A Christmas Tale

In Arnaud Desplechin’s beguiling A Christmas Tale (Un conte de Noël), Catherine Deneuve brings her legendary poise to the role of Junon, matriarch of the troubled Vuillard family, who come together at Christmas after she learns she needs a bone marrow transplant from a blood relative. That simple family reunion setup, however, can’t begin to describe the unpredictable, emotionally volatile experience of this film, an inventive, magical drama that’s equal parts merriment and melancholy. Unrequited childhood loves and blinding grudges, brutal outbursts and sudden slapstick, music, movies, and poetry, A Christmas Tale ties it all together in a marvelously messy package.

Everlasting Moments

Swedish master Jan Troell, director of the beloved classics The Emigrants and The New Land, returns triumphantly with Everlasting Moments, the vivid, heartrending story of a woman liberated by art at the beginning of the twentieth century. Though poor and abused by her alcoholic husband, Maria Larsson (Maria Heiskanen, in a beautifully nuanced portrayal) finds an outlet in photography, which opens up her world for the first time. With a burnished bronze tint that evokes faded photographs, and a broad empathetic palette, Everlasting Moments—based on a true story—is a miraculous tribute to the power of image making.

The Secret of the Grain

The winner of four César awards, including best picture and director, Abdellatif Kechiche’s The Secret of the Grain is a stirring drama about the daily joys and struggles of a bustling French-Arab family. It has the texture of a documentary but a classic, almost Shakespearean structure: when patriarch Slimane acts on his wish to open a portside restaurant specializing in his ex-wife’s couscous and fish, the extended clan’s passions and problems explode, leading to an engrossing, suspenseful climax. With sensitivity and grit, The Secret of the Grain celebrates the role food plays in family life and gets to the core of contemporary immigrant experience.

Hunger

Steve McQueen, Criterion # 504

With Hunger, British filmmaker and artist Steve McQueen has turned one of history’s most controversial acts of political defiance into a jarring, unforgettable cinematic experience. In Northern Ireland’s Maze prison in 1981, twenty-seven-year-old Irish Republican Army member Bobby Sands went on a hunger strike to protest the British government’s refusal to recognize him and his fellow IRA inmates as political prisoners. McQueen dramatizes prison existence and Sands’s final days in a way that is purely experiential, even abstract, a succession of images full of both beauty and horror. Featuring an intense performance by Michael Fassbender, Hunger is an unflinching, transcendent depiction of what a human being is willing to endure to be heard.

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Disc Features

Days of Heaven

Terrence Malick

In 1910, a Chicago steelworker (Richard Gere) accidentally kills his supervisor, and he, his girlfriend (Brooke Adams), and his little sister (Linda Manz) flee to the Texas panhandle, where they find work harvesting wheat in the fields of a stoic farmer (Sam Shepard). A love triangle, a swarm of locusts, a hellish fire—Malick captures it all with dreamlike authenticity, creating a timeless American idyll that is also a gritty evocation of turn-of-the-century labor.

Harlan County, USA

Barbara Kopple

Barbara Kopple’s Academy Award–winning Harlan County USA unflinchingly documents a grueling coal miners’ strike in a small Kentucky town. With unprecedented access, Kopple and her crew captured the miners’ sometimes violent struggles with strikebreakers, local police, and company thugs. Featuring a haunting soundtrack—with legendary country and bluegrass artists Hazel Dickens, Merle Travis, Sarah Gunning, and Florence Reece—the film is a heartbreaking record of the thirteen-month struggle between a community fighting to survive and a corporation dedicated to the bottom line.

Salesman

Albert Maysles, David Maysles and Charlotte Zwerin

A landmark American documentary, Salesman captures in vivid detail the bygone era of the door-to-door salesman. While laboring to sell a gold-embossed version of the Good Book, Paul Brennan and his colleagues target the beleaguered masses—then face the demands of quotas and the frustrations of life on the road. Following Brennan on his daily rounds, the Maysles discover a real-life Willy Loman, walking the line from hype to despair.

Tout Va Bien

Jean-Luc Godard

This free-ranging assault on consumer capitalism and the establishment left tells the story of a wildcat strike at a sausage factory as witnessed by an American reporter (Fonda) and her has-been New Wave film director husband (Yves Montand). The Criterion Collection is proud to present this masterpiece of radical cinema, a caustic critique of society, marriage, and revolution in post-1968 France.

Wages Of Fear

Henri-Georges Clouzot

In a squalid South American oil town, four desperate men sign on for a suicide mission to drive trucks loaded with nitroglycerin over a treacherous mountain route. As they ferry their explosive cargo to a faraway oil fire, each bump and jolt tests their courage, their friendship, and their nerves.

Breathless

There was before Breathless, and there was after Breathless. With its lack of polish, surplus of attitude, crackling personalities of rising stars Jean-Paul Belmondo and Jean Seberg, and anything-goes crime narrative, Jean-Luc Godard’s debut fashioned a simultaneous homage to and critique of the American film genres that influenced and rocked him as a film writer for Cahiers du cinéma. Jazzy, free-form, and sexy, Breathless (À bout de souffle) helped launch the French New Wave and ensured cinema would never be the same.

F For Fake

Trickery. Deceit. Magic. In Orson Welles’s free-form documentary F for Fake, the legendary filmmaker (and self-described charlatan) gleefully engages the central preoccupation of his career—the tenuous line between truth and illusion, art and lies. Beginning with portraits of world-renowned art forger Elmyr de Hory and his equally devious biographer, Clifford Irving, Welles embarks on a dizzying cinematic journey that simultaneously exposes and revels in fakery and fakers of all stripes—not the least of whom is Welles himself. Charming and inventive, F for Fake is an inspired prank and a searching examination of the essential duplicity of cinema.

Jeanne Dielman

A singular work in film history, Chantal Akerman’s Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles meticulously details, with a sense of impending doom, the daily routine of a middle-aged widow—whose chores include making the beds, cooking dinner for her son, and turning the occasional trick. In its enormous spareness, Akerman’s film seems simple, but it encompasses an entire world. Whether seen as an exacting character study or one of cinema’s most hypnotic and complete depictions of space and time, Jeanne Dielman is an astonishing, compelling movie experiment, one that has been analyzed and argued over for decades.

Late Spring

One of the most powerful of Yasujiro Ozu’s family portraits, Late Spring tells the story of a widowed father who feels compelled to marry off his beloved only daughter. Eminent Ozu players Chishu Ryu and Setsuko Hara command this poignant tale of love and loss in postwar Japan, which remains as potent today as ever—almost alone justifying Ozu’s inclusion in the pantheon of cinema’s greatest directors.

Lola Montes

Lola Montès is a visually ravishing, narratively daring dramatization of the life of the notorious courtesan and showgirl, played by Martine Carol. With his customary cinematographic flourish and, for the first time, vibrant color, Max Ophuls charts the course of Montès’s scandalous past through the invocations of the bombastic ringmaster (Peter Ustinov) of the American circus where she has ended up performing. Ophuls’s final film, Lola Montès is at once a magnificent romantic melodrama, a meditation on the lurid fascination with celebrity, and a one-of-a-kind movie spectacle.

Night and the City

Two-bit hustler Harry Fabian (Richard Widmark) aches for a life of ease and plenty. Trailed by an inglorious history of go-nowhere schemes, he stumbles upon a chance of a lifetime in the form of legendary wrestler Gregorius the Great (Stanislaus Zbyszko). But there is no easy money in this underworld of shifting alliances, bottomless graft, and pummeled flesh––and Fabian soon learns the horrible price of his ambition. Luminously shot in the streets of London, Jules Dassin’s Night and the City is film noir of the first order and one of the director’s crowning achievements.

The Testament of Dr. Mabuse

Locked away in an asylum for a decade and teetering between life and death, the criminal mastermind Doctor Mabuse (Rudolf Klein-Rogge) has scribbled his last will and testament: a manifesto establishing a future empire of crime. When the document’s nefarious writings start leading to terrifying parallels in reality, it’s up to Berlin’s star detective, Inspector Lohmann (Otto Wernicke, reprising his role from M) to connect the most fragmented, maddening clues in a case unlike any other. A sequel to his enormously successful silent film Dr. Mabuse: The Gambler, Fritz Lang’s The Testament of Dr. Mabuse reunites the director with the character that had effectively launched his career. Lang put slogans and ideas expounded by the Nazis into the mouth of a madman, warning his audience of an imminent menace, which was soon to become a reality. Nazi Minister of Information Joseph Goebbels saw the film as an instruction manual for terrorist action against the government and banned it for “endangering public order and security.” A landmark of mystery and suspense for countless espionage and noir thrillers to come, this is the complete, uncut original director’s version in a stunning new transfer.

That Hamilton Woman

One of cinema’s most dashing duos, real-life spouses Vivien Leigh and Laurence Olivier live their greatest on-screen romance in this visually dazzling tragic love story from legendary producer-director Alexander Korda. Set against the backdrop of the Napoleonic Wars of the late eighteenth century, That Hamilton Woman is a gripping account of the scandalous adulterous affair between the British Royal Navy officer Lord Horatio Nelson and the renowned beauty Emma, Lady Hamilton, the wife of a British ambassador. With its grandly designed sea battles and formidable star performances, That Hamilton Woman (Winston Churchill’s favorite movie, which he claimed to have seen over eighty times) brings history to vivid, glamorous life.

49th Parallel

Michael Powell

At once a compelling piece of anti-isolationist propaganda and a quick-witted wartime thriller, 49th Parallel is a classic early work from the inimitable British filmmaking team of Michael Powell and Emeric Pressburger. When a Nazi U-boat crew, headed by the ruthless Eric Portman, is stranded in Canada during the thick of World War II, the men evade capture by hiding out in a series of rural communities, before trying to cross the border into the still-neutral United States. Both soul-stirring and delightfully entertaining, 49th Parallel features a colorful cast of characters played by larger-than-life actors Laurence Olivier, Raymond Massey, Anton Walbrook, and Leslie Howard.

http://www.criterion.com/films/520

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Black Narcissus

Michael Powell and Emeric Pressburger

Plagued by uncertainties and worldly desires, five Protestant missionary nuns, led by Deborah Kerr’s Sister Clodagh, struggle to establish a school in the desolate Himalayas. All the elements of cinematic arts are perfectly fused in Powell and Pressburger’s fascinating study of the age-old conflict between the spirit and the flesh, set against the grandeur of the snowcapped peaks of Kanchenjunga.

http://www.criterion.com/films/632

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Brief Encounter

David Lean

From Noël Coward’s play Still Life, legendary filmmaker David Lean deftly explores the thrill, pain, and tenderness of an illicit romance in the dour, gray Britain of 1945. From a chance meeting on a train platform, a middle-aged married doctor (Trevor Howard) and a suburban housewife (Celia Johnson) enter into a quietly passionate, ultimately doomed love affair, set to a swirling Rachmaninoff score.

http://www.criterion.com/films/345

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Great Expectations

David Lean

One of the great translations of literature into film, David Lean’s Great Expectations brings Charles Dickens’s masterpiece to robust on-screen life. Pip, Magwitch, Miss Havisham, and Estella populate Lean’s magnificent miniature, beautifully photographed by Guy Green and designed by John Bryan.

http://www.criterion.com/films/566

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Green for Danger

Sidney Gilliat

In the midst of Nazi air raids, a postman dies on the operating table at a rural English hospital. But was the death accidental? A delightful and wholly unexpected murder mystery, British writer/director Sidney Gilliat’s Green for Danger features Trevor Howard and Sally Gray as suspected doctors and Alastair Sim in a marvelous turn as Scotland Yard’s insouciant Inspector Cockrill. A screenwriter who had worked with Hitchcock on such films as The Lady Vanishes and Jamaica Inn, Gilliat slyly upends whodunit conventions with wit and style.

http://www.criterion.com/films/815

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Hamlet

Laurence Olivier

Winner of four Academy Awards, including Best Picture and Best Actor, Sir Laurence Olivier’s Hamlet continues to be the most compelling version of Shakespeare’s beloved tragedy. Olivier is at his most inspired—both as director and as the melancholy Dane himself—as he breathes new life into the words of one of the world’s greatest dramatists.

http://www.criterion.com/films/621

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I Know Where I’m Going

Michael Powell and Emeric Pressburger

In Michael Powell and Emeric Pressburger’s stunningly photographed comedy, romance flourishes in an unlikely place—the bleak and moody Scottish Hebrides. Wendy Hiller stars as a headstrong young woman who travels to these remote isles to marry a rich lord. Stranded by stormy weather, she meets a handsome naval officer (Roger Livesey) who threatens to thwart her carefully laid-out life plans.

http://www.criterion.com/films/633

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Life & Death of Colonel Blimp

Michael Powell and Emeric Pressburger

The passions and pitfalls of a lifetime in the military are dramatized in Michael Powell and Emeric Pressburger’s magnificent epic, The Life and Death of Colonel Blimp. The film follows the exploits of pristine British soldier Clive Candy (Roger Livesey) as he battles to maintain his honor and proud gentlemanly conduct through romance, three wars, and a changing world. Vibrant and controversial, The Life and Death of Colonel Blimp is at once a romantic portrait of a career soldier and a pointed investigation into the nature of aging, friendship, and obsolescence.

http://www.criterion.com/films/359

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Oliver Twist

David Lean

Expressionistic noir photography suffuses David Lean’s Oliver Twist with a nightmarish quality, fitting its bleak, industrial setting. In Dickens’ classic tale, an orphan wends his way from cruel apprenticeship to den of thieves in search of a true home. Here Alec Guinness is the quintessential Fagin, his controversial performance fully restored in Criterion’s digital transfer.

http://www.criterion.com/films/567

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Red Shoes

Michael Powell and Emeric Pressburger

A glorious Technicolor epic that influenced generations of filmmakers, artists, and aspiring ballerinas, The Red Shoes intricately weaves backstage life with the thrill of performance. A young ballerina (Moira Shearer) is torn between two forces: the composer who loves her (Marius Goring), and the impresario determined to fashion her into a great dancer (Anton Walbrook).

http://www.criterion.com/films/233

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Revanche

Götz Spielmann

A gripping thriller and a tragic drama of nearly Greek proportions, Revanche is the stunning, Oscar-nominated international breakthrough of Austrian filmmaker Götz Spielmann. In a ragged section of Vienna, hardened ex-con Alex (the mesmerizing Johannes Krisch) works in a brothel, where he falls for Ukrainian hooker Tamara. Their desperate plans for escape unexpectedly intersect with the lives of a rural cop and his seemingly content wife. With meticulous, elegant direction, Spielmann creates a tense, existential, and surprising portrait of vengeance and redemption, and a journey into the darkest forest of human nature, in which violence and beauty exist side by side.

http://www.criterion.com/films/85

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This Sporting Life

Lindsay Anderson

One of the finest British films ever made, this benchmark of “kitchen-sink realism” follows the self-defeating professional and romantic pursuits of a miner turned rugby player eking out an existence in drab Yorkshire. With an astonishing, raging performance by a young Richard Harris, an equally blistering turn by fellow Oscar nominee Rachel Roberts as the widow with whom he lodges, and electrifying direction by Lindsay Anderson, in his feature-film debut following years of documentary work, This Sporting Life remains a dramatic powerhouse.

http://www.criterion.com/films/853

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Paris, Texas

New German Cinema pioneer Wim Wenders (Wings of Desire) brings his keen eye for landscape to the American Southwest in Paris, Texas, a profoundly moving character study written by Pulitzer Prize–winning playwright Sam Shepard. Paris, Texas follows the mysterious, nearly mute drifter Travis (a magnificent Harry Dean Stanton, whose face is a landscape all its own) as he tries to reconnect with his young son, living with his brother (Dean Stockwell) in Los Angeles, and his missing wife (Nastassja Kinski). From this simple setup, Wenders and Shepard produce a powerful statement on codes of masculinity and the myth of the American family, as well as an exquisite visual exploration of a vast, crumbling world of canyons and neon.

http://www.criterion.com/films/1502

Rome Open City

This was Roberto Rossellini’s revelation, a harrowing drama about the Nazi occupation of Rome and the brave few who struggled against it. Though told with more melodramatic flair than the other films that would form this trilogy and starring some well-known actors—Aldo Fabrizi as a priest helping the partisan cause and Anna Magnani in her breakthrough role as the fiancée of a resistance member—Rome Open City (Roma città aperta) is a shockingly authentic experience, conceived and directed amid the ruin of World War II, with immediacy in every frame. Marking a watershed moment in Italian cinema, this galvanic work garnered awards around the globe and left the beginnings of a new film movement in its wake.

http://www.criterion.com/films/975

The 400 Blows

François Truffaut’s first feature, The 400 Blows (Les quatre cents coups), is also his most personal. Told through the eyes of Truffaut’s life-long cinematic counterpart, Antoine Doinel (Jean-Pierre Léaud), The 400 Blows sensitively re-creates the trials of Truffaut’s own difficult childhood, unsentimentally portraying aloof parents, oppressive teachers, petty crime, and a friendship that would last a lifetime. The film marks Truffaut’s passage from leading critic of the French New Wave to his emergence as one of Europe’s most brilliant auteurs.

http://www.criterion.com/films/151

The Battle of Algiers

One of the most influential political films in history, Gillo Pontecorvo’s The Battle of Algiers (La bataille d’Alger) vividly re-creates a key year in the tumultuous Algerian struggle for independence from the occupying French in the 1950s. As violence escalates on both sides, children shoot soldiers at point-blank range, women plant bombs in cafés, and French soldiers resort to torture to break the will of the insurgents. Shot in the streets of Algiers in documentary style, the film is a case study in modern warfare, with its terrorist attacks and the brutal techniques used to combat them. The Criterion Collection is proud to present Gillo Pontecorvo’s tour de force—a film with astonishing relevance today.

http://www.criterion.com/films/248

Diabolique

An acknowledged influence on Psycho, Henri-Georges Clouzot’s horror classic is the story of a sadistic headmaster who brutalizes his fragile wife and his headstrong mistress. The two women murder him and dump his body in a swimming pool; when the pool is drained, no corpse is found. Criterion presents Diabolique in a digital transfer.

http://www.criterion.com/films/575

The Earrings Of Madame De…

French master Max Ophuls’s most cherished work, The Earrings of Madame de . . . is an emotionally profound, cinematographically adventurous tale of false opulence and tragic romance. When the aristocratic woman known only as Madame de (the extraordinary Danielle Darrieux) sells her earrings, unbeknownst to her husband (Charles Boyer), in order to pay personal debts, she sets off a chain reaction, the financial and carnal consequences of which can only end in despair. Ophuls adapts Louise de Vilmorin’s incisive fin de siècle novel with virtuosic camera work so elegant and precise it’s been called the equal to that of Orson Welles.

http://www.criterion.com/films/571

Fanny and Alexander

Through the eyes of ten-year-old Alexander (Bertil Guve), we witness the great delights and conflicts of the Ekdahl family, a sprawling, convivial bourgeois clan in turn-of-the-century Sweden. Ingmar Bergman intended Fanny and Alexander (Fanny och Alexander) to be his swan song, and it is the legendary filmmaker’s warmest and most autobiographical film, a triumph that combines his trademark melancholy and emotional intensity with immense joyfulness and sensuality. The Criterion Collection is proud to present this winner of the 1984 Academy Award for Best Foreign Language Film, accompanied by rarely seen introductions by Bergman to eleven of his other films.

http://www.criterion.com/films/201

M

A simple, haunting phrase whistled off-screen tells us that a young girl will be killed. “Who is the murderer?” pleads a nearby placard as serial killer Hans Beckert (Peter Lorre) closes in on little Elsie Beckmann. In his harrowing masterwork M, Fritz Lang merges trenchant social commentary with chilling suspense, creating a panorama of private madness and public hysteria that to this day remains the blueprint for the psychological thriller.

http://www.criterion.com/films/558

Mishima: A Life In Four Chapters

Paul Schrader’s visually stunning, collagelike portrait of acclaimed Japanese author and playwright Yukio Mishima (played by Ken Ogata) investigates the inner turmoil and contradictions of a man who attempted an impossible harmony between self, art, and society. Taking place on Mishima’s last day, when he famously committed public seppuku, the film is punctuated by extended flashbacks to the writer’s life as well as by gloriously stylized evocations of his fictional works. With its rich cinematography by John Bailey, exquisite sets and costumes by Eiko Ishioka, and unforgettable, highly influential score by Philip Glass, Mishima: A Life in Four Chapters is a tribute to its subject and a bold, investigative work of art in its own right.

http://www.criterion.com/films/588

Pandora’s Box

One of the masters of early German cinema, G. W. Pabst had an innate talent for discovering actresses (including Greta Garbo). And perhaps none of his female stars shone brighter than Kansas native and onetime Ziegfeld girl Louise Brooks, whose legendary persona was defined by Pabst’s lurid, controversial melodrama Pandora’s Box. Sensationally modern, the film follows the downward spiral of the fiery, brash, yet innocent showgirl Lulu, whose sexual vivacity has a devastating effect on everyone she comes in contact with. Daring and stylish, Pandora’s Box is one of silent cinema’s great masterworks and a testament to Brooks’s dazzling individuality.

http://www.criterion.com/films/362

The Passion of Joan of Arc

With its stunning camerawork and striking compositions, Carl Th. Dreyer’s The Passion of Joan of Arc convinced the world that movies could be art. Renée Falconetti gives one of the greatest performances ever recorded on film, as the young maiden who died for God and France. Long thought to have been lost to fire, the original version was miraculously found in perfect condition in 1981—in a Norwegian mental institution. Criterion is proud to present this milestone of silent cinema in a new special edition featuring composer Richard Einhorn’s Voices of Light, an original opera/oratorio inspired by the film.

Check out our podcast episode on The Passion of Joan of Arc.

http://www.criterion.com/films/228

Picnic at Hanging Rock

Twenty years after it swept Australia into the international film spotlight, Peter Weir’s stunning 1975 masterpiece remains as ineffable as the unanswerable mystery at its core. A Valentine’s Day picnic at an ancient volcanic outcropping turns to disaster for the residents of Mrs. Appleyard’s school when a few young girls inexplicably vanish on Hanging Rock. A lyrical, meditative film charged with suppressed longings, Picnic at Hanging Rock is here available in a pristine widescreen director’s cut with a Dolby digital 5.1 channel soundtrack.

http://www.criterion.com/films/565

Playtime

Jacques Tati’s gloriously choreographed, nearly wordless comedies about confusion in the age of technology reached their creative apex with Playtime. For this monumental achievement, a nearly three-year-long, bank-breaking production, Tati again thrust the endearingly clumsy, resolutely old-fashioned Monsieur Hulot, along with a host of other lost souls, into a bafflingly modernist Paris. With every inch of its superwide frame crammed with hilarity and inventiveness, Playtime is a lasting testament to a modern age tiptoeing on the edge of oblivion.

http://www.criterion.com/films/651

Richard III

With Richard III, Laurence Olivier—as director, producer, and star—transfigures Shakespeare’s great historical drama into a mesmerizing vision of Machiavellian villainy. Olivier’s performance, viewed as the greatest of his career, charges Richard with magnetic malevolence as he steals his brother Edward’s crown through a murderous set of machinations. His inspired direction brings to the screen superlative performances by veteran theater actors Ralph Richardson and John Gielgud and the young Claire Bloom. Filmed in VistaVision and Technicolor, Criterion is proud to present the restored full-length version for which Olivier received the 1956 British Academy Film Awards for Best Actor and Best Film.

http://www.criterion.com/films/366

The Rules of the Game

Widely regarded as one of the greatest films ever made, Jean Renoir’s masterpiece The Rules of the Game (La Règle du jeu) is a scathing critique of corrupt French society cloaked in a comedy of manners. Although the original negative was destroyed during World War II, this edition features the fully reconstructed version embraced by audiences and critics around the world as a timeless representation of Renoir’s genius.

http://www.criterion.com/films/295

Samurai Rebellion

Toshiro Mifune stars as Isaburo Sasahara, an aging swordsman living a quiet life until his clan lord orders that his son marry the lord’s mistress, who has recently displeased the ruler. Reluctantly, father and son take in the woman, and, to the family’s surprise, the young couple fall in love. But the lord soon reverses his decision and demands the mistress’s return. Against all expectations, Isaburo and his son refuse, risking the destruction of their entire family. Director Masaki Kobayashi’s Samurai Rebellion is the gripping story of a peaceful man who finally decides to take a stand against injustice.

http://www.criterion.com/films/753

Smiles of a Summer Night

After fifteen films of mostly local acclaim, the 1956 prize-winning comedy Smiles of a Summer Night at last ushered in an international audience for director Ingmar Bergman. Set in turn-of-the-century Sweden, four women and four men attempt to juggle the laws of attraction amidst their daily bourgeois life. When a weekend in the country brings them all face to face, the women ally to force the men’s hands in their matters of the heart, exposing their pretensions and insecurities along the way. Chock full of flirtatious propositions and sharp-witted wisdom delivered by such legends of the Swedish screen as Gunnar Björnstrand, Eva Dahlbeck, Harriet Andersson, and Ulla Jacobsson, Smiles of a Summer Night is one of film history’s great tragicomedies, a bittersweet view of the transience of human carnality.

http://www.criterion.com/films/849

Tokyo Drifter

In this free-jazz gangster film, reformed killer “Phoenix” Tetsu drifts around Japan, awaiting his own execution, until he’s called back to Tokyo to help battle a rival gang. Seijun Suzuki’s “barrage of aestheticised violence, visual gags, [and] mind-warping color effects” got him in more trouble with Nikkatsu studio heads, who had ordered him to “play it straight this time.” Instead he gave them equal parts Russ Meyer, Samuel Fuller, and Nagisa Oshima. Criterion presents the DVD premiere of Tokyo Drifter in a lush color transfer from the original, glorious Nikkatsu-scope master.

http://www.criterion.com/films/577

Tokyo Story

Yasujiro Ozu’s Tokyo Story (Tokyo Monogatari) follows an aging couple, Tomi and Sukichi, on their journey from their rural village to visit their two married children in bustling, postwar Tokyo. Their reception is disappointing: too busy to entertain them, their children send them off to a health spa. After Tomi falls ill she and Sukichi return home, while the children, grief-stricken, hasten to be with her. From a simple tale unfolds one of the greatest of all Japanese films. Starring Ozu regulars Chishu Ryu and Setsuko Hara, the film reprises one of the director’s favorite themes—that of generational conflict—in a way that is quintessentially Japanese and yet so universal in its appeal that it continues to resonate as one of cinema’s greatest masterpieces.

http://www.criterion.com/films/284

Tout Va Bien

In 1972, newly radicalized Hollywood star Jane Fonda joined forces with cinematic innovator Jean-Luc Godard and collaborator Jean-Pierre Gorin in an unholy artistic alliance that resulted in Tout va bien (Everything’s All Right). This free-ranging assault on consumer capitalism and the establishment left tells the story of a wildcat strike at a sausage factory as witnessed by an American reporter (Fonda) and her has-been New Wave film director husband (Yves Montand). The Criterion Collection is proud to present this masterpiece of radical cinema, a caustic critique of society, marriage, and revolution in post-1968 France.

http://www.criterion.com/films/929

Ugetsu

“Quite simply one of the greatest of filmmakers,” said Jean-Luc Godard of Kenji Mizoguchi. And Ugetsu, a ghost story like no other, is surely the Japanese director’s supreme achievement. Derived from stories by Akinari Ueda and Guy de Maupassant, this haunting tale of love and loss—with its exquisite blending of the otherworldly and the real—is one of the most beautiful films ever made.

http://www.criterion.com/films/369

Umberto D.

Shot on location with a cast of nonprofessional actors, Vittorio De Sica’s neorealist masterpiece follows Umberto D., an elderly pensioner, as he struggles to make ends meet during Italy’s postwar economic boom. Alone except for his dog, Flike, Umberto strives to maintain his dignity while trying to survive in a city where traditional human kindness seems to have lost out to the forces of modernization. Umberto’s simple quest to fulfill the most fundamental human needs—food, shelter, companionship—is one of the most heartbreaking stories ever filmed and an essential classic of world cinema.

http://www.criterion.com/films/371

The Wages of Fear

In a squalid South American oil town, four desperate men sign on for a suicide mission to drive trucks loaded with nitroglycerin over a treacherous mountain route. As they ferry their explosive cargo to a faraway oil fire, each bump and jolt tests their courage, their friendship, and their nerves. The result is one of the greatest thrillers ever committed to celluloid, a white-knuckle ride from France’s legendary master of suspense, Henri-Georges Clouzot.

Check out our podcast episode, in which we discuss Wages of Fear, with Andy Sorcini (from The Drill Down).

http://www.criterion.com/films/370

High and Low

Toshiro Mifune is unforgettable as Kingo Gondo, a wealthy industrialist whose family becomes the target of a cold-blooded kidnapper in Akira Kurosawa’s highly influential High and Low (Tengoku to jigoku). Adapting Ed McBain’s detective novel King’s Ransom, Kurosawa moves effortlessly from compelling race-against-time thriller to exacting social commentary, creating a penetrating portrait of contemporary Japanese society. Criterion is proud to present High and Low in an all-new high-definition digital transfer.

http://www.criterion.com/films/543

Jules and Jim

Hailed as one of the finest films ever made, legendary director François Truffaut’s early masterpiece Jules and Jim charts the relationship between two friends and the object of their mutual obsession over the course of twenty-five years. Jeanne Moreau stars as Catherine, the alluring and willful young woman whose enigmatic smile and passionate nature lure Jules (Oskar Werner) and Jim (Henri Serre) into one of cinema’s most captivating romantic triangles. An exuberant and poignant meditation on freedom, loyalty, and the fortitude of love, Jules and Jim was a worldwide smash upon its release in 1962 and remains as audacious and entrancing today.

http://www.criterion.com/films/218

Sanjuro

Toshiro Mifune swaggers and snarls to brilliant comic effect in Akira Kurosawa’s tightly paced, beautifully composed Sanjuro. In this sly companion piece to Yojimbo, the jaded samurai Sanjuro helps an idealistic group of young warriors weed out their clan’s evil influences, and in the process turns their image of a “proper” samurai on its ear. Less brazen in tone than its predecessor but just as engaging, this classic character’s return is a masterpiece in its own right, now presented in a new high-definition digital transfer.

http://www.criterion.com/films/598

Seven Samurai

One of the most beloved movie epics of all time, Akira Kurosawa’s Seven Samurai (Shichinin no samurai) tells the story of a sixteenth-century village whose desperate inhabitants hire the eponymous warriors to protect them from invading bandits. This three-hour ride—featuring legendary actors Toshiro Mifune and Takashi Shimura—seamlessly weaves philosophy and entertainment, delicate human emotions and relentless action into a rich, evocative, and unforgettable tale of courage and hope.

http://www.criterion.com/films/165

Summertime

An American spinster’s dream of romance finally becomes a bittersweet reality when she meets a handsome—but married—Italian man while vacationing in Venice. Katharine Hepburn’s sensitive portrayal of the lonely heroine and Jack Hildyard’s glorious Technicolor photography make Summertime an endearing and visually enchanting film.

http://www.criterion.com/films/368

The Vanishing

A young man begins an obsessive search for his girlfriend after she mysteriously disappears during their sunny vacation getaway. His three-year investigation draws the attention of her abductor, a seemingly mild-mannered professor who, in truth, harbors a diabolically clinical and calculating mind. When the kidnapper contacts the man and promises to reveal his lover’s fate, The Vanishing unfolds with intense precision, culminating in a genuinely chilling finale that has unnerved audiences around the world.

http://www.criterion.com/films/677

Walkabout

Nicolas Roeg’s mystical masterpiece chronicles the physical, spiritual, and emotional journey of a sister and brother abandoned in the harsh Australian outback. Joining an Aborigine boy on his walkabout—a tribal initiation into manhood—these modern children pass from innocence into experience as they are thrust from the comforts of civilization into the savagery of the natural world.

http://www.criterion.com/films/522

Yojimbo

The incomparable Toshiro Mifune stars in Akira Kurosawa’s visually stunning and darkly comic Yojimbo. To rid a terror-stricken village of corruption, wily masterless samurai Sanjuro turns a range war between two evil clans to his own advantage. Remade twice, by Sergio Leone (A Fistful of Dollars) and Walter Hill (Last Man Standing), this exhilarating genre-twister remains one of the most influential and entertaining films ever produced. Criterion is proud to present this Kurosawa favorite in a new, high-definition digital transfer.

http://www.criterion.com/films/597

My Life as a Dog

My Life as a Dog tells the story of Ingemar, a working-class twelve-year-old sent to live with his uncle in a country village when his mother falls ill. Once there, Ingemar finds refuge from his misfortunes and unexpected adventure with the help of the town’s warmhearted eccentrics. A bittersweet evocation of the struggles and joys of childhood, this film features an incredibly mature and unaffected performance by lead actor Anton Glanzelius.

http://www.criterion.com/films/727

For All Mankind

In July 1969, the space race ended when Apollo 11 fulfilled President Kennedy’s challenge of “landing a man on the Moon and returning him safely to the Earth.” No one who witnessed the lunar landing will ever forget it. Al Reinert’s documentary For All Mankind is the story of the twenty-four men who traveled to the moon, told in their words, in their voices, using the images of their experiences. Forty years after the first moon landing, it remains the most radical, visually dazzling work of cinema yet made about this earthshaking event.

http://www.criterion.com/films/599

Cleo from 5 to 7

Agnès Varda eloquently captures Paris in the sixties with this real-time portrait of a singer (Corinne Marchand) set adrift in the city as she awaits test results of a biopsy. A chronicle of the minutes of one woman’s life, Cléo from 5 to 7 is a spirited mix of vivid vérité and melodrama, featuring a score by Michel Legrand (The Umbrellas of Cherbourg) and cameos by Jean-Luc Godard and Anna Karina.

http://www.criterion.com/films/244

Sisters

Margot Kidder is Danielle, a beautiful model separated from her Siamese twin, Dominique. When a hotshot reporter (Jennifer Salt) suspects Dominique of a brutal murder, she becomes dangerously ensnared in the sisters’ insidious sibling bond. A scary and stylish paean to female destructiveness, De Palma’s first foray into horror voyeurism is a stunning amalgam of split-screen effects, bloody birthday cakes, and a chilling score by frequent Hitchcock collaborator Bernard Herrmann. Criterion is proud to present Sisters in a new Special Edition.

http://www.criterion.com/films/377

Closely Watched Trains

At a village railway station in occupied Czechoslovakia, a bumbling dispatcher’s apprentice longs to liberate himself from his virginity. Oblivious to the war and the resistance that surrounds him, this young man embarks on a journey of sexual awakening and self-discovery, encountering a universe of frustration, eroticism, and adventure within his sleepy backwater depot. Wry and tender, Academy Award™-winning Closely Watched Trains is a masterpiece of human observation and one of the best-loved films of the Czech New Wave.

http://www.criterion.com/films/212

M. Hulot’s Holiday

Pipe-smoking Monsieur Hulot, Jacques Tati’s endearing clown, takes a holiday at a seaside resort where his presence provokes one catastrophe after another. Tati’s wildly funny satire of vacationers determined to enjoy themselves includes a series of precisely choreographed sight gags involving dogs, boats, and firecrackers. The first entry in the Hulot series is a masterpiece of gentle slapstick.

http://www.criterion.com/films/360

Rashomon

Brimming with action while incisively examining the nature of truth, Rashomon is perhaps the finest film ever to investigate the philosophy of justice. Through an ingenious use of camera and flashbacks, Kurosawa reveals the complexities of human nature as four people recount different versions of the story of a man’s murder and the rape of his wife. Toshiro Mifune gives another commanding performance in the eloquent masterwork that revolutionized film language and introduced Japanese cinema to the world.

http://www.criterion.com/films/307

I Vitelloni

Five young men linger in a postadolescent limbo, dreaming of adventure and escape from their small seacoast town. They while away their time spending the lira doled out by their indulgent families on drink, women, and nights at the local pool hall. Federico Fellini’s second solo directorial effort (originally released in the U.S. as The Young and the Passionate) is a semiautobiographical masterpiece of sharply drawn character sketches: Skirt chaser Fausto, forced to marry a girl he has impregnated; Alberto, the perpetual child; Leopoldo, a writer thirsting for fame; and Moraldo, the only member of the group troubled by a moral conscience. An international success and recipient of an Academy Award® nomination for Best Original Screenplay, I vitelloni compassionately details a year in the life of a group of small-town layabouts struggling to find meaning in their lives.

http://www.criterion.com/films/966

Wild Strawberries

The film that catapulted Bergman to the forefront of world cinema is the director’s richest, most humane movie. Traveling to receive an honorary degree, Professor Isak Borg (masterfully played by the veteran Swedish director Victor Sjöström), is forced to face his past, come to terms with his faults, and accept the inevitability of his approaching death. Through flashbacks and fantasies, dreams and nightmares, Wild Strawberries captures a startling voyage of self-discovery and renewed belief in mankind.

http://www.criterion.com/films/175

L’Avventura

A girl mysteriously disappears on a yachting trip. While her lover and her best friend search for her across Italy, they begin an affair. Antonioni’s penetrating study of the idle upper class offers stinging observations on spiritual isolation and the many meanings of love. Criterion is proud to present this milestone of film grammar in a double-disc special edition.

http://www.criterion.com/films/209

Hidden Fortress

A general and a princess must dodge enemy clans while smuggling the royal treasure out of hostile territory with two bumbling, conniving peasants at their sides; it’s a spirited adventure that only Akira Kurosawa could create. Acknowledged as a primary influence on George Lucas’s Star Wars, The Hidden Fortress delivers Kurosawa’s inimitably deft blend of wry humor, breathtaking action and humanist compassion on an epic scale. The Criterion Collection is proud to present this landmark motion picture in a stunning, newly restored Tohoscope edition.

http://www.criterion.com/films/655

General Idi Amin Dada

In 1971, the small African nation of Uganda was taken over by self-styled dictator General Idi Amin Dada, beginning an eight-year reign of terror that would result in the deaths of hundreds of thousands. In this chilling yet darkly comic documentary, director Barbet Schroeder turns his cameras on the infamous tyrant, revealing the dynamic, charming, and appallingly dangerous man whose fanatical neuroses held an entire nation in their grip. Made with the full support and participation of the infamous dictator, General Idi Amin Dada provides a candid and disturbing portrait of one of the 20th century’s most notorious figures.

http://www.criterion.com/films/545

Man Bites Dog

Documentary filmmakers André and Rémy have found an ideal subject in Ben. He is witty, sophisticated, intelligent, well liked—and a serial killer. As André and Rémy document Ben’s routines, they become increasingly entwined in his vicious program, sacrificing their objectivity and their morality. Controversial winner of the International Critics’ Prize at the 1992 Cannes Film Festival, Man Bites Dog stunned audiences worldwide with its unflinching imagery and biting satire of media violence.

http://www.criterion.com/films/718

The Lower Depths

Jean Renoir and Akira Kurosawa, two of cinema’s greatest directors, transform Maxim Gorky’s classic proletariat play The Lower Depths in their own ways for their own times. Renoir, working amidst the rise of Hitler and the Popular Front in France, had need to take license with the dark nature of Gorky’s source material, softening its bleak outlook. Kurosawa, firmly situated in the postwar world, found little reason for hope. He remained faithful to the original with its focus on the conflict between illusion and reality—a theme he would return to over and over again. Working with their most celebrated actors (Gabin with Renoir; Mifune with Kurosawa), each film offers a unique look at cinematic adaptation—where social conditions and filmmaking styles converge to create unique masterpieces.

http://www.criterion.com/boxsets/487

Ikiru

Considered by some to be Akira Kurosawa’s greatest achievement, Ikiru presents the director at his most compassionate—affirming life through an exploration of a man’s death. Takashi Shimura portrays Kanji Watanabe, an aging bureaucrat with stomach cancer forced to strip the veneer off his existence and find meaning in his final days. Told in two parts, Ikiru offers Watanabe’s quest in the present, and then through a series of flashbacks. The result is a multifaceted look at a life through a prism of perspectives, resulting in a full portrait of a man who lacked understanding from others in life.

http://www.criterion.com/films/353

Onibaba

Deep within the wind-swept marshes of war-torn medieval Japan, an impoverished mother and her daughter-in-law eke out a lonely, desperate existence. Forced to murder lost samurai and sell their belongings for grain, they dump the corpses down a deep, dark hole and live off of their meager spoils. When a bedraggled neighbor returns from the skirmishes, lust, jealousy, and rage threaten to destroy the trio’s tenuous existence, before an ominous, ill-gotten demon mask seals the trio’s horrifying fate. Driven by primal emotions, dark eroticism, a frenzied score by Hikaru Hayashi, and stunning images both lyrical and macabre, Kaneto Shindo’s chilling folktale Onibaba is a singular cinematic experience.

http://www.criterion.com/films/665

Le Corbeau

A mysterious writer of poison-pen letters, known only as Le Corbeau (the Raven), plagues a French provincial town, unwittingly exposing the collective suspicion and rancor seething beneath the community’s calm surface. Made during the Nazi Occupation of France, Henri-Georges Clouzot’s Le Corbeau was attacked by the right-wing Vichy regime, the left-wing Resistance press, the Catholic Church, and was banned after the Liberation. But some—including Jean Cocteau and Jean-Paul Sartre—recognized the powerful subtext to Clouzot’s anti-informant, anti-Gestapo fable, and worked to rehabilitate Clouzot’s directorial reputation after the war. Le Corbeau brilliantly captures a spirit of paranoid pettiness and self-loathing turning an occupied French town into a twentieth-century Salem.

http://www.criterion.com/films/684

Overlord

Seamlessly interweaving archival war footage and a fictional narrative, Stuart Cooper’s immersive account of one twenty-year-old’s journey from basic training to the front lines of D-Day brings all the terrors and isolation of war to life with jolting authenticity. Overlord, impressionistically shot by Stanley Kubrick’s longtime cinematographer John Alcott, is both a document of World War II and a dreamlike meditation on man’s smallness in a large, incomprehensible machine.

http://www.criterion.com/films/550

La Bete Humaine

Based on the classic Emile Zola novel, Jean Renoir’s La bête humaine was one of the legendary director’s greatest popular successes—and earned star Jean Gabin a permanent place in the hearts of his countrymen. Part poetic realism, part film noir, the film is a hard-boiled and suspenseful journey into the tormented psyche of a workingman.

http://www.criterion.com/films/773

Pickpocket

Robert Bresson’s incomparable tale of crime and redemption follows Michel, a young pickpocket who spends his days working the streets, subway cars, and train stations of Paris. As his compulsion grows, however, so too does his fear that his luck is about to run out. Tautly choreographed and crafted in Bresson’s inimitable style, Pickpocket reveals a master director at the height of his powers.

http://www.criterion.com/films/229

You can also hear our discussion of Pickpocket here.

Elevator to the Gallows

In his mesmerizing debut feature, twenty-four-year-old director Louis Malle brought together the beauty of Jeanne Moreau, the camerawork of Henri Decaë, and a now legendary score by Miles Davis. A touchstone of the careers of both its star and director, Elevator to the Gallows is a richly atmospheric thriller of murder and mistaken identity unfolding over one restless Parisian night.

http://www.criterion.com/films/778

Cria Cuervos

Carlos Saura’s exquisite Cría cuervos . . . heralded a turning point in Spain: shot while General Franco was on his deathbed, the film melds the personal and the political in a portrait of the legacy of fascism and its effects on a middle-class family (the title derives from the Spanish proverb: “Raise ravens and they’ll peck out your eyes”). Ana Torrent (the dark-eyed beauty from The Spirit of the Beehive) portrays the disturbed eight-year-old Ana, living in Madrid with her two sisters and mourning the death of her mother, whom she conjures as a ghost (an ethereal Geraldine Chaplin). Seamlessly shifting between fantasy and reality, the film subtly evokes both the complex feelings of childhood and the struggles of a nation emerging from the shadows.

http://www.criterion.com/films/519

Mala Noche

With its low budget and lush black-and-white imagery, Gus Van Sant’s debut feature Mala Noche heralded an idiosyncratic, provocative new voice in American independent film. Set in Van Sant’s hometown of Portland, Oregon, the film evokes a world of transient workers, dead-end day-shifters, and bars and seedy apartments bathed in a profound nighttime, as it follows a romantic deadbeat with a wayward crush on a handsome Mexican immigrant. Mala Noche was an important prelude to the New Queer Cinema of the nineties and is a fascinating capsule from a time and place that continues to haunt its director’s work.

http://www.criterion.com/films/253

Europa

“You will now listen to my voice . . . On the count of ten you will be in Europa . . .” So begins Max von Sydow’s opening narration to Lars von Trier’s hypnotic Europa (known in the U.S. as Zentropa), a fever dream in which American pacifist Leopold Kessler (Jean-Marc Barr) stumbles into a job as a sleeping-car conductor for the Zentropa railways in a Kafkaesque 1945 postwar Frankfurt. With its gorgeous black-and-white and color imagery and meticulously recreated (if then nightmarishly deconstructed) costumes and sets, Europa is one of the great Danish filmmaker’s weirdest and most wonderful works, a runaway-train ride to an oddly futuristic past.

http://www.criterion.com/films/768

Wings of Desire

Wings of Desire is one of cinema’s loveliest city symphonies. Bruno Ganz is Damiel, an angel perched atop buildings high over Berlin who can hear the thoughts—fears, hopes, dreams—of all the people living below. But when he falls in love with a beautiful trapeze artist, he is willing to give up his immortality and come back to earth to be with her. Made not long before the fall of the Berlin wall, this stunning tapestry of sounds and images, shot in black and white and color by the legendary Henri Alekan, is movie poetry. And it forever made the name Wim Wenders synonymous with film art.

http://www.criterion.com/films/200

Z

A pulse-pounding political thriller, Greek expatriate director Costa-Gavras’s Z was one of the cinematic sensations of the late sixties, and remains among the most vital dispatches from that hallowed era of filmmaking. This Academy Award winner—loosely based on the 1963 assassination of Greek left-wing activist Gregoris Lambrakis—stars Yves Montand as a prominent politician and doctor whose public murder amid a violent demonstration is covered up by military and government officials; Jean-Louis Trintignant is the tenacious magistrate who’s determined not to let them get away with it. Featuring kinetic, rhythmic editing, Raoul Coutard’s expressive vérité photography, and Mikis Theodorakis’s unforgettable, propulsive score, Z is a technically audacious and emotionally gripping masterpiece.

http://www.criterion.com/films/1400

The Seventh Seal

Disillusioned and exhausted after a decade of battling in the Crusades, a knight (Max von Sydow) encounters Death on a desolate beach and challenges him to a fateful game of chess. Much studied, imitated, even parodied, but never outdone, Bergman’s stunning allegory of man’s search for meaning, The Seventh Seal (Det sjunde inseglet), was one of the benchmark foreign imports of America’s 1950s art-house heyday, pushing cinema’s boundaries and ushering in a new era of moviegoing.

http://www.criterion.com/films/173

Che

Far from a conventional biopic, Steven Soderbergh’s film about Che Guevara is a fascinating exploration of the revolutionary as icon. Daring in its refusal to make the socialist leader into an easy martyr or hero, Che paints a vivid, naturalistic portrait of the man himself (Benicio del Toro, in a stunning, Cannes-award-winning performance), from his overthrow of the Batista dictatorship to his 1964 United Nations trip to the end of his short life. Composed of two parts, the first a kaleidoscopic view of the Cuban Revolution and the second an all-action dramatization of Che’s failed campaign in Bolivia, Che is Soderbergh’s most epic vision.

http://www.criterion.com/films/20987

Gomorrah

Matteo Garrone’s Gomorrah is a stark, shocking vision of contemporary gangsterdom, and one of cinema’s most authentic depictions of organized crime. In this tour de force adaptation of undercover Italian reporter Roberto Saviano’s best-selling exposé of Naples’ Mafia underworld (known as the Camorra), Garrone links five disparate tales in which men and children are caught up in a corrupt system that extends from the housing projects to the world of haute couture. Filmed with an exquisite detachment interrupted by bursts of violence, Gomorrah is a shattering, socially engaged true-crime story from a major new voice in Italian cinema.

http://www.criterion.com/films/1590