Muriel Tinel-Temple

Comments

The Immigrant

I could have listed all silent comedies for the freshness, innocence and invention of cinema. This one resonates today.

Rear Window

For the classicism, the rigour and pure pleasure of the narrative. Also, my first memory of being completely stunned by the experience of the big screen. I was 11. I’m still terrified by Lars Thorwald, the wife killer.

Cléo from 5 to 7

To be seen with the other New Wave films, as a moment in time. This one especially for the journey into Paris in a taxi driven by a fearless woman, and for all broken mirrors.

Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles

Another shock and a memorable experience, literally on my own, in a Parisian cinema. For Delphine Seyrig, but also for Akerman's daring and genius of youth.

The Perfumed Nightmare

A late discovery and an important entry for me into non-western cinema. For the humour, the cleverness and the determination too.

Handsworth Songs

With this film I discovered a cinema which needs to be made now, the importance of testimonies and action; and also the necessity of films made by collectives.

From the Pole to the Equator

Archived-based films form a major part of my cinephilia, especially when it opens up a new understanding of history and memory. This one opened my eyes.

Katatsumori

When cinema rhymes with breathing and is part of a daily routine. For all diary films, family portraits and cinema as a construction of oneself.

Impressions

The beauty of the landscapes and their unexpected layers, the art of colours and the discovery of the infinite and rich possibilities of digital moving images.

Toni Erdmann

All in one here: the emotions, from tears to laugh, the portrait and journey of a woman of today, the freedom of the camera and the narration, and the boldness too. And it means I don’t have to choose my favourite John Cassavetes film.