Information taken from Wikipedia

1990-1998: The Last Days of Celluloid – Before the Coming of Digital.

• The Apple (1998) dir. Samira Makhmalbaf
  • this film uses a handheld camera in order to represent the outside world that the characters fear throughout the film
• A Moment of Innocence (1996) dir. Mohsen Makhmalbaf
  • the director of this film is trying to make the events of his life more glamorous than they actually were
• Where Is the Friend’s Home? (1987) dir. Abbas Kiarostami
  • it seems like the director of this film wanted a natural feel so he stayed at a distance and had the actors do things that they could understand.
• And Life Goes On (1991) dir. Abbas Kiarostami
• Through the Olive Trees (1994) dir. Abbas Kiarostami
  • this film was a continuation of the feelings felt by a character in the film that came before it.
• Days of Being Wild (1990) dir. Wong Kar-wai
  • just by watching a few frames of this film, you notice the beautiful colors and shallow soft focus
• In the Mood for Love (2000) dir. Wong Kar-wai
• Irma Vep (1996) dir. Olivier Assayas
• A City of Sadness (1989) dir. Hou Hsiao-hsien
  •  the director often uses the exact same shot in different scenes to show reality doubling back on itself
• Tokyo Story (1953) (introduced in Episode 3) dir. Yasujirō Ozu
• Vive L’Amour (1994) dir. Tsai Ming-liang
  • this film frames the loneliness of life in large cities
• Tetsuo: The Iron Man (1989) dir. Shinya Tsukamoto
• Videodrome (1983) (introduced in Episode 12) dir. David Cronenberg
• Tetsuo II: Body Hammer (1992) dir. Shinya Tsukamoto
  • this film uses the technique of single framed images developed in 1923
• La Roue (1923) (introduced in Episode 3) dir. Abel Gance
• Ringu (1998) dir. Hideo Nakata
  • this film was considered the most influential horror film of its time
• The Exorcist (1973) (introduced in Episode 11) dir. William Friedkin
• Ugetsu Monogatari (1953) dir. Kenji Mizoguchi
• Audition (1999) (introduced in Episode 4) dir. Takashi Miike
  • this film seems to take place in a weightless floating world
• Breaking the Waves (1996) dir. Lars von Trier
• Homicide: Life on the Street (1993-1999) dir. Tom Fontana
• Dogville (2003) dir. Lars von Trier (introduced in Episode 2)
  • Trier would sometimes move the camera himself in order to establish deeper intimacy between director and actor
• La Haine (1995) dir. Mathieu Kassovitz
• Do the Right Thing (1989) (introduced in Episode 12) dir. Spike Lee
  • this films color and the static camera showed that the street life didn’t have to be handheld but that it had style
• Humanité (1999) dir. Bruno Dumont
  • this film is a direct contrast to La Haine and is shot in color with no moving shots
• Rosetta (1999) dir. Jean-Pierre Dardenne and Luc Dardenne
• Touki Bouki (1973) dir. Djibril Diop Mambéty
• Beau travail (1999) dir. Claire Denis
  • the film has great contrast between two different worlds the gray of the earth and the blue of the scene
• Late Spring (1949) dir. Yasujirō Ozu
• Crows (1994) dir. Dorota Kędzierzawska
  • the director of this film wanted a natural performance and to do that she kept the camera static so that the young actors could not be distracted or overwhelmed
• Wednesday (1997) dir. Victor Kossakovsky
  • this film shows that filming human beings is one of cinemas great strengths
• 24 Realities a Second (2004) dir. Nina Kusturica and Eva Testor
• Code Unknown (2000) (a.k.a. Code inconnu) (introduced in Episode 5) dir. Michael Haneke
• Funny Games (1997) dir. Michael Haneke
  • Persona (1966) (introduced in Episode 7) dir. Ingmar Bergman