Liz Helfgott
Editorial Director, the Criterion Collection
USA
Voted for
| Film | Year | Director |
|---|---|---|
| The Gleaners and I | 2000 | Agnès Varda |
| News from Home | 1976 | Chantal Akerman |
| Where Is the Friend's House? | 1987 | Abbas Kiarostami |
| Killer of Sheep | 1977 | Charles Burnett |
| The Best Years of Our Lives | 1946 | William Wyler |
| CRISTO SI È FERMATO A EBOLI | 1979 | Francesco Rosi |
| All about My Mother | 1999 | Pedro Almodóvar |
| The Long Farewell | 1971 | Kira Muratova |
| Au hasard Balthazar | 1966 | Robert Bresson |
| CODE INCONNU RÉCIT INCOMPLET DE DIVERS VOYAGES | 2000 | Michael Haneke |
Comments
It goes without saying that this list is entirely personal and subjective. It is also based on a different approach than I took ten years ago. This time, I’m leaning away from consensus and toward feeling and connection. There are so many things that films give us, and give us access to. This is what’s important to me now, in the early 2020s. In no particular order.
I regret very much not being able to include these, and many others, in the same vein: An Angel at My Table (Jane Campion, 1990); Cemetery of Splendor (Apichatpong Weerasethakul, 2015); Do the Right Thing (Spike Lee,1989); Far from Home (Sohrab Shahid Saless, 1975); Ford Transit (Hany Abu-Assad, 2003); Goodbye, Dragon Inn (Tsai Ming-liang, 2003); The Headless Woman (Lucrecia Martel, 2008); Histoire(s) du cinéma (Jean-Luc Godard, 1989-1999); Life on Earth (Abderrahmane Sissako, 1998); Los Angeles Plays Itself (Thom Andersen, 2003); Solo un cargador (Juan Alejandro Ramírez, 2004); S-21: The Khmer Rouge Killing Machine (Rithy Panh, 2003); Time (Garrett Bradley, 2020); Umberto D. (Vittorio De Sica, 1952); Vitalina Varela (Pedro Costa, 2019).