Oscar History

The Film Experience™ was created by Nathaniel R. Gemini, Cinephile, Actressexual. All material herein is written and copyrighted by Nathaniel or a member of our team as noted.

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Entries in criterion collection (3)


Last Chance Filmstruck: Unzipped, High Noon, Metropolis, Etc...

by Nathaniel R

Are you going to wait for the train downstairs? Why don't you wait here?"
     -Katy Jurado to Grace Kelly in High Noon (leaves Filmstruck May 31st)

Y'all. I have a really really hard time with how quickly titles come and go on so many different streaming services. Ugh! I do not like other people curating my movies for me. I'm too much of my own cinephile for that. I want to see what I want to see when I want to see it and usually for highly specific reasons that don't go well with the timetables of corporations! Nevertheless the world is not made to cater to my personal whims (imagine that!?) so I've had to adapt. I have ponied up for FilmStruck and its Criterion Channel entirely because they have more classics than other streaming services. This still hasn't remotely solved all the "where to find things" woes. Though Hulu, Prime, and Netflix are okay for the majority of movies that aren't more than 5-10 years old, everything else remains super-patchy at best and you're stuck with whatever any of these services feel like streaming for you in a given month. This is ESPECIALLY true of movie musicals which literally no service does a good job with. The lack of musicals has always been my primary beef with the Criterion Collection

Enough complaining! Filmstruck/Criterion does have plenty of goodies. As with all the other streaming services they play peek-a-boo with the titles, though. So let's play Streaming Roulette for everything that's LEAVING the service shortly...

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Soundtracking: "The Virgin Suicides"

Chris looks at the music of Sofia Coppola's debut, now a part of The Criterion Collection.

Time has been kind to Sofia Coppola The Virgin Suicides, as effective a critique on the male gaze as anything else in the past twenty years. In Coppola’s gauzy vision of its central Lisbon sisters (as told by neighborhood boys) is a reflection of male idolatry that ignores the voice and emotional reality of real women. While the film is typically remembered for how it visually creates this perspective, it also uses music in interesting ways to subvert male self-serving worship.

The film is haunted by Air’s “Playground Love”, it’s most evocative and film-defining musical passage. It’s an apt song choice, one that tempts you into its pull like the tumble into a teenage crush, all jazzy hormones mired in lyrical thinness. And yet despite its temptation and seemingly feminine sway, its a starkly male brand of lust and the woman on the other end of its proclamations is never more than a vague idea. Naturally, it becomes the theme song to its young male obsession with the unknowable and unknown girls on the receiving end of empty crushes. Coppola sees and hears your  horniness and you willful ignorance, gentlemen, and the film sends out a subtle and cutting middle finger.

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Criterion hints at 2018

Chris here. With the new year brings another instalment of our favorite cinematic visual puzzle: the Criterion Collection's animated hints at the films coming to their lineup this year! While the cat's already out of the bag that this year we will see Sofia Coppola's The Virgin Suicides and Jim Jarmusch's Dead Man will get the cineaste luxury treatment, the always charming and coy drawing below provides some brain teasers of what else we might see. The more obvious guesses include Aki Karismäki's The Other Side of Hope and Michael Moore's Bowling for Columbine - can you spot any other titles coming soon from Criterion?