Table of Contents
Sunbeam Cinema
This page acts as an archive of radical films that are publically available on the internet. If you wish to add a film to the list, please search first for it on archive.org before seeking out other platforms. If you notice any dead links, please replace and/or remove it, so we can keep the wiki up-to-date.
The Birth of Cinema (1870s-1910s)
- The Dreyfus Affair (1899) - Georges Méliès
- A Trip to the Moon (1902) - Georges Méliès
- The Story of the Kelly Gang (1906) - Charles Tait
- La Commune (1914) - Armand Guerra
- Damn The War (1914) - Alfred Machin
- Hearts in Exile (1915) - James Young
- Golden Claws (1927) - Alfonso Martínez Velasco
Early Cinema (1920s-1950s)
Classical Hollywood
- The Immigrant (1917) - Charlie Chaplin
- The Adventurer (1917) - Charlie Chaplin
- The Kid (1921) - Charlie Chaplin
- The Four Horsemen of the Apocalypse (1921) - Rex Ingram
- The Pilgrim (1923) - Charlie Chaplin
- The Gold Rush (1925) - Charlie Chaplin
- All Quiet on the Western Front (1930) - Lewis Milestone
- City Lights (1931) - Charlie Chaplin
- Duck Soup (1933) - Leo McCarey
- Man's Castle (1933) - Frank Borzage
- Les Miserables (1935) - Richard Boleslawski
- A Night At The Opera (1935) - Sam Wood
- Modern Times (1936) - Charlie Chaplin
- Mr. Smith Goes To Washington (1939) - Frank Capra
- The Grapes of Wrath (1940) - John Ford
- The Great Dictator (1940) - Charlie Chaplin
- His Girl Friday (1940) - Howard Hawks
- Citizen Kane (1941) - Orson Welles
- Casablanca (1942) - Michael Curtiz
- To Be or Not To Be (1942) - Ernst Lubitsch
- For Whom The Bell Tolls (1943) - Sam Wood
- The Stranger (1946) - Orson Welles
- Great Expectations (1946) - David Lean
- The Best Years of Our Lives (1946) - William Wyler
- It's a Wonderful Life (1946) - Frank Capra
- Monsieur Verdoux (1947) - Charlie Chaplin
- Oliver Twist (1948) - David Lean
- They Live By Night (1948) - Nicholas Ray
- Macbeth (1948) - Orson Welles
- The Treasure of the Sierra Madre (1948) - John Huston
- A Place in the Sun (1951) - George Stevens
- Limelight (1952) - Charlie Chaplin
- Shane (1953) - George Stevens
- Salt of the Earth (1954) - Herbert Biberman
- Paths of Glory (1957) - Stanley Kubrick
- A King in New York (1957) - Charlie Chaplin
- The Bridge On The River Kwai (1957) - David Lean
- The Diary of Anne Frank (1959) - George Stevens
- Ben-Hur (1959) - William Wyler
- Spartacus (1960) - Stanley Kubrick
- Lawrence of Arabia (1962) - David lean
- Behold A Pale Horse (1964) - Fred Zinnemann
- Dr. Strangelove (1964) - Stanley Kubrick
- Johnny Got His Gun (1971) - Dalton Trumbo
Poetic Realism
Poetic Realist films (and its forerunner, French Impressionism) usually have a fatalistic view of life with their characters living on the margins of society, either as unemployed members of the working class or as criminals. The overall tone often resembles nostalgia and bitterness. They are “poetic” because of a heightened aestheticism that sometimes draws attention to the representational aspects of the films.
- J'Accuse (1919) - Abel Gance
- The Wheel (1922) - Abel Gance
- Cœur fidèle (1923) - Jean Epstein
- Nana (1926) - Jean Renoir
- Zero For Conduct (1933) - Jean Vigo
- L'Atlante (1934) - Jean Vigo
- Pension Mimosas (1935) - Jacques Feyder
- La Bandera (1935) - Julien Duvivier
- They Were Five (1936) - Julien Duvivier
German Expressionism
German Expressionism consisted of a number of related creative movements in the Weimar Republic. German Expressionist films produced in the Weimar Republic immediately following the First World War not only encapsulate the sociopolitical contexts in which they were created, but also rework the intrinsically modern problems of self-reflexivity, spectacle and identity. Films made in this period all hint at the inevitability of the rise of Nazi Germany.
- The Cabinet of Dr. Caligari (1920) - Robert Wiene
- From Morning to Midnight (1920) - Karlheinz Martin
- The Golem (1920) - Paul Wegener & Carl Boese
- Destiny (1921) - Fritz Lang
- Dr. Mabuse, the Gambler (1922) - Fritz Lang
- Nosferatu (1922) - F.W. Murnau
- Schatten (1923) - Arthur Robison
- Greed (1924) - Eric von Stroheim
- The Last Laugh (1924) - F.W. Murnau
- Metropolis (1927) - Fritz Lang
- Sex in Chains (1928) - William Dieterle
- Westfront 1918 (1930) - G.W. Pabst
- Comradeship (1931) - G.W. Pabst
- M (1931) - Fritz Lang
- Hell on Earth (1931) - Victor Trivas
- The Testament of Dr. Mabuse (1933) - Fritz Lang
Surrealism
Surrealist cinema is a modernist approach to film theory, criticism, and production with origins in Paris in the 1920s. The movement used shocking, irrational, or absurd imagery and Freudian dream symbolism to challenge the traditional function of art to represent reality. Related to Dada cinema, Surrealist cinema is characterized by juxtapositions, the rejection of dramatic psychology, and a frequent use of shocking imagery.
- Entr'acte (1924) - René Clair
- The Seashell and the Clergyman (1928) - Germaine Dulac
- L'Étoile de mer (1928) - Man Ray
- An Andalusian Dog (1928) - Luis Buñuel
- The Fall of the House of Usher (1929) - Jean Epstein
- The Mysteries of the Chateau of Dice (1929) - Man Ray
- The Golden Age (1930) - Luis Buñuel
- À Nous la Liberté (1931) - René Clair
- The Blood of a Poet (1932) - Jean Cocteau
Socialist Realism
Socialist realism is a style of idealized realistic art that was developed in the Soviet Union and was imposed as the official style in that country between 1932 and 1988, as well as in other socialist countries after World War II. Socialist realism is characterized by the glorified depiction of communist values, such as the emancipation of the proletariat.
- Aelita (1924) - Yakov Protazanov
- Battleship Potemkin (1925) - Sergei Eisenstein
- Strike (1925) - Sergei Eisenstein
- Mother (1926) - Vsevolod Pudovkin
- The End of St. Petersburg (1927) - Vsevolod Pudovkin
- The Forty-First (1927) - Yakov Protazanov
- October (1928) - Sergei Eisenstein & Grigoriy Aleksandrov
- Zvenigora (1928) - Aleksandr Dovzhenko
- Arsenal (1929) - Aleksandr Dovzhenko
- The New Babylon (1929) - Grigori Kozintsev & Leonid Trauberg
- Earth (1930) - Aleksandr Dovzhenko
- Alexander Nevsky (1938) - Sergei Eisenstein
- Volga-Volga (1938) - Grigori Aleksandrov
- Ivan the Terrible: Part 1 (1944) - Sergei Eisenstein
- Ernst Thälmann: Part 1 - Son of his Class (1954) - Kurt Maetzig
- Ernst Thälmann: Part 2 - Leader of his Class (1955) - Kurt Maetzig
- Ivan the Terrible: Part 2 (1958) - Sergei Eisenstein
Japanese Realism
With the rise of left-wing political movements and labor unions at the end of the 1920s arose so-called tendency films with left-wing “tendencies”. Realism brought with it a powerful social critique. The movement was repressed up until the rise of the new fascist order. Japanese tendency films made a brief return in the post-war period, before being succeeded by the Japanese New Wave.
- What Made Her Do It? (1930) - Shigeyoshi Suzuki
- That Night's Wife (1930) - Yasujirō Ozu
- Tokyo Chorus (1931) - Yasujirō Ozu
- I Was Born but... (1932) - Yasujirō Ozu
- Woman of Tokyo (1933) - Yasujirō Ozu
- Dragnet Girl (1933) - Yasujirō Ozu
- A Mother Should Be Loved (1934) - Yasujirō Ozu
- An Inn in Tokyo (1935) - Yasujirō Ozu
- Osaka Elegy (1936) - Kenji Mizoguchi
- Sisters of the Gion (1936) - Kenji Mizoguchi
- What Did the Lady Forget? (1937) - Yasujirō Ozu
- The Story of the Last Chrysanthemums (1939) - Kenji Mizoguchi
- The 47 Ronin (1941) - Kenji Mizoguchi
- Brothers and Sisters of the Toda Family (1941) - Yasujirō Ozu
- Utamaro and his Five Women (1946) - Kenji Mizoguchi
- Record of a Tenement Gentleman (1947) - Yasujirō Ozu
- Flame of My Love (1949) - Kenji Mizoguchi
- Late Spring (1949) - Yasujirō Ozu
- Early Summer (1951) - Yasujirō Ozu
- Tokyo Story (1953) - Yasujirō Ozu
- Crucified Lovers (1954) - Kenji Mizoguchi
- Early Spring (1956) - Yasujirō Ozu
- Good Morning (1959) - Yasujirō Ozu
- Late Autumn (1960) - Yasujirō Ozu
Italian Neorealism
Italian neorealism is characterized by stories set amongst the poor and the working class, filmed on location, frequently using non-professional actors. Italian neorealism films mostly contend with the difficult economic and moral conditions of post-World War II Italy, representing changes in the Italian psyche and conditions of everyday life, including poverty, oppression, injustice, and desperation.
- Ossessione (1943) - Luchino Visconti
- Rome, Open City (1945) - Roberto Rossellini
- Shoeshine (1946) - Vittorio De Sica
- Germany, Year Zero (1948) - Roberto Rossellini
- The Bicycle Thief (1948) - Vittorio De Sica
- La Terra Trema (1948) - Luchino Visconti
- Stromboli (1950) - Roberto Rossellini
- Miracle in Milan (1951) - Vittorio De Sica
- Rome 11:00 (1952) - Giuseppe De Santis
- Europe '51 (1952) - Roberto Rossellini
- Umberto D. (1953) - Vittorio De Sica
- Journey to Italy (1954) - Roberto Rossellini
Golden Age of Mexican Cinema
- ¡Que viva México! (1932) - Sergei Eisenstein
- Prisoner 13 (1933) - Fernando de Fuentes
- Godfather Mendoza (1933) - Fernando de Fuentes
- Vámonos con Pancho Villa (1936) - Fernando de Fuentes
- María Candelaria (1943) - Emilio Fernández
- The Abandoned (1944) - Emilio Fernández
- In Love (1946) - Emilio Fernández
- The Pearl (1947) - Emilio Fernández
- Nosotros Los Pobres (1947) - Ismael Rodríguez
- Ustedes Los Ricos (1948) - Ismael Rodríguez
- Pueblerina (1949) - Emilio Fernández
- Salón México (1949) - Emilio Fernández
- Out on the Great Ranch (1949) - Fernando de Fuentes
- The Forgotten (1950) - Luis Buñuel
- The Torch (1950) - Emilio Fernández
- Ascent to Heaven (1952) - Luis Buñuel
- Pepe El Toro (1952) - Ismael Rodríguez
- Él (1953) - Luis Buñuel
- La Red (1953) - Emilio Fernández
- Robinson Crusoe (1954) - Luis Buñuel
- Una Cita De Amor (1957) - Emilio Fernández
- Tizoc (1957) - Ismael Rodríguez
- Nazarín (1959) - Luis Buñuel
- La Cucaracha (1959) - Ismael Rodríguez
- Macario (1960) - Roberto Gavaldón
- Viridiana (1961) - Luis Buñuel
- The Exterminating Angel (1962) - Luis Buñuel
- Ánimas Trujano (1962) - Ismael Rodríguez
- Simon of the Desert (1965) - Luis Buñuel
- Belle de jour (1967) - Luis Buñuel
- Un Dorado de Pancho Villa (1967) - Emilio Fernández
- Emiliano Zapata (1970) - Felipe Cazals
New Wave of Cinema (1950s-1980s)
American New Wave
- Shadows (1959) - John Cassavetes
- Ulysses (1967) - Joseph Strick
- 2001: A Space Odyssey (1968) - Stanley Kubrick
- Night of the Living Dead (1968) - George Romero
- Faces (1968) - John Cassavetes (Cloudy Weather Backup)
- Husbands (1970) - John Cassavetes
- M*A*S*H (1970) - Robert Altman
- The Landlord (1970) - Hal Ashby
- Harold and Maude (1971) - Hal Ashby
- A Clockwork Orange (1971) - Stanley Kubrick
- Images (1972) - Robert Altman
- A Woman Under the Influence (1974) - John Cassavetes
- Bound For Glory (1976) - Hal Ashby
- A Portrait of the Artist as a Young Man (1977) - Joseph Strick
- Dawn of the Dead (1978) - George Romero
- The Keep (1983) - Michael Mann
- Matewan (1987) - John Sayles
- They Live (1988) - John Carpenter
- Starship Troopers (1997) - Paul Verhoeven
- The Insider (1999) - Michael Mann
Japanese New Wave
- Scandal (1950) - Akira Kurosawa
- Rashomon (1950) - Akira Kurosawa
- Ikiru (1952) - Akira Kurosawa
- The Warped Ones (1960) - Koreyoshi Kurahara
- She and He (1963) - Susumu Hani
- Pale Flower (1964) - Masahiro Shinoda
- Gates of Flesh (1964) - Seijun Suzuki
- Woman in the Dunes (1964) - Hiroshi Teshigahara
- The Face of Another (1966) - Hiroshi Teshigahara
- Fighting Elegy (1966) - Seijun Suzuki
- Manual of Ninja Arts (1967) - Nagisa Oshima
- Death by Hanging (1968) - Nagisa Oshima
- Inferno of First Love (1969) - Susumu Hani
- Diary of a Shinjuku Thief (1969) - Nagisa Oshima
- The Man Who Left His Will On Film (1970) - Nagisa Oshima
- The Ceremony (1971) - Nagisa Oshima
- Dersu Uzala (1975) - Akira Kurosawa
- In The Realm Of The Senses (1976) - Nagisa Oshima
British New Wave
The British New Wave was characterised by many of the same stylistic and thematic conventions as the French New Wave. Usually in black-and-white, these films had a spontaneous quality, often shot in a pseudo-documentary style on real locations and with real people rather than extras, apparently capturing life as it happens.
- This Sporting Life (1963) - Lindsay Anderson
- The Leather Boys (1964) - Sidney J. Furie
- It Happened Here (1965) - Kevin Brownlow
- Alfie (1966) - Lewis Gilbert
- The Whisperers (1967) - Bryan Forbes
- If... (1968) - Lindsay Anderson
- O Lucky Man! (1973) - Lindsay Anderson
- Winstanley (1975) - Kevin Brownlow
- Monty Python and The Holy Grail (1975) - Terry Gilliam & Terry Jones
- Monty Python's Life of Brian (1979) - Terry Jones
- Britannia Hospital (1982) - Lindsay Anderson
- Looks and Smiles (1981) - Ken Loach
- 1984 (1984) - Michael Radford
- A Passage To India (1984) - David Lean
French New Wave
The French New Wave emerged in the early 1960s. New Wave filmmakers were linked by their self-conscious rejection of the traditional film conventions then dominating France, and by a spirit of iconoclasm. Common features of the New Wave included radical experimentation with editing, visual style, and narrative, as well as engagement with the social and political upheavals of the era.
- The Joy of Living (1960) - René Clément
- Paris Belongs To Us (1961) - Jacques Rivette
- Critique of the Separation (1961) - Guy Debord
- My Life to Live (1962) - Jean-Luc Godard
- Contempt (1963) - Jean-Luc Godard
- Landru (1963) - Claude Chabrol
- Is Paris Burning? (1966) - René Clément
- Weekend (1967) - Jean-Luc Godard
- The Road to Corinth (1967) - Claude Chabrol
- Les Biches (1968) - Claude Chabrol
- La Bande à Bonnot (1968) - Philippe Fourastié
- This Man Must Die (1969) - Claude Chabrol
- The Wild Child (1970) - François Truffaut
- La Rupture (1970) - Claude Chabrol
- Just Before Nightfall (1971) - Claude Chabrol
- Tout Va Bien (1972) - Jean-Luc Godard
- Les Noces Rouges (1973) - Claude Chabrol
- The Year 01 (1973) - Jacques Doillon
- The Society of the Spectacle (1973) - Guy Debord (Abridged)
- Can Dialectics Break Bricks? (1973) - René Viénet
- Refutation (1975) - Guy Debord
- Every Man For Himself (1980) - Jean-Luc Godard
- King Lear (1987) - Jean-Luc Godard
- New Wave (1990) - Jean-Luc Godard
- La Cérémonie (1991) - Claude Chabrol
- Joan the Maiden (1994) - Jacques Rivette
- In Praise of Love (2001) - Jean-Luc Godard
- The Lady and the Duke (2001) - Éric Rohmer
Spanish New Wave
The Spanish New Wave emerged in the late 1970s, with the fall of the Francoist dictatorship. With greater freedom of expression came a reinvigorated radical cinema.
- Amanece, Que No Es Poco (1989) - José Luis Cuerda
- Libertarias (1996) - Vincente Aranda
- The Butterfly's Tongue (1999) - José Luis Cuerda
- Salvador (Puig Antich) (2006) - Manuel Huerga
- Agora (2009) - Alejandro Amenábar
Taiwanese New Wave
Following the death of Chiang Kai-Shek and the move towards democracy in Taiwan, Taiwanese cinema experienced a New Wave of creativity, fulfilling their new found freedoms of expression. New Taiwanese Cinema films are known for their realistic, down-to-earth, and sympathetic portrayals of Taiwanese life. These films sought to examine many of the important issues facing Taiwanese society at the time, such as urbanization, the struggle against poverty, and conflicts with political authority.
- That Day, on the Beach (1983) - Edward Yang
- Daughter of the Nile (1987) - Hou Hsiao Hsien
- A City of Sadness (1989) - Hou Hsiao Hsien
- The Puppetmaster (1993) - Hou Hsiao Hsien
- A Confucian Confusion (1994) - Edward Yang
- Mahjong (1996) - Edward Yang
- Goodbye South, Goodbye (1996) - Hou Hsiao Hsien
- Flowers of Shanghai (1998) - Hou Hsiao Hsien
- Yi Yi (2000) - Edward Yang
Italian New Wave
- Variety Lights (1950) - Federico Fellini & Alberto Lattuada
- I Vitelloni (1953) - Federico Fellini
- La Strada (1954) - Federico Fellini
- Il Bidone (1955) - Federico Fellini
- La Dolce Vita (1960) - Federico Fellini
- The Battle of Algiers (1966) - Gillo Pontecorvo
- The Stranger (1967) - Luchino Visconti
- Satyricon (1969) - Federico Fellini (Cloudy Weather Backup)
- I Clowns (1970) - Federico Fellini
- Sacco & Vanzetti (1971) - Giuliano Montaldo (English Dub)
- Amarcord (1973) - Federico Fellini
- Casanova (1976) - Federico Fellini
- Operación Ogro (1979) - Gillo Pontecorvo
Iranian New Wave
The first wave of Iranian (and later Afghan) new wave cinema came about as a reaction to the popular cinema at the time that did not reflect the norms of life for Iranians or the artistic taste of the society. The factors leading to the rise of the New Wave in Iran were, in part, due to the intellectual and political movements of the time.
- The Cow (1969) - Dariush Mehrjui
- The Postman (1970) - Dariush Mehrjui
- Mr. Naive (1971) - Dariush Mehrjui
- The Report (1977) - Abbas Kiarostami
- The Ballad of Tara (1979) - Bahram Beyzai
- Boycott (1986) - Mohsen Makhmalbaf
- Shirak (1988) - Dariush Mehrjui
- The Cyclist (1989) - Mohsen Makhmalbaf
- Hamoun (1989) - Dariush Mehrjui
- Marriage of the Blessed (1989) - Mohsen Makhmalbaf
- Close-up (1990) - Abbas Kiarostami
- The Lady (1991) - Dariush Mehrjui
- Once Upon A Time, Cinema (1992) - Mohsen Makhmalbaf
- The White Balloon (1995) - Jafar Panahi
- The Mirror (1997) - Jafar Panahi
- The Silence (1998) - Mohsen Makhmalbaf
- The Wind Will Carry Us (1999) - Abbas Kiarostami
- The Circle (2000) - Jafar Panahi
- Crimson Gold (2003) - Jafar Panahi
- Osama (2003) - Siddiq Barmak
- Offside (2006) - Jafar Panahi
- Opium War (2008) - Siddiq Barmak
- Certified Copy (2010) - Abbas Kiarostami
- Closed Curtain (2013) - Jafar Panahi
- The President (2014) - Mohsen Makhmalbaf
- Taxi (2015) - Jafar Panahi
New German Cinema
New German Cinema is a period in German cinema which lasted from the late 1960s into the 1980s. It saw the emergence of a new generation of directors. Working with low budgets, and influenced by the French New Wave, such directors produced a number of “small” motion pictures that caught the attention of art house audiences, and enabled these directors to create larger productions.
- Das Totenschiff (1959) - Georg Tressler
- Yesterday Girl (1966) - Rainer Fassbender
- Aguirre, the Wrath of God (1972) - Werner Herzog (Cloudy Weather Backup)
- World on a Wire (1973) - Rainer Fassbender
- Ali: Fear Eats the Soul (1974) - Rainer Fassbender
- Fox and his Friends (1975) - Rainer Fassbender
- The Lost Honor (1975) - Volker Schlöndorff & Margarethe von Trotta
- Stroszek (1977) - Werner Herzog
- The Second Awakening of Christa Klages (1978) - Margarethe von Trotta
- The Tin Drum (1979) - Volker Schlöndorff
- Nosferatu the Vampyre (1979) - Werner Herzog
- The Marriage of Maria Braun (1979) - Rainer Fassbender
- Marianne and Julianne (1981) - Margarethe von Trotta
- Fitzcarraldo (1982) - Werner Herzog
- Rosa Luxemburg (1986) - Margarethe von Trotta
Socialist New Wave
Following the death of Stalin and the subsequent thaw, Soviet and Socialist cinema saw a new wave of creativity spring up. Socialist Realism was no longer imposed as the official style, allowing a much wider scope of storytelling.
- The Forty-First (1956) - Grigori Chukhrai
- And Quiet Flows the Don (1957) - Sergei Gerasimov (Cloudy Weather Backup)
- The Cranes Are Flying (1957) - Mikhail Kalatozov
- Destiny of a Man (1959) - Sergei Bondarchuk
- Ivan's Childhood (1962) - Andrei Tarkovsky
- Walking the Streets of Moscow (1964) - Georgiy Daneliya
- Andrei Rublev (1966) - Andrei Tarkovsky
- Beware of the Car (1966) - Eldar Ryazanov
- The First Teacher (1966) - Andrei Konchalovsky
- The Story of Asya Klyachina (1966) - Andrei Konchalovsky
- The Plea (1967) - Tengiz Abuladze
- Anna Karenina (1967) - Aleksandr Zarkhi
- The Color of Pomegranates (1968) - Sergei Parajanov
- The Diamond Arm (1969) - Leonid Gaidai
- Uncle Vanya (1970) - Andrey Konchalovskiy
- Gentlemen of Fortune (1971) - Aleksandr Sery
- The Irony of Fate (1971) - Eldar Ryazanov
- Twelve Chairs (1971) - Leonid Gaidai
- Lăutarii (1971) - Emil Loteanu
- The Dawns Here Are Quiet (1972) - Stanislav Rostotsky
- Solaris (1972) - Andrei Tarkovsky
- Ivan Vasilievich Changes Profession (1973) - Leonid Gaidai
- The Mirror (1975) - Andrei Tarkovsky
- Gypsies Are Found Near Heaven (1975) - Emil Loteanu
- The Promised Land (1975) - Andrzej Wajda
- Office Romance (1977) - Eldar Ryazanov
- Man of Marble (1977) - Andrzej Wajda
- The Ascent (1977) - Larisa Shepitko
- Camera Buff (1979) - Krzysztof Kieślowski
- Stalker (1979) - Andrei Tarkovsky
- The Constant Factor (1980) - Krzysztof Zanussi
- Dreszcze (1981) - Wojciech Marczewski
- Interrogation (1982) - Ryszard Bugajski
- Danton (1983) - Andrzej Wajda
- Nostalghia (1983) - Andrei Tarkovsky
- Come and See (1985) - Elem Klimov
- The Sacrifice (1986) - Andrei Tarkovsky
- Stalingrad (1990) - Yuri Ozerov
Swedish New Wave
In the wake of World War 2, Swedish cinema experienced a creative boom in the film industry.
- Crisis (1946) - Ingmar Bergman
- It Rains on Our Love (1946) - Ingmar Bergman
- A Ship To India (1947) - Ingmar Bergman
- Port of Call (1948) - Ingmar Bergman
- Prison (1949) - Ingmar Bergman
- To Joy (1950) - Ingmar Bergman
- Secrets of Women (1952) - Ingmar Bergman
- Summer With Monika (1953) - Ingmar Bergman
- Sawdust and Tinsel (1953) - Ingmar Bergman
- A Lesson in Love (1954) - Ingmar Bergman
- Dreams (1955) - Ingmar Bergman
- Smiles of a Summer Night (1955) - Ingmar Bergman
- The Seventh Seal (1957) - Ingmar Bergman
- Wild Strawberries (1957) - Ingmar Bergman
- The Magician (1958) - Ingmar Bergman
- The Devil's Eye (1959) - Ingmar Bergman
- Through A Glass Darkly (1961) - Ingmar Bergman
- Winter Light (1963) - Ingmar Bergman
- The Silence (1963) - Ingmar Bergman
- Persona (1966) - Ingmar Bergman
Contemporary Cinema (1990s-Present)
Contemporary Hollywood
- The Big Lebowski (1998) - Joel and Ethan Coen
- Che: Part 1 - The Argentine (2008) - Steven Soderbergh
- Inglorious Basterds (2009) - Quentin Tarantino
- The Young Karl Marx (2017) - Raoul Peck
Contemporary British Cinema
- Land and Freedom (1995) - Ken Loach
- My Name is Joe (1998) - Ken Loach
- The Navigators (2001) - Ken Loach
- Sweet Sixteen (2002) - Ken Loach
- Bloody Sunday (2002) - Paul Greengrass
- Shaun of the Dead (2004) - Edgar Wright
- This Is England (2006) - Shane Meadows
- The Wind that Shakes the Barley (2006) - Ken Loach
- It's a Free World... (2007) - Ken Loach
Contemporary German Cinema
- What to Do in Case of Fire? (2001) - Gregor Schnitzler
New Russian Cinema
- The Chekist (1992) - Aleksandr Rogozhkin
- Burnt by the Sun (1994) - Nikita Mikhalkov
- The Thief (1997) - Pavel Chukhrai
- Country of the Deaf (1998) - Valery Todorovsky
- Khrustalyov, My Car! (1998) - Aleksei German
- Russian Ark (2002) - Alexander Sokurov
- Hipsters (2008) - Valery Todorovsky
- How I Ended This Summer (2011) - Alexei Popogrebski
- Burnt by the Sun 2 (2011) - Nikita Mikhalkov
- Leviathan (2014) - Andrey Zvyagintsev
- The Postman's White Nights (2014) - Andrei Konchalovsky
Contemporary Japanese Cinema
- Grave of Fireflies (1988) - Isao Takahata
- Princess Mononoke (1997) - Hayao Miyazaki