For me, the best moments in a film are those that reveal the essence of the narrative as a whole, but very succintly. L'AVVENTURA - the deserted town (Noto?) followed by the love scene on the hilltop. MAUVAIS SANG - Lavant running in the 'Modern Love' scene. GOOD MEN, GOOD WOMEN - The sisters arguing on the squash court and the dancing/reconciliation in the nightclub. I AM CUBA - The swish-pans on the cane-cutter. SANSHO THE BAILIFF - Sister drowning herself when brother escapes. UNE FEMME DOUCE - Husband's pathetic carress of Dominique Sanda's hair when she agrees to remain his wife. ANTONIO DAS MORTES - the feverish sword fight between Antonio and the Campaniero (sp?). But there are some films without, I think conscious, key scenes. It's hard to pick out one moment from an Ozu film. Or even Kiarostami. Hard for me, at least. Conversely, with Hou Hsiao-hsien I feel each and every scene is key in terms of thematic context.