Ruben Östlund

“I actually like this one a lot, Catherine Breillat, but I don't like this title that much, Fat Girl. I actually like À ma sœur!, that is the French title, and I think that she had an approach to sexual content that was totally new for me when I watched short films.”

“I saw over here it was Love Streams and this one I will take for my producer Erik Hemmendorff. He said, ', you have to take Love Streams.' I haven't seen it but I love a lot of John Cassavetes films and the approach of his filmmaking and of course Gena Rowlands, the way she acts is just fantastic. So this will definitely be one for the bag.”

“I also saw Bicycle Thieves by Vittorio De Sica and this film was a film that Roy Andersson was talking a lot about when I was in film school. It was nice to see that you have the right title on the film here. For many years it was called Bicycle Thief and I think Bicycle Thieves is a much better title for the film. So that's the film that I definitely will take.”

“I can find a lot of Rainer Werner Fassbinder movies that I really like. I really like The Bitter Tears of Petra von Kant. I think I will pick that one.”

“Viridiana of Buñuel and The Discreet Charm of the Bourgeoisie of Buñuel, which I think would be the perfect title for my new feature film Force Majeure. It should have actually had a name of The Discreet Charm of the Bourgeoisie.”

“I can talk about Ingmar Bergman actually. I think that what he did when it comes to the Swedish film community was that everybody talks about him like the demon director, someone that is so in control and knows everything about the films that he is making. And maybe when you went to film school as a film student you were a little bit afraid of exposing that you sometimes are not 100% sure what you are doing.”