Jocelyn Szczepaniak-Gillece
Associate Professor
USA
Voted for
| Film | Year | Director |
|---|---|---|
| La Règle du jeu | 1939 | Jean Renoir |
| Syndromes and a Century | 2006 | Apichatpong Weerasethakul |
| Andrei Rublev | 1966 | Andrei Tarkovsky |
| MARKETA LAZAROVÁ | 1967 | Frantisek Vlácil |
| The Ascent | 1976 | Larissa Shepitko |
| Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles | 1975 | Chantal Akerman |
| The Texas Chain Saw Massacre | 1974 | Tobe Hooper |
| Killer of Sheep | 1977 | Charles Burnett |
| The Colour of Pomegranates | 1968 | Sergei Paradjanov |
| Fear Eats the Soul | 1974 | Rainer Werner Fassbinder |
Comments
La Règle du jeu
A sublimely choreographed dance between rich and poor, man and woman, city and country, up and down. What begins in the air ends buried under the ground in a harbinger of the wreckage of war.
Syndromes and a Century
A blissful mystery of a film where the status of the body shifts from object of clinical examination to swooning part of the natural world. Audaciously, its main character is the hospital itself. Nothing less than a modern masterpiece.
Andrei Rublev
The most spiritual film about artistic practice ever made.
MARKETA LAZAROVÁ
A primal scream of medieval brutality, both utterly temporally immersive and utterly of its moment. A masterpiece of historical fiction and contemporary political rage.
The Ascent
A tone poem of exhaustion; a long slow march to death; a prime example of how film can be a transcendent spiritual experience.
Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles
No other film has ever captured how the personal is political -- formally, sonically, visually -- as rapturously as Jeanne Dielman. It is a masterpiece of cold feminist rage.
The Texas Chain Saw Massacre
The nastiest, most visceral, most terrifying American nightmare birthed fully-grown and screaming from accumulated decades of US film history. A bloody bridge between Classical Hollywood and the ascent of Ronald Reagan to his movie-saturated throne. Proof that horror is the ne plus ultra American genre, at least for those of us who never wave a flag.
Killer of Sheep
The American city not only encloses slaughterhouses -- it is a slaughterhouse. Burnett's eye for poetry elevates even the most everyday moments into the realm of universal pain. To me, the ideal model for the possibilities of American indie filmmaking.
The Colour of Pomegranates
When I first saw The Color of Pomegranates, I felt like I had fallen through a still-wet mural into another time and place. Even now, images from this film return to me like fragments of half-heard poems and dissipating tastes on the tongue. This is film as every sense.
Fear Eats the Soul
An emotional avalanche bundled in chilly German form. A perfect movie.
Further remarks
This is so difficult! I have multiple films I'm desperate to include. If I could, I would include The Battle of Algiers, Once Upon a Time in Anatolia, The Adventures of Prince Achmed, Army of Shadows, and The Lady Eve. Alas, I am restricted to ten.