There is a cinematic underground - celluloid without compromise - created for discussion of cult classics, obscure, and under-appreciated films, or simply films and talent worthy of newfound or continuing praise and scrutiny. Cinema Underground is intended to explore these films that exist off the turgid mainstream's narrow scope of vision.

Example genres: foreign (e.g., Italian neo-realism, French New Wave, German Expressionism), silent, surrealism, occult, indie, low budget, film noir, Hammer, blaxploitation, avant-garde/experimental, anime, biker, Mondo, Giallo, psychedelic, educational/driver's ed/juvenile delinquency/Cold War (atomic paranoia) films.

Directors/talent: Takashi Miike, Cassavetes, Corman, Meyer, Fritz Lang, Ed Wood, Oscar Micheaux, Lina Wertmuller, Matthew Barney, Alejandro Jodorowsky, Werner Herzog, Truffaut, Tarkovsky, Andy Warhol, David Cronenberg, Fulci, Kenneth Anger, Agnes Varda, Argento, Bava, Luis Bunuel, Derek Jarman, Leni Riefenstahl, Donald Cammell...

Choice selection of films: Exterminating Angel, Freaks, El Topo, Videodrome, Chungking Express, Dr. Mabuse, Seven Beauties, Blue Angel, Mephisto, Equilibrium, Repo Man, Stalker, Atomic Cafe, Zardoz, Meet the Feebles, The 400 Blows, Lucifer Rising, Down by Law, Nightcomers, Superfly, Django, Angel Heart, Through a Glass Darkly, Battle Royale, Omega Man, Doom Generation, Seconds, Coffy, Shaolin Master Killer, Psych-Out, Suspiria, Audition, Hard Boiled, Wild Angels, Cremaster Cycle, Demon Seed, Living in Oblivion, Eraserhead, The Tenant, Shadows, Faces, The Beyond, Dark City, Carnival of Souls, Visitor Q, Bad Lieutenant, Vixen, The Brood, Red Asphalt, Triumph of the Will, Eyes Without A Face, Der Golem, Bande à part, (and on and on).

Post your cinematic conjecture, ruminations, complaints, accolades, assessments, recommendations, links, events, reviews, etc. What makes a film "cult," or a classic, or both? Let that proud inner film geek shine.