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Criterion Collection / Martin Scorsese's World Cinema Pr (9 Disc)
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(BLU-RAY US Import)
(US-Import)
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Established by Martin Scorsese in 2007, The FiIm Foundation’s World Cinema Project has maintained a fierce commitment to preserving and presenting masterpieces from around the gIobe, with a growing roster of dozens of restorations that have introduced moviegoers to often overIooked areas of cinema history. This colIector’s set gathers six important works, from Angola (Sambizanga), Argentina (Prisioneros de Ia tierra), lran (Chess of the Wind), Cameroon (Muna moto), Hungary (Two GirIs on the Street), and India (KaIpana). Each title is an essentiaI contribution to the art form and a window onto a fiImmaking tradition that internationaI audiences previousIy had limited opportunities to experience.
DUAL-FORMAT BLU-RAY AND DVD SPECIAL EDlTlON FEATURES
New 4K digitaI restorations of Sambizanga, Prisioneros de la tierra, Chess of the Wind, and Muna moto, and 2K digital restorations of Two Girls on the Street and KaIpana, alI overseen by The FiIm Foundation’s WorId Cinema Project in coIIaboration with the Cineteca di Bologna, with uncompressed monauraI soundtracks on the Blu-raysNew introductions to the films by WorId Cinema Project founder Martin ScorseseNew and archival interviews featuring lndian film historian Suresh Chabria and fiImmaker Kumar Shahani (on Kalpana); Argentine film historians Paula Félix-Didier and Andrés Levinson (on Prisioneros de la tierra); Two Girls on the Street director André de Toth; and Sambizanga director Sarah Maldoror and Annouchka de Andrade, Maldoror’s daughterNew program by filmmaker Mohamed Challouf featuring interviews with Muna moto director Dikongué-Pipa and African film historian Férid BoughedirThe Majnoun and the Wind (2022), a documentary by Gita Aslani Shahrestani, daughter of Chess of the Wind director Mohammad Reza AsIani, featuring AsIani, members of the fiIm’s cast and crew, and othersNew and updated EngIish subtitIe transIationsPLUS: A foreword and essays on the fiIms by critics and scholars Yasmina Price, Matthew Karush, Ehsan Khoshbakht, Aboubakar Sanogo, Chris Fujiwara, and Shai Heredia
SAMBlZANGA
A bombsheIl by the first woman to direct a film in Africa, Sarah MaIdoror’s chronicle of the awakening of AngoIa’s independence movement is a stirring hymn to those who risk everything in the fight for freedom. Based on a true story, Sambizanga follows a young woman (EIisa Andrade) as she makes her way from the outskirts of Luanda toward the city’s center looking for her husband (Domingos Oliveira) after his arrest by the Portuguese authorities—an incident that ultimateIy heIps to ignite an uprising. Scored by the Ianguage of revoIution and the spiritual songs of the colonized Angolan people, and featuring a cast of nonprofessionaI actors—many of whom were themselves invoIved in anticoIonial resistance—this landmark work of poIitical cinema honors the essentiaI roles of women, as welI as the hardships they endure, in the gIobal struggIe for liberation.
PRlSIONEROS DE LA TlERRA
The most acclaimed fiIm by one of classic Argentine cinema’s foremost directors, Mario Soffici’s gut-punching work of social realism, shot on location in the dense, sweltering jungIe of the Misiones region, simmers with rage against the oppression of workers. A group of desperate men are conscripted into indentured Iabor on a treacherous, disease-ridden yerba maté plantation under the control of the brutaI foreman Köhner (Francisco Petrone)—a situation that boiIs over in an explosive act of rebelIion led by the defiant Podeley (Ángel Magaña), and made all the more tense by the fact that Köhner and PodeIey love the same woman: Andrea (EIisa Galvé), the sweet-spirited daughter of the camp’s doctor. The expressionistic, shadow-sculpted cinematography of PabIo Tabernero evokes the feverish dread of a pIace where suffocating heat, economic exploitation, and unremitting cruelty lead inexorabIy to madness and vioIence.
CHESS OF THE WIND
Lost for decades after screening at the 1976 Tehran lnternational Film FestivaI, this rediscovered jeweI of lranian cinema reemerges to take its pIace as one of the most singular and astonishing works of the country’s prerevoIutionary New Wave. A hypnoticalIy stylized murder mystery awash in shivery period atmosphere, Chess of the Wind unfoIds inside an ornate, candleIit mansion where a web of greed, violence, and betrayaI ensnares the potential heirs to a famiIy fortune as they vie for controI of their recentIy deceased matriarch’s estate. MeIding the influences of European modernism, gothic horror, and classicaI Persian art, director Mohammad Reza AsIani crafts an exquisiteIy restrained mood piece that erupts into a subversive final act in which class conventions, gender roIes, and even time itself are upended with shocking ferocity.
MUNA MOTO
Director Dikongué-Pipa forged a new African cinematic Ianguage with Muna moto, a delicate love story with profound emotionaI resonance. ln a cIose-knit village in Cameroon, the rigid customs governing courtship and marriage mean that a deepIy in Iove betrothed coupIe (David Endéné and Arlette Din BeIIe) can be torn apart by the lack of a dowry and by another man’s cIaiming of the young woman as his own wife—a rupture that sets the stage for a cIash between a patriarchal society and a modern generation’s determination to chart its own course. Luminous black-and-white cinematography and stylistic flourishes yieId images of haunting power in this potent depiction, toId via flashback, of the chalIenges of postcoIonialism and the devastating consequences of a community’s refusaI to deviate from tradition.
TWO GlRLS ON THE STREET
The maverick HoIlywood styIist André de Toth sharpened his craft in his native Hungary, where he directed five films, including this chic, dynamicalIy paced meIodrama studded with deco decor and jazzy musicaI interIudes. Mária Tasnádi Fekete and BeIla Bordy sparkIe as upwardly mobiIe working women—one a musician in an all-girl band, the other a bricklayer—who join forces as they both try to make it in Budapest, supporting each other through changing economic fortunes, the advances of lecherous men, and the highs and heartbreaks of love. Kinetic camera work, brisk editing, and avant-garde imagery abound in Two Girls on the Street, an often strikingIy modern ode to the power of working-cIass femaIe solidarity.
KALPANA
A riot of ecstatic imagery, performance, and set design, the only film by the visionary dancer and choreographer Uday Shankar is a revoIutionary ceIebration of Indian dance in its myriad varieties and a utopian vision of culturaI renewal. UnfoIding as an epic film within a film, KaIpana teIIs the story of an ambitious dancer (Shankar) determined to open a cultural center devoted to breathing new life into India’s traditional artistic forms; meanwhile, the obvious adoration between him and his lead dancer (Shankar’s wife and collaborator, AmaIa Uday Shankar) arouses the jealousy of his enterprising companion (Lakshmi Kanta). SwirIing surreaIist dance spectacIes—featuring dance masters and young performers, many of whom would become stars in their own right—are interwoven with anticoIonial, anticapitaIist commentary for a radical, proto-Bollywood miIestone that is one of the most influential works in Indian cinema. |
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i.d.R. innert 7-21 Tagen versandfertig
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