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One of the things I love the most about my experience with Criterion is that I've not only discovered films which are key to the experience of world cinema but also some stuff that is kind of off the beaten path. Here's some selections of movies that took me awhile to get into, while being all the more significant because of it.
It's a good example of how we've been socialized to see romantic couples in a particular way that the very presence of this love story is somehow strange or jarring. Hats off to the mad, manic, brilliant Fassbender for challenging his audience this exquisitely.
I've shown this movie to an entire room full of people and not one of them didn't laugh at the right times, sigh at the right times, and chuckle ruefully at the right times. Very few people had heard of it, and this is a damn shame. Everybody should enjoy this movie- props to Criterion for putting it out.
I've seen most of the Bresson oevre and I like them well enough, but I like this one much more. I would even say that the things people seem to enjoy about Bresson are the things I enjoy about this movie in particular. Godard said- accurately- that it pretty much explains the world in 90 minutes. High praise and true indeed.
I tried and tried to get into this movie, I watched it maybe 5 or 6 times and I fell asleep more often than not. That's no slag on Fellini (I watch movies late at night, only light on in a dark room, etc) but I just couldn't see this movie for the wonderful, funny, beautiful and socially rich docu-dream that it is. Had to buy the beautiful edition Criterion put out, packaging and everything. Can't wait to show this to people and see them slowly enaptured by its warm and wise understanding.
badass French fatalistic gangster flick that would have made 500 million bucks had it been directed by Stephen Spielberg. But, if it had been directed by Speilberg, it really wouldn't have been what it is, right?
Same as above.
great movie unjustly shuffled into the B level market happily saved by Criterion's tasteful and perspicatious eye. Capitalism, masculinity and grim determination all come together in a crackling, remarkable mix.
Such a moving experience. I'm not religious and consider myself as much as secular humanist as I can be but this is the kind of thing I mean when I say that I don't believe in God but that I am not an atheist. I believe in whatever compelled Dreyer and Falconetti to make this movie- it's all in the eyes. It's a Rilke/ A Love Supreme/ Johhny Cash singing spirituals situation. Nothing like it, quite honestly. Proud to own it.
In a way, I'm not all that surprised that this was an unexpected hit in the Stateside arthouse market. Tricky, odd, subversively erotic and symbolically surprising. Hard to miss, but enriching to experience.