>>26067991. Apocalypse Now - Francis Ford Coppola
I one day hope to make something on this scale. It's simply astounding. One of the only ever good uses of voiceover and a level of intelligent political commentary to be envied.
2. L'Eclisse - Michelangelo Antonioni
Meticulous framing that uses the height of the frame (very uncommon) as well as the width. The sense of restraint in terms of narrative and camera movement as well gives every decision a weightiness lacking in lesser directors' choices.
3. Woman in the Dunes - Hiroshi Teshigahara
Another instance of meticulous framing and restraint. The setup, a man tricked into a Sisyphean captivity, is instantly gripping and the sense of dread that permeates the film gives the viewer a first hand sense of the characters' alienation.
4. Throne of Blood - Akira Kurosawa
Both one of Kurosawa's most nihilistic as well as one of his more supernatural affairs. Full of beautiful black and white cinematography, well developed characters and gripping subtext.
5. Network - Sydney Lumet
Probably one of the best (if not the best) written films of all time. The deadpan satire of Chayefsky, the downright prophetic condemnation of sensationalist media, and the technical mastery of Lumet all come together into a perfect cinematic storm. Specifically, the idea to gradually change the lighting in the film from naturalistic to overly dramatic as characters descend into corruption has greatly influenced my notions of how to use lighting thematically in film.
