Within the vast catalog of sensations that the seventh art can generate, the emotions generated by a great debut are incomparable. It is about the impact of the unknown and, at the same time, the illusion of what, a priori, is here to stay, adding to the particular Olympus of filmmakers built by each spectator throughout her life.

The 10 best film debuts of the last decade

1 ‘Billy Elliot (I want to dance)’
'Billy Elliot (I want to dance)'

From its first fantastic close-up, ‘Billy Elliot (I want to dance)’ gives off a magnetic charm that draws you in and keeps you in love of its history and characters throughout 111 minutes that pass like a real breath. Stephen Daldry’s first and best film, starring an impressive Jamie Bell and featuring one of those remarkable supporting performances by Julie Walters, remains an exceptional value in conveying vibrant happiness to the viewer.

Full of brilliant moments, ‘Billy Elliot (I want to dance)’ conquered critics and audiences alike with its simplicity, backed by a wonderful soundtrack that served as the perfect accompaniment to a plot that managed to make the hackneyed message of fulfilling a dream by overcoming the difficulties surround you, it will sound with the same strength and inspiration as the first day. That kid who starts jumping on his bed while listening to T. Rex is one of those characters that are here to stay. Forever.

Billy Elliot (I want to dance) at eCartelera

two ‘Little Miss Sunshine’
'Little Miss Sunshine'

Each of the members of the Hoover family, as extravagant as they are close, as melancholic as they are enthusiastic, as sad as they are moving, made ‘Little Miss Sunshine’ the great (and best) representative of indie cinema of the past decade. A small play that has been conquering the hearts of millions of viewers since its premiere until today, creating a cult following that has only grown over the years.

Winner, in all fairness, of the Oscars for Best Original Screenplay and Best Supporting Actor for the great Alan Arkin, ‘Little Miss Sunshine’ continues to be the perfect antidote to face the worst days. A shot of optimism in vein without prejudice that always makes you fall in love with each of its characters, their personality, their dialogues and their wonderful story. The triumph of the debutant couple formed by Jonathan Dayton and Valerie Faris and humility above any label.

Little Miss Sunshine at eCartelera

3 ‘hunger’

What Michael Fassbender and newcomer Steve R. McQueen do in ‘Hunger’, their first collaboration, is much closer to the prodigy than to the interpretation and direction. And it is that, from the first minute to the last shot, both talents give themselves completely to the story of a character that takes them to the extreme of almost all ranges of possible human sensations. Beyond Fassbender’s shocking and memorable physical transformation, it is McQueen’s extremely elegant and precise camera that rounds out an extraordinary film from all points of view.

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Hunger in eCartelera

4 ‘The orphanage’
'The orphanage'

There is an unwritten rule in the horror genre that underlines the need to suggest more than show, that less is almost always more. The magic of the moment occurs when that unknown ‘something’ explodes, when our protagonist opens a door without knowing what’s behind it or when our breath hangs in the air. Yes, it is ephemeral, but the intrigue that we have felt is what we are really looking for. In this sense, ‘The orphanage’ achieved this purpose outstandingly.

An achievement for which JA Bayona should be especially congratulated, a director who made his feature film debut with this story that grabbed the viewer and did not let go for a hundred minutes of pure suspense. Sponsored by Guillermo del Toro, Bayona jumped to the big screen after forging a name in the world of short films and video clips, getting more than four million people to receive him in a big way at the box office. An overwhelming and well-deserved success that, together with the unanimous backing of the critics and the industry, made ‘El orfanato’ a a contemporary classic of Spanish horror cinema.

The orphanage in eCartelera

5 ‘Donnie Darko’
'Donnie Darko'

There are real events in the history of cinema that seem to have been written by the best of screenwriters. The surprise effect, the unexpected twist and the collective astonishment pulling the invisible strings of a future so uncertain that it is capable of turning what is a clear commercial failure into a cult work that continues to add admirers over the years. . A movement of contradiction and discovery that finds in ‘Donnie Darko’ one of his most direct references. Already one of his most memorable examples.

And it is that, from the first moment in which the film written and directed by the newcomer Richard Kelly was released with collection numbers close to insurmountable catastrophe, the fervor and passion towards one of those films has only grown. that seem destined to endure in the collective memory despite the initial barriers. We are talking about a strange, exciting, complex, hypnotic, fascinating, deeply special proposal. And also essential.

Donnie Darko in eCartelera

6 saw

Before the inexhaustible and insufferable succession of sequels ended up extinguishing its indisputable brilliance, ‘Saw’, the first installment of a franchise that should have stopped after this initial chapter, continues to be a truly impeccable artifact of tension, terror, intrigue and suspense. Directed by a James Wan who was making his debut in the feature film, and who was also in charge of the script together with Leigh Whannell, we are facing one of those cinematographic phenomena that surprised and impacted an entire generation of viewers.

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And the truth is that there were plenty of arguments for the enthusiasm and the implementation of the always effective word-of-mouth technique: ‘Saw’ had all the components that one could ask for in a proposal of these characteristics and, in addition, he knew how to use them with enviable precision, perfectly handling times, surprises and blows to the stomach. A small miracle with a tiny budget that, however, managed to rise among the competitors of the genre until it placed itself in the admirable field of contemporary horror classics. The best thing, without a doubt, is to forget everything that came after and enjoy ‘Saw’ again.

Saw at eCartelera

7 ‘dog loves’
'dog loves'

Attention, synopsis: In Mexico City, a fatal car accident tragically affects three people. Octavio, a teenager, decides to run away with Susana, his brother’s wife; Cofi, his dog, becomes the instrument to obtain the necessary money for the escape. At the same time, Daniel, a mature man, leaves his wife and his children to go live with Valeria, a beautiful model. The same day they celebrate their new life, fate makes Valeria the victim of a tragic accident. Does it seem convoluted? Alejandro González Iñárritu and Guillermo Arriaga make it the simplest and most exciting thing in the world. And in one of those unforgettable film debuts. In a first blow, both leave captured all the virtues of their daring, a lot of arguments to place high expectations for the future and the confirmation of an expert talent for some beginners.

And it is that, that first perfect union between script and direction, supposes the best reflection seen in a cinema in a long time of the broken glass left by the mirror of the human being when everything around him jumps into the air. An excitingly structured narrative that plays with the viewer through a frenetic rhythm in which each blow resounds like a storm. A grand opening, a merry-go-round of emotions, a tragedy dressed as a Mexican that hides a universal essence. Impress, move. ‘Amores perro’ leaves you trembling. An absolute achievement.

Dog loves in eCartelera

8 ‘hereditary’

Last 2018, horror cinema added to its catalog one of its most impressive and dazzling jewels in recent years: ‘Hereditary’. We are facing the impressive debut of Ari Aster, a film as strange as it is exciting, as delusional as it is hypnotic, as confused as it is convulsive, as brilliant as it is moving. Characters that were far beyond the stereotype, an unpredictable story from start to finish, an undeniable central performance by Toni Collete and some of the most disturbing, disturbing and suffocating cinematographic moments of the last decade ended up rounding off the prodigy. A tape consolidated in record time as a classic of the genre.

Hereditary in eCartelera

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9 ‘Let me out’
'Let me out'

If something makes a film like ‘Let me out’ clear from the first viewing, it’s that it has a guy at the wheel who knows perfectly the story he’s telling and, most importantly, the way he wants to tell it. Jordan Peele had already shown his immense talent in comedy thanks to the brilliant ‘Key & Peele’, but few, if any, could expect such an applauded, daring, surprising and successful film premiere.

We are facing a film capable of remarkably combining terror with social denunciation, decorating numerous nooks and crannies of its history with an acid and ironic sense of humor that rounds off a set capable of exciting all kinds of audiences, including those who do not communes too much with the genre. One of the most impressive debuts of the last decade in Hollywood.

Let me out on eCartelera

10 ‘DiamondFlash’

We’re not going to debate whether Spanish cinema needed a guy like Carlos Vermut or a movie like ‘Diamond Flash’. This is not the time, nor the place. Or if. It is evident that a country always requires the appearance of potential geniuses, daring directors who know what they are doing, who are clear about what they want to tell and the way they want to do it. ‘Diamond Flash’ was an outstanding debut that allowed us to dream of a future full of great films, something that, of course, ‘Magical Girl’ and ‘Who will sing to you’ cturned into an exalted reality.

However, this first work already certified Vermut’s category as THAT filmmaker to follow, who justified paying the price of a ticket allowing you to enter his universe, letting you play with his characters, giving the viewer the space necessary to that he completes the puzzle with the pieces that his own mind forms, the perception of what he is telling and, at the same time, the suspicion of what is happening off-camera. A compendium of successes that continue to make ‘Diamond Flash’ one of the most complex and fascinating Spanish films of the last decade.

Diamond Flash in eCartelera

In addition, we are talking about a phenomenon that never stops happening, thus generating a kind of wonderful storm of talent that, in the best cases, penetrates to the bone. It is rare the year in which there is not a debut capable of awakening the coveted unanimity of the public and critics, pointing to its corresponding person in charge in figure to start following the steps with justified enthusiasm.

The ten proposals that make up this special serve as a convincing example, a set of films that, based on different genres, completely changed the careers of the directors who made them possible. The echo of that first blow of emotion still remains today.


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