1969-1979: Radical Directors in the 70s – Make State of the Nation Movies.
- Fox and His Friends (1975) (a.k.a. Faustrecht der Freiheit) dir. Rainer Werner Fassbinder
- All That Heaven Allows (1955) (introduced in Episode 6) dir. Douglas Sirk
- Ali: Fear Eats the Soul (1974) (a.k.a. Angst essen Seele auf) dir. Rainer Werner Fassbinder
- The Bitter Tears of Petra von Kant (1972) (a.k.a. Die Bitteren Tränen der Petra von Kant) dir. Rainer Werner Fassbinder
Has the actors move slowly to seem like there hunted
- All About Eve (1950) dir. Joseph L. Mankiewicz
- Alice in the Cities (1974) (a.k.a. Alice in den Städten) dir. Wim Wenders
- An Affair to Remember (1957) dir. Leo McCarey
A scene is shot in a studio, was crips and colored
- Gods of the Plague (1970) (a.k.a. Götter der Pest) dir. Rainer Werner Fassbinder
- The Second Awakening of Christa Klages (1978) (a.k.a. Das zweite Erwachen der Christa Klages) dir. Margarethe von Trotta
The robbery is one of the lest tens robbery ever filmed
- Burden of Dreams (1982) dir. Les Blank
The camera is far back to capture the rejoice
- Arabian Nights (1974) (a.k.a. Il fiore delle mille e una notte) dir. Pier Paolo Pasolini
- The Spider’s Stratagem (1970) (a.k.a. Strategia del ragno) dir. Bernardo Bertolucci
The cameras track made it seem like a actress is moving for the first in a long time
- The Conformist (1970) (a.k.a. Il conformista) dir. Bernardo Bertolucci
The way the camera moves in the wind like the leaves to as well makes it make the camera is blowing in the wind like the leaves as well
- Taxi Driver (1976) (introduced in Episode 1) dir. Martin Scorsese
- Women in Love (1969) dir. Ken Russell
Films a scene as an outdoor slow motion dance
- Performance (1970) dir. Donald Cammell & Nicolas Roeg
The most imaginative shooting in film
The greatest film about identity
- Mean Streets (1973) (introduced in Episode 9) dir. Martin Scorsese
- Persona (1966) (introduced in Episode 7) dir. Ingmar Bergman
- Walkabout (1971) dir. Nicolas Roeg
Films in the wide-angle lens to show the space in front of them
- Picnic at Hanging Rock (1975) dir. Peter Weir
Films the girls in slight slowmo to creat a sense of mystery
- My Brilliant Career (1979) dir. Gillian Armstrong
- Minamata: The Victims and Their World (1971) dir. Noriaki Tsuchimoto
little sic sound, josceled hand held camera and torentive words make fiction film look stage
- The Emperor’s Naked Army Marches On (1987) dir. Kazuo Hara
Films with a hand held camera
- Black Girl (1966) (a.k.a. La noire de…) (introduced in Episode 8) dir. Ousmane Sembène
- Tarzan’s Secret Treasure (1941) dir. Richard Thorpe
- La nouba des femmes du Mont Chenoua (1971) dir. Assia Djebar
The film is dream like
- Xala (1975) dir. Ousmane Sembène
- Sinemaabi: A Dialogue with Djibril Diop Mambéty (1997) dir. Beti Ellerson Poulenc
Spoke slowly in a dream like state
- Badou Boy (1970) dir. Djibril Diop Mambéty
The standing up and hunkering down of the two people give it an abstract rythem and jagginess
Mambety said you either engage in styelestic research or just record reality
- Hyènes (1992) (a.k.a. Hyenas/Ramatou) dir. Djibril Diop Mambéty
- Kaddu Beykat (1975) (a.k.a. Lettre paysanne) dir. Safi Faye
- Harvest: 3,000 Years (1976) (a.k.a. Mirt sost shi amit) dir. Haile Gerima
The story stretches over 3,000 years
People are beginning to talk to each other, a key idea in 3rd cinema
- Umut (1970) (a.k.a. Hope) dir. Yilmaz Güney & Serif Gören
The clothes show how poor the man is
- Yol (1982) dir. Yilmaz Güney & Serif Gören
Long lens filming
Still live shots of confrontation
People look imprison in their windows and door ways
- The Battle of Chile (1975/1977/1979) (a.k.a. La batalla de Chile) dir. Patricio Guzmán
One of the most compelling 3rd cinema films
Filmed with handheld cameras and on rooftops
Used direct sounds, no gloss, no distance
- The Holy Mountain (1973) (a.k.a. La montaña sagrada) dir. Alejandro Jodorowsky
Primary colors, egg shape, a pelagian, nudity, a very 70s production design