Top 10 Most Beautiful Films

I'm going to start out right away by saying there wasn't much of a criteria for me when choosing how to interpret "beautiful" in this context. I decided to include films which excelled at cinematography, shot composition, set design, costumes, and anything else that adds to the overall visual nature of films. What constitutes "beautiful" for me might be very different for you and some of the films contain horrific violence or images, but are presented in a beautiful way, so they still made the cut.

This was an immensely difficult list to make. Even after I decided to limit it to one entry per director, I still had 25 films on my preliminary list. The top three choices are my absolute favorites and would consistently make this list, the other seven and all the honorable mentions (something I don't usually do with these lists) could swap around and I'd probably be just as happy with the results.

Special thanks to Film Grab, where I got most of the pictures below. It's a wealth a beautiful frames from a tremendous amount of different films.

Don't forget to check out Kyle's blog for his list, too!

1. Barry Lyndon 

An easy, and probably expected, choice for my number one pick, Barry Lyndon is beautiful in just about every way. The cinematography, sets, costumes, and even a large portion of the cast are simply wonderful to look at.

The outdoors shots, like the bridge above and the road below, are simply magnificent. Part of the allure of these shots (and most of the shots in the film) is the long takes, slow zooms and reverse zooms, and just the exquisite little details that Stanley Kubrick and his cinematographer, John Alcott, were able to capture. 

 

The indoor shots are no less breathtaking. In the above shot, I love the use of light and dark to highlight different areas. The picture below is from one of my favorite moments of the film and I love the composition of this shot.

Below is one of the most famous examples of Kubrick's brilliance in Barry Lyndon. He used specially developed lenses to capture only lighting from the candles on the set. No other artificial lighting was used. The soft, warm glow adds a great level of detail to the film and draws the viewer in immensely.

2. Road to Perdition 

I wrote about Road to Perdition as part of My Favorite Films series and one of the main components I love about Sam Mendes' film is the stunning visual look he and cinematographer (and legend) Conrad Hall captured.

The picture above has always struck me as beautiful. To have that huge, wide open ocean sprawling out in front of young Michael Sullivan, Jr. represents a lot, but is also just a great shot. Below, set design and computer graphics work hand in hand to effectively recreate 1930's Chicago. It's a fantastic introduction to the world these characters inhabit.

Above is one of my favorite shots of the whole film: a grief stricken Michael Sullivan praying in church. The candles throw the perfect amount of light on Hanks' face and I love the way they dance in the foreground. Below, a great POV shot with young Michael peering in at the type of work his father does.

Below is from my favorite moment in the film: a rain soaked shootout and then an emotional confrontation. The lighting, shadows, and down-pouring rain combine to make a highly memorable and satisfying scene. This is the moment I always think of when Road to Perdition is mentioned. It's simply glorious. 

 

3. The Revenant 

The Revenant placed among My Favorite Westerns and I briefly touched on how striking the visuals were. Since I wrote that piece, I've had the pleasure of seeing The Revenant again (in the theater) and it was just as breathtaking as the first time. While going through the stills, I found more that I wanted to use (17 total) for The Revenant than any other film on this list and it was very difficult to narrow my selections down to just five.

The vast majority of the film is set outside, in beautiful snow-packed landscapes. The above shot is one of many featuring the majestic mountain ranges of Canada (filling in for Wyoming/Montana) dominating the field of vision. I love the juxtaposition of the one, small man amid the vastness of the outdoors.

Above and below, director Inarritu and cinematographer Emmanuel Lubezki (winner of three consecutive Best Achievement in Cinematography Oscars) make wonderful use of fading sunlight and let it paint beautiful pictures for them to capture.

 

I selected these two shots as a way to indicate The Revenant isn't all just wondrous landscape scenes, though both include some of that aspect, too. Above, the main character encounters an unusual sight while dreaming: a huge pile of animal skeletons. The imagery is positively striking. Below is from another dream sequence, where he finds an abandoned and ruined church. It's a scene of immense emotions and it benefits from the spectacular set design.  

4. Hero

Hero is a film I've only seen once, in the theater during it's original run in 2002, so I don't remember a whole lot about the film - besides the fact that it was beautiful from start to finish. While searching for pictures for this post, I discovered it is even more beautiful than I remembered and I'm eager to rewatch it in the near future.

Above, the set design and the reflective floor combine to create an interesting visual. This room seems impressive from first glance and you're drawn in to what kind of man has a throne room like this. This shot of the army below is beautiful in several ways, from the mountains in the background, to the striking red flags, to the shadowy figures. The dust flying up is a nice touch, too.

Above, the contrast of the bright red gown and the luscious yellow foliage is inherently pleasing to the eye. The wind sweeping across only adds to the allure. 

Above, the floating gazebo and mountains casting their reflection on the lake is just stunning. I love the different colors: green, pink, white, black, blue - all working in perfect harmony to create such a wonderful moment. Below, the Great Wall of China stretches from foreground to background and intersects a breathtaking mountain range and sunrise.

5. The Grand Budapest Hotel

Wes Anderson is one of My Favorite Directors and all of his films are visually pleasing and interesting. His newest, though, is his best in that regard.

The pictures above and below highlight the magnificent usage of matte paintings and miniatures that Anderson employed to set time and place. The Grand Budapest Hotel is an esteemed establishment and these shots show just how wonderful it really is.

One of Anderson's many strong suits is his eye for set design, costuming, and makeup. Within one scene, you're usually able to tell if you're watching one of his films. Above and below show the results of these efforts. That's the always talented Tilda Swinton (completely unrecognizable in old age makeup) and Harvey Keitel (decked out in interesting and threatening prison tattoos), just two of over a dozen expertly crafted characters.

Below is a striking shot, utilizing POV and visual effects, that demonstrates how willing Anderson is to blend different styles of film-making.

6. Citizen Kane

Citizen Kane is often listed as the "greatest film ever made" and while I don't agree with that, it's certainly one of the most beautiful. I love the crisp black and white picture and the different camera techniques that Orson Welles pioneered.

The film's opening moments - a montage of shots (one such shot is above) showing the grounds of a huge mansion in disrepair - are so well photographed and convey so much information, that it's staggering. You immediately get a sense of the person who inhabits this house, even before ever meeting him.

Two of Citizen Kane's most famous images. Above, the shattered snow globe reflecting a nurse's entrance into Kane's bedroom. I just love this image and it may be my favorite shot from the film. Below, the grand political rally, shot from the back of the huge auditorium as Kane addresses his followers. Both images are iconic and rightfully so.

I've always liked the shot above, with the natural wonder (ocean, beach, clouds, etc) contrasting with the modern (the automobiles). Below is an example of some of Welles' famous techniques - a low angle shot with deep focus. When I first saw Citizen Kane in college, it was these types of shots that struck me as most interesting. 

7. Blade Runner

Blade Runner is one of those films where the pictures almost speak for themselves. The five I chose to display here are my favorites, but there were many more viable choices. Each one is beautiful and interesting in their own way. I'm not a huge fan of the film overall, but I definitely love the visuals.

Above and below are the first two images of the film, after the opening credits and text scroll that sets up the plot. Los Angeles ablaze in 2019 and an unblinking eye, taking in the carnage. Such an amazing and unique way to start a movie - I was instantly hooked!

I also love the look that future Los Angeles has in Blade Runner. Above, the skyscrapers adorned with massive advertisements were scarily prescient, even if the flying cars never came to be. The cool blues and dark blacks combine with the lights to create a beautiful tableau. Below, one of the main rooms of the (sinister?) Tyrell Corporation, complete with grandiose columns and a spectacular view of the sunrise.

Below, one of the most memorable and emotional moments of the film, when Rutger Hauer delivers his excellent "Tears in the Rain" monologue. The color scheme and down-pouring rain, not to mention Hauer's expressive face and eyes, mix together to make an iconic scene.

8. The Searchers 

I'm not a big fan of The Searchers for a number of reasons, but I can't fault it's visuals. From start to finish, I don't think there's a bad shot in the film.

Above and below show off the natural beauty of Monument Valley, which doesn't suite the Texas setting at all, but who can blame director John Ford for wanting to return to this magnificent area? The prairies, mountains, river, and vast blue sky work together to create an awe inspiring sight.

Above is one of my favorite moments from the film, when the two main characters travel through a snowstorm. I've always been a sucker for expertly shot scenes in the snow and this is a real treat. I especially like that Ford placed the camera on this side of the trees to get an even more interesting visual. Below is a very different kind of scene - a long shot of the men traveling through a desert, with the wide expanse surrounding them and the sun setting in the distance. 

Below is an example of a technique Ford uses several different times in The Searchers: shooting a scene from behind an enclosure. The beginning and end of the film are seen through a door frame, but this one uses a mountain cave. 

9. Titanic 

Just last week, I listed Titanic as one of My Favorite Films and mentioned that it's wonderful visuals (from cinematography to CGI to set design to costumes) were a big part of the appeal for me.

Above, a beautiful shot of the RMS Titanic sailing through open water. Director James Cameron oversaw the creation of an amazingly detailed, nearly to scale model of the great ship.

Above, one of the most famous moments from the film. It's a prime example of Titanic's beauty. The lighting, shot composition, costumes, and even actors are stunning to behold. I'm not sure if there's ever been a prettier screen couple than Kate Winslet and Leonardo DiCaprio made in 1997. Below is an action scene, but it looks almost gorgeous enough to be a painting. The detail work used to recreate the interior of the ship is stunning. The light reflecting off the rising water is just an added bonus.

Above and below show off the magnificent and terrifying sinking of the Titanic. Only survivors of the disaster could say for sure, but I imagine this film captured the shock, fear, and panic of the actual event like no other film has. The imagery is breathtaking, in both a beautiful and heartbreaking way.

10. The Master 

Paul Thomas Anderson is one of My Favorite Directors and all of his films are expertly made and beautifully filmed. When deciding which of his works to choose for this list, though, I was left with a pretty easy decision to make. That's how wonderful The Master looks.

The shot above is one of my favorites and is usually the first thought that comes to mind when I think about The Master. A glorious overhead crane shot, looking down on a Navy ship and its crew. Front and center is the film's lead, an easily photographed Joaquin Phoenix. Below is a very different shot of a ship, this time a private vessel carrying partiers at night. I love the dynamic between the sunset, the bridge, the dark water and mountains, and the brightly lit ship.

Above is a wonderful shot, from inside of a house to the outside patio, of the late, great Philip Seymour Hoffman. The colors are so bright and vibrant and I love how the curtains are parted just enough to allow a clear look at Hoffman. The fact that he seems to gazing into the camera only seals the deal for me. 

Above is a fantastic moment, captured beautifully. With the mountains in the far background and the desert stretching around him, Hoffman and his motorcycle are free to dominate the shot. The light from the high above sun casts an interesting shadow. The bike is a marvelous sight, as is the costume. Below is an intense scene between two intense characters and actors. I love the placement of the two men, plus all the little details like the cigarettes, smoke, ashtray, and drinks. 

Honorable Mentions, in alphabetical order:

 Amelie 

 

Apocalypse Now

 

 

Chinatown

 

 

John Wick

 

Minority Report

 

The Natural

 

 

O Brother, Where Art Thou?

 

Raging Bull

 

Rear Window

 

Zodiac 

 

Well, there it is. It makes sense to me to have my final list in this series be the longest, with the most visual flair. Did I miss any of your favorites? Do you absolutely hate any of my choices?

I hope you have enjoyed reading these lists as much as I have enjoyed writing them. If you have any list ideas that you'd like to see me try, leave me a comment. I'm sure at some point down the line, I'll be in the mood for more!

Thanks for your continued support!