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Release: June 8, 2021

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Product Description **GORGEOUS HD RESTORATION RELEASED FOR THE FIRST TIME EVER ON BLU RAY IN NORTH AMERICA** International superstar Maggie Cheung (In the Mood for Love) embodies tragic screen siren Ruan Lingyu, in this unconventional biopic by Hong Kong New Wave master Stanley Kwan (Rouge). Praised for her moving and emotive onscreen presence, Ruan’s private life, which was frequent fodder for the vicious Shanghai tabloids, began to mirror the melodramas which brought her fame, culminating in her suicide at age 24. Kwan and Cheung paint a kaleidoscopic yet intimate portrait of the ill fated actress, deftly blending lush period drama, archival footage, and metatextual documentary sequences of Cheung reflecting on Ruan’s legacy. The result is, much like the films of Ruan Lingyu themselves, “tender, vivid and almost overwhelmingly moving” (Time Out). Bonus features include, Stanley Kwan 2021 Introduction, Stanley Kwan Interview, Hong Kong Cinema Expert Paul Fonoroff Interview, Booklet with new essay by Aliza Ma, Programmer of The Metrograph Theatre Review Winner - Silver Bear, Best Actress - Berlin Int'l. Film Festival Winner - Silver Hugo, Best Director - Chicago Int'l. Film Festival Winner - Silver Hugo, Best Actress - Chicago Int'l. Film Festival Winner - Best Cinematography - Golden Horse Film Festival Winner - Best Leading Actress - Golden Horse Film Festival Winner - Special Jury Award - Golden Horse Film Festival Winner - Best Cinematography - Hong Kong Film Awards Winner - Best Art Direction - Hong Kong Film Awards - --- One of the indisputably great Chinese works of the past decade and Kwan's most thrilling, concentrated and dazzling achievement. - Patrick Z. McGavin, Chicago Tribune [Center Stage's] radical break with traditional narrative structure, all the more striking in that it emerges from one of the most commercial industries in the world, is clear evidence of the challenge the new wave directors such as Kwan and his contemporaries Wong kar-wai and Ann Hui, were issuing to the Hong Kong film industry rooted in generic formulas and visual titillation. Like a Chinese box, the film’s various layers slip inside one another, the parts resonating through the whole and interacting in complex and innovative ways. - Dean Bowman, Eye for Film A masterpiece by Stanley Kwan, the greatest Hong Kong film I’ve seen. - Jonathan Rosenbaum Tender, vivid and almost overwhelmingly moving. --Time Out The self-aware drama moves at the hypnotic pace of an elusive dream―above all, in spectacularly staged musical scenes, set in a night club, merging sinuous and languid dances with high-stakes emotional battles. - Richard Brody, The New Yorker [I]n his 1991 masterpiece, Center Stage, Stanley Kwan turns what could easily be dismissed as postmodern gimmickry into something strange and unclassifiable, an ever-shifting framework that refracts almost every biographical insight the movie puts forth. - Andrew Chan, Four Columns An overwhelmingly moving tribute to the popular Hong Kong actress Ruan Ling-yu of the 1930s. Grade: A - Dennis Schwartz, Ozus' World Movie Reviews Center Stage has justifiably earned its reputation as a classic of the Hong Kong New Wave. --Tony Williams, Senses of Cinema Top Similar From the Brand Reviews Center Stage

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This documentary revisits the wrongful convictions of five Black and Latino teenagers in the notorious Central Park jogger case.

Release: June 15, 2021

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Matt Brennan knows how to open eyes to the potential of the experimental jet, the JA-3. He'll pilot it from Nome over the North Pole to Washington DC and land it on the Pentagon's lap. The distance is beyond the JA-3's tested range. Nor can the craft provide the pressurization needed for flight at 80,000 feet. But Brennan has some modifications in mind. And the courage to put them to the test. Humphrey Bogart plays Brennan in Chain Lightning's lofty mix of adventure and romance. Eleanor Parker, as a World War II flame who reenters Brennan's life, helps fuel the romance. And the adventure takes wing with a story that, like Breaking the Sound Barrier, The McConnell Story and other postwar films, taps into the era's fascination with jet aviation. Cleared for takeoff.

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After a breakthrough in clean-energy research is sabotaged, two scientists are framed for murder and hunted as they try to expose the conspiracy behind it.

Release: July 27, 2021

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Prepare yourself for a chilling tale of terror and unspeakable vengeance inside the Chamber of Horrors. The condemned maniac Jason Cravatte (Patrick O'Neal) escapes capture from the authorities at a bloody cost—by chopping off his manacled hand! Free to kill once more, he outfits his gruesome stump with tools designed to chop, rip, and skewer a new batch of victims as he embarks on a bloody spree of death! Employing not one, but two infamous gimmicks—"The Fear Flasher" and "The Horror Horn"—to warn audiences in advance of its most shocking moments, Chamber of Horrors is a Grand Guignol cult favorite that's every bit as twisted as its villain's tortured soul!

Release: January 11, 2022

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Life in the corporate world can be murder. At Mrs. Appleby's, some people would kill to get ahead. Peter Derns (Timothy Hutton), a junior exec at Mrs. Appleby's cookie company, is afraid his future prospects are crumbling faster that the product he markets. Hope appears in the curvaceous form of Kris Bolin (Lara Flynn Boyle), his new temp. Gorgeous, bright and efficient, Kris helps Peter develop a deliciously successful marketing campaign. But after two executives meet mysterious deaths, Peter fears his job security may end permanently due to the one person he needs to trust-his temp. Bonus Content: Head Office – An Interview with Director Tom Holland Office Gossip – An Interview with Actress Lin Shaye Temp Effects – An Interview with Special Effects Artist Steve Johnson Office Politics – An Interview with Editor Scott Conrad Theatrical Trailer

Release: October 19, 2021

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After starring in a string of classic films like Jailhouse Rock, King Creole, Viva Las Vegas and Clambake, the iconic Elvis Presley changed his acting habit and made this unconventional late-’60s romance his Hollywood swan song. The King takes on a rare dramatic role as the young and handsome Dr. John Carpenter, who is assigned three female medical social workers to assist him at his inner-city clinic—but he doesn’t know that they are really nuns! Mary Tyler Moore (Thoroughly Modern Millie, What’s So Bad About Feeling Good?) is Sister Michelle, one of the nuns who takes off her habit—and takes off with Elvis’ heart! When love blossoms between the sweet, singing and swinging doctor and the demure, devoted nun, Michelle must decide whether to follow her heart or stay true to her vows. In this touching story that addresses social issues still relevant today, Elvis woos his love as only he can with unforgettable musical numbers like “Rubberneckin’,” “Let Us Pray” and “Change of Habit.” The wonderful supporting cast includes Barbara McNair (Stiletto), Ed Asner (The Satan Bug), Ruth McDevitt (TV’s Kolchak: The Night Stalker) and Richard Carlson (The Maze). Special Features: -NEW Audio Commentary by Film Historians Howard S. Berger and Nathaniel Thompson -Theatrical Trailer -Optional English Subtitles

Release: February 17, 2009

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Clint Eastwood directs Oscar® winner Angelina Jolie and Oscar® nominee John Malkovich in a riveting and unforgettable true story. Los Angeles, 1928. When single mother Christine Collins (Jolie) leaves for work, her son vanishes without a trace. Five months later, the police reunite mother and son; but he isn’t her boy. Driven by one woman’s relentless quest for the truth, the case exposes a world of corruption, captivates the public and changes Los Angeles forever. This emotionally gripping story illustrates the profound power of a mother’s love in “a mesmerizing film that burns in the memory” (Peter Travers, Rolling Stone).

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After a traffic accident and an act of petty vengeance, a lawyer and an insurance salesman spiral into a destructive battle that exposes their moral failings.

Release: January 23, 2024

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In the revolutionary first decade of her filmmaking career, Chantal Akerman devoted herself to nothing less than the total resculpting of cinematic time and space. Journeying between Europe and New York City, Akerman forged a highly personal style that fuses avant-garde influences with deeply human expressions of alienation, desire, and displacement—themes that she would explore in a series of increasingly ambitious shorts, documentaries, and features, including the towering Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles. With immersive rhythms that render the most minute details momentous, these landmarks of twentieth-century art continue to reveal new ways of experiencing cinema and framing reality. THREE-BLU-RAY SPECIAL EDITION FEATURES New 4K digital restoration of Les rendez-vous d’Anna and 2K digital restorations of Saute ma ville; L’enfant aimé ou Je joue à être une femme mariée; La chambre; Hotel Monterey; Le 15/8; Je tu il elle; Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles; and News from Home, with uncompressed monaural soundtracks Hanging Out Yonkers, an unfinished film from 1973 by Chantal Akerman Film-school tests by Akerman New program on Akerman featuring critic B. Ruby Rich New visual essay on Akerman featuring archival interviews Autour de “Jeanne Dielman,” a documentary made during the filming of Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles, shot by actor Sami Frey and edited by Agnès Ravez and Akerman Interviews with Akerman, cinematographer Babette Mangolte, actors Aurore Clément and Delphine Seyrig, and Akerman’s mother, Natalia Appreciation by filmmaker Ira Sachs PLUS: An essay and notes on the films by critic Beatrice Loayza SAUTE MA VILLE Made when the director was just eighteen, Chantal Akerman’s debut film is a blistering first expression of what would become one of her major themes: women’s confinement in and rebellion against the domestic sphere. Akerman plays a young woman who, alone in her kitchen, enacts a savaging of traditional domestic rituals that leads to a literally explosive climax. L’ENFANT AIMÉ OU JE JOUE À ÊTRE UNE FEMME MARIÉE One of Chantal Akerman’s most rarely seen works is an intimate portrait of a young mother (played by Claire Wauthion) whose day-to-day routines are intercut with her stream-of-consciousness ruminations on her family, sex life, relationships, and body. Though Akerman (who also appears in the film) was later dismissive of her second directorial effort, its patient focus on the tension between domesticity and a woman’s inner life marks L’enfant aimé as an important link in the development of her artistry. LA CHAMBRE Chantal Akerman’s dialogue with the 1960s avant-garde movement of structural cinema begins here, with the first film she made in New York City—a breakthrough in her experiments with the bending of cinematic time and space. As the camera completes a series of circular pans around a small apartment, the interior’s furniture, its clutter, and the filmmaker herself—staring back at us from bed—become the subjects of a moving still life. HOTEL MONTEREY Under Chantal Akerman’s watchful eye, a cheap Manhattan hotel glows with mystery and unexpected beauty, its corridors, elevators, rooms, windows, and occasional occupants framed like Edward Hopper tableaux. Filmed over the course of fifteen hours, from evening to dawn, with cinematographer and frequent collaborator Babette Mangolte’s carefully controlled camera gradually making its way from the lamplit lobby to the rooftop overlooking an awakening city, this radical, silent experiment in duration stands as one of Akerman’s most arresting formal achievements, collapsing time and charging the quotidian space it surveys with an eerie unreality. LE 15/8 Shot and directed by Chantal Akerman and Samy Szlingerbaum, this quietly revealing variation on the filmmaker’s recurring themes of dislocation and alienation unfolds on one day—August 15, 1973—in a Paris apartment, where Finnish expat Chris Myllykoski opens up to the camera about her anxieties and uncertainties, her aspirations and ennui, and the sense of vulnerability she feels being a woman alone in an unfamiliar country. As Myllykoski’s voice-over narration shifts between the mundane and the searching, Akerman’s observant camera remains attuned to tiny gestures that tell a story of their own. JE TU IL ELLE Chantal Akerman’s first narrative feature is a startlingly vulnerable exploration of alienation and the search for connection. In a performance at once daringly exposed and enigmatic, Akerman plays a young woman who, following a lengthy, self-imposed exile, ventures out into the world, where she has two very different experiences of intimacy: first with a truck driver (Niels Arestrup) who picks her up, and then with a female ex-lover (Claire Wauthion). Culminating in an audacious, real-time carnal encounter that brought lesbian sexuality to the screen with a new frankness, Je tu il elle finds Akerman wielding her radical minimalism with a newfound emotional and psychological precision. JEANNE DIELMAN, 23, QUAI DU COMMERCE, 1080 BRUXELLES A singular work in film history, Chantal Akerman’s Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles meticulously details, with a sense of impending doom, the daily routine of a middle-aged widow, whose chores include making the beds, cooking dinner for her son, and turning the occasional trick. In its enormous spareness, Akerman’s film seems simple, but it encompasses an entire world. Whether seen as an exacting character study or as one of cinema’s most hypnotic and complete depictions of space and time, Jeanne Dielman is an astonishing, compelling movie experiment, one that has been analyzed and argued over for decades. NEWS FROM HOME Following her time living in New York in the early 1970s, Chantal Akerman returned to the city to create one of her most elegantly minimalist and profoundly affecting meditations on dislocation and estrangement. Over a series of exactingly composed shots of Manhattan circa 1976, the filmmaker reads letters sent by her mother years earlier. The juxtaposition between the intimacy of these domestic reports and the lonely, bleakly beautiful cityscapes results in a poignant reflection on personal and familial disconnection that doubles as a transfixing time capsule. LES RENDEZ-VOUS D’ANNA Chantal Akerman’s narrative follow-up to her international breakthrough, Jeanne Dielman, is a penetrating portrait of a woman’s soul-deep malaise and a mesmerizing odyssey through a haunted Europe. While on a tour through Germany, Belgium, and France to promote her latest movie, Anna (Aurore Clément), an accomplished filmmaker, passes through a series of eerie, exquisitely shot brief encounters—with men and women, family and strangers—that gradually reveal her emotional and physical detachment from the world. Mirroring the itinerant Akerman’s own restless wanderings, this quasi self-portrait journeys through a succession of liminal spaces—hotel rooms, railway stations, train cars—toward an indelible encounter with the specter of history. Top About this item Similar From the Brand Reviews Chantal Akerman Masterpieces, 1968–1978 (The Criterion Collection) [Blu-ray]

Release: January 23, 2024

$7.99

Description

In the revolutionary first decade of her filmmaking career, Chantal Akerman devoted herself to nothing less than the total resculpting of cinematic time and space. Journeying between Europe and New York City, Akerman forged a highly personal style that fuses avant-garde influences with deeply human expressions of alienation, desire, and displacement—themes that she would explore in a series of increasingly ambitious shorts, documentaries, and features, including the towering Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles. With immersive rhythms that render the most minute details momentous, these landmarks of twentieth-century art continue to reveal new ways of experiencing cinema and framing reality. THREE-BLU-RAY SPECIAL EDITION FEATURES New 4K digital restoration of Les rendez-vous d’Anna and 2K digital restorations of Saute ma ville; L’enfant aimé ou Je joue à être une femme mariée; La chambre; Hotel Monterey; Le 15/8; Je tu il elle; Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles; and News from Home, with uncompressed monaural soundtracks Hanging Out Yonkers, an unfinished film from 1973 by Chantal Akerman Film-school tests by Akerman New program on Akerman featuring critic B. Ruby Rich New visual essay on Akerman featuring archival interviews Autour de “Jeanne Dielman,” a documentary made during the filming of Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles, shot by actor Sami Frey and edited by Agnès Ravez and Akerman Interviews with Akerman, cinematographer Babette Mangolte, actors Aurore Clément and Delphine Seyrig, and Akerman’s mother, Natalia Appreciation by filmmaker Ira Sachs PLUS: An essay and notes on the films by critic Beatrice Loayza SAUTE MA VILLE Made when the director was just eighteen, Chantal Akerman’s debut film is a blistering first expression of what would become one of her major themes: women’s confinement in and rebellion against the domestic sphere. Akerman plays a young woman who, alone in her kitchen, enacts a savaging of traditional domestic rituals that leads to a literally explosive climax. L’ENFANT AIMÉ OU JE JOUE À ÊTRE UNE FEMME MARIÉE One of Chantal Akerman’s most rarely seen works is an intimate portrait of a young mother (played by Claire Wauthion) whose day-to-day routines are intercut with her stream-of-consciousness ruminations on her family, sex life, relationships, and body. Though Akerman (who also appears in the film) was later dismissive of her second directorial effort, its patient focus on the tension between domesticity and a woman’s inner life marks L’enfant aimé as an important link in the development of her artistry. LA CHAMBRE Chantal Akerman’s dialogue with the 1960s avant-garde movement of structural cinema begins here, with the first film she made in New York City—a breakthrough in her experiments with the bending of cinematic time and space. As the camera completes a series of circular pans around a small apartment, the interior’s furniture, its clutter, and the filmmaker herself—staring back at us from bed—become the subjects of a moving still life. HOTEL MONTEREY Under Chantal Akerman’s watchful eye, a cheap Manhattan hotel glows with mystery and unexpected beauty, its corridors, elevators, rooms, windows, and occasional occupants framed like Edward Hopper tableaux. Filmed over the course of fifteen hours, from evening to dawn, with cinematographer and frequent collaborator Babette Mangolte’s carefully controlled camera gradually making its way from the lamplit lobby to the rooftop overlooking an awakening city, this radical, silent experiment in duration stands as one of Akerman’s most arresting formal achievements, collapsing time and charging the quotidian space it surveys with an eerie unreality. LE 15/8 Shot and directed by Chantal Akerman and Samy Szlingerbaum, this quietly revealing variation on the filmmaker’s recurring themes of dislocation and alienation unfolds on one day—August 15, 1973—in a Paris apartment, where Finnish expat Chris Myllykoski opens up to the camera about her anxieties and uncertainties, her aspirations and ennui, and the sense of vulnerability she feels being a woman alone in an unfamiliar country. As Myllykoski’s voice-over narration shifts between the mundane and the searching, Akerman’s observant camera remains attuned to tiny gestures that tell a story of their own. JE TU IL ELLE Chantal Akerman’s first narrative feature is a startlingly vulnerable exploration of alienation and the search for connection. In a performance at once daringly exposed and enigmatic, Akerman plays a young woman who, following a lengthy, self-imposed exile, ventures out into the world, where she has two very different experiences of intimacy: first with a truck driver (Niels Arestrup) who picks her up, and then with a female ex-lover (Claire Wauthion). Culminating in an audacious, real-time carnal encounter that brought lesbian sexuality to the screen with a new frankness, Je tu il elle finds Akerman wielding her radical minimalism with a newfound emotional and psychological precision. JEANNE DIELMAN, 23, QUAI DU COMMERCE, 1080 BRUXELLES A singular work in film history, Chantal Akerman’s Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles meticulously details, with a sense of impending doom, the daily routine of a middle-aged widow, whose chores include making the beds, cooking dinner for her son, and turning the occasional trick. In its enormous spareness, Akerman’s film seems simple, but it encompasses an entire world. Whether seen as an exacting character study or as one of cinema’s most hypnotic and complete depictions of space and time, Jeanne Dielman is an astonishing, compelling movie experiment, one that has been analyzed and argued over for decades. NEWS FROM HOME Following her time living in New York in the early 1970s, Chantal Akerman returned to the city to create one of her most elegantly minimalist and profoundly affecting meditations on dislocation and estrangement. Over a series of exactingly composed shots of Manhattan circa 1976, the filmmaker reads letters sent by her mother years earlier. The juxtaposition between the intimacy of these domestic reports and the lonely, bleakly beautiful cityscapes results in a poignant reflection on personal and familial disconnection that doubles as a transfixing time capsule. LES RENDEZ-VOUS D’ANNA Chantal Akerman’s narrative follow-up to her international breakthrough, Jeanne Dielman, is a penetrating portrait of a woman’s soul-deep malaise and a mesmerizing odyssey through a haunted Europe. While on a tour through Germany, Belgium, and France to promote her latest movie, Anna (Aurore Clément), an accomplished filmmaker, passes through a series of eerie, exquisitely shot brief encounters—with men and women, family and strangers—that gradually reveal her emotional and physical detachment from the world. Mirroring the itinerant Akerman’s own restless wanderings, this quasi self-portrait journeys through a succession of liminal spaces—hotel rooms, railway stations, train cars—toward an indelible encounter with the specter of history. Top About this item Similar From the Brand Reviews Chantal Akerman Masterpieces, 1968–1978 (The Criterion Collection) [Blu-ray]

Release: January 23, 2024

$7.99

Description

In the revolutionary first decade of her filmmaking career, Chantal Akerman devoted herself to nothing less than the total resculpting of cinematic time and space. Journeying between Europe and New York City, Akerman forged a highly personal style that fuses avant-garde influences with deeply human expressions of alienation, desire, and displacement—themes that she would explore in a series of increasingly ambitious shorts, documentaries, and features, including the towering Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles. With immersive rhythms that render the most minute details momentous, these landmarks of twentieth-century art continue to reveal new ways of experiencing cinema and framing reality. THREE-BLU-RAY SPECIAL EDITION FEATURES New 4K digital restoration of Les rendez-vous d’Anna and 2K digital restorations of Saute ma ville; L’enfant aimé ou Je joue à être une femme mariée; La chambre; Hotel Monterey; Le 15/8; Je tu il elle; Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles; and News from Home, with uncompressed monaural soundtracks Hanging Out Yonkers, an unfinished film from 1973 by Chantal Akerman Film-school tests by Akerman New program on Akerman featuring critic B. Ruby Rich New visual essay on Akerman featuring archival interviews Autour de “Jeanne Dielman,” a documentary made during the filming of Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles, shot by actor Sami Frey and edited by Agnès Ravez and Akerman Interviews with Akerman, cinematographer Babette Mangolte, actors Aurore Clément and Delphine Seyrig, and Akerman’s mother, Natalia Appreciation by filmmaker Ira Sachs PLUS: An essay and notes on the films by critic Beatrice Loayza SAUTE MA VILLE Made when the director was just eighteen, Chantal Akerman’s debut film is a blistering first expression of what would become one of her major themes: women’s confinement in and rebellion against the domestic sphere. Akerman plays a young woman who, alone in her kitchen, enacts a savaging of traditional domestic rituals that leads to a literally explosive climax. L’ENFANT AIMÉ OU JE JOUE À ÊTRE UNE FEMME MARIÉE One of Chantal Akerman’s most rarely seen works is an intimate portrait of a young mother (played by Claire Wauthion) whose day-to-day routines are intercut with her stream-of-consciousness ruminations on her family, sex life, relationships, and body. Though Akerman (who also appears in the film) was later dismissive of her second directorial effort, its patient focus on the tension between domesticity and a woman’s inner life marks L’enfant aimé as an important link in the development of her artistry. LA CHAMBRE Chantal Akerman’s dialogue with the 1960s avant-garde movement of structural cinema begins here, with the first film she made in New York City—a breakthrough in her experiments with the bending of cinematic time and space. As the camera completes a series of circular pans around a small apartment, the interior’s furniture, its clutter, and the filmmaker herself—staring back at us from bed—become the subjects of a moving still life. HOTEL MONTEREY Under Chantal Akerman’s watchful eye, a cheap Manhattan hotel glows with mystery and unexpected beauty, its corridors, elevators, rooms, windows, and occasional occupants framed like Edward Hopper tableaux. Filmed over the course of fifteen hours, from evening to dawn, with cinematographer and frequent collaborator Babette Mangolte’s carefully controlled camera gradually making its way from the lamplit lobby to the rooftop overlooking an awakening city, this radical, silent experiment in duration stands as one of Akerman’s most arresting formal achievements, collapsing time and charging the quotidian space it surveys with an eerie unreality. LE 15/8 Shot and directed by Chantal Akerman and Samy Szlingerbaum, this quietly revealing variation on the filmmaker’s recurring themes of dislocation and alienation unfolds on one day—August 15, 1973—in a Paris apartment, where Finnish expat Chris Myllykoski opens up to the camera about her anxieties and uncertainties, her aspirations and ennui, and the sense of vulnerability she feels being a woman alone in an unfamiliar country. As Myllykoski’s voice-over narration shifts between the mundane and the searching, Akerman’s observant camera remains attuned to tiny gestures that tell a story of their own. JE TU IL ELLE Chantal Akerman’s first narrative feature is a startlingly vulnerable exploration of alienation and the search for connection. In a performance at once daringly exposed and enigmatic, Akerman plays a young woman who, following a lengthy, self-imposed exile, ventures out into the world, where she has two very different experiences of intimacy: first with a truck driver (Niels Arestrup) who picks her up, and then with a female ex-lover (Claire Wauthion). Culminating in an audacious, real-time carnal encounter that brought lesbian sexuality to the screen with a new frankness, Je tu il elle finds Akerman wielding her radical minimalism with a newfound emotional and psychological precision. JEANNE DIELMAN, 23, QUAI DU COMMERCE, 1080 BRUXELLES A singular work in film history, Chantal Akerman’s Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles meticulously details, with a sense of impending doom, the daily routine of a middle-aged widow, whose chores include making the beds, cooking dinner for her son, and turning the occasional trick. In its enormous spareness, Akerman’s film seems simple, but it encompasses an entire world. Whether seen as an exacting character study or as one of cinema’s most hypnotic and complete depictions of space and time, Jeanne Dielman is an astonishing, compelling movie experiment, one that has been analyzed and argued over for decades. NEWS FROM HOME Following her time living in New York in the early 1970s, Chantal Akerman returned to the city to create one of her most elegantly minimalist and profoundly affecting meditations on dislocation and estrangement. Over a series of exactingly composed shots of Manhattan circa 1976, the filmmaker reads letters sent by her mother years earlier. The juxtaposition between the intimacy of these domestic reports and the lonely, bleakly beautiful cityscapes results in a poignant reflection on personal and familial disconnection that doubles as a transfixing time capsule. LES RENDEZ-VOUS D’ANNA Chantal Akerman’s narrative follow-up to her international breakthrough, Jeanne Dielman, is a penetrating portrait of a woman’s soul-deep malaise and a mesmerizing odyssey through a haunted Europe. While on a tour through Germany, Belgium, and France to promote her latest movie, Anna (Aurore Clément), an accomplished filmmaker, passes through a series of eerie, exquisitely shot brief encounters—with men and women, family and strangers—that gradually reveal her emotional and physical detachment from the world. Mirroring the itinerant Akerman’s own restless wanderings, this quasi self-portrait journeys through a succession of liminal spaces—hotel rooms, railway stations, train cars—toward an indelible encounter with the specter of history. Top About this item Similar From the Brand Reviews Chantal Akerman Masterpieces, 1968–1978 (The Criterion Collection) [Blu-ray]

Release: June 16, 2020

$6.99

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Product Description Two teenage girls on a mission to find drugs at a rave get more than they bargained for. One is sexually assaulted and they are both tortured in horrific ways. The attackers seek refuge in the parents' of one of the victims' homes. Review There are two scenes so gruesome I cannot describe them in a newspaper no matter what words I use. Having seen it, I cannot ignore it, nor can I deny that it affected me strongly. --Roger Ebert, Chicago Sun Times

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A kindhearted boy wins a tour of Willy Wonka's mysterious candy factory and discovers its wonders, dangers, and the lonely secret at its center.

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The Peanuts gang gathers for a holiday feast in this warm-hearted Thanksgiving special centered on friendship and simple traditions.

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A swaggering congressman, a wealthy supporter, and a hard-drinking CIA operative engineer a covert effort to arm Afghan resistance fighters during the Cold War.

Release: March 10, 2020

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The next generation of fearless angels takes flight! Starring Kristen Stewart, Naomi Scott, Ella Balinska and Elizabeth Banks.

Release: October 22, 2019

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In this sexy, high-octane update of the popular show, Natalie (Diaz), Dylan (Barrymore) and Alex (Liu), alongside faithful lieutenant Bosley (Murray), must foil a revenge plot that could not only destroy individual privacy, but spell the end of Charlie and his Angels.

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The Angels race to recover stolen witness-protection data before a fallen former Angel turns it into a lethal weapon.

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A kind-hearted pig named Wilbur is saved from slaughter by the friendship and ingenuity of a wise spider named Charlotte.

Release: April 16, 2019

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After learning they're descended from a long line of witches, Halliwell sisters Prue (Shannen Doherty), Piper (Holly Marie Combs), and Phoebe (Alyssa Milano) are each granted unique magical abilities that they combine to do battle with the forces of evil. The girls are later joined by long-lost half-sister Paige (Rose McGowan, who replaced Doherty in 2001) in this sexy and supernatural WB series.22 episodes on 5 discs. 16 1/4 hrs. Standard; Soundtrack: English.

Release: April 16, 2019

$6.99

Description

After learning they're descended from a long line of witches, Halliwell sisters Prue (Shannen Doherty), Piper (Holly Marie Combs), and Phoebe (Alyssa Milano) are each granted unique magical abilities that they combine to do battle with the forces of evil. The girls are later joined by long-lost half-sister Paige (Rose McGowan, who replaced Doherty in 2001) in this sexy and supernatural WB series.22 episodes on 5 discs. 16 1/4 hrs. Standard; Soundtrack: English.

Release: April 16, 2019

$6.99

Description

After learning they're descended from a long line of witches, Halliwell sisters Prue (Shannen Doherty), Piper (Holly Marie Combs), and Phoebe (Alyssa Milano) are each granted unique magical abilities that they combine to do battle with the forces of evil. The girls are later joined by long-lost half-sister Paige (Rose McGowan, who replaced Doherty in 2001) in this sexy and supernatural WB series.22 episodes on 5 discs. 16 1/4 hrs. Standard; Soundtrack: English.

Release: April 16, 2019

$6.99

Description

After learning they're descended from a long line of witches, Halliwell sisters Prue (Shannen Doherty), Piper (Holly Marie Combs), and Phoebe (Alyssa Milano) are each granted unique magical abilities that they combine to do battle with the forces of evil. The girls are later joined by long-lost half-sister Paige (Rose McGowan, who replaced Doherty in 2001) in this sexy and supernatural WB series.22 episodes on 5 discs. 16 1/4 hrs. Standard; Soundtrack: English.

Release: April 16, 2019

$6.99

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After learning they're descended from a long line of witches, Halliwell sisters Prue (Shannen Doherty), Piper (Holly Marie Combs), and Phoebe (Alyssa Milano) are each granted unique magical abilities that they combine to do battle with the forces of evil. The girls are later joined by long-lost half-sister Paige (Rose McGowan, who replaced Doherty in 2001) in this sexy and supernatural WB series.22 episodes on 5 discs. 16 1/4 hrs. Standard; Soundtrack: English.

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Season 7 of the television series Dexter continues the story with new conflicts, character developments, and expanding storylines.

Release: May 24, 2016

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When scuffling WWII returnee Chuck Scott (Robert Cummings) fell into a chauffeur's job with sadistic Miami gangster Eddie Roman (Steve Cochrane), he became the shoulder to cry on for the thug's abused wife Lorna (Michèle Morgan). Scott made the dangerous move of fleeing with her to Havana... but their attempt at escape would meet with a series of truly unexpected twists. Distinctive film noir, adapted from a Cornell Woolrich novel by Philip Yordan, also stars Peter Lorre, Lloyd Corrigan, Jack Holt. 86 min.

Release: February 23, 2021

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Writer/director Kevin Smith's sharp and emotional look at a most unconventional romance, as comic-book writer Holden McNeil (Ben Affleck) tries to pursue a relationship with fellow comic artist and avowed lesbian Alyssa Jones (Joey Lauren Adams), much to the displeasure of Holden's creative partner and best friend, Banky (Jason Lee). With Dwight Ewell, and Jason Mewes and Smith as Jay and Silent Bob. 113 min. Widescreen; Soundtrack: English. Top About this item Similar From the Brand Reviews Chasing Amy (Blu-ray + Digital)

Release: November 4, 2025

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Cheech & Chong’s Last Movie defies documentary expectations, offering a wildly imaginative take on genre convention; a true-life tale told through a mix of animation and archival madness, all underscored by a classic cinematic road trip comedy. Tracing the enduring legacy of pioneering comics Cheech Marin and Tommy Chong, the film features interviews, sketches, and never-before-seen footage spanning the duo’s five-decade career. The result is an unlikely story of friendship and fame, turmoil and defiance, rebellion and ultimately - redemption.

Release: September 1, 2020

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The zany twosome is back for some smoke-enhanced misadventures in this riotous comedy. This time, Cheech must deal with an angry neighbor and losing his job, all while trying to score with a sexy young lady. Meanwhile, Chong meets Cheech's cousin, Red (Cheech Marin in a dual role), and the two buds have a wild time buzzing around Hollyweird in a bad Ferrari. Along the way, the dynamic duo find time for some mishaps at a movie set, the welfare office, a hotel, a brothel, a music store, a rich girl's house, a comedy club, the ultimate weed field and a UFO-all before the second reel! This outrageous comedy features early film appearances by Paul "Pee-wee Herman" Reubens, Edie McClurg, Cassandra "Elvira" Petersen, John "Jambi" Paragon and Phil Hartman.

Release: September 23, 2014

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You're not hallucinating... It's the legendary toker jokers Cheech & Chong as you've never seen them before -- in their very first Animated Movie. Catch the buzz as their most outrageous routines and laugh-out-loud lines from their Grammy Award-winning albums come to life, including "Dave's not here," "Let's make a dope deal" and more. With help from a bud-lovin' body crab named Buster, Cheech & Chong deliver the ultimate comedy high and give you the munchies for more.

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After quitting his restaurant job in frustration, a chef rediscovers his passion, his family, and his creativity by launching a food truck.

Release: December 31, 2024

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Need a bounty hunter? She's your man! In the future, a man travels to the ends of the earth to find the perfect woman. In this fun, futuristic sci-fi adventure, Melanie Griffith (Something Wild) is delightful and unflappable as a futuristic bounty hunter on a mission to find a robot replicant of a rich man's short-circuited wife. When successful businessman Sam Treadwell (David Andrews, Fight Club) finds that his android wife, Cherry model 2000 (Pamela Gidley, The Blue Iguana), has blown a fuse, he hires sexy renegade tracker E. Johnson (Griffith) to find her exact duplicate. But as their journey to replace his perfect mate leads them into the treacherous and lawless region of The Zone. Steve de Jarnatt (Miracle Mile) made his feature-film debut in this badass, action-packed, futuristic thriller featuring a stellar cast that includes Ben Johnson, Harry Carey Jr., Laurence Fishburn, Brion James, Robert Z'Dar, Michael C. Gwynne, Jack Thibeau and Tim Thomerson.

Release: September 1, 2020

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A fiendish take on the teen thriller genre, where there’s a method to a killer’s madness, and only one naughty way to insure you’re not the next victim in the town of Cherry Falls. Dark secrets, darker motivations, and the blackest humor ever run wild in this send-up of horror films, where it’s not always the innocent who survive. Special Features Include: -Audio Commentary with director Geoffrey Wright -“Lose it or Die: The Untold Story of Cherry Falls:” Interviews with writer and co-executive producer Ken Selden and producer Marshall Persinger -“Cherry Falls Deputy Mina:” An interview with Amanda Anka -Vintage Interviews with Brittany Murphy, Michael Biehn, Jay Mohr, and and director Geoffrey Wright -Behind-the-Scenes footage -Original Script (BD-Rom) -Theatrical Trailer

Release: September 27, 2022

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Established by Martin Scorsese in 2007, The Film Foundation’s World Cinema Project has maintained a fierce commitment to preserving and presenting masterpieces from around the globe, with a growing roster of dozens of restorations that have introduced moviegoers to often overlooked areas of cinema history. This collector’s set gathers six important works, from Angola (Sambizanga), Argentina (Prisioneros de la tierra), Iran (Chess of the Wind), Cameroon (Muna moto), Hungary (Two Girls on the Street), and India (Kalpana). Each title is an essential contribution to the art form and a window onto a filmmaking tradition that international audiences previously had limited opportunities to experience. DUAL-FORMAT BLU-RAY AND DVD SPECIAL EDITION FEATURES New 4K digital restorations of Sambizanga, Prisioneros de la tierra, Chess of the Wind, and Muna moto, and 2K digital restorations of Two Girls on the Street and Kalpana, all overseen by The Film Foundation’s World Cinema Project in collaboration with the Cineteca di Bologna, with uncompressed monaural soundtracks on the Blu-rays New introductions to the films by World Cinema Project founder Martin Scorsese New and archival interviews featuring Indian film historian Suresh Chabria and filmmaker Kumar Shahani (on Kalpana); Argentine film historians Paula Félix-Didier and Andrés Levinson (on Prisioneros de la tierra); Two Girls on the Street director André de Toth; and Sambizanga director Sarah Maldoror and Annouchka de Andrade, Maldoror’s daughter New program by filmmaker Mohamed Challouf featuring interviews with Muna moto director Dikongué-Pipa and African film historian Férid Boughedir The Majnoun and the Wind (2022), a documentary by Gita Aslani Shahrestani, daughter of Chess of the Wind director Mohammad Reza Aslani, featuring Aslani, members of the film’s cast and crew, and others New and updated English subtitle translations PLUS: A foreword and essays on the films by critics and scholars Yasmina Price, Matthew Karush, Ehsan Khoshbakht, Aboubakar Sanogo, Chris Fujiwara, and Shai Heredia SAMBIZANGA A bombshell by the first woman to direct a film in Africa, Sarah Maldoror’s chronicle of the awakening of Angola’s independence movement is a stirring hymn to those who risk everything in the fight for freedom. Based on a true story, Sambizanga follows a young woman (Elisa Andrade) as she makes her way from the outskirts of Luanda toward the city’s center looking for her husband (Domingos Oliveira) after his arrest by the Portuguese authorities—an incident that ultimately helps to ignite an uprising. Scored by the language of revolution and the spiritual songs of the colonized Angolan people, and featuring a cast of nonprofessional actors—many of whom were themselves involved in anticolonial resistance—this landmark work of political cinema honors the essential roles of women, as well as the hardships they endure, in the global struggle for liberation. PRISIONEROS DE LA TIERRA The most acclaimed film by one of classic Argentine cinema’s foremost directors, Mario Soffici’s gut-punching work of social realism, shot on location in the dense, sweltering jungle of the Misiones region, simmers with rage against the oppression of workers. A group of desperate men are conscripted into indentured labor on a treacherous, disease-ridden yerba maté plantation under the control of the brutal foreman Köhner (Francisco Petrone)—a situation that boils over in an explosive act of rebellion led by the defiant Podeley (Ángel Magaña), and made all the more tense by the fact that Köhner and Podeley love the same woman: Andrea (Elisa Galvé), the sweet-spirited daughter of the camp’s doctor. The expressionistic, shadow-sculpted cinematography of Pablo Tabernero evokes the feverish dread of a place where suffocating heat, economic exploitation, and unremitting cruelty lead inexorably to madness and violence. CHESS OF THE WIND Lost for decades after screening at the 1976 Tehran International Film Festival, this rediscovered jewel of Iranian cinema reemerges to take its place as one of the most singular and astonishing works of the country’s prerevolutionary New Wave. A hypnotically stylized murder mystery awash in shivery period atmosphere, Chess of the Wind unfolds inside an ornate, candlelit mansion where a web of greed, violence, and betrayal ensnares the potential heirs to a family fortune as they vie for control of their recently deceased matriarch’s estate. Melding the influences of European modernism, gothic horror, and classical Persian art, director Mohammad Reza Aslani crafts an exquisitely restrained mood piece that erupts into a subversive final act in which class conventions, gender roles, and even time itself are upended with shocking ferocity. MUNA MOTO Director Dikongué-Pipa forged a new African cinematic language with Muna moto, a delicate love story with profound emotional resonance. In a close-knit village in Cameroon, the rigid customs governing courtship and marriage mean that a deeply in love betrothed couple (David Endéné and Arlette Din Belle) can be torn apart by the lack of a dowry and by another man’s claiming of the young woman as his own wife—a rupture that sets the stage for a clash between a patriarchal society and a modern generation’s determination to chart its own course. Luminous black-and-white cinematography and stylistic flourishes yield images of haunting power in this potent depiction, told via flashback, of the challenges of postcolonialism and the devastating consequences of a community’s refusal to deviate from tradition. TWO GIRLS ON THE STREET The maverick Hollywood stylist André de Toth sharpened his craft in his native Hungary, where he directed five films, including this chic, dynamically paced melodrama studded with deco decor and jazzy musical interludes. Mária Tasnádi Fekete and Bella Bordy sparkle as upwardly mobile working women—one a musician in an all-girl band, the other a bricklayer—who join forces as they both try to make it in Budapest, supporting each other through changing economic fortunes, the advances of lecherous men, and the highs and heartbreaks of love. Kinetic camera work, brisk editing, and avant-garde imagery abound in Two Girls on the Street, an often strikingly modern ode to the power of working-class female solidarity. KALPANA A riot of ecstatic imagery, performance, and set design, the only film by the visionary dancer and choreographer Uday Shankar is a revolutionary celebration of Indian dance in its myriad varieties and a utopian vision of cultural renewal. Unfolding as an epic film within a film, Kalpana tells the story of an ambitious dancer (Shankar) determined to open a cultural center devoted to breathing new life into India’s traditional artistic forms; meanwhile, the obvious adoration between him and his lead dancer (Shankar’s wife and collaborator, Amala Uday Shankar) arouses the jealousy of his enterprising companion (Lakshmi Kanta). Swirling surrealist dance spectacles—featuring dance masters and young performers, many of whom would become stars in their own right—are interwoven with anticolonial, anticapitalist commentary for a radical, proto-Bollywood milestone that is one of the most influential works in Indian cinema.

Release: October 18, 2016

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The "chills come thick and fast", (Los Angeles Times) in this riveting, jolt-a-minute thriller about an innocent-looking doll inhabited by the soul of a serial killer who refused to die. From the director of Fright Night, Child’s Play comes complete with "excellent special effects", (Leonard Maltin) and a slew of special features that make this Blu-ray your "friend to the end! ", In this "clever, playful thriller", (The New York Times), only six-year-old Andy realizes that Chucky is responsible for a spate of gruesome murders, including that of his unsuspecting babysitter. But the real terror takes hold when the deranged doll becomes determined to transfer his evil spirit to a living human being... Andy!

Release: August 16, 2022

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The "chills come thick and fast" (Los Angeles Times) in this riveting, jolt-a-minute thriller about an innocent-looking doll inhabited by the soul of a serial killer who refuses to die. From the director of Fright Night, Child's Play comes complete with "excellent special effects" (Leonard Maltin) and a slew of special features that make this 3-disc set your "friend to the end!"

Release: August 16, 2022

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Sorry Jack, Chucky's back! The notorious killer doll with the satanic smile comes back to life in this new chapter depicting the terrifying struggle between young Andy Barclay (Alex Vincent) and the demonic doll attempting to possess his soul. Despite being roasted to a crisp in his last escapade, Chucky rises from the ashes after being reconstructed by a toy factory to dispel the negative publicity surrounding the doll. Back in one piece, Chucky tracks his prey to a foster home where the chase begins again in this fiendishly clever sequel to the enormously popular original.

Release: August 16, 2022

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Look who's stalking! Eight years after seemingly destroying the killer doll, Andy Barclay (Justin Whalin), turns 16 and is placed in a military school. Meanwhile, the greedy president of Play Pals Toy Company decides to resurrect the popular Good Guys doll line, confident that the bad publicity is forgotten. As the assembly line recreates the first doll from a mass of melted plastic, the spirit of Chucky returns to renew his quest and seek revenge on Andy. Once again, it's up to Andy to stop the unrelenting killer in this fast-paced and frightening thriller. Bonus Content: 4K Scan of the Original Camera Negative Presented in Dolby Vision Dolby Atmos Track Audio Commentary with Director Jack Bender Audio Commentary with Producer Robert Latham Brown 4K Scan of the Original Camera Negative Ride the Frightening An Interview with Writer Don Mancini War Games An Interview with Actress Perrey Reeves Chucky Goes East An Interview with Executive Producer David Kirschner Carnivals and Campouts An Interview with Producer Robert Latham Brown Midway Centurions An Interview with Actor Michael Chieffo Shear Terror An Interview with Makeup Artist Craig Reardon Unholy Mountain An Interview with Production Designer Richard Sawyer Theatrical Trailer TV Spot Additional Scenes from the Broadcast Version

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A family holiday in an isolated country house turns nightmarish when the children fall ill and begin attacking the adults with chilling malice.

Release: March 13, 2011

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Product Description

Release: May 9, 2023

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Something must have possessed 12-year-old Nebraska farmgirl Eden Edwards (Kate Moyer)-quite literally-as she's managed to inveigle other local kids in a plan to stalk and systematically slaughter the community's unsuspecting adults. College-bound Boleyn Williams (Elena Kampouris) may have the only chance of stopping her, in this long-shelved franchise entry styled as a prequel to the '84 Stephen King shocker. Callan Mulvey, Bruce Spence co-star. 93 min. Widescreen; Soundtrack: English.

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College students on a community project stumble into a nest of vampires and find themselves fighting an ancient evil in a decaying orphanage.

Release: September 1, 2020

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"A surging tsunami-crash of creativity and beauty that leaves you gulping for breath." – Robbie Collins, The Telegraph From Japan's cutting-edge STUDIO4°C (Tekkonkinkreet, MFKZ) and director Ayumu Watanabe, this stunningly beautiful adaptation of the prize-winning manga features a score from legendary composer Joe Hisaishi (Spirited Away). When Ruka was younger, she saw a ghost in the water at the aquarium where her dad worked. Now she feels drawn toward the aquarium and the two mysterious boys she meets there, Umi and Sora, who were raised by dugongs and hear the same strange calls from the sea as she does. As the kids get caught up in the mystery behind the sudden worldwide disappearance of the ocean's fish, they uncover cosmic connections that will change them forever.

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A lonely girl follows a mysterious boy into a fantastical underworld where life, death, and grief collide.

Release: August 30, 2016

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The crowning achievement of Orson Welles's extraordinary film career, Chimes at Midnight was the culmination of the filmmaker s lifelong obsession with Shakespeare s ultimate rapscallion, Sir John Falstaff. Usually a comic supporting figure, Falstaff the loyal, often soused friend of King Henry IV s wayward son Prince Hal here becomes the focus: a robustly funny and ultimately tragic screen antihero played by Welles with looming, lumbering grace. Integrating elements from both Henry IV plays as well as Richard II, Henry V, and The Merry Wives of Windsor, Welles created a gritty and unorthodox Shakespeare film, one that he intended, he said, as a lament . . . for the death of Merrie England. Poetic, philosophical, and visceral with a kinetic centerpiece battle sequence that rivals anything else in the director s body of work Chimes at Midnight is as monumental as the figure at its heart. BLU-RAY SPECIAL EDITION FEATURES - New digital restoration, with uncompressed monaural soundtrack - Audio commentary featuring film scholar James Naremore, author of The Magic World of Orson Welles - New interview with actor Keith Baxter - New interview with director Orson Welles s daughter Beatrice Welles, who appeared in the film at age seven - New interview with actor and Welles biographer Simon Callow - New interview with film historian Joseph McBride, author of What Ever Happened to Orson Welles? - Interview with Welles while at work editing the film, from a 1965 episode of The Merv Griffin Show - Trailer

Release: December 12, 2017

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In a small Florida town, a tantalizing tale of mystery, passion and fatal obsession unfolds under the sultry spell of a full moon. Ed Harris (Needful Things) and Madeleine Stowe (The Last of the Mohicans) turn up the heat in this sexy, stylish neo-noir thriller. Together with co-stars Benicio Del Toro (Traffic) and Charles Dance (White Mischief), Harris and Stowe deliver searing performances in this deliciously dark web of love, lust and lies that keeps you guessing until the final mesmerizing frame. Homicide detective Kyle Bodine (Harris) is the best in the business. But even a cop as brilliant as Kyle can become confused in the embrace of a seductive woman. What starts as a casual flirtation with local beauty Rachel Munro (Stowe) escalates into a desire that cannot be denied. And when Rachel's need to escape her unhappy marriage to an abusive banker ends in murder, Kyle becomes trapped in a bewildering nightmare of deceit and deadly betrayal. Special Features: -Audio commentary by director John Bailey and editor Carol Littleton -Original Theatrical Trailer

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A private detective investigating adultery in 1930s Los Angeles uncovers a far-reaching conspiracy involving water, power and family secrets.

Release: July 13, 2010

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A seemingly perfect marriage reveals its flaws when the wife (Julianne Moore) enlists an escort (Amanda Seyfried) to test the faithfulness of her husband (Liam Neeson).

Release: March 17, 2026

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1916. As war rages on the Western Front, the Choral Society in Ramsden, Yorkshire has lost most of its men to the army. The Choral's ambitious committee, determined to press ahead, decides to recruit local young males to swell their ranks. They must also engage a new chorus master, and despite their suspicions that he has something to hide, their best bet seems to be Dr. Henry Guthrie (Ralph Fiennes) -- driven, uncompromising, and recently returned from a career in Germany. As conscription papers start to arrive, the whole community discovers that the best response to the chaos that is laying waste to their lives is to make music together.