Best movies like Wind from the East

A day in the life of an unfaithful married couple and their steadily deteriorating relationship in Milan.

Night after night, not long before dawn, two young adults, Patricia and Emile, meet on a sound stage to discuss learning, discourse, and the path to revolution. Scenes of Paris's student revolt, the Vietnam War, and other events of the late 1960s, along with posters, photographs, and cartoons, are backdrops to their words. Words themselves are often Patricia and Emile's subject, as are images, sounds, and juxtapositions.

Takes us to locations all around the US and shows us the heavy toll that modern technology is having on humans and the earth. The visual tone poem contains neither dialogue nor a vocalized narration: its tone is set by the juxtaposition of images and the exceptional music by Philip Glass.

An eight-hour contemplative epic, entirely starring sheep.

Shot under extreme conditions and inspired by Mayan creation theory, the film contemplates the illusion of reality and the possibility of capturing for the camera something which is not there. It is about the mirages of nature—and the nature of mirage.

This ethereal, three-hour biopic is the middle film in Hans-Jürgen Syberberg’s “German Trilogy” on the mythological foundations of the Third Reich. By fusing theater, music, and cinema, Syberberg conjures up Karl May (1842-1912), the immensely popular German author, who set many of his adventure novels in an idealized version of the American Wild West. His tales of the cowboy and the Ubermensch alike were beloved by many, including (Our) Hitler, who supposedly ordered his generals to read May works after defeats in the Russian campaign.

The film reveals how and why a supposedly revolutionary Italian girl has in fact fallen prey to bourgeois ideology.

Chilean exiles in Paris discuss the problems facing them. They kidnap and attempt to re-educate a touring singer from their fatherland.

This Italian black-and-white film, based on a true story, was originally made for television. It concerns the life and sad end of Evariste Gallois (Mario Barriba), a brilliant student mathematician whose republican politics and hot-bloodedness resulted in his death; it is unclear whether he died by political assassination or as a result of a duel.

H₂O (1929) is a short silent film by photographer Ralph Steiner. The film serves as a cinematic tone poem, showcasing the dynamic nature of water through its various forms.

After a film production wraps in Peru, an American wrangler decides to stay behind, witnessing how filmmaking affects the locals.

A new incarnation of Cangaceiro bandits, led by Coirana, has risen in the badlands. A blind landowner hires Antônio to wipe out his old nemesis. Yet after besting Coirana and accompanying the dying man to his mountain hideout, Antônio is moved by the plight of the Cangaceiro’s followers. The troubled hitman turns revolutionary, his gun and machete aimed towards his former masters.

In Le Livre d’Image, Jean-Luc Godard recycles existing images (films, documentaries, paintings, television archives, etc.), quotes excerpts from books, uses fragments of music. The driving force is poetic rhyme, the association or opposition of ideas, the aesthetic spark through editing, the keystone. The author performs the work of a sculptor. The hand, for this, is essential. He praises it at the start. “There are the five fingers. The five senses. The five parts of the world (…). The true condition of man is to think with his hands. Jean-Luc Godard composes a dazzling syncopation of sequences, the surge of which evokes the violence of the flows of our contemporary screens, taken to a level of incandescence rarely achieved. Crowned at Cannes, the last Godard is a shock film, with twilight beauty.

Rithy Panh uses clay figures, archival footage, and his narration to recreate the atrocities Cambodia's Khmer Rouge committed between 1975 and 1979.

The story of a young man who meets his own likeness and uses him to fulfill his dreams.

An exploration of technologically developing nations and the effect the transition to Western-style modernization has had on them.

In Manhattan's Central Park, a film crew directed by William Greaves is shooting a screen test with various pairs of actors. It's a confrontation between a couple: he demands to know what's wrong, she challenges his sexual orientation. Cameras shoot the exchange, and another camera records Greaves and his crew. Sometimes we watch the crew discussing this scene, its language, and the process of making a movie. Is there such a thing as natural language? Are all things related to sex? The camera records distractions - a woman rides horseback past them; a garrulous homeless vet who sleeps in the park chats them up. What's the nature of making a movie?

A strike at a French sausage factory contributes to the estrangement of a married filmmaker and his reporter wife.

The life and music of Johann Sebastian Bach as presented by his wife, Anna.

Documentary about a group of Americans who go to Nicaragua to learn about the conflict between the Contras and the Sandinistas.

Hudson river fur hunters rebel against their English masters in this pre-Blind Dead effort from de Ossorio. Victor, chief of the rebels, kidnaps Ann from the ruthless landowner, Sullivan, as a bartering tool. Ann and Victor, in love, fight together against Sullivan for a free life together.

Jockey Jack has a bill open with a gangster just released from jail. He somehow manages to parry the gangster's knife attack backstage at a theatre and the latter ends up dead being put into a double bass case. A day later the gangster mysteriously has disappeared, but it turns out that he was carrying a bet ticket for a horse race now worth over a million. A turbulent run for the money begins.

This documentary celebrates the 100th anniversary of the cinema birth. It is an historic running through the technical and artistic evolution of the 7th art. We move from mute to sound, from B&W to color, trough all the genders (musical, Lyric, politic...). Beside it we have a kind of resume of the historic contest in which cinema lived till now, events and movements (neo-realism, classical etc.). All the aspects are taken in consideration: fashion, star system till the end, the sad end, of cinema in the theaters.

A murder investigation is flipped inside out in Burak Çevik's second feature, a spellbinding and surprising work that questions whether we can ever truly understand criminal motives. We begin in the present as an unseen narrator recounts the assassination of his lover's disapproving mother, accompanied by hauntingly vacant images of urban alienation and garish city lights; we then flash back to witness the first encounter between the lovers-turned-accomplices, their mutual attraction and world-weariness emerging across a sleepless night and morning after. Çevik imbues the proceedings with a stylistic confidence and willingness to bend the conventions of cinematic form to arrive at a complex, gripping double meditation on love and death.

The study of a youth on the edge of adulthood and his aunt, ten years older. Fabrizio is passionate, idealistic, influenced by Cesare, a teacher and Marxist, engaged to the lovely but bourgeois Clelia, and stung by the drowning of his mercurial friend Agostino, a possible suicide. Gina is herself a bundle of nervous energy, alternately sweet, seductive, poetic, distracted, and unhinged. They begin a love affair after Agostino's funeral, then Gina confuses Fabrizio by sleeping with a stranger. Their visits to Cesare and then to Puck, one of Gina's older friends, a landowner losing his land, dramatize contrasting images of Italy's future. Their own futures are bleak.

Five short stories with contemporary settings. In New York, people are indifferent to derelicts sleeping on sidewalks, to a woman's assault in front of an apartment building, and to a couple injured in a car crash. A man, stripped of his identity, dies in bed with actors expressing his agony. A cheerful, innocent young man walking a city street in a time of war pays a price for this innocence. A couple talks about cinema while it watches another couple talk of love and truth on the eve of one character's return to Cuba. Striking students take over a university classroom; an argument follows about revolution or incremental change.

Jean-Luc Godard's and Jean-Pierre Gorin's interpretation of the Chicago Eight / Chicago Seven trial, which followed the 1968 Democratic National Convention protest activities. Judge Hoffman becomes the character Judge Himmler (played by Ernest Menzer) and the defendants become a microcosms of the French Revolution.

Sentenced to life imprisonment for illegal activities, Italian International member Giulio Manieri holds on to his political ideals while struggling against madness in the loneliness of his prison cell.

A young man, recently arrived in New York from Europe, becomes swept up in a series of events that are beyond his knowledge or control.

A pair of working class lovers - a secretary and an accountant, scheme to marry into the rich landed gentry.

A familiar Biblical tale transformed into a cinematic opera of seemingly endless possibility. In expressive, melodic tones, the fraternal pair debate God’s true message and intent for His creations, a conflict that leads their followers towards chaos and sin. Set almost entirely within a Roman amphitheater whose history lends every precise line-reading and gesture, every startling camera move and cut, a totalizing force.

An analysis of the social upheaval of May 1968, made in the immediate wake of the workers’ and students’ protests. The picture consists of two parts, each with with identical image tracks, and differing narration.

In the Po Valley during the 19th century, a rich girl engaged to a well-to-do farmer ends up penniless and is forced to work for her fiancé’s relatives. Peasant unrest, carried to extremes by both workers and landowners, leads to violence and tragedy.

'Dalla nube alla resistenza (From the Cloud to the Resistance ) (1978), based on two works by Cesare Pavese, falls into the category of History Lessons and Too Early, Too Late as well. It, too, has two parts—a twentieth-century text and a text regarding the myths of antiquity, each set in the appropriate landscape. Pavese's The Moon and the Bonfires looks back on the violent deaths of Italian anti-Fascist resistance fighters; Dialogues with Leucò is a series of dialogues between heroes and gods, connecting myth and history and returning to an ambiguous stage in the creation of distinctions, such as that between animal and human, which are fundamental to grammar and language itself. Such a juxtaposition of political engagement with profoundly contemplative issues such as myth, nature, and meaning points to the characters of Empedocles and Antigone in the Hölderlin films.' (From "Landscapes of resistance. The German Films of Danièle Huillet and Jean-Marie Straub" by Barton Byg)