Have you ever wondered what are the films that inspire the next generation of filmmakers? As part of our monthly IONCINEPHILE profile (interview with filmmaker with an upcoming theatrical release), we ask the filmmaker the incredibly arduous task of identifying their top ten list of all time favorite films. This month, Sophie Barthes (the filmmaker behind Cold Souls - Samuel Goldwyn Films 08/07/2009) gave her top ten as of July 2009.
Cléo from 5 to 7 (Agnès Varda)
"Watching Cléo from 5 to 7 is like strolling for a day in Paris in the summer. This film is so charming in its simplicity and it’s beautifully shot. It goes from light and frivolous moments to extremely moving sequences. Another poetic and powerful insight in the feminine psyche."
The Conformist (Bernardo Bertolucci)
"I love the story and its execution. It’s a fascinating character study. The production design and locations are incredible. A happy marriage between cinema and architecture. Also Vittorio Storara cinematography is stunning. Alberto Moravia is one of my favorite writers."
The Discreet Charm of the Bourgeoisie (Luis Buñuel)
"Delightfully irreverent and funny. It’s one the finest and most entertaining Surrealist films. A pleasure for the imagination."
8 ½ (Federico Fellini)
"My favorite film ever. Poetry, refinement, lightness of touch, melancholy, exploration of unconscious, stunning cinematography, a wonderful Mastroianni… This film has it all."
Manhattan (Woody Allen)
"I love the tone of Manhattan, the subtle melancholy and the quiet desperate humor. New York never looked so charming and nostalgic on screen. Only Woody Allen can romanticize the city (his city) in such a touching way."
The Mirror (Andrei Tarkovsky)
"This film is a poem. It’s difficult to talk about it. I can’t analyze why I love it so much."
Mulholland Drive (David Lynch)
"I’m a fan of David Lynch so it was very difficult to chose only one of his films. Mulholland Drive explores haunting themes: women in trouble, exploration of the unconscious, broken dreams and fantasies. Watching this film puts me in almost hypnotic state, very close to dreaming. The tone works completely for me, highly emotional at times and then completely absurd or comic. Angelo Baldamenti score and the sound work are also incredible."
My life to live (Vivre sa Vie) (Jean-Luc Godard)
"Anna Karina is irresistible. Her gaze carries so much melancholy and nostalgia. It’s Godard at his best, poetic and deeply human."
Persona (Ingmar Bergman)
“One of the most visceral and psychologically disturbing film I’ve ever seen. Incredible dramatic tension. I’m wondering how Bergman could have such an insight into women souls! Beautiful cinematography by Sven Nykvist.”
Le Samourai (Jean-Pierre Melville)
“The style and atmosphere. Alain Delon almost doesn’t say a word. It’s about modern alienation and loneliness. It’s very jazzy and elegant. It’s the perfect French film noir.”
Comments
Posted by bob on 2009-07-06 at 07:44:20
i was gonna be cynical and insulting and say this reeks of pretentiousness. but then i got to the last film, saw it was Le Samourai, and decided not too.
Posted by Orna Kustow on 2009-07-07 at 04:58:46
I'm 72 and 8 out of your 10 have been my favourites and inspiration ever since I started to work in films. Is it possible that there hasn't been anything to compete with these in the last 50 years? I'm ashamed to admit that I'm delighted.
Posted by alfonso cortez on 2009-07-07 at 16:06:17
i think someone farted.
Posted by Fred on 2009-07-15 at 00:16:27
bobby, to call Mirror, 8 1/2, and Persona pretentious, shows you're dull when praising a minor work of Jean-Pierre Melville's much better inclusions in his filmography, specially after the long overdue release Army of Shadows.
Posted by Huff on 2009-07-27 at 18:32:34
Fred: Okay, now your sounding pretentious, especially since Le Samourai is as good as anything Melville ever did.
Now for the original accusation: with the exception of The Conformist (rather dull) and The Discrete Charm (I might have appreciated it better if I was a European intellectual from the 70's) each film listed there ranges from "Very Good" to "Masterpiece" in my books. A couple are in my top 20 in fact. But considering how cliche and by-the-books those picks are, I can see why someone might roll their eyes. Of course there's a good reason EVERYONE lists 8 1/2, but seeing a list that includes nothing but highly respected foreign art-house classics is a little boring. Again, not trying to pass judgment on Ms. Barthes, just a gut reaction.
Posted by yxm on 2009-08-20 at 00:10:12
yeah like i respect all these older filmmakers but on closer observation i have to argue that david lynch's filmic vocabulary is more expansive than bunuel's, von trier's formal experiments come from a deeper place than godard's, and bertolucci's most honest film was 1900, despite its flaws. i always felt the conformist was trying too hard to be high art with all the "architectural camera movements" and such.
Posted by yer on 2009-09-27 at 23:34:49
this list is so cliche. I'll give kudos to Le Samourai though.
Posted by pfff on 2009-09-27 at 23:35:24
How many times did she use the word Poetry?
Posted by Dylan on 2009-12-26 at 10:30:56
Calling something cliche and pretentious is both cliched and pretentious. And using those terms to dismiss someones picks just because they are "foreign" (to whom?) is far more tedious than her overuse of the term poetry.This is the list of a film professional and thus reflects many 'insider' favorites. It's amazing how poor the discourse is online. When someone lists THEIR favorites, it is not obviously not intended to reflect anyones perspective but their own. If you think Army of shadows or other films should be here tell us why you like them but for all of our sake, stop using tedious terms like cliche and pretentious anytime a list like this appears and you feel you MUST express your superior taste. This is her list. She is in the industry and obviously has actually seen these films, so what pretense are you accusing her of? Do you think she actually preferred Scary Movie 4 or Legally Blonde and is trying to fake sophistication. Do you just want to bow before your more unconventional and obscure film knowledge? Should she not admire Sven Kykvists cinematography because others have? Or do you just like to type overlong comments on sites you would never be paid to write for like me?