Safe (1995) [the Criterion Collection #739]

If the entire world is bad, why shouldn’t we be? Adopting this insolent attitude as their guiding philosophy, a pair of hedonistic young women (Ivana Karbanová and Jitka Cerhová), both named Marie, embark on a gleefully debauched odyssey of gluttony, giddy destruction, and antipatriarchal resistance, in which nothing is safe from their nihilistic pursuit of pleasure. But what happens when the fun is over? Matching her anarchic message with an equally radical aesthetic, director Věra Chytilová, with the close collaboration of cinematographer Jaroslav Kučera, unleashes an optical storm of fluctuating film stocks, kaleidoscopic montages, cartoonish stop-motion cutouts, and surreal costumes designed by Ester Krumbachová, who also cowrote the script. The result is Daisies, the most defiant provocation of the Czechoslovak New Wave, an exuberant call to rebellion aimed squarely at those who uphold authoritarian oppression in any form.

If the entire world is bad, why shouldn’t we be? Adopting this insolent attitude as their guiding philosophy, a pair of hedonistic young women (Ivana Karbanová and Jitka Cerhová), both named Marie, embark on a gleefully debauched odyssey of gluttony, giddy destruction, and antipatriarchal resistance, in which nothing is safe from their nihilistic pursuit of pleasure. But what happens when the fun is over? Matching her anarchic message with an equally radical aesthetic, director Věra Chytilová, with the close collaboration of cinematographer Jaroslav Kučera, unleashes an optical storm of fluctuating film stocks, kaleidoscopic montages, cartoonish stop-motion cutouts, and surreal costumes designed by Ester Krumbachová, who also cowrote the script. The result is Daisies, the most defiant provocation of the Czechoslovak New Wave, an exuberant call to rebellion aimed squarely at those who uphold authoritarian oppression in any form.

Seized by customs upon entry to the United States, subject of a heated court battle, banned in cities across the United States, Vilgot Sjöman’s I Am Curious - Yellow is one of the most controversial films of all time. This landmark document of Swedish society during the sexual revolution has been declared both obscene and revolutionary. It tells the story of Lena (Lena Nyman), a searching and rebellious young woman, and her personal quest to understand the social and political conditions in 1960s Sweden, as well as her bold exploration of her own sexual identity. Shattering taboos as it freely traverses the lines between fact and fiction, I Am Curious - Yellow is presented here for the first time with its companion piece I Am Curious - Blue, a parallel film featuring the same characters and in which the lines between documentary and fiction are even further blurred.

If the entire world is bad, why shouldn’t we be? Adopting this insolent attitude as their guiding philosophy, a pair of hedonistic young women (Ivana Karbanová and Jitka Cerhová), both named Marie, embark on a gleefully debauched odyssey of gluttony, giddy destruction, and antipatriarchal resistance, in which nothing is safe from their nihilistic pursuit of pleasure. But what happens when the fun is over? Matching her anarchic message with an equally radical aesthetic, director Věra Chytilová, with the close collaboration of cinematographer Jaroslav Kučera, unleashes an optical storm of fluctuating film stocks, kaleidoscopic montages, cartoonish stop-motion cutouts, and surreal costumes designed by Ester Krumbachová, who also cowrote the script. The result is Daisies, the most defiant provocation of the Czechoslovak New Wave, an exuberant call to rebellion aimed squarely at those who uphold authoritarian oppression in any form.

The hugely popular live American television plays of the 1950s have become the stuff of legend. Combining elements of theater, radio, and filmmaking, they were produced at a moment when TV technology was growing more mobile and art was being made accessible to a newly suburban postwar demographic. These astonishingly choreographed, brilliantly acted, and socially progressive “teleplays” constituted an artistic high for the medium, bringing Broadway-quality drama to all of America. The award-winning programs included in this box set – originally curated for PBS in the early 1980s as the series The Golden Age of Television, featuring recollections from key cast and crew members – were conceived by such up-and-comers as Rod Serling and John Frankenheimer and star the likes of Paul Newman, Mickey Rooney, Rod Steiger, Julie Harris, and Piper Laurie.

A young woman (Meiko Kaji), trained from childhood as an assassin and hell-bent on revenge for the murders of her father and brother and the rape of her mother, hacks and slashes her way to gory satisfaction in turn-of-the-twentieth-century Japan. Rampant with inventive violence and spectacularly choreographed swordplay, Toshiya Fujita’s pair of influential cult classics Lady Snowblood and Lady Snowblood: Love Song of Vengeance are bloody, beautiful extravaganzas composed of one elegant widescreen composition after another. The first Lady Snowblood was a major inspiration for Quentin Tarantino’s Kill Bill saga, and both of Fujita’s films remain cornerstones of Asian action cinema.

Years before Akira Kurosawa changed the face of cinema with such iconic works as Rashomon, Seven Samurai, and Yojimbo, he made his start in the Japanese film industry with four popular and exceptional works, created as World War II raged. All gripping dramas, those rare first films - Sanshiro Sugata; The Most Beautiful; Sanshiro Sugata, Part Two; and The Men Who Tread on the Tiger’s Tail - are collected here and include a two-part martial arts saga, a portrait of female volunteers helping the war effort, and a kabuki-derived tale of deception. These captivating films are a glorious introduction to a peerless career.

In the late 1940s, the incandescent Hollywood star Ingrid Bergman found herself so stirred by the revolutionary neorealist films of Roberto Rossellini that she sent the director a letter, introducing herself and offering her talents. The resulting collaboration produced a series of films that are works of both sociopolitical concern and metaphysical melodrama, each starring Bergman as a woman experiencing physical dislocation and psychic torment in postwar Italy. It also famously led to a scandalous affair and eventual marriage between filmmaker and star, and the focus on their personal lives in the press unfortunately overshadowed the extraordinary films they made together. Stromboli, Europe ’51, and Journey to Italy are intensely moving portraits that reveal the director at his most emotional and the glamorous actress at her most anguished, and that capture them and the world around them in transition.

Rarely do landmark works of cinema seem so … wrong. Robert Downey Sr. emerged as one of the most irreverent filmmakers of the New York underground of the sixties, taking no prisoners in his rough-and-tumble treatises on politics, race, and consumer culture. In his midnight-movie mainstay Putney Swope, an advertising agency is turned on its head when a militant black man takes over. like Swope, Downey held nothing sacred. Presented here are five of his most raucous and outlandish films, dating from 1964 to 1975, each a unique mix of the hilariously crude and the fiercely experimental.

In the late 1940s and early 1950s, film critics, international festivalgoers, and other studious viewers were swept up by the tide of Italian neorealism. Meanwhile, mainstream Italian audiences were indulging in a different kind of cinema experience: the sensational, extravagant melodramas of director Raffaello Matarazzo. Though turning to neorealism for character types and settings, these haywire hits about splintered love affairs and broken homes, all starring mustachioed matinee idol Amedeo Nazzari and icon of feminine purity Yvonne Sanson, luxuriate in delirious plot twists and overheated religious symbolism. Four of them are collected here, chronicles of men and women on long and serpentine roads to redemption, each less restrained and more wildly fun than the last.