Lost in Criterion

The second of our pair of Ozu films finds the director between World War II deployments bringing to screen a script he'd been working on for nearly a decade about loyalty to one's father, and by extension -- perhaps at least to the Japanese censor board that celebrated the film -- loyalty to one's emperor. This is the closest thing to a propaganda film we've seen from Ozu, but we're not convinced...

We kick off a pair of early Yasujirō Ozu sound films this week, and first up is his earliest. The Only Son (1936) comes out during a time period in Japan that we have yet to see represented in films from the country: directly pre-war as the right-wing imperialists are cementing their rule. Against that backdrop, and just months before Ozu himself would be drafted, The Only Son looks at the sacrifi...

Carol Reed helms a film that suggests screenwriters Sidney Gilliat and Frank Launder only had one plot. Night Train to Munich shares a lot of bones with the pairs' previously penned film, Hitchcock's The Lady Vanishes, functioning as something between remake and sequel as well as being the second entry in the multimedia Charters and Caldicott Cinematic Universe. It's silly, it's fun, and the model...

Visually, aurally, and plot-wise this is a movie that is absolutely about the choking hellscape extractive capitalism forces us to live in, and the alienating spiritual sickness such a system causes. That is, unless you take the director's word on what that movie is actually about. Red Desert (1964) is Michelangelo Antonioni's ode to "progress" in which climate anxiety sounds like a you problem.

Jim Jarmusch's ode to the musical legacy of Memphis, Tennessee, Mystery Train (1989) gives us three vignettes that take place simultaneously, each telling the story of non-Americans experiencing the city over one night and showing a peak at the city's racial history.

We joke this week that Swedish dramas are the bread and butter of the Criterion Collection, but Everlasting Moments is set apart from the rest through not being directed by Ingmar Bergman. Jan Troell's biopic of his wife's great aunt shows us a unique picture of a woman's life in early 20th century Sweden and the freedom found in artistic pursuit.

Abbas Kiarostami's Close-up (1990) explores a real-life incident of celebrity impersonation in late '80s Iran through a mixture of documentary, recreation, and the director guiding the narrative as events still unfold. Because of that last element, exactly what mix of reality and fiction exists is up for debate, and in the end, much of what really happened only happened because of Kiarostami's inf...

Our experiment of walking through Stan Brakhage, An Anthology Volume Two at a reasonable pace comes to an end this week. After our rush through Volume One years ago we had liked Brakhage, and now after spending so much more time with him, well...we definitely still love his work, but here's hoping it's another few years before Criterion puts out Volume Three. This week we cover films from the last...

This week's selection of Stan Brakhage films has works from 1982, 1992, and 1994, all multi-media, mixing many of the Brakhage "genres": painted frames, manipulated photographic images, layering. We also get another with a soundtrack from Rick Corrigan, and one with probably the most on-screen (and almost legible!) text of any Brakhage film at all.

By Brakhage Volume Two Program 4 is totally dedicated to Stan Brakhage's 1989-90 four film cycle Visions in Meditation. Inspired by Gertrude Stein's Stanzas in Meditation, the films take us on a journey into a meditative state, working better as a complete work than as four individual pieces. This is the only complete cycle of Brakhage's work in the Criterion sets, despite other films drawn from c...

We continue our journey through By Brakhage, An Anthology Volume Two with a collection of works from 1972-1982 including the remix-y mashup of violence that is Murder Psalm and a few others that are less intense than that.

For By Brakhage: An Anthology, Volume One many years ago we tried to do the whole set in a single episode like we were trying to get the new world record for getting through the Louvre the fastest. These are art films, so for Volume Two we're taking our time to appreciate them and dedicating an individual episode to each of the six "Programs" that Criterion breaks the set down into. This is episod...

Many years ago Criterion served us up By Brakhage: An Anthology collecting a nice cross section, or so we thought, of the works of experimental American filmmaker Stan Brakhage. We're back with Volume Two and a much wider cross section of the man's work, including styles of piece completely missing from Volume One. Back then we tried to talk about 26 Brakhage films in a single episode. It was a fo...

This week we're joined by Adam Spieckermann to talk the stunt work, beautiful setting, and class politics of John Ford's Stagecoach (1939), the star-making role for John Wayne.

Somehow The Fugitive Kind (1960) is our first Sidney Lumet film for the proper podcast despite having done three Sidney Lumet films for our Patreon bonus episodes. Based on a Tennessee Williams play (in turn based on the Orpheus myth), we spend most of this episode trying to put our fingers on what doesn't quite work about it.

I don't know if we ultimately got what Ang Lee wanted us to get out of Ride with the Devil (1999) but we still got something. An interesting, though perhaps too neo-liberal, look at how young men turn to (and from) extremism in extreme times. Still, it's a pretty movie with Jeffrey Wright and Jewel turning in phenomenal performances.

Olivier Assayas' look at what we inherit from our parents was sponsored by the Paris Musee D'orsay for their 20th anniversary and from that partnership came a movie with a satisfyingly over-ambitious art direction in any modern film we've seen.

Like much of the early work of Jean-Luc Godard (and the rest of the young directors of the French New Wave), Vivre sa Vie (1962) wears its American influences on its sleeves. Perhaps better than our experiences with other pre-1968 Godard work, we can see the seeds of the more explicitly Marxist ideology that will bubble up in his work later in the decade. And that's probably not the only way this...

This week we finish up the Pedro Costa boxset Letters from Fontainhas with Colossal Youth which is a beautiful and affecting piece of art, despite the fact that we are still left a bit suspicious of Costa's politics.

We continue through the Letters from Fontainhas boxset this week. The story goes that one of the co-stars of Pedro Costa's Ossos, Vanda Duarte, invited Costa to see what her life was really like, and Costa decided to strip the artifice of film down to its essentials or something and make a "docufiction" film about Vanda and Fontainhas with just his subjects, himself, and a handheld DV camera.

We start a box set from director Pedro Costa this week. "Letters from Fontainhas" contains three of Costa's films set in the impoverished Lisbon neighborhood of Fontainhas. Ossos (1997) is our first, and the closest to a traditional film. While "closest" is doing a lot of work in that sentence, the others move from outright narrative fiction to something more accurately labeled "docufiction" or ev...

Last week we had a long conversation about the nature of ennui today and this week Nicholas Ray swings in with a movie from 1956 reminding us that middle class ideals lead to fascism. I love it when the Criterion Collection gives us unmarked ideological sets.

Marco Ferreri's 1969 film Dillinger is Dead takes a look out how being a victim of alienation under capitalism makes committing oppressive violence feel like liberation. Or at least I hope so, because otherwise it's a bad movie.

Make Way for Tomorrow is one of the most subtly political films we've seen, particularly from America. Leo McCarey's masterpiece tells the story of an older couple forced apart by economic forces, having lost their income and their home in a world were their children cannot financially or emotionally care for them. It stands as a beautifully made depressing drama, but it shines as an example of th...

Director Steve McQueen's feature debut, Hunger is a historical drama about the mistreatment of IRA political prisoners by the British government, particularly centered on Bobby Sands' part in the 1981 hunger strike that led to his death. McQueen and his cast all insist this movie is meant to be apolitical and show that wrong was done on both sides. If that is true, this brilliant film failed its m...