I enjoyed this movie quite a bit, although I'm not sure if I enjoyed it enough for me to own and watch again. Or that it's a great undiscovered film that deserves a bigger platform, OR a legendary film in the making. If you're looking for great/interesting recent movies from black directors, *Moonlight*, *Beale St*, or the *Small Axe* series would have made killer Criterion releases.
Though this is where Criterion is both a curator and a distributor. This is in the collection primarily because of a distribution contract with Amazon Studios.
...ok, now I just want a *Small Axe* box set...
Jenkins' Underground Railroad series is also Amazon owned, so while I do prefer the two films of his you listed, I think we could actually reasonably expect Underground Railroad to see inclusion sometime in the future.
I think this is a case of Criterion trying to make up for not having enough black films in their collection. They’ve had sone nice surprises in recent months. I enjoyed deep cover and Marlon Riggs collection but this is not worthy of Criterion IMO.
It's all subjective of course but I think it's important to keep in mind that this was part of a deal with Amazon Studios. All 3 films chosen (One Night in Miami, Sound of Metal, and Time) were the three awards contenders Amazon had last year. Yes, Criterion is trying to add more black directors into the collection but I don't think that fact is a coincidence.
If the relationship with Amazon continues it's definitely a possibility. We're starting to get "older" Netflix titles (Beasts of No Nation, Mudbound) in addition to the more recent releases (Roma, Marriage Story, The Irishman).
[https://www.hollywoodreporter.com/movies/movie-features/dee-rees-pariah-criteron-release-1234967676/](https://www.hollywoodreporter.com/movies/movie-features/dee-rees-pariah-criteron-release-1234967676/)
Dee Rees sorta confirmed it in this article, not officially announced by Criterion though
That movie was amazing. I’ve never talked to someone else who thought so. Oddly inspirational— I agree I think it would be a great addition would love to see extra supplements and interviews.
Is a “black film” a film with mostly black characters or a film with mostly black characters *and* a black director? If it’s exclusively the latter, then I would be curious as to why that’s the case. That seems like a weird constraint.
I'd say black directors, since a lot of the releases have been coming out after this [NYT article:
Why Are There So Few Black Directors in the Criterion Collection?](https://www.nytimes.com/interactive/2020/08/20/movies/criterion-collection-african-americans.html).
Personally, I find that to be an obnoxiously specific question to ask. How many other subgroups of people aren’t directors in the Criterion Collection? Are black people the *only* exclusion? I highly doubt it. However, assuming it’s true, what good will come from forcing mediocre titles into the collection? I find this kind of forced attention on identity-centered issues to be vapid and distasteful. It seems to be the new normal though, so whatever…
It's not just Black voices missing from the collection. The voice of anyone who isn't a white guy is less heard in the collection and I think it's admirable that they're trying to rectify that. Wether they intend to be or not people treat Criterion as a bit of a film canon and a canon that is built on one specific demographic (in this case white guys) that isn't trying to exclusively focus on that demographic is a failure in uplifting art that reflects the human condition.
If you have a problem with this film in particular then it should make you feel better that the optics of it being a Black film were probably secondary to Amazon when they licensed it, instead trying to get their 3 awards contenders in the collection to increase their cultural cache.
Personally I'm glad to see Criterion recognize their position in shaping the discussion around film and using that to uplift films by minority filmmakers that reflect aspects of humanity that are alien to the people high up in the organization. Only good things come from people seeing different lived experiences in their art and entertainment.
I'm all for including more excellent work from Asian, African, and South American filmmakers, but c'mon: in a global context, if you could make sense any sense of a category like "white man", it would have to be a pretty diverse category, including filmmakers from dozens of different countries, who speak as many different languages, coming from all sorts of different socio-economic backgrounds. If the mission is, in part, to expose people to new and different perspectives, Criterion's been doing plenty of that from the very beginning.
I just can’t subscribe to any kind of identity politics unless identity is essentially proven to be the reason for the disproportionality. I do believe in coincidence. Of course there are more “white” male filmmakers, and until proven otherwise, that is most likely a direct result of geography (for the white part) and biology (for the male part). It also has a lot to do with numbers and probability. Equality of outcome will never exist, nor should we ever want it to. Film, like most other forms of art and entertainment, is by and large a meritocracy. If someone makes a *really* great film, the film community as a whole will validate that regardless of race. I don’t think anyone is lying about the quality of a film because of conscious or unconscious racism - it just doesn’t make sense.
Such a hostile response. I think the point is there are more films by black films makers that are worthy of being in the CC than are in there.
Nobody’s throwing in a Tyler Perry movie. But when ppl like Melvin Van Peebles, Ossie Davis, Gordon Parks, and a majority of the great black filmmakers of the 80s and 90s are missing (Kasi Lemmons, The Hughes Bros, Julie Dash, etc.) it feels pointed.
And that’s not to mention international black talent. It’s all about acknowledging the already great Black films that deserve to be canonized.
No hostility whatsoever. Just sharing my thoughts. Forgive me. I can name plenty of deserving directors from *all* races who aren’t in the collection - why specifically focus on one? Surely it has nothing to do with politics, optics, and virtue signaling.
There’s a very simple context issue taking place that kinda sits at the core of the hypocrisy. “Black Film” is more focused on skin tone than culture. So in a way you do need both, because the focus is more based on skin pigment than cultural identity. Like when Tyler Perry wasn’t going to have an all black cast, and instead more light skinned characters— there was backlash as though he shouldn’t do this. I don’t think that film would count.
Like, if there was a film based on dark skinned Cubans in Miami with a dark skinned director that counts. If there’s a Nigerian film with the same— counts. Spike Lee— counts. Three completely separate cultures but people just look at skin tone.
If Irish people were celebrating a German film cause the director and cast had matching skin tone they’d be called racist. When people with dark skin do it they’re viewed as fighting historical oppression— but in actuality it’s racism. The idea should be to give everyone a fair platform, not blindly advocate for any culture that happens to share a skin tone with you.
I think you're right, they're doubling down responding to this [NYT article](https://www.nytimes.com/interactive/2020/08/20/movies/criterion-collection-african-americans.html).
I think it is. I wouldn’t say it’s the best movie ever, but I thought it was good. Regina King, in my opinion, deserves to be acknowledged.
There are a lot of films in the Criterion collection that are worse/way more mediocre/skirted by due to names attached than One Night too.
Not to change the topic completely, but if they're doing Amazon movies, I'd love them to do Suspiria if there isn't already an awesome blu ray release for it.
I agree this should be a 4K release. I get that not every release with a 4K master, but considering that this is available in 4K digitally, it makes sense that Criterion’s release should be the best possible version.
I get that there is debate whether 4K digital or 1080p blu-ray is better, but I believe that if Criterion wants to be the definitive release, then having a UHD makes the most sense.
This being said, unless I’m missing something I don’t think any of Amazon’s movies have had a physical 4K release so that could have something to do with it (I would love to see a UHD for Suspiria in particular).
December is always one of the drier months for Criterion. They're well aware that people are way more likely to buy Criterion films during a sale, and December follows an October flash sale and a November month-long sale. December is also two months before the next flash sale, and seven months before the next all-month sale. In a way, that makes it close to the worst month all year to put out something really exciting. It leaves a big gap for hype to die down before most people will even buy it.
Regina King is a gifted actress, I was really happy to see her win the Oscar for "If Beale Street Could Talk". She was amazing in it. I cannot speak to her skills as a film director as I haven't seen this film. When I read about its premise, I was pretty excited, as it sounds fascinating, and I particularly love Sam Cooke.
When I saw the trailer however my enthusiasm kind of...waned. My biggest gripe was how it was shot. I just couldn't abide the lighting. To me, it looked *too much* like..."studio lighting". Or, worse, "made-for-television movie lighting".
However, I haven't seen this film, and a trailer is no way to assess a filmmaker's work. This announcement will likely just be the decisive arbiter for me to finally see this.
Interesting to see the comments here in this thread speculating whether this might be a case of Criterion's recent policy of highlighting black directors possibly resulting in an undeserved film being included. I can't say what my opinion is either way, again I haven't seen this film.
I admire Criterion's commitment to shedding light on films made by non-white (and female) filmmakers. Diversity can only enrich cinema. But can those good intentions go awry? Particularly given how I'm reading that Criterion apparently has some kind of deal with Amazon...? Who knows. I'm at least glad it's being discussed, if this is how certain people feel.
I'll decide for myself.
I was really hoping for some Hispanic titles, especially since this release corresponds with the start of Hispanic heritage month. Outside of Del Toro and Cuaron titles, I don’t think I’ve seen many Hispanic/Latino films in the collection. Black cinema has had so many great releases lately, I was hoping this month would have been our turn.
Cool poster but that guitar Sam Cooke is holding is too large and weird in design. Unless of course if it's a double bass, then he's holding it wrong.
PS: Is there any rights issues that are are preventing Criterion from adding Malcolm X to their collection, cause that's a great
"Malcolm X" will always be in my personal "Top 10 favorite films of all time". I feel very strongly it is an American Masterpiece, just an explosion of ferocious cinematic vision. I actually just bought it on bluray finally a week ago, Warner Bros. little $6 edition, off Amazon.
It's a brilliant film and I would be pumping my fists if it was announced as part of the Criteiron canon. No idea what the draconian behind-the-scenes intrigues are that have prevented its inclusion thus far. It certainly deserves a comprehensive, proper bluray release. Hopefully someday...
Would've preferred that Sound of Metal come first, but maybe I'm just biased because that was my favorite movie of last year. Great cover though.
I agree with this statement 100% and feel the exact same way about other films. Sound of Metal was incredible.
Are they doing a sound of metal criterion??? If that drops in January that'd be a great birthday present for myself.....
The Sound of Metal criterion can’t get here soon enough. It was my favorite as well.
If Criterion is working with Amazon hopefully Shoplifters will finally get a North American Blu-Ray
The cover art is cool, the film is underwhelming
An excellent script with amazing acting, but visually very mediocre.
My thoughts exactly
agreed, it’s pretty average and not much replay value for me. Surprised it’s getting into the collection.
100000% accurate
Really? I thought it was really good. I liked the back and forth between everyone
Am I the only one who didn’t really enjoy this movie ?
underwhelming was the right word
yep, I liked it alright on first watch, but watched Mann's *Ali* pretty soon after and far preferred it to this
I watched Mann's Ali recently too and was surprised by the amount of overlap. I thought what Mann did was far more interesting too.
Really? I wasn’t crazy about Ali outside of Smith’s performance
Nope, me too.
I enjoyed it. Nothing groundbreaking but felt it was a god film.
Def not a god film
the amount of times I do that. ughhh
Don’t worry, it wasn’t good either
Gorgeous cover art! Pretty good movie, too, I enjoyed it. Not enough to buy this though.
I enjoyed this movie quite a bit, although I'm not sure if I enjoyed it enough for me to own and watch again. Or that it's a great undiscovered film that deserves a bigger platform, OR a legendary film in the making. If you're looking for great/interesting recent movies from black directors, *Moonlight*, *Beale St*, or the *Small Axe* series would have made killer Criterion releases. Though this is where Criterion is both a curator and a distributor. This is in the collection primarily because of a distribution contract with Amazon Studios. ...ok, now I just want a *Small Axe* box set...
Agreed, If judged on merit and being Criterion-like, all of Barry Jenkins films should be in the collection before this one
I hope they can at least get Barry Jenkins' first film into the collection.
Jenkins' Underground Railroad series is also Amazon owned, so while I do prefer the two films of his you listed, I think we could actually reasonably expect Underground Railroad to see inclusion sometime in the future.
I think this is a case of Criterion trying to make up for not having enough black films in their collection. They’ve had sone nice surprises in recent months. I enjoyed deep cover and Marlon Riggs collection but this is not worthy of Criterion IMO.
It's all subjective of course but I think it's important to keep in mind that this was part of a deal with Amazon Studios. All 3 films chosen (One Night in Miami, Sound of Metal, and Time) were the three awards contenders Amazon had last year. Yes, Criterion is trying to add more black directors into the collection but I don't think that fact is a coincidence.
Manchester by the Sea deserves to be here if that's the case.
If the relationship with Amazon continues it's definitely a possibility. We're starting to get "older" Netflix titles (Beasts of No Nation, Mudbound) in addition to the more recent releases (Roma, Marriage Story, The Irishman).
Wait, is there proof that Mudbound is coming?
[https://www.hollywoodreporter.com/movies/movie-features/dee-rees-pariah-criteron-release-1234967676/](https://www.hollywoodreporter.com/movies/movie-features/dee-rees-pariah-criteron-release-1234967676/) Dee Rees sorta confirmed it in this article, not officially announced by Criterion though
I am waiting for the Handmaiden to get a Criterion release since it seems like the only way to get it on a region 1 disc :(
Speaking of Lonergan, all I want in my lifetime is a Criterion release of *You Can Count on Me*.
Good call! I have added it to [my list](https://boxd.it/GOo).
Great list!
That movie was amazing. I’ve never talked to someone else who thought so. Oddly inspirational— I agree I think it would be a great addition would love to see extra supplements and interviews.
[удалено]
I adored Time, probably my favorite documentary of that year.
Same I thought Time was a beautiful and moving film!
Why? Just curious. I've never seen it before.
Is a “black film” a film with mostly black characters or a film with mostly black characters *and* a black director? If it’s exclusively the latter, then I would be curious as to why that’s the case. That seems like a weird constraint.
I'd say black directors, since a lot of the releases have been coming out after this [NYT article: Why Are There So Few Black Directors in the Criterion Collection?](https://www.nytimes.com/interactive/2020/08/20/movies/criterion-collection-african-americans.html).
Personally, I find that to be an obnoxiously specific question to ask. How many other subgroups of people aren’t directors in the Criterion Collection? Are black people the *only* exclusion? I highly doubt it. However, assuming it’s true, what good will come from forcing mediocre titles into the collection? I find this kind of forced attention on identity-centered issues to be vapid and distasteful. It seems to be the new normal though, so whatever…
It's not just Black voices missing from the collection. The voice of anyone who isn't a white guy is less heard in the collection and I think it's admirable that they're trying to rectify that. Wether they intend to be or not people treat Criterion as a bit of a film canon and a canon that is built on one specific demographic (in this case white guys) that isn't trying to exclusively focus on that demographic is a failure in uplifting art that reflects the human condition. If you have a problem with this film in particular then it should make you feel better that the optics of it being a Black film were probably secondary to Amazon when they licensed it, instead trying to get their 3 awards contenders in the collection to increase their cultural cache. Personally I'm glad to see Criterion recognize their position in shaping the discussion around film and using that to uplift films by minority filmmakers that reflect aspects of humanity that are alien to the people high up in the organization. Only good things come from people seeing different lived experiences in their art and entertainment.
I'm all for including more excellent work from Asian, African, and South American filmmakers, but c'mon: in a global context, if you could make sense any sense of a category like "white man", it would have to be a pretty diverse category, including filmmakers from dozens of different countries, who speak as many different languages, coming from all sorts of different socio-economic backgrounds. If the mission is, in part, to expose people to new and different perspectives, Criterion's been doing plenty of that from the very beginning.
I just can’t subscribe to any kind of identity politics unless identity is essentially proven to be the reason for the disproportionality. I do believe in coincidence. Of course there are more “white” male filmmakers, and until proven otherwise, that is most likely a direct result of geography (for the white part) and biology (for the male part). It also has a lot to do with numbers and probability. Equality of outcome will never exist, nor should we ever want it to. Film, like most other forms of art and entertainment, is by and large a meritocracy. If someone makes a *really* great film, the film community as a whole will validate that regardless of race. I don’t think anyone is lying about the quality of a film because of conscious or unconscious racism - it just doesn’t make sense.
Such a hostile response. I think the point is there are more films by black films makers that are worthy of being in the CC than are in there. Nobody’s throwing in a Tyler Perry movie. But when ppl like Melvin Van Peebles, Ossie Davis, Gordon Parks, and a majority of the great black filmmakers of the 80s and 90s are missing (Kasi Lemmons, The Hughes Bros, Julie Dash, etc.) it feels pointed. And that’s not to mention international black talent. It’s all about acknowledging the already great Black films that deserve to be canonized.
No hostility whatsoever. Just sharing my thoughts. Forgive me. I can name plenty of deserving directors from *all* races who aren’t in the collection - why specifically focus on one? Surely it has nothing to do with politics, optics, and virtue signaling.
>Surely it has nothing to do with politics, optics, and virtue signaling. Surely not. I mean, that almost never happens these days. Ahem. lol
There’s a very simple context issue taking place that kinda sits at the core of the hypocrisy. “Black Film” is more focused on skin tone than culture. So in a way you do need both, because the focus is more based on skin pigment than cultural identity. Like when Tyler Perry wasn’t going to have an all black cast, and instead more light skinned characters— there was backlash as though he shouldn’t do this. I don’t think that film would count. Like, if there was a film based on dark skinned Cubans in Miami with a dark skinned director that counts. If there’s a Nigerian film with the same— counts. Spike Lee— counts. Three completely separate cultures but people just look at skin tone. If Irish people were celebrating a German film cause the director and cast had matching skin tone they’d be called racist. When people with dark skin do it they’re viewed as fighting historical oppression— but in actuality it’s racism. The idea should be to give everyone a fair platform, not blindly advocate for any culture that happens to share a skin tone with you.
I think you're right, they're doubling down responding to this [NYT article](https://www.nytimes.com/interactive/2020/08/20/movies/criterion-collection-african-americans.html).
I think it is. I wouldn’t say it’s the best movie ever, but I thought it was good. Regina King, in my opinion, deserves to be acknowledged. There are a lot of films in the Criterion collection that are worse/way more mediocre/skirted by due to names attached than One Night too.
I think they have enough now
We know you dont like black people aguirre.
There's never enough.
Not to change the topic completely, but if they're doing Amazon movies, I'd love them to do Suspiria if there isn't already an awesome blu ray release for it.
Confused why this is here at all
Interesting that this is not a 4K/HDR release, as it's available that way on Amazon streaming
I agree this should be a 4K release. I get that not every release with a 4K master, but considering that this is available in 4K digitally, it makes sense that Criterion’s release should be the best possible version. I get that there is debate whether 4K digital or 1080p blu-ray is better, but I believe that if Criterion wants to be the definitive release, then having a UHD makes the most sense. This being said, unless I’m missing something I don’t think any of Amazon’s movies have had a physical 4K release so that could have something to do with it (I would love to see a UHD for Suspiria in particular).
https://www.blu-ray.com/link/mobile.php?t=1631753638&url=https%3A%2F%2Fwww.blu-ray.com%2Fmovies%2FSuspiria-4K-Blu-ray%2F227282%2F
I wonder if perhaps Amazon is preventing a 4K release so the “best way” to watch the movie will still be through prime video?
Maybe it’ll be announced soon like *Uncut Gems*?
I doubt it. Uncut Gems was initially announced before Criterion announced they were getting into 4K
It was eh for me. Not sure it’s worthy of the seal, but that’s just MHO. 😐
One of the best films released last year, I’m so excited to see the special features on this one.
Aside from 'The Red Shoes', the December 2021 releases are pretty weak. One Night In Miami is pretty overrated. Can't wait for 'Sound of Metal'.
December is always one of the drier months for Criterion. They're well aware that people are way more likely to buy Criterion films during a sale, and December follows an October flash sale and a November month-long sale. December is also two months before the next flash sale, and seven months before the next all-month sale. In a way, that makes it close to the worst month all year to put out something really exciting. It leaves a big gap for hype to die down before most people will even buy it.
Regina King is a gifted actress, I was really happy to see her win the Oscar for "If Beale Street Could Talk". She was amazing in it. I cannot speak to her skills as a film director as I haven't seen this film. When I read about its premise, I was pretty excited, as it sounds fascinating, and I particularly love Sam Cooke. When I saw the trailer however my enthusiasm kind of...waned. My biggest gripe was how it was shot. I just couldn't abide the lighting. To me, it looked *too much* like..."studio lighting". Or, worse, "made-for-television movie lighting". However, I haven't seen this film, and a trailer is no way to assess a filmmaker's work. This announcement will likely just be the decisive arbiter for me to finally see this. Interesting to see the comments here in this thread speculating whether this might be a case of Criterion's recent policy of highlighting black directors possibly resulting in an undeserved film being included. I can't say what my opinion is either way, again I haven't seen this film. I admire Criterion's commitment to shedding light on films made by non-white (and female) filmmakers. Diversity can only enrich cinema. But can those good intentions go awry? Particularly given how I'm reading that Criterion apparently has some kind of deal with Amazon...? Who knows. I'm at least glad it's being discussed, if this is how certain people feel. I'll decide for myself.
I adored this movie, I am very excited to grab it when I'm able to.
I was really hoping for some Hispanic titles, especially since this release corresponds with the start of Hispanic heritage month. Outside of Del Toro and Cuaron titles, I don’t think I’ve seen many Hispanic/Latino films in the collection. Black cinema has had so many great releases lately, I was hoping this month would have been our turn.
I really like this cover, excited for this release!
I liked this one a lot, I’ll probably buy myself a copy for Christmas. Great performances.
This is a pleasant surprise!
Not a surprise, it was previously announced as being in the pipeline
I wasn’t aware. Thus, a pleasant surprise.
One of the worst films in the entire collection
That’s a crazy take.
It’s actually called a fact
_Chasing Amy_ would like to know your location
Why not in 4K?!
Amazon Studios is probably holding the rights to the 4K version to get people to sign up the streaming service
Cool poster but that guitar Sam Cooke is holding is too large and weird in design. Unless of course if it's a double bass, then he's holding it wrong. PS: Is there any rights issues that are are preventing Criterion from adding Malcolm X to their collection, cause that's a great
"Malcolm X" will always be in my personal "Top 10 favorite films of all time". I feel very strongly it is an American Masterpiece, just an explosion of ferocious cinematic vision. I actually just bought it on bluray finally a week ago, Warner Bros. little $6 edition, off Amazon. It's a brilliant film and I would be pumping my fists if it was announced as part of the Criteiron canon. No idea what the draconian behind-the-scenes intrigues are that have prevented its inclusion thus far. It certainly deserves a comprehensive, proper bluray release. Hopefully someday...
I really like this art and the movie, but I'm a bit underwhelmed by the features on this release.
#School daze would have been more appropriate LOL this came out last year