The Criterion Collection

[koberulz]

Name a movie that isn't political.

[regeyer]

Originally Posted by koberulz

Name a movie that isn't political.

Arguably, nothing is apolitical. Heck, even Rudolph the Red-nosed Reindeer could be considered political.

[Gacivory]

Originally Posted by NeoNical

So Duras finally got into the collection.

Undoubtedly my favorite announcement in a long time. Huge fan of Duras and considering how these films were unreasonably difficult to find, this should open US film lovers to one of the great forgotten directors.

With Duras, I would, however, advise readers to watch her films any way possible instead of blind-buying (Both films should be on the Criterion Channel). Her films are a mixture between Tarkovsky's long, gazing visuals and Antonioni's atmospheric use of alienation. Viewers will either appreciate her style or completely dislike it. Nonetheless, a very welcome addition to the collection for me!

She was already in if you count her writing Hiroshima Mon Amour.

[koberulz]

Originally Posted by MifuneFan

No page updates found yet. So either no upgrades, or it's not happening today.

Well that's the last time I listen to you.

[AreaFive]

Originally Posted by DukeTogo84

I personally don't care all that much what Criterion releases as long as they start releasing more of their Japanese titles that are being held hostage, and there are hundreds of them.

My monthly Criterion rant has been checked off.

I'd love to see them release more Japanese films. One of my dream releases would be Kaisha Monogatari: Memories of You, a film I was fortunate enough to see on the Criterion Channel which isn't available to buy physically.

[Member-275053]

I find it interesting that the NYT calling attention to an ugly truth about the Criterion Collection is considered political by some. It's also interesting that Criterion's efforts to right this wrong are seen as "virtue signaling" or "woke." Or, that the Black films (and only the Black ones) added to the collection are somehow unworthy of being there, despite all of them being critically, culturally and historically significant. Hell, at least a third of them have been selected for preservation in the National Film Registry. That's certainly more than I can say for many of the other films included here. *cough, cough* Lost Highway.

Edit: I also don't understand the point of constantly bemoaning their inclusion. You don't buy them anyway.

[dressedtokill]

Originally Posted by JWFORD

I find it interesting that the NYT calling attention to an ugly truth about the Criterion Collection is considered political by some. It's also interesting that Criterion's efforts to right this wrong are seen as "virtue signaling" or "woke." Or, that the Black films (and only the Black ones) added to the collection are somehow unworthy of being there, despite all of them being critically, culturally and historically significant. Hell, at least a third of them have been selected for preservation in the National Film Registry. That's certainly more than I can say for many of the other films included here. *cough, cough* Lost Highway.

Edit: I also don't understand the point of constantly bemoaning their inclusion. You don't buy them anyway.

I feel like we're constantly going over this same point, but I do agree. That being said, I could have done without the Lost Highway dig. That was uncalled for and unnecessary IMO.

[SonnybytheSea]

Originally Posted by EPlay

Thrilled to hear about Romeo and Juliet!!!

This gives me hope that Pretty Baby will get a release down the line,,,,

[yoloswegmaster420]

Pages for Pier Paolo Pasolini's Accattone, The Hawks and the Sparrows, and Love Meetings are now on the Janus site, alongside La Dolce Vita (though that is U.K. only).

[Nedoflanders]

Originally Posted by JWFORD

I find it interesting that the NYT calling attention to an ugly truth about the Criterion Collection is considered political by some. It's also interesting that Criterion's efforts to right this wrong are seen as "virtue signaling" or "woke." Or, that the Black films (and only the Black ones) added to the collection are somehow unworthy of being there, despite all of them being critically, culturally and historically significant. Hell, at least a third of them have been selected for preservation in the National Film Registry. That's certainly more than I can say for many of the other films included here. *cough, cough* Lost Highway.

Edit: I also don't understand the point of constantly bemoaning their inclusion. You don't buy them anyway.

Well said. Though Lost Highway definitely deserves its place in the collection!

The only complaint I have is that I would like to see more work from Black filmmakers across the world and not just the U.S.

[tatterdemalion]

Originally Posted by dressedtokill

I feel like we're constantly going over this same point, but I do agree. That being said, I could have done without the Lost Highway dig. That was uncalled for and unnecessary IMO.

I agree. I'm not a fan of David Lynch movies at all but putting down a movie to raise the stature of others isn't right. I'm a Japanese film lover and yeah, it gets frustrating with Criterion releasing only 4-5 films a month, so long waits are necessary. Along with Kurosawa my most wanted is Ichikawa's Fires on the Plain. It's one of my 100 favorite films of all-time.

That being said I really like Hollywood Shuffle and I am interested in the Dura's films. I had a big crush on Anne-Marie Johnson in the late 1980s because of Hollywood Shuffle. Play that back-to-back with The Kentucky Fried Movie and you have a fun double feature.

[Cremildo]

Isn't that the same troublemaker who asserted that Summertime had no business being part of the collection? I'd pay them no mind...

[BunyipPouch]

I'm tired of upgrading movies that already look amazing and that I paid a 'premium' price for less than a year or two ago. Another $30 for a 5-10% upgrade (or whatever) in image/sound quality isn't worth it. I'm good.

Will pick up Romeo & Juliet, skipping the rest. Hollywood Shuffle looks terrible.

[MJS]

Originally Posted by MifuneFan

Except, the vast majority of films from Black Filmmaker's that Criterion has released are not re-releases, and in every instance where it was a re-release, it's an actual upgrade over any previous release.

So after the NYT article, here are the films or releases from Black directors (re-releases are bolded):

• Soleil Ô
• Symbiopsychotaxiplasm (2 films)
• Mandabi
• The Signifyin' Works of Marlon Riggs (7 films)
• Pariah
• Deep Cover
• Beasts of No Nation
• Love and Basketball
• Melvin Van Peebles Set (5 films) (including Sweet Sweetback's Baadasssss Song)
  
• Menace II Society 4K
• One Night in Miami
• The Learning Tree
• Time
• Love Jones
• 'Round Midnight
• Eyimofe
• Mississippi Masala
• Farewell Amor
• Shaft 4K
• Devil in a Blue Dress 4K
• Buck and Preacher
• Faya Dayi
• Eve's Bayou
• Malcom X 4K
• Cooley High
• This Is Not a Burial, It's a Resurrection
• Hollywood Shuffle

Some of those do not actually have black directors (Beasts of No Nations, Mississippi Masala, Round Midnight)

[gudemameshiba]

Originally Posted by DWeickerSr

gonna put this one on my credit card (or maybe two cards, or maybe six cards).

If you wear a UCLA t-shirt when you buy it, do you get a student discount?

Originally Posted by MifuneFan

Except, the vast majority of films from Black Filmmaker's that Criterion has released are not re-releases, and in every instance where it was a re-release, it's an actual upgrade over any previous release.

Symbiopsychotaxiplasm was already in the Criterion Collection on DVD.

Originally Posted by DukeTogo84

I personally don't care all that much what Criterion releases as long as they start releasing more of their Japanese titles that are being held hostage, and there are hundreds of them.

I definitely want to see more Japanese releases, but do you know which films are even Blu-ready? I got the impression that, especially with what's on the Channel, Criterion is waiting on the studio to foot the restoration bill.

[DukeTogo84]

Originally Posted by gudemameshiba

I definitely want to see more Japanese releases, but do you know which films are even Blu-ready? I got the impression that, especially with what's on the Channel, Criterion is waiting on the studio to foot the restoration bill.

According to Amazon Prime Japan, a ton of them have HD scans. I can't speak to how good they look, but the ones I have seen look great. Most of the Kurosawa films have them, all of the Hideo Gosha films Criterion have also have HD scans, etc. Some better than others, but I would says about 75% of them have HD scans that look half way decent and some even have Blu-rays in other parts of the world like Youth of the Beast and a few of the other Nikkatsu stuff.

Basically, they have a ton that are ready, and who knows what other films they have the rights too. I'm sure Toho would probably charge them an arm and a leg though to release certain titles.

[MifuneFan]

Originally Posted by MJS

Some of those do not actually have black directors (Beasts of No Nations, Mississippi Masala, Round Midnight)

Thanks. I just eyeballed the list of releases, so I figured I missed some, and got some wrong.

edit: I also missed Muna Moto from the newest WCP set

[jw007]

Originally Posted by JWFORD

I find it interesting that the NYT calling attention to an ugly truth about the Criterion Collection is considered political by some. It's also interesting that Criterion's efforts to right this wrong are seen as "virtue signaling" or "woke." Or, that the Black films (and only the Black ones) added to the collection are somehow unworthy of being there, despite all of them being critically, culturally and historically significant. Hell, at least a third of them have been selected for preservation in the National Film Registry. That's certainly more than I can say for many of the other films included here. *cough, cough* Lost Highway.

Edit: I also don't understand the point of constantly bemoaning their inclusion. You don't buy them anyway.

Did anyone ever think that maybe David Lynch has an "extra" special business relationship with Criterion than other directors? It helps still being a living director. Over 60% of Lynch's films are in the Criterion Collection. I can say the same goes for a living director such as Jim Jarmusch, who has about 55% of his filmography in the Criterion Collection now. And Wes Anderson who has 80% of his films represented in the Criterion Collection.

I think there is a double standard for certain directors in the collection, but it all comes down to Criterion's mission and brand identity, as well as which titles could be most profitable for the company. That's fine by me because I'm a huge fan of Lynch, Jarmusch, and Anderson (as examples). Of course there are much older directors who have all of their films in the collection (ie. Charles Laughton - "Night of the Hunter" - his only film, Herk Harvey - "Carnival of Souls" - his only film, Jacques Tati, Jean Vigo, Agnès Varda, etc.). And many much older ones who have at least half or nearly all of their films represented: Ingmar Bergman, Charles Chaplin, Jean Cocteau, Federico Fellini, Robert Bresson, John Cassavettes, Jean-Pierre Melville, Akira Kurosawa, etc.

But I think it really is (or at least should be) about business above politics for Criterion, and I think that's the way it should always be. Janus/Criterion is a hugely successful company that's been around for over 4 decades, and I hope continues being around for another 4+ more.

I'm not looking at which directors and films aren't in the collection, I'm looking at which ones are. I'm focused on the positives, not the negatives. That's what more people should be thinking about these days.

[ShellOilJunior]

Originally Posted by SeanJoyce

On a broader note, it's always killed me how much people want to be the first to post news or updates on here.

Hell, I've even grown to semi-admire some users' steadfast devotion to rushing it out there like their lives depended on it.

Yes, the first to post the news and then the person doesn't post again in the thread!

[Member-275053]

Originally Posted by Nedoflanders

Well said. Though Lost Highway definitely deserves its place in the collection!

The only complaint I have is that I would like to see more work from Black filmmakers across the world and not just the U.S.

Thank you.

Where did I say it didn't? I was more arguing that the Black films did too, because they are just as—if not more—important.

This Is Not a Burial, It's a Resurrection is a huge step in the right direction.

But I'd love to see some of these (as well): Haile Gerima (Bush Mama, Ashes and Embers, Sankofa), Mahamat-Saleh Haroun (Abouna, Dry Season, A Screaming Man, Lingui), Ousmane Sembène (Faat Kine, Moolaade), Steve McQueen (Small Axe), Raoul Peck (Lumumba, I Am Not Your Negro), Isaac Julien (Looking for Langston, Young Soul Rebels), Euzhan Palcy (Sugar Cane Alley), Souleymane Cisse (Yeelen), Mohamed Camara (Dakan), Oliver Hermanus (Beauty, Living), Mati Diop (Atlantics), Rungano Nyoni (I Am Not a Witch), Philippe Lacôte (Night of the Kings), Blitz Bazawule (The Burial of Kojo), and Remi Weekes (His House).

And even a few from non-Black filmmakers: Claire Denis (35 Shots of Rum), Michel Ocelot (Kirikou and the Sorceress), Gavin Hood (Tsotsi), Lee Isaac Chung (Munyurangabo), and Michael Matthews (Five Fingers for Marseilles).

Either way, I like the direction Criterion is going, and look forward to their future releases. October/November were my favorite months from them thus far. I bought (almost) everything.