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)
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