Roman Numeral Analysis wouldn't do much good for chord progressions like these because it's not clear what key these progressions belong to, especially the second progression. Something important to note about music theory, compared to other lofty kinds of theory (physics, mathematics, etc) is that music theory does not dictate how one should or shouldn't write. It simply allows us to communicate what's happening in the music in a succinct, formal, and analytic format. What I see in your progression is, instead, a root-movement relationship built on intervals. However just because that's what I see in there does not magically mean that's why you wrote it that way.
The first progression could be said to be "constant structure" minor chords (i.e., entirely minor chords) built upon an increasingly large root movement: Major second/diminished third between Fm/Ebm, minor third between Ebm/F#m, and major third between F#m/Bbm. The second progression looks to me like a chain of seconds of varying sizes: Fm->Ebm = M2, Ebm->Em = m2, Em->Dm = M2, Dm->Bdim = A2(m3), Bdim->A = M2. The diminished and major chords in this progression provide significant color differentiation to break up the monotony of the minor chords.
This is simply how I would explain the construction of these progressions, and I'm sure several other people would have different analyses as well.