backtrack; Raiders of the lost ark (1981)


The glorious return of exotic boyscout adventures – bigger and better than ever!

Not one to ponder deeply, but what a nostalgic ride! In my good old book of wholesome juvenile fun.

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backtrack; Jules et Jim (1961)


This is a decidedly unrealistic depiction of long-lasting friendship and love. The main allure is not the story in itself, however, but how freshly and inventively it is told.

All in all, a marvelous experience. In my book about the pitfalls of idolatry.

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backtrack; Breakfast at Tiffany’s (1961)


As almost everyone in the world already knows, the enchanting, funny, and fragile Audrey Hepburn outshines everything in this movie. It’s strange to learn that Truman Capote saw Marilyn Monroe as the female lead when his novella was transformed into one of the most iconic romcoms ever.

In my book of slightly airheaded and thoroughly unbelievable entertainment – that also manages to be both playful, witty, and elegant. Would have loved to see a less Hollywoodish Capote/Monroe version for comparison, though.

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backtrack; Novecento (1976)


An ambitious attempt at combining the personal with the political. Despite stellar cast and beautiful production, the result is unfortunately heavy-handed and clumsy.

Too much of everything, but still in my book of engaging history lessons.

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backtrack: Lola rennt (1998)


Pretty much everything I want from entertainment – energy, emotion, food for thought – all inventively packaged and served.

Three chances – and then? In my book of cause and effect.

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backtrack; One-eyed jacks (1961)


Brando’s only venture as a director is a strange gem, mainly concernend with betrayal and revenge. Partly foreboding a new and more morally ambivalent kind of western, partly stuck in clichés.

Probably in my book of good and bad.

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backtrack; La jetée (1961)


A short experimental masterpiece on memory, loss, and obsession. Squeezes surprising amounts of emotion and drama out of its rudimental circumstances.

Highly influential and a personal favourite. In my book of intelligent, lyrical, and sad science fiction.

PS. Bonus material in a more absurd and Pythonesque vein, director Chris Markers’ collaboration with Walerian Borowczyk:

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