|An Affair to Remember
|DEUX ANGLAISES ET LE CONTINENT
|The Deer Hunter
|The Band Wagon
An Affair to Remember
Despite the scope and color, this may be the most austere movie in film history, a true example of "transcendental style".
A film made of colours and volumes, rhythms and forms. Abstract cinema in its purest form.
DEUX ANGLAISES ET LE CONTINENT
Literature as part of cinema. An elegy to life and love and the passing of time.
The last great picture before the ultimate crisis of cinema. Image on the border of itself.
The Deer Hunter
A synthesis of the New Hollywood of the 70s, but also the definitive epic American movie, beyond Ford, Hawks, Vidor and Peckinpah.
A film by Godard but also by Fritz Lang. And also, for colours and shots, by Vincente Minnelli and Nicholas Ray. Furthermore, Rossellini got angry with Godard and accused him of imitating Antonioni. Rien ne va plus. The last of the classic films or the first of the very moderns?
More than the best of westerns: a camera work, a treatise about moving and stillness, almost a geometrical study of space and bodies.
The denial of classical cinema made in the middle of classical cinema. A film about void and absence made of holes and ellipsis.
The Band Wagon
If the musical genre is the essence of cinema, this film is the essence of the genre: a fiction within a fiction, many dreams within a dream.
Not a documentary nor a fiction, this masterpiece creates a new genre: the stream of consciousness of images.
There are films and there are auteurs. This is a list of films, not of auteurs. And that is the reason why it does not include films by Ford, Preminger, Walsh, Ozu, Bergman or Garrel. There is no film by these auteurs better than the rest of their filmographies.
On the other hand, this list could be different tomorrow. There is no list that could entirely enclose the desire of cinema.