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Micro-Features

by Black Irish
Generally, a micro-feature is a film long enough to not be considered a ‘short film’ but with a shorter running time than a standard feature film. Usually somewhere between over twenty-five and under seventy-five minutes, but for the purposes of this list I may extend it, on a case-by-case basis, for anything roughly over twenty minutes or under seventy-eight minutes. The nature of a film’s length, be it long or relatively short, interests me in how it often affects the pacing and style of a given work. While I may focus more on micro than ‘macro’-features because I either cannot find the time or the films themselves to watch any,… Read more

Generally, a micro-feature is a film long enough to not be considered a ‘short film’ but with a shorter running time than a standard feature film. Usually somewhere between over twenty-five and under seventy-five minutes, but for the purposes of this list I may extend it, on a case-by-case basis, for anything roughly over twenty minutes or under seventy-eight minutes. The nature of a film’s length, be it long or relatively short, interests me in how it often affects the pacing and style of a given work. While I may focus more on micro than ‘macro’-features because I either cannot find the time or the films themselves to watch any, micro-features greatly interest me in the way a filmmaker tries to work with a shortened running time. Almost as if to create a greater impact upon the viewer.

This is a reference list and if there are any films that you know of which I may’ve overlooked, feel free to suggest them. Those films in the list proper are those which I’ve already seen and will, for the time being, be listed alphabetically. This list will be continually updated as films are removed or added. If you want to know about any more of these films, this list is definitely worth checking out.

If any of the harder to find films are made available on DVD or online, please let me know.

Most Anticipated:
- The Abyss (Urban Gad, 1910)
- The Battle at Elderbush Gulch (D. W. Griffith, 1913)
- The Night Before Christmas (Wladyslaw Starewicz, 1913)
- A Florida Enchantment (Sidney Drew, 1914)
- Sea Vultures (Victor Sjöström, 1915)
- Kiss of Death (Victor Sjöström, 1916)
- The Ocean Waif (Alice Guy-Blaché, 1916)
- The Battle of the Ancre and the Advance of the Tanks (Geoffrey H. Malins, 1917)
- Das Fidele Gefängnis (Ernst Lubitsch, 1917)
- A Modern Musketeer (Allan Dwan, 1917)
- Revolyutsioner (Yevgeni Bauer, 1917)
- A Romance of the Redwoods (Cecil B. DeMille, 1917)
- Straight Shooting (John Ford, 1917)
- Thomas Graal’s Best Film (Mauritz Stiller, 1917)
- Tom Sawyer (William Desmond Taylor, 1917)
- Les Enfants de France et de la Guerre (Henri Desfontaines, 1918)
- Love’s Prisoner (John Francis Dillon, 1919)
- A Romance of Happy Valley (D. W. Griffith, 1919)
- Helen of Four Gates (Cecil M. Hepworth, 1920)
- The Last of the Mohicans (Tourneur/Brown, 1920)
- Outside the Law (Tod Browning, 1920)
- The Symbol of the Unconquered (Oscar Micheaux, 1920)
- Famine – The Russian Famine of 1921 (G. H. Mewes, 1921)
- Favilla (Ivo Illuminati, 1921)
- Schloss Vogelöd (F. W. Murnau, 1921)
- Seven Years Bad Luck (Max Linder, 1921)
- The Glorious Adventure (J. Stuart Blackton, 1922)
- La Souriante Madame Beudet (Germaine Dulac, 1923)
- Die Straße (Karl Grune, 1923)
- La Belle Nivernaise (Jean Epstein, 1924)
- Kinoglaz (Dziga Vertov, 1924)
- The Navigator (Keaton/Crisp, 1924)
- Battleship Potemkin (Sergei Eisenstein, 1925)
- El Húsar de la Muerte (Pedro Sienna, 1925)
- The Open Road (Claude Friese-Greene, 1925)
- The Pleasure Garden (Alfred Hitchcock, 1925)
- Irish Destiny (George Dewhurst, 1926)
- Pilar Guerra (José Buchs, 1926)
- Berlin, die Sinfonie der Großstadt (Walter Ruttmann, 1927)
- La Glace à Trois Faces (Jean Epstein, 1927)
- Three’s a Crowd (Harry Langdon, 1927)
- Upstream (John Ford, 1927)
- Women of Ryazan (Pravov/Preobrazhenskaya, 1927)
- La Coquille et le Clergyman (Germaine Dulac, 1928)
- Un Chapeau de Paille d’Italie (René Clair, 1928)
- The Docks of New York (Josef von Sternberg, 1928)
- The Eleventh Year (Dziga Vertov, 1928)
- Lonesome (Pál Fejös, 1928)
- The Night Coachman (Georgi Tasin, 1928)
- Storm Over Asia (Vsevolod Pudovkin, 1928)
- Man with a Movie Camera (Dziga Vertov, 1929)
- Les Mystères du Château de Dé (Man Ray, 1929)
- Le Oeufs d’épinoche (Jean Painlevé, 1929)
- La Perle (Henri d’Ursel, 1929)
- El Sexto Sentido (Ardavín/Sobrevila, 1929)
- Where East Is East (Tod Browning, 1929)
- Man to Man (Allan Dwan, 1930)
- Menschen am Sonntag (Var., 1930)
- Men Without Women (John Ford, 1930)
- Die Neue Wohnung (Version Atelier Richter) (Hans Richter, 1930)
- Die Neue Wohnung (Version SWB) (Hans Richter, 1930)
- Le Roman de Renard (Wladyslaw & Irene Starewicz, 1930)
- 50 Million Frenchmen (Lloyd Bacon, 1931)
- Chances (Allan Dwan, 1931)
- Daïnah la Métisse (Jean Grémillon, 1931)
- Enthusiasm (Dziga Vertov, 1931)
- From Saturday to Sunday (Gustav Machatý, 1931)
- Hyppolit, the Butler (Steve Sekely, 1931)
- Mor’vran (Jean Epstein, 1931)
- Transatlantic (William K. Howard, 1931)
- L’Affaire est dans le Sac (Pierre Prevert, 1932)
- A Bill of Divorcement (George Cukor, 1932)
- Broken Lullaby (Ernst Lubitsch, 1932)
- En el Infierno del Chaco (Roque Funes, 1932)
- The Mask of Fu Manchu (Vidor/Brabin, 1932)
- The Most Dangerous Game (Schoedsack/Pichel, 1932)
- L’Or des Mers (Jean Epstein, 1932)
- Wayne Murder Case (Whitman/Del Ruth, 1932)
- 90° South (Herbert G. Ponting, 1933)
- Acciaio (Walter Ruttmann, 1933)
- Baby Face (Alfred E. Green, 1933)
- The Ghost Camera (Bernard Vorhaus, 1933)
- Jofroi (Marcel Pagnol, 1933)
- Lachende Erben (Max Ophüls, 1933)
- Lot in Sodom (Watson/Webber, 1933)
- Men Must Fight (Edgar Selwyn, 1933)
- Misère au Borinage (Ivens/Storck, 1933)
- El Prisionero 13 (Fernando de Fuentes, 1933)
- Treno Popolare (Raffaello Matarazzo, 1933)
- Wild Boys of the Road (William A. Wellman, 1933)
- Zéro de Conduite (Jean Vigo, 1933)
- Les Affaires Publiques (Robert Bresson, 1934)
- Chanson d’Amour (Jean Epstein, 1934)
- The Lost Patrol (John Ford, 1934)
- Man of Aran (Robert J. Flaherty, 1934)
- Pyshka (Mikhail Romm, 1934)
- Sequoia (Franklin/Marin, 1934)
- Il Cappello a Tre Punte (Mario Camerini, 1935)
- The Night of the Party (Michael Powell, 1935)
- The Phantom Light (Michael Powell, 1935)
- Big Brown Eyes (Raoul Walsh, 1936)
- Morning’s Tree-Lined Street (Mikio Naruse, 1936)
- The Mysterious Mr. Davis (Claude Autant-Lara, 1936)
- Night Mail (Watt/Wright, 1936)
- The Plough and the Stars (John Ford, 1936)
- Shipyard (Paul Rotha, 1936)
- La Tendre Ennemie (Max Ophüls, 1936)
- Thank You, Jeeves! (Arthur Greville Collins, 1936)
- Avalanche (Mikio Naruse, 1937)
- En Pays Neufs (Maurice Proulx, 1937)
- Les Bâtisseurs (Jean Epstein, 1938)
- The Challenge (Milton Rossmer, 1938)
- Merlusse (Marcel Pagnol, 1938)
- La Vuelta al Nido (Leopoldo Torres Ríos, 1938)
- Let Us Live (John Brahm, 1939)
- The Whole Family Works (Mikio Naruse, 1939)
- Band Waggon (Marcel Varnel, 1940)
- Crimes at the Dark House (George King, 1940)
- Sono Stato Io! (Raffaello Matarazzo, 1940)
- Valley Town (Willard Van Dyke, 1940)
- Famalicão (Manoel de Oliveira, 1941)
- They Dare Not Love (James Whale, 1941)
- The Land (Robert J. Flaherty, 1942)
- La Nave Bianca (Roberto Rossellini, 1942)
- Raisin’ Cotton (Emma Knowlton Lytle, 1942)
- The Undying Monster (John Brahm, 1942)
- The Ghost Ship (Mark Robson, 1943)
- L’Uomo dalla Croce (Roberto Rossellini, 1943)
- Bluebeard (Edgar G. Ulmer, 1944)
- Design Workshops (László Moholy-Nagy, 1944)
- The True Story of Lili Marlene (Humphrey Jennings, 1944)
- The Volunteer (Powellburger, 1944)
- Danger Signal (Robert Florey, 1945)
- A Diary for Timothy (Humphrey Jennings, 1945)
- My Name Is Julia Ross (Joseph H. Lewis, 1945)
- Le 6 Juin à l’Aube (Jean Grémillon, 1946)
- Indonesia Calling (Joris Ivens, 1946)
- So Dark the Night (Joseph H. Lewis, 1946)
- A City Speaks (Paul Rotha, 1947)
- The Record of a Tenement Gentleman (Yasujirô Ozu, 1947)
- The Argyle Secrets (Cy Endfield, 1948)
- Les Feux de la Mer (Jean Epstein, 1948)
- Germania Anno Zero (Roberto Rossellini, 1948)
- Den Hemmelighetsfulle Leiligheten (Tancred Ibsen, 1948)
- Armored Car Robbery (Richard Fleischer, 1950)
- Family Portrait (Humphrey Jennings, 1950)
- Swain (Gregory J. Markopoulos, 1950)
- The Red Badge of Courage (John Huston, 1951)
- Le Divertissement (Jacques Rivette, 1952)
- Le Grand Méliès (Georges Franju, 1952)
- Hôtel des Invalides (Georges Franju, 1952)
- Valkoinen Peura (Erik Blomberg, 1952)
- Fear and Desire (Stanley Kubrick, 1953)
- Le Rideau Cramoisi (Alexandre Astruc, 1953)
- Crime Wave (André De Toth, 1954)
- Es Geschah am 20. Juli (G. W. Pabst, 1955)
- A Lawless Street (Joseph H. Lewis, 1955)
- The Bespoke Overcoat (Jack Clayton, 1956)
- The Fountain of Youth (Orson Welles, 1956)
- Le Bel Indifférent (Jacques Demy, 1957)
- City of Gold (Low/Koenig, 1957)
- Le Corbusier, l’Architecte du Bonheur (Pierre Kast, 1957)
- Kisses (Yasuzo Masumura, 1957)
- Lettre de Sibérie (Chris Marker, 1957)
- On the Bowery (Lionel Rogosin, 1957)
- Les Mains Nettes (Claude Jutra, 1958)
- Nishi Ginza Station (Shohei Imamura, 1958)
- La Première Nuit (Georges Franju, 1958)
- The Back-Breaking Leaf (Terrence McCartney Filgate, 1959)
- Pull My Daisy (Frank/Leslie, 1959)
- The Bellboy (Jerry Lewis, 1960)
- City (Jan Troell, 1960)
- The White Dove (František Vláčil, 1960)
- The Conclusion (Satyajit Ray, 1961)
- The Postmaster (Satyajit Ray, 1961)
- Rabindranath Tagore (Satyajit Ray, 1961)
- The Sand Castle (Jerome Hill, 1961)
- Barravento (Glauber Rocha, 1962)
- I Fidanzati (Ermanno Olmi, 1962)
- La Jetée (Chris Marker, 1962)
- Les Mauvaises Fréquentations (Jean Eustache, 1963)
- Postava k Podpírání (Jurácek/Schmidt, 1963)
- Bartok (Ken Russell, 1964)
- The Brig (Jonas Mekas, 1964)
- Cast Iron (Otar Iosseliani, 1964)
- Mass for the Dakota Sioux (Bruce Baillie, 1964)
- Le Puits et le Pendule (Alexandre Astruc, 1964)
- The Coward (Satyajit Ray, 1965)
- Fortress of the Dead (Ferde Grofe Jr., 1965)
- Les Histoires Extraordinaires d’Edgar Poe (Éric Rohmer, 1965)
- Man Is Not a Bird (Dušan Makavejev, 1965)
- Pour le Mistral (Joris Ivens, 1965)
- Coach to Vienna (Karel Kachyna, 1966)
- The Death of a Provincial (Krzysztof Zanussi, 1966)
- John Cage (Klaus Wildenhahn, 1966)
- Lumière (Marc Allégret, 1966)
- Rotterdam-Europoort (Joris Ivens, 1966)
- Idea di un’Isola (Roberto Rossellini, 1967)
- Ljubavni Slucaj ili Tragedija Sluzbenice PTT (Dušan Makavejev, 1967)
- Silence and Cry (Miklós Jancsó, 1967)
- Les Enfants de Néant (Brault/Tresgot, 1968)
- Gates to Paradise (Andrzej Wajda, 1968)
- High School (Frederick Wiseman, 1968)
- Innocence Unprotected (Dušan Makavejev, 1968)
- Louis Lumière (Éric Rohmer, 1968)
- Money (Rudy Burckhardt, 1968)
- La Morte d’Isotta (Werner Schroeter, 1968)
- La Rosière de Pessac (Jean Eustache, 1968)
- Stéphane Mallarmé (Éric Rohmer, 1968)
- The Flying Doctors of East Africa (Werner Herzog, 1969)
- Georgian Ancient Songs (Otar Iosseliani, 1969)
- Le Cochon (Eustache/Barjol, 1970)
- La Colonia Penal (Raúl Ruiz, 1970)
- Autour de l’Argent (Jean Dréville, 1971)
- La Expropiación (Raúl Ruiz, 1974)
- Samye Zemnye Zaboty (Aleksandr Sokurov, 1974)
- La Solitude du Chanteur de Fond (Chris Marker, 1974)
- Autobiography of a Princess (James Ivory, 1975)
- Curriculum Vitae (Krzysztof Kieślowski, 1975)
- Eadweard Muybridge, Zoopraxographer (Thom Andersen, 1975)
- Fällan (Peter Watkins, 1975)
- Great (Isambard Kingdom Brunel) (Bob Godfrey, 1975)
- Children (Terence Davies, 1976)
- Personel (Krzysztof Kieślowski, 1976)
- Le Retour à la Terre (Pierre Perrault, 1976)
- Les Kazaks (Joris & Marceline Loridan Ivens, 1977)
- La Soufrière – Warten auf eine Unausweichliche Katastrophe (Werner Herzog, 1977)
- Allegro Barbaro (Miklós Jancsó, 1979)
- Aurélia Steiner (Melbourne) (Marguerite Duras, 1979)
- Aurélia Steiner (Vancouver) (Marguerite Duras, 1979)
- Bolívar, Sinfonía Tropikal (Diego Rísquez, 1979)
- Schalcken the Painter (Leslie Megahey, 1979)
- Le Borgne (Raúl Ruiz, 1980)
- In the Shadow of the Sun (Derek Jarman, 1980)
- Madonna and Child (Terence Davies, 1980)
- The Metaphor (King Vidor, 1980)
- Macbeth (Béla Tarr, 1982)
- Les Pigeons du Square (Jean Painlevé, 1982)
- Scénario du Film ‘Passion’ (Jean-Luc Godard, 1982)
- Cuarteto para el Fin del Tiempo (Alfonso Cuarón, 1983)
- Death and Transfiguration (Terence Davies, 1983)
- The Planets (Ken Russell, 1983)
- Tempo di Viaggio (Tarkovsky/Guerra, 1983)
- A.K. (Chris Marker, 1985)
- The Angelic Conversation (Derek Jarman, 1985)
- Voyage d’une Main (Raúl Ruiz, 1985)
- Le Trio en Si Bémol (Éric Rohmer, 1987)
- Ashik Kerib (Sergei Parajanov, 1988)
- The End of the World (Dorota Kędzierzawska, 1988)
- Les Ministères de l’Art (Philippe Garrel, 1989)
- Les Sièges de l’Alcazar (Luc Moullet, 1989)
- Les Trois Dernières Sonates de Franz Schubert (Chantal Akerman, 1989)
- Woodaabe: Herdsmen of the Sun (Werner Herzog, 1989)
- Echoes from a Somber Empire (Werner Herzog, 1990)
- Allemagne 90 Neuf Zéro (Jean-Luc Godard, 1991)
- Lungo il Fiume (Ermanno Olmi, 1991)
- La Vie des Morts (Arnaud Desplechin, 1991)
- A Walk Through Prospero’s Library (Peter Greenaway, 1991)
- O Dia do Desespero (Manoel de Oliveira, 1992)
- Lessons of Darkness (Werner Herzog, 1992)
- Rapado (Martín Rejtman, 1992)
- Darwin (Peter Greenaway, 1993)
- Glocken aus der Tiefe – Glaube und Aberglaube in Rußland (Werner Herzog, 1993)
- Marcel Proust: A Writer’s Life (Sarah Mondale, 1993)
- L’Oumigmag ou l’Objectif Documentaire (Pierre Perrault, 1993)
- Les Derniers Jours d’Emmanuel Kant (Philippe Collin, 1994)
- A Hole in the Soul (Dušan Makavejev, 1994)
- U.S. Go Home (Claire Denis, 1994)
- Whispering Pages (Aleksandr Sokurov, 1994)
- 100 Years of Polish Cinema (Pawel Lozinski, 1995)
- Deux Fois Cinquante Ans de Cinéma Français (Godard/Miéville, 1995)
- Gesualdo: Death for Five Voices (Werner Herzog, 1995)
- JLG/JLG – Autoportrait de Décembre (Jean-Luc Godard, 1995)
- Like the Relentless Fury of the Pounding Waves (Apichatpong Weerasethakul, 1995)
- Utazás az Alföldön (Béla Tarr, 1995)
- Retour à Sarajevo (Philippe Grandrieux, 1996)
- Von Heute auf Morgen (Straub-Huillet, 1997)
- Diva Dolorosa (Peter Delpeut, 1999)
- In the Forest Hangs a Bridge (Sanjay Kak, 1999)
- Une Journée d’Andrei Arsenevitch (Chris Marker, 1999)
- Un Vivant Qui Passe (Claude Lanzmann, 1999)
- Wisconsin Death Trip (James Marsh, 1999)
- Hubo un Tiempo en Que los Sueños Dieron Paso a Largas Noches de Insomnio… (Julián Hernández, 2000)
- Krapp’s Last Tape (Atom Egoyan, 2000)
- Time and Tide (Peter Hutton, 2000)
- L’Homme des Roubines (Gérard Courant, 2001)
- In Public (Jia Zhangke, 2001)
- La Libertad (Lisandro Alonso, 2001)
- An Injury to One (Travis Wilkerson, 2002)
- Two Rivers (Peter Hutton, 2003)
- The Wheel (Victor Asliuk, 2003)
- Affettuosa Presenza (Franco Piavoli, 2004)
- Los Muertos (Lisandro Alonso, 2004)
- Une Nuit (Henri-Jean Debon, 2004)
- Skagafjordur (Peter Hutton, 2004)
- Une Visite au Louvre (Straub-Huillet, 2004)
- Black Dragon Canyon (Jay Keitel, 2005)
- The Call of Cthulhu (Andrew Leman, 2005)
- À Travers la Forêt (Jean-Paul Civeyrac, 2005)
- Dong (Jia Zhangke, 2006)
- Quei Loro Incontri (Straub-Huillet, 2006)
- Quelques Veuves de Noirmoutier (Agnès Varda, 2006)
- Soledad al Fin del Mundo (Casas/Zuber, 2006)
- At Sea (Peter Hutton, 2007)
- La Parure (Claude Chabrol, 2007)
- Silencio (François-Jacques Ossang, 2007)
- The Sun and the Moon (Stephen Dwoskin, 2007)
- Coal Money (Wang Bing, 2008)
- Le Genou d’Artémide (Jean-Marie Straub, 2008)
- Hunters Since the Beginning of Time (Carlos Casas, 2008)
- L’Itinéraire de Jean Bricard (Straub-Huillet, 2008)
- Butterflies Have No Memories (Lav Diaz, 2009)
- The Darkness of Day (Jay Rosenblatt, 2009)
- Le Streghe, Femmes Entre Elles (Jean-Marie Straub, 2009)
- Tod und Teufel (Peter Nestler, 2009)
- In Search of On the Road (Walter Salles, 2010)
- Le Rapport Karski (Claude Lanzmann, 2010)
- Slow Action (Ben Rivers, 2010)
- Green Fire (A. Dunsky/S. Dunsky/Steinke, 2011)
- Un Héritier (Jean-Marie Straub, 2011)
- Jean-Luc Persécuté (Emmanuel Laborie, 2011)
- La Maladie Blanche (Christelle Lheureux, 2011)
- Privacy Setting (Joe Swanberg, 2011)
- Recuerdos de una Mañana (José Luis Guerín, 2011)
- Silver Bullets (Joe Swanberg, 2011)
- Sin Título (Carta para Serra) (Lisandro Alonso, 2011)
- Traveling Light (Gina Telaroli, 2011)
- Tributes-Pulse (Bill Morrison, 2011)
- The Zone (Joe Swanberg, 2011)
- Anquanto la Lhéngua fur Cantada (João Botelho, 2012)
- The Bookseller of Belfast (Alessandra Celesia, 2012)
- O Corpo de Afonso (João Pedro Rodrigues, 2012)
- An Investigation on the Night that Won’t Forget (Lav Diaz, 2012)
- Just Ancient Loops (Bill Morrison, 2012)
- Out-Takes from the Life of a Happy Man (Jonas Mekas, 2012)
- Reconversão (Thom Andersen, 2012)
- Reminiszenzen Aus Deutschland (Jonas Mekas, 2012)
- The Romance of Loneliness (Sarah Ledbetter, 2012)
- Silent Youth (Diemo Kemmesies, 2012)
- Walker (Tsai Ming-liang, 2012)
- Alberi (Michelangelo Frammartino, 2013)
- Un Conte de Michel de Montaigne (Jean-Marie Straub, 2013)
- Echolot (Athanasios Karanikolas, 2013)
- Fantasmas da Cidade (Daniel de Bem, 2013)
- La Jalousie (Philippe Garrel, 2013)
- Matar Extraños (Schulsinger/Pereda, 2013)
- O Quinto Evanxeo de Gaspar Hauser (Alberto Gracia, 2013)
- Spring (Nathaniel Dorsky, 2013)
- Three Landscapes (Peter Hutton, 2013)
- You Make Me Feel So Young (Zach Weintraub, 2013)
- Journey to the West (Tsai Ming-liang, 2014)

NOTE: Bolded titles indicate new additions.

Not in Database:

- I Am a Thief (Robert Florey, 1934)

Added:

- Le Coup du Berger (Jacques Rivette, 1956)

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