Paolo Bertolin
Venice Film Festival Selection Committee
Italy
Voted for
| Film | Year | Director |
|---|---|---|
| Kuroi Ame | 1988 | Shohei Imamura |
| A City of Sadness | 1989 | Hou Hsiao-Hsien |
| EBOLUSYON NG ISANG PAMILYANG PILIPINO | 2004 | Lav Diaz |
| Carrie | 1976 | Brian De Palma |
| Donnie Darko | 2001 | Richard Kelly |
| The Accidental Tourist | 1988 | Lawrence Kasdan |
| Vale Abraão | 1993 | Manoel de Oliveira |
| BOKSEUNEUN NAEUI GEOS | 2002 | Park Chan-wook |
| Tropical Malady | 2004 | Apichatpong Weerasethakul |
| L'avventura | 1960 | Michelangelo Antonioni |
Comments
Kuroi Ame
Imamura's heartbreaking b&w masterpiece is one of the greatest indictment of war, of its stupidity and of its tragic consequences. It features one of the most unforgettable endings in cinema.
A City of Sadness
An epic yet intimate account of the birth of a nation, through the prism of an exquisitely framed family drama.
EBOLUSYON NG ISANG PAMILYANG PILIPINO
Lav Diaz's nine hours epos of Filipino History in the times of the Martial Law as seen through the ordinary yet extraordinary lives of a family.
Carrie
The mixture of horror cinema and family drama at its peak, thanks to a story by the great Stephen King.
Donnie Darko
The greatest film about being a youth or teenager in the 1980s.
The Accidental Tourist
A film about loss and mourning, and about the unexpected lightness of love as a cure.
Vale Abraão
Oliveira's sublime retelling of Madame Bovary via the novel by Agustina Bessa-Luis.
BOKSEUNEUN NAEUI GEOS
Right before the Korean new wave became a global phenomenon, Park Chan-wook reached one of its peaks with a work that divides and does not leave indifferent.
Tropical Malady
Apichatpong Weerasethakul's shapeshifiting narrative that set a new standard for surreal and magic cinema.
L'avventura
Antonioni's modernist masterpiece on the mysteries of attraction and of incommunicability.
Further remarks
The list I compiled reflects a rather personal canon of films that should or could be included in a list of all-time favourites. It leans towards modern films and Asian cinema because of my own personal imprinting and upbringing in cinephilia.