Kutlug Ataman

Lola+Bilidikid; 2 Girls


Voted in the directors’ poll

Voted for

400 Blows, The


François Truffaut

Avventura, L'


Michelangelo Antonioni

Battle of Algiers, The


Gillo Pontecorvo

Battleship Potemkin


Sergei M Eisenstein



Jean-Luc Godard



Lars von Trier

Passion of Joan of Arc


Carl Theodor Dreyer

Pather Panchali


Satyajit Ray



Andrei Tarkovsky

Swimmer, The


Frank Perry


Battleship Potemkin was very influential both on my art and film careers. It made me fall in love with cinema. I learned a lot from it, and still watch it with great pleasure.

Pather Panchali taught me that film was not just about politics, but politics could be more effective without politics, so to speak – by talking realistically and simply about human nature and human society.

The Battle of Algiers for me is the combination of Battleship Potemkin and Pather Panchali. It‘s not simply political. It has a documentary feel to it, which makes it convincing and strong.

L'avventura marks the point I crossed in my adolescence when my understanding of cinema transformed from social issues to more personal and existential ones. It’s one of those magical experiences where a seemingly everyday experience actually becomes meaningful and deep. It shifted my focus from plot to character development. It felt modern, contemporary and somehow more mature in its individualism.

Solaris taught me a story can be spiritual without being about spirituality. It’s powerful in its indirectness and contemporaneity.

The Passion of Joan of Arc taught me film could be just poetry and timeless.

The Swimmer is a film that makes me come back to it again and again in my life. I have to watch it once every five years. It’s a wonderful and modern metaphor of life – an amazing blend of the classical metaphor of the river as life and the swimming pool as life – structure, interruption, artificiality, which makes it very American.

Among the films I saw recently, Melancholia marked me the most. I love stories that tell a story without directly telling it. To me, it talks about the nature of melancholia in a very indirect way, so that the story becomes completely something else, almost to the point of breaking away from the original starting-point, where in fact it doesn't matter anymore. It simply becomes pure cinema.

Breathless: Pure Godard.

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