There is a cinematic underground - celluloid without compromise - a place of cult classics, obscure, and even underappreciated films, or simply films and talent worthy of newfound or continuing praise, study, and scrutiny. Cinema Underground is intended to explore these films that exist as a blip off the mainstream's narrow scope of vision.

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

Directors/talent: Cassavetes, Corman, Russ Meyer, Fritz Lang, Raimi, Ed Wood, Hooper, Micheaux, Chaplin, Romero, Wertmuller, Matthew Barney, Jodorowsky, Herzog, Truffaut, Tarkovsky, Castle, Warhol, Cronenberg, Fulci, Fukasaku, Varda, Argento, Bava, Bunuel, Jarman, Riefenstahl, H.G. Lewis, Alan Clarke, Donald Cammell, Cronenberg.

Choice selection of films: Exterminating Angel, Freaks, Brazil, Videodrome, Chungking Express, Testament of Dr. Mabuse, Seven Beauties, Blue Angel, Mephisto, Equilibrium, Repo Man, Stalker, Atomic Cafe, Zardoz, Meet the Feebles, The 400 Blows, Carny, Down by Law, Nightcomers, Superfly, Django, El Topo, Through a Glass Darkly, Battle Royale, Omega Man, Doom Generation, Angel Heart, 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, Savage Seven, Bad Lieutenant, Vixen, Evil Dead, Red Asphalt, Triumph of the Will, Great Dictator, 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.