What was your process for making this group (or, what do you mean by "worldwide cinema in transition")? If you're planning on watching them, I'd happily watch along, I've only seen two of those.
Basically the process was as unsophisticated as looking at all the films on my various, complexly intertwined lists of films to see and narrowing them down to about ten (at least one per year) that fit the bill. I wasn't opposed to having more than one film per country, but there were enough options to choose from that I couldn't justify it to myself.
For the idea of transition, I merely looked to (re)emergent national cinemas (sub-Saharan Africa, Cuba), various new waves (Nouvelle Vague, Japanese New Wave, Cinema Novo, Czech New Wave), and other films that, in their local contexts, seemed to signify a break with the past or the embodiment of a trend rooted in the sixties. I also gave weight (at least subconsciously) to politically engaged films, especially those concerned with revolution and other transitions beyond cinema.
One factor I did not bother to consider, though, is DVD availability — something which would have kept at least four of the films off the list. If you're really up for a lineup like this, I'd have to make some tweaks.
A few of other titles on the shortlist:
Barren Lives (Nelson Pereira Dos Santos, 1963, Brazil);
Muriel (Alain Resnais, 1963, France
-Italy);
Le Joli mai (Chris Marker, 1963, France);
Red Desert (Michelangelo Antonioni, 1964,
France-Italy);
Intentions of Murder (Shohei Imamura, 1964, Japan);
Diamonds of the Night (Jan Nemec, 1964, Czechoslovakia);
Loves of a Blonde (Milos Forman, 1965, Czechoslovakia);
Not Reconciled (Jean-Marie Straub, 1965, West Germany);
Masculin Feminin (Jean-Luc Godard, 1966, France
-Sweden);
Yesterday Girl (Alexander Kluge, 1966, West Germany);
The Hour of the Furnaces (Octavio Getino & Fernando E. Solanas, 1968, Argentina);
Night of the Living Dead (George A. Romero, 1968, US);
Faces (John Cassavetes, 1968, US); and
Ådalen '31 (Bo Widerberg, 1969, Sweden).
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