I have no idea if this is anything near an accurate representation of the New York punk scene at the time, because I wasn’t there. But when I saw this as a teenager I certainly thought that it was, and that I was getting a glimpse of something really special. It also introduced me to Richard Hell, the Feelies, and ESG, and you can’t say that about many—or any—other films. —Will Young
The most beautiful film ever made, and the one that taught me that sci-fi doesn’t need spaceships and robots. Some of the crew attributed the deaths of Tarkovsky and quite a few others involved with the film to its brutally toxic locations, but visually the result is as good as cinema can get. Eduard Artemyev’s score merges so well with the sound design that I would happily listen to all three hours of the audio on repeat. —WY
The first time I saw this was the only time I’ve ever seen someone vomit in a cinema. Listening to the Howard Shore score still makes me think about pushing videotapes into my stomach. —WY
Fanny and Alexander: Theatrical Version
I saw this when I was (far too) young and had no idea what it was, and it gave me horrendous nightmares for the better part of a year. Haven’t dared watch it since. —WY
A Taste of Honey
We were taught this in English class at school. Our teacher was a dick, but this film (and the play by Shelagh Delaney) opened my eyes to the fact that it wasn’t just my life that was shit! It’s about as real as a film can get, and its approach to sexuality and race was thought-provoking. —WY
Don’t Look Now
Donald Sutherland and Julie Christie both look amazing in this film. It’s also a brilliant document of Venice in the early ’70s. It’s a stunning-looking film.
And interestingly, Geoff’s father-in-law was the main cameraman! The scene at the top of the bell tower in St. Mark’s Square, where Donald Sutherland’s legs are dangling—they’re Geoff’s father-in-law’s legs! I don’t think Donald fancied the climb?!! It’s also the best horror ending ever, without a doubt. —Billy Fuller
The first Terry Gilliam film I ever saw. I was ten years old, and it’s still my favorite (Brazil comes in at a close second). What ten-year-old wouldn’t want to be Kevin, pursued by a godlike figure, with a band of pirate dwarfs, while hopping from one major historical event to the next? I can’t remember how many times I’ve seen this, but it’s probably the same number of times I’ve watched The Goonies. —BF
Everything that is right and wrong in the world, made into an animated film about rabbits. I dare you not to cry. —Geoff Barrow
12 Angry Men
It’s the first grown-up film I ever saw that didn’t have guns or spaceships in it. I was ten and watched it in a caravan park in Exmouth. —GB
The Long Good Friday
One of the greatest British gangster films ever made in the Thatcher era. Bob Hoskins is at his best, and there’s a small part for the actor who plays Charlie in BBC’s Casualty. —GB
Caitlin Kuhwald’s Top 10
Caitlin Kuhwald designed the covers for Criterion’s editions of Heaven Can Wait, The Thief of Bagdad, and Amarcord. She lives in Oakland, teaches illustration at the California College of the Arts in San Francisco, and is a full-time freelance illu…
Keith Gordon’s Top 10
Filmmaker Keith Gordon has directed the features The Chocolate War (1988), A Midnight Clear (1992), Mother Night (1996), Waking the Dead (2000), and The Singing Detective (2003).
Karyn Kusama’s Top 10
For her list of favorite Criterion titles, the director of Girlfight and Destroyer celebrates the Hollywood classics, cult pleasures, and art-house masterpieces that inspire her, pairing movies that resonate with each other in style and theme.