There’s a Criterion Collection Flash Sale Going On! Here’s What You Should Be Buying

To save this dreadful Tuesday, the good folks over at The Criterion Collection have graced us with a special treat this afternoon. After announcing their spring releases a few weeks back, now they have graced us with a Flash Sale. Cue: cinephiles everywhere stopping whatever they’re doing, desparately scouring their dwindling bank statements and proclaiming, “But I will literally die without that Rohmer box set!”

So, from now until noon on Wednesday, all in-stock Blu-rays and DVDs are 50% off, and all you have to do is enter their code and voilà! I certainly understand that remembering what you wanted in the first place—let alone making a decision—is hard enough, so I’ve compiled the best Collectors Sets available on the site that you otherwise probably wouldn’t be able to shell out the money for. From American New Wave classics to German melodramas and everything in between, here’s a helpful reminder of what you should be purchasing today.

Eclipse Series 19: Chantal Ackerman in the Seventies

 Over the past four decades, Belgian director Chantal Akerman (Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles) has created one of cinema’s most distinctive bodies of work—formally daring, often autobiographical films about people and places, time and space. In this collection, we present the early films that put her on the map: intensely personal, modernist investigations of cities, history, family, and sexuality, made in the 1970s in the United States and Europe and strongly influenced by the New York experimental film scene. Bold and iconoclastic, these five films pushed boundaries in their day and continue to have a profound influence on filmmakers all over the world.

Three Colors Trilogy

This boldly cinematic trio of stories about love and loss, from Krzysztof Kieślowski was a defining event of the art-house boom of the 1990s. The films are named for the colors of the French flag and stand for the tenets of the French Revolution—liberty, equality, and fraternity—but that hardly begins to explain their enigmatic beauty and rich humanity. Set in Paris, Warsaw, and Geneva, and ranging from tragedy to comedy, Blue, White, and Red(Kieślowski’s final film) examine with artistic clarity a group of ambiguously interconnected people experiencing profound personal disruptions. Marked by intoxicating cinematography and stirring performances by such actors as Juliette Binoche, Julie Delpy, Irène Jacob, and Jean-Louis Trintignant, Kieślowski’s Three Colors is a benchmark of contemporary cinema.

Eclipse Series 12: Aki Kaurismäki’s Proletariat Trilogy

 The poignant, deadpan films of Aki Kaurismäki are pitched somewhere in the wintry nether lands between comedy and tragedy. And rarely in his body of work has the line separating those genres seemed thinner than in what is often identified as his “Proletariat Trilogy,” Shadows in Paradise, Ariel, andThe Match Factory Girl. In these three films, something like social-realist farces, Kaurismäki surveys the working-class outcasts of his native Finland with detached yet disarming amusement. Featuring commanding, off-key visual compositions and delightfully dour performances, the films in this triptych exemplify the talents of a unique and highly influential film artist.

David Lean Directs Noel Coward

 In the 1940s, the wit of playwright Noël Coward and the craft of filmmaker David Lean melded harmoniously in one of cinema’s greatest writer-director collaborations. With the wartime military drama sensation In Which We Serve,Coward and Lean (along with producing partners Ronald Neame and Anthony Havelock-Allan) embarked on a series of literate, socially engaged, and enormously entertaining pictures that ranged from domestic epic (This Happy Breed) to whimsical comedy (Blithe Spirit) to poignant romance (Brief Encounter). These films created a lasting testament to Coward’s artistic legacy and introduced Lean’s visionary talents to the world.

Eclipse Series 2: The Documentaries of Louis Malle

 Over the course of a nearly forty-year career, Louis Malle forged a reputation as one of the world’s most versatile cinematic storytellers, with such widely acclaimed, and wide-ranging, masterpieces as Elevator to the Gallows, My Dinner with Andre, and Au revoir les enfants. At the same time, however, with less fanfare, Malle was creating a parallel, even more personal body of work as a documentary filmmaker. With the discerning eye of a true artist and the investigatory skills of a great journalist, Malle takes us from a street corner in Paris to America’s heartland to the expanses of India in his astonishing epicPhantom India. These are some of the most engaging and fascinating nonfiction films ever made.

The BDR Trilogy

 By the age of thirty-four, German director Rainer Werner Fassbinder had directed already twenty-two feature films. In 1978, he embarked upon a project to trace the history of postwar Germany in a series of films told through the eyes of three remarkable women. Fassbinder’s The Marriage of Maria Braun, Lola, and Veronika Voss—the BRD (Bundesrepublik Deutschland) Trilogy—would garner him the international acclaim he had always yearned for and place his name foremost in the canon of New German Cinema.

Eclipse Seires 3: Late Ozu

 Master filmmaker Yasujiro Ozu directed fifty-three feature films over the course of his long career. Yet it was in the final decade of his life, his “old master” phase, that he entered his artistic prime. Centered more than ever on the modern sensibilities of the younger generation, these delicate family dramas are marked by an exquisite formal elegance and emotional sensitivity about birth and death, love and marriage, and all the accompanying joys and loneliness. Along with such better-known films as Floating Weeds and An Autumn Afternoon, these five works illustrate the worldly wisdom of one of cinema’s great artists at the height of his powers.

3 Silent Classics by Josef von Sternberg

 Vienna-born, New York–raised Josef von Sternberg directed some of the most influential, stylish dramas ever to come out of Hollywood. Though best known for his star-making collaborations with Marlene Dietrich, von Sternberg began his career during the final years of the silent era, dazzling audiences and critics with his films’ dark visions and innovative cinematography. The titles in this collection, made on the cusp of the sound age, are three of von Sternberg’s greatest works, gritty evocations of gangster life (Underworld), the Russian Revolution (The Last Command), and working-class desperation (The Docks of New York) made into shadowy movie spectacle. Criterion is proud to present these long unavailable classics of American cinema, each with two musical scores.

Frances Ha

Greta Gerwig is radiant as Frances, a woman in her late twenties in contemporary New York trying to sort out her ambitions, her finances, and, above all, her intimate but shifting bond with her best friend, Sophie (Mickey Sumner). Meticulously directed by Noah Baumbach with a free-and-easy vibe reminiscent of the French New Wave’s most spirited films, and written by Baumbach and Gerwig with an effortless combination of sweetness and wit,Frances Ha gets at both the frustrations and the joys of being young and unsure of where to go next. This wry and sparkling city romance is a testament to the ongoing vitality of independent American cinema.

Eclipse Series 8: Lubitsch Musicals

Renowned as a silent film pioneer and the man who refined Hollywood comedy with such masterpieces as Trouble in Paradise, The Shop Around the Corner, and To Be or Not to Be, Ernst Lubitsch also had another claim to fame: he helped invent the modern movie musical. With the advent of sound and audiences clamoring for “talkies,” Lubitsch combined his love of European operettas and his mastery of film to create this entirely new genre. These elegant, bawdy films, made before strict enforcement of the Hays morality code, feature some of the greatest stars of early Hollywood (Maurice Chevalier, Jeanette MacDonald, Claudette Colbert, Miriam Hopkins), as well as that elusive style of comedy that would thereafter be known as “the Lubitsch touch.”

Pierre Etaix

 A French comedy master whose films went unseen for decades as a result of legal tangles, director-actor Pierre Etaix is a treasure the cinematic world has rediscovered and embraced with relish. His work can be placed on the spectrum of classic physical comedy with that of Jacques Tati and Jerry Lewis, but it also stands alone in its good- natured delicacy. These films, influenced by Etaix’s experiences as a circus acrobat and clown and by the silent film comedies he adored, are elegantly deadpan, but as an on-screen presence, Etaix radiates warmth. This collection includes all of his films, five features, The Suitor,Yoyo, As Long as You’ve Got Your Health, Le grand amour, and Land of Milk and Honey—most of them collaborations with the great screenwriter Jean-Claude Carrière—and three shorts, Rupture, the Oscar-winning Happy Anniversary, and Feeling Good. Not one of these is anything less than a bracing and witty delight.

Eclipse Series 17: Nikkatsu Noir

From the late 1950s through the sixties, wild, idiosyncratic crime movies were the brutal and boisterous business of Nikkatsu, the oldest film studio in Japan. In an effort to attract youthful audiences growing increasingly accustomed to American and French big-screen imports, Nikkatsu began producing action potboilers (mukokuseki akushun, or “borderless action”) that incorporated elements of the western, comedy, gangster, and teen-rebel genres. This bruised and bloody collection represents a standout cross section of what Nikkatsu had to offer, from such prominent, stylistically daring directors as Seijun Suzuki, Toshio Masuda, and Takashi Nomura.

The Orphic Trilogy

 Decadent, subversive, and bristling with artistic invention, the myth-born cinema of Jean Cocteau disturbs as much as it charms. Cocteau was the most versatile of artists in prewar Paris. Poet, novelist, playwright, painter, celebrity, and maker of cinema—his many talents converged in bold, dreamlike films that continue to enthrall audiences around the world. In The Blood of a Poet, Orpheus, and Testament of Orpheus, Cocteau utilizes the Orphic myth to explore the complex relationships between the artist and his creations, reality and the imagination. The Criterion Collection is proud to present the DVD premiere of the Orphic Trilogy in a special limited-edition three-disc box set.

Eclipse Series 20: George Bernard Shaw on Film

 The hugely influential, Nobel Prize–winning critic and playwright George Bernard Shaw was notoriously reluctant to allow his writing to be adapted for the cinema. Yet thanks to the persistence of Hungarian producer Gabriel Pascal, Shaw finally agreed to collaborate on a series of screen versions of his witty, socially minded plays, starting with the Oscar-winning Pygmalion.The three other films that resulted from this famed alliance, Major Barbara, Caesar and Cleopatra, and Androcles and the Lion, long overshadowed by the sensation of Pygmalion, are gathered here for the first time on DVD. These clever, handsomely mounted entertainments star such luminaries of the big screen as Vivien Leigh, Claude Rains, Wendy Hiller, and Rex Harrison.

John Cassavetes: Five Films

John Cassavetes was a genius, a visionary, and the progenitor of American independent film, but that doesn’t begin to get at the generosity of his art. A former theater actor fascinated by the power of improvisation, Cassavetes brought his search for truth in performance to the screen. The five films in this collection—all of which the director maintained total control over by financing them himself and making them outside the studio system—are electrifying and compassionate creations, populated by all manner of humanity: beatniks, hippies, businessmen, actors, housewives, strippers, club owners, gangsters, children. Cassavetes has often been called an actor’s director, but this body of work—even greater than the sum of its extraordinary parts—shows him to be an audience’s director.

Six Moral Tales

The multifaceted, deeply personal dramatic universe of Eric Rohmer has had an effect on cinema unlike any other. One of the founding critics of the history-making Cahiers du cinéma, Rohmer began translating his written manifestos to film in the sixties, standing apart from his New Wave contemporaries, like François Truffaut and Jean-Luc Godard, with his patented brand of gently existential, hyperarticulate character studies set against vivid seasonal landscapes. This near genre unto itself was established with his audacious and wildly influential series “Six Moral Tales.” A succession of jousts between fragile men and the women who tempt them, the “Six Moral Tales” unleashed onto the film world a new voice, one that was at once sexy, philosophical, modern, daring, nonjudgmental, and liberating.

Eclipse Series 7: Postwar Kurosawa

Akira Kurosawa came into his own as a filmmaker directly following World War II, delving into the state of his devastated nation with a series of pensive, topical dramas. Amid Japan’s economic collapse and U.S. occupation, Kurosawa managed to find humor and redemption existing alongside despair and anxiety. In these five early films, which range from political epic to Capraesque whimsy to courtroom potboiler, Kurosawa revealed the artistic range and social acuity that would mark his career and make him the most popular Japanese director in the world.

La Jetée/ Sans Soleil

One of the most influential, radical science-fiction films ever made and a mind-bending free-form travelogue: La Jetée and Sans Soleil couldn’t seem more different—but they’re the twin pillars of an unparalleled and uncompromising career in cinema. A filmmaker, poet, novelist, photographer, editor, and now videographer and digital multimedia artist, Chris Marker has been challenging moviegoers, philosophers, and himself for years with his investigations of time, memory, and the rapid advancement of life on this planet. These two films—a tale of time travel told in still images and a journey to Africa and Japan—remain his best-loved and most widely seen.

By Brakgae: An Anthology, Volumes One and Two

Working outside the mainstream, the wildly prolific, visionary Stan Brakhage made more than 350 films over a half century. Challenging all taboos in his exploration of “birth, sex, death, and the search for God,” he turned his camera on explicit lovemaking, childbirth, even autopsy. Many of his most famous works pursue the nature of vision itself and transcend the act of filming. Some, including the legendary Mothlight, were created without using a camera at all, as he pioneered the art of making images directly on film, by drawing, painting, and scratching. With these two volumes, we present the definitive Brakhage collection—fifty-six of his works, from across his career, in high-definition digital transfers.

Nashville

This cornerstone of 1970s American moviemaking from Robert Altman is a panoramic view of the country’s political and cultural landscapes, set in the nation’s music capital. Nashville weaves the stories of twenty-four characters—from country star to wannabe to reporter to waitress—into a cinematic tapestry that is equal parts comedy, tragedy, and musical. Many members of the astonishing cast wrote their own songs and performed them live on location, which lends another layer to the film’s quirky authenticity. Altman’s ability to get to the heart of American life via its eccentric byways was never put to better use than in this grand, rollicking triumph, which barrels forward to an unforgettable conclusion.

Martin Scorsese’s World Cinema Project

Established by Martin Scorsese in 2007, the World Cinema Project expands the horizons of moviegoers everywhere. The mission of the WCP is to preserve and present marginalized and infrequently screened films from regions generally ill equipped to preserve their own cinema history. This collector’s set brings together six superb films from countries around the globe, including Senegal (Touki bouki), Mexico (Redes), India and Bangladesh (A River Called Titas), Turkey (Dry Summer), Morocco (Trances), and South Korea (The Housemaid). Each is a cinematic revelation, depicting a culture not often seen by outsiders on-screen.

American Lost and Found: The BBS Story

Like the rest of America, Hollywood was ripe for revolution in the late sixties. Cinema attendance was down; what had once worked seemed broken. Enter Bob Rafelson, Bert Schneider, and Steve Blauner, who knew that what Hollywood needed was new audiences—namely, young people—and that meant cultivating new talent and new ideas. Fueled by money from their invention of the superstar TV pop group the Monkees, they set off on a film-industry journey that would lead them to form BBS Productions, a company that was also a community. The innovative films produced by this team between 1968 and 1972 are collected in this box set—works that now range from the iconic (Easy Rider, Five Easy Pieces, The Last Picture Show) to the acclaimed (The King of Marvin Gardens) to the obscure (Head; Drive, He Said; A Safe Place), all created within the studio system but lifted right out of the countercultural id.

Your Night With Trintignant: This Week on Hulu

Jean-Louis Trintignant once said, "I’ve spent so many decades only making movies. There’s so much that I still want to do. Like, live. It’s only up to me." And after beginning his career in the mid-1950s, the iconic French actor has led some of cinema’s most remarkable films of the last half-century, from Bertoluci’s The Conformist to Kieslowski’s Three Color’s: Red to this year’s brutally heartbreaking story of love’s endurance, Michael Haneke’s Amour.

With a 14 year gap between Red and Amour, we were more thrilled than ever to see another subtly killer performance from Trintignant, who still has the ability to captivate an audience with distinct style that goes from cerebral and stoic and wildly neurotic seamlessly. And this week, the Criterion Collection has made all of their Trintignant-centric films available free to watch. So whether you’re not familiar with the work of the internationally-acclaimed actor of stage and screen or simply understand that there’s never enough Trintignant, peruse our list of films available to watch and carve out some time to enjoy these sensational classics.

Three Colors: Red, Krystof Kiewslowski (1994)

Z, Costas Gavras (1969)

My Night at Maud’s, Eric Rohmer (1969)

…And God Created Woman, Roger Vadem (1956)

Confidentally Yours, Francois Trauffaut (1983)

La nuit de varennes, Ettore Scola (1982)

The Best Films to See This Weekend Around New York or From Your Couch

With this "historic" blizzard looming over us, there’s quite a good chance that you will not be leaving your house this weekend. But that’s such a shame, considering throughout New York there’s a plethora of incredible films screening and come on, you don’t want to miss out on the chance to see some of these on the big screen. There’s Abbas Kiarostami’s fanscinating Close-Up tonight, David Fincher’s cult-favorite Fight Club at midnight today and tomorrow, Bertolluci’s Before the Revolution—and plenty more. But whatever your preference, there’s still a decent chance that you’ll have to find cinematic solace in the comfort of your own home this weekend. So, in lieu of getting too thrilled about leaving the house, I’ve cooked up a list of not only the best films showing around the city, but the best of what’s streaming on Netflix and Hulu, along with clips from what critics had to say about each picture to give you a taste of what you’re in for. Enjoy.

 

Close-Up at The Film Society of Lincoln Center

"No doubt the film is disturbing: its portrait of Sabzian, described by one acquaintance as a “mythomaniac,” shows us an eloquent autodidact who is nonetheless deeply troubled, more a prisoner of cinema than an emblem of its salvific power. Yet it is the self-aware, suffering Sabzian of Close-up who touched the world’s imagination and survives as an icon of the Iranian cinema’s humanistic ideals, its faith in the dreams that offer avenues out of the world’s worst oppressions." —Godfrey Cheshire

Reprise Streaming on Netflix

"An exuberant, exhilaratingly playful testament to being young and hungry — for life and meaning and immortality, and for other young and restless bodies — “Reprise” is a blast of unadulterated movie pleasure. Made under the self-knowing influence of the early French New Wave, before Godard discovered Mao and Truffaut lost his groove, the film wears its influences without a trace of anxiety, in part, I imagine, because its precociously talented Norwegian director, Joachim Trier, doesn’t worry about old-fashioned conceits like creative patricide. You don’t have to kill your fathers, just learn from them."— Manohla Dargis 

Blow Out at Nitehawk Cinema

"No less a virtuoso than cinematographer Zsigmond told me this year that De Palma “is one of the greatest visual filmmakers around.” He still marvels at the work they did in Blow Out: “Think about the 360-degree circular dolly shot near the end of the movie: we had to light practically the whole seaport of Philadelphia with the July 4 fireworks behind Nancy Allen and John Travolta.” For Kael and for legions of true believers, De Palma has, to use a sixties phrase, “kept the faith.” This man of many parts—realist, fantasist, ironist, tragedian—has never fused them more dynamically or poignantly than in Blow Out." —Michael Sragow

Three Colors: Red Streaming on Hulu

"This feeling of mysterious presence reflects the way Kieślowski spoke of the narrative of Red. He described the story, and particularly the “missed” relationship between Valentine and the judge, in ways that suggest that the world has a hidden design, albeit one prone to flaws. For him, “the essential question the film asks is: Is it possible to repair a mistake that was committed somewhere high above?” The idea that there is an invisible but fallible authority presiding over the world within the film naturally invites us to consider the director himself in that role."—Georgina Evans

The Tenant at IFC Center

"There is then an ironic ending that will come as a complete surprise to anyone who has missed every episode of "Night Gallery" or the CBS Mystery Theater. It turns out that — but never mind, never mind. It’s been a long time since I’ve heard an audience talk back to the ending of a horror film. "The Tenant" might have made a decent little 20-minute sketch for one of those British horror anthology films in which Christopher Lee, Peter Cushing and Vincent Price pick up a little loose change. As a film by Polanski, it’s unspeakably disappointing." —Roger Ebert

Primer Streaming on Netflix and Hulu

"Whether these will add up to anything more than a cerebral diversion is hard to say. Mr. Carruth has invented something fascinating — a way of capturing, on film, some of the pleasure and peril of scientific inquiry — and you don’t need a time machine to predict that as he goes on, he will discover exciting new ways to put it to use."—A.O.

Fight Club at IFC Center

"Fincher is a visionary who keeps Fight Club firing on all cylinders, raising hallucinatory hell in ways too satisfying toi spoil here. As for the dissenters, "I Am Jack’s Complete Lack of Surprise". Fincher’s refusal to moralize and reassure has possed off the watchdogs of virtue. Let ’em bark. They think anything alive is dangerous. Fight Club pulld you in, challenges your prejudices, rocks your world and leaves you laughing in the face of an abyss. It’s alive, all right. It’s also an uncompromising American classic." —Peter Travers

Wings of Desire Streaming on Hulu

"Is the plot arc of Wings of Desire a cry against cinema, even as it equates watching with love? Or does it suggest, to the choir, only a more engaged participation for us, the give-and-take of art film as opposed to the utterly passive experience of Hollywood dross, the Godardian sense that cinema is not an escape from life but life itself? Once Damiel goes human, awakening in the no-man’s-land between the east and west sections of the wall, we as viewers may have an experience akin to Greta Garbo’s after she’d seen the Beast in Cocteau’s Beauty and the Beast transform into the clean-shaven Jean Marais: “Give me back my Beast.”—Michael Atkinson

Killer of Sheep at Museum of the Moving Image

"But there is more to neo-realism than formalist gestures; context counts too, and much like the characters in Rossellini’s “Open City,” Stan and his family are casualties of war. This may be Mr. Burnett’s most radical truth-telling. In “Killer of Sheep,” the characters’ identities as African-Americans are material and existential givens, while poverty is the equal-opportunity destroyer." —Manohla Dargis

The Night Porter Streaming on Hulu

"The Night Porter depicts not only the political continuity between wartime Nazism and 1957 Austria, but also the psychological continuity of characters locked into compulsive repetition of the past."

Before the Revolution at Anthology Film Archives

"What makes the film worth reviving is its stylistic elan, some channeled through Godard, Fellini and Antonioni, but all fresh and vigorous: its jump cuts and dynamic editing; its expressive, freestyling take on neo-realism; its powerful lighting. The soundtrack, by a youngish Ennio Morricone, is limpid. And Aldo Scavardo’s photography, especially during a wonderful ode to the beauty of the River Po, is unforgettable." — Sukhdev Sandhu

Revanche Streaming on Hulu

"Spielmann is interested in aspects of life that exceed simple comprehension. Fathoming the interconnections between disparate people, he emphasizes realistic perception and spiritual discovery. He told an interviewer: “Loneliness is probably an inextricable part of our modern lives, and yet I consider it an illusion. We always think of ourselves as being separate from the world, and in this way we deceive ourselves. This separation is just an invention of our imagination; in many ways, we are constantly and directly interwoven in a larger whole. Loneliness is an attribute of our limited awareness, not of life itself.”—Armond White

The Godfather at Landmark Sunshine

"Although the movie is three hours long, it absorbs us so effectively it never has to hurry. There is something in the measured passage of time as Don Corleone hands over his reins of power that would have made a shorter, faster moving film unseemly. Even at this length, there are characters in relationships you can’t quite understand unless you’ve read the novel. Or perhaps you can, just by the way the characters look at each other."—Roger Ebert

My Night at Maud’s Streaming on Hulu

"Rohmer’s films offer us an exceptionally vivid picture of how we navigate the twists and turns that life throws our way on a daily basis. “All the pleasure of life is in general ideas,” wrote Oliver Wendell Holmes. “But all the use of life is in specific solutions.” No artist has expressed this dichotomy more eloquently, or lovingly, than Eric Rohmer."—Kent Jones