The ending in Aoyama's Eureka, when the photography switches to full color, and starts circling away from the protagonists in a movement reflecting the sea that surrounds them, rising higher and higher like a bird. Like the girl expressed it at the beginning: a wave that will wash everything away. 

The moment in this year's The New World, when Colin Farrel's character comments on the stream of a river, which can lead backwards, but also forward, deeper into the wilderness, as well as the images of Pocahontas dancing through the english gardens in a vision after her death, and the flight of the indian out of the building and throgh the door into nature. 
At the end the shot of the tree, reaching towards the sun. 

The whole film, but especially the ending in Jafar Panahi's Offside, celebration of a possible liberty and freedom, even if it is only a short moment. 
The honest observations of the camera in Babooska, which make you feel like you could almost grasp the reality of the cinematic image, the repressed, the life of mankind reflected in the life of one person.

The liberating possibilities of music, as expressed in the documentary Rhythm is it!, the need for freedom of artistic expression as in Paradjanov's "The color of pomgranates" or Bunuel's "An andalusian dog", and their formal liberation from narrative cinema. The beauty and power of language as exemplified in Othon.

Marlene Dietrich keeping her dignity and freedom while facing execution in Dishonored, or her husband in Blonde Venus.

The blooming love between two entirely different social outcasts in A Patch of Blue,the possibility of a flight from cuba in an unexpected levitation in Before Night Falls, a beautiful hommage to Tarkovski, the liberating monologues of Jean-Pierre Leaud and Valerie Lebrun directly into the camera in Eustache's La maman et la putain, their desperate attempts at freeing themselves from their own constrictions through the magic of storytelling, the killing of the squire at the beginning of Rocha's "Black god, White devil", the single moment of mutual love in Pola X when Depardieu and golubeva are making love, the flight/dance of Denis Lavant in Carax's Mauvais sang, the disparate editning of sound and image in Pudovkin's Dezertir, freeing both elements from the tyranny of synchrony, Akira finally playing baseball in Koreeda's "Nobody Knows", the open spaces and neutral ground the protagonists find themselves in Zabriskie Point, and the acceptance of the "invisible" in the last moments of Antonioni's Blow up. The love of freedom expressed in almost every film of Pasolini, the last shot in Griffith's Intolerance, the ending of Eternal Sunshine of the spotless mind. 
The liberating power of love.