TOP 500 LETTERBOXD

Alexander Dovzhenko’s first sound film, revolving around the construction of a giant dam on the Dnieper River, is one of his greatest, though it was poorly received in the Soviet Union when it came out in 1932. It’s only one of the eccentricities of this lyrical and monumental feature that the title refers to three different characters, and it’s telling that the father of one of them, an illiterate peasant who proudly spends his time fishing and loafing while everyone else works, is treated with considerable warmth. (A sequence in which he’s frightened when addressed by an outdoor loudspeaker evokes Chaplin as well as Tati.) As in all of Dovzhenko’s best work, the style veers closer to lyrical poetry (its opening sequence about the river) and portraiture (a later segment introducing us to various workers) than to narrative, though it’s innovative in other respects as well: the final sequence includes some striking jump cuts almost 30 years before Jean-Luc Godard purportedly invented them in Breathless.

Based on Franz Xaver Kroetz's play, which is in turn based on a true story, this film by Rainer Werner Fassbinder tells the story of a very young girl who, after persuading a local boy to become her lover, induces the lad to kill her father, whose incestuous sexual attentions to her have grown unbearable. The site they choose for this deed, which gives its name to the film, is a wild-game crossing.

When the seaside community of Amity finds itself under attack by a dangerous great white shark, the town's chief of police, a young marine biologist, and a grizzled hunter embark on a desperate quest to destroy the beast before it strikes again.

1975 film by Chantal Akerman

A gentleman thief charms a Viennese baron's wife and also conducts a daring daylight robbery of a jeweller's shop.

Some European traveled from Europe to Mongolia by train to experience the life in Mongolia…

A part of Joan of Arc's life. At the beginning, Jeanne (Joan) has already left Domremy, she is trying to convince a captain to escort her to moxia.cc the Dauphin. It ends during Jeanne's first battle, at Orleans. Meanwhile, Jeanne is depicted more as a warrior than a saint (all cliches are avoided), with only her faith for strength.

1994 film by Jacques Rivette

1954 film by Roberto Rossellini

Undiagnosed, untreated and generally untethered schizophrenic Julien lives with his pregnant younger sister Pearl, anorexic would-be wrestler brother Chris, sympathetic grandmother, and severely depressed German father.

JUVENILE COURT shows the complex variety of the cases before the Memphis Juvenile Court: foster home
placement, drug abuse, armed robbery, child abuse and sexual offenses. The sequences illustrate such
issues as community protection vs. the desire for rehabilitation, the range and the limits of the choices
available to the court, the psychology of the offender, and the constitutional and procedural questions
involved in administering a juvenile court.

1957 film by Andrzej Wajda

A wealthy family from Calcutta is on the last day of their vacation in Darjeeling, a hill station at the foot of Mount Kanchenjungha, t he second highest peak of the Himalayas. Until now, they have been unable to catch a glimpse of the peak Kanchenjungha.The family members are dominated by the father, Indranath (Chhabi Biswas), an industrialist. He wants his daughter to marry a man of his choice and hopes that the man will propose if they are left together alone for some time.
Several long walks and long conversations form the main body of the film. The real-time drama unfolds the daughter's feelings about her father's idea, and the negative reactions to this by her mother and others.
By accident, she meets an outsider, Ashoke, a young student who has refused a job offer from Indranath. Though nothing develops between them, his presence coupled with the setting of mountains and the failure of her sister's marriage, prompt her to reject the proposed suitor.
At the end of his walk, the industrialist arrives at a rendezvous point, expecting to meet his family and the successful suitor. None of them is present to greet him. As the mist clears, the peak of Kanchenjungha is revealed in its full glory. But Indranath is too pre-occupied to admire it.
Kanchenjungha was Ray's first original screenplay and for the first time, he was shooting in color. The film shows about 100 minutes (in real time) in the life of a group of rich Bengalis on vacation.Unlike the usual Ray films, it has a fragmented narrative with no central characters, and no straight narrative in the classical sense.
It is a very structured and composed film that uses color and nature to heighten the drama. Ray told his biographer Andrew Robinson: "The idea was to have the film starting with sunlight. Then clouds coming, then mist rising, and then mist disappearing, the cloud disappearing, and then the sun shining on the snow-peaks. There is an independent progression to Nature itself, and the story reflects this."
As the weather becomes misty - the young daughter and the suitor part at that point, Indranath meets Ashoke, and the elder daughter, Amina and her husband have a bitter moment between them. And then when the sun appears again - Amina's daughter comes back to her parents and they accept her, the misunderstanding is cleared up, and the younger daughter and Ashoke develop a tentative relationship with a hint of future prospects.
The characters and the Nature are interrelated in mood. In his later film Asani Sanket (Distant Thunder, 1973), Ray attempted quite the opposite. While the Nature is shown in its full glory and lushness, in contrast, the characters starve and do inhuman things.
As the characters do not change the clothes during the film (it being depiction of a real time event that happens in 100 odd minutes), the colors of clothes too add a dimension to the characters.
About Kanchenjungha, Ray told in an interview to Cineaste magazine, "(It was) a very personal film. It was a good ten to fifteen years ahead of its time... Kanchenjungha told the story of several groups of characters and it went back and forth. ... It's a very musical form, but it wasn't liked. The reaction was stupid. Even the reviews were not interesting. But, looking back now, I find that it is a very interesting film."

2006年6月在Annecy国际动画电影节上评选出的“动画的世纪·100部作品”第53名。
A mangy cat on the verge of starvation finds a tiny canary and a bottle of 'Jumbo-Gro' fertiliser, which gives him an idea that leads to giant cats, dogs, mice and canaries chasing each other round Lilliputian towns and cities...

1964 Japanese film by Masaki Kobayashi

The film consists of a series of tightly interlinked vignettes, the most sustained of which details the story of a man and a woman who are passionately in love. Their attempts to consummate their passion are constantly thwarted, by their families, by the Church and bourgeois society in general.

1969 film by Jacques Rivette

1934 film by Jean Vigo

1991 film by Jacques Rivette

1931 film by Jean Renoir