{"product_id":"cc40-blu-ray","title":"CC40 (BLU-RAY)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis monumental forty-film box set celebrates forty years of the Criterion Collection by gathering an electrifying mix of classic and contemporary films, and presenting them with all their special features and essays in a deluxe clothbound, slipcased edition. \u003c\/span\u003e\u003cem\u003eCC40\u003c\/em\u003e\u003cspan\u003e’s eclectic selection includes the releases most frequently chosen by the hundreds of filmmakers, actors, writers, and other movie-loving luminaries who have visited Criterion over the years, as documented in our popular Closet Picks video series. Neither a historical survey nor a top-forty compilation, this exciting, personal, unpredictable anthology reflects the cinematic joys and inspirations of the creative community that makes the Criterion Collection possible.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch4 class=\"header_lvl2 hideSmall\"\u003e49-BLU-RAY SPECIAL EDITION COLLECTOR’S SET FEATURES\u003c\/h4\u003e\n\u003cul\u003e\n\u003cli\u003eDigital restorations of all forty films\u003c\/li\u003e\n\u003cli\u003eHundreds of hours of supplemental features\u003c\/li\u003e\n\u003cli\u003eAlternate soundtracks and dubbed tracks\u003c\/li\u003e\n\u003cli\u003eAudio commentaries\u003c\/li\u003e\n\u003cli\u003eExtensive documentaries and making-of programs\u003c\/li\u003e\n\u003cli\u003eInterviews with casts and crews\u003c\/li\u003e\n\u003cli\u003eOuttakes and deleted scenes\u003c\/li\u003e\n\u003cli\u003eTrailers and TV spots\u003c\/li\u003e\n\u003cli\u003eEnglish subtitles and English subtitles for the deaf and hard of hearing\u003c\/li\u003e\n\u003cli\u003eSelection of Criterion Closet Picks videos\u003c\/li\u003e\n\u003cli\u003eAnd more!\u003c\/li\u003e\n\u003cli\u003ePLUS: Deluxe packaging with a lavishly illustrated 216-page book featuring essays on the films by critics, scholars, and authors\u003cbr\u003e\u003cem style=\"font-size: 0.875rem;\" data-mce-style=\"font-size: 0.875rem;\"\u003e\u003c\/em\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cem style=\"font-size: 0.875rem;\" data-mce-style=\"font-size: 0.875rem;\"\u003eCover by Eric Skillman\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ch4 class=\"header_lvl2\"\u003eFilms In This Set\u003c\/h4\u003e\n\u003cdiv class=\"film-sets-contain\"\u003e\u003cstrong\u003e8½\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv class=\"film-sets-contain\"\u003e\n\u003cdiv class=\"film-set-content\"\u003e\n\u003cdiv class=\"film-set-descrip\"\u003e\n\u003cp\u003eOne of the greatest films about film ever made, Federico Fellini’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003e8½\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003emarks the moment when the director’s always-personal approach to filmmaking fully embraced self-reflexivity, pioneering a stream-of-consciousness style that darts exuberantly among flashbacks, dream sequences, and carnivalesque reality, and turning one man’s artistic crisis into a grand epic of the cinema. Marcello Mastroianni plays Guido Anselmi, a director whose new project is collapsing around him, along with his life, as he struggles against creative block and helplessly juggles the women in his life—including Anouk Aimée, Sandra Milo, and Claudia Cardinale. An early working title for\u003cspan\u003e \u003c\/span\u003e\u003cem\u003e8½\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewas\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Beautiful Confusion,\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eand Fellini’s masterpiece is exactly that: a shimmering dream, a circus, and a magic act.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstrong\u003eTokyo Story\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"film-sets-contain\"\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"film-sets-contain\"\u003e\n\u003cdiv class=\"film-set-content\"\u003e\n\u003cdiv class=\"film-set-descrip\"\u003e\n\u003cp\u003eA profoundly stirring evocation of elemental humanity and universal heartbreak,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eTokyo Story\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eis the crowning achievement of the unparalleled Yasujiro Ozu. The film, which follows an aging couple’s journey to visit their grown children in bustling postwar Tokyo, surveys the rich and complex world of family life with the director’s customary delicacy and incisive perspective on social mores. Featuring lovely performances from Ozu regulars Chishu Ryu and Setsuko Hara,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eTokyo Story\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eplumbs and deepens the director’s recurring theme of generational conflict, creating what is without question one of cinema’s mightiest masterpieces.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstrong\u003eAll That Jazz\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"film-sets-contain\"\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"film-sets-contain\"\u003e\n\u003cdiv class=\"film-set-content\"\u003e\n\u003cspan\u003e\u003c\/span\u003e\n\u003cdiv class=\"film-set-descrip\"\u003e\n\u003cp\u003eThe preternaturally gifted director and choreographer Bob Fosse turned the camera on his own life for this madly imaginative, self-excoriating musical masterpiece. Roy Scheider gives the performance of his career as Joe Gideon, whose exhausting work schedule—mounting a Broadway production by day and editing his latest movie by night—and routine of amphetamines, booze, and sex are putting his health at serious risk. Fosse burrows into Gideon’s (and his own) mind, rendering his interior world as phantasmagoric spectacle. Assembled with visionary editing that makes dance come alive on-screen as never before, and overflowing with sublime footwork by the likes of Ann Reinking, Leland Palmer, and Ben Vereen,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eAll That Jazz\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003epushes the musical genre to personal depths and virtuosic aesthetic heights.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstrong\u003eBicycle Thieves\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"film-sets-contain\"\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"film-sets-contain\"\u003e\n\u003cdiv class=\"film-set-content\"\u003e\n\u003cspan\u003e\u003c\/span\u003e\n\u003cdiv class=\"film-set-descrip\"\u003e\n\u003cp\u003eHailed around the world as one of the greatest movies ever made, the Academy Award–winning\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eBicycle Thieves,\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003edirected by Vittorio De Sica, defined an era in cinema. In poverty-stricken postwar Rome, a man is on his first day of a new job that offers hope of salvation for his desperate family when his bicycle, which he needs for work, is stolen. With his young son in tow, he sets off to track down the thief. Simple in construction and profoundly rich in human insight,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eBicycle Thieves\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eembodies the greatest strengths of the Italian neorealist movement: emotional clarity, social rectitude, and brutal honesty.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstrong\u003eRepo Man\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"film-sets-contain\"\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"film-sets-contain\"\u003e\n\u003cdiv class=\"film-set-content\"\u003e\n\u003cspan\u003e\u003c\/span\u003e\n\u003cdiv class=\"film-set-descrip\"\u003e\n\u003cp\u003e\u003cspan class=\"s1\"\u003eA quintessential cult film of the 1980s, Alex Cox’s singular sci\u003c\/span\u003e\u003cspan class=\"s2\"\u003e-\u003c\/span\u003e\u003cspan class=\"s1\"\u003efi comedy stars the always captivating\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"s3\"\u003eHarry Dean Stanton as a weathered repo man in a desolate Los Angeles, and Emilio Estevez as the\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"s1\"\u003enihilistic middle\u003c\/span\u003e\u003cspan class=\"s2\"\u003e-\u003c\/span\u003e\u003cspan class=\"s1\"\u003eclass punk he takes under his wing. The job becomes more than either of them bargained for when they get involved in repossessing a mysterious \u003c\/span\u003e\u003cspan class=\"s2\"\u003e—\u003c\/span\u003e\u003cspan class=\"s1\"\u003eand otherworldly\u003c\/span\u003e\u003cspan class=\"s2\"\u003e—\u003c\/span\u003e\u003cspan class=\"s1\"\u003eChevy Malibu with a hefty reward attached to it. Featuring the ultimate early\u003c\/span\u003e\u003cspan class=\"s2\"\u003e-\u003c\/span\u003e\u003cspan class=\"s1\"\u003eeighties LA punk soundtrack, this grungily hilarious odyssey is also a politically trenchant take on President Reagan’s domestic and foreign policies.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstrong\u003eNaked\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"film-sets-contain\"\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"film-sets-contain\"\u003e\n\u003cdiv class=\"film-set-content\"\u003e\n\u003cspan\u003e\u003c\/span\u003e\n\u003cdiv class=\"film-set-descrip\"\u003e\n\u003cp\u003eThe brilliant and controversial\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eNaked,\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003efrom director Mike Leigh, stars David Thewlis as Johnny, a charming and eloquent but relentlessly vicious drifter. Rejecting anyone who might care for him, the volcanic Johnny hurls himself around London on a nocturnal odyssey, colliding with a succession of other desperate and dispossessed people and scorching everyone in his path. With a virtuoso script and raw performances from Thewlis and costars Katrin Cartlidge and Lesley Sharp, Leigh’s depiction of England’s underbelly is an amalgam of black comedy and doomsday prophecy that took the best director and best actor prizes at the 1993 Cannes Film Festival.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstrong\u003eJules and Jim\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"film-sets-contain\"\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"film-sets-contain\"\u003e\n\u003cdiv class=\"film-set-content\"\u003e\n\u003cspan\u003e\u003c\/span\u003e\n\u003cdiv class=\"film-set-descrip\"\u003e\n\u003cp\u003eHailed as one of the finest films ever made,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eJules and Jim\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003echarts, over twenty-five years, the relationship between two friends and the object of their mutual obsession. The legendary François Truffaut directs, and Jeanne Moreau stars as the alluring and willful Catherine, whose enigmatic smile and passionate nature lure Jules (Oskar Werner) and Jim (Henri Serre) into one of cinema’s most captivating romantic triangles. An exuberant and poignant meditation on freedom, loyalty, and the fortitude of love,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eJules and Jim\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ewas a worldwide smash in 1962 and remains every bit as audacious and entrancing today.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstrong\u003eBeing There\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"film-sets-contain\"\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"film-sets-contain\"\u003e\n\u003cdiv class=\"film-set-content\"\u003e\n\u003cspan\u003e\u003c\/span\u003e\n\u003cdiv class=\"film-set-descrip\"\u003e\n\u003cp\u003eIn one of his most finely tuned performances, Peter Sellers plays the pure-hearted, childlike Chance, a gardener who is forced into the wilds of Washington, D.C., when his wealthy guardian dies. Shocked to discover that the real world doesn’t respond to the click of a remote, Chance stumbles into celebrity after being taken under the wing of a tycoon (Melvyn Douglas, in an Oscar-winning performance), who mistakes his protégé’s horticultural mumblings for sagacious pronouncements on life and politics, and whose wife (Shirley MacLaine) targets Chance as the object of her desire. Adapted from a novel by Jerzy Kosinski, this satire, both deeply melancholy and hilarious, is the culmination of Hal Ashby’s remarkable string of films in the 1970s, and a carefully modulated examination of the ideals, anxieties, and media-fueled delusions that shaped American culture during that decade.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstrong\u003eWeekend\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"film-sets-contain\"\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"film-sets-contain\"\u003e\n\u003cdiv class=\"film-set-content\"\u003e\n\u003cspan\u003e\u003c\/span\u003e\n\u003cdiv class=\"film-set-descrip\"\u003e\n\u003cp\u003eThis scathing late-sixties satire from Jean-Luc Godard is one of cinema’s great anarchic works. Determined to collect an inheritance from a dying relative, a bourgeois couple travel across the French countryside while civilization crashes and burns around them. Featuring a justly famous sequence in which the camera tracks along a seemingly endless traffic jam, and rich with historical and literary references, Weekend is a surreally funny and disturbing call for revolution, a depiction of society reverting to savagery, and— according to the credits—the end of cinema itself.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstrong\u003eYi Yi\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"film-sets-contain\"\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"film-sets-contain\"\u003e\n\u003cdiv class=\"film-set-content\"\u003e\n\u003cspan\u003e\u003c\/span\u003e\n\u003cdiv class=\"film-set-descrip\"\u003e\n\u003cp\u003eThe extraordinary, internationally embraced\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eYi Yi\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003e(\u003ci\u003eA One and a Two . . .\u003c\/i\u003e), directed by the late Taiwanese master Edward Yang, follows a middle-class family in Taipei over the course of one year, beginning with a wedding and ending with a funeral. Whether chronicling middle-age father NJ’s tentative flirtations with an old flame or precocious young son Yang-Yang’s attempts at capturing reality with his beloved camera, the filmmaker deftly imbues every gorgeous frame with a compassionate clarity. Warm, sprawling, and dazzling, this intimate epic is one of the undisputed masterworks of the new century.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstrong\u003eThe Night of the Hunter\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"film-sets-contain\"\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"film-sets-contain\"\u003e\n\u003cdiv class=\"film-set-content\"\u003e\n\u003cspan\u003e\u003c\/span\u003e\n\u003cdiv class=\"film-set-descrip\"\u003e\n\u003cp\u003e\u003ci\u003eThe Night of the Hunter\u003c\/i\u003e—incredibly, the only film the great actor Charles Laughton ever directed—is truly a stand-alone masterwork. A horror movie with qualities of a Grimm fairy tale, it stars a sublimely sinister Robert Mitchum as a traveling preacher named Harry Powell (he of the tattooed knuckles), whose nefarious motives for marrying a fragile widow, played by Shelley Winters, are uncovered by her terrified young children. Graced by images of eerie beauty and a sneaky sense of humor, this ethereal, expressionistic American classic—also featuring the contributions of actress Lillian Gish and writer James Agee—is cinema’s most eccentric rendering of the battle between good and evil.\u003c\/p\u003e\n\u003cp\u003eThe Night of the Hunter\u003ci\u003e\u003cspan\u003e \u003c\/span\u003ewas restored by the UCLA Film \u0026amp; Television Archive in cooperation with Metro-Goldwyn-Mayer Studios, Inc., with funding provided by Robert Sturm and The Film Foundation.\u003c\/i\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstrong\u003ePickpocket\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"film-sets-contain\"\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"film-sets-contain\"\u003e\n\u003cdiv class=\"film-set-content\"\u003e\n\u003cspan\u003e\u003c\/span\u003e\n\u003cdiv class=\"film-set-descrip\"\u003e\n\u003cp\u003eThis incomparable story of crime and redemption from the French master Robert Bresson follows Michel, a young pickpocket who spends his days working the streets, subway cars, and train stations of Paris. As his compulsive pursuit of the thrill of stealing grows, however, so does his fear that his luck is about to run out. A cornerstone of the career of this most economical and profoundly spiritual of filmmakers,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePickpocket\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis an elegantly crafted, tautly choreographed study of humanity in all its mischief and grace, the work of a director at the height of his powers.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstrong\u003eSweet Smell of Success\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"film-sets-contain\"\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"film-sets-contain\"\u003e\n\u003cdiv class=\"film-set-content\"\u003e\n\u003cdiv class=\"film-set-descrip\"\u003e\n\u003cp\u003eIn the swift, cynical\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eSweet Smell of Success,\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003edirected by Alexander Mackendrick, Burt Lancaster stars as the vicious Broadway gossip columnist J. J. Hunsecker, and Tony Curtis as Sidney Falco, the unprincipled press agent Hunsecker ropes into smearing the up-and-coming jazz musician romancing his beloved sister. Featuring deliciously unsavory dialogue, in an acid, brilliantly structured script by Clifford Odets and Ernest Lehman, and noirish neon cityscapes from Oscar-winning cinematographer James Wong Howe,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eSweet Smell of Success\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eis a cracklingly cruel dispatch from the kill-or-be-killed wilds of 1950s Manhattan.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstrong\u003eOn the Waterfront\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"film-sets-contain\"\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"film-sets-contain\"\u003e\n\u003cdiv class=\"film-set-content\"\u003e\n\u003cspan\u003e\u003c\/span\u003e\n\u003cdiv class=\"film-set-descrip\"\u003e\n\u003cp\u003eMarlon Brando gives the performance of his career as the tough prizefighter-turned-longshoreman Terry Malloy in this masterpiece of urban poetry. A raggedly emotional tale of individual failure and social corruption,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eOn the Waterfront\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003efollows Terry’s deepening moral crisis as he must decide whether to remain loyal to the mob-connected union boss Johnny Friendly (Lee J. Cobb) and Johnny’s right-hand man, Terry’s brother, Charley (Rod Steiger), as the authorities close in on them. Driven by the vivid, naturalistic direction of Elia Kazan and savory, streetwise dialogue by Budd Schulberg, On the Waterfront was an instant sensation, winning eight Oscars®, including for best picture, director, actor, supporting actress (Eva Marie Saint), and screenplay.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cstrong\u003eDo the Right Thing\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"film-sets-contain\"\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"film-sets-contain\"\u003e\n\u003cdiv class=\"film-set-content\"\u003e\n\u003cspan\u003e \u003c\/span\u003eSet on one block of Brooklyn’s Bed-Stuy Do or Die neighborhood, at the height of summer, this 1989 masterpiece by Spike Lee confirmed him as a writer and filmmaker of peerless vision and passionate social engagement. Over the course of a single day, the easygoing interactions of a cast of unforgettable characters—Da Mayor, Mother Sister, Mister Señor Love Daddy, Tina, Sweet Dick Willie, Buggin Out, Radio Raheem, Sal, Pino, Vito, and Lee’s Mookie among them—give way to heated confrontations as tensions rise along racial fault lines, ultimately exploding into violence. Punctuated by the anthemic refrain of Public Enemy’s “Fight the Power,”\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eDo the Right Thing\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eis a landmark in American cinema, as politically and emotionally charged and as relevant now as when it first hit the big screen.\u003c\/div\u003e\n\u003cbr\u003e\n\u003cdiv class=\"film-set-content\"\u003e\n\u003cp class=\"film-set-title\"\u003e\u003cstrong\u003eRatcatcher\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv class=\"film-set-descrip\"\u003e\n\u003cp\u003eIn her breathtaking and assured debut feature, Lynne Ramsay creates a haunting evocation of a troubled Glasgow childhood. Set during Scotland’s national garbage strike of the mid-1970s,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eRatcatcher\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eexplores the experiences of a poor adolescent boy as he struggles to reconcile his dreams and his guilt with the abjection that surrounds him. Utilizing beautiful, elusive imagery, candid performances, and unexpected humor, Ramsay deftly contrasts urban decay with a rich interior landscape of hope and perseverance, resulting in a work at once raw and deeply poetic.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003cdiv class=\"film-set-content\"\u003e\n\u003cp class=\"film-set-title\"\u003e\u003cstrong\u003eSunday Bloody Sunday\u003c\/strong\u003e\u003c\/p\u003e\n\u003cspan\u003e\u003c\/span\u003e\n\u003cdiv class=\"film-set-descrip\"\u003e\n\u003cp\u003eJohn Schlesinger followed his iconic\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eMidnight Cowboy\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ewith this deeply personal take on love and sex.\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eSunday Bloody Sunday\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003edepicts the romantic lives of two Londoners, a middle-aged doctor and a prickly thirtysomething divorcée—played with great sensitivity by Peter Finch and Glenda Jackson—who are sleeping with the same handsome young artist (Murray Head). A revelation in its day, this may be the seventies’ most intelligent, multitextured film about the complexities of romantic relationships.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003cdiv class=\"film-set-content\"\u003e\n\u003cp class=\"film-set-title\"\u003e\u003cstrong\u003eMirror\u003c\/strong\u003e\u003c\/p\u003e\n\u003cspan\u003e\u003c\/span\u003e\n\u003cdiv class=\"film-set-descrip\"\u003e\n\u003cp\u003eA subtly ravishing passage through the halls of time and memory, this sublime reflection on twentieth-century Russian history by Andrei Tarkovsky (\u003cem\u003eStalker\u003c\/em\u003e) is as much a poem composed in images, or a hypnagogic hallucination, as it is a work of cinema. In a richly textured collage of varying film stocks and newsreel footage, the recollections of a dying poet flash before our eyes, his dreams mingling with scenes of childhood, wartime, and marriage, all imbued with the mystical power of a trance. Largely dismissed by Soviet critics on its release because of its elusive narrative structure,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eMirror\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ehas since taken its place as one of the director’s most renowned and influential works, a stunning personal statement from an artist transmitting his innermost thoughts and feelings directly from psyche to screen.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003cdiv class=\"film-set-content\"\u003e\n\u003cp class=\"film-set-title\"\u003e\u003cstrong\u003eBarry Lyndon\u003c\/strong\u003e\u003c\/p\u003e\n\u003cspan\u003e\u003c\/span\u003e\n\u003cdiv class=\"film-set-descrip\"\u003e\n\u003cp\u003eStanley Kubrick bent the conventions of the historical drama to his own will in this dazzling vision of a pitiless aristocracy, adapted from a novel by William Makepeace Thackeray. In picaresque detail,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eBarry Lyndon\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003echronicles the adventures of an incorrigible trickster (Ryan O’Neal) whose opportunism takes him from an Irish farm to the battlefields of the Seven Years’ War and the parlors of high society. For the most sumptuously crafted film of his career, Kubrick recreated the decadent surfaces and intricate social codes of the period, evoking the light and texture of eighteenth-century painting with the help of pioneering cinematographic techniques and lavish costume and production design, all of which earned Academy Awards. The result is a masterpiece—a sardonic, devastating portrait of a vanishing world whose opulence conceals the moral vacancy at its heart.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003cdiv class=\"film-set-content\"\u003e\n\u003cp class=\"film-set-title\"\u003e\u003cstrong\u003eSafe\u003c\/strong\u003e\u003c\/p\u003e\n\u003cspan\u003e\u003c\/span\u003e\n\u003cdiv class=\"film-set-descrip\"\u003e\n\u003cp\u003eJulianne Moore gives a breakthrough performance as Carol White, a Los Angeles housewife in the late 1980s who comes down with a debilitating illness. After the doctors she sees can give her no clear diagnosis, she comes to believe that she has frighteningly extreme environmental allergies. A profoundly unsettling work from the great American director Todd Haynes,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eSafe\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003efunctions on multiple levels: as a prescient commentary on self-help culture, as a metaphor for the AIDS crisis, as a drama about class and social estrangement, and as a horror film about what you cannot see. This revelatory drama was named the best film of the 1990s in a\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eVillage Voice\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003epoll of more than fifty critics.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003cdiv class=\"film-set-content\"\u003e\n\u003cp class=\"film-set-title\"\u003e\u003cstrong\u003eSeconds\u003c\/strong\u003e\u003c\/p\u003e\n\u003cspan\u003e\u003c\/span\u003e\n\u003cdiv class=\"film-set-descrip\"\u003e\n\u003cp\u003eRock Hudson is a revelation in this sinister, science-fiction-inflected dispatch from the fractured 1960s.\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eSeconds,\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003edirected by John Frankenheimer, concerns a middle-aged banker who, dissatisfied with his suburban existence, elects to undergo a strange and elaborate procedure that will grant him a new life. Starting over in America, however, is not as easy as it sounds. This paranoiac symphony of canted camera angles (courtesy of famed cinematographer James Wong Howe), fragmented editing, and layered sound design is a remarkably risk-taking Hollywood film that ranks high on the list of its legendary director’s achievements.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003cdiv class=\"film-set-content\"\u003e\n\u003cp class=\"film-set-title\"\u003e\u003cstrong\u003eHis Girl Friday\u003c\/strong\u003e\u003c\/p\u003e\n\u003cspan\u003e\u003c\/span\u003e\n\u003cdiv class=\"film-set-descrip\"\u003e\n\u003cp\u003eOne of the fastest, funniest, and most quotable films ever made,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eHis Girl Friday\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003estars Rosalind Russell as reporter Hildy Johnson, a standout among cinema’s powerful women. Hildy is matched in force only by her conniving but charismatic editor and ex-husband, Walter Burns (played by the peerless Cary Grant), who dangles the chance for her to scoop her fellow news writers with the story of an impending execution in order to keep her from hopping the train that’s supposed to take her to Albany and a new life as a housewife. When adapting Ben Hecht and Charles MacArthur’s smash hit play\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Front Page,\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003edirector Howard Hawks had the inspired idea of turning star reporter Hildy Johnson into a woman, and the result is an immortal mix of hard-boiled newsroom setting with ebullient remarriage comedy. Also presented here is a brand-new restoration of the 1931 film\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Front Page,\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eLewis Milestone’s famous pre-Code adaptation of the same material.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003cdiv class=\"film-set-content\"\u003e\n\u003cp class=\"film-set-title\"\u003e\u003cstrong\u003eMishima: A Life in Four Chapters\u003c\/strong\u003e\u003c\/p\u003e\n\u003cspan\u003e\u003c\/span\u003e\n\u003cdiv class=\"film-set-descrip\"\u003e\n\u003cp\u003ePaul Schrader’s visually stunning, collagelike portrait of the acclaimed Japanese author and playwright Yukio Mishima (played by Ken Ogata) investigates the inner turmoil and contradictions of a man who attempted the impossible task of finding harmony among self, art, and society. Taking place on the last day of Mishima’s life, when he famously committed public seppuku, the film is punctuated by extended flashbacks to the writer’s past as well as gloriously stylized evocations of his fictional works. With its rich cinematography by John Bailey, exquisite sets and costumes by Eiko Ishioka, and unforgettable, highly influential score by Philip Glass,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eMishima: A Life in Four Chapters\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis a tribute to its subject and a bold, investigative work of art in its own right.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003cdiv class=\"film-set-content\"\u003e\n\u003cp class=\"film-set-title\"\u003e\u003cstrong\u003eY tu mamá también\u003c\/strong\u003e\u003c\/p\u003e\n\u003cspan\u003e\u003c\/span\u003e\n\u003cdiv class=\"film-set-descrip\"\u003e\n\u003cp\u003eThis smash road comedy from Oscar-winning director Alfonso Cuarón is that rare movie to combine raunchy subject matter and emotional warmth. Gael García Bernal and Diego Luna shot to international stardom as a pair of horny Mexico City teenagers from different classes who, after their girlfriends jet off to Italy for the summer, are bewitched by a gorgeous older Spanish woman (Maribel Verdú) they meet at a wedding. When she agrees to accompany them on a trip to a faraway beach, the three form an increasingly intense and sensual alliance that ultimately strips them both physically and emotionally bare. Shot with elegance and dexterity by the great Emmanuel Lubezki,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eY tu mamá también\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eis a funny and moving look at human desire.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003cdiv class=\"film-set-content\"\u003e\n\u003cp class=\"film-set-title\"\u003e\u003cstrong\u003eMy Own Private Idaho\u003c\/strong\u003e\u003c\/p\u003e\n\u003cspan\u003e\u003c\/span\u003e\n\u003cdiv class=\"film-set-descrip\"\u003e\n\u003cp\u003eRiver Phoenix and Keanu Reeves star in this haunting tale from Gus Van Sant about two young street hustlers: Mike Waters, a sensitive narcoleptic who dreams of the mother who abandoned him, and Scott Favor, the wayward son of the mayor of Portland and the object of Mike’s desire. Navigating a volatile world of junkies, thieves, and johns, Mike takes Scott on a quest along the grungy streets and open highways of the Pacific Northwest, in search of an elusive place called home. Visually dazzling and thematically groundbreaking,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eMy Own Private Idaho\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eis a deeply moving look at unrequited love and life on society’s margins.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003cdiv class=\"film-set-content\"\u003e\n\u003cp class=\"film-set-title\"\u003e\u003cstrong\u003eLove \u0026amp; Basketball\u003c\/strong\u003e\u003c\/p\u003e\n\u003cspan\u003e\u003c\/span\u003e\n\u003cdiv class=\"film-set-descrip\"\u003e\n\u003cp\u003eSparks fly both on and off the court in this groundbreaking feature debut by writer-director Gina Prince-Bythewood (\u003cem\u003eThe Old Guard\u003c\/em\u003e), which elevated the coming-of-age romance by giving honest expression to the challenges female athletes face in a world that doesn’t see them as equal. Sanaa Lathan (\u003cem\u003eAlien vs. Predator\u003c\/em\u003e) and Omar Epps (\u003cem\u003eHigher Learning\u003c\/em\u003e) make for one of the most iconic screen couples of the 2000s as the basketball-obsessed next-door neighbors who find love over flirtatious pickup games, fall apart under the strain of high-pressure college hoops and families, and drift in and out of each other’s lives as they pursue their twin aspirations of playing professionally. Aided by stellar supporting performances and an eclectic R\u0026amp;B soundtrack,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eLove \u0026amp; Basketball\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ecaptures the intoxicating passions, heartbreaking setbacks, and sky-high ambitions that mark a young woman’s journey to the top of her game and to lasting love.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003cdiv class=\"film-set-content\"\u003e\n\u003cp class=\"film-set-title\"\u003e\u003cstrong\u003eNight of the Living Dead\u003c\/strong\u003e\u003c\/p\u003e\n\u003cspan\u003e\u003c\/span\u003e\n\u003cdiv class=\"film-set-descrip\"\u003e\n\u003cp\u003eShot outside Pittsburgh on a shoestring budget, by a band of filmmakers determined to make their mark,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eNight of the Living Dead,\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003edirected by horror master George A. Romero, is a great story of independent cinema: a midnight hit turned box-office smash that became one of the most influential films of all time. A deceptively simple tale of a group of strangers trapped in a farmhouse who find themselves fending off a horde of recently dead, flesh-eating ghouls, Romero’s claustrophobic vision of a late-1960s America literally tearing itself apart rewrote the rules of the horror genre, combining gruesome gore with acute social commentary and quietly breaking ground by casting a Black actor (Duane Jones) in its lead role.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eNight of the Living Dead\u003ci\u003e\u003cspan\u003e \u003c\/span\u003ewas restored by the Museum of Modern Art and The Film Foundation, with funding provided by the George Lucas Family Foundation and the Celeste Bartos Preservation Fund.\u003c\/i\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003cdiv class=\"film-set-content\"\u003e\n\u003cp class=\"film-set-title\"\u003e\u003cstrong\u003eAce in the Hole\u003c\/strong\u003e\u003c\/p\u003e\n\u003cspan\u003e\u003c\/span\u003e\n\u003cdiv class=\"film-set-descrip\"\u003e\n\u003cp\u003eBilly Wilder’s\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eAce in the Hole\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eis one of the most scathing indictments of American culture ever produced by a Hollywood filmmaker. Kirk Douglas gives the fiercest performance of his career as Chuck Tatum, an amoral newspaper reporter who washes up in dead-end Albuquerque, happens upon the scoop of a lifetime, and will do anything to keep getting the lurid headlines. Wilder’s follow-up to\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eSunset Boulevard\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eis an even darker vision, a no-holds-barred exposé of the American media’s appetite for sensation that has gotten only more relevant with time.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003cdiv class=\"film-set-content\"\u003e\n\u003cp class=\"film-set-title\"\u003e\u003cstrong\u003e3 Women\u003c\/strong\u003e\u003c\/p\u003e\n\u003cspan\u003e\u003c\/span\u003e\n\u003cdiv class=\"film-set-descrip\"\u003e\n\u003cp\u003eIn a dusty, underpopulated California resort town, a naive southern waif, Pinky Rose (Sissy Spacek), idolizes and befriends her fellow nurse, the would-be sophisticate and “thoroughly modern” Millie Lammoreaux (Shelley Duvall). When Millie takes Pinky in as her roommate, Pinky’s hero worship evolves into something far stranger and more sinister than either could have anticipated. Featuring brilliant performances from Spacek and Duvall, this dreamlike masterpiece from Robert Altman careens from the humorous to the chilling to the surreal, resulting in one of the most unusual and compelling films of the 1970s.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003cdiv class=\"film-set-content\"\u003e\n\u003cp class=\"film-set-title\"\u003e\u003cstrong\u003eThe Red Shoes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cspan\u003e\u003c\/span\u003e\n\u003cdiv class=\"film-set-descrip\"\u003e\n\u003cp\u003e\u003ci\u003e\u003c\/i\u003e\u003cem\u003eThe Red Shoes,\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003ethe singular fantasia from Michael Powell and Emeric Pressburger, is cinema’s quintessential backstage drama, as well as one of the most glorious Technicolor feasts ever concocted for the screen. Moira Shearer is a rising star ballerina torn between an idealistic composer and a ruthless impresario intent on perfection. Featuring outstanding performances, blazingly beautiful cinematography by Jack Cardiff, Oscar-winning sets and music, and an unforgettable, hallucinatory central dance sequence, this beloved classic, dazzlingly restored, stands as an enthralling tribute to the life of the artist.\u003c\/p\u003e\n\u003cp\u003eThe Red Shoes\u003ci\u003e\u003cspan\u003e \u003c\/span\u003ewas restored by the UCLA Film \u0026amp; Television Archive in association with the BFI, The Film Foundation, ITV Global Entertainment Ltd., and Janus Films. Restoration funding provided by the Hollywood Foreign Press Association, The Film Foundation, and the Louis B. Mayer Foundation.\u003c\/i\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003cdiv class=\"film-set-content\"\u003e\n\u003cp class=\"film-set-title\"\u003e\u003cstrong\u003eDown by Law\u003c\/strong\u003e\u003c\/p\u003e\n\u003cspan\u003e\u003c\/span\u003e\n\u003cdiv class=\"film-set-descrip\"\u003e\n\u003cp\u003eDirector Jim Jarmusch followed up his brilliant breakout film\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eStranger Than Paradise\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ewith another, equally beloved portrait of loners and misfits in the American landscape. When fate brings together three hapless men—an unemployed disc jockey (Tom Waits), a small-time pimp (John Lurie), and a strong-willed Italian tourist (Roberto Benigni)—in a Louisiana prison, a singular adventure ensues. Described by Jarmusch as a “neo-Beat noir comedy,”\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eDown by Law\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eis part nightmare and part fairy tale, featuring sterling performances and crisp black-and-white cinematography by the esteemed Robby Müller.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003cdiv class=\"film-set-content\"\u003e\n\u003cp class=\"film-set-title\"\u003e\u003cstrong\u003eLa Ciénaga\u003c\/strong\u003e\u003c\/p\u003e\n\u003cspan\u003e\u003c\/span\u003e\n\u003cdiv class=\"film-set-descrip\"\u003e\n\u003cp\u003eThe release of Lucrecia Martel’s\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eLa Ciénaga\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eheralded the arrival of an astonishingly vital and original voice in Argentine cinema. With a radical and disturbing take on narrative, beautiful cinematography, and a highly sophisticated use of on- and offscreen sound, Martel turns her tale of a dissolute bourgeois extended family, whiling away the hours of one sweaty, sticky summer, into a cinematic marvel. This visceral take on class, nature, sexuality, and the ways that political turmoil and social stagnation can manifest in human relationships is a drama of extraordinary tactility, and one of the great contemporary film debuts.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003cdiv class=\"film-set-content\"\u003e\n\u003cp class=\"film-set-title\"\u003e\u003cstrong\u003eWanda\u003c\/strong\u003e\u003c\/p\u003e\n\u003cspan\u003e\u003c\/span\u003e\n\u003cdiv class=\"film-set-descrip\"\u003e\n\u003cp\u003eWith her first and only feature film—a hard-luck drama she wrote, directed, and starred in—Barbara Loden turned in a groundbreaking work of American independent cinema, bringing to life a kind of character seldom seen on-screen. Set amid a soot-choked Pennsylvania landscape, and shot in an intensely intimate vérité style, the film takes up with distant and soft-spoken Wanda (Loden), who has left her husband, lost custody of her children, and now finds herself alone, drifting between dingy bars and motels, where she falls prey to a series of callous men—including a bank robber who ropes her into his next criminal scheme. An until now difficult-to-see masterpiece that has nonetheless exerted an outsize influence on generations of artists and filmmakers,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eWanda\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eis a compassionate and wrenching portrait of a woman stranded on society’s margins.\u003c\/p\u003e\n\u003cp\u003eWanda\u003ci\u003e\u003cspan\u003e \u003c\/span\u003ewas restored by the UCLA Film \u0026amp; Television Archive. Restoration funding provided by Gucci and The Film Foundation.\u003c\/i\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003cdiv class=\"film-set-content\"\u003e\n\u003cp class=\"film-set-title\"\u003e\u003cstrong\u003eHouse\u003c\/strong\u003e\u003c\/p\u003e\n\u003cspan\u003e\u003c\/span\u003e\n\u003cdiv class=\"film-set-descrip\"\u003e\n\u003cp\u003eHow to describe Nobuhiko Obayashi’s indescribable 1977 movie\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eHouse\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003e(\u003ci\u003eHausu\u003c\/i\u003e)? As a psychedelic ghost tale? A stream-of-consciousness bedtime story? An episode of\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eScooby-Doo\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eas directed by Mario Bava? Any of the above will do for this hallucinatory head trip about a schoolgirl who travels with six classmates to her ailing aunt’s creaky country home and comes face-to-face with evil spirits, a demonic house cat, a bloodthirsty piano, and other ghoulish visions, all realized by Obayashi via mattes, animation, and collage effects. Equally absurd and nightmarish,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eHouse\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003emight have been beamed to Earth from some other planet. Never before available on home video in the United States, it’s one of the most exciting cult discoveries in years.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003cdiv class=\"film-set-content\"\u003e\n\u003cp class=\"film-set-title\"\u003e\u003cstrong\u003eSullivan’s Travels\u003c\/strong\u003e\u003c\/p\u003e\n\u003cspan\u003e\u003c\/span\u003e\n\u003cdiv class=\"film-set-descrip\"\u003e\n\u003cp\u003eTired of churning out lightweight comedies, Hollywood director John L. Sullivan (Joel McCrea) decides to make\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eO Brother, Where Art Thou?\u003c\/i\u003e—a serious, socially responsible film about human suffering. After his producers point out that he knows nothing of hardship, Sullivan hits the road disguised as a hobo. En route to enlightenment, he encounters a lovely but no-nonsense young woman (Veronica Lake)—and more trouble than he ever dreamed of. This comic masterpiece by Preston Sturges is among the finest Hollywood satires and a high-water mark in the career of one of the industry’s most revered funnymen.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003cdiv class=\"film-set-content\"\u003e\n\u003cp class=\"film-set-title\"\u003e\u003cstrong\u003eThe Battle of Algiers\u003c\/strong\u003e\u003c\/p\u003e\n\u003cspan\u003e\u003c\/span\u003e\n\u003cdiv class=\"film-set-descrip\"\u003e\n\u003cp\u003eOne of the most influential political films in history,\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eThe Battle of Algiers,\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eby Gillo Pontecorvo, vividly re-creates a key year in the tumultuous Algerian struggle for independence from the occupying French in the 1950s. As violence escalates on both sides, children shoot soldiers at point-blank range, women plant bombs in cafés, and French soldiers resort to torture to break the will of the insurgents. Shot on the streets of Algiers in documentary style, the film is a case study in modern warfare, with its terrorist attacks and the brutal techniques used to combat them. Pontecorvo’s tour de force has astonishing relevance today.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003cdiv class=\"film-set-content\"\u003e\n\u003cp class=\"film-set-title\"\u003e\u003cstrong\u003eA Woman Under the Influence\u003c\/strong\u003e\u003c\/p\u003e\n\u003cspan\u003e\u003c\/span\u003e\n\u003cdiv class=\"film-set-descrip\"\u003e\n\u003cp\u003eThis uncompromising portrait of domestic turmoil details the emotional breakdown of a suburban housewife and her family’s struggle to save her from herself. Gena Rowlands and Peter Falk give unforgettably harrowing performances as a married couple deeply in love but unable to express their ardor in terms the other can understand. This landmark American film is perhaps the most beloved work from the extraordinary John Cassavetes.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003cdiv class=\"film-set-content\"\u003e\n\u003cp class=\"film-set-title\"\u003e\u003cstrong\u003eCléo from 5 to 7\u003c\/strong\u003e\u003c\/p\u003e\n\u003cspan\u003e\u003c\/span\u003e\n\u003cdiv class=\"film-set-descrip\"\u003e\n\u003cp\u003eAgnès Varda eloquently captures Paris in the sixties with this real-time portrait of a singer (Corinne Marchand) set adrift in the city as she awaits test results of a biopsy. A chronicle of the minutes of one woman’s life,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eCléo from 5 to 7\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eis a spirited mix of vivid vérité and melodrama, featuring a score by Michel Legrand (\u003cem\u003eThe Umbrellas of Cherbourg\u003c\/em\u003e) and cameos by Jean-Luc Godard and Anna Karina.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003cdiv class=\"film-set-content\"\u003e\n\u003cp class=\"film-set-title\"\u003e\u003cstrong\u003ePersona\u003c\/strong\u003e\u003c\/p\u003e\n\u003cspan\u003e\u003c\/span\u003e\n\u003cdiv class=\"film-set-descrip\"\u003e\n\u003cp\u003eBy the midsixties, Ingmar Bergman had already conjured many of the cinema’s most unforgettable images. But with the radical\u003cspan\u003e \u003c\/span\u003e\u003ci\u003ePersona,\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ehe attained new levels of visual poetry. In the first of a series of legendary performances for Bergman, Liv Ullmann plays a stage actor who has inexplicably gone mute; an equally mesmerizing Bibi Andersson is the garrulous young nurse caring for her in a remote island cottage. While isolated together there, the women undergo a mysterious spiritual and emotional transference. Performed with astonishing nuance and shot in stark contrast and soft light by Sven Nykvist, the influential\u003cspan\u003e \u003c\/span\u003e\u003ci\u003ePersona\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eis a penetrating, dreamlike work of profound psychological depth.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003cdiv class=\"film-set-content\"\u003e\n\u003cp class=\"film-set-title\"\u003e\u003cstrong\u003eIn the Mood for Love\u003c\/strong\u003e\u003c\/p\u003e\n\u003cspan\u003e\u003c\/span\u003e\n\u003cdiv class=\"film-set-descrip\"\u003e\n\u003cp\u003eHong Kong, 1962: Chow Mo-Wan (Tony Leung Chiu Wai) and Su Li-Zhen (Maggie Cheung Man Yuk) move into neighboring apartments on the same day. Their encounters are formal and polite—until a discovery about their spouses creates an intimate bond between them. At once delicately mannered and visually extravagant, Wong Kar Wai’s\u003ci\u003e\u003cspan\u003e \u003c\/span\u003eIn the Mood for Love\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eis a masterful evocation of romantic longing and fleeting moments. With its aching soundtrack and exquisitely abstract cinematography by Christopher Doyle and Mark Lee Ping Bing, this film has been a major stylistic influence on the past two decades of cinema, and is a milestone in Wong’s redoubtable career.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Criterion Collection","offers":[{"title":"Default Title","offer_id":44072412545224,"sku":"CC3600BD","price":1099.99,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0598\/8486\/3688\/files\/cc40bd.jpg?v=1725213953","url":"https:\/\/videomatica.com\/es\/products\/cc40-blu-ray","provider":"Videomatica Ltd (since 1983)","version":"1.0","type":"link"}