Peeter Sauter

freelancer. journaist, writer.

Voted for

Professione: reporter1974Michelangelo Antonioni
Stalker1979Andrei Tarkovsky
Aguirre, Wrath of God1972Werner Herzog
The Killing of a Chinese Bookie1976John Cassavetes
PROVA D'ORCHESTRA1979Federico Fellini
"my friend ivan lapshin"1985aleksei german
Nanook of the North1922Robert Flaherty
Les FAVORIS DE LA LUNE1984Otar Iosseliani
Rashomon1950Akira Kurosawa


Professione: reporter

1974 Italy, France, Spain, USA

Perhaps essence of Antonioni. Personal identity crisis story. But there is more. Close to camus' novel The Stranger. Existential crisis. Collapse of modern man. Both are followers of Kafka (but there are no good films after Kafka).


1979 USSR

Not sure it is the best Tarkovsky. But here come long quiet episodes that carry well. Japanese are also sometimes good at that. Tarkovsky's crisis is not only personal. It is social, religious maybe, existential in different way than Antonioni.

Aguirre, Wrath of God

1972 Federal Republic of Germany

Severe questioning of oneself, purpose in life, your passionate quest, can take to absurd and cruelty, at the same can be sensitive, passionate. On the verge of madness. How far can you let yourself to plunge into irreality? Can you sacrifice others for noble purpose. A thousand years of crusades in different parts of world taken together.

The Killing of a Chinese Bookie

1976 USA

Here perhaps for style renewal, predecessor of Tarantino, following after French film noir (which is perhaps sometimes better and so is Tarantino), but still I would pay respects to Cassavetes' madness. Perhaps for his independent attitude and approach. Example that you can make good film without famous names. Ok, it will not travel far, but still is value.


1979 Italy, Federal Republic of Germany

A simple, but significant parable. Deep, but easy. Improvisation in film, which later has become more important.

Well, one Fellini should be on the list. Why not the one where he can take it with ease?

"my friend ivan lapshin"


A good example of Russian kitchen-sink drama. Full of exact details. A picture of a certain era. Attitudes, morals and immorality, absurd. Without giving any meaning or moral.

Nanook of the North

1922 USA

A breakthrough in doc film. Getting close to natives. (But also making rehearsed fake scenes). All that was beginning of something that is still in use.


1984 France, Italy

Just to have in one film of Georgian background, although the film was made in France. Ioseliani carries on Jaques Tati's easiness and sees world as a sequence of bizarre happening of strange humans who all follow their own interests, but are a bit ridiculous, though sincere. Close to Fellini's Amarcord. Ioseliani is not sarcastic, nor critical of anyone. Human approach. Although also absurd. Some Asian films have got close to that attitude in recent years.


1965 Poland

A breakthrough into story in story structure. And multiple turning points or plot points. Has been basis of many later film scripts. Perhaps not the most well-known Polish cinema, but one from Poland should be included.


1950 Japan

A multiple-point-of-view story. Similar reasons to include as with Saragossa. Plus also to include Japanese film and one Kurosawa. This film from 1950 works well even now. Tense plot and well cut. Or good story well told.

Further remarks

Perhaps my choice was rather to cover different script approaches, different cultures and styles - than to find very best films. Which seems impossible task. And with that my choices could perhaps differ daily.