"All the films on the list represent certain turning points in my relation with film history and they have all taught me about cinema’s strangeness and its chameleon-like nature. I have to end with these two films that I have returned to recently as a writer and that I know by heart, both in sound and image. I value both Rossellini and Ophuls very particularly as characters and also for their very different styles of direction: Ophuls a perfectionist, Rossellini almost casual. But these two films are, furthermore, literally marked by their stars’ extraordinary (although again stylistically very different) performances. Finally, the films take me back to the 1950s—where I began the list, and thus my life as a film fan—and to which I seem to return over and over again."

"Is there a greater, more suggestive and bittersweet movie title than All That Heaven Allows? (Well, yes, there is, Yasujiro Ozu’s I Was Born, But . . . , but that’s another story and another great Criterion disc.) Sirk dug beneath the surface of idyllic American small-town life in the 1950s, and the surface has never been more beautiful than in this Technicolor nightmare of conformity and the repressive nature of community and family life. It’s Freud vs. Walden, as pettiness, jealousy, and repression pair off against a bohemian vision of rural tranquility. Rainer Werner Fassbinder, whose brilliant essay on Sirk is included as an extra, remade the movie as Ali: Fear Eats the Soul, and it was also the model for Todd Haynes’s Far from Heaven and Sanaa Hamri’s not-too-shabby Something New."

"As counterweight to the weird and eerie elements in many of the books I have selected I propose the sweet and kind Summer Book. Tove Jansson’s fictionalized memoir about the summers she spent as a girl with her grandmother on a tiny island in the archipelago off Finland’s south coast is a wonderful ode to the curiosity of childhood and the wisdom of old age. In a precise, lyrical language that never gives in to easy sentiments Jansson allows us to take part in the summer days with the girl and the grandmother as one is discovering nature for the first time and the other is contemplating its vulnerability. It is sunshine in the shape of a book — for the shadowy part of Jansson’s oeuvre one must look to her children stories about the Moomins."

"This slim novel is one of the most intriguing works of literature I have come upon in a long while. Part mystery, part metaphysical journey, part fairy tale, part adult love story, it brought me to a state of the most welcome strangeness, similar to the one I sought out as a young reader of books that challenged how we perceive reality and reconstruct it in text. In the narrative’s mysterious, slow burn of a chase, a woman who has left her husband is tracked down in The Taiga, a territory where the laws of nature are as much out of joint as the rules of its isolated human society. In its uneasy atmosphere there are echoes from Tarkovsky's film Stalker as well as from golden age private eye novels."