Ryan Gallagher – CriterionCast https://criterioncast.com Sun, 29 Nov 2020 08:13:43 +0000 en-US hourly 1 https://wordpress.org/?v=5.5.3 https://criterioncast.com/wp-content/uploads/2017/10/cropped-9329A558-8143-4F71-9E79-E26F8C0F3C59-1-300x300.jpeg Ryan Gallagher – CriterionCast https://criterioncast.com 32 32 December 2020 Programming on the Criterion Channel Announced https://criterioncast.com/news/december-2020-programming-on-the-criterion-channel-announced Sun, 29 Nov 2020 08:13:00 +0000 https://criterioncast.com/?p=64766  

Each month, the programmers at the Criterion Channel produce incredible line-ups for their subscribers. For November, the Channel will feature films from Barbra Streisand, Terrence Malick, Julie Dash, Margarethe von Trotta, and more!

Below you’ll find the programming schedule for the month, along with a complete list of titles that Criterion has in store for us. Don’t forget to check the Criterion Channel’s main page regularly though, as they occasionally will drop surprises that aren’t included in the official press release.

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Tuesday, December 1

Short + Feature: Die Laughing

The Extraordinary Life of Rocky and Harold and Maude

Two deliciously dark coming-of-age comedies tackle the ultimate taboo—death—with wicked humor. First, don’t get too close to the subject of Kevin Meul’s deadpan short The Extraordinary Life of Rocky, a most unfortunate young man who finds that everyone he loves meets a grisly end. It’s an appropriately macabre companion to Hal Ashby’s counterculture classic Harold and Maude, in which a chance encounter (at a funeral, naturally) leads to a surprising relationship between a suicide-obsessed teenager and a bohemian septuagenarian.

Tuesday, December 1

The Awful Truth: Criterion Collection Edition #917

In this Oscar-winning farce, Cary Grant (in the role that first defined the Cary Grant persona) and Irene Dunne exude charm, cunning, and artless affection as an urbane couple who, fed up with each other’s infidelities, resolve to file for divorce. But try as they might to move on, the mischievous Jerry can’t help meddling in Lucy’s ill-matched engagement to a corn-fed Oklahoma businessman (Ralph Bellamy), and a mortified Lucy begins to realize that she may be saying goodbye to the only dance partner capable of following her lead. Directed by the versatile Leo McCarey, a master of improvisation and slapstick as well as a keen and sympathetic observer of human folly, The Awful Truth is a warm but unsparing comedy about two people whose flaws only make them more irresistible. SUPPLEMENTAL FEATURES: An interview with critic Gary Giddins, a video essay by David Cairns on Cary Grant’s performance, an illustrated audio interview with Irene Dunne, and a Lux Radio Theatre adaptation of the film starring Grant and Claudette Colbert.

Wednesday, December 2

Short Films by Julie Dash

Featuring The Cinematic Jazz of Julie Dash, a 1992 interview program

One of the leaders of the now legendary LA Rebellion movement that rumbled forth from the UCLA Film School in the 1970s, Julie Dash became the first Black American woman to have a feature widely released with her stunning, dreamlike Daughters of the Dust. Made between 1975 and 2016, these five remarkable short films—including Illusions, her landmark look at Hollywood’s racial deceptions—encompass a variety of modes including narrative, dance, and performance. Each is a testament to Dash’s visionary artistry and unique ability to give poetic visual expression to the creative, cultural, spiritual, and historical dimensions of Black womanhood.

  • Four Women, 1975
  • Diary of an African Nun, 1977
  • Illusions, 1982
  • Praise House, 1991
  • Standing at the Scratch Line, 2016

Thursday, December 3

Sorry We Missed You

Exclusive streaming premiere

Humanist master Ken Loach turns his empathetic eye once again to the experiences of the British working class in this wrenching family drama that exposes the dark side of the gig economy. Having lost their home in the 2008 financial crash, Ricky (Kris Hitchen), a former laborer, and his home-attendant wife, Abby (Debbie Honeywood), are desperate to find their way out from their financial distress. When an opportunity arises for Ricky to work as his own boss as a delivery driver, they trade in their only asset, Abby’s car, for a shiny new van and the dream that Ricky can work his way up to someday owning his own delivery franchise. But the hope of financial autonomy soon reveals itself to be an illusion as an unrelenting schedule, a ruthless supervisor, and the needs of their two teenage children only push the couple further toward the edge.

Thursday, December 3

Three by Terrence Malick

Featuring interviews with actors Richard Gere, Sissy Spacek, and Martin Sheen; production designer Jack Fisk; costume designer Jacqueline West; cinematographers Haskell Wexler and John Bailey; and more

The cosmic rhapsodies of Terrence Malick are spoken of with a hushed reverence. Each of these rarefied masterpieces ruminates profoundly on the connection between humanity and the natural world, seeking out transcendence in the landscapes of America’s past. This trio of touchstone works—his sublime lovers-on-the-run debut Badlands, golden-hour reverie Days of Heaven, and mesmerizing historical epic The New World—are to be savored for their senses-ravishing imagery and rich philosophical resonance.

  • Badlands, 1973
  • Days of Heaven, 1978
  • The New World, 2005

Friday, December 4

Double Feature: The Adventures of Paul Dedalus

My Sex Life … or How I Got into an Argument and My Golden Days

French-cinema titan Arnaud Desplechin casts Mathieu Amalric as his on-screen alter ego in two rich, absorbingly novelistic explorations of love, sex, and growing up at different stages of life. Desplechin first made a splash with the sprawling My Sex Life … or How I Got into an Argument, in which the self-absorbed academic Paul Dedalus navigates romantic and career crises as he approaches thirty. Nearly twenty years later, the director and star revisited the character in the emotionally layered coming-of-age tale My Golden Days, in which a now middle-aged Dedalus reflects upon his youth and first experiences of love.

Friday, December 4

From the Archive: Bad Day at Black Rock

Featuring the original John Sturges commentary from Criterion’s 1991 laserdisc edition

Ace genre craftsman John Sturges directs Spencer Tracy and Robert Ryan in this taut western noir. Tracy is the one-armed war veteran John J. Macreedy, who arrives in the remote desert outpost of Black Rock in search of a Japanese American man. As the mysterious Macreedy’s presence in the town stirs up hostility and suspicion among the locals, he becomes increasingly convinced that they may be covering up a dark secret. The striking CinemaScope compositions, expertly handled action (witness Tracy’s karate technique), and impassioned antiracist message come together in one of the finest and most morally courageous thrillers of the 1950s.

Saturday, December 5

Saturday Matinee: National Velvet

A twelve-year-old Elizabeth Taylor delivers a star-is-born performance in one of the most beloved films ever made about the bond between children and animals. She is the equine-obsessed Velvet Brown, who, after she wins a spirited steed in a raffle, works alongside a headstrong jockey (Mickey Rooney) to turn the “unbreakable” horse into a champion. The heavenly Technicolor cinematography adds to the nostalgic glow of this enduring family favorite.

Sunday, December 6

The Best of Mae West

Queen of the risqué double entendre Mae West said it best herself: “When I’m good, I’m very good. But when I’m bad, I’m better.” The singular performer, playwright, sex symbol, and all-around star had brass and brilliance to burn in her ascent from vaudeville vamp to scandal-inciting Broadway sensation to Hollywood’s biggest box-office draw of the early 1930s, when she kept censors on their toes with her bawdy one-liners and liberated approach to sexuality in pre-Code jaw-droppers like She Done Him Wrong (the success of which almost singlehandedly saved Paramount from bankruptcy) and I’m No Angel. An icon of emancipated womanhood, West always more than held her own in a man’s world, both on- and off-screen—she wrote or cowrote every screenplay featured here.

  • She Done Him Wrong, Lowell Sherman, 1933
  • I’m No Angel, Wesley Ruggles, 1933
  • Belle of the Nineties, Leo McCarey, 1934
  • Goin’ to Town, Alexander Hall, 1935
  • Klondike Annie, Raoul Walsh, 1936
  • Go West Young Man, Henry Hathaway, 1936
  • Every Day’s a Holiday, A. Edward Sutherland, 1937
  • My Little Chickadee, Edward F. Cline, 1940

Monday, December 7

Paris Is Burning: Criterion Collection Edition #1018

Where does voguing come from, and what, exactly, is throwing shade? This landmark documentary provides a vibrant snapshot of the 1980s through the eyes of New York City’s African American and Latinx Harlem drag-ball scene. Made over seven years, Paris Is Burning offers an intimate portrait of rival fashion “houses,” from fierce contests for trophies to house mothers offering sustenance in a world rampant with homophobia, transphobia, racism, AIDS, and poverty. Featuring legendary voguers, drag queens, and trans women—including Willi Ninja, Pepper LaBeija, Dorian Corey, and Venus Xtravaganza—Paris Is Burning brings it, celebrating the joy of movement, the force of eloquence, and the draw of community. SUPPLEMENTAL FEATURES: A conversation between director Jennie Livingston, ball community members Sol Pendavis and Freddie Pendavis, and filmmaker Thomas Allen Harris; over an hour of never-before-seen outtakes; audio commentary featuring Livingston, ball community members Freddie Pendavis and Willi Ninja, and film editor Jonathan Oppenheim; and more.

Monday, December 7

Uncovering “The Naked City”

In this original short documentary and personal essay, Bruce Goldstein, founder of Rialto Pictures and repertory director at New York’s FIlm Forum, tracks down many of the 100+ New York City locations—from the Bronx to the Lower East Side—used in his friend Jules Dassin’s classic police procedural The Naked City, while also spotlighting the contributions of producer Mark Hellinger and cinematographer William Daniels.

Tuesday, December 8

Short + Feature: Release the Hounds

Mutts and White God

The dogs have their day in two totally unleashed visions of canine chaos that double as searing political allegories. Halima Ouardiri’s short Mutts is a visceral immersion into an enormous dog shelter in Morocco, home to some 750 strays, that draws subtle but powerful parallels with the plight of refugees. Then, 250 pooches (all real—no CGI trickery here!) are let loose onto the streets of Budapest in Kornél Mundruczó’s audacious animal revenge thriller White Dog, in which abandoned mutts rise up in revolt against their human abusers.

Wednesday, December 9

Three by Barbra Streisand

Featuring a new interview with Streisand

There are legends … and then there is Barbra Streisand. A trailblazing triple threat, Streisand not only left her mark on the countless films she starred in, she has also directed and produced three acclaimed features, all of which she produced as well. It took fifteen years to bring her passion project, the acclaimed musical Yentl, to the screen, with Streisand cowriting the screenplay as well as producing, directing, and starring. The film garnered five Academy Award nominations and one win, for best music/original song score—and Streisand took home the Golden Globe for best director, the only woman to do so to this day (Yentl also won the Golden Globe for best picture – musical or comedy). More accolades followed for her second feature, The Prince of Tides, which was nominated for a whopping seven Academy Awards, and which netted Nick Nolte a Golden Globe for best actor. For the unconventional romantic comedy The Mirror Has Two Faces, she assembled a formidable cast led by Jeff Bridges, Pierce Brosnan, and Lauren Bacall, with Bacall winning the Golden Globe and SAG Award for best supporting actress. The three films Streisand directed garnered fourteen Academy Award nominations, and are sensational showcases for the larger-than-life talents of an icon who shines both in front of and behind the camera.

  • Yentl, 1983
  • The Prince of Tides, 1991
  • The Mirror Has Two Faces, 1996

Thursday, December 10

Observations on Film Art #40: Telling Details in Hunger

In his stunning feature debut, Steve McQueen (Small Axe, 12 Years a Slave) used minimal dialogue and vivid imagery to tell the harrowing true story of Irish Republican Army member and political prisoner Bobby Sands’s hunger strike against the British state. In this edition of Observations on Film Art, Professor Kristin Thompson explores how McQueen’s background as a sculptor and installation artist informed his uniquely tactile approach to storytelling and how he uses an accumulation of seemingly small, often elusive visual details—a fly, a snowflake, a brush, an ashtray, a feather—to create a visceral experience that “speaks” more fully through its images than it does through words.

Friday, December 11

Double Feature: Against the Grain

Days of Heaven and The Reflecting Skin

Magic hour meets black magic in two visually stunning slices of Americana set amid rippling wheat fields and bathed in sunset’s golden glow. One of the most gorgeous films ever made, Terrence Malick’s Days of Heaven pushes the story of a turn-of-the-century romantic tragedy into the realm of the sublime, thanks to the rapturous cinematography of Nestor Almendros. Its dreamy, Hopperesque aesthetic is unsettlingly mirrored in Philip Ridley’s surreal cult classic The Reflecting Skin, which blends horror and wicked humor into a singularly strange and arresting vampire tale.

Saturday, December 12

Saturday Matinee: The Railway Children

Bursting with turn-of-the-century English charm, this beloved adaptation of the classic novel by Edith Nesbit has been a favorite of British children for five decades. Directed with consummate taste by Lionel Jeffries, The Railway Children stars Jenny Agutter (of Walkabout fame) as one of three children in a wealthy family whose lives change dramatically when their father is disgraced and they must move from London to a Yorkshire cottage near a railway station. A series of memorable episodes—birthday parties, childhood adventures, family reunions—are captured with a glowing sincerity and poignant sense of nostalgia.

Sunday, December 13

Art-House America: The Doris Duke

Located in the heart of Honolulu, Hawaii, the Doris Duke Theatre began operating out of the Honolulu Museum of Art in 1977 and has become a fixture of Hawaiian film culture. Through their annual Surf Film Festival and series that highlight the perspectives of Hawaii’s Native, Asian, and Black communities, the Doris Duke has dedicated itself to championing films that reflect the diversity, complexity, and cultural richness of the island, challenging longstanding cinematic depictions of Hawaii as an exoticized paradise. The theater’s commitment to showcasing homegrown stories and amplifying marginalized voices is on display in the Hawaiian-focused lineup of films they have selected.

From programmer Taylour Chang: “Tourism and Hollywood have shaped the perception of Hawai‘i as a paradise destination since the early twentieth century. A rising tide of Native Hawaiian and Hawai‘i-based filmmakers challenge those colonial stereotypes and present a worldview of Hawai‘i that is rooted in the land and its people. This slate is a snapshot of a genealogy of filmmakers who express Hawai‘i’s spirit and resilience. Pioneers like Victoria Keith (The Sand Island Story) and Nā Maka o ka ‘Āina (Mauna Kea: Temple Under Siege) captured an awakening of Native Hawaiian political consciousness and set a foundation for current generations—from Ty Sanga (Stones), who inspired a wave of Native Hawaiian filmmakers to embrace narrative fiction, to talents like Ciara Lacy (Out of State). These storytellers, among many others, provoke an innovative understanding of a Hawai‘i-specific visual language.”

Features

  • Mauna Kea: Temple Under Siege, Joan Lander and Puhipau, 2005
  • Out of State, Ciara Lacy, 2017
  • August at Akiko’s, Christopher Makoto Yogi, 2018

Shorts

  • The Sand Island Story, Victoria Keith, 1981
  • Stones, Ty Sanga, 2009
  • Like a Mighty Wave, Michael Inouye, 2019
  • Kapaemahu, Hinaleimoana Wong-Kalu, Dean Hamer, and Joe Wilson, 2020
  • Standing Above the Clouds, Jalena Keane-Lee, 2020

Monday, December 14

Documentaries by Alan Berliner

With a rare genius for rendering the personal universal, Alan Berliner has quietly established himself as one of the premier film essayists of our time. Drawing his subjects from his immediate life—his grandfather in Intimate Stranger, his father in Nobody’s Business, and his own name in The Sweetest Sound—he excavates the mysteries and mythologies embedded within family histories, using found footage, photographs, voice-over, interviews, and ephemera to construct intricate cinematic collages that are revealing, humorous, wise, and totally unique.

  • The Family Album, 1988
  • Intimate Stranger, 1991
  • Nobody’s Business, 1996
  • The Sweetest Sound, 2001

Tuesday, December 15

Short + Feature: Bad Santas

Santa, the Fascist Years and The Silent Partner

Jolly old St. Nick goes rogue in two dark tales that will leave you wondering: what evil lurks behind that snow-white beard and red cap? First, underground-animation legend Bill Plympton reveals the untold story of Kris Kringle’s disturbing flirtation with authoritarianism in the black-comic alternate history Santa, the Fascist Years. Then, mild-mannered bank teller Elliott Gould finds himself drawn into a dangerous game of cat and mouse with Christopher Plummer’s psychotic shopping-mall Santa in the 1978 heist thriller The Silent Partner, a Hitchcockian tour de force of nerve-twisting tension that features an early appearance by John Candy and an unforgettable bit of grisly business with a fish tank.

Wednesday, December 16

Films by Marie Losier

Featuring a new interview with the filmmaker

New York City–based French filmmaker Marie Losier captures the freewheeling energy of the avant-garde underground through her playful, lovingly handmade 16 mm portraits of boundary-pushing musicians, artists, and performers. Her acclaimed feature documentaries The Ballad of Genesis and Lady Jaye, about the gender-bending journey of industrial-music pioneer Genesis Breyer P-Orridge, and Cassandro, the Exotico!, an intimate snapshot of a drag-queen luchador, reflect Losier’s ability to achieve an almost symbiotic creative rapport with her larger-than-life subjects. They are presented alongside a selection of the filmmaker’s exuberantly inventive experimental shorts, which feature such counterculture luminaries as George Kuchar, Guy Maddin, Alan Vega, and Tony Conrad.

Features

  • The Ballad of Genesis and Lady Jaye, 2011
  • Cassandro, the Exotico!, 2018

Shorts

  • The Passion of Joan Arc, 2002
  • The Touch Retouched, 2002
  • Bird, Bath and Beyond, 2003
  • Electrocute Your Stars, 2004
  • Eat My Makeup!, 2005
  • The Ontological Cowboy, 2005
  • Flying Saucey!, 2006
  • Manuelle Labor, 2007
  • Tony Conrad, DreaMinimalist, 2008
  • Papal Broken-Dance, 2009
  • Cet Air La, 2010
  • Byun, objet trouvé, 2012
  • Alan Vega: Just a Million Dreams, 2013
  • Bim, Bam, Boom, Las Luchas Morenas, 2014
  • Draw Me Now, 2018

Thursday, December 17

Three by Rick Alverson

Featuring a new interview with the filmmaker

Watching a film by Rick Alverson can be a singularly uncomfortable experience—but just try to look away. Refusing to conform to tidy narrative arcs and conventional notions of “likable” characters, Alverson creates transgressive, confrontational, tragicomic portraits of masculinity in crisis that dare viewers to stare into the existential void. Following the journeys of a foundering Afghanistan veteran (New Jerusalem), a relentlessly nihilistic Brooklyn hipster (Tim Heidecker in The Comedy), and a repellent stand-up comedian (Gregg Turkington, a.k.a. Neil Hamburger, in Entertainment), Alverson’s films reckon unflinchingly with the loneliness at the heart of modern American life.

  • New Jerusalem, 2011
  • The Comedy, 2012
  • Entertainment, 2015

Friday, December 18

Double Feature: I Put a Spell on You

Bell, Book and Candle and I Married a Witch

Modern-day witches cast a silver-screen spell in two utterly enchanting romantic comedies. Fresh from their pairing in Vertigo, stars Kim Novak and James Stewart reunited for Bell, Book and Candle, featuring black-magic beatniks, some serious queer subtext, and a memorable cat named Pyewacket. Then, Veronica Lake uses her otherworldly charms to ensnare Fredric March in René Clair’s I Married a Witch, a delightful screwball confection bursting with playful special effects and sparkling wit. Fun fact: both films were key influences on the classic sitcom Bewitched.

Saturday, December 19

Saturday Matinee: 20 Million Miles to Earth

Featuring an alternate color version of the film

This thrilling creature-feature classic stands out thanks to dazzling special effects by Ray Harryhausen. En route from Venus back to Earth, a United States Army rocket ship crash-lands in the Mediterranean Sea just off the coast of Italy, and from the wreckage rises one of the stop-motion master’s most memorable creations: a rapidly growing lizardlike menace that destroys everything in its path as it romps its way across Rome. An epic monster vs. elephant showdown and a Roman Colosseum–set climax are among the eye-popping attractions.

Sunday, December 20

Afrofuturism

Featuring an introduction by programmer Ashley Clark

Coined in 1994 by critic Mark Dery, the term “afrofuturism” has become an essential framework for art about imagined and alternative global Black experiences. As the author Ytasha Womack writes, “Afrofuturism combines elements of science fiction, historical fiction, speculative fiction, fantasy, Afrocentricity, and magic realism with non-Western beliefs.” Afrofuturist ideas have found fertile ground in film, and this expansive series takes viewers on an international, intergalactic journey that stretches back long before the term existed, and far into the future. Spanning animation, documentary, and genre spectacle, these exuberant visions of Black creativity, resistance, and freedom zigzag across the African diaspora from New York to Brasilia to Kinshasa to worlds unknown. Curated by Ashley Clark, the series draws together films from Space is the Place: Afrofuturism on Film, which took place at Brooklyn Academy of Music in 2015; a sequel planned for 2020 that was canceled due to the pandemic; and a selection of all-new titles, many of them available for streaming for the first time.

Features

  • Space Is the Place, John Coney, 1974
  • Born in Flames, Lizzie Borden, 1983
  • The Brother from Another Planet, John Sayles, 1984
  • Ornette: Made in America, Shirley Clarke, 1985
  • Yeelen, Souleymane Cissé, 1987
  • Welcome II the Terrordome, Ngozi Onwurah, 1995
  • The Last Angel of History, John Akomfrah, 1996
  • An Oversimplification of Her Beauty, Terence Nance, 2012
  • White Out, Black In, Adirley Queirós, 2014
  • Crumbs, Miguel Llansó, 2015
  • Once There Was Brasilia, Adirley Queirós, 2017
  • Supa Modo, Likarion Wainaina, 2018

Shorts

  • The Changing Same, Cauleen Smith, 2001
  • Dark Matters, Monique Walton, 2010
  • The Becoming Box, Monique Walton, 2011
  • Hasaki Ya Suda, Cedric Ido, 2011
  • Native Sun, Terence Nance and Blitz Bazawule, 2011
  • Robots of Brixton, Kibwe Tavares, 2011
  • Jonah, Kibwe Tavares, 2013
  • Touch, Shola Amoo, 2013
  • Twaaga, Cédric Ido, 2013
  • Afronauts, Nuotama Bodomo, 2014
  • You and I and You, Terence Nance, 2015
  • The Golden Chain, Adebukola Bodunrin and Ezra Claytan Daniels, 2016
  • 1968 < 2018 > 2068, Keisha Rae Witherspoon, 2018
  • I Snuck Off the Slave Ship, Lonnie Holley and Cyrus Moussavi, 2019
  • T, Keisha Rae Witherspoon, 2019
  • Zombies, Baloji, 2019

Monday, December 21

The People United and Black and Blue

In the midst of a historic reckoning over police brutality and systemic racism, two essential documentaries from the mid–1980s offer timely lessons on the power of protest. Alonzo Speight’s The People United is a crucial snapshot of a decisive moment in Boston history when the city’s predominately Black Roxbury neighborhood took unified action against escalating incidents of police brutality. Its galvanizing portrait of organized resistance is echoed in Hugh King and Lamar Williams’s Black and Blue, which chronicles an impassioned community response to decades of police violence against people of color in Philadelphia through a hard-hitting mix of archival materials, news clips, and documentary footage.

Tuesday, December 22

Short + Feature: It’s a Mad, Mad Christmas

Christmas Inventory and A Christmas Tale

There’s no place like home for the holidays as two singularly imaginative auteurs capture the comedy and chaos of Christmastime family gatherings. First, Portuguese spellbinder Miguel Gomes takes a kaleidoscopic, kid’s-eye view of a rambunctious yuletide get-together in his delightfully cozy holiday surprise Christmas Inventory. Then, Arnaud Desplechin weaves a tapestry of merriment, melancholy, and messy emotions in A Christmas Tale, a marvelously rich, unpredictable portrait of a most unforgettable family reunion, presided over by an imperious Catherine Deneuve.

Wednesday, December 23

Directed by Margarethe von Trotta

One of cinema’s foremost feminist artists, German auteur Margarethe von Trotta engages fearlessly with political, historical, and social issues to redefine the representation of women onscreen. Emerging from the New German Cinema movement that launched her early collaborators Rainer Werner Fassbinder and Volker Schlöndorff (with whom she codirected The Lost Honor of Katharina Blum), von Trotta went on to become the first woman to win the Golden Lion at the Venice Film Festival with Marianne and Juliane. She’s remained one of contemporary European cinema’s leading voices ever since, bringing searing stories of courageous, visionary women—including Marxist revolutionary Rosa Luxemburg, twelfth-century mystic Hildegard von Bingen, and philosopher Hannah Arendt—to the screen with complexity and conviction.

  • The Lost Honor of Katharina Blum, Volker Schlöndorff and Margarethe von Trotta, 1975
  • Marianne and Juliane, Margarethe von Trotta, 1981
  • Rosa Luxemburg, Margarethe von Trotta, 1986
  • Vision: From the Life of Hildegard von Bingen, Margarethe von Trotta, 2009
  • Hannah Arendt, Margarethe von Trotta, 2012

Thursday, December 24

La flor

A decade in the making, Argentine filmmaker Mariano Llinás’s La flor is an audacious, unrepeatable labor of love and madness that redefines the concept of binge viewing. Filmed around the world, this landmark of marathon cinema is composed of six distinct episodes—including a monster movie, a musical, a spy thriller, and a remake of a French classic—each starring the same four women. A delirious plunge down a seemingly endless array of narrative rabbit holes, La flor is an epic adventure in scale and imagination, a wildly entertaining and addictive ode to the power of storytelling.

Friday, December 25

Double Feature: And to All a Good Fright

Cronos and Black Christmas

Have yourself a scary little Christmas with two nightmares that prove that fruitcake, ugly sweaters, and your extended family aren’t the most disturbing things about the holidays. Master of the twisted fairy tale Guillermo del Toro made his auspicious debut with Cronos, a visually rich and emotionally captivating Christmastime vampire fable awash in the haunting imagery for which he would become renowned. Then it’s time for a winter slay ride with Bob Clark’s cult classic Black Christmas, the groundbreaking independent shocker that spawned the modern slasher genre as we know it.

Saturday, December 26

Saturday Matinee: City Lights

City Lights, the most cherished film by Charlie Chaplin, is also his ultimate Little Tramp chronicle. The writer-director-star achieved new levels of grace, in both physical comedy and dramatic poignancy, with this silent tale of a lovable vagrant falling for a young blind woman who sells flowers on the street (a magical Virginia Cherrill) and mistakes him for a millionaire. Though this Depression-era smash was made after the advent of sound, Chaplin remained steadfast in his love for the expressive beauty of the pre-talkie form. The result was the epitome of his art and the crowning achievement of silent comedy.

Sunday, December 27

Cary Grant Comedies

Cary Grant may have been classic Hollywood’s ultimate embodiment of suave sophistication, but thankfully he never took himself too seriously, as seen in these comedy classics that showcase his inimitable flair for farce. A former acrobat who was as adept at delivering sparkling banter as he was at taking a slapstick pratfall, Grant imbued his comic performances with a slyly winking charm and breezy joie de vivre that feels at once effortless and virtuosic. The perfect antidote to the winter blues, these slices of golden-age heaven pair Grant with some of the studio era’s most legendary leading ladies—including Katharine Hepburn (Holiday), Irene Dunne (The Awful Truth), Myrna Loy (Mr. Blandings Builds His Dream House), and Ingrid Bergman (Indiscreet)—and let the screwball sparks fly.

  • I’m No Angel, Wesley Ruggles, 1933
  • She Done Him Wrong, Lowell Sherman, 1933
  • The Awful Truth, Leo McCarey, 1937
  • Bringing Up Baby, Howard Hawks, 1938*
  • Holiday, George Cukor, 1938
  • My Favorite Wife, Garson Kanin, 1940
  • The Talk of the Town, George Stevens, 1942*
  • Arsenic and Old Lace, Frank Capra, 1944*
  • The Bachelor and the Bobby-Soxer, Irving Reis, 1947
  • Mr. Blandings Builds His Dream House, H.C. Potter, 1948
  • Indiscreet, Stanley Donen, 1958
  • Operation Petticoat, Blake Edwards, 1959
  • The Grass Is Greener, Stanley Donen, 1960
  • That Touch of Mink, Delbert Mann, 1962
  • Father Goose, Ralph Nelson, 1964

*Available January 1

Monday, December 28

Dawson City: Frozen Time

This astonishing meditation on cinema’s past from Bill Morrison pieces together the bizarre true history of a long-lost collection of 533 nitrate film prints from the early 1900s. Located just south of the Arctic Circle, Dawson City was settled in 1896 and became the center of the Canadian Gold Rush that brought one hundred thousand prospectors to the area. It was also the final stop for a distribution chain that sent prints and newsreels to the Yukon. The films were seldom, if ever, returned. The now-famous Dawson City Collection was uncovered in 1978 when a bulldozer working its way through a parking lot dug up a horde of film cans. Morrison draws on these rare, permafrost-protected silent films and newsreels, pairing them with archival footage, interviews, historical photographs, and an enigmatic score by Sigur Rós collaborator and composer Alex Somers. Dawson City: Frozen Time chronicles the life cycle of a singular film collection through its exile, burial, rediscovery, and salvation.

Tuesday, December 29

Short + Feature: Altitude Adjustment

Snow Canon and Clouds of Sils Maria

Intense, complex relationships between women play out against the dramatic landscapes of the Alps in these multilayered explorations of power dynamics and female intimacy. Isolated in a snowbound chalet, a teenage girl and her babysitter test the boundaries of their relationship in Mati Diop’s psychosexual chamber piece Snow Canon. It’s an appropriately heady prelude to Olivier Assayas’s shape-shifting backstage drama Clouds of Sils Maria, in which Juliette Binoche and Kristen Stewart blur the line between the personal and professional while on a transformative Alpine excursion.

Wednesday, December 30

Films by Camille Billops and James Hatch

Trailblazing artist and polymath Camille Billops (1933–2019) and her partner in life and work, James Hatch (1928–2020), left behind invaluable legacies as archivists who worked tirelessly to preserve records of Black cultural life and as filmmakers who turned their unflinching camera on Billops’s own, often painful personal experiences. The films they made together, while grounded in documentary, use a range of techniques including reenactments, dramatization, and satire to illuminate the ways in which race, gender, and class shape everyday life. In their Family Trilogy—Suzanne, Suzanne; Finding Christa; and A String of Pearls—the pair cover more than thirty years of troubling truths from Billops’s own family, tackling issues of drug addiction, abuse, unwanted pregnancy, and motherhood with fearless honesty.

Features

  • Finding Christa, Camille Billops and James Hatch, 1991
  • The KKK Boutique Ain’t Just Rednecks, Camille Billops and James Hatch, 1994
  • A String of Pearls, Camille Billops and James Hatch, 2002

Shorts

  • Suzanne, Suzanne, Camille Billops and James Hatch, 1982
  • Older Women and Love, Camille Billops and James Hatch, 1987
  • Take Your Bags, Camille Billops, 1998

Thursday, December 31

The Phantom Carriage: Criterion Collection Edition #579

The last person to die on New Year’s Eve before the clock strikes twelve is doomed to take the reins of Death’s chariot and work tirelessly collecting fresh souls for the next year. So says the legend that drives The Phantom Carriage (Körkarlen), directed by the father of Swedish cinema, Victor Sjöström. The story, based on a novel by Nobel Prize winner Selma Lagerlöf, concerns an alcoholic, abusive ne’er-do-well (Sjöström himself) who is shown the error of his ways, and the pure-of-heart Salvation Army sister who believes in his redemption. This extraordinarily rich and innovative silent classic (which inspired Ingmar Bergman to make movies) is a Dickensian ghost story and a deeply moving morality tale, as well as a showcase for groundbreaking special effects. SUPPLEMENTAL FEATURES: Two scores, one by Swedish composer Matti Bye and the other by the experimental duo KTL (Stephen O’Malley and Peter Rehberg); audio commentary featuring film historian Casper Tybjerg; an interview with Ingmar Bergman; and more.

Plus:

Thirty Years of the Film Foundation—New Titles Added!

In November, we kicked off our thirtieth-anniversary celebration for film-preservation powerhouse The Film Foundation, founded by Martin Scorsese in 1990. This month, the initial thirty-title line-up is joined by four restored films directed by an array of Hollywood-pantheon auteurs: a jewel of pre-Code horror from Michael Curtiz, Nicholas Ray’s poetic rodeo tale, Charles Laughton’s legendary sole feature, and an antiwar classic by Stanley Kubrick.

  • Mystery of the Wax Museum, Michael Curtiz, 1933
  • The Lusty Men, Nicholas Ray, 1952
  • Night of the Hunter, Charles Laughton, 1955
  • Paths of Glory, Stanley Kubrick, 1957

Complete list of films premiering on the Criterion Channel this month:

  • 1968 < 2018 > 2068, Keisha Rae Witherspoon, 2018
  • 20 Million Miles to Earth, Nathan Juran, 1957
  • Afronauts, Nuotama Bodomo, 2014
  • Alan Vega: Just a Million Dreams, Marie Losier, 2014
  • August at Akiko’s, Christopher Makoto Yogi, 2018
  • The Awful Truth, Leo McCarey, 1937
  • The Bachelor and the Bobby-Soxer, Irving Reis, 1947
  • The Baker’s Wife, Marcel Pagnol, 1938
  • Bad Day at Black Rock, John Sturges, 1955 *
  • Badlands, Terrence Malick, 1973
  • The Ballad of Genesis and Lady Jaye, Marie Losier, 2011
  • The Becoming Box, Monique Walton, 2011
  • Bell, Book and Candle, Richard Quine, 1958
  • Belle of the Nineties, Leo McCarey, 1934
  • Bim, Bam, Boom, las Luchas Morenas, Marie Losier, 2014
  • Bird, Bath and Beyond, Marie Losier, 2003
  • Black and Blue, Hugh King and Lamar Williams, 1987
  • The Brother from Another Planet, John Sayles, 1984
  • Byun, objet trouvé, Marie Losier, 2012
  • Cassandro, the Exotico!, Marie Losier, 2018
  • Cet Air La, Marie Losier, 2010
  • The Changing Same, Cauleen Smith, 2001
  • Christmas Inventory, Miguel Gomes, 2000
  • The Comedy, Rick Alverson, 2012
  • Crumbs, Miguel Llansó, 2015
  • Dark Matters, Monique Walton, 2010
  • Dawson City: Frozen Time, Bill Morrison, 2016 *
  • Days of Heaven, Terrence Malick, 1978
  • Diary of an African Nun, Julie Dash, 1977
  • Draw Me Now, Marie Losier, 2018
  • Eat My Makeup!, Marie Losier, 2005
  • Electrocute Your Stars, Marie Losier, 2004
  • Entertainment, Rick Alverson, 2015
  • Every Day’s a Holiday, A. Edward Sutherland, 1937
  • The Family Album, Alan Berliner, 1986
  • Father Goose, Ralph Nelson, 1964
  • Finding Christa, Camille Billops and James Hatch, 1991
  • La flor, Mariano Llinás, 2018 *
  • Flying Saucey!, Marie Losier, 2006
  • Four Women, Julie Dash, 1975
  • Go West Young Man, Henry Hathaway, 1936
  • The Golden Chain, Adebukola Bodunrin and Ezra Claytan Daniels, 2014
  • Goin’ to Town, Alexander Hall, 1935
  • The Grass Is Greener, Stanley Donen, 1960
  • Hannah Arendt, Margarethe von Trotta, 2012**
  • Harold and Maude, Hal Ashby, 1971
  • Hasaki Ya Suda, Cédric Ido, 2011
  • Holiday, George Cukor, 1938
  • House of Games, David Mamet, 1987
  • I Snuck off the Slave Ship, Lonnie Holley and Cyrus Moussavi, 2019
  • I’m No Angel, Wesley Ruggles, 1933
  • Illusions, Julie Dash, 1982
  • Indiscreet, Stanley Donen, 1958
  • Intimate Stranger, Alan Berliner, 1991
  • Jonah, Kibwe Tavares, 2013
  • Kapaemahu, Hinaleimoana Wong-Kalu, Joe Wilson, and Dean Hamer, 2020
  • The KKK Boutique Ain’t Just Rednecks, Camille Billops, James Hatch, 1994
  • Klondike Annie, Raoul Walsh, 1936
  • The Last Angel of History, John Akomfrah, 1996
  • Like a Mighty Wave, Mikey Inouye, 2020
  • The Lusty Men, Nicholas Ray, 1952
  • Manuelle Labor, Marie Losier, 2007
  • March of the Wooden Soldiers, 1934
  • Marianne and Juliane, Margarethe von Trotta, 1981
  • Mauna Kea: Temple Under Siege, Joan Lander and Puhipau, 2005
  • The Mirror Has Two Faces, Barbra Streisand, 1996 *
  • Mr. Blandings Builds His Dream House, H.C. Potter, 1948
  • Mutts, Halima Ouardiri, 2019
  • My Favorite Wife, Garson Kanin, 1940 *
  • My Golden Days, Arnaud Desplechin, 2015
  • My Little Chickadee, Edward F. Cline, 1940
  • My Sex Life … or How I Got into an Argument, Arnaud Desplechin, 1996
  • Mystery of the Wax Museum, Michael Curtiz, 1933
  • National Velvet, Clarence Brown, 1944 *
  • New Jerusalem, Rick Alverson, 2011
  • The New World, Terrence Malick, 2005 *
  • The Night of the Hunter, Charles Laughton, 1955
  • Nobody’s Business, Alan Berliner, 1997
  • Now, Voyager, Irving Rapper, 1942
  • Older Women and Love, Camille Billops and James Hatch, 1987
  • Once There Was Brasilia, Adirley Queirós, 2017
  • The Ontological Cowboy, Marie Losier, 2005
  • Operation Petticoat, Blake Edwards, 1959
  • Out of State, Ciara Lacy, 2017
  • Papal Broken-Dance, Marie Losier, 2008
  • Paris Is Burning, Jennie Livingston, 1990
  • The Passion of Joan of Arc, Marie Losier, 2002
  • Paths of Glory, Stanley Kubrick, 1957
  • The People United, Alonzo Speight, 1985
  • Praise House, Julie Dash, 1991
  • The Prince of Tides, Barbra Streisand, 1991
  • Quadrophenia, Franc Roddam, 1979
  • The Railway Children, Lionel Jeffries, 1970
  • The Reflecting Skin, Philip Ridley, 1990
  • Robots of Brixton, Kibwe Tavares, 2011
  • Rosa Luxemburg, Margarethe von Trotta, 1986
  • Les saignantes, Jean-Pierre Bekolo, 2005
  • The Sand Island Story, Victoria Keith, 1981
  • She Done Him Wrong, Lowell Sherman, 1933
  • The Silent Partner, Daryl Duke, 1978
  • Sorry We Missed You, Ken Loach, 2019
  • Space Is the Place, John Coney, 1974
  • Standing Above the Clouds, Jalena Keane-Lee, 2020
  • Standing at the Scratch Line, Julie Dash, 2016
  • Stones, Ty Sanga, 2009
  • A String of Pearls, Camille Billops and James Hatch, 2002
  • Supa Modo, Likarion Wainaina, 2018
  • The Sweetest Sound, Alan Berliner, 2001
  • T, Keisha Rae Witherspoon, 2019
  • Take Your Bags, Camille Billops, 1998
  • That Touch of Mink, Delbert Mann, 1962
  • Tony Conrad, DreaMinimalist, Marie Losier, 2008
  • Touch, Shola Amoo, 2013
  • The Touch Retouched, Marie Losier, 2002
  • Twaaga, Cédric Ido, 2013
  • Uncovering Naked City, Bruce Goldstein, 2020
  • Vision: From the Life of Hildegard von Bingen, Margarethe von Trotta, 2009 *
  • White God, Kornél Mundruczó, 2014
  • White Out, Black In, Adirley Queirós, 2014
  • A Woman Under the Influence, John Cassavetes, 1974
  • Yeelen, Souleymane Cissé, 1987
  • Yentl, Barbra Streisand, 1983
  • Zombies, Baloji, 2019

*Available in the U.S. only

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Home Video Deals for Thanksgiving 2020 https://criterioncast.com/deals/home-video-deals-for-thanksgiving-2020 Thu, 26 Nov 2020 18:35:57 +0000 https://criterioncast.com/?p=64756

I’m sure many of you are out there looking for deals on DVDs, Blu-rays, and 4K UHD discs, and the retailers sure are putting together a pretty nice list of heavily discounted titles today. The items below will update with any price changes, and I’ll continue to add titles to the post as deals pop-up around the web.

As always, a huge thanks to all who support the site by shopping through our affiliate links. A small portion of any sale will go to helping us out.

Jump to: Criterion / 4K / Box Sets / Blu-rays.


Shop Black Friday Deals and Gift Guides at:


 

Criterion Collection

Find more Criterion Collection deals at Amazon, Barnes & Noble, Deep Discount, Walmart, and Best Buy.

There are also many Criterion discs with additional coupons on Amazon. Here is a list I’m compiling.


 

4K Ultra HD Blu-rays

Check out more 4K Ultra HD Blu-ray deals at Amazon


 

Box Sets

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Blu-rays

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The November 2020 Barnes & Noble 50% Off Criterion Collection Sale Has Begun! https://criterioncast.com/news/the-november-2020-barnes-noble-50-off-criterion-collection-sale-has-begun Fri, 06 Nov 2020 06:46:52 +0000 https://criterioncast.com/?p=64661
For the past several years, Barnes & Noble holds a bi-annual 50% off sale on the Criterion Collection, each July and November. The sale begins today online and goes through November 30th.

Below you’ll find covers to the most recent Criterion Collection Blu-ray releases, with links taking you to their corresponding pages on Barnes & Noble’s website.

What are you picking up this time around? Head over to our Facebook page, or Subreddit, and share your haul shots!

These are affiliate links, and when you purchase through our links, you are helping our site. I really appreciate it. The product pages below should show you prices from various retailers, there may be a delay between when the prices are updated. There will be links to Barnes & Noble on each product page.

November 2020

October 2020

September 2020

August 2020

July 2020

June 2020

May 2020

April 2020

March 2020

February 2020

January 2020

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November 2020 Programming on the Criterion Channel Announced https://criterioncast.com/column/calendar/criterion-channel/november-2020-programming-on-the-criterion-channel-announced Wed, 28 Oct 2020 05:02:07 +0000 https://criterioncast.com/?p=64576 Each month, the programmers at the Criterion Channel produce incredible line-ups for their subscribers. For November, the Channel will feature films from Claire Denis, Nadav Lapid, Ngozi Onwurah, The Film Foundation, and more!

Below you’ll find the programming schedule for the month, along with a complete list of titles that Criterion has in store for us. Don’t forget to check the Criterion Channel’s main page regularly though, as they occasionally will drop surprises that aren’t included in the official press release.

Don’t subscribe yet? Start a 14-day free trial

Sunday, November 1

Frame of Mind: Psychiatry On-Screen

How do you portray the complex inner workings of the human mind on-screen? It’s a challenge that has long tantalized filmmakers, as seen in this wide-ranging look at some of cinema’s most fascinating explorations of neuroses, psychoses, and the art and science of psychiatry. From pop-Freudian deconstructions of criminal psychology (The Dark Past, The Mark) to immersions into the inner workings of psychiatric institutions (The Cobweb, David and Lisa) to explorations of the therapist-patient relationship both serious (Pressure Point, Ordinary People) and satiric (The President’s Analyst, The Ninth Configuration), these films reflect the increasingly nuanced representation of psychiatry in art as well as our evolving understanding of our own minds and selves.

  • Blind Alley, Charles Vidor, 1939
  • Possessed, Curtis Bernhardt, 1947
  • The Dark Past, Rudolph Maté, 1948
  • The Cobweb, Vincente Minnelli, 1955
  • Autumn Leaves, Robert Aldrich, 1956
  • The Mark, Guy Green, 1961
  • David and Lisa, Frank Perry, 1962
  • Pressure Point, Hubert Cornfield, 1962
  • The President’s Analyst, Theodore J. Flicker, 1967
  • Solaris, Andrei Tarkovsky, 1972
  • Old Boyfriends, Joan Tewkesbury, 1979
  • Bad Timing, Nicolas Roeg, 1980
  • Dressed to Kill, Brian De Palma, 1980
  • The Ninth Configuration, William Peter Blatty, 1980
  • Ordinary People, Robert Redford, 1980
  • House of Games, David Mamet, 1987*
  • The Prince of Tides, Barbra Streisand, 1991*

*Available December 1

Monday, November 2

A Dream Is What You Wake Up From

Through a bold mix of narrative and documentary techniques, directors Carolyn Johnson and Larry Bullard explore the experiences of Black families in American society. Shuffling between day-to-day scenes of life at home, school, and work, A Dream Is What You Wake Up From profiles three African American families grappling with the realities of systemic racism, domestic abuse, and economic disenfranchisement as they find themselves left behind by the promise of the American dream. As timely as ever in its intersectional approach to issues of race, class, and gender, this essential, long-neglected document of Black American struggle is a work of aching intimacy and powerful political insight.

Tuesday, November 3

Short + Feature: Stand-Up Guys

Stand Up and Lenny

Stand-up comedy becomes a vehicle for raw, uncomfortable, and lacerating truth-telling in two unsparing, black-and-white portraits of the personal pain behind the funnyman mask. Composed in a continually transmogrifying scrawl of animation, Joseph Pierce’s short Stand Up reveals the tortured soul of a comedian as he literally bares all to an audience over the course of an increasingly unhinged set. It provides a perfect opener for Bob Fosse’s Lenny, a devastating look at the rise and fall of the brilliant and controversial stand-up legend Lenny Bruce starring an electrifying Dustin Hoffman.

Tuesday, November 3

The Elephant Man: Criterion Collection Edition #1051

With this poignant second feature, David Lynch brought his atmospheric visual and sonic palette to a notorious true story set in Victorian England. When the London surgeon Frederick Treves (Anthony Hopkins) meets the freak-show performer John Merrick (John Hurt), who has severe skeletal and soft-tissue deformities, he assumes that he must be intellectually disabled as well. As the two men spend more time together, though, Merrick reveals the intelligence, gentle nature, and profound sense of dignity that lie beneath his shocking appearance, and he and Treves develop a friendship. Shot in gorgeous black and white and boasting a stellar supporting cast that includes Anne Bancroft, John Gielgud, and Wendy Hiller, The Elephant Man was nominated for eight Academy Awards, cementing Lynch’s reputation as one of American cinema’s most visionary talents. SUPPLEMENTAL FEATURES: David Lynch and critic Kristine McKenna reading from their book Room to Dream; archival interviews with Lynch, John Hurt, producers Mel Brooks and Jonathan Sanger, and other crew members; The Terrible Elephant Man Revealed, a documentary about the film; and more.

Wednesday, November 4

Old Boyfriends

Featuring a new introduction by director Joan Tewkesbury

The sole theatrical feature directed by Joan Tewkesbury—whose screenplays for Nashville and Thieves Like Us yielded two of Robert Altman’s finest films—is an endlessly intriguing, shaggy-dog romantic comedy starring Talia Shire as Dianne Cruise, a Los Angeles psychiatrist who, with her life falling apart around her, goes in search of three of her past boyfriends in order to figure out where things went wrong. Written by Paul and Leonard Schrader and costarring John Belushi (fantastic as Dianne’s sleazy rocker ex) and Keith Carradine, Old Boyfriends ambles, in the best seventies road-movie tradition, through a series of surprising, emotionally intricate detours as it arrives at messy, complex truths about love and self-understanding.

Thursday, November 5

Guest of Honour

Exclusive streaming premiere

A father and daughter attempt to unravel their complicated histories and intertwined secrets in the latest film from acclaimed director Atom Egoyan, which weaves through time in a riveting, psychologically intricate exploration of perception and penance, memory and forgiveness. Jim (David Thewlis) is a meticulous food inspector who wields great power over small, family-owned restaurants—a power he doesn’t hesitate to use. His daughter, Veronica (Laysla De Oliveira), is a high-school music teacher who has been wrongfully imprisoned for sexually abusing a student—a crime she didn’t commit but which she nevertheless wishes to be punished for. Years later, while preparing her father’s funeral, Veronica confides the secrets of her past to Father Greg (Luke Wilson), who may hold the final piece of this most curious family puzzle.

Friday, November 6

Double Feature: The Wicked and the Weird

Mad Love and The Devil-Doll

Deranged scientists, bizarre experiments, and macabre menace haunt these two offbeat cult classics of 1930s B-movie horror. First, master cinematographer Karl Freund directs a bald-pated Peter Lorre in the actor’s Hollywood debut, an outré adaptation of the classic horror novel The Hands of Orlac dripping with twisted psychosexual perversity and shadow-laden expressionist atmosphere. Things get even stranger with ghoulmeister Tod Browning’s demented tale of mad science and miniaturization The Devil-Doll, starring a drag-donning Lionel Barrymore as an escaped convict who hits upon a fiendish, incredible shrinking scheme to get revenge on those who wronged him.

Saturday, November 7

Saturday Matinee: The Canterville Ghost

Director Jules Dassin scares up plenty of mirth in this wittily imaginative fantasy comedy based on a short story by Oscar Wilde. Three hundred years ago, an act of cowardice by Sir Simon (Charles Laughton) brought shame to the Canterville name and doomed his ghost to haunt the family castle. The only thing that will free his spirit: a daring deed by a descendant. When World War II GI and Canterville kinsman Cuffy Williams (Robert Young) is billeted at the castle, now owned by six-year-old Lady Jessica (Margaret O’Brien), it seems that Sir Simon’s chance to break the spell has finally come—or will Cuffy prove as lily-livered as his ancestors? Vintage special effects and fanciful costumes and sets make this supernatural charmer an evergreen family favorite.

Sunday, November 8

Written by Harold Pinter

Featuring Harold Pinter: Art, Truth & Politics, Pinter’s 2005 Nobel Lecture

One of the most influential playwrights of the twentieth century brings his celebrated Pinter pauses and anxious ambiguity to the screen in these masterful dramas that quiver with quotidian menace. Having conquered the British stage with landmark works like The Birthday Party and The Caretaker, Harold Pinter embarked on a long and successful screenwriting career that included three brilliantly unsettling collaborations with director Joseph Losey (The Servant, Accident, The Go-Between) and several acclaimed adaptations of novels by writers like Penelope Mortimer (The Pumpkin Eater), John Fowles (The French Lieutenant’s Woman), Margaret Atwood (The Handmaid’s Tale), and Ian McEwan (The Comfort of Strangers). Rife with Pinter’s signature themes of power and control, these films are an indispensable part of the monumental legacy of an artist who exposed the tensions lurking beneath the surface of everyday life.

  • The Servant, Joseph Losey, 1963
  • The Pumpkin Eater, Jack Clayton, 1964
  • Accident, Joseph Losey, 1967
  • The Go-Between, Joseph Losey, 1971
  • The Homecoming, Peter Hall, 1973
  • Butley, Harold Pinter, 1974
  • The French Lieutenant’s Woman, Karel Reisz, 1981
  • The Comfort of Strangers, Paul Schrader, 1990
  • The Handmaid’s Tale, Volker Schlöndorff, 1990

Monday, November 9

Dark Days

For years, a homeless community took root in a train tunnel beneath New York City, braving dangerous conditions and perpetual night. Marc Singer’s acclaimed documentary explores this surprisingly domestic subterranean world, unearthing a way of life unimaginable to those above. Through stories simultaneously heartbreaking, hilarious, intimate, and off-the-cuff, tunnel dwellers reveal their reasons for taking refuge underground and their struggles to survive there. Filmed in striking black and white with a crew comprised of the tunnel’s inhabitants, and scored by legendary turntablist DJ Shadow, Dark Days is a haunting and soulful record of invisible lives.

Tuesday, November 10

Short + Feature: Lovers in Arms

Flores and Beau travail

Two visions of love and longing among military men unfold amid lush, senses-stunning landscapes in these ravishing cinematic hallucinations. An island overrun by hydrangeas whose rich purple color seems to drip from each frame is the dreamily apocalyptic setting for a romance between two soldiers in Jorge Jácome’s lavender-drenched alternate-reality “documentary” Flores. A similarly intoxicating study of desire and masculinity plays out in Claire Denis’s Beau travail, a mesmerizing take on Herman Melville’s Billy Budd in which the sunbaked landscapes of coastal Djibouti heighten the simmering erotic tension.

Tuesday, November 10

Make Way for Tomorrow: Criterion Collection Edition #505

Make Way for Tomorrow, by Leo McCarey, is one of the great unsung Hollywood masterpieces, an enormously moving Depression-era depiction of the frustrations of family, aging, and the generation gap. Beulah Bondi and Victor Moore headline a cast of incomparable character actors, starring as an elderly couple who must move in with their grown children after the bank takes their home, yet end up separated and subject to their offspring’s selfish whims. An inspiration for Yasujiro Ozu’s Tokyo Story, this is among American cinema’s purest tearjerkers, all the way to its unflinching ending, which McCarey refused to change despite studio pressure. SUPPLEMENTAL FEATURES: Interviews with filmmaker Peter Bogdanovich and critic Gary Giddins on the film, its social context, and McCarey’s career.

Wednesday, November 11

Directed by Claire Denis

No one makes movies like Claire Denis, one of contemporary cinema’s foremost masters. Raised in colonial West Africa, Denis apprenticed as an assistant to Jim Jarmusch and Wim Wenders before striking out on her own in the late eighties in an entirely original cinematic language shaped by her outsider’s perspective. Atmospheric, elliptical, and hypnotically absorbing, her films unfold as sensuous washes of sound and image that manage to balance intimate human stories with weighty themes of postcolonial tension, modern alienation, and the boundless complexities of love and sex. This selection of some of Denis’s key works—including a new restoration of her simmering erotic masterpiece BEAU TRAVAIL—reveals a wholly original artist who is as much a storyteller as she is a poet of rhythm, movement, and mood.

  • Chocolat, 1988
  • No Fear, No Die, 1990
  • Nenette and Boni, 1996
  • Beau travail, 1999
  • Towards Mathilde, 2005
  • 35 Shots of Rum, 2008
  • White Material, 2009

Thursday, November 12

Three by Bill Forsyth

Charm, whimsy, and humanism abound in the lovably offbeat works of Bill Forsyth, a pivotal figure in Scottish cinema who led the revitalization of his country’s film industry in the 1980s. First coming to widespread attention with the endearing coming-of-age romance Gregory’s Girl, Forsyth went on to work with Burt Lancaster in the delightful fish-out-of-water comedy Local Hero and made his American debut with a quirkily poetic adaptation of Marilynne Robinson’s Housekeeping. Though gently unassuming on the surface, Forsyth’s films reveal keen insights into human nature and resonate with bittersweet moral truths.

  • Gregory’s Girl, 1980
  • Local Hero, 1983
  • Housekeeping, 1987

Friday, November 13

Double Feature: Killer Kiddies

The Bad Seed and Village of the Damned

The kids are very much not all right in two chilling tales of demonic children whose innocent faces conceal shocking evil. First, director Mervyn LeRoy blows the archetype of the picture-perfect 1950s family to bits in The Bad Seed, in which a mother discovers that her adorable, pigtailed daughter has a murderous dark side. One homicidal tyke is bad enough, but heaven help the residents of the Village of the Damned, in which a gaggle of towheaded tots with glowing eyes and telepathic powers are a parent’s worst nightmare come to terrifying life.

Saturday, November 14

Saturday Matinee: Lovers and Lollipops

Directors Morris Engel and Ruth Orkin followed up their independent landmark Little Fugitive with an equally charming slice-of-life fable that, like its predecessor, captures 1950s New York City through the eyes of a child. Bursting with the same stylistic spontaneity that made Little Fugitive a favorite of the French New Wave upstarts, Lovers and Lollipops tells the story of a headstrong young girl (Cathy Dunn) who, when she feels threatened by her single mother’s relationship with a new boyfriend, begins—both intentionally and unintentionally—to thwart the budding romance. Shot on handheld cameras all across the city—from Central Park to the Museum of Modern Art to Macy’s toy department—this freewheeling time capsule is a lyrical ode to the resilience of love and the enchantment of youth.

Sunday, November 15

30 Years of The Film Foundation

Featuring a new interview with Martin Scorsese by Ari Aster

In 1990, Martin Scorsese founded an organization whose stated mission told the world, in no uncertain terms, that movies matter, that the art of cinema and its history is a legacy worth preserving. Three decades later, The Film Foundation is an indispensable pillar of moving-image culture, helping to make possible over 850 restorations so far and raising much-needed awareness of the necessity of film preservation as central to the safeguarding of our cultural heritage. In recognition of thirty years of vital work, the Criterion Channel looks back at a selection of the many brilliant films that, thanks to the efforts of The Film Foundation, have been rescued from the ravages of time for future generations to discover. Beginning with these thirty films, the series will expand over the next year, with new additions to be announced monthly.

Features

  • The Broken Butterfly, Maurice Tourneur, 1919
  • Trouble in Paradise, Ernst Lubitsch, 1932
  • It Happened One Night, Frank Capra, 1934
  • L’Atalante, Jean Vigo, 1934
  • The Long Voyage Home, John Ford, 1940
  • The Chase, Arthur Ripley, 1946
  • The Red Shoes, Michael Powell and Emeric Pressburger, 1948
  • The River, Jean Renoir, 1951
  • Moulin Rouge, John Huston, 1952
  • The Bigamist, Ida Lupino, 1953
  • Ugetsu, Kenji Mizoguchi, 1953
  • Senso, Luchino Visconti, 1954
  • The Big Country, William Wyler, 1958
  • Shadows, John Cassavetes, 1959
  • The Cloud-Capped Star, Ritwik Ghatak, 1960
  • Primary, Robert Drew, 1960
  • The Connection, Shirley Clarke, 1961
  • Salvatore Giuliano, Francesco Rosi, 1962
  • The Masque of the Red Death, Roger Corman, 1964
  • Once Upon a Time in the West, Sergio Leone, 1968
  • The Night of Counting the Years, Shadi Abdel Salam, 1969
  • Soleil Ô, Med Hondo, 1970
  • The Mattei Affair, Francesco Rosi, 1972
  • Insiang, Lino Brocka, 1976
  • Xiao Wu, Jia Zhangke, 1997

Shorts

  • The Fatal Glass of Beer, Clyde Bruckman, 1933
  • Uncle Yanco, Agnès Varda, 1967
  • Black Panthers, Agnès Varda, 1968
  • The Eloquent Peasant, Shadi Abdel Salam, 1970
  • Audience, Barbara Hammer, 1983

Monday, November 16

Antonio Gaudí: Criterion Collection Edition #425

Catalan architect Antoni Gaudí (1852–1926) designed some of the world’s most astonishing buildings, interiors, and parks; Japanese director Hiroshi Teshigahara constructed some of the most aesthetically audacious films ever made. In Antonio Gaudí, their artistry melds in a unique, enthralling cinematic experience. Less a documentary than a visual poem, Teshigahara’s film takes viewers on a tour of Gaudí’s truly spectacular architecture, including his massive, still-unfinished masterpiece, the Sagrada Família basilica in Barcelona. With camera work as bold and sensual as the curves of his subject’s organic structures, Teshigahara immortalizes Gaudí on film. SUPPLEMENTAL FEATURES: An interview with architect Arata Isozaki, footage from Teshigahara’s first trip to Spain, a 2003 documentary on Gaudí’s life and work, a 1961 BBC program on Gaudí by Ken Russell, and more.

Tuesday, November 17

Short Films by Sky Hopinka

Featuring a new introduction by the filmmaker

Transcendent meditations on language, landscape, and myth, the ethnopoetic works of Sky Hopinka—a member of the Ho-Chunk Nation and descendent of the Pechanga Band of Luiseño Indians—explode the traditions of ethnographic filmmaking and reclaim the form as a vehicle for ecstatic personal expression. Through an intricate layering of words and images, Hopinka creates dense, hallucinatory audiovisual collages that reflect his longstanding interest in endangered Indigenous languages (particularly the nearly extinct chinuk wawa) and the cultural memories embedded within them. Through both his filmmaking and his work with the COUSIN Collective, which supports fellow Native filmmakers, Hopinka has emerged as a vital force in bringing the contemporary Indigenous experience to the screen.

  • Wawa, 2014
  • Kunįkága Remembers Red Banks, Kunįkága Remembers the Welcome Song, 2014
  • Venite et Loquamur, 2015
  • Jáaji Approx., 2015
  • Visions of an Island, 2016
  • I’ll Remember You as You Were, Not as What You’ll Become, 2016
  • Anti-Objects, or Space Without Path or Boundary, 2017
  • Dislocation Blues, 2017
  • Fainting Spells, 2018
  • When you’re lost in the rain, 2018
  • Lore, 2019

Tuesday, November 17

Shorts + Feature: Caribbean Journeys

Dadli and Black Mother

Experience some of the many dimensions of life in the Caribbean in two immersive voyages through its islands. Dadli, the 16 mm debut short from acclaimed cinematographer Shabier Kirchner (Small Axe), is a richly textured, observational portrait of street life in Antigua, the island where he grew up, as seen through the eyes of a young boy. Then, Khalik Allah takes us on a spiritual journey through Jamaica in his mesmerizing Black Mother, exploring both the island’s vibrant culture and tumultuous history through a procession of ecstatically poetic images.

Wednesday, November 18

Directed by Ngozi Onwurah

Featuring a new introduction by the filmmaker

A vital cinematic voice of the Black diaspora, British-Nigerian filmmaker Ngozi Onwurah has forged an eclectic cinematic vocabulary that spans documentary and genre spectacle, formal experimentation and bold political commentary. Her short work includes autobiographical explorations of racial and sexual identity (The Body Beautiful) as well as nonfiction studies of the conflicts between tradition and modernity that shape gender roles in Nigerian society (The Desired Number). And with her dystopian feature debut, Welcome II the Terrordome, Onwurah proved herself to be a visionary ahead of her time, becoming the first Black woman to direct a British feature in the process.

Features

  • Welcome II the Terrordome, 1995

Shorts

  • Coffee Colored Children, 1988
  • The Body Beautiful, 1991
  • And Still I Rise, 1993
  • The Desired Number, 1995

Thursday, November 19

Three by Nadav Lapid

Featuring a new introduction by the filmmaker

The bracing films of Israeli writer-director Nadav Lapid are visceral, highly physical explorations of identity, belonging, and otherness informed by his own complicated relationship with his homeland. In just three features to date—the hard-hitting hostage drama Policeman, the provocative psychological puzzle The Kindergarten Teacher, and the delirious expat tragicomedy Synonyms—Lapid has established himself as one of contemporary cinema’s most arresting voices, a continually surprising artist who finds bold and unexpected ways to grapple with Israel’s fractured national consciousness.

  • Policeman, 2011
  • The Kindergarten Teacher, 2014
  • Synonyms, 2019

Thursday, November 19

King of the Hill: Criterion Collection Edition #698

For his first Hollywood studio production, Steven Soderbergh (whose independent debut, sex, lies, and videotape, had won the Palme d’Or at Cannes a few years earlier) crafted this small jewel of a growing-up story. Set in St. Louis during the Great Depression, King of the Hill follows the daily struggles of a resourceful and imaginative adolescent who, after his younger brother is sent to live with a relative and his tubercular mother to a sanitarium, must survive on his own in a run-down hotel during his salesman father’s long business trips. This evocative period piece, faithfully adapted from the A. E. Hotchner memoir, is among the versatile Soderbergh’s most touching and surprising films. SUPPLEMENTAL FEATURES: Interviews with Soderbergh and author A. E. Hotchner; Against Tyranny, a video essay by Kogonada exploring Soderbergh’s unique approach to narrative; The Underneath, Soderbergh’s follow-up feature to King of the Hill; and more.

Friday, November 20

Double Feature: Domestic Disturbances

Faces and Deathdream

John Cassavetes’s lacerating marital drama Faces is a brutal and compassionate portrait of a couple confronting the wreckage of their relationship. Bob Clark’s unjustly neglected horror gem Deathdream explores the domestic ravages of the Vietnam War through the story of a couple who receive a shock when their son—who has supposedly died fighting overseas—suddenly returns home. What do these seemingly disparate films have in common? In both, powerhouse actors John Marley and Lynn Carlin play the husband and wife in question, bringing searing intensity and pathos to their harrowing portrayals of couples in crisis.

Saturday, November 21

Saturday Matinee: Swallows and Amazons

Arthur Ransome’s classic children’s novel was beautifully adapted for the big screen with this enchanting adventure bursting with wit, wonder, and early-twentieth-century period detail. While on summer holiday with their mother in North West England’s Lake District, four siblings set sail for a nearby island that they soon discover is the territory of two other young girls. As rivalry turns to friendship, the kids—who declare themselves the Swallows and Amazons, respectively—embark on a series of moonlit expeditions, boat voyages, and adult-besting competitions over the course of what proves to be a most unforgettable summer idyll.

Sunday, November 22

Queersighted: Queer Fear

Featuring a new conversation between series programmer Michael Koresky and filmmaker and critic Farihah Zaman

We’re freaking ourselves out in this installment of Queersighted, which features a selection of movies that cast illumination on some of the darker corners of queer cinema. The mission of this ongoing series is to draw out the realities and presence of a non-heteronormative, non-gender-binary cinema that has always existed alongside, parallel to, or underneath the status quo—and there is perhaps no genre that’s better suited to teasing out queer subtext than horror. From Victorian-tinged gothic ghost stories and campy creaky-house movies to gory explorations of forbidden desires and contemporary psychological thrillers, these films—which include movies directed by out filmmakers like James Whale, Clive Barker, and Alain Guiraudie—remind us that queerness has traditionally been seen as the ultimate fear for hetero life, an inchoate threat that cannot be contained. But even when queer figures are cast as villains, their erotic charisma is often the source of these films’ delights—after all, when it comes to horror, it’s the monsters who get top billing.

  • The Old Dark House, James Whale, 1932
  • The Black Cat, Edgar G. Ulmer, 1934
  • The Seventh Victim, Mark Robson, 1943
  • The Uninvited, Lewis Allen, 1944
  • The Picture of Dorian Gray, Albert Lewin, 1945
  • Diabolique, Henri-Georges Clouzot, 1955
  • The Haunting, Robert Wise, 1963
  • Daughters of Darkness, Harry Kümel, 1971
  • Picnic at Hanging Rock, Peter Weir, 1975
  • Hellraiser, Clive Barker, 1987
  • Stranger by the Lake, Alain Guiraudie, 2013
  • Always Shine, Sophia Takal, 2016

Monday, November 23

A Spell to Ward off the Darkness

Less a film in the traditional sense than an incantatory induction into the sublime, this utterly unclassifiable collaboration between boundary-pushing experimentalists Ben Rivers and Ben Russell finds transcendence in the elemental forces of earth, water, and doom metal. Through three episodes, we follow a man (played by musician Robert Aiki Aubrey Lowe) in search of present-day utopia, first as a member of a commune on an Estonian island, then alone in the majestic wilderness of northern Finland, and finally as the singer of a neopagan black-metal band in Norway. Blending documentary, ethnography, and narrative into a 16 mm monument of trance-state cinema, Rivers and Russell tap into something mythic, eternal, and totally overpowering.

Tuesday, November 24

Short + Feature: In Rave Danger

Acid Rain and Victoria

Turn up the bass and turn out the lights for two synthy, stroboscopic journeys through Europe’s underground rave scene that capture both its hedonistic highs and crushing comedowns. First, it’s back to the ’90s in Tomek Popakul’s hallucinogenic animated short Acid Rain, in which a woman’s mind-enhancing odyssey through the Day-Glo wonderland of Poland’s club-drug subculture takes a dark and disturbing turn. Then, Sebastian Schipper plunges the viewer into the heart of Berlin’s shadowy underbelly in the exhilarating thriller Victoria, another tale of a night out gone wrong, dazzlingly shot in a virtuosic single take.

Wednesday, November 25

Werewolf

Featuring a new introduction by director Ashley McKenzie

With both sensitivity and brutal honesty, the revelatory feature debut from Ashley McKenzie immerses the viewer in the hardscrabble lives of two methadone addicts locked in a toxic relationship. Drifting through life on Nova Scotia’s Cape Breton Island, twentysomething junkies Blaise (Andrew Gillis) and Vanessa (Bhreagh MacNeil) survive by sleeping in tents and harassing residents into letting them mow their lawns for money in order to finance their next fix. Shooting in oblique close-ups that heighten the sense of disorientation, McKenzie doggedly and courageously refuses to romanticize her characters’ lives, capturing the futility, toil, and frustration that define their existence with startling immediacy. Werewolf is presented alongside two shorts by McKenzie that further showcase her jagged, uncompromising style and feeling for life on the margins.

Features

  • Werewolf, 2016

Shorts

  • Stray, 2013
  • 4 Quarters, 2015

Thursday, November 26

Short Films by W. C. Fields

The prickly genius of comic curmudgeon W. C. Fields is on display in five classic shorts that showcase his roguish wit and timeless cynicism. Though he made his screen debut in 1915 showing off his slapstick skills in Pool Sharks, the irascible writer-actor had to wait until the sound era of the 1930s for his distinctive drawl and colorful wordplay to find proper appreciation in hilariously antisocial gems like The Barber Shop and the surreal melodramatic satire The Fatal Glass of Beer. Full of antifamily values and brilliantly off-the-cuff one-liners, these shorts are miniature masterpieces of misanthropy from one of the screen’s most sui generis talents.

  • Pool Sharks, Edwin Middleton, 1915
  • The Golf Specialist, Monte Brice, 1930
  • The Barbershop, Arthur Ripley, 1933
  • The Fatal Glass of Beer, Clyde Bruckman, 1933
  • The Pharmacist, Arthur Ripley, 1933

Friday, November 27

Double Feature: Meet the Author

The Arbor and Rita, Sue and Bob Too

One of the most fascinating and innovative documentaries of the last decade, Clio Barnard’s The Arbor deploys a radical formal device—in which actors lip-synch to audio interviews—to tell the story of Andrea Dunbar, the brilliant but troubled British playwright who brought the everyday concerns of working-class Britain to the stage with unvarnished authenticity. It’s presented with the irreverently incisive sex-and-class comedy Rita, Sue and Bob Too, adapted by Dunbar from her own stage play and directed by fellow social realist Alan Clarke—a film that was billed as “Thatcher’s Britain with her knickers down.”

Saturday, November 28

Saturday Matinee: The King and the Mockingbird

French animation master Paul Grimault worked for over thirty years to bring this dizzyingly imaginative adaptation of Hans Christian Andersen’s fairy tale “The Shepherdess and the Chimney Sweep” to the screen. A feast of gorgeous hand-drawn visuals, THE KING AND THE MOCKINGBIRD tells the story of the irreverent, brightly feathered mockingbird who defies a tyrannical king in order to help a young couple escape his clutches. Cited by Studio Ghibli’s Hayao Miyazaki and Isao Takahata as a key influence on their art, this winningly eccentric fable is one of the true treasures of traditional animation.

Sunday, November 29

Directed by Terence Nance

Featuring a new conversation between Nance and critic Greg Tate

Beamed straight from his id to your eyeballs, the kaleidoscopic, mind-enhancing visions of Terence Nance swirl surrealism, Afrofuturism, animation, and confessional documentary into exhilaratingly unclassifiable works of free-form abstraction. In his ecstatically innovative feature An Oversimplification of Her Beauty, experimental sketch show Random Acts of Flyness, and a string of visually enthralling short films and music videos, Nance has established himself as one of America’s most forward-thinking filmmakers, a boundary-breaking creative spirit who has the remarkable ability to shape the raw materials of his subconscious into poetic, political, and philosophical expressions of the cosmic sublime.

Features

  • An Oversimplification of Her Beauty, 2012

Shorts

  • No Ward, 2009
  • Native Sun, 2011
  • Their Fall Our All, 2014
  • Swimming in Your Skin Again, 2015
  • You and I and You, 2015
  • Univitellin, 2016
  • Jimi Could Have Fallen From the Sky, 2017

Monday, November 30

Films by Rithy Panh

The sole member of his family to survive the Cambodian genocide, documentarian Rithy Panh has devoted himself to exorcising the traumas of his country’s past through the cathartic power of cinema. These profoundly moving works—the Academy Award–nominated The Missing Picture, which recreates the lost images of the genocide through clay figurines, and Exile, a poetic rumination on the horrors his family experienced at the hands of the Khmer Rouge—are harrowing and haunting records of human atrocity and unbelievable resilience.

  • The Missing Picture, 2013
  • Exile, 2016

Complete list of films premiering on the Criterion Channel this month:

  • 35 Shots of Rum, Claire Denis, 2008
  • 4 Quarters, Ashley McKenzie, 2015
  • Accident, Joseph Losey, 1967
  • Acid Rain, Tomek Popakul, 2019
  • Always Shine, Sophia Takal, 2016
  • And Still I Rise, Ngozi Onwurah, 1993
  • Anti-Objects, or Space Without Path or Boundary, Sky Hopinka, 2017
  • The Arbor, Clio Barnard, 2010 *
  • The Bad Seed, Mervyn LeRoy, 1956
  • The Barbershop, Arthur Ripley, 1933
  • Beau travail, Claire Denis, 1999
  • The Big Country, William Wyler, 1958
  • The Black Cat, Edgar G. Ulmer, 1934
  • Blind Alley, Charles Vidor, 1939
  • The Body Beautiful, Ngozi Onwurah, 1991
  • The Broken Butterfly, Maurice Tourneur, 1919
  • Butley, Harold Pinter, 1974
  • The Canterville Ghost, Jules Dassin, 1944
  • The Chase, Arthur Ripley, 1946
  • Chocolat, Claire Denis, 1988
  • The Cobweb, Vincente Minnelli, 1955
  • Coffee Colored Children, Ngozi Onwurah, 1988
  • The Connection, Shirley Clarke, 1961
  • Dadli, Shabier Kirchner, 2018
  • Dark Days, Marc Singer, 2000
  • The Dark Past, Rudolph Maté, 1948
  • David and Lisa, Frank Perry, 1962
  • The Desired Number, Ngozi Onwurah, 1995
  • The Devil-Doll, Tod Browning, 1936
  • Dislocation Blues, Sky Hopinka, 2017
  • A Dream is What You Wake Up From, Larry Bullard and Carolyn Johnson, 1978
  • Dressed to Kill, Brian De Palma, 1980
  • The Elephant Man, David Lynch, 1980
  • The Eloquent Peasant, Shadi Abdel Salam, 1970
  • Exile, Rithy Panh, 2016**
  • Fainting Spells, Sky Hopinka, 2018
  • The Fatal Glass of Beer, Clyde Bruckman, 1933
  • Flores, Jorge Jácome, 2017
  • The French Lieutenant’s Woman, Karel Reisz, 1981
  • The Go-Between, Joseph Losey, 1971
  • The Golf Specialist, Monte Brice, 1930
  • Gregory’s Girl, Bill Forsyth, 1980
  • Guest of Honour, Atom Egoyan, 2019
  • The Haunting, Robert Wise, 1963
  • Hellraiser, Directed by Clive Barker, 1987
  • The Homecoming, Peter Hall, 1973
  • Housekeeping, Directed by Bill Forsyth, 1987
  • I’ll Remember You as You Were, Not as What You’ll Become, Sky Hopinka, 2016
  • It Happened One Night, Frank Capra, 1934
  • Jáaji Approx., Sky Hopinka, 2015
  • Jimi Could Have Fallen from the Sky, Terence Nance, 2017
  • The Kindergarten Teacher, Nadav Lapid, 2014
  • The King and the Mockingbird, Paul Grimault, 1980
  • King of the Hill, Steven Soderbergh, 1993
  • Kunįkága Remembers Red Banks, Kunįkága Remembers the Welcome Song, Sky Hopinka, 2014
  • Local Hero, Bill Forsyth, 1983
  • Lore, Sky Hopinka, 2019
  • Lovers and Lollipops, Morris Engel and Ruth Orkin, 1956
  • Mad Love, Karl Freund, 1935 *
  • Make Way for Tomorrow, Leo McCarey, 1993
  • The Mark, Guy Green, 1961
  • The Masque of the Red Death, Roger Corman, 1964
  • The Mattei Affair, Francesco Rosi, 1972
  • The Missing Picture, Rithy Panh, 2013 *
  • Moulin Rouge, John Huston, 1952
  • Native Sun, Terence Nance, 2011
  • Nenette and Boni, Claire Denis, 1996
  • The Night of Counting the Years, Shadi Abdel Salam, 1969
  • The Ninth Configuration, William Peter Blatty, 1980
  • No Fear, No Die, Claire Denis, 1990
  • No Ward, Terence Nance, 2009
  • Old Boyfriends, Joan Tewkesbury, 1979
  • The Old Dark House, James Whale, 1932
  • Once Upon a Time in the West, Sergio Leone, 1968
  • Ordinary People, Robert Redford, 1980
  • An Oversimplification of Her Beauty, Terence Nance, 2012
  • The Pharmacist, Arthur Ripley, 1933
  • The Picture of Dorian Gray, Albert Lewin, 1945
  • Policeman, Nadav Lapid, 2011
  • Pool Sharks, Edwin Middleton, 1915
  • The President’s Analyst, Ted Flicker, 1967
  • Pressure Point, Hubert Cornfield, 1962
  • The Pumpkin Eater, Jack Clayton, 1964
  • Rita, Sue and Bob Too, Alan Clarke, 1987
  • The Servant, Joseph Losey, 1963
  • The Seventh Victim, Mark Robson, 1943
  • A Spell to Ward Off the Darkness, Ben Rivers and Ben Russell, 2013
  • Stand Up, Joseph Pierce, 2008
  • Stranger by the Lake, Alain Guiraudie, 2013 *
  • Stray, Ashley McKenzie, 2013
  • Sunset Song, Terence Davies, 2015
  • Swallows and Amazons, Arthur Ransome, 1974
  • Swimming in Your Skin Again, Terence Nance, 2014
  • The Tenant, Roman Polanski, 1976
  • Their Fall Our All, Terence Nance, 2014
  • Towards Mathilde, Claire Denis, 2005 *
  • The Uninvited, Lewis Allen, 1944
  • Univitellin, Terence Nance, 2016
  • Venite et Loquamur, Sky Hopinka, 2015
  • Victoria, Sebastian Schipper, 2015
  • Village of the Damned, Wolf Rilla, 1960
  • Visions of an Island, Sky Hopinka, 2016
  • Wawa, Sky Hopinka, 2014
  • Welcome II the Terrordome, Ngozi Onwurah, 1995
  • Werewolf, Ashley McKenzie, 2016
  • When you’re lost in the rain, Sky Hopinka, 2019
  • Xiao Wu, Jia Zhangke, 1997
  • You and I and You, Terence Nance, 2015

    *Available in the US only

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October 2020 Programming on the Criterion Channel Announced https://criterioncast.com/news/october-2020-programming-on-the-criterion-channel-announced Fri, 25 Sep 2020 00:12:07 +0000 https://criterioncast.com/?p=64409 Each month, the programmers at the Criterion Channel produce incredible line-ups for their subscribers. For October, the Channel will feature films from Marlon Riggs, Pedro Costa, Barbara Kopple, Jenni Olson, and more!

Below you’ll find the programming schedule for the month, along with a complete list of titles that Criterion has in store for us. Don’t forget to check the Criterion Channel’s main page regularly though, as they occasionally will drop surprises that aren’t included in the official press release.

Don’t subscribe yet? Start a 14-day free trial

Thursday, October 1

Vitalina Varela

Exclusive streaming premiere

A work of deeply concentrated beauty, the latest film from Portuguese master Pedro Costa stars nonprofessional actor Vitalina Varela in an extraordinary performance based on her own life. She plays a Cape Verdean woman who, after two decades of separation, travels to Lisbon to reunite with her husband—only to arrive mere days after his funeral. Alone in a strange, forbidding land, Vitalina perseveres and begins to establish a new life. Winner of the Golden Leopard for best film and best actress at the Locarno Film Festival, Vitalina Varela is a tour de force of shadow and whisper, a ravishing visual experience and a profoundly moving tale of human endurance.

Thursday, October 1

Directed by Pedro Costa

Portuguese cinematic poet Pedro Costa makes uncompromising, seemingly daunting works that, on the surface, appear rigorously spare. Look closer, however, and they reveal untold depths of human feeling and some of the most sublime images in contemporary cinema. Frequently working with nonprofessional actors—which lends his films a documentary-like realism—Costa turns his unflinching camera on some of Lisbon’s poorest and most disenfranchised communities in endlessly rich revelations like Ossos, In Vanda’s Room, and Colossal Youth, each set in the city’s impoverished Fontainhas quarter. Though Costa has made only a handful of films since the late 1980s, each is a rare treasure that manages to find truth and beauty in the bleakest of circumstances.

  • Casa de lava, 1994
  • Ossos, 1997
  • In Vanda’s Room, 2000
  • Colossal Youth, 2006
  • Vitalina Varela, 2019

Friday, October 2

Double Feature: Prying Eyes

Peeping Tom and Odd Obsession

Two taboo-busting tales of voyeuristic obsession explore the dangers of watching and being watched. First up, the film that all but ended British cinema titan Michael Powell’s career: the explosively controversial Peeping Tom, which stands as the most provocative and disturbing film ever made about the relationship between cinema, voyeurism, and violence. Then comes Kon Ichikawa’s black-comic thriller about an impotent family man who manipulates his younger wife into an affair in order to arouse his own jealousy, in a perverse game of scopophilia that’s all the more engrossing for the cool detachment with which Ichikawa films it.

Saturday, October 3

Saturday Matinee: The Yearling

Life abounds in the 1870s Florida scrubland that’s home to young Jody Baxter (Claude Jarman Jr., recipient of a special “juvenile” Academy Award). There are bears to hunt, cash crops to plant, evenings of storytelling with Pa (Gregory Peck) and Ma (Jane Wyman). And there are timeless lessons of love and letting go that Jody learns from Flag, the orphaned pet fawn that follows him around with devotion. Filmed on location in stunning Technicolor, this classic adaptation of Marjorie Kinnan Rawlings’s Pulitzer Prize–winning novel beautifully captures both the wonders of the natural world and the bittersweet realities of the human one.

Sunday, October 4

’70s Horror

In the 1970s, everything was wilder, weirder, and more far-out—and horror movies were no exception. In North America, a new generation of maverick directors like Tobe Hooper (The Texas Chain Saw Massacre), George A. Romero (The Crazies), Wes Craven (The Hills Have Eyes), Brian De Palma (Sisters), and David Cronenberg (The Brood) responded to the decade’s heightened political anxieties and Vietnam War–era sense of disillusionment by pushing the genre’s psychological intensity and visceral violence to shocking new heights. Across the Atlantic, Britain’s legendary Hammer Films continued to serve up old-school gothic spine-tinglers (The Vampire Lovers), while auteurs like Nicolas Roeg (Don’t Look Now) wedded spellbinding terror to art-house experimentation. Bringing together some of the decade’s most iconic slashers, chillers, and killer thrillers alongside low-budget cult rarities (Let’s Scare Jessica to Death, Deathdream) and camp-tastic oddities (Trog, Theater of Blood), this tour through the 1970s nightmare realm is a veritable blood feast of perverse pleasures from a time when gore, grime, and sleaze found a permanent home in horror.

  • Trog, Freddie Francis, 1970
  • The Vampire Lovers, Roy Ward Baker, 1970
  • Daughters of Darkness, Harry Kümel, 1971
  • Let’s Scare Jessica to Death, John D. Hancock, 1971
  • The Nightcomers, Michael Winner, 1971
  • Dracula A.D. 1972, Alan Gibson, 1972
  • Images, Robert Altman, 1972
  • Death Line, Gary Sherman, 1972
  • Season of the Witch, George A. Romero, 1972
  • The Crazies, George A. Romero, 1973
  • Don’t Look Now, Nicolas Roeg, 1973
  • Ganja & Hess, Bill Gunn, 1973
  • Sisters, Brian De Palma, 1973
  • Theater of Blood, Douglas Hickox, 1973
  • The Wicker Man, Robin Hardy, 1973
  • Black Christmas, Bob Clark, 1974
  • Deathdream, Bob Clark, 1974
  • It’s Alive, Larry Cohen, 1974
  • The Texas Chain Saw Massacre, Tobe Hooper, 1974
  • Shivers, David Cronenberg, 1975
  • The Tenant, Roman Polanski, 1976*
  • The Witch Who Came from the Sea, Matt Cimber, 1976
  • The Hills Have Eyes, Wes Craven, 1977
  • Rabid, David Cronenberg, 1977
  • Coma, Michael Crichton, 1978
  • Invasion of the Body Snatchers, Philip Kaufman, 1978
  • Long Weekend, Colin Eggleston, 1978
  • The Brood, David Cronenberg, 1979
  • The Driller Killer, Abel Ferrara, 1979

*Available November 1

Monday, October 5

Directed by Barbara Kopple

Few figures have shaped the form of modern documentary storytelling more than Barbara Kopple, who, with her Academy Award–winning landmark Harlan County USA, fused the techniques of cinema verité with the radical spirit of 1970s political activism to create an electrifying account of a grueling, extended miners’ strike in southeastern Kentucky. Fifteen years later she won a second Oscar for American Dream, another bracing look at issues of union organizing and class struggle that, along with its predecessor, stands as one of the greatest and most trenchant films ever made about labor in the United States.

  • Harlan County USA, 1976
  • American Dream, 1990

Tuesday, October 6

Short + Feature: Chaos Reindeers

Deer Boy and Antichrist

These darkly atmospheric fairy tales stray into the forest to explore some of the primal anxieties of parents and children. Polish filmmaker Katarzyna Gondek’s hauntingly atmospheric Deer Boy tells the tale of a boy born with antlers, a misfortune that causes his mother and father feelings of shame, and the child to question his true nature—especially when he grows old enough to learn the family trade: deer hunting. Then, Danish provocateur Lars von Trier’s controversial psychodrama Antichrist trails a therapist (Willem Dafoe) and his wife (Charlotte Gainsbourg) into the woods, where they retreat after the accidental death of their infant son. But no respite is to be found, as they encounter all manner of gruesome terrors courtesy of Mother Nature—and, eventually, each other.

Wednesday, October 7

We Need to Talk About Kevin

Having established herself as one of contemporary cinema’s most electrifying voices with the critical triumphs of Ratcatcher and Morvern Callar, British auteur Lynne Ramsay continued her exploration of youth in turmoil with this gripping psychological thriller. Based on the acclaimed novel by Lionel Shriver, We Need to Talk About Kevin features a tour-de- force performance from Tilda Swinton as Eva, a mother pushed to the breaking point as she contends with the increasing malevolence of her seemingly sociopathic son Kevin (Ezra Miller). Ramsay’s masterful storytelling maintains a provocative moral ambiguity as it takes the age-old debate about nature vs. nurture to its chilling extreme.

Thursday, October 8

Watching the Polls

Is it November yet? Let the countdown to election night 2020 begin with a full ballot of films showcasing the drama, dysfunction, and high-stakes tension of the American political process. From groundbreaking looks at pivotal presidential runs like the cinema verité landmark Primary (Kennedy ’60) and the eye-opening behind-the-scenes procedural The War Room (Clinton ’92) to Hal Ashby’s bitingly cynical sixties elegy Shampoo (Nixon ’68) and Robert Downey Jr.’s gonzo campaign-trail odyssey The Last Party (Clinton/Bush ’92), this wining ticket of campaign classics is an all-American ode to the once-every-four-years, can’t-look-away spectacle that is our political theater of the absurd.

  • Primary, Robert Drew, 1960
  • The Best Man, Franklin J. Schaffner, 1964
  • Shampoo, Hal Ashby, 1975
  • The Last Party, Mark Benjamin and Marc Levin, 1993
  • The War Room, Chris Hegedus and D. A. Pennebaker, 1993
  • Election, Alexander Payne, 1999

Thursday, October 8

Videodrome: Criterion Collection Edition #248

When Max Renn goes looking for edgy new shows for his sleazy cable TV station, he stumbles across the pirate broadcast of a hyperviolent torture show called Videodrome. As he struggles to unearth the origins of the program, he embarks on a hallucinatory journey into a shadow world of right-wing conspiracies, sadomasochistic sex games, and bodily transformation. Starring James Woods and Deborah Harry in one of her first film roles, Videodrome is one of writer/director David Cronenberg’s most original and provocative works, fusing social commentary with shocking elements of sex and violence. With groundbreaking special effects makeup by Academy Award winner Rick Baker, Videodrome has come to be regarded as one of the most influential and mind-bending science fiction films of the 1980s. SUPPLEMENTAL FEATURES: Two audio commentaries, one by David Cronenberg and cinematographer Mark Irwin, the other by actors James Woods and Deborah Harry; Camera, a short film starring Videodrome’s Les Carlson, written and directed by Cronenberg; Forging the New Flesh, a documentary featurette about the creation of Videodrome’s video and prosthetic-makeup effects; and more.

Friday, October 9

Cat People: Criterion Collection Edition #833

The first of the horror films producer Val Lewton made for RKO Pictures redefined the genre by leaving its most frightening terrors to its audience’s imagination. Simone Simon stars as a Serbian émigré in Manhattan who believes that, because of an ancient curse, any physical intimacy with the man she loves (Kent Smith) will turn her into a feline predator. Lewton, a consummate producer-auteur who oversaw every aspect of his projects, found an ideal director in Jacques Tourneur, a chiaroscuro stylist adept at keeping viewers off-kilter with startling compositions and psychological innuendo. Together, they eschewed the canned effects of earlier monster movies in favor of shocking with subtle shadows and creative audio cues. One of the studio’s most successful movies of the 1940s, Cat People raised the creature feature to new heights of sophistication and mystery. SUPPLEMENTAL FEATURES: Audio commentary featuring film historian Gregory Mank, with excerpts from an audio interview with actor Simone Simon; Val Lewton: The Man in the Shadows, a feature-length documentary about the life and career of the legendary Hollywood producer; an archival interview with director Jacques Tourneur; and more.

Friday, October 9

Double Feature: Slime Time

The Blob and Beware! The Blob

In 1958, one of the most unforgettable movie monsters in cinema history oozed its way onto the screen and straight into drive-in immortality in the form of The Blob, a B-movie cult classic of gooey greatness starring Steve McQueen in one of his earliest roles. Fourteen years later, Larry Hagman (in his sole feature directorial effort) revived the gelatinous terror in Beware! The Blob, an appropriately tongue-in-cheek sequel with all the slimy outrageousness of the original plus a touch of irresistibly goofball camp humor.

Saturday, October 10

Saturday Matinee: The 7th Voyage of Sinbad

The eye-popping special effects of stop-motion-animation wizard Ray Harryhausen dazzle and delight in this spectacular adventure fantasy. After a conniving sorcerer shrinks his fiancée (Kathryn Grant) to the size of a thumb, the heroic Sinbad (Kerwin Mathews) must travel to the mythical island of Colossa—where a towering cyclops, a sword-swinging skeleton, and the enormous two-headed bird known as the Roc dwell—to find the secret that will return his beloved to her real size. Shot in glorious widescreen Technicolor and featuring a stirring score by the great Bernard Herrmann, The 7th Voyage of Sinbad is the magical stuff of childhood nostalgia for older generations and a captivating discovery for young movie lovers.

Sunday, October 11

Starring Joan Crawford

Like the ambitious, upwardly mobile working women she became famous for portraying, Joan Crawford forged one of the longest-lasting and brightest-burning careers of Hollywood’s golden age through her fierce determination, dedication to her craft, and remarkable ability to continually reinvent herself. Rising through the ranks of MGM, she went from Jazz Age flapper ingenue (Our Dancing Daughters) to emblem of Depression-era tenacity (Dancing Lady, Sadie McKee) to A-list diva (The Women) to, by the early 1940s, so-called “box-office poison.” The first of multiple career comebacks ensued with her ferocious, Academy Award–winning turn in the stone-cold noir classic Mildred Pierce, leading to a second life as a melodrama queen in films like Humoresque, Possessed, and Autumn Leaves. And when it once again seemed like her career might fade away, the indomitable Crawford transformed herself into a 1960s horror grande dame in the gothic camp classic What Ever Happened to Baby Jane? A commanding screen presence whose steely veneer and concentrated intensity could give way to tender vulnerability, Crawford endures as one of the most complex and endlessly fascinating icons of the studio era—a star in every sense of the word whose larger-than-life legend has only grown with time.

  • The Unknown, Tod Browning, 1927
  • Our Dancing Daughters, Harry Beaumont, 1928
  • Our Modern Maidens, Jack Conway, 1929
  • Possessed, Clarence Brown, 1931
  • Grand Hotel, Edmund Goulding, 1932
  • Dancing Lady, Robert Z. Leonard, 1933
  • Sadie McKee, Clarence Brown, 1934
  • Love on the Run, W. S. Van Dyke, 1936
  • The Last of Mrs. Cheyney, Richard Boleslawski, Dorothy Arzner, and George Fitzmaurice, 1937
  • Mannequin, Frank Borzage, 1937
  • The Women, George Cukor, 1939
  • Strange Cargo, Frank Borzage, 1940
  • A Woman’s Face, George Cukor, 1941
  • Above Suspicion, Richard Thorpe, 1943
  • Mildred Pierce, Michael Curtiz, 1945
  • Humoresque, Jean Negulesco, 1946
  • Possessed, Curtis Bernhardt, 1947
  • The Damned Don’t Cry, Vincent Sherman, 1950
  • Harriet Craig, Vincent Sherman, 1950
  • Sudden Fear, David Miller, 1952
  • Queen Bee, Ranald MacDougall, 1955
  • Autumn Leaves, Robert Aldrich, 1956
  • What Ever Happened to Baby Jane?, Robert Aldrich, 1962
  • Strait-Jacket, William Castle, 1964
  • Trog, Freddie Francis, 1970

Monday, October 12

Town Bloody Hall: Criterion Collection Edition #1039

On April 30, 1971, a standing-room-only crowd of New York’s intellectual elite packed the city’s Town Hall theater to see Norman Mailer—fresh from the controversy over his essay “The Prisoner of Sex” and the backlash it received from leaders of the women’s movement—tangle with a panel of four prominent female thinkers and activists: Jacqueline Ceballos, Germaine Greer, Jill Johnston, and Diana Trilling. Part intellectual death match, part three-ring circus, the proceedings were captured with crackling, fly-on-the-wall immediacy by the documentary great D. A. Pennebaker and a small crew, with Chris Hegedus later condensing the three-and-a-half-hour affair into this briskly entertaining snapshot of a singular cultural moment. Heady, heated, and hilarious, Town Bloody Hall is a dazzling display of feminist firepower courtesy of some of the most influential figures of the era, with Mailer plainly relishing his role as the pugnacious rabble-rouser and literary lion at the center of it all. SUPPLEMENTAL FEATURES: A new interview with Chris Hegedus; audio commentary featuring Hegedus and author Germaine Greer; footage from a 2004 celebration of the film, which brought the filmmakers together with participants Greer, Jacqueline Ceballos, and Jill Johnston; and more.

Tuesday, October 13

Short + Feature: Someone’s Watching

Influenza and Caché

Ever get the feeling you’re being watched? Told entirely through footage captured by security cameras, Bong Joon Ho’s innovative short Influenza documents a man’s descent into increasingly horrific violence with the characteristic twists, tension, and stylistic audaciousness that we’ve come to expect from the Parasite director. The unblinking, all-seeing gaze of the CCTV camera is used to similarly provocative effect in Michael Haneke’s Caché, a masterful exploration of privilege and guilt in which an upper-middle-class French couple find themselves plunged into a paranoid nightmare when they begin receiving a series of anonymous surveillance tapes.

Wednesday, October 14

Films by Jenni Olson

Featuring a new introduction by Olson

The personal and the political meet in the ruminative essay films of queer cinema memoirist Jenni Olson. Interweaving reflections on landscapes (particularly those of her longtime home city of San Francisco), lesbian identity, sexuality, and cinema, Olson’s searching, slyly self-deprecating film diaries take the viewer down a dizzying array of intellectual rabbit holes; they’re as likely to spin off into a history of the Golden Gate Bridge as a suicide hotspot (as in The Joy of Life) as they are into an account of a one-night stand with a straight woman (as in Blue Diary). Drawing on her deep knowledge of film history, Olson suffuses her works with allusions to classic Hollywood cinema (notably Alfred Hitchcock’s Vertigo in her latest feature, The Royal Road), bringing dream-factory fantasy into intimate dialogue with the contemporary queer experience.

Features

  • The Joy of Life, 2005
  • The Royal Road, 2015

Shorts

  • Blue Diary, 1998
  • 575 Castro St., 2009
  • In nomine Patris, 2019

Thursday, October 15

Trouble in Paradise: Criterion Collection Edition #170

When thief Gaston Monescu (Herbert Marshall) meets his true love in pickpocket Lily (Miriam Hopkins), they embark on a scam to rob lovely perfume-company executive Mariette Colet (Kay Francis). But when Gaston becomes romantically entangled with Mme. Colet, their larcenous ruse is jeopardized and Gaston is forced to choose between two beautiful women. Legendary director Ernst Lubitsch’s masterful touch is in full flower in Trouble in Paradise, a pinnacle of the sophisticated romantic comedy, loaded with sparkling dialogue, witty innuendo, and elegant comic invention. SUPPLEMENTAL FEATURES: Audio commentary by Lubitsch biographer Scott Eyman; an introduction by director Peter Bogdanovich; Lubitsch’s 1917 short film Das fidele Gefängnis (The Merry Jail); and more.

Friday, October 16

Double Feature: Twisted Sister

What Ever Happened to Baby Jane? and Sisters

Sibling bonds turn sour in this diabolical double bill. Robert Aldrich’s What Ever Happened to Baby Jane? is a dark and devilishly comedic showcase for two of Hollywood’s most notorious enemies, Joan Crawford and Bette Davis, who play a sadistic, washed-up actor and her embittered, wheelchair-bound sister. Then, Brian De Palma’s first foray into horror voyeurism, Sisters follows the twisted relationship that forms between a fashion model, her former conjoined twin, and a hotshot reporter who suspects the latter of murder. Taking its cues from Hitchcock, De Palma’s scary and stylish paean to female destructiveness features a spine-tingling score from the great Bernard Herrmann.

Saturday, October 17

Saturday Matinee: Buck Privates

Comedy legends Bud Abbott and Lou Costello turn the military inside out in this World War II farce about a couple of con men who accidentally enlist in the army to avoid being arrested—only to discover that their drill instructor is the police officer they taunted on the streets of New York. The film that catapulted Abbott and Costello to stardom and made them one of the biggest box-office draws of the 1940s, this infectiously madcap musical comedy features performances by the Andrews Sisters, introducing their smash hit “Boogie Woogie Bugle Boy.”

Sunday, October 18

Race, Sex & Cinema: The World of Marlon Riggs

Featuring a new conversation between guest programmer Ashley Clark and filmmakers Vivian Kleiman and Shikeith

Filmmaker, gay-rights activist, poet, professor, provocateur: the late, great Black artist Marlon Riggs (1957–94) spoke truth to power through his work in bracingly eloquent fashion. Working at the height of the AIDS crisis and the conservative culture wars of the 1980s and early ’90s, Riggs—who was diagnosed with HIV in 1988—defied a culture of silence and shame to create formally innovative, often joyously expressive works about race, sexuality, identity, and representation that collapsed the divide between personal essay and documentary. Curated by guest programmer Ashley Clark, and based on the series of the same name that took place at Brooklyn Academy of Music in February 2019, Race, Sex & Cinema: The World of Marlon Riggs is a comprehensive retrospective of an essential artist whose work, more than twenty-five years after his death, remains every inch as resonant.

Features

  • Ethnic Notions, Marlon Riggs, 1986
  • Tongues Untied, Marlon Riggs, 1989
  • Color Adjustment, Marlon Riggs, 1992
  • Black Is … Black Ain’t, Marlon Riggs, 1994
  • I Shall Not Be Removed: The Life of Marlon Riggs, Karen Everett, 1996

Shorts

  • Long Train Running: A History of the Oakland Blues, Marlon Riggs & Peter Webster, 1981
  • Affirmations, Marlon Riggs, 1990
  • Anthem, Marlon Riggs, 1991
  • Non, je ne regrette rien (No Regret), Marlon Riggs, 1993

Sunday, October 18

Inspired by Marlon Riggs

In 1994, Marlon Riggs died from AIDS at the tragically young age of thirty-seven. Riggs’s untimely passing robbed the world of an artist of uncommon vision and empathy, but not of his work’s ability to galvanize and inspire future generations. This program comprises a selection of stylistically and thematically diverse short films by contemporary Black and queer artists who have taken cues from Riggs to create works of empathy, playfulness, and intellectual rigor. From soul-searching dance to sensual drama, erotic expression to self-acceptance, these films are infused with Riggs’s generous spirit.

  • Walk for Me, Elegance Bratton, 2016
  • 100 Boyfriends Mixtape, Brontez Purnell, 2016
  • A Drop of Sun Under the Earth, Shikeith, 2017
  • The Labyrinth 1.0, Tiona Nekkia McClodden, 2017
  • A Guide to Breathing Underwater, Raven Jackson, 2018

Monday, October 19

Burroughs: The Movie: Criterion Collection Edition #789

Made up of intimate, revelatory footage of the singular author and poet filmed over the course of five years, Howard Brookner’s 1983 documentary about William S. Burroughs was for decades mainly the stuff of legend; that changed when Aaron Brookner, the late director’s nephew, discovered a print of it in 2011 and spearheaded a restoration. Now viewers can enjoy the invigorating candidness of Burroughs: The Movie, a one-of-a-kind nonfiction portrait that was brought to life with the help of a remarkable crew of friends, including Jim Jarmusch and Tom DiCillo, and that features on-screen appearances by fellow artists of Burroughs’s including Allen Ginsberg, Herbert Huncke, Patti Smith, and Terry Southern. SUPPLEMENTAL FEATURES: Audio commentary by filmmaker Jim Jarmusch, who was a sound recordist on the film; audio interview with director Howard Brookner from 1985, conducted by William S. Burroughs biographer Ted Morgan; rare outtakes; and more.

Tuesday, October 20

Short + Feature: Let’s Talk About Sex

Dirty and Weekend

Two nuanced, emotionally raw queer romances get real about the intricacies of love, sex, and relationships. In Matthew Puccini’s sensitively observed, award-winning short Dirty, a young couple’s relationship is put to the test as they navigate intimacy together for the first time. Its tender yet unflinching approach to matters of sex and sexuality is mirrored in Andrew Haigh’s acclaimed breakout feature Weekend, which traces a one-night stand turned budding relationship between two men with a sensitivity and frankness rarely seen on-screen.

Wednesday, October 21

Women Filmmakers of New World Pictures

In the history of American independent cinema, few studios have assumed the legendary cult status of New World Pictures, the production company cofounded by pop-cinema wizard Roger Corman in 1970. Specializing in grindhouse sleaze staples like biker and women-in-prison films, the studio was a training ground for many up-and-coming New Hollywood mavericks, including a handful of trailblazing women who infused the company’s exploitation formula with a startling antipatriarchal punch. Films like Stephanie Rothman’s feminist social-issue drama The Student Nurses, Amy Holden Jones’s slasher-with-brains Slumber Party Massacre, and Penelope Spheeris’s punk rebel yell Suburbia stand out as fascinating examples of how the transgressive pleasures of exploitation cinema can be wedded to a subversive approach to gender and genre.

  • The Student Nurses, Stephanie Rothman, 1970
  • The Velvet Vampire, Stephanie Rothman, 1971
  • Humanoids from the Deep, Barbara Peeters and Jimmy T. Murakami, 1980
  • Slumber Party Massacre, Amy Holden Jones, 1982
  • Suburbia, Penelope Spheeris, 1983

Thursday, October 22

Directed by João Pedro Rodrigues

Featuring Where Are You, João Pedro Rodrigues?, a short self-portrait by the director from 2016

Sexy, cerebral, and transgressive, the films of Portuguese auteur João Pedro Rodrigues are fearless explorations of queer identity, alienation, and desire that reach for—and frequently attain—the transcendent. Fascinated by the tension between the carnal and the spiritual, Rodrigues has explored the extreme limits of both in daring tales of physical and psychic transfiguration like his startling debut, the grimy erotic shocker O Fantasma, and most recent feature, the iconoclastic modern-day religious odyssey The Ornithologist. Teeming with some of the most striking and extravagant images in contemporary cinema, Rodrigues’s films are unforgettable feasts for the eyes as well as the intellect.

  • O Fantasma, 2000
  • Two Drifters, 2005
  • To Die Like a Man, 2009
  • The Ornithologist, 2016

Friday, October 23

Double Feature: Woman on the Edge

Christine and Kate Plays Christine

In 1974, Florida newscaster Christine Chubbuck shocked the nation by committing suicide on live television—a tragedy that, in its entwining of violence and media spectacle, inspired not one, but two 2016 films to grapple with its legacy. Built around a riveting performance from Rebecca Hall, Antonio Campos’s Christine takes a relatively straightforward narrative approach to its subject, powerfully and empathetically recreating the events that led to Chubbuck’s fateful decision. In contrast, Robert Greene’s Kate Plays Christine adopts the form of a radically experimental documentary, toying provocatively with ideas of performance and reality as it follows the actress Kate Lyn Sheil as she prepares to play the role of Chubbuck in a fictitious narrative film about her life.

Saturday, October 24

Saturday Matinee: Kirikou and the Sorceress

West African folktales provide the basis for this wondrously imaginative adventure, brought to colorful life through exquisite hand-drawn animation. Brave newborn Kirikou is not like other babies. He comes out of the womb walking, talking, and ready for action as he sets out on a quest to save his village from an evil sorceress. The gorgeous visuals and vibrant music of Senegalese legend Youssou N’Dour come together in a captivating fable overflowing with timeless morals, wisdom, and life lessons.

Sunday, October 25

New Korean Cinema

Featuring a new introduction by critic Grady Hendrix and a conversation between directors Bong Joon Ho and Park Chan-wook

As Korean pop culture continues its worldwide ascent, now is a perfect time to catch up with the wild, genre-defying pleasures of the seemingly unstoppable movement known as the New Korean Cinema. Bringing together essential works by major directors like Bong Joon Ho (The Host, Mother), Park Chan-wook (Sympathy for Mr. Vengeance), Kim Jee-woon (A Tale of Two Sisters), and Ryoo Seung-wan (Crying Fist) this sampler of modern classics and cult favorites spotlights the innovative artists who have powered the commercial and creative renaissance that completely transformed South Korea’s film industry from the mid 1990s through the late 2000s. Characterized by an ingenious mixing and subversion of genre conventions and an effortless blending of art-house and commercial sensibilities, these visceral, audaciously constructed films deliver both high-octane thrills and biting social and political critiques of contemporary Korean life.

Guest programmed by Goran Topalovic, cofounder of Subway Cinema and the New York Asian Film Festival

  • Nowhere to Hide, Lee Myung-se, 1999
  • Barking Dogs Never Bite, Bong Joon Ho, 2000
  • The Foul King, Kim Jee-woon, 2000
  • Sympathy for Mr. Vengeance, Park Chan-wook, 2002
  • A Tale of Two Sisters, Kim Jee-woon, 2003
  • Crying Fist, Ryoo Seung-wan, 2005
  • Lady Vengeance, Park Chan-wook, 2005
  • The Host, Bong Joon Ho, 2006
  • Mother, Bong Joon Ho, 2009

… and more titles to be announced!

Monday, October 26

Dear Zachary: A Letter to a Son About His Father

This gut-wrenching documentary tells the story of a devastating family tragedy in the form of a heartfelt home movie. On November 5, 2001, Dr. Andrew Bagby was murdered in a parking lot in western Pennsylvania; the prime suspect, his ex-girlfriend Dr. Shirley Turner, promptly fled the United States for Canada, where she announced that she was pregnant with Andrew’s child. She named the little boy Zachary. When filmmaker Kurt Kuenne, Andrew’s oldest friend, begins making a film for little Zachary as a way for him to get to know the father he’d never meet, it’s the beginning of a wrenching, endlessly twisting odyssey that leads where no one could have foreseen.

Tuesday, October 27

Short + Feature: Booze and Blood

It’s Not Just You, Murray! and The Public Enemy

The colorful exploits of bootlegging gangsters are recounted with plenty of stylistic flash and punch by two titans of American cinema. Made while he was studying at New York University, Martin Scorsese’s early short It’s Not Just You, Murray! is an exuberantly inventive, subversively funny gangster spoof in which a middle-aged mobster looks back on the highs and lows of his life in organized crime—complete with a Busby Berkeley musical homage. It’s a tongue-in-cheek descendant of the granddaddy of all gangster movies, William A. Wellman’s gritty pre-Code classic The Public Enemy, starring an electrifying James Cagney in his breakout role as a bootlegger who rises to the precarious top of the criminal underworld.

Tuesday, October 27

Observations on Film Art No. 38: The Voice in Ousmane Sembène’s Black Girl

In his watershed feature debut Black Girl, master director Ousmane Sembène offers a searing critique of colonialism’s legacy via the story of Diouana, a young Senegalese woman whose new life in France working for a white family gradually reveals itself to be a trap. In this edition of Observations on Film Art, Professor Jeff Smith deconstructs Sembène’s multilayered use of dialogue and language, exploring how the central character’s outward terseness (what the director called “a defensive muteness”) contrasts with the film’s use of voice-over, which makes the viewer privy to Diouana’s inner thoughts as she grows increasingly disaffected with her situation. That both are expressed in French—the language of the colonizer, which Sembène’s contract required him to use—only enhances the film’s devastating portrait of cultural alienation.

Wednesday, October 28

Directed by Catherine Breillat

Shattering taboos with her unflinching, often shocking explorations of female sexuality and pleasure, Catherine Breillat emerged as one of the major voices of the New French Extremity, a movement defined by its transgressive focus on the corporeal realms of eroticism and violence. The two are inextricably linked in her daring body of work, which encompasses the controversial exploration of female desire Romance, the provocative coming-of-age portrait Fat Girl, revisionist fairy tales such as Bluebeard and Sleeping Beauty, and overtly autobiographical works like Abuse of Weakness. In all, Breillat fearlessly delves into the intricacies of eroticism, power, and sexual politics, forcing viewers to confront that which makes them most uncomfortable and radically redefining the depiction of the female body on-screen.

  • Romance, 1999
  • Fat Girl, 2001
  • Bluebeard, 2009
  • Sleeping Beauty, 2010
  • Abuse of Weakness, 2013

Thursday, October 29

Six Films by Faith and John Hubley

Featuring a conversation among the filmmakers’ children Mark, Emily, Georgia, and Ray Hubley, moderated by filmmaker Leah Shore

A pair of Hollywood exiles—she was a former sound-effects and music editor at Columbia, he was an ex–Disney cartoonist and union activist blacklisted for refusing to name names before the House Un-American Activities Committee—Faith and John Hubley left behind the mainstream to forge a thrillingly experimental animation style all their own. Channeling the influences of jazz and abstract expressionism, the husband-and-wife duo created strikingly hand-drawn and -painted works that pulse with the improvisational spirit of bebop (Date with Dizzy, a sly anticapitalist critique featuring Dizzy Gillespie) and childhood imagination (Moonbird, which sets a recording of their own children at play to free-flowing animation). Applying their effortlessly light touch to weighty themes like atomic-age anxiety (the Academy Award–wining The Hole) and the place of humankind in the universe (the wondrous animated documentary Of Stars and Men), the Hubleys helped usher in a new era of independent animation in which Disneyfied gloss gave way to gloriously unrestrained personal expression.

Features

  • Of Stars and Men, 1961
  • Everybody Rides the Carousel, 1976

Shorts

  • Date with Dizzy, 1955
  • Tender Game, 1958
  • Moonbird, 1959
  • The Hole, 1962

Friday, October 30

Double Feature: Twice Bitten

Nosferatu and Nosferatu the Vampyre

An undead classic of German expressionist terror lives on in a spellbinding remake from contemporary cinema’s gutsiest iconoclast. An unauthorized adaptation of Bram Stoker’s Dracula, F. W. Murnau’s 1922 silent landmark Nosferatu features arguably the creepiest vampire in cinema history in the form of Max Schreck’s Count Orlok, an ashen apparition straight from the nightmare realm. Over fifty years later, Werner Herzog conceived his own mesmerizingly moody Nosferatu the Vampyre as an homage to Murnau’s haunting vision, with a supremely disturbing Klaus Kinski sinking his teeth into the iconic title role.

Saturday, October 31

Saturday Matinee: The Illusionist

From Sylvain Chomet, the director of the acclaimed The Triplets Of Belleville, comes this charming animated flight of fancy based on an unproduced script written by Jacques Tati in 1956. The film—set in Scotland, rather than Czechoslovakia as Tati originally envisioned—follows a struggling illusionist, one of the last of a dying breed of stage entertainers whose thunder has been stolen by up-and-coming rock stars. Forced to accept increasingly obscure assignments in fringe theaters, garden parties, and bars, he meets a young fan whose belief in his art changes his life forever. Tipping its hat to Tati’s elegantly whimsical, bittersweet style, The Illusionist serves as a gently affecting meeting point between two generations of French cinematic magic-makers.

Saturday, October 31

The Devil’s Backbone: Criterion Collection Edition #666

One of the most personal films by Guillermo del Toro, The Devil’s Backbone is also among his most frightening and emotionally layered. Set during the final week of the Spanish Civil War, it tells the tale of a twelve-year-old boy who, after his freedom-fighting father is killed, is sent to a haunted rural orphanage full of terrible secrets. Del Toro expertly combines gothic ghost story, murder mystery, and historical melodrama in a stylish mélange that, like his later Pan’s Labyrinth, reminds us the scariest monsters are often the human ones. SUPPLEMENTAL FEATURES: Audio commentary and video introduction by Del Toro; ¿Que es un fantasma?, a 2004 making-of documentary; an interactive director’s notebook; and more.

Complete list of films premiering on the Criterion Channel this month:

  • 100 Boyfriends Mixtape, Brontez Purnell, 2016
  • 575 Castro St., Jenni Olson, 2008
  • The 7th Voyage of Sinbad, Nathan Juran, 1958
  • Above Suspicion, Richard Thorpe, 1943
  • Abuse of Weakness, Catherine Breillat, 2013 **
  • Affirmations, Marlon Riggs, 1990
  • American Dream, Barbara Kopple, Cathy Caplan, Thomas Haneke, Lawrence Silk, 1990
  • Anthem, Marlon Riggs, 1991
  • Autumn Leaves, Robert Aldrich, 1956
  • Barking Dogs Never Bite, Bong Joon Ho, 2000 **
  • The Best Man, Franklin J. Schaffner, 1964
  • Beware! The Blob, Larry Hagman, 1972
  • Black Christmas, Bob Clark, 1974
  • Black Is … Black Ain’t, Marlon Riggs, 1994
  • Blue Diary, Jenni Olson, 1998
  • Bluebeard, Catherine Breillat, 2009 **
  • Buck Privates, Arthur Lubin, 1941
  • Caché, Michael Haneke, 2005
  • Casa de lava, Pedro Costa, 1994
  • Cat People, Jacques Tourneur, 1942
  • Christine, Antonio Campos, 2016
  • Color Adjustment, Marlon Riggs, 1992
  • Coma, Michael Crichton, 1978
  • The Crazies, George A. Romero, 1973
  • Crying Fist, Ryoo Seung-wan, 2005
  • The Damned Don’t Cry, Vincent Sherman, 1950
  • Dancing Lady, Robert Z. Leonard, 1933
  • Date With Dizzy, John Hubley, 1958
  • Daughters of Darkness, Harry Kümel, 1971
  • Dear Zachary: A Letter to a Son About His Father, Kurt Kuenne, 2008
  • Death Line, Gary Sherman, 1972
  • Deathdream, Bob Clark, 1974
  • The Devil’s Backbone, Guillermo del Toro, 2001 **
  • Dirty, Matthew Puccini, 2020
  • Don’t Look Now, Nicolas Roeg, 1973
  • Dracula A.D. 1972, Alan Gibson, 1972
  • The Driller Killer, Abel Ferrara, 1979
  • A Drop of Sun Under the Earth, Shikeith, 2017
  • Election, Alexander Payne, 1999
  • Ethnic Notions, Marlon Riggs, 1986
  • Everybody Rides the Carousel, John Hubley, 1976
  • O Fantasma, João Pedro Rodrigues, 2000
  • The Foul King, Kim Jee-woon, 2000
  • Grand Hotel, Edmund Goulding, 1932
  • Harriet Craig, Vincent Sherman, 1950
  • The Hills Have Eyes, Wes Craven, 1977
  • The Hole, John Hubley, 1962
  • The Host, Bong Joon Ho, 2006 **
  • Humanoids from the Deep, Barbara Peeters, Jimmy T. Murakami, 1980
  • Humoresque, Jean Negulesco, 1946
  • I Shall Not Be Removed: The Life of Marlon Riggs, Karen Everett, 1996
  • The Illusionist, Sylvain Chomet, 2010 **
  • Images, Robert Altman, 1972
  • In nomine Patris, Jenni Olson, 2019
  • Influenza, Bong Joon Ho, 2004
  • Invasion of the Body Snatchers, Philip Kaufman, 1978
  • It’s Alive, Larry Cohen, 1974
  • The Joy of Life, Jenni Olson, 2005
  • Kirikou and the Sorceress, Michel Ocelot, 1998
  • The Labyrinth 1.0, Tiona Nekkia McClodden, 2017
  • Lady Vengeance, Park Chan-wook, 2005
  • The Last of Mrs. Cheyney, Richard Boleslawski, Dorothy Arzner, George Fitzmaurice, 1937
  • The Last Party, Mark Benjamin, Marc Levin, 1993
  • Let’s Scare Jessica to Death, John D. Hancock, 1971
  • Long Train Running: A History of the Oakland Blues, Marlon Riggs, Peter Webster, 1981
  • Love on the Run, W.S. Van Dyke, 1936
  • Mannequin, Frank Borzage, 1937
  • Mildred Pierce, Michael Curtiz, 1945
  • Moonbird, John Hubley, 1959
  • Mother, Bong Joon Ho, 2009 **
  • The Nightcomers, Michael Winner, 1971
  • Non, je ne regrette rien (No Regret), Marlon Riggs, 1993
  • Nosferatu, F.W. Murnau, 1922
  • Nosferatu the Vampyre, Werner Herzog, 1979
  • Nowhere to Hide, Lee Myung-se, 1999
  • Of Stars and Men, John Hubley, 1961
  • The Ornithologist, João Pedro Rodrigues, 2016 **
  • Our Dancing Daughters, Harry Beaumont, 1928
  • Our Modern Maidens, Jack Conway, 1929
  • Peeping Tom, Michael Powell, 1960
  • Possessed, Clarence Brown, 1931
  • Possessed, Curtis Bernhardt, 1947
  • The Public Enemy, William A. Wellman, 1931
  • Queen Bee, Ranald MacDougall, 1955
  • Rabid, David Cronenberg, 1977
  • Romance, Catherine Breillat, 1999
  • The Royal Road, Jenni Olson, 2015
  • Sadie McKee, Clarence Brown, 1934
  • Season of the Witch, George A. Romero, 1972
  • Shampoo, Hal Ashby, 1975
  • Shivers, David Cronenberg, 1975
  • Sleeping Beauty, Catherine Breillat, 2010 **
  • Slumber Party Massacre, Amy Holden Jones, 1982
  • The Smiling Lieutenant, Ernst Lubitsch, 1931
  • Strait-Jacket, William Castle, 1964
  • Strange Cargo, Frank Borzage, 1940
  • The Student Nurses, Stephanie Rothman, 1970
  • Suburbia, Penelope Spheeris, 1983
  • Sudden Fear, David Miller, 1952
  • Sympathy for Mr. Vengeance, Park Chan-wook, 2002
  • A Tale of Two Sisters, Kim Jee-woon, 2003
  • Tender Game, John Hubley, 1958
  • The Texas Chain Saw Massacre, Tobe Hooper, 1974
  • Theater of Blood, Douglas Hickox, 1973
  • To Die Like a Man, João Pedro Rodrigues, 2009 **
  • Tongues Untied, Marlon Riggs, 1989
  • Trog, Freddie Francis, 1970
  • Trouble in Paradise, Ernst Lubitsch, 1932
  • Two Drifters, João Pedro Rodrigues, 2005**
  • The Unknown, Tod Browning, 1927
  • The Vampire Lovers, Roy Ward Baker, 1970
  • The Velvet Vampire, Stephanie Rothman, 1971
  • Videodrome, David Cronenberg, 1983
  • Vitalina Varela, Pedro Costa, 2019
  • Walk For Me, Elegance Bratton, 2016
  • We Need to Talk About Kevin, Lynne Ramsay, 2011 **
  • What Ever Happened to Baby Jane?, Robert Aldrich, 1962
  • The Wicker Man, Robin Hardy, 1973
  • The Witch Who Came from the Sea, Matt Cimber, 1976
  • A Woman’s Face, George Cukor, 1941
  • The Women, George Cukor, 1939
  • The Yearling, Clarence Brown, 1946

** Available in the U.S. only

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September 2020 Programming on the Criterion Channel Announced https://criterioncast.com/news/september-2020-programming-on-the-criterion-channel-announced Sun, 30 Aug 2020 23:05:09 +0000 https://criterioncast.com/?p=64254 Each month, the programmers at the Criterion Channel produce incredible line-ups for their subscribers. For August, the Channel will feature films from Agnès Varda, Lucrecia Martel, Dorothy Arzner, Janicza Bravo, and more!

Below you’ll find the programming schedule for the month, along with a complete list of titles that Criterion has in store for us. Don’t forget to check the Criterion Channel’s main page regularly though, as they occasionally will drop surprises that aren’t included in the official press release.

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Tuesday, September 1

Sátántangó

One of the towering achievements of modern cinema, Béla Tarr’s newly restored magnum opus, based on the novel by László Krasznahorkai, follows members of a small, defunct agricultural collective who set out to leave their village on the heels of a financial windfall. As a few of the townspeople secretly conspire to abscond with all of the earnings themselves, a mysterious character, long thought dead, returns to the village, altering the course of everyone’s lives. Shot in exquisite monochrome and composed in arresting long takes, Sátántangó unfolds in twelve distinct movements, alternating forward and backward in time, echoing the structure of a tango dance. Tarr’s monumental vision, aided by longtime partner and collaborator Ágnes Hranitzky, is enthralling, and his immersive evocation of rural Hungary as a postapocalyptic world of boozy dance parties, treachery, and near-perpetual rainfall is both transfixing and uncompromising.

Tuesday, September 1

Short + Feature: Super Bowles

You Are Not I and The Sheltering Sky

The writings of modernist literary legend Paul Bowles, an American expatriate who spent the majority of his life in Tangier, inspire two psychologically charged adaptations by singular film artists. Based on a Bowles short story, Sara Driver’s long-lost No Wave touchstone You Are Not I evokes a woman’s fractured mental state through a trancelike procession of haunting, uncanny images. Then, we’re whisked away to the sunbaked landscapes of the Sahara Desert for Bernardo Bertolucci’s sensuous take on Bowles’s celebrated novel The Sheltering Sky, starring Debra Winger and John Malkovich as an American couple whose sojourn to North Africa turns into a soul-shaking existential exploration.

Wednesday, September 2

Two by Dorothy Arzner

Featuring a documentary on Arzner by Katja Raganelli

The only woman to work as a director within the studio system of 1930s Hollywood, Dorothy Arzner was a trailblazer whose fascinating, often subversive films were the product of a sophisticated, queer, protofeminist sensibility that managed to assert itself in spite of the limitations of commercial moviemaking. Both made during the early 1930s at Paramount, where Arzner worked first as an editor before establishing herself as a director during the silent era, these pre-Code gems are two of her finest and most neglected films: Working Girls, a witty and complex tale of female ambition set in a women’s boarding house, and Merrily We Go to Hell, an alcohol-soaked portrait of an open marriage on a downward spiral.

  • Working Girls, 1931
  • Merrily We Go to Hell, 1932

Thursday, September 3

The Heiress: Criterion Collection Edition #974

Directed with a keen sense of ambiguity by William Wyler, this film based on a hit stage adaptation of Henry James’s Washington Square pivots on a question of motive. When shy, emotionally fragile Catherine Sloper (Olivia de Havilland, in a heartbreaking, Oscar-winning turn), the daughter of a wealthy New York doctor, begins to receive calls from the handsome spendthrift Morris Townsend (Montgomery Clift), she becomes possessed by the promise of romance. Are his smoldering professions of love sincere, as she believes they are? Or is Catherine’s calculating father (Ralph Richardson) correct in judging Morris a venal fortune seeker? A graceful drawing-room drama boasting Academy Award–winning costume design by Edith Head, The Heiress is also a piercing character study riven by emotional uncertainty and lacerating cruelty, in a triumph of classic Hollywood filmmaking at its most psychologically nuanced. SUPPLEMENTAL FEATURES: An appearance by de Havilland on a 1986 episode of The Paul Ryan Show; a conversation between screenwriter Jay Cocks and film critic Farran Smith Nehme; a program about the film’s costumes featuring costume collector and historian Larry McQueen; The Costume Designer, a restored 1950 short film featuring costume designer Edith Head; and more.

Friday, September 4

Double Feature: Spaghetti alla Samurai

Yojimbo and A Fistful of Dollars

A Japanese chanbara classic inspires a landmark Spaghetti western—and, in turn, a transnational lawsuit—in this one-two punch of visually spectacular action mayhem. Akira Kurosawa’s darkly comic Yojimbo stars the incomparable Toshiro Mifune as a wily masterless samurai who turns a range war between two evil clans to his own advantage. Mifune’s character served as a template for the Man with No Name played by Clint Eastwood in Sergio Leone’s pulp-operatic A Fistful of Dollars, an international sensation that launched Eastwood to superstardom and prompted Kurosawa and his studio to sue successfully for copyright infringement.

Saturday, September 5

Saturday Matinee: Duck Soup

The marvelous Marx Brothers are at their anarchic best in this wildly hilarious tour de force of comic invention. When Groucho’s Rufus T. Firefly, president of the bankrupt nation of Freedonia, picks a fight with the ambassador of a neighboring country, absurdist militaristic mayhem ensues in what may the finest and funniest of the brothers’ films, directed by irreverent Hollywood craftsman Leo McCarey. Along the way there are outlandish musical numbers, some of Groucho’s most priceless one-liners, and the pure genius of the classic mirror scene, a wordless, three-minute slice of slapstick perfection.

Sunday, September 6

Pre-Code Joan Blondell

Featuring a new introduction by critic Imogen Sara Smith

Classic Hollywood’s consummate scene-stealing sidekick, Joan Blondell enjoyed a successful screen career for nearly five decades, but it was during the anything-goes pre-Code era of the early 1930s—when dames, gold diggers, and good-time girls were cinematic staples—that she reached her zenith. Her vivacious energy and wisecracking persona were perfectly suited to the punchy, fast-paced style of her home studio, Warner Bros., where she was often paired with the similarly brash, dynamic James Cagney in popular hits like the mob film He Was Her Man, the delightfully risqué romantic comedy Blonde Crazy, and the kaleidoscopic Busby Berkeley musical extravaganza Footlight Parade. Whether lending snappy comedic support to a dramatic heavy hitter like Barbara Stanwyck in Night Nurse or showing her range playing a mob boss in the all-too-rare starring vehicle Blondie Johnson, Blondell exuded an irresistible, naughty-but-nice irreverence that was pure pre-Code.

  • Blonde Crazy, Roy Del Ruth, 1931
  • Millie, John Francis Dillon, 1931
  • Night Nurse, William A. Wellman, 1931
  • The Public Enemy, William A. Wellman, 1931*
  • Big City Blues, Mervyn LeRoy, 1932
  • The Crowd Roars, Howard Hawks, 1932
  • Lawyer Man, William Dieterle, 1932
  • Three on a Match, Mervyn LeRoy, 1932
  • Union Depot, Alfred E. Green, 1932
  • Blondie Johnson, Ray Enright, 1933
  • Footlight Parade, Lloyd Bacon, 1933
  • Gold Diggers of 1933, Mervyn LeRoy, 1933
  • Dames, Ray Enright and Busby Berkeley, 1934
  • He Was Her Man, Lloyd Bacon, 1934

*Available October 1

Monday, September 7

Three by Robert Greene

The line between performance and reality is scrambled to provocative effect in the adventurous nonfiction psychodramas of Robert Greene. While the bravura hybrid works Actress and Kate Plays Christine are slippery, multilayered investigations of the craft of acting, Greene’s latest film, Bisbee ’17, uses historical reenactment to connect a shameful chapter of American history to the country’s present. Opening up complex questions about the very meaning of “truth” in documentary, Greene’s fascinating films are alchemical collaborations between director and subject in which artifice is a means to reach authentic human insight.

  • Actress, 2014
  • Kate Plays Christine, 2016
  • Bisbee ’17, 2018

Tuesday, September 8

Short + Feature: Through Her Eyes

Nettles and It Felt Like Love

Featuring a new interview with Nettles director Raven Jackson

Two powerfully intimate films explore the incidents, large and small, that shape women’s lives. With hushed immediacy, Raven Jackson’s award-winning short Nettles poetically evokes a series of “stinging moments” in the lives of young women, many centered around moments of sexual vulnerability. Eliza Hittman mines similar territory in her revelatory debut feature It Felt Like Love, a bracing portrait of a Brooklyn teenager whose rush to grow up leads her down a potentially dangerous path.

Wednesday, September 9

Four Films by Janicza Bravo

A conversation between Bravo and Sam Fragoso, host of the podcast Talk Easy

The director of the audacious festival hit Lemon and the highly anticipated Zola, Janicza Bravo cultivates the unsettling, the absurd, and the hilariously warped. This selection of four of her brilliantly outré shorts—including the award-winning dark comedy Gregory Go Boom, starring Michael Cera—showcases the singular, gonzo sensibility that has made her one of American independent cinema’s most exciting voices. Centered around terminally awkward misfits so cringe-inducing that you can’t look away, Bravo’s surreal, stylistically brash films are by turns bleak and bitingly funny commentaries on loneliness, privilege, and the search for human connection.

  • Gregory Go Boom, 2013
  • Pauline Alone, 2014
  • Woman in Deep, 2016
  • Man Rots from the Head, 2016

Thursday, September 10

Christo and Jeanne-Claude

Environmental-art superstar Christo, who passed away in May this year, and his longtime collaborator, Jeanne-Claude, transformed the world’s landscapes into epic canvases for their awe-inspiring site-specific installations. Though their staggering achievements—including an enormous curtain hung between two Colorado mountains and a floating fabric walkway built on an Italian lake—were designed to be ephemeral, they frequently inspired filmmakers, particularly documentary masters Albert and David Maysles, to preserve their creations on celluloid. Films like Running Fence, which depicts the artists’ struggle to build a twenty-four-mile fence out of white nylon fabric, and The Gates, about their decades-in-the-making dream to construct a “golden river” of portals in New York’s Central Park, capture the monumental vision, superhuman determination, and unique relationship that drove an extraordinary artistic partnership.

Features

  • Running Fence, Albert Maysles, David Maysles, and Charlotte Zwerin, 1977
  • Islands, Albert Maysles, David Maysles, and Charlotte Zwerin, 1987
  • Christo in Paris, Albert Maysles, David Maysles, Deborah Dickson, and Susan Froemke, 1990
  • Umbrellas, Albert Maysles, Henry Corra, and Grahame Weinbren, 1994
  • The Gates, Albert Maysles, David Maysles, Antonio Ferrera, and Matthew Prinzing, 2008
  • Walking on Water, Andrey Paounov, 2019

Shorts

  • Christo’s Valley Curtain, Albert Maysles, David Maysles, Ellen Giffard, 1974

Friday, September 11

Double Feature: Tears of a Clown

Lenny and Jo Jo Dancer, Your Life is Calling

It’s no laughing matter: these two unflinching films delve into the self-destructive dark sides of a pair of comedy legends. In Lenny, director Bob Fosse and star Dustin Hoffman bring a live-wire energy to their jagged portrait of controversial, envelope-pushing stand-up Lenny Bruce that cuts between his electrifying prime and burned-out later years. Then, Richard Pryor draws on his own personal demons in the autobiographical Jo Jo Dancer, Your Life is Calling, a lacerating rise-and-fall showbiz saga and the only narrative feature written and directed by the comedy great.

Saturday, September 12

Saturday Matinee: The Phantom Tollbooth

What could possibly be inside that gigantic, wrapped-and-ribboned box? A tollbooth, a toy car, and adventure! Ride with young Milo (Butch Patrick) through the phantom tollbooth that takes him from the streets of San Francisco into a wondrous world that combines the enchantment of Norton Juster’s beloved children’s book with the sheer visual joy of legendary Looney Tunes animator Chuck Jones (codirecting his sole feature film). Bookended by live-action sequences and featuring a stellar voice cast led by the great Mel Blanc, The Phantom Tollbooth brings to life a magical, musical tale of warring kingdoms (one favors words, the other numbers), demons, princesses, and fabulously fantastical creatures—including a tick-tick-ticking “watch” dog!

Sunday, September 13

Directed by Albert Brooks

It’s apt that director, writer, and actor Albert Brooks should have been born Albert Einstein, since his cutting, cerebral, and brutally honest comedies are works of self-deprecating genius. Unafraid of playing unlikable, self-absorbed characters and of putting his own neuroses and obsessions under the microscope, Brooks has directed only a handful of films since the late 1970s, but each is a brilliant, unsparingly funny dissection of the frustrations of the contemporary everyman. Whether satirizing the complexities of dating in Modern Romance, Reagan-era yuppie excess in Lost in America, or the pitfalls of family ties in Mother, Brooks probes the foibles and fallibility of the human condition with a sharp observational eye and sardonic wit that’s as painful as it is hilarious.

  • Real Life, 1979
  • Modern Romance, 1981
  • Lost in America, 1985
  • Defending Your Life, 1991
  • Mother, 1996

Monday, September 14

Art and Craft

Mark Landis has been called one of the most prolific art forgers in U.S. history. His impressive body of work spans thirty years and a wide range of styles, from fifteenth-century masters to Picasso to Walt Disney. And while the copies could fetch impressive sums on the open market, Landis isn’t in it for the money. Posing as a philanthropic donor, a grieving executor of a family member’s will, and even a Jesuit priest, Landis has given away hundreds of works over the years to a staggering array of institutions. But when a tenacious investigator threatens to expose his ruse, Landis must confront his controversial legacy and a growing chorus of art-world professionals calling for him to stop. What begins as a gripping cat-and-mouse art caper, rooted in questions of authorship and authenticity, gradually develops into an intimate story of obsession and the universal need for community, appreciation, and purpose.

Tuesday, September 15

Short + Feature: The Dakar Connection

A Thousand Suns and Touki Bouki

Life imitates art as a rising auteur pays homage to a landmark work by her uncle in this snapshot of Senegalese cinema past and present. In 1973, Djibril Diop Mambéty made a splash with Touki bouki, a brash, stylistically freewheeling tale of two young lovers attempting to scheme their way from Dakar to France. Forty years later, Mambéty’s niece Mati Diop revisits the film’s towering legacy in A Thousand Suns, in which she reconnects with Magaye Niang and Mareme Niang, the stars of Touki bouki, and finds that their fates have followed paths curiously similar to those of the fictional characters they played.

Wednesday, September 16

Three by Lucrecia Martel

You can feel the heat in the swelteringly sensorial films of Argentine iconoclast Lucrecia Martel, who, working in a cinematic vocabulary all her own, creates tantalizingly elliptical, shrewdly incisive commentaries on class, religion, and social hierarchy that have established her as one of the twenty-first century’s major filmmakers. In her early critical triumphs La Ciénaga and The Headless Woman, Martel introduced a startlingly original, fully formed sensibility, marked by off-kilter compositions, a tactile sense of atmosphere, and a caustic perspective on the hypocrisies of Argentina’s bourgeoisie. With her latest feature, the hallucinatory literary adaptation Zama, Martel translates her singular vision to the eighteenth century, losing none of her eccentric edge and acerbic bite.

  • La Ciénaga, 2001
  • The Headless Woman, 2008
  • Zama, 2017

Wednesday, September 16

 

Observations on Film Art #38: Visual Strategies in La Ciénaga

From the very first shot of her very first feature, La Ciénaga, Argentine auteur Lucrecia Martel laid claim to a distinctive, defiantly strange cinematic syntax unlike any other. In this edition of Observations on Film Art, Professor Kristin Thompson examines the surprising choices—uncomfortably tight framing, unusual camera positions, and soft- and out-of-focus lensing—that Martel uses to keep the identities of and relationships between her characters intriguingly opaque and to heighten the film’s stinging critique of bourgeois torpor.

Thursday, September 17

Boyhood: Criterion Collection Edition #839

There has never been another movie like Boyhood, from director Richard Linklater. An event film of the utmost modesty, it was shot over the course of twelve years in the director’s native Texas and charts the physical and emotional changes experienced by a child named Mason (Ellar Coltrane), his divorced parents (Patricia Arquette, who won an Oscar for her performance, and Ethan Hawke), and his older sister (Lorelei Linklater). Alighting not on milestones but on the small, in-between moments that make up lives, Linklater fashions a flawlessly acted, often funny portrait that flows effortlessly from one year to the next. Allowing us to watch people age on film with documentary realism while gripping us in a fictional narrative of exquisite everydayness, Boyhood has a power that only the art of cinema could harness. SUPPLEMENTAL FEATURES: A making-of documentary spanning the film’s twelve years of production; a discussion featuring Linklater and actors Patricia Arquette and Ellar Coltrane, moderated by producer John Pierson; a video essay by critic Michael Koresky about time in Linklater’s films; and more.

Friday, September 18

Double Feature: Paradises Lost

Tabu: A Story of the South Seas (1931) and Tabu (2012)

The shadow of a silent-cinema masterpiece looms large over a twenty-first-century marvel in two visually stunning sagas of doomed passion and colonial tragedy. In the early 1930s, German-expressionist giant F. W. Murnau joined forces with documentary pioneer Robert Flaherty for the landmark docufiction hybrid Tabu, a ravishing vision of flowering love amid the encroaching, destructive forces of Western civilization, strikingly filmed on location in Tahiti. Eight decades later, Portuguese auteur Miguel Gomes took the title and bifurcated narrative structure of Murnau’s film as the starting point from which to spin a sumptuous, exhilaratingly eccentric tale of ill-fated romance in 1960s colonial Africa in his own acclaimed Tabu.

Saturday, September 19

Saturday Matinee: Charlotte’s Web

The most popular children’s book of all time made it to the screen with E. B. White’s heartwarming vision fully intact courtesy of animation powerhouse Hanna-Barbera and the vocal talent of Debbie Reynolds. She plays the beloved spider whose bond with a runt pig yields timeless truths about friendship, cycles of life, and growing up. With handsome hand-drawn animation, songs by Disney mainstays the Sherman Brothers, and a vocal cast that also includes Paul Lynde and Agnes Moorehead, that’s some pig, indeed!

Sunday, September 20

The Films of Agnès Varda

Featuring extensive supplemental features from Criterion’s The Complete Films of Agnès Varda box set

A founder of the French New Wave who became an international art-house icon, Agnès Varda was a fiercely independent, restlessly curious visionary whose work was at once personal and passionately committed to the world around her. In an abundant career in which she never stopped expanding the notion of what a movie can be, Varda forged a unique cinematic vocabulary that frequently blurs the boundaries between narrative and documentary, and entwines loving portraits of her friends, her family, and her own inner world with a social consciousness that was closely attuned to the 1960s counterculture, the women’s liberation movement, the plight of the poor and socially marginalized, and the ecology of our planet. This comprehensive collection is a testament to the radical vision, boundless imagination, and radiant spirit of a true original for whom every act of creation was a vital expression of her very being.

Shorts

  • Du coté de la côte, 1958
  • L’opera-mouffe, 1958
  • O saisons, o chateaux, 1958
  • Les fiancés du Pont Macdonald, 1962
  • Salut les cubains!, 1964
  • Elsa la rose, 1966
  • Uncle Yanco, 1968
  • Black Panthers, 1970
  • Réponse de femmes, 1975
  • Plaisir d’amour en Iran, 1977
  • Ulysse, 1982
  • Les dites cariatides, 1984
  • 7 p., cuis., s. de b… . (à saisir), 1985
  • T’as des beaux escaliers, tu sais, 1986
  • Le lion volatil, 2003
  • Ydessa, les ours, et etc… ., 2004
  • Les 3 boutons, 2015

Features

  • La Pointe Courte, 1955
  • Cléo from 5 to 7, 1962
  • Le bonheur, 1965
  • Les créatures, 1966
  • Lions Love (… and Lies), 1969
  • Daguerréotypes, 1975
  • One Sings, the Other Doesn’t, 1977
  • Mur Murs, 1981
  • Documenteur, 1981
  • Vagabond, 1985
  • Jane B. par Agnès V., 1988
  • Kung-Fu Master!, 1988
  • Jacquot de Nantes, 1991
  • The Young Girls Turn 25, 1993
  • One Hundred and One Nights, 1995
  • The World of Jacques Demy, 1995
  • The Gleaners and I, 2000
  • The Gleaners and I: Two Years Later, 2002
  • The Beaches of Agnes, 2008
  • Agnès de ci de là Varda, 2011
  • Varda by Agnès, 2019

Monday, September 21

Streetwise and Tiny: The Life of Erin Blackwell

Featuring a new introduction with director Martin Bell

In 1983, filmmaker Martin Bell, photographer Mary Ellen Mark, and journalist Cheryl McCall set out to tell the stories of those society had left behind: homeless and runaway teenagers living on the margins of Seattle. The resulting film, the Academy Award–nominated documentary landmark Streetwise, follows an unforgettable group of children who, driven from their broken homes, survive by hustling, panhandling, and dumpster diving. Among the project’s most haunting and enduring faces was Tiny, an iron-willed fourteen-year-old who the filmmakers would continue to track for the next thirty years. Tracing her journey from lost youth to mother of ten children of her own, the long awaited follow-up documentary Tiny: The Life of Erin Blackwell is a heartrending, deeply empathetic portrait of a woman and a family struggling to break free from a cycle of trauma.

Tuesday, September 22

Short + Feature: All by Myself

The Amateurist + Je tu il elle

Two fearless filmmakers turn the camera on themselves to explore loneliness, solitude, identity, sexuality, and the gaze within self-engineered confines of their own making. In The Amateurist, Miranda July sets up an unsettling relationship between viewer and subject via an increasingly disturbing portrait of a woman whose obsessive, solitary video surveillance of another woman (also played by July) pushes her to the brink of madness. Then, Chantal Akerman plays a woman who ventures out of self-imposed isolation in her uncompromising first feature, which features one of the most daring sex scenes in cinema history.

Wednesday, September 23

Thank You and Good Night

Featuring two short films and a new introduction by director Jan Oxenberg

A lost-and-found revelation from indie film and TV maverick Jan Oxenberg is a docu-fantasy narrative focused on the filmmaker’s hilarious, messy, Jewish family as they prepare to say goodbye to someone they love. Narrated by a cardboard cutout of Oxenberg’s scowling child self, Thank You and Good Night takes us on a journey through the proceedings, attempting to defeat death and never say goodbye. An early Sundance hit but virtually unseen for decades, the film reemerges as a singular, uncategorizable exploration of the meaning of life, death, and the tangled stuff that is a family. In this poignant, hilarious, and complex reflection on letting go, Oxenberg innovatively transforms personal tragedy into universally resonant art that is now claiming its rightful place as a classic of independent cinema. This key touchstone in the evolution of the autobiographical documentary has reemerged thanks to a new restoration and is presented alongside two early short works by Oxenberg that offer a wittily satirical perspective on her experiences growing up as a lesbian.

Restoration by IndieCollect.

Shorts

  • Home Movie, 1973
  • A Comedy in Six Unnatural Acts, 1975

Features

  • Thank You and Good Night, 1992

Thursday, September 24

Corpus Christi

Streaming premiere

Anchored by a stunning performance from newcomer Bartosz Bielenia, this moral tinderbox is an emotionally gripping, darkly humorous portrait of a man on a most curious road to redemption. Following his release from a Warsaw prison for a violent crime, twenty-year-old Daniel (Bielenia) is sent to a remote village to work as a manual laborer. The job is designed to keep the ex-con busy, but Daniel has a higher calling. When one quick lie allows him to be mistaken for the town’s new priest, Daniel sets about leading his newfound flock, inspiring the congregation through his passion and charisma even as he edges toward a dark secret that the community hasn’t revealed in the confessional booth.

Thursday, September 24

Directed by Volker Schlöndorff

Though he would find himself at the forefront of the radical New German Cinema movement, Volker Schlöndorff got his training in France. Apprenticed to such trailblazers as Alain Resnais, Jean-Pierre Melville, and Louis Malle, he became fascinated by the possibilities of filmmaking as a political tool early in his career. His 1966 debut, Young Törless, based on Robert Musil’s acclaimed novel, was not only the first of his many ambitious literary adaptations (often of challenging, supposedly “unfilmable” works), it was also something of a New German Cinema call to arms, a political allegory about Germany’s social history set in a boys’ boarding school at the turn of the twentieth century. More stinging commentaries on the state of Germany-then-and-now followed in the seventies: The Lost Honor of Katharina Blum (codirected with Margarethe von Trotta, Schlöndorff’s wife at the time), Coup de grâce, and his grandest success, the Oscar- and Palme d’or–winning The Tin Drum, a brilliant adaptation of Günter Grass’s metaphorical novel about the horrors of World War II. Continuing to delve into the traumas of the mid-twentieth century in late-career triumphs like The Ogre and Diplomacy, Schlöndorff looks unflinchingly to the past in order to illuminate the present.

  • Young Törless, Volker Schlöndorff, 1966
  • Baal, Volker Schlöndorff, 1970
  • The Lost Honor of Katharina Blum, Volker Schlöndorff and Margarethe von Trotta, 1975
  • Coup de grâce, Volker Schlöndorff, 1976
  • The Tin Drum, Volker Schlöndorff, 1979
  • Circle of Deceit, Volker Schlöndorff, 1981
  • Swann in Love, Volker Schlöndorff, 1984
  • Death of a Salesman, Volker Schlöndorff, 1985
  • The Handmaid’s Tale, Volker Schlöndorff, 1990
  • Voyager, Volker Schlöndorff, 1991
  • The Ogre, Volker Schlöndorff, 1996
  • The Legend of Rita, Volker Schlöndorff, 2000
  • Diplomacy, Volker Schlöndorff, 2014

Friday, September 25

Double Feature: Mall Wonders

Golden Eighties and Nocturama

Featuring a new interview with Nocturama director Bertrand Bonello, whose film Zombi Child is also now playing on the Channel

Don’t look for retail therapy in this pair of super-stylized, shopping-mall-set genre-exploders that balance sleek pop pleasures with a subversive anticapitalist critique. First, Chantal Akerman filters the singing, dancing charms of the MGM dream factory through her singular feminist, formalist sensibility in her fascinatingly offbeat, disarmingly affecting New Wave musical Golden Eighties. Then, Bertrand Bonello choreographs a mesmerizing tale of teenage terrorism in his audacious thriller Nocturama, which features some of the most cunning deployments of pop music in recent cinematic memory.

Saturday, September 26

Saturday Matinee: Pygmalion

Cranky Professor Henry Higgins (Leslie Howard) takes a bet that he can turn Cockney guttersnipe Eliza Doolittle (Wendy Hiller) into a “proper lady” in a mere six months in this delightful comedy of bad manners, based on the play by George Bernard Shaw. Directed by both Anthony Asquith and star Howard and edited by future British cinema giant David Lean, Pygmalion was coscripted by Shaw himself, who won an Academy Award for his work and whose screenplay would later be adapted into the classic Lerner and Loewe musical My Fair Lady.

Sunday, September 27

By the Book

You’ve read—or at least meant to read—the book. Now see the movie. Just in time for the start of school, we’ve collected some of the all-time great page-to-screen adaptations, encompassing English 101 classics like Great Expectations and Lord of the Flies, world-literature masterpieces like War and Peace and Pather Panchali, modern best sellers like The Virgin Suicides and The Hours, and more. While faithful transpositions abound, there are plenty of surprising spins on canonical titles, such as Akira Kurosawa’s Japan-set retelling of Fyodor Dostoyevsky’s The Idiot, John Huston’s hallucinatory take on Malcolm Lowry’s “unfilmable” Under the Volcano, and Chantal Akerman’s fascinating postcolonialist reimagining of Joseph Conrad’s Almayer’s Folly. Each is a distinguished work of art in its own right, as worthy of appreciation as its celebrated source.

  • The Count of Monte Cristo, Rowland V. Lee, 1934
  • The 39 Steps, Alfred Hitchcock, 1935
  • La bête humaine, Jean Renoir, 1938
  • Of Mice and Men, Lewis Milestone, 1939
  • Great Expectations, David Lean, 1946
  • The Killers, Robert Siodmak, 1946
  • Anna Karenina, Julien Duvivier, 1948
  • Oliver Twist, David Lean, 1948
  • The Heiress, William Wyler, 1949
  • The Passionate Friends, David Lean, 1949
  • The Idiot, Akira Kurosawa, 1951
  • The Life of Oharu, Kenji Mizoguchi, 1952
  • Robinson Crusoe, Luis Buñuel, 1954
  • Senso, Luchino Visconti, 1954
  • Pather Panchali, Satyajit Ray, 1955
  • Aparajito, Satyajit Ray, 1956
  • The Burmese Harp, Kon Ichikawa, 1956
  • Apur Sansar, Satyajit Ray, 1959
  • The Cloud-Capped Star, Ritwik Ghatak, 1960
  • Purple Noon, René Clément, 1960
  • Zazie dans le métro, Louis Malle, 1960
  • Divorce Italian Style, Pietro Germi, 1961
  • Lord of the Flies, Peter Brook, 1963
  • Tom Jones, Tony Richardson, 1963
  • Charulata, Satyajit Ray, 1964
  • Woman in the Dunes, Hiroshi Teshigahara, 1964
  • Closely Watched Trains, Jirí Menzel, 1966
  • War and Peace, Sergei Bondarchuk, 1966
  • Memories of Underdevelopment, Tomás Gutiérrez Alea, 1968
  • The Angel Levine, Ján Kadár, 1970
  • Dodes’ka-den, Akira Kurosawa, 1970
  • The Phantom Tollbooth, Chuck Jones, Abe Levitow, and Dave Monahan, 1970
  • The Little Prince, Stanley Donen, 1974
  • Picnic at Hanging Rock, Peter Weir, 1975
  • The American Friend, Wim Wenders, 1977
  • The Ascent, Larisa Shepitko, 1977
  • The Getting Of Wisdom, Bruce Beresford, 1977
  • Empire of Passion, Nagisa Oshima, 1978
  • Watership Down, Martin Rosen, 1978
  • My Brilliant Career, Gillian Armstrong, 1979
  • Stalker, Andrei Tarkovsky, 1979
  • The Tin Drum, Volker Schlöndorff, 1979
  • Wise Blood, John Huston, 1979
  • You Are Not I, Sara Driver, 1981
  • Under the Volcano, John Huston, 1984
  • Mishima: A Life in Four Chapters, Paul Schrader, 1985
  • My Life as a Dog, Lasse Hallström, 1985
  • Betty Blue, Jean-Jacques Beineix, 1986
  • An Angel at My Table, Jane Campion, 1990
  • The Comfort of Strangers, Paul Schrader, 1990
  • Europa Europa, Agnieszka Holland, 1990
  • The Handmaid’s Tale, Volker Schlöndorff, 1990
  • Emily Brontë’s Wuthering Heights, Peter Kosminsky, 1992
  • The Castle, Michael Haneke, 1997
  • The Sweet Hereafter, Atom Egoyan, 1997
  • The Virgin Suicides, Sofia Coppola, 1999
  • The Piano Teacher, Michael Haneke, 2001
  • The Hours, Stephen Daldry, 2002
  • Gomorrah, Matteo Garrone, 2008
  • Almayer’s Folly, Chantal Akerman, 2011
  • 45 Years, Andrew Haigh, 2015
  • Certain Women, Kelly Reichardt, 2016
  • Zama, Lucrecia Martel, 2017

Monday, September 28

The Prison in Twelve Landscapes

The contemporary American police state shapes almost every aspect of society—whether we’re aware of it or not. Without ever venturing inside a penitentiary, director Brett Story excavates the insidious, often-unseen influence that prisons—and the American system of mass incarceration—has on communities and industries all around us. From a blazing California mountainside where female prisoners fight raging wildfires to a Bronx warehouse that specializes in prison-approved care packages to an Appalachian coal town betting its future on the promise of new prison jobs to the street where Michael Brown was shot in Ferguson, this remarkably clear-eyed documentary sheds new light on how a system built on exploitation and racial injustice became woven into the fabric of everyday American life.

Tuesday, September 29

Short + Feature: All This Jazz

When It Rains and Ornette: Made in America

Two jazz-inflected riffs by legendary American independent filmmakers make sweet music together in this double feature in double time. Charles Burnett’s charming short When It Rains follows a trumpeter on a New Year’s Eve odyssey through Los Angeles as he attempts to save a mother from eviction, his quest punctuated by musical interludes that have the rhythmic, improvisational quality of jazz itself. Shirley Clarke brings a similar freewheeling energy to her appropriately idiosyncratic Ornette: Made in America, which blends documentary footage, dramatic scenes, and some of the first music-video-style segments ever created into a kaleidoscopic portrait of free-jazz pioneer Ornette Coleman.

Wednesday, September 30

The Loveless

The first feature by both acclaimed director Kathryn Bigelow and future David Lynch producer Monty Montgomery, as well as the screen debut of star Willem Dafoe, this edgy, should-be cult classic puts a furiously subversive spin on the rebel biker films of the 1950s. Dafoe is the pomade-slicked, leather-clad Vance, whose outlaw motorcycle gang roars into a small Southern town en route to the Daytona races, igniting simmering tensions with the locals and setting the stage for a violent standoff. The air of all-American menace is heightened by the jukebox soundtrack courtesy of costar and neo-rockabilly legend Robert Gordon.

Complete list of films premiering on the Criterion Channel this month:

  • Les 3 boutons, Agnès Varda, 2015
  • 7 p., cuis., s. de b… . (à saisir), Agnès Varda, 1984
  • Actress, Robert Greene, 2014
  • Agnès de ci de là Varda, Agnes Varda, 2011
  • Art and Craft, Sam Cullman, Jennifer Grausman, and Mark Becker, 2014**
  • The Beaches of Agnès, Agnès Varda, 2008
  • Big City Blues, Mervyn LeRoy, 1932
  • Bisbee ’17, Robert Greene, 2018
  • Blonde Crazy, Roy Del Ruth, 1931
  • Blondie Johnson, Ray Enright, 1933
  • Boyhood, Richard Linklater, 2014
  • Charlotte’s Web, Iwao Takamoto and Charles A. Nichols, 1973**
  • Circle of Deceit, Volker Schlöndorff, 1981
  • A Comedy in Six Unnatural Acts, Jan Oxenberg, 1975*
  • Corpus Christi, Jan Komasa, 2019*
  • Les créatures, Agnès Varda, 1966
  • The Crowd Roars, Howard Hawks, 1932
  • Daguerréotypes, Agnès Varda, 1975
  • Dames, Ray Enright, 1934
  • Death of a Salesman, Volker Schlöndorff, 1985
  • Defending Your Life, Albert Brooks, 1991
  • Diplomacy, Volker Schlöndorff, 2014
  • Les dites cariatides, Agnès Varda, 1984
  • Duck Soup, Leo McCarey, 1933
  • Elsa la rose, Agnès Varda, 1966
  • Emily Brontë’s Wuthering Heights, Peter Kosminsky, 1992
  • A Fistful of Dollars, Sergio Leone, 1964
  • Footlight Parade, Lloyd Bacon, 1933
  • The Gates, Antonio Ferrera, David Maysles, Matthew Prinzing, and Albert Maysles, 2007
  • The Gleaners and I, Agnès Varda, 2000
  • The Gleaners and I: Two Years Later, Agnès Varda, 2002
  • Gold Diggers of 1933, Mervyn LeRoy, 1933
  • Gregory Go Boom, Janicza Bravo, 2013
  • A Guide to Breathing Underwater, Raven Jackson, 2018
  • He Was Her Man, Lloyd Bacon, 1934
  • The Headless Woman, Lucrecia Martel, 2008
  • The Heiress, William Wyler, 1949
  • Home Movie, Jan Oxenberg, 1972*
  • The Hours, Stephen Daldry, 2002
  • Jacquot de Nantes, Agnès Varda, 1991
  • Jane B. par Agnès V., Agnès Varda, 1988
  • Jo Jo Dancer, Your Life is Calling, Richard Pryor, 1986
  • Kate Plays Christine, Robert Greene, 2016
  • Kung-Fu Master!, Agnès Varda, 1988
  • Lawyer Man, William Dieterle, 1932
  • Le lion volatil, Agnès Varda, 2003
  • The Legend of Rita, Volker Schlöndorff, 2000
  • Lenny, Bob Fosse, 1974
  • Lost in America, Albert Brooks, 1985
  • The Loveless, Kathryn Bigelow and Monty Montgomery, 1981
  • Man Rots from the Head, Janicza Bravo, 2016
  • Merrily We Go to Hell, Dorothy Arzner, 1932
  • Millie, John Francis Dillon, 1931
  • Modern Romance, Albert Brooks, 1981
  • Mother, Albert Brooks, 1996
  • Nettles, Raven Jackson, 2018
  • Night Nurse, William A. Wellman, 1931
  • Nocturama, Bertrand Bonello, 2016
  • The Ogre, Volker Schlöndorff, 1996
  • Ô saisons, ô châteaux, Agnès Varda, 1958
  • One Hundred and One Nights, Agnès Varda, 1995
  • Pauline Alone, Janicza Bravo, 2014
  • The Phantom Tollbooth, Chuck Jones, Abe Levitow, and Dave Monahan, 1970
  • Plaisir d’amour en Iran, Agnès Varda, 1976
  • The Prison in Twelve Landscapes, Brett Story, 2016
  • Real Life, Albert Brooks, 1979
  • Réponse de femmes, Agnès Varda, 1975
  • Salut les Cubains, Agnès Varda, 1963
  • Sátántangó, Béla Tarr, 1994
  • Streetwise, Martin Bell, 1984
  • T’as de beaux escaliers, tu sais, Agnès Varda, 1986
  • Tabu, Miguel Gomes, 2012
  • Tabu: A Story of the South Seas, F. W. Murnau, 1931
  • Thank You and Good Night, Jan Oxenberg, 1991*
  • Three on a Match, Mervyn LeRoy, 1932
  • Tiny: The Life of Erin Blackwell, Martin Bell, 2016
  • Town Bloody Hall, Chris Hegedus, D. A. Pennebaker, 1979
  • Ulysse, Agnès Varda, 1982
  • Union Depot, Alfred E. Green, 1932
  • Varda by Agnès, Agnès Varda, 2019
  • The Virgin Suicides, Sofia Coppola, 1999
  • Voyager, Volker Schlöndorff, 1991
  • Walking on Water, Andrey Paounov, 2018
  • Western, Bill Ross IV and Turner Ross, 2015
  • Woman in Deep, Janicza Bravo, 2016
  • Working Girls, Dorothy Arzner, 1931
  • Ydessa, les ours et etc… ., Agnès Varda, 2004
  • Zama, Lucrecia Martel, 2017

*Available September 23
**Available in the U.S. only, September 24

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August 2020 Programming on the Criterion Channel Announced https://criterioncast.com/news/august-2020-programming-on-the-criterion-channel-announced Fri, 24 Jul 2020 19:40:52 +0000 https://criterioncast.com/?p=64012

Each month, the programmers at the Criterion Channel produce incredible line-ups for their subscribers. For August, the Channel will feature films from Bill Gunn, Mia Hansen-Løve, Terry Gilliam, Wim Wenders, and more!

Below you’ll find the programming schedule for the month, along with a complete list of titles that Criterion has in store for us. Don’t forget to check the Criterion Channel’s main page regularly though, as they occasionally will drop surprises that aren’t included in the official press release.

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Saturday, August 1

Saturday Matinee: The Little Prince

Antoine de Saint-Exupéry’s internationally beloved philosophical fable receives a touchingly sincere, imaginative musical adaptation courtesy of three giants of the form: director Stanley Donen and legendary songwriting team Alan Jay Lerner and Frederick Loewe. Filmed on location in Tunisia, The Little Prince brings to life Saint-Exupéry’s deceptively simple tale of an encounter between a pilot (Richard Kiley) who has made an emergency landing in the Sahara Desert and a young, blonde-haired prince (Steven Warner), an intergalactic traveler from the Asteroid B–612 whose observations on life on Earth offer poignant insight into the human condition. The illustrious supporting cast includes Bob Fosse as the Snake, Gene Wilder as the Fox, and Donna McKechnie as the Rose.

Saturday, August 1

Sullivan’s Travels: Criterion Collection Edition #118

Tired of churning out lightweight comedies, Hollywood director John L. Sullivan (Joel McCrea) decides to make O Brother, Where Art Thou?—a serious, socially responsible film about human suffering. After his producers point out that he knows nothing of hardship, Sullivan hits the road disguised as a hobo. En route to enlightenment, he encounters a lovely but no-nonsense young woman (Veronica Lake)—and more trouble than he ever dreamed of. This comic masterpiece by Preston Sturges is among the finest Hollywood satires and a high-water mark in the career of one of the industry’s most revered funnymen. SUPPLEMENTAL FEATURES: A PBS-produced documentary on Sturges; a video essay by critic David Cairns, featuring filmmaker Bill Forsyth; an archival interview with Sturges by gossip columnist Hedda Hopper; and more.

Sunday, August 2

Australian New Wave

Featuring Voices from the Australian New Wave, a short documentary including interviews with Gillian Armstrong, Bruce Beresford, David Gulpilil, Peter Weir, and others

It came from a land down under … From the early seventies through the mideighties, a resurgence of government funding for national film production gave birth to a generation of brave, unconventional new voices who made Australia the home to a brief but bright-burning cinematic renaissance. Among the filmmakers who emerged from this artistic flowering were pivotal figures like Peter Weir, George Miller, Gillian Armstrong, Bruce Beresford, Fred Schepisi, and Phillip Noyce, many of whom went on to successful international careers. Encompassing subversive visions of Australian history (Picnic at Hanging Rock, My Brilliant Career), dystopian science-fiction cult classics (Mad Max, The Cars That Ate Paris), groundbreaking coming-of-age dramas (The Devil’s Playground, Puberty Blues), and beyond, these formally bold, thematically provocative films delved into the intricacies of Australian society and identity with newfound fearlessness. Among their most urgent concerns was for the country’s relationship to and mistreatment of its Indigenous people, as seen in works like The Chant of Jimmie Blacksmith, Walkabout, Storm Boy, and The Last Wave, the last three of which all star legendary Aboriginal actor David Gulpilil, who stands as one of the movement’s most enduring faces.

  • Walkabout, Nicolas Roeg, 1971
  • The Cars That Ate Paris, Peter Weir, 1974
  • Picnic at Hanging Rock, Peter Weir, 1975
  • Sunday Too Far Away, Ken Hannam, 1975
  • The Devil’s Playground, Fred Schepisi, 1976
  • Don’s Party, Bruce Beresford, 1976
  • Storm Boy, Henri Safran, 1976
  • The Getting of Wisdom, Bruce Beresford, 1977
  • The Last Wave, Peter Weir, 1977
  • The Chant of Jimmie Blacksmith, Fred Schepisi, 1978
  • Long Weekend, Colin Eggleston, 1978
  • Money Movers, Bruce Beresford, 1978
  • Newsfront, Phillip Noyce, 1978
  • Mad Max, George Miller, 1979
  • My Brilliant Career, Gillian Armstrong, 1979
  • The Plumber, Peter Weir, 1979
  • Breaker Morant, Bruce Beresford, 1980
  • Gallipoli, Peter Weir, 1981
  • Puberty Blues, Bruce Beresford, 1981
  • Starstruck, Gillian Armstrong, 1982
  • The Year of Living Dangerously, Peter Weir, 1982

Monday, August 3

Four Documentaries by Ron Mann

Featuring a new introduction by Mann

Essential records of North America’s pop-culture underground, the documentaries of Ron Mann are deep dives into some of the most vital and often overlooked artistic movements of the twentieth century. Finding offbeat inspiration in the creativity that flourishes outside the mainstream, he has chronicled everything from free jazz (Imagine the Sound) to modern poetry (Poetry in Motion) to comic books (Comic Book Confidential), along the way capturing invaluable interviews with cult luminaries like musicians Cecil Taylor and Archie Shepp, writers William S. Burroughs and Charles Bukowski, and cartoonists Jack Kirby and Robert Crumb. Made in the same outsider spirit as the subjects he chronicles, Mann’s films are engagingly idiosyncratic odes to iconoclasts and visionaries bold enough to follow their own muses.

  • Imagine the Sound, 1981
  • Poetry in Motion, 1982
  • Comic Book Confidential, 1988
  • Twist, 1992

Tuesday, August 4

Short + Feature: High-Flying Heroes

Mynarski Death Plummet and Only Angels Have Wings

Composed in a constructivist riot of eyeball-scrambling images, Matthew Rankin’s acclaimed experimental short Mynarski Death Plummet jumbles live action and animation to expressionistically evoke the courageous final moments of Andrew Mynarski, a Canadian World War II airman who plunged to his death after saving the life of a fellow pilot. It’s a white-knuckle warm-up to the daredevil action on display in Howard Hawks’s rollicking adventure classic Only Angel Have Wings, starring Cary Grant as a dashing pilot who risks life and limb to keep the mail deliveries flying in a remote South American outpost.

Wednesday, August 5

Rafiki

Bursting with the colorful street style and music of Nairobi’s vibrant youth culture, Rafiki is a tender love story between two young women in a country that still criminalizes homosexuality. Kena and Ziki have long been told that “good Kenyan girls become good Kenyan wives,” but they yearn for something more. Despite the political rivalry between their families, the girls encourage each other to pursue their dreams in a conservative society. When love blossoms between them, Kena and Ziki must choose between happiness and safety. Initially banned in Kenya for its positive portrayal of queer romance, Rafiki made history by winning a landmark supreme court case chipping away at Kenyan anti-LGBTQ legislation.

Thursday, August 6

World Cinema Project: Lucía

Featuring Humberto & Lucía, a new documentary about the making of the film

A breathtaking vision of Cuban revolutionary history wrought with white-hot intensity by Humberto Solás, this operatic epic tells the story of a changing country through the eyes of three women, each named Lucía. In 1895, she is a tragic noblewoman who inadvertently betrays her country for love during the war of independence. In 1932, she is the daughter of a bourgeois family drawn into the workers’ uprising against the dictatorship of Gerardo Machado. And in the postrevolutionary 1960s, she is a newlywed farm girl fighting against patriarchal oppression. A formally dazzling landmark of postcolonial cinema, Lucía is both a senses-stunning visual experience and a fiercely feminist portrait of a society journeying toward liberation.

Friday, August 7

Double Feature: The Decline of Midwestern Civilization

The Magnificent Ambersons and Kings Row

The year 1942 saw the release of two films, both based on acclaimed novels and set in turn-of-the-century Midwest railroad towns, that follow the trials, tribulations, and downward spirals of their characters, as brought to life by stellar ensemble casts. While Orson Welles’s majestically poignant adaptation of Booth Tarkington’s The Magnificent Ambersons has, despite the tragedy of its missing footage, taken its place as one of the auteur’s greatest achievements, Warner Bros.’ lurid take on Henry Bellamann’s taboo-busting best seller Kings Row occupies a different place in film history: as one of the most wildly hysterical melodramas ever made, a shockingly perverse portrait of the seamy side of small-town life that features star Ronald Reagan’s immortal utterance, “Where’s the REST of me?!”

Saturday, August 8

Saturday Matinee: Storm Boy

This deeply affecting classic of the Australian New Wave is one of the most moving films ever made about the relationship between children and animals. Cut off from the world by his reclusive father (Peter Cummins), Mike (Greg Rowe), a lonely young boy, experiences an emotional awakening through his growing bonds with an orphaned pelican and Fingerbone Bill (David Gulpilil), an Aboriginal man estranged from his tribe. Lyrically shot amid the scenic splendor of South Australia’s coast, Storm Boy weaves a simple but profound fable about friendship and loss that’s beautifully attuned to the wonders of the natural world.

Sunday, August 9

Starring Alain Delon

The beautiful boy of French cinema whose steely, ice-blue gaze betrayed more than a hint of danger, Alain Delon was a favorite of modernists like Luchino Visconti, Jean-Pierre Melville, and Michelangelo Antonioni, all of whom were seduced by his impossible good looks and air of cool detachment. This selection of many of Delon’s finest moments spotlights his star-making performance as the gorgeous, duplicitous Tom Ripley in René Clément’s Patricia Highsmith adaptation Purple Noon; his career-defining turn as a zen contract killer in Melville’s Le samouraï; his sizzling chemistry with a leather-clad Marianne Faithfull in Jack Cardiff’s X-rated counterculture head-trip The Girl on a Motorcycle; his subtle portrayal of an amoral art dealer mixed up in a case of mistaken identity in Joseph Losey’s unsung classic Mr. Klein; and more.

  • Purple Noon, René Clément, 1960
  • Rocco and His Brothers, Luchino Visconti, 1960
  • L’eclisse, Michelangelo Antonioni, 1962
  • Any Number Can Win, Henri Verneuil, 1963
  • Once a Thief, Ralph Nelson, 1965
  • Le samouraï, Jean-Pierre Melville, 1967
  • The Girl on a Motorcycle, Jack Cardiff, 1968
  • Spirits of the Dead, Federico Fellini, Louis Malle, and Roger Vadim, 1968
  • Le cercle rouge, Jean-Pierre Melville, 1970
  • The Widow Couderc, Pierre Granier-Deferre, 1971
  • Un flic, Jean-Pierre Melville, 1972
  • Mr. Klein, Joseph Losey, 1976

Monday, August 10

Festival: Criterion Collection Edition #892

Before Woodstock and Monterey Pop, there was Festival. From 1963 through 1966, Murray Lerner visited the annual Newport Folk Festival to document a thriving, idealistic musical movement as it reached its peak as a popular phenomenon. Joan Baez, Bob Dylan, Howlin’ Wolf, Johnny Cash, the Staple Singers, Pete Seeger, Son House, and Peter, Paul and Mary were just a few of the legends who shared the stage at Newport, treating audiences to a range of folk music that encompassed the genre’s roots in blues, country, and gospel as well as its newer flirtations with rock and roll. Shooting in gorgeous black and white, Lerner juxtaposes performances with snapshot interviews with artists and their fans, weaving footage from four years of the festival into an intimate record of a pivotal time in music—and in American culture at large. SUPPLEMENTAL FEATURES: A selection of unreleased performances by Johnny Cash, Odetta, John Lee Hooker, and others; Making “Festival,” a program featuring Lerner, associate editor Alan Heim, and assistant editor Gordon Quinn; When We Played Newport, featuring archival interviews with musicians Joan Baez, Judy Collins, Phil Ochs, Buffy Sainte-Marie, Pete Seeger, Peter Yarrow, and others; and more.

Tuesday, August 11

Short + Feature: Hands of Fate

Cutaway and L’argent

Radical minimalism is wielded with extraordinary power in the hands of two cinematic ascetics. Told entirely without spoken dialogue and exclusively though close-ups of its main character’s hands, Kazik Radwanski’s Cutaway uses the simplest of means to crate a piercing portrait of a construction worker grappling with a devastating personal crisis. Radwanski was inspired in large part by the work of Robert Bresson, whose famously austere style achieves its purest form in his shattering final film, L’argent, in which a focus on hands is used to convey the story of a circulating counterfeit bill that infects the lives of all who come in contact with it.

Tuesday, August 11

Brazil: Criterion Collection Edition #51

In the dystopian masterpiece Brazil, Jonathan Pryce plays a daydreaming everyman who finds himself caught in the soul-crushing gears of a nightmarish bureaucracy. This cautionary tale by Terry Gilliam, one of the great films of the 1980s, has come to be esteemed alongside antitotalitarian works by the likes of George Orwell, Aldous Huxley, and Kurt Vonnegut Jr. And in terms of set design, cinematography, music, and effects, Brazil is a nonstop dazzler. SUPPLEMENTAL FEATURES: What Is “Brazil”?, Rob Hedden’s on-set documentary; The Production Notebook, a collection of interviews and video essays, featuring a trove of Brazil-iana from Gilliam’s personal collection; The Battle of “Brazil,” a documentary about the film’s contentious release; and more.

Wednesday, August 12

Three by Mia Hansen-Løve

Featuring a new introduction by Hansen-Løve

Contemporary French cinema’s heir to the delicately naturalistic, profoundly humanist sensibility of Éric Rohmer, Mia Hansen-Løve mines the raw materials of her own life and family story to create gracefully empathetic explorations of people in states of emotional flux. From a filmmaker facing mounting pressures both at home and at work in Father of My Children to a teenage girl experiencing heartbreak in Goodbye First Love to a middle-aged woman attempting to restart her life after her husband leaves her in the Isabelle Huppert–starring Things to Come, Hansen-Løve’s films find rich philosophical insight in the moments that test us the most.

  • Father of My Children, 2009
  • Goodbye First Love, 2011
  • Things to Come, 2016

Thursday, August 13

Three by Bill Gunn

Featuring a 1984 interview with Gunn

One of the most electrifying but unjustly neglected talents to emerge from the creative ferment of 1970s American cinema, actor, writer, and director Bill Gunn blazed a new trail for Black independent filmmakers with his avant-visionary, Afrocentric vampire myth Ganja & Hess and Personal Problems, an epic, intensely intimate “meta-soap opera” (as writer Ishmael Reed called it) that went virtually unseen for decades before reemerging to widespread acclaim. Those twin masterpieces are presented alongside Ján Kadár’s The Angel Levine, an overlooked Bernard Malamud adaptation cowritten by Gunn and starring Zero Mostel and Harry Belafonte. With their bold, iconoclastic style and focus on the lives of intellectual and middle-class Black characters, Gunn’s uncompromising films were decades ahead of their time—only now is the world beginning to catch up.

  • The Angel Levine, Ján Kadár, 1970
  • Ganja & Hess, Bill Gunn, 1973
  • Personal Problems, Bill Gunn, 1980

Friday, August 14

Double Feature: Behind the Screens

Hollywood Shuffle and The Player

Two maverick filmmakers with uneasy relationships to Hollywood offer hilarious and scathing satires of the film industry. Made guerrilla style on maxed-out credit cards, Robert Townsend’s brilliantly inventive Hollywood Shuffle draws on his own experiences struggling to make it as a Black actor in Hollywood to lampoon the typecasting of people of color. Another Robert—Altman, no less—takes aim at the industry’s corporate soullessness in his biting insider comedy The Player, featuring one of the most virtuosic opening shots in film history as well as an astonishing sixty-five (count ’em!) celebrity cameos.

Saturday, August 15

Saturday Matinee: The Secret Garden

Two of golden-age Hollywood’s greatest and most beloved child stars bring the classic novel by Frances Hodgson Burnett to enchanting life. In her final role at MGM, Margaret O’Brien plays Mary, a young orphan sent to live at the dark and foreboding English estate of her embittered uncle (Herbert Marshall) and his temperamental, bedridden son (fellow juvenile virtuoso Dean Stockwell). There, Mary discovers the existence of a walled-off, overgrown garden, a secret little world that, as the children nurture it, brings a glimmer of hope to a broken family. The film’s sense of wonder is enhanced by the expressive cinematography, which blossoms from atmospheric monochrome to radiant color in an unforgettable moment of movie magic.

Sunday, August 16

Directed by Wim Wenders

Turning seventy-five this August, Wim Wenders is cinema’s preeminent poet of the open road, soulfully tracing the journeys of wanderers and drifters searching for themselves. Over the course of his incredible five-decade career, Wenders has traversed the landscapes of his native Germany (Alice in the Cities, Kings of the Road), the highways of the American Southwest (Paris, Texas), and the dream worlds of angels (Wings of Desire), working with master cinematographers like Robby Müller and Henri Alekan to create some of the most indelible images in all of modern cinema. Moving restlessly between exquisite narrative works and innovative documentaries like Tokyo-ga and Pina, Wenders remains a vital and prolific creative force, following his inspiration across the world wherever it may lead.

Features

  • Alice in the Cities, 1974
  • Wrong Move, 1975
  • Kings of the Road, 1976
  • The American Friend, 1977
  • Paris, Texas, 1984
  • Tokyo-ga, 1985
  • Wings of Desire, 1987
  • Until the End of the World, 1991
  • Palermo Shooting, 2008
  • Pina, 2011

Shorts

  • Same Player Shoots Again, 1968

Monday, August 17

Documentaries by Les Blank

From garlic to gap-toothed women, no subject was too esoteric to capture the imagination of Les Blank, an uncompromisingly independent spirit who, for nearly fifty years, disappeared with his camera into subcultures rarely seen on-screen. Seemingly off-the-cuff yet poetically constructed, Blank’s films are humane, sometimes wry, always engaging tributes to music, food, and all sorts of regionally specific delights. Whether documenting the art of a legendary Texas bluesman (The Blues Accordin’ to Lightnin’ Hopkins), the richness of Cajun culture (Spend It All), or the quixotic exploits of his friend Werner Herzog (Burden of Dreams), Blank had a boundless zest for life and people that shines through every frame of his affectionate, joy-filled work.

Features

  • A Poem is a Naked Person, 1974
  • Burden of Dreams, 1982

Shorts

  • The Blues Accordin’ to Lightnin’ Hopkins, 1968
  • God Respects Us When We Work, but Loves Us When We Dance, 1968
  • Spend It All, 1971
  • A Well Spent Life, 1971
  • Dry Wood, 1973
  • Hot Pepper, 1973
  • Always for Pleasure, 1978
  • Garlic Is as Good as Ten Mothers, 1980
  • Sprout Wings and Fly, 1983
  • In Heaven There Is No Beer?, 1984
  • Gap-Toothed Women, 1987
  • Yum, Yum, Yum! A Taste of Cajun and Creole Cooking, 1990
  • The Maestro: King of the Cowboy Artists, 1994
  • Sworn to the Drum: A Tribute to Francisco Aguabella, 1995

Tuesday, August 18

Short + Feature: Landscapes of Loss

Voices of Kidnapping and Nostalgia for the Light

The enduring love of families for victims of political violence reaches across time and space in two haunting topographic meditations on grief and hope. Ryan McKenna’s ghostly short Voices of Kidnapping sets otherworldly images of Colombia’s lush jungle landscapes to broadcasts of Voces del secuestro, a radio program that allows family members of those kidnapped by guerrillas to transmit messages to their missing loved ones. Then, master documentarian Patricio Guzmán journeys from the furthest reaches of outer space to Chile’s parched Atacama Desert—where family members of those “disappeared” by the Pinochet regime scour the sands for their remains—in Nostalgia for the Light, another stunning, impressionistic exploration of the relationship between landscape and political trauma.

Wednesday, August 19

Starstruck

For the follow-up to her acclaimed first feature, My Brilliant Career, Australian New Wave leader Gillian Armstrong turned to a very different type of project: a gloriously over-the-top, shiny pop musical complete with outré costumes, high-energy dance numbers, and eye-popping production design courtesy of Brian Thomson (The Rocky Horror Picture Show). Desperate to break into the music business, teenage Jackie (Jo Kennedy) gets her shot at superstardom when her enterprising cousin (Ross O’Donovan) engineers a string of audacious publicity stunts that take the pair from their family’s pub to the stage of the Sydney Opera House. Featuring infectiously catchy tunes by Kiwi legends Split Enz, Starstruck updates the classic “let’s put on a show” formula with a blast of irresistible, neon-bright exuberance.

Thursday, August 20

Bacurau

Exclusive streaming premiere, featuring an interview with directors Kleber Mendonça Filho and Juliano Dornelles

A few years from now … As Bacurau, a small town in the Brazilian sertão, mourns the loss of its ninety-four-year-old matriarch, its inhabitants (among them national cinema icon Sônia Braga) begin to notice a series of strange happenings: their village has literally vanished from online maps, cell phones have stopped working, and a UFO-like drone hovers menacingly overhead. An ominous force is converging on Bacurau, an unknown threat that will force the community to band together and fight for its survival. Luckily, the resourceful residents are more than up for the challenge. A blistering sci-fi thriller streaked with antiracist and anticolonialist rage, the new film from Aquarius director Kleber Mendonça Filho, codirected with Juliano Dornelles, is an audacious, furiously entertaining model of genre art as a vehicle for political resistance.

Thursday, August 20

Three by Robert Siodmak

Along with fellow European émigrés like Fritz Lang and Billy Wilder, German-born Robert Siodmak was instrumental in importing the expressionist visual style and hard-bitten existentialist sensibility that would define Hollywood film noir, arguably creating more classics of the genre than any other director. His moody, shadow-etched compositions and flair for the fatalistic are on full display in three of his finest: Phantom Lady, his dreamlike first noir and a fascinating protofeminist example of the genre; The Killers, a landmark known as the “Citizen Kane of noir” for its intricate flashback structure, starring Burt Lancaster in his film debut; and Criss Cross, which reunited the director with Lancaster for one of the twistiest and bleakest crime thrillers ever made.

  • Phantom Lady, 1944
  • The Killers, 1946
  • Criss Cross, 1949

Friday, August 21

Double Feature: Art of Darkness

The American Friend and Mr. Klein

Master directors Wim Wenders and Joseph Losey paint sinister portraits of moral corruption in a pair of spellbinding, coolly stylized tales of unscrupulous art dealers embroiled in dangerous underworlds. Wenders’ gripping Patricia Highsmith adaptation The American Friend casts Dennis Hopper as the author’s recurring antihero Tom Ripley, here a menacing peddler of forged paintings who draws an ailing Bruno Ganz into his murderous web. Then, Alain Delon gives one of his greatest performances in Joseph Losey’s long-neglected masterpiece Mr. Klein, a tensely atmospheric plunge into the world of a collaborationist art dealer in Nazi-occupied Paris who becomes mixed up in a disturbing case of mistaken identity.

Saturday, August 22

Saturday Matinee: The 5,000 Fingers of Dr. T.

One of the most outrageous acts of cinematic surrealism ever to emanate from Hollywood’s dream factory, the only film written by Theodor Seuss Geisel (a.k.a. Dr. Seuss) is a riotous Technicolor fantasy in which a young boy (Tommy Rettig) dreams himself into an imaginary world ruled by a diabolical piano teacher (Hans Conried) who forces five hundred children to practice an enormous keyboard for eternity. With its outlandish sets, eccentric musical numbers (with lyrics also penned by Dr. Seuss), and vaguely unsettling tone, The 5,000 Fingers of Dr. T. was met with incomprehension upon its release but has since taken its place as a beloved cult favorite, a one-of-a-kind children’s film that doubles as a triumph of genuine avant-garde imagination.

Sunday, August 23

Bad Vacations

Wishing you could get away this summer? This collection of some of cinema’s most memorably disastrous trips will have you reconsidering the comforts of home. Dreaming of the crystal blue waters of the French Riviera? The existential ennui of Otto Preminger’s Bonjour tristesse and Eric Rohmer’s La collectionneuse should set you straight. Pining for romance under the Italian sun? Just see how it works out for the tourists in Paul Schrader’s The Comfort of Strangers and Joanna Hogg’s Unrelated. And then there’s the terror of a camping excursion gone wrong in the Ozploitation shocker Long Weekend, the dread-inducing psychological torpor of a dysfunctional family getaway in Lucrecia Martel’s La Ciénaga, and the black-comic craziness of a killer road trip in Ben Wheatley’s Sightseers. Finally, whatever you do, take a lesson from House and do not, under any circumstances, visit your witchy aunt’s possessed, people-munching domicile …

  • Bonjour tristesse, Otto Preminger, 1958
  • La collectionneuse, Éric Rohmer, 1967
  • The Deep, Peter Yates, 1977
  • House, Nobuhiko Obayashi, 1977
  • Long Weekend, Colin Eggleston, 1978
  • The Green Ray, Eric Rohmer, 1986
  • The Comfort of Strangers, Paul Schrader, 1990
  • The Sheltering Sky, Bernardo Bertolucci, 1990
  • Funny Games, Michael Haneke, 1997
  • Fat Girl, Catherine Breillat, 2001
  • La Ciénaga, Lucrecia Martel, 2001
  • Unrelated, Joanna Hogg, 2007
  • Sightseers, Ben Wheatley, 2012

Monday, August 24

John McEnroe: In the Realm of Perfection

Narrated by Mathieu Amalric, this innovative documentary revisits a wealth of 16 mm footage of tennis superstar John McEnroe taken at the height of his career, when he competed to defend his status as the world’s top-ranked player at the 1984 French Open. Close-ups and slow-motion sequences of McEnroe playing, as well as flare-ups of his notorious on-court tantrums, reveal a “man who played on the edge of his senses.” Far from a traditional sports documentary, John Mcenroe: In the Realm of Perfection expressively reshapes its material to explore both McEnroe’s game and the footage itself, creating a mesmerizing,immersive study of a driven athlete, the human body in motion, and cinema itself.

Tuesday, August 25

Short + Feature: Poetry in Motion

The Lonedale Operator and And When I Die, I Won’t Stay Dead

The words and worlds of two visionary poets flicker to life in these richly cinematic odes to American genius. Named for both a D. W. Griffith short and a poem it inspired by the great John Ashbery, Michael Almereyda’s The Lonedale Operator interweaves the writer’s reflections on cinema with fragments of the films that touched him to create a prismatic portrait of the artist that mirrors the free-flowing, postmodern style of his own work. Poetry and archival footage are also combined to alchemical effect in Billy Woodberry’s And When I Die, I Won’t Stay Dead, an enlightening look at the life of brilliant Black Beat writer and activist Bob Kaufman, featuring interviews with and readings from luminaries like Ruby Dee and Ossie Davis.

Wednesday, August 26

Sun Don’t Shine

Featuring a new introduction by Seimetz and her short film When We Lived in Miami

Written and directed by Amy Seimetz, this tantalizingly enigmatic, sun-kissed noir follows Crystal (Kate Lyn Sheil) and her boyfriend Leo (Kentucker Audley) on a tense and mysterious road trip through the desolate yet hauntingly beautiful landscape of central Florida. From the outset, the purpose of their journey is unclear, but as the couple travels up the Gulf Coast past an endless panorama of mangrove fields, trailer parks, and cookie-cutter housing developments, the disturbing details begin to emerge, revealing Crystal’s sinister past and the pair’s troubling future. Filmed on location in the environs of Seimetz’s hometown of St. Petersburg, Sun Don’t Shine is a simmering work of pulp poetry driven by its powerful performances and eerily evocative setting.

Thursday, August 27

Three by Stephen Cone

Featuring a new interview with Cone

A self-taught filmmaker who has quietly garnered a reputation as one of American independent cinema’s most thoughtful and compassionate artists, Stephen Cone is a true actor’s director, working intimately with a cast of regulars to tell naturalistic, deeply human stories about coming of age, coming out, and the intricacies of modern-day religion. First coming to attention with The Wise Kids, a remarkably nuanced portrait of Bible Belt teenagers dealing with issues of faith and sexuality, Cone has continued to explore themes of adolescent discovery and turmoil in sensitively observed works like Henry Gamble’s Birthday Party and Princess Cyd. Triumphs of subtle, empathetic storytelling, Cone’s unjustly under-the-radar films exude an easy, understated grace even as they grapple with some of life’s most complex questions.

  • The Wise Kids, 2011
  • Henry Gamble’s Birthday Party, 2015
  • Princess Cyd, 2017

Friday, August 28

Double Feature: Private Eyes

Phantom Lady and Variety

The power of the female gaze subverts the genre and gender conventions of classical film noir in a dreamlike thriller and a feminist touchstone it inspired. The first of the baroquely stylized noir masterpieces directed by genre specialist Robert Siodmak, the expressionistically sinister Cornell Woolrich adaptation Phantom Lady casts Ella Raines as a secretary who transforms herself into an amateur sleuth in order to track down a mysterious witness she hopes can clear her boss of a murder charge. The way Raines’s character plays against the traditionally male gumshoe archetype inspired Bette Gordon in the making of her landmark revisionist noir Variety, a provocative study of voyeurism, obsession, and female erotic fantasy set amid the Times Square porn houses of 1980s New York City.

Saturday, August 29

Saturday Matinee: The Scarlet Pimpernel

Prestige producer Alexander Korda applies his seal of quality to this rip-roaring swashbuckler, a rollickingly entertaining adaptation of the classic novel by Baroness Orczy, which introduced the widely imitated trope of a hero with a secret identity. Leslie Howard steps into the foppish finery of the seemingly ineffectual English aristocrat who, as his quick-thinking alter ego the Scarlet Pimpernel, rescues innocents from the guillotine during the French Revolution. Boasting a superb cast that includes Merle Oberon and Raymond Massey, this crackling adventure offers one of cinema’s most unique heroes: a charming, cheeky dandy with the heart of a lion.

Sunday, August 30

Films by Bill Plympton

“King of Indie Animation” Bill Plympton’s wonderfully weird creations are unmistakable: the wriggly, hand-sketched style, warped humor, and endlessly shape-shifting, transmogrifying images are the hallmarks of a singularly bizarre and brilliant imagination. Originally a newspaper cartoonist, Plympton found success as a film animator when his entrancingly twisted musical Your Face received an Oscar nomination for best animated short, leading to dozens more shorts and features, regular play on early 1990s MTV, another Oscar nomination (for the short Guard Dog), and a worldwide cult following. A self-described “blend of Magritte and R. Crumb—that European surrealism, but the weird, goofy sexual craziness of R. Crumb,” Plympton is a one-of-a-kind auteur of the absurd, an underground animation hero whose films hold a funhouse mirror up to the innate strangeness of everyday reality.

Features

  • The Tune, 1992
  • I Married a Strange Person!, 1997
  • Mutant Aliens, 2001
  • Hair High, 2004
  • Idiots and Angels, 2008
  • Cheatin’, 2013
  • Revengeance, 2016

Shorts

  • Your Face, 1987
  • One of Those Days, 1988
  • 25 Ways to Quit Smoking, 1989
  • How to Kiss, 1988
  • Push Comes to Shove, 1991
  • The Wiseman, 1991
  • How to Make Love to a Woman, 1996
  • Sex and Violence, 1997
  • Guard Dog, 2004
  • The Fan and The Flower, 2005
  • Guide Dog, 2006
  • Hot Dog, 2008
  • Santa, the Fascist Years, 2008
  • Horn Dog, 2009
  • The Cow Who Wanted to Be a Hamburger, 2010

Monday, August 31

Exporting Raymond

Featuring a new introduction by director Phil Rosenthal

Phil Rosenthal created one of the most iconic television families of all time with his hit sitcom Everybody Loves Raymond. He was a bona fide expert in his craft. And then … the Russians called. In this genuine fish-out-of-water comedy that could only have happened in real life, Phil travels to Russia to help adapt his beloved show for Russian television. The Russians don’t share his taste. They don’t share his sense of humor. But what Phil does discover is a true farce, filled with characters and situations as outlandish as any he could script. Whether you’re a fan of the show or have never seen it, Exporting Raymond offers a hilarious, wildly entertaining look at what happens when a quintessentially American comedy gets lost in translation.


Complete list of films premiering on the Criterion Channel this month:

  • 25 Ways to Quit Smoking, Bill Plympton, 1989
  • The 5,000 Fingers of Dr. T, Roy Rowland, 1953
  • The Angel Levine, Ján Kadár, 1970
  • Any Number Can Win, Henri Verneuil, 1963
  • Bacurau, Kleber Mendonça Filho and Juliano Dornelles, 2019
  • Brazil, Terry Gilliam, 1985
  • The Chant of Jimmie Blacksmith, Fred Schepisi, 1978
  • Cheatin’, Bill Plympton, 2013
  • Comic Book Confidential, Ron Mann, 1988
  • The Cow Who Wanted to Be a Hamburger, Bill Plympton, 2010
  • Criss Cross, Robert Siodmak, 1949
  • Cutaway, Kazik Radwanski, 2014
  • The Deep, Peter Yates, 1977
  • Devil’s Doorway, Anthony Mann, 1950
  • The Devil’s Playground, Fred Schepisi, 1976
  • Don’s Party, Bruce Beresford, 1976
  • Exporting Raymond, Phil Rosenthal, 2010
  • The Fan and the Flower, Bill Plympton, 2005
  • Father of My Children, Mia Hansen-Løve, 2009
  • Un flic, Jean-Pierre Melville, 1972
  • Gallipoli, Peter Weir, 1981
  • Ganja & Hess, Bill Gunn, 1973
  • The Getting of Wisdom, Bruce Beresford, 1977
  • The Girl on a Motorcycle, Jack Cardiff, 1968
  • Goodbye First Love, Mia Hansen-Løve, 2011
  • Guard Dog, Bill Plympton, 2004
  • Guide Dog, Bill Plympton, 2006
  • Hair High, Bill Plympton, 2004
  • Henry Gamble’s Birthday Party, Stephen Cone, 2015
  • Horn Dog, Bill Plympton, 2009
  • Hot Dog, Bill Plympton, 2008
  • How to Kiss, Bill Plympton, 1988
  • How to Make Love to a Woman, Bill Plympton, 1996
  • I Married a Strange Person!, Bill Plympton, 1997
  • Idiots and Angels, Bill Plympton, 2008
  • Imagine the Sound, Ron Mann, 1981
  • John McEnroe: In the Realm of Perfection, Julien Faraut, 2018
  • The Killers, Robert Siodmak, 1946
  • Kings Row, Sam Wood, 1942
  • Le cercle rouge, Jean-Pierre Melville, 1970
  • The Little Prince, Stanley Donen, 1974
  • The Lonedale Operator, Michael Almereyda, 2018
  • Long Weekend, Colin Eggleston, 1978
  • Mad Max, George Miller, 1979
  • The Magnificent Ambersons, Orson Welles, 1942
  • Money Movers, Bruce Beresford, 1978
  • Mr. Klein, Joseph Losey, 1976
  • Mutant Aliens, Bill Plympton, 2001
  • Mynarski Death Plummet, Matthew Rankin, 2014
  • Newsfront, Phillip Noyce, 1978
  • Once a Thief, Ralph Nelson, 1965
  • One of Those Days, Bill Plympton, 1988
  • Only Angels Have Wings, Howard Hawks, 1939
  • Personal Problems, Bill Gunn, 1980
  • Phantom Lady, Robert Siodmak, 1944
  • Poetry in Motion, Ron Mann, 1982
  • Princess Cyd, Stephen Cone, 2017
  • Puberty Blues, Bruce Beresford, 1981
  • Push Comes to Shove, Bill Plympton, 1991
  • Revengeance, Bill Plympton and Jim Lujan, 2016
  • Rocco and His Brothers, Luchino Visconti, 1960
  • Santa, the Fascist Years, Bill Plympton, 2008
  • The Secret Garden, Fred M. Wilcox, 1949
  • Sex and Violence, Bill Plympton, 1997
  • Sightseers, Ben Wheatley, 2012**
  • Starstruck, Gillian Armstrong, 1982
  • Storm Boy, Henri Safran, 1976
  • Sullivan’s Travels, Preston Sturges, 1941
  • Sunday Too Far Away, Ken Hannam, 1975
  • Sun Don’t Shine, Amy Seimetz, 2012
  • Things to Come, Mia Hansen-Løve, 2016
  • The Tune, Bill Plympton, 1992
  • Twist, Ron Mann, 1992
  • Unrelated, Joanna Hogg, 2007
  • Voices of Kidnapping, Ryan McKenna, 2017
  • The Widow Couderc, Pierre Granier-Deferre, 1971
  • The Wise Kids, Stephen Cone, 2011
  • The Wiseman, Bill Plympton, 1991
  • The Year of Living Dangerously, Peter Weir, 1982
  • Your Face, Bill Plympton, 1987

**Available in the U.S. only

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The Summer 2020 Barnes & Noble 50% Off Criterion Collection Sale Has Begun! https://criterioncast.com/news/the-summer-2020-barnes-noble-50-off-criterion-collection-sale-has-begun Fri, 10 Jul 2020 05:14:21 +0000 https://criterioncast.com/?p=63945
For the past several years, Barnes & Noble holds a bi-annual 50% off sale on the Criterion Collection, each July and November. The sale begins today online and goes through August 2nd.

Below you’ll find covers to the most recent Criterion Collection Blu-ray releases, with links taking you to their corresponding pages on Barnes & Noble’s website.

What are you picking up this time around? Head over to our Facebook page, or Subreddit, and share your haul shots!

These are affiliate links, and when you purchase through our links, you are helping our site. I really appreciate it.


July 2020

June 2020

May 2020

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July 2020 Programming on the Criterion Channel Announced https://criterioncast.com/news/july-2020-programming-on-the-criterion-channel-announced Fri, 26 Jun 2020 01:49:20 +0000 https://criterioncast.com/?p=63842

Each month, the programmers at the Criterion Channel produce incredible line-ups for their subscribers. For July, the Channel will feature films from Miranda July, the Dardenne Brothers, Kelly Reichardt, and more!

Below you’ll find the programming schedule for the month, along with a complete list of titles that Criterion has in store for us. Don’t forget to check the Criterion Channel’s main page regularly though, as they occasionally will drop surprises that aren’t included in the official press release.

Don’t subscribe yet? Start a 14-day free trial

Wednesday, July 1

Between the Lines

Featuring a 1983 documentary portrait of director Joan Micklin Silver by filmmaker Katja Raganelli

Inspired by director Joan Micklin Silver’s time working at New York’s storied alt weekly the Village Voice, this unsung gem of 1970s slice-of-life seriocomedy offers an incisive, bittersweet look at a shifting media landscape that feels as fresh and relevant as ever. At the offices of a Boston independent newspaper, the staff members—including music critic Max (Jeff Goldblum, in one of his first leading roles), news reporter Harry (John Heard) and photographer Abbie (Lindsay Crouse)—enjoy a positive and open-minded work environment. However, it seems as though their relatively carefree days are numbered when the owner of a major publishing company buys the paper, leading to more money, but big changes.

Thursday, July 2

Young Ahmed

Exclusive streaming premiere, featuring a new introduction by film historian Godfrey Cheshire

Winner of the best director award at the 2019 Cannes Film Festival, the latest social-realist triumph from Jean-Pierre and Luc Dardenne finds the pair applying their patented brand of heartrendingly empathetic humanism to an explosive subject. Under the sway of his radical imam, Ahmed (Idir Ben Addi, in a revelatory debut performance), a thirteen-year-old Muslim boy growing up in a small Belgian town, becomes increasingly enamored with the tenets of violent religious extremism—a rejection of his family and society that has shocking consequences. Resisting both easy answers and the urge to sensationalize, the Dardenne brothers offer a clear-eyed, grippingly naturalistic portrait of a young life in crisis graced with the expansive compassion that has made them among the most consistently lauded cinematic voices of our time.

Friday, July 3

Certain Women: Criterion Collection Edition #893

The expanses of the American West take center stage in this intimately observed triptych from Kelly Reichardt. Adapted from three short stories by Maile Meloy and unfolding in self-contained but interlocking episodes, Certain Women navigates the subtle shifts in personal desire and social expectation that unsettle the circumscribed lives of its characters: a lawyer (Laura Dern) forced to subdue a troubled client; a wife and mother (Michelle Williams) whose plans to construct her dream home reveal fissures in her marriage; and a night-school teacher (Kristen Stewart) who forms a tenuous bond with a lonely ranch hand (Lily Gladstone), whose longing for connection delivers an unexpected jolt of emotional immediacy. With unassuming craft, Reichardt captures the rhythms of daily life in small-town Montana through these fine-grained portraits of women trapped within the landscape’s wide-open spaces. SUPPLEMENTAL FEATURES: Interviews with Kelly Reichardt, executive producer Todd Haynes, and author Maile Meloy.

Friday, July 3

Double Feature: Auto Focused

Bullitt and Grand Prix

The roar of the engines, the smell of burning rubber on pavement, and the adrenaline-rush exhilaration of pedal-to-the-metal speed: the kinetic thrill of cool cars in motion is front and center in these two action classics guaranteed to get your motor running. Steve McQueen confirmed his status as the King of Cool with his steely turn in the lean, mean thriller Bullitt, featuring the most iconic car chase ever filmed: a full-throttle pursuit up and down the vertiginous streets of San Francisco. Then, director John Frankenheimer puts you in the driver’s seat in Grand Prix, a sleekly stylized, star-studded technical masterpiece set in the daredevil world of Formula One racing, featuring one of Saul Bass’s most virtuosic title sequences.

Saturday, July 4

Saturday Matinee: Mad Hot Ballroom

Fifth graders from across New York City’s public schools journey into the life-changing world of ballroom dancing in this irresistible documentary from Marilyn Agrelo. Told from the always candid, often hilarious perspectives of the kids themselves, Mad Hot Ballroom traces their journeys from reluctant participants to pint-sized Astaires as they set out to win it all in a citywide competition. Along the way there are trials, tears, life lessons, and, above all, joy—especially when the kids hit the dance floor to strut their stuff.

Sunday, July 5

Western Noir

Featuring a new introduction by critic Imogen Sara Smith

A new breed of westerns emerged after World War II, stained by film noir’s anxious, disenchanted mood and enriched by its psychological and moral complexity. Romantic myths of the frontier gave way to tougher tales of ruthless outlaws, corrupt cattle barons, gold-crazed prospectors, mercenary gunfighters, and lonely, damaged men obsessively pursuing vengeance for past wrongs. Essential noir actors found a home on the range: Robert Mitchum brings his cool, world-weary pessimism to Blood on the Moon and Man with the Gun, while Robert Ryan’s tortured tension anchors the gripping Day of the Outlaw. Women, long marginalized in westerns, wielded newfound power, but not without getting their hands dirty; the femmes fatales of western noir include Barbara Stanwyck (The Violent Men), Ida Lupino (Lust for Gold), and Marlene Dietrich (Rancho Notorious). From brooding black-and-white dramas like Station West and I Shot Jesse James to the harrowing, elegiac masterpieces of Anthony Mann, the West’s wide-open spaces prove as haunted and dangerous as any dark city.

  • Blood on the Moon, Robert Wise, 1948
  • Station West, Sidney Lanfield, 1948
  • I Shot Jesse James, Samuel Fuller, 1949
  • Lust for Gold, S. Sylvan Simon, 1949
  • The Walking Hills, John Sturges, 1949
  • Devil’s Doorway, Anthony Mann, 1950*
  • Rancho Notorious, Fritz Lang, 1952
  • The Naked Spur, Anthony Mann, 1953
  • Man with the Gun, Richard Wilson, 1955
  • The Violent Men, Rudolph Maté, 1955
  • Man of the West, Anthony Mann, 1958
  • Day of the Outlaw, André De Toth, 1959

*Available August 1

Monday, July 6

California Typewriter

A love letter to the analogue pleasures of an increasingly niche technology, this thought-provoking documentary is a rich, affectionate portrait of artists, writers, and collectors who remain steadfastly loyal to the typewriter as a tool and muse. Featuring interviews with high-profile enthusiasts like Tom Hanks, Sam Shepard, David McCullough, John Mayer, and others, it also movingly documents the struggles of California Typewriter, one of the last repair shops in America dedicated to keeping the aging contraptions clicking. As the digital age’s emphasis on speed and convenience reshapes our relationship to technology, CALIFORNIA TYPEWRITER asks us to consider who’s serving whom: human or machine?

Monday, July 6

Lenny Cooke

Featuring an introduction by Josh and Benny Safdie

In 2001, Lenny Cooke was the most hyped high school basketball player in the country, ranked above future greats LeBron James, Amar’e Stoudemire, and Carmelo Anthony. A decade later, he had never played a minute in the NBA. This quintessentially American documentary by Josh and Benny Safdie tracks the unfulfilled destiny of a man for whom superstardom was only just out of reach.

Tuesday, July 7

Short + Feature: Animal Instincts

Shadow Animals and Attenberg

The innate strangeness of human social rituals is brought to the fore in these brilliantly bizarre anthropological social dramas that double as critiques of cultural norms and niceties. Swedish director Jerry Carlsson’s tense, uncanny short Shadow Animals assumes the point of view of a young girl as it surveys the increasingly weird, sinister goings-on at a nightmarish dinner party. Its vision of human nature as inherently animalistic is taken to the extreme in Greek iconoclast Athina Rachel Tsangari’s international breakout Attenberg, an outré blend of coming-of-age melodrama, oddball musical, and surrealist nature documentary.

Tuesday, July 7

Documentaries by the Ross Brothers

The richly impressionistic documentaries of Bill Ross IV Turner Ross are wonders of regional American filmmaking made according to an unwavering philosophy: to be completely present in the moment and alive to the ecstatic humanity that passes before their camera. Transforming everyday life into free-flowing poetry through their rhapsodic editing style, the brothers offer an exhilarating look at a single night in New Orleans in Tchoupitoulas and team up with David Byrne to stage a one-of-a-kind performance built around high school color guards in Contemporary Color.

  • Tchoupitoulas, 2012
  • Contemporary Color, 2016

Wednesday, July 8

Directed by Sara Driver

Featuring an introduction by Driver

Everyday reality slips into surrealist reverie in the uncanny visions of Sara Driver, whose films possess the hallucinatory textures and hypnotic rhythms of a waking dream. A central but often overlooked linchpin of the 1980s downtown New York arts scene, Driver made her directorial debut with You Are Not I, a mesmerizingly eerie adaptation of a Paul Bowles story that was thought lost for decades until it reemerged to take its place as one of the key independent films of the era. In subsequent features Sleepwalk and When Pigs Fly, Driver delved further into the fantastical, crafting modern-day fairy tales whose trancelike spells linger long after the last reel.

  • You Are Not I, 1981
  • Sleepwalk, 1986
  • When Pigs Fly, 1993
  • The Bowery, 1994

Wednesday, July 8

A Dry White Season: Criterion Collection Edition #953

With this bracing drama, made at the climax of the anti-apartheid movement, director Euzhan Palcy issued a devastating indictment of South Africa’s racist government—and made history in the process, becoming the first black woman to direct a Hollywood studio film. White schoolteacher Ben Du Toit (Donald Sutherland) lives in Johannesburg and remains blissfully incurious about the lives of his black countrymen until a wave of brutal treatment comes crashing down on his gardener (Winston Ntshona), bringing Du Toit face-to-face with harsh political realities. Based on a celebrated novel by André Brink and rooted in the first-hand research the Martinican Palcy did in South Africa into the way black people lived under apartheid, A Dry White Season is unflinching in its depiction of violence and its chronicling of injustice, making for a galvanizing tribute to those willing to sacrifice everything to fight oppression. SUPPLEMENTAL FEATURES: Interviews with Euzhan Palcy and Donald Sutherland, excerpts from a conversation between Palcy and Nelson Mandela, and more.

Thursday, July 9

Scores by Ryuichi Sakamoto

Featuring Ryuichi Sakamoto: Coda, a 2017 documentary by Stephen Nomura Schible

Japanese electronic-music pioneer Ryuichi Sakamoto has been at the cutting edge of both pop and avant-garde music for over four decades. Opening up a brave new world of sound through his work with his influential band Yellow Magic Orchestra, Sakamoto went on to a distinguished international career as a film composer beginning with his entrancing synth score for Nagisa Oshima’s Merry Christmas Mr. Lawrence, in which he also costarred with David Bowie. Since then, Sakamoto has worked with auteurs ranging from Bernardo Bertolucci to Pedro Almodóvar to Shirin Neshat, bringing a distinctive experimental edge and stirring sense of atmosphere to some of the most haunting and indelible film music of the last half century.

  • Merry Christmas Mr. Lawrence, Nagisa Oshima, 1983
  • The Sheltering Sky, Bernardo Bertolucci, 1990
  • The Handmaid’s Tale, Volker Schlöndorff, 1990
  • High Heels, Pedro Almodóvar, 1991
  • Emily Brontë’s Wuthering Heights, Peter Kosminsky, 1992*
  • Love Is the Devil: Study for a Portrait of Francis Bacon, John Maybury, 1998
  • Gohatto, Nagisa Oshima, 1999
  • Tony Takitani, Jun Ichikawa, 2004
  • Women Without Men, Shirin Neshat and Shoja Azari, 2009
  • Ryuichi Sakamoto: Coda, Stephen Nomura Schible, 2017

*Available September 1

Friday, July 10

Double Feature: Loving on the Edge

Mala Noche and My Own Private Idaho

Touchstone works in the evolution of the New Queer Cinema movement, these twin tales of aimless youth by Gus Van Sant are swooning expressions of his signature concern: the emotional journeys of young men adrift on the margins of society. While editing his boldly original debut feature Mala Noche, about a romantic deadbeat’s wayward crush on a handsome Mexican immigrant, Van Sant met Mike Parker, a Portland street kid who became the inspiration for the young hustler played by River Phoenix in My Own Private Idaho. Further developing the themes of queer identity, transience, and unrequited longing, Van Sant created an intoxicating anthem of outsiderhood that stands as one of the defining independent films of the 1990s.

Saturday, July 11

Saturday Matinee: The White Balloon

Jafar Panahi’s revelatory debut feature is a child’s-eye adventure in which a young girl’s quest to buy a goldfish leads her on a detour-filled journey through the streets of Tehran on the eve of the Iranian New Year celebration. Cowritten by Panahi with his mentor Abbas Kiarostami, this beguiling, prizewinning fable unfolds in documentary-like real time as it wrings unexpected comedy, suspense, and wonder from its seemingly simple premise.

Sunday, July 12

Marriage Stories

Bad marriages make great movies, as evidenced by these gloriously messy, cuttingly perceptive portraits of some of the most dysfunctional relationships ever captured on-screen. With raw emotion, dramatic blowups, and soul-baring self-reflection baked into the premise, these tales of marital breakups and shakeups explore everything from jealousy, infidelity, and betrayal to the procedural complexities of divorce and separation to the myriad, sometimes barely perceptible ways in which couples drift apart. They also happen to be vehicles for some of the most personal and revealing statements from major directors like Ingmar Bergman, John Cassavetes, Ida Lupino, Mike Nichols, Noah Baumbach, Lars von Trier, Asghar Farhadi, and others, each of whom brings fresh insight to that most universal of subjects: the mysterious intricacies of human intimacy.

  • Come Back, Little Sheba, Daniel Mann, 1952
  • The Bigamist, Ida Lupino, 1953
  • Cat on a Hot Tin Roof, Richard Brooks, 1958
  • La notte, Michelangelo Antonioni, 1961
  • Juliet of the Spirits, Federico Fellini, 1965
  • Who’s Afraid of Virginia Woolf?, Mike Nichols, 1966
  • Faces, John Cassavetes, 1968
  • A Married Couple, Allan King, 1969
  • Scenes from a Marriage, Ingmar Bergman, 1973
  • California Suite, Herbert Ross, 1978
  • Kramer vs. Kramer, Robert Benton, 1979
  • 5×2, François Ozon, 2004
  • The Squid and the Whale, Noah Baumbach, 2005
  • Antichrist, Lars von Trier, 2009
  • Certified Copy, Abbas Kiarostami, 2010
  • Tuesday, After Christmas, Radu Muntean, 2010
  • A Separation, Asghar Farhadi, 2011
  • 45 Years, Andrew Haigh, 2015

Monday, July 13

Nostalgia for the Light

Master documentarian Patricio Guzmán travels ten thousand feet above sea level to the driest place on earth: Chile’s Atacama Desert, where astronomers from all over the world gather to observe the stars in a sky so translucent that it allows them to see to the boundaries of the universe. The Atacama is also a place where the harsh heat of the sun keeps human remains intact, including those of political prisoners “disappeared” by the Chilean army after the 1973 military coup. Just as astronomers search for distant galaxies, surviving relatives of the disappeared search for the remains of their loved ones in a quest to reclaim their families’ histories. Melding the celestial and the earthly, Nostalgia for the Light is a gorgeous, moving, and deeply personal odyssey into both Chilean history and the furthest reaches of space.

Tuesday, July 14

Short + Feature: Lost Pets

Pickle and Gates of Heaven

Featuring an introduction by Criterion Channel programmer Penelope Bartlett

Do all dogs go to heaven? Two documentary filmmakers explore mortality and mourning through the experiences of pet owners. In Pickle, Amy Nicholson profiles a couple of extreme animal lovers, interviewing them about the menagerie they’ve cared for and buried over the years, including paraplegic possums, emaciated cats, and morbidly obese chickens. Errol Morris’s debut feature, Gates of Heaven, immerses viewers in the community surrounding two pet cemeteries in Napa Valley, California, blending sincerity and satire to spin its quirky subject into a surprisingly expansive study of human nature.

Wednesday, July 15

Directed by Miranda July

Featuring the 2019 documentary Miranda July: Where It Began

The fearless, brilliantly idiosyncratic films of writer-director-actor and all-around polymath Miranda July combine arrestingly oddball whimsy with astute, emotionally penetrating observations on intimacy, sexuality, loneliness, and human connection. Beginning her career as a performance artist immersed in the riot grrrl scene of 1990s Portland, Oregon, July found her way to film with her pioneering Joanie 4 Jackie project, in which she curated and distributed feminist video “chain letters” of underground movies made by women across the country. With her acclaimed features Me and You and Everyone We Know and The Future, July established herself as one of American independent cinema’s most distinctive voices, a bold, relentlessly imaginative artist who finds cosmic insight in the everyday.

Features
* Me and You and Everyone We Know, Miranda July, 2005
* The Future, Miranda July, 2011

Shorts
* The Amateurist, Miranda July, 1998
* Nest of Tens, Miranda July, 2000

Shorts from Joanie 4 Jackie
* Transeltown, Myra Paci, 1992
* Dear Mom, Tammy Rae Carland, 1995
* The Slow Escape, Sativa Peterson, 1998
* Hawai, Ximena Cuevas, 1999
* No Place Like Home #1 and #2, Karen Yasinsky, 1999
* Gigi (from 9 to 5), Joanne Nucho, 2001
* Ophelia’s Opera, Abiola Abrams, 2001
* La Llorona, Stephanie Saint Sanchez, 2003
* untitled video, Sujin Lee, 2002
* Joanie 4 Jackie: A Quick Overview, Shauna McGarry, 2008

Thursday, July 16

Three Starring Jane Fonda

Few actors have dominated an era—for their work both on- and offscreen—the way Jane Fonda did in the 1960s and ’70s, when she emerged as one of the most acclaimed performers of her generation as well as a zeitgeist-defining cultural icon for her fierce political activism. All made at the peak of her career, these three films showcase Fonda’s nuance, impeccable comic timing, and versatility: she’s larger than life as an intergalactic bombshell in the cult sci-fi extravaganza Barbarella; riotously funny as a bourgeois housewife who takes up armed robbery in the barbed slapstick satire Fun with Dick and Jane; and at once prickly and disarming as a divorced woman fighting for custody of her daughter in the Neil Simon–penned ensemble farce California Suite.

  • Barbarella, Roger Vadim, 1968
  • Fun with Dick and Jane, Ted Kotcheff, 1977
  • California Suite, Herbert Ross, 1978

Friday, July 17

Double Feature: Girls and the Gang

Mona Lisa and Gloria

Featuring an audio commentary for Mona Lisa by director Neil Jordan and actor Bob Hoskins

Two gritty 1980s crime classics distinguish themselves with ingredients all too rare for the genre: heart, humor, and strong female protagonists. Set in London’s sordid criminal underworld, Neil Jordan’s Mona Lisa stars Cathy Tyson, Bob Hoskins, and Michael Caine in a surprisingly affecting, romantic neonoir about the complex relationship that develops between a glamorous call girl and a small-time mobster. Then, the great Gena Rowlands goes from gangster’s girlfriend to gun-toting action hero in John Cassavetes’s offbeat, New York-set thriller Gloria, in which she acts as avenging angel for a young boy on the run from the mob.

Saturday, July 18

Saturday Matinee: Miss Annie Rooney

As Shirley Temple grew up before the eyes of America, this delightful comeback vehicle offered her a chance to shine in a new kind of film: a charming teenage romance, complete with jive-talking, jitterbug-mad bobby soxers. She displays her patented pluck (and receives her first on-screen kiss) as starry-eyed fourteen-year-old Annie Rooney, who pines for nerdy classmate Marty (Dickie Moore) even though his wealthy family looks down on her working-class background. When Annie’s father (William Gargan) invents a new form of synthetic rubber, however, it may just be her ticket to love.

Sunday, July 19

100 Years of Olympic Films: 1912–2012

Originally scheduled to begin this month, the Tokyo Olympic Games have been postponed, but you can still celebrate a century of Olympic glory with this monumental collection. Spanning fifty-three movies and forty-one editions of the Olympic Games, 100 Years of Olympic Films: 1912–2012 is the culmination of a massive, award-winning archival project encompassing dozens of restorations by the International Olympic Committee. The documentaries collected here cast a cinematic eye on some of the most iconic moments in the history of modern sports, spotlighting athletes who embody the Olympic motto of “Faster, Higher, Stronger”: Jesse Owens shattering world records on the track in 1936 Berlin, Jean-Claude Killy dominating the Grenoble slopes in 1968, Joan Benoit breaking away to win the Games’ first women’s marathon in Los Angeles in 1984. In addition to the impressive ten-feature contribution of Bud Greenspan, this stirring collective chronicle of triumph and defeat includes such documentary landmarks as Leni Riefenstahl’s Olympia and Kon Ichikawa’s Tokyo Olympiad, along with captivating lesser-known works by major directors like Claude Lelouch, Carlos Saura, and Miloš Forman. It also offers a fascinating glimpse of the development of film itself, and of the technological progress that has brought viewers ever closer to the action. Traversing continents and decades, reflecting the social, cultural, and political changes that have shaped our recent history, this remarkable movie marathon showcases a hundred years of human endeavor.

  • The Games of the V Olympiad Stockholm, 1912, Adrian Wood, 2016
  • The Olympic Games Held at Chamonix in 1924, Jean de Rovera, 1924
  • The Olympic Games as They Were Practiced in Ancient Greece, Jean de Rovera, 1924
  • The Olympic Games in Paris 1924, Jean de Rovera, 1924
  • The White Stadium, Arnold Fanck and Othmar Gurtner, 1928
  • The IX Olympiad in Amsterdam, dir. unknown, 1928
  • The Olympic Games, Amsterdam 1928, Wilhelm Prager, 1928
  • Youth of the World, Carl Junghans, 1936
  • Olympia Part One: Festival of the Nations, Leni Riefenstahl, 1938
  • Olympia Part Two: Festival of Beauty, Leni Riefenstahl, 1938
  • Fight Without Hate, André Michel, 1948
  • XIVth Olympiad: The Glory of Sport, Castleton Knight, 1948
  • The VI Olympic Winter Games, Oslo 1952, Tancred Ibsen, 1952
  • Where the World Meets, Hannu Leminen, 1952
  • Gold and Glory, Hannu Leminen, 1953
  • Memories of the Olympic Summer of 1952, dir. unknown, 1954
  • White Vertigo, Giorgio Ferroni, 1956
  • Olympic Games, 1956, Peter Whitchurch, 1956
  • The Melbourne Rendez-vous, René Lucot, 1957
  • Alain Mimoun, Louis Gueguen, 1959
  • The Horse in Focus, dir. unknown, 1956
  • People, Hopes, Medals, Heribert Meisel, 1960
  • The Grand Olympics, Romolo Marcellini, 1961
  • IX Olympic Winter Games, Innsbruck 1964, Theo Hörmann, 1964
  • Tokyo Olympiad, Kon Ichikawa, 1965
  • Sensation of the Century, prod. Taguchi Suketaro, 1966
  • 13 Days in France, Claude Lelouch and François Reichenbach, 1968
  • Snows of Grenoble, Jacques Ertaud and Jean-Jacques Languepin, 1968
  • The Olympics in Mexico, Alberto Isaac, 1969
  • Sapporo Winter Olympics, Masahiro Shinoda, 1972
  • Visions of Eight, Miloš Forman, Kon Ichikawa, Claude Lelouch, Yuri Ozerov, Arthur Penn, Michael Pfleghar, John Schlesinger, and Mai Zetterling, 1973
  • White Rock, Tony Maylam, 1977
  • Games of the XXI Olympiad, Jean-Claude Labrecque, Jean Beaudin, Marcel Carrière, and Georges Dufaux, 1977
  • Olympic Spirit, Drummond Challis and Tony Maylam, 1980
  • O Sport, You Are Peace!, Yuri Ozerov, 1981
  • A Turning Point, Kim Takal, 1984
  • 16 Days of Glory, Bud Greenspan, 1986
  • Calgary ’88: 16 Days of Glory Bud Greenspan, 1989
  • Seoul 1988, Lee Kwang-soo, 1989
  • Hand in Hand, Im Kwon-taek, 1989
  • Beyond All Barriers, Lee Ji-won, 1989
  • One Light, One World, Joe Jay Jalbert and R. Douglas Copsey, 1992
  • Marathon, Carlos Saura, 1993
  • Lillehammer ’94: 16 Days of Glory, Bud Greenspan, 1994
  • Atlanta’s Olympic Glory, Bud Greenspan, 1997
  • Nagano ’98 Olympics: Stories of Honor and Glory, Bud Greenspan, 1998
  • Olympic Glory, Kieth Merrill, 1999
  • Sydney 2000: Stories of Olympic Glory, Bud Greenspan, 2001
  • Salt Lake City 2002: Bud Greenspan’s Stories of Olympic Glory, Bud Greenspan, 2003
  • Bud Greenspan’s Athens 2004: Stories of Olympic Glory, Bud Greenspan, 2005
  • Bud Greenspan’s Torino 2006: Stories of Olympic Glory, Bud Greenspan, 2007
  • The Everlasting Flame, Gu Jun, 2010
  • Bud Greenspan Presents Vancouver 2010: Stories of Olympic Glory, prods. Bud Greenspan and Nancy Beffa, 2010
  • First, Caroline Rowland, 2012

Monday, July 20

12 O’Clock Boys

Meet the 12 O’Clock Boys, an infamous urban dirt-bike pack who whiz through the streets of Baltimore. Popping wheelies and weaving at excessive speeds through traffic, the group impressively evades the hamstrung police. Three years in the making, Lotfy Nathan’s wild, dynamic documentary captures their death-defying antics through the eyes of young adolescent Pug, a bright kid from the Westside obsessed with the riders and willing to do anything to join their ranks. Propelled by breathtakingly kinetic footage that takes viewers along for the ride, 12 O’Clock Boys spins a compelling, intimate story of a young boy and his dangerous, thrilling dream.

Tuesday, July 21

Martin Scorsese’s World Cinema Project: Soleil Ô

Exclusive streaming premiere, featuring an interview with director Med Hondo

A furious howl of resistance against racist oppression, the debut from Mauritanian director Med Hondo is a bitterly funny, stylistically explosive attack on Western capitalism and the legacy of colonialism. Laced with deadly irony and righteous anger, Soleil Ô follows a starry-eyed immigrant (Robert Liensol) as he leaves West Africa and journeys to Paris in search of a job and cultural enrichment—but soon discovers a hostile society in which his very presence elicits fear and resentment. Drawing on the freewheeling stylistic experimentation of the French New Wave, Hondo deploys a dizzying array of narrative and stylistic techniques—animation, docudrama, dream sequences, musical numbers, folklore, slapstick comedy, agitprop—to create a revolutionary landmark of political cinema and a shattering vision of awakening black consciousness.

Tuesday, July 21

Short + Feature: A Day in the Life

Fit Model and Cléo from 5 to 7

Featuring a new conversation between Fit Model director Myna Joseph and actor Lucy Owen

From 1960s Paris to contemporary New York City, two women juggle careers, relationships, and personal crises over the course of days in which nothing—and everything—happens. Myna Joseph’s elegantly shot, Big Apple–set short Fit Model follows a thirtysomething freelancer who works as everything from a babysitter to a stand-in for fashion models while also dealing with the physical and financial fallout of an accident. Joseph based her character’s city wanderings and fluid, fluctuating identity on Cléo, a singer who whiles away her day while awaiting confirmation of a cancer diagnosis in Agnès Varda’s real-time French New Wave touchstone Cléo from 5 to 7.

Wednesday, July 22

Born in Flames

Featuring a new introduction by director Lizzie Borden

The film that rocked the foundations of the 1980s underground, this postpunk provocation is a DIY science-fiction fantasia of female rebellion set in America ten years after a social-democratic cultural revolution. When Adelaide Norris (Jean Satterfield), the black revolutionary founder of the Woman’s Army, is mysteriously killed, a diverse coalition of women—across all lines of race, class, and sexual orientation—emerges to blow the system apart. Filmed guerrilla-style on the streets of pregentrification New York, Born in Flames is a Molotov cocktail of feminist futurism that’s both an essential document of its time and radically ahead of it.

Thursday, July 23

Tokyo Olympiad: Criterion Collection Edition #155

A spectacle of magnificent proportions and remarkable intimacy, Kon Ichikawa’s Tokyo Olympiad remains one of the greatest films ever made about sports. Supervising a vast team of technicians using scores of cameras, Ichikawa captured the 1964 Summer Games in Tokyo in glorious widescreen images, using cutting-edge telephoto lenses and exquisite slow motion to create lyrical, idiosyncratic poetry from the athletic drama surging all around him. Drawn equally to the psychology of losers and winners—including the legendary Ethiopian marathoner Abebe Bikila, who receives the film’s most exalted tribute—Ichikawa captures the triumph, passion, and suffering of competition with a singular humanistic vision, and in doing so effected a transformative influence on the art of documentary filmmaking. SUPPLEMENTAL FEATURES: An introduction by film historian Peter Cowie, over eighty minutes of additional material from the Tokyo Games, archival interviews with director Kon Ichikawa, and more.

Friday, July 24

Double Feature: The Hard-Boiled Way

Gun Crazy and The Big Combo

B-movie master Joseph H. Lewis turns the ingredients of dime-store pulp into existentialist poetry in these essential noirs, which stand as two of the most stylish and influential examples of the genre ever made. His innovative camera work and eye for pop iconography made the slam-bang couple-on-the-run thriller Gun Crazy a favorite of the French New Wave upstarts, and its influence is felt in everything from Breathless to Bonnie and Clyde. In The Big Combo, the atmospheric cinematography of shadow painter John Alton, dramatically stylized set pieces, and killer performances from Cornel Wilde, Richard Conte, and Jean Wallace come together in a mesmerizingly moody, thematically subversive model of high art wrung from a low budget.

Saturday, July 25

Saturday Matinee: Destroy All Monsters

The original Godzilla team of director Ishiro Honda, special-effects supervisor Eiji Tsuburaya, and composer Akira Ifukube reunited for this kaiju extravaganza, which features no fewer than eleven monsters. Set in the remote future of 1999, when the people of Earth have achieved world peace by confining destructive creatures to Monsterland (until an alien race intervenes), Destroy All Monsters mounts a thrilling display of innovative action sequences and memorable images that have made it a favorite for generations of viewers.

Sunday, July 26

Directed by Atom Egoyan

Featuring a new introduction by Egoyan

The formally adventurous and psychologically intricate films of renowned Canadian auteur Atom Egoyan unfold according to complex, time-scrambling structures that heighten their searing emotional impact. Exploring issues of identity (including his own Armenian heritage), loss, alienation, and technology, Egoyan’s films frequently revolve around people struggling to make sense of their own shattered sense of self in the wake of profound personal tragedies. His provocative themes and elliptical style are on display in early critical triumphs like Next of Kin and Calendar and reach new heights of virtuosity in his masterpieces Exotica and The Sweet Hereafter, both of which are widely considered among the greatest Canadian films ever made.

  • Next of Kin, 1984
  • Family Viewing, 1987
  • Speaking Parts, 1989
  • The Adjuster, 1991
  • Calendar, 1993
  • Exotica, 1994
  • The Sweet Hereafter, 1997
  • Adoration, 2008

Monday, July 27

Infinite Football

Romanian New Wave leader Corneliu Porumboiu (12:08 East of Bucharest) directs this at once hilarious and poignant look at an ordinary man’s extraordinary ambitions. Ever since a leg fracture ended his aspirations of becoming a soccer player, Laurentiu Ginghina, now a bureaucrat working in a drab government office, has devoted himself, with single-minded zeal, to reinventing the game, proposing it be radically altered (starting with reimagining the shape of the field as an octagon) in order to reduce player injuries. With both humor and humanity, Porumboiu’s marvelously offbeat, continually surprising documentary introduces us to an unforgettable individual, a self-proclaimed superman whose quixotic quest mirrors the hopes and dreams of his own country.

Tuesday, July 28

Short + Feature: Age of Exploration

Pillars and Girlhood

Featuring a new introduction by Pillars director Haley Elizabeth Anderson

Young women navigate the fraught terrain of adolescence in these richly immersive coming-of-age snapshots that touch on issues of race, class, gender, and sexuality. Haley Elizabeth Anderson’s lyrical, atmospheric short Pillars evokes the world of a girl growing up in the American South as she experiences a series of awakenings—some blissful, others brutal—after she receives her first kiss. Half a world away, on the outskirts of Paris, a teenager undergoes a similarly rocky journey toward finding herself in Céline Sciamma’s compassionate, unflinching Girlhood, which captures the rapturous highs and crushing lows of female friendship.

Wednesday, July 29

My Twentieth Century

Hungarian trailblazer Ildikó Enyedi’s award-winning first feature is a luminous, unconventional fairy tale. Two twins, Lili the anarchist and Dóra, a luxurious woman of loose morals (both played by Dorota Segda), are separated as young girls. Their lives proceed on opposing tracks until their paths reconnect on the Orient Express with Mr. Z (Tarkovsky mainstay Oleg Yankovsky), who loves them jointly. Defiantly in pursuit of happiness and in retreat from the “mass murdering century,” they are all entranced by Thomas Edison’s inventions and drunk on the miracle of existence. Among the greatest of cinematic debuts, My Twentieth Century introduced the world to Enyedi (On Body and Soul), who remains a vital, distinctive artist into the twenty-first century.

Thursday, July 30

The Loft Cinema Presents: Arizona Dream

Serbian visionary Emir Kusturica (Underground) gate-crashed Hollywood with this singular, marvelously loopy surrealist comedy featuring a remarkable cast that includes Johnny Depp, Faye Dunaway, Jerry Lewis, Lili Taylor, and Vincent Gallo. When his uncle (Lewis) in Arizona invites him to come work at the family car dealership, Axel Blackmar (Depp), a young man from New York obsessed with Eskimos and fish (and, specifically, their dreams), heads West, where he encounters lusty romance with a wealthy widow (Dunaway) and a series of oddball exploits involving turtles, a DIY flying machine, and a strikingly convincing recreation of an iconic set piece from North by Northwest. Like its title implies, Arizona Dream takes place on its own hallucinatory wavelength, a delirious, anything-goes vision of America as seen through the eyes of one of cinema’s great magic makers.

Friday, July 31

Double Feature: From Art House to Grindhouse

The Virgin Spring and The Last House on the Left

Ingmar Bergman’s The Virgin Spring, an Oscar-winning tale of savagery in medieval Sweden, served as a direct influence on Wes Craven’s notoriously nasty debut feature, The Last House on the Left. But despite sharing similar premises, these harrowing dramas about rape, murder, and revenge are the results of two vastly different directorial visions: the earlier film is a powerful interrogation of faith and morality, while Craven’s spin is a shocking work of grindhouse depravity that was banned around the world for its graphic violence and helped usher in a new era of exploitation horror cinema.

Complete list of films premiering on the Criterion Channel this month:

  • 12 O’Clock Boys, Lotfy Nathan, 2013
  • 5×2, François Ozon, 2004
  • The Adjuster, Atom Egoyan, 1991
  • Adoration, Atom Egoyan, 2008**
  • The Amateurist, Miranda July, 1998
  • Arizona Dream, Emir Kusturica, 1993
  • Attenberg, Athina Rachel Tsangari, 2010
  • Barbarella, Roger Vadim, 1968
  • Between the Lines, Joan Micklin Silver
  • The Big Combo, Joseph H. Lewis, 1955
  • The Bigamist, Ida Lupino, 1953
  • Blood on the Moon, Robert Wise, 1948
  • Born in Flames, Lizzie Borden, 1983
  • The Bowery, Sara Driver, 1994
  • Bullitt, Peter Yates, 1968
  • Calendar, Atom Egoyan, 1993
  • California Suite, Herbert Ross, 1978
  • California Typewriter, Doug Nichol, 2016
  • Cat on a Hot Tin Roof, Richard Brooks, 1958
  • Certain Women, Kelly Reichardt, 2016
  • Come Back, Little Sheba, Daniel Mann, 1952
  • Contemporary Color, Bill Ross IV and Turner Ross, 2016
  • Day of the Outlaw, André De Toth, 1959
  • Dear Mom, Tammy Rae Carland, 1995
  • A Dry White Season, Euzhan Palcy, 1989
  • Exotica, Atom Egoyan, 1994
  • Family Viewing, Atom Egoyan, 1987**
  • Fit Model, Myna Joseph, 2019
  • Fun with Dick and Jane, Ted Kotcheff, 1977
  • The Future, Miranda July, 2011
  • Gigi (from 9 to 5), Joanne Nucho, 2001
  • Gohatto, Nagisa Oshima, 1999
  • Gun Crazy, Joseph H. Lewis, 1950
  • The Handmaid’s Tale, Volker Schlöndorff, 1990
  • Hawai, Ximena Cuevas, 1999
  • High Heels, Pedro Almodóvar, 1991
  • Hollywood Shuffle, Robert Townsend, 1987
  • Infinite Football, Corneliu Porumboiu, 2018
  • Joanie 4 Jackie: A Quick Overview, Shauna McGarry, 2008
  • Kramer vs. Kramer, Robert Benton, 1979
  • Last House on the Left, Wes Craven, 1972
  • Lenny Cooke, Josh and Benny Safdie, 2013
  • La Llorona, Stephanie Saint Sanchez, 2003
  • Love Is the Devil: Study for a Portrait of Francis Bacon, John Maybury, 1998**
  • Lust for Gold, S. Sylvan Simon, 1949
  • Mad Hot Ballroom, Marilyn Agrelo, 2005
  • Man with the Gun, Richard Wilson, 1955
  • Me and You and Everyone We Know, Miranda July, 2005
  • Miss Annie Rooney, Edwin L. Marin, 1942
  • My Twentieth Century, Ildikó Enyedi, 1989
  • The Naked Spur, Anthony Mann, 1953
  • Nest of Tens, Miranda July, 2000
  • Next of Kin, Atom Egoyan, 1984**
  • No Place Like Home #1 and #2, Karen Yasinsky, 1999
  • Nostalgia for the Light, Patricio Guzmán, 2010
  • Ophelia’s Opera, Abiola Abrams, 2001
  • Pillars, Haley Elizabeth Anderson, 2020
  • Rancho Notorious, Fritz Lang, 1952
  • Ryuichi Sakamoto: Coda, Stephen Nomura Schible, 2017
  • A Separation, Asghar Farhadi, 2011
  • Shadow Animals, Jerry Carlsson, 2017
  • The Sheltering Sky, Bernardo Bertolucci, 1990
  • Sleepwalk, Sara Driver, 1986
  • The Slow Escape, Sativa Peterson, 1998
  • Soleil Ô, Med Hondo, 1967
  • Speaking Parts, Atom Egoyan, 1989**
  • Station West, Sidney Lanfield, 1948
  • The Squid and the Whale, Noah Baumbach, 2005**
  • The Sweet Hereafter, Atom Egoyan, 1997
  • Tchoupitoulas, Bill Ross IV, Turner Ross, 2012
  • Tony Takitani, Jun Ichikawa, 2004
  • Transeltown, Myra Paci, 1992
  • untitled video, Sujin Lee, 2013 (?)
  • The Violent Men, Rudolph Maté, 1955
  • The Walking Hills, John Sturges, 1949
  • When Pigs Fly, Sara Driver, 1993
  • The White Balloon, Jafar Panahi, 1995
  • Who’s Afraid of Virginia Woolf?, Mike Nichols, 1966
  • Women Without Men, Shirin Neshat, 2009
  • You Are Not I, Sara Driver, 1981
  • Young Ahmed, Jean-Pierre Dardenne, Luc Dardenne, 2019**

**Available in the U.S. only

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Episode 204 – Wacky 2020! https://criterioncast.com/podcast/criterioncast-episodes/episode-204-wacky-2020 Wed, 01 Jan 2020 23:59:34 +0000 https://criterioncast.com/?p=63082

Ryan is joined by David and Aaron to chat about the Wacky New Year’s Drawing for 2020.

Subscribe to the podcast via RSS or in iTunes

Past Wacky New Year’s Episodes

Episode Credits

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Wacky New Years Drawing Hints At The Criterion Collection’s 2020 Line-Up https://criterioncast.com/news/wacky-new-years-drawing-hints-at-the-criterion-collections-2020-line-up Wed, 01 Jan 2020 18:00:28 +0000 https://criterioncast.com/?p=63076

Our annual New Years present from the Criterion Collection!

As usual, the Criterion Collection New Years Drawing from Jason Polan teases at a number of upcoming releases (announced, rumored, and unknown). I’ll do my best to gather the best guesses in this article, so feel free to comment below.

A huge thanks to the whole Criterion Collection community for all of their help with this post.

Here are links to the various drawings from the past few years

Let’s pick it apart below:


Annotated

 

A. Fallen E = Fellini?

B. One Car = Wong Kar-wai?

C. Box on Yes = Anges Varda?

D. Bruised (Robert E.) Lee = Bruce Lee?

 

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Episode 203 – Criterion Collection Favorites of 2019 https://criterioncast.com/podcast/criterioncast-episodes/episode-203-criterion-collection-favorites-of-2019 Tue, 31 Dec 2019 22:59:49 +0000 https://criterioncast.com/?p=63075

To celebrate The Criterion Collection’s 2019 releases – and there’s a lot to celebrate – Ryan Gallagher, David Blakeslee, Scott Nye, Trevor Berrett, and Jordan Essoe gather to talk about the past year in Criterion, including their favorite three Criterion releases of 2019.

Subscribe to the podcast via RSS or in iTunes


Episode Notes

Ryan’s List

David’s List

Scott’s List

Trevor’s List

Jordan’s List

Miscellaneous Links

Episode Credits

Past Favorites of the Year Episodes

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January 2020 Programming on the Criterion Channel Announced https://criterioncast.com/news/january-2020-programming-on-the-criterion-channel-announced Fri, 27 Dec 2019 01:17:17 +0000 https://criterioncast.com/?p=63008

Each month, the programmers at the Criterion Channel produce incredible line-ups for their subscribers. For January, the Channel will feature films from Susan Seidelman, Jafar Panahi, Agnès Jaoui, and more!

Below you’ll find the programming schedule for the month, along with a complete list of titles that Criterion has in store for us. Don’t forget to check the Criterion Channel’s main page regularly though, as they occasionally will drop surprises that aren’t included in the official press release.

Don’t subscribe yet? Start a 14-day free trial.

Wednesday, January 1

Directed by Susan Seidelman

Featuring a new introduction by the filmmaker

In 1980, Susan Seidelman burst onto the scene when her debut feature, Smithereens, became the first American independent film to screen in competition at the Cannes Film Festival. A vividly gritty time capsule of downtown New York’s post-punk underground, the film caught the attention of Hollywood and led to her bigger-budget follow-up, Desperately Seeking Susan, a screwball romp through 1980s bohemian Manhattan starring Madonna. With subsequent works like the black-comic revenge fantasy She-Devil, starring Meryl Streep, and the Nora Ephron–scripted father-daughter mob caper Cookie, Seidelman confirmed her flair for crafting offbeat comedies built around memorably messy, idiosyncratic women.

Features

  • Smithereens, 1982
  • Desperately Seeking Susan, 1985
  • Cookie, 1989
  • She-Devil, 1989

Shorts

  • And You Act Like One Too, 1976
  • Yours Truly, Andrea G. Stern, 1979

Thursday, January 2

From the Archive: Taxi Driver

With a 1986 audio commentary featuring director Martin Scorsese and screenwriter Paul Schrader

Scripted by Paul Schrader and directed by Martin Scorsese, Taxi Driver is a powerful study of a dangerously fractured psyche, as well as a vividly grimy portrait of New York City in the 1970s. Robert De Niro gives one of his most riveting performances as Travis Bickle, a Vietnam vet turned cabbie whose resentments and messianic delusions drive him to take to up arms in a berserk moral crusade against the corruption he sees all around him. This Criterion edition, only ever released on laserdisc, features an illuminating commentary that Scorsese and Schrader recorded in 1986.

Thursday, January 2

3 Faces

Streaming premiere

Iranian master Jafar Panahi’s fourth feature since he was officially banned from filmmaking is a courageous act of antipatriarchal defiance from an artist who has refused to be silenced. This playful docufiction road movie begins with a smartphone video sent to the director and real-life star actress Behnaz Jafari from a desperate young woman who, distraught at her family’s refusal to let her study drama, seemingly records her own suicide. Traveling to the woman’s rural hometown to investigate, Panahi and Jafari find themselves launched on a slyly comic, quietly revelatory journey that builds in narrative, thematic, and visual intricacy to put forth a grand expression of community and solidarity under the eye of oppression.

Friday, January 3

Double Feature: Preach It!

Elmer Gantry and Wise Blood

Silver-tongued charlatans come bearing hidden motives in these subversive, fire-and-brimstone exposés of religious hypocrisy and chicanery. Richard Brooks’s powerful adaptation of Sinclair Lewis’s controversial novel Elmer Gantry stars an Oscar-winning Burt Lancaster, in one of his greatest roles, as an opportunistic evangelist who rises to ignoble heights. Lancaster’s Gantry is the not-too-distant cousin of the heretical preacher played by Brad Dourif in John Huston’s appropriately gonzo take on Flannery O’Connor’s Wise Blood, a startlingly original, tragicomic blend of social commentary and southern-gothic eccentricity.

Saturday, January 4

Saturday Matinee: 12 Angry Men

12 Angry Men, by Sidney Lumet, may be the most radical courtroom drama in cinema history. A behind-closed-doors look at the American legal system that is as riveting as it is spare, this iconic adaptation of Reginald Rose’s teleplay stars Henry Fonda as the dissenting member on a jury of white men ready to pass judgment on a Puerto Rican teenager charged with murdering his father. The result is a saga of epic proportions that plays out over a tense afternoon in one sweltering room. Lumet’s electrifying snapshot of 1950s America on the verge of change is one of the great feature film debuts. SUPPLEMENTAL FEATURES: The original 1955 teleplay, a production history, archival interviews with Sidney Lumet, and more.

Sunday, January 5

Seventies Sci-Fi

The maverick spirit that defined the New Hollywood of the 1970s resulted in a wave of fascinating, wild, and often way-out-there science-fiction head trips that carried on the radical experimentation of the sixties while paving the way for the blockbuster boom of the eighties. It was during this decade that directors like Stanley Kubrick, George Lucas, John Carpenter, David Cronenberg, and George Miller pushed the boundaries of the genre with visionary space operas, chilling dystopian freak-outs, and mind-bending speculative thrillers that examined the era’s anxieties about technology, consumerism, overpopulation, and environmental collapse. From genre-defining landmarks like A Clockwork Orange and Mad Max to cult classics like Westworld and Rollerball to unclassifiable oddities like God Told Me To and A Boy and His Dog, this expansive survey offers a deep dive into a uniquely fertile moment when filmmakers gazed towards the future with awe and terror.

  • No Blade of Grass, Cornel Wilde, 1970
  • A Clockwork Orange, Stanley Kubrick, 1971
  • The Omega Man, Boris Sagal, 1971
  • THX 1138, George Lucas, 1971
  • Z.P.G., Michael Campus, 1972
  • Westworld, Michael Crichton, 1973
  • Soylent Green, Richard Fleischer, 1973
  • Dark Star, John Carpenter, 1974
  • The Terminal Man, Mike Hodges, 1974
  • Rollerball, Norman Jewison, 1975
  • A Boy and His Dog, L. Q. Jones, 1975
  • Death Race 2000, Paul Bartel, 1975
  • Shivers, David Cronenberg, 1975
  • The Ultimate Warrior, Robert Clouse, 1975
  • Logan’s Run, Michael Anderson, 1976
  • God Told Me To, Larry Cohen, 1976
  • Demon Seed, Donald Cammell, 1977
  • Mad Max, George Miller, 1979

Monday, January 6

Sweet Smell of Success: Criterion Collection Edition #555

In the swift, cynical Sweet Smell of Success, directed by Alexander Mackendrick, Burt Lancaster stars as the vicious Broadway gossip columnist J. J. Hunsecker, and Tony Curtis as Sidney Falco, the unprincipled press agent Hunsecker ropes into smearing the up-and-coming jazz musician romancing his beloved sister. Featuring deliciously unsavory dialogue, in an acid, brilliantly structured script by Clifford Odets and Ernest Lehman, and noirish neon cityscapes from Oscar-winning cinematographer James Wong Howe, Sweet Smell of Success is a cracklingly cruel dispatch from the kill-or-be-killed wilds of 1950s Manhattan. SUPPLEMENTAL FEATURES: a 1986 documentary about Alexander Mackendrick, a 1973 documentary about James Wong Howe, a video interview with film critic and historian Neal Gabler, and more.

Tuesday, January 7

Short + Feature: Family Feuds

The Hypnotist and The Little Foxes

“Dysfunctional” doesn’t begin to do justice to the toxic families in these delightfully venomous tales of bitter, backstabbing clans. The Hypnotist, Anna Biller’s witty, sumptuously Sirkian homage to the Technicolor melodramas of the studio era, concerns the machinations of a greedy, grasping brood whose downfall comes with a supernatural twist. Its gallery of ghouls is close kin to the scheming southern family who poison everything they touch in The Little Foxes, William Wyler’s masterful adaptation of Lillian Hellman’s classic play, starring a divinely duplicitous Bette Davis.

Wednesday, January 8

Directed by Agnès Jaoui

In her wry, sharply observed studies of class and social relationships, actor, writer, and director Agnès Jaoui zeroes in on the follies and foibles of the French bourgeoisie and the neuroses, power plays, and quotidian dramas that consume her hopelessly and hilariously self-absorbed characters. Her acclaimed first two features, The Taste of Others and Look at Me—both cowritten with her regular collaborator Jean-Pierre Bacri—are deft, incisive comedies of manners that balance cunning wit with touching empathy.

  • The Taste of Others, 2000
  • Look at Me, 2004

Thursday, January 9

Three by the Dardenne Brothers

Ever since making their mark in the midnineties with La promesse, Belgian masters Jean-Pierre and Luc Dardenne have been a singular force in world cinema, honing their unique style of unembellished, heart-racing humanism in acclaimed slice-of-life dramas like L’enfant and The Kid with a Bike. They excel at the “empathetic action film”: urgent, uncompromisingly realistic tales set on the margins of society that unfold like taut thrillers of the everyday. Each starring their frequent collaborator Jérémie Renier, this trio of masterpieces displays the searing emotional intensity and deeply felt social conscience that have made the pair among the most lauded filmmakers working today.

  • La promesse, 1996
  • L’enfant, 2005
  • The Kid with a Bike, 2011

Friday, January 10

Double Feature: She’s a Femme Fatale

Pandora’s Box and Something Wild

They’re the kind of girls your mother warned you about … The legendary Louise Brooks became the ultimate flapper icon with her magnetic turn in G. W. Pabst’s silent masterpiece Pandora’s Box, in which she plays a man-eating showgirl whose wayward hedonism leaves ruin in its wake. Six decades later, her performance inspired Jonathan Demme’s invigoratingly off-kilter romance Something Wild, with Melanie Griffith as the free-spirited New York scenester sporting a Brooks-esque bob who takes a straitlaced Jeff Daniels on the ride of a lifetime.

Saturday, January 11

Saturday Matinee: Zazie dans le métro

A brash and precocious ten-year-old (Catherine Demongeot) comes to Paris for a whirlwind weekend with her rakish uncle (Philippe Noiret); he and the viewer get more than they bargained for, however, in this anarchic comedy from Louis Malle, which rides roughshod over the City of Light. Based on a popular novel by Raymond Queneau that had been considered unadaptable, Malle’s audacious Zazie dans le métro, made with flair on the cusp of the French New Wave, is a bit of stream-of-consciousness slapstick, wall-to-wall with visual gags, editing tricks, and effects. SUPPLEMENTAL FEATURES: Interviews with Louis Malle, Raymond Queneau, Catherine Demongeot, and more.

Sunday, January 12

Directed by Luis Buñuel

Featuring a 1964 profile of Buñuel from the series Cinéastes de notre temps

One of cinema’s great iconoclasts and mischief makers, Spanish master Luis Buñuel combined surrealist non sequiturs with taboo-shattering attacks on the bourgeoisie, the church, and social hypocrisy to create some of the most incendiary films of the twentieth century. Perpetually on the cutting edge, he began his career as a member of the French surrealists, collaborating with Salvador Dalí on the scandalous avant-garde landmark L’age d’or. After being exiled from Spain, he worked primarily in Mexico for two decades, a period that culminated with the savage satire The Exterminating Angel. It was upon his return to France in the 1960s that Buñuel entered into the extraordinary final phase of his career, producing a string of internationally acclaimed masterpieces—including Belle de jour, The Discreet Charm of the Bourgeoisie, and That Obscure Object of Desire—in which his outré, straight-from-the-id imagery and scathing commentaries on class, sex, religion, and conventional morality reached new heights of subversive power.

  • L’age d’or, 1930
  • Robinson Crusoe, 1954
  • Death in the Garden, 1956
  • Viridiana, 1961
  • The Exterminating Angel, 1962
  • Diary of a Chambermaid, 1964
  • Simon of the Desert, 1965
  • Belle de jour, 1967
  • The Milky Way, 1969
  • Tristana, 1970
  • The Discreet Charm of the Bourgeoisie, 1972
  • The Phantom of Liberty, 1974
  • That Obscure Object of Desire, 1977

Monday, January 13

Observations on Film Art No. 34: Vampyr—The Genre Film as Experimental Film

Carl Theodor Dreyer’s haunting 1932 masterpiece Vampyr has long occupied a singular place in film history, resting somewhere at the intersection of horror, avant-garde cinema, and waking nightmare. In this episode of Observations on Film Art, Professor David Bordwell explores how Dreyer managed to honor the conventions of horror cinema while at the same time breaking the boundaries of the genre wide open through his experimental use of sound, shadows, and camera movement. In doing so, Dreyer created a mesmerizing, one-of-a-kind work of dreamlike dread that paved the way for generations of innovative independent horror films to come.

Tuesday, January 14

Short + Feature: Colt Classics

Seide and The Black Stallion

There’s no better friend than a horse in these two moving coming-of-age films. Elnura Osmonalieva’s 2015 short Seide, set amid the snowy mountain terrain of Kyrgyzstan, centers around a young girl who feels most at home astride her horse. But when her parents move to arrange her marriage and vow to kill the animal as part of a wedding tradition, she faces the prospect of losing her closest companion. In Carroll Ballard’s Oscar-nominated 1979 feature The Black Stallion, an emotionally resonant and visually arresting adaptation of a beloved children’s novel, a wild horse and a young boy form a tight bond while shipwrecked on a deserted island.

Wednesday, January 15

Songs My Brothers Taught Me

The stunning feature debut from Chloé Zhao (The Rider) is a sensitive, lyrical depiction of life on the Pine Ridge Indian Reservation featuring a remarkable cast of nonprofessional indigenous actors from the community. With an eye for moments of everyday wonder, Zhao charts the bond between a preteen girl (Jashaun St. John) and her older brother (John Reddy) who, despite the poverty, alcoholism, and resulting apathy that have ravaged their community, find meaning in their tribe’s rituals and vanishing traditions. The director’s documentary-like approach yields a raw, authentic neorealist portrait graced with gorgeous panoramic cinematography of the Great Plains.

Thursday, January 16

Betty Blue: Criterion Collection Edition #1002

When the easygoing would-be novelist Zorg (Jean-Hugues Anglade) meets the tempestuous Betty (Béatrice Dalle, in a magnetic breakout performance) in a sunbaked French beach town, it’s the beginning of a whirlwind love affair that sees the pair turn their backs on conventional society in favor of the hedonistic pursuit of freedom, adventure, and carnal pleasure. But as the increasingly erratic Betty’s grip on reality begins to falter, Zorg finds himself willing to do things he never expected to protect both her fragile sanity and their tenuous existence together. Adapted from the hit novel 37°2 le matin by Philippe Djian, Jean-Jacques Beineix’s art-house smash—presented here in its extended director’s cut—is a sexy, crazy, careening joyride of a romance that burns with the passion and beyond-reason fervor of all-consuming love. SUPPLEMENTAL FEATURES: An hour-long documentary on the film from 2013, a short film by Jean-Jacques Beineix, a 1986 television interview with Beineix and Béatrice Dalle, and more.

Thursday, January 16

A Dog’s Life

Dogs have their day in these tail-wagging tributes to our furry companions, featuring faithful four-legged friends, killer canines, telepathic pooches, and more. From classic tales of animal-human bonds like Charlie Chaplin’s A Dog’s Life and Vittorio De Sica’s Umberto D. to outré cult oddities like A Boy and His Dog and Baxter to recent art-house gems like Le quattro volte and Laurie Anderson’s Heart of a Dog, this survey of some of cinema’s very best boys and girls is proof positive that dogs do, in fact, rule.

  • A Dog’s Life, Charles Chaplin, 1918
  • Umberto D., Vittorio De Sica, 1952
  • Good-bye, My Lady, William A. Wellman, 1956
  • A Boy and His Dog, L. Q. Jones, 1975
  • Baxter, Jérôme Boivin, 1989
  • Le quattro volte, Michelangelo Frammartino, 2010
  • Heart of a Dog, Laurie Anderson, 2015

Friday, January 17

Double Feature: Poison Pens

The Letter and Le Corbeau

Reader beware the diabolical letters at the center of this double bill of epistolary noirs. Based on a play by W. Somerset Maugham, William Wyler’s ravishing tropical melodrama The Letter is a scintillating showcase for star Bette Davis, who delivers a bravura, Oscar-nominated performance as a femme fatale who will stop at nothing to retrieve a letter that incriminates her in a murder. It’s paired with Henri-Georges Clouzot’s dark, controversial drama Le Corbeau—condemned upon its release for its subversive political implications but later reclaimed as a masterpiece—in which a string of anonymous, accusatory letters sow tension and mistrust throughout a French village.

Saturday, January 18

Starring Danny Kaye

A beloved, one-of-a-kind entertainer who honed his animated, rapid-fire performance style on the Borscht Belt circuit, Brooklyn-born comedian, actor, dancer, and singer Danny Kaye lit up the screen with his exuberant charm and inventive wit. A natural clown with a knack for pantomime, mimicry, and tongue-twisting patter, he wowed audiences in rollicking vehicles like Wonder Man, The Secret Life of Walter Mitty, and The Court Jester, frequently playing opposite himself in multiple roles. Perfect for the whole family, this selection of classic Kaye is a riotous testament to a true original whose talent continues to dazzle and delight.

  • Up in Arms, Elliott Nugent, 1944
  • Wonder Man, H. Bruce Humberstone, 1945
  • The Kid from Brooklyn, Norman Z. McLeod, 1946
  • The Secret Life of Walter Mitty, Norman Z. McLeod, 1947
  • A Song Is Born, Howard Hawks, 1948
  • Hans Christian Andersen, Charles Vidor, 1952
  • The Court Jester, Melvin Frank and Norman Panama, 1956

Saturday, January 18

Saturday Matinee: The Court Jester

Classic Hollywood’s clown prince Danny Kaye received one of his finest showcases with this rollicking adventure comedy, in which he plays a carnival performer in medieval England who goes undercover as a court jester to infiltrate the royal castle and help restore the rightful king to the throne. A frenetic spoof of the Errol Flynn–style swashbuckler, this raucous Technicolor romp features some of Kaye’s most brilliantly inventive routines, including his classic tongue twister “the pellet with the poison.”

Sunday, January 19

Starring Burt Lancaster

Capable of projecting both powerful physicality and gentle sensitivity, Burt Lancaster brought his megawatt star power to a wide array of unforgettable roles, embodying heroes, villains, and morally complex everymen with an innate dignity and gravitas. Beginning his career as a circus acrobat—training that he would put to use in many of his performances—Lancaster didn’t break into films until his thirties, but his undeniable magnetism made him an instant star. Throughout his five-decade career, he established himself as a performer of remarkable versatility, equally convincing as a romantic leading man in the acclaimed World War II drama From Here to Eternity, a ruthless gossip columnist in the acid-tongued noir Sweet Smell of Success, and a charlatan preacher in the subversive Sinclair Lewis adaptation Elmer Gantry, for which he won the Academy Award for best actor. Moving between Hollywood blockbusters and independent passion projects—many made through his own production company—Lancaster left behind an extraordinary body of work that reflects his penchant for risk-taking roles and outspoken commitment to progressive social causes.

  • Brute Force, Jules Dassin, 1947
  • I Walk Alone, Byron Haskin, 1947
  • Sorry, Wrong Number, Anatole Litvak, 1948
  • Come Back, Little Sheba, Daniel Mann, 1952
  • From Here to Eternity, Fred Zinnemann, 1953
  • The Rose Tattoo, Daniel Mann, 1955
  • The Rainmaker, Joseph Anthony, 1956
  • Sweet Smell of Success, Alexander Mackendrick, 1957
  • Separate Tables, Delbert Mann, 1958
  • Elmer Gantry, Richard Brooks, 1960
  • Birdman of Alcatraz, John Frankenheimer, 1962
  • The Train, John Frankenheimer, 1964
  • Seven Days in May, John Frankenheimer, 1964
  • The Professionals, Richard Brooks, 1966
  • The Swimmer, Frank Perry, 1968
  • Conversation Piece, Luchino Visconti, 1974
  • Atlantic City, Louis Malle, 1980
  • Local Hero, Bill Forsyth, 1983

Monday, January 20

Creative Marriages

Celebrating Federico Fellini’s 100th birthday!

Cinema’s great husband-and-wife carnival act, Italian maestro Federico Fellini and actress Giulietta Masina gave birth to a new form of filmic expression that blended earthy realism with extravagant flights of surrealist fancy. This double bill—two of the ten Fellini films that are available to stream on the Criterion Channel—captures the style that would come to be known as “Felliniesque” at its poetic roots in their international breakout La strada and at its colorful, kaleidoscopic extreme in the Freudian riot Juliet of the Spirits. Critic Michael Sragow explores the way that these twin masterworks document the evolving creative and personal relationship between two indispensable artists whose legacies are forever entwined.

  • La strada, Federico Fellini, 1954
  • Juliet of the Spirits, Federico Fellini, 1965

Tuesday, January 21

Short + Feature: Guilty Pleasures

Good Intentions and Death of a Cyclist

Hit-and-run accidents set off shockwaves of guilt, paranoia, and recrimination in this gripping, psychologically charged pairing. Anna Mantzaris’s stingingly ironic stop-motion short Good Intentions bristles with expressionistic unease as it evokes the torment that consumes a woman following a car crash. An adulterous couple also face the repercussions of their misdeeds in Death of a Cyclist, a riveting, coolly stylish noir melodrama from Juan Antonio Bardem that doubles as a button-pushing commentary on class and social hypocrisy in Franco’s Spain.

Wednesday, January 22

Directed by Jane Campion

One of contemporary cinema’s most singular and captivating voices, Jane Campion brings a piercing psychological insight and radiantly expressive visual style to her intense, revelatory explorations of female subjectivity and desire. After winning critical acclaim for her first two theatrical features, the dark comedy Sweetie and the luminous artistic coming-of-age drama An Angel at My Table, Campion was vaulted to the front ranks of international auteurs with The Piano, a haunting period romance for which she became the first woman awarded the Palme d’Or at Cannes and only the second to be nominated for an Academy Award for best director. Since then, she has continued to fearlessly probe the most intimate dimensions of women’s experiences in ambitious, uncompromising films like the fascinating Henry James adaptation The Portrait of a Lady and the subversive erotic thriller In the Cut, heady, highly personal works that display Campion’s unique ability to bring complex inner worlds to mesmerizing life.

Features

  • Two Friends, 1986
  • Sweetie, 1989
  • An Angel at My Table, 1990
  • The Piano, 1993
  • The Portrait of a Lady, 1996
  • Holy Smoke, 1999
  • In the Cut, 2003

Shorts

  • An Exercise in Discipline: Peel, 1982
  • Passionless Moments, 1983
  • A Girl’s Own Story, 1983

Thursday, January 23

Four Films by Khalik Allah

Featuring a new interview with the filmmaker

The films of visionary street photographer Khalik Allah are dreamlike drifts through the margins of society, gritty and sublime portraits of the disenfranchised and dispossessed that, in their infinite compassion and philosophical insight, achieve an almost spiritual transcendence. Growing out of his acclaimed work as a photographer documenting the lives of homeless addicts in New York, Allah’s impressionistic early shorts Urban Rashomon and Antonyms of Beauty paved the way for his astonishing first feature, Field Niggas, a stunningly raw symphony of Harlem street life that became a sensation on the festival circuit. With his most recent feature, Black Mother, a mesmerizing exploration of the many dimensions of Jamaican society, Allah confirms himself as one of the most vital and original filmmakers working today, an audiovisual alchemist who transforms unvarnished truth into ecstatic poetry.

  • Urban Rashomon, 2013
  • Antonyms of Beauty, 2013
  • Field Niggas, 2014
  • Black Mother, 2018

Thursday, January 23

Panique: Criterion Collection Edition #955

Proud, eccentric, and antisocial, Monsieur Hire (Michel Simon) has always kept to himself. But after a woman turns up dead in the Paris suburb where he lives, he feels drawn to a pretty young newcomer to town (Viviane Romance), discovers that his neighbors are only too ready to suspect the worst of him, and is framed for the murder. Based on a novel by Georges Simenon, Julien Duvivier’s first film after his return to France from Hollywood finds the acclaimed poetic realist applying his consummate craft to darker, moodier ends. Propelled by its two deeply nuanced lead performances, the tensely noirish Panique exposes the dangers of the knives-out mob mentality, delivering as well a pointed allegory for the behavior of Duvivier’s countrymen during the war. SUPPLEMENTAL FEATURES: A documentary on the history of subtitling; an interview with Pierre Simenon, son of Georges Simenon; and a conversation between critics Guillemette Odicino and Eric Libiot.

Friday, January 24

Double Feature: Jackpot!

Bay of Angels and Atlantic City

From the glamorous south of France to the dilapidated boardwalks of New Jersey, casinos provide the colorful backdrops to these exquisite tales of love and broken dreams from two legendary French filmmakers, each featuring the mesmerizing music of Michel Legrand. Set amid the seaside splendor of Nice, Jacques Demy’s often overlooked second feature Bay of Angels is a visually ravishing saga of love and gambling addiction starring a bewitching Jeanne Moreau. Then, Burt Lancaster and Susan Sarandon are the lost souls thrown together by chance amid the faded grandeur of the titular resort town in Louis Malle’s achingly bittersweet Atlantic City, one of the finest films of the 1980s.

Saturday, January 25

Saturday Matinee: Great Expectations

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.

Sunday, January 26

Meet the Filmmakers: Paul Schrader

A titan of the American cinema who emerged from the ranks of the 1970s movie brats with his era-defining screenplay for Taxi Driver, writer-director Paul Schrader has pursued a defiantly singular vision in his provocative explorations of guilt and salvation in a soul-sick world. In this episode of the Criterion Channel’s ongoing Meet the Filmmakers series, director Alex Ross Perry (Her Smell, Listen Up Philip) visits the ever-iconoclastic auteur on the set of his acclaimed latest film, First Reformed, where Schrader reflects on the highs and lows of his legendary career, the challenges and rewards of slow cinema, and his often controversial social-media presence. Expounding on the influences and experiences that led him to First Reformed, Schrader situates his late-period masterpiece within the context of his extensive body of work, a selection of which appears alongside this revealing profile. Previous installments of Meet the Filmmakers have profiled such directors as Apichatpong Weerasethakul, Josh and Benny Safdie, and Athina Rachel Tsangari.

  • Taxi Driver, Martin Scorsese, 1976
  • Hardcore, Paul Schrader 1979
  • American Gigolo, Paul Schrader, 1980*
  • Mishima: A Life in Four Chapters, Paul Schrader, 1985
  • Patty Hearst, Paul Schrader, 1988
  • The Comfort of Strangers, Paul Schrader, 1990*
  • Light Sleeper, Paul Schrader, 1992*
  • Auto Focus, Paul Schrader, 2002
  • Adam Resurrected, Paul Schrader, 2008

*Available February 1

Monday, January 27

The Fugitive Kind: Criterion Collection Edition #515

Four Oscar-winning actors—Marlon Brando, Anna Magnani, Joanne Woodward, and Maureen Stapleton—shine in this enthralling film, which also brings together the legendary talents of director Sidney Lumet and writer Tennessee Williams. A smoldering, snakeskin-jacketed Brando is Val Xavier, a drifter trying to go straight. He finds work and solace in a small-town southern variety store run by the married, sexually frustrated Lady Torrance (Magnani), who proves as much a temptation for Val as does local wild child Carol Cutrere (Woodward). Lumet captures the intense, fearless performances and Williams’s hot-blooded storytelling and social critique with his customary restraint, resulting in a drama of uncommon sophistication and craft. SUPPLEMENTAL FEATURES: An interview with Sidney Lumet, a television production of three one-act plays by Tennessee Williams, and a program on Williams’s work in Hollywood.

Tuesday, January 28

Short + Feature: Prime Cuts

Carving Magic and Delicatessen

Calling all carnivores: get a crash course in how to slice all those fancy meats—from ham hocks to pot roasts—in Carving Magic, a fantastically ’50s industrial-educational blood feast from future wizard of gore Herschell Gordon Lewis. It makes for an appropriately fleshy appetizer to Jean-Pierre Jeunet and Marc Caro’s brilliantly inventive black comedy Delicatessen, in which a butcher in a postapocalyptic dystopia resorts to, ahem, creative measures to stay in business.

Wednesday, January 29

Fat Girl: Criterion Collection Edition #259

Twelve-year-old Anaïs is fat. Her sister, fifteen-year-old Elena, is a beauty. While the girls are on vacation with their parents, Anaïs tags along as Elena explores the dreary seaside town. Elena meets Fernando, an Italian law student; he seduces her with promises of love, and the ever-watchful Anaïs bears witness to the corruption of her sister’s innocence. Fat Girl is not only a portrayal of female adolescent sexuality and the complicated bond between siblings but also a shocking assertion by the always controversial Catherine Breillat that violent oppression exists at the core of male-female relations. SUPPLEMENTAL FEATURES: Behind-the-scenes footage and interviews with Catherine Breillat.

Thursday, January 30

Until the End of the World: Criterion Collection Edition #1007

Conceived as the ultimate road movie, this decades-in-the-making science-fiction epic from Wim Wenders follows the restless Claire Tourneur (Solveig Dommartin) across continents as she pursues a mysterious stranger (William Hurt) in possession of a device that can make the blind see and bring dream images to waking life. With an eclectic soundtrack that gathers a host of the director’s favorite musicians, along with gorgeous cinematography by Robby Müller, this breathless adventure in the shadow of Armageddon takes its heroes to the ends of the earth and into the oneiric depths of their own souls. Presented here in its triumphant 287-minute director’s cut, Until the End of the World assumes its rightful place as Wenders’ magnum opus, a cosmic ode to the pleasures and perils of the image and a prescient meditation on cinema’s digital future. SUPPLEMENTAL FEATURES: A conversation between Wim Wenders and musician David Byrne, a 1991 short film by Uli M Schueppel on the recording of Nick Cave’s contribution to the soundtrack, deleted scenes, and more.

Friday, January 31

Double Feature: One Play, Two Masterpieces

The Lower Depths (Jean Renoir) and The Lower Depths (Akira Kurosawa)

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 alongside the Popular Front in France while Hitler rose in Germany, took 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 filmmaker offers a unique look at cinematic adaptation—where social conditions and filmmaking styles converge to create unique masterpieces.

Complete list of films premiering on the Criterion Channel this month:

  • 3 Faces, Jafar Panahi, 2018
  • Antonyms of Beauty, Khalik Allah, 2013
  • Atlantic City, Louis Malle, 1980
  • Auto Focus, Paul Schrader, 2002**
  • Baxter, Jérôme Boivin, 1989
  • Birdman of Alcatraz, John Frankenheimer, 1962
  • Black Mother, Khalik Allah, 2018
  • A Boy and His Dog, L. Q. Jones, 1975
  • A Clockwork Orange, Stanley Kubrick, 1971
  • Come Back, Little Sheba, Daniel Mann, 1952**
  • Conversation Piece, Luchino Visconti, 1974
  • Cookie, Susan Seidelman, 1989
  • The Court Jester, Melvin Frank and Norman Panama, 1956
  • Dark Star, John Carpenter, 1974
  • Death in the Garden, Luis Buñuel, 1956
  • Death Race 2000, Paul Bartel, 1975
  • Demon Seed, Donald Cammell, 1977
  • Desperately Seeking Susan, Susan Seidelman, 1985
  • The Discreet Charm of the Bourgeoise, Luis Buñuel, 1972
  • Elmer Gantry, Richard Brooks, 1960
  • Field Niggas, Khalik Allah, 2015
  • From Here to Eternity, Fred Zinnemann, 1953
  • God Told Me To, Larry Cohen, 1976
  • Good Intentions, Anna Mantzaris, 2018
  • Good-bye, My Lady, William A. Wellman, 1956
  • Hans Christian Andersen, Charles Vidor, 1952
  • Hardcore, Paul Schrader, 1979
  • Holy Smoke, Jane Campion, 1999
  • I Walk Alone, Byron Haskin, 1947
  • In the Cut, Jane Campion, 2003
  • The Kid from Brooklyn, Norman Z. McLeod, 1946
  • L’age d’or, Luis Buñuel, 1930
  • L’enfant, Jean-Pierre Dardenne and Luc Dardenne, 2005
  • Le Corbeau, Henri-Georges Clouzot, 1943
  • Le quattro volte, Michelangelo Frammartino, 2010
  • Local Hero, Bill Forsyth, 1983
  • Logan’s Run, Michael Anderson, 1976
  • Look at Me, Agnès Jaoui, 2004**
  • Mad Max, George Miller, 1979
  • The Milky Way, Luis Buñuel, 1969
  • No Blade of Grass, Cornel Wilde, 1970
  • The Omega Man, Boris Sagal, 1971
  • Panique, Julien Duvivier, 1946
  • Patty Hearst, Paul Schrader, 1988
  • The Phantom of Liberty, Luis Buñuel, 1974
  • The Piano, Jane Campion, 1993
  • The Portrait of a Lady, Jane Campion, 1996
  • The Professionals, Richard Brooks, 1966
  • The Rainmaker, Joseph Anthony, 1956
  • Resurrecting Adam, Paul Schrader, 2008
  • Rollerball, Norman Jewison, 1975
  • The Rose Tattoo, Daniel Mann, 1955**
  • The Secret Life of Walter Mitty, Norman Z. McLeod, 1947
  • Separate Tables, Delbert Mann, 1958
  • Seven Days in May, John Frankenheimer, 1964
  • She-Devil, Susan Seidelman, 1989
  • Shivers, David Cronenberg, 1975
  • A Song Is Born, Howard Hawks, 1948
  • Songs My Brothers Taught Me, Chloé Zhao, 2015
  • Sorry, Wrong Number, Anatole Litvak, 1948
  • Soylent Green, Richard Fleischer, 1973
  • Sweet Smell of Success, Alexander Mackendrick ,1957
  • The Swimmer, Frank Perry, 1968
  • The Taste of Others, Agnès Jaoui, 2000
  • Taxi Driver, Martin Scorsese, 1976
  • The Terminal Man, Mike Hodges, 1974
  • That Obscure Object of Desire, Luis Buñuel, 1977
  • The Train, John Frankenheimer, 1964
  • THX 1138, George Lucas, 1971
  • Tristana, Luis Buñuel, 1970
  • Two Friends, Jane Campion, 1986
  • The Ultimate Warrior, Robert Clouse, 1975
  • Until the End of the World, Wim Wenders, 1991
  • Up In Arms, Elliott Nugent, 1944
  • Urban Rashomon, Khalik Allah, 2013
  • Westworld, Michael Crichton, 1973
  • Wonder Man, H. Bruce Humberstone, 1945
  • Z.P.G., Michael Campus, 1972**

**Available in the U.S. only

]]>
Criterion Channel Surfing Joins Our Podcast Network! https://criterioncast.com/news/criterion-channel-surfing-joins-our-podcast-network Mon, 16 Dec 2019 07:05:20 +0000 https://criterioncast.com/?p=62897

Last week, Aaron West and our friends at the 25th Frame announced that they were bringing the network to an end this month. The network was a real source of inspiration for many of us in the niche home video podcast universe, and it was always a real joy to see how many episodes they were producing each week. Podcasting is harder than it looks, and organizing a network more so.

There was quite a lot of discussion, behind the scenes, regarding how we at the CriterionCast could help all of the podcasters on their journey to new homes. This past October, Josh Hornbeck premiered his new series at the 25th Frame: Criterion Channel Surfing. The high level of preparation, production, and editing that Josh invests in the show is immediately apparent, and inspirational.

We’ve spent the past ten years talking about the Criterion Collection mostly as a company that produces physical discs, and now that they’ve built this digital platform, it’s time that we have a show dedicated to the Criterion Channel on our site. We’ve obviously talked about streaming in almost every episode of the podcast since day one, but what Josh is doing with Criterion Channel Surfing is unique and we are honored that he has agreed to join our site.

We’ll begin hosting the episodeshosting the episodes that were previously released on the 25th Frame, and they’ll be included in our main feed for those who subscribe to everything.

Follow Josh’s Twitter account for Criterion Channel Surfing, like his page over on Facebook, and you can support him directly on Patreon.

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Home Video Deals for Thanksgiving 2019 https://criterioncast.com/deals/home-video-deals-for-thanksgiving-2019 Thu, 28 Nov 2019 17:51:45 +0000 https://criterioncast.com/?p=62832

I’m sure many of you are out there looking for deals on DVDs, Blu-rays, and 4K UHD discs, and the retailers sure are putting together a pretty nice list of heavily discounted titles today. The items below will update with any price changes, and I’ll continue to add titles to the post as deals pop-up around the web.

As always, a huge thanks to all who support the site by shopping through our affiliate links. A small portion of any sale will go to helping us out.

Jump to: Criterion / 4K / Box Sets / Blu-rays


Shop Black Friday Deals and Gift Guides at:


 

Criterion Collection

Find more Criterion Collection deals at Amazon, Barnes & Noble, Deep Discount, Walmart, and Best Buy.


 

4K Ultra HD Blu-rays

Last updated on November 30, 2020 10:03 am

Check out more 4K Ultra HD Blu-ray deals at Amazon


 

Box Sets

Check out more box set deals at Amazon


 

Blu-rays

Check out more Blu-ray deals at Amazon

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2019 CriterionCast Gift Guide: The Best Film Gifts to Give This Year https://criterioncast.com/column/gift-guide/2019-criterioncast-gift-guide-the-best-film-gifts-to-give-this-year Wed, 27 Nov 2019 15:59:42 +0000 https://criterioncast.com/?p=62795

To continue this week’s series of Gift Guide posts, today we’re posting some of our favorite non-disc, non-book gifts for the film-loving friends and family in your giving circles. While we tried to stick with just recent releases in our disc and book posts, I was less strict with this “stuff” post.

I’m sure I’m missing tons of obvious picks here, but I think the items below will give you some ideas. If you want to let us know what sorts of film-related gift stuff you’re giving and hoping for, head over to our subreddit, our Facebook page, or just reply on Twitter

Many of the links below are affiliate links, and small percentages of any sales you may send to those retailers will help support the site. As always, a huge thanks to all who support the site on Patreon, by purchasing through affiliate links, or just by reading the site and sending positive vibes our way.

I hope the holidays treat you kindly, and you take the time to treat yourself over the coming weeks.

Jump to: Electronics / Subscriptions / Posters / Shirts & Totes / Games / Toys


Shop Black Friday Deals and Gift Guides at:


 

Electronics

$129.99
in stock
66 new from $129.99
7 used from $147.49
Amazon.com
Free shipping
Last updated on December 4, 2020 5:35 am
Last updated on December 4, 2020 5:35 am
$47.00
$49.99
in stock
67 new from $43.99
25 used from $33.99
Amazon.com
Free shipping
Last updated on December 4, 2020 5:35 am
Last updated on December 4, 2020 5:35 am

Check out more electronics deals at Amazon, Best Buy, Target and Walmart


 

Cinephile Subscriptions

More gift cards from Alamo Drafthouse Cinemas, Amazon, and Fandango


 

Posters

35.00
Grasshopperfilm.com
25.00
Criterion.com

 

Shirts & Totes

18.00
Oscilloscope.net
29.99
Bigcartel.com

Other Mondo gifts: Posters, Music, Collectibles, Apparel, Pins, Games & Puzzles

$18.99
out of stock
Entertainmentearth.com

More shirts available from Criterion and Oscilloscope


 

Games

$17.60
$20.00
in stock
16 new from $14.35
1 used from $20.87
Amazon.com
Free shipping
Last updated on December 4, 2020 5:35 am
$21.99
$23.99
in stock
1 new from $21.99
Amazon.com
Free shipping
Last updated on December 4, 2020 5:35 am

 

Toys

Last updated on December 4, 2020 5:35 am
Last updated on December 4, 2020 5:35 am
$14.60
out of stock
Entertainmentearth.com
$24.99
out of stock
Entertainmentearth.com
$10.99
in stock
Entertainmentearth.com
$10.99
out of stock
Entertainmentearth.com
$34.99
out of stock
Entertainmentearth.com

More toys available at Amazon, Best Buy, Entertainment Earth, Target, and Walmart

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The November 2019 Barnes & Noble 50% Off Criterion Collection Sale Has Begun! https://criterioncast.com/news/november-2019-barnes-noble-criterion-collection-sale Fri, 01 Nov 2019 06:29:46 +0000 https://criterioncast.com/?p=62430
For the past several years, Barnes & Noble holds a bi-annual 50% off sale on the Criterion Collection, each July and November. The sale begins today online and will end on December 1st.

Many of you will be heading out to your local stores to closely inspect the packaging, to avoid any dents in those gorgeous digipaks. Everyone else will be ordering online, thus avoiding contact with the insanity that is shopping during the holidays.

Below you’ll find covers to the most recent Criterion Collection Blu-ray releases, with links taking you to their corresponding pages on Barnes & Noble’s website.

What are you picking up this time around? Head over to our Facebook page, or Subreddit, and share your haul shots!

These are affiliate links, and when you purchase through our links, you are helping our site. I really appreciate it.


November 2019