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Top! do Leitor:

Caio Lucas

Tops! da Equipe:

Daniel Dalpizzolo

Lista bem abrangente, por isso tive que redefinir o tema, senão as ausências penariam. Os escolhidos são filmes que retratam uma das características mais fundamentais desse período, a transição, a descoberta, mesmo que em alguns casos sejam sobre personagens que lutem contra isso. Pode vir das formas mais variadas, mas é aí que nos confrontamos pela primeira vez o sexo, o amor, a morte, a nostalgia, as perversões, ânsias, angústias, a vida, uma estrada interminável que se desenha sem que, muitas vezes, saibamos como percorrê-la.

01. Corrida Sem Fim (Monte Hellman, 1971)
02. O Espírito da Colméia (Victor Erice, 1973)
03. Masculino, Feminino (Jean-Luc Godard, 1966)
04. Veludo Azul (David Lynch, 1986)
05. Sombras (John Cassavetes, 1959)
06. Clamor do Sexo (Elia Kazan, 1961)
07. Sedução e Vingança (Abel Ferrara, 1982)
08. A Última Sessão de Cinema (Peter Bogdanovich, 1971)
09. Jovens, Loucos e Rebeldes (Richard Linklater, 1993)
10. Beijos Proibidos (François Truffaut, 1968)

Thiago Duarte

Eu acho que minha juventude inteira deve estar espalhada por cada um desses filmes, seja na fase totalmente ingênua onde o inevitável confronto com a realidade começa a surgir; seja na que descobrimos que o mundo não passa de um asfalto esperando para ser massageado por um pneu de conversivel vermelho; seja na fase onde tudo fica desfocado, a vida pré ela parece nunca ter existido, e a pós impossível de acontecer; ou até na fase que descobrimos que aquela carne vermelha, azeda e mijada é a melhor coisa do mundo, onde chegamos orgulhosos para os amigo e falamos: "cara, ela engoliu!". Enfim, ta aí.

01. Alta Fidelidade (Stephen Frears, 2000)
02. Antes do Amanhecer (Richard Linklater, 1995)
03. De Volta Para o Futuro (Robert Zemeckis, 85, 89 e 90)
04. Os Sonhadores (Bernardo Bertolucci, 2003)
05. Jovens, Loucos e Rebeldes (Richard Linklater, 1993)
06. Corpo Fechado (M. Night Shyamalan, 2000)
07. Coração Selvagem (David Lynch, 1990)
08. Quase Famosos (Cameron Crowe, 2000)
09. Superbad (Greg Mottola, 2007)
10. Donnie Darko (Richard Kelly, 2001)

Jaílton Rocha

Tenho que reconhecer que assisto e já assisti muitos flmes de/sobre/com jovens, mas ao fazer o Top acabei me deparando com a realidade de não ter visto tanto filmes bons nesse quesito. A maioria foram comédias adolescentes, umas mais açucaradas ou outras mais escrachadas, nem tão boas ou tão ruins. Enfim. Os cinco primeiros foram fáceis de escolher, são realmente ótimos e tal. Os cinco seguintes eu acabei fazendo um sanduiche com dois "filmes de meninos" nas pontas, com três "filmes de meninas" no meio. Esta aí.

01. De Volta Para o Futuro (Robert Zemeckis, 1985)
02. Vamos Nessa (Doug Liman, 1999)
03. Loucuras de Verão (George Lucas, 1973)
04. Curtindo a Vida Adoidado (John Hughes, 1986)
05. Clube dos Cinco (John Hughes, 1985)
06. Porky's - A Casa do Riso e do Amor (Bob Clark, 1981)
07. A Garota de Rosa Shocking (Howard Deutch, 1986)
08. As Patricinhas de Beverly Hills (Amy Herckeling, 1995)
09. Meninas Malvadas (Mark S. Waters, 2004)
10. American Pie - A Primeira Vez é Inesquecível (Paul Weitz, 1999)

Pedro Kerr

Seco:

01. Jovens, Loucos e Rebeldes (Richard Linklater, 1993)
02. Carrie, a Estranha (Brian De Palma, 1976)
03. Banho de Sangue (Mario Bava, 1971)
04. Violência Gratuita (Michael Haneke, 1997)
05. Todo Mundo Quase Morto (Edgar Wright, 2004)
06. Corrida Sem Fim (Monte Hellman, 1971)
07. O Demônio das Onze Horas (Jean-Luc Godard, 1965)
08. Cara, Cadê Meu Carro? (Danny Leiner, 2000)
09. Caminhos Perigosos (Martin Scorsese, 1973)
10. De Volta Para o Futuro (Robert Zemeckis, 1985)

Luis Henrique Boaventura

Top vago pra caramba. Talvez muitos dos filmes citados não tenham relação suficiente com a juventude pros leitores, mas pra mim são é cheios de ímpeto, de fúria e de inocência até a alma.

01. Lavoura Arcaica (Luiz Fernando Carvalho, 2001)
02. São Paulo S/A (Luiz Sérgio Person, 1965)
03. Conta Comigo (Rob Reiner, 1986)
04. O Mensageiro do Diabo (Charles Laughton, 1955)
05. A Doce Vida (Federico Fellini, 1960)
06. Curtindo a Vida Adoidado (John Hughes, 1986)
07. Carrie, A Estranha (Brian De Palma, 1977)
08. Coração Selvagem (David Lynch, 1990)
09. Paranoid Park (Gus Van Sant, 2007)
10. Antes do Amanhecer (Richard Linklater, 1995)

Adney Silva

O tema "Juventude" consegue juntar ao mesmo tempo coisas tão díspares como fúria e inocência, medo e invencibilidade, angústia e certeza, nostalgia e modernidade. E todos esses sentimentos são vividos com uma intensidade absurda em vários momentos de nossa vida quando somos jovens. Sem contar que foi na nossa juventude (sendo que quase todos os ploteiros ainda estão nessa fase da vida) que descobrimos essa arte tão maravilhosa que é o cinema. O top abaixo tenta ser o mais abrangente possível no que diz respeito a essa fase maravilhosa da nossa vida:

01. Curtindo a Vida Adiodado (John Hughes, 1986)
02. De Volta Para o Futuro (Robert Zemeckis, 1985)
03. Porky’s - A Casa do Riso e do Amor (Bob Clark, 1981)
04. Antes do Amanhecer/Antes do Pôr-do Sol (Richard Linklater, 1995/2004)
05. Alta Fidelidade (Stephen Fears. 2004)
06. Os Goonies (Richard Donner, 1985)
07. Detroit Rock City (Adam Rifkin, 1999)
08. Carrie, A Estranha (Brian de Palma, 1975)
09. Superbad (Greg Motolla, 2007)
10. A Ùltima Sessão de Cinema (Peter Bogdanovich, 1971)

I wish I was like John Cassavetes but I'm not. I have come to terms with the way I will make movies. And as much as Carney is telling everybody to fuck-off you're not a real artist and I find it really despicable, I am very jealous...because wouldn't it be great to have your own Carney as well?

But the paradox continues. Because the more you want to be John the more you are NOT JOHN.

Go figure.

John Cassavetes once said of making his first film Shadows, 'We didn’t know the first thing about making a movie. It was an experiment. I never thought I’d be a director.' Yet Cassavetes, who lived from 1939 to 1989, pioneered a whole independent film movement in America – even without his knowledge. Nearly twenty years after his death, cinema still bears his mark. We call it ‘indie'.

Fitting to his work, Cassavetes keeps a relatively low profile in film studies. In the past few years, several biographical works have credited him with jump-starting modern indie and underground film production. Of these, Ray Carney’s Cassavetes on Cassavetes (2001), a compilation of interviews with the director, and Marshall Fine’s Accidental Genius (2005) try, by raising his profile, to establish him among the upper echelon of auteurs and cinematic masters. But perhaps it is fitting that Cassavetes be left a class apart – and that it be said: there’s nothing ‘accidental’ about his genius. It was always Cassavetes’s intention to stand out, even if at first he thought he could do it as a star.

Cassavetes’s talent as a performer is, and always was, unmistakable: he played Johnny Staccato on TV in the late ‘50s and acted in The Killers (Don Siegel, 1964), The Dirty Dozen (Robert Aldrich, 1967), and Rosemary’s Baby (Roman Polanksi, 1968), among others, to critical acclaim. In those films, his acting genius is fully on display. In the films he directed, however, it is a subtle and self-obfuscating genius that is more felt than seen.

 The roles Cassavetes took from Hollywood primarily financed his own projects and performances in ten self-directed independent films, from Shadows in 1959 to Big Trouble in 1986. Besides financing his art, Cassavetes needed to provide for his young family with Gena Rowlands, whom he met at drama school and used in many of his films. He directed two movies for Hollywood: Too Late Blues (1961) and A Child is Waiting (1963). After them, he renounced the Hollywood industry, and an indie hero was born. Cassavetes is a comparatively unsung hero at that: compared to Anger, Brakhage, or Bergman, counter-culturalists, avant-gardes, and art-house auteurs, Cassavetes’s legacy stands independent of the independents’ canon, marginalized even from the margin.

Cassavetes, like his movies, is nothing if not hard to define. Was he in or out of Hollywood? A lapsed actor or visionary director? Undoubtedly he was a versatile player in the field, and a consummate movie-maker at that. When he had to work with Hollywood, he got over it by working through and beyond it.

 He worked ‘inside-out’ in every aspect of filmmaking, and perhaps that quality best defines his certain ‘indie sensibility’. As an actor, he followed Lee Strasburg’s Method; Cassavetes’s life was acting, his acting, in turn, an expression of life. And the approach translated easily into his so-called ‘direction’ of films: for in that capacity his greatest affront to classic, Hollywood-style filmmaking was, in fact, the denial of his very natural impulse to ‘direct’ or control his projects.

By rights, Cassavetes ‘owned’ his indie films from start to finish as writer, producer and director. He had complete creative control. But the consummate Method actor believed one shouldn’t have to tell actors where to go or what to do – armed with a script and a basic understanding of themselves, they should naturally be able to perform any scene presented.  Cassavetes found the secret to effective ‘improvisation’: he didn’t disguise his direction under actors’ performances – he simply didn’t use any.

Neither did he have to apologize for subjectivity or bias. Often he acted in front of the camera, but Cassavetes disappeared behind it. Metaphorically speaking, he took the 'I' out of 'independent cinema'. Each of his films is a study on the interaction of individuals – but they would be nothing without that crucial interaction, that multiplicity. They are not about Cassavetes, they are about the people Cassavetes sees and leaves them be.

And as he grew more confident of hi