The Criterion Channel -- Film and Content Discussion

The scuttlebutt on Criterion, Eclipse, and Janus Films. Lists and polls are STRONGLY discouraged.
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senseabove
Joined: Wed Dec 02, 2015 3:07 am

Re: The Criterion Channel -- Film and Content Discussion

#351 Post by senseabove » Wed Apr 22, 2020 3:50 pm

Since they got several Pialet films from Cohen, here's hoping it's a whole Rivette series...

We know, for example, that Gang of Four has a DCP ready, from a screening last year.

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Ashirg
Joined: Wed Nov 03, 2004 9:10 am
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Re: The Criterion Channel -- Film and Content Discussion

#352 Post by Ashirg » Wed Apr 22, 2020 7:25 pm

Friday, May 1
Double Feature: California Dreamin’
The Limey and Mulholland Dr.
With a legendary commentary for The Limey featuring director Steven Soderbergh and screenwriter Lem Dobbs

Two outsiders arrive in Los Angeles and are soon plunged into sinister mysteries that seem to unfold in fractured, dream-state unrealities. That’s just where the similarities begin between Steven Soderbergh’s hallucinatory revenge thriller The Limey and David Lynch’s feverish Hollyweird freak-out Mulholland Dr., which also share a time-scrambling puzzle-box structure, uncanny visual references, and even a key cast member. Viewed side by side, these postmodern neonoirs enter into a fascinating dialogue with one another that only enhances the enigmatic air that surrounds them.

Saturday, May 2
Saturday Matinee: Around the World in 80 Days

Winner of five Academy Awards, including best picture, Michael Anderson’s grandly entertaining epic brings Jules Verne’s classic novel to colorful, star-studded life. When dapper nineteenth-century Englishman Phileas Fogg (David Niven) makes an incredible wager that he can circle the globe in eighty days, he embarks on a fantastic journey with his valet (Cantinflas), during which he encounters high adventure, romance, unending obstacles, and daring escapes amid breathtaking scenic beauty. Infused with a sense of wide-eyed wonder and pure joy, Around the World in 80 Days is a rollicking ride featuring cameos by more than forty celebrities, including Marlene Dietrich, Buster Keaton, Charles Boyer, Ronald Colman, Frank Sinatra, Peter Lorre, and Noël Coward.

Sunday, May 3
Josh and Benny Safdie’s Adventures in Moviegoing

The undisputed kings of kinetic, adrenaline-rush cinema that unfolds at the heart-stopping pace of a New York minute, Josh and Benny Safdie have been keeping audiences on the edge of their seats (and on the verge of a panic attack) for over a decade with whirlwind character studies like Uncut Gems, Good Time, and Heaven Knows What. In this edition of Adventures in Moviegoing, the brothers sit down to discuss everything from how their father’s love of movies shaped their upbringing (and made Dustin Hoffman a surrogate screen dad) to their deep-cut-heavy list of the best New York City movies (there’s a lot). The films they’ve chosen to present include slice-of-life gems from Mike Leigh (Meantime) and Billy Woodberry (Bless Their Little Hearts); gritty thrillers from Elaine May (Mikey and Nicky) and John Cassavetes (Gloria); and self-reflexive revelations from Krzysztof Kieślowski (Camera Buff) and Jafar Panahi (The Mirror), all of which reflect the abiding humanism that courses through the duo’s own work.

The Naked City, Jules Dassin, 1948
In a Lonely Place, Nicholas Ray, 1950
Camera Buff, Krzysztof Kieślowski, 1979
Gloria, John Cassavetes, 1980
Bless Their Little Hearts, Billy Woodberry, 1984
Meantime, Mike Leigh, 1984
Close-up, Abbas Kiarostami, 1990
Hero, Stephen Frears, 1992
The Mirror, Jafar Panahi, 1997

Monday, May 4
Cane River
Exclusive streaming premiere, with a new documentary featuring actors Richard Romain and Tommye Myrick

Written, produced, and directed by the late, trailblazing director Horace B. Jenkins and crafted by an entirely African American cast and crew, this luminous, recently rediscovered landmark of American independent cinema is a charmingly laid-back, socially incisive love story set in the heart of Louisiana. It’s there that a forbidden romance between an aspiring writer (Richard Romain) and an ambitious, college-bound woman (Tommye Myrick) lays bare the tensions between two black communities: the wealthy Creoles and the working-class descendants of slaves. Featuring lyrical cinematography and strikingly naturalistic performances from its captivating leads, the long-lost Cane River reemerges thanks to a brand-new, state-of-the-art restoration by Indie Collect and Oscilloscope Laboratories.

Tuesday, May 5
Short + Feature: Freaks and Greeks
Washingtonia and Dogtooth

Let the peculiar pleasures of the Greek Weird Wave wash over you with a double dose of brilliantly provocative strangeness from two of the singular cinematic movement’s ringleaders. Konstantina Kotzamani’s faux nature documentary Washingtonia evokes summertime ennui in a sweltering Athens via a menagerie of giraffes, beetles, poodles, and disaffected humans. It makes for an appropriately outré intro to Yorgos Lanthimos’s startlingly perverse international sensation Dogtooth, which introduced the world to one of the most dementedly dysfunctional families in all of cinema.
criterion-channel-may-2020-down-in-the-delta

Image via Criterion Channel

Wednesday, May 6
Down in the Delta

The only film directed by the iconic writer, poet, and activist Maya Angelou is a warm, richly evocative celebration of black southern family and resilience. Alfre Woodard delivers a brilliant performance as a floundering, drug-addicted mother living in Chicago whose own mother sends her to stay with an uncle (Al Freeman Jr.) in the Mississippi Delta, where she gradually reconnects with her heritage and discovers strength in her roots. With her writer’s eye for detail and keen sense of character and place, Angelou crafts a bittersweet, deeply moving family portrait that ranks as one of the unsung gems of 1990s independent filmmaking. The marvelous supporting cast includes Esther Rolle (in her final film appearance), Loretta Devine, and Wesley Snipes, who also produced.

Thursday, May 7
Three by Tsai Ming-liang

The most celebrated figure of the Second New Wave of Taiwanese cinema, boundary-pushing auteur Tsai Ming-liang charts the contours of contemporary alienation in mesmerizingly enigmatic works that are at once rigorously spare and richly sensuous. Spanning more than twenty years, this trio of some of Tsai’s most arresting films all star his regular leading man and alter ego Lee Kang-sheng, who inhabits, variously, a teenage delinquent drifting through an urban wasteland in the director’s debut feature, Rebels of the Neon God; a pornographic actor with a taste for watermelon in the daring, utterly unclassifiable musical extravaganza The Wayward Cloud; and a father struggling to survive on the fringes of a decaying, perpetually rain-soaked Taipei in Stray Dogs.

Rebels of the Neon God, 1992
The Wayward Cloud, 2005
Stray Dogs, 2013

Friday, May 8
Double Feature: Mama Drama
Stella Dallas (1925) and Stella Dallas (1937)

Grab some tissues and get ready to celebrate Mother’s Day with two sterling adaptations of Olive Higgins Prouty’s classic, tear-wringing tale of maternal sacrifice. Filmed first in 1925 by producer Samuel Goldwyn and director Henry King from a script by Frances Marion, the original Stella Dallas, starring Belle Bennett, was groundbreaking in its sympathetic portrayal of single motherhood. Twelve years later, Goldwyn and director King Vidor updated the story for the talkie era, resulting in one of the most beloved and unabashedly moving melodramas of all time, with a heartbreaking Barbara Stanwyck as the coarse mill worker’s daughter determined to give her own child a better life.

Saturday, May 9
Saturday Matinee: Good Morning

A lighthearted take on director Yasujiro Ozu’s perennial theme of the challenges of intergenerational relationships, Good Morning tells the story of two young boys who stop speaking in protest after their parents refuse to buy a television set. Ozu weaves a wealth of subtle gags through a family portrait as rich as those of his dramatic films, mocking the foibles of the adult world through the eyes of his child protagonists. Shot in stunning color and set in a suburb of Tokyo where housewives gossip about the neighbors’ new washing machine and unemployed husbands look for work as door-to-door salesmen, this charming comedy refashions Ozu’s own silent classic I Was Born, But . . . to gently satirize consumerism in postwar Japan.

Sunday, May 10
Saul Bass Turns 100!

There were title sequences before Saul Bass, and there were title sequences after Saul Bass. The legendary graphic artist, born 100 years ago on May 8, revolutionized the art of motion-picture credits with his groundbreaking opening to Otto Preminger’s The Man with the Golden Arm, using strikingly minimalist design elements to visualize the story’s explosive theme of drug addiction. Over the next forty years, Bass would employ techniques ranging from animation (Around the World in 80 Days, Ocean’s 11) to live action (Walk on the Wild Side, Grand Prix) to avant-garde experimentation (Seconds) to time-lapse photography (The Age of Innocence) to create some of the most dazzling title sequences of all time, miniature works of art that not only set the mood for the feature to follow but which often help to tell the story itself. Though he directed only one feature—the visually stunning science-fiction head trip Phase IV—Bass left behind a widely influential legacy as one of the most innovative film artists of the twentieth century.

The Big Knife, Robert Aldrich, 1955
The Man with the Golden Arm, Otto Preminger, 1955
Around the World in 80 Days, Michael Anderson, 1956
Storm Center, Daniel Taradash, 1956
Bonjour tristesse, Otto Preminger, 1958
The Big Country, William Wyler, 1958
Cowboy, Delmer Daves, 1958
Anatomy of a Murder, Otto Preminger, 1959
The Facts of Life, Melvin Frank, 1960
Ocean’s 11, Lewis Milestone, 1960
Something Wild, Jack Garfein, 1961
West Side Story, Robert Wise and Jerome Robbins, 1961*
Walk on the Wild Side, Edward Dmytryk, 1962
It’s a Mad, Mad, Mad, Mad World, Stanley Kramer, 1963
Bunny Lake Is Missing, Otto Preminger, 1965
Grand Prix, John Frankenheimer, 1966*
Seconds, John Frankenheimer, 1966
Phase IV, Saul Bass, 1974
The Human Factor, Otto Preminger, 1979
The Age of Innocence, Martin Scorsese, 1993

*Available June 1

Monday, May 11
The Documentaries of Louis Malle

Over the course of a nearly forty-year career, Louis Malle forged a reputation as one of the world’s most versatile cinematic storytellers, with such widely acclaimed, and wide-ranging, masterpieces as Elevator to the Gallows, My Dinner with Andre, and Au revoir les enfants. At the same time, however, with less fanfare, Malle was creating a parallel, even more personal body of work as a documentary filmmaker. With the discerning eye of a true artist and the investigatory skills of a great journalist, Malle takes us from a street corner in Paris to America’s heartland to the expanses of India in his astonishing epic Phantom India. These are some of the most engaging and fascinating nonfiction films ever made.

Vive le Tour, 1962
Phantom India, 1969
Calcutta, 1969
Humain, trop humain, 1973
Place de la République, 1974
God’s Country, 1985
. . . And the Pursuit of Happiness, 1986

Tuesday, May 12
Short + Feature: Youthquakes
Tremors and The Fits

Adolescent anxiety is unleashed in strange and disturbing ways in two hallucinatory visions that give physical form to the psychic experience of teenage angst. In his award-winning short Tremors, director Dawid Bodzak explores the mysteries of male adolescence via an enigmatic portrait of a skateboarder whose inner turmoil seems to explode outward in sudden attacks that literally shake him to his core. A similarly unsettling phenomenon overtakes a girls’ dance team in Anna Rose Holmer’s stunning debut feature, The Fits, which fuses mesmerizing sound and movement to create a visceral coming-of-age dreamscape.
criterion-channel-may-2020-it-felt-like-love

Image via Criterion Channel

Wednesday, May 13
It Felt Like Love
Featuring an introduction by director Eliza Hittman and two of her early short films

As her latest film, the 2020 Sundance and Berlin award winner Never Rarely Sometimes Always, garners critical acclaim, the Criterion Channel revisits the revelatory debut feature from director Eliza Hittman. Set over the course of a languid South Brooklyn summer, this unflinchingly honest, refreshingly unsentimental tale of sexual exploration and awakening centers on Lila (Gina Piersanti, in a remarkable debut), a lonely fourteen-year-old girl who pushes herself into frightening and dangerous new territory in a quest to experience love. With an eye for evocative, richly sensorial images, Hittman offers a bracing, startlingly intimate new take on the coming-of-age drama.

Feature
It Felt Like Love, 2013

Shorts
Second Cousins Once Removed, 2010
Forever’s Gonna Start Tonight, 2011

Thursday, May 14
Short Films by the Quay Brothers

Two of the world’s most brilliantly original filmmakers, identical twins Stephen and Timothy Quay have, over the course of more than four decades, amassed an enormous cult following for their visionary blend of puppetry and stop-motion animation. Perhaps best known for their gothic classic Street of Crocodiles, The Quays display a passion for detail, a breathtaking command of color and texture, and an uncanny use of focus and camera movement that unite their darkly surreal, marvelously macabre works. Masters of miniaturization, they’ve created an unforgettable world on their tiny sets, suggestive of a landscape of long-repressed childhood dreams.

The Cabinet of Jan Švankmajer, 1984
This Unnameable Little Broom, 1985
Street of Crocodiles, 1986
Rehearsals for Extinct Anatomies, 1987
Stille Nacht I: Dramolet, 1988
Stille Nacht III: Tales from Vienna Woods, 1992
Stille Nacht IV: Can’t Go Wrong Without You, 1993
The Comb, 1990
Anamorphosis, 1991
In Absentia, 2000
The Phantom Museum, 2003

Friday, May 15
Double Feature: Knockout!
The Harder They Fall and Raging Bull

Humphrey Bogart and Robert De Niro pull no punches in two of the finest, most hard-hitting boxing dramas ever made. First, Bogie delivers his powerful final screen performance as a sportswriter drawn into the corrupt underbelly of the fight racket in the gritty noir The Harder They Fall. Then, De Niro is raw physicality incarnate as self-destructive boxer Jake LaMotta in Martin Scorsese’s Raging Bull, a blistering vision of tortured masculinity that stands as perhaps the peak of one of cinema’s greatest actor-director collaborations.

Saturday, May 16
Saturday Matinee: The Boy with Green Hair

One of the most unique, charmingly eccentric films to come out of studio-era Hollywood, this heartfelt fable tells the supernatural-tinged story of Peter (a young Dean Stockwell), a war orphan who finds a safe haven in small town America . . . until one day he wakes up to find that his hair has inexplicably turned green. Although ridiculed by his classmates and the local townspeople, Peter soon realizes that there is power in being different. An impassioned call for tolerance and an inspiring celebration of individuality, THE BOY WITH GREEN HAIR features a superlative cast (including Robert Ryan and Pat O’Brien), a hit theme song (“Nature Boy”) by Nat King Cole, and the typically inspired direction of Joseph Losey, making his feature debut.

Sunday, May 17
Written by Frances Marion
Featuring Without Lying Down: Frances Marion and the Power of Women in Hollywood, a feature-length documentary directed by Bridget Terry

For almost three decades, Frances Marion was Hollywood’s highest-paid screenwriter (male or female), a pioneer who shaped the nascent art of script writing and whose seemingly boundless imagination yielded some of the most unforgettable words and stories ever put on screen. Like fellow trailblazers Lois Weber, Dorothy Arzner, and Anita Loos, Marion was drawn to Hollywood at a time when women could still carve out a place for themselves in the burgeoning film industry, establishing herself as a hugely successful writer (and occasional director) for her best friend Mary Pickford. The top screenwriter at MGM during the late 1920s and early 1930s, Marion penned classics like The Wind, Anna Christie, The Big House, The Champ, Min and Bill, and Dinner at Eight for stars such as Lillian Gish, Greta Garbo, Marie Dressler, Wallace Beery, and Jean Harlow, along the way becoming the first writer to win two Academy Awards. While her remarkable versatility meant that she could move easily between acclaimed literary adaptations, sparkling comedies, and gritty crime dramas, Marion’s piercing insight into human nature transcends genre and makes her work uniquely timeless.

Stella Dallas, Henry King, 1925
The Scarlet Letter, Victor Sjöström, 1926
The Winning of Barbara Worth, Henry King, 1926
The Wind, Victor Sjöström, 1928
Their Own Desire, E. Mason Hopper, 1929
Anna Christie, Clarence Brown, 1930
The Big House, George Hill, 1930
Min and Bill, George Hill, 1930
The Champ, King Vidor, 1931
Blondie of the Follies, Edmund Goulding, 1932
Cynara, King Vidor, 1932
Dinner at Eight, George Cukor, 1933
Secrets, Frank Borzage, 1933
Riffraff, J. Walter Ruben, 1936
Knight Without Armour, Jacques Feyder, 1937
Without Lying Down: Frances Marion and the Power of Women in Hollywood, Bridget Terry, 2000

Monday, May 18
Investigation of a Citizen Above Suspicion: Criterion Collection Edition #682

The provocative Italian filmmaker Elio Petri’s most internationally acclaimed work is this remarkable, visceral, Oscar-winning thriller. Petri maintains a tricky balance between absurdity and realism in telling the Kafkaesque tale of a Roman police inspector (a commanding Gian Maria Volonté) investigating a heinous crime—which he himself committed. Both a compelling character study and a disturbing commentary on the draconian government crackdowns in Italy in the late 1960s and early ’70s, Petri’s kinetic portrait of surreal bureaucracy is a perversely pleasurable rendering of controlled chaos. SUPPLEMENTAL FEATURES: An archival interview with Petri; Elio Petri: Notes About a Filmmaker, a documentary on the director’s career; a documentary about Volonté; and more.

Tuesday, May 19
Short + Feature: Fassbinder and His Friends
Angst isst Seele auf and Ali: Fear Eats the Soul

Thirty years after its release, the powerful, antiracist themes of Rainer Werner Fassbinder’s Sirkian masterpiece Ali: Fear Eats the Soul continue to resonate in an at once hard-hitting and poetic short. Shot with striking immediacy by a subjective camera, Shahbaz Noshir’s Angst isst Seele auf assumes the point of view of a black actor in Germany dealing with racist abuse as he prepares to appear in a play based on Fassbinder’s film, about the taboo relationship between an older German woman and an Arab man. Sharing the same lead actress (Brigitte Mira), cinematographer (Jürgen Jürges), and editor (Thea Eymèsz), these twin works offer a searing indictment of prejudice within German society.

Wednesday, May 20
Three by Diane Kurys
Featuring an archival interview with Kurys

In a career spanning five decades, French filmmaker Diane Kurys has mined the raw material of her own life and family history to create richly realized portraits of female relationships that overflow with wit and warmth. This selection features her effervescent feature debut, Peppermint Soda, a gently comic, autobiographical tale of two sisters coming of age in 1960s Paris; her Oscar-nominated drama Entre nous, the bittersweet story of an intimate friendship between two women in postwar France based on her own mother’s life and starring Isabelle Huppert; and Children of the Century, a sumptuous period romance starring Juliette Binoche as the iconoclastic writer George Sand. Though she is often overlooked in the pantheon of great contemporary French auteurs, Kurys makes films that manage to be at once deeply personal and universally resonant.

Peppermint Soda, 1977
Entre nous, 1983
Children of the Century, 1999
criterion-channel-may-2020-the-age-of-innocence

Image via Criterion Channel

Thursday, May 21
The Age of Innocence: Criterion Collection Edition #913

No filmmaker captures the grandeur and energy of New York like Martin Scorsese. With this sumptuous romance, he meticulously adapted the work of another great New York artist, Edith Wharton, bringing to life her tragic novel set in the cloistered world of Gilded Age Manhattan. The Age of Innocence tells the story of Newland Archer (Daniel Day-Lewis), whose engagement to an innocent socialite (Winona Ryder) binds him to the codes and rituals of his upbringing. But when her cousin (Michelle Pfeiffer) arrives in town on a wave of scandal after separating from her husband, she ignites passions in Newland he never knew existed. Swelling with exquisite period detail, this film is an alternately heartbreaking and satirical look at the brutality of old-world America. SUPPLEMENTAL FEATURES: interviews with Scorsese, coscreenwriter Jay Cocks, production designer Dante Ferretti, and costume designer Gabriella Pescucci; Innocence and Experience, a documentary on the making of the film; and more.

Friday, May 22
Double Feature: A Legacy and a Landmark
Losing Ground and The Scar of Shame

Kathleen Collins’s independent landmark Losing Ground is a luminous, brilliantly perceptive portrait of a marriage at a crossroads and a woman’s emotional awakening. One of the first films to explore black female desire with nuance and philosophical complexity, it contains a key allusion to actress Pearl McCormack and her role in the 1927 race film The Scar of Shame, a fascinating silent melodrama that, like Losing Ground, touches on issues of class and African American social mobility. Made more than fifty years apart, these touchstone works—once neglected, now cherished—speak to a rich counter-history of black filmmaking that extends across generations.

Saturday, May 23
Saturday Matinee: Black Beauty

Anna Sewell’s classic novel about the bond between a boy and his horse receives a stirring, handsomely mounted screen adaptation, complete with spectacular scenery and a lively sense of adventure. When Black Beauty, the beloved horse he has nurtured since birth, is taken away from him by a cruel squire, young Joe (Mark Lester of Oliver! fame) is determined that they will one day be reunited. Meanwhile, Black Beauty is passed through the hands of various masters in a series of far-flung exploits that take him from a Spanish circus to the battlefields of India and beyond. Beautifully shot amid the natural splendor of Ireland and Spain, Black Beauty is a breathlessly entertaining journey that offers a moving perspective on the relationship between humans and animals.

Sunday, May 24
Tell Me: Women Filmmakers, Women’s Stories
Featuring a conversation between guest programmer Nellie Killian and actor Jenny Slate, plus a conversation about the filmmaking collective New Day Films

In 1979, poet Adrienne Rich observed that “one of the most powerful social and political catalysts of the past decade has been the speaking of women with other women, the telling of our secrets, the comparing of wounds and sharing of words.” Curated by guest programmer Nellie Killian, Tell Me celebrates female filmmakers who took the simple, radical step of allowing women space and time to talk about their lives. Made in a range of idioms encompassing cinema verité, essay film, and agitprop, what the assembled films all share is a startling intimacy between camera and subject. Whether through the bonds of shared experience or merely genuine interest, these portraits capture women talking about trauma and sexual identity, summoning new language to describe the long-simmering injustices and frustrations we still face today, making jokes, admitting insecurities, and organizing for the future. Featuring films by Chantal Akerman, Barbara Hammer, Camille Billops, Chick Strand, Yvonne Rainer, Joyce Chopra, Vivienne Dick, Su Friedrich, and more, this cross-section of feminist filmmaking speaks to Rich’s insight that “in order to change what is, we need to give speech to what has been, to imagine together what might be.”

Growing Up Female, Julia Reichert and Jim Klein, 1971
Janie’s Janie, Geri Ashur, Peter Barton, Marilyn Mulford, and Stephanie Pawleski, 1971
Betty Tells Her Story, Liane Brandon, 1972
It Happens to Us, Amalie R. Rothschild, 1972
Joyce at 34, Joyce Chopra, 1972
Yudie, Mirra Bank, 1974
Chris and Bernie, Bonnie Friedman and Deborah Shaffer, 1976
Guerillère Talks, Vivienne Dick, 1978
Inside Women Inside, Christine Choy and Cynthia Maurizio, 1978
Soft Fiction, Chick Strand, 1979
Dis-moi, Chantal Akerman, 1980
I Am Wanda, Katja Raganelli, 1980
Clotheslines, Roberta Cantow, 1981
Land Makar, Margaret Tait, 1981
Audience, Barbara Hammer, 1982
Suzanne, Suzanne, Camille Billops and James Hatch, 1982
The Ties That Bind, Su Friedrich, 1985
Conversations with Intellectuals About Selena, Lourdes Portillo, 1999
Privilege, Yvonne Rainer, 1990
The Salt Mines, Susana Aiken and Carlos Aparicio, 1990
The Transformation, Susana Aiken and Carlos Aparicio, 1995
Mimi, Claire Simon, 2003
No Home Movie, Chantal Akerman, 2015
Shakedown, Leilah Weinraub, 2018

Monday, May 25
Le Havre: Criterion Collection Edition #619

In this warmhearted comic yarn from Aki Kaurismäki, fate throws the young African refugee Idrissa (Blondin Miguel) into the path of Marcel Marx (André Wilms), a kindly old bohemian who shines shoes for a living in the French harbor city Le Havre. With inborn optimism and the support of his tight-knit community, Marcel stands up to the officials doggedly pursuing the boy for deportation. A political fairy tale that exists somewhere between the reality of contemporary France and the classic French cinema of the past, Le Havre is a charming, deadpan delight and one of the Finnish director’s finest films. SUPPLEMENTAL FEATURES: Interviews with members of the cast and crew and concert footage of Little Bob, the musician featured in the film.

Tuesday, May 26
Short + Feature: What a Woman Wants
The Field and The Cloud-Capped Star

Two women yearn for fulfillment amid the patriarchal inequities of Indian society in these subversive, visually sublime explorations of traditional gender expectations. Gorgeously attuned to the stirrings of the natural world, Sandhya Suri’s sensuous short The Field immerses the viewer in the world of a poor agricultural laborer leading a double life apart from her husband. Its feminist themes resonate throughout Ritwik Ghatak’s ravishing melodrama masterpiece The Cloud-Capped Star, in which a young woman sacrifices her own dreams and desires for the needs of her family.
criterion-channel-may-2020-nicole-holofcener

Image via Criterion Channel

Wednesday, May 27
Three by Nicole Holofcener
Featuring a new introduction by Holofcener

In her smart, bitingly hilarious, and deeply empathetic comedies, Nicole Holofcener offers refreshingly nuanced portrayals of flawed, complex women whose outward sophistication belies their dysfunctional, often disastrous personal lives. All featuring her regular collaborator Catherine Keener, this trio of Holofcener favorites—the cutting family portrait Lovely & Amazing, the wicked class comedy Friends with Money, and the darkly funny satire of white liberal guilt Please Give—displays the richly realized characterizations, all-too-real relationships, and trenchant insights into privilege and bourgeois anxieties that have made the writer-director one of contemporary cinema’s most astutely acerbic observers of human folly.

Lovely & Amazing, 2001
Friends with Money, 2006
Please Give, 2010

Thursday, May 28
Three by Jacques Rivette
Featuring an excerpt from a 1994 profile of Rivette directed by Claire Denis for the series Cinéastes de notre temps

Sprawling, labyrinthine, and obsessed with cryptic symbols, conspiracies, and clues, the films of French New Wave titan Jacques Rivette unfold like epic, choose-your-own-adventure puzzles that draw you ever deeper down their loopy, mysterious rabbit holes. Featuring his tantalizing study of postwar disillusionment Paris Belongs to Us, the freewheeling buddy-comedy fantasia Céline and Julie Go Boating, and the mesmerizing portrait of artistic obsession La belle noiseuse, this Rivettian sampler spans three decades (and nearly ten combined hours) in the career of a master for whom moviemaking was a game of surprise and discovery.

Paris Belongs to Us, 1961
Céline and Julie Go Boating, 1974
La belle noiseuse, 1991

Friday, May 29
Double Feature: Tramps and Scamps
The Kid and Sidewalk Stories

In 1921, Charlie Chaplin’s immortal Little Tramp teamed up with Jackie Coogan’s streetwise ragamuffin in The Kid, and one of the all-time great screen matchups was born. Nearly seventy years later, writer-director-actor Charles Lane paid homage to Chaplin’s classic in the nearly silent Sidewalk Stories, which updates the premise for a black artist living on the streets of 1980s New York who becomes the guardian of a young orphan. Preserving the elegant slapstick invention and heart-tugging poignancy of Chaplin’s vision, Lane infuses the story with a newfound sense of realism and social consciousness to create one of the unsung miracles of 1980s independent cinema.

Saturday, May 30
Saturday Matinee: Little Fugitive

One of the most influential and enchanting films of the American independent cinema, this charming, stylistically innovative fable poetically captures the joys and wonders of childhood. When seven-year-old Joey (Richie Andrusco) is tricked into believing he has killed his older brother, he gathers his meager possessions and flees to New York’s nether wonderland: Coney Island. Upon and beneath the crowded boardwalk, Joey experiences a day and night filled with adventures and mysteries, captured in a groundbreaking semidocumentary style that is refreshingly spontaneous and thoroughly delightful. Winner of the Silver Lion at the 1953 Venice Film Festival, Little Fugitive bursts with a freewheeling inventiveness that would go on to influence both the French New Wave (particularly François Truffaut, who cited it as a key reference for The 400 Blows) and a generation of DIY American filmmakers.
criterion-channel-may-2020-jackie-chan

Image via Criterion Channel

Sunday, May 31
Starring Jackie Chan
Featuring a new interview with Grady Hendrix, author and cofounder of the New York Asian Film Festival

Marrying the daredevil physical comedy of Buster Keaton with the martial-arts mastery of Bruce Lee, Jackie Chan is an international icon whose awe-inspiring stunt work and acrobatic grace set a new standard for action spectacle. Working his way up through the Hong Kong film industry of the 1970s as a stuntman, Chan achieved stardom when he combined his thrilling fight choreography with slapstick mayhem in early vehicles like Half a Loaf of Kung Fu and Spiritual Kung Fu. Making the leap to director with The Fearless Hyena and The Young Master, Chan embarked on a dazzling run of 1980s successes that culminated with Police Story and its sequel, blockbuster megahits in which his death-defying, adrenaline-rush set pieces reached new heights of giddy virtuosity.

Half a Loaf of Kung Fu, Chen Chi-hwa, 1978
Spiritual Kung Fu, Lo Wei, 1978
The Fearless Hyena, Jackie Chan, 1979
The Young Master, Jackie Chan, 1980
Fearless Hyena 2, Chan Chuen, 1983
My Lucky Stars, Sammo Hung, 1985
Police Story, Jackie Chan, 1985
Police Story 2, Jackie Chan, 1988
Complete list of films premiering on the Criterion Channel this month:

The Age of Innocence, Martin Scorsese, 1993**
Anamorphosis, Stephen Quay and Timothy Quay, 1991
Anna Christie, Clarence Brown, 1930
Around the World in 80 Days, Michael Anderson, 1956
Audience, Barbara Hammer, 1982
La belle noiseuse, Jacques Rivette, 1991
Betty Tells Her Story, Liane Brandon, 1972
The Big Country, William Wyler, 1958
The Big House, George Hill, 1930
Black Beauty, James Hill, 1971
Bless Their Little Hearts, Billy Woodberry, 1983
Blondie of the Follies, Edmund Goulding, 1932
The Boy with Green Hair, Joseph Losey, 1948
The Cabinet of Jan Švankmajer, Stephen Quay and Timothy Quay, 1984
Cane River, Horace B. Jenkins, 1982
Céline and Julie Go Boating, Jacques Rivette, 1974
The Champ, King Vidor, 1931
Children of the Century, Diane Kurys, 1999
Chris and Bernie, Bonnie Friedman and Deborah Shaffer, 1976
Clotheslines, Roberta Cantow, 1981
The Cloud-Capped Star, Ritwik Ghatak, 1960
The Comb, Stephen Quay and Timothy Quay, 1990
Conversations with Intellectuals About Selena, Lourdes Portillo, 1999
Cowboy, Delmer Daves, 1958
Cynara, King Vidor, 1932
Dinner at Eight, George Cukor, 1933**
Down in the Delta, Maya Angelou, 1998
Entre nous, Diane Kurys, 1983
The Facts of Life, Melvin Frank, 1960
The Fearless Hyena, Jackie Chan, 1979
Fearless Hyena 2, Chan Chuen, 1983
The Field, Sandhya Suri, 2018
Forever’s Gonna Start Tonight, Eliza Hittman, 2011
Friends with Money, Nicole Holofcener, 2006**
Gloria, John Cassavetes, 1980
Growing Up Female, Jim Klein, Julia Reichert, 1971
Guerillère Talks, Vivienne Dick, 1978
Half a Loaf of Kung Fu, Chen Chi-hwa, 1980
Hero, Stephen Frears, 1992
The Human Factor, Otto Preminger, 1979
I Am Wanda, Katja Raganelli, 1980
In a Year of 13 Moons, Rainer Werner Fassbinder, 1978
In Absentia, Timothy Quay and Stephen Quay, 2000
Inside Women Inside, Christine Choy and Cynthia Maurizio, 1978
Investigation of a Citizen Above Suspicion, Elio Petri, 1970
It Felt Like Love, Eliza Hittman, 2013
It Happens to Us, Amalie R. Rothschild, 1972
It’s a Mad, Mad, Mad, Mad World, Stanley Kramer, 1963
Janie’s Janie, Geri Ashur, 1971
Joyce at 34, Joyce Chopra, 1972
Land Makar, Margaret Tait, 1981
The Limey, Steven Soderbergh, 1999
Little Fugitive, Morris Engel, Ruth Orkin, and Raymond Abrashkin, 1953
Lovely & Amazing, Nicole Holofcener, 2001
Loves of a Blonde, Miloš Forman, 1965
The Man with the Golden Arm, Otto Preminger, 1955
Martha, Rainer Werner Fassbinder, 1974
Mimi, Claire Simon, 2002
Min and Bill, George Hill, 1930
The Mirror, Jafar Panahi, 1997
Mulholland Dr., David Lynch, 2001
My Lucky Stars, Sammo Hung, 1985
No Home Movie, Chantal Akerman, 2015
Ocean’s 11, Lewis Milestone, 1960
Peppermint Soda, Diane Kurys, 1977
The Phantom Museum, Stephen Quay and Timothy Quay, 2003
Phase IV, Saul Bass, 1974
Please Give, Nicole Holofcener, 2010**
Privilege, Yvonne Rainer, 1990
Rebels of the Neon God, Tsai Ming-liang, 1992
Rehearsals for Extinct Anatomies, Timothy Quay and Stephen Quay, 1987
Riffraff, J. Walter Ruben, 1936
The Salt Mines, Susana Aikin and Carlos Aparicio, 1990
The Scarlet Letter, Victor Sjöström, 1926
Second Cousins Once Removed, Eliza Hittman, 2010
Seconds, John Frankenheimer, 1966
Secrets, Frank Borzage, 1933
Shakedown, Leilah Weinraub, 2018
Sidewalk Stories, Charles Lane, 1989
Soft Fiction, Chick Strand, 1979
Something Wild, Jack Garfein, 1961
Spiritual Kung Fu, Lo Wei, 1978
Stella Dallas, Henry King, 1925
Stella Dallas, King Vidor, 1937
Stille Nacht I: Dramolet, Stephen Quay and Timothy Quay, 1988
Stille Nacht III: Tales from the Vienna Woods, Stephen Quay and Timothy Quay, 1992
Stille Nacht IV: Can’t Go Wrong Without You, Stephen Quay and Timothy Quay, 1993
Storm Center, Daniel Taradash, 1956
Stray Dogs, Tsai Ming-liang, 2013
Street of Crocodiles, Stephen Quay and Timothy Quay, 1986
Suzanne, Suzanne, Camille Billops and James Hatch, 1982
Their Own Desire, E. Mason Hopper, 1929
The Third Generation, Rainer Werner Fassbinder, 1979
The Ties That Bind, Su Friedrich, 1985
The Transformation, Susana Aikin and Carlos Aparicio, 1995
Tremors, Dawid Bodzak, 2018
Unknown Pleasures, Jia Zhangke, 2002
This Unnameable Little Broom, Stephen Quay, Timothy Quay, and Keith Griffiths, 1985
Walk on the Wild Side, Edward Dmytryk, 1962
The Wayward Cloud, Tsai Ming-liang, 2005**
The Wind, Victor Sjöström, 1928
Without Lying Down: Frances Marion and the Power of Women in Hollywood, Bridget Terry, 2000
The World, Jia Zhangke, 2004
The Young Master, Jackie Chan, 1980
Yudie, Mirra Bank, 1974

**Available in the U.S. only

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soundchaser
Leave Her to Beaver
Joined: Sun Aug 28, 2016 12:32 am

Re: The Criterion Channel -- Film and Content Discussion

#353 Post by soundchaser » Wed Apr 22, 2020 7:29 pm

Happy about the Rivettes for those who haven’t seen them, but disappointed that it’s three already available on Blu-Ray.

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knives
Joined: Sat Sep 06, 2008 6:49 pm

Re: The Criterion Channel -- Film and Content Discussion

#354 Post by knives » Wed Apr 22, 2020 7:42 pm

Cane River is actually already streaming on Kanopy.

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Ashirg
Joined: Wed Nov 03, 2004 9:10 am
Location: Atlanta

Re: The Criterion Channel -- Film and Content Discussion

#355 Post by Ashirg » Wed Apr 22, 2020 7:53 pm

Happy about more Fassbinder added to the channel.

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Saturnome
Joined: Sun Aug 12, 2007 5:22 pm

Re: The Criterion Channel -- Film and Content Discussion

#356 Post by Saturnome » Thu Apr 23, 2020 1:46 am

A release of Sjostrom's Lilian Gish pictures ! The first since the VHS. Will they have music, or it's going to be mute like some other silents on the channel?

FlickeringWindow
Joined: Fri Nov 15, 2013 12:27 pm

Re: The Criterion Channel -- Film and Content Discussion

#357 Post by FlickeringWindow » Thu Apr 23, 2020 12:49 pm

Saturnome wrote:
Thu Apr 23, 2020 1:46 am
A release of Sjostrom's Lilian Gish pictures ! The first since the VHS. Will they have music, or it's going to be mute like some other silents on the channel?
The Wind had a score done for Thames Silents by Carl Davis that was on the VHS and laserdisc editions. He also did scores that appeared on the MGM/UA videos for The Four Horsemen of the Apocalypse, The Crowd, Greed, Old Heidelberg, The Big Parade (on the Blu), Ben-Hur, and The Flesh and the Devil.

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Shrew
The Untamed One
Joined: Tue Feb 27, 2007 2:22 am

Re: The Criterion Channel -- Film and Content Discussion

#358 Post by Shrew » Thu Apr 23, 2020 1:42 pm

Huh, looks like two Jia Zhangke films are being added (Unknown Pleasures and The World) but not being featured in the calendar. Wonder if Platform might be showing up in a later month...

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The Fanciful Norwegian
Joined: Tue Nov 02, 2004 2:24 pm
Location: Teegeeack

Re: The Criterion Channel -- Film and Content Discussion

#359 Post by The Fanciful Norwegian » Thu Apr 23, 2020 1:54 pm

Janus has all of the features from Xiao Wu through The World, so they're all bound to be on the channel eventually. I suspect Xiao Wu and Platform are being held back because they didn't get proper theatrical releases in the U.S. and they want to put them out first through Janus. (Platform was belatedly acquired by New Yorker, but they never did an actual run for it.) Also, there's a restoration for Platform in the works, though there have been cases in the past of unrestored films going up on the channel shortly before the appearance of a restoration. Curious to see if the copy of Unknown Pleasures on the channel will be a new HD scan, but given the source material it might not be immediately obvious one way or the other.

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yoloswegmaster
Joined: Tue Nov 01, 2016 3:57 pm

Re: The Criterion Channel -- Film and Content Discussion

#360 Post by yoloswegmaster » Wed Apr 29, 2020 7:16 pm

Criterion Channel is now available on Xbox One.

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Gregor Samsa
Joined: Sun Aug 06, 2006 4:41 am

Re: The Criterion Channel -- Film and Content Discussion

#361 Post by Gregor Samsa » Wed Apr 29, 2020 7:40 pm

yoloswegmaster wrote:
Wed Apr 29, 2020 7:16 pm
Criterion Channel is now available on Xbox One.
Thanks for mentioning this! Can also confirm the XBox app works in Australia.

bad future
Joined: Sat Apr 14, 2018 6:16 pm

Re: The Criterion Channel -- Film and Content Discussion

#362 Post by bad future » Wed Apr 29, 2020 8:30 pm

Just noticed something peculiar: the version of Betty Blue available on the Criterion Channel is the 2 hour cut and not the 185 minute one they actually released, even though it’s packaged on the channel as a “Criterion Edition” with all the blu ray supplements.

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The Fanciful Norwegian
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Re: The Criterion Channel -- Film and Content Discussion

#363 Post by The Fanciful Norwegian » Wed Apr 29, 2020 9:10 pm

That is peculiar... I know they had the short version on the service awhile ago (before the Criterion physical release), but when I looked last week after watching Diva it was the long version. The description on the Channel still bills it as the "extended director's cut" and the URL on the website does as well.

Edit: Definitely some weird stuff afoot—Google's description for the short version currently on the site gives the running time as "3h 5m," which implies the director's cut was there until recently. Google also indexed a page specifically for the director's cut, but it now leads to a "Not Found" error.

unclehulot
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Location: here and there

Re: The Criterion Channel -- Film and Content Discussion

#364 Post by unclehulot » Mon May 04, 2020 10:57 pm

Saturnome wrote:A release of Sjostrom's Lilian Gish pictures ! The first since the VHS. Will they have music, or it's going to be mute like some other silents on the channel?
I’m afraid not a new release or version....still the old 1988 version (of The Wind) with the Carl Davis score, which I’m fairly sure is still the one shown once in a while on TCM as well.


Sent from my iPad using Tapatalk

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dustybooks
Joined: Thu Mar 15, 2007 10:52 am
Location: Wilmington, NC

Re: The Criterion Channel -- Film and Content Discussion

#365 Post by dustybooks » Wed May 13, 2020 9:34 am

I watched Franco Rosso's Babylon on the Channel last night. Really excellent film I thought -- captured a time/place/culture (Brixton in the early '80s) absorbingly with a lot of detail, though I can't say how accurately. Terrific soundtrack from Dennis Bovell and superb editing with a real feeling of on-the-brink urgency. Recommended if anyone's a subscriber and wants to catch something super lively.

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FigrinDan
The Immortal Dead
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Re: The Criterion Channel -- Film and Content Discussion

#366 Post by FigrinDan » Thu May 14, 2020 1:22 pm

Any reason why The Criterion Channel's presentation of Short Films by the Quay Brothers doesn't include Stille Nacht II: Are We Still Married? (1991)?

Also, any chance of a Criterion Collection release of Quay Brothers material? Or do Zeitgeist and Kino still hold all the rights?

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knives
Joined: Sat Sep 06, 2008 6:49 pm

Re: The Criterion Channel -- Film and Content Discussion

#367 Post by knives » Thu May 14, 2020 1:25 pm

Zeitgeist does indeed.

beamish14
Joined: Fri May 18, 2018 3:07 pm

Re: The Criterion Channel -- Film and Content Discussion

#368 Post by beamish14 » Thu May 14, 2020 2:21 pm

Are We Still Married? is owned by 4AD, as it was a music video for His Name is Alive, so the rights to that one are considerably trickier.

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DeprongMori
Joined: Fri Apr 04, 2014 1:59 am
Location: San Francisco

Re: The Criterion Channel -- Film and Content Discussion

#369 Post by DeprongMori » Thu May 14, 2020 3:54 pm

FWIW, the Quay Brothers shorts Stille Nacht II: Are We Still Married? and Stille Nacht IV: Can’t Go Wrong Without You for His Name Is Alive are both available on BFI’s release of Jan Svankmajer’s Alice as well as their collection of Quay Brothers short, Inner Sanctums.

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yoloswegmaster
Joined: Tue Nov 01, 2016 3:57 pm

Re: The Criterion Channel -- Film and Content Discussion

#370 Post by yoloswegmaster » Wed May 20, 2020 8:55 pm

June 2020 titles:
SpoilerShow
Alice, Jan Švankmajer, 1988
All or Nothing, Mike Leigh, 2002
Almayer’s Folly, Chantal Akerman, 2011
American Boy: A Profile of Steven Prince, Martin Scorsese, 1978
And When I Die, I Won’t Stay Dead, Billy Woodberry, 2015
Another Country, Marek Kanievska, 1984
Another Year, Mike Leigh, 2010**
Anybody’s Woman, Bette Gordon, 1981
Artie Shaw’s Class in Swing, Leslie M. Roush, 1939
The Big Shave, Martin Scorsese, 1967
Black and Tan, Dudley Murphy, 1929
Black Peter, Miloš Forman, 1964
Born Free, James Hill, 1966
A Bundle of Blues, Fred Waller, 1933
But I’m a Cheerleader, Jamie Babbit, 1999
Cab Calloway’s Hi-De-Ho, Fred Waller, 1934
Call Your Father, Jordan Firstman, 2016
La captive, Chantal Akerman, 2000
Chantal Akerman by Chantal Akerman, Chantal Akerman, 1997
Columbus, Kogonada, 2017**
The Count of Monte Cristo, Rowland V. Lee, 1934
Death in Venice, Luchino Visconti, 1971
Dirt Daughter, Marnie Ellen Hertzler, 2019
Down There, Chantal Akerman, 2006
Empty Suitcases, Bette Gordon, 1980
The Eyes of Orson Welles, Mark Cousins, 2018
From the East, Chantal Akerman, 1993
From the Other Side, Chantal Akerman, 2002
Golden Eighties, Chantal Akerman, 1986
Grand Prix, John Frankenheimer, 1966
Greetings from Africa, Cheryl Dunye, 1996
Happy-Go-Lucky, Mike Leigh, 2008
Histoires d’Amérique: Food, Family and Philosophy, Chantal Akerman, 1989
Hoagy Carmichael, Leslie M. Roush, 1939
Husbands, John Cassavetes, 1970
I Surrender Dear, Mack Sennett, 1931
I-94, Bette Gordon and James Benning, 1974
Intimate Lighting, Ivan Passer, 1965
Into the West, Mike Newell, 1992
It’s Not Just You, Murray!, Martin Scorsese, 1964
Italianamerican, Martin Scorsese, 1974
Janine, Cheryl Dunye, 1990
The Living End, Gregg Araki, 1992
Loves of a Blonde, Miloš Forman, 1965
Luminous Motion, Bette Gordon, 1998
Mafioso, Alberto Lattuada, 1962
Maurice, James Ivory, 1987
Michigan Avenue, Bette Gordon and James Benning, 1973
Museum Hours, Jem Cohen, 2012
My Beautiful Laundrette, Stephen Frears, 1985
My Own Private Idaho, Gus Van Sant, 1991
Mysterious Skin, Gregg Araki, 2004
Olivia, Jacqueline Audry, 1951
One Day Pina Asked . . . , Chantal Akerman, 1983
Original Cast Album: “Company,” D. A. Pennebaker, 1970
The Owls, Cheryl Dunye, 2010
Parting Glances, Bill Sherwood, 1986
The Potluck and the Passion, Cheryl Dunye, 1993
Red Road, Andrea Arnold, 2006
The Red Tree, Paul Rowley, 2018
A Rhapsody in Black and Blue, Aubrey Scotto, 1932
Rumble: The Indians Who Rocked the World, Catherine Bainbridge and Alfonso Maiorana, 2017
Sergeant York, Howard Hawks, 1941
She Don’t Fade, Cheryl Dunye, 1991
Sing, Bing, Sing, Babe Stafford, 1933
South, Chantal Akerman, 1999
Spellbound, Jeffrey Blitz, 2002
St. Louis Blues, Dudley Murphy, 1929
Symphony in Black: A Rhapsody of Negro Life, Fred Waller, 1935
Synonyms, Nadav Lapid, 2019
Tarnation, Jonathan Caouette, 2003
Totally F***ed Up, Gregg Araki, 1993
The United States of America, Bette Gordon and James Benning, 1975
An Untitled Portrait, Charyl Dunye, 1993
Vanilla Sex, Cheryl Dunye, 1992
Variety, Bette Gordon, 1983**
Vera Drake, Mike Leigh, 2004
The Watermelon Woman, Cheryl Dunye, 1996
West Side Story, Robert Wise, Jerome Robbins, 1961
What’s a Nice Girl Like You Doing in a Place Like This?, Martin Scorsese, 1963
Zombi Child, Bertrand Bonello, 2019

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modernmalaise
Joined: Thu May 18, 2017 10:12 pm

Re: The Criterion Channel -- Film and Content Discussion

#371 Post by modernmalaise » Wed May 20, 2020 9:27 pm

Really excited to see more Akerman on the Channel, but wondering why Nuit et jour and A Couch in New York were left out if all of her other features are now streaming? Perhaps they (or at least the former) will be up soon.

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senseabove
Joined: Wed Dec 02, 2015 3:07 am

Re: The Criterion Channel -- Film and Content Discussion

#372 Post by senseabove » Wed May 20, 2020 9:56 pm

I wonder if they’re just putting up what the Akerman Foundation has finished restoring? I have dreams of a complete Akerman box when they’re done...

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senseabove
Joined: Wed Dec 02, 2015 3:07 am

Re: The Criterion Channel -- Film and Content Discussion

#373 Post by senseabove » Wed May 20, 2020 10:10 pm

Also pleased to see Dunye's shorts and another feature there. I really liked The Watermelon Woman and intended to track down the DVD of her shorts after seeing it.

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knives
Joined: Sat Sep 06, 2008 6:49 pm

Re: The Criterion Channel -- Film and Content Discussion

#374 Post by knives » Wed May 20, 2020 10:33 pm

The shorts are quite good.

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Jean-Luc Garbo
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Re: The Criterion Channel -- Film and Content Discussion

#375 Post by Jean-Luc Garbo » Sat May 23, 2020 10:04 pm

Wow, that's a great surprise the new Bonello will be streaming.

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