European Union | 748 Titles
Black Narcissus (1947)
Directed by | Michael Powell, Emeric Pressburger | Cinematography by | Jack Cardiff | Editing by | Reginald Mills
Cameras | Technicolor 3-Strip Camera
To Catch a Thief (1955)
Directed by | Alfred Hitchcock | Cinematography by | Robert Burks | Editing by | George Tomasini
Cameras | VistaVision Cameras
Spartacus (1960)
Directed by | Stanley Kubrick | Cinematography by | Russell Metty | Editing by | Robert Lawrence, Irving Lerner
Cameras | Technirama Camera
Red Sparrow (2018)
Directed by | Francis Lawrence | Cinematography by | Jo Willems | Editing by | Alan Edward Bell
Cameras | ARRI ALEXA Mini Camera, ARRI ALEXA XT Plus Camera
Lenses | Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision T Series Anamorphic Lenses
The Happy Prince (2018)
Around the World in Eighty Days (1956) 
Directed by | Michael Anderson, John Farrow | Cinematography by | Lionel Lindon | Editing by | Howard Epstein, Gene Ruggiero, Paul Weatherwax
Cameras | Todd-AO 65mm Camera
Lenses | Todd-AO Lenses
The Hitman’s Bodyguard (2017)
Directed by | Patrick Hughes | Cinematography by | Jules O'Loughlin | Editing by | Jake Roberts
Cameras | ARRI ALEXA Mini Camera, ARRI ALEXA XT Camera, ARRI ALEXA XT Plus Camera, GoPro HERO4 Black, Red Epic Dragon Camera
Lenses | Angenieux Lenses, Hawk V-Lite Vintage´74 Lens
Mudbound (2017)
Directed by | Dee Rees | Cinematography by | Rachel Morrison | Editing by | Mako Kamitsuna
Cameras | ARRI ALEXA Mini Camera
Lenses | Panavision D Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses, Panavision PVintage Prime Lenses, Panavision T Series Anamorphic Lenses, Panavision Ultra Speed MKII Lenses
Napoleon (2023)
Directed by | Ridley Scott | Cinematography by | Dariusz Wolski | Editing by | Sam Restivo, Claire Simpson
Cameras | ARRI ALEXA Mini LF Camera
Lenses | Angenieux Type EZ-1 S35 30-90 mm T3.0 Lens, Angenieux Type EZ-2 S35 15-40 mm T2.0 Lens, Panavision 65 Vintage Series Lenses, Panavision Lenses, Panavision Primo Zooms Spherical Lenses
French Story (2024)
Directed by | Sidney Berthier | Cinematography by | Sidney Berthier | Editing by | Sidney Berthier
Lenses | Zeiss Jena Lens
The Big Red One (1980)
Directed by | Samuel Fuller | Cinematography by | Adam Greenberg | Editing by | Bryan McKenzie, Morton Tubor
Cameras | ARRIFLEX Camera
1917 (2019)
Directed by | Sam Mendes | Cinematography by | Roger Deakins | Editing by | Lee Smith
Cameras | ARRI ALEXA Mini LF Camera
Lenses | ARRI Signature Prime 35mm T1.8 Lens, ARRI Signature Prime 40mm T1.8 Lens, ARRI Signature Prime 47mm T1.8 Lens
The Teachers’ Lounge (2023)
Directed by | Ilker Çatak | Cinematography by | Judith Kaufmann | Editing by | Gesa Jäger
Cameras | ARRI ALEXA Mini Camera
Lenses | Angenieux Optimo 45-120 mm T2.8 Lens
Mrs. Harris Goes to Paris (2022)
Directed by | Anthony Fabian | Cinematography by | Felix Wiedemann | Editing by | Barney Pilling
Cameras | ARRI ALEXA LF Camera
The Banshees of Inisherin (2022)
Directed by | Martin McDonagh | Cinematography by | Ben Davis | Editing by | Mikkel E.G. Nielsen
Cameras | ARRI ALEXA Mini LF Camera
Lenses | ARRI Signature Prime Lenses
Zack Snyder’s Justice League (2021)
Directed by | Zack Snyder | Cinematography by | Fabian Wagner | Editing by | David Brenner, Carlos M. Castillón, Dody Dorn
Cameras | ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera
Lenses | Leitz Summilux-C Series Lenses
Triangle of Sadness (2022)
Directed by | Ruben Östlund | Cinematography by | Fredrik Wenzel | Editing by | Mikel Cee Karlsson, Ruben Östlund
Lenses | Zeiss Supreme Prime Series Lenses
Fay Grim (2006)
Directed by | Hal Hartley | Cinematography by | Sarah Cawley | Editing by | Hal Hartley
Cameras | Sony HDW-F900 Camera
Lenses | Zeiss DigiPrime Lenses
EO (2022)
Directed by | Jerzy Skolimowski | Cinematography by | Michal Dymek | Editing by | Agnieszka Glinska
Cameras | ARRI ALEXA Mini LF Camera
Lenses | Canon K35 Prime Lenses, Leica R Series Lenses
The Quiet Girl (2022)
Directed by | Colm Bairéad | Cinematography by | Kate McCullough | Editing by | John Murphy
Cameras | Sony CineAlta VENICE Camera
Lenses | Zeiss Compact Prime CP.3 Lenses
