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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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With a radical take on narrative, disturbing yet beautiful cinematography, and a highly sophisticated use of on- and offscreen sound, Martel turns her tale of a decaying bourgeois family, whiling away the hours of one sweaty, sticky summer, into a cinematic marvel.
A mix of the witty and the utterly absurd, The Palm Beach Story is a high watermark of Sturges’s brand of physical comedy and verbal repartee, featuring sparkling performances.
This bittersweet film from Jean Renoir, based on a story by Guy de Maupassant, is a tenderly comic idyll about a city family’s picnic in the French countryside and the romancing of the mother and grown daughter by two local men.
Federico Fellini’s career achieved new levels of eccentricity and brilliance with this remarkable, controversial, extremely loose adaptation of Petronius’s classical Roman satire, written during the reign of Nero.
With its relentless pace, expressive cinematography by the great Russell Metty, and punchy, clever script by Charles Lederer and Ben Hecht, this is an overlooked treasure from the heyday of 1940s film noir.
The last film by Yasujiro Ozu was also his final masterpiece, a gently heartbreaking story about a man’s dignifed resignation to life’s shifting currents and society’s modernization.
Truffaut made The Soft Skin at a time when he was immersing himself in the work of Alfred Hitchcock, and that master’s influence can be felt throughout this complex, insightful, and underseen French New Wave treasure.
After a decade in the wilds of avant-garde and early video experimentation, Jean-Luc Godard returned to commercial cinema with this star-driven work of social commentary, while remaining defiantly intellectual and formally cutting-edge.
With his trademark mixture of empathy and scrutiny, Errol Morris has changed the face of documentary filmmaking in the United States, and his career began with two remarkable tales of American eccentricity.
A work of meticulous journalism and gripping drama, it recounts the disturbing tale of Randall Dale Adams, a drifter who was charged with the murder of a Dallas police officer and sent to death row, despite evidence that he did not commit the crime.
This is a faithful big-screen adaptation of Richard Adams’s classic British dystopian novel about a community of rabbits under terrible threat from modern forces.
An intensely felt film that is one of Bergman’s most striking formal experiments, Cries and Whispers (which won an Oscar for the extraordinary color photography of Sven Nykvist) is a powerful depiction of human behavior in the face of death.
This landmark film, which documents the journeys of two remarkable families, continues to educate and inspire viewers, and it is widely considered one of the great works of American nonfiction cinema.
A work of memory and imagination, the film burrows into what the filmmaker calls “the heart of the heart” of the continent, conjuring a city as delightful as it is fearsome, populated by sleepwalkers and hockey aficionados.
One of the first and best-loved films of this period in his career is The Bitter Tears of Petra von Kant, which balances a realistic depiction of tormented romance with staging that remains true to the director’s roots in experimental theater.
Tatsuya Nakadai and Toshiro Mifune star in the story of a wandering samurai who exists in a maelstrom of violence. A gifted swordsman plying his craft during the turbulent final days of shogunate rule in Japan, Ryunosuke (Nakadai) kills without remorse or mercy.
This multilayered comedy from Sydney Pollack follows the elaborate deception of a down-on-his-luck New York actor who poses as a woman to get a soap opera gig.
This collection of Kinoshita’s first films—four made while the war was going on and one shortly after Japan’s surrender—demonstrates the way the filmmaker’s humanity and exquisite cinematic technique shone through even in the darkest of times.
This revelatory drama was named the best film of the 1990s in a Village Voice poll of more than fifty critics.
In this unsettling drama from Italian filmmaker Liliana Cavani, a concentration camp survivor (Charlotte Rampling) discovers her former torturer and lover (Dirk Bogarde) working as a porter at a hotel in postwar Vienna.
In this fantastic voyage through time and space from Terry Gilliam, a boy named Kevin (Craig Warnock) escapes his gadget-obsessed parents to join a band of time-traveling dwarfs.
Seemingly off-the-cuff yet poetically constructed, these films are humane, sometimes wry, always engaging tributes to music, food, and all sorts of regionally specific delights.
Michelangelo Antonioni invented a new film grammar with this masterwork.
It Happened One Night is among the most gracefully constructed and edited films of the early sound era, packed with clever situations and gags that have entered the Hollywood comedy pantheon.
In the midsixties, the maverick American director Monte Hellman conceived of two westerns at the same time. Dreamlike and gritty by turns, these films would prove their maker’s adeptness at brilliantly deconstructing genre.
Jeremy Irons gives a tour-de-force performance as identical twin gynecologists—suave Elliot and sensitive Beverly, bipolar sides of one personality—who descend into a whirlpool of sexual confusion, drugs, and madness in David Cronenberg’s chilling tale.
With a background in music hall and mime performance, Tati steadily built an ever-more-ambitious movie career that ultimately raised sight-gag comedy to the level of high art.
Trickery. Deceit. Magic. In F for Fake, a free-form sort-of documentary by Orson Welles, the legendary filmmaker (and self-described charlatan) gleefully reengages with the central preoccupation of his career: the tenuous lines between illusion and truth, art and lies.
The biggest hit from the most popular Italian filmmaker of all time, La dolce vita rocketed Federico Fellini to international mainstream success—ironically, by offering a damning critique of the culture of stardom.
The wildly prolific German filmmaker Rainer Werner Fassbinder paid homage to his cinematic hero Douglas Sirk with this update of that filmmaker’s 1955 All That Heaven Allows.
A psychologically damaged war veteran and a neglected child begin a startlingly intimate friendship—one that ultimately ignites the suspicion and anger of his friends and neighbors in suburban Paris.
This genuinely frightening, exquisitely made supernatural gothic stars Deborah Kerr as an emotionally fragile governess who comes to suspect that there is something very, very wrong with her precocious new charges.
A young man embarks on an obsessive search for the girlfriend who mysteriously disappeared while the couple were taking a sunny vacation trip, and his three-year investigation draws the attention of her abductor, a mild-mannered professor with a clinically diabolical mind.
John Ford takes on the legend of the O.K. Corral shoot-out in this multilayered, exceptionally well-constructed western, one of the director’s very best films.
Roman Polanski imbues his unflinchingly violent adaptation of William Shakespeare’s tragedy of ruthless ambition and murder in medieval Scotland with grit and dramatic intensity.
In Hitchcock’s Notorious, a beautiful woman with a tainted past (Ingrid Bergman) is enlisted by American agent Devlin (Cary Grant) to spy on a ring of Nazis in post-war Rio. Her espionage work becomes life-threatening after she marries the most debonair of the Nazi ring, Alex (Claude Rains).
In Hitchcock’s romantic, suspenseful, elegant film, a young woman believes her every dream has come true when her whirlwind romance with the dashing Maxim de Winter culminates in marriage. But she soon realizes that Rebecca, her husband’s late first wife, haunts the de Winter mansion, Manderley.
When the mysterious Dr. Anthony Edwardes (Gregory Peck) becomes the new chief of staff at her institution, the bookish and detached Dr. Constance Petersen (Ingrid Bergman) plummets into a whirlwind of tangled identities and feverish psychoanalysis. Spellbound is classic Hitchcock.
This sensual and striking chronicle of a disappearance and its aftermath put director Peter Weir on the map and helped usher in a new era of Australian cinema.
Director Shohei Imamura turns this fact-based story—about the seventy-eight-day killing spree of a remorseless man from a devoutly Catholic family—into a cold, perverse, and at times diabolically funny examination of the primitive coexisting with the modern.
The concluding chapter of Michelangelo Antonioni’s informal trilogy on contemporary malaise, L’eclisse tells the story of a young woman (Monica Vitti) who leaves one lover (Francisco Rabal) and drifts into a relationship with another (Alain Delon).
This smash road comedy from Oscar-winning director Alfonso Cuarón is a funny and moving look at human desire.
A profoundly felt film about class and conformity in small-town America, All That Heaven Allows is a pinnacle of expressionistic Hollywood melodrama.
Assembled with visionary editing that makes dance come alive on-screen as never before, and overflowing with sublime footwork, All That Jazz pushes the musical genre to personal depths and virtuosic aesthetic heights.
A Hard Day’s Night, in which the bandmates play cheeky comic versions of themselves, captured the astonishing moment when they officially became the singular, irreverent idols of their generation and changed music forever.
French director Jacques Demy didn’t just make movies—he created an entire cinematic world. Demy launched his glorious feature filmmaking career in the sixties, a decade of astonishing invention in his national cinema.
Combining stylish sixties modernism with silent-cinema touches and even a few unexpected sci-fi accents, Judex is a delightful bit of pulp fiction and a testament to the art of illusion.
A cornerstone of the career of this most economical and profoundly spiritual of filmmakers, Pickpocket is 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.
The success of Erik Skjoldbjærg’s chilling procedural anticipated the international hunger for Scandinavian noirs and serial- killer fictions, and the film features one of Skarsgård’s greatest performances.
A startling and courageous film, Peter Davis’s landmark 1974 documentary Hearts and Minds unflinchingly confronted the United States’ involvement in Vietnam at the height of the controversy that surrounded it.
The electric filmmaking genius John Cassavetes and his brilliant wife and collaborator Gena Rowlands give luminous, fragile performances as two closely bound, emotionally wounded souls who reunite after years apart.
After the shocking suicide of their friend, a group of thirtysomethings reunite for his funeral and end up spending the weekend together, reminiscing about their shared past as children of the sixties and confronting the uncertainty of their lives as adults of the eighties.
A trademark Cronenberg combination of the visceral and the cerebral, this phenomenally gruesome and provocative film about the expanses and limits of the human mind was the Canadian director’s breakout hit in the United States.
An ambitiously constructed, elegantly photographed meditation on adolescence, the first full-length film by director David Gordon Green features remarkable performances from an award-winning ensemble cast.
Early in his career, Don Siegel made his mark with this sensational and high-octane but economically constructed drama set in a maximum-security penitentiary.
Told through the eyes of François Truffaut’s cinematic counterpart, Antoine Doinel, The 400 Blows sensitively re-creates the trials of Truffaut’s own childhood, unsentimentally portraying aloof parents, oppressive teachers, and petty crime.
Kiarostami has constructed an enigmatic but crystalline investigation of affection and desire as complex as his masterful Close-up and Certified Copy in its engagement with the workings of the mercurial human heart.
After making such American noir classics as Brute Force and The Naked City, the blacklisted director Jules Dassin went to Paris and embarked on his masterpiece: a twisting, turning tale of four ex-cons who hatch one last glorious robbery in the City of Light.
Before he turned to the story of Joan of Arc, the Danish cinema genius Carl Theodor Dreyer fashioned this ahead-of-its-time examination of domestic life.