Chris' Light My Fire Canon

...the hour has come

[taken from]

The Hour of the Furnaces (Octavio Getino, Fernando E. Solanas, 1968)

Adrian here:

About ten years ago, our beloved Adrian Martin wrote an essay that would shape the advocacy of this blog. Adrian Martin wrote that there are two dominant canons in cinema today. The first is obviously what everybody knows as the 'Populist' Canon, the canon based on box office hits where films like Avatar (2009), Titanic (1997) and Gone With the Wind (1939) predominate the lists. This canon, as Adrian noted, concerns both "money and business. ... [and] massively biased towards blockbuster Hollywood product." Another canon is called the Citizen Kane Canon, the respectable canon favoring the old masterpieces of cinema in the 50s and 60s era notably dominated by films of Welles, Wyler, De Sica, Rossellini, Felini, Ozu, Kurosawa, Godard, and Ray. Chris and I do have a bias to this canon because the films have always been lauded as perfect films: universal, humanist, naturalist often middle-brow as Adrian Martin describes further:

"It champions films it perceives as timeless, universal and noble. It disparages what it perceives as mere formalism or style without substance - so, to take a historical example, the canon always revered Italian neo-realism but had a big problem with Antonioni."
- Light My Fire Up: The Geology and
Geography of Film Canons [link]
In addition to that, we find both these canon snobbish of other films from around the world. It is also euro-centric and Hollywood centric with Asian films mostly composed of Japanese and Indian Films. In other words, it is limiting. Adrian Martin further discusses the limitation of the canons, quoting from his essay:

"* Canons massively favour the feature length format, and exclude short films.

* Canons massively favour narrative films, and exclude documentaries.

* Most canons have a heavy bias towards the classics of American cinema, because they reflect a long-ago period in (mainly Western) film culture before Asian cinema, Indian cinema, Iranian cinema and so forth finally broke into some people's consciousnesses.

* Canons favour drama over comedy, just like at the Academy Awards. Buster Keaton always hovers just outside the established canons (while Chaplin sometimes scrapes in as timeless, universal and noble), while Jerry Lewis is a complete outcast - and that's a crime.

* Canons have little regard for the achievements and traditions of many popular genres. At best, you might find one musical (usually Singin' in the Rain [1951]), a token horror movie by a great auteur (like Hitchcock's Psycho [1960]) and a single, exceptional science fiction classic (Kubrick's 2001: A Space Odyssey [1968]). But there is so much more in the great sea of pop culture, from Louis Feuillade serials to Amy Heckerling's Clueless (1995).

* Virtually all forms of avant-garde or experimental cinema are banished from canons - which means, for example, that the best women filmmakers in cinema history, like Maya Deren and Chantal Akerman, are rarely honoured in such surveys.

* Canons like to take refuge in the past, and flee from the challenges of the present. Some canons are happy to shut up shop with Raging Bull in 1980.

* Canons favour an organic aesthetics - they valorise whole, entire films as perfect objects. This leaves no room for imperfect films, or brilliant bits or fragments of films. And we all know there are many films that are great for just ten minutes, maybe just for one scene.

* Canons valorise singular masterpieces over bodies or corpuses of work. But there is no single great masterpiece to be plucked from the careers of many important and influential directors, including Fassbinder, Pasolini and Preston Sturges."

from Light My Fire: The Geology and Geography of Film Canons [link]

Mapping out this terrain of omission are countless forgotten films from all around the world. We have to do a lot of digging and seeking within the major and minor film lists, and to slowly vanquish the old canon with ourselves which has dominated the global film culture for more than fifty years. As it is for me and Chris, we joined Adrian Martin's call to establishing our own personal canons favoring the unknown terrain of our experiences. After all, this is not in itself a limitation of our desires but an expansion of our knowledge.

Chris has started putting the blocks down for this project more than a year ago while I am just starting now. We're helping each other to make way for more unknown films, films that are masterpieces themselves but have been feared to be forgotten. Notable attempts in internet have been sprawling for years like Iain Stott's 100 Films Beyond the Canon and Further Beyond the Canon with the latter greater than the former. I am also particularly attracted to the list by They Shoot Pictures Don't They with their list called Ain't Nobody's Blues But My Own compiling 250 obscure films quite surprisingly included two masterpiece work from Philippine Cinema: Tinimbang Ka Ngunit Kulang (Lino Brocka, 1975) and City After Dark (Ishamael Bernal, 1980) both are my all-time favorites. I also find Harry Tuttle's excellent blog UNSPOKEN CINEMA an effort to forge an alternative canon starting with this list of filmmakers who have subscribed to the contemplative metrics of cinema.

From Chris:

I may not be an aspiring filmmaker, a film student, or someone working in the field of film, I may be just a mere film enthusiast or film buff, but I love cinema for the same reasons you do: aesthetics, new experiences, exploration to the human mind, insights to the human condition, discovery of worlds and ideas completely different to yours, learning, broadening my limited perspective and knowledge, diversion and entertainment, and simply just looking for an interesting story told in a creative and imaginative manner.

I may not have the inclination and competence to write a decent review about a film but I know what I love and what I hate. That’s quite enough. At least, I don’t go claiming that this or that is the greatest film ever and that my list of favourites is definitive. Everyone has an opinion about everything but that doesn’t mean that he or she has the qualifications or the expertise to say anything decisive and absolute about it.

The creation of this list is not for the purpose of self-indulgence and claiming that I have better taste than you do. Well, okay, maybe it slightly is. But it is also for the purpose of keeping track of the films I hold closely to my heart.
Meanwhile, let's take a look at Chris' continuously evolving personal canon of cinema. My list will follow shortly.

Excelsior! Prince of Magicians (Georges Méliès, France)

Cops (Buster Keaton, USA)

Sherlock Jr. (Buster Keaton, USA)
The Navigator (Buster Keaton, USA)

Battleship Potemkin (Sergei Eisenstein, Soviet Union)
Strike (Sergei Eisenstein, Soviet Union)

The Scarlet Letter (Victor Sjöström, USA)
Mother (Vsevolod Pudovkin, Soviet Union)
A Sixth Part of the World (Dziga Vertov, Soviet Union)
A Page of Madness (Teinosuke Kinugasa, Japan)

The Girl with the Hat Box (Boris Barnet, Soviet Union)
Bed and Sofa (Abram Room, Soviet Union)
Metropolis (Fritz Lang, Germany)

The Cameraman (Edward Sedgwick, USA)
The Wind (Victor Sjöström, USA)
The Passion of Joan of Arc (Carl Theodor Dreyer, France)

Earth (Aleksandr Dovzhenko, Soviet Union)

À Nous la Liberté (René Clair, France)

I Was Born, But... (Yasujiro Ozu, Japan)

Design for Living (Ernst Lubitsch, USA)

The Goddess (Wu Yonggang, China)
Our Neighbor Miss Yae (Yasujiro Shimazu, Japan)

Happiness (Aleksandr Medvedkin, Soviet Union)

Mr. Thank You (Hiroshi Shimizu, Japan)
The Crime of Monsieur Lange (Jean Renoir, France)

The Masseurs and a Woman (Hiroshi Shimizu, Japan)
Holiday (George Cukor, USA)
Bringing Up Baby (Howard Hawks, USA)

His Girl Friday (Howard Hawks, USA)

The Lady Eve (Preston Sturges, USA)
Hellzapoppin' (H.C. Potter, USA)

To Be or Not to Be (Ernst Lubitsch, USA)

Meshes of the Afternoon (Maya Deren, USA)
Day of Wrath (Carl Theodor Dreyer, Denmark)

The Private Life of a Cat (Alexander Hammid, USA)
Jammin' the Blues (Gjon Mili, USA)

Under the Bridges (Helmut Käutner, Germany)

Ritual in Transfigured Time (Maya Deren, USA)
Shoeshine (Vittorio De Sica, Italy)

The Ghost and Mrs. Muir (Joseph L. Mankiewicz, USA)
Fireworks (Kenneth Anger, USA)
The Ball at the Anjo House (Kozaburo Yoshimura, Japan)

Spring in a Small Town (Fei Mu, China)
The Red Shoes (Michael Powell & Emeric Pressburger, UK)

The Reckless Moment (Max Ophüls, USA)
Begone Dull Care (Evelyn Lambart & Norman McLaren, Canada)

Un Chant D'amour (Jean Genet, France)
Orpheus (Jean Cocteau, France)
Los Olvidados (Luis Buñuel, Mexico)

Venom and Eternity (Isidore Isou, France)

Casque D'or (Jacques Becker, France)
The Narrow Margin (Richard Fleischer, USA)

The Saga of Anatahan (Josef von Sternberg, Japan)
Duck Amuck (Chuck Jones, USA)

Johnny Guitar (Nicholas Ray, USA)
The Thunder of the Mountain (Mikio Naruse, Japan)
Sansho the Bailiff (Kenji Mizoguchi, Japan)

Ordet (Carl Theodor Dreyer, Denmark)
The Night of the Hunter (Charles Laughton, USA)
Night and Fog (Alain Resnais, France)

A Man Escaped (Robert Bresson, France)
Street of Shame (Kenji Mizoguchi, Japan)
Crazed Fruit (Kô Nakahira, Japan)
A Girl in Black (Mihalis Kakogiannis, Greece)
Flowing (Mikio Naruse, Japan)

Kisses (Yasuzo Masumura, Japan)
Pyaasa (Guru Dutt, India)
Kanal (Andrzej Wajda, Poland)
A Chairy Tale (Norman McLaren & Claude Jutra, Canada)
Will Success Spoil Rock Hunter? (Frank Tashlin, USA)
The Incredible Shrinking Man (Jack Arnold, USA)
The Cranes Are Flying (Mikhail Kalatozov, Soviet Union)
Paths of Glory (Stanley Kubrick, USA)

Ashes and Diamonds (Andrzej Wajda, Poland)
Giants and Toys (Yasuzo Masumura, Japan)
Murder by Contract (Irving Lerner, USA)
Flower in Hell (Shin Sang-ok, South Korea)

The Human Condition (Masaki Kobayashi, Japan)
Rio Bravo (Howard Hawks, USA)
Good Morning (Yasujiro Ozu, Japan)
Some Like It Hot (Billy Wilder, USA)
Pickpocket (Robert Bresson, France)

The Cloud-Capped Star (Ritwik Ghatak, India)
When a Woman Ascends the Stairs (Mikio Naruse, Japan)
The Apartment (Billy Wilder, USA)
Daughters, Wives and a Mother (Mikio Naruse, Japan)
Rocco and His Brothers (Luchino Visconti, Italy)

Il Posto (Ermanno Olmi, Italy)
Last Year at Marienbad (Alain Resnais, France)
The Errand Boy (Jerry Lewis, USA)
Viridiana (Luis Buñuel, Spain)
Very Nice, Very Nice
(Arthur Lipsett, Canada)
Accattone (Pier Paolo Pasolini, Italy)

The Exterminating Angel (Luis Buñuel, Mexico)
Window Water Baby Moving
(Stan Brakhage, USA)
...A Valparaiso (Joris Ivens, Chile)
Ivan's Childhood (Andrei Tarkovsky, Soviet Union)

The House Is Black (Forough Farrokhzad, Iran)
The Big City (Satyajit Ray, India)
La Ricotta (Pier Paolo Pasolini, Italy)
Blow Job (Andy Warhol, USA)
Joseph Kilian (Pavel Jurácek & Jan Schmidt, Czechoslovakia)
Vidas Secas (Nelson Pereira dos Santos, Brazil)
I Fidanzati (Ermanno Olmi, Italy)

Scorpio Rising (Kenneth Anger, USA)
Yearning (Mikio Naruse, Japan)
Noite Vazia (Walter Hugo Khouri, Brazil)
I Am Cuba (Mikhail Kalatozov, Cuba)
Shadows of Forgotten Ancestors (Sergei Parajanov, Soviet Union)
My Way Home (Miklós Jancsó, Hungary)
The Gospel According to St. Matthew (Pier Paolo Pasolini)
Red Desert (Michelangelo Antonioni, Italy)
Black God, White Devil (Glauber Rocha, Brazil)
Dry Summer (Metin Erksan, Turkey)
Band of Outsiders (Jean-Luc Godard, France)
Os Fuzis (Ruy Guerra, Brazil)
Dr. Strangelove, or How I Learned to Stop Worrying and Love the Bomb (Stanley Kubrick, USA)
21-87 (Arthur Lipsett, Canada)

Subarnarekha (Ritwik Ghatak, India)
The War Game (Peter Watkins, UK)
Elégia (Zoltán Huszárik, Hungary)

Coach to Vienna (Karel Kachyna, Czechoslovakia)
Andrei Rublev (Andrei Tarkovsky, Soviet Union)
Closely Watched Trains (Jirí Menzel, Czechoslovakia)
Fighting Elegy (Seijun Suzuki, Japan)
Red Angel (Yasuzo Masumura, Japan)
Wings (Larisa Shepitko, Soviet Union)
The Battle of Algiers (Gillo Pontecorvo, Italy)
Persona (Ingmar Bergman, Sweden)
Black Girl (Ousmane Sembène, Senegal)
Piece Mandala/End War (Paul Sharits, USA)
Young Törless (Volker Schlöndorff, West Germany)
Breakaway (Bruce Conner, USA)

The Young Girls of Rochefort (Jacques Demy & Agnès Varda, France)
The Red and the White (Miklós Jancsó, Hungary)
Beginning (Artavazd Peleshian, Soviet Union)
Warrendale (Allan King, Canada)
La Chinoise (Jean-Luc Godard, France)
Terra em Transe (Glauber Rocha, Brazil)

The Hour of the Furnaces (Octavio Getino & Fernando E. Solanas, Argentina)
Memories of Underdevelopment (Tomás Gutiérrez Alea, Cuba)
Reconstruction (Lucian Pintilie, Romania)
Death by Hanging (Nagisa Ôshima, Japan)
Pas de Deux (Norman McLaren, Canada)
Valley of the Bees (František Vláčil, Czechoslovakia)
Teorema (Pier Paolo Pasolini, Italy)
Diary of a Shinjuku Thief (Nagisa Ôshima, Japan)
The Cremator (Juraj Herz, Czechoslovakia)
Color of Pomegranates (Sergei Parajanov, Soviet Union)
L'Enfance Nue (Maurice Pialat, France)
T,O,U,C,H,I,N,G (Paul Sharits, USA)

Antonio das Mortes (Glauber Rocha, Brazil)
Eros Plus Massacre (Yoshishige Yoshida, Japan)
Katzelmacher (Rainer Werner Fassbinder, West Germany)
Blind Beast (Yasuzo Masumura, Japan)
Invocation of my Demon Brother (Kenneth Anger, USA)
Funeral Parade of Roses (Toshio Matsumoto, Japan)
Shonen (Nagisa Ôshima, Japan)
We (Artavazd Peleshian, Soviet Union)
The Sorrow and the Pity (Marcel Ophüls, France)
Kes (Ken Loach, UK)

Days and Nights in the Forest (Satyajit Ray, India)
This Transient Life (Akio Jissoji, Japan)
Once Upon a Time There Was a Singing Blackbird (Otar Iosseliani, Georgia)
Adelheid (František Vláčil, Czechoslovakia)
El Topo (Alejandro Jodorowsky, Mexico)

The Third Part of the Night (Andrzej Żuławski, Poland)
Throw Away Your Books, Rally in the Streets (Shûji Terayama, Japan)
Punishment Park (Peter Watkins, USA)
Walkabout (Nicolas Roeg, Australia)
Harold and Maude (Hal Ashby, USA)
Evdokia (Alexis Damianos, Greece)
Death in Venice (Luchino Visconti, Italy)

My Childhood (Bill Douglas, UK)
The Adversary (Satyajit Ray, India)
The Devil (Andrzej Żuławski, Poland)
Lucifer Rising (Kenneth Anger, USA)
Ballet Adagio (Norman McLaren, Canada)

Castle of Purity (Arturo Ripstein, Mexico)
The Spirit of the Beehive (Victor Erice, Spain)
Through and Through (Grzegorz Królikiewicz, Poland)
Island (Fyodor Khitruk, Soviet Union)

Un Homme qui Dort (Bernard Queysanne, France)
Edvard Munch (Peter Watkins, Norway)
Pastoral: To Die in the Country (Shûji Terayama, Japan)
Penda's Fen (Alan Clarke, UK)
Ali: Fear Eats the Soul (Rainer Werner Fassbinder, West Germany)
The Enigma of Kaspar Hauser (Werner Herzog, West Germany)

The Passenger (Michelangelo Antonioni, Italy)
Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles (Chantal Akerman, Belgium)
Shivers (David Cronenberg, Canada)
Xala (Ousmane Sembène, Senegal)
Fox and His Friends (Rainer Werner Fassbinder, West Germany)
The Battle of Chile (Patricio Guzmán, Chile)
The Travelling Players (Theo Angelopoulos, Greece)
Seven Beauties (Lina Wertmüller, Italy)
Dog Day Afternoon (Sidney Lumet, USA)
Salo, or 120 Days of Sodom (Pier Paolo Pasolini, Italy)

Harvest: 3000 Years (Haile Gerima, Ethiopia)
Insiang (Lino Brocka, Philippines)
Cria Cuervos... (Carlos Saura, Spain)
The Wishing Tree (Tengiz Abuladze, Georgia)
Sebastiane (Derek Jarman, UK)
Chinese Roulette (Rainer Werner Fassbinder, West Germany)
Assault on Precinct 13 (John Carpenter, USA)

The Perfumed Nightmare (Kidlat Tahimik, Philippines)
Io Island (Kim Ki-young, South Korea)
Hausu (Nobuhiko Obayashi, Japan)
Ceddo (Ousmane Sembène, Senegal)
The Ascent (Larisa Shepitko, Soviet Union)
Annie Hall (Woody Allen, USA)
A Grin Without a Cat (Chris Marker, France)
Suspiria (Dario Argento, Italy)

Les Rendez-vous d'Anna (Chantal Akerman, Belgium)
The Tree of Wooden Clogs (Ermanno Olmi, Italy)
Jubilee (Derek Jarman, UK)
Veredas (João César Monteiro, Portugal)
In a Year of Thirteen Moons (Rainer Werner Fassbinder, West Germany)

Camera Buff (Krzysztof Kieślowski, Poland)
The Hypothesis of the Stolen Painting (Raúl Ruiz, France)
And Quiet Rolls the Dawn (Mrinal Sen, India)

The Age of the Earth (Glauber Rocha, Brazil)
The Falls (Peter Greenaway, UK)
Arrebato (Iván Zulueta, Spain)

Taxi zum Klo (Frank Ripploh, West Germany)
Possession (Andrzej Żuławski, France)
Turumba (Kidlat Tahimik, Philippines)
Pixote (Hector Babenco, Brazil)
Polyester (John Waters, USA)

Batch '81 (Mike de Leon, Philippines)
Querelle (Rainer Werner Fassbinder, West Germany)
Himala (Ishmael Bernal, Philippines)
Tenebre (Dario Argento, Italy)

Sans Soleil (Chris Marker, France)
Videodrome (David Cronenberg, Canada)
Born in Flames (Lizzie Borden, USA)
The Boys from Fengkuei (Hou Hsiao-Hsien, Taiwan)
A Question of Silence (Marleen Gorris, Netherlands)
L'Argent (Robert Bresson, France)
Local Hero (Bill Forsyth, UK)

Shades of a Fern (František Vláčil, Czechoslovakia)
Manuel on the Island of Wonders (Raúl Ruiz, France)
Nausicaä of the Valley of the Wind (Hayao Miyazaki, Japan)
Stranger than Paradise (Jim Jarmusch, USA)
My Friend Ivan Lapshin (Aleksei German, Soviet Union)
When the Tenth Month Comes (Đặng Nhật Minh, Vietnam)
What Have I Done to Deserve This? (Pedro Almodóvar, Spain)
Stop Making Sense (Jonathan Demme, USA)
Barres (Luc Moullet, France)

Phenomena (Dario Argento, Italy)
A Zed and Two Noughts (Peter Greenaway, UK)
Come and See (Elem Klimov, Soviet Union)
A Time to Live and a Time to Die (Hou Hsiao-Hsien, Taiwan)
Day of the Dead (George A. Romero, USA)
Submit to Me (Richard Kern, USA)
After Hours (Martin Scorsese, USA)
Tampopo (Jûzô Itami, Japan)

The Green Ray (Éric Rohmer, France)
Mauvais Sang (Leos Carax, France)
Peking Opera Blues (Tsui Hark, Hong Kong)
Dust in the Wind (Hou Hsiao-Hsien, Taiwan)
Withnail and I (Bruce Robinson, UK)

Law of Desire (Pedro Almodóvar, Spain)
Yeelen (Souleymane Cissé, Mali)
Where Is the Friend's Home? (Abbas Kiarostami, Iran)

A Tale of the Wind (Joris Ivens, France)
Landscape in the Mist (Theo Angelopoulos, Greece)
July (Darezhan Omirbaev, Kazakhstan)
A Short Film About Love (Krzysztof Kieślowski, Poland)
Dead Ringers (David Cronenberg, Canada)
Chocolat (Claire Denis, France)
High Hopes (Mike Leigh, UK)

Chameleon Street (Wendell B. Harris, USA)
Kiki's Delivery Service (Hayao Miyazaki, Japan)
A City of Sadness (Hou Hsiao-Hsien, Taiwan)
Tongues Untied (Marlon Riggs, USA)
Island of Flowers (Jorge Furtado, Brazil)
Mystery Train (Jim Jarmusch, USA)
The Cook, the Thief, His Wife & Her Lover (Peter Greenaway, UK)

Close-up (Abbas Kiarostami, Iran)

A Brighter Summer Day (Edward Yang, Taiwan)
Les Amants du Pont-Neuf (Leos Carax, France)
A Little Stiff (Caveh Zahedi & Greg Watkins, USA)
Only Yesterday (Isao Takahata, Japan)
Three Days (Sharunas Bartas, Lithuania)
Night and Day (Chantal Akerman, France)
Edward II (Derek Jarman, UK)
Prospero's Books (Peter Greenaway, UK)

Rock Hudson's Home Movies (Mark Rappaport, USA)
Rebels of the Neon God (Tsai Ming-Liang, Taiwan)
Kairat (Darezhan Omirbaev, Kazakhstan)
The Living End (Gregg Araki, USA)
Center Stage (Stanley Kwan, Hong Kong)
Hyenas (Djibril Diop Mambéty, Senegal)

My Nightmare (Richard Kern, USA)
Blue (Derek Jarman, UK)
Calendar (Atom Egoyan, Canada)

I Can't Sleep (Claire Denis, France)
A Confucian Confusion (Edward Yang, Taiwan)
Chungking Express (Wong Kar-Wai, Hong Kong)
Wild Reeds (André Téchiné, France)

Safe (Todd Haynes, USA)
Whisper of the Heart (Yoshifumi Kondo, Japan)
From the Journals of Jean Seberg (Mark Rappaport, USA)
Fallen Angels (Wong Kar-Wai, Hong Kong)
Welcome to the Dollhouse (Todd Solondz, USA)

A Moment of Innocence (Mohsen Makhmalbaf, Iran)
Irma Vep (Olivier Assayas, France)
Crash (David Cronenberg, Canada)
Leila (Dariush Mehrjui, Iran)
Deep Crimson (Arturo Ripstein, Mexico)
The Pillow Book (Peter Greenaway, UK)
A Summer Dress (François Ozon, France)

Happy Together (Wong Kar-Wai, Hong Kong)
Sick: The Life and Death of Bob Flanagan, Supermasochist (Kirby Dick, USA)
Princess Mononoke (Hayao Miyazaki, Japan)
The River (Tsai Ming-Liang, Taiwan)

The Hole (Tsai Ming-Liang, Taiwan)
Turbulent (Shirin Neshat, Iran)
Lovers of the Arctic Circle (Julio Médem, Spain)
Fucking Åmål
(Lukas Moodysson, Sweden)

The Little Girl Who Sold the Sun (Djibril Diop Mambéty, Senegal)
All About My Mother (Pedro Almodóvar, Spain)
Outer Space (Peter Tscherkassky, Austria)
Beau Travail (Claire Denis, France)

La Commune (Paris, 1871) (Peter Watkins, France)
Yi Yi (Edward Yang, Taiwan)
The Day I Became a Woman (Marzieh Makhmalbaf, Iran)
The Heart of the World (Guy Maddin, Canada)
The Gleaners and I (Agnès Varda, France)
Faat Kiné (Ousmane Sembène, Senegal)
O Fantasma (João Pedro Rodrigues, Portugal)

The Fourth Dimension (Trinh T. Minh-ha, USA)
La Ciénaga (Lucrecia Martel, Argentina)
Trouble Every Day (Claire Denis, France)
Y Tu Mamá También (Alfonso Cuarón, Mexico)

Friday Night (Claire Denis, France)
Lilja 4-ever (Lukas Moodysson, Sweden)
Ten (Abbas Kiarostami, Iran)
Japón (Carlos Reygadas, Mexico)
Sweet Sixteen (Ken Loach, UK)

Crimson Gold (Jafar Panahi, Iran)
Fast Film (Virgil Widrich, Austria)
The Saddest Music in the World (Guy Maddin, Canada)
The Forest for the Trees (Maren Ade, Germany)

The Raspberry Reich (Bruce LaBruce, Canada)
Eternal Sunshine of the Spotless Mind (Michel Gondry, USA)
Mysterious Skin (Gregg Araki, USA)
Before Sunset (Richard Linklater, USA)
Tropical Malady (Apichatpong Weerasethakul, Thailand)
Moolaadé (Ousmane Sembène, Senegal)

A Short Film About the Indio Nacional (or the Prolonged Sorrow of the Filipinos) (Raya Martin, Philippines)
The Wayward Cloud (Tsai Ming-Liang, Taiwan)
The Death of Mr. Lăzărescu (Cristi Puiu, Romania)
Oxhide (Liu Jiayin, China)

Syndromes and a Century (Apichatpong Weerasethakul, Thailand)
Offside (Jafar Panahi, Iran)
Brand Upon the Brain! (Guy Maddin, Canada)

Death in the Land of Encantos (Lav Diaz, Philippines)
United Red Army
(Kôji Wakamatsu, Japan)
My Winnipeg (Guy Maddin, Canada)

Melancholia (Lav Diaz, Philippines)
Blind Pig Who Wants to Fly
(Edwin, Indonesia)
Now Showing (Raya Martin, Philippines)

To Die Like a Man (João Pedro Rodrigues, Portugal)
Ne Change Rien (Pedro Costa, Portugal)
The White Ribbon (Michael Haneke, Austria)
Raging Sun, Raging Sky (Julián Hernández, Mexico)
Everyone Else (Maren Ade, Germany)

Honey (Semih Kaplanoğlu, Turkey)
Nostalgia for the Light (Patricio Guzmán, Chile)