Charts: Lists

This page shows you the list charts. By default, the movies are ordered by how many times they have been marked as a favorite. However, you can also sort by other information, such as the total number of times it has been marked as a dislike.

  1. Halavandrel's movie list's icon

    Halavandrel's movie list

    Favs/dislikes: 0:1.
  2. Haley Joel Osment Filmography's icon

    Haley Joel Osment Filmography

    Favs/dislikes: 0:0. Haley Joel Osment Filmography
  3. Haley Lu Richardson Filmography's icon

    Haley Lu Richardson Filmography

    Favs/dislikes: 0:0.
  4. Half in the Bag's icon

    Half in the Bag

    Favs/dislikes: 0:0. Films reviewed on Red Letter Media's Half in the Bag vlog series by Mike Stoklasa & Jay Bauman, with occasional guest Rich Evans.
  5. Halina Reijn Filmography's icon

    Halina Reijn Filmography

    Favs/dislikes: 0:0. Feature length filmography for director Halina Reijn.
  6. Halle Berry Filmography's icon

    Halle Berry Filmography

    Favs/dislikes: 0:0. Halle Berry Filmography
  7. Halle Berry ~top 5~'s icon

    Halle Berry ~top 5~

    Favs/dislikes: 0:0.
  8. Hallmark Movies's icon

    Hallmark Movies

    Favs/dislikes: 0:0.
  9. Halloween's icon

    Halloween

    Favs/dislikes: 0:2.
  10. Halloween 2012's icon

    Halloween 2012

    Favs/dislikes: 0:2.
  11. Halloween List 2015's icon

    Halloween List 2015

    Favs/dislikes: 0:0. Movies I plan to watch this halloween
  12. Halloween month 2019's icon

    Halloween month 2019

    Favs/dislikes: 0:0.
  13. Halloween Mood!! October 2016's icon

    Halloween Mood!! October 2016

    Favs/dislikes: 0:0. Movies, con proposito de verlas en este halloween (viejas o nuevas no problem)
  14. Hamarama 2018's icon

    Hamarama 2018

    Favs/dislikes: 0:0. What my local film festival is showing. Had trouble adding these films to the list: https://www.icheckmovies.com/movies/burnout-2017/ https://www.icheckmovies.com/movies/operasjon+morkemann/ https://www.icheckmovies.com/movies/tokasikajuttu/ Movies not on IMDb: CHICK COREA - THE MUSICIAN
  15. Hamburg Filmfest 2020's icon

    Hamburg Filmfest 2020

    Favs/dislikes: 0:0.
  16. Hana to Hebi—All movies's icon

    Hana to Hebi—All movies

    Favs/dislikes: 0:0. All “Hana to Hebi” (Flower and Snake) movies
  17. Hanna Schygulla directed by Fassbinder's icon

    Hanna Schygulla directed by Fassbinder

    Favs/dislikes: 0:0. - He tormented his actors, threw drinks at his cameraman, and died of an overdose at 37, leaving behind two dead lovers – and an extraordinary body of work. As a Fassbinder season begins at the BFI, Hanna Schygulla reveals how she survived - It is 35 years since the magnificent and monstrous director Rainer Werner Fassbinder died from a drugs overdose. His addiction to alcohol and cocaine was as widely known as his bisexuality, and his propensity for cruelly manipulating anyone who entered his orbit. Though he was just 37 years old at the time of his death, he had already made more than 40 features: most famously Fear Eats the Soul, a melodrama about a German widow who falls for an Arab immigrant more than 20 years her junior; Fox and His Friends, starring Fassbinder himself as a gauche carnival worker exploited by his boyfriend; and The Marriage of Maria Braun, in which a single-minded newlywed in the chaos just after the second world war claws her way to prosperity, declaring herself “the Mata Hari of the economic miracle”. When Fassbinder wasn’t spearheading the New German Cinema along with Werner Herzog and Wim Wenders, he was writing plays or mounting ambitious television series such as the 15-hour Berlin Alexanderplatz. His dominant theme was the manifestation of power at every level of society, whether between lovers, families or a country and its citizens. His muse was Hanna Schygulla, who brought her enigmatic, haughty allure to 23 of his film and television works. Now 74, with a wild mane of grey hair, she has collaborated with directors such as Godard, Béla Tarr and Carlos Saura and was even a contender for the lead in Sophie’s Choice. But she only ever gets asked about one person. Seated in the window of an empty restaurant in west Berlin, she tells me: “It’s because I’m one of the survivors.” Her choice of words makes Fassbinder sound like a natural disaster. To some, that’s precisely what he was. The pair first clapped eyes on one another in the mid-1960s when they enrolled at the same Munich acting school. They were in their early 20s, part of that wave of young Germans discontented with the response of the older generation to nazism. Schygulla was on friendly terms with a future member of the Baader-Meinhof terrorist group, while Fassbinder’s early plays challenged the commonplace fascism found in society. “He was against people being educated to do what they were told. So many people flipping out on Hitler suggested a strong tendency in Germany toward obedience.” There was an instant, unspoken connection between them. “It suddenly became crystal clear to me that Hanna Schygulla would one day be the star of my films,” he wrote. “Maybe even something like their driving force.” She found him curious. “My first thought was he looked Mongolian, not German,” she says. “He was extremely shy but also daring. During improvisations, his approach was always different from the others. There was never a cliché.” Fassbinder is rarely seen on screen without a leather jacket, a cigarette, a beer or all three, so I ask what he smelled like. She wrinkles her nose. “He had a strong smell about him. He smelled how he looked. Like a spotty rebel filled with angst.” They were rarely apart from that point on. He cast her in his debut film, the bare-bones gangster movie Love Is Colder Than Death, in which he played a petty hood and she was his blank-eyed, doll-faced moll. “We didn’t know what we were doing,” she says. “We were just playing around.” The look and subject matter are pure early Godard but the numbed acting style that would characterise Fassbinder’s later films was already in place. “He never explained anything and his direction was never psychological. He was more like a choreographer. There were precise gestures and movements he would get us to do. If you were a little strained and not totally into it, he would like that because it seemed you were living a life in which you were not comfortable; it was not really yours. That’s how he felt.” Only once did he offer her explicit direction. “In one scene, he hits me. But because I knew what was coming, I would always flinch. So he said: ‘Imagine you like to be slapped.’” However, she was one of the few members of his repertory company to avoid being tricked, trapped or intimidated by him. “He didn’t torture me. He knew he could only get things from me if he made me feel he liked what I was doing.” Few were so lucky. Life was hell for Michael Ballhaus, who went on to become Martin Scorsese’s preferred cinematographer. Ballhaus worked with Fassbinder throughout the 1970s, beginning with the garish western Whity, where most of the problems arose from Fassbinder’s pursuit of his leading man and sometime lover, Gunther Kaufmann. On one occasion, the director threatened to slit his wrists if Kaufmann wouldn’t sleep with him. “He even went as far as borrowing a razor,” recalled the film’s producer Peter Berling. “But in the end he simply shaved.” At the start of every day on Whity, Fassbinder would demand 10 cuba libres: nine to drink and one to hurl at Ballhaus. But the cinematographer stuck by him. “Working with [Fassbinder] was hard, both mentally and physically,” he once said. “He used to emotionally abuse me and also my wife, who was an art director on a few of his movies. I never understood his behaviour but I learned so much from him.” The emotional casualties Fassbinder left in his wake were almost as numerous as his movies. Two of his lovers, El Hedi Ben Salem and Armin Meier, both of whom also acted in his films, later hanged themselves. Irm Hermann, who lived with the filmmaker for several years and worked with him almost as often as Schygulla, suffered emotional and physical abuse at his hands which drove her to try to take her own life three times. When she threatened to jump out of a window, he told her: “Go ahead.” At a group dinner, Fassbinder announced that he would sleep with her only if she would renounce her vegetarianism by eating a steak. She acquiesced but then vomited afterwards. “I said eat it, not puke it up,” he fumed. “If you want to make it with me, you’ve got to keep the meat inside you.” Schygulla says she wasn’t present at that meal. But she witnessed plenty of similar behaviour. “It was painful to watch. I looked away a lot.” She says this softly, with a hint of shame, and suddenly her description of herself as a survivor starts to make sense. This is a woman, after all, who was delivered on Christmas Day 1943 by a doctor who happened also to be moonlighting at Auschwitz. She has described this as “like living with a secret crime or a corpse in the cellar”. I wonder if she is suffering from a form of survivor’s guilt. I wonder, too, whether the put-upon actors ever offered one another support or solidarity. “A little bit. Never in front of him. No one ever said, ‘Stop this behaviour or we’ll quit.’ It was like being in a laboratory that was set up to discover what man is like under pressure.” She fled the lab eventually. During the making of Fassbinder’s 1974 period drama Effi Briest, he told her all the projects he had lined up for them to make together. He even suggested putting her under a lifetime contract. “I felt too much like a puppet. I said, ‘Oh Rainer, give me a break, would you?’ That hurt him and he became distant.” Once the film was in the can, Schygulla hitchhiked across America while Fassbinder’s work-rate remained as relentless as ever. Eventually they were reconciled in 1978 for The Marriage of Maria Braun, arguably their fiercest film together, and certainly their biggest commercial success. “I wasn’t so keen on the story. I said, ‘Why does she have to die?’ He said, ‘Because she’s gone too far. If you go too far, there is no way to turn back.’” He would know. Their relationship took another knock after Schygulla discovered that Fassbinder had personally intervened to ensure she was paid less than her male co-star on his 1981 wartime melodrama Lili Marleen. “He must have thought, ‘That’s good enough for her.’” She was shooting a film in Mexico the following year when she received a message that Fassbinder had left phone messages for her. “I thought, ‘I’ll be in Paris soon, I’ll call him then.’” Not long after, he was dead. “He knew from the start that his heart was weak,” she says. “Before Love Is Colder Than Death, his doctor had told him to be careful. And then all that cocaine, all those pills. He was deaf to danger.” She made it back to Germany for his funeral. “They played all his favourite music from Schubert to Janis Joplin, Kraftwerk to Pink Floyd. But the coffin was empty. They were still trying to determine the exact cause of death.” Has she visited his grave in Munich? “What for? It’s just a couple of bones. I have my corner in my apartment where I keep the portraits of those who belonged to me. He is there.” His legacy, she insists, is as vital as ever. “He could see the world through the eyes of a stranger and there are film-makers today who learned from that. Look at Moonlight — it’s about being stigmatised, being gay and black and poor. Fassbinder was always interested in the lives of outsiders and immigrants from the very beginning. He showed how we are all under the tyranny of values that are not even our own.” - Ryan Gilbey, The Guardian, Mar 27, 2017 https://www.icheckmovies.com/listsettings/info/hanna+schygulla+directed+by+fassbinder/
  18. Hans Richter Filmography's icon

    Hans Richter Filmography

    Favs/dislikes: 0:0.
  19. Happiness's icon

    Happiness

    Favs/dislikes: 0:0. PTP list Movies that deal explicitly with happiness in their narrative - fundamentally stories about people who explicitly pursue or live a happy life. These movies are not necessarily about happy characters nor they are comedies. Overall this list is about movies that discuss the nature of happiness, its representation in cinema or present us with the problem of how to live a more fulfilling and happy life. Many movies present us with a happy ending, specially in Hollywood, but the happiness that interests me here is the happiness that do not depend on the resolution of an objective dramatic conflict (family conciliation, love affair, revenge, achievements, etc), but the happiness that springs from an existential, spiritual, philosophical or intimate resolution. Another cluster of movies are those that deal ironically with happiness, as Agnès Varda's Le bonheur. For the purpose of size, this list does not consider formulaic comedy movies about "life lessons", like Yes with Jim Carry or Click with Adam Sandler.
  20. Happy madison productions's icon

    Happy madison productions

    Favs/dislikes: 0:0.
  21. Harald nostaligia's icon

    Harald nostaligia

    Favs/dislikes: 0:0. bijzondere contemplative / human condition films waar je waarschijnlijk nog niet van had gehoord in het verlengde van Trois Couleurs en La Grande Bellezza
  22. Hardrive's icon

    Hardrive

    Favs/dislikes: 0:0.
  23. Harmony Korine Films's icon

    Harmony Korine Films

    Favs/dislikes: 0:0.
  24. Harold Russell Filmography's icon

    Harold Russell Filmography

    Favs/dislikes: 0:0.
  25. Harry Baur Filmography's icon

    Harry Baur Filmography

    Favs/dislikes: 0:0. Feature films starring Harry Baur
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