Mo Abdi
Critic
Iran/UK
Voted for
| Film | Year | Director |
|---|---|---|
| La Règle du jeu | 1939 | Jean Renoir |
| Sansho the Bailiff | 1954 | Kenji Mizoguchi |
| Ordet | 1955 | Carl Th. Dreyer |
| Vertigo | 1958 | Alfred Hitchcock |
| Le Procès | 1962 | Orson Welles |
| 8½ | 1963 | Federico Fellini |
| Onibaba | 1964 | Kaneto Shindo |
| Persona | 1966 | Ingmar Bergman |
| BIN-JIP | 2004 | Kim Ki-deok |
| Enter the Void | 2010 | Gaspar Noé |
Comments
La Règle du jeu
A mirror in front of society.
Sansho the Bailiff
The master of the long take with a magic brush to paint all frames.
Ordet
Mesmerising spirituality and soul.
Vertigo
Pure poetry.
Le Procès
If Kafka was alive and wanted to make a film, this would be exactly the same; a film ahead of its time (even our time).
8½
The greatest film of all time.
Onibaba
The brilliant image of human's inner desires.
Persona
The magic power of Bergman to take off our masks and go deep inside human beings (exactly what Picasso and Lucian Freud were doing in painting).
BIN-JIP
More magic, from the genius of the first years of the 21st century; the master of silence.
Enter the Void
The ultimate madness in the brilliant combination of form and concept.
Further remarks
And then: Shadows of Forgotten Ancestors (Sergei Parajanov, 1965), Belle de Jour (Luis Bunuel, 1967), La Grande Bouffe (Marco Ferreri, 1973), L’eclisse (Antonioni, 1962), Tokyo Story (Ozu, 1953), Rio Bravo (Hawks- 1959), Throne of Blood (Kurosawa, 1957), The Big Red One (Sam Fuller, 1980), Satantango (Bela Tarr, 1994).
I still can add some other films of Mizoguchi, Kurosawa, Hitchcock, Antonioni, Buñuel and Bergman, but I limited myself to one film per filmmaker.