it appeared on several lists of the greatest films ever made. In 1952 at the Festival Mondial du Film et des Beaux Arts de Belgique, Greed was named the fifth greatest film ever made, with such directors as Luchino Visconti, Orson Welles, Luis Buñuel and Billy Wilder voting for it. Later in 1952, Sight and Sound magazine published its first list of the "ten greatest films ever made". Greed was tied for 7th place on that list, with such critics as Andre Bazin, Lotte Eisner, Curtis Harrington, Penelope Houston and Gavin Lambert voting for it. In 1962 it was tied for 4th on the same list. Since 1972 it has failed to reach a spot on the top ten. The Cinémathèque royale de Belgique released a list of "the most important and misappreciated American films of all time" in 1978. Greed was third on its list after Citizen Kane and Sunrise: A Song of Two Humans. In a University of Southern California list of the "50 Most Significant American Films" made by the school's Performing Arts Council, Greed was listed as number 21. In 1991 Greed was selected for preservation in the United States National Film Registry by the Library of Congress as "culturally, historically, or aesthetically significant". In 2020, the film's copyright lapsed, entering into the public domain. Influence Among those who have praised Greed over the years are Sergei Eisenstein; Joseph von Sternberg, who said, "We were all influenced by Greed"; Jean Renoir, who called it "the film of films"; and Ernst Lubitsch, who called von Stroheim "the only true 'novelist'" in films. More recently Guillermo del Toro called it "a perfect reflection of the anxiety permeating the passage into the 20th century and the absolute dehumanization that was to come", and Norbert Pfaffenbichler said that "the last shot of the movie is unforgettable." American writer, filmmaker, philosopher and political activist, Susan Sontag named Greed as one of her favorite films. Jonathan Rosenbaum has stated that Greed was a major influence on the style and content of many films. von Stroheim's shots filming the sun predated Akira Kurosawa's better-known uses of the technique in Rashomon (1950). Rosenbaum compared specific shot set-ups in Greed to shots in King Vidor's The Crowd, Jean Renoir's Le Crime de Monsieur Lange, Orson Welles's The Magnificent Ambersons, Howard Hawks' To Have and Have Not and Michelangelo Antonioni's L'Avventura. In addition, he likened certain