My Dear MelancholyGaspar Noe/Cannes Film FestivalThe My Dear Melancholy era notable for being a time when The Weeknd was in proximity to a lot of serious directors. While he’s had a foot in Hollywood for awhile, 2017 through 2019 he was actively engaging with filmmakers like the Safdies Brothers, Gaspar Noe, and Claire Denis, amongst others. While he had been actively courting the Safdies since Good Time was released, he attended the 2018 Cannes Film Festival where he crossed paths Noe, whose film Climax took home a number awards at Cannes. Noe’s Enter the Void had previously served as an inspiration for Kiss Land, and for MDM (and later After Hours) seem to call back to Noe’s other films, like Irreversible and Love, which are both twisted depictions of heartbreak. On the other hand, Climax is about a French dance troupe who accidentally take LSD, and according to Noe is not a “message” movie. It is an audacious psychedelic technical exercise, with numerous long takes and highly choreographed set pieces. The idea for Noe, who had previously captured the feeling of drugs in previous films, was to do the opposite, and present the objectively reality of drugs, watching people high from a sober perspective. Noe is a rather strong advocate of film, and the opening scene of Climax features VHS boxes of a number of films that have influenced his filmmaking. Two of note are Schizophrenia, otherwise known as Angst, one of Noe’s favorite films which The Weeknd name checked to the Safdies, and Possession, which would go on to be an influence on After Hours (more on this later). He is also said to have sat next to Benicio Del Toro at Cannes, which means he likely caught some of the Un Certain Regard section, where Del Toro served as a jury member. Outside of that section, there were a few other films of interest such as The House That Jack Built from Lars Von Trier (The Weeknd has previously expressed affection for Von Trier’s Antichrist), Mandy from Pastos Costamos, and music video director Romain Gavras’s The World Is Yours, as well as a restoration of 2001: A Space Odyssey, which Noe has referred to as the film that got him into filmmaking. https://preview.redd.it/qga7a3l8ct261.png?width=910&format=png&auto=webp&s=371cf20d42ee8783cc23bfe7f2cfa16a0a927a0e Asian Cinema Later in 2018, The Weeknd continued his globetrotting with a tour of Asia. He once claimed in an interview that whenever visiting a foreign country he only watches films from there. I’ve previously written about the influence of Asian cinema on Kiss Land, and there’s not enough work from the MDM era to glean anything cinematically adjacent to this, but now would be a good time to mention that the "Call Out My Name" video was heavily inspired by the work of famed Japanese photographer Hiroshi Sugimoto. The Asian tour poster seems to be a reference to Ichi the Killer, which leads us to Takashi Miike. Though he is notoriously prolific across a number of genres, his most popular works internationally are genre melding blends of horror, comedy and crime, most notably Audition, Ichi the Killer and Gozu. Another film worth mentioning is Perfect Blue, Satoshi Kon’s masterwork about a pop star’s mysterious stalker that The Weeknd posted about on Instagram before. Bloody and haunting, the film was a major influence on Darren Aronofsky’s Black Swan and Requiem for a Dream. In Interviews he has also mentioned a number of Korean films, such as The Wailing, I Saw the Devil and Oldboy. While Wong Kar Wai was previously mentioned as an influence on Beauty Behind the Madness, also worth mentioning is the work of John Woo, specifically A Better Tomorrow, well known for the shot of smoking a cigar off money, and Infernal Affairs, Andrew Lau’s crime classic which served has the basis for Scorsese’s The Departed. https://preview.redd.it/fx7o9s2bct261.png?width=642&format=png&auto=webp&s=0fec2f841e9d3b09104238d0f89595daa6140faa https://preview.redd.it/n4x7fiy9ct261.png?width=1316&format=png&auto=webp&s=8a9650263272518216fc5f36913e80a10d2b0a8e After HoursMartin ScorseseWhile After Hours more so than any other Weeknd album is bursting at the seams with cinematic references, the influence of Martin Scorsese stands above all. Similar to The Weeknd’s body of work, many Scorsese’s are explorations of violence and masculinity, investigating them from a perspective that depending on who you ask (and how they’re feeling) glamorizes, condemns or just simply presents the reality of characters on the fringes of society. While there are direct references to a number of prominent Scorsese films, what’s interesting is that his influence also reverberates in other films/filmmakers that influence After Hours. Todd Phillips’s Joker is in effect an homage to Scorsese’s loner-centric New York films, and the Safdie Brothers have been putting their own millennial spin on the type of 70s gritty thriller that Scorsese trafficked in (Scorsese was also a producer on Uncut Gems). Specific Scorsese works will be discussed more in depth in the requisite sections, but it is worth mentioning upfront what a prominent role that Scorsese plays in the nucleus of After Hours. https://preview.redd.it/wcds9qpdct261.png?width=1196&format=png&auto=webp&s=246c560c72340782e26ad03b8ff63367999eaadd Urban HorroIsolation With After Hours, The Weeknd departs from the slicker sounds and influences that permeated Starboy and returns to the cinematic grittiness of Beauty Behind the Madness. While urban horror is a theme that permeates throughout The Weeknd as a project overall, there is a thorough line to be drawn here that follows a number of 70s and 80s cinematic and aesthetic references. For one thing, while the initial bandaged nose was a reference to Chinatown (previously, The Weeknd has a Kiss Land demo titled "Roman Polanski"), the full bandaged face that is so prominently featured throughout the After Hours era is a classic cinematic visual trope that was especially prominent throughout 60s and 80s, though it saw a slight re-emergence in the 2010s. The fully bandaged face is often used to remake someone in the image of another, usually against their will (The Skin I Live In, Eyes Without Face), or as a case of mistaken identity and doppelgängers (Good Night Mommy, Scalpel), themes present throughout much of After Hours. The "Too Late" video acknowledges these references, but instead presents the bandages on two Los Angeles models recovering from plastic surgery, in a nod to a famous Steven Meisel’s photoshoot for Vogue Italia. https://preview.redd.it/dtbxjc3ict261.png?width=900&format=png&auto=webp&s=66a98cc3cba73d502f8586a215a65cc41c5408a1 The “masks” people wear is another horror trope that is featured prominently on After Hours, and this is best seen in the red suit character. One important reference in the film is to Brian De Palma’s Dressed To Kill, where a serial killer is targeting the patients of a psychiatrist (any more on this film will veer towards spoiler territory). The Weeknd is on the record as saying Jim Carrey’s The Mask as being a large influence on the Red Suit character, it being one of the first film’s he watched in theaters. One of the more complex references would be to Joker. While it sort of an in-joke that the character of the Joker is commonly overanalyzed and misinterpreted, referencing Todd Phillips’s Joker is more nuanced because it is in essence a full on homage to Martin Scorsese’s New York films, most notably Taxi Driver and The King of Comedy, which focus on eccentric loners, and can both be seen as cautionary tale of urban isolation, a theme explored perhaps in songs like "Faith." The King of Comedy revolves around a would be obsessive stand up Rupert Pupkin haggling his way to perform on late night TV, with The Weeknd’s talk show appearances being a prominent part of the early After Hours marketing, most notably in the “short film”. This idea of isolated and compressed urbanites recurs throughout After Hours and it’s films. https://preview.redd.it/egap17ttdt261.png?width=900&format=png&auto=webp&s=1aab204ac0845a7df74ceeff6d1f714274f9ace0 The idea of urban repression is in the subway scene of the After Hours short film. The entire film itself is something of a reference to the subway scene to Possession (another Gaspar Noe favorite), mimicking the (also subway set) scene in which Isabelle Adjani’s Anna convulses on the subway due to a miscarriage, as well as Jacob’s Ladder, a 90s cult classic horror film starring Tim Robbins as a Vietnam vet (like Taxi Driver’s Travis Bickle) who is experiencing demonic hallucinations, encountering them in the subway and later at a party he attends, splitting the scene into two. https://preview.redd.it/g53copgmct261.png?width=900&format=png&auto=webp&s=9d29e368ae695d295b36039e86125ccfd7b4eb88 Las Vegas As always, The Weeknd once again grounds After Hours with a strong sense of place, this time setting the album against a nocturnal odyssey through Las Vegas. One of the most prominent films is Fear and Loathing in Las Vegas, Terry Gilliam’s adaptation of Hunter S. Thompson’s book. This is directly referenced in the "Heartless" video, which sees The Weeknd and Metro Boomin in the Johnny Depp and Benicio Del Toro roles as they tumble through a Las Vegas casino. The Weeknd has gone on the record to state that the famous red suit character was influenced by Sammy Davis Jr.’s character in the film Poor Devil. However, similar red suit has also been sported by a number of Vegas characters, most notably Richard Pryor and Robert De Niro’s Sam Rothstein in Martin Scorsese’s Casino. With the red suit, The Weeknd seems to be playing with the idea of a devil-ish other, another side of his personality that emerges in Las Vegas. https://preview.redd.it/gjow6hq2dt261.png?width=1992&format=png&auto=webp&s=10a379bc26df54af88064bf64813d5cdd29775d9 While the city lights are the oft discussed part of part of Las Vegas, it should be noted that similar to Beauty Behind the Madness, the desert that surrounds Las Vegas is just as important to the juxtaposition of its beauty. The "Until I Bleed Out" video ends/"Snowchild" video in the desert, similar to the confrontation between Robert De Niro’s and Joe Pesci’s showdown in the desert in Casino, as well as Joe Pesci's death in Goodfellas. The idea of a hedonistic desert playground also bears semblance to Westworld, both the film and the TV show. The desert seems to represent some sort of freedom to The Weeknd, as the "Snowchild" video portrays the desert as a pensive location for reflection, as well as the "In Your Eyes" video showing the girl prominently dancing with the dismembered head out in the open, in reference to The Texas Chainsaw Massacre, another prominent desert film. https://preview.redd.it/98ec10wxct261.png?width=1168&format=png&auto=webp&s=45e29aa361fa41ff74e2a6017e203015bdcbc6c3 New York/The Safdies Despite it’s Las Vegas setting, After Hours also takes a good amount from films set in New York, most notably Martin Scorsese’s 1983 film After Hours. Besides the title, After Hours is similarly about a twisting and turning nighttime odyssey. The film stars Griffin Dunne as Paul, a working class stiff who heads downtown to rendezvous with a woman he met at a diner earlier that night. Of course, things don’t turn out the way they should, chaos ensues, and Paul is set on a dangerous trek back uptown. Like the film, the album After Hours is set off by a woman (though the album takes more stock in romantic endeavors), seems to be set over a single night (or at least a condensed period of time), and involves similar chaos and misadventures (sirens at night at the end of Faith). Tonally, After Hours the film is more comedic perhaps than After Hours the album, however The Weeknd is on the record as having said that "Heartless" and "Blinding Lights" placement on the album is intended to be somewhat comedic, reflecting exaggerated machismo and ecstasy, respectively (to comedic effect). https://preview.redd.it/f3w7yz4pdt261.png?width=1346&format=png&auto=webp&s=fe7e4f003987fd843020a42a5b53f94092984267 Another of the most prominent filmmakers of After Hours are the Safdies, who featured The Weeknd in Uncut Gems. They also served as a link to Oneohtrix Point Never, who scored their last two films and later worked After Hours. I believe there are three major film tropes (not genres) that inspired After Hours, all of which the Safdies’s have engaged with. There is the one-long-night films, in which a character spends one-long-night on the run from whatever chaos and forces may be that they left in their path. This can be seen in the Good Time, as well as After Hours (the movie). Then, there is the descent-into-madness type, where a character slowly loses grip with reality and ends up in over their head (something like Scarface or Breaking Bad, but for our purposes Jacob’s Ladder can be categorized here as well), which the Safdies did with Uncut Gems. Lastly, but maybe most importantly, the Safdies also explored toxic romance (more on this later) in their less seen film Heaven Knows What, about two heroin addicts and the destructiveness their love brings out in each other, an idea that recurs throughout After Hours on songs like "Until I Bleed Out" and "Nothing Compares." A recurring song throughout Heaven Knows What is Isao Tomita’s synth version of Debussy’s "Claire De Lune", which is featured in some episodes of Memento Mori and bears some resemblance to the start of "Alone Again". https://preview.redd.it/em255b5qdt261.png?width=1344&format=png&auto=webp&s=a5226c9496d0ae5c14b6d6c05e16f5ea18678a9a Obsession/Toxic Romance While love and lust and the ups and downs with it have been a formative part of The Weeknd’s ideology and themes, I don’t think it would be remiss to say that After Hours is perhaps his most outwardly romantic album. Despite this, one of the major arcs of the album is toxicity that comes with it, which a number of already mentioned films deal with. While "In Your Eyes" is one of the more romantic and accessible songs on the album, a re-assessment of it Ala Sting’s “Every Breathe You Take” could frame it as lonely obsessing, such as Travis Bickle’s infatuation with Jodie Foster’s teenage prostitute Iris, Joker's fixation on Murray Franklin, Rupert Pupkin’s obsession with Jerry Langford. Casino also deals with toxic romance, another prominent theme in After Hours, best seen in the love triangle that forms between Sam, his partner Nicky and his wife Ginger, played by Joe Pesci and Sharon Stone respectively. https://preview.redd.it/eq1ioijvdt261.png?width=898&format=png&auto=webp&s=f9e4b781ee60762ae767c4dbd92066357ebc24b0 In almost all of the After Hours’s video content, The Weeknd seems to constantly meet his demise at the hands of women. Another interesting reference that may be something of a reach is to Phantom Thread, Paul Thomas Anderson’s film about Reynolds Woodcock, a couture dressmaker loosely based on Cristobal Balenciaga and his muse Alma, played by Daniel Day Lewis and Vicky Krieps, respectively. The film delves into their dysfunctional relationship, with Woodcock berating her and Alma poisoning his tea to keep him dependent on her. One of the highpoint of the film is a New Years Eve Party that bears strong resemblance to the "Until I Bleed Out" video. While the balloons may just be a callback to his earlier work, there is something about the color grading/temperature and the production design of the "Until I Bleed Out" video (as well as parts of the "Blinding Lights" video) that made me immediately think of Phantom Thread. A similar relationship is seen in the German horror film Der Fan, which The Weeknd has mentioned in a recent interview. In Der Fan, a young girl Simone spends her days obsessing over popstar R, until she finally encounters him outside his studio. The film is similar to the aforementioned Takashi Miike’s Audition in its exploration of obsession and idealization. In the film, an older man puts up a fake casting call to search for the perfect girlfriend. While Audition explores these themes from an Eastern perspective of societal pressure, Der Fan explores it through a Western lens of pop idolization and idealization. Both films deal with the idea that despite outward appearances, the perfect partner does not exist, and anyone that claims to be (or has the expectations put on them) is not who they seem. https://preview.redd.it/3m661q62et261.png?width=1342&format=png&auto=webp&s=c9377018cb53f67cf7ce95b24392afb471e4aec1 One film he has spoken at length about is Trouble Everyday, Claire Denis’s arthouse vampire movie. The film stars Vincent Gallo as Shane, a scientist who travels to Paris under the guise of his honeymoon to track down core, a woman who he was once obsessed with who has now become a vampire. Core is locked up in a basement but sometimes sneaks out to seduce and consume unwilling victims. This seems to be where some of the bloody face stuff comes from, but I believe it’s influence is a little more conceptual. To me, a good companion film to Trouble Everyday is American Psycho, which seems to also have been a thematic influence on After Hours. Both films concern idealized version of masculinity and femininity, both very sexual and physical, but hostile as well. American Psycho ends with Patrick Bateman confessing to the killing of a prostitute, but no one believe him. Trouble Everyday ends with Shane killing Core, but Shane is unable to arouse himself after that except through violence. Koji Wakamatsu, a former Yakuza turned prominent extreme Japanese filmmaker (and a major influence on Gaspar Noe) is quoted as saying “For me, violence, the body and sex are an integral part of life.” Despite being hollow, idealized impressions of the self, a vampire and as a banker (cold, seductive bloodsuckers = monsters), Patrick Bateman and Core represent the Frankenstein-ian relationship between sexuality and violence, which I believe is the main theme of After Hours. Truly, we hurt the ones we love. https://preview.redd.it/zfllbd83et261.png?width=900&format=png&auto=webp&s=9c048ee98d86d7bbb9db67fa8302d34c36214c4f PostscriptTo cap things off, I would just like to illuminate some key takeaways. As a filmmaker myself, this has been an extremely helpful exercise in understanding other artists process and ideas.Steeped in the history of the medium… It’s clear that The Weeknd is not your typical “I’m influenced by cinema” artist but an extremely legit film buff with serious credentials. The Weeknd’s film taste leans towards 70s-00s genre works, mostly horror, drama and thriller, and is well versed in the classics but also has the nose to sniff out deeper cuts and obscurities. The mantra of “good artists borrow, great artists steal” works even better if not many people know where you’re stealing from! What is impressive to me is that he is not just versed in “mainstream” obscurities, but also serious deep cuts. Films like Possession and Phantom of the Paradise may not stick out to the average person on the street but are well known in most film circles. Films like Inland Empire and New Rose Hotel (Der Fan was especially impressive to me, it is one of my favorite films) however are not as well known and it is very impressive to me that he can come across films like that, and really get enough out of it to bring into his own work. …is able to interpolate contemporary/mainstream films… This perhaps is one of the most impressive aspects of his integration of film into The Weeknd’s work. It is very easy for film buffs to get lost within their own obscure taste, living in a world where everyone is an idiot for not knowing who Shinya Tsukamoto. Trilogy and Kiss Land had a lot of contemporary obscurities, like Stalker, David Lynch etc., well known but they still existed as artifacts, not of the time we live in. However, perhaps picking something from his work on Fifty Shades of Grey, of late he has kept his finger on the zeitgeist and anticipated/integrated what the filmmakers of today are doing, such as his work on Black Panther and Game of Thrones, general appreciation of Tarantino, the works of Nicolas Winding Refn in Starboy, and his use of the Joker and Uncut Gems on After Hours, both of which came out just a few months before the album. It feels Jackson-esque, and I believe this is one thing that will help him further in his quest for pop stardom. …while also being fully in tune to the works of modern transgressive auteurs… In addition to keeping up with the mainstream is in touch with, The Weeknd also makes it a point to seek out and learn from the cutting edge filmmakers of today. While the Safdies were always going to blow up, I don’t doubt that a Weeknd co-sign accelerated their rise. Gaspar Noe is one thing, Enter the Void and Irreversible exist as masterpieces of the mainstream obscurities I’ve been mentioning, but he really truly tries to understand the heart of Noe’s work, even going so far back as to understand Noe’s influences (I sincerely hope he is tuned in to the work of Koji Wakamatsu). But most of all, to be a fan of Claire Denis is one thing, but to seek her out and make her an offer that she ACCEPTED is absolutely astounding to me. Just spitballing but it would be like if Michael Jackson shot a music video with Rainer Werner Fassbinder (who I’d bet good money that The Weeknd was put on to by Noe). We can only PRAY that one day we will be blessed with a David Lynch Weeknd video. --------------------------- …and that just about does it. Hope you enjoyed this and thanks for being patient with me. I got quite busy after the first two and had my own projects/work going that kept me occupied. As we’re still technically in the After Hours era, I also wanted to wait until a few more videos and interviews came out to aid me in my research. I also wanted to find enough time to make the Letterboxd for this. I personally don’t love Letterboxd culture, I find the popular culture surrounding the site a bit snobbish and exclusive, but I’ve gotten a number of requests for one and you gotta give the people what they want. Throughout the list are a few films that he hasn’t mentioned but are some of my personal favorites and I believe Weeknd fans will like, I encourage you to accidentally stumble upon things on it. Don't overthink, just pick something and watch! If you’d like to follow me further, you can find me on Instagram here, where I post about film reviews Letterboxd style. I prefer Instagram so that more average people see it instead of an echo chamber of film snobs. I am also a filmmaker myself, I just recently wrapped this short film and am currently in the process of putting together my next project. The main reason I did this however, besides a general appreciation of The Weeknd’s work, was to put more people on to the beautiful art form that is cinema. One thing I learned from Scorsese is that one must be an advocate and truly champion your medium. I hope that this encourages to check out more interesting movies than they wouldn’t normally come across, and I hope this will inspire more people to create more as well, whether it be to write, make films, music, anything. If even one person picks up a pencil, a camera or a keyboard because of these posts, I will be satisfied. Thanks all! |
Previous Section-Part 2B submitted by Eki75 to DupontDeLigonnes [link] [comments] [3/5] Chapter 9 Highways and dead endsThe hunt for Xavier Ligonnès is enough to drive you crazy. It’s like looking for a lost object, a bank card for example, of which we can determine the exact moment of disappearance: we used it to pay, it was there, and the next moment it is not there anymore. Logic dictates that we look for it where we usually store it (a wallet, a handbag), then where it could be (a back pocket of pants, a hall cabinet), and the less we find it , the more we seem to see it everywhere. Faced with absence, the brain constructs images (the credit card in an office drawer, as a bookmark in a book, forgotten on the counter of the last store) but these are fictions or mirages; they encourage further research but they do not provide a solution. Xavier Ligonnès’s apparent volatilization follows the same logic and produces the same effects on the investigation. The more weeks and months go by, the more places to look get smaller. Emmanuel Teneur ends up leading the investigators to the Société Générale agency on Place Royale in Nantes, but the safe he holds there is simply empty. A request for information on Joven Soliman is sent to the security attaché for the French Embassy in the Philippines. He is a sedevacantist priest, a fringe of traditionalist Catholicism who considers the Pope to be an imposter. The attaché transmits the hours of mass where he officiates. A trip to the Philippines is being considered, but that would mean going to the other side of the world to look for a needle in the thousands of islands of the archipelago. If this track has never been closed, nothing has supported it to date.Since we must push logic to the end, the investigators even contact the American authorities to corroborate or contradict the story of protected witnesses told by Ligonnès in his famous letter. The DEA has never heard of the individual, and the liaison officer based at the Miami consulate assures us that his last trip to the United States was in 2003: Ligonnès arrived in Florida on July 18 and left on August 22. The study of his entourage also did not highlight anyone capable of providing false papers to the fugitive, and if he had gone through a criminal network, the police believed that an informant would undoubtedly have warned them to protect himself. Then there are the news reports: the portrait of Ligonnès goes around France, and even if he has undoubtedly changed his physical appearance, his hairstyle, perhaps had even resorted to cosmetic surgery, someone, somewhere, might recognize him one day. After all, that’s how John List, a New Jersey insurance salesman who killed his wife and mother in 1971, was arrested. He waited for two of his children to return from school to coldly shoot them, then attended his youngest son’s football game before shooting bullets through him at home. He evaded justice for 18 years until a co-worker recognized him from a report on America’s Most Wanted. Rarely has a criminal case given rise to as many appeals as that of Ligonnès, because his stalking not only bewitches the police, it torments an entire country. More than 1000 reports, thousands of pages of depositions, letters, verifications. You have to imagine the miles of printed paper that this represents when they are stacked on a desk. The most recent: in July, after the broadcast of a Netflix documentary on the subject in the United States, the producers of the film claimed to have received an interesting lead in Chicago; but it’s just one more drop in the bucket. Xavier Dupont de Ligonnès has been seen in Annecy, Nancy, Cholet, Corsica (several times); on the side of a road, thumbs up, by a French tourist in Las Vegas; disguised as a chimney sweep in Nîmes; in a hotel in Cantal and in a pizzeria where he paid cash in a hurry; seen again in Germany, in Italy, and heard on the telephone by the reception of the psychiatric hospital of Troyes. Since he disappeared looking like the ordinary neighbor, since he was a representative and his profession has taken him to all corners of France, there is no less reason to see him in Mulhouse than in Roche-sur-Yon, and you can simply see him everywhere. Aire de Lançon-Provence in July 2020 Extracts: “It was the same look, except that he looked very sad, in the west, but he had the same glasses as in the photo you are showing me”; “He looked like a man like everyone else, but there was something odd in his eyes;” “Yesterday, around 1:00 pm, I was watching the news on television on the TFI channel. I saw a report where an individual killed his children and his wife before disappearing into the wild. (...) Seeing the gentleman in the photo, I made the connection with the person whom I had crossed Sunday afternoon because he had the same smile.” At the Vauvert tourist office: “I hardly look at the news, but Thursday evening I saw the photo of Mr. Ligonnès, I had the impression of having already seen him, my heart was racing.” Between Carpentras and Avignon, when he comes back from the bakery, the manager of one of Nicolas Sarkozy’s brothers crosses paths with a man with a beige bob, which he is certain is the fugitive. “I flashed,” he says. “For me, there is no doubt. This is him.” Still more letters are sent to the police to offer them help. An amateur astrologer requests a copy of the suspect’s birth certificate to establish a birth chart, a woman in child-like writing recommended a great medium who had helped her find her daughter who had become a junkie in Marseille. A prisoner asked in writing to be sent to Guinea to go hunt him down in the jungle, attaching to his letter a list of the necessary equipment, including infrared glasses and a “samurai sword.” With each letter, with each phone call to report a suspicious individual, investigators attempt to cross-reference the information. They patiently collect the testimonies of the depositors to know where Xavier Ligonnès was seen, if he was accompanied or not, what was his size and his outfit. Inconsistent testimonies or those referring to individuals who are too young (Ligonnès would be 59 years old today) and too small (he measures a little over 1.80 meters) are discarded. For the others, investigators check the CCTV recordings, when they have not been erased and when the cameras have actually recorded on tape. If the person has been spotted pumping gasoline, in a Géant Casino, or in a Courtepaille, they trace the means of payment used and seize the duplicates of bank cards. They give priority to the restaurants, especially the Buffalo Grill, Ligonnès’ favorite establishment. And when the trail is still hot and the dishes haven’t been done yet, they collect DNA from the plates and cutlery. A few months after the start of the investigation, the investigating judge in charge of the case will even be forced to ask them to slow down, the seals starting to take on the appearance of a china cabinet in a large restaurant. The Total service station in Lançon-Provence, July 2020 The PJ of Nantes believed on several occasions to finally have in hand the winning ticket and to be on the point of intercepting Ligonnès. This was the case in Borgo, where a photo taken from the video surveillance of a supermarket in this small Corsican town was very similar. Upon verification, it was only a local. They believed in it even more in January 2018 when they were told that an individual with a strong resemblance to Xavier Ligonnès was at the Saint-Désert Notre-Dame de Pitié monastery near Roquebrune-sur-Argens. About twenty police officers raided and searched the premises until they came across Brother Jean-Marie Joseph, who certainly looked disturbingly like Ligonnès, but who was not him. In still other cases, the police were never able to “close the track,” and it is perhaps Ligonnès who was seen. For example, in Lançon-Provence, April 26, 2011. That day, at 2:44 am, Mahjoub B., a handler by profession, parks his vehicle at the Total service station after the Lançon-Provence toll. He fills up, then goes to the store to pay. On his way, he passes a 45- to 50-year-old man, about six feet tall, who hangs out there between the gas pumps and the store. When he returns to his vehicle, his colleague asks him if he has seen the man, whom he is convinced is the one everyone is looking for, the one who killed his family in Nantes. Mahjoub then takes a new look at the individual, notices that he is wearing glasses, light jeans, that he has brown hair a little graying and a beard of a day. At his feet, four rigid shopping bags, one red, one white, one brown and one whose color he cannot distinguish. Inside the store, employees also noticed the individual. He’s been out for almost three hours. At one point, he walks in to ask for free coffee, as part of a promotion. Behind her cash register, Jocelyne H. notes a detail: he is missing a tooth. “The second on the left, I believe,” she says when heard by investigators. This is information that has never filtered out and yet, it’s true – a little detail, Xavier Ligonnès was missing a tooth. Little by little, the space has filled in, but you can always see it when he smiles. The images from the station’s surveillance cameras are confusing: if this man is not the one we are looking for, it must be his twin brother. At 3 a.m., the cameras show him hitchhiking by a Volkswagen Combi, which investigators quickly find. The driver’s name is Christophe B. He has not heard of the case, and he must be one of the only ones in the country; but Christophe is no longer listening to the news because, he says, “the news is bad all the time.” From the hitchhiker on the night of the 25th to the 26th, he remembers that he “did not smell very good” and that he had a growing beard. They didn’t discuss much. The man simply told him that he was coming from Paris where he had gone to see “his sick old father,” and that he wanted to take the train to Aix-en-Provence. Christophe dropped him off at a motorway exit, the 30 or the 31, between 4 a.m. and 4.15 a.m. The surveillance cameras at Aix train station allow you to get back on track. He is filmed on the forecourt at 6 am, he wears light pants, a dark jacket. He buys a ticket at 1.20 euro, free destination. Then we lose track. Despite all the checks, despite all the cameras, it will be impossible to track this man perfectly resembling Dupont de Ligonnès, who could nevertheless have confirmed that he was, at least on this date, still alive. How can one suddenly evaporate in plain sight, and how could a man who has collected chess all his life accomplish this feat? The XDDL mystery makes it possible to scaffold all the theories. These flourish in books, in docudramas and, of course, on the Internet. We imagine Ligonnès protected by the secrecy of a monastery, flown to the United States, where he can go unnoticed thanks to his English without an accent, or even on the escape alongside a woman he would have manipulated. The police officers in charge of the case do not work on theories or psychological profiles, but according to a scientific approach: they always start from a fact, which opens a track, which they then explore until the end, close, and move on to another. This method is also a way to protect yourself from endless guesswork, or insanity, but it doesn’t always work. Several times, the track looks like a highway towards the fugitive, and the police are convinced that they will finally close this investigation. But they end up stumbling upon the worst thing ever, as was the case with the allusion to Emmanuel Teneur’s sailboat: coincidences. Coincidence number 1. When the Ligonnès C5 was discovered in the Formula 1 car park in Roquebrune, the night watchman informed them that two reservations had been made in the name of Dupont Xavier, one on April 5 and the another on April 14. The hotel manager then specifies that the first reservation was actually made for April 6. That day, however, XDDL was in Nantes, probably digging the grave of Thomas, murdered the day before. Had he thought of accomplishing his crimes earlier or had he reserved a room for an accomplice, who might have been hiding something for him? The videos of April 5 and 6 are no longer available, but payment for the room was made with a Crédit Agricole credit card. The number gives a name, Faiçal E., and an address. Could it be an accomplice? The checks are launched immediately lead to a man who simply used “Dupont Xavier” as an assumed name - like Ligonnès - to book a night in the same hotel, the same year, the same month, within ten days. Coincidence number 2. The liaison officer in Miami launches research around the various aliases used by XDDL, for operations of “mystery shopper” or to stay in hotels. In the FBI file, he finds a certain Xavier Laurent, one of Ligonnès’s favorite nicknames, installed in Jacksonville, north of Florida. Jacksonville is not just any city. This is where Hugues, the cousin of XDDL lived, and it is also this locality that Ligonnès and his friend Michel Rétif declared to customs in 1990 during their trip to the United States. At the very end of the personalized letter sent to Michel on April 8, Xavier Ligonnès seemed to allude to it: “I will think about you there. (Not the right to tell you where, but you went there with me...in November 90…a clue to dig. LOL).” But this Xavier Laurent is another twist of fate: the police come across a certain Evan Shaffer, a petty criminal who has chosen this alias to commit crimes. Coincidence number 3. Ten days before the crimes, XDDL reconnects with a childhood sweetheart, Catherine K., whom he met in Versailles in the 1980s. Between March 22 and 24, they exchange text messages and try to find a date to meet the week of April 12, in Chamonix. These messages intrigue the investigators, some answers seem surprising, almost illogical, and they suspect Ligonnès of having wanted to ensure a logistical relay in his escape. A little later, a certain Patrick O. reports having seen XDDL in the queue of a Sixt car rental agency at Nice airport on April 17, 2011. By peeling the names of dozens of people having rented a car that day, the police officers miss the infarction: in capital letters, white on black, appears the surname of Catherine, who would have rented a vehicle at 1:30 am. A few hours later, their heart rate drops again: it was only a perfect disambiguation. Each coincidence causes the same chain of reactions. First a eureka!, the certainty of having finally found the tiny detail from which to trace everything. The police then cast their nets like fishermen on the high seas, telephone or banking requisitions, requests for listings, identity checks. Then they wait. It can last from a few hours to several weeks, and inevitably it is a burning, nagging wait, tense by the fear that the track will fly away. Finally, there is the immense disappointment and the obligation to face reality again: Xavier Ligonnès is still nowhere to be found, a track has flown again, and we have to hoist the rock up the mountain again. Those who have worked or are still working on the affair strive to maintain a cold, rational, police facade. But little by little, by dint of chasing a shadow - not even a shadow, a ghost - obsession lurks. One of them, a police officer with a professional Protestant pastor, now out of the investigation, still returned until recently to consult the investigation file every week, saying he simply wanted to put the 12,000 pages of documents in order. For a year, a criminal analyst has also been mobilized. He enters all the elements of the file in a software which digests them and spits out, perhaps, new threads to draw. In the meantime, the two police officers who are still following the investigation - one at the PJ in Nantes, one at the OCRVP, in Paris - “live” the case, as their colleagues say. Among these thousands of pages there is no doubt a clue that has gone unnoticed or, better, a lead that has not yet been explored. Track number 1. Who typed “fraternité saint-thomas becket” on Google on April 3 at 11:34 pm, before clicking on a link in the Cité-Catholique forum? Is it the same person who, the same night at 2:01 am, from an iPhone, did the search for “communion state mortal sin,” bringing it to the same forum? On April 8, the user of this phone will in any case send the search engine the request “hello Chacou”, which will lead him (her) again to the Cité-Catholique forum. Chacou was one of the pseudonyms of Xavier Ligonnès. Investigators saw crazier coincidences, but still: can it really be someone other than Xavier Ligonnès, who himself connected to Cité-Catholique almost every day of his escape? The last article published on the site about Saint-Thomas Becket, an ultra-traditionalist fraternity which practices mass in Latin, dates from January 2009. It indicates the name of its founder, Father Jean-Pierre Gac, and specifies this: “Born in the diocese of Blois where there are two communities (…), the fraternity has also extended in the diocese of Toulon - a parish is also entrusted to them in Ollioules.” Ollioules is located six kilometers from La Seyne-on-Mer, where XDDL spent its penultimate known night, and 94 kilometers from Roquebrune. Jean-Pierre Gac was questioned by the police but claimed to have never been in contact with the fugitive. Investigators have always believed in the possibility that Ligonnès took refuge in a monastery in the Var. They considered to search them one by one, before understanding that there are dozens and dozens of brotherhoods and fraternities, that they are not always castles of the Purple Rivers but sometimes simple farms, lost in the hinterland. To mount a search, it would be necessary to ensure that they do not communicate with each other, and therefore to visit them all at the same time. The examining magistrate quickly tempered the fervor of the police and declared the operation impossible. Track number 2. Xavier Ligonnès had two secret Facebook accounts. The first is named after his favorite country singer, Waylon Jennings. One of his nieces had also found him a month before the crimes, sending him a message, “but who is behind this nickname?,” to which XDDL had immediately replied “How did you manage to arrive on the Waylon Jennings Facebook profile? Too clever! Microsoft Advantage??? Kiss.” The second account concerns a certain “George Town” residing in Nantes and is linked to one of Ligonnès’ many email addresses, [email protected]. The police send a requisition to the management of Facebook in Palo Alto to obtain the creation and connection logs of the two profiles. The answer comes in days: the first was created in February 2010, the second in December 2007, when France had barely discovered the social network. Above all, the response indicates that Ligonnès connected to the two accounts on the night of April 4 to 5, between the first assassinations and that of Thomas. The profiles have since been deleted but suggest he could have used them to communicate with a third party. Catherine K., the youthful lover that XDDL contacted a few days before the tragedy, also reported to the police that she had been approached by a certain Philippe Steiner, whom she did not know, around May 20. He sent her a strange message, suggesting that they might have had a relationship in the past. When she went to respond, the profile had already been deleted. Today there are almost 100 Facebook accounts on behalf of Waylon Jennings, some are created and deleted every day. Track number 3. When the Ligonnès family is having their last meal on April 3, 2011, around 9 pm, a young woman walks through the glass doors of the police station on Place Waldeck-Rousseau in Nantes. Originally from a small village near Vannes, Julie is a BTS student and comes to file a complaint: the Twingo that her father lets her drive has been broken into, probably during the night. There was not much inside, but Julie reported the theft of her car radio as well as the vehicle’s logbook, which she normally stored in a small Renault gray faux leather pouch. This same pouch was found on April 22 in the dresser of the Ligonnès living room where Xavier used to store his papers, during the investigation the day after the discovery of the bodies. The police did not follow this track: they put the break-in of Julie’s car on the account of one of the Ligonnès sons, Arthur, who had already been arrested for theft of a bicycle and driving under the influence of cannabis. But why would Arthur have taken the vehicle papers with the car stereo, and why would he put them in the middle of his father’s papers? And if the theft was committed by Xavier Ligonnès a few hours before killing his family, how can this be explained? Was he able to steal other identity papers to facilitate his escape? In this case, it is always about cars. Those imported by XDDL from the United States, the Citroën C5 from the escape, the vehicles he claimed had been stolen over the years: the first at the Brest police station in 1998, while living in Pornic, a second at the same time at the Saint-Nazaire police station, and then again, in Nantes, on May 17, 2006, a Golf convertible finally found then sold a few months later to a mechanic, a friend of Cédric M. Cédric M. is never far away when it comes to cars. He is also a mechanic, that’s how Ligonnès met him in Vannes a few years earlier. He is one of the recipients of the departure letter, therefore a close friend. He was even the first employee of the RDC. Ligonnès regularly went to visit him in Locmalo in the heart of Morbihan, a two-and-a-half-hour drive from Nantes. With Cédric and his partner, Renaud, they went to the local creperie. They had lunch there together on March 31, 2011, four days before the crimes. In the village, it is said that Ligonnès took care of the dark accounts of the “guys,” who have quite a reputation. Could he have built up a slush fund there that no one would have found until now? Cédric and Renaud’s garage is not indicated by any sign. It is at the end of a road. In the yard, wrecks of American cars and a goat on a leash. Inside, Renaud is working on a shiny yellow Cadillac. His attitude is confusing. He is angry with the police who have never come to question him when he is, according to him, “the last to have seen [Xavier] alive. But I will not tell you when, because that the date is important,” he adds before returning to his Cadillac, wrench in hand. To date, Renaud has still not been heard by investigators. At the same time, reports continue to flow. Ligonnès seen in Mulhouse, on the four lanes between Saint-Brieuc and Rennes in a Peugeot 308 and overtaking on the right, Ligonnès seen again in Tunis and Toulouse. Ligonnès seen, but never caught. Next Section-Part 2D |
RANK | TITLE | YEAR | DIRECTOR |
---|---|---|---|
1 | The Godfather | 1972 | Francis Ford Coppola |
2 | The Godfather: Part II | 1974 | Francis Ford Coppola |
3 | Seven Samurai | 1954 | Akira Kurosawa |
4 | Pulp Fiction | 1994 | Quentin Tarantino |
5 | 12 Angry Men | 1957 | Sidney Lumet |
6 | Spirited Away | 2001 | Hayao Miyazaki |
7 | Schindler's List | 1993 | Steven Spielberg |
8 | Casablanca | 1942 | Michael Curtiz |
9 | Psycho | 1960 | Alfred Hitchcock |
10 | Goodfellas | 1990 | Martin Scorsese |
11 | Lawrence of Arabia | 1962 | David Lean |
12 | The Good, the Bad and the Ugly | 1966 | Sergio Leone |
13 | Singin' in the Rain | 1952 | Stanley Donen & Gene Kelly |
14 | City Lights | 1931 | Charlie Chaplin |
15 | Sunset Boulevard | 1950 | Billy Wilder |
16 | Apocalypse Now | 1979 | Francis Ford Coppola |
17 | The Shawshank Redemption | 1994 | Frank Darabont |
18 | Rear Window | 1954 | Alfred Hitchcock |
19 | Star Wars: Episode V - The Empire Strikes Back | 1980 | Irvin Kershner |
20 | 2001: A Space Odyssey | 1968 | Stanley Kubrick |
21 | Citizen Kane | 1941 | Orson Welles |
22 | M | 1931 | Fritz Lang |
23 | One Flew Over the Cuckoo's Nest | 1975 | Miloš Forman |
24 | Vertigo | 1958 | Alfred Hitchcock |
25 | The Dark Knight | 2008 | Christopher Nolan |
26 | The Silence of the Lambs | 1991 | Jonathan Demme |
27 | Modern Times | 1936 | Charles Chaplin |
28 | Star Wars - A New Hope | 1977 | George Lucas |
29 | Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb | 1964 | Stanley Kubrick |
30 | Come and See | 1985 | Elem Klimov |
31 | Bicycle Thieves | 1948 | Vittorio De Sica |
32 | Tokyo Story | 1953 | Yasujirō Ozu |
33 | It's a Wonderful Life | 1946 | Frank Capra |
34 | Rashomon | 1950 | Akira Kurosawa |
35 | Once Upon a Time in the West | 1968 | Sergio Leone |
36 | Taxi Driver | 1976 | Martin Scorsese |
37 | Ikiru | 1952 | Akira Kurosawa |
38 | Metropolis | 1927 | Fritz Lang |
39 | The Passion of Joan of Arc | 1928 | Carl Theodor Dreyer |
40 | Alien | 1979 | Ridley Scott |
41 | The Third Man | 1949 | Carol Reed |
42 | All About Eve | 1950 | Joseph L. Mankiewicz |
43 | Fanny and Alexander | 1982 | Ingmar Bergman |
44 | Chinatown | 1974 | Roman Polanski |
45 | City of God | 2002 | Fernando Meirelles & Kátia Lund |
46 | Double Indemnity | 1944 | Billy Wilder |
47 | Paths of Glory | 1957 | Stanley Kubrick |
48 | Raiders of the Lost Ark | 1981 | Steven Spielberg |
49 | Andrei Rublev | 1966 | Andrei Tarkovsky |
50 | The Apartment | 1960 | Billy Wilder |
51 | Harakiri | 1962 | Masaki Kobayashi |
52 | Parasite | 2019 | Bong Joon-ho |
53 | The Lord of the Rings: The Fellowship of the Ring | 2001 | Peter Jackson |
54 | The 400 Blows | 1959 | François Truffaut |
55 | Stalker | 1979 | Andrei Tarkovsky |
56 | Some Like It Hot | 1959 | Billy Wilder |
57 | Sunrise: A Song of Two Humans | 1927 | F.W. Murnau |
58 | Pan's Labyrinth | 2006 | Guillermo del Toro |
59 | Ran | 1985 | Akira Kurosawa |
60 | Sherlock, Jr. | 1924 | Buster Keaton |
61 | The Lord of the Rings: The Return of the King | 2003 | Peter Jackson |
62 | The Night of the Hunter | 1955 | Charles Laughton |
63 | A Separation | 2011 | Asghar Farhadi |
64 | Grave of the Fireflies | 1988 | Isao Takahata |
65 | North by Northwest | 1959 | Alfred Hitchcock |
66 | Persona | 1966 | Ingmar Bergman |
67 | Eternal Sunshine of the Spotless Mind | 2004 | Michel Gondry |
68 | Back to the Future | 1985 | Robert Zemeckis |
69 | The Battle of Algiers | 1966 | Gillo Pontecorvo |
70 | Toy Story | 1995 | John Lasseter |
71 | Raging Bull | 1980 | Martin Scorsese |
72 | 8½ (Eight and a Half) | 1963 | Federico Fellini |
73 | Saving Private Ryan | 1998 | Steven Spielberg |
74 | On the Waterfront | 1954 | Elia Kazan |
75 | The Shining | 1980 | Stanley Kubrick |
76 | Three Colors: Red | 1994 | Krzysztof Kieślowski |
77 | The Great Dictator | 1940 | Charles Chaplin |
78 | The Wizard of Oz | 1939 | Victor Fleming, George Cukor, Mervyn… |
79 | The Wages of Fear | 1953 | Henri-Georges Clouzot |
80 | In the Mood for Love | 2000 | Wong Kar-wai |
81 | Spider-Man: Into the Spider-Verse | 2018 | Rodney Rothman, Peter Ramsey… |
82 | The Treasure of the Sierra Madre | 1948 | John Huston |
83 | The Seventh Seal | 1957 | Ingmar Bergman |
84 | The Lord of the Rings: The Two Towers | 2002 | Peter Jackson |
85 | The Red Shoes | 1948 | Michael Powell & Emeric Pressburger |
86 | The General | 1926 | Clyde Bruckman & Buster Keaton |
87 | The Gold Rush | 1925 | Charles Chaplin |
88 | Touch of Evil | 1958 | Orson Welles |
89 | WALL-E | 2008 | Andrew Stanton |
90 | Aliens | 1986 | James Cameron |
91 | Wild Strawberries | 1957 | Ingmar Bergman |
92 | Paris Texas | 1984 | Wim Wenders |
93 | A Clockwork Orange | 1971 | Stanley Kubrick |
94 | La Grande Illusion | 1937 | Jean Renoir |
95 | There Will Be Blood | 2007 | Paul Thomas Anderson |
96 | Amadeus | 1984 | Miloš Forman |
97 | Annie Hall | 1977 | Woody Allen |
98 | Whiplash | 2014 | Damien Chazelle |
99 | Pather Panchali | 1955 | Satyajit Ray |
100 | Cinema Paradiso | 1988 | Giuseppe Tornatore |
101 | It Happened One Night | 1934 | Frank Capra |
102 | The Bridge on the River Kwai | 1957 | David Lean |
103 | The Lives of Others | 2006 | Florian Henckel von Donnersmarck |
104 | Terminator 2: Judgment Day | 1991 | James Cameron |
105 | Blade Runner | 1982 | Ridley Scott |
106 | Yojimbo | 1961 | Akira Kurosawa |
107 | Ugetsu | 1953 | Kenji Mizoguchi |
108 | Reservoir Dogs | 1992 | Quentin Tarantino |
109 | Memento | 2000 | Christopher Nolan |
110 | Princess Mononoke | 1997 | Hayao Miyazaki |
111 | Mad Max: Fury Road | 2015 | George Miller |
112 | The Pianist | 2002 | Roman Polanski |
113 | Wings of Desire | 1987 | Wim Wenders |
114 | The Cabinet of Dr. Caligari | 1920 | Robert Wiene |
115 | The Best Years of Our Lives | 1946 | William Wyler |
116 | Inception | 2010 | Christopher Nolan |
117 | Monty Python and the Holy Grail | 1975 | Terry Gilliam & Terry Jones |
118 | Fargo | 1996 | Joel & Ethan Coen |
119 | La Dolce Vita | 1960 | Federico Fellini |
120 | Oldboy | 2003 | Chan-wook Park |
121 | Nights of Cabiria | 1957 | Federico Fellini |
122 | Toy Story 3 | 2010 | Lee Unkrich |
123 | Children of Paradise | 1945 | Marcel Carné |
124 | Gone with the Wind | 1939 | Victor Fleming,George Cukor... |
125 | Jaws | 1975 | Steven Spielberg |
126 | Das Boot | 1981 | Wolfgang Petersen |
127 | High and Low | 1963 | Akira Kurosawa |
128 | The Mirror | 1975 | Andrei Tarkovsky |
129 | L.A. Confidential | 1997 | Curtis Hanson |
130 | Unforgiven | 1992 | Clint Eastwood |
131 | Amelie | 2001 | Jean-Pierre Jeunet |
132 | My Neighbor Totoro | 1988 | Hayao Miyazaki |
133 | Barry Lyndon | 1975 | Stanley Kubrick |
134 | Le Samouraï | 1967 | Jean-Pierre Melville |
135 | Ordet | 1955 | Carl Theodor Dreyer |
136 | To Be or Not to Be | 1942 | Ernst Lubitsch |
137 | No Country for Old Men | 2007 | Joel & Ethan Coen |
138 | Solaris | 1972 | Andrei Tarkovsky |
139 | Coco | 2017 | Lee Unkrich |
140 | Your Name. | 2016 | Makoto Shinkai |
141 | Fight Club | 1999 | David Fincher |
142 | The Maltese Falcon | 1941 | John Huston |
143 | The Kid | 1921 | Charles Chaplin |
144 | Woman in the Dunes | 1964 | Hiroshi Teshigahara |
145 | Se7en | 1995 | David Fincher |
146 | Do the Right Thing | 1989 | Spike Lee |
147 | The Rules of the Game | 1939 | Jean Renoir |
148 | Aguirre: The Wrath of God | 1972 | Werner Herzog |
149 | The Grapes of Wrath | 1940 | John Ford |
150 | La Haine | 1995 | Mathieu Kassovitz |
151 | Once Upon a Time in America | 1984 | Sergio Leone |
152 | Throne of Blood | 1957 | Akira Kurosawa |
153 | Notorious | 1946 | Alfred Hitchcock |
154 | Badlands | 1973 | Terrence Malick |
155 | A Man Escaped | 1956 | Robert Bresson |
156 | Cool Hand Luke | 1967 | Stuart Rosenberg |
157 | Rosemary's Baby | 1968 | Roman Polanski |
158 | Before Sunrise | 1995 | Richard Linklater |
159 | The Lion King | 1994 | Roger Allers & Rob Minkoff |
160 | Before Sunset | 2004 | Richard Linklater |
161 | Rebecca | 1940 | Alfred Hitchcock |
162 | La strada | 1954 | Federico Fellini |
163 | Duck Soup | 1933 | Leo McCarey |
164 | The Deer Hunter | 1978 | Michael Cimino |
165 | Sansho the Bailiff | 1954 | Kenji Mizoguchi |
166 | The Philadelphia Story | 1940 | George Cukor |
167 | The Man Who Shot Liberty Valance | 1962 | John Ford |
168 | Die Hard | 1988 | John McTiernan |
169 | Brazil | 1985 | Terry Gilliam |
170 | Sweet Smell of Success | 1957 | Alexander Mackendrick |
171 | The Departed | 2006 | Martin Scorsese |
172 | Three Colors: Blue | 1993 | Krzysztof Kieślowski |
173 | The Last Picture Show | 1971 | Peter Bogdanovich |
174 | Rome, Open City | 1945 | Roberto Rossellini |
175 | Up | 2009 | Pete Docter & Bob Peterson |
176 | The Princess Bride | 1987 | Rob Reiner |
177 | Breathless | 1960 | Jean-Luc Godard |
178 | Dog Day Afternoon | 1975 | Sidney Lumet |
179 | Kind Hearts and Coronets | 1949 | Robert Hamer |
180 | To Kill a Mockingbird | 1962 | Robert Mulligan |
181 | Chungking Express | 1994 | Wong Kar-wai |
182 | The Conversation | 1974 | Francis Ford Coppola |
183 | Rio Bravo | 1959 | Howard Hawks |
184 | Full Metal Jacket | 1987 | Stanley Kubrick |
185 | The Handmaiden | 2016 | Chan-wook Park |
186 | A Matter of Life and Death | 1946 | Michael Powell & Emeric Pressburger |
187 | A Woman Under the Influence | 1974 | John Cassavetes |
188 | All the President's Men | 1976 | Alan J. Pakula |
189 | Portrait of a Lady on Fire | 2019 | Céline Sciamma |
190 | The Matrix | 1999 | Lilly & Lana Wachowski |
191 | 12 Years a Slave | 2013 | Steve McQueen |
192 | Brief Encounter | 1945 | David Lean |
193 | Shoplifters | 2018 | Hirokazu Kore-eda |
194 | American Beauty | 1999 | Sam Mendes |
195 | His Girl Friday | 1940 | Howard Hawks |
196 | The Usual Suspects | 1995 | Bryan Singer |
197 | The Graduate | 1967 | Mike Nichols |
198 | Jurassic Park | 1993 | Steven Spielberg |
199 | Memories of Murder | 2003 | Bong Joon-ho |
200 | King Kong | 1933 | Merian C. Cooper & Ernest B. Schoedsack |
201 | Inside Out | 2015 | Pete Docter |
202 | Yi yi | 2000 | Edward Yang |
203 | Raise the Red Lantern | 1991 | Zhang Yimou |
204 | Rififi | 1955 | Jules Dassin |
205 | Blue Velvet | 1986 | David Lynch |
206 | Army of Shadows | 1969 | Jean-Pierre Melville |
207 | This Is Spinal Tap | 1984 | Rob Reiner |
208 | The Wild Bunch | 1969 | Sam Peckinpah |
209 | Witness for the Prosecution | 1957 | Billy Wilder |
210 | Battleship Potemkin | 1925 | Sergei M. Eisenstein |
211 | Strangers on a Train | 1951 | Alfred Hitchcock |
212 | The Searchers | 1956 | John Ford |
213 | The Big Lebowski | 1998 | Joel & Ethan Coen |
214 | Nosferatu | 1922 | F.W. Murnau |
215 | Network | 1976 | Sidney Lumet |
216 | The Hustler | 1961 | Robert Rossen |
217 | The Exterminating Angel | 1962 | Luis Buñuel |
218 | Days of Heaven | 1978 | Terrence Malick |
219 | Finding Nemo | 2003 | Andrew Stanton & Lee Unkrich |
220 | Heat | 1995 | Michael Mann |
221 | The Great Escape | 1963 | John Sturges |
222 | A Streetcar Named Desire | 1951 | Elia Kazan |
223 | Diabolique | 1955 | Henri-Georges Clouzot |
224 | The Sting | 1973 | George Roy Hill |
225 | Night of the Living Dead | 1968 | George A. Romero |
226 | The Thing | 1982 | John Carpenter |
227 | Mulholland Drive | 2001 | David Lynch |
228 | The Conformist | 1970 | Bernardo Bertolucci |
229 | The Grand Budapest Hotel | 2014 | Wes Anderson |
230 | A Brighter Summer Day | 1991 | Edward Yang |
231 | Monty Python's Life of Brian | 1979 | Terry Jones |
232 | Umberto D. | 1952 | Vittorio De Sica |
233 | Who's Afraid of Virginia Woolf? | 1966 | Mike Nichols |
234 | Stagecoach | 1939 | John Ford |
235 | Beauty and the Beast | 1991 | Gary Trousdale & Kirk Wise |
236 | The Big Sleep | 1946 | Howard Hawks |
237 | Inglourious Basterds | 2009 | Quentin Tarantino |
238 | Viridiana | 1961 | Luis Buñuel |
239 | Incendies | 2010 | Denis Villeneuve |
240 | The Terminator | 1984 | James Cameron |
241 | Bride of Frankenstein | 1935 | James Whale |
242 | Sullivan's Travels | 1941 | Preston Sturges |
243 | Playtime | 1967 | Jacques Tati |
244 | Ivan's Childhood | 1962 | Andrei Tarkovsky |
245 | Life Is Beautiful | 1997 | Roberto Benigni |
246 | Butch Cassidy and the Sundance Kid | 1969 | George Roy Hill |
247 | Manhattan | 1979 | Woody Allen |
248 | Trainspotting | 1996 | Danny Boyle |
249 | All Quiet on the Western Front | 1930 | Lewis Milestone |
250 | The Young and the Damned | 1950 | Luis Buñuel |
251 | The Elephant Man | 1980 | David Lynch |
252 | All About My Mother | 1999 | Pedro Almodóvar |
253 | Le Trou | 1960 | Jacques Becker |
254 | The Leopard | 1963 | Luchino Visconti |
255 | Laura | 1944 | Otto Preminger |
256 | Shadow of a Doubt | 1943 | Alfred Hitchcock |
257 | Mr. Smith Goes to Washington | 1939 | Frank Capra |
258 | Hiroshima Mon Amour | 1959 | Alain Resnais |
259 | Bringing Up Baby | 1938 | Howard Hawks |
260 | Out of the Past | 1947 | Jacques Tourneur |
261 | Anatomy of a Murder | 1959 | Otto Preminger |
262 | Crouching Tiger, Hidden Dragon | 2000 | Ang Lee |
263 | L'avventura | 1960 | Michelangelo Antonioni |
264 | Beauty and the Beast | 1946 | Jean Cocteau |
265 | The Hunt | 2012 | Thomas Vinterberg |
266 | Forrest Gump | 1994 | Robert Zemeckis |
267 | Ace in the Hole | 1951 | Billy Wilder |
268 | Late Spring | 1949 | Yasujirō Ozu |
269 | The Celebration | 1998 | Thomas Vinterberg |
270 | Au Revoir Les Enfants | 1987 | Louis Malle |
271 | Spotlight | 2015 | Tom McCarthy |
272 | Roman Holiday | 1953 | William Wyler |
273 | Amour | 2012 | Michael Haneke |
274 | Ali: Fear Eats the Soul | 1974 | Rainer Werner Fassbinder |
275 | Paddington 2 | 2017 | Paul King |
276 | The Life and Death of Colonel Blimp | 1943 | Michael Powell & Emeric Pressburger |
277 | The French Connection | 1971 | William Friedkin |
278 | The Discreet Charm of the Bourgeoisie | 1972 | Luis Buñuel |
279 | High Noon | 1952 | Fred Zinnemann |
280 | Akira | 1988 | Katsuhiro Otomo |
281 | 4 Months, 3 Weeks and 2 Days | 2007 | Cristian Mungiu |
282 | Ben-Hur | 1959 | William Wyler |
283 | Let the Right One In | 2008 | Tomas Alfredson |
284 | Nashville | 1975 | Robert Altman |
285 | Room | 2015 | Lenny Abrahamson |
286 | The Adventures of Robin Hood | 1938 | Michael Curtiz & William Keighley |
287 | Jules and Jim | 1962 | François Truffaut |
288 | Good Will Hunting | 1997 | Gus Van Sant |
289 | Young Frankenstein | 1974 | Mel Brooks |
290 | White Heat | 1949 | Raoul Walsh |
291 | Short Term 12 | 2013 | Destin Cretton |
292 | The Killing | 1956 | Stanley Kubrick |
293 | In a Lonely Place | 1950 | Nicholas Ray |
294 | Frankenstein | 1931 | James Whale |
295 | Secrets & Lies | 1996 | Mike Leigh |
296 | Django Unchained | 2012 | Quentin Tarantino |
297 | Call Me by Your Name | 2017 | Luca Guadagnino |
298 | Magnolia | 1999 | Paul Thomas Anderson |
299 | Being There | 1979 | Hal Ashby |
300 | The Manchurian Candidate | 1962 | John Frankenheimer |
301 | Paper Moon | 1973 | Peter Bogdanovich |
302 | The Shop Around the Corner | 1940 | Ernst Lubitsch |
303 | Halloween | 1978 | John Carpenter |
304 | The World of Apu | 1959 | Satyajit Ray |
305 | Spring, Summer, Fall, Winter... and Spring | 2003 | Kim Ki-duk |
306 | L'Atalante | 1934 | Jean Vigo |
307 | The Iron Giant | 1999 | Brad Bird |
308 | The Exorcist | 1973 | William Friedkin |
309 | Amores Perros | 2000 | Alejandro González Iñárritu |
310 | Central Station | 1998 | Walter Salles |
311 | Bonnie and Clyde | 1967 | Arthur Penn |
312 | Persepolis | 2007 | Vincent Paronnaud & Marjane Satrapi |
313 | The Best of Youth | 2003 | Marco Tullio Giordana |
314 | The Spirit of the Beehive | 1973 | Víctor Erice |
315 | Z | 1969 | Costa-Gavras |
316 | Underground | 1995 | Emir Kusturica |
317 | The Killer | 1989 | John Woo |
318 | Kes | 1969 | Ken Loach |
319 | Moonlight | 2016 | Barry Jenkins |
320 | Howl's Moving Castle | 2004 | Hayao Miyazaki |
321 | Her | 2013 | Spike Jonze |
322 | Requiem for a Dream | 2000 | Darren Aronofsky |
323 | The Truman Show | 1998 | Peter Weir |
324 | The Incredibles | 2004 | Brad Bird |
325 | Cries and Whispers | 1972 | Ingmar Bergman |
326 | Stand by Me | 1986 | Rob Reiner |
327 | Before Midnight | 2013 | Richard Linklater |
328 | Groundhog Day | 1993 | Harold Ramis |
329 | Little Women | 2019 | Greta Gerwig |
330 | The Social Network | 2010 | David Fincher |
331 | The Right Stuff | 1983 | Philip Kaufman |
332 | Get Out | 2017 | Jordan Peele |
333 | It's Such a Beautiful Day | 2012 | Don Hertzfeldt |
334 | Boogie Nights | 1997 | Paul Thomas Anderson |
335 | Fantasia | 1940 | Samuel Armstrong, James Algar... |
336 | Black Narcissus | 1947 | Michael Powell & Emeric Pressburger |
337 | Midnight Cowboy | 1969 | John Schlesinger |
338 | Children of Men | 2006 | Alfonso Cuarón |
339 | E.T. the Extra-Terrestrial | 1982 | Steven Spielberg |
340 | Toy Story 2 | 1999 | John Lasseter |
341 | Leon: The Professional | 1994 | Luc Besson |
342 | Cabaret | 1972 | Bob Fosse |
343 | The Diving Bell and the Butterfly | 2007 | Julian Schnabel |
344 | Ratatouille | 2007 | Brad Bird |
345 | The Cranes Are Flying | 1957 | Mikhail Kalatozov |
346 | Day for Night | 1973 | François Truffaut |
347 | Withnail & I | 1987 | Bruce Robinson |
348 | Safety Last! | 1923 | Fred C. Newmeyer & Sam Taylor |
349 | The Umbrellas of Cherbourg | 1964 | Jacques Demy |
350 | Shaun of the Dead | 2004 | Edgar Wright |
351 | Song of the Sea | 2014 | Tomm Moore |
352 | Scarface | 1983 | Brian De Palma |
353 | Harold and Maude | 1971 | Hal Ashby |
354 | Platoon | 1986 | Oliver Stone |
355 | The Nightmare Before Christmas | 1993 | Henry Selick |
356 | Close Encounters of the Third Kind | 1977 | Steven Spielberg |
357 | Talk to Her | 2002 | Pedro Almodóvar |
358 | Wild Tales | 2014 | Damián Szifrón |
359 | Close-Up | 1990 | Abbas Kiarostami |
360 | Time of the Gypsies | 1988 | Emir Kusturica |
361 | Mary and Max | 2009 | Adam Elliot |
362 | The Return | 2003 | Andrey Zvyagintsev |
363 | Logan | 2017 | James Mangold |
364 | For a Few Dollars More | 1965 | Sergio Leone |
365 | A Prophet | 2009 | Jacques Audiard |
366 | La La Land | 2016 | Damien Chazelle |
367 | The Sound of Music | 1965 | Robert Wise |
368 | The King of Comedy | 1982 | Martin Scorsese |
369 | The Big Heat | 1953 | Fritz Lang |
370 | In the Heat of the Night | 1967 | Norman Jewison |
371 | Amarcord | 1973 | Federico Fellini |
372 | A Night at the Opera | 1935 | Sam Wood |
373 | Repulsion | 1965 | Roman Polanski |
374 | Freaks | 1932 | Tod Browning |
375 | Au Hasard Balthazar | 1966 | Robert Bresson |
376 | Downfall | 2004 | Oliver Hirschbiegel |
377 | Lost in Translation | 2003 | Sofia Coppola |
378 | Belle de Jour | 1967 | Luis Buñuel |
379 | What Ever Happened to Baby Jane? | 1962 | Robert Aldrich |
380 | The Circus | 1928 | Charles Chaplin |
381 | How to Train Your Dragon | 2010 | Chris Sanders & Dean DeBlois |
382 | Crimes and Misdemeanors | 1989 | Woody Allen |
383 | Breaking the Waves | 1996 | Lars von Trier |
384 | Brokeback Mountain | 2005 | Ang Lee |
385 | Steamboat Bill, Jr. | 1928 | Buster Keaton & Charles Reisner |
386 | Werckmeister Harmonies | 2000 | Béla Tarr & Ágnes Hranitzky |
387 | Greed | 1924 | Erich von Stroheim |
388 | Roma | 2018 | Alfonso Cuarón |
389 | Make Way for Tomorrow | 1937 | Leo McCarey |
390 | The Lady Eve | 1941 | Preston Sturges |
391 | The Straight Story | 1999 | David Lynch |
392 | Neon Genesis Evangelion: The End of Evangelion | 1997 | Kazuya Tsurumaki & Hideaki Anno |
393 | Indiana Jones and the Last Crusade | 1989 | Steven Spielberg |
394 | Peeping Tom | 1960 | Michael Powell |
395 | The Secret in Their Eyes | 2009 | Juan José Campanella |
396 | Cleo from 5 to 7 | 1962 | Agnès Varda |
397 | Aladdin | 1992 | Ron Clements & John Musker |
398 | Rocco and His Brothers | 1960 | Luchino Visconti |
399 | Hannah and Her Sisters | 1986 | Woody Allen |
400 | My Darling Clementine | 1946 | John Ford |
401 | Avengers: Endgame | 2019 | Joe & Anthony Russo |
402 | Infernal Affairs | 2002 | Alan Mak & Andrew Lau |
403 | Patton | 1970 | Franklin J. Schaffner |
404 | Mary Poppins | 1964 | Robert Stevenson |
405 | Monsters, Inc. | 2001 | Pete Docter |
406 | Hunt for the Wilderpeople | 2016 | Taika Waititi |
407 | Children of Heaven | 1997 | Majid Majidi |
408 | Last Year at Marienbad | 1961 | Alain Resnais |
409 | Sanjuro | 1962 | Akira Kurosawa |
410 | 1917 | 2019 | Sam Mendes |
411 | Avengers: Infinity War | 2018 | Joe & Anthony Russo |
412 | The Tale of the Princess Kaguya | 2013 | Isao Takahata |
413 | Three Billboards Outside Ebbing, Missouri | 2017 | Martin McDonagh |
414 | Through a Glass Darkly | 1961 | Ingmar Bergman |
415 | The Thin Man | 1934 | W.S. Van Dyke |
416 | American History X | 1998 | Tony Kaye |
417 | Knives Out | 2019 | Rian Johnson |
418 | Orpheus | 1950 | Jean Cocteau |
419 | Evil Dead II | 1987 | Sam Raimi |
420 | Airplane! | 1980 | Jim Abrahams, Jerry & David Zucker |
421 | Red River | 1948 | Howard Hawks & Arthur Rosson |
422 | Rope | 1948 | Alfred Hitchcock |
423 | Y tu mamá también | 2001 | Alfonso Cuarón |
424 | Million Dollar Baby | 2004 | Clint Eastwood |
425 | Pickpocket | 1959 | Robert Bresson |
426 | Being John Malkovich | 1999 | Spike Jonze |
427 | The Cameraman | 1928 | Buster Keaton & Edward Sedgwick |
428 | Satantango | 1994 | Béla Tarr |
429 | Hard Boiled | 1992 | John Woo |
430 | Naked | 1993 | Mike Leigh |
431 | The Double Life of Veronique | 1991 | Krzysztof Kieślowski |
432 | Arrival | 2016 | Denis Villeneuve |
433 | Rushmore | 1998 | Wes Anderson |
434 | Sing Street | 2016 | John Carney |
435 | Rebel Without a Cause | 1955 | Nicholas Ray |
436 | The Lady Vanishes | 1938 | Alfred Hitchcock |
437 | The Last Laugh | 1924 | F.W. Murnau |
438 | The Green Mile | 1999 | Frank Darabont |
439 | Vivre Sa Vie | 1962 | Jean-Luc Godard |
440 | Spartacus | 1960 | Stanley Kubrick |
441 | A Hard Day's Night | 1964 | Richard Lester |
442 | Autumn Sonata | 1978 | Ingmar Bergman |
443 | Ghostbusters | 1984 | Ivan Reitman |
444 | The Hidden Fortress | 1958 | Akira Kurosawa |
445 | Capernaum | 2018 | Nadine Labaki |
446 | Mommy | 2014 | Xavier Dolan |
447 | Le Cercle Rouge | 1970 | Jean-Pierre Melville |
448 | Down by Law | 1986 | Jim Jarmusch |
449 | Stalag 17 | 1953 | Billy Wilder |
450 | Boyhood | 2014 | Richard Linklater |
451 | Trouble in Paradise | 1932 | Ernst Lubitsch |
452 | Judgment at Nuremberg | 1961 | Stanley Kramer |
453 | Casino | 1995 | Martin Scorsese |
454 | McCabe & Mrs. Miller | 1971 | Robert Altman |
455 | The Prestige | 2006 | Christopher Nolan |
456 | The Irishman | 2019 | Martin Scorsese |
457 | Blade Runner 2049 | 2017 | Denis Villeneuve |
458 | Faust | 1926 | F.W. Murnau |
459 | Marriage Story | 2019 | Noah Baumbach |
460 | Fireworks | 1997 | Takeshi Kitano |
461 | Star Wars: Episode VI - Return of the Jedi | 1983 | Richard Marquand |
462 | Nausicaä of the Valley of the Wind | 1984 | Hayao Miyazaki |
463 | Goldfinger | 1964 | Guy Hamilton |
464 | Gangs of Wasseypur | 2012 | Anurag Kashyap |
465 | Snow White and the Seven Dwarfs | 1937 | David Hand |
466 | Invasion of the Body Snatchers | 1956 | Don Siegel |
467 | Top Hat | 1935 | Mark Sandrich |
468 | The King's Speech | 2010 | Tom Hooper |
469 | Farewell My Concubine | 1993 | Chen Kaige |
470 | The Breakfast Club | 1985 | John Hughes |
471 | Wolf Children | 2012 | Mamoru Hosoda |
472 | The Sixth Sense | 1999 | M. Night Shyamalan |
473 | Boyz n the Hood | 1991 | John Singleton |
474 | In the Name of the Father | 1993 | Jim Sheridan |
475 | Gladiator | 2000 | Ridley Scott |
476 | The Phantom Carriage | 1921 | Victor Sjöström |
477 | Dead Poets Society | 1989 | Peter Weir |
478 | What We Do in the Shadows | 2014 | Jemaine Clement & Taika Waititi |
479 | The Birds | 1963 | Alfred Hitchcock |
480 | Moonrise Kingdom | 2012 | Wes Anderson |
481 | A Fistful of Dollars | 1964 | Sergio Leone |
482 | Kill Bill: Vol. 1 | 2003 | Quentin Tarantino |
483 | Manchester by the Sea | 2016 | Kenneth Lonergan |
484 | Who Framed Roger Rabbit | 1988 | Robert Zemeckis |
485 | Almost Famous | 2000 | Cameron Crowe |
486 | Lady Bird | 2017 | Greta Gerwig |
487 | To Have and Have Not | 1944 | Howard Hawks |
488 | Kiki's Delivery Service | 1989 | Hayao Miyazaki |
489 | Kill Bill: Vol. 2 | 2004 | Quentin Tarantino |
490 | Eyes Without a Face | 1960 | Georges Franju |
491 | Blazing Saddles | 1974 | Mel Brooks |
492 | The Sacrifice | 1986 | Andrei Tarkovsky |
493 | The 39 Steps | 1935 | Alfred Hitchcock |
494 | Donnie Darko | 2001 | Richard Kelly |
495 | Gone Girl | 2014 | David Fincher |
496 | Eraserhead | 1977 | David Lynch |
497 | Hero | 2002 | Zhang Yimou |
498 | Ghost in the Shell | 1995 | Mamoru Oshii |
499 | Miller's Crossing | 1990 | Joel & Ethan Coen |
500 | Meet Me in St. Louis | 1944 | Vincente Minnelli |
501 | Great Expectations | 1946 | David Lean |
502 | Contempt | 1963 | Jean-Luc Godard |
503 | Scarface | 1932 | Howard Hawks |
504 | Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles | 1975 | Chantal Akerman |
505 | My Left Foot | 1989 | Jim Sheridan |
506 | The Long Goodbye | 1973 | Robert Altman |
507 | Zootopia | 2016 | Byron Howard |
508 | Catch Me If You Can | 2002 | Steven Spielberg |
509 | Fitzcarraldo | 1982 | Werner Herzog |
510 | West Side Story | 1961 | Jerome Robbins & Robert Wise |
511 | All That Jazz | 1979 | Bob Fosse |
512 | Castle in the Sky | 1986 | Hayao Miyazaki |
513 | Kagemusha | 1980 | Akira Kurosawa |
514 | The Wolf of Wall Street | 2013 | Martin Scorsese |
515 | My Fair Lady | 1964 | George Cukor |
516 | Dunkirk | 2017 | Christopher Nolan |
517 | Guardians of the Galaxy | 2014 | James Gunn |
518 | The Lost Weekend | 1945 | Billy Wilder |
519 | The Intouchables | 2011 | Eric Toledano & Olivier Nakache |
520 | Nightcrawler | 2014 | Dan Gilroy |
521 | Short Cuts | 1993 | Robert Altman |
522 | A Silent Voice | 2016 | Naoko Yamada |
523 | The Innocents | 1961 | Jack Clayton |
524 | Nostalgia | 1983 | Andrei Tarkovsky |
525 | Mean Streets | 1973 | Martin Scorsese |
526 | Rocky | 1976 | John G. Avildsen |
527 | I Am Cuba | 1964 | Mikhail Kalatozov |
528 | 3-Iron | 2004 | Kim Ki-duk |
529 | Dirty Harry | 1971 | Don Siegel |
530 | Mad Max 2: The Road Warrior | 1981 | George Miller |
531 | The Crowd | 1928 | King Vidor |
532 | The Triplets of Belleville | 2003 | Sylvain Chomet |
533 | Black Swan | 2010 | Darren Aronofsky |
534 | Mon Oncle | 1958 | Jacques Tati |
535 | The Piano | 1993 | Jane Campion |
536 | Ed Wood | 1994 | Tim Burton |
537 | Head-On | 2004 | Fatih Akin |
538 | Harry Potter and the Prisoner of Azkaban | 2004 | Alfonso Cuarón |
539 | The Insider | 1999 | Michael Mann |
540 | Forbidden Games | 1952 | René Clément |
541 | Harry Potter and the Deathly Hallows: Part 2 | 2011 | David Yates |
542 | When Harry Met Sally... | 1989 | Rob Reiner |
543 | The Wrestler | 2008 | Darren Aronofsky |
544 | The Player | 1992 | Robert Altman |
545 | Inside Llewyn Davis | 2013 | Joel & Ethan Coen |
546 | Blow-Up | 1966 | Michelangelo Antonioni |
547 | The Remains of the Day | 1993 | James Ivory |
548 | The Man Who Would Be King | 1975 | John Huston |
549 | The Florida Project | 2017 | Sean Baker |
550 | Napoleon | 1927 | Abel Gance |
551 | Suspiria | 1977 | Dario Argento |
552 | Drive | 2011 | Nicolas Winding Refn |
553 | The Producers | 1967 | Mel Brooks |
554 | That Obscure Object of Desire | 1977 | Luis Buñuel |
555 | The Outlaw Josey Wales | 1976 | Clint Eastwood |
556 | Klaus | 2019 | Sergio Pablos |
557 | The African Queen | 1951 | John Huston |
558 | Ninotchka | 1939 | Ernst Lubitsch |
559 | Slumdog Millionaire | 2008 | Danny Boyle |
560 | My Man Godfrey | 1936 | Gregory La Cava |
561 | Dangal | 2016 | Nitesh Tiwari |
562 | Blood Simple. | 1984 | Joel & Ethan Coen |
563 | Interstellar | 2014 | Christopher Nolan |
564 | About Elly | 2009 | Asghar Farhadi |
565 | Hot Fuzz | 2007 | Edgar Wright |
566 | Johnny Guitar | 1954 | Nicholas Ray |
567 | Planet of the Apes | 1968 | Franklin J. Schaffner |
568 | The Quiet Man | 1952 | John Ford |
569 | Fantastic Mr. Fox | 2009 | Wes Anderson |
570 | Casino Royale | 2006 | Martin Campbell |
571 | Monsieur Hulot's Holiday | 1953 | Jacques Tati |
572 | Adaptation. | 2002 | Spike Jonze |
573 | American Graffiti | 1973 | George Lucas |
574 | Barton Fink | 1991 | Joel & Ethan Coen |
575 | Tampopo | 1985 | Juzo Itami |
576 | Little Miss Sunshine | 2006 | Jonathan Dayton & Valerie Faris |
577 | Edward Scissorhands | 1990 | Tim Burton |
578 | The Earrings of Madame de… | 1953 | Max Ophüls |
579 | Arsenic and Old Lace | 1944 | Frank Capra |
580 | Doctor Zhivago | 1965 | David Lean |
581 | The Virgin Spring | 1960 | Ingmar Bergman |
582 | Jean de Florette | 1986 | Claude Berri |
583 | Zodiac | 2007 | David Fincher |
584 | Aparajito | 1956 | Satyajit Ray |
585 | The Asphalt Jungle | 1950 | John Huston |
586 | Ex Machina | 2014 | Alex Garland |
587 | The Favourite | 2018 | Yorgos Lanthimos |
588 | The Royal Tenenbaums | 2001 | Wes Anderson |
589 | The Twilight Samurai | 2002 | Yôji Yamada |
590 | Pierrot le Fou | 1965 | Jean-Luc Godard |
591 | The Day the Earth Stood Still | 1951 | Robert Wise |
592 | Enter the Dragon | 1973 | Robert Clouse |
593 | Batman Begins | 2005 | Christopher Nolan |
594 | Hell or High Water | 2016 | David Mackenzie |
595 | Dersu Uzala | 1975 | Akira Kurosawa |
596 | Letter from an Unknown Woman | 1948 | Max Ophüls |
597 | Sleuth | 1972 | Joseph L. Mankiewicz |
598 | Whisper of the Heart | 1995 | Yoshifumi Kondô |
599 | Nobody Knows | 2004 | Hirokazu Koreeda |
600 | Glengarry Glen Ross | 1992 | James Foley |
601 | Dogville | 2003 | Lars von Trier |
602 | Nine Queens | 2000 | Fabián Bielinsky |
603 | The Sweet Hereafter | 1997 | Atom Egoyan |
604 | Dazed and Confused | 1993 | Richard Linklater |
605 | True Romance | 1993 | Tony Scott |
606 | The Great Beauty | 2013 | Paolo Sorrentino |
607 | Band of Outsiders | 1964 | Jean-Luc Godard |
608 | Eighth Grade | 2018 | Bo Burnham |
609 | The Killing Fields | 1984 | Roland Joffé |
610 | Once | 2007 | John Carney |
611 | The Artist | 2011 | Michel Hazanavicius |
612 | Sling Blade | 1996 | Billy Bob Thornton |
613 | Ferris Bueller's Day Off | 1986 | John Hughes |
614 | Dial M for Murder | 1954 | Alfred Hitchcock |
615 | The Farewell | 2019 | Lulu Wang |
616 | Limelight | 1952 | Charles Chaplin |
617 | Charade | 1963 | Stanley Donen |
618 | Prisoners | 2013 | Denis Villeneuve |
619 | Mildred Pierce | 1945 | Michael Curtiz |
620 | Kubo and the Two Strings | 2016 | Travis Knight |
621 | Winter Sleep | 2014 | Nuri Bilge Ceylan |
622 | Hedwig and the Angry Inch | 2001 | John Cameron Mitchell |
623 | Kiss Me Deadly | 1955 | Robert Aldrich |
624 | Pride | 2014 | Matthew Warchus |
625 | After Hours | 1985 | Martin Scorsese |
626 | East of Eden | 1955 | Elia Kazan |
627 | Mission: Impossible - Fallout | 2018 | Christopher McQuarrie |
628 | The Mother and the Whore | 1973 | Jean Eustache |
629 | Perfect Blue | 1997 | Satoshi Kon |
630 | The Blues Brothers | 1980 | John Landis |
631 | Elevator to the Gallows | 1958 | Louis Malle |
632 | Pain and Glory | 2019 | Pedro Almodóvar |
633 | The Fugitive | 1993 | Andrew Davis |
634 | The Vanishing | 1988 | George Sluizer |
635 | Hidden Figures | 2016 | Theodore Melfi |
636 | JFK | 1991 | Oliver Stone |
637 | Dancer in the Dark | 2000 | Lars von Trier |
638 | Don't Look Now | 1973 | Nicolas Roeg |
639 | Dallas Buyers Club | 2013 | Jean-Marc Vallée |
640 | Hotel Rwanda | 2004 | Terry George |
641 | Sense and Sensibility | 1995 | Ang Lee |
642 | The Avengers | 2012 | Joss Whedon |
643 | Vampyr | 1932 | Carl Theodor Dreyer |
644 | Twelve Monkeys | 1995 | Terry Gilliam |
645 | Rain Man | 1988 | Barry Levinson |
646 | Pinocchio | 1940 | Hamilton Luske & Ben Sharpsteen |
647 | The White Ribbon | 2009 | Michael Haneke |
648 | Zelig | 1983 | Woody Allen |
649 | The Magnificent Ambersons | 1942 | Orson Welles & Fred Fleck |
650 | Stranger Than Paradise | 1984 | Jim Jarmusch |
651 | Picnic at Hanging Rock | 1975 | Peter Weir |
652 | 3 Idiots | 2009 | Rajkumar Hirani |
653 | Phantom Thread | 2017 | Paul Thomas Anderson |
654 | The Last Emperor | 1987 | Bernardo Bertolucci |
655 | Birdman | 2014 | Alejandro González Iñárritu |
656 | Day of Wrath | 1943 | Carl Theodor Dreyer |
657 | The Texas Chain Saw Massacre | 1974 | Tobe Hooper |
658 | Deliverance | 1972 | John Boorman |
659 | Gandhi | 1982 | Richard Attenborough |
660 | Warrior | 2011 | Gavin O'Connor |
661 | In Bruges | 2008 | Martin McDonagh |
662 | C.R.A.Z.Y. | 2005 | Jean-Marc Vallée |
663 | To Live | 1994 | Zhang Yimou |
664 | The Fly | 1986 | David Cronenberg |
665 | The Lego Movie | 2014 | Phil Lord & Christopher Miller |
666 | Volver | 2006 | Pedro Almodóvar |
667 | The Thin Red Line | 1998 | Terrence Malick |
668 | Our Hospitality | 1923 | John G. Blystone & Buster Keaton |
669 | La Notte | 1961 | Michelangelo Antonioni |
670 | The Holy Mountain | 1973 | Alejandro Jodorowsky |
671 | Malcolm X | 1992 | Spike Lee |
672 | The Dark Knight Rises | 2012 | Christopher Nolan |
673 | The Purple Rose of Cairo | 1985 | Woody Allen |
674 | Isle of Dogs | 2018 | Wes Anderson |
675 | The Lion in Winter | 1968 | Anthony Harvey |
676 | A Short Film About Killing | 1988 | Krzysztof Kieślowski |
677 | Black Cat, White Cat | 1998 | Emir Kusturica |
678 | Mother | 2009 | Bong Joon-ho |
679 | Snatch. | 2000 | Guy Ritchie |
680 | If.... | 1968 | Lindsay Anderson |
681 | Toy Story 4 | 2019 | John Lasseter |
682 | Godzilla | 1954 | Ishirô Honda |
683 | A Short Film About Love | 1988 | Krzysztof Kieślowski |
684 | Intolerance: Love's Struggle Throughout the Ages | 1916 | D.W. Griffith |
685 | Carol | 2015 | Todd Haynes |
686 | Letters from Iwo Jima | 2006 | Clint Eastwood |
687 | Fiddler on the Roof | 1971 | Norman Jewison |
688 | Moon | 2009 | Duncan Jones |
689 | L'Eclisse | 1962 | Michelangelo Antonioni |
690 | Serpico | 1973 | Sidney Lumet |
691 | Porco Rosso | 1992 | Hayao Miyazaki |
692 | The Heiress | 1949 | William Wyler |
693 | Winter Light | 1963 | Ingmar Bergman |
694 | Cat on a Hot Tin Roof | 1958 | Richard Brooks |
695 | Elite Squad: The Enemy Within | 2010 | José Padilha |
696 | Deep Red | 1975 | Dario Argento |
697 | The Ox-Bow Incident | 1942 | William A. Wellman |
698 | Pride & Prejudice | 2005 | Joe Wright |
699 | The Blue Angel | 1930 | Josef von Sternberg |
700 | Women on the Verge of a Nervous Breakdown | 1988 | Pedro Almodóvar |
701 | Three Colors: White | 1994 | Krzysztof Kieślowski |
702 | The Ladykillers | 1955 | Alexander Mackendrick |
703 | Breakfast at Tiffany's | 1961 | Blake Edwards |
704 | Lagaan: Once Upon a Time in India | 2001 | Ashutosh Gowariker |
705 | Baby Driver | 2017 | Edgar Wright |
706 | Iron Man | 2008 | Jon Favreau |
707 | Kramer vs. Kramer | 1979 | Robert Benton |
708 | The Martian | 2015 | Ridley Scott |
709 | The Bourne Ultimatum | 2007 | Paul Greengrass |
710 | Thor: Ragnarok | 2017 | Taika Waititi |
711 | Burning | 2018 | Lee Chang-dong |
712 | The Wind Rises | 2013 | Hayao Miyazaki |
713 | Jojo Rabbit | 2019 | Taika Waititi |
714 | Batman: The Dark Knight Returns, Part 2 | 2013 | Jay Oliva |
715 | Cache (Hidden) | 2005 | Michael Haneke |
716 | Delicatessen | 1991 | Jean-Pierre Jeunet & Marc Caro |
717 | Willy Wonka & the Chocolate Factory | 1971 | Mel Stuart |
718 | Shrek | 2001 | Andrew Adamson & Vicky Jenson |
719 | A Christmas Story | 1983 | Bob Clark |
720 | The Life of Oharu | 1952 | Kenji Mizoguchi |
721 | Pandora's Box | 1929 | G.W. Pabst |
722 | Five Easy Pieces | 1970 | Bob Rafelson |
723 | Thelma & Louise | 1991 | Ridley Scott |
724 | Andhadhun | 2018 | Sriram Raghavan |
725 | The Big Sick | 2017 | Michael Showalter |
726 | Gilda | 1946 | Charles Vidor |
727 | Creed | 2015 | Ryan Coogler |
728 | Blue Is the Warmest Color | 2013 | Abdellatif Kechiche |
729 | RoboCop | 1987 | Paul Verhoeven |
730 | Shane | 1953 | George Stevens |
731 | A Face in the Crowd | 1957 | Elia Kazan |
732 | Moana | 2016 | Ron Clements & John Musker |
733 | Argo | 2012 | Ben Affleck |
734 | Gravity | 2013 | Alfonso Cuarón |
735 | BlacKkKlansman | 2018 | Spike Lee |
736 | I Am a Fugitive from the Chain Gang | 1932 | Mervyn LeRoy |
737 | The Magnificent Seven | 1960 | John Sturges |
738 | Run Lola Run | 1998 | Tom Tykwer |
739 | A Star Is Born | 1954 | George Cukor |
740 | Mystic River | 2003 | Clint Eastwood |
741 | Brooklyn | 2015 | John Crowley |
742 | The Ten Commandments | 1956 | Cecil B. DeMille |
743 | Miracle on 34th Street | 1947 | George Seaton |
744 | Into the Wild | 2007 | Sean Penn |
745 | This Is England | 2006 | Shane Meadows |
746 | Love and Death | 1975 | Woody Allen |
747 | Mustang | 2015 | Deniz Gamze Ergüven |
748 | Departures | 2008 | Yojiro Takita |
749 | Star Trek | 2009 | J.J. Abrams |
750 | Selma | 2014 | Ava DuVernay |
Despite being neither in Paris nor a casino, Casino de Paris has plenty authenticity going for it: a carefree atmosphere, great staff and live music. Opening hours: Sun-Thu 12:00-02:00; Fri 10 Casino Supermarchés Paris: Magasins & horaires d'ouverture. Retrouvez ici la liste de tous les magasins Casino Supermarchés à Paris. Choisissez un magasin pour accéder à son adresse et ses horaires d'ouvertures. Plus d’informations sur Casino Supermarchés. Located in a spa town 11km north of Paris, this lakeside casino with stunning views is the only casino in the area offering slots – 350 to be exact. You’ll also find Les Ballets de Monte Built in 1863, the iconic Casino de Monte-Carlo is located in Monte Carlo, situated at the base of the Maritime Alps along the French Riviera.The historic gambling and entertainment complex is just steps from the 47-room palatial Hôtel de Paris Monte-Carlo, which, along with the casino, is owned and operated by the Société des bains de mer de Monaco. Casino Le Café de Paris information section: This casino can be found in Monte-Carlo, Monaco. Casino Le Café de Paris has a total of 400 slots for you to indulge in. WCD also books hotel rooms in the major casino resorts in Monte-Carlo. Browse our gallery of pics of Casino Le Café de Paris or see the latest news headlines about Casino Le Café de Paris on this page. cafe de paris in montecarlo in front of casino. - casino de paris stock pictures, royalty-free photos & images Opening Of Trump Taj Mahal Casino In Atlantic City. Etats-Unis, avril 1990, Inauguration du 'Trump Taj Mahal Casino' ? The Casino Café de Paris is launching a new initiative and organizing a launch party on July 5 at 8 p.m. New: Non-stop opening (24 hours a day) of the Casino Café de Paris in Monte-Carlo OK Open every day from 12 p.m. to 6:30 p.m. François Blanc, the casino's founder once said, “we should do nothing here as it is done elsewhere”. The image of James Bond has become inseparable from the Casino de Monte-Carlo, which, with its Belle Époque architecture, is a reference for gaming and entertainment, not just in Europe but around the world. Horaires d'ouverture du magasin. Aujourd'hui de 08h30 à 17h45; lundi 08 février de 06h à 17h45; mardi 09 février de 06h à 17h45; mercredi 10 février de 06h à 17h45; jeudi 11 février de 06h à 17h45; vendredi 12 février de 06h à 17h45; samedi 13 février de 06h à 17h45; Pour connaître les horaires de votre Casino Drive, rendez-vous directement sur www.casinodrive.fr welcomes those of legal Casino Supermarket Paris Opening Hours age to gamble in a casino to our website. Know When to Stop Before You Start®. Have A Gambling Problem? Call 1-800-522-4700. 18+, T&C Apply,, New Customers Only. Mobile Casinos 35x. Visit Casino. Wager-100%. Prize pool: 100% up to £200
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