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Dual-format editions include both Blu-ray and DVD versions of a film in a single package. All supplements are available across both formats.
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SoloMan93: “At its core, the film is a brutal and honest tale of sexual awakenings and the pitfalls behind them. Now make me buy this and stuff it with extras!”
25 Feb 2014
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The mission of the WCP is to preserve and present marginalized and infrequently screened films from regions generally ill equipped to preserve their own cinema history.
SoloMan93: “I've only seen WORLD ON A WIRE and yet I'm already invested in this boxset.”
SoloMan93: “According to an extra I saw on an MST3K boxset, Robert L. Lippert gave Samuel Fuller his start and these films were the end result. Now I'm curious...”
In these three films, something like social-realist farces, Kaurismäki surveys the working-class outcasts of his native Finland with detached yet disarming amusement.
Under Kenji Mizoguchi’s dazzling direction, this classic Japanese story became one of cinema’s greatest masterpieces, a monumental, empathetic expression of human resilience in the face of evil.
SoloMan93: “A modern-day 400 BLOWS of sorts”
In the early 1970s, the great Italian poet, philosopher, and filmmaker Pier Paolo Pasolini brought to the screen a trio of masterpieces of medieval literature.
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In the decades of occult cinema that Polanski’s ungodly masterpiece has spawned, it has never been outdone for sheer psychological terror.
With Vampyr, Danish filmmaker Carl Theodor Dreyer’s brilliance at achieving mesmerizing atmosphere and austere, profoundly unsettling imagery was for once applied to the horror genre. Yet the result is nearly unclassifiable. Vampyr is one of cinema’s great nightmares.
Sensationally modern, G. W. Pabst’s lurid, controversial melodrama follows the downward spiral of the fiery, brash, yet innocent showgirl Lulu (Louise Brooks), whose sexual vivacity has a devastating effect on everyone she comes in contact with.
The Who’s classic rock opera Quadrophenia was the basis for this invigorating coming-of-age movie and depiction of the defiant, drug-fueled mod subculture of early 1960s London.
In this cool, seductive jewel of the Japanese New Wave, a yakuza, fresh out of prison, becomes entangled with a beautiful and enigmatic gambling addict; what at first seems a redemptive relationship ends up leading him further down the criminal path.
In this poetic and atmospheric horror fable, set in a village in war-torn medieval Japan, a malevolent spirit has been ripping out the throats of itinerant samurai. Onibaba, Kuroneko (Black Cat) is a spectacularly eerie twilight tale.
The Moment of Truth, from director Francesco Rosi, is a visceral plunge into the life of a famous torero—played by real-life bullfighting legend Miguel Mateo, known as Miguelín.
Leo McCarey’s Make Way for Tomorrow is one of the great unsung Hollywood masterpieces, an enormously moving Depression-era depiction of the frustrations of family, aging, and the generation gap.
The Beastie Boys are among the most influential groups of the last two decades. As their music has opened hip-hop to a wider audience and changed the parameters of its sound, their ambitious music videos have carried the medium to new levels of artistic expression.
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Rainer Werner Fassbinder’s controversial, fifteen-hour-plus epic follows the hulking, childlike ex-convict Franz Biberkopf (Günter Lamprecht) as he attempts to “become an honest soul” amid the corrosive urban landscape of Weimar-era Germany.
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This historical drama by Mario Monicelli, brimming with humor and honesty, is a beautiful and moving ode to the power of the people.
In Shallow Grave, three self-involved Edinburgh roommates take in a brooding boarder, and when he dies of an overdose, leaving a suitcase full of money, the trio embark on a series of very bad decisions, with extraordinarily grim consequences for all.
One of the most powerful of Yasujiro Ozu’s family portraits, Late Spring (Banshun) tells the story of a widowed father who feels compelled to marry off his beloved only daughter.
Of all the cinematic New Waves that broke over the world in the 1960s, the one in Czechoslovakia was among the most fruitful, fascinating, and radical.
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The great Soviet director Mikhail Kalatozov, known for his virtuosic, emotionally gripping films, perhaps never made a more visually astonishing one than Letter Never Sent.
Crumb director Terry Zwigoff’s first film is a true treat: a documentary about the obscure country-blues musician and idiosyncratic visual artist Howard “Louie Bluie” Armstrong, member of the last known black string band in America.
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Inspired by the earthy eroticism of Harriet Andersson, in the first of her many roles for him, Ingmar Bergman had a major international breakthrough with this sensual and ultimately ravaging tale of young love.
Touching on many of the themes that would define the rest of his legendary career—isolation, performance, the inescapability of the past—Ingmar Bergman’s tenth film was a gentle drift toward true mastery.
SoloMan93: “I'm curious to see how Amelie's boyfriend fares behind a camera.”
Jean-Pierre Gorin established
his personal voice with this trio of fascinating,
SoloMan93: “I loved Pina, so I think I'll like this.”
Canadian director Allan King is one of cinema’s best-kept secrets. It was with his cinema-verité-style documentaries that King left his greatest mark on film history. These startlingly intimate studies of people whose lives are in flux are riveting and at times emotionally overwhelming.
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.
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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.
One of Japan’s most popular and enduring classics, Keisuke Kinoshita’s Twenty-Four Eyes is an elegant, emotional chronicle of a teacher’s unwavering commitment to her students, her profession, and her sense of morality.
In these four lacerating works of social consciousness—two prewar, two postwar—Mizoguchi introduces an array of compelling female protagonists, crushed or resilient, who are forced by their conditions and culture into compromising positions.
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The singular French director Maurice Pialat puts his distinctive stamp on the lost-youth film with this devastating portrait of a damaged foster child.
Prince Ahmad, cast out of Bagdad by the nefarious Jaffar, joins forces with the scrappy thief Abu to win back his royal place and the heart of a princess in Alexander Korda’s The Thief of Bagdad, an eye-popping special-effects pioneer and one of the most spectacular fantasy films ever made.
Lars von Trier’s hypnotic Europa is a fever dream in which American pacifist Leopold Kessler stumbles into a job as a sleeping-car conductor for the Zentropa railways in a Kafkaesque 1945 postwar Frankfurt. Europa is one of the great Danish filmmaker’s weirdest and most wonderful works.
Masaki Kobayashi’s mammoth humanist drama is one of the most staggering achievements of Japanese cinema. A raw indictment of its nation’s wartime mentality as well as a personal existential tragedy, Kobayashi’s riveting, gorgeously filmed epic is novelistic cinema at its best.
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A pulse-pounding political thriller, Greek expatriate director Costa-Gavras’s Z was one of the cinematic sensations of the late sixties, and is a technically audacious and emotionally gripping masterpiece.
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Robinson Crusoe on Mars tells the story of U.S. astronaut Commander “Kit” Draper (Paul Mantee), who must fight for survival when his spaceship crash-lands on the barren waste of Mars, a pet monkey his only companion.
Wes Anderson first illustrated his lovingly detailed, slightly surreal cinematic vision (with cowriter Owen Wilson) in this visually witty and warm portrait of three young misfits.
An epic on the grandest possible scale, Visconti’s opulent masterpiece stars Burt Lancaster as an aging prince watching his culture and fortune wane in the face of a new generation during the tumultuous years of Italy’s Risorgimento.
New German Cinema pioneer Wim Wenders (Wings of Desire) brings his keen eye for landscape to the American Southwest in Paris, Texas, a profoundly moving character study written by Pulitzer Prize–winning playwright Sam Shepard.
A gripping thriller and a tragic drama of nearly Greek proportions, Revanche is the stunning, Oscar-nominated international breakthrough of Austrian filmmaker Götz Spielmann, a tense, existential, and surprising portrait of vengeance and redemption.
Max Ophuls’s final film, Lola Montès is at once a magnificent romantic melodrama, a meditation on the lurid fascination with celebrity, and a one-of-a-kind movie spectacle.
Featuring an intense performance by Michael Fassbender, Hunger, about IRA member Bobby Sands’s 1981 prison hunger strike, is an unflinching, transcendent depiction of what a human being is willing to endure to be heard.
This is where it all started. John Ford’s smash hit and enduring masterpiece Stagecoach revolutionized the western, elevating it from B movie to the A-list.
Terry Zwigoff’s landmark 1995 film is an intimate documentary portrait of the underground artist Robert Crumb, whose unique drawing style and sexually and racially provocative subject matter have made him a household name in popular American art.
This lush, Technicolor tragic romance from Luchino Visconti stars Alida Valli as a nineteenth-century Italian countess who, during the Austrian occupation of her country, puts her marriage and political principles on the line by engaging in a torrid affair with a dashing Austrian lieutenant.
The world of Gilbert and Sullivan comes to vivid life in director Mike Leigh’s extraordinary dramatization of the staging of the duo’s legendary 1885 comic opera The Mikado. Topsy-Turvy is an unexpected period delight from one of contemporary cinema’s great artists.
The legendary Gilbert and Sullivan troupe the D’Oyly Carte Opera Company joined forces with Hollywood for this 1939 Technicolor version of the beloved comic opera The Mikado, the first work by the famed duo to be adapted for the screen.
Four desperate men sign on for a suicide mission to drive trucks loaded with nitroglycerin over a treacherous mountain route—a white-knuckle ride from France’s legendary master of suspense, Henri-Georges Clouzot.
Based on events from writer-director Louis Malle’s own childhood, Au revoir les enfants tells a heartbreaking story of friendship and devastating loss concerning two boys living in Nazi-occupied France.
Before Psycho, Peeping Tom, and Repulsion, there was Diabolique, a heart-grabbing benchmark in horror filmmaking, featuring outstanding performances by Simone Signoret, Véra Clouzot, and Paul Meurisse.
Centered 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.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, director William Greaves presides over a beleaguered film crew in New York’s Central Park, leaving them to try to figure out what kind of movie they’re making.
People on Sunday, an effervescent, sunlit silent, about a handful of city dwellers (a charming cast of nonprofessionals) enjoying a weekend outing, offers a rare glimpse of Weimar-era Berlin, would influence generations of film artists around the world.
SoloMan93: “I've only seen 2/3 of the TV version over Netflix; my parents pulled me out for some BS reason.”
America, 1976. The last day of school. Bongs blaze, bell-bottoms ring, and rock and roll rocks. Among the best teen films ever made, Richard Linklater’s Dazed and Confused eavesdrops on a group of seniors-to-be and incoming freshmen.
A twisted treasure from Hollywood’s pre-Code horror heyday, Island of Lost Souls is
a cautionary tale of science run amok, adapted from H. G. Wells’s novel The Island of Dr. Moreau.