The Criterion Collection

One of the most important artists on the international film scene today, Portuguese director Pedro Costa has been steadily building an impressive body of work since the late eighties. And these are the three films that put him on the map: spare, painterly portraits of battered, largely immigrant lives in the slums of Fontainhas, a neighborhood on the outskirts of Lisbon. Hypnotic, controlled works, Ossos, In Vanda’s Room, and Colossal Youth confirm Costa as a provocative new cinematic poet, one who locates beauty in the most unlikely of places.

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.

REBELLION! The political and cultural tumult of the early 1960s shook Japan as it did the rest of the world. Japanese filmmakers responded to the changing times by disguising themes of dissent in the traditional form of the swordplay film, or chanbara. Previously populated by heroic samurai, self-sacrificing ronin, and historical figures who exemplified noble Japanese virtues, the genre began embracing a new kind of hero, or antihero: the lone outcast, distrustful of authority but maintaining a personal code of honor. These four classic films, from four masters of Japanese cinema, turn a genre upside down, redefining for a modern generation the meaning of loyalty and honor, as embodied by the iconic figure of the samurai.

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.

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.

Working completely 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 has 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 made without using a camera at all, as he pioneered the art of making images directly on film, by drawing, painting, and scratching. Criterion is proud to present twenty-six masterworks by Stan Brakhage.

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.

One of the most acclaimed Japanese directors of all time, Hiroshi Teshigahara distinguished himself in the sixties with a series of sinuous, atmospheric, and daring films. Teshigahara found his spiritual partner in novelist and screenwriter Kobo Abe, with whom he collaborated on these Kafkaesque portraits of identities in peril, films that captivated mainstream audiences while also touching the edges of the Japanese avant-garde. The existential ghost story Pitfall (Otoshiana), the shocking, erotic fable Woman in the Dunes (Sunna no onna), and the sci-fi–tinged nightmare The Face of Another (Tanin no kao) are among cinema’s enduring enigmas and rarest pleasures.

A singular artist and activist, Godfrey Reggio is best known for the galvanizing films of The Qatsi Trilogy. Astonishingly photographed, and featuring unforgettable, cascading scores by Philip Glass, these are immersive sensory experiences that meditate on the havoc humankind’s obsession with technological advancement has wreaked on our world. From 1983’s Koyaanisqatsi to 1988’s Powaqqatsi to 2002’s Naqoyqatsi, Reggio takes us on a journey from the ancient to the contemporary, from nature to industry, exploring life out of balance, in transformation, and as war, all the while keeping our eyes wide with wonder.