When it comes to collecting together the plums of those films screened so far this year a common and regrettable fact emerges. The life of many a worthwhile film in this country consists often of only one or two screenings, after which the film is freighted out and, for all intents and purposes, has disappeared for good. By "worthwhile" I mean those films which invite and provoke interest and argument and, at their greatest, provide insights into matters personal or political which one may not otherwise have found.

These films that check in for one night only are by and large festival flicks. The distinction between these "art" movies has the more popular commercial movies has always been drawn, by those who control the means of distribution, namely the two big cinema chains, Kerridge Odeon and Amalgamated.

Both monopolies exist to make money, working to an economic rule of thumb which has it that the people who pay to go to a cinema expect entertainment. If a movie's primary or secondary purpose is not to entertain, then people will not pay money to see it. If a film happens to make its audience think as much as entertain them, then that is a fortunate coincidence.

Nowadays however, there is a slow trend towards the type of movie that doesn't make dear the distinction between "art" and "entertainment". Such films as Taxi Driver, Cross of Iron and Last Tango in Paris have all succeeded from both a commercial and critical point of view and all three had two important things in their favour: good publicity, and wide distribution in the country's best cinemas.

Unfortunately, these are exceptions to the current rule. Film Festivals are still needed to provide the stimulant to the serious cinema-goer. The Festivals do a great trade; somewhere out there is a large body of people, an intelligent and appreciable audience who are able and willing to take in a diet of films other than the usual commercial fare.

In fact, maybe people are coming to realise that an is entertainment in the sense that the requirement placed on our attentions by any particular work and the degree of response on our intellect and emotions are in due proportion and can be measured against the complexity of information, impulses and ideas present in the work. The point is: it's not just what a film can offer you, but what you can give to a film.

Its a sad state of affairs when the law protects the two cinema chains against any independent from purchasing first releases and giving them a run. I remember the lengthy wranglings that the owner of Auckland's Classic Theatre had to endure in order to get approval for his cinema - and he only intended screening old, out-of-circulation prints.

Until the day when Kerridge Odeon shows something like respect towards the intelligence of its audience, it looks like a lot of us will continue to rely upon the invaluable service provided by those involved in the Film Societies and the Film Festivals.

Well here, as promised, and in no particular order, is my Top Films List for 1977.