Joe Rubin
Film archivist and distributor
USA
Voted for
Film | Year | Director |
---|---|---|
Cruising | 1980 | William Friedkin |
The Spirit of the Beehive | 1973 | Víctor Erice |
Cisco Pike | 1971 | Bill L. Norton |
NON SI SEVIZIA UN PAPERINO | 1972 | Lucio Fulci |
Beyond the Valley of the Dolls | 1970 | Russ Meyer |
FEDORA | 1978 | Billy Wilder |
The Seventh Victim | 1943 | Mark Robson |
Les Bonnes femmes | 1960 | Claude Chabrol |
Survival in New York | 1989 | Rosa von Praunheim |
Man with a Movie Camera | 1929 | Dziga Vertov |
Comments
Cruising
As cliched as the term might be, Cruising is a masterclass in great filmmaking. A rare work where every shot, every cut, every moment truly means something.
The Spirit of the Beehive
On top of being incredible to look at and truly heartbreaking, I can think of no film which better conveys the power of cinema itself.
Cisco Pike
Probably not actually one of my “top ten” films, Cisco Pike is nevertheless the low key height of New American Cinema and a personal favorite for years.
NON SI SEVIZIA UN PAPERINO
Fulci, at the height of his political phase, turned in this perfect reflection of Italian society at a cultural breaking point in giallo dressing. Also a career best performance from Florinda Bolkan.
Beyond the Valley of the Dolls
Russ Meyer was one of the finest technical filmmakers of the 20th century and no work better exemplifies this than Dolls.
FEDORA
Wilder’s reflective look at his place in post-classical Hollywood offers a rare example of a master in top form acknowledging their obsolescence.
The Seventh Victim
Whether it’s more so a byproduct of the talent of Robson or Lewton, the final shot alone elevates this to “masterpiece” territory.
Les Bonnes femmes
To me, Chabrol and Varda are the true voices of the French New Wave. While I’m not nominating a Varda film, I’m using Femmes to highlight who I feel are French cinema’s defining voices.
Survival in New York
I feel as though I need to propose the best film I’ve seen this year, and this is it. Von Praunheim has yet to really get his due but the more attention his work gets, the better. As a radical documentarian, he’s up there with Herzog, Wiseman, and Morris and as an experimental filmmaker (which this is not), his mastery of technique is never less than thrilling.
Man with a Movie Camera
Something of an old standby of film schools, Movie Camera is nevertheless one of the greatest and most inspiring experimental films ever produced.
Further remarks
Making top ten lists is an impossible endeavor. I watch hundreds of films each year and even making a top ten for any given year is difficult. This is merely a selection of films which have resonated over the years.