{"id":492,"date":"2012-10-04T21:50:45","date_gmt":"2012-10-04T21:50:45","guid":{"rendered":"http:\/\/www.stueagon.com\/?page_id=492"},"modified":"2021-02-27T00:40:08","modified_gmt":"2021-02-27T00:40:08","slug":"top-films","status":"publish","type":"page","link":"http:\/\/www.stueagon.com\/?page_id=492","title":{"rendered":"Great Films"},"content":{"rendered":"\n
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The Mirror (Andrei Tarkovsky, 1974)<\/span>
L’eclisse (Michelangelo Antonioni, 1962)<\/span>
Andrei Rublev (Andrei Tarkovsky, 1966)<\/span>
The New World (Terrence Malick, 2005)<\/span>
Barry Lyndon (Stanley Kubrick, 1975)<\/span>
La jet\u00c3\u00a9e (Chris Marker, 1962)<\/span>
Amadeus (Milos Forman, 1984)<\/span>
Solaris (Andrei Tarkovsky, 1972)<\/span>
Au Hasard Balthazar (Robert Bresson, 1966)<\/span>
Vertigo (Alfred Hitchcock, 1958)<\/span>
The General (Buster Keaton & Clyde Bruckman, 1926)<\/span>
City Lights (Charles Chaplin, 1931)<\/span>
Three Colors: Blue (Krzysztof Kie\u00c5\u203alowski, 1993)<\/span>
2001: A Space Odyssey (Stanley Kubrick, 1968)<\/span>
Winter Light (Ingmar Bergman, 1963)<\/span>
A Man Escaped (Robert Bresson, 1956)<\/span>
Paris, Texas (Wim Wenders, 1984)<\/span>
The Thin Red Line (Terrence Malick, 1998)<\/span>
Good Morning (Yasajiru Ozu, 1959)<\/span>
Hiroshima Mon Amour (Alain Resnais, 1959)<\/span>
The Ascent (Larisa Shepitko, 1977)<\/span>
Woman In The Dunes (Hiroshi Teshigahara, 1964)<\/span>
Pickpocket (Robert Bresson, 1959)<\/span>
Sans Soliel (Chris Marker, 1983)<\/span>
Last Year at Marienbad (Alain Resnais, 1961)<\/span>
Limelight (Charles Chaplin, 1952)<\/span>
Aguirre: The Wrath Of God (Werner Herzog, 1972)<\/span>
Vivre Sa Vie (Jean-Luc Godard, 1962)<\/span>
Ordet (Carl Theodor Dreyer, 1955)<\/span>
Ivan’s Childhood (Andrei Tarkovsky, 1962)<\/span>
The Tree of Life (Terrence Malick, 2011)<\/span>
La Notte (Michelangelo Antonioni, 1961)<\/span>
L’avventura (Michelangelo Antonioni, 1960)<\/span>
The Gospel According to St. Matthew (Pier Paolo Pasolini, 1964)<\/span>
Through A Glass Darkly (Ingmar Bergman, 1961)<\/span>
Blade Runner (Ridley Scott, 1982)<\/span>
Stalker (Andrei Tarkovsky, 1979)<\/span>
Day of Wrath (Carl Theodor Dreyer, 1943)<\/span>
There Will Be Blood (Paul Thomas Anderson, 2007)<\/span>
The Naked Island (Kaneto Shindo, 1960)<\/span>
The Godfather and The Godfather: Part II (Francis Ford Coppola, 1972, 1974)<\/span>
The Virgin Spring (Ingmar Bergman, 1960)<\/span>
The Cabinet of Dr. Caligari (Robert Wiene, 1920)<\/span>
Diary of a Country Priest (Robert Bresson, 1951)<\/span>
Tokyo Story (Yasijiru Ozu, 1953)<\/span>
Three Colors: Red (Krzysztof Kie\u00c5\u203alowski, 1994)<\/span>
L’Argent (Robert Bresson, 1983)<\/span>
Nanook of the North (Robert Flaherty, 1922)<\/span>
Rashomon (Akira Kurosawa, 1950)<\/span>
Home Alone (John Hughes, 1990)<\/span>
2 or 3 Things I Know About Her (Jean-Luc Godard, 1967)<\/span>
Safe (Todd Haynes, 1995)<\/span>
Days of Heaven (Terrence Malick, 1978)<\/span>
Wings of Desire (Wim Wenders, 1987)<\/span>
Three Colors: White (Krzysztof Kie\u00c5\u203alowski, 1994)<\/span>
The Shining (Stanley Kubrick, 1980)<\/span>
Play Time (Jacques Tati, 1967)<\/span>
My Night at Maud’s (Eric Rohmer, 1969)<\/span>
Ivan the Terrible Part I & Part II (Sergei Eisenstein, 1945, 1946)<\/span>
Stromboli (Roberto Rossellini, 1950)<\/span>
Young Mr. Lincoln (John Ford, 1939)<\/span>
Close-Up (Abbas Kiarostami, 1990)<\/span>
Le Joli Mai (Chris Marker & Pierre Lhomme, 1963)<\/span>
Europe ’51 (Roberto Rossellini, 1952)<\/span>
Chariots of Fire (Hugh Hudson, 1981)<\/span>
Mouchette (Robert Bresson, 1967)<\/span>
Dr. Strangelove or: How I Learned To Stop Worrying and Love the Bomb (Stanley Kubrick, 1964)<\/span>
Pather Panchali (Satyajit Ray, 1955)<\/span>
Mr. Hulot’s Holiday (Jacques Tati, 1953)<\/span>
The American Friend (Wim Wenders, 1977)<\/span>
Baraka (Ron Fricke, 1992)<\/span>
Babette’s Feast (Gabriel Axel, 1987)<\/span><\/p>\n

Less Often<\/em><\/strong><\/span><\/p>\n

The Flowers of St. Francis (Roberto Rossellini, 1950)<\/span>
Nostalghia (Andrei Tarkovsky, 1983)<\/span>
Blaise Pascal (Roberto Rossellini, 1972)<\/span>
Badlands (Terrence Malick, 1973)<\/span>
Germany, Year Zero (Roberto Rossellini, 1948)<\/span>
Modern Times (Charles Chaplin, 1936)<\/span>
The Sacrifice (Andrei Tarkovsky, 1986)<\/span>
Made In U.S.A. (Jean-Luc Godard, 1966)<\/span>
The Circus (Charles Chaplin, 1928)<\/span>
Histoire(s) du cin\u00c3\u00a9ma (Jean-Luc Godard, 1988-1998)<\/span>
Stroszek (Werner Herzog, 1977)<\/span>
La Terra Trema (Luchino Visconti, 1948)<\/span>
Phantom Thread (Paul Thomas Anderson, 2017)<\/span>
The Life of Oharu (Kenji Mizoguchi, 1952)<\/span>
Gertrud (Carl Theodor Dreyer, 1964)<\/span>
The Trial of Joan of Arc (Robert Bresson, 1962)<\/span>
The Decalogue (Krzysztof Kie\u00c5\u203alowski, 1988)<\/span>
Alice in the Cities (Wim Wenders, 1974)<\/span>
Louisiana Story (Robert Flaherty, 1948)<\/span>
The Devil Probably (Robert Bresson, 1977)<\/span>
Mounsieur Verdoux (Charles Chaplin, 1947)<\/span>
Four Nights of a Dreamer (Robert Bresson, 1971)<\/span>
The White Ribbon (Michael Haneke, 2009)<\/span>
Paisan (Roberto Rosselini, 1946)<\/span>
Battleship Potemkin (Sergei Eisenstein, 1925)<\/span>
I Am Cuba (Mikhail Kalatozov, 1964)<\/span>
Sansho the Bailiff (Kenji Mizoguchi, 1954)<\/span>
Lancelot du Lac (Robert Bresson, 1974)<\/span>
Casque d’Or (Jacques Becker, 1952)<\/span>
Tale of Tales (Yuri Norstein, 1979)<\/span>
Lost In Translation (Soffia Coppola, 2003)<\/span>
The Spirit of the Beehive (Victor Erice, 1973)<\/span>
The Double Life of V\u00c3\u00a9ronique (Krzysztof Kie\u00c5\u203alowski, 1991)<\/span>
The Apartment (Billy Wilder, 1960)<\/span>
Persona (Ingmar Bergman, 1966)<\/span>
The Great Dictator (Charles Chaplin, 1940)<\/span>
Come and See (Elem Klimov, 1985)<\/span>
Breathless (Jean-Luc Godard, 1960)<\/span>
Metropolis (Fritz Lang, 1927)<\/span>
The Conversation (Francis Ford Coppla, 1974)<\/span>
The Passenger (Michelangelo Antonioni, 1975)<\/span>
Look Back In Anger (Tony Richardson, 1959)<\/span>
Zelig (Woody Allen, 1983)<\/span>
Tokyo Olympiad (Kon Ichikawa, 1965)<\/span>
The Passion of Joan of Arc (Carl Theodor Dreyer, 1928)<\/span>
Ikiru (Akira Kurosawa, 1952)<\/span>
Blow Up (Michelangelo Antonioni, 1966)<\/span>
Brazil (Terry Gilliam, 1985)<\/span>
Late Spring (Yasajiru Ozu, 1949)<\/span>
Viridiana (Luis Bu\u00c3\u00b1uel, 1961)<\/span>
Les dames du Bois de Boulogne (Robert Bresson, 1945)<\/span>
Journey to Italy (Roberto Rossellini, 1954)<\/span>
The Third Man (Carol Reed, 1949)<\/span>
The Passion of Anna (Ingmar Bergman, 1969)<\/span>
The Man from London (Bela Tarr, 2007)<\/span>
The Last Days of Disco (Whit Stillman, 1998)<\/span>
Strangers on a Train (Alfred Hitchcock, 1951)<\/span>
Powaqqatsi (Godfrey Reggio, 1988)<\/span>
His Girl Friday (Howard Hawks, 1940)<\/span>
The Enigma of Kaspar Hauser (Werner Herzog, 1974)<\/span>
The Exterminating Angel (Luis Bu\u00c3\u00b1uel, 1962)<\/span>
The Face of Another (Hiroshi Teshigahara, 1966)<\/span>
Casablanca (Michael Curtiz, 1942)<\/span>
La Haine (Mathieu Kassovitz, 1995)<\/span>
Claire’s Knee (Eric Rohmer, 1970)<\/span>
Bicycle Thieves (Vittorio De Sica, 1948)<\/span>
Earth (Alexander Dovzhenko, 1930)<\/span>
Apocalypse Now (Francis Ford Coppola, 1979)<\/span>
Cries and Whispers (Ingmar Bergman, 1972)<\/span>
Knife In The Water (Roman Polanski, 1962)<\/span>
The Gold Rush (Charles Chaplin, 1925)<\/span>
Cul-de-sac (Roman Polanski, 1966)<\/span>
Masculin F\u00c3\u00a9minin (Jean-Luc Godard, 1966)<\/span>
Hannah and Her Sisters (Woody Allen, 1986)<\/span>
The Silence (Ingmar Bergman, 1963)<\/span>
Chronicle of a Summer (Jean Rouch and Edgar Morin, 1961)<\/span>
Werckmeister Harmonies (Bela Tarr, 2000)<\/span>
McCabe and Mrs. Miller (Robert Altman, 1971)<\/span>
Alphaville (Jean-Luc Godard, 1965)<\/span>
Hour of the Wolf (Ingmar Bergman, 1968)<\/span>
Stop the Pounding Heart (Roberto Minervini, 2013)<\/span>
Early Summer (Yasajiru Ozu, 1951)<\/span>
Poto and Cabengo (Jean-Pierre Gorin, 1980)<\/span>
An Autumn Afternoon (Yasajiru Ozu, 1962)<\/span>
Tokyo-Ga (Wim Wenders, 1985)<\/span>
In Praise of Love (Jean-Luc Godard, 2001)<\/span>
Antonio Gaudi (Hiroshi Teshigahara, 1985)<\/span>
The Other Side (Roberto Minervini, 2015)<\/span>
My Crasy Life (Jean-Pierre Gorin, 1992)<\/span>
Diary of a Lost Girl (G.W. Pabst, 1929)<\/span>
Ida (Pawel Pawlikowski, 2013)<\/span><\/p>\n

Worth Viewing<\/em><\/strong><\/span><\/p>\n

The Age Of Innocence (Martin Scorsese, 1993)<\/span>
Alien (Ridley Scott, 1979)<\/span>
American Beauty (Sam Mendes, 1999)<\/span>
Annie Hall (Woody Allen, 1977)<\/span>
The Awful Truth (Leo McCarrey, 1937)<\/span>
Back to the Future (Robert Zemeckis, 1985)<\/span>
Barton Fink (Joel and Ethan Coen, 1991)<\/span>
The Best of Youth (Marco Tullio Giordana, 2003)<\/span>
Before Sunrise (Richard Linklater, 1995)<\/span>
Being There (Hal Ashby, 1979)<\/span>
Belle de Jour (Luis Bu\u00c3\u00b1uel, 1967)<\/span>
The Big Lebowski (Joel and Ethan Coen, 1998)<\/span>
Blood Simple (Joel and Ethan Coen, 1984)<\/span>
Boy Meets Girl (Leos Carax, 1984)<\/span>
The Breakfast Club (John Hughes, 1985)<\/span>
The Bridge on the River Kwai (David Lean, 1957)<\/span>
Les carabiniers (Jean-Luc Godard, 1963)<\/span>
Le Chant du Styr\u00c3\u00a8ne (Alain Resnais, 1958)<\/span>
Camera Buff (Krzystof Kie\u00c5\u203alowski, 1979)<\/span>
Children of Paradise (Marcel Carn\u00c3\u00a9, 1945)<\/span>
Chinatown (Roman Polanski, 1974)<\/span>
Citizen Kane (Orson Welles, 1941)<\/span>
Cleo from 5 to 7 (Agn\u00c3\u00a8s Varda, 1962)<\/span>
A Clockwork Orange (Stanley Kubrick, 1971)<\/span>
The Cranes Are Flying (Mikhail Kalatozov, 1957)<\/span>
Cria Cuervos (Carlos Saura, 1976)<\/span>
Do The Right Thing (Spike Lee, 1989)<\/span>
Downfall (Oliver Hirschbiegel, 2004)<\/span>
F For Fake (Orson Welles, 1973)<\/span>
Fata Morgana (Werner Herzog, 1971)<\/span>
The Fire Within (Louis Malle, 1963)<\/span>
The Firemen’s Ball (Milos Forman, 1967)<\/span>
Floating Weeds (Yasujiro Ozu, 1959)<\/span>
The Freshman (Harold Lloyd, 1925)<\/span>
A Grin Without A Cat (Chris Marker, 1977)<\/span>
Hagop Hovnatanian (Sergei Parajanov, 1965)<\/span>
Holiday (George Cukor, 1938)<\/span>
If I Had Four Dromedaries (Chris Marker, 1966)<\/span>
Inside Llewyn Davis (Joel and Ethan Coen, 2013)<\/span>
It’s A Wonderful Life (Frank Capra, 1946)<\/span>
Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (Chantal Akerman, 1975)<\/span>
Junkopia (Chris Marker, 1981)<\/span>
Koyaanisqatsi (Godfrey Reggio, 1982)<\/span>
The Last Bolshevik (Chris Marker, 1992)<\/span>
La Strada (Federico Fellini, 1954)<\/span>
Le Samoura\u00c3\u00af (Jean-Pierre Melville, 1967)<\/span>
Lessons of Darkness (Werner Herzog, 1992)<\/span>
Level Five (Chris Marker, 1996)<\/span>
Life Is Beautiful (Roberto Benigni, 1997)<\/span>
The Long Goodbye (Robert Altman, 1973)<\/span>
Love In The Afternoon (Eric Rohmer, 1972)<\/span>
The Lower Depths (Jean Renoir, 1936)<\/span>
Magnolia (Paul Thomas Anderson, 1999)<\/span>
Manhattan (Woody Allen, 1979)<\/span>
Mauvais Sang (Leos Carax, 1986)<\/span>
Man With The Movie Camera (Dziga Vertov, 1929)<\/span>
Meetin’ WA (Jean-Luc Godard, 1986)<\/span>
Minority Report (Steven Spielberg, 2002)<\/span>
Mon Oncle (Jacques Tati, 1958)<\/span>
Moscow Elegy (Alexander Sokurov, 1987)<\/span>
Mr. Smith Goes To Washington (Frank Capra, 1939)<\/span>
Muriel, or the Time of Return (Alain Resnais, 1963)<\/span>
My Own Private Idaho (Gus Van Sant, 1991)<\/span>
Notorious (Alfred Hitchcock, 1946)<\/span>
Olympia (Leni Riefenstahl, 1936)<\/span>
One Day in the Life of Andrei Arsenevich (Chris Marker, 1999)<\/span>
Patton (Franklin J. Schaffner, 1970)<\/span>
Pitfall (Hiroshi Teshigahara, 1962)<\/span>
Pierrot le fou (Jean-Luc Godard, 1965)<\/span>
\u00c3\u20ac propos de Nice (Jean Vigo, 1930)<\/span>
Quiz Show (Robert Redford, 1994)<\/span>
Raise the Red Lantern (Zhang Yimou, 1991)<\/span>
Rear Window (Alfred Hitchcock, 1954)<\/span>
Red Desert (Michelangelo Antonioni, 1964)<\/span>
Remembrance of Things to Come (Yannick Bellon and Chris Marker, 2001)<\/span>
The River (Jean Renoir, 1951)<\/span>
A Room With A View (James Ivory, 1985)<\/span>
Routine Pleasures (Jean-Pierre Gorin, 1986)<\/span>
Russian Ark (Alexander Sokurov, 2002)<\/span>
Samsara (Ron Fricke, 2011)<\/span>
Saturday Night and Sunday Morning (Karel Reisz, 1960)<\/span>
Scenes from a Marriage (Ingmar Bergman, 1973)<\/span>
Secret Honor (Robert Altman, 1984)<\/span>
Star Wars: Episode IV-VI (George Lucas, Irving Kershner, Richard Marquand, 1977, 1980, 1983)<\/span>
Statues Also Die (Chris Marker and Alain Resnais, 1953)<\/span>
Sunset Boulevard (Billy Wilder, 1950)<\/span>
Taste of Cherry (Abbas Kiarostami, 1997)<\/span>
Taxi Driver (Martin Scorsese, 1976)<\/span>
Thieves Like Us (Robert Altman, 1974)<\/span>
This Sporting Life (Lindsay Anderson, 1963)<\/span>
3 Women (Robert Altman, 1977)<\/span>
Three Cheers for the Whale (Chris Marker and Mario Ruspoli, 1972)<\/span>
Trafic (Jacques Tati, 1971)<\/span>
The Turin Horse (Bela Tarr, 2011)<\/span>
Wings (Larisa Shepitko, 1966)<\/span>
Who’s Afraid of Virginia Woolf? (Mike Nichols, 1966)<\/span>
A Woman is a Woman (Jean-Luc Godard, 1961)<\/span>
World on a Wire (Rainer Werner Fassbinder, 1973)<\/span>
You Can’t Take It With You (Frank Capra, 1938)<\/span><\/p>\n

also…<\/span><\/p>\n

Top Films of the 21st Century<\/a><\/strong><\/span><\/p>\n<\/div><\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n","protected":false},"excerpt":{"rendered":"

The Mirror (Andrei Tarkovsky, 1974) L’eclisse (Michelangelo Antonioni, 1962) Andrei Rublev (Andrei Tarkovsky, 1966) The New World (Terrence Malick, 2005) Barry Lyndon (Stanley Kubrick, 1975) La jet\u00c3\u00a9e (Chris Marker, 1962) Amadeus (Milos Forman, 1984) Solaris (Andrei Tarkovsky, 1972) Au Hasard Balthazar (Robert Bresson, 1966) Vertigo (Alfred Hitchcock, 1958) The General (Buster Keaton & Clyde Bruckman, […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":1,"comment_status":"open","ping_status":"open","template":"","meta":{"footnotes":""},"class_list":["post-492","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"http:\/\/www.stueagon.com\/index.php?rest_route=\/wp\/v2\/pages\/492","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.stueagon.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/www.stueagon.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/www.stueagon.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.stueagon.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=492"}],"version-history":[{"count":0,"href":"http:\/\/www.stueagon.com\/index.php?rest_route=\/wp\/v2\/pages\/492\/revisions"}],"wp:attachment":[{"href":"http:\/\/www.stueagon.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=492"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}