<\/p>\n
<\/p>\n
En orden de preferencia, aunque cualquiera de los primeros 20 t\u00edtulos podr\u00eda estar en la cima. Mi lista personal demuestra que el 2019 ha sido un a\u00f1o brillante, testificando que el cine contempor\u00e1neo sigue produciendo pel\u00edculas de alto nivel.<\/span><\/p>\n J’ACCUSE (Roman Polanski, Francia)<\/span><\/p>\n THE IRISHMAN (Martin Scorsese, Estados Unidos)<\/span><\/p>\n IL TRADITORE (Marco Bellocchio, Italia) En la foto<\/strong><\/p>\n GISAENGCHUNG-Par\u00e1sitos- (Bong Joon-ho, Corea del Sur)<\/span><\/p>\n DOLOR Y GLORIA (Pedro Almod\u00f3var, Espa\u00f1a)<\/span><\/p>\n IT MUST BE HEAVEN (Elia Suleiman, Palestina) <\/span><\/p>\n ROUBAIX, UNE LUMIERE (Arnaud Desplechin, Francia)\u00a0 <\/span><\/p>\n UNCUT GEMS (Josh Safdie, Benny Safdie, Estados Unidos)<\/span><\/p>\n ONCE UPON A TIME\u2026 IN HOLLYWOOD (Quentin Tarantino, Estados Unidos)<\/span><\/p>\n JEANNE (Bruno Dumont, Francia)<\/span><\/p>\n \u00a0AD ASTRA (James Gray, Estados Unidos)<\/span><\/p>\n MARRIAGE STORY (Noah Baumbach, Estados Unidos)<\/span><\/p>\n J\u2019AI PERDU MON CORPS (J\u00e9r\u00e9my Clapin, Francia)<\/span><\/p>\n THE LIGHTHOUSE (Robert Eggers, Estados Unidos)<\/span><\/p>\n SORRY WE MISSED YOU (Ken Loach, Reino Unido)<\/span><\/p>\n JOKER (Todd Phillips, Estados Unidos)<\/span><\/p>\n PORTRAIT DE LA JEUNE FILLE EN FEU (C\u00e9line Sciamma, Francia)<\/span><\/p>\n LE JEUNE AHMED\u00a0 (Jean-Pierre y Luc Dardenne, B\u00e9lgica)<\/span><\/p>\n DI JIU TIAN CHANG-Hasta siempre, hijo m\u00edo-\u00a0 (Wang Xiaoshuai, China)<\/span><\/p>\n FORD V FERRARI (James Mangold, Estados Unidos)<\/span><\/p>\n 1917 (Sam Mendes, Estados Unidos)<\/span><\/p>\n DYLDA-Una gran mujer-(Kantemir Balagov, Rusia)<\/span><\/p>\n FOR SAMA (Waad Al-Khateab, Edward Watts, Reino Unido)<\/span><\/p>\n LES MISERABLES (Ladj Ly, Francia)<\/span><\/p>\n A HIDDEN LIFE (Terrence Malick, Aleman\u00eda)<\/span><\/p>\n NAN FANG CHE ZHAN DE JU HUI-El lago del ganso salvaje-(Diao Yinan, China)<\/span><\/p>\n RICHARD JEWELL (Clint Eastwood, Estados Unidos)<\/span><\/p>\n COLD CASE HAMMARSKJOLD (Mads Brugger, Dinamarca)<\/span><\/p>\n DIEGO MARADONA (Asif Kapadia, Reino Unido)<\/span><\/p>\n MEKTOUB, MY LOVE: INTERMEZZO (Abdellatif Kechiche, Francia)<\/span><\/p>\n MANO DE OBRA (David Zonana, M\u00e9xico)<\/span><\/p>\n SOUND OF METAL (Darius Marder, Estados Unidos)<\/span><\/p>\n WAVES (Trey Edward Shults)<\/span><\/p>\n CLEMENCY (Chinonye Chukwu, Estados Unidos)<\/span><\/p>\n THE CLIMB (Michael Angelo Covino, Estados Unidos)<\/span><\/p>\n SYNONYMES\u00a0\u00a0 (Nadav Lapid, Francia)<\/span><\/p>\n MARTIN EDEN (Pietro Marcello, Italia)<\/span><\/p>\n O QUE ARDE (Oliver Laxe, Francia)<\/span><\/p>\n THE SOUVENIR (Joanna Hogg, Reino Unido)<\/span><\/p>\n BOOKSMART (Olivia Wilde, Estados Unidos)<\/span><\/p>\n LAS BUENAS INTENCIONES (Ana Garcia Blaya, Argentina)<\/span><\/p>\n LITTLE WOMEN (Greta Gerwig, Estados Unidos)<\/span><\/p>\n DARK WATERS (Todd Haynes, Estados Unidos)<\/span><\/p>\n DOLEMITE IS MY NAME (Craig Brewer, Estados Unidos)<\/span><\/p>\n APOLLO 11 (Todd Douglas Miller, Estados Unidos)<\/span><\/p>\n THE LAST BLACK MAN IN SAN FRANCISCO (Joe Talbot, Estados Unidos)<\/span><\/p>\n Koirat eiv\u00e4t k\u00e4yt\u00e4 housuja- Dogs Don\u2019t Wear Pants-(J-P Valkeapaa, Finlandia)<\/span><\/p>\n NOBADI (Karl Markovics, Austria)<\/span><\/p>\n THE FAREWELL (Lulu Wang, Estados Unidos)<\/span><\/p>\n KNOCK DOWN THE HOUSE (Rachel Lears, Estados Unidos)<\/span><\/p>\n Jos\u00e9 Luis Riddout<\/strong>\u00a0<\/span><\/p>\n","protected":false},"excerpt":{"rendered":" En orden de preferencia, aunque cualquiera de los primeros 20 t\u00edtulos podr\u00eda estar en la cima. Mi lista personal demuestra que el 2019 ha sido un a\u00f1o brillante, testificando que el cine contempor\u00e1neo sigue produciendo pel\u00edculas de alto nivel. J’ACCUSE (Roman Polanski, Francia) THE IRISHMAN (Martin Scorsese, Estados Unidos) IL TRADITORE (Marco Bellocchio, Italia) […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[1091,88,1089],"tags":[],"_links":{"self":[{"href":"http:\/\/www.paginas-del-diario-de-satan.com\/pdds\/index.php?rest_route=\/wp\/v2\/posts\/6177"}],"collection":[{"href":"http:\/\/www.paginas-del-diario-de-satan.com\/pdds\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.paginas-del-diario-de-satan.com\/pdds\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.paginas-del-diario-de-satan.com\/pdds\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.paginas-del-diario-de-satan.com\/pdds\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=6177"}],"version-history":[{"count":2,"href":"http:\/\/www.paginas-del-diario-de-satan.com\/pdds\/index.php?rest_route=\/wp\/v2\/posts\/6177\/revisions"}],"predecessor-version":[{"id":6181,"href":"http:\/\/www.paginas-del-diario-de-satan.com\/pdds\/index.php?rest_route=\/wp\/v2\/posts\/6177\/revisions\/6181"}],"wp:attachment":[{"href":"http:\/\/www.paginas-del-diario-de-satan.com\/pdds\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=6177"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.paginas-del-diario-de-satan.com\/pdds\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=6177"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.paginas-del-diario-de-satan.com\/pdds\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=6177"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}