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A true cinematic revolutionary who used the camera as her tool in the fight against oppression in all forms, the Afro-Cuban filmmaker Sara Gómez brought the stories of ordinary Cubans to the screen with a bracing immediacy and insight. Drawing on her background in ethnography, Gómez became her country’s first woman director, exploring issues of class, race, labor, women’s health, and Afro-Cuban culture in a string of intimate, illuminating shorts that reveal the complex realities of life in a postrevolutionary society rocked by seismic change. Though she directed only one feature—the formally innovative landmark of radical feminist cinema One Way or Another—before her death from an asthma attack at age thirty-one, Gómez left behind a vital legacy as a pioneer whose inquisitive work continues to offer lessons in what an engaged anticolonial cinema can be. INCLUDES The films: One Way or Another; I'll Go to Santiago; Excursion to Vueltabajo; Guanabacoa: Chronicle of My Family; And . . . We’ve Got Sabor; On the Other Island; An Island for Miguel; Treasure Island; Local Power, Popular Power; A Documentary About Transit; On Sugar Workers’ Quarters; My Contribution; Year One; Prenatal Care; and About Extra Hours and Volunteer Work PLUS: An essay by scholar Odette Casamayor-Cisneros ONE WAY OR ANOTHER The only feature from the radical Afro-Cuban filmmaker Sara Gómez—completed by her collaborators after her untimely death—is an extraordinary portrait of postrevolution Cuba. Blending invaluable documentary footage with a loose narrative about the budding cross-class relationship between an outspoken schoolteacher (Yolanda Cuéllar) and a young mixed-race factory worker (Mario Balmaseda) facing a moral crisis, One Way or Another depicts revolution as an ongoing process that takes place at the level of community—among friends, lovers, coworkers, teachers, students, and parents, all of whom must work together to negotiate a new social order. Above all, Gómez offers a trenchant intersectional critique of the lingering sexism and machismo that, she argues, must be cleared away in order to create a truly just society. I’LL GO TO SANTIAGO In this early work, named for a line in a poem by Federico García Lorca, Sara Gómez employs the form of the ethnographic documentary both incisively and playfully, creating a joyous portrait of the Cuban port city of Santiago de Cuba. Animated by music and movement, the film offers both a vivid snapshot of everyday life and a cogent analysis of the complexities of Afro-Cuban identity, history, and culture. EXCURSION TO VUELTABAJO Sara Gómez looks at the changes wrought by the Cuban Revolution through its impact on tobacco production, one of the country’s foremost industries. Over the course of this short documentary, she speaks with workers about the effects of new agricultural technologies and systems, while evoking the landscapes and culture connected with the crop. GUANABACOA: CHRONICLE OF MY FAMILY Director Sara Gómez journeys back to her hometown of Guanabacoa to explore her family history in this deeply personal look at the experiences of a Black, middle-class family in Cuba both before and after the revolution. Elegantly weaving together musical performances, text, and intimate records of family members, Gómez reveals the religious, cultural, and economic diversity within Afro-Cuban life. AND . . . WE’VE GOT SABOR Legendary rumba musician Alberto Zayas serves as a guide for this vibrant journey through Cuban musical history and culture. Introducing an array of popular musical genres and instruments, and featuring thrilling performances, the film examines what gives Cuban music its unique sabor (flavor). ON THE OTHER ISLAND The first of three films Sara Gómez made about Cuba’s Isla de la Juventud (then known as Isla de Pinos) features interviews with residents of the youth reeducation centers established on the island by the revolutionary government. In conversations shaped by Gómez’s individual and intimate connections with her subjects, she captures their thoughts on a wide range of social issues, including the persistence of racial discrimination and religious faith in postrevolutionary Cuba. AN ISLAND FOR MIGUEL Part of a trilogy of short films by Sara Gómez about Cuba’s Isla de Pinos, this documentary follows a poor, at-risk young man named Miguel who is sent there from Havana as part of a government reeducation program. The film, which explores Miguel’s family and social background, reflects Gómez’s deep interest in the development of the revolutionary “New Man” proposed by Ernesto “Che” Guevara, as she probes the gap between political discourse and human realities. TREASURE ISLAND This last of Sara Gómez’s three portraits of Isla de Pinos—a place that inspired Robert Louis Stevenson’s Treasure Island, and the site of Fidel Castro’s imprisonment by dictator Fulgencio Batista—examines the storied Cuban island’s rich history and culture, as well as its hosting of a radical experiment in creating a revolutionary communist society. LOCAL POWER, POPULAR POWER A local election in a Cuban town of sugar-mill workers offers a look at political organizing on a grassroots level. Illuminating the significance of this event for the individual and the collective, Sara Gómez speaks with residents and employees about issues around unequal food distribution, and about the qualities they look for in delegates to the local assembly—including whether a woman could do the job. A DOCUMENTARY ABOUT TRANSIT This short documentary examines the role of Cuba’s Traffic Department in solving issues of city planning. Statistics on the effects of traffic accidents, documentation of drivers discussing their cases, and footage of workers installing street signs are edited into a rapid and kinetic montage. Please note that the film is incomplete and cuts off abruptly. ON SUGAR WORKERS’ QUARTERS Director Sara Gómez offers a look at everyday life in the bateyes—the workers’ settlements surrounding sugarcane mills—told from the perspective of the inhabitants. Featuring the voices of workers from diverse ethnic backgrounds as well as formerly privileged overseers, the film tells the human story of Cuba’s principal prerevolutionary industry. MY CONTRIBUTION As in her feature One Way or Another, Sara Gómez examines the role of women in postrevolutionary Cuba, offering a trenchant critique of a society in which—despite utopian promises—gender inequality persists. Interviews with male and female workers and officials in the Camilo Cienfuegos sugar refinery and discussions among women intellectuals create a detailed and impassioned account of the ways in which the revolution has fallen short of its ideals. YEAR ONE This short documentary spotlights postnatal childcare and assistance for new mothers in Cuba. Filled with tender images of infants, it celebrates the work of field nurses who visit new mothers to provide education and preventive care, and includes instruction on breastfeeding, weaning, vaccination, and developmental milestones during a child’s first year. PRENATAL CARE Informed by director Sara Gómez’s own experiences with childbirth and motherhood, this short documentary offers guidance to pregnant women, highlighting the importance of education about maternal and prenatal health. Conversations between pregnant women and nurses or doctors, medical examinations, and a scene of childbirth are filmed with frankness and compassion. ABOUT EXTRA HOURS AND VOLUNTEER WORK Cuban textile workers offer their thoughts on the policy of unpaid overtime and volunteer work. Employing a potent mix of interviews and written texts, director Sara Gómez interrogates revolutionary ideas and policies, questioning the efficacy of the system and the problems it creates, especially for working-class women. Top About this item Similar From the Brand Questions Reviews Eclipse Series 50: Sara Gómez's Revolutionary Cuba (The Criterion Collection) [Blu-ray] Eclipse Series 50: Sara Gómez's Revolutionary Cuba (The Criterion Collection) [Blu-ray]

Description

A true cinematic revolutionary who used the camera as her tool in the fight against oppression in all forms, the Afro-Cuban filmmaker Sara Gómez brought the stories of ordinary Cubans to the screen with a bracing immediacy and insight. Drawing on her background in ethnography, Gómez became her country’s first woman director, exploring issues of class, race, labor, women’s health, and Afro-Cuban culture in a string of intimate, illuminating shorts that reveal the complex realities of life in a postrevolutionary society rocked by seismic change. Though she directed only one feature—the formally innovative landmark of radical feminist cinema One Way or Another—before her death from an asthma attack at age thirty-one, Gómez left behind a vital legacy as a pioneer whose inquisitive work continues to offer lessons in what an engaged anticolonial cinema can be. INCLUDES The films: One Way or Another; I'll Go to Santiago; Excursion to Vueltabajo; Guanabacoa: Chronicle of My Family; And . . . We’ve Got Sabor; On the Other Island; An Island for Miguel; Treasure Island; Local Power, Popular Power; A Documentary About Transit; On Sugar Workers’ Quarters; My Contribution; Year One; Prenatal Care; and About Extra Hours and Volunteer Work PLUS: An essay by scholar Odette Casamayor-Cisneros ONE WAY OR ANOTHER The only feature from the radical Afro-Cuban filmmaker Sara Gómez—completed by her collaborators after her untimely death—is an extraordinary portrait of postrevolution Cuba. Blending invaluable documentary footage with a loose narrative about the budding cross-class relationship between an outspoken schoolteacher (Yolanda Cuéllar) and a young mixed-race factory worker (Mario Balmaseda) facing a moral crisis, One Way or Another depicts revolution as an ongoing process that takes place at the level of community—among friends, lovers, coworkers, teachers, students, and parents, all of whom must work together to negotiate a new social order. Above all, Gómez offers a trenchant intersectional critique of the lingering sexism and machismo that, she argues, must be cleared away in order to create a truly just society. I’LL GO TO SANTIAGO In this early work, named for a line in a poem by Federico García Lorca, Sara Gómez employs the form of the ethnographic documentary both incisively and playfully, creating a joyous portrait of the Cuban port city of Santiago de Cuba. Animated by music and movement, the film offers both a vivid snapshot of everyday life and a cogent analysis of the complexities of Afro-Cuban identity, history, and culture. EXCURSION TO VUELTABAJO Sara Gómez looks at the changes wrought by the Cuban Revolution through its impact on tobacco production, one of the country’s foremost industries. Over the course of this short documentary, she speaks with workers about the effects of new agricultural technologies and systems, while evoking the landscapes and culture connected with the crop. GUANABACOA: CHRONICLE OF MY FAMILY Director Sara Gómez journeys back to her hometown of Guanabacoa to explore her family history in this deeply personal look at the experiences of a Black, middle-class family in Cuba both before and after the revolution. Elegantly weaving together musical performances, text, and intimate records of family members, Gómez reveals the religious, cultural, and economic diversity within Afro-Cuban life. AND . . . WE’VE GOT SABOR Legendary rumba musician Alberto Zayas serves as a guide for this vibrant journey through Cuban musical history and culture. Introducing an array of popular musical genres and instruments, and featuring thrilling performances, the film examines what gives Cuban music its unique sabor (flavor). ON THE OTHER ISLAND The first of three films Sara Gómez made about Cuba’s Isla de la Juventud (then known as Isla de Pinos) features interviews with residents of the youth reeducation centers established on the island by the revolutionary government. In conversations shaped by Gómez’s individual and intimate connections with her subjects, she captures their thoughts on a wide range of social issues, including the persistence of racial discrimination and religious faith in postrevolutionary Cuba. AN ISLAND FOR MIGUEL Part of a trilogy of short films by Sara Gómez about Cuba’s Isla de Pinos, this documentary follows a poor, at-risk young man named Miguel who is sent there from Havana as part of a government reeducation program. The film, which explores Miguel’s family and social background, reflects Gómez’s deep interest in the development of the revolutionary “New Man” proposed by Ernesto “Che” Guevara, as she probes the gap between political discourse and human realities. TREASURE ISLAND This last of Sara Gómez’s three portraits of Isla de Pinos—a place that inspired Robert Louis Stevenson’s Treasure Island, and the site of Fidel Castro’s imprisonment by dictator Fulgencio Batista—examines the storied Cuban island’s rich history and culture, as well as its hosting of a radical experiment in creating a revolutionary communist society. LOCAL POWER, POPULAR POWER A local election in a Cuban town of sugar-mill workers offers a look at political organizing on a grassroots level. Illuminating the significance of this event for the individual and the collective, Sara Gómez speaks with residents and employees about issues around unequal food distribution, and about the qualities they look for in delegates to the local assembly—including whether a woman could do the job. A DOCUMENTARY ABOUT TRANSIT This short documentary examines the role of Cuba’s Traffic Department in solving issues of city planning. Statistics on the effects of traffic accidents, documentation of drivers discussing their cases, and footage of workers installing street signs are edited into a rapid and kinetic montage. Please note that the film is incomplete and cuts off abruptly. ON SUGAR WORKERS’ QUARTERS Director Sara Gómez offers a look at everyday life in the bateyes—the workers’ settlements surrounding sugarcane mills—told from the perspective of the inhabitants. Featuring the voices of workers from diverse ethnic backgrounds as well as formerly privileged overseers, the film tells the human story of Cuba’s principal prerevolutionary industry. MY CONTRIBUTION As in her feature One Way or Another, Sara Gómez examines the role of women in postrevolutionary Cuba, offering a trenchant critique of a society in which—despite utopian promises—gender inequality persists. Interviews with male and female workers and officials in the Camilo Cienfuegos sugar refinery and discussions among women intellectuals create a detailed and impassioned account of the ways in which the revolution has fallen short of its ideals. YEAR ONE This short documentary spotlights postnatal childcare and assistance for new mothers in Cuba. Filled with tender images of infants, it celebrates the work of field nurses who visit new mothers to provide education and preventive care, and includes instruction on breastfeeding, weaning, vaccination, and developmental milestones during a child’s first year. PRENATAL CARE Informed by director Sara Gómez’s own experiences with childbirth and motherhood, this short documentary offers guidance to pregnant women, highlighting the importance of education about maternal and prenatal health. Conversations between pregnant women and nurses or doctors, medical examinations, and a scene of childbirth are filmed with frankness and compassion. ABOUT EXTRA HOURS AND VOLUNTEER WORK Cuban textile workers offer their thoughts on the policy of unpaid overtime and volunteer work. Employing a potent mix of interviews and written texts, director Sara Gómez interrogates revolutionary ideas and policies, questioning the efficacy of the system and the problems it creates, especially for working-class women. Top About this item Similar From the Brand Questions Reviews Eclipse Series 50: Sara Gómez's Revolutionary Cuba (The Criterion Collection) [Blu-ray] Eclipse Series 50: Sara Gómez's Revolutionary Cuba (The Criterion Collection) [Blu-ray]

Description

His films have been called raw, outrageous, sensational, and daring. In four decades of directing, Samuel Fuller created a legendarily idiosyncratic oeuvre, examining U.S. history and mythmaking in westerns, film noirs, and war epics. And, characteristically, it all began with a bang: after “printing the legend” with the elegant B pictures I Shot Jesse James and The Baron of Arizona, he got himself into hot water with the FBI with The Steel Helmet, the first American movie to portray the Korean War. These three independent films—showing off Fuller’s genre diversity, gutter wit, and subversive force—set the stage for his controversial career in moviemaking. INCLUDES An essay by film critic Nick Pinkerton I SHOT JESSE JAMES After years of crime reporting, screenwriting, and authoring pulp novels, Samuel Fuller made his directorial debut with the lonesome ballad of Robert Ford (played by Red River’s John Ireland), who fatally betrayed his notorious friend Jesse James. At once modest and intense, I Shot Jesse James is an engrossing pocket portrait of guilt and psychological torment, and an auspicious beginning for the maverick filmmaker. THE BARON OF ARIZONA In one of his own favorite roles, Vincent Price portrays legendary swindler James Addison Reavis, who in 1880 concocted an elaborate and dangerous hoax to name himself the “Baron” of Arizona, and therefore inherit all the land in the state. Samuel Fuller adapts this tall tale to film with fleet, elegant storytelling and a sly sense of humor. THE STEEL HELMET The Steel Helmet marked Samuel Fuller’s official arrival as a mighty cinematic force. Despite its relatively low budget, this portrait of Korean War soldiers dealing with moral and racial identity crises remains one of the director’s most gripping, realistic depictions of the blood and guts of war, as well as a reflection of Fuller’s irreducible social conscience. So controversial were the film’s comments on domestic and war crimes (American bigotry, the Japanese American World War II internment camps) that Fuller became the target of an FBI investigation.

Description

His films have been called raw, outrageous, sensational, and daring. In four decades of directing, Samuel Fuller created a legendarily idiosyncratic oeuvre, examining U.S. history and mythmaking in westerns, film noirs, and war epics. And, characteristically, it all began with a bang: after “printing the legend” with the elegant B pictures I Shot Jesse James and The Baron of Arizona, he got himself into hot water with the FBI with The Steel Helmet, the first American movie to portray the Korean War. These three independent films—showing off Fuller’s genre diversity, gutter wit, and subversive force—set the stage for his controversial career in moviemaking. INCLUDES An essay by film critic Nick Pinkerton I SHOT JESSE JAMES After years of crime reporting, screenwriting, and authoring pulp novels, Samuel Fuller made his directorial debut with the lonesome ballad of Robert Ford (played by Red River’s John Ireland), who fatally betrayed his notorious friend Jesse James. At once modest and intense, I Shot Jesse James is an engrossing pocket portrait of guilt and psychological torment, and an auspicious beginning for the maverick filmmaker. THE BARON OF ARIZONA In one of his own favorite roles, Vincent Price portrays legendary swindler James Addison Reavis, who in 1880 concocted an elaborate and dangerous hoax to name himself the “Baron” of Arizona, and therefore inherit all the land in the state. Samuel Fuller adapts this tall tale to film with fleet, elegant storytelling and a sly sense of humor. THE STEEL HELMET The Steel Helmet marked Samuel Fuller’s official arrival as a mighty cinematic force. Despite its relatively low budget, this portrait of Korean War soldiers dealing with moral and racial identity crises remains one of the director’s most gripping, realistic depictions of the blood and guts of war, as well as a reflection of Fuller’s irreducible social conscience. So controversial were the film’s comments on domestic and war crimes (American bigotry, the Japanese American World War II internment camps) that Fuller became the target of an FBI investigation.

Description

Long before he became one of the most renowned artists in world cinema, the great Iranian filmmaker Abbas Kiarostami began his cinematic career at Tehran’s Institute for the Intellectual Development of Children and Young Adults (a.k.a. Kanoon), where he honed his distinctive style and themes. During his first decades as a filmmaker, Kiarostami moved freely among documentary, narrative, and even animation, and between joyous short films made for children and subtle works exploring the struggles of adolescents. Often using the classroom as a laboratory, he probed social and political tensions in Iranian society during the turbulent years before and after the 1979 revolution. Spanning his very first short, Bread and Alley (which the director called the “mother of all my films”); other underseen early revelations, like Experience and The Traveler; and nonfiction masterpieces such as Homework, the graceful, warm, and playful works collected here find moments of transcendent poetry within everyday life, and use deceptively simple premises to express universal truths about the human condition. INCLUDES The films: Bread and Alley; Breaktime; Experience; The Traveler; Two Solutions for One Problem; So Can I; Colors; A Wedding Suit; Tribute to Teachers; Solution No. 1; First Case, Second Case; Toothache; Orderly or Disorderly; The Chorus; Fellow Citizen; First Graders; and Homework PLUS: An essay by critic Ehsan Khoshbakht

Description

Long before he became one of the most renowned artists in world cinema, the great Iranian filmmaker Abbas Kiarostami began his cinematic career at Tehran’s Institute for the Intellectual Development of Children and Young Adults (a.k.a. Kanoon), where he honed his distinctive style and themes. During his first decades as a filmmaker, Kiarostami moved freely among documentary, narrative, and even animation, and between joyous short films made for children and subtle works exploring the struggles of adolescents. Often using the classroom as a laboratory, he probed social and political tensions in Iranian society during the turbulent years before and after the 1979 revolution. Spanning his very first short, Bread and Alley (which the director called the “mother of all my films”); other underseen early revelations, like Experience and The Traveler; and nonfiction masterpieces such as Homework, the graceful, warm, and playful works collected here find moments of transcendent poetry within everyday life, and use deceptively simple premises to express universal truths about the human condition. INCLUDES The films: Bread and Alley; Breaktime; Experience; The Traveler; Two Solutions for One Problem; So Can I; Colors; A Wedding Suit; Tribute to Teachers; Solution No. 1; First Case, Second Case; Toothache; Orderly or Disorderly; The Chorus; Fellow Citizen; First Graders; and Homework PLUS: An essay by critic Ehsan Khoshbakht

Description

Long before he became one of the most renowned artists in world cinema, the great Iranian filmmaker Abbas Kiarostami began his cinematic career at Tehran’s Institute for the Intellectual Development of Children and Young Adults (a.k.a. Kanoon), where he honed his distinctive style and themes. During his first decades as a filmmaker, Kiarostami moved freely among documentary, narrative, and even animation, and between joyous short films made for children and subtle works exploring the struggles of adolescents. Often using the classroom as a laboratory, he probed social and political tensions in Iranian society during the turbulent years before and after the 1979 revolution. Spanning his very first short, Bread and Alley (which the director called the “mother of all my films”); other underseen early revelations, like Experience and The Traveler; and nonfiction masterpieces such as Homework, the graceful, warm, and playful works collected here find moments of transcendent poetry within everyday life, and use deceptively simple premises to express universal truths about the human condition. INCLUDES The films: Bread and Alley; Breaktime; Experience; The Traveler; Two Solutions for One Problem; So Can I; Colors; A Wedding Suit; Tribute to Teachers; Solution No. 1; First Case, Second Case; Toothache; Orderly or Disorderly; The Chorus; Fellow Citizen; First Graders; and Homework PLUS: An essay by critic Ehsan Khoshbakht

Description

One of Spanish cinema’s great auteurs, Carlos Saura brought international audiences closer to the art of his country’s dance than any other filmmaker, before or since. In his Flamenco Trilogy—Blood Wedding, Carmen, and El amor brujo—Saura merged his passion for music with his exploration of national identity. All starring and choreographed by legendary dancer Antonio Gades, the films feature thrilling physicality and electrifying cinematography and editing—colorful paeans to bodies in motion as well as to cinema itself. INCLUDES The films: Blood Wedding • Carmen • El amor brujo PLUS: An essay by author and film critic Michael Koresky BLOOD WEDDING Carlos Saura began what would become his Flamenco Trilogy with this depiction of a single dress rehearsal for choreographer Antonio Gades’s adaptation of poet and playwright Federico García Lorca’s tale of passionate revenge. No mere recording of a ballet, Blood Wedding (Bodas de sangre) uses gripping camera work and heart-pounding rhythmic editing to evoke the experience of moving with the dancers every step of the way. CARMEN Carlos Saura’s biggest international box-office success was this self-reflexive meditation on both Georges Bizet’s popular opera Carmen and the original novella by Prosper Mérimée. Antonio Gades plays a choreographer who gets involved with his neophyte lead dancer (Laura del Sol), and grows dangerously jealous. Depicting the ups and downs of their affair in between rehearsals for Gades’s ballet, Carmen is a visually hypnotic hall of mirrors in which the dancers become inseparable from their personas. EL AMOR BRUJO The Flamenco Trilogy’s most straightforward narrative is also its most forthrightly theatrical, a modern take on composer Manuel de Falla’s Roma ballet, dressed up in pink sunsets and hellishly red fires. Set in a dusty Andalusian village, El amor brujo (Love, the Magician) is a seductive melodrama of a man (Antonio Gades) whose beloved is haunted by the ghost of another. Eclipse Series 6: Carlos Saura's Flamenco Trilogy (The Criterion Collection) [Blood Wedding / Carmen / El amor brujo] [Blu-ray] Eclipse Series 6: Carlos Saura's Flamenco Trilogy (The Criterion Collection) [Blood Wedding / Carmen / El amor brujo] [Blu-ray] Similar From the Brand Questions Reviews $29.98 with 50 percent savings$29.98 Add to cart

Description

One of Spanish cinema’s great auteurs, Carlos Saura brought international audiences closer to the art of his country’s dance than any other filmmaker, before or since. In his Flamenco Trilogy—Blood Wedding, Carmen, and El amor brujo—Saura merged his passion for music with his exploration of national identity. All starring and choreographed by legendary dancer Antonio Gades, the films feature thrilling physicality and electrifying cinematography and editing—colorful paeans to bodies in motion as well as to cinema itself. INCLUDES The films: Blood Wedding • Carmen • El amor brujo PLUS: An essay by author and film critic Michael Koresky BLOOD WEDDING Carlos Saura began what would become his Flamenco Trilogy with this depiction of a single dress rehearsal for choreographer Antonio Gades’s adaptation of poet and playwright Federico García Lorca’s tale of passionate revenge. No mere recording of a ballet, Blood Wedding (Bodas de sangre) uses gripping camera work and heart-pounding rhythmic editing to evoke the experience of moving with the dancers every step of the way. CARMEN Carlos Saura’s biggest international box-office success was this self-reflexive meditation on both Georges Bizet’s popular opera Carmen and the original novella by Prosper Mérimée. Antonio Gades plays a choreographer who gets involved with his neophyte lead dancer (Laura del Sol), and grows dangerously jealous. Depicting the ups and downs of their affair in between rehearsals for Gades’s ballet, Carmen is a visually hypnotic hall of mirrors in which the dancers become inseparable from their personas. EL AMOR BRUJO The Flamenco Trilogy’s most straightforward narrative is also its most forthrightly theatrical, a modern take on composer Manuel de Falla’s Roma ballet, dressed up in pink sunsets and hellishly red fires. Set in a dusty Andalusian village, El amor brujo (Love, the Magician) is a seductive melodrama of a man (Antonio Gades) whose beloved is haunted by the ghost of another. Eclipse Series 6: Carlos Saura's Flamenco Trilogy (The Criterion Collection) [Blood Wedding / Carmen / El amor brujo] [Blu-ray] Eclipse Series 6: Carlos Saura's Flamenco Trilogy (The Criterion Collection) [Blood Wedding / Carmen / El amor brujo] [Blu-ray] Similar From the Brand Questions Reviews $29.98 with 50 percent savings$29.98 Add to cart

Description

Renowned as a silent-film pioneer and the man who refined Hollywood comedy with such masterpieces as Trouble in Paradise, The Shop Around the Corner, and To Be or Not to Be, Ernst Lubitsch also had another claim to fame: he helped invent the modern movie musical. With the advent of sound, and with audiences clamoring for “talkies,” Lubitsch combined his love of European operettas and his mastery of cinema to develop this entirely new genre. These elegant, bawdy films, made before strict enforcement of the moralizing Production Code, feature some of the greatest stars of early Hollywood (Maurice Chevalier, Jeanette MacDonald, Claudette Colbert, Miriam Hopkins), as well as that elusive style of comedy that would thereafter be known as “the Lubitsch touch.” SPECIAL FEATURES An essay by author and film critic Michael Koresky THE LOVE PARADE Ernst Lubitsch’s first full talkie was also Hollywood’s first movie musical to integrate songs with narrative. Additionally, The Love Parade made stars out of toast-of-Paris Maurice Chevalier and girl-from-Philly Jeanette MacDonald, cast as a womanizing military attaché and the man-hungry queen of “Sylvania,” respectively. With its naughty innuendo and satiric romance, The Love Parade opened the door for a decade of witty screen battles of the sexes. MONTE CARLO Jeanette MacDonald’s independent-minded countess leaves her foppish prince fiancé at the altar, and whisks herself away to the Riviera. There, she strikes the fancy of the sly Count Rudolph (theater veteran Jack Buchanan), who poses as a hairdresser to get into her boudoir. Ernst Lubitsch’s follow-up to The Love Parade shows even more musical invention, and presents MacDonald at her haughtily sexy best. THE SMILING LIEUTENANT Maurice Chevalier’s randy Viennese lieutenant is enamored of Claudette Colbert’s freethinking, all-girl-orchestra-leading cutie. Yet complications ensue when the sexually repressed princess (newcomer Miriam Hopkins) of the fictional kingdom of Flausenthurm sets her sights on him. Ernst Lubitsch’s The Smiling Lieutenant is a delightful showcase for its rising female stars, who are never more charming than when Colbert tunefully instructs Hopkins, “Jazz Up Your Lingerie.” ONE HOUR WITH YOU Ernst Lubitsch reunites Maurice Chevalier and Jeanette MacDonald, this time as a seemingly blissful couple whose marriage hits the skids when her flirtatious school chum comes on to her husband a bit too strong. Necking in the park at nighttime, husbands and wives having casual dalliances, and a butler telling his master, “I did so want to see you in tights!”: Lubitsch’s final pre-Code musical is one of his sauciest escapades.

Description

Renowned as a silent-film pioneer and the man who refined Hollywood comedy with such masterpieces as Trouble in Paradise, The Shop Around the Corner, and To Be or Not to Be, Ernst Lubitsch also had another claim to fame: he helped invent the modern movie musical. With the advent of sound, and with audiences clamoring for “talkies,” Lubitsch combined his love of European operettas and his mastery of cinema to develop this entirely new genre. These elegant, bawdy films, made before strict enforcement of the moralizing Production Code, feature some of the greatest stars of early Hollywood (Maurice Chevalier, Jeanette MacDonald, Claudette Colbert, Miriam Hopkins), as well as that elusive style of comedy that would thereafter be known as “the Lubitsch touch.” SPECIAL FEATURES An essay by author and film critic Michael Koresky THE LOVE PARADE Ernst Lubitsch’s first full talkie was also Hollywood’s first movie musical to integrate songs with narrative. Additionally, The Love Parade made stars out of toast-of-Paris Maurice Chevalier and girl-from-Philly Jeanette MacDonald, cast as a womanizing military attaché and the man-hungry queen of “Sylvania,” respectively. With its naughty innuendo and satiric romance, The Love Parade opened the door for a decade of witty screen battles of the sexes. MONTE CARLO Jeanette MacDonald’s independent-minded countess leaves her foppish prince fiancé at the altar, and whisks herself away to the Riviera. There, she strikes the fancy of the sly Count Rudolph (theater veteran Jack Buchanan), who poses as a hairdresser to get into her boudoir. Ernst Lubitsch’s follow-up to The Love Parade shows even more musical invention, and presents MacDonald at her haughtily sexy best. THE SMILING LIEUTENANT Maurice Chevalier’s randy Viennese lieutenant is enamored of Claudette Colbert’s freethinking, all-girl-orchestra-leading cutie. Yet complications ensue when the sexually repressed princess (newcomer Miriam Hopkins) of the fictional kingdom of Flausenthurm sets her sights on him. Ernst Lubitsch’s The Smiling Lieutenant is a delightful showcase for its rising female stars, who are never more charming than when Colbert tunefully instructs Hopkins, “Jazz Up Your Lingerie.” ONE HOUR WITH YOU Ernst Lubitsch reunites Maurice Chevalier and Jeanette MacDonald, this time as a seemingly blissful couple whose marriage hits the skids when her flirtatious school chum comes on to her husband a bit too strong. Necking in the park at nighttime, husbands and wives having casual dalliances, and a butler telling his master, “I did so want to see you in tights!”: Lubitsch’s final pre-Code musical is one of his sauciest escapades.

Description

Commissioned to make a working-class family drama for public television, up-and-coming director Rainer Werner Fassbinder took the assignment and ran, dodging expectations by depicting social realities in West Germany from a critical-yet far from cynical-perspective. Over the course of several hours, the sprawling story tracks the everyday triumphs and travails of the young toolmaker Jochen (Gottfried John) and many of the people populating his world, including the woman he loves (Hanna Schygulla), his eccentric nuclear family, and his fellow workers, with whom he bands together to improve conditions on the factory floor. Rarely screened since its popular but controversial initial broadcast, Eight Hours Don't Make a Day rates as a true discovery, one of Fassbinder's earliest and most tender experiments with the possibilities of melodrama.

Description

An epic journey of friendship and self-discovery set in the Italian Alps, The Eight Mountains is a cinematic experience as intimate as it is monumental. Adapting an award-winning novel by Paolo Cognetti, Felix van Groeningen and Charlotte Vandermeersch portray, through observant detail and stunning landscape photography, the profound relationship between Pietro (Luca Marinelli) and Bruno (Alessandro Borghi), who first meet as children in an Alpine village. Years later, the estranged friends reunite, after the passing of Pietro’s father (Filippo Timi), in order to realize his dream of rebuilding a ruined cabin on a mountain slope. This emotional project, and their subsequent explorations of the mountains, create a strong bond between the two—yet individual dreams, and the demands of society, ultimately drive them to pursue irrevocably divergent paths. INCLUDES Meet the Filmmakers, a new interview with directors Charlotte Vandermeersch and Felix van Groeningen The Making of “The Eight Mountains,” a new documentary featuring cast and crew Trailer Top About this item Similar From the Brand Reviews The Eight Mountains (Criterion Premieres) [Blu-ray]

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Whit Stillman followed his delightful indie breakthrough Metropolitan with another clever and garrulous comedy of manners, this one with a darker edge. A pair of preppy yet constitutionally mismatched American cousins a salesman and a navy officer argue about romance and politics while working in the beautiful Spanish city of the film s title. Set during the eighties, Barcelona explores topics both heady (American exceptionalism, Cold War foreign policy) and hilarious (the ins and outs of international dating, the proper shaving method) while remaining a constantly witty delight, featuring a sharp young cast that includes Taylor Nichols (Boiler Room), Chris Eigeman (Kicking and Screaming), and Mira Sorvino (Mighty Aphrodite). DIRECTOR-APPROVED BLU-RAY SPECIAL EDITION FEATURES - New, restored 2K digital transfer, supervised by director Whit Stillman and cinematographer John Thomas, with 2.0 surround DTS-HD Master Audio soundtrack - Audio commentary from 2002 featuring Stillman and actors Chris Eigeman and Taylor Nichols - New video essay by film critic Farran Smith Nehme about the trilogy made up of Metropolitan, Barcelona, and The Last Days of Disco - The Making of Barcelona, a short documentary from 1994 featuring behind-the-scenes footage and on-set interviews with Stillman and cast members - Deleted scenes and alternate ending, with commentary by Stillman, Eigeman, and Nichols - Segment from a 1994 episode of the Today show featuring Stillman - Episode of The Dick Cavett Show from 1991 with Stillman - Trailer - PLUS: An essay by film scholar Haden Guest

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Spanish surrealist master Luis Buñuel’s fiendish tale of love gone wrong is among the most perverse and unsettling films he made during his two decades of exile in Mexico. Folding his own neuroses into an adaptation of Mercedes Pinto’s autobiographical novel, Buñuel crafts an expressionistically stylized nightmare in which a young woman (Delia Garcés) discovers that the outward sophistication of her new husband (Arturo de Córdova) masks disturbing depths of jealousy and paranoia. A characteristically raw indictment of religious and social hypocrisy, Él stands as the director’s greatest excursion into melodrama, a vivid portrayal of society’s inability to restrain the irrational urges of the human id. BLU-RAY SPECIAL EDITION FEATURES New 4K digital restoration, supervised by photographer Gabriel Figueroa Flores, director of photography Gabriel Figueroa’s son, with uncompressed monaural soundtrack New video essay on director Luis Buñuel by scholar Jordi Xifra Appreciation by filmmaker Guillermo del Toro Interview with Buñuel from 1981 by writer Jean-Claude Carrière, a longtime collaborator of the director's Panel discussion from 2009, moderated by filmmaker José Luis Garci Trailer New English subtitle translation PLUS: An essay by critic Fernanda Solórzano and an interview with Buñuel by critics José de la Colina and Tomás Pérez Turrent

Description

Spanish surrealist master Luis Buñuel’s fiendish tale of love gone wrong is among the most perverse and unsettling films he made during his two decades of exile in Mexico. Folding his own neuroses into an adaptation of Mercedes Pinto’s autobiographical novel, Buñuel crafts an expressionistically stylized nightmare in which a young woman (Delia Garcés) discovers that the outward sophistication of her new husband (Arturo de Córdova) masks disturbing depths of jealousy and paranoia. A characteristically raw indictment of religious and social hypocrisy, Él stands as the director’s greatest excursion into melodrama, a vivid portrayal of society’s inability to restrain the irrational urges of the human id. 4K UHD + BLU-RAY SPECIAL EDITION FEATURES New 4K digital restoration, supervised by photographer Gabriel Figueroa Flores, director of photography Gabriel Figueroa’s son, with uncompressed monaural soundtrack One 4K UHD disc of the film and one Blu-ray with the film and special features New video essay on director Luis Buñuel by scholar Jordi Xifra Appreciation by filmmaker Guillermo del Toro Interview with Buñuel from 1981 by writer Jean-Claude Carrière, a longtime collaborator of the director's Panel discussion from 2009, moderated by filmmaker José Luis Garci Trailer New English subtitle translation PLUS: An essay by critic Fernanda Solórzano and an interview with Buñuel by critics José de la Colina and Tomás Pérez Turrent

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Product Description Brother and sister Enrique and Rosa flee persecution at home in Guatemala and journey north, through Mexico and on to the United States, with the dream of starting a new life. It’s a story that happens every day, but until Gregory Nava’s groundbreaking El Norte (The North), the personal travails of immigrants crossing the border to America had never been shown in the movies with such urgent humanism. A work of social realism imbued with dreamlike imagery, El Norte is a lovingly rendered, heartbreaking story of hope and survival, which critic Roger Ebert called “a Grapes of Wrath for our time.” DIRECTOR-APPROVED BLU-RAY SPECIAL EDITION FEATURES New, restored high-definition digital transfer supervised and approved by director Gregory Nava, with uncompressed monaural soundtrack New audio commentary featuring Nava In the Service of the Shadows: The Making of "El Norte": a new video program featuring interviews with Nava, producer and co-writer Anna Thomas, actors Zaide Silvia Gutiérrez and David Villalpando, and set designer David Wasco The Journal of Diego Rodriguez Silva, Nava's 1972 award-winning student film Gallery of Chiapas location-scouting photographs Theatrical trailer New and improved English subtitle translation PLUS: An essay by novelist Héctor Tobar and Roger Ebert's 1983 review of the film Review A great film...stunning visual and musical power. --Roger Ebert

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Ten years after making his mark on Spanish cinema with The Spirit of the Beehive, Víctor Erice returned to filmmaking with this adaptation of a novella by Adelaida García Morales, which deepens the director’s fascination with childhood, fantasy, and the legacy of his country’s civil war. In the North of Spain, Estrella grows up captivated by her father, a doctor with mystical powers—and by the enigma of his youth in the South, a near-mythical region whose secrets seem to haunt him more and more as time goes on. Though Erice’s original vision also encompassed a long section set in the South itself, which was never made, El Sur remains an experience of rare perfection and satisfaction, drawing on painterly cinematography by José Luis Alcaine to evoke the enchantments of memory and the inaccessible, inescapable mysteries of the past. BLU-RAY SPECIAL EDITION FEATURES • New 2K digital restoration, with uncompressed monaural soundtrack • Interview from 2003 with director Víctor Erice • New piece on the making of the film, featuring interviews from 2012 with actors Omero Antonutti, Sonsoles Aranguren, and Icíar Bollaín; cinematographer José Luis Alcaine; and camera operator Alfredo Mayo • Episode of ¡Qué grande es el cine! from 1996, featuring film critics Miguel Marías, Miguel Rubio, and Juan Cobos discussing El Sur • New English subtitle translation • PLUS: An essay by novelist and critic Elvira Lindo, and a new edition of the 1985 novella by Adelaida García Morales on which the film is based

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Re-creates the 1954-62 Algerian fight for independence from the French. Directed by Gillo Pontecorvo.

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Perky, overachieving Tracy Flick (Reese Witherspoon) gets on the nerves of history teacher Jim McAllister (Matthew Broderick) to begin with, but after she launches her campaign for high-school president and his personal life starts to fall apart, things spiral out of control. In Alexander Payne's satire ELECTION, the teacher becomes unhealthily obsessed with cutting his student down to size, covertly backing a spoiler candidate to stop her from steamrolling to victory, and putting in motion a series of dirty tricks and reckless promises with uncanny real-world political parallels. Adapting a then-unpublished novel by Tom Perrotta, Payne grounds the absurdity of his central dynamic in the recognizable the setting is his hometown of Omaha, and the accomplished cast is rounded out with nonprofessionals and distills his closely observed take on deeply flawed humanity to its bitter but stealthily sympathetic essence. DIRECTOR-APPROVED BLU-RAY SPECIAL EDITION FEATURES - New, restored 4K digital transfer, supervised and approved by cowriter-director Alexander Payne, with 5.1 surround DTS-HD Master Audio soundtrack - Audio commentary from 1999 featuring Payne - New interview with actor Reese Witherspoon - THE PASSION OF MARTIN, Payne's 1990 UCLA thesis film, with a new introduction by the director - TRUINSIDE: ELECTION, a 2016 documentary featuring on-set footage and interviews with cast and crew - Omaha local-news report on the film's production - Trailer - PLUS: An essay by critic Dana Stevens

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With this poignant second feature, David Lynch brought his atmospheric visual and sonic palette to a notorious true story set in Victorian England. When the London surgeon Frederick Treves (Anthony Hopkins) meets the freak-show performer John Merrick (John Hurt), who has severe skeletal and soft-tissue deformities, he assumes that he must be intellectually disabled as well. As the two men spend more time together, though, Merrick reveals the intelligence, gentle nature, and profound sense of dignity that lie beneath his shocking appearance, and he and Treves develop a friendship. Shot in gorgeous black and white and boasting a stellar supporting cast that includes Anne Bancroft, John Gielgud, and Wendy Hiller, The Elephant Man was nominated for eight Academy Awards, cementing Lynch’s reputation as one of American cinema’s most visionary talents. DIRECTOR-APPROVED BLU-RAY SPECIAL EDITION FEATURES New 4K digital restoration, with uncompressed stereo soundtrack Director David Lynch and critic Kristine McKenna reading from Room to Dream, a 2018 book they coauthored Archival interviews with Lynch, actor John Hurt, producers Mel Brooks and Jonathan Sanger, director of photography Freddie Francis, stills photographer Frank Connor, and makeup artist Christopher Tucker Audio recording from 1981 of an interview and Q&A with Lynch at the American Film Institute The Terrible Elephant Man Revealed, a 2001 documentary about the film Joseph Merrick: The Real Elephant Man, a 2005 program featuring archivist Jonathan Evans Trailer and radio spots English subtitles for the deaf and hard of hearing PLUS: Excerpts from an interview with Lynch from the 2005 edition of filmmaker and writer Chris Rodley’s book Lynch on Lynch, and an 1886 letter to the editor of the London Times concerning Merrick by Francis Culling Carr Gomm, chairman of the London Hospital

Description

With this poignant second feature, David Lynch brought his atmospheric visual and sonic palette to a notorious true story set in Victorian England. When the London surgeon Frederick Treves (Anthony Hopkins) meets the freak-show performer John Merrick (John Hurt), who has severe skeletal and soft-tissue deformities, he assumes that he must be intellectually disabled as well. As the two men spend more time together, though, Merrick reveals the intelligence, gentle nature, and profound sense of dignity that lie beneath his shocking appearance, and he and Treves develop a friendship. Shot in gorgeous black and white and boasting a stellar supporting cast that includes Anne Bancroft, John Gielgud, and Wendy Hiller, The Elephant Man was nominated for eight Academy Awards, cementing Lynch’s reputation as one of American cinema’s most visionary talents. DIRECTOR-APPROVED 4K UHD + BLU-RAY SPECIAL EDITION FEATURES 4K digital restoration, with uncompressed stereo soundtrack One 4K UHD disc of the film and one Blu-ray with the film and special features Director David Lynch and critic Kristine McKenna reading from Room to Dream, a 2018 book they coauthored Archival interviews with Lynch, actor John Hurt, producers Mel Brooks and Jonathan Sanger, director of photography Freddie Francis, stills photographer Frank Connor, and makeup artist Christopher Tucker Audio recording from 1981 of an interview and Q&A with Lynch at the American Film Institute The Terrible Elephant Man Revealed, a 2001 documentary about the film Joseph Merrick: The Real Elephant Man, a 2005 program featuring archivist Jonathan Evans Trailer and radio spots English subtitles for the deaf and hard of hearing PLUS: Excerpts from an interview with Lynch from the 2005 edition of filmmaker and writer Chris Rodley’s book Lynch on Lynch, and an 1886 letter to the editor of the London Times concerning Merrick by Francis Culling Carr Gomm, chairman of the London Hospital

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For his feature debut, twenty-four-year-old Louis Malle brought together a mesmerizing performance by Jeanne Moreau, evocative cinematography by Henri Decaë, and a now legendary jazz score by Miles Davis. Taking place over the course of one restless Paris night, Malle s richly atmospheric crime thriller stars Moreau and Maurice Ronet as star-crossed lovers whose plan to murder her husband (his boss) goes awry, setting off a chain of events that seals their fate. A career touchstone for its director and female star, Elevator to the Gallows was an astonishing beginning to Malle's eclectic body of work, and it established Moreau as one of the most captivating actors to ever grace the screen. BLU-RAY SPECIAL EDITION FEATURES - New 2K digital restoration, with uncompressed monaural soundtrack - Interview from 2005 with actor Jeanne Moreau - Archival interviews with Moreau, director Louis Malle, actor Maurice Ronet, and original soundtrack session pianist Rene Urtreger - Footage of Miles Davis and Malle from the soundtrack recording session - Program from 2005 about the score featuring jazz trumpeter Jon Faddis and critic Gary Giddins - Malle's student film Crazeologie, featuring Charlie Parker's song 'Crazeology' - Trailers - PLUS: A booklet featuring an essay by critic Terrence Rafferty, an interview with Malle, and a tribute by film producer Vincent Malle

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The cornerstone of director Richard Linklater’s career‑long exploration of cinematic time, this celebrated three-part romance captures a relationship as it begins, begins again, deepens, and strains over the course of almost two decades. Chronicling the love of Celine (Julie Delpy) and Jesse (Ethan Hawke), from their first meeting as idealistic twentysomethings to the disillusionment they face together in middle age, The Before Trilogy also serves as a document of a boundary-pushing and extraordinarily intimate collaboration between director and actors, as Delpy and Hawke imbue their characters with a sense of lived-in experience, and age on-screen along with them. Attuned to the sweeping grandeur of time’s passage as well as the evanescence of individual moments, the Before films chart the progress of romantic destiny as it navigates the vicissitudes of ordinary life. DIRECTOR-APPROVED THREE-BLU-RAY SPECIAL EDITION FEATURES New, restored 2K digital transfers of Before Sunrise and Before Sunset and a 2K digital master of Before Midnight, approved by director Richard Linklater, with 2.0 surround DTS-HD Master Audio soundtrack on Before Sunrise and 5.1 surround DTS-HD Master Audio soundtracks on Before Sunset and Before Midnight New discussion featuring Linklater and actors Julie Delpy and Ethan Hawke, moderated by critic Kent Jones Behind-the-scenes footage and interviews from the productions of Before Sunrise and Before Sunset Audio commentary on Before Midnight by Delpy, Linklater, and Hawke Richard Linklater: Dream Is Destiny, a feature-length 2016 documentary by Louis Black and Karen Bernstein After Before, a new documentary by Athina Rachel Tsangari about the making of Before Midnight in Greece New conversation between scholars Dave Johnson and Rob Stone about Linklater’s work Episode of the radio program Fresh Air featuring host Terry Gross, Linklater, Delpy, and Hawke Linklater // On Cinema & Time, a 2016 video essay by filmmaker :: kogonada English subtitles for the deaf and hard of hearing PLUS: An essay on the trilogy by critic Dennis Lim BEFORE SUNRISE An exquisitely understated ode to the thrill of romantic possibility, the inaugural installment of The Before Trilogy opens with a chance encounter between two solitary young strangers. After they hit it off on a train bound for Vienna, the Paris university student Celine and the scrappy American tourist Jesse impulsively decide to spend a day together before he returns to the U.S. the next morning. As the pair roam the streets of the stately city, Richard Linklater’s tenderly observant gaze captures the uncertainty and intoxication of young love, from the first awkward stirrings of attraction to the hopeful promise that Celine and Jesse make upon their inevitable parting. BEFORE SUNSET In the breathtaking follow-up to Before Sunrise, Celine tracks down Jesse, now an author, at the tail end of his book tour in Paris, with only a few hours left before he is to board a flight back home to the States. Meeting almost a decade after their short-lived romance in Vienna, the pair find their chemistry rekindled by increasingly candid exchanges about professional setbacks, marital disappointments, and the compromises of adulthood. Impelled by an urgent sense of the transience of human connection, Before Sunset remains Richard Linklater’s most seductive experiment with time’s inexorable passage and the way love can seem to stop it in its tracks. BEFORE MIDNIGHT The conclusion of The Before Trilogy finds Celine and Jesse several years into a relationship and in the midst of a sun-dappled Greek retreat with their twin daughters and a group of friends. The couple soon find their vacation upended, however, by long-simmering problems that come to a boil. Marked by the emotional depth, piercing wit, and conversational exuberance that Linklater and his actors honed over two decades of abiding with these characters, Before Midnight grapples with the complexities of long-term intimacy, and asks what becomes of love when it has no recourse to its past illusions.

Description

Taking a hauntingly intimate approach to an often sensationalized subject, the singular Testament depicts one family’s daily life in the wake of nuclear devastation. After an atomic attack near her small California town, Carol Wetherly (Jane Alexander, in a fearlessly vulnerable, Oscar-nominated performance) must find the strength to care for her three children as the family contend with radiation sickness and the realization that their close-knit community will never be the same. With a diaristic focus on the emotional toll of unimaginable events, director Lynne Littman puts forth a wrenchingly humane vision of what it means to go on living in a shattered world. DIRECTOR-APPROVED BLU-RAY SPECIAL EDITION FEATURES New 4K digital restoration, supervised and approved by director Lynne Littman and director of photography Steven Poster, with uncompressed monaural soundtrack New conversation between Littman and author Sam Wasson Two documentaries by Littman, made in collaboration with anthropologist Barbara Myerhoff: Number Our Days (1976) and In Her Own Time (1985) “Testament” at 20 and Nuclear Thoughts, archival programs featuring interviews with cast and crew members and nuclear-science experts Audio recording of actor Jane Alexander reading the short story “The Last Testament,” on which the film is based Trailer English subtitles for the deaf and hard of hearing PLUS: An essay by author and film curator Michael Koresky

Description

The cornerstone of director Richard Linklater’s career‑long exploration of cinematic time, this celebrated three-part romance captures a relationship as it begins, begins again, deepens, and strains over the course of almost two decades. Chronicling the love of Celine (Julie Delpy) and Jesse (Ethan Hawke), from their first meeting as idealistic twentysomethings to the disillusionment they face together in middle age, The Before Trilogy also serves as a document of a boundary-pushing and extraordinarily intimate collaboration between director and actors, as Delpy and Hawke imbue their characters with a sense of lived-in experience, and age on-screen along with them. Attuned to the sweeping grandeur of time’s passage as well as the evanescence of individual moments, the Before films chart the progress of romantic destiny as it navigates the vicissitudes of ordinary life. DIRECTOR-APPROVED THREE-BLU-RAY SPECIAL EDITION FEATURES New, restored 2K digital transfers of Before Sunrise and Before Sunset and a 2K digital master of Before Midnight, approved by director Richard Linklater, with 2.0 surround DTS-HD Master Audio soundtrack on Before Sunrise and 5.1 surround DTS-HD Master Audio soundtracks on Before Sunset and Before Midnight New discussion featuring Linklater and actors Julie Delpy and Ethan Hawke, moderated by critic Kent Jones Behind-the-scenes footage and interviews from the productions of Before Sunrise and Before Sunset Audio commentary on Before Midnight by Delpy, Linklater, and Hawke Richard Linklater: Dream Is Destiny, a feature-length 2016 documentary by Louis Black and Karen Bernstein After Before, a new documentary by Athina Rachel Tsangari about the making of Before Midnight in Greece New conversation between scholars Dave Johnson and Rob Stone about Linklater’s work Episode of the radio program Fresh Air featuring host Terry Gross, Linklater, Delpy, and Hawke Linklater // On Cinema & Time, a 2016 video essay by filmmaker :: kogonada English subtitles for the deaf and hard of hearing PLUS: An essay on the trilogy by critic Dennis Lim BEFORE SUNRISE An exquisitely understated ode to the thrill of romantic possibility, the inaugural installment of The Before Trilogy opens with a chance encounter between two solitary young strangers. After they hit it off on a train bound for Vienna, the Paris university student Celine and the scrappy American tourist Jesse impulsively decide to spend a day together before he returns to the U.S. the next morning. As the pair roam the streets of the stately city, Richard Linklater’s tenderly observant gaze captures the uncertainty and intoxication of young love, from the first awkward stirrings of attraction to the hopeful promise that Celine and Jesse make upon their inevitable parting. BEFORE SUNSET In the breathtaking follow-up to Before Sunrise, Celine tracks down Jesse, now an author, at the tail end of his book tour in Paris, with only a few hours left before he is to board a flight back home to the States. Meeting almost a decade after their short-lived romance in Vienna, the pair find their chemistry rekindled by increasingly candid exchanges about professional setbacks, marital disappointments, and the compromises of adulthood. Impelled by an urgent sense of the transience of human connection, Before Sunset remains Richard Linklater’s most seductive experiment with time’s inexorable passage and the way love can seem to stop it in its tracks. BEFORE MIDNIGHT The conclusion of The Before Trilogy finds Celine and Jesse several years into a relationship and in the midst of a sun-dappled Greek retreat with their twin daughters and a group of friends. The couple soon find their vacation upended, however, by long-simmering problems that come to a boil. Marked by the emotional depth, piercing wit, and conversational exuberance that Linklater and his actors honed over two decades of abiding with these characters, Before Midnight grapples with the complexities of long-term intimacy, and asks what becomes of love when it has no recourse to its past illusions.

Description

Driven by a desire to forge a socially conscious Swedish cinema—one that broke with the inward-looking psychodrama of Ingmar Bergman to give dynamic expression to the everyday experiences of working-class Swedes—writer Bo Widerberg turned to filmmaking in the early 1960s, realizing his ambition in politically committed yet poetic works that merge social-realist themes with a refined, often breathtakingly beautiful visual sensibility. Dramatizing the struggles of ordinary people fighting to chart their own destiny, these four acclaimed, popular, and pivotal films from Widerberg’s most prolific period live and breathe with a rare vitality—and helped launch a new Swedish cinema. FOUR-BLU-RAY SPECIAL EDITION FEATURES New restorations, with uncompressed monaural soundtracks New introduction to director Bo Widerberg by filmmaker Ruben Östlund New interviews with actor Tommy Berggren and cinematographer Jörgen Persson The Boy and the Kite (1962), a short film by Widerberg and Jan Troell, with an introduction by Troell Swedish television interviews with Widerberg from the 1960s Behind-the-scenes footage from the making of Elvira Madigan PLUS: An essay by film historian Peter Cowie and excerpts by Widerberg from his 1962 book Vision in Swedish Film Top About this item Similar From the Brand Reviews Bo Widerberg’s New Swedish Cinema (The Criterion Collection) [The Baby Carriage/Raven’s End/Elvira Madigan/Ådalen 31] [Blu-ray]

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This monumental mid-nineteenth-century epic from Jan Troell (Here Is Your Life) charts, over the course of two films, a poor Swedish farming family s voyage to America and their efforts to put down roots in this beautiful but forbidding new world. Movie legends Max Von Sydow (The Seventh Seal) and Liv Ullmann (Persona) give remarkably authentic performances as Karl-Oskar and Kristina, a couple who meet with one physical and emotional trial after another on their arduous journey. The precise, minute detail with which Troell depicts the couple s story which is also the story of countless other people who sought better lives across the Atlantic is a wonder to behold. Engrossing every step of the way, the duo of The Emigrants and The New Land makes for perhaps the greatest screen drama about the settling of America. DIRECTOR-APPROVED BLU-RAY SPECIAL EDITION FEATURES - New high-definition digital restorations of both films, with uncompressed monaural soundtracks - New introduction by critic and Swedish-film expert John Simon - New conversation between film scholar Peter Cowie and director Jan Troell - New interview with actor Liv Ullmann - To Paint with Pictures, a 2005 documentary on the making of the films, featuring archival footage as well as interviews with Troell, Ullmann, producer and coscreenwriter Bengt Forslund, and actor Eddie Axberg - Trailers - New English subtitle translations - PLUS: An essay by critic Terrence Rafferty

Description

Anthony Minghella transforms Michael Ondaatje’s prizewinning novel into one of the most breathtaking romances ever put on-screen, a film that captured both the cultural imagination and the Academy Awards (winning nine Oscars, including Best Picture). Rescued from a crashed plane in the Sahara during World War II, a badly burned, unidentified man (Ralph Fiennes) comes under the care of a compassionate nurse (Juliette Binoche), as he pieces together the memories of an affair that led him to a life-shaking reckoning. The English Patient is epic filmmaking of rare intelligence and delicacy, and a piercing reflection on the barriers that war creates and love transcends. TWO-BLU-RAY SPECIAL EDITION FEATURES New 4K digital restoration, supervised and approved by director of photography John Seale, with 5.1 surround DTS-HD Master Audio soundtrack New program featuring Seale and script supervisor Dianne Dreyer Two audio commentaries, featuring director Anthony Minghella, producer Saul Zaentz, and author Michael Ondaatje Documentary on the making of the film Interviews with Minghella, Ondaatje, Zaentz, editor Walter Murch, production designer Stuart Craig, stills photographer Phil Bray, and historians Robert Collins and David Hall Deleted scenes with commentary by Minghella English subtitles for the deaf and hard of hearing PLUS: An essay by critic Bilal Qureshi Top About this item Similar From the Brand Questions Reviews The English Patient (The Criterion Collection) [Blu-ray] The English Patient (The Criterion Collection) [Blu-ray]

Description

Anthony Minghella transforms Michael Ondaatje’s prizewinning novel into one of the most breathtaking romances ever put on-screen, a film that captured both the cultural imagination and the Academy Awards (winning nine Oscars, including Best Picture). Rescued from a crashed plane in the Sahara during World War II, a badly burned, unidentified man (Ralph Fiennes) comes under the care of a compassionate nurse (Juliette Binoche), as he pieces together the memories of an affair that led him to a life-shaking reckoning. The English Patient is epic filmmaking of rare intelligence and delicacy, and a piercing reflection on the barriers that war creates and love transcends. 4K UHD SPECIAL EDITION FEATURES New 4K digital restoration, supervised and approved by director of photography John Seale, with 5.1 surround DTS-HD Master Audio soundtrack One 4K UHD disc of the film presented in Dolby Vision HDR and one Blu-ray with the special features New program featuring Seale and script supervisor Dianne Dreyer Two audio commentaries, featuring director Anthony Minghella, producer Saul Zaentz, and author Michael Ondaatje Documentary on the making of the film Interviews with Minghella, Ondaatje, Zaentz, editor Walter Murch, production designer Stuart Craig, stills photographer Phil Bray, and historians Robert Collins and David Hall Deleted scenes with commentary by Minghella English subtitles for the deaf and hard of hearing PLUS: An essay by critic Bilal Qureshi

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Henry Spencer's hair sticks straight up, and his girlfriend's offspring looks like larva. Directed by David Lynch.

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French director Jacques Demy didn’t just make movies—he created an entire cinematic world. Demy launched his glorious feature filmmaking career in the sixties, a decade of astonishing invention in his national cinema. He stood out from the crowd of his fellow New Wavers, however, by filtering his self-conscious formalism through deeply emotional storytelling. Fate and coincidence, doomed love, and storybook romance surface throughout his films, many of which are further united by the intersecting lives of characters who appear or are referenced across titles. The works collected here—made from the sixties to the eighties and ranging from musical to melodrama to fantasia—are triumphs of visual and sound design, camera work, and music, and they are galvanized by the great stars of French cinema at their centers, including Anouk Aimée, Catherine Deneuve, and Jeanne Moreau. BLU-RAY SPECIAL EDITION FEATURES New 2K digital restorations of all six films, with uncompressed monaural soundtracks of Lola and Bay of Angels and 5.1 or 2.0 surround DTS-HD Master Audio soundtracks of The Umbrellas of Cherbourg, The Young Girls of Rochefort, Donkey Skin, and Une chambre en ville Two documentaries by filmmaker Agnès Varda: The World of Jacques Demy (1995) and The Young Girls Turn 25 (1993) Four short films by director Jacques Demy: Les horizons morts (1951), Le sabotier du Val de Loire (1956), Ars (1959), and La luxure (1962) Jacques Demy, A to Z, a new visual essay by critic James Quandt Archival interviews with Demy, composer Michel Legrand, and actors Jeanne Moreau, Catherine Deneuve, Jean Marais, and Jacques Perrin Once Upon a Time . . . “The Umbrellas of Cherbourg,” a 2008 documentary Episode from Behind the Screen, a 1966 series about the making of Young Girls “Donkey Skin” Illustrated, a 2008 program on the many versions of Charles Perrault’s fairy tale “Donkey Skin” and the Thinkers, a 2008 program featuring critic Camille Tabouley New conversation between Demy biographer Jean-Pierre Berthomé and costume designer Jacqueline Moreau New interviews with journalist Marie Colmant and film scholar Rodney Hill Archival audio Q&A with Demy Archival audio interviews with Legrand and Deneuve Interview with actor Anouk Aimée from 2012, conducted by Varda Interview with Varda from 2012 on the origin of Lola’s song Restoration demonstrations for Lola, Bay of Angels, Umbrellas, and Une chambre PLUS: A booklet featuring essays by critics Ginette Vincendeau, Terrence Rafferty, Jim Ridley, Jonathan Rosenbaum, Anne E. Duggan, and Geoff Andrew, and a postscript by Berthomé

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Product Description This remarkable adaptation of Walter Farley's classic children's novel by Carroll Ballard (Fly Away Home), in which an American boy is rescued after a shipwreck off the coast of North Africa by a seemingly untamable wild horse - is a cinematic tour de force. From the crystalline shores of a deserted island in the Arabian Sea to the green grass and dusty roads of 1930s suburban New York, Ballard and director of photography Caleb Deschanel (The Right Stuff) create a film of consistent visual invention and purity, also featuring a winning supporting performance by Mickey Rooney (National Velvet) as a retired jockey and a gorgeous score by Carmine Coppola (The Godfather Part II). Review This remarkable adaptation of Walter Farley’s classic children’s novel by Carroll Ballard (Fly Away Home)—in which an American boy is rescued after a shipwreck off the coast of North Africa by a seemingly untamable wild horse—is a cinematic tour de force. From the crystalline shores of a deserted island in the Arabian Sea to the green grass and dusty roads of 1930s suburban New York, Ballard and director of photography Caleb Deschanel (The Right Stuff) create a film of consistent visual invention and purity, also featuring a winning supporting performance by Mickey Rooney (National Velvet) as a retired jockey and a gorgeous score by Carmine Coppola (The Godfather Part II).

Description

French director Jacques Demy didn’t just make movies—he created an entire cinematic world. Demy launched his glorious feature filmmaking career in the sixties, a decade of astonishing invention in his national cinema. He stood out from the crowd of his fellow New Wavers, however, by filtering his self-conscious formalism through deeply emotional storytelling. Fate and coincidence, doomed love, and storybook romance surface throughout his films, many of which are further united by the intersecting lives of characters who appear or are referenced across titles. The works collected here—made from the sixties to the eighties and ranging from musical to melodrama to fantasia—are triumphs of visual and sound design, camera work, and music, and they are galvanized by the great stars of French cinema at their centers, including Anouk Aimée, Catherine Deneuve, and Jeanne Moreau. BLU-RAY SPECIAL EDITION FEATURES New 2K digital restorations of all six films, with uncompressed monaural soundtracks of Lola and Bay of Angels and 5.1 or 2.0 surround DTS-HD Master Audio soundtracks of The Umbrellas of Cherbourg, The Young Girls of Rochefort, Donkey Skin, and Une chambre en ville Two documentaries by filmmaker Agnès Varda: The World of Jacques Demy (1995) and The Young Girls Turn 25 (1993) Four short films by director Jacques Demy: Les horizons morts (1951), Le sabotier du Val de Loire (1956), Ars (1959), and La luxure (1962) Jacques Demy, A to Z, a new visual essay by critic James Quandt Archival interviews with Demy, composer Michel Legrand, and actors Jeanne Moreau, Catherine Deneuve, Jean Marais, and Jacques Perrin Once Upon a Time . . . “The Umbrellas of Cherbourg,” a 2008 documentary Episode from Behind the Screen, a 1966 series about the making of Young Girls “Donkey Skin” Illustrated, a 2008 program on the many versions of Charles Perrault’s fairy tale “Donkey Skin” and the Thinkers, a 2008 program featuring critic Camille Tabouley New conversation between Demy biographer Jean-Pierre Berthomé and costume designer Jacqueline Moreau New interviews with journalist Marie Colmant and film scholar Rodney Hill Archival audio Q&A with Demy Archival audio interviews with Legrand and Deneuve Interview with actor Anouk Aimée from 2012, conducted by Varda Interview with Varda from 2012 on the origin of Lola’s song Restoration demonstrations for Lola, Bay of Angels, Umbrellas, and Une chambre PLUS: A booklet featuring essays by critics Ginette Vincendeau, Terrence Rafferty, Jim Ridley, Jonathan Rosenbaum, Anne E. Duggan, and Geoff Andrew, and a postscript by Berthomé

Description

French director Jacques Demy didn’t just make movies—he created an entire cinematic world. Demy launched his glorious feature filmmaking career in the sixties, a decade of astonishing invention in his national cinema. He stood out from the crowd of his fellow New Wavers, however, by filtering his self-conscious formalism through deeply emotional storytelling. Fate and coincidence, doomed love, and storybook romance surface throughout his films, many of which are further united by the intersecting lives of characters who appear or are referenced across titles. The works collected here—made from the sixties to the eighties and ranging from musical to melodrama to fantasia—are triumphs of visual and sound design, camera work, and music, and they are galvanized by the great stars of French cinema at their centers, including Anouk Aimée, Catherine Deneuve, and Jeanne Moreau. BLU-RAY SPECIAL EDITION FEATURES New 2K digital restorations of all six films, with uncompressed monaural soundtracks of Lola and Bay of Angels and 5.1 or 2.0 surround DTS-HD Master Audio soundtracks of The Umbrellas of Cherbourg, The Young Girls of Rochefort, Donkey Skin, and Une chambre en ville Two documentaries by filmmaker Agnès Varda: The World of Jacques Demy (1995) and The Young Girls Turn 25 (1993) Four short films by director Jacques Demy: Les horizons morts (1951), Le sabotier du Val de Loire (1956), Ars (1959), and La luxure (1962) Jacques Demy, A to Z, a new visual essay by critic James Quandt Archival interviews with Demy, composer Michel Legrand, and actors Jeanne Moreau, Catherine Deneuve, Jean Marais, and Jacques Perrin Once Upon a Time . . . “The Umbrellas of Cherbourg,” a 2008 documentary Episode from Behind the Screen, a 1966 series about the making of Young Girls “Donkey Skin” Illustrated, a 2008 program on the many versions of Charles Perrault’s fairy tale “Donkey Skin” and the Thinkers, a 2008 program featuring critic Camille Tabouley New conversation between Demy biographer Jean-Pierre Berthomé and costume designer Jacqueline Moreau New interviews with journalist Marie Colmant and film scholar Rodney Hill Archival audio Q&A with Demy Archival audio interviews with Legrand and Deneuve Interview with actor Anouk Aimée from 2012, conducted by Varda Interview with Varda from 2012 on the origin of Lola’s song Restoration demonstrations for Lola, Bay of Angels, Umbrellas, and Une chambre PLUS: A booklet featuring essays by critics Ginette Vincendeau, Terrence Rafferty, Jim Ridley, Jonathan Rosenbaum, Anne E. Duggan, and Geoff Andrew, and a postscript by Berthomé

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As World War II splits Europe, sixteen-year-old German Jew Salomon (Marco Hofschneider) is separated from his family after fleeing with them to Poland, and finds himself reluctantly assuming various ideological identities in order to hide the deadly secret of his Jewishness. He is bounced from a Soviet orphanage, where he plays a dutiful Stalinist, to the Russian front, where he hides in plain sight as an interpreter for the German army, and back to his home country, where he takes on his most dangerous role: a member of the Hitler Youth. Based on the real-life experiences of Salomon Perel, Agnieszka Holland’s wartime tour de force Europa Europa is a breathless survival story told with the verve of a comic adventure, an ironic refutation of the Nazi idea of racial purity, and a complex portrait of a young man caught up in shifting historical calamities and struggling to stay alive. DIRECTOR-APPROVED BLU-RAY SPECIAL EDITION FEATURES • New 2K digital restoration, supervised by director Agnieszka Holland, with uncompressed monaural soundtrack • Audio commentary from 2008 featuring Holland • New interviews with Holland and actor Marco Hofschneider • New video essay by film scholar Annette Insdorf • New English subtitle translation • PLUS: An essay by critic Amy Taubin

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“The summer I killed my father, I was ten years old . . .” So begins Kasi Lemmons’s spellbinding feature debut, an evocative journey into the maze of memory steeped in fragrant southern-gothic atmosphere. In 1960s Louisiana, a young girl (Jurnee Smollett) sees her well-to-do family unravel in the wake of the infidelities of her charming father (Samuel L. Jackson)—setting in motion a series of deceptions and betrayals that will upend her world and challenge her understanding of reality. Rooted in Creole history, folklore, and mysticism, Eve’s Bayou is a scintillating showcase for a powerhouse ensemble of Black actresses—including Lynn Whitfield, Debbi Morgan, and the legendary Diahann Carroll as a voodoo priestess—as well as a profoundly cathartic exploration of trauma, forgiveness, and the elusive nature of truth. DIRECTOR-APPROVED TWO-BLU-RAY SPECIAL EDITION FEATURES New 4K digital restoration of the director’s cut, supervised by director Kasi Lemmons and cinematographer Amy Vincent, with 5.1 surround DTS-HD Master Audio soundtrack Original 108-minute theatrical-release version Audio commentary on the director’s cut featuring Lemmons, Vincent, producer Caldecot Chubb, and editor Terilyn A. Shropshire Dr. Hugo (1996), a short film Lemmons made as a proof of concept for Eve’s Bayou, in a new 4K digital transfer New interview with Lemmons Cast reunion footage Interview with composer Terence Blanchard New program showcasing black-and-white Polaroids that Vincent took during production Cast and crew photographs by William Eggleston Trailer English subtitles for the deaf and hard of hearing PLUS: An essay by film scholar Kara Keeling

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After a decade in the wilds of avant-garde and early video experimentation, Jean-Luc Godard (Breathless) returned to commercial cinema with this work of social commentary, star-driven and narrative while remaining defiantly intellectual and visually cutting-edge. Every Man for Himself, featuring a script by Jean-Claude Carrière (The Discreet Charm of the Bourgeoisie) and Anne-Marie Miéville (Ici et ailleurs), looks at the sexual and professional lives of three people—a television producer (Van Gogh’s Jacques Dutronc), his ex-girlfriend (The Return of Martin Guerre’s Nathalie Baye), and a prostitute (White Material’s Isabelle Huppert)—to create a meditative story about work, relationships, and the notion of freedom. Made twenty years into his career, the film was, according to Godard, a second debut.

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In a secluded, snowy mountain village, widower and single father Takumi (Hitoshi Omika) leads a modest life gathering water, wood, and wild wasabi for a friend’s udon shop. Yet this peaceful existence is threatened when a pair of corporate reps (Ryuji Kosaka and Ayaka Shibutani) arrive to launch a glamping site, sparking resistance from community members who fear the project’s potentially pernicious impact on the environment. When Takumi—a respected local figure—is offered the conciliatory role of site caretaker, it becomes unclear where his loyalties lie. Evil Does Not Exist, Ryusuke Hamaguchi’s much-anticipated follow-up to his Academy Award–winning Drive My Car, is a haunting, suspenseful meditation on humankind’s thorny relationship with nature, consumerism, and itself. Inspired by a collaboration with composer Eiko Ishibashi, the director showcases his masterful command of pacing and atmosphere to uncover the destructive forces lurking beneath the thin veneer of civilization. INCLUDES Meet the Filmmakers, a new interview with director Ryusuke Hamaguchi Trailer

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This masterpiece of black humor, beloved in Spain but too little seen elsewhere, threads a scathing critique of Franco-era values through a macabre farce about an undertaker who marries an executioner s daughter and reluctantly takes over her father s job so the family can keep their government-allotted apartment. As caustic today as it was in 1963, this early collaboration between Luis García Berlanga (Welcome, Mr. Marshall!; Plácido) and his longtime screenwriter Rafael Azcona (El pisito, Belle Époque) is an unerring depiction of what Berlanga called the invisible traps that society sets up for us. A furiously funny personal attack on capital punishment, The Executioner escaped the state censors who sought to suppress it, and today is regarded as one of the greatest Spanish films of all time. BLU-RAY SPECIAL EDITION FEATURES - New, restored 4K digital transfer, with uncompressed monaural soundtrack - New interview with filmmaker Pedro Almodóvar - New program on director Luis García Berlanga, featuring interviews with his son José Luis Berlanga; film critic Carlos F. Heredero; writers Fernando R. Lafuente and Bernardo Sánchez Salas; and director of the Berlanga Film Museum Rafael Maluenda - Spanish television program from 2012 on The Executioner, featuring archival interviews with Berlanga - Trailer - New English subtitle translation - PLUS: An essay by film critic David Cairns

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The star power of cinema icons Maggie Cheung, Anita Mui, and Michelle Yeoh fuels these gloriously unrestrained action joyrides from auteur Johnnie To and action choreographer Ching Siu-tung. The Heroic Trio and its sequel, Executioners, follow a new kind of justice league: a team of blade-throwing, shotgun-toting, kung fu–fighting heroines who join forces to battle evildoers in a dystopian, noirish city. Blending dazzling martial-arts mayhem with exhilarating blasts of comic-book lunacy, these beloved superhero movies reimagine the genre through the giddy genius of the Hong Kong film industry at its height. TWO-BLU-RAY SPECIAL EDITION FEATURES 4K digital restorations of The Heroic Trio and Executioners, with uncompressed monaural soundtracks Alternate English-dubbed and 5.1 surround Cantonese soundtracks New interview with actor Anthony Wong New interview with film critic Samm Deighan (cohost of the podcast Twitch of the Death Nerve) Trailers New English subtitle translations PLUS: An essay by critic Beatrice Loayza THE HEROIC TRIO With this outrageously entertaining cult favorite, director Johnnie To and his lineup of legendary stars gave Hong Kong cinema something new: its own homegrown superhero cinematic universe. Thief Catcher (Maggie Cheung), Wonder Woman (Anita Mui), and Invisible Girl (Michelle Yeoh) are kick-ass crusaders who must overcome their dark pasts in order to defeat an evil, baby-snatching eunuch terrorizing the city. Eye-popping motorcycle stunts, bloodthirsty undead, cannibal infants, and kinetically choreographed wirework are all part of the wall-to-wall delirium in this irresistible showcase for three of the coolest women warriors ever to hit the screen. EXECUTIONERS Maggie Cheung, Anita Mui, and Michelle Yeoh return in this gritty, postapocalyptic sequel to The Heroic Trio. Following a devastating nuclear attack, Hong Kong’s supply of clean water has fallen into the hands of a masked maniac (Anthony Wong) intent on seizing political power—forcing the three fearless fighters to settle their differences and unite to stop him. Darker in tone than the original, Executioners finds Johnnie To and codirector/martial-arts choreographer Ching Siu-tung continuing to push their whirlwind action set pieces to new levels of cartoon craziness, while adding an abundance of grungy, dystopian atmosphere and a fresh dose of antiauthoritarian attitude.

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One of the defining independent films of the 1990s, Atom Egoyan’s mesmerizing international breakthrough Exotica takes the conventions of the psychological thriller into bold new territory—unsettling, dreamlike, and empathetic. At the neon-drenched Toronto strip club of the film’s title, a coterie of lost and damaged souls—including a man haunted by grief (Bruce Greenwood), a young woman with whom he shares an enigmatic bond (Mia Kirshner), an obsessive emcee (Elias Koteas), and a smuggler of rare bird eggs (Don McKellar)—search for redemption as they work through the traumas of their mysteriously interconnected histories in an obsessive cycle of sex, pain, jealousy, and catharsis. Masterfully weaving together past and present, Egoyan constructs a spellbinding narrative puzzle, the full emotional impact of which doesn’t hit until the last piece is in place. DIRECTOR-APPROVED BLU-RAY SPECIAL EDITION FEATURES New, restored 4K digital transfer, supervised and approved by director Atom Egoyan and director of photography Paul Sarossy, with 2.0 surround DTS-HD Master Audio Audio commentary featuring Egoyan and composer Mychael Danna New conversation between Egoyan and filmmaker and actor Sarah Polley Calendar, a 1993 feature film by Egoyan, with a new introduction Peep Show, a 1981 short film by Egoyan En passant, a 1991 short film by Egoyan featuring Maury Chaykin and Arsinée Khanjian Artaud Double Bill, a 2007 short film by Egoyan, commissioned for the sixtieth anniversary of the Cannes Film Festival Audio from the film’s 1994 Cannes Film Festival press conference, featuring Egoyan, Khanjian, actor Bruce Greenwood, and producer Camelia Frieberg English subtitles for the deaf and hard of hearing PLUS: An essay by author and filmmaker Jason Wood

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In 1983, director Martin Bell, photographer Mary Ellen Mark, and journalist Cheryl McCall set out to tell the stories of homeless and runaway teenagers living on the margins in Seattle. Streetwise follows an unforgettable group of kids who survive by hustling, panhandling, and dumpster diving. Its most haunting and enduring figure is iron-willed fourteen-year-old Erin Blackwell, a.k.a. Tiny; the project’s follow-up, Tiny: The Life of Erin Blackwell, completed thirty years later, draws on the filmmakers’ long relationship with their subject, now a mother of ten. Blackwell reflects with Mark on the journey they’ve experienced together, from Blackwell’s battles with addiction to her regrets to her dreams for her children, even as she sees them repeat her own struggles. Taken together, the two films create a devastatingly frank, empathetic portrait of lost youth growing up far too soon in a world that has failed them, and of a family trying to break free of the cycle of trauma—as well as a summation of the life’s work of Mark, an irreplaceable artistic voice. DIRECTOR-APPROVED BLU-RAY SPECIAL EDITION FEATURES • New, restored high-definition digital transfers of both films, supervised by director Martin Bell, with uncompressed monaural soundtrack for Streetwise and 5.1 surround DTS-HD Master Audio soundtrack for Tiny: The Life of Erin Blackwell • New audio commentary on Streetwise featuring Bell • New interview with Bell about photographer Mary Ellen Mark • New interview with Streetwise editor Nancy Baker • Four short films by Bell • Trailer • English subtitles for the deaf and hard of hearing • PLUS: An essay by historian Andrew Hedden; journalist Cheryl McCall’s 1983 Life magazine article about teenagers living on the street in Seattle; and reflections on Blackwell written by Mark in 2015 Streetwise Seattle, 1983. Taking their camera to the streets of what was supposedly America’s most livable city, filmmaker Martin Bell, photographer Mary Ellen Mark, and journalist Cheryl McCall set out to tell the stories of those society had left behind: homeless and runaway teenagers living on the city’s margins. Born from a Life magazine exposé by Mark and McCall, Streetwise follows an unforgettable group of at-risk children—including iron-willed fourteen-year-old Tiny, who would become the project’s most haunting and enduring figure, along with the pugnacious yet resourceful Rat and the affable drifter DeWayne—who, driven from their broken homes, survive by hustling, panhandling, and dumpster diving. Granted remarkable access to their world, the filmmakers craft a devastatingly frank, nonjudgmental portrait of lost youth growing up far too soon in a world that has failed them. Tiny: The Life of Erin Blackwell In Tiny: The Life of Erin Blackwell, director Martin Bell and photographer Mary Ellen Mark draw on their thirty-year relationship with one of the most indelible subjects of Streetwise. Now a forty-four-year-old mother of ten, Erin Blackwell, a.k.a. Tiny, reflects with Mark on the journey they’ve experienced together, from Blackwell’s battles with addiction to her regrets to her dreams for her own children, even as she sees them being pulled down the same path of drugs and desperation that she was. Interweaving three decades’ worth of Mark’s photographs and footage that includes previously unseen outtakes from Streetwise, this is a heartrending, deeply empathetic portrait of a family struggling to break free of the cycle of trauma, as well as a summation of the life’s work of Mark, an irreplaceable artistic voice. Top About this item Similar From the Brand Reviews Streetwise / Tiny: The Life of Erin Blackwell (The Criterion Collection) [Blu-ray]

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A group of high-society friends are invited to a mansion for dinner and inexplicably find themselves unable to leave in The Exterminating Angel (El ángel exterminador), a daring masterpiece from Luis Buñuel (Belle de jour, The Discreet Charm of the Bourgeoisie). Made just one year after his international sensation Viridiana, this film, full of eerie, comic absurdity, furthers Buñuel s wicked takedown of the rituals and dependencies of the frivolous upper classes. BLU-RAY SPECIAL EDITION FEATURES - Restored high-definition digital transfer, with uncompressed monaural soundtrack - The Last Script: Remembering Luis Buñuel, a 2008 documentary featuring writer Jean-Claude Carrière and filmmaker Juan Luis Buñuel - Interviews with actor Silvia Pinal and filmmaker Arturo Ripstein from 2006 - Trailer - PLUS: A booklet featuring an essay by film scholar Marsha Kinder and an interview with director Luis Buñuel from the 1970s

Description

Stanley Kubrick’s career-capping Eyes Wide Shut unfolds in a dreamscape vision of New York City, where doctor Bill Harford (Tom Cruise) and his wife, Alice (Nicole Kidman), confront the unconscious desires, jealousies, and fears threatening their marriage. A Christmastime odyssey into a surreal sexual underworld whose hidden power structures are laid frighteningly bare, the film marks the fulfillment of the director’s decades-long desire to adapt Arthur Schnitzler’s novella Traumnovelle (Dream Story) and the culmination of his obsessive interest in the relationship between institutional authority and the individual. Released in 1999, the film also serves as a fitting coda to a century of cinema, by one of its greatest visionaries—an endlessly tantalizing labyrinth whose myriad symbols, mysteries, and meanings are still being unraveled. TWO-BLU-RAY SPECIAL EDITION FEATURES New 4K digital restoration of the international version of the film, supervised and approved by director of photography Larry Smith, with 5.1 surround DTS-HD Master Audio soundtrack New interviews with Smith, set decorator and second-unit director Lisa Leone, and archivist Georgina Orgill Archival interview with Christiane Kubrick, director Stanley Kubrick’s wife Never Just a Dream (2019), featuring interviews with producer Jan Harlan; Katharina Kubrick, Stanley Kubrick’s daughter; and Anthony Frewin, Kubrick’s personal assistant Lost Kubrick: The Unfinished Films of Stanley Kubrick (2007) Kubrick Remembered (2014), featuring interviews with actors Todd Field and Leelee Sobieski and filmmaker Steven Spielberg Kubrick’s 1998 acceptance speech for the Directors Guild of America’s D. W. Griffith Award Press conference from 1999, featuring Harlan and actors Tom Cruise and Nicole Kidman Teaser, trailer, and promos English subtitles for the deaf and hard of hearing PLUS: An essay by author Megan Abbott and a 1999 interview with filmmaker and actor Sydney Pollack

Description

Stanley Kubrick’s career-capping Eyes Wide Shut unfolds in a dreamscape vision of New York City, where doctor Bill Harford (Tom Cruise) and his wife, Alice (Nicole Kidman), confront the unconscious desires, jealousies, and fears threatening their marriage. A Christmastime odyssey into a surreal sexual underworld whose hidden power structures are laid frighteningly bare, the film marks the fulfillment of the director’s decades-long desire to adapt Arthur Schnitzler’s novella Traumnovelle (Dream Story) and the culmination of his obsessive interest in the relationship between institutional authority and the individual. Released in 1999, the film also serves as a fitting coda to a century of cinema, by one of its greatest visionaries—an endlessly tantalizing labyrinth whose myriad symbols, mysteries, and meanings are still being unraveled. 4K UHD + BLU-RAY SPECIAL EDITION FEATURES New 4K digital restoration of the international version of the film, supervised and approved by director of photography Larry Smith, with 5.1 surround DTS-HD Master Audio soundtrack One 4K UHD disc of the film presented in Dolby Vision HDR and two Blu-rays with the film and special features New interviews with Smith, set decorator and second-unit director Lisa Leone, and archivist Georgina Orgill Archival interview with Christiane Kubrick, director Stanley Kubrick’s wife Never Just a Dream (2019), featuring interviews with producer Jan Harlan; Katharina Kubrick, Stanley Kubrick’s daughter; and Anthony Frewin, Kubrick’s personal assistant Lost Kubrick: The Unfinished Films of Stanley Kubrick (2007) Kubrick Remembered (2014), featuring interviews with actors Todd Field and Leelee Sobieski and filmmaker Steven Spielberg Kubrick’s 1998 acceptance speech for the Directors Guild of America’s D. W. Griffith Award Press conference from 1999, featuring Harlan and actors Tom Cruise and Nicole Kidman Teaser, trailer, and promos English subtitles for the deaf and hard of hearing PLUS: An essay by author Megan Abbott and a 1999 interview with filmmaker and actor Sydney Pollack