criterionforum.org

beamish14 wrote: Mon Sep 16, 2024 8:05 pm

dwk wrote: Mon Sep 16, 2024 5:31 pm

ryannichols7 wrote: Mon Sep 16, 2024 5:09 pm Miramax has let the rights to basically everything expire that they didn't produce with just a few exceptions, no? Trainspotting I was really surprised came from Paramount, but basically all their other titles (Amelie, Exotica, etc) went back to the original producers

Yes, I believe so. And it is one of the reasons I think the last owners had a hard time selling the catalog. Hell they only have the rights to one of the Tarantino movies they produced (Pulp Fiction.)

I really hope that All the Pretty Horses has been liberated and can be restored to its original length

andyli wrote: Wed Oct 09, 2024 9:59 am What’s more exciting is that these Nikkatsu restorations are of much higher quality than what Toho and Shochiku have to offer (I believe Nikkatsu had the good sense to hire IMAGICA for these top-notch jobs). Sincerely hoping Profound Desires of the Gods is not far behind. The new 4k transfer is gorgeous and serves the picture well.

This 4K digital restoration, made possible by Nikkatsu and the Japan Foundation, was supervised by Kon Pro Inc. and Chizuko Osada at Imagica Entertainment Media Services, Inc.

dadaistnun wrote: Wed May 22, 2024 12:47 pm Bigger news for me in the Variety article is that Janus has picked up Payal Kapadia‘s All We Imagine as Light, her follow up to A Night of Knowing Nothing.

andyli wrote: Wed Oct 09, 2024 9:59 am What’s more exciting is that these Nikkatsu restorations are of much higher quality than what Toho and Shochiku have to offer (I believe Nikkatsu had the good sense to hire IMAGICA for these top-notch jobs). Sincerely hoping Profound Desires of the Gods is not far behind. The new 4k transfer is gorgeous and serves the picture well.

yoloswegmaster wrote: Fri Jul 26, 2024 4:34 am Janus is listed as the licensor for Parajanov's Shadows of Our Forgotten Ancestors

SHADOWS OF FORGOTTEN ANCESTORS was scanned in 4K by Fixafilm laboratory in Warsaw using a low contrast 35mm print donated by Eric Liknaitzky to Daniel Bird and now deposited at the Austrian Film Museum. A vintage print for the Harvard Film Archive was used as a reference for grading. Restoration work was completed in 2024 by L'Immagine Ritrovata.

dwk wrote: Wed Nov 06, 2024 11:30 pm New stills have been added to The Umbrellas of Cherbourg and The Wages of Fear

Blutarsky wrote: Thu Nov 07, 2024 3:32 pm

dwk wrote: Wed Nov 06, 2024 11:30 pm New stills have been added to The Umbrellas of Cherbourg and The Wages of Fear

Hoping for a Wages of Fear 4K. The current blu-ray is now 15 years old, and isn’t even the full uncut version. I imported the BFI blu ray disc and that disc looks incredible.

dwk wrote: Tue Nov 12, 2024 7:40 pm They used the new theatrical art for the UHDs of Le samourai and The Rules of the Game, so I assume they'll do the same with The Wages of Fear (and The Umbrellas of Cherbourg, if they are doing a new poster for it.)

Ribs wrote: Wed Sep 11, 2024 1:07 pm Sideshow and Janus Films have acquired the rights to Maura Delpero’s Vermiglio

therewillbeblus wrote: Mon Apr 20, 2020 5:36 pm Well I’ve just seen Dutchman and I doubt if I’ve ever seen a more intense limited character chamber piece. While this is a film about social engagement across racial lines, Freeman is a tempered presence to comfortably convey any audience surrogate to the situation he finds himself forced into - and this kind of menace isn’t specific in an era of fears around sexualized weaponry. This feels like Pinter on steroids, and the claustrophobic intimacy we’re forced into with Knight’s unpredictable histrionic nightmare-personified is so entrancing and anxiety-provoking it reaches new levels for this idea. The medium of film is used well to push us into physical traps to signify the psychological ones. Knight gives one of the best, loudest performances I’ve ever seen in my life, and I recognize the hyperbole but it simply is. She uses her skills at exhibiting sexuality to exploit our own arousal levels throughout her seesawing insanity, and that’s not an easy thing to do to both excite and terrorize interchangeably. Actresses have tried to do this tirelessly over the years but never has one perf struck the polar extremes so masterfully so that we reach our breaking point right with Freeman after being helplessly seduced against our will. The characters remain mysteries in a daring authentic act so that all we get is our own psyches flaring up in a flood of provocative social discomfort. This isn’t my favorite film that is a theatre adaptation but it’s one of the best uses of the medium to capture the strengths of a theatre adaptation, and certainly the best social horror. This is 54 minutes but if it had been a minute longer my heart may have exploded.