Best Foreign Film
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- 1950: The Bicycle Thief (Ladri di biciclette) (Italy)
- 1951: The Walls of Malapaga (Le mura di Malapaga) (Italy)
- 1952: Rashomon (羅生門) (Japan)
- 1953: The White Reindeer (Valkoinen peura) (Finland)
- 1955: Twenty-Four Eyes (Nijushi no hitomi) (Japan); No Way Back (Weg Ohne Umkehr) (West Germany); The Lady of the Camellias (Argentina); Genevieve (United Kingdom)
- 1956: Ordet (The Word) (Denmark); Stella (Greece); Sons, Mothers, and a General (Kinder, Mutter und Ein General) (West Germany); Eyes of Children (Japan); Dangerous Curves (1955 film) (United Kingdom);
- 1957: Before Sundown (Vor Sonnenuntergang) (West Germany); The Girl in Black (To Koritsi me ta mavra) (Greece); Richard III (United Kingdom); Roses on the Arm (Taiyo to bara) (Japan); War and Peace (Italy); The White Reindeer (Valkoinen Peura) (Finland)
- 1958: Confessions of Felix Krull (Bekenntnisse des Hochstaplers Felix Krull) (West Germany); Tizoc (Mexico); Woman in a Dressing Gown (United Kingdom); Yellow Crow (Kiiroi karasu) (Japan)
- 1959: Die Brücke (The Bridge) (West Germany)
- 1960: Black Orpheus (Orfeu Negro) (Brazil/France)
- 1961: The Virgin Spring (Jungfrukällan) (Sweden)
- 1962: Through a Glass Darkly (Såsom i en spegel) (Sweden)
- 1963: Sundays and Cybele (Les Dimanches de Ville d'Avray) (France)
- 1964: 8½ (Italy)
- 1965: Yesterday, Today, and Tomorrow(Italy) http://en.m.wikipedia.org/wiki/Yesterday,_Today_and_TomorrowGirl with Green Eyes (UK); Matrimonio all'italiana (Marriage Italian-Style) (Italy); Sallah Shabati (Israel)
- 1966: Juliet of the Spirits (UK); Giulietta degli spiriti (Italy)
- 1967: A Man and a Woman (UK); Un homme et une femme (France)
- 1968: Live for Life (UK); Vivre pour vivre (France)
- 1969: War and Peace (UK); Voyna i mir (Russia)
- 1970: Z (Algeria)
- 1971: Rider on the Rain (UK); Le Passager de la Pluie (France)
- 1972: The Policeman (UK); Ha-Shoter Azulai (Israel)
- 2011: A Separation (Iran)
Read more about this topic: Golden Globe Award For Best Foreign Language Film
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“Television does not dominate or insist, as movies do. It is not sensational, but taken for granted. Insistence would destroy it, for its message is so dire that it relies on being the background drone that counters silence. For most of us, it is something turned on and off as we would the light. It is a service, not a luxury or a thing of choice.”
—David Thomson, U.S. film historian. America in the Dark: The Impact of Hollywood Films on American Culture, ch. 8, William Morrow (1977)