Esther Leslie
Lecturer
UK
Voted for
| Film | Year | Director |
|---|---|---|
| Battleship Potemkin | 1925 | Sergei M. Eisenstein |
| Parasite | 2019 | Bong Joon-ho |
| Man with a Movie Camera | 1929 | Dziga Vertov |
| Kuhle Wampe oder Wem Gehort die Welt? | 1932 | Slatan Dudow |
| Laputa: Castle in the Sky | 1989 | Hayao Miyazaki |
| Meshes of the Afternoon | 1943 | Maya Deren, Alexander Hackenschmied |
| Freak Orlando | 1981 | Ulrike Ottinger |
| Steamboat Willie | 1928 | Ub Iwerks |
| L' HIPPOCAMPE OU "CHEVAL MARIN" | 1933 | Jean Painlevé |
| Spider-Man Into the Spider-Verse | 2018 | Bob Persichetti, Peter Ramsey, Rodney Rothman |
Comments
Battleship Potemkin
Dynamic storytelling that communicates after 100 years.
Parasite
A Shakespearean sense of fate with humour, irony, horror and tragedy.
Man with a Movie Camera
Cinema gets conscious and self-conscious. A better title is Movie Camera with a Man.
Kuhle Wampe oder Wem Gehort die Welt?
Episodic communist commitments.
Laputa: Castle in the Sky
It understands the power of crystals in the way the German Romantics did.
Meshes of the Afternoon
Shadow, knife, sex, surreal.
Freak Orlando
A combination of a scene and a city adding up to more than enough.
Steamboat Willie
Without it a lot would be missing, some which would not be missed, but still…
L' HIPPOCAMPE OU "CHEVAL MARIN"
Revealing the surreal aspects of the world, artforms in nature, nature as art.
Spider-Man Into the Spider-Verse
On the edge of real and unreal, through rotoscope and CGI, in the service of being on the edge of unreal, New York of the 1980s, New York of the imagination.
Further remarks
All is pro-visional.