In 1952, the Sight and Sound team had the novel idea of asking critics to name the greatest films of all time. The tradition became decennial, increasing in size and prestige as the decades passed.
The Sight and Sound poll is now a major bellwether of critical opinion on cinema and 2022’s edition (its eighth) is the largest ever, with 1,639 participating critics, programmers, curators, archivists and academics each submitting their top ten ballot.
Note: While this list is ranked, several entries are ties, that's the reason why this list has actually 264 entries instead of the 250 entries intended. For a more comprehensibly ranked list as well as more information about it, follow the link below.
https://www.bfi.org.uk/sight-and-sound/greatest-films-all-time
En julio de 1994, la revista mexicana SOMOS -con motivo de su número 100- publicó una edición especial dedicada a las 100 mejores películas del cine mexicano. Para realizar la selección, la revista invitó a 25 especialistas en nuestra cinematografía, entre los que destacan críticos como Jorge Ayala Blanco, Nelson Carro y Tomás Pérez Turrent; historiadores de la talla de Eduardo de la Vega Alfaro y Gustavo García; Carlos Monsivais y el propio Gabriel Figueroa.
La lista de SOMOS incluye exclusivamente largometrajes cuya producción haya sido total o mayoritariamente mexicana, de ahí la ausencia de algunas cintas importantes como Viridiana (1961) de Luis Buñuel. El filme más antiguo seleccionado (El automóvil gris) data de 1919 y los más recientes (Cronos y Como agua para chocolate) de 1992.
Hasta el momento, la lista de SOMOS representa el principal esfuerzo de esta naturaleza que se haya hecho sobre el cine mexicano, de ahí su importancia como criterio para la selección de las películas que integran esta filmografía.
They Shoot Pictures, Don't They? (TSPDT) is a modest but growing film resource dedicated to the art of motion picture filmmaking and most specifically to that one particular individual calling the shots from behind the camera - the film director.
This list is based on TSPDT's 1,000 Greatest Films, a list compilated by Bill Georgaris using thousands of best-of/all-time lists.
www.theyshootpictures.com
They Shoot Pictures, Don't They? (TSPDT) is a modest but growing film resource dedicated to the art of motion picture filmmaking and most specifically to that one particular individual calling the shots from behind the camera - the film director.
This list is based on TSPDT's 1,000 Greatest Films, a list compilated by Bill Georgaris using thousands of best-of/all-time lists.
www.theyshootpictures.com
The 481 films listed below were included in previous editions of the They Shoot Pictures, Don't They?'s 1,000 Greatest Films.
The Palme d'Or is the highest prize awarded at the Cannes Film Festival. It was introduced in 1955 by the festival's organizing committee. Previously, from 1939 to 1954, the highest prize at the festival was the Grand Prix du Festival International du Film. In 1964, The Palme d'Or was replaced again by the Grand Prix, before being reintroduced in 1975.
The Palme d'Or is widely considered to be one of the most prestigious awards in the film industry.
The Golden Lion (Italian: Leone d'Oro) is the highest prize given to a film at the Venice Film Festival. The prize was introduced in 1949 by the organizing committee and is now regarded as one of the film industry's most prestigious and distinguished prizes. In 1970, a second Golden Lion was introduced; this is an honorary award for people who have made an important contribution to cinema.
The prize was introduced in 1949 as the Golden Lion of Saint Mark (the winged lion which had appeared on the flag of the Republic of Venice).[1] Previously, the equivalent prize was the Gran Premio Internazionale di Venezia (Grand International Prize of Venice), awarded in 1947 and 1948. Before that, from 1934 until 1942, the highest awards were the Coppa Mussolini (Mussolini Cup) for Best Italian Film and Best Foreign Film.
The Goldener Bär is the highest prize awarded for the best film at the Berlin International Film Festival. The bear is the heraldic animal of Berlin, featured on both the coat of arms and flag of Berlin. The winners of the first Berlin International Film Festival in 1951 were determined by a German panel, and there were five winners of the Golden Bear, divided by categories and genres. Between 1952 and 1955, the winners of the Golden Bear were determined by the audience members. In 1956, the FIAPF (Fédération Internationale des Associations de Producteurs de Films) formally accredited the festival, and since then the Golden Bear has been awarded by an international jury.
