New 2K digital restoration, with uncompressed monaural soundtrack on the Blu-ray
New visual essay by filmmaker :: kogonada
New interview with cinematographer Pierre-William Glenn
New interview with film scholar Dudley Andrew
Documentary on the film from 2003, featuring film scholar Annette Insdorf
Archival interviews with director François Truffaut; editor Yann Dedet; and actors Jean-Pierre Aumont, Nathalie Baye, Jacqueline Bisset, Dani, and Bernard Menez
Television footage of Truffaut on the film’s set in 1972
Trailer
New English subtitle translation
PLUS: An essay by critic David Cairns
[Show spoiler]Some cool news.
Criterion technical director Lee Kline has confirmed that Truffaut's masterpiece will be joining the collection in the future.
Now, if the filmmaker is still around, you can ask them what they think. We’re working on Truffaut’s Day For Night, and [cinematographer] Pierre-William Glenn is still alive. He helped us with the restoration, and when we were doing it, we found a lot of crazy close-ups that looked super grainy and weird. I asked why they were like that, and he told me that when Truffaut was editing the film, there were moments when he wanted close-ups that he hadn’t filmed. So, he optically printed other shots—medium shots, say—and blew them up into close-ups. He flung those in rather than reshooting, and by blowing them up, they became ugly pieces of film that really looked inferior to everything surrounding them. Glenn said he wished they could be fixed, and we told him we could with various grain techniques. I asked him if he thought Truffaut would be okay with our doing that, and he said Truffaut wouldn’t have cared. As a director, he made the choice because he cared more about having a close-up there than he did the quality of the image. It seems safe to assume that he wouldn’t have wanted anyone to think about the filmmaking at that moment, so he wouldn’t have been averse to easing the quality of the image.