Marco Müller

Au hasard Balthazar is a film that will continue to exist outside the conventional limitations of time and space. Bringing Up Baby is the fastest, screwiest comedy ever made. Europa 51 unifies film fragments to become the mature form of the ‘modern’ method. I was Born But… is the sublime radical film – but Ozu prefers to be filmic rather than realistic. Ordet presents the mise en scène as miracle. The River is not pictorial, not theatrical and not anti-expressionist. In it, the screen disappears in favour of what it reveals: the immemorial cycle of childhood, love and death. Ford, the man behind The Searchers, is cinema, as Aeschylus or Sophocles are tragedy. Sunrise is a masterpiece of visual music – and it’s the movie that introduced viewers to the notion of film as art. By the Bluest of Seas is an ethology of the euphoric human body and the most unclassifiable Soviet film ever. Finally, Vertigo is Hitchcock’s supreme and most mysterious piece (as cinema and as an emblem of the art). In any case, paranoia and obsession have never looked better.