You guys like watching films for free right? Sometimes handing over your hard earned crust is the barrier between your enquiring mind and a lesser-known gem. Free is where the risk-takers go to get noticed. Enter Indie Movies Online, which though launched in June 2009 has only recently come to our attention; an international, legal, video-on-demand site with over 700 films to watch free. That's some serious indie film education, and most importantly, it's not the usual free-but-crap fare - we're talking quality finds here. Head on over, and if you feel a bit intimidated by the selection, why not have a read of their beginners guide to Danish cinema, an excellent look at the Dogme manifesto and some great films that we can easily recommend you start off on if you're not already familiar with. Below, a small excerpt: "Since March 1995, and Lars von Trier and Thomas Vinterberg's declaration of their Dogme manifesto, Danish cinema has been enjoying a steady rise in international profile. Over the next three days I will take a look back over the origins of that rise, as well as checking out the latest movies from six of the most exciting contemporary Danish directors. Prelude. Year Zero – the sequel Whilst the best reckoning of the sharpest brains here on Earth tells us that our conception of the cosmos has gone through a single Big Bang, in contrast Danish cinema might be argued as having witnessed two beginnings to its history. Both the first contact in June 1896, when Copenhagen native Vilhelm Pacht set up a Lumière cinématographe in his home city's central Radhuspladsen, and then again in March '95, when firebrand directors Lars von Trier and Thomas Vinterberg issued hundreds of leaflets to the assembled press corps in Paris's Odéon Theatre, and thus introduced the wider world to a movement which has dominated discussion of Danish film ever since. 1. Vampyr makes its mark If we attempt to discern a linking figure between the earliest, halcyon days of cinema in Denmark, when the Nordisk Film Kompagni ranked as one of the largest film firms on the planet, and the later Dogme days, then we perhaps find one in the shape of Carl Theodor Dreyer. The first truly great Danish director and one of the first great directors in cinematic history, Dreyer's first steps into the film business came with his hiring as a screenwriter at Nordisk in 1913, while his final flourish came in 1988, 20 years after his death, when his unproduced screenplay, Medea, was finally brought to the screen by the young von Trier. And the story goes that - at least in the early 21st century - every time a new script was put into production at von Trier's Zentropa Entertainment production company, it was 'baptised' in a teacup that had once been the property of Dreyer. Dreyer actually made his finest films outside of his homeland, having exited Nordisk not long after his 1919 directorial debut, The President, his dedication to his craft having earned him a reputation of something as a troublemaker. Working independently, it was in France where he produced his first masterpiece, The Passion of Joan of Arc, a retelling of the trial and execution of the Maid of Orléans. Made on a lavish budget and without creative interference, Joan of Arc was instantly acclaimed upon its release in 1928, only to subsequently flop with audiences of the day. An even more ignominious fate awaited Dreyer's next film, Vampyr, made in 1932, which didn't even get the thumbs up from the critics before being given the cold shoulder by cinema-goers..."