Beyond this reaffirming of cinema’s beginnings, what perhaps strikes most about the list, given the vast new catchment of less seasoned critical voices that has been allowed to join it, is the fact that it’s largely a reshuffle: not a massive amount has changed. Seven of 2002’s ten remain on there, albeit in a different order. Even among the new entries, two were on the very cusp last time: The Searchers (which has jumped from #12 to 7) and the Dreyer (#14 to #9). The highest-ranking film by a woman, at #35, is Chantal Akerman’s incomparable Jeanne Dielman (which I voted for), and the only other one in the top 100 is Claire Denis’s 78th-placing Beau Travail. It will be a shock to many that the highest-ranking British film, The Third Man, comes in at a mere #73, followed by Lawrence of Arabia (#81) and A Matter of Life and Death (#90). Editorially speaking, Sight & Sound has a great tradition of flying the flag for homegrown film, but a large number of its internationally-polled critics must either disagree on the importance of British cinema or, more likely, differ with each other about which ones are important.