Long Tin Shum

Film critic

Hong Kong

Voted in the critics’ poll

Voted for

Aguirre, Wrath of God

1972

Werner Herzog

Ashes of Time

1994

Wong Kar Wai

Blow Up

1966

Michelangelo Antonioni

Breathless

1960

Jean-Luc Godard

dolce vita, La

1960

Federico Fellini

Innocent, The

1976

Luchino Visconti

Last Year At Marienbad

1961

Alain Resnais

Obscure Object of Desire, That

1977

Luis Buñuel

Règle du jeu, La

1939

Jean Renoir

Stalker

1979

Andrei Tarkovsky

Comments

Alain Resnais’ Last Year in Marrienbad is a full exploration of the meaning of narrative truth in cinema. The audience will always be absorbed in the labyrinth of desire and signs and never want to come out. Is the fate of the one who can never enter the Room but must always be guide for others the destiny of a humble artist? Stalker is so tender, so moving and so poetic. Breathless has an excellent mise en scène and explores how narration merges with meta-film reflections. The Innocent shows the power of elegent indulence as aesthetics of cinema. Blow-Up is another reflection on reality and the intolerance of art, and is so rich in visual layers. Federico Fellini, La Dolce Vita suceeded in bringing out the notion of the dialectic bittersweet relationship. It’s also a strong criticism of capitalist city lives. Ashes of Time is a deep and double-edged discourse on love, refined with classic dialogue. Aguirre, Wrath of God reminds us the absurdity of life and the arrogance of human beings – the images of vanity; the sighs of actuality. That Obscure Object of Desire is the perfect exhibition of the structure of desire, and is powerfully imagined. The Rules of Game may be the greatest film in history.

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