Each month, the fine folks at FilmStruck and the Criterion Collection spend countless hours crafting their channels to highlight the many different types of films that they have in their streaming library. This July will feature an exciting assortment of films, as noted below.
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Saturday, July 1 Changing Faces
What does a face tell us even when it’s disguised or disfigured? And what does it conceal? Guest curator Imogen Sara Smith, a critic and author of the book In Lonely Places: Film Noir Beyond the City, assembles a series of films that revolve around enigmatic faces transformed by masks, scars, and surgery, including Georges Franju’s Eyes Without a Face (1960) and Hiroshi Teshigahara’s The Face of Another (1966).
Tuesday, July 4 Tuesday’s Short + Feature: Premature* and Ten*
Come hitch a ride with Norwegian director Gunhild Enger and the late Iranian master...
To sign up for a free two-week trial here.
Saturday, July 1 Changing Faces
What does a face tell us even when it’s disguised or disfigured? And what does it conceal? Guest curator Imogen Sara Smith, a critic and author of the book In Lonely Places: Film Noir Beyond the City, assembles a series of films that revolve around enigmatic faces transformed by masks, scars, and surgery, including Georges Franju’s Eyes Without a Face (1960) and Hiroshi Teshigahara’s The Face of Another (1966).
Tuesday, July 4 Tuesday’s Short + Feature: Premature* and Ten*
Come hitch a ride with Norwegian director Gunhild Enger and the late Iranian master...
- 6/26/2017
- by Ryan Gallagher
- CriterionCast
A man returns home after a business trip and discovers that his wife has disappeared. In the moody drama The Disappearance, directed by Stuart Cooper (Overlord), Jay Mallory (Donald Sutherland) appears to be a successful businessman, living on the top floor of a comfortable residential complex in Montreal. It's the dead of winter and the city is covered in snow. From his apartment, Mallory can look down upon the foggy river(s) below; the season matches his mood. Mallory begins to search for his wife Celandine (Francine Racette). Simultaneously, he is pressed to move on to his next work assignment, for which he has already received a hefty advance. Burbank (David Warner) visits him at home, and it is then that we begin to understand what...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 3/17/2017
- Screen Anarchy
This is the first Criterion Close-Up double feature. Mark and Aaron take a close look at two films from Bruce Beresford, released theatrically a decade apart and just recently as part of The Criterion Collection. We look at Breaker Morant and how it reconciled British Colonialism on both its subjects and enemies, and how it dispensed justice. We then look at Mister Johnson, which deals with colonial issues such as commerce and civilization.
About the films:
At the turn of the twentieth century, three Australian army lieutenants are court-martialed for alleged war crimes committed while fighting in South Africa. With no time to prepare, an Australian major, appointed as defense attorney, must prove that they were just following orders and are being made into political pawns by the British imperial command. Director Bruce Beresford garnered international acclaim for this riveting drama set during a dark period in his country’s colonial history,...
About the films:
At the turn of the twentieth century, three Australian army lieutenants are court-martialed for alleged war crimes committed while fighting in South Africa. With no time to prepare, an Australian major, appointed as defense attorney, must prove that they were just following orders and are being made into political pawns by the British imperial command. Director Bruce Beresford garnered international acclaim for this riveting drama set during a dark period in his country’s colonial history,...
- 1/11/2016
- by Aaron West
- CriterionCast
Though it is used (cropped and not as colorful) on the cover of Criterion Collection’s DVD, I hadn’t seen this fabulous UK quad poster for Ronald Neame’s The Horse’s Mouth until recently when I read about a wonderful discovery in a London tube station. Four years ago, workers at the Notting Hill underground station discovered a passageway that had been sealed off half a century earlier when the station had converted from elevators to escalators. Left behind in the sealed tunnel was a time capsule of late 50s graphic art in the form of movie posters and advertisements left more or less intact.
This is the kind of thing I dream about (you can see more photos here). The sealing of the tunnel can be roughly dated by the release dates of the four films advertised. The Horse’s Mouth came out in the Us in...
This is the kind of thing I dream about (you can see more photos here). The sealing of the tunnel can be roughly dated by the release dates of the four films advertised. The Horse’s Mouth came out in the Us in...
- 4/11/2014
- by Adrian Curry
- MUBI
This article was originally published in If Magazine #132 (June 2010).
Bruce Beresford When I was going to do Driving Miss Daisy, I offered it to Don McAlpine, but he turned it down. And then I offered it to Russell Boyd but he was doing something else. And then I remembered Peter and I thought .Hang on, I like that bloke Peter James. and said .Do you want to come over here and shoot this low-budget film?. And he did. That was the first.
I did enjoy working with him but we never thought it was anything special. In fact, when we finished the film they were planning not to release it.
We had very similar ideas on lighting and he had tremendously good taste . his lighting was always exqusite. Also, the thing I liked about him (and for that matter Don McAlpine) was that he would vary his style to suit the subject matter,...
Bruce Beresford When I was going to do Driving Miss Daisy, I offered it to Don McAlpine, but he turned it down. And then I offered it to Russell Boyd but he was doing something else. And then I remembered Peter and I thought .Hang on, I like that bloke Peter James. and said .Do you want to come over here and shoot this low-budget film?. And he did. That was the first.
I did enjoy working with him but we never thought it was anything special. In fact, when we finished the film they were planning not to release it.
We had very similar ideas on lighting and he had tremendously good taste . his lighting was always exqusite. Also, the thing I liked about him (and for that matter Don McAlpine) was that he would vary his style to suit the subject matter,...
- 7/23/2012
- by Brendan Swift
- IF.com.au
Although best known as a theatre critic, Kenneth Tynan also wrote widely on film, and even wrote screenplays, including Ealing Studios' "least Ealing film ever"
Kenneth Tynan's fame rests on his drama criticism, but he was as much devoted to film as to theatre. He wrote movie criticism for the Observer and star profiles for the New Yorker, and was also, at various times, a script adviser and screenwriter. In fact, it was while working in the former capacity for Michael Balcon at Ealing Studios in 1958 that Tynan co-scripted Nowhere to Go with the movie's director, Seth Holt.
Holt, who had worked for the patriarchal Balcon since 1953, once described Nowhere to Go as "the least Ealing film ever made". And what he and Tynan concocted was a movie that ran totally counter to the studio's preoccupation with harmless eccentrics and benevolent communities. It is, in fact, a crime...
Kenneth Tynan's fame rests on his drama criticism, but he was as much devoted to film as to theatre. He wrote movie criticism for the Observer and star profiles for the New Yorker, and was also, at various times, a script adviser and screenwriter. In fact, it was while working in the former capacity for Michael Balcon at Ealing Studios in 1958 that Tynan co-scripted Nowhere to Go with the movie's director, Seth Holt.
Holt, who had worked for the patriarchal Balcon since 1953, once described Nowhere to Go as "the least Ealing film ever made". And what he and Tynan concocted was a movie that ran totally counter to the studio's preoccupation with harmless eccentrics and benevolent communities. It is, in fact, a crime...
- 5/20/2010
- by Michael Billington
- The Guardian - Film News
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