Lost in Criterion

Milcho Manchevski's 1994 Before the Rain is a circular look at ethnic violence in Macedonia and a reminder to other countries that may view themselves as more "civilized" that violence is their daily life as well. Nationalism: it's bad!

Stephen G. joins us for a rootin’ tootin’ good time as we discuss our first proper western! Though discussion of course turns to other movies we’ve covered that are western-adjacent and also the fact that this may not be the sort of movie most people think of when they think of westerns. But there’s one shootout! And horses! And even a saloon! Anthony Mann’s The Furies (1950) has, according to wikipedia, a “reputation” as a “Freudian western” and we even have to explore the caveats needed to call this Freudian.

"Consider the risks" is the title of Claude Sautet's adaptation of the "José Giovanni" novel. Giovanni, real name Joseph Damiani, made a post-death row career of writing novels fictionalizing his own and others criminal exploits. On the one hand you love to see a man get out of prison and into a better life. On the other he and the men whose stories he draws from were all collaborators, leading Pat and I to interrogate if we have a double standard.
In any case the story of a man on the run trying to get his children into a better life is a good story no matter if the man deserves to have been chased or not, because his children don't deserve to be punished for his crimes. This is a universal truth.

Lost in Criterion posted its first episode on January 1, 2013. In the 8 years since, we have never looked been less enthused for a movie than we are for this week's film, Yukio Mishima's Patriotism. At worst this should have been an extra on the DVD for Schrader's Mishima: A Life in Four Chapters. At best, this shoddy, self-aggrandizing, dry run for the man's sexual suicide should never have been put in our view.

Happy New Year. It can only go up from here.

Gather ‘round your screens and join Pat and Adam with old friends Stephen G. and Ben JW to talk about the Charles Band “classic” Trancers starring Tim Thomerson as a cop from the future come to kill a mall Santa and fall in love with helper-elf Helen Hunt. Spoilers? Can you spoil a movie like Trancers?

We’ve seen a lot of good movies this year, even through our last Criterion (and first of the year next week) are real low points as far as our opinions of the Collection. But the Varda boxset was certainly a highlight, and the Teshigahara set as well. When we started this project we joked that it would take us a dozen or so years. It’s been 8 and we’re barely closer to the end now than we were then. Time and Criterions march on.

Merry whichever holiday you may celebrate this time of year, and a very happy new year to us all. May we continue the first steps we’re taking out of the long dark.

Paul Schrader makes a visually lovely movie about a man we do not care about whose politics we find abhorrent, and who Schrader seems to have far more empathy for than we can muster.

Alex Korda leads a cadre of directors in this tour du force of visual effects and casual racism. Come for the children's adventure film, stay for the killer six-armed sexbot.

Louis Malle takes his turn at the classic genre of alcoholic and suicidal writer wanders around a large city for a day or so, and really just knocks it out of the park by remembering the key to these tales that so many creators forget: the protagonist is a narcissistic jerk who surrounds himself with narcissistic jerks.

We return to the well of Louis Malle’s films with one that was famously banned in Ohio, so much so that it led to a landmark US Supreme Court case. I think the last movie we saw that led to trials in Ohio was Salo. The Lovers is very much not Salo.

As we enter a holiday season of increased isolation -- please, please let it be a holiday season of increased isolation -- we take a look at a film about a man who spends Christmas failing to connect with old friends, and failing to make new ones who he's not trying to kill or aren't trying to kill him.

We love when we get to watch an unapologetically leftist film, and even better when it's just a very well-crafted movie. Juan Antonio Bardem's Death of a Cyclist swings at the upper class in Franco's Spain with a wildly creative use of cuts and transitions showcasing a nation of dichotomies, and a college professor caught in the middle.

Ang Lee's story of two families trying to make sense of life during the Nixon impeachment came out on the cusp of the Clinton impeachment and maybe this week just has impeachment on my mind because the movie doesn't really have that much to do with either of them.

Hiroshi Teshigahara went on a trip to Spain with his dad and made a short, silent vacation movie during it. Years later, after his father’s death, Teshigahara essentially reshot it, elongated it, and focused it on the Barcelona-area works of architect Antonio Gaudi. It is, arguably, unlike any other movie we’ve seen in the Collection in good and bad ways.

Alberto Lattuada’s Mafioso is a black comedy about a dumb man who makes a bad promise while in the background his wife has a very sweet fish out of water story. It’s also about the people who progress leaves behind, and perhaps continues to leave behind. We also spend a little time talking about bridges, in particular the nearly inscrutable comparison image on the wikipedia page for the Akashi Kaikyō Bridge in Japan. Check it out: https://en.wikipedia.org/wiki/Akashi_Kaiky%C5%8D_Bridge

Alex Cox went to Sandinista Nicaragua to film a biography of an 18th century American colonialist while the US was pretending to take the Iran-Contra scandal seriously. No wonder American critics hated the movie.

Despite my false belief that Last Tango in Paris is in the Criterion Collection, The Last Emperor proves to be our last Bernardo Bertolucci movie for the foreseeable future. The tale of Puyi, crowned emperor of China at the age of 3, just before a half century of political revolution, and eventually dying of old age while working as a gardener at the Beijing Botanical Gardens. Bertolucci and the Chinese government may have different views of what that life trajectory means.

Over the years it's become rather apparent that a lot of folks do not appreciate our opinions on Godard. Like Fellini we will not let our awareness of the issue lead us to change.

We finish off the Agnès Varda boxset with a talk on the short films packaged as bonus features: L'opéra-mouffe (1958), Du côté de la côte (1958), and the short narrative film contained within Cleo from 5 to 7, Les fiancés du pont Mac Donald.

We couldn't be happier than to have guest Adam Spieckermann bring his insight to our discussion of Agnès Varda's Le Bonheur, a brightly colored relationship horror film.

We start the 4 by Agnès Varda boxset in medias res, or at the beginning after seeing the middle? This week we’re talking about La Pointe Courte, Varda’s first film but the third in the boxset. Why not talk about the first two? Because we have. This boxset contains two films, Vagabond and Cleo from 5 to 7, which we watched in much earlier episodes of Lost in Criterion in the times we don’t talk about except in apologetic tones of shame.

Some of the best tragedy narratives indict a whole society for creating the system and the path that keep the tragic character imprisoned in his journey toward loss. There's a bit of that in This Sporting Life but the tragedy is focused on the main character's inability to court the woman he can't stop harassing, herself an even starker victim of the local political and economic system.

What Alf Slöberg’s 1951 film adaptation adds to August Strindberg’s 1888 play makes the film both more interesting and quite probably more infuriating. How fun.

Who amongst us hasn't decided to solve a problem maybe without talking to anyone actually affected by the problem or even understanding what the problem is, so you just ended up doing something that adds to the problem in a different way?
The Naked Prey wants to solve racism. It does not.

An experiment in what constitutes a movie finds James Taylor and Dennis Wilson partnered in a cross country race that resolves (or doesn't) sometime after the last reel burns up.

Frequent guest Donovan H. joins us again, and he's maybe become more of an accelerationist than the last time he was on. We're talking Kurosawa's Drunken Angel, the famed director's first work with Toshiro Mifune.