Top Ten Favorite FOREIGN-LANGUAGE films.

Being American myself, admittedly most of my favorite films are made from the US. Now, of course, not that Hollywood hasn't created countless great films, but, as limited as my film knowledge may be, I'd like to use this post to put forth 10 of my favorite foreign films, each which I would highly recommend. So, I'll start with one of the biggest world cinema classics with.....


10. BICYCLE THIEVES (1948, Vittorio De Sica) 

Despite its understandably depressing reputation, this neo-realism classic plays for a good portion of the film as a rather enjoyable, albeit at times painfully realistic, story of a father and son on an increasingly desperate search for the father's stolen bike which is required for the father to work and provide for his family. For what is the whole way a very well-made and realistic examination of poverty in post-war Rome, it ultimately earns its no-doubt-about-it classic status in the final moments of the film, which offers truly one of the most profound endings found in cinema. Understated yet deeply penetrating.

9. THRONE OF BLOOD (1957, Akira Kurosawa)

Akira Kurosawa is a titan among world filmmakers, but me and his films haven't always gelled. However, Throne of Blood is one that I really love and comfortably sits as my favorite film from him. Although not as acclaimed as the director's other samurai classics like Seven Samurai and Yojimbo, this ultra-dark and even spooky adaptation Macbeth is really effective in its visual story-telling. Gloriously over-the-top in its lead performance and visuals, the film excels in using its setting and dark black and white cinematography in creating a sinister mood and atmosphere that really draws me in. Additionally, compared to some of Kurosawa's other films, this one is rather refreshingly tightly woven. Toshiro Mifune is as menacing as ever -- over the top, maybe, but he is in no way hammy. Its a performance which fits entirely with the style of the film. And, as expected, the film ends in deliciously spectacular fashion.

8. THE ASCENT (1977, Larisa Shepitko) 

Not for the faint of heart, this Soviet World War Two film is one of the most out-right depressing films I have ever seen, endlessly bleak from beginning to end. When two Soviet partisans have to leave their unit and descend into the woods to find food and supplies, they begin what ultimately becomes a soul draining experience into war-time hell. Shepitko's direction captures the brutal, desolate nature of fighting in the winter in the Russian country-side, literally plunging the audience into the raw snow, and eventually deep into the human soul. When the credits roll, one is intensely disturbed, and I am not even sure if I would be able to soldier through the film ever again. But it is worth it for the experience.

7. WHEN A WOMAN ASCENDS THE STAIRS (1960, Mikio Naruse)

Unfortunately, this is the only Mikio Naruse film which is currently available for me, which is a real shame, for it is a truly great and I'd love to dive into more of his films. Hideko Takamine gives one of my favorite female performances of all time, playing a run-down, middle-aged Geisha who is trying to escape the business by opening up her own bar, all while trying not to sacrifice her integrity. Naruse takes us inside the lives of these characters, and it's one of these films where the characters truly open themselves up for the audience to see. When a Woman Ascends the Stairs is like the ultimate woman's picture, yet it is accessible to all, as it truly is a film about the strength and determination of the human spirit through the problems we face in life. It is at times very moving, and Naruse's slick directing style gives it a very watchable and modern feel. Tatsuya Nakadai also gives a great supporting performance.

6. UGETSU (1953, Kenji Mizoguchi) 

Yet another depressing entry to the list, this acclaimed film from the classic Japanese director Kenji Mizoguchi is about two peasant families struggling to survive during civil war torn Japan. Driven by ambition and eventually greed, the two men of the families see the economic opportunity of the way  take the risk of leaving their women (and children) behind in order fulfill their dreams of becoming wealthy or moving up in the social structure. Ignore the supernatural aspect of the film, for this is a relatively down to earth film about how we can lose track of the ones we love, which is truly the most important thing in life. The characters and story make it an instantly involving experience, and despite using an extensive amount of artificial sets, Mizoguchi's masterful composition and camera-movevement make it quite a rich cinematic experience. This is a film which got me interested more interested in trying more foreign films.

5.  Z (1969, Costa-Gavras) 

From the peculiar title, to the opening credits, and to the very end of the film, Z is essentially an ultimate, one of a kind political thriller. Detailing a fictionalized account that is supposed to mirror the over-throw of the democratic government in Greece, the film features an outstanding ensemble, with an energy that is at times bursting with electricity -- wildly unpredictable and unashamedly anti-authority. This is filmmaking with a passion and spirit and skill that I can truly admire. The direction is perfect, featuring amazing editing and music. And the film has one of the most brilliantly shocking endings I have ever seen.

4. AU REVOIR LES ENFANTS (1987, Louis Malle)

This is an extremely enjoyable, well-made and touching coming of age story about a friendship made between two young boys in a French Boarding during the Nazi occupation during World War 2. From what is apparently a very autobiographical film from French director Louis Malle, this is quite easily the most accessible film on the list and would be recommended to all. Filled with several authentic little details makes this a very rich, realistic, and personal film, with two outstanding performances from the two young leads, and an ending which brought me to tears.

3.  THE BATTLE OF ALGIERS (1966, Gillo Pontecorvo)

It's the combination of its remarkably even-handedness (although not at all without bias), its timelessness, and its unsurpassed realism which sets it apart from most films ever made. Although it could be considered a war film, the film also would make an incredible double-billing with the previously mentioned political thriller, Z. Simply put, The Battle of Algiers is one of the best films I have ever seen. It takes on the real life Arab uprising against the colonial French in Algiers, and turns it into one of the most fantastically awesome and entertaining war films ever made. At times having the look and feel of a real documentary, the film is still extremely relevant to this very day, and it demands to be applauded for its brutal and honest of the conflict, showing how both sides use terrorism to achieve their goals. Ennio Morricone's musical score is one of his very best, and along with Pontecorvo's fantastic direction, we have a film which doesn't feel a day old and is bursting with energy. Art and entertainment blended together seamlessly.

2. SAMURAI REBELLION (1967, Masaki Kobayashi)

When discussed among the major classic Japanese directors, Masaki Kobayashi seems to get somewhat overlooked compared the Kurosawa's and Ozu's -- and undeservedly so! After bursting on to the scene with the epic Human Condition trilogy, and then making other major works like Harakiri and Kwaidan, Kobayashi's last big film was perhaps Samurai Rebellion. A director who often worked with strong anti-authoritarian themes, Samurai Rebellion, like the previously mentioned Harakiri, is note-worthy for its critical examination and scrutiny of the samurai code and social system. This is NOT a samurai film for those who are looking to see Toshiro Mifune and Tatsuya Nakadai duke it out for 2 hours in constant swordplay. It works mostly as a superbly written, gripping, and intricate drama about betrayal, abandonment, and injustice -- all deliberately paced and extremely subdued and restrained. Kobayashi's incredible work with the camera delivers a uniquely exquisite cinematic intensity. Mifune gives perhaps his greatest performance as an old, retiring samurai who has grown disillusioned with the injustice in the samurai system and is just yearning to burst out. 


1. COME AND SEE (1985, Elem Klimov)

Every once in a great while a film comes around that delivers an earth-shattering experience -- one which reminds me the true unparalleled power of cinema. And experience is the key word here. It is what I always strive to find in films. Come and See is one of these earth-shattering experiences that I speak of. Drawing comparisons to it is rather difficult, for this Soviet war film is unlike anything you have probably ever seen. It is the equivalent of getting shell-shocked the fuck out of your mind. I'm not referring to a "mind-fuck" in the likes of more cerebral cinema. Come and See isn't something to think about -- it's something that is to be witnessed and felt and experienced  in every minute on screen. Perhaps appropriately so, for a war film it actually, in fact, works more along the lines of a horror film -- showing essentially how utterly horrifying war actually is. Elem Klimov, the husband of the previously mentioned Larisa Shepitko, features absolutely stunning direction. Featuring spectacular steady-camera tracking shots, incredible use of environment, and amazing sound-design, the film achieves tremendous realism and surrealism at the same time, creating a nightmare feel throughout the film which feels frighteningly real. To call Come and See a masterpiece would be an immense understatement. It is something which should be witnessed by all fans of cinema, particularly those fans of the war genre. Here is a link to my full review, posted on Left Field Cinema website: http://leftfieldcinema.com/come-and-see-review