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Beauty and the Beast (La Belle et la Bête, 1946) Jean Cocteau.

Bella (Josette Day), to save the life of his father, a bankrupt businessman who gets lost in the woods and goes to the castle of a Beast (Jean Marais), decides to go to live with the monstrous being, despite his terrible look will cause fear and repulsion.

La Belle et la bête is the masterpiece of the poet, novelist, playwright, painter and French filmmaker Jean Cocteau. A film of extraordinary imagery and exquisite sensitivity which is the most beautiful and inspired adaptation of the story of Jeanne Marie Leprince de Beaumont.

After some initial credits Cocteau himself, chalk in hand, writing on a blackboard. It warns us, the viewers, on the need for us to get carried away by the ingenuity in order to enjoy the history that is about Serna presented.

The lyricism of its images, halfway between the force and fascination surreal expressionism, leads to a heady world of magic and fantasy where everything is possible. A world of unbridled imagery in which disembodied arms hold candelabra, serving wine and curtains are, where stone busts and sculptures with curious eyes watching what is happening around him, and the tears become diamonds and a glove you can move to the place you want.

Loaded with unforgettable sequences, highlight one in which Bella, wrapped in a halo of poetic evanescence, enters in a quasi-weightless in the mysterious enchanted castle stays under the line of delicious score Georges Auric.

The actor Jean Marais, who was then director lover, took on his dual role with competence. Since it plays both the beast and the quarrelsome Avenant, highlighting especially when acting under the heavy makeup and hairy Hagop Arakelian, basing his brilliant work on the expressiveness of his eyes and tone of your voice (must see the film in its original French.)

So convincing is his performance that, we are told at the time of its release, upon its transformation into a prince, the actress Greta Garbo uttered the now famous phrase " Devolvedme my beast! "

Josette Day, meanwhile, added to her beautiful face dose of sweetness and delicacy appropriate to the character.

always is a pleasure for the palate indescribable cinephile review this title Essential European fantasy. Work with the talent of its author, restored the depressed postwar Europe capacity to dream.

Rating: masterpiece.

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Dies irae (Vredens dag, 1943) by Carl Theodor Dreyer. Ten masterpieces

Denmark, 1623. Herlofsen Marte (Anna Svierkier) is an old lady accused of witchcraft which are condemned to the stake. In his desperate attempt to escape the flames, go to the pastor Absalon (Thorkild Roose), who once saved the charges to another alleged witch in exchange for marrying his daughter Anne (Lisbeth Movin). On the other hand, Martin (Preben Lerdorff Rye), the only son of the pastor, returns home after several years of absence, feeling attracted to the young wife of his father.

had been more than a decade since the completion of his latest film ( Vampyr , 1932) when the Danish master shot Dies irae, a stunning work that reaches its language full maturity in its steady progress towards the purification and the most absolute asceticism.

The film delves into topics such as religious fanaticism, superstition, intolerance and repression latter stressing from a social and sexual, without ignoring its obvious political interpretation, as the tape was made in the midst of the Nazi occupation of Denmark. Dreyer

always showed interest in the transcendental and metaphysical issues, away from religious dogmatism, and influence of Kierkegaard, giving primacy to personal subjectivity in the relationship between man and God. Hence the more or less latent criticism that manifests itself in many of his films to the so-called religion.

Here we have a number of compelling characters and psychology perfectly drawn that, by their inability to cope with their impulses and feelings in a rational and consistent, end up imbued with the weather cloudy and uncompromising belief that presides over the community in which they live, thus trying to justify and alleviate their sins and sorrows.

The narrative is articulated for the first time in the cinema of the author, through elaborate and deliberate sequence shots, whose use will be to the extreme in the last two films of the filmmaker.

Its sober and austere scenery refers to Hammershoi boxes, while its lighting based on light and dark, reminiscent of the work of the Baroque painters like Rembrandt and Frans Hals.

All exudes sublime artistry, deep unfathomable mystery and mysticism in this summit dreyeriano art.

Rating: masterpiece.

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located in the Middle Ages. MECCA Survey

- The Passion of Joan of Arc ( La Passion de Jeanne d'Arc , 1928) by Carl Theodor Dreyer .

France, year 1431. Joan of Arc, French heroine facing young English enemy, is subjected to an inquisitorial process by stating that their actions are inspired by the voice of God.

artwork which gives Dreyer staging ascetic and abstract as a vehicle to show both the triumph of the soul over the flesh, like the image on the floor.

- Alexander Nevsky (idem, 1938) of Sergei M. Eisenstein.

Russia, XIII century. The Russian people, weary of Mughal pressure, to instruct the prince Alexander Nevsky to cope with the feared Teutonic enemy.

One of the indisputable masterpieces of its author. The sequence of the battle on the frozen lake, articulated through the assembly virtuoso Eisensteinian and orchestrated by the portentous score by Prokofiev, remains one of the top movies of all time.

- Macbeth (idem, 1948) by Orson Welles.

Scotland, XI century. After returning from a battle, the knight Macbeth meets three witches who prophesy that eventually becomes king.

first of the three adaptations of Shakespeare performed by the author of Citizen Kane . With an expressionistic staging and clear resonances Eisensteinian, Welles gives us one of his most experimental and more expressive.

- The Seventh Seal (Det sjunde inseglet, 1957) by Ingmar Bergman.

Sweden, XIV century. The knight Antonius Block returns from the Holy Land with his faithful squire , meeting a country devastated by the Black Death and the fear of the coming of Judgement Day.

existential anguish and deep reflection with which Bergman was consolidated as an exceptional filmmaker. The attraction of many of his pictures have become an icon of European cinema of all time.

- The Virgin Spring ( Jungfrukällan , 1960) by Ingmar Bergman.

Sweden, XIV century. Karin, the young daughter of King Töre, decides to cross the forest and bring the offering of candles at the altar of the Virgin. On the road you will find three pastors of dark intentions ...

The Swedish master, this time inspired by the way of the samurai films of Kurosawa, gives us a sweeping tale of revenge on the living love and hate, innocence and cruelty, purity and imperfection, Christianity and pagan rites ... Magistral from beginning to end.

- Chimes at Midnight ( Chimes at Midnight , 1965) by Orson Welles.

England XV century. Prince Hal, the future Henry V, spends every day engaged in vacuous carefree entertainment and political issues with his partner of revelry, the old Falstaff.

De Welles made adaptations of Shakespeare texts, Chimes at Midnight is probably the most personal of all. Freely adapted several works of English author ( Henry IV, Henry V , The Merry Wives of Windsor and Richard II), and it contains one of the most brilliant sequences of all his work, as is the the foggy battle in the mud, in addition to one of the most fascinating films Wellesian: the plump and lush Falstaff, with which the actual Welles, who plays him, holds more than a parallel.

- Andrei Rublev ( Andrey Rublyov , 1966) by Andrei Tarkovsky.

Russia, XV century. Andrei Rublev, a monk painter of icons, leave the monastery and came into contact with a cruel and violent world that will make you reflect on the meaning of its existence and its role as an artist. Major Works

Tarkovsky. Monumental history of medieval Russia which is one of the most beautiful films, dense, deep the history of cinema. Your vision should be scheduled periodically in all the world's museums to show how far the art when it reaches its peak.

- Marketa Lazarová (idem, 1967) Frantisek Vláčil.

Bohemia, XIII century. Two extended families face after the abduction and rape of the daughter of one of them by members of the other. Nobody should miss

historical tapes Czech filmmaker Frantisek Vláčil, author of a visual talent undeniable. With influences Bergman, Kurosawa and Tarkovsky; Lazarová Marketa is shown as a historical poem that reflects the bitter struggle between two minds: the Christian and pagan. In 1998 he was voted best Czech film history.

- The valley of the bees ( Údolí VCEL , 1968) Frantisek Vláčil.

Prussian Baltic region, the Middle Ages. Ondrej is a young lover of bees that are brought to the new wife of his father, the lord of Vlkov, a girl who's almost his age and that gives a basket filled with petals that lurks beneath bats. Such action will load his father violently against him, being about to take his life. Remorse for his cruelty, the lord of Vlkov promise before the image of a virgin to consecrate her son's life to God if not finally dies. Ondrej is why eventually sink into the Order of the Knights of Cross, in which a crusader named Armin will take care of their education. Drama

mystic of great beauty and lyricism in which Vláčil again delve into the differences between Christianity and paganism, between spirit and flesh. A powerful masterpiece.

- King Lear (Korol Lir , 1971) by Grigori Kozintsev.

Middle Ages, unspecified century. The old King Lear, weary of operating the power, decides to divide his kingdom among his three daughters.

King Lear is with Hamlet (1964), Kozintsev also the best film adaptation of a William Shakespeare play. A sober and earthy tragedy stands as one of the peaks of the Soviet cinema of all time.