Atlas of Films

The 1930s:

The Only Son (Yasujiro Ozu, 1936)


The 1940s:

The Quiet Duel (Akira Kurosawa, 1949)

The 1950s:
The Man with the Golden Arm (Otto Preminger, 1955)
Floating Clouds (Mikio Naruse, 1955)
There’s Always Tomorrow (Douglas Sirk, 1956)
Run of the Arrow (Samuel Fuller, 1957)
The Hidden Fortress (Akira Kurosawa, 1958)
The Crimson Kimono (Samuel Fuller, 1959)

The Japanese New Wave:
Pitfall (Hiroshi Teshigahara, 1962)
Woman in the Dunes (Hiroshi Teshigahara, 1964)
The Face of Another (Hiroshi Teshigahara, 1966)
The Man Without a Map (Hiroshi Teshigahara, 1968)

The 1960s:
Abhijan (Satyajit Ray, 1962)
High and Low (Akira Kurosawa, 1963)
The Naked Kiss (Samuel Fuller, 1964)
Brick and Mirror (Ebrahim Golestan, 1965)
Seconds (John Frankenheimer, 1966)
The Land (Youssef Chahine, 1969)
The Structure of Crystal (Krzysztof Zanussi, 1969)

The American Avant-Garde:
Surface Tension (Hollis Frampton, 1968)
Zorn’s Lemma (Hollis Frampton, 1970)

The New Hollywood:
Bonnie and Clyde (Arthur Penn, 1967)
Five Easy Pieces (Bob Rafelson, 1970)
McCabe & Mrs. Miller (Robert Altman, 1971)
Badlands (Terrence Malick, 1973)
Martin (George A. Romero, 1977)
Days of Heaven (Terrence Malick, 1979)

The 1970s:
Witchhammer (Otakar Vávra, 1970)
Family Life (Krzysztof Zanussi, 1971)
The Cruel Sea (Khalid Al-Siddiq, 1972)
The Leopard (Nabil Maleh, 1972)
Distant Thunder (Satyajit Ray, 1973)
Illumination (Krzysztof Zanussi, 1973)
Lucky Luciano (Francesco Rosi, 1973)
Dersu Uzala (Akira Kurosawa, 1975)
Profondo Rosso (Dario Argento, 1975)
Woodpeckers Don’t Get Headaches (Dinara Asanova, 1975)
Padre Padrone (Paolo & Vittorio Taviani, 1977)

The Australian New Wave:
Picnic at Hanging Rock (Peter Weir, 1975)
The Last Wave (Peter Weir, 1977)

The 1980s:

When the Tenth Month Comes (Đặng Nhật Minh, 1984)
The Houses are Full of Smoke (Allan Francovich, 1987)
The Emperor’s Naked Army Marches On (Kazuo Hara, 1987)

Taiwan New Cinema:
In Our Time (Various directors, 1982)
The Sandwich Man (Various directors, 1983)
The Boys From Fengkuei (Hou Hsiao-hsien, 1983)
A Summer at Grandpa’s (Hou Hsiao-hsien, 1984)
A Time to Live and a Time to Die (Hou Hsiao-hsien, 1985)
Dust in the Wind (Hou Hsiao-hsien, 1986)

The Chinese Fifth Generation:
The One and the Eight (Zhang Junzhao, 1983)
Red Sorghum (Zhang Yimou, 1987)
Ju Dou (Zhang Yimou, 1990)
Life on a String (Chen Kaige, 1991)
Raise the Red Lantern (Zhang Yimou, 1991)
Temptress Moon (Chen Kaige, 1996)

The 1990s:

Chungking Express (Wong Kar-wai, 1994)

Crash (David Cronenberg, 1996)

The Chinese Sixth Generation:
Xiao Wu (Jia Zhangke, 1997)
I Love Beijing (Ning Ying, 2000)/ Railroad of Hope (Ning Ying, 2002)

The Korean New Wave:
Peppermint Candy (Lee Chang-dong, 1999)
Oasis (Lee Chang-dong, 2002)
Secret Sunshine (Lee Chang-dong, 2007)

The 2000s:
Tony Manero (Pablo Larraín, 2008)
Evolution of a Filipino Family (Lav Diaz, 2004

The 2010s:
The Ditch (Wang Bing, 2010)
Bullhead (Michaël R. Roskam, 2011)
I Wish (Hirokazu Kore-eda, 2011)
No (Pablo Larraín, 2012)
Caesar Must Die (Paolo & Vittorio Taviani, 2012)
Beyond the Hills (Cristian Mungiu, 2012)
Reality (Matteo Garrone, 2012)
Michael H – Profession: Director (Yves Montmayeur, 2013)
White Elephant (Pablo Trapero, 2012)
Me and You (Bernardo Bertolucci, 2012)
Behind the Candelabra (Steven Soderbergh, 2013)
Our Children (Joachim Lafosse, 2012)
In the Fog (Sergei Loznitsa, 2012)
The Act of Killing (Joshua Oppenheimer, 2012)
Only God Forgives (Nicolas Winding Refn, 2013)
The Past (Asghar Farhadi, 2013)
A Touch of Sin (Jia Zhangke, 2013)
The Congress (Ari Folman, 2013)
Blood Ties (Guillaume Canet, 2013)
Violette (Martin Provost, 2013)
The Grandmaster (Wong Kar-wai, 2013)
Norte, the End of History (Diaz, 2013)
White God (Kornel Mundruczó, 2014)
Blackhat (Michael Mann, 2014)
Jauja (Lisandro Alonso, 2014)
Love is Strange (Ira Sachs, 2014)
Manakamana (Stephanie Spray, Pacho Valez, 2014)
Snowpiercer (Bong Joon-ho, 2014)
Phoenix (Christian Petzold, 2014)
Force Majeure (Ruben Östlund, 2014)
Leviathan (Andrey Zvyagintsev, 2014)
Timbuktu (Abderrahmane Sissako, 2014)
Wild Tales (Damián Szifron, 2014)
The Look of Silence (Oppenheimer, 2015)
Son of Saul (László Nemes, 2015)
The Assassin (Hou Hsiao-Hsien, 2015)
Jackie (Pablo Larraín, 2016) & Neruda (Pablo Larraín, 2016)
Sweet Country (Warwick Thornton, 2017)
Zama (Lucrecia Martel, 2017)
Araby (João Dumans, Affonso Uchoa, 2017)
The Great Buddha+ (Huang Hsin-yao, 2017)
Marlina the Murderer in Four Acts (Mouly Surya, 2017)
The Young Karl Marx (Raoul Peck, 2017)



Latin America:



Sub-Saharan Africa:



North Africa & Middle East:






Eastern Europe:

Czechoslovakia/Czech Republic:

Witchhammer (Otakar Vávra, 1970)



South Asia:



Southeast Asia:



East Asia:




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