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This is a historical run through, perhaps not of the aesthetic high points of cinema but of some of its sticking points – many of these might be on the brink of breakdown or breakthrough. They are also personal favourites, but not absolutely: the Resnais and Chabrol choices are not my favourites of their films, but they do seem to be, authorially, the most inclusive – they contain multitudes. (I’m choosing F for Fake and This Is Not a Film as a pair: they come together in my mind, perhaps as some kind of degree-zero of cinema. Inadvertently, I also seem to have made Anthony Perkins the ultimate movie actor.)