One of the most famous procedural thrillers in film history and routinely voted amongst the greatest films ever produced, Rear Window came relatively early in a long string of masterpieces from Hitchcock that all delve deeply into the American consciousness. L.B. “Jeff” Jefferies (James Stewart) is a New York magazine photographer who spends most of his time on assignment in far-flung and dangerous corners of the world. Laid up with a broken leg, he’s forced into a narrow view out of his apartment window, where he observes the other tenants’ daily lives. His girlfriend, Lisa Fremont (a radiant Grace Kelly), visits and dotes on him, as does his nurse (Thelma Ritter). When the wife of a salesman (Raymond Burr) turns up dead one night across the courtyard, the three become embroiled in a tense and confounding mystery. Rear Window is at once a whip-smart psychological riddle, a metaphor for cinema itself, and one of Hitchcock’s greatest creations. “I love Hitchcock. Rear Window is a film that makes me crazy, in a good way. There’s such a coziness with James Stewart in one room, and it’s such a cool room, and the people who come into this room—Grace Kelly, for instance, and Thelma Ritter—it’s just so fantastic that they’re all in on a mystery that’s unfolding out their window. It’s magical and everybody who sees it feels that.”—David Lynch.