(Here is an interesting example of cross-referencing:)

I’m not sure whether this one would exist without The Magnificent Ambersons, and, like that film, without that specific director at the helm, it may have come out as merely mediocre.

What I’m saying is Marty and Thelma Schoonmaker, the editor, make this movie.

It is aesthetically delicious.

With so many seamless dissolves it felt like the whole movie floated by like a painful dream.

Or, maybe more accurately, a memory.

Daniel Day-Lewis is to be married to Winona Ryder, but gets frisky with her cousin Michelle Pfeifer.

The movie asks what the repression of such a strong emotion as love can do to someone, and it does so through wonderfully visual storytelling.

Save for a heavy opening with some really dense narration (not at all a hindrance; in fact, a stylistic bombshell), the rest of the film is heavily reliant on sound and lighting.

Reality is literally put on hold at the service of these two lovers.

One of the best examples of this is in the opera house.

The whole auditorium goes dead quiet, pantomiming conversation.

Meanwhile, Day-Lewis and Pfeifer are spotlit and talk to each other as though they were utterly alone.

It is also an incredibly well edited film.

Maybe some of the wildest camera moves Scorsese’s ever put to the screen?

A great example of a master elevating a story with his craft.