Criterion Thief

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.

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.

In the 1970s, Wim Wenders was among the first true international breakthrough artists of the revolutionary New German Cinema movement, a filmmaker whose fascination with the physical landscapes and emotional contours of the open road proved to be universal. In the middle of that decade, Wenders embarked on a three-film journey that took him from the wide roads of Germany to the endless highways of the United States and back again. Each starring Rüdiger Vogler as the director’s alter ego, Alice in the Cities, Wrong Move, and Kings of the Road are dramas of emotional transformation that follow their characters’ searches for themselves, all rendered with uncommon soulfulness and visual poetry.

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.

There has never been a filmmaker like Marlon Riggs: an unapologetic gay Black man who defied a culture of silence and shame to speak his truth with resounding joy and conviction. An early adopter of video technology, Riggs employed a bold mix of documentary, performance, poetry, and music in order to confront the devastating legacy of racist stereotypes, the impact of AIDS on his community, and the very definition of what it means to be Black. Bringing together Riggs’s complete films—including his controversy-inciting queer landmark Tongues Untied and Black Is . . . Black Ain’t, the deeply personal swan song that was completed after his death at the age of thirty-seven—The Signifyin’ Works of Marlon Riggs traces the artistic and political evolution of a transformative filmmaker whose work is both an electrifying call for liberation and an invaluable historical document.

Spanning fifty-three movies and forty-one editions of the Olympic Games, 100 Years of Olympic Films: 1912–2012 is the culmination of a monumental, award-winning archival project encompassing dozens of new restorations by the International Olympic Committee.

A series of disjointed mythical tales set in first century Rome.

Federico Fellini’s career achieved new levels of eccentricity and brilliance with this remarkable, controversial, extremely loose adaptation of Petronius’s classical Roman satire, written during the reign of Nero. An episodic barrage of sexual licentiousness, godless violence, and eye-catching grotesquerie, Fellini Satyricon follows the exploits of two pansexual young men—the handsome scholar Encolpius and his vulgar, insatiably lusty friend Ascyltus—as they move through a landscape of free-form pagan excess. Creating apparent chaos with exquisite control, Fellini constructs a weird old world that feels like science fiction.

There has never been a filmmaker like Marlon Riggs: an unapologetic gay Black man who defied a culture of silence and shame to speak his truth with resounding joy and conviction. An early adopter of video technology, Riggs employed a bold mix of documentary, performance, poetry, and music in order to confront the devastating legacy of racist stereotypes, the impact of AIDS on his community, and the very definition of what it means to be Black. Bringing together Riggs’s complete films—including his controversy-inciting queer landmark Tongues Untied and Black Is . . . Black Ain’t, the deeply personal swan song that was completed after his death at the age of thirty-seven—The Signifyin’ Works of Marlon Riggs traces the artistic and political evolution of a transformative filmmaker whose work is both an electrifying call for liberation and an invaluable historical document.

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.