SCFZ

Okay. I’m sharing again with all five tiers: 1. L’Avventura (Antonioni, 1960) 2. Vertigo (Hitchcock, 1958) 3. Lola Montes (Ophuls, 1955) 4. Le Mepris (Godard, 1963) 5. La Dolce Vita (Fellini, 1960) 6. PlayTime (Tati, 1967) 7. Au Hasard Balthazar (Bresson, 1966) 8. Late Spring (Ozu, 1949) 9. Muriel (...

Thanks for encouraging me to procrastinate :D. I'll be submitting a five tier list. Here are the first four (don't mind the numerical ranking. That's just for organizational purposes to make sure I don't surpass 20 films in each tier). I'm still tinkering with the final tier. I tried to limit it to ...

Three tiers

Rebels of the Neon God
Life, and Nothing More…
Dream of Light
Howard’s End

A Tale of Winter
La Vie de Boheme
Benny’s Video
Bad Lieutenant
Bitter Moon

Celine
Malcolm X
Un Coeur en Hiver
The Player

One Tier

Detour
They Were Expendable
Rome, Open City

Well I think Letterboxd is in theory intended to be that "central place".

My own two cents: The 2012 critics list represented the Mubi-fication of the film canon while the 2022 list represents the Letterboxd-ification of the film canon.

I'd say I mostly share this forum's disillusionment with the new S&S list. Admittedly, my own top ten would probably be more "conventional" than that of many people on this forum (Vertigo and L'Avventura would both be in there, for instance), but all the same. I probably don't rely on ...

I also prefer Apur Sansar to Pather Panchali. As for my predictions regarding this poll, I feel A Brighter Summer Day could be a dark horse for cracking the top 50. Weerasethakul will likely have a film at around the 100 mark. I also wonder if some of the more obscure WCP films could crack the top 2...

Is something wrong with the PM feature on here? Thanks.

I believe it was 2014 what up Mars, i was one of the least liked members of Mubi (Curtis Francis) and ive been included here, so its clear we bear no prejudices held over from internets past (o: Haha. I remember you going ape s**t( :pirates: ) on me once for making a post that was a bit on the wok-...

I love this game. :D The Tree of Life will probably be at around the 50 mark. There Will Be Blood will likely be at around 75. A Brighter Summer Day will enter the top 50. If a new film joins the top 10 it'll be Breathless. Weerasethakul will have a film enter the top 100. Agnes Varda seems to be on...

I guess I'm resurrecting this thread, since I've been dwelling quite a bit on the good old Mubi days lately. I'm not sure why. Perhaps finally taking the initiative to start my own film blog has pushed me to take a walk down memory lane and reminisce on my film loving journey. I was Mars in Aries, a...

Yeah I agree with Evelyn, like someone saying "intersectional idpol understandings of oppression are correct but secondary to class struggle" is not the same as someone saying these understandings are not connect (like White). That being said the first type of people are wrong anyway. Not...

Sure, but I've never had any sense that that's Armond White's position. He writes for National Review. If you think the magazine founded by William F. Buckley promotes old school Marxism, I'm not sure what to tell you. He's a Trump supporter who wrote a sympathetic review of The Plot Against the Pr...

Well I think what drives some people up the wall about PC and "woke-ism" is how they're used by the neoliberal establishment to draw attention from more contentious issues that most mainstream politicians would prefer to push under the rug, like economic inequality or US militarism. There'...

Now just to play devil's advocate, why is problematising film in terms of its commercial and industrial nature as someone like Armond White tends to do a bad thing, even if White himself doesn't typically frame his arguments in a very convincing manner? Naturally, we get annoyed with mainstream crit...

Hmm, not so sure the association is entirely unfair given how eagerly so many film bros, and their kin in the other arts, love to label, categorize, catalog, and rank their obssessions, as if one obtains mastery of a subject by slotting it in ever more discrete bins, the Letterboxing and Film&T...

I wonder if the rise of HD viewing formats like Blu-Ray as well as the ubiquitousness of 2K and 4K restorations can partially explain the pendulum swinging back towards formal appreciation at the expense of sociology among other things. These superior viewing formats bring the formal accomplishments...

I think Jonathan Rosenbaum does a good job of bridging the gap between a rigid focus on form at one end and a rigid focus on content at the other. With that said, someone still needs to have a working knowledge of film form and why the Greatest Films of All Time are considered Great from a technical...

Writers who use "film criticism" mainly as a platform to pontificate on the state of "art and culture" writ large are far and away the most annoying. David Walsh at World Socialist Website is another offender.

Fair enough. That is pretty egregious on A.O. Scott's part, even if I wasn't a massive fan of Stray Dogs. I like some of the other Tsai films I've seen though, such as Rebels of the Neon God.

Just out of curiosity, why does Peter Bradshaw of The Guardian inspire so much hatred, to the extent James Gray even called him "corrupt"? Sure, he's a critic for a mainstream outlet with a sensibility that's not terribly fresh or adventurous, but others like A.O. Scott, Anthony Lane, Pete...

I always manage to learn something when reading Rosenbaum. Naturally, there are the classic critics like Sarris, as well as all the mid-century Cahiers du Cinema writing. Kent Jones isn't too bad, even if I don't always agree with him, but he has a pure unapologetic passion for cinema that I find hi...

Ok. I'll continue recounting my journey as a film lover now. I forgot to mention in the previous post I took a French cinema course in college when I was 19 but wasn't taken with many of the films assigned and shown, excepting The 400 Blows, which I'd already seen. Breathless and Contempt left me co...

So, I'm looking for some recommendations of books that would be in line with my film taste and yet fairly easy to read. I've made the mistake of jumping straight into way too difficult works way too many times. I have a similar issue. I'm not as productive in my reading habit as I'd like to be, bec...

I've been a bit of a lurker for a while but haven't contributed much on here, although I did on the previous iteration of SCFZ. I'm Mars in Aries by the way. In either case, I felt like responding to this thread. To respond to the thread topic, I'll start by saying that "as far back as I could ...

Well today you do have the internet so the films of Lav Diaz, Carlos Reygadas, Pedro Costa et al. can be easily accessed, even on itunes, although they don't have the Fontainhas Trilogy. And a lot of these coterie contemporary filmmakers still get plenty of ink on sites like They Shoot Pictures, Don...

I have to disagree, Renault -- unless you lived in Paris or NYC, arthouse/repertory programming back through the late 70s was limited to "Bergman, Bunuel etc" and (at least in USA) to Hollywood films canonized for their quality as star-texts or a few Sarris-endorsed directorial signatures...

I haven't commented around here in a while, but one thing I find interesting about the idea of rescuing neglected works is that a lot of the films and filmmakers from more overlooked corners of the world, such as Rocha, Brocka, Sembene and/or something like Valerie and Her Week of Wonders is that th...

Nobody voted for Citizen Kane, Tokyo Story, or Breathless? Wow!

Only applied rule is no more than one film per director in each tier, and for the record, I'm Mars in Aries now posting under something closer to my real name. Only 10-12 of the films in the top 20 are set in stone. Beyond that it becomes very changeable. Tier 1: L'Avventura (1960, Antonioni) Rules ...