The 20 Most Beautiful Movie

Scenes of All Time

Oscar Wilde and the Aesthetic Movement were of the opinion

that the essentiality of art is concentrated on the indulgence of
the senses through the absolute conquest of beauty. Although
cinema is probably the most multifarious kind of art, the visual
elements of a motion picture are of great significance and
cinematography captures as the tangible, as the contextual
allure of an artistic optical reenactment.
The principle of beauty is the foundation of culture. Therefore,
aesthetics are dependent on the historical trend and
geographical setting. Films document the multiculturalism rising
around the world and even more, the evolution of various
aesthetic standards over the years. From Asia to America, since
the very first steps to date, with light and shadow, cinema
fascinates mind and soul.
The cinematic universe is a magical projection of reality,
structured by countless stunning moments. This list
encompasses just a few samples of movie scenes, distinguished
by utter visual and substantial beauty.
20. Badlands (1973)
The filmic world of Terrence Malick reflects profoundly on the
hard core of life, highlighting the natural beauty through a
uniquely lyrical viewpoint. “Days of Heaven,” “The Thin Red
Line” and “The Tree of Life” are some of Malick’s well-known
works, discriminated for their impressive cinematography.
However, his first feature “Badlands” deserves an allusion for
its haunting visual allegories and its pure artistic approach on
morality and emotion.
Holly (Sissy Spacek) and Kit (Martin Sheen) take a bloodstained
road trip by way of the South Dakota Badlands. Were they
immoralists? Perhaps they were, perhaps they weren’t. But
they lived in their own “badlands” and loved each other dearly.
Thus, no blame could ever touch them.
Before the onset of their rough patch, Kit knew that the good
days would crumble along with their past. He promised to Holly
that he would always stand by her side. During the most
beautiful scene of the movie, which lasts only a few seconds,
Kit puts a piece of paper with his promise and some beloved
items in a box. Then he let it fly, tied to a balloon. Spacek
herself narrates the story and says, “His heart was filled with
longing as he watched it drift off.”
Even if these two people were meant to crawl through mud,
every valuable treasure of their hearts was saved, traveling
with a red balloon into a blue sky.
19. The Grandmaster (2013)

It’s almost impossible not to recognize a Wong Kar-wai film,

even from the first few minutes. His works are discerned by a
pioneering, unconventional directing viewpoint, and moreover,
his distinct cinematographic techniques have resulted in
numerous visually stunning movies and countless breathtaking
scenes.
Wong’s feature “The Grandmaster” is foremost focused on
martial-arts. Nevertheless, in a wider framework the story deals
with several aspects of Chinese culture and history, while it
follows the main characters’ life drama.
The handling of speed and light, the use of warm colors, the
nonlinear narration and even the impeccable blending of music
and image are some of the ingredients that reveal Wong’s
presence behind the visual foundation of this piece.
The most fascinating scene of the film illustrates a fight
between a woman (Ziyi Zhang) and a man (Jin Zhang) right
next to a moving train, in the meanwhile of a snowy night. The
interchange of motion speeds gives prominence to the delicate
and accurate moves of the fighters, and in combination with the
use of low-key lighting and evocative music, the scene takes all
the attention of the senses.
18. Pierrot le Fou (1965)

Jean-Luc Godard is definitely one of the most influential

directors of all time. He contravened the statutory cinematic
rules of his time and played a decisive role in the enactment of
a new cinematic language. Watching one of his films is enough
to be carried away in his dreamlike reality and never forget his
dazzling visual world.
Godard’s films have always been beautifully photographed,
regardless of the presence or absence of color. Nevertheless,
among the numerous iconic scenes occurring in his work, there
is one that stands out for being eerie while experiencing it and
unforgettable for a long time afterward: Anna Karina holds a
pair of scissors and moves it from right to left several times,
like attempting to hypnotize the spectator with that move.
This scene takes place in the movie “Pierrot le Fou,” where
Ferdinand, a concerned man embodied by Jean-Paul Belmondo,
and Marianne, an outlaw woman embodied by Anna Karina,
suddenly run away from their lives.
Very soon, the spectator forgets that Ferdinand and Marianne
may have a destination or scope; the movie is experienced
exactly like a delusional situation. Karina’s scene with the
scissors, in its mysterious charm, appears for the deepest level
of this dreamlike swirling.
17. Branded to Kill (1967)

“Branded to Kill” is a must-see movie for crime film lovers.

Although the story follows the outlaw activities of a hitman
defined by an extraordinary obsession, a filtered version of the
film’s reality, as it occurs by the unconventional narration and
symbolisms, is meant to expose the psychological profile of the
main characters, insisting on their agonies and motivations.
The most impressive scene of the film takes place when the
hitman visits the apartment of a mysterious and deadly woman
who charms him. The relationship between them is vague, as is
their deeper intentions and desires. However, at this point the
woman appears to be secretive, while the man is pronouncedly
weak and unsettled.
Countless butterflies are stuck on the wall, depicting the chaotic
feelings of fear, affection and desire occupying the hitman’s
mind. This scene, apart from its beauty and mesmerizing mood,
contributes to the deconstruction of the clichéd cinematic
confrontation of criminals.
16. Pan’s Labyrinth (2006)
“Pan’s Labyrinth” is an enchanting fairytale, created so as to
stimulate the imagination of an adult mind and skillfully expose
several truths of the earthly reality at the same time.
Guillermo del Toro has synthesized a dark, imaginary universe,
disguising behind its magical appearance many components of
our material world. Deep in its substance, this magical but not
ideal world is meant to describe humanity in a mythical
language. The cinematography, as well as the original score,
drags the spectator to wander in the mysterious paths of this
land and draw pleasure from the consecutive stunning pictures
and wonderful sounds.
The scene, in which Ofelia (Ivana Baquero) attempts with
bravery to enter a big cavity in a magic tree, is probably the
most visually captivating amongst the numerous thrilling
scenes taking place in this film.
15. Ugetsu (1953)
Kenji Mizoguchi in his film “Ugetsu” displays a timeless
ethological drama set in the 16th century, fusing realism with
surrealism elements. This film is one the most remarkable
works of postwar Japanese cinema, photographed by legendary
Japanese cinematographer Kazuo Miyagawa, who’s collaborated
with Akira Kurosawa and Yasujirô Ozu, amongst other
influential Japanese directors during his long-standing career.
Two country men leave their families in the interim of the civil
war in order to claim their own ambitious dreams in the capital
city. Hereupon, their wives are confronted with the relentless
circumstances instated in the province. The masterful directing
style, in combination with the stunning black-and-white
photography, emphasizes the dramatic atmosphere and the
emotional status of the characters.
One of the abandoned women decides to leave her village
secretly at night. She takes a small boat and paddles amidst
Lake Biwa, accompanied by her children. This is the most
theatrical scene of the film, synthesized by minimalist optical
elements and high-contrast lightning, with the aim to indicate
the forthcoming lonely path of this woman in the middle of a
dark and foggy place.
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14. There Will Be Blood (2007)

Paul Thomas Anderson’s masterpiece “There Will Be Blood”

rises graciously on the locale of never-to-forget cinematic
creations, due to its sincerity, raw beauty and indestructible
value.
Nature offers plenty of gifts to men. They need to stretch their
hands and grasp them. This precise point commences the
eternal matter of capitalization, establishment of boundaries
and segmentation.
“There Will Be Blood” elaborates on such a ceaselessly
unresolved issue and generates penetrative wonders about the
primal bond between men and earth; they can either enjoy with
wisdom the treasures originating from the ground, or alter
these treasures to poisonous fumes, led by an innate, greedy
force.
The brilliant cinematographic approach glorifies the optical
depiction of the film’s subject, peaking at the scene where an
oil derrick bursts into flames. Daniel Day-Lewis takes a chair
and watches the spectacle. There is nothing to do when an
inextinguishable fire rages in the middle of a barren land but to
stand and speculate.
13. The Turin Horse (2011)

Béla Tarr’s last film depicts six days of the symbolic life that an
old peasant and his daughter endure in a deserted field. Their
only weapon to survive is a crippled horse. Each day is
synthesized by three eight-minute one-shots. “The Turin Horse”
is noted for its remarkable directing style and philosophical
mood that arises from a total of lengthy, atmospheric scenes.
All along these six days, nothing important happens in the
small hut where the father and daughter live. The man takes
the horse and moves through the desolate land. His daughter’s
task is to fill two bins with water. These two humans seem to
be completely aimless, ceaselessly carrying the heavy load of
their existence. As an ironic response, nature appears to be
enraged. Unstoppable wind and snow cause a haunting noise
and presage a biblical disaster.
During the most terrifying scene, the girl is walking endlessly in
this hostile place that is preparing to terminate every vice or
inhumanity dominating for ages. She is heavily dressed, but it’s
not enough. This world is led to its disintegration. Her father is
watching the furious ritual of nature through the hut’s window.
12. The Suspended Step of the Stork (1991)
Greek cinema has been essentially defined by Theo
Angelopoulos, a pure artist who had looked thoroughly into
several inexpressible panhuman issues in his own, one-of-a-
kind lyrical way. On a smaller scale, he dealt boldly with Greek
social pathologies and stereotypes that even currently appear
in a more sharp and violent form than ever.
One of his main subjects has been the visionary and
materialistic concept of borders. The quintessence of this
matter is reflected on the emblematic scene of his film “The
Suspended Step of the Stork,” in which a man hovers on the
edge of a drawn border between two countries. This simplistic
move is a witty answer to the humanly devised limits and
moreover, it is a poetic depiction of the deep need for freedom
and unity. This scene is meant to touch the most sensitive
chords of a soul.
Even though Angelopoulos departed from life prematurely
without completing his artwork, he left behind plenty of
valuable cinematic creations, including scenes of immortal
artistic beauty, and he even contributed to the societal and
cultural progress of Greece.
11. Youth (2015)
Beauty can be reflected in many aspects of life: in nature, in
friendship, in memories, in love, in a female body, and more
crucially, in youth. Paolo Sorrentino, in his authentically
romantic film “Youth,” makes a consideration of the
multifaceted role of beauty in life and conclusively
demonstrates the undying, inherent need to discover beauty in
every grain of this world.
Two successful, middle-aged friends meet each other at a
resort in the Alps and find themselves in the ideal
circumstances to think about their past years of joy and
creative heat. The two men are clearly preoccupied by an
undimmed feeling of nostalgia, and subconsciously, they are
facing the bitter realization that youth is beauty, because
beauty is the life itself and there is not much of life left for
them.
While the two friends are relaxing in a swimming pool, carried
away into the maelstrom of their memories and insatiable
yearning, something magical happens: The most beautiful
woman in the world, who spends her holidays at this very
resort, enters the room naked and dives into the pool. Her
absolute beauty overwhelms the senses of the old men,
seeming like a divine temple of immortal youth to their eyes.
10. Wings of Desire (1987)
An angel ready to leave the sky and fall into the noisy and
overwhelmed reality due to his love for a woman is one of the
most beautiful and melancholic pictures ever created by a
human’s imagination. Henri Alekan portrayed this allegorical
mental image in one of the most graceful scenes arising in the
film “Wings of Desire.”
Wim Wenders’ “Wings of Desire” is a source of pain and
pleasure at the same time: the angelic creatures depicted in
this movie represent two eternal, solitary existences that
constantly hear everyone’s thoughts. The unavoidable effort of
the audience to follow these angels and watch the world from
their point of view is painful. Still, the beauty of this film is
original and flawless, engendering an extensive emotional
influence.
Although Wenders, together with Alekan, have succeeded in
making a projection of our harsh world through an angel’s eyes,
the distant overview of this angel right before he lands on earth
is predominant. He is an otherworldly man, determined to
abandon a granted heaven in order to share a chaotic and
mundane life with a soulmate.
9. Blade Runner (1982)
Science fiction’s primal pursuit is the insight into existential
purposes and spiritual forces. “Blade Runner” is one of the most
comprehensive artworks of science fiction, attempting to
investigate the blurred characteristics defining humanitarianism
and all of its prospective reflections.
The futuristic world described in “Blade Runner” could be
perceived as quite contradictory. It’s a world busy but silent,
too fast but still, advanced but primitive, and in principle, it’s a
world crowded but lonesome.
People have been able to create genetically artificial creatures
of their species. Even though the creators are against the
androids and vice-versa, the actual differences between them
have become indistinct. Humans can be decent and relentless,
and if they created androids, they would also be decent and
relentless. Every creation of humankind has always been in its
image and after its likeness.
Roy Batty is an android chasing his creators. He has many
reasons to kill one of them, but he doesn’t. He is half-naked in
the rain, holding a pigeon in his hands, and looks acutely
through the foggy and bleak atmosphere of this world. The
scene is terrifyingly beautiful. He has seen things that humans
wouldn’t believe, he said. Still, this world is scary but lovable
for him. Roy has a heart, even a hope; a white hope, able to fly
away. Roy has been made by humans.
8. Cries and Whispers (1972)

Three middle-class sisters gather together in their paternal

home due to the fatal illness one of them is fighting. Even
though Agnes (Harriet Andersson) is dying from cancer, she is
not the only one fighting an emotional battle: both her sisters,
Maria (Liv Ullmann) and Karin (Ingrid Thulin) are facing internal
demons and seem to be far from the sources of pleasure and
alleviation that they seek.
In the contrary, since Agnes’s weak body and mind are aware
of the forthcoming and unchangeable death, she accomplishes
a mental trip to the best of her memories. Raking up the years
of joy and serenity, Agnes manages to reach the higher stage
of purification, despite the deeply mournful, even pathological
ambiance of her home.
Right before giving up to death’s wills, Agnes is once again a
pure child, reclined in her mother’s arms. While her sisters are
still lost into their worldly troubles, she surpasses her
perishable foundation and approaches her inner, virginal
substance. This picture, intensively referring to “Pieta,” is the
most beautiful picture created by Sven Nykvist in Bergman’s
absolutely stunning film “Cries and Whispers.”
Pain, repressed anger and mortality are some of the main
subjects of interest in Ingmar Bergman’s filmography. Although
“Cries and Whispers” could be one of the darkest and most
dolorous of his works, this scene is the point of decompression
that leads to catharsis.
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7. The Night of the Hunter (1955)

“The Night of the Hunter” is one of the most hauntingly

beautiful noir films; or, more aptly, it’s a dark, visionary fairy
tale that refers to the Depression era without lacking in hints on
timeless abominable human conditions. The exquisite
cinematography was accomplished by Stanley Cortez, twice
nominated for an Academy Award.
A murderous opportunist finds out during his prison time that
the wife of a convict on death row owns a property in cash.
After rejoining society, he marries the easily victimized widow,
disguised as a priest. Soon, he discovers that her two little
children should be the target. Thus, he turns up his vicious
character and murders the unfortunate woman.
The children escape on a boat from their riverside home and
quite so, a magnificent but nightmarish scene arises. The
brother and sister helplessly travel on their small boat along the
river and spend the night in a shelter for animals, chased by
their enemy.
The moon rising is ensued by the moon setting, while the devil
is following their path like a black shadow on a horse. A gentle
female voice is singing: “Hush little one, hush, rest dearest
one, rest.” The emotions provoked by this scene are
indescribable.
6. Stalker (1979)

Andrei Tarkovsky’s surrealistic environments represent a lot

more than allegorical reflections of reality. Tarkovsky gives the
impression of having entirely comprehended the features
constructing the murky intellectual entity that is called
“subconscious” by humans. In his film “Stalker,” he makes a
projection of the upside-down aspect of several humane
thoughts and visions.
Three men called Stalker, Pisatel and Professor are traveling to
a place where wishes come true, moving forward into a fictional
universe called “Zone.” The three men could possibly be three
different subliminal manifestations of Stalker, who appears as
their leader. Throughout this navigation into the labyrinths of
Zone, deep philosophical inquiries about the scope and
potentiality of existence are engendered.
Probably the most delightful scene rising in the hypnotizing
land of Zone is the one depicting the protagonists passing
through the “Meat Grinder” tunnel. This tunnel includes
essential elements of reality. The ground is covered by sand
dunes and water drops produce natural sounds.
In the midst of Mead Grinder, Professor feels more in touch
with his mental flaws than ever. He expresses his frustration for
lacking constant inspiration and realizes his limited existence
against eternity. This passage could portray a human’s physical
and spiritual path through life.
5. Ran (1985)

In several of Akira Kurosawa’s works is the deep-seated

introspection into dominion and its impact on ethics and
objectivity. Frequently, his settings and psychology
compositions indicate a conspicuous influence by ancient Greek
drama and Shakespeare. His film “Ran” is an artistically
breathtaking piece, dealing with such subjects of archaic
origination.
The lord of a medieval Japanese city, who hasn’t been
incorruptible all through his political career, decides to hand
authority to his three sons. Although he pointed out the
necessity of unity to his sons in order to maintain the strength
of their castle, all of them use their recently received power so
as to satisfy personal pursuits. Thus, the occurring internal
disputes resulted in the ideal circumstances for external
attacks.
Quite so, the castle faces an offense. As the two opposing
armies clash, the unfolding scene is bitter to the bone and
simultaneously visually fascinating. The lord sits firm in his
castle, watching his men’s blood spreading over the whole
surface and his acquired life treasures burning away. Suddenly,
he decides to take action; he looks around him to find a
weapon, but it’s vain. He realizes his defeat.
In a state of suspended animation and with empty eyes, the
lord exits his blazing castle, carrying out a dramatic course
through the soldiers. Even if he has committed terrible acts in
his life, the feelings of sympathy for his current situation are
unavoidable. He had been blinded by the devious beast of
power. This scene, as synthesized by optical and contextual
elements, is insuperable and reveals Kurosawa’s visual art
education.
4. The Seventh Seal (1957)
“The Seventh Seal” moves through the labyrinths of Bergman’s
unique fantasy sphere, visiting the highest mountaintops of the
human spiritual lands in order to look upon inherent vices,
material perishability, religion, and death. This gemstone of the
seventh art proves that evil and virtue are two sides of the
same coin. At heart, mankind intends to satisfy its primal
mental need of eternal existence and dominion in multiple
altruistic and harmful ways.
The iconic scene depicting a chess game between the Grim
Reaper and a knight is a sarcastic response to the metaphysical
inventions having the purpose of disguising the humane
impermanence. This chess game remains incomplete. A
negotiation between a man and his inevitable fate could never
finalize in terms of common sense. When the knight confesses
to a priest, he doesn’t realize that the priest is death itself.
This beautiful scene, in its high black-and-white contrast, calls
to mind that even if people attempt to negotiate their rights
with death, he is going to take away all of them, while the
oceans and skies will continue existing in their natural serenity.
3. Citizen Kane (1941)
Even if someone attempts to watch “Citizen Kane” in mute
mode, the sequence of its stunning, dreamy moments will be
able to narrate the story, or at least reveal the evolution of
Kane’s psychology. Orson Welles’ first and insuperable feature
has been a cornerstone for the foundation of cinema, providing
inspiration from a technical viewpoint and even more,
reminding of the locked deeply in the heart – “Rosebud.”
The predominant scenes in relation to their visual value in
“Citizen Kane” are numerous. “Contre-jour” lightning occurring
by a beam of light pouring gently into the rooms, deep focus
technique resulting in multileveled pictures, and unusual
camera angles are some of the elements engendering the
unique beauty of this film. Nevertheless, the opening scene is
breathtaking in its ambient mood and artistic complexity.
2. Barry Lyndon (1975)
“Barry Lyndon,” one of Stanley Kubrick’s masterpieces, is
probably the most visually inspirational. Observing the dramatic
life of Barry Lyndon, a man who is neither a hero nor an
antihero, the spectator will watch this film again and again so
as to experience the pleasure stemming from its incomparable
artistic beauty.
The film’s masterful cinematography has generously
engendered plenty of fascinating moments, challenging the
instated limits of the visual esthetic standards. Optical
adequacy flows from brilliantly depicted 18th century settings,
detailed long shots, dramatic close ups, and much more.
Nevertheless, there is one prevailing scene in “Barry Lyndon.”
Barry is a former naïve country man, chasing fortresses, power
and social status. Even though his morality is getting more and
more paralyzed, there is something unsurpassed in Barry’s
distorted heart: his child. After his son’s death, Barry is left
emotionally distraught and drinks until his death. He is sunken
into an armchair, accompanied by other people also used up by
alcohol.
This scene is distinguished by the beauty of an academic
painting. The colors, the positions, the expression of every
person turned toward a different direction, even details like a
fallen chair and an empty bottle on the floor, synthesize a
picture that could be found in a museum.
1. The Mirror (1975)

“The Mirror” is an optical poem referring to those who nourish

in their souls an undimmed feeling of nostalgia for their
unprecedented emotions, childhood and parental figures. A
man, right before his premature death, places his lifetime
experience in front of a mirror and watches in an
unconventional row the catalytic events and beloved memories
of his growth.
The cinematography of this film by Andrei Tarkovsky’s is
exceptional, especially in relation to the use of color. The older
the memories are, the more faded are the colors. In
combination with the allegorical sense of realistic settings, this
brilliant technique takes the path of real time and even more,
creates an emotional crescendo.
In the protagonist’s chest of memories nest various valuable
moments, tinged with the magic of sentimentalism. Even if all
of them are touching, one is prevailingly heartwarming. A
remembrance of his mother allows her to soar at a distance
above her bed, like an ethereal creature, untouched by this
nature’s rules. Nothing could be more idealized in the mind of a
moribund man, compared to the gentle figure of the woman
who brought him to life.
Author Bio: Marillie Damoulianou is a Geologist from Greece.
She’s also a cinema lover, with special preference to the
European film movements.