PN1998.V47

Includes bibliographical references and index

Contributors L?Age d?Or (Luis Bu?uel, 1930) The Age of Innocence (Martin Scorsese, 1993) Ali: Fear Eats the Soul (Rainer Werner Fassbinder, 1974) Andrei Rublev (Andrei Tartovsky, 1969) The Apu Trilogy (Satyajit Ray): Pather Panchali (1955), Aparajito (1957), The World of Apu (1959) L?Argent (Robert Bresson, 1983) L?Atalante (Jean Vigo, 1934) Au Hasard Balthazar (Robert Bresson, 1966) L?Avventura (Michelangelo Antonioni, 1960) Bad Lieutenant (Abel Ferrara, 1992) Barry Lyndon (Stanley Kubrick, 1975) The Battle of Algiers (Gillo Pontecorvo, 1965) Beau Travail (Claire Denis, 1999) Before Sunset (Richard Linklater, 2004) Belle de Jour (Luis Bu?uel, 1967) The Bicycle Thief (Vittorio de Sica, 1948) The Birds (Alfred Hitchcock, 1963) Blow-Up (Michelangelo Antonioni, 1966) Blue Velvet (David Lynch, 1986) Breathless (Jean-Luc Godard, 1960) Caf? Lumi?re (Hou Hsiao-hsien, 2003) Ceddo (Ousmane Sembene, 1977) C?line and Julie Go Boating (Jacques Rivette, 1974) The Chelsea Girls (Andy Worhol, 1966) Chinatown (Roman Polanski, 1974) Chungking Express (Wong Kar-wai, 1994) Citizen Kane (Orson Welles, 1941) Close-Up (Abbas Kiarostami, 1990) The Color of Pomegranates (Sergei Paradjanov, 1968) The Conformist (Bernardo Bertolucci, 1970) Contempt (Jean-Luc Godard, 1963) Cutter and Bone/Cutter?s Way (Ivan Passer, 1981) Days of Being Wild (Wong Kar-wai, 1991) Dead Man (Jim Jarmusch, 1995) Dead Ringers (David Cronenberg, 1988) The Decalogue (Krzysztof Kieslowski, 1989) The Devil, Probably (Robert Bresson, 1977) Distant Voices, Still Lives (Terence Davies, 1988) Do the Right Thing (Spike Lee, 1989) Dogville (Lars von Trier, 2003) Donnie Darko (Richard Kelly, 2001) Earth (Aleksandr Dovzhenko, 1930) Eraserhead (David Lynch, 1977) The Evil Dead (Sam Raimi, 1981) F for Fake (Orson Welles, 1974) Faces (John Cassavetes, 1968) Fight Club (David Fincher, 1999) Flaming Creatures (Jack Smith, 1963) The Flower Thief (Ron Rice, 1960) Flowing/Late Chrysanthemums (Mikio Naruse, 1956/1954) Gertrud (Carl Theodor Dreyer, 1964) Glen or Glenda? (Edward D. Wood, 1953) Gun Crazy (Joseph H. Lewis, 1949) Halloween (John Carpenter, 1978) The Heart of the World (Guy Maddin, 2000) A History of Violence (David Cronenberg, 2005) Horse Thief (Tian Zhuangzhuang, 1986) The House Is Black (Forugh Farrokhzad, 1963) I ? Huckabees (David O. Russell, 2004) I Was Born, But? (Yasujiro Ozu, 1932) I?m Going Home (Manoel de Oliveira, 2001) In a Year of 13 Moons (Rainer Werner Fassbinder, 1978) In the Mood for Love (Wong Kar-wai, 2000) Irma Vep (Oliver Assayas, 1996) Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (Chantal Akerman, 1976) JLG/JLG (Jean-Luc Godard, 1995) Johnny Guitar (Nicholas Ray, 1954) The King of Comedy (Martin Scorsese, 1983) Kiss Me Deadly (Robert Aldrich, 1955) Landscape in the Mist (Theo Angelopoulos, 1988) Love Streams (John Cassavetes, 1984) The Lovers on the Bridge (Leos Carax, 1991) M (Fritz Lang, 1931) The Magnificent Ambersons (Orson Welles, 1942) The Man with a Movie Camera (Dziga Vertov, 1929) Man?s Favorite Sport? (Howard Hawks, 1964) Marketa Lazarovÿ (Frantisek Vlÿcil, 1967) McCabe and Mrs. Miller (Robert Altman, 1971) The Merchant of Four Seasons (Rainer Werner Fassbinder, 1972) Meshes of the Afternoon (Maya Deren and Alexander Hammid, 1943) The Mother and the Whore (Jean Eustache, 1973) Mulholland Drive (David Lynch, 2001) Naked (Mike Leigh, 1993) Night and Fog in Japan (Nagisa Oshima, 1960) Night of the Living Dead (George A. Romero, 1968) Los Olvidados (Luis Bu?uel, 1950) Once upon a Time in the West (Sergio Leone, 1968) Out of the Past (Jacques Tourneur, 1947) Peking Opera Blues (Tsui Hark, 1986) Persona (Ingmar Bergman, 1966) Pickpocket (Robert Bresson, 1959) Pierrot le Fou (Jean-Luc Godard, 1965) Pink Flamingos (John Waters, 1972) Platform (Jia Zhangke, 2000) Playtime (Jacques Tati, 1967) The Portrait of a Lady (Jane Campion, 1996) The Power of Kwangwon Province (Hong Sang-soo, 1998) Primer (Shane Carruth, 2004) Psycho (Alfred Hitchcock, 1960) Pulp Fiction (Quentin Tarantino, 1994) Punishment Park (Peter Watkins, 1971) The Puppet Master (Hou Hsiao-hsien, 1993) Real Life (Albert Brooks, 1979) Rear Window (Alfred Hitchcock, 1954) Reds (Warren Beatty, 1981) Reminiscences of a Journey to Lithuania (Jonas Mekas, 1972) Rose Hobart (Joseph Cornell, 1936) Rosetta (Luc and Jean-Pierre Dardenne, 1999) The Rules of the Game (Jean Renoir, 1939) Safe (Todd Haynes, 1995) Salesman (Albert Maysles, 1969) Sans Soleil (Chris Marker , 1983) Sansho the Bailiff (Kenji Mizoguchi, 1954) Sÿtÿntang¿ (B?la Tarr, 1994) Scenes from under Childhood Section 1-4 (Stan Brakhage, 1970) The Searchers (John Ford, 1956) Shadows (John Cassavetes, 1958/1959) Shoah (Claude Lanzmann, 1985) Shock Corridor (Samuel Fuller, 1963) Star Spangled to Death (Ken Jacobs, 2004) Sunrise (F.W. Murnau, 1927) Superstar: The Karen Carpenter Story (Todd Haynes, 1987) Symbiopsychotaxiplasm: Take One (William Greaves, 1968) Taxi Driver (Martin Scorsese, 1976) That Obscure Object of Desire (Luis Bu?uel, 1977) There?s Something about Mary (Peter Farrelly and Bobby Farrelly, 1998) The Thin Blue Line (Errol Morris, 1988) The Thin Red Line (Terrence Mark, 1998) El Topo (Alejandro Jodorowsky, 1970) Tribulation 99: Alien Anomalies under America (Craig Baldwin, 1992) Tropical Malady (Apichatpong Weerasethakul, 2004) Trouble in Paradise (Ernst Lubitsch, 1932) Two or Three Things I Know about Her (Jean-Luc Godard, 1967) 2001: A Space Odyssey (Stanley Kubrick, 1968) Unforgiven (Clint Eastwood, 1992) Les Vampires (Louis Feuillade, 1915) Vengeance is Mine (Shohei Imamura, 1979) Vertigo (Alfred Hitchcock, 1958) Videodrome (David Cronenberg, 1983) Wanda (Barbara Loden, 1971) Weekend (Jean-Luc Godard, 1967) White Dog (Samuel Fuller, 1982) The Wind Will Carry Us (Abbas Kiarostami, 1999) Winter Soldier (Winterfilm Collective, 1972) Written on the Wind (Douglas Sirk, 1956) Yeelen (Souleymane Ciss?, 1987) Zero for Conduct (Jean Vigo, 1933) Index

For decades the Village Voice set the benchmark for passionate, critical, and unique film coverage. Including reviews by some of America’s most respected critics, The Village Voice Film Guide compiles spirited landmark reviews of the Voice’s selection of the 150 greatest films ever made. Collecting some of the best writing on film ever put on paper, this is a perfect book for film buffs.