SUNRISE (directed by F.W. Murnau, USA, 1927, cinematography by Charles Rosher and Karl Struss) – the extraordinary and mysterious trajectory followed by the peasant character known only as "The Man" (George O'Brien)as he stumbles through the swamp toward a fatefully erotic encounter with the vamp from the city (Margaret Livingston).

THE CRIME OF M. LANGE (directed by Jean Renoir, France, 1936, cinematography by Jean Bachelet) Рa 360 degree pan around the courtyard that is the center of the united creative energies of the publishing cooperative who are the film's focus, as their childlike leader, Am̩d̩e Lange, shoots the evil capitalist exploiter Batala (Jules Berry) who, having fled from the police, returns to reclaim the business he wants only to exploit for profit. "A work touched by divine grace," wrote Fran̤ois Truffaut, and Andr̩ Bazin, his mentor, wrote a brilliant analysis of this sequence and of the entire film.

UGETSU – (Kenji Mizoguchi, Japan, 1953, cinematography by Kazuo Miyagawa) This film contains many unforgettable sequence shots, but perhaps the most moving is the climactic return of Genjuro the potter, who had abandoned his home and was seduced by a princess who turns out to be a ghost. He returns at the end to discover his wife, whom we believe had died, is there and cooking him a meal to mark his homecoming; as he sleeps, she mends his kimono. But he awakens to discover that she too, is a ghost.

Mike Figgis's boundary-pushing "Timecode" (2000) is not a particularly satisfying movie when it comes to whatever plot it tells, and yet it provides 4 simultaneous, interconnected, uninterrupted, 90-minutes long takes that run on 4 quadrants and at times create striking combinations between one another. Check it out if you can.

"I guappi" (1974), a ho-hum Pasquale Squiitieri drama about the heydays of neapolitan Camorra, has an interesting closing long sequence that while it's nothing special on a technical level does hold some interest in the fact it begins in a Court of Law in the late 19th Century and it ends in the streets of Naples in the 1970s, somehow inferring not much has changed in a few decades.

Olivier Dahan's Edith Piaf 2007 biopic "La mome", besides providing Marion Cotillard the chance for an Oscar-worthy performance, also has a cool long take that brings the protagonist from a happy wake-up call with her lover kissing her awake in a wonderful sunny day to an eerie slide into a nightmarish but real situation as we slowly realize, along with Edith, that she has but imagined the nice part and that in fact her lover has died in a plane crash.

I don't like it when people do these kinds of lists because they always do a diservice to whoever is left off.

Where is ROPE?

Hitchcock's masterpiece is an ENTIRE FILM THAT IS ONE LONG TAKE

I honestly wasn't surprised as I clicked along and it wasn't on the list, because I expected it to be #1! The only two cuts in the entire movie are simply for changing reels, and he goes out of his way to point out 'I didn't have to cut right there, but I was forced to switch reels'

You need to see ROPE and then re-publish this list, it literally is lacking the greatest long take ever.