|
By alphabetical order:
|
|
By geography:
|
♦
The 1930s:
All Quiet on the Western Front (Lewis Milestone, 1930)
The Dawn Patrol (Howard Hawks, 1930)
Westfront 1918 (G. W. Pabst, 1930)
The Last Flight (William Dieterle, 1931)
Wooden Crosses (Raymond Bernard, 1932)
The Goddess (Wu Yonggang, 1934)
The Only Son (Yasujiro Ozu, 1936)
La Grande Illusion (Jean Renoir, 1937)
♦
The 1940s:
The Killers (Robert Siodmak, 1946)
Antoine et Antoinette (Jacques Becker, 1947)
Black Narcissus (Michael Powell & Emeric Pressburger, 1947)
Body and Soul (Robert Rosssen, 1947)
Brute Force (Jules Dassin, 1947)
Crossfire (Edward Dmytryk, 1947)
Daisy Kenyon (Otto Preminger, 1947)
Driftwood (Allan Dwan, 1947)
The Ghost and Mrs. Muir (Joseph L. Mankiewicz, 1947)
It Always Rains on Sunday (Robert Hamer, 1947)
Les jeux sont faits (Jean Delannoy, 1947)
Nightmare Alley (Edmund Goulding, 1947)
Odd Man Out (Carol Reed, 1947)
One Wonderful Sunday (Akira Kurosawa, 1947)
Out of the Past (Jacques Tourneur, 1947)
Quai des orfèvres (Henri-Georges Clouzot, 1947)
Record of a Tenement Gentleman (Yasujiro Ozu, 1947)
Le Tempestaire (Jean Epstein, 1947)
They Made Me a Fugitive (Alberto Cavalcanti, 1947)
T-Men (Anthony Mann, 1947)
The Upturned Glass (Lawrence Huntington, 1947)
A Hometown of the Heart (Yun Yong-gyu, 1949)
Champion (Mark Robson, 1949)
The Quiet Duel (Akira Kurosawa, 1949)
The Set-Up (Robert Wise, 1949)
♦
The 1950s:
The Naked Spur (Anthony Mann, 1953)
The Man with the Golden Arm (Otto Preminger, 1955)
Bad Day at Black Rock (John Sturges, 1955)
Floating Clouds (Mikio Naruse, 1955)
Jedda (Charles Chauvel, 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 French New Wave:
Weekend (Jean-Luc Godard, 1967)
♦
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:
Aimless Bullet (Yu Hyun-mok, 1961)
The Coachman (Kang Dae-jin, 1961)
Abhijan (Satyajit Ray, 1962)
The House is Black (Forough Farrokhzad, 1962)
High and Low (Akira Kurosawa, 1963)
The Naked Kiss (Samuel Fuller, 1964)
Brick and Mirror (Ebrahim Golestan, 1965)
The Holy Man (S. Ray, 1965)
Seconds (John Frankenheimer, 1966)
The Night it Rained (Kamran Shirdel, 1967)
A Day Off (Lee Man-hee, 1968)
Mandabi (Ousmane Sembène, 1968)
Gheisar (Masud Kimiai, 1969)
The Land (Youssef Chahine, 1969)
The Structure of Crystal (Krzysztof Zanussi, 1969)
♦
The American Avant-Garde:
Motion Painting No. 1 (Oskar Fischinger, 1947)
Surface Tension (Hollis Frampton, 1968)
Zorn’s Lemma (Hollis Frampton, 1970)
(nostalgia) (Hollis Frampton, 1971)
♦
The New Hollywood:
Bonnie and Clyde (Arthur Penn, 1967)
Five Easy Pieces (Bob Rafelson, 1970)
Klute (Alan J. Pakula, 1971)
McCabe & Mrs. Miller (Robert Altman, 1971)
Badlands (Terrence Malick, 1973)
The Parallax View (Alan J. Pakula, 1974)
All the President’s Men (Alan J. Pakula, 1976)
Martin (George A. Romero, 1977)
Days of Heaven (Terrence Malick, 1979)
♦
The 1970s:
Witchhammer (Otakar Vávra, 1970)
Walkabout (Nicolas Roeg, 1971)
Family Life (Krzysztof Zanussi, 1971)
Woman of Fire (Kim Ki-young, 1971)
The Cruel Sea (Khalid Al-Siddiq, 1972)
The Dupes (Tewfik Saleh, 1972)
The Leopard (Nabil Maleh, 1972)
A Thousand and One Hands (Souheil Ben-Barka, 1972)
Distant Thunder (Satyajit Ray, 1973)
Illumination (Krzysztof Zanussi, 1973)
Lucky Luciano (Francesco Rosi, 1973)
Tangsir (Amir Naderi, 1973)
The Mongols (Parmiz Kimiavi, 1973)
Lacombe, Lucien (Louis Malle, 1974)
Still Life (Sohrab Shahid-Saless, 1974)
The Traveller (Abbas Kiarostami, 1974)
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 Cycle (Dariush Mehrjui, 1978)
The Ballad of Tara (Bahram Beyzai, 1979)
♦
The Australian New Wave:
Picnic at Hanging Rock (Peter Weir, 1975)
The Last Wave (Peter Weir, 1977)
♦
The 1980s:
Declaration of Fools (Lee Jang-ho, 1983)
When the Tenth Month Comes (Đặng Nhật Minh, 1984)
Manhunter (Michael Mann, 1986)
The Emperor’s Naked Army Marches On (Kazuo Hara, 1987)
The Houses are Full of Smoke (Allan Francovich, 1987)
The Surrogate Woman (Im Kwon-taek, 1987)
Where is the Friend’s Home? (Abbas Kiarostami, 1987)
The Age of Success (Jang Sun-woo, 1988)
Camp de Thiaroye (Ousmane Sembène, 1988)
♦
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)
A City of Sadness (Hou Hsiao-hsien, 1989)
♦
The Chinese Fifth Generation:
The One and the Eight (Zhang Junzhao, 1983)
Yellow Earth (Chen Kaige, 1984)
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:
North Korean Partisan in South Korea (Chung Ji-young, 1990)
Song of the Exile (Ann Hui, 1990)
The Puppetmaster (Hou Hsiao-hsien, 1993)
Chungking Express (Wong Kar-wai, 1994)
The Friends (Shinji Somai, 1994)
Good Men, Good Women (Hou Hsiao-hsien, 1995)
A Single Spark (Park Kwang-su, 1995)
Crash (David Cronenberg, 1996)
Goodbye, South Goodbye (Hou Hsiao-hsien, 1996)
Flowers of Shanghai (Hou Hsiao-hsien, 1998)
♦
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:
The Halt (Sergei Loznitsa, 2000)
Millennium Actress (Satoshi Kon, 2001)
Millennium Mambo (Hou Hsiao-hsien, 2001)
Blind Shaft (Li Yang, 2003)
Cafe Lumiere (Hou Hsiao-hsien, 2003)
Evolution of a Filipino Family (Lav Diaz, 2004)
Three Times (Hou Hsiao-hsien, 2005)
Flight of the Red Balloon (Hou Hsiao-hsien, 2007)
Tony Manero (Pablo Larraín, 2008)
♦
Latin America:
 Argentina:
White Elephant (Pablo Trapero, 2012) ♦ Jauja (Lisandro Alonso, 2014) ♦ Wild Tales (Damián Szifron, 2014) ♦ Zama (Lucrecia Martel, 2017) |
 Colombia:
|
♦
Sub-Saharan Africa:
 Mauritania:
|
 South Africa:
|
 Zambia:
|
♦
North Africa & Middle East:
 Egypt:
|
 Jordan:
|
♦
Scandinavia:
 Sweden:
We Are the Best! (Lukas Moodysson, 2013) ♦ A Pigeon Sat on a Branch Reflecting on Existence (Roy Andersson, 2014) |
♦
Eastern Europe:
 Czechoslovakia/Czech Republic:
|
 Hungary:
White God (Kornel Mundruczó, 2014) ♦ Son of Saul (László Nemes, 2015) ♦ On Body and Soul (Ildikó Enyedi, 2017) ♦ Sunset (Nemes, 2018) ♦ |
 Poland:
The Structure of Crystal (Krzysztof Zanussi, 1969) ♦ Family Life (Zanussi, 1971) ♦ Illumination (Zanussi, 1973) ♦ Ida (Pawel Pawlikowski, 2013) |
 Romania:
Beyond the Hills (Cristian Mungiu, 2012) ♦ Aferim! (Radu Jude, 2016) ♦ Graduation (Mungiu, 2016) ♦ Sieranevada (Cristi Puiu, 2016) |
  Russia/USSR:
Woodpeckers Don’t Get Headaches (Dinara Asanova, 1975) ♦ The Halt (Sergei Loznitsa, 2000) ♦ My Joy (Loznitsa, 2010) ♦ A Gentle Creature (Loznitsa, 2017) |
♦
South Asia:
♦
Southeast Asia:
 Cambodia:
|
 Indonesia:
The Act of Killing (Joshua Oppenheimer, 2012) ♦ The Look of Silence (Oppenheimer, 2015) ♦ Marlina the Murderer in Four Acts (Mouly Surya, 2017) |
 Philippines:
Evolution of a Filipino Family (Lav Diaz, 2004) ♦ Norte, the End of History (Diaz, 2013) |
 Singapore:
A Land Imagined (Yeo Siew Hua, 2018) ♦ Shirkers (Sandi Tan, 2018) ♦ ♦ |
♦
East Asia:
♦
Australasia:
cine-scope.com 
Here at sofa inc., we look forward to your review of Much Ado about Nothing in the near(ish) future.
The film review list does not show In The Fog.
Thank you, fixed.
Hi – I’d like to reprint an excerpt — how can I send you an email with details?
Hi Jason,
thanks for taking the time to reach out. Please email me at jbdevaulx@yahoo.co.uk, thanks.
Best,
Jean-Baptiste