Daisuke Akasaka

Comments

I wanted to add:

At the Altar (D.W. Griffith, 1909)

Tabu ( F.W. Murnau, 1931)

One hour with You ( Ernst Lubitsch / George Cukor, 1932)

Today We Live ( Howard Hawks, 1933)

Beyond a Reasonable Doubt ( Fritz Lang, 1956)

Pickpocket (Robert Bresson,1959)

The Man Who Shot Liberty Valance (John Ford, 1962)

Gertrud (Carl Theodor Dreyer, 1964)

Playtime (Jacques Tati, 1967 )

Our Century (Artavazd Pelechian, 1983/90),

Schijnsel (Frans van de Staak, 1996)

Face Value (Johan van der Keuken, 1991)

La Madre (Gustavo Fontán, 2009)

Eine Andere Welt (Lieder der Erde, Teil 2) (Klaus Wyborny, 1991-2004)

Ashadh Ka Ek Din (Mani Kaul, 1971)

And… Out 1 (Jacques Rivette, 1971), Mon cas (Manoel de Oliveira, 1986), Esas cuatro notas (Rafael Filippelli, 2004) , On Dangerous Ground (Nicholas Ray, 1951), The Lady from Shanghai (Orson Welles, 1948), Raw Deal (Anthony Mann, 1948), The Lineup (Don Siegel, 1958), Silver Lode (Allan Dwan, 1954), Bronco Billy (Clint Eastwood, 1980)… This list will always be in flux, though, since films are not antiques but live with us. I also wanted to add films by Shinji Aoyama's and Teiichi Hori but there was no space.

Images that can critique the media-images that manipulate people and lead them to death are found only in cinema. Films that have a personal vision and represent the distance and time that make their subjects shine should become more and more important and survive.