All the films mentioned by Gilles Deleuze in Cinema 1: The Movement Image and Cinema 2: The Time-Image because someone had to do it. From the back cover of the former:

First published in France in 1983, this is at once a revolutionary work in philosophy and a book about cinema. For Deleuze, philosophy cannot be a reflection of something else; philosophical concepts are, rather, the images of thought, to be understood on their own terms. Here he puts this view of philosophy to work in understanding the concepts—or images—of film.

Cinema, to Deleuze, is not a language that requires probing and interpretation, a search for hidden meanings; it can be understood directly, as a composition of images and signs, pre-verbal in nature. Thus he offers a powerful alternative to the psychoanalytic and semiological approaches that have dominated film studies.

Drawing upon Henri Bergson’s thesis on perception and C. S. Peirce’s classification of images and signs, Deleuze is able to put forth a new theory and taxonomy of the image, which he then applies to concrete examples from the work of a diverse group of filmmakers—Griffith, Eisenstein, Pasolini, Rohmer, Bresson, Dreyer, Stroheim, Buñuel, and many others. Because he finds movement to be the primary characteristic of cinema in the first half of the twentieth century, he devotes this first volume to that aspect of film. In the years since World War II, time has come to dominate film; that shift, and the signs and images associated with it, are addressed in Cinema 2: The Time-Image.

MISSING
L'amour d'une femme (Jean Grémillon, 1953)
Appunti su un fatto di cronaca (Luchino Visconti, 1953)
C'était un Québecois en Bretagne, Madame (Pierre Perrault, 1977)
La concentration (Philippe Garrel, 1968)
Le rideau cramoisi (Alexandre Astruc, 1953)
Les enfants du placard (Benoît Jacquot, 1977)
La fête espagnole (Germaine Dulac, 1920)
France/tour/detour/deux/enfants (Jean-Luc Godard & Anne-Marie Miéville, 1977)
L'homme atlantique (Marguerite Duras, 1981)
Images pour Debussy (Jean Mitry, 1951)
The Last Moment (Pál Fejös, 1928)
Hadduta misrija (Youssef Chahine, 1982)
Mon coeur est rouge (Michèle Rosier, 1976)
Narkose (Alfred Abel, 1929)
Paris vu par... vingt ans après (Chantal Akerman et al., 1984)
Le pays de la terre sans arbre ou Le mouchouânipi (Pierre Perrault, 1980)
Un pays sans bon sens! (Pierre Perrault, 1970)
Phenomena (Jordan Belson, 1965)
La photogénie mécanique (Jean Grémillon, 1924)
Le règne du jour (Pierre Perrault, 1967)
The Virgin of Pessac (Jean Eustache, 1979)
Un royaume vous attend (Pierre Perrault, 1976)
Mor vran (Jean Epstein, 1931)
Six fois deux/Sur et sous la communication (Jean-Luc Godard & Anne-Marie Miéville, 1976)
Sleep (Andy Warhol, 1963)
La tendre ennemie (Max Ophüls, 1936)
Theodor Hierneis oder Wie man ehem. Hofkoch wird (Hans-Jürgen Syberberg, 1973)
Le torrent (René Hervil & Louis Mercanton, 1917)
Violanta (Daniel Schmid, 1978)
Bilans kwartalny (Krzysztof Zanussi, 1975)
Workshop Experiments in Animated Sound (Norman McLaren, 1950)

NOTES
Deleuze also mentions the following:
Eighteen Seconds (screenplay by Antonin Artaud)
Genèse (unfinished film by Robert Bresson)
The Honeymoon (lost film by Erich von Stroheim)
It's All True (unfinished film by Orson Welles)
Poto-Poto (novel by Erich von Stroheim)
La Révolte du boucher (screenplay by Antonin Artaud)

I'm unsure which versions The Man Who Knew Too Much and The Ten Commandments refer to so I've just listed both versions of each.

Love in the City is just the Fellini short film Un' agenzia matrimoniale.