Vienna, the capital of this Central European nation, is the birthplace of such film pioneers as the globetrotting Fritz Lang and Josef von Sternberg, and the structuralists Kurt Kren and Peter Kubelka.
The staggering list of Hungarian-born directors includes émigrés Alexander Korda and Michael Curtiz, Soviet-era stalwarts Károly Makk and Miklós Jancsó, and living masters Béla Tarr and Ildikó Enyedi.
It is no longer a secret in the West that this Islamic Republic harbors an extraordinary filmmaking tradition; what remains to be discovered is that which came before Kiarostami, Panahi, and Farhadi.
Say ""Italian film," and neo-realism, Cinecittà, Monica Vitti, the spaghetti western, and giallo all leap to the mind. How can one generalize about a national output dispersed across so many disparate regions?
This behemoth of a nation has an inconceivably storied film culture epitomized by the All-Russian State Institute of Cinematography, founded in 1919, making it the oldest such school on the planet.
Laying claim to the distinction of the first sub-Saharan African country to produce a feature (even if, due to French colonial policy, it was shot in Paris), Senegal remains at the vanguard of African cinema.
Korean cinema boasts one of the exceedingly few film industries to outperform Hollywood imports at the domestic box office, a robust network of independents, and a history predating Oldboy by decades.
One could make the case that the film was invented in the U.S., by Thomas Edison and W.K. Dickson in 1891 to be precise. The multiplex, however, has eclipsed their viewing platform of the Kinetoscope.
By some metrics the fastest-growing economy in the world, Vietnam has registered an immense spike in moviegoing. Meanwhile, the highest-budget production yet tanked and was erased from public records.