Integral Movie and TV List

The very first Integral Film by Germaine Dulac. Many years ahead of its time.

This cinematic masterpiece has hints of the emergence of integral cinematic style and structure into a more main stream form as it traces the evolution of an individual life and explores how our primal wound can both propel us up the ladder of human development while also undermining and regressing us at the same time. While the films main character falls far short of the higher stages of development, the filmmaker, Orson Welles, elevates us the audience into a higher level of perception as we are cinematically raised up into the integral dimensions of a deeply integrating and witnessing consciousness.

Adaptation of W. Somerset Maugham's classic tale of a young man in search of the meaning of existence and his evolutionary journey toward a higher and deeper level of being and becoming.

This Frank Capra Christmas classic is also an early stage integral work that maps how the main character George Bailey (James Stewart) evolves from egocentric to Kosmocentric circles of care and concern in a way that shows us how we can evolve through various stages while also holding onto earlier stage drives and projections. In George's case he holds onto his childhood egoic dream of being a world explorer and do great and big things, all the while not realizing that he was already doing great and big things as he developed throughout his life. A beautiful journey that teaches us that it is often the little things we do in life that end up having the biggest impact in the long run. The film is also told directly from the Kosmocentric witness perspective from the angels watching over him beyond the dimension of the world of form.

The quintessential Santa Claus movie of all time, this Christmas classic is perhaps the most magical Santa movie ever and yet it shows no magic directly. The miracles that Santa brings are miracles of consciousness. He is operating at a higher more integral level than everyone else and is able to see how they are trapped in their worldviews and constructs and he gently awakens them to higher dimensions of being and becoming. He is also very human in many ways, sometimes loosing his faith that he can save Christmas, which only adds great depth to the wonderful performance by Edmund Gwenn. At the end we get a hint that this man may indeed be Santa Claus, but we are left with only a sense of standing at the edge of a great Kosmic mystery.

This profound cinematic masterpiece by famed Japanese filmmaker Akira Kurosawa, puts the viewer in the integral witnessing state of being as the film deconstructs relativism and deconstructionism itself.

Ingmar Bergman's deeply reflective film exploring the evolution of one man's life through memories, dreams, interactions and self-reflections. Through this process Bergman shows us how generational patterns imprison us and cause evolutionary regression, and how becoming a witness to these greater evolutionary and de-evolutionary patterns can awaken us and help us evolve further.

This classic anthology television series explores the further reaches of our inner and outer world within a Kosmic-witnessing frame for the viewer. We are put in the observer seat at the beginning of every episode through the shows opening that includes both visuals and text spoken by the host and show creator, Rod Serling. And as we observe, the stories, visuals and soundscapes shift us into and out of the observer, witness position and into deeply subjective experiences and expansive existential and philosophical reflections. When you combine the witnessing framing and the expansive reflections you get a taste of the Kosmo-centric Witness perspectival field; in many episodes we, the viewer, can have the sense that we are glimpsing a big picture so big it is beyond our comprehension, that there is a meaningful pattern to it all, to all the dimensions we are observing and the multiple layers of hidden dimensions just beyond our reach, and that there is a much greater intelligence at work.

"La Jetée" is a classic and renown avant-garde short using all still images to explore the nature of time, memory, dreams, human nature, the impermanence of the world of form and the evolution of self, culture and world, and in the end touches on the Kosmocentric witness at the edge of life and death.

This film is the first major cinematic work of Russian filmmaker and theorist Andrei Tarkovsky, whose unique cinematic style, which he calls "sculpting in time," pervades all of his major works and is a masterful integrally-informed capturing of inner and outer experiential realities. With long simple yet complex poetically choreographed shots that allow for a multi-layered unfolding of each successive cinematic moment, along with subtle shifts between narrative, visual, auditory, and temporal dimensions of individual and collective interior and exterior realities, Tarkovsky miraculously appears to be capturing and expressing a lived experiential reality that integrates the multiple dimensions of that reality in a profoundly visceral way. In addition, he seems to have a masterful capacity to capture and orchestrate gross, subtle and causal cinematic energies to create potential transcendental experiences and deep witnessing states in the viewer.

Master Italian filmmaker Federico Fellini's semi-autobiographical cinematic masterpiece is actually a deep integrally-informed exploration of the artist's struggle to tap into and be a channel for the creative force of the universe. Fellini's main character is a famous filmmaker who is in preproduction of a film while being unable to access that creative force. His dreams help him seek for it in the past, in waking life the dreams bleed through and take him on a surreal creative journey to gaining that Kosmocentric witness perspective that feeds the artist's soul.

Starting with the original Star Trek television series in 1966, through many itinerations up to the current Star Trek: Discovery streaming series, the Star Trek universe has given us a cinematic example of what an Integral moral universe would look like. With its evolutionary-aware Prime Directive and its trans-species post-Capitalist worldview, the Star Trek franchise has been planting integral consciousness seeds for over 50 years. While the episodes of the original series and the many spin-off series and the various theatrical itineration's vary in terms of just how integral they are in form and content, the center of gravity of the Star Trek universe is decidedly integral and evolutionary in heart and spirit, with the most recent works starting with the Star Trek (2009) theatrical reboot up to the current Star Trek: Discovery streaming series becoming much more integral across all expressive domains.

This is the second major cinematic work of Russian filmmaker and theorist Andrei Tarkovsky, whose unique cinematic style, which he calls "sculpting in time," pervades all of his major works and is a masterful integrally-informed capturing of inner and outer experiential realities. With long simple yet complex poetically choreographed shots that allow for a multi-layered unfolding of each successive cinematic moment, along with subtle shifts between narrative, visual, auditory, and temporal dimensions of individual and collective interior and exterior realities, Tarkovsky miraculously appears to be capturing and expressing a lived experiential reality that integrates the multiple dimensions of that reality in a profoundly visceral way. In addition, he seems to have a masterful capacity to capture and orchestrate gross, subtle and causal cinematic energies to create potential transcendental experiences and deep witnessing states in the viewer.

Kubrick's ground-breaking integral/evolutionary cinema masterpiece.

"Solaris" is the third major cinematic work of Russian filmmaker and theorist Andrei Tarkovsky, whose unique cinematic style, which he calls "sculpting in time," pervades all of his major works and is a masterful integrally-informed capturing of inner and outer experiential realities. With long simple yet complex poetically choreographed shots that allow for a multi-layered unfolding of each successive cinematic moment, along with subtle shifts between narrative, visual, auditory, and temporal dimensions of individual and collective interior and exterior realities, Tarkovsky miraculously appears to be capturing and expressing a lived experiential reality that integrates the multiple dimensions of that reality in a profoundly visceral way. In addition, he seems to have a masterful capacity to capture and orchestrate gross, subtle and causal cinematic energies to create potential transcendental experiences and deep witnessing states in the viewer.

"The Mirror" is the fourth major cinematic work of Russian filmmaker and theorist Andrei Tarkovsky, whose unique cinematic style, which he calls "sculpting in time," pervades all of his major works and is a masterful integrally-informed capturing of inner and outer experiential realities. With long simple yet complex poetically choreographed shots that allow for a multi-layered unfolding of each successive cinematic moment, along with subtle shifts between narrative, visual, auditory, and temporal dimensions of individual and collective interior and exterior realities, Tarkovsky miraculously appears to be capturing and expressing a lived experiential reality that integrates the multiple dimensions of that reality in a profoundly visceral way. In addition, he seems to have a masterful capacity to capture and orchestrate gross, subtle and causal cinematic energies to create potential transcendental experiences and deep witnessing states in the viewer.

Star Wars Saga 1-6 (1977-2005) - When taken as a whole and in their intended narrative order, the first six Star Wars films show a full evolutionary and de-evolutionary arc for the character of Anakin Skywalker, aka Darth Vader, from egocentric to Kosmocentric with dark twisting turns and de-evolutionary undercurrents of the deep shadow creating a complex spiral of evolutionary development for the character and the archetypal forces represented by him and his journey. "A New Hope" is the first film in the second trilogy.

A haunting mystical cinematic journey into the heart of aboriginal dreamtime and its evolutionary impact on a non-aboriginal person and the greater world at the crossroads of a great awakening.

The first feature film created from the original Star Trek series brings the original cast and the integrally-informed Star Trek universe to the big screen.

"Stalker" is the fifth major cinematic work of Russian filmmaker and theorist Andrei Tarkovsky, whose unique cinematic style, which he calls "sculpting in time," pervades all of his major works and is a masterful integrally-informed capturing of inner and outer experiential realities. With long simple yet complex poetically choreographed shots that allow for a multi-layered unfolding of each successive cinematic moment, along with subtle shifts between narrative, visual, auditory, and temporal dimensions of individual and collective interior and exterior realities, Tarkovsky miraculously appears to be capturing and expressing a lived experiential reality that integrates the multiple dimensions of that reality in a profoundly visceral way. In addition, he seems to have a masterful capacity to capture and orchestrate gross, subtle and causal cinematic energies to create potential transcendental experiences and deep witnessing states in the viewer.

Star Wars Saga 1-6 (1977-2005) - When taken as a whole and in their intended narrative order, the first six Star Wars films show a full evolutionary and de-evolutionary arc for the character of Anakin Skywalker, aka Darth Vader, from egocentric to Kosmocentric with dark twisting turns and de-evolutionary undercurrents of the deep shadow creating a complex spiral of evolutionary development for the character and the archetypal forces represented by him and his journey. "Empire Strikes Back" is the second film in the second trilogy.

Wild inner and outer ride into the evolutionary and energetic dimensions of existence.

"Diva" is a French cult film classic from the early 80s that integrates European and American cinema conventions into a hip uniquely styled hybrid Comedy-Thriller-Romance-Mystical tale. As we go along for the ride of this zeitgeist capturing film, the camera moves the audience from the deeply personal and emotional to the intellectual and philosophical to the big-picture, overview, and kosmo-centric witness position. The young male lead character evolve from ego-centric to ethnocentric to socio-centric circles of care and concern while he navigates through a maze of life threatening and existential "challenges," helped by an older street-wise cosmopolitan kosmo-centric holy man.

The second feature film created from the original Star Trek series with the original cast, extending the integrally-informed Star Trek universe to the big screen.

"Nostalgia" is the sixth major cinematic work of Russian filmmaker and theorist Andrei Tarkovsky, whose unique cinematic style, which he calls "sculpting in time," pervades all of his major works and is a masterful integrally-informed capturing of inner and outer experiential realities. With long simple yet complex poetically choreographed shots that allow for a multi-layered unfolding of each successive cinematic moment, along with subtle shifts between narrative, visual, auditory, and temporal dimensions of individual and collective interior and exterior realities, Tarkovsky miraculously appears to be capturing and expressing a lived experiential reality that integrates the multiple dimensions of that reality in a profoundly visceral way. In addition, he seems to have a masterful capacity to capture and orchestrate gross, subtle and causal cinematic energies to create potential transcendental experiences and deep witnessing states in the viewer.

Star Wars Saga 1-6 (1977-2005) - When taken as a whole and in their intended narrative order, the first six Star Wars films show a full evolutionary and de-evolutionary arc for the character of Anakin Skywalker, aka Darth Vader, from egocentric to Kosmocentric with dark twisting turns and de-evolutionary undercurrents of the deep shadow creating a complex spiral of evolutionary development for the character and the archetypal forces represented by him and his journey. "Return of the Jedi" is the final film in the second trilogy.

A magical little integrally-informed off-beat comedy that gradually has us feeling that everything we are seeing in this cinematic reality is at the edge of a vast conscious mystery, giving us a gentle and subtle taste of the Kosmocentric realities beyond the veil of what is known. This veil includes the separation between the manmade world we live in and the natural world we are cut off from as well as the great mystery beyond the stars. Amidst all this, our main character evolves from egocentric to the early beginnings of Kosmocentric circles of care and concern in an almost imperceptible way. Everything here is just below and beyond the surface, just beyond our grasp.

The third feature film created from the original Star Trek series with the original cast, extending the integrally-informed Star Trek universe to the big screen.

A mysterious, magical, Christ-like, integral-esque and perhaps "alien" patient in an insane asylum acts as the evolutionary catalyst for the residing psychologist and all the other lives he touches.

The fourth feature film created from the original Star Trek series with the original cast, extending the integrally-informed Star Trek universe to the big screen.

"The Sacrifice" is last major cinematic work of Russian filmmaker and theorist Andrei Tarkovsky, whose unique cinematic style, which he calls "sculpting in time," pervades all of his major works and is a masterful integrally-informed capturing of inner and outer experiential realities. With long simple yet complex poetically choreographed shots that allow for a multi-layered unfolding of each successive cinematic moment, along with subtle shifts between narrative, visual, auditory, and temporal dimensions of individual and collective interior and exterior realities, Tarkovsky miraculously appears to be capturing and expressing a lived experiential reality that integrates the multiple dimensions of that reality in a profoundly visceral way. In addition, he seems to have a masterful capacity to capture and orchestrate gross, subtle and causal cinematic energies to create potential transcendental experiences and deep witnessing states in the viewer.

This first spin-off/sequel television series of the original Star Trek series expands and deepens the integral moral universe of the original and many of its episodes dive deep into integral-evolutionary perspectival fields while adding an evolutionary arc for the character of Data that explores the nature of sentient life itself and the potential evolutionary arc of non-sentient to sentient life forms.