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Nick James introduces the results of this year’s annual S&S poll, in which 85 contributors from around the world pick the top five films they saw in 2010, and their other movie highlights of the past 12 months
PLUS [online exclusive]: See the complete poll of 85 entries.
Based on the true story of a group of monks in Algeria, Of Gods and Men is one of several recent films to examine links between French and Islamic culture. But it’s the film’s evocation of the monks’ inner state that really resonates, says Jonathan Romney
With his controversial and racially charged final film The Liberation of L.B. Jones, William Wyler confounded critics and audiences alike, says Neil Sinyard
With Sight & Sound’s once-in-a-decade Greatest Film of All Time poll looming in 2012, David Thomson launches a series of occasional debates on the canon, here wondering whether Citizen Kane will – or should – retain its top spot
Like much of her past work, Sofia Coppola’s Somewhere is set in the rarefied world of the rich and unhappy. What do her films – and reactions to them – tell us about the perils of fame, asks Hannah McGill
PLUS Isabel Stevens talks to the director about capturing the mood and light of Los Angeles
Famous for his experiments scratching directly on to celluloid, New Zealander Len Lye was a trailblazer who moved between the cinema and the art gallery. As a major new exhibition opens, Ian Francis surveys Lye’s legacy
Ernst Lubitsch’s 1940 classic The Shop Around the Corner fills out its romantic-comedy confection with a moving portrayal of economic desperation. As the film is rereleased in UK cinemas, Nick James dissects the ‘Lubitsch touch’
Blending road-movie and sci-fi, the fantastic and the everyday, Monsters is an astonishingly assured feature debut for its young British writer, director and special-effects designer Gareth Edwards, says Nick Roddick
Actor-auteur Mathieu Amalric’s portrait of a New Burlesque troupe touring provincial France rings up all sorts of resonances, finds Chris Darke
Marcel Ophuls’s film about Klaus Barbie poses profound moral questions about war and guilt, writes Nick James