The Criterion Collection has announced its releases for April 2018, and we have our second Eclipse set of the year! That and a couple of my favorites along with a few I’ve been excited to see — this is a great month!

The blurbs are from The Criterion Collection’s website (so are the links) — go there to see the details on the supplements.

April 10, 2018

Eclipse Series 46: Ingrid Bergman’s Swedish Years
–The Count of the Old Town (1935; d. Sigurd Wallén & Edvin Adolphson)
–Dollar (1938; d. Gustaf Molander)
–Intermezzo (1936; d. Gustaf Molander)
–Walpurgiss Night (1935; d. Gustaf Edgren)
–A Woman’s Face (1938; d. Gustaf Molander)
–June Night (1940; d. Per Lindberg)

From The Criterion Collection:

Ingrid Bergman appeared in ten films in her native Sweden before the age of twenty-five, and while that work tends to be overshadowed by her time in Hollywood, it showcases the actor summoning an impressive depth of emotion to deliver astute, passionate performances. Under the guidance of filmmakers including the prolific studio director Gustaf Molander, Bergman embraced a range of roles and worked with some of the most celebrated actors in the Swedish film industry, including Gösta Ekman, Karin Swanström, Victor Sjöström, and Lars Hanson. Comedies, romances, and thrillers, the six fascinating films collected here—including Intermezzo, the movie that brought Bergman to America—exhibit the precociously assured talent of a young artist with an illustrious international career ahead of her.

April 17, 2018

The Awful Truth (1937)
d. Leo McCarey

From The Criterion Collection:

In this Oscar-winning farce, Cary Grant (in the role that first defined the Cary Grant persona) and Irene Dunne exude charm, cunning, and artless affection as an urbane couple who, fed up with each other’s infidelities, resolve to file for divorce. Try as they each might to move on, the mischievous Jerry can’t help but meddle in Lucy’s ill-matched engagement to a corn-fed Oklahoma businessman (Ralph Bellamy), and a mortified Lucy begins to realize that she may be saying goodbye to the only dance partner capable of following her lead. Directed by the versatile Leo McCarey, a master of improvisation and slapstick as well as a keen and sympathetic observer of human folly, The Awful Truth is a warm but unsparing comedy about two people whose flaws only make them more irresistible.

April 17, 2018

The Color of Pomegranates (1969)
d. Sergei Parajanov

From The Criterion Collection:

A breathtaking fusion of poetry, ethnography, and cinema, Sergei Parajanov’s masterwork overflows with images and sounds that burn into the memory. In a series of tableaux that blend the tactile with the abstract, The Color of Pomegranates revives the splendors of Armenian culture through the story of the eighteenth-century troubadour Sayat-Nova, charting his intellectual, artistic, and spiritual growth through iconographic compositions rather than traditional narrative. The film’s tapestry of folklore and metaphor departed from the realism that dominated the Soviet cinema of its era, leading authorities to block its distribution, with rare underground screenings presenting it in a restructured form. This edition features the cut closest to Parajanov’s original vision, in a restoration that brings new life to one of cinema’s most enigmatic meditations on art and beauty.

April 24, 2018

The Virgin Suicides (1999)
d. Sofia Coppola

From The Criterion Collection:

With this debut feature, Sofia Coppola announced her singular vision, which explores the aesthetics of femininity while illuminating the interior lives of young women. A faithful adaptation of Jeffrey Eugenides’s popular first novel, The Virgin Suicides conjures the ineffable melancholy of teenage longing and ennui in its story of the suicides of the five Lisbon sisters, stifled by the rules of their overprotective religious parents—as told through the collective memory of a group of boys who yearn to understand what happened. Evoking its 1970s suburban setting through ethereal cinematography by Ed Lachman and an atmospheric score by Air, the film secured a place for its director in the landscape of American independent cinema and has become a coming-of-age touchstone.

April 24, 2018

Dead Man (1995)
d. Jim Jarmusch

From The Criterion Collection:

With Dead Man, his first period piece, Jim Jarmusch imagined the nineteenth-century American West as an existential wasteland, delivering a surreal reckoning with the ravages of industrialization, the country’s legacy of violence and prejudice, and the natural cycle of life and death. Accountant William Blake (Johnny Depp) has hardly arrived in the godforsaken outpost of Machine before he’s caught in the middle of a fatal lovers’ quarrel. Wounded and on the lam, Blake falls under the watch of the outcast Nobody (Gary Farmer), a Native American without a tribe, who guides his companion on a spiritual journey, teaching him to dispense poetic justice along the way. Featuring austerely beautiful black-and-white photography by Robby Müller and a live-wire score by Neil Young, Dead Man is a profound and unique revision of the western genre.