Ranking Lab ― The Measured Editorial Desk
Editorial Research Ranking

The All-Time World Film Director Ranking
— 43 names where two polls disagree, scored on six measures

WByline: Someone who counts the work, not the votes (43 directors on six axes — form, time, record, actors, means, borders; every rank shown as a number)

A "world's greatest directors" list usually does not tell you who decided. So this one starts from a list whose deciders are known: the British Film Institute's 2022 critics' poll, voted on by 1,639 people, and the 264 titles it published. Two or more titles in that list, and a highest placing inside the top 100 — that condition alone, applied mechanically, leaves 44 people, and counting Powell and Pressburger as one pair (all six of their titles are joint credits) gives 43 entries. Nobody was hand-picked. But in that same year, 2022, the same institute asked 480 directors the same question, and the two lists do not agree. Nine of the 43 have no title at all in the directors' poll. John Ford, whom the critics place 15th, is 72nd with the directors; Stanley Kubrick, 6th with the critics, is 1st with them. So this ranking keeps the votes out of the scoring. The votes decide only who is in the field; the order comes from six measures — did they add to the grammar of cinema; is their handling of time a method of their own; did the real world survive on screen; what did they draw out of actors; whose money paid for it; were they actually used by film-makers in other countries. First overall is Akira Kurosawa (8.61). But the gap to Jean-Luc Godard (8.60) in second is 0.01. At that precision this writer does not consider the top settled. Change the measure and the king changes (try the lenses below).

How This Ranking Is Built (Methodology)

To avoid settling "who is the world's greatest director" in a single sentence, the score is split across six independent axes and recombined with weights (total = Σ(axis × weight)/100). Poll positions and vote counts, awards, box office, number of films, and fame are not among the axes. The polls decide the field only; none of it feeds the order. Each axis score is based only on facts extracted from the English and Japanese Wikipedia articles on each director. During extraction every fact was required to carry a verbatim quotation of 40 characters or more from the article text, and each quotation was machine-checked to be a literal substring of that text (687 of them; no mismatches). Where no material could be found for an axis, the axis was left low rather than filled in.

AxisWhat It MeasuresWeight
Invention of formDid they add to the grammar of cinema itself — leaving a technique or a form that later film-makers use by name?19%
Treatment of timeRunning time, ellipsis, repetition, order. Is the handling of time a method that belongs to this director?16%
The record of realityDid the reality of a place and a period survive on screen as the thing itself rather than as a construction?14%
Handling of actorsWhat was drawn out of the performers: a standing company, or non-professionals used as a method?14%
Independence of productionWhose money, and whose permission. Could they stand outside the industry?17%
Crossing of bordersAcross language, industry and genre — were they actually used by film-makers in other countries?20%
Normalization Rule
Poll positions and vote counts are not among the axes; the votes decide the field only. Awards, box office, number of films and fame are excluded too. Because the listed films span a century, from 1922 to 2021, technical progress earns nothing by itself (no points move because a film has sound, colour or digital capture). "Crossing of borders" is measured by whether other film-makers actually used the work, which takes time to happen. Directors whose oldest listed title is from 1990 or later carry a period-adjustment flag (Béla Tarr, Wong Kar-wai, Apichatpong Weerasethakul, Edward Yang, Claire Denis and Céline Sciamma — six entries). That rule is applied mechanically, with no discretion. Directors who are still alive have not finished working. That disadvantage cannot be removed, so it is disclosed rather than hidden.
Scope / Unit
From the 264 titles published in the 2022 critics' poll "The Greatest Films of All Time", run by Sight and Sound, the magazine of the British Film Institute, this ranking extracts mechanically the 44 directors who (i) placed two or more titles in the list and (ii) whose highest placing is inside the top 100. Michael Powell and Emeric Pressburger share all six of their listed titles as joint credits and are treated as one pair, giving 43 entries. Unit = director (or jointly credited pair); one entry per director. No one was picked by an editor. Nothing was added because the writer wanted it in, and nothing removed because the writer wanted it out. These 43 account for 133 of the 264 published titles and for 74 of the 100 titles inside the top 100. Sixteen directors with two or more listed titles fall outside because their highest placing is 101st or lower (Howard Hawks, Luis Buñuel, Hou Hsiao-hsien, Steven Spielberg, John Cassavetes, Lucrecia Martel, Terrence Malick, Alain Resnais, Ernst Lubitsch, Nicholas Ray, Jacques Demy, Paul Thomas Anderson, David Lean, Med Hondo, Wim Wenders and David Cronenberg). A director who left a single masterpiece is structurally excluded. That line is the largest arbitrary choice in this ranking.
Data Sources
The poll figures come from two pages of the British Film Institute, fetched and parsed by this writer (264 entries in the critics' poll, 104 in the directors' poll). Placings, title counts and the disagreement between the two polls are counted mechanically from those two tables. The facts about each director come from the English and Japanese Wikipedia articles for all 44, saved locally and used as the only source. All 687 extracted facts carry a verbatim quotation from that text, machine-checked to be a literal substring of it, with no mismatches. Japanese, Chinese and English renderings of names and film titles were taken mechanically from the corresponding language editions; the writer did not invent a transliteration. Where a film has no article in a given language, its original title is used unchanged.
Compiled / Subjectivity
2026. Crossing of borders carries the most weight on the editorial judgement that whether others actually used the work is the evidence of its strength. There are no exact ties, but first and second are separated by 0.01, and the top five fall inside a span of 0.15. That top is better read as a group standing together than as an order that has been settled.
Switch the scoring lens ― changing the weights moves the ranking (recalculated on the same evidence, same scores)

Overall Ranking

★ First Edition

Findings Against Conventional Wisdom

① First and second are 0.01 apart. Akira Kurosawa (8.61), Jean-Luc Godard (8.60), Abbas Kiarostami (8.58), Kenji Mizoguchi (8.55) and Chris Marker (8.46) — the top five fall inside a span of 0.15. This writer does not read that as a settled first place. It reads as five people from Japan, France, Iran, Japan and France standing together.
② Kenji Mizoguchi, fourth here, has no title at all in the poll of 480 directors. His best placing with the critics is 75th. Alfred Hitchcock, whom the critics put second, is eighth here; Chantal Akerman, first with the critics, is twentieth; Stanley Kubrick, first with the directors, is twenty-fourth. The order the votes produce and the order the work produces are measuring different things.
③ The nine with no title in the directors' poll (Mizoguchi, Rossellini, Fritz Lang, Hayao Miyazaki, Rivette, Keaton, Sciamma, Sirk and Ophüls) are not one kind of case. Two of them come high here — Mizoguchi fourth and Rossellini ninth — while the other seven sit thirty-first or lower. Not being chosen by directors is, on its own, no verdict at all.
④ Akira Kurosawa, first overall, does not top any of the four lenses. He is fourth on form, sixth on time, twenty-first on record, eleventh on means. The only axis he takes outright is the one with no lens on it, the crossing of borders. A Fistful of Dollars was an unauthorised remake of Yojimbo and ended in a lawsuit, and The Hidden Fortress fed into Star Wars — among the 43, that pair of records stands out.
⑤ The largest movement is Jacques Rivette, twenty-three places from 33rd overall to 10th on the time lens. Out 1 runs twelve hours and forty minutes. Narrow the measure to one axis and the table moves that far.

How the Landscape Changes When You Change the Weights (Sub-Views)

LensNo. 1Biggest MoversWhat It Measures
Overall balance (default)Akira Kurosawa 8.610.01 ahead of Jean-Luc Godard (2nd, 8.60); Abbas Kiarostami (3rd, 8.58), Kenji Mizoguchi (4th, 8.55) and Chris Marker (5th, 8.46) followSix axes in balance, measuring the work
Invention of form firstJean-Luc Godard 9.28Alfred Hitchcock from 8th to 2nd (9.04), F. W. Murnau from 22nd to 3rd (8.80); Akira Kurosawa from 1st to 4th (8.76)Did they add to the grammar of cinema
Treatment of time firstChris Marker 9.20Andrei Tarkovsky from 13th to 2nd (8.96), Béla Tarr from 18th to 3rd (8.96); Jacques Rivette from 33rd to 10th (8.56)Is the handling of time their own method
The record of reality firstAbbas Kiarostami 9.36Roberto Rossellini from 9th to 2nd (9.12), Jean Renoir from 12th to 3rd (9.04); Akira Kurosawa from 1st to 21st (7.20)Did reality survive as the thing itself
Independence of production firstCharlie Chaplin 9.12Satyajit Ray from 11th to 2nd (9.04), Francis Ford Coppola from 14th to 3rd (8.96); Stanley Kubrick from 24th to 4th (8.80)Whose money paid for it

Debate and Limitations

The 0 to 10 on each axis is this writer's judgement, not a fact. The sources support dates, nationality, release years, production companies, where the money came from, the names of techniques, and records of remakes and influence; beyond that, "did they add to the grammar" and "is the handling of time their own" are editorial calls. The source list carries references for facts only — there is no source for a score, because none exists.
The boundary of the field is the largest limitation. The rule — two or more listed titles, highest placing inside the top 100 — was drawn mechanically from an external poll, but the rule itself was chosen by this writer. A director who left a single masterpiece cannot appear. Sixteen directors with two or more listed titles are also outside, because their best placing is 101st or lower.
The biases of the poll that defined the field are inherited whole. Its electorate is weighted towards the anglophone world and towards Europe and North America, and films with surviving prints are favoured. None of that has been corrected here.
There is a structural bias by which the quantity of available fact becomes the score. The material here is encyclopaedia text: the thicker the article, the more material, and axes with no material were left low. Víctor Erice is last not as a rejection of his films but because little could be confirmed. For the same reason, independence of production for Claire Denis and three axes for Max Ophüls are left low.
Living directors, and directors whose careers are recent, are at a disadvantage. Crossing borders requires the time it takes for others to use you. Six entries whose oldest listed title is from 1990 or later carry a period-adjustment flag, but no points were added to compensate.
This writer also published a ranking of Akira Kurosawa's own films in the same month, and its first place is first here too. That conflict of interest cannot be removed, so it is disclosed. The number a reader should distrust first is the 6 given to Kurosawa on the record axis (the judgement being that precision of construction is a different thing from reality surviving as itself). With 0.01 between first and second, that single judgement is enough to change the order at the top.

Related

🎬 More on film — TokyoEiga.com 🎞 The Akira Kurosawa Ranking (all 30 films) 👻 The All-Time Horror Movie Ranking 📊 More rankings — 10i.jp hub

Sources

  1. The poll used to define the field. The 2022 critics' poll "The Greatest Films of All Time", run by Sight and Sound, the magazine of the British Film Institute. Begun in 1952 and held every ten years, this eighth edition drew ballots of ten titles each from 1,639 critics, programmers, curators, archivists and academics. This ranking fetched and tallied all 264 published entries itself, confirming that exactly 100 entries sit inside the top 100 and that 44 directors have two or more titles with a highest placing inside it (43 entries, counting the jointly credited Powell and Pressburger as one). https://www.bfi.org.uk/sight-and-sound/greatest-films-all-time
  2. The directors' poll run by the same institute in the same year, "Directors' 100 Greatest Films of All Time". 101 directors voted in 1992 and 358 in 2012; in 2022, its fourth edition, 480 directors returned ballots. This ranking fetched and tallied all 104 published entries, confirming that nine of the 43 have no title in that list at all and that the two polls share six titles inside their respective top tens. https://www.bfi.org.uk/sight-and-sound/directors-100-greatest-films-all-time
  3. Akira Kurosawa (1910-1998): dates, nationality, principal films, and the specific records this ranking used for the six axes — invention of form, treatment of time, the record of reality, the handling of actors, independence of production, and the crossing of borders. The Japanese and Chinese renderings of the name and of film titles were taken from the corresponding language editions. https://en.wikipedia.org/wiki/Akira_Kurosawa https://ja.wikipedia.org/wiki/%E9%BB%92%E6%BE%A4%E6%98%8E
  4. Jean-Luc Godard (1930-2022): dates, nationality, principal films, and the specific records this ranking used for the six axes — invention of form, treatment of time, the record of reality, the handling of actors, independence of production, and the crossing of borders. The Japanese and Chinese renderings of the name and of film titles were taken from the corresponding language editions. https://en.wikipedia.org/wiki/Jean-Luc_Godard https://ja.wikipedia.org/wiki/%E3%82%B8%E3%83%A3%E3%83%B3%EF%BC%9D%E3%83%AA%E3%83%A5%E3%83%83%E3%82%AF%E3%83%BB%E3%82%B4%E3%83%80%E3%83%BC%E3%83%AB
  5. Abbas Kiarostami (1940-2016): dates, nationality, principal films, and the specific records this ranking used for the six axes — invention of form, treatment of time, the record of reality, the handling of actors, independence of production, and the crossing of borders. The Japanese and Chinese renderings of the name and of film titles were taken from the corresponding language editions. https://en.wikipedia.org/wiki/Abbas_Kiarostami https://ja.wikipedia.org/wiki/%E3%82%A2%E3%83%83%E3%83%90%E3%82%B9%E3%83%BB%E3%82%AD%E3%82%A2%E3%83%AD%E3%82%B9%E3%82%BF%E3%83%9F
  6. Kenji Mizoguchi (1898-1956): dates, nationality, principal films, and the specific records this ranking used for the six axes — invention of form, treatment of time, the record of reality, the handling of actors, independence of production, and the crossing of borders. The Japanese and Chinese renderings of the name and of film titles were taken from the corresponding language editions. https://en.wikipedia.org/wiki/Kenji_Mizoguchi https://ja.wikipedia.org/wiki/%E6%BA%9D%E5%8F%A3%E5%81%A5%E4%BA%8C
  7. Chris Marker (1921-2012): dates, nationality, principal films, and the specific records this ranking used for the six axes — invention of form, treatment of time, the record of reality, the handling of actors, independence of production, and the crossing of borders. The Japanese and Chinese renderings of the name and of film titles were taken from the corresponding language editions. https://en.wikipedia.org/wiki/Chris_Marker https://ja.wikipedia.org/wiki/%E3%82%AF%E3%83%AA%E3%82%B9%E3%83%BB%E3%83%9E%E3%83%AB%E3%82%B1%E3%83%AB
  8. Agnès Varda (1928-2019): dates, nationality, principal films, and the specific records this ranking used for the six axes — invention of form, treatment of time, the record of reality, the handling of actors, independence of production, and the crossing of borders. The Japanese and Chinese renderings of the name and of film titles were taken from the corresponding language editions. https://en.wikipedia.org/wiki/Agn%C3%A8s_Varda https://ja.wikipedia.org/wiki/%E3%82%A2%E3%83%8B%E3%82%A8%E3%82%B9%E3%83%BB%E3%83%B4%E3%82%A1%E3%83%AB%E3%83%80
  9. Charlie Chaplin (1889-1977): dates, nationality, principal films, and the specific records this ranking used for the six axes — invention of form, treatment of time, the record of reality, the handling of actors, independence of production, and the crossing of borders. The Japanese and Chinese renderings of the name and of film titles were taken from the corresponding language editions. https://en.wikipedia.org/wiki/Charlie_Chaplin https://ja.wikipedia.org/wiki/%E3%83%81%E3%83%A3%E3%83%BC%E3%83%AB%E3%82%BA%E3%83%BB%E3%83%81%E3%83%A3%E3%83%83%E3%83%97%E3%83%AA%E3%83%B3
  10. Alfred Hitchcock (1899-1980): dates, nationality, principal films, and the specific records this ranking used for the six axes — invention of form, treatment of time, the record of reality, the handling of actors, independence of production, and the crossing of borders. The Japanese and Chinese renderings of the name and of film titles were taken from the corresponding language editions. https://en.wikipedia.org/wiki/Alfred_Hitchcock https://ja.wikipedia.org/wiki/%E3%82%A2%E3%83%AB%E3%83%95%E3%83%AC%E3%83%83%E3%83%89%E3%83%BB%E3%83%92%E3%83%83%E3%83%81%E3%82%B3%E3%83%83%E3%82%AF
  11. Roberto Rossellini (1906-1977): dates, nationality, principal films, and the specific records this ranking used for the six axes — invention of form, treatment of time, the record of reality, the handling of actors, independence of production, and the crossing of borders. The Japanese and Chinese renderings of the name and of film titles were taken from the corresponding language editions. https://en.wikipedia.org/wiki/Roberto_Rossellini https://ja.wikipedia.org/wiki/%E3%83%AD%E3%83%99%E3%83%AB%E3%83%88%E3%83%BB%E3%83%AD%E3%83%83%E3%82%BB%E3%83%AA%E3%83%BC%E3%83%8B
  12. Michelangelo Antonioni (1912-2007): dates, nationality, principal films, and the specific records this ranking used for the six axes — invention of form, treatment of time, the record of reality, the handling of actors, independence of production, and the crossing of borders. The Japanese and Chinese renderings of the name and of film titles were taken from the corresponding language editions. https://en.wikipedia.org/wiki/Michelangelo_Antonioni https://ja.wikipedia.org/wiki/%E3%83%9F%E3%82%B1%E3%83%A9%E3%83%B3%E3%82%B8%E3%82%A7%E3%83%AD%E3%83%BB%E3%82%A2%E3%83%B3%E3%83%88%E3%83%8B%E3%82%AA%E3%83%BC%E3%83%8B
  13. Satyajit Ray (1921-1992): dates, nationality, principal films, and the specific records this ranking used for the six axes — invention of form, treatment of time, the record of reality, the handling of actors, independence of production, and the crossing of borders. The Japanese and Chinese renderings of the name and of film titles were taken from the corresponding language editions. https://en.wikipedia.org/wiki/Satyajit_Ray https://ja.wikipedia.org/wiki/%E3%82%B5%E3%82%BF%E3%82%B8%E3%83%83%E3%83%88%E3%83%BB%E3%83%AC%E3%82%A4
  14. Jean Renoir (1894-1979): dates, nationality, principal films, and the specific records this ranking used for the six axes — invention of form, treatment of time, the record of reality, the handling of actors, independence of production, and the crossing of borders. The Japanese and Chinese renderings of the name and of film titles were taken from the corresponding language editions. https://en.wikipedia.org/wiki/Jean_Renoir https://ja.wikipedia.org/wiki/%E3%82%B8%E3%83%A3%E3%83%B3%E3%83%BB%E3%83%AB%E3%83%8E%E3%83%AF%E3%83%BC%E3%83%AB
  15. Andrei Tarkovsky (1932-1986): dates, nationality, principal films, and the specific records this ranking used for the six axes — invention of form, treatment of time, the record of reality, the handling of actors, independence of production, and the crossing of borders. The Japanese and Chinese renderings of the name and of film titles were taken from the corresponding language editions. https://en.wikipedia.org/wiki/Andrei_Tarkovsky https://ja.wikipedia.org/wiki/%E3%82%A2%E3%83%B3%E3%83%89%E3%83%AC%E3%82%A4%E3%83%BB%E3%82%BF%E3%83%AB%E3%82%B3%E3%83%95%E3%82%B9%E3%82%AD%E3%83%BC
  16. Francis Ford Coppola (1939-): dates, nationality, principal films, and the specific records this ranking used for the six axes — invention of form, treatment of time, the record of reality, the handling of actors, independence of production, and the crossing of borders. The Japanese and Chinese renderings of the name and of film titles were taken from the corresponding language editions. https://en.wikipedia.org/wiki/Francis_Ford_Coppola https://ja.wikipedia.org/wiki/%E3%83%95%E3%83%A9%E3%83%B3%E3%82%B7%E3%82%B9%E3%83%BB%E3%83%95%E3%82%A9%E3%83%BC%E3%83%89%E3%83%BB%E3%82%B3%E3%83%83%E3%83%9D%E3%83%A9
  17. Federico Fellini (1920-1993): dates, nationality, principal films, and the specific records this ranking used for the six axes — invention of form, treatment of time, the record of reality, the handling of actors, independence of production, and the crossing of borders. The Japanese and Chinese renderings of the name and of film titles were taken from the corresponding language editions. https://en.wikipedia.org/wiki/Federico_Fellini https://ja.wikipedia.org/wiki/%E3%83%95%E3%82%A7%E3%83%87%E3%83%AA%E3%82%B3%E3%83%BB%E3%83%95%E3%82%A7%E3%83%AA%E3%83%BC%E3%83%8B
  18. John Ford (1894-1973): dates, nationality, principal films, and the specific records this ranking used for the six axes — invention of form, treatment of time, the record of reality, the handling of actors, independence of production, and the crossing of borders. The Japanese and Chinese renderings of the name and of film titles were taken from the corresponding language editions. https://en.wikipedia.org/wiki/John_Ford https://ja.wikipedia.org/wiki/%E3%82%B8%E3%83%A7%E3%83%B3%E3%83%BB%E3%83%95%E3%82%A9%E3%83%BC%E3%83%89
  19. Ingmar Bergman (1918-2007): dates, nationality, principal films, and the specific records this ranking used for the six axes — invention of form, treatment of time, the record of reality, the handling of actors, independence of production, and the crossing of borders. The Japanese and Chinese renderings of the name and of film titles were taken from the corresponding language editions. https://en.wikipedia.org/wiki/Ingmar_Bergman https://ja.wikipedia.org/wiki/%E3%82%A4%E3%83%B3%E3%82%B0%E3%83%9E%E3%83%BC%E3%83%AB%E3%83%BB%E3%83%99%E3%83%AB%E3%82%A4%E3%83%9E%E3%83%B3
  20. Béla Tarr (1955-2026): dates, nationality, principal films, and the specific records this ranking used for the six axes — invention of form, treatment of time, the record of reality, the handling of actors, independence of production, and the crossing of borders. The Japanese and Chinese renderings of the name and of film titles were taken from the corresponding language editions. https://en.wikipedia.org/wiki/B%C3%A9la_Tarr https://ja.wikipedia.org/wiki/%E3%82%BF%E3%83%AB%E3%83%BB%E3%83%99%E3%83%BC%E3%83%A9
  21. Yasujirō Ozu (1903-1963): dates, nationality, principal films, and the specific records this ranking used for the six axes — invention of form, treatment of time, the record of reality, the handling of actors, independence of production, and the crossing of borders. The Japanese and Chinese renderings of the name and of film titles were taken from the corresponding language editions. https://en.wikipedia.org/wiki/Yasujir%C5%8D_Ozu https://ja.wikipedia.org/wiki/%E5%B0%8F%E6%B4%A5%E5%AE%89%E4%BA%8C%E9%83%8E
  22. Chantal Akerman (1950-2015): dates, nationality, principal films, and the specific records this ranking used for the six axes — invention of form, treatment of time, the record of reality, the handling of actors, independence of production, and the crossing of borders. The Japanese and Chinese renderings of the name and of film titles were taken from the corresponding language editions. https://en.wikipedia.org/wiki/Chantal_Akerman https://ja.wikipedia.org/wiki/%E3%82%B7%E3%83%A3%E3%83%B3%E3%82%BF%E3%83%AB%E3%83%BB%E3%82%A2%E3%82%B1%E3%83%AB%E3%83%9E%E3%83%B3
  23. Robert Bresson (1901-1999): dates, nationality, principal films, and the specific records this ranking used for the six axes — invention of form, treatment of time, the record of reality, the handling of actors, independence of production, and the crossing of borders. The Japanese and Chinese renderings of the name and of film titles were taken from the corresponding language editions. https://en.wikipedia.org/wiki/Robert_Bresson https://ja.wikipedia.org/wiki/%E3%83%AD%E3%83%99%E3%83%BC%E3%83%AB%E3%83%BB%E3%83%96%E3%83%AC%E3%83%83%E3%82%BD%E3%83%B3
  24. F. W. Murnau (1888-1931): dates, nationality, principal films, and the specific records this ranking used for the six axes — invention of form, treatment of time, the record of reality, the handling of actors, independence of production, and the crossing of borders. The Japanese and Chinese renderings of the name and of film titles were taken from the corresponding language editions. https://en.wikipedia.org/wiki/F._W._Murnau https://ja.wikipedia.org/wiki/F%E3%83%BBW%E3%83%BB%E3%83%A0%E3%83%AB%E3%83%8A%E3%82%A6
  25. Orson Welles (1915-1985): dates, nationality, principal films, and the specific records this ranking used for the six axes — invention of form, treatment of time, the record of reality, the handling of actors, independence of production, and the crossing of borders. The Japanese and Chinese renderings of the name and of film titles were taken from the corresponding language editions. https://en.wikipedia.org/wiki/Orson_Welles https://ja.wikipedia.org/wiki/%E3%82%AA%E3%83%BC%E3%82%BD%E3%83%B3%E3%83%BB%E3%82%A6%E3%82%A7%E3%83%AB%E3%82%BA
  26. Stanley Kubrick (1928-1999): dates, nationality, principal films, and the specific records this ranking used for the six axes — invention of form, treatment of time, the record of reality, the handling of actors, independence of production, and the crossing of borders. The Japanese and Chinese renderings of the name and of film titles were taken from the corresponding language editions. https://en.wikipedia.org/wiki/Stanley_Kubrick https://ja.wikipedia.org/wiki/%E3%82%B9%E3%82%BF%E3%83%B3%E3%83%AA%E3%83%BC%E3%83%BB%E3%82%AD%E3%83%A5%E3%83%BC%E3%83%96%E3%83%AA%E3%83%83%E3%82%AF
  27. Wong Kar-wai (1958-): dates, nationality, principal films, and the specific records this ranking used for the six axes — invention of form, treatment of time, the record of reality, the handling of actors, independence of production, and the crossing of borders. The Japanese and Chinese renderings of the name and of film titles were taken from the corresponding language editions. https://en.wikipedia.org/wiki/Wong_Kar-wai https://ja.wikipedia.org/wiki/%E3%82%A6%E3%82%A9%E3%83%B3%E3%83%BB%E3%82%AB%E3%83%BC%E3%82%A6%E3%82%A1%E3%82%A4
  28. Billy Wilder (1906-2002): dates, nationality, principal films, and the specific records this ranking used for the six axes — invention of form, treatment of time, the record of reality, the handling of actors, independence of production, and the crossing of borders. The Japanese and Chinese renderings of the name and of film titles were taken from the corresponding language editions. https://en.wikipedia.org/wiki/Billy_Wilder https://ja.wikipedia.org/wiki/%E3%83%93%E3%83%AA%E3%83%BC%E3%83%BB%E3%83%AF%E3%82%A4%E3%83%AB%E3%83%80%E3%83%BC
  29. David Lynch (1946-2025): dates, nationality, principal films, and the specific records this ranking used for the six axes — invention of form, treatment of time, the record of reality, the handling of actors, independence of production, and the crossing of borders. The Japanese and Chinese renderings of the name and of film titles were taken from the corresponding language editions. https://en.wikipedia.org/wiki/David_Lynch https://ja.wikipedia.org/wiki/%E3%83%87%E3%82%A4%E3%83%B4%E3%82%A3%E3%83%83%E3%83%89%E3%83%BB%E3%83%AA%E3%83%B3%E3%83%81
  30. Carl Theodor Dreyer (1889-1968): dates, nationality, principal films, and the specific records this ranking used for the six axes — invention of form, treatment of time, the record of reality, the handling of actors, independence of production, and the crossing of borders. The Japanese and Chinese renderings of the name and of film titles were taken from the corresponding language editions. https://en.wikipedia.org/wiki/Carl_Theodor_Dreyer https://ja.wikipedia.org/wiki/%E3%82%AB%E3%83%BC%E3%83%AB%E3%83%BB%E3%83%86%E3%82%AA%E3%83%89%E3%82%A2%E3%83%BB%E3%83%89%E3%83%A9%E3%82%A4%E3%83%A4%E3%83%BC
  31. Martin Scorsese (1942-): dates, nationality, principal films, and the specific records this ranking used for the six axes — invention of form, treatment of time, the record of reality, the handling of actors, independence of production, and the crossing of borders. The Japanese and Chinese renderings of the name and of film titles were taken from the corresponding language editions. https://en.wikipedia.org/wiki/Martin_Scorsese https://ja.wikipedia.org/wiki/%E3%83%9E%E3%83%BC%E3%83%86%E3%82%A3%E3%83%B3%E3%83%BB%E3%82%B9%E3%82%B3%E3%82%BB%E3%83%83%E3%82%B7
  32. Apichatpong Weerasethakul (1970-): dates, nationality, principal films, and the specific records this ranking used for the six axes — invention of form, treatment of time, the record of reality, the handling of actors, independence of production, and the crossing of borders. The Japanese and Chinese renderings of the name and of film titles were taken from the corresponding language editions. https://en.wikipedia.org/wiki/Apichatpong_Weerasethakul https://ja.wikipedia.org/wiki/%E3%82%A2%E3%83%94%E3%83%81%E3%83%A3%E3%83%BC%E3%83%88%E3%83%9D%E3%83%B3%E3%83%BB%E3%82%A6%E3%82%A3%E3%83%BC%E3%83%A9%E3%82%BB%E3%83%BC%E3%82%BF%E3%82%AF%E3%83%B3
  33. Fritz Lang (1890-1976): dates, nationality, principal films, and the specific records this ranking used for the six axes — invention of form, treatment of time, the record of reality, the handling of actors, independence of production, and the crossing of borders. The Japanese and Chinese renderings of the name and of film titles were taken from the corresponding language editions. https://en.wikipedia.org/wiki/Fritz_Lang https://ja.wikipedia.org/wiki/%E3%83%95%E3%83%AA%E3%83%83%E3%83%84%E3%83%BB%E3%83%A9%E3%83%B3%E3%82%B0
  34. Hayao Miyazaki (1941-): dates, nationality, principal films, and the specific records this ranking used for the six axes — invention of form, treatment of time, the record of reality, the handling of actors, independence of production, and the crossing of borders. The Japanese and Chinese renderings of the name and of film titles were taken from the corresponding language editions. https://en.wikipedia.org/wiki/Hayao_Miyazaki https://ja.wikipedia.org/wiki/%E5%AE%AE%E5%B4%8E%E9%A7%BF
  35. Jacques Rivette (1928-2016): dates, nationality, principal films, and the specific records this ranking used for the six axes — invention of form, treatment of time, the record of reality, the handling of actors, independence of production, and the crossing of borders. The Japanese and Chinese renderings of the name and of film titles were taken from the corresponding language editions. https://en.wikipedia.org/wiki/Jacques_Rivette https://ja.wikipedia.org/wiki/%E3%82%B8%E3%83%A3%E3%83%83%E3%82%AF%E3%83%BB%E3%83%AA%E3%83%B4%E3%82%A7%E3%83%83%E3%83%88
  36. Edward Yang (1947-2007): dates, nationality, principal films, and the specific records this ranking used for the six axes — invention of form, treatment of time, the record of reality, the handling of actors, independence of production, and the crossing of borders. The Japanese and Chinese renderings of the name and of film titles were taken from the corresponding language editions. https://en.wikipedia.org/wiki/Edward_Yang https://ja.wikipedia.org/wiki/%E3%82%A8%E3%83%89%E3%83%AF%E3%83%BC%E3%83%89%E3%83%BB%E3%83%A4%E3%83%B3
  37. Powell & Pressburger (1905-1990 / 1902-1988): dates, nationality, principal films, and the specific records this ranking used for the six axes — invention of form, treatment of time, the record of reality, the handling of actors, independence of production, and the crossing of borders. The Japanese and Chinese renderings of the name and of film titles were taken from the corresponding language editions. https://en.wikipedia.org/wiki/Michael_Powell https://ja.wikipedia.org/wiki/%E3%83%9E%E3%82%A4%E3%82%B1%E3%83%AB%E3%83%BB%E3%83%91%E3%82%A6%E3%82%A8%E3%83%AB_(%E6%98%A0%E7%94%BB%E7%9B%A3%E7%9D%A3) https://en.wikipedia.org/wiki/Emeric_Pressburger https://ja.wikipedia.org/wiki/%E3%82%A8%E3%83%A1%E3%83%AA%E3%83%83%E3%82%AF%E3%83%BB%E3%83%97%E3%83%AC%E3%82%B9%E3%83%90%E3%83%BC%E3%82%AC%E3%83%BC
  38. Buster Keaton (1895-1966): dates, nationality, principal films, and the specific records this ranking used for the six axes — invention of form, treatment of time, the record of reality, the handling of actors, independence of production, and the crossing of borders. The Japanese and Chinese renderings of the name and of film titles were taken from the corresponding language editions. https://en.wikipedia.org/wiki/Buster_Keaton https://ja.wikipedia.org/wiki/%E3%83%90%E3%82%B9%E3%82%BF%E3%83%BC%E3%83%BB%E3%82%AD%E3%83%BC%E3%83%88%E3%83%B3
  39. Claire Denis (1946-): dates, nationality, principal films, and the specific records this ranking used for the six axes — invention of form, treatment of time, the record of reality, the handling of actors, independence of production, and the crossing of borders. The Japanese and Chinese renderings of the name and of film titles were taken from the corresponding language editions. https://en.wikipedia.org/wiki/Claire_Denis https://ja.wikipedia.org/wiki/%E3%82%AF%E3%83%AC%E3%83%BC%E3%83%AB%E3%83%BB%E3%83%89%E3%83%8B
  40. Sergio Leone (1929-1989): dates, nationality, principal films, and the specific records this ranking used for the six axes — invention of form, treatment of time, the record of reality, the handling of actors, independence of production, and the crossing of borders. The Japanese and Chinese renderings of the name and of film titles were taken from the corresponding language editions. https://en.wikipedia.org/wiki/Sergio_Leone https://ja.wikipedia.org/wiki/%E3%82%BB%E3%83%AB%E3%82%B8%E3%82%AA%E3%83%BB%E3%83%AC%E3%82%AA%E3%83%BC%E3%83%8D
  41. Ridley Scott (1937-): dates, nationality, principal films, and the specific records this ranking used for the six axes — invention of form, treatment of time, the record of reality, the handling of actors, independence of production, and the crossing of borders. The Japanese and Chinese renderings of the name and of film titles were taken from the corresponding language editions. https://en.wikipedia.org/wiki/Ridley_Scott https://ja.wikipedia.org/wiki/%E3%83%AA%E3%83%89%E3%83%AA%E3%83%BC%E3%83%BB%E3%82%B9%E3%82%B3%E3%83%83%E3%83%88
  42. Céline Sciamma (1978-): dates, nationality, principal films, and the specific records this ranking used for the six axes — invention of form, treatment of time, the record of reality, the handling of actors, independence of production, and the crossing of borders. The Japanese and Chinese renderings of the name and of film titles were taken from the corresponding language editions. https://en.wikipedia.org/wiki/C%C3%A9line_Sciamma https://ja.wikipedia.org/wiki/%E3%82%BB%E3%83%AA%E3%83%BC%E3%83%8C%E3%83%BB%E3%82%B7%E3%82%A2%E3%83%9E
  43. Douglas Sirk (1897-1987): dates, nationality, principal films, and the specific records this ranking used for the six axes — invention of form, treatment of time, the record of reality, the handling of actors, independence of production, and the crossing of borders. The Japanese and Chinese renderings of the name and of film titles were taken from the corresponding language editions. https://en.wikipedia.org/wiki/Douglas_Sirk https://ja.wikipedia.org/wiki/%E3%83%80%E3%82%B0%E3%83%A9%E3%82%B9%E3%83%BB%E3%82%B5%E3%83%BC%E3%82%AF
  44. Max Ophüls (1902-1957): dates, nationality, principal films, and the specific records this ranking used for the six axes — invention of form, treatment of time, the record of reality, the handling of actors, independence of production, and the crossing of borders. The Japanese and Chinese renderings of the name and of film titles were taken from the corresponding language editions. https://en.wikipedia.org/wiki/Max_Oph%C3%BCls https://ja.wikipedia.org/wiki/%E3%83%9E%E3%83%83%E3%82%AF%E3%82%B9%E3%83%BB%E3%82%AA%E3%83%95%E3%83%A5%E3%83%AB%E3%82%B9
  45. Víctor Erice (1940-): dates, nationality, principal films, and the specific records this ranking used for the six axes — invention of form, treatment of time, the record of reality, the handling of actors, independence of production, and the crossing of borders. The Japanese and Chinese renderings of the name and of film titles were taken from the corresponding language editions. https://en.wikipedia.org/wiki/V%C3%ADctor_Erice https://ja.wikipedia.org/wiki/%E3%83%93%E3%82%AF%E3%83%88%E3%83%AB%E3%83%BB%E3%82%A8%E3%83%AA%E3%82%BB