BY THE NUMBERS: FAVORITE DIRECTORS OF THE 1960S

1962 film by Mikio Naruse

A young nurse, Alma, is put in charge of Elisabeth Vogler: an actress who is seemingly healthy in all respects, but will not talk. As they spend time together, Alma speaks to Elisabeth constantly, never receiving any answer.

1962 film by Jean-Luc Godard

1967 film directed by Luis Buñuel

Life at home changes when a housewife from a middle-class, conservative family in Calcutta gets a job as a salesperson. Preserved by the Academy Film Archive in partnership with The Film Foundation in 1996.

1964 Japanese film by Masaki Kobayashi

1960 film by Michelangelo Antonioni

1963 film by Shōhei Imamura

A young girl living in the French countryside suffers constant indignities at the hand of alcoholism and her fellow man.

Two interwoven stories. The first is a biography of anarchist Sakae Osugi which follows his relationship with three women in the 1920s. The second centers on two 1960s students researching Osugi's theories.

1961 film by Alain Resnais

1964 film directed by Pier Paolo Pasolini

While the Civil War rages on between the Union and the Confederacy, three men – a quiet loner, a ruthless hitman, and a Mexican bandit – comb the American Southwest in search of a strongbox containing $200,000 in stolen gold.

Producer and director Frederick Wiseman takes his camera into a high school in 1968 and records events as they occur. Told without narration, the film essentially listens in on students, teachers and parents as they deal with issues of everyday life. Students are clearly meant to do as they are told without question - many of the teachers are autocratic in this respect - and the developing clash of cultures is evident in almost every scene. The role these young women are expected to play after high school is particularly archaic by today's standards.

怀斯曼第二部纪录片《高中》(1968)记录了费城东北高中的师生互动，通过将家长座谈、性教育演讲、课堂讨论和教务惩戒等独立场景反映现代教育机构的权力运作模式。以直接电影手法、尤其是大量的局部特写作为社会学检验方式，貌似无序的剪辑实则通过独立场景的并置达到叙事的递进，从而不断深入教育权力手段的弊端在空间和时间维度的影响。（小易甫字幕组）

Guido Anselmi, a film director, finds himself creatively barren at the peak of his career. Urged by his doctors to rest, Anselmi heads for a luxurious resort, but a sorry group gathers—his producer, staff, actors, wife, mistress, and relatives—each one begging him to get on with the show. In retreat from their dependency, he fantasizes about past women and dreams of his childhood.

In the heyday of the jute industry, millions of people in Bengal made their living doing this laborious work, which has hardly changed since the industrial revolution. The 100-year-old machinery has been endlessly repaired. State aid kept this sustainable alternative to plastic going, but its future looks bleak.
In beautifully composed shots, Nishtha Jain (Gulabi Gang [2012], Lakshmi and Me [2007]) shows the last vestiges of the industry. She follows the entire production chain, from cutting and drying the reed along the river to weaving in two of the biggest mills in the area. Along endless rows of antique looms, the air thick with dusty fibers, workers carry out their routine work. Accidents and jammed machines are commonplace; workers’ faces reveal the exhaustion of a lifetime of labour.
Meanwhile, the union is fighting for a minimum wage equivalent to 250 US dollars a month. During their break, the workers speak out. “Nowadays nobody cares about quality, just more production,” says one. Not long afterwards, one of the mills closes its doors after more than a hundred years.

Mikolás and his brother Adam end up with a young German hostage of noble blood during a robbery. While their clan prepares for the wrath of the German king, Mikolás is sent to pressure his neighbor Lazar into a defense pact. Persuasion fails and he abducts Lazar's daughter Marketa on the eve of her initiation as a nun in an act of vengeance.

A family of four are the sole inhabitants of a small island, where they struggle each day to irrigate their crops.

In this loose adaptation of "Hamlet," illegitimate son Kôichi Nishi climbs to a high position within a Japanese corporation and marries the crippled daughter of company vice president Iwabuchi. At the reception, the wedding cake is a replica of their corporate headquarters, but an aspect of the design reminds the party of the hushed-up death of Nishi's father. It is then that Nishi unleashes his plan to avenge his father's death.

A young couple, Rosemary and Guy, moves into an infamous New York apartment building, known by frightening legends and mysterious events, with the purpose of starting a family.