{"id":28642,"date":"2021-03-15T14:48:06","date_gmt":"2021-03-15T18:48:06","guid":{"rendered":"https:\/\/mookseandgripes.com\/reviews\/?p=28642"},"modified":"2021-03-15T14:48:06","modified_gmt":"2021-03-15T18:48:06","slug":"the-criterion-collection-announces-june-2021-releases","status":"publish","type":"post","link":"https:\/\/mookseandgripes.com\/reviews\/2021\/03\/15\/the-criterion-collection-announces-june-2021-releases\/","title":{"rendered":"The Criterion Collection Announces June 2021 Releases"},"content":{"rendered":"
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The Criterion Collection has announced what they'll be releasing in June 2021. There are two Blu-ray upgrades coming, along with four new releases, several of which really pack in the films and supplements. There's a lot to dig into come June!<\/p>\n

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

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June 8, 2021<\/strong><\/p>\n

\"\"The Human Condition<\/i><\/b> (1959)
\n<\/i><\/b>d. Masaki Kobayashi<\/p>\n

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

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This mammoth humanist drama by Masaki Kobayashi is one of the most staggering achievements of Japanese cinema. Originally filmed and released in three installments of two parts each, the nine-and-a-half-hour The Human Condition, <\/em>adapted from Junpei Gomikawa's six-volume novel, tells of the journey of the well-intentioned yet naive Kaji\u2014played by the Japanese superstar Tatsuya Nakadai\u2014from labor camp supervisor to Imperial Army soldier to Soviet prisoner of war. Constantly trying to rise above a corrupt system, Kaji time and again finds his morals to be an impediment rather than an advantage. A raw indictment of Japan's wartime mentality as well as a personal existential tragedy, Kobayashi's riveting, gorgeously filmed epic is novelistic cinema at its best.<\/span><\/p>\n<\/div>\n<\/blockquote>\n

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June 15, 2021<\/strong><\/p>\n

\"\"Streetwise<\/i><\/b> (1984)
\nTiny: The Life of Erin Blackwell<\/em> <\/strong>(2016)
\n<\/em>d. Martin Bell, Mary Ellen Mark, & Cheryl McCall<\/p>\n

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

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In 1983, director Martin Bell, photographer Mary Ellen Mark, and journalist Cheryl McCall set out to tell the stories of homeless and runaway teenagers living on the margins in Seattle. Streetwise <\/em>follows an unforgettable group of kids who survive by hustling, panhandling, and dumpster diving. Its most haunting and enduring figure is iron-willed fourteen-year-old Erin Blackwell, a.k.a. Tiny; the project's follow-up, Tiny: The Life of Erin Blackwell, <\/em>completed thirty years later, draws on the filmmakers' long relationship with their subject, now a mother of ten. Blackwell reflects with Mark on the journey they've experienced together, from Blackwell's battles with addiction to her regrets to her dreams for her children, even as she sees them repeat her own struggles. Taken together, the two films create a devastatingly frank, empathetic portrait of lost youth growing up far too soon in a world that has failed them, and of a family trying to break free of the cycle of trauma\u2014as well as a summation of the life's work of Mark, an irreplaceable artistic voice.<\/span><\/p>\n<\/blockquote>\n

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June 22, 2021<\/strong><\/p>\n

\"\"The Signifyin' Works of Marlon Riggs
\n-Ethnic Notions\u00a0<\/em><\/b>(1986)
\n\u2013Tongues Untied<\/em><\/strong> (1989)
\n\u2013Affirmations<\/strong><\/em> (1990)
\n\u2013Anthem<\/strong><\/em> (1991)
\n\u2013Color Adjustment<\/strong><\/em> (1992)
\n\u2013Non, Je Ne Regrette Rien (No Regret)<\/strong><\/em> (1993)
\n\u2013Black Is . . . Black Ain't<\/strong><\/em> (1995)<\/p>\n

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

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There has never been a filmmaker like Marlon Riggs (1957\u20131994): an unapologetic gay Black man who defied a culture of silence and shame to speak his truth with resounding joy and conviction. An early adopter of video technology who had a profound understanding of the power of words and images to effect change, Riggs employed a bold mix of documentary, performance, poetry, music, and experimental techniques in order to confront issues that most of Reagan-era America refused to acknowledge, from the devastating legacy of racist stereotypes to the impact of the AIDS crisis on his own queer African American community to the very definition of what it is to be Black. Bringing together Riggs's complete works\u2014including his controversy-inciting queer landmark Tongues Untied<\/em> and Black Is . . . Black Ain't,<\/em> his deeply personal career summation\u2014The Signifyin' Works of Marlon Riggs<\/em> traces the artistic and political evolution of a transformative filmmaker whose work is both an electrifying call for liberation and an invaluable historical document.<\/span><\/p>\n<\/blockquote>\n

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June 22, 2021<\/strong><\/p>\n

\"\"Visions of Eight\u00a0<\/i><\/b>(1973)
\n<\/em>d. Milos Forman, Kon Ichikawa, Claude Lelouch, Juri Ozerov, Arthur Penn, Michale Pflegher, John Schlesinger, & Mai Zetterling<\/p>\n

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

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In Munich in 1972, eight renowned filmmakers each brought their singular artistry to the spectacle of the Olympic Games\u2014the joy and pain of competition, the kinetic thrill of bodies in motion\u2014for an aesthetically adventurous sports film unlike any other. Made to document the Olympic Summer Games\u2014an event that was ultimately overshadowed by the tragedy of a terrorist attack\u2014Visions of Eight<\/em> features contributions from Milo\u0161 Forman, Kon Ichikawa, Claude Lelouch, Juri Ozerov, Arthur Penn, Michael Pfleghar, John Schlesinger, and Mai Zetterling, each given carte blanche to create a short focusing on any aspect of the Games that captured his or her imagination. The resulting films\u2014ranging from the arresting abstraction of Penn's pure cinema study of pole-vaulters to the playful irreverence of Forman's musical take on the decathlon to Schlesinger's haunting portrait of the single-minded solitude of a marathon runner\u2014are triumphs of personal, poetic vision applied to one of the pinnacles of human achievement.<\/span><\/p>\n<\/div>\n<\/div>\n<\/blockquote>\n

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June 29, 2021<\/strong><\/p>\n

\"\"Pariah\u00a0<\/i><\/b>(2011)
\n<\/em>d. Dee Rees<\/p>\n

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

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The path to living as one's authentic self is paved with trials and tribulations in this revelatory, assured feature debut by Dee Rees\u2014the all-too-rare coming-of-age tale to honestly represent the experiences of queer Black women. Grounded in the fine-grained specificity and deft characterizations of Rees's script and built around a beautifully layered performance from Adepero Oduye, Pariah<\/em> follows Brooklyn teenager Alike, who is dealing with the emotional minefields of both first love and heartache and the disapproval of her family as she navigates the expression of her gender and sexual identities within a system that does not make space for them. Achieving an aching intimacy with its subject through the expressive cinematography of Bradford Young, this deeply felt portrait finds strength in vulnerability and liberation in letting go.<\/span><\/p>\n<\/div>\n<\/div>\n<\/blockquote>\n

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June 29, 2021<\/strong><\/p>\n

\"\"Pickup on South Street\u00a0<\/i><\/b>(1953)
\n<\/em>d. Samuel Fuller<\/p>\n

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

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Darkness lurks behind the bright lights of a traveling carnival in one of the most haunting and perverse film noirs of the 1940s. Petty crook Skip McCoy (Richard Widmark) has his eyes fixed on the big score. When the cocky three-time convict picks the pocketbook of unsuspecting Candy (Jean Peters), he finds a more spectacular haul than he could have imagined: a strip of microfilm bearing confidential U.S. information. Tailed by manipulative Feds and the unwitting courier's Communist puppeteers, Skip and Candy find themselves in a precarious gambit that pits greed against redemption, right against Red, and passion against self-preservation. With its dazzling cast and writer-director Samuel Fuller's signature hard-boiled repartee and raw energy, Pickup on South Street<\/em> is a true film noir classic by one of America's most passionate cinematic craftspeople.<\/span><\/p>\n<\/div>\n<\/div>\n<\/blockquote>\n<\/div>

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