Following on developments in postcolonial critique and globalization studies, the category of the national as a means to understand cultural artifacts has been losing more and more ground. In its stead, critics and scholars have started to privilege a transnational approach that takes into account the diverse referencing systems of any given work of art beyond its specific local ones. With reference to film the classification along national lines always was an arbitrary and flawed one.  More than many other media, due in part to the high costs involved in production and distribution, film has often relied on multi-national partnerships beyond national subventions. These are not limited to external sources, as even in terms of direction, camera work and casting, film tends to draw on a variety of talents regardless of national origin. A reliance on such multi-national sources does not, in itself, make a film transnational. Furthermore, many films, whether documentary or fictional, expressly try to engage with and animate ideas of the national. As such, it would be wrong to discard any given national imaginary from film analysis. However, as a classificatory feature, the category of the national is especially unreliable and even misleading. Consequently, the films listed here are systematically arranged by its subject and not the origin of director or producer.