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.
David and Nathan Zellner’s Top 10
Austin-based duo David and Nathan Zellner, whose new film Damsel is now in theaters, share a list of favorites that run the gamut from genre provocation to lyrical humanism.
Kevin Macdonald’s Top 10
Kevin Macdonald is the grandson of the filmmaker Emeric Pressburger. Macdonald’s directorial credits include 2000's Academy Award–winning One Day in September, about the killing of Israeli athletes at the 1972 Munich Olympics, and 2003's Touching…
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…
Bill Hader’s Top 10
In compiling his top ten Criterion editions, Hader says, “I couldn’t pick ten . . . sorry. So I programmed Criterion double features, which is what I tend to do on Sunday nights anyway.”