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Tracing the Screen

While each decade seeks to exercise cinematic innovation, each produces seminal, essential films which exhibit the edification and creativity of filmmaking. Below are three, carefully selected films per decade which best represent the era from which they were produced, thematically and stylistically.

1920s: mobility and modernity


Man With A Movie Camera (1929)

directed by Dziga Vertov

Centres the city as its protagonist, essential at demonstrating the possibilities and humanity of the camera.


Un Chien Andalou (1929)

directed by Luis Buñuel

A surreal and grotesque short film and an icon of modernist abstraction.


Metropolis (1929)

directed by Fritz Lang

An epic of the Weimar period, revered for its groundbreaking use of special effects and set design.

1930s: the era of grandeur


M (1931)

directed by Fritz Lang

Essential for its nascent experimentalism with sound cinema.


The Blood of a Poet (1932)

directed by Jean Cocteau

Demonstrative of the art of visual poetry and French avant-garde.


The Wizard of Oz (1939)

directed by Victor Fleming

One of the first uses of Technicolour and an icon of American popular culture.

1940s: refining the medium


Brief Encounter (1945)

directed by David Lean

Experiments with circularity in narrative structure and refines the romantic blockbuster.


The Red Shoes (1948)

directed by Michael Powell and Emeric Pressburger

A monument of British cinema and essential for its intricate display of special effects.


Bicycle Thieves (1948)

directed by Vittorio De Sica

An odyssey of Italian neorealism which refines the meticulous art of story-telling.

1950s: an act of departure


Sunset Boulevard (1950)

directed by Billy Wilder

A departure into noir and self-oriented criticism of Hollywood.

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Night and Fog (1955)

directed by Alain Resnais

Entirely unfiltered in its exhibition of the Holocaust and its violence, an essential in the art of documentation.


Good Morning (1959)

directed by Yasujirō Ozu

A master at resisting narrative complexity in exchange for the art of simplicity.

1960s: crises of identity


Persona (1966)

directed by Ingmar Bergman

Highly stylised and enigmatic performances that embody a collapse of identity.


The Graduate (1967)

directed by Mike Nicholls

A quintessentially American film which satirises existential crises, malaise and coming-of-age narratives.

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Funeral Parade of Roses (1969)

directed by Toshio Matsumoto

A master at tracing the subversive sex culture of Japanese non-binary and trans individuals, revered for its experimental combination of documentary footage and avant-garde cinematography.

1970s: the macabre


Cries and Whispers (1972)

directed by Ingmar Bergman

Influential for its powerful depiction of emotional and physical trauma, a cinematic extreme.


The Texas Chain Saw Massacre (1974)

directed by Tobe Hooper

Gritty and relentless for how it positions graphic violence as a spectacle of morbid fascination and escapism.


House (1977)

directed by Nobuhiko Obayashi

A cult-classic Japanese horror that is subtextually responsive to Hiroshima’s nuclear bombings, advancing the genre from B-movie detritus into highly creative, reflective cinema.

1980s: fragility of mind and memory


Paris, Texas (1984)

directed by Wim Wenders

Essential for its melancholy and fractured depictions of memory and loss.


Betty Blue (1986)

directed by Jean-Jacques Beineix

A fragile landscape which captures the inarticulacy and complexity of modern relationships and mental illness.


Blue Velvet (1986)

directed by David Lynch

Lynch’s epic of surrealism, deconstruction, and mental instability, all of which replace narrative familiarity.

1990s: retrospect


Paris is Burning (1990)

directed by Jennie Livingston

A stylish and devastating masterpiece of the documentary genre which turns towards the origins of black queer subcultures fraught with external violence.