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Another paper lists. Movies of our lives

this summer appeared in the newspaper the country one of those fun survey that asked various film professionals English in the film that marked his life . With the excuse of following the game, the proposed Cinexilio Forero do the same, and the results, which can be viewed by clicking here seem much more interesting than those of the country. Since this is a very personal list (not on what we consider best, but what most marked cinephile our personal evolution, but often coincide), I thought mine should be on the blog, so here also hit, but more interesting is the spot to check the lists of other people.

first ten, I put in chronological order: 1.-

Tales of Tokyo (Y. Ozu, 1953).
was my first Ozu and instantaneous shock. I could not believe what I was seeing that film could do well, and those characters that seemed so false and so far could transmit so much ... It made me think that although I behave and think so radically opposed to them, basically a lot of feelings were the same. I saw Tokyo Story and discovered that some silences contain bombs and that nothing is essential: you can have motion without movement and life without blood.

2.-The Apartment (B. Wilder, 1960)
The film that marked my adolescence and early adulthood. Everything in my life going through that movie, which for me contained all Hollywood and managed to make it real, although it seems a contradiction. It is all false, corseted and adhered rigidly to a script, but Wilder has shown that it can also be film and got the absolute refinement of a formula that evolved over the years. For the film, as the apartment Baxter, never closed.

3.-The Man Who Shot Liberty Valance (J. Ford. 1962)
And after the ultimate expression of classic, John Ford ended it in the movie that makes me see the beauty of the soul beyond rationality. Thanks to her or, rather, after seeing it, the feeling of "final" has something of fullness. It may be nonsense, but it gives me similar feelings Ordet.

4.-Person (I. Bergman, 1966)
A film that showed me that film was capable of thinking things he never imagined. It made me think what I saw and what I saw, and taught me that a human face can be the same as a movie, because his life is not what transpires.

5.-My Night at Maud (E. Rohmer, 1969) Another film
decisive, the first I saw of Rohmer and it hooked me forever. And not only Rohmer ..., the Nouvelle Vague, French films, to talking movies ... It opened so many doors that almost did not remember and not long ago I saw her and was surprised it was so incredibly good.

6.-The Mother and the Whore (J. Eustache, 1973)
And here's a movie I have seen only once, because it seems too painful, something that I might also spend some Garrel film, and that makes me love them and hate them equally as far. It may be the film that I most often comes to mind in everyday life.

7.-Manhattan (W. Allen, 1979).
opposite to the previous. My film therapeutic for those days when it is impossible to do otherwise. Even his bad jokes make me grace, and I find it extremely important because I do not remember another film that look better and show so much compassion for his characters.

8.-The beautiful liar (J. Rivette, 1991)
The movie that I discovered a film of spaces and bodies, body as a material on which to film, like film. I also gave way to a kind of film that goes by that line and with whom I connect in a very special, because it manages to convey a meaning that seems totally alien to the movies, touch. And here, in particular, feel a catharsis of all obsessions, such as violent claim, as a mirror of pleasure. (Rivette's films seems like everything in 3D)

9.-Sátántangó (B. Tarr, 1994)
When I thought I was some kind of film where you could not go beyond, reached Sátántangó my eyes, that has all the ingredients I do not like: solemnity overwhelming environment rural, unsympathetic characters, selfish and amoral ... And then a miracle occurs and reaches a film of 7 ½ hours hypnotize me, haunts me, I maintained a heavy heart and imprinted forever. My favorite suspense movie, but I dare not speak normally ...

10.-Yi Yi (E. Yang, 2000)
I think this movie is for me the effect I had Gone with the Wind in the generation of my parents, because going to war can be like facing a thing of the past while trying to handle this. Now we face the empty spaces, the holes that no one can fill the security that we only we have to ourselves and yet, as would Ozu, life goes on ...

(I just realized that I have not Vertigo, which was my first idea of \u200b\u200bthe ten ... I do not know what got in the middle and I do not know what to do, but I think you should not do anything because that movie taught me that obsessions arise when we fail to grasp that we have come too late for something ...)

And now for decades: 20 YEARS

: Dawn (FWMurnau), Metropolis (F. Lang) , And The Crowd (K. Vidor) City Lights (C. Chaplin), The Sherlock Holmes (B. Keaton) Pandora's Box (GWPabst) Seventh Heaven (Borzage E.), Soledad (P. Fejos), The Fall of the House of Usher (J. Epstein), The Student Prince (E. Lubitsch) 30 YEARS

: History of the Last Chrysanthemum (K. Mizoguchi), Midnight (M. Leisen) Women (G. Cukor); Live Like You (F. Capra), a woman for two (E. Lubitsch) Stage Door (G. La Cava), Dodsworth (W. Wyler), The Great Illusion (J. Renoir), L'Atalante (Vigo J.); Liebelei (M. Ophuls) 40 YEARS

: Late Spring (Ozu Y.), Jennie (Dieterle W.) Letter of an unknown (M. Ophuls), The Ghost and Mrs. Muir (JLMankiewicz) Brief meeting (D. Lean) Scarlet (F. Lang); Doom (B. Wilder), His Favorite Wife (Kanin G.) To Be or Not to Be (E. Lubitsch), How Green Was My Valley (J. Ford) 50 YEARS

: Rio Bravo (H. Hawks) Vertigo (A. Hitchcock) Wild Strawberries (I. Bergman); A condemned prisoner has escaped (R. Bresson); Trilogy Apu (S. Ray) wandering grass (Y. Ozu), The Night of the Hunter (C. Laughton) Tokyo Story (Ozu Y.), Living (A. Kurosawa), The Mayor Shansho (K. Mizoguchi) 60 YEARS

: My Night at Maud (E. Rohmer) Once Upon a Time (S. Leone), Mouchette (Bresson R.); Persona (I. Bergman), The Man Who Shot Liberty Valance (J. Ford), La chinoise (JLGodard), Gertrud (Dreyer CT) Night (M. Antonioni), Jules and Jim (F. Truffaut), The apartment (B. Wilder) 70 YEARS

: Manhattan (W. Allen) Stalker (A. Tarkovsky), Jeanne Dielman ... (C. Akerman), Benilde (M. de Oliveira), Effi Briest (RWFassbinder), The Mother and the Whore (Eustache J.), Scenes from a Marriage (I. Bergman), Solaris (A. Tarkovsky) Love after noon (E. Rohmer) Ryan's Daughter (D. Lean) 80 YEARS

: The band of four (J. Rivette), Hannah and Her Sisters (Woody Allen); The Green Ray (E. Rohmer) Blue Velvet (D. Lynch), Paris, Texas (W. Wenders) After Hours (M. Scorsese) Blade Runner (R. Scott), Berlin Alexanderplatz (RWFassbinder) Distant voices (T. Davies) Our love (M. Pialat) 90 YEARS

: Magnolia (PTAnderson) M / other (N. Suwa), Eyes Wide Shut (S. Kubrick), Histoire (s) du cinema (JLGodard) Sátántangó (B. Tarr), Smoke (W. Wang), The Valley of Abraham (M. de Oliveira), The Quince Tree Sun (Erice V.); The beautiful liar (J. Rivette) Goodfellas (M. Scorsese) 00 YEARS

: Extraordinary Stories (M. Llinás) Les Amants réguliers (P. Garrel) Inland Empire (D. Lynch), The New World (T. Malick), Million Dollar Baby (C. Eastwood) Praise of Love (JLGodard) Story of Marie and Julien (J. Rivette) Turning Gate (Sang Soo H.), Yi Yi (Yang E.) What time is it there? (T. Ming Liang)

Pokemon Sapphire Em Jar

My Life Without

I wake up late this morning, after a White Night in Madrid that rejoices in its own excess, thinking I should update this blog many months later. I think I have some pending posts, but I can not even write regularly again, until you go ditching other projects. But today we have thought some of the latest Woody Allen film, as I suggested Black Francis when I open the online edition of the newspaper as usual (routine of Sunday routine of lazy days) and I find the unexpected news of the death of Claude Chabrol .

few months after the death of Rohmer, who was far greater than Chabrol, I hoped this news would come so soon, especially because the French director was thriving creative and, in fact, his latest film, Bellamy, has not yet been released in Spain.

Maybe if you ask me for my favorite directors of the founders of the Nouvelle Vague, never appoint Chabrol (Godard, Rivette, Rohmer and Truffaut are too heavy), but always remember that was basic to me because it set the stage, was the beginning of my cinephile.

I remember the Easter of 2001, the end of March, which happened to my parents a few days on holiday in Alicante. At that time and I loved the movie, and it was raging movies, eating them at a pace which I can not follow. However, in those days my cinephilia was restricted to commercial releases and classic Hollywood cinema. I drank Garci program (which despite all its faults began in cinephilia many people of my generation: in a way, we are children of Garci) and my interests were focused on the likes of Hitchcock, Wilder, Ford, Hawks, Lang ... Even when Garci rarely show a movie that came out of that kind of film, I was not looking for rare and outside believe what they were my tastes. And then came that Easter of 2001 when we wanted to go to the movies.

I'd heard obliquely of the Nouvelle Vague and Claude Chabrol, and the billboard did not seem to have anything interesting to appropriate the Hollywood empire. Then I heard the film program of the SER than in those days I never lost, and listened to the necrophiliac Theophilus critical to the skies a little French movie, Thanks for the chocolate. So I give a chance to put that film in French cinema and unfortunately a little late, Astoria, and I went with my father while my mother and my sister came to another movie.

never forget a hit like that. I remember the cool drive highlighted in the face of Isabelle Huppert, I remember the murky atmosphere and ironic that showed on the screen. I saw what looked like a portrait isolated from a provincial bourgeois family took on a much broader reach, as a merciless portrait of the human condition, its fragility and its evil, the limits to which it could get good and bad the difficulty of cataloging and the inevitability of appearances. I remember I had mastered with ease at the time the films of Hitchcock and Lang, and in thanks for the chocolate I found a filmmaker who, unlike other modern Hollywood directors, was able to talk to them, to recover his spirit them around and enrich the look of both filmmakers, as well as well-assimilated and twisted by Chabrol. I remember the first zooms in the film, Hitchcock reminded me how!, And how I learned to read, otherwise the work of the English genius, besides giving the world body chabroliano staff. I found there a zoom on a face or an object can be much more than zoom in on a face or an object. Each level talks, which forms a dialogue among themselves and mutate over the history of cinema. A piano, a hot chocolate, a helpful woman. Chabrol raised icons, a bit like Hitchcock, but the glass of milk in Suspicion had become a hot chocolate because the white world and light of the forties had become thick and dark in the XXI century modernity. The cinema had lost their innocence, their innocence. It was time to think about the film itself. What I did not know then is that this came from many years ago. Chabrol

And I opened the door. And after him, an appearance miraculous, decisive, a fever came over me that opened the film beyond the boundaries of Hollywood. Needed to see more movies, and the more managers would know more appeared. Gradually I went from the Nouvelle Vague Chabrol, and hence the whole French cinema, and then to European cinema (Nordic, Mediterranean, Germanic, Slavic ...), and then came Asia, Japan, and the end of borders. The film knows no geographical boundaries or time. I went to see movies binge any time and from anywhere in the world, and after Chabrol my world changed without reference.

saw many Chabrol films that time and distance, while I was opening to the other theaters, and little by little I discovered his particular universe, savoring its large police and surprised to see that it was also able to draw superb portraits of characters and everyday dramas. As critics say, I agree that time prodigious Chabrol in the late 60's and early 70's, where we gave a series of works absolutely consistent, and very disturbing: Accident without trace, the unfaithful wife, the butcher, Al evening ... Fascination. A Chabrol charmed and loved. And I agree with other topics, irregular, he made some films food (But still never have a personal touch), and that, when the universe seemed fully exploited and pushed to the limit, was able to reinvent itself in the 90's. It usually marks the extraordinary ceremony (1995) as the turning point of this new stage, but I would take a year before his vision of Hell (1994) Clouzot, which ruthlessly dissects the world of jealousy . For me, the highlight of this second major step was Thanks for the chocolate (2000), and in recent years has been making movies always very interesting and new things to say, what may seem impossible after more than 60 films in his filmography, either from the murky and unforgiving lens worthy of his best works (The Bridesmaid (2004)) or through a seemingly more conventional look, but burdened with a very sly irony about the social and political strata of the Western world (Comedy of power (2006)).

is difficult to conceive of Chabrol's career without thinking about their fetish actresses, who manage to give body to steal his best films without personality: Stéphane Audran (especially in his first big time) and Isabelle Huppert, which incidentally coincided with the only French director Noziere Violette (1978). Both have been support for the career of a nuanced filmmaker, and also is particularly interesting how Chabrol has been drawing the career of Isabelle Huppert, as from collaborations can reconstruct the kaleidoscope of visions that French has shown on the screen throughout his career. Because they have little to do the characters he plays in Noziere Violette (1978), a women's issue (1988), Madame Bovary (1991), No More Bets (1997), Thanks for the chocolate (2000) and Comedy of Power (2006 .) Makes, as appropriate, a victim or executioner, and can go from being the punishing angel spontaneous and full of anger to the hangman ceremony cold, methodical and relentless Thanks for the chocolate.

But beyond of the actresses, Chabrol has proved capable of great insights female in which there is no suspense but there is suspense. It is capable of doing without police detective and shows that you can shoot like film wonderfully suspenseful drama about a woman abortionist (A women's affair (1988)) or an insight into a woman unsatisfied (Betty (1992)). Not forgetting that there are times when the drama and crime, introspection and black film, can not be dissolved, and the blurred border, as in the diptych of films about the jealousy that are located on both sides of its main stages film: Jealousy in a lesbian relationship in The hinds (1968) and heterosexual jealousy in Hell (1994). Interestingly, the female point of view in both films, as in the rest of his career. Why are women so interested in Claude Chabrol? Thinking of his films, probably because it is much more disturbing to check the hidden passions and the presence of an extremely sharp intelligence on individuals who, on the outside, physically, they seem more fragile and delicate. Unmasking appearances, ironically show how to hide private passions. Because in the end, Chabrol seems to say in his movies, everything moves according to the wishes, impulses, and hidden needs of human beings. Everything is passion, even as cold that can be camouflaged. First of all, to feel liked Chabrol fascinated by the ubiquitous and fragile duality of good and evil.


asombrábamos We recently that there is still alive and active four of the five founders of the Nouvelle Vague, seemed immortal, and suddenly we find that Godard and Rivette are the only survivors. The most radical, the most experimental. But the loss of irreplaceable Chabrol opens a gap, because the regular appointment with him in the cinema is broken. Like Woody Allen, its territory was also known, but was still able to surprise us with some of the variations of the core topics, being able move a sly look or a look cloudy, and in many cases combining both ways of seeing the world.

My Life Without Chabrol would have been totally different. Surely, he'd have been no other filmmaker, before or after having appeared Rohmer, Truffaut, or otherwise, but I can never forget that it was Chabrol, Chabrol was the one who opened my mind and I discovered a film universe, in those days I could not imagine that it was infinitely richer than he already knew. Thanks for everything, Claude, thanks to sweeten my life that way. Thanks for the chocolate.