Roberto Rossellini’s War Trilogy

“But I'm kind of torn because it is Germany Year Zero, it's in the War Trilogy. I think I'm going to take that, the War Trilogy, because sometimes, I live in Berlin, and I walk through the city a lot thinking, "God, look at that, look at how beautiful it could have been, and this is what happened." You know, a country that self-destructed, basically gave in to its sort of destructive impulses. And we have that so much now again that you see. And in Berlin you go through it, it makes you sad sometimes, and you see all these streets and they're all destroyed and been built up quickly. And sometimes they're old and they're beautiful, and then you go to the next street, it's just destroyed and reconstructed. And this movie captures that incredibly. I mean, he went to Germany right after the war, made this film. So I'm going to take both.”

“[Translated] The War Trilogy by Roberto Rossellini. I have very positive memories of these. All three of them, but especially Paisan. I re-watch that one regularly. I already have a DVD at home, actually. I think it's one of the most beautiful films I've seen, It has that... Is it poetic realism? No, there's a great deal of realism. Some of it is like a fairy-tale, but always grounded in reality, which I've always liked about Rossellini.”

“[Translated] Here is one of my fathers. Being from Italy, I was lucky enough to grow up with artistic fathers who were among the most important directors in the world. Because the Italian cinema of the '50s and '60s represents one of the most important cinematic bodies of work in the world. And Rossellini was of great importance to my formation - and still is. And Gomorrah, which is here somewhere. There it is. I have the honor of being part of the collection too. That film is connected to a masterpiece of Rossellini's, Paisà. So Rossellini is definitely a foundational director in my formation, to whom I owe a lot. And surely the goal for Italian directors— if I may also speak for my colleagues— is to make films that in some way serve as a bridge to the great masters of the past. So I'm happy to also put the great Rossellini in the bag.”