Beak

"The most beautiful film ever made, and the one that taught me that sci-fi doesn’t need spaceships and robots. Some of the crew attributed the deaths of Tarkovsky and quite a few others involved with the film to its brutally toxic locations, but visually the result is as good as cinema can get. Eduard Artemyev’s score merges so well with the sound design that I would happily listen to all three hours of the audio on repeat. —WY"

"Everything that is right and wrong in the world, made into an animated film about rabbits. I dare you not to cry. —Geoff Barrow"

"The first time I saw this was the only time I’ve ever seen someone vomit in a cinema. Listening to the Howard Shore score still makes me think about pushing videotapes into my stomach. —WY"

"The first Terry Gilliam film I ever saw. I was ten years old, and it’s still my favorite (Brazil comes in at a close second). What ten-year-old wouldn’t want to be Kevin, pursued by a godlike figure, with a band of pirate dwarfs, while hopping from one major historical event to the next? I can’t remember how many times I’ve seen this, but it’s probably the same number of times I’ve watched The Goonies. —BF"

"One of the greatest British gangster films ever made in the Thatcher era. Bob Hoskins is at his best, and there’s a small part for the actor who plays Charlie in BBC’s Casualty. —GB"

"I have no idea if this is anything near an accurate representation of the New York punk scene at the time, because I wasn’t there. But when I saw this as a teenager I certainly thought that it was, and that I was getting a glimpse of something really special. It also introduced me to Richard Hell, the Feelies, and ESG, and you can’t say that about many—or any—other films. —Will Young"

"I saw this when I was (far too) young and had no idea what it was, and it gave me horrendous nightmares for the better part of a year. Haven’t dared watch it since. —WY"

"Donald Sutherland and Julie Christie both look amazing in this film. It’s also a brilliant document of Venice in the early ’70s. It’s a stunning-looking film. And interestingly, Geoff’s father-in-law was the main cameraman! The scene at the top of the bell tower in St. Mark’s Square, where Donald Sutherland’s legs are dangling—they’re Geoff’s father-in-law’s legs! I don’t think Donald fancied the climb?!! It’s also the best horror ending ever, without a doubt. —Billy Fuller"