Alfred Hitchcock

1h 26m

The British period at its best — a wrong-man chase in eighty-six minutes.

1h 36m

A woman disappears on a train and nobody admits she existed.

2h 10m

His first American film, and the only one to win Best Picture.

1h 48m

Reportedly his own favourite. A serial killer hiding in small-town family life.

1h 41m

Bergman and Grant, and the most adult thing he made under the Production Code.

1h 20m

Disguised as a single continuous take, decades before that was easy.

1h 41m

Two men swap murders. The premise has been stolen a hundred times.

1h 45m

A stage play filmed almost entirely in one room, and shot in 3D.

1h 52m

A man with a broken leg watches his neighbours. The perfect entry point.

1h 46m

Grant and Kelly on the Riviera. The lightest thing he ever made.

2h 0m

A remake of his own 1934 film, and he thought the second one better.

2h 8m

Routinely named the greatest film ever made. Also slow, cold and deeply unwell.

2h 16m

The crop duster, Mount Rushmore, and the template for every spy thriller since.

1h 49m

Changed what a mainstream film was allowed to do, structurally and otherwise.

1h 59m

No score at all, and an ending that simply stops.

2h 10m

Divisive then, reassessed since, and inseparable from how he treated Tippi Hedren.

1h 56m

A late return to London, and far nastier than anything he made in Hollywood.