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Styleforum Top Picks
by Dominique Perrault
Specifically designed for it’s location in the Siene Rive Gauche district, the basic concept is composed of four tall towers that define the boundaries of an esplanade, which is hollowed out of the ground to create a vast forest-garden. The four beacon-like markers with an area measuring up to 350,000 m2 were constructed on a stretch of industrial wasteland, each one comprised of wood, metal, concrete and glass.
They were designed to resemble four open books all open towards one another, to imply a volume and symbolic space. The establishment of the open square gives the notion of accessibility and availability, inviting the public to enjoy the square. It’s semi-industrial approach is obvious at every scale, particularly with the use of stainless steel. Different meshes of the steel are woven into panels to be used as coverings for walls and ceilings, as well as partitions and outdoor plantrooms. The monumental towers are draped in stainless steel, by the application of five meter high panels that are tiled to create the surfaces.
This use of mesh is present on all levels of the building; in the research rooms, the technical ducts are hidden under a ceiling of mesh, which also serves to control the acoustics. In the reading rooms, a similar technique is used more decoratively, creating a wave-like effect across the ceiling. The conference room uses the meshes as stage curtains, the stainless steel falling in folds from the ceiling.
An interesting but less obvious aspect of the design is the lack of complete visibility from one side of a large open space to the other. Perrault thoughtfully places shutters, visual screens, grills and meshes, which add intimacy and privacy to different reading spaces. The grid is prevalent in the design, found in the lighting masts of the reading rooms, ceiling-mounted lights, and sheathed in braided stainless steel.
by Dominique Perrault
I wish there was a break in symmetry. My dad always said "lo perfecto es enemigo de lo bueno" Perfection is the enemy of good. Some of his buildings (These are all in Venezuela from the 60s-80s when shit was good in VZ):
- Vampires, les/France/Feuillade/1916: Engrossing crime serial with a macabre edge, the main character is boring but you’ll be cheering for the amoral members of “les vampires” gang
Fuuma's top 100 movies: 20s
Cabinet of Dr. Caligari, the/Germany/Wiene/1920: Made in the aftermath of WW1. Not so subtle critique of the powers that be, the nightmarish landscapes of this expressionistic movie are a sight to behold
Nosferatu/Germany/Murnau/1922: Another fine example of German expressionism, this one is truly creepy thanks to Max Schreck eerily performance who owes as much to the elaborate gestures of theatre actors as to the much more restrained style that would soon emerge in the cinematic world.
Metropolis/Germany/Lang/1926: Probably the first dystopian sci-fi movie, certainly the best
An andalusian dog/Un chien andalou/France/Bunuel/1929: A dreamlike journey through the subconscious mind of Bunuel (and Dali). The Surrealists were among the first to understand that cinema could be a viable artistic pursuit, worthy of other visual arts
Fuuma's top 100 films: 30s
All Quiet on the Western Front/USA/Milestone/1930: Dramatic anti-war film and a strong indictment of ultra-nationalism, as seen from the German side.
M/Germany/Lang/1931: A serial killer is on the loose and the town is in a climate of panic and hysteria after eight children have been found dead. The denunciations, name calling and paranoia present in the film take on an interesting subtext when you consider what was going on in Germany at that time.
Atalante, l'/France/Vigo/1934: A story that is at times both humorous and deeply poetic. The association of Vigo, who would die a year after completing his masterpiece (and only feature length film), and the cameramen Boris Kaufman, Dziga Vertov’s half-brother, yields results of tremendous evocative power
39 steps/UK/Hitchcock/1935: This is one hell of a charming movie. Hitchcock invented the guy&girl (both glamorous of course) who’re in trouble with the law/bad guys/etc and must join force to succeed while their mutual contempt and attraction for each other fluctuate according to exterior circumstances. Basically a romantic comedy where the typical obstacles to the protagonists love are replaced by elements taken from thrillers.
Grand illusion, the/Grande Illusion, la/France/Renoir/1937: Renoir once again sets his penetrating gaze on the change of class dynamics after WWI, just looming in the horizon in this case, with this tale of French POW planning their escape from German camps
Alexander Nevski/URSS/Eisenstein/1938: Made at a time when Russo-Germanic relations weren’t at their all time high to say the least, this movie delivers its pro-Russian message with maestria. Observe how clothing, equipment and battle formations, by the judicious use of geometric shapes, contributes to the overall feeling you get from each army. There seems to be a few fans of this one on the board, which is always a sign you’re in good company, IMHO
Fuuma's top 100 movies: 40s
Maltese falcon, the/USA/Huston/1941: Quintessential noir movie, the shadows in this one owe a lot to the German impressionist films I listed earlier (see 20s)
This gun for hire/USA/Tuttle/1942: Veronica Lake and one of the first “hitman who finds redemption in the love he has for a woman” type of movie that I’m a sucker for
Corbeau, le/France/Clouzot/1943: Can be seen as a metaphor for occupied France (made and released during said occupation) oh and Clouzot is the French Hitchcock
Beauty and the beast\Belle et la bête, la/France/Cocteau/1946: The only movie on the list that I haven’t seen since I was a kid, this one is so poetic and aesthetically pleasing that it left a really strong impression on me at the time. A friend of mine later said that he can’t stand the movie because Cocteau was so in love with Marais during the filming that he made everyone else ugly by comparison. I’ll tell you what I think about that when I re-watch it, I wasn’t looking for homo-erotic subtexts in movies when I was eight, and that’s a good thing.
Out of the past/USA/Tourneur/1947 : Another noir with a femme fatale so wicked you can’t help but love her. Featuring Kirk Douglas in a career defining first(?) role
Bicycle thief, the/Italie/DeSica/1948: Moving, humane, essential
Third man, the/UK/Reed/1949 : Just a great thriller, a famous cuckoo speech and one of the best, again German impressionism inspired, use of shadows ever (see the last scene).
Fuuma's top 100 movies: 50s
Rashomon/Japan/Kurosawa/1950: Well known for its use of contradicting flashbacks. The long take where the woodsman is walking through the forest is the perfect example of music, camerawork and previous narrative drive coming together in a magical moment (even though it’s just a dude walking through the woods)
Tokyo story/Japan/Ozu/1953: Very cliché choice but this is so moving and affecting I had to include it
Touchez pas au grisbi France/Becker /1954: Another great heist/crime flick with Jean Gabin
Seven samurai, the/Japan/Kurosawa/1954: Kurosawa shows such a mastery of movement; the quintessential “action” film
Diabolique/Diaboliques, les/France/Clouzot /1955: Another gripping Clouzot thriller, this one has lost none of its punch. Hitchcock liked it so much he asked the authors (Boileau/Narcejac) of the original story to write something for him which resulted in Vertigo.
Rififi/Rififi chez les hommes, du/France/Dassin/1955: Classic long heist sequence, uninterrupted by music or speech, which would inspire countless directors (and real life criminals) in years to come
Bob le flambeur/France/Melville/1955: Great morality tale about gangster honour, luck and getting older. The street sequences are exquisite and definitely inspired the new wave directors who started shooting on location, with natural light and portable cameras.
Night and fog/Nuit et brouillard/France/Resnais/1955: 30 Min documentary about the Holocaust (among the first ones made), might be less graphic than some but the quality of the direction and narration makes it all the more effecting
A man escaped/Un condamné à mort s'est échappé/France/Bresson/1956: Bresson’s minimalist, almost ascetic vision of cinema shines through in this tale of quiet perseverance.
Paths of Glory /USA/Kubrick/1957: This, and all quiet on the western front, are my favourite (anti) war movies. Oh and it’s the only Kubrick film on the list.
Vertigo/USA/Hitchcock/1958: The most personal of Hitchcock’s movies, the tale of a man who obsessively tries to transform a woman into something else (a physical projection of his own fantasies) to the point of obliterating her own identity. Everything is twisted and spiralling in this film, from staircases and roads to the heroine’s hairdo.
Fuuma's top 100 movies: 60s
- Breathless/À bout de souffle/France/Godard/1960: Frantic, fun, irreverential, innovative. It’s a monument but without any of the pomposity associated with that concept.
- Avventura, l'/Italy/Antonioni/1960: This could be called sex and architecture, the attention given to bodies, shapes and forms is amazing. So modern in its aesthetic and mindset, pretty much everything else looks dated when compared to it. “-
- Dolce vita, la/Italy/Fellini/1960: So stylish
- Last year at Marienbad/L’année dernière à Marienbad/France/Resnais/1961: Not so much a logical film as one made to evoke concepts and memories. A great discussion starter, you can talk about it’s meaning for hours after a viewing
- Leopard, the/Italy/Visconti/1963: The last days of the aristocratic era made by a communist prince, who, by virtue of his dual nature, conveys the right mix of hope and melancholy
- Band of outsiders/Bande à part/France/Godard/1964: Godard successfully re-arranges the polar for his own device
- Woman in the dunes/Japan/Teshigahara/1964: The most tactile film I’ve ever seen and a powerful existentialist allegory.
- Battle of Algiers, theAlgeria/Pontecorvo/1965: At times you feel like you’re watching a documentary. I attended a screening where a couple of the actors where present (some of them are now important members of the Algerian government) and they were basically playing themselves, blurring the line between reality and fiction. This is essential viewing in these times of terrorism hysteria
- Blow-up/Italy/Antonioni/1966: Swinging London meet Antonioni’s take on reality and bourgeois existential ennui. Asks a lot of interesting questions about art, representation and truth.
- Persona/Sweden/Bergman/1966: If you’re interested in the nature of identity and individuality see this.
- Belle de jour/France/Bunuel/1967: Threads the murkier depths of human sexuality
- Samourai, le/France/Melville/1967: Delon is the height of laconic cool in this, Melville’s hieratic characters, reminiscent of the style of Bresson, seem to be unable or unwilling to escape the highly codified destinies the filmmaker has in store for them
- Stolen kisses/Baisés volés/France/Truffaut/1968: Breezy and fun without being inconsequential. Every man can recognize at least part of himself in eternal adolescent Antoine Doinel
- Once upon a time in the west/Italy/Leone/1968: The western to end all westerns, so epic it hasn’t been topped yet.
- Unfaithful one, the/Femme infidèle, la/France/Chabrol/1969: Had to pick a Chabrol, any number of his movies could have been included. Chabrol is the master of thrillers illustrating the “bourgeois malaise”
- Z/France/Costa-Gavras/1969: Major entry in the political film genre
- My night at Maud's/Ma nuit chez Maud/France/Rohmer/1969: Be warned that Rohmer’s movies are ultra talkative and unabashedly intellectual (that’s a good thing, right?) but the ethical dilemmas he poses are always fascinating
Fuuma's top 100 movies: 70s
- Get carter/UK/Hodges/1971: Hard hitting hard-boiled action/thriller with Michael Caine who displays serious acting chops
- Aguirre, the wrath of god/Germany/Herzog/1972: Herzog characters are always on the brink of madness as they vainly grasp at something beyond the reach of Man.
- Money Money Money/Aventure c'est l'aventure, L'/France/Lelouch/1972: Very funny film about a bunch of gangsters who take advantage of the 70s political instability to further their monetary interests. Watch out for the Stalin Ferrari jokes.
- Godfather, the /USA/Coppola/1972: Everybody has seen this…
- Magnificent one, the/Magnifique, le/France/DeBroca/1973: The ancestor to all those whacked out spy comedies (see Austin powers). This is a personal favourite but be warned that I like Belmondo in anything, even when he’s over-acting like crazy
- Mother and the whore, the/Maman et la putain, la/France/Eustache/1973: Eustache truly is a children of the new wave and this film about post may 68 relationships is as good as any of the major entries in the new wave canon
- Mad adventures of rabbi Jacob, the/Aventures de rabbi Jacob, les/France/Oury/1973: “Salomon, but you’re a jew!!??” says the main character to his driver, DeFunes is hilarious and this film is a good showcase for his physical brand of humour. Pretty low brow but always hilarious
- Day for night/Nuit américaine, la/France/Truffaut/1973: Truffaut’s love of cinema shines through in this film. I love how all the characters are so enthusiastic about the decidedly mediocre movie they’re making.
- Long goodbye, the/USA/Altman/1973: A classic noir novel meets 70s Californian indolence
- Enter the dragon/USA/Clouse/1973: That’s some kickass kung fu, Bruce Lee can only play Bruce Lee but he does it with so much charisma it doesn’t matter
- Going places/Valseuses, les/France/Blier/1974: The original (French) title is slang for testicles and this road movie about masculinity, youth and all around male anarchistic behaviour spares no one along it’s joyous course. Blier would later make one about the more feminine side of men with “Tenue de soirée”.
- Godfather part II/USA/Coppola/1974: Everybody has also seen this…
- Chinatown/USA/Polanski/1974: Another 70s take on noir, one of the great roles of Nicholson.
- Graveyard of honor/Japan/Fukasaku/1975: Filmed in a gritty, documentary style, this movie presents a character consumed by an inextinguishable lust for (self) destruction. Like many of Fukasaku’s movies the focus is on post WWII Japanese life among the many individuals destabilized by that period.
- Taxi driver/USA/Scorsese/1976: Shots of the city at night are impressive. This movie makes you think about what we, as viewers, are really asking for when we want the main character to give us the “pay off”.
- Annie Hall/USA/Allen/1977: The quintessential Allen movie, it’s hard not to love Annie Hall[/list]
Fuuma's top 100 movies: 80s
- Choice of arms/Choix des armes, le/France/Corneau/1981: Classic post ww2 French gangster (Montand) meets the new breed of 80s disenfranchised small time street thug (Depardieu). Corneau manages to make a film that is both a confrontation between two genres of filmmaking/characters and a compelling story with well developed protagonists
- Under suspicion/Garde à vue/France/Miller/1981: Intimist drama between a tough cop (Ventura) and a disenchanted bourgeois suspect (Serrault)
- Clean slate/Coup de torchon/France/Tavernier/1981: An American noir novel transposed to the French African colonies and masterfully directed by Tavernier. Violence and evil was never this banal and friendly
- Knock on wood/Chèvre, la/France/Veber/1981: Hilarious buddy film where Depardieu plays straight man to funnyman Richard’s pathetically unlucky looser.
- My dinner with Andre/USA/Malle/1981: Just two guys talking during a restaurant meal, doesn’t sound like much but you’ll be impressed.
- Blade runner/USA/Scott/1982: Thought provoking, visually impressive and aiming at making us think about the actual world we live in, this is sci-fi at its best.
- To our loves/À nos amours/France/Pialat/1983: Pialat’s cinematic style is a mixture of documentary realism tampered by a painter’s eye. This is now available on DVD (criterion) and the extras really give an insight into his filmmaking process
- Sans soleil/France/Marker/1983: A cinematic essay (how rare is this?!) on time, space and the cultural landscape. Marker is truly an innovative filmmaker, I’d be hard pressed to compare him to anyone else
- Paris, Texas/Germany/Wenders/1984: A haunting road movie, set in America, made by a German.
- Betty blue/37,2 le matin/France/Beinex/1986: Great adaptation of an amazing book.
- Last emperor, the/Italy/Bertolucci/1987: Saw this in 87 (when I was a kid) and have been in awe of the movie ever since. A sprawling epic
- Akira/Japan/Otomo/1988: An absolute classic of the cyberpunk AND animation genres.
- Killer, the/HK Woo/1989: Bullet ballet and melodramatic heroism at it’s best, this movie owes a lot to Le Samourai (see 60s on my list).
- Kiki’s delivery service/Japan/Miyazaki/1989: Had to have one Miyazaki in there, perfect if you have kids, perfect if you don’t. This one is truly endearing and covers all the classic Miyazaki themes: flight, coming of age, love, magic/the mystical world, old European architecture. You have to marvel at the way the characters move, perfectly evoking human mannerisms
- Crimes and misdemeanors/USA/Allen/1989: This one asks very serious questions about guilt and the consequences of your actions, all wrapped up in Allen’s usual brand of self-deprecating humour
- Do the right thing/USA/Lee/1989: The look is firmly set in the 80s but the story concerning racism is anything but dated. I like how Lee manages to give a convincing performance in his own movie, something few directors accomplish. [/list]
Fuuma's top 100 movies: 90s
The camera sweeps and turns to make us part of a mafia crew for a few
- Man bites dog/C'est arrivé près
de chez-vous/Belgium/Belvaux/Ponzel/Poelvoorde/1992: A black comedy about
the relationship between observer and subject, in this case illustrated by
watching a fake documentary crew as they follow and get gradually more
involved, with a psychopathic thief
- Hard Boiled/HK/Woo/1992: The
most impressive pure action movie I’ve ever seen, the final showdown in
the hospital is masterful
- Farewell my
concubine/Chine/Kaige/1993: A magnificent walk through Chinese
transformation during the 20th century and probably Leslie
Cheung’s greatest performance
- Three colors: Blue/Trois
couleurs: Bleu/France/Kieslowski/1993: Binoche shows great skill in
approaching this difficult role, the tints and images are gorgeous and
this re-interpretation of the three colors of the French flag
(blue=liberty) take on a whole different meaning. Liberty is used here in the sense of
severing all points of contact with pain and social interaction, after the
death of a loved one.
- Exotica/Canada/Egoyan/1994: A
movie about a strip club that is neither vulgar nor about sexuality/money,
but concerns remembrance, guilt and parenthood, no really
- Three colors: Red/Trois
couleurs: Rouge/France/Kieslowski/1994: the final chapter of the
trilogy, Kieslowski’s fascination with chance encounters is made
especially interesting by the great ending.
- Chungking express/HK/Wong/1994: The
lives of 20-something aimless characters intersect amid a thoroughly
modern urbanity in these two mingled love stories. Wong-Kar-Wai film uses
saturated colors and freeze frame to elevate these glimpses into
instantaneity into moments to be remembered.
la/France/Kassovitz/1995: Another great film about racism, this one has a
B&W documentary feel and some natural acting that makes it a pleasure
- Maborosi/Japon/Kore-eda/1995: A
meditation on loss. The character arc of the main character, told in
images and through mostly silent acting, is what makes this movie
- Ridicule/France/Leconte/1996: a
western, set in 18 century France, where duels aren’t fought
with guns but words (I’m paraphrasing something Ebert said about the
- Made in Hong Kong/HK/Chan/1997:
Chan movies are mainly concerned with the relationship between Hong Kong and the mainland and what it
entails in term of identity
- Hana-bi/Japon/Kitano/1997: A contemplative and poetic film
punctuated by disturbing explosions of violence
(Kiyoshi)/1997: Kurosawa has made a name for himself crafting existentialist
horror films that owe as much to Sartre as to traditional b-movie fare.
- Mission, the/HK/To/1999: IMHO the 90s
cinematic decade and this movie, courtesy of the very innovative Milky
Way’s studio head Johnnie To, ends those years with a bang; a quirky,
offbeat, character driven gangster movie that goes everywhere but where
you most expect it.[/list]
Fuuma's top 100 movies: 2000s
- Code Unknown/Code inconnu/France/Haneke/2000: Haneke’s masterful film on the new Europe and its impact on various ethnic groups, the movie also explores communication dynamics and mixed messages. The disjointed, unfinished scenes really add something, illustrating the vagaries of human contact in a very palpable way.
- In the mood for love/HK/Wong/2000: Languid exploration of an impossible love in the HK of the 60s. WKW reached his aesthetic pinnacle with this; looking at people smoking was never this exhilarating.
- Battle royale/Japan/Fukasaku/2000: B-movie social critique about a high school class send on an island to exterminate each other. I love the clash of high school dynamics and repeating machineguns. Fukasaku once again lets the ugly side of post-war Japanese society fester to the surface
- 24 Hour Party People/UK/Winterbottom/2002: I never tire of watching this movie; it’s so energetic and unabashedly cheerful, even when everything crashes around the main character. I don’t have much to say about it though, contrary to pretty much every entry on the list I don’t know much about the director’s cannon (Winterbottom), I haven’t noticed anything special about the direction as I’m always so engrossed in the story I’m affected by his technique instead of analyzing it. Oh and post-punk rocks!
- OldBoy/Korea/Park/2003: “Laugh, and the world laughs with you; cry, and you cry alone.” Korean cinema has been one of the most dynamic of the last few years, this is my favourite entry but there are plenty to explore and it goes in all directions (comedies, melodrama, genre movie, romance, historical epics, psychological drama, etc.). Since this list is finished maybe I’ll recommend some Korean movies next.
- The beat that my heat skipped/De battre mon cœur s'est arrêté/France/Audiard/2005: This movie had such a strong, visceral impact the first time I watched it the stewardess had to remind me to turn off my ipod because the plane was landing. That it can pack such a punch on a small screen in this context says a lot about its emotional charge. What it’s about: a young, restless man, torn between the sometimes harsh actions he thinks he must take to please various authority figures and find some kind of peace. Oh and since it’s a fashion board maybe someone will know who made Romain Duris wardrobe, because the overall look is exactly what I like about the dressier side of clothing. [/list][/QUOTE]
Warning: Spoiler! (Click to show)
Faust [1922; F.W. Murnau]
Metropolis [1927; Fritz Lang]
The Crowd [1928; King Vidor]
L’Atalante [1934; Jean Vigo]
The Black Cat [1934; Edgar G. Ulmer]
The Crime of Monsieur Lange [1936; Jean Renoir]
Ball of Fire [1941; Howard Hawks]
Cat People [1942; Jacques Tourneur]
The Ox-Bow Incident [1943; William A. Wellman]
Nightmare Alley [1947; Edmund Golding]
The Bicycle Thieves [1948; Vittorio De Sica]
They Live by Night [1949; Nicholas Ray]
Gun Crazy [1950; Joseph H. Lewis]
The Naked Spur [1953; Anthony Mann]
Rear Window [1954; Alfred Hitchcock]
Le Notti Bianche [1957; Luchino Visconti]
Vertigo [1958; Alfred Hitchcock]
Day of the Outlaw [1959; André de Toth]
Night Train [1959; Jerzy Kawalerowicz]
Rio Bravo [1959; Howard Hawks]
Paris Belongs To Us [1961; Jacques Rivette]
Pigs and Battleships [1961; Shohei Imamura]
Harakiri [1962; Masaki Kobayashi]
La Jetée [1962; Chris Marker]
High and Low [1963; Akira Kurosawa]
The House is Black [1963; Forugh Farrokhzad]
I Am Cuba [1964; Mikhail Kalatazov]
Woman in the Dunes [1964; Hiroshi Teshigahara]
Shadows of Forgotten Ancestors [1965; Sergei Parajanov]
Seconds [1966; John Frankenheimer]
The Color of Pomegranates [1968; Sergei Parajanov]
Teorema [1968; Pier Paolo Pasolini]
The Unfaithful Wife [1969; Claude Chabrol]
The Conformist [1970; Bernardo Bertolucci]
The Man Who Left His Will on Film [1970; Nagisa Ôshima]
The Private Life of Sherlock Holmes [1970; Billy Wilder]
Daughters of Darkness [1971; Harry Kümel]
The Devils [1971; Ken Russell]
Day For Night [1973; Francois Truffaut]
The Long Goodbye [1973; Robert Altman]
Céline and Julie Go Boating [1974; Jacques Rivette]
The Conversation [1974; Francis Ford Coppola]
The Parallax View [1974; Alan J. Pakula]
Yakuza Papers vol. 4: Police Tactics [1974; Kinji Fukasaku]
Fox and His Friends [1975; Rainer Werner Fassbinder]
The Most Important Thing: Love [1975; Andrzej Żuławski]
Night Moves [1975; Arthur Penn]
The Killing of a Chinese Bookie [1976; John Cassavetes]
Network [1976; Sidney Lumet]
The Tenant [1976; Roman Polanski]
The Ascent [1977; Larisa Shepitko]
Opening Night [1977; John Cassavetes]
Stalker [1979; Andrei Tarkovsky]
Arrebato (Rapture) [1980; Iván Zulueta]
Out of the Blue [1980; Dennis Hopper]
Diva [1981; Jean-Jacques Beinex]
Possession [1981; Andrzej Żuławski]
Blade Runner [1982; Ridley Scott]
Moonlighting [1982; Jerzy Skolimowski]
Tenebre [1982; Dario Argento]
A Whole Night [1982; Chantal Akerman]
The King of Comedy [1983; Martin Scorsese]
Videodrome [1983; David Cronenberg]
Body Double [1984; Brian de Palma]
Paris, Texas [1984; Wim Wenders]
After Hours [1985; Martin Scorsese]
Tampopo [1985; Jûzô Itami]
The Horse Thief [1986; Tian Zhuangzhuang]
Yeelen [1987; Souleymane Cissé]
The Thin Blue Line [1988; Errol Morris]
Chameleon Street [1989; Wendell B. Harris Jr.]
A Brighter Summer Day [1991; Edward Yang]
Videograms of a Revolution [1992; Harun Farocki and Andrei Ujica]
From the East [1993; Chantal Akerman]
Exotica [1994; Atom Egoyan]
The Day the Sun Turned Cold [1995; Ho Yim]
La Haine [1995; Mathieu Kassovitz]
Safe [1995; Todd Haynes]
Crash [1996; David Cronenberg]
Goodbye, South, Goodbye [1996; Hsiao-Hsien Hou]
Irma Vep [1996; Olivier Assayas]
Lone Star [1996; John Sayles]
Thieves [1996; André Téchiné]
Beau Travail [1999; Claire Denis]
George Washington [2000; David Gordon Green]
La Commune, Paris 1871 [2000; Peter Watkins]
Platform [2000; Zhang Ke Jia]
Millennium Actress [2001; Satoshi Kon]
Waking Life [2001; Richard Linklater]
Talk to Her [2002; Pedro Almodóvar]
Crimson Gold [2003; Jafar Panahi]
Goodbye, Dragon Inn [2003; Tsai Ming-Liang]
Los Angeles Plays Itself [2003; Thom Andersen]
Noriko’s Dinner Table [2005; Sion Sono]
When it Was Blue [2005; Jennifer Todd Reeves]
Protagonist [2007; Jessica Yu]
Speed Racer [2008; Andy and Larry Wachowski]
Certified Copy [2010; Abbas Kiarostami]
The Skin I Live In [2011; Pedro Almodóvar]