Las 50 mejores películas de todos los tiempos según los 846
críticos, programadores, académicos y distribuidores encuestados por la revista
Sight & Sound. Estos provienen de 73 países y fueron quienes respondieron a
las más de mil solicitudes que hizo la revista. Se votaron un total de 2045
filmes.
·
Vertigo (1958)
Alfred Hitchcock
A former detective with a fear of heights is hired to follow a woman apparently possessed by the past, in Alfred Hitchcock’s timeless thriller about obsession.
1
·
Citizen Kane (1941)
Orson Welles
Given extraordinary freedom by Hollywood studio RKO for his debut film, boy wonder Welles created a modernist masterpiece that is regularly voted the best film ever made.
2
·
Tokyo Story (1953)
Ozu Yasujirô
The final part of Yasujiro Ozu’s loosely connected ‘Noriko’ trilogy is a devastating story of elderly grandparents brushed aside by their self-involved family.
3
·
Règle du jeu, La (1939)
Jean Renoir
Made on the cusp of WWII, Jean Renoir’s satire of the upper-middle classes was banned as demoralising by the French government for two decades after its release.
4
·
Sunrise (1927)
F. W. Murnau
Lured to Hollywood by producer William Fox, German Expressionist filmmaker F.W. Murnau created one of the silent cinema’s last and most luminous masterpieces.
5
·
2001: A Space Odyssey
(1968)
Stanley Kubrick
Adapting Arthur C. Clarke’s novel, Kubrick took science fiction cinema in a grandly intelligent new direction with this epic story of man’s quest for knowledge.
6
·
Searchers, The (1956)
John Ford
John Ford created perhaps the greatest of all westerns with this tale of a Civil War veteran doggedly hunting the Comanche who have kidnapped his niece.
7
·
Man with a Movie Camera
(1929)
Dziga Vertov
An impression of city life in the Soviet Union, The Man with a Movie Camera is the best-known film of experimental documentary pioneer Dziga Vertov.
8
·
Passion of Joan of Arc
(1927)
Carl Theodor Dreyer
Silent cinema at its most sublimely expressive, Carl Theodor Dreyer’s masterpiece is an austere but hugely affecting dramatisation of the trial of St Joan.
9
·
8½ (1963)
Federico Fellini
Federico Fellini triumphantly conjured himself out of a bad case of creative block with this autobiographical magnum opus about a film director experiencing creative block.
10
Sergei Eisenstein, 1925 (63 votes)
Jean Vigo, 1934 (58 votes)
Jean-Luc Godard, 1960 (57 votes)
Francis Ford Coppola, 1979 (53 votes)
Ozu Yasujiro, 1949 (50 votes)
Robert Bresson, 1966 (49 votes)
Kurosawa Akira, 1954 (48 votes)
Ingmar Bergman, 1966 (48 votes)
Andrei Tarkovsky, 1974 (47 votes)
Stanley Donen & Gene Kelly, 1951 (46 votes)
Michelangelo Antonioni, 1960 (43 votes)
Jean-Luc Godard, 1963 (43 votes)
Francis Ford Coppola, 1972 (43 votes)
Carl Dreyer, 1955 (42 votes)
Wong Kar-Wai, 2000 (42 votes)
Kurosawa Akira, 1950 (41 votes)
Andrei Tarkovsky, 1966 (41 votes)
David Lynch, 2001 (40 votes)
Andrei Tarkovsky, 1979 (39 votes)
Claude Lanzmann, 1985 (39 votes)
Francis Ford Coppola, 1974 (38 votes)
Martin Scorsese, 1976 (38 votes)
Vittoria De Sica, 1948 (37 votes)
Buster Keaton & Clyde Bruckman, 1926 (35 votes)
Fritz Lang, 1927 (34 votes)
Alfred Hitchcock, 1960 (34 votes)
Chantal Akerman, 1975 (34 votes)
Béla Tarr, 1994 (34 votes)
François Truffaut, 1959 (33 votes)
Federico Fellini, 1960 (33 votes)
Roberto Rossellini, 1954 (32 votes)
Satyajit Ray, 1955 (31 votes)
Billy Wilder, 1959 (31 votes)
Carl Dreyer, 1964 (31 votes)
Jean-Luc Godard, 1965 (31 votes)
Jacques Tati, 1967 (31 votes)
Abbas Kiarostami, 1990 (31 votes)
Gillo Pontecorvo, 1966 (30 votes)
Jean-Luc Godard, 1998 (30 votes)
Charlie Chaplin, 1931 (29 votes)
Mizoguchi Kenji, 1953 (29 votes)
Chris Marker, 1962 (29 votes)
Las diez
mejores de todos los tiempos según los directores
358 directores de cine respondieron a la
invitación de Sight & Sound. Esta es la lista de los directores:
1. Tokyo Story
2 (tie). 2001: A Space Odyssey
2 (tie). Citizen Kane
4. 8 1/2
5. Taxi Driver
6. Apocalypse Now
7 (tie). The Godfather
7 (tie). Vertigo
9. Mirror
10. Bicycle Thieves
Las diez mejores sonoras
(críticos)
Como considero que el cine silente y el sonoro son dos
formas de arte diferentes, eliminé las silentes entre las primeras diez y este
es el resultado contando solamente con las sonoras. Curiosamente, los
directores de cine no incluyeron ninguna silente en sus diez primeras. (RM)
1.- Vertigo
2.- Citizen Kane
3.- Tokyo Story
4.- La Regle du Jeu
5.-2001 A Space Oddysey
6.- The Searchers
7.-8 e mezzo
8.- L’Atalante
9.- Breathless
10.- Apocalypse Now
Listas individuales de algunos directores de interés
Woody Allen
Bicycle Thieves (1948, dir. Vittorio De Sica)
The Seventh Seal (1957, dir. Ingmar Bergman)
Citizen Kane (1941, dir. Orson Welles)
Amarcord (1973, dir. Federico Fellini)
8 1/2 (1963, dir. Federico Fellini)
The 400 Blows (1959, dir. Francois Truffaut)
Rashomon (1950, dir. Akira Kurosawa)
La Grande Illusion (1937, dir. Jean Renoir)
The Discreet Charm of the Bourgeoisie (1972, dir.
Luis Bunuel)
Paths of Glory (1957, dir. Stanley Kubrick)
Francis Ford Coppola
Ashes and Diamonds (1958, dir. Andrzej Wajda)
The Best Years of Our Lives (1946, dir William Wyler)
I Vitteloni (1953, dir. Federico Fellini)
The Bad Sleep Well (1960, dir. Akira Kurosawa)
Yojimbo (1961, dir. Akira Kurosawa)
Singin' in the Rain (1952, dir. Stanley Donen and Gene
Kelly)
The King of Comedy (1983, dir Martin Scorsese)
Raging Bull (1980, dir. Martin Scorsese)
The Apartment (1960s, dir. Billy Wilder)
Sunrise (1927, dir. F.W. Murnau)
Guillermo Del Toro
Frankenstein (1931, dir. James Whale)
Freaks (1932, dir. Todd Browning)
Shadow of a Doubt (1943, dir. Alfred Hitchcock)
Greed (1925, dir. Erich Von Stroheim)
Modern Times (1936, dir. Charlie Chaplin)
La Belle Et La Bete (1946, dir. Jean Cocteau)
Goodfellas (1990, dir. Martin Scorsese)
Los Olvidados (1950, dir. Luis Bunuel)
Nosferatu (1922, dir. F.W. Murnau)
8 1/2 (1963, dir. Federico Fellini)
Martin Scorsese
8 1/2 (1963, dir. Federico Fellini)
2001: a Space Odyssey (1968, dir. Stanley Kubrick)
Ashes and Diamonds (1958, dir. Andrzej Wajda)
Citizen Kane (1941, dir. Orson Welles)
The Leopard (1963, dir. Luchino Visconti)
Palsa (1946, dir. Roberto Rossellini)
The Red Shoes (1948, dir. Michael Powell and Emeric Pressburger)
The River (1951, dir. Jean Renoir)
Salvatore Giuliano (1962, dir. Francesco Rosi)
The Searchers (1956, dir. John Ford)
Ugetsu Monogatari (1953, dir. Kenji Mizoguchi)
Vertigo (1958, dir. Alfred Hitchcock)
Quentin Tarantino
The Good, the Bad and the Ugly (1966, dir. Sergio Leone)
Apocalypse Now (1979, dir. Francis Ford Coppola)
The Bad News Bears (1976, dir. Michael Ritchie)
Carrie (1976, dir. Brian DePalma)
Dazed and Confused (1993, dir. Richard Linklater)
The Great Escape (1963, dir. John Sturges)
His Girl Friday (1940, dir. Howard Hawks)
Jaws (1975, dir. Steven Spielberg)
Pretty Maids All in a Row (1971, dir. Roger Vadim)
Rolling Thunder (1977, dir. John Flynn)
Sorcerer (1977, dir. William Friedkin)
Taxi Driver (1976, dir. Martin Scorsese)
Listas individuales de algunos críticos de interés
Slavoj Zizek
Filósofo y crítico cultural
Eslovenia
Votó en el critics poll
Eslovenia
Votó en el critics poll
Votó por:
1957
|
Delmer Daves
|
|
1984
|
David Lynch
|
|
1948
|
King Vidor
|
|
1944
|
Veit Harlan
|
|
2002
|
Zhang Yimou
|
|
2007
|
Xavier Gens
|
|
1947
|
Edmund Goulding
|
|
1942
|
Goffredo Alessandrini
|
|
1951
|
Nicholas Ray
|
|
1965
|
Robert Wise
|
Comments
This time, I opted for pure madness: the
list contains only ‘guilty pleasures’, from two screen versions of Ayn Rand to
a top Nazi melodrama, from David Lynch’s greatest flop to height of musical
kitsch, from a low-budget Hollywood action thriller to a Chinese big-budget historical
spectacle, plus a half-forgotten Western and two marginal noirs. This is what I
really enjoy – no compromises for high quality or good taste.
Camille Paglia
Profesora, Humanities and Media Studies, University of the Arts,
Philadelphia
US
Votó en el critics poll
US
Votó en el critics poll
Votó por:
1959
|
William Wyler
|
|
1960
|
Federico Fellini
|
|
1972
|
Francis Ford Coppola
|
|
1974
|
Francis Ford Coppola
|
|
1939
|
Victor Fleming
|
|
1962
|
David Lean
|
|
1959
|
Alfred Hitchcock
|
|
1950
|
Jean Cocteau
|
|
1966
|
Ingmar Bergman
|
|
1958
|
Alfred Hitchcock
|
Comments
My favorite films combine spectacular
photography with strength and depth of character. Their intense emotional
resonance is often amplified by superb orchestral scores, more expressive than
mere words. A great film creates a world of its own. It can be seen again and
again without ever losing its freshness and surprise.
Críticos cubanos incluidos entre los votantes
Ambrosio Fornet
Crítico
Cuba
Votó en el critics poll
Cuba
Votó en el critics poll
Votó por:
1925
|
Sergei M Eisenstein
|
|
1964
|
Glauber Rocha
|
|
1960
|
Jean-Luc Godard
|
|
1941
|
Orson Welles
|
|
1960
|
Federico Fellini
|
|
1925
|
Charles Chaplin
|
|
1968
|
Tomás Gutiérrez Alea
|
|
1955
|
Satyajit Ray
|
|
1950
|
Akira Kurosawa
|
|
1961
|
Luis Buñuel
|
Gilberto Pérez
Autor y
académico
E.U.A./Cuba
Votó en elcritics poll
E.U.A./Cuba
Votó en elcritics poll
Votó por:
1976
|
Ousmane Sembene
|
|
1930
|
Aleksandr Dovzhenko
|
|
1962
|
Michelangelo Antonioni
|
|
1939
|
Jean Renoir
|
|
1954
|
Mizoguchi Kenji
|
|
1924
|
Buster Keaton
|
|
1994
|
Abbas Kiarostami
|
|
1961
|
Luis Buñuel
|
|
1950
|
John Ford
|
|
1933
|
Jean Vigo
|
Comments
I regret I
have no room in the arbitrary top ten for Chaplin or Murnau, Cagney or
Stanwyck, Bruce Baillie or Ernie Gehr, It Happened One Night or Mr. Thank You,
Shadow of a Doubt or The Reckless Moment, Day of Wrath or Andrei Rublev, Not
Reconciled or Eloge de l’amour.
Juan Antonio García Borrero
Crítico y
profesor: cinecubanolapupilainsomne.wordpress.com
Cuba
Votó en el critics poll
Cuba
Votó en el critics poll
Votó por:
1960
|
Federico Fellini
|
|
1972
|
Francis Ford Coppola
|
|
1925
|
Charles Chaplin
|
|
1934
|
Frank Capra
|
|
1962
|
Andrei Tarkovsky
|
|
1968
|
Tomás Gutiérrez Alea
|
|
1995
|
Luis Buñuel
|
|
1950
|
Akira Kurosawa
|
|
1960
|
Luchino Visconti
|
|
1960
|
Ingmar Bergman
|
Comments
Behind the amusing anecdote of the fortune
seeker, behind the ingenious gags that are scattered throughout the film, The
Gold Rush is one of the most profound cinematic representations of the tragic
sense that pervades life. Chaplin is not a comedian; he is a genius who knows
to expose the essence of human existence. On the other hand, up till this point
there’s never been in all the history of cinema a character as universal as
Charlot, who is capable of describing human beings with shivering exactitude,
regardless of race, sex or standing in society. That is to say, capable of
describing us as what we are deep inside: tramps in search of that golden
chimera called happiness. Rashomon is a very fine study of the genuine
possibilities that humans have to access truth. Kurosawa does not exactly
declare himself to be in favour of relativism. Rather, he encourages us to be
wary of any rush to understanding, or treating as definitive the first versions
of truth that we build. And everything is done with an enviable sense of the
cinematographic, in a story where the actors’ performances acquire great
relevance. Violent yet profoundly human, The Godfather Part I works as a
masterful portrait of modern societies. Coppola does not analyse his
characters, nor seeks to moralise, but instead constructs these characters with
all those ingredients that constitute the human condition. The visual and
narrative elements are simply fascinating. The superbly thorough study that
Fellini makes of a world characterised by the loss of moral values remains
intact. But La Dolce Vita is not only about moral denunciation; it’s a film
that has managed to leave for posterity sequences that work in the collective
imaginary in an autonomous way. Los Olvidados is a Buñuel film capable of
higher strike rates than those by Italian Neorealism, and with the latter’s own
ingredients. His look on the world of the poor is bereft of any kind of
idealisation. The poor, by virtue of being ‘poor’, are not granted any
assistance by history or reason. Buñuel gives voice to the excluded, but goes
even further than fake compassion and shows the spiritual misery that hides
behind all material poverty. In Ivan’s Childhood, his first feature, Tarkovsky
seems to be complying with the demands of a cinema that praises the virtues of
the ‘socialist man’, as was required at the time. However, his creative genius
means he can insert sequences that go beyond any desire for a ‘socialist
realism’, to show us a protagonist who is not only vulnerable because of his
age and physique, but also because of his own nature. The childhood the title is
referring to could also be interpreted as that fleeting, violent and innocent
passage that is human life. In The Virgin Spring Bergman captures the innocence
of an 18th-century Swedish legend in a film where the debate around Good and
Evil reaches philosophic heights. But the profundity of the discussion is
guaranteed by his masterful use of filmic language. With a perfect dramaturgic
structure, the film manages to shift, with chilling effectiveness, from candour
to anguish, leaving in the viewer that deep sense of unease that tragedy
inspires. Visconti’s extraordinary sensitivity manages to deliver a vigorous
social portrait in the form of melodrama. The incredibly finely textured
sociological study of the protagonist’s family members reveals a shocking emotional
universe, and all the performances (all of them great) enable Rocco and his
Brothers to acquire a great tragic density. It Happened One Night is an
unforgettable film. Capra unfurls his great gifts as a narrator, turning this
simple (if only in appearance) romantic comedy into a memorable cinematographic
exercise. The way in which he distributes the various tensions (sexual,
economical, social) guarantees that the rhythm of the film is vertiginous at
all times. Gutiérrez Alea’s Memories of Underdevelopment continues to be a
surprising film which does not age, owing to the fact that, more than telling a
story about a bourgeois man whose been surpassed by History, it examines the
destiny of an individual who in reality feels like a foreigner in Existence.
The fact that the plot is developed in the context of an underdeveloped country
where a revolution is taking place can raise the suspicion that it is part of
‘the school of resentment’, but a closer look from our present perspective
proves that its focus is not exactly sociological. Even people who live in
first world countries can identify with this character’s scepticism,
nonconformity and doubt in the face of that programmed optimism that elites
seem to be dictating to us, dazzled as they are by the idea of the Progress of
illuminism.
Apéndice
La lista del
2002 con la lista individual de Alfredo Guevara y la de Zizek
Los diez
mejores según los críticos
Dazzlingly
inventive, technically breathtaking, Citizen Kane reinvented the way stories could be told
in the cinema, and set a standard generations of filmmakers have since aspired
to. An absorbing account of a newspaper tycoon’s rise to power, Orson Welles’
debut film feels as fresh as tomorrow's headlines. And he was only 26 when he
made it.
A gripping
detective story or a delirious investigation into desire, grief and jealousy?
Hitchcock had a genius for transforming genre pieces into vehicles for his own
dark obsessions, and this 1958 masterpiece shows the director at his
mesmerising best. And for James Stewart fans, it also boasts the star’s most
compelling performance.
Tragedy and
comedy effortlessly combine in Renoir’s country house ensemble drama. A group
of aristocrats gather for some rural relaxation, a shooting party is arranged,
downstairs the servants bicker about a new employee, while all the time
husbands, wives, mistresses and lovers sweetly deceive one another and swap
declarations of love like name cards at a dinner party.
Few films have
portrayed the US immigrant experience quite so vividly as Coppola’s Godfather
films, or exposed the contradictions of the American Dream quite so ruthlessly.
And what a cast, formidable talent firing all cylinders: Brando, De Niro,
Pacino, Keaton, Duvall, Caan. Now that’s an offer you can’t refuse.
A poignant
story of family relations and loss, Ozu’s subtle mood piece portrays the trip
an elderly couple make to Tokyo to visit their grown-up children. The shooting
style is elegantly minimal and formally reticent, and the film’s devastating
emotional impact is drawn as much from what is unsaid and unshown as from what
is revealed.
One of the
most ambitious Hollywood movies ever made, 2001 crams into its
two-hour plus running time a story that spans the prehistoric age to the
beginning of the third millennium, and features some of the most hypnotically
beautiful special effects work ever committed to film. After seeing this, you
can never listen to Strauss’ Blue Danube without thinking space crafts waltzing
against starry backdrops.
Eisenstein's
recreation of a mutiny by sailors of the battleship Potemkin in 1905 works as
daring formal experiment - which pushed the expressive potential of film
editing to its limit - and rousing propaganda for the masses. The Odessa Steps
sequence remains one of the most memorable set-pieces in cinema.
Having left
his native Germany for the US, F.W. Murnau had all the resources of a major
Hollywood studio at his disposal for this, his American debut. What he produced
was a visually stunning film romance that ranks as one of the last hurrahs of
the silent period.
Wonderfully
freefloating, gleefully confusing reality and fantasy, 8½ provides a
ringside seat into the ever active imaginative life of its director protagonist
Guido, played by Fellini’s on-screen alter-ego Marcello Mastroianni. The
definitive film about film-making - as much about the agonies of the creative
process as the ecstasies - it’s no wonder the movie is so popular with
directors.
Impossible to
watch without a smile on your face, this affectionate tribute to the glory days
of Hollywood in the 1920s is pleasure distilled into 102 minutes. With Gene
Kelly dance sequences that take your breath away and a great score by Brown and
Freed, this is the film musical at its best.
Los diez mejores según
los directores
Dazzlingly
inventive, technically breathtaking, Citizen Kane reinvented the way stories
could be told in the cinema, and set a standard generations of film-makers have
since aspired to. An absorbing account of a newspaper tycoon's rise to power,
Orson Welles' debut film feels as fresh as tomorrow's headlines. And he was
only 26 when he made it.
Few films have
portrayed the US immigrant experience quite so vividly as Coppola's Godfather
films, or exposed the contradictions of the American Dream quite so ruthlessly.
And what a cast, formidable talent firing all cylinders: Brando, De Niro,
Pacino, Keaton, Duvall, Caan. Now that's an offer you can't refuse.
Wonderfully
freefloating, gleefully confusing reality and fantasy, 8½ provides a ringside
seat into the ever active imaginative life of its director protagonist Guido,
played by Fellini's on-screen alter-ego Marcello Mastroianni. The definitive
film about film-making - as much about the agonies of the creative process as
the ecstasies - it's no wonder the movie is so popular with directors.
Filmed in the
desert in lavish widescreen and rich colours, Lawrence of Arabia is David Lean
at his most epic and expansive. You can almost feel the waves of heat glowing
from the cinema screen.
A black comedy
about impending nuclear annihilation that was made at the height of the cold
war, Dr. Strangelove is perhaps Kubrick's most audacious movie and certainly
his funniest. Peter Sellers has never been better, and provides good value
playing three roles.
Mixing
melodrama, documentary and social commentary, De Sica follows an impoverished
father and son treading the streets of post-war Rome, desperately seeking their
stolen bicycle. Deeply compassionate, this poignant film is one of the
outstanding examples of Italian neorealism.
An
unblinkingly honest biopic of Jake La Motta - a great prizefighter but a deeply
flawed human being - this catches Scorsese in fighting fit form. The boxing
sequence are both brutal and beautiful, and De Niro, who famously put on weight
to play the middle-aged La Motta, gives one of the performances of modern cinema.
A gripping
detective story or a delirious investigation into desire, grief and jealousy?
Hitchcock had a genius for transforming genre pieces into vehicles for his own
dark obsessions, and this 1958 masterpiece shows the director at his
mesmerising best. And for James Stewart fans, it also boasts the star's most
compelling performance.
Offering four
differing accounts of a rape and murder, all told in flashbacks, Kurosawa's
1951 film is a complex meditation on the distortive nature of memory and a
gripping study of human behaviour at its most base. Mifune Toshiro is magnetic
as the bandit Tajomaru.
Tragedy and comedy
effortlessly combine in Renoir's country house ensemble drama. A group of
aristocrats gather for some rural relaxation, a shooting party is arranged,
downstairs the servants bicker about a new employee, while all the time
husbands, wives, mistresses and lovers sweetly deceive one another and swap
declarations of love like name cards at a dinner party.
The blueprint
for The Magnificent Seven was Kurosawa's magnificent swordplay epic of
self-sacrifice about a band of hired samurai who come together to protect a
helpless village from a rapacious gang of 40 thieves who descend every year to
steal the harvest and kidnap women. The final sequence of the fight in the mud
and rain has never been bettered.
Alfredo Guevara
International Film Festival of New Latin
American Cinema
Cuba
Slavoj Zizek
Eslovenia
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