Para comenzar este blog (o realmente reabrir con otro nombre mi antiguo espacio «de la nube a la resistencia», ésta vez sin colaboradores fijos, aprovechando el momento para agradecerles su colaboración desinteresada), dejo mis lista de películas favoritas vistas el pasado año (sin orden de preferencia). Por supuesto, las listas o comentarios de éstos o de otras personas serán bienvenidos en la sección correspondiente:
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Películas excelentes vistas (por primera vez, o reevaluadas) en 2015:
Dazed and Confused (Richard Linklater, 1993), Dial M for Murder (Alfred Hitchcock, 1954), Sicilia! (Danièle Huillet, Jean-Marie Straub, 1999), City Lights (Charles Chaplin, 1931), The Shop Around the Corner (Ernst Lubitsch, 1940), Vivre sa vie: Film en douze tableaux (Jean-Luc Godard, 1962), Breakfast at Tiffany’s (Blake Edwards, 1961), Sonatine (Takeshi Kitano, 1993), The Kid (Charles Chaplin, 1921), Amor de Perdição: Memórias de uma Família (Manoel de Oliveira, 1979), Right Now, Wrong Then/Ji-geum-eun-mat-go-geu-ddae-neun-teul-li-da (Hong Sang-soo, 2015), Forty Guns (Samuel Fuller, 1957), Shock Corridor (Samuel Fuller, 1963), The Set-Up (Robert Wise, 1949), News from Home (Chantal Akerman, 1977), The Lady From Shanghai (Orson Welles, 1947), Donovan’s Reef (John Ford, 1963), Trauma (Dario Argento, 1993), Cézanne (Danièle Huillet, Jean-Marie Straub, 1989), John Carpenter’s Christine (John Carpenter, 1983), 2 ou 3 choses que je sais d’elle (Jean-Luc Godard, 1967), Qianxi manpo/Millennium Mambo (Hou Hsiao-Hsien, 2001), Family Plot (Alfred Hitchcock, 1976), Kikujiro no natsu (Takeshi Kitano, 1999), Vampyr – Der Traum des Allan Grey (Carl Theodor Dreyer, 1932), Gran Torino (Clint Eastwood, 2008), I’d Climb the Highest Mountain (Henry King, 1951), The Happening (M. Night Shyamalan, 2008), Les yeux sans visage (Georges Franju, 1960), Nattvardsgästerna/The Communicants (Ingmar Bergman, 1963), Absence of the Good (John Flynn, 1999), Best Seller (John Flynn, 1987), Calabuch (Luis García Berlanga, 1956), Patrimonio nacional (Luis García Berlanga, 1981), Jayuui eondeok/Hill of Freedom (Hong Sang-soo, 2014), El desencanto (Jaime Chávarri, 1976), Mogambo (John Ford, 1953), Bronenosets Potyomkin/Battleship Potemkin (Sergei M. Eisenstein, 1925), Orgullo (Manuel Mur Oti, 1955), Condenados (Manuel Mur Oti, 1953), Gun Crazy/Deadly Is the Female (Joseph H. Lewis, 1950)
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Películas muy buenas vistas (por primera vez, o reevaluadas) en 2015:
Höstsonaten (Ingmar Bergman, 1978), The Party (Blake Edwards, 1968), The Pink Panther (Blake Edwards, 1963), Tender Mercies (Bruce Beresford, 1982), Flesh and Bone (Steve Kloves, 1993), Blackhat (Michael Mann, 2015), Collateral (Michael Mann, 2004), Rope (Alfred Hitchcock, 1948), The Man Who Knew Too Much (Alfred Hitchcock, 1956), Une visite au Louvre (Danièle Huillet, Jean-Marie Straub, 2003), Independencia (Raya Martin, 2009), Midnight in the Garden of Good and Evil (Clint Eastwood, 1997), La caja 507 (Enrique Urbizu, 2002), Harold & Kumar Go To White Castle (Danny Leiner, 2004), Opera (Dario Argento, 1987), Peeping Tom (Michael Powell, 1960), El crack dos (José Luis Garci, 1983), John Wick (David Leitch, Chad Stahelski, 2014), Unbreakable (M. Night Shyamalan, 2000), Inside Out (Pete Docter, Ronnie Del Carmen, 2015), The Fly (David Cronenberg, 1986), You’re the One/Una historia de entonces (José Luis Garci, 2000), Weekend/Le week-end (Jean-Luc Godard, 1967), Hana-bi (Takeshi Kitano, 1997), A.I. Artificial Intelligence (Steven Spielberg, 2001), Funny Face (Stanley Donen, 1957), Jour de fête (Jacques Tati, 1949), Oh! Soo-jung/Virgin Stripped Bare by her Bachelors (Hong Sang-soo, 2000), Là-bas (Chantal Akerman, 2006), La chambre/The Room (Chantal Akerman, 1972), Steak (Quentin Dupieux, 2007), Reservoir Dogs (Quentin Tarantino, 1992), Pulp Fiction (Quentin Tarantino, 1994), Domingo de carnaval (Edgar Neville, 1945), The Visit (M. Night Shyamalan, 2015), Rak ti Khon Kaen/Cemetery of Splendour (Apichatpong Weerasethakul, 2015), Body Snatchers (Abel Ferrara, 1993), King Kong (Merian C. Cooper, Ernest B. Schoedsack, 1933), Manhattan Murder Mystery (Woody Allen, 1993), Croupier (Mike Hodges, 1998), Underworld U.S.A (Samuel Fuller, 1961), Click (Frank Coraci, 2006), The Geisha Boy (Frank Tashlin, 1958), Point Blank (John Boorman, 1967), Rails & Ties (Alison Eastwood, 2007), The Grass is Greener (Stanley Donen, 1960), Love Letters (Amy Holden Jones, 1983), La noche de los girasoles (Jorge Sánchez-Cabezudo, 2006), The Thing from Another World (Christian Nyby, Howard Hawks, 1951), Trading Places (John Landis, 1983), La Terza Madre/Mother of Tears: The Third Mother (Dario Argento, 2007), Wild Horses (Robert Duvall, 2015), Hamlet (Michael Almereyda, 2000), No tengas miedo (Montxo Armendáriz, 2011), Profondo rosso/Deep Red (Dario Argento, 1975), Susana. Demonio y carne (Luis Buñuel, 1950), Caníbal (Manuel Martín Cuenca, 2013), Lock Up (John Flynn, 1989), Rolling Thunder (John Flynn, 1977), Mad Dog and Glory (John McNaughton, 1993), Ferris Bueller’s Day Off (John Hughes, 1986), Blind Date (Blake Edwards, 1987), What’s Up Doc? (Peter Bogdanovich, 1972)