Dan and Edna Fainaru
Israel
Voted for
| Film | Year | Director |
|---|---|---|
| Vertigo | 1958 | Alfred Hitchcock |
| Tokyo Story | 1953 | Yasujirō Ozu |
| 8½ | 1963 | Federico Fellini |
| 2001: A Space Odyssey | 1968 | Stanley Kubrick |
| Shoah | 1985 | Claude Lanzmann |
| Decalogue | 1988 | Krzystof Kieslowski |
| F for Fake | 1973 | Orson Welles |
| Singin' in the Rain | 1951 | Gene Kelly, Stanley Donen |
| MOARTEA DOMNULUI LAZARESCU | 2005 | Cristi Puiu |
| Amour | 2012 | Michael Haneke |
Comments
Vertigo
Perfect combination of complex psychological issues and marvellously told commercial thriller
Tokyo Story
Profound human observation, done with philosophical restraint in every respect.
8½
Fellini at his best, dreams and reality merge with childhood memories, social satire and gender humour.
2001: A Space Odyssey
A visually major exploration of the future that is yet to be matched by any of the sci-fi sagas made since.
Shoah
The greatest documentary ever made, a shocking, deeply disturbing chronicle of the most terrible human tragedy ever recorded.
Decalogue
A unique interpretation of the moral laws guiding the feeble human race, in ten concise chamber episodes of great intelligence.
F for Fake
Reality and fiction in life and in the movies are exposed with wit, charm and originality
Singin' in the Rain
Possibly the greatest musical ever, not only for its music and dancing but also as a lesson in film history.
MOARTEA DOMNULUI LAZARESCU
The existential, uncompromising portrait of human failures, combined with the grim reality of life in Eastern Europe.
Amour
A wrenching portrait of the most touted human sentiment, devoid of all unnecessary apanage and focusing on the pure, heartbreaking sense of feeling.
Further remarks
No need to mention that ten films are not enough to represent the greatest movies ever made, there should be a Kurosawa (Ikiru), a Satyajit Ray (Pather Panchali), a Renoir (La Règle du Jeu), an Ophuls (Letter from an Unknown Woman), also a Billy Wilder (Sunset Blvd.), a Ford (The Searchers), and of course at least one Bergman (Fanny and Alexander). And another Hitchcock (Rear Window), which I find a perfect lesson in film theory. Should I go on? Let's hope the other voters will fill up all the missing gaps.