Breaking the Waves (1996 Lars Von Trier)

Having a hard job summarising feelings for this film. Emily Watson's performance is extraordinary. It's a sneaky movie really, because her (mentally unstable?) actions do ultimately save him (ironically he's getting much better). Clearly a lot to do with faith (the church, her talking to god), with playful (miracle) ending of bells suddenly ringing. Robby Muller's landscape vistas for chapter headings memorable. (Strangely on Film4 only in 16x9, though it's 2.35:1).

The Yearling (1946 Clarence Brown)

Looks great: the scene where everyone's around G. Peck's bed looks especially Old Mastery. Claude Jarman Jr's great as the human yearling, but when the other kid 'Fodderwing' comes on with his faraway look, you want to slap him. Such is the technical excellence of the film you're not sure sometimes whether  you're looking at a painting / studio or sky / exterior. Sympathy for the actual deer has definitely reduced over time!

Casino Royale (2006 Martin Campbell)

Determined to be different - pre-credits in black and white. Sniper / blood image at end. Graphic design titles (Martin Kleinman). Actually follows (some of) Fleming's plot. 'Bond, James Bond' at end.

Craig excellent (cool but vulnerable). Villain draws on tradition of European actors, Mads Mikkelsen more credible than other villains, but weedy. Didn't even recognise Giancarlo Giannini as Mathis. Paul Haggis had a hand in better-than-usual script. No campy humour, minimum gadgets. Great torture scene. Phil Méheux has come a long way since Out (remembered this after ?30 years). Arnold's score really a John Barry copy. Absolutely amazing standard-setting stunt / chase early scene free-running. It's long, but there's no 'big' set piece final shoot out: a definite plus.

Ashes and Diamonds (1958 Andrzej Wajda)

Though not as immediate as Kanal, and more complex, contains several moments of classic film: the couple in bed, all close-ups and darkness; the murder and fireworks; death on rubble; the chapel.

Kanal (1957 Andrzej Wajda)

Wow. Becomes surreal indeed in the dark, dark sewers, where Vladek Sheybal goes mad (what happens to him?) and almost everyone is caught. Distinctive soundtrack, the darkest photography, a satisfyingly downbeat ending. Only Daisy, we suspect, might be a survivor. Funnily enough, no mention  of the smell (except at the beginning, when she's been walking the sewers).

Die Büchse der Pandora / Pandora's Box (1928, rel 1929, Georg Wilhelm Pabst)

The lack of establishing and tracking shots can make the geography of silent films strange. (And why is silent movie music so goddam weird?) Nevertheless the story of free-spirited Lulu's descent into hell is still absorbing stuff, although claims about film's sexuality are overrated. Memorable. Who's the older guy in her apartment in beginning? 'It's funny how you can get booze on credit, but not bread.' Lulu sold to the Egyptian for £300. The sailor whose clothes she borrows. The desperation of the besotted countess. And finally, the survival of the old schemer (who Lulu delightfully refers to a 'My first ... patron') who manages to wheedle his Christmas pudding.

Watch the featurette.

Louise Brooks, Fritz Kortner, Francis Lederer

Ph. Günther Krampf