THE MOST INFLUENTIAL DIRECTORS OF CINEMA

ROBERT ALTMAN

Similar to Hollywood’s own trajectory, Altman experienced two distinct golden periods in his career. 

The first spanned nearly a decade, encompassing almost the entirety of the 1970s when he crafted a trilogy that, while appearing sprawling on the surface, was meticulously plotted. 

This trilogy consisted of “MAS*H” (1970), “McCabe and Mrs. Miller” (1971), and “Nashville” (1975). Once more, like Hollywood, Altman’s second golden era arrived in the early 1990s and was notably shorter than the first. 

It essentially revolved around “The Player” (1992) and “Short Cuts” (1993), a pair of late-career Altman masterpieces that served as a powerful reminder of his distinctive and brilliant filmmaking talent.

ANDREI TARKOVSKY

Andrei Tarkovsky can be likened to the James Joyce of the film world—an artist who directed a relatively small number of films, just as Joyce authored a limited number of books. However, much like Joyce, each of Tarkovsky’s cinematic creations emerged as a masterpiece in its own right.

Tarkovsky’s illustrious filmography, consisting of seven remarkable works, commenced with “Ivan’s Childhood” (1962), a cinematic masterpiece that explored the themes of childhood and war with exceptional depth. This was followed by “Andrei Rublev” (1966), a biographical film about the 15th-century Russian painter of the same name, and “Solaris” (1972), widely regarded as the finest Soviet science fiction film ever made.

Nevertheless, it was in his subsequent three films that Tarkovsky solidified his status as one of the true luminaries of cinema. “Mirror” (1975), “Stalker” (1979), and “Nostalghia” (1983) saw him carve out his own distinct genre. 

He not only pioneered but also perfected an incredibly individual and idiosyncratic filmmaking style in which images underwent a level of processing and even distortion that rivaled anything seen since the Silent Era when only images, devoid of sound, could be manipulated.

Lastly, “The Sacrifice” (1986) marked a cinematic reinterpretation of the Abraham story, where a man attempts to negotiate with God to avert nuclear Armageddon. Produced during the height of the First Cold War and while Tarkovsky himself battled cancer, this film stands as the definitive portrayal of apocalyptic times, remaining eerily pertinent even in the 21st century.

YASUJIRŌ OZU

Similar to several other directors on this list, Yasujirō Ozu embarked on a lengthy apprenticeship in the realm of filmmaking. He directed his inaugural film at the tender age of 24 and continued making numerous more films over the course of a quarter-century before eventually discovering his ideal subject matter and style. The wait, however, proved to be profoundly rewarding, as Ozu’s late masterpieces, particularly “Tokyo Story” (1953), which some argue is the greatest cinematic exploration of family ever created, rank among the most profoundly affecting and exquisitely crafted films in history.

In terms of plot, “Tokyo Story” may very well be the simplest truly great film ever made. It revolves around an elderly Japanese couple visiting their children in Tokyo, including their daughter-in-law, now a widow. However, akin to Chaucer’s “Canterbury Tales,” this Tokyo-based narrative encompasses the entirety of human existence. It masterfully portrays the inevitable conflicts between generations, all captured through impeccable performances and cinematography.

While “Tokyo Story” stands as Ozu’s unequivocal masterpiece, his reputation does not hinge solely on this film. His late-career achievements also include “Early Spring” (1956), a narrative following a discontented office worker’s attempt to rejuvenate his stagnant life through an affair with a co-worker, and “An Autumn Afternoon” (1962), his final film, wherein an elderly man endeavors to find a suitable husband for his daughter before his own passing.