I came to Larisa Shepitko through reading about Elem Klimov after watching Come and See. When I saw that Criterion had put out two of her films through their Eclipse label, I snapped them up. These discs are probably my most prized in my collection. Watching The Ascent feels like being punched in the nose and rolled in the snow. I felt like I’d time traveled to the Second World War and was there as a silent witness.
I remember seeing a trailer for Brazil in the cinema, and it was like nothing I’d ever seen. I was desperate to watch it; I remember cutting out magazine articles about it and daydreaming about what it was like. I was too young to get in to the cinema to see it, and it was five years before I finally got to view it. I loved it. To me, Brazil has everything: it’s funny, horrible, elegant, and messy. It has De Niro in and throws him away, has the hero . . . well, you know how it ends. From Brazil I went back and watched all Gilliam’s movies and was introduced to Python. I’ve bought this again and again and again. It felt right to have this on Criterion, to sit with my various VHS copies.
Alphaville is the New Wave grandfather of Blade Runner: a film that is at once in the past and far in the future. I’m a big Godard fan, and this is one of his great genre deconstructions: effortlessly cool and serious at the same time. Alphaville was my fourth Godard, and I saw it when I was nineteen. He’d already dismantled my mind with Pierrot le fou, Breathless, and Le petit soldat. I wish I could see those Godard films for the first time again.
The Battle of Algiers
I’d heard bits about The Battle of Algiers and knew I wanted to see it; I’m a big fan of Peter Watkins’s The Battle of Culloden and the whole mock-doc/social-realist filmmaking aesthetic. It makes interesting counterprogramming to our understanding through modern media of the difference between “freedom fighters” and “terrorists.” It’s just as relevant now as it was then.
The dark lord of midnight movies. Lynch films are scary in a way that modern horror films seldom are. He talks directly to my inner child, to the nightmares of my seven-year-old self. It’s a singular cinematic experience. I remember watching this whenever it was on in London—Eraserhead and Blue Velvet . . . double bills . . . mmm.
Director of photography Laurie Rose and I watched this before we made A Field in England. We were afraid of shooting outside in changing weather conditions and light. Marketa Lazarová shows that cutting between overcast/bright sunlight/no snow/suddenly snow . . . can work just fine.
Mishima: A Life in Four Chapters
I’d been after this for years, and it didn’t disappoint. It’s a neon acid trip of a movie. Incredible soundtrack as well. I think there’s a line where incredibly stylized movies can achieve an emotional sense that you can’t get to through documentary or traditional Hollywood styles.
Patton Oswalt’s Top 10
Patton Oswalt is a stand-up comic, the instigator of the Comedians of Comedy tour, and voice star of Pixar’s Ratatouille. He wrote an appreciation of Allen Baron’s film Blast of Silence in Sean Phillips’s comic book Criminal (Phillips did the a…
Oren Moverman’s Top 10
Like any top ten list in any discipline by anyone privileged enough to be asked to catalog his professional indulgences for public viewing, the following list is deeply meaningful and truly meaningless.
Haskell Wexler’s Top 10
For Haskell Wexler, the director of Medium Cool, and the Oscar-winning cinematographer of Who’s Afraid of Virginia Woolf? and Bound for Glory, writing about his ten favorite Criterion films became a trip down memory lane.
Richard Hell’s Top 10
Richard Hell was a founding member of the early CBGB bands Television, the Heartbreakers, and Richard Hell & the Voidoids. His Voidoids album Blank Generation (Sire, 1977) is generally acknowledged as seminal to “punk.”