Tomorrow is the centenary of the birth of one of cinema’s greatest directors, Ingmar Bergman, and to celebrate, The Criterion Collection has announced of their most expansive releases ever. This November, they will release Ingmar Bergman’s Cinema, a 39-film box set comprising nearly all of his work, including 18 films never before released by Criterion. Curated akin to a film festival, the set features Opening, Centerpiece, and Closing Films, with many double features in between. The set also features 11 introductions and over five hours of interviews with the director himself, six making-of documentaries, a 248-page book, and much more.
As we await for its November 20 release, check out an overview from Criterion below, as well as the box art, the trailer, and the full list of films, in curated order. One can also see much more about each release and the special features on the official site.
With the...
As we await for its November 20 release, check out an overview from Criterion below, as well as the box art, the trailer, and the full list of films, in curated order. One can also see much more about each release and the special features on the official site.
With the...
- 7/13/2018
- by Jordan Raup
- The Film Stage
This Sunday, David Phelps and John MacKay, Professor of Slavic Languages and Literatures and Chair of Film Studies at Yale, will be presenting a double feature followed by a discussion at UnionDocs in Brooklyn. I cede the floor to David:
Two unsung masterworks: Jean-Luc Godard's Kids Play Russia (1993) is a personal history of Soviet montage, and Vsevolod Pudovkin's Storm Over Asia (1927) is one of its great exemplars. In both, against the voice of a lone renegade, the West invades the East to capture it — that is, in images of its stereotypes. Sight makes might? In these spectacular assaults on spectacle, Pudovkin stresses the imperialists' lives led "for appearance sake," and Godard argues that Western cinema will only see things by its code. And yet both, shooting documentaries in "the land of fiction" and editing them as dramas, redeem fiction as a possible, documentary reality; Godard starts seeing echoes...
Two unsung masterworks: Jean-Luc Godard's Kids Play Russia (1993) is a personal history of Soviet montage, and Vsevolod Pudovkin's Storm Over Asia (1927) is one of its great exemplars. In both, against the voice of a lone renegade, the West invades the East to capture it — that is, in images of its stereotypes. Sight makes might? In these spectacular assaults on spectacle, Pudovkin stresses the imperialists' lives led "for appearance sake," and Godard argues that Western cinema will only see things by its code. And yet both, shooting documentaries in "the land of fiction" and editing them as dramas, redeem fiction as a possible, documentary reality; Godard starts seeing echoes...
- 5/10/2011
- MUBI
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By Raymond Benson
Once again The Criterion Collection digs into master director Ingmar Bergman’s vault and brings us his exquisite, enigmatic film from 1958, The Magician (originally titled The Face in the UK; in fact, the Swedish title, Ansiktet, means “Face”).
Set sometime in the 1800s, the story concerns a traveling magic and medicine show called “Vogler’s Magnetic Health Theater.” The troupe consists of Vogler (Max von Sydow), the mute magician of the picture’s title, his “ward,” Mr. Aman (Ingrid Thulin in disguise, although it’s no surprise that the character is a woman), Tubal (Ake Fridell), who acts as manager/spokesman, and the inscrutable Granny (Naima Wifstrand), an old witch who dabbles in love potions. Picked up along the road is an alcoholic actor, Spegel (Bengt Ekerot, who was memorable as Death in The Seventh Seal).
Before the company...
By Raymond Benson
Once again The Criterion Collection digs into master director Ingmar Bergman’s vault and brings us his exquisite, enigmatic film from 1958, The Magician (originally titled The Face in the UK; in fact, the Swedish title, Ansiktet, means “Face”).
Set sometime in the 1800s, the story concerns a traveling magic and medicine show called “Vogler’s Magnetic Health Theater.” The troupe consists of Vogler (Max von Sydow), the mute magician of the picture’s title, his “ward,” Mr. Aman (Ingrid Thulin in disguise, although it’s no surprise that the character is a woman), Tubal (Ake Fridell), who acts as manager/spokesman, and the inscrutable Granny (Naima Wifstrand), an old witch who dabbles in love potions. Picked up along the road is an alcoholic actor, Spegel (Bengt Ekerot, who was memorable as Death in The Seventh Seal).
Before the company...
- 10/19/2010
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
Making its premiere this week, a new stage version of Ingmar Bergman’s legendary film, Through a Glass Darkly, has hit the stage, and according to a review from Reuters, it’s one hell of an adaptation.
If there is ever a filmmaker more reliant upon mood and atmosphere, it is the legendary auteur, Bergman. The outlet would love to let you all know that the play takes up the film’s perfect sense of claustrophobia that makes Through A Glass Darkly still one of the filmmakers best.
The film follows a woman named Karin, who has returned home after spending a bit of time away at a mental hospital. While the film stared Harriet Andersson and Max Von Sydow, the play features performances from the likes of stage veteran Ruth Wilson, Ian McElhinney and Justin Salinger, who all give great performances.
Personally, while Bergman will always be a name...
If there is ever a filmmaker more reliant upon mood and atmosphere, it is the legendary auteur, Bergman. The outlet would love to let you all know that the play takes up the film’s perfect sense of claustrophobia that makes Through A Glass Darkly still one of the filmmakers best.
The film follows a woman named Karin, who has returned home after spending a bit of time away at a mental hospital. While the film stared Harriet Andersson and Max Von Sydow, the play features performances from the likes of stage veteran Ruth Wilson, Ian McElhinney and Justin Salinger, who all give great performances.
Personally, while Bergman will always be a name...
- 6/19/2010
- by Joshua Brunsting
- CriterionCast
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