Armond White

Film Critic at National Review

Voted for

À bout de souffle1960Jean-Luc Godard
Intolerance1916D.W. Griffith
Battleship Potemkin1925Sergei M. Eisenstein
Jules et Jim1962François Truffaut
L'avventura1960Michelangelo Antonioni
Lawrence of Arabia1962David Lean
The Magnificent Ambersons1942Orson Welles
Nashville1975Robert Altman
Lola1961Jacques Demy
The Passion of Joan of Arc1927Carl Th. Dreyer


À bout de souffle

1960 France

Godard's immortal male-female analysis will outlast gender fashion because it explores the depths of attraction and trust – and simultaneously innovates how cinema is made and watched.


1916 USA

Still the greatest film ever made because Griffith dared expand the possibilities of looking at humanity's potential throughout time.

Battleship Potemkin

1925 USSR

Still exciting for its aesthetic innovations and Eisenstein's national vision which transcends political fashion. It matters now as art, not propaganda.


1975 USA

The best American film of the sound era, best film of the vaunted 1970s – and still an unsurpassed panoply of human behaviour.


1961 France, Italy

The exemplar of why we like stories, fantasies, movies because Demy realised our need to dream and the reality of desire expressed through how we aspire.

Further remarks

Participating in the Sight and Sound draws upon writing criticism and teaching film. Over time, these privileges challenge each other, which is the best way I can explain why my list changes over the years. Aside from several constant undeniable 'greats', other titles come forward as modern movie-watching experience meets the call of the past. That's why the exciting innovation of Battleship Potemkin moves in, despite fleeting political fashion, and the fascinating interpersonal attraction and trust in Breathless's immortal male-female analysis seems newly fresh and important. Both now as when those cinematic icons were first seen.