This will be the most challenging movie top 10 list, please be prepared... Pick up!
1. Ashes and Diamonds by Andrey Vajda
Vaida sets up a tragic and compassionate perspective in the film, in which all the characters kill each other for grand slogans and lofty ideals. In the face of doctrine, the personal destination is a corpse in the garbage dump. The film represents the deepest historical reflection of a troubled nation. At the level of semiotics, the film sets up many clever but not difficult to understand imagery, the whole film is flat, clean and clean, no sensationalism or showmanship, and the actors' performances are also the finishing touch. "Ashes and Diamonds" itself is an image of two wonderful clashes, and Vajda navigates between fanaticism and ruthlessness, ultimately expressing the highest level of humanitarianism in the history of cinema.
Long commentary: Without the courage to criticize politics, we simply cannot create themes that are deeper than politics
2. The Gospel of Matthew, Pierre Paul Pasolini
Pasolini's Gospel of Matthew is the end of all Jesus films. After watching this movie, I even felt that no one understood Jesus better than Pasolini. In the film, Jesus is no longer a god stick who does not eat human fireworks, but an unruly fighter, a passionate poet, and an arrogant and sensitive idealist. The film succeeds in creating a tough, simple sense of sacredness. The soundtrack of the film is cleverly switched between the unrestrained black spiritual song and the solemn eun Seol chant, and the black and white picture composition perfectly matches the performances of non-professional actors, which can be called the master of Pasolini's film technique. The film does not make a single word deduction and deletion of the Gospels, and the genius poet Pasolini fully releases the amazing power of the Bible as a literary work in a cinematic way.
Long review: Christmas gifts: The Vatican, the Communist Party, and atheists all love this movie
3. Simon in the Desert, Luis Buñuel
There are so many of Buñuel's masterpieces that if I had to choose a work that best represents Buñuel's prowess, I would only choose Simon in the Desert. It only took Buñuel 47 minutes to present all the content that Houmai and the like could not tell in 47 movies, and the 65-year-old Buñuel took a deep theme that was very easy to mess up: the battle between the ascetics and Satan, and even more made the unique and strange sacredness of Buñuel's films. The end of the film is one of the best strokes in the history of cinema. In just 47 minutes, Buñuel let the ascetics, the devil, Jesus, the existentialists, and the hippies appear one by one, drawing the charm of all these figures in just a few strokes. Interpretations of Buñuel's films may all be wrong, and the only thing that is certain is that for Buñuel, the films are too simple.
Long comment: Ascetics on religious phallus: Not doing what you don't want to do is a higher level of freedom
4. "King Oedipus" pierre Paul Pasolini
This film is the most concise and easy-to-understand film of Master Pasolini. The story of mother-child incest has become darker and darker through generations of Greek tragic writers and Freudian over-interpretations, but Pasolini saw that the inherent evil of human nature and the greed for power are the root causes of all suffering. The film places this shocking story at opposite ends of the timeline spanning millennia, whether in the ancient East of the Flood Era or in the historic city of Bologna in the industrial age, Oedipus is no longer a victim of mysterious fate or Oedipus complex, but a ruthless usurper who has been condemned by heaven, and his only salvation is to stab his eyes and play the flute in the streets of Bologna. Pasolini's film is full of strange poetry and lyricism, which will not squeeze the audience's psychology at all, which is a real top cinema can bring about the viewing experience. In my opinion, this film has surpassed the original drama, and Pasolini is the incredible tragic writer of this era.
5. "Cave" Cai Mingming
If Cai Mingliang is not the most stylized director ever in Chinese cinema, who is it? Hou Xiaoxian? No one has gone further than Cai Mingming. "Hole" is Cai Liangliang's best film, because this film adheres to complete stylization and does not have any sex scenes. Cai created an extremely enclosed space in which limited figures make limited movements. The actor's performance disintegrates part of the difficulty of the plot and the drag of the rhythm, and the occasional insertion of song and dance creates a sense of final separation, and the beauty of art lies in a strange emotional resonance formed between the confrontation and conflict. In this film, Cai Liangming perfectly practices this. The manipulation at the end of the film is amazing, when Li Kangsheng pulls Yang Guimei up from the hole in absolute silence, and the despair at the end of the century is transformed into a nostalgic tender song and dance. Cai Liangming always reminds me of Schopenhauer, but he is not completely disillusioned, although he often destroys the audience's illusions of the film.
6. "Love and Rage" pierre Paul Pasolini, Marco Bellocchio, Bernardo Bertolucci, Jean-Luc Godard, etc
It's a film that's hard to tell in one sentence, and all five directors are trumpeters of political films, but the film didn't feel like dragging mud and water after it was made. Part of Rizzani is a mockery of the liberalism that New York represents—an unbalanced world, where rape is left unattended, where wanted criminals have to continue to flee for their lives, where everyone cares only about sports broadcasting and is stunned; Bertolucci's passage is astonishing, and the dance performance combines the mysterious themes of religion and death, and the whole passage is absolutely the best of avant-garde films; Godard's passage proves his unparalleled ability to montage, ignoring too much nonsense and still talking about love brilliantly In Pasolini's passages, Nineto Davoli is still dedicated, he visits passers-by at random on the streets of Naples, while the director accurately joins the war documentary, the sound is used perfectly, and the child's voice asks: "I am your God, why are you ignorant?" The finale is Pasir's "A Close-Up to the University of Rome", which sharply strips the whole film of its coat: the so-called political ideals are nothing more than farces. The selection of this film is a personal sentiment, these Latin film masters of the gods accompanied me through a boring youth, enlightened my interest in sociology and antipathy to the elite, this film is definitely worth watching for netizens who like 60s movies.
7. "120 Days in Sodom" by Pierre Paul Pasolini
From any point of view, this film can be regarded as the most shocking film in human history. From stunningly beautiful compositions, to mathematically accurate and well-proportioned cinematic language, to hair-raising madness, Pasolini is ruthless, but inexhaustible, but exhaustively enumerates the depravity of mankind, dissects the operation of the machine of power by cinematic means, and even criticizes the film itself as a high-class pastime in the era of consumerism. Interpretations of the film tend to focus only on the point of "perversion" or on the political implications of the film. This film is the crystallization of Pasolini's lifelong thinking, and his cold understanding of the nature of industrial society and the system of power runs through the film, and at the same time, he mobilizes all kinds of imagination to unscrupulously show the inherent evil of human nature. There is no exaggeration to say how this movie can be raised. This film is a unique presence in the history of cinema.
Long comment: 40 years ago today, the director who had just finished making the shocking forbidden film was brutally killed
8. Salamander, Alain Tyner
This is probably the most underrated film in the history of cinema. The film successfully subverts the basic ideas of some films, and it is difficult to find a real dramatic climax throughout the film, nor does it adopt a concise and concise narrative, but it also does not pretend to be fancy on these two points. The content of the film is as obscure as the title, but fascinating. As a representative of the Swiss New Wave, director Alain Tainer set a plain tone for the film, and the narrative was down-to-earth, but successfully created an absurd and hidden world of crisis. The film walks freely on the three tightropes of realism, modernism and magic realism, and the look and feel is excellent, and there is no obscure experience at all. In this film, Tanner also uses direct active sound, which was still rare in the 1970s, and is also a pioneer of the Dougmar concept. All in all, this lesser-known film had a complete place in the star-studded '60s and '70s. I will not reveal more about the plot of this movie, I can only say that neither writer at the end of the film has been able to write about the woman. The main theme of this film can even be seen as a philosophical speculation similar to "Amplification", the only difference is that this film is dedicated to the small intellectuals of Switzerland, the paradise on earth.
9. "Death Row Escape" by Robert Bresson
As many people have said, this film is the pinnacle of Bresson's minimalist film aesthetics, and this film shows what true minimalism is. After suppressing all possible dramatic climaxes, the escape scene in the last 20 minutes of the whole film is absolutely suffocating, especially the protagonist Fontaine before jumping off the last high wall, the German patrolling under the wall rides a bicycle twice, and the noise from the wheels almost destroys Fontaine's strong nerves, and makes the audience's psychology close to collapse. The title of the film quotes a quote from the Bible: "You hear the sound of the wind, but you don't know where the wind is coming from or where it's going." "Escaping from prison is no longer about escaping the death penalty, but for being born again, for redemption. What an exciting theme! However, Bresson cleverly hides religious themes in this film. The film is not difficult to understand, but it will make the audience feel that the director still has some deeper appeals hidden. Bresson's understanding of film and art is different from ordinary people, and like Fontaine, he has experienced the disaster of imprisonment and the test of life and death. Bresson's best films can be inserted like a needle into the audience's brain, allowing the audience to fill in the blanks of his film language. Bresson erases the performance from the film, leaving behind the beauty and power that truly belongs to the soul.
10. "The Girl of the Month" Fritz Lang
As we all know, expressionism is the unparalleled "ugly", and I have seen Fritz Lang's "Metropolis" and Maunau's "The Meanest Man", but in my eyes the best work of expressionism is this very mainstream "The Girl in the Moon". Two-thirds of the passages in this super-long movie are the fights and repression of the gold diggers on the earth, and when they reach the moon, the two gold diggers both die, and the protagonist Helis plays the role of a saint, and after the heroine's spaceship is lifted off, his tragic white face can no longer pretend to be strong, and after the plot reversal, the ending of the reunion is even more radiant in that dark era of human history. As the main theme film of the 30s, this film certainly cannot be compared with the first two films in terms of forced frames, but it also avoids some of the traps that Expressionism may fall into. To exaggerate, the film is more like a Spielberg film described in an expressionist way, replacing hollywood's sensational and cheesy narrative, in fact, the main theme can not be superficial. Fritz Lang's motivation for the film was to fund one of the screenwriters, OBERTH, to implement his ultimate failed rocket rocket project on the moon. The filming itself was an unrelenting adventure in the universe, the expressionist masters were too many to surpass their time, their dreams were destined to be crushed by turbulent times, and in the most popular words of the moment, this film is dedicated to the "feelings" of Germany's most outstanding generation of artists.