THE LIST

100 films you have to see to be a good person
(In No Particular Order)

Mean Streets, Martin Scorsese    (this is the film that made me want to make films)

Chinatown, Roman Polanski    (find the girl, Mr. Gitts)

McCabe and Mrs. Miller, Robert Altman    (what the west was really like, I think)

Pat Garrett and Billy the Kid, Violent Sam Peckinpah    (3 versions, all great)

Hiroshima Mon Amour, Alain Resnais    (wanna make a film about big ideas?  watch this first.)

Contempt, Jean-Luc Godard    (the greatest opening to a film of all time)

Rashomon, Akira Kurasowa    (one stop, full service film school in two hours.  Study it.)

My Life to Live (Vivre sa vie : film en douze tableaux), Jean-Luc Godard    (greatest opening shot ever)

Goodfellas, Martin Scorsese    (master class in techniques)

Dr. Strangelove or: how I learned to stop worrying and love the bomb, Stanley Kubrick  (a bad era returns)

Chungking Express, Kar-Wai Wong    (don't like romantic cinema, say you?)

Pulp Fiction, Quentin Tatantino (fuck you, Johnson!)    

L'Aventurra, Michaelangelo Antonioni    (can't find the girl)

Cries and Misdemeanors, Woody Allen    (if you only see one Woody Allen film...)

L'eclipsse, Michaelangelo Antonioni    

Pierot La Fout, Jean-Luc Godard   (Film is like a battleground. There's love, hate, action, violence, death... in one word: emotion.)

The Passenger, Michaelangelo Antonioni    (Best ending in film history)

Until the End of the World, Wim Wenders  (someday a director's cut will become available in the USA)  

Night Moves, Arthur Penn    (The film that ended film noir forever)

Nashville, Robert Altman    (why all these characters?)

Miller's Crossing, the Coen Brothers    (best movie ever shot in New Orleans)

Five Easy Pieces, Bob Rafaelson    (Put it between your knees!)

Jules & Jim, Francois Truffaut    (remember what it was like to be young?)

Coming Home, Hal Ashby   (Tim Buckley!) 

À bout de souffle (Breathless), Jean-Luc Godard    

The Long Goodbye, Robert Altman    (the California dream)

Clockers, Spike Lee    (Malik Hassan Sayeed, ladies and gentlemen)

Raising Arizona, Coen Brothers    (Most quotable film ever)

Wild Bunch, Sam Peckinpah    (ants)

La Dolce Vita, Federico Fellini    (when anyone talks about a european film, this is what they mean)

High and Low, Akira Kurasowa    (the present day masterpiece. Who says Mifune can't act?)

Wings of Desire, Wim Wenders    (the Carney live, for chrissakes)

Apocalypse Now!  Redux, Francis Coppola    (funniest war movie ever)

8 1/2, Federico Fellini    (maybe not watch it if you're in film school)

400 Blows, Francois Truffaut    (this is how you make an autobiographical film)

Trust, Hal Hartley    (The ultimate American indie film)

Down by Law, Jim Jarmusch    (the ultimate, ultimate American indie film)

Red Desert, Michaelangelo Antonioni    (Just see all his films, ok?)

Easy Rider, Dennis Hopper    (the sixties were not about peace and love, ya dig?)

Annie Hall, Woody Allen    (Changed comedies forever)

Godfather II, Francis Coppola    (A sequel better than the original.  Huh)

Bring Me the Head of Alfredo Garcia, Sam Peckinpah    

Midnight Cowboy, John Schlesinger    (I'm walking here!)

Paris, Texas, Wim Wenders    (who needs dialogue?)

Dead Man, Jim Jarmusch    

Manhattan, Woody Allen    (Yeah its a bit creepy seeing it now, so what?)

Reservoir Dogs, QuentinTatantino    (the one that changed it all for me.  Fuck you, Johnson!)

Taxi Driver, Martin Scorsese   (a first person narrative film)

A Clockwork Orange, Stanley Kubrick    (see what the poster in your dorm room was all about)

The Godfather, Francis Coppola    (so you can understand what baby boomers ramble on about)

Bande à part, Jean-Luc Godard    (hippest movie ever)

Duck, You Sucker, Sergio Leone    

Don't Look Now, Nicholas Roeg    (Roeg's masterpiece in Venice)

Faces, John Cassevetes    (to understand where indie films come from)

Short Cuts, Robert Altman    (How to take an iconic writer and make it your own)

Breaking the Waves, Lars Von Trier    (if you don't cry, you're not human or you're Donald Trump)

There Will Be Blood, PT Anderson    (Best film ever about the non-existence of a god)

In Praise of Love, Jean-Luc Godard    (the old master does DV better than anyone ever will)

Serpico, Sidney Lumet    (could be made today)

Little Dieter Needs to Fly, Werner Herzog    (best documentary ever?)

Rebel Without a Cause, Nicholas Ray    (now see the rest of his movies)

Hana Bi, Beat Takeshi Kitano    

Branded to Kill, Seijun Suzuki    (the Japanese Godard)

Blue Velvet, David Lynch    (an ear)

Simple Men, Hal Hartley    (Don't move)

Mystery Train, Jim Jarmusch    (Carl-u Perkins-u)

Mulholland Falls, David Lynch    (What the hell was that?)

Blow Up, Michaelangelo Antonioni    (Swinging London)

Fallen Angels, Kar-Wai Wong    

Maltese Falcon, John Huston    (the ultimate American studio film)

M.A.S.H., Robert Altman    (and then there was Korea...)

The Outlaw Josey Wales, Clint Eastwood    (He was actually really good)

Trouble in Mind, Alan Rudolph   (The greatest underrated filmmaker of all time)

Stardust Memories, Woody Allen    

Sid and Nancy, Alex Cox    (punk rock by a crazyman)

Badlands, Terrence Malick    (It has a plot!)

Eternal Sunshine of the Spotless Mind, Michel Gondry    (beautiful)

Vertigo, Alfred Hitchcock    (a perfect film)

2046, Kar-Wai Wong    (a pinnacle of some sort)

Fargo, the Coen Brothers    (could there be a better script?)

2001: a Space Odyssey, Stanley Kubrick    (trippy, dude)

Julien Donkey-Boy, Harmony Korine    (Werner Herzog plays the dad)

Jackie Brown, Quentin Tarantino    (so perfectly understated)

All the President's Men, Alan J Pakula    (sad how relevant this is now)

This is Spinal Tap, Rob Reiner    (funniest movie of all time)

Vincent & Theo, Robert Altman    (the only film about art that doesn't suck)

Empire of the Sun, Steven Spielberg    (He made one good movie and this is it)

The Proposition, Jonathan Hillcoat   (a modern western classic in Australia)

Bowling for Columbine, Michael Moore    

Over the Edge, Jonathan Kaplan    (the best film about the 80's ever made.  You hear that Millennials?)

Trainspotting, Danny Boyle      (the best film about the 90's ever made.  You hear that Millennials?)

The Unbelievable Truth, Hal Hartley    

Say Anything, Cameron Crowe    (so sue me)

The Hustler, Robert Rossen    

Jesus' Son, Alison MacLean    (so there's one woman director?)

The Silence, Ingmar Bergman    (now go watch all his films.  see ya in twenty)

Dog Day Afternoon, Sidney Lumet    (Attica!)

The Conversation, Francis Coppola 

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