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.
These are the films that have won more than one best picture award, usually by winning Best Picture in its country of origin, then Best Foreign Film in another. For the sake of this list, I limited the list of recognized industry bodies to those from Australia, China, France, Germany, Great Britain, Italy, India, Japan, Mexico, Russia, Spain, Sweden, and the United States. In the interest of including all continents, I have made two exceptions to the industry award rule for the Gramado & Ouagadougou Film Festivals.
I included award categories for feature-length animation, but omitted shorts and documentaries. I also included variations on Best Film and Best Foreign Film, such as BAFTA's Outstanding British Film, the Hong Kong award for Best Asian Film, and the Donatello for Best European Film.
All titles are sorted first by number of honors, then year of release. The leader (with 7) is Pedro Almodovar's "All About My Mother", which won the Goya for Best Film plus the Oscar, BAFTA, Cesar, Lola, Donatello, and Guldbagge awards for Best Foreign Film.
Below are the films that have won over five "industry awards," defined as those awards selected by professionals in the movie business. I limited the pool of film industry bodies to those from the following countries: Australia (AACTA, formerly AFI), China (Golden Horse & Golden Rooster), France (Cesar), Germany (Lola), Great Britain (BAFTA), Italy (Donatello), India (Lotus), Japan (Awards of the Japanese Academy), Mexico (Ariel), Russia (Nika), Sweden (Guldbagge), and the United States (Oscar).
All titles are sorted first by total, then by year of release. The leader (at 23) is "The Last Emperor" with 9 Oscars, 9 Donatellos, 3 BAFTAs, 1 Cesar, and an award from the Japanese Academy.
The AACTA Award for Best Film is an award presented by the Australian Academy of Cinema and Television Arts (AACTA), a non-profit organisation whose aim is to "to identify, award, promote and celebrate Australia's greatest achievements in film and television".
From 1969-1975, the award was presented as a gold, silver, bronze or grand prix prize, or in some years, a cash prize.
* The 'Michael' segment of Three to Go was the one given the award in 1970.
In 1995, the Australian film magazine "Cinema Papers" polled over 6,000 members of the Australian film community to determine the "100 key films" of the Australian cinema. Those polled included "accredited members of the Australian Film Institute; industry guilds and unions; film critics and reviewers; academics and media teachers; and the NFSA's Kookaburra Card members.
"'Key' films were designated as those that have made a notable aesthetic, technical or historically important contribution to Australian cinema. Similarly, the criteria for 'Australia-ness' was defined broadly rather than narrowly."
The list excludes any films "made specifically for television or non-film formats."
SOURCE: Cinema Papers, "100 Key Australian Films." February 1996: p24-27
"The nation has voted for their favourite Australian feature fiction or documentary of all time. Here are the top 100 films as voted by you. The response has generated a vibrant debate of favourite screen stories that reflect who we are and who we wish to be as a nation. Family, of course emerges so strongly through these titles.
Other interesting elements to note – women directors sit at 26%, 7 films from the Top 100 are from Indigenous directors, David Gulpilil is in 10 of the Top 100, 10 films are from the ADL Film Fest FUND and 22 of the 100 were filmed or produced here in South Australia."
Artistic Director and CEO of Adelaide Film Festival, Amanda Duthie said: “The MY TOP 3 #YOUMUSTSEE initiative has given audiences a chance to reflect on the films that are forever stamped in our national psyche, and has generated vibrant debate about who we are and who we wish to be as a nation. Family has emerged as a major theme in the nation’s favourite films. We love Australian cinema and MY TOP 3 allowed us to re-connect audiences with the films they love, making it all the more special to bring the nation’s top 3 films back to the big screen.”
Additional info: https://www.if.com.au/the-castle-muriels-wedding-samson-and-delilah-voted-top-aussie-films-of-all-time-in-adelaide-film-fest-poll/
"Movies with Aboriginal content were rare before the mid-1990s. It wasn’t before the international success of the movie Rabbit-Proof Fence that the awareness for Aboriginal issues increased, even in Europe where this film was screened for almost half a year in Germany. Many of the films listed here are available on DVD or Blue-Ray."
The first part lists works with Aboriginal directors. Their content might not relate to Aboriginal culture. (1-99)
The latter part lists works with Aboriginal topics which were directed by non-Aboriginal people. (100-195)
There are many works missing from IMDB: https://goo.gl/bdG9FS
Please comment or message me if you find any of the missing works.
Last updated to match Creative Spirits website: 2015-06-06
James Curnow / October 30, 2014
Why write a list of the 100 greatest Australian films? While recently browsing through a book on the history of Australian cinema, it occurred to me that most Australian film buffs and cinephiles actually have a very limited concept of the nation’s cinematic output. Except for those films that first garner significant positive attention internationally, Aussies are often very reluctant to bother seeing the great movies being produced in their own backyards.
A perfect example lies in the recent release of the Australian horror film, The Babadook, which faded into oblivion upon its initial local release before subsequently garnering significant critical and commercial attention internationally. As a result, local audiences are now paying a little more attention. There are many reasons for this tendency: cultural-cringe, poor marketing, and a perceived tendency in Australian films to be either too serious or too broad. The result is that a lot of people (both within and outside of Australia) miss seeing many films which they would probably thoroughly enjoy. And so, to help those who might be interested in broadening their knowledge of the nation’s cinema, I’m pulling together a five-part series of articles on the 100 greatest Australian films of all time, running from The Story of the Kelly Gang in 1906, right up to the recent release of The Rover. And so, without further ado, here is Part One.