Francisco Manuel Díaz
Lawyer
Spain
Voted for
| Film | Year | Director |
|---|---|---|
| The Wind | 1928 | Victor Sjöström |
| Young Mr. Lincoln | 1939 | John Ford |
| Only Angels Have Wings | 1939 | Howard Hawks |
| Objective, Burma! | 1945 | Raoul Walsh |
| The Lost Weekend | 1945 | Billy Wilder |
| Moonfleet | 1955 | Fritz Lang |
| Stalker | 1979 | Andrei Tarkovsky |
| L'Argent | 1983 | Robert Bresson |
| Femme Fatale | 2002 | Brian De Palma |
| Inland Empire | 2006 | David Lynch |
Comments
The Wind
Still the most pure representation of nature as metaphor of the complexities of the mind – and the soul – even with the imposed sweetness of the ending.
Young Mr. Lincoln
As always in Ford, everything seems to be very simple but is tremendously complex.
Only Angels Have Wings
The present can only be solved by closing the past to create the future: the quintessence of classic cinema.
Objective, Burma!
Why are we still watching – with great pleasure – such a propagandistic movie almost 70 years later? The answer, obviously, is Walsh. Cinema is rarely as exciting and hypnotic than as this movie, because cinema is rarely so well planned. Walsh employs exactly the right number of shots, not a single one more or less.
The Lost Weekend
The number of brilliant ideas in the mise en scène is mesmerising. The camera approaches the room at the beginning of the film and walks away from the room at the end, and in both cases we can see the bottle hanging from the window: it's less a circular narration than a sign that there's no possible ending.
Moonfleet
The kid arrives in a world of fear, of gothic atmospheres, of secrets of the past, of horror. But with his purity of love (the real diamond), he transcends it all and restores life to a man who lost it a long time ago.
Stalker
It is paradoxical that an artist who said so many times he did not believe in God could make the invisible almost visible… the journey… the almost physical fear when entering the Zone… the progressive changes in the colour… a prodigy.
L'Argent
Bresson devoted his entire life to refining his style (a style that is impossible to imitate) until he accomplished a miracle.
Femme Fatale
The story told in a film can be governed by parameters other than those of real life and still be perfectly plausible, if the director is talented enough and is loyal to the rules he has created.
Inland Empire
At last we have in cinema what Pollock was to painting… at last cinema does not represent reality but creates a new one
Further remarks
I really tried to make a list of movies both important to me but at the same important to cinema itself