An unfinished feature film directed by Orson Welles and based on Charles Williams’s Dead Calm (1963), filmed between 1966 and 1969 off the Yugoslav coast. Starring Welles, Jeanne Moreau, and Laurence Harvey, the project follows a newlywed couple whose yacht voyage becomes a psychological thriller after encountering a drifting vessel. The film remains incomplete, with missing scenes, unfinished sound, and surviving only in workprint form.

An unreleased 1969 made-for-TV short adaptation of Shakespeare’s The Merchant of Venice, produced, directed by, and starring Orson Welles. Originally part of the abandoned CBS special Orson’s Bag, the completed film later became partially lost due to missing workprints and sound elements, surviving only in fragmentary form until a reconstructed restoration premiered in 2015.

A six-part British television travel series written, directed, and presented by Orson Welles for ITV in 1955. Filmed entirely in Europe, the series follows Welles through Vienna, the Basque Country, Madrid, Paris’s Saint-Germain-des-Prés, and London’s Chelsea Pensioners, blending travelogue, cultural portraiture, and personal essay. Moving between documentary observation and reflective commentary, the episodes combine interviews, local history, and Welles’s distinctive narration into a series that functions as both travel film and cinematic essay.

An unsold 1979 television talk-show pilot hosted by Orson Welles, blending interviews, audience interaction, staged segments, and magic performances, filmed between 1978 and 1979 but never broadcast or developed into a series.

An unbroadcast 1958 essay-film by Orson Welles, blending documentary, personal reflection, and cultural portraiture in a subjective study of Italy and actress Gina Lollobrigida.

Filmed during Orson Welles’s travels through Spain while preparing his unfinished Don Quixote project, this nine-part travelogue documents the country’s landscapes, cities, and cultural traditions—from Andalusia to Pamplona—through an intimate, observational lens. Shot as a series of personal, narration-free travel films, the material was later broadcast by Italian television (RAI) with added voiceover, making the series both a poetic portrait of Spain and a rare glimpse into Welles’s working life, family, and creative process.

Orson Welles talks fantasy and magic in this short Vienna travelogue.

Orson Welles' archives of unfinished/never released movies and the last years of his life from the perspective of Oja Kodar (life and artistic partner of Orson Welles in his last years).

A couple is conflicted when they are offered a chance at youth. Based on John Collier's short story “Youth from Vienna”.

The earliest surviving film of Orson Welles—a vignette of his and Roger Hill's production of "Twelfth Night" at the Todd School for Boys.

An investigator from the War Crimes Commission travels to Connecticut to find an infamous Nazi, who may be hiding out in a small town in the guise of a distinguished professor engaged to the Supreme Court Justice’s daughter.

A documentary about Orson Welles's unfinished three-part film about South America.

Filming Othello is a 1978 documentary film directed by and starring Orson Welles about the making of his award-winning 1952 production Othello. The film, which was produced for West German television, was the last completed feature film directed by Welles.

An American ballistics expert in Turkey finds himself targeted by Nazi agents. Safe passage home by ship is arranged for him, but he soon discovers that his pursuers are also on board.

Between 1980 and 1982 Orson Welles shot with very limited means scenes for a film based on two short stories by Isak Dinesen: “The Dreamers” and “Echoes.” The intention was to produce a lavish period movie. Written in collaboration with Oja Kodar, the script weaves the tale of opera singer Pellegrina Leoni, who loses her voice in a fire and then determines from then on to lead the lives of many. The merchant Marcus Coccoza follows her around the world, “a faintly perceptible presence who watches over her.”
Since Welles couldn’t interest any producer in this project, he started filming in the living room and in the backyard of his house near Hollywood Boulevard in Los Angeles. Only a few scenes were shot with Oja Kodar in costumes designed by Welles himself. This restoration by the Munich Film Museum contains all the elements that were filmed, recorded, and partially edited by Welles: the lines of Marcus Cocoza, later renamed Marcus Kleek (played by Welles), and two versions of Pellegrina’s farewell.

An investigator from the War Crimes Commission travels to Connecticut to find an infamous Nazi, who may be hiding out in a small town in the guise of a distinguished professor engaged to the Supreme Court Justice’s daughter.

A restored 1970 cinéma vérité conversation between Orson Welles and Dennis Hopper, filmed during the production of "The Other Side of the Wind" and released in 2020 as a standalone documentary capturing their wide-ranging dialogue on cinema, politics, art, and fame in the early New Hollywood era.

Claiming that he doesn't know his own past, a rich man enlists an ex-con with an odd bit of detective work. Gregory Arkadin says he can't remember anything before the late 1920s, and convict Guy Van Stratten is happy to take the job of exploring his new acquaintance's life story. Guy's research turns up stunning details about his employer's past, and as his work seems linked to untimely deaths, the mystery surrounding Mr. Arkadin deepens.

The Valet enters a hotel room with Joseph Garcin in tow. The windowless room has a single entrance and no mirrors. Two women, Inès Serrano and Estelle Rigault, are then led in; afterwards, the Valet leaves and locks the door. Realising that they are in hell, the trio expects to be tortured; however, no torturer is forthcoming. While waiting, they strike up a conversation and discuss each other's sins, desires, and unpleasant memories. Adaptation of the play by Jean-Paul Sartre.

Finished by Jesus Franco and Patxi Irigoyen in 1992. (Orson Welles died in 1985).
In the 1950s, Orson Welles shot some scenes featuring himself as "Orson Welles, the film director" and then little girl 'Patricia McCormack' as a child named "Dulcie" (after Dulcinea), which will be introduced by Welles in the world of Don Quixote. These scenes aren't present in this Jesus Franco version.
According to Spanish film critic Juan Cobos, who had watched an early rough cut of the movie while Orson Welles was still filming material for it, this new version cut and reshaped by Jesus Franco doesn't resemble Welles' vision at all.
The film doesn't include all known footage of Don Quixote. There is footage being privately held in at least two collections in Europe.
In the unfinished doc, Filming the Trial, Orson Welles said that if Don Quixote was ever finished, he would have called it "When are you going to finish Don Quixote?"
Unlike other unfinished Orson Welles films, Don Quixote's incomplete state was not because of lack of finances. Welles always considered his Don Quixote a "private exercise". Or as he put it, he worked on it like an author works on a novel; under no obligations, no time constraints, and could finish it whenever he feels like it.
Orson Welles began filming this picture in 1955 and worked on it off and on over the years.