General Discussion The Criterion Channel Streaming Service (Official Thread) (1 Viewer)

[Angelo Colombus]

I wished Criterion has Mad Wednesday (The Sin of Harold Diddlebock) but happy the other films are for viewing.

 

[bujaki]

I wished Criterion has Mad Wednesday (The Sin of Harold Diddlebock) but happy the other films are for viewing.

Scott McQueen is working on the restoration of this film. Let's hope he makes both versions available for viewing.

 

[Jeffrey D]

Not familiar with streaming, but I just got a notification from Criterion that I was offered a free month of streaming. I assume this applies to members of the website, and/or buyers of their product.

 

[ManW_TheUncool]

Not familiar with streaming, but I just got a notification from Criterion that I was offered a free month of streaming. I assume this applies to members of the website, and/or buyers of their product.

No offer here, but I'm already a charter member, annual subscriber of the streaming service. The service is definitely worth it (and I've been glad to keep the discounted annual rate), especially since they've also been giving out a stackable, non-expiring $10 GC roughly every half year so far -- I've used $30 worth of such GCs on a previous flash sale (last Oct) and will probably have another $20 of GCs by the next flash sale...

It's probably the only streaming service I find myself wanting to keep year-round... though my family still does keep Netflix and Disney+ -- I'd probably only do those (along w/ a couple others) 2-3 months a year if up to me...

_Man_

 

[Garysb]

April 2021 Calendar.

The Criterion Channel’s April 2021 Lineup

Next month, we’re upping the ante with a collection of some of the greatest films ever made about the pulse-racing highs and gutter-dwelling lows of gambling.

www.criterion.com

 

[Jeff Adkins]

April 2021 Calendar.

The Criterion Channel’s April 2021 Lineup

Next month, we’re upping the ante with a collection of some of the greatest films ever made about the pulse-racing highs and gutter-dwelling lows of gambling.

www.criterion.com

A really strong lineup. I'm especially looking forward to the restored version of Sons Of The Desert since I still haven't purchased that Blu-Ray set.

 

[Garysb]

To celebrate their 2 year anniversary Criterion Channel has curated their most popular movies over the 2 years.

https://www.criterionchannel.com/al...tter&utm_term=charter&utm_content=apr-09-2021

 

[Steve Y]

Belated notification for the 1% of us who use the Criterion Channel app on the Xbox: a few months back they finally enabled English subtitles for English movies!

This week I caught up with two brilliant films: Smooth Talk (harrowing) and The Arbor (grueling). I recommend both highly, but they're not exactly "Saturday matinee" viewing.

I'm excited they added History Is Made at Night. Hoping to catch up with that one later this week.

 

[Angelo Colombus]

Nice to see The Marx Brothers on the Criterion Channel.

 

[Robert Crawford]

May's schedule:

The Criterion Channel’s May 2021 Lineup

In this packed month of programming, we celebrate the work of Gena Rowlands, Satyajit Ray, Dalton Trumbo, Mitchell Leisen, and other luminaries.

www.criterion.com

 

[Garysb]

They are including Midnight (1939) in the Mitchell Leisen Festival. A film I keep waiting for Kino to announce as part of their Universal deal. Love this movie.

 

[DavidJ]

I wasn't particularly enamored with the schedule, but I may be overlooking something. I'm trying to decide if I'm going to continue my subscription. I haven't really watched anything in the past year on the service. Not because there's nothing I'm interested in but because I haven't had the time for watching, and when I have had the time, it's been other stuff.

 

[Robert Crawford]

August Schedule:

The Criterion Channel’s August 2021 Lineup

This month on the Channel, dive into the films of John Huston, Jean Harlow, Josephine Baker, and other cinematic icons.

www.criterion.com

 

[Angelo Colombus]

November Schedule. I hope Kazan's The Last Tycoon (1976) will have a Blu-ray release soon.

The Criterion Channel’s November 2021 Lineup

We’re celebrating Noirvember with a tribute to Robert Mitchum and a series of pulp classics from Twentieth Century-Fox.

www.criterion.com

 

[JPCinema]

November Schedule. I hope Kazan's The Last Tycoon (1976) will have a Blu-ray release soon.

The Criterion Channel’s November 2021 Lineup

We’re celebrating Noirvember with a tribute to Robert Mitchum and a series of pulp classics from Twentieth Century-Fox.

www.criterion.com

RYAN'S DAUGHTER. I hope it looks fantastic!!!!

 

[Garysb]

Wow November is a great month. Here are the two series I am looking forward to:
d

FEATURING: I Wake Up Screaming (1941), Laura (1944), Hangover Square (1945), Somewhere in the Night (1946), Nightmare Alley (1947), Night and the City (1950), No Way Out (1950), Panic in the Streets (1950), Where the Sidewalk Ends (1950), Niagara (1953), Pickup on South Street (1953), Black Widow (1954)

FEATURING: Five Star Final (1931), The Front Page (1931), Platinum Blonde (1931), Blessed Event (1932), It Happened One Night (1934), Nothing Sacred (1937), His Girl Friday (1940), Meet John Doe (1941)**, Woman of the Year (1942), Gentleman’s Agreement (1947), The Lawless (1950)*, Ace in the Hole (1951), Park Row (1952), Scandal Sheet (1952), Between the, Lines (1977), Newsfront (1978), The Year of Living Dangerously (1982)

 

[benbess]

I wonder if The Year of Living Dangerously has been restored? It's one of my favorite movies, but the last time I saw it the presentation was somewhat rough.

 

[Garysb]

December 2021​

FEATURED SERIES​

PREMIERING DECEMBER 1​

HITCHCOCK FOR THE HOLIDAYS​

Merry Hitch-mas! During this season of light, embrace the darkness with a holiday helping of favorites from the Master of Suspense. For five decades, Alfred Hitchcock explored our innermost anxieties, desires, and obsessions in his diabolically constructed thrillers, which redefined the mechanics of screen terror through meticulous editing, voyeuristic camera work, and unforgettable set pieces. In early British classics like The 39 Steps and Sabotage, endlessly studied and imitated Hollywood masterpieces such as Rear Window and Vertigo, and fascinatingly personal late-career statements like Marnie and Frenzy, Hitchcock tapped into the peculiar pleasures of fear like no filmmaker before or since.

• The Lodger: A Story of the London Fog, 1927
• Downhill, 1927
• The Man Who Knew Too Much, 1934
• The 39 Steps, 1935
• Sabotage, 1936
• Young and Innocent, 1937
• The Lady Vanishes, 1938
• Foreign Correspondent, 1940
• Saboteur, 1942
• Shadow of a Doubt, 1943
• Lifeboat, 1944
• Rope, 1948
• Rear Window, 1954
• The Trouble with Harry, 1955
• The Man Who Knew Too Much, 1956
• Vertigo, 1958
• Marnie, 1964
• Torn Curtain, 1966
• Topaz, 1969
• Frenzy, 1972
• Family Plot, 1976

FEMALE GAZE: WOMEN DIRECTORS + WOMEN CINEMATOGRAPHERS​

This sprawling selection of films both directed and shot by women testifies to an extraordinary tradition of female collaboration behind the camera. Spanning the last half century of cinema and including work by trailblazing director-cinematographer duos such as Chantal Akerman and Babette Mangolte (Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles; News from Home), Claire Denis and Agnès Godard (Beau Travail, Let the Sunshine In), and Jane Campion and Sally Bongers (A Girl’s Own Story, Sweetie), as well as fruitful recent partnerships like Céline Sciamma and Crystel Fournier (Tomboy, Girlhood) and Josephine Decker and Ashley Connor (Butter on the Latch, Thou Wast Mild and Lovely), these extraordinary films reveal a vital legacy of visionary women seizing the tools of visual storytelling and opening up new possibilities for cinema.

Features

• Film About a Woman Who …, Yvonne Rainer, 1974 (DP Babette Mangolte)
• Daguerréotypes, Agnès Varda, 1975 (DPs Nurith Aviv and William Lubtchansky)
• Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles, Chantal Akerman, 1975 (DP Babette Mangolte)
• News from Home, Chantal Akerman, 1976 (DPs Babette Mangolte and Jim Asbell)
• Mur Murs, Agnes Varda, 1981 (DP Nurith Aviv)
• The Willmar 8, Lee Grant, 1981 (DP Judy Irola)*
• The Gold Diggers, Sally Potter, 1983 (DP Babette Mangolte)
• Jane B. par Agnès V., Agnès Varda, 1988 (DPs Nurith Aviv and Pierre-Laurent Chénieux)
• Sweetie, Jane Campion, 1989 (DP Sally Bongers)
• Go Fish, Rose Troche, 1994 (DP Ann T. Rossetti)
• Angela, Rebecca Miller, 1995 (DP Ellen Kuras)
• The Incredibly True Adventure of Two Girls in Love, Maria Maggenti, 1995 (DP Tami Reiker)
• Nenette and Boni, Claire Denis, 1996 (DP Agnès Godard)
• High Art, Lisa Cholodenko, 1998 (DP Tami Reiker)
• Beau travail, Claire Denis, 1999 (DP Agnès Godard)
• Conversations with Intellectuals About Selena, Lourdes Portillo, 1999 (DP Emiko Omori)
• La captive, Chantal Akerman, 2000 (DP Sabine Lancelin)
• Personal Velocity, Rebecca Miller, 2002 (DP Ellen Kuras)
• The Headless Woman, Lucrecia Martel, 2008 (DP Bárbara Álvarez)
• Home, Ursula Meier, 2008 (DP Agnès Godard)
• Shooting Women, Alexis Krasilovsky, 2008 (DPs Erika Addis, Michelle Crenshaw, Kristin R. Glover, Eva Testor, Yoshiko Osawa)
• The Milk of Sorrow, Claudia Llosa, 2009 (DP Natasha Braier)
• The Oath, Laura Poitras, 2010 (DP Kirsten Johnson)
• Tomboy, Céline Sciamma, 2011 (DP Crystel Fournier)
• Sister, Ursula Meier, 2012 (DP Agnès Godard)
• Stories We Tell, Sarah Polley, 2012 (DP Iris Ng)
• Butter on the Latch, Josephine Decker, 2013 (DP Ashley Connor)
• Karaoke Girl, Visra Vichit-Vadakan, 2013 (DP Sandi Sissel)
• Citizenfour, Laura Poitras, 2014 (DPs Kirsten Johnson, Trevor Paglen, Laura Poitras, and Katy Scoggin)
• Girlhood, Céline Sciamma, 2014 (DP Crystel Fournier)
• Second Coming, Debbie Tucker Green, 2014 (DP Ula Pontikos)
• Thou Wast Mild and Lovely, Josephine Decker, 2014 (DP Ashley Connor)
• The Wonders, Alice Rohrwacher, 2014 (DP Hélène Louvart)
• The Second Mother, Anna Muylaert, 2015 (DP Bárbara Alvarez)
• The Innocents, Anne Fontaine, 2016 (DP Caroline Champetier)
• Let the Sunshine In, Claire Denis, 2017 (DP Agnès Godard)
• A Family Submerged, Maria Alché, 2018 (DP Hélène Louvert)
• The Miseducation of Cameron Post, Desiree Akhavan, 2018 (DP Ashley Connor)
• Ste. Anne, Rhayne Vermette, 2021 (DPs Kristiane Church, Amanda Kindzierski, Lindsay McIntyre, Rhayne Vermette, and Erin Weisgerber)

Shorts

• Joyce at 34, Joyce Chopra and Claudia Weill, 1972 (DP Claudia Weill)
• Girls at 12, Joyce Chopra, 1975 (DP Joan Weidman)
• Clorae and Albie, Joyce Chopra, 1976 (DP Joan Weidman)
• A Girl’s Own Story, Jane Campion, 1984 (DP Sally Bongers)
• Odds and Ends, Michelle Parkerson, 1993 (DP Michelle Crenshaw)
• Swimmer, Lynne Ramsay, 2012 (DP Natasha Braier)
• Social Butterfly, Lauren Wolkstein, 2013 (DP Clémence Thurninger)
• Roberta, Caroline Monnet, 2014 (DP Stéphanie Anne Weber Biron)
• I Dream You Dream of Me, Jennifer Reeder, 2018 (DP Eve Cohen)
• Moving, Adinah Dancyger, 2019 (DP Mia Cioffi Henry)

*Available Jan 1

ITALIAN NEOREALISM​

Featuring a new introduction by film scholar David Forgacs

From the rubble of a devastated postwar Italy, an extraordinary artistic flowering sprang forth that soon took the world by storm. Led by figures such as Roberto Rossellini, Vittorio De Sica, and Luchino Visconti, a generation of filmmakers gave stirring expression to the concerns, struggles, and humanity of ordinary, working-class people with a blend of earthy naturalism and bittersweet lyricism. From early postwar landmarks like Rome Open City and Bicycle Thieves through later films like Rocco and His Brothers and Il posto that built upon neorealism’s concerns while opening up new thematic and aesthetic territory, this overview showcases multiple masterpieces that forever changed the course of film history by revealing the drama and poetry inherent in everyday life.

• The Children Are Watching Us, 1943, Vittorio De Sica
• Rome Open City, Roberto Rossellini, 1945
• The Bandit, Alberto Lattuada, 1946
• Paisan, Roberto Rossellini, 1946
• Bicycle Thieves, Vittorio De Sica, 1948
• Germany Year Zero, Roberto Rossellini, 1948
• Bitter Rice, Giuseppe De Santis, 1949
• The Mill on the Po, Alberto Lattuada, 1949
• The Flowers of St. Francis, Roberto Rossellini, 1950
• Stromboli, Roberto Rossellini, 1950
• Variety Lights, Federico Fellini and Alberto Lattuada, 1950
• Europa ’51, Roberto Rossellini, 1952
• Umberto D., Vittorio De Sica, 1952
• I vitelloni, Federico Fellini, 1953
• The Gold of Naples, Vittorio De Sica, 1954
• Journey to Italy, Roberto Rossellini, 1954
• La strada, Federico Fellini, 1954
• Rocco and His Brothers, Luchino Visconti, 1960
• Girl in the Window, Luciano Emmer, 1961
• Il posto, Ermanno Olmi, 1961
• Salvatore Giuliano, Francesco Rosi, 1962

STARRING GLENDA JACKSON​

One of the most lauded performers of her generation, Glenda Jackson is known both for her dazzling work on stage and screen and, in later years, her commanding career as an outspoken member of the UK Parliament’s left wing (referring to herself as an “antisocial socialist”). Bringing an air of steely vulnerability to her intense portrayals of complex women, she has collaborated with provocative filmmakers like John Schlesinger (in the groundbreaking queer relationship drama Sunday Bloody Sunday) and Ken Russell (in the deliriously unhinged Tchaikovsky antibiopic The Music Lovers) but has proven herself equally at home in lighthearted romps like the breezy spy comedy Hopscotch opposite Walter Matthau.

• Sunday Bloody Sunday, John Schlesinger, 1971
• The Music Lovers, Ken Russell, 1971
• The Maids, Christopher Miles, 1975
• Stevie, Robert Enders, 1978
• Hopscotch, Ronald Neame, 1980
• The Return of the Soldier, Alan Bridges, 1982

STARRING JOSEPH COTTEN​

When Orson Welles took Hollywood by storm in the early 1940s, he brought with him several members of his celebrated Mercury Theatre company—including the distinguished, mellifluous-voiced Joseph Cotten, who would go on to star in some of the greatest films of the decade under some of the era’s foremost directors. To classics like Welles’s The Magnificent Ambersons, Alfred Hitchcock’s Shadow of a Doubt (in which the actor offers an unforgettably unnerving portrayal of evil incarnate), and George Cukor’s Gaslight, Cotten brought both a moody sensitivity and an intriguingly cynical edge that lent depth and nuance to each of his delicately shaded performances.

• The Magnificent Ambersons, Orson Welles, 1942
• Shadow of a Doubt, Alfred Hitchcock, 1943
• Gaslight, George Cukor, 1944
• The Third Man, Carol Reed, 1949
• Niagara, Henry Hathaway, 1953

STREAMING PREMIERES​

WEDNESDAY, DECEMBER 1​

THE INCREDIBLY TRUE ADVENTURE OF TWO GIRLS IN LOVE​

Breaking new ground in queer representation when it was released in 1995, this tender and charming tale of first love traces the tentative relationship that develops between two high-school girls from very different worlds. Randy (Laurel Holloman) is a white, tomboyish outsider working at her aunt’s gas station; Evie (Nicole Ari Parker) is a popular, well-off Black girl with a boyfriend. As an unlikely friendship built around poetry and music deepens into attraction, director Maria Maggenti captures the muddled emotions of adolescent romance with warmth, humor, and refreshing authenticity.

Preservation funding provided by the Sundance Institute in collaboration with Strand Releasing.

WEDNESDAY, DECEMBER 1​

STE. ANNE​

The hallucinatory debut feature by Rhayne Vermette is a stylistically adventurous meditation on the landscapes of her native Manitoba, impressionistically shot on dreamy 16 mm. As a party wanders into the night, word arrives that Renée (played by Vermette) has returned. Missing for years, her sudden reappearance unsettles her family, including her brother and his wife, who have been raising Renée’s daughter as their own. As Renée begins to reassemble the fragments of her past, ominous premonitions disrupt the land. Shot over the course of two years, Ste. Anne traces an allegorical reclamation of land through personal, symbolic, and historical sites all across Treaty 1 territory, heartland of the Métis Nation.

MONDAY, DECEMBER 6​

LYDIA LUNCH: THE WAR IS NEVER OVER​

Lydia Lunch: The War Is Never Over is the first career-spanning documentary retrospective of Lydia Lunch’s confrontational, acerbic, and always electric artistry. As New York City’s preeminent No Wave icon, Lunch has forged a lifetime of music and spoken-word performance devoted to the rights of all women to indulge, seek pleasure, and raise their voices in rage as loud as any man. Through intimate behind-the-scenes footage and interviews with Lunch’s longtime collaborators and colleagues, director Beth B examines Lunch’s work and her quest to empower women to voice the unheard and break the cycle of violence against them. What emerges is a thought-provoking portrait of a fearlessly transgressive artist who has consistently defied patriarchal expectations while forging a vocabulary of rare emotional honesty, philosophy, and humor.

CRITERION EDITIONS​

PREMIERING DECEMBER 1​

THROW DOWN: CRITERION COLLECTION EDITION #1092​

The dazzlingly prolific Hong Kong master craftsman Johnnie To delivers a thrilling love letter to the cinema of Akira Kurosawa and to the art and philosophy of judo.

SUPPLEMENTAL FEATURES: A making-of documentary and interviews with To, coscreenwriter Yau Nai-hoi, composer Peter Kam, and film scholars David Bordwell and Caroline Guo.

DOWNHILL RACER: CRITERION COLLECTION EDITION #494​

Astonishing Alpine location photography and a young Robert Redford are just two of the visual splendors of this visceral study of a ruthlessly ambitious skier competing for Olympic gold.

SUPPLEMENTAL FEATURES: Interviews with Redford, screenwriter James Salter, editor Richard Harris, production manager Walter Coblenz, and former downhill skier Joe Jay Jalbert, and more.

THE MAGNIFICENT AMBERSONS: CRITERION COLLECTION EDITION #952​

Orson Welles’s beautiful, nostalgia-suffused follow-up to Citizen Kane is an emotionally rich family saga and a masterful elegy for a bygone chapter of American life.

SUPPLEMENTAL FEATURES: Two audio commentaries by scholars Robert L. Carringer and James Naremore and critic Jonathan Rosenbaum, audio interviews with Welles conducted by filmmaker Peter Bogdanovich, video essays, and more.

SUNDAY BLOODY SUNDAY: CRITERION COLLECTION EDITION #629​

John Schlesinger’s groundbreaking portrait of a bisexual love triangle may be the seventies’ most intelligent, multitextured film about the complexities of romantic relationships.

SUPPLEMENTAL FEATURES: Interviews with Schlesinger, cinematographer Billy Williams, actor Murray Head, production designer Luciana Arrighi, John Schlesinger biographer William J. Mann, and Schlesinger’s longtime partner, photographer Michael Childers.

RATCATCHER: CRITERION COLLECTION EDITION #162​

In her breathtaking and assured debut feature, Lynne Ramsay creates a haunting evocation of a troubled Glasgow childhood in a work at once raw and deeply poetic.

SUPPLEMENTAL FEATURES: Interviews with Ramsay and cinematographer Alwin Küchler and three short films by Ramsay.

CRITERION ORIGINALS​

THURSDAY, DECEMBER 9​

OBSERVATIONS ON FILM ART NO. 45: CINEMASCOPE IN CONTEMPT​

Having explored Jean-Luc Godard’s iconoclastic use of the boxy 4:3 aspect ratio in Vivre sa vie in the previous edition of Observations on Film Art, Professor David Bordwell here breaks down the French New Wave renegade’s equally experimental use of the elongated CinemaScope frame in another of his 1960s masterpieces, Contempt. While in Vivre sa vie Godard used the square frame to craft an intensely up-close portrait of a woman, in Contempt—a study of a marriage in breakdown spectacularly set against the coast of Italy—he pushed the aesthetic possibilities of CinemaScope to their limits, creating a work that is as much about landscape and environment as it is about human beings.

WOMEN FILMMAKERS​

WEDNESDAY, DECEMBER 1​

FILMS BY ELISABETH SUBRIN​

Featuring a new interview with the filmmaker

Filmmaker and artist Elisabeth Subrin has long explored female subjectivity and representation through her formally restless, conceptually driven shorts, which include tributes to photographer Francesca Woodman and actor Maria Schneider. With the arresting character study A Woman, a Part, Subrin made the leap to feature filmmaking. This complex investigation of female friendship, the representation of women in media, and the difficulties of reckoning with change stars Maggie Siff in a tour-de-force performance as an exhausted fortysomething actor who returns the theater world of New York where her career began and finds that restarting her life may not be so simple.

Feature

• A Woman, a Part, 2016

Shorts

• Swallow, 1995
• The Fancy, 2000
• Sweet Ruin, 2008
• For Maria, 2019

WEDNESDAY, DECEMBER 15​

THE GOLD DIGGERS​

Made with an all-woman crew, Sally Potter’s bold feature debut is a surrealist science-fiction musical that explores the link between female cinematic representation and capitalist exploitation.

WEDNESDAY, DECEMBER 22​

SECOND COMING​

Celebrated playwright Debbie Tucker Green makes her fascinating directorial debut with this enigmatic, engrossing, and brilliantly performed portrait of a Black British family navigating a seemingly unexplainable crisis.

WEDNESDAY, DECEMBER 29​

HIGH ART​

A mesmerizing Ally Sheedy stars as a photographer loosely based on Nan Goldin in Lisa Cholodenko’s smart and sexy tale of ambition, sacrifice, and seduction in the nineties New York art world.

More women filmmakers featured in this month’s programming:

• Female Gaze: Women Directors + Women Cinematographers
• The Incredibly True Adventure of Two Girls in Love, Maria Maggenti, 1995
• Gasman, Lynne Ramsay, 1998
• Ratcatcher, Lynne Ramsay, 1999
• The Beaches of Agnès, Agnès Varda, 2008
• Lydia Lunch: The War Is Never Over, Beth B, 2019
• Slip, Nicole Otero, 2019
• Troublemaker, Olive Nwosu, 2019
• By Way of Canarsie, Emily Packer and Lesley Steele, 2020
• Family Tree, Nicole Amani Magabo Kiggundu, 2020
• Polygraph, Samira Saraya, 2020
• The Rose of Manila, Alex Westfall, 2020
• The Lights Are On, No One’s Home, Faye Ruiz, 2021
• Ste. Anne, Rhayne Vermette, 2021

TRUE STORIES​

MONDAY, DECEMBER 13​

THE HARD STOP​

George Amponsah’s moving look at the raw human story behind a shocking police killing offers trenchant insight into the racial and cultural realities that shape the lives of young Black men in Britain.

MONDAY, DECEMBER 20​

STRANGE VICTORY​

This extraordinary portrait of postwar American fascism explores how servicemen returned home from defeating a racist and genocidal enemy to find a United States plagued by prejudice, Jim Crow, anti-Semitism, anti-Catholicism, and xenophobia.

MONDAY, DECEMBER 27​

THE BEACHES OF AGNÈS​

Replete with images of wonder and whimsy, Agnès Varda’s enchanting self-portrait, made in her eightieth year, is a playful and poignant record of a life lived fully and passionately in the name of cinema.

More documentaries featured in this month’s programming:

• Joyce at 34, Joyce Chopra and Claudia Weill, 1972
• Daguerréotypes, Agnes Varda, 1975
• Girls at 12, Joyce Chopra, 1975
• Clorae and Albie, Joyce Chopra, 1976
• News from Home, Chantal Akerman, 1977
• Mur Murs, Agnes Varda, 1981
• Jane B. par Agnès V., Agnès Varda, 1988
• Conversations with Intellectuals About Selena, Lourdes Portillo, 1999
• Dark Days, Marc Singer, 2000
• Shooting Women, Alexis Krasilovsky, 2008
• The Oath, Laura Poitras, 2010
• Stories We Tell, Sarah Polley, 2012
• Citizenfour, Laura Poitras, 2014
• Lydia Lunch: The War Is Never Over, Beth B, 2019

SATURDAY MATINEES​

SATURDAY, DECEMBER 4​

A TOWN CALLED PANIC​

Three plastic toys embark on a freewheeling adventure in this hilarious, delightfully wacky stop-motion extravaganza based on the Belgian cult TV series.

SATURDAY, DECEMBER 11​

THE LITTLE PRINCESS​

Ringlet-haired dynamo Shirley Temple is at her irresistible best in this spirited Technicolor adaptation of the beloved novel by Frances Hodgson Burnett.

SATURDAY, DECEMBER 18​

LONG WAY NORTH​

Vivid characters and stunning 2D animation bring to life this thrilling adventure about a fearless girl on an epic Arctic quest.

SATURDAY, DECEMBER 25​

SCROOGE​

Albert Finney offers his inimitable characterization of the miserly Ebeneezer Scrooge in this handsomely mounted musical take on Charles Dickens’s holiday classic A Christmas Carol.

SHORT-FILM PROGRAMS​

TUESDAY, DECEMBER 7​

DEDZA FILM PRESENTS WHO WILL START ANOTHER FIRE​

Dedza Films is a new distribution initiative that aims to champion filmmakers from underrepresented communities around the world, beginning with Who Will Start Another Fire, a collection of nine revelatory shorts by emerging filmmakers from Israel, Nigeria, the Philippines, Uganda, and the United States. From child’s-eye portraits of Nigerian (Family Tree) and Chinese American (Like Flying) girlhood to complex explorations of Black masculinity (Not Black Enough) and gentrification (The Lights Are On, No One’s Home), these eclectic works touch on questions of politics, history, memory, and culture through innovative storytelling and profound personal insight.

• Slip, Nicole Otero, 2019
• Troublemaker, Olive Nwosu, 2019
• By Way of Canarsie, Emily Packer and Lesley Steele, 2020
• Family Tree, Nicole Amani Magabo Kiggundu, 2020
• Like Flying, Peier Tracy Shen, 2020
• Not Black Enough, Jermaine Manigault, 2020
• Polygraph, Samira Saraya, 2020
• The Rose of Manila, Alex Westfall, 2020
• The Lights Are On, No One’s Home, Faye Ruiz, 2021

TUESDAY, DECEMBER 14​

SHORT + FEATURE: HOLIDAY AFFAIRS​

Gasman and Tuesday, After Christmas

’Tis the season for infidelity as a pair of husbands and fathers living double lives discover that duplicity is particularly devastating during the holidays.

TUESDAY, DECEMBER 21​

SHORT + FEATURE: THE NIGHT BEFORE CHRISTMAS​

A Christmas Dream and Fanny and Alexander

See the magic of Christmas Eve through a child’s eyes in an enchanting stop-motion wonder and a sumptuous late-career masterpiece from Ingmar Bergman.

TUESDAY, DECEMBER 28​

STOP-MOTION SHORTS BY NIKI LINDROTH VON BAHR​

Forlorn fish express their alienation through song, a pair of pigeons visit a zoo without animals, and a lonely fox has an enigmatic encounter with the new rabbit next door—welcome to the startlingly surreal, delicately bittersweet world of Swedish stop-motion animator Niki Lindroth von Bahr, whose hyper-detailed miniatures are at once uncanny and strikingly lifelike. Though they star a menagerie of anthropomorphic animals, these wondrously strange and captivating existential fables explore modern malaise with a piercing poignancy that is all too human.

• Tord and Tord, 2010
• Bath House, 2014
• The Burden, 2017
• Something to Remember, 2019

DOUBLE FEATURES​

Hitchcock Edition!

FRIDAY, DECEMBER 3​

I MARRIED A SOCIOPATH​

Marnie and Martha

Alfred Hitchcock and Rainer Werner Fassbinder explore the perverse inner workings of sadomasochistic relationships in a pair of lush, expressionistically stylized psychodramas.

FRIDAY, DECEMBER 10​

KILLS FOR THRILLS​

Rope and Swoon

The infamous 1924 Leopold and Loeb murder inspires one of Alfred Hitchcock’s most daring experiments and a watershed work of the New Queer Cinema.

FRIDAY, DECEMBER 17​

HOMEWRECKERS​

Shadow of a Doubt and To Sleep with Anger

Charismatic yet mysteriously menacing figures from the past return to upend the quiet lives of ordinary families in a dark-hearted thriller and a poetic touchstone of the nineties Black-cinema renaissance.

FRIDAY, DECEMBER 24​

SEEING DOUBLE​

Vertigo and Phoenix

Alfred Hitchcock’s most celebrated masterpiece inspires another mesmerizing investigation of obsessive love and dual identity set amid the ruins of postwar Germany.

FRIDAY, DECEMBER 31​

A TWICE-TOLD TALE​

The Man Who Knew Too Much (1934) and The Man Who Knew Too Much (1956)

An ordinary couple’s vacation abroad turns into a parent’s worst nightmare in Alfred Hitchcock’s 1930s British classic and his own underrated Hollywood remake.

COMPLETE LIST OF FILMS PREMIERING ON THE CRITERION CHANNEL THIS MONTH:​

• Angela, Rebecca Miller, 1995
• The Bandit, Alberto Lattuada, 1946
• By Way of Canarsie, Emily Packer and Lesley Steele, 2020
• A Christmas Dream, Karel Zeman, 1945
• Christmas Eve, Edwin L. Marin, 1947
• Downhill Racer, Michael Ritchie, 1969
• Family Plot, Alfred Hitchcock, 1976
• The Fancy, Elisabeth Subrin, 2000
• A Family Submerged, María Alché, 2018
• Family Tree, Nicole Amani Magabo Kiggundu, 2020
• Film About a Woman Who … , Yvonne Rainer, 1974 *
• The French Connection, William Friedkin, 1971
• Frenzy, Alfred Hitchcock, 1972
• Gaslight, George Cukor, 1944
• Gasman, Lynne Ramsay, 1998
• Girl in the Window, Luciano Emmer, 1961
• The Gold Diggers, Sally Potter, 1983
• The Gold of Naples, Vittorio De Sica, 1954
• The Hard Stop, George Amponsah, 2015
• The Headless Woman, Lucrecia Martel, 2008
• High Art, Lisa Cholodenko, 1998 *
• Home, Ursula Meier, 2008 *
• I Dream You Dream of Me, Jennifer Reeder, 2018
• The Incredibly True Adventure of Two Girls in Love, Maria Maggenti, 1995
• The Innocents, Anne Fontaine, 2016
• Karaoke Girl, Visra Vichit-Vadakan, 2013
• Kill the Day, Lynne Ramsay, 2000
• The Lawless, Joseph Losey, 1950
• Lifeboat, Alfred Hitchcock, 1944
• The Lights Are On, No One’s Home, Faye Ruiz, 2021
• Like Flying, Peier Tracy Shen, 2020
• The Little Princess, Walter Lang, 1939
• The London Story, Sally Potter, 1986
• Long Way North, Rémi Chayé, 2015
• Lydia Lunch: The War Is Never Over, Beth B., 2019
• The Magnificent Ambersons, Orson Welles, 1942
• The Maids, Christopher Miles, 1975
• The Man Who Knew Too Much, Alfred Hitchcock, 1956
• Marnie, Alfred Hitchcock, 1964
• The Milk of Sorrow, Claudia Llosa, 2009
• The Mill on the Po, Alberto Lattuada, 1949
• The Miseducation of Cameron Post, Desiree Akhavan, 2018
• The Music Lovers, Ken Russell, 1971
• Nenette and Boni, Claire Denis, 1996
• Not Black Enough, Jermaine Manigault, 2020
• Personal Velocity, Rebecca Miller
• Polygraph, Samira Saraya, 2020
• Ratcatcher, Lynne Ramsay, 1999
• Rear Window, Alfred Hitchcock, 1954
• The Return of the Soldier, Alan Bridges, 1982
• Rope, Alfred Hitchcock, 1948
• The Rose of Manila, Alex Westfall, 2020
• Saboteur, Alfred Hitchcock, 1942
• Scrooge, Ronald Neame, 1970
• Second Coming, Debbie Tucker Green, 2014
• The Second Mother, Anna Muylaert, 2015
• Shadow of a Doubt, Alfred Hitchcock, 1943
• Shooting Women, Alexis Krasilovsky, 2008
• Sister, Ursula Meier, 2012 *
• Slip, Nicole Otero, 2019
• Small Deaths, Lynne Ramsay, 1996
• Social Butterfly, Lauren Wolkstein, 2013
• Something to Remember, Niki Lindroth von Bahr, 2019
• Ste. Anne, Rhayne Vermette, 2021
• Stevie, Robert Enders, 1978
• Stories We Tell, Sarah Polley, 2012 *
• Strange Victory, Leo Hurwitz, 1948
• Sunday Bloody Sunday, John Schlesinger, 1971
• Swallow, Elisabeth Subrin, 1995
• Sweet Ruin, Elisabeth Subrin, 2008
• The Trouble with Harry, Alfred Hitchcock, 1955
• Throw Down, Johnnie To, 2004
• Topaz, Alfred Hitchcock, 1969
• Torn Curtain, Alfred Hitchcock, 1966
• Troublemaker, Olive Nwosu, 2019
• Tuesday, After Christmas, Radu Muntean, 2010 *
• Vertigo, Alfred Hitchcock, 1958
• A Woman, a Part, Elisabeth Subrin, 2016
• The Wonders, Alice Rohrwacher, 2014

 

[Neil S. Bulk]

The French Connection is currently streaming on Criterion and it's the transfer with the correct color, not what was on the first Blu-ray.

I wish Criterion would offer 5.1 audio on their streams.

 

[Garysb]

January 2022

January 2022 Programming on the Criterion Channel Announced

For January, the Channel will feature films from Alfred Hitchcock, Niki Lindroth von Bahr, Elisabeth Subrin, and more!

criterioncast.com

COMPLETE LIST OF FILMS PREMIERING ON THE CRITERION CHANNEL THIS MONTH:​

• -Ship: A Visual Poem, Terrance Day, 2020
• 5 Fingers, Joseph L. Mankiewicz, 1952
• After Migration: Calabria, Walé Oyéjidé and Jake Saner, 2019
• All About Eve, Joseph L. Mankiewicz, 1950
• Alphaville, Jean-Luc Godard, 1965
• Antarctica: A Year on Ice, Anthony Powell, 2013
• Appropriate Behavior, Desiree Akhavan, 2014
• The Asphalt Jungle, John Huston, 1950 ++
• Band of Outsiders, Jean-Luc Godard, 1964 ++
• Battered, Lee Grant, 1989
• Brother’s Keeper, Joe Berlinger and Bruce Sinofsky, 1992
• Chitty Chitty Bang Bang, Ken Hughes, 1968
• Cleopatra, Joseph L. Mankiewicz, 1963
• Color Adjustment, Marlon Riggs, 1991
• Crime of Passion, Gerd Oswald, 1957
• Crime Wave, André De Toth, 1953
• Danzón, Maria Novaro, 1991
• Day for Night, François Truffaut, 1973
• Delicatessen, Jean-Pierre Jeunet and Marc Caro, 1991
• Denver & Rio Grande, Byron Haskin, 1952
• Down and Out in America, Lee Grant, 1986
• Down Argentine Way, Irving Cummings, 1940
• Dragonwyck, Joseph L. Mankiewicz, 1946
• Edward II, Derek Jarman, 1991
• The Eternal Sea, John H. Auer, 1955
• The Fever, Maya Da-Rin, 2019
• Gas Food Lodging, Allison Anders, 1992
• Get on the Bus, Spike Lee, 1996
• The Ghost and Mrs. Muir, Joseph L. Mankiewicz, 1947
• Guys and Dolls, Joseph L. Mankiewicz, 1955 ++
• Harvey, Henry Koster, 1950
• Holiday Affair, Don Hartman, 1949
• The Hours and Times, Christopher Münch, 1991
• House of Strangers, Joseph L. Mankiewicz, 1949
• I Am Afraid to Forget Your Face, Sameh Alaa, 2020
• In the Soup, Alexandre Rockwell, 1992
• Incident at Oglala, Michael Apted, 1992
• Intimate Stranger, Alan Berliner, 1991
• Johnny Guitar, Nicholas Ray, 1954
• Johnny Suede, Tom DiCillo, 1991 ++
• The Killing, Stanley Kubrick, 1956
• Lands, Maya Da-Rin, 2009
• The Last Command, Frank Lloyd, 1955
• The Last Days of Disco, Whit Stillman, 1998
• Les Vampires, Louis Feuillade, 1915
• Light Sleeper, Paul Schrader, 1992
• The Living End, Gregg Araki, 1992
• The Load, Ognjen Glavonić, 2018
• Man in the Saddle, André De Toth, 1951
• The Man from Laramie, Anthony Mann, 1955
• Margin, Maya Da-Rin, 2007
• Matador, Pedro Almodovar, 1986 ++
• The Nun, Jacques Rivette, 1966
• The Quiet American, Joseph L. Mankiewicz, 1958
• People Will Talk, Joseph L. Mankiewicz, 1951
• Pharos of Chaos, Wolf-Eckart Bühler and Manfred Blank, 1983 ++
• Poison Ivy, Katt Shea, 1992
• Radio On, Christopher Petit, 1979
• Roger and Me, Michael Moore, 1989
• She Runs, Qiu Yang, 2019
• Some Divine Wind, Roddy Bogawa, 1992
• Stormy Weather, Andrew L. Stone, 1943
• Suddenly, Last Summer, Joseph L. Mankiewicz, 1959
• Sun Valley Serenade, H. Bruce Humberstone, 1941
• Sweet Smell of Success, Alexander Mackendrick, 1957
• Terror in a Texas Town, Joseph H. Lewis, 1958
• The Tune, Bill Plympton, 1992
• The Waterdance, Neal Jimenez and Michael Steinberg, 1992
• What About Me, Rachel Amodeo, 1993
• What Sex Am I?, Lee Grant, 1985
• What We Left Unfinished, Mariam Ghani, 2019
• When Women Kill, Lee Grant, 1983
• The Willmar 8, Lee Grant, 1981
• The Woodmans, Scott Willis, 2010