Marie Anne Guerin

Writer, film critic

Voted for

Je, tu, il, elle1974Chantal Akerman
Le CAMION1977Marguerite Duras
Numéro zéro1971Jean Eustache
Numéro deux1975Jean-Luc Godard
Marnie1964Alfred Hitchcock
Clash by Night1952Fritz Lang
The Night of the Hunter1955Charles Laughton
Li per li1994Pierre Léon
MIDARE-GUMO1967Mikio Naruse
Kiri No Oto1956Hiroshi Shimizu


Je, tu, il, elle

1974 Belgium

One of the first films I've heard of I did not know when I arrived in Paris, at the beginning of the 1980s attending Serge Daney's classes at University. He had written this title: Je, tu, il, elle as well as Le Camion (Duras) and Le Théâtre des matières (Jean-Claude Biette).

These film titles have opened my eyes.


1977 France

The harsh, animal, deeply moving meeting in between literature and film, a writer haunted with her characters and a sensitive great actor is exciting and beautiful.

Numéro zéro


One of the best and nist radical documentaries, extremely gripping and it has its proper music and rhythm.

I had the lucky opportunity to see it very soon after I arrived in Paris. Boris Eustache, Jean's son, organised a few screenings for some friends.

Numéro deux

1975 France

I also discovered this film in the 1980s, as France/tour/détour/deux/enfants, which made me madly love Godard.


1964 USA

Marnie is the film I want to to write a book about. I love Hitchcock's films from all periods so it has been a difficult choice.

Clash by Night

1952 USA

Here for exactly the same reasons as Marnie. Actually, I have written a text on Marnie and Clash By Night in an issue of Trafic devoted to Hitchcock/Lang.

The Night of the Hunter

1955 USA

First seeing this on the television, I have been amazed, stricken and caught in Laughton's world and the extreme beauty and ambition of the film.

Li per li


This mysterious and beautiful film is a part of the way I've made to the films, a certain kind of cinema which I discovered and which does belong to 'great cinema' even if it has been made with no money, marvellous friends and not been released.


1967 Japan

Naruse's last film in colour, the last of a very long list of extraordinary films by one of my three favourite Japanese filmmakers (Mizoguchi, Naruse and Shimizu).

Kiri No Oto

1956 Japan

Shimizu, who I discovered last year at the Cinémathèque de Paris, is a wonderful and prolific cineaste. And this precise title is important, deep and moving, with a flawless sensitive cutting which made me think of Dreyer's Gertrud – a film that could, of course and another day have been part of this list!