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| | | | This collection of stellar films, many of which consistently appear on critics' top 100 lists, have more in common than just their release date: the revolutionary rumblings and political awakenings that characterized these times gave auteurs permission to flaunt conventions of form and narrative. |
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| | | |  | | Masculin féminin (1966)
| | dir. Jean-Luc Godard | | | | The heroes of this spirited drama are "the children of Marx and Coca-Cola": French youths trying their hand at style, sophistication and modern romance. | | |
 | | | Persona (1966) | | dir. Ingmar Bergman | | | | Bibi Andersson and Liv Ullmann turn incredible performances as the mysteriously intertwined stars of Bergman's intense, intimate psychological thriller. | | |
|  | | | Au hasard Balthazar (1966) | | dir. Robert Bresson | | | | There is, simply, no heart hard enough to withstand Bresson's masterfully handled, painfully evocative, devastatingly beautiful, tragic allegorical power. | | |
 | | | Daisies (1966) | | dir. Vera Chytilová | | | Two girls named Marie are fed up and decide to "go bad", and the result is a smart, cheeky and chaotic tear through societal (and cinematic) conventions.
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 | | Violence at Noon (1966)
| | dir. Nagisa Ôshima | | | Based on heinous true events concerning a serial rapist and murderer, this highly controversial and stylized tour-de-force contains over a thousand cuts.
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 | | | The Battle of Algiers (1966) | | dir. Gillo Pontecorvo | | | | Raising the colonial consciousness of the Western world, Pontecorvo's historical re-enactment of Algerian insurgency remains relevant in our times. | | |
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 | | Closely Watched Trains (1966)
| | dir. Jiří Menzel | | | With a quiet wryness that has come to characterize the Czech New Wave, this small gem of a film is a warm tale of coming of age during times of conflict.
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 | | | Wings (1966) | | dir. Larisa Shepitko | | | | Shepitko's richly drawn character study of a former fighter pilot struggling with the tedium of a new life and career, her first feature as a film school grad. | | |
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 | | Chafed Elbows (1966)
| | dir. Robert Downey Sr. | | | An ultra-low-budget manic madcap comedy, told almost entirely through still images and voiceover, that is both endlessly entertaining and gleefully foul.
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 | | | Law of the Border (1966) | | dir. Ömer Lütfi Akad | | | | A man agrees to smuggle a herd of sheep across the border to help his ailing son, but why has he been pushed to a life of crime in the first place? | | |
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