In addition to a renowned director, Martin Scorsese is also a researcher passionate about world history. Something that captured the founding the non-profit initiative The Film Foundation, which includes films of his authorship, and also a careful selection of North American films that support cinema as a form of art and technique, internationally renowned works and educational documentaries. In the director’s words, the association seeks to reflect on the filmic as “A personal journey of enormous importance.”

Carried away by his deep interest in the cinematic universe, a few months ago Scorsese shared with his favorite movies. Those that he considers necessary revision for any movie buff. We leave you the ones that, in the opinion of the director, should not be missing in any list of Film appreciation worth its salt.

2001: A Space Odyssey, by Stanley Kubrick (1968)

It is considered a work of rupture within the work of Kubrick. Or at least a renewed proposal of what until then had been his cinematographic work and in fact, marked a before and an after as far as the visual language of the director is concerned: there is no doubt that through the film, found creative refinement of goals and metaphors which brought enormous maturity to his subsequent proposal.

“It takes extraordinary boldness and power to say, ‘Let’s stop everything and take the audience back to prehistoric times,'” Scorsese said of the film’s premiere. “Kubrick was saying, ‘I want you to see something. I’ll take you to through something you never thought you would experience ‘”, an idea without a doubt formidable.

8½, by Federico Fellini (1963)

The film Eight and a Half has been called conclusive, an elemental confession of Fellini’s proposal about his way of interpreting cinema. It has also been called a stylistic exercise, heritage of the absurd. An experiment that nobody knows how to say very well if it was unsuccessful or successful. But the truth is that the film – with all its symbolic charge – is much more than that. It is a synthesis of the director’s vision.

“8½ has always been a touchstone for me,” Scorsese explained of Federico Fellini’s autobiographical odyssey. Also, he insisted on the undoubted quality of rupture of a film destined to resize the cinematographic as a language. In addition, in the same interview he praised “freedom, the sense of invention, the underlying rigor and the deep core of longing, the bewitching and physical pull of the camera in its movements and the compositions ”.

Ashes and Diamonds, by Andrzej Wajda (1958)

Scorsese compares the film by the Polish director with a vision about good and evil that is almost beyond control and in his words “a nightmare that will not stop.”

The plot, which follows a Polish soldier under the wing of the anti-communist rebellion in the years immediately following World War II, plays on narrative tension to create a horrid perspective on morality, the intellectual suffering and emotional anguish turned into disillusionment. All under a magnificent staging that today is still amazing. “The film has the power of a hallucination,” said Scorsese. “I can close my eyes and certain images will see me again with the strength they had when I first saw them more than fifty years ago.” The director praised Wajda as “a model for all filmmakers.”

The changeling by Peter Medak (1980)

For the New York director, this extraordinary reinvention of the haunted house genre is also a deep, allegorical and painful look at mourning. “A brilliant haunted house movie filled with sadness and fear,” Scorsese wrote of the film.

The plot, which tells the story of a composer who moves into a mysterious Seattle house who apparently it is inhabited by the restless spirit of a murdered child, it is also a journey through the trauma of death, uncertainty and mourning as an emotion impossible to define clearly. Halfway between psychological horror and something much more bitter, the film was Scorsese’s immediate influence on his celebrated 2010 film, Shutter Island.

The Chess Players, by Satyajit Ray (1977)

There is an almost unbearable tension in each of the scenes in this curious film by one of Scorsese’s favorite Indian directors. With an impeccable script and a staging that plays with the dreamlike and the surreal, the film is a search unceasing about the origins of reality and the way we conceive of identity, all under the weight of a historical moment of considerable importance: India’s first uprisings against the British Empire.

“Very few directors have been brave enough to try to portray the story in such a sincere way. Watching the movie, the entire movie seems big and tragic at the same time, ”explained the director.

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