Paul B. Preciado

“One that I is here that is obvious one, Mujeres al borde de un ataque de nervios de Almodóvar. Of course, this is like an all-time classic. This is super important and influential to me, yeah.”

“Yeah, so another thing that became super important for me when I was a teenager and I saw it for the first time is Cría cuervos from Carlos Saura. I think when you were like a child and you grew up in Spain under Francoism, I think you really identified fully with the way of looking at things of this child in the film. And if you haven't seen it, you really have to. It's amazing.”

“My favorite Pasolini, I mean I think the one that I like the most is Salò. By the way, let's take it here. This is the one that I like the most even though it's the most difficult to watch. Making a film as a political project and at the same time like in taking care of each of the details in terms of performance and the visual language, I think it's an absolute masterpiece. Even though I have to say it's a film that I have barely seen fully from the beginning to the end, but it's always when I have questions, this is the film that I came back to very often.”

“So yeah, another one that I want to take is Antonioni, Deserto Rosso. So I saw the full retrospective of Antonioni when I was 20, and that completely changed my way of seeing things, especially I have to say because Antonioni has this very kind of heterosexual binary way of looking at things, but when the question is how to look at a space, how to look at architecture, that is really like a, you know, amazing, and I think it's like a must-see for anyone that is doing cinema, that is just like walking around in a city to see things differently.”

“Pasolini became super important when thinking about people that have adapted crazy things, crazy stories, like you know, taking the challenge of adapting Greek theater or Decameron, things like that.”

“Oh yeah, something else that I have always loved and that I think it came back a little bit with the kind of playfulness and childish way of looking at the world that you can see in Orlando is Tati. So yes, I think this is almost like a visual therapy for the mind. Yes.”

“Also when making Orlando, I was thinking about authors that have made films like letters that are being written to someone. And so Chris Marker, that was for me like a fundamental. It belongs for me to the films that are made by what I would call philosophers in a sense. So he really finds a completely new form for saying what he wants to say, and it's full of poetry.”