Michael Mann’s ‘Heat’

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Stanley Kubrick’s ‘Barry Lyndon’

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John Boorman’s ‘Point Blank’

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Michelangelo Antonioni’s ‘The Passenger’

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James Cameron’s ‘Terminator 2: Judgment Day’

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Fritz Lang’s ‘Metropolis’

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Martin Scorsese’s ‘Raging Bull’

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Andrei Tarkovsky’s ‘Stalker’

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Ridley Scott’s ‘Alien’

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James Cameron’s ‘Aliens’

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Michael Mann’s ‘The Insider’

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Martin Scorsese’s ‘Taxi Driver’

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Martin Scorsese’s ‘Goodfellas’

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Francis Ford Coppola’s ‘The Conversation’

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Francis Ford Coppola’s ‘Apocalypse Now’

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Stanley Kubrick’s ‘2001: A Space Odyssey’

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Sidney Lumet’s ‘Network’

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Robert Altman’s ‘McCabe & Mrs. Miller’

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Alfonso Cuarón’s ‘Children of Men’

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Martin Scorsese’s ‘Bringing Out the Dead’

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Brian De Palma’s ‘The Untouchables’

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Terrence Malick’s ‘The Thin Red Line’

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William Friedkin’s ‘Sorcerer’

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Sidney Lumet’s ‘The Verdict’

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Sergio Leone’s ‘Once Upon a Time in America’

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George Miller’s ‘Road Warrior’

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Orson Welles’ ‘The Trial’

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John McTiernan’s ‘The Hunt for Red October’

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Martin Scorsese’s ‘Casino’

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Peter Weir’s ‘Fearless’

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Peter Weir’s ‘Master and Commander’

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C&B Archive

THE LATEST

An Open Road to Collaborative Success: Quentin Tarantino and Tony Scott’s ‘True Romance’

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That belongs in a museum

‘The Illustrated Blade Runner’

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Kubrick’s original treatment for ‘The Shining’

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Terry Rawlings’ ‘Alien’ editing script

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‘Blade Runner’ original storyboards

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Cinema Museum

Film noir

Film noir has a mood that everyone can feel. It’s people in trouble, at night, with a little bit of wind and the right kind of music. It’s a beautiful thing.

David Lynch

‘The Third Man’

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‘Sunset Boulevard’

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‘Touch of Evil’

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‘The Maltese Falcon’

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‘Shadow of a Doubt’

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‘Double Indemnity’

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‘The Lost Weekend’

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‘Mildred Pierce’

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‘The Night of the Hunter’

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‘Sweet Smell of Success’

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Film Noir: Bringing Darkness to Light