The movies don’t always end when the lights come on, there are movies that take you home, get into bed with you, and stay with you when you wake up. His stories, characters or, depending on the filmmaker, the visual tricks to soak up his narrative can become an obsession that accompanies us for who knows how long.
“It is better not to know much about what things mean or how they can be interpreted or you will be too afraid to let things continue to happen,” explains the always cryptic David lynch, an artist who has managed to make his acolytes belong to his own dream universe as much as his work. “Psychology destroys the mystery, this kind of magical quality. It can be reduced to certain neuroses or certain things, and since it now has a name and is defined, it has lost its mystery and the potential of a vast and infinite experience.
But sometimes it is not the mysteries that force us to stay an extra time within a story. “A movie should be like a stone in the shoe,” says the eternally incorrect Lars von Trier, capable of mixing ideas that will haunt us after viewing with images that will remain in our minds as if they had been the product of a chemical burn. “My films are about ideals that collide with the world. Every time the protagonist is a man, they forget the ideals. And every time a woman is the protagonist, they take their ideals to the end ”.
“I think cinema is a frontier, without a doubt. And the films that interest me the most are the ones that have that in mind, ”he says. Jonathan Glazer, which was a decade preparing ‘Under the skin‘so that it would never leave our minds. “I am stubborn. You have to have a strong will to do anything, to stand firm in what you are trying to do. It’s so much easier when something inspires you. Ten years? It was very easy to spend so much time on the film … I wanted to keep going until we did something that in itself was a kind of experience that matches the perspective of the character. “
To celebrate this dedication we remember a dozen titles that, once seen, you will not be able to get out of your head.
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1 Eraserhead (David Lynch, 1977)
Much of Lynch’s filmography could be here, but if we select his first work it is because, before the dream arrived, experimentation reigned in his world. This makes ‘Eraser Head’ the only absolutely surreal director’s film, with impossible babies, radiator songs and antigravitational hairstyles that will never leave our heads.
2 The Lords of Salem (Rob Zombie, 2012)
The director’s most loved and hated film begins by promising an eighties story of curses to gradually turn into a dreamlike madness of the seventies. As the music rises, the viewer who decides to enter their game will be trapped inside the cursed vinyl forever.
3 After the glass (Agustí Villaronga, 1987)
Villaronga managed to sow controversy in 87 with a film that, if it were released tomorrow, would be just as applauded and criticized. Torture, abuse and corporal imprisonment in a gritty title that knows what it plays from the beginning and uses it with mastery.
4 The club (Pablo Larraín, 2015)
Academics were so moved by ‘Spotlight’ that they forgot their dark, Chilean sister. Larraín takes us to a terrible religious retreat that has little of the spiritual and much to hide what was swept under the carpet. The exit of each showing of the film was a silent procession of long faces who knew that what they had seen was not going to be easily forgotten.
5 Antichrist (Lars von Trier, 2009)
There is also a lot of von Trier cinema that could add to this collection, but focusing on the pessimistic triptych formed by ‘Antichrist’, ‘Melancholy’ and ‘Nymphomaniac’, we highlight the first as wild, uncomfortable and challenging. It may be the least round, but the Dane knew how to prepare us for a turn of form and background full of moments, ideas and dark secrets that accompany the viewer long after leaving the room.
6 The Machinist (Brad Anderson, 2004)
What Christian Bale did with his body during filming, Brad Anderson does with our mind. Lack of sleep causes the protagonist to fall into darkness. As we count the wounds in front of the mirror we ask ourselves, how did we get here? One nap for the next one, if we go back to sleep …
7 Person (Ingmar Bergman, 1966)
The psychological thriller that set the norms for the genre should be on this list. Fifty years after its release, it continues to fascinate new moviegoers as it did in the sixties. Life, death, religion, art, disease, nothing, Bibi Andersson and Liv Ullmann. The Swede plays with everything necessary for ‘Persona’ to leave its mark, being one of his essential films.
8 Outburst (Iván Zulueta, 1979)
Personal relationships, drugs and experimental cinema mixed in a spiral that, like all good spirals, plummets. The character of Eusebio Poncela deceives the viewer by acting as a guide and, halfway, leaving him lying down. Blessed be the damn Zulueta.
9 Black swan (Darren Aronofsky, 2010)
In ‘Requiem for a Dream’, Aronofsky already demonstrated what he could achieve with drugs, vices and contests. Then a renowned director, many thought that the dark hook of the New Yorker had been blurred between more visual proposals and Oscar dramas. Somehow, he knew how to combine all these elements in the dark, beautiful and tragic ‘Black Swan’, the nightmare in real action that the protagonist of ‘Whiplash’ would have. Try to enjoy the dance now.
10 Under the Skin (Jonathan Glazer, 2013)
The endless layers of this title guarantee a dubious first viewing, followed by an intense repose. Understanding something on the fly was like seeing the film in Spain: apparently impossible after seven years without a premiere since its production, but plausible since Avalon distributed it in the 2020 complex.
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