TSPDT - The 1,000 Greatest Films (Ex-1000)

⦿ Introduction ⦿ 1,000 GF (alpha) ⦿ 1,000 GF (1000-1) ⦿ 1,000 GF (1-1000) ⦿ 1,000 GF (by year) ⦿ 1,000 GF (sortable table) ⦿ 1,000 GF (plain) ⦿ 1,000 GF (ranking history) ⦿ Alternative Titles ⦿ Analysis ⦿ Sources/Critics ⦿ Top 250 Directors ⦿ Starting List (sortable table) ⦿ Ex-1000 GF ⦿ Resources/Links

The 565 films listed below were included in previous editions of the 1,000 Greatest Films. The 12 films listed in bold are the most recent exclusions. Positional data is from the following 1,000 Greatest Films editions: March 2006 > December 2006 > 2007 > 2008 > 2010 > 2011 > 2012 > 2013 > 2014 > 2015 > 2016 > 2017 > 2018 > 2019 > 2020 > 2021 > 2022 > 2023 > 2024.

2046 (Wong Kar-wai, 2004) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 953 > 0 > 0 > 812 > 875 > 875 > 864 > 870 > 893 > 0 > 0
THE 3 PENNY OPERA (G.W. Pabst, 1931) 0 > 0 > 658 > 666 > 658 > 659 > 654 > 845 > 880 > 963 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE 4 HORSEMEN OF THE APOCALYPSE (Vincente Minnelli, 1962) 0 > 0 > 0 > 0 > 979 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
42ND STREET (Lloyd Bacon, 1933) 530 > 437 > 432 > 438 > 466 > 510 > 505 > 795 > 821 > 892 > 812 > 927 > 823 > 844 > 900 > 915 > 847 > 0 > 0
THE 47 RONIN (Kenji Mizoguchi, 1941) 438 > 465 > 526 > 655 > 722 > 774 > 807 > 936 > 0 > 967 > 0 > 896 > 879 > 895 > 976 > 0 > 992 > 985 > 0
79 PRIMAVERAS (Santiago Álvarez, 1969) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 995 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0

À NOUS LA LIBERTÉ (René Clair, 1931) 574 > 492 > 474 > 506 > 498 > 516 > 533 > 754 > 781 > 852 > 873 > 0 > 969 > 993 > 0 > 0 > 0 > 0 > 0
ACCIDENT (Joseph Losey, 1967) 0 > 0 > 0 > 959 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE ACT OF SEEING WITH ONE'S OWN EYES (Stan Brakhage, 1971) 935 > 0 > 0 > 0 > 0 > 0 > 0 > 885 > 919 > 856 > 908 > 967 > 0 > 0 > 0 > 0 > 0 > 0 > 0
AN ACTOR'S REVENGE (Kon Ichikawa, 1963) 510 > 523 > 649 > 657 > 705 > 728 > 758 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE ADVENTURES OF BUCKAROO BANZAI ACROSS THE EIGHTH DIMENSION (W.D. Richter, 1984) 931 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
AGUAESPEJO GRANADINO (José Val del Omar, 1955) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 941 > 0 > 0 > 0 > 0
ALICE (Jan Švankmajer, 1988) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 878 > 798 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE AMERICAN FRIEND (Wim Wenders, 1977) 0 > 0 > 0 > 0 > 0 > 908 > 915 > 899 > 927 > 0 > 940 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
AMERICAN GIGOLO (Paul Schrader, 1980) 0 > 0 > 873 > 815 > 856 > 919 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
AND GOD CREATED WOMAN (Roger Vadim, 1956) 784 > 835 > 900 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
AND THE SHIP SAILS ON (Federico Fellini, 1983) 849 > 912 > 923 > 912 > 913 > 949 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
ANGEL FACE (Otto Preminger, 1953) 0 > 0 > 0 > 977 > 0 > 791 > 822 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
ANGELS WITH DIRTY FACES (Michael Curtiz, 1938) 711 > 706 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
L'ARGENT (Marcel L'Herbier, 1928) 826 > 884 > 0 > 0 > 888 > 929 > 0 > 0 > 0 > 0 > 0 > 978 > 0 > 0 > 0 > 0 > 0 > 0 > 0
ARNULF RAINER (Peter Kubelka, 1960) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 871 > 902 > 993 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
L'ARRIVÉE D'UN TRAIN À LA CIOTAT (August Lumière & Louis Lumière, 1896) 968 > 0 > 825 > 0 > 0 > 0 > 821 > 0 > 834 > 755 > 824 > 982 > 956 > 978 > 0 > 0 > 0 > 0 > 0
ARSENAL (Alexander Dovzhenko, 1929) 992 > 972 > 968 > 938 > 963 > 998 > 997 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
ARSENIC AND OLD LACE (Frank Capra, 1944) 0 > 0 > 0 > 868 > 0 > 952 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE ART OF VISION (Stan Brakhage, 1965) 596 > 638 > 677 > 697 > 800 > 819 > 871 > 931 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
ASHES OF TIME (Wong Kar-wai, 1994) 864 > 936 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 631 > 686 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
ATANARJUAT: THE FAST RUNNER (Zacharias Kunuk, 2001) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 964 > 922 > 0 > 0 > 0 > 0 > 0 > 0 > 0
ATLANTIC CITY (Louis Malle, 1980) 946 > 928 > 830 > 749 > 0 > 0 > 874 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
AU REVOIR LES ENFANTS (Louis Malle, 1987) 0 > 0 > 0 > 0 > 0 > 0 > 923 > 544 > 561 > 608 > 664 > 758 > 812 > 853 > 888 > 843 > 869 > 0 > 0
AUDITION (Takashi Miike, 1999) 0 > 0 > 0 > 0 > 0 > 0 > 721 > 0 > 0 > 979 > 918 > 790 > 0 > 702 > 689 > 674 > 669 > 0 > 0
AUNTIE MAME (Morton DaCosta, 1958) 858 > 927 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
AVANTI! (Billy Wilder, 1972) 0 > 0 > 841 > 807 > 761 > 708 > 740 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
AWAARA (Raj Kapoor, 1951) 709 > 770 > 845 > 0 > 0 > 0 > 865 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0

BABE (Chris Noonan, 1995) 0 > 0 > 0 > 0 > 0 > 911 > 908 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 967 > 947 > 0 > 0
BABY DOLL (Elia Kazan, 1956) 409 > 439 > 531 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
BAD LIEUTENANT (Abel Ferrara, 1992) 848 > 911 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 972 > 907 > 879 > 0 > 0
BAD TIMING (Nicolas Roeg, 1980) 0 > 0 > 945 > 926 > 0 > 0 > 0 > 900 > 911 > 1000 > 0 > 965 > 987 > 0 > 933 > 987 > 981 > 0 > 0
THE BAKER'S WIFE (Marcel Pagnol, 1938) 0 > 0 > 986 > 0 > 939 > 980 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE BALLAD OF CABLE HOGUE (Sam Peckinpah, 1970) 0 > 0 > 0 > 980 > 978 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
O BANDIDO DA LUZ VERMELHA (Rogério Sganzerla, 1968) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 979 > 799 > 796 > 734 > 745 > 0 > 0
THE BANK DICK (Eddie Cline, 1940) 559 > 514 > 646 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE BAREFOOT CONTESSA (Joseph L. Mankiewicz, 1954) 467 > 531 > 545 > 598 > 526 > 556 > 581 > 890 > 922 > 0 > 978 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE BATTLE OF CHILE: PART 2 (Patricio Guzmán, 1976) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 968 > 961 > 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 > 0 > 0 > 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 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
BEFORE THE REVOLUTION (Bernardo Bertolucci, 1964) 993 > 0 > 937 > 988 > 989 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
BEING JOHN MALKOVICH (Spike Jonze, 1999) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 968 > 0 > 0 > 0 > 0 > 0 > 0
THE BELLBOY (Jerry Lewis, 1960) 0 > 0 > 947 > 943 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
BELLISSIMA (Luchino Visconti, 1951) 610 > 652 > 682 > 0 > 0 > 0 > 902 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE BELLS OF ST. MARY'S (Leo McCarey, 1945) 0 > 0 > 0 > 978 > 994 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
BEND OF THE RIVER (Anthony Mann, 1952) 0 > 0 > 0 > 894 > 912 > 970 > 980 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
BEN-HUR: A TALE OF THE CHRIST (Fred Niblo, 1925) 0 > 0 > 959 > 888 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
A BETTER TOMORROW (John Woo, 1986) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 877 > 0 > 0 > 0 > 0 > 928 > 955 > 902 > 0 > 0
BEYOND A REASONABLE DOUBT (Fritz Lang, 1956) 529 > 569 > 678 > 772 > 743 > 794 > 830 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
IL BIDONE (Federico Fellini, 1955) 787 > 839 > 703 > 732 > 729 > 784 > 814 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
BIENVENIDO MISTER MARSHALL (Luis García Berlanga, 1952) 0 > 0 > 984 > 919 > 955 > 995 > 0 > 0 > 990 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE BIG CHILL (Lawrence Kasdan, 1983) 0 > 0 > 0 > 951 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE BIG CITY (Satyajit Ray, 1963) 847 > 910 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE BIG PARADE (King Vidor, 1925) 957 > 960 > 780 > 724 > 798 > 818 > 870 > 825 > 856 > 898 > 910 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE BIG RED ONE (Samuel Fuller, 1980) 0 > 0 > 0 > 0 > 0 > 0 > 857 > 0 > 0 > 0 > 0 > 0 > 988 > 0 > 0 > 0 > 0 > 0 > 0
BITTER RICE (Giuseppe De Santis, 1949) 0 > 0 > 999 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE BITTER TEA OF GENERAL YEN (Frank Capra, 1933) 0 > 0 > 0 > 0 > 0 > 986 > 992 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
BITTER VICTORY (Nicholas Ray, 1957) 934 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE BLACK CAT (Edgar G. Ulmer, 1934) 0 > 0 > 0 > 0 > 0 > 969 > 987 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
BLACK ORPHEUS (Marcel Camus, 1959) 736 > 796 > 801 > 863 > 904 > 960 > 725 > 721 > 667 > 655 > 704 > 836 > 849 > 889 > 921 > 976 > 0 > 0 > 0
BLACK SUNDAY (Mario Bava, 1960) 0 > 0 > 0 > 729 > 726 > 753 > 730 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
BLAST OF SILENCE (Allen Baron, 1961) 0 > 0 > 0 > 965 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
BLAZING SADDLES (Mel Brooks, 1974) 0 > 644 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 829 > 0 > 0 > 844 > 0 > 822 > 0 > 0
BLIND CHANCE (Krzysztof Kieslowski, 1981) 829 > 887 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE BLOOD OF A POET (Jean Cocteau, 1930) 660 > 579 > 575 > 494 > 544 > 555 > 579 > 763 > 779 > 857 > 861 > 961 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE BLUES BROTHERS (John Landis, 1980) 0 > 0 > 0 > 0 > 795 > 714 > 623 > 910 > 936 > 923 > 841 > 869 > 771 > 784 > 779 > 807 > 826 > 0 > 0
BOB LE FLAMBEUR (Jean-Pierre Melville, 1955) 429 > 433 > 480 > 559 > 582 > 542 > 563 > 820 > 855 > 829 > 875 > 878 > 939 > 949 > 0 > 0 > 0 > 0 > 0
DAS BOOT (Wolfgang Petersen, 1981) 0 > 990 > 0 > 0 > 0 > 703 > 0 > 794 > 0 > 872 > 867 > 988 > 893 > 855 > 882 > 932 > 952 > 0 > 0
BOY (Nagisa Oshima, 1969) 0 > 843 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
BRANDED TO KILL (Seijun Suzuki, 1967) 657 > 571 > 690 > 717 > 757 > 759 > 787 > 781 > 742 > 808 > 795 > 792 > 821 > 776 > 861 > 893 > 906 > 997 > 0
BROADWAY DANNY ROSE (Woody Allen, 1984) 894 > 970 > 878 > 827 > 801 > 853 > 739 > 954 > 0 > 988 > 935 > 976 > 0 > 948 > 0 > 0 > 971 > 0 > 0
BULLET IN THE HEAD (John Woo, 1990) 988 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
BURNT BY THE SUN (Nikita Mikhalkov, 1994) 990 > 924 > 842 > 885 > 0 > 771 > 806 > 0 > 0 > 906 > 876 > 748 > 826 > 804 > 817 > 837 > 931 > 0 > 0

CALIFORNIA SPLIT (Robert Altman, 1974) 0 > 0 > 0 > 968 > 983 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
CAMILLE (George Cukor, 1936) 0 > 0 > 956 > 935 > 970 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE CANTERBURY TALES (Pier Paolo Pasolini, 1971) 985 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 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 > 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 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
CARNIVAL OF SOULS (Herk Harvey, 1962) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 995 > 954 > 964 > 975 > 0 > 0
CENTRAL STATION (Walter Salles, 1998) 0 > 0 > 934 > 966 > 988 > 0 > 0 > 0 > 0 > 0 > 0 > 953 > 841 > 830 > 836 > 871 > 883 > 0 > 0
THE CEREMONY (Nagisa Oshima, 1971) 987 > 0 > 838 > 889 > 934 > 991 > 995 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
CERTIFIED COPY (Abbas Kiarostami, 2010) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 715 > 700 > 0 > 0
CHARADE (Stanley Donen, 1963) 910 > 0 > 0 > 836 > 883 > 945 > 960 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
CHARLEY VARRICK (Don Siegel, 1973) 975 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE CHILDHOOD OF MAXIM GORKY (Mark Donskoi, 1938) 756 > 815 > 881 > 858 > 820 > 857 > 912 > 996 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
CHLOE IN THE AFTERNOON (Eric Rohmer, 1972) 0 > 0 > 943 > 990 > 972 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
CITY GIRL (F.W. Murnau, 1930) 853 > 918 > 932 > 901 > 905 > 939 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE CLOWNS [TV] (Federico Fellini, 1970) 752 > 811 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
UN COEUR EN HIVER (Claude Sautet, 1991) 884 > 964 > 904 > 766 > 844 > 869 > 924 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
LA COLLECTIONNEUSE (Eric Rohmer, 1967) 962 > 0 > 775 > 760 > 836 > 880 > 933 > 888 > 829 > 912 > 925 > 0 > 953 > 0 > 0 > 0 > 0 > 0 > 0
CONVERSATION PIECE (Luchino Visconti, 1974) 0 > 0 > 930 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
COOL HAND LUKE (Stuart Rosenberg, 1967) 908 > 906 > 0 > 0 > 460 > 489 > 481 > 676 > 680 > 642 > 666 > 771 > 813 > 771 > 771 > 805 > 820 > 0 > 0
LE CORBEAU (Henri-Georges Clouzot, 1943) 0 > 0 > 0 > 0 > 866 > 928 > 961 > 827 > 859 > 939 > 941 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
CRUMB (Terry Zwigoff, 1994) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 851 > 854 > 714 > 0 > 734 > 775 > 746 > 760 > 778 > 797 > 0 > 0
THE CRYING GAME (Neil Jordan, 1992) 0 > 953 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 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 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0

DAMES (Ray Enright, 1934) 0 > 909 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 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 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
DANGEROUS LIAISONS (Stephen Frears, 1988) 0 > 866 > 910 > 879 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
DARK EYES (Nikita Mikhalkov, 1987) 0 > 0 > 0 > 964 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 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 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE DAY THE EARTH STOOD STILL (Robert Wise, 1951) 577 > 555 > 650 > 613 > 505 > 502 > 521 > 829 > 864 > 865 > 0 > 899 > 864 > 841 > 840 > 852 > 848 > 0 > 0
DAYS AND NIGHTS IN THE FOREST (Satyajit Ray, 1970) 914 > 993 > 988 > 817 > 661 > 804 > 846 > 988 > 995 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
DAYS OF ECLIPSE (Aleksandr Sokurov, 1988) 967 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 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 > 991 > 996 > 0 > 0 > 0 > 0 > 0 > 0
THE DEATH OF MARIA MALIBRAN (Werner Schroeter, 1972) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 814 > 796 > 880 > 889 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
DEMON LOVER DIARY (Joel DeMott, 1980) 0 > 989 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
DESTINY (Fritz Lang, 1921) 0 > 0 > 750 > 799 > 796 > 847 > 896 > 965 > 969 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE DEVIL AND DANIEL WEBSTER (William Dieterle, 1941) 973 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE DEVIL IN MISS JONES (Gerard Damiano, 1972) 877 > 950 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 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 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE DEVIL IS A WOMAN (Josef von Sternberg, 1935) 465 > 416 > 493 > 467 > 503 > 554 > 575 > 906 > 899 > 990 > 980 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE DEVIL'S ENVOYS (Marcel Carné, 1942) 802 > 856 > 989 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 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 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
DIARY (David Perlov, 1983) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 983 > 835 > 842 > 866 > 0 > 0
A DIARY FOR TIMOTHY (Humphrey Jennings, 1945) 687 > 742 > 774 > 823 > 887 > 913 > 895 > 0 > 0 > 873 > 919 > 875 > 936 > 990 > 993 > 0 > 0 > 0 > 0
DIARY OF A LOST GIRL (G.W. Pabst, 1929) 727 > 882 > 746 > 783 > 855 > 917 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
DINER (Barry Levinson, 1982) 551 > 549 > 0 > 550 > 602 > 609 > 641 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE DIVING BELL AND THE BUTTERFLY (Julian Schnabel, 2007) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 905 > 0 > 0 > 0 > 0
DO YOU REMEMBER DOLLY BELL? (Emir Kusturica, 1981) 926 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE DOCKS OF NEW YORK (Josef von Sternberg, 1928) 1000 > 786 > 779 > 840 > 728 > 756 > 784 > 857 > 871 > 921 > 933 > 975 > 0 > 0 > 0 > 0 > 0 > 0 > 0
DODSWORTH (William Wyler, 1936) 0 > 0 > 0 > 0 > 0 > 0 > 816 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
DONNIE DARKO (Richard Kelly, 2001) 0 > 0 > 0 > 917 > 709 > 717 > 661 > 934 > 900 > 954 > 0 > 0 > 784 > 756 > 0 > 0 > 812 > 0 > 0
DOUCE (Claude Autant-Lara, 1943) 745 > 805 > 0 > 0 > 839 > 895 > 942 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
DRACULA (Tod Browning, 1931) 0 > 0 > 0 > 0 > 826 > 852 > 906 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
DRACULA (Terence Fisher, 1958) 0 > 0 > 0 > 995 > 980 > 992 > 968 > 902 > 826 > 952 > 892 > 960 > 896 > 960 > 889 > 919 > 929 > 0 > 0
THE DRAUGHTSMAN'S CONTRACT (Peter Greenaway, 1982) 0 > 0 > 852 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
DUELLE (Jacques Rivette, 1976) 0 > 598 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE DUELLISTS (Ridley Scott, 1977) 0 > 0 > 0 > 982 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
DUNE (David Lynch, 1984) 0 > 949 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
DUST IN THE WIND (Hou Hsiao-hsien, 1986) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 895 > 836 > 711 > 859 > 817 > 886 > 837 > 839 > 879 > 888 > 0 > 0
THE DYBBUK (Michal Waszynski, 1938) 969 > 0 > 889 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0

EL CID (Anthony Mann, 1961) 0 > 0 > 906 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
EL DORADO (Howard Hawks, 1966) 0 > 0 > 0 > 743 > 841 > 840 > 850 > 799 > 825 > 913 > 963 > 926 > 920 > 947 > 983 > 0 > 0 > 0 > 0
ELECTION (Alexander Payne, 1999) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 929 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
ELEVATOR TO THE GALLOWS (Louis Malle, 1958) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 957 > 892 > 923 > 930 > 963 > 0
EMPIRE (Andy Warhol, 1964) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 619 > 0 > 658 > 768 > 857 > 0 > 0 > 0 > 0 > 0 > 0 > 0
EMPIRE OF THE SUN (Steven Spielberg, 1987) 0 > 0 > 0 > 963 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE END OF ST. PETERSBURG (Vsevolod Pudovkin, 1927) 995 > 977 > 858 > 785 > 861 > 901 > 946 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE END (Christopher Maclaine, 1953) 866 > 937 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
L'ENFANT SECRET (Philippe Garrel, 1979) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 907 > 849 > 895 > 0 > 0 > 0 > 0 > 0 > 0
LES ENFANTS TERRIBLES (Jean-Pierre Melville, 1950) 785 > 837 > 888 > 786 > 833 > 894 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
ENTER THE DRAGON (Robert Clouse, 1973) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 899 > 880 > 933 > 932 > 0 > 0
ENTR'ACTE (René Clair, 1924) 0 > 0 > 0 > 0 > 0 > 0 > 925 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
EQUINOX FLOWER (Yasujiro Ozu, 1958) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 846 > 883 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
ETERNITY AND A DAY (Theo Angelopoulos, 1998) 798 > 821 > 828 > 864 > 906 > 963 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
EUROPA (Lars von Trier, 1991) 591 > 599 > 0 > 713 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
EXCALIBUR (John Boorman, 1981) 0 > 975 > 882 > 895 > 741 > 604 > 588 > 915 > 819 > 908 > 791 > 821 > 859 > 905 > 973 > 832 > 839 > 0 > 0

A FACE IN THE CROWD (Elia Kazan, 1957) 0 > 610 > 691 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 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 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE FALLEN IDOL (Carol Reed, 1948) 640 > 678 > 666 > 671 > 681 > 743 > 668 > 730 > 750 > 822 > 862 > 993 > 0 > 0 > 0 > 0 > 0 > 0 > 0
FANTÔMAS (Louis Feuillade, 1913) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 968 > 973 > 0 > 0 > 0 > 0 > 0 > 0 > 992 > 979 > 0 > 0
THE FAR COUNTRY (Anthony Mann, 1955) 0 > 0 > 925 > 958 > 907 > 947 > 972 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
FAT GIRL (Catherine Breillat, 2001) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 1000 > 0 > 0 > 0 > 0
FATA MORGANA (Werner Herzog, 1971) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 941 > 0 > 825 > 862 > 859 > 881 > 0 > 0
FELLINI'S CASANOVA (Federico Fellini, 1976) 350 > 380 > 353 > 442 > 477 > 523 > 540 > 785 > 798 > 883 > 891 > 916 > 918 > 911 > 894 > 921 > 944 > 0 > 0
UNE FEMME EST UNE FEMME (Jean-Luc Godard, 1961) 918 > 996 > 698 > 728 > 816 > 844 > 894 > 881 > 914 > 753 > 823 > 972 > 945 > 970 > 0 > 0 > 0 > 0 > 0
LA FEMME INFIDÈLE (Claude Chabrol, 1969) 0 > 0 > 796 > 857 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
LE FEU FOLLET (Louis Malle, 1963) 0 > 0 > 929 > 846 > 818 > 878 > 929 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
FINDING NEMO (Andrew Stanton & Lee Unkrich, 2003) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 928 > 928 > 938 > 953 > 0 > 0 > 0 > 0 > 0
FIRES ON THE PLAIN (Kon Ichikawa, 1959) 0 > 0 > 0 > 0 > 1000 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
FIRES WERE STARTED (Humphrey Jennings, 1943) 430 > 476 > 555 > 590 > 638 > 680 > 639 > 772 > 793 > 804 > 855 > 787 > 824 > 865 > 853 > 880 > 911 > 0 > 0
A FISH CALLED WANDA (Charles Crichton, 1988) 638 > 574 > 667 > 750 > 751 > 778 > 752 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
FLAVOUR OF GREEN TEA OVER RICE (Yasujiro Ozu, 1952) 0 > 0 > 952 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
FLOATING WEEDS (Yasujiro Ozu, 1959) 762 > 819 > 0 > 0 > 0 > 0 > 0 > 791 > 687 > 752 > 717 > 890 > 944 > 961 > 909 > 966 > 994 > 995 > 0
FOR ALL MANKIND (Al Reinert, 1989) 948 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
FORBIDDEN PLANET (Fred M. Wilcox, 1956) 0 > 0 > 0 > 0 > 0 > 493 > 630 > 941 > 0 > 928 > 920 > 877 > 843 > 872 > 884 > 908 > 905 > 0 > 0
THE FORTUNE (Mike Nichols, 1974) 658 > 699 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 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 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
FOUR FRIENDS (Arthur Penn, 1981) 0 > 0 > 0 > 983 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 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 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE FRENCH LIEUTENANT'S WOMAN (Karel Reisz, 1981) 971 > 0 > 895 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 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 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
FUNNY FACE (Stanley Donen, 1957) 854 > 788 > 768 > 528 > 599 > 620 > 605 > 925 > 945 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
FURY (Fritz Lang, 1936) 0 > 0 > 0 > 987 > 966 > 0 > 996 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0

GANDHI (Richard Attenborough, 1982) 608 > 648 > 643 > 676 > 671 > 735 > 735 > 914 > 0 > 909 > 914 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
GANGA BRUTA (Humberto Mauro, 1933) 0 > 0 > 976 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
GASLIGHT (George Cukor, 1944) 0 > 767 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE GENERAL LINE (Sergei Eisenstein & Grigori Aleksandrov, 1929) 989 > 0 > 981 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
GET CARTER (Mike Hodges, 1971) 419 > 478 > 0 > 570 > 566 > 557 > 518 > 714 > 712 > 763 > 784 > 833 > 860 > 919 > 920 > 974 > 988 > 0 > 0
THE GETAWAY (Sam Peckinpah, 1972) 0 > 0 > 0 > 865 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 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 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
GHOSTBUSTERS (Ivan Reitman, 1984) 821 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 816 > 0 > 0 > 734 > 704 > 674 > 701 > 705 > 0 > 0
GIANT (George Stevens, 1956) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 982 > 0 > 0
GION BAYASHI (Kenji Mizoguchi, 1953) 527 > 568 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE GO-BETWEEN (Joseph Losey, 1971) 0 > 961 > 821 > 854 > 0 > 0 > 0 > 0 > 0 > 0 > 944 > 996 > 0 > 0 > 0 > 977 > 940 > 0 > 0
THE GODDESS (Wu Yonggang, 1934) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 859 > 0 > 0 > 0 > 0 > 783 > 0 > 0 > 0 > 0
GOLD DIGGERS OF 1933 (Mervyn LeRoy, 1933) 550 > 572 > 692 > 881 > 928 > 987 > 949 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
GOODBYE SOUTH, GOODBYE (Hou Hsiao-hsien, 1996) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 918 > 964 > 992 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
GRAVEYARD OF HONOR (Kinji Fukasaku, 1975) 944 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 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 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE GREAT ECSTASY OF WOODCARVER STEINER (Werner Herzog, 1975) 947 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
GREGORY'S GIRL (Bill Forsyth, 1980) 783 > 677 > 618 > 689 > 719 > 648 > 613 > 0 > 909 > 950 > 917 > 843 > 904 > 876 > 876 > 896 > 925 > 0 > 0
A GRIN WITHOUT A CAT (Chris Marker, 1977) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 800 > 0 > 716 > 715 > 930 > 932 > 0 > 964 > 0 > 0 > 0 > 0
GUNGA DIN (George Stevens, 1939) 652 > 647 > 0 > 0 > 0 > 718 > 747 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
GUYS AND DOLLS (Joseph L. Mankiewicz, 1955) 0 > 983 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 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 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
HALLELUJAH! (King Vidor, 1929) 964 > 0 > 558 > 569 > 670 > 657 > 621 > 938 > 948 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
HAMLET (Laurence Olivier, 1948) 835 > 734 > 781 > 804 > 863 > 924 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
HAMLET (Grigori Kozintsev, 1964) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 997 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
HAPPINESS (Aleksandr Medvedkin, 1934) 743 > 728 > 874 > 812 > 832 > 879 > 931 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
HAPPINESS (Todd Solondz, 1998) 878 > 963 > 0 > 825 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 999 > 0 > 0 > 0 > 0 > 0 > 0 > 0
HARD-BOILED (John Woo, 1992) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 976 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE HART OF LONDON (Jack Chambers, 1970) 367 > 399 > 501 > 511 > 578 > 628 > 658 > 634 > 620 > 690 > 676 > 806 > 839 > 894 > 918 > 963 > 991 > 0 > 0
THE HAUNTING (Robert Wise, 1963) 0 > 0 > 0 > 0 > 0 > 0 > 831 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
HÄXAN (Benjamin Christensen, 1922) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 942 > 919 > 897 > 973 > 949 > 981 > 991 > 996 > 0 > 0 > 0
HE WHO GETS SLAPPED (Victor Sjöström, 1924) 712 > 771 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
HEAVEN AND EARTH MAGIC/NO. 12 (Harry Smith, 1962) 618 > 663 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
HEAVEN CAN WAIT (Ernst Lubitsch, 1943) 0 > 0 > 0 > 944 > 930 > 967 > 977 > 999 > 983 > 0 > 956 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE HEIRESS (William Wyler, 1949) 739 > 800 > 0 > 640 > 685 > 747 > 905 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
HENRY V (Laurence Olivier, 1944) 364 > 395 > 419 > 395 > 407 > 404 > 422 > 657 > 647 > 710 > 762 > 810 > 873 > 928 > 978 > 0 > 0 > 0 > 0
HENRY: PORTRAIT OF A SERIAL KILLER (John McNaughton, 1986) 0 > 0 > 0 > 0 > 0 > 898 > 941 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE HIDDEN FORTRESS (Akira Kurosawa, 1958) 549 > 619 > 610 > 650 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
HOLD ME WHILE I'M NAKED (George Kuchar, 1966) 611 > 654 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
HOLIDAY (George Cukor, 1938) 599 > 608 > 570 > 609 > 581 > 616 > 625 > 940 > 917 > 971 > 996 > 940 > 915 > 964 > 992 > 943 > 962 > 0 > 0
HOMEWORK (Abbas Kiarostami, 1989) 682 > 733 > 826 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 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 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE HORSE THIEF (Tian Zhuangzhuang, 1986) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 963 > 0 > 0
HÔTEL DES INVALIDES (Georges Franju, 1952) 880 > 955 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 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 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
HÔTEL TERMINUS (Marcel Ophüls, 1988) 395 > 444 > 500 > 552 > 629 > 673 > 701 > 889 > 921 > 874 > 983 > 804 > 846 > 893 > 916 > 940 > 960 > 0 > 0
HOUR OF THE STAR (Suzana Amaral, 1985) 777 > 913 > 931 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 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 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
L'HUMANITÉ (Bruno Dumont, 1999) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 998 > 998 > 0 > 986 > 981 > 0 > 0 > 0
HUMANITY AND PAPER BALLOONS (Sadao Yamanaka, 1937) 977 > 0 > 0 > 0 > 0 > 0 > 0 > 882 > 892 > 0 > 0 > 0 > 0 > 976 > 948 > 997 > 0 > 0 > 0
HUSBANDS AND WIVES (Woody Allen, 1992) 966 > 0 > 0 > 0 > 997 > 0 > 0 > 0 > 0 > 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 > 0 > 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 > 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 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
IN PRAISE OF LOVE (Jean-Luc Godard, 2001) 0 > 0 > 0 > 0 > 974 > 971 > 983 > 0 > 0 > 0 > 0 > 0 > 995 > 989 > 956 > 883 > 898 > 0 > 0
IN THE HEAT OF THE NIGHT (Norman Jewison, 1967) 0 > 984 > 808 > 800 > 847 > 902 > 926 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE INCREDIBLE SHRINKING MAN (Jack Arnold, 1957) 0 > 0 > 0 > 0 > 0 > 891 > 0 > 797 > 816 > 801 > 779 > 957 > 874 > 867 > 898 > 939 > 959 > 0 > 0
THE INCREDIBLES (Brad Bird, 2004) 0 > 0 > 0 > 0 > 0 > 0 > 911 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
INDIA: MATRI BHUMI (Roberto Rossellini, 1959) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 782 > 810 > 0 > 874 > 913 > 941 > 0 > 0 > 0 > 0 > 0 > 0
THE INDIAN TOMB (Fritz Lang, 1959) 746 > 714 > 754 > 665 > 766 > 820 > 861 > 0 > 0 > 0 > 0 > 933 > 984 > 0 > 0 > 0 > 0 > 0 > 0
INFERNO (Dario Argento, 1980) 755 > 814 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE INFORMER (John Ford, 1935) 624 > 668 > 616 > 696 > 765 > 800 > 843 > 898 > 926 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE INSECT WOMAN (Shohei Imamura, 1963) 0 > 888 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE INSIDER (Michael Mann, 1999) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 879 > 913 > 945 > 954 > 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 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
INTIMATE LIGHTING (Ivan Passer, 1965) 728 > 784 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
IRACEMA - UMA TRANSA AMAZÔNICA (Jorge Bodanzky & Orlando Senna, 1975) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 766 > 792 > 794 > 0 > 0
IRMA VEP (Olivier Assayas, 1996) 0 > 851 > 844 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE ITALIAN STRAW HAT (René Clair, 1927) 974 > 0 > 997 > 932 > 865 > 927 > 959 > 997 > 999 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0

JACOB'S LADDER (Adrian Lyne, 1990) 953 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 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 > 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 > 0 > 989 > 0 > 0 > 0 > 0 > 0 > 0
JOUR DE FÉTE (Jacques Tati, 1948) 0 > 0 > 0 > 0 > 918 > 975 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
LE JOUR SE LÈVE (Marcel Carné, 1939) 597 > 560 > 518 > 568 > 551 > 550 > 531 > 573 > 607 > 668 > 707 > 785 > 820 > 860 > 919 > 935 > 949 > 0 > 0
JU DOU (Zhang Yimou, 1990) 0 > 731 > 0 > 735 > 808 > 860 > 916 > 875 > 907 > 905 > 937 > 970 > 0 > 0 > 0 > 0 > 0 > 0 > 0
JUDEX (Georges Franju, 1963) 0 > 0 > 0 > 862 > 771 > 825 > 877 > 0 > 0 > 0 > 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 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
KANAL (Andrzej Wajda, 1957) 983 > 0 > 0 > 989 > 958 > 989 > 994 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
KILL BILL VOL. 1 (Quentin Tarantino, 2003) 0 > 0 > 0 > 0 > 976 > 1000 > 0 > 0 > 0 > 0 > 0 > 0 > 972 > 930 > 944 > 926 > 933 > 0 > 0
THE KILLERS (Robert Siodmak, 1946) 0 > 0 > 0 > 0 > 0 > 0 > 898 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
KING OF THE CHILDREN (Chen Kaige, 1987) 0 > 0 > 950 > 915 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
KING-SIZE CANARY (Tex Avery, 1947) 869 > 944 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 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 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
KNIFE IN THE WATER (Roman Polanski, 1962) 0 > 0 > 971 > 0 > 0 > 0 > 0 > 0 > 912 > 956 > 825 > 815 > 870 > 871 > 915 > 903 > 920 > 0 > 0
KUHLE WAMPE (Slatan Dudow, 1932) 0 > 0 > 867 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0

L.A. CONFIDENTIAL (Curtis Hanson, 1997) 726 > 736 > 722 > 486 > 471 > 467 > 431 > 749 > 744 > 761 > 756 > 717 > 719 > 731 > 698 > 726 > 720 > 0 > 0
LACOMBE, LUCIEN (Louis Malle, 1974) 443 > 487 > 589 > 667 > 897 > 814 > 863 > 861 > 868 > 882 > 929 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE LADY WITH THE DOG (Iosif Kheifits, 1959) 933 > 0 > 994 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE LADYKILLERS (Alexander Mackendrick, 1955) 0 > 0 > 0 > 0 > 0 > 0 > 887 > 865 > 853 > 786 > 799 > 784 > 779 > 806 > 808 > 825 > 832 > 0 > 0
LAND OF SILENCE AND DARKNESS (Werner Herzog, 1971) 813 > 870 > 914 > 839 > 0 > 0 > 0 > 0 > 0 > 943 > 1000 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE LAST BOLSHEVIK (Chris Marker, 1993) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 652 > 676 > 634 > 642 > 830 > 0 > 887 > 871 > 841 > 863 > 0 > 0
THE LAST OF THE MOHICANS (Michael Mann, 1992) 0 > 0 > 0 > 937 > 0 > 0 > 0 > 0 > 894 > 981 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE LAST WALTZ (Martin Scorsese, 1978) 0 > 0 > 814 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
LATE AUTUMN (Yasujiro Ozu, 1960) 0 > 0 > 948 > 916 > 952 > 948 > 973 > 930 > 947 > 965 > 955 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
LATE CHRYSANTHEMUMS (Mikio Naruse, 1954) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 812 > 846 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
LAW OF DESIRE (Pedro Almodóvar, 1987) 0 > 0 > 909 > 672 > 735 > 792 > 825 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
LEAVE HER TO HEAVEN (John M. Stahl, 1945) 773 > 831 > 0 > 899 > 944 > 976 > 984 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
LEAVING LAS VEGAS (Mike Figgis, 1995) 0 > 0 > 0 > 954 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
LÉOLO (Jean-Claude Lauzon, 1992) 489 > 622 > 817 > 809 > 908 > 965 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
LESSONS OF DARKNESS (Werner Herzog, 1992) 820 > 877 > 864 > 923 > 0 > 910 > 932 > 0 > 0 > 805 > 0 > 0 > 0 > 0 > 834 > 813 > 0 > 0 > 0
LETTER FROM SIBERIA (Chris Marker, 1957) 587 > 633 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
A LETTER TO THREE WIVES (Joseph L. Mankiewicz, 1949) 916 > 995 > 960 > 957 > 965 > 932 > 963 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
LIEBELEI (Max Ophüls, 1933) 0 > 0 > 584 > 653 > 569 > 589 > 601 > 837 > 863 > 953 > 947 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
LIGHT SLEEPER (Paul Schrader, 1992) 0 > 0 > 834 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE LITTLE FOXES (William Wyler, 1941) 0 > 0 > 887 > 921 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
LONE STAR (John Sayles, 1996) 883 > 938 > 797 > 824 > 868 > 893 > 866 > 746 > 785 > 867 > 900 > 949 > 973 > 991 > 0 > 0 > 0 > 0 > 0
THE LONELINESS OF THE LONG DISTANCE RUNNER (Tony Richardson, 1962) 676 > 725 > 771 > 795 > 829 > 890 > 829 > 0 > 0 > 995 > 967 > 900 > 954 > 962 > 995 > 928 > 943 > 0 > 0
THE LONG FAREWELL (Kira Muratova, 1971) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 932 > 0
THE LORD OF THE RINGS: THE TWO TOWERS (Peter Jackson, 2002) 0 > 0 > 0 > 0 > 943 > 951 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
LOST HORIZON (Frank Capra, 1937) 0 > 0 > 0 > 962 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
LOUISIANA STORY (Robert Flaherty, 1948) 862 > 880 > 908 > 960 > 0 > 0 > 985 > 0 > 0 > 0 > 0 > 870 > 903 > 950 > 0 > 0 > 0 > 0 > 0
LOVE AFFAIR (Leo McCarey, 1939) 888 > 922 > 849 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 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 > 888 > 881 > 903 > 960 > 0 > 0 > 0 > 0
THE LOVERS (Louis Malle, 1958) 720 > 778 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 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 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
LUDWIG (Luchino Visconti, 1973) 392 > 436 > 492 > 542 > 616 > 665 > 694 > 709 > 688 > 708 > 830 > 751 > 803 > 849 > 925 > 975 > 0 > 0 > 0
LUNA (Bernardo Bertolucci, 1979) 984 > 0 > 951 > 920 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE LUSTY MEN (Nicholas Ray, 1952) 0 > 0 > 743 > 740 > 760 > 788 > 819 > 552 > 563 > 584 > 636 > 749 > 780 > 738 > 820 > 844 > 871 > 0 > 0

M*A*S*H (Robert Altman, 1970) 0 > 0 > 0 > 576 > 573 > 580 > 584 > 840 > 827 > 915 > 827 > 951 > 894 > 891 > 887 > 911 > 934 > 0 > 0
MACUNAIMA (Joaquim Pedro de Andrade, 1969) 0 > 0 > 982 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 989 > 0 > 0 > 0 > 0 > 894 > 907 > 0 > 0
THE MAGNIFICENT SEVEN (John Sturges, 1960) 492 > 425 > 504 > 664 > 673 > 738 > 714 > 0 > 0 > 0 > 987 > 0 > 0 > 0 > 0 > 0 > 976 > 0 > 0
LES MAÎTRES FOUS (Jean Rouch, 1955) 522 > 564 > 476 > 543 > 777 > 834 > 841 > 937 > 0 > 848 > 785 > 737 > 725 > 769 > 795 > 818 > 840 > 989 > 0
A MAN FOR ALL SEASONS (Fred Zinnemann, 1966) 0 > 625 > 729 > 709 > 733 > 790 > 789 > 0 > 0 > 0 > 0 > 0 > 948 > 959 > 0 > 0 > 0 > 0 > 0
THE MAN FROM LARAMIE (Anthony Mann, 1955) 484 > 500 > 607 > 0 > 730 > 785 > 798 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE MAN IN THE WHITE SUIT (Alexander Mackendrick, 1951) 0 > 0 > 921 > 861 > 805 > 859 > 767 > 0 > 943 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
MAN OF MARBLE (Andrzej Wajda, 1977) 0 > 0 > 969 > 972 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 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 > 0 > 0 > 897 > 870 > 886 > 901 > 0 > 0
THE MAN WHO FELL TO EARTH (Nicolas Roeg, 1976) 377 > 415 > 430 > 482 > 479 > 509 > 514 > 0 > 0 > 951 > 976 > 925 > 940 > 965 > 994 > 0 > 978 > 0 > 0
MAN'S CASTLE (Frank Borzage, 1933) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 869 > 898 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE MARQUISE OF O (Eric Rohmer, 1976) 856 > 806 > 772 > 833 > 823 > 839 > 886 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE MARRIAGE CIRCLE (Ernst Lubitsch, 1924) 0 > 0 > 941 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
MARY POPPINS (Robert Stevenson, 1964) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 854 > 0 > 0 > 0 > 869 > 806 > 831 > 838 > 0 > 0
MASKERADE (Willi Forst, 1934) 0 > 0 > 0 > 955 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE MATCH FACTORY GIRL (Aki Kaurismäki, 1990) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 831 > 866 > 0 > 973 > 910 > 880 > 880 > 850 > 898 > 915 > 0 > 0
MATEWAN (John Sayles, 1987) 981 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE MATTEI AFFAIR (Francesco Rosi, 1973) 706 > 768 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 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 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
MEANTIME [TV] (Mike Leigh, 1983) 696 > 755 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 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 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
MÉNILMONTANT (Dimitri Kirsanoff, 1926) 620 > 664 > 0 > 0 > 0 > 892 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
MEPHISTO (István Szabó, 1981) 951 > 945 > 800 > 768 > 817 > 871 > 827 > 849 > 884 > 970 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
MIDNIGHT (Mitchell Leisen, 1939) 772 > 828 > 730 > 745 > 824 > 816 > 824 > 953 > 987 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
MIDNIGHT RUN (Martin Brest, 1988) 0 > 593 > 550 > 615 > 514 > 497 > 489 > 817 > 832 > 0 > 946 > 909 > 919 > 963 > 0 > 0 > 0 > 0 > 0
THE MILKY WAY (Luis Buñuel, 1969) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 934 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
MILLION DOLLAR BABY (Clint Eastwood, 2004) 0 > 0 > 0 > 0 > 937 > 873 > 875 > 0 > 0 > 0 > 0 > 862 > 815 > 818 > 794 > 788 > 800 > 0 > 0
LE MILLION (René Clair, 1931) 424 > 448 > 277 > 275 > 285 > 297 > 300 > 554 > 585 > 638 > 689 > 799 > 789 > 838 > 855 > 857 > 882 > 0 > 0
MINAMATA: THE VICTIMS AND THEIR WORLD (Noriaki Tsuchimoto, 1971) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 828 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
MISHIMA: A LIFE IN FOUR CHAPTERS (Paul Schrader, 1985) 942 > 0 > 936 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
MISS OYU (Kenji Mizoguchi, 1951) 979 > 0 > 694 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
MISSING (Constantin Costa-Gavras, 1982) 788 > 842 > 812 > 841 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
MOANA (Robert Flaherty, 1926) 885 > 965 > 847 > 803 > 874 > 903 > 930 > 992 > 998 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
MOONRISE (Frank Borzage, 1948) 860 > 930 > 935 > 945 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
MOTHER (Vsevolod Pudovkin, 1926) 903 > 846 > 657 > 643 > 646 > 658 > 664 > 958 > 966 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
MOTHER INDIA (Mehboob Khan, 1957) 917 > 914 > 899 > 794 > 0 > 0 > 828 > 863 > 879 > 0 > 746 > 816 > 869 > 810 > 851 > 882 > 914 > 936 > 0
A MOVIE (Bruce Conner, 1958) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 878 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
MR. ARKADIN (Orson Welles, 1955) 0 > 0 > 0 > 0 > 996 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
MUGHAL-E-AZAM (K. Asif, 1960) 920 > 998 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 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 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
MUTINY ON THE BOUNTY (Frank Lloyd, 1935) 832 > 862 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 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 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
MY BRILLIANT CAREER (Gillian Armstrong, 1979) 0 > 859 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 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 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
MY LOVE HAS BEEN BURNING (Kenji Mizoguchi, 1949) 0 > 0 > 0 > 999 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
MY MAN GODFREY (Gregory La Cava, 1936) 637 > 632 > 0 > 0 > 0 > 0 > 858 > 874 > 906 > 0 > 977 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0

THE NAKED AND THE DEAD (Raoul Walsh, 1958) 0 > 0 > 990 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE NAKED SPUR (Anthony Mann, 1953) 843 > 710 > 0 > 723 > 745 > 772 > 695 > 946 > 910 > 907 > 969 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
NATIONAL LAMPOON'S ANIMAL HOUSE (John Landis, 1978) 680 > 777 > 0 > 0 > 665 > 702 > 683 > 815 > 828 > 847 > 739 > 885 > 907 > 936 > 969 > 989 > 0 > 0 > 0
NATURAL BORN KILLERS (Oliver Stone, 1994) 846 > 782 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 991 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
DIE NIBELUNGEN: SIEGFRIED (Fritz Lang, 1924) 0 > 0 > 0 > 781 > 821 > 868 > 900 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
NIGHT AND THE CITY (Jules Dassin, 1950) 0 > 0 > 0 > 0 > 0 > 0 > 883 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
NIGHT MOVES (Arthur Penn, 1975) 994 > 0 > 840 > 874 > 900 > 957 > 967 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE NIGHT OF THE SHOOTING STARS (Paolo Taviani & Vittorio Taviani, 1982) 609 > 651 > 879 > 906 > 945 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE NIGHT PORTER (Liliana Cavani, 1974) 0 > 0 > 992 > 805 > 877 > 905 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE NIGHTMARE BEFORE CHRISTMAS (Henry Selick, 1993) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 886 > 835 > 980 > 992 > 994 > 0 > 945 > 967 > 0 > 0
A NIGHTMARE ON ELM STREET (Wes Craven, 1984) 958 > 942 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 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 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
NOT RECONCILED (Jean-Marie Straub, 1965) 699 > 681 > 612 > 682 > 645 > 690 > 707 > 727 > 729 > 648 > 699 > 852 > 882 > 909 > 981 > 0 > 0 > 949 > 0
NOW, VOYAGER (Irving Rapper, 1942) 623 > 605 > 576 > 513 > 567 > 619 > 607 > 748 > 760 > 837 > 868 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
LA NUIT DU CARREFOUR (Jean Renoir, 1932) 667 > 649 > 752 > 0 > 0 > 0 > 0 > 778 > 806 > 0 > 942 > 873 > 814 > 859 > 893 > 944 > 964 > 0 > 0
THE NUTTY PROFESSOR (Jerry Lewis, 1963) 0 > 0 > 811 > 801 > 871 > 837 > 884 > 967 > 972 > 0 > 0 > 0 > 0 > 0 > 961 > 991 > 957 > 0 > 0

OASIS (Lee Chang-dong, 2002) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 995 > 999 > 0 > 0 > 0 > 0 > 0 > 0
ODD MAN OUT (Carol Reed, 1947) 321 > 342 > 394 > 469 > 531 > 500 > 512 > 752 > 765 > 843 > 878 > 820 > 878 > 931 > 930 > 942 > 966 > 0 > 0
OEDIPUS REX (Pier Paolo Pasolini, 1967) 828 > 886 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 932 > 979 > 0 > 996 > 0 > 0 > 0 > 0 > 0
OF A THOUSAND DELIGHTS (Luchino Visconti, 1965) 683 > 735 > 638 > 718 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE OFFICIAL STORY (Luis Puenzo, 1985) 724 > 673 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 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 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
ON THE TOWN (Stanley Donen & Gene Kelly, 1949) 514 > 459 > 481 > 470 > 515 > 551 > 532 > 698 > 731 > 794 > 851 > 846 > 887 > 932 > 949 > 986 > 987 > 0 > 0
ONE, TWO, THREE (Billy Wilder, 1961) 955 > 0 > 987 > 971 > 991 > 0 > 0 > 919 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE ONLY SON (Yasujiro Ozu, 1936) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 852 > 889 > 0 > 975 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
OPFERGANG (Veit Harlan, 1944) 928 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 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 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE ORGANISER (Mario Monicelli, 1963) 612 > 656 > 0 > 0 > 0 > 0 > 910 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
OUR DAILY BREAD (King Vidor, 1934) 761 > 818 > 765 > 821 > 853 > 881 > 934 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
OUT 1: SPECTRE (Jacques Rivette, 1972) 435 > 485 > 782 > 753 > 831 > 836 > 882 > 974 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
OUT OF AFRICA (Sydney Pollack, 1985) 0 > 0 > 979 > 848 > 903 > 959 > 0 > 0 > 882 > 869 > 981 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
OUTCAST OF THE ISLANDS (Carol Reed, 1951) 863 > 935 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
OUTER SPACE (Peter Tscherkassky, 1999) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 691 > 682 > 746 > 732 > 921 > 937 > 977 > 996 > 0 > 0 > 0 > 0
THE OUTLAW JOSEY WALES (Clint Eastwood, 1976) 0 > 0 > 585 > 620 > 619 > 566 > 556 > 735 > 738 > 817 > 880 > 952 > 872 > 856 > 885 > 927 > 834 > 0 > 0
THE OX-BOW INCIDENT (William Wellman, 1943) 0 > 0 > 0 > 0 > 969 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0

PAKEEZAH (Kamal Amrohi, 1972) 563 > 602 > 670 > 670 > 683 > 699 > 705 > 842 > 867 > 946 > 936 > 850 > 0 > 0 > 0 > 0 > 0 > 0 > 0
PANDORA AND THE FLYING DUTCHMAN (Albert Lewin, 1951) 0 > 0 > 977 > 929 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE PARALLAX VIEW (Alan J. Pakula, 1974) 939 > 926 > 798 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 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 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
PARTY GIRL (Nicholas Ray, 1958) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 978 > 988 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE PASSION OF ANNA (Ingmar Bergman, 1969) 0 > 0 > 0 > 950 > 950 > 922 > 956 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
PATTON (Franklin J. Schaffner, 1970) 0 > 849 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
PÉPÉ LE MOKO (Julien Duvivier, 1937) 442 > 486 > 544 > 517 > 579 > 587 > 565 > 860 > 888 > 929 > 960 > 990 > 934 > 942 > 963 > 972 > 965 > 0 > 0
PERCEVAL (Eric Rohmer, 1978) 753 > 750 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 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 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE PETRIFIED FOREST (Archie Mayo, 1936) 999 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 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 > 0 > 965 > 0 > 0 > 0 > 0 > 0 > 0
PICKUP ON SOUTH STREET (Samuel Fuller, 1953) 936 > 921 > 759 > 737 > 717 > 686 > 670 > 951 > 904 > 949 > 801 > 874 > 809 > 785 > 740 > 783 > 805 > 0 > 0
THE PILGRIM (Charles Chaplin, 1923) 0 > 0 > 753 > 775 > 852 > 909 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE PILLOW BOOK (Peter Greenaway, 1996) 0 > 0 > 0 > 931 > 951 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
PINK FLOYD: THE WALL (Alan Parker, 1982) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 972 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
PIXOTE (Hector Babenco, 1981) 0 > 716 > 762 > 0 > 838 > 810 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
PLANET OF THE APES (Franklin J. Schaffner, 1968) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 959 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
PLATOON (Oliver Stone, 1986) 851 > 758 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE PLAYER (Robert Altman, 1992) 800 > 744 > 733 > 679 > 703 > 710 > 706 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 990 > 0 > 0
PLEIN SOLEIL (René Clément, 1960) 0 > 0 > 0 > 855 > 870 > 885 > 937 > 990 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
POISON (Todd Haynes, 1991) 0 > 0 > 0 > 0 > 916 > 973 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE PRINCESS BRIDE (Rob Reiner, 1987) 654 > 807 > 603 > 701 > 712 > 694 > 678 > 858 > 804 > 844 > 712 > 796 > 776 > 732 > 791 > 798 > 814 > 0 > 0
PRINCESS YANG KWEI FEI (Kenji Mizoguchi, 1955) 422 > 463 > 609 > 617 > 610 > 592 > 619 > 886 > 920 > 0 > 0 > 934 > 961 > 0 > 0 > 0 > 0 > 0 > 0
THE PRIVATE LIFE OF SHERLOCK HOLMES (Billy Wilder, 1970) 0 > 0 > 905 > 796 > 742 > 693 > 698 > 894 > 923 > 0 > 0 > 0 > 0 > 0 > 0 > 918 > 942 > 0 > 0
PURSUED (Raoul Walsh, 1947) 575 > 617 > 862 > 711 > 772 > 770 > 757 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0

QUADROPHENIA (Franc Roddam, 1979) 0 > 469 > 0 > 771 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 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 > 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 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
QUEEN KELLY (Erich von Stroheim, 1929) 886 > 869 > 806 > 722 > 811 > 862 > 919 > 945 > 960 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0

RADIO DAYS (Woody Allen, 1987) 0 > 0 > 0 > 880 > 915 > 904 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
RAIN MAN (Barry Levinson, 1988) 823 > 939 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 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 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
REASSEMBLAGE (Trinh T. Minh-ha, 1982) 805 > 861 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE RED BALLOON (Albert Lamorisse, 1956) 0 > 0 > 0 > 0 > 432 > 471 > 559 > 639 > 606 > 743 > 737 > 683 > 718 > 749 > 758 > 800 > 823 > 0 > 0
THE REMAINS OF THE DAY (James Ivory, 1993) 850 > 904 > 883 > 0 > 0 > 828 > 833 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
REPO MAN (Alex Cox, 1984) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 922 > 0 > 989 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
RICHARD III (Laurence Olivier, 1955) 698 > 759 > 792 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
RIDE LONESOME (Budd Boetticher, 1959) 930 > 919 > 0 > 0 > 894 > 935 > 950 > 0 > 965 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
RIFF-RAFF (Ken Loach, 1991) 641 > 552 > 674 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
RIFIFI (Jules Dassin, 1955) 672 > 661 > 578 > 0 > 0 > 0 > 713 > 877 > 845 > 724 > 729 > 832 > 745 > 724 > 709 > 741 > 747 > 0 > 0
RIO 40 GRAUS (Nelson Pereira dos Santos, 1955) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 865 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
RIO GRANDE (John Ford, 1950) 960 > 0 > 843 > 759 > 835 > 877 > 928 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
ROAD TO LIFE (Nikolai Ekk, 1931) 0 > 0 > 897 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE ROARING TWENTIES (Raoul Walsh, 1939) 0 > 0 > 0 > 0 > 968 > 936 > 966 > 994 > 996 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
ROCKER [TV] (Klaus Lemke, 1972) 0 > 0 > 0 > 866 > 917 > 974 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE ROCKY HORROR PICTURE SHOW (Jim Sharman, 1975) 970 > 901 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 826 > 828 > 947 > 976 > 0 > 0 > 0 > 0 > 0 > 0
LA RONDE (Max Ophüls, 1950) 678 > 726 > 634 > 612 > 636 > 677 > 704 > 950 > 963 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
A ROOM WITH A VIEW (James Ivory, 1985) 0 > 898 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
LA ROUE (Abel Gance, 1923) 0 > 0 > 767 > 0 > 0 > 0 > 0 > 798 > 799 > 884 > 930 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
RUGGLES OF RED GAP (Leo McCarey, 1935) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 893 > 897 > 0 > 0 > 0 > 981 > 0 > 0 > 0 > 0 > 0 > 0
RUN LOLA RUN (Tom Tykwer, 1998) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 984 > 916 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
RYAN'S DAUGHTER (David Lean, 1970) 0 > 0 > 915 > 924 > 0 > 0 > 0 > 0 > 0 > 0 > 912 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0

SAFETY LAST (Fred C. Newmeyer & Sam Taylor, 1923) 0 > 0 > 0 > 0 > 0 > 937 > 948 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE SAGA OF GOSTA BERLING (Mauritz Stiller, 1924) 0 > 0 > 916 > 884 > 931 > 988 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
SAMSON AND DELILAH (Cecil B. DeMille, 1949) 0 > 0 > 0 > 941 > 879 > 812 > 859 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
LE SANG DES BÊTES (Georges Franju, 1949) 818 > 874 > 917 > 0 > 0 > 0 > 0 > 780 > 753 > 575 > 617 > 713 > 773 > 803 > 777 > 786 > 809 > 992 > 0
SANT TUKARAM (Sheikh Fattelal & Vishnupant Govind Damle, 1936) 929 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
SARABAND (Ingmar Bergman, 2003) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 927 > 913 > 0 > 0 > 0
THE SARAGOSSA MANUSCRIPT (Wojciech Has, 1965) 839 > 834 > 802 > 0 > 775 > 832 > 881 > 0 > 0 > 0 > 0 > 923 > 964 > 998 > 979 > 0 > 0 > 0 > 0
SATURDAY NIGHT AND SUNDAY MORNING (Karel Reisz, 1960) 478 > 452 > 459 > 453 > 497 > 540 > 409 > 614 > 631 > 678 > 735 > 678 > 722 > 751 > 742 > 773 > 786 > 978 > 0
SATURDAY NIGHT FEVER (John Badham, 1977) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 765 > 801 > 805 > 857 > 910 > 834 > 811 > 0 > 0
SCARECROW (Jerry Schatzberg, 1973) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 962 > 980 > 929 > 967 > 0 > 0 > 0 > 0
SCARLET STREET (Fritz Lang, 1945) 0 > 0 > 0 > 952 > 940 > 997 > 982 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
SCENES FROM UNDER CHILDHOOD (Stan Brakhage, 1967-70) 569 > 611 > 735 > 802 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
SECOND BREATH (Jean-Pierre Melville, 1966) 980 > 0 > 974 > 928 > 872 > 900 > 945 > 855 > 891 > 947 > 971 > 950 > 0 > 955 > 940 > 990 > 0 > 0 > 0
SECONDS (John Frankenheimer, 1966) 0 > 0 > 0 > 0 > 857 > 920 > 955 > 995 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
SEDUCED AND ABANDONED (Pietro Germi, 1964) 976 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 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 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE SEVENTH VICTIM (Mark Robson, 1943) 0 > 934 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE SHANGHAI GESTURE (Josef von Sternberg, 1941) 0 > 875 > 776 > 790 > 810 > 651 > 681 > 987 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE SHELTERING SKY (Bernardo Bertolucci, 1990) 0 > 0 > 0 > 985 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
SHERMAN'S MARCH (Ross McElwee, 1985) 922 > 838 > 855 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 913 > 0 > 0 > 0 > 0
SHOESHINE (Vittorio De Sica, 1946) 583 > 636 > 637 > 694 > 744 > 782 > 812 > 962 > 968 > 0 > 997 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE SHOP ON MAIN STREET (Ján Kadár & Elmar Klos, 1965) 686 > 679 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
A SHORT FILM ABOUT LOVE (Krzysztof Kieslowski, 1988) 899 > 979 > 922 > 967 > 982 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
SHOW PEOPLE (King Vidor, 1928) 766 > 823 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE SIGN OF LEO (Eric Rohmer, 1959) 0 > 0 > 993 > 939 > 936 > 994 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
SIGNS OF LIFE (Werner Herzog, 1968) 836 > 895 > 924 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
A SLAVE OF LOVE (Nikita Mikhalkov, 1976) 703 > 765 > 839 > 902 > 941 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
SLEEPER (Woody Allen, 1973) 0 > 0 > 0 > 0 > 0 > 0 > 794 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
SONATINE (Takeshi Kitano, 1993) 831 > 812 > 728 > 819 > 919 > 943 > 954 > 0 > 0 > 0 > 965 > 948 > 0 > 0 > 0 > 0 > 0 > 0 > 0
SONG OF CEYLON (Basil Wright, 1934) 896 > 974 > 970 > 930 > 964 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 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 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
SORCERER (William Friedkin, 1977) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 1000 > 0 > 0 > 0 > 0 > 0 > 0
A SPECIAL DAY (Ettore Scola, 1977) 757 > 769 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE SPIDER'S STRATAGEM (Bernardo Bertolucci, 1970) 748 > 779 > 705 > 751 > 830 > 849 > 899 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
STAR SPANGLED TO DEATH (Ken Jacobs, 2004) 0 > 0 > 0 > 0 > 0 > 0 > 888 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
STARDUST MEMORIES (Woody Allen, 1980) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 904 > 851 > 932 > 822 > 983 > 0 > 0 > 0 > 0 > 0 > 0 > 0
STAVISKY (Alain Resnais, 1974) 729 > 785 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 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 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
STILL (Ernie Gehr, 1969) 0 > 853 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 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 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE STING (George Roy Hill, 1973) 650 > 676 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 945 > 978 > 0 > 0 > 0 > 0 > 0 > 0
STOLEN KISSES (François Truffaut, 1968) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 969 > 974 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
STORM OVER ASIA (Vsevolod Pudovkin, 1928) 891 > 890 > 536 > 546 > 598 > 615 > 650 > 844 > 877 > 926 > 974 > 989 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE STORY OF A CHEAT (Sacha Guitry, 1936) 0 > 0 > 0 > 0 > 525 > 571 > 594 > 884 > 916 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE STORY OF QIU JU (Zhang Yimou, 1992) 892 > 969 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 970 > 0 > 0 > 0 > 0 > 0 > 0
THE STRAIGHT STORY (David Lynch, 1999) 0 > 0 > 0 > 984 > 995 > 0 > 0 > 0 > 0 > 910 > 896 > 1000 > 0 > 980 > 0 > 999 > 973 > 994 > 0
STRANGERS WHEN WE MEET (Richard Quine, 1960) 0 > 0 > 0 > 974 > 961 > 999 > 998 > 0 > 0 > 0 > 0 > 955 > 0 > 938 > 957 > 892 > 922 > 0 > 0
STRAW DOGS (Sam Peckinpah, 1971) 555 > 553 > 676 > 686 > 675 > 739 > 710 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
STRAY DOG (Akira Kurosawa, 1949) 632 > 597 > 712 > 0 > 948 > 979 > 947 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
STREET ANGEL (Yuan Muzhi, 1937) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 709 > 754 > 807 > 858 > 795 > 764 > 802 > 810 > 0 > 0
SUGAR CANE ALLEY (Euzhan Palcy, 1983) 735 > 793 > 865 > 678 > 746 > 797 > 835 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
A SUNDAY IN THE COUNTRY (Bertrand Tavernier, 1984) 906 > 986 > 978 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
SUPERMAN (Richard Donner, 1978) 782 > 781 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 685 > 0 > 746 > 0 > 0 > 0 > 0
SUPERSTAR: THE KAREN CARPENTER STORY (Todd Haynes, 1988) 954 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE SWEET HEREAFTER (Atom Egoyan, 1997) 684 > 666 > 653 > 719 > 797 > 842 > 876 > 901 > 929 > 0 > 894 > 819 > 766 > 812 > 802 > 808 > 829 > 0 > 0
SWEET MOVIE (Dusan Makavejev, 1974) 852 > 917 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
SWEET SWEETBACK'S BAADASSSSS SONG (Melvin Van Peebles, 1971) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 964 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE SWIMMER (Frank Perry, 1968) 694 > 753 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 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 > 0 > 0 > 0 > 0 > 0 > 0 > 0

TAIRA CLAN SAGA (Kenji Mizoguchi, 1955) 0 > 946 > 928 > 905 > 962 > 0 > 0 > 986 > 994 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
A TALE OF THE WIND (Joris Ivens, 1988) 742 > 804 > 815 > 820 > 0 > 0 > 0 > 741 > 767 > 705 > 759 > 848 > 906 > 940 > 971 > 998 > 0 > 0 > 0
THE TALES OF HOFFMANN (Michael Powell & Emeric Pressburger, 1951) 702 > 762 > 837 > 811 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 969 > 0 > 0 > 0 > 0 > 0 > 0 > 0
TEN (Abbas Kiarostami, 2002) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 834 > 837 > 903 > 958 > 956 > 950 > 945 > 926 > 881 > 913 > 0 > 0
THE TEN COMMANDMENTS (Cecil B. DeMille, 1956) 781 > 719 > 764 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 891 > 935 > 951 > 0 > 956 > 980 > 0 > 0
TENDER MERCIES (Bruce Beresford, 1983) 578 > 623 > 725 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
TESTAMENT OF ORPHEUS (Jean Cocteau, 1960) 0 > 0 > 0 > 996 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE TEXT OF LIGHT (Stan Brakhage, 1974) 815 > 873 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 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 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THEY DIED WITH THEIR BOOTS ON (Raoul Walsh, 1941) 0 > 0 > 763 > 837 > 864 > 926 > 958 > 0 > 993 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THEY SHOOT HORSES, DON'T THEY? (Sydney Pollack, 1969) 0 > 0 > 972 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE THIN MAN (W.S. Van Dyke, 1934) 859 > 896 > 761 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE THING FROM ANOTHER WORLD (Christian Nyby & Howard Hawks, 1951) 565 > 550 > 593 > 581 > 631 > 462 > 492 > 802 > 807 > 819 > 906 > 0 > 0 > 0 > 962 > 984 > 0 > 0 > 0
THREE COLOURS: WHITE (Krzysztof Kieslowski, 1994) 734 > 630 > 673 > 736 > 843 > 856 > 909 > 0 > 0 > 0 > 0 > 966 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THREE CROWNS OF THE SAILOR (Raúl Ruiz, 1983) 716 > 775 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
TIH MINH (Louis Feuillade, 1918) 794 > 792 > 816 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
A TIME TO LOVE AND A TIME TO DIE (Douglas Sirk, 1958) 0 > 0 > 0 > 994 > 986 > 985 > 991 > 966 > 971 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE TIMES OF HARVEY MILK (Rob Epstein, 1984) 0 > 0 > 0 > 0 > 819 > 882 > 771 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE TINGLER (William Castle, 1959) 474 > 493 > 597 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
TO LIVE (Zhang Yimou, 1994) 941 > 848 > 890 > 0 > 858 > 921 > 0 > 0 > 0 > 809 > 846 > 892 > 863 > 896 > 914 > 971 > 0 > 0 > 0
TO SLEEP WITH ANGER (Charles Burnett, 1990) 590 > 635 > 0 > 0 > 0 > 0 > 904 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
TOBACCO ROAD (John Ford, 1941) 0 > 0 > 727 > 843 > 898 > 956 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
TOM JONES (Tony Richardson, 1963) 0 > 976 > 714 > 779 > 854 > 914 > 878 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
TOM, TOM THE PIPER'S SON (Ken Jacobs, 1969) 629 > 672 > 721 > 619 > 684 > 745 > 772 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
TONI (Jean Renoir, 1935) 840 > 900 > 980 > 997 > 973 > 0 > 1000 > 935 > 940 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
EL TOPO (Alejandro Jodorowsky, 1970) 822 > 878 > 688 > 0 > 0 > 0 > 0 > 768 > 0 > 802 > 792 > 918 > 921 > 956 > 0 > 0 > 0 > 0 > 0
TOPSY-TURVY (Mike Leigh, 1999) 819 > 876 > 898 > 0 > 0 > 0 > 0 > 742 > 761 > 838 > 881 > 823 > 831 > 888 > 923 > 938 > 958 > 0 > 0
TOUCHEZ PAS AU GRISBI (Jacques Becker, 1954) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 774 > 802 > 875 > 893 > 974 > 975 > 0 > 931 > 962 > 989 > 0 > 0
TOUT VA BIEN (Jean-Luc Godard & Jean-Pierre Gorin, 1972) 0 > 0 > 0 > 948 > 975 > 0 > 0 > 939 > 893 > 980 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
TRÁS-OS-MONTES (Margarida Cordeiro & António Reis, 1976) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 998 > 0
THE TRUMAN SHOW (Peter Weir, 1998) 0 > 0 > 0 > 0 > 998 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 986 > 0 > 0
TWO FOR THE ROAD (Stanley Donen, 1967) 0 > 0 > 886 > 845 > 902 > 958 > 0 > 0 > 0 > 958 > 982 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
TWO RODE TOGETHER (John Ford, 1961) 0 > 0 > 854 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0

ULYSSES' GAZE (Theo Angelopoulos, 1995) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 689 > 796 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE UNBEARABLE LIGHTNESS OF BEING (Philip Kaufman, 1988) 0 > 0 > 944 > 911 > 899 > 906 > 0 > 0 > 0 > 937 > 988 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
UNDER THE BRIDGES (Helmut Käutner, 1946) 0 > 0 > 940 > 829 > 889 > 950 > 969 > 980 > 985 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
UNDER THE ROOFS OF PARIS (René Clair, 1930) 692 > 749 > 579 > 629 > 698 > 729 > 759 > 979 > 986 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
UNFAITHFULLY YOURS (Preston Sturges, 1948) 789 > 844 > 0 > 626 > 605 > 654 > 685 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
UNSERE AFRIKAREISE (Peter Kubelka, 1966) 881 > 808 > 786 > 0 > 0 > 0 > 0 > 779 > 808 > 823 > 858 > 959 > 991 > 0 > 0 > 0 > 0 > 0 > 0
THE USUAL SUSPECTS (Bryan Singer, 1995) 730 > 732 > 0 > 644 > 689 > 722 > 700 > 796 > 823 > 888 > 870 > 883 > 862 > 874 > 868 > 914 > 919 > 0 > 0
UTAMARO AND HIS FIVE WOMEN (Kenji Mizoguchi, 1946) 902 > 982 > 783 > 850 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0

THE VANISHING (George Sluizer, 1988) 870 > 864 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 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 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
VENGEANCE IS MINE (Shohei Imamura, 1979) 961 > 943 > 0 > 0 > 0 > 0 > 692 > 744 > 775 > 729 > 877 > 714 > 757 > 748 > 789 > 830 > 836 > 0 > 0
THE VERDICT (Sidney Lumet, 1982) 0 > 708 > 635 > 634 > 590 > 638 > 667 > 0 > 933 > 0 > 0 > 0 > 929 > 939 > 0 > 0 > 0 > 0 > 0

WAR AND PEACE (King Vidor, 1956) 526 > 567 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
WAR AND PEACE (Sergei Bondarchuk, 1967) 816 > 801 > 823 > 830 > 891 > 723 > 568 > 818 > 724 > 717 > 736 > 914 > 967 > 0 > 0 > 0 > 0 > 0 > 0
THE WAR OF THE WORLDS (Byron Haskin, 1953) 842 > 902 > 0 > 0 > 806 > 793 > 826 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
WARNING SHADOWS (Arthur Robison, 1923) 887 > 966 > 964 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 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 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE WAY WE WERE (Sydney Pollack, 1973) 775 > 832 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 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 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
WHEN A WOMAN ASCENDS THE STAIRS (Mikio Naruse, 1960) 0 > 0 > 739 > 0 > 0 > 0 > 0 > 821 > 820 > 840 > 879 > 994 > 0 > 0 > 0 > 0 > 0 > 0 > 0
WHEN WE WERE KINGS (Leon Gast, 1996) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 766 > 0 > 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 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
WHITE NIGHTS (Luchino Visconti, 1957) 613 > 655 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 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 > 0 > 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 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
WILD RIVER (Elia Kazan, 1960) 0 > 0 > 868 > 896 > 862 > 889 > 939 > 993 > 1000 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
WILLY WONKA & THE CHOCOLATE FACTORY (Mel Stuart, 1971) 0 > 0 > 799 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
WINCHESTER '73 (Anthony Mann, 1950) 0 > 0 > 0 > 0 > 0 > 990 > 971 > 0 > 961 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
WIND FROM THE EAST (Jean-Luc Godard, Jean-Pierre Gorin & Gérard Martin, 1970) 0 > 0 > 933 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE WINGS OF EAGLES (John Ford, 1957) 959 > 0 > 894 > 908 > 0 > 0 > 0 > 0 > 852 > 935 > 0 > 831 > 0 > 0 > 0 > 0 > 0 > 0 > 0
WITNESS (Peter Weir, 1985) 0 > 0 > 723 > 687 > 690 > 751 > 777 > 719 > 749 > 821 > 854 > 946 > 966 > 0 > 0 > 0 > 0 > 0 > 0
THE WOMAN IN THE WINDOW (Fritz Lang, 1944) 0 > 0 > 654 > 566 > 639 > 687 > 715 > 981 > 975 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE WOMEN (George Cukor, 1939) 876 > 948 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE WORLD ACCORDING TO GARP (George Roy Hill, 1982) 0 > 0 > 998 > 844 > 901 > 938 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
THE WRONG MAN (Alfred Hitchcock, 1956) 710 > 703 > 0 > 791 > 812 > 864 > 880 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0

THE YEAR OF LIVING DANGEROUSLY (Peter Weir, 1982) 0 > 0 > 0 > 876 > 848 > 874 > 892 > 0 > 0 > 0 > 999 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
YELLOW SUBMARINE (George Dunning, 1968) 0 > 0 > 0 > 0 > 0 > 0 > 0 > 897 > 0 > 878 > 903 > 971 > 0 > 0 > 0 > 0 > 0 > 0 > 0
YESTERDAY GIRL (Alexander Kluge, 1966) 0 > 0 > 896 > 897 > 938 > 996 > 0 > 0 > 981 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
YOL (Serif Gören & Yilmaz Güney, 1982) 889 > 0 > 0 > 0 > 0 > 0 > 817 > 617 > 640 > 692 > 747 > 903 > 931 > 926 > 982 > 995 > 977 > 0 > 0
YOU CAN'T TAKE IT WITH YOU (Frank Capra, 1938) 0 > 0 > 0 > 992 > 999 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0
YOU ONLY LIVE ONCE (Fritz Lang, 1937) 0 > 0 > 598 > 656 > 747 > 777 > 809 > 973 > 977 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0 > 0

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