This isn't a list declaring certain films have taste more prominently then others. Nor, is it about living. Rather, it's a list of films that have conviction and pull you into inexplicable and arbitrary directions.

They celebrate the instinct, references and individual points of view that shape how we create, what we choose and ultimately, what we value. There is no singular definition of good taste here. Instead, each film offers a personal expression of it – considered, curious and entirely its own. You might not like the list but isn't that so wonderful to disagree and have your own liking? Because as our Editor in Chief puts it so well, "Perhaps this is taste. Not the curated bookcase but freedom in what we choose to put on it."

Below, find our curated list of films that embody our September issue theme, 'Let Taste Live'.

The Worst Person in the World

Taste is something that is allowed to change. In this film, the lead character Julie moves between careers, relationships, identities and interests without resolving herself into one particular aesthetic. It encapsulates a strong expression of freedom over consistency.

20th Century Women 

Punk records beside old books, feminism beside skate culture, different generations and references colliding. Taste is all about contradiction in this film.

High Fidelity

This is about defining yourself by what you put out into the world: records, lists, cultural references. It also touches a bit on the snobbery of taste — when does knowing what you like become policing what everyone else likes?

Almost Famous

This film is more about taste as obsession than status – loving something before you have the vocabulary, authority or cultural permission to explain why. An absolute comfort watch.

Call Me By Your Name

Physically, taste is all around in this film. Books stacked everywhere, classical music on, old furniture, fruit, swimming, intellectualism and sensuality. Culture is being lived in.

Licorice Pizza 

All the characters in this film are following impulses, interests and strange ideas without worrying about whether they form an identity.

Perfect Days

Hirayama's cassettes, books, photographs and routines matter because he values them. And that is all that matters.

Ghost World 

Enid doesn't agree with popular mass views and constructs her identity from sometimes questionable things. She loves the right to like the wrong.