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the preacher wrote: Wed Feb 18, 2026 5:26 pm Aïe (Ouch)

Good call, I will likely vote for this despite all its issues because its strengths are so impressive

the preacher wrote: Wed Feb 18, 2026 5:26 pm Please add: Krámpack (Nico and Dani), Howaitoauto (Whiteout), Mandei (Monday), Aïe (Ouch). Additionally, Garri Bardin's Adagio, only 10 minutes long...

All added, thanks!

So I submitted a list, but as a placeholder. Do I need to resubmit the whole thing to add titles, or is there an easier way?

If you save the link for your ballot, you can make as many changes as you want to it. If you've lost the link, let me know and I can send it to you

Thanks, yes, could you send it to me?

Here's my current top 6. I expect 1 and 4 will have plenty of supporters, but wanted to rally for the others, especially no. 2, which is only about 20 minutes long. It's the Quay Brothers' collaboration with Stockhausen--if that perks any ears.

1. Werckmeister Harmonies
2. In Absentia
3. As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty
4. Yi Yi
5. Faithless
6. Virgin Stripped Bare by Her Bachelors

This is turning out to be one of the most competitive years for me. To give you a taste, here are the films that will be dropped from my list if I come across another 9 or 10 before the end of the month:

21. Dancer In The Dark
22. Crouching Tiger, Hidden Dragon
23. Best In Show
24. High Fidelity
25. Chocolat

Submitted my list. No one is going to vote for this, esp since I’m pretty sure I’m the only one here who’s even seen it, but swo, if you get a chance, can you add BlackMale as my #11 pick?

domino harvey wrote: Sun Apr 20, 2014 1:22 am This thread's been on my mind during the 80s list and I thought it would be a good time to revisit a film that like Modern Vampires has come to exemplify what I think of when I think of the unique and short-lived lifespan of premium cable programming. There's really no modern equivalent anymore, as even streaming services require someone to seek out a given title as opposed to just flipping through channels and stopping for a few minutes and then staying with something til the end. An imperfect method of digesting a film in whole, but an excellent form of accidental exposure. However, I'm pretty sure I saw all of BlackMale (George and Mike Beluzy 2000) on my one and only HBO viewing ~14 years ago, and it's always stuck in my head as a prime example of a film I would never have sought out and one for all its flaws I was and am glad to have seen. I'm not sure why I put off seeing it again-- maybe I didn't want to spoil my memories of it being a pleasant surprise-- but revisiting it I see it's an uneven film that nevertheless possesses a certain charm and a carefree ambition within its constraints.

It's impossible to talk about the movie without spoiling its novel twist a third of the way through, so you've been warned, but also no one is going to seek this movie out without a little reasoning why, so here we are. Ostensibly the film is yet another post-Tarantino goof concerning Bokeem Woodbine and Justin Pierce from Kids kidnapping/blackmailing Roger Rees' hoity-toity British doctor in order to pay off gambling debts to a crippled kingpin played with real zest by Erik Dellums of Homicide / the Wire, only to discover… the blackmail victim is actually a serial killer who, thanks to the criminals' theft of his car and attempts to gain "his" money from the bank, has all of the guilt shifted from himself to the two "innocents." There are two reasons to see the film, one being Dellums, who at one point shakes the walker he uses in a futile attempt at being menacing, with the other and primary reason being Rees. BlackMale knows something basic about Americans: we are easily dazzled by a British accent, and many of the film's best jokes arrive after the movie starts to slowly abandon Woodbine and Pierce to follow Rees and his encounters with smiling upper middle class idiots who nod their head and believe everything he says because he sounds so charming, dresses like he won the Masters, and smokes a pipe. Never mind that the pipe is filled with crack rocks or that he at one point attempts to participate in a threeway with two corpses, he's British, he's got to be sophisticated!

I was surprised to see George Pelecanos listed amongst the film's producers, but if that gets some people to check it out thanks to his association with the Wire and Treme, all the better. In contrast, the hilariously incorrect DVD cover trying to sell this as a tough urban crime flick probably won't

domino harvey wrote: Tue Feb 24, 2026 6:49 pm can you add BlackMale as my #11 pick?

Done!

swo17 wrote: Thu Jan 01, 2026 7:07 pm ELIGIBLE TITLES FOR 2000

VOTE THROUGH FEBRUARY 28

Please post in this thread if you think anything needs to change about the list of eligible titles.

Reminder that lists are due today

Done. I assume Sexy Beast is considered 2001?

TMDaines wrote: Sun Mar 01, 2026 8:50 am Done. I assume Sexy Beast is considered 2001?

Yep it is, I'd wondered that too and then found it on the 2001 eligible films list

Yes, it only had one unceremonious festival screening in 2000

The 2000 List



##. Film (Director) points/votes(top 5 placements, aka likely votes in decade list)/highest ranking

01. 一一 [Yi yi] [A One and a Two...] (Edward Yang) 334/17(8)/1(x3)
02. 花樣年華 [Fa yeung nin wa] [In the Mood for Love] (Wong Kar-wai) 318/16(10)/1(x4)
03. Werckmeister harmóniák [Werckmeister Harmonies] (Béla Tarr) 299/15(9)/1(x3)
04. Memento (Christopher Nolan) 235/16(1)/2
05. You Can Count on Me (Kenneth Lonergan) 218/14(3)/3(x2)
06. 站台 [Zhan tai] [Platform] (Jia Zhangke) 183/10(5)/1
07. Traffic (Steven Soderbergh) 177/11(2)/3
08. Almost Famous (Cameron Crowe) 166/10(2)/2
09. Dancer in the Dark (Lars von Trier) 163/10(4)/1
10. Les Glaneurs et la Glaneuse [The Gleaners and I] (Agnès Varda) 160/10(3)/2
11. Code inconnu: Récit incomplet de divers voyages [Code Unknown] (Michael Haneke) 157/8(4)/3
12. As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty (Jonas Mekas) 154/7(5)/1(x2)
13. American Psycho (Mary Harron) 142/10(2)/3
14. Amores perros (Alejandro González Iñárritu) 140/10(1)/2
15. Wonder Boys (Curtis Hanson) 126/7(3)/1
(tie) 臥虎藏龍 [Wo hu cang long] [Crouching Tiger, Hidden Dragon] (Ang Lee) 126/12(2)/4
17. Requiem for a Dream (Darren Aronofsky) 123/7(2)/2
(tie) Best in Show (Christopher Guest) 123/10(2)/4
19. Mùa hè chiều thẳng đứng [The Vertical Ray of the Sun] (Trần Anh Hùng) 121/8(3)/2(x2)
20. O Brother, Where Art Thou? (Joel & Ethan Coen) 120/9/6(x2)
21. Sånger från andra våningen [Songs from the Second Floor] (Roy Andersson) 117/6(2)/1
22. Esther Kahn (Arnaud Desplechin) 112/6(4)/1(x2)
23. 오! 수정 [Oh! Soo-jung] [Virgin Stripped Bare by Her Bachelors] (Hong Sang-soo) 111/7/6(x2)
24. The House of Mirth (Terence Davies) 106/8(2)/1
25. Trolösa [Faithless] (Liv Ullmann) 104/6(3)/1
26. George Washington (David Gordon Green) 99/7(1)/4
27. High Fidelity (Stephen Frears) 97/8(3)/2
28. Combat d'amour en songe [Love Torn in a Dream] (Raúl Ruiz) 93/5(2)/2
29. Tillsammans [Together] (Lukas Moodysson) 90/6(1)/5
30. No Quarto da Vanda [In Vanda's Room] (Pedro Costa) 81/5(1)/1
31. Bamboozled (Spike Lee) 77/5(1)/5
(tie) Rejected (Don Hertzfeldt) 77/6(1)/3
33. The Heart of the World (Guy Maddin) 74/6(1)/2
34. The Beach (Danny Boyle) 67/4(1)/4
35. 鬼子來了 [Gui zi lai le] [鬼が来た!] [Oni ga kita] [Devils on the Doorstep] (Jiang Wen) 66/3(2)/2
36. State and Main (David Mamet) 65/4(1)/5
37. In Absentia (Stephen & Timothy Quay) 64/4(1)/2
38. Unbreakable (M. Night Shyamalan) 63/5(1)/4
39. ดอกฟ้าในมือมาร [Dokfa nai meuman] [Mysterious Object at Noon] (Apichatpong Weerasethakul) 61/5/7
40. La Commune (Paris, 1871) (Peter Watkins) 58/4(1)/5
(tie) Erin Brockovich (Steven Soderbergh) 58/7/9
42. 蘇州河 [Su zhou he] [Suzhou River] (Lou Ye) 56/4(1)/3
43. バトル・ロワイアル [Batoru rowaiaru] [Battle Royale] (Kinji Fukasaku) 55/5(1)/4
44. 공동경비구역 JSA [Gongdong gyeongbi guyeok jeieseuei] [Joint Security Area] (Park Chan-wook) 50/5/10
45. Nueve reinas [Nine Queens] (Fabián Bielinsky) 48/3(1)/2
46. ユリイカ [Yurīka] [Eureka] (Shinji Aoyama) 47/3/8
47. Dema hespên serxweş [زمانی برای مستی اسب‌ها] [Zamani baray-e masti-e asbha] [A Time for Drunken Horses] (Bahman Ghobadi) 44/3(1)/1
48. Krapp's Last Tape (Atom Egoyan) 41/2(1)/3
(tie) Gouttes d'eau sur pierres brûlantes [Water Drops on Burning Rocks] (François Ozon) 41/3(1)/4
50. Space Cowboys (Clint Eastwood) 40/2(1)/5
(tie) دایره [Dayereh] [The Circle] (Jafar Panahi) 40/3(1)/5

ALSO-RANS

La ville est tranquille [The Town Is Quiet] (Robert Guédiguian) 38/2(1)/3
Une journée d'Andrei Arsenevitch [One Day in the Life of Andrei Arsenevich] (Chris Marker) 38/2(1)/4
Ivansxtc (Bernard Rose) 38/2(1)/5
Snatch (Guy Ritchie) 37/2(1)/1
Innocence (Paul Cox) 35/2(1)/3
オーディション [Ōdishon] [Audition] (Takashi Miike) 34/3/11
フリクリ [Furi kuri] [FLCL] (2000-2001) (Kazuya Tsurumaki) 33/2(1)/2
The Yards (James Gray) 33/5/8
Italiensk for begyndere [Italian for Beginners] (Lone Scherfig) 32/3/8
Gladiator (Ridley Scott) 32/3/12

Dark Days (Marc Singer) 29/2/11
Chopper (Andrew Dominik) 28/2/6
Sous le sable [Under the Sand] (François Ozon) 28/2/11
多重人格探偵サイコ [Tajū jinkaku tantei saiko] [MPD Psycho] (Takashi Miike) 26/2(1)/3
Branca de Neve [Snow White] (João César Monteiro) 26/2/8
Timecode (Mike Figgis) 25/3/16
Nurse Betty (Neil LaBute) 22/2/9
Billy Elliot (Stephen Daldry) 22/2/10
Maelström (Denis Villeneuve) 21/2/8
Merci pour le chocolat [Nightcap] (Claude Chabrol) 21/2/15

Hamlet (Michael Almereyda) 20/2/11
The Cell (Tarsem Singh) 20/3/15
플란다스의 개 [Peullandaseu-ui gae] [Barking Dogs Never Bite] (Bong Joon-ho) 19/3/12
Krámpack [Nico and Dani] (Cesc Gay) 18/2/12
The Emperor's New Groove (Mark Dindal) 18/2/14
Comédie de l'innocence [Comedy of Innocence] (Raúl Ruiz) 17/2/16
順流逆流 [Sun lau ngac lau] [Time and Tide] (Tsui Hark) 17/2/17
Small Time Crooks (Woody Allen) 16/2/16
Chocolat (Lasse Hallström) 15/2/13
Chicken Run (Peter Lord & Nick Park) 15/2/14
Cast Away (Robert Zemeckis) 15/3/18

The Dish (Rob Sitch) 14/2/13
Me, Myself & Irene (Peter & Bobby Farrelly) 14/2/17
X-Men (Bryan Singer) 13/2/16
Love & Basketball (Gina Prince-Bythewood) 12/2/15
O Fantasma [The Phantom] (João Pedro Rodrigues) 12/2/20(x2)
But I'm a Cheerleader (Jamie Babbit) 8/2/21
The Perfect Storm (Wolfgang Petersen) 7/2/22

ORPHANS

Film (Director) highest ranking

Нежно [Nezhno] [Dolce] (Aleksandr Sokurov) 9
Die Sahara wurde Sumpfgebiet [The Sahara Became Swampland] (Alexander Kluge) 25
כיפור [Kippur] (Amos Gitai) 14
Amélia (Ana Carolina) 5
Play (Anthony Minghella) 9
Broadcast: Papercuts (Babak Zand Goodarzi) 20
La virgen de los sicarios [Our Lady of the Assassins] (Barbet Schroeder) 15
Dinner Rush (Bob Giraldi) 5
Return to Me (Bonnie Hunt) 17
La Captive [The Captive] (Chantal Akerman) 16
Jam (Chris Morris) 10
Die innere Sicherheit [The State I Am In] (Christian Petzold) 17
The Way of the Gun (Christopher McQuarrie) 17
Endgame (Conor McPherson) 25
Batman Beyond: Return of the Joker (Curt Geda) 22
Camera (David Cronenberg) 15
Pitch Black (David Twohy) 5
Shadow of the Vampire (E. Elias Merhige) 25
Pollock (Ed Harris) 19
First Person (2000-2001) (Errol Morris) 24
BlackMale (George & Mike Baluzy) 11
Malèna (Giuseppe Tornatore) 23
El Valley Centro (James Benning) 20
Final Destination (James Wong) 11
Musíme si pomáhat [Divided We Fall] (Jan Hřebejk) 11
Otesánek [Little Otik] (Jan Švankmajer) 7
The Fourth Watch (Janie Geiser) 19
Les Savates du bon Dieu [Workers for the Good Lord] (Jean-Claude Brisseau) 10
The Old Place (Jean-Luc Godard & Anne-Marie Miéville) 7
Nationale 7 [Uneasy Rider] (Jean-Pierre Sinapi) 9
The Tao of Steve (Jenniphr Goodman) 24
Our Song (Jim McKay) 18
Cecil B. Demented (John Waters) 13
Mission: Impossible II (John Woo) 8
Better Than Sex (Jonathan Teplitzky) 18
Rough for Theatre II (Katie Mitchell) 14
Waking the Dead (Keith Gordon) 13
Bread and Roses (Ken Loach) 16
Lon Chaney: A Thousand Faces (Kevin Brownlow) 16
ガイア・ガールズ [Gaea gāruzu] [Gaea Girls] (Kim Longinotto & Jano Williams) 6
Cut (Kimble Rendall) 12
The King Is Alive (Kristian Levring) 14
Życie jako śmiertelna choroba przenoszona drogą płciową [Life as a Fatal Sexually Transmitted Disease] (Krzysztof Zanussi) 9
Palavra e Utopia [Word and Utopia] (Manoel de Oliveira) 5
Plata quemada [Burnt Money] (Marcelo Piñeyro) 5
روزی که زن شدم [Roozi ke zan shodam] [The Day I Became a Woman] (Marzieh Makhmalbāf) 19
Father and Daughter (Michael Dudok de Wit) 16
The Claim (Michael Winterbottom) 6
Ali Zaoua, prince de la rue [Ali Zaoua: Prince of the Streets] (Nabil Ayouch) 15
Saving Grace (Nigel Cole) 4
Conrad & Butler Take a Vacation (Noah Baumbach) 20
Happy Days (Patricia Rozema) 15
Last Resort (Paweł Pawlikowski) 8
Bænken [The Bench] (Per Fly) 20
For the Birds (Ralph Eggleston) 25
The Contender (Rod Lurie) 11
Thirteen Days (Roger Donaldson) 25
The Gift (Sam Raimi) 24
تخته سياه [Takhté siah] [Blackboards] (Samira Makhmalbāf) 4
Presque rien [Come Undone] (Sébastien Lifshitz) 7
Полустанок [Polustanok] [The Train Station] (Sergei Loznitsa) 15
ホワイトアウト [Howaitoauto] [Whiteout] (Setsurō Wakamatsu) 21
Pane e tulipani [Bread and Tulips] (Silvio Soldini) 1
Aïe [Ouch] (Sophie Fillières) 19
Persian Series #10 (Stan Brakhage) 6
Water for Maya (Stan Brakhage) 7
Tra(sgre)dire [Cheeky] (Tinto Brass) 23
Baise-moi [Fuck Me] (Virginie Despentes & Coralie Trinh Thi) 24
Scream 3 (Wes Craven) 12
ฟ้าทะลายโจร [Fa thalai chon] [Tears of the Black Tiger] (Wisit Sasanatieng) 5
Mr. Accident (Yahoo Serious) 1
吸血鬼ハンターD ブラッドラスト [Banpaia hantā dī buraddorasuto] [Vampire Hunter D: Bloodlust] (Yoshiaki Kawajiri) 24

25 lists submitted

Thank you so much Swo and sorry to whomever voted for Return of the Joker. I was seriously considering it till the last second.

Thanks swo!

1. As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty
2. Love Torn in a Dream
3. High Fidelity
4. Unbreakable
5. Code Unknown
6. Wonder Boys
7. Yi Yi
8. You Can Count On Me
9. The Beach
10. Traffic

Nice! Who put Faithless at no. 1? Very impressed at its placement. Also glad In Absentia made a good showing.

My top 10:

1. Werckmeister Harmonies
2. In Absentia
3. As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty
4. Yi Yi
5. Faithless
6. Virgin Stripped Bare by Her Bachelors
7. Platform
8. Little Otik (orphaned)
9. Play (orphaned)
10. The Heart of the World

Glad (and surprised) most of my favorites didn't get orphaned this time and most of the top 20 were actual considerations for my list.

1 A Time for Drunken Horses
2 The Vertical Ray of the Sun
3 Krapp's Last Tape
4 Water Drops on Burning Rocks
5 Plata quemada/Burnt Money
6 In the Mood for Love
7 Presque rien/Come Undone
8 Maelström
9 Amores perros
10 You Can Count on Me
11 Dark Days
12 Krámpack/Nico and Dani
13 Under the Sand
14 Rough for Theatre II
15 Yi yi
16 American Psycho
17 Audition
18 Chopper
19 Best in Show
20 O Fantasma

1. Snatch
2. Amores Perros
3. Wonder Boys
4. In the Mood For Love
5. High Fidelity
6. Requiem for a Dream
7. Yi Yi
8. American Psycho
9. Traffic
10. You Can Count on Me

12. Barking Dogs Never Bite

Another great list we put together! Thanks swo for all your effort!

I used to criticize the 2000s as a decade of cinema, considering it a significant step down from the 90s. The more I've explored, however, the more I've grown to appreciate the 2000s. I like it almost as much as the 90s at this point. The year 2000 is particularly strong (admittedly it shows 90s trends still thriving), as our list demonstrates. I look forward to what we come up with for 2001 and beyond. Shout out to the other two voters for Barking Dogs Never Bite!

This year is likely the strongest year of the 2000-2009 stretch. I say that because I watched another 2000 film I found enjoyable and I guess I might as well write something considering it's our active decade poll and because it would have had least appeared as an orphan had I watched it earlier.

El Bola is a boy in Madrid and the name of the eponymous film. He's misunderstood at home. He hangs out with some classmates, but he doesn't seem particularly fond of them one way or another. In all, his life is pretty unsatisfactory and aimless (an understatement, probably). A new kid shows up at school. He a bit of a loner, maybe like him. So he tries to get to know him. It will give him something to do. This film is no 400 Blows (what is?), but I found it a pretty solid film. What the film does well is it both manages to keep your attention and the story going despite the fact that the details only reveal themselves when revealed to the actors. As such, I don't recommend reading even the short plot outlines on the main review sites since they cover details a viewer only sees much later in the film. Anyway, the film is quite simple, but simplicity done well has its qualities too.

Once again I stumbled onto another solid film which wasn't voted upon. I'm kind of bummed this is now the 2nd film for this year which would have at least registered as an orphan had I watched it in time, but I'll do my best to show support with a short blurb.

The Taste of Others is funny. It's title is also funny. I didn't know quite what to expect, and yet, after viewing it, the title is quite fitting. (It is not a film about cannibalism, but about people.)

I don't know if there's a good way to describe the film, but I'd like to say it does a pretty good job of allowing us to see how each of us, in a vacuum, can live a proper life which becomes upended when other people are thrown into the mix despite no individual committing any malicious move. As a result, we see that, even between good people, so many variables need to line up just right for human connection to be sustained and a relationship made. It's a complex world, even when everyone is a good egg. I suppose it sounds all a little too much like reality, so fortunately the film does a good job of entertaining us as we savor and chuckle at the humorous social encounters of a self-made industrialist and his nuclear work family (consisting of wife, bodyguard, and driver).

I don’t quite share your enthusiasm (though I remember it more fondly than my write up below may suggest) but it is an overlooked film these days stateside, at least. Bacri and Jaoui made quite a few films together that may also be to your taste if you enjoyed this one (Un air de famille is prob the most well known, but they also wrote without starring in Resnais’ Smoking / No Smoking)

Here’s my write up from the Women Directors list

domino harvey wrote: Mon Jun 11, 2018 12:15 am
Le Goût des autres (Agnès Jaoui 2000)
Ensemble piece exploring a gaggle of characters surrounding Jean-Pierre Bacri’s crude factory owner. Bacri falls for an aging actress and poorly tries to inundate himself into her BoHo lifestyle. Though the film has a light comic touch throughout, this isn’t played for laughs— but I kept thinking it should be. The message here is pretty lame (people with bad taste aren’t necessarily bad people— ie “no shit” to everyone who isn’t Rob Gordon), so why not amp up the comic possibilities? The film is too fond of Bacri to really make him uncomfortably boorish, and the kid gloves approach undercuts the message this movie wants to sell. Had the film been more in the vein of the Collector-as-romantic comedy, this might really have been something! I was mildly horrified that the film eventually asked us to buy into the actress falling for the lout, because all I saw in the film was this being the result of her pitying him. Not a good foundation for a relationship! Speaking of relationships, we also get some La ronde antics with Bacri’s bodyguard and driver and a drug-dealing barmaid played by the director. These b-story strands are infinitely less interesting than the more directly Bacri-related material, though I did enjoy the weird running gag about Alain Chabat learning how to play the flute. This won the top Cesar Award and was nominated for the Best Foreign Film Oscar (albeit aided by Miramax's acquisition), so I guess the tastes of others truly are unknowable.

I agree the comedy is quite light, although I would say it is still funny despite that (which I can't say for most comedies I watch). So it still gets points for me there.

Funny enough, I didn't really like the flute playing bit! I thought that could have been beefed up if they were going that direction or just had a stronger gag in general.

Spoiler

Like, was that fellow flute player at the end into him? (S)He seemed oddly focused on the driver and I couldn't make out if it was a guy or a girl with short hair. Would have tied into the romantic theme of the film at least and maybe a couple breadcrumbs earlier in the film could have made this a funny build up.

I do recall watching Un air de famille, but nothing else. I must not have liked it very much sadly. I'll take a look at the other one. I would say for anyone else that doesn't mind consuming comedies, light or otherwise, as long as they get a chuckle, (kind of like any beer, light or otherwise, as long as it tastes good), Enyedi's On Body and Soul is maybe one of the funniest out there. In keeping with my analogy, it's probably way closer to one of those new fangled zero-alcohol beers (I'm not sure if any site even labels the film a comedy), but if you're there for taste, regardless of alcohol, you might still get a kick out of it.