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January 19, 2008

Paul Greengrass

Contemporary British Directors: Paul Greengrass

Return to Contemorary British Directors hub page here.  

Paul Greengrass

Biographical Details  

Paul Greengrass has had a history of working at the cutting edge of documentary and also writing making firstly with the Granada World in Action TV documentary series. Although he should not be regarded as politically radical his career has been one which has sought to make liberal democracy become more transparent and it appears as though he sees the role of media as making a powerful contribution towards this. His treatment of events in Northern Ireland, his contribution to the Spycatcher book, which tore into the British establishment in the 1980s. His documentary United 93 underpinned the power and determination of ordinary people who will sacrifice themselves for others in the face of a totalitarian terrorism expressed on this occasion by the despised Al Quaida. Most of his early work has trodden where many other filmmakers and creative people have feared to tread. As as John Patterson in The Guardian puts it:

Five years ago, Paul Greengrass was an avowedly political, low-budget British filmmaker working within the documentary-style tradition that constitutes the core - the deepest, oldest thread - of British cinema; now he's a big-name director making kinetic, visceral Hollywood movies that are eagerly awaited at multiplexes worldwide. Ultimatum, budgeted at $125m (£62m), looks set to become one of the biggest hits of the summer. Funny how things turn out.

Born Aug. 13, 1955 in Cheam, Surrey, in the United Kingdom, Greengrass showed an interest in film at an early age. While still in secondary school, he directed several short Super-8 films. He attended Cambridge University and afterwards joined Granada Television.

Greengrass went to school in Kent, winning a scholarship to Sevenoaks School, and started his film-making career with a super 8 camera he found in the art room. He made a series of animated horror films, using old dolls and bric-a-brac props. He went on to Queens' College, Cambridge, and then, inspired by the story of Woodward and Bernstein's uncovering of the Watergate scandal in All the President's Men, decided to become an investigative journalist. (Guardian overview of Greengrass).

He worked with the "World in Action" (ITV, 1963-99) - TV documentary series. The series itself gained a reputation for being cutting edge and hard hitting often being more controversial and less mainstream than the main BBC competitor of the time which was Panorama. As Greengrass commented in a Guardian interview:

I arrived there 1978-79. The great days of World in Action had been the 1960s and it had lost its way somewhere, somewhat, in the mid-70s, but the onset of Margaret Thatcher gave it this tremendous new lease of life. (ibid)

During the 1980s, Greengrass also co-authored the controversial book Spycatcher with former MI5 Assistant Director, Peter Wright. The book, which detailed Wright's attempts to ferret out a Russian spy from the ranks of the British intelligence agency, was banned by the government and held from release until 1988. In the mid 1980s Greengrass met the controversial filmmaker Alan Clarke who had made Scum and had had a strong influence upon his thinking. Greengrass has also been influenced by the realism of Ken Loach particularly Kes and also Peter Watkins’ controversial documentary The War Game.

Spycatcher Cover

It seems as though Greengrass’s film Resurrection (1989) taught him a lesson about drama and film making which allowed him to break with the strongly social realist mode of his previous work enabling him to film an event which it wouldn’t be possible to witness – a brutal mock court martial. It allowed him to take his aesthetic approach to a different level. The film was nominated for a Golden Bear winning some jury awards at the Berlin Film Festival.

We were using the dispassionate, observational documentary eye I had developed, if you like, on recreated events, and the collision between the two allows you to get at a bigger truth than you could by using just the one approach or the other. (ibid).

From Gritty documentaries to Hollywood Action Adventure with an Edge

For many  followers of Greengrass who seemed to be following a path well trodden by many British directors working within a social realist mode it came as a great surprise when Greengrass was chosen to direct the Bourne Supremacy (2004). It was so successful - apparently netting $175 million in the box-office that he directed the Bourne Ultimatum (2007). It hasn't won Greengrass friends everywhere as a summariser from the Independent on Sunday noted in an interview with Harold Pinter and Time Out magazine which was scathingly critical: 

I saw a film, The Bourne Ultimatum," Pinter begins, "and I thought: Fucking hell! This guy is clearly the strongest man in the world. He can beat up about 12 people in about 35 seconds and kill half of them.

"The whole thing is totally unreal. I was stupefied by it, it was so lacking in intelligence." He adds that he sat in the cinema "seething, thinking: What am I doing here, being bombarded by this sound? It knocks you out."

The interviewer pointed out that Oscar-nominated Greengrass is considered a master of dramatic realism.

"Paul Greengrass?" replies Pinter. "I saw Bloody Sunday, I also saw United 93: that fellow is no chump."But: "I've never been able to write a film which I didn't respect, I just can't do it."

John Patterson in the Guardian was rather more sympathetic to the project than Pinter and in doing so comes to a position which finds cross-overs between auteurism and genre cinema almost identifying a British hybrid genre of the 'political-realist action-action thriller':

Bloody Sunday may be political and tragic, but it's also an action-movie manqué. Indeed, the idea of a left-progressive action-movie director isn't even that novel: in Britain it's almost a mini-tradition. Peter Watkins is an action director without compare - witness Culloden or Punishment Park. And no one shot mayhem and violence more compellingly than Clarke. Given such forebears, the move from Bloody Sunday to Jason Bourne is an entirely natural and seamless one.  (My emphasis; Guardian ibid).

Patterson has a point for it is clear that Pinter has little notion of the action adventure genre and in this sense we can point to  the subversion of the sterotype.

And instead of the usual boringly indestructible, mindless right-wing macho man in the lead, the left-leaning Matt Damon plays the isolated and existentially solitary Bourne as a man whose memory may have been erased, but not his sense of morality or his essentially liberal strain of patriotism. It's all subtly embedded within a framework of thrills and violence, but it's there none the less. Greengrass wouldn't be Greengrass if it wasn't.

Whilst Pinter from a more realist mode is right to criticise the impossibility of Bourne being able to whisk aside several hardened CIA operatives just like that this is merely a convention of this type of  film. This can be seen in films such as Crouching Tiger Hidden Dragon. It is a dramatic device for when Bourne meets the Arabic operative sent to kill him in a hand to hand he only just makes it similarly he only survives the car chase by chance. Here he is taking on his own kind the super-killer of which he is the Ur-figure gone wrong. As a political thriller there is a long tradition of defending the supremacy of the American political system against corrupt methods which would ultimately undermine the very raison d'etre of the United States Constitution itself.   This appears on John Gresham novels and  films and older films such as Clear and Present Danger dealing with drug cartels. Although not directly dealing with an American theme these kind of highly secretive undercover operations by states are also critiqued in films such as Spielberg's Munich.

What Greengrass brings to this more American sub-generic category is a decidely British aesthetic which arguably has its heart in European cinema itself. Greengrass brings a gritty realism which belongs to the tradition of the British gangster-heavy (Chibnall) tradition which hasdeveloped thought films such as Brighton Rock, Get Carter (made by Mike Hodges who also worked for World in Action), The Long Good Friday. All of these involved corruption of some sort usually amongst police and local government. Greengrass is well placed to deal with higher level governmental corruption because of his involvement with the Spycatcher affair. all those British gangster films are strong on a sense of place. This is an aesthetic that Greengrass has brought wioth him. One can compare the car chase scene in the Bourne Ultimatum with the ridiculous street shoot out in Heat, to gain a real sense in the difference aesthetic which as Patterson notes is one which is a:

... patented newsreel-style, quasi-documentary, highly organic aesthetic - non-professional casts, few effects or soundstages, lots of hand-held and SteadiCam, much wobble and blur, extremely long takes, cut together in sequences often made up of hundreds of microscopically attenuated shots -... (ibid)

In the Guardian interview with Patterson Greengrass comments that he sees the Bourne character as analagous to Patricia Highsmith's Ripley character becuase there is a duality:

I love Matt in it. He's not only a brilliant actor, but also brilliant in that part because he's a wonderful player of duality - you think of [Tom] Ripley and other parts he's played. You don't know which side of that duality he's on at any moment. And that's Bourne: a duality, a killer who's redeemed himself, the man on the run with a dark past, so he's perfect. You couldn't ask for a better actor in the part than Matt.

I don't think that this is a good analogy at all because Ripley is an entirely amoral opportunist. The comparison revolves around the issue of individual agency. Ripley sees an opportunity and takes it and gradually becomes involved in murder and then serial murder and his character declines. Bourne is an allegory for the honest truly democratic USA which has literal agents within who are suborning the true nature and aims of the country. Bourne represents this tension, this duality. We know he has truly broken with this dark instilled past when he fails to kill the other super-agent at the end of the car chase. When this person is positioned to kill Bourne a little later he lets him go asking why Bourne failed to kill him. Here the conversation allows for self-reflexivity for it is a question which many americans including their military are asking themselves: is what is going on in Iraq just? Are we making things better or worse? By what authority are we here? Given the CIA information about "Weapons of Mass Destruction" was the excuse for the USA to go to war and for the British Government to follow suit despite there being no clear evidence then means that we can see the Bourne Ultimatum as an allegorical critique of American foreign policy.

It is this lack of recognition by Pinter of the necessity to work within popular genres in order to subvert them if one is able to amount any critique at all within the American cinematic system. It is a reading that will have flown over the heads of many viewers of the film inevitably but audiences have many ways of viewing a text.

Other recent non cinema work

The Murder of Stephen Lawrence (1999). ITV Documentary. Directed by Greengrass.

Omagh Channel Four TV Documentary. Greengrass was the producer and writer of this.


The Bourne Ultimatum, 2007

United 93, 2006

The Bourne Supremacy,2004

Bloody Sunday, 2002

The Theory of Flight, 1998

The Sweetest Thing, 1995

Resurrected, 1989

Indie London interview with Greengrass


BBC the Writer's Room a Q & A with Paul Greengrass

BBC Interview on United 93

A Times overview of Greengrass's work

Guardian:  Hollywood's Favourite Brit

Guardian overview of Paul Greengrass

Independent on Sunday. Noting Harold Pinter's disgust at The Bourne Ultimatum

Working Title entry on Greengrass winning BAFTA with United 93

Sight and Sound Review of Bloody Sunday

British Independent Film Awards (BIFA) for Bloody Sunday 

An interesting comparative review by the well respected David Tereshchuk who was actually at the Bloody Sunday Event reporting for the BBC

Return to Contemorary British Directors hub page here.

October 19, 2007

Chronology of Important European Films

A Chronology of Important European Films  1918 - 2003


This page is work in progress. Many links have been made to in site or external reviews or places where the film can be purchased; films post 2003 are now being  added. Gradually in site 'hubs' are being developed for specific national directors so that clicking on an entry will allow the visitor to access the hub where links to more specialist information on the directors will become available. This is currently a long process and will take many months. The development plan for this aspect of the site work is to open up director based pages which will provide links to the currently best available relevant web sites based upon a Google search  of normally up to page 20.


The primary purpose of this entry is to allow visitors to start to make comparisons across national boundaries by gaining a more synoptic view of cinematic developments in parallel countries. This accords with the main cinematic purpose of the blog which is to contribute towards an understanding of European film history in the five major industrial countries of Europe since the end of the First World War.

Many directors worked in a number of countries and, as in any other cultural industry, there are plenty of crossovers becuase cultural workers such as directors and cinematographers are often chosen for specific skills or want to work in a different country to gain a more cosmopolitan experience. Visconti, for example started working with Renoir in France before the Second World War, Emeric Pressburger worked in Berlin before choosing to escape Nazism and coming to Britain. Cavalcanti worked in France and then Britain was brought up in Switzerland and was of Brazilian origin. Truffaut worked with Rossellini briefly. This is of course the tip of the iceberg and signifies the importance of cross-cultural influences within the growth of European cinema. A tradition that carries on to this day.   

Uses For This Page 

This page should help a wide range of people who have an individual, academic or film programming interest in European cinema. First of all, my apologies to visitors who are disappointed because their country is not included in the list. I have chosen to focus on the five major industrial countries of Europe as my main area of research and development. All five are currently members of G8 the World's largest GDPs. Compared to the United States all these countries struggle to get a thriving independent film which has a large audience in its own country. This basic fact about issues of the cultural representation of a range of cultures is an important aspect of what can be termed cultural citizenship.

The definition of cultural citizenship is one which argues that people from different places are able to represent themselves to the rest of world. Out of the Western European countries studied here only France has managed to maintain a very powerful indigenous film culture largely because of its film policies which necessarily extend into the sphere of exhibition and distribution.

To develop more work on more European countries is beyond the scope of an individual blogger. This huge absence points the way to thinking about how to develop a much more powerful pan-European film culture which takes on board the need to develop audiences as well as exhibition, distribution and production systems. For those interested in current institutional initiatives please link here to the European Film Institutions page

Hopefully this blog and page will contribute to this greater idea. For any interested visitors the page should contribute to gaining an overview of European cinema as it has developed since World War I. This date has been chosen as it was a turning point in World history marking the transition of global power from European Empires to the United States although of course it took many decades to complete the transfer.  

The page should help those running film clubs and societies who are trying to work out their programming, it should also help students and those independently interested in European cinema to quickly develop ideas and themes which can then be followed up. 

Underwritten Films and Directors 

One reason for doing this undertaking was to discover which films / directors were underwritten on the web. Whilst most searches will turn up highly specialist articles in small academic journals which require users to be members of a subscribing university there are sometimes very few well informed and well written in depth articles about certain films and / or directors. As I gradually make my trawl  I will note here where there seem to be weak spots in web coverage. This might stimulate interest in the films and ensure that they still remain available.

Taviani Brothers: For most of the films I have been searching so far there is relatively little quality in depth material to recommend. They have made a lot of powerful films in Italy and deserve more serious web recognition. 

Francesco Rosi: This is another director who remains underwritten on the web. Again he has made a lot of important films about Italy frequently with a strong humanitarian / political edge. 

Luchino Visconti: Regarding his 1976 film L'Innocente there is little of any use on a Google search at present. The link I have goes to a Google sample of Henry Bacon's book - this is highly recommnded by the way. The English entries via Google on Senso are generally weak despite the importance of the film as recognised by Nowell-Smith and Dyer.

Rene Clair: Le Silence est d’or there is very little available in English on a Google search.

Guiseppe de Santis: One important point to note is the fact that Bitter Rice has not been available in the UK for a considerable period of time. This is surprising to say the least because not only is it seen as an important film in the canon of Italian neorealism but it was also one of the most commercially successful of the neorealist canon. 

The Chronology





Soviet Union / Russia

United Kigndom


Dulac: Le Bonheur des autres

Gance: Ecce homo

Gance: J’accuse

L’Herbier: Phantasmes

(Weimar Cinema  until the coming of Sound: An Overview)


Dulac: La Cigarette

Dulac: La fete espagnole

Lang: The Spiders

Lang: The Plague in Florence

Lubitsch: Madame Dubarry

Wiene: The Cabinet of Dr. Caligari


Dulac: La Belle dame sans merci

Dulac: Malencontre

Gance (-1922) La Roue

Wegener: The Golem


Dulac: La Morte du soleil

Lang: Destiny

Murnau: Nosferatu


Dulac: Werther (Unfinished)

L’Herbier; Don Juan et Faust

Lang: Dr. Mabuse: The Gambler


Clair: Paris qui dort

Dulac: Gossette

Dulac: La Souriante Mme Beudet

Gance: Au secours

Lang: The Nibelungen


Dulac: La Diable dans la ville

Renoir: La fille de l’eau

Leni: Waxworks

Murnau: The Last Laugh

Eisenstein: Strike

Protazanov: Aelita


Clair: Le Fantome de Moulin Rouge

Dulac: Ame d’artiste

Dulac: La Folie des vaillants

Gance (-1927): Napoleon vu par Abel Gance

Gance(-1927) Autor de Napoleon

Gance (-1928) Marine

Lang: Metropolis

Wiene: The Hands of Orlac

Eisenstein: Battleship Potemkin

Kuleshov: The Death Ray


Clair: Le Voyage imaginaire

Dulac: Antoinette Sabrier

Gance (-1928) Danses

Fank: The Holy Mountain

Murnau: Faust

Murnau: Tartuffe

Kuleshov: By the Law

Pudovkin: The Mother

Vertov: A Sixth of the World

Hitchcock: The Lodger


Arrival of sound In USA

Dulac: Le Cinema au service de l’histoire (Compilation)

Dulac: Invitation au voyage

(Online screening available) 

Renoir: Charleston

May: Asphalt

Ruttman: Berlin Symphony of a City

Eisenstein: October

Pudovkin: The end of St. Petersburg

Shub: The End of the Romanov Dynasty

Shub: The Great Road


Dulac: Germination d’un haricot

Dulac: Le Coquille et le Clergyman

(See under Invitation etc for online screening) 

Dulac: La Princesses Mandane

Gance: Cristallisation

L’Herbier: L’Argent

L’Herbier: Un Chapeau de paille d’Italie

Renpoir: Marquetta

Renoir: La petite marchande d’allumettes

Lang: Der Spione

Pabst: Pandora’s Box

Pudovkin: Storm Over Asia

Shub: The Russia of Nicholas II and Lev Tolstoy


Bunuel: Un Chien d'Andalou & L'Age d'or

Dulac: Etude cinegraphique sur une Aaabesgue

Dulac: Disque 927

Dulac: Themes et variations

Renoir: Tire-au-flanc

Renoir: Le bled

Pabst: Diary of a Lost Girl

Siodmak et al: People on Sunday

Dovzhenko: Arsenal

Eisenstein: Old and New or The General Line

Kovinstev and Trauberg: The New Babylon

Protazanov: Ranks and People

Turin: Turksib

Vertov: Man With a Movie Camera

Asquith: A Cottage on Dartmoor

Hitchcock: The Manxman (His last silent film) 

Hitchcock: Blackmail


Cocteau: Le sang d’unpoete

Gance: La Fin du Monde

Gance: Autour de La Fin du Monde

Vigo: A Propos de Nice

Von Sternberg: Blue Angel

Dovzhenko: Earth


Clair: Sous les toits de Paris

Clair: Le Million

L’Herbier: Le Parfum de la dame en noir

Pagnol: Marius (Technically directed by Korda)

Renoir : On purge bebe

Renoir: La chienne

Vigo: Taris

Lang: M

Pabst: The Threepenny Opera

Sagan: Girls in Uniform

Vertov: Enthusiasm


Clair: Le Quatorze juillet

Gance: Mater dolorosa

Pagnol: Fanny (Technically directed by Allegret)

Renoir : La nuit du carrefour

Renoir: Boudu sauve des eaux

Dudow: Kuhle Wampe

Lang: Das Testament das Dr. Mabuse

Riefensthal: The Blue Light

Eisenstein: Que Viva Mexico!


Pagnol: Le Gendre de Monsieur Poirier

Pagnol: Jofroi

Renoir: Chotard et cie

Vigo: Zero de Conduite

(Nazi Film Genres)

Ophuls: Liebelei

Steinhoff: Hitler youth Quex

Zeisler: Viktor and Viktoria

Kuleshov: Velikii uteshitel' (The Great Consoler)

Korda: The Private Life of Henry VIII


Gance: Poliche

Gance (-1935) Napoleon Bonaparte

L’Herbier : Le Scandale

Pagnol: L’Article 330

Pagnol: Angele

Renoir: Madame Bovary

Renoir: Toni

Vigo: L'Atalante

Trencker: The Prodigal Son (1933-34)

Wegener: A Man Must go to Germany

Vasiliev Bros: Chapayev

Hitchcock: The Man who Knew Too Much


Gance: Le Roman d’un jeune homme pauvre

Gance: Jerome Perreaux, heroes de barricades

Gance: Lucrece Borgia

Pagnol: Merlusse

Pagnol: Cigalon

Renoir: Le crime de Monsieur Lange

Renoir: Toni

Riefenstahl: Triumph of the Will

Blasetti: Old Guard

Dovzhenko: Aerograd

Kosintsev and Trauberg: The Youth of Max

Cavalcanti: Coalface

Hitchcock: The Thirty-Nine Steps


Carne: Jenny

Gance: Un Grand amour de Beethoven

Renoir: Partie  de Campagne

Dzigan: We From Kronstadt

Eisenstein: Alexander Nevsky

Hitchcock: Sabotage


Carne: Drole de drames

Gance: Le Voleur de femme

Pagnol: Regain

Renoir: La Grande Illusion

Gallone: Scipio the African


Carne: Hotel du Nord

Carne: quai des brumes

Gance: Louise

Pagnol: La Femme du boulanger

Renoir: La Marseillaise.

Renoir: La bete humaine.

Froelich: Heimat

Reifenstahl: Olympia

Alessandrini: Luciano Serra Pilota

Asquith: Pygmalion

Hitchcock: The Lady Vanishes

Saville: South Riding


Carne: Le Jour se leve

Gance: Le Paradis perdu

L’Herbier: La Brigade sauvage

L’Herbier: Entente cordiale

Renoir: La regle du jeu

For contextual links  and more films see: British Cinema and Society: Chronology 1939–1951

British Cinema of the Second World War

Hitchcock: Jamaica Inn

Korda: The Four Feathers

Reed: The Stars Look Down

Woods: They Drive by Night


(French Cinema in the Second World War

Gance (-41): La Venus aveugle

Pagnol: La Fille du puisatier

Harlan: Jew Suss

Hippler: The Wandering Jew
(on arrival go to p 147) 

Mauder & Sessner :The Attack on Fort Eben-Ebel

Hitchcock: Rebecca


L’Herbier: Histoire de rire

Liebeneiner: I Accuse

Ruhman: Quax the Crash Pilot

Powell and Pressburger: The 49th Parallel


Carne: Les visiteurs du soir

Becker: Dernier atout

Gance (-1943): Le Capitaine Fracasse

L’Herbier: La Comedie du bonheur

L’Herbier: La Nuits fantastique

De Sica: The Children are Watching Us

Rossellini: L’uomo dalla Croce

Visconti: Ossessione

(Intro to Neorealism

(Thinkquest site "by student team on Neorealism

Cavalcanti: Went the Day Well?

Howard: First of the Few

Lean: In Which We Serve

Powell and Pressburger: One of Our Aircraft is Missing


Becker: Goupi main-rouges

Bresson: Les anges du peche

Carne (-1945) Les Enfants du paradis

Clouzot: Le Corbeau

Von Baky: Munchausen

Rossellini (43-44) : Desiderio

Arliss: The Man in Grey

Powell and Pressburger: The Life & Death of Colonel Blimp

Launder & Gilliat: Millions Like Us


Gance: Manolette

Eisenstein: Ivan the Terrible Part 1

Batty: The Battle for Warsaw (UK / Poland)

Asquith: Fanny by Gaslight

Clayton: Naples is a Battlefield (Documentary)

Lean: This Happy Breed

Olivier: Henry V

Powell and Pressburger ; A Canterbury Tale

Gilliat: Waterloo Road (Spiv)

Reed: The Way Ahead


(French Cultural Policy After WWII

Becker: Falbalas

Bresson: Les Dames du Bois du Boulogne

Carne:Les Enfants du Paradis

Harlan: Kolberg (1943-45)

Rossellini: Roma citta aperta

Eisenstein: Ivan the TerriblePart 2

Arliss: The Wicked Lady

Boulting: Journey Together

Crabtree: They Were Sisters

Lean: Brief Encounter

Powell & Pressburger: I Know Where I’m Going


Carne: Les Portes de la nuit

Cocteau: La Belle et La Bete

L’Herbier: Au petit bonhuer

Staudte: The Murderers are Among Us

De Sica: Shoeshine

Rossellini: Paisa

Crichton: Hue and Cry (Ealing Comedy)

Jennings: A Defeated People

Lean: Great Expectations

Powell & Pressburger: A Matter of Life and Death


Clair: Le Silence est d’or

Lamprecht: Somewhere in Berlin

Rossellini: Germany Year Zero

Boulting Bros: Brighton Rock (Spiv)

Cavalcanti: They Made Me a Fugitive (Spiv)

Hamer: It always Rains on a Sunday (Melodrama / Social Real)

Powell and Pressburger: Black Narcissus


Cocteau: L’Aigle a deux tetes

Cocteau: Les Parentes terribles

Renais: Van Gogh (Short)

Tati: Jour de fete

De Santis: Bitter Rice

De Sica: Bicycle Thieves

Visconti: La Terra Trema

Asquith: The Winslow Boy

Lean: Oliver Twist

Powell & Pressburger:The Red Shoes

Reed: Fallen Idol


Becker: Rendez-vous de juillet

Melville: Les enfants terribles

Melville: Le Silence de la mer

Rossellini: Strombli: Terra di Dio

Reed: The Third Man

Cornelius: Passport to Pimlico

Hamer: Kind Hearts and Coronets

Mackendrick: Whisky Galore


Carne: La Marie du port

Clair: La Beute du diable

Cocteau: Corolian (Short)

Cocteau: Orphee

Genet: Un Chant d'amour

Resnais: Gaugin (Short)

Resnais: Guernica (Short)

Antonioni: Cronaca di un amore

De Sica: Miracle in Milan

Fellini : Variety Lights

Rossellini: Franscesco guillare di Dio

Lee: The Wooden Horse

Deardon: The Blue Lamp (Social Problem Films)

Odette (Biopic / War)


Bresson: Le Journal d’un cure de campagne

Cocteau: La Villa Santo-sospir

Staudte: The Subject (GDR banned FDR)

De Sica: Umberto D

Fellini: The White Sheik

Visconti: Bellissima

For contextual links and more films see: British Cinema and Society: Chronology 1951–1964

Boulting: High Treason (Anti-Communist)

Boulting: The Magic Box

Crichton: The Lavender Hill Mob

Mackendrick:The Man in a White Suit


Becker: Casque d’or

Pagnol: Manon des sources

Tati: Les Vacances de Monsieur Hulot

Antonioni: I vinti

Rosi:Camicie rosse (Red Shirts)

Rossellini: Europa ‘51

Asquith: The Importance of Being Earnest 

Lean: The Sound Barrier

Frend: The Cruel Sea (War)


Carne: Therese Raquin

Clouzot: Wages of Fear

Gance: La 14 juillet 1953

L’Herbier: Le Pere de madamoiselle

Antonioni: La signora senza camelie

Fellini: I vitelloni

L. Anderson: O Dreamland (Social Real)

Cornelius: Genevieve

Crichton: The Titfield Thunderbolt (Comedy)

Gilbert: The Cosh Boy (first Brit X Rated Film) 

Reed: The Man Between (Anti-Communist)


Becker: Touchez pas au grisbi

Carne: L’Air de Paris

Gance: La Tour du Nesle

Varda: La Pointe courte

Kautner: Ludwig II

Kautner: The Last Bridge

Fellini: La strada

Rossellini: Viaggio in Italia

Rossellini: Fear

Visconti: Senso

Hamilton: The Colditz Story (War)

Asquith: The Young Lovers


Clair: Les Grands Manoeuvres

Clouzot: Les Diaboliques

Dassin: Rififi

Renais: Nuit et Brouillard (Short)

Antonioni: Le amiche

Fellini: Il bidone

De Sica: Two Women

Anderson: The Dambusters (War)

Mackendrick: The Ladykillers (Comedy)


Bresson: Un Condamne a mort s’est echappe

Gance: Magirama

Resnais: Toute la memoire du monde (Short)

Fellini: Le notti di Cabiria

Risi: Poor but Beautiful

Chukrai: The 41st

Romm, Mikhail: Murder on Dante Street

Romm, Mikhail: Ordinary Facism

Gilbert: Reach for the Sky (War)

Together (1956) Lorenza Mazzetti

(Free Cinema) 

Momma don't Allow Karel Reisz  and Tony Richardson

(Free Cinema) 


Clair: Porte des lilas

Malle: Lift to the Scaffold

Melville: Bob le Flambeur

Truffaut: Les Mistons (short)

Resnais: Le Mystere de l’atelier (Short)

Rivette: Le Coup du berger (Short)

Reitz & Dorries: Schicksal einer Oper . (57-58)

Antonioni: Il grido

Visconti: White Nights

Kalatozov: Cranes are Flying

Boulting: Lucky Jim

L. Anderson: Everyday Except Christmas (Free Cinema)

Lean: Bridge on the River Kwai (War)


Becker: Montparnasse 19

Carne: Les Tricheurs

Chabrol: Le Beau Serge

Malle: Les Amants

Resnais: Le Chant du styrene


Tati: Mon Oncle

Rosi: La sfida (The Challenge)

Abuladze: Someone Else’s Chidren

Gerasimov: And quiet lows the Don


Bresson: Pickpocket

Cocteau: Le Testament d’ Orphee

Gance (-1960): Austerlitz

Resnais: Hiroshima mon amour

Truffaut: 400 Blows

Reitz: Baumwolle (Doc)

Rosi: I magliari (The Weavers)

Rossellini: Generale Della Rovere

Chukrai: Ballad of a Soldier

(British New Wave)

Boulting: I'm Alright Jack

Boulting: Carlton-Browne of the FO

Clayton: A Room at the Top

Greville: Beat Girl 

Hamer: School for Scoundrels

Reed: Our Man In Havana

Richardson: Look Back in Anger (Social Real)

Reisz: We are the Lambeth Boys (Free Cinema)

Thompson: Tiger Bay


Becker: Le Trou

Carne: Terrain vague

Clement: Plein Soleil

Godard: A Bout de souffle

Godard: Le Petit soldat (released 1963)

Rivette: Paris nous appartient

Truffaut: Tirez sur le pianiste

Lang: The Thousand Eyes of Dr. Mabuse

Reitz: Krebsforschung I & ii. (doc short)

Antonioni: L’avventura

Fellini: La dolce vita

Visconti: Rocco and His Brothers

Tarkovsky:The Steamroller and the Violin

Dearden: The League of Gentlemen

Green: The Angry Silence

Powell: Peeping Tom (Thriller/Horror)

Reisz: Saturday Night and Sunday Morning (Social Real)

Gilbert Sink the Bismark (War)


Clair: Tout l’or du monde

Godard: Une Femme est une femme

Truffaut: Jules et Jim

Resnais: L’Annee derniere a Marienbad

Varda: Cleo de 5 a 7

Kluge: Rennen (Short)

Reitz: Yucatan (Short)

Antonioni: La notte

Fellini: Boccaccio ’70 (episode)

Pasolini: Accattone

Rosi: Salvatore Giuliano

Chukrai: Clear Skies

Dearden: Victim (Social Real)

Richardson: A Taste of Honey Social Real)


Bresson: Le Proces de Jeanne D’arc

Godard; Vivre sa vie

Marker: La Jetee

Melville:Le Doulos

Oberhausen Manifesto: New German Cinema directors

Kluge: Leher im Wandel (62-63) (short)

Antonioni: L’eclisse

Bertolucci: La commare secca

Pasolini: Mama Roma

Taviani Bros: A Man for Burning

Visconti: The Leopard

Tarkovsky: Ivan’s Childhood

Lean: Lawrence of Arabia (War)

Schlesinger:A Kind of Loving (Social Real)

Dr. No (Spy)

Forbes: The L-Shaped Room (Social Real)


Godard: Le Mepris

Franju: Judex/Nuits Rouge

L’Herbier: Hommage a Debussy

Resnais: Muriel

Fellini: 8 1/2

Taviani Bros: Outlaw of Matrimiony

Rosi:Le mani sulla città (Hands Over the City

Anderson: This Sporting Life

Brooks: Lord of the Flies

Losey: The Servant

From Russia with Love (Spy)

Schlesinger: Billy Liar (Social Real +)

Richardson: Tom Jones (Literary Adaptation)


Gance: Cyrano et d’Artagnan

Godard: Bande a part

Rouch / Godard / Rohmer et al.: Paris vu par

Antonioni: il deserto rosso

Bertolucci: Before the Revolution

Pasolini: The Gospel According to St. Matthew

Rosi:Il momento della verità (The Moment of Truth

Visconti: Sandra

Kosinstev: Hamlet

Lester: A Hard Day’s Night (Swinging Sixties)


Carne: Trois chambres a Manhattan

Clair: Les Fetes galantes

Gance (-1966): Marie Tudor

Godard: Alphavile

Godard: Pierrot le fou

Kluge: Yesterday Girl (65-66

Schlondorff: Der junge Torless (65-66)

Bellocchio: Fists in the Pocket

Fellini: Juliet of the Spirits

Pontecorvo: The Battle For Algiers

Boorman: Catch Us if you can (Swinging Sixties)

Furie Sidney J: Ipcress File (Spy)

Lester: The Knack (Swinging Sixties)

Polanski: Repulsion (Horror)

Ritt: The Spy Who Came in From the Cold (Spy)

Scheslinger: Darling (Swinging 60s)

Loach: Up the Junction


Bresson: Au hazard Balthazar

Godard: Deux ou trois choses que je sais d’elle

Resnais: La Guerre est finie

Reitz: Mahlzeiten (Mealtimes). (66-67)

Pasolini: The Hawks and the Sparrows

Tarkovsky (released 1971) Andrei Rublev

Anderson (Michael): The Quiller Memorandum

Antonioni: Blow Up (Swinging Sixties)

Hamilton: Funeral in Berlin

Narizzano: Georgy Girl


Polanski: Cul de Sac

Reisz: Morgan: a Suitable Case for Treatment

Zinneman: A Man For All Seasons


Bresson: Mouchette

Gance: Valmy

Godard: La Chinoise

Godard: Week-End

Pagnol: Le Cure de Cucugnan

Resnais: Loin du Vietnam (Part of a collective work)

Herzog: Signs of Life

Kluge: Artists at the Top of the Big Top: Disoriented

Pasolini: Oedipus Rex

Taviani Bros: The Subversives

Rosi: C'era una volta(Once Upon a Time)

Visconti: The Outsider

Askoldov: The Commissar

Losey: Accident

Loach: Poor Cow


Carne: Les Jeunes Loups

Renais: Je t’aime, je t’aime

Rohmer: Ma nuit chez Maude

Herzog: Fata Morgana (68-70)

Syberberg: Scarabea

Bertolucci: Partner

Fellini: Histoires extraordinaires (Episode)

Pasolini: Theorem

Taviani Bros: The Magic Bird

Taviani Bros: Under the Sign of Scorpio

Anderson: If

Lester: Petulia

Reed: Oliver

Richardson:Charge of the Light Brigade (Swinging Sixties)

Donner: Here We go Round the Mulberry Bush


Bresson: Une Femme douce

Costa-Gravas: 'Z'

Gance (-1971): Bonaparte et la Revolution

Melville: L'armee des hombres

Fassbinder: Love is Colder Than Death

Herzog: Even Dwarfs Start Small (69-70)

Kluge: The Big Mess (69-70)

Sanders-Brahm: Angelika Urban, Verkauferin, verlobt (Doc)

Wenders (69-70): Summer in the City

Fellini: Fellini Satyricon

Pasolini: Pigsty

Pontecorvo: Qiemada

Rossellini: Acts of the Apostles

Visconti: The Damned

Hamilton : Battle of Britain

Attenborough: Oh what a Lovely War

Loach: Kes

The Prime of Miss Jean Brodie


Carne: La Force et la droit

Melville: Le Circle Rouge

Rohmer: Le Genou de Claire

Fassbinder: The American Soldier

Bertolucci: The Conformist

Bertolucci: The Spider’s Strategem

Fellini: I Clowns

Pasolini: Medea

Pasolini: The Decameron

Rosi:Uomini contro

Rossellini: Socrate

Motyl: White Sun oft he Desert (Red Western)

Roeg: Performance


Bresson: Quatre nuits d’un reveur

Losey: The Go-Between


Fassbinder: The Bitter Tears of Petra von Kant

Herzog: Aguirre: Wrath of God

Sander: Does the Pill Liberate Women? (Doc).

Syberberg: Ludwig: Requiem for a Virgin King

Wenders: The Goalkeeper’s Fear of the Penalty

Wenders: The Scarlet Letter

Antonioni: China

Fellini: Roma

Rosi: Il caso MatteiThe Mattei Affair) (

Visconti: Ludwig

Tarkovsky: Solaris

Kubrick: A Clockwork Orange


Fassbinder: Fear Eats the Soul

Sander: Male Bonding

Wenders: Alice in the Cities

Bertolucci: Last Tango in Paris

Fellini: Amacord

Moretti: La sconfitta

Rosi: Lucky Luciano

Roeg: Don’t Look Now

Anderson: O Lucky Man


Bresson: Lancelot du lac

Renais: Stavisky

Rivette: Celine and Julie Go Boating

Fassbinder: Fox and His Friends

Herzog: The Enigma of Kaspar Hauser

Syberberg: Karl May

Moretti: come parle,frate?

Pasolini: Arabian Nights

Taviani Bros: Alonsanfan

Visconti: Conversation Piece

Mikhalkov: At Home Among Strangers, A Stranger at Home


Schlondorff & von Trotta: The Lost Honour of Katerina Blum

Wenders: False Movement

Wenders: Kings of hte Road

Antonioni: The Passenger

Pasolini: Salo

Rossellini: The Messiah

Mikhalkov: A Slave of Love

Tarkovsky: Mirror

Monty Python and the Holy Grail


Carne: La Bible

Renais: Providence

Fassbinder: Chinese Roulette

Fassbinder: Satan’s Brew

Herzog: Heart of Glass

Herzog: Stroszek ((76-77)

Reitz: Stunde Null (Zero Hour)

Sanders-Brahm: Shirin’s Wedding

Syberberg: Our Hitler (76-77)

Bertolucci: 1900

Fellini: Il Casanova di Frederico Fellini

Moretti: Io sono un autarchico

Rosi: Cadaveri eccellentiIllustrious Corpses) (

Visconti: L'Innocente (The Intruder)


Bresson: Le Diable probablement

Kluge: The Patriot (77-79)

Schlondorff / Fassbinder / Kluge/ Reitz et al : Germany in Autumn

Schlondorff: The Tin Drum. (1997098)

Von Trotta: The Second Awakening of Christa Klages

Wenders: The American Friend

Taviani Bros: Padre, Padrone

Mikhalkov: Unfinished Piece for a Mechanical Piano

Jarman: Jubilee



Fassbinder: The Marriage of Maria Braun

Herzog: Nosferatu

Fellini: Prova d’orchestra

Moretti: Ecce Bombo

Olmi : Tree of Wooden Clogs

Mikhakov: Five Evenings

Harvey: Eagle’s Wing

Parker: Midnight Express


Schlondorff: The Tin Drum

Schlondorff / Kluge / Aust von Eschwege : The Candidate. (79-80)

Von Trotta: Sisters or the Balance of Happiness

Bertolucci: La luna

Fellini. Prova d'orchestra

Rosi: Cristo si è fermato a EboliChrist Stopped at Eboli) (

Taviani Bros: The Meadow

Konchalovsky: Sibiriade

Menshov: Moscow Does not Believe in Tears

Mikhalkov: Several Days in the Life of I.I. Oblamov

Tarkovsky: Stalker

Monty Python’s Life of Brian


Renais: Mon oncle d’Amerique

Fassbinder: Lilli Marleen

Herzog: Woyzeck

Reitz: Heimat (80-84)

Sander: The subjective Factor (80-81)

Sanders-Brahm: Germany Pale Mother

Antonioni: Il mistero di oberwald

Fellini: City of Women

Roeg: Bad Timing


Fassbinder: Lola

Fassbinder: Veronika Voss

Syberberg: Parsifal (81-82)

Von Trotta: The German Sisters

Bertolucci: Tragedy of a Ridiculous Man

Moretti: Sogni d'oro

Rosi: Tre fratelliThree Brothers) (

Taviani Bros: Night of the Shooting Stars

Mikhalkov: Kinsfolk

Reisz: The French Lieutenant’s Woman

Hudson: Chariots of Fire

(Start of Heritage Cinema?

Gregory’s Girl


Fassbinder: Querelle

Schlondorff / Kluge / Engstfeld: War and Peace (82-83)

Von Trotta: Friends and Husbands

Wenders: The State of Things

Antonioni: Identificazione di una donna

Anderson (Lindsay): Britannia Hospital 

Greenaway: The Draughtsman’s Contract


Bresson: L’Argent

Renais: La Vie est un roman

Herzog: Fitzcarraldo

Reitz & Kluge: Biermann -Film (short).

Schlondorff: Swann in Love

Von Trotta: Rosa Luxemburg

Moretti: Bianca

Mikhalkov: A Private Conversation

Tarkovsky: Nostalgia

Gilbert: Educating Rita

Leigh: Meantime

MacKenzie: The Honorary Consul

Local Hero

Potter: The Goldiggers

Eyre: The Ploughman’s Lunch


Renais: L’amour a mort

Reitz: Heimat Part 1

Syberberg: die Nacht (84-85)

Rosi: Carmen

Taviani Bros: Chaos

Joffe: The Killing Fields


Varda: Sans toi ni loi

Lanzmann: Shoah

Kluge: The Blind Director

Sanders-Brahm: Old Love (Doc)

Schlondorff: Death of a Salesman

Moretti:La messa e finita

Bernard: Letter to Brehznev

Frears: My Beautiful Laundrette

Lean: A Passage to India


Barri: Jean de Florette

Berri: Manon des sources

Resnais: Melo

Sanders-Brahm: Laputa

Cox: Sid and Nancy


Ivory: Room With a View

Jordan: Mona Lisa


Herzog: Cobra Verde

Kluge: Odds and Ends

Wenders: Wings of Desire

Olmi: Long Life to the Lady!

Rosi: Cronaca di una morte annumciata (Chronicle of a Death Foretold)

Taviani Bros: Good Morning Babilonia

Mikhalkov: Dark Eyes

Little Dorrit

Ivory: Maurice

Frears: Prick up Your Ears

Wish You Were Here

Robinson:Withnail & I


Von Trotta: Three Sisters

Greenaway: Drowning by Numbers

Leigh: High Hopes

Sammy and Rosie Get Laid


Wenders: Notebook on Clothes and Cities

Fellini: Intervista

Moretti: Palombello rossa

Greenaway: The Cook, the Thief, his Wife and Her Lover

Julien: Looking for Langston


Von Trotta: Return

Fellini: La voce della luna

Moretti: La cosa

Rosi: Dimenticare Palermo (To Forget Palermo)

Taviani Bros: The Sun also Shines at Night

Mikhalkov: Autostop

Leigh: Life is Sweet

Minghella: Truly, Madly, Deeply


Carax: Les amants du Pont-Neuf

Jeunet & Caro: Delicatessen

Pialat: Van Gogh

Wenders: Until the End of the World

Mikhalkov: Urga: Territory of Love

Loach: Riff Raff


Reitz: Heimat Part 2

Rosi: Diario napoletano (Neapolitan Diary)

Ivory:Room With a View

Ivory: Howard’s End

Neil Jordan : The Crying Game


Kassovitz: Cafe au Lait / Blended

Kieslowski:Three Colours: Blue

Kieslowski: Three Colours White (Co-pro)

Muller: The Wonderful Horrible life of Leni Riefenstahl

Von Trotta: Il Lungo Silenzio

Wenders: Far Away so Close

Taviani Bros: Fiorile

Mikhalkov: Anna 6-18

Leigh: Naked

Loach: Raining Stones

Potter: Orlando


Chereau, La Reine Margot

Kieslowski: Three Colours Red (Co-pro)

Von Trotta:die Frauen in der Rosenstrasse

Von Trotta: The Promise

Wenders: Arisha, the Bear and the Stone Ring

Moretti: Caro diario

Moretti: L'unico paese al mondo

Mikhalkov: Burnt By the Sun

Chada: Bhaji on the Beach

Newall: Four Weddings and a Funeral


Kassovitz: La Haine

Mimouni: L’Appartement

Wenders: Lisbon Story

Antonioni ( +Wenders) : Beyond the Clouds

Boyle: Shallow Grave

Winterbottom: Butterfly Kiss


Wenders: Lumiere de Berlin

Moretti: Opening day of 'Close-Up'

Rosi: La tregua (The Truce)

Taviani Bros: Chosen Affinities

Boyle: Trainspotting

Herman:Brassed Off

Lee: Sense and Sensibility

Leigh: Secrets and Lies

Minghella: The English Patient


Kassovitz: Assassin (s)


Wenders: The End of Violence

For contextual links and more films see: British Cinema and Society: Chronology 1997–2010

Boyle: A Life Less Ordinary

Madden:Mrs. Brown

Potter: The Tango Lesson

Prasad: My Son The Fanatic

Ramsey: Kill the Day

Winterbottom: Welcome to Sarajevo


Von Trotta: Mit 50 Kussen Manner Anders

Moretti: Aprile

Taviani Bros: You Laugh

Mikhalkov: The Barber of Siberia

Kapur: Elizabeth

Leigh: Career Girls

Ritchie: Lock, Stock and Two Smoking Barrels

Sofley: Wings of a Dove


Twyker: Run Lola Run

Benigni : Life is Beautiful

Jordan: The End of the Affair

Leigh: Topsy Turvey  

Michell: Notting Hill

O'Donnell: East is East


Rozema: Mansfield Park


Chabrol:Merci pour le Chocolat.

Chereau: Intimacy

Godard: Histoire (s) du cinema

Haneke: Code Unknown(French co-pro) 

Ozon: Water Drops on Burning Rocks

Frazzi & Frazzi:The Sky is Falling

British Directors Hub Page

Pawlikowski: The Last Resort


Denis: Trouble Every Day

Godard: Eloge de l’amour

Haneke: The Piano Teacher

Jeunet: Amelie

Ozon: 8 Women

Tavernier: Laissez-Passer

Hirschbiegel: Das Experiment

Moretti: The Son’s Room

McGuire: Bridget Jone’s Diary

Winterbottom: 24 Hour Party People

Loach: The Navigators


Breillat: Sex Is Comedy

Philibert: Etre et avoir

Dilthey: Das Verlangen (The Longing)

Sokhurov: Russian Ark

Chadha: Bend it Like Beckham

Greengrass:Bloody Sunday

Hüseyin: Anita and Me

Mackenzie: Young Adam

Leigh: All or Nothing

Loach: Sweet Sixteen

Ramsey: Morven Callar


Rohmer: Triple Agent

Becker: Goodbye Lenin!

Reitz: Heimat Part 3

Bellocchio: Good Morning Night

Frears : Dirty Pretty Things

Hodges: I'll Sleep When I'm Dead 


Leigh: Vera Drake

Loach: Ae fond Kiss

Gleenan: Yasmin

Pawlikowski: My Summer of Love

Potter: Yes


Haneke: Caché

Rothemund:Sophie Scholl

Weingartner:The Edukators

Dibb: Bullet Boy

Frears: The Queen

Mireilles: The      Constant Gardner

Winterbottom: A Cock and Bull Story

Wright (J): Pride and Prejudice

von Donnersmarck:The Lives of Others

Arnold: Red Road

Loach: Wind That Shakes the Barley

Meadows: This is  England

Williams: London to Brighton

Winterbottom: The Road to Guantanamo


Broomfield: Ghosts

Corbijn: Control

Gavron: Brick Lane

Kapur: Elizabeth the Golden Age  

Loach: It's a Free World

Winterbottom: A Mighty Heart

Winterbottom: Genova

Wright: Atonement

2008 Assayas: Summer Hours

Davies: Of Time and The City

Herman: The Boy in Striped Pajamas

Leigh: Happy-Go-Lucky

Maybury: The Edge of Love

Meadows: Somers Town

June 16, 2007

Directors for Contemporary British Cinema

British Directors in Contemporary British Cinema

Return to Contemporary British Cinema Hub

All active links lead to in house pages on the specific director. Some are still under construction and may not be currently accessible. Please try again soon.

Each page will have a specific webliography and will also have both internal and external links to a range of their films. Obviously this is a major development undertaking and there are currently 30 directors listed below with some more who need to be added. 

Apologies for any shortcomings. British contemporary cinema is going to be a key development area in the coming weeks as many visitors are likely to be having an exam on it in the summer. It is recommended that you vist the relevant pages reasonably frequently as there will be quite a lot of change. Pages will be opened as soon as possible and the priority will be to provide a range of the best possible current web links which are considered as good quality.  

I hope you will find the system useful.  


This posting is aimed at the interested general viewer in keeping up to date with British Films and film makers. It also functions as a core resource for the current OCR A2 Unit on Contemporary British Cinema.

Please note the term British Cinema is not the same as British Films. Cinema refers to the industrial systems of production, distribution, and exhibition as a whole. It can also refer to the criticics and reviewers who are employed at any given moment. Directors and the films they make here are only a small part of the industry as a whole.

The list below is primarily taken from the BFI Screenonline Directors on British and Irish Cinema.  There are a couple of inclusions of directors who don't really make films in the UK or about the UK. Sir Ridley Scott being one of these and Sir Alan Parker being another. They tend to prove the rule that Hollywood is the global centre of filmmaking which is both American and yet has an extra dimension to it which proves highly attractive to the most successful filmmakers in the world in terms of gaining audiences at least. There are some surprising omissions from the Screenonline listings such as Paul Greengrass. Here I have linked to Wikipedia in the first instance.

List of Contemporary British Directors

Arnold Andrea (1961 -).

Attenborough, Richard (Lord) (1923 - ) 

Bird, Antonia (1959 - ) 

Boyle, Danny (1956-) 

Branagh Kenneth (1960 -) 

Broomfield, Nick (1948 -) 

Chadha, Gurinder (1960 - )

Corbijn Anton

Dibb Saul (?) 

Daldry, Stephen (1961 - )

Davies, Terence (1945 - )

Figgis Mike (1948 -)

Forsyth, Bill (1946 -) 

Frears, Stephen (1941 -) 

Gavron, Sarah (    ) 

Gilliam, Terry (1940 - ) 

Greenaway, Peter (1942 -)

Greengrass, Paul (1955 - )

Hodges, Mike (1932 - )

Herman, Mark (1954-)

Joffe Roland (1945 - ) 

Jordan, Neill (1950 -) 

Julien, Isaac (1960 - )

Kapur, Shekah (  )

Leigh, Mike (1943 - )

Loach, Ken (1936 - ) 

Madden, John (1949- )

Meadows, Shane (1973 -) 

Minghella, Anthony (1954-2008)

Parker, Alan (Sir) (1944-) 

Pawlikowski Pawel (?)

Poliakoff Stephen (1952-)

Potter, Sally (1949 -) 

Ramsay Lynne (1969 -)

Ritchie Guy (1968 - )

Scott, Ridley (Sir) (1939 -) 

Williams Paul Andrew (?) 

Winterbottom, Michael (1961 - ) 

Wright Edgar (1974 -   ) 

Wright Joe (1972- )


Return to Contemporary British Cinema Hub

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