Originally Posted by dkzzzz
No, no, no, Jonglover!
Dekalog are Sovietski era, preachy films full of Catholic fatalism. Very didactic in a naive-religious way.
"The Double Life of Veronique" now that is a "religious" experience.
Pfft. I love The Dekalog. Favorite film of the 90s, probably. Too bad the only English edition is the UK Artificial Eye set for....a lot of money.
In my mind The Double Life of Veronique was greatly affected by "Chocolat syndrome", in that an entirely new audience of Western suburbia was introduced to accessible foreign flicks and it definitely altered Kieslowski's impact on cinema from here on out. This was the turning point. I still love Veronique though.
Originally Posted by LabelKing
I also like Fassbinder's The Bitter Tears of Petra von Kant, and Veronika Voss.
A good film should plumb the depths of human poignancy like a numbing catheter.
Have you happened to have seen Berlin Alexanderplatz? I'm a huge Fassbinder fan and I missed the recent MoMA showing of this. I suspect it's something special.
Originally Posted by Fuuma
-Breathless/Ã€ 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. "-Godard: The drama is no longer psychological, but plastic.-Antonioni: It's the same thing" (okay this conversation was about Red Desert but still...)
-Dolce vita, la/Italy/Fellini/1960: So stylish
-Last year at Marienbad/L'annÃ©e derniÃ¨re Ã Marienbad/France/Resnais/1961: Based on a scenario by Alain Robbe-Grillet, one of the main figures of the "nouveau roman" literary movement. Not so much a film that unfolds in a logical way as one made to evoke concepts and memories. A great discussion starter, you can talk about its meaning for hours after a viewing
-Leopard, the/Italy/Visconti/1963: The last days of the aristocratic era presented by a communist prince (I'm talking about Visconti here), who, by virtue of his dual nature, conveys the right mix of hope and melancholy
-Band of outsiders/Bande Ã 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
SamouraÃ¯, 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/BaisÃ©s volÃ©s/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 infidÃ¨le, 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
Still haven't gotten around to reading all of your previous lists.