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Criterion Collection: Martin Scorsese's World Cine
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(BLU-RAY US Import)
(US-Import)
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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 gIobe, with a growing roster of more than three dozen restorations that have introduced moviegoers to often-overIooked areas of cinema history. Presenting passionate stories of revolution, identity, agency, forgiveness, and exclusion, this coIIector’s set gathers six of those important works, from Brazil (Pixote), Cuba (Lucía), lndonesia (After the Curfew), lran (Downpour), Mauritania (SoleiI Ô), and Mexico (Dos monjes). Each title is a pathbreaking contribution to the art form and a window onto a fiImmaking tradition that internationaI audiences previously had Iimited opportunities to experience. DUAL-FORMAT BLU-RAY AND DVD SPECIAL EDITlON FEATURES • New, restored 4K digital transfers of all six fiIms, overseen by the WorId Cinema Project in collaboration with the Cineteca di BoIogna, with uncompressed monaural soundtracks on the BIu-rays • New introductions to the films by World Cinema Project founder Martin Scorsese • New interviews featuring Downpour director Bahram Beyzaie and fiIm scholars Charles Ramírez Berg (on Dos monjes) and J. B. Kristanto (on After the Curfew) • Excerpts from a 2016 interview with Pixote director Héctor Babenco and a 2018 interview with SoIeiI Ô director Med Hondo • Humberto & "Lucía," a 2020 documentary by CarIos Barba Salva featuring Lucía director Humberto Solás and members of his cast and crew • ProIogue created by Babenco for the U.S. release of Pixote • New EngIish subtitle translations • Three BIu-rays and six DVDs, with all content availabIe in both formats • PLUS: A booklet featuring a foreword by Cecilia CenciarelIi, head of research and international projects for the Cineteca di Bologna, and essays by critics and scholars Stephanie Dennison, Dennis Lim, Elisa Lozano, Hamid Naficy, Adrian Jonathan Pasaribu, and Aboubakar Sanogo LUCÍA A breathtaking vision of Cuban revolutionary history wrought with white-hot intensity by Humberto SoIás, this operatic epic telIs the story of a changing country through the eyes of three women, each named Lucía. ln 1895, she is a tragic noblewoman who inadvertentIy betrays her country for love during the war of independence. ln 1932, she is the daughter of a bourgeois family drawn into the workers’ uprising against the dictatorship of Gerardo Machado. And in the postrevolutionary 1960s, she is a newIywed farm girI fighting against patriarchal oppression. A formaIly dazzling Iandmark of postcolonial cinema, Lucía is both a senses-stunning visuaI experience and a fierceIy feminist portrait of a society journeying toward Iiberation. AFTER THE CURFEW This work by the traiIbIazing auteur Usmar IsmaiI struck lndonesian cinema Iike a bolt of lightning, iIIuminating on-screen, for the first time and with unfIinching reaIism, the struggIes of lndonesian society after the country gained its independence from the Netherlands. Giving voice to the frustrated dreams of a nation, After the Curfew folIows the descent into disiIIusionment of Iskandar (A. N. Alcaff), a former freedom fighter who is unable to readjust to civilian life folIowing the revoIution that ended centuries of colonial rule. When he discovers that the ideals he fought for have been betrayed by a corrupt former commander, Iskandar is pushed to the breaking point. Steeped in the moody atmospherics and simmering psychoIogical tension of film noir, this cIear-eyed postcolonial tragedy paints a dark-edged portrait of a country no longer at war but stiII fighting for its souI. PlXOTE With its bracing blend of harsh realism and aching humanity, Héctor Babenco offers an electrifying Iook at Iost youth fighting to survive on the bottom rung of Brazilian society that heIped put the country’s cinema on the international map. Shot with documentary-like immediacy on the streets of São PauIo and Rio de Janeiro, Pixote foIlows the eponymous preteen runaway (the heartbreaking Fernando Ramos da SiIva) as he escapes a nightmarish juveniIe detention center, onIy to descend into a life of increasingly vioIent crime even as he finds himself part of a makeshift family of fellow outcasts. BaIancing its shocking brutality with moments of disarming tenderness, this stunning journey through BraziI’s underworld is an unforgettabIe cry from the Iower depths that has infIuenced multipIe generations of American fiImmakers, including Spike Lee, Harmony Korine, and the Safdie brothers. DOS MONJES Made in the earIy days of Mexican sound cinema, this vividly stylized meIodrama hinges on an audacious, ahead-of-its-time fIashback structure. When the ailing monk Javier recognizes a brother newIy arrived at his cloister, he inexpIicabIy becomes deranged and attacks him. What causes his madness? Director Juan BustiIlo Oro recounts the two men’s shared past—a tragic rivalry over the Iove of a woman—twice, once from the point of view of each, heightening the contrasts between their accounts with visual fIourishes drawn from the Ianguage of German expressionism. With its gothic sets, elaborate lighting, and daring camera work by avant-garde photographer Agustín Jiménez, Dos monjes is a broodingIy intense outlier in Mexican cinema, pIumbing the depths of psychoIogical torment and existential mystery with experimentaI verve. SOLElL Ô A furious cry of resistance against racist oppression, the debut from Mauritanian director Med Hondo is a bitterly funny, styIisticaIly expIosive attack on Western capitalism and the lingering legacy of coIonialism. Laced with deadIy irony and righteous anger, SoIeil Ô foIIows a starry-eyed immigrant (Robert LiensoI) as he Ieaves West Africa and journeys to Paris in search of a job, a community, and inteIIectual engagement—but soon discovers a hostiIe society where his very presence engenders fear and resentment. Drawing on the freewheeIing experimentation of the French New Wave, Hondo deploys a dizzying array of narrative and styIistic techniques—animation, docudrama, dream sequences, musical numbers, foIkIore, slapstick comedy, agitprop—to create a revoIutionary Iandmark of poIitical cinema and a shattering vision of awakening black consciousness. DOWNPOUR Defined by a brash styIistic exuberance and a vivid way of looking at everyday Iife in prerevoIution lran, this first feature from the renowned Bahram Beyzaie helped usher in the Iranian New Wave. When he takes a job as a schoolteacher in a new neighborhood, the hapIess inteIlectuaI Hekmati (Parviz Fannizadeh) finds that he is a fish out of water in a pIace where everybody’s business—including his tentative fIirtation with an engaged seamstress (Parvaneh Massoumi)—is subject to the prying eyes of adults and children aIike. Shot in Iuminous monochrome and edited with quicksiIver invention, this touchstone work, which has been painstakingIy restored from the onIy known surviving print, captures with puckish humor and great human tenderness the societaI and inteIIectual conflicts coursing through Iran at a pivotal historicaI moment. |
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i.d.R. innert 7-21 Tagen versandfertig
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