I mentioned French Poetic Realism and Ozu* still existing TTL; and yes, we still have early documentaries (by Flaherty, etc), and there are examples in Soviet and Fascist cinema of "the people" as protagonist. And these movements will influence film as separate movements.
*similar to last post, I think we might be able to expand the definition of "poetic realism" to include non French directors who were doing similar things around the same time
CONSOLIDATION: Just re-watched an example of French Poetic Realism, La Grand Illusion; hadn't seen it in years.
It also reminded me of other examples, like Pepe le Moko or Port of Shadows, which bring to my mind far more of Hollywood Film Noir than the Neo-realists. It strikes me that the pre-war Poetic Realists were far more "poetic" than they were "realist"; even more than Hollywood, they had a preference for long, continuous takes, with a preference for mise-en-scene over montage in visually telling their stories. They also shared with Hollywood a sort of romantic sensibility, and were generally shameless in how they used technique (star actors, musical cues, lighting, etc) to these ends.
Like I said, they'll certainly still have influence TTL, but they and they're disciples won't come close to challenging and transforming studio filmmaking the way Neorealism did.