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This is the blog of Ian Rosales Casocot. Filipino writer. Sometime academic. Former backpacker. Twink bait. Hamster lover.


Friday, August 18, 2017

entry arrow2:28 AM | A Sobering Reminder

"In many ways, the work of a critic is easy. We risk very little, yet enjoy a position over those who offer up their work and their selves to our judgment. We thrive on negative criticism, which is fun to write and to read. But the bitter truth we critics must face, is that in the grand scheme of things, the average piece of junk is probably more meaningful than our criticism designating it so..."

~ Peter O'Toole as Anton Ego in Brad Bird and Jan Pinkava's Ratatouille (2007)

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entry arrow2:21 AM | A Poet and His Manic Muse

Of course 100 Tula Para Kay Stella easily reminds one of (500) Days of Summer, from which it borrows many conceits -- although to detail them now could entail spoilage, so never mind that. But whereas Marc Webb's film was a romantic fantasy that limned lightness, Jason Paul Laxamana takes his film down surprising darker paths, finally subverting in crucial ways the romantic comedy mold it purports to embody. It's not a perfect film but I like it very much: every aesthetic choice Laxamana makes here seems inspired, from the spot-on casting [JC Santos and Bella Padilla bring charm and groundedness to their roles as stuttering poet and lost soul rocker] to happily imploding the cinematic myth of the manic pixie dream girl, from precise cinematographic and editing choices to giving a dexterous story that encompasses years and yet never losing the narrative line in the complicated unfolding. The poems are a little too Lang Leav for me, but that's a minor thing. We've seen Jason do wonders before in Babagwa and Mercury is Mine, but it is in this film where he comes to his full powers as director.

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entry arrow2:18 AM | Failed the Bar

It is Fame for law students, minus the sophomore and junior years, and it is excisions like this, among others, which make Kip Oebanda's Bar Boys a failure in structure. Contrary to how it is marketed, for example, there are only three "bar boys" instead of four, Kean Cipriano's character quickly being relegated to the wayside as the barkada who couldn't make the cut in the law school entrance exam. [Not a spoiler.] In a story that purports to be an examination of friendship braving the wild storms of law school, keeping him in the mix would have been vital to the storyline. Instead it makes other narrative choices that constantly fall flat while embracing the hoary subplots of bad teleseryes. Too bad, because the premise of following the lives of law students actually sounds interesting -- but the film only demonstrates a sophomoric effort that does try its best, but fails the cinematic bar nonetheless. That heart attack scene is contrived, overlong, and cruel. And that final scene in the Supreme Court? An embarrassment.

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Tuesday, August 15, 2017

entry arrow2:31 PM | Fools

I was just asked why I fling myself into passion projects that often consume all of me. [The old Survey of Philippine Literature website, the Handulantaw book, the Celebrations anthology, the staging of In My Father's House, the current Buglas Writers Project archive, the current heritage work for the city...]

Honestly, at the back of my head, the practical part of me constantly admonishes me: "Don't do it, Ian. You have no idea what you are jumping right into."

Many times I don't listen to it. It's foolish, I know, AND exhausting, but oh well. I remember Oro Plata Mata director Peque Gallaga once attesting that his 1982 film was the work of fools who didn’t know any better: "Had we known what we were in for when we started, we probably wouldn’t have bothered at all, let alone see it through." Thank God, they were foolish. Oro Plata Mata remains 35 years later gutsy filmmaking of the highest order.

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Saturday, August 12, 2017

entry arrow4:48 PM | Life Without the Lag

Fast wifi indeed calms the nerves. Honestly, there was one Saturday not too long ago where I spent the better part of five hours going from one place to the next to find good wifi, and only managed to do one -- ONE -- serviceable piece of work in that time. What I know would normally take me 10 seconds to accomplish I could only do so in 15 excruciating minutes. The whole thing just got to my nerves, and I had to pause and wonder: "The things I could do with a PROPER office and GOOD wifi." Today, I was able to send several work files over FB Messenger in one go. I used to do that file by file, in the span of an hour. Moral: if you want good productivity, invest in your people and their work place.

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Friday, August 11, 2017

entry arrow10:26 PM | Hesus May Be Dead, But the Film is Very Much Alive!

Quick post-screening recommendation for Victor Kaiba Villanueva's Patay Na Si Hesus: Watch it like your life depends on it.

It is uproariously funny, but its drama also cuts deep. It will affirm your love for Filipino film, and it will make you believe Bisaya filmmaking has become a formidable force. The audience I saw it with tonight hooted and laughed -- and by God, there's nothing like the nuances of Cebuano to really relish every line-reading. Spread the word when the film opens for a regular run in Rob on August 16 for the Pista ng Pelikulang Pilipino!

You will thank the cinema gods you caught this gem of a film.

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Wednesday, August 09, 2017

entry arrow5:53 PM | Jolts of Joy

Going around town doing chores and to-do's today, mostly small things I couldn't exactly fit into my daily schedule and have to make space for. What amazed me is the surging joy I felt having found and purchased exactly the right kind of coin purse I've been looking for. A coin purse. As source of happiness. Amazing.

You know what's also amazing? Finding out that you did something for a friend that gave him a jolt of joy he badly needed. "Thank you," he texted me. "I'm in a cab and in tears." Awwww.


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Tuesday, August 08, 2017

entry arrow10:23 PM | The End of a Long Day

What is the end of a long day? A catch in your voice that betrays the long hours already survived, and knowing it is a cycle. A sigh of relief when 7 o'clock comes, and the evening is suddenly spread before you like a buffet of possibilities -- and a sigh of dejection when you realize the night is in fact short. A wonderment bubbling in your head that asks, "Where did my youth go? My spontaneity?" The end of a long day is a dream of drinking red wine without the repercussions. The end of a long day is to dream of Friday night. The end of a long day is to spy your notebook of to-do's and dream of exorcism. The end of a long day is thanking the universe for survival, and hoping in the end all these is worth something.


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entry arrow12:27 AM | Fascism in Living Color!

Word has it that Mike de Leon's Batch '81 (1982) -- his searing look into the world of fascism and fraternities -- has been restored by Italy's L’Immagine Ritrovata and Singapore's Asian Film Archive, and is currently scheduled for screening as part of the Venice Classics section of the coming 74th Venice International Film Festival. It will be presented in an lineup that includes Bernardo Bertolucci’s 1900 (1976), Michelangelo Antonioni’s Red Desert (1964), Milos Forman’s Black Peter (1963), Claude Chabrol’s The Third Lover (1962), Jean-Luc Godard’s Two or Three Things I Know About Her (1967), and Steven Spielberg’s Close Encounters of the Third Kind (1977).

Read more here.

I'm quite happy that a significant number of our film classics are being restored. It's quite a boon to be able to teach/show these restored films in classes and screenings without straining people's imaginations to make them somehow "see" what made them great in the first place. You don't have to explain too much anymore these days: they see the full glory of the restored images and sound, and they respond with enthusiasm. Talk about finding new audiences!

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Wednesday, August 02, 2017

entry arrow8:23 AM | "Later."

Finally, the poster and the trailer for the film adaptation of one of my favorite books has dropped. (Must temper expectations, but it's so hard...). But here's a look Call Me By Your Name, the film adaptation of André Aciman's novel, directed by Luca Guadagnino, written by James Ivory, cinematography by Sayombhu Mukdeeprom, edited by Walter Fasano, and starring Armie Hammer, Timothée Chalamet, and Michael Stuhlbarg, with music by Sufjan Stevens.

Both look delicious and promising, but must temper expectations!

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Sunday, July 30, 2017

entry arrow9:12 AM | Photo Broken

This blog has been in existence since 2002, and throughout most of its existence, it has always used Photobucket as repository for its images. Last June, Photobucket changed its policy and has forbidden third party hosting -- consequently breaking up millions of images in the Internet, particularly those in blogs and message boards, including mine. I’ve decided to shift to Imgur, but I really don’t have the time anymore to fix all the broken images in this blog going back almost 20 years. [Thanks for nothing, Photobucket.] I’ve decided they shall remain broken, to remind me nothing is permanent in the digital world, contrary to its initial promises to be the best kind of archive.

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Monday, June 19, 2017

entry arrow6:25 PM | "Don’t give in to nostalgia."

We shifted the schedule of Film class at the College of Mass Communication from the second semester to the first, and today I had my first session with this newest batch.

As is my tradition for beginning the term, while people in the university are still making sense of the new schedules and curriculum, I show the class Albert Lamorisse's The Red Balloon (1956) and Giuseppe Tornatore's Cinema Paradiso (1980), to simulate a traditional film program (short + feature), to lay the groundwork for film appreciation which Lamorisse's short film does in spades, and to remind my students why they're in my class, and that is a love for the movies, and Tornatore's film is the perfect valentine to cinema.

For some reason though, today, I paid closer attention to this nth screening of Cinema Paradiso. Of course I teared up on cue -- but I found extra fascinating Alfredo's entreaty to the teenage Toto, right before we get to the third act. After briefly returning home to their Sicilian village during a break in military training in Rome, Toto takes his mentor on a walk, and Alfredo tells him: "We, each of us, have a star to follow. Get out of here, this land is cursed. Living here day by day, you think it’s the center of the world. You think nothing will ever change. Then you leave. A year, two years. When you come back, everything’s changed. The thread’s broken. What you came to find isn’t there. What was yours is gone. You have to go away for a long time, many years, before you can come back and find your people, the land where you were born. But now, no, it’s impossible."

When Toto eventually decides to leave for good, the scene shifts to him bidding farewell to his family and Alfredo at the train station, where the old man fiercely reminds him: "Don’t come back. Don’t think about us. Don’t look back. Don’t write. Don’t give in to nostalgia. Forget us all."

But the film wouldn't have had its emotional resonance if there had been no eventual coming back, and if it didn't dip into nostalgia. And it treats forgetfulness -- symbolized by the demolition of their small theater -- as a great human tragedy. How do we tread the fine balance between holding on to the past and surging forward to the future?

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Sunday, June 18, 2017

entry arrow12:08 AM | The Manila Metropolitan Theater in Resurrection


Here's a bit about the Manila Metropolitan Theater by Two Fold Media. The Met is an architectural masterpiece by architect Juan Arellano with sculptures by Italian sculptor Francesco Ricardo Monti, and it used to be a premiere venue for showcasing zarzuelas, operas, musicals, and films. The theater, abandoned after its heyday, was restored during the Marcos years, but again soon sank into neglect, and finally closed its doors to the public in 1996, under the specter of demolition. Clamor from heritage activists finally led to its current and ongoing restoration, and is expected to re-open in two to three years.

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Thursday, June 01, 2017

entry arrow11:56 PM | You Care or You Don't Care

“Across the world today, our actions testify to our belief that we can go on like this forever, burning oil, poisoning the seas, killing off other species, pumping carbon into the air, ignoring the ominous silence of our coal mine canaries in favor of the unending robotic tweets of our new digital imaginarium.” 

~ Roy Scranton, Learning to Die in the Anthropocene: Reflections on the End of a Civilization

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Tuesday, May 30, 2017

entry arrow12:51 AM | You Should be Dancing

Even at 40, you really should be dancing. The iconic John Travolta film turns the Big Four-Oh this year. Look at that dancefloor energy.

Read the appreciation over at The New York Times.

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Monday, May 29, 2017

entry arrow2:00 PM | Going Through 1001 Films You Must Watch Before You Die

[UPDATED 29 MAY 2017]

You must attribute this list to summer boredom or to the impending certainty of 2012, but I've listed down below the films checklisted by Steven Jay Schneider in his book 1001 Films You Must Watch Before You Die (2003), and I have decided to devote time in the foreseeable future to see the titles on this list ... before I die.

I like this list. And like any list, it necessarily leaves out personal favorites ("The Lion King" but no "Little Mermaid"?), and takes in too many things I suspect to be the result of editorial bias (there's too much Paul Verhoeven here than is necessary). But I like this list nonetheless, because it is generous with what it includes and becomes a virtual cineast feast. It includes celebrated short films and not just full-length features, and strange experimental films (it has Maya Deren and Alexander Hammid's "Meshes in the Afternoon"!), and strange independent films (it has Ken Jacob's "Blonde Cobra"!), and strange horror films (it has Dario Argento's "Suspiria"!), and strange documentaries (it has Terry Zwigoff's "Crumb"!), and avant-garde or risque films you don't think will make such a list (it has Kenneth Anger's very gay "Scorpio Rising"!), and films representative of major world cinemas (it even has Lino Brocka's "Manila sa mga Kuko ng Liwanag"!).

I must take note, however, I've been watching movies my whole life -- and studying them as well -- and so there are titles here that feel like I've seen them, but I'm not exactly so sure of the fact, simply because their legend has made them so familiar my memory now plays tricks on me. So then I've decided to check only those titles I'm really sure I've seen.

I've seen 484 out of 1001 so far culled from the 2003 edition.

So, how many films have you seen from this list?

☑ A Trip to the Moon (Georges Melies, 1902)
☑ The Great Train Robbery (Edwin S. Porter, 1903)
☑ The Birth of a Nation (D.W. Griffith, 1915)
☐ Les Vampires (Louis Feuillade, 1915)
☑ Intolerance (D.W. Griffith, 1916)
☑ The Cabinet of Dr. Caligari (Robert Wiene, 1919)
☐ Broken Blossoms (D.W. Griffith, 1919)
☐ Way Down East (D.W. Griffith, 1920)
☐ Within Our Gates (Oscar Micheaux, 1920)
☐ The Phantom Carriage (Victor Sjöström, 1921)
☐ Orphans of the Storm (D.W. Griffith, 1921)
☐ The Smiling Madame Beudet (Germaine Dulac, 1922)
☐ Dr. Mabuse, Parts 1 and 2 (Fritz Lang, 1922)
☑ Nanook of the North (Robert J. Flaherty, 1922)
☑ Nosferatu, A Symphony of Terror (F.W. Murnau, 1922)
☐ Häxan: Witchcraft Through the Ages (Benjamin Christensen, 1923)
☐ Foolish Wives (Erich von Stroheim, 1922)
☐ Our Hospitality (John G. Blystone, 1923)
☐ La Roue [The Wheel] (Abel Gance, 1923)
☐ The Thief of Bagdad (Raoul Walsh, 1924)
☑ Strike (Sergei M. Eisenstein, 1924)
☐ Greed (Erich von Stroheim, 1924)
☐ Sherlock, Jr. (Buster Keaton, 1924)
☐ The Last Laugh (F.W. Murnau, 1924)
☐ Seven Chances (Buster Keaton, 1925)
☐ The Phantom of the Opera (Rupert Julian, 1925)
☑ The Battleship Potemkin (Sergei M. Eisenstein, 1925)
☑ The Gold Rush (Charlie Chaplin, 1925)
☐ The Big Parade (King Vidor, 1925)
☑ Metropolis (Fritz Lang, 1927)
☐ Sunrise (F.W. Murnau, 1927)
☐ The General (Clyde Bruckman and Buster Keaton, 1927)
☐ The Unknown (Tod Browning, 1927)
☐ October (Grigori Aleksandrov and Sergei M. Eisenstein, 1927)
☑ The Jazz Singer (Alan Crosland, 1927)
☐ Napoleon (Abel Gance, 1927)
☐ The Kid Brother (Ted Wilde, 1927)
☐ The Crowd (King Vidor, 1928)
☐ The Docks of New York (Josef von Sternberg, 1928)
☑ Un Chien Andalou (Luis Buñuel, 1928)
☑ The Passion of Joan of Arc (Carl Theodor Dreyer, 1928)
☐ Steamboat Bill, Jr. (Charles Reisner, 1928)
☐ Potomok Chingis-Khana [Storm Over Asia] (Vsevolod Pudovkin, 1928)
☐ Blackmail (Alfred Hitchcock, 1929)
☑ The Man with the Movie Camera (Dziga Vertov, 1929)
☐ Pandora's Box (Georg Wilhelm Pabst, 1929)
☐ The Blue Angel (Josef von Sternberg, 1930)
☐ L'Age D'Or (Luis Buñuel, 1930)
☐ Earth (Aleksandr Dovzhenko, 1930)
☐ Little Caesar (Mervyn LeRoy, 1930)
☐ All Quiet on the Western Front (Lewis Milestone, 1930)
☐ À Nous la Liberté [Freedom For Us] (René Clair, 1931)
☐ Le Million (René Clair, 1931)
☐ Tabu (F.W. Murnau, 1931)
☐ Dracula (Tod Browning, 1931)
☑ Frankenstein (James Whale, 1931)
☑ City Lights (Charlie Chaplin, 1931)
☐ The Public Enemy (William A. Wellman, 1931)
☐ M (Fritz Lang, 1931)
☐ La Chienne [The Bitch] (Jean Renoir, 1931)
☐ Vampyr (Carl Theodor Dreyer, 1932)
☐ Love Me Tonight (Rouben Mamoulian, 1932)
☐ Boudu Saved From Drowning (Jean Renoir, 1932)
☐ I Am a Fugitive from a Chain Gang (Mervyn LeRoy, 1932)
☐ Trouble in Paradise (Ernst Lubitsch, 1932)
☐ Scarface: The Shame of a Nation (Howard Hawks and Richard Rosson, 1932)
☐ Shanghai Express (Josef von Sternberg, 1932)
☑ Freaks (Tod Browning, 1932)
☐ Me and My Gal (Raoul Walsh, 1932)
☐ Zero de Conduite (Jean Vigo, 1933)
☐ 42nd Street (Lloyd Bacon, 1933)
☐ Footlight Parade (Lloyd Bacon, 1933)
☐ Gold Diggers of 1933 (Mervyn LeRoy, 1933)
☑ She Done Him Wrong (Lowell Sherman, 1933)
☐ Duck Soup (Leo McCarey, 1933)
☑ Queen Christina (Rouben Mamoulian, 1933)
☐ Land Without Bread (Luis Buñuel, 1933)
☐ King Kong (Merian C. Cooper and Ernest B. Schoedsack, 1933)
☐ The Bitter Tea of General Yen (Frank Capra, 1933)
☐ Sons of the Desert (William A. Seiter, 1933)
☐ It's a Gift (Norman Z. McLeod, 1934)
☑ Triumph of the Will (Leni Riefenstahl, 1934)
☐ L'Atalante (Jean Vigo, 1934)
☐ The Black Cat (Edgar G. Ulmer, 1934)
☐ Judge Priest (John Ford, 1934)
☑ It Happened One Night (Frank Capra, 1934)
☐ The Thin Man (W.S. Van Dyke, 1934)
☐ Captain Blood (Michael Curtiz, 1935)
☐ Mutiny on the Bounty (Frank Lloyd, 1935)
☐ A Night at the Opera (Sam Wood, 1935)
☐ The 39 Steps (Alfred Hitchcock, 1935)
☑ Bride of Frankenstein (James Whale, 1935)
☐ Top Hat (Mark Sandrich, 1935)
☐ A Day in the Country (Jean Renoir, 1936)
☑ Modern Times (Charlie Chaplin, 1936)
☐ Swing Time (George Stevens, 1936)
☐ My Man Godfrey (Gregory La Cava, 1936)
☐ Mr. Deeds Goes to Town (Frank Capra, 1936)
☐ Camille (George Cukor, 1936)
☐ Sabotage (Alfred Hitchcock, 1936)
☐ Dodsworth (William Wyler, 1936)
☐ Things to Come (William Cameron Menzies, 1936)
☐ The Story of a Cheat (Sacha Guitry, 1936)
☐ Captains Courageous (Victor Fleming, 1937)
☐ Song at Midnight (Weibang Ma-Xu, 1937)
☐ Grand Illusion (Jean Renoir, 1937)
☑ Stella Dallas (King Vidor, 1937)
☑ The Life of Emile Zola (William Dieterle, 1937)
☐ Make Way for Tomorrow (Leo McCarey, 1937)
☑ Snow White and the Seven Dwarfs (William Cottrell and David Hand, 1937)
☐ The Awful Truth (Leo McCarey, 1937)
☐ Pepe le Moko (Julien Duvivier, 1937)
☐ Jezebel (William Wyler, 1938)
☐ The Adventures of Robin Hood (Michael Curtiz and William Keighley, 1938)
☐ Angels with Dirty Faces (Michael Curtiz, 1938)
☑ Olympia (Leni Riefenstahl, 1938)
☐ The Baker's Wife (Marcel Pagnol, 1938)
☑ Bringing Up Baby (Howard Hawks, 1938)
☐ Stagecoach (John Ford, 1939)
☐ The Story of the Late Chrysanthemums (Kenji Mizoguchi, 1939)
☐ Babes in Arms (Busby Berkeley, 1939)
☑ Mr. Smith Goes to Washington (Frank Capra, 1939)
☑ The Wizard of Oz (Victor Fleming, 1939)
☐ Destry Rides Again (George Marshall, 1939)
☐ Only Angels Have Wings (Howard Hawks, 1939)
☑ Gone With the Wind (Victor Fleming, 1939)
☐ Le Jour Se Lève [Daybreak] (Marcel Carné, 1939)
☐ Gunga Din (George Stevens, 1939)
☐ Ninotchka (Ernst Lubitsch, 1939)
☑ La Règle du Jeu [The Rules of the Game] (Jean Renoir, 1939)
☐ Wuthering Heights (William Wyler, 1939)
☑ His Girl Friday (Howard Hawks, 1940)
☑ Rebecca (Alfred Hitchcock, 1940)
☑ Fantasia (James Algar and Samuel Armstrong, 1940)
☑ The Philadelphia Story (George Cukor, 1940)
☐ The Grapes of Wrath (John Ford, 1940)
☐ Dance, Girl, Dance (Dorothy Arzner, 1940)
☑ Pinocchio (Norman Ferguson and T. Hee, 1940)
☐ The Mortal Storm (Frank Borzage, 1940)
☐ The Bank Dick (Edward F. Cline, 1940)
☑ Citizen Kane (Orson Welles, 1941)
☑ The Lady Eve (Preston Sturges, 1941)
☐ The Wolf Man (George Waggner, 1941)
☑ The Maltese Falcon (John Huston, 1941)
☐ Sergeant York (Howard Hawks, 1941)
☑ Dumbo (Samuel Armstrong and Norman Ferguson, 1941)
☐ High Sierra (Raoul Walsh, 1941)
☑ Sullivan's Travels (Preston Sturges, 1941)
☑ How Green Was My Valley (John Ford, 1941)
☐ The Palm Beach Story (Preston Sturges, 1942)
☑ Now, Voyager (Irving Rapper, 1942)
☑ Casablanca (Michael Curtiz, 1942)
☐ To Be or Not to Be (Ernst Lubitsch, 1942)
☑ Cat People (Jacques Tourneur, 1942)
☑ The Magnificent Ambersons (Orson Welles, 1942)
☐ Yankee Doodle Dandy (Michael Curtiz, 1942)
☑ Meshes of the Afternoon (Maya Deren and Alexander Hammid, 1943)
☐ Fires Were Started (Humphrey Jennings, 1943)
☐ The Man in Grey (Leslie Arliss, 1943)
☐ The Life and Death of Colonel Blimp (Michael Powell and Emeric Pressburger, 1943)
☑ I Walked With a Zombie (Jacques Tourneur, 1943)
☐ The Seventh Victim (Mark Robson, 1943)
☐ The Ox-Bow Incident (William A. Wellman, 1943)
☐ Shadow of a Doubt (Alfred Hitchcock, 1943)
☐ Ossessione (Luchino Visconti, 1943)
☑ Meet Me in St. Louis (Vincente Minnelli, 1944)
☐ To Have and Have Not (Howard Hawks, 1944)
☐ Laura (Otto Preminger, 1944)
☑ Gaslight (George Cukor, 1944)
☐ Henry V (Laurence Olivier, 1944)
☐ Ivan the Terrible, Parts One and Two (Sergei M. Eisenstein, 1944)
☑ Double Indemnity (Billy Wilder, 1944)
☐ Murder, My Sweet (Edward Dmytryk, 1944)
☐ The Battle of San Pietro (John Huston and Mark W. Clark, 1945)
☑ Spellbound (Alfred Hitchcock, 1945)
☑ Mildred Pierce (Michael Curtiz, 1945)
☐ Les Enfants du Paradis [The Children of Paradise] (Marcel Carné, 1945)
☐ Rome, Open City (Roberto Rossellini, 1945)
☑ The Lost Weekend (Billy Wilder, 1945)
☐ Detour (Edgar G. Ulmer, 1945)
☐ I Know Where I'm Going! (Michael Powell and Emeric Pressburger, 1945)
☐ The Best Years of Our Lives (William Wyler, 1946)
☑ Brief Encounter (David Lean, 1946)
☐ Paisan (Roberto Rossellini, 1946)
☐ The Postman Always Rings Twice (Tay Garnett, 1946)
☐ My Darling Clementine (John Ford, 1946)
☐ The Stranger (Orson Welles, 1946)
☐ Beauty and the Beast (Jean Cocteau, 1946)
☑ The Big Sleep (Howard Hawks, 1946)
☐ The Killers (Robert Siodmak, 1946)
☐ A Matter of Life and Death (Michael Powell and Emeric Pressburger, 1946)
☐ Great Expectations (David Lean, 1946)
☑ Notorious (Alfred Hitchcock, 1946)
☑ Black Narcissus (Michael Powell and Emeric Pressburger, 1946)
☑ It's a Wonderful Life (Frank Capra, 1946)
☑ Gilda (Charles Vidor, 1946)
☑ Monsieur Verdoux (Charles Chaplin, 1947)
☐ Out of the Past (Jacques Tourneur, 1947)
☑ The Ghost and Mrs. Muir (Joseph L. Mankiewicz, 1947)
☐ Odd Man Out (Carol Reed, 1947)
☑ The Bicycle Thief (Vittorio De Sica, 1948)
☐ Letter From an Unknown Woman (Max Ophüls, 1948)
☐ Secret Beyond the Door (Fritz Lang, 1948)
☐ Force of Evil (Abraham Polonsky, 1948)
☐ Spring in a Small Town (Fei Mu, 1948)
☑ Red River (Howard Hawks, 1948)
☑ Rope (Alfred Hitchcock, 1948)
☐ The Snake Pit (Anatole Litvak, 1948)
☐ The Lady from Shanghai (Orson Welles, 1948)
☐ The Paleface (Norman Z. McLeod, 1948)
☑ The Red Shoes (Michael Powell and Emeric Pressburger, 1948)
☐ The Treasure of the Sierra Madre (John Huston, 1948)
☐ Louisiana Story (Robert J. Flaherty, 1948)
☑ The Heiress (William Wyler, 1949)
☐ Kind Hearts and Coronets (Robert Hamer, 1949)
☐ Gun Crazy (Joseph H. Lewis, 1949)
☑ Adam's Rib (George Cukor, 1949)
☐ Whiskey Galore! (Alexander Mackendrick, 1949)
☐ White Heat (Raoul Walsh, 1949)
☐ The Reckless Moment (Max Ophüls, 1949)
☐ The Third Man (Carol Reed, 1949)
☑ On the Town (Stanley Donen and Gene Kelly, 1949)
☐ Orpheus (Jean Cocteau, 1949)
☐ The Asphalt Jungle (John Huston, 1950)
☑ Rashomon (Akira Kurosawa, 1950)
☐ Winchester '73 (Anthony Mann, 1950)
☐ Rio Grande (John Ford, 1950)
☑ All About Eve (Joseph L. Mankiewicz, 1950)
☑ Sunset Blvd. (Billy Wilder, 1950)
☐ Los Olvidados (Luis Buñuel, 1950)
☐ In a Lonely Place (Nicholas Ray, 1950)
☐ The Big Carnival [Ace in the Hole] (Billy Wilder, 1951)
☑ A Streetcar Named Desire (Elia Kazan, 1951)
☑ Strangers on a Train (Alfred Hitchcock, 1951)
☐ The Lavender Hill Mob (Charles Crichton, 1951)
☐ Pandora and the Flying Dutchman (Albert Lewin, 1951)
☐ The African Queen (John Huston, 1951)
☑ Diary of a Country Priest (Robert Bresson, 1951)
☑ An American in Paris (Vincente Minnelli, 1951)
☐ A Place in the Sun (George Stevens, 1951)
☐ The Day the Earth Stood Still (Robert Wise, 1951)
☐ The Quiet Man (John Ford, 1952)
☐ Jeux Interdits [Forbidden Games] (René Clément, 1952)
☐ Angel Face (Otto Preminger, 1952)
☑ Singin' in the Rain (Stanley Donen and Gene Kelly, 1952)
☐ Ikiru [To Live] (Akira Kurosawa, 1952)
☐ Europa '51 [The Greatest Love] (Roberto Rossellini, 1952)
☐ The Bad and the Beautiful (Vincente Minnelli, 1952)
☐ The Big Sky (Howard Hawks, 1952)
☑ High Noon (Fred Zinnemann, 1952)
☐ Umberto D (Vittorio De Sica, 1952)
☐ Le Carrosse D'Or [The Golden Coach] (Jean Renoir, 1952)
☐ The Bigamist (Ida Lupino, 1953)
☐ The Band Wagon (Vincente Minnelli, 1953)
☑ The Earrings of Madame De… (Max Ophüls, 1953)
☑  From Here to Eternity (Fred Zinnemann, 1953)
☑ Tokyo Story (Yasujirô Ozu, 1953)
☑ Roman Holiday (William Wyler, 1953)
☐ Le Salaire de la Peur [The Wages of Fear] (Henri-Georges Clouzot, 1953)
☐ The Naked Spur (Anthony Mann, 1953)
☐ Pickup on South Street (Samuel Fuller, 1953)
☑ Gentlemen Prefer Blondes (Howard Hawks, 1953)
☑ The Big Heat (Fritz Lang, 1953)
☐ Monsieur Hulot's Holiday (Jacques Tati, 1953)
☐ Voyage in Italy (Roberto Rossellini, 1953)
☐ Tales of Ugetsu (Kenji Mizoguchi, 1953)
☑ Shane (George Stevens, 1953)
☐ Beat the Devil (John Huston, 1953)
☐ Johnny Guitar (Nicholas Ray, 1954)
☑ On the Waterfront (Elia Kazan, 1954)
☐ Seven Brides for Seven Brothers (Stanley Donen, 1954)
☐ Les Diaboliques (Henri-Georges Clouzot, 1954)
☐ Animal Farm (Joy Batchelor and John Halas, 1954)
☑ Rear Window (Alfred Hitchcock, 1954)
☑ A Star Is Born (George Cukor, 1954)
☐ The Barefoot Contessa (Joseph L. Mankiewicz, 1954)
☐ La Strada (Federico Fellini, 1954)
☑ The Seven Samurai (Akira Kurosawa, 1954)
☐ Senso [The Wanton Countess] (Luchino Visconti, 1954)
☐ Silver Lode (Allan Dwan, 1954)
☑ Carmen Jones (Otto Preminger, 1954)
☐ Sansho the Bailiff (Kenji Mizoguchi, 1954)
☐ Salt of the Earth (Herbert J. Biberman, 1954)
☐ Artists and Models (Frank Tashlin, 1955)
☐ Guys and Dolls (Joseph L. Mankiewicz, 1955)
☑ Pather Panchali (Satyajit Ray, 1955)
☐ Bad Day at Black Rock (John Sturges, 1955)
☐ Les Maîtres Fous [The Mad Masters] (Jean Rouch, 1955)
☐ Giv'a 24 Eina Ona [Hill 24 Doesn’t Answer] (Thorold Dickinson, 1955)
☐ The Ladykillers (Alexander Mackendrick, 1955)
☐ Marty (Delbert Mann, 1955)
☐ Ordet (Carl Theodor Dreyer, 1955)
☐ Bob Le Flambeur [Bob the Gambler] (Jean-Pierre Melville, 1955)
☐ Kiss Me Deadly (Robert Aldrich, 1955)
☐ The Man from Laramie (Anthony Mann, 1955)
☑ Rebel Without a Cause (Nicholas Ray, 1955)
☐ The Phenix City Story (Phil Karlson, 1955)
☐ Smiles of a Summer Night (Ingmar Bergman, 1955)
☑ Night and Fog (Alain Resnais, 1955)
☑ The Night of the Hunter (Charles Laughton, 1955)
☐ The Sins of Lola Montes (Max Ophüls, 1955)
☐ Forbidden Planet (Fred M. Wilcox, 1956)
☐ The Burmese Harp (Kon Ichikawa, 1956)
☑ The Searchers (John Ford, 1956)
☐ A Man Escaped (Robert Bresson, 1956)
☑ Written on the Wind (Douglas Sirk, 1956)
☑ The Man Who Knew Too Much (Alfred Hitchcock, 1956)
☑ Giant (George Stevens, 1956)
☑ All That Heaven Allows (Douglas Sirk, 1956)
☑ Invasion of the Body Snatchers (Don Siegel, 1956)
☐ The Wrong Man (Alfred Hitchcock, 1956)
☐ Bigger Than Life (Nicholas Ray, 1956)
☑ High Society (Charles Walters, 1956)
☑ The Ten Commandments (Cecil B. DeMille, 1956)
☑ 12 Angry Men (Sidney Lumet, 1957)
☐ The Seventh Seal (Ingmar Bergman, 1957)
☑ An Affair to Remember (Leo McCarey, 1957)
☐ Wild Strawberries (Ingmar Bergman, 1957)
☑ Nights of Cabiria (Federico Fellini, 1957)
☐ Throne of Blood (Akira Kurosawa, 1957)
☐ The Incredible Shrinking Man (Jack Arnold, 1957)
☐ Aparajito [The Unvanquished] (Satyajit Ray, 1957)
☐ Gunfight at the O.K. Corral (John Sturges, 1957)
☑ The Bridge on the River Kwai (David Lean, 1957)
☐ Mother India (Mehboob Khan, 1957)
☐ The Cranes Are Flying (Mikhail Kalatozov, 1957)
☐ Paths of Glory (Stanley Kubrick, 1957)
☑ Sweet Smell of Success (Alexander Mackendrick, 1957)
☐ Man of the West (Anthony Mann, 1958)
☑ Touch of Evil (Orson Welles, 1958)
☐ Bab el Hadid [The Iron Gate/Cairo Station] (Youssef Chahine, 1958)
☑ Gigi (Vincente Minnelli, 1958)
☐ The Defiant Ones (Stanley Kramer, 1958)
☑ Vertigo (Alfred Hitchcock, 1958)
☐ Ashes and Diamonds (Andrzej Wajda, 1958)
☐ Horror of Dracula (Terence Fisher, 1958)
☑ Mon Oncle (Jacques Tati, 1958)
☐ The Music Room (Satyajit Ray, 1958)
☑ The 400 Blows (François Truffaut, 1959)
☑ North by Northwest (Alfred Hitchcock, 1959)
☑ Some Like It Hot (Billy Wilder, 1959)
☐ Anatomy of a Murder (Otto Preminger, 1959)
☐ Eyes Without a Face (Georges Franju, 1959)
☐ Ride Lonesome (Budd Boetticher, 1959)
☐ Black Orpheus (Marcel Camus, 1959)
☐ Shadows (John Cassavetes, 1959)
☑ The World of Apu (Satyajit Ray, 1959)
☐ Breathless (Jean-Luc Godard, 1959)
☑ Ben-Hur (William Wyler, 1959)
☐ Pickpocket (Robert Bresson, 1959)
☑ Hiroshima Mon Amour (Alain Resnais, 1959)
☐ Rio Bravo (Howard Hawks, 1959)
☐ The Hole (Frank Capra, 1959)
☑ Floating Weeds (Yasujirô Ozu, 1959)
☐ Rocco and His Brothers (Luchino Visconti, 1960)
☑ La Dolce Vita (Federico Fellini, 1960)
☐ Saturday Night and Sunday Morning (Karel Reisz, 1960)
☐ Shoot the Piano Player (François Truffaut, 1960)
☑ L'Avventura (Michelangelo Antonioni, 1960)
☐ The Young One (Luis Buñuel, 1960)
☐ Meghe Dhaka Tara [The Cloud-Capped Star] (Ritwik Ghatak, 1960)
☐ Hanyeo [The Housemaid] (Ki-young Kim, 1960)
☑ Psycho (Alfred Hitchcock, 1960)
☐ Revenge of the Vampire/Black Sunday (Mario Bava, 1960)
☑ Peeping Tom (Michael Powell, 1960)
☑ The Apartment (Billy Wilder, 1960)
☑ Spartacus (Stanley Kubrick, 1960)
☐ Splendor in the Grass (Elia Kazan, 1961)
☑ Last Year at Marienbad (Alain Resnais, 1961)
☑ La Jetee [The Pier] (Chris Marker, 1961)
☐ One-Eyed Jacks (Marlon Brando, 1961)
☐ Lola (Jacques Demy, 1961)
☑ Breakfast at Tiffany's (Blake Edwards, 1961)
☐ La Notte [The Night] (Michelangelo Antonioni, 1961)
☑ Jules et Jim (François Truffaut, 1961)
☐ Viridiana (Luis Buñuel, 1961)
☐ The Ladies Man (Jerry Lewis, 1961)
☐ Through a Glass Darkly (Ingmar Bergman, 1961)
☐ Chronique d'un Eté [Chronicle of a Summer] (Edgar Morin and Jean Rouch, 1961)
☐ The Hustler (Robert Rossen, 1961)
☑ West Side Story (Jerome Robbins and Robert Wise, 1961)
☐ Mondo Cane [A Dog's Life] (Paolo Cavara and Gualtiero Jacopetti, 1962)
☐ Cleo from 5 to 7 (Agnès Varda, 1962)
☐ Dog Star Man (Stan Brakhage, 1962)
☑ El Ángel Exterminador [The Exterminating Angel] (Luis Buñuel, 1962)
☐ An Autumn Afternoon (Yasujirô Ozu, 1962)
☐ L'eclisse [The Eclipse] (Michelangelo Antonioni, 1962)
☑ Lawrence of Arabia (David Lean, 1962)
☑ To Kill a Mockingbird (Robert Mulligan, 1962)
☑ The Manchurian Candidate (John Frankenheimer, 1962)
☑ Lolita (Stanley Kubrick, 1962)
☐ O Pagador de Promessas [Keeper of Promises] (Anselmo Duarte, 1962)
☐ The Man Who Shot Liberty Valance (John Ford, 1962)
☑ What Ever Happened to Baby Jane? (Robert Aldrich, 1962)
☐ Vivre sa Vie [My Life to Live] (Jean-Luc Godard, 1962)
☐ Heaven and Earth Magic (Harry Smith, 1962)
☑ The Birds (Alfred Hitchcock, 1963)
☐ The Nutty Professor (Jerry Lewis, 1963)
☐ Blonde Cobra (Ken Jacobs, 1963)
☐ The Cool World (Shirley Clarke, 1963)
☑ 8½ (Federico Fellini, 1963)
☐ Passenger (Andrzej Munk and Witold Lesiewicz, 1963)
☐ Contempt (Jean-Luc Godard, 1963)
☐ Hud (Martin Ritt, 1963)
☐ Winter Light (Ingmar Bergman, 1963)
☐ Flaming Creatures (Jack Smith, 1963)
☐ The Great Escape (John Sturges, 1963)
☐ Shock Corridor (Samuel Fuller, 1963)
☑ Il Gattopardo [The Leopard] (Luchino Visconti, 1963)
☐ Vidas Secas [Barren Lives] (Nelson Pereira dos Santos, 1963)
☐ Méditerranée (Jean-Daniel Pollet and Volker Schlöndorff, 1963)
☐ Khaneh Siah Ast [The House is Black] (Forugh Farrokhzad, 1963)
☑  The Haunting (Robert Wise, 1963)
☐ An Actor's Revenge/Revenge of a Kabuki Actor (Kon Ichikawa, 1963)
☐ The Servant (Joseph Losey, 1963)
☑ Goldfinger (Guy Hamilton, 1964)
☑ Scorpio Rising (Kenneth Anger, 1964)
☑ Les Parapluies de Cherbourg [The Umbrellas of Cherbourg] (Jacques Demy, 1964)
☑ Marnie (Alfred Hitchcock, 1964)
☑ My Fair Lady (George Cukor, 1964)
☑ Woman in the Dunes (Hiroshi Teshigahara, 1964)
☑ Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (Stanley Kubrick, 1964)
☑ A Hard Day's Night (Richard Lester, 1964)
☐ Red Desert (Michelangelo Antonioni, 1964)
☐ Shadows of Forgotten Ancestors (Sergei Parajanov, 1964)
☐ The Masque of the Red Death (Roger Corman, 1964)
☐ Before the Revolution (Bernardo Bertolucci, 1964)
☐ Gertrud (Carl Theodor Dreyer, 1964)
☐ The Gospel According to St. Matthew (Pier Paolo Pasolini, 1964)
☐ Deus e O Diabo Na Terra Do Sol [Black God, White Devil] (Glauber Rocha, 1964)
☐ Onibaba [The Demon] (Kaneto Shindô, 1964)
☐ Vinyl (Andy Warhol, 1965)
☐ Obch o Na Korze [The Shop on Main Street] (Ján Kadár and Elmar Klos, 1965)
☑ Doctor Zhivago (David Lean, 1965)
☐ The War Game (Peter Watkins, 1965)
☐ Tokyo Olympiad (Kon Ichikawa, 1965)
☑ The Battle of Algiers (Gillo Pontecorvo, 1965)
☑ The Sound of Music (Robert Wise, 1965)
☐ Rękopis Znaleziony w Saragossie [The Saragossa Manuscript] (Wojciech Has, 1965)
☐ Alphaville (Jean-Luc Godard, 1965)
☐ Chimes at Midnight (Orson Welles, 1965)
☑ Repulsion (Roman Polanski, 1965)
☐ Giulietta Degli Spiriti [Juliet of the Spirits] (Federico Fellini, 1965)
☐ Pierrot le Fou [Pierrot Goes Wild] (Jean-Luc Godard, 1965)
☐ Faster, Pussy Cat! Kill! Kill! (Russ Meyer, 1965)
☐ Subarnarekha [The Golden River/The Golden Thread] (Ritwik Ghatak, 1965)
☐ De Man Die Zijn Haar Kort Liet Knippen [The Man Who Had His Hair Cut Short] (André Delvaux, 1965)
☐ Hold Me While I'm Naked (George Kuchar, 1966)
☑ Blowup (Michelangelo Antonioni, 1966)
☑ The Good, the Bad, and the Ugly (Sergio Leone, 1966)
☐ Sedmikrásky [Daisies] (Vera Chytilová, 1966)
☐ 大醉俠 [Come Drink With Me] (King Hu, 1966)
☐ Seconds (John Frankenheimer, 1966)
☑ Who's Afraid of Virginia Woolf? (Mike Nichols, 1966)
☑ Persona (Ingmar Bergman, 1966)
☐ Masculin Féminin (Jean-Luc Godard, 1966)
☐ Au Hasard Balthazar (Robert Bresson, 1966)
☑ In the Heat of the Night (Norman Jewison, 1967)
☐ Two or Three Things I Know About Her (Jean-Luc Godard, 1967)
☑ The Graduate (Mike Nichols, 1967)
☐ Playtime (Jacques Tati, 1967)
☐ Report (Bruce Conner, 1967)
☐ Hombre (Martin Ritt, 1967)
☑ Belle de Jour (Luis Buñuel, 1967)
☐ Les Demoiselles de Rochefort [The Young Girls of Rochefort] (Jacques Demy and Agnès Varda, 1967)
☐ Week End (Jean-Luc Godard, 1967)
☑ Le Samouraï (Jean-Pierre Melville, 1967)
☐ Cool Hand Luke (Stuart Rosenberg, 1967)
☐ Point Blank (John Boorman, 1967)
☑ Wavelength (Michael Snow, 1967)
☑ Bonnie and Clyde (Arthur Penn, 1967)
☐ Csillagosok, Katonák [The Red and the White] (Miklós Jancsó, 1967)
☐ Marketa Lazarova (Frantisek Vlácil, 1967)
☑ The Jungle Book (Wolfgang Reitherman, 1967)
☐ The Fireman's Ball (Milos Forman, 1967)
☐ Terra em Transe [Earth Entranced] (Glauber Rocha, 1967)
☐ Ostře Sledované Vlaky [Closely Watched Trains] (Jiri Menzel, 1967)
☐ Vij [Spirit of Evil] (Konstantin Yershov and Georgi Kropachyov, 1967)
☐ The Cow/Poor Cow (Ken Loach, 1968)
☐ Once Upon a Time in the West (Sergio Leone, 1968)
☑ Planet of the Apes (Franklin J. Schaffner, 1968)
☐ Faces (John Cassavetes, 1968)
☑ Rosemary's Baby (Roman Polanski, 1968)
☐ If… (Lindsay Anderson, 1968)
☐ Memorias del Subdesarrollo [Memories of Underdevelopment] (Tomás Gutiérrez Alea, 1968)
☑ The Producers (Mel Brooks, 1968)
☐ David Holzman's Diary (Jim McBride, 1968)
☐ Shame (Ingmar Bergman, 1968)
☑ 2001: A Space Odyssey (Stanley Kubrick, 1968)
☐ Hour of the Wolf (Ingmar Bergman, 1968)
☐ Targets (Peter Bogdanovich, 1968)
☑ Night of the Living Dead (George A. Romero, 1968)
☑ My Night at Maud's (Eric Rohmer, 1969)
☐ Lucia (Humberto Solás, 1969)
☐ A Touch of Zen (King Hu, 1969)
☑ Butch Cassidy and the Sundance Kid (George Roy Hill, 1969)
☑ Midnight Cowboy (John Schlesinger, 1969)
☐ Satyricon (Federico Fellini, 1969)
☐ Z (Costa-Gavras, 1969)
☐ The Conformist (Bernardo Bertolucci, 1969)
☑ Easy Rider (Dennis Hopper, 1969)
☐ High School (Frederick Wiseman, 1969)
☐ In the Year of the Pig (Emile de Antonio, 1969)
☑ The Wild Bunch (Sam Peckinpah, 1969)
☐ Andrei Rublev (Andrey Tarkovsky, 1969)
☐ Le Boucher [The Butcher] (Claude Chabrol, 1969)
☑ The Color of Pomegranates (Sergei Parajanov, 1969)
☐ Kes (Ken Loach, 1969)
☐ Tristana (Luis Buñuel, 1970)
☐ Five Easy Pieces (Bob Rafelson, 1970)
☐ El Topo (Alejandro Jodorowsky, 1970)
☑ Woodstock (Michael Wadleigh, 1970)
☐ Deep End (Jerzy Skolimowski, 1970)
☐ Strategia del Ragno [The Spider's Stratagem] (Bernardo Bertolucci, 1970)
☐ Little Big Man (Arthur Penn, 1970)
☐ Ucho [The Ear] (Karel Kachyna, 1970)
☐ Patton (Franklin J. Schaffner, 1970)
☑ M*A*S*H (Robert Altman, 1970)
☐ Performance (Donald Cammell and Nicolas Roeg, 1970)
☐ Gimme Shelter (Albert Maysles and David Maysles, 1970)
☐ Zabriskie Point (Michelangelo Antonioni, 1970)
☐ The Bird With the Crystal Plumage (Dario Argento, 1970)
☐ The Garden of the Finzi-Continis (Vittorio De Sica, 1970)
☐ Wanda (Barbara Loden, 1971)
☐ W.R.: Mysteries of the Organism (Dusan Makavejev, 1971)
☑ A Clockwork Orange (Stanley Kubrick, 1971)
☑ The Sorrow and the Pity (Marcel Ophüls, 1971)
☑ Willy Wonka and the Chocolate Factory (Mel Stuart, 1971)
☐ McCabe and Mrs. Miller (Robert Altman, 1971)
☐ Walkabout (Nicolas Roeg, 1971)
☑ Klute (Alan J. Pakula, 1971)
☑ Harold and Maude (Hal Ashby, 1971)
☐ Még Kér a Nép [Red Psalm] (Miklos Jancso, 1971)
☐ Get Carter (Mike Hodges, 1971)
☑ The French Connection (William Friedkin, 1971)
☐ Shaft (Gordon Parks, 1971)
☑ Dirty Harry (Don Siegel, 1971)
☑ Le Souffle au Cœur [Murmur of the Heart] (Louis Malle, 1971)
☐ Sweet Sweetback's Baadasssss Song (Melvin Van Peebles, 1971)
☑ The Last Picture Show (Peter Bogdanovich, 1971)
☐ Straw Dogs (Sam Peckinpah, 1971)
☐ Two-Lane Blacktop (Monte Hellman, 1971)
☑ The Heartbreak Kid (Elaine May, 1972)
☑ Aguirre, the Wrath of God (Werner Herzog, 1972)
☑ Cabaret (Bob Fosse, 1972)
☑ Last Tango in Paris (Bernardo Bertolucci, 1972)
☐ High Plains Drifter (Clint Eastwood, 1972)
☐ Sleuth (Joseph L. Mankiewicz, 1972)
☑ Deliverance (John Boorman, 1972)
☑ Solaris (Andrei Tarkovsky, 1972)
☑ The Godfather (Francis Ford Coppola, 1972)
☑ Cries and Whispers (Ingmar Bergman, 1972)
☐ Fat City (John Huston, 1972)
☑ Le Charme Discret de la Bourgeoisie [The Discreet Charm of the Bourgeoisie] (Luis Buñuel, 1972)
☐ Die Bitteren Tränen der Petra von Kant [The Bitter Tears of Petra Von Kant] (Rainer Werner Fassbinder, 1972)
☐ Frenzy (Alfred Hitchcock, 1972)
☑ Pink Flamingos (John Waters, 1972)
☐ Superfly (Gordon Parks Jr., 1972)
☑ The Sting (George Roy Hill, 1973)
☐ La Maman et la Putain [The Mother and the Whore] (Jean Eustache, 1973)
☐ Badlands (Terrence Malick, 1973)
☑ American Graffiti (George Lucas, 1973)
☐ Papillon (Franklin J. Schaffner, 1973)
☑ Enter the Dragon (Robert Clouse, 1973)
☑ Mean Streets (Martin Scorsese, 1973)
☐ The Long Goodbye (Robert Altman, 1973)
☑ The Wicker Man (Robin Hardy, 1973)
☑ La Nuit Américaine [Day for Night] (François Truffaut, 1973)
☑ Don't Look Now (Nicolas Roeg, 1973)
☑ Sleeper (Woody Allen, 1973)
☐ Serpico (Sidney Lumet, 1973)
☑ The Exorcist (William Friedkin, 1973)
☐ Turks Fruit [Turkish Delight] (Paul Verhoeven, 1973)
☐ El Espíritu de la Colmena [The Spirit of the Beehive] (Víctor Erice, 1973)
☐ La Planète Sauvage [Fantastic Planet] (René Laloux, 1973)
☐ Amarcord (Federico Fellini, 1973)
☐ The Harder They Come (Perry Henzell, 1973)
☐ Pat Garrett & Billy the Kid (Sam Peckinpah, 1973)
☐ Dersu Uzala (Akira Kurosawa, 1974)
☑ The Conversation (Francis Ford Coppola, 1974)
☑ The Texas Chainsaw Massacre (Tobe Hooper, 1974)
☐ Zerkalo [The Mirror] (Andrei Tarkovsky, 1974)
☑ A Woman Under the Influence (John Cassavetes, 1974)
☐ Young Frankenstein (Mel Brooks, 1974)
☑ Chinatown (Roman Polanski, 1974)
☐ Céline et Julie Vont en Bateau [Celine and Julie Go Boating] (Jacques Rivette, 1974)
☑ Blazing Saddles (Mel Brooks, 1974)
☑ The Godfather Part II (Francis Ford Coppola, 1974)
☐ Ali: Fear Eats the Soul (Rainer Werner Fassbinder, 1974)
☐ Bring Me the Head of Alfredo Garcia (Sam Peckinpah, 1974)
☑ Dog Day Afternoon (Sidney Lumet, 1975)
☑ One Flew over the Cuckoo's Nest (Milos Forman, 1975)
☐ Jeanne Dielman, 23 Quai Du Commerce, 1080 Bruxelles (Chantal Akerman, 1975)
☑ The Rocky Horror Picture Show (Jim Sharman, 1975)
☐ Deewaar [The Wall] (Yash Chopra, 1975)
☑ Monty Python and the Holy Grail (Terry Gilliam and Terry Jones, 1975)
☑ Barry Lyndon (Stanley Kubrick, 1975)
☐ Faustrecht der Freiheit [Fox and His Friends] (Rainer Werner Fassbinder, 1975)
☐ India Song (Marguerite Duras, 1975)
☑ Picnic at Hanging Rock (Peter Weir, 1975)
☑ Manila sa Mga Kuko ng Liwanag [Manila in the Claws of Brightness] (Lino Brocka, 1975)
☑ Salo, or the 120 Days of Sodom (Pier Paolo Pasolini, 1975)
☑ Nashville (Robert Altman, 1975)
☐ Cria! (Carlos Saura, 1975)
☐ O Thiassos [The Travelling Players] (Theodoros Angelopoulos, 1975)
☑ Jaws (Steven Spielberg, 1975)
☐ The Killing of a Chinese Bookie (John Cassavetes, 1976)
☑ Carrie (Brian De Palma, 1976)
☐ The Outlaw Josey Wales (Clint Eastwood, 1976)
☑ All the President's Men (Alan J. Pakula, 1976)
☑ Rocky (John G. Avildsen, 1976)
☑ Taxi Driver (Martin Scorsese, 1976)
☑ Network (Sidney Lumet, 1976)
☐ Voskhozhdeniye [The Ascent] (Larisa Shepitko, 1976)
☑ In the Realm of the Senses (Nagisa Ôshima, 1976)
☐ 1900 (Bernardo Bertolucci, 1976)
☐ The Man Who Fell to Earth (Nicolas Roeg, 1976)
☑ Star Wars (George Lucas, 1977)
☑ Close Encounters of the Third Kind (Steven Spielberg, 1977)
☐ The Last Wave (Peter Weir, 1977)
☑ Annie Hall (Woody Allen, 1977)
☐ Last Chants for a Slow Dance (Jon Jost, 1977)
☐ Stroszek (Werner Herzog, 1977)
☐ Człowiek z Marmuru [Man of Marble] (Andrzej Wajda, 1977)
☑ Saturday Night Fever (John Badham, 1977)
☐ Killer of Sheep (Charles Burnett, 1977)
☐ Eraserhead (David Lynch, 1977)
☐ Ceddo (Ousmane Sembene, 1977)
☐ Der Amerikanische Freund [The American Friend] (Wim Wenders, 1977)
☐ The Hills Have Eyes (Wes Craven, 1977)
☐ Soldaat van Oranje [Soldier of Orange] (Paul Verhoeven, 1977)
☑ Suspiria (Dario Argento, 1977)
☐ The Chant of Jimmie Blacksmith (Fred Schepisi, 1978)
☐ 五毒 [Five Deadly Venoms] (Cheh Chang, 1978)
☐ L'Albero Degli Zoccoli [The Tree of Wooden Clogs] (Ermanno Olmi, 1978)
☑ The Deer Hunter (Michael Cimino, 1978)
☑ Grease (Randal Kleiser, 1978)
☑ Days of Heaven (Terrence Malick, 1978)
☑ Dawn of the Dead (George A. Romero, 1978)
☐ Shaolin Master Killer/The 36th Chamber of Shaolin (Chia-Liang Liu, 1978)
☐ Up in Smoke (Lou Adler, 1978)
☑ Halloween (John Carpenter, 1978)
☐ The Marriage of Maria Braun (Rainer Werner Fassbinder, 1979)
☐ Real Life (Albert Brooks, 1979)
☐ My Brilliant Career (Gillian Armstrong, 1979)
☐ Stalker (Andrei Tarkovsky, 1979)
☑ Alien (Ridley Scott, 1979)
☐ Breaking Away (Peter Yates, 1979)
☐ Die Blechtrommel [The Tin Drum] (Volker Schlöndorff, 1979)
☑ All That Jazz (Bob Fosse, 1979)
☑ Being There (Hal Ashby, 1979)
☑ Kramer vs. Kramer (Robert Benton, 1979)
☑ Life of Brian (Terry Jones, 1979)
☑ Apocalypse Now (Francis Ford Coppola, 1979)
☑ The Jerk (Carl Reiner, 1979)
☐ The Muppet Movie (James Frawley, 1979)
☑ Manhattan (Woody Allen, 1979)
☑ Mad Max (George Miller, 1979)
☑ Nosferatu: Phantom of the Night (Werner Herzog, 1979)
☑ Ordinary People (Robert Redford, 1980)
☐ Atlantic City (Louis Malle, 1980)
☐ The Last Metro (François Truffaut, 1980)
☑ The Shining (Stanley Kubrick, 1980)
☑ Star Wars: Episode V - The Empire Strikes Back (Irvin Kershner, 1980)
☑ The Elephant Man (David Lynch, 1980)
☐ The Big Red One (Samuel Fuller, 1980)
☐ Loulou (Maurice Pialat, 1980)
☑ Airplane! (Jim Abrahams and David Zucker, 1980)
☑ Raging Bull (Martin Scorsese, 1980)
☑ Raiders of the Lost Ark (Steven Spielberg, 1981)
☐ Das Boot [The Boat] (Wolfgang Petersen, 1981)
☐ Gallipoli (Peter Weir, 1981)
☑ Chariots of Fire (Hugh Hudson, 1981)
☑ Body Heat (Lawrence Kasdan, 1981)
☑ Reds (Warren Beatty, 1981)
☑ An American Werewolf in London (John Landis, 1981)
☐ Tre Fratelli [Three Brothers] (Francesco Rosi, 1981)
☐ Człowiek z Zelaza [Man of Iron] (Andrzej Wajda, 1981)
☐ Trop Tôt, Trop Tard [Too Early, Too Late] (Daniele Huillet and Jean Marie Straub, 1981)
☑ Fast Times at Ridgemont High (Cameron Crowe, 1981)
☑ E.T.: The Extra-Terestrial (Steven Spielberg, 1982)
☑ The Thing (John Carpenter, 1982)
☑ Poltergeist (Tobe Hooper, 1982)
☑ Blade Runner (Ridley Scott, 1982)
☑ The Evil Dead (Sam Raimi, 1982)
☑ Tootsie (Sydney Pollack, 1982)
☐ Yol [The Way] (Serif Gören, 1982)
☐ Diner (Barry Levinson, 1982)
☐ Fitzcaraldo (Werner Herzog, 1982)
☑ Gandhi (Richard Attenborough, 1982)
☐ La Notte di San Lorenzo [The Night of the Shooting Stars] (Paolo Taviani and Vittorio Taviani, 1982)
☐ De Stilte Rond Christine M. [A Question of Silence] (Marleen Gorris, 1982)
☑ Fanny and Alexander (Ingmar Bergman, 1982)
☑ A Christmas Story (Bob Clark, 1983)
☐ El Norte (Gregory Nava, 1983)
☑ Videodrome (David Cronenberg, 1983)
☑ Star Wars: Episode VI - Return of the Jedi (Richard Marquand, 1983)
☑ The Big Chill (Lawrence Kasdan, 1983)
☐ Sans Soleil [Sunless] (Chris Marker, 1983)
☐ Le Dernier Combat [The Last Battle] (Luc Besson, 1983)
☐ L'Argent [Money] (Robert Bresson, 1983)
☐ Utu (Geoff Murphy, 1983)
☑ Terms of Endearment (James L. Brooks, 1983)
☐ De Vierde Man [The Fourth Man] (Paul Verhoeven, 1983)
☑ The King of Comedy (Martin Scorsese, 1983)
☑ The Right Stuff (Philip Kaufman, 1983)
☐ Koyaanisqatsi (Godfrey Reggio, 1983)
☑ Once Upon a Time in America (Sergio Leone, 1983)
☑ Scarface (Brian De Palma, 1983)
☐ The Ballad of Narayama (Shôhei Imamura, 1983)
☑ Amadeus (Milos Forman, 1984)
☑ The Terminator (James Cameron, 1984)
☑ Paris, Texas (Wim Wenders, 1984)
☑ A Nightmare on Elm Street (Wes Craven, 1984)
☑ This Is Spinal Tap (Rob Reiner, 1984)
☑ Beverly Hills Cop (Martin Brest, 1984)
☑ Ghostbusters (Ivan Reitman, 1984)
☑ A Passage to India (David Lean, 1984)
☐ Stranger Than Paradise (Jim Jarmusch, 1984)
☑ The Killing Fields (Roland Joffé, 1984)
☑ The Natural (Barry Levinson, 1984)
☑ The Breakfast Club (John Hughes, 1985)
☑ Ran (Akira Kurosawa, 1985)
☐ Come and See (Elem Klimov, 1985)
☐ La Historia Oficial [The Official Story] (Luis Puenzo, 1985)
☑ Out of Africa (Sydney Pollack, 1985)
☑ The Purple Rose of Cairo (Woody Allen, 1985)
☑ Back to the Future (Robert Zemeckis, 1985)
☐ 童年往事 [The Time to Live and the Time to Die] (Hsiao-hsien Hou, 1985)
☑ Brazil (Terry Gilliam, 1985)
☑ Kiss of the Spider Woman (Hector Babenco, 1985)
☐ The Quiet Earth (Geoff Murphy, 1985)
☑ Mishima: A Life in Four Chapters (Paul Schrader, 1985)
☑ Prizzi's Honor (John Huston, 1985)
☐ Sans Toit ni Loi [Vagabond] (Agnès Varda, 1985)
☑ Shoah (Claude Lanzmann, 1985)
☑ The Color Purple (Steven Spielberg, 1985)
☑ Manhunter (Michael Mann, 1986)
☑ Stand By Me (Rob Reiner, 1986)
☑ Blue Velvet (David Lynch, 1986)
☑ Hannah and Her Sisters (Woody Allen, 1986)
☐ She's Gotta Have It (Spike Lee, 1986)
☐ Le Déclin de L'Empire Américain [The Decline of the American Empire] (Denys Arcand, 1986)
☑ The Fly (David Cronenberg, 1986)
☑ Aliens (James Cameron, 1986)
☑ Ferris Bueller's Day Off (John Hughes, 1986)
☐ Down by Law (Jim Jarmusch, 1986)
☑ A Room with a View (James Ivory, 1986)
☑ Children of a Lesser God (Randa Haines, 1986)
☑ Platoon (Oliver Stone, 1986)
☑ Caravaggio (Derek Jarman, 1986)
☑ Tampopo (Jûzô Itami, 1986)
☐ 刀馬旦 [Peking Opera Blues] (Hark Tsui, 1986)
☑ Salvador (Oliver Stone, 1986)
☑ Top Gun (Tony Scott, 1986)
☐ Sherman's March (Ross McElwee, 1986)
☐ 盗马贼 [The Horse Thief] (Tian Zhuangzhuang, 1986)
☐ Yeelen [Brightness] (Souleymane Cissé, 1987)
☐ Der Himmel über Berlin [Wings of Desire] (Wim Wenders, 1987)
☐ Project A, Part II (Jackie Chan, 1987)
☑ Babettes Gæstebud [Babette's Feast] (Gabriel Axel, 1987)
☑ Raising Arizona (Joel Coen, 1987)
☑ Full Metal Jacket (Stanley Kubrick, 1987)
☑ Withnail and I (Bruce Robinson, 1987)
☑ Good Morning, Vietnam (Barry Levinson, 1987)
☑ Au Revoir Les Enfants [Goodbye, Children] (Louis Malle, 1987)
☑ Broadcast News (James L. Brooks, 1987)
☐ Housekeeping (Bill Forsyth, 1987)
☑ The Princess Bride (Rob Reiner, 1987)
☑ Moonstruck (Norman Jewison, 1987)
☑ The Untouchables (Brian De Palma, 1987)
☐ 红高粱 [Red Sorghum] (Yimou Zhang, 1987)
☑ The Dead (John Huston, 1987)
☑ Fatal Attraction (Adrian Lyne, 1987)
☐ 倩女幽魂 [A Chinese Ghost Story] (Siu-Tung Ching, 1987)
☑ Mujeres al Borde de un Ataque de Nervios [Women on the Verge of a Nervous Breakdown] (Pedro Almodóvar, 1988)
☑ Spoorloos [The Vanishing] (George Sluizer, 1988)
☑ Bull Durham (Ron Shelton, 1988)
☐ Ariel (Aki Kaurismäki, 1988)
☐ The Thin Blue Line (Errol Morris, 1988)
☑ Akira (Katsuhiro Ôtomo, 1988)
☑ Cinema Paradiso (Giuseppe Tornatore, 1988)
☐ Hotel Terminus: The Life and Times of Klaus Barbie (Marcel Ophüls, 1988)
☑ A Fish Called Wanda (Charles Crichton, 1988)
☑ The Naked Gun: From the Files of Police Squad! (David Zucker, 1988)
☑ Big (Penny Marshall, 1988)
☑ Dangerous Liaisons (Stephen Frears, 1988)
☑ Grave of the Fireflies (Isao Takahata, 1988)
☐ Topio Stin Omichli [Landscape in the Mist] (Theodoros Angelopoulos, 1988)
☑ Dekalog [The Decalogue] (Krzysztof Kieslowski, 1988)
☑ Die Hard (John McTiernan, 1988)
☐ Une Histoire de Vent [A Tale of the Wind] (Joris Ivens, 1988)
☑ Who Framed Roger Rabbit (Robert Zemeckis, 1988)
☑ Rain Man (Barry Levinson, 1988)
☐ Une Affaire de Femmes [The Story of Women] (Claude Chabrol, 1988)
☑ The Accidental Tourist (Lawrence Kasdan, 1988)
☑ Alice (Woody Allen, 1988)
☑ Batman (Tim Burton, 1989)
☑ When Harry Met Sally (Rob Reiner, 1989)
☑ Crimes and Misdemeanors (Woody Allen, 1989)
☐ The Cook, the Thief, His Wife and Her Lover (Peter Greenaway, 1989)
☑ Drugstore Cowboy (Gus Van Sant, 1989)
☑ My Left Foot (Jim Sheridan, 1989)
☑ 喋血雙雄 [The Killer] (John Woo, 1989)
☑ Do the Right Thing (Spike Lee, 1989)
☑ Roger & Me (Michael Moore, 1989)
☑ Glory (Edward Zwick, 1989)
☐ Astenicheskiy Sindrom [The Asthenic Syndrome] (Kira Muratova, 1989)
☑ sex, lies and videotape (Steven Soderbergh, 1989)
☑ Say Anything (Cameron Crowe, 1989)
☐ The Unbelievable Truth (Hal Hartley, 1989)
☐ 悲情城市 [A City of Sadness] (Hsiao-hsien Hou, 1989)
☐ S'en Fout la Mort [No Fear, No Die] (Claire Denis, 1990)
☑ Reversal of Fortune (Barbet Schroeder, 1990)
☑ Goodfellas (Martin Scorsese, 1990)
☐ Jacob's Ladder (Adrian Lyne, 1990)
☐ King of New York (Abel Ferrara, 1990)
☑ Dances with Wolves (Kevin Costner, 1990)
☑ Europa Europa (Agnieszka Holland, 1990)
☑ Pretty Woman (Garry Marshall, 1990)
☐ Archangel (Guy Maddin, 1990)
☐ Trust (Hal Hartley, 1990)
☐ Nema-ye Nazdik [Close-Up] (Abbas Kiarostami, 1990)
☑ Edward Scissorhands (Tim Burton, 1990)
☐ Henry: Portrait of a Serial Killer (John McNaughton, 1990)
☑ Total Recall (Paul Verhoeven, 1990)
☑ 黃飛鴻 [Once Upon a Time in China] (Hark Tsui, 1991)
☑ Boyz n the Hood (John Singleton, 1991)
☑ 大红灯笼高高挂 [Raise the Red Lantern] (Yimou Zhang, 1991)
☐ Delicatessen (Marc Caro and Jean-Pierre Jeunet, 1991)
☐ 牯嶺街少年殺人事件 [A Brighter Summer Day] (Edward Yang, 1991)
☐ Naked Lunch (David Cronenberg, 1991)
☐ La Belle Noiseuse [The Beautiful Troublemaker] (Jacques Rivette, 1991)
☑ The Rapture (Michael Tolkin, 1991)
☑ My Own Private Idaho (Gus Van Sant, 1991)
☑ Thelma & Louise (Ridley Scott, 1991)
☑ Terminator 2: Judgment Day (James Cameron, 1991)
☑ The Silence of the Lambs (Jonathan Demme, 1991)
☑ JFK (Oliver Stone, 1991)
☑ Slacker (Richard Linklater, 1991)
☐ Tongues Untied (Marlon T. Riggs, 1991)
☑ Hearts of Darkness: A Filmmaker's Apocalypse (Fax Bahr and George Hickenlooper, 1991)
☑ The Double Life of Veronique (Krzysztof Kieslowski, 1991)
☑ Strictly Ballroom (Baz Luhrmann, 1992)
☑ The Player (Robert Altman, 1992)
☑ Reservoir Dogs (Quentin Tarantino, 1992)
☐ Romper Stomper (Geoffrey Wright, 1992)
☑ Glengarry Glen Ross (James Foley, 1992)
☑ Unforgiven (Cint Eastwood, 1992)
☑ Bram Stoker's Dracula (Francis Ford Coppola, 1992)
☑ Candy Man (Bernard Rose, 1992)
☐ A Tale of Winter (Eric Rohmer, 1992)
☑ Aileen Wuornos: The Selling of a Serial Killer (Nick Broomfield, 1992)
☑ The Crying Game (Neil Jordan, 1992)
☐ C'est Arrivé Près de Chez Vous [Man Bites Dog] (Rémy Belvaux and André Bonzel, 1992)
☐ The Actress (Stanley Kwan, 1992)
☑ 霸王別姬 [Farewell My Concubine] (Chen Kaige, 1993)
☑ Thirty-Two Films about Glenn Gould (François Girard, 1993)
☑ Groundhog Day (Harold Ramis, 1993)
☑ Short Cuts (Robert Altman, 1993)
☑ Philadelphia (Jonathan Demme, 1993)
☑ Jurassic Park (Steven Spielberg, 1993)
☑ The Age of Innocence (Martin Scorsese, 1993)
☐ 戲夢人生 [The Puppetmaster] (Hsiao-hsien Hou, 1993)
☑ Schindler's List (Steven Spielberg, 1993)
☑ Three Colors: Blue (Krzysztof Kieslowski, 1993)
☑ The Piano (Jane Campion, 1993)
☐ 蓝风筝 [The Blue Kite] ( Zhuangzhuang Tian, 1993)
☑ 喜宴 [The Wedding Banquet] (Ang Lee, 1993)
☑ Three Colors: Red (Krzysztof Kieslowski, 1994)
☑ Hoop Dreams (Steve James, 1994)
☑ Forrest Gump (Robert Zemeckis, 1994)
☑ Clerks (Kevin Smith, 1994)
☑ Four Weddings and a Funeral (Mike Newell, 1994)
☑ The Lion King (Roger Allers and Rob Minkoff, 1994)
☐ Satantango [Satan's Tango] (Béla Tarr, 1994)
☑ Natural Born Killers (Oliver Stone, 1994)
☑ The Last Seduction (John Dahl, 1994)
☑ Pulp Fiction (Quentin Tarantino, 1994)
☑ The Shawshank Redemption (Frank Darabont, 1994)
☑ Les Roseaux Sauvages [Wild Reeds] (André Téchiné, 1994)
☑ 重庆森林 [Chungking Express] (Wong Kar Wai, 1994)
☑ Crumb (Terry Zwigoff, 1994)
☑ Heavenly Creatures (Peter Jackson, 1994)
☐ Zire Darakhatan Zeyton [Through the Olive Trees] (Abbas Kiarostami, 1994)
☐ Riget [The Kingdom] (Lars Von Trier, 1994)
☐ Caro Diario [Dear Diary] (Nanni Moretti, 1994)
☑ Casino (Martin Scorsese, 1995)
☐ Deseret (James Benning, 1995)
☑ Babe (Chris Noonan, 1995)
☑ Toy Story (John Lasseter, 1995)
☑ Strange Days (Kathryn Bigelow, 1995)
☑ Braveheart (Mel Gibson, 1995)
☑ Safe (Todd Haynes, 1995)
☑ Clueless (Amy Heckerling, 1995)
☑ Heat (Michael Mann, 1995)
☐ Zero Kelvin (Hans Petter Moland, 1995)
☑ Seven (David Fincher, 1995)
☑ Smoke (Wayne Wang, 1995)
☑ Badkonake Sefid [The White Balloon] (Jafar Panahi, 1995)
☐ Cyclo (Anh Hung Tran, 1995)
☐ Podzemlje [Underground] (Emir Kusturica, 1995)
☐ Dilwale Dulhania Le Jayenge [The Brave Heart Will Take the Bride] (Aditya Chopra, 1995)
☐ Dead Man (Jim Jarmusch, 1995)
☑ The Usual Suspects (Bryan Singer, 1995)
☑ The Pillow Book (Peter Greenaway, 1996)
☐ Trois Vies et Une Seule Mort [Three Lives and Only One Death] (Raoul Ruiz, 1996)
☑ Fargo (Joel Coen, 1996)
☑ Independence Day (Roland Emmerich, 1996)
☑ Secrets and Lies (Mike Leigh, 1996)
☐ Breaking the Waves (Lars Von Trier, 1996)
☑ The English Patient (Anthony Minghella, 1996)
☐ Gabbeh (Mohsen Makhmalbaf, 1996)
☐ Lone Star (John Sayles, 1996)
☑ Trainspotting (Danny Boyle, 1996)
☑ Scream (Wes Craven, 1996)
☑ Deconstructing Harry (Woody Allen, 1997)
☑ L.A. Confidential (Curtis Hanson, 1997)
☑ Happy Together (Wong Kar Wai, 1997)
☑ Princess Mononoke (Hayao Miyazaki, 1997)
☐ Fast, Cheap, and Out of Control (Errol Morris, 1997)
☐ The Butcher Boy (Neil Jordan, 1997)
☑ The Ice Storm (Ang Lee, 1997)
☑ Boogie Nights (Paul Thomas Anderson, 1997)
☑ Kundun (Martin Scorsese, 1997)
☑ The Sweet Hereafter (Atom Egoyan, 1997)
☐ Funny Games (Michael Haneke, 1997)
☐ Ta'm-e Gīlās [Taste of Cherry] (Abbas Kiarostami, 1997)
☑ Abre Los Ojos [Open Your Eyes] (Alejandro Amenábar, 1997)
☐ Mat i Syn [Mother and Son] (Aleksandr Sokurov, 1997)
☑ Titanic (James Cameron, 1997)
☐ Tetsuo [The Iron Man] (Shinya Tsukamoto, 1998)
☐ Festen [The Celebration] (Thomas Vinterberg, 1998)
☑ Saving Private Ryan (Steven Spielberg, 1998)
☐ Buffalo 66 (Vincent Gallo, 1998)
☑ Lock, Stock and Two Smoking Barrels (Guy Ritchie, 1998)
☐ Lola Rennt [Run Lola Run] (Tom Tykwer, 1998)
☑ Rushmore (Wes Anderson, 1998)
☑ Pi (Darren Aronofsky, 1998)
☑ Happiness (Todd Solondz, 1998)
☑ The Thin Red Line (Terrence Malick, 1998)
☐ Idioterne [The Idiots] (Lars Von Trier, 1998)
☐ Sombre (Philippe Grandrieux, 1998)
☑ Ringu [Ring] (Hideo Nakata, 1998)
☑ There's Something About Mary (Bobby Farrelly and Peter Farrelly, 1998)
☑ Magnolia (Paul Thomas Anderson, 1999)
☐ Beau Travail (Claire Denis, 1999)
☑ The Blair Witch Project (Daniel Myrick and Eduardo Sánchez, 1999)
☐ Gohatto [Taboo] (Nagisa Ôshima, 1999)
☐ Rosetta (Jean-Pierre Dardenne and Luc Dardenne, 1999)
☑ Todo Sobre Mi Madre [All About My Mother] (Pedro Almodóvar, 1999)
☑ Three Kings (David O. Russell, 1999)
☐ Bād Mā Rā Khāhad Bord [The Wind Will Carry Us] (Abbas Kiarostami, 1999)
☑ Ōdishon [Audition] (Takashi Miike, 1999)
☐ Le Temps Retrouvé [Time Regained] (Raoul Ruiz, 1999)
☑ Fight Club (David Fincher, 1999)
☑ Being John Malkovich (Spike Jonze, 1999)
☑ American Beauty (Sam Mendes, 1999)
☐ Juyuso Seubgyuksageun [Attack the Gas Station!] (Sang-Jin Kim, 1999)
☑ Eyes Wide Shut (Stanley Kubrick, 1999)
☑ The Sixth Sense (M. Night Shyamalan, 1999)
☑ The Matrix (Andy Wachowski and Lana Wachowski, 1999)
☐ Nueve Reinas [Nine Queens] (Fabián Bielinsky, 2000)
☐ La Captive [The Captive] (Chantal Akerman, 2000)
☑ In the Mood for Love (Wong Kar Wai, 2000)
☐ Ali Zaoua, Prince de la Rue [Ali Zaoua, Prince of the Streets] (Nabil Ayouch, 2000)
☑ Gladiator (Ridley Scott, 2000)
☐ Kippur (Amos Gitai, 2000)
☑ Yi Yi [A One and a Two] (Edward Yang, 2000)
☑ Requiem for a Dream (Darren Aronofsky, 2000)
☑ Amores Perros (Alejandro González Iñárritu, 2000)
☑ Meet the Parents (Jay Roach, 2000)
☐ Signs and Wonders (Jonathan Nossiter, 2000)
☑ Crouching Tiger, Hidden Dragon (Ang Lee, 2000)
☑ Traffic (Steven Soderbergh, 2000)
☐ The Gleaners and I (Agnès Varda, 2000)
☑ Memento (Christopher Nolan, 2000)
☑ Dancer in the Dark (Lars Von Trier, 2000)
☑ O Brother, Where Art Thou? (Joel Coen, 2000)
☑ Amelie (Jean-Pierre Jeunet, 2001)
☑ Ni Neibian Jidian [What Time Is It There?] (Tsai Ming-liang, 2001)
☑ Y Tu Mamá También [And Your Mother, Too] (Alfonso Cuarón, 2001)
☐ Kandahar (Mohsen Makhmalbaf, 2001)
☑ Spirited Away (Hayao Miyazaki, 2001)
☑ La Pianiste [The Piano Teacher] (Michael Haneke, 2001)
☑ La Stanza del Figlio [The Son's Room] (Nanni Moretti, 2001)
☑ Ničija Zemlja [No Man's Land] (Danis Tanovic, 2001)
☑ Moulin Rouge (Baz Luhrmann, 2001)
☑ Monsoon Wedding (Mira Nair, 2001)
☑ Fat Girl (Catherine Breillat, 2001)
☑ Mulholland Dr. (David Lynch, 2001)
☑ The Royal Tenenbaums (Wes Anderson, 2001)
☑ The Lord of the Rings: The Fellowship of the Ring (Peter Jackson, 2001)
☑ A.I.: Artificial Intelligence (Steven Spielberg, 2001)
☑ Gangs of New York (Martin Scorsese, 2002)
☑ The Pianist (Roman Polanski, 2002)
☑ Hable Con Ella [Talk to Her] (Pedro Almodóvar, 2002)
☑ Cidade de Deus [City of God] (Fernando Meirelles and Kátia Lund, 2002)
☑ Russkij Kovcheg [Russian Ark] (Alexandr Sokurov, 2002)
☑ Chicago (Rob Marshall, 2002)
☑ Les Invasions Barbares [The Barbarian Invasions] (Denys Arcand, 2003)
☑ Kill Bill: Vol. 1 (Quentin Tarantino, 2003)

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[5] This is Where You Bite the Sandwich

Friday, May 19, 2017

entry arrow12:12 PM | What is Westjacking?

“Westjacking is when you displace me from my narrative. It’s when you homogenize my struggle with yours. It’s when I look myself in the mirror and you insist on being part of the frame. Its when I examine my own complicated relationship with my culture, and you tell me my grandmother’s name is a ‘slave name.’ It’s when you add salt and all sorts of things in my halo-halo and make it a huge viral sensation among Instagram foodies. It’s when you insist that we weren’t colonized, and invalidate that history in one swoop. It’s when you tell me to turn over the entire box while I’m unpacking my life. It’s when you somehow deny me the discomfort of closely and critically examining my life because you already have a framework and a template for it; all I have to do is cram things in, and discard what does not belong. It is to deny me the quiet of reflecting and atoning and finding a solution to my crises because your voice is louder than mine. It’s when you would rather talk over my story than to listen to it, and call it a gift.”

~ Marck Ronald Rimorin

[0] This is Where You Bite the Sandwich

Wednesday, May 17, 2017

entry arrow6:54 PM | Responses to Alex Tizon

Yesterday, The Atlantic published the late Alex Tizon's long-form essay about Lola, the domestic help his family kept for decades. It was a compelling, controversial essay bannered by the title, "My Family's Slave." It provoked a fiery response, first a wave of heartbreak and admiration, and second a wave of recrimination, such as this. I gathered together my own response and that of my friends' from our Facebook posts, to provide some of the many facets of the unfolding arguments...

I actually do have an issue about making "art" out of the misery of other people. But I also know it's not as simple as that. Years and years ago, a well-meaning Korean photographer put up an exhibit of his works in Dumaguete. His subject was the people of the city's slums: photos and photos of people mired in such miserable circumstances, but in scenes made so beautiful through the photographic devices of angling, composing, contrasting. It didn't sit well with me, and I had to tell him, "You can't just snap scenes of poor people's lives and make them the unwitting participant for your art!" He didn't know what to say to me. And I didn't exactly know what troubled me about his works. Did he do something wrong? If not, why did I find his beautiful photos distasteful?

Years later, my discomfort finally found some form of expression when I discovered the musical Rent. In a scene where Mark films a couple of homeless people in New York for his documentary, one of them turns to him with such anger, and barks:

Who the f*ck do you think you are?
I don't need any goddamn help
From some bleeding heart cameraman
My life's not for you to
Make a name for yourself on!

"My life's not for you to make a name for yourself on." Was this the root of my discomfort? But I knew it was also not as simple as that. Do artists have to surrender the privilege -- and it is a privilege -- of depicting the pain of others in their works? But what is socially relevant artistry except being a vessel to express this very pain? Can artists speak for those who are silenced, and are without voice? But as Gayatri Chakravorty Spivak famously asked in a pathbreaking essay, "Can the subaltern speak?" And the answer is no. So does volunteering to be their voice a service to them, or a disservice? If it's a service, can it truly be authentic? And if it's a disservice, should their being mute become something we have to learn to accept?

Can Alex Tizon write about Lola?

Kate Osias:

I think he never tried to frame it as Lola's story. Rather, he framed it as his family's story, with the victim/protagonist being Lola. In your previous experience, the Korean photographer had nothing to do with the people in the slums, except take their picture. In Rent, the same. But Alex Tizon was writing about his experience -- his guilt, his shame, his love, his not so subtle begging for forgiveness -- and the readers all become, to some extent, his priest. Like a last confession, the story has monstrous elements, but with Alex's craft, he was able to make the monstrous beautiful as well. While people can disagree whether he was a compassionate / good character himself, I'm glad that this story got told. And I think, in the end, the world will be better for reading it, if only because it shows a complex issue, which then forces us to see the world in shades of gray.

Dean Francis Alfar:

And so the conversations triggered by Alex Tizon's article continue, and one of the interesting ones asks the question: Can Alex write about Lola?

The question exists because there is an angle that he has exploited Lola, valorizing his situation (a redemption arc spanning the course of powerless-to-affect-change-vs-mom to taking Lola in/attempting to empower her), taking over her narrative, and thus painting himself in a heroic light.

To me, yes he can write about her. Because he's actually writing about himself. A memoirist looks back and engages in self-reflection, as the memoir by nature is selfish, self-observing, and limited in perspective. It is flawed, and ultimately colored by memory, introspection, and personal analysis of people met, things that happened, and how the memoirist felt/feels or was/is affected -- personal truths. Life with Lola -- growing up with her, how her plight affected him, changed him, made him guilty and ashamed, how he loved her -- was Alex's story as well. And he can write it.

How we receive his text is another thing.

Louie Jon A. Sánchez:

Prose is pristine, but I really don't know. The subject of the Alex Tizon article is not something to be celebrated at all. God bless the souls of Mr. Tizon and Lola, but the essay is a great misuse of art. It's being considered perfect Maalaala Mo Kaya material is nothing but reification of migrant suffering and domestic abuse. It also reified everything totally wrong about this culture of domestic help. Its self-orientalizing gaze was whitewashed by its compelling confessio n-- but what for? I read from the FB page of Mr. Tizon's daughter that the author thought he was born to write this story. My God, bless his soul! And bless the soul of the nanny who is still being abused after her death by way of this narrative being peddled as a familial and cultural laundry drying. It was painful to read, and so were the praises. As a student of Teleseryes, I wanted to puke.

James Neish:

It's the job of artists to reflect and discuss the world around them and the world inside of themselves. It is also the job of artists to deal with reactions to their work. Not all artists are equally skilled at either. If the work is moving and provokes thought, conversation, and action, then it's already successful. Tizon did good work. Lola's work on Tizon's family was even better. Lola wasn't mute. She spoke through Tizon. She set the tone of Tizon's work. In part, Alex Tizon was one of her creations, a man she raised and influenced to become her voice. There is no disservice here, just a beautiful flow of creative energy, now manifesting even more ripples of inspiration.

Vicente Rafael:

It helps to get some historical perspective on the debate. For starters, "slavery" is not the same everywhere at all times. A lot of the comments tend to conflate Alex Tizon's family with white slave masters, Lola with black slaves, and their household with the antebellum slave plantation. Once you've made these alignments, it's easy to condemn Alex as insufficiently repentant, and the narrative as obscene and self-serving.

But that's not the case. Servants may be enslaved but are not slaves in the way it meant prior to the Civil War in the US. And while there is a history of slavery in the Philippines, it was flexible and contingent, whereby the slave was never merely chattel, but could become part of the family, albeit a lowly and exploited member. Power relations between masters and slaves were mediated not just by the imperatives of the market place and by ideologies of race. In Alex's narrative (and in everyday experience of Filipinos who grew up with servants), they are also materialized in affective ties of pity (awa), reciprocal indebtedness (utang na loob), shame (hiya) that hold together as much as they pull apart the master to and from the servant. (Thus the kinship term, "Lola", grandmother, used to refer to Eudocia. Not a "slave name" as others have said, but a term of endearment even as she was often humiliated and abused).

These affective ties in turn provide the servant a kind of moral leverage that she can use to hold the master accountable or account for her own status and acquiescence. And Catholicism, which has its own discourse about the universal enslavement of humans to God, provides a kind of ideological referent for reproducing and sustaining relations of inequality -- but also calling those on top to account for their treatment of those below.

It is this moral economy that pervades Alex's account and sometimes can come across as condescending, or politically naive. But it also opens up spaces for Lola to act and speak, however attenuated and elliptical. While her story may not be as fully fleshed out as, for example Americans may be used to reading in slave narratives -- hers' is not the narrative of Mary Prince or Harriet Jacobs, after all -- she is not entirely silent. Indeed, she speaks throughout the narrative not only through the author's voice but beyond and around it, even exceeding it.

Here, then, is part of what is so compelling, at least for me, about this story: that despite the history of her oppressive domestication, Lola remains, in the end, undomesticated. There is always something about her that is held back in reserve, unavailable for exploitation much less comprehension on the author's part (and the readers', too). He probes into her past, for example, and she retreats, her reticence a kind of resistance to his aggressive curiosity. She is not merely disempowered, but radiates a certain power that makes the family dependent upon her. Her labor is exploited, but not exhausted. She remains singular, even in death. Especially in death, as the author is taken aback by the grief that her return elicits among her relatives. That collective grief exposes his own limits, the lie underneath his philanthropy, the impossibility of reparation. His guilt, if that's how you want to think about it, does little to shore up his authority as the author of this text, or as the benevolent master who did right by his slave.

Ken Ishikawa:

Honestly, keeping a maid is abominable if you have no intentions of weaning them off poverty and making sure their work is progressively rewarded as your own household's achievements track upwards. That is only fair since you are able to achieve the things you achieve because they free you of the mundanities of housework. You must let them study if they want to and learn new skills so they can find the kind of work that fulfills their potentials. People should also think about it in our own paradigm.

How much jobs do we generate in these islands? What kind of jobs would our housekeepers have if we don't provide them employment? I heard that even Karl Marx had maids. What is totally wrong is if you don't use your lot in life to emancipate another person. We are all economic slaves, one way or the other. Even if you're in an upper rung, the system expects you to produce efficiently just like everyone else.

Clinton Palanca:

There are some seamier, nastier sides to our society, apart from the obvious — the proclivity to ride around at night and blow the brains out of anyone remotely connected with drug use — that need to be moved out of the shadows and into the light; that we need to talk about; that we need to do something about.

Alex Tizon wrote a moving and beautiful and finely wrought piece not just about bondage and servitude, but about migration and his relationship with this woman, which was ultimately a story of love. We barely had a chance to let the searing beauty of the prose linger into the air before the fingers of moral rectitude came wagging their way in.

They said in literature class: the author is dead. In this case, the author is literally dead. Let him be. Let the family be. The literary form of the personal confessional is in a headlong collision with the Age of Ignorance and the internet, and the story and its truths are being buried under the self-righteousness and battle-cries and taking of sides.

This memoir only scratches the surface of that which we don't talk about in the Philippines. These are things that are horrific beyond comprehension while being at the same time tempered by love, compassion, fortitude, sacrifice, redemption. The snarling, brutal reaction to Mr Tizon's revelations will only push these deeper into the shadows.

Other Links:

Roger Moran at Scout: "Non-Filipinos need to chill out a bit over Alex Tizon’s essay."

Therene Reyes at Quartz: "Filipinos are defending Alex Tizon from Western backlash to his story 'My Family’s Slave'"

Marck Ronald Rimorin: "Some Notes on Westjacking"

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Sunday, May 14, 2017

entry arrow8:59 PM | Some People Are Keepers

We opted for a simple anniversary dinner, the boyfriend and I. I told him I was feeling overwhelmed by life of late, and I just needed three things to calm my spirit: Samuel Barbers' Adagio for Strings Op. 11, a hideaway of a restaurant where no one could possibly know me, and him by my side being a calming presence. Without hesitation, he said yes, took me to a place where I could be anonymous, ordered a simple meal of bangus, eggplant, and ampalaya, and instead of Barbers piping into my ears, we talked and talked. We talked about the nature of man and the nature of God, of good and evil, of entropy, of why we fight for the causes we believe in, of the divinity of labels, of how we are all capable of contradictions, of him enjoying RuPaul's Drag Race and me enjoying Dear White People. And while he talked, seeing him think deep to say the words that must be properly articulated, I thought: how lucky I am to be with someone intelligent, someone emphatic, someone with a cause and a dream, someone who can easily forego -- because I asked -- a fancy anniversary dinner at some swanky restaurant for good stimulating talk over an ordinary meal of milk fish in a place nobody knows me.

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Friday, March 31, 2017

entry arrow10:34 AM | Hersley’s Bakery of the Magical

People find a primal emotional pull in the works of Hersley-Ven Casero. I’ve noticed this every time I post a picture of one of his works—a photograph or a painting or a sketch—on social media. I’d wait for a minute or two, lean back casually, and then I watch the eventual flood of likes, of comments signaling adulation, of queries about where to find more of his works, come.

Earlier in March, I had posted a photograph of his—“Early Morning in Escaño,” a haunting photo of a bluish dawn capturing a silver stillness of sea, a floating barge made to look like a hut, and a man wading in the shallows—and people responded with fervor. “Beautiful,” said the writer Marra PL Lanot. “Solemn,” said another writer Hope Sabanpan Yu. I agree on both counts. The first time I saw that very photo about two years ago in a photography exhibit, it moved me tremendously.

Such is the power of a Hersley-Ven Casero image: the magic is in the composition, the awe is in the cognizance that he had the eye to capture beauty so fleeting, wresting it from the mundane.

The responses to his works from people are telling, and they are scarcely singular. Hersley has arguably become, in so short a time, Dumaguete’s most successful and fast-rising visual artist to date—someone whose body of work has come to help define contemporary Dumaguete visual arts, joining the ranks of Jose Laspiñas, Cristina Taniguchi, Paul Pfeiffer, Jutze Pamate, Babbu Wenceslao, and Maria Taniguchi. With his peers—which include some of the most prolific local artists like Razel Salvarita, Jana Jumalon-Alano, Amihan Jumalon-Fernandez, Mark Valenzuela, and Rianne Salvarita—he has done much in carving out an idea of Dumaguete as an artist’s city, creating considerable buzz.

These days, when not busy conjuring new works (or continuing a series) in his studio at Foundation University, which he calls The Bakery, Hersley jets off to another invitational exhibit somewhere in the Philippines or, increasingly these days, somewhere abroad. Or he entertains the occasional curious media or celebrity who come to The Bakery ready to be wowed, ready to commission, or ready to purchase an artwork on the go. Indeed, these are heady days for a simple guy from a simple background.

He doesn’t complain, of course. In fact, he takes all these things in a stride uniquely his, partly aware of his genius and partly cognizant that a certain groundedness is needed now more than ever. He keeps a good balance of things. He is in fact more amused than overwhelmed by the success he is getting.

Only five years ago, in 2012, I had invited him to share an event with me—I was launching my book of short stories titled Heartbreak and Magic, for which he had painted the cover art and had rendered beautiful illustrations for the stories, and I wanted very much to curate and exhibit at the same time the works he had done for the book, and then some. That show—Uncommon Ordinary Magic—was his first solo exhibition, and quickly garnered for Hersley a following in Dumaguete, and then just as quickly, a following beyond even that.

That 2012 show marked the first time in years he had dabbled in painting, after turning decisively to photography and kept at it for a number of years. “[But] painting,” he had told me then, “has always been a part of me.” And he went on to link this passion for painting as something that was closely intertwined with life and living: “I exist because my art exist. Art is everywhere and in everything. We just have to see it, and recognize it for what it is.”

That show and the friendship that unfurled later on between us gave me an intimate chance to find out his “secret,” why his images seemed to be finely wrought in the magical capturing of moments. I had written then for the 2013 exhibit: “But what he does not readily profess is how his art has come about—even early on when he was still a child exploring a certain yearning for color and texture and lines—with an eye for the magical. Or a feel for it, which feeds the creation. Call it ‘instinct,’ or call it ‘the muse,’ but the magical works a little differently with Mr. Casero. He believes it to be otherworldly, and true enough, something of the uncanny is always at work when he decides to put subject to canvass, or to the shuttering clicks of the camera he holds. You see it in his photography, when you care to take a look a little deeply: composition upon composition of people and places and things happening that seem almost contrived in the strange ways they converge. In many pictures, you behold his instant subjects connecting with an alchemy of background, foreground, angle, light, shutter speed. The pictures always turn out tinged with the divine, or the improbable. ‘When I go out to do a photo walk,’ Hersley once told me, ‘there is no deliberate search for subject in my part. I just listen. I listen to the air, and the air whispers back to me—pick up your camera and shoot, it says. And so I shoot, sometimes even without looking through the lens—and always something remarkable gets captured.’ Sometimes he calls this magic, clearly an uncommon gift. He knows it’s there, and so he uses it to capture the ordinary world that surrounds, and raise aspects it from the banal.”

I return to this piece because I believe that the strongest manifestation of this “supernatural” feel for composition has found its truest expression in one of his latest exhibits, Sanctuary, which opened in Art Verité Gallery in Serendra sometime in late 2016. We didn’t get to see that exhibit in Manila, but I’ve seen of the works at The Bakery, and they struck me immediately as perhaps the most personal Hersley has allowed himself to be in his art.

The poet Carlomar Arcangel Daona, writing for the show’s catalogue, surmised that “the idea behind these works is about constructing our personalities by detaching ourselves from other’s reality. Even though those around us mold us. Even though we learn from what see and we react from what we feel; and we become the person that we are from what we consider acceptable and distasteful, to know right from wrong we have to fall and rise. Our walls have to break and we should pick up the smithereens and start again.” He continues: “This exhibition is an introduction of each artwork as a part of another series they represent. This is a set of openers that embodies different facets of life that we know of ... and the one beyond our comprehension. As a group we are a sanctuary, but there is always a magical story in individuality.”

That “magical story in individuality,” the hidden narrative from deep within us that is always on the verge of breaking out, comes close to defining the very heart of Hersley’s aesthetics. But what has not been concretized in my and Carlomar’s estimation of his works is that Hersley approaches “personal magic” in his art in the alchemic feel of the folk traditions of the native Camiguin of his ancestors—and I recognize that the images in Sanctuary are very much enervated by a sense of blood, history, and folk magic. They spill all over his canvasses, all over the ten paintings he had done for the show, all over their sepia-tinged narratives, evoking nostalgia, that follow seemingly ordinary figures—men, women, and children in the guises of daily living—who are suddenly made to reveal an inner self, dramatized as natural objects given a spectral manifestation.

In “Wonderer,” the head of a swimming boy becomes a large rock populated by fish, lichens, and starfish. In “Wanderer,” we get his female twin—a young girl on a walk grows for a head a rock with a crab embedded in it. In “Balance,” a young man on a bicycle grows a hill for a head, overladen with naked trees, embracing a cave that also embraces a pigeon. In my favorite piece, “Build, Destroy, Build,” a bunch of people riding an invisible habal-habal, sports broken pieces of rock for heads, each one graced by fledgling growth of green.

Not everything in the series are outlandish in their surrealism, although they are as equally fantastic. “Day” is a portrait of a woman whose face becomes intertwined with seahorse, and “Night” continues that theme, this time in profile, with goldfish becoming a girl’s hair accessories. “Home” is the haunting image of a girl floating about in a bed, the linens of which become a whale.

That treatment of the natural as supernatural and their intimate intertwining in people’s lives as the spectral illustration of secret selves are all straight from Hersley’s old magical motifs, something he secretly works in as the first layers of his early paintings, and whose invisible essences inform by and large his instinct for composition. The rock, for example, remains a powerful symbol from his folk beliefs, and in that perhaps “Father is a Giant” serves as the most autobiographical piece in Sanctuary. It depicts a haze of a boy holding up a photorealistic rock—an abyan, he calls it—from which spring forth figures of children diving into the sea, into a lake, and instantly recalling for me Hersley’s old tales of the magical of his Camiguin folks. I have promised however never to divulge much of the details of these stories.

But the paintings are enough: they’re hints made into art. For Hersley and in much of his artmaking, there is a world deep within and around us that is our secret sanctuary—but sometimes it does beg to see an expression of itself. This is Hersley exactly doing that.

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