Eraserhead: To get it out of the way, still my favourite film.
Suspiria: Nightmare logic should not be easy to control. It's beyond control here. The only time it's under control, the film starts flatlining. Then it picks up and goes back to Suspiriaville.
Freud: Written by Satre, boiled down by John Huston and starring a post-accident Monty Clift and in-bloom Susanna York. Hard black and white with dream sequences and memories to rival the Dali scenes in Spellbound.
Burn: Pontecorvo's epic of colonisation and revolution presents a Marxist attack without dogma. Strong preformances by a maturing Marlon Brando and Evaristo Marquez as the admiring enemies. One of Morricone's most glorious scores.
The Blair Witch Project: Even when the triumph of the production and marketing stories surounding this film clear you are still left with a great campfire tale, a steady descent into panic and despair. It's not just a great ending.
Apocalypse Now: This still works and sometimes for reasons different from those that used to make it work. That reason is enough for me to consider the concept of the perfect film bullshit. Top marks for that alone.
The Cabinet of Dr Caligari: So engaging it obliterated my youthful intolerance of silent movies. Incredible piece.
Greetings from Wollongong: Half feature length but
persistent in my memory for its style, wit and conviction. Feels like a
feature. Not because it drags but because it contains so much. Misery
porn? More like misery erotica. Love to see this again.
Citizen Kane: An epic I could watch on any day.
The Draughtsman's Contract: Property and inheritance and expert drawing manage to mix with a witty intrigue. First I saw of Peter Greenaway and still the one I like the best.