Movies, shows, seasons, and episodes I plan to watch.


My favorite TV shows and movies.


Since there is no genre sorting for Watchlists I keep the docs here.
Titles are removed once I've seen them. It's public in case anyone is lurking for something.


2018 released movies I probably want to watch.


2017 released movies I probably want to watch.


These are not supposed to be the "best" films but the ones that entertained me the most or I got something out of.

There is still plenty I want to watch from http://trakt.tv/user/sp1ti/lists/2016-watchlist.


2016 released movies I probably want to watch.


These are not supposed to be the "best" films but the ones that entertained me the most or I got something out of.

Starting it early this time so lots of bumping to be expected (since the year hasn't been really great).

There is still plenty I want to watch from http://trakt.tv/user/sp1ti/lists/2015-watchlist.


2015 released movies I probably want to watch.


These are not supposed to be the "best" films but the ones that entertained me the most or I got something out of.

There is still plenty I want to watch from http://trakt.tv/user/sp1ti/lists/2014-watchlist.


2014 released movies I probably want to watch (... it's getting excessive).


These are not supposed to be the "best" films but the ones that entertained me the most or I got something out of.


2013 released movies I probably want to watch.


2012 released movies I probably want to watch.


Since I've never seen that many "current" releases from a year (probably a bit more than 100) I thought myself why not make a top 20. These are not supposed to be the "best" films but the ones that entertained me the most.

I still have some titles to check of my 2012 list but theese will have to wait a little longer :).


Yeah, these weird Japanese ones for kids. I'm still shocked by the amount of people who still just ignore the medium. There is a huge variety of genres to choose from for all ages and it's not just like school girls, tentacle rape, or Dragonball. If you like film I urge you to give these a go!
I deceided against a "Top 10" and limited the choices to one movie per director. Most of these guys have a rich body of work worth checking out.

(And no, these are not obscure, it just takes a lot more to make an animated film than some indie movie..)

-The End of Evangelion – dir. Hideaki Anno:
He is not only a great anime director but has also made some great live-action ones aswell. To enjoy the despair ahead you'll have to watch the TV series though. No worries, not only is it great but you will be rewarded with one of the most striking animated films to date. http://www.youtube.com/watch?v=bCLoNOYcVQU

-Princess Mononoke – dir. Hayao Miyazaki:
Having seen most of his films, Mononoke was the first for me and it stuck with me the most. I guess it is a bit different than his usual works given the setting. The struggle between living with nature in harmony or taking control over it is a lot more than just good versus evil. A beautiful epic for sure. Luckily the now retired master has made some other great films aswell so there is one for everyone.

  • Grave of the Fireflies – dir. Isao Takahata:
    Except for this Takahata doesn't seem to enjoy the same fame or popularity as his Studio Ghibli Co-Funder friend Miyazaki which is a shame really. His movies are a lot more grounded and you know what you're at. I thought about including the terribly underwatched Gauche the Cellist but this sucker is just such a tear jerker that it should depress about everyone (and it's based on a true story).

  • Millennium Actress – dir. Satoshi Kon:
    I'm still saddened by Kon's death. Not one of his works isn't exceptional. Just watch them all! MA was his love letter to the actress Setsuko Hara which I'm sure you recognize if you saw her on screen once, such a captivating presence (best known for Tokyo Story).

  • Ghost in the Shell – dir. Mamoru Oshii:
    I'm still amazed by how many people love The Matrix but have not seen Oshii's manga adaptation despite the Wachowski being quite open about it's influence. The second movie is great aswell and so is Stand Alone Complex. The score from Kenji Kawai makes it even so much better. The man also directed the first OVA series ever and some other good ones like Angel's Egg and Patlabor 2. When it comes to live action, Avalon is not bad either but he can sometimes be a hack and make something like Assault Girls... Try to find the basset hounds.

  • Summer Wars – dir. Mamoru Hosoda:
    The director started out with some credits on Digimon before he found success in 2006 with The Girl Who Leapt Through Time. The virtual world found in Summer Wars is very much an extension of a movie he did for the show. While it's though for me to pick between this and Wolf Children I found the story here quite touching in regards of multiple generations in the family coming together where as the other is more about the mother.

  • Akira – dir. Katsuhiro Ohtomo:
    Akira was one of the first anime movies I saw when I was younger. If you like scifi and action there is no reason for you not to see it. The maniac Kaneda became with his powers is still referenced (intentional or not) in other movies today. A balanat rip-off of the exploding Tokyo is also shown in Resident Evil Afterlife. It just became 25 years old this year and predicted the 2020 Olympic's in Tokyo ;). It was also the reason for a (short-termed) hype for anime in the US. Just go and watch it ffs!
    As for other works by Ohtmo I would say watch Steamboy if you want some steampunk (and pretty animated ice) or Rojin Z for a more slice of life scifi.

  • A Letter to Momo - dir. Hiroyuki Okiura:
    A suprisingly overlooked movie. It took Okiura over seven years to create together with (mainly) Production I.G. doing the hand-drawn art. It features a loveley color palette and has a story similar to what you find over at Ghibli. While it drags a bit early on it works as a whole (and is yet another touching story). The other movie credit the director has is the more well known Jin-Roh (created by the guy abit further above, Oshii) where I can see why people enjoy it a lot (a darker red riding hood) it isn't one of my favorites and is an extreme opposite to Momo.

  • Ninja Scroll - dir. Yoshiaki Kawajiri:
    It's basicly the Sex, Drugs & Rock 'n' roll of chanbara cinema and for exactly that reason it was quite popular not too long ago at least among teens. My opinion might be still based from when I was younger but it's a fun and stylish action flick with lots of ultra violence. Kawajiri contributed a short to Animatrix so you might have seen something of his. Wicked City is also one of the more well known oldschool anime movies where you will see a "human" venus trap in action ;P.

  • Time of Eve: The Movie - dir. Yasuhiro Yoshiura:
    Science-fiction authors (and the Japanese) have always been interested in relations between humans and androids. This movie looks at this in a great setup: Having a café with one simple rule; No discrimination between humans and robots. Inside, human looking androids are indistinguishable by appearance (they are forced to have indicators on their heads outside) and can act independently from their owners. Since I'm a sucker for the kinds of stories where the line between man and machine is blurred I enjoyed this a lot and I think it's a strong sci-fi movie even outside the medium of anime (if you're not just an action guy).
    (FYI: The movie is an extended version of an OVA series by the same name)
    As for other works by Yoshiura: I'm not really a fan of the other short ones, Patema Inverted however looks pretty great.


A list of films which were adapted from either Manga, Manhwa or Anime.

Many sourced from deano11's IMDB-List http://www.imdb.com/list/3uFsOeRH6ss but extended by quite a few.


A list of TV-Shows which were adapted either Manga, Manhwa or Anime.

Mainly did this because I started one for films. As I'm not really a big Asian-Drama avid I sourced most items from the following thread:

There are still some items not on TVDB, feel free to add some:


I'm mainly interested in seeing how many I can actively see and maybe motivate me to kill my watchlist by doing so. Can't speak for the industry's issues but it shouldn't matter what the gender of the filmmaker is really. Things like this is also selling people short but w/e.

The concept of #52FilmsByWomen:

Will you watch a film a week by a woman for one year? Say YES, and join our #52FilmsByWomen movement! It is super easy: make the commitment, watch the film and post about it on Facebook or Twitter. You can curate a list on GoWatchIt, or pull from one of the many lists of films by female writers and directors, or watch a film as part of the Trailblazing Women series on TCM during the month of October.
In our latest round of research, Exploring the Careers of Female Filmmakers: Phase III, we found that one of the barriers for female directors is a perceived scarcity of talent pool and experience. Many of those surveyed couldn’t name a female director. Can you believe that? There are over one thousand female directors on The Director List, 1300 female directors at the DGA and 45 who have helmed a $25 million movie in the last 13 years. We believe that #52FilmsByWomen is a fun way to bring attention to the many talented female filmmakers around the world, and a great way to spark a creative and interactive conversation.

We hatched this idea to increase awareness of female filmmakers and hopefully along the way you’ll find stories that inspire, educate and entertain you!"

Source: http://womeninfilm.org/52-films/


Japanese Cyberpunk is a genre of underground film produced in Japan starting in the late 1980s. It bears some semblance to the high-tech and scientific Cyberpunk as understood in the West, however differs in its representation of industrial and metallic imagery and an incomprehensible narrative. The genre is primarily defined by the movie Tetsuo: The Iron Man. (Wikipedia)

No Anime Series or 'Splatter Punk' (recent releases of gore heavy movies from the likes of Nishimura/Iguchi etc.).


Pinky Violence is a film genre that developed out of the Japanese New Wave in the late sixties and blossomed into it’s own during the early seventies. The term came from the way the films mixed the erotic elements found in Pink Films (a.k.a. Roman Porno) with the action and violence found in Yakuza crime films. They are often grouped in with sexploitation films because of their excessive nudity, over the top gore and low budget production.


"Nunsploitation is a subgenre of exploitation film which had its peak in Europe in the 1970s. These films typically involve Christian nuns living in convents during the Middle Ages. The main conflict of the story is usually of a religious or sexual nature, such as religious oppression or sexual suppression due to living in celibacy. The Inquisition is another common theme. These films, although often seen as pure exploitation films, often contain criticism against religion in general and the Catholic church in particular. Indeed, some protagonist dialogue voiced feminist consciousness and rejection of their subordinated social role. Many of these films were made in countries where the Catholic Church is influential, such as Italy and Spain. One atypical example of the genre, however, is Killer Nun (Suor Omicidi), set in, then, present-day Italy (1978).
Nunsploitation, along with Nazisploitation, is a subgenre that ran a parallel course alongside Women in prison films in the 1970s and 1980s. As with prison films, they are set in isolated, fortress-like convents where the all-female population turns to lesbianism and perversity. The element of religious guilt allows for lurid depictions of "mortifying the flesh" such as self-flagellation and painful, masochistic rituals. The Mother Superior is usually a cruel and corrupt warden-like martinet who enforces strict discipline (more opportunities for whippings and medieval-style punishments) and often lusts after her female charges. An equally sadistic and lecherous priest is often included to add an element of masculine menace to the story. (Wikipedia)


1001 Movies You Must See Before You Die is a film reference book edited by Steven Jay Schneider with original essays on each film contributed by over 70 film critics.

Source: http://en.wikipedia.org/wiki/1001_Movies_You_Must_See_Before_You_Die


The 2013 version of TSPDT’s 1,000 Greatest Films is finally here. After months of stop-start, data-building and unhealthy calculation antics, the latest group of 1,000 movie offerings has been assembled once again for your pleasure (or displeasure). Depending on your observation skills, you may have already noticed that there is a new presentation for this ongoing project.

Source: http://www.theyshootpictures.com/gf1000.htm

The old 2012 edition can be found @http://trakt.tv/users/sp1ti/lists/they-shoot-pictures-dont-they-1000-greatest-films-2012


The 2013 edition can be found at http://trakt.tv/user/sp1ti/lists/they-shoot-pictures-dont-they-1000-greatest-films-2013.

Welcome to 2012's edition of the 1,000 Greatest Films. This will be the last update prior to the publication of the 'earth-shattering' Sight & Sound poll which will be unfurled later in the year. The Sight & Sound results will no doubt have a major impact on TSPDT's 1,000 Greatest Films listing. It will become the most heavily weighted poll within our calculations. Anyway, that is then, and this is now."

Source: http://www.theyshootpictures.com/gf1000.htm


Toronto – Beginning January 21, 2010, TIFF Cinematheque presents The Best of the Decade: An Alternative View, a curated series based on a poll conducted by TIFF Cinematheque’s Senior Programmer James Quandt. An esteemed panel of over sixty film curators, historians, archivists and programmers from festivals, cinematheques and similar organizations around the world participated and were asked to pick the films they thought were the most important of the past decade. The poll’s participants are connected by their leadership in the field of historical film curation, with most having published books, essays and polemics on cinema, bringing perspectives that distinguish this poll from other end-of-the-decade polls.

“Their perspective,” says Quandt, “should give us a longer view of the films made in this decade, the films that should stand the test of time and be acknowledged as historically influential works in the decades to come.” The poll includes works by venerable masters such as Abbas Kiarostami, Agnès Varda, Ingmar Bergman, Jean-Luc Godard and Pedro Almodóvar; directors who broke onto the international scene in the past 10 years, including Apichatpong Weerasethakul, Carlos Reygadas, Cristi Puiu, Jean-Pierre and Luc Dardenne, Jia Zhang-ke and David Cronenberg; and indie renegades like Gus Van Sant, Pedro Costa and Lucrecia Martel. It also features many pleasant surprises, from the inclusion of a largely unknown film, Valeska Grisebach’s Longing (2006), which was highlighted during TIFF Cinematheque’s Berlin School series last Winter, to the strong showings for films that were not necessarily well received on their initial outings, such as Gus Van Sant’s Gerry (2003) and Claire Denis’s L’Intrus (2004).

Source: http://tiff.net/press/pressreleases/2009/tiff-cinematheques-best-of-the-decade-poll-presents-the-classics-of-today

The list here is ranked but given that some of the ranks have multiple films there are no ranking numbers displayed here.


"ALL-TIME" 100 Movies is a compilation by Time magazine featuring 100 of the best films released between March 3, 1923 (when the first issue of Time was published) and early 2005 (when the list was compiled). The list was compiled by critics Richard Schickel and Richard Corliss and generated significant attention, receiving 7.8 million hits in its first week alone.

Source: http://entertainment.time.com/2005/02/12/all-time-100-movies/slide/all/


In 1952 Sight & Sound polled the world’s leading film critics to compile a list of the best films of all time. The magazine has repeated this poll every ten years, to show which films stand the test of time in the face of shifting critical opinion.

The following movies were listed in 2012.


In 1952 Sight & Sound polled the world’s leading film critics to compile a list of the best films of all time. The magazine has repeated this poll every ten years, to show which films stand the test of time in the face of shifting critical opinion.

The following movies were listed in 2002.


188 international critics and curators choose the five new releases that made the biggest impression on them in 2017. Rising to the top are some exciting new voices, new visions and new forms...

Source: http://www.bfi.org.uk/features/best-films-2017/
Full list http://www.bfi.org.uk/news-opinion/sight-sound-magazine/polls-surveys/annual-round-ups/www.bfi.org.uk/features/best-films-2017-all-the-votes/


Time again for our annual international critics’ poll of the year’s top movies. This year we asked 163 critics and curators to name their five best films of the year – and the results are a small triumph for diversity (not to mention a lot of treats still to come to UK cinemas over the next few months). Films directed by women make up the majority of the top five, alongside Barry Jenkins’ gay black coming of age portrait Moonlight in second place.

Andrea Arnold’s American Honey and Ken Loach’s I, Daniel Blake also show the breadth and depth of British cinema – but this is surely the first year that a German comedy is the runaway winner…

Source: http://www.bfi.org.uk/best-films-2016


The best films of the year – the overground, the underground, the widely released and the still emerging, from oldtimers and first-timers – as chosen by 112 of our international contributors and colleagues.

A selection of 50 critics’ top-five lists and comments is now available in the January 2015 issue of Sight & Sound, alongside extended reflections on the year in action, horror, mainstream adult drama and silent cinema. More 2014 in review coverage will follow online, including all our voters’ contributions later this month."

Source: http://www.bfi.org.uk/best-films-2014


Our new issue looks back at the past year in cinema with the help of over one hundred international critics, curators and academics – and features some surprises in our popular poll. As a taster, here’s our voters top ten films of the year, plus (further down the page) our editors’ own selections and highlights. Read more in our January 2014 issue, out now in print and digital.

Source: http://www.bfi.org.uk/news-opinion/sight-sound-magazine/polls-surveys/annual-round-ups/best-films-2013


We asked over 90 international critics to nominate their top five films and their highlights of 2012. Their top picks are below, with a selection of their comments; you can read more in our January 2013 issue, out now in print and on digital, and on our website later in December."

Source: http://www.bfi.org.uk/news-opinion/sight-sound-magazine/polls-surveys/top-11-films-2012


In response to the American Film Institute’s list of the 100 greatest American movies, film scholar Jonathan Rosenbaum took the AFI to task for what he saw as a product "symptomatic of an increasingly dumbed-down film culture that continues to outflank our shrinking expectations." Of course, any list of this kind (including Sight and Sound’s decennial roster and the Village Voice Film Critic’s Poll from a few years back) is not without its blind spots. Participants are often forced to pick a select group of favorites and make a number of concessions ("Well, if I want Antonioni to make it into the collective top 10, I’d better hedge my bets with L’Avventura instead of my personal favorite Zabriskie Point."). Consequently, underdogs and obscure gems have little chance of being represented on a composite list that’s typically unveiled with little-to-no "justification for any of its titles" (to borrow again from Rosenbaum). Rather than present a list that looks like everyone else’s, Slant Magazine has decided to do something a little different. While you will find many popular classics and critical favorites on our list of 100 Essential Films, our goal was to mix things up a bit. This list should not be construed as a definitive "greatest films" package, but as an alternative compiled by a group of kinky film-lovers wanting to give serious critical thought to neglected, forgotten and misunderstood gems. We aimed for the kind of list where post-Cahiers Orson Welles could stand shoulder-to-shoulder with a pre-pastiche Brian De Palma; where it’s understood that Hitchcock, Dreyer, Ford, and Ozu created masterpieces besides film school staples like Vertigo, The Passion of Joan of Arc, The Searchers, and Tokyo Story; and where the postmodern irony of Douglas Sirk’s Imitation of Life is allowed space next to its modern-day equivalent: Paul Verhoeven’s Showgirls (gasp!). Because space was tight, documentaries, shorts and animated films were not eligible. Additionally, we limited directors to no more than one spot on the list.

Source: http://www.slantmagazine.com/features/article/100-essential-films


In 1999 the British Film Institute invited a large amount of people working within the film and television industry to take part in finding the 100 top British films of the 20th century.


The Midnight Eye crew and some of our regular contributors get together to bring you their choices for the best Japanese films from the first decade of the 21st century. But instead of merely looking back, we also look forward and give you our personal tip-offs and thoughts on the future of Japanese cinema.

Ten movies picked each by Tom Mes, Jasper Sharp, Nicholas Rucka, Martin Mes, Eija Niskanen, Jason Gray & Roger Macy.

Source: http://www.midnighteye.com/features/best-of-the-decade.shtml


The J-Film Pow-Wow has been going for nearly four years now and during that time we've reported on the annual Top Ten lists put out by various online and print sources and Chris, Bob, Marc, Matt and Eric have spent our fair share of time scouring and critiquing other people's Top 100 lists of Japanese films. It got to the point where we thought we'd put ourselves out there with our own list, something beyond our monthly Top Ten lists. With that in mind we pooled our collective movie-going experiences and have come up with the J-Film Pow-Wow's own Top 100 Japanese Films list.

Now, before you read on you should keep something in mind. This list was tabulated by all five of the Pow-Wow crew making lists of their own favorite Japanese films - not films we felt were historically important and not films that parroted other lists that have created the present canon of Japanese cinema. Our main concern was to come up with films that we held a real heartfelt love for. Once we drew up our lists we ranked them, assigned a points system and cross referenced all five to come up with this Top 100 list. There are some obvious picks ranking in obvious positions, there are some critically-favoured films in the Japanese film canon that didn't fare as well, and there are a lot of surprises. Those are the films on the list we're all most excited about.

Source: http://jfilmpowwow.blogspot.ch/2011/01/toronto-j-film-pow-wow-top-100-favorite.html


For so many people around the globe their vision of Japan has been coloured by geisha, ikebana, cherry blossoms, and tea ceremonies. For fans of Japanese films, though, that genteel tourist exterior gives way to towering monsters from kaiju films, lethal and highly-skilled samurai, and even the complex and colourful world of anime. Of all the cultural icons exported overseas by Japanese movies one may have has captured the imaginations of audiences more than all of those combined, that of the Japanese mob, the yakuza. Unlike Hollywood gangsters all the way from the roles of Edward G. Robinson up to HBO's "The Sopranos" the yakuza were (and still are) a criminal organization steeped in ritual and mystery. While in reality the yakuza grew from violent street gangs who ruled Japan's black market on movie screens they replaced samurai as a way to explore traditional values of loyalty, feudalism, and the warrior spirit during a time when these very values were being discouraged or just plain banned by the Post-War occupying U.S. forces. Of course these snarling, swaggering, tattooed gangsters have had their screen personas revamped any number of times through the decades and have ultimately fallen out of favor with Japanese movie audiences yakuza eiga have remained one of the most popular genres of Japanese film overseas. To honour these cinematic mobsters the J-Film Pow-Wow would like to present our top ten favorite yakuza films. Enjoy!"

Source: http://jfilmpowwow.blogspot.ch/2009/08/our-top-ten-favorite-yakuza-films.html


With Halloween right around the corner, the entire staff of Japan Cinema made sure to supply you with a nice stash of Asian horror movies to make sure your nerves stay shot straight though the day. We judges this list on one sole factor: Does the movie have a high likelihood of producing nightmares in many people? No these arent’ your PG-13 ‘jump scare’ remakes that most people seem to love. These are the true nitty-gritty horror films that guarantee your date will want to stay the night.

Source: http://japancinema.net/2011/10/29/top-10-asian-horror-movies-of-all-time/


As long as there are people seeking to avenge the death of their masters and vigilante heroes who have just had enough, revenge will always be there. Sorry to all you American movie goers, but Asian films know their violence. They know their vengenace. They know how to put you on the edge of your seat and then kick your ass to the back of the theater. Below are the top 10 unrelenting, violent, extreme, best of the best Asian revenge films of all time."

Source: http://japancinema.net/2010/04/24/top-10-asian-revenge-films/


Samurai films are one of the most popular genres of film around the world. Historically, the genre is usually set during the Tokugawa era (1600–1868), the samurai film focuses on the end of an entire way of life for the samurai, many of the films deal with masterless ronin, or samurai dealing with changes to their status resulting from a changing society. In this list we count down the best of the best, that cover over a 50 year span of cinema.

Source: http://japancinema.net/2011/07/04/top-10-best-samurai-movies-of-all-time/


Source: http://japancinema.net/2010/11/05/top-10-most-disturbing-asian-films/


Thanks to all who’ve made this a very popular list, in spite of glitches causing dozens of fans to suddenly disappear :(

A big welcome to the land of cinematic wonders!

I’ve aimed for a rounded overview to include not only personal favourites but popular hits and international award winners, animé landmarks, avant-
garde films, the New Wave, erotic “pink films” and the great classics that are still the glory of world cinema.

Much of silent cinema before the 1930s has been lost, its Benshi narrators displaced but good finally to have the landmark film Souls on the Road on Mubi. In the 20s directors were able to learn their trade through prolific practice, aware of and encorporating developments in both the Soviet Union and the West… and then, what a wealth of wonders! Older masters: the unequalled aesthetic refinement of Mizoguchi, the charm of Shimizu, the quiet observational wisdom of Ozu, the tragically curtailed promise of Yamanaka, the balanced restraint of Naruse, the muscular humanism of Kurosawa… Then, a new generation from the late 50s, in full swing in the sexually freer 60s: the idealism of Kobayashi, the political bite of Oshima, the earthy subversion of Imamura, the cool of Suzuki and Masumura. the avant-garde Terayama.. So many to explore: Yoshida, Ichikawa Kon, Teshigahara, Shinoda, Wakamatsu, Kumai, the documentaries of Ogawa and Hara, the stop motion master Kawamoto, the blood soaked Fukasaku.. the rise of animé, with the international success of Studio Ghibli and Miyazaki’s beautiful flights of fancy, the spiky Tsukamoto, the popular appeal of Kitano, the prolific shocker Miike.. up to the present with Koreeda, Naomi Kawase, Sono, Kurosawa Kiyoshi… oh and i almost went without mentioning Samurai and Godzilla.

Source: http://mubi.com/lists/kenjis-japanese-canon

Missing on TMDB as of now:
ID: tt0242845, Title: Narita: The Peasants of the Second Fortress, Year: -


After doing Top 10's for many years, the Japanese magazine Kinema Junpo released a list of their Top 200 Japanese movies in 2009.

Source: http://www.kinejun.jp/special/90alltimebest/index.html

For those interested, here are many of the individual years Top 10s:


From the revered classics of Akira Kurosawa, to the modern marvels of Takeshi Kitano, the films that have emerged from Japan represent a national cinema that has gained worldwide admiration and appreciation. The Directory of World Cinema: Japan provides an insight into the cinema of Japan through reviews of significant titles and case studies of leading directors, alongside explorations of the cultural and industrial origins of key genres. The directory aims to play a part in the distribution of academic output by building a forum for the study of film from a disciplined theoretical base.

This is in the form of an A-Z of reviews, longer essays and research resources. The cinematic lineage of samurai warriors, yakuza enforcers and atomic monsters are discussed in addition to the politically charged works of the Japanese New Wave, making this a truly comprehensive volume.

The list is based on the contents of the Book, sorted by chapters:

  • Film of the Year
  • Alternative Japan
  • Anime / Animation
  • Chambara / Samurai Cinema
  • Contemporary Blockbusters
  • Jidaigeki & Gendaigeki / Period & Contemporary
  • J-Horror / Japanese Horror
  • Kaiju Eiga / Monster Movies
  • Nuberu Bagu / The Japanese New Wave
  • Pinku Eiga / Pink Films
  • Yakuza / Gangster

More information on this is also aviable on http://worldcinemadirectory.co.uk/!

List for the 2nd edition: http://trakt.tv/users/sp1ti/lists/directory-of-world-cinema-japan-2


Building on and bringing up to date the material presented in the first installment of Directory of World Cinema: Japan, this volume continues the exploration of the enduring classics, cult favorites, and contemporary blockbusters of Japanese cinema with new contributions from leading critics and film scholars. Among the additions to this volume are in-depth treatments of two previously unexplored genres—youth cinema and films depicting lower-class settings—considered alongside discussions of popular narrative forms, including J-Horror, samurai cinema, anime, and the Japanese New Wave.

Accompanying the critical essays in this volume are more than 150 new film reviews, complemented by full-color film stills, and significantly expanded references for further study. From the Golden Age to the film festival favorites of today, Directory of World Cinema: Japan 2 completes this comprehensive treatment of a consistently fascinating national cinema.

The list is based on the contents of the Book, sorted by chapters:

  • Film of the Year
  • Alternative Japan
  • Anime / Animation
  • Chambara / Samurai Cinema
  • Contemporary Blockbusters
  • J-Horror / Japanese Horror
  • Jidai-geki / Period Drama
  • Nuberu Bagu / The Japanese New Wave
  • Seishun eiga / Japanese Youth Cinema
  • Shomin-geki / Lower Class Life
  • Yakuza / Gangster

More information on this is also aviable on http://worldcinemadirectory.co.uk/!

List for the 1st edition: http://trakt.tv/users/sp1ti/lists/directory-of-world-cinema-japan


With its sprawling celebrity homes, the Walk of Fame, and the iconic sign on the hill, Hollywood is truly the land of stars. Glamorous and larger-than-life, many of the most memorable motion pictures of all time have emanated from its multimillion-dollar film industry, which exports more films per capita than that of any other nation.

Directory of World Cinema: American Hollywood lays out the cinematic history of Tinseltown - the industry, the audiences, and, of course, the stars - highlighting important thematic and cultural elements throughout. Profiles and analyses of many of the industry’s most talented and prolific directors give insights into their impact on Hollywood and beyond. A slate of blockbuster successes - and notable flops - are here discussed, providing insight into the ever-shifting aesthetic of Hollywood’s enormous global audience. User-friendly and concise yet containing an astonishing amount of information, Directory of World Cinema: American Hollywood shows how truly indispensable the Hollywood film industry is and provides a fascinating account of its cultural and artistic significance as it marks its centennial.

The list is based on the contents of the Book, sorted by chapters:

  • Directors
  • Westerns
  • Crime Film
  • Science Fiction
  • Horror
  • Comedy
  • Historical Films
  • Musicals
  • War Films
  • Dramas
  • Romance
  • Animation
  • Blockbusters
  • Recommended Reading
  • Online Resources
  • Filmography
  • Notes on Contributors

More information on this is also aviable on http://worldcinemadirectory.co.uk/!


With high-profile Academy Award nominations and an increasing number of big-name actors eager to sign on to promising projects, independent films have been at the forefront in recent years like never before. But the roots of such critical and commercial successes as The Hurt Locker and Precious can be traced to the first boom of independent cinema in the 1960s, when a raft of talented filmmakers emerged to capture the attention of a rapidly growing audience of young viewers.
A thorough overview of a thriving sector of cultural production, the Directory of World Cinema: American Independent chronicles the rise of the independent sector as an outlet for directors who challenge the status quo, yet still produce accessible feature films that find wide audiences and enjoy considerable box office appeal, without sacrificing critical legitimacy. Key directors are interviewed and profiled, and a sizeable selection of films are referenced and reviewed. More than a dozen sub-genres - including African American cinema, queer cinema, documentary, familial dysfunction and exploitation - are individually considered, with an emphasis on their ability to exemplify and engage with tensions inherent in American society. Copious illustrations and a range of research resources round out the volume, making this a truly comprehensive guide.
At a time when independent films are enjoying considerable cultural cachet, this easy-to-use yet authoritative guide will find an eager audience in media historians, film studies scholars and movie buffs alike.

The list is based on the contents of the Book, sorted by chapters:

  • Film of the Year: The Hurt Locker
  • Scoring Cinema: Mulholland Drive
  • African-American Cinema
  • The American Nightmare
  • Chemical World
  • Crime
  • Documentary
  • Exploitation USA
  • Familial Dysfunction
  • Narrative Disorder
  • On the Road
  • Queer Cinema
  • Rural Americana
  • Slackers
  • The Suburbs
  • Underground USA

More information on this is also aviable on http://worldcinemadirectory.co.uk/!


Italian cinema has proved very popular with international audiences, and yet a surprising unfamiliarity remains regarding the rich traditions from which its most fascinating moments arose. Directory of World Cinema: Italy aims to offer a wide film and cultural study in which to situate some of Italian cinema’s key aspects, from political radicalism to opera, and from the arthouse to popular genres. Essays by leading academics about prominent genres, directors and themes provide insight into the cinema of Italy and are bolstered by reviews of significant titles. From silent spectacle to the giallo, the spaghetti western to the neorealist masterworks of Rossellini, this book offers a comprehensive historical sweep of Italian cinema that will appeal to film scholars and cinephiles alike

List import based on the book. Thematic chapters:

  • Silent Cinema
  • Neorealism
  • Melodrama
  • Comedy
  • Giallo
  • Gothic Horror
  • Peplum
  • Spaghetti Western
  • Political Cinema
  • Contemporary Cinema

More information on this is also aviable on http://worldcinemadirectory.co.uk/!


From bleak Expressionist works to the edgy political cinema of the New German Cinema and the feel-good Heimat films of the postwar era, Directory of World Cinema: Germany aims to offer a wider film and cultural context for the films that have emerged from Germany - including some of the East German films recently made available to Western audiences for the first time. With contributions by leading academics and emerging scholars in the field, this volume explores the key directors, themes, and periods in German film history, and demonstrates how genres have been adapted over time to fit historical circumstances.

The list is based on the contents of the Book, sorted by chapters:

  • Film Pioneers
  • Scoring Cinema
  • Fantastic Film
  • Adventure Film
  • Der Heimatfilm
  • Comedy
  • Foreigners and Guest-workers
  • Queer German Cinema
  • Vergangenheitsbewältigung
  • Rubble Film
  • War Film
  • Historical Drama
  • Political Drama
  • The Berlin Wall

More information on this is also aviable on http://worldcinemadirectory.co.uk/!


An important addition to Intellect’s popular series, Directory of World Cinema: Finland provides historical and cultural overviews of the country’s cinema. Over the course of their contributions to this volume, scholars from a variety of disciplines construct a collective argument that complicates the dominant international view of Finnish cinema as small-scale industry dominated by realist art-house films.

List import based on the book. Thematic chapters:

  • Industrial Spotlight: The Economics of Finnish Cinema Part 1: 1910–1935
  • Scoring Cinema
  • Silent Cinema
  • War
  • Contemporary Film and Literature
  • Social Realism
  • Genre
  • Comedy
  • Children's Film
  • Documentary
  • Cinema and the Environment
  • Global Finland

More information on this is also aviable on http://worldcinemadirectory.co.uk/!


The years 2000-2009 were a transformative decade for Korean cinema. A large number of important directors became famous in this period, and for the first time Korean films began to travel widely around the world, both at international film festivals and in commercial releases. It has been exciting for all of us to witness this flowering of Korean cinema, but with the decade now ended we are taking the opportunity to look back and identify our own personal standouts and favorites. The critics below represent a range of different perspectives, and each one has been free to choose their own criteria in making their list. We hope this page will give readers a sense of the highlights of the past decade, and to inspire them to search out those titles which they have missed.

Ten films each by Adam Hartzell, Darcy Paquet, Davide Cazzaro, Hong Jiro, Lance Crayon & Kyu Hyun Kim.

Source: http://www.koreanfilm.org/topten2000s.html#Q


Richard Linklater’s Boyhood was released in mid-July, there was an immediate sense in the Dissolve office that the rest of the year was a race for second place. Watching a child grow up over a 12-year period is enormously powerful on its own, but through the prism of this one life, Linklater makes so many profound observations about love, family, politics, religion, the South, and the changes that happen at home and in the culture at large. Though we reached a solid consensus over Her in our inaugural poll, that was nothing compared to Boyhood, which topped five of our seven individual ballots, and placed second on a sixth. From there, the best of 2014 branched out into a diverse assortment of auteur favorites, unconventional historical biopics, form-challenging documentaries, and mainstream hits that proved that even a risk-averse Hollywood could still put out smart, innovative, broadly appealing entertainments. The only unifying theme is that 2014 came in like a lion and out like a lamb: Of the films below, only Selma and Inherent Vice were harvested from the late-year awards crop. Otherwise, there are no hidden patterns, just confirmation that great films came in all sizes and from all corners this year.

Source: http://thedissolve.com/features/2014-in-review/857-the-best-films-of-2014/


Finding consensus among nine writers can be a struggle, but when a year is as strong as 2013, the abundance of riches makes it especially hard to figure out which great films to line up behind—and which great films are relegated to “any other year” status. For The Dissolve’s inaugural year-end best-of list, only one film appeared on all Top 15 ballots: Spike Jonze’s Her, a forward-thinking science-fiction/romance that takes place in the near future, but captured the tenor of the times like no other film this year. From there, the list opens up to a full spectrum of cinematic visions, from the IMAX spectacle of Gravity to the piercing intimacy of films like Destin Cretton’s Short Term 12, or The Past, Asghar Farhadi’s worthy follow-up to A Separation. And the 20 films below are just the beginning: Many others connected with one—or a few—of us, but couldn’t quite wrangle up the votes. For those, stay tuned for Monday, when we reveal our individual ballots and the orphans and also-rans that are worth tracking down."

Source: http://thedissolve.com/features/2013-in-review/330-the-best-films-of-2013/


Few talk about the ’90s as a filmmaking renaissance on par with the late ’60s and early ’70s, but for many of the film critics at The A.V. Club, it was the decade when we were coming of age as cinephiles and writers, and we remember it with considerable affection. Those ’70s warhorses like Martin Scorsese and Robert Altman posted some of the strongest work of their careers, and an exciting new generation of filmmakers—Quentin Tarantino, Joel and Ethan Coen, Wong Kar-Wai, Olivier Assayas, David Fincher, and Wes Anderson among them—were staking out territory of their own. Presented over three days—with two 20-film lists, then a separate one for the top 10—our Top 50 survey was conducted in an effort to reflect group consensus and individual passion, with the disclaimer that all such lists have a degree of arbitrariness that can’t be avoided. (On Thursday, we’ll run a supplemental list of orphans, also-rans, and personal favorites that will undoubtedly be quirkier.) One more note before digging in: Filmmakers who had a particularly good decade were often divided against themselves in the voting. Which Coen brothers movie is the strongest? Which color from Krzysztof Kieslowski’s Three Colors trilogy shone the brightest? Peel slowly and see…

Source: http://www.avclub.com/articles/the-50-best-films-of-the-90s-1-of-3,86304/ / http://www.avclub.com/articles/the-50-best-films-of-the-90s-2-of-3,86361/ / http://www.avclub.com/articles/the-50-best-films-of-the-90s-3-of-3,86467/

http://www.avclub.com/articles/the-best-films-of-the-90s-orphans-outliers-and-per,86534/ (added them after rank 50)


The scene was not unlike 12 Angry Men (or, in this case, 3 Shlubby Men, 1 Exasperated Woman, And A Dude On Speaker Phone From Arkansas): Armed with lists of their favorite movies of the decade, the five core A.V. Club film writers spent days sequestered in a stuffy, un-air-conditioned room—okay, it was actually just a few hours, and we were comfortable—in an effort to forge consensus on the Top 50 films of the ’00s. The result: A ranked list that is in no way arbitrary and will serve as the canonical standard for decades to come. You’re welcome.

Source: http://www.avclub.com/articles/the-best-films-of-the-00s,35931/


2017 didn’t improve much on 2016. If anything, the horror and dread of last year only seemed to take root and blossom this year, as some of our worst collective fears were realized and the future seemed to grow dimmer with every bad-news bulletin and misjudged tweet. If there was a constant, at least for cinephiles, it lay with the movies. One can quibble with the cumulative quality of 12 months of cinema. (Did this year produce a Moonlight or a Manchester By The Sea, a near-consensus masterpiece?) But as the world burned, the films still delivered. There were so many good ones in 2017, in fact, that we surely left out some of your favorites, including (spoilers for the few who have opted to read this preamble before scrolling through the selections below) The Shape Of Water, Blade Runner 2049, The Post, Faces Places, Wonder Woman, The Disaster Artist, Coco, and Mudbound. Chalk the omissions up to the particular tastes of our six regular contributors, and check out the individual ballots for a sense of whom to blame specifically for them. Hopefully, 2018 will improve on 2017 in almost every regard. But we really couldn’t ask for much better movies.

Source: https://www.avclub.com/the-20-best-films-of-2017-1821431829


Every year is a good year for movies, provided you’re willing to wander a little off the beaten path. But in 2015, it was hard to go more than a few steps without hitting something major, something essential. More even than usual, the year’s best films took different shapes, sizes, and routes to eyeballs. Multiplexes were unusually rich with adventurous big-budget movies, as Hollywood handed the keys to the castle to real artists. At the same time, fine smaller films from all over the globe made their way from festivals to theaters and on to streaming platforms, where any viewer with a working web connection could get a taste of something different. What the 20 films below have in common, beyond the strong impression they made on our ballot-filing critics, is a general habit of saying something significant about the here and now, even when transporting audiences to a subatomic there; a fantastically reproduced then; and a lawless, post-apocalyptic later."

Source: http://www.avclub.com/article/20-best-films-2015-229810


In 2015, readymade and/or reductive ways of summarizing the year’s TV output cropped up as frequently and unexpectedly as new seasons of Netflix originals. Plummeting viewership foretold a true broadcast apocalypse, until Empire strode onto the scene, expanding its audience in every week of its first season. Season two brought diminished returns (in the ratings and the show’s mad-science approach to soap-opera plotting), though its continued popularity—combined with passionate responses to Black-ish, Fresh Off The Boat, Jane The Virgin, Transparent, Master Of None, and (sigh) Dr. Ken—signaled the TV audience’s interest in a broader range of storytelling perspectives. A few months later, FX CEO John Landgraf seemed to put the TV year in a nutshell, but his prediction of “peak TV in America” was the subject of so much initial handwringing and scrutinizing that the general public (and some of the critics Landgraf was addressing) twisted the notion of peak TV into a jokey hashtag in a matter of weeks.

Some of that response could’ve been knee-jerk defensiveness: Peak TV essentially destroys any TV analyst’s pretensions to comprehensiveness. Any one critic’s list of a year’s best television is bound to have some blindspots, but the members of a voting body (like the A.V. Club staffers and contributors responsible for the following list) can usually fill in one another’s gaps. 2015, however, might be a first in television history, in which no round-up of the year’s finest programming is guaranteed to be all-encompassing. Arguably, there’s a more interesting and less conventional “best TV of 2015” list to be compiled from the margins of A.V. Club contributors’ ballots and the upcoming AVQ&A about the stuff that didn’t make our top 40. But even if the following picks only represent a sliver of the TV that debuted across multiple platforms in the U.S. this year, there’s no arguing that these are the TV offerings that The A.V. Club loved the most as a critical mass. And enjoying something as a critical mass is what a populist art form like television is all about."

Source: http://www.avclub.com/article/best-tv-2015-part-1-229275 / http://www.avclub.com/article/best-tv-2015-part-2-229334


From Anatolia to Zubrowka, the great motion pictures of 2014 took you places. They leapt into the past, winding their way through 19th-century art galleries and 20th-century brothels, and speculated about the future, piloting audiences into wormholes and beyond. There were imaginary settings, like the crooked California community of Gordita Beach, and ones that just looked imaginary, as glimpsed through the inhuman eyes of an extraterrestrial tourist. Finding a common link among the 20 wildly different movies singled out below may seem like an exercise in futility, but most if not all of them operated like passports to somewhere else, even if that somewhere else was just a single suburban house or a tiny Berlin apartment. Yet for all the far-flung locations represented on our list—including the mundane residential backdrops of our top choice, the only movie to appear on every one of the six contributors’ ballots—a unilateral piece of travel advice emerges: There was no better place to be this past year than at the movies.

Source: http://www.avclub.com/article/20-best-movies-2014-213002


When the viewers, creators, critics, and scholars of the future reflect on the television of the 2010s, 2014 will have a special shine to it. This year, there was more places to see more original TV series than every before, yet that did nothing to dilute the quality of those series. Television is stronger than it’s ever been, as attested by the sheer volume and variety of programming The A.V. Club’s writers singled out as 2014’s best. TV Club reviewers came up with a list of more than 90 nominees, which was then whittled down to the absolute best shows (sorry, non-anthologized miniseries, telefilms, and one-off specials—maybe 2015 will be Too Many Cooks’ year) and ranked by A.V. Club staffers. This countdown of the top 35 TV shows of 2014 comprises streaming series and network staples, veteran dramas and freshman comedies, surprisingly good debuts and old favorites on the rebound. We’ll run down 35 through 11 today; come back tomorrow for the top 10, practically all of which can be watched on the device you’re staring at right now. You can get your TV virtually anywhere these days, but to know what shows are worth uploading to your many glowing rectangles, you have to read on.

Source: http://www.avclub.com/article/best-tv-shows-2014-part-1-212459 / http://www.avclub.com/article/best-tv-shows-2014-part-2-212571


Most movies are about relationships—between law and order, between desire and duty, between the past and the present. But in 2013, many of the great and memorable films—the ones that moved or shocked or stuck with us—were about relationships in the most traditional sense of the word: This was the year of Jesse and Céline, of Adèle and Emma, and of Joaquin Phoenix and his computer. There were mysterious romances, like the pig-related courtship of Upstream Color, and platonic love stories, like Frances Ha and Prince Avalanche. For cinephiles, love wasn’t just in the movies, but also in the air: There was so much to adore—so many fine, unconventional films, a large number of them American—that a list of 20 almost doesn’t do the year justice. Regardless, that’s what we’ve assembled below, joining heads to count down the best of what 2013 had to offer. (Each of the seven contributors submitted a ranked list of 15 favorites; a number-one choice earned 15 points, a number-two choice earned 14 points, and so forth.) Don’t see a personal favorite? Tell us about it in the comments. Those curious to see how the voting went down can also check out the individual ballots, from which this highly subjective ranking was formed. And don’t forget to vote for your favorite film of the year in our readers’ poll."

Source: http://www.avclub.com/article/the-best-films-of-2013-200655


From the gut-wrenching, step-by-step chronology of the raid on Osama bin Laden’s compound in Abbottabad to seafaring cultists practicing Scientology-like rituals in the wake of World War II to the 16th president twisting arms over the passing of the 13th Amendment, the best films of 2012 brought history to life with an extraordinary scrupulousness that still left room for vivid artistic expression. But searching for patterns in a best-of list like the one below does little justice to the films’ diversity and unruliness, and the many wondrous places movies took viewers this year, including the haunted landscapes of Turkey (Once Upon A Time In Anatolia) and Georgia (The Loneliest Planet), revitalized twists on the slasher (The Cabin In The Woods) and noir (Killer Joe) genres, and two vastly different takes on what love really means (Amour, The Deep Blue Sea). Unlike in past years, nearly all films were available to see before press time, with one conspicuous exception: Most of The A.V. Club’s film reviewers weren’t able to see Quentin Tarantino’s Django Unchained, which might have found a place on the list. (Nathan Rabin did include it on his Top 15.) The Billy Crystal/Bette Midler movie Parental Guidance also wasn’t screened in time, so consider that our invisible #21. For your consideration…

Source: http://www.avclub.com/articles/the-best-films-of-2012,90039/

There is also: http://trakt.tv/users/sp1ti/lists/av-clubs-best-films-of-2012-so-far-an-annotated-checklist


Two times a year—at the halfway point and during list-making season in November—I send out a list of “significant” movies to the film staff so they can try to see as many as possible before our Year In Film feature. It’s just a simple checklist, presented in the order each film was released theatrically in New York City. The idea is to give our writers time to catch up and give relative obscurities like The Arbor (last year’s No. 13 on our conjoined Best Of The Year list) the same collective consideration as more widely heralded efforts like The Tree Of Life. In the interest of transparency—and recommending a bunch of movies we love—I’m making the halftime list public this year so our readers can play along at home. A few caveats:
- My staff inevitably comes back to me with omissions, and I suspect there will be many in the comments below. We’ll add the big ones to our year-end checklist.
- Normally, the list goes out without categories. The ones below, particularly “The Essentials,” are a reflection of my taste and priorities. Mileage will definitely vary.
- Within the categories, titles are still listed in order of release in NYC through the weekend of July 13th, not in order of preference.
- Overall, the momentum from last year’s embarrassment of cinematic riches has continued into 2012, so now’s the time to get those queues in order.

The Essentials: From "Once Upon a Time in Anatolia" to "Django Unchained"
Hollywood: The System Works!: From "The Grey" to "Lés misérables"
Auteur Obligations: From "Crazy Horse" to "Killing Them Softly"
Notable Documentaries: From "West of Memphis" to "Jiro Dreams of Sushi"
Indie Curiosities: From "Return" to "Promised Land"
Imported Goods: From "Declaration of War" to "Sister"

Source: http://www.avclub.com/articles/best-films-2012,82513/ / http://www.avclub.com/articles/best-films-of-2012-so-far-an-annotated-checklist-p,89844/


How good was 2011 for cinema? So good that even an unusually tepid awards-season crop didn’t keep us from expanding from our Top 10 lists to a Top 15 (plus a bonus five), which still left a diversity of great films off our ballots. If there’s a common theme to the year’s best, it’s the wealth of ambitious personal visions, from Terrence Malick evoking creation to tell the story of his upbringing in The Tree Of Life to Martin Scorsese channeling his boyhood enthusiasm for spectacle in Hugo to Kenneth Lonergan finally delivering the beautiful, wounded Margaret after six years in post-production purgatory. It was a year where documentaries sought to expand the form, where the best American independent films went far out on a limb, and where old masters like Abbas Kiarostami and Pedro Almodóvar released films that felt exuberant and alive with possibility. A few titles weren’t available to see before press time—The Girl With The Dragon Tattoo, Extremely Loud And Incredibly Close, and Alvin And The Chipmunks: Chipwrecked among them—but we’ve worked hard to give a special year its due. For your consideration...

Source: http://www.avclub.com/articles/best-films-of-2011,66423/


The end of the year traditionally brings a wealth of best-of candidates, as major studios and studio-affiliated arthouse labels unveil their most austere and decorously appointed films for awards consideration. Yet, a few stray winners aside, we in The A.V. Club film staff found ourselves looking further back in the year for list-makers, including a handful of uncommonly ambitious summer blockbusters, several festival holdovers, and the steady supply of indie and foreign films that slipped in and out of theaters, often woefully unnoticed. Fortunately, 2010 was strong enough in the front end to make up for the back, and we wound up finding plenty of films to rally behind, with such a diverse range of styles, budgets, and themes that it’s impossible to draw a thread to connect them all. So here, for your consideration, are a bunch of films we really liked."

Source: http://www.avclub.com/articles/the-best-films-of-2010,49101/


Movies covered by Scott Tobias for the AV Club's New Cult Canon (2008-2013).

The introduction can be read at http://www.avclub.com/articles/the-new-cult-canon-an-introduction,9808/.


Is that even a list title?

Picks from:

  • Nicholas McCarthy
  • Zack Parker
  • Rodney Ascher
  • Alejandro Brugués
  • Chris Nash
  • Steven Kostanski
  • E.L. Katz
  • Jerome Sable
  • Nicholas Musurca
  • Jennifer Kent
  • David Robert Mitchell
  • Simon Barrett
  • Joe Swanberg
  • Jim Mickle

Not in the list is Hungry Bitches (tt1765847) aka where you get to enjoy 2 girls and 1 juicy cup for a lot longer...

Source: http://www.avclub.com/article/24-hours-horror-dozen-genres-freshest-voices-210870


A funny thing happened on the way to the Oscars. Not to the Oscars. To me. I sustained a hairline fracture of my left hip. I didn't fall. I didn't break it. It just sort of... happened to itself. Most of the time, it causes me no pain at all. But my left leg won't bear any weight, nor can I walk on it. This pain is off the charts. It has nothing to do with cancer. It's plain bad luck.
The good news is that I've seen the films of one of the best recent years in cinema. I wrote more than 300 reviews in 2012 -- a record -- and it was unusually difficult to leave out many of the quote-unquote "best" films in 11th place.

Grand Jury Prizes
At many film festivals, the juries come up with a cockamamie category named the Grand Jury Prizes. It finds room for titles that were as good, in one way or another, as the others. Finding them a place in the numerical listing is a problem, because, really, what does such a ranking mean? Here are my ten Grand Jury Prizes, arranged in that frustrating order -- alphabetically:
"Central Park Five," "Impossible,""In the Family," "Last Ride," "A Late Quartet," "The Master," "Paradise Lost 3," "Rampart," "Searching for Sugar Man" and "West of Memphis."

1-10 are ranked, the rest ist alphabetical.

Source: http://blogs.suntimes.com/ebert/2012/12/eberts_top_movies_of_2012.html


Making lists is not my favorite occupation. They inevitably inspire only reader complaints. Not once have I ever heard from a reader that my list was just fine, and they liked it. Yet an annual Best Ten list is apparently a statutory obligation for movie critics.

My best guess is that between six and ten of these movies won't be familiar. Those are the most useful titles for you, instead of an ordering of movies you already know all about.

One recent year I committed the outrage of listing 20 movies in alphabetical order. What an uproar! Here are my top 20 films, in order of approximate preference.

Source: http://blogs.suntimes.com/ebert/2011/12/the_best_films_of_2011.html


After a couple of weeks of tallying and formatting, we’re counting down the Top 100 Hong Kong Films of the Nineties, as voted upon by LoveHKFilm.com’s readers. Response was pretty good; we received over 130 entries and over 250 total films were nominated. We barely got any sleep over here."

Source: http://www.lovehkfilm.com/blog/damnyoukozo/2010/03/14/top-100-hong-kong-films-of-the-nineties-numbers-100-81


Per usual, we’re kind of late to the game here. I mean here we are a week into the new decade and the Third Row is probably the last movie web site on the planet to get around to releasing our favorite films of the past ten years – but it’s because we’re thoughtful (or indecisive; semantics). Picking our favorite ten films over such a long stretch of time is not something that we take lightly. Not to mention it’s damn near impossible for 7 people to all agree on the correct titles; much less the order in which they should be displayed.

But here we are with quite the stunning list of films, essentially coalescing the last 3650 days into 20 fantabulous hours of cinema. Over the next ten days or so each of the contributors to this list will release their personal choices for best on the decade. Here’s to another 10 years of greatness in film and life and blog.

Source: http://www.rowthree.com/2010/01/07/top-ten-of-the-decade-2000-2010/


This is it. The end of the lists. Finally! So the other day I posted the best documentaries of the decade as selected by a group of acclaimed documentary filmmakers. Now, we’ve got The Documentary Blog’s own top 50 docs of the decade. I was originally aiming for 25 but I just couldn’t cut it down, so 50 will have to do. Let me stress that this list represents my own personal opinion and nothing more. Hopefully some people can use this as a starting point to check out some great films. Feel free to share your own lists in the comments and let me know what I missed! One thing’s for sure; it has been a great decade for documentaries!"

Source: http://www.thedocumentaryblog.com/index.php/2010/01/05/the-documentary-blogs-top-25-documentaries-of-the-decade/. TDB is Jay Cheel who is a Co-Host of the Filmjunk-Podcast.


Well, that’s all she wrote. Another year gone by and yet another list of great documentary films. I’d say overall 2012 was a pretty great year for film with a number of stand out docs that have continued to push the boundaries of non-fiction storytelling in an exciting, cinematic way. While I did miss a few films that I’d intended to catch (How to Survive a Plague being one of them), I’d say I’m pretty confident with this list overall. Lots of stand out films that I’ll be revisiting over and over and a few that deserved a nod simply due to big ambitions and unique visions. Congratulations to all of the great films and filmmakers of 2012 and here’s looking forward to 2013!"

Source: http://www.thedocumentaryblog.com/index.php/2013/01/01/the-documentary-blogs-top-20-documentaries-of-2012/


Movies that Lynch listed as favourites.

Source: http://www.tcmuk.tv/blog.php?id=192 /


The 100 "Top Films" Kurosawa listed in the book "A Dream is a Genius".

Akira Kurosawa discusses his top 100 films with his daughter, Kazuo. Kurosawa limits his choices to one film per director.

Source: http://ww.criterionforum.org/forum/viewtopic.php?f=25&t=7192


Known favorites from Kubrick.

Source: http://www.mondo-video.com/the-favorite-films-of-stanley-kubrick


As published in Sight & Sound for the 2012 'The 10 Greatest Films of All Time' Poll.


As published in Sight & Sound for the 2012 'The 10 Greatest Films of All Time' Poll.


Tarantino's favorite grindhouse movies.

The Deuce: Grindhouse Cinema Database was in large part inspired by Writer-Director Quentin Tarantino and his vast knowledge of exploitation cinema. Over the years, we have come to hear about so many films we never would have because of him. Look at any cult-exploitation DVD distributor today and you'll find out that half of their roster has films that were championed by Quentin himself for years. Our site's cracker-jack administrator and gracious host Sebastian Haselbeck met with Quentin on the set of his upcoming film Inglourious Basterds where he received a brand new list of Top 20 grindhouse theatrical classics which Quentin spent a considerable amount of time pouring over to come up with his definitive picks. The Deuce is very proud to bring you this special feature...

Source: http://www.grindhousedatabase.com/index.php/Quentin_Tarantino's_Top_20_Grindhouse_Classics


As published in Sight & Sound for the 2012 'The 10 Greatest Films of All Time' Poll.


Tarantino's favorite movies since 1992, the year he became a director himself.

Source: http://www.youtube.com/watch?v=Zv0WlHbBhdc


As published in Sight & Sound for the 2012 'The 10 Greatest Films of All Time' Poll.


AFI's 100 Years…100 Movies – 10th Anniversary Edition was the 2007 updated version of 100 Years… 100 Movies. The original list was first unveiled in 1998.
Announced on January 18, 2007, this 10th installment of the American Film Institute's (AFI) Emmy Award-winning AFI 100 Years... series counted down the 100 greatest American movies of all time in a three-hour television event. Aired June 20, 2007 on CBS, it was hosted by Academy Award-winning actor Morgan Freeman. The program considered classic favorites and newly eligible films released from 1996 to 2006.

Source: http://www.afi.com/100years/movies10.aspx


Part of the AFI 100 Years… series, AFI's 100 Years…100 Passions is a list of the top 100 greatest love stories in American cinema. The list was unveiled by the American Film Institute on June 11, 2002, in a CBS television special hosted by American film and TV actress Candice Bergen.

Source: http://www.afi.com/100years/passions.aspx


Part of the AFI 100 Years… series, AFI's 100 Years…100 Thrills is a list of the top 100 heart-pounding movies in American cinema. The list was unveiled by the American Film Institute on June 12, 2001, during a CBS special hosted by Harrison Ford.

Source: http://www.afi.com/100years/thrills.aspx


Part of the AFI 100 Years… series, AFI's 100 Years…100 Laughs is a list of the top 100 funniest movies in American cinema. A wide variety of comedies were nominated for the distinction that included slapstick comedy, action comedy, screwball comedy, romantic comedy, satire, black comedy, musical comedy, comedy of manners and comedy of errors. The list was unveiled by the American Film Institute on June 13, 2000.

Source: http://www.afi.com/Docs/100Years/laughs100.pdf


The culmination of the Sundance Film Festival is the Awards Ceremony. The competition juries, comprised of individuals from the worldwide film community with original and diverse points of view, select films from both the documentary and dramatic categories to receive a range of awards.

(this award is only for U.S. titles)

Source: http://en.wikipedia.org/wiki/List_of_Sundance_Film_Festival_award_winners


The culmination of the Sundance Film Festival is the Awards Ceremony. The competition juries, comprised of individuals from the worldwide film community with original and diverse points of view, select films from both the documentary and dramatic categories to receive a range of awards.

This award is for U.S. titles, not world cinema.

Source: http://en.wikipedia.org/wiki/List_of_Sundance_Film_Festival_award_winners


Prior to the establishment of UK state censorship implemented in the Video Recordings Act of 1984, censorship was in the realms of the courts and the Obscene Publications Act. This required the courts to apply the test of whether videos were likely to "deprave and corrupt" the viewer. The Director Of Public Prosecutions (DPP) maintained a list of those videos that were felt likely to be found obscene by the courts and hence worthwhile prosecuting.
Of course, the real drivers behind the moral panic were the UK press led by the ever obnoxious Daily Mail. Not to mention a few politicians who felt they could make a name for themselves.

Several versions of the video nasty list were published with videos added and removed over the period 1983-1985. 72 videos were listed at least for a while. Another couple of films can stake a claim via a shared name with listed films. 39 made it through to the end, and these became known as the DPP39s. These 39 titles became the most sought after collectibles.

Source: http://en.wikipedia.org/wiki/Video_nasty

To get you into the right mindset just watch http://www.youtube.com/watch?v=UzolFFd9NcU



As the leading name in the world of horror, Fangoria magazine has been the source of information for fans of fright flicks for more than twenty years—covering feature films, video games, comic books, collectibles, and all aspects of horror entertainment. Working closely with Fangoria’s experts, including Editor in Chief Anthony Timpone, Adam Lukeman has compiled a must-have guide for casual horror fans and hardcore horror junkies with Fangoria’s 101 Best Horror Films You’ve Never Seen.


This idea began, as all great ideas do these days, as a discussion over the Twitter wires. At first the question was this: "What is the best horror film of the last ten years?"

I received dozens of great responses, but was distracted by an entertainingly civil argument with several people over whether or not Guillermo del Toro's Pan's Labyrinth qualifies as a horror film. (I say it does, which is kind of a spoiler. Let's just say Pan's Labyrinth made my Top 10.) So with the assistance of the Twitter gallery (and the inestimable help of my pal @williambgoss), I offer a completely subjective (yet hopefully intelligent) list.

Source: http://twitchfilm.com/2011/04/from-twitter-to-twitch-the-50-best-horror-films-2000----2009.html


From Cageian phantasmagoria & 18th-century mischief to a world-weary Western and a stolen Singaporean road movie
Once upon a time, Derek Smith wrote: “2017 was a year endured rather than lived.” But all due respect to the past, because here we are creeping into this new 2019 and things are so much better than we thought they’d be!

True, the year probably felt like 37 years or whatever removed from Rick Deckard’s squared-off tie and malfunctioning memory. And truth be told, the political crisis unfolding in the gray hallways might seem more honest if it resembled the light-starved, gnarled noir of Blade Runner. At least Schwarzenegger and The Running Man promised that 2019’s only choice would be “hard time or prime time,” even if its presentation of a neon capital, corporate-owned world seemed, you know, subtle. And for all the (dead) kids in cages and bodies bleeding out on street corners here and abroad, Michael Bay and The Island had a perfectly-drooped Buscemi diagnosing our humanist crisis: “I mean, you’re not human. I mean, you’re human, but you’re not real. You’re not a real person, like me.”

A lot of people were told they weren’t humans in 2018. This isn’t a writerly evasion or poetic epithet designed to elicit righteous ire/compel you to read another year-end list. Because what else could you call the concentrated attempt by some humans to discourage the freedoms of other humans? Our narrative didn’t turn science-fiction to let us off the hook: these non-humans weren’t clones or replicants or estranged Atlantean denizens returning to claim their kingly right. They just weren’t human enough (or the right kind of human) to matter in the eyes of louder, more powerful humans. All of our past’s proposed images of our worst futures pale in comparison to this denial of basic humanity that we see out our windows.

It is unsurprising, then, that cinema, our most volatile cultural mirror, began to show the stretch and strain in its images of our species. But what is surprising is that cinema in 2018 retained nuance and compassion as it mediated the cruelties and depravities of its age. Unlike this slab of prose, movies in 2018 moved beyond mediating good and evil in simple, monolithic terms. They attempted to sketch the boundaries of real freedom in an unjust world (BlaKkKlansman). They investigated, more acutely than ever before, the responsibilities of what it meant to keep (Shirkers) and tell (Madeline’s Madeline) another human’s story (If Beale Street Could Talk), especially in remembrance (Roma). They presented distorted genealogies (Hereditary) and fisheye-lens histories (The Favourite) to track the human body’s motion (Suspiria) in and out of comradeship (Support the Girls) and trauma (Burning). In 2018, we hurled our betrayed humanities up against foreign corpses (Zama), scorched country (The Ballad of Buster Scruggs), alien twins (Annihilation), and incongruent voices (Sorry to Bother You). We began to see, in everything, something like a way through the darkness. Why else keep watching the past (The Other Side of the Wind) if not to plot something we’d never imagined before (The Night Is Short, Walk On Girl)?

Our moving images in 2018 proposed that real love (Eighth Grade) and genuine care (Lazzaro Felice) could stretch impossibly across time to add up to a life steeped in both nuance and compassion (Won’t You Be My Neighbor?). Our love would not look the same (Leave No Trace) nor could it resound in strictly-feasible tones (Mandy), but we would recognize its absence; we could see that sometimes humanness looks like something we’ve never seen before (Spider-Man: Into the Spider-Verse).

More than anything, as one derelict theory proposed, “Through the negative you could see the real, inner, demonic quality of the light.” In laying the responsibilities of the filmmaker and artist at the feet of a murderer, The House That Jack Built came perilously close to endorsing our worst demons. Those demons shook and raged and hissed at us, urging us to give in to despair and make a world in their image. How did we let it stand? Thomas Merton was a central figure in a figurative, feral lens for our year, and he wrote that “despair is the absolute extreme of self-love.” To levy our humanity so close to inhumanness, suggesting that our better angels are distortions, is dangerous. To know, as these 25 films know, that there can be nothing without despair until there is love is to actually be human. To look, as we did, through our ruinous year and resist the despairs of all our oppressors and lowest urges, to shout, in image and montage and light and shadow, that this is how I deny you is to attain, beyond our humanity and into the future, a new kind of prayer. –FRANK FALISI

Source: https://www.tinymixtapes.com/features/favorite-25-films-2018


From surgical quietude and nocturnal nightmares to feral mermaid sisters and antiporno sadism

For many people, 2017 was a year endured rather than lived. If 2016 was marked by the sheer immediacy of survival, then that sense of heightened awareness led us to wonder just how the fuck we got to where we are now. As reality continued to morph into the cartoonishly hyperreal landscapes of a nightmare, the cinema of 2017 brought forth a much-needed wave of pragmatism, forcing us to take a long, hard look at our collective histories — both recent and long ago, historical and fictional — as a means of regaining our bearings in a world where the rug had seemingly been pulled out from under our feet.

Whether these films were tackling issues of race (Mudbound, I Am Not Your Negro), sexuality (BPM, Call Me By Your Name), or even our youthful connection to the towns we grew up in (Lady Bird), there was an urgent sense of gazing back in time to reckon with our mistakes. And these contemplative reevaluations wisely skirted pure nostalgia, paving the way for thrilling narrative and visual experiments, from slowly peeling back the perfectionist veneer of the 1950s London fashion world to reveal its psychological kinks (Phantom Thread) and extolling the humor and wit of a reclusive poet (A Quiet Passion) to examining a collision between personal obsession and imperialism (The Lost City of Z) and a daring retcon of the world’s most ubiquitous film series (Star Wars: The Last Jedi).

Even topics that have been long since rendered inert were made exciting once again in 2017. Christopher Nolan’s use of World War II (Dunkirk) as an experiment in crosscutting and tension-building and Albert Serra’s wry Renaissance-painting-come-to-life (The Death of Louis XIV) displayed new aesthetic strategies for representing and grappling with the past, while James Franco used the behind-the-scenes on-set comedy (The Disaster Artist) to explore both the authenticity of our attachment to so-bad-it’s-good cinema as well as the emotional and economic intricacies behind its own making.

But where many films looked behind us, there were still plenty drawing inspiration from the urgency of our current and near-future predicaments. Some of our favorites managed to touch on the potential repercussions that technological advancements will have on our consciousness and memory (Marjorie Prime) or our sense of self-worth (Ingrid Goes West), while others remained firmly grounded in the struggle to simply exist and make it to the end of each day (The Florida Project, Good Time). These 30 films demonstrate that the art of filmmaking can still be emboldened by sociopolitical turmoil to re-examine its own means of production, simultaneously breathing new life into once-stale forms and breaking boundaries to create new ones. –DEREK SMITH

Source: https://www.tinymixtapes.com/features/favorite-30-films-2017


In 2014, we basked in the warm, soothing glow of genre films. While a number of them veered toward the dark and macabre, many of our absolute favorites — like The Grand Budapest Hotel and our #1 of the year, Under the Skin — were divorced from reality — fascinating and brilliant, obviously, but in the realm of the fantastic rather than in the now. 2015 was a tough year, and just a glance at its major news headlines was enough to make us shudder. Our favorite films of the year tended to reflect our increasing anxieties and disillusionment, as our knowledge of rigged systems and fraudulent institutions reached its peak, causing us to feel even more powerless at our inability to combat them.

If the cinema of 2015 was anything for us, it was the year of the social outsider. Disenchantment with reality morphed itself into empowerment via cinematic proxy, giving a voice to the voiceless and face to those normally lost in the crowd. From those thrust into society’s margins due to their race or sexual/gender identities (Field Niggas, Carol, Tangerine, Chi-Raq), drug addiction (Heaven Knows What, Stinking Heaven), or inborn disabilities (the deaf kids in The Tribe) to those forcibly cut off from the outside world (Room) or who simply reveled in giving it a giant, perpetual “fuck you” (Buzzard), characters in our favorite films of the year just flat-out struggled to navigate reality.

Even the settings and environments in this batch of films were unrelentingly vicious and challenging. From the brutal blasts of icy winds in The Hateful Eight and The Revenant and the unforgivingly dry desert landscapes of Mad Max: Fury Road and Timbuktu to land soaked in blood (Crimson Peak), mud, and feces (Hard to Be a God), Mother Earth wasn’t taking any more of our shit and felt compelled to inform us. Even the reliability of good, old-fashioned sex to come through with a little unfettered pleasure and joy came at a hefty price, leaving its characters as reticent sadists (The Duke of Burgundy), with a supernatural being or gang of dominatrices hunting them down (It Follows, R100), or defenseless in a dark, damp European corridor (Spring). Forget about it being hard to be a God; in this year’s cinema, it was hard enough to be a fucking person.

Yet despite all this doom and gloom, our favorite films never wallowed in misery and instead met the trials and tribulations of existence head-on in wildly entertaining and innovative ways, transcending struggles and leaving behind inspiring treatises that left us richer and stronger in the process. No, this was not a defeatist year at movies — quite the opposite, despite the dark shadow cast by its films. Cinema ran into the face of adversity and came away with its fair share of victories that empowered the powerless and touched us all deeply on an experiential and intellectual level. The significance of cinema was exemplified, to loosely paraphrase Godard, not only in its uncanny ability to reflect reality, but in that reflections’ reality to change us for the better. 2015 took us into some dark new territories, but the light it shed upon them may just have made the path ahead a bit clearer." –DEREK SMITH

Source: http://www.tinymixtapes.com/features/2015-favorite-30-films


Last year, we claimed that our favorite films were characterized by a “triumph of the real.” Man, we’re fickle. This year, as far as reality went, we just couldn’t even. Instead of 2013’s actual people, our favorite characters were children’s toys (The LEGO Movie), superheros (Birdman), aliens (Guardians of the Galaxy), and vampires (Only Lovers Left Alive). Instead of 2013’s refigured documentary techniques, it was the pulpy remnants of genre filmmaking — both in style and subject matter — that dripped down our list, starting with our honorable mentions (The Guest, The Rover, The One I Love) and ending in a pitch-black puddle at our #1.

Our interests in genre filmmaking and the imaginary were hardly escapist. Eye-searing violence — whether instrumental (Blue Ruin, Borgman) or for its own sake (The Raid 2, Why Don’t You Play in Hell?) — was inescapable. Sex was nearly always linked with death (Stranger by the Lake, Under the Skin, Gone Girl), torture (Thou Wast Mild and Lovely), or at least suspicion (Nymphomaniac) and blackmail (Nightcrawler). As Wes Anderson toyed with dismemberment and murder (Grand Budapest Hotel), and romcoms revolved around shmashmortion (Obvious Child), even the usual go-to filmic safehouses were markedly macabre. (Let’s not even mention honorable mention Moebius.)

Even when we were waist-deep in filmic blood and sad cum, though, it was impossible to read all this bodily fluid as any kind of grand narrative. Taken as a whole, our favorite films of 2014 offered more counter- and micro-narratives than anything else. Two genuine Hollywood blockbusters adapted childhood (Lego) and adolescent (Guardians of the Galaxy) brand names so delightfully that even our cynical, cold, Bela Tarr- and Harmony Korine-filled hearts opened up to them. But even though Hollywood seemed to have finally gotten its shit together, two newer indie distributors — A24 and Drafthouse Films — were already leaving it in the dust, together releasing a whopping one-fifth of our favorite films, including our #1.

Turning from industry to auteurs, middle-aged and just plain-aged masters made career-defining works that compounded their stylistic idiosyncrasies in ambitious, sometimes divisive ways: Sion Sono and Jean-Luc Godard interrogated their filmic careers through experimentation in new (for them) ways of filming — 35mm and 3D, respectively — while Richard Linklater and Alejandro Jodorowsky each attempted to account for the passage of time in some of the most compelling quasi-autobiographical works yet made. Along the same lines, Alex Ross Perry, an up-and-coming NYC director, dared us to read autobiography into his film about an up-and-coming NYC novelist/endearingly pretentious jerkwad. (So much for everything I just said about “the real” not making much of an impact in 2014.) Meanwhile, Josephine Decker, a young woman we had only admired as an actress, gifted us a two-film directorial debut that challenged aesthetic and narrative limits more successfully than most directors do in a lifetime.

The takeaway, if anything, is that it was a great year to watch movies, whether at the multiplex, the arthouse, or some newfangled VOD platform. We couldn’t even fit all of our favorites on this list, so read the names of these honorable mentions before moving onto our blurbage: A Field in England, The Rover, A Most Violent Year, Tatuagem, Manakamana, The Guest, Ida, White Bird in a Blizzard, Two Days One Night, Vic + Flo Saw a Bear, Art and Craft, The Last of the Unjust, Citizenfour, A Girl Walks Home Alone at Night, The One I Love. –BENJAMIN PEARSON"

Source: http://www.tinymixtapes.com/features/2014-favorite-30-films-of-2014


While the filmic landscape of 2012 A.D. was characterized by apocalypses, our favorite films this year pointed toward a triumph of the real, reveling in our fucked up world instead of imagining its destruction. Directors turned their lenses (usually warped ones) to the immediate and the present — or at the very least, the rippling continued effects of the past (12 Years a Slave). Sure, our list includes some fantastical films — most obviously ones about robots (Pacific Rim and World’s End), but also mind-controlling worms (Upstream Color) and nearly everything else (Wrong, The Rambler). But overwhelmingly, in 2013, shit got real.

More documentaries (a half dozen!) ranked in our favorite 30 than any previous year, with two in our top five (Act of Killing, Leviathan). And whether dismantling documentary veracity in search of personal truths (Stories We Tell), foregoing narrative altogether (Bestiaire, Leviathan), or limiting themselves to found footage (Let the Fire Burn), all the docs (not to mention Everything is Terrible’s found-footage collage double feature) on our list manipulated form in search of new ways to represent our world.

Meanwhile, the dismembered scraps of traditional documentary techniques littered our favorite fictional films, which employed found footage, mockumentary, non-actors, vlogs, and voyeurism to show us such horrors as the wreckage of post-tsunami Japan (Himizu), school shootings (The Dirties), sex tourism (Paradise: Love), economically stagnated suburbs (Pavilion), nerds (Computer Chess), and Florida beach culture (Spring Breakers). Even in the films that fell solidly within the formal confines of fiction, subject matter was immersed in large-scale contemporary concerns (Drug War, Mud, Frances Ha), while the generic conventions of realism were reworked for contemporary audiences (Sun Don’t Shine, Before Midnight).

As always, we had a difficult time narrowing our list down to 30 films: Hors Satan, Pain and Gain, Beyond the Hills, and Escape from Tomorrow all deserve honorable mentions. But this year, our staff had more consensus than ever about the films we loved. Maybe it’s just that we live in a weird time, both IRL and filmically, and our list reflects that. I mean, a release with no press became one of our favorites (Black Box), a Harmony Korine film played in nearly every multiplex, Pacific Rim’s kaiju washed ashore, and, amazingly, we actually laughed at stand-up comedy (Everything is Terrible: Comic Relief Zero). –BENJAMIN PEARSON"

The commented choices are over @http://www.tinymixtapes.com/features/2013-favorite-30-films-of-2013


Let’s all just admit that 2012 started to get a little weird towards the end. At least Stateside, anyway. There was all that unpleasant political stuff going on; somehow rape became a gift and then it was bad again; and there was that inclement weather along the East Coast that totally had nothing to do with man-made climate change. Amid all this socialecological turmoil, we shouldn’t blame you for missing some pretty big news in the world of cinema. But we will, anyway.

After all, this year we said goodbye to one controversial auteur (Béla Tarr) and adopted a different personal pronoun for another (Lana Wachowski). Whit Stillman finally made another film after a nearly 15-year hiatus (Damsels In Distres), brilliantly showcasing the talent of Generation Me’s answer to Chloë Sevigny (Greta Gerwig). Plus, any year that a Zachary Oberzan film comes out (Your brother. Remember?) is a good year for movies. Thankfully, all that Mayan apocalypse dreck ran its course a couple years ago, leaving room for some more rarefied grapplings with the end of all things (Tarr’s number-one stunner, The Turin Horse). And all that IRL political stuff we mentioned earlier? Not nearly as troubling as 5 Broken Cameras or This Is Not A Film, movies that managed so brilliantly to elucidate the very real human loss of geopolitical conflict.

But what really blew us away this year weren’t the super-good films that defied convention or made grand political statements. Instead, we were left with our mouths agape by films helmed by auteurs confident enough to be okay simply ignoring convention, never feeling the need to prove anything outside the piece of work at hand, some of which were at ease merely reveling in the sheer virtuosity of their principal actors’ performances (The Master). Oh, and Béla, you’ll be missed.

Source: http://www.tinymixtapes.com/features/2012-favorite-30-films-of-2012


A Personal Journey with Martin Scorsese Through American Movies is a documentary film of 225 minutes in length, presented by Martin Scorsese and produced by the British Film Institute.
In the film Martin Scorsese examines a selection of his favorite American films grouped according to three different types of directors: the director as an illusionist: D.W. Griffith or F. W. Murnau, who created new editing techniques among other innovations that made the appearance of sound and color possible later on, the director as a smuggler - filmmakers such as Douglas Sirk, Samuel Fuller, and Vincente Minnelli, who used to hide subversive messages in their films and the director as an iconoclast, those filmmakers attacking social conventionalism — Charles Chaplin, Erich von Stroheim, Orson Welles, Elia Kazan, Nicholas Ray, Stanley Kubrick, Arthur Penn, and Sam Peckinpah."

The list includes the films mentioned in order of appearance. The documentary can be found here https://trakt.tv/movies/a-personal-journey-with-martin-scorsese-through-american-movies-1995.

Source: http://en.wikipedia.org/wiki/A_Personal_Journey_with_Martin_Scorsese_Through_American_Movies


The Palme d'Or (English: Golden Palm) is the highest prize awarded at the Cannes Film Festival. It was introduced in 1955 by the organising committee. From 1939 to 1954, the highest prize was the Grand Prix du Festival International du Film. (Wikipedia)

Source: http://www.festival-cannes.fr/en/archives/2015/awardCompetition.html


The Mainichi Film Awards (毎日映画コンクール) are a series of annual film awards, sponsored by Mainichi Shinbun (毎日新聞), one of the largest newspaper companies in Japan, since 1946. (Wikipedia)

Source: http://mainichi.jp/mfa/


Best Anime of the 90's according to ANN's Theron Martin, Hope Chapman, Justin Sevakis, Zac Bertschy. Ten titles each. Sorted from 1 to 10.

Available as a two part Podcast:
Part 1: http://www.animenewsnetwork.com/anncast/2012-12-20
Part 2: http://www.animenewsnetwork.com/anncast/2012-12-28

Honorable Mentions:
Zac Bertschy; Redline, Princess Tutu, Mind Game, Victorian Romance Emma
Justin Sevakis; Kino's Journey, Gankutsuou, Story of Saiunkoku, Melancholy of Haruhi Suzumiya, Eden of the East, Paprika
Hope Chapman; (comedy) School Rumble, Azumanga Daioh, (animation for the sake of animation) Redline, FLCL, (new media / moe / dependence upon fans) Melancholy of Haruhi Suzumiya, ef: a tale of memories, (pure entertainment) Samurai Champloo, Tengen Toppa Gurren Lagann, (slice of life) Honey and Clover, Genshiken, Beck, Paradise Kiss, (Best children's anime) Dennou Coil, Spirited Away, (Feels cinematic / feels like one continuous experience) RahXephon, Death Note, (Taking a uniform vision but episodes look at separate themes) Haibane Renmei, Kino's Journey
Theron Martin; My-Hime, My-Otome, Baccano!, Metropolis, Saikano, Scrapped Princess, Twelve Kingdoms, Paprika, Boogiepop Phantom, Living for the Day After Tomorrow, Eden of the East, Gankutsuou, Haibane Renmei, Redline

As for Genious Party: The short mentioned was "Baby Blue" by Shinichiro Watanabe.


Best Anime of the 90's according to ANN's Bamboo Dong, Mike Toole, Justin Sevakis & Zac Bertschy. Ten titles each. Sorted from 1 to 10.

Available as a two part Podcast:
Part 1: http://www.animenewsnetwork.com/anncast/2012-06-15
Part 2: http://www.animenewsnetwork.com/anncast/2012-06-19


Best Anime of the 80's according to ANN's Tim Eldred, Daryl Surat, Justin Sevakis & Zac Bertschy. Ten titles each. Sorted from 1 to 10.

Available as a two part Podcast:
Part 1: http://www.animenewsnetwork.com/anncast/2012-03-29
Part 2: http://www.animenewsnetwork.com/anncast/2012-04-06

Missing: Galactic Drifter Vifam + Giant Gorg (TV)


This list consists of short anime (that is to say, anime with a runtime of below 10 minutes, including OP/ED).
Half-length anime like Yondemasu yo, Azazel-san, Cromartie High School and gdgd Fairies (around 10 minutes but below 20 minutes) will not be included in this list.
This is merely a compilation of short anime. You may or may not end up liking them. In any case, enjoy!"

Source: http://abload.de/img/1390490453428nhoow.jpg (Anonymous)


Source: http://images.wikia.com/animu-mango/images/f/fa/1276994333805.jpg


Source: http://images.wikia.com/animu-mango/images/8/85/1317026630962.jpg


Films showing during the Zürich Film Festival 2022.



Films showing during the Zürich Film Festival 2021.



Films showing during the Zürich Film Festival 202020.

(never completed, sorry ;))


Films showing during the Zürich Film Festival 2019.


(most of them anyways)


Films showing during the Zürich Film Festival 2018.

(most of them anyways)


Films showing during the Zürich Film Festival 2017. (largely complete)


Films showing during the Zürich Film Festival 2016. (largely complete)


Films showing during the Zürich Film Festival 2015. (largely complete)


Films showing during the Zürich Film Festival 2014. (largely complete)