Best films seen in 2020 regardless of year
Re: Best films seen in 2020 regardless of year
Climax was really fun at the cinema, that soundtrack is killer, but I can't imagine ever watching it at home or re-watching it in general. I actually liked Love a lot, also in the cinema, something to be said about that cumshot in 3D with an audience collectively recoiling. Haven't seen his early work, though, probably should but it also seems exhausting.
woulda lovvved to have seen it in a theatre! love is certainly his most human film, and the editing was awesome, each cut like the viewer blinking their eyes. noe's got style, ya gotta give him that
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Monsieur Arkadin
- Posts: 423
- Joined: Mon May 27, 2019 5:56 pm
Haven't seen Love... but this is literally the ending of Enter The Void (I guess sans 3D) and my entire theater audibly groaned/started chuckling and chatting for the rest of the film. If he hadn't lost them up until that, that was the clear moment where everyone gave up on the movie. Haha
once i saw "enter the void"... there are very few directors by whom i am certain i will never watch another movie, but noe is one. might be the only one
i've dated a number of artists cos i'm a cliche EastVanSoftBoy and i derive my self-worth from whom i'm dating, and obviously they are usually "into film" (this is vancouver, so a lot of local artists, at least in some capacity, work in film in fact). this usually means they love john waters, harmony korine, lars von trier, perhaps miike or refn. invariably, they LOVE both "enter the void" and "climax". whenever i'm dating a girl and she starts professing her adoration for a noe movie, i know it's over. why? there are just some things you can automatically know about a woman when she tells you her favourite movie is "enter the void":
- being a progressive feminist is an important part of her identity, but she displays no interest in indigenous sovereignty
- she is a struggling artist, doing the work of MARXIST SAINTS, and you are a fucking suit at a law firm. incidentally, she receives an allowance from her parents, who are both financial advisors
- she believes deeply in astrology, and the only reason why you don't is because you're beholden to the western chauvinist preoccupation with "reason"
- she very rarely eats meat, for ethical reasons. but everyone has cheat days. very occasionally she'll have some chicken or something. when she was in paris she had foie gras and it was delicious
- she consistently mentions the race of non-white persons, especially men, when it has no bearing on the story, especially when they're (often rightly) being portrayed negatively. "and there were like 10 asian guys there"... "this big group of east indian guys were all staring at me"... if you criticize this, you are being dismissive of her experience
- "look, a friend of mine from high school is a cop now, and he genuinely just wants to help people"
THIS IS ALL IN FUN!!! i am only somewhat serious. no disrespect intended!!
i've dated a number of artists cos i'm a cliche EastVanSoftBoy and i derive my self-worth from whom i'm dating, and obviously they are usually "into film" (this is vancouver, so a lot of local artists, at least in some capacity, work in film in fact). this usually means they love john waters, harmony korine, lars von trier, perhaps miike or refn. invariably, they LOVE both "enter the void" and "climax". whenever i'm dating a girl and she starts professing her adoration for a noe movie, i know it's over. why? there are just some things you can automatically know about a woman when she tells you her favourite movie is "enter the void":
- being a progressive feminist is an important part of her identity, but she displays no interest in indigenous sovereignty
- she is a struggling artist, doing the work of MARXIST SAINTS, and you are a fucking suit at a law firm. incidentally, she receives an allowance from her parents, who are both financial advisors
- she believes deeply in astrology, and the only reason why you don't is because you're beholden to the western chauvinist preoccupation with "reason"
- she very rarely eats meat, for ethical reasons. but everyone has cheat days. very occasionally she'll have some chicken or something. when she was in paris she had foie gras and it was delicious
- she consistently mentions the race of non-white persons, especially men, when it has no bearing on the story, especially when they're (often rightly) being portrayed negatively. "and there were like 10 asian guys there"... "this big group of east indian guys were all staring at me"... if you criticize this, you are being dismissive of her experience
- "look, a friend of mine from high school is a cop now, and he genuinely just wants to help people"
THIS IS ALL IN FUN!!! i am only somewhat serious. no disrespect intended!!
Hahaha no way he went back to the well? Respect for the craft.Monsignor Arkadin wrote: ↑Thu Dec 17, 2020 7:31 pmHaven't seen Love... but this is literally the ending of Enter The Void (I guess sans 3D) and my entire theater audibly groaned/started chuckling and chatting for the rest of the film. If he hadn't lost them up until that, that was the clear moment where everyone gave up on the movie. Haha
Been waiting for an excuse to post this one:SAD_SCROOGE wrote: ↑Thu Dec 17, 2020 7:35 pm once i saw "enter the void"... there are very few directors by whom i am certain i will never watch another movie, but noe is one. might be the only one
i've dated a number of artists cos i'm a cliche EastVanSoftBoy and i derive my self-worth from whom i'm dating, and obviously they are usually "into film" (this is vancouver, so a lot of local artists, at least in some capacity, work in film in fact). this usually means they love john waters, harmony korine, lars von trier, perhaps miike or refn. invariably, they LOVE both "enter the void" and "climax". whenever i'm dating a girl and she starts professing her adoration for a noe movie, i know it's over. why? there are just some things you can automatically know about a woman when she tells you her favourite movie is "enter the void":
- being a progressive feminist is an important part of her identity, but she displays no interest in indigenous sovereignty
- she is a struggling artist, doing the work of MARXIST SAINTS, and you are a fucking suit at a law firm. incidentally, she receives an allowance from her parents, who are both financial advisors
- she believes deeply in astrology, and the only reason why you don't is because you're beholden to the western chauvinist preoccupation with "reason"
- she very rarely eats meat, for ethical reasons. but everyone has cheat days. very occasionally she'll have some chicken or something. when she was in paris she had foie gras and it was delicious
- she consistently mentions the race of non-white persons, especially men, when it has no bearing on the story, especially when they're (often rightly) being portrayed negatively. "and there were like 10 asian guys there"... "this big group of east indian guys were all staring at me"... if you criticize this, you are being dismissive of her experience
- "look, a friend of mine from high school is a cop now, and he genuinely just wants to help people"
THIS IS ALL IN FUN!!! i am only somewhat serious. no disrespect intended!!
But seriously, LOL.
A lot of long postponed titles in a year I've picked up significantly from the previous four. Also Annecy. And a few late 2019 hype. And anime movies. And the animated DC-verse. And a bunch of random stuff as usual.
10/10s
The phantom carriage (Victor Sjöström, 1921)
The fall of the house of Usher (Jean Epstein, 1928)
Meet me in St. Louis (Vincente Minnelli, 1944)
The woman in the window (Fritz Lang, 1944)
Late spring (Yasujiro Ozu, 1949)
Rififi (Jules Dassin, 1955)
The man who knew too much (Alfred Hitchcock, 1956)
Batman: Mask of the Phantasm (Eric Radomski & Bruce W. Timm, 1993)
Horse Money (Pedro Costa, 2014)
Parasite (Bong Joon-ho, 2019)
9/10
Häxan (Benjamin Christensen, 1922)
The phantom of the opera (Rupert Julian, 1925)
The lodger (Alfred Hitchcock, 1927)
The big trail (Raoul Walsh, 1930)
Tabu: A story of the south seas (F.W. Murnau, 1931)
The Southerner (Jean Renoir, 1945)
Naked city (Jules Dassin, 1948)
Winchester '73 (Anthony Man, 1950)
Woman on the run (Norman Foster, 1950)
Early summer (Yasujiro Ozu, 1951)
To catch a thief (Alfred Hitchcock, 1955)
Jules & Jim (François Truffaut, 1961)
Last year at Marienbad (Alain Resnais, 1961)
Ikarie XB-1 (Jindrich Polák, 1963)
F. for fake (Orson Welles, 1973)
Serpico (Sidney Lumet, 1973)
Night over Chile (Sebastián Alarcón & Aleksandr Kosarev, 1977)
Scarface (Brian De Palma, 1983)
Gwen, the book of sand (Jean-François Laguionie, 1985)
Tie me up! Tie me down! (Pedro Almodóvar, 1989)
¡Ay, Carmela! (Carlos Saura, 1990)
Life, and nothing more... (Abbas Kiarostami, 1992)
Spider-man 2 (Sam Raimi, 2004)
Pan's labyrinth (Guillermo del Toro, 2006)
There will be blood (Paul Thomas Anderson, 2007)
Enter the void (Gaspar Noé, 2009)
Triangle (Christopher Smith, 2009)
Batman: Under the Red Hood (Brandon Vietti, 2010)
The wolf house (Cristóbal León & Joaquín Cociña, 2018)
Marona's fantastic tale (Anca Damian, 2019)
Accidental luxuriance of the translucent watery rebus (Dalibor Baric, 2020)
8/10
Anna-Liisa (Teuvo Puro & Jussi Snellman, 1922)
Safety last! (Fred C. Newmeyer & Sam Taylor, 1923)
Crossfire (Edward Dmytryk, 1947)
I confess (Alfred Hitchcock, 1953)
Indiscretion of an American wife (Vittorio De Sica, 1953)
The bigamist (Ida Lupino, 1953)
The tall men (Raoul Walsh, 1955)
Gunfight at the O.K. Corral (John Sturges, 1957)
Hiroshima, mon amour (Alain Resnais, 1959)
Two men in Manhattan (Jean-Pierre Melville, 1959)
Belarmino (Fernado Lopes, 1964)
The Ancines woods (Pedro Olea, 1970)
The discreet charm of the bourgeoisie (Luis Buñuel, 1972)
The brood (David Cronenberg, 1979)
Return from hell (Nicolae Margineanu, 1983)
A. K. (Chris Marker, 1985)
Ran (Akira Kurosawa, 1985)
City zero (Karen Shakhnazarov, 1988)
Deep cover (Bill Duke, 1992)
12 monkeys (Terry Gilliam, 1995)
Catnapped! The movie (Takashi Nakamura, 1995)
Plan 10 from outer space (Trent Harris, 1995)
I married a strange person! (Bill Plympton, 1997)
Cardcaptor Sakura: The sealed card (Morio Asaka, 2000)
Spider-man (Sam Raimi, 2002) rewatch
Batman: Mystery of the Batwoman (Curt Geda & Tim Mattby, 2003)
Days of Santiago (Josué Méndez, 2004)
Mirrored mind (Sogo Ishii, 2004)
(500) days of summer (Marc Webb, 2009)
Siti (Eddie Cahyono, 2014)
Long way North (Rémi Chayé, 2015)
Louise by the shore (Jean-François Laguionie, 2016)
Moana (John Musker, Ron Clements & Don Hall, 2016)
Free! Take your marks (Eisaku Kawanami, 2017)
Avengers: Infinity War (Anthony Russo & Joe Russo, 2018)
Ruben Brandt, collector (Milorad Krstic, 2018)
Abou Leila (Amin Sidi-Boumédiène, 2019)
Captain Marvel (Anna Boden & Ryan Fleck, 2019)
Ghost Tropic (Bas Devos, 2019)
Marriage story (Noah Baumbach, 2019)
The swallows of Kabul (Zabou Breitman & Eléa Gobbé-Mévellec, 2019)
The two popes (Fernando Meirelles, 2019)
Disclosure (Sam Feder, 2020)
Jungle Beat: The movie (Brent Dawes, 2020)
Last and first men (Jóhann Jóhannsson, 2020)
The nose or the conspiracy of mavericks (Andrei Khrzhanovsky, 2020)
10/10s
The phantom carriage (Victor Sjöström, 1921)
The fall of the house of Usher (Jean Epstein, 1928)
Meet me in St. Louis (Vincente Minnelli, 1944)
The woman in the window (Fritz Lang, 1944)
Late spring (Yasujiro Ozu, 1949)
Rififi (Jules Dassin, 1955)
The man who knew too much (Alfred Hitchcock, 1956)
Batman: Mask of the Phantasm (Eric Radomski & Bruce W. Timm, 1993)
Horse Money (Pedro Costa, 2014)
Parasite (Bong Joon-ho, 2019)
9/10
Häxan (Benjamin Christensen, 1922)
The phantom of the opera (Rupert Julian, 1925)
The lodger (Alfred Hitchcock, 1927)
The big trail (Raoul Walsh, 1930)
Tabu: A story of the south seas (F.W. Murnau, 1931)
The Southerner (Jean Renoir, 1945)
Naked city (Jules Dassin, 1948)
Winchester '73 (Anthony Man, 1950)
Woman on the run (Norman Foster, 1950)
Early summer (Yasujiro Ozu, 1951)
To catch a thief (Alfred Hitchcock, 1955)
Jules & Jim (François Truffaut, 1961)
Last year at Marienbad (Alain Resnais, 1961)
Ikarie XB-1 (Jindrich Polák, 1963)
F. for fake (Orson Welles, 1973)
Serpico (Sidney Lumet, 1973)
Night over Chile (Sebastián Alarcón & Aleksandr Kosarev, 1977)
Scarface (Brian De Palma, 1983)
Gwen, the book of sand (Jean-François Laguionie, 1985)
Tie me up! Tie me down! (Pedro Almodóvar, 1989)
¡Ay, Carmela! (Carlos Saura, 1990)
Life, and nothing more... (Abbas Kiarostami, 1992)
Spider-man 2 (Sam Raimi, 2004)
Pan's labyrinth (Guillermo del Toro, 2006)
There will be blood (Paul Thomas Anderson, 2007)
Enter the void (Gaspar Noé, 2009)
Triangle (Christopher Smith, 2009)
Batman: Under the Red Hood (Brandon Vietti, 2010)
The wolf house (Cristóbal León & Joaquín Cociña, 2018)
Marona's fantastic tale (Anca Damian, 2019)
Accidental luxuriance of the translucent watery rebus (Dalibor Baric, 2020)
8/10
Anna-Liisa (Teuvo Puro & Jussi Snellman, 1922)
Safety last! (Fred C. Newmeyer & Sam Taylor, 1923)
Crossfire (Edward Dmytryk, 1947)
I confess (Alfred Hitchcock, 1953)
Indiscretion of an American wife (Vittorio De Sica, 1953)
The bigamist (Ida Lupino, 1953)
The tall men (Raoul Walsh, 1955)
Gunfight at the O.K. Corral (John Sturges, 1957)
Hiroshima, mon amour (Alain Resnais, 1959)
Two men in Manhattan (Jean-Pierre Melville, 1959)
Belarmino (Fernado Lopes, 1964)
The Ancines woods (Pedro Olea, 1970)
The discreet charm of the bourgeoisie (Luis Buñuel, 1972)
The brood (David Cronenberg, 1979)
Return from hell (Nicolae Margineanu, 1983)
A. K. (Chris Marker, 1985)
Ran (Akira Kurosawa, 1985)
City zero (Karen Shakhnazarov, 1988)
Deep cover (Bill Duke, 1992)
12 monkeys (Terry Gilliam, 1995)
Catnapped! The movie (Takashi Nakamura, 1995)
Plan 10 from outer space (Trent Harris, 1995)
I married a strange person! (Bill Plympton, 1997)
Cardcaptor Sakura: The sealed card (Morio Asaka, 2000)
Spider-man (Sam Raimi, 2002) rewatch
Batman: Mystery of the Batwoman (Curt Geda & Tim Mattby, 2003)
Days of Santiago (Josué Méndez, 2004)
Mirrored mind (Sogo Ishii, 2004)
(500) days of summer (Marc Webb, 2009)
Siti (Eddie Cahyono, 2014)
Long way North (Rémi Chayé, 2015)
Louise by the shore (Jean-François Laguionie, 2016)
Moana (John Musker, Ron Clements & Don Hall, 2016)
Free! Take your marks (Eisaku Kawanami, 2017)
Avengers: Infinity War (Anthony Russo & Joe Russo, 2018)
Ruben Brandt, collector (Milorad Krstic, 2018)
Abou Leila (Amin Sidi-Boumédiène, 2019)
Captain Marvel (Anna Boden & Ryan Fleck, 2019)
Ghost Tropic (Bas Devos, 2019)
Marriage story (Noah Baumbach, 2019)
The swallows of Kabul (Zabou Breitman & Eléa Gobbé-Mévellec, 2019)
The two popes (Fernando Meirelles, 2019)
Disclosure (Sam Feder, 2020)
Jungle Beat: The movie (Brent Dawes, 2020)
Last and first men (Jóhann Jóhannsson, 2020)
The nose or the conspiracy of mavericks (Andrei Khrzhanovsky, 2020)
/FA
added gitanjali to my list ♥
I still have a few more to see this year so maybe this list isn't final.
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Lencho of the Apes
- Posts: 1900
- Joined: Tue Dec 11, 2018 4:38 am
The opposite of 'reify' is... ?
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Evelyn Library P.I.
- Posts: 1370
- Joined: Thu Dec 20, 2018 10:36 pm
2020 was definitely a good catch-up year for me, but I also managed to come across a few movies that really surprised me with how good they were!
The best (in order)
Coco (Unkrich 2017)
It Happened One Night (Capra 1934)
The Children’s Hour (Wyler 1961)
Brain damage (Henenlotter 1988)
One Cut of the Dead (Ueda 2017)
Lilya 4-ever (Moodysson 2002)
Ginger Snaps (Fawcett 2000)
Wild at Heart (Lynch 1990)
Great (not in order)
High Life (Denis 2018)
Tangled (Howard, Greno 2010)
Ninotchka (Lubitsch 1939)
Rushmore (Anderson 1998)
The Wicker Man (Hardy 1973)
WALL•E (Stanton 2008)
Under the Skin (Glazer 2013)
Who Framed Roger Rabbit (Zemeckis 1988)
The Draughtsman’s Contract (Greenaway 1982)
Women on the Verge of a Nervous Breakdown (Almodóvar 1988)
The Hunchback of Notre Dame (Trousdale, Wise 1996)
The Lion King (Allers, Minkoff 1994)
The Super Inframan (Shan 1975)
Unsane (Soderbergh 2018)
Roman Holiday (Wyler 1953)
Fantastic Mr. Fox (Anderson 2009)
The best (in order)
Coco (Unkrich 2017)
It Happened One Night (Capra 1934)
The Children’s Hour (Wyler 1961)
Brain damage (Henenlotter 1988)
One Cut of the Dead (Ueda 2017)
Lilya 4-ever (Moodysson 2002)
Ginger Snaps (Fawcett 2000)
Wild at Heart (Lynch 1990)
Great (not in order)
High Life (Denis 2018)
Tangled (Howard, Greno 2010)
Ninotchka (Lubitsch 1939)
Rushmore (Anderson 1998)
The Wicker Man (Hardy 1973)
WALL•E (Stanton 2008)
Under the Skin (Glazer 2013)
Who Framed Roger Rabbit (Zemeckis 1988)
The Draughtsman’s Contract (Greenaway 1982)
Women on the Verge of a Nervous Breakdown (Almodóvar 1988)
The Hunchback of Notre Dame (Trousdale, Wise 1996)
The Lion King (Allers, Minkoff 1994)
The Super Inframan (Shan 1975)
Unsane (Soderbergh 2018)
Roman Holiday (Wyler 1953)
Fantastic Mr. Fox (Anderson 2009)
I haven't been activaly watching much for the last 3 years, so I'm a bit on a "hold"-mode as an active cinephile.
But at least I've seen some 200+ films last year of which roughly 50+ were great.
Out of those 50 great films, here are the best 13:
3 for the ages (aka Top 100 material on any cinephile's list)
Pytel blech “A Bagful of Fleas“
Věra Chytilová, Czechoslovakia 1962
Schlußakkord "Final Accord"
Detlef Sierck, Germany 1936
eins "One"
Ulrich Schamoni, West Germany 1971
10 more masterpieces
01. Tenkû no shiro Rapyuta “Castle in the Sky“
Hayao Miyazaki, Japan 1986
02. Der Herrscher "The Sovereign"
Veit Harlan, Germany 1937
03. Walzerkrieg "Waltz War"
Ludwig Berger, Germany 1933
04. The Phantom of the Opera
Rupert Julian, USA 1925
05. Be My Wife [fragment]
Max Linder, USA 1921
06. Meren kasvojen edessä “Before the Face of the Sea“
Teuvo Puro, Finland 1926
07. Berlin um die Ecke "Berlin around the Corner"
Gerhard Klein, East Germany 1966/1990
08. Ollin oppivuodet “Olli’s Apprenticeship“
Teuvo Puro, Finland 1920
09. Vuk "The Little Fox"
Attila Dargay, Hungary 1981
10. Umi ga kikoeru “Ocean Waves“
Tomomi Mochizuki, Japan 1993
But at least I've seen some 200+ films last year of which roughly 50+ were great.
Out of those 50 great films, here are the best 13:
3 for the ages (aka Top 100 material on any cinephile's list)
Pytel blech “A Bagful of Fleas“
Věra Chytilová, Czechoslovakia 1962
Schlußakkord "Final Accord"
Detlef Sierck, Germany 1936
eins "One"
Ulrich Schamoni, West Germany 1971
10 more masterpieces
01. Tenkû no shiro Rapyuta “Castle in the Sky“
Hayao Miyazaki, Japan 1986
02. Der Herrscher "The Sovereign"
Veit Harlan, Germany 1937
03. Walzerkrieg "Waltz War"
Ludwig Berger, Germany 1933
04. The Phantom of the Opera
Rupert Julian, USA 1925
05. Be My Wife [fragment]
Max Linder, USA 1921
06. Meren kasvojen edessä “Before the Face of the Sea“
Teuvo Puro, Finland 1926
07. Berlin um die Ecke "Berlin around the Corner"
Gerhard Klein, East Germany 1966/1990
08. Ollin oppivuodet “Olli’s Apprenticeship“
Teuvo Puro, Finland 1920
09. Vuk "The Little Fox"
Attila Dargay, Hungary 1981
10. Umi ga kikoeru “Ocean Waves“
Tomomi Mochizuki, Japan 1993
"I too am a child burned by future experiences, fallen back on myself and already suspecting the certainty that in the end only those will prove benevolent who believe in nothing." – Marran Gosov
Safety Last! (Fred C. Newmeyer + Sam Taylor, 1923)
Dishonored (Josef von Sternberg, 1931)
I Know Where I'm Going! (Michael Powell + Emeric Pressburger, 1945)
Los tres garcia (Ismael Rodriguez, 1947)
Mr. Blandings Builds His Dream House (H.C. Potter, 1948)
Stromboli (Roberto Rossellini, 1950)
El Dorado (Howard Hawks, 1966)
Night of the Living Dead (George A. Romero, 1968)
Muriel's Wedding (P.J. Hogan, 1994)
Eve's Bayou (Kasi Lemmons, 1997)
Ash is Purest White (Jia Zhangke, 2018)
Dishonored (Josef von Sternberg, 1931)
I Know Where I'm Going! (Michael Powell + Emeric Pressburger, 1945)
Los tres garcia (Ismael Rodriguez, 1947)
Mr. Blandings Builds His Dream House (H.C. Potter, 1948)
Stromboli (Roberto Rossellini, 1950)
El Dorado (Howard Hawks, 1966)
Night of the Living Dead (George A. Romero, 1968)
Muriel's Wedding (P.J. Hogan, 1994)
Eve's Bayou (Kasi Lemmons, 1997)
Ash is Purest White (Jia Zhangke, 2018)
4.5s and 5s...
November 30th - Supermarket Woman (Juzo Itami, 1996) - 4.5/5
November 29th - Josee, the Tiger and the Fish (Isshin Inudô, 2003) - 5/5
November 18th - The Little Drummer Girl (George Roy Hill, 1984) - 4.5/5
November 10th - Slaughterhouse-Five (George Roy Hill, 1972) - 4.5/5
October 8th - You Are Not an Orphan (Shukhrat Abbasov, 1963) - 4.5/5
September 20th - The Great Waldo Pepper (George Roy Hill, 1975) - 4.5/5
August 14th - His Motorbike, Her Island (Nobuhiko Ōbayashi, 1986) - 5/5
July 28th - Painted Faces (Alex Law, 1988) - 5/5
July 20th - Full Moon Scimitar (Chor Yuen, 1979) - 4.5/5
July 10th - The One-Armed Swordsman (Chang Cheh, 1967) - 5/5
June 13th - Weathering with You (Makoto Shinkai, 2019) - 4.5/5
May 16th - Saturday Night and Sunday Morning (Karel Reisz, 1960) - 5/5
April 10th - The Drummer for the Red Cross (Juraj Jakubisko, 1977) - 5/5
April 8th - The Feather Fairy (Juraj Jakubisko, 1985) - 4.5/5
February 25th - 1917 (Sam Mendes, 2019) - 4.5/5
November 30th - Supermarket Woman (Juzo Itami, 1996) - 4.5/5
November 29th - Josee, the Tiger and the Fish (Isshin Inudô, 2003) - 5/5
November 18th - The Little Drummer Girl (George Roy Hill, 1984) - 4.5/5
November 10th - Slaughterhouse-Five (George Roy Hill, 1972) - 4.5/5
October 8th - You Are Not an Orphan (Shukhrat Abbasov, 1963) - 4.5/5
September 20th - The Great Waldo Pepper (George Roy Hill, 1975) - 4.5/5
August 14th - His Motorbike, Her Island (Nobuhiko Ōbayashi, 1986) - 5/5
July 28th - Painted Faces (Alex Law, 1988) - 5/5
July 20th - Full Moon Scimitar (Chor Yuen, 1979) - 4.5/5
July 10th - The One-Armed Swordsman (Chang Cheh, 1967) - 5/5
June 13th - Weathering with You (Makoto Shinkai, 2019) - 4.5/5
May 16th - Saturday Night and Sunday Morning (Karel Reisz, 1960) - 5/5
April 10th - The Drummer for the Red Cross (Juraj Jakubisko, 1977) - 5/5
April 8th - The Feather Fairy (Juraj Jakubisko, 1985) - 4.5/5
February 25th - 1917 (Sam Mendes, 2019) - 4.5/5