Javier Rebollo

Woman Without Piano; What I Know About Lola

Spain

Voted in the directors’ poll

Voted for

City Lights

1931

Charles Chaplin

Edvard Munch

1976

Peter Watkins

Journey to Italy

1954

Roberto Rossellini

Maman et la putain, La

1973

Jean Eustache

Moonfleet

1955

Fritz Lang

Mysteries of Lisbon

2010

Raúl Ruiz

Partie de campagne

1936

Jean Renoir

Playtime

1967

Jacques Tati

Tokyo Story

1953

Ozu Yasujirô

Workers Leaving the Factory Gate

1895

Louis et Auguste Lumière

Comments

Mysteries of Lisbon: the pleasure of storytelling in these times that lack fiction. ‘Reality’ has nearly killed its imaginary double but films like this or Extraordinary Stories by Mariano Llinás offer a reconciliation with the art of storytelling and, as with Sherezade, they save us from death.

Edward Munch: this unique filmmaker connects me, as a cinema-goer and as a citizen, with history, with the adventure of inventing cinema in each film, with the kind of television that Renoir, Welles and Rossellini dreamt of… with the things that could have been.

La maman et la putain: as Alexandre, I only fall in love with the women who love me, but then they leave me. Eustache wrote this film for the woman who had abandoned him. He shot it in four weeks. It should be shown in every film school. I do it.

Playtime: Tati is the most generous and humble filmmaker I know. The funniest and the most serious. He and Jerry Lewis are the best architects of cinema, of rhythm and colour; both of them remind us that the worst thing about humour is that nobody takes it seriously.

Tokyo Story: there is no greater drama that that of the seasons’ cycle, time passing and the trains going away. And Ozu is the best director at shooting all these. The truth is always waiting for us in the bottom of a bottle. And in the end we are always alone.

Moonfleet: filming is to me like coming back to my childhood, always. “Where is the father?” asks the English teacher in Les quatre cent coups. And this film is the father of modern cinema, always searching for its origins. The history of cinema does not exist.

Viaggio in Italia: the miracle of modern cinema running to the future, growing out from ashes from the past. And yet the miracle of love.

Une partie de Campagne: I think that you can only film with joy and enthusiasm, as Renoir did, even if you are filming something sad. This film contains my most beloved memories. I think about it every night.

City Lights: Chaplin’s films were the first films I saw. When I saw this one, I fell in love for the first time, with a girl and with films. And probably they’ll be also the last films I see.

La Sortie des ouvriers de l'usine Lumière: Pialat used to say that progressing does not mean getting better. The first film is still the best, and the tapestry that Queen Margaret made is still the most beautiful one. Some day I will make a film about the old Lumière operators, like Gabriel Vert, who visited the last frontiers in the world and came back to us as romantic adventurers, with their light luggage. All of us are the sons of Lumière brothers.

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