Sight and Sound poll (2022 edition)

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AFlickering
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Sight and Sound poll (2022 edition)

Post by AFlickering »

a space for this dead ass forum to celebrate/commiserate the new list. if only shogunrua was still here, i’m sure he’s a huge fan.

https://www.bfi.org.uk/sight-and-sound/ ... s-all-time

schnofel
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Re: Sight and Sound poll (2022 edition)

Post by schnofel »

I have so far passionately hated the feminist studies mainstay Jeanne Dielman (will give it another shot soon enough), so my immediate reaction to the list was: politicized/woke/cinema dead as popular art. But it is a representation of the critical/political Zeitgeist, and as such something to contend with - if one has the will. Having now seen 98% of the list, I find it more fruitful to just go back to the cinema I love.

And I prefer the director’s list:
https://www.bfi.org.uk/sight-and-sound/ ... s-all-time

Paxton
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Re: Sight and Sound poll (2022 edition)

Post by Paxton »

Call me when they finally start acknowledging Renny Harlin.

BeeDub
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Re: Sight and Sound poll (2022 edition)

Post by BeeDub »

I sense a lot of confused and upset YouTube reaction videos of Jeanne Dielman in the near future.

But seriously, this ranking is going to do neither that movie nor the Sight & Sound poll itself any favors. It's only going to confirm in the general public's minds what they already suspect: that professional moviemakers and critics are completely out of touch with what most people like to watch, and are easily swayed by the progressive causes of the day.
Last edited by BeeDub on Fri Dec 02, 2022 8:09 pm, edited 1 time in total.

AFlickering
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Re: Sight and Sound poll (2022 edition)

Post by AFlickering »

i find the inclusion of the likes of GET OUT, MOONLIGHT and PORTRAIT OF A LADY ON FIRE very silly and, actually, the idea that these films are the pinnacle of black/gay cinema is extremely straight 'n white to me--almost more insulting than sticking with 100% dead white men. i wish the selections from those minority groups were more in line with the female representation, which i'm actually very happy with. i think *for the most part* they reflect actual knowledge and deep exploration rather than just being token agenda-driven flavour of the month stuff. absolutely lovely to see something like WANDA in the top 50. JEANNE DIELMAN at #1 is bold, but the right kind of bold in my opinion, regardless of my personal feelings on the film.

JakeAesthete
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Re: Sight and Sound poll (2022 edition)

Post by JakeAesthete »

BeeDub wrote:
Fri Dec 02, 2022 6:58 pm
professional moviemakers and critics are completely out of touch with what most people like to watch
But is the alternative that every list should look exactly like the IMDb Top 250? Or a list of nothing but Star Wars and Marvel movies, because that's what "most people like to watch" (AKA what they're sold whether they like it or not).

Trust me, guys, I find the obligatory wokification of the list as eye-rollingly banal as you do, but pinning that on Chantal Akerman just makes you look like philistines (and I say this as someone who tends to only like the "wrong" Akerman films i.e. Night and Day and Tomorrow We Move). Of course, I've never been a Vertigo fan either so what do I know?

If anything, I'm waiting for the "Why Jeanne Dielman is Problematic" think piece.
Last edited by JakeAesthete on Fri Dec 02, 2022 11:22 pm, edited 1 time in total.

djross
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Re: Sight and Sound poll (2022 edition)

Post by djross »

I am unable to give a precise top 100, but, at the time of this Sight and Sound poll, and with 5006 titles ranked, the following are my 121 highest-scoring films (scores of 90 or above):

100: 2001: A Space Odyssey (Kubrick, 1968), Contempt (Godard, 1963). 2 films.

99: Breaking the Waves (von Trier, 1996), Mirror (Tarkovsky, 1975), The Thin Red Line (Malick, 1998). 3 films.

98: Hitler: A Film from Germany (Syberberg, 1978), Scenes from a Marriage (Bergman, 1973), Shoah (Lanzmann, 1985), The Umbrellas of Cherbourg (Demy, 1964). 4 films.

97: (Fellini, 1963), Blue Velvet (Lynch, 1986), Murmur of the Heart (Malle, 1971), Persona (Bergman, 1966), Taxi Driver (Scorsese, 1976). 5 films.

96: California Split (Altman, 1974), Citizen Kane (Welles, 1941), Duck Soup (McCarey, 1933), Edvard Munch (Watkins, 1974), The Passion of Joan of Arc (Dreyer, 1928), Umberto D. (De Sica, 1952). 6 films.

95: Aguirre: The Wrath of God (Herzog, 1972), Badlands (Malick, 1973), Close-Up (Kiarostami, 1990), Fanny and Alexander (Bergman, 1982), His Girl Friday (Hawks, 1940), Husbands and Wives (Allen, 1992), The Maltese Falcon (Huston, 1941). 7 films.

94: Annie Hall (Allen, 1977), Bicycle Thieves (De Sica, 1948), Days of Heaven (Malick, 1978), Irreversible (Noé, 2002), The Lady Eve (Sturges, 1941), Raging Bull (Scorsese, 1980), Solaris (Tarkovsky, 1972), The Young Girls of Rochefort (Demy, 1967). 8 films.

93: The Century of the Self (Curtis, 2002), The Conversation (Coppola, 1974), Dogville (von Trier, 2003), La Dolce vita (Fellini, 1960), Goodfellas (Scorsese, 1990), Stalker (Tarkovsky, 1979), There Will Be Blood (Anderson, 2007), Tokyo Story (Ozu, 1953), Twin Peaks: Fire Walk with Me (Lynch, 1992), West Side Story (Robbins, Wise, 1961), Who’s Afraid of Virginia Woolf? (Nichols, 1966), Wild at Heart (Lynch, 1990). 12 films.

92: Come and See (Klimov, 1985), Cries and Whispers (Bergman, 1972), The Earrings of Madame De… (Ophüls, 1953), Epidemic (von Trier, 1987), The Golden Coach (Renoir, 1953), The Green Ray (Rohmer, 1986), I Stand Alone (Noé, 1998), The Idiots (von Trier, 1998), Late Spring (Ozu, 1949), Lost Highway (Lynch, 1997), Manderlay (von Trier, 2005), Manhattan (Allen, 1979), Mulholland Drive (Lynch, 2001), The New World (Malick, 2005), Seven Beauties (Wertmüller, 1975), Vertigo (Hitchcock, 1958), The Wind Will Carry Us (Kiarostami, 1999). 17 films.

91: Au hasard Balthazar (Bresson, 1966), The Battle of Chile (Guzmán, 1975, 1977, 1979), The Beautiful Troublemaker (Rivette, 1991), Black Swan (Aronofsky, 2010), Chinatown (Polanski, 1974), Dancer in the Dark (von Trier, 2000), Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (Kubrick, 1964), Even Dwarfs Started Small (Herzog, 1970), The Exterminating Angel (Buñuel, 1962), Fitzcarraldo (Herzog, 1982), Five Easy Pieces (Rafelson, 1970), Full Moon in Paris (Rohmer, 1984), Himizu (Sono, 2011), Lola (Demy, 1961), Ludwig – Requiem for a Virgin King (Syberberg, 1972), The Magnificent Ambersons (Welles, 1942), Nashville (Altman, 1975), Perceval le Gallois (Rohmer, 1978), Poem (Jissoji, 1972), The Power of Nightmares: The Rise of the Politics of Fear (Curtis, 2004), Psycho (Hitchcock, 1960), Seconds (Frankenheimer, 1966), Singin’ in the Rain (Donen, Kelly, 1952), The Sorrow and the Pity (Ophüls, 1969), Synecdoche, New York (Kaufman, 2008), Tale of Tales (Norstein, 1979), Ten (Kiarostami, 2002), Top Hat (Sandrich, 1935). 28 films.

90: Accattone (Pasolini, 1961), All Watched Over by Machines of Loving Grace (Curtis, 2011), An Autumn Tale (Rohmer, 1998), Bad Lieutenant (Ferrara, 1992), Barton Fink (Coen brothers, 1991), Carnal Knowledge (Nichols, 1971), Children of Paradise (Carné, 1945), Chimes at Midnight (Welles, 1965), Crimes and Misdemeanors (Allen, 1989), The Death of Empedocles, or When the Green of the Earth Will Glisten for You Anew (Huillet, Straub, 1987), Early Summer (Ozu, 1951), Ivan’s Childhood (Tarkovsky, 1962), Koyaanisqatsi (Reggio, 1982), Lolita (Kubrick, 1962), A Man Escaped (Bresson, 1956), The Man with a Movie Camera (Vertov, 1929), McCabe & Mrs. Miller (Altman, 1971), My Night at Maud’s (Rohmer, 1969), Die Nacht (Syberberg, 1985), Nosferatu the Vampyre (Herzog, 1979), Nymphomaniac (von Trier, 2013), Othello (Welles, 1952), Pather Panchali (Ray, 1955), Saraband (Bergman, 2003), Smiles of a Summer Night (Bergman, 1955), A Summer’s Tale (Rohmer, 1996), Sweet Smell of Success (Mackendrick, 1957), Taste of Cherry (Kiarostami, 1997), Wild Strawberries (Bergman, 1957). 29 films.

JakeAesthete
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Re: Sight and Sound poll (2022 edition)

Post by JakeAesthete »

Hitler: A Film from Germany is exactly the sort of film I'd love to see included on the S&S list, but they'd never go anywhere near Syberberg these days.

djross
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Re: Sight and Sound poll (2022 edition)

Post by djross »

A collection of the 100 films in the critics poll:
https://www.criticker.com/films/?filter=e90877
Of the 100 films, I've seen 83, with an average percentile of 83%.

The lowest scores I've given to films on the list are:
30: Do the Right Thing; Playtime
35: Chungking Express; Some Like it Hot
45: A Matter of Life and Death; Pierrot le fou; Sans soleil; The Searchers

Films on the list that I have not yet seen:
The Apartment; Black Girl; A Brighter Summer Day; City Lights; Daisies; Daughters of the Dust; Imitation of Life; Jeanne Dielman; Journey to Italy; Moonlight; News from Home; Once Upon a Time in the West; Portrait of a Lady on Fire; Touki Bouki; Tropical Malady; Wanda; Yi Yi

A collection of the 104 films in the directors poll:
https://www.criticker.com/films/?filter=e90884
Of the 104 films, I've seen 91, with an average percentile of 86%.

The lowest scores I've given to films on the list are:
30: Do the Right Thing; Playtime
35: Some Like it Hot
45: Sans soleil; The Searchers

Films on the list that I have not yet seen:
A Brighter Summer Day; La ciénaga; City Lights; Jeanne Dielman; Kes; Lawrence of Arabia; Moonlight; News from Home; Once Upon a Time in the West; Touki Bouki; Tropical Malady; Wanda; Yi Yi

CosmicMonkey
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Re: Sight and Sound poll (2022 edition)

Post by CosmicMonkey »

AFlickering wrote:
Fri Dec 02, 2022 8:08 pm
i find the inclusion of the likes of GET OUT, MOONLIGHT and PORTRAIT OF A LADY ON FIRE very silly and, actually, the idea that these films are the pinnacle of black/gay cinema is extremely straight 'n white to me--almost more insulting than sticking with 100% dead white men. i wish the selections from those minority groups were more in line with the female representation, which i'm actually very happy with. i think *for the most part* they reflect actual knowledge and deep exploration rather than just being token agenda-driven flavour of the month stuff. absolutely lovely to see something like WANDA in the top 50. JEANNE DIELMAN at #1 is bold, but the right kind of bold in my opinion, regardless of my personal feelings on the film.
Yeah, queer person here, and I can kind of get behind this. I always felt like Moonlight was more beloved by straight folks than it was by the actual queer community, and I never quite understood the overwhelming praise it recieved. It's... pretty good, but it's not even Barry Jenkins's best film.

If there was an actual poll of queer film critics, we'd probably see stuff like... i dunno Paris is Burning or Tongues Untied in the top 100 instead.

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