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FrauBlucher wrote: Fri Mar 01, 2024 8:33 pm My hot take is Criterion were already in pre-production on that "blind spot" and the article was a plant. It was a way for Criterion to get pub to a market group who didn't know who Criterion was and they were ready to fill it. The timing was a coincidence that worked to Criterion's benefit, which it did. It's not uncommon for companies and businesses to plant some stories about themselves to take advantage and widen their market share

It's an interesting theory but I'm not sure it makes sense from a PR perspective – the piece made Criterion seem like a dinosaur company that had been failing to confront unconscious biases. That in turn ensured that the course-correction that followed would be seen as atoning and playing catch-up than leading, when of course leading and shaping the discourse is how a company like Criterion would prefer to be perceived (and as it's mostly represented in the new piece).

Perhaps I don't know enough about the machinations of the marketing world; after all, slogans like this exist. But in this case I suspect the most obvious explanation is the correct one: Criterion got a kick up the arse from The New York Times and decided to fast-track some releases to diversify their output.

This is a real New Yorker cartoon

there was a good little while where I was worried the Criterion Channel was gonna take over the discs in focus, since most people were associating "Criterion" with streaming. the closet vids have honestly swung things back to the physical side, and I'm pretty grateful for that

In fairness to Criterion they’ve always said that physical media was there main purpose/business

I'm more concerned with the state of cartooning. Jesus, I don't know who Natalie Horberg is, but that art looks like it was ripped from some crude mspaint meme template.

It has everyone at 3/4 profile like a webcomic circa 20 years ago

Six Years After a Reckoning, Criterion Puts ‘Cinematic Blackness’ in Focus

But Criterion can only distribute films that it can legally license, and not every celebrated Black filmmaker necessarily wants its validation. Take the L.A. Rebellion director Larry Clark (no relation to Ashley Clark, and not to be confused with the “Kids” filmmaker Larry Clark).

Over two years Ashley Clark reached out to the auteur about his acclaimed 1977 film, “Passing Through,” emphasizing his desire “to ensure that it is viewable for future generations of film lovers.” But Larry Clark was not interested.

Criterion “is really fabulous, but it just doesn’t fit what I’m doing,” said the director, who wants “Passing Through” to be shown exclusively at screenings with live audiences. “I don’t need a middleman.”

Zot! wrote: Tue Jan 06, 2026 4:51 pm I'm more concerned with the state of cartooning. Jesus, I don't know who Natalie Horberg is, but that art looks like it was ripped from some crude mspaint meme template.

Spoiler

It's a deliberately 'primitive' style that's been popular in alternative graphic novels and design since the 80s. The comic and graphic artist Mark Beyer would be an early proponent.

dwk wrote: Wed Jul 22, 2026 4:48 pm Six Years After a Reckoning, Criterion Puts ‘Cinematic Blackness’ in Focus

But Criterion can only distribute films that it can legally license, and not every celebrated Black filmmaker necessarily wants its validation. Take the L.A. Rebellion director Larry Clark (no relation to Ashley Clark, and not to be confused with the “Kids” filmmaker Larry Clark).

Over two years Ashley Clark reached out to the auteur about his acclaimed 1977 film, “Passing Through,” emphasizing his desire “to ensure that it is viewable for future generations of film lovers.” But Larry Clark was not interested.

Criterion “is really fabulous, but it just doesn’t fit what I’m doing,” said the director, who wants “Passing Through” to be shown exclusively at screenings with live audiences. “I don’t need a middleman.”

Clark has always been adamant about his films being accessible only via celluloid. It’s really special getting to see Passing Through and As Above, So Below in 16mm. It’s likely that the former at least would have some music rights challenges


Waiting on a Haile Gerima collection of some sort!

beamish14 wrote: Wed Jul 22, 2026 5:25 pm

dwk wrote: Wed Jul 22, 2026 4:48 pm Six Years After a Reckoning, Criterion Puts ‘Cinematic Blackness’ in Focus

But Criterion can only distribute films that it can legally license, and not every celebrated Black filmmaker necessarily wants its validation. Take the L.A. Rebellion director Larry Clark (no relation to Ashley Clark, and not to be confused with the “Kids” filmmaker Larry Clark).

Over two years Ashley Clark reached out to the auteur about his acclaimed 1977 film, “Passing Through,” emphasizing his desire “to ensure that it is viewable for future generations of film lovers.” But Larry Clark was not interested.

Criterion “is really fabulous, but it just doesn’t fit what I’m doing,” said the director, who wants “Passing Through” to be shown exclusively at screenings with live audiences. “I don’t need a middleman.”

Clark has always been adamant about his films being accessible only via celluloid. It’s really special getting to see Passing Through and As Above, So Below in 16mm. It’s likely that the former at least would have some music rights challenges


Waiting on a Haile Gerima collection of some sort!

Theatrically not in celluloid, but yes. I saw Clark introduce his own Passing Through at MOMA and he indicated he had no desire to have it shown on home video. Coincidentally Ashley Clark was in the audience in front of me at this screening, so good on him going in for the hard sell!

I have to double check (which is difficult for a variety of reasons), but I think the music in Passing Through was all done for the film - all-new and original compositions, all newly-recorded performances - so that probably makes it much simpler to clear, and it wouldn't surprise me if it was independently-owned by the original creators (though obviously whoever administers the estates is another matter).

Anyway, we'll see how things go. Sometimes people eventually relent like James Benning, but then you have Michael Snow who passed away not too long ago at the advanced age of 94 and nothing's changed with his work.

hearthesilence wrote: Wed Jul 22, 2026 6:06 pm I have to double check (which is difficult for a variety of reasons), but I think the music in Passing Through was all done for the film - all-new and original compositions, all newly-recorded performances - so that probably makes it much simpler to clear, and it wouldn't surprise me if it was independently-owned by the original creators (though obviously whoever administers the estates is another matter).

Anyway, we'll see how things go. Sometimes people eventually relent like James Benning, but then you have Michael Snow who passed away not too long ago at the advanced age of 94 and nothing's changed with his work.

and like Snowden, his films still ended up online! (I suspect someone was able to rip them from UCLA’s library)