I actually don't think film depends all that much on technology. True, contemporary audiences will have to learn how to watch, read, and understand silent, blac

I actually don't think film depends all that much on technology. True, contemporary audiences will have to learn how to watch, read, and understand silent, black & white, and early color (like Technicolor) films. But the essential pathos, invention, and artistry sip through the pores of their technical fabric. I'd say there's probably hundreds of films that can reasonably compete to be in the top spots. Most films aren't given that chance since they aren't widely seen by critics. For example, the 1985 Soviet film 'Come and See' is an utterly stunning example of film's power to document trauma, convey another's pain, and do so in formally and visually inventive ways. It takes pathos to the extreme. I do believe it should be considered one of the greatest films for these reasons. But it only came out 35 years ago and simply has not been shown enough, so it doesn't have the canonical heft it deserves yet. I do think the canon is important, even if it's just because it forms the foundation on which contemporary films sit (at least those with artistic pretensions). But it's important to have your own voice when watching them. I, for example, like Tokyo Story, but think Floating Weeds is the greater Ozu film, not least for it's beautiful images - it is perhaps the best-looking color film.