|The Band Wagon
|Journey to Italy
|Carl Th. Dreyer
|The Deer Hunter
Hands. Faces. The inner voice of the diary. The pleasure of theft. And then, suddenly, the epiphany of love that saves us from the fate to which we are condemned. "Oh, Jeanne, pour aller jusqu'à toi, quel drôle de chemin il m'a fallu prendre."
The Band Wagon
The countershot of Singin' in the Rain. Its theatrical, melancholic, autumnal version. A love letter to Fred Astaire and entertainment. And with the two most beautiful musical scenes ever filmed: 'Dancing in the Dark' and the 'Girl Hunt' ballet. Minnelli's mise en scène at its purest level.
Journey to Italy
A film that changes the course of film history with 'the clarity of a lash', as Rivette wrote. Narratively open and fragmented, driven by melancholy, astonishment and the disruptive force of reality, it is the ideal junction in Rossellini's filmography between the neorealist experience, the artistic collaboration with Ingrid Bergman, and the adventurous, avant-garde nature that will guide the great Roman director throughout his career. All the nouvelles vagues of the 1960s, as well as Antonioni's cinema of incommunicability, begin here.
Transcendental style in its highest form. A film about death, madness, love and faith guided by an absolute trust in cinema and images as the place of possibilities and as a tool to transcend human finiteness and experience the miracle of resurrection.
Probably the greatest film in the history of cinema. Vertigo, obsession and the ghost of love, condemned to repeat itself endlessly.
Noir, horror, melodrama. Homage to cinema and admirable reflection on the decadence of the body and the image. The ghosts of silent cinema meet a dead body that tells its own story: a dance of celluloid spectres officiated by the great Erich von Stroheim and Gloria Swanson. "I am big. It's the pictures that got small".
Geographical and interior itinerary of a tormented soul, destined, from the very first shot, to disappear along the horizon line.
The film from which the entire criminal genealogy of cinema history originates. A film that interrogates the complex, ambiguous nature of the human soul and the notions of law and justice. With a mise en scène of rare stylistic perfection that combines the experience of German expressionism with the absolute power of off-screen and sound.
The Deer Hunter
The greatest portrait of America in the 1970s, through the devastating experience of the Vietnam War, filmed in all its hallucinatory dimension, as a rupture between a before and an after. An absolute film about friendship, community, trauma, time and the relationship with nature. God Bless America.
Between the twilight of the gangster movie and the dawn of noir, the pessimistic and romantic parable of a criminal hunted by the past and with no future prospects. One of the most beautiful works by the immense Raoul Walsh – a filmmaker never celebrated enough – a primigenial prototype of the whole subsequent crime movie: the illusion of the second chance, the clash between new and old ethical values, violence and tenderness as parts of a complex and contradictory psychology, the final shootout with a tragic outcome against the backdrop of a monumental and indifferent nature.