{"id":28149,"date":"2020-09-15T14:36:50","date_gmt":"2020-09-15T18:36:50","guid":{"rendered":"https:\/\/mookseandgripes.com\/reviews\/?p=28149"},"modified":"2020-09-15T14:36:50","modified_gmt":"2020-09-15T18:36:50","slug":"the-criterion-collection-announces-december-2020-releases","status":"publish","type":"post","link":"https:\/\/mookseandgripes.com\/reviews\/2020\/09\/15\/the-criterion-collection-announces-december-2020-releases\/","title":{"rendered":"The Criterion Collection Announces December 2020 Releases"},"content":{"rendered":"

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This morning The Criterion Collection announced what they’ll be releasing in December, rounding out a pretty fantastic year of releases.<\/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

\n

December 1, 2020<\/strong><\/p>\n

\"\"Crash<\/b><\/em> (1996)
\n<\/i><\/b>d. David Cronenberg<\/p>\n

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

For this icily erotic fusion of flesh and machine, David Cronenberg adapted J. G. Ballard\u2019s future-shock novel of the 1970s into one of the most singular and provocative films of the 1990s. A traffic collision involving a disaffected commercial producer, James (James Spader), and an enigmatic doctor, Helen (Holly Hunter), brings them, along with James\u2019s wife, Catherine (Deborah Kara Unger, in a sublimely detached performance), together in a crucible of blood and broken glass\u2014and it\u2019s not long before they are all initiated into a kinky, death-obsessed underworld of sadomasochistic car-crash fetishists for whom twisted metal and scar tissue are the ultimate turn-ons. Controversial from the moment it premiered at Cannes\u2014where it won a Special Jury Prize \u201cfor originality, for daring, and for audacity\u201d\u2014Crash<\/em>\u00a0has since taken its place as a key text of late-twentieth-century cinema, a disturbingly seductive treatise on the relationships between humanity and technology, sex and violence, that is as unsettling as it is mesmerizing.<\/span><\/p><\/blockquote>\n

\n

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

\"\"Mouchette<\/i><\/b> (1967)
\n<\/em>d. Robert Bresson<\/p>\n

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

Robert Bresson plumbs great reservoirs of feeling with\u00a0Mouchette,<\/em>\u00a0one of the most searing portraits of human desperation ever put on film. With a dying mother, an absent, alcoholic father, and a baby brother in need of care, the teenage Mouchette seeks solace and respite from her circumstances in the nature of the French countryside and daily routine. Bresson deploys his trademark minimalist style to heartbreaking effect in this essential work of French filmmaking, a hugely empathetic drama that elevates its trapped protagonist into one of the cinema\u2019s most memorable tragic figures.<\/span><\/p><\/blockquote>\n

\n

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

\"\"Symbiopsychotaxiplasm: Two Takes by William Greaves <\/em><\/b>(1968 & 2005)
\n<\/em>d. William Greaves<\/p>\n

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

In his one-of-a-kind fiction\/documentary hybrid\u00a0Symbiopsychotaxiplasm Take One,<\/em>\u00a0the pioneering William Greaves presides over a beleaguered film crew in New York\u2019s Central Park, leaving them to try to figure out what kind of movie they\u2019re making. A couple enacts a breakup scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies, expanded thirty-five years later by its unconventional follow-up,\u00a0Symbiopsychotaxiplasm Take 2\u00bd.<\/em>\u00a0The \u201csequel\u201d sees\u00a0Take One<\/em>\u00a0actors Audrey Henningham and Shannon Baker reunited in a more personal, metatheatrical exploration of the effects of the passage of time on technology, the artistic process, and relationships\u2014real and fabricated.<\/span><\/p><\/blockquote>\n

\n

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

\"\"Amores Perros <\/i><\/b>(2000)
\n<\/em>d. Alejandro I\u00f1\u00e1rritu<\/p>\n

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

\n
\n
\n

Sending shock waves through the Mexican film industry and the world, this blistering feature debut from Alejandro I\u00f1\u00e1rritu brought the director\u2019s electrifying visual style and bravura multistrand storytelling to the screen with the heart-stopping impact of a primal scream. In Mexico City, the lives of three strangers\u2014a young man (Gael Garc\u00eda Bernal) mixed up in the gritty underworld of dogfighting, a glamorous woman (Goya Toledo) who seems to have it all, and a mysterious assassin (Emilio Echevarr\u00eda) who is desperate to reconnect with his estranged daughter\u2014collide in a tragic twist of fate that forever alters their personal journeys. A tour de force of violence and emotion captured in a rush of kinetic handheld camera work,\u00a0Amores perros<\/em>\u00a0is an unforgettable plunge into a world of brutality and aching, interconnected humanity.<\/span><\/p>\n<\/div>\n<\/div>\n<\/blockquote>\n

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