Regarding the influential films in my life

By Rodolfo C. Rivas

Films are always there, in the periphery of most people. But for me, films are much, much more important than that. Films allow us to live a million lives. Films bring us joy, sadness, and horror, teach us lessons, bring back memories, and create new memories. To paraphrase Manny Torres in Damien Chazelle’s misunderstood masterpiece “Babylon” (2022), in his passionate speech about films, “It’s something even more important than life. You can feel it!”. When I am watching a film, there are no other places I’d rather be. Someone once told me I sound like Manny when I talk about films, and she did not refer to our similar thick Mexican accents while speaking English. If that is how people remember me, that makes me a happy man.

Thinking about films is not just a passing interest but a constant preoccupation, shaping my life and how I see the world. For the sake of having a record of it, to revisit in the future and see if there are any changes, I’ve decided to share some of my thoughts on what I consider the most influential films in my life. These films, while not all universally acclaimed, these films have left an indelible mark on my worldview, for better or worse. By sharing these personal connections, I hope you can find a piece of yourself in these films and, to a lesser extent, peek into what makes me tick.

I shared these thoughts on a special podcast episode with my colleague and friend, Marijke Smit. This written piece is a companion to that episode, where I expanded on some ideas I could not share then. That episode is available here.

The idea for this particular podcast episode was inspired by Marijke’s sharing of her most influential films. Her episode was one of my favorites, and seeing how much fun it was for her, I decided to do one myself and bring Marijke back to host it, a role she graciously accepted. In preparing for this episode, I delved deep into my memories of these films, putting pen to paper to capture my thoughts. I hope you find my reflections on these ten films, if not interesting, at least amusing. As I grow older, I keep going back to many of these films, and I am constantly surprised to find that these mean a lot more to me than I would have thought.

As I read Quentin Tarantino’s “Cinema Speculation”, which is part film criticism treatise and part autobiography, I realized I am approaching this in a similar way. Although I am not delusional about thinking I will achieve the same as Tarantino, I am nevertheless inspired by his approach as a vehicle for thinking about cinema. I hope I ramble on sparingly enough.

Please be aware there will be some spoilers ahead!

1. Magnolia (1999) — P. T. Anderson

This film was released on 17 March 2000 in Mexico, but I watched it for my 20th birthday celebration, and just because of that, it was a great birthday. I was not expecting this film to be this great. I remember being aware that it had some influence from Robert Altman and Martin Scorsese, but it was filtered through a unique writer-director’s lens. At that point, I had not watched “Hard Eight” (1996) (or “Sydney” as P.T. Anderson originally wanted to call it) or “Boogie Nights” (1997), which had made a big splash the previous year.

Before walking into the theatre, I didn’t know the film would be good. As soon I saw the first frame hit the screen, it was clear to me I was watching an extraordinary film.

I remember having a very narrow perspective of romantic love at the time, which was heavily coloured by unrequited love. The film has a couple of characters stranded in this narrow view dealing with various forms of unrequited love, which I guess is a popular genre unto itself. Nevertheless, this film is about much more than that.

The prologue draws you into the story without relenting until the end, precisely when frogs start raining from the sky. But you will continue thinking about this movie long after the last frame disappears.

The movie could be described as an extended music video accompanying Aimee Mann’s songs. Anderson has said that her music inspired him to make the film. I love her music and religiously listened to it back then. I remember seeing her perform at a bluegrass festival in the Bay Area. I was still captivated by the hauntingly beautiful music I had first listened to several years earlier. Although her music dominates the soundtrack, there are a couple of gems by other artists, notably Supertramp with “Goodbye Stranger”, which also appears in the trailer for Ari Aster’s last film. But more on Ari Aster later.

It is a hard-hitting drama, perhaps more akin to a melodrama, and yet mid-film, it has a unique musical number that, at first, may seem out of place, but fret not — it is perfectly in tune with the story and where the film is going.

The film has brilliant performances by Julianne Moore, Phillip Seymour Hoffman, and Tom Cruise, who received an Oscar nomination and also won a Golden Globe.

It is a tour de force, and after watching it, I became a lifelong devotee of P.T. Anderson.

I loved the film so much that I wanted to watch it again to carefully dissect it as if I were studying the scrolls of a sacred text. I got my chance with my first salary working as a trainee lawyer in a labor law firm when I bought the import edition DVD of the film. As a bonus feature, it contained an insightful documentary on the making of the film with lots of behind-the-scenes footage. To this day, it is one of the best purchases I’ve made in my life.

Subconsciously, I see life in many ways, big and small, influenced by this film. It is not so much about romantic relationships but human relationships in general. The film shows how relationships can be messy and require commitment, forgiveness, and understanding. It also showed me how everything is interconnected, even if we don’t realize it, and how all our actions, even those we may think insignificant, have consequences. This has ultimately guided my interactions with others and my approach to life, making me more aware of the ripple effects of my actions and the importance of commitment, forgiveness, and understanding in relationships.

The film’s use of needle drops, sweeping camera movements, and long takes has influenced my taste and approach to filmmaking, even in the production of my regular home videos. However, it is worth noting that P.T. Anderson evolved from this type of camerawork in his later films.

For a long time, I considered this his masterpiece, and maybe it is, but he is one of the few filmmakers raising the bar with every new film. Nevertheless, he is one of my favorite filmmakers, and I look forward to watching everything with his fingerprints on it. Although I recognize the mastery in all his films, I am less fond of a couple. I am particularly thinking of “The Master” (2012) and “Inherent Vice” (2014), which are part of his middle period. I don’t revist them as often, but I should.

Overall, it defined how I look at films, storytelling, and life for the longest time — a melange of drama and comedy spanning generations and connecting seemingly unconnected threads and people. Daily, I keep looking for connections that are not evident across everything. Often, something may have a more significant meaning than you initially give it credence. Similarly, a small act may impact someone beyond what you may imagine, for example, in the scene where Julianne Moore’s character is at the pharmacy. The pharmacist doesn’t have a personal vendetta against her; he merely does his job. However, his comments during everything she is going through appear to her as a personal attack, and she breaks down.

The story is so rich that you will need several viewings to take everything in. And just like in real life, characters can break into songs at any moment! I am sure it has happened to you. I break into songs from time to time, just like the characters. A film shouldn’t have to be a musical for that to happen. I remember one day with my wife at the grocery store, and while we were waiting to pay, I started to sing, oblivious to everything. Right next to my wife, a lady seemed to be shocked and asked my wife if I was okay. My wife laughed and said, “Yes, that is how he is, and he is alright”.

2. Forrest Gump (1994)

Everyone talked about “Forrest Gump” in high school, and I didn’t get it. I didn’t know what they were talking about. I needed help understanding the title. It is common for films to be titled after the character’s name, but in this instance, I didn’t even understand that it was the character’s name.

I was captivated when I finally sat down to watch “Forrest Gump”. The storytelling was masterful, the characters were compelling, and the historical context added a depth I hadn’t anticipated and perhaps didn’t even fully understand back then. It was the cinematic experience I needed in my life, and it ignited a lifelong passion for films that has only grown stronger over the years. I watched it a bit later than everyone, but I can trace my love for films to this one. Although I had watched movies before that one and enjoyed many of them, this one made something click in my brain.

“Forrest Gump” was epic, transcending historical context with the character’s interactions with actual historical figures during crucial moments. It felt bigger than life, somehow more real , yet not inaccessible. It was a historical narrative that anyone, even a teenager, could appreciate.

Understanding many historical events depicted in the film would undoubtedly add significance and unlock a fuller appreciation of the messages and ideas. However, understanding is not a prerequisite for enjoying the movie, which a teenager could still do.

“Forrest Gump” was not just a film, it was a journey of the heart. Tom Hanks’ commanding performance, at a time when he was considered the most prominent film star, added a layer of emotional depth that resonated with me and many others.

It embodied Americana, the American dream, patriotism, national identity, and a bit of nostalgia. A big part of that was because of the soundtrack, a double album filled to the brim with classic songs. I particularly remember Buffalo Springfield’s “For What It’s Worth”, scoring the scenes in Vietnam with the rain. It made no difference that South Carolina was used to stand in for Vietnam; everything looked real to me.

“Respect”, “California Dreamin’”, “Raindrops keep falling on my head”, “Blowin’ in the Wind”, interpreted by Joan Baez, “Hound Dog”, etc. All of these were great songs that I discovered through this film. When I could, I bought the soundtrack and listened to it nonstop.

When I found out there was a theme restaurant, I knew I had to visit. Many years later, I went to the Bubba Gump restaurant with my friends in San Francisco, and it was like visiting Disneyland.

Other than sparking my love for film and American culture (which was already a big part of my DNA because of the American School), the movie was a very optimistic story about how everything is possible, notwithstanding the circumstances. However, you may need luck.

I wrote about this film in my application to two of Mexico’s most prestigious film schools. Alas, I didn’t get in! Sometimes, I wonder if writing about this film had something to do with it, or perhaps it was just that it was not meant to be. Mexican film culture has always had a contentious relationship with American films. Filmmakers like Alfonso Cuarón and Emmanuel “El Chivo” (“The Goat”) Lubezki got in trouble in film school for making films in English instead of Spanish. This has been the traditional approach, which may have softened since but somehow still permeates the industry and culture. The change we have witnessed is how Hollywood has embraced Mexican talent, which, although there is historical precedence with Emilio “El Indio” Fernández and Dolores del Río, it seems to have shifted to a higher gear in the last few years after Mexican directors have won almost five Best Director Oscars in a row! But that is neither here nor there to “Forrest Gump”.

In terms of its influence, I am only sometimes optimistic; most of the time, I am certainly not. But I strive to be hopeful, and like Forrest, I try to see the best in everyone.

It is a great film that I cannot wait to share with my daughters.

3. Great Expectations (1998)

Alfonso Cuarón and Emmanuel “El Chivo” (“The Goat”) Lubezki were two great filmmaking artists who began their very successful careers when they made this film.

Like a masterpiece on this list and many films of the 1990s, the film is a visual delight with a captivating soundtrack. The various renditions of “Besame Mucho” and Chris Cornell’s ethereal “Sunshower” still echo in my mind.

The photography is luscious and gorgeous. Everything is green.

It showcases excellent performances by Ethan Hawke, Gwyneth Paltrow (before her Oscar), Robert DeNiro, and Anne Bancroft, who plays Miss Havisham (although her character is named differently in the film).

The film follows many of the story beats of Charles Dickens’s novel. I read the book for the first time in school and remember not liking it then. I only truly appreciated it much later, not because of this film, although that may have had something to do with it, but because I must have understood it better with time and some experience.

The story has been intriguingly updated to a modern-day setting , with the beaches of Florida and New York City standing in for the original London.

Like many, I often find myself identifying with characters in films and literature. That can be the hero, villain, or the Cat in “Breakfast at Tiffany’s” (1961). However, the character I have identified with the most, both in my youth and even today, is Pip (in the movie, his name is Finn).

One of the reasons I identify with Pip/Finn is his humble origins, which I share. He is also not the smartest; he is quiet, he observes, he is a romantic, and he works hard. In the movie, he has artistic talent and the ability to paint. At one point in the story, he catches the eye of a mysterious benefactor who helps him for the rest of his life. I share many of these traits and circumstances, so seeing a little of me in Pip/Finn is inevitable.

It is a story about classism rooted in the era it was written and about upward social mobility, which ultimately is the American dream. Pip works hard and succeeds materially and financially, yet the tragedy is that he doesn’t get the girl. Their encounters are ultimately bittersweet, which has informed significant parts of my worldview. This happens repeatedly across all the different points in time when they meet, but Estella is always lightyears ahead of him, and Pip, at heart, remains the little boy he was at the beginning. He never had a chance, as she was raised to break his heart. Nevertheless, despite the heartbreak, Pip had a life worth living.

There are many standout scenes, like the scene of the kiss by the fountain or when Finn was drawing her with such devotion.

Although I know a few who like it, it is a very underrated film. This is not the definitive version of the story, as there have been many adaptations, with some sticking closer to the novel, but this is the best (in my humble opinion). I think it takes the spirit of the book and does an excellent job of updating it to a modern setting while emphasizing some of the themes that resonate more with me from the book, sprinkling it with beautiful photography and convincing performances while infusing it with the right amount of pop culture. Together, it is more than the sum of its parts.

Another influential aspect of the film in my life is that this was Cuarón’s second film in Hollywood. That was the beginning of an era where all these Mexican filmmakers, from Guillermo Del Toro to Luis Mandoki, were working in the US and making exciting and very different films. As a Mexican film lover and hopeful film director, I found this kind of representation inspiring and eye-opening. Little did I know it was only the beginning of a seismic shift, a period marked by increased diversity and international collaboration in the film industry, which has since continued to shape and enrich the cinematic landscape.

4. Before Sunrise (1995)

I saw this film on cable; I think it was on Cinema Golden Choice channel, a staple of my teenage years. The first time I watched it, I didn’t even watch it from the beginning. I miss those days when you could stumble into a movie, not knowing what you were getting into. I watched it again recently on a long flight; it is as good as I remembered. I still try to replicate that feeling of stumbling into a good film by avoiding trailers or entertainment news. Still, the experience of just turning on the TV without knowing what was playing is a remnant of a lost era. Sometimes, it can still happen with radio if you are into that.

I started watching just after they started talking on the train, so I didn’t miss much. Still, I didn’t know how they met or how it all started, but by watching it how I did, I unknowingly enhanced the element of fate, which was the story’s point. These two characters were meant to meet.

I am not the only one, but after watching this movie, I had this idea that I would meet someone just by chance, and we would start a great conversation that would go on all day and into the night, just like in the movie. I am still determining how that would even happen since it is not something I particularly do, but the point is that there was this hope of it happening. That is what movies can do to you. Some movies are about the perils of taking these things too seriously, like “500 Days of Summer” (2009), which goes into overdrive after the main character realizes that Summer also likes a song by the Smiths.

I do wonder, however, if the movie is for everyone. Some may find it boring since it is basically just two people walking and talking. I do not understand those gripes, but I guess there is something more akin to a play with extensive dialogue. However, the audience would miss out on all the beautiful European scenery in the film.

The characters walk around Vienna, but not the truistic parts; instead, they seem to meander around seemingly random yet epic parts, even if they don’t appear remarkable at first glance. That may be the best way to travel, as I probably learned through the influence of this movie, as well as bon vivant extraordinaire Anthony Bourdain. The depiction of Vienna in the film is the Europe I imagined: old and beautiful, with cobblestones, small restaurants, cafes, stylish fashion, and everything familiar but a little different from where I grew up.

Their conversations show a deep connection as they effortlessly bounce between topics. They are different types of soulmates, but I imagine they all talk to each other like they do in this film. Although they are from different cultures, they still manage to connect. A love story across continents and cultures is how this film has been influential in my life.

The movie is also deceptively simple. It can fool you into thinking that you can also make something like this, and you can, but it is also true that not everyone is Richard Linklater. Nevertheless, I have managed to direct a couple of films. Mostly, I’ve taken inspiration from him in using what I have around me, including the great location of Geneva, Switzerland (a character in all my films) and a contained story.

When I visited Vienna, I wanted to see the places the characters gallivanted around. Although I don’t remember finding many, the city exudes the romantic air in every street and corner.

Making this list, I see that several films with Ethan Hawke have significantly influenced my life beyond what I had realized. Another one that could have almost made the list is “Gattaca” (1997). Ethan Hawke has been in great movies, even though he is a bit underrated as a movie star. It may be because, during his heyday, the 90s, a formative period in my life, he starred in many different projects, some of them unconventional choices for a movie star. Still, to this day, he continues to follow that path. When talking about Julie Delply, she was and still is beautiful, but what I found most appealing was how intelligent, daring, curious, and sweet her character was. It is also worth noting that she, along with Hawke and Linklater, wrote the screenplay and the sequels, which make one of the most satisfying trilogies in film history.

5. A Few Good Men (1992)

My career path as a lawyer was significantly influenced by a variety of media, including books by John Grisham and the portrayal of Atticus Finch, TV shows by David E. Kelley, and films. However, the most profound influence came from my parents. Their impact on my decision to pursue law was so significant that I dedicated a portion of my personal statement to them, which ultimately secured my admission to Stanford Law School and other programs.

But the movie depicting the image of the lawyer I wanted to be was Tom Cruise in “A Few Good Men”. He has played a lawyer in a couple of other films, but this one was the one that made it for me. His character is cocky, but he is also talented, a bit quirky, and ultimately a decent human being with a mission and the need to live outside of the shadow of his father. I became a lawyer because of my father, and although I would not say I was determined to live outside his shadow, getting his approval meant a lot to me, and becoming a lawyer made him so proud. Everyone could see it whenever he talked about his son, the lawyer. Perhaps it was because he wished to become a lawyer, and he almost became one, even though he didn’t finish law school.

I watched it again recently and realized I almost know it by heart. I know the lines and the shots to the extent that I could practically reproduce them. But certain scenes in it transcend my memory, almost becoming part of my story. For example, the way Tom Cruise’s character uses his bat to think (for years, I unsuccessfully tried to track down a bat in Switzerland until I had to buy one during a trip to Mexico) or the powerful monologue by Jack Nicholson near the end. Overall, I get swept away by the articulate way everyone speaks, which has become the defining characteristic of Aaron Sorkin. Going all the way for a good cause, even through significant costs, is the zenith of what a lawyer should be. It definitively inspired me to pursue a career in law. One of the main underlying messages of the film is the idea that being a lawyer is an honor and dignified in itself, not because you are a lawyer, but because it gives you a platform from where you can do something good for someone and in the process hopefully change the world. Even if you don’t manage to change the world on a large scale, you can at least help someone and change their world.

“A Few Good Men” (1992) was directed by Rob Reiner, a great Director who also directed many of my favorite films like “The Princess Bride” (1987), “Misery” (1990), “Stand by Me” (1986), and “The Story of US” (1999). His run in the late 80s, ending with “A Few Good Men” (1992), is unparalleled, standing toe to toe with the best runs ever, like that of the Chicago Bulls’ three-peats. His versatility as a Director tackling different genres has inspired me to explore various genres and styles in my filmmaking.

The movie is not a straight court drama, but the film’s last part does take place in a court. Most of the film is a character study exploring their relationships while the characters try to uncover the truth through plenty of obstacles.

I am now a lawyer, but not a litigating lawyer like Tom Cruise’s character. In fact, sometimes, I don’t even think of myself as a lawyer. But back then, when I imagined I would become a lawyer, I imagined I would be like his character or maybe like Kevin Pollak’s Lt. Sam Weinberg.

When I was growing up, it felt that there was a concerted effort to create more lawyers through legal thrillers, TV shows, and books. Whoever hatched that plan realized they were wrong! At the moment, lawyer-themed entertainment is less popular than it once was. Lately, however, it seems like there has been a renewed interest in throwback shows like the Netflix adaptation of “The Lincoln Lawyer” (2022), which I think does an excellent job of entertainingly exploring the subgenre. But the world doesn’t need more lawyers; we already have too many!

6. Hereditary (2018)

This is hands down my best theatregoing experience. Well, I think I would need to mention “Mad Max: Fury Road” (2015), which was mind-blowing, but still, I believe “Hereditary” takes it because of the audience. I watched “Hereditary” in a packed theatre. It wasn’t the midnight screening, but it was very late, probably 10 pm. The Director Ari Aster was there. He briefly introduced the movie, and I was surprised because he was very soft-spoken. I went in without knowing a lot about the film. Looking back, it makes sense that Ari would make one of the most intricate, layered, disturbing, and scary films ever. Up to this day, it still haunts my dreams. So much so that I haven’t watched it again; part of it is because I know I won’t be able to replicate the experience of watching it for the first time, and I want to preserve that memory, but also because I am afraid of going through it again.

After that legendary screening, I drove back to Geneva from Neuchatel, late into the night or early into the day (depending on how you want to look at it). I got home, and after getting into bed, I could not sleep because I was afraid, curling into a fetal position and covered with blankets for a slight sense of protection. This kind of experience is familiar to many people; it happens to my wife, and almost everyone I know, which is why they do not watch horror films. But this doesn’t happen to me. This film, however, bled into the real world. This may contradict what I have been saying all along, but I feared Paimon.

At its core, “Hereditary” is a horror film, although Ari would not label it as such. For him, it is more complex as it delves into themes of grief, pain, determinism, evil, and family, and all these resonated deeply with me. When I watched this film, I had yet to experience the loss of my parents, which has been the most difficult loss I’ve experienced. I still was able to sense where he was going with his story, but yes, I was perhaps only able to truly understand and feel the weight of that grief portrayed on screen many years later.

The film has several images that are seared into my brain. I won’t describe them here, but you will know when you watch it. My daughter asked me some time ago what the scariest film I had ever watched was. Without thinking about it, I said it was “Hereditary.” It is a very different film from “The Exorcist” (1973), but as a rite of passage for horror fanatics, it does share many similarities.

This film is influential to me because my experience of it was what I wish all my film experiences would be: immersed. This film even had a physical effect, palpable dread, and constant hair-raising tension.

Horror films are not just about scares. A good horror film delves into deeper societal and personal issues, making profound statements about the state of our world and/or human nature. “Hereditary” is a prime example of a horror film that works on all these levels, leaving a lasting impact on its viewers.

The social experience of watching a film is why theatregoing will never disappear. The catharsis of watching a movie in a theatre with others is unrivaled. It didn’t go away because of COVID-19 and won’t because of streaming or any future technology. Although many have indeed stopped visiting theaters as they used to before COVID-19. Theaters may become an experience akin to vinyl limited to a niche. For my part, I still watch movies at the theater, even if these will be available on streaming platforms almost simultaneously. It is also not only a matter of where you watch it, but experiencing the film in the theater goes hand in hand with big events, epics, and stories that still have an impact on society and our personal lives, which is why the ultimate medium is still the big screen. There can be great stories on TV and other mediums, like, for example, “Queen’s Gambit” (2020) (which is a labor of love many years in the making by its creator, Scott Frank), which comes as close to a film and an auteur piece as you can get, or “The Americans” (2013) which is a superbly crafted story about marriage, family that happens to take place in the spyworld. But alas, film is the zenith of the form and arguably the most complete and perfect art form, as it incorporates all art forms, from acting, painting, music, photography, literature, etc.

This film also influenced to me because it showed me how you use art to exorcise some of your demons. This is certainly not the first film I’ve watched that has done this, but it is the one that has done it to the highest degree. Making a film may ultimately prove more labour intensive and utilize more resources than visiting a therapist, but it will never be as fun.

No one in my family appears to be a genre fan, so I wonder if anyone will be interested in experiencing this film with me. However, I look forward to watching it with my daughters one day and hearing what they think about it. Hopefully, they will find it as remarkable as I do.

7. Amores Perros (2000)

This was the Directorial debut of Alejandro Gonzalez Iñárritu, one of the best film directors in history. He is one of the three amigos, a term used to refer to a trio of highly influential Mexican film directors, including Cuarón and Del Toro. Their collective impact on the film industry is immense, and their individual works have significantly shaped Mexican cinema. I don’t know if I, or anyone at the time, knew that we were watching the beginning of the most impressive careers, but I could tell there was something very different and unique about it: a new voice. Everyone was talking about this film when it came out in Mexico, or maybe it just felt like that because the media was much more concentrated back then. In Mexico, we had the Nuevo Cine Mexicano (the Mexican New Wave) during the early nineties, which marked a film industry renaissance after the onslaught of video in the 80s. This period delivered some excellent films, but the crop of new films spanning around the time of “Amores Perros” felt like going into overdrive.

I had high expectations for this film because it looked gritty and real, like the independent films being made in the US. But this one felt like ours. It taps into the deep-seated nature of what it means to be Mexican and includes the social and cultural struggle between classes. This struggle, often depicted in Mexican cinema, reflects the stark disparities in wealth and living conditions, where the richest person in the world can coexist with the poorest, often side by side, creating a complex social fabric that the film skillfully portrays.

I also must point out the soundtrack, as I have been doing throughout this piece. The key song, which encapsulates a lot about this film, was Nacha Pop’s “Lucha de Gigantes”. Before this, I had never heard this song, despite it being a very popular song in the late 80s. But this song became inseparable from the film, melding forever, much like many songs have become synonymous with Tarantino or Scorsese.

The Director started his career by making music videos. That could make him Mexico’s answer to David Fincher, and the similarities may even extend to some of their styles. I remember reading somewhere that great filmmakers make the same film repeatedly, and Iñárritu seems to have taken this to heart despite tackling different subjects in his filmography.

Just like in “Magnolia”, this film tells various stories, perhaps influenced by Robert Altman, before you realize how they intersect. However, in this case, the stories are told in vignettes. The cinematography and the music make these stories feel grittier and dirtier than “Magnolia”, without detracting from its hunting beautiful.

This film launched many careers, including those of the Cinematographer, Rodrigo Prieto, and the Writer, Guillermo Arriaga. Rodrigo Prieto’s innovative cinematography in ‘Amores Perros’ catapulted him to international acclaim, leading to collaborations with renowned directors like Martin Scorsese and Ang Lee. Guillermo Arriaga’s compelling storytelling in the film paved the way for his successful career as a screenwriter and director. However, one the most significant discoveries was that of Gael Garcia Bernal, who has had an amazing career working with some of the greatest film directors, including Almodóvar and Cuarón.

This movie made me feel proud of Mexico and the Mexican talent working in the industry. When Mexico was reflected in Hollywood films for the longest time, it used a filter that would show Mexico with yellow or orange color saturation. Mexico is not like that; Mexico is very colorful. With the success of many Mexicans in Hollywood, I hoped this would change. If that change had happened, it would have been because of films like this that showed Mexico differently. This film also made big-name Directors take note, and I even remember Tarantino talking about it.

This film was influential in many ways, one of which was that it made me proud of my country. When Mexican directors won several back-to-back Best Director awards at the Oscars, it was bigger than winning the World Cup. Mexico will likely win the World Cup in my lifetime, but we don’t need to since we are great at making movies! For me, that is way more important.

One of the most profound impacts of “Amores Perros” on me was its portrayal of interconnectedness. It inspired me to view life as a movie, with each of us playing a significant role in the larger narrative. Despite its darker themes, the film’s perspective on interconnectedness is ultimately optimistic, a view of the world that I hold dear.

8. Garden State (2004)

This is Zach Braff’s directorial debut and arguably his best film. Natalie Portman stars in a role created for her, which may be among her most iconic performances.

Like in some other films on the list, the soundtrack was amazing. It may be one of the last great soundtracks because the music industry changed after this. The song “New Slang” by the Shins is featured in a scene with Natalie Portman, where she tells Braff’s character that the song will change his life. But the soundtrack is filled with many other great songs.

While I may not have experienced a sustained depressed state like the main character, I can empathize with his journey. There have been periods in my life where I’ve felt a similar emotional weight. “Garden State” was a film that tackled mental health at a time when it was rarely discussed. I found myself deeply attuned to its message as it resonated with me on a personal level, and I believe it can provide a similar connection for others, validating their experiences.

Since then, the discourse around the movie has changed. Today, the film gets criticized because it popularized in modern cinema the trope of the manic pixie dream girl, a stock character type in fiction, usually depicted as a young woman with eccentric personality quirks who serves as the romantic interest for a male protagonist. This is one of the first modern instances of this type of character, and it set the mold. Natalie Portman is a great actress who delivers a compelling and charismatic performance here.

The story is about a character returning home because his mother passed away. When my mother passed away, I flew to Mexico (I got the news while watching a film at the Zurich Film Festival), and I remember feeling numb, and everything looked hazy. The film is immersed in that atmosphere. Throughout the story, the character meets many acquaintances from his old life, and the viewer gets the sense that everything feels weird to the main character, like a bit off-kilter. When I was in Mexico, it felt exactly like that. After my experience, I understood the movie much better. I was in my old room and watched the film again while there, and connecting to it on another level helped me deal with everything going on.

Sometime later, I recommended this movie to a friend whose father had passed away because my friend also likes music and movies. I don’t know if it helped him because everyone is different, but I’d like to think it did since that is what art is for. This film also had an added layer that enhanced my understanding since I left home for a new country, leaving my family behind.

The movie is sad and muted but also sweet. It is a very personal movie for its Director, but it also feels personal to those who connect with it. As I mentioned earlier, the film has not aged well for many, and many turned against it largely because of the portrayal of Natalie Portman’s character.

The movie is also influential in my life because often, when I go home, I feel like time froze there. Although everyone has changed and evolved, whenever I travel, we tend to return to the same rhythms we experienced growing up all those years ago. This movie captures that perfectly.

But this movie hit me differently after the context of my own experiences informed my understanding of it. In that sense, the film became a catalyst for my recognition and processing of grief. It was a powerful tool in my journey of self-discovery and healing, offering a beacon of hope and inspiration.

9. Pulp Fiction (1994)

I knew I had to include a Tarantino film because he is one of the most influential filmmakers in history and my life. His stories, despite the violence, resonate with me on a personal level. However, I have yet to connect with all of his films. For instance, “The Hateful Eight” (2015), which I haven’t revisited because of its overall jarring bleakness.

Tarantino has been very influential on many aspects of film and film culture, but the central element I take from him is how he takes from everyone and creates something new. While studying law in the US, I wrote to my copyright professor about Tarantino and his creative process by using the works of others and creating something new. His creative process, which I once wrote to my copyright professor in the US about, has significantly influenced my work. I am fascinated by this, and it has become a source of inspiration in my work across everything, to take from everything and everyone and create something new. I even wrote a piece about how Tarantino uses trademarks in his storytelling, which is my way of showing the intersection between my two worlds.

Just like in some of the other films in this list, this story is told in vignettes, but it adds time shifts. This is very reminiscent of how humans tell stories. Also, Tarantino’s film demonstrates how interconnected we are and how our actions have consequences beyond what we may imagine. An example from the movie is when the girlfriend of Bruce Willis’ character forgets the watch, a seemingly inconsequential matter, which leads Bruce Willis’s Butch on a quest to get his watch back, which leads to him killing John Travolta’s character and everything that ensues afterward. All of this could have been avoided if she didn’t forget the watch in the first place. I think about this a lot, about how life has these diverging paths and how slight changes could change our lives, kind of like Gwyneth’s “Sliding Doors” (1998) or “The Butterfly Effect” (2004).

Since I mentioned watches, there is an iconic story delivered in a monologue by the character played by Christopher Walken about the great lengths his character had to go through to keep a wristwatch safely that once belonged to the great-grandfather, grandfather and the late father of Bruce Willis character. The first time I watched it, I thought it was very cool, but only later did I understand it when my father passed away and left me his car. Material things don’t mean much, but when we imprint meaning and memories on particular objects, these become meaningful and can transcend time, going from generation to generation. For my father, he bought his 1967 Ford Mustang back in 1967. For me, what I want to leave for my daughters is a wristwatch, which I wear every day. Hopefully, they will wear it, and it will remind them of their crazy father, kind of like in the movie.

I recently rewatched this movie on the big screen. Sadly, it was my first time doing so, although it was not from a 35mm print. As I was watching it, I realized it influenced me more than I remember. I knew every dialogue line and remembered practically every shot.

I once heard Tarantino say that he was not afraid of earthquakes during his earlier years because he knew he was not meant to die just yet; he had not yet done what he was meant to do. However, this changed after “Pulp Fiction”! After that, he realized he could die at any moment! Although it is one of his best and arguably one of the best films in history, he has gone on to create an impressive body of work. Thankfully, no earthquake hasn’t taken him (knock on wood). Otherwise, it would have been a significant loss to cinema, arts, and pop culture.

When I had COVID-19, at the beginning of the pandemic, I thought I was going to die, and I remember thinking, I am ready to go if I have to since I thought I’d had a pretty good life. Thankfully, that was not it! After that, I realized I had so many more things to do! And I still have not created my masterpiece, so I can imagine what Tarantino must have felt back then.

This movie has influenced me a lot, and it has influenced the world in many ways. Now, you can use Tarantinesque to describe a style. Unfortunately, it also brought plenty of copycats. Tarantino has claimed he will only make one more film. It is a bittersweet feeling since it will be the last one he will ever make. But I am eagerly anticipating his final masterpiece, and I will be there on opening night to witness it.

10. When Harry Met Sally… (1989)

I have always been attracted to romantic comedies. I was, and I guess I still am, addicted to them. Some believe they create unhealthy expectations, but I still love them. This may be the only genre where I can almost wholly suspend disbelief and go along with many plot contrivances as long as the film is engaging and charming.

When I was younger, I was on a mission to watch every romantic comedy out there. I didn’t discriminate; I just wanted to experience them all — even the ones about adults. I recall being smitten with “One Fine Day” (1996), for instance. Admittedly, there are some not-so-great romantic comedies out there, but it’s all part of the journey to appreciate the gems. It’s a bit like the world of horror films, where you have to wade through the bad to find the good.

“When Harry Met Sally…” is another masterpiece from Rob Reiner. His unique storytelling style and ability to bring out the best in his actors are evident in this film, making it a must-watch for any movie enthusiast, especially for fans of the romantic comedy genre.

I remember when I started watching movies, the Internet didn’t exist as it does now. You would have to buy magazines, which I did religiously, to find out information. That is how I kept coming across “When Harry Met Sally,” which was routinely mentioned among the best romantic comedies of all time. The movie is about two friends who end up falling in love. It does not happen overnight, as you see how they met and go through their lives across many relationships.

There is a scene where they watch the film, “Casablanca” (1942) on a split screen while commenting on it over the phone. Because of this scene, I once watched a movie with my wife (my girlfriend back then) while we were both online. We started the film simultaneously: I was in San Francisco, and she was in Geneva. The movie in question was “Dog Soldiers” (2002), which I loved, but I don’t think she liked it as much as I did.

At the movie’s heart lies a captivating question: Can a man and a woman be just friends? Harry firmly believes they can’t, while Sally maintains they can. This intriguing premise will have you debating it long after the credits roll. This premise sets the stage for a compelling narrative in the story, and although the film asks more complex questions about human relationships, this is the springboard for it all.

“When Harry Met Sally” has left an indelible mark on the romantic comedy genre, inspiring countless imitations. It’s the kind of film that every generation has its own version of. For a younger generation, it’s “A Lot Like Love” (2005) with Ashton Kutcher and Amanda Peet . While it has its own charm, it’s hard to surpass the impact of the original.

As for the age-old question of whether a man and a woman can be just friends, I don’t know if this will settle the debate, but I believe it’s entirely possible. In fact, I have a couple of friends who are living proof of this.

Others

Memento (2000)

It’s like a magic trick.

Fight Club (1999)

Fincher is adapting an unadaptable novel.

OldBoy (2003)

It is a story I have difficulty imagining how someone would conceive it.

Clerks (1994)

It was a movie that convinced me that if you want to tell a story, you can go and do it.