When, in '91, this wasn't nominated for a best foreign film Oscar, nearly every living German director signed a protest letter. Agnieszka Holland hasn't since matched the story of a Polish Jew who pretends to be a Nazi in order to survive. Suspenseful and sensitive, it avoids traps which even Polanski's The Pianist falls into.

Bahman Ghobadi's gruelling account of Kurdish hardships on the Iran/Iraq border has none of the artful self-consciousness of Samira Makhmalbaf's remarkably similar Blackboards. Instead, this powerful story of eldest child Ayoub trying to smuggle his dying brother into Iraq features brutally uncompromising scenes of bareknuckle kiddie fistfights, savagely battered horses, and the casual physical abuse of a crippled child.

Steve Martin is dentist Robert Sangster trapped in a too safe relationship with his hygienist (Laura Dern). When he takes a walk on the wild side with drug-dealing patient Susan Ivey (Helena Bonham Carter), Sangster's pharmaceutical supplies are pilfered and Ivey's psychopathic brother and the police send his life into tailspin. A laboured attempt to reinvigorate an increasingly tired-looking Martin.

Gary Sinise directs John Steinbeck's fatalistic Depression-era fable of friendship and sacrifice with a reverence for the text and a painterly eye for period 1930s detail. Sinise also co-stars alongside Sherilyn Fenn and John Malkovich, who anchors this 1992 remake as mentally challenged gentle giant Lenny. A handsome American classic, even if the overrated Malky's twitchy mannerisms irritate as much as ever.

Dennis Hopper got an Oscar for his supporting role to Gene Hackman's high-school basketball coach in David Anspaugh's heart-tugging 1986 tale of sport-equals-life heroics. This was based on a real basketball comeback fight in '50s Indiana and released as Hoosiers in the US. Aptly enough, Hopper was fresh back from his own decade-long trip through chemical hell at the time. Sentimental slush, but redeemed by a knockout cast of veteran heavyweights.

Sandwiched, chronologically, in between Jules Et Jim (1962) and Fahrenheit 451 (1964), La Peau Douce (The Soft Skin) is an intriguing anomaly in the François Truffaut canon. A neo-Hitchcockian tale of infidelity, it methodically observes the extra-marital deceptions of apathetic intellectual Pierre (Jean Desailly) before rashly culminating in a bizarre shotgun shootout courtesy of Pierre's hysterical wife. For Truffaut completists.

With director Eastwood Oscar-hot from Unforgiven and star Costner hit-hot from The Bodyguard and JFK, 1993's A Perfect World should've been a smash. Yet there's a darkness to the story of possibly psychotic boy-befriending recidivist Costner that simply killed the movie at the box office. On re-examination, it's a fascinating film, a blatant conflict of arch American sentimentality and subversive menace. And Costner's great in it, too.

Nanni Moretti's Cannes-winner is restrained and moving, with the Italian writer/director forsaking his comic urges to examine how a teenage son's death affects a family. Moretti plays the father, a psychoanalyst who, grieving, loses interest in his patients. Awkward emotions are deftly handled: Hollywood should watch this and learn.

Three Hollywood favourites starring the silver-tongued man of style

Clint Eastwood's classic final word on the western genre