Oscar Nominee ‘Anatomy of a Fall’ Coming to Blu-ray and DVD May 28 From Criterion

The Criterion Collection will release the Award-winning French film Anatomy of a Fall on Blu-ray Disc and DVD May 28.

The courtroom thriller stars Sandra Hüller as a novelist who is accused of murdering her husband after he falls out a window.

Directed by Justine Triet, from a screenplay by Triet and Arthur Harari, Anatomy of a Fall won the Palme d’Or at the 2023 Cannes Film Festival, the Golden Globe for Best Non-English-Language Film and Best Screenplay, and the Critics Choice Award for Best Foreign-Language Film, among other plaudits. It has been nominated for five Academy Awards, including Best Picture, Best Director, Best Actress for Hüller, Best Original Screenplay and Best Editing. The film was not nominated for the Best International Feature Film Oscar because France’s selection committee instead chose as the country’s representative The Taste of Things, which ultimately did not receive a nomination.

The Blu-ray and DVD editions offer a 2K digital master of the film with a 5.1 surround DTS-HD Master Audio soundtrack. Extras include an interview with Triet; deleted and alternate scenes with commentary by Triet; audition footage of actors Milo Machado Graner and Antoine Reinartz, and rehearsal footage of Machado Graner and Hüller; the film’s trailer; and an essay by critic Alexandra Schwartz.

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Criterion March 2024 Slate Includes ’To Die For,’ ‘Devil and Daniel Webster’

The Criterion Collection’s March 2024 slate of Blu-ray Disc releases includes Gus Van Sant’s media satire To Die For; the documentary All the Beauty and the Bloodshed about art and activism; the courtroom drama Saint Omer; Amir Naderi’s portrayal of childhood in postrevolutionary Iran The Runner; and All That Money Can Buy (a.k.a. The Devil and Daniel Webster).

Due March 12 on Blu-ray Disc is 1941’s All That Money Can Buy (a.k.a. The Devil and Daniel Webster). Based on the classic short story by Stephen Vincent Benét. In the film, Jabez Stone (James Craig) is a hardworking farmer trying to make an honest living, but a streak of bad luck tempts him to make a deal with the devil (Walter Huston). In exchange for seven years of good fortune, Stone promises “Mr. Scratch” his soul. But when the troubled farmer begins to realize the error of his choice, he enlists the aid of the one man who might save him: the legendary orator and politician Daniel Webster (Edward Arnold). The Blu-ray includes a new 4K digital restoration with uncompressed monaural soundtrack. Extras include commentary by film historian Bruce Eder and Steven C. Smith, biographer of composer Bernard Herrmann; a new restoration demonstration; a reading of the original short story by Alec Baldwin; an episode of the Criterion Channel series “Observations on Film Art” about the film’s editing; a comparison of the differences between the July 1941 preview version of the film, Here Is a Man, and the film’s 1943 rerelease as The Devil and Daniel Webster; the Columbia Workshop’s radio adaptations of Benét’s short stories “The Devil and Daniel Webster” and “Daniel Webster and the Sea Serpent,” both featuring music by Herrmann; the film’s trailer; and an essay by author Tom Piazza and a 1941 article by Benét.

Also due March 12 on Blu-ray Disc and DVD is 2022’s All The Beauty And The Bloodshed, documentary filmmaker Laura Poitras’s story of art, activism and survival. Made in collaboration with artist Nan Goldin, All the Beauty and the Bloodshed entwines the mission of PAIN — an advocacy group she founded to raise awareness about the billionaire Sackler family’s role in the ongoing crisis of opioid overdoses — with an intimate journey through Goldin’s life, from her rebellious adolescence and immersion in New York City’s thriving underground arts scene to her personal experiences of addiction and the AIDS epidemic. Through it all, her photographs and candid reflections on memory and trauma reveal her unyielding solidarity with marginalized communities. The release includes a new high-definition digital master, approved by Poitras and Goldin, with 5.1 surround DTS-HD Master Audio soundtrack on the Blu-ray. Extras include a new interview with Poitras; two conversations from the 2022 New York Film Festival, one featuring Poitras, Goldin, co-producer and PAIN activist Megan Kapler, PAIN activist Harry Cullen, and lawyer and PAIN member Mike Quinn discussing the making of the film, and the other featuring Goldin on art and activism; the film’s trailer; and an essay by author and activist Sarah Schulman.

Due March 19 on Blu-ray Disc and DVD is 1984’s The Runner, one of the defining works of postrevolutionary Iranian cinema. Inspired by director Amir Naderi’s own boyhood, The Runner features Madjid Niroumand as a young orphan fending for himself on the streets of a port city, determined to rise above his circumstances — working odd jobs, passing time with friends, learning to read — and running, always running, toward the future. The release includes a new 2K digital restoration, supervised by Naderi, with uncompressed monaural soundtrack on the Blu-ray. Extras include a new conversation between Naderi and filmmaker Ramin Bahrani; an audio interview from 2022 with Naderi and Niroumand, moderated by curator Bruce Goldstein; Waiting, a 1974 film by Naderi, featuring an afterword by the director; the film’s trailer; and an essay by filmmaker and critic Ehsan Khoshbakht.

Also due March 19 on Blu-ray Disc and DVD is 2022’s Saint Omer. In the courtroom drama from writer-director Alice Diop, novelist Rama (Kayije Kagame) travels to Saint-Omer, France, to attend the trial of a young Senegalese woman (Guslagie Malanda) accused of murdering her infant daughter. The writer finds herself shaken to the core by a case that proves to have profound resonances with her own life. The release includes a new 2K digital master, with 5.1 surround DTS-HD Master Audio soundtrack on the Blu-ray; Extras include new interviews with Diop; a conversation between Diop and author Hélène Frappat; a conversation between Diop and filmmaker Dee Rees from a 2023 episode of “The Director’s Cut – A DGA Podcast”; the film’s trailer; and an essay by critic Jennifer Padjemi.

Available on Blu-ray Disc and 4K Ultra HD Blu-ray March 26 will be 1995’s To Die For. The all-American obsession with celebrity turns monstrous in this subversive and prescient satire of our television-mediated, true-crime-obsessed age. Nicole Kidman stars as a local TV weather reporter whose perfectly perky facade belies a murderous heart, as her ruthless pursuit of fame ensnares three disaffected teens in a sordid, tabloid-ready scandal. Deftly deploying shifting perspectives, faux-documentary interviews, and a supporting cast featuring Joaquin Phoenix, Matt Dillon, and Casey Affleck, director Gus Van Sant adds provocative layers of meaning to this darkly funny examination of suburban sociopathy. The Criterion editions include a new 4K digital restoration, approved by director Van Sant and director of photography Eric Alan Edwards, with a 5.1 surround DTS-HD Master Audio soundtrack. The 4K edition includes a UHD disc of the film presented in Dolby Vision HDR, and a regular Blu-ray with the film and special features. Extras include an audio commentary featuring Van Sant, Edwards and editor Curtiss Clayton; deleted scenes; the film’s trailer; and an essay by film critic Jessica Kiang.


No Bears


Box Office $0.17 million;
$24.95 DVD, $29.95 Blu-ray;
Not rated.
Stars Jafar Panahi, Naser Hashemi, Bakhtiyar Panjeei, Mina Kavani, Reza Heidari, Naser Hashemi.

This may not be the best time in our history to tout an acutely cinematic Iranian drama — alternately uplifting and heart-rending, extremely personal and politically charged — that tells its story straightforwardly without deploying so much as one special effect. A hard sell? Bosh!​​

If, as Harvey Fierstein has suggested, “Art has the power to transform, to illuminate, to educate, inspire and motivate,” director Jafar Panahi’s No Bears arrives on the wings of reason looking to take up permanent residence in your heart, mind, and Blu-ray library.

Denying a director their right to film is tantamount to spiking a coloritura’s atomizer with turpentine or taking a sledgehammer to a sculptor’s ductile digits. Jafar Panahi was placed under house arrest and prohibited from making movies based on accusations of “colluding with the intention to commit crimes against the country’s national security and propaganda against the Islamic Republic.” A 20-year ban that not only prohibited Panahi from making a movie and/or leaving the country was not enough to keep the director away from a camera. Stripped of equipment and financing, This is Not a Film, his first film made in confinement, was shot on home video equipment and a cell phone, and later smuggled out of the country on a thumb drive hidden in a cake. Panahi transformed his living room into a mini-backlot, staging scenes for a movie under construction that are more compelling than most finished features.

His next film, the surreal fever dream, Closed Curtain was set at the director’s beach house. It presents one of cinema’s greatest character introductions this side of Harry Lime. As noted in my review for the San Diego Reader, “Amid a mirrored crazy quilt of framed posters from movies past, the curtain lifts and Panahi appears suddenly and unexpectedly halfway through the film. His arrival is the most dazzling in-camera special effect of the year.” This was followed by Taxi, easily the director’s most accessible work to date and a perfect jumping off point for those not yet familiar with the man’s work. Restrictions were lifted that allowed Panahi to move more freely about Tehran. For the hardcore Panahists, the parting shot will no doubt leave even the most jaded among us sporting ear-to-ear grins. In 3 Lives, a young woman construes the rejection by a famous actress as an excuse to document her hanging. Apart from the convincing cellphone-suicide that opens the picture, this remains Panahi’s cheeriest, most upbeat film to date. 

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No Bears, the fifth of the director’s so-called banned films, opens with an eight-minute take that is nothing short of a master class on finding the drama inherent in something as mundane as people walking down the street. While moving from the general to the specific, we wait and wonder which of the random characters we encounter will be the first to engage us. Bakhtiar (Bakhtiyar Panjeei) and Zara (Mina Kavani), an outcast couple looking to get out of Turkey, are one passport shy of the requisite pair of forged documents needed to make their escape. Their spell of romantic conflict is broken by a startling pullback that reveals Panahi, not in an editing suite or remote van, but in a hotel room watching a scene from his film-within-a-film play out to his exacting specifications.

Years spent in his jail have not only forced Panahi to explore different ways to spin a narrative, it’s made him a damn fine actor as well. In the films made while under preventive custody, the Panahi who greets us is quick to reveal a comedic side. A wavering Wi-Fi signal has the ever-calm director pacing the perimeter, a laptop in one hand, his phone pointed skyward in the other. Fully aware that concierge Ghanbar (Vahid Mobasseri) is on his way to a wedding doesn’t stop Panahi from taking advantage of the poor guy, going so far as to ask that he fetch a ladder to help end his quest for reception. Too busy to attend the wedding, Panahi arms Ghanbar with a camera and asks that he document it in the director’s absence. As an auteur, Ghanbar tends to press PLAY rather than STOP. Walking feet replace talking heads. And in those rare moments when the camera functions properly, Ghanbar’s hacky sack coverage could result in head trauma.

The subject matter and lighting begin to darken when assistant director Reza (Reza Heidari) makes a late night call. An offer to smuggle Panahi over the Turkish border meant a night on set with cast and crew and a guaranteed safe return the next morning. Through his actions, the director has made it clear that under no circumstance does he have any intention of filming outside of Iran. When his character is asked where the border is, Reza replies, “You’re standing on it.” Panahi’s conditioned instinct is to lurch backwards and head back to the hotel.  

Gozal (Darya Alei) appears out of the blackness of night, bringing with her the film’s one major plot wrinkle. Not surprisingly, it’s in the form of an image. It’s a village custom that when a girl is born, her umbilical cord is cut in the name of her future husband, in this case a hothead lout named Jacob (Javad Siyahi). Gozal ignores the ancient superstition and, much to the humiliation of Jacob, falls in love with Solduz (Amir Davari). A photo of the duo canoodling under a walnut tree is said to have been taken by Panahi and the three villagers who show up to claim the snapshot are certain of its existence. We never learn if it was Panai’s lenswork or if a photograph even exists. It’s not important. His offer to turn over the memory card is not incentive enough. These boys won’t take yes for an answer. The villagers insist that a sworn oath be taken before their tribunal. A filmmaker to the end, Panahi does them one better by seeing to it that video copies of his oath are made available to everyone in attendance.

Both fictions end in tragic confusion, leaving spectators with scratched heads. I’ve watched it twice and will probably give it another look before the week’s end. A 20-minute presentation by filmmaker/Panahi acolyte Ramin Bahrani (Goodbye Solo, 99 Homes) offers a comprehensive career overview as well as much welcome insight into Pahani deceptively simple style of storytelling.

Merchandising: Barnes & Noble Criterion Sale Begins

With the latest Tuesday release date falling on the July 4 holiday, studios didn’t release much in the way of physical media during the week.

The most notable retail promotion during the week was the start of Barnes & Noble’s twice-a-year Criterion Collection sale, during which the titles from the premium Blu-ray and DVD line are offered at 50% off. The sale began June 30 and runs through July 28. Note that for Barnes & Noble members, the usual 10% discount will not apply to Criterion titles on sale.

Among the only other retail promotions during the week was Best Buy touted its backlog of Steelbook Blu-rays as on sale starting at $18.99.

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Criterion Titles Half Off at Barnes & Noble in July

Barnes & Noble’s latest sale offering 50% off Criterion Collection titles will run from June 30 to July 28 in brick-and-mortar stores and online nationwide.

The popular bi-annual event allows film fans to pick up boxed sets, Blu-rays and 4K titles offered by Criterion with in-depth bonus materials including audio commentary, interviews, behind-the-scenes footage and more.

Barnes & Noble recently announced that select locations throughout the country will have all titles offered through Criterion available in stores.

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‘Time Bandits’ Arriving on 4K Disc June 13 From Criterion

The Criterion Collection will release the 1981 sci-fi fantasy Time Bandits as a 4K Ultra HD Blu-ray combo pack June 13.

Directed by Terry Gilliam, the film follows a boy named Kevin (Craig Warnock), who escapes his gadget-obsessed parents to join a band of time travelers. Armed with a map stolen from the Supreme Being (Ralph Richardson), they plunder treasure from Napoleon (Ian Holm) and Agamemnon (Sean Connery) — but the Evil Genius (David Warner) is watching their every move. The script was co-written by Gilliam and his Monty Python cohort Michael Palin (who also appears in the film).

The combo pack includes a 4K disc of the film in Ultra HD with a new 4K restoration supervised by Gilliam, with Dolby Vision HDR and an uncompressed stereo soundtrack. The film is also included on a regular Blu-ray of the film with bonus materials.

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The extras, originally released with the 2014 Criterion Blu-ray edition of the film, include:

  • An audio commentary featuring Gilliam, Palin, and actors Warner, Warnock and John Cleese.
  • A program on the creation of the film’s various historical periods and fantasy worlds, narrated by film writer David Morgan and featuring production designer Milly Burns and costume designer James Acheson.
  • A conversation between Gilliam and film scholar Peter von Bagh, recorded at the 1998 Midnight Sun Film Festival.
  • An appearance by actor Shelley Duvall on Tom Snyder’s “Tomorrow” show from 1981.
  • A gallery of rare photographs from the set.
  • The film’s trailer.
  • An essay by critic David Sterritt.


‘Thelma & Louise’ Headed to 4K Disc From Criterion

The Criterion Collection May 30 will release 1991’s Thelma & Louise on Blu-ray Disc and 4K Ultra HD Blu-ray.

The film from director Ridley Scott stars Susan Sarandon and Geena Davis as best friends who find themselves transformed into accidental fugitives during a weekend getaway gone wrong — leading them on a high-speed Southwest odyssey as they elude police and discover freedom on their own terms. The cast also includes Michael Madsen, Christopher McDonald, Stephen Tobolowsky and a young Brad Pitt.

Thelma & Louise was nominated for six Oscars, including Best Picture, and won Best Original Screenplay for Callie Khouri. In 2016 it was selected for the National Film Registry by the United States Library of Congress.

The Criterion edition sports a new 4K digital restoration supervised by Scott, with a 5.1 surround DTS-HD master audio soundtrack. The 4K version contains one 4K disc with the film in Dolby Vision HDR, and two regular Blu-ray Discs with the film and bonus materials; the standalone Blu-ray edition includes just the two Blu-ray Discs.

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Extras include two audio commentaries, featuring Scott and Khouri, and Davis and Sarandon; new interviews with Scott and Khouri; a documentary featuring Davis, Khouri, Sarandon, Scott, Madsen, McDonald, Tobolowsky and other members of the cast and crew; Scott’s first short film, 1965’s Boy and Bicycle; the original theatrical featurette; storyboards and deleted and extended scenes, including an extended ending with director’s commentary; a music video for Glenn Frey’s “Part of Me, Part of You,” from the film’s soundtrack; the film’s trailers; and essays by critics Jessica Kiang and Rachel Syme and journalist Rebecca Traister.

Imitation of Life (1934)


$29.95 DVD, $39.95 Blu-ray;
Not rated.
Stars Claudette Colbert, Louise Beavers, Fredi Washington, Warren William, Ned Sparks, Alan Hale Sr., Rochelle Hudson, Clarence Wilson, Henry Armetta.

Contemporary audiences watching 1934’s Imitation of Life through the rearview mirror of time will undoubtedly find much to look down their snoots at, and rightfully so. But when viewed from a historical perspective, the rampant stereotyping of yesterday inherent in John Stahl’s adaptation of Fannie Hurst’s novel was once considered groundbreaking. Before passing for white was introduced as the film’s main melodrama motivator, the story gained much of its audience appeal by fancying two fiercely devoted mothers pitched at opposite ends of life’s rainbow. Bea (Claudette Colbert) is a single mom looking to restart the pancake syrup business begun by her late husband. Delilah’s (Louise Beavers) no account man ran off leaving her to look after their conflicted daughter, Peola. Delilah shows up on Bea’s back porch, looking for room and board. The moment she walks through the screen door, it becomes apparent that these two went together like pancakes and syrup.

Both women would go to great lengths to ensure their daughter’s safety, but sometimes even the best of mother’s err. The same rubber duck that opened the picture almost resulted in Baby Jessie (Juanita Quigly, credited as Baby Jane) drowning when left unattended at bathtime. In the time it took Bea to nurse her daughter, Delilah took it upon herself to prepare breakfast. Delilah’s maternal shortcoming cut an even deeper gash in her relationship with her daughter. First off, she prefers “mammy” over “mother.” No sooner did the two mothers meet and Delilah was already drawing Bea’s attention to Peola’s light skin. It was an essential plot point, but in the days when the Hays Office dictated content, miscegenation was impermissible in Hollywood films. It was a law the almighty Production Code stood firm on. When the subject of Delilah’s husband comes up, instead of marrying a white man, she claims that her ex was a light-skinned negro. Peola hates being the product of a mixed marriage and grows to blame her mother for making her black. The only solution was to make Peola’s father black, with just enough white ancestry in him to lighten the load and mollify the censors.

Delilah is able to put a roof over her baby’s head, and for her part of the bargain, Bea gets rich by flipping flapjacks. Her mother’s secret pancake recipe is so good, Delilah becomes the face of a pancake empire. (Aunt Delilah wasn’t a far stretch from Aunt Jemimah, upon whom the character was based.) Bea opens a pancake house on the Boardwalk (in Atlantic City) where her hotcakes sell like hotcakes. She rents the storefront from Clarence Wilson — the meanest skinflint in Tinsel Town this side of Charles Lane. Henry Armetta was hired to paint the ramshackle space with Alan Hale Sr. brought on board to provide the furnishings. Ned Sparks was the cigar chomping down-and-out entrepreneur, with a voice modeled after an air raid siren and the two words needed to turn a corner diner into a flannel cake phenomena: “Bottle it!”

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It’s been written that this was the first Hollywood film to feature a single woman who made it to the top of the corporate ladder without the help of a man. Other than flirting with her debtors, we’re never quite sure how she built her empire. Once it appeared that the diner was poised to take off, a jump-cut whisks us five years into the future, putting to rest any thoughts of an explanation. One guesses that Bea’s feminine wiles had more to do with her success than any innate sense of business acumen. And for those who thought this was the way Ms. Beavers spoke in real life, guess again. It was her Massuhs at Universal who asked that she “coon it up” to help put the white masses at ease. (The studio was also insistent that Beavers kept her weight up.) Beavers spent a career basically playing one role, but from her point-of-view, it was better to make $5,000 a day acting as a maid on television than earning $5 a day playing one in real life.

The passage of time couldn’t erase Peola’s struggle to accept her blackness. An unexpected downpour brings Delilah to Peola’s school with rubbers and umbrella in hand. She’s framed outside the classroom door as though it were visitor’s day at Sing-Sing. Jim Crow laws saw to it that in 1934 a black child would be barred from attending an all-white classroom. (It would be 20 years before Brown vs. The Board of Education mandated racial desegregation.) The humiliation weighed so heavily on Peola she could barely raise her head as she marched to the door amid a gust of gossiping student’s whispers. As much as she loved her mother, that’s how much she resented her. This would mark the first of two instances where Peola was outed by her mother. Years later, Delilah tracks her runaway daughter (played as an adult by Fredi Washington) to the register of a restaurant where she once again outs her baby. It’s the only time in the film where Peola appears relaxed enough to set loose a smile. Washington played a 19-year-old, when in reality she was less than a year younger than the 31-year-old Beavers.

Some groaned over Delilah’s 20% cut of the action and her initial refusal to accept money from Bea. (She asked that her earnings be put towards an extravagant funeral.) After all, it was her secret pancake batter they were getting fat off of. In her defense, Bea provided the syrup and secured the down payments needed to lease and renovate the storefront. Even when Missis Bea awarded Delilah her freedom, she still refused to leave the pancake plantation. Delilah would be content to spend the rest of her days in servitude to Bea. This is best summed up in a shot taken from the first-floor landing, with Bea walking up one flight to the mistress’ boudoir and Delilah hoofing it downstairs to her basement accommodations. To no one’s surprise, the woman who came up with the pancake mix isn’t allowed to come to the victory dinner. And wouldn’t it have been nice if for once Delilah took a load off while Bea rubbed her feet.   

The inimitable Warren William co-stars as Stephen Archer, an ichthyologist whose profession exists as a means to draw cheap laughs. (Earlier that year, William played Caesar opposite Colbert’s Cleopatra.) There is one particularly cruel moment when Bea laughs at Delilah fumbling over the word. No one makes a joke when Jessie (played as an adult by Rochelle Hudson), a white college student, sneaks into the other room to consult a dictionary. As written, Delilah is simple to the point of being childlike making it difficult to take her character seriously.

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Allow me a moment of self-congratulation. I wrote the entire review without once mentioning Douglas Sirk’s both deeply sardonic and remarkably reverent 1959 remake, which happens to be an all-time personal favorite. If you haven’t seen it, I cannot urge you enough to watch them as a double feature. Criterion’s special Blu-ray Edition includes interviews with Miriam J. Petty on the careers of Louise Beavers and Fredi Washington, as well as insights into the career of John Stahl from Imogen Sara Smith. There’s also a trailer pitched to black audiences that showcases Beavers and Washington over Colbert. Those looking for a commentary track had best consult Universal’s Imitation of Life two-Movie Collection and enjoy the second audio commentary featuring African-American cultural scholar Avery Clayton.

Oscar Nominee ‘Triangle of Sadness’ Headed to Disc April 25 from Criterion

The Academy Award nominated satire Triangle of Sadness will arrive on Blu-ray Disc, DVD and 4K Ultra HD Blu-ray April 25 from The Criterion Collection. The film is already is available through digital retailers from Lionsgate.

Writer-director Ruben Östlund examines the status-obsessed culture of wealth, beauty and privilege in his English-language debut, which won the Palme d’Or at the 2022 Cannes Film Festival. Triangle of Sadness was nominated for three Oscars at the 95th Academy Awards: Best Picture, Best Director and Best Original Screenplay.

In the film, a model-influencer couple (Harris Dickinson and Charlbi Dean) are invited an all-expenses-paid cruise filled with wealthy guests — but an act of fate turns their Insta-perfect world upside down. The cast also includes Dolly de Leon, Zlatko Burić, Henrik Dorsin, Vicki Berlin and Woody Harrelson.

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The Criterion edition sports a new 4K digital master with a 5.1 surround DTS-HD master audio soundtrack. The 4K Ultra HD package will include a 4K disc of the film, and a regular Blu-ray with the film and bonus material.

Extras include an interview with Östlund and filmmaker and actor Johan Jonason; two behind-the-scenes featurettes, one about the film’s special effects and another about a challenging day on set; and the film’s trailer.

Triangle of Sadness also marks the final film for Charlbi Dean before her death from a bacterial infection in August at age 32.


Oscar Winner ‘Power of the Dog’ Due on Disc Nov. 8 From Criterion

The Academy Award-winning film The Power of the Dog is set to arrive on Blu-ray Disc, DVD and 4K Ultra HD Blu-ray Nov. 8 from the Criterion Collection.

The Western psychological drama adapted from Thomas Savage’s 1967 novel of the same name takes place in the desolate plains of 1920s Montana. After a sensitive widow (Kirsten Dunst) and her enigmatic, fiercely loving son (Kodi Smit-Mcphee) move in with her gentle new husband (Jesse Plemons), a tense battle of wills plays out between them and his brutish brother (Benedict Cumberbatch), whose frightening volatility conceals a secret torment, and whose capacity for tenderness, once reawakened, may offer him redemption or destruction.

Following a limited international theatrical run, the film was released on Netflix in December 2021 and went on to earn 12 Oscar nominations, winning Best Director for veteran filmmaker Jane Campion.

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The disc release includes a 4K digital master of the film approved by Campion. The Blu-ray and 4K versions offer a Dolby Atmos soundtrack.

Extras include an interview with Campion about the making of the film; a program featuring interviews with members of the cast and crew and behind-the-scenes footage captured on location in New Zealand; an interview with Campion and composer Jonny Greenwood about the film’s score; a conversation among Campion, Dunst, director of photography Ari Wegner and producer Tanya Seghatchian, moderated by filmmaker Tamara Jenkins; a new interview with novelist Annie Proulx; the film’s trailer; and a printed essay by film critic Amy Taubin.

The Ultra HD version includes one 4K disc with the film in Dolby Vision HDR, and a Blu-ray with the film and the bonus materials.