Rodrigo Cortés

Buried; Red Lights


Voted in the directors’ poll

Voted for

2001: A Space Odyssey


Stanley Kubrick



Federico Fellini



Steven Spielberg

F for Fake


Orson Welles

General, The


Buster Keaton



Martin Scorsese

One, Two, Three


Billy Wilder

Raging Bull


Martin Scorsese

Rear Window


Alfred Hitchcock

Searchers, The


John Ford


The General includes the most complex gags intractably connected with storytelling itself, establishing Buster Keaton as one of the greatest masters of mise en scène ever.

Rear Window is a movie about making movies, a masterclass on the use of point of view (in the case of Hitchcock, an almost ethical choice).

The Searchers: Inscrutable faces under an endless sky. The dust of ages landing on a film.

In my opinion, One, Two, Three is the best film by Billy Wilder, a compendium of his most dazzling weapons: fast-as-hell dialogue, full command of timing and vitriolic entomology.

2001: A Space Odyssey: Painting the Mawenzi volcano white and using it as a screen would be the only way to make justice to this eternal work of art.

F for Fake: Magic and filmmaking coexisting in a synonymic inextricable knot, a never-ending canvas, an editing masterpiece.

Amarcord: A film hand-woven with memories, made to be remembered even before having seen it.

Raging Bull: Dirty poetry, stylised realism, unrepeatable performances, filmmaking to its highest level of excellence.

E.T.: A perfect film.   Goodfellas is probably the most influential film ever made. It changed the way directors' brains work. Once and for all. For good.

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