Sean Hogan


Voted for

Barry Lyndon1975Stanley Kubrick
Don't Look Now1973Nicolas Roeg
The Godfather Part II1974Francis Ford Coppola
In the Mood for Love2000Wong Kar Wai
Mulholland Dr.2001David Lynch
Night Moves1975Arthur Penn
Persona1966Ingmar Bergman
Raging Bull1980Martin Scorsese
The Third Man1949Carol Reed
Le Locataire1976Roman Polanski


Barry Lyndon

1975 USA, United Kingdom

Mournful, funny, and exquisitely beautiful, the film that puts the lie to the notion of Kubrick being cold and unfeeling.

Don't Look Now

1973 United Kingdom, Italy

The manner in which Roeg uses his technical mastery to evoke a mood of eerie disquiet and almost unbearable sadness suggests at possible avenues for the horror film that remain largely unexplored even now, some five decades later.

The Godfather Part II

1974 USA

For all of the talk of Peak TV giving us work that is novelistic in scope and complexity, has any TV series ever matched the sheer mastery and ambition of Coppola's examination of the corruption festering at the heart of the American Dream?

In the Mood for Love

2000 Hong Kong, France

A film of aching absences: the unseen spouses, the artfully elided leaps in time between scenes, and most of all the yawning gap between the two star-crossed lovers.

Mulholland Dr.

2001 France, USA

No explanation needed, which I'm sure is the way Lynch would prefer it.

Night Moves

1975 USA

Another story of American rot; a pulp paperback counterpart to Coppola's Great American Novel, but sometimes pulp is all you need.


1966 Sweden

A vampire story with no vampires, and all the more nightmarish for it.

Raging Bull

1980 USA

Over forty years after Raging Bull provided all the evidence needed to the contrary, I don't know why some people still insist a film must have sympathetic characters.

The Third Man

1949 United Kingdom

Graham Greene considered this one of his "entertainments", but as another famous author once pointed out, all good art is entertainment.

Le Locataire

1976 France

Watching it today, feeling the distrust, paranoia and terror that seeps from every frame, it seems to be a film that is as uncomfortably relevant now as it undoubtedly was to Polanski and Roland Topor in their day. It's also horribly, unspeakably funny.