Iconic Movies | Entertainment Blog
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We all have our favorite movies, those that we love to review again and again and that are part of our lives in one way or another. Making a list with the best films in the history of the Seventh Art is an almost suicidal, because some titles will always be missing or leftover, depending on our personal tastes. We have dared to select 15 titles that we believe should be, on any list of this type, either for its purely artistic values ​​or for its influence or impact on the history of cinema.

Hopefully you agree with us and enjoy this review. Let the curtain open!


Vertigo (1958)

Director: Alfred Hitchcock


Movie ahead of its time and that only years after its premiere was claimed as the masterpiece it is. Its power of fascination continues to disturb spectators and filmmakers (who tell De Palma) and its perfect balance between ethics and aesthetics is perfect to tell this surreal story that masterfully mixes mystery with romanticism.

Most likely, the perfect work of Hitchcock.


Citizen Kane (1941)

Director: Orson Welles


Always at the top of this type of list, Citizen Kane, without being the best film of its director, it is undeniable that it has been erected as one of the most important and influential works in the history of the Seventh Art.

Directed, co-written, starring and co-produced by Welles, it was an unusual case of total creative freedom.

Xanadu Rosebud A maze with no way out and a revolution in film aesthetics.


Tales of Tokyo (1953)

Director: Yasujirô Ozu


A simple plot for a drama that deals with universal feelings: the love between parents and children, the irremediable passage of time, oblivion, children’s selfishness …

Life through stillness and a devastating portrait of the human and lost inheritances.


The Rule of the Game (1939)

Director: Jean Renoir


A brilliant portrait of the human condition, of the terrible appearances and of the lowest passions.

None of us escaped the game of farce and appearance; We are all liars who play pretending to be educated.


2001: Odyssey in Space (1968)

Director: Stanley Kubrick


Nobody disputes its title of top work of the genre of science fiction, but 2001 has always divided the public, who loves it or hates it (calling it boring).

The deliberate emotional gelidity of the characters and the aesthetics make the only really touching character not human, but a computer, the remembered HAL 9000, an emotional intelligence that becomes the real hero of the function.


The Searchers (1956)

Director: John Ford


Known as More heart than I hate in Latin America and Centaurs of the desert in Spain. Violence, revenge, redemption, road movie inside a western and the best interpretation of John Wayne.

The film, a journey and a circle that closes, hides all the great elements of the Fordian works: the portrait of the human condition, poetry, the epic and a clean and honest narrative.


The Passion of Joan of Arc (1927)

Director: Carl Dreyer


The photography of this film is its main asset and one of the main reasons why it is considered a masterpiece of silent films (and cinema in general).

Her powerful images, especially the protagonist’s close-ups, and her sense of prodigious rhythm make her a true cinematic experience.


8 1/2 (1963)

Director: Federico Fellini


A very personal jewel of its director, which perfectly embodies its unique and unrepeatable universe.

The lack of inspiration of its protagonist ends up constituting the work itself, a timeless imaginative anarchy where reality and fantasy are mixed and where Guido Anselmi embodied by Matroianni embodies the most explicit of the alter egos of the director.


The Battleship Potemkin (1925)

Director: Sergei Eisenstein


One of the key films in the development of narrative in the cinema, as well as editing and editing. In the famous scene of the staircase of Odessa there are more than 170 planes joined by the assembly that manage to cause us sensations that go beyond the succession of all those planes, reaching a visual power that would mark countless subsequent directors.

It retains its narrative nerve and its potential to thrill the viewer even today and some consider it the best film in history.


L’Atalante (1934)

Director: Jean Vigo


With an allegorical and poetic language and a daring sensuality for the time, Vigo’s film achieves a perfect balance between comedy and drama, reality and fantasy, while it is a clear denunciation of problems such as unemployment, ignorance and inequality Social.

Full of magic and vitality, of symbolisms and details, L’Atalante summarizes all the characteristics of Vigo’s style, whose visual and narrative lyricism made him the inspirer of the movements of the French cinematographic avant-garde of the 50s and 60s. Poetic realism and naturalist together with an anarchic discourse make this film an immense and profound experience that was totally misunderstood at the time of its premiere.


At the End of the Getaway (1960)

Director: Jean-Luc Godard


À bout de souffle is one of the emblematic titles of the Nouvelle Vague. Based on a script by Truffaut, he was surprised to resort to techniques not used in conventional cinema: the use of the camera in hand (inherited from Italian neo-realism), the plane jumps, the protagonists speaking directly to the camera making the viewer complicit. ..

Revolutionary and meta-narrative film, it breaks with the classic formulation of invisible montage and continuity to tell a story about the hostility of modern society and the cruel impassibility of love passion.


The Seven Samurai (1954)

Director: Akira Kurosawa


Kurosawa’s film is one of the most influential of all time, having left an imprint of great depth in pop culture, from George Lucas Star Wars to the legendary television series The A-Team.

Kurosawa does not allow a single static plane throughout the film, culminating in the final battle, tremendously modern in terms of assembly and planning. A full-fledged modern classic.


Revelation Now (1979)

Director: Francis Ford Coppola


An existentialist journey to the depths of madness and despair. War as an obsession, where Willard and Kurtz are two sides of the same coin.

Excessive in all aspects, it is an overwhelming (but marvelous) cinematic experience about the frights and nonsense of war, which almost ruined Coppola but is possibly his best film.



Director: Ingmar Bergman


The exploration and symbiosis of the two personalities of the same woman, masterfully interpreted by the two muses of the filmmaker (Bibi Anderson and Liv Ulman) is one of the most beautiful, disturbing, personal and fascinating films of the seventh art.

Bergman creates a work based on illusion and artifice to talk about social masks and the breakdown and fragility of identity.


Singing in the Rain (1951)

Director: Stanley Donen & Gene Kelly


This movie talks about the cinema and does it with a love and an overflowing joy that ends up infecting thanks to its music and songs for the memory. A comedy full of magic and feeling, which is already a living celluloid story.


For posterity, Gene Kelly dancing and pointing to the sky with his umbrella, perfect image of optimism and happiness.