The Criterion Collection, a continuing series of important classic and contemporary films presents Maya.
Maya, a Hindu word describing magic and illusion, is embodied in Bella (Viviane Romance), a bewitching prostitute in an atmospheric port town who conjures the fantasies of visiting travelers and temporarily becomes the women of their dreams. The pragmatic Bella has no expectation of finding true love or leaving her profession until she meets Jean (Jean-Pierre Grenier), a passing sailor who saves her from the police and devotes himself to building a life with her, provided fate does not intervene. Based on Simon Gantillon’s successful play and produced by Viviane Romance herself, Raymond Bernard’s Maya deftly blends the styles and techniques of poetic realism, film noir, melodrama, and Cocteau-like fantasy to create a world of mystery and eroticism.
- Restored high-definition digital transfer, with uncompressed monaural soundtrack on the Blu-ray
- “The Film That Made You,” a 1989 conversation between Viviane Romance and Louis le Roy
- Interview with film critic Italo Manzi on the casting and distribution
- New English subtitle translation
- PLUS: Essay by filmmaker Guy Maddin
Eclipse is a selection of lost, forgotten, or overshadowed classics in simple affordable editions. Each series is a brief cinematheque retrospective for the adventurous home viewer.
The award-winning team of David Gill and Kenneth Brownlow present a definitive and unparalleled look at the history of silent film in America with Hollywood: A Celebration of American Silent Film. Narrated by actor and silent film enthusiast James Mason, this 13-part series celebrates the birth of an industry and the town and people who made it happen. From the arrival of the filmmaking pioneers early at the dawn of a new century, through the outbreak of the First World War; from the rise of romance to the demise of the Old West; from when comedy was king until the advent of sound, this stunning television program surveys the enormous range of spectacular, innovative, and exciting films created by a business still inventing itself. Brilliantly edited and featuring a multitude of invaluable interviews by stars, directors, and below-line personnel, Hollywood is an irreplaceable document on cinema history and a loving tribute to those that made a legend out of a modest California town.
With notes by Kevin Brownlow.
The Criterion Collection, a continuing series of important classic and contemporary films presents Shura.
Experimental filmmaker and critic Toshio Matsumoto followed up his queer opus, Funeral Parade of Roses, with a “mere” samurai film, yet underneath its seemingly traditional surface lurks just as many subversions. In Shura, a samurai poised to join the famous 47 ronin and avenge the death of his master becomes distracted from his duties by his love for a lowly geisha, who in turn betrays him. Driven mad by his desire for vengeance, the samurai embarks on a bloody path of revenge marked by riveting intensity, a nightmarishly black aesthetic, and an uncertain blurring of fantasy and reality. A Borgesian satire in the guise of samurai horror, this nocturnal masterpiece is one of the darkest films of its era, both visually and politically.
- New 2K digital restoration, with uncompressed monaural soundtrack on the Blu-ray
- New interview with critic, filmmaker, and festival programmer Tony Rayns
- Security Treaty, a 1959 short film by Toshio Matsumoto
- For My Crushed Right Eye, a 1969 installation piece by Matsumoto
- PLUS: A booklet featuring essays on the film by Matsumoto and Nagisa Oshima, director’s notes, and an essay by Japanese film scholar Hirofumi Sakamoto
Alan Clarke’s Elephant (1989) is a short film made for television and produced by Danny Boyle and BBC Northern Ireland. Set amid the Troubles in Northern Ireland, the short presents 18 matter-of-fact murders with a coldly observational approach, providing limited dialogue and utilizing the predatory look of steadicam follow shots. The film takes its title from Irish writer Bernard MacLaverty’s description of the Troubles as “the elephant in our living room,” and it served as an inspiration to Gus Van Sant’s Elephant (2003), a film that likewise attended to the broader social problems that underlie American school-shootings and gun violence.
Clarke’s short is overdetermined in its intentions, being full of intense men and purposeful walks, yet it is also disturbing empty. Despite its apparent single-mindedness, there are no explanations of the hows and whys of its killings and there are nearly no sounds of surprise or panic, yet there is always the banality of violence and death, a lifeless body in a drab room and a getaway that rarely strays from the same purposeful walk. For more on Elephant and the psychology it embodies (or withholds) in its particular cinematography, MMC! offers Jordan Schonig’s impressive and insightful video essay, The Follow Shot: A Tale of Two Elephants (2018). Schonig’s essay provides a concise exploration of what may be contemporary cinema’s most ubiquitous and conspicuous shot and perfectly unpacks the themes and tensions at work in Clarke and Van Sant’s respective films.
I feel like 2018 is the year that the internet had enough of people saying that Die Hard (John McTiernan, 1988) is a Christmas movie and I’m thankful. Don’t get me wrong; I love me some Die Hard but the self-congratulatory smugness of the Die Hard-as-Christmas classic declaration had its day long ago. To both celebrate and hopefully memorialize this effort in a once clever and now tired idea, MMC! wishes everyone a safe and happy holidays with Brad Neely’s 2009 Baby Cakes short, The In-House Carol, a crudely fashioned and hilariously daft portrayal of Die Hard love gone too far.
SEASON’S GREETINGS TO ALL!!!
Like Fellini’s Amarcord, whose title it recalls, I Remember You is a semi-autobiographical meditation on the past. Kim, a veterinarian, leaves Samarkand at the request of his seriously ill mother and heads on a voyage across Russia in search of the grave of his father who died during the war. Reflecting Ali Khamraev’s own personal history – his Ukrainian mother and Tajik father, his father’s death during World War II, his own subsequent voyage with his brother to find the grave – this poetic journey into the subconscious memory is rendered in images of extraordinary intensity and beauty and one of Khamraev’s true masterpieces.