Zeina Durra’s Top Ten Films of All Time

Have you ever wondered what are the films that inspire the next generation of filmmakers? As part of our monthly IONCINEPHILE profile (read here), we ask the filmmaker the incredibly arduous task of identifying their top ten list of all time favorite films. This month we profiled Zeina Durra who saw her debut feature The Imperialists are still Alive! receive its world premiere at the 2010 Sundance Film Festival. She gave us her top ten as of January 2010.

Cléo de 5 à 7 – Agnès Varda (1962)
“Genius directing on every level. You’re there with the characters experiencing the space, moment, mood and at the same time she manages to balance this with a sense of humour with both her juxtapositions of scenes = e.g looking at hats right after she has been crying about her scary news. It influenced me greatly because I could relate to how Varda was showing the world and her female character.”

L’avventura – Michelangelo Antonioni (1960)
“Again this is a mix of social satire/observation and great shot structure. I learn something new from it each time I watch it and I’m amazed at how much he gets from shooting on a boat with such limited space!”

Le mépris – Jean-Luc Godard (1963)
“His film language and dialogue merge effortlessly to give you every detail of this couples experience on a subconcious level. Perfect filmmaking. So much is being said and it’s in every detail from the brilliant production design, to the costume, wardrobe, acting, shot structure. He captures how a relationship can go sour without you even realising it and then you wonder where it went.”

The Battle of Algiers – Gillo Pontecorvo (1966)
“I love everything about this film, but I am always in tears when I watch it. My grandfather fought the French Imperialists in the 20s in Lebanon and was jailed and so it’s a very personal film. Every time I watch it I think that someone somewhere in the world that moment is fighting for their basic human rights and freedom, especially in the context of Iraq or the West Bank or Gaza where you know this is probably happening as you’re watching. Also, how did he manage to get such great performances from all the extras, who actually seemed to be engaged? Something hard to do in the Middle East! If you watch Lawrence of Arabia, the bedouin extras look really bored! (not to say it’s not an excellent film).”

Nights of Cabiria – Federico Fellini (1957)
“This film makes me happy. When she goes into the nightclub with the famous actor and gets lost through the curtain at the entrance, the way the doorman sticks to protocol and opens and closes the car door when the famous actor is fighting with his lover- brilliant directing. I am always obsessed with these details, as that’s what makes a film stand apart.”

La dolce vita – Federico Fellini (1960)
“The scenarios, the shot structure, the details. Note when the waiter brings back the actresses’ shoe after they got thrown into the air when she’s dancing…one word: genius.”

Annie Hall – Woody Allen (1977)
“He’s made so many great films, but this one always hold a special place. I first watched it when I was around 10 years old with my mother. She called me into her room as I was passing and said, “come and watch this film, it’s why women wear trousers”. I secretly think it had some influence on my decision to move to Manhattan. Nobody does contemporary relationships like he does.”

La règle du jeu – Jean Renoir (1939)
“He’s so brilliant at capturing that part of society. It echoes still today.”

Three Times – Hou Hsiao-hsien (2005)
“I just can’t even begin to understand his brilliance. I get jealous when I see this film. His camera language is so fresh and new and totally him.”

The Passenger – Michelangelo Antonioni (1975)
“Jack Nicholson’s knot in his flannel shirt — was that Antonioni’s idea or Nicholson’s? That questions plagues me throughout the film, it’s a detail that says so much about his character. Production design is also so perfect, simple, gritty, use of colour is superb. I can watch it over and over again just to see the blue teapot (now that I said it’s blue I’m doubting myself…but I think it is blue!).”