Post by cineclassics on Dec 2, 2022 20:28:41 GMT
Once a decade, Sight & Sound releases their poll of the greatest films of all-time. The films are decided via critics, programmers, curators, archivists and academics each submitting their top ten ballot. I'm interested in your opinion on this list. The list can be found here: link
Based off what I've read, there have been two major takeaways/controversies regarding this year's selections: First, the selection of the #1 film of all-time, Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles. Among arthouse and cinephiles, this film is known, but it's probably one of the least accessible films on the entire list, and that's saying something considering there are quite a few films that many would describe as pretentious choices. The film itself seemed to rise up the charts from out of nowhere, dethroning Vertigo and Citizen Kane, films that topped Sight & Sound's poll for over 50 years. Immediately, various media outlets and on-line critics celebrated that a woman's film, directed by a woman, is finally considered the greatest film of all-time.
Paul Schrader, one of the great screenwriters and frequent collaborator with Martin Scorsese, lambasted the recent Sight & Sound poll, by stating the following:
The second criticism I have noticed is that there are seemingly many more newer films included on the 2022 Top 100 list as compared to when the poll was last taken in 2012. Newer films now considered one of the top 100 films ever include: Get Out, Parasite, Moonlight, and Portrait of a Lady on Fire. The issue, for me, is that this seems to indicate recency bias. Films that were released just 3 years ago (Portrait of a Lady on Fire) I would argue, haven't had enough time to linger within society to truly determine their impact and influence. The fact that not one David Lean or Howard Hawks or Ernst Lubitsch film was chosen to be included on the Top 100 list is mind-boggling, but films that were released within the last 5 years are suddenly appearing on the list.
All in all, these lists are entirely subjective of course. But, these left-field choices seem to indicate that something drastic has occurred since the last installment in 2012.
Based off what I've read, there have been two major takeaways/controversies regarding this year's selections: First, the selection of the #1 film of all-time, Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles. Among arthouse and cinephiles, this film is known, but it's probably one of the least accessible films on the entire list, and that's saying something considering there are quite a few films that many would describe as pretentious choices. The film itself seemed to rise up the charts from out of nowhere, dethroning Vertigo and Citizen Kane, films that topped Sight & Sound's poll for over 50 years. Immediately, various media outlets and on-line critics celebrated that a woman's film, directed by a woman, is finally considered the greatest film of all-time.
Paul Schrader, one of the great screenwriters and frequent collaborator with Martin Scorsese, lambasted the recent Sight & Sound poll, by stating the following:
The second criticism I have noticed is that there are seemingly many more newer films included on the 2022 Top 100 list as compared to when the poll was last taken in 2012. Newer films now considered one of the top 100 films ever include: Get Out, Parasite, Moonlight, and Portrait of a Lady on Fire. The issue, for me, is that this seems to indicate recency bias. Films that were released just 3 years ago (Portrait of a Lady on Fire) I would argue, haven't had enough time to linger within society to truly determine their impact and influence. The fact that not one David Lean or Howard Hawks or Ernst Lubitsch film was chosen to be included on the Top 100 list is mind-boggling, but films that were released within the last 5 years are suddenly appearing on the list.
All in all, these lists are entirely subjective of course. But, these left-field choices seem to indicate that something drastic has occurred since the last installment in 2012.
