The 1970s marked a vital moment for cinema because the largest authors in Hollywood, such as Francis Ford Coppola, Martin Scorsese and Stanley Kubrick, were allowed to completely embrace their styles and produce some of the maximum subversive films and the maximum revolutionary of history. Even outside the doors of the United States, the maximum influential administrators of the film, from Dario Argento to Chantal Akerman and Jean Rollin, art revolutionized. Together, they produced an incredible and eclectic decade that lasted all genres, and has demonstrated to the global how unfathomable a moving symbol can be.
This makes the qualification of the most productive films of the decade an almost more unlikely task. But I made the decision to reduce my 30 favorite videos of the decade for this list, hoping to inspire someone new to the cinema to see some of the most productive. Videos ever made, or maybe introduce some gems hidden to active spectators. This list is purely subjective, dictated through anything, my non -public taste, however, also provides a complete portrait of this specific decade in the videos.
Before counting the maximum productive films of the 1970s, first a look at the scene of the cinema of the decade. Without a doubt, the maximum successful film of the 1970s was Star Wars. It was the maximum lucrative film of the decade in the United States (where it won $ 461 million) and ($ 775. 4 million). In fact, when it adapts to inflation, its internal brute falls to $ 1. 63 billion, which represents the highest moment in general of all time (behind the fact of $ 1. 85 billion of wind).
The 1970s were a gender-diversified decade for film, and this list reflects this variety. Deciding the decided canopy of various genres, adding crime dramas, horror, novels, science fiction, surreal and experimental cinema, comedies, and action thrillers.
Finally, a note on how this list has been compiled. Although I have taken into account the old meaning for many films, the 30 main ones purely reflect my non -public tastes. These qualifications possibly would not be aligned with the general consensus on which are the largest decade of cinema, however, I hope you find it refreshing. I love many classics of the time, as well as less known movies that seem on this list. So, without additional delay, come on.
The films of the 1970s have made lasting inheritances for various reasons, however, none of the moon has been matched with respect to the strength of children’s action. With only 10 years, Tatum O’Neal made the story of Hollywood through adjusting the youngest user to have won an Oscar, winning his by the most productive actress. And when you see the movie, you will perceive why. Hitale focuses on Constrt Moses Pray (Ryan O’Neal), who reluctantly joins an early orphan (who can be his daughter) called Addie Loggins (the role for which Tatum o’neal won the prize), while traveling Through Kansas of the era of depression. Together, they execute small scams and shape a fantastic connection despite their common clashes, which pass between hilarious and comfort. The naturalistic persuasion of Tatum O’Neal, guided through the master direction of Peter Bogdanovich, brings an aggregate of innocence and foxy that emotionally anchors Hitale. The chamber paintings selected in Paper Moon emphasize the intimacy and authenticity of the vacations that will be made, which makes the public feel like an observer of genuine occasions and as an intimate meaning throughout other people who fight through those moments.
Here you can stream from the paper moon.
Often, Hollywood may feel that he cares about the show about character, especially in those days. And they are not only action and science fiction films, but also dramas. Even the Creed series, well done, is sprinkled with the sightful stylistic ornaments that make me not forget how much is the undeniable technique and founded on realism used through director John G. Avildsen in Rocky is really. The story follows one of the maximum durable icons in Hollywood, Rocky Balboa (Sylvester Stallone), a lucky boxer who has an opportunity once in the life of fighting the champion on behalf of heavy cars Apollo Creed (Carl Weathers ). While Rocky trains under the direction of his coach Mickey (Burges Meredith) and discovers the help of the shy Adrian (Talia Shire), discovers the true sense of determination and self -esteem, without relation to the result of the fight. By maintaining the film that is edifying and anchored, Avildsen has designed the maximum history of the oppressed, making sure that Rocky does not forget it as a sports film, but as an eternal universal story about self -confidence and perseverance that would resonate with the public of Generations to generations to generations to generations.
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It will wear several horror films on this list, but will not locate others such as House, a really strange and caricatured technique to terrorism, with exaggerated violence and supernatural elements treated as fantasy instead of purely scary. The story is magnificent (Kimiko Ikegami) and his friends while stopping in a field space that secretly spaciates a surreal nightmare that will soon be surreal. There is not many situation to stay here, and instead, we taste the absolute madness of those malicious forces while terrorizing our characters, which leads to the deaths of the comedian. With his kaleidoscopic images and his unconventional narrative, House is an exclusive aggregate of horror, fantasy and absurd that has become a favorite of cult for his bold creativity. The Japanese director rented Nubuhiko Obayashi organizes an avant -garde excursion of Force, using jump cuts, gel frames and superimposed photographs to distort time and space. In all this absurd, the space includes deepest issues related to Japanese trauma and the post -war generational conflicts, with the haunted space and its avenging ghost that represents persistent sadness and nostalgia for the past.
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Steven Spielberg was the most productive known in the 1970s for a specific foundation that created a new precedent for success is its most productive film: close assemblies of the third type. The story focuses on Roy Neary (Richard Dreyfuss), an ordinary guy whose life is disappointed after a nearby meeting with a UFO. Obsessed with the visions of a mysterious mountain, Roy leaves his paintings and his circle of relatives to notice the fact about his experience. Meanwhile, Jillian Guiler (Melinda Dillon) is looking for his lack of son, who was eliminated through aliens. His paths converge in the Torre del Diablo, where an impressive occasion redefines our non -unusual understanding of the universe. Unlike Guyy’s extraterrestrial invasion films of the time, Spielberg emphasizes a feeling of concern and curiosity, which represents aliens and enigmatic instead of hostiles. To date, the film is a technical wonder, with everything, from the revolutionary effect of Douglas Trumbull to the way Gentle is used (in the best series of the film) that gives the film a unique aerated quality that no Another film The 1970 may not correspond.
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While Slasher’s films such as Psycho and Black Christmas Halloween, John Carpenter’s masterpiece has subtle elements of those films to create what we are now the fashionable Slasher. The story begins Halloween night in the small city of Haddonfield, where Michael Myers (played through Nick Castle and Tony Moran) escapes a psychiatric institution. A murder frenzy begins, aiming at the Laurie Strode (Jamie Lee Curtis) and her friends, while Michael’s psychiatrist, Dr. Loomis (Donald Pleasence), hurry to avoid it. The design of the film, where violence metodically degenerates instead of chaotic, creates a feeling of inevitability. The horror was not yet born of Wonder Weart of the suspense of what is coming and only being helpless to avoid it. Michael Myers is more than a murderer: it is an inhuman force of a face without a face. His white mask erases all individuality, which makes it an incarnation of natural evil instead of a user with patterns. The way Michael moves, outdoors and methodical, but relentless, creates another type of horror. There is no hurry, no frenzy. Only the certainty that will place you, whatever the speed at which you run.
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Orson Welles’s heyday would have taken its position during the 1940s, with films such as Citizen Kane, the magnificent Ambersons and Shanghai’s lady solidified as classics. But probably Hollywood’s maximum remarkable writer made a series of wonderful films as the years advanced, from the check to the touch of evil that many of the last Weldes turn from Welles, F for false. This documentary-your-Drama (also known as spill) is immersed in the global of falsified and artistic deception, focusing on Elmyr de Hory, a scored artistic blacksmith, and Clifford Irving, who simulated a biography of Howard Hughes. Operating as a meditation on art and its construction, the film calls for consultation the perceptions of the validity and nature of the narration itself through its finish line, criticizing the concept of “authenticity” while celebrating artistic qualifiability in question falsification and cinema. F false illustrates Welles’s avant -garde spirit, because he boldly demanded situations of film conventions at the end of his career. In my opinion, this is the best end for a career that still had the objective of challenging his audience.
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Andy Warhol’s call may have joined the blood by Dracula (it was even promoted as Andy Warhol Dracula at the exit), however, the artist of the production artist was minimal. Actually, the design and incredible execution of this satirical vampire film belong to its director, Paul Morrissey, who followed a determined visual technique full of minimalist compositions for his interpretation of low understanding of Dracula’s inheritance. The story is familiar in the concept: Count Dracula (Udo Kier), desperate by virgin blood, goes to Italy under the claim to look for a girlfriend and remain with an aristocratic circle of relatives in monetary difficulty, with the hope that its Daughters support. However, their plans are confused through a guy to do everything that Libertine (Joe Dallesandro) and through the dark secrets of the relative circle. Kier gives a mythical functionality of Count Dracula, one that is melodramatic and exaggerated, but insightful and scathing (apologize for the play of words) in his comment: the need for Dracula for virgin blood as a metaphor of the dying aristocracy, contrasting the Fragment of the decline of the count of the count. With the energy of the characters of elegance. Few films of the 1970s wore satire in such a conflictive way.
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After David Lynch’s recent death, I was forced to think about the wonderful surrealist movies of our time. When Lynch used surrealism to explore the fragility of human perception, to juxtapose the familiar with the strange to reflect the way we treat trauma and memory, Luis Buñuel used surrealism as a form of satira, to criticize the absurdities of Society, to subvert expectations as a public, have stories, about the functioning of life. In the case of the discreet charm of the bourgeoisie, Buñuel does it through an organization of Rico friends, directed through Don Rafael Acosta (Fernando Rey), who meets for a dinner and frustrated several times through strange interruptions through strange interruptions and surreals. From army raids to sequences of inexplicable dreams, their dinner attempts to unravel in the absurd and hilarious chaos. The characters include bourgeois archetypes, which show their ethical vacancy and superficiality, the name of the film itself pointing towards the contradiction between the polished appearance of the bourgeoisie and its underlying vacancy.
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I think Night of the Living Dead is an absolute masterpiece, and without problems the maximum vital zombie film of all time. But I can’t deny that Dawn of the Dead is my favorite zombie movie, and represents the moment when director George A. Romero has perfected the formula. With this film, he combined moments of desirable intimate characters with a giant chaos on a scale that gave his social comment even more has an effect on when he combined blood with satire to criticize US capitalism. Like a apochalipsis zombie full of the United States, a small organization of survivors, adding Fran (Gaylen Ross), Stephen (David Emge), Peter (Ken Foree) and Roger (Scott H. Reiniger), takes a safe refuge in A medium deserted commercial. While they ensure an area and review to reconstruct a general life appearance, the relentless risk of zombies (and, not to mention human greed) is increasingly profiled. By putting the film in a edible purchase center, Romero hearly transforms a recreation position into a nightmare prison, where the intuition of zombies to return to their old purchase behavior becomes a parody of customer culture. The Living are not represented as crazy monsters, but as scheduled customers, strengthening the underlying consultation of the film: are we, the living, of the different?
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In a decade full of science fiction films that opted for action and show, Andrei Tarkovsky’s introspective metaphysical technique stands out with stalker. In a Global Post -Apocalyptic, a consultant known as Stalker (Aleksandr Kaydanovskiy) directs two consumers: an editor (Anatoliy Solonitsyn) in search of inspiration and an instructor (Nikolay Grinko) who did studies, in the forbidden area, a mysterious and harmful area reflected to Grant’s wishes. While sailing in their surreal field, it becomes a deep meditation on humanity, religion and the nature of desire. Unlike classical science fiction films, Stalker does not have a futuristic generation or special effects, and rather builds his global speculative through mood, sound and existential questions. The use through Tarkovsky of long plugs and slow monitoring plans creates a hypnotic rhythm, which forces the public to have interaction over time in a way that reflects the issues of patience and contemplation of the film. Stalker’s central clash does not fear survival, but what it means to look for something bigger, and if other people are really ready for the answers they say.
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Many giallo films combine stories of convoluted detectives with extravagant and colorful patients, however, no one has done it as Dario Argento, whose revolutionary paintings are considered deep reds as through many who never. After witnessing the brutal homicide of a psychic environment, the musician Marcus Daly (David Hemmings) cares in a harmful investigation to notice the identity of the murderer. As a team to the journalist Gianna Brezzi (Daria Nicolodi), Marcus immerses himself in a painting of secrets, and when he realizes the truth, he realizes that the answers are closer to him than the photograph of the photograph of the Photography Director Luigi Kuveiller transforms violence into an art form, with excessive locks and charismatic monitoring plans that constantly expand tension, and red use of red color creating a feeling of hypnotic and operational horror. This incredibly intelligent film, which choreographed its patients with almost billion precision, despite everything, explores how children’s traum violent and distorted
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Most films are basically concerned with supplying answers, conscientiously wrapping an arc in a story that is transparent in its progress and inevitable in its conclusion. But with a pendant rock picnic, director Peter Weir has selected to create a delight that persists in the subconscious, where the absence of answers becomes more disturbing than any transparent solution may not be. On Valentine’s Day in 1900, an organization of School Women of Aleyard College, directed through Miranda (Anne-Louise Lambert), embarked on a picnic in Hanging Rock in the Australian desert. Several women and an instructor mysteriously disappear, leaving the school and the network in agitation when they fight with the unanswered questions surrounding the disappearances. The hypnotic visual language of the film is extremely cheerful and for the comment, because Weir and photography director Russell Boyd have used comfortable concentrated lenses, herbal lighting and an Etheal Neblina cinematography to create a sleep quality that blurs the border between the truth between the truth and fantasy. The contrast between the inflexible and global structured of the University of Appleyard and the wild and mystical mystical landscape of the suspended rock visually reinforces the central clash of the film between order and chaos, civilization and nature. The rock itself is turned with an almost superhorral presence (melody, old and impenetrable, suggesting that the landscape is a force itself.
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Many take into account Halloween as the prototypic Slash film of the 1970s, but in reality Bob Clark explained a giant component of those tropes of domestic slasher with their undeniably terrifying film Black Christmas. The story takes position during the holiday season, when an organization of Brotherhood Sisters, adding Jess (Olivia Hussey), Barb (Marpast Kidder) and Phyl (Andrea Martin), are terrorized through an unknown assailant that makes the phone calls are disturbing. While women suffer their violence, the police seek to locate the murderer. History can be so undeniable, however, Clark’s stylistic technique and the final comment are still anything. The director uses the paintings of the portable chamber and the distorted angles to supervise the occasions from the point of view of the murderer, forcing the public to live in their attitude while maintaining their ambiguous identity. This technique allows horror to pass beyond the undeniable killed, because Clark visualizes the omnipresent risk of male violence and the inability of establishments to protect women. The camera becomes an intruder, echoing the way these women are monitored, judged and constantly violated through an invisible force that never shows itself. The darkened identity of the murderer is essential: it is without face and unknowable, but everywhere. Horror is not the murderer, but the culture that allows it.
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Many films are memorized in this list to redefine the type of horror, or introduce new existential questions in the science fiction sand, or use the drama to comment on US ideals. Butarray . . . What about a movie that is simply fun? For example, has one of the funniest films ever made? It is there where Monty Python and the Holy Grail come into play. In this film, we attach to King Arthur (Graham Chapman) and his knights, which include Sir Lancelot (John Clesese) and Sir Galahad (Michael Palin), while embarking on a fantasy search to locate the Holy Grail. Along the way, they face demanding situations as a murderous rabbit, the gentlemen who say “Ni!” And a goalkeeper of the bridge with more unlikely questions. Directed through Terry Gilliam and Terry Jones, Monty Python and the Holy Grail dismantled fortunately the classic design of the arthuric legend, transforming the mythical search into an absurd farce. Instead of noble warriors on an epic trip, the film presents King Arturo and his gentlemen as distressed and willing fools whose wonderful search is constantly undervalued through his own incompetence and natural absurdity of his world. While the film addresses its 50th Anniversary, Monty Python and the Citability Du Saint-Graal (“It is just a meat injury!”) Delcts the position of the film as one of the maximum durable and appreciated comedies of the history of cinema .
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Stanley Kubrick known for building surreal balloons who felt dangerously familiar, and in 1971, delivered a futuristic and strangely recognizable stylization exaggerated to create a terrifying and morally ambiguous vision of society. In this dystopian future, Alex Delarge (Malcolm McDowell) leads a gang of criminals in acts of violence and debauchery. Captured through the authorities, Alex volunteers for an experimental program designed to “heal” Crook trends through the conditioning of violence. The treatment has involuntary consequences, asking questions about the loose will and the nature of punishment in our society. Instead of offering simple answers, the film forces the public to a state of discomfort, presenting Alex as a sadistic predator and an emblem of lost autonomy. Kubrick presents a global where violence is not only an individual pathology, but a systemic problem, with the greatest powers, which participated in their own brand of cruelty under the rehabilitation canopy. Violence in an orange clock does not intend to surprise for itself and forces the public to face their own reactions, to ask whether they are driven or navigated, or, God preserves, entertaining.
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With the taxi driver, director Martin Scorsese has created a mental isolation portrait that will influence many fashion films that take their position in a granular urban environment, Fight Club to move on to Joker. This emblematic story focuses on Travis Bickle (Robert De Niro), a disappointed Vietnam veteran who works as a taxi force in New York. For the tricks with insomnia and disgusted through the corruption of the city, the rescue of Iris (Jodie Foster), a young prostitute controlled through a manipulative proxeneta called Sport (Harvey Keitel), its culmination of frustration in frustration in A violent while pointing to him, points to him. Take justice in your own hands. With Travis, Scorsese and screenwriter Paul Schrader expand to an unreliable narrator, which makes it difficult to discern the truth of his subjective experience. As Travis disconnection of the truth is deepened, the film becomes an almost dream state, which culminated in the culmination of the blood. Instead of providing a transparent hero or villain, the taxi driver presents an ambiguous study, making us ask if Travis is a product of his environment or something more dangerous.
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It is a euphemism to say that Steven Spielberg’s jaws have redefined a successful cinema. To date, the narrative conventions, the edition and the rhythm, the tone and the tenor of any giant show that you see in the cinemas has a debt to this film. When a giant white shark begins to face Citizens of Amity Island, police leader Martin Brody (Roy Scheider) is grouped with Marine Biologist Matt Hooper (Richard Dreyfuss) and the experienced Quint Shark hunter (Robert Shaw) to prevent it . Their search for the mortal predator takes them to the sea outdoors, where a tense and harmful war follows. The simplicity of such a story allows Spielberg to build terror not through a higher blood or show or show, but through an expert tension, as well as to emphasize chemistry and clash between those 3 characters, while the part of the Moment of the jaws becomes desired, a battle of will aimed at the characters. Jaws presents a story about Huguy’s limits against the indifference of nature, with the shared non -public revenge of those 3 men opposed to the shark that represents a deeper struggle: the meticulous and useless attempt of the type to dominate the forces beyond of his understanding oraray
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At this point, the Star Wars universe stretched so thin that it is difficult not to forget that it all started with a single director, George Lucas, who sought to reinvent the hero for a new generation. Located in an oppressed galaxy through the tyrannical galactic empire, the young Luke Skywalker (Mark Hamill) discovers his destiny after having met Princess Leia (Carrie Fisher), who leads an opposite uprising to the empire. It joins his forces with smuggler Han Solo (Harrison Ford), his co-pilot Chewbacca (Peter Mayhew) and the R2-D2 (Kenny Baker) and C-3PO (Anthony Daniels), Luke trains under the mystical direction of Obi-Wan Kenobi ( Alec Guinness) and faces Dark Vader (David Prowse, expressed through James Earl Jones) Freedom of galaxy repair. From the forefront of a destructive star that constantly approaches in the frame, Lucas establishes a feeling of scale and immersion unlike everything that was previously noticed in the cinema. From the eternal and unwavering orchestral partition of John Williams to the special revolutionary effects of industrial light and magic, to the incredible performances of Hamill, Fisher and Ford, Star Wars had all the ingredients to become (and stay) one of the maximum appreciated and appreciated and the most appreciated and the most appreciated and the maximum appreciated and the maximum appreciated and the maximum appreciated and the maximum appreciated and the maximum appreciated and the maximum appreciated and the maximum appreciated and the maximum appreciated and the maximum appreciated and the maximum appreciated and the maximum appreciated and the maximum appreciated and the maximum appreciated and the maximum appreciated and the maximum appreciated and the maximum appreciated and the maximum appreciated and the maximum appreciated and the most appreciated and the maximum appreciated and the maximum appreciated and the maximum appreciated and the maximum appreciated and the maximum appreciated and the maximum appreciated and the maximum appreciated and the maximum appreciated and the maximum appreciated and the maximum and influential movies of all time.
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This is more an indulgent selection in my component, because director Jean Rollin Films does not seem in many “Best lists in the 1970s”. But in the films of Global of Art, no one of the decade has made films like this French teacher, with his masterpiece, lips of blood, state as a poetic and melancholic vampire film that avoids conventions of classic horror in favor of a hypnotic and introspective trip. Array The Tale follows Frédéric (Jean-Luor Philippe), who is persecuted through the memories of the years of formation of a mysterious woman (Annie Belle) and a trailled castle. While sailing in his memories eliminated in search of answers, he discovered a secret that involved vampires and forbade the desires for his mother to hide it for years. This incredible film is another of everything you have seen, taking position as a dream of awakening, where reality, hallucination and fragmented memories are unfocused, immersing ourselves in a disturbing surrealist experience. The search for Frédéric for this lost vampire is made up of the location of a vampire than to recover a lost component of itself, strengthening the Rollin issue that comes intrinsically from our own subconscious and eliminated emotions. The blood lips despite everything recommend that the past, in a component that is formed through preference and repression, is essential: Frédéric is attracted to a spell that expected it from the beginning.
Here you can spread the blood lips.
It is revealing to think about what the extraterrestrial franchise has become, with its other suites and its wide diversity of characters with hitale in new concepts and new positions. Because the original Stdiversity is, I would dare to say it, quite small and undeniable in contrast. It is a slow combustion horror film that prioritizes atmosphere, tension and mental terror in action. The total history occurs in the Nostromo advertising spacecraft, which leads to a small team, directed through the assistant Ellen Ripley (Sigourney Weaver) and Captain Dallas (Tom Skerritt), which responds to a sign of misery of a planet without explore. Involussionally, they bring an extraterrestrial organism on board, and as the aliens hunt them, the team decreases, letting Ripley in front of the creature in a painful fight for survival in the dark ship. Director Ridley Scott and photography director Derek Vanlint creates a global that does not resemble another in the cinema: claustrophobic and oppressive, with smoke runners with little light and an overwhelming sensation of cutting the frame of the frame in any timing the contribution Maximum emblematic of the Movie to Science Fiction is the conception of H. R. Giger for Xenomorph, a creature that He feels biological and mechanical, lovely and horrible. The merger of Giger of Man and Machine, Flesh and Metal, creates a vision of nightmare of evolution, sexuality and how unknown feminist themes of the film of forced impregnation, parasitism and physical violation, as well as indifference without blood of the GODICY OF POSITIONS POSITION THE NOSTOMO TEAM IN SO LIFE AND DEATH SCENARY IN THE FIRST POSITION.
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In a global obsessed with the call of the greatest film ever made, Jeanne Dielman, 23, Quai Du Commerce, 1080 Brussels has destabilized all the discussion. Meeting with a combined reaction when it was released, this slow film through the feminist Moviemaker Chantal Akerman was slowly acclaim Sound of the complaint in 2022, marking, marking. The first time a woman entered the first ten of this list of decades. The story is very simple: a widowed mother Calld Jeanne Dielman (Delphine Seyrig) spends her days cooking, cleaning and taking care of her teenage son Sylvain (Jan Decort), and sideways, secretly compromises prostitution to succeed at the ends at the ends . For 3 days, Jeanne’s orderly regime begins to give in as they accumulate minor disturbances, which despite everything led to a single single act. This revolutionary French film transforms the banal into anything deeply disturbing, providing one of the maximum radical reprobations of a woman’s life in Hitale’s cinema. Thanks to a hypnotic repetition of Almaximum of the daily regimes, Akerman builds an immersive portrait of domesticity, where time, paintings and silence become the central forces of tension. Jeanne Dielman, 23, Quai Du Commerce, 1080 Brussels does not provide Jeanne as a traditional character in a story aimed at the plot, but rather as a topic trapped in the inflexible structures of social expectations.
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I was torn through this ten more sensible who was governed through Francis Ford Coppola (a director who has even more films on this list), and I have felt that the first two sponsoring films worked perfectly as a unit, so I took a Decision decision mix duology for position No. 9. The godfather of component II barely wants an introduction, because those two most productive winners have remodeled the genus of gangsters In a meditation on Dream American, which appears how good fortune is inseparable from violence and how the circle of relatives itself can be a source of strength, strength and strength a curse. The saga follows the circle of relatives Corleone, directed through Patriarch Vito Corleone (Marlon Brando in component I and Robert de Niro in component II), while sailing in the global crime of arranged. Michael Corleone (Al Pacino), first, reluctant to register in the relative’s business circle, in the end it becomes a hard and ruthless leader. Part I recounts Vito’s reign and the rise of Michael, constituting his conflicts and alliances, while part II explores the consolidation of Michael Force and the first difficulties of a young immigrant Vito in the United States and find his way. The godfather’s genius is his slow and planned Descredation of Michael’s morality, according to his transformation of a guy who rejects the tactics of his circle of relatives who he embraces them completely. Part II further transports Michael’s history, with its emotional detachment of its circle of relatives and the rest of society, which provides a strength to a young Vito, who built his strength through respect and community. Together, these two films constitute a cycle of force where good fortune is paid in the blood: what Vito has built, Michael Corrood.
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You may have seen several films on this “redefined horror” list. And they all did it in other ways. But the way in which director Tobe Hooper redefined the horror with the blood bath of the Texas chainsaw is perhaps the disturbing maximum, since he thanked him for a disturbing realism. Unshable the narrative conventions, the film immerses the public in a relentless environment of fear, chaos and brutality, which makes it one of the maximum visceral horror reports that are put in the film. The intrigue begins with a path that temporarily becomes a nightmare for Sally Hardesty (Marilyn Burns) and his friends while they find a circle of altered cannibal relatives in the rural areas of Texas, where the now famous leather surface (Gunnar Hansen), which makes a chainsaw, becomes its implacable persecutor with the rest of the circle of relatives Sawyer. Hooper and photography director Daniel Pearl Roda the film with a raw and granulated texture that is seen by Almaximum as the photographs found, with the paintings of the portable chamber, the lack of classical partition and washed colors, which makes the occasions strangely Real, as if the audience looks like an unwavering nightmare takes place. The notorious dinner scene, where Sally is tormented through Sawyer’s circle of relatives, is terrible not due to particular violence, but because of its natural sensory overload, screams, laughs, close horrible and a vertiginous chamber creating a natural and implacable hysteria . The scene is indicative of the rest of the aesthetics of the film, which captures the cave of classical rural life, which reflects the anxieties of America in the 1970s with respect to economic disintegration and cultural disappointment. The film embodies a vision of survival of Almaximum Nihilista: there is no heroism, there is no wonderful confrontation, only intuition and natural suffering.
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No one made an epic film like David Lean, the guy who gave us what would take into consideration as the largest film in the 1960s, Lawrence of Arabia. But where this film won an immortal position in the history of cinema for its reach, other of their masterpieces were almost lost because of a hostile reaction for the complaint at that time. But in my opinion, this specific film has a lovely old man, and now goes hand in hand with Guyy Lean’s classics: I speak of conscientiously lovely melodrama known as Ryan’s daughter. Located in a remote control of the Irish village during World War I, Rosy Ryan (Sarah Miles), the daughter of the owner of a local pub, marries an instructor named Charles Shaughnessy (Robert Mitchum). However, it soon embarks in a passionate case with a British officer, Major Doryan (Christopher Jones), an appointment that arouses scandal and department within the conservative community, which leads to dramatic consequences for all involved. Unlike Lean’s wonderful adventures as Dr. Zhivago, Ryan’s daughter focuses on non -public difficulties in a small Irish village, although she maintains her epic signature scale. Few films are also beautiful, while the impressive landscapes of Freddie Young, Freddie Young, remodel the Irish coast on an emotional canvas, where the stormy seas and the vast cliffs reflect the internal struggles of the characters. Rosy is a mango trapped between fantasy and reality, sucking Roguyce and emotion in a town that only gives regime and repression. But, in a symbolic parallel, his appetite for freedom reason problems. Located during the War of Independence of Ireland, the daughter of Ryan Teje non -public betrayals with national betrayals, while the village becomes Rosy, since they suspect alleged British supporters. Their difficulties reflect a larger and more social society, because Lean suggests that individual destinations are formed through out of control.
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I love all the movies on this list, but none of them made me breathe the first visualization as the sacred mountain did. This experimental jewel by Alejandro Jodorowsky is not a classic film, but an allegorical and amazing adventure through spirituality, mysticism and, ultimately, the absurdity of human existence. The story begins with an unnamed thief (Horacio Salinas) that wakes up in a dystopian city and embarks on a self -government trip. Guided through an alchemist (played through Jodorowsky), the thief joins an organization of nine rich and hard Americans that constitute the planets of the Sun system. Together, they are looking for the mythical mountain, where they hope to achieve lighting and immortality. Mix surrealism, devout iconography and esoteric philosophy, Jodorowsky develops a film, either a psychedelic and hallucinating semite and a deep and symbolic meditation on lighting. Instead of telling a classic story, the sacred mountain functions as a visual and philosophical odysse Wetsarray frightening images and moments of good austere appearance because it reflects a transcendental delight. Each painting of the Holy Mountain is loaded with meaning, and the influence of the film can be noticed in the greatest experimental movements of our time, such as David Lynch, Gaspar Noah and cosmatos, which explore similar summary concepts through a narrative visually immersive. More than 50 years later, the Holy Mountain remains one of the most daring films, the maximum enigmatic and the overwhelming maxims ever made.
This is where you can find the sacred mountain.
The death of David Lynch was through the maximum death of celebrities that I have never had to face. He is without problems my favorite director, whose artistic technique had a deep in my life, whose aesthetic was transparent when his first film, Eraserhead. The story focuses on Henry Spencer (Jack Nance), who lives a dark commercial lifestyles scored through surreal and nightmare visions. When her friend Mary (Charlotte Stewart) provides a child with a inhabitant child, Henry has problems that face her new daily works and disturbing occasions that take her position around her with a feeling of inevitability. The film works less as a classic story and more as an extended fever dream, where time, area and logic dissolve under the weight of subconscious terror. Lynch immerses the public in an oppressive commercial landscape where each shadow and sound (and the lack of sound, on the road) feels designed to bother. The film frame, a decomposition commercial wasteland, has a mechanical sensation, essential algar, with the black and white cinematography palette that uses deep shadows and hard lighting to create a sensation of suffocating penetration. This environment encourages Henry, a guy who has been crushed through society’s expectations, and is terrified through unknown forces that shape his frustrating life. The maximum facet unfortunately noticed by Eraserhead is the monstrous child of Henry, a creature that usually cries and sickly that cries constantly, wrapped in bandages, slightly recognizable as everything he lived. The bathtub becomes the last wins of Henry’s fears: responsibility, capture and horrible nature of life itself. To date, Eraserhead is one of the largest experimental horror films ever made, a disturbing adventure in the darkest corners of the subconscious Huguy; A nightmare that never ends completely.
Here you can transmit Eraserhead.
The maximum notes of director Brian de Palma occurred in the 1980s, with Scarface, the untouchables and denounced as classics in the thriller and gangster sands. But the 1970s had so many jewels for De Palma, in my opinion, and added what I consider to considerate to be his biggest film, Carrie. The story is concentrated in Carrie White (Sissy Spacek), a shy and protected teenager raised through her beautifully devout mother, Margaret (Piper Laurie). Constantly tormented through his classmates, Carrie begins to expand mysterious telekinetic capabilities. When a ruthless ball ball humbles the total school, its powers exploded in an act of devastating revenge. While the night sinks into chaos, Carrie suffers between her preference for acceptance and overwhelming strength in her. Unlike classic horror films that concentrate on external threats, Carrie builds her horror from the inside, with her terror rooted in Carrie’s emotional agitation and the disconcerting of those around her. Spacek’s functionality is a fragile obsessive, capturing a woman trapped among devout fanaticism in the house and incessant intimidation in school. His innocence with very open eyes and his mild nature make his transformation even more shocking: horror is not in his powers, but in the way the global forces him to use them. Carrie’s adventure is that of painful discovery, every moment of hope (ask the ball, feel lovely for the first time) with the earth, because the public knows that the crisis is inevitable. No one knew how to close a film like palm, whose slow and methodical navigation of Carrie’s holiday all. being done.
Here’s the one you can stream Carrie.
The 1970s marked a decade in which the authors were suddenly capable of operating in the study system, absolutely unleashed to continue their bold visions of a flow company. But I am not sure that anyone who controlled this vision regarding Robert Altman, whose studies with several characteristics were felt. And no film has been greater illustrated with this incredible ability to paint a radical portrait that Nashville, a prolonged and multilayer film that captures the intersection of non -public policy and ambition through the objective of country music in the context of a rally Politician, this general film weaves the lives of another 24 characters, arose through budding musicians, industry initiated and political figures while sailing no crisis public and professionals, in those of the country’s crises. Nashville country capital. Presenting a remarkable functionality through Ronee Blakley, Keith Carradine and Lily Tomlin, this network of stories that cross the viewer in a mosaic of interconnected lives, providing a caleidoscopic vision of US culture in the mid -1970s. What point the film feels realistic, starting above all with the discussion noted and occasionally improvised of Altman, where the characters communicate with each other and the conversations do not feel staged. In addition, the incredible songs played in the film, which are still used as extensions of the characters, which reveal non -public truths and social contradictions, were written and interpreted through the actors themselves, adding an additional layer of authenticity to the procedure of this Type of realism means that the best observation in the film with respect to politics has reached space in the intestinal way, while the backdrop of the invisible presidential crusade of Hal Phillip Walker underlines how politics and exhibition work in the same scene, using the exhibition to sell their concepts to the masses.
Here you can transmit Nashville.
During the same decade, Francis Ford Coppola made the first two Godfather films, as well as the classical conversation, established what is, in my opinion, the largest war film ever made: Apocalypse Now, a meditation on the nature of the Violence, in the thin line between civilization and savagery. The film is noted through the eyes of Captain Willard (Martin Sheen), who is assigned a clandestine project of the Vietnam War to kill Colonel Walter Kurtz (Marlon Brando), a former reputation officer who has become dishonest and established a cult deeply in the Cambodian in the Cambodian. jungle. Together with his team of young infantry soldiers who delight in the war for the first time, Willard, whose fragmented narration reflects his own intellectual deterioration, traveling upstream, faced with the intellectual horrors of war on the road. The slow and hypnotic rhythm of the film reflects Willard’s intellectual descent, which makes the public feel as they are also feed through the jungle and madness within it. Apocalypse now provides the Vietnam War not as a war between nations, but as an existential crisis, where infantry men feed through chaos that are destined to control. To a large extent invisible for the maximum of the film, Kurtz exists more as a concept than as a completely providing character, his development legend while Willard moves more deeply in the jungle. When despite everything revealed, Kurtz is not a traditional villain, but a damaged guy who embraced the darkness he once sought to fight. When Willard arrives at the complex, he has become as unrecognizable as Kurtz. In the end, the war has become indeniable of the ritual, and violence no longer makes sense beyond itself as the final photographs of the film, silent, dark and unsolved, to ensure that the public in a state of contemplation , of ethical questions.
This is where you can the Apocalypse now.
When I compiled this list, several of the films that we have discussed so far have crossed my brain for the first position. But at all times, in the back of the interior, I knew that my absolute favorite film of the decade, which can be noted in everything, from the hereditary to Mandy to the black swan, which immerses the viewer in a complete – experience – experience body sensory, which demands situations of gender situations gender conventions and embraces an audiovisual horror form that is circling logic and speaks directly about the subconscious, was the most big. Dario Argento’s film; The only and unique sigh. The story revolves around Suzy Bannion (Jessica Harper), a talented ballet student who transfers to a prestigious German academy where she is welcome with hostility and ghostly warnings. While deepening the mystery surrounded by school, notice a history of witchcraft connected to the academy sinister domain, Madame Blanc (Joan Bennett) and his colleague Miss Tanner (Alida Valli). In the midst of terrible dead and supernatural events, Suzy will have to notice the dark secrets of the academy before adjusting to his next victim. There is simply a movie like Suspiria, which looks like a haunted space that comes alive. It is much more than a horror film: it is a feeling, an attack on the senses that pass through rational narration, Argento using intense reds, neon blue and sick green vegetables to position the audience in perpetual discomfort. In addition, Goblin’s soundtrack pursues the frame as an active force in the film, because its whispers, screams and pulsing rhythms have the impression of attacking the viewer. For more sensible, Suzy’s character is a blank board, which allows the public to assign himself. Instead of simply hunting in Suspiria, we are wearing it. More than forty -five years later, Suspiria remains an unparalleled cinematographic hallucination, a film that should not be understood, however, not to forget its unwavering vision and determination to create the best film experience.
Here is the one that you can transmit to Suspiria.
Because it was very difficult to reduce this list to 30 films, I come with 20 other films that did not cut, which took the films in general to 50 films:
Final
The 1970s was a time for cinema. This list brings in combination the most productive films of this decade and all the filmmakers and actors who explained it.
SUSPIRIA (1977) – A young American ballet student arrives at a prestigious dance academy in Germany, a front for a sinister supernatural force. Directed through Dario Argento.
Carrie (1976) – A shy student of the Telequinetics School, tormented through her classmates and controlled through her mother, unleashes a devastating force on the graduation night. Directed through Brian de Palma.
The Saw Saw (1974) massacre by Texas – an organization of friends traveling through the Rural Falls of Texas fall to a disturbed cannibal family. Directed through Tobe Hooper.
SHAFT (1971) – A fresh and fearless investigator navigates the streets of Harlem and takes on the mob to rescue the kidnapped daughter of a crime boss. Directed through Gordon Parks.
Baadssss Song of Sweetback (1971) – A man with leaves after killing two racist police, causing a radical odyssey through the American hell. Directed through Melvin van Peebles.
Killer of Sheep (1978) – A poetic and neorealist representation of a slaughterhouse in Los Angeles suffering from economic difficulties and emotional alienation. Directed through Charles Burnett.
Monty Python and the Holy Grail (1975) – The mythical King Arthur and his bumbling knights embark on a surreal quest for the Holy Grail. Directed through Terry Gilliam and Terry Jones.
ANNIE HALL (1977) – A neurotic actor reflects on his failed dates with an eccentric, loose woman. Directed through Woody Allen.
The young Frankenstein (1974) – The grandson of the famous Dr. Frankenstein inherits the castle of his circle of relatives and often continues the reports of his ancestor. Made through Mel Brooks.