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One must start somewhere. It's the old cinephile's cliché to endorse this film but like most clichés, it bears some truth in it. NOT OVERRATED.
Arthouse cinema and masterful at that. Density and ambiguity - you have it both ways here. Film as a tool to register not only people but buildings, furniture, arbitrary things, time cristalls that reflect our life.
"Life is a ribbon of dreams..." It could not be more true than in this wonder of a film.
There must be one Melville. Don't you adore the moment in the night club near the end when Delon receives that rose from a beautiful woman? That scene must be everything cinema is about.
How the hell did he make these films? Cassavetes films are truly inspiring and uneasy in a positive way. "Opening Night" remains my favorite: Gena Rowlands character is so full of shortcomings but we love her without boundaries.
This film comes closest to a dream, ever. They should build a temple for "Vampyr" and show it all day.
Sublime would only touch the surface: full of ideas, pictures, feelings - a piece of art which appears to be a film.
Two men and a woman. And I believe there is even a gun. I saw "Rushmore" when it came out and nobody had Anderson on the map. At first, I did not really like it that much - but like Max, I had a crush on Olivia Williams and so I came back to it every once in a while. I must admit it really grew on me. Aren't we all a bit like Max Fischer?
It took me a while to understand what Bresson is after. I thought it had to do with myself perhaps not being spiritual or even educated enough. In "Au hasard Balthazar" it becomes clear there is neither symbolism nor false pretenses in his films. Just glimpses of life, without explanation.
Roeg cuts through time and space like it was nothing. I wonder what Buñuel might have said about this film. Well, it lacks humor.
For Lubitsch, cinema works like erotism: the fun for the spectator is to complete the picture. But despite the exquisite elegance of the mise-en-scène and the delightful treatment of dialogue: Lubitsch is very sober and realistic when it comes to human folly. He never is sentimental. Among Lubitsch's many great films, Trouble in paradise is my favorite because of it's one-of-a-kind balance between the most stylish movieland abstraction and sharp contemporary oberservation. „And waiter?” „Yes Baron.” „You see that moon?” „Yes Baron.” „I want to see that moon in the champagne.” „Yes Baron: 'Moon in champagne'."
Frugal gazes: at a table, two bicycles, the kimono of the father. The actors of Ozus films are the things of everyday life, the characters move along as strung together but they exude a kind of warmth that touches the soul.
Buñuel’s biting social satire is as pertinent as ever, losing none of its edge as it portrays how quickly civilisations collapse under pressure and how we are all trapped by social convention.
The most poetic death in cinema. Most likely not seen on television.
Malick transfigures celluloid into half-conscious memories of a past life.
I feel this film is still somewhat underrated. A perfect example for organic cinema: torrid melodrama, dramatic love story, surreal fantasy (about the commitment of art), adaptation of diverse literature motives, showcase for Technicolor, Dance, Music? The treatment of space must have been a revelation at the time. Frank Borzage meets Jean Cocteau. Who does not want that?
Renoir's perennial masterpiece. The man never looses sight of his many characters who all have their reasons, as we know.
Exhausting and lyrical, "In Vanda's Room" is about the dispossessed and hidden inhabitants of a pre- and post-millennium society. Costa shows European collective anxiety through the stories of immigrants and survivors, while the urban landscape around them collapses.
"Film is like a battleground: love, hate, action, violence, death. In one word: emotion," states Samuel Fuller as himself in this signature film of the French New Wave. Godard uses images, sounds and codes not as instruments of illusion - he takes them out of coherence and throws them at you like projections, explosions, vibrations, machineries, impulses.
An extraordinary piece of cinema in which the tension is built up over more than three hours of its duration through the unbearable monotony and domestic repetition in the daily life of the main character, played by Delphine Seyrig. Rigorous, sparse and brutal, it teaches about the economy of means and observation.
Teshigahara basically shows Gaudís buildings. The film though seems so casual, yet it confronts you with the question: What is art? A favorite Criterion.
A surprisingly perfect picture about five prisoners and their escape. No psychology here.
Truly a film about the madness of the American Dream. And the only film whose harsh light blinded me.
A re-enactment of a re-enactment of a re-enactment, "Close-up" essentially destroys the very conception of a ‘documentary’ and yet is one of the best ever made.
Perhaps my favourite film: so down to earth and transcending at the same time - profound and effortless. I hope Criterion will revisit this one in the future.