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Top 10 Wes Anderson Movies That Have Nothing To Do With Wes Anderson • Studio Magazine

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What is the strangest thing about the 2022 edition of the final ranking of Sight and sound? Perhaps it was the cinematic tastes of Wes Anderson, one of the directors invited to participate in the list of their ten favorite films. Since 1952, now, this Sight and sound – the international magazine published by the British Film Institute – asks filmmakers and critics – there is a survey conducted among critics and one among directors – to select and comment on those they consider to be the best films of all time. This year we find the first place in the ranking drawn up by critics of the most beautiful films of all time Jane Dillmann, 23 quai du Commerce, 1080 Brussels Chantal Ackermann, a women’s and feminist film in 1976 Le Monde She defined it as “the first female masterpiece in the history of cinema”. Ackermann was only 25 years old when he made it, and his experimental and avant-garde style has become the subject of critical and academic study.

The bizarre triumph of the 1975 film as written by Mattia Carzaniga Rolling Stone, is also a way to “reward hitherto obscure (or considered to be) cinema, change the scale, propose a new canon”: but this is not the only advantage of this edition. To the surprise of everyone, film and non-film, the ten films chosen by Wes Anderson, among the 480 directors called this year – among others there are also Barry Jenkins, Luca Guadagnino, Ari Aster, the Safdie brothers and Wes Anderson – made their list of the ten best Movies at all (in this ranking I is 2001: A Space Odyssey by Stanley Kubrick, in sec Fourth force by Orson Welles, in iii The Godfather by Francis Ford Coppola, tied for fourth Jane Dillmann, 23 quai du Commerce, 1080 Brussels And the A trip to Tokyo by Yasujirō Ozu, who came first in a recent directors’ poll). The ten works chosen by Anderson are narratively, thematically and aesthetically very remote – if not completely opposite – to the director’s works: they are almost all French films (and nothing exotic so far), united by a dark and depressing atmosphere. passes The great illusion by Jean Renoir from 1937, during the First World War, a legitimate defence (Quai des Orfères) by Henri-Georges Clouzot from 1947, a tale of jealousy and murder (with a happy ending, at least). also Madame de jewels… Max Opholz from 1953 is overwhelmed with jealousy, and here, too, the dead man runs away from us. Then there are two classics of French cinema, Fever sa at By Jean-Luc Godard, 1962, e The man who loved the woman Written by François Truffaut, 1977, who need no introduction. We find then Lulu Maurice Pialat, 1980, with Desperate Gérard Depardieu and Isabelle Huppert homeless or outlawed by Agnès Varda (1985), Olivier, Oliver by Agnieszka Holland from 1992, Start again today by Bertrand Tavernier, 1999e Kings and Queen By Arnaud Desplechin from 2004.

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ranking Sight and sound It’s kind of a sacred liturgy for movie buffs. It’s a very special ‘survey’, if it can be defined like this: only one is done every ten years, and the first issue dates back to 1952, so this one from 2022 is the eighth. These odd timings cause the arrangement Sight and sound It is considered a kind of indicator of trends in the world of cinema and changes in the world of culture. This year’s edition, in addition to the first place Jane Dillmann, 23 quai du Commerce, 1080 Brussels, was also different for another reason: never before had such a large and diverse audience of people taken part in the survey by gender, geographical origin, and cultural background. In 2022, in fact, in Sight and sound survey More than 1,600 people who expressed their preferences voted for 4,000 films. To get an idea: in 2012 there were only 846 voters.

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