"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."

"O’Connor enshrines in each of her characters an unforgettable rendition of a basic human flaw: venality, bigotry, pent-up anger, stupidity, jealousy, greed, even innocence. Her dark humor is funniest when she is laying bare some horrible piece of human nastiness. And the writing! She can evoke more from the particulars of a person’s face than any other writer I know. For example: “His face behind the windshield was sour and froglike; it looked like it had a shout closed up in it, it looked like one of those closet doors in gangster pictures where there is somebody tied to a chair behind it with a towel in his mouth.” (“The Heart of the Park”) “She jumped back and looked as if she were going to swallow her face.” (“The Peeler”)"