还附赠评语

杜琪峰的top10
1.七武士：The opening scene, with the horses, is one of the best ever. It always mesmerizes me.
2.天国与地狱：It has a great setup, great characters, and a great theme. Kurosawa’s vision raised the film to another level.
3.稻草狗：Sam Peckinpah and Dustin Hoffman at their best. The rape scene is horrific and haunting.
4.切腹：The first view of the sword sent chills through my spine.
5.独行杀手：This film gave birth to the cool hit man archetype.
6.红圈：It contains a Buddhist concept that is echoed in some of my own works. Here we see three heroes caught in a unique situation where their friendship matters more than anything else.
7.花样年华：It’s a film with great flavors. I wish it would just play on and on.
8.妙想天开：An abstract and strange world. A view of what we all may become one day.
9.末代皇帝：It’s almost surreal to see Chinese costume drama performed with English dialogue!
10.用心棒：A film that combines the sitcom and the samurai film.

马丁斯科塞斯的：
1.战火 Paisà (1946)
In My Voyage to Italy, the documentary that we made about Italian cinema, we started with this picture. For me, it really was the beginning. I saw it for the first time on television with my grandparents, and their overwhelming reaction to what had happened to their homeland since they left at the turn of the century was just as present and vivid for me as the images and the characters. I was experiencing the power of cinema itself, in this case made far beyond Hollywood, under extremely tough conditions and with inferior equipment. And I was also seeing that cinema wasn’t just about the movie itself but the relationship between the movie and its audience. Fellini said that when Rossellini was filming the Po Valley sequence, he acted on pure instinct, inventing freely as he went along. The result—in that episode, and in the Sicilian and Neapolitan and Florentine episodes as well—is still startling: it’s like seeing reality itself unfolding before your eyes.
2.红菱艳
I’ve said and written so much about this picture over the years; for me it’s always been one of the very greatest ever made, and every time I go back to look at it—about once a year—it’s new: it reveals another side, another level, and it goes deeper. What is it that’s so special about The Red Shoes? Of course, it’s beautiful, one of the most beautiful Technicolor films ever made; it has such an extraordinary sense of magic—look again at the scene where Moira Shearer is walking up the steps to Anton Walbrook’s villa, especially in the new restoration: it seems like she’s floating on currents of sparkling light and air. And there’s no other picture that dramatizes and visualizes the overwhelming obsession of art, the way it can take over your life. But on a deeper level, in the movement and energy of the filmmaking itself, is a deep and abiding love of art, a belief in art as a genuinely transcendent state.
3.大河 The River (1951)
The years right after the war were a very special time in cinema, all around the world. Millions were slaughtered, entire cities were leveled, humanity’s faith in itself was shaken. The greatest filmmakers were moved to create meditations on existence, on the miracle of life itself. They didn’t look away from harshness and violence—quite the contrary. Rather, they dealt with them directly and then looked beyond, from a greater and more benign distance. I’m thinking of Rossellini’s The Flowers of St. Francis andEuropa ’51, the great neorealist films by Visconti and De Sica, Mizoguchi’s Ugetsu and Sansho the Bailiff, Kurosawa’s Ikiru andSeven Samurai, Wyler’s The Best Years of Our Lives, Ford’s My Darling Clementine and Wagon Master, and this remarkable picture. This was Jean Renoir’s first picture after his American period, his first in color, and he used Rumer Godden’s autobiographical novel to create a film that is, really, about life, a film without a real story that is all about the rhythm of existence, the cycles of birth and death and regeneration, and the transitory beauty of the world.

4.雨月物语
Mizoguchi is one of the greatest masters who ever worked in the medium of film; he’s right up there with Renoir and Murnau and Ford, and after the war he made three pictures—The Life of Oharu, Ugetsu, and Sansho the Bailiff—that stand at the summit of cinema. All of his artistry is channeled into the most extraordinary simplicity. You’re face-to-face with something mysterious, tragically inevitable, and then, in the end, peacefully removed. I love all three of these pictures and many other Mizoguchi films as well (including Princess Yang Kwei-fei, The Story of the Last Chrysanthemums, and Miss Oyu, to name only a few), but Ugetsuhas the most powerful effect on me. There are moments in the picture, famous ones, that I’ve seen again and again and that always take my breath away: the boat slowly materializing from out of the mist and coming toward us . . . Genjuro collapsing on the grass in ecstasy and being smothered by Lady Wakasa . . . the final crane up from the son making an offering at his mother’s grave to the fields beyond. Just to think of these moments now fills me with awe and wonder.
5.灰烬与钻石 Popiół i diament (1958)
I saw Ashes and Diamonds for the first time in 1961. And even back then, during that period when we expected to be astonished at the movies, when things were happening all over the world, it shocked me. It had to do with the look, both immediate and haunted, like a nightmare that won’t stop unfolding; the sense of maddening insanity and absurdity, the tragedy of political infighting on the brink of peace and coming of age during wartime; and the beauty of the lead actor, Zbigniew Cybulski. The film has the power of a hallucination: I can close my eyes and certain images will flash back to me with the force they had when I saw them for the first time over fifty years ago. I’ve crossed paths with Andrzej Wajda a few times over the years, and I’ve always been in awe of his energy and his unflinching vision. I saw him again a couple of years ago, a little frailer but still as burning with energy as he’d been back in the ’90s, and he was preparing to make another film, now just completed, about Lech Walesa (the final installment of the trilogy that began with Man of Marble and Man of Iron). He’s a model to all filmmakers.
6.奇遇(1960)
Here’s another film of which so much has been said and written over the years that you wind up thinking: There’s nothing left to say . . . But of course, that’s always a cop-out because it’s never true—there’s always more to say about a film, to see it again is to see it anew, to see it in 2014 as opposed to 1960 is a very different experience, and for some people it will literally be brand-new (to those people, I would say, simply: See it! Now!!). It’s difficult to think of a film that has a more powerful understanding of the way that people are bound to the world around them, by what they see and touch and taste and hear. I realize that L’avventura is supposed to be about characters who are “alienated” from their surroundings, but that word has been used so often to describe this film and Antonioni’s films in general that it more or less shuts down thought. In fact, I see it, more than ever, as a movie about people in spiritual distress: their spiritual signals are disrupted, which is why they see the world around them as hostile and unforgiving. Visually, sensually, thematically, dramatically, in every way, it’s one of the great works of cinema.

再来看看年轻的莉娜 杜汉姆
1.鱼缸
My favorite film of the past decade. A funny-sad tapestry of slummy British life and a portrait of a striver poking her way up through the concrete. Best dance sequences and best sound design and best use of Nas. See Michael Fassbender begin his reign as resident psychosexual nightmare heartthrob here.
2.天堂之日
Little Linda Manz’s voice-over is enough of a reason to watch this film. Forget the perfect performances by Richard Gere and Sam Shepard, or Brooke Adams’s twisted damsel in distress, or the way the wheat blows at magic hour making you forget the specter of murder that hangs over it all.
I’m obsessed with the fact that production designer Jack Fisk built the farmhouse, which is meant to look as old as time and it really does. Also, while shooting Badlands (the previous Malick), Fisk wooed his future wife, Sissy Spacek, by leaving gifts for her in her character’s drawers. Swoon.
3.收播新闻 1987
No one writes a complex woman like James L. Brooks, and no one embodies her like Holly Hunter.
When we wrapped shooting on This Is 40, Judd Apatow gave me a photo of Brooks directing Hunter that I hung above my desk, and I can hear them drawling and stammering and just being who they are.
4.周末 1967
This just wrecked me. I went in knowing nothing except that gay men are my target demo and came out stunned by the subtlety and sensitivity of Andrew Haigh’s direction.
This is also what inspired me to show ejaculate on television: there is one scene in which cum is such a central, and lovely, part of the experience of sex with another person.
Messy, happy, lonely sex.
5.阿涅斯瓦尔达4部
(短角情事、五至七时的奇奥、幸福、天涯沦落女)
I always say Agnès Varda was to the French New Wave as Eve is to the Ruff Ryders: a ride-or-die bitch, respected by a pack of tough gentlemen. The first film of hers I saw was Cléo from 5 to 7. My mom had just had a routine but unpleasant dental surgery and was all whacked out on pills, and I read all the subtitles to her in different voices.
I was so impressed by how Varda manages to be both deeply emotional and utterly in control of the technical elements of filmmaking. That had seemed to me to be an impossible line to straddle, and she does it so beautifully. Watch The Beaches of Agnès next, a portrait of a rich life in film.

6.法斯宾德2部
(玛丽娅·布劳恩的婚姻、恐惧吞噬灵魂)
I discovered Fassbinder senior year of college, and I couldn’t believe it. Both of these films are perfect to me. Ali tells a grotesque yet delicate love story that, to my dummy liberal arts mind, was an analogy for the challenges of a gay relationship in the repressed Germany of the 1970s (at least that’s what I said in my thesis). Maria Braun is the tragic, triumphant story of a woman who does what she must to get by, but loses herself in the process. They both make you wanna dress up and smoke opium and fuck people you meet late at night in a bodega, even if you’re not into that.
7.悬崖上的野餐
Pure magic. Every fashion film and NYU undergraduate thesis takes its cues from this lyrical masterpiece. In college I tried to make a satirical remake entitled Lunchtime at Dangling Boulder, but all my actors slept too late.
8.稻草狗、孽扣 Dead Ringers (1988)
These are both movies I made out to in college and later felt had been inappropriate choices for setting a romantic mood. I will never forget watching one of two Jeremy Ironses finger his satanic gynecological equipment while a guy named Phil sort of touched my boob. Straw Dogs makes you feel really awkward about removing your leggings, so you just don’t.
9.犹在镜中
Like for many Americans, incest is a rough area for me. I just have a natural aversion to it. That being said, when I saw this film in my Bergman/Polanski seminar sophomore year, I was so taken with the Bergman way that I forgot to be freaked out by the sex between siblings. I couldn’t stop whispering the last line, “Papa spoke to me,” at everyone I came across, and I think I will start again. Bergman is the king of mood, and his actors give it all to him, free of vanity and therefore crazy beautiful.
10.战略室
My friend Audrey Gelman showed me this film as the beginning of my political education. While it is a documentary that provides a ton of backstory on the Clinton campaign and the art and science of electing a president, it has the pace and power of a good thriller produced by George Clooney with David Strathairn in at least one role with gravitas.

楼主，你也说说你的top 10？

我目前的十佳：1.《乱世佳人》2.《卧虎藏龙》.3《十字街头》.4.《感官王国》.5《窈窕淑女》.6《芙蓉镇》.7.《广岛之恋》.8《爱德华大夫》.9.《2012》.10《坎特伯雷故事集》…