Matías Piñeiro

“Oh I have La ciénaga. This is a great Argentine film that you of course know very well and that I think that I'm taking home.”

“Another Renoir, let's have a criteria here. A Day in the Country. This that they have on, it's I don't know if it's crazy to say that it's as good as the film, but you have all the shots, all the takes that they've done with the clap. You see how they wait till the clouds leave the sun and so they start with the shot and it's all edited as the film is.”

“Here there's one that I have to take too that is To Be or Not to Be. I remember there was a student of mine in Buenos Aires, a big fan of Lubitsch. I remember the experience of watching To Be or Not to Be and I thought that the movie was just like beginning and it ended and it was amazing how the flow... I do films around Shakespeare... I call this sort of genre the Shakespeare-ates. To Be or Not to Be, it's not an adaptation, it's a masterpiece.”

“I think that I have to pick this because it's hard not to. It's hard to avoid The Golden Coach and French Cancan and Elena and Her Men, and I especially like The Golden Coach. If you've seen it and you've been through that ending, it's pretty chilling. And I'm guessing that this is not going to be the only Renoir I will be putting here.”

“Yes, the Rossellini Bergman are going home too. I could cry here just by remembering 'I love you' from Journey to Italy.”

“I have to take the Rohmer Six Moral Tales. Something about how he talks about words, how he has written about words and people talking, and how he's not afraid of doing films with people talking so much and he's showing that words are photogenic in a way.”

“Here, Vigo. Yeah, I'm even putting only the L'Atalante music in order to cheer my day up, so I think that this will make my day.”