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Tag Archives: No Direction Home: Bob Dylan

Top 10 Home Video Releases of 2016

My top 10 favorite home-video releases of 2016 (and 21 runners-up):

10. Cool Apocalypse (Smith, 2015, Emphasis Entertainment DVD)

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I would be lying if I didn’t include my own first feature on this list. I love the package that Al Strutz of Emphasis Entertainment Group put together for the DVD-only release of Cool Apocalypse, which includes Pierre Kattar’s minute-long behind-the-scenes documentary and my own “director’s commentary” track in which I expound at greater length than I have anywhere else before on my influences, methods and intentions in making this little film. Thanks a million, Al!

9. The Assassin (Hou, 2015, Well Go USA Blu-ray)

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Hou Hsiao-Hsien’s martial arts film about a female assassin, played by the great Shu Qi, whose personal life conflicts with her professional life when she’s ordered to kill her ex-fiance during the waning years of the Tang dynasty. This is one of the transcendent film experiences of recent years: a sword fight among ghostly birch trees and a climactic conversation on a fog-enshrouded mountaintop are among the instant-classic scenes. Cinematography of borderline-supernatural magnitude like this (courtesy of Mark Li Ping-Bing who shot on 35mm) deserves a stellar HD transfer and Well Go USA’s Blu-ray certainly delivers in that department. The disc is a little light on extras — there are just four short “featurettes,” all of which clock in at less than four minutes a piece — but we should all be grateful for any chance to see and hear Hou talk about his work.

8. No Direction Home: Bob Dylan (Scorsese, 2005, Paramount Blu-ray)

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2016 was a great year for America’s greatest living artist: Bob Dylan turned 75-years-old, released an acclaimed new album of standards for the second year in a row, logged 76 more dates on his Never-Ending Tour (including a co-headlining gig at “Desert Trip,” the biggest concert event of the year) and, oh yeah, won the Nobel Prize in Literature. Martin Scorsese’s definitive doc about Dylan’s early career – up through and including his earth-shaking European tour in 1966 – also got a spiffy “10th anniversary” re-release. The original version had only been available on DVD so Paramount’s new Blu-ray is a very welcome upgrade – with the D.A. Pennebaker-shot footage from Eat the Document looking better than those of us who first saw it via crappy VHS bootlegs would have ever thought possible. Among the plentiful extras is an insightful new interview with Scorsese in which he discusses at length his editing choices — including the film’s dazzling chronology-shuffling structure.

7. She Wore a Yellow Ribbon (Ford, 1949, Warner Blu-ray)

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For me, the second installment of John Ford’s celebrated “Cavalry Trilogy” doesn’t quite scale the artistic heights of the previous year’s Fort Apache but it is arguably the director’s most beautifully photographed color film and remains an essential work. Archivist Robert Harris wrote that this stunning new transfer was “taken from an IP derived from the original three-strip negatives, but so good, and with such accurate color (matched to an original nitrate), and perfect registration, that if I had to decide which way to go for the difference in cost, I’d do precisely what Warner Archive has done.” The accurate color is so crucial: the film features an expressive, boldly stylized use of color — nowhere more apparent than in the theatrical, blood-red sunset during John Wayne’s famous graveside monologue.

6. Napoleon (Gance, 1927, BFI Blu-ray)

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The way I feel about Abel Gance’s legendary Napoleon is the same way a former President of Columbia Records felt about Leonard Cohen’s music: I know that it’s great but I don’t know if it’s any good. It can be hard to reconcile the film’s dubious qualities – it is unquestionably pro-militaristic, nationalistic and hagiographic – with its status as a cinematic landmark and the apotheosis of Impressionism. Whether he’s capturing schoolchildren engaged in a snowball fight or French and English soldiers fighting for literally days on end in the wettest, muddiest battlefields this side of Kurosawa, Gance has the uncanny ability to use handheld camera (rare for a silent epic) and super-fast cutting to whip viewers into an emotional frenzy. Of course, the film itself is almost beside the point now: Kevin Brownlow’s restoration, nearly 50 years in the making and 5-and-a-half hours long, cobbles together prints from all over the world to very closely approximate what the film would’ve first looked like in 1928. It’s one of the all-time great restoration stories and every movie lover should make it a point to see this version.

5. Godard: The Essential Collection (Godard, 1960-1965, Studio Canal Blu-ray)

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Studio Canal UK released this sweet box-set, combining five of Jean-Luc Godard’s most popular early features (Breathless, Une Femme est une Femme, Le Mépris, Alphaville and Pierrot Le Fou) to surprisingly little fanfare in February. All of the discs are stacked with welcome extras — vintage making-of docs, introductions by Colin MacCabe, interviews with Anna Karina, etc. — and feature impeccable transfers to boot (with the notable exception of Le Mépris, which has always looked problematic on home video). The real story here though is that Une Femme est une Femme and Alphaville are receiving their Blu-ray debuts and look and sound better than ever in 1080p. One is a widescreen, riotously colorful musical comedy, the other is a high-contrast, black-and-white, neo-Expressionist sci-fi/noir. But they both function as dual love letters to the cinema and to Godard’s then-wife and muse, Karina, still one of the most ravishing screen presences in all of cinema.

4. Dekalog (Kieslowski, 1988-1989, Criterion Blu-ray)

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Sell your old Facets DVDs if you still can! The mighty Criterion Collection did Krzysztof Kieslowski proud with this amazing set that combines new restorations and transfers of all 10 one-hour episodes of the director’s legendary television miniseries Dekalog with the expanded theatrical-release versions of episodes five and six (AKA A Short Film About Killing and A Short Film About Love). While Kieslowski is probably still best known for the later “Three Colors” trilogy that saw him move to France and work with notable Euro-arthouse stars like Juliette Binoche, Julie Delpy and Irene Jacob, the Dekalog remains his supreme masterpiece: Each episode is set in the same housing project in Warsaw and corresponds — to varying degrees of literal-ness — to each of the Ten Commandments. The series dares to ask the question: how might these Commandments serve as the basis for ethical dilemmas in the modern world? The episodes can be watched in any order and discovering the ways in which the different stories subtly intersect (a major player in one episode may turn up for a cameo in another) is fascinating to behold. Is it television or is it cinema? Who cares? As the Criterion jacket copy states, it’s one of the 20th century’s great achievements in “visual storytelling.”

3. Early Murnau (Murnau, 1921-1925,  Eureka!/Masters of Cinema Blu-ray)

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Aw yeah. Masters of Cinema did silent movie fans a huge favor by bundling together five of F.W. Murnau’s great early German films (The Haunted Castle, Phantom, The Grand Duke’s Finances, The Last Laugh and Tartuffe) into one stellar three-disc set. If I had to list the virtues of this Early Murnau box, it would be endless: All five films are making their Blu-ray debuts, all are based on meticulous restorations by the redoubtable F.W. Murnau Foundation, all are presented with the original German intertitles and feature optional English subtitles, there are copious extras, etc. While The Last Laugh is the (deservedly) best-known film of the bunch, what a joy it is to see an undervalued mini-masterpiece like Phantom looking so crazy and beautiful in 1080p. Murnau is a God of cinema, someone who knew how to put emotion into camera movement — in the same way that someone like William Faulkner knew how to put emotion into a string of words — and being able to witness that kind of cinematic expressiveness in the optimum quality it’s presented in here made me ecstatically happy. Now where’s The Burning Soil, damn it?!

2. Pioneers of African-American Cinema (Various, 1915-1941, Kino/Lorber Blu-ray)

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University of Chicago professor Jacqueline Najuma Stewart curated this incredible and extensive compilation of early movies by African-American filmmakers, all of which were made far outside of the Hollywood studio system between the mid-1910s and the mid-1940s. It’s an impressive act of restoration and reclamation that stands as one of the most significant home video releases ever. Spread across five Blu-ray discs are a dozen feature films and twice that many shorts — totaling 24 hours of running time altogether. This set includes newly restored works by such relatively well-known
“race film” directors as Oscar Micheaux and Spencer Williams as well as a wealth of exciting new discoveries by previously unknown filmmakers who immediately qualify as what Andrew Sarris once termed “Subjects for Further Research.” Chief among the latter are James and Eloyce Gist, husband and wife traveling evangelists whose surreal visual allegory Hellbound Train depicts Satan as the literal engineer of a train taking the world’s sinners to hell.

1. The Jacques Rivette Collection (Rivette, 1971-1981, Arrow Blu-ray)

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There’s no way in hell anything else was going to top this list. Jacques Rivette has always been the most underappreciated of the major New Wave directors — mainly because his work has always been the most difficult to see. This imbalance was in large part redressed with Arrow Video’s mammoth box set, which was released 11 days before Rivette’s death in January. The centerpiece is Rivette’s greatest work, the near 13-hour-long Out 1, originally made for but rejected by French television. In this epic series Rivette intercuts the stories of two theatrically troupes rehearsing different Aeschylus plays with the stories of two con artists separately investigating a secret society with its origins in Balzac. The way Rivette gradually brings these various characters together — as if pieces on a giant chessboard — is alternately hilarious, terrifying and exhilarating. Only shown a handful of times theatrically and on T.V. over the decades, this cinematic holy grail was primarily seen by cinephiles in recent years as an illegal digital download of dubious quality with “fan-made” English subtitles. This new transfer boasts nicely saturated colors and beautiful film-grain quality via a 2K restoration of the original 16mm elements overseen by cinematographer Pierre-William Glenn. Also included is Out 1: Spectre, a four-and-a-half hour alternate version (not a reduction) of the original that stands as a major work in its own right; Duelle and Noroit, two delightful female-centric companion films from 1976 that function as mythological noir and pirate-adventure story, respectively; and the globe-hopping thriller Merry-Go-Round, an interesting but somewhat lesser work starring Joe Dallesandro and Maria Schneider. To pore over the contents of this set is to understand why Rivette is one of the giants of the medium. The Rivette renaissance will thankfully continue in 2017 as Cohen Media Group has acquired a whopping 10 more Rivette films for distribution.

Runners-Up (Alphabetical By Title):

3 Bad Men (Ford, 1926, Kino/Lorber Blu-ray)
Boyhood (Linklater, 2014, Criterion Blu-ray)
Cat People (Tourneur, 1942, Criterion Blu-ray)
Chimes at Midnight (Welles, 1965, Criterion Blu-ray)
Destiny (Fritz Lang, 1921, Kino/Lorber Blu-ray)
The Emigrants / The New Land (Troell, 1971-1972, Criterion Blu-ray)
The Executioner (Berlanga, 1963, Criterion Blu-ray)
The Exterminating Angel (Bunuel, 1962, Criterion Blu-ray)
Fantomas (Feuillade, 1913, Kino/Lorber Blu-ray)
The Immortal Story (Welles, 1968, Criterion Blu-ray)
In a Lonely Place (Ray, 1950, Criterion Blu-ray)
Inside Llewyn Davis (Coen/Coen, 2012, Criterion Blu-ray)
McCabe and Mrs. Miller (Altman, 1971, Criterion Blu-ray)
Muriel (Resnais, 1955, Criterion Blu-ray)
Night and Fog (Resnais, 1963, Criterion Blu-ray)
On Dangerous Ground (Ray, 1951, Warner Blu-ray)
Paris Belongs to Us (Rivette, 1961, Criterion Blu-ray)
The Player (Altman, 1992, Criterion Blu-ray)
The Rainer Werner Fassbinder Collection (Fassbinder, 1969-1978, Arrow Blu-ray)
They Were Expendable (Ford, 1945, Warner Blu-ray)
A Touch of Zen (Hu, 1971, Eureka!/Masters of Cinema Blu-ray)

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Top 100 Films of the Decade (2000-2009)

This list represents the culmination of a decade’s worth of avid movie watching – and at least a full year of watching and re-watching hundreds of movies specifically for the purpose of making this list. (Hey, I can only do it once every ten years!) In compiling the list, I purposely sought out films from countries whose cinematic output I was unfamiliar with (Hello Romania and Turkey!) and I tried to make the final list as diverse as possible in terms of the directors and genres represented. However, in the end, personal taste prevailed over any sense of including anything merely because I felt obligated to put it there; I know a lot of intelligent people who think highly of recent films by the Coen Brothers, Lars Von Trier, Wes Anderson, Michael Haneke, etc. but ultimately I had to be honest about only including movies I personally love.

The next time you’re stumped at the video store, perhaps this folly will come in handy.

Countdown of the Top 25 (Preferential Order):

25. Syndromes and a Century (Weerasethakul, Thailand, 2006)

A fascinating experimental/narrative hybrid in which the story of two doctors meeting and falling in love is told twice, each time in a different location. My favorite digression (among many) in this sweet, gentle, humane film is a conversation between an ex-DJ turned Buddhist monk and a dentist who moonlights as a pop singer.

24. There Will Be Blood (Anderson, USA, 2007)

Sly, enigmatic fable about religion vs. big business in an America still young and wild. Brilliant, innovative orchestral score by Jonny Greenwood, and Daniel Day-Lewis, as megalomaniacal, misanthropic oilman Daniel Plainview, gives one of the great screen performances of modern times.

23. No Direction Home: Bob Dylan (Scorsese, USA, 2005)

My favorite Martin Scorsese picture of the decade wasn’t a theatrical release but this engrossing made-for-T.V. documentary about Bob Dylan’s early career. As one might expect, this is bolstered by terrific concert footage but also contextualized by the myriad social and historical changes undergone by America from the end of WWII to the beginning of the Vietnam war. An epic achievement.

22. Mary (Ferrara, Italy/USA, 2005)

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A brilliant and complex interaction of narrative fragments, all of which revolve around the place of religion in the modern world. Juliette Binoche is great as an actress who stars as Mary Magdelene in a movie-within-the-movie. Her experience playing the part causes her to go on a spiritual quest to Israel. Meanwhile the film’s megalomaniacal director (Matthew Modine) faces a Passion of the Christ-like controversy back in the States. This provocation is director Abel Ferrara’s finest latter-day work.

21. Failan (Song, S. Korea, 2001)

Judge Smith pronounces this Korean melodrama guilty! Guilty of making a grown man cry all three times he saw it, that is. Career best performances by actors Choi Min-sik and Cecilia Cheung in a unique love story about lovers who never actually meet0

20. Moments choisis des histoire(s) du cinema (Godard, Switzerland/France, 2004)

Jean-Luc Godard’s hour and a half distillation of his marathon video opus Histoire(s) du cinema, where the history of cinema and 20th century world history collide. Whatever Godard goes on to accomplish, this will likely remain his final testament.

19. Avalon (Oshii, Poland/Japan, 2001)

Mind-blowing, philosophical sci-fi about a futuristic Poland where everyone is addicted to a virtual reality video game. My rating here refers only to the original version of this film (available as a region-free DVD or Blu-Ray import), and not the official North American Miramax release, which is ruined by Neil Gaiman’s wildly inaccurate “dub-titles.”

18. Letters from Iwo Jima (Eastwood, USA/Japan, 2006)

The peak of Clint Eastwood’s best decade as a film director is the second part of his Battle of Iwo Jima diptych. Like all true anti-war movies, this spare, haunting, elegiac film is told from the “losing” side.

17. La Captive (Chantal Akerman, France, 2000)

The masterpiece of Chantal Akerman’s late period is also the best adaptation of Proust by anybody. This feminist remix of the fifth volume of Time Regained speaks volumes about the disturbing nature of gender relations in the real world as well as the “male gaze” in the history of cinema in general and Alfred Hitchcock’s Vertigo in particular.

16. Moolaade (Sembene, Senegal, 2004)

An improbably warm, colorful and very humane comedy about a horrific subject: female genital mutilation in West Africa. I was lucky enough to see this at the Chicago International Film Festival with the director, the late, great Ousmane Sembene, present.

15. A History of Violence (Cronenberg, USA/Canada, 2005)

David Cronenberg posits violence as a kind of latent virus in this art film masquerading as a thriller. Or is it a thriller masquerading as an art film? In any case, that’s how I like ‘em.

14. Black Book (Verhoeven , Holland/Germany, 2006)

Paul Verhoeven’s masterful return to filmmaking in his native Holland mimics the form of an old-fashioned Hollywood melodrama in order to pose complex, troubling moral questions about WWII and the Dutch resistance to the Nazi occupation. In other words, the antithesis of Schindler’s List.

13. Mad Detective (To, Hong Kong, 2007)

A mentally unstable ex-cop with the supernatural ability to see people’s “inner personalities” comes out of retirement to solve a missing persons case in this sad, funny, bat-shit crazy neo-noir from Johnnie To, the world’s greatest living genre filmmaker. This deserves to be much more well-known in the West.

12. Memories of Murder (Bong, S. Korea, 2003)

A gripping, superior police procedural about the investigation into S. Korea’s first known serial murders. Director Bong Joon-ho, shining light of the South Korean New Wave, also nicely sketches the 1980s small-town milieu as a portrait of life under military dictatorship.

11. Before Sunset (Linklater, USA/France, 2004)

Richard Linklater’s exquisite talk fest, a gentle real-time comedy reuniting Ethan Hawke and Julie Delpy from his earlier Before Sunrise, proves that sometimes the sequel can be better than the original. “Baby, you are going to miss that plane.”

10. In Vanda’s Room (Costa, Portugal, 2000)

A documentary/narrative hybrid about junkies living in the slums of Lisbon that vaulted director Pedro Costa to the front ranks of the world’s greatest contemporary filmmakers. Epic long takes of real-life sisters Vanda and Zita Duarte smoking heroin, coughing and talking about nothing are juxtaposed with shots of their neighborhood being systematically demolished. Costa knows that, in filmmaking terms, adding up a bunch of shots of “nothing” frequently equals “something” – in this case a powerful statement about the disenfranchisement of an entire class of people.

9. Offside (Panahi, Iran, 2006)

Jafar Panahi’s timely comedy follows the misadventures of several young women who disguise themselves as men and attempt to sneak into Tehran’s Azadi stadium to see Iran’s national soccer team play a World Cup qualifying match (women have been prohibited from attending men’s sporting events since the Islamic revolution). Major portions of the film were shot “live,” documentary-style as the match was being played, which audaciously leaves elements of the film’s plot (such as the outcome of the match) up to chance. When the girls are arrested and corralled into a holding area outside of the stadium walls, the central location ultimately becomes a microcosm of both Iran and the entire world. A film overflowing with compassion yet ruthlessly unsentimental, this is political filmmaking at its finest.

8. The Intruder (Denis, France, 2004)

A retiree in need of a heart transplant (Michel Subor) takes emotional stock of his life and attempts to reconnect with his estranged son (Gregoire Colin) in this mysterious, elliptical drama. It is unclear how many of the scenes are occurring in reality and how many take place only in the protagonist’s mind. These narrative shards are served up by director Claire Denis and cinematographer Agnes Godard as tactile, painterly images and accompanied by a terrific, minimalist electric guitar score. The end result is an unforgettably sensual experience.

7. The Headless Woman (Martel, Argentina, 2008)

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Shades of Hitchcock and Antonioni abound as a woman becomes increasingly disassociated from reality after participating in what may or may not have been a hit and run accident. I can’t recall the last time I saw a film in which every composition, cut and sound effect seemed so precisely and exquisitely calibrated to impart psychological meaning.

6. The Assassination of Jesse James by the Coward Robert Ford (Dominik, USA/Canada, 2007)

A visionary re-imagining of the last year of the famous outlaw’s life, this funny, strange, beautiful and sad film boasts cinematography as masterful as you’ll find anywhere and many incredible performances by a large ensemble cast. Remains enthralling for its near 3 hour running time even after many viewings.

5. Yi Yi (Yang, Taiwan, 2000)

Beginning with a wedding and ending with a funeral, this riveting family comedy/drama set in contemporary Taipei is simultaneously as epic and as intimate as the best 19th century Russian novels. The last film by the great writer/director Edward Yang.

4. Zodiac (Fincher, USA, 2007)

A brooding obsession with the passage of time and the nature of obsession itself are the hallmarks of this bold foray into the realm of digital cinema, a masterful, epic film about a newspaper cartoonist’s personal investigation of a series of unsolved murders. Deserves to be ranked alongside Sunrise, Citizen Kane, Vertigo and The Searchers as one of the all-time great American films.

3. In the Mood for Love (Wong, Hong Kong, 2000)

Next-door neighbors in a tiny apartment building, Tony Leung and Maggie Cheung, are drawn ever closer together after suspecting their frequently absent spouses may be having an affair. Wong Kar-Wai’s fondness for patterns of repetition and variation pays dividends in this subtle, restrained, impeccably designed film. A Brief Encounter for our time and a film so beautiful it hurts.

2. Mulholland Drive (Lynch, USA, 2001)

David Lynch’s masterpiece, an endlessly watchable, open-ended narrative puzzle about an aspiring Hollywood actress trying to help an amnesiac unlock the mystery of her identity. This is one of the great “let’s theorize endlessly about what it all means over coffee” movies.

1. Three Times (Hou, Taiwan, 2005)

Hou Hsiao-Hsien’s profound meditation on love, cinema and twentieth century Taiwanese history with Shu Qi and Chang Chen playing lovers in three different stories set in three different eras. Lyrical, beautiful and all-around perfect.

First Runners-Up (Alphabetical by Director’s Family Name):

A Fine Day (Thomas Arslan, Germany, 2001)

Vincere (Marco Bellochio, Italy, 2009)

The Hurt Locker (Kathryn Bigelow, USA/Jordan, 2008)

Time Out (Cantet, France, 2001)

Distant (Nuri Bilge Ceylan, Turkey, 2002)

Secret Sunshine (Lee Chang-dong, S. Korea, 2007)

Colossal Youth (Pedro Costa, Portugal, 2006)

I’m Going Home (Manoel de Oliveira, France/Portugal, 2001)

Pan’s Labyrinth (Guillermo del Toro, Spain, 2006)

A Christmas Tale (Arnaud Desplechin, France, 2008)

Lady Chatterley (Extended European Edition) (Pascale Ferran, France, 2006)

Lagaan: Once Upon a Time in India (Ashutosh Gowariker, India, 2001)

That Old Dream That Moves (Alain Guiraudie, France, 2001)

Woman on the Beach (Hong Sang-soo, S. Korea, 2006)

The Flight of the Red Balloon (Hsiao-Hsien Hou, France/Taiwan, 2007)

Ten (Abbas Kiarostami, Iran, 2002)

Tokyo Sonata (Kiyoshi Kurosawa, Japan, 2008)

A Scanner Darkly (Richard Linklater, USA, 2006)

INLAND EMPIRE (David Lynch, USA, 2006)

Ichi the Killer (Takashi Miike, Japan, 2001)

Oldboy (Chan-wook Park, S. Korea, 2003)

Police, Adjective (Corneliu Porumboiu, Romania, 2009)

Wild Grass (Alain Resnais, France, 2009)

Everlasting Moments (Jan Troell, Sweden, 2008)

Goodbye Dragon Inn (Ming-Liang Tsai, Taiwan, 2003)

2nd Runners-Up (Alphabetical by Director’s Family Name):

Everyone Else (Maren Ade, Germany/Italy, 2009)

Let the Right One In (Tomas Alfredson, Sweden, 2008)

Talk to Her (Pedro Almodovar, Spain, 2002)

Punch Drunk Love (Paul Thomas Anderson, USA, 2002)

Bright Star (Jane Campion, UK/Australia, 2009)

Eastern Promises (David Cronenberg, UK/Canada, 2007)

The Tracker (Rolf de Heer, Australia, 2002)

Kings and Queen (Arnaud Desplechin, France, 2004)

Gran Torino (Clint Eastwood, USA, 2008)

The Best of Youth (Marco Tullio Giordana, Italy, 2003)

Grizzly Man (Werner Herzog, USA, 2005)

Save the Green Planet (Joon-hwan Jang, S. Korea, 2003)

The World (Zhangke Jia, China, 2004)

Be With Me (Eric Khoo, Singapore, 2005)

Shirin (Abbas Kiarostami, Iran, 2008)

School of Rock (Richard Linklater, USA, 2003)

The Holy Girl (Lucrecia Martel, Argentina, 2004)

This is England (Shane Meadows, England, 2006)

Afternoon (Angela Schanelec, Germany, 2007)

The Day I Became a Woman (Marzieh Meshkini, Iran, 2001)

The Circle (Jafar Panahi, Iran, 2000)

JSA: Joint Security Area (Chan-wook Park, S. Korea, 2000)

The Pianist (Roman Polanski, Poland/France, 2002)

Quitting (Yang Zhang, China, 2001)

The Return (Andrei Zvyagintsev, Russia, 2003)

3rd Runners-Up Group (Alphabetical by Director’s Family Name):

20 Fingers (Mania Akbari, Iran, 2004)

Vicky Cristina Barcelona (Woody Allen, USA/Spain, 2008)

Los Angeles Plays Itself (Thom Andersen, USA, 2003)

Summer Hours (Olivier Assayas, France, 2008)

Once (John Carney, Ireland, 2007)

Durian Durian (Fruit Chan, Hong Kong, 2000)

Two Lovers (James Gray, USA, 2008)

Far From Heaven (Todd Haynes, USA, 2002)

The Proposition (John Hillcoat, Australia, 2005)

Downfall (Oliver Hirschbiegel, Germany, 2004)

Chunhyang (Kwon-taek Im, S. Korea, 2000)

Warm Water Under a Red Bridge (Shohei Imamura, Japan, 2001)

Three-Iron (Ki-Duk Kim, S. Korea, 2004)

Happy Go Lucky (Mike Leigh, England, 2008)

The Saddest Music in the World (Guy Maddin, Canada, 2003)

Kandahar (Mohsen Makhmalbaf, Iran/Afghanistan, 2001)

Bamako (Abderrahmane Sissako, Mali, 2006)

Russian Ark (Alexander Sokurov, Russia, 2002)

WALL-E (Andrew Stanton, USA, 2008)

Inglourious Basterds (Quentin Tarantino, USA/Germany, 2009)

Werckmeister Hamonies (Bela Tarr, Hungary, 2000)

The Gleaners and I (Agnes Varda, France, 2000)

2046 (Kar-Wai Wong, Hong Kong, 2004)

Shaun of the Dead (Edgar Wright, England, 2004)


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