Javier H. Estrada
Head of Programming Seville European Film Festival
|Wong Kar Wai
|The Souvenir Part II
|Tenshi no kokotsu
|Victimas del pecado
|EBOLUSYON NG ISANG PAMILYANG PILIPINO
|Party on the CAPS
Improvised cinema at its best. Transnational art that depicts the loneliness of toxic love and the trance of a broken heart. The last pure, raw Wong before going for more aesthetically polished films.
The Souvenir Part II
This must go together with the first part of Joanna Hogg's masterful auto-fiction odyssey. An absolute monument in introspection and reformulation of life experiences that finally takes an unexpected, exuberant route.
A unique critique of neo-colonialism which offer probably the most accurate and clever portrait of masculinity in the history of film. Its memorable ending is the highlight of Denis' impressive œuvre.
Ancient history is observed under an innovative vision. An example of precise, haunting cinema by a director who could only make one feature film (but one that will last forever).
Tenshi no kokotsu
A unique demonstration of the artistic and political possibilities of erotic film. A defiant filmmaker who sublimated the art of pinku eiga and created one of the most adventurous works in the history of film.
The masterpiece of one of the most underrated directors of the last 20 years. This film is also a riveting and renovated take on Turkish melodrama, and I could have included here films by Metin Erksan and Atıf Yılmaz, among others.
Victimas del pecado
Mexican classic melodrama of high intensity. Pure passion, this is an example of popular cinema that connects with large audiences and at the same time shows virtuous filmmaking. Here I could have been included other works by Fernández, Roberto Gavaldón, Ismael Rodríguez or, why not, Luis Buñuel – all masters of the golden era of Mexican cinema.
EBOLUSYON NG ISANG PAMILYANG PILIPINO
A peak in the new conception of time in the cinema of the new century, and probably the masterpiece of a true poet.
Party on the CAPS
The audiovisual of the future is encapsulated in the 26 minutes of this visionary work. Social media, political statements, Moroccan tradition, and a unique sense of humour are all mixed in one of the true revelations of our time.
Unknown cinematic territories were discovered in this surrealist, unexpected film which was the only feature of the maudit Bouanani.
I believe a poll like this must propose a personal canon, based on important experiences which probably will be related to intimate stories, to the discovery of cinema, to very particular circumstances and feelings. So this list is a mirror of my most intense viewings as a spectator and my labour as a programmer and professor. That's why most of the films belong to the modern or contemporary era. African cinema (notably Morocco) is very much present in the list, and this is also a statement of the need to look further…