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Eclipse from the Criterion Collection

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The poignant, deadpan films of Aki Kaurismäki are pitched somewhere in the wintry nether lands between comedy and tragedy. And rarely in his body of work has the line separating those genres seemed thinner than in what is often identified as his "Proletariat Trilogy," Shadows in Paradise, Ariel, and The Match Factory Girl. In these three films, something like social-realist farces, Kaurismäki surveys the working-class outcasts of his native Finland with detached yet disarming amusement. Featuring commanding, off-key visual compositions and delightfully dour performances, the films in this triptych exemplify the talents of a unique and highly influential film artist.

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One of Spanish cinema's great auteurs, Carlos Saura brought international audiences closer to the art of his country's dance than any other filmmaker, before or since. In his Flamenco Trilogy—Blood Wedding, Carmen, and El amor brujo—Saura merged his passion for music with his exploration of national identity. All starring and choreographed by legendary dancer Antonio Gades, the films feature thrilling physicality and electrifying cinematography and editing—colorful paeans to bodies in motion as well as to cinema itself.

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William Klein's explosive New York street photography made him one of the most heralded artists of the sixties. An American expatriate in Paris, Klein has also been making challenging cinema for more than forty years, yet with the exception of his acclaimed documentary Muhammad Ali, the Greatest, his film work is barely known in the United States. In his three fiction features—Who Are You, Polly Maggoo?, Mr. Freedom, and The Model Couple—he skewers the fashion industry, American empire, and governmental mind control with hilarious, cutting aplomb. Today Klein's politically galvanizing social critiques seem even more acute than the works of the better-known New Wavers. These are colorful, surreal antidotes to all forms of social oppression.

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Over the course of a nearly forty-year career, Louis Malle forged a reputation as one of the world’s most versatile cinematic storytellers, with such widely acclaimed, and wide-ranging, masterpieces as Elevator to the Gallows, My Dinner with Andre, and Au revoir les enfants. At the same time, however, with less fanfare, Malle was creating a parallel, even more personal body of work as a documentary filmmaker. With the discerning eye of a true artist and the investigatory skills of a great journalist, Malle takes us from a street corner in Paris to America’s heartland to the expanses of India in his astonishing epic Phantom India. These are some of the most engaging and fascinating nonfiction films ever made.

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Before The Seventh Seal and Wild Strawberries established him as one of the great masters of cinema, Ingmar Bergman created a series of devastating but less well-known psychological character studies, marked by intricate, layered narratives, gritty environments, and haunting visuals. These early films, which show the stirrings of the genius to come, remain the hidden treasures of a European cinema on the cusp of a golden age.

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His films have been called raw, outrageous, sensational, and daring. In four decades of directing, Samuel Fuller created a legendarily idiosyncratic oeuvre, examining U.S. history and mythmaking in westerns, film noirs, and war epics. And characteristically, it all began with a bang: after printing the legend with the elegant B-pictures I Shot Jesse James and The Baron of Arizona, he got himself into hot water with the FBI on The Steel Helmet, the first American movie to portray the Korean War. These three independent films showed off Fuller’s genre diversity, gutter wit, and subversive force, and pointed the way to a controversial career in studio moviemaking.

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The career of Larisa Shepitko, an icon of sixties and seventies Soviet cinema, was tragically cut short when she was killed in a car crash at age forty, just as she was emerging on the international scene. The body of work she left behind, though small, is masterful, and her genius for visually evoking characters' interior worlds is never more striking than in her two greatest works: Wings, an intimate yet exhilarating portrait of a female fighter pilot turned provincial headmistress, and The Ascent, a gripping, tragic wartime parable of betrayal and martyrdom. A true artist who had deftly used the Soviet film industry to make statements both personal and universal, Shepitko remains one of the greatest unsung filmmakers of all time.

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Master filmmaker Yasujiro Ozu directed fifty-three feature films over the course of his long career. Yet it was in the final decade of his life, his "old master" phase, that he entered his artistic prime. Centered more than ever on the modern sensibilities of the younger generation, these delicate family dramas are marked by an exquisite formal elegance and emotional sensitivity about birth and death, love and marriage, and all the accompanying joys and loneliness. Along with such better-known films as Floating Weeds and An Autumn Afternoon, these five works illustrate the worldly wisdom of one of cinema’s great artists at the height of his powers.

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Renowned as a silent film pioneer and the man who refined Hollywood comedy with such masterpieces as Trouble in Paradise, The Shop Around the Corner, and To Be or Not to Be, Ernst Lubitsch also had another claim to fame: he helped invent the modern movie musical. With the advent of sound and audiences clamoring for "talkies," Lubitsch combined his love of European operettas and his mastery of film to create this entirely new genre. These elegant, bawdy films, made before strict enforcement of the Hays morality code, feature some of the greatest stars of early Hollywood (Maurice Chevalier, Jeanette MacDonald, Claudette Colbert, Miriam Hopkins), as well as that elusive style of comedy that would thereafter be known as "the Lubitsch touch."

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Akira Kurosawa came into his own as a filmmaker directly following World War II, delving into the state of his devastated nation with a series of pensive, topical dramas. Amid Japan’s economic collapse and U.S. occupation, Kurosawa managed to find humor and redemption existing alongside despair and anxiety. In these five early films, which range from political epic to Capraesque whimsy to courtroom potboiler, Kurosawa revealed the artistic range and social acuity that would mark his career and make him the most popular Japanese director in the world.

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One of the greatest and least-known directors of all time, Raymond Bernard helped shape French cinema, at the dawn of the sound era, into a truly formidable industry. Typical of films from this period, Bernard's dazzling dramas painted intimate melodrama on epic-scale canvases. These two masterpieces—the wrenching World War I tragedy Wooden Crosses and a mammoth, nearly five-hour Les miserables, widely considered the greatest film adaptation of Victor Hugo's novel—exemplify the formal and narrative brilliance of an unjustly overshadowed cinematic trailblazer.

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In the late twenties and early thirties, Yasujiro Ozu was working steadily for Shochiku studios, honing his craft on dozens of silent films in various genres, from romantic melodramas to college comedies to gangster pictures—and, of course, movies about families. In these three droll domestic films—Tokyo Chorus, I Was Born, But . . . , and Passing Fancy, presented here with all-new scores by renowned silent-film composer Donald Sosin—Ozu movingly and humorously depicts middle-class struggles and the resentments between children and parents, establishing the emotional and aesthetic delicacy with which he would transform the landscape of cinema.

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