Sight & Sound Ballots

These are the ballots I submitted to Sight & Sound's once-a-decade-on-the-2s poll for the greatest films of all time.

Despite appearances, I think I was trying harder to be "special" with my 2012 submissions; special and with a meager attempt at king-making, as if I would, working my wiggling fingers through the cosmos, influence 1-2 fellow cinephiles' notions of the Official Canon, allowing my picks - all of them - to stand shoulder to shoulder with traditional S&S champions of bygone years. Jerry Lewis as mighty as Welles and Hitchcock, Sokurov's extraordinary and singular DV feat as worthy as Feuillade's seminal serial. I still stand by all of that but I don't dwell on it. One tires of one's own opinions, after a time, and it's important to try other ways of thinking.

The 2022 ballot, naturally, was fashioned in the shadow of the memory of the 2012 ballot. I only allowed one hard rule: no director repeats. (There's one cheat, sort of... anyway doesn't matter.) Otherwise, not a rule per se but a guiding thought: try very hard not to list any film that has a hope in hell of making the top 250 finishers. I succeeded in all but one, Ozu's great 1962 masterpiece.

As always, my answer to "are you fucking kidding with these" is, "sadly no".


2012

JUDEX (Louis Feuillade, 1916)
THE MAGNIFICENT AMBERSONS (Orson Welles, 1942)
MINISTRY OF FEAR (Fritz Lang, 1944)
FLOATING CLOUDS (Mikio Naruse, 1955)
VERTIGO (Alfred Hitchcock, 1958)
RIO BRAVO (Howard Hawks, 1959)
THE PATSY (Jerry Lewis, 1964)
AU HASARD, BALTHAZAR (Robert Bresson, 1966)
PULSE (Kiyoshi Kurosawa, 2001)
RUSSIAN ARK (Alexander Sokurov, 2002)

2022

L'ARRIVEE D'UN TRAIN A LA CIOTAT (August and Louis Lumiere, 1896)
OUR HOSPITALITY (Buster Keaton and John G. Blystone, 1923)
ANY OLD PORT! (James W. Horne, 1932)
GOOD NEWS (Charles Walters, 1947)
THE THING FROM ANOTHER WORLD (Christian Nyby, 1951)
ANATOMY OF A MURDER (Otto Preminger, 1959)
AN AUTUMN AFTERNOON (Yasujiro Ozu, 1962)
LA CHIESA (Michele Soavi, 1989)
VENGEANCE (Johnnie To, 2009)
DOMINO (Brian De Palma, 2019)