100. Toni Erdmann (Maren Ade, 2016)
100. Requiem for a Dream (Darren Aronofsky, 2000)
100. Carlos (Olivier Assayas, 2010)
99. The Gleaners and I (Agnès Varda, 2000)
98. Ten (Abbas Kiarostami, 2002)
97. White Material (Claire Denis, 2009)
96. Finding Nemo (Andrew Stanton, 2003)
95. Moonrise Kingdom (Wes Anderson, 2012)
94. Let the Right One In (Tomas Alfredson, 2008)
93. Ratatouille (Brad Bird, 2007)
92. The Assassination of Jesse James by the Coward Robert Ford (Andrew Dominik, 2007)
91. The Secret in Their Eyes (Juan José Campanella, 2009)
90. The Pianist (Roman Polanski, 2002)
89. The Headless Woman (Lucrecia Martel, 2008)
88. Spotlight (Tom McCarthy, 2015)
87. Amélie (Jean-Pierre Jeunet, 2001)
86. Far From Heaven (Todd Haynes, 2002)
85. A Prophet (Jacques Audiard, 2009)
84. Her (Spike Jonze, 2013)
83. A.I. Artificial Intelligence (Steven Spielberg, 2001)
82. A Serious Man (Joel and Ethan Coen, 2009)
81. Shame (Steve McQueen, 2011)
80. The Return (Andrey Zvyagintsev, 2003)
79. Almost Famous (Cameron Crowe, 2000)
78. The Wolf of Wall Street (Martin Scorsese, 2013)
77. The Diving Bell and the Butterfly (Julian Schnabel, 2007)
76. Dogville (Lars von Trier, 2003)
75. Inherent Vice (Paul Thomas Anderson, 2014)
74. Spring Breakers (Harmony Korine, 2012)
73. Before Sunset (Richard Linklater, 2004)
72. Only Lovers Left Alive (Jim Jarmusch, 2013)
71. Tabu (Miguel Gomes, 2012)
70. Stories We Tell (Sarah Polley, 2012)
69. Carol (Todd Haynes, 2015)
68. The Royal Tenenbaums (Wes Anderson, 2001)
67. The Hurt Locker (Kathryn Bigelow, 2008)
66. Spring, Summer, Fall, Winter and Spring (Kim Ki-duk, 2003)
65. Fish Tank (Andrea Arnold, 2009)
64. The Great Beauty (Paolo Sorrentino, 2013)
63. The Turin Horse (Béla Tarr and Ágnes Hranitzky, 2011)
62. Inglourious Basterds (Quentin Tarantino, 2009)
61. Under the Skin (Jonathan Glazer, 2013)
60. Syndromes and a Century (Apichatpong Weerasethakul, 2006)
59. A History of Violence (David Cronenberg, 2005)
58. Moolaadé (Ousmane Sembène, 2004)
57. Zero Dark Thirty (Kathryn Bigelow, 2012)
56. Werckmeister Harmonies (Béla Tarr, director; Ágnes Hranitzky, co-director, 2000)
55. Ida (Paweł Pawlikowski, 2013)
54. Once Upon a Time in Anatolia (Nuri Bilge Ceylan, 2011)
53. Moulin Rouge! (Baz Luhrmann, 2001)
52. Tropical Malady (Apichatpong Weerasethakul, 2004)
51. Inception (Christopher Nolan, 2010)
50. The Assassin (Hou Hsiao-hsien, 2015)
49. Goodbye to Language (Jean-Luc Godard, 2014)
48. Brooklyn (John Crowley, 2015)
47. Leviathan (Andrey Zvyagintsev, 2014)
46. Certified Copy (Abbas Kiarostami, 2010)
45. Blue Is the Warmest Color (Abdellatif Kechiche, 2013)
44. 12 Years a Slave (Steve McQueen, 2013)
43. Melancholia (Lars von Trier, 2011)
42. Amour (Michael Haneke, 2012)
41. Inside Out (Pete Docter, 2015)
40. Brokeback Mountain (Ang Lee, 2005)
39. The New World (Terrence Malick, 2005)
38. City of God (Fernando Meirelles and Kátia Lund, 2002)
37. Uncle Boonmee Who Can Recall His Past Lives (Apichatpong Weerasethakul, 2010)
36. Timbuktu (Abderrahmane Sissako, 2014)
35. Crouching Tiger, Hidden Dragon (Ang Lee, 2000)
34. Son of Saul (László Nemes, 2015)
33. The Dark Knight (Christopher Nolan, 2008)
32. The Lives of Others (Florian Henckel von Donnersmarck, 2006)
31. Margaret (Kenneth Lonergan, 2011)
30. Oldboy (Park Chan-wook, 2003)
29. WALL-E (Andrew Stanton, 2008)
28. Talk to Her (Pedro Almodóvar, 2002)
27. The Social Network (David Fincher, 2010)
26. 25th Hour (Spike Lee, 2002)
25. ​Memento (Christopher Nolan, 2000)
24. The Master (Paul Thomas Anderson, 2012)
23. Caché (Michael Haneke, 2005)
22. Lost in Translation (Sofia Coppola, 2003)
21. The Grand Budapest Hotel (Wes Anderson, 2014)
20. Synecdoche, New York (Charlie Kaufman, 2008)
19. Mad Max: Fury Road (George Miller, 2015)
18. The White Ribbon (Michael Haneke, 2009)
17. Pan's Labyrinth (Guillermo Del Toro, 2006)
16. Holy Motors (Leos Carax, 2012)
15. 4 Months, 3 Weeks and 2 Days (Cristian Mungiu, 2007)
14. The Act of Killing (Joshua Oppenheimer, 2012)
13. Children of Men (Alfonso Cuarón, 2006)
12. Zodiac (David Fincher, 2007)
11. Inside Llewyn Davis (Joel and Ethan Coen, 2013)
10. No Country for Old Men (Joel and Ethan Coen, 2007)
9. A Separation (Asghar Farhadi, 2011)
8. Yi Yi: A One and a Two (Edward Yang, 2000)
7. The Tree of Life (Terrence Malick, 2011)
6. Eternal Sunshine of the Spotless Mind (Michel Gondry, 2004)
5. Boyhood (Richard Linklater, 2014)
4. Spirited Away (Hayao Miyazaki, 2001)
3. There Will Be Blood (Paul Thomas Anderson, 2007)
2. In the Mood for Love (Wong Kar-wai, 2000)
1. Mulholland Drive (David Lynch, 2001)
i'm ok with this1. Mulholland Drive (David Lynch, 2001)
I will never understand the critical fascination with David Lynch, but hopefully someone out there can enjoy it.
The fact that A.I. is on there pretty much invalidates the whole list.
23. Caché (Michael Haneke, 2005)
Reminded nme I never finished Mulholland Drive.
Got to the coffee scene, where the people are calm but all go ape shit over something stupid.
It was really amazing until that point, don't know why I forgot about finishing it.
The fact that A.I. is on there pretty much invalidates the whole list.
devin faraci voted for Frozen...
disco explain
I've seen probably 60% of the list, and the only films I didn't like we're AI and Mulholland Drive.AI has a mediocre second half and a rubbish ending, MD just has close to zero redeeming qualities as a narrative vehicle.
Pretty great list.
Yeah, this and Spring Breakers made me give this list some serious side-eye.
Mulholland Drive at 1? Fuck that. It can't hang with the rest of that top ten. I demand a recount. Putting MD in the same class as In the Mood For Love or Spirited Away is crazy talk. I need somebody to justify it for me.
It's a puzzle with an answer. Every scene is a clue. I love it.Mulholland Drive at 1? Fuck that. It can't hang with the rest of that top ten. I demand a recount. Putting MD in the same class as In the Mood For Love or Spirited Away is crazy talk. I need somebody to justify it for me.
Boyhood is way, way too high. Other than that the list is mostly fine.
Mulholland Drive at 1? Fuck that. It can't hang with the rest of that top ten. I demand a recount. Putting MD in the same class as In the Mood For Love or Spirited Away is crazy talk. I need somebody to justify it for me.
My personal top 5 :
1/ There will be blood
2/ Amélie
3/ Children of Men
4/ Oldboy
5/ Eternal Sunshine of the Spotless Mind
It took 12 years to make.
Spring Breakers?!
Its pretty clear the first two hours are a dream. The first thing we see is us falling down to sleep into a pillow on Diane's bed, and then the dream ends when she unlocks the blue box/Cowboy says "time to wake up pretty girl". She's a failed, possibly drug-addicted actress who's "girlfriend" ditches who for a big-shot movie director and another pretty blond woman. She hires an assassin to kill her, and through a combination of depression, shame, and personal demons she can't escape(personified in that thing in the back of winkies and all those smiling parents who thought she was gonna be a big star), she kills herself.
But in-between the hiring and the killing, she dreams. She dreams of a world where she's a great actress, where everything bad happens to the big-shot director, where her "girlfriend" is hot but kinda dumb and depends on her instead of the other way around, where SINISTER FORCES OF HOLLYWOOD are the reason that pretty talentless blond woman got her roles instead of her, where the assassin she hired is REALLY incompetent in a Coen Bros setpiece kinda way so he couldn't kill the woman she loves, and her entire life is kinda like a 1950s Billy Wilder noir.
Things like the blue key its uh...you seen Inception? Its kinda like a totem of her guilt, that guilt that she killed Camilla Rhodes. She hides it in a box and puts it away in the dream. The dream starts to break down partway through the movie, you got those agents like Inception, the mind fighting back telling her to wake up. You got her ugly dead body at her house. She calls "Diane Selwyn" in the dream("Its strange dialing yourself!") and its actually Naomi Watts' voice on the other side, but its kinda hard to here. It finally breaks down entirely when they go to Club Silencio and its revealed that they're living in a dream world they can't have, and they rush home to open the box.
Lynch uses the dream thing as a really cool method to actually get inside somebody's head and do an intimate character study of Naomi Watts' character of Diane Selwyn. We learn her wants, her dreams, her hopes, her fears, how she views the world and how she views the people in her life. Its also an indictment against all the happy magic bullshit Hollywood feeds you, but at the same time its also a celebration of the power of movies, how they affect our ultimately subjective view of reality, and how they impact our lives with the combination of sound design, editing, acting, lighting, etc. Every single aesthetic choice Lynch uses has been thoroughly picked over and works towards the film's beauty, complexity, and dream logic we look for in movies.
Its also just a really visceral fuckin' experience with dreamlike cinematography and amazing sound design and crazy direction so that if you didn't get it, you can just enjoy it on a sensory level.
Personally, I think its the absolute best film of the century so far.