Here’s another list of ten. In general, these films are pulpier, darker.
1. Die Niebelungen: “Siegfrieds Tod (Siegfried’s Death)” and “Kriemhilds Rache (Kriemhild’s Revenge)” (1924, Germany, dir. Fritz Lang)
A mind-blowing epic duology based on the Nibelungenlied legend. Part one follows Siegfried as he slays a dragon (watch him in action!), wins the hand—and heart—of the gentle Kriemhild, and is ultimately betrayed by her uncle, Hagen Tronje. Part two centers on the now-widowed Kriemhild’s quest for revenge against her uncle and brother. Kriemhild’s transformation from a shy, pure bride to the vengeful queen of the Huns is astonishing. Though the two films together run over three hours, they truly deserve to be watched back-to-back.
2. The Sweet Hereafter (1997, Canada, dir. Atom Egoyan)
Atom Egoyan’s works remind me of the uniqueness of film: it’s not just visual storytelling or moving pictures. Film possesses a power entirely its own, independent of other art forms. Egoyan’s films evoke feelings of wistfulness, yearning, and sorrow, all wrapped in a grey-blue veil of beauty. The Sweet Hereafter, a film about a small town's healing process after a school bus accident that claims the lives of several children, exemplifies this. Sarah Polley, as the only surviving child, is one of the great talents in film today. Her face radiates quiet intelligence, sensitivity far beyond her years, and an almost frightening sensuality.(watch the trailer)
3. Queen Christina/Flesh and the Devil (1933, Austria, dir. Rouben Marmoulian/1926, U.S.A., dir. Clarence Brown)
Okay, so I’m cheating a bit, but both of these films feature Garbo with Gilbert. In Queen Christina, Garbo proves that Dietrich isn’t the only one who can look sexy in men’s clothing. The final shot of her face, as she faces an uncertain future, is justly famous. Flesh and the Devil is an early silent film where Gilbert’s presence is more tolerable since we don’t have to hear his voice. The chemistry between them ignites some of the most sizzling scenes ever captured on film (watch the famous cigarette scene)—and their passion was very real off-screen as well.
4. Brief Encounter (1945, U.K., dir. David Lean)
Is the story overly sentimental? Sure. Is the Rachmaninoff Concerto No. 2 score a bit sappy? Of course. But if you’re looking for a sweep-me-off-my-feet, five-hankie romance, this is it. It’s the tale of two married people who meet at a railway station once a week, fall in love (naturally), and eventually part ways (as expected). All the passion is conveyed in their gazes, in the spaces between their words. David Lean, do you ever create happy romances? (Watch the separation scene here)
5. Nosferatu, eine Symphonie des Grauens (1922, Germany, dir. F.W. Murnau)
This is my favorite of all vampire movies. Max Schreck’s Count remains the most grotesque, haunting, frightening, creepy, and convincingly dead of all his imitators (see clips here). I found Werner Herzog’s re-interpretation also brilliant, Klaus Kinski delivering an unforgettable performance as a more lonely, human vampire. For a fun twist, check out Merhige’s hilarious Shadow of the Vampire ((watch trailer), a film about a director remaking Murnau’s original, with a star who seems a bit too committed to staying "in character" at all times.
6. Princess Mononoke (Mononoke-hime, 1997, Japan, dir. Hayao Miyazaki)
A young prince, seeking a cure for a curse in the form of an incurable disease, finds himself caught in a war between the forest animals—led by a human girl, Princess Mononoke—and a village that is destroying the forest. This is a beautiful, frightening, and awe-inspiring action film that unfolds like an ancient fable. Miyazaki does it again. (watch trailer here)
7. The Matrix (1999, U.S.A., dir. Andy and Larry Wachowski)
This film revolutionized the action genre and remains ridiculously cool. Influenced by anime and wushu films, few action flicks have matched the sheer style of The Matrix. “Bullet Time” has been imitated in countless films and spoofs—the best being the hilarious Japanese Matrix Ping Pong. I’m both ashamed and proud to be from a country so adept at wasting time, talent, and money. As for the sequels, they don’t quite compare, though the highway chase scene in Matrix Reloaded is five minutes of some of the finest action sequences.
8. Mulholland Dr. (2001, U.S.A., dir. David Lynch)
This film takes you from the sunniest corners of L.A. and drags you down into its darkest depths. Reality and fantasy flip over in the second half—or is it fantasy and reality? It demands multiple viewings, and yes, it all does make sense. Naomi Watts and Laura Harring are a perfect Betty-and-Veronica pairing in this psychological thriller. This may be Lynch at his best, as it feels like everything he directed before was building up to this masterpiece. (watch trailer)
9. Latcho Drom (1993, France, dir. Tony Gatlif)
This quasi-dramatic documentary traces the journey of Romany music through India, Egypt, Turkey, Romania, Hungary, Slovakia, France, and Spain. There are some truly unforgettable moments. I’ve watched it dozens of times, and it never fails to bring me immense pleasure. (Watch/listen to Dorado Schmitt in the film)
10. Ha, ha, did you really think I would narrow my list down to 20? I'm going to list a few more of my favorites:
The Ninth Configuration (1980, U.S.A., dir. William Peter Blatty)
Does anyone know this bizarre film directed by the screenwriter of The Exorcist? It’s one of the strangest things I’ve ever seen. Set in a mental asylum for insane and AWOL U.S. Army soldiers, the new director turns out to be far more disturbed and unhinged than the patients. It’s funny, disquieting, and—did I mention?—weird. Watch it alongside 2001: A Space Odyssey for a real plunge into the depths of existentialism.(watch a short clip here)
The Ruling Class (1972, U.K., dir. Peter Medak)
Peter O’Toole plays Jack, the 14th Earl of Gurney. Much to the annoyance of his family, Jack believes he’s Jesus Christ, returned to bring love and charity to the world. After undergoing electro-shock treatments, he "recovers" as Jack—the Ripper, that is. It’s a weird, far-from-perfect film, but absolutely unforgettable. O’Toole is bizarrely fabulous in this role.(watch this crazy trailer)
Ordet (1955, Denmark, dir. Carl Theodor Dreyer)
This story of three sons—one of whom believes he is Christ (again!)—along with star-crossed (or religion-crossed) lovers, faith, and religion, unveils the true strangeness and wonder of miracles. It’s a compelling exploration of belief and the mysteries of faith. For me, this film best captures the essence of a true miracle on screen.(see the final scene. Be warned: major spoiler!)
Repulsion (1965, U.S.A., dir. Roman Polanski)
A weekend of slow, hallucinatory, claustrophobic descent into madness. I could only watch this film one and a half times—I can’t bear to watch it again. Polanski opens the gates of insanity and pulls us right in. Catherine Deneuve is fantastic as the paranoid, repressed Carole. It’s more frightening than most of the films in the “Horror” section of the video store. (watch trailer here)
Texas Chainsaw Massacre (1974, U.S.A., Tobe Hooper)
This is one of the greatest American films of the 1970s. Anyone who thinks I’m crazy doesn’t understand film—so there. Despite its reputation as a splatterfest, no real violence occurs until about a third into the movie. And when it does, it happens with such shocking speed, that we’re left reeling. Listen to how the thud of the sliding door seamlessly transitions into the moan of the soundtrack. What makes this film so disturbing is the pervasive sense of dread and the depiction of a dried, rotting American landscape. On multiple viewings, I’ve come to realize how many scenes are actually darkly hilarious (like the "family" dinner scene). The famous final "dance" is as grotesque as it is cathartic.
Suspiria (1977, Italy, Dario Argento)
It’s funny that when I think of Suspiria, it’s the beauty that comes to mind, rather than the bucketloads of thick, bright-red blood that spills throughout this iconic film by the King of Giallo. I had the pleasure of watching the restored version in a theater, and now I find it hard to watch on a small computer screen. A large screen is a must, along with stereo sound to fully appreciate the oh-so-cool, pulsating/twinkling soundtrack by Goblin. God, I love this movie. (watch the trailer)
Blood for Dracula (1974, U.S.A. Paul Morrissey)
I probably quote this film more than any other. It’s howlingly funny, with blindingly beautiful people (those sisters look like they stepped out of a Renoir painting—and, of course, Joe Dallesandro). "If you really were clever, Anton, you would bring me a virgin from Italy and I wouldn’t have to go." Udo Kier nails the role of the whiny, petulant Dracula: “Why did you take me on this hopeless journey? Let me go home and die in peace! What good is it to have tea when I can’t find the right vegetable to go with it? I guess I’ll have to eat the rest of the Romanian lettuce… with lemon. The oil! They put so much oil here on EVERYTHING! But there must be some cheese?” And of course, the literal: “The blood of these whores is killing me.” It’s undeniably camp, but with a stellar cast and even a political message about class differences and venereal disease?!
Dawn of the Dead (1978, U.S.A., George A. Romero)
What made American horror films of the 1970s so great was that it was not all (or even mostly) about gore and jump-scares. If Night tackled the collapse of the nuclear family with a jab at racism, Dawn takes aim at American consumer culture. Compared to the revolutionary and dark Night of the Living Dead, Dawn of the Dead is almost colorful to the point of tackiness (literally, as NotLD is in black and white, while DotD is not)—but that’s exactly the point. Set primarily in a large shopping mall, Dawn is tight, fun, scary, and even quite funny, though the humor leans toward the ironic and self-deprecating. Please stop making remakes of this.
The Exorcist (1973, U.S.A., William Friedkin)
To me, this remains the most disturbing horror film. Based on William Peter Blatty’s book, the story of a young girl’s possession and the two Jesuit priests who try to save her life—and soul—still gets under my skin. The director’s cut adds some scenes that enhance the theatrical version (including some truly disturbing images), but I recommend watching the original cut first, as it flows better. Exorcist II is trash, but Exorcist III is surprisingly excellent.
Click hear to read the first list of Lisa's10 Favorite Films
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