Grandes maestros del cine

Jane Campion

1954- director | screenwriter | producer

Born in Wellington, New Zealand, and now lives in Sydney, New South Wales, Australia. Having graduated with a BA in Anthropology from Victoria University of Wellington in 1975, and a BA, with a painting major, at Sydney College of the Arts in 1979, she began filmmaking in the early 1980s, attending the Australian Film Television and Radio School (AFTRS). Her first short film, Peel (1982) won the Palme D'Or at the Cannes Film Festival in 1986. Her other short films include A Girl's Own Story (1984), Passionless Moments (1985), After Hours (1985) and the tele-feature 2 Friends (1986), all of which won Australian and international awards. She co-wrote and directed her first feature film, Sweetie (1989), which won the Georges Sadoul prize in 1989 for Best Foreign Film, as well as the LA Film Critics' New Generation Award in 1990, the American Independant Spirit Award for Best Foreign Feature, and the Australian Critics' Award for Best Film, Best Director and Best Actress. She followed this with An Angel at My Table (1990), a dramatization based on the autobiographies of Janet Frame which won some seven prizes, including the Silver Lion at the Venice Film Festival in 1990. It was also awarded prizes at the Toronto and Berlin Film Festivals, again winning the American Independent Spirit Award, and was voted the most popular film at the 1990 Sydney Film Festival. The Piano (1993) won the Palme D'Or at Cannes, making her the first woman ever to win the prestigious award. She also captured an Academy Award for Best Original Screenplay at the 1993 Oscars, while also being nominated for Best Director and made history at the 94th Academy Awards when she won Best Director for The Power of the Dog (2021), making her the oldest female director to win, the first woman to win Academy Awards for both directing and screenwriting in her different films, and the first woman not to win Best Picture after winning Best Director.

Stanley Kubrik

(1928–1999) director | producer | screenwriter | photographer

Kubrick was raised in the Bronx, New York City, and attended William Howard Taft High School from 1941 to 1945. He received average grades, but displayed a keen interest in literature, photography, and film from a young age, and taught himself all aspects of film production and directing after graduating from high school. After working as a photographer for Look magazine in the late 1940s and early 1950s, he began making short films on shoestring budgets, and made his first major Hollywood film, The Killing, for United Artists in 1956. This was followed by two collaborations with Kirk Douglas: the war picture Paths of Glory(1957) and the historical epic Spartacus (1960).

“A demanding perfectionist, Kubrick assumed control over most aspects of the filmmaking process, from direction and writing to editing, and took painstaking care with researching his films and staging scenes, working in close coordination with his actors, crew, and other collaborators. He often asked for several dozen retakes of the same shot in a movie, which resulted in many conflicts with his casts. Despite the resulting notoriety among actors, many of Kubrick's films broke new ground in cinematography. The scientific realism and innovative special effects of the science fiction epic 2001: A Space Odyssey (1968) were without precedent in the history of cinema, and the film earned him his only personal Oscar, for Best Visual Effects. Steven Spielberg has referred to the film as his generation's "big bang"; it is regarded as one of the greatest films ever made.

While many of Kubrick's films were controversial and initially received mixed reviews upon release—particularly the brutal A Clockwork Orange (1971), which Kubrick pulled from circulation in the UK following a mass media frenzy—most were nominated for Oscars, Golden Globes, or BAFTA Awards, and underwent critical reevaluations. For the 18th-century period film Barry Lyndon (1975), Kubrick obtained lenses developed by Zeiss for NASA, to film scenes under natural candlelight. With the horror film The Shining (1980), he became one of the first directors to make use of a Steadicam for stabilized and fluid tracking shots, a technology vital to his Vietnam War film Full Metal Jacket (1987). His last film, Eyes Wide Shut, was completed shortly before his death in 1999 at the age of 70.”

Jean-Pierre Melville

(1917–1973) Writer | Director | Actor

The name "Melville" is not immediately associated with film. It conjures up images of white whales and crackbrained captains, of naysaying notaries and soup-spilling sailors. It is the countersign to a realm of men and their deeds, both heroic and villainous. It is the American novel, with its Ishmaels and its Claggarts a challenge to the European canon. It is Herman Melville. And yet, for over three decades, it was also worn by one of the French cinema's brightest lights, Jean-Pierre Melville, whose art was as revolutionary as that of the eponymous author. Read more...

François Truffaut

(1932 - 1984) director | screenwriter | producer | actor | film critic

"Director François Truffaut, writing as a critic in the influential French journal Cahiers du Cinéma (Cinema Notebook), developed the concept of the auteur in his 1954 essay “Une certaine tendance du cinéma français” (“A certain trend in French cinema”).

Truffaut wrote about the films of several new French filmmakers who he termed auteurs. He drew contrasts between auteurs and directors of mainstream studio movies—who he dismissed as merely metteur en scene, or “stagers” of a script written by another artist. Truffault argued that the filmmakers who made the best films were those who wrote and directed their own films and who had a unique, personal vision. Truffault called that approach La politique des auteurs (“The policy of the authors”). Truffaut’s ideas on film were embraced by an era of French filmmakers who were part of what he called La Nouvelle Vague (what English speakers call the French New Wave)."

Krzysztof Kieślowski

(1941 - 1996) director | screenwriter

(“American movies are based on the assumption that life presents you with problems and European films based on the conviction that life confronts you with dilemmas, and while problems are something you solve, dilemmas cannot be solved, they are merely probed or investigated”)

Marek Haltof (Polish National Cinema) quoting Paul Schrader

“Krzysztof Kieślowski; 27 June 1941 – 13 March 1996) was an influential Polish art-house film director and screenwriter known internationally for The Decalogue, The Double Life of Véronique, and The Three Colors Trilogy. Kieślowski received numerous awards during his career, including the Cannes Film Festival Jury Prize, FIPRESCI Prize, and Prize of the Ecumenical Jury; the Venice Film Festival FIPRESCI Prize, Golden Lion, and OCIC Award; and the Berlin International Film Festival Silver Bear. In 1995 he received Academy Award.”

“After he completed "Red" (1994), the final film in his "Three Colors" trilogy, Krzysztof Kieslowski announced that he would retire. This was not a man weary of work. It was the retirement of a magician, a Prospero who was now content to lay aside his art--"to read and smoke." When he died two years later, he was only 56.

Because he made most of his early work in Poland during the Cold War, and because his masterpiece "The Decalogue" consists of 10 one-hour films that do not fit easily on the multiplex conveyor belt, he has still not received the kind of recognition given those he deserves to be named with, like Bergman, Ozu, Fellini, Keaton and Bunuel. He is one of the filmmakers I would turn to for consolation if I learned I was dying, or to laugh with on finding I would live after all.” - Roger Ebert

Dekalog trailer

The Double Life of Veronique trailer

Three Colors trailer

Abbas Kiarostami

(1940 - 2016) director | screenwriter | poet | photographer | film producer

(Persian: June 1940 – 4 July 2016) was an Iranian film director, screenwriter, poet, photographer, and film producer. An active film-maker from 1970, Kiarostami had been involved in the production of over forty films, including shorts and documentaries. Kiarostami attained critical acclaim for directing the Koker trilogy (1987–1994), Close-Up (1990), The Wind Will Carry Us (1999), and Taste of Cherry (1997), which was awarded the Palme d'Or at the Cannes Film Festival that year. In later works, Certified Copy (2010) and Like Someone in Love (2012), he filmed for the first time outside Iran: in Italy and Japan, respectively. His films Where Is the Friend’s Home?, Close-Up, and The Wind Will Carry Us were ranked among the 100 best foreign films in a 2018 critics' poll by BBC Culture.[5] Close-Up was also ranked one of the 50 greatest movies of all time in the famous decennial Sight & Sound poll conducted in 2012.

Like Someone in Love trailer

One of the most visionary figures in international cinema, Iranian director Abbas Kiarostami made films that both challenged viewers' expectations of modern filmmaking and expounded a deeply humanist philosophy. Using a deceptive simplicity to explore very complex issues, Kiarostami stressed the importance of material over technique. Taking his inspiration and story ideas from the people around him and the observations of everyday life, and stressing a natural, improvisational approach from his actors, he has said, "I think that technique for technique's sake is a big lie, as it doesn't answer real feelings and real needs”

Agnès Varda

(1928-2019) film director | screenwriter | photographer | artist

"For me, Agnès Varda was the greatest of that great and long-lived generation of the French New Wave. She was a master of personal cinema and essay cinema, drama, satire, documentary and romance, and her work had a distinctive richness and wisdom. Her debut feature, La Pointe Courte (1954), is a study in contemporary relationships with a poetic poise that surpasses Hiroshima Mon Amour (whose director, Alain Resnais, worked on Pointe Courte as editor). Her early masterpiece Cléo from 5 to 7 (1961) is news that stays news: a thrillingly urgent, intensely sexy and melancholy despatch from the epicentre of the 60s Parisian zeitgeist, which is far more interesting and conceptually supple than Jean-Luc Godard’s Breathless.

Jacquot de Nantes (1991) is a stunningly moving and complex homage to her husband, Jacques Demy, mixing dramatised reconstructions of his memories with clips of his movies and heartwrenchingly intimate documentary footage of him at the end of his life. There are clear elements of François Truffaut, Louis Malle and Godard in this remarkable film, but it is ultimately in a class of its own, fusing cinephilia and emotional gentleness in a moving and original act of love.”

Peter Bradshaw

Akira Kurosawa

(1910 - 1998) film director | screenwriter

Regarded as one of the most important and influential filmmakers in the history of cinema, his films constantly rank among the greatest movies ever made. He received an Honorary Award from the Academy in 1990 for "cinematic accomplishments that have inspired, delighted, enriched and entertained worldwide audiences and influenced filmmakers throughout the world".

Dreams is a 1990 magical realist film of eight vignettes. Written and directed by Akira Kurosawa, the film was screened out of competition at the 1990 Cannes Film Festival, and has consistently received positive reviews. It was his first film in 45 years in which he was the sole author of the screenplay.

Dreams addresses themes such as childhood, spirituality, art, death, and mistakes and transgressions made by humans against nature. It ends on the vignette, “The Village of the Water Mills.” I arrive in an idyllic village and speaks to a 103-year-old man (Ozu regular Chishu Ryu), who tells him they have abandoned the conveniences of the modern world—that they use no electricity, and burn wood only from trees that have fallen on their own. “Scientists . . . may be smart . . . but so many of them are completely deaf to the beating of nature’s heart,” the old man laments. “They work so hard inventing things that make people unhappy.”