The 1,000 Greatest Films (Ex-1,000 Films)

The banner image above is from Leontine Sagan’s Mädchen in Uniform.
The 451 films listed below were included in previous editions of the 1,000 Greatest Films. The 40 films listed in bold are the most recent exclusions. Positional data is from the following 1,000 Greatest Films editions: March 2006 December 2006 December 2007 December 2008 January 2010 January 2011 January 2012 February 2013 February 2014 February 2015 February 2016.

ACCIDENT (Joseph Losey, 1967) ▪ 0 → 0 → 0 → 959 → 0 → 0 → 0 → 0 → 0 → 0 → 0
ACTOR'S REVENGE, AN (Kon Ichikawa, 1963) ▪ 510 → 523 → 649 → 657 → 705 → 728 → 758 → 0 → 0 → 0 → 0
ADVENTURES OF BUCKAROO BANZAI ACROSS THE EIGHTH DIMENSION, THE (W.D. Richter, 1984) ▪ 931 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
AIRPLANE! (Jim Abrahams, David Zucker & Jerry Zucker, 1980) ▪ 786 → 698 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 876 → 0
ALICE (Jan Svankmajer, 1988)
▪ 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 878 → 798 → 0
AMERICAN GIGOLO (Paul Schrader, 1980) ▪ 0 → 0 → 873 → 815 → 856 → 919 → 0 → 0 → 0 → 0 → 0
AMORES PERROS (Alejandro González Iñárritu, 2000) ▪ 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 927 → 0
AMOUR FOU, L' (Jacques Rivette, 1968) ▪ 945 → 958 → 961 → 890 → 923 → 912 → 951 → 926 → 0 → 0 → 0
AND GOD CREATED WOMAN (Roger Vadim, 1956) ▪ 784 → 835 → 900 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
AND THE SHIP SAILS ON (Federico Fellini, 1984) ▪ 849 → 912 → 923 → 912 → 913 → 949 → 0 → 0 → 0 → 0 → 0
ANGEL FACE (Otto Preminger, 1953) ▪ 0 → 0 → 0 → 977 → 0 → 791 → 822 → 0 → 0 → 0 → 0
ANGELS WITH DIRTY FACES (Michael Curtiz, 1938) ▪ 711 → 706 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
ARGENT, L' (Marcel L'Herbier, 1928) ▪ 826 → 884 → 0 → 0 → 888 → 929 → 0 → 0 → 0 → 0 → 0
ARNULF RAINER (Peter Kubelka, 1960) ▪ 0 → 0 → 0 → 0 → 0 → 0 → 0 → 871 → 902 → 993 → 0
ARSENAL (Alexander Dovzhenko, 1929) ▪ 992 → 972 → 968 → 938 → 963 → 998 → 997 → 0 → 0 → 0 → 0
ARSENIC AND OLD LACE (Frank Capra, 1944) ▪ 0 → 0 → 0 → 868 → 0 → 952 → 0 → 0 → 0 → 0 → 0
ART OF VISION, THE (Stan Brakhage, 1965) ▪ 596 → 638 → 677 → 697 → 800 → 819 → 871 → 931 → 0 → 0 → 0
ATLANTIC CITY (Louis Malle, 1980) ▪ 946 → 928 → 830 → 749 → 0 → 0 → 874 → 0 → 0 → 0 → 0
AUNTIE MAME (Morton DaCosta, 1958) ▪ 858 → 927 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
AVANTI! (Billy Wilder, 1972) ▪ 0 → 0 → 841 → 807 → 761 → 708 → 740 → 0 → 0 → 0 → 0
AWAARA (Raj Kapoor, 1951) ▪ 709 → 770 → 845 → 0 → 0 → 0 → 865 → 0 → 0 → 0 → 0

BABE (Chris Noonan, 1995) ▪ 0 → 0 → 0 → 0 → 0 → 911 → 908 → 0 → 0 → 0 → 0
BABY DOLL (Elia Kazan, 1956) ▪ 409 → 439 → 531 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
BAD LIEUTENANT (Abel Ferrara, 1992) ▪ 848 → 911 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
BAD TIMING (Nicolas Roeg, 1980) ▪ 0 → 0 → 945 → 926 → 0 → 0 → 0 → 900 → 911 → 1000 → 0
BAKER'S WIFE, THE (Marcel Pagnol, 1938) ▪ 0 → 0 → 986 → 0 → 939 → 980 → 0 → 0 → 0 → 0 → 0
BALLAD OF CABLE HOGUE, THE (Sam Peckinpah, 1970) ▪ 0 → 0 → 0 → 980 → 978 → 0 → 0 → 0 → 0 → 0 → 0
BANK DICK, THE (Eddie Cline, 1940) ▪ 559 → 514 → 646 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
BAY OF ANGELS (Jacques Demy, 1963) ▪ 0 → 0 → 0 → 993 → 993 → 0 → 0 → 0 → 0 → 0 → 0
BEAUTY AND THE BEAST (Kirk Wise & Gary Trousdale, 1991) ▪ 717 → 772 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
BEFORE SUNRISE (Richard Linklater, 1995) ▪ 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 975 → 0
BEFORE THE REVOLUTION (Bernardo Bertolucci, 1964) ▪ 993 → 0 → 937 → 988 → 989 → 0 → 0 → 0 → 0 → 0 → 0
BELLBOY, THE (Jerry Lewis, 1960) ▪ 0 → 0 → 947 → 943 → 0 → 0 → 0 → 0 → 0 → 0 → 0
BELLISSIMA (Luchino Visconti, 1951) ▪ 610 → 652 → 682 → 0 → 0 → 0 → 902 → 0 → 0 → 0 → 0
BELLS OF ST. MARY'S, THE (Leo McCarey, 1945) ▪ 0 → 0 → 0 → 978 → 994 → 0 → 0 → 0 → 0 → 0 → 0
BEND OF THE RIVER (Anthony Mann, 1952) ▪ 0 → 0 → 0 → 894 → 912 → 970 → 980 → 0 → 0 → 0 → 0
BEN-HUR (Fred Niblo, 1926) ▪ 0 → 0 → 959 → 888 → 0 → 0 → 0 → 0 → 0 → 0 → 0
BETTER TOMORROW, A (John Woo, 1986) ▪ 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 877 → 0
BEYOND A REASONABLE DOUBT (Fritz Lang, 1956) ▪ 529 → 569 → 678 → 772 → 743 → 794 → 830 → 0 → 0 → 0 → 0
BEYOND THE VALLEY OF THE DOLLS (Russ Meyer, 1970) ▪ 532 → 573 → 614 → 475 → 541 → 572 → 577 → 876 → 0 → 996 → 0
BIDONE, IL (Federico Fellini, 1955) ▪ 787 → 839 → 703 → 732 → 729 → 784 → 814 → 0 → 0 → 0 → 0
BIENVENIDO MISTER MARSHALL (Luis García Berlanga, 1952) ▪ 0 → 0 → 984 → 919 → 955 → 995 → 0 → 0 → 990 → 0 → 0
BIG CHILL, THE (Lawrence Kasdan, 1983) ▪ 0 → 0 → 0 → 951 → 0 → 0 → 0 → 0 → 0 → 0 → 0
BIG CITY, THE (Satyajit Ray, 1963) ▪ 847 → 910 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
BIG RED ONE, THE (Samuel Fuller, 1980) ▪ 0 → 0 → 0 → 0 → 0 → 0 → 857 → 0 → 0 → 0 → 0
BITTER RICE (Giuseppe De Santis, 1948) ▪ 0 → 0 → 999 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
BITTER TEA OF GENERAL YEN, THE (Frank Capra, 1933) ▪ 0 → 0 → 0 → 0 → 0 → 986 → 992 → 0 → 0 → 0 → 0
BITTER VICTORY (Nicholas Ray, 1957) ▪ 934 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
BLACK CAT, THE (Edgar G. Ulmer, 1934) ▪ 0 → 0 → 0 → 0 → 0 → 969 → 987 → 0 → 0 → 0 → 0
BLACK SUNDAY (Mario Bava, 1960) ▪ 0 → 0 → 0 → 729 → 726 → 753 → 730 → 0 → 0 → 0 → 0
BLAST OF SILENCE (Allen Baron, 1961) ▪ 0 → 0 → 0 → 965 → 0 → 0 → 0 → 0 → 0 → 0 → 0
BLAZING SADDLES (Mel Brooks, 1974) ▪ 0 → 644 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
BLIND CHANCE (Krzysztof Kieslowski, 1981) ▪ 829 → 887 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
BOUCHER, LE (Claude Chabrol, 1970) ▪ 0 → 981 → 813 → 853 → 893 → 934 → 965 → 971 → 976 → 0 → 0
BOY (Nagisa Oshima, 1969) ▪ 0 → 843 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
BRIDGES OF MADISON COUNTY, THE (Clint Eastwood, 1995) ▪ 0 → 0 → 0 → 976 → 910 → 858 → 913 → 0 → 0 → 0 → 0
BULLET IN THE HEAD (John Woo, 1990) ▪ 988 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0

CALIFORNIA SPLIT (Robert Altman, 1974) ▪ 0 → 0 → 0 → 968 → 983 → 0 → 0 → 0 → 0 → 0 → 0
CAMILLE (George Cukor, 1936) ▪ 0 → 0 → 956 → 935 → 970 → 0 → 0 → 0 → 0 → 0 → 0
CANTERBURY TALES, THE (Pier Paolo Pasolini, 1971) ▪ 985 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
CANYON PASSAGE (Jacques Tourneur, 1946) ▪ 0 → 0 → 957 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
CARNIVAL IN FLANDERS (Jacques Feyder, 1935) ▪ 0 → 0 → 795 → 748 → 628 → 679 → 673 → 838 → 872 → 973 → 0
CENTRAL STATION (Walter Salles, 1998) ▪ 0 → 0 → 934 → 966 → 988 → 0 → 0 → 0 → 0 → 0 → 0
CEREMONY, THE (Nagisa Oshima, 1971) ▪ 987 → 0 → 838 → 889 → 934 → 991 → 995 → 0 → 0 → 0 → 0
CHARADE (Stanley Donen, 1963) ▪ 910 → 0 → 0 → 836 → 883 → 945 → 960 → 0 → 0 → 0 → 0
CHARLEY VARRICK (Don Siegel, 1973) ▪ 975 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
CHILDHOOD OF MAXIM GORKY, THE (Mark Donskoi, 1938) ▪ 756 → 815 → 881 → 858 → 820 → 857 → 912 → 996 → 0 → 0 → 0
CHILDREN OF MEN (Alfonso Cuarón, 2006) ▪ 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 974 → 0
CHLOE IN THE AFTERNOON (Eric Rohmer, 1972) ▪ 0 → 0 → 943 → 990 → 972 → 0 → 0 → 0 → 0 → 0 → 0
CITY GIRL (F.W. Murnau, 1929) ▪ 853 → 918 → 932 → 901 → 905 → 939 → 0 → 0 → 0 → 0 → 0
CLOWNS, THE (Federico Fellini, 1970) ▪ 752 → 811 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
COEUR EN HIVER, UN (Claude Sautet, 1991) ▪ 884 → 964 → 904 → 766 → 844 → 869 → 924 → 0 → 0 → 0 → 0
CONVERSATION PIECE (Luchino Visconti, 1974) ▪ 0 → 0 → 930 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
CRUMB (Terry Zwigoff, 1994) ▪ 0 → 0 → 0 → 0 → 0 → 0 → 0 → 851 → 854 → 714 → 0
CRYING GAME, THE (Neil Jordan, 1992) ▪ 0 → 953 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
CUTTER'S WAY (Ivan Passer, 1981) ▪ 0 → 0 → 831 → 922 → 921 → 978 → 986 → 0 → 0 → 0 → 0

DAMES (Ray Enright, 1934) ▪ 0 → 909 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
DANCES WITH WOLVES (Kevin Costner, 1990) ▪ 900 → 820 → 0 → 0 → 759 → 754 → 760 → 0 → 0 → 0 → 0
DANGEROUS LIAISONS (Stephen Frears, 1988) ▪ 0 → 866 → 910 → 879 → 0 → 0 → 0 → 0 → 0 → 0 → 0
DARK EYES (Nikita Mikhalkov, 1987) ▪ 0 → 0 → 0 → 964 → 0 → 0 → 0 → 0 → 0 → 0 → 0
DAY OF THE DEAD (George A. Romero, 1985) ▪ 833 → 0 → 891 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
DAY THE EARTH STOOD STILL, THE (Robert Wise, 1951) ▪ 577 → 555 → 650 → 613 → 505 → 502 → 521 → 829 → 864 → 865 → 0
DAYS AND NIGHTS IN THE FOREST (Satyajit Ray, 1970) ▪ 914 → 993 → 988 → 817 → 661 → 804 → 846 → 988 → 995 → 0 → 0
DAYS OF ECLIPSE, THE (Aleksandr Sokurov, 1988) ▪ 967 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
DEAD POETS SOCIETY (Peter Weir, 1989) ▪ 0 → 0 → 600 → 614 → 676 → 741 → 741 → 0 → 0 → 0 → 0
DEMON LOVER DIARY (Joel DeMott, 1980) ▪ 0 → 989 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
DESIGN FOR LIVING (Ernst Lubitsch, 1933) ▪ 0 → 0 → 942 → 585 → 653 → 691 → 716 → 970 → 989 → 0 → 0
DESTINY (Fritz Lang, 1921) ▪ 0 → 0 → 750 → 799 → 796 → 847 → 896 → 965 → 969 → 0 → 0
DEVIL AND DANIEL WEBSTER, THE (William Dieterle, 1941) ▪ 973 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
DEVIL IN MISS JONES, THE (Gerard Damiano, 1972) ▪ 877 → 950 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
DEVIL IN THE FLESH (Claude Autant-Lara, 1947) ▪ 0 → 0 → 822 → 903 → 942 → 981 → 988 → 1000 → 0 → 0 → 0
DEVIL'S ENVOYS, THE (Marcel Carné, 1942) ▪ 802 → 856 → 989 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
DIAMONDS OF THE NIGHT (Jan Nemec, 1964) ▪ 744 → 748 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
DIARY OF A LOST GIRL (G.W. Pabst, 1929) ▪ 727 → 882 → 746 → 783 → 855 → 917 → 0 → 0 → 0 → 0 → 0
DINER (Barry Levinson, 1982) ▪ 551 → 549 → 0 → 550 → 602 → 609 → 641 → 0 → 0 → 0 → 0
DO YOU REMEMBER DOLLY BELL? (Emir Kusturica, 1981) ▪ 926 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
DODSWORTH (William Wyler, 1936) ▪ 0 → 0 → 0 → 0 → 0 → 0 → 816 → 0 → 0 → 0 → 0
DONNIE DARKO (Richard Kelly, 2001) ▪ 0 → 0 → 0 → 917 → 709 → 717 → 661 → 934 → 900 → 954 → 0
DOOMED LOVE (Manoel de Oliveira, 1978)
▪ 0 → 0 → 0 → 0 → 0 → 0 → 0 → 887 → 0 → 969 → 0
DOUCE (Claude Autant-Lara, 1943) ▪ 745 → 805 → 0 → 0 → 839 → 895 → 942 → 0 → 0 → 0 → 0
DRACULA (Tod Browning, 1931) ▪ 0 → 0 → 0 → 0 → 826 → 852 → 906 → 0 → 0 → 0 → 0
DRAUGHTSMAN'S CONTRACT, THE (Peter Greenaway, 1982) ▪ 0 → 0 → 852 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
DUCK AMUCK (Chuck Jones, 1953) ▪ 0 → 0 → 0 → 0 → 0 → 0 → 0 → 841 → 874 → 0 → 0
DUEL IN THE SUN (King Vidor, 1946) ▪ 0 → 0 → 736 → 540 → 570 → 622 → 636 → 913 → 957 → 0 → 0
DUELLE (Jacques Rivette, 1976) ▪ 0 → 598 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
DUELLISTS, THE (Ridley Scott, 1977) ▪ 0 → 0 → 0 → 982 → 0 → 0 → 0 → 0 → 0 → 0 → 0
DUNE (David Lynch, 1984) ▪ 0 → 949 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
DYBBUK, THE (Michal Waszynski, 1938) ▪ 969 → 0 → 889 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0

ED WOOD (Tim Burton, 1994) ▪ 0 → 0 → 0 → 0 → 884 → 863 → 918 → 976 → 967 → 0 → 0
EL CID (Anthony Mann, 1961) ▪ 0 → 0 → 906 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
ELECTION (Alexander Payne, 1999) ▪ 0 → 0 → 0 → 0 → 0 → 0 → 0 → 929 → 0 → 0 → 0
EMPIRE OF THE SUN (Steven Spielberg, 1987) ▪ 0 → 0 → 0 → 963 → 0 → 0 → 0 → 0 → 0 → 0 → 0
END OF ST. PETERSBURG, THE (Vsevolod Pudovkin, 1927) ▪ 995 → 977 → 858 → 785 → 861 → 901 → 946 → 0 → 0 → 0 → 0
END, THE (Christopher Maclaine, 1953) ▪ 866 → 937 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
ENFANTS TERRIBLES, LES (Jean-Pierre Melville, 1949) ▪ 785 → 837 → 888 → 786 → 833 → 894 → 0 → 0 → 0 → 0 → 0
ENTR'ACTE (René Clair, 1924) ▪ 0 → 0 → 0 → 0 → 0 → 0 → 925 → 0 → 0 → 0 → 0
EQUINOX FLOWER (Yasujiro Ozu, 1958) ▪ 0 → 0 → 0 → 0 → 0 → 0 → 0 → 846 → 883 → 0 → 0
ETERNITY AND A DAY (Theo Angelopoulos, 1998) ▪ 798 → 821 → 828 → 864 → 906 → 963 → 0 → 0 → 0 → 0 → 0
EUROPA (Lars von Trier, 1991) ▪ 591 → 599 → 0 → 713 → 0 → 0 → 0 → 0 → 0 → 0 → 0

FACE IN THE CROWD, A (Elia Kazan, 1957) ▪ 0 → 610 → 691 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
FALLEN ANGELS (Wong Kar-wai, 1995) ▪ 0 → 0 → 926 → 886 → 932 → 961 → 0 → 0 → 0 → 0 → 0
FANTOMAS (Louis Feuillade, 1913) ▪ 0 → 0 → 0 → 0 → 0 → 0 → 0 → 968 → 973 → 0 → 0
FAR COUNTRY, THE (Anthony Mann, 1955) ▪ 0 → 0 → 925 → 958 → 907 → 947 → 972 → 0 → 0 → 0 → 0
FEMME INFIDÈLE, LA (Claude Chabrol, 1969) ▪ 0 → 0 → 796 → 857 → 0 → 0 → 0 → 0 → 0 → 0 → 0
FEU FOLLET, LE (Louis Malle, 1963) ▪ 0 → 0 → 929 → 846 → 818 → 878 → 929 → 0 → 0 → 0 → 0
FIRES ON THE PLAIN (Kon Ichikawa, 1959) ▪ 0 → 0 → 0 → 0 → 1000 → 0 → 0 → 0 → 0 → 0 → 0
FISH CALLED WANDA, A (Charles Crichton, 1988) ▪ 638 → 574 → 667 → 750 → 751 → 778 → 752 → 0 → 0 → 0 → 0
FLAVOUR OF GREEN TEA OVER RICE (Yasujiro Ozu, 1952) ▪ 0 → 0 → 952 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
FOR ALL MANKIND (Al Reinert, 1989) ▪ 948 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
FORTUNE, THE (Mike Nichols, 1974) ▪ 658 → 699 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
FORTY GUNS (Samuel Fuller, 1957) ▪ 0 → 0 → 0 → 998 → 985 → 0 → 999 → 0 → 0 → 0 → 0
47 RONIN, THE (Kenji Mizoguchi, 1941) ▪ 438 → 465 → 526 → 655 → 722 → 774 → 807 → 936 → 0 → 967 → 0
FOUNTAINHEAD, THE (King Vidor, 1949) ▪ 681 → 827 → 785 → 814 → 815 → 845 → 792 → 977 → 984 → 0 → 0
FOUR FRIENDS (Arthur Penn, 1981) ▪ 0 → 0 → 0 → 983 → 0 → 0 → 0 → 0 → 0 → 0 → 0
4 HORSEMEN OF THE APOCALYPSE, THE (Vincente Minnelli, 1962) ▪ 0 → 0 → 0 → 0 → 979 → 0 → 0 → 0 → 0 → 0 → 0
FOUR NIGHTS OF A DREAMER (Robert Bresson, 1971) ▪ 814 → 871 → 0 → 0 → 0 → 0 → 0 → 912 → 925 → 0 → 0
FRENCH LIEUTENANT'S WOMAN, THE (Karel Reisz, 1981) ▪ 971 → 0 → 895 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
FROM HERE TO ETERNITY (Fred Zinnemann, 1953) ▪ 796 → 985 → 0 → 878 → 0 → 727 → 754 → 0 → 0 → 0 → 0
FUNNY FACE (Stanley Donen, 1957) ▪ 854 → 788 → 768 → 528 → 599 → 620 → 605 → 925 → 945 → 0 → 0
FURY (Fritz Lang, 1936) ▪ 0 → 0 → 0 → 987 → 966 → 0 → 996 → 0 → 0 → 0 → 0

GANGA BRUTA (Humberto Mauro, 1933) ▪ 0 → 0 → 976 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
GASLIGHT (George Cukor, 1944) ▪ 0 → 767 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
GENERAL LINE, THE (Sergei Eisenstein, 1929) ▪ 989 → 0 → 981 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
GENTLEMEN PREFER BLONDES (Howard Hawks, 1953) ▪ 557 → 590 → 524 → 564 → 632 → 660 → 665 → 982 → 982 → 0 → 0
GETAWAY, THE (Sam Peckinpah, 1972) ▪ 0 → 0 → 0 → 865 → 0 → 0 → 0 → 0 → 0 → 0 → 0
GHOST IN THE SHELL (Mamoru Oshii, 1995) ▪ 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 918 → 0
GHOSTBUSTERS (Ivan Reitman, 1984)
▪ 821 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 816 → 0
GION BAYASHI (Kenji Mizoguchi, 1953) ▪ 527 → 568 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
GLORIA (John Cassavetes, 1980) ▪ 0 → 0 → 833 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
GODDESS, THE (Wu Yonggang, 1934) ▪ 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 859 → 0
GOLD DIGGERS OF 1933 (Mervyn LeRoy, 1933) ▪ 550 → 572 → 692 → 881 → 928 → 987 → 949 → 0 → 0 → 0 → 0
GRAVEYARD OF HONOUR (Kinji Fukasaku, 1975) ▪ 944 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
GREASE (Randal Kleiser, 1978) ▪ 0 → 741 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
GREAT ECSTASY OF WOODCARVER STEINER, THE (Werner Herzog, 1975) ▪ 947 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
GUNGA DIN (George Stevens, 1939) ▪ 652 → 647 → 0 → 0 → 0 → 718 → 747 → 0 → 0 → 0 → 0
GUYS AND DOLLS (Joseph L. Mankiewicz, 1955) ▪ 0 → 983 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0

HAIL MARY (Jean-Luc Godard, 1985) ▪ 838 → 899 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
HALLELUJAH! (King Vidor, 1929) ▪ 964 → 0 → 558 → 569 → 670 → 657 → 621 → 938 → 948 → 0 → 0
HAMLET (Grigori Kozintsev, 1964) ▪ 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 997 → 0
HAMLET (Laurence Olivier, 1948) ▪ 835 → 734 → 781 → 804 → 863 → 924 → 0 → 0 → 0 → 0 → 0
HAPPINESS (Aleksandr Medvedkin, 1934) ▪ 743 → 728 → 874 → 812 → 832 → 879 → 931 → 0 → 0 → 0 → 0
HAPPINESS (Todd Solondz, 1998) ▪ 878 → 963 → 0 → 825 → 0 → 0 → 0 → 0 → 0 → 0 → 0
HARD-BOILED (John Woo, 1992) ▪ 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 976 → 0
HAUNTING, THE (Robert Wise, 1963) ▪ 0 → 0 → 0 → 0 → 0 → 0 → 831 → 0 → 0 → 0 → 0
HE WHO GETS SLAPPED (Victor Sjöström, 1924) ▪ 712 → 771 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
HEADLESS WOMAN, THE (Lucrecia Martel, 2008) ▪ 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 956 → 0 → 0
HEAVEN AND EARTH MAGIC/NO. 12 (Harry Smith, 1962) ▪ 618 → 663 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
HEIRESS, THE (William Wyler, 1949) ▪ 739 → 800 → 0 → 640 → 685 → 747 → 905 → 0 → 0 → 0 → 0
HELLZAPOPPIN' (H.C. Potter, 1941) ▪ 701 → 639 → 741 → 572 → 587 → 767 → 803 → 921 → 937 → 0 → 0
HENRY: PORTRAIT OF A SERIAL KILLER (John McNaughton, 1986) ▪ 0 → 0 → 0 → 0 → 0 → 898 → 941 → 0 → 0 → 0 → 0
HIDDEN FORTRESS, THE (Akira Kurosawa, 1958) ▪ 549 → 619 → 610 → 650 → 0 → 0 → 0 → 0 → 0 → 0 → 0
HISTORY OF VIOLENCE, A (David Cronenberg, 2005) ▪ 0 → 0 → 0 → 0 → 0 → 866 → 818 → 948 → 955 → 0 → 0
HOLD ME WHILE I'M NAKED (George Kuchar, 1966) ▪ 611 → 654 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
HOMEWORK (Abbas Kiarostami, 1989) ▪ 682 → 733 → 826 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
HOPE AND GLORY (John Boorman, 1987) ▪ 628 → 774 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
HOTEL DES INVALIDES (Georges Franju, 1952) ▪ 880 → 955 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
HOTEL DU NORD (Marcel Carné, 1938) ▪ 924 → 1000 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
HOUR OF THE STAR (Suzana Amaral, 1985) ▪ 777 → 913 → 931 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
HOUSE OF GAMES (David Mamet, 1987) ▪ 882 → 840 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
HUMANITY AND PAPER BALLOONS (Sadao Yamanaka, 1937) ▪ 977 → 0 → 0 → 0 → 0 → 0 → 0 → 882 → 892 → 0 → 0
HUSBANDS AND WIVES (Woody Allen, 1992) ▪ 966 → 0 → 0 → 0 → 997 → 0 → 0 → 0 → 0 → 0 → 0

I AM A FUGITIVE FROM A CHAIN GANG (Mervyn LeRoy, 1932) ▪ 472 → 508 → 737 → 773 → 0 → 0 → 0 → 0 → 0 → 0 → 0
I AM CURIOUS (YELLOW) (Vilgot Sjöman, 1967) ▪ 925 → 916 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
IN COLD BLOOD (Richard Brooks, 1967) ▪ 615 → 658 → 0 → 0 → 0 → 0 → 869 → 0 → 0 → 0 → 0
IN PRAISE OF LOVE (Jean-Luc Godard, 2001) ▪ 0 → 0 → 0 → 0 → 974 → 971 → 983 → 0 → 0 → 0 → 0
IN THE HEAT OF THE NIGHT (Norman Jewison, 1967) ▪ 0 → 984 → 808 → 800 → 847 → 902 → 926 → 0 → 0 → 0 → 0
INCREDIBLES, THE (Brad Bird, 2004) ▪ 0 → 0 → 0 → 0 → 0 → 0 → 911 → 0 → 0 → 0 → 0
INDIAN TOMB, THE (Fritz Lang, 1958) ▪ 746 → 714 → 754 → 665 → 766 → 820 → 861 → 0 → 0 → 0 → 0
INFERNO (Dario Argento, 1980) ▪ 755 → 814 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
INFORMER, THE (John Ford, 1935) ▪ 624 → 668 → 616 → 696 → 765 → 800 → 843 → 898 → 926 → 0 → 0
INSECT WOMAN, THE (Shohei Imamura, 1963) ▪ 0 → 888 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
INTENTIONS OF MURDER (Shohei Imamura, 1964) ▪ 675 → 724 → 810 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
INTIMATE LIGHTING (Ivan Passer, 1965) ▪ 728 → 784 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
INTRUDER, THE (Claire Denis, 2004) ▪ 0 → 0 → 0 → 0 → 0 → 0 → 0 → 964 → 0 → 0 → 0
IRMA VEP (Olivier Assayas, 1996) ▪ 0 → 851 → 844 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
ITALIAN STRAW HAT, THE (René Clair, 1927) ▪ 974 → 0 → 997 → 932 → 865 → 927 → 959 → 997 → 999 → 0 → 0

JACOB'S LADDER (Adrian Lyne, 1990) ▪ 953 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
JASON AND THE ARGONAUTS (Don Chaffey, 1963) ▪ 0 → 711 → 740 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
JOHNNY GOT HIS GUN (Dalton Trumbo, 1971) ▪ 725 → 740 → 756 → 788 → 688 → 749 → 776 → 0 → 0 → 0 → 0
JOUR DE FÉTE (Jacques Tati, 1948) ▪ 0 → 0 → 0 → 0 → 918 → 975 → 0 → 0 → 0 → 0 → 0
JUDEX (Georges Franju, 1963) ▪ 0 → 0 → 0 → 862 → 771 → 825 → 877 → 0 → 0 → 0 → 0
JURASSIC PARK (Steven Spielberg, 1993) ▪ 904 → 833 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0

KAMERADSCHAFT (G.W. Pabst, 1931) ▪ 972 → 0 → 732 → 705 → 792 → 826 → 852 → 0 → 0 → 0 → 0
KANAL (Andrzej Wajda, 1956) ▪ 983 → 0 → 0 → 989 → 958 → 989 → 994 → 0 → 0 → 0 → 0
KILL BILL VOL. 1 (Quentin Tarantino, 2003) ▪ 0 → 0 → 0 → 0 → 976 → 1000 → 0 → 0 → 0 → 0 → 0
KILLERS, THE (Robert Siodmak, 1946) ▪ 0 → 0 → 0 → 0 → 0 → 0 → 898 → 0 → 0 → 0 → 0
KING OF THE CHILDREN (Chen Kaige, 1987) ▪ 0 → 0 → 950 → 915 → 0 → 0 → 0 → 0 → 0 → 0 → 0
KING SIZE CANARY (Tex Avery, 1947) ▪ 869 → 944 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
KLUTE (Alan J. Pakula, 1971) ▪ 0 → 962 → 0 → 797 → 0 → 0 → 0 → 0 → 0 → 0 → 0
KUHLE WAMPE (Slatan Dudow, 1931) ▪ 0 → 0 → 867 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0

LADY WITH THE DOG, THE (Iosif Kheifits, 1959) ▪ 933 → 0 → 994 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
LAST OF THE MOHICANS, THE (Michael Mann, 1992) ▪ 0 → 0 → 0 → 937 → 0 → 0 → 0 → 0 → 894 → 981 → 0
LAST WALTZ, THE (Martin Scorsese, 1978) ▪ 0 → 0 → 814 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
LATE CHRYSANTHEMUMS (Mikio Naruse, 1954) ▪ 0 → 0 → 0 → 0 → 0 → 0 → 0 → 812 → 846 → 0 → 0
LAW OF DESIRE (Pedro Almodóvar, 1987) ▪ 0 → 0 → 909 → 672 → 735 → 792 → 825 → 0 → 0 → 0 → 0
LEAVE HER TO HEAVEN (John M. Stahl, 1945) ▪ 773 → 831 → 0 → 899 → 944 → 976 → 984 → 0 → 0 → 0 → 0
LEAVING LAS VEGAS (Mike Figgis, 1995) ▪ 0 → 0 → 0 → 954 → 0 → 0 → 0 → 0 → 0 → 0 → 0
LÉOLO (Jean-Claude Lauzon, 1992) ▪ 489 → 622 → 817 → 809 → 908 → 965 → 0 → 0 → 0 → 0 → 0
LESSONS OF DARKNESS (Werner Herzog, 1992) ▪ 820 → 877 → 864 → 923 → 0 → 910 → 932 → 0 → 0 → 805 → 0
LETTER FROM SIBERIA (Chris Marker, 1957) ▪ 587 → 633 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
LETTER TO THREE WIVES, A (Joseph L. Mankiewicz, 1949) ▪ 916 → 995 → 960 → 957 → 965 → 932 → 963 → 0 → 0 → 0 → 0
LIGHT SLEEPER (Paul Schrader, 1991) ▪ 0 → 0 → 834 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
LITTLE FOXES, THE (William Wyler, 1941) ▪ 0 → 0 → 887 → 921 → 0 → 0 → 0 → 0 → 0 → 0 → 0
LORD OF THE RINGS: THE RETURN OF THE KING, THE (Peter Jackson, 2003) ▪ 0 → 0 → 0 → 0 → 935 → 940 → 0 → 0 → 0 → 0 → 0
LORD OF THE RINGS: THE TWO TOWERS, THE (Peter Jackson, 2002) ▪ 0 → 0 → 0 → 0 → 943 → 951 → 0 → 0 → 0 → 0 → 0
LOST HORIZON (Frank Capra, 1937) ▪ 0 → 0 → 0 → 962 → 0 → 0 → 0 → 0 → 0 → 0 → 0
LOUISIANA STORY (Robert Flaherty, 1948) ▪ 862 → 880 → 908 → 960 → 0 → 0 → 985 → 0 → 0 → 0 → 0
LOVE AFFAIR (Leo McCarey, 1939) ▪ 888 → 922 → 849 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
LOVE AND DEATH (Woody Allen, 1975) ▪ 751 → 810 → 877 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
LOVERS, THE (Louis Malle, 1958) ▪ 720 → 778 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
LUCIFER RISING (Kenneth Anger, 1972) ▪ 0 → 0 → 954 → 900 → 0 → 0 → 0 → 0 → 0 → 0 → 0
LUNA (Bernardo Bertolucci, 1979) ▪ 984 → 0 → 951 → 920 → 0 → 0 → 0 → 0 → 0 → 0 → 0

MÄDCHEN IN UNIFORM (Leontine Sagan, 1931) ▪ 825 → 883 → 919 → 774 → 851 → 907 → 940 → 975 → 970 → 0 → 0
MALCOLM X (Spike Lee, 1992) ▪ 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 873 → 930 → 0
MAMMA ROMA (Pier Paolo Pasolini, 1962) ▪ 0 → 0 → 0 → 0 → 0 → 0 → 0 → 923 → 0 → 0 → 0
MAN FOR ALL SEASONS, A (Fred Zinnemann, 1966) ▪ 0 → 625 → 729 → 709 → 733 → 790 → 789 → 0 → 0 → 0 → 0
MAN FROM LARAMIE, THE (Anthony Mann, 1955) ▪ 484 → 500 → 607 → 0 → 730 → 785 → 798 → 0 → 0 → 0 → 0
MAN IN THE WHITE SUIT, THE (Alexander Mackendrick, 1951) ▪ 0 → 0 → 921 → 861 → 805 → 859 → 767 → 0 → 943 → 0 → 0
MAN OF MARBLE (Andrzej Wajda, 1977) ▪ 0 → 0 → 969 → 972 → 0 → 0 → 0 → 0 → 0 → 0 → 0
MAN OF THE WEST (Anthony Mann, 1958) ▪ 614 → 657 → 606 → 589 → 612 → 661 → 671 → 952 → 932 → 992 → 0
MAN'S CASTLE (Frank Borzage, 1933) ▪ 0 → 0 → 0 → 0 → 0 → 0 → 0 → 869 → 898 → 0 → 0
MARQUISE OF O, THE (Eric Rohmer, 1976) ▪ 856 → 806 → 772 → 833 → 823 → 839 → 886 → 0 → 0 → 0 → 0
MARRIAGE CIRCLE, THE (Ernst Lubitsch, 1924) ▪ 0 → 0 → 941 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
MARY POPPINS (Robert Stevenson, 1964) ▪ 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 854 → 0
MASKERADE (Willi Forst, 1934) ▪ 0 → 0 → 0 → 955 → 0 → 0 → 0 → 0 → 0 → 0 → 0
MATEWAN (John Sayles, 1987) ▪ 981 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
MATTEI AFFAIR, THE (Francesco Rosi, 1973) ▪ 706 → 768 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
MAUVAIS SANG (Leos Carax, 1986) ▪ 986 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 977 → 0
MEANTIME (Mike Leigh, 1983) ▪ 696 → 755 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
MEDIUM COOL (Haskell Wexler, 1969) ▪ 0 → 0 → 975 → 0 → 0 → 865 → 920 → 0 → 0 → 0 → 0
MÉNILMONTANT (Dimitri Kirsanoff, 1926) ▪ 620 → 664 → 0 → 0 → 0 → 892 → 0 → 0 → 0 → 0 → 0
MEPHISTO (István Szabó, 1981) ▪ 951 → 945 → 800 → 768 → 817 → 871 → 827 → 849 → 884 → 970 → 0
MIDNIGHT (Mitchell Leisen, 1939) ▪ 772 → 828 → 730 → 745 → 824 → 816 → 824 → 953 → 987 → 0 → 0
MILLION DOLLAR BABY (Clint Eastwood, 2004) ▪ 0 → 0 → 0 → 0 → 937 → 873 → 875 → 0 → 0 → 0 → 0
MINAMATA: THE VICTIMS AND THEIR WORLD (Noriaki Tsuchimoto, 1971) ▪ 0 → 0 → 0 → 0 → 0 → 0 → 0 → 828 → 0 → 0 → 0
MISHIMA: A LIFE IN FOUR CHAPTERS (Paul Schrader, 1985) ▪ 942 → 0 → 936 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
MISS OYU (Kenji Mizoguchi, 1951) ▪ 979 → 0 → 694 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
MISSING (Constantin Costa-Gavras, 1982) ▪ 788 → 842 → 812 → 841 → 0 → 0 → 0 → 0 → 0 → 0 → 0
MOANA (Robert Flaherty, 1926) ▪ 885 → 965 → 847 → 803 → 874 → 903 → 930 → 992 → 998 → 0 → 0
MOONRISE (Frank Borzage, 1948) ▪ 860 → 930 → 935 → 945 → 0 → 0 → 0 → 0 → 0 → 0 → 0
MOTHER (Vsevolod Pudovkin, 1926) ▪ 903 → 846 → 657 → 643 → 646 → 658 → 664 → 958 → 966 → 0 → 0
MOVIE, A (Bruce Conner, 1958) ▪ 0 → 0 → 0 → 0 → 0 → 0 → 0 → 878 → 0 → 0 → 0
MR. ARKADIN (Orson Welles, 1955) ▪ 0 → 0 → 0 → 0 → 996 → 0 → 0 → 0 → 0 → 0 → 0
MUGHAL-E-AZAM (K. Asif, 1960) ▪ 920 → 998 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
MURDER BY CONTRACT (Irving Lerner, 1958) ▪ 759 → 817 → 871 → 726 → 827 → 822 → 873 → 0 → 0 → 0 → 0
MUTINY ON THE BOUNTY (Frank Lloyd, 1935) ▪ 832 → 862 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
MY APPRENTICESHIP (Mark Donskoi, 1939) ▪ 715 → 773 → 846 → 910 → 949 → 0 → 0 → 0 → 0 → 0 → 0
MY BRILLIANT CAREER (Gillian Armstrong, 1979) ▪ 0 → 859 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
MY FAIR LADY (George Cukor, 1964) ▪ 0 → 0 → 0 → 660 → 715 → 768 → 723 → 0 → 0 → 957 → 0
MY LOVE HAS BEEN BURNING (Kenji Mizoguchi, 1949) ▪ 0 → 0 → 0 → 999 → 0 → 0 → 0 → 0 → 0 → 0 → 0

NAKED AND THE DEAD, THE (Raoul Walsh, 1958) ▪ 0 → 0 → 990 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
NATURAL BORN KILLERS (Oliver Stone, 1994) ▪ 846 → 782 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 991 → 0
NEAR DARK (Kathryn Bigelow, 1987) ▪ 0 → 0 → 0 → 0 → 990 → 0 → 0 → 0 → 0 → 0 → 0
NEW WORLD, THE (Terrence Malick, 2005) ▪ 0 → 0 → 0 → 0 → 0 → 835 → 860 → 949 → 0 → 0 → 0
NIBELUNGEN: SIEGFRIED, DIE (Fritz Lang, 1924) ▪ 0 → 0 → 0 → 781 → 821 → 868 → 900 → 0 → 0 → 0 → 0
NIGHT AND THE CITY (Jules Dassin, 1950) ▪ 0 → 0 → 0 → 0 → 0 → 0 → 883 → 0 → 0 → 0 → 0
NIGHT MOVES (Arthur Penn, 1975) ▪ 994 → 0 → 840 → 874 → 900 → 957 → 967 → 0 → 0 → 0 → 0
NIGHT OF THE SHOOTING STARS, THE (Paolo Taviani & Vittorio Taviani, 1982) ▪ 609 → 651 → 879 → 906 → 945 → 0 → 0 → 0 → 0 → 0 → 0
NIGHT PORTER, THE (Liliana Cavani, 1974) ▪ 0 → 0 → 992 → 805 → 877 → 905 → 0 → 0 → 0 → 0 → 0
NIGHTMARE ON ELM STREET, A (Wes Craven, 1984) ▪ 958 → 942 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
NO END (Krzysztof Kieslowski, 1985) ▪ 927 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
NUTTY PROFESSOR, THE (Jerry Lewis, 1963) ▪ 0 → 0 → 811 → 801 → 871 → 837 → 884 → 967 → 972 → 0 → 0

OF A THOUSAND DELIGHTS (Luchino Visconti, 1965) ▪ 683 → 735 → 638 → 718 → 0 → 0 → 0 → 0 → 0 → 0 → 0
OFFICIAL STORY, THE (Luis Puenzo, 1985) ▪ 724 → 673 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
ON DANGEROUS GROUND (Nicholas Ray, 1951) ▪ 890 → 967 → 0 → 0 → 0 → 0 → 914 → 0 → 0 → 0 → 0
ONE, TWO, THREE (Billy Wilder, 1961) ▪ 955 → 0 → 987 → 971 → 991 → 0 → 0 → 919 → 0 → 0 → 0
OPFERGANG (Veit Harlan, 1944) ▪ 928 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
ORDINARY PEOPLE (Robert Redford, 1980) ▪ 952 → 0 → 0 → 0 → 748 → 799 → 840 → 0 → 0 → 0 → 0
ORGANISER, THE (Mario Monicelli, 1963) ▪ 612 → 656 → 0 → 0 → 0 → 0 → 910 → 0 → 0 → 0 → 0
OUR DAILY BREAD (King Vidor, 1934) ▪ 761 → 818 → 765 → 821 → 853 → 881 → 934 → 0 → 0 → 0 → 0
OUT 1: SPECTRE (Jacques Rivette, 1972) ▪ 435 → 485 → 782 → 753 → 831 → 836 → 882 → 974 → 0 → 0 → 0
OUTCAST OF THE ISLANDS (Carol Reed, 1951) ▪ 863 → 935 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
OX-BOW INCIDENT, THE (William Wellman, 1943) ▪ 0 → 0 → 0 → 0 → 969 → 0 → 0 → 0 → 0 → 0 → 0

PAGE OF MADNESS, A (Teinosuke Kinugasa, 1926) ▪ 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 886 → 0 → 0
PANDORA AND THE FLYING DUTCHMAN (Albert Lewin, 1951) ▪ 0 → 0 → 977 → 929 → 0 → 0 → 0 → 0 → 0 → 0 → 0
PARALLAX VIEW, THE (Alan J. Pakula, 1974) ▪ 939 → 926 → 798 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
PARIS QUI DORT (René Clair, 1923) ▪ 0 → 0 → 1000 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
PARTY GIRL (Nicholas Ray, 1958) ▪ 0 → 0 → 0 → 0 → 0 → 0 → 0 → 978 → 988 → 0 → 0
PASSION OF ANNA, THE (Ingmar Bergman, 1969) ▪ 0 → 0 → 0 → 950 → 950 → 922 → 956 → 0 → 0 → 0 → 0
PATTON (Franklin J. Schaffner, 1970) ▪ 0 → 849 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
PERCEVAL (Eric Rohmer, 1978) ▪ 753 → 750 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
PETER IBBETSON (Henry Hathaway, 1935) ▪ 695 → 754 → 636 → 695 → 764 → 815 → 867 → 0 → 0 → 0 → 0
PETRIFIED FOREST, THE (Archie Mayo, 1936) ▪ 999 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
PICKPOCKET (Jia Zhangke, 1997) ▪ 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 748 → 0
PILGRIM, THE (Charles Chaplin, 1923) ▪ 0 → 0 → 753 → 775 → 852 → 909 → 0 → 0 → 0 → 0 → 0
PILLOW BOOK, THE (Peter Greenaway, 1995) ▪ 0 → 0 → 0 → 931 → 951 → 0 → 0 → 0 → 0 → 0 → 0
PIXOTE (Hector Babenco, 1981) ▪ 0 → 716 → 762 → 0 → 838 → 810 → 0 → 0 → 0 → 0 → 0
PLANET OF THE APES (Franklin J. Schaffner, 1968) ▪ 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 959 → 0
PLATOON (Oliver Stone, 1986) ▪ 851 → 758 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
PLAYER, THE (Robert Altman, 1992) ▪ 800 → 744 → 733 → 679 → 703 → 710 → 706 → 0 → 0 → 0 → 0
PLEIN SOLEIL (René Clément, 1960) ▪ 0 → 0 → 0 → 855 → 870 → 885 → 937 → 990 → 0 → 0 → 0
POISON (Todd Haynes, 1990) ▪ 0 → 0 → 0 → 0 → 916 → 973 → 0 → 0 → 0 → 0 → 0
PORTRAIT OF JENNIE (William Dieterle, 1948) ▪ 950 → 933 → 963 → 835 → 825 → 886 → 0 → 0 → 979 → 0 → 0
PRINCESS YANG KWEI FEI (Kenji Mizoguchi, 1955) ▪ 422 → 463 → 609 → 617 → 610 → 592 → 619 → 886 → 920 → 0 → 0
PRIVATE LIFE OF SHERLOCK HOLMES, THE (Billy Wilder, 1970) ▪ 0 → 0 → 905 → 796 → 742 → 693 → 698 → 894 → 923 → 0 → 0
PURSUED (Raoul Walsh, 1947) ▪ 575 → 617 → 862 → 711 → 772 → 770 → 757 → 0 → 0 → 0 → 0

QUADROPHENIA (Franc Roddam, 1979) ▪ 0 → 469 → 0 → 771 → 0 → 0 → 0 → 0 → 0 → 0 → 0
QUAI DES ORFÈVRES (Henri-Georges Clouzot, 1947) ▪ 897 → 894 → 869 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
QUE VIVA MEXICO! (Sergei Eisenstein, 1932) ▪ 644 → 645 → 537 → 473 → 572 → 602 → 631 → 985 → 992 → 0 → 0
QUEEN KELLY (Erich von Stroheim, 1929) ▪ 886 → 869 → 806 → 722 → 811 → 862 → 919 → 945 → 960 → 0 → 0

RADIO DAYS (Woody Allen, 1987) ▪ 0 → 0 → 0 → 880 → 915 → 904 → 0 → 0 → 0 → 0 → 0
RAIN MAN (Barry Levinson, 1988) ▪ 823 → 939 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
REASON, DEBATE AND A STORY (Ritwik Ghatak, 1974) ▪ 0 → 0 → 0 → 0 → 0 → 0 → 0 → 903 → 931 → 0 → 0
REASSEMBLAGE (Trinh T. Minh-ha, 1982) ▪ 805 → 861 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
RECKLESS MOMENT, THE (Max Ophüls, 1949) ▪ 471 → 507 → 626 → 731 → 749 → 796 → 800 → 957 → 946 → 0 → 0
RED AND THE WHITE, THE (Miklós Jancsó, 1967) ▪ 732 → 790 → 861 → 0 → 814 → 833 → 890 → 955 → 0 → 0 → 0
REMAINS OF THE DAY, THE (James Ivory, 1993) ▪ 850 → 904 → 883 → 0 → 0 → 828 → 833 → 0 → 0 → 0 → 0
REPO MAN (Alex Cox, 1984) ▪ 0 → 0 → 0 → 0 → 0 → 0 → 0 → 922 → 0 → 989 → 0
RICHARD III (Laurence Olivier, 1955) ▪ 698 → 759 → 792 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
RIDE LONESOME (Budd Boetticher, 1959) ▪ 930 → 919 → 0 → 0 → 894 → 935 → 950 → 0 → 965 → 0 → 0
RIDE THE HIGH COUNTRY (Sam Peckinpah, 1962) ▪ 413 → 458 → 561 → 571 → 549 → 562 → 548 → 963 → 941 → 0 → 0
RIFF-RAFF (Ken Loach, 1991) ▪ 641 → 552 → 674 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
RIO GRANDE (John Ford, 1950) ▪ 960 → 0 → 843 → 759 → 835 → 877 → 928 → 0 → 0 → 0 → 0
ROAD TO LIFE (Nikolai Ekk, 1931) ▪ 0 → 0 → 897 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
ROARING TWENTIES, THE (Raoul Walsh, 1939) ▪ 0 → 0 → 0 → 0 → 968 → 936 → 966 → 994 → 996 → 0 → 0
ROCKER (Klaus Lemke, 1972) ▪ 0 → 0 → 0 → 866 → 917 → 974 → 0 → 0 → 0 → 0 → 0
RONDE, LA (Max Ophüls, 1950) ▪ 678 → 726 → 634 → 612 → 636 → 677 → 704 → 950 → 963 → 0 → 0
ROOM WITH A VIEW, A (James Ivory, 1985) ▪ 0 → 898 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
ROSE HOBART (Joseph Cornell, 1936) ▪ 0 → 0 → 0 → 887 → 895 → 953 → 974 → 961 → 964 → 0 → 0
RUGGLES OF RED GAP (Leo McCarey, 1935) ▪ 0 → 0 → 0 → 0 → 0 → 0 → 0 → 893 → 897 → 0 → 0

SAFETY LAST (Fred C. Newmeyer & Sam Taylor, 1923) ▪ 0 → 0 → 0 → 0 → 0 → 937 → 948 → 0 → 0 → 0 → 0
SAGA OF GOSTA BERLING, THE (Mauritz Stiller, 1924) ▪ 0 → 0 → 916 → 884 → 931 → 988 → 0 → 0 → 0 → 0 → 0
SAMSON AND DELILAH (Cecil B. DeMille, 1949) ▪ 0 → 0 → 0 → 941 → 879 → 812 → 859 → 0 → 0 → 0 → 0
SANT TUKARAM (Sheikh Fattelal & Vishnupant Govind Damle, 1936) ▪ 929 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
SARAGOSSA MANUSCRIPT, THE (Wojciech Has, 1964) ▪ 839 → 834 → 802 → 0 → 775 → 832 → 881 → 0 → 0 → 0 → 0
SAVING PRIVATE RYAN (Steven Spielberg, 1998) ▪ 965 → 852 → 0 → 0 → 779 → 803 → 780 → 0 → 0 → 966 → 0
SCARLET STREET (Fritz Lang, 1945) ▪ 0 → 0 → 0 → 952 → 940 → 997 → 982 → 0 → 0 → 0 → 0
SCENES FROM UNDER CHILDHOOD (Stan Brakhage, 1967-1970) ▪ 569 → 611 → 735 → 802 → 0 → 0 → 0 → 0 → 0 → 0 → 0
SECONDS (John Frankenheimer, 1966) ▪ 0 → 0 → 0 → 0 → 857 → 920 → 955 → 995 → 0 → 0 → 0
SEDUCED AND ABANDONED (Pietro Germi, 1964) ▪ 976 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
SEVEN BRIDES FOR SEVEN BROTHERS (Stanley Donen, 1954) ▪ 0 → 0 → 0 → 947 → 954 → 0 → 0 → 0 → 0 → 0 → 0
SEVENTH VICTIM, THE (Mark Robson, 1943) ▪ 0 → 934 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
SHAME (Ingmar Bergman, 1968) ▪ 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 999 → 0
SHANGHAI GESTURE, THE (Josef von Sternberg, 1941) ▪ 0 → 875 → 776 → 790 → 810 → 651 → 681 → 987 → 0 → 0 → 0
SHELTERING SKY, THE (Bernardo Bertolucci, 1990) ▪ 0 → 0 → 0 → 985 → 0 → 0 → 0 → 0 → 0 → 0 → 0
SHERMAN'S MARCH (Ross McElwee, 1986) ▪ 922 → 838 → 855 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
SHOP ON MAIN STREET, THE (Jan Kadar & Elmar Klos, 1965) ▪ 686 → 679 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
SHORT FILM ABOUT LOVE, A (Krzysztof Kieslowski, 1988) ▪ 899 → 979 → 922 → 967 → 982 → 0 → 0 → 0 → 0 → 0 → 0
SHOW PEOPLE (King Vidor, 1928) ▪ 766 → 823 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
SIGN OF LEO, THE (Eric Rohmer, 1959) ▪ 0 → 0 → 993 → 939 → 936 → 994 → 0 → 0 → 0 → 0 → 0
SIGNS OF LIFE (Werner Herzog, 1968) ▪ 836 → 895 → 924 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
SLAVE OF LOVE, A (Nikita Mikhalkov, 1976) ▪ 703 → 765 → 839 → 902 → 941 → 0 → 0 → 0 → 0 → 0 → 0
SLEEPER (Woody Allen, 1973) ▪ 0 → 0 → 0 → 0 → 0 → 0 → 794 → 0 → 0 → 0 → 0
SONG OF CEYLON (Basil Wright, 1934) ▪ 896 → 974 → 970 → 930 → 964 → 0 → 0 → 0 → 0 → 0 → 0
SONS OF THE DESERT (William A. Seiter, 1933) ▪ 907 → 987 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
SORPASSO, IL (Dino Risi, 1963) ▪ 0 → 0 → 0 → 828 → 840 → 896 → 943 → 0 → 0 → 0 → 0
SPECIAL DAY, A (Ettore Scola, 1977) ▪ 757 → 769 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
SPIDER'S STRATAGEM, THE (Bernardo Bertolucci, 1970) ▪ 748 → 779 → 705 → 751 → 830 → 849 → 899 → 0 → 0 → 0 → 0
STAR SPANGLED TO DEATH (Ken Jacobs, 2004) ▪ 0 → 0 → 0 → 0 → 0 → 0 → 888 → 0 → 0 → 0 → 0
STAVISKY (Alain Resnais, 1974) ▪ 729 → 785 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
STELLA DALLAS (King Vidor, 1937) ▪ 921 → 915 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
STILL (Ernie Gehr, 1969) ▪ 0 → 853 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
STILL LIFE (Sohrab Shahid Saless, 1974) ▪ 719 → 776 → 848 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
STING, THE (George Roy Hill, 1973) ▪ 650 → 676 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
STOLEN KISSES (François Truffaut, 1968) ▪ 0 → 0 → 0 → 0 → 0 → 0 → 0 → 969 → 974 → 0 → 0
STORY OF A CHEAT, THE (Sacha Guitry, 1936) ▪ 0 → 0 → 0 → 0 → 525 → 571 → 594 → 884 → 916 → 0 → 0
STORY OF QIU JU, THE (Zhang Yimou, 1992) ▪ 892 → 969 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
STRANGERS WHEN WE MEET (Richard Quine, 1960) ▪ 0 → 0 → 0 → 974 → 961 → 999 → 998 → 0 → 0 → 0 → 0
STRAW DOGS (Sam Peckinpah, 1971) ▪ 555 → 553 → 676 → 686 → 675 → 739 → 710 → 0 → 0 → 0 → 0
STRAY DOG (Akira Kurosawa, 1949) ▪ 632 → 597 → 712 → 0 → 948 → 979 → 947 → 0 → 0 → 0 → 0
STREET OF SHAME (Kenji Mizoguchi, 1956) ▪ 765 → 822 → 807 → 0 → 0 → 0 → 0 → 932 → 0 → 0 → 0
SUGAR CANE ALLEY (Euzhan Palcy, 1983) ▪ 735 → 793 → 865 → 678 → 746 → 797 → 835 → 0 → 0 → 0 → 0
SUNDAY IN THE COUNTRY, A (Bertrand Tavernier, 1984) ▪ 906 → 986 → 978 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
SUPERMAN (Richard Donner, 1978) ▪ 782 → 781 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
SUPERSTAR: THE KAREN CARPENTER STORY (Todd Haynes, 1987) ▪ 954 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
SWEET MOVIE (Dusan Makavejev, 1974) ▪ 852 → 917 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
SWIMMER, THE (Frank Perry, 1968) ▪ 694 → 753 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
SWING TIME (George Stevens, 1936) ▪ 0 → 0 → 0 → 541 → 0 → 0 → 620 → 0 → 844 → 0 → 0
→ 0
TAIRA CLAN SAGA (Kenji Mizoguchi, 1955) ▪ 0 → 946 → 928 → 905 → 962 → 0 → 0 → 986 → 994 → 0 → 0
TALES OF HOFFMANN, THE (Michael Powell & Emeric Pressburger, 1951) ▪ 702 → 762 → 837 → 811 → 0 → 0 → 0 → 0 → 0 → 0 → 0
TARNISHED ANGELS, THE (Douglas Sirk, 1957) ▪ 498 → 536 → 573 → 556 → 624 → 600 → 628 → 944 → 951 → 0 → 0
TEN COMMANDMENTS, THE (Cecil B. DeMille, 1956) ▪ 781 → 719 → 764 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
TENDER MERCIES (Bruce Beresford, 1983) ▪ 578 → 623 → 725 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
TESTAMENT OF ORPHEUS (Jean Cocteau, 1959) ▪ 0 → 0 → 0 → 996 → 0 → 0 → 0 → 0 → 0 → 0 → 0
TEXT OF LIGHT, THE (Stan Brakhage, 1974) ▪ 815 → 873 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
THERE'S ALWAYS TOMORROW (Douglas Sirk, 1956) ▪ 340 → 368 → 463 → 491 → 700 → 692 → 717 → 0 → 997 → 0 → 0
THEY DIED WITH THEIR BOOTS ON (Raoul Walsh, 1941) ▪ 0 → 0 → 763 → 837 → 864 → 926 → 958 → 0 → 993 → 0 → 0
THEY SHOOT HORSES, DON'T THEY? (Sydney Pollack, 1969) ▪ 0 → 0 → 972 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
THIN MAN, THE (W.S. Van Dyke, 1934) ▪ 859 → 896 → 761 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
THREE COLOURS: WHITE (Krzysztof Kieslowski, 1993) ▪ 734 → 630 → 673 → 736 → 843 → 856 → 909 → 0 → 0 → 0 → 0
THREE CROWNS OF THE SAILOR (Raúl Ruiz, 1982) ▪ 716 → 775 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
THREEPENNY OPERA, THE (G.W. Pabst, 1931) ▪ 0 → 0 → 658 → 666 → 658 → 659 → 654 → 845 → 880 → 963 → 0
TIH MINH (Louis Feuillade, 1918) ▪ 794 → 792 → 816 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
TIME TO LOVE AND A TIME TO DIE, A (Douglas Sirk, 1958) ▪ 0 → 0 → 0 → 994 → 986 → 985 → 991 → 966 → 971 → 0 → 0
TIMES OF HARVEY MILK, THE (Rob Epstein, 1984) ▪ 0 → 0 → 0 → 0 → 819 → 882 → 771 → 0 → 0 → 0 → 0
TINGLER, THE (William Castle, 1959) ▪ 474 → 493 → 597 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
TO SLEEP WITH ANGER (Charles Burnett, 1990) ▪ 590 → 635 → 0 → 0 → 0 → 0 → 904 → 0 → 0 → 0 → 0
TOBACCO ROAD (John Ford, 1941) ▪ 0 → 0 → 727 → 843 → 898 → 956 → 0 → 0 → 0 → 0 → 0
TOM JONES (Tony Richardson, 1963) ▪ 0 → 976 → 714 → 779 → 854 → 914 → 878 → 0 → 0 → 0 → 0
TOM, TOM THE PIPER'S SON (Ken Jacobs, 1969) ▪ 629 → 672 → 721 → 619 → 684 → 745 → 772 → 0 → 0 → 0 → 0
TONGUES UNTIED (Marlon Riggs, 1990) ▪ 0 → 988 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
TONI (Jean Renoir, 1935) ▪ 840 → 900 → 980 → 997 → 973 → 0 → 1000 → 935 → 940 → 0 → 0
TOO EARLY, TOO LATE (Jean-MarieStraub & Danièle Huillet, 1981) ▪ 911 → 836 → 903 → 882 → 929 → 944 → 0 → 0 → 0 → 978 → 0
TOUT VA BIEN (Jean-Luc Godard & Jean-Pierre Gorin, 1972)
▪ 0 → 0 → 0 → 948 → 975 → 0 → 0 → 939 → 893 → 980 → 0
TOUTE UNE NUIT (Chantal Akerman, 1982) ▪ 0 → 0 → 0 → 975 → 977 → 0 → 0 → 0 → 0 → 0 → 0
TRUMAN SHOW, THE (Peter Weir, 1998) ▪ 0 → 0 → 0 → 0 → 998 → 0 → 0 → 0 → 0 → 0 → 0
TWO RODE TOGETHER (John Ford, 1961) ▪ 0 → 0 → 854 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
2046 (Wong Kar-wai, 2004) ▪ 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 953 → 0 → 0

UNDER THE BRIDGES (Helmut Käutner, 1946) ▪ 0 → 0 → 940 → 829 → 889 → 950 → 969 → 980 → 985 → 0 → 0
UNDER THE ROOFS OF PARIS (René Clair, 1930) ▪ 692 → 749 → 579 → 629 → 698 → 729 → 759 → 979 → 986 → 0 → 0
UNFAITHFULLY YOURS (Preston Sturges, 1948) ▪ 789 → 844 → 0 → 626 → 605 → 654 → 685 → 0 → 0 → 0 → 0
UNKNOWN, THE (Tod Browning, 1927) ▪ 0 → 956 → 958 → 1000 → 953 → 983 → 990 → 0 → 0 → 0 → 0
UTAMARO AND HIS FIVE WOMEN (Kenji Mizoguchi, 1946) ▪ 902 → 982 → 783 → 850 → 0 → 0 → 0 → 0 → 0 → 0 → 0

VANISHING, THE (George Sluizer, 1988) ▪ 870 → 864 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
VARIETY (E.A. Dupont, 1925) ▪ 0 → 0 → 827 → 918 → 946 → 0 → 993 → 991 → 0 → 0 → 0
VENT D'EST, LE (Jean-Luc Godard, 1969) ▪ 0 → 0 → 933 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
VERDICT, THE (Sidney Lumet, 1982) ▪ 0 → 708 → 635 → 634 → 590 → 638 → 667 → 0 → 933 → 0 → 0

WAR AND PEACE (King Vidor, 1956) ▪ 526 → 567 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
WAR OF THE WORLDS, THE (Byron Haskin, 1953) ▪ 842 → 902 → 0 → 0 → 806 → 793 → 826 → 0 → 0 → 0 → 0
WARNING SHADOWS (Arthur Robison, 1923) ▪ 887 → 966 → 964 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
WAY DOWN EAST (D.W. Griffith, 1920) ▪ 937 → 0 → 913 → 904 → 924 → 955 → 975 → 998 → 954 → 994 → 0
WAY WE WERE, THE (Sydney Pollack, 1973) ▪ 775 → 832 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
WHAT'S OPERA, DOC? (Chuck Jones, 1957) ▪ 998 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
WHEN HARRY MET SALLY... (Rob Reiner, 1989) ▪ 803 → 857 → 663 → 662 → 0 → 0 → 0 → 0 → 0 → 0 → 0
WHILE THE CITY SLEEPS (Fritz Lang, 1956) ▪ 770 → 825 → 757 → 730 → 770 → 783 → 813 → 0 → 0 → 0 → 0
WHITE NIGHTS (Luchino Visconti, 1957) ▪ 613 → 655 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
WHITE SHADOWS IN THE SOUTH SEAS (W.S. Van Dyke, 1928) ▪ 0 → 0 → 985 → 986 → 0 → 0 → 0 → 0 → 0 → 0 → 0
WHO FRAMED ROGER RABBIT? (Robert Zemeckis, 1988) ▪ 915 → 994 → 0 → 0 → 850 → 823 → 820 → 983 → 991 → 0 → 0
WILD AT HEART (David Lynch, 1990) ▪ 754 → 920 → 884 → 927 → 859 → 887 → 891 → 868 → 833 → 895 → 0
WILD RIVER (Elia Kazan, 1960) ▪ 0 → 0 → 868 → 896 → 862 → 889 → 939 → 993 → 1000 → 0 → 0
WILLY WONKA & THE CHOCOLATE FACTORY (Mel Stuart, 1971) ▪ 0 → 0 → 799 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
WINCHESTER '73 (Anthony Mann, 1950) ▪ 0 → 0 → 0 → 0 → 0 → 990 → 971 → 0 → 961 → 0 → 0
WINGS (Larisa Shepitko, 1966) ▪ 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 903 → 0 → 0
WINGS OF EAGLES, THE (John Ford, 1957) ▪ 959 → 0 → 894 → 908 → 0 → 0 → 0 → 0 → 852 → 935 → 0
WOMAN IN THE WINDOW, THE (Fritz Lang, 1944) ▪ 0 → 0 → 654 → 566 → 639 → 687 → 715 → 981 → 975 → 0 → 0
WOMEN, THE (George Cukor, 1939) ▪ 876 → 948 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0 → 0
WORLD ACCORDING TO GARP, THE (George Roy Hill, 1982) ▪ 0 → 0 → 998 → 844 → 901 → 938 → 0 → 0 → 0 → 0 → 0
WRONG MAN, THE (Alfred Hitchcock, 1956) ▪ 710 → 703 → 0 → 791 → 812 → 864 → 880 → 0 → 0 → 0 → 0

YESTERDAY GIRL (Alexander Kluge, 1966) ▪ 0 → 0 → 896 → 897 → 938 → 996 → 0 → 0 → 981 → 0 → 0
YOU CAN'T TAKE IT WITH YOU (Frank Capra, 1938) ▪ 0 → 0 → 0 → 992 → 999 → 0 → 0 → 0 → 0 → 0 → 0
YOU ONLY LIVE ONCE (Fritz Lang, 1937) ▪ 0 → 0 → 598 → 656 → 747 → 777 → 809 → 973 → 977 → 0 → 0