
Citizen Kane
Welles was twenty-five and had never directed a feature before: he built a portrait of a man whose whole life nobody around him can add up, and changed everything.

Welles was twenty-five and had never directed a feature before: he built a portrait of a man whose whole life nobody around him can add up, and changed everything.

Day-Lewis builds an American monster out of oil and resentment, and Jonny Greenwood's score scrapes at the nerves for two and a half hours without once letting up.

Lynch built a Hollywood that runs entirely on dream logic and trusted the audience to assemble it: the whole thing feels like a half-remembered dream, and people keep returning.

Mizoguchi's ghost story is the one other directors mention when asked what changed them: two peasants chase money through a civil war, and the crossing through fog is unearthly.

Shot in nineteen days on three million dollars, and cut like a thriller: a drummer, a teacher who throws chairs, and the question of what greatness costs.