As happens every year and, more specifically, every ten years, build collections, balances and substitutes, and creating an urgent need to organize and classify what we think has made this time. So not to be outdone, I wondered what filmmakers have marked, for one reason or other (more artistic than commercial, that's why Peter Jackson is not on my list, but in the end it affects) the audiovisual creation of the last decade . Launched a proposal with a few names, but any suggestions would be welcome. Incidentally, I tried to be a bit objective, as far as possible, so I personally would not include any names from the list ... And, of course, be great if he voted "Other" in a comment to tell us who is going through your head:)
One final note. It is unfortunate that a lot of films from what is here is still invisible in our screens, and it seems that things have improved slightly in recent times. But much remains to be done.
One final note. It is unfortunate that a lot of films from what is here is still invisible in our screens, and it seems that things have improved slightly in recent times. But much remains to be done.
From Europe
Jean Luc Godard. I know there are 60, but the 00, but this man has marked every decade and at which point, for example, though perhaps less prolific, has given us apart from some short piece, two of the most beautiful films, deep, lyrical, personal, and more load of ideas across the globe. Just for Praise of Love (2001) and Our music (2004) deserves to be here. Be around 80, but Godard is doing the cinema of the future, more vital, young, and innovative than any other.
Jacques Rivette. Another veteran of the Nouvelle Vague that is in great shape. He has given us four films this decade, and always excellent, whether in its lighter side, with Who Knows (2001) or 36 vues du Pic Saint-Loup (2009) in the period drama, with The Duchess of Langeais (2007) , or in which for me is his latest masterpiece, Story of Marie and Julien (2003) , which plays with the fantasy genre, police and romantic (the generic pastiche is given as well) to give us one of the most beautiful love poem from Hitchcock's Vertigo.
Eric Rohmer. To end the New Wave veterans, we could not forget in this blog to Eric Rohmer, who seems to have neglected during this decade and tangles teen comedies to realize its cycle of "Tragedies of history, with three works flawless, which retain their universe and do not forget to innovate and break new ground in the world of cinema, whether using digital painting The Lady and the Duke (2001 ), revision the spy genre in Triple Agent (2004) or referentiality, and the game literal views of the history of The Romance of Astrea and Celadon (2009) .
Philippe Garrel. Another veteran, although not as much as before, that, surely, this decade has reached its absolute maturity film, giving us one masterpiece after another. It seems it all before, and perhaps for that and for the gives the age maturity has been able to shoot a total work as Les Amants réguliers (2005) , plus two beautiful chamber pieces, the controversial and risky Sauvage innocence (2001) and the perfect, flawless, sublime the border of the dawn (2008) . Is it the most active filmmaker in shape?
Claire Denis. The French director of international operations over the decade, after completing the above with great force, and has achieved a personal style influences from precise and highly selective, as the French Bresson, Rivette and Jean Rouch, or Wim Wenders and Jim Jarmusch, with which worked personally. Has been able to develop radical themes, as in Trouble Every Day (2001) , realize radical styles, as in The Intruder (2004) , show that you can make good social and accessible film, as in 35 Rhums ( 2008) , or rise above a very characteristic poetic sensibility Vendredi soir (2002) , my favorite. Because everyone has their favorite movie-Denis, and this decade has been extremely prolific: in addition to those he has filmed several short films, documentaries Towards Mathilde (2005) , or the recent White Material (2009) .
Olivier Assayas. Former Cahiers critic continues to demonstrate his versatility in his dual role of author who collects classic French tradition of Marcel Proust in his films, countryside, as sentimental Destinations (2000) or Summer Hours (2008) and as a champion of avant-garde and postmodernism in their thrillers halfway between cyberpunk and the tribute movie buff: Demonlover (2002) , Clean (2004) , Boarding Gate (2007) .
Arnaud Desplechin. But in terms of French literary tradition, the author who best reflected this heritage, always looking forward, visual findings or the possibilities of cinema as a global art, that have been Arnaud Desplechin. With works accessible and dense at the same time, the great chronicler of family and emotional diseases of modern man. The XXI century Tolstoy has given us this wonderful decade after another: Esther Kahn (2000), Leo, or the Company of Men (2003), Kings and Queen (2004), L'Aimee (2007) and A Christmas Carol (2008) , his first English commercial theatrical release. At last.
Manoel de Oliveira. already in Portugal, we have the great pope, a veteran of veterans, still giving a great work after another every year. Has met the 101, but nobody can deny vitality of the ten films that has left us this last decade. I would stick with I go home, (2001), The Uncertainty Principle (2002) and Magic Mirror, (2005) including its small jewels like Belle Toujours (2006) , or the recent Singularities a blond girl (2009) , which is about to premiere in Spain.
Pedro Costa. And against the veteran de Oliveira at least one of the strongest confirmations of the decade in the international arena, his compatriot Pedro Costa, after its emergence in the 90 minority. Now a priest author of more personal film, he began the decade with the powerful portrait of slum Fontainhas in In Vanda's room (2000) , radicalizing the line started in the 90's Bones. Ended the trilogy with a major work, boundless and full of records: up Juventude (2006) . And we can not forget two small wonders: Where lies hiding your smile? (2001) and No change rien (2009) . The mixture of documentary and fiction, ethics and aesthetics, the legacy of the most classic and most bloody, the total absence of bias and absolute bravery. Has anyone defined best film in the future?
Albert Serra. The most radical, controversial and controversial English directors. Emblem of a new form of filmmaking, his works range from the sublime and the merely provocative. Despercibido happened with his film Crespi (2003) , now rescued, but emerged as an earthquake in the Cannes Film Festival where he went with his very particular adaptation of Quixote, Honor de Cavalleria (2006) , but a quality issue undeniable, and with a speech and very clear ideas. In the same line also followed with great The dells cannot ocells (2008).
Michael Haneke. Let some side during this decade by critics demanding, Haneke's films became popular and has won critical prestige "qualité". But despite everything, there is no denying the absolute influence of new forms of filmmaking and the great movies that has left the last 10 years, beyond any controversy, as the American version of Funny games (2007): Code Unknown (2000), The Piano (2001), The Time of the Wolf (2003), Caché (2005), The White Ribbon (2009)
Alexander Sokurov. go down in history much more than carry out the first film shot sequence in a single plane ( Russian Ark (2002) ), he has experimented with the image and the possibilities of digital, and has made history as a dialogue with anyone and keep alive the spirit of Tarkovsky. See one of his movies can be a sublime experience. Dolce ... (2000), Taurus (2001), Elegy for a Trip (2001), Father and Son (2004), Sun (2005), Alexandra (2007).
From U.S.
Clint Eastwood. started the decade hiding in the shadows of cult cinema, without attracting much attention, Space cowboys (2000) and Blood Work (2002) , but flared up in 2003 with Mystic River when many it took for dead, and the following year marked a milestone in the agreement between critics and audiences with Million Dollar Baby. Since the days of Ford audiences and critics had not been so close. Then he gave us his personal war with diptych Flags of Our Fathers (2006) and Letters from Iwo Jima (2006) and has fired its top academic Exchange (2008) with Gran Torino (2008 ) , great public but with discrepancies between critical and not yet released Invictus (2009) . Eastwood has made his most perfect film artifact twilight, and the need to shoot at full speed has not helped lower the quality.
Brian de Palma. One of the filmmakers who cause more divisions, representative of the new American cinema of the 70, little by little his figure is becoming increasingly personal and worship. Four films from the commercial ( Mission to Mars (2000) and speaks for itself and authentic, and among them, for me, a seminal work in contemporary cinema, Femme Fatale (2002) , without forgetting the Iraqi risky experiment of Redacted (2007) film pastiche or misunderstood by most Critics, The Black Dahlia (2006) .
David Lynch. But in terms of influence and risk in the American cinema can not but mention David Lynch. Never a very personal work, dangerous, dark, and so impeccable style has been so popular as draft Mulholland Drive (2001) , which has gained over the years a legion of followers. But forgetting popular resonance, as probably no film INLAND EMPIRE (2006) film marks the future. Taking his principles and ideas as far as possible, and with all the freedom that gives digital cinema, Lynch immerses us in an unprecedented adventure, an experience like 3 hours in a movie theater. The first film that dares to follow the paths opened by Bergman in person 40 years earlier. Levitation and catharsis. Obviously, most publicly turned his back.
Michael Mann. But in terms of digital cinema, few directors have experimented with it as Michael Mann, which despite its irregularity has taken a handful of good films with important findings: Ali (2001), Collateral (2004), Miami ( 2006), Public Enemies (2009).
Gus van Sant. definitely seemed lost for the cinema and was forgotten by the critical mass when it premiered in 2000's film Finding Forrester . However, since there seemed to be invaded by the spirits of Bela Tarr, Chantal Akerman and Alexander Sokurov and filmed in his trilogy of death one of the key works of the decade: Gerry (2002), Elephant (2003), Last Days (2005 ). Then he pushed the impressive Paranoid Park (2007) , a kind of perfect compendium of his radical style and his narrative style, ending the decade with a reasonably conventional and militant film: Milk (2008) . What roads will now follow his unpredictable career? That really is a great unknown. Quentin
Tarantino. tapping into the more commercial movies without losing personality Tarantino we find that after their uneven but interesting diptych Kill Bill (2003-2004) us his most daring film and, perhaps, more personal, Death Proof (2007) . Then finished with a nearly perfect work, his vision of history and film or film history, which for him is, in Inglourious Basterds (2009) .
MN Shyamalan. With a legion of fans but, in the same way, not a few critics, a purely commercial filmmaker who plays at being author: Unbreakable (2000), Signs (2002), Woods (2004), Lady in the Water (2006), The Incident (2008) .
Christopher Nolan. Nolan began making films minority, but since the decade began strongly, with its interesting foray into the black cinema Memento (2000) . Followed with a great genre film, Insomnia (2002) and ended at the top of the industry leading Batman to the screen and reaching the highest levels of industrial efficiency Batman Begins (2005) and Knight Dark (2008) that, at least, are cinematically debatable. Among both gave and made the magic The Prestige (2006) .
Wes Anderson. Another cult author, in this case in the field of absurdist comedy. There is no denying that his personality is more accentuated with each movie and has a very interesting personal world. Many people have great hope in him, although we think it still has not finished set. Still, his movies are endearing, funny, despite its rarity reflect the traumas of modern society flawlessly, as seen in The Royal Tenenbaums (2001), The Life Aquatic (2004) or The Darjeeling Limited (2007 .)
Paul Thomas Anderson. The great Hope of American cinema dismissed the previous decade as an apotheosis. In this, however, only had time to make two films, one of which, in my opinion, is the best comedy of recent times, Punch-Drunk Love (2002) , and the other Be Blood ( 2007) , without ceasing to be a great movie, it does seem a bit flawed, and his claim for total and absolute work histrionics and excessive ambitions.
Sofia Coppola. Surely his peculiar personal situation within the film industry, combined with special sensitivity and its various influences cinéphiles, made of Sofia Coppola one of the most important filmmakers of modern cinema. After its debut last year of the previous decade with The Virgin Suicides, in 2003, established themselves with Lost in Translation, a masterpiece that will win over time and presents all the folds and nuances of our new globalized world loud noise. His influence and character of worship is growing, and little of the Coppola finally jumped into the pool in 2006 with the bold and magnificent Maria Antonieta, this other, more controversial than the last.
Kelly Reichardt. After some early noise and virtually unknown 90 years, American author has exploded in this decade with two sisters movies, small, radical, sincere and extremely beautiful and tender: Old Joy (2006) and Wendy and Lucy (2008) . Contemporary American independent cinema passes through it.
Judd Apatow. Speaking of comedy is now talk of Judd Apatow, responsible for the resurgence of this kind in the United States. And not just the films directed by him, but all that emerged from the factory: 40 Year Old Virgin (2005), Knocked Up (2007), Superbad (2007), Forgetting Sarah Marshall (2008), Adventureland (2009 ) ... Shows that an idea and honesty to it can fill some gaps and limitations, its supporters and detractors, of course, they battle for a while.
From Asia
Kiyoshi Kurosawa. The author has shown that Japanese horror movies can be deep and have existential concerns. Able to play all genres and very prolific, this filmmaker already enshrined in the 90 to Cure, seems capable of doing good type of movie. In this decade, his most famous films are the fundamental Kairo (2001), Retribution (2006) and Tokyo Sonata (2008) .
Nobuhiro Suwa. For many the most important Japanese director, and certainly, who has gone better reflect the intimate concerns of middle-class families. Experimenting, gathering influences very specific and very well treated, and their limits extremely refined style, contemporary vacuum filmed as anyone and has been known to progress from his masterpiece of 1999 and major film in contemporary cinema, M / Other. This decade has given us H Story (2001), A Perfect Couple (2005) and Yuki and Nina (2009) , his first commercial release in Spain, while the film more moderate and accessible of his films.
Naomi Kawase. Representative with Suwa, Japanese cinema that intimate search of bodies and spaces, Kawase's films live in herself and the viewer, are fused with life and get a wonderful effect, which need not be between documentary and fiction. Apart from its fantastic documentary highlights Hotaru (2000) , his masterpiece Shara (2003), The Mourning Forest (2007) and Nanayo (2008) .
Takashi Miike. The most violent, treacherous, savage wheel filmmaker on the planet wakes up as many accessions as contempt of the public. Bastísima a work that only in this decade is nearly 50 titles, at least must say that leaves no one indifferent. Visitor Q, Gozu, Izo, Zebraman, Juvenile A Bing Bang ... The list is overwhelming
Hong Sang Soo. more afrancesado East director, which reflects the heritage of the Nouvelle Vague (Rohmer fundamental in his work), but also of classical Japanese cinema of Yasujiro Ozu, this decade has created an exciting work by its folds and the ability to withdraw on itself, growing and mutating and still be herself. The most perfect example of that depth and the light can go hand in hand, perhaps we are witnessing the most authentic and uncompromising filmmaker from the East, with films ranging from the very good and perfect. Virgin Stripped Bare by her Bachelors (2000), Turning Gate (2002), Woman is the Future of Man (2004), Tale of Cinema (2005), Woman on the Beach (2006), Night and Day (2008), Like You Know It All (2009).
Tsai Ming Liang. After his dazzling appearance on the 90, it seems that in recent years his star off slightly, but remains a major filmmaker in the new movie. He began the decade with a sublime work, What time is it? (2001) , and continued to spread his speech to the limit with his most radical film, Goodbye, Dragon Inn (2003) . Gained popularity with the debate The Wayward Cloud (2005) , and filmed in 2006 a magnificent film that served to reunite with all the symbols and fetishes of his peculiar world, not want to sleep alone. We'll see what happens after the last fiasco in Cannes with his French adventure Visage (2009) . But we can not forget that one as he reflected in recent years emptiness, loneliness and aesthetic reflection on the past and present. Between Truffaut and Antonioni.
Hou Hsiao Hsien . The creator of the Taiwanese new wave, orphaned after the death of Edward Yang. Little to say about this teacher, authentic classic film that is renewed with each film. His seniority has made him reflect the modern world of young people as no one in his influential Millennium Mambo (2001) , joined past and present, Japan and Taiwan, Café Lumiere (2004) , and assaulted by various filmmakers, made compilation of his career in Three Times (2005) and dared the French adventure in E l red balloon (2007) , emerging victorious, as always happens with him. A safe value.
Wong Kar-Wai. eminence and has gone from pope cinephilia author despised and devalued in recent times. But only for his film of 2000 deserves to be here, because Mood for Love was the culmination of his style perfected over years, and has marked a before and after in the world of cinema. Their imprint is present, not always for the better, in too many movies, and we must recognize that the germ of all, this little movie camera, whispered in a low voice, was almost perfect. After it became mannerist style, and although no longer a visual enjoyed, sometimes it is too tiresome. But surely recover the best Wong Kar-Wai, because there are many great things in their little impostada 2046 (2004) and My Blueberry Nights (2007).
Jia Zhang Ke . Representative of the new generation of Chinese filmmakers, Zhang Yimou has been overcome, Jia Zhang Ke poses in his films all the challenges of the new cinephilia. Venturing between documentary and fiction, making the authenticity and beauty events consistent, dialogue with his characters and situations, his movies are wonderful. In addition to the turmoil that erupted between the critical mass in Spain with his Golden Lion in Venice Still Life (2006) . Other movies: Plaform (2000), Unknown Pleasures (2002), The World (2004), 24 city (2008) . Nobody is like him and societal changes the new way of looking at art and life.
Wang Bing. also fundamental to the new Chinese cinema has been mostodónticas this documentary film, heartbreaking and life almost unbearable. West of the tracks (2003) and is a milestone, a classic, this monument was followed I Fengming (2007) and Crude Oil (2008). Apichatpong
Weerashetakul. But in recent years the growth has come from Southeast Asia and, above all, its over Martian experimental director. Always innovating, always going beyond what was thought, this Thai surprises with each creation, with its ability abstraction, with its sense of humor, his ability to break the mold ... Came up with the decade and still on top. Mysterious Object at Noon (2000), Blissfully Yours (2002), Tropical Malady (2004), Syndromes and a Century (2006).
Raya Martin. The latest addition and more radical, this time from the Philippine cinema. To some, his films are the work of a precocious genius with a knack for compelling cinema. For others it is a joke. Certainly not indifferent, since its debut in 2005 at age 20. A short Film about the National Indian (2006), Autohystoria (2007), Now Showing (2008), Independence (2009) ...
From elsewhere ... Canada and Argentina
Guy Maddin. With a long career behind him, it seems that finally, in recent years, despite not having any film released in theaters, the Canadian began to be known in our country. With his personal style, almost always in black and white, with its retro but totally avant-garde, its seductive power is beyond doubt. Dracula: Pages from a Virgin's Diary (2002), kneel Cowards (2003), The Saddest Music in the World (2004), Brand Upon the Brain (2006), My Winnipeg (2007).
David Cronenberg. Another Canadian veteran, but this one opens in theaters. Though his style seems to have become more manageable in recent years, themes, obsessions and character are still present from first to last minute of all his films. This decade has seen a change for Cronenberg, who has slipped from the science fiction film to the film noir, as demonstrated in A History of Violence (2005) and Eastern Promises (2007) , without forgetting that film transition is not always fairly valued, is perhaps his most personal and captivating psychological drama Spider (2002) .
Lisandro Alonso. In Argentina we have received some of the more radical proposals, like all works of Lisandro Alonso, situated on this new trend that makes time and space fundamental character of his creations, always looking for an abstraction inherited from Bresson and Dreyer. Freedom (2001), The Dead (2004), Ghost (2006), Liverpool (2008).
Lucrecia Martel. Less ascetic Alonso but in a similar vein, the film reaches into the bowels of the viewer and stir through his style, steeped in authenticity. His creations are a blow to all of our conventions. The Swamp (2001), The Holy Girl, (2004) The Headless Woman (2008).
Others. Because for some reason or other have left many in the pipeline, for example, randomly: José Luis Guerin, Alain Resnais, the Coens, Nicholas Klotz, Miguel Gomes, Johnny To, David Fincher, Gondry, Ang Lee, Malick, Linklater, Woody Allen, Scorsese, Kore-eda, Bong Joon Ho, Kim Ki-Duk, Almodóvar, Straub / Huillet, Bellocchio, Brisseau, Miyazaki, Akerman, Llinas, Bruno Dumont, Eugene Green, Kaurismaki ...
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