François Jost

Emeritus Professor at Sorbonne Nouvelle University (Paris)

Voted for

Last Year at Marienbad1961Alain Resnais
Citizen Kane1941Orson Welles
Le Mépris1963Jean-Luc Godard
L' HOMME QUI MENT1968Alain Robbe-Grillet
Rashomon1950Akira Kurosawa
The Pillow Book1995Peter Greenaway
Calendar1993Atom Egoyan
20462004Wong Kar Wai
Mulholland Dr.2001David Lynch
Un soir, un train1968André Delvaux


Last Year at Marienbad

1961 France, Italy

The story of a man who thinks words are acts and that they can constrain reality. Don Juan perhaps.

Citizen Kane

1941 USA

The laboratory of narrative.

Le Mépris

1963 France, Italy

The schematic beauty of the colours, the detached performances of the actors in contrast to the lyricism of the music make Le Mépris an obsessive story.


1968 France, Czechoslovakia

An opera-film in which image, dialogue and sounds are conceived as the different parts of an orchestra.


1950 Japan

A key film in the history of cinema for the way it deals with the question of point of view.

The Pillow Book

1995 Netherlands, France, United Kingdom, Luxembourg

In this film, where handwriting is constantly superimposed on the actions shown, the piling up of images is close to the accumulation of layers of parchment, where flatness is only a fugitive illusion.


1993 Canada, Germany, Armenia

How the apparent coldness of the photographic image and the documentary image, combined with the voice of a woman on an answering-machine, makes us feel the jealousy of a character absent from the image.


2004 Hong Kong, France, Germany, People's Republic of China, Italy

Too blurry or too close, objects and actions are riddled with mystery. A film where every shot is a work of art.

Mulholland Dr.

2001 France, USA

The open work pushed to its limit

Un soir, un train


The beauty of magical realism.

Further remarks

I think I could have said the same thing about each of these ten films. They are films that suggest more than they show. Films that express strong feelings but without pathos. Films based on contrasts or contradictions between the different constituent parts of cinema: images, sounds, writing, music.