By Davis Rivera
Making canonical lists of important works is an activity that is necessary to parse the history of art in search of a concise collection of digestible accomplishments. Like editing a film or book, exclusion becomes key to unveiling the incomparable, autonomous forms which the artist was able to invent. What characterizes the filmography of Marlon Brando, however, is its inability to be whittled down. Rather than recommending his entire body of work, which should be viewed at some point, there must be an entry point and that lies within the 129 minutes of Bernardo Bertolucci‘s 1972 film Last Tango in Paris.