Friday, December 05, 2014

Buenos Aires/ Argentina (MNBA, MALBA, Fernández Blanco)

Pictures taken by A/Z (for more pictures see here).
"Thus, where shall we put Isis, favouring nymph of corn as she was? As the type of motherhood? As the moon? As the great goddess Earth? As Nature? As the Cosmic Egg from which all Nature sprang? For as time and place have changed, so she is all of these!"
Aleister Crowley (Liber 777)
"Y sonrían los sibaritas ingleses, casi todos lectores de Hegel, cuando se hundan en el argentino bife." 
Lezama Lima

Netherlands (Amsterdam, Utrecht) plus Peter Greenaway

pictures by A/Z (for more, see here);
from Peter Greenaway's Goltzius and the Pelican Company (2012);
Peter Greenaway on Creative Activity, Eros, Thanatos (& your gramma);

"For just as the beating is not only punishment for guilt but also a source of pleasure, every other element is similarly ruled by this wild ambivalence, this simultaneous holding of two wholly contrary positions... the peculiar temporality of the matrix... the meanings of all the stages remain suspended within it, in the form of a 'but also'..." (Rosalind Krauss, The Optical Unconscious).
"... Malevich may have reversed the process of dealing with higher dimensional figures by means of their sections of one less dimension. Instead, he may have thought of his colored forms as symbols for three-dimensional bodies moving in a new direction and thus creating both four-dimensional solids and four-dimensional space..." (Linda Henderson, The Fourth Dimension).
"A third way in which hyperspace philosophy may have influenced Malevich... relates to their new, gravity-free space... there is no longer a horizon to establish an up-down orientation... Ouspensky describes infinity as... 'the abyss, the bottomless pit into which the mind falls, after having risen to heights to which it is not native'... a November 1917 letter [from Malevich] to Matyushin states 'I saw myself in space hidden among the points and colored strips, there, in the middle of them, I depart in the abyss..." (Linda Henderson, The Fourth Dimension).
"... quarks and leptons acquire mass in a very similar fashion to the weak gauge bosons... [they] interact with the Higgs field distributed throughout space and are therefore also hindered by the universe's weak charge... [they] acquire mass by bouncing off the Higgs charge distributed everywhere throughout spacetime..." (Lisa Randall, Warped Passages).
"Human life is oppressed by internal causes (both physical and moral) as well as by external factors. It is necessary to fight against both. All that can help us to understand the evils of oppression is useful  to present and future. Therefore it is essential to demonstrate that plastic art can help to clarify this evil... Art is the aesthetic establishment of complete life (unity and equilibrium) free from all oppression..." (Mondrian, as quoted in Charles Harrison's 'Abstraction').
"Man, as the appearance of utmost internality, of spirit, does not posses any point in front, at the side or the back, no fixed point at all towards which he could define a dimension. This explains why in expressing the spiritual, in making spirit an artifact, he will be forced to a moto-stereometric form of expression. This moto-stereometric form of expression represents the appearance of a 4-n dimensional world in a world of three dimensions" (Theo van Doesburg, as quoted in Linda Henderson's The Fourth Dimension).
"Dada completely negates the generally acknowledged duality of matter and mind, woman and man, and in so doing creates the 'point of indifference', a point beyond man's understanding of time and space. For this reason Dada is able to mobilize the optical and dimensional static viewpoint which kept us imprisoned in our (three-dimensional) illusions" (Theo van Doesburg, as quoted in Linda Henderson's The Fourth Dimension).
"The sensation that demands you sit, lie, stand is first of all a plastic sensation that elicits commensurate plastic forms, therefore, the chair, bed, and table are not utilitarian phenomena but only plastic ones, otherwise the artist cannot sense them" (Kazimir Malevich, The World as Objectlessness, Hatje Cantz, 2014).

Saturday, October 25, 2014

Umberto Eco about Nietzsche (& deconstruction)

Sarebbe la definizzione più giusta del pensiero nietzchiano, worth of Kauffmann, Deleuze e Klossowski insième:
"Certamente Nietzsche avverte l'esistenza di costrizioni naturali... Le costrizioni gli appaiono come 'forze terribili' che premono continuamente su di noi, contrapponendo alle verità 'scientifiche' altre verità di natura diversa; ma evidentemente rifiuta di riconoscerle concettualizzandole a loro volta, visto che è stato per sfuggire a esse che ci saremmo costruiti, quale difesa, l'armatura concettuale. Il cambiamento è possibile, ma non come ristrutturazione, bensì come rivoluzione poetica permanente..." Umberto Eco, Dall'Albero al Labirinto (Milano: Bompiani, 2007, p. 586).
***It is probably true, on the other hand, that Umberto Eco only flirted with truly deconstructionist and more "metaphysical" enterprises (no matter how much he understood them). In Opera aperta there is a tension between historicist and "structural" approaches, but he is much more inclined towards the former than towards the latter (he had to dissociate himself from the structuralism of Lévi-Strauss, and proved to be very wary about Mallarmé; see the IX edizione, Bompiani, 2013, p. VIII, 22, 47-49). The situation changed a little in later books, but it seems to me that Haroldo de Campos, for instance, was able to be much more explicit in his openness to Derrida's project.

See also:
- Pier Paolo Pasolini & Deconstruction;
- Structuralism, Poststructuralism;
- Favorite quotes from Detlev Claussen's Theodor W. Adorno;
- Sur les premiers chapitres d’Esthétique et théorie du roman;
And also:
- Concretos &/ou Brazilian Inteligentsia;
- Eduardo Viveiros de Castro: Brazilian Perspectivism?
- Poème du retour (Leminski/Nietzsche);
- Augusto Meyer & Machado de Assis;
- Caxias do Sul and Galopolis (Northeast of Rio Grande do Sul, region of Italian immigration);
- Bellocchio &/or Eye of (Dreadful) Beauty;
- Federico Fellini's Satyricon (Italy, 1969);

From The Book of Thoth (Aleister Crowley):
- 8/Adjustement [Libra, Venus/Saturno, adjustment ("the daughter, redeemed by her marriage with the Son, is thereby set up on the throne of the mother"), "the feminine complement of the Fool," "the secret course of judgment whereby all current experience is absorbed, transmuted, and ultimately passed on, by virtue of the operation of the Sword, to further manifestation," "at the corner of the card, are indicated balanced spheres of light and darkness, and constantly equilibrated rays from these spheres form a curtain, the interplay of all those forces which she sums up and adjudicates," "equilibrium stands apart from any individual prejudices... Nature is scrupulously just, it is impossible to drop a pin without exciting a corresponding reaction in every star," "she is the ultimate illusion which is manifestation; she is the dance, many-coloured, many-wiled, of Life itself, constantly whirling, the phantom show" (***wasn't Nietzsche a Libran? Yes! He was born 15 October; in what matters A/Z himself, the regents of solar sign and ascendent are in Libra, and almost everything is in the VII house, see here), karma (Eastern philosophy), "Saturn represents above all the element of time... all action and reaction take place in time" (phenomena are compensated by time)];

Saturday, October 18, 2014

Movies about musicians (alphabetical order, under construction)

images taken from
Anton Corbij's
Control (2008)

From a Parallel World: This movie about Janis Joplin, Little Girl Blue (Amy Berg, 2015) says all it has to say by the title: DEMEANING & PREACHY. What shines out is Peggy Caserta's declaration that the heroin shooting was NOT out of depression at al.

Janis at her best—that is, a Rambling Elemental Woman;

Nico, 1988 (Susanna Nicchiarelli, 2018);
Chico: Artista Brasileiro (Miguel Faria Jr., 2015);
Olho Nu (Joel Pizzini, 2014);
El Padre de Gardel (Ricardo Casas, 2013);
Jorge Mautner - O Filho do Holocausto (Pedro Bial, 2013);
Raul: o Início, o Fim e o Meio (Walter Carvalho, Leonarda Gudel, 2012);
Tropicália (Marcelo Machado, 2012);
Noite em 68 (Ionaldo Santana do Araújo, 2010);
Loki: Arnaldo Baptista (Paulo Henrique Fontenelle, 2008);
Control (Anton Corbijn, 2007);
Last Days (Gust van Sant, 2005);
Punk Attitude (Don Letts, 2005);
Stoned (Stephen Woolley, 2005);
Nelson Freire (João Moreira Salles, 2003);
Party Monster (Fenton Bailey, Randy Barbato, 2003);
The Filth and the Fury (Julien Temple, 2000);
The Doors (Oliver Stone, 1991);
Sympathy for the Devil (Godard, 1968);

See also:
- Kur-d-t- My Ghost;
- God Save the Queen;
- Alice in Chains;
- Electronic & Others: High or Middle Culture?
- Darkwaves beyond the 80's;
- Brazil in the 80's;
- Rock Brazil 90's;
- RGS Rock;
- List of musicians;

Monday, October 13, 2014

Most interesting LGBTQIA+ movies (alphabetical order - under construction)

Neil Jordan's
Breakfast on Pluto
(Ireland, 2005)

- Studio 54 (Matt Tyrnauer, 2018);
- Alguma Coisa Assim (Esmir Filho, 2017);
- Liebmann (Jules Herrmann, 2016);
- As You Are (Miles Joris-Peyrafitte, 2016);
Mãe só há uma (Anna Muylaert, 2016);
- Moonlight (Barry Jenkins, 2016);
La vanité (Lionel Baier, 2015);
- Tangerine (Sean Baker, 2015);
Praia do Futuro (Karim Ainouz, 2014);
Tom à la ferme (Xavier Dolan, 2014);
- La vie d'Adèle (Abdellatif Kechiche, 2013);
Los amantes pasajeros (Pedro Almodovar, 2013);
Broderskab (Nicolo Donato, 2009);
La bocca del lupo (Pietro Marcello, 2009);
Les chansons d'amour (Christophe Honoré, 2007);
Les témoins (André Téchiné, 2007) - my montage;
Breakfast on Pluto (Neil Jordan, 2005);
Was nützt die Liebe in Gedanken (Achim von Borries, 2004);
- Pelo malo (Mariana Rondón, 2003);
La chatte à deux têtes (Jacques Nolot, 2002);
Y tu mamá también (Alfonso Cuarón, 2001);
Plata quemada (Marcelo Piñeyro, 2000);
The crying game (Neil Jordan, 1992);
My own private idaho (Gus van Sant, 1991);
Caravaggio (Derek Jarman, 1986);
My beautiful laundrette (Stephen Frears, 1985);
- Kiss of the spyder woman (Hector Babenco, 1985);
Salò o le 120 giornate di Sodoma (Pasolini, 1975) - my montage;
- A Bigger Splash (Jack Jazan, 1973);
- Ludwig (Lucchino Visconti, 1972);
- Satyricon (Fellini, 1969);

***See also:
- Orlando 06/12;
- Série, presque à genoux with thread;
- Pier Paolo Pasolini;
- Boswell, Dover and others on male homosexuality;

Saturday, October 11, 2014

El Estudiante, political movie (learning from Argentina)

Artemisia Gentileschi
Susanna e i vecchioni (1610)
Image from Julian Bell's
Mirror of the World

There is a Brazilian "political" movie I'm unable to talk about. I saw it much later than it came out, and just like Os Famosos e os Duendes da Morte, it touches me as only a few other Brazilian movies really do: Se Nada Mais Der Certo (José Eduardo Belmonte, 2009). It is far away from being perfect, but it is touching and convincing. 

"... toute l'histoire de la politique européenne au moins, et depuis Marx au moins, serait celle d'une guerre impitoyable entre des camps solidaires et également terrorisés par le fantôme, le fantôme de le autre et son propre fantôme comme fantôme de l'autre."
"... tous ces opposants de l'ombre ont beau savoir que l'Europe est en train de trembler devant certain fantôme, celui qui désigne le Manifeste dès son premier nom, ils complotent aussi contre une armée de spectres, contre la spectralité même, et ils pensant tous, sans doute, que c'est de bonne guerre... le noeud des complicités et des antagonismes entre Marx, Engels, Feuerbach, Stirner, Hess, Bauer, etc." 
Jacques Derrida, Spectres de Marx

As you can see what happened in the Soviet Union, they wanted to change and have socialism. They could not. Karl Marx was somewhat aware of this. He said there is such a thing as false consciousness. This show, which is concealed, is false consciousness.
David Bohm (interview)
Aos olhos deles, eu era apenas um peão fazendo seu dever.
Gerald Thomas, Entre Duas Fileiras
Tout commence bien pour finir mal.

The strength of a "political" movie such as El Estudiante (2011, by Santiago Mitre) is the determination with which it follows the internal contradictions of its material as they can be handled in its specific "code" (cinema has its own way to conjure up reality). The plot is unraveled by unexpected turns. It is not demagogical and confronts us with puzzles: how people who supposedly are simply exploited somewhat contribute to their own situation, and above all how people who intend to help are generally unconsciously entangled in the labyrinths of their own selfishness. Argentina is the country of sophisticated directors such as Marcelo Piñeyro, Carlos Sorin, Pablo Trapero, Anahí Berneri and Lucrecia Martel.
In Brazil, the best examples are documentaries. Eduardo Coutinho and João Moreira Salles are accomplished documentary directors. Garapa (2005), by José Padilha, deals with its material in a way which is also interesting (the case of Gabriel Mascaro is more peculiar). In fiction, the best results were attained by Anna Muylaert: Mae só há uma (2016) hasn't got so much attention as Que horas ela volta (2015), but it is just as good. The plot seems implausible (the idea of going back home), but it is actually a metaphor for a very complex and troubled situation. Muylaert works with the actors in a way that is the most convincing. The direction is very honest and unconceited. I wasn't much convinced by Cleber Mendonça Filho's O Som ao Redor (2012), but Aquarius (2016) is excellent. And O Céu de Suely (2006), by Karim Aïnouz, is remarkable. 
The Mexican director Amat Escalante is also ingenious. His Los Bastardos (2008) is astounding.
Some intentionally political movies are otherwise just pseudo-engagé movies: they are unable to engage truly with their own material, and merely submit the material to an external code (such as ordinary ideas and not necessarily false clichés but nonetheless clichés about "human exploitation"). In my opinion the most frightening examples are Fernando Meirelles' The Constant Gardener and Blindness (2008, **see my critical review), or José Campanella's El Secreto de sus ojos (2009). Besides being "intentionally political," these movies are somewhat "intentionally artistic." In Brazil there are many movies that would fall under such a category. Lavoura Arcaica (Luiz Fernando Carvalho, 2001) is perhaps the worst case scenario. It is not exactly political, but "epic." And it is just "intentionally artistic" (mannered and pious) as the language of Raduan Nassar’s original book was affected and bookish. It won about 50th prizes in festivals, but not exactly in Berlin or Cannes. ***Walter Salles, on the other hand, was redeemed by Dark Water (2005)—an unabashed "genre" movie, in which all his immemorial & carefully pampered clichés finally mount up to a truly terrifying degree! Without irony, I actually consider it to be his best movie ever (homespun philosophy transfigured). 
****I'm not considering Glauber Rocha's movies here, because they are very unequal and—except for Barravento and Deus e o Diabo na Terra do Sol—each one difficult to evaluate as a whole. But Glauber Rocha was a visionary artist whose works have unparalleled value (see here). And Cinema Novo has other interesting names such as Ruy Guerra, Leon Hirszman, Nelson Pereira dos Santos, and Paulo César Saraceni. There is also Cinema "Marginal"—if not political, apocalyptical

List of other ingenious "political" movies (under construction & not to be found on amazing #IMDbitches' site, which certainly has the same kind of shortcomings as Wikipedia):
- Napszállta (László Nemes, 2018); 
- Everybody Knows (Asghar Farhadi, 2018);
- Gräns (Ali Abbasi, 2018);
- Non-Fiction (Olivier Assayas, 2018);
- Lazzaro Felice (Alice Rohrwacher, 2018);
- No Date, No Sign (Vahid Jalilvand, 2018);
- Museo (Alonso Ruizpalacios, 2018);
- Ahlat Agaci (Nuri Bilge Ceylan, 2018);
- Mademoiselle Paradis (Barbara Albert, 2017);
- Wieza. Jasny dzien (Jagoda Szelc, 2017);
- Happy End (Michael Haneke, 2017);
- The Party (Sally Potter, 2017);
- Jupiter holdja (Kornél Mundruczó, 2017);
- La Cordillera (Santiago Mitre, 2017);
- Los Perros (Marcela Said, 2017);
- Nelyubov (Andrey Zvyagintsev, 2017);
- War Machine (David Michôd, 2017);
- The Square (Ruben Östlund, 2017);
- Geumul (Ki-Duk Kim, 2016);
- Toni Erdmann (Maren Ade, 2016);
- Zjednoczone stany milosci (Tomasz Wasilewski, 2016);
- I, Daniel Blake (Ken Loach, 2016);
- Deep Web (Alex Winter, 2015);
- Boi Neon (Gabriel Mascaro, 2015);
- Francofonia (Aleksandr Sokurov, 2015);
- Saul fia (László Nemes, 2015);
- Tharlo (Pema Tseden, 2015);
- The Big Short (Adam McKay, 2015);
- Clouds of Sils Maria (Olivier Assayas, 2014);
- Aire Libre (Anahí Berneri, 2014);
- Um Sonho Intenso (José Mariani, 2014);
- Leviatan (Andrey Zvyagintsev, 2014);
- Simindis kundzuli (George Ovashvili, 2014);
- Inside Llewyn Davis (Coen Brothers, 2013)
- The Wolf of Wall Street (Scorsese, 2013);
- Epizoda u zivotu beraca zeljeza (Danis Tanovic, 2013);
- Tian zhu ding (Zhangke Jia, 2013);
- Heli (Amat Escalante, 2013);
- Pelo Malo (Mariana Rondón, 2013);
- Après mai (Olivier Assayas, 2012);
- Django Unchained (Quentin Tarantino, 2012);
- The Master (Paul Thomas Anderson, 2012);
- Cosmopolis (David Cronenberg, 2012);
- Tabu (Miguel Gomes, 2012);
- Les Adieux à la Reine (Benoît Jacquot, 2012);
- The Iron Lady (Phyllida Lloyd, 2012);
- Le Capital (Costa-Gravas, 2012);
- A Dangerous Method (David Cronenberg, 2011);
- Elena (Andrey Zvyagintsev, 2011);
- This is not a Film (Jafar Panahi, 2011);
- A torinói ló (Béla Tarr, 2011);
- Concerto de Violino (Luciano Vidigal, 2010);
- Por tu culpa (Anahí Berneri, 2010);
- Carancho (Pablo Trapero, 2010);
- Inside Job (Charles Ferguson, 2010);
- Green Zone (Paul Greengrass, 2010);
- Submarino (Thomas Vinterberg, 2010);
- Mammuth (Benoît Delépine & Gustave Kervern, 2010);
- Life During Wartime (Todd Solondz, 2009);
- Inglorious Basterds (Quentin Tarantino, 2009);
- Das weiße Band (Michael Haneke, 2009);
- Hunger (Steve McQueen, 2008);
- Vincere (Marco Bellocchio, 2008);
- Der Baader Meinhof Komplex (Uli Edel, 2008);
- Louise-Michel (Benoît Delépine & Gustave Kervern, 2008);
- Gomorra (Matteo Garrone, 2008);
- Los Bastardos (Amat Escalante, 2008);
- La mujer sin cabeza (Lucrecia Martel, 2008);
- Liverpool (Lisandro Alonso, 2008);
- Nightwatching (Peter Greenaway, 2007);
- Eastern Promises (David Cronenberg, 2007);
- No Country for Old Men (Coen Brothers, 2007);
- There Will Be Blood (Paul Thomas Anderson, 2007);
- Paranoid Park (Gus Van Sant, 2007);
- The Road to Guantanamo (Michael Winterbottom; Mat Whitecross, 2006);
- The Last King of Scotland (Kevin McDonald, 2006);
- A Fost Sau N-A Fost? (Corneliu Porumboiu, 2006);
- Caché (Michael Haneke, 2005);
- Manderlay (Lars von Trier, 2005);
- Grizzly Man (Werner Herzog, 2005);
- A History of Violence (David Cronenberg, 2005);
- Solnste (Aleksandr Sokurov, 2005);
- Sangre (Amat Escalante, 2005);
- El método (Marcelo Piñeyro, 2005);
- Entreatos (João Moreira Salles, 2004);
- Der Untergang (Oliver Hirschbiegel, 2004);
- Aaltra (Benoît Delépine & Gustave Kervern, 2004);
- Los Muertos (Lisandro Alonso, 2004);
- Dogville (Lars von Trier, 2003);
- Elephant (Gus Van Sant, 2003);
- Le Temps du Loup (Michael Haneke, 2003);
- Buongiorno, Nuote (Marco Bellocchio, 2003);
- Cidade de Deus (Fernando Meirelles, 2002);
- Edifício Master (Eduardo Coutinho, 2002);
- Bloody Sunday (Paul Greengrass, 2002);
- Historias Mínimas (Carlos Sorin, 2002);
- La Ciénaga (Lucrécia Martel, 2001);
- La Libertad (Lisandro Alonso, 2001);
- Telets (Aleksandr Sokurov, 2001);
- Taking Sides (Stván Szabó, 2001);
- Suchwiin bulmyeong (Ki-Duk Kim, 2001);
- Plata Quemada (Marcelo Piñeyro, 2000);
- The Filth and the Fury (Julien Temple, 2000);
- Moloch (Aleksandr Sokurov, 1999);
- Goya (Carlos Saura, 1999);
- Ghost Dog (Jim Jarmush, 1999);
- Notícias de uma guerra particular (Katia Lund e João Moreira Salles, 1998-99);
- Idioterne (Lars von Trier, 1998);
- Happiness (Todd Solondz, 1998);
- Lost Highway (David Lynch, 1997);
- Pulp Fiction (Quentin Tarantino, 1994);
- Lektionen in Finsternis (Werner Herzog, 1992);
- The Crying Game (Neil Jordan, 1992);
- Europa (Lars von Trier, 1991);
Sonata dlya Gitlera (Aleksandr Sokurov, 1989);
- Full Metal Jacket (Stanley Kubrick, 1987); 
- La Película del Rey (Carlos Sorin, 1986); 
- Blue Velvet (David Lynch, 1986); 
- Kiss of the Spider Woman (Héctor Babenco, 1985);
- Cabra Marcado para Morrer (Eduardo Coutinho, 1984);
- Mephisto (István Szabó, 1981);
- Pixote (Hector Babenco, 1981); 
- Die Dritte Generation (Fassbinder, 1979);
- Mamá cumple 100 años (Carlos Saura, 1979);  
- La Vocation Suspendue (Raul Ruiz, 1978); 
- Das Schlangenei (Ingmar Bergman, 1977);
- Stroszek (Werner Herzog, 1977);
- Eraserhead (David Lynch, 1977);
- Cria Cuervos (Carlos Saura, 1976);
- Mr Klein (Joseph Losey, 1976);
- Salò o le 120 Giornate di Sodoma (Pasolini, 1975);
- Lacombe Lucien (Louis Malle, 1974);
- Il Portieri di Notte (Liliana Cavani, 1974);
- Ana y los Lobos (Carlos Saura, 1973);
- The Assassination of Trotsky (Joseph Losey, 1972);
- A Clockwork Orange (Stanley Kubrick, 1971);
- Porcile (Pasolini, 1969);
- British Sounds (Godard, 1969);
- Sympathy for the Devil (Godard, 1968);
- Teorema (Pasolini, 1968);
- Mouchette (Robert Bresson, 1967);
- Dr. Strangelove (Stanley Kubrick, 1964);
- Deus e o Diabo na Terra do Sol (Glauber Rocha, 1964);
- Vidas Secas (Nelson Pereira dos Santos, 1963);
- Barravento (Glauber Rocha, 1962);
- Hiroshima Mon Amour (Alain Resnais, 1959);
- Un condamné à mort s'est échappé (Robert Bresson, 1956);
- Journal d'un curé de campagne (Robert Bresson, 1951);

About Judicial Systems:
- Into the Abyss (Werner Herzog, 2011);
- Leonera (Pablo Trapero, 2008);
- Juízo (Maria Augusta Ramos, 2007);
- Justiça (Maria Augusta Ramos, 2004);

Latin-American military dictatorship period:
- La noche de 12 años (Álvaro Brechner, 2018);
- Missão 115 (Silvio Da-Rin, 2018);
- El Clan (Pablo Trapero, 2016);
- El Botón de Nácar (Patricio Guzman, 2015);
- Nostalgia de la Luz (Patricio Guzman, 2010);
- Mundialito (Sebastian Bednarik, 2010);
- Cidadão Boilesen (Chaim Litewski, 2009);
- Em teu Nome (Paulo Nascimento, 2009);
- El Circulo (José Pedro Charlo y Aldo Garay, 2008);

Violence against Women and related issues:
- Familia Submergida (María Alché, 2018);
- Assassination Nation (Sam Levinson, 2018);
- Unsane (Steven Soderbergh, 2018);
- Den skyldige (Gustav Möller, 2018);
- The House that Jack Built (Lars von Trier, 2018);
- Egy Nap (Zsófia Szilágyi, 2018);
- Las Herederas (Marcelo Martinessi, 2018);
- Phantom Thread (Paul Thomas Anderson, 2017);
- American Honey (Andrea Arnold, 2016);
- La patota (Santiago Mitre, 2015);
- Mommy (Xavier Dolan, 2015);
- Butter on the Latch (Josephine Decker, 2014);
- Miss Violence (Alexandros Avranas, 2013);
- Después de Lucia (Michel Franco, 2013);
- I, Anna (Barnaby Southcombe, 2012);
- We Need to Talk About Kevin (Lynne Ramsay, 2011);
- Antichrist (Lars von Trier, 2009);
- Das Fremde in mir (Emily Atef, 2008);
- 4 luni, 3 saptamâni si 2 zile (Cristian Mungiu, 2007);
- Grbavica: The Land of My Dreams (Jasmila Zbanic, 2006);
- Lilja 4-ever (Lukas Moodysson, 2002);
- La Pianiste (Michael Haneke, 2001);
- Les nuits de la pleine lune (Eric Rohmer, 1984);
- Panelkapcsolat (Béla Tarr, 1982);
- Die Marquise von O (Eric Rohmer, 1976);
- Nathalie Granger (Marguerite Duras, 1972);
- Détruire dit elle (Marguerite Duras, 1969);

See also:
- The House that Jack Built's simple equation;
- Amat Escalante (& Werner Herzog): Basilisk's Cinema;
- Julio Bressane;
- Cinema Novo;
- Godard's Sympathy for the Devil;
- Sonatine Takeshi Kitano, 1993);
- Heitor Dhalia;
- Cinema of Uruguay;
- Inside Job;
- Pier Paolo Pasolini;
- Instead of revolution: démontage;
And also:
- Sobre o fio de José Padilha;
- "ERRATA list" for Narrative Outbreak in Contemporary Conflict Cinema;
- Narrative Self-Deconstruction in Contemporary Cinema;
- Bases histórico-conceituais para a crítica cinematográfica não representacional;

Meirelles' best movie after City of God

esse episódio do Fernando Meirelles é o melhor do filme (e na minha opinião, o melhor de tudo que ele fez depois do Cidade de Deus);
See also:
- The Blindness of Meirelles;