Roger Koza
Film Critic and Programer
Argentina
Voted for
| Film | Year | Director |
|---|---|---|
| Este es el El romance del Aniceto y la Francisca, de cómo quedó trunco, comenzó la tristeza y unas pocas cosas más... | 1965 | Leonardo Favio |
| Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles | 1975 | Chantal Akerman |
| Diary of a Country Priest | 1951 | Robert Bresson |
| Le Livre d'image | 2015 | Jean-Luc Godard |
| Mother and Son | 1997 | Aleksandr Sokurov |
| Mer dare | 1983 | Artavazd Pelechian |
| SAIKAKU ICHIDAI ONNA | 1952 | Kenji Mizoguchi |
| Trás-os-Montes | 1976 | António Reis, Margarida Martins Cordeiro |
| ZACHAROVANNAYA DESNA | 1963 | Yulia Solntzeva |
| ZENDEGI VA DIGAR HICH... | 1992 | Abbas Kiarostami |
Comments
My father, who since 1997 has been a ghost, knocks on the door of my house and scolds me: "You can't have left out Renoir, Tati, Ford, Chaplin and Welles." I reply to the angry man who made me a movie buff: "I left out Vitalina Varela, The Groundhog Day, Accattone and one of Ophûls’s films that no one ever saw." It is literally a dream, or the superego pointing out undesirable omissions. Now awake, I read my 2022 list and there are so many movies I love that are missing: The Night of the Hunter, Sous le soleil de Satan, Finis terrae, Zama. But choosing one thing means giving up another, and the moment of doing so is an instant of madness, because the rational foundation of any decision nestles in a blind spot that refuses to be named. I would like to know more about the off camera of my decision, and I sense that arbitrariness has nothing to do with any of it.