(Credits: Far Out / Alamy)

“If it can be written, or thought, it can be filmed.” – Stanley Kubrick

Following a career in cinema that lasted almost half a century, it’s safe to say that the great Stanley Kubrick managed to pick up a thing or two in the broad understanding of the cinematic art form. After making his first short documentary in 1951 and his last feature in 1999, Kubrick managed to fill the gap with now-iconic movies such as Dr. Strangelove, 2001: A Space Odyssey, A Clockwork Orange, The Shining and more.

Frequently cited as one of the greatest and most influential filmmakers in cinematic history, Kubrick’s legacy is longstanding and, in reflection, film historian Michel Ciment described the director as being “among the most important contributions to world cinema in the twentieth century”.

Kubrick’s signature style is a visual symphony, each frame painstakingly sculpted into a miniature masterpiece. With a relentless commitment to perfection, he wielded his lens like a virtuoso, orchestrating meticulously composed shots, playing with the nuances of light and shadow, and framing scenes with exquisite precision. The result? A visual tableau that continues to ensnare the imagination, inspiring both filmmakers and audiences with its visual opulence.

Kubrick’s mastery went beyond the aesthetics. He was a cinematic philosopher, a maestro of ideas. From the nightmarish landscapes of A Clockwork Orange to the cosmic voyage of 2001: A Space Odyssey, he beckoned viewers into the depths of a realm that can only be described as philosophical reflection. His films are intricate mosaics, woven with themes that provoke profound introspection, leaving the audience ensnared in the labyrinth of intellectual engagement.

While there’s no doubting Kubrick’s pioneering style, it was his unwavering approach to cinema that separated him from his peers. Throughout his career, Kubrick believed in his ideas, and while he continued to gain mainstream success, the director was always quick to point out those who had inspired him along the way. For example, the complex, fluid camerawork of the director Max Ophüls motivated him greatly. On top of Ophüls, Kubrick never hid his admiration for the likes of Elia Kazan, G. W. Pabst and more.

Kubrick almost always refused to be drawn into conversations about his ‘favourite films of all time’. However, on one occasion, the great filmmaker did divulge some of his favourites in conversation with a publication entitled Cinema. “The first and only (as far as we know) top 10 list Kubrick submitted to anyone was in 1963 to a fledgeling American magazine named Cinema (which had been founded the previous year and ceased publication in 1976),” the BFI‘s Nick Wrigley wrote in reflection.

While the list remains diverse, Kubrick’s right-hand man, Jan Harlan, would later explain that “Stanley would have seriously revised this 1963 list in later years, though Wild Strawberries, Citizen Kane and City Lights would remain, but he liked Kenneth Branagh’s Henry V much better than the old and old-fashioned Olivier version”. 

Kubrick was a genre alchemist, unafraid to venture across cinematic boundaries, seamlessly transitioning from science fiction to horror, war, and dark comedy. In each realm, he shattered preconceptions and sculpted new paradigms, establishing himself as the vanguard of cinematic excellence, so it should come as little surprise that those he admired most offer an eclectic range.

With the likes of Federico Fellini, Ingmar Bergman, Orson Welles and more, see the complete list below.

It’s worth mentioning Kubrick, who we know refused to take lists too seriously, has handed out great praise to various filmmakers who are absent from this list. Take, for example, in an early interview with Cahiers du cinéma in 1957, when Kubrick said: “Highest of all I would rate Max Ophüls, who for me possessed every possible quality. He has an exceptional flair for sniffing out good subjects, and he got the most out of them. He was also a marvellous director of actors.”

Following that, similarly, in 1957, Kubrick said of Kazan: “Without question the best director we have in America. And he’s capable of performing miracles with the actors he uses.”

For more information about Kubrick’s favourite filmmakers, he said in a 1960 interview: “I believe Bergman, De Sica and Fellini are the only three filmmakers in the world who are not just artistic opportunists. By this I mean they don’t just sit and wait for a good story to come along and then make it.

He added: “They have a point of view which is expressed over and over and over again in their films, and they themselves write or have original material written for them.”

With that in mind, you might want to take the list with a pinch of salt. It is without doubt, however, that the aforementioned films are pictures that Kubrick held close to his heart.