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Andrew Haigh's Top 10 Films of All-Time

Posted by Eric Lavallee on Oct 02, 2011
Source: IONCINEMA.com Exclusive

Have you ever wondered what are the films that inspire the next generation of visionary filmmakers? As part of our monthly IONCINEPHILE profile (read here), we ask the filmmaker the incredibly arduous task of identifying their top ten list of favorite films. This month we feature Andrew Haigh whose Weekend was released to in late September via Sundance Selects. Here are Andrew Haigh's Top 10 Films of All Time as of October 2011.

Distant - Nuri Bilge Ceylan (2002)
"The melancholy of life seems to drip from every frame and it is a film I keep coming back to with amazement."

Don't Look Now - Nicolas Roeg (1973)
"A horror film that is really a study into grief and the profound effects that it can have on a person."

Fanny and Alexander  - Ingmar Bergman (19xx)
"It's a hard choice because he has made so many classics, but this seems to be the sum of all that has come before."

Five Easy Pieces - Bob Rafelson (1970)
"I can't find a single fault in the film and the ending for me is one of the best of all time. "

Last Night - Don McKellar (1998)
"A small quiet film about the end of the world."

Old Joy - Kelly Reichardt (2006)
"A remarkable film, I think. I have never seen the slow, sad decline of friendship so well depicted."

Point Blank - John Boorman (1967)
"Just an amazing film. So well constructed and as fresh today as it was then."

Saturday Night and Sunday Morning - Karel Reisz (1960)
"For me the best of the British new wave and certainly the best about an angry young man. "

Some Like It Hot - Billy Wilder (1959)
"Just a perfect comedy."

Touch of Evil - Orson Welles (1958)
"For me, it is his best film. You can almost smell the sweat and feel the grime.."



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Review: The Kid With a Bike

Review: The Kid With a Bike

"Despite the one-dimensionality of its anti-patriarchal theme (appeasing the knee-jerk expectations of European film fest audiences), the Dardennes avoid cheapening the story with ideological smugness, achieving an emotional resonance without easy sentimentality."


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Review: Wrong

"Encoded in the outlandish humor that pervades the film are bits of commentary on everyday life. The most overt is Dupieux's urging to appreciate the relationships around you, which is manifested in the dog kidnapping, but also in a subplot in which a woman from the pizzeria moves between men without even realizing they have changed. Another cultural critique is found in the rainy office, an instantly recognizable visual metaphor for how dreary a 9 to 5 job can be."


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