#federico lynch

[cooltivarte]

La obra estará en cartel los sábados de JUNIO a las 23 hs Teatro de La Candela (Jose Ellauri 308, Punta Carretas) 4 ÚNICAS FUNCIONES: 3, 10, 17 Y 24 DE JUNIO.

[itcanbefilmed]

The King of Ads (Jean-Marie Boursicot, 1993)

[rassilon-imprimatur]

David Lynch's Twin Peaks (season 3) /// Ingmar Bergman's Wild Strawberries and Federico Fellini's 8½

[yorgunherakles]

yazgı filmin sonunda değil bir anında gizlidir.

#zeki demirkubuz

[nothingneverno]

💖https://marinanoseque.etsy.com 💖

[reitsportportal]

Irland mit Zwei Nullrunden zum Triumph im Mercedes- Benz Nationenpreis beim CHIO 2024

Denis Lynch, Shane Sweetnam, Cian O’Connor und Bertram Allen –  das  Siegerteam aus Irland Die Iren waren am Donnerstagabend in beiden Runden des Mercedes-Benz Nationenpreises das beste Team. Als einziger Mannschaft gelang es den Reitern von der grünen Insel den traditionsreichen Nationenpreis beim CHIO Aachen 2024 mit einem Ergebnis von Null-Fehler-Punkten zu absolvieren. Dabei blieben Bertram…

[sleepythug]

What are some movies that every aspiring cinephile should watch?

battleship potemkin (sergei eisenstein, 1926)

city lights (charlie chaplin, 1931)

M (fritz lang, 1931)

freaks (tod browning, 1932)

brief encounter (david lean, 1945)

out of the past (jacques tourneur, 1947)

the third man (carol reed, 1949)

late spring (yasijuro ozu, 1949)

kiss me deadly (robert aldrich, 1955)

a man escaped (robert bresson, 1956)

touch of evil (orson welles, 1958)

la dolce vita (federico fellini, 1960)

peeping tom (michael powell, 1960)

man who shot liberty valance (john ford, 1962)

the exterminating angel (luis buñuel, 1962)

shock corridor (samuel fuller, 1963)

kwaidan (masaki kobayashi, 1964)

dragon inn (king hu, 1967)

playtime (jacques tati, 1967)

once upon a time in the west (sergio leone, 1968)

two-lane blacktop (monte hellman, 1971)

aguirre, wrath of god (werner herzog, 1972)

touki bouki (djibril diop mambety, 1973)

the conversation (francis ford coppola, 1974)

the passenger (michelangelo antonioni, 1975)

nashville (robert altman, 1975)

the killing of a chinese bookie (john cassavetes, 1976)

mikey and nicky (elaine may, 1976)

sorcerer (william friedkin, 1977)

days of heaven (terrence malick, 1978)

blow out (brian de palma, 1981)

8 diagram pole fighter (lau kar-leung, 1984)

mishima: a life in four chapters (paul schrader, 1985)

tampopo (jūzō itami, 1985)

blue velvet (david lynch, 1986)

something wild (jonathan demme, 1986)

landscape in the mist (theo angelopoulos, 1988)

sonatine (takeshi kitano, 1993)

salaam cinema (mohsen makhmalbaf, 1995)

fallen angels (wong kar-wai, 1995)

taste of cherry (abbas kiarostami, 1997)

cure (kiyoshi kurosawa, 1997)

the thin red line (terrence malick, 1999)

beau travail (claire denis, 1999)

yi yi (edward yang, 2000)

all about lily chou chou (shunji iwai, 2001)

memories of murder (bong joon-ho, 2003)

dogville (lars von trier, 2003)

tropical malady (apichatpong weerasethakul, 2004)

silent light (carlos reygadas, 2007)

sparrow (johnnie to, 2008)

holy motors (leos carax, 2012)

phoenix (christian petzold, 2014)

personal shopper (oliver assayas, 2016)

[officialpenisenvy]

rules: list your five all time favorite films and have people vote on which one matches your vibe

thank you my lovely @yamat0 for the tag ❤️ i don't really have a list of favourite movies that is set in stone, but these are for sure among them if i had to choose.

tagging @endlessproliferation, @dyouknowwhatimean, @oldmanpusspuss, @cicerobussytransplant, @timetravelstudies (if you've seen five movies in the first place) and whoever else wants to do this! im sure the cinephiles will have a field day with this tag game.

[genesisfawn]

What artists inspired you to create your own monarchy of art?

I adore your sacred blog, and I miss your art posts on Instagram. 𓃲

it’s hard to pick but i will try and name a few who have had a large impact on me definitely alexander mcqueen, paz de la heurta, david lynch, jesus christ, john galliano, kier-la janisse, max schreck, hideshi hino, gaspar noe, federico fellini, anne boleyn and all of the men who tried to save me from myself of course.. <3

[symptomofloves]

happy birthday to federico fellini, david lynch, lead belly, & me :)!

[angelmotifs]

4 favorite first time watches of august the cinephile grind never ends

Cries and Whispers dir. Ingmar Bergman / What's Up, Doc? dir. Peter Bogdanovich / 8 1/2 dir. Federico Fellini / Mulholland Drive dir. David Lynch

[world-cinema-research]

Fellini Satyricon (1969)

By Cris Nyne

A movie that I will never forget and would wind up influencing my taste in art and film as I grew into adulthood was Fellini Satyricon (1969). I was twenty one at the time in the year 2000 when my roommate brought home a copy and asked if I’ve ever seen it. I was immediately drawn in by the cover and the description of the film. It was suggestively maddening and hedonistic. At this point in my life, so was I. There was no way I wasn’t going to watch this film with him.

The film follows the journey of Encolpius, a young, handsome man that is lost in his quest to find himself as he searches for his young lover, Gitón. The taboo undertones of pedophilia will continue to rear it's ugly face throughout the film during a period of overtly decadent indulgence as Nero rule over ancient Rome was stretching society to it's brink of self destruction. Encolpius finds Gitón, only to lose him again to his old lover, part friend and part antagonist, Ascyltus. Ascyltus is the embodiment of an Alpha male that Encolpius is desperate to emulate, but he has become impotent. Fellini Satyricon follows Encolpius as he traverses through dream-like landscapes and obstacles in a hellish underworld to find a cure and regain his manhood.

During my formative years as a young teenager, my art hero was Salvador Dali. Upon watching Fellini Satyricon, it was as if this visual feast of a movie was directed by Dalí himself. As far as I can remember, my inclination towards the absurd and surreal was established. My parents were seventeen when they had me. My father was notoriously wild and provided no filter as to what I was exposed to at such a young age. By the time I was six years old, two of the movies that I remember the most detail of were David Lynch’s Eraserhead and Tobe Hooper and Steven Spielberg’s Poltergeist. I somewhat attribute this overexposure and visual imprint of ideas in my youth to the tastes that I have today. That, along with my appetite for psychedelics in my late teenage years as I made New York City my playground.

Original Italian film poster (1969)

The movie opened in Italy, to mixed but mostly positive reviews. At this point in time, Fellini was a well-established director, whose style was recognizable. Rotten Tomatoes lists Fellini Satyricon as having an approval rating of 76%. The total gross for its initial release was $1,138,108. The estimated budget for Fellini Satyricon was three million US dollars. This is not what one would call "financially successful." In comparison, the number one film in Italy that year, the spaghetti western “Once Upon a Time in the West”, generated $5,380,604, internationally. This film had some very well-known American actors (Charles Bronson, Henry Fonda) that would be a financial draw for the film. The cast of Fellini Satyricon were not very recognizable. Most brought onto the project were cast because of their look and how Fellini felt they represented a specific time during Nero’s Rome.

The scenes were strung together like a gaudy necklace of gemstones and beads; each one commanding attention to the smallest of details. Although Federico Fellini was a well-known director by this time, the color palette, out of synch dialogue, and ensemble of extras- some deformed, some staring straight into the camera as it pans across a well-curated alien landscape, made the film an enticing escape for unconventional film enthusiasts and artists. For some of Fellini’s fan base of his previous films, the trailers might have come across as more of a spectacle. The hard to follow plot and jarring visual images perhaps complicated the ultimate financial success of the movie. It would be three decades until the film was released on VHS and DVD overseas, where it would gain more notoriety as a film of cult status and see profitability.

Fellini Satyricon was based upon the incomplete novel by Gaius Petronius Arbiter. There were considerable gaps in the novel Satyricon, which gave Fellini the freedom to add his own fiction by filling in some of the spaces. It also comes across in the direction of the movie, as scenes seem to jump around in a fragmented way and lend itself to the feeling of surviving the earthquake that strikes towards the beginning of the film. Petronius was very close to the infamous ruler Nero and was known as his “Director of Elegance”. One could assume that parts of the novel were transcribed from real-life experiences and firsthand testimony, considering the reputation of Nero in an age of decadence and unsatiated desires. One of the earlier scenes showing the main character Encolpius and his young lover Giton, strolling past rooms of a brothel, almost seemed like it was taken out of reality, albeit distorted and dunked in LSD.

(Three days of peace and music, Woodstock, NY, aka the "Summer of Love". Three of the main characters in Fellini Satyricon were virtually unknown and cast from the hippie movement to better visually represent the atmosphere of first century Rome under Nero.)

I’m not sure if this film would be widely appreciated, or for that matter, even made in this current climate of selective morality and internet fanaticism. My taste in film and art in general has remained steady in style throughout the years. I love cerebral twists of overwhelming bewilderment. When I first saw the film 24 years ago, I was left with a disorienting cacophony of dialogue, music, and chatter. I found it as purposefully hard to follow and dark. An entangled, messy art film and that was that. I loved it. After watching it again, I still do. The only difference is, after growing more mature in age and researching the films historical relevance, this once confusing film now makes so much more sense.

[thesludgeofbabylon]

Top 100 Films

Just wanted to put this somewhere for the sake of documentation, might do this once a year to see how much the overall list changes.

Not ranked, but the list is done by release date, earliest to most recent. Includes short and feature length films (plus one TV series, and two serials, if you want to be specific):

• The Musketeers of Pig Alley (1912), dir. D.W. Griffith

• Fantômas (1913), dir. Louis Feuillade

• Les Vampires (1915), dir. Louis Feuillade

• The Doll (1919), dir. Ernst Lubitsch

• Foolish Wives (1922), dir. Erich von Stroheim

• Sherlock, Jr. (1924), dir. Buster Keaton

• Die Nibelungen: Kriemhild’s Revenge (1924), dir. Fritz Lang

• Greed (1924), dir. Erich von Stroheim

• The Last Laugh (1924), dir. F. W. Murnau

• The Gold Rush (1925), dir. Charlie Chaplin

• The General (1926), dir. Buster Keaton, Clyde Bruckman

• Sunrise: A Song of Two Humans (1927), dir. F. W. Murnau

• The Passion of Joan of Arc (1928), dir. Carl Theodor Dreyer

• The Docks of New York (1928), dir. Josef von Sternberg

• The Wedding March (1928), dir. Erich von Stroheim

• Man with a Movie Camera (1929), Dziga Vertov

• M (1931), dir. Fritz Lang

• Vampyr (1932), dir. Carl Theodor Dreyer

• I Am a Fugitive from a Chain Gang (1932), dir. Mervyn LeRoy

• Gold Diggers of 1933 (1933), dir. Mervyn LeRoy, Bubsy Berkeley

• L’Atalante (1934), dir. Jean Vigo

• The Scarlet Empress (1934), dir. Josef von Sternberg

• The Thin Man (1934), dir. W.S. Van Dyke

• The Only Son (1936), dir. Yasujirō Ozu 

• Citizen Kane (1941), dir. Orson Welles

• Now, Voyager (1942), dir. Irving Rapper

• Meshes of the Afternoon (1943), dir. Maya Deren

• Day of Wrath (1943), dir. Carl Theodor Dreyer

• At Land (1944), dir. Maya Deren

• Ivan the Terrible, Part I (1944), dir. Sergei Eisenstein

• Notorious (1946), dir. Alfred Hitchcock

• Sunset Boulevard (1950), dir. Billy Wilder

• Monsieur Hulot’s Holiday (1953), dir. Jacques Tati

• The Wages of Fear (1953), dir. Henri-Georges Clouzot

• The Big Heat (1953), dir. Fritz Lang

• The Inauguration of the Pleasure Dome (1954), dir. Kenneth Anger

• Rear Window (1954), dir. Alfred Hitchcock

• Ordet (1955), dir. Carl Theodor Dreyer

• A Man Escaped (1956), dir. Robert Bresson

• Ivan the Terrible, Part II: The Boyars’ Plot (1958), dir. Sergei Eisenstein

• La Dolce Vita (1960), dir. Federico Fellini

• L’Avventura (1960), dir. Michelangelo Antonioni

• La Notte (1961), dir. Michelangelo Antonioni

• L’Eclisse (1962), dir. Michelangelo Antonioni

• The Exterminating Angel (1962), dir. Luis Buñuel

• Mothlight (1963), dir. Stan Brakhage

• Red Desert (1964), dir. Michelangelo Antonioni

• Gertrud (1964), dir. Carl Theodor Dreyer

• The War Game (1966), dir. Peter Watkins

• Au Hasard Balthazar (1966), dir. Robert Bresson

• Daisies (1966), dir. Věra Chytilová

• Lemon (1969), dir. Hollis Frampton

• The Conformist (1970), dir. Bernardo Bertolucci 

• The Discreet Charm of the Bourgeoisie (1972), dir. Luis Buñuel

• F for Fake (1973), dir. Orson Welles

• Lancelot of the Lake (1974), dir. Robert Bresson

• A Woman Under the Influence (1974), dir. John Cassavetes

• The Texas Chain Saw Massacre (1974). dir. Tobe Hooper

• House (1977), dir. Nobuhiko Obayashi 

• Stalker (1979), dir. Andrei Tarkovsky

• Nostalgia (1983), dir. Andrei Tarkovsky

• L’Argent (1983), dir. Robert Bresson 

• Blue Velvet (1986), dir. David Lynch

• Heathers (1989), dir. Michael Lehmann

• Kiki’s Delivery Service (1989), dir. Hayao Miyazaki

• Baraka (1992), dir. Ron Fricke

• Satantango (1994), dir. Béla Tarr

• A Confucian Confusion (1994), dir. Edward Yang

• Chungking Express (1994), dir. Wong Kar-Wai

• Ed Wood (1994), dir. Tim Burton

• Whisper of the Heart (1995), dir. Yoshifumi Kondo

• Showgirls (1995), dir. Paul Verhoeven 

• Neon Genesis Evangelion: The End of Evangelion (1997), dir. Hideaki Anno, Kazuya Tsurumaki

• Gummo (1997), dir. Harmony Korine

• The Big Lebowski (1998), dir. Joel Coen, Ethan Coen 

• Outer Space (1999), dir. Peter Tscherkassky

• Beau Travail (1999), dir. Claire Denis

• Julien Donkey-Boy (1999), dir. Harmony Korine

• Yi Yi (2000), dir. Edward Yang

• Dancer in the Dark (2000), dir. Lars von Trier

• The Piano Teacher (2001), dir. Michael Haneke

• Mulholland Drive (2001), dir. David Lynch

• What Time Is It There? (2001), dir. Tsai Ming-liang

• Memories of Murder (2003), dir. Bong Joon-ho

• The Matrix Reloaded (2003), dir. Lily Wachowski, Lana Wachowski  

• The Village (2004), dir. M. Night Shyamalan

• Caché (2005), dir. Michael Haneke

• Southland Tales (2006), dir. Richard Kelly

• Inland Empire (2006), dir. David Lynch

• Zodiac (2007), dir. David Fincher

• The White Ribbon (2009), dir. Michael Haneke

• The Turin Horse (2011), dir. Béla Tarr

• Five Broken Cameras (2012), dir. Emad Burnat, Guy Davidi

• The Master (2012), dir. Paul Thomas Anderson

• Spring Breakers (2012), dir. Harmony Korine

• Song to Song (2017), dir. Terrence Malick

• Twin Peaks: The Return (2017), dir. David Lynch

• The Favourite (2018), dir. Yorgos Lanthimos

• Portrait of a Lady on Fire (2019), dir. Céline Sciamma

• We’re All Going to the World’s Fair (2021), dir. Jane Schoenbrun

(10/4/23)

[pollicinor]

Psyco (1960) Alfred Hitchcock Il mago di Oz (1939) Victor Fleming Il padrino (1972) Francis Ford Coppola Quarto potere (1941) Orson Welles Pulp Fiction (1994) Quentin Tarantino I sette samurai (1954) Akira Kurosawa 2001: Odissea nello spazio (1968) Stanley Kubrick La vita è meravigliosa (1946) Frank Capra Eva contro Eva (1951) Joseph L. Mankiewicz Salvate il soldato Ryan (1998) Steven Spielberg Cantando sotto la pioggia (1952) Stanley Donen e Gene Kelly Quei bravi ragazzi (1990) Martin Scorsese La regola del gioco (1939) Jean Renoir Fa' la cosa giusta (1989) Spike Lee Aurora (1927) Friedrich Wilhelm Murnau Casablanca (1942) Michael Curtiz Nashville (1975) Robert Altman Persona (1966) Ingmar Bergman Il padrino - Parte II (1974) Francis Ford Coppola Velluto Blu (1986) David Lynch Via col vento (1939) Victor Fleming Chinatown (1974) Roman Polanski L'appartamento (1960) Billy Wilder Tokyo Story (1953) Yasujirō Ozu Susanna! (1938) Howard Hawks I 400 colpi (1959) François Truffaut Gangster Story (1967) Arthur Penn Luci della città (1931) Charlie Chaplin La fiamma del peccato (1944) Billy Wilder L'impero colpisce ancora (1980) Irvin Kershner Quinto potere (1976) Sidney Lumet La donna che visse due volte (1958) Alfred Hitchcock 8 1/2 (1963) Federico Fellini Ombre rosse (1939) John Ford Il silenzio degli innocenti (1991) Jonathan Demme Fronte del porto (1954) Elia Kazan Io e Annie (1977) Woody Allen Lawrence d'Arabia (1962) David Lean A qualcuno piace caldo (1959) Billy Wilder Fargo (1996) Joel e Ethan Coen Il mucchio selvaggio (1969) Sam Peckinpah Moonlight (2016) Barry Jenkins Shoah (1985) Claude Lanzmann L’avventura (1960) Michelangelo Antonioni Titanic (1997) James Cameron Notorious - L'amante perduta (1946) Alfred Hitchcock Mean Streets (1973) Martin Scorsese Lezioni di Piano (1993) Jane Campion Non aprite quella porta (1974) Tobe Hooper Fino all'ultimo respiro (1960) Jean-Luc Godard Apocalypse Now (1979) Francis Ford Coppola Come vinsi la guerra (1926) Buster Keaton In the Mood for Love (2000) Wong Kar-wai Interceptor - Il guerriero della strada (1981) George Miller Il lamento sul sentiero (1955) Satyajit Ray Rosemary's Baby (1968) Roman Polanski I segreti di Brokeback Mountain (2005) Ang Lee E.T. - L'extraterrestre (1982) Steven Spielberg Senza tetto né legge (1985) Agnès Varda Moulin Rouge! (2001) Buz Luhrmann La passione di Giovanna D'Arco (1928) Carl Theodor Dreyer La vita è un sogno (1993) Richard Linklater Bambi (1942) David Hand Carrie - Lo sguardo di Satana (1976) Brian De Palma Un condannato a morte è fuggito (1956) Robert Bresson Parigi brucia (1990) Jennie Livingston Ladri di biciclette (1948) Vittorio De Sica King Kong (1933) Merian C. Cooper e Ernest B. Schoedsack Beau Travail (1999) Claire Denis 12 anni schiavo (2013) Steve McQueen Il matrimonio del mio migliore amico (1997) P. J. Hogan Le onde del destino (1996) Lars von Trier Intolerance (1916) D.W. Griffith Il mio vicino Totoro (1988) Hayao Miyazaki Boogie Nights (1997) Paul Thomas Anderson The Tree of Life (2011) Terrence Malick Agente 007 - Missione Goldfinger (1964) Guy Hamilton Jeanne Dielman (1975) Chantal Akerman Sognando Broadway (1966) Christopher Guest Pixote - La legge del più debole (1981) Héctor Babenco Il cavaliere oscuro (2008) Christopher Nolan Parasite (2019) Bong Joon-ho Kramer contro Kramer (1979) Robert Benton Il labirinto del fauno (2006) Guillermo del Toro Assassini nati - Natural Born Killers (1994) Oliver Stone Close Up (1990) Abbas Kiarostami Tutti insieme appassionatamente (1965) Robert Wise Malcolm X (1992) Spike Lee Bella di giorno (1967) Luis Buñuel The Shining (1980) Stanley Kubrick Scene da un matrimonio (1974) Ingmar Bergman Pink Flamingos (1972) John Waters Frank Costello faccia d'angelo (1967) Jean-Pierre Melville Le amiche della sposa (2011) Paul Feig Toy Story (1995) John Lasseter Tutti per uno (1964) Richard Lester Alien (1979) Ridley Scott Donne sull'orlo di una crisi di nervi (1988) Pedro Almodóvar La parola ai giurati (1957) Sidney Lumet Il laureato (1967) Mike Nichols

Dall’articolo "I 100 migliori film della Storia del Cinema secondo Variety: 1° Psyco, 5° Pulp Fiction, 33° 8 1/2, 45° Titanic" di Antonio Bracco

[soapkaars]

If you could cast Peter Lorre in a modern day film or tv series, what character would he play?

So I already sort of answered a similar question in another ask, but let's go in the weeds properly with this one!

I am a big fan of detective mysteries - I grew up with Inspector Morse and Maigret, so naturally my first thought was casting Peter Lorre in one of those. I am firmly convinced Lorre would’ve been an excellent Poirot:

The character was made by Agatha Christie in the same time Lorre's acting career took off, so Poirot is literally a contemporary of Lorre's and a type of character he would definitely have been familiar with - the well-groomed, slightly prissy foreigner with a strong accent but an excellent grasp of the English language (though not always with its colloquialisms) who uncovers the dark secrets of British upper class families. It's a pity Mr Moto and Charlie Chan were so popular in the US, because in an ideal world the foreign detectives who took Hollywood by storm should’ve been based on Hercule Poirot, and then I would've had my wish.

I really should watch Twin Peaks because from everything I know through cultural osmosis about that series, Lorre would've fit right in. I think Peter Lorre would've definitely been a great fit in some of David Lynch's films (Eraserhead, Blue Velvet…) , particularly because he loves to cast oddball characters who are larger than life. Come to think of it, a lot of late 20th century American films have delightfully strange and fascinating characters and plots Lorre could be a part in - from the French Connection, to American Psycho, to Videodrome (Lorre in a Cronenberg film! Imagine), to Pulp Fiction… I’m not even imagining him as playing a main role, some of the auxiliary characters in those films would fit him to a T.

The only thing I'm having a hard time imagining him in are contemporary films of the last five years. Certainly not Hollywood films as they are now! But… I do think he would be a natural fit in Wes Anderson films - so many of his films hide this deep melancholy and ennui under their perfectly maintained facades, and considering how Lorre acted: always being the best dressed in so many films, but at the same time hiding so many layers of characterisation under those stylish clothes…

In fact, coming from the German Expressionist tradition and avant-garde theatre, Lorre would do very well with auteur directors from almost any era! Exercise for the reader: imagine Lorre in a film by

Jean-Pierre Jeunet: Amelie Poulain, Alien Resurrection (I know people hate this film but just imagine him as that creepy doctor - perfect fit), The City of Lost Children, Delicatessen (you know he would fit so well in that one)

Francois Ozon: Swimming Pool

Tom Tykwer: Lola Rennt (Run Lola Run)

Federico Fellini: la Dolce Vita, 8 and 1/2, Il Bidone

Paolo Sorrentino: La Grande Belleza, Il Divo, Youth, Loro

Luchino Visconti: Death in Venice, Ludwig, Ossessione (an adaptation of The Postman Always Rings Twice!)

Bernardo Bertolucci: Il Conformista

Stanley Kubrick: The Shining, Dr Strangelove, Clockwork Orange, the Killers

[cassnderson]

Movies I’ve Watched & Thoroughly Enjoyed

- The Unbelievable Truth (1989) - Dir. Hal Hartley•

- Near Dark (1987) - Dir. Kathryn Bigelow•

- High Plains Drifter (1973) - Dir. Clint Eastwood•

- Crimes of Passion (1984) - Dir. Ken Russel

- The Devils (1971) - Dir. Ken Russel

- True Romance (1993) - Dir. Tony Scott•

- Less Than Zero (1987) - Dir. Marek Kanievska

- Phantom of The Paradise (1974) - Dir. Brian De Palma•

- But I'm a Cheerleader (1999) - Dir. Jamie Babbit

- Sleeper (1973) - Dir. Woody Allen

- Magic in the Moonlight (2014) - Dir. Woody Allen

- Josie and The Pussycats (2001) - Dir. Harry Elfont, Deborah Kaplan, & Marc Webb

- The Pink Panther Strikes Again (1976) - Dir. Blake Edwards•

- Reality Bites (1994) - Dir. Ben Stiller

- Scream (1996) - Dir. Wes Craven

- Tank Girl (1995) - Dir. Rachel Talalay•

- Sex, Lies, and Videotape (1989) - Dir. Steven Soderbergh

- The Before Trilogy (1995) (2004) (2013) - Dir. Richard Linklater

- Lady Bird (2017) - Dir. Greta Gerwig

- Jennifer's Body (2009) - Dir. Karyn Kusama

- Muriel's Wedding (1994) - Dir. P.J. Hogan•

- Blue Velvet (1986) - Dir. David Lynch

- Mulholland Drive (2001) - Dir. David Lynch

- Urban Cowboy (1980) - Dir. James Bridges

- Grey Gardens (2009) - Dir. Michael Sucsy

- Opera (1987) - Dir. Dario Argento - The Palm Beach Story (1942) - Dir. Preston Sturges•

- Weird Science (1985) - Dir. John Hughes•

- Election (1999) - Dir. Alexander Payne

- Who's Afraid of Virginia Woolf? (1966) - Dir. Mike Nichols•

- Bottle Rocket (1996) - Dir. Wes Anderson

- Raising Arizona (1987) - Dir. Coen Brothers

- O Brother, Where Art Thou? (2000) - Dir. Coen Brothers•

- The Love Witch (2016) - Dir. Anna Biller

- Dream Lover (1993) - Dir. Nicholas Kazan - One From The Heart (1982) - Dir. Francis Ford Coppola•

- Something Wild (1986) - Dir. Jonathan Demme

- Only You (1994) - Dir. Norman Jewison

- Moonstruck (1987) - Dir. Norman Jewison•

- Death Becomes Her (1992) - Dir. Robert Zemeckis

- So I Married an Axe Murderer (1993) - Dir. Thomas Schlamme•

- Romeo + Juliet (1996) - Dir. Baz Luhrmann•

- The Craft (1996) - Dir. Andrew Fleming

- Juliet of the Spirits (1965) - Dir. Federico Fellini

- Society (1989) - Dir. Brian Yuzna

- Murder by Death (1976) - Dir. Robert Moore•

- Better Off Dead… (1985) - Dir. Savage Steve Holland - Trees Lounge (1996) - Dir. Steve Buscemi

- 12 Monkeys (1995) - Dir. Terry Gilliam•

- Death Proof (2007) - Dir. Quinton Tarantino

- It's a Wonderful Life (1946) - Dir. Frank Capra•

- Chef (2014) - Dir. Jon Favreau

- Possession (1981) - Dir. Andrzej Zulawski

- Romy and Michele's High School Reunion (1997) - Dir. David Mirkin

- Amélie (2001) - Dir. Jean-Pierre Jeunet

- Night Shift (1982) - Dir. Ron Howard•

- Paris, Texas (1984) - Dir. Wim Wenders

- Joe Versus the Volcano (1990) - Dir. John Patrick Shanley•

- The Princess Bride (1987) - Dir. Rob Reiner•

- SLC Punk! (1998) - Dir. James Merendino

- Practical Magic (1998) - Dir. Griffin Dunne

- Foul Play (1978) - Dir. Colin Higgins

- The Crush (1993) - Dir. Alan Shapiro

- Ghost World (2001) - Dir. Terry Zwigoff

- Crash (1996) - Dir. David Cronenberg

- The Abominable Dr. Phibes (1971) - Dir. Robert Fuest

- Can't Buy Me Love (1987) - Dir. Steve Rash

- Cry-Baby (1990) - Dir. John Waters

- Little Miss Sunshine (2006) - Dir. Jonathan Dayton & Valerie Faris