Writing a Movie Review: Writer's Workshop for Middle and High School Grades 8-10

Incorporating Movies into English Language Arts and Writing Instruction

Unlock English mastery! Transform your classroom with
engaging movie reviews that boost language skills, critical thinking,
and student participation.

Movies are more than just an engaging way to pass the time. They are an amalgamation of storytelling, characterization, themes, and visual representation, which offer a vibrant medium to teach English language arts and writing instruction. Imagine this — your class of young, energetic middle or high schoolers analyzing, discussing, and reviewing movies while learning and honing their English skills. Not only is it fun and engaging, but it also provides an interactive way to understand complex language structures, themes, and concepts.

What's Included?

1. Teacher's Note for Using this Resource in the English and Writing Classroom: A helpful guide to ensure you get the most out of the resources provided.

2. Do's and Don'ts Anchor Chart: A visual guide to direct students on what to include and what to avoid in their movie review.

3. Fillable Movie Information Sheet for Before, During, and After Viewing: This allows students to track key information and impressions throughout the viewing experience, which helps build their review later.

4. Extended Written Response, Movie Quotes Double Entry Journal, Parts of a Movie Review Graphic Organizer: These tools support and scaffold students' writing, thinking, and reflection processes.

5. 3 Exit Ticket Strategies for Formative Assessment: These will help you gauge student understanding and progress at the end of each lesson.

6. Movie Review Skills Assessment, 4-Point Grading Rubric, Student-Facing Checklist, and Grading Sheet: These tools help students self-assess their work and aid teachers in providing clear, fair, and consistent grading.

7. 5-Star Rating and Rough Draft Starter: This provides students a starting point for their review and a simple, familiar way to give their overall rating.

Incorporating movie analysis into your curriculum can be a dynamic way to inspire student engagement and improve their English language and writing skills. By combining entertainment and education, you're teaching them language and skills like critical thinking, analysis, and self-expression.

Related Products

To further extend your resources, consider other products from Stones of Erasmus:

✰ Growing Humanities Bundle for Middle and High School 

✰ Myth Unit for Middle and High School (40+ Days of Content!) 

✰ "A Good Man is Hard to Find" by Flannery O'Connor: Short Story Discussion 

✰ Diagnostic English Language Learner Exams and Essay for Middle and High School

✰ Making Timelines and Recalling Events for Writing in English Language Arts

✰ Integrating Quotations: Writing Activity for the English Language Arts Classroom

Join me on this educational journey. Your feedback, comments, and insights are always welcome. Visit my website at stonesoferasmus.com for more resources and ideas.

© 2022-2023 Stones of Erasmus.

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The Ineluctable Bond of Two Boys Broken: Movie Review of Close (2022)

In this post, I write a spoiler-y review of the 2022 Belgian film Close. This review is meant for after viewing the film.

Image Credit: Diaphana Films

Close Garners Accolades on the Film Prize Circuit

Have you recently watched the Belgian film Close (2022), directed by Lukas Dhont and starring two incredible young actors, Eden Dambrine and Gustav De Waele? The movie was highly acclaimed, nominated for an Academy Award, and won the prestigious Grand Prix at the Cannes film festival. The story is a tragic one about two boys. Having read multiple stories of queer, questioning, and gay young people killed or dying of unsuspecting causes, I went into the film with skepticism. For example, I loved the novel Absolute Brightness by James Lecesne — but, again, it is a story of a young, bright, young person who dies because of hatred and homophobia. But I digress — in this story of two young boys who live in a small Flemish town near the flower fields of Brabant, the story is more about adolescent male friendship than anything else. 

I Did Harbor Some Assumptions (I Confess)

        After watching the trailer, I confess I assumed that the blonde-haired boy, Leo (played by Dambrine), was the more fragile of the two. He appears smaller, in contrast, to Remi (played by De Wael), even though in real life, the former is several years older than the latter, and during filming, De Wael had to wear platform shoes to appear taller than Dambrine. And in an interesting backstory, Lukas Dhont discovered Dambrine on a train, conversing with friends, and asked him to audition for the part — which he did. All of this to say, while my original assumption was wrong, the film is very much about the character of Leo, both in his friendship with Remi, which only takes up less than half the film, and the micro-steps that follow the boys' breakup.

The Exposition of a Boys' Friendship 

       The movie portrays two thirteen-year-old boys with an unbreakable bond. They are kindred spirits, and their connection is unexplainable. A beautiful scene sets up the friends' bond where Leo, as they both cannot sleep on a summer evening, tells Remi a story about a gecko and its colors. Remi lights up as Leo tells the story, and the camera is positioned intimately close to the two. Film trumps other forms of narrative works where the body, the face, can tell a story, and I was drawn into the ease of their facial expressions and how comfortable the two adolescents are in each other's presence. Leo, in this scene, is portrayed as a poetic and sensitive soul, and his monologue foreshadows what will come. I thought Remi would reject Leo, but it was the reverse. 

        Their friendship is exposed to the public eye of their peers. Once they start going to a new school, the other kids make note of the boys' friendship and ask if they are a couple. Despite their kindred and beautiful connection, the question "Are you together?" is enough to put a blunt edge between the two kids' bond. In my head, I thought Leo took it to heart and had a more difficult time dealing with that. But actually, in the movie, Leo is more riled up about the accusation and pushes Remi, the other boy, away. The two boys detonate internally, each in their own unique way, and a gulf begins to split between them. It is in this splitting apart that the film attempts to explore.

An Inexplicable Event Happens. 

         There is a field trip, and Remi is not there. The kids go to the ocean and return, and Leo discovers that Remi has committed suicide. Leo runs frantically, heaving, and arrives at Remi's house, but no one is home, and he sees the door to the bathroom has been busted open. And he knows. In a scene earlier in the movie, Remi was in the bathroom and wouldn't come out, and the mother kept banging on the door. It was after Leo and Remi had a fight. It is evident now. As Leo stares into the window of the empty house, Remi is no longer here. And this is where the story becomes not one of a beautiful friendship but a story of a piece missing, of Leo's tortured journey. And Remi's mother — it was the mother who discovered her son. And when Leo discovers that Remi was in the bathroom when he committed suicide, he internalizes it as his fault.

         Leo goes through the motions. He silently attends his friend's funeral. Leo's emotional journey is acute and raw as he tries to find solace in his older brother and silently deals with his feelings at hockey practice and in class. Leo's guilt and sense of responsibility for Remi's death are palpable, and it is painful to watch a child suffer in such a way. He has to listen as other kids talk superficially about Remi. One boy mentions that Remi seemed happy, but Leo breaks the silence and questions whether the boy really knew. "Was he happy? did you know?" Leo asks and storms out of the room. A counselor comes to talk to the middle school class, but the guilt on Leo takes a toll on him. He befriends another boy on his hockey team, but their friendship differs from his friendship with Remi. Leo finds ways to confront or be with Remi's mother, who is also obviously dealing with her grief. And in this part, the story feels fragile and raw — because, as a viewer, I did not know who would break first, Leo or the mother.

The Question of "Why?"

        The film raises several questions, such as why Leo was not kinder to Remi, why Remi did not seek help from his loving parents, and why it all ended horrifically. Leo is so shaken by it viscerally, but he is still so young that he cannot verbalize his feelings. Remi is dead, and that reality is painful enough, but Leo also holds on to this feeling that he is responsible for his friend's death. A child should not have to go through this type of suffering, right? However, the director slowly turns the viewer's attention to Leo and his struggle to deal with his friend's death without providing easy answers to the "why" of it. The film culminates in an inevitable confrontation between Remi's mother and Leo, which provides a sense of closure, but not resolution. The scene is in the woods, the trees serving as a backdrop of both characters' pain — a place set away from the real world of school, family, and home. Without giving away too many details, this is how the film ends.

Closing Remarks

        The movie's personal and emotional performance from the cast is remarkable, and the actors spent a lot of time together processing the story's magnitude. The film's title, "Close," hits home, portraying the story of two boys who cling to each other. I could identify with the boys — as I, too, had close friendships growing up, and I think this is a phenomenon that many young men experience. Leo and Remi express their feelings about society's bias about close male friendships when girls at lunch call out the boys' friendship, but they first retort, "Well, what about girls? You can have a girly friendship," and no one says anything. The worst crime a society can commit is snuffing out love between two people. I felt like Leo and Remi hold an ineluctable bond that is intense, loving, and special. It is not a gay story, specifically, but one of love, friendship, and the dissolution of those bonds. And it is that dissolution that cries out to heaven for justice.

       I finished the movie visibly shaken. I had not felt this emotionally challenged by a movie about love and connections lost since the 2017 film Call Me By Your Name. As a viewer, one can bring their own emotions and experiences to the film, and "Close" explores the complexities of friendship, guilt, and grief, especially among young boys. It sheds light on toxic masculinity, its impact on society, and the intensity of friendships at a young age. Overall, "Close" is a poignant film that leaves a lasting impact and is a deserving nominee for an Academy Award.

Stray Observations

• The film boasts the debut of the two actors Eden Dambrine and Gustav De Waele.
• The working title was "We Two Boys Together Clinging," which is the title of a poem by Walt Whitman, which inspired the work of artist David Hockney.
• The film reflects Belgium's linguistic diversity, with French and Flemish spoken due to the country's small size and the presence of Dutch, Flemish, French, English, and German in daily conversation.
• The small Flemish town where the film is shot is called Wetteren in East Flanders.
• I lived in Belgium for over a year as a student at K.U.L. in Leuven.

Close (2022)

Diaphana Distribution

Directed by Lukas Dhont

Starring Eden Dambrine, Gustav De Waele, Léa Drucker, and Émilie Dequenne

Original Screenplay by Lukas Dhont and Angelo Tijssens.

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Hollywood Movies from the Nineties: Don't Tell Mom The Babysitter's Dead (1991)

Don't Tell Mom The Babysitter's Dead, a fantastic Hollywood movie from the 1990s,  just might be one of the best movies ever made about faking it until you make it.

Christina Applegate in Don't Tell Mom The Babysitter's Dead © 1991

Don't Tell Mom The Babysitter's Dead is a movie about transformations. 

Her boss tells her to say, "I'm right on top of that, Rose!" whenever she is doing a task for her. She says cheerily, "Don't feel overwhelmed, just do one thing at a time." The movie captures the era of big shoulders and women in the workplace trying to make their mark. Sue Ellen works her way up the corporate ladder, getting that Q.E.D. Report done by some cool delegation — to the ire of one of her co-workers, played by Jayne Brook, who is catching on to Sue Ellen's ruse. But Rose thinks Sue Ellen is just the best. "You're a paragon!" she beams! But Sue Ellen, the newest hire at General Apparel West, is really just a kid. The big conceit of the movie is that Christina Applegate is not really a fashion mogul.

"I'm Right On Top Of That, Rose!"

If you don't know the plot, it's ostensibly a story about every teenager's dream — to have the house entirely to yourself, no rules, no boundaries. See. Mom (played by Concetta Tomei) has gone to Australia and left the kids, played by Christina Applegate, Keith Coogan, Robert Hy Gorman, Danielle Harris, and Christopher Pettiet, with an evil-eyed, petty authoritarian (played by Eda Reiss Merin) named Mrs. Sturak. Even the name connotes fear. But the thing is — the movie is not about navigating the conflicts brought on by a mean babysitter. Mrs. Sturak dies twenty minutes into the movie. And Christina Applegate's character suddenly finds herself having to take on the head of the household. In a wild stretch of the imagination, she manages to land a job for a fashion company by stitching together a fake résumé —which hilariously causes her to take on the daily grind, getting up before dawn, to get dressed, prepare breakfast, and beat the downtown Los Angeles traffic to get to work on time. The oldest brother is a deadbeat (Coogan's character) — and the three other kids are treacly sweet, just the way most pre-teen kids are in Hollywood movies from the late 1980s and 1990s. But Don't Tell Mom The Babysitter's Dead is no John Hughes flick. Directed by Stephen Herek, the same guy who brought us Critters and Bill & Ted's Excellent Adventure, the movie takes on a plucky pull-yourself-up-from-the-bootstrap narrative.

Surprisingly Inspiring Movie That Could Otherwise Be Dreck!

The joy of the movie is watching the kids take on adult responsibilities. And the reality is that in the 1990s, many kids were latchkey kids — without parental supervision after school. Like the kids in the movie, learning to take care of yourself, prepping for a meal, setting the alarm on your clock, getting the laundry done, and all of that mundane task that can make life a drudgery were self-taught — this was before "Helicopter Parents." But like I said — the movie is about transformations. The sulky teen girl finds purpose (who isn't rooting for Sue Ellen!). The deadbeat older brother finds purpose in catering! The young kids figure out how to clean the house, take on responsibility, and just be cute in a Hollywood movie. It's been about thirty years since this movie came out — and a lot has changed about everything. The film has aged well, though. The movie is pumped with an optimistic premise — that left to their own devices, kids will take on identities and responsibility and win us over with their aplomb and finesse. Don't underestimate 'em.

What other movies have you seen that show dramatic transformations in teen characters? Let us know in the comments.

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Movies That Love The Written Word

In this post, I talk about movies that have a loving relationship to books and to reading.

Pulp Fiction's title is certainly a love letter to a certain kind of book — the dime novel.

Movies That Praise the Power of the Written Word     A teacher friend posted on Facebook that she was looking for movies that praise literature and the power of the written word. Movies based on books that extoll literature — what a nice pairing, and a possible name of a course.

People Suggested a Few Titles 
     People suggested Beauty and the Beast, The Neverending Story, The Hours, Henry Fool, and the Book Thief. A good start. But the post got me thinking. 

Movies based on books are many. 

     I cannot stomach another cinematic example of Great Expectations. Oh, maybe just one more. I love a good Miss Havisham. There is a decent sampling of biopics about writers. Kill Your Darlings is a recent example about the student days of Allen Ginsburg and William Burroughs (and murder to boot). 

Dead Poets' Society

     The casebook example for the movies I am looking for is Dead Poets Society. It's not based on a novel, nor is it fantasy or sci-fi — it is a veritable love song to the merits of reading and the power of poetry. However, I do find beef with its ending (no spoilers). Its original screenplay was written by Tom Schulman and was directed by Peter Weir. 

      Are there any others out there? I am too lazy to compile a list.

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Movie Review: Tully (2018)

A scene from Charlize Theron's movie Tully

Charlize Theron's movie Tully (2018) reminded me of another movie I saw that also deals with the theme of beleaguered motherhood. In that movie, Towheads (2013), Shannon Plumb also plays a beleaguered mother. In both movies, the characters rely on their own inner resources to cope with stress — but the results are different for each character. Theron’s character Marlo hires Tully, a night nurse who provides an outlet for Marlo’s conflicted feelings about motherhood. Tully serves as a salve to the fact that Marlo’s husband Drew is a feckless, overworked drone — albeit a sweet, lovable one. I loved the scenes with Tully and Marlo — not only because the conversations passed the Bechtel test — but because I could see that Marlo needs a tug to lift her out of her malaise. Some viewers were dissatisfied with the film’s twist ending. I won’t give an outright spoiler, but if you watched Towheads, then you’ll not be surprised by Tully’s ending. Both movies play with the idea of how creating alternative versions of oneself can be a release from mental drudgery. But there is a downside to escapism - a point the plot of Tully makes more clear. Watch one and then watch the other. Did you like Tully? Did you think it was an accurate portrayal of beleaguered motherhood? Let me know in the comments.

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Today is the 55th Anniversary of the Release of To Kill a Mockingbird

Scout Finch isn't talking to Boo Radley in this scene. She's just saying, “Hey, Boo!

On Christmas Day December 25, 1962, To Kill a Mockingbird was released in theaters in the United States.

Image Source: Tenor
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Adult/Teenager Banter in Manchester by the Sea

Nephew Patrick and Uncle Eddie squabble in Manchester by the Sea © 2016 Amazon Studios

I must admit one film that slipped by me was Manchester by the Sea - produced by Amazon Studios and a contender in the 2016 awards season. 

The movie is good and it has lots of witty examples of adult/teenager banter. I can see why it won an award at the Oscars for its writing.

Underneath the banter between Casey Affleck's character and his on-screen nephew, lies a serious and moving story. However, it's a hilarious movie even though it is about a man who is wracked with guilt over the accidental death of his three children and who is now faced with the prospect of raising his teenage nephew. For example, the conversations between Patrick, the nephew, who just lost his father, and his Uncle Eddie (Casey Affleck) are well-written and funny. A recurring string of dialogue is the nephew's hilarious pointed questions that undermine his Uncle's crotchety humanism - and poke fun at his complete lack of social aplomb. 

At one point a stranger overhears the two arguing. He says something critical - like, "Good parenting," and Uncle Eddie - as he does throughout this movie when he perceives a slight to his character - goes ballistic and Patrick tries to defuse the situation and then, hilariously, whips around and says "Uncle Eddie, are you fundamentally unsound?" and, later, "Are you brain damaged?"

Here is another funny exchange - but this time it is Uncle Eddie. He tells Patrick that "if you're going to freak out every time that you see a frozen chicken I think we should go to the hospital."
#funny

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Movie Review: A Taste of Honey (1961)

Jo (Rita Tushingham) in A Taste of Honey (1961)

I've always been a sucker for kitchen sink drama. Maybe I was first smitten by Streetcar Named Desire, the Louisiana-Southern version of the genre — and I have always had a penchant for working-class stories.
Fantastic! It's both queer and interracial!
Director Tony Richardson's A Taste for Honey (1961) is a fantastic! addition to the tradition — it boasts both a gay character (Oh My!) and interracial romance (Oh Gee!). And I am pretty sure the Smith's song "This Night Has Opened My Eyes" shares an aesthetic family resemblance. The plot offers nothing new in terms of what we're used to seeing on the big screen, and maybe I have seen enough movies from the 1960s to think that A Taste For Honey does not capture my attention because of its capacity to take on controversial topics. Charles Silver likened the protagonist Jo to Antoine Doinel from Truffaut's auteurist masterpiece. And while I did see the film first in Silver's Auteurist History of Film exhibition at MoMA (full disclosure), I tend to agree with this assessment. Tony Richardson's adaptation of Shelagh Delaney's play takes full advantage of Jo's (Rita Tushingham) soulful eyes beaten down by the soft ideology of work (which is why I say the song resembles the Smith's song). Could she have been a poet? The movie ends on an ambiguous note. Jo, replete with child, welcomes in her ousted mother Helen (Dora Bryan) inadvertently saying goodbye to Geoffrey (Murray Melvin), the titular gay boy. The ending shot of the little boy giving Jo the sparkler is touching, and I wondered at the movie's close if Geoffrey would return to be a gay uncle or if Jimmy (Paul Danquah) would ever show up again.

Mother Daughter Sister Lover

The movie leaves us with the question of Helen and Jo's fate. The mother and daughter pair share a strained intimacy, and we're left to wonder what it would be like if Jo had been able to move on without her. In an earlier scene, Helen bathes in the tub and tells her daughter she is now a married woman (which we suspect is probably her sixteenth proposal). The scene shows the relationship between the two women, while comfortable standing in the bathroom while her mother bathes (a form of intimacy), it is apparent that Helen will never be able to give the maternal care that Jo deserves. And when Jo becomes pregnant, and her mother has run off to live with her new husband Peter (a drunk), Jo cobbles together her own version of family with Geoffrey and fantasizes about her "dark prince" Jimmy. I liked the movie's careful way of showing us Jo with Jimmy, her first love, then Jo rebuffed by Helen, and then Jo thinking that she might be able to build something authentic with Geoffrey. It becomes clear that the Jo and Geoffrey story was a substitute for something else. For Jo, it was a desire to be cared for, and maybe for Geoffrey, it was a need to be accepted. He was kicked out of his own apartment for sleeping with a man (was it rent controlled?) and when he moves in with Jo, he quickly takes on the role of the mother figure, even obtaining a fake baby to help Jo learn the rudimentary skills of motherhood. It's not surprising Jo throws the baby to the ground, and while we can probably guess the source of Jo's anger, we also realize (and maybe she does too) that motherhood will be foisted upon her no matter if she wants it or not and this pattern has had a long history, not only with her mother but a powerful narrative that tells women that motherhood is natural and should be accepted. Helen is loathe to tell Jo of her biological father, except that they share the same eyes, and he was a simple man. This codes for Jo that her father was a half-wit, and her mother, even though she may have loved her father for an afternoon, the relationship did not sustain a family.

End of Innocence

The movie is bookended with images of childhood innocence, the first with Jo playing sport on the school playground, and the soundtrack of children singing "The big ship sails on the alley, alley, oh!" The movie ends with the same song, and we are lighted upon Jo's face one last time. Jo throughout the movie vacillates between child and scared adult. Rita Tushingham plays Jo with zest and innocence — for example: in an earlier scene where she pantomimes her teacher, and remarkably scared and curious when she feels her baby kick inside of her belly (and remember, this movie was made long before Ellen Page and Jennifer Garner had their moment in Juno). If Charles Silver is right, we can compare the two endings. In the Truffaut film, Antoine is captured in a still shot on the beach which I still think is the most affective ending in cinematic history. We know Antoine's story because Truffaut regales us with many more sequels to follow. For Jo, we are left to imagine her story. And this I think is satisfactory.

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IMDb link: A Taste of Honey

Dir: Tony Richardson

1961

Greig's Best Movies of 2013

To add to the glut of "best of" 2013 lists compiled this time of year, here's my authoritative round-up (not!) of the best movies. In my humble opinion.

1.) Blue Jasmine
Cate Blanchett is tragically diaphanous in Woody Allen's newest cinematic addition.

2.) The Bling Ring
Sofia Copola shows us the beauty of the Los Angeles hills and a vicarious glimpse into the celebrity rich through the lens of the children who rob them.

3.) Mud
You may remember Tye Sheridan in The Tree of Life. He gets his chance to shine in this coming of age tale set in Louisiana.

4.) Lore
A Nazi family try to escape capture at the end of World War II in this drama directed by Cate Shortland.

5.) West of Memphis
Damien Echols, one of the falsely accused "West Memphis Three," gets his chance to tell his story in this revealing documentary directed by Amy Berg.

6.) Gravity
I spent more time looking at the spiraling Earth than the actors, but this movie is cosmic and terrifying.

7.) Her
Spike Jonze is one of my favorite directors. Her adds to my admiration. I've been waiting for a movie about computer love for a long time. It's finally here.

8.) The Spectacular Now
This understated movie ends differently than the novel it's based on, but I thought the two young actors were superb in their vulnerability.

9.) Stand Clear of the Closing Doors
Sam Fleischner allows us to follow a young autistic boy who runs away from his home in Far Rockaway to travel the New York City subway alone right before Hurricane Sandy crashes on shore.

10.) Prisoners

Two girls go missing and the result is an irrational rupture of both desperation to find the truth (Jake Gyllenhaal's performance of a local detective) and insane vigilante justice (Hugh Jackman, who plays the father of one of the missing girls).

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List of 100 Favorite Movies

I make no claim to a cinematic canon. These are my favorite movies. Subjective. No claim to objective standards of taste. Drum roll please:

1. Les Quatre Cents Coups (The Four Hundred Blows), Dir. François Truffaut (1959)

2. The Wizard of Oz, Dir. Victor Fleming (1939)

3. Billy Elliot, Dir. Stephen Daldry (2000)

4. Psycho, Dir. Alfred Hitchcock (1960)

5. Au Revoir Les Enfants, Dir. Louis Malle (1987)

6. Kes, Dir. Ken Loach (1969)

7. Eternal Sunshine of the Spotless Mind, Dir. Michel Gondry (2004)

8. Los Olvidados, Dir. Luis Buñuel (1950)

9. Vertigo, Dir. Alfred Hitchcock (1958)

10. Where the Wild Things Are, Dir. Spike Jonze (2009)

11. Nuovo Cinema Paradiso (Cinema Paradiso), Dir. Giussepe Tornatore (1988)

12. Dekalog (The Decalogue), Dir. Krzysztof Kieslowski (1988)

13. Det Sejunde Inseglet (The Seventh Seal), Dir. Ingmar Bergman (1957)

14. Rear Window, Dir. Alfred Hitchcock (1954)

15. Some Like it Hot, Dir. Billy Wilder (1959)

16. The Kid With a Bike, Dir. Jean-Pierre and Luc Dardenne (2011)

17. Welcome to the Dollhouse, Dir. Todd Soldonz (1995)

18. Citizen Kane, Dir. Orson Welles (1941)

19. The Tree of Life, Dir. Terrence Malick (2011)

20. Un Chien Andalou (The Andalusian Dog), Dir. Luis Buñuel (1929)

21. Fahrenheit 451, Dir. François Truffaut (1966)

22. The Mirror, Dir. Andrey Tarkovsky (1975)

23. The Graduate, Dir. Mike Nichols (1967)

24. Le Souffle au Coeur (Murmur of the Heart), Dir. Louis Malle (1971)

25. Jeux Interdits (Forbidden Games), Dir. René Clement (1952)

26. Salò, or the 120 Days of Sodom, Dir. Pier Paolo Pasolini (1975)

27. Orpheus, Dir. Jean Cocteau  (1950)

28. The Phantom of Liberty, Dir. Luis Buñuel (1974)

29. The Firemen’s Ball, Dir. Milos Forman (1967)

30. Midnight Cowboy, Dir. John Schlesinger (1969)

31. La Strada (The Road), Dir. Federico Fellini  (1954)

32. Mulholland Drive, Dir. David Lynch (2001)

33. Habla con Ella (Talk to Her), Dir. Pedro Almodovar (2002)

34. Stella Dallas, Dir. King Vidor (1937)

35. Olivier, Olivier, Dir. Agnieska Holland (1992)

36.  Battleship Potemkin, Dir. Sergei M. Eisenstein (1925)

37. 晩春 Banshun (Late Spring), Yasujirō Ozu (1953)

38. 2001: A Space Odyssey, Dir. Stanley Kubrick (1968)

39. My Night at Maud’s, Dir. Eric Rohmer (1969)

40. The Royal Tenenbaums, Dir. Wes Anderson (2001)

41. A Trip to the Moon, Dir. Georges Méliès (1902)

42. Close Encounters of the Third Kind, Dir. Steven Spielberg (1977)

43. Au Hasard Balthazar (Balthazar, At Random), Robert Bresson (1966)

44. Angst essen Seele auf (Ali: Fear Eats the Soul), Dir. Rainer Werner Fassbinder (1974)

45. Harold and Maude, Dir. Hal Ashby (1971)

46. E.T. the Extra-Terrestrial, Dir. Steven Spielberg (1982)

47. La Belle et la Bête (Beauty and the Beast), Dir. Jean Cocteau (1946)

48. The Squid and the Whale, Dir. Noah Baumbach (2005)

49. Spoorlos (The Vanishing), Dir. George Sluizer (1988)

50. La Cite des Enfants Perdus (The City of Lost Children), Dir. Jean-Pierre Jeunet (1995)

51. Mighty Aphrodite, Dir. Woody Allen (1995)

52. La Stanza del Figlio (The Son’s Room), Dir. Nanni Moretti (2001)

53. Y Tu Mamá También (And Your Mother Too), Dir. Alfonso Cuarón (2001)

54. 雨月物語 Ugetsu, Dir. Kenji Mizoguchi (1954)

55. 羅生門 Rashomon, Dir. Akira Kurosawa (1950)

56. The Night of the Hunter, Dir. Charles Laughton (1955)

57. Le Plaisir, Dir. Max Ophüls (1952)

58. Being John Malkovich, Dir. Spike Jonze (1999)

59. Synecdoche, NY, Dir. Charlie Kaufman (2008)

60. High Noon, Dir. Fred Zinnemann (1952)

61. Hiroshima, Mon Amour, Dir. Alain Resnais (1959)

62. The Lady Eve, Dir. Preston Sturges (1941)

63. Lost in Translation, Dir. Sofia Coppola (2003)

64. The Up Series, Dir. Michael Apted (1964 - Present)

65. Weekend, Dir. Andrew Haigh (2011)

66. Who’s Afraid of Virginia Woolf?, Dir. Mike Nichols  (1966)

67. La Mala Educación (Bad Education), Dir. Pedro Almodovar (2004)

68. Lord of the Flies, Dir. Peter Brook (1963)

69. The Dangerous Lives of Altar Boys, Dir. Peter Care (2002)

70. Andrei Rublev, Dir. Andrey Tarkovsky (1966)

71. Amour, Dir. Michael Haneke (2012)

72. Inglorious Basterds, Dir. Quentin Tarantino (2009)

73. Empire of the Sun, Dir. Steven Spielberg (1987)

74. A.I. Artificial Intelligence, Dir. Steven Spielberg (2001)

75. The White Ribbon, Dir. Michael Haneke (2009)

76. Margaret, Dir. Kenneth Lonergan  (2011)

77. Wild Tigers I Have Known, Dir. Cam Archer (2006)

78. Alice, Dir. Jan Švankmajer(1988)

79. Through a Glass Darkly, Dir. Ingmar Bergman (1961)

80. Passion of Joan of Arc, Dir. Carl Theodor Dreyer (1928)

81. Arabian Nights, Dir. Pier Paolo Pasolini (1974)

82. 千と千尋の神隠 (Spirited Away), Hayao Miyazaki (2001)

83. La Pianiste (The Piano Teacher), Dir. Michael Haneke (2001)

84. George Washington, Dir. David Gordon Green (2000)

85. Niki Ardelean, colonel în rezerva (Niki and Flo), Dir. Lucian Pintille (2003)

86. Der Himmel über Berlin (Wings of Desire), Dir. Wim Wenders (1987)

87. Der Blaue Engel (The Blue Angel), Dir. Josef von Sternberg (1930)

88. Equus, Dir. Sidney Lumet (1977)

89. The Best Years of Our Lives, Dir. William Wyler (1946)

90. 4 luni, 3 săptămâni şi 2 zile (4 Months, 3 Weeks and 2 Days), Dir. Cristian Mungiu (2007)

91. Mon Oncle, Jacques Tati (1958)

92. Copie Conforme (Certified Copy), Dir. Abbas Kiarostami (2010)

93. Hedwig and the Angry Inch, John Cameron Mitchell (2001)

94. Louisiana Story, Dir. Robert J. Flaherty (1948)

95. Black Orpheus, Dir. Marcel Camus (1959)

96. The Rocky Horror Picture Show, Dir. Jim Sharman (1975)

97. Dancer in the Dark, Dir. Lars von Trier (2000)

98. Silver Linings Playbook, Dir. David O. Russell (2012)

99. Ordinary People, Dir. Robert Redford (1980)

100. The Silence of the Lambs, Dir. Jonathan Demme (1991)

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