Martin Scorsese’s World Cinema Project No. 4

Cameroonian director Dikongué-Pipa’s debut feature is both a manifesto on cinema’s capacity to bring about social change and a celebration of love and its possibilities.

A high point of early Argentine cinema, Mario Soffici’s 1939 film about the plight of plantation workers is an unflinching examination of exploitation and violence.

This melodrama, made by André de Toth in his native Hungary, anticipates the unease of the director’s postwar Hollywood films with an array of radical stylistic choices and jarring visual tensions.

Sarah Maldoror’s only completed narrative feature tracks the Angolan struggle for independence from Portugal and reckons with the interlocking systems of colonialism, capitalism, and patriarchy.

A long-obscure landmark of the Iranian New Wave, Mohammad Reza Aslani’s daringly ambiguous portrait of feudalism’s demise mirrors the revolutionary times in which it was made.

Uday Shankar’s fantastical dance epic embodies a progressive, postcolonial Indian aesthetic that is decades ahead of its time.