#dani stahl

[wen-kexing-apologist]

Based on your recent answer about why you watch BL in which you mentioned many narratives like to punish lesbians with death, I wanted to prompt you to speak on that a bit more if you're willing. I will wait here chin in hands for when/if this is interesting to you because it's a bugbear of mine and I'd love to read your thoughts!

Hello Twiggy! (can I call you that? What should we shorten your url to? t-t?) 

Anyway, I would be happy to speak more on that!

To establish my lens, I am a Westerner, I grew up with no queer elders, and did not really realize I was queer until after I graduated college, so my experience with queer media was limited at best. I know there are films and television out there where the sapphics live, and there are films and televisions where I am completely fine with a queer character dying. I am not a “if any queer character dies they are burying the gays!” kind of person. 

Now, I’ll admit that when I wrote that in my answer, I was mostly saying it based on knowledge of the tumblr discourse I’ve observed over the past decade I have been on this fucking website. In other words, I didn’t know the full extent of the issue, because to be perfectly honest, despite the absurd amount of television I do watch, seeing queer women in my shows has been few and far between. I don’t think I saw a girl kiss another girl until I stumbled upon the YouTube web-series Carmilla in high school. SO, your ask required me to do a little bit more research. 

Here is a link to an article listing 230 dead lesbian and bisexual characters and their causes of death which include toxic envelope glue in Seinfeld??? The list is so long that the article is split up in to FOUR PAGES!

Here are a couple of names from shows I either have seen or recognize: 

Tara Maclay in Buffy the Vampire Slayer 

Lexa in The 100 

Tosha in The Wire

Poussey in Orange is the New Black (which I will absolutely never forgive this show for) 

Toshiko Sato in Torchwood 

June Stahl in Sons of Anarchy

Patty O’Farrel and Veronica Cortes in La Reina del Sur

Jamilah Olsen in Black Lightining

Dani in The Haunting of Bly Manor

I do not want to count how many times I have seen the words “died in her girlfriends arms” in this list, and I’m only a page and a half in. I do not want to count how many times I have read “Cause of Death: shot/stabbed/blown up/murdered/throat slit” I have seen three separate queer women from True Blood on this list, three separate queer women from Boardwalk Empire, four from Orange is the New Black, four from Killing Eve. The cause of death for a character named Emily in Teen Wolf is five lines long. We know how Supernatural is about killing women and killing queers, and killing queer women (there are three on this list I’ve seen so far). And there are some truly convoluted deaths in here, and unsurprising a number of the most fucked up ones are…you guessed it, committed against queer women of color. 

And there are plenty on this list from like…American Horror Story, or like Scream, or you know other shows with very obvious ‘this is kind of an everyone dies’ situation. Like I’m not surprised if multiple queer characters from The Walking Dead die, I’m not going to hold it against the television show Spartacus for killing a bisexual woman in the final battle where everybody dies. (I will blame them for systematically killing off any and all interesting, complex female characters until we were left with almost nothing, when we had such good ones in Season 1). I do not see Dani dying at the end of Haunting of Bly Manor to be a ‘Bury Your Gays” situation in the least. 

And I am a lot more prone to being comfortable with a queer character dying if there are other queer characters in the story, as long as they don’t all die, you know what I mean?  

Hell, even in shows written and/or performed by queer people where at the end everyone lives, they’ll still sometimes kill (and then resurrect) the characters. Laura in Carmilla  for instance. 

According to a study by LGBT Fans Deserve Better, 62 lesbian and bisexual female characters had died over the past two seasons of television (at the time, which I think was like 2014-2016) and the 2015-2016 year saw the highest number of deaths of queer women in one season of television (42 characters accounting fro 10% of all deaths for scripted television shows that season)

In 2016, a GLAAD analysis was published stating “25 lesbian and bisexual female-identifying characters have died on scripted broadcast and cable television and streaming series since the beginning of 2016” and went on to say that most of those deaths were used to further the plot of the often cishet main character, and violent death was the most repeated ending for queer women in media. 

Looking further back in time, the Hays Code of 1930, which had major influence over United States television, did not allow for positive portrayals of queerness. And those impacts linger for far longer than those rules were put in place. I’m thinking of the very obviously queer coded lobster person in PowerPuff girls (which was one of my childhood shows) named HIM who was the personification of evil. Ursula in The Little Mermaid being inspired by a drag queen. [And it is here I will put an aside to say, I love queer coded villains, I think the person that made most of DIsney’s villains in like my generation of Disney films was queer himself, yada yada I’m covering my ass from anyone who wants to engage with this post in bad faith blah blah]. 

Hell, I’ve seen one GL out of Thailand, which was GAP the Series and even they killed off another queer female character and made Sam suffer abuse at the hands of her grandmother. I’ve heard about how The Shipper treated its lesbians. 

The TL;DR version of this is that, for a very long time in (at least Western) television, a sapphic existed in a narrative, and a sapphic died, often violently, often in their lover’s arms. And thanks to studies like the one by LGBT Fans Deserve Better, these disparities were made glaringly obvious, and rates of lesbian death in shows has been going down since 2016.

[meebochii]

FE17 English Voice Actors

[spoilers under cut]

Alear (Male): Brandon McInnis

Alear (Female): Laura Stahl

Lumera: Julia McIlvaine

Vander: Jason Vande Brake

Framme: Lisa Reimold

Clanne: Justin Briner

Firene

Alfred: Nick Wolfhard

Boucheron: Joe Hernandez

Etie: Trina Nishimura

Céline: Rachelle Heger

Louis: J. Michael Tatum

Chloé: Elizabeth Simmons

Jean: Colleen O'Shaughnessey

Ève: Megan Hollingshead

Brodia

Diamant: Stephen Fu

Amber: Parker Way

Jade: Katelyn Gault

Alcryst: Micah Solusod

Lapis: Kimberly Woods

Citrinne: Britney Karbowski

Yunaka: Laura Post

Morion: Josh Petersdorf

Elusia

Ivy: Reba Buhr

Zelkov: David Matranga

Kagetsu: Khoi Dao

Hortensia: Amber Connor

Rosado: Brian Timothy Anderson

Goldmary: Maureen Price

Anna: Monica Rial

Hyacinth: Brook Chalmers

Solm

Timerra: Dani Chambers

Merrin: Cristina "Vee" Valenzuela

Panette: Melissa Hutchison

Fogado: Zeno Robinson

Pandreo: Ricco Fajardo

Bunet: Ian Sinclair

Seadall: Griffin Puatu

Seforia: Afi Ekulona

Others

Veyle: Megan Taylor Harvey

Sombron: Erik Braa

Lindon: James Wade

Saphir: Cassie Ewulu

Four Hounds

Zephia: Elizabeth Maxwell 

Griss: Jamison Boaz

Marni: Sarah Williams

Mauvier: Gavin Hammon

Emblems

Marth: Yuri Lowenthal

Celica: Erica Lindbeck

Sigurd: Grant George

Leif: Nicolas Roye

Roy: Ray Chase

Lyn: Wendee Lee

Eirika: Kira Buckland

Ike/Ephraim: Greg Chun

Micaiah: Veronica Taylor

Lucina: Alexis Tipton

Corrin: Marcella Lentz-Pope

Byleth: Zach Aguilar

[three-moving]

WAIT WAIT WAIT SO YOURE TELLING ME THAT NOT ONLY IS LAURA STAHL F!ALEAR BUT ALSO ZENO ROBINSON IS FOGADO AND DANI CHAMBERS IS TIMERRA?!

MAYBE I DO ACTUALLY NEED THIS GAME

[dalekofchaos]

Fixing Terminator Dark Fate

So once again I am thinking of the lost potential of Dark Fate and James Cameron's inability to let things go.

To me they had the chance to make a truly great sequel and it was all squandered when they pointlessly killed John Connor.

All they had to do was make Dani John's top lieutenant.

And if Edward Furlong was in no condition to play an older and wiser John Connor. Then they should've gotten Michael Edwards, Nick Stahl or Thomas Decker to play him.

You could have John go into hiding because he began having Skynet related dreams. So he becomes a recluse and lives off the grid.

Sarah gives him a wake up call. Basically gives him a TLJ Yoda styled pep talk and helps break him out of his exile.

As for Arnold's Terminator. It's one of the holdouts that Skynet sent back in 97. He doesn't kill John. Sarah is able to get to him in time and they take him down. They hack him and are able to humanize him, so the unintentionally hilarious Carl bullshit kind of works. Or. Or they could pull some convoluted bullshit that the T-800 from T2's memories had a back up and were uploaded to this T-800. Sarah and this Terminator helps John remember who he is

Grace, Sarah and Carl sacrifice themselves while John and Dani build the Resistance

[15x20]

15x20 | street style blog

[sugarbubbleslove]

Figured it out

So this time, I’m not going to level everyone up (since I don’t actually need the Support for everyone this time round)

Basically, my team is going to be set on the select few.

Robin & Chrom (Since they are needed)

Sumia & Frederick 

Lissa & Stahl

Lon’qu & Olivia (once I get them)

and I’ll be supporting them...well, Robin and Chrom are already married and I haven’t triggered chapter 4 (Guess Lucina is going to meet her parents sooner than I actually expected LOL)

Of course, it means I’m only having Lucina, Morgan, Cynthia, Owain, and Ingio for the kids, but that works out just fine for me!

At least this way I can concentrate on getting the classes I want for the pairings above.

[hxney-lemcn]

❥ Miscellaneous

Dream a Little Dream

Opposites — Dinger Holifield x fem! reader

Hocus Pocus

Halloween — Max Dennison x fem! reader

Dani No! — Max Dennison x fem! reader

The Chronicles of Narnia

My King — Edmund Pevensie x gn! reader

Playful — Edmund Pevensie x gn! reader

Weird Science

Movies — Wyatt Donnelly x gn! reader

Jujutsu Kaisen

Daydreams Become Reality — Inumaki Toge x demi! gn! reader

Inside Job

Domestic Daydreams — Brett Hand x gn! reader

Marry Me — Brett Hand x gn! reader

Red Dead Redemption

Love is Love, at The End of The Day — Mary-Beth x fem! reader

Star Wars

To Fight For What You Love — Luke Skywalker x gn! Bounty Hunter! reader | Part Two

Reunions and Resolved Misunderstandings — Cal Kestis x gn! reader

Jojo's Bizarre Adventure

Falling For U— Josuke Higashikata x gn! reader

Doctor Who

Catching Up — Eleventh Doctor x gn! reader

Just Let Me Help — Eleventh Doctor x gn! reader

Love Is Scary — Eleventh Doctor x gn! reader

Mashle: Magic and Muscles

Beneath the Mask — Abyss Razor x gn! reader | Part Two | Part Three

Cloud Nine — Rayne Ames x gn! reader

a Small act of Kindness Goes a Long Way— Abyss Razor x gn! reader

Fire Emblem Awakening

Right Here — Stahl x gn! reader

Demon Slayer

Looking Out For You — Giyū Tomioka x gn! hashira! reader

Honkai: Star Rail

Falling for Him — Jing Yuan x gn! reader

Zenless Zone Zero

Phaethon siblings being your wingpeople — Nicole Demara x gn! reader

Asking out Anby — Anby Demara x gn! reader

Legend of Zelda

Distance Makes the Heart Grow Confused — Twilight Princess! Link x gn! reader

[devilbrew-69]

My thing is this : I understand why Erin Fitzgerald stepped down, but it ended up being somewhat pointless because the publishers ended up casting Laura Stahl. Light skin racially ambiguous Laura Stahl. Why is it so hard for companies to give brown skin actors their time to shine? Laura is biracial and that's not the same as being black. Its barely even a step above from casting a white actor. Here's a list of black actresses that should've been chosen instead:

Cassie Ewulu

Kamali Minter

Sametria Ewunes

Anairis Quiñones

Kimberly Brooks

Novie Edwards

Dani Chambers

So many options and they chose the most white-washed one possible.

[moviereviewstation]

The Movie List

Hi all, 

As promised, here’s the list. Once a movie has been reviewed, I’ll turn the movie into a link to the review on this list. Any movie we can’t find will be marked with a cross through. There were double ups in the categories, movies being listed twice, so I’ve only let them be in the first category they show up in (Hence why there isn’t 100 movies in the fourth category). The list is below: 

1. GENRE 

Action-Aventure

The Mark of Zorro (Fred Niblo, 1920)

The Adventures of Robin Hood (Michael Curtiz and William Keighley, 1938)

The Seven Samurai (Akira Kurosawa, 1954)

Top Gun (Tony Scott, 1986)

Lethal Weapon (Richard Donner, 1987)

Thelma and Louise (Ridley Scott, 1991)

Mission: Impossible (Brian De Palma, 1996)

Kill Bill: Volume 1 (Quentin Tarantino, 2003)

Animation

Steamboat Willie (Ub Iwerks, 1928)

Snow White and the Seven Dwarfs (David Hand and William Cottrell, 1937)

Pinocchio (Ben Sharpsteen and Hamilton Luske, 1940)

Yellow Submarine (George Dunning, 1968)

Akira (Katsuhiro Otomo, 1988)

Toy Story (John Lasseter, 1995)

Spirited Away (Hayat Miyazaki, 2001)

Belleville Rendez-vous (Sylvain Chomet, 2003)

Wallace and Gromit: The Curse of the Were-Rabbit (Steve Box and Nick Park, 2005)

Wall-E (Andrew Stanton, 2008)

Up (Pete Docter and Bob Peterson, 2009)

How To Train Your Dragon (Chris Sanders and Dean DeBlois, 2010)

Avante-Garde

L’Inhumaine (Marcel L’Herbier, 1924)

Un Chien Andalou (Luis Bunuel, 1929)

L’Age d’Or (Luis Bunuel, 1930)

Biopic

Young Mr. Lincoln (John Ford, 1939)

Gandhi (Richard Attenborough, 1982)

A Beautiful Mind (Ron Howard, 2001)

The Aviator (Martin Scorsese, 2004)

Ray (Taylor Hackford, 2004)

The Last King of Scotland (Kevin Macdonald, 2006)

Milk (Gus Van Sant, 2008)

Comedy

The General (Clyde Bruckman and Buster Keaton, 1927)

Duck Soup (Leo McCarey, 1933)

His Girl Friday (Howard Hawks, 1940)

The Ladykillers (Alexander Mackendrick, 1955)

The Pink Panther (Blake Edwards, 1963)

Annie Hall (Woody Allen, 1977)

Airplane! (Jim Abrahams, David Zucker, and Jerry Zucker, 1980)

Four Weddings and a Funeral (Mike Newell, 1994)

The Full Monty (Peter Cattaneo, 1997)

Meet the Parents (Jay Roach, 2000)

Bridget Jone’s Diary (Sharon Maguire, 2001)

The Devil Wears Prada (David Frankel, 2006)

Costume Drama

Jezebel (William Wyler, 1938)

Les Enfants du Paradis (Marcel Carne, 1945)

Senso (Luchino Visconti, 1954)

Barry Lyndon (Stanley Kubrick, 1975)

Dangerous Liaisons (Stephen Frears, 1988)

Howards End (James Ivory, 1992)

Sense and Sensibility (Ang Lee, 1995)

Bright Star (Jane Campion, 2009)

Cult

Plan 9 from Outer Space (Edward D. Wood, 1958)

Faster, Pussycat! Kill! Kill! (Russ Meyer, 1965)

Pink Flamingos (John Waters, 1972)

The Wicker Man (Robin Hardy, 1973)

The Rocky Horror Picture Show (Jim Sharman, 1975)

Withnail and I (Bruce Robinson, 1987)

Fight Club (David Finch, 1999)

Disaster

Airport (George Seaton, 1970)

The Poseidon Adventure (Ronald Neame, 1972)

The Towering Inferno (John Guillermin, 1974)

Independence Day (Roland Emmerich, 1996)

Titanic (James Cameron, 1997)

Documentary

Man with a Movie Camera (Dziga Vertov, 1929)

Night and Fog (Alain Resnais, 1955)

Don’t Look Back (D.A. Pennebaker, 1967)

The Sorrow and the Pity (Marcel Ophuls, 1969)

Bowling for Columbine (Michael Moore, 2002)

Capturing the Friedmans (Andrew Jarecki, 2003)

The Story of the Weeping Camel (Byambasuren, Dava and Luigi Falorini, 2003)

March of the Penguins (Luc Jacquet, 2005)

An Inconvenient Truth (Davis Guggenheim, 2006)

Epic

The Birth of a Nation (D.W. Griffith, 1915)

Alexander Nevsky (Sergei M. Eisenstein and Dmitri Vasilyev, 1938)

The Robe (Henry Koster, 1953)

The Ten Commandments (Cecil B. DeMille, 1956)

Ben-Hur (William Wyler, 1959)

Spartacus (Stanley Kubrick, 1960)

Doctor Zhivago (David Lean, 1965)

Gladiator (Ridley Scott, 2000)

Kingdom of Heaven (Ridley Scott, 2005)

Film Noir

Double Indemnity (Billy Wilder, 1944)

Fallen Angel (Otto Preminger, 1945)

The Big Sleep (Howard Hawks, 1946)

Kiss Me Deadly (Robert Aldrich, 1955)

Touch of Evil (Orson Welles, 1958)

Chinatown (Roman Polanski, 1974)

L.A. Confidential (Curtis Hanson, 1997)

Sin City (Frank Miller and Robert Rodriguez, 2005)

Gangster

Little Caesar (Mervyn Leroy, 1931)

Public Enemy (William Wellman, 1931)

Angels with Dirty Faces (Michael Curtiz, 1938)

Bonnie and Clyde (Arthur Penn, 1967)

The Godfather (Francis Ford Coppola, 1972)

GoodFellas (Martin Scorsese, 1990)

Pulp Fiction (Quentin Tarantino, 1994)

Snatch (Guy Ritchie, 2000)

Gangs of New York (Martin Scorsese, 2002)

Road to Perdition (Sam Mendes, 2002)

Horror

Nosferatu (F.W. Murnau, 1922)

The Bride of Frankenstein (James Whale, 1935)

Cat People (Jacques Tourneur, 1942)

The Night of the Living Dead (George A. Romero, 1968)

The Exorcist (William Friedkin, 1973)

Halloween (John Carpenter, 1978)

Ring (Hideo Nakata, 1998)

The Blair Witch Project (Daniel Myrick and Eduardo Sanchez, 1999)

Martial Arts

Fists of Fury (Wei Lo, 1971)

The Chinese Connection (Wei Lo, 1972)

Enter the Dragon (Robert Clouse, 1973)

The Karate Kid (John G. Avildsen, 1984)

Once Upon a Time in China (Tsui Hark, 1991)

Crouching Tiger, Hidden Dragon (Ang Lee, 2000)

Hero (Zhang Yimou, 2002)

Melodrama

Imitation of Life (John M. Stahl, 1934)

Stella Dallas (King Vidor, 1937)

Now, Voyager (Irving Rapper, 1942)

Mildred Pierce (Michael Curtiz, 1945)

Brief Encounter (David Lean, 1945)

The Life of Oharu (Kenji Mizoguchi, 1952)

Musical

Le Million (Rene Clair, 1931)

42nd Street (Lloyd Bacon, 1933)

The Merry Widow (Ernst Lubitsch, 1934)

Top Hat (Mark Sandrich, 1935)

Meet Me in St. Louis (Vincente Minnelli, 1944)

Singin’ in the Rain (Gene Kelly and Stanley Donen, 1952)

Gigi (Vincente Minnelli, 1958)

West Side Story (Robert Wise and Jerome Robbins, 1961)

Cabaret (Bob Fosse, 1972)

Grease (Randal Kleiser, 1978)

Dirty Dancing (Emile Ardolina, 1987)

Moulin Rouge! (Baz Luhrmann, 2001)

Hairspray (Adam Shankman, 2007)

Propaganda

The Triumph of the Will (Leni Riefenstahl, 1935)

The Plow that Broke the Plains (Pare Lorentz, 1936)

Der Fuehrer’s Face (Jack Kinney, 1943)

Science Fiction and Fantasy

Metropolis (Fritz Lang, 1927)

The Wizard of Oz (Victor Fleming, 1939)

The Time Machine (George Pal, 1960)

2001: A Space Odyssey (Stanley Kubrick, 1968)

Solaris (Andrei Tarkovsky, 1972)

Star Wars (George Lucas, 1977)

The Matrix (Larry and Andy Wachowski, 1999)

Avatar (James Cameron, 2009)

Inception (Christopher Nolan, 2010)

Serial

The Perils of Pauline (Louis Gasnier, 1914)

Flash Gordon (Frederick Stephani, 1936)

The Lone Ranger (John English and William Witney, 1938)

Series

Charlie Chan (Various, 1931-49)

Don Camillo (Various, 1951-65)

Zatoichi (Various, 1962-2003)

The Lord of the Rings (Peter Jackson, 2001-03)

Harry Potter (Various, 2001-11)

The Chronicles of Narnia (Various, 2005-)

Teens

Rebel Without a Cause (Nicholas Ray, 1955)

American Graffiti (George Lucas, 1973)

The Breakfast Club (John Hughes, 1985)

Mean Girls (Mark Waters, 2004)

Thriller

The Third Man (Carol Reed, 1949)

Psycho (Alfred Hitchcock, 1960)

The Silence of the Lambs (Jonathan Demme, 1991)

The Constant Gardener (Fernando Meirelles, 2005)

The Girl Who Played with Fire (Daniel Alfredson, 2009)

Underground

Meshes of the Afternoon (Maya Deren, 1943)

Wavelength (Michael Snow, 1967)

Flesh (Paul Morrissey, 1968)

War

J’Accuse (Abel Gance, 1919)

Paths of Glory (Stanley Kubrick, 1957)

Apocalypse Now (Francis Ford Coppola, 1979)

Das Boot (Wolfgang Peterson, 1981)

Full Metal Jacket (Stanley Kubrick, 1987)

Saving Private Ryan (Steven Spielberg, 1998)

No Man’s Land (Danis Tanovic, 2001)

The Hurt Locker (Kathryn Bigelow, 2008)

Western

Stagecoach (John Ford, 1939)

The Man from Laramie (Anthony Mann, 1955)

The Searchers (John Ford, 1956)

The Magnificent Seven (John Sturges, 1960)

The Man who Shot Liberty Valance (John Ford, 1962)

The Wild Bunch (Sam Peckinpah, 1969)

Once Upon a Time in the West (Sergio Leone, 1968)

Unforgiven (Clint Eastwood, 1992)

True Grit (Joel and Ethan Coen, 2010)

2. WORLD FILM

Africa

The Money Order (Ousmane Sembene, Senegal, 1968)

The Night of Counting the Years (Shadi Abdelsalam, Egypt, 1969)

Xala (Ousmane Sembene, Senegal, 1975)

Chronicle of the Burning Years (Mohammed Lakhdar-Hamina, Algeria, 1975)

Alexandria… Why? (Youssef Chahine, Egypt, 1978)

Man of Ashes (Nouri Bouzid, Tunisia, 1986)

Yeelen (Souleymane Cisse, Mali, 1987)

The Silences of the Palace (Moufida Tlatli, Tunisia, 1994)

Waiting for Happiness (Abderrahmane Sissako, Mauritania, 2002)

The Middle East

Divine Intervention (Elia Suleiman, Palestine, 2002)

The Syrian Bride (Eran Riklis, Palestine, 2004)

Thirst (Tawfik Abu Wael, Palestine, 2004)

Paradise Now (Hand Abu-Assad, Palestine, 2005)

Iran

The Cow (Dariush Mehrjui, 1968)

The White Balloon (Jafar Panahi, 1995)

Taste of Cherry (Abbas Kiarostami, 1997)

The Children of Heaven (Majid Majidi, 1997)

Blackboards (Samira Makmalbaf, 2000)

The Day I Became a Woman (Marzieh Meshkini, 2000)

Secret Ballot (Babek Payami, 2001)

Kandahar (Mohsen Makmalbaf, 2001)

Turtles Can Fly (Bahman Ghobadi, 2004)

Eastern Europe

Knife in the Water (Roman Polanski, Poland, 1962)

The Shop on the High Street (Jan Kadar, Czechoslovakia, 1965)

The Round-Up (Miklos Jansco, Hungary, 1965)

Loves of a Blonde (Milos Foreman, Czechoslovakia, 1965)

Daisies (Vera Chytilova, Czechoslovakia, 1966)

Closely Observed Trains (Jiri Menzel, Czechoslovakia, 1966)

Man of Marble (Andrzej Wajda, Poland, 1976)

The Three Colours trilogy (Krzysztof Kieslowski, Poland, 1993-94)

Divided We Fall (Jan Hrebejk, Czech Republic, 2000)

The Turin Horse (Bela Tarr, Hungary, 2011)

The Balkans

A Matter of Dignity (Michael Cacoyannis, Greece, 1957)

I Even Met Happy Gypsies (Aleksandar Petrovic, Yugoslavia, 1967)

The Goat Horn (Metodi Andonov, Bulgaria, 1972)

Yol (Yilmaz Güney and Serif Goren, Turkey, 1982)

Underground (Emir Kusturica, Yugoslavia, 1995)

Eternity and a Day (Theo Angelopoulos, Greece, 1998)

Uzak (Nuri Bilge Ceylan, Turkey, 2002)

The Death of Mr. Lazarescu (Cristi Puiu, Romania, 2005)

4 Months, 3 Weeks, and 2 Days (Cristian Mungiu, Romania, 2007)

Russia

The Battleship Potemkin (Sergei Eisenstein, 1925)

Storm Over Asia (Vsevolod Pudovkin, 1928)

Earth (Alexander Dovzhenko, 1930)

Ivan the Terrible Parts I and II (Sergei Eisenstein, 1944/58)

The Cranes are Flying (Mikhail Kalatozov, 1957)

Ballad of a Soldier (Grigori Chukhrai, 1959)

The Colour of Pomegranates (Sergei Parajanov, 1969)

Come and See (Elem Klimov, 1985)

Russian Ark (Aleksandr Sokurov, 2002)

The Nordic Countries

The Phantom Carriage (Victor Sjostrom, Sweden, 1921)

Day of Wrath (Carl Dreyer, Denmark, 1943)

Persona (Ingmar Bergman, Sweden, 1966)

Babette’s Feast (Gabriel Axel, Denmark, 1987)

Festen (Thomas Vinterberg, Denmark, 1998)

Songs from the Second Floor (Roy Andersson, Sweden, 2000)

O’Horten (Bent Hamer, Norway, 2007)

The Girl with the Dragon Tattoo (Niels Arden Oplev, Sweden/Denmark/Germany/Norway, 2009)

Germany

The Last Laugh (F.W. Murnau, 1924)

Pandora’s Box (G.W. Pabst, 1929)

The Blue Angel (Josef von Sternberg, 1930)

M (Fritz Lang, 1931)

The Bridge (Bernhard Wicki, 1959)

Kings of the Road (Wim Wenders, 1976)

The Marriage of Maria Braun (Rainer Werner Fassbinder, 1978)

The Tin Drum (Volker Schlöndorff, 1979)

Run Lola Run (Tom Tykwer, 1998)

France

Napoleon (Abel Gance, 1927)

L’Atalante (Jean Vigo, 1934)

La Grande Illusion (Jean Renoir, 1937)

Le Jour se Leve (Marcel Carne, 1939)

Diary of a Country Priest (Robert Bresson, 1951)

Hiroshima Mon Amour (Alain Resnais, 1959)

Jules et Jim (Francois Truffaut, 1962)

Weekend (Jean-Luc Godard, 1967)

La Haine (Mathieu Kassovitz, 1995)

The Taste of Other (Agnes Jaoui, 2000)

The Class (Laurent Cantet, 2008)

A Prophet (Jacques Audiard, 2009)

Of Gods and Men (Xavier Beauvois, 2010)

Italy

The Flowers of St. Francis (Roberto Rossellini, 1950)

Umberto D. (Vittorio De Sica, 1952)

La Notte (Michelangelo Antonioni, 1961)

The Leopard (Luchino Visconti, 1963)

The Gospel According to St. Matthew (Pier Paolo Pasolini, 1964)

Amarcord (Federico Fellini, 1973)

1900 (Bernardo Bertolucci, 1976)

Cinema Pardiso (Giuseppe Tornatore, 1988)

Il Postino (Michael Radford, 1994)

The Best of Youth (Marco Tullio Giordana, 2003)

Gomorrah (Matteo Garrone, 2008)

Vincere (Marco Bellocchio, 2009)

United Kingdom

The Lady Vanishes (Alfred Hitchcock, 1938)

Odd Man Out (Carol Reed, 1947)

Black Narcissus (Michael Powell and Emeric Pressburger, 1947)

Whiskey Galore (Alexander Mackendrick, 1949)

The Servant (Joseph Losey, 1963)

If… (Lindsay Anderson, 1968)

Local Hero (Bill Forsyth, 1983)

Brazil (Terry Gilliam, 1985)

Billy Elliot (Stephen Daldry, 2000)

Touching the Void (Kevin Macdonald, 2003)

The King’s Speech (Tom Hooper, 2010)

Spain

Welcome Mr. Marshall! (Luis Garcia Berlanga, 1953)

Death of a Cyclist (Juan Antonio Bardem, 1955)

Viridiana (Luis Bunuel, 1961)

The Spirit of the Beehive (Victor Erice, 1973)

Cria Cuervos (Carlos Saura, 1976)

Tierra (Julio Medem, 1996)

Talk to Her (Pedro Almodovar, 2002)

The Sea Inside (Alejandro Amenabar, 2004)

Portugal

Hard Times (Joao Botelho, 19880

Abraham’s Valley (Manoel de Oliveira, 1993)

God’s comedy (Joao Cesar Monteiro, 1995)

River of Gold (Paulo Rocha, 1998)

O Delfim (Fernando Lopes, 2002)

Canada

My Uncle Antoine (Claude Jutra, 1971)

The True Nature of Bernadette (Gilles Carles, 1972)

The Apprenticeship of Duddy Kravitz (Ted Kotcheff, 1974)

The Decline of the American Empire (Denys Arcand, 1986)

I’ve Heard the Mermaids Singing (Patricia Rozema, 1987)

Dead Ringers (David Cronenberg, 1988)

Jesus of Montreal (Denys Arcand, 1989)

Exotica (Atom Egoyan, 1994)

The Sweet Hereafter (Atom Egoyan, 1997)

The Barbarian Invasions (Denys Arcand, 2003)

Twist (Jacob Tierney, 2003)

Central America

Maria Candelaria (Emilio Fernandez, Mexico, 1944)

La Perla (Emilio Fernandez, Mexico, 1947)

Los Olvidados (Luis Bunuel, Mexico, 1950)

I am Cuba (Mikhail Kalatozov, Soviet Union/Cuba, 1964)

Memories of Underdevelopment (Tomas Gutierrez Area, Cuba, 1968)

Lucia (Humberto Solas, Cuba, 1968)

Like Water for Chocolate (Alfonso Area, Mexico, 1992)

Amores Perros (Alejandro Gonzales Inarritu, Mexico, 2000)

Y Tu Mama También (Alfonso Cuaron, Mexico, 2001)

Pan’s Labyrinth (Guillermo del Toro, Mexico, 2006)

South America

The Hand in the Trap (Leopoldo Torre Nilsson, Argentina, 1961)

Barren Lives (Nelson Pereira dos Santos, Brazil, 1963)

Antonio das Mortes (Glauber Rocha, Brazil, 1969)

The Hour of the Furnaces (Fernando Solanas and Octavio Getino, Argentina, 1970)

The Battle of Chile (Patricio Guzman, Chile, 1975/79)

The Official Story (Luis Puenzo, Argentina, 1985)

Central Station (Walter Salles, Brazil, 1998)

City of God (Fernando Meirelles, Brazil, 2002)

The Secret in Their Eyes (Juan Jose Campanella, Argentina, 2010)

China, Hong Kong, and Taiwan

Two Stage Sisters (Xie Jin, China, 1965)

A Touch of Zen (King Hu, Taiwan, 1969)

The Way of the Dragon (Bruce Lee, Hong Kong, 1972)

Yellow Earth (Chen Kaige, China, 1984)

City of Sadness (Hsiou-Hsein Hou, Taiwan, 1989)

Ju Dou (Zhang Yimou and Yang Fengliang, Japan/China, 1990)

Raise the Red Lantern (Zhang Yimou, China, 1991)

Yi Yi (Edward Yang, Taiwan, 2000)

Still Life (Jia Zhang Ke, China, 2006)

Korea

The Day a Pig Fell into the Well (Hong Sang-Soo, 1996)

Shiri (Kang Je-Gyu, 1999)

Chihwaseon (Im Kwon-Taek, 2002)

The Way Home (Lee Jong-Hyang, 2002)

Oasis (Lee Chang-dong, 2002)

Spring, Summer, Fall, Winter… and Spring (Kim Ki-Duk, 2003)

Secret Sunshine (Lee Chang-Dong, 2007)

Japan

Equinox Flower (Yasujiro Ozu, 1958)

An Actor’s Revenge (Kon Ichikawa, 1963)

Boy (Nagisa Oshima, 1969)

Vengeance is Mine (Shohei Imamura, 1979)

Hana-Bi (Takeshi Kitano, 1997)

After Life (Hirokazu Koreeda, 1998)

Still Walking (Hirokazu Koreeda, 2008)

Catepillar (Koji Wakamatsu, 2010)

India

Devdas (Bimal Roy, 1955)

Rather Panchali (Satyajit Ray, 1955)

Mother India (Mehboob Khan, 1957)

Charulata (Satyajit Ray, 1964)

Bhuvan Shome (Mrinal Sen, 1969)

Sholay (Ramesh Sippy, 1975)

Nayagan (Mani Ratnam, 1987)

Salaam Bombay! (Mira Nair, 1988)

Bandit Queen (Shekhar Kapur, 1994)

Dilwale Dulhaniya Le Jayenge (Aditya Chopra, 1995)

Kannathil Muthamittal (Mani Ratnam, 2002)

Shwaas (Sandeep Sawant, 2004)

Harishchandrachi Factory (Paresh Mokashi, 2009)

People Live (Anusha Rizvi, 2010)

Australia and New Zealand

Picnic at the Hanging Rock (Peter Weir, Australia, 1975)

The Getting of Wisdom (Bruce Beresford, Australia, 1977)

Newsfront (Phillip Noyce, Australia, 1978)

My Brilliant Career (Gillian Armstrong, Australia, 1979)

Mad Max (George Millar, Australia, 1979)

Crocodile Dundee (Peter Faiman, Australia, 1986)

An Angel at My Table (Jane Campion, New Zealand, 1990)

Heavenly Creatures (Peter Jackson, New Zealand, 1994)

Happy Feet (George Millar, Australia, 2006)

Australia (Bax Luhrmann, Australia, 2008)

3. DIRECTORS

Woody Allen

Sleeper (1973)

Love and Death (1976)

Manhattan (1979)

Broadway Danny Rose (1984)

The Purple Rose of Cairo (1985)

Hannah and Her Sisters (1986)

Crimes and Misdemeanors (1989)

Husbands and Wives (1992)

Match Point (2005)

Vicky Cristina Barcelona (2008)

Pedro Almodovar

What Have I Done to Deserve This (1984)

Law of Desire (1987)

Women on the Verge of a Nervous Breakdown (1988)

High Heels (1991)

All About My Mother (1999)

Bad Education (2004)

Volver (2006)

Robert Altman

M*A*S*H* (1970)

McCabe and Mrs. Miller (1971)

Nashville (1975)

The Player (1992)

Short Cuts (1993)

Gosford Park (2001)

A Prairie Home Companion (2006)

Theo Angelopoulos

The Traveling Players (1975)

Landscape in the Mist (1988)

The Weeping Meadow (2004)

Michelangelo Antonioni

L’Avventua (1960)

L’Eclisse (1962)

Il Deserto Rosso (1964)

Blow-Up (1966)

The Passenger (1975)

Ingmar Bergman

Summer Interlude (1951)

Smiles of a Summer Night (1955)

The Seventh Seal (1957)

Wild Strawberries (1957)

The Face (1958)

Cries and Whispers (1972)

Autumn Sonata (1978)

Fanny and Alexander (1982)

Bernardo Bertolucci

Before the Revolution (1964)

The Conformist (1970)

Last Tango in Paris (1972)

The Last Emporero (1987)

The Dreamers (2003)

Luc Besson

The Big Blue (1988)

Nikita (1990)

Leon (1995)

The Fifth Element (1997)

Robert Bresson

Ladies of the Park (1945)

A Man Escaped (1956)

Balthazar (1966)

L’Argent (1983)

Tod Browning

The Unholy Three (1925)

The Blackbird (1926)

The Unknown (1927)

West of Zanzibar (1928)

Dracula (1931)

Freaks (1932)

The Devil-Doll (1936)

Luis Bunuel

An Andalusian Dog (1929)

Age of Gold (1930)

The Young and the Damned (1950)

Nazarin (1958)

The Exterminating Angel (1962)

Diary of a Chambermaid (1964)

Belle de Jour (1967)

Tristana (1970)

The Discreet Charm of the Bourgeoisie (1972)

Frank Capra

Platinum Blonde (1931)

The Bitter Tea of General Yen (1933)

Lady for a Day (1933)

It Happened One Night (1934)

Mr. Deeds Goes to Town (1936)

You Can’t Take It with You (1938)

Mr. Smith Goes to Washington (1939)

It’s a Wonderful Life (1946)

Marcel Carne

Bizarre Bizarre (1937)

Port of Shadows (1938)

The Devil’s Envoys (1942)

John Cassavetes

Shadows (1959)

Faces (1968)

Minnie and Maskowitz (1971)

Gloria (1980)

Claude Chabrol

The Cousins (1959)

The Good Time Girls (1960)

The Unfaithful Wife (1969)

The Hatter’s Ghost (1982)

The Ceremony (1995)

Nightcap (2000)

Charlie Chaplin

The Kid (1921)

A Woman of Paris (1923)

The Gold Rush (1925)

The Circus (1928)

City Lights (1931)

Modern Times (1936)

The Great Dictator (1940)

Rene Clair

The Italian Straw Hat (1928)

Under the Roofs of Paris (1930)

The Million (1931)

Freedom for Us (1931)

The Last Billionaire (1934)

The Ghost Goes West (1935)

It Happened Tomorrow (1944)

Night Beauties (1952)

Summer Manoeuvres (1955)

Henri-Geoges Clouzot

The Raven (1943)

Quay of the Goldsmiths (1947)

The Wages of Fear (1953)

Diabolique (1955)

The Picasso Mystery (1956)

Jean Cocteau

The Blood of a Poet (1930)

Beauty and the Beast (1946)

Orpheus (1950)

The Testament of Orpheus (1960)

Joel and Ethan Coen

Blood Simple (1984)

Raising Arizona (1987)

Barton Fink (1991)

Fargo (1996)

The Big Lebowski (1998)

No Country for Old Men (2007)

A Serious Man (2009)

Francis Ford Coppola

The Conversation

The Outsiders

Tucker: The Man and His Dreams

George Cukor

Dinner at Eight (1933)

Little Women (1933)

Sylvia Scarlett (1935)

David Copperfield (1935)

Camille (1936)

Holiday (1938)

The Women (1939)

The Philadelphia Story (1940)

Adam’s Rib (1949)

A Star is Born (1954)

My Fair Lady (1964)

Michael Curtiz

Kid Galahad (19370

Casablanca (1942)

Cecil B. DeMille

The Cheat (1915)

The Ten Commandments (1923)

Cleopatra (1934)

The Plainsman (1936)

Union Pacific (1939)

Reap with Wild Wind (1942)

Unconquered (1947)

Samson and Delilah (1949)

The Greatest Show on Earth (1952)

Vittorio De Sica

Shoeshine (1946)

Bicycle Thieves (1948)

Miracle in Milan (1951)

Two Women (1960)

The Garden of the Finzi-Continis (1970)

Carl Dreyer

Master of the House (1925)

The Passion of Joan of Arc (1928)

The Vampire (1932)

The Word (1955)

Gertrud (1964)

Clint Eastwood

Play Misty for Me

The Outlaw Josey Wales (1976)

Bird (1988)

Mystic River (2003)

Million Dollar Baby (2004)

Flags of Our Fathers (2006)

Letters From Iwo Jima (2006)

Invictus (2009)

Sergei Eisenstein

Strike (1924)

October (1927)

The General Line (1928)

Rainer Werner Fassbinder

The Merchant of Four Seasons (1971)

The Bitter Tears of Petra von Kant (1972)

Fear Eats the Soul (19740

Effi Briest (1974)

Fox (1975)

Mother Kusters’ Trip to Heaven (1975)

In aYear of 13 Moons (1978)

Lola (1981)

Veronika Voss (1982)

Federico Fellini

I Vitelloni (1953)

La Strada (1954)

La Dolce Vita (1960)

8 1/2 (1963)

Juiletta of the Spirits (1945)

Roma (1972)

Fellini’s Casanova (1976)

Robert J. Flaherty

Nanook of the North (1922)

Moana (1926)

Man of Aran (1934)

Louisianna Story (1948)

John Ford

The Grapes of Wrath (1940)

Fort Apache (1948)

Milos Forman

The Firemen’s Ball (1967)

One Flew Over the Cuckoo’s Nest (1975)

Amadeus (1984)

Man on the Moon (1999)

Abel Gance

The Tenth Symphony (1918)

The Wheel (1923)

The Life and Loves of Beethoven (1936)

Jean-Luc Godard

Breathless (1960)

My Life to Live (1962)

Contempt (1963)

Band of Outsiders (1964)

Alphaville (1965)

Two or Three Things I Know About Her (1967)

New Wave (1990)

In Praise of Love (2001)

Our Music (2004)

D.W. Griffith

Intolerance (1916)

True Heart Susie (1919)

Broken Blossoms (1919)

Way Down East (1920)

Orphans of the Storm (1921)

Howard Hanks

Scarface (1932)

Twentieth Century (1934)

Bringing Up Baby (1938)

Only Angels Have Wings (1939)

To Have and Have Not (1944)

Red River (1948)

Rio Bravo (1959)

Werner Herzog

Signs of Life (1967)

Fata Morgana (1971)

Aguirre, Wrath of God (1972)

Enigma of Kasper Hauser (1974)

Fitzcarraldo (1982)

My Best Friend (1999)

Grizzly Man (2005)

Encounters at the End of the World (2007)

The Bad Lieutenant: Port of Call - New Orleans (2009)

Alfred Hitchcock

The 39 Steps (1935)

Shadow of a Doubt (1943)

Strangers on a Train (1951)

Rear Window (1954)

Vertigo (1958)

North by Northwest (1959)

The Birds (1963)

Marnie (1964)

John Huston

The Maltese Falcon (1941)

The Treasure of the Sierra Madre (1948)

Key Largo (1948)

The Asphalt Jungle (1950)

The African Queen (1951)

Beat the Devil (1953)

The Misfits (1961)

Reflections in a Golden Eye (1967)

Fat City (1972)

The Dead (1987)

Miklos Jancso

My Way Home (1965)

The Red and the White (1968)

The Confrontation (1969)

Agnus Dei (1971)

Red Psalm (1972)

Beloved Electra (1974)

Elia Kazan

A Streetcar Named Desire (1951)

On the Waterfront (1954)

East of Eden (1955)

A Face in the Crowd (1957)

Wild River (1960)

Splendor in the Grass (1961)

Abbas Kiarostami

Where is the Friend’s Home? (1987)

And Life Goes On… (1992)

Through the Olive Trees (1994)

The Wind Will Carry Us (1999)

Ten (2002)

Krzysztof Kieslowski

- Blind Chance (1981)

- A Short Film About Killing (1988)

- A Short Film About Love (1988)

- The Double Life of Veronique (1991)

Stanley Kubrick

Lolita (1962)

Dr. Strangelove (1964)

A Clockwork Orange (1971)

Akira Kurosawa

Rashomon (1950)

To Live (1952)

Throne of Blood (1957)

The Hidden Fortress (1958)

The Bodyguard (1961)

Sanjuro (1962)

Dersu Uzala (1975)

Kagemusha (1980)

Ran (1985)

Fritz Lang

Dr. Mabuse: The Gambler (1922)

Fury (1936)

Hangmen Also Die! (1943)

The Woman in the Window (1944)

Scarlet Street (1945)

Clash by Night (1952)

The Big Heat (1953)

Human Desire (1954)

David Lean

In Which We Serve (1942)

Great Expectations (1946)

Oliver Twist (1948)

Hobson’s Choice (1954)

The Bridge on the River Kwai (1957)

A Passage to India (1984)

Spike Lee

She’s Gotta Have It (1986)

Do the Right Thing (1989)

Jungle Fever (1991)

Malcolm X (1992)

Crooklyn (1994)

Clockers (1995)

Ernst Lubitsch

Trouble in Paradise (1932)

Design for Living (1933)

Desire (1936)

Angel (1937)

Ninotchka (1939)

The Shop Around the Corner (1940)

To Be or Not to Be (1942)

David Lynch

Eraserhead (1977)

The Elephant Man (1980)

Blue Velvet (1986)

Twin Peaks (1992)

The Straight Story (1999)

Mulholland Drive (2001)

Louis Malle

The Lovers (1958)

Murmur of the Heart (1971)

Lacombe Lucien (1974)

Pretty Baby (1978)

Atlantic City (1980)

Au Revoir Les Enfants (1987)

Joseph L. Mankiewicz

The Ghost and Mrs. Muir (1947)

A Letter to Three Wives (1949)

All About Eve (1950)

5 Fingers (1952)

Julius Caesar (1953)

The Barefoot Contessa (1954)

Guys and Dolls (1955)

Suddenly, Last Summer (1959)

Leo McCarey

Ruggles of Red Gap (1935)

Make Way for Tomorrow (1937)

The Awful Truth (1937)

Love Affair (1939)

Going My Way (1944)

The Bells of St. Mary’s (1945)

An Affair to Remember (1957)

Jean-Pierre Melville

The Strange Ones (1950)

Bob the Gambler (1956)

Doulos: The Finger Man (1962)

Magnet of Doom (1963)

Second Breath (1966)

The Samurai (1967)

Army of Shadows (1969)

Vincente Minnelli

The Pirate (1948)

An American in Paris (1951)

The Bad and the Beautiful (1953)

The Band Wagon (1953)

Lust for Life (1956)

Some Came Running (1959)

Kenji Mizoguchi

Osaka Elegy (1936)

Sister of the Gion (1936)

The Story of the Last Chrysanthemums (1939)

Utamaro and his Five Women (1946)

Ugetsu Monogatari (1953)

Sansho the Bailiff (1954)

Street of Shame (1956)

F.W. Murnau

Faust (1926)

Sunrise (1927)

Tabu (1931)

Manoel de Oliveira

Aniki Bobo (1942)

Doomed Love (1979)

Francisca (1981)

The Cannibals (1988)

The Convent (1995)

I’m Going Home (2001)

A Talking Picture (2003)

O Estranho Caso de Angelica (2010)

Max Ophuls

Leiberlei (1933)

Mayerling to Sarajevo (1940)

Letter from an Unknown Woman (1948)

La Ronde (1950)

House of Pleasure (1952)

Madame de… (1953)

Lola Montes (1955)

Nagisa Oshima

The Sun’s Burial (1960)

Death by Hanging (1968)

Diary of Shinjuku Thief (1969)

The Ceremony (1971)

In the Realm of the Sense (1976)

Empire of Passion (1978)

Taboo (1999)

Yasujiro Ozu

Record of a Tenement Gentleman (1947)

Late Spring (1949)

Early Summer (1951)

Tokyo Story (1953)

Early Spring (1956)

Good Morning (1959)

Late Autumn (1960)

The End of Summer (1961)

An Autumn Afternoon (1962)

Georg Wilhelm Pabst

The Love of Jeanne Ney (1927)

Diary of a Lost Girl (1929)

The Threepenny Opera (1931)

Comradeship (1931)

Sergei Parajanov

The Stone Flower (1962)

Shadows of Forgotten Ancestors (1964)

Ashik Kerib (1988)

Pier Paolo Pasolini

Accatone (1961)

Oedipus Rex (1967)

Theorem (1968)

The Decameron (1971)

The Canterbury Tales (1972)

The Arabian Nights (1974)

Salo, or the 120 Days of Sodom (1975)

Sam Peckinpah

Ride the High Country (1962)

Major Dundee (1965)

The Ballad of Cable Hogue (1970)

Pat Garrett and Billy the Kid (1973)

Bring Me the Head of Alfredo Garcia (1974)

Roman Polanski

Repulsion (1965)

Cul-de-Sac (1965)

Rosemary’s Baby (1968)

The Tenant (1976)

The Pianist (2002)

The Ghost Writer (2010)

Michael Powell and Emeric Pressburger

The Life and Death of Colonel Blimp (1943)

A Canterbury Tale (1944)

I Know Where I’m Going (1945)

A Matter of Life and Death (1946)

The Red Shoes (1948)

The Small Back Room (1948)

The Tales of Hoffman (1951)

Otto Preminger

Laura (1944)

Daisy Kenyon (1947)

The Man with the Golden Arm (1955)

Anatomy of a Murder (1959)

Exodus (1960)

Advise and Consent (1962)

Vsevolod Pudovkin

Mother (1926)

The End of St. Petersburg (1927)

Nicholas Ray

They Live By Night (1949)

In a Lonely Place (1950)

Johnny Guitar (1954)

Bigger Than Life (1956)

Wind Across the Everglades (1958)

Satyajit Ray

Pather Panchali (1955)

The Unvanquished (1956)

The Music Room (1959)

The World of Apu (1959)

The Big City (1964)

The Lonely Wife (1964)

Days and Nights in the Forest (1970)

Distant Thunder (1973)

The Middleman (1976)

The Chess Players (1977)

Jean Renoir

Boudu Saved from Drowning (1932)

The Crime of Monsieur Lange (1936)

Grand Illusion (1937)

The Human Beast (1938)

The Rulers of the Game (1939)

The Southerner (1945)

The Golden Coach (1952)

French Can-Can (1954)

Elena and Her Men (1956)

Alain Resnais

Last Year at Marienbad (1961)

Muriel (1963)

The War is Over (1966)

Stavisky (1974)

Providence (1977)

Same Old Song (1997)

Les Herbes Folles (2009)

Jacques Rivette

Paris Belongs to Us (1961)

The Nun (1966)

Mad Love (1969)

Celine and Julie Go Boating (1974)

La Belle Noiseuse (1991)

Jeanne la Pucelle I - Les Batailles (1994)

Va Savior (2001)

The Duchess of Langeais (2007)

Eric Rohmer

My Night at Maud’s (1969)

Claire’s Knee (1970)

The Aviator’s Wife (1981)

Pauline at the Beach (1983)

The Green Ray (1986)

A Tale of Springtime (1990)

A Tale of Winter (1992)

A Summer’s Tale (1996)

An Autumn Tale (1998)

Les Amours d’astres et de Celadon (2007)

Roberto Rossellini

Rome, Open City (1945)

Paisan (1946)

Germany Year Zero (1948)

Stromboli (1950)

The Greatest Love (1952)

Voyage to Italy (1953)

General della Rovere (1959)

The Rise of Louis XIV (1966)

Martin Scorsese

Mean Streets (1973)

Taxi Driver (1976)

New York, New York (1977)

Raging Bull (1980)

After Hours (1985)

The Colour of Money (1986)

The Last Temptation of Christ (1988)

The Age of Innocence (1993)

The Departed (2006)

Shutter Island (2010)

Ousmane Sembene

God of Thunder (1971)

The Camp of Thiaroye (1989)

Moolaade (2004)

Douglas Sirk

Has Anybody Seen My Gal? (1952)

Take Me to Town (1953)

All I Desire (1953)

Magnificent Obsession (1954)

All That Heaven Allows (1955)

Written on the Wind (1956)

The Tarnished Angels (1957)

Imitation of Life (1959)

Steven Spielberg

Jaws (1975)

Close Encounters of the Third Kind (1977)

Raiders of the Lost Ark (1981)

E.T.: The Extra-Terrestrial (1982)

Jurassic Park (1993)

Schindler’s List (1993)

Munich (2005)

Indiana Jones (2008)

Josef von Sternberg

Morocco (1930)

Dishonored (1931)

Shanghai Express (1932)

Blonde Venus (1932)

The Scarlet Express (1934)

The Devil is a Woman (1935)

The Saga of Anatahan (1953)

Erich von Sternheim

Blind Husbands (1919)

Foolish Wives (1922)

Greed (1924)

The Merry Widow (1925)

The Wedding March (1928)

Queen Kelly (1929)

Preston Sturges

The Lady Eve (1941)

Sullivan’s Travels (1941)

The Palm Beach Story (1942)

The Miracle of Morgan’s Creek (1944)

Hail the Conquering Hero (1944)

Andrei Tarkovsky

Ivan’s Childhood (1962)

Andrei Rublev (1966)

The Mirror (1975)

Stalker (1979)

The Sacrifice (1986)

Jacques Tati

Jour de fete (1949)

Mr. Hulot’s Holiday (1953)

Mon Oncle (1958)

Playtime (1967)

Lars von Trier

Epidemic (1987)

Europa (1991)

Breaking the Waves (1996)

The Idiots (1998)

Dancer in the Dark (2000)

Dogville (2003)

Antichrist (2009)

François Truffaut

The 400 Blows (1959)

Shoot the Piano Player (1960)

Fahrenheit 451 (1966)

The Bride Wore Black (1968)

The Wild Child (1970)

Bed & Board (1970)

Day for Night (1973)

The Green Room (1978)

Agnes Varda

Cleo from 5 to 7 (1962)

Happiness (1965)

One Sings, the Other Doesn’t (1977)

Vagabond (1985)

Jacquot da Nantes (1991)

The Gleaners & I (2000)

Les plagues d’Agnes (2008)

King Vidor

The Big Parade (1925)

The Crowd (1928)

Hallelujah! (1929)

The Champ (1931)

Our Daily Bread (1934)

Duel in the Sun (1946)

The Fountainhead (1949)

War and Peace (1956)

Jean Vigo

A Propos de Nice (1930)

Zero for Conduct (1933)

Luchino Visconti

Ossessione (1942)

La Terra Trema (1948)

Rocco and his Brothers (1960)

Death in Venice (1971)

Andrzej Wajda

A Generation (1954)

Canal (1957)

Ashes and Diamonds (1958)

Innocent Sorcerers (1960)

Siberian Lady Macbeth (1961)

Landscape After Battle (1970)

Man of Iron (1981)

Danton (1983)

Katyn (2007)

Tatarak (2009)

Orson Welles

Citizen Kane (1941)

The Magnificent Ambesons (1942)

The Lady from Shanghai (1947)

Macbeth (1948)

Othello (1952)

Confidential Report (1955)

Chimes at Midnight (1965)

William Wellman

Wings (1927)

Wild Boys of the Road (1933)

The Call of the Wind (1935)

Nothing Sacred (1937)

Beau Geste (1939)

Roxie Hart (1942)

The Ox-Bow Incident (1943)

The Story of G.I. Joe (1945)

The High and the Mighty (1954)

Wim Wenders

Alice in the Cities (1973)

The American Friend (1977)

Paris, Texas (1984)

Wings of Desire (1987)

Buena Vista Social Club (1999)

Don’t Come Knocking (2005)

James Whale

Frankenstein (1931)

The Old Dark Horse (1932)

The Invisible Man (1933)

Show Boat (1936)

Billy Wilder

The Major and the Minor

The Lost Weekend (1945)

Sunset Boulevard (1950)

Ace in the Hole (1951)

Stalag 17 (1953)

Some Like It Hot (1959)

The Apartment (1960)

One, Two, Three (1961)

Wong Kar Wai

Ashes of Time (1994)

Chungking Express (1994)

Fallen Angels (1995)

Happy Together (1997)

In the Mood for Love (2000)

2046 (2004)

My Blueberry Nights (2007)

William Wyler

The Little Foxes (1941)

Mrs. Miniver (1942)

The Best Years of Our Lives (1946)

Roman Holiday (1953)

Friendly Persuasion (1956)

The Big Country (1958)

Funny Girl (1968)

4. TOP 100 MOVIES

The Cabinet of Dr. Caligari (Robert Wiene, 1920)

All Quiet on the Western Front (Lewis Milestone, 1930)

King Kong (Merian C. Cooper and Ernest B. Schoedsack, 1933)

A Star is Born (William A. Wellman, 1937)

Olympia (Lena Reifenstahl, 1938)

The Rules of the Game (Jean Renoir, 1939)

Gone with the Wind (Victor Fleming, 1939)

Passport to Pimlico (Henry Cornelius, 1949)

Panther Panchali (Satyajit Ray, 1955)

The Night of the Hunter (Charles Laughton, 1955)

Saturday Night and Sunday Morning (Karel Reisz, 1960)

Lawrence of Arabia (David Lean, 1962)

The Sound of Music (Robert Wise, 1965)

The Battle of Algiers (Gillo Pontecorvo, 1966)

The Chelsea Girls (Andy Warhol and Paul Morrissey, 1966)

Easy Rider (Dennis Hopper, 1969)

The Deer Hunter (Michael Cimino, 1978)

Blade Runner (Ridley Scott, 1982)

Heimat (Edgar Reitz, 1984/1992/2004)

Shoah (Claude Lanzmann, 1985)

A Room with a View (James Ivory, 1985)

Reservoir Dogs (Quentin Tarantino, 1992)

Traffic (Steven Soderbergh, 2000)

Eternal Sunshine of the Spotless Mind (Michel Gondry, 2004)

[spockvarietyhour]

What did you think of Terminator: Dark Fate?

Like the post T2 movies, it’s uneven. I think overall though, it gets closer to the source material than any of the other ones. 

The Sarah Connor stuff works pretty well and I’m damn glad to see Linda Hamilton again, Emilia Clarke just wasn’t....wasn’t it. The T-X Rev-9 has some fun humour associated with it, but the damn half empty Endo skull inside of it is still weird. The trailers telegraphed who we’d meet in the cabin but it’s still the right call to let Schwarzenegger sit out the first half of the movie.

I’m gonna also dovetail for a second that the uncanny valley in the prologue was pretty damn good, each movie is inching closer and closer to uncanny Arnold. The back muscles looked a bit weird tho, or the arms I’m not sure. I still don’t think they got the proportions for that right (or whatever ripped actor they got to mocap him).

Oh and that leaker a few months ago that gave us the prologue was spot on, I don’t remember if he had the rest but he had that.  

back to more thoughts

I think, compared to the other post T2 movies, there isn’t a single bad casting note (I never really dug Nick Stahl as Connor in T3, or John Connor in Genisys (to say nothing of Matt Smith) and I’m not settled on Helena Bonham Carter avatar). I really liked Grace, and Dani if it took a while for the reveal of her role to finally land. 

The cinematography itself is also good, better than Genisys or T3. I like the idea of a completely new iteration of Skynet, Legion, even if it does sound ripped from a comic a different comic book (see also Time Travel Superhero Landings). It might have tried too much with the action set pieces.

This is probably where this series of movies should end, really.

I’ll probably watch it again when it gets out digitally and that’s as good a praise as i can give it. The uneven parts make it hard to really place it. Better than Genisys, absolutely. I’ll say that I liked it better than Season 1 of Sarah Connor Chronicles too.  My impression as it stands right now is better than T3 but not quite as good as salvation as a movie, but in the spirit of the original two it gets it right. 

[cinematological]

The inevitability of destiny: Terminator Dark Fate (Spoilers for the Terminator Franchise)

Trapped between a massive generation of dying boomers who become progressively more afraid of change and a massive generation of millennials who have accepted that life will be only the most brutal and rapid change, my generation was perfectly primed to fall in love with Terminator movies. Too young to see the original Terminator (written and directed by James Cameron) in theatres in 1984, it was the perfect VHS fodder for me and my teenage friends. With its dramatic (and misleading) VHS cover announcing Arnold Schwarzenegger’s titular Terminator as the T-800 (actually a T101 model 800, neatly retconned by Cameron in T2), it represented the most neon and gun porn pastiche of the era. Gritty, methodical and relentless, The Terminator as a film is tense, romantic and cathartic. Cameron’s vision as director matches the mission of the killer cyborg (Schwarzenegger), and the film moves forward building to a literal and metaphorical climax.

With humanity having beaten the machines back in the future, Skynet, a self-aware AI and metaphor for the fear of cold war inspired nuclear fire, sends back a T-101 to kill the mother of the man (John Conner) who leads the human resistance. Sarah Conner (Linda Hamilton) is the beating heart and soul of The Terminator, a young waitress flung into a threat she has never conceived or is prepared for. Sent from the future to save her, Kyle Reese (Michael Biehn) is a human soldier who has essentially time-stalked Sarah, having been prompted to pine for her by his son John Conner, who never tells Reese that he destined to fall in love with and impregnate Sarah Conner during his mission. Reese’s body is scarred and worn, and Biehn’s intensity makes him the shitty but pretty boyfriend who is a great lay but also might get drunk and beat the shit out of you.

The Terminator is a crucible in which Sarah Conner, the leader and mother of the resistance is formed, and ends on a delightfully bleak note, as she drives pregnant into the Mexican mountains, to prepare for the nuclear war to come, Judgement Day.

Imagine leaving your teens as a young cis man, formed by Schwarzenegger action films and Cameron’s next films, Aliens and The Abyss. The late ’80s and early ’90s saw the end of the cold war, the rise of climate consciousness and a false sense of hope. Genre films had yet to slump as they would in the mid-1990s. Schwarzenegger had begun to make comedies as well as action films, Linda Hamilton had spent years romancing Ron Perlman as the Beauty to his Beast, and Michael Biehn was carefully destroying his career by falling into drug addiction. Imagine going to the movies, because it would be at least a year before a film would come to home video, and seeing a teaser for Terminator 2 or T2: Judgement Day, a film you had no idea was being made. I don’t remember what movie it was in front of but I remember I saw it at the Paramount Theatre in the defunct Famous Players chain. I remember gasping when I realized what movie it was, and I remember the audience cheering.

T2 was the first movie that I felt the marketing had betrayed the intent. Seen in a vacuum such as when I showed T1& T2 back to back to my step-son, the return of the T-101 is a tense Mexican stand-off of suspense.

Released in 1991 but set in 1994 or 95, Sarah Conner is now essentially a terminator in human form. Having carved her body and her mind into sharp angles of muscles and determination, and honed by the hopelessness that the end of the world is inevitable, Sarah has raised her son to be a military leader. This myopic world view has also dulled her empathy and emotional connection with her son, while he craves her affection. Incarcerated in a psychiatric institution indefinitely, Sarah uses her wits to try and escape while being tormented by her dreams and the staff. John Conner (Edward Furlong) is a young teen, bouncing between foster parents. He is skilled and clever but extremely unhappy. Two terminators are sent back simultaneously, a new T-101 sent by the resistance to protect and obey John, and a prototype, the T-1000 (Robert Patrick).

Seemingly unfettered by budget, T2 was the most expensive film ever made when released. Unlike the 4 million dollars spent on T1, T2 has an enormous scope and helped usher in the era of digital EFX, paving the way for Jurassic Park. Perhaps paradoxically, T2 is as relentless and methodical as T1, despite the exponential increase in resources. Like Sarah’s physical transformation, it is optimized for maximum impact with the least amount of excess.

Following parallel stories of John and Sarah as they work their way to each other, the T-1000 is an even more terrifying and perhaps undefeatable foe than the T-101. A mimetic polymorph, the T-1000 is an amorphous blob of metal than can form into roughly human-sized shapes, mimic people, and form large stabby weapons on its arm. Patrick’s performance is wryer than Schwarzenegger’s machine, but once again Hamilton is the emotional core of the film. She narrates the film, and it is her dogged determination to change the future despite the endless pursuit of an overwhelming foe that drives the plot.

While T1 accepts that the future is inevitable, T2 writhes and pushes at the chains of fate, becoming more deterministic. Having reconciled with John and taught the T-101 to begin to understand the value of humanity, T2 leaves the future open and uncertain, other than that Judgement Day has been thwarted.

Terminator Dark Fate makes two assumptions of the audience: that it has seen T2 and that the three sequels since T2 no longer exist. I have an enormous soft spot for Terminator 3 directed by Jonathan Mostow. Released in 2003 it was the last of an era of large scale physical action movies that relied less on CG than on practical effects. While CG is deployed and has not aged well, locations, sets and models are the predominant methods of staging action sequences. It is also the bleakest of the franchise, where an adult John Conner(Nick Stahl) mourns the loss of his mother, only to learn from a returning T-101 that Judgement Day was not stopped, merely delayed. Kate Brewster (Claire Danes) is initially kidnapped by the T-101 as they are pursued by a female terminator, known as the TX (Kristanna Loken). Unlike the T1000, she has a metal skeleton covered by liquid metal. T3 ends with the self-sacrifice of the T-101, the destruction of the TX and inevitability of fate, as nuclear war envelops the globe.

Terminator: Salvation promised the movie we had all hoped for, the future war writ large. It completely fails at its goal, following a Terminator that thinks it’s a person (Sam Worthington) and a stalwart yet not a leader John Conner (Christian Bale) as they battle the early Hunter Killer machines and Terminator models. Expensive, grim and empty, Salvation falls into the excesses of director McG but has no sense of character, plot or momentum. A digital T-101 returns in the climax and is deeply unsatisfying.

Terminator Genisys (directed by Alan Taylor) is a 2015 mashup remix, using Back to the Future 2 as a model for revisiting the events of T1 and T2 while building on a new story. Again the T-101 is sent back to save Sarah(Emilia Clarke) and Kyle(Jai Courtney) from a different T-1000, and to build a time travel device, allowing the pair to move forward from the early ’90s to the 2010s. John Conner (Jason Clarke) travels back in time to confront his mother in a parallel story from the future, only to reveal that he has become a Terminator. All three of these sequels end with clear sequel bait, for films that will never come. The inevitability of these films is to kick at the same can, fruitlessly.

Dark Fate announces its allegiance and intentions in the opening seconds of the titles, interspersed with a scene from T2 where Sarah, broken by the weight of the death of the world, futilely struggles against her captor’s disbelief that the end is nigh. A startling prologue set in 1998 heavily aided by CG de-ageing sets the emotional stakes for the film, which unfortunately does not include the ostensible stars of the film.

Two beings then fall from the sky, a startling Mackenzie Davis as Grace, whose physical transformation mirroring that of Linda Hamilton’s in T2. She is sinew and muscle, stretched out over an Amazonian frame. Her expressive eyes plead from a face cut from stone, and she is exposed as an augmented human. Once more a Terminator, this time a Rev-9 played by Gabriel Luna, returns to stock the new saviour of the future, Dani Ramos (Natalia Reyes). The Rev-9 is a black steel skeleton covered by a separate liquid metal form that can function autonomously and is indestructible.  A grizzled Sarah Conner returns to help Grace save Dani from the Rev 9 and ends up recruiting a T-101 that is stranded in 2019.

SPOILERS FOR DARK FATE

As a pastiche of all the previous films, Dark Fate is the most entertaining and exciting Terminator sequels since T2. It is essentially The Force Awakens in that it is a rehash of T1’s plot, with different pieces moving around the chessboard. It hand-waves at the significance of making it's lead’s Hispanic, and even passes through a detention center in Texas, but has nothing to say about it.  It follows the template of guns, large trucks, car chases and helicopters set by T1 & T2, but ends the film eschewing the physicality of locations and vehicles and devolves into digital nonsense. The first two-thirds of the film is fun, and surprisingly emotional, as Schwarzenegger’s T-101 has spent the last 21 years, having completed its mission, learning to be human. It has helped build a home, raised a step-son, and become a hell of a drapery salesman. Schwarzenegger’s “Carl” brings enormous pathos to the role, as an artificial being seeking purpose surrounding by humans beleaguered by it.

The hands of up to a dozen writers are apparent in the finished film, as plot threads and hints of characterization are touched on and forgotten. Grace seems designed to explore the concept of a human that has become more of a machine in contrast to Carl, who is a machine learning to be human, but the idea is never explored. She exists simply to protect Grace because, despite Sarah’s protestations that the future can be changed, the one aspect that seems immutable is that humanity will face self-created mechanical extinction, and leaders will rise to unite us. Sarah did change the future, eliminating Skynet, only to have it be replaced by Legion, a machine learning AI designed to combat cyber-warfare that quickly sets about eliminating the species. Unlike Skynet’s pre-internet incarnation as a military designed weapons platform and autonomous vehicle operator, Legion has no basis in the physical world, yet creates identical terminators and hunter-killer robots. It seems that the future will doggedly hand on terminators no matter what creates them.

Director Tim Miller aspires to pay homage to James Cameron’s vision and mostly succeeds. In an early car chase, I found myself wishing he had more closely aped Cameron’s direction in using wide angles of vehicular mayhem and letting the stunt work deliver the thrills. Miller relies on longer lenses, shaky medium shots and faster cutting to build tension and while never annoying or incompetent it becomes an albatross in the film’s last third. James Cameron's action films never eschew physics unless it is motivated by something extraordinary, where Miller relies far too much on spongy digital doubles and ridiculous action. In quieter moments, emotional beats seem missed, though a late sequence where Sarah shares with Dani the extent of her pain and loss is a beautiful measure of restraint and performance.

[goatcheeseenthusiast]

[jcs77]

Terminator

I chosen my universe for Terminator. Movies 1,2 and 4 are my favorites. All the others can fuck off. I want John. Not Dani. I been invested in him since before he was born and for over 36 years. He can´t be replaced and Legion can´t replace the Terminators either.

I want Kyle Reese played my Michael and Anton, not Jai. I really like him in other movies I seen him but he doesn´t fit to be Kyle. Also, stop killing John!

I hated the cheap feeling of T3 and Nick Stahl didn´t fit as John Connor at all. Although Bale seems like a shithead, He is a good actor, I still prefer him as John and I would have loved sequels to that movie to explore John and Kyles relationship.

Terminator 1984 remains my favorite movie of all time. I want to chop Camerons head off for wanting John dead but whatever. I chose the francise going in Salvations direction, where John and Kyle still exists.

[adamkatzsinding]

Dani Stahl | Milan http://ift.tt/2xuIxb8

[dailyconradricamora]

LIGHT OF THE MOON will premiere at SXSW 2017 Film Festival in the Narrative Feature Competition.

Big Vision Empty Wallet: We’re proud to announce that The Light of The Moon is premiering in competition at SXSW 2017! Congrats to Writer/Director Jessica Thompson, Producers Carlo Velayo and Michael Cuomo and the cast including Stephanie Beatriz, Michael Stahl-David and Conrad Ricamora! Our founders Alex Cirillo and Dani Faith Leonard are thrilled to be Co-EPs on this film, and incredibly excited to have another success through our #KickstartDiversity Program! You can find out more about the film at https://www.thelightofthemoonfilm.com/ 

[petragruenendahl]

Mit der Geradlinigkeit geometrischer Formen gen Himmel gestreckt Von Petra Grünendahl

An der Volksbank Rhein-Ruhr am Innenhafen enthüllten Bankvorstand Thomas Diederichs (r.) und Oberbürgermeister Sören Link (m.) zusammen mit dem Künstler Thomas Schönauer (l.) vor geladenen Gästen die Skulptur. Foto: Petra Grünendahl.

„Der Werkstoff gehört zu unserer Stadt. Überhaupt: die geraden Strukturen und die amorphe Anmutung passen gut zu uns und unserer Region“, erklärte Thomas Diederichs, Vorstandssprecher der Volksbank Rhein-Ruhr eG, bei der Enthüllung. Die Skulptur besteht aus Edelstahl-Linsen mit Durchmessern zwischen 1,50 und 2,30 Metern. Die Oberflächen sind glasgestrahlt, die raue Struktur absorbiert Sonnenstrahlen. „Wenn man eingeladen wird, einen Ort zu gestalten, reicht es nicht, sich den Ort anzusehen“, erklärte der Düsseldorfer Bildhauer Thomas Schönauer (*1953), der international tätig ist und dessen Werke man nicht nur in Duisburg und der Region, sondern weltweit – teils auch im öffentlichen Raum – findet. „Stimmung und Schwingungen des Ortes zu erfassen, ist fast noch wichtiger“, so der Künstler. Er habe auch schon einmal eine Arbeit abgelehnt, weil ihn der Ort nicht inspiriert habe. Rund, geschlossen und nach oben gestreckt setzt die Skulptur aus einer hochwertige Stahl-Legierung Signale an diesem aufstrebendem Ort, der über Duisburg hinaus als Musterbeispiel positiver Entwicklung gilt.

An der Volksbank Rhein-Ruhr am Innenhafen enthüllten Bankvorstand Thomas Diederichs (m.) und Oberbürgermeister Sören Link (l.) zusammen mit dem Künstler Thomas Schönauer (r.) vor geladenen Gästen die Skulptur. Foto: Petra Grünendahl.

Vor der Zentrale der Volksbank Rhein-Ruhr enthüllten Vorstandssprecher Thomas Diederichs, Oberbürgermeister Sören Link und der Bildhauer Thomas Schönauer den „Cultivator“. Die Skulptur des Künstlers steht in Duisburgs Tradition von Kunst im öffentlichen Raum. „Sie geht über die Brunnenmeile auf der Königstraße und den Kantpark weit hinaus“, betonte Oberbürgermeister Sören Link. Am Innenhafen steht das Kunstwerk auf jeden Fall öffentlichkeitswirksam – und in bester Gesellschaft: Auf der anderen Seite des Hafenbeckens steht vor der Spaeter-Verwaltung die aus Cortenstahl gefertigte Bogen-Skulptur von Bernar Venet*: Auf der anderen Straßenseite zieht sich der Garten der Erinnerungen von Dani Karavan am Hafenbecken entlang nach Westen. Und am Ende des Hafenbeckens im Osten steht das MKM Museum Küppersmühle für Moderne Kunst mit der Sammlung des Darmstädter Ehepaars Ströher.

Die Volksbank Rhein-Ruhr eG

An der Volksbank Rhein-Ruhr am Innenhafen enthüllten Bankvorstand Thomas Diederichs (m.) und Oberbürgermeister Sören Link (l.) zusammen mit dem Künstler Thomas Schönauer (r.) vor geladenen Gästen die Skulptur. Foto: Petra Grünendahl.

Die regionale Genossenschaftsbank sehe die Errichtung des neuen Kunstwerkes als klares Bekenntnis zum Standort Duisburg und der Region, so Bankvorstand Diederichs. Nach dem Kauf der ehemaligen Alltours-Verwaltung 2014**, Umbau und Modernisierung waren die Banker 2016 in den Duisburger Innenhafen gezogen. „Wir hatten versucht, den Brunnen an dieser Stelle wieder in Betrieb zu nehmen“, erzählte Diederichs. Dies sei nicht gelungen, so dass man sich in Vorstand und Aufsichtsrat anderweitig Gedanken gemacht hatte. „Als sich herauskristallisierte, dass wir hier ein Kunstwerk installieren wollten, vermittelte Dr. Martin Fasselt den Kontakt zum Künstler“, so Diederichs. Er bedauerte, dass der Ende letzten Jahres verstorbene Wirtschaftsprüfer, Rechtsanwalt und Steuerberater, der auch im Aufsichtsrat der Bank tätig war, diesen Tag nicht mehr erleben durfte.

An der Volksbank Rhein-Ruhr am Innenhafen enthüllten Bankvorstand Thomas Diederichs und Oberbürgermeister Sören Link zusammen mit dem Künstler Thomas Schönauer vor geladenen Gästen die Skulptur. Foto: Petra Grünendahl.

Das Bekenntnis zum Standort betonte der Bankenchef ebenso wie das Unternehmensleitbild als Grundpfeiler des Handelns, weswegen sich die Bank in der Region vielfältig sozial engagiere. Allein mit Hilfe des Online-Spendenportals, dem Förderprogramm Rhein-Ruhr, vergibt die Genossenschaftsbank jährlich 92.000 Euro für kulturelle und soziale Projekte in der Region. Insgesamt sind es Spenden und Sponsorings in Höhe von rund 500.000 Euro, die auch mit Hilfe der Volksbank Rhein-Ruhr Stiftung zielgerichtet in die Region gespendet werden. Ein Engagement, welches auch Oberbürgermeister Link in seiner Rede hervorhob. „Wir sind begeistert, hier zu sein“, betonte der Bankvorstand mit Augenmerk auf die Location. Gleich der Skulptur fest im Duisburger Boden verankert.

*) Von Bernar Venet stammt auch die große Fünf-Bögen-Skultpur gegenüber vom Theater Duisburg auf dem König-Heinrich-Platz.

**) Alltours hatte das Gebäude mit der markanten Backstein-Ziegelarchitektur für seinen Umzug nach Duisburg 2001 vom renommierte Hamburger Architekturbüro gmp von Gerkan Marg und Partner entwerfen lassen.

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Impressionen. Fotos: Petra Grünendahl

© 2019 Petra Grünendahl (Text und Fotos)

Volksbank Rhein-Ruhr enthüllte mit Thomas Schönauers “Cultivator” neues Kunstwerk im Duisburger Innenhafen Mit der Geradlinigkeit geometrischer Formen gen Himmel gestreckt Von Petra Grünendahl „Der Werkstoff gehört zu unserer Stadt.