“Cinema changed and changed radically from 1960 onwards. With the advent of the new waves, the legacy of the classics intersected with experimental daring, generating a creative energy whose repercussions extend to the present day. This is a journey through the memories of the years when cinematic modernism was born.”
This is the starting point Hold all moviesA new program on Antena 1. In ten episodes, the journalist and the critic Joao Lopez It sums up a dazzling period of cinema, summarizing the past, present and future. “Indeed, between 1960 and 1969 there was an avalanche of films that could help us understand the ‘whole’ of cinema history – understanding the influence of the classics, discovering signs of modernity,” the author tells Antena 1.
Are we right to suspect that this contract was important in the life of Joao Lopez? “As a visitor to the cinema, I can say that I am part of the French New Wave family,” asserts the journalist, citing some of the films he discovered “in a few weeks”: TrappedBy Jean-Luc Godard My night in Maudby Eric Romer 2001: A Space OdysseyWritten by Stanley Kubrick wild gangby Sam Peckinpah. Or a little later, in 1972/73, a personalityby Ingmar Bergman I love blondeOr Milos Forman or Antonio das Mortesby Glauber Rocha.
Not only the French New Wave, but also the movements it inspired in Brazil, the United Kingdom or even Portugal. My generation had the tremendous privilege of discovering cinema through a wonderful revolution of contrasts. If that gives us anything, it was not any kind of ‘why’ – it was, rather, a resistance to biased labels: no film is more or less interesting because of its geographical origin or its cultural roots or its financial environment,” he continued.
In the first episode, we go to 1960, the year that includes the aforementioned Godard film, but also an example of how Hollywood was also in tune with the avant-garde: the “true narrative revolution.” mental patientby Alfred Hitchcock.
One final caveat: “It goes without saying that in 45 Minutes of Radio there is no encyclopedic illusion of memory suggested. It is simply a matter of citing and contextualising a small gallery of emblematic titles for each year, and relating those references to the music, songs, and sometimes dialogues from certain films—I think It can be particularly suggestive to ‘listen’ to films without the images involved…”
