Criterion Crazy: September Releases

Written by Andreas Babiolakis


Criterion Crazy is a series where we cover the latest Criterion Collection announcements: what we like, what we’re confused by, and the like.

I started a new column titled Criterion Crazy two months ago, and I already have dropped the ball by missing a month (I was on vacation, my laptop was in the shop, there was just too much going on and Criterion celebrations have to be fresh… it was a whole thing, so let’s just ignore it even happened). Nonetheless, we are back with the Criterion Collection’s latest announcement for their September releases, and it’s not too shabby. Nothing here is a concerning or questionable feature, but I also am not sure if I would say that any of these picks are ones that blow me away necessarily. Nonetheless, I can’t really complain here, but I would like to dive into each film that has been added to the collection (or has received an upgrade).

The Favourite: Le Corbeau

Ah, yes. Henri-Georges Clouzot’s psychological thriller Le Corbeau (which translates to The Raven) in high definition (with a beautiful box art to boot). Quite daring for its time, Le Corbeau is a timelessly anxious watch that can definitely find new audiences via the collection. As a result, I feel like it is the strongest part of the September announcement. I can just imagine a number of Criterion collectors adding this mysterious film to their stash and subsequently discovering a highly dismal affair: a whodunnit of moral and cynical proportions. It also makes sense that a ‘40s film is getting treated with all of the perks, and this preservation side of Criterion always warms my heart.

Best Newer Release: Sound of Metal

As time passes, I warm up to Sound of Metal more and more. It has had enough staying power these last couple of years already, particularly because of Riz Ahmed’s bravura performance (one of my favourites of 2020), and the serious prose stemming from the film’s dialogue (I did critique the screenplay when I first reviewed the film, but I think I’m coming around enough to recognize that it is strong in at least some ways). Even if I didn’t want to buy this film, this box art is easily some of the best in recent memory. I love that Criterion didn’t go the easy route and just use the official poster for the film (which could have easily been repurposed), because which cinephile wouldn’t want this sitting on their shelf? I’m torn, Criterion. I’m torn. Okay, I may have to fork over some cash for this release.

Under-Seen Choice: Take Out

This release reminds me a lot of the announcement of Daddy Long Legs by the Safdie Brothers made last month. Here we have indie auteur Sean Baker’s Take Out (which he co-directed with frequent collaborator Shih-Ching Tsou), and I’m starting to see a nice pattern here. We celebrate the major successes of independent filmmakers time and time again. Now, here are their early works being protected via digital and purchasable preservation: entry ways into the pasts of current day titans that may not even be on our radars. Criterion is taking an interesting route by covering these older films with the utmost priority; there’s almost more focus on these under-seen indie flicks than the breakthroughs that would follow by these same directors. I like this. These kinds of releases will introduce more works by acclaimed directors to the masses whilst making sure they get the attention they deserve.

It’s Time to Upgrade: Blow Out

Brian De Palma’s magnum opus Blow Out is must-see cinema, so an upgrade to 4K UHD makes sense. With a film that focuses so much on extreme close-ups, a palette of sounds, and so many of the finer details, an aesthetic enhancement will help make this Hitchcockian thriller as immersive as ever. I feel like there are other Criterion mainstays that will get this same UHD treatment soon (particular films that are synonymous with the Criterion Collection and are their most sold releases) and I’m not sure what made Blow Out stand out to the company this time around, but I’m also not complaining, considering this is one of my favourite films of the 80s.

Let’s Get Canadian: Exotica

The embarrassment surrounding Canadian cinema seems to be disappearing, and I’m all for the lifting of this stigma (that Canadian films are weird, boring, or “off”). It makes sense to have one Atom Egoyan in the collection, but seeing a film like Exotica be initiated is a pleasant surprise (I would have figured something like The Sweet Hereafter would have come first). This artistic thriller feels daring and edgy enough to fit right into the collection, and hopefully this represents an incoming wave of Canadian films that will soon be included in Criterion’s library (even more Egoyan works would be nice; I nominate The Adjuster next).

And So The World Cinema Project Continues

What is there to say about this announcement? Martin Scorsese’s World Cinema Project is always welcome, so this fourth entry is no exception. What I love the most is that you are usually presented with a batch of films that you may not even know, but I have almost never been let down by Scorsese and company with the hidden gems that they highlight (Films Fatale’s Rachael can attest to this, with much praise for past inclusions Limite and Trances). If anything, this ongoing series is one of my favourites within Criterion’s catalogue, and this is usually a goldmine for great films from around the world. Even if you don’t recognize the films within any of these sets, I say take a pleasant gamble and check out at least one of the World Cinema Project boxsets. You will be pleasantly stunned with what you discover.


Andreas Babiolakis has a Masters degree in Film and Photography Preservation and Collections Management from Toronto Metropolitan University, as well as a Bachelors degree in Cinema Studies from York University. His favourite times of year are the Criterion Collection flash sales and the annual Toronto International Film Festival.