The 1962 Mini-List

[the preacher]

A few titles that should be added:
Arrivano i titani (Duccio Tessari)
The Chapman Report (George Cukor) I know you all love this one!
Destiny's Son (Kenji Misumi)
Foundry Town (Kirio Urayama)
The Four Horsemen of the Apocalypse (Vincente Minnelli)
The Memorial Gate for Virtuous Women (Shin Sang-ok)
L'orribile segreto del Dr. Hichcock (Riccardo Freda)
Le quattro giornate di Napoli (Nanni Loy)
Tlayucan (Luis Alcoriza)
A Woman's Place (Mikio Naruse)

Kanchenjungha is worth considering as well and I guess that Subarnarekha (shot in 1962) is scheduled for 1965, isn't it?

[swo17]

I guess that Subarnarekha (shot in 1962) is scheduled for 1965, isn't it?

Sorry, I missed this earlier. Yes, I have Subarnarekha scheduled for 1965, as can be seen here.

As a reminder, you all now have a little under a week to suggest additional titles to go on the 1962 ballot.

In the meantime, here are a few recommendations that won't take anyone long to watch:



Le Concert (Walerian Borowczyk)
A warm-up for the full-length Théâtre de Monsieur & Madame Kabal, it's hard to describe what makes this simple macabre abstract animation work so well, but it certainly helps to have it play out on the canvas of Arrow's immaculately rendered fine-grain Blu-ray presentation.

The Brain That Wouldn't Die (Joseph Green)
Feels like kind of a capper to the great string of charmingly low budget sci-fi movies that were so prominent in the '50s (actually made in 1959 and shelved until this year), in which a scientist preserves his girlfriend's head after a car accident and spends most of the film trawling the usual haunts to find someone who can offer her a suitable body. Is it wrong that I mostly find this funny as a Goofus example of how to abduct women?

Kommunikation (Edgar Reitz)
My experimental pick for the year, an early short by the Heimat guy. Culminates in some cool warped mirror imagery that brings to mind Francis Thompson's N.Y., N.Y.. Behold:

[TMDaines]

I missed Lumet's Vu du pont // A View from the Bridge for 1961, when it should have featured highly in my list, but nobody else voted for it either. Any chance it can go again in 1962, where I strongly believe it should be? IMDb currently has it in 1961, but that has to be erroneous. Can't find any record of an early 1961 screening in Barcelona before it went around the rest of Europe in 1962. The date listed on IMDb for the Barcelona screening predates this dated photo from the set. I will submit a correction to IMDb.

Now back to 1962 on IMDb.

[swo17]

OK. In any case, I made it eligible for 1962 when you first brought it up

[BrianB]

Could you please add Oshima’s The Christian Revolt

[swo17]

That's actually already on the list, as "The Rebel"

[swo17]

As a reminder, today is the last day to suggest additions to the list in the first post before I create the 1962 poll first thing tomorrow. If a film isn't listed there you won't be able to vote for it

[dustybooks]

I’m behind on composing a long post for this thread but in the meantime, swo, could you add these? I haven’t seen them yet but they’re on my list of things I’m trying to get to…

Billy Budd
That Touch of Mink
Gay Purr-ee

[swo17]

Added

[Maltic]

I'd like to add Merrill's Marauders

[swo17]

Done

[swo17]

VOTE HERE THROUGH JUNE 14

[dustybooks]

Sorry for the gargantuan post, I kept failing to make time to put this together. 1962 will be a much more populous list from me than '61 was; I already was capable of coming up with a top ten before the project started and now I'm better off yet.

Generalized observation: every film I've watched for this has been black & white; instinctively I don't think of '62 as still being dominated by b&w films but I suppose it was, or maybe it's selection bias...

First-time watches:

[EDIT: my mistake, this film’s not eligible this year, thanks Matt for pointing this out!] Winter Light (Bergman): My admiration of First Reformed might take a hit when I revisit it now that I've seen this... This film really resonated for me in both its pained, emotive directness and in the palpable atmosphere it evokes; whereas in Through a Glass Darkly the Absence of God stuff interested me less than the familial relationships, in this film the existential despair is sufficiently intertwined with the sense of unreachable alienation that it all feels equally compelling.

The L-Shaped Room (Bryan Forbes): Another British kitchen sink drama, this one a lighter variant on A Taste of Honey but also one that works better for me than that film, with less of a sense that it's absolutely wallowing in its lead character's misery. Leslie Caron being superb in the lead, as a secretly pregnant French girl who takes the titular room in a boarding house, certainly helps a lot, and there's some humor to balance the hard-hitting angst of it all. That said,

Spoiler

here's yet another character locking herself down emotionally to an absolutely insufferable man -- who rejects her outright once he discovers her pregnancy; yet by the end she is still effectively clamoring for his forgiveness and attention. It's not productive to get angry at film characters, but I don't find anything romantic in the kind of self-loathing that would allow a person to pine for that kind of a situation, and I know it happens all the time in real life, but the cute letter at the end? Ugh.

David and Lisa (Frank Perry): Dated melodrama among the occupants of a mental ward; David is touch-resistant and seems to be on what we'd now call the autism spectrum, while Lisa has various communication tics. This sets up a whole lot of unseemly gawking -- I found myself wondering what the Psychocinematic podcast where they analyze film and TV interpretations on mental illness would make of it, if it weren't now too obscure for them to cover. Keir Dullea plays David, allowing for the crudely amusing interpretation that 2001: A Space Odyssey was simply a daydream of his.

Freud (Huston): I admired Montgomery Clift's performance here as Sigmund Freud up to a point, but this film felt a hundred years long. Huston cheerily narrates a few episodes from the man's life, shows him developing his theories of childhood attachment and then getting laughed out of a conference over them, his redemption left to the viewer's imagination. That bit of structural creativity aside, this is just The Story of Louis Pasteur or Madame Curie except about psychiatry.

Long Day's Journey into Night (Lumet): I went into this completely blind aside from, having read the recent Lumet biography last year, being aware it was very long and featured Katharine Hepburn. Knew little of the history of the play or O'Neill's insistence that it be published/performed only posthumously. What actually kept springing to mind for me was its similarity to Through a Glass Darkly, with a family performing a kind of peaceful facade that gradually devolves into belligerence and chaos over someone's (in this case two someones') illness. I have a generalized problem with filmed plays I can't seem to totally get past, so for me this felt rather stilted and I honestly didn't think anyone except Jason Robards (who originated the same role on stage) felt right for their part. And when the actors aren't working for you, three hours go by very slowly.

The Exterminating Angel (Bunuel): No great director brings out the adolescent in me like Bunuel, and aside from El, this is probably the most diabolical of his narrative experiments that I've seen; on top of the formal audacity of making its premise work and seem somewhat plausible, which gets trickier and trickier as the conditions become more and more horrific, it's just so wonderful how it finally hinges on

Spoiler

such a very basic punchline mocking the performative decorum of the upper classes. Coming to it all these years later it felt like an extended Kids in the Hall skit.

Ivan's Childhood (Tarkovsky): Seeing this after Tarkovsky's better known and (even) more eccentric later works, it's interesting to note the basic familiarity of its premise, with the fairly obvious touchstones of Rossellini's war films and Forbidden Games coming to mind, but the overwhelming, jolting narrative plus the strangely lovely images throughout place it neatly alongside his signature films.

Vivre Sa Vie (Godard): As I've mentioned here, I'm not always onboard with Godard's work even at this early, more audience-friendly stage (not having enjoyed A Woman Is a Woman much at all, for example, and being much colder on Pierrot than I think most of the forum) but this I found instantly engaging and provocative, enough so that

Spoiler

the ending, which I think I would have balked at it in theory, seemed to flow naturally from the film's actual concerns about Nana's place in the world and her attempts to come to terms with it.

I don't even know if I would have felt the same way about it a year ago, but sometimes you see the right film at the right time, and this was such a case...

Revisits:

The Man Who Shot Liberty Valance (Ford): ... and so was this. I've seen this three times now, and the first two I found it midgrade Ford, a more than pleasant opportunity to hang out with two all-time great actors and a fine supporting cast for a relatively easygoing, maybe even over-familiar story. Perhaps because I watched the new release on our projector, every detail really rang out on this encounter; I found much more humor in it, and the emotional crux of it really knocked me sideways a bit, well beyond my expectations. I almost always find more each time I revisit a Ford film so I guess I shouldn't be that surprised.

Knife in the Water (Polanski): Far more tense and well-observed than I remembered, though it's as much a comedy as a thriller, with each of the three characters finding various ways to manipulate the other two, although clearly the major sap of the enterprise is Leon Niemczyk as the husband who is so frequently hapless in the face of his wife's attraction to the young hitchhiker but also seems to be more than a little stimulated by his presence. The discomfort of it all is hard to define but extremely effective at keeping the nerves on edge.

Experiment in Terror (Edwards): This was Baby's First Film Noir at my house (I'd seen Touch of Evil and all the Hitchcocks, but nothing more genre-specific than that) and it was a favorite for a long time. Having now seen a lot of classic noir, does it lose some of its luster, especially given its very noticeable lack of shaded characterization or even the slightest level of moral ambiguity? (There's even a very specific instance of Glenn Ford rebuffing a woman's advances just so he can retain his squeaky clean G-man status.) Yes, and Edwards leaning into super-showy compositions is a little strained too, but I still find it a fun ride, and enjoy the process-nerd appeal of seeing just how Lee Remick gets protected, to the extent that she does -- and Ross Martin actually is pretty menacing even in the oddball getups Edwards saddles him with.

Birdman of Alcatraz (Frankenheimer): Last saw this in high school. Reeled me in just as before in its shirking of traditional biopic structure, instead building its narrative on disappointment and on everything it captures being ephemeral; the birds quickly become the focus after half an hour, but then, upon the move to Alcatraz, they are scarcely mentioned again. Thelma Ritter's characterization of Stroud's mother spins into unexpected malice and her unceremonious removal from the story feels very shocking in a strange way. Especially given Burt Lancaster's own public attitudes about Stroud, it's probably easy to read this as an advocation for his release -- but I think it's considerably more nuanced than that, particularly since it doesn't really shy away from depicting him as a loose cannon and a man of limited, unpredictable loyalties. Its questions about the prison system and its rehabilitative capabilities were worth asking, though, and I think still are.

[Matt]

Winter Light (Bergman)

I jumped out of my chair because I’ve already submitted my list and didn’t remember voting for this! It’s not eligible until the 1963 list, right? (Though Vilgot Sjöman’s Ingmar Bergman Makes a Movie IS eligible for this 1962 list.)

[dustybooks]

Winter Light (Bergman)

I jumped out of my chair because I’ve already submitted my list and didn’t remember voting for this! It’s not eligible until the 1963 list, right? (Though Vilgot Sjöman’s Ingmar Bergman Makes a Movie IS eligible for this 1962 list.)

Oops, you are correct Matt! Not sure how I got that mixed up.

[therewillbeblus]

Nice writeups, dustybooks! I don't like David and Lisa either, and I probably enjoy Experiment in Terror more than most. It's not trying to be anything particularly dense, but it's far more chilling than it needs to be and the Twin Peaks references are plentiful; a very economical thriller that leaves no fat on the bone and continually sustains gravitational investment in the tone with film grammar and precisely amplified performances. Unfortunately it has the saddest dedicated thread of the Indicator titles, so maybe we can continue a discussion there to boost its recognition (props to Drucker for their lonely post)!

I hear your subjective complaint with The L-Shaped Room, but I think the difference between this film and some of the other kitchen-sinks is how it acknowledges these issues as well as half-sympathizes with these selfish reactions sourced in isolated vulnerability, allowing them to be mutually exclusive without one usurping the other in value. Ultimately the power of collectivistic makeshift families earns any return to compromised happiness. I wrote it up more in depth here:

The L-Shaped Room: I’m not generally a fan of the kitchen-sink realism films of this era, finding most Richardson and even Widerberg’s championed works like Raven’s End to be middling, but this was one of the better- an observant study on makeshift families of outcasts formed amongst lonely souls in a decrepit boarding house. Forbes disrupts the fluidity of motion to prioritize perceptiveness, often focusing on minute details that the characters are aiming their eyes briefly before returning to the action. Many films do this, but this work seems to speak its characters’ truths of their emotional states in each and every scene. The film is comfortable taking a detour to flesh out trivial problems in the house with playful theatrics, or resting with a couple in the park flexibly out of time, but jagged suspense from confrontation always manages to intrude on the safe bubbles these durable characters have formed. Forbes has them respond with collectivist support and humor when they can to really stress the shades of characterization beyond despondency. Selfishness and isolation may prevail, but in the meantime there are some brief pockets of consolation to be found.

The film has the audacity to address and validate the self-centered side of stressors involved in social conflicts, from slut-shaming to accepting an impotent lack of participation in a child’s makeup, to the intent of generosity in a verbal gesture birthing financial insecurity in the receiver. Other kitchen-sink films seem to be myopically drowning in these milieus with their characters, without acknowledging the struggle of being right to oneself and wrong to another as an inherent contradiction not to be co-signed with frustration by the drama of the film itself. This film breathes life equally across perspective and uses its humanist microcosm as a terrific exhibition on life’s complexities.

I also got even more out of my most recent viewing of The Man Who Shot Liberty Valance. I've always loved it since childhood, but it's far richer than I had remembered, and I was surprised with how I interpreted its ideas this time around, as they were completely novel to my prior impressions of the film:

The Man Who Shot Liberty Valance (Revisit): A fascinating western that exists somewhere in the barren desert between the communities of the classic western and the revisionist westerns to come, bearing its soul through twisting and rendering naked the faux-securities from value in characterization.

Stewart and Wayne begin with their own traditional personas and Ford gradually unveils the soft human cores beyond the ostensible shells, which means genuine fear and fallibility posing as valor for Stewart’s righteous man, and empathetic yet self-destructive sacrifice for Wayne that extends beyond stoicism and into an unfamiliar place of low self-regard in terms of leaving what he feels he does not deserve. The manipulations on each’s presence may seem slight, but Ford decidedly shows how folly and morality can coexist without discounting the humanity that runs as an intimate thread through both different men’s actions.

Perhaps Wayne is too afraid to depart from his humble familiarity in an everyman to step into the shoes of Stewart’s ambitions, that would surely come from the publicity of the shooting. Does Wayne bow out because he’s generous or because he surrenders to a fatalist attitude about the intrinsic destiny of personality, with Stewart the ‘right’ option for the accolades. Also, that look on Vera Miles’ face, left ambiguous to wonder if she’s thinking about whether or not she married the right man… it stings with its moral realism that plagues these characters in a moral wasteland, left half-wandering in the dark.

This is not only Ford’s best this decade, but one of his very best, period, for both cynically dissecting the nature of western myth-making and producing multiple definitions of humility that cause us to recontextualize the moral philosophy behind those actions. The final scene confronts both optimistic and pessimistic views of realist existentialism, holding two ideas together: that our lives lose meaning when we recognize our lack of responsibility in our successes, but also that they are meaningful because we succeed based on the compassionate support of others. This optimistic compromise is arguably refuted a few years later in Hombre- but more on that later.

[Rayon Vert]

Hatari or Harakiri, that is the question

Giraffes all the way.

[alacal2]

The Damned (Joseph Losey)

Losey's 'un-science fiction' film for Hammer subverts on all sorts of levels from the beginning where Oliver Reed with umbrella and tweed jacket hi-steps his leather-jacketed Teddy Boy gang around a Victorian town clock memorial beside the seaside to the unnerving ending where the cries of imprisoned radioactive children replace the chattering of holidaymakers on the beach. Inspite of Indicator's fine recent release, I still think this is hugely underrated and it will fit very comfortably in my top 25.

[dustybooks]

Also, that look on Vera Miles’ face, left ambiguous to wonder if she’s thinking about whether or not she married the right man… it stings with its moral realism that plagues these characters in a moral wasteland, left half-wandering in the dark.

As much as I love Miles in The Wrong Man and a few other things, it's her work here that makes me fascinated by how her presence would've altered Vertigo -- even though I love Kim Novak right where she is, it's one of the "what if"s I find particularly engrossing. But it's also quite possible that she has that haunting quality in this film specifically because Ford was so exceptionally good at extracting that sort of characterization from his actors.

[alacal2]

Jigsaw (Val Guest)

I nominated this without having seen it but it turned out to be a treat. A pacey Brit police thriller that was one of Guest's personal favourites and was hugely popular in France. The chief attraction of this pacey police procedural set in Brighton is keeping up the tension as the investigation goes down one blind alley after another. There are some great location shots, nifty editing and acerbic banter. Worth seeing if only for the scene where Jack Warner and his colleague attempt to 'calm' an hysterical female witness by wrestling her to the ground, throwing her onto a bed and forcing a glass of water down her throat!
I'm hopeful that Indicator might pick this up.

[knives]

I watched it as well and while it didn’t make my list I too found it a fun and knotty procedural.

[swo17]

As a reminder, there is only one day left to complete the 1962 poll

[dustybooks]

I’ll be voting late tomorrow. Trying to fit in two more films in the evening… (realistically it will more likely be just one, long-needed Lolita revisit will have to wait).

[swo17]

So technically you have until I wake up and get around to it on the morning of Wednesday the 15th (MDT)

[swo17]

The 1962 List



##. Film (Director) points/votes(top 5 placements, aka likely votes in decade list)/highest ranking

01. L'eclisse (Michelangelo Antonioni) 305/15(7)/1(x3)
02. The Man Who Shot Liberty Valance (John Ford) 271/13(8)/2(x3)
03. El ángel exterminador (Luis Buñuel) 265/15(7)/1
04. Vivre sa vie (Jean-Luc Godard) 254/14(6)/1
05. The Trial (Orson Welles) 204/9(8)/1(x2)
06. The Manchurian Candidate (John Frankenheimer) 195/12(2)/1
07. The Taste of Mackerel Pike (Yasujirō Ozu) 191/10(6)/1(x3)
08. Harakiri (Masaki Kobayashi) 189/13(4)/1
09. Ivan's Childhood (Andrei Tarkovsky) 168/12(2)/1
10. Jules et Jim (François Truffaut) 163/9(4)/1(x2)
11. Cléo de 5 à 7 (Agnès Varda) 161/8(3)/1
12. Thérèse Desqueyroux (Georges Franju) 157/8(6)/2
13. Knife in the Water (Roman Polański) 135/11/6
14. Hatari! (Howard Hawks) 133/7(3)/2
15. Il sorpasso (Dino Risi) 122/6(4)/1
16. The Fabulous Baron Munchausen (Karel Zeman) 121/8(4)/2
17. Adieu Philippine (Jacques Rozier) 108/7(1)/1
18. Advise & Consent (Otto Preminger) 107/7(1)/1
19. Lolita (Stanley Kubrick) 105/7(3)/2
20. Lawrence of Arabia (David Lean) 92/7(1)/3
21. L'Œil du malin (Claude Chabrol) 89/6(1)/5
22. Carnival of Souls (Herk Harvey) 86/8(2)/5(x2)
(tie) Ride the High Country (Sam Peckinpah) 86/7/7
24. Le Doulos (Jean-Pierre Melville) 76/8/8
25. The Sun in a Net (Štefan Uher) 74/4(1)/5
26. What Ever Happened to Baby Jane? (Robert Aldrich) 71/4(2)/3(x2)
(tie) Salvatore Giuliano (Francesco Rosi) 71/4(1)/5
28. Mamma Roma (Pier Paolo Pasolini) 68/6/9(x2)
29. Sanjūrō (Akira Kurosawa) 60/4/6
30. Adorable menteuse (Michel Deville) 59/3(2)/4
31. Kommunikation - Technik der Verständigung (Edgar Reitz) 56/3/6(x2)
32. Antoine et Colette (François Truffaut) 54/4(2)/4(x2)
33. Days of Wine and Roses (Blake Edwards) 51/5/8
34. Procès de Jeanne d'Arc (Robert Bresson) 46/3/6
(tie) Experiment in Terror (Blake Edwards) 46/4/7
(tie) The Hole (John Hubley) 46/4/9
37. Le Monte-charge (Marcel Bluwal) 44/3/6
(tie) The Inheritance (Masaki Kobayashi) 44/3/6
39. The Loneliness of the Long Distance Runner (Tony Richardson) 43/4/8
40. The Intruder (Roger Corman) 41/3/7
(tie) Black Test Car (Yasuzō Masumura) 41/4/10
42. Pitfall (Hiroshi Teshigahara) 37/2(1)/3
(tie) Birdman of Alcatraz (John Frankenheimer) 37/3/10
(tie) The Miracle Worker (Arthur Penn) 37/4/10
45. To Kill a Mockingbird (Robert Mulligan) 33/3(1)/5
(tie) A Woman's Place (Mikio Naruse) 33/3/12
47. Il lavoro (Luchino Visconti) 31/2/8
(tie) The Damned (Joseph Losey) 31/3/13
49. All Night Long (Basil Dearden) 30/2/10
(tie) Billy Budd (Peter Ustinov) 30/3/12

ALSO-RANS

Mafioso (Alberto Lattuada) 29/2/7
Captain Clegg (Peter Scott) 29/2/9
A Wanderer's Notebook (Mikio Naruse) 27/2/11
The Rebel (Nagisa Ōshima) 27/2/12
The Inspector (Philip Dunne) 26/2/10
The Tale of Zatoichi (Kenji Misumi) 24/2/6
Tears on the Lion's Mane (Masahiro Shinoda) 23/2/13
Les Dimanches de Ville d'Avray (Serge Bourguignon) 20/2/15
Le Caporal épinglé (Jean Renoir) 19/2/10
The L-Shaped Room (Bryan Forbes) 19/2/12

Le tentazioni del dottor Antonio (Federico Fellini) 19/2/14
Et Satan conduit le bal (Grisha Dabat) 18/2/15
Sweet Bird of Youth (Richard Brooks) 17/2/15
Cape Fear (J. Lee Thompson) 16/2/15
A Bagful of Fleas (Věra Chytilová) 15/2/17
Should I Marry Outside My Faith? (Eddie Dew) 13/2/14
Le signe du lion (Éric Rohmer) 12/2/18
Eve (Joseph Losey) 9/2/21
War Hunt (Denis Sanders) 2/2/25(x2)

ORPHANS

Film (Director) highest ranking

Abhijan (Satyajit Ray) 15
Akitsu Hot Springs (Kijū Yoshida) 4
Amphibian Man (Vladimir Chebotaryov & Gennadi Kazansky) 1
Arrivano i titani (Duccio Tessari) 14
Assalto ao Trem Pagador (Roberto Farias) 2
Being Two Isn't Easy (Kon Ichikawa) 2
The Brain That Wouldn't Die (Joseph Green) 25
Das Brot der frühen Jahre (Herbert Vesely) 10
The Chapman Report (George Cukor) 20
La commare secca (Bernardo Bertolucci) 14
Le Concert (Walerian Borowczyk) 11
Cronaca familiare (Valerio Zurlini) 7
Destiny's Son (Kenji Misumi) 22
Dr. No (Terence Young) 23
Elgar (Ken Russell) 16
Foundry Town (Kirio Urayama) 11
The Four Horsemen of the Apocalypse (Vincente Minnelli) 16
I giorni contati (Elio Petri) 16
Gritos en la noche (Jess Franco) 13
Here I Am (Bruce Baillie) 7
I Hate But Love (Koreyoshi Kurahara) 15
Ingmar Bergman Makes a Movie (Vilgot Sjöman) 6
It's Only Money (Frank Tashlin) 22
It's Trad, Dad! (Richard Lester) 18
The Kiss of the Vampire (Don Sharp) 15
Lines: Horizontal (Norman McLaren & Evelyn Lambart) 8
Lonely Are the Brave (David Miller) 8
Long Day's Journey into Night (Sidney Lumet) 23
The Mad Fox (Tomu Uchida) 19
The Memorial Gate for Virtuous Women (Shin Sang-ok) 12
Merrill's Marauders (Samuel Fuller) 8
L'orribile segreto del Dr. Hichcock (Riccardo Freda) 19
The Outcast (Kon Ichikawa) 11
O Pagador de Promessas (Anselmo Duarte) 4
Panic in Year Zero! (Ray Milland) 20
Die Parallelstraße (Ferdinand Khittl) 2
The Phantom of the Opera (Terence Fisher) 19
Le quattro giornate di Napoli (Nanni Loy) 23
Der Schatz im Silbersee (Harald Reinl) 16
Summer Holiday (Peter Yates) 23
The Tale of Zatoichi Continues (Kazuo Mori) 7
Tales of Terror (Roger Corman) 25
The Temple of Wild Geese (Yūzō Kawashima) 9
Tisza - Autumn Sketches (István Gaál) 14
Tlayucan (Luis Alcoriza) 24
Transport from Paradise (Zbyněk Brynych) 21
Two for the Seesaw (Robert Wise) 20
Two Weeks in Another Town (Vincente Minnelli) 9
Vive le Tour (Louis Malle) 23
Vu du pont (Sidney Lumet) 5
The War Game (Mai Zetterling) 11
Das zweite Gleis (Joachim Kunert) 13

20 lists submitted