets in the way of
some of its more pleasing and introspective segments.
Au
Hasard Balthazar | Robert BRESSON | 1966
Man I love
this movie. Man I can totally see why
other people would be just a little put off by a donkey playing a religious
figure. Man Bresson’s suffering
innocents movies are great.
Casablanca
| Michael CURTIZ | 1942
Pure old
fashioned Hollywood greatness.
Late Spring
| OZU Yasujirō | 1949
Often the
subject of a Tokyo Story vs debate,
always weird since Ozu’s movies really just build upon and variegate themselves
in terms of characters, plot, themes, et al.
But anyway, I didn’t like this movie as much though it won me over with
the sequence where the father and daughter are crossing back and forth in a
Japanese hallway getting ready for bed.
Interestingly enough that sequence deserves some comparison to what
Bunuel does in a hotel hallway in The
Phantom of Liberty. These are
filmmakers that know their own cameras are what house their characters, let
loose once the strip starts rolling.
A Man
Escaped | Robert BRESSON | 1956
A minimalist
classic that creates a prison out of white space.
2001:
A Space Odyssey | Stanley KUBRICK | 1968
Pretty much
the litmus test to see if someone is willing to take cinema seriously. Not that people who take cinema seriously
always like it, but if they dislike it they usually come up with much better reasons
than, “It was boring” or “It made no sense.”
Like it or dislike it it’s a movie to show to see if someone’s willing
to pay attention.
Taxi Driver
| Martin SCORSESE | 1976
Ultimately
this movie is messier than it originally seems but it’s really Scorsese’s best
and for some reason I just cannot help but rewatch it quite often.
Psycho | Alfred
HITCHCOCK | 1960
Disappointing
ending but everything else about it is great!
The 400
Blows | François TRUFFAUT | 1959
I actually
saw this one long before I was really that into cinema and it left an indelible
effect. That’s just the type of movie it
is.
Once
upon a Time in the West | Sergio LEONE | 1968
I’d be
willing to admit this movie is overrated in terms of importance but that
doesn’t change the fact that it’s just so
well shot and edited.
MY DUE RESPECTS
No film on
the Sight and Sound 2012 list do I find bad and every film I can respect. Nevertheless here begins the point in the
list where my appreciation for the film has more to do with the fact that I
respect what it’s doing rather than do I personally enjoy it all that much or,
as we go further and further down, care.
Rear Window
| Alfred HITCHCOCK | 1954
Hey. This is just sheer, good, qualitative, rote
Hitchcock everything, from its limited set to its playfulness in perspective to
its thrilling storytelling and so on.
But I’ve never really cared all that much for Hitchcock, so there’s
that.
Metropolis
| Fritz LANG | 1927
I don’t mean
to be dismissive, in fact I actually mean it well, when I say I think this
movie is a better prototype of a science fiction effects film than its own
movie. I think it’s more important as an
inspiration.
Chinatown |
Roman POLANSKI | 1974
I enjoy this
movie a lot and obviously other people do as well though sometimes its positive
reception stands in almost disturbing contradiction to its negative worldview. It’s a really painful movie and that’s
exactly why I like it but many people talk about it as if it’s classic whodunit
with a twist.
Intolerance
| D.W. GRIFFITH | 1916
You do know
if DW Griffith was alive today he’d get the type of crap Nolan gets about being
too big, too over-the-top, too decadent, too many storylines, too much…? Right?
But that’s the point. This movie is just stunning in scope.
Battleship
Potemkin | Sergei EISENSTEIN | 1925
I have to
admit my privileging of Man with a Movie
Camera over this has to do with relative political neutrality in comparison
to this propaganda piece. One the flip
side, some people feel politics is very important to art and there is no
denying Eisenstein’s skill, and I really find this movie to be quite amazing.
Apocalypse
Now | Francis Ford COPPOLA | 1979
This is a
movie I used to adore, but over time I just found better movies.
Bicycle
Thieves | Vittorio DE SICA | 1948
I really enjoyed this movie and yet
couldn’t help laughing at myself a bit because it’s almost too rote narrative
for neorealism and too neorealist for rote narrative. I respect it as a balance.
Citizen Kane
| Orson WELLES | 1941
I will never
argue against the brilliance of this movie but it turns out I don’t find Kane
to be all that fascinating of a character.
In fact, it is testament to Orson Welles’ skills that he makes this guy
so universally talked about. Think about
it. Under lesser hands, I’m not
convinced anybody would really want to know more about ‘who Kane is.’ That said, in the end he’s revealed to be
empty inside, so even my dismissiveness stands as neglectful of that emptiness.
The
Godfather | Francis Ford COPPOLA | 1972
Here it
is! That movie that apparently guys are
supposed to like as some male rule (though strangely the type of bro goes
contrary to its careful and considerate exploration of family dynamics and
subversion of American Dream themes) and for some reason gets placed at or
quite near number 1 on many lists, especially those concerning ‘American
cinema’. I think it’s a testament to its
time and a really amazing piece of work, but like Apocalypse Now, eventually I found better movies to chew on.
Greed | Erich
VON STROHEIM | 1924
I do honestly
wish the ten hour cut survived. This
movie was great, though hysterically melodramatic in parts. If anything I sort of wish the ten hour cut
survived just so that there’d be better precedence for longer and more involved
movies. I don’t necessarily think the
full piece would have been as good considering what evidence we have of what
remains.
8½ | Federico
FELLINI | 1963
To me this
represents the best of and all the Fellini you need to see.
Lawrence
of Arabia | David LEAN | 1962
This was one
of those problematic movies where I keenly remember enjoying it but I can’t
remember anything about it. Doesn’t
speak well to its long-term effectiveness but then again it’s my responsibility
to rewatch it.
Vertigo | Alfred
HITCHCOCK | 1958
Honestly I’m
ambivalent about this movie but it’s slowly creeping up the ladder of my
best-of lists like this simply because of the profound effect its had on
filmmakers such as Chris Marker and a lot of what people have pointed out about
its spiraling structure and geography.
In a weird way I can agree that this is Hitchcock gone batshit, which is
saying something.
M | Fritz LANG | 1931
Great use of
sound and a surprising ending, but I get that same ‘prototype’ feel I get from Metropolis.
FAIR ENOUGH
Movies I
don’t really care for but recognize their skills, would never say are bad but
at the very least, just aren’t for me.
Aguirre,
Wrath of God | Werner HERZOG | 1972
I love Werner
Herzog as the batty obsessive making movies about batty obsessives he is, but
honestly switch this movie with Fitzcarraldo
and now we’re talkin’.
Breathless
| Jean-Luc GODARD | 1960
The movie
that’s pretty much sold to every cinephile as the movie made for them. The thing that’s always struck me about
Godard is that I feel like I ‘get the joke’ based on the structural things he
does, and I rarely care for the results because I know the punchline in advance.
Pickpocket
| Robert BRESSON | 1959
I love
watching this movie as a double-feature with Pickup on South Street. I
also like watching Pickup on South Street
by itself. Pickpocket I’ve never felt the need to.
Les
Enfants du Paradis | Marcel CARNÉ | 1945
Man this
movie was beautiful to watch and I really liked the performance sequences
within the movie but didn’t care for any of the rest.
Some
Like It Hot | Billy WILDER | 1959
You know,
Marilyn Monroe is a very disturbing pop culture icon. Billy Wilder seems to have tapped into that
fact, and then ran with it.
Barry Lyndon
| Stanley KUBRICK | 1975
GOD THE
CINEMATOGRAPHY. Like Renaissance
paintings in motion! …What was this
movie about again?
The
Godfather: Part II | Francis Ford COPPOLA | 1974
Same as
Godfather but I’m even more puzzled by its fandom. Some say it’s ‘better than the first’ but my
counterargument is that too many plotlines rely on your knowledge of the
original so it doesn’t hold its own.
In the
Mood for Love | WONG Kar-wai | 2000
I did love
how this movie was a slow, no-physical-contact dance, there was a lot of
electricity there. I couldn’t really get
into it further than that.
La
Grande Illusion | Jean RENOIR | 1937
In the end I
liked how this movie represented civility and class more than I care for it as
a movie.
The Wild
Bunch | Sam PECKINPAH | 1969
I used to
love this movie as the anti-Western it is.
The ending sequence to me signified the death of the concept that the violence of Westerns was
anything resembling heroic, but later on I watched some more Sam Peckinpah and
realized that he has a strange and distasteful appreciation for the manly men
behind such violence and a lot of his anti-Western narratives are as nostalgic
as anything. I now have a really hard
time with this.
Sunrise:
A Song of Two Humans | F.W. MURNAU | 1927
Like getting
into a shower that turns alternately hot and cold. The mood and tone changes so frequently I
feel at various points like I’m watching entirely different movies. In the end if you break down the plot points
individually, the tonal transitions make total sense. I can’t really argue against it. I just have those moments when watching it
where I’m like, “Wait a minute, wasn’t this just a few minutes ago an
expressionist movie? Why are they
chasing a pig around like a slapstick?
Wait a minute, a storm’s brewing?
Wasn’t this just a romance?
Dafuq?!”
La Règle
du Jeu | Jean RENOIR | 1939
In the end I
liked how this movie represented civility and class more than I care for it as
a movie. It also suffers from the lack
of World War II significance that Grand
Illusion has.
NOT THESE AGAIN…
These are the
movies I don’t like. Notice I said I
don’t like them, not that they’re bad movies.
I’m perfectly okay with other people liking them and in some cases their
influence is undeniable. I just have never found much of interest in them. Oh come on guys I’m perfectly allowed to just
not like some things!
Raging Bull
| Martin SCORSESE | 1980
I watched it,
it was very well made, brilliant performance by DeNiro, and I could care less
about anything that happens in it. Like Citizen Kane, the character isn’t nearly
as interesting as the movie’s place in history and the filmmaker behind it, but
unlike Citizen Kane, Scorsese never
sold me on the idea that he was interesting at all.
North
by Northwest | Alfred HITCHCOCK | 1959
This movie is
totally silly. Not that that’s a bad
thing, silliness has its place in the world and I think a lot of it here was
intentional, but very little, to me, justifies it being on so many top lists.
The
Searchers | John FORD | 1956
I’ve always
thought what people write critically about this movie is of ten times the value
of the movie itself.
La Dolce
Vita | Federico FELLINI | 1960
Seriously, I
could give a rat’s ass about these people.
At best they bore me and at worse they annoy me. I find Fellini as a whole to be obnoxious,
though there’s no arguing his showmanship.
UNRANKED/HAVEN’T SEEN
- L'Atalante | Jean VIGO | 1934
- Beau Travail | Claire DENIS | 1999
- A Brighter Summer Day | Edward YANG | 1991
- Close-Up | Abbas KIAROSTAMI | 1990
- The Colour of Pomegranates | Sergei PARAJANOV | 1968
- Fanny & Alexander | Ingmar BERGMAN | 1982
- Gertrud | Carl Th. DREYER | 1964
- Histoire(s) du Cinéma | Jean-Luc GODARD | 1998
- Imitation of Life | Douglas SIRK | 1959
- Jeanne Dielman, 23 Quai du Commerce 1080 Bruxelles | Chantal AKERMAN | 1975
- Journey to Italy | Roberto ROSSELLINI | 1954
- The Leopard | Luchino VISCONTI | 1963
- Madame de… | Max OPHÜLS | 1953
- The Magnificent Ambersons | Orson WELLES | 1942
- La Maman et la Putain | Jean EUSTACHE | 1973
- Le Mépris | Jean-Luc GODARD | 1963
- Nashville | Robert ALTMAN | 1975
- A One and a Two | Edward YANG | 2000
- Ordet | Carl Th. DREYER | 1955
- Partie de Campagne | Jean RENOIR | 1936
- Pather Panchali | Satyajit RAY | 1955
- Persona | Ingmar BERGMAN | 1966
- Pierrot le Fou | Jean-Luc GODARD | 1965
- Play Time | Jacques TATI | 1967
- Rio Bravo | Howard HAWKS | 1959
- Sátántangó | TARR Béla | 1994
- Shoah | Claude LANZMANN | 1985
- Touch of Evil | Orson WELLES | 1958
- Touki-Bouki | Djibril DIOP MAMBÉTY | 1973
100 MOVIES WORTH CONSIDERING
This section
is split into various subsections based on what I feel often gets neglected in
‘canon’ lists, stuff we need in there to recognize sometimes cinema itself is
zany and fantastic and crazy and weird and bewildering and fun and disturbing
and messed up and mind-expanding and mind-fucking and psychedelic and broken
and a spinning whirligig of awesome. If
you take, for instance, this Sight and Sound list on its own, there’s really a
wide variety and range of exceptional and unique movies. If you take that list in comparison to the
following, they’re weighed mostly towards sober contemplative dramas with a
predominantly Euro-arthouse style for middle class adults to talk about over
tea and coffee.
NOT ENOUGH AVANT GARDE
- Anemic Cinema | Marcel DUCHAMP | 1926
- Decasia | Bill MORRISON | 2002
- Dog Star Man | Stan BRAKHAGE | 1962-1964
- Fireworks | Kenneth ANGER | 1947
- Meshes of the Afternoon | Maya DEREN & Alexander HAMMID | 1943
- Outer Space | Peter TSCHERKASSKY | 1999
- Pas de Deux | Norman MCLAREN | 1968
- Serene Velocity | Ernie GEHR | 1970
- Wavelength | Michael SNOW | 1967
- Vinyl | Andy WARHOL | 1965
NOT ENOUGH ANIMATION
- Fantasia | Ben SHARPSTEEN | 1940
- Fritz the Cat | Ralph BAKSHI | 1972
- The Incredibles | Brad BIRD | 2004
- Mount Head | YAMAMURA Kōji | 2002
- Persepolis | Vincent PARONNAUD & Marjane SATRAPI | 2007
- The Pied Piper | Jirí Barta | 1985
- Princess Mononoke | MIYAZAKI Hayao | 1997
- Rejected | Don HERTZFELDT | 2000
- Street of Crocodiles | Brothers QUAY | 1986
- Tokyo Godfathers | KON Satoshi | 2003
NOT ENOUGH BATSHIT CRAZINESS ‘CAUSE
FUCK REALITY
- Brand upon the Brain! | Guy MADDIN | 2006
- Brazil | Terry GILLIAM | 1985
- The City of Lost Children | Marc CARO & Jean-Pierre JEUNET | 1995
- Gozu | MIIKE Takashi | 2003
- Montenegro | Dusan MAKAVEJEV | 1981
- Shock Corridor | Samuel FULLER | 1963
- Spectres of the Spectrum | Craig BALDWIN | 1999
- Tetsuo: The Iron Man | TSUKAMOTO Shinya | 1989
- Videodrome | David CRONENBERG | 1983
- Zardoz | John BOORMAN | 1974
NOT ENOUGH CHILDREN’S MOVIES OR
CHILDREN’S PERSPECTIVES
- Beasts of the Southern Wild | Benh ZEITLIN | 2012
- Bridge to Terabithia | Gabor CSUPO | 2007
- Kids | Larry CLARK | 1995
- Kikujiro | KITANO Takeshi | 1999
- The Red Balloon | Albert LAMORISSE | 1956
- The Secret of NIMH | Don BLUTH | 1982
- Son of Rambow | Garth JENNINGS | 2007
- Spirited Away | MIYAZAKI Hayao | 2001
- Tideland | Terry GILLIAM | 2005
- Walkabout | Nicolas ROEG | 1971
NOT ENOUGH CULTS CRUSHED BY THE BURDEN
OF BORING ASS SOCIETY
- A Boy and His Dog | L.Q. JONES | 1975
- Carnival of Souls | Herk HARVEY | 1962
- Dawn of the Dead | George A. ROMERO | 1978
- Deliverance | John BOORMAN | 1972
- Drive | Nicolas WINDING REFN | 2011
- Easy Rider | Dennis HOPPER | 1969
- The Rocky Horror Picture Show | Jim SHARMAN | 1975
- Shaun of the Dead | Edgar WRIGHT | 2004
- Soylent Green | Richard FLEISCHER | 1973
- Suicide Club | SONO Sion | 2001
NOT ENOUGH FRACTURED NARRATIVES
- The Blood of a Poet | Jean COCTEAU | 1930
- Blow-Up | Michelangelo ANTONIONI | 1966
- The Double Life of Veronique | Krzysztof KIEŚLOWSKI | 1991
- Hiroshima, Mon Amour | Alain RESNAIS | 1959
- The Hypothesis of the Stolen Painting | Raúl RUIZ | 1979
- Last Year in Marienbad | Alain RESNAIS | 1961
- Performance | Donald CAMMELL & Nicolas ROEG | 1968
- Russian Ark | Aleksandr SOKUROV | 2002
- Synecdoche, New York | Charlie KAUFMAN | 2008
- Tampopo | ITAMI Juzo | 1985
NOT ENOUGH ONE-CAMERA INDIES SHOT WITH
THE LIGHTS TURNED OFF
- Another Earth | Mike CAHILL | 2011
- Brick | Rian JOHNSON | 2005
- Ink | Jamin WINANS | 2009
- Naked | Mike LEIGH | 1993
- π | Darren ARONOFSKY | 1998
- Primer | Shane CARRUTH | 2004
- Sins of the Fleshapoids | Mike KUCHAR | 1965
- Smoke Signals | Chris EYRE | 1998
- Stranger Than Paradise | Jim JARMUSCH | 1984
- A Woman Under the Influence | John CASSAVETES | 1974
NOT ENOUGH PRODUCTIONS THAT LOST TOTAL
CONTROL
(and were better for it)
- Czech Dream | Vít KLUSÁK & Filip REMUNDA | 2004
- Enter the Void | Gaspar NOÉ | 2009
- Eyes Wide Shut | Stanley KUBRICK | 1999
- Fitzcarraldo | Werner HERZOG | 1982
- Glen or Glenda | Edward D. WOOD Jr. | 1953
- I ♥ Huckabees | David O. RUSSELL | 2004
- Passenger | Andrzej MUNK | 1963
- Santa Sangre | Alejandro JODOROWSKY | 1989
- Symbiopsychotaxiplasm | William GREAVES | 1968
- Visitor Q | MIIKE Takashi | 2001
NOT ENOUGH PURE HIGH FANTASY
- Alien | Ridley SCOTT | 1979
- The Fifth Element | Luc BESSON | 1997
- The Fountain | Darren ARONOFSKY | 2006
- Jaws | Steven SPIELBERG | 1975
- Labyrinth | Jim HENSON | 1986
- The Lord of the Rings: The Fellowship of the Ring | Peter JACKSON | 2001
- The Lord of the Rings: The Two Towers | Peter JACKSON | 2002
- The Lord of the Rings: The Return of the King | Peter JACKSON | 2003
- The Matrix | The WACHOWSKIs | 1999
- MirrorMask | Dave MCKEAN | 2005
- The Muppet Movie | James FRAWLEY | 1979
- Star Wars | George LUCAS | 1977
NOT ENOUGH DESPERATE DOCUMENTARY
- Born in Flames | Lizzie BORDEN | 1983
- Chronicle of a Summer | Edgar MORIN & Jean ROUCH | 1960
- Gimme Shelter | Albert MAYSLES & David MAYSLES & Charlotte ZWERIN | 1970
- The Gleaners and I | Agnès VARDA | 2000
- Häxan | Benjamin CHRISTENSEN | 1922
- History and Memory | Rea TAJIRI | 1992
- Night and Fog | Alain RESNAIS | 1955
- Robinson in Space | Patrick KEILLER | 1997
- Tongues Untied | Marlon RIGGS | 1989
- The War Game | Peter WATKINS | 1965
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