Criterion seems to be moving further away from what was once its bread and butter—early to mid-century international arthouse cinema—with every passing month. This slate is perhaps the furthest they've gotten thus far (and yes, I realize that The Seventh Seal was among the announced titles, but that was one of their very first DVD releases, and this is literally the fourth time they've reissued it, not counting the Essential Art House line).
It's not like their work in that area is done. There's just so much left out there that needs attention. Classic Hollywood, too. They literally just released a Losey title for the first time last year, and they're just now getting around to Duras. I don't mind the recent efforts to diversify their catalogue, but there's such a thing as balance. There's no balance in this slate: two films (okay, fine—six) which are basically new releases, one of which is probably literally still in theaters somewhere in the world, and two 4K upgrades (the laziest kind, especially with so many classics languishing on DVD). I'm not the sort of person to start *****ing and moaning about Criterion going "woke"—that's not really the way I see things, either—but it just seems like a different company now, and a far less exciting one, unfortunately.
Criterion seems to be moving further away from what was once its bread and butter—early to mid-century international arthouse cinema—with every passing month. This slate is perhaps the furthest they've gotten thus far (and yes, I realize that The Seventh Seal was among the announced titles, but that was one of their very first DVD releases, and this is literally the fourth time they've reissued it, not counting the Essential Art House line).
It's not like their work in that area is done. There's just so much left out there that needs attention. Classic Hollywood, too. They literally just released a Losey title for the first time last year, and they're just now getting around to Duras. I don't mind the recent efforts to diversify their catalogue, but there's such a thing as balance. There's no balance in this slate: two films (okay, fine—six) which are basically new releases, one of which is probably literally still in theaters somewhere in the world, and two 4K upgrades (the laziest kind, especially with so many classics languishing on DVD). I'm not the sort of person to start *****ing and moaning about Criterion going "woke"—that's not really the way I see things, either—but it just seems like a different company now, and a far less exciting one, unfortunately.
[Show spoiler]I'm a little conflicted on this because you are right to an extent. I feel like we haven't been seeing as much classic foreign art house cinema as we could. Though at the same time, there is only so much "mid-century" art house cinema to release and Criterion has already released much of that from Europe. And they've already released a lot of classic Hollywood too, or at least much of the significant stuff that is.
At the same time, what countries are this international art house cinema coming from and why just the mid-century (which I presume you mean just 40's-60's)? Because there's plenty of international art house cinema from the 70's-90's and after that they have released and that can be released. I mean, they're still doing contemporary art house cinema, that hasn't changed and they've been working on art house cinema from many different countries outside of Europe and Japan from across many decades for a while now.
And then there's stuff they can't help like not having rights to films or there not being any good masters for films, etc.
But I feel you to an extent.
Fair points, all. Note that I said actually "early to mid-century": your Bergmans, Renoirs, Kurosawas, Ozus. It was on the strength of these names (and those of many of their contemporaries) that they built their brand, especially over the past two decades or so.
The problem is that the 'rights' argument only goes so far, because we know for a fact that Criterion is sitting on the rights to tons of stuff just like this, but they're slow (and now, slower than ever) to release it. Take, for instance, the work of Ousmane Sembène. According to his estate, Criterion has the rights to all of his work—and yet, we've gotten two titles of his over the past six years. Look at Scorsese's World Cinema Project: dozens of notable international films which have been rescued from oblivion, all boasting painstaking new restorations, and given their relationship with both Scorsese and his organization, they probably have their pick of the litter as far as what they might like to release. Hell, this list alone (which is a tad outdated) is enough to make one's head spin.
Agree to disagree regarding the notion that they've done all they can do as far as the arthouse cinema and classic Hollywood are concerned. Even just a cursory survey of the filmographies of some of the biggest names—and Criterion darlings like Visconti, Renoir, Dreyer, Ford, and Hawks—will reveal how glaring are the gaps.
Criterion seems to be moving further away from what was once its bread and butter—early to mid-century international arthouse cinema—with every passing month. This slate is perhaps the furthest they've gotten thus far (and yes, I realize that The Seventh Seal was among the announced titles, but that was one of their very first DVD releases, and this is literally the fourth time they've reissued it, not counting the Essential Art House line).
It's not like their work in that area is done. There's just so much left out there that needs attention. Classic Hollywood, too. They literally just released a Losey title for the first time last year, and they're just now getting around to Duras. I don't mind the recent efforts to diversify their catalogue, but there's such a thing as balance. There's no balance in this slate: two films (okay, fine—six) which are basically new releases, one of which is probably literally still in theaters somewhere in the world, and two 4K upgrades (the laziest kind, especially with so many classics languishing on DVD). I'm not the sort of person to start *****ing and moaning about Criterion going "woke"—that's not really the way I see things, either—but it just seems like a different company now, and a far less exciting one, unfortunately.
I have read the discussion that what you said has brought up, and I ended up with a decent amount to say about it. The short answer is that there is no easy way around this and it’s not a simple answer to fix the issues some of us have with the films Criterion releases.
My knee jerk reaction is to think how much I agree with what you are getting at. I fell in love with Japanese cinema solely because of Criterion.
What we need to remember is how many great films by great directors they have already released. It’s less exciting because the big name releases came out a long time ago, so they aren’t a big deal any longer. One company can only get so many rights to early to mid century art house films. They also can’t spend a ton of money on creating physical releases for everything they have the rights to. They also can’t thrive on the same dozen directors they have been selling for the last 20 years.
On top of this, we get into semantics about who the great international directors are, what constitutes “classic Hollywood”, and then there are questions about rights, is it worthwhile for them to put out the money for X film to have a physical release at all, let alone a 4K one, etc.
That said, our reality is that the world of physical media collecting has undergone a huge shift in the last 20 years, and what Criterion and other media companies are doing now is the effect of that shift.
I also constantly see people attack Criterion for putting out a film that has a better release in a different country and then buying that better release instead of the Criterion and then complaining about criterion not putting out Y film and complaining about lack of quality. To put out any film and then have a certain amount of quality in the release requires a certain amount of money. If you don’t support them financially and then complain about them being cheap that seems shortsighted to me.
Also, for things like cheap packaging, who do they get the materials from? How much are the materials? In the last few years the price of everything seems to have gone up. I am sure this is another issue they have to overcome.
I would love Criterion to release a 4K of Kore-eda Hirokazu’s Maborosi (1995), my favorite of his films! I’d take a 4K of Melville’s Le Samourai as well!
Quote:
Originally Posted by Gunsnroses092789
There's already a release of Maborosi:
-
so chances of a CC release are slim to none.
My suggestion is to get the Bandai Visual Japanese release. It doesn't have interlacing like the US release and it has English subtitles, on the film only, by Linda Hoaglund. No audio commentary and only one non-subtitled special feature. It's this one here:
Mabarosi is also my favorite film of his. The way it deals with grief is extraordinary.
I’m a huge Criterion fan, and I own about a third of their releases, with my wish list taking me up to close on 50% of their collection. Typically, I’m interested in about 40% - 50% of their output, and I expect to be adding at least a couple of films a month to my wish list, even if they’re not Day 1 purchases.
Over the last couple of years though, Criterion has been steadily moving away from my areas of interest, and it’s not unusual for me to look at a new release slate these days and think ‘nothing for me this month’, sadly. The last month I was excited about was October, and I got them all (Lost Highway 4k, La Llorona, Eve’s Bayou, Arsenic and Old Lace, Cure) except the Night of the Living Dead 4k upgrade as I already have the blu-ray, and I’m only upgrading films that I think will dramatically benefit from 4k (e.g. The Red Shoes, Mulholland Dr. etc.)
My bugbear with Criterion isn’t that they’re becoming ‘too woke’ - I’m delighted to have Menace II Society back in the collection after owning the laser disc, and its great to see Malcolm X, To Sleep With Anger, Eve’s Bayou, Devil in a Blue Dress, Deep Cover (an underrated gem) and many more added to the collection. Love and Basketball and Hollywood Shuffle I could probably live without tbh, but you can’t love everything.
My issues are as follows:
1-There are still far too many DVDs or OOP titles that need to be upgraded or reinstated - Blast of Silence needs a blu, Unbearable Lightness of Being needs a blu, Pepe Le Moko needs a blu, Last Year at Marienbad needs a 4k etc. etc.
2-Criterion is sitting on a mountain of classic films, but has noticeably switched to a much more contemporary release slate.
3-Many of these recent works that Criterion are rushing out may or may not stand the test of time. I’ve just watched Triangle of Sadness within the last week, and despite liking Östlund’s previous work (Force Majeure in particular), I think it’s hugely overrated, a rather heavy-handed satire. Will The Power of the Dog, for instance, and it’s not the most egregious example, be regarded as a classic by future generations. Maybe, maybe not.
4-Many of these more recent films are available to stream (often in 4k) on Netflix, Amazon, Disney+, Apple TV or other streaming services. There seems to be a questionable rush to release as many films from these companies as possible, companies whose entire raison d’être is pretty much antithetical to the values of those of us who treasure physical media. With the exception of the Criterion Channel, most streaming services’ libraries are shallow, and hugely biased towards recent releases. Criterion doesn’t need to encourage them.
5-Criterion has always had a few questionable choices in its collection, but the quality control of late seems to be erratic at best. No names, but there are quite a number of films that have been released over the last year or so particularly that just aren’t very good.
6-There have been far too many documentaries released over the last couple of years, and to compound that, most are available on streaming services. Do we really need The Velvet Underground in the collection. It’s ok - I watched it on Apple TV last year - but like most documentaries that aren’t called Hearts of Darkness, or directed by Les Blank or The Maysles, it’s a ‘one and done’ for me. Life is just way too short (and there are too many good films I haven’t yet seen) to watch documentaries twice. Ditto Dick Johnson is Dead et al. If Criterion must release documentaries, how about something we can’t see on a streaming service, like Shirley Clarke’s The Cool World?
7-As Criterion seems to be hell-bent on prioritising upgrades of blus to 4k, over dvds to blus (or 4k), can’t they at least make an effort for those of us who almost certainly already own the blu? Maybe change the cover art, add a newly recorded extra bonus feature or two, commission a new essay for the booklet. Something, anything to make it look like you made an effort to give us something new in addition to the 4k upgrade.
8-Talking of extras, quite a few recent Criterion releases have been disappointingly bare bones. Come on Criterion, Indicator (and other labels) have been knocking it out of the park of late with their commentaries and supplements. Make an effort please!
9-Talking of making an effort - the UK branch of Criterion: down to two titles a month. The whole label is giving the impression that it’s been coasting, or worse downscaling, recently, but the attention given to the UK market is pitiful. Seriously, Radiance will be snapping at your heels soon. I’ve already purchased their May-Dec subscription, and their entire slate advertised thus far is never less than interesting. Radiance’s output is really hitting the spot for me in a way that Criterion’s hasn’t, for a couple of years at least now.
I used to really look forward to the 15th of each month and Criterion’s announcements. These days, I’m prepared for disappointment.
[Show spoiler]I’m a huge Criterion fan, and I own about a third of their releases, with my wish list taking me up to close on 50% of their collection. Typically, I’m interested in about 40% - 50% of their output, and I expect to be adding at least a couple of films a month to my wish list, even if they’re not Day 1 purchases.
Over the last couple of years though, Criterion has been steadily moving away from my areas of interest, and it’s not unusual for me to look at a new release slate these days and think ‘nothing for me this month’, sadly. The last month I was excited about was October, and I got them all (Lost Highway 4k, La Llorona, Eve’s Bayou, Arsenic and Old Lace, Cure) except the Night of the Living Dead 4k upgrade as I already have the blu-ray, and I’m only upgrading films that I think will dramatically benefit from 4k (e.g. The Red Shoes, Mulholland Dr. etc.)
My bugbear with Criterion isn’t that they’re becoming ‘too woke’ - I’m delighted to have Menace II Society back in the collection after owning the laser disc, and its great to see Malcolm X, To Sleep With Anger, Eve’s Bayou, Devil in a Blue Dress, Deep Cover (an underrated gem) and many more added to the collection. Love and Basketball and Hollywood Shuffle I could probably live without tbh, but you can’t love everything.
My issues are as follows:
[Show spoiler]1-There are still far too many DVDs or OOP titles that need to be upgraded or reinstated - Blast of Silence needs a blu, Unbearable Lightness of Being needs a blu, Pepe Le Moko needs a blu, Last Year at Marienbad needs a 4k etc. etc.
2-Criterion is sitting on a mountain of classic films, but has noticeably switched to a much more contemporary release slate.
3-Many of these recent works that Criterion are rushing out may or may not stand the test of time. I’ve just watched Triangle of Sadness within the last week, and despite liking Östlund’s previous work (Force Majeure in particular), I think it’s hugely overrated, a rather heavy-handed satire. Will The Power of the Dog, for instance, and it’s not the most egregious example, be regarded as a classic by future generations. Maybe, maybe not.
4-Many of these more recent films are available to stream (often in 4k) on Netflix, Amazon, Disney+, Apple TV or other streaming services. There seems to be a questionable rush to release as many films from these companies as possible, companies whose entire raison d’être is pretty much antithetical to the values of those of us who treasure physical media. With the exception of the Criterion Channel, most streaming services’ libraries are shallow, and hugely biased towards recent releases. Criterion doesn’t need to encourage them.
5-Criterion has always had a few questionable choices in its collection, but the quality control of late seems to be erratic at best. No names, but there are quite a number of films that have been released over the last year or so particularly that just aren’t very good.
6-There have been far too many documentaries released over the last couple of years, and to compound that, most are available on streaming services. Do we really need The Velvet Underground in the collection. It’s ok - I watched it on Apple TV last year - but like most documentaries that aren’t called Hearts of Darkness, or directed by Les Blank or The Maysles, it’s a ‘one and done’ for me. Life is just way too short (and there are too many good films I haven’t yet seen) to watch documentaries twice. Ditto Dick Johnson is Dead et al. If Criterion must release documentaries, how about something we can’t see on a streaming service, like Shirley Clarke’s The Cool World?
7-As Criterion seems to be hell-bent on prioritising upgrades of blus to 4k, over dvds to blus (or 4k), can’t they at least make an effort for those of us who almost certainly already own the blu? Maybe change the cover art, add a newly recorded extra bonus feature or two, commission a new essay for the booklet. Something, anything to make it look like you made an effort to give us something new in addition to the 4k upgrade.
8-Talking of extras, quite a few recent Criterion releases have been disappointingly bare bones. Come on Criterion, Indicator (and other labels) have been knocking it out of the park of late with their commentaries and supplements. Make an effort please!
9-Talking of making an effort - the UK branch of Criterion: down to two titles a month. The whole label is giving the impression that it’s been coasting, or worse downscaling, recently, but the attention given to the UK market is pitiful. Seriously, Radiance will be snapping at your heels soon. I’ve already purchased their May-Dec subscription, and their entire slate advertised thus far is never less than interesting. Radiance’s output is really hitting the spot for me in a way that Criterion’s hasn’t, for a couple of years at least now.
I used to really look forward to the 15th of each month and Criterion’s announcements. These days, I’m prepared for disappointment.
[Show spoiler]
Along with sabdo's earlier post, you hit the nail on the head.
I'd also add:
10: Quality control of the blu-rays made in the current plants (namely 4k blu-rays).
It seems like over the last year or two, the disc quality control/production of the new 4k discs has also suffered.
I’m a huge Criterion fan, and I own about a third of their releases, with my wish list taking me up to close on 50% of their collection. Typically, I’m interested in about 40% - 50% of their output, and I expect to be adding at least a couple of films a month to my wish list, even if they’re not Day 1 purchases.
Over the last couple of years though, Criterion has been steadily moving away from my areas of interest, and it’s not unusual for me to look at a new release slate these days and think ‘nothing for me this month’, sadly. The last month I was excited about was October, and I got them all (Lost Highway 4k, La Llorona, Eve’s Bayou, Arsenic and Old Lace, Cure) except the Night of the Living Dead 4k upgrade as I already have the blu-ray, and I’m only upgrading films that I think will dramatically benefit from 4k (e.g. The Red Shoes, Mulholland Dr. etc.)
My bugbear with Criterion isn’t that they’re becoming ‘too woke’ - I’m delighted to have Menace II Society back in the collection after owning the laser disc, and its great to see Malcolm X, To Sleep With Anger, Eve’s Bayou, Devil in a Blue Dress, Deep Cover (an underrated gem) and many more added to the collection. Love and Basketball and Hollywood Shuffle I could probably live without tbh, but you can’t love everything.
My issues are as follows:
1-There are still far too many DVDs or OOP titles that need to be upgraded or reinstated - Blast of Silence needs a blu, Unbearable Lightness of Being needs a blu, Pepe Le Moko needs a blu, Last Year at Marienbad needs a 4k etc. etc.
2-Criterion is sitting on a mountain of classic films, but has noticeably switched to a much more contemporary release slate.
3-Many of these recent works that Criterion are rushing out may or may not stand the test of time. I’ve just watched Triangle of Sadness within the last week, and despite liking Östlund’s previous work (Force Majeure in particular), I think it’s hugely overrated, a rather heavy-handed satire. Will The Power of the Dog, for instance, and it’s not the most egregious example, be regarded as a classic by future generations. Maybe, maybe not.
4-Many of these more recent films are available to stream (often in 4k) on Netflix, Amazon, Disney+, Apple TV or other streaming services. There seems to be a questionable rush to release as many films from these companies as possible, companies whose entire raison d’être is pretty much antithetical to the values of those of us who treasure physical media. With the exception of the Criterion Channel, most streaming services’ libraries are shallow, and hugely biased towards recent releases. Criterion doesn’t need to encourage them.
5-Criterion has always had a few questionable choices in its collection, but the quality control of late seems to be erratic at best. No names, but there are quite a number of films that have been released over the last year or so particularly that just aren’t very good.
6-There have been far too many documentaries released over the last couple of years, and to compound that, most are available on streaming services. Do we really need The Velvet Underground in the collection. It’s ok - I watched it on Apple TV last year - but like most documentaries that aren’t called Hearts of Darkness, or directed by Les Blank or The Maysles, it’s a ‘one and done’ for me. Life is just way too short (and there are too many good films I haven’t yet seen) to watch documentaries twice. Ditto Dick Johnson is Dead et al. If Criterion must release documentaries, how about something we can’t see on a streaming service, like Shirley Clarke’s The Cool World?
7-As Criterion seems to be hell-bent on prioritising upgrades of blus to 4k, over dvds to blus (or 4k), can’t they at least make an effort for those of us who almost certainly already own the blu? Maybe change the cover art, add a newly recorded extra bonus feature or two, commission a new essay for the booklet. Something, anything to make it look like you made an effort to give us something new in addition to the 4k upgrade.
8-Talking of extras, quite a few recent Criterion releases have been disappointingly bare bones. Come on Criterion, Indicator (and other labels) have been knocking it out of the park of late with their commentaries and supplements. Make an effort please!
9-Talking of making an effort - the UK branch of Criterion: down to two titles a month. The whole label is giving the impression that it’s been coasting, or worse downscaling, recently, but the attention given to the UK market is pitiful. Seriously, Radiance will be snapping at your heels soon. I’ve already purchased their May-Dec subscription, and their entire slate advertised thus far is never less than interesting. Radiance’s output is really hitting the spot for me in a way that Criterion’s hasn’t, for a couple of years at least now.
I used to really look forward to the 15th of each month and Criterion’s announcements. These days, I’m prepared for disappointment.
I’m going to be the naysayer and state that shunning older films and focusing on new material is a GOOD thing.
We cannot continually live in the past and ignore what is happening now; we (film community, blu-ray community) must continually move forward and it's to Criterion’s credit that they are doing this.
I have no desire to continually watch the same old films over and over. I want to learn and experience something new and this should be the driving force behind any artistic endeavor.
Rather than be upset about Criterion's changes, try approaching them with an open mind. I’ve discovered some very interesting contemporary films through Criterion that I would never have even have heard of, one particularly great example being Sound Of Metal (2019) which is a really, really great movie by any standard.
Arguing that this type of film is already available on one of the streaming channels is missing the point. Most of the cinematic innovations happening today are occurring on those channels; it makes sense that if Criterion are dedicated to preserving contemporary films then they should look at streaming platforms for some of the best examples
And while I appreciate that this is not a music forum, I have to back umbrage at “ ...Do we really need The Velvet Underground in the collection.. “.
Documentaries are a legitimate form of cinema and The Velvet Underground is a very fine one even if you don't personally appreciate it.
Music documentaries by their nature will appeal directly to their subject’s most hardcore fans and are not generalist items. This doesn’t mean that they should not be revered and preserved. Todd Haynes documentary is a particularly fine example of the genre in that not only does it tell the story of its subject but does it in a manner that captures the subject’s aesthetic.
In my view it is a contemporary classic and fully deserving of its release on Criterion (full disclosure: I am a huge Velvet Underground fan but that is besides the point for the reasons I've just stated)
Last edited by mojo_navigator; 01-18-2023 at 08:44 AM.
I’m a huge Criterion fan, and I own about a third of their releases, with my wish list taking me up to close on 50% of their collection. Typically, I’m interested in about 40% - 50% of their output, and I expect to be adding at least a couple of films a month to my wish list, even if they’re not Day 1 purchases.
Over the last couple of years though, Criterion has been steadily moving away from my areas of interest, and it’s not unusual for me to look at a new release slate these days and think ‘nothing for me this month’, sadly. The last month I was excited about was October, and I got them all (Lost Highway 4k, La Llorona, Eve’s Bayou, Arsenic and Old Lace, Cure) except the Night of the Living Dead 4k upgrade as I already have the blu-ray, and I’m only upgrading films that I think will dramatically benefit from 4k (e.g. The Red Shoes, Mulholland Dr. etc.)
My bugbear with Criterion isn’t that they’re becoming ‘too woke’ - I’m delighted to have Menace II Society back in the collection after owning the laser disc, and its great to see Malcolm X, To Sleep With Anger, Eve’s Bayou, Devil in a Blue Dress, Deep Cover (an underrated gem) and many more added to the collection. Love and Basketball and Hollywood Shuffle I could probably live without tbh, but you can’t love everything.
My issues are as follows:
1-There are still far too many DVDs or OOP titles that need to be upgraded or reinstated - Blast of Silence needs a blu, Unbearable Lightness of Being needs a blu, Pepe Le Moko needs a blu, Last Year at Marienbad needs a 4k etc. etc.
2-Criterion is sitting on a mountain of classic films, but has noticeably switched to a much more contemporary release slate.
3-Many of these recent works that Criterion are rushing out may or may not stand the test of time. I’ve just watched Triangle of Sadness within the last week, and despite liking Östlund’s previous work (Force Majeure in particular), I think it’s hugely overrated, a rather heavy-handed satire. Will The Power of the Dog, for instance, and it’s not the most egregious example, be regarded as a classic by future generations. Maybe, maybe not.
4-Many of these more recent films are available to stream (often in 4k) on Netflix, Amazon, Disney+, Apple TV or other streaming services. There seems to be a questionable rush to release as many films from these companies as possible, companies whose entire raison d’être is pretty much antithetical to the values of those of us who treasure physical media. With the exception of the Criterion Channel, most streaming services’ libraries are shallow, and hugely biased towards recent releases. Criterion doesn’t need to encourage them.
5-Criterion has always had a few questionable choices in its collection, but the quality control of late seems to be erratic at best. No names, but there are quite a number of films that have been released over the last year or so particularly that just aren’t very good.
6-There have been far too many documentaries released over the last couple of years, and to compound that, most are available on streaming services. Do we really need The Velvet Underground in the collection. It’s ok - I watched it on Apple TV last year - but like most documentaries that aren’t called Hearts of Darkness, or directed by Les Blank or The Maysles, it’s a ‘one and done’ for me. Life is just way too short (and there are too many good films I haven’t yet seen) to watch documentaries twice. Ditto Dick Johnson is Dead et al. If Criterion must release documentaries, how about something we can’t see on a streaming service, like Shirley Clarke’s The Cool World?
7-As Criterion seems to be hell-bent on prioritising upgrades of blus to 4k, over dvds to blus (or 4k), can’t they at least make an effort for those of us who almost certainly already own the blu? Maybe change the cover art, add a newly recorded extra bonus feature or two, commission a new essay for the booklet. Something, anything to make it look like you made an effort to give us something new in addition to the 4k upgrade.
8-Talking of extras, quite a few recent Criterion releases have been disappointingly bare bones. Come on Criterion, Indicator (and other labels) have been knocking it out of the park of late with their commentaries and supplements. Make an effort please!
9-Talking of making an effort - the UK branch of Criterion: down to two titles a month. The whole label is giving the impression that it’s been coasting, or worse downscaling, recently, but the attention given to the UK market is pitiful. Seriously, Radiance will be snapping at your heels soon. I’ve already purchased their May-Dec subscription, and their entire slate advertised thus far is never less than interesting. Radiance’s output is really hitting the spot for me in a way that Criterion’s hasn’t, for a couple of years at least now.
I used to really look forward to the 15th of each month and Criterion’s announcements. These days, I’m prepared for disappointment.
Since NEON films Parasite, Portrait of a Lady on Fire, Worst Person in the World, the re-released Memories of Murder and the soon to be released Triangle of Sadness I'm hoping Criterion can release more films from them.
The film Quo Vadis, Aida? by Jasmila Zbanic needs a release. Stat.
Enlighten us then. I've seen you make comments like that before, expressing that you are/were in "the biz" yet you've never elaborated on it. Just casually insulting a people's valid complaints doesn't add to the conversation.
The person you quoted actually expressed what a lot of us have been feeling about Criterion as of late. Lots of the issues expressed were things Criterion used to do, but have let go or lessened up on. So please, if we are misinformed, elaborate. And I do mean that sincerely, not condescendingly.
Since NEON films Parasite, Portrait of a Lady on Fire, Worst Person in the World, the re-released Memories of Murder and the soon to be released Triangle of Sadness I'm hoping Criterion can release more films from them.
Neon just announced last week that Petite Maman, Moonage Daydream, Saint Omer, and All the Beauty and the Bloodshed will be joining the Criterion Collection at some point (in addition to the now officially announced Triangle of Sadness of course).
I tend to stay out of this thread. It always seem to be people are upset their favorite label isn't releasing their favorite film. There's also this odd bias against new films, either asking why rush to put it out or will it stand the test of time.
No one should be using 'will it stand the test of time' as a barometer for film enjoyment or what Criterion should be releasing. Criterion released plenty of contemporary films even in the Laserdisc days.
One label can only do so much. And these days there are countless labels releasing classic American and European films. Unless you just have to have a C on the corner there should be no real complaint.
There's a lot that goes into physical media production we just don't know. We don't know how ready some of these releases are. We don't know the streaming versus physical rights situation. We don't know if companies are waiting on a new restoration or filmmaker approval. It's perfectly fine to bemoan about them not upgrading DVDs (I'd love it myself) but to spin it into a conspiracy theory just makes us all look like spoiled children who lash out when they don't get what they want.
And I'm glad to see at least some company put out streaming films. There are plenty of great ones that otherwise wouldn't have a physical release and not everyone wants to spend $10 to $20 each month just to watch it. If I can spend $20 once I'm happy. And Netflix, despite being Dolby Vision/Atmos has awful compression that underutilizes both very often.
Whether it's Criterion approaching this as strictly a business decision or they're returning to the 'contemporary films' part of their mission statement I'm glad to see them expanding the collection. I love seeing the likes of what Kino, Indicator, Fun City, and the brand Radiance are releasing because they're usually films that have are obscure and begging for reevaluation.
P.S. Personal preference is just that, personal. Great if you (the singular you) like everything a company releases but that not always the case and shouldn't dictate whether they release it or not.
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