Séverin-Mars

Ivy Close

Gabriel de Gravone

Pierre Magnier

Max Maxudian

Georges Térof

Gil Clary

Abel Gance

Léonce-Henri Burel

Gaston Brun

Marguerite Beaugé

Robert Boudrioz

Blaise Cendrars

Marc Bujard

Maurice Duverger

Arthur Honegger

Charles Pathé

Drama

silent film

railwayman

list1

MovieLens[10K:20K]

Movies in the public domain in the United States. 
References:
https://en.wikipedia.org/wiki/List_of_films_in_the_public_domain_in_the_United_States
archive.org

Public Domain

Library

A mixture of genuinely incredibly moving films where I don't trust anyone who DOESN'T cry at them, some basic bitch romcoms and the like where I blame the HRT for the fact I cried at it, some films that are decently moving but probably wouldn't have made me shed actual tears except that I watched them in rather fragile mental states, some totally random shit I can't even explain why I cried at it, and assorted stuff where my reason for crying is basically case-by-case.

Films added in the order I remember them so if there's a movie you also cried at and wanna see if it's here (or is it just me who searches this website for the word "cry" just so I can see how many other people cried at the same movies I did?), it would probably be best to use the filters and/or sort options.

Movies that made me cry

What is it? The French Impressionist filmmakers took their name from their painterly compatriots and applied it to a 1920s boom in silent film that jolted cinema in thrilling new directions. The devastation of World War I parlayed into films that delved into the darker corners of the human psyche and had a good rummage about while they were there. New techniques in non-linear editing, point-of-view storytelling and camera work abounded. Abel Gance’s Napoleon introduced the widescreen camera and even stuck a camera operator on rollerskates to get a shot, while Marcel L'Herbier experimented with stark new lighting styles. Directors like Gance, Germaine Dulac and Jean Epstein found valuable support from Pathé Fréres and Leon Gaumont, France’s main production houses, in a reaction to the stifling influx of American films.

As film writer David Parkinson points out in 100 Ideas That Changed Film, the group’s figurehead, Louis Delluc, was instrumental in the still-new art form being embraced as something apart, artistically and geographically. “French cinema must be cinema,” he stressed. “French cinema must be French.” And being French, it wasn’t afraid to get a little sexy if the circumstances demanded. Germaine Dulac’s The Seashell And The Clergyman, an early step towards surrealism, gets into the head of a lascivious priest gingering after a general’s wife in a way usually frowned on in religious circles. There’s much leering, a fractured psyche depicted by unnerving editing, strange awake-scapes and a seashell you definitely wouldn’t put anywhere near your ear. Like much of the movement’s output, it’s bonkers and brilliant, with a capacity to surprise that’s barely faded.

Key filmmakers: Abel Gance, Louis Delluc, Germaine Dulac, Marcel L'Herbier, Jean Epstein

What did it influence? Everything, basically. You can trace the dislocated timelines of Alain Resnais’ Last Year At Marienbad, the cross-cutting of the French New Wave and the melancholic lyricism of Jean Cocteau and Poetic Realists like Marcel Carné back to this avant-garde movement. Marcel L'Herbier’s El Dorado (1921) even provided an early case study in going wildly over budget.

Movement - French Impressionism (1918-1930) Essential

1001 Movie You Must See Before You Die

Movies to see before you die

Movies I have yet to see from various editions of the book "1001 Movies You Must See Before You Die"

1001 Movies: Unseen

esoteric.html

1001 Movies to see before you die

1920-1924

Greatest Films of the 1920s

La Roue

Films Abel Gance

France

No Language

La Roue d’Abel Gance : ciné-concert événement ๏ 19 & 20 oct. - Auditorium de Lyon / Festival Lumière

La Roue

Storyline

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