Nina Danino
Artist and Filmmaker
UK
Voted for
| Film | Year | Director |
|---|---|---|
| The Gospel According to St. Matthew | 1964 | Pier Paolo Pasolini |
| Le Mépris | 1963 | Jean-Luc Godard |
| FATA MORGANA | 1971 | Werner Herzog |
| Performance | 1970 | Donald Cammell, Nicolas Roeg |
| Temenos | 1998 | Nina Danino |
| The Angelic Conversation | 1985 | Derek Jarman |
| La dolce vita | 1960 | Federico Fellini |
| Diary of a Country Priest | 1951 | Robert Bresson |
Comments
The Gospel According to St. Matthew
This was the first film I ever saw that made me question what I was watching.
Le Mépris
Beautiful technicolor, the Mediterranean, the house.
FATA MORGANA
The strange readings from creation myth, everything is strange and wonderful. Sea of Joy by Blind Faith.
Performance
London in the 70s as I first knew it - Notting Hill. A great soundtrack including Ry Cooder, menacing and mysterious.
Temenos
Why not - it has an amazing soundtrack and incredible images.
The Angelic Conversation
Beautiful recital of poems and very hypnotic.
La dolce vita
A masterful panorama of Roman jet-setting life. Ambitious, epic, with scenes that are indelible in cinema and personal memory. The opening is in my short film Sweet Child.
Diary of a Country Priest
For its working out of a moral dilemma and the representation of interior life in cinema.
Further remarks
I'm using the word "Great' as my guide - many films are colloquially great - in the American sense of meaning very good and enjoyable, and many add to the intellectual and visual history of cinema, but I have chosen the ones that to me are above this. As an experimental filmmaker I seem not to have chosen many classical experimental films. Can I add The Chelsea Girls (1966), a tour-de-force which is included in my film Solitude (2022). Perhaps I would substitute Diary of a Country Priest for The Chelsea Girls, which may be a greater film.