Werner Herzog, born in 1942 in Munich, is currently the world's most famous Bavarian filmmaker. Ever since "My Best Fiend," his 1999 documentary about his favorite actor Klaus Kinski, Herzog has mostly directed in the US, combining fiction and documentary films, and charming the world with his unmistakable Bavarian accent. In Hollywood he has worked with stars such as Nicole Kidman.

With Herzog, Fassbinder was a catalyst of the New German Cinema movement that put the country back on the cinematographic map in the 1960s. Born in 1945 in the Bavarian town of Bad Wörishofen, he experimented and broke the conventions of the time like no other filmmaker in the country. Later, Fassbinder also filmed outside of Bavaria.

Herbert Achternbusch was and remains a Bavarian original. The director also often stared in his own films. In "Bierkampf" (above), which translates as "beer fight," he celebrated his love-hate relationship with his Bavarian homeland and its people. In the movie he played Herbert, who pretends to be a police officer (above right). Achternbusch is also the author of books, plays and radio dramas.

Karl Valentin was another Bavarian original. The singer, actor and author directed numerous short films in the early ages of cinema, as well as a few longer works later on. Born in 1882 in Munich, Valentin was renowned way beyond Bavaria for his duo performances with his stage and film partner, Liesl Karlstadt. His humor influenced generations of comedians after him.

Traces of Karl Valentin's humor can be found in the TV shows and films directed by Helmut Dietl. Born in 1944 in the Bavarian town Bad Wiessee, Dietl's first hit TV series came with "Monaco Franze," followed by "Kir Royal." His most successful film was a 1997 comedy with a title that translates as "Rossini, or the Killer Question: Who Slept with Whom." It poked fun at Munich's vain high society.

Born in Munich in 1952, Dominik Graf should be considered one of the greatest filmmakers of the country. However, his works weren't commercial hits, and he has mainly concentrated on directing for TV. His movies nevertheless belong to the best ever produced in this country. He also paid tribute to his home city with his film essay from the year 2000, titled "Munich — Secrets of a City."

In Haneke's case, even though he started working for TV, he ended up as an internationally recognized filmmaker. As fans know, he's official holds Austrian nationality, but he was actually born in Munich. The glory of the award-winning director's oeuvre therefore also shines a bit on the city where he was born.

Josef Bierbichler is another Bavarian film director, though he only recently stepped behind the camera. He first established himself as an actor, shown here in Ina Weisse's film "The Architect." Bierbichler, born in 1948 in Amach, had his debut in films directed by other Bavarian greats Werner Herzog and Herbert Achternbusch. He's also a successful theater actor and novelist.

Director Hans-Christian Schmid is perhaps a discrete figure in Germany's cinematographic landscape, but nevertheless currently one of the most skilled filmmakers in the country. Born in 1965, he gained renown through his 1995 comedy, "After Five in the Forest Primeval," starring Franka Potente in her film debut. His works are not all set in Bavaria, but when they are, they're powerfully strong.

The youngest Bavarian filmmaker in our top 10 selection is comedian Michael "Bully" Herbig. Born in 1968 in Munich, Herbig initially became famous through his comedy skits and a TV late night sketch show, "Bullyparade." He went on directing for the big screen with parodies including "Manitou's Shoe," a smash-hit Western spoof, and "Traumschiff Surprise — Periode 1," which pokes fun at Star Trek.

"Go for it, Baby" (Zur Sache Schätzchen) was one of the most successful comedies of the New German Cinema era, with German actors Uschi Glas and Werner Enke starring in May Spil's humorous 1960s movie. The charming and amorous couple represented the social conflicts found in Munich at the time. "Go for it, Baby" was as popular as it was revolutionary, and is filled with a lot of Munich charm.

Herbert Achterbusch without Munich — that is virtually unimaginable. Hardly any other German director is so closely linked with the city as he is. And what do outsiders think of when they think of Munich? Oktoberfest, of course! Achternbusch filmed his movie "Bierkampf" at the beer festival in 1977. He also starred in it, donning a police uniform and relishing in this rather absurd character.

With "Fear Eats the Soul" (Angst essen Seele auf), legendary Munich-based director Rainer Werner Fassbinder shot one of his most beautiful and emotional films in his hometown in 1973. Focused on an unlikely romance between a 50-something Emma (Brigitte Mira) and her much young lover Ali (El Hedi Ben Salem), the film explores the underbelly of the Bavarian capital — and its discrimination.

Whereas Fassbinder focuses on the seedy side of Munich, film director Helmut Dietl prefers exploring the city's famous glamorous exterior. In his 1997 film "Rossini," a famous pub turns out to be the protagonist in the film, shining in all its evening glory.

In addition to Spain, the great Orson Welles shot part of his Cold War thriller "Mr. Arkadin" in Munich. Welles (right) plays the title role, a mysterious billionaire who hires an American smuggler played by Robert Arden to uncover his forgotten past. Partly shot in December 1954 at Jacobsplatz in Munich, the film — which is actually also set in Berlin — had numerous European locations.

A few months after Welles' filming, German-French director Max Ophüls shot his last film, the historical romance "Lola Montez," in the Bavarian metropolis. Centered around the celebrated dancer and courtesan Lola Montez, also mistress to King Ludwig I of Bavaria, locations included Munich's English Garten and Circus Krone's tent. Lola was played by celebrated French actress Martine Carol.

French director Alain Resnais shot his 1961 masterpiece, not in the Czech city of Marienbad referenced in the title, but in Munich. The director and his cinematographer, Sacha Vierny, captured beautiful images of the castles and parks at Nymphenburg and Schleißheim. "Last Year in Marienbad," one of the most aesthetically impressive films in cinema history, turns out to a Munich film in disguise.

One of the most beautiful Munich films can neither be classified as a feature film nor as a documentary. Shot in 2000 by director Dominik Graf and critic Michael Althen, "München — Geheimnisse einer Stadt" (Munich — Secrets of a City) is a poetically playful film essay with both documentary and staged sequences. If you want to get to the heart of this city, this film reveals a few of its secrets.

Director Edgar Reitz explored the Munich of the 1960s in the second series in his groundbreaking "Heimat" trilogy exploring German history and culture. Reitz showcased the Bavarian city via an enchanting mixture of nostalgia and avant-garde, of delight and melancholy. Rarely has one seen a Munich so open, likeable and friendly than in Reitz' "Second Home" (Die Zweite Heimat).

In the postwar years, the Heimatfilm genre was one of the most successful in Germany. Films like "Grün ist die Heide" ("The Heath Is Green") drew millions to the cinemas. The Germans forgot the sorrows of their lives in the early 1950s by enjoying scenes of natural landscapes and heartbreaking stories. At a subliminal level, these films addressed subjects of flight and displacement.

German cinema had already built up a strong connection to topics such as home and nature during the silent film era. In the genre known as "mountain films," director Arnold Fanck drew a connection between nature and mysticism. One of his most eager students was Leni Riefenstahl — seen here filming "Das blaue Licht" ("The Blue Light") in 1932.

The 1950s was the high point of the Heimatfilm genre. Producers and directors usually set their stories in a green, mountainous backdrop. Subject matter swung between drama and kitsch. Films like "Försterliesel" ("Forest Liesel") drew in the masses. Later, those who studied film saw in the Heimat genre messages of despair and misery.

Decades later, directors like Herbert Achternbusch and Werner Herzog helped the Heimatfilm make a comeback. This time, though, Heimat was defined differently. Achternbusch, who originally stemmed from Bavaria and can be seen here (at right) in the film "Bierkampf" ("Beer Chase") made fun of Bavarian ways. This new take on Heimat was satirical and vicious.

Edgar Reitz returned Heimat to its honor in 1984 with his multi-film epic, "Heimat: A Chronicle of Germany." After premiering at the Venice Film Festival, the series gained international success. Reitz told the story of the residents of a village in the hills of the Hunsrück region with a subtlety and attention to detail. In doing so, he held up a mirror to the major events in German history.

Reitz was also responsible for the epic series "Die andere Heimat" ("Home from Home: Chronicle of a Vision") released in 2013. The genre took on yet another meaning as the director traced the steps of 19th century German immigrants to Brazil. Emigration and immigration are two sides of the same coin, and this shows how it can be viewed from many different perspectives.

The most recent entry in the Heimatfilm genre shows Germany from a bird's-eye view. A documentary film like "Die Elbe von oben" ("The Elbe from Above"), shows Heimat as an abstract concept, looking at it from a distance. The beauty of the landscape is in the foreground, the surface of things dominating perspectives.

Heimatfilms are not specific to Germany. In the US, they simply have a different name for the genre. The Western tells stories of land grabs and displacement, of new and old Heimat — most often from the perspective of the settlers — as seen here in "The Searchers" in 1956.

Movies focusing on Heimat have been produced in other nations as well. You could safely classify the works of director Federico Fellini in this genre. In "Amarcord" (1973) and other films, Fellini told stories of cities and provinces, of people and families — stories which could not possibly have been set anywhere else but in Fellini's native Italy.

The birthplace of cinema has also contributed to the Heimat genre. French movies have long praised the exceptional beauty of a life lived in the countryside, in the typical French provinces. Eating and drinking, life and love — all are celebrated in films like "Les enfants du marais" ("The Children of the Marshland"), which was released in 1999, but set in 1918.

French filmmakers have been adept at showing the opposites between the country's rural and city areas. By showcasing these regional differences, they have given a variety of dimensions to the discussion of Heimat. The 2008 movie "Bienvenue chez les Ch'tis" ("Welcome to the Sticks") shows what happens when a public servant from Provence is forced to move to northern France.