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Here is Everything Coming to The Criterion Channel in February 2020

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February 2

Cry, the Beloved Country, Zoltán Korda, 1951
Good-bye, My Lady, William A. Wellman, 1956
Edge of the City, Martin Ritt, 1957*
The Defiant Ones, Stanley Kramer, 1958
A Raisin in the Sun, Daniel Petrie, 1961
Paris Blues, Martin Ritt, 1961
Pressure Point, Hubert Cornfield, 1962
Lilies of the Field, Ralph Nelson, 1963
The Slender Thread, Sydney Pollack, 1965
A Patch of Blue, Guy Green, 1965*
Duel at Diablo, Ralph Nelson, 1966
In the Heat of the Night, Norman Jewison, 1967
Guess Who’s Coming to Dinner, Stanley Kramer, 1967
To Sir, with Love, James Clavell, 1967
They Call Me Mister Tibbs!, Gordon Douglas, 1970
Brother John, James Goldstone, 1971
Buck and the Preacher, Sidney Poitier, 1972
A Warm December, Sidney Poitier, 1973
Uptown Saturday Night, Sidney Poitier, 1974
*Available March 1

February 3

Rashomon, Akira Kurosawa, 1950
Gate of Hell, Teinosuke Kinugasa, 1953
La strada, Federico Fellini, 1954
Nights of Cabiria, Federico Fellini, 1957
Mon oncle, Jacques Tati, 1958
Black Orpheus, Marcel Camus, 1959
The Virgin Spring, Ingmar Bergman, 1960
Through a Glass Darkly, Ingmar Bergman, 1961
8½, Federico Fellini, 1963
The Shop on Main Street, Ján Kadár and Elmar Klos, 1965
Closely Watched Trains, Jiří Menzel, 1966
War and Peace, Sergei Bondarchuk, 1966–67
Z, Costa-Gavras, 1969
The Discreet Charm of the Bourgeoisie, Luis Buñuel, 1972
Amarcord, Federico Fellini, 1973
Day for Night, François Truffaut, 1973
Dersu Uzala, Akira Kurosawa, 1975
The Tin Drum, Volker Schlöndorff, 1979
Fanny and Alexander, Ingmar Bergman, 1982
The Official Story, Luis Puenzo, 1985
Babette’s Feast, Gabriel Axel, 1987
The Great Beauty, Paolo Sorrentino, 2013

February 4

The tables turn on white tourists in South Africa in these subversive anticolonialist parables that question the meaning of “civilization.” In Samantha Nell and Michael Wahrmann’s satirical short The Beast, a frustrated performer in a Zulu cultural village launches a one-man rebellion of Shakespearean proportions. It makes for a thought-provoking companion to actor-director Cornel Wilde’s lean, mean survival thriller The Naked Prey, in which white hunters become the hunted in colonial South Africa.

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One of the most beloved films of all time, this sizzling masterpiece by Billy Wilder set a new standard for Hollywood comedy. After witnessing a mob hit, Chicago musicians Joe and Jerry (Tony Curtis and Jack Lemmon, in landmark performances) skip town by donning drag and joining an all-female band en route to Miami. The charm of the group’s singer, Sugar Kane (Marilyn Monroe, at the height of her bombshell powers) leads them ever further into extravagant lies, as Joe assumes the persona of a millionaire to woo her and Jerry’s female alter ego winds up engaged to a tycoon. With a whip-smart script by Wilder and I. A. L. Diamond, and sparking chemistry among its finely tuned cast, Some Like It Hot is as deliriously funny and fresh today as it was when it first knocked audiences out six decades ago. SUPPLEMENTAL FEATURES: Behind-the-scenes documentaries; interviews with Billy Wilder, Marilyn Monroe, Tony Curtis, and Jack Lemmon; and more.

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In the powder-keg political environment of the late sixties, Lindsay Anderson launched a pop-culture Molotov cocktail into British cinemas with his stunningly subversive If…., an anarchic vision of rebellion at a British boarding school starring Malcolm McDowell as the everyman turned guerilla revolutionary Mick Travis. In two subsequent films—the freewheeling anti-establishment epic O Lucky Man! and the divisive gonzo comedy Britannia Hospital—Anderson and McDowell continued to trace the story of the Travis character and his outlandish adventures in a through-the-looking-glass England. By turns surreal, shocking, and darkly funny, these furious satires simmer with rage at the hypocrisies of capitalism, institutional bureaucracy, and the British class system.

February 28

February 29

Subject to change without notice.

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