The 10 Best Unofficial Trilogies, Ranked

Great film trilogies like The Lord of the Rings or by Christopher Nolan Dark Knight sagas have taken audiences into worlds filled with rich characters and complex emotional arcs. But some trilogies take us deep into a simple idea or feeling. Many great directors have found themselves making an “unofficial trilogy,” following a theme across three separate films without any strict plot continuity.

From the spirituality of Italian giallo films to the ever-cool stoicism of a lone cowboy, these unofficial trilogies have spawned some of the most unforgettable cinematic explorations of all time. They are not just a film programmer's dream, but a glimpse into the mind of a filmmaker.

10 The Three Mothers Trilogy Delivers Decades of Terror in Style

Suspiria (1977), Inferno (1980), Mother of Tears (2007)

In 1977, Dario Argento's iconic horror film Giallo, Sigh, introduced the audience to Helena Markos, the ancient witch head of a German dance academy. In 1980, Argento returned to the witches' realm with Hellwhich tells the story of a man who investigates the disappearance of his sister, thanks to his unwitting sharing of a condominium with a powerful witch. It was only in 2007 that Argento completed his trilogy on witches with Mother of Tears. In the lesser-known chapter, the discovery of an ancient urn triggers the return of the third mother, unleashing chaos in Rome.

The idea of ​​the three mothers comes from a fusion of ancient occult texts and Argento's salacious, colorful style. Each chapter revels in bizarre murders and an increasingly complicated tale of witchcraft. While the films, like most detective stories, are short on logic, they are rich in emotion and are unmistakably the work of a singular artist.

9 The Teen Apocalypse Trilogy Shows the Unpredictable Verve of Adolescence

Totally F***ed Up (1992), The Evil Generation (1995), Nowhere (1997)

Gregg Araki is a unique voice in the New Queer Cinema movement of the 1990s. His Teen Apocalypse Trilogy, released from 1992 to 1997, showcases the proud, queer, and angry lives of teenagers. Treating audiences to some of the wildest parties and most disturbing criminal schemes in history, the films are a testament to the power of queer filmmakers to present life as an artistic statement.

Each subsequent entry in the trilogy gets a little wilder, from the modest slice-of-life vignettes of Completely fucked to the insane murder plan of The Generation of Destinyto the chaotic acid trip that is Non-existent placeAraki relies heavily on the wild digital stylization that makes his early work so contemporary and yet so fun.

8 The Three Colors Trilogy explores French life with poetic clarity

Three Colors: Blue (1993), Three Colors: White (1994), Three Colors: Red (1994)

While some unofficial trilogies arise from a filmmaker's incidental interest in a favorite theme, the Three Colors trilogy was advertised as a unified whole from the start. Polish author Krzysztof Kieślowski received funding from France to create the trilogy, and each loosely touches on an aspect of French culture, namely the French Revolutionary ideals of “liberté, égalité, fraternité.”

Starring respected actors Juliette Binoche, Julie Delpy, and Irène Jacob, the films deal with the loss of family, the loss of identity, and the development of unlikely bonds. A razor-sharp focus on character and the ways in which life challenges the expected boundaries of genre make the trilogy endlessly compelling viewing. As these are Kieślowski’s final films, they are a moving farewell.

7 The Cornetto Trilogy Brings Genre Mastery to Couple Comedies

Shaun of the Dead (2004), Hot Fuzz (2007), The World's End (2013)

The Cornetto trilogy, named after a British ice cream brand, is one of the most rewatchable film collections of all time. Each one tackles a genre; from zombie horror to gun-toting action to alien invasion. With each directed by Edgar Wright and written by Wright and Simon Pegg, the comedy trilogy is consistently hilarious and meticulously crafted.

While many comedies prioritize jokes over plot, the Cornetto trilogy takes the time to craft a thoughtful, emotional story that can be followed and revisited on multiple viewings. Each film also boasts an all-star British cast, ranging from fan favorite Peter Serafinowicz to Oscar winner Olivia Colman. And unlike some unofficial trilogies, the debate over which is better is highly debatable, as each has its own unique strengths.

6 The original Dead trilogy proves that zombies can be powerful symbols

Night of the Living Dead (1968), Dawn of the Dead (1978), Day of the Dead (1985)

Director George A. Romero wrote the book on modern zombies, establishing their aesthetic and function in the 1968 classic Night of the Living DeadThe original entry connects zombies to the way American society demonizes and targets people from vulnerable populations, particularly people of color.

In Dawn of the DeadRomero extended the metaphor to encompass America's mindless consumerism and how it can depersonalize and devalue human life. His 1985 sequel, Day of the Deadchallenges his characters to communicate effectively and save humanity in the midst of a total zombie takeover. While the zombies themselves are entertaining enough, Romero always takes the stories a step further, raising thoughtful and well-observed questions about the meaning of true human compassion.

5 The Apocalypse Trilogy Makes the End of the World Fantastic

The Thing (1982), The Prince of Darkness (1987), In the Mouth of Madness (1994)

John Carpenter may have been a pioneer of the slasher genre, but the theme he returned to most often in his career was the end of the world. Each film in Carpenter's “Apocalypse Trilogy” takes a different approach to the concept: the viral takeover of the human race in The thingthe awakening of an “Anti-God” in Prince of Darknessand the realization of your own nonexistence in In the mouth of madness.

The trilogy is a showcase of the many incarnations of horror that Carpenter has mastered. The thing It's a classic mix of science fiction and body horror, Prince of Darkness combines the occult with scientific facts, and In the mouth of madness finds a middle ground between the work of HP Lovecraft and Stephen King. There is also a hidden narrative arc within the trilogy, starting with the most literal of apocalypses and ending with one centered on the human mind.

4 The Koker trilogy finds surprising power in everyday life

Where is the friend's house? (1987), And life goes on (1992), Among the olive trees (1994)

Abbas Kiarostami famously rejected the distinction between his films as part of a trilogy, but they are undeniably linked by their setting in the village of Koker, Iran. Three films dealing with humanity's desire to connect make up the trilogy, the first a simple story of a boy trying to return his schoolmate's notebook, the second a journey of a father and son trying to find the boys after an earthquake, and the last an extension of a small scene from the previous film.

The beauty of the Koker Trilogy is its presentation of life as intensely personal and at the same time extremely complex. While the characters may be experiencing hardship, they are just one piece of a tapestry of an ever-expanding and overlapping region. Each voice is individually engaging, but the overall experience is extremely powerful.

3 The Man with No Name trilogy is the epitome of Old West anti-heroism

A Fistful of Dollars (1964), For a Few Dollars More (1965), The Good, the Bad and the Ugly (1966)

Clint Eastwood's name is synonymous with the lone gunman archetype, thanks in large part to his collaborations with Italian director Sergio Leone. The Man with No Name trilogy is the culmination of Leone and Eastwood's collaborations, following the titular anti-hero's exploits as an opportunist, bounty hunter, and con man.

While Eastwood’s trademark snarl is a compelling centerpiece of the trilogy, it’s the countless unforgettable supporting actors that elevate it to legendary status. Featuring character actor icons like Eli Wallach and Lee Van Cleef, the films offer a masterclass in lean, mean genre filmmaking. They introduced a generation to the lawless world of cowboys and criminals.

2 The Love Trilogy is an unforgettable showcase of romance

Wild Days (1990), In the Mood for Love (2000), 2046 (2004)

Wong Kar-wai is a legend of Hong Kong cinema for his distinctively frenetic visual style and incredibly cool characters. But his love trilogy is the best illustration of his ability to explore the depths of love, beyond extraordinary circumstances and across generations. Each film features Su Li-zhen, played by Maggie Cheung, as she navigates complex love stories.

Set in the 1960s, each film explores the limitations of traditional domestic life and the dark sides of an otherwise buttoned-up society. Wild Days AND 2046 both tell parallel stories, creating a visually striking tapestry of longing and nostalgia. In the mood for love It has the simplest plot of the trilogy, but its attention to the sensorial evolution of romantic feelings has earned it a permanent place on lists of the greatest films of all time.

1 The Vengeance Trilogy Sets the Benchmark for Dark Thrillers

Sympathy for Mr. Vengeance (2002), Oldboy (2003), Lady Vengeance (2005)

Park Chan-wook is the master of chilling storytelling. His revenge trilogy, consisting of Sympathy for Mr. Vengeance, Old boyAND Lady Vengeancefeatures some of the most twisted and convoluted moments of any film. Its characters experience wrongful imprisonment, the death of their children, and become unwitting perpetrators of incest.

Against all odds, Park manages to find moments of humor that complement the trilogy, making it not only disturbing but also moving. His characters, no matter how extreme their tragedies, become relatable. There is no better encapsulation of the power of the trilogy than the English-language title of the first installment from 2002. Park's superpower is making the audience feel genuine sympathy for the most vengeful character.