Arrow outfits the most notorious and profound of modern horror films with a vivid transfer.
Criterion outfits one of Ingmar Bergman’s most severe and ambitious films with a customarily gorgeous transfer.
The documentary illuminates how art and artists live together in a symbiotic existence, each giving as well as taking.
Steven Soderbergh’s film considers modern media as a vehicle for revising white patriarchal capitalism.
This modern fantasy weds the techniques of silent cinema with CGI to conjure a memorably mythic realm.
With this beautiful and lively transfer, Criterion brings Elaine May’s neglected masterpiece of male alienation back to pulsating life.
With its silvery sheen and sexy lure of celebrity actors being naughty, the film recalls the decadent, self-consciously chic art it parodies.
If Piercing is mildly disappointing, it’s because it doesn’t go far enough.
Notorious is a pivotal film in Alfred Hitchcock’s development as a master of romantic isolation.
Jonas Åkerlund’s film gives viewers two well-worn assassin narratives for the price of one.
The Brazilian animated feature offers relief from the impersonal assault of contemporary pop culture.
This dynamic restoration makes a significant case for the film as one of the most moving and beautiful of unjustly neglected noirs.
Manolo Caro’s film uses its characters as rigid markers of cowardice, lust, and entitlement.
The solid transfer will allow home viewers to fully experience Cattet and Forzani’s unrelenting, expressionistic assault on the senses.
There’s a difference between ambiguity and vagueness, which State Like Sleep doesn’t always discern.
Genesis 2.0 contains a variety of remarkable images but little actual poetry.
This beautifully detailed restoration will hopefully allow the film to enjoy the attention that’s been accorded to other Mizoguchi masterworks.
Vice is as noisy as the media landscape that writer-director Adam McKay holds in contempt.
Criterion continues its heroic restoration of Welles’s lost and unappreciated masterpieces with this extraordinarily beautiful release.
Bridey Elliott invests her film with an ironic sense of social proportion, and without speechifying.