Greatest Foreign Films from Movieline Magazine. L'Age d'Or/Un Chien Andalou (1. The. Age of Gold or The Golden Age, France, directed by.

• The Best “Don’t Look Now” Unquestionably one of the single greatest ever committed to film, “Don’t Look Now” somehow managed to reinvent the sex scene in.
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• 78/52. Testament to the power and mastery of a movie that, nearly 60 years on, still feels as modern, complex and cutting-edge as any film released.
• 846 critics, programmers, academics and distributors have voted – and the 50-year reign of Kane is over. Our critics’ poll has a new number one.
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Luis Bunuel. Luis Bunuel's two semishort surrealist hand grenades (cowritten in varying. Salvador Dali) make a double bill that can restore your. Pure Spanish- Parisian piss and vinegar.

Aguirre, the Wrath of God (1. Aguirre. der Zorn Gottes, Peru/W. Germany, directed by Werner Herzog.

Gonzo German director Werner Herzog goes to the Amazon with the conquistadors. New World- rusted armor, deadly whirlpools, dying aristocrats. The American Friend (1. Der Amerikanische.

Freund, US/W. Ger./France, directed by Wim Wenders Wim Wenders doesn't film Patricia Highsmith's splendid Ripley's Game. A picture- framer. Mafia man. Steely German skies menace. Everyone. lies. Directors Nicolas Ray and Sam Fuller make cameo appearances. A Nous la Liberte (1.

This is the current edition of the List, updated to include all films in all editions of the. A new rule was imposed for this ballot: related films that are considered part of a larger whole (e.g. The Godfather and The Godfather Part II, Krzysztof Kieślowski.

Freedom. for Us, France, directed by Rene Clair. The carefree French hoboes meet the modern fortress of industry, searching. A perfect summer- afternoon movie. Chaplin stole. from it and got sued for his trouble. Ashes and Diamonds (1.

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Popiol. i Diament, Poland, directed by Andrzej Wajda. Andrzej Wajda's vivid gut- wrencher about postwar Poland made an Eastern. European James Dean out of Zbigniew Cybulski, whose red- hot, rebel- with- a- cause.

Cybulski died under a train nine years later, and a generation. Polish war babies mourn to this day.

L'Avventura (1. 96. The Adventure. France/Italy, directed by Michelangelo Antonioni. Ever found sex wanting as your only means of reaching out? Ever wandered. into a dead, aimless calm where nothing ever happens?

Michelangelo Antonioni. After the inexplicable vanishing of her friend. Monica Vitti attempts a search, gets. How like. our lives. L'Atalante (1. 93. Le Chaland Qui. Passe, France, directed by Jean Vigo.

Just a couple of awkward newlyweds on a river barge, but Jean Vigo's. Belle de Jour (1. Beauty of the. Day, France/Italy, directed by Luis Bunuel. Marnie Turns a Trick, someone once called this elegantly shocking comedy. Luis Bunuel. Catherine Deneuve, in peak form, glides like.

Hitchcock's coolest blonde through a bizarre series of sex tableaux. Sadomasochistic. role- playing, dressed by Chanel, never looked so radically chic. La Belle et la Bete (1. Beauty. and the Beast, France, directed by Jean Cocteau. Part fairy tale, part Gothic horror, Jean Cocteau's poetry on celluloid. As the Beast, the ravishing.

Jean Marais imprisons porcelain Josette Day's Beauty in his enchanted. No wonder she learns to sing in her chains. If you've never. seen this unfussily magical movie, you'll be surprised how much of it. Disney in animated.

The Bicycle Thief (1. Ladri di. Biciclette, Italy, directed by Vittorio De Sica. A poor slob searches for his stolen bike.

You can go to other great. Vittorio De Sica movies (Miracle in Milan, Shoeshine). This one, set among Rome's. Italian neorealism. The Bitter Tears of Petra von Kant (1. Die Bitteren Traenen der Petra von Kant, W. Germany, directed.

Rainer Werner Fassbinder. German writer/director Rainer Werner Fassbinder's sourest, funniest. American melodrama. It is. decadently beautiful, humorously corrupt, claustrophobically intimate. The Blue Angel (1. Der Blaue. Engel, Germany, directed by Josef von Sternberg.

Josef von Sternberg went to Berlin to do a story of a pompous teacher. The great actor Emil. Jannings was the teacher, and for the woman, Lola- Lola, Sternberg "discovered". Marlene Dietrich, who was. Sternberg and rather ordinary for anyone else.

Le Boucher (1. 96. The Butcher. France/Italy, directed by Claude Chabrol.

First you figure that Claude Chabrol's muted movie will set its sights. Things grow richer and stranger when the murderer becomes. A two- hander brilliantly played by Jean Yanne and the essential Stephane. Audran. 1. 4. Boudu Saved From Drowning (1. Boudu. Sauve des Eaux, France, directed by Jean Renoir. Jean Renoir's acidly humane comedy about an ungrateful bum taken up. Some of the movie's.

My. Man Godfrey. Many years later Paul Mazursky hopelessly muddled. Down and Out in Beverly Hills. Breathless (1. 96. A Bout de Souffle. France, directed by Jean- Luc Godard. Jean- Luc Godard's first feature has much to account for.

Its breezy. amorality, its fusion of Keystone Kops with film noir, its made- it- up- as- we- went- along. Hollywood genres.

A Hard. Day's Night to Bonnie and Clyde to. Pulp Fiction. Don't let the movie's lofty reputation scare you. Jean- Paul Belmondo and Jean Seberg in the leads, fatally glamorous.

The Burmese Harp (1. Harp of. Burma or Birumano Tategoto, Japan, directed by Kon Ichikawa.

Masquerading as a Buddhist monk in order to return to his unit, a Japanese. WWII killing fields and eventually commits. A decade after WWII ended. Japanese made the most heartbreaking antiwar film ever.

Celine and Julie Go Boating (1. France. directed by Jacques Rivette. Celine and Julie are a pair of madcap Alices looking for Wonderland. Their friendship leads first to a house, and then to the drama that. Can they rescue the little. Hilarious, profound, a metaphor.

But in. this best of all possible worlds, our America, it is both unavailable. Perhaps we have made it up?

La Chienne (1. 93. The Bitch. or Isn't Life a Bitch?, France/US, directed by Jean Renoir. Early sound film by Jean Renoir about a timid, married clerk (the unique.

Michel Simon) who takes up with a cheap whore and finds himself a murderer. It's as if, all at once, poetic realism and tragicomic anecdote had. Renoir's vision is still as fresh. The Children of Paradise (1. Les. Enfants du Paradis, France, directed by Marcel Carne. How great is Marcel Carne's once- in- a- lifetime epic set among a ragtag.

Put it this way: its hero is a lovestruck. Heart- piercing performances by Jean- Louis. Barrault and Arletty, playing mismatched lovers. Sumptuous and sublime. The Conformist (1. Il Conformista. Italy/France/W. Ger., directed by Bernardo Bertolucci.

A tale that identifies ordinary guilt and sexual shame as the roots. The best work of director Bernardo Bertolucci, cameraman. Vittorio Storaro, designer Ferdinando Scarfiotti and actor Jean- Louis. Trintignant. And that is saying something.

Beautiful, sinister and hugely. Contempt (1. 96. 3), aka Le Mepris or.

Il Disprezzo, France/Italy, directed by Jean- Luc Godard One of cinema's snarkier in- jokes, Jean- Luc Godard's bleakly funny movie. The Odyssey in Europe. Joseph E. Levine, but it could just as well have been Joel Silver and.

Hudson Hawk. As, respectively, the producer and bubble- headed. Jack Palance and Brigitte Bardot turn in perfect accounts of themselves. Cria! (1. 97. 5), aka Cria Cuervos or.

Raise Ravens, Spain, directed by Carlos Saura. Geraldine Chaplin and young Anna Torrent play the same woman, at different. Chaplin's. performance is overwhelming; director Carlos Saura's movie is magnificent. Saura and Chaplin were lovers at the time, and neither was ever better. The Decalogue (1. Dekalog. Poland, directed by Krzysztof Kieslowski. Some movies provoke people to alter haircuts, attitudes or musical tastes.

This one will change the way you look at movies. Each segment of Krzysztof. Kieslowski's 1. 0- hour film (made to be shown in installments on Polish. TV) presents a moral dilemma based on one of the Ten Commandments. A. random murder, a diagnosis of cancer, the death of a dog- -all are interwoven. Considerably more uplifting than William Bennett's. The Book of Virtues.

Les Diabolique (1. Diabolique. France, directed by Henri- Georges Clouzot Henri- Georges Clouzot's pitiless, icily enthralling shocker is famed. Simone Signoret's. Psycho. The American remakes- -two.

TV, a third one on the big screen- -were travesties. Diary of a Country Priest (1. Le. Journal d'un Cure de Campagne, France, directed by Robert Bresson. A young priest suffers and sickens when his parishioners neither trust. Rigorous austerity, scalpel- precise imagery, and. Robert Bresson's film the searing purity. Watch Full Episodes Of Rookie Blue Season 6 there.

The Discreet Charm of the Bourgeoisie (1. Le Charme Discret de la Bourgeoisie, Italy/Spain/France.

The top 5. 0 Greatest Films of All Time Sight & Soundfrom our September 2. Credit: Kobal Collection. Introduction. Ian Christie rings in the changes in our biggest- ever poll. And the loser is – Citizen Kane. After 5. 0 years at the top of the Sight & Sound poll, Orson Welles’s debut film has been convincingly ousted by Alfred Hitchcock’s 4.

Vertigo – and by a whopping 3. So what does it mean? Given that Kane actually clocked over three times as many votes this year as it did last time, it hasn’t exactly been snubbed by the vastly larger number of voters taking part in this new poll, which has spread its net far wider than any of its six predecessors. Watch Kill Your Friends Full Movie. But it does mean that Hitchcock, who only entered the top ten in 1. Vertigo climbing from seventh place, to fourth in 1. Old Master. Welles, uniquely, had two films (The Magnificent Ambersons as well as Kane) in the list in 1.

Ambersons has slipped to 8. So does 2. 01. 2 – the first poll to be conducted since the internet became almost certainly the main channel of communication about films – mark a revolution in taste, such as happened in 1. Back then a brand- new film, Antonioni’s L’avventura, vaulted into second place. If there was going to be an equivalent today, it might have been Malick’s The Tree of Life, which only polled one vote less than the last title in the top 1. In fact the highest film from the new century is Wong Kar- wai’s In the Mood for Love, just 1. Dreyer’s venerable Ordet…Ian Christie’s full essay on changing fashions on our new poll is published in the September 2.

Sight & Sound. Texts below are quotations from our poll entries and magazine coverage of the top ten. Links are to the BFI’s Explore Film section.

See Nick James’s poll coverage introduction for details of our methodology, and the ‘further reading’ links at the end of this page. The top 5. 0Alfred Hitchcock, 1. Hitchcock’s supreme and most mysterious piece (as cinema and as an emblem of the art). Paranoia and obsession have never looked better.—Marco Müller.

After half a century of monopolising the top spot, Citizen Kane was beginning to look smugly inviolable. Call it Schadenfreude, but let’s rejoice that this now conventional and ritualised symbol of ‘the greatest’ has finally been taken down a peg.

The accession of Vertigo is hardly in the nature of a coup d’état. Tying for 1. 1th place in 1. Hitchcock’s masterpiece steadily inched up the poll over the next three decades, and by 2. Still, even ardent Wellesians should feel gratified at the modest revolution – if only for the proof that film canons (and the versions of history they legitimate) are not completely fossilised. Watch Freeheld Streaming there.

There may be no larger significance in the bare fact that a couple of films made in California 1. Yet the human urge to interpret chance phenomena will not be denied, and Vertigo is a crafty, duplicitous machine for spinning meaning…—Peter Matthews’ opening to his new essay on Vertigo in our September 2. Orson Welles, 1. 94. Kane and Vertigo don’t top the chart by divine right. But those two films are just still the best at doing what great cinema ought to do: extending the everyday into the visionary.—Nigel Andrews.

In the last decade I’ve watched this first feature many times, and each time, it reveals new treasures. Clearly, no single film is the greatest ever made. But if there were one, for me Kane would now be the strongest contender, bar none.—Geoff Andrew. All celluloid life is present in Citizen Kane; seeing it for the first or umpteenth time remains a revelation.—Trevor Johnston. Ozu Yasujiro, 1. 95. Ozu used to liken himself to a “tofu- maker”, in reference to the way his films – at least the post- war ones – were all variations on a small number of themes.

So why is it Tokyo Story that is acclaimed by most as his masterpiece? DVD releases have made available such prewar films as I Was Born, But…, and yet the Ozu vote has not been split, and Tokyo Story has actually climbed two places since 2. It may simply be that in Tokyo Story this most Japanese tofu- maker refined his art to the point of perfection, and crafted a truly universal film about family, time and loss.—James Bell. Jean Renoir, 1. 93. Only Renoir has managed to express on film the most elevated notion of naturalism, examining this world from a perspective that is dark, cruel but objective, before going on to achieve the serenity of the work of his old age. With him, one has no qualms about using superlatives: La Règle du jeu is quite simply the greatest French film by the greatest of French directors.—Olivier Père.

FW Murnau, 1. 92. When F. W. Murnau left Germany for America in 1.

Did it sense that change was around the corner – that now was the time to fill up on fantasy, delirium and spectacle before talking actors wrenched the artform closer to reality? Many things make this film more than just a morality tale about temptation and lust, a fable about a young husband so crazy with desire for a city girl that he contemplates drowning his wife, an elemental but sweet story of a husband and wife rediscovering their love for each other. Sunrise was an example – perhaps never again repeated on the same scale – of unfettered imagination and the clout of the studio system working together rather than at cross purposes.—Isabel Stevens. Stanley Kubrick, 1. A Space Odyssey is a stand- along monument, a great visionary leap, unsurpassed in its vision of man and the universe. It was a statement that came at a time which now looks something like the peak of humanity’s technological optimism.—Roger Ebert. John Ford, 1. 95.

Do the fluctuations in popularity of John Ford’s intimate revenge epic – no appearance in either critics’ or directors’ top tens in 2. It could be a case of this being a western for people who don’t much care for them, but I suspect it’s more to do with John Ford’s stock having risen higher than ever this past decade and the citing of his influence in the unlikeliest of places in recent cinema.—Kieron Corless. Dziga Vertov, 1. 92. Is Dziga Vertov’s cine- city symphony a film whose time has finally come? Ranked only no. 2.

Eisenstein’s erstwhile perennial Battleship Potemkin as the Constructivist Soviet silent of choice. Like Eisenstein’s warhorse, it’s an agit- experiment that sees montage as the means to a revolutionary consciousness; but rather than proceeding through fable and illusion, it’s explicitly engaged both with recording the modern urban everyday (which makes it the top documentary in our poll) and with its representation back to its participant- subjects (thus the top meta- movie).—Nick Bradshaw. Carl Dreyer, 1. 92. Joan was and remains an unassailable giant of early cinema, a transcendental film comprising tears, fire and madness that relies on extreme close- ups of the human face. Over the years it has often been a difficult film to see, but even during its lost years Joan has remained embedded in the critical consciousness, thanks to the strength of its early reception, the striking stills that appeared in film books, its presence in Godard’s Vivre sa vie and recently a series of unforgettable live screenings. In 2. 01. 0 it was designated the most influential film of all time in the Toronto International Film Festival’s ‘Essential 1.

Jonathan Rosenbaum described it as “the pinnacle of silent cinema – and perhaps of the cinema itself.”—Jane Giles. Federico Fellini, 1. Arguably the film that most accurately captures the agonies of creativity and the circus that surrounds filmmaking, equal parts narcissistic, self- deprecating, bitter, nostalgic, warm, critical and funny. Dreams, nightmares, reality and memories coexist within the same time- frame; the viewer sees Guido’s world not as it is, but more ‘realistically’ as he experiences it, inserting the film in a lineage that stretches from the Surrealists to David Lynch.—Mar Diestro- Dópido.

Sergei Eisenstein, 1. Jean Vigo, 1. 93. Jean- Luc Godard, 1. Francis Ford Coppola, 1.

Ozu Yasujiro, 1. 94. Robert Bresson, 1. Kurosawa Akira, 1.

Ingmar Bergman, 1.