For a better experience on MUBI, update your browser.

Images of the Decade: Images

Movies are made up of images, even the bad ones. But the bad movies rarely leave any images lingering in your brain. The great films are the ones making great images. A great image is many things, by nature diffuse, and we might agree that any great image moves even when stopped still, opening its own cinematic world. Thus, The Notebook's decision to celebrate our recent decade not with a list but with this stream. Each contributor was asked to pick 1 film he or she wants to remember from the 2000s, select 1 image from that film to remember it by, and write one sentence to supplement their selection. We've done our best to craft not simply a grab bag but a cogent flow of the indelible, one image speaking to the next on a variety of registers: from film to film, between color and compositional rhymes, and, as you'll read Wednesday, the captions themselves tell their own story (if we've succeeded in our manifold collage) of the decade's themes and preoccupations. Today we will give you the images; Wednesday, the words. We hope you enjoy!

If you have your own favorite images of the 2000s to share, post them in our forum!


The Notebook's Images of the Decade: Images | Words


Neil Young:

Fernando F. Croce:

Evan Davis:

Gabe Klinger:

Adrian Curry:

Kevin Lee:

Ben Simington:

Michael Sicinski:


Craig Keller:

Zach Campbell:

Marie-Pierre Duhamel:

Ryland Walker Knight:

Edwin Mak:

Joe Bowman:

Andrew Grant:

Anna Bak-Kvapil:

David Hudson:

Daniel Kasman:

David Phelps:

Dave McDougall:


Kurt Shulenberger:



Bilge Ebiri:

Dan Sallitt:

Stephen Sarrazin:

Adam Nayman:

David Cairns:

Ignatiy Vishnevetsky:

Doug Cummings:

Nice. My faves: Edwin’s + Keller’s. Would love to actually see in motion: Kevin Lee’s.
My favorite = David Hudson’s pick, epitomizing the genius of “Adaptation” in a perfectly skewed two-shot. The subtle variations tell us everything.
Ignatiy — thanks for your choice, deeply.
Bilge Eberi FTW. I was afraid I was the only person who saw An Injury to One. And when I saw it at BAM back in 2003 I literally was.
What is the eye from? When I first saw it, I thought Lost, but I know that’s not it. My fav is Kevin Leee’s.
Ignatiy Vishnevetsky is absolutely correct that is a terrible, yet powerful image
The eye is the final shot in the final film of João César Monteiro’s, ‘Vai e vem’ [‘Go and Come,’ i.e., ‘Come and Go’]. It’s one of the grandest, most forceful summations in all of cinema, but you have to watch it to feel it. (Made while he knew he was dying, and that it would be his last film and last shot.) If you’re able to get access to the out-of-print complete-JCM boxset, you can see the films that all build toward this final moment. I would rate him as an easy contender for one of the five best filmmakers of all time. His satanic work really means a lot to me, it’s holy.

Please to add a new comment.

Previous Features