Jordan Cronk
Critic/Programmer
USA
Voted for
| Film | Year | Director |
|---|---|---|
| AMOR DE PERDIÇÃO | 1978 | Manoel de Oliveira |
| L'Argent | 1983 | Robert Bresson |
| An Autumn Afternoon | 1962 | Yasujirō Ozu |
| Gertrud | 1964 | Carl Th. Dreyer |
| Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles | 1975 | Chantal Akerman |
| The Magnificent Ambersons | 1942 | Orson Welles |
| The Man Who Shot Liberty Valance | 1962 | John Ford |
| Sansho the Bailiff | 1954 | Kenji Mizoguchi |
| Twin Peaks | 1990-2017 | David Lynch |
| 2 ou 3 choses que je sais d'elle | 1967 | Jean-Luc Godard |
Comments
In 2012, a year before I started contributing to Sight & Sound, I drew up a mock 'Greatest Films of All Time' ballot that included a handful of the above titles, as well as Stalker, L'eclisse, Sátántangó, Through the Olive Trees, and Celine and Julie Go Boating – a selection far more modernist in temperament than the ten films I've arrived at in 2022. This obviously says more about my changing tastes than it does reflect any sort of greater trend in criticism; indeed, I imagine the likes of Rivette, Antonioni, Tarkovsky, and Kiarostami (to say nothing of Chantal Akerman, whose Jeanne Dielman I couldn't bring myself to forsake) will fare far better overall in this year's poll than, say, Welles, Ozu, or Ford.