{"id":27827,"date":"2020-06-15T18:02:15","date_gmt":"2020-06-15T22:02:15","guid":{"rendered":"https:\/\/mookseandgripes.com\/reviews\/?p=27827"},"modified":"2020-06-15T18:06:00","modified_gmt":"2020-06-15T22:06:00","slug":"the-criterion-collection-announces-september-2020-releases","status":"publish","type":"post","link":"https:\/\/mookseandgripes.com\/reviews\/2020\/06\/15\/the-criterion-collection-announces-september-2020-releases\/","title":{"rendered":"The Criterion Collection Announces September 2020 Releases"},"content":{"rendered":"
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Today The Criterion Collection announced what they’ll be releasing in September, and it’s an exciting slate of (many!) films. There are a couple of upgrades and a few long-awaited titles, including their third entry in the Martin Scorsese’s World Cinema Project!<\/p>\n

The blurbs are from The Criterion Collection\u2019s website (so are the links)\u00a0\u2014 go there to see the details on the supplements.<\/p>\n

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September 8, 2020<\/strong><\/p>\n

\"\"Brute Force<\/b><\/em> (1947)
\n<\/i><\/b>d. Jules Dassin<\/p>\n

From The Criterion Collection<\/a>:<\/em><\/p>\n

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As hard-hitting as its title,\u00a0Brute Force<\/em>\u00a0was the first of Jules Dassin\u2019s forays into the crime genre, a prison melodrama that takes a critical look at American society as well. Burt Lancaster is the timeworn Joe Collins, who, along with his fellow inmates, lives under the heavy thumb of the sadistic, power-tripping guard Captain Munsey (a riveting Hume Cronyn). Only Collins\u2019s dreams of escape keep him going, but how can he possibly bust out of Munsey\u2019s chains? Matter-of-fact and ferocious,\u00a0Brute Force<\/em>\u00a0builds to an explosive climax that shows the lengths men will go to when fighting for their freedom.<\/span><\/p>\n<\/blockquote>\n

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September 8, 2020<\/strong><\/p>\n

\"\"The Naked City<\/i><\/b> (1948)
\n<\/em>d. Jules Dassin<\/p>\n

From\u00a0The Criterion Collection<\/a>:<\/em><\/p>\n

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\u201cThere are eight million stories in the Naked City,\u201d as the narrator immortally states at the close of this breathtakingly vivid film\u2014and this is one of them. Master noir craftsman Jules Dassin and newspaperman-cum-producer Mark Hellinger\u2019s dazzling police procedural,\u00a0The Naked City,<\/em>\u00a0was shot entirely on location in New York. Influenced as much by Italian neorealism as it is by American crime fiction, this double Academy Award winner remains a benchmark for naturalism in noir, living and breathing in the promises and perils of the Big Apple, from its lowest depths to its highest skyscrapers.<\/span><\/p>\n<\/blockquote>\n

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September 15, 2020<\/strong><\/p>\n

\"\"Beau travail <\/em><\/b>(1999)
\n<\/em>d. Claire Denis<\/p>\n

From\u00a0The Criterion Collection<\/a>:<\/em><\/p>\n

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With her ravishingly sensual take on Herman Melville\u2019s\u00a0Billy Budd, Sailor,<\/em>\u00a0Claire Denis firmly established herself as one of the great visual tone poets of our time. Amid the azure waters and sunbaked desert landscapes of Djibouti, a French Foreign Legion sergeant (Denis Lavant) sows the seeds of his own ruin as his obsession with a striking young recruit (Gr\u00e9goire Colin) plays out to the thunderous, operatic strains of Benjamin Britten. Denis and cinematographer Agn\u00e8s Godard fold military and masculine codes of honor, colonialism\u2019s legacy, destructive jealousy, and repressed desire into shimmering, hypnotic images that ultimately explode in one of the most startling and unforgettable endings in all of modern cinema.<\/span><\/p>\n<\/blockquote>\n

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September 22, 2020<\/strong><\/p>\n

\"\"Christ Stopped at Eboli <\/i><\/b>(1979)
\n<\/em>d. Francesco Rosi<\/p>\n

From\u00a0The Criterion Collection<\/a>:<\/em><\/p>\n

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An elegy of exile and an epic immersion into the world of rural Italy during the Mussolini years, Francesco Rosi\u2019s sublime adaptation of the memoirs of the painter, physician, and political activist Carlo Levi brings a monument of twentieth-century autobiography to the screen with quiet grace and solemn beauty. Banished to a desolate southern town for his anti-Fascist views, the worldly Levi (Gian Maria Volont\u00e8) discovers an Italy he never knew existed, a place where ancient folkways and superstitions still hold sway and that gradually transforms his understanding of both himself and his country. Presented for the first time on home video in its original full-length, four-part cut,\u00a0Christ Stopped at Eboli<\/em>\u00a0ruminates profoundly on the political and philosophical rifts within Italian society\u2014between north and south, tradition and modernity, fascism and freedom\u2014and the essential humanity that transcends all.<\/span><\/p>\n<\/div>\n<\/div>\n<\/blockquote>\n

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September 29, 2020<\/strong><\/p>\n

\"\"Martin Scorsese’s World Cinema Project No. 3<\/b>
\n<\/em>–Luc\u00eda<\/em> (1968)
\n–After the Curfew<\/em> (1954)
\n–Pixote<\/em> (1981)
\n–Dos monjes<\/em> (1934)
\n–Soleil \u00d4<\/em> (1970)
\n–Downpour<\/em> (1972)<\/p>\n

From\u00a0The Criterion Collection<\/a>:<\/em><\/p>\n

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Established by Martin Scorsese in 2007, the World Cinema Project has maintained a fierce commitment to preserving and presenting masterpieces from around the globe, with a growing roster of more than three dozen restorations that have introduced moviegoers to often-overlooked areas of cinema history. Presenting passionate stories of revolution, identity, agency, forgiveness, and exclusion, this collector\u2019s set gathers six of those important works, from Brazil (Pixote<\/em>), Cuba (Luc\u00eda<\/em>), Indonesia (After the Curfew<\/em>), Iran (Downpour<\/em>), Mauritania (Soleil \u00d4<\/em>), and Mexico (Dos monjes<\/em>). Each title is a pathbreaking contribution to the art form and a window onto a filmmaking tradition that international audiences previously had limited opportunities to experience.<\/span><\/p>\n<\/div>\n<\/div>\n<\/blockquote>\n\n\t\t