Director, Wilder could no longer take it. When McCarey made his way to the stage to accept the award for best picture, Wilder, sitting on the aisle, stuck out his foot and tripped him. "Mr. McCarey ... stumbled perceptibly," he gleefully recalled. After the ceremony while he and his wife Judith were waiting for his limousine to arrive, he yelled so loudly that everybody could hear him: "What the hell does the Academy Award mean, for God's sake? After all – Luise Rainer won it two times. Luise Rainer!" Other awards American Film Institute included the film on these lists: 1998: AFI's 100 Years ... 100 Movies – #38 2001: AFI's 100 Years ... 100 Thrills – #24 2002: AFI's 100 Years ... 100 Passions – #84 2003: AFI's 100 Years ... 100 Heroes and Villains: Phyllis Dietrichson, Villain #8 2007: AFI's 100 Years ... 100 Movies (10th Anniversary Edition) – #29 In 1998 the film was ranked at No. 43 in Time Out magazine's poll of Top 100 films of all time. In 1999 Entertainment Weekly voted it at No. 50 on their list of 100 Greatest Movies of All Time. In January 2002, the film was voted at No. 29 on the list of the "Top 100 Essential Films of All Time" by the National Society of Film Critics. The film was included in Times All-Time 100 best movies list in 2005. The Writers Guild of America ranked the film's screenplay the 26th greatest ever. In 2015, Double Indemnity ranked 35th on BBC's "100 Greatest American Films" list, voted on by film critics from around the world. Film noir Double Indemnity is an important (and some say the first) example of a genre of films called film noir. According to Robert Sklar, a former chairperson of the Department of Cinema Studies at New York University Tisch School of the Arts, classic film noir is marked by major thematic elements: a plot about a crime told from the point of view of the criminal; exploration of psychosexual themes; and a visually "dark and claustrophobic framing, with key lighting from sources within the mise-en-scène casting strong shadows that both conceal and project characters' feelings". Double Indemnity has been compared with Wilder's other acclaimed film noir: Sunset Boulevard (1950). The narrative structure in both films begins and ends in the present, but the bulk of the plot is told in flashback