Ten, No. 4
“Why Ten? Why not 9 or 11? I’ll tell you why, because ten sounds important, ten sounds official. They knew if they tried 11, people wouldn’t take them seriously. People would say, ‘What, are ya kiddn’ me, the 11 Commandments? Get the fuck outta here!’ But Ten, Ten sounds important, Ten is the basis for the decimal system. It’s a decade. It’s a psychologically satisfying number; the top Ten, the Ten most wanted, the Ten best dressed. So deciding on Ten Commandments was clearly a marketing decision, and clearly, it’s a bullshit list.” – George Carlin on the Ten Commandments.
I used this only to explain the necessity of Ten, especially for the fourth time in a row, but I assure you this isn’t entirely a bullshit list, just another section of my own personal canon so far. I hope to get it all narrowed down however, someday, to much simpler standards.
31. La bete humaine (Dir. Jean Renoir, 1938)
32. Vertigo (Dir. Alfred Hitchcock, 1958)
33. Pickpocket (Dir. Robert Bresson, 1959)
34. High and Low (Dir. Akira Kurosawa, 1963)
35. Pierrot le fou (Dir. Jean-Luc Godard, 1965)
36. The Conformist (Dir. Bernardo Bertolucci, 1970)
37. Bring Me the Head of Alfredo Garcia (Dir. Sam Peckinpah, 1974)
38. The Man Who Fell to Earth (Dir. Nicolas Roeg, 1976)
39. The Living End (Dir. Gregg Araki, 1992)
40. Elephant (Dir. Gus Van Sant, 2003)
10Gus Van Sant