Juliet of the Spirits
This was Fellini’s first film in color. Fellini, along with cinematographer Gianni di Venanzo, experimented with this exciting new medium. There’s an enthusiasm and boldness to the use of color in it, and it shapes the way I think about color in film even today.
By Brakhage: An Anthology, Volume One
Stan Brakhage looked at film in a way that was exciting for me. He was never hampered by traditional storytelling or theatrically crafted scenes. Or even by cameras themselves. The images in his groundbreaking films set my imagination free to look at the medium in a new way.
Murmur of the Heart
This brilliant film about a boy’s coming of age introduced me to French cinema. Malle creates a fascinating picture of French family life; it’s both a comedy and a story of alienation. The mood of the more intimate scenes stays with me, as does the great jazz score.
Picnic at Hanging Rock
The power of this film is in the way it sustains the sense of mystery throughout. A young girl disappears, and we never really learn how or why. Cinematographer Russell Boyd helps create the ominous mood with photography that is beautiful and threatening at the same time.
Wes Anderson’s Top 10
“I thought my take on a top-ten list might be to simply quote myself from the brief fan letters I periodically write to the Criterion Collection team.” His selections were, unsurprisingly, delightful.
Matt Dentler’s Top 10
Matt Dentler is the producer of the South by Southwest Film Conference & Festival, in Austin, Texas (sxsw.com), as well as a curator for American distributor Film Movement and Canadian distributor Films We Like. He also hosts the weekly local PBS ser…
Alan Rudolph’s Top 10
Alan Rudolph is a pioneer in the American independent film movement. He has directed nineteen narrative features, including Trouble in Mind, The Secret Lives of Dentists, Afterglow, Choose Me, and his new film Ray Meets Helen.