Have you ever stumbled acroos a film, regardless of its overall quality, where a short section really made you happy you watched independant films and/or foreign films? A two minute section that you knew you could not have possibly found elsewhere that completely won you over? Or left you completely baffled and unsure, but you knew was brilliant?

I have many.

But I will name two to kick it off:

2. Pasqualino Settebelleze (Seven Beauties, Lina Wertmuller, 1975) - The opening montage. It is a breathtaking collision of war atrocity dubbed over with a bored voice dedicating the peice to everyone. The voice-over runs the entire length of the segment and to this day I can listen and watch the section believing it should belong on the opening day of any film 101 course in university. Truly condemning yet introspective of fascist comlicity. The images will make Kubrick fans extra happy...trust me.

1. La Dolce Vita *I know...big shocker* (Federico Fellini, 1960) - Sylvia (Anita Ekberg), in the Trevi. This is film at its most luxurious and finest. Not only does Fellini make the scene breathtaking despite its cliche, he plays up the cliche humoursly by making Marcello Rubini take it seriously...in fact making the entire situation into a sort of exploration about one man's malaise. I'm not above admitting I am like Rubini. I take this scene very seriously despite its self-ridicule.

A. Tampoco- when the women asks the noodle chef to make her the best chef.. Then he runs her around the shop.. Speaks of desire, pride and skill very visually.. Seemed better in a foreign situation..

Some parts of lost in translation and garden state I could say that about.

I would really have to go re-watch them to give an exact location, but there were many times durring both movies where I could really just run things in my life paralell with things in the movie, and really feel what the characters were going through as well as provide some kinda insight into things on my own. Boy I love those movies

I know this isn't exactly what you mean, but it is what came to mind.

Very good topic.

I have this feeling a lot in regard to all sorts of films.

I love the opening credits to Peckinpah's film Cross of Iron. He shows images of death and destruction in Russia in WWII, but the music is a German children's choir. Brilliant and powerful and just the freakin credits.

A couple of scenes from Laws of Gravity stick out with Peter Greene's acting and the raw, realistic feel Nick Gomez brings to a project. I haven't seen the movie in 5 years or so, but I think the best scene involved bringing his buddy home from jail. Peter just had this incredible presence. So many actors are busy playing themselves or a stereotypical character that it really stands out to me when a guy just has "it".

The opening dinner scene from Donnie Darko. It sets the tone for the whole film (odd, but intriguing). Also, Maggie Gyllenhaal looks mesmerizing in that scene. Nothing fancy or sexy...just a beautiful girl.

One of the walking scenes from Gerry (yeah I know...which one). Gerry and Gerry are walking. Van Sant has the camera close up on them. They are at a slightly staggered pace, but in rhythm. They look like engine pistons going up and down. Cool image. No "normal" director would have tried that shot...at least not for more than 3 seconds. Gus let it go on for a good 30 or so seconds. I like bold directors that are willing to take chances.

Opening scene to In The Bedroom. Tomei and Stahl are out in a New England field making out under a tree. Todd Field didn't use dramatic music or lighting. He just showed us two lovers enjoying themselves. Seemed very pure compared to most romantic scenes where there is an agenda by one of the characters or the filmmaker (gotta get Amber naked to sell 10 more tickets).

Very interesting scene in Soldier of Orange. That was Rutger Hauer's breakthrough role and it was directed by Verhooven. Rutger is traveling home or to a friend's house one day. Just so happens that German paratroopers have landed and are taking over. Rutger sees a couple of soldiers by the side of the road as he rides his bike by them. The soldiers are talking and joking while having a smoke break. Hauer rides by and nothing happens. So what's so special about that? Well, German soldiers were shown as people. Almost all Hollywood films are convinced that every German soldier was an inhuman executing machine. Not so. Later, Rutger becomes part of the Dutch underground and ends up fighting the Germans. I just get tired of stereotypes in mainstream film.

Control Room

There is only victory .. no justification.

I thought the entire movie was great until the last five minutes actually. I liked when Spacek slapped Tomei also. There are some great moments all around in that movie, and its very down to earth. That's why the last scene really ruined it for me, shot right off into outer space all of a sudden.

Spirited Away: The Train Ride. It's really quite incredible how far Miyazaki pushed the boundaries of animation. Consider how something deeply moving and profound is expressed without the use of words, but simply music and imagery.

I honestly consider that scene to be among the finest in all of cinema.