Let Him Have It

First Independent Films

First up is a film that isn’t horror at all, but will grip you with clammy hands nonetheless. Hot on the heels of his account of 1960s gangsters “The Krays” in 1990, Peter Medak followed up the following year with a stern look at a flawed justice system hellbent on revenge in a gut-punch portrayal of the tragic real-life case of Derek Bentley. 

Played to perfection by Christopher Eccleston, the character is accused of acting as an accomplice to a cop-killing (by uttering the movie’s titular phrase — much of the trial concerns itself with whether he meant it literally or colloquially). Pleading as much with the audience as he is to his cruel jailers, the BAFTA-nominated actor shows early teases of the commanding presence that would elevate acclaimed later works like “Elizabeth” and Danny Boyle’s edge-of-your-seat rage horror “28 Days Later.”

The Honeymoon Killers

Cinerama Releasing Corporation

Much has been made of horror and exploitation films that glorify their killers, but where are the stories that are just as repulsed by their subjects as the viewer might be? It’s a concept Leonard Kastle applies to the story of the Lonely Hearts Killers, with raw precision, in “The Honeymoon Killers.” 

Following the exploits of Martha Beck (Shirley Stoler) and Ray Fernandez (Tony Lo Bianco) as they embark on a con-and-kill spree across North America, Kastle’s flat-lit, grimy, bare-bones production is a dignity-stripped account of sleazy people operating in a bleak moral landscape. Shot with a documentary’s authenticity and stuttered editing, “The Honeymoon Killers” is unconcerned with empathetic leads and even less concerned with audience comfort, subbing out romanticized crime for small-scale brutishness.

Henry: Portrait of a Serial Killer

Greycat Films

Henry (Michael Rooker) is a bad news bear. Following his release from prison for his mother’s murder, he works as an exterminator by day and a vicious murderer by night along with his unstable accomplice Otis (Tom Towles). The 1986 film, helmed by John McNaughton (a storyteller with a penchant for urban outlaws) is based on the true-life story of serial killer Henry Lee Lucas and doesn’t pull punches in its pathologization of the slayer. 

Coming out amid the 80s slasher movie cycle, “Henry” contains blood and gore (enough to initially earn it an X rating from the MPAA) but it is hand-delivered with unblinking seriousness, a necessary counterweight to the 13th Fridays and Elm Street nightmares. One of its most disturbing moments comes just after a graphic murder scene, when Otis rewinds the video footage of the kill (the victim’s screams and struggles can still be heard offscreen) so that he can re-live the experience. See the film that many call the most disturbing of all time, if you dare.

Bride of Frankenstein

Universal Pictures

In her original 1818 novel “Frankenstein; or, The Modern Prometheus,” Mary Shelley re-orients the woman’s place in a realm dominated by male scientists. For his sequel to the 1931 film adaptation, James Whale leans into that gender-sexual warfare and the anxieties that men hold over womens’ reproductive power. 

The movie even tries to anticipate outrage with a prologue, in which Mrs. Shelley (also played by Lanchester) states her intent to impart a moral lesson on the audience — according to David J. Skal’s “The Monster Show,” the prologue had close-ups of Shelley in a low-cut gown that still drew the ire of notorious film censor Joseph Breen, who clutched his pearls at the cleavage and demanded cuts to the footage. So in a way, watching this nearly century-old Gothic horror picture is an act of rebellion.

Angst

Les Films Jacques

Anyone who has ever navigated the dingy bowels of Club Rectum in “Irreversible” has had concerns about the warped mind that brought that movie to the big screen. Fortunately for Criterion viewers, Gaspar Noe has cited “Angst” among his heaviest influences. Promptly banned over most of Europe upon its 1983 release, Gerald Kargl’s Austrian home invasion horror is less of a movie experience and more of a festival of dread. 

Focusing on the exploits of an unnamed serial killer (but loosely based upon the case of mass murderer Werner Kniesek) and lifted by the bleak compositions of Klaus Schulze (who scored the equally powerful Ozploitation horror film of the same year, “Next of Kin”), “Angst” is a film that has little plot and less arc but, like “Henry: Portrait of a Serial Killer,” anything more would take away from its power of observation and its immaculate characterization.

Movies To Die For

Criterion Channel

Whatever you stream this season, Criterion has something to keep you shuddering under the blankets and flannel. Here is the complete list of films premiering on the Criterion Channel on October 1, 2021:

10 Rillington Place, Richard Fleischer, 1971 After Life, Hirokazu Kore-eda, 1998 Angst, Gerald Kargl, 1983 Arsenic and Old Lace, Frank Capra, 1944 The Bad and the Beautiful, Vincente Minnelli, 1952 Bad Influence, Curtis Hanson, 1990 Beat Girl, Edmond T. Gréville, 1960 Beautiful Thing, Hettie MacDonald, 1996 Between You and Milagros, Mariana Saffon, 2020 The Big Sky, Howard Hawks, 1952 The Black Cat, Edgar G. Ulmer, 1934 Black Christmas, Bob Clark, 1974 Blind Alley, Charles Vidor, 1939 Blood and Black Lace, Mario Bava, 1964 Bride of Frankenstein, James Whale, 1935 Bright Future, Kiyoshi Kurosawa, 2003 The Brotherhood, Martin Ritt, 1968 Bustin’ Loose, Oz Scott, 1981 The Anderson Tapes, Sidney Lumet, 1971 The Autobiography of Miss Jane Pittman, John Korty, 1974 Champion, Mark Robson, 1949 Chan Is Missing, Wayne Wang, 1982 Coffee and Cigarettes, Jim Jarmusch, 2003 Come Back to the 5 & Dime Jimmy Dean, Jimmy Dean, Robert Altman, 1982 The Comedians, Peter Glenville, 1967 Coming Out Under Fire, Arthur Dong, 1994 Creature from the Black Lagoon, Jack Arnold, 1954 Creepy, Kiyoshi Kurosawa, 2016 Cul-de-sac, Roman Polanski, 1966 The Day of the Jackal, Fred Zinnemann, 1973 Deadly Weapons, Doris Wishman, 1974 The Delta, Ira Sachs, 1996 Demon Seed, Donald Cammell, 1977 The Desperate Hours, William Wyler, 1955 Detective Story, William Wyler, 1951 Devil in a Blue Dress, Carl Franklin, 1995 The Devil’s Disciple, Guy Hamilton, 1959 Diary of a Mad Housewife, Frank Perry, 1970 Dillinger,​​John Milius, 1973 Dim Sum: A Little Bit of Heart, Wayne Wang, 1985 Doctor X, ​​Michael Curtiz, 1932 Don’t Look Now, Nicolas Roeg, 1973 Double Agent 73, Doris Wishman, 1974 Dracula (Spanish-Language Version), George Melford, 1931 E•pis•to•lar•y: Letter to Jean Vigo, Lynne Sachs, 2021 Eat a Bowl of Tea, Wayne Wang, 1989 Escape from New York, John Carpenter, 1981 Family Fundamentals, Arthur Dong, 2002 A Father . . . A Son . . . Once Upon a Time in Hollywood, Lee Grant, 2005 Film About a Father Who, Lynne Sachs, 2020 The Fly, Kurt Neumann, 1958 Forbidden City, USA, Arthur Dong, 1989 From Hell, Albert Hughes and Allen Hughes, 2001 From Here to Eternity, Fred Zinnemann, 1953 Girl Is Presence, Lynne Sachs and Anne Lesley Selcer, 2020 The Heart Is a Lonely Hunter, Robert Ellis Miller, 1968 Henry: Portrait of a Serial Killer, John McNaughton, 1986 Hollywood Chinese, Arthur Dong, 2007 I Walk Alone, Byron Haskin, 1947 In Cold Blood, Richard Brooks, 1967 Indecent Desires, Doris Wishman, 1968 Inside, Julien Maury and Alexandre Bustillo, 2007 The Invisible Man, James Whale, 1933 Is Paris Burning?, René Clément, 1966 Island of Lost Souls, Erle C. Kenton, 1932 Jennifer’s Body, Karyn Kusama, 2009 Kagemusha, Akira Kurosawa, 1980 The Killing Fields of Dr. Haing S. Ngor, Arthur Dong, 2015 Klute, Alan J. Pakula, 1971 The Last Happy Day, Lynne Sachs, 2009 Last Train from Gun Hill, John Sturges, 1959 Let Him Have It, Peter Medak, 1991 Let Me Die a Woman, ​​Doris Wishman, 1977 A Letter to Three Wives, Joseph L. Mankiewicz, 1949 Licensed to Kill, Arthur Dong, 1997 Lonely Are the Brave, David Miller, 1962 The Love Parade, Ernst Lubitsch, 1929 Lust for Life, Vincente Minnelli, 1956 Man on a Swing, Frank Perry, 1974 Maya at 24, Lynne Sachs, 2021 Miss Minoes, Vincent Bal, 2011 Monte Carlo, Ernst Lubitsch, 1930 The Mummy, Karl Freund, 1932 The Naughty Nineties, Jean Yarbrough, 1945 Nude on the Moon, Doris Wishman and Raymond Phelan, 1961 Office Killer, Cindy Sherman, 1997 One Hour with You, Ernst Lubitsch, 1932 Only Lovers Left Alive, Jim Jarmusch, 2013 Out of the Past, Jacques Tourneur, 1947 Park Row, Samuel Fuller, 1952 Please Speak Continuously and Describe Your Experiences as They Come to You, Brandon Cronenberg, 2019 Polytechnique, Denis Villeneuve, 2009 Porto of My Childhood, Manoel de Oliveira, 2001 Posse, Kirk Douglas, 1975 Private Property, Leslie Stevens, 1960 A Raisin in the Sun, Daniel Petrie, 1961 Rat Film, Theo Anthony, 2016 The Raven, Louis Friedlander, 1935 Reversal of Fortune, Barbet Schroeder, 1990 Robinson Crusoe on Mars, Byron Haskin, 1964 Sewing Woman, Arthur Dong, 1982 Short Eyes, Robert M. Young, 1977 The Smiling Lieutenant, Ernst Lubitsch, 1931 Smoke, Wayne Wang, 1995 Sparkle, Sam O’Steen, 1976 The Strange Love of Martha Ivers, Lewis Milestone, 1946 Stuffed, Erin Derham, 2019 Them, David Moreau and Xavier Palud, 2006 There Was a Crooked Man . . . , Joseph L. Mankiewicz, 1970 The Time of Their Lives, Charles Barton, 1946 To Die For, Gus Van Sant, 1995 To Sleep with Anger, Charles Burnett, 1990 The Treasure of the Sierra Madre, John Huston, 1948 Try and Get Me!, Cy Endfield, 1950 Two Weeks in Another Town, Vincente Minnelli, 1962 The Valachi Papers, Terence Young, 1972 The Vikings, Richard Fleischer, 1958 The Visitors, Elia Kazan, 1972 The Washing Society, Lizzie Olesker and Lynne Sachs, 2018 The Way West, Andrew V. McLaglen, 1967 When We Were Kings, Leon Gast, 1996 Which Way Is East, Lynne Sachs, 1994 White Echo, Chloë Sevigny, 2019 Wind in Our Hair, Lynne Sachs, 2010 The Wolf Man, George Waggner, 1941 Wombling Free, Lionel Jeffries, 1978 Young Man with a Horn, Michael Curtiz, 1950 Zodiac, David Fincher, 2007

The Best Movies Coming To The Criterion Channel In October 2021

Universal Pictures

“Listen to them. Children of the night. What music they make!” Criterion is bringing grotesqueries and chills to your watchlist in time for Halloween!  This October, the streaming service calls back to the early howls of horror cinema with a studio that churned out classic tales that would be told again and again and influence a genre for the next century and beyond. For those who have seen the Universal monster staples, perhaps something that hits closer to home is what gets your ghost. Criterion also boasts a robust True Crime section for your viewing pleasure, and the meek and mild can stick with non-scary spotlight collections on Kirk Douglas, Cicely Tyson, and Curtis Mayfield, among other industry luminaries.

Horror-heads can enjoy the original icons of gothic horror with a handful of films that signal the horror genre’s penchant for pushing taboo, including the eyebrow-raising Spanish-language version of Tod Browning’s “Dracula” (1931), “The Mummy” (1932), “The Invisible Man” (1933), “The Black Cat” (1934), “Bride of Frankenstein” (1935), “The Raven” (1935), “The Wolf Man” (1941), and “Creature from the Black Lagoon” (1954). Not sure where to start? To narrow down your choices, here are five of the best movies coming to Criterion this October.

This October, the streaming service calls back to the early howls of horror cinema with a studio that churned out classic tales that would be told again and again and influence a genre for the next century and beyond. For those who have seen the Universal monster staples, perhaps something that hits closer to home is what gets your ghost. Criterion also boasts a robust True Crime section for your viewing pleasure, and the meek and mild can stick with non-scary spotlight collections on Kirk Douglas, Cicely Tyson, and Curtis Mayfield, among other industry luminaries.

Horror-heads can enjoy the original icons of gothic horror with a handful of films that signal the horror genre’s penchant for pushing taboo, including the eyebrow-raising Spanish-language version of Tod Browning’s “Dracula” (1931), “The Mummy” (1932), “The Invisible Man” (1933), “The Black Cat” (1934), “Bride of Frankenstein” (1935), “The Raven” (1935), “The Wolf Man” (1941), and “Creature from the Black Lagoon” (1954).

Not sure where to start? To narrow down your choices, here are five of the best movies coming to Criterion this October.

Let Him Have It

First Independent Films

First up is a film that isn’t horror at all, but will grip you with clammy hands nonetheless. Hot on the heels of his account of 1960s gangsters “The Krays” in 1990, Peter Medak followed up the following year with a stern look at a flawed justice system hellbent on revenge in a gut-punch portrayal of the tragic real-life case of Derek Bentley. 

Played to perfection by Christopher Eccleston, the character is accused of acting as an accomplice to a cop-killing (by uttering the movie’s titular phrase — much of the trial concerns itself with whether he meant it literally or colloquially). Pleading as much with the audience as he is to his cruel jailers, the BAFTA-nominated actor shows early teases of the commanding presence that would elevate acclaimed later works like “Elizabeth” and Danny Boyle’s edge-of-your-seat rage horror “28 Days Later.”

Played to perfection by Christopher Eccleston, the character is accused of acting as an accomplice to a cop-killing (by uttering the movie’s titular phrase — much of the trial concerns itself with whether he meant it literally or colloquially). Pleading as much with the audience as he is to his cruel jailers, the BAFTA-nominated actor shows early teases of the commanding presence that would elevate acclaimed later works like “Elizabeth” and Danny Boyle’s edge-of-your-seat rage horror “28 Days Later.”

The Honeymoon Killers

Cinerama Releasing Corporation

Much has been made of horror and exploitation films that glorify their killers, but where are the stories that are just as repulsed by their subjects as the viewer might be? It’s a concept Leonard Kastle applies to the story of the Lonely Hearts Killers, with raw precision, in “The Honeymoon Killers.” 

Following the exploits of Martha Beck (Shirley Stoler) and Ray Fernandez (Tony Lo Bianco) as they embark on a con-and-kill spree across North America, Kastle’s flat-lit, grimy, bare-bones production is a dignity-stripped account of sleazy people operating in a bleak moral landscape. Shot with a documentary’s authenticity and stuttered editing, “The Honeymoon Killers” is unconcerned with empathetic leads and even less concerned with audience comfort, subbing out romanticized crime for small-scale brutishness.

Following the exploits of Martha Beck (Shirley Stoler) and Ray Fernandez (Tony Lo Bianco) as they embark on a con-and-kill spree across North America, Kastle’s flat-lit, grimy, bare-bones production is a dignity-stripped account of sleazy people operating in a bleak moral landscape. Shot with a documentary’s authenticity and stuttered editing, “The Honeymoon Killers” is unconcerned with empathetic leads and even less concerned with audience comfort, subbing out romanticized crime for small-scale brutishness.

Henry: Portrait of a Serial Killer

Greycat Films

Henry (Michael Rooker) is a bad news bear. Following his release from prison for his mother’s murder, he works as an exterminator by day and a vicious murderer by night along with his unstable accomplice Otis (Tom Towles). The 1986 film, helmed by John McNaughton (a storyteller with a penchant for urban outlaws) is based on the true-life story of serial killer Henry Lee Lucas and doesn’t pull punches in its pathologization of the slayer. 

Coming out amid the 80s slasher movie cycle, “Henry” contains blood and gore (enough to initially earn it an X rating from the MPAA) but it is hand-delivered with unblinking seriousness, a necessary counterweight to the 13th Fridays and Elm Street nightmares. One of its most disturbing moments comes just after a graphic murder scene, when Otis rewinds the video footage of the kill (the victim’s screams and struggles can still be heard offscreen) so that he can re-live the experience. See the film that many call the most disturbing of all time, if you dare.

Coming out amid the 80s slasher movie cycle, “Henry” contains blood and gore (enough to initially earn it an X rating from the MPAA) but it is hand-delivered with unblinking seriousness, a necessary counterweight to the 13th Fridays and Elm Street nightmares. One of its most disturbing moments comes just after a graphic murder scene, when Otis rewinds the video footage of the kill (the victim’s screams and struggles can still be heard offscreen) so that he can re-live the experience. See the film that many call the most disturbing of all time, if you dare.

Bride of Frankenstein

In her original 1818 novel “Frankenstein; or, The Modern Prometheus,” Mary Shelley re-orients the woman’s place in a realm dominated by male scientists. For his sequel to the 1931 film adaptation, James Whale leans into that gender-sexual warfare and the anxieties that men hold over womens’ reproductive power. 

The movie even tries to anticipate outrage with a prologue, in which Mrs. Shelley (also played by Lanchester) states her intent to impart a moral lesson on the audience — according to David J. Skal’s “The Monster Show,” the prologue had close-ups of Shelley in a low-cut gown that still drew the ire of notorious film censor Joseph Breen, who clutched his pearls at the cleavage and demanded cuts to the footage. So in a way, watching this nearly century-old Gothic horror picture is an act of rebellion.

The movie even tries to anticipate outrage with a prologue, in which Mrs. Shelley (also played by Lanchester) states her intent to impart a moral lesson on the audience — according to David J. Skal’s “The Monster Show,” the prologue had close-ups of Shelley in a low-cut gown that still drew the ire of notorious film censor Joseph Breen, who clutched his pearls at the cleavage and demanded cuts to the footage. So in a way, watching this nearly century-old Gothic horror picture is an act of rebellion.

Angst

Les Films Jacques

Anyone who has ever navigated the dingy bowels of Club Rectum in “Irreversible” has had concerns about the warped mind that brought that movie to the big screen. Fortunately for Criterion viewers, Gaspar Noe has cited “Angst” among his heaviest influences. Promptly banned over most of Europe upon its 1983 release, Gerald Kargl’s Austrian home invasion horror is less of a movie experience and more of a festival of dread. 

Focusing on the exploits of an unnamed serial killer (but loosely based upon the case of mass murderer Werner Kniesek) and lifted by the bleak compositions of Klaus Schulze (who scored the equally powerful Ozploitation horror film of the same year, “Next of Kin”), “Angst” is a film that has little plot and less arc but, like “Henry: Portrait of a Serial Killer,” anything more would take away from its power of observation and its immaculate characterization.

Focusing on the exploits of an unnamed serial killer (but loosely based upon the case of mass murderer Werner Kniesek) and lifted by the bleak compositions of Klaus Schulze (who scored the equally powerful Ozploitation horror film of the same year, “Next of Kin”), “Angst” is a film that has little plot and less arc but, like “Henry: Portrait of a Serial Killer,” anything more would take away from its power of observation and its immaculate characterization.

Movies To Die For

Criterion Channel

Whatever you stream this season, Criterion has something to keep you shuddering under the blankets and flannel. Here is the complete list of films premiering on the Criterion Channel on October 1, 2021:

10 Rillington Place, Richard Fleischer, 1971 After Life, Hirokazu Kore-eda, 1998 Angst, Gerald Kargl, 1983 Arsenic and Old Lace, Frank Capra, 1944 The Bad and the Beautiful, Vincente Minnelli, 1952 Bad Influence, Curtis Hanson, 1990 Beat Girl, Edmond T. Gréville, 1960 Beautiful Thing, Hettie MacDonald, 1996 Between You and Milagros, Mariana Saffon, 2020 The Big Sky, Howard Hawks, 1952 The Black Cat, Edgar G. Ulmer, 1934 Black Christmas, Bob Clark, 1974 Blind Alley, Charles Vidor, 1939 Blood and Black Lace, Mario Bava, 1964 Bride of Frankenstein, James Whale, 1935 Bright Future, Kiyoshi Kurosawa, 2003 The Brotherhood, Martin Ritt, 1968 Bustin’ Loose, Oz Scott, 1981 The Anderson Tapes, Sidney Lumet, 1971 The Autobiography of Miss Jane Pittman, John Korty, 1974 Champion, Mark Robson, 1949 Chan Is Missing, Wayne Wang, 1982 Coffee and Cigarettes, Jim Jarmusch, 2003 Come Back to the 5 & Dime Jimmy Dean, Jimmy Dean, Robert Altman, 1982 The Comedians, Peter Glenville, 1967 Coming Out Under Fire, Arthur Dong, 1994 Creature from the Black Lagoon, Jack Arnold, 1954 Creepy, Kiyoshi Kurosawa, 2016 Cul-de-sac, Roman Polanski, 1966 The Day of the Jackal, Fred Zinnemann, 1973 Deadly Weapons, Doris Wishman, 1974 The Delta, Ira Sachs, 1996 Demon Seed, Donald Cammell, 1977 The Desperate Hours, William Wyler, 1955 Detective Story, William Wyler, 1951 Devil in a Blue Dress, Carl Franklin, 1995 The Devil’s Disciple, Guy Hamilton, 1959 Diary of a Mad Housewife, Frank Perry, 1970 Dillinger,​​John Milius, 1973 Dim Sum: A Little Bit of Heart, Wayne Wang, 1985 Doctor X, ​​Michael Curtiz, 1932 Don’t Look Now, Nicolas Roeg, 1973 Double Agent 73, Doris Wishman, 1974 Dracula (Spanish-Language Version), George Melford, 1931 E•pis•to•lar•y: Letter to Jean Vigo, Lynne Sachs, 2021 Eat a Bowl of Tea, Wayne Wang, 1989 Escape from New York, John Carpenter, 1981 Family Fundamentals, Arthur Dong, 2002 A Father . . . A Son . . . Once Upon a Time in Hollywood, Lee Grant, 2005 Film About a Father Who, Lynne Sachs, 2020 The Fly, Kurt Neumann, 1958 Forbidden City, USA, Arthur Dong, 1989 From Hell, Albert Hughes and Allen Hughes, 2001 From Here to Eternity, Fred Zinnemann, 1953 Girl Is Presence, Lynne Sachs and Anne Lesley Selcer, 2020 The Heart Is a Lonely Hunter, Robert Ellis Miller, 1968 Henry: Portrait of a Serial Killer, John McNaughton, 1986 Hollywood Chinese, Arthur Dong, 2007 I Walk Alone, Byron Haskin, 1947 In Cold Blood, Richard Brooks, 1967 Indecent Desires, Doris Wishman, 1968 Inside, Julien Maury and Alexandre Bustillo, 2007 The Invisible Man, James Whale, 1933 Is Paris Burning?, René Clément, 1966 Island of Lost Souls, Erle C. Kenton, 1932 Jennifer’s Body, Karyn Kusama, 2009 Kagemusha, Akira Kurosawa, 1980 The Killing Fields of Dr. Haing S. Ngor, Arthur Dong, 2015 Klute, Alan J. Pakula, 1971 The Last Happy Day, Lynne Sachs, 2009 Last Train from Gun Hill, John Sturges, 1959 Let Him Have It, Peter Medak, 1991 Let Me Die a Woman, ​​Doris Wishman, 1977 A Letter to Three Wives, Joseph L. Mankiewicz, 1949 Licensed to Kill, Arthur Dong, 1997 Lonely Are the Brave, David Miller, 1962 The Love Parade, Ernst Lubitsch, 1929 Lust for Life, Vincente Minnelli, 1956 Man on a Swing, Frank Perry, 1974 Maya at 24, Lynne Sachs, 2021 Miss Minoes, Vincent Bal, 2011 Monte Carlo, Ernst Lubitsch, 1930 The Mummy, Karl Freund, 1932 The Naughty Nineties, Jean Yarbrough, 1945 Nude on the Moon, Doris Wishman and Raymond Phelan, 1961 Office Killer, Cindy Sherman, 1997 One Hour with You, Ernst Lubitsch, 1932 Only Lovers Left Alive, Jim Jarmusch, 2013 Out of the Past, Jacques Tourneur, 1947 Park Row, Samuel Fuller, 1952 Please Speak Continuously and Describe Your Experiences as They Come to You, Brandon Cronenberg, 2019 Polytechnique, Denis Villeneuve, 2009 Porto of My Childhood, Manoel de Oliveira, 2001 Posse, Kirk Douglas, 1975 Private Property, Leslie Stevens, 1960 A Raisin in the Sun, Daniel Petrie, 1961 Rat Film, Theo Anthony, 2016 The Raven, Louis Friedlander, 1935 Reversal of Fortune, Barbet Schroeder, 1990 Robinson Crusoe on Mars, Byron Haskin, 1964 Sewing Woman, Arthur Dong, 1982 Short Eyes, Robert M. Young, 1977 The Smiling Lieutenant, Ernst Lubitsch, 1931 Smoke, Wayne Wang, 1995 Sparkle, Sam O’Steen, 1976 The Strange Love of Martha Ivers, Lewis Milestone, 1946 Stuffed, Erin Derham, 2019 Them, David Moreau and Xavier Palud, 2006 There Was a Crooked Man . . . , Joseph L. Mankiewicz, 1970 The Time of Their Lives, Charles Barton, 1946 To Die For, Gus Van Sant, 1995 To Sleep with Anger, Charles Burnett, 1990 The Treasure of the Sierra Madre, John Huston, 1948 Try and Get Me!, Cy Endfield, 1950 Two Weeks in Another Town, Vincente Minnelli, 1962 The Valachi Papers, Terence Young, 1972 The Vikings, Richard Fleischer, 1958 The Visitors, Elia Kazan, 1972 The Washing Society, Lizzie Olesker and Lynne Sachs, 2018 The Way West, Andrew V. McLaglen, 1967 When We Were Kings, Leon Gast, 1996 Which Way Is East, Lynne Sachs, 1994 White Echo, Chloë Sevigny, 2019 Wind in Our Hair, Lynne Sachs, 2010 The Wolf Man, George Waggner, 1941 Wombling Free, Lionel Jeffries, 1978 Young Man with a Horn, Michael Curtiz, 1950 Zodiac, David Fincher, 2007

  • 10 Rillington Place, Richard Fleischer, 1971
  • After Life, Hirokazu Kore-eda, 1998
  • Angst, Gerald Kargl, 1983
  • Arsenic and Old Lace, Frank Capra, 1944
  • The Bad and the Beautiful, Vincente Minnelli, 1952
  • Bad Influence, Curtis Hanson, 1990
  • Beat Girl, Edmond T. Gréville, 1960
  • Beautiful Thing, Hettie MacDonald, 1996
  • Between You and Milagros, Mariana Saffon, 2020
  • The Big Sky, Howard Hawks, 1952
  • The Black Cat, Edgar G. Ulmer, 1934
  • Black Christmas, Bob Clark, 1974
  • Blind Alley, Charles Vidor, 1939
  • Blood and Black Lace, Mario Bava, 1964
  • Bride of Frankenstein, James Whale, 1935
  • Bright Future, Kiyoshi Kurosawa, 2003
  • The Brotherhood, Martin Ritt, 1968
  • Bustin’ Loose, Oz Scott, 1981
  • The Anderson Tapes, Sidney Lumet, 1971
  • The Autobiography of Miss Jane Pittman, John Korty, 1974
  • Champion, Mark Robson, 1949
  • Chan Is Missing, Wayne Wang, 1982
  • Coffee and Cigarettes, Jim Jarmusch, 2003
  • Come Back to the 5 & Dime Jimmy Dean, Jimmy Dean, Robert Altman, 1982
  • The Comedians, Peter Glenville, 1967
  • Coming Out Under Fire, Arthur Dong, 1994
  • Creature from the Black Lagoon, Jack Arnold, 1954
  • Creepy, Kiyoshi Kurosawa, 2016
  • Cul-de-sac, Roman Polanski, 1966
  • The Day of the Jackal, Fred Zinnemann, 1973
  • Deadly Weapons, Doris Wishman, 1974
  • The Delta, Ira Sachs, 1996
  • Demon Seed, Donald Cammell, 1977
  • The Desperate Hours, William Wyler, 1955
  • Detective Story, William Wyler, 1951
  • Devil in a Blue Dress, Carl Franklin, 1995
  • The Devil’s Disciple, Guy Hamilton, 1959
  • Diary of a Mad Housewife, Frank Perry, 1970
  • Dillinger,​​John Milius, 1973
  • Dim Sum: A Little Bit of Heart, Wayne Wang, 1985
  • Doctor X, ​​Michael Curtiz, 1932
  • Don’t Look Now, Nicolas Roeg, 1973
  • Double Agent 73, Doris Wishman, 1974
  • Dracula (Spanish-Language Version), George Melford, 1931
  • E•pis•to•lar•y: Letter to Jean Vigo, Lynne Sachs, 2021
  • Eat a Bowl of Tea, Wayne Wang, 1989
  • Escape from New York, John Carpenter, 1981
  • Family Fundamentals, Arthur Dong, 2002
  • A Father . . . A Son . . . Once Upon a Time in Hollywood, Lee Grant, 2005
  • Film About a Father Who, Lynne Sachs, 2020
  • The Fly, Kurt Neumann, 1958
  • Forbidden City, USA, Arthur Dong, 1989
  • From Hell, Albert Hughes and Allen Hughes, 2001
  • From Here to Eternity, Fred Zinnemann, 1953
  • Girl Is Presence, Lynne Sachs and Anne Lesley Selcer, 2020
  • The Heart Is a Lonely Hunter, Robert Ellis Miller, 1968
  • Henry: Portrait of a Serial Killer, John McNaughton, 1986
  • Hollywood Chinese, Arthur Dong, 2007
  • I Walk Alone, Byron Haskin, 1947
  • In Cold Blood, Richard Brooks, 1967
  • Indecent Desires, Doris Wishman, 1968
  • Inside, Julien Maury and Alexandre Bustillo, 2007
  • The Invisible Man, James Whale, 1933
  • Is Paris Burning?, René Clément, 1966
  • Island of Lost Souls, Erle C. Kenton, 1932
  • Jennifer’s Body, Karyn Kusama, 2009
  • Kagemusha, Akira Kurosawa, 1980
  • The Killing Fields of Dr. Haing S. Ngor, Arthur Dong, 2015
  • Klute, Alan J. Pakula, 1971
  • The Last Happy Day, Lynne Sachs, 2009
  • Last Train from Gun Hill, John Sturges, 1959
  • Let Him Have It, Peter Medak, 1991
  • Let Me Die a Woman, ​​Doris Wishman, 1977
  • A Letter to Three Wives, Joseph L. Mankiewicz, 1949
  • Licensed to Kill, Arthur Dong, 1997
  • Lonely Are the Brave, David Miller, 1962
  • The Love Parade, Ernst Lubitsch, 1929
  • Lust for Life, Vincente Minnelli, 1956
  • Man on a Swing, Frank Perry, 1974
  • Maya at 24, Lynne Sachs, 2021
  • Miss Minoes, Vincent Bal, 2011
  • Monte Carlo, Ernst Lubitsch, 1930
  • The Mummy, Karl Freund, 1932
  • The Naughty Nineties, Jean Yarbrough, 1945
  • Nude on the Moon, Doris Wishman and Raymond Phelan, 1961
  • Office Killer, Cindy Sherman, 1997
  • One Hour with You, Ernst Lubitsch, 1932
  • Only Lovers Left Alive, Jim Jarmusch, 2013
  • Out of the Past, Jacques Tourneur, 1947
  • Park Row, Samuel Fuller, 1952
  • Please Speak Continuously and Describe Your Experiences as They Come to You, Brandon Cronenberg, 2019
  • Polytechnique, Denis Villeneuve, 2009
  • Porto of My Childhood, Manoel de Oliveira, 2001
  • Posse, Kirk Douglas, 1975
  • Private Property, Leslie Stevens, 1960
  • A Raisin in the Sun, Daniel Petrie, 1961
  • Rat Film, Theo Anthony, 2016
  • The Raven, Louis Friedlander, 1935
  • Reversal of Fortune, Barbet Schroeder, 1990
  • Robinson Crusoe on Mars, Byron Haskin, 1964
  • Sewing Woman, Arthur Dong, 1982
  • Short Eyes, Robert M. Young, 1977
  • The Smiling Lieutenant, Ernst Lubitsch, 1931
  • Smoke, Wayne Wang, 1995
  • Sparkle, Sam O’Steen, 1976
  • The Strange Love of Martha Ivers, Lewis Milestone, 1946
  • Stuffed, Erin Derham, 2019
  • Them, David Moreau and Xavier Palud, 2006
  • There Was a Crooked Man . . . , Joseph L. Mankiewicz, 1970
  • The Time of Their Lives, Charles Barton, 1946
  • To Die For, Gus Van Sant, 1995
  • To Sleep with Anger, Charles Burnett, 1990
  • The Treasure of the Sierra Madre, John Huston, 1948
  • Try and Get Me!, Cy Endfield, 1950
  • Two Weeks in Another Town, Vincente Minnelli, 1962
  • The Valachi Papers, Terence Young, 1972
  • The Vikings, Richard Fleischer, 1958
  • The Visitors, Elia Kazan, 1972
  • The Washing Society, Lizzie Olesker and Lynne Sachs, 2018
  • The Way West, Andrew V. McLaglen, 1967
  • When We Were Kings, Leon Gast, 1996
  • Which Way Is East, Lynne Sachs, 1994
  • White Echo, Chloë Sevigny, 2019
  • Wind in Our Hair, Lynne Sachs, 2010
  • The Wolf Man, George Waggner, 1941
  • Wombling Free, Lionel Jeffries, 1978
  • Young Man with a Horn, Michael Curtiz, 1950
  • Zodiac, David Fincher, 2007