Shahram Mokri

film director

Voted for

Citizen Kane1941Orson Welles
Vertigo1958Alfred Hitchcock
1963Federico Fellini
À bout de souffle1960Jean-Luc Godard
Mirror1975Andrei Tarkovsky
L'avventura1960Michelangelo Antonioni
Rashomon1950Akira Kurosawa
Close-up1989Abbas Kiarostami
Mulholland Dr.2001David Lynch
Pulp Fiction1994Quentin Tarantino


Citizen Kane

1941 USA

Nothing is left unsaid about Citizen Kane. However, the film is still surprisingly fresh and has revelations. This is the secret of the film staying at the top of the list.


1958 USA

The factor that brought the film higher on the list was the impact it had on subsequent movies and directors. This film contains many concepts that were repeated in future films of cinema history.

1963 Italy, France

Remember! This is a comedy movie!

I feel closer to it every time I watch it. The film is as much about real life as it is about cinema and it's as much about living in the dream as about trying to give it up.

À bout de souffle

1960 France

Godard messed up everything and made something new out of it. But that was not the whole story. He showed that filmmakers can be braver from now on.


1975 USSR

Mirror looks mysterious at first glance. But very soon we understand that the main character is similar to us. It is as if we are the ones who constantly open new windows into ourselves by watching the movie.


1960 Italy, France

The characters walk into the big halls. They get lost among the rocks. They make love in the winding alleys and follow the line of ropes to find the source of the echo of the bells. What makes the film amazing is the construction of this relationship between architecture, nature, and the human body.


1950 Japan

Who would have thought that a film about the complexities of multi-perspective narratives would suddenly come out of the East? From a culture with paintings without perspective and simple poems emphasising linear movements and infinite solitude? It was as if Kurosawa was pointing to something hidden underneath.


1989 Iran

Close-Up is very accurate in portraying Iran today.

Faces hidden behind masks. Kiarostami (a director from the Iranian intellectual movement) makes a film about Makhmalbaf (who was a religious fanatic in those days).

He makes this movie from Sabzian's point of view (the one who likes to be Makhmalbaf) in a re-documentary.

In this way, you are wandering between the documentary and fiction films and also Kiarostami and Makhlabaf, reality and reconstructed reality.

Mulholland Dr.

2001 France, USA

This movie works like a guidebook for dealing with a large spectrum of films in the history of cinema. A guide to understanding how cinema can turn everything it creates upside down. Of course, this manual itself needs guidance to discover and understand it.

Pulp Fiction

1994 USA

Tarantino's film did the same to the cinema of the nineties as Godard's films did to the cinema of the sixties. This film turned complexity into a pleasurable element for the audience and made cinema history a joy to rediscover.

Further remarks

Elephant/Gus Van Sant/2003

A film that walks on the edge of fiction and non-fiction cinema, like a dancer. A cinematic ballet.

Taxi Driver/Martin Scorsese/1976

Later, when I saw Joker, I realized that Taxi Driver was also a superhero movie. A movie ahead of its time.

Jaws/Steven Spielberg/1975

It's as much a western as it is a horror movie, and it's as much about camaraderie as it is about loneliness.

Werckmeister Harmonies/Béla Tarr/2000

What he does with camera movement and the combination of magical realism and the history of a country is exceptional.

Funny Games/Michael Haneke/2007

The film shows a bloody situation with white clothes.