1960s

Charade (1963)

Stanley Donen’s eclectic mix of calculated plotting, screwball antics, and authentic location shooting makes for a fascinating blend of tones in Charade, and yet he skilfully integrates all three with playful ease, infusing its Hitchcockian espionage narrative with an air of Parisian romance and peril.

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The Color of Pomegranates (1969)

It is not the factual details of Sayat-Nova’s life that The Color of Pomegranates seeks to explore in its hypnotic surrealism, but rather his inner creativity that gave birth to such enchanting music and poetry, and it is through Sergei Parajanov’s elusive imagery that it stands as a mystifying tribute to Armenia’s rich history and culture, vibrantly independent of any political or cinematic convention.

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Shoot the Piano Player (1960)

François Truffaut’s graceful camerawork and inspired editing delightfully engage in the jaunty lightness that flows from one mysterious bar pianist’s lithe fingers, though for all his lively formal experimentation, Shoot the Piano Player also seeks to understand the wistful tragedies and romances of a reclusive man hiding behind cheerful musical expressions.

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8 1/2 (1963)

In one Italian filmmaker’s struggle with creative block, shame, and overwhelming pressures, Federico Fellini crafts a surrogate representation of himself, and with elusive grace traverses a wildly surreal sea of memory and dreams that stands 8 ½ up as a compelling piece of self-reflexive cinema, seeking to examine the arduous processes of its own construction.

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Alphaville (1965)

Futuristic visual designs do not always mesh so well with low-budget location shooting, but for a postmodern master of cinematic form like Jean-Luc Godard, such delightful incongruity only strengthens his deconstruction of film noir and science-fiction genres in Alphaville, which both examines and becomes an act of rebellion against artistic censorship in its very construction.

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Black Girl (1966)

In its acute examinations of racial oppression, Black Girl stands proudly as a tentpole of both African cinema and Ousmane Sembène’s directorial career, evoking the stylistic sensibilities of the French New Wave while forming a sensitive, post-colonial allegory that leads us through one Senegalese woman’s memoirs into her traumatic experience as a domestic slave.

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