ALICE DOESN’T LIVE HERE ANYMORE, ‘74: Starts treacly, but once mother-son duo hit the road, so does film: flighty & grounded at Alice’s pace of life

ENTER THE VOID, ‘09: Low-life melodrama bled through experimental art. “Soul’s eye view” mannered, meditative, crass, whettingly psychedelic

ISHTAR, ‘87: So they made HAROLD & KUMAR movies in the 80s, starring A-listers (Beatty, Hoffman) to boot! Preposterous, broad, kinda funny

THE LORD OF THE RINGS: THE FELLOWSHIP OF THE RING (Extended), ‘01: Expansive, mythmaking

LOVE ME TONIGHT, ‘32: Rickety songs, but crisp chiaroscuro, sprightly direction, comic use of sound make up for a lot. “Oh! oh! oh! oh!…”

MEMENTO (Chronological), ‘00: Brutally ironic. Memory-loss plot duly serves Nolan’s penchant for exposition. His most moving dead wives, too

NEW YORK, NEW YORK, ‘77: De Niro fearlessly mean, Minnelli never splashier; Scorsese milks their push-and-pull with grandiose aplomb

RAGING BULL, ‘80: A stylish, dripping biopic of raw male ego. De Niro’s weight flux a bit gimmicky; Pesci understatedly impressive

SCARFACE, ‘32: Thrilling eruptions of gunfire abound, and yet hammy and preordained as a Thankgiving dinner. Are remakes hammier still?

SHE DONE HIM WRONG, ‘33: Mae West still chews delightfully on her rounded vowels, but scripted quips don’t match her NIGHT AFTER NIGHT debut

STAGECOACH, ‘39: Inventive boxing-in of a tiny motley cast across dusty, empty locales, capped with two genre-making showdowns

TO HAVE AND HAVE NOT, ‘44: Reprises CASABLANCA’s moods of war-time dissent, quiet heroism, sultry exchanges—and yet never feels copied. How?

THE YOUNG MR LINCOLN, ‘39: Atrocious liberal tosh, beautifully staged and lit, tastelessly incoherent on justice and mob rage

BLACK SWAN, ‘10: Aronofsky’s mastery of body horror prickles the skin. Other scare tactics, dance clichés, flat character types unimpressive

I AM LOVE, ‘09: Lavishes on Tilda’s face and body as it does on hairdos, garments, cuisine. But we see, not feel, as she (and plot) unravels

THE SOCIAL NETWORK, ‘10: A new story (Facebook-era entrepreneurship) witticized zippily through old idioms (loneliness of power/fame/riches)

TRON: LEGACY, ‘10: Dramatically conflict-free; no human in sight. Scant SFX-on-rails action better than D.O.A. exposition that drags forever

ALIENS, ‘86: Still enraptured by its tension, weight, mutating missions, fullness as sequel. Removed scenes make theatrical cut less urgent

BALL OF FIRE, ‘41: So dowdy are its professors and mobsters, Stanwyck’s saucy wits unchallenged, though she slips nicely into “vulgar” role

JAMES AND THE GIANT PEACH, ‘96: Still a cherished fairytale of adventure and song, imaginatively visualized. Lumley, Margolyes savvily camp

LA JETÉE, ‘62: Haunting visions of apocalypse and lost wonders. Yet don’t all obsessives have this girl, all time-travellers have this end?

MINNIE AND MOSKOWITZ, ‘71: Trainwrecks falling in love—volatile Cassel, desolate Rowlands. Lets them enjoy selves. A New York, New York whose love I believed

MR SOFT TOUCH, ‘49: Trenchantly amoral humor on poverty (and wife-beating, natch) rubs shoulders with sentimentally clichéd narrative

REMEMBER THE NIGHT, ‘40: Stanwyck, too smart by half to be naïve bad-girl, opts for restive observation and snark. Great warmup to THE LADY EVE

THE BLOODY OLIVE, ‘96: Beautifully lit, deliciously farcical short on the noir genre’s requisite twists. See it!

THE RED BALLOON, ‘56: Light and bouncy as title object, but path traced is wholly predictable. Coda reads oddly like a widower on rebound

WHERE THE WILD THINGS ARE, ‘09: Dares to be terminally sour on childhood neglect and destructiveness; misses a few chances for visual aplomb

ZELIG, ‘83: A hit-and-miss lark of a mock archival-footage documentary, though Allen as actor can’t quite pull off “human chameleon”

ANOTHER YEAR, ‘10: Homely, comic, laced with bitter regret; end chapter tips into frost. A gem ensemble. Staunton haunts, Manville improves

CATERPILLAR, ‘10: Assaulting, repetitive, too literal in its nationalistic and gendered metaphors; but in historical context, it kinda works

DOGTOOTH, ‘09: Achieves the dark, biting horror of parental overprotection and deceit that Shyamalan’s THE VILLAGE only feigned to hint at

HARRY POTTER AND THE DEATHLY HALLOWS, PART 1, ‘10: Cried within opening minute for Hermione’s self-erasure. Mechanical Cliff’s Notes-ing and scenery porn thereafter

IF I WANT TO WHISTLE, I WHISTLE, ‘10: Incessantly follows its unlikable lead, with literal closeups on his back. But his unknowability wears thin

THE KIDS ARE ALL RIGHT, ‘10: Milks awkwardness for long stretches, often swerves broad/tasteless for laughs. Still raw and tender, though

UNCLE BOONMEE WHO CAN RECALL HIS PAST LIVES, ‘10: Mostly linear Apichatpong: not a good sign. At its best when unpredictable, and steeped in folkloric desire

WINTER’S BONE, ‘10: Generic plot of cockblocks shifts to meth gang-fueled jolt, deus ex machina, Oscar clip. Sharper in scenes of domestic resilience

2001: A SPACE ODYSSEY, ‘68: Sublimely scored opera of primal visions, riveting sci-fi worldbuilding, boldly deliberate thriller. A triumph

ADAM’S RIB, ‘49: A shocking, revealing play at Tracy/Hepburn’s relationship. Outraged, sex-minded and needy Hepburn is a surprise

AELITA, ‘24: Cockamamie mix of melodrama, sight gags, stagey set pieces, and Soviet Martian revolutions. Yes, you heard that last one right

BACK TO THE FUTURE, ‘85: A peak of 80s fantasy aesthetic. Joyfully contrived sets and scenarios, campy hindsight time-travel jokes galore

THE BOURNE IDENTITY, ‘02: Still kinetic, though it now feels like a schematic, over-sentimental setup for the sequels

THE BOURNE SUPREMACY, ‘04: Re-jolts the series by pitting two “rogue agents” against each other, both driven by offenses they didn’t court

DOWN WITH LOVE, ‘03: Reed proves as savvy, colorful, daring as with BRING IT ON. McGregor never more lasciviously exploited without nudity

GILDA, ‘46: A draggy, curious noir on triangular obsession; only Hayworth earns and keeps her status as bearer/object of hatred and desire

HEDGEHOG IN THE FOG, ‘75: One of Miyazaki’s faves, a charmingly textured, quaint children’s-book short. See it!

HOLIDAY, ‘38: Fairest standoff of Freedom against Sensibility I’ve seen in Hollywood romantic idealism. Grant and Hepburn lovely, fragile

KRAMER VS KRAMER, ‘79: Breadwinner tamed by housewife’s duties: what’s new? Middlebrow, sturdy. Courtroom pushes Hoffman and Streep to peaks

THE LADY EVE, ‘41: Stanwyck’s masterclass in sensuality, intelligence, emotional clarity & comic wizardry. Deftly paced, if a bit boisterous

THE MATRIX, ‘99: “Anti-bourgeois/authority” gun/PVC worship and gender/race/human treatment still problematic, but an effective mass fantasy

MCCABE AND MRS MILLER, ‘71: Hazily, expansively grounded in its small-town locale and western tropes. Beatty at his muffled best

MEAN GIRLS, ‘04: Oddly, a career landmark for most involved (‘cept Fey, who got her Palin acting break). Still propulsive, witty. I miss Lindsay!

MOONSTRUCK, ‘87: Odd-toned romcom, dull and tangential in construction, bizarre in sentimentalism. Possible brainchild of Wednesday Addams

PATHER PANCHALI, ‘55: Loose vignettes rooted in rhythm to the life of poor, rural Indian family. Charming, eye-opening, at times very sad

THE ROCKY HORROR PICTURE SHOW, ‘75: Brilliantly deranged, yet oddly unmoving; this movie demands the big screen and crowd call-and-response

RUN LOLA RUN, ‘98: Runs purely on the MTV adrenalin and absurdity of its conceit; not many ways each branching timeline could end, really

SAMURAI FICTION, ‘98: Rote samurai story, enlivened by anachronistic score, cheeky camera and trope use. Clear influence on KILL BILL

THE SHOP AROUND THE CORNER, ‘40: Unhurried, humane, equal parts bittersweet and warm. Masterful handling of a potentially treacly premise

V FOR VENDETTA, ‘06: “Ideas are bulletproof,” so this movie isn’t, mixing lip-service to democratic ideals with stylized violent anarchy

Perhaps it is inappropriate that G.W. Pabst’s Pandora’s Box will be the last movie I watch before flying 18 hours to the University of Chicago, and into a new chapter of my life. After all, the movie depicts characters who can barely understand or avoid the impulses they chase, even though this inevitably leads them into situations ever more dire. Indeed, in the shot above, Lulu (Louise Brooks) thinks she’s just ensured that things will go back to the way they were. Spoiler alert: they will not.

But I would like to think that I have a better grasp on my future than Lulu does, and the movie also works as fitting emblem for some of my hopes and resolutions. Take this very shot: as she gets dressed for her stage debut, assistants decked out-of-focus around her, you might think the reasons for Lulu’s glee are entirely professional. In truth, she’s just netted a very personal triumph, but you wouldn’t know this if I hadn’t said it (unless you’ve watched the film, of course). Take it from me too, then, that this blog is going to get a lot more personal from now on, since its pegging to my ups and downs as a film-studying undergrad means that my relationship to the movies will advance beyond the occasional rental and formal critique.

Then again, I don’t mean to understate just how far my pre-college cinephilia extends, since I bought Bordwell and Thompson’s magisterial Film History: An Introduction for a bit of enjoyable reading more than two months ago. Thus I can’t see how Pandora’s Box is anything but appropriate for this moment: not only did Nathaniel R fortuitously delay its episode in his inspiring Hit Me with Your Best Shot series so it coincided nicely with my departure; not only does it belong to the silent era, an area of expertise for my university’s film studies department; it also fits into one of the biggest gaps in my movie knowledge that I’m already most eager to fill.

What follows, then, is a list of movies that I’m hoping to catch for the first time (or would like a proper new look at) while in college. They’re divided into the sections of Film History that I’ve read in which they turn up, and Pandora’s Box lies crossed out among them, giving you a glimpse of the kind of tweet-length response that follows when I’ve watched one of them. And of course I’m expecting this list to grow—not least because you might have some to recommend!

Invention and Early Years of the Cinema, 1880s–1904

• A Trip to the Moon (Méliès, ‘02)
• Life of an American Fireman (Porter, ‘03)
• The Great Train Robbery (Porter, ‘03)

International Expansion of the Cinema, 1905–1912

• Films of Max Linder (‘07–’17)
• The Revenge of a Kinematograph Cameraman [stop motion] (Starevicz, ‘12)

National Cinemas, Hollywood Classicism, and World War I, 1913–1919

• The Student of Prague [an Autorenfilm] (Rye, ‘13)
• Fantômas [French serial] (Feuillade, ‘13–’14)
• Cabiria [Italian epic] (Pastrone, ‘14)
• The Birth of a Nation (Griffith, ‘15): A quaint, laborious, vilely effective KKK propaganda piece
• Intolerance (Griffith, ‘16)
• The Keys to Happiness (Protazanov, ‘15)
• Father Sergius (Protazanov, ‘17)
• The Immigrant (Chaplin, ‘17)

France in the 1920s

• The Tenth Symphony (Gance, ‘18)

Germany in the 1920s

• The Cabinet of Dr Caligari (Wiene, ‘20)
• Nosferatu (Murnau, ‘22)
• Metropolis (Lang, ‘27)
• The Joyless Street (Pabst, ‘25)
• Pandora’s Box (Pabst, ‘29): Brooks radiates impulsiveness; script, staging and actors make you care for the equally doomed people in her orbit
• The White Hell of Pitz Palu (Pabst, ‘29)

Soviet Cinema in the 1920s

• Aelita (Protazanov, ‘24): Cockamamie mix of melodrama, sight gags, stagey set pieces, and Soviet Martian revolutions
• The Extraordinary Adventures of Mr West in the Land of the Bolsheviks (Kuleshov, ‘24)
• The Battleship Potemkin (Eisenstein, ‘25)
• Mother (Pudovkin, ‘26)
• The House on Trubnaia Square (Barnet, ‘28)
• Man with a Movie Camera (Vertov, ‘29)
• Fragment of an Empire (Ermler, ‘29)

Late Silent Era in Hollywood, 1920–1928

• The Four Horsemen of the Apocalypse (Ingram, ‘21)
• Wings (Wellman, ‘27)
• Safety Last [starring H Lloyd] (Newmeyer and Taylor, ‘13)
• The Circus (Chaplin, ‘27)
• The General (Keaton and Bruckman, ‘27)
• Putting Pants on Philip [starring Laurel & Hardy] (Bruckman, ‘27)
• Sunrise (Murnau, ‘27)
• 7th Heaven (Borzage, ‘27)
• The Docks of New York (Von Sternberg, ‘28)

International Trends of the 1920s

• The Passion of Joan of Arc (Dreyer, ‘28)
• Vampyr (Dreyer, ‘32)
• Un Chien Andalou [Surrealism] (Buñuel, ‘28)
• The Fall of the House of Usher (Watson and Webber, ‘28)
• Nanook of the North (Flaherty, ‘28)

Introduction of Sound

• The Jazz Singer (Crosland, ‘27)
• Blackmail (Hitchcock, ‘29)
• M (Lang, ‘31)

Hollywood Studio System, 1930–1945

• All Quiet on the Western Front (Milestone, ‘30)
• Min and Bill (Hill, ‘30)
• Trouble in Paradise (Lubitsch, ‘32)
• Holiday (Cukor, ‘38): Fairest standoff of Freedom against Sensibility I’ve seen in Hollywood romantic idealism. Grant and Hepburn lovely, fragile
• The Shop Around the Corner (Lubitsch, ‘40): Unhurried, humane, equal parts bittersweet and warm. Masterful handling of a potentially treacly premise
• Citizen Kane (Welles, ‘41)
• The Lady Eve (Sturges, ‘41): Stanwyck’s masterclass in sensuality, intelligence, emotional clarity & comic wizardry. Deftly paced, if a bit boisterous
• The Magnificent Ambersons (Welles, ‘42)

Other Studio Systems

• Madam and Wife (Gosho, ‘31)
• Wife, Be Like a Rose! (Naruse, ‘35)
• Humanity and Paper Balloons (Yamanaka, ‘37)

Cinema and the State: the USSR, Germany and Italy, 1930–1945

• Chapayev [Socialist Realism] (Sergei and Vasiliev, ‘34)
• Triumph of the Will (Riefenstahl, ‘35)

France: Poetic Realism, the Popular Front and the Occupation, 1930–1945

• The Rules of the Game (Renoir, ‘39)
• La Vie est à Nous (Renoir et al, ‘36)

Leftist, Documentary and Experimental Cinemas, 1930–1945

• Kuhle Wampe [written by Brecht] (Dudow, ‘32)
• The Plow that Broke the Plains / The River (Lorentz, ‘36/’37)

American Cinema in the Postwar Era, 1945–1960

• The Best Years of Our Lives (Wyler, ‘46)
• Gilda (Vidor, ‘46): A draggy, curious noir on triangular obsession; only Hayworth earns and keeps her status as bearer/object of hatred and desire
• Letter from an Unknown Woman (Ophüls, ‘48)
• The Lady from Shanghai (Welles, ‘48)
• Adam’s Rib (Cukor, ‘49): A shocking, revealing play at Tracy/Hepburn’s relationship. Outraged, sex-minded, needy Hepburn a surprise
• Sunset Boulevard (Wilder, ‘50)
• The Searchers (Ford, ‘56)
• Touch of Evil (Welles, ‘58)
• Psycho (Hitchcock, ‘60)

Postwar European Cinema: Neorealism and its Context, 1945–1959

• The Bicycle Thief (De Sica, ‘48)

Postwar European Cinema: France, Scandinavia and Britain, 1945–1959

• Day of Wrath (Dreyer, ‘43)
• The Earrings of Madame De… (Ophüls, ‘53)

Postwar Cinema Beyond the West, 1945–1959

• Sanshô the Bailiff (Mizoguchi, ‘54)

Art Cinema and the Idea of Authorship

• Diary of a Country Priest (Bresson, ‘51)
• Pather Panchali (Ray, ‘55): Loose vignettes rooted in rhythm to the life of poor, rural Indian family. Charming, eye-opening, at times very sad
• Persona (Bergman, ‘66)
• Blow-Up (Antonioni, ‘66)
• Play Time (Tati, ‘67)

Hollywood’s Fall and Rise: 1960–1980

• 2001: A Space Odyssey (Kubrick, ‘68): Sublimely scored opera of primal visions, riveting sci-fi worldbuilding, boldly deliberate thriller. A triumph
• McCabe & Mrs Miller (Altman, ‘71): Hazily, expansively grounded in its small-town locale and western tropes. Beatty at his muffled best
• Back to the Future (Zemeckis, ‘85): A peak of 80s fantasy aesthetic. Joyfully contrived sets and scenarios, campy hindsight time-travel jokes galore
• The Rocky Horror Picture Show (Sharman, ‘75): Brilliantly deranged, yet oddly unmoving; this movie demands the big screen, and crowd call-and-response

District 9: Bracing as a quasi-documentary on alien immigrants, and as a horror film on unwanted transformations; opaque as an action flick.

Double Indemnity: I just don’t get classic actresses playing hysterics. c.f. Leigh in A Streetcar Named Desire, Hepburn in Long Day’s Journey into Night

Fighting: A formula film without the formula’s best parts: the sweat-soaked anticipation, the thrill of the win, or, y’know, the actual fighting.

Funny Girl: Nearly a revue meant to showcase Streisand’s talents at belting and rapid-fire line delivery; Streisand redefines stardom.

Harry Potter and the Half-Blood Prince: Potter fatigue has caught up to me; all of J.K. Rowling’s missed dramatic opportunities keep thwacking me in the face.

Indiana Jones and the Last Crusade: Sturdy pulp movie, with stars (Ford, Connery, Phoenix) that knew they were stars, and how to act as stars.

Katong Fugue: How is it that celluloid pianos so readily channel their player’s inner desires? (c.f. The Piano)

Moon: “Thoughtful scifi” for beginners: promising premise, predictable plotting.

Paper Heart: Shades of When Harry Met Sally, with clever, disciplined use of the handheld trope.

Paranormal Activity: Oscillates like Julie & Julia between its annoying and gratifying plots, but with demons (actual v boyfriend) not cooks

Public Enemies: Retreads Bonnie and Clyde, laced with the irony that even America’s Most Wanted doesn’t beat its citizens’ self-absorption.

Ratatouille: Anyone (who can reconstruct whole recipes from scratch with just a whiff) can cook.

Silkwood proves that horror movies are scarier when they feel like a part of life, especially one you haven’t the means to escape.

Taken: dooming teenagers worldwide to clampdowns on travel by their paranoid parents, who believe that kidnappers lie at every foreign turn.

There Will Be Blood score is such a keeper: each track is flavorful and distinctive! If it didn’t fit the images, that’s the movie’s fault.

Up: Apart from the vignettes of lifelong marriage… eurgh. Eurgh. Pixar at its most infantile.

The Wedding Banquet: Queer domesticity warms my soft heart.

West Side Story: (Romeo + Juliet’s plot) – (Shakespeare’s poetry) = Awful book scenes. Rita Moreno sets her scene ablaze; other songs nowhere as fiery.

You Can Count on Me: Exactly what the title says.

Movies I’ve seen so far from these lists (ranked in descending order):

1. Eternal Sunshine of the Spotless Mind (‘04): A patchwork quilt of relationship truths and clever scifi, culminating in the wisest romantic insight since Annie Hall
2. The Incredibles (‘04): Deft, rocket-paced flexing of superheroes into crises of identity and family (full review)
3. Erin Brockovich (‘00): Finally, a star vehicle that fully capitalises on Julia Roberts’ prickly edges
4. Julia (‘08): You won’t find a more sober and disciplined director-actor pair playing so drunk, desperate and out-of-control
5. Birth (‘04): Nicole Kidman thrives in close-ups and in being profoundly disturbed; this movie indulges her
6. The Bourne Supremacy (‘04): Whip-smart, breakneck spy thriller that sustains Jason Bourne’s clear-headed urgency while suffused with the pain of his loss
7. The Lord of the Rings: The Fellowship of the Ring (‘01): Epic worldcrafting, with actors and designers attuned to the demands of old-school myth
8. In the Mood for Love (‘00): Aestheticised within an inch of its life, which fits brilliantly its tale of yearning and suffocation in ’60s Hong Kong
9. Before Sunset (‘04): Sadness and self-absorption jostle in this narrow Parisian sequel to the gloriously expansive and romantic predecessor
10. Synecdoche, New York (‘08): A heartfelt meditation on self-centredness and ageing; relies on your capacity for deadpan humor, sadsack-watching and between-the-lines editing
11. Kill Bill Vol 1 (‘03): Candy-coloured pop fantasia of actresses and Japanese action movies, with a drop in mid-film momentum from Uma’s ineptness with bimbo humour
12. The Hurt Locker (‘09): More realistic, tense sequences of warfare than you’ll find elsewhere, though the soldiers teeter a bit towards broad enigma
13. There Will Be Blood (‘07): Fiery tempests wrought from the earth’s depths, Jonny Greenwood’s alien strings, and Daniel Day-Lewis’ oil baron. But things can get un-illuminatingly loud
14. Memento (‘00): Gimmicky collage of noirish scenes, blank-slate grieving and emotional manipulations held fast by a punchy existential twist
15. Sideways (‘04): Depends on your mileage for sadsacks, especially when they’re insulated by narrative perks, e.g. sex with the luminous Virginia Madsen
16. Adaptation (‘02): Depends on your mileage for sadsacks, especially when they’re insulated by narrative perks, e.g. being fictional
17. No Country for Old Men (‘07): Cleaves too easily into standalone scenes of well-edited tension and recycled caricature-humour to truly earn its mopey “bleak” ending
18. King Kong (‘05): Fanboy-wank remake bloated with CGI, wrapped around a cross-species romantic core that should have ventured beyond mere gestures at empathy
19. Mysterious Skin (‘04): Alternates between its boring and its exploitative plots, though Joseph Gordon-Levitt’s hustler gets a few emotionally raw/tender encounters
20. Hunger (‘08): I’m tired of arthouse exploitation as an excuse for male nudity, or vice versa; hurling shit-stained walls and clichéd police brutality at me doesn’t help

(The movies I have yet to see, or don’t remember enough to write about, can be found after the jump.)

Unseen movies from Tim Robey’s list (ranked in ascending order):

100. Dogville (‘03) 99. A.I.: Artificial Intelligence (‘01) 98. Tropical Malady (‘04) 97. Monster (‘03) 96. The Three Burials of Melquiades Estrada (‘05) 95. Atanarjuat, the Fast Runner (‘01) 94. Last Resort (‘00) 93. Sugar (‘08) 92. In this World (‘02) 91. The Last Victory (‘04) 90. Before the Devil Knows You’re Dead (‘07) 87. A Time for Drunken Horses (‘00) 86. Sympathy for Mr Vengeance (‘02) 85. The Fountain (‘06) 84. Gerry (‘02) 83. White Material (‘09) 81. Frozen Land (‘05) 80. The King of Kong (‘07) 79. Johnny Mad Dog (‘08) 77. Les petites vacances (‘06) 76. Abouna (‘02) 75. We Own the Night (‘07) 74. School of Rock (‘03) 73. The Night of the Sunflowers (‘06) 72. Yella (‘07) 71. Red Road (‘06) 70. Downfall (‘04) 69. Summer Hours (‘08) 68. Deep Water (‘06) 67. Secret Sunshine (‘07) 66. 13 Lakes (‘04) 65. Requiem (‘06) 64. Bright Star (‘09) 63. Uzak (‘02) 62. Capote (‘05) 60. Modern Life (‘08) 59. Nationale 7 (‘00) 58. The Corporation (‘03) 56. When the Levees Broke (‘06) 55. I ♥ Huckabees (‘04) 53. The Wrestler (‘08) 52. Lady Chatterley (‘06) 51. The Fall (‘06) 50. Bus 174 (‘04) 49. The Circle (‘00) 48. Adam & Paul (‘04) 47. Y tu mamá también (‘01)

46. Kings and Queen (‘04) 45. Couscous (‘07) 44. The Company (‘03) 43. Punch-Drunk Love (‘02) 40. The Son (‘02) 39. Spring, Summer, Autumn, Winter… and Spring (‘03) 38. The Holy Girl (‘04) 37. Solaris (‘02) 34. Los Angeles Plays Itself (‘03) 33. The Sun (‘05) 31. Songs from the Second Floor (‘00) 30. Amores perros (‘00) 29. Far From Heaven (‘02) 28. Code Unknown (‘00) 27. Donnie Darko (‘01) 25. Morvern Callar (‘02) 24. What Time is it There? (‘01) 23. Talk to Her (‘02) 22. The House of Mirth (‘00) 21. Eureka (‘00) 20. I’m Not There (‘07) 19. Our Daily Bread (‘05) 17. Spider (‘02) 15. A Prophet (‘09) 14. 4 Months, 3 Weeks and 2 Days (‘07) 13. L’emploi du temps (‘01) 12. Black Sun (‘05) 11. The Piano Teacher (‘01) 9. Junebug (‘05) 8. INLAND EMPIRE (‘06) 7. Yi Yi (‘00) 6. demonlover (‘02) 5. The New World (‘05) 3. The Death of Mr Lazarescu (‘05) 2. Master and Commander: The Far Side of the World (‘03) 1. Mulholland Dr. (‘01)

Unseen movies from the Skandies Top 20 list (ranked in descending order):

1. Dogville (‘03) 4. Mulholland Dr. (‘01) 6. The New World (‘05) 8. 25th Hour (‘02) 9. Yi Yi (‘00) 12. Silent Light (‘07) 14. Werckmeister Harmonies (‘00) 15. Irreversible (‘02) 16. Zodiac (‘07) 17. Ghost World (‘01) 18. The Man Who Wasn’t There (‘01)

19. Trouble Every Day (‘01) 20. Gerry (‘03)